For decades, Mahler’s Seventh has been his ‘problem symphony’ – the Cinderella of the cycle. It has had its supporters too. When Schoenberg heard the Symphony in 1909 (the year after the first performance), he wrote enthusiastically of its ‘perfect repose based on perfect harmony’. But few others have used phrases like ‘perfect repose’ to describe the Seventh Symphony – and even some of Mahler’s most passionate admirers have found the structure anything but harmonious. The middle three movements, it is said, seem to belong to a world of their own – nocturnal, fantastic, sometimes sinister – a world to which the outer movements, impressive as they are, emphatically do not belong.
Total time: 01:11:55
|Original Recording Format|
Neil Hutchinson, Jonathan Stokes (Classic Sound)
Barbican, London England
|Recording Type & Bit Rate||
|Release Date||January 1, 2016|
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