Gustav Mahler (1860-1911)
Symphony No.7 in E minor (1904/1905)
Vienna Philharmonic / Andris Nelsons
rec. live 2023, Wiener Musikverein, Vienna, Austria
C Major 771608 DVD [88]
This performance of Mahler’s amazing Seventh Symphony has left me with a mixed impression, not unlike Andris Nelsons’ account of the Fifth (review). He fares best in the inner movements, even with tempi slower than usual. He disappoints in the long first movement and the finale. The first movement begins well, with a fine tenor tuba solo recorded rather close. But overall the movement, slow and tedious here, overemphasizes the episodic nature. When it is finally over, one feels a sense of relief.
The horn solo at the start of the first Nachtmusik is beautifully played, and the echo is judiciously distanced to create real atmosphere. The movement as a whole goes well. The slower tempi here work perfectly; I find that most conductors take it too quickly nowadays. Nelsons’ reading recalls Leonard Bernstein’s way that seems to me just right. The slower scherzo also convinces, and does not preclude its sardonic character. It is appropriately dark and scary, with splendid brass, wind and percussion. Only the strings could be more slithery with their glissandos. The second Nachtmusik also succeeds in its serenade-like nature with especially audible and visible mandolin, though the guitar is barely seen or heard.
The finale is a complete letdown. What should be exciting seems interminable at Nelsons’ plodding tempi, and he does not help when his head is buried in the score. The very ending is plenty loud, and one can appreciate the bells and other percussion. Even so, I found it rather too little, too late. This is not a performance I will return to often, however well the orchestra play.
I compared this video with two others in Berlin Philharmonic’s Digital Concert Hall: Simon Rattle’s from August 2026 and Kirill Petrenko’s from August 2022. While I found both of them satisfactory, they also have their pluses and minuses. Petrenko’s is tremendously exciting and well-played, but he rushes the scherzo with little spookiness, and his finale is so swift that the orchestra can barely keep up. Rattle, on the other hand, demonstrates greater involvement in the music to the point where he fusses about and manipulates the tempi, stopping to “smell the flowers” to the detriment of the music’s flow. Their timings are nonetheless in the more normal 75-80 minute range; Nelsons’ is near 85.
The visual aspects of this production are excellent. One can appreciate the various solos and ensembles with fine camera work and a clear picture. There are good but not excessive shots of Nelsons. He seems more engaged with the performers than he did in the video of Mahler’s Fifth. The sound also is very good, with solid orchestral balances and well projected solos.
I wish I could be more enthusiastic about this release because part of the performance is very fine. It is also fun to watch Nelsons and the orchestra in action. Nevertheless, for me its shortcomings outweigh any strengths.
Leslie Wright
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Production and technical details
Picture format: NTSC, 16:9
Sound formats: PCM Stereo, DTS 5.1
Region code: 0 (worldwide)
Video Director: Christoph Engel
