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- Original Release Date: 14 Sep 1999
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Disc 1: | ||||||
| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Symphony No. 7/Langsam: Allegro risoluto, ma non troppo | Ian Bousfield;Michael Tilson Thomas | 21:42 | £0.89 | ||
| Play | 2. Symphony No. 7/Nachtmusic: Allegro moderato | Michael Tilson Thomas | 16:31 | £0.89 | ||
| Play | 3. Scherzo: Schattenhaft | Michael Tilson Thomas | 10:33 | £0.89 | ||
| Disc 2: | ||||||
| Song Title | Artist | Time | Price | |||
| Play | 1. Symphony No. 7/Nachtmusik: Andante amoroso | Michael Tilson Thomas | 14:08 | £0.89 | ||
| Play | 2. Symphony No. 7/Rondo - Finale: Tempo I (Allegro ordinario) | Michael Tilson Thomas | 18:11 | £0.89 | ||
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11 reviews
20 of 23 people found the following review helpful
Wonderful, wonderful, wonderful!
18 Nov 1999
Format:Audio CD
No doubt about it, this is one of the finest Sevenths ever recorded. At no point does it feel like the conductor is simply letting the music go off on its own. Every single phrase has a purpose and is executed with intent. The playing is of course, faboulous. Don't miss out on this one.
9 of 9 people found the following review helpful
The best recording of Mahler 7 after Bernstein
29 Mar 2004
Format:Audio CD
Who would have thought that Michael Tilson Thomas and the London Symphony orchestra would produce the best digital recording of Gustav Mahler's difficult 7th symphony. But indeed, MTT has given us here a recording that will stand the test of time.
Mahler's 7th symphony is a difficult work to perform, conduct, and understand. Its length of nearly eighty minutes, the huge orchestral forces needed to carry out the work, and the complexity of the writing all have contributed to this symphony being the least performed and understood of all of Mahler's works. But it need not be. The general move from the E-minor introduction to one of Mahler's brightest finale's in C-major is very striking. The two night pieces, one dark, one light, offer beautiful pastoral sketches of the austrian country side. The menacing scherzo, although difficult, acts as a mysterious vision into the future. The symphony is filled with rich themes and Mahler's most brilliant and inspired orchestration. All in all, the 7th need not be the misunderstood work that it is. It has all of Mahler's hallmarks - rich themes, large climaxes, complex, but logical forms - but seems more modern and enigmatic than his other works.
MTT handles this complex work masterfully. He allows the opening motif on tenor horn to unfold naturally, flowing into the main theme of the allegro. The allegro is wonderfully paced, especially the developmental interludes, which unfurl themselves mysteriously in MTT's hands. The two night pieces are wonderfully played; MTT brings out all the nuances in part writing. The scherzo, the only movement that gives MTT some trouble, is still played convincingly. The finale is powerful, grand, and executed with acute articulation and intelligence. The percussion is lively, the winds crisp, the brass well balanced, and the strings richly thick. Overall, Michael Tilson Thomas gives an extremely intellectual, yet extremely dramatic and pleasing reading of this symphony. Highly recommend. This version is preferable to MTT's recent, disappointing rendition with the San Francisco Symphony which pales in comparison.
Mahler's 7th symphony is a difficult work to perform, conduct, and understand. Its length of nearly eighty minutes, the huge orchestral forces needed to carry out the work, and the complexity of the writing all have contributed to this symphony being the least performed and understood of all of Mahler's works. But it need not be. The general move from the E-minor introduction to one of Mahler's brightest finale's in C-major is very striking. The two night pieces, one dark, one light, offer beautiful pastoral sketches of the austrian country side. The menacing scherzo, although difficult, acts as a mysterious vision into the future. The symphony is filled with rich themes and Mahler's most brilliant and inspired orchestration. All in all, the 7th need not be the misunderstood work that it is. It has all of Mahler's hallmarks - rich themes, large climaxes, complex, but logical forms - but seems more modern and enigmatic than his other works.
MTT handles this complex work masterfully. He allows the opening motif on tenor horn to unfold naturally, flowing into the main theme of the allegro. The allegro is wonderfully paced, especially the developmental interludes, which unfurl themselves mysteriously in MTT's hands. The two night pieces are wonderfully played; MTT brings out all the nuances in part writing. The scherzo, the only movement that gives MTT some trouble, is still played convincingly. The finale is powerful, grand, and executed with acute articulation and intelligence. The percussion is lively, the winds crisp, the brass well balanced, and the strings richly thick. Overall, Michael Tilson Thomas gives an extremely intellectual, yet extremely dramatic and pleasing reading of this symphony. Highly recommend. This version is preferable to MTT's recent, disappointing rendition with the San Francisco Symphony which pales in comparison.
3 of 3 people found the following review helpful
A Benchmark Performance
27 May 2004
Format:Audio CD
Perhaps the least loved of Mahler's symphonies, the Seventh gets a fine treatment here from MTT and the London Symphony. While not electrifying or especially dramatic, I find the performace compelling in its simplicity and execution.
The first movement is stately in a way I've not often heard, emphasizing the march-like qualities of the opening rather than creepiness of the strings and tenor horn. (By the by, this is the best tenor horn solo on record. Ian Bousfield plays with a crystal-clear sound that brilliantly invokes the unusual timbre that Mahler wanted.)
As one would expect from the LSO, the middle movements are achievements of craftsmanship, executed in exquisite detail without the overt melancholy that pervades some recordings--which is not to say that the performance is merely perfunctory.
The final movement--almost incongruous with the balance of the symphony in its triumph and cheerfulness--is paced slower than one might expect (especially if you first heard this symphony as I did a la Solti or Levine with Chicago), but I rather like it. The otherwise superb playing is marred somewhat here by poor balance in the brass section toward the end.
While the Horenstein recording is more invigorating, I cannot in good conscience recommend that recording--mainly because the trumpet player misses notes in the fanfare-like opening to the final movement. MTT has done a fine job presenting a coherent, high-quality program with the skillful playing of the London Symphony.
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