Mahler: Symphony No. 7

This, Mahler's weirdest symphony, is also his most formally perfect. It was this performance that first conveyed to many listeners the true stature of the music, and it remains on balance a prime recommendation. Because Mahler is best known for his brilliant orchestration and hyperemotional sensitivity, it's easy to forget just how well put together his symphonies are. This one, for example, has five movements symmetrically arranged around the creepy central scherzo. The two outermost movements are thematically related, and the next two on either side of the scherzo both have the title "Night Music." What Leonard Bernstein does better than just about anyone else is to present with compelling logic and balance the symphony's musical progression from darkness to light. Poise was not generally regarded as one of Bernstein's strengths. Untrue. Just listen here. --David Hurwitz Amazon.com

Good Stuff - Gustav

Another wonderful piece by a talented composer. Great texture! Bernstein always brings the musicians' best out. January 4, 2007

Groundbreaking

So often Mahler's most ambiguous symphony is conveyed by the greatest orchestra's and most lauded conductors, without a real trace of soul, commitment or just plain guts. Though, mind you, on it's very own merits Mahler 7 is a fantastic orchestral experience, magnificent even when it's just played professionally. However, if you like to be swept away, if you want to experience the heart and soul of this very important symphony and witness the true struggle through the lonely night into the bright and exuberant arrival of daylight, one really has to hear the 'Song of the Night' like it's performed here.

Bernstein is an absolute authority when it comes to Mahler's Seventh. His reading of the Seventh with the New York Philharmonic for his 80's DG Mahler cycle was one of the high points and this version, the CBS (now Sony) 60's landmark recording with the same orchestra, changed the course of history for this very symphony.

As it's true better recorded versions exist (Tilson Thomas/London, Haitink/Concertgebouw/2nd recording, Abbado/Chicago, Inbal/Frankfurt), none of those reach the same solidity, virtuosity and vision embodied in Bernstein's. It's magical, soulful, grand, intimate and above all... groundbreaking. This is what Mahler is all about. July 13, 2006

Simply Thrilling! The Best Mahler 7th!

The 7th symphony of Gustav Mahler has always been my favorite and yet I think it is clearly a puzzle among Mahlers symphonies. Bernstein solves the mystery of the 7th! This is a most thrilling account of the Mahler 7th. With patience, Leonard Bernstein brings out many details in this complex score that are lacking in some other interpretations. The New York Philharmonic is more than up to the task throughout. The recorded sound is definately 1965 but that is not a bad thing as it captures the orchestra very clearly and is neither muddy or brittle in sound; take note of the wonderfully clear woodwind playing (particularly in the quieter movements) as well as the concise timpani playing. The string playing is very romantic against the very modern brass writing helping along the paradoxical Mahler 7th. What is most exciting is Leonard Bernstein's great varying of tempi; it keeps you on the edge of your seat the all the way to the last bars of the symphony that ends like the crack of a whip. This may be Bernstein at his best! November 21, 2005

Bernstein in the Mahler Seventh--which one to choose?

After his first Mahler cycle in New York (Sony), Bernstein returned to his home orchestra three times, for the Second, Third, and Seventh Syms., in his second cycle on DG. He more or less owned the Seventh, which he instinctively understood wtihout having to underline and exaggerate. I'd like to compare the 1965 and 1985 versions, keeping in mind that both have been cited as the "best ever."

Sound: The 1965 Seventh has excellent, clear analog sound. It was made in Avery Fisher Hall, like the later version, and the engineers put us midway back in the hall, so there is no spotlighting. Delicate overlapping and ensemble are more important than visceral impact. The DG engineers move us into the heart of the orchestra, which makes the sound brighter, more immediate and intense. The DG sonics are still clear, though, and digital glare is minimal, thank goodness.

Tempos: In both readings Bernstein stays well within normal range, and until the last movement he keeps the same speeds, exactly so in the long first movement. But the finale in 1985 is almost 4 min. slower--Bernstein has abandoned his earlier thrilling rush. However, the sonics are so much more immediate in 1985 that the two come out about equal in exhilaration.

Interpretation: British critics fostered the canard that Bernstein was excessive in Mahler and grew more so with age. In fact, the 1965 reading is quite delicate and full of finesse; it was Bernstein's genius to catch all the nuances without losing the shape and momentum of the symphony--nothing is remotely fussed over. The 1985 reading is equally detailed, but there is more expressive underlining, to be sure. We are clearly hearing the same basic performance, although the orchestra, perhaps because they are playing live in concert, is scrappier at certain points in 1985 (note the sloppy opening to the finale) than their impeccable coutnerparts twenty years earlier.

Overall, I expected a bigger difference than I heard. Of these two great performances, if you want more detail and naturalness in the interpretation, pick the 1965 version, which is much more economical on its single mid-price Sony CD. If you want sonic impact and the added livelines of a concret, pick the 1985 version on two full-price CDs from DG (not even a filler). Mahler has become such a staple that there are quite a few Sevenths of stature, including Rattle's from Birmingham, both of Abbado's from Chicago and Berlin, and Klemperer from London (the latter is slow and sometimes very slow--be advised). I find both versions from Tilson Thomas lightweight and fussy, and the fascinating Scherchen is stuck with raw recording and an equally raw orchestra--but far from the worst he ever had.

I remain happy with both Bernsteins, yet having heard a transcendent Mahler Seventh from Welser-Most and thhe Clevelanders, I will rush out to buy their CD the moment anyone decides to record it.

November 4, 2005

What's all the hype about??

I purchased this because the godlike reviews i read here and otherwhere, i'm extreemly dissapointed,(however, the 9th in the same serie is very good)Do yourself a favor, get the Abaddo's newer Berliner's version, or, MTT's London version. Both are much better than this one,in playing ,interpretation,or the recorded sound.
Bernstein's first version is stereo, but it sounds like two MONO channels, do you understand? the violins sound only in left channel, and cellos only in the right one, while in the center ther some HUGE brass and wind...so the sound stage is really rare,if not funny.
the playing is very AGED compared with the newer versions,NPO was never a really first rate orchestra,and they gave a fine demostration here.
the interpretation is OK, (if we dont care the final notes be played too fast and lack totally of power) however, not as close good as make you choose this one instead of the two i mentioned, which have clearer and more emotional interpretations,FARRRR more powefull playing and much better recorded digital sound.(if you have a real Hi-Fi system,the Abbado version is a better choise,enjoy the string playing, you will know Karajan is not the last word in 'smoothness')
Absolutly to be avoided! June 21, 2004

More reviews at Amazon.com ...