Tennstedt M7 on BBC Legends

[Leo K]

I mentioned this recording in another thread, but wanted to give it a thread of its own.

The new release of the Tennstedt M7 on BBC Legends is a good complement to the Kondrashin M7 on Tahra, both captured on tape from the later 1970's or early 1980's.  Tennstedt's is very "outside" the lines, in almost every bar he is loose and messy, and sometimes alittle too slow, but all the same I enjoyed this performance for it's utter vulgar humour and sometimes sad tone...Mahler in a "Bizarro" world.  I think it may be one of the most radical M7's I heard, in the same spirit as Scherchen at least.  The sonics on this recording is actually fine, not as good as the Kondrashin, but still impressive for a broadcast. I was very impressed by the resonant bells, very well captured during the finale.  The Kondrashin M7 on Tahra is completely the opposite...refined, heroic, glorious, and romantic.  Since both broadcasts were recorded around the same period, they make a good pair, and both exhibit how different this work can be under different personalities.  If you want a couple of really good sounding historical  M7's...these two are a good choice (the sound on both is really that good).  The Kondrashin M7 is still available on Tahra (can be found at HMV Japan).  I am not familiar with Bernstein's first M7, but that would be another great historical M7 to have by all accounts if you can't get the Kondrashin.

(I used to own another live M7 from Tennstedt, but its been too long to remember how it sounded, so I can't compare.  I can provide timings soon, when I get back home)

I warmly recommend this for those who like historical recordings, or like something off the beaten path.  If you're already happy with Barenboim, Bernstein, and Kobayashi you probably don't need this, unless you really what a mutant in your collection!

--Todd

[bluesbreaker]

This is a very good M7, although sad tone this may not...to my ears, anyway.
Tennstedt is mostly great live and this CD proves it. And those bells!!!

[Leo K]

This is a very good M7, although sad tone this may not...to my ears, anyway.
Tennstedt is mostly great live and this CD proves it. And those bells!!!

Yes, I love the bells on this recording too.  Yeah, now that I think about it, this isn't "sad" in tone (and I shouldn't get that subjective anyway, not really appropriate), but I can verify this performance is full of interesting tempo shifts and wieght.

--Todd

[bluesbreaker]

And it's very different performance comparing to his later EMI live M7.
This BBC is closer to the studio version, probably because both were recorded in the same year, or just one year lapse.
And since you mentioned Bernstein, I always consider both Tennstedt and Bernstein as interventionist and emotional interpreters. Maybe that's why Tennstedt's first movement sound like Bernstein's first M7, to me.

[barry guerrero]

Tennstedt's first EMI M7 really wasn't that slow, so I'm curious about the timings on this one. Would you post them (the timings) for us? Thanks in advance.

Barry

[bluesbreaker]

Timing of BBC's Tennstedt M7 as follows:

1. 22:10
2. 16:45
3. 9:54
4. 15:14
5. 18.13

About KT's first EMI M7, I was just recalling from memory, so I may be wrong. After all I sold the Tennstedt cycle 3 years ago.

[barry guerrero]

That's rather similar to Sinopoli, except that Sinopoli was 2.5 minutes longer in the first movement.

[barry guerrero]

According to Fulup, Tennstedt's studio EMI recording - his first one - had the following timings:

I - 23:19 (identical to Boulez); II - 16:49; III - 10:11; IV - 15:12 (don't remember it being that long); V - 18:02

As you can see, they ARE very similar timings to this live BBC Legends one, which I'd like to hear now.

[sperlsco]

Timing of BBC's Tennstedt M7 as follows:

1. 22:10
2. 16:45
3. 9:54
4. 15:14
5. 18.13

About KT's first EMI M7, I was just recalling from memory, so I may be wrong. After all I sold the Tennstedt cycle 3 years ago.

IIRC, the finale is actually around 17:30 with the remainder being applause. Also, the 4th movement really times in at just under 15'. 

I bought this one around Thanksgiving, listened to it a few times, forgot to post any impressions, and finally got around to listening to it again this week.  Now I am a rather big fan of Tennstedts live 90's M7.  It is probably my go-to M7, even if I hesitate to actually call it (or any performance) my absolute favorite.  There are some similarities in conception between Tennstedt's two live M7's.  Tennstedt really likes to draw tempo contrasts from section to section in an effort to play up the drama.  He is a little brisker overall in the live 80's one, which is perferrable.  However, the orchestral playing is MUCH more assured (but certainly not perfect) in the 90's version.  In the live 80's version, the orchestra seems hesitant at times, has many noticeable errors throughout, and does not always play with assured tone.  To my ears, the 90's orchestra is really in synch with the conductor, as if they are of one mind.  Despite some minor boo-boos, I find the 90's playing to be quite spectacular and thrilling.  If you like the bells in the live 80's version (and I do!), the 90's bells simply blow them away.  I do find the overall pace of the 80's finale preferable, given that it is almost 90 seconds faster.  The crowd goes bonkers at the end of both of them!

Really, I wouldn't want to live without the BBC release of the live 80's performance, but overall it just does not work as well as some of the better M7's. 

[John Kim]

Scott,

Just as much as I like the 1990's live Tennstedt M7th I love the accompanying M6th even more. Exaggerated tempos, wide and wild dynamic range, and sometimes rugged playing all worked out to great effects in this performance. This is my number one favorite live M6th. The other ones I listen most often are

Macal/CPO/Exton
Levi/ASO/Telarc
Inoue/NJPO/Exton
Haitink/LSO (pirate)
Bernstein/NYPO/Sony

BTW, Haitink/CSO/Resound M6th SACD is coming soon:

http://www.hmv.co.jp/product/detail/2690973

John,

[barry guerrero]

"BTW, Haitink/CSO/Resound M6th SACD is coming soon"

yeah, and if it's consistent with the Abbado/CSO M6, Levine/CSO M7, and Haitink/CSO M3, it'll have loud brass, loud timpani, and underplayed utility percussion. Everybody will sound like they're sitting together in the front row, except for the utility percussion (who play like they're intimidated by everybody else). The trumpets and trombones will make little distinction between forte, fortissimo, and triple forte. Meanwhile, the horns will sound magnificently, but will have trouble keeping up with the rest of the brass. It'll all come across  as Bruckner on steroids, or Shostakovich on a German diet.

BTW, I once read in an interview that the 7th was Tennstedt's favorite Mahler symphony.

Barry