Just Another Thumbnail Review – Mahler’s 7th
From: Daniel Goode
Date: December 22, 2013 8:56:31 PM EST
To: Jennie Punter
Subject: Just another Thumbnail review-Mahler’s 7th
Looking down from my magnificent box seat (thank you, cousin Martin), straight ahead at the Met Orchestra under James Levine in Carnegie Hall this afternoon playing the 80-minute Mahler Seventh Symphony—I saw so many bald and grey heads, and hardly a youngin’. Could it be the prices (my seat was $142)? Could it be ignorance? Or all of the above. This orchestra is wonderful. The playing was thrilling, oh I wanted a slower beginning, but so what, it was gorgeous, warm, brilliantly together. Why wouldn’t the younger generations be thrilled at the sound, the drama, the pazazz of this invention of European origins with so many hundreds of versions throughout the world? Tell me! before I cry in despair.
Brought up on the “Three B’s” (Wagner substituted Bruckner for Brahms, the dumbkoff), I never heard a note of Mahler until I was in my 20s. I still try to understand why it worms its way into me.
It’s something about the statement and the commentary being almost simultaneous because the orchestra is such a fabulous monster, so big, so various, it can do both at the same time. So a “one-liner” which is where Mahler starts, becomes in a few seconds, a multi-liner, and your breath is taken away. (This ignores the accumulations of form, the travel, the experience of being on a journey…just as important.) But it starts with the phenomenon that feeling is transmitted when he tells you why this theme, this chordal passage, this rhythm turns him on: by making the orchestra say it in many varied voices, right from square one—to the very end. It’s anti-classical in that sense. The classics just lay it out, and let you take it or leave it.
Mahler is not of that ilk. He can’t let you go home without telling you, showing you, why you should be moved by this scrap, or that, this odd piece of tune, chorale of chords, this walking or marching or dancing rhythm. Then he connects the dots and you have a symphony. It works.
Hats off to the Met Orchestra for bringing this out.