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Customer Reviews
Barbirolli was working his way patiently through the Mahler Symphonies. Not chronologically: he began with the 9th. This Seventh is fascinating. A few allowances need to be made for the fact that the Halle and BBC Northern SO musicians were not perhaps entirely familiar with the music or the idiom, and some wrong notes are heard, particularly in the trumpet section. But on the other hand it is clearly a well-prepared performance which hangs together cogently, with passion and understanding, and as a "statement" of Mahler's 7th, before any performance tradition for this work existed, it has much to say about the music, and there is often a sense that the music is going the way it has to go: a mark of the best interpretations.
The second Nachtmusik (4th movt) is slightly slower than expected. This has the effect of balancing the two Nachtmusik movements (both a bit more than 16 minutes, here) which gives the symphony a clearer shape. In fact, though, I prefer the second Nachtmusik to be slightly swifter, to give it a little jauntiness. Klemperer's rendition, in his otherwise largely regrettable 1968 performance, is close to the ideal, at about half a minute swifter than Barbirolli.
The recording is good without being excellent. Certainly, I expected it to be less good. There are some unconvincing balances, and some variation in the degree of impact, but very little in the way of shortcomings that seriously mar enjoyment. Above all, this performance has bite and conviction, and is further proof of Barbirolli's zeal in the Mahler cause, and the distinction (and distinctiveness) of what he achieved.
The Bruckner Ninth is given a noble performance (from the Albert Hall), which successfully conveys the gravitas of this work at tempi which are swifter than we might nowadays expect. It made me seriously question whether Bruckner's symphonies are well served by performances that drag them out to extended lengths, if so much can be conveyed by a swifter approach, as here.
Two more revealing "live" Barbirolli performances, which bolster further this fine musician's posthumous reputation.
barbirolli makes sense of it all. and the sounds that are produced on the way are nothing short of intoxicating, a song of the night, to close ones eyes to.
the bruckner, needs to be paused after the last movement of the mahler 7 drifts into memory.
bruckner's 9th is handled with care, depth, and insight, deserving of being on its own. as a two-fer, this cd combo is proof of redemption in the world. i dont know why i wrote that, but it makes sense after listening to the recordings, somehow.
(it's hard enough trying to explain sound with letters on a glowing screen, you see)
I've always suspected that there is a way to play the symphony that makes it cohere, so that each movement follows logically from the preceding movement. I mean with emotional logic.
Barbirolli gets all of it right, and you pretty much know he's going to from the opening few bars. Every moment is strongly characterized, but in a way that always seems to be pointing toward where we're going in the end.
The orchestra for the Mahler combines members of both Barbirolli's own Hallé Orchestra and the BBC Northern Symphony. Neither was ever one of the world's greatest orchestras, yet they not only hold it together but often play with great eloquence (and most of the players had probably never played the piece before). There was obviously an extraordinary commitment to realize Barbirolli's vision of this great work. (And the Nielsen Fifth was also played at the concert from which this recording comes, presumably before the Mahler!)
As for the Bruckner, I have to admit that I've never been a great Bruckner fan. I want to love Bruckner, but I usually end up mostly bored. Occasional striking moments catch my attention, but overall I just don't get it.
Barbirolli's performance, which (to the degree I feel able to judge) seems choppier than others I've heard, holds my interest. As with the Mahler, there seems to be a dramatic throughline to this performance, with each section strongly characterized but in a way that adds up to a dramatic and moving experience. I wonder if Bruckner lovers will like it as much as I do, but I do know that I like it.
In any case, I feel firmly that this is one of the best, if not the best, Mahler Sevenths out there.
I should mention that these are both live performances. The Mahler is from 1960, the Bruckner from 1961. There are occasional slight flubs, and the mono sound is not the greatest. But the sound is actually pretty good, though obviously not state of the art even for 1960. And the performances are very special.
Collectors who just want one superb live recording of this work should probably look elsewhere. Consider, for instance, Kubelik (Audite), Kondrashin (Tahra) or Abbado (DG, with Berliner Philharmoniker). For an excellent studio account, try Gielen (Hänssler).
This twofer contains also Barbirolli's Hallé interpretation of Bruckner's no. 9. In terms of a Bruckner interpretation, it is less convincing than, say, Jochum's (DG) or Kubelik's (Orfeo). But, again, Barbirolli has always an interesting point of view. It is a fine fill up, but the main attraction is the Mahler piece.
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