The Seventh remains the least well-known of all Mahler's symphonies. Precisely because its material is so enormously wide-ranging, its colors so thrillingly kaleidoscopic, this work is also perhaps the one from all the composer's canon most reliant on a knowing, strong-willed interpretive presence. This Michael Tilson Thomas provides in spades in one of his finest performances on disc.
Gustav Mahlers 8th Symphony breaks the boundaries of the symphonic form in a world-embracing gesture. Riccardo Chailly is one of the staunchest performers of this work, and therefore it seemed appropriate in many ways that he chose this work for his inaugural concert as Claudio Abbados successor and new music director of the Lucerne Festival Orchestra. The artistic statement was combined with a deeply personal conviction: it should be a 'tribute to Claudio', the highly esteemed friend and colleague to whom Chailly, as he emphasizes, owes very much. On 12 August 2016, Claudio Abbados unfinished Mahler cycle with the Lucerne Festival Orchestra was completed in a breathtaking performance of the Mahler 8th, simultaneously heralding in a new era in Lucerne.
First Beethoven, then Sibelius and now Mahler: Music Director Osmo Vänskä and the Minnesota Orchestra launch their newest major recording project with an album of Gustav Mahler’s three-part, five-movement Fifth Symphony.
Even if one always has doubts about Simon Rattle conducting Mahler - doubts about his sincerity and his seriousness - even if one has always questioned his radically wrong tempos in the Second and Fourth and his amazingly uncomprehending interpretations of the Sixth and Seventh - one has to admit that Rattle has over time gradually been getting better at recording Mahler.
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)