Yoel Levi’s soft-edged rendition of Mahler’s kaleidoscopic Seventh Symphony offers much that is likeable. It falls far easier on the ear than most recordings of this work–due in part, no doubt, to Telarc’s “Direct Stream Digital” recording technology. It also sports some positively gorgeous playing from the world-class Atlanta Symphony Orchestra. Yet ultimately, Levi’s Seventh falls a bit short of Michael Tilson Thomas’ thrilling recent effort, not to mention both stellar accounts by Leonard Bernstein. Levi does a nice job of pacing the piece all the way to the finale. Not only does his slower than normal first movement tempo allow sufficient time for him to make the most of Mahler’s calm and sensuously “moonlit” central episode, he also achieves maximum clarity in the complex counterpoint of the main Allegro sections as well. Nachtmusik I and the ghostly scherzo are certainly beautifully played, but ultimately are lacking in character and sheer “diablerie”. The second Nachtmusik moves along at a nice, flowing pace, but where are the guitar and mandolin? It seems that either Telarc or Levi (or both) have shied away from some of Mahler’s more unusual instrumentation, and so when we get to the wildest spots in the finale, both the cow bells and deep bells are far too reticent. Combine this with Levi’s slightly lethargic tempo, and you get a finale that’s hardly the “ray of sunshine in C major” that Mahler spoke of at the symphony’s world premiere in Prague. Levi’s gentler, kinder Seventh may be just the thing for those who shy away from Mahler’s more grandiose or grotesque gestures, but a great Mahler performance embraces the full range of the composer’s expressive sound world. Levi simply doesn’t.
