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Mahler: Symphony No.7

Mahler: Symphony No.7

11 juin 2002
4.5 étoiles sur 5 2 commentaires client

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Détails sur le produit

  • Date de sortie d'origine : 11 juin 2002
  • Date de sortie: 31 janvier 2014
  • Label: Universal Music Division Classics Jazz
  • Copyright: (C) 2002 Deutsche Grammophon GmbH, Hamburg
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 1:18:06
  • Genres:
  • ASIN: B0025D71WU
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 113.342 en Albums (Voir les 100 premiers en Albums)

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Format: CD
La septième est une mine de trouvailles orchestrales qui peut cependant poser des problèmes aux chefs qui se montreraient plus soucieux d'une cohérence globale (cf les parti pris extrémistes de Klemperer ou dans le sens opposé de Bernstein). Abaddo s'en tient à cette essence miniaturiste de l'oeuvre et il y réussit à merveille. Le moindre détail est exposé, et ici tous les détails sont exquis (le duo guitare mandoline du second nocturne par exemple). C'est même encore plus flagrant dans la version de Lucerne. C'est de loin l'apport essentiel d'Abaddo à l'interprétation de Mahler.
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Format: CD
EN 2015, la découverte de la septième de Mahler par le même orchestre et Bernard HaitinkBernard Haitink - Mahler : Symphonies N°4 & 7 m'amène à tempérer un peu mon enthousiasme initial relatif à ce disque. Cette version équilibrée et d'une belle tenue orchestrale peut se voir préférer Haitink/ Berlin, donc, Gielen chez HänsslerMahler:Symphony No.7, et en remontant dans le temps, quelques historiquesMahler:Symphony No.7 Lied der si on en accepte les limites sonores.
4 commentaires 8 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: 4.7 étoiles sur 5 20 commentaires
14 internautes sur 14 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Comparison: Abbado, Chailly, and Bernstein 25 avril 2007
Par Jonson Lee - Publié sur Amazon.com
Format: CD
I hardly thought I would love the 7th as much as I had loved Mahler's other symphonies such as 5th or 9th. Recently, however, it has become my very favorite. I am now fascinated by its exotic micro-cosmos, colorful sonic spectrum and exotic instrumentation. I am enchanted by its dreamy qualities, nightmarishness and all. Most of all, it's an immensely entertaining piece of music that never shoves any sort of purposefulness in your face. As of now this is my most favorite of all Mahler symphonies.

The three recordings I've been enjoying recently are Abbado's with Berlin Phil, Chailly's for Decca, and Bernstein's DG recording.

The most distinct quality of Abbado's is the dark, veiled sonority of the Berlin Phil. It conveys the mysteriousness that is so characteristic of this piece. As far as the interpretation goes, Abbado doesn't linger on very much. But he does conjure up all the nuances in the music through exquisite phrasing and subtle rubati. The details have been illuminated with utmost craftsmanship but Abbado never loses sight of the representative mood of each movement. However, I would say the unique orchestral color is the main attraction here more so than the interpretative decisions.

The one word that might summarize Chailly's version is detachment - and that's not necessarily a bad thing for this music. His rendition sounds as if you are looking at a series of surreal events from a distance. You're not the person who is dreaming all these bizarre moments. Instead you're watching someone who is. A part of it may be due to the fairly far-mic'ed recording. But it's also because of Chailly's choices in phrasing and tempi. You won't find any trace of rhetorical gestures here. Chailly's is the embodiment of coolness. He and his Concertgebouw crew play up the details as much as Abbado and Berlin Phil do but they sound more like careful observations than involvements. Although this is not the most engrossing kind of performance, it contains some fascinating interpretative insights plus truly shattering climaxes with the percussions captured in full range. The ending is particularly impressive.

Predictably, Bernstein offers the most personalized vision. Here every note matters, which can never be said in Chailly's case. Bernstein injects his personal emotion (and sometimes opinion) into every bar. Lyrical moments are bittersweet. Nightmares are terrifying. The last movement is full of rhetoric that you would have a hard time finding in other performances. This is the version that most fullly exploited this enigmatic work. The downside is, well, it doesn't sound like an enigma anymore after being presented in such a specific way. Everything is stated and nothing is implied. There's little room for listener's own interpretations of the music. Still, it's a small price to pay for arguably the most gripping account of the 7th.

Then what's the choice? If you had read my comparison reviews on Beethoven's late piano sonatas (Brendel vs. Rosen) or Haydn's London symphonies (Jochum vs. Davis) you should be able to guess my recommendation. I wouldn't want to live without any of the three. But if I am forced to choose one, I would go with Bernstein's. As shown in many of the Mahler recordings he made, he simply loved this music more than others did.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Sustained beauty and energy, moving on deliberately and purposefully ... 8 mars 2006
Par Pater Ecstaticus - Publié sur Amazon.com
Format: CD
While I have some favorite recordings of this symphony - I think of (quite different) performances from Michael Tilson Thomas [2005 (live) as well as his quite different approach from 1997], Bernard Haitink [1981 & 1985 (live)], Simon Rattle [1991 (live)], Eliahu Inbal (1986) -, this truly magnificent Mahler 7 surely fits within that high rank of best recorded performances.
Aside from the precision and beauty of playing, which is magnificent, I believe that the very special quality of this performance (and maybe in Claudio Abbado's conducting in general?) lies in the way that Claudio Abbado manages to sustain notes and melodies, 'energy', over the longest possible arcs, never lingering, providing the music with a sense of coherence - a feeling of the music continually moving ('flowing', 'singing') on deliberately and purposefully - almost unheard of; a dramatical, almost operatical approach. It must be this feeling of sustained flow and energy - its dramatic purposefulness -, combined of course with extremely beautiful and disciplined playing, that lifts this performance into those regions of greatness that is inhabited by only a few others. In this sense of dramatic tautness, I feel it is even better than his 1984 recording with the Chicago Symphony Orchestra. Also, to my ears there is a nice sense of occasion in this Berlin live performance. Anyhow, Maestro Abbado's Mahler Symphony No. 7 with the Berliner Philharmoniker sounds as tightly coherent, as highly convincing and as beautiful as one might ever wish. And all of the same is true, by the way, for his magnificent Mahler 9, recorded two years earlier, with the same orchestra on the same label. (And also be sure not to miss his wonderful dramatically sustained and at the same time almost lyrical Des Knaben Wunderhorn with Anne Sofie von Otter and Thomas Quasthoff as well!)
Claudio Abbado's Mahler, taken as a whole, as well as in any specific performance, is as consistently rewarding as can ever be wished for, I believe. And this particular recording of Mahler's 7th Symphony can IMHO be as highly recommended as any other great recording of this symphony.
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 similar to CSO version, but with two big differences 29 décembre 2006
Par Amazon Customer - Publié sur Amazon.com
Format: CD
Abbado's Berlin remake is remarkably similar to his earlier Chicago recording of the 7th Mahler. On both of them, the scherzo is very fast and fleet, while the allegro passages of the first movement are extremely fast (Tilson-Thomas does the same thing). But both recordings make sufficient contrast by way of a fairly dark and mysterious second movement - the first "Nachtmusik" movement. But this remake finds Abbado about a minute and half faster with the second Nachtmusik (fourth movement), which is becoming more the custom these days (Abbado now clocks in at 12:58, as opposed to 14-something previously). In addition, Abbado now unshleases just a huge onslaught of deep bells and cowbells at the finale's ending peroration. These same bells were almost too subdued on his earlier Chicago effort. Yet, even with these two improvements, I still prefer the Barenboim/Stattskapelle Berlin Mahler 7th on Warner. For one thing, it's better recorded. Still, you won't go wrong with this one. Abbado's earlier Chicago M7 remains a good bargain, and it does come with a whole slough of extra tracks as well. In general, the playing is equally good on both versions. In fact, they sound remarkably alike, but with DG and Abbado bringing out more percussion in the new one, as mentioned.
8 internautes sur 8 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Beautiful, majestic, lyrical, spontaneous...outstanding 6 juin 2008
Par Marc 417 - Publié sur Amazon.com
Format: CD
This is simply one of the most incredible performances of any Mahler symphony on disc, and who would have thought it would have been of the least popular of all Mahler symphonies. I was at first compelled to go with Gielen's recording of this work, which is brilliantly recorded and flawlessly executed. But Abbado's live version here with the Berlin Philharmonic (an orchestra that never seems to disappoint me) is infinitely more searching and altogether more compelling.

If you want a recording of this work that is the most likely to convince you that this is a great symphony, then this is it. Where does Abbado find beauty in this bizarre score that lacks the tear-jerking Adagios of its predecessors? In quite a few places, notably in the first two movements. In the first movement, Abbado finds profound eloquence in the slow B-Major section that highlights the middle of the movement (a sharp change in color from the introduction of the piece, the darkest I have ever heard on record), not mushy sentiment, but Mahlerian fantasy, charm, and lyricism, that comes across as very natural. You have to remind yourself that this is an unpopular symphony when you hear this section.

The first nocturne has never sounded more majestic and stately than in Mahler's hands (it often sounds depressing in other recordings). As one reviewer put it, there is an air of "shall we dance?" that marks this recording, most particularly in this movement.

The spectral scherzo is wonderfully done. The feeling is that ghosts are coming out to play, although this movement always struck me as playful rather than sinister. Abbado seems to agree, and again there is a certain charm and joy that Abbado finds, particularly in the closing passages, which is not to say they he makes this movement lightweight. These are friendly ghosts that you may want to dance with!

The second nocturne is in many ways the weirdest, as it seems to try to be romantic with its use of guitar and mandolin and classical flourishes, but there are those bizarre unexpected dissonances. Abbado gives this movement some Italian flavor as the guitars are in the front. The dissonances don't sound quite as stark here; Abbado aims for warmth and classical lines.

The finale is simply brilliant. The main brass theme is treated almost as a sacred hymn (consistent with Abbado's showcasing of the works memorable melodies), but at the same time he has a crashing, smashing good time with some the climactic tuttis ripe with tubular bells and Mahlerian excess.

Whatever you may think of Abbado's interpretation, this is unquestionably a great performance in terms of the playing and the conducting. The sound quality of this disc is at least in the category of "very good" if not quite the audiophile standard. In most of the movements, you can hear quite a lot of detail in the orchestration and the bass is good. Only in certain parts of the first movement (about 10% of it) does the reverberant acoustic blur some of the detail, although the effect is satisfyingly spooky for me in the murky opening bars of the first movement.

A wonderful disc. A spell-binding performance that feels as "live" as it must of been to be in the audience...
13 internautes sur 16 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 His Chicago is better... 31 janvier 2006
Par Musicus - Publié sur Amazon.com
Format: CD
I like very much Abbado directing Mahler's 7th. The velvety sound of this recording makes adds to the impression of night indeed, and I could of course have rated this one with the five stars, but the velvety sound can also be described as haze, it is not clear, and this aspect it shares with the Abbado/Berlin 9th and 6th.
Abbado's earlier recording of the 7th with the Chicago Symphony Orchestra - amazon-search: B000001GNE - feels much deeper and urgent to me, more inspired. Chicago played as good as, if not better, the Berlins, and most important: the recorded sound is clearer. I got this Abbado/Berlin before I purchased the Chicago, so this is not a matter of habit. I have many great Mahler 7th, Kubelik (DGG), Kondrashin, Bernstein (Sony), Gielen and these two by Abbado - I don't mention the not so great. My deserted island pick for this symphony would be either Bernstein/New York (Sony) or Abbado/Chicago (DGG), in spite of the superior clarity of Gielen's 7th.
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