Building The Oozy Channel Keep with Mahler

 

As we are getting started up here, I wanted to make sure Mahler was too.

Because I am a Chicagoan, there are a lot of Stock, Reiner, and Solti recordings around, so no surprise as I get going on this blog, they will feature heavily.

With Mahler, Frederick Stock introduced Chicago to Mahler after the turn of the century. Fritz Reiner wasn't much of a Mahler lover from the podium, although the Symphony no. 4 is singly represented. Solti is Chicago's Mahlerian, although he was met with additional recordings from James Levine and Claudio Abbado, also with the Chicago SO, around the same time.

While Claudio Abbado's recording of Mahler's Symphony no. 7 with Chicago is greatly revered, it is his Berlin recording which greatly contrasts with that of Solti. With Abbado, I get more of the 'Song of the Night' aspect compared to Solti, who rip-roars through the music nightmarishly with Chicago. Abbado brings out more of the dark mystery, more moments of repose, and of course with the Berlin Philharmonic, more of a refined quality featuring the glow of orchestral warmth.

Interestingly, Abbado brings in the work faster than Solti, after filtering out the applause in Berlin's live recording. This really becomes apparent in the third and fourth movements; yet Abbado doesn't push the music. Instead, it swirls with sweetness, and is a healing balm for those who do not enjoy Solti's hard-driven style, where Abbado's nighttime slumbers become Solti's circus nightmares.

Don't take this as a lack of characterization on Abbado's part, for there is plenty of color and darkness. These are just two different takes on the same work, ably met by both.

A review from 2024

Claudio Abbado’s live recording of Mahler’s Symphony 7 is one which draws out the dark mysteriousness of the work, with a rather refined orchestral palate from the Berlin Philharmonic.



Abbado is pretty swift with the work too, coming in at 77 minutes, yet never sounds pushed, nor driven. Instead, there is a pervading sweetness opposite the dark shadows. Abbado downplays the percussion a bit, but that might be the concert hall perspective, and the many instrumental soloists which come and go are all lovely.



Many prefer Abbado’s outing in Mahler’s 7th with the Chicago SO from the 80s, yet in the end, I find any differences negligible. This live recording from Berlin’s Philharmonie is shorn of any audience noise, and when arriving at the end, the church bells ring out with quite a clamor (plus applause).

Listen on YouTube

Works
Symphony 7

  I. 21.35
 II. 15.54
III. 8:53
IV. 12:58
 V. 17.45

Performers
Berlin Philharmonic Orchestra
Claudio Abbado, conductor

Label: DG
Year: 2002
Total Timing: 78.07

As with Solti's Chicago recording of Mahler's Symphony no. 7, I am uncertain where I stand with with the work, at least as far as what type of recording I want.

Abbado presents a wonderful performance, very different from Solti. I think I am lucky to have both.

 

 

 

 

 

Find more Mahler recordings HERE!