Inbal/TMSO/Exton M7th SACD

[John Kim]

Inbal's new recording of Mahler Seventh with Tokyo Metropolitan Symphony Orchestra is outstanding in every way, easily the best of three recordings he made with FRSO, CPO, and this orchestra. For comparison, Dudamel has done a pretty good job in his recent DG outing (read musicweb's warm review), but Inbal's beats almost every other edition that has appeared in the catalog.

There is no quibbling; if you want the best organized, best structured Mahler 7th, this is it. For the first time, I sense the overarching architecture that is unmistakably there in this sprawling symphony. Amazingly, this new recording gives the impression that the symphony is after all as well structured as M6th and indeed a very classy work. It's the first time I feel about the work this way. Does it mean Inbal's reading is devoid of characters? No! He has plenty of expressive touches throughout, though he has less dose of string portamento on display this time.

The SACD sound is drop dead gorgeous.

A truly revelatory performance/recording.

P.S. Inbal's new M9th with TMSO is almost on the same exalt level. Excellent!

[barry guerrero]

Thank you John for that great report.

[John Kim]

Barry,

As much as I like Inbal/CPO recording which is also on Exton, I like this new one even better.

He tightens the sprawling structure of the symphony in places and produces a thoroughly unified vision of the music. The well disciplined playing of TMSO also helps tremendously in this department. The Finale is one of the best I've ever heard.

Like I said, his reading is not devoid of characters; in fact there is abundance of personal touches everywhere.

John

[ChrisH]

Did you pick up the regular recording or the 'One-Point' recording? The price isn't too bad from CDJapan either. Thanks for the review. Sounds like I'll have to grab this.

[barry guerrero]

Thanks John. I know you're right, but I just don't need YET another Mahler 7. I have an entire row of them on my cd shelf.

[John Kim]

Barry,

You should try this M7th by all means. You'll love the sound that he elicits from the Japanese orchestra. It's huge, plush sound, extremely well detailed, upgraded by the trademark Exton engineering.

Like I said, I like Inbal's new M9th very much too. For one thing, he expands the Finale to well over 25 min; previously his timing (in the FRSO recording) was just over 23 mi. The gaining of this extra 2 full min. really changes the perspective of the whole interpretation.

Inbal has a better grasp of Landler and he is less controlled in Rondo Burleske. In the opening movt. he is again in his top form; this is a very strong, robust, heartfelt Aadante comodo, as good as and even better than his Denon recording.

John

[ChrisH]

I just got this recording in the mail the other afternoon and have taken in two sessions with this disc. Johns remarks on this recording are spot on. This is a very special recording. One thing that really got me was the total effortlessness of the playing from the Tokyo orchestra. This is a very difficult work for all the instruments and they make it sound like childs play. This adds a certain elegance and a chamber like quality to the sound. This is not to say that it doesn't have the requisite power; it's as if instead of 20 violins, you have one very large one. They are so in sync.

Maybe just a small thing, but the packaging is also really nice. It's almost like you're getting a little book.

I just received the 6th with the same forces and am awaiting the 1st and the 3rd. Too bad these discs have not gotten a more wide release.

[SteelyTom]

I've always liked Inbal's Seventh with the Frankfurt RSO for Denon-- excellent redbook sonics, with a perfectly-judged finale.  A highlight of an underrated (if not largely ignored) cycle.

[barry guerrero]

"A highlight of an underrated (if not largely ignored) cycle."

Agreed. To my ears, both the Inbal and Bertini cycles were the best ones of that pre-sacd period.