Symphony n° 7 of Mahler

The Symphony n° 7 in so minor of Gustav Mahler, sometimes called Song of night , is the seventh Symphonie which it composed, of 1904 with 1905. It constitutes the most advanced point of the modernism of Mahler. It is about the symphony of the type-setter most tardily recorded in studio, 1953, and is regarded as the least popular of its symphonies.

It comprises five movements:

Langsam (Adagio) - Allegro risoluto, my nontroppo
Nachtmusik. Allegro moderato
Scherzo. Schattenhaft
Nachtmusik. Andante amoroso
Rondo-Finale. Tempo I (Allegro ordinario)

Data sheet

Title: Symphony nº 7 in so minor

Nickname: “Song of night”

Composition: 1904 (the two night ones) and 1905 (for the three other movements)
Lasted: 1 hour 20-25 minutes
Creation: September 1908 with Prague
Publication: Lauterbach & Kühn, 1910

Orchestration

Orchestral manpower: 5 flutes, 4 oboes, 5 clarinets, 4 bassoons; 5 horns, 3 trumpets, 3 trombones, 1 tuba, 1 tenorhorn (saxhorn baritone); drinking cups, percussions, bells, bells of herd, glockenspiel; guitar, mandoline; grip, the cords

History

Composition

The difficulty of determining the unit between the various movements of the Septième must perhaps with the fact that both Nachtmusiken were composed before the three other movements. Whereas Mahler still worked on its Sixth Symphony , it outlined the two night ones. It was about the first time where he worked simultaneously on two works. It found only one year later the inspiration for the three other movements, which it wrote in only four weeks.

Creation and reception

The reception of the Septième was very respectful, but not very enthusiastic. Mahler is not shown any more of lack of creation in its works, but the public is astonished to as many hear banalities of popular origin in such a serious work.

Analyzes

Scherzo

The first movement is a noted Scherzo . It is of sonata form. The introduction creates a mysterious climate, thanks to its agreements and its rate/rhythm. The solo of the Tenorhorn (baritone in if flat) does nothing but increase this disorder. After the slowness of the first part one second part allegro follows

Nachtmusik I

The second movement is the first Nachtmusik , noted. It is difficult to regard this movement as a music of night because of the presence of the military character. Mahler affirmed to have composed this movement after having foreseen a patrol evolving/moving in one clearly-obscure fantastic .

Scherzo

The third movement, like the first, is a Scherzo ; it is noted ( Ghostly. Fluid, but not fast ). The ghostly atmosphere ( schattenhaft ) is successful as of the beginning thanks to a displacement of the stressing of the Rythme S. Whereas the drinking cups exploit the third time (weak), the Contrebasse S exploit soft the first time (extremely).

Nachtmusik II

The fourth movement is the second Nachtmusik , noted With dash ). It is characterized by the force presence of the Harpe, the Guitare and also of the Mandoline.

Rondo - Final

The fifth and last movement are titrated Rondo-Finale and are noted.

Discography

There exist currently seventy-seven referred versions of the Seventh Symphony of 1950 to 2005.

This selective discography gives some recordings directed by mahlériens big bosses:

Maurice Abravanel (1964): Utah Symphony Orchestrated; VANGUARD,
Otto Klemperer (1968): New Philharmonia Orchestrated; EMI,
Rafael Kubelik (1976): Symphonieorchester of Bayerischen Rundfunks; AUDITED (live),
Vaclav Neumann (1978): Česká filharmonie ; SUPRAPHON,
Kirill Kondrachine (1979): Concertgebouworkest of Amsterdam; TAHRA (live),
Leonard Bernstein (1985): New York Philharmonic; DGG,
Bernard Haitink (1992): Berliner Philharmoniker ; PHILIPS,
Pierre Boulez (1994): The Cleveland Orchestrated; DGG.

From one 100 minutes duration, the recording of Klemperer - disciple and legatee of Mahler - is by far longest never carried out, the general intermediate duration being approximately 74 minutes. If the German chief seems excessively slow in the 2

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