If you are looking for a recording of Mahler's Seventh that stresses the
expressionistic, modernist side to this work this recording may not be for
you. If, however, you want a central interpretation that will last you longer
than those which go in for thrills and effects you might look no further
because what you will hear is a superb presentation of the exotic sounds
and colours of this work that is never at the expense of the bigger symphonic
picture.
Michael Tilson Thomas's interpretation of Mahler's Seventh Symphony is a
near-perfect balance between the work's inner details and its outward form:
heart balanced with head.
This latter point can be heard most strongly in the first movement where
his unerring grasp of the difficult tempo relationships between each section
never reduces things to the rag-bag of episodes it can sometimes sound under
more interventionist hands. This movement has clearly been planned and thought
through to a quite remarkable degree. Tilson Thomas does give himself enough
space for us to hear the remarkable instrumental detailing, however. For
example, I loved the ripe tenor horn of Ian Bousfield really "roaring", as
Mahler asks, also the translucent texturing of the woodwinds against the
strings in so many parts of the movement, and then the way Tilson Thomas
achieves a welcome and unusually dark-grained quality to the lovely central
section where Mahler's transfigured nightscape really gets under the skin.
Don't get the idea that the first movement in this recording is all limpid
beauty and dark contemplation. When he needs to, Tilson Thomas can be tough,
driving the music on with more emphasis on the snap of the marches that cross
and re-cross this movement than we are sometimes used to. These marches never
sound rushed when played like this, which I have heard them sound on other
occasions, and that's another tribute to the grasp of this movement shown
by a conductor who really can deliver weight and propulsion at the same time.
Towards the end the march brings real passion, hammered home by the well-caught
percussion rounding out an interpretation that stays in the mind long after
the music has stopped. The poised, refined playing of a beautifully prepared
LSO and the rich recording, with just enough air around the instruments,
are undoubted allies in all this as they will remain right the way through
the rest of the work. Grand and imposing, intimate and searching, this first
movement is as near a complete picture of this remarkable piece as the bounds
of symphonic argument can hold. You can also admire the feeling of the march's
tread in the second movement but, as before, this is not the whole story
and the way Tilson Thomas identifies a Wunderhorn link in some of the solo
accompaniments is most impressive. This is a spacious conception of the movement
but one never lacking in interest through Tilson Thomas's fine ear for detail,
his imagination and his ability to really take us into the heart of music
that is, for some, Mahler's "symphony too far". This is especially evident
in the really idiomatic quality to the interludes that emerge with a really
tawdry tone, slinky and feline.
The nightmarish third movement has the right amount of menace balanced by
a veil of fantasy, though I do think Tilson Thomas might have been a little
more abandoned, even taking into account his stress on symphonic balance.
A very relative disappointment only, but after hearing recordings by Rattle
and Scherchen, for example, anything is going to sound tame. This does not
prevent Tilson Thomas and his orchestra presenting us with some splendid
effects here, especially the col legno snaps of bows against strings.
I also thought he showed rare understanding of the profound difference in
the Trios of this movement, islands of uneasy calm in the dreamy maelstrom.
In the lovely fourth movement, the second of the two Nachtmusik, the emphasis
is on warmth and noble ardour, assisted greatly by emphatic portamenti from
the strings which inject just the right amount of tension into the proceedings
and also the impression that this is music out of an essentially sick society.
Too often the last movement's delivery spoils a performance of this work,
but that is not the case here. To crown a performance of this triumphantly
disjointed work the last movement must be given with absolutely no doubts
as to its greatness otherwise it can sound out of place. It is good to report
Tilson Thomas avoids this. Under him this is grand, warm, affirmative,
essentially ceremonial music: the return to day Michael Steinberg points
to in his notes where a spiritual journey out of darkness and into the light
is rightly stressed across the whole symphony. This last movement also shows
that Tilson Thomas knows when to smile - not always the case with Mahler
conductors today. As with the first movement, Tilson Thomas shows an unerring
sense of structural integrity with the whole knitting together, especially
towards the end where the crowning of the work with bells is liberating and
fulfilling.
With his consummate ear for the unique sounds of this work matched to creative
restraint and structural integrity, all harnessed to great flair and
concentration, Tilson Thomas delivers a new Seventh to treasure. Could we
ask more ? Well, perhaps a "live" recording would have given us an extra
touch of panache in the last movement, but that can be said of most studio
versions. Though essentially a central view of the work, Tilson Thomas proves
his approach pays great dividends. Warmly recommended in all departments.
Reviewer
Tony Duggan
London Symphony
Orchestra conducted by Michael Tilson Thomas
