This is a magnificent and tremendously intelligent performance. Daniel Barenboim has wisely waited to record Mahler, and has done so very selectively (his Fifth Symphony is also excellent). I happened to see him conduct the Seventh with Chicago a couple of years back, and clearly his view of the work has matured, for this version has a lot more going for it. First, there’s his take on the first-movement introduction, with the strings playing measured repeated notes rather than tremolos. Combine this with his punchy treatment of accents, and the result has more impact on atmosphere than any other version available. Once the allegro gets going, Barenboim is equally responsive to both the spirit and the letter of the score: note the splendidly sleazy, legato horns in the second subject (ditto the tenor horn and trombones in the recapitulation).
The lovely “moonlight” episode at the center of the movement has an unforgettable, rapt stillness, with Barenboim really making the violins play pianissimo as Mahler requires. In the first Nachtmusik, as throughout the performance, Barenboim pays particular attention to bass lines and contrapuntal balances, revealing lots of detail that most other performances miss. He’s also not afraid to italicize a section with its own tempo (the waltz-like second subject on the cellos in this movement is one example), particularly in the finale; but his adjustments always make sense, never fracture the music’s long line, and invariably serve to clarify the ongoing musical argument. After a blisteringly fast and spooky scherzo, the second Nachtmusik sounds perfect in every way: tempo, atmosphere, and just enough prominence to the guitar and mandolin.
The wild finale is just that: a riotous collage of color, and Barenboim simply revels in it. He makes no effort to create unity where Mahler intended none; rather, he gives each section time to make its proper effect. I like his swift treatment of the chorale ritornello, followed by his stylish stroll through the various café music episodes. At the end, he lets the chimes and cowbells come through with sufficient clangor, and the closing pages bring a real thrill of excitement. The orchestra–particularly the woodwinds, strings, and lower brass–plays stupendously. In a few spots the trumpets sound stressed and a touch recessed, and German percussion is, well, German percussion. But the performance is all of a piece, and producer Martin Sauer does wonders with the difficult acoustic of the Berlin Philharmonie. Certainly Simon Rattle never sounded this good. Mahlerians rejoice: this one’s a keeper. [3/27/2006]
