“It’s different having best friends together. Everyone is there to enjoy making music, to take pleasure, to play with enthusiasm, with passion. They are prepared to do any crazy thing I ask them for the sake of the music. To fly, to walk through fire.” – Claudio Abbado “Has there ever been a suaver, more transparent Mahler performance or one in which everything stays so beautifully in tune?… Abbado’s music-making is a celebration of the purest joy.” – Gramophone
Fanfare
There’s a realistic woodiness and a sense of an object with a hollow cavity in the reproduction of massed string basses in an especially exposed passage during the second movement. The representation of guitar and mandolin in Nachtmusik II is exquisite – their parts are quite easy to appreciate without any bloating of the instrumental images.
MusicWeb International
Pitched straight into the Rondo-Finale we’re given a taut, muscular view of what often seems a rhetorical, undecided movement. In between the attack of timps and bay of brass the dance-like episodes are given a wonderful lilt. And like Burns’ Tam o’ Shanter and his trusty steed – pursued by witches and warlocks – the music gallops across the drawbridge to triumph and safety. It’s a bracing ride, greeted by a well-deserved roar of approval.
This is a mighty, long-shadowed Mahler Seventh; Abbado confronts all its quirks and quiddities and persuades us this is how the symphony should go. If only the sonics were up to the standards of more recent Blu-rays this would be even more desirable. Still, if I were to award stars for sound and performance – as one of our rivals is wont to do – I’d happily give it 8/10.
| PERFORMER | Lucerne Festival Orchestra |
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