Composer: Gustav Mahler
Works: Symphony No. 7 in E minor
Performers: Amsterdam Concertgebouw Orchestra, Kirill Kondrashin (conductor)
Recording: Recorded “live” at the Concertgebouw in Amsterdam, 29th November 1979
Label: Tahra TAH451
Mahler’s Symphony No. 7, completed in 1905, occupies a unique position within the composer’s oeuvre, embodying both the exuberance of late Romanticism and the nuances of a transitional musical landscape. It is often viewed as a more elusive work compared to its predecessors, intertwining elements of night and day, introspection and exuberance, through its five contrasting movements. The symphony challenges both performers and listeners with its rich tapestry of sound, and Kirill Kondrashin’s interpretation with the Amsterdam Concertgebouw Orchestra captures these complexities with remarkable clarity and depth.
The recording itself, a live performance from 1979, benefits from the Concertgebouw’s illustrious acoustics, which serve to enhance the orchestra’s lush tonal qualities. The remastering by Charles Eddi at Sofreson ensures that the audio fidelity is commendably high, allowing the listener to appreciate the full spectrum of Mahler’s orchestral palette. The balance achieved in this recording is particularly noteworthy; the spatial qualities of the hall are palpable, providing an immersive experience that is often absent in studio recordings. This concert hall ambience allows for a more authentic engagement with the work, aligning the listening experience closely with those who were present on that November evening.
Kondrashin’s interpretation is distinguished by its dynamic control and nuanced phrasing. The first movement, marked Allegro, displays a thrilling interplay of orchestral forces, with the conductor expertly managing the extremes of dynamics. Here, the contrast between the softer passages and the climactic fortissimi is executed with precision, illuminating Mahler’s intricate counterpoint. Unlike some contemporary interpretations that might lean towards a more fragmented reading of the score, Kondrashin favors cohesion and fluidity, allowing the music to unfold organically. His approach eschews overt dramatization, opting instead for an interpretation that draws the listener into the subtle emotional shifts inherent in the score.
The second movement, Nachtmusik I, exemplifies this interpretative ethos. The call-and-response of the solo horns, set against the backdrop of the orchestral fabric, is rendered with a delightful sense of space. Rather than foregrounding the horns to an unnatural proximity, as often seen in studio recordings, the distance between them is preserved, evoking the genuine acoustic experience of a concert hall. This fidelity to Mahler’s intentions is commendable and results in a more authentic representation of the symphony’s nocturnal themes. The clarity of the woodwind lines toward the movement’s conclusion showcases the ensemble’s exceptional musicianship, each line distinct yet harmoniously integrated.
Contrasting with the nocturnal explorations of the central movements, the final movement is a revelation. At 15:24, it is notably one of the fastest interpretations on record, yet it never sacrifices the essential buoyancy and rhythmic vitality that Mahler intended. The brisk tempo injects a sense of exhilaration and a refreshing light-heartedness, diverging from the more ponderous readings that dominate the catalog. Kondrashin’s deft handling of this movement invites a sense of exuberance, celebrating the return of daytime with a joyousness that is infectious. The orchestra’s technical prowess shines here, with each passage executed with precision and clarity, affirming their status as one of the foremost Mahler ensembles.
Kondrashin’s approach stands in contrast to other celebrated interpretations, such as those by Bernstein or Rattle, which tend to emphasize the emotional extremes and dramatic tensions inherent in Mahler’s symphonic language. Instead, this performance reveals a more balanced perspective, allowing the multifaceted nature of the work to emerge organically. The interplay of light and darkness, which is central to the symphony’s structure, is articulated with a sensitivity that resonates throughout the performance.
This release from Tahra not only commemorates the label’s tenth anniversary but also serves as a vital addition to the Mahler discography. It captures a moment in time when the Concertgebouw Orchestra, under the baton of Kirill Kondrashin, delivered a performance that is both historically significant and artistically compelling. The recording stands alongside other landmark interpretations while offering its own unique insight into Mahler’s Seventh. For those seeking an authentic experience of Mahler’s orchestral genius, this live recording is indispensable, exemplifying the magic that only a concert performance can bring.
