Mahler, G. : Sym 7
18.42
Mahler, G. : Sym 7
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JA BooklynReviewed in the United States on May 20, 2021
Jansons is one of the best.
Andrew R. BarnardReviewed in the United States on September 23, 2014
The Bavarian Radio Symphony has a natural advantage when recording a detailed, atmospheric work like the Mahler 7th, given the clarity of their in-house label. Few recordings produced today better BR Klassik for a natural, dynamic sound range. In this present case, it helps that Mariss Jansons has a eye for detail, and his orchestra plays with virtuosity just shy of their counterparts in Berlin and Vienna, only the sonics magnify the impact. Recently, we've gotten a remarkable Berlioz Symphonie Fantastique from this same conductor and orchestra that was spooky and gripping, instantly rising to the top of my favorites. I think Jansons has a true gift with shadowy music, and that comes through here, with the half-lit, edgy sound world of the symphony's inner movements. He nearly caresses the music, maneuvering through the tosses and turns with delicacy and ravishing detail. The Scherzo is the highlight, with unearthly contrasts and unnerving voicing. It's borderline reticent at times, and Jansons is reluctant to give way to overt excitement, preferring tip-toeing suspense. And it's beautiful and unsettling at once, far removed from the visceral impact of a contemporaneous recording with Gergiev and the LSO, or the energy and abandon of classic Bernstein on Sony with the New York Phil. I admire Jansons' approach, only I'm not sure the absence of undisguised passion betters the symphony, especially considering its length. But for orchestral playing and detail, this recording is a marvel, and Jansons has enough interest on the podium that for me this recording is a keeper, if not inspired enough to join the list of greats.
Barry GuerreroReviewed in the United States on October 24, 2009
Mahler 7 has finally hit a patch of good fortune. Michael Tilson-Thomas has recorded it twice in recent times (I prefer his earlier LSO one on RCA). Since then, Daniel Barenboim, David Zinman, and Gerard Schwarz have all turned in pretty impressive efforts. This new Jansons one has the benefit of not only fitting on a single disc, but being an sacd/cd hybrid as well. In general, it's a fast performance with excellent and highly idiomatic playing from the Bavarian Radio Symphony Orchestra. In fact, I was rather shocked to discover that this was a "live" recording, since the folks at BR chose to leave on the applause (I do wish that they wouldn't do that). For my taste, the woodwinds could have been a tad more forward in the overall perspective, but the timpani player is superb. In fact, at the start of the finale, this has absolutely THE best played opening flourish on the kettle drums that I've ever heard. That's truly saying something. The brass cut through nicely when they need to, but neither are they too heavy and overbearing. That leaves the strings and they do a nice job as well, especially in the erudite second Nachtmusik (fourth movement). There's no shortage of guitar or mandolin either. If all this sounds like shades of the old Kubelik/BRSO Mahler cycle, you'd be right. All in all, this a very solid contender. Personally speaking, I have a slight preference for the Barenboim. That's mostly because he does a better job of making the finale sound both spontaneous and rather unhinged at the right moments (Jansons is pretty much just fast from start to finish, clocking in well short of 17 minutes). I also like Barenboim's somewhat swifter tempo for the fourth movement. But the differences aren't great by any means - both have very good playing and truly good sound. The Gerard Schwarz M7 shouldn't be entirely forgotten either. We're finally spoiled for good choices on the Mahler 7th (and yes, I love the old Lenny one)!
Huntley DentReviewed in the United States on November 17, 2009
There are good reasons for appreciating Mariss Jansons' accomplished Mahler Seventh, but in spirit it's rather stolid. I agree with the earlier reviewer that we've been fortunate to have a handful of competitive recordings in the past few years, but I would discount Zinman and even Barenboim, both of whom lead very good versions, in favor of the exciting ones from Gergiev and Abbado, who so far surpass the other two -- and this new one -- that it might be time to slow down the Mahler recording mill. There really is no obvious reason for Jansons'new reading except, perhaps, its hybrid SACD sound, which is excellent. Also excellent is the execution of the Bavarian Radio orchestra, which some critics consider one of the best in the world (I've not heard them in concert and withhold judgment). What Jansons chiefly lacks is visceral energy. Like Chailly, his predecessor in Amsterdam with the Concertgebouw, his style in Mahler is to make the most from bar to bar, with impeccable balances and voicing of chords. I'm sorry, but that way tends disaster in the Seventh or any other major Mahler work. Conductors succeed who can draw us into Mahler's complex emotional world, so full of wildly contrasted elements. Smoothing out the textures and flattening the mood into civilized comfort aren't right. We have piano rolls of Mahler playing his own music, and his style was as spontaneous and varied as one would expect. The seventh's reputation for difficulty comes from several sources, I think. One is the rollicking, brash finale, which older critics sniffed at as clownish and undignified. Another is the absence of easily identified emotion. All the movements, but especially the two eerie Nachtmusiks, evoke ambiguous feelings and half-lit moods. One finds oneself grasping at shadows much of the time, and even something as familiar as a march refuses to proceed in a straight line without much embroidery and commentary from the sidelines. The best to be said about Jansons is that he handles the gray areas with extreme finesse and delicacy, and the spooky touches in the Scherzo catch your attention. But I can't escape the feeling that Mahler intended for more gutsiness and a far wilder ride in the finale -- see Gergiev and both classic Bernstein recordings, on Sony and DG. Even Gerard Schwarz, working with the provincial Royal Liverpool Phil., comes closer to the mark. My evaluation suggests three stars, but I'm adding an extra one out of respect for the vivid sonics and the orchestra's exceptional execution.
VadimReviewed in Germany on December 7, 2018
Die einzige Version, die für mich funktioniert. Meiner Meinung nach die konsistenteste, korrekteste und fehlerfrei gespielte Version dieser komplexen Musik.
Joubert JeanReviewed in France on November 24, 2015
Partition difficile à entendre et complexe à interpréter. Des grands s'y sont cassés les dents de Bernstein à Abbado. Mariss Jansons est un des rares à mon sens qui en donnent une fort cohérente et convaincante version. A côté de lui quelques autres réussites : Vaclav Neumann, Michaël Gielen et Gustavo Dudamel ont ma préférence.
STEWART CROWEReviewed in the United Kingdom on December 14, 2009
Recordings of Mahler 7 abound-it is a notoriously difficult symphony to bring off. Readings vary from the breakneck brilliance of Solti, to the studied, intense and very powerful slower reading of Maazel and the Vienna Philharmonic (a seriously underrated set in the UK where anti-Maazelism flourishes much as anti-Sinopolism used to!), not to mention Sinopoli's weirder de-constructionalist reading marvellously played by the Philharmonia. The outer movements are generally considered to be less than great music (though not by me!), but it is not a sustainable view from this recording! This new reading is the most rounded, coherent exposition of the first 4 movements, and as quirky and humorous a finale as one could want. I would have until now suggested Abbado/Berlin Philharmonic as the obvious first choice, but no longer. The playing of the BRSO is beautiful beyond belief. The recording is stunning, revealing more detail than I have ever heard on disc. The preformance uses the New Critical Edition of the score, and there are noticeable interesting diffrences in scoring at many points-subtle but effective. The guitars and mandolins are clearly audible and perfectly balanced and there appears to be just as massive a timpanum in the finale as for the Chailly/Concergebouw reading-as Janssons is Director of both orchestras, did he borrow it for Munich I wonder? This is an absolute winner on all counts-reading, recording, playing and academic interest in the new Edition of the score.A CLEAR first choice recording for this work. 6 stars! Stewart Crowe
Patrick BrandonReviewed in the United Kingdom on January 7, 2013
My brother recommended the work of this conductor on the grounds that he somehow makes sure that every single note of every instrument can be heard. Having now heard thiis CD I agree - the clarity is tremendous - like being right there in the concert hall, or even sitting among the players. The music itself is beautiful, and Mahler's work can be so easily underplayed or distorted by insensitive performances - no such danger here! It really is scintillating stuff!