Mahler: Symphony No. 7

Mahler: Symphony No. 7

Mahler: Symphony No. 7
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Composer: Gustav Mahler
Conductor: Michael Tilson Thomas
Orchestra: San Francisco Symphony Orchestra
Edition: Music CD
Format: Hybrid SACD - DSD, Import
CD Release Date: 2005-10-11
Music Label: Sfs Media
Soundtracks:
  1. Langsam
  2. Nachtmusik l
  3. Scherzo
  4. Nachtmusik ll
  5. Rondo-Finale

Free Music Notes for Mahler: Symphony No. 7

Free Music Review: Mahler in a tight grip ...
Hit: 5 Stars

This performance does take a little getting used to, when compared to the ones I preferably listen to, namely those by Bernard Haitink (1982 & 1985), Claudio Abbado (2001) or even Michael Tilson Thomas' own 1997 recording with the LSO. So please allow me to get to grips with this (somewhat) different approach by maestro Tilson Thomas by comparing it with another approach by another conductor, mainly Haitink.
Of Bernard Haitink I would here again (see my other reviews) like to stress both his 1982 studio recording (astounding - sometimes almost heavenly - beauty of playing and recorded sound), and the phenomenal, very intense 1985 live Christmas Matinee recording (maybe even better: aside from playing and recording - which are great - more emotional intensity). This Christmas Matinee recording of the Seventh deserves a much, much wider hearing, it is that good, but it can nowadays only be procured via internet from Holland, and then only as part of a set of 9 CD's with all of the Christmas Matinee recordings of Symphonies 1, 2, 3, 4, 5, 7 and 9 (Six and Eight were not performed). But for Mahler-completists, it is certainly worth the effort and the money.
Generally, the interpretations by these conductors (Haitink and especially Abbado) could be described as more flowing or more dramatically sustained. But the 1985 Haitink Seventh stands out in that it has the same kind of energy and control as Tilson Thomas, but IMHO being even better: while just as energetic, he sounds even more 'natural' and - yes - more emotionally charged and with more 'raw' power - more 'free'.
IMHO, the way Bernard Haitink and Claudio Abbado have with this music sounds less 'mannered' (or should I better say: less 'surgically' (?) attentive to the score) than Michael Tilson Thomas does in this recording. But in all three recordings, the sound-picture as well as the playing itself is just great, I believe. These are (now) my three favorite Mahler Sevenths, with Haitink 1982 and Claudio Abbado (2001) coming in very, very close on third and fourth place. But I do think that Sir Simon Rattle's (1991) high-strung, fiercely energetic approach is as legitimate as any other (see my review).
But what tremendous colours and (nervous) energy here, with Michael Tilson Thomas! This conductor really relishes all of the different musical colorations and inventions to the full, but with taste, intelligence and with style. Orchestral forces are always, note for note, kept under tight control and neatly balanced by maestro Tilson Thomas. This does indeed count for something with this outrageous music. Maybe that is it: Michael Tilson Thomas here first of all wants to stress the outrageous, new, expressionistic character of this most colorful music by Mahler. In this he does succeed amazingly, I think, helped by playing that is as technically astute as it is beautiful. And the overall faster speeds don't bother me when control is as tight as it is here.
In the end it could be said that maybe, by keeping everything in such a tight grip and under such tight control, and keeping to the score as faithfully as he does here (??? - I wouldn't know, though: I can't read music ...) Michael Tilson Thomas does lose some of the more 'emotional' depth (if one could call it thus) which we do find/feel more with Haitink (1985). But at the same time, something could have been gained as well, namely a strict sence of balance and a clear, unclouded view of this strange, enigmatic, gorgeous and ever renewing music. I for one love this recording, which to my ears only keeps getting better and better after each hearing, and I believe it is a beautiful addition to the San Francisco Symphony Orchestra/Michael Tilson Thomas Mahler Cycle.
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Mahler: Symphony No. 7 Poster

Michael Tilson Thomas's Mahler cycle continues with this well-played Seventh. Once rarely heard, the work is becoming a regular recording and concert hall visitor. The San Francisco Symphony is in terrific form here, especially in the last movement, where the brass really bring down the house and the whole band keeps up with the conductor's tempo shifts and contrasts. The second Nachtmusik movement is a winner, with its odd combination of harp, guitar and mandolin and its characterful mood. The opening movement is a bit problematic, well-played but a bit too fast for comfort, but the Scherzo rocks. This version differs from MTT?s excellent London Symphony recording made in 1999 earlier for RCA, which was free of some of the more idiosyncratic touches found here. But if you don't mind a first movement that never really adheres, you'll love this new one. For collectors of the series and SACD fans, it's a must-have, and all Mahlerites will want to hear MTT's latest thoughts on the work. --Dan Davis

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