Bloch/Alpha Mahler 7 avail. @ Spotify & Youtube. CD's available at Amazon, etc.

[barryguerrero]

You can hear the Alexandre Bloch Mahler 7 (Alpha) on both Spotify and Youtube, starting today.

[erikwilson7]

I'll give my thoughts on this one:

It's spectacular, but I wish there was more mandolin and guitar in the fourth movement. The first and second movement also feel a little rushed, which is weird because to me Boulez's 13:58 for the second movement sounds just right compared to Bloch's 14:59. In the first movement, the moonlit episode sounds a bit rushed.

I like just about everything else about this, and it's one of my top choices now. The finale is a banger.

If more of his Mahler recordings are released I will be very excited to hear them.

[barryguerrero]

I'll listen all the way through on Spotify on Sunday. I might 'do' just the finale tonight. I'll have more time Sunday.

[erikwilson7]

I loved the finale. It was almost as impressive as the Stenz, but with even better bells and cowbells. Stenz creates more tension and is a bit more unbuttoned, and he milks that final peroration like no one else.

Overall I like this recording better than Stenz's, even if he has the slightly better finale.

[erikwilson7]

Sonics matter to me, yes, but the Boulez is the only one I like of the conductors you mentioned. Sorry, but I don’t really care for much of Bernstein’s Mahler, I don’t like hardly any of Solti’s Mahler, and the Ozawa M7 is actually very good but the bells and cowbells are inaudible at the end (a very important aspect of Mahler’s orchestration). The earlier Bernstein M7 is one of the few Mahler recordings of his that I like, but it’s not a top choice for me. He wallows too much in the Nachtmusik movements (ignores their tempo suggestions), and screws around with the score too much.

I have a preference for less conductor-involved recordings, which is why I don’t like Bernstein and Solti and why I prefer people like Boulez. I prefer when conductors stick to the score, and a cohesive structure and textural clarity matters more to me than emotional impact. In other words, I get enjoyment out of hearing all the details. That’s how my brain works. Plus, I’m a percussionist so yes, the bells, cowbells, and tam-tams matter a great deal to me.

I’d argue that Boulez, Vänskä, and Zinman make more sense of the symphony’s structure than Bernstein does. I’d also argue that the Fischers, Vänskä, and Boulez have far more textural clarity than the recordings by Bernstein, Solti, Ozawa, and Haitink, but that may have to do with sound quality.

Preference is all subjective anyway. Sorry to hear you don’t like Bloch’s M7.

[erikwilson7]

I have a feeling I’m going to be sent to the guillotine for admitting I don’t care for most of Bernstein’s Mahler.

[erikwilson7]

Honestly, I respect your opinion, and agree mostly. Except on Vänskä’s M7, but like you said that has been discussed elsewhere. I admire Vänskä’s other recordings for their playing and sound quality, but I certainly won’t vouch for his interpretations.

I suppose the tempo indications I’m talking about are the second movement (Allegro moderato: Molto moderato, andante), and the fourth (andante amoroso). Bernstein takes both of these at basically an adagio.

I also won’t argue with the influence and impact Bernstein had. He was an amazing figure.

Either way, glad to see we agree on Boulez. He’s become possibly my favorite Mahler interpreter for his ultra-literalist interpretations.

I need to revisit the Solti M7. It’s been years since I heard it in full. I like his finale a lot though. If I want intensity and vehemence, I know where to turn.

[brunumb]

No doubt next week's 'all-time favorite top choice' will be Santu-Matias Rouvali because you can actually hear him laugh for getting away with yet another crappy, superfluous Mahler recording.

I bet you can't wait for a recording of Mahler's recently unearthed triple concerto for organ, cow bells and tam tam.   

[barryguerrero]

I'll be honest enough to say that I don't respect thomass' musical opinion on M7 at all. The Solti M7 is pretty good for the first four movements, but the finale is an absolute train wreck. It also happens to be very well recorded, since Decca recorded it in Champagne-Urbana. So much for dismissing it on the basis of sound alone. Boulez has the advantage of the fabulous Cleveland Orchestra. I very much like his first and third movements, as well as the first half of his finale. For me, his two Nachtmusik are a tad too quick in relation to the other movements. Still, it's very well played and well recorded. The Boulez M7 also has many detractors - many of whom have a lot nastier things to say about it than I do. I very much like the Ozawa M7. It's also beautifully played and beautifully recorded. In terms of timings, tempi and tempo relationships, it's quite similar to Bernstein's first one (which I also like).  Haitink was  well known as an M7 specialist, but I think he's been somewhat inconsistent. I feel Haitink's best ones were the very first one he did, as well as the Kerstmatinee M7 (which might be the best of the lot). Similar to Haitink, I like Edo DeWaart even more in M7. None of what I've said here - or what YOU have to say, Thom-ass - is going to force me to agree with YOU and say that I'm wrong and you're right. If my liking the Vanska M7 bothers you, too bad! I've given my reasons and I like my reasons - they work for me. Even Hurwitz gave it an 8/9. I also state that Solti is THE worst conductor I've ever seen in concert, and I like very little of his recorded legacy. I'm really not sorry if that bothers you either. If that makes me charlatan, then I'm a charlatan. And I'm not apologizing for my approach, because you've come here with your gloves off before. Either respect other people's likes and dislikes, or expect to get the same treatment right back. All of this is why I almost prefer to listen to jazz and not talk to ANYBODY about classical music. If you want to be uncivil and go after other's likes and dislikes, you're going to get it right back from me in spades.