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General Category => Gustav Mahler and Related Discussions => Topic started by: John Kim on April 18, 2021, 05:44:34 AM
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https://www.hmv.co.jp/en/artist_Mahler-1860-1911_000000000019272/item_Symphony-No-7-Kirill-Petrenko-Bavarian-State-Orchestra_11779148
I. Langsam (Adagio) - Allegro risoluto, ma non troppo (20:47)
II. Nachtmusik I. Allegro moderato (14:20)
III. Scherzo. Schattenhaft. Fliesend, aber nicht schnell (9:22)
IV. Nachtmusik II. Andante amoroso (11:45)
V. Rondo-Finale. Allegro ordinario (16:18)
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From the timings, this look it could be very interesting. I'll be grabbing this. That Finale is blazing!
John,
Any idea if this will come to amazon? Or just HMV?
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This sounds very fun. The first movement is a bit fast for my tastes, but if Petrenko can structure it as masterfully as he structured his recent zippy M6 (by today's standards), then we are in for something good.
Can’t wait to hear that fast finale!
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This CD is an import (to Japan), so it should be available in USA too.
John
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Aside from the recent Vanska one on BIS, one I really like for the just the finale is the Neemi Jarvi on Chandos, performed in Det Haag (The Hague). The rest of it is way too fast, but the finale is spot on.
I'd have to hear this first. I wasn't at all impressed with Zubin Mehta's Mahler recordings done with this same orchestra from Munich. But having Petrenko could make a huge difference.
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Mehta's Mahler is hit or miss for me, so I'm not surprised. I haven't heard his work with this orchestra though.
To this day I'm confused about what tempi are actually 'correct' in Mahler 7. I'm specifically referring to the three inner movements.
For the first Nachtmusik, Boulez takes it around 13 minutes and Gielen approaches 17, yet they both work. Boulez seems to conduct at the proper marked andante tempo with quarter notes getting the beat, yet people complain that it's too fast. Bernstein and Gielen on the other hand seem to be conducting at andante if the eighth notes got the beat. So how do we know what's right?
Same with the scherzo. Mahler obviously directs "not too fast," but relative to what? Quarter notes getting the beat (in 3/4)? Not too fast conducted in 1?
And then the second Nachtmusik presents even more issues. It's supposed to be andante, but Boulez does 10 minutes and Bernstein almost does 15. And both work because with Boulez the quarter notes get the beat, and with Bernstein/Nott/Tilson Thomas, etc. the eighth notes get the "walking tempo" beat.
What is this music even supposed to sound like???
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You know my theory. Mahler was very exacting when it came to phrasing, articulations, balances, relative dynamics, etc., etc. Yet, it appears that he was deliberately vague with tempo indications, knowing full well that his music could sustain a myriad of approaches. In fact, it could be said that his 'tempo indications' are really more mood indicators. When it comes to M7, I still like the slower early on/faster later on approach - emphasizing the whole 'darkness to light' progression of the piece.
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Yep, me too Barry. I want M7 to go something like this: 23:00, 16:30, 9:30, 12:30, 16:45. So far pretty much no one has done that. Closest I can think of are Dudamel, Boulez, de Waart, and Vänskä, though none of them are quite fast enough in the finale for my taste. Of those four, I think Dudamel has the best finale. In fact, I've really been getting into that recording lately. People seem to have forgotten about it.
And I think I generally agree with your theory on Mahler's tempo indications. He himself conducted pieces differently night to night; everything was always 'in the moment' with him, and it's certainly reflected in the music. I think his scores' attentiveness to phrasing, articulation, balances, and relative dynamics stems from wanting to make the conductor's lives easier as to how the music ought to sound, but how it felt was probably supposed to be different every night at the concert hall.
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Very well put, Erik.
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These excerpts sound pretty darn good.
https://drive.google.com/file/d/1clTJCXaL3BSe2eG3YnzgiLdl97gSx45O/view
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Wow! I love that doleful sound of the tenor horn. I only listened on my phone speakers (at work now), but I couldn’t hear the bells well at the end. I’ll have to give it a real listen later.
That climax gives Stenz a run for his money though!
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I can't get this brief video to play.
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Brief excepts now available at Presto Classical. I must say, they really do sound quite good! https://www.prestomusic.com/classical/products/8915803--mahler-symphony-no-7#tracklist
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I will be grabbing this after hearing those excerpts. Sounds really nice. Excellent trumpet playing at the opening of the finale, too. They are also releasing a blu-ray of Korngolds 'Die Tote Stadt' which I will also find it's way in to my collection.
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Yep! - and the timpani flourish is played really well also . . . almost as good as Vic Firth (Boston). In the 3rd movement excerpt, they really bring out those sudden descending glissandi in the woodwinds, making that intro really spooky. Also, in the first movement, listen to how clearly they distinguish between the 32nd notes and the 16th notes. They get those right.
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I agree, Barry, it's very rhythmically incisive. It kind of reminds of the two Darlington Mahler recordings with Duisburg, he is very clean and definite with his rhythms in his traversal of the 5th and 6th.
The scherzo sounds quite a bit like Zinman, to my ears.
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I listened to Darlington's M6 on Spotify and liked it very much.
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hi folks,
So, how do you like this new M7th? I listened to only the first two movts and my impression was that it sounds similar to Abbado/CSO/DG version.
John
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For me it was good-not-great. If I wanted a M7 that were this fast then I’d still stick with Stenz/Gürzenich.
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Erik,
Check my message.
John
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For me, the lack of bells at the end - both deep and cow - is a real turn-off. Surely they had enough rehearsal time to address that issue. For something that's fast from start to finish, I'll take one of the old Kondrahin ones, or the recent Alexandre Bloch one on Atma. The playing isn't as strict and discipline, but I think it's a bit more interesting. For me, from a purely overall narrative standpoint, Vanska gets it right.