How good to see Riccardo Chailly so radiant at the end of this great event.It's an exhilaration he earns through sheer hard work as well as injecting the adrenalin at most of the right moments.(Majority) of the singers are excellent,from two very different but keenly-projected lyric-dramatic sopranos,Erika Sunnegardh and Ricardo Merbeth,to Georg Zeppenfeld,whose bass is rock solid and expressive across a huge range.Chailly holds attention between movements and makes you realise how many soloists within the orchestra have to sing,too.His Leader,the superb Sebastian Breuninger,assists him between blazes in the most striking of chamber-musical moments.Breuninger shares the front desk of viloins in Claudio Abbado's Lucerne festival Orchestra,but this one Mahler symphony Abbado's forces have yet to tackle,and Chailly's rendering leads the field on DVD. (BBC Music Magzine)
"It is my best work, with a primarily cheerful character". This was Gustav Mahler's assessment of his Symphony No. 7, which was also highly regarded by Arnold Schoenberg, who said, "I had an impression of absolute peace based on artistic harmony. Something able to set me in motion without recklessly unsettling my center of gravity." Riccardo Chailly, in his internationally acclaimed interpretations of Mahler's symphonies - which he and the Gewandhaus Orchestra are bringing together in a complete cycle - focuses on the musical qualities of the works, eschewing false pathos and sentimentality while giving up none of the music's dramatic intensity. "Mahler's Seventh Symphony, in which the composer pulled out all expressive stops and revealed himself to be an innovative modernist, has seldom been as persuasive and direct as in Chailly's interpretation", said the Frankfurter Neue Presse.
"The audience knows that the performance of a Mahler symphony is not only a musical experience, but is also emotionally effective" (R. Chailly). This counts especially for Mahler's enigmatic sixth symphony, an emotionally stirring challenge for both performers and listeners, whilst also being one of the most impressive works in musical history. Chailly's interpretation with the Leipzig Gewandhaus Orchestra is "intensely great" (Die Presse). "Chailly uncompromisingly considers this sixth symphony through the lens of modernity; looking forward, not retrospectively staying in 'late romantic'. In this celebrated orchestra, all sections splendidly come together and fulfil an 'open' sound, conserving whilst respecting its original beauty." (Salzburger Nachrichten)
It is all too easy to take Gustav Mahler's symphonies and orchestral songs for granted in the 21st century's first decade. More than ever before, concert performances and recordings of these works abound, and at a level of proficiency that reveals the remarkable extent to which musicians worldwide have assimilated the composer's idiom. Given the music's primacy in today's central orchestral repertoire, we forget how the great Mahler advocates of the past had to champion his music in the face of adversity. "Who can bear those monstrous symphonies, those over-blown, out-of-date horrors," asked one leading music critic when the New York Philharmonic launched a Mahler Festival to celebrate the composer's 1960 centenary.
Most recordings of Gustav Mahler's Symphony No. 1 in D major present it as it was published in 1899, in the definitive four-movement version. Yet an earlier state of the work was the 1888 tone poem Der Titan, which not only lent its title as an unofficial nickname for the work, but also contained the Blumine movement, which Mahler dropped from the final score. Curiously, many modern conductors have incorporated it back into the symphony as the second movement, even though its slow tempo and sentimental mood break the momentum and excitement created by the joyous first movement.
When at last it was revealed what Mahler’s final intentions were regarding the ordering of the inner movements of his 6th Symphony, 90 years of theory, history, & performance practice went right out the window. For theorists, it altered the harmonic structure of Mahler’s A minor Symphony. For historians, it modified the meaning of Mahler’s “Tragic” Symphony. For players & conductors, it changed the musical progress of Mahler’s 6th Symphony. For listeners, it made Mahler’s deepest & darkest symphony even deeper & darker. With the achingly nostalgic Andante moderato now coming before the bitingly bitter Scherzo, the triumph of the opening Allegro energico sounds even more hollow & empty & the collapse of the closing Allegro moderato sounds even more final & total.
Fans of Gustav Mahler's joyous Symphony No. 4 in G major will relish this buoyant performance by Ivan Fischer and the Budapest Festival Orchestra, featuring soprano Miah Persson, for it is wholly in keeping with the light tone and merry spirit of the score and is as delightful as any other recording on the market.