Mahler 7

I was recently reminded of my still-unlistened-to (and incomplete) Mahler cycle with the Concertgebouw Orchestra under Haitink.

I read an article in Gramophone about the Royal Concertgebouw Orchestra and their proud tradition of performing Mahler’s music. Under Willem Mengelberg—who was a friend of Mahler—they were one of the first orchestras outside Vienna to champion his work. I confess, I had no idea about this history. In grad school, I had a brief love affair with the modern-day Concertgebouw, particularly taken with their stellar brass playing. But I’ll admit, it’s been a while since I last listened to them. It’s fun learning this kind of history—it adds to the listening experience. And now I know: Amsterdam is one of the great Mahler capitals of the world.

I’m familiar with the modern Concertgebouw sound, but I didn’t quite know what to expect from the orchestra of the late ’60s. It’s a mixed bag. There are plenty of cringy moments that make you appreciate the technical polish of today’s players. Still, I was struck by the phrasing of the strings, the rich horn tone, and the powerful tutti woodwind sound—these were qualities I loved. The horns, in particular, surprised me—not because I expected them to sound bad, but because I rarely find myself drawn to horn playing in general.

I inherited this cycle—released on Philips—from a former co-worker who was in the middle of a move. Generously, he let me thumb through his collection and take whatever I liked. It was a solid haul. That said, this particular release is far from the best-sounding Philips recording I’ve heard. I don’t really think of Philips as an audiophile label, though they certainly have their gems, and I’m usually satisfied. I don’t hesitate to buy if I like the repertoire or the artist. However, this Mahler recording at times sounded downright awful. A narrow dynamic range and an uneven soundstage really detracted from the performance.

As for Mahler 7—it’s a bit... mid. I don’t rank it among his best, but I’m not anti-Seventh like so many are. The second movement—the first Nachtmusik—is delightful. Maybe a bit conventional, and at times even pop-sy, but the little folk tunes Mahler weaves throughout are endlessly charming. And really, any piece that features a tenor tuba is alright by me.