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Mahler Symfoni No. 7 (Live)
 
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Mahler Symfoni No. 7 (Live)

19 Oct. 2009 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
Song Title
Time
Popularity  
30
1
23:03
30
2
16:24
30
3
10:47
30
4
14:11
30
5
17:14
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Product details

  • Original Release Date: 19 Oct. 2009
  • Release Date: 19 Oct. 2009
  • Label: Simax Classics
  • Copyright: 2009 Simax Classics
  • Total Length: 1:21:39
  • Genres:
  • ASIN: B002RWFWS4
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 334,303 in Albums (See Top 100 in Albums)

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1 of 1 people found the following review helpful By D. S. CROWE TOP 500 REVIEWER on 6 Mar. 2015
Format: Audio CD Verified Purchase
Although Bavarian Radio had released some Mahler recordings conducted by Mariss Jansons under its early BRSO Label for German distribution alone, when the new br klassik label was launched in 2009 Mahler's 7th was one of its first two releases, and I reviewed it enthusiastically then, which enthusiasm has not diminished. That performance used the New Critical Edition for the first time, and so stands as a unique document.

Recorded some 6 years earlier in the warm and generous acoustic of the Oslo Concert House, this performance with Jansons' Oslo Philharmonic Orchestra, though it uses the Standard Edition, is superior in every way except playing. In that respect though it is every bit as well played as the BRSO version, or indeed any other I could name, including both Abbado's and Gielen's BPO versions!

Where this differs from the earlier version is in shaping, use of rubato and balancing. Jansons makes a complete triumph of the first movement, exaggerating the tempo changes with rubato to just the right level, encouraging portamento from his strings and is sublime in the ethereal lyrical sections as he is triumphant and dramatic in opening salvo! For me, he surpasses even Gielen with the BPO-the highest praise I can afford!
In the opening of the Second Movement, the horn calls are magnificent-but the "antiphon" responses are perhaps just a tad too offstage-very distant and feint, but the effect is magical.

He steers a well judged Night Patrol, and then gives us a much darker, sardonic third movement than before with exaggerated rubato in the unholy waltz-one can hear that he is a great Strauss Family interpreter! I don't think I'd want to be part of the nocturnal revels in this performance!
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 2 reviews
3 of 3 people found the following review helpful
More considered and better recorded than Janson's Munich M7 18 Jun. 2010
By Amazon Customer - Published on Amazon.com
Format: Audio CD
What we have here is an altogether weightier and more deeply thought-out version than with Jansons' already issued Bavarian Radio Symphony Orchestra recording of the same work. In comparison, while very well played, Jansons' Munich based one sounds a bit like a fast run-through. Here, the first movement is much more considered, clocking in at just over 23 minutes. The Oslo low brass and percussion are darn near excellent too. And while it's not an sacd hybrid, the Simax recording is bigger and more vivid sounding throughout.

Clocking in at over 16 minutes, the second movement truly sounds dark and nocturnal - rather like Abbado, actually. It is disappointing, however, that the offstage cowbells are too distant during their first appearance (at the solo horn signals, about five minutes in). Later on, they're perfectly audible. In the middle movement scherzo, Jansons capitulates to Mahler's "not too fast" indication, clocking in at nearly 11 minutes (10:45). Of greater importance, though, is the fact that the scherzo's climax has the requisite power and spookiness that it needs - "shadow business", indeed.

As with his later BRSO M7, Jansons' second Nachtumusik (fourth movement) is a throw-back to the days of stretching this movement to well over 14 minutes. Thus, its nocturnal characteristics are emphasized over its ability to stump as an Italian serenade (I prefer the latter approach, but it's not a deal breaker by any means). And while the finale isn't nearly as fast from start to finish as it is on his later BRSO M7, Jansons still steps plainly into the brighness of broad daylight (17:15, which is still 30 seconds shorter than Bernstein I, Haitink I, Abbado I & II, or Levine/CSO).

As with the first movement, this finale is more thought out as well - the tempo relationships more deeply considered. Yet, its basic sunny nature gets emphasized throughout. The all-important percussion are outstanding in the finale, with fully resonant, deep sounding tam-tam smashes brought to the fore. Deep bells (tiefe glocken) and cow bells bong away sufficiently at the end too. In addtion, the Oslo low brass section solidly support everything above, just as they should. This is good stuff! Still, those who are mainly curious might want to wait and see if a Jansons/Concertegebouw Mahler 7 eventually gets issued. With the upcoming Amsterdam Mahler festival (yes, there's another one!), I'm sure that one will eventually appear on the RCO Live label. However, picking up this Simax issue wouldn't be a big mistake either. And by the way, this one is ALSO a live performance that has the totally unnecessary applause left on at the end (hate that!).
1 of 1 people found the following review helpful
A near definitive Mahler Seventh 27 April 2014
By Poincare - Published on Amazon.com
Format: Audio CD
I have been slowly getting my teeth under Mariss Jansons' Mahler Seventh with Oslo Philharmonic Orchestra, the Norwegian band for whom Jansons had been the music director since 1979 until he moved to Amsterdam in 2002. Remember that later he rerecorded the work with Bavarian Radio Symphony for the orchestra's own label. I responded to that recording rather enthusiastically, but I must confess my preference to this one. I mean, by miles.

The difference between two versions couldn't be more telling in the opening movement. Whereas in the latter Jansons more or less experimented radical aspects of the music with outcomes that are not always convincing, here he is totally in his command with a perfect control of tempos, dynamics, mood and structure whose kaleidoscopic nature oftentimes defeats any conductor coming to the piece with less experience and insight. Granted, Jansons still takes risk with lots of rhythmic flexibility; the prelude that opens up the movement with a solo French horn is slower than usual but he pushes the tempo forward at the start of main theme. He then relaxes again in the lovely second theme giving much contrast between various sections that went before and has just arrived. He sort of does it throughout the movement. Does it work? Yes, because he takes a tremendous care at these transitional moments that connect up the 'set pieces', applying all the changes ever so skillfully and subtly so that the music flows as smoothly, naturally as he can. It is a revelation that should be heard to be believed.

The rest of the symphony goes equally well. I don't recall hearing, save for Ozawa's on Philips, any recording or concert that had the two Night music movements II. & IV. undone so aptly nocturnal and dreamy. With Jansons on the podiumn the music seems to hang in the air forever under the full moon with splash of romanticism and a hazy feel of sleepiness and I did not wish it to end! The Finale, which in many conductors' hands, can sound hopelessly ramshackle, gets as cogent and appropriately boisterous a treat as one can imagine. I have a soft spot for Markus Stenz's way with the Finale (on Oehms) and consider it the best in the current market, but Jansons' can proudly stand with any I know including two Bernstein's, Haitink (live).

The Oslo Philharmonic Orchestra plays with maturity, much aplomb, and utmost commitment. There is no quibbling that this orchestra had grown into a world class ensemble under the auspicious leadership of Mariss Jansons. I am happy to add that Simax's engineering couldn't be bettered providing warmly natural acoustics with plenty of presence, details and dynamic range.

I think I finally have found my ideal Mahler Seventh.
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