Meeting in Music: TWO RARE RECORDINGS OF MAHLER'S SYMPHONY NO. 7

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Following the guide below you will be able to create the ultimate HQ rip and upload for sharing here at the Meeting in Music Internet Community or on your own blog if you have one.

RIPPING A CD USING EXACT AUDIO COPY (EAC)

1. Start Exact Audio Copy and load the clean and scratchless CD into you drive.
2. Pressing ALT+G will pull track and album info from the FreeDB database if this feature is set up properly.
3. If no info is found the CD is not registered in the database and you will have to type in the info manually.
4. Adjust the Drive Settings according to the model of your drive and enable the ”Create Log-file” option.
5. Adjust the Compression Settings to rip in Flac format at 768 kBit/s. Alternatively rip in the Ape fomat.
6. Rip the CD by pressing Action -> Test & Copy Image & Create CUE Sheet -> Compressed...
7. Check the log-file to see if any ripping errors or AccurateRip inaccuracies were registered.

SCANNING THE COVERS OF THE ALBUM

1. Scans of the front and back covers should be included if available as should the booklet. 300dpi is standard.

COMPRESSING THE FOLDER USING WINRAR

1. Wrap the audio files and images in a folder marked the composer and album name etc.
2. Set Compression method to ”Store” and the volume size to 200000000. Add a 3% recovery record.
3. Compress the folder using a not-too-obvious filename.

UPLOADING TO A FILEHOST AND SHARING WITH THE WORLD

Now all you need to do is to upload the rar-files to a filehost of your choice. Mega.nz is the standard and most stable option but there are many others and some services even feature upload to multiple filehosts. Finally the download links are ready to be presented on your blog.

THE MEDIEVAL ERA (600 - 1450)

At around 500 AD, western civilization began to emerge from the period known as “The Dark Ages”, the time when invading hordes of Vandals, Huns and Visigoths overran Europe and brought an end to the Roman Empire. For the next ten centuries, the newly emerging Christian Church would dominate Europe, administering justice, instigating “Holy” Crusades against the East, establishing universities, and generally dictating the destiny of music, art and literature

During this time, Pope Gregory I is generally believed to have collected and codified the music known as Gregorian Chant, which was the approved music of the Church. Much later, the University at Notre Dame in Paris saw the creation of a new kind of music called organum.

Secular music was sung all over Europe by the troubadours and trouvères of France, and it was during the Middle Ages that western culture saw the arrival of the first great name in music, Guilliame de Machaut.

THE RENAISSANCE ERA (1450 - 1600)

Generally considered to be from c.1420 to 1600, the Renaissance (which literally means “rebirth”) was a time of great cultural awakening and a flowering of the arts, letters, and sciences throughout Europe.

With the rise of humanism, sacred music began for the first time to break free of the confines of the Church, and a school of composers trained in the Netherlands mastered the art of polyphony in their settings of sacred music. One of the early masters of the Flemish style was Josquin des Prez. These polyphonic traditions reached their culmination in the unsurpassed works of Giovanni da Palestrina.

The late Renaissance also saw in England the flourishing of the English madrigal, the best known of which were composed by such masters as John Dowland, William Byrd, Thomas Morley and others.

THE BAROQUE ERA (1600 - 1750)

Named after the popular ornate architectural style of the time, the Baroque period (c.1600 to 1750) saw composers beginning to rebel against the styles that were prevalent during the High Renaissance. Many monarchs employed composers at their courts, where they were little more than servants expected to churn out music for any desired occasions. The greatest composer of the period, Johann Sebastian Bach, was such a servant. Yet the best composers of the time were able to break new musical ground, and in so doing succeeded in creating an entirely new style of music.

The instrumental concerto became a staple of the Baroque era, and found its strongest exponent in the works of the Venetian composer Antonio Vivaldi. Harpsichord music achieved new heights, due to the works of such masters as Domenico Scarlatti and others. But vocal and choral music still reigned supreme during this age, and culminated in the operas and oratorios of German-born composer George Frideric Handel.

THE CLASSICAL ERA (1750 - 1820)

From roughly 1750 to 1820, artists, architects, and musicians moved away from the heavily ornamented styles of the Baroque and the Rococo, and instead embraced a clean, uncluttered style they thought reminiscent of Classical Greece.

At this time the Austrian capital of Vienna became the musical centre of Europe, and works of the period are often referred to as being in the Viennese style. Composers came from all over Europe to train in and around Vienna, and gradually they developed and formalized the standard musical forms that were to dominate European musical culture for the next several decades. The Classical period reached its majestic culmination with the masterful symphonies, sonatas, and string quartets by the three great composers of the Viennese school: Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven.

During the same period, the first voice of the burgeoning Romantic musical ethic can be found in the music of Viennese composer Franz Schubert.

THE ROMANTIC ERA (1820 - 1910)

The earliest Romantic composers were all born within a few years of each other in the early years of the nineteenth century. These include the great German masters Felix Mendelssohn and Robert Schumann; the Polish poet of the piano Frédéric Chopin; the French genius Hector Berlioz; and the greatest pianistic showman in history, the Hungarian composer Franz Liszt. The field of Italian opera was dominated by Giuseppe Verdi, while German opera was virtually monopolized by Richard Wagner.

Composers like Antonin Dvorak began looking for ways in which they could express the musical soul of their homelands. Legends were therefore used as plots for operas, and folk melodies and dance rhythms were frequently used as inspiration for symphonies and instrumental music.

With the continued enhancement of instruments, plus the invention of new ones, the late Romantic composers of the second half of the nineteenth-century created richer and ever larger symphonies, ballets, and concertos. Two of the giants of this period are the German-born Johannes Brahms and the great Russian melodist Peter Ilyich Tchaikovsky.

THE EARLY 20TH CENTURY ERA (1910 - 1960)

In the early part of the twentieth century music became either outwardly expressive (as in the early symphonic poems of Richard Strauss, the huge symphonies of Gustav Mahler, or the operas of Giacomo Puccini), or more introverted (as in the so-called “impressionist” music of Claude Debussy). The previous century’s tide of Nationalism found a twentieth century advocate in the Hungarian Béla Bartók.

In a time of deepening psychological awareness, the expressionistic music of Arnold Schoenberg and his disciples germinated and flourished for a time.

Twentieth-century music has seen a great coming and going of various movements, among them post-romanticism, serialism and neo-classicism in the earlier years of the century, all of which were practiced at one time or another by Russian composer Igor Stravinsky.

Many of the greatest and best-known composers of the century, including Russian composers Sergei Rachmaninov, Sergei Prokofiev, and Dmitri Shostakovich along with British composers William Walton and Benjamin Britten were those who wrote music directly descended from the approved models of the past, while investing these forms with a style and modernistic tone of their own.

THE LATE 20TH CENTURY ERA (1940 - 2000)

Composers of this era sought to free music from its rigidity, placing the performance above the composition. Similarly, many composers sought to break from traditional performance rituals by incorporating theatre and multimedia into their compositions, going beyond sound itself to achieve their artistic goals. In some cases the line is difficult to draw between genres. Composers were quick to adopt developing electronic technology. As early as the 1940s, composers such as Olivier Messiaen incorporated electronic instruments into live performance. Recording technology was used to produce art music, as well.

The musique concrète of the late 1940s and ’50s was produced by editing together natural and industrial sounds. Steve Reich created music by manipulating tape recordings of people speaking, and later went on to compose process music for traditional instruments based on such recordings. Other notable pioneers of electronic music include Edgard Varèse, Karlheinz Stockhausen, Luigi Nono, and Krzysztof Penderecki.

As more electronic technology matured, so did the music. In the 1950s aleatoric music was first championed by American composer John Cage. Early minimalist compositions of the 1960s such as those by Terry Riley, Steve Reich, and Philip Glass stemmed from aleatoric and electronic music.

THE CONTEMPORARY ERA (from 1975)

In the broadest sense, contemporary music is any music being written in the present day. In the context of classical music the term has been applied to music written in the last quarter century or so, particularly works post-1975. Minimalism was practiced heavily throughout the latter half of the century and has carried over into the 21st century, with composers like Arvo Pärt, Henryk Górecki and John Tavener working in the more popular “mystic minimalism” variant.

Recently there has been increasing stylistic variety, with far too many schools of composition to name or label. However, in general, there are three broad trends. The first is the continuation of modern avant-garde traditions, including musical experimentalism. The second are schools which sought to revitalize a tonal style based on previous common practice. The third focuses on non-functional triadic harmony, exemplified by composers working in the minimalist and related traditions.

7/13/2025

TWO RARE RECORDINGS OF MAHLER'S SYMPHONY NO. 7

01 - 05 G. Mahler: Symphony No. 7 in E minor

Concertgebouw Orchestra Amsterdam
Kirill Kondrashin

Tahra TAH 451
[Recorded in Concertgebouw Amsterdam, November 1979]

[scans, individual flac files]

01 - 05 G. Mahler: Symphony No. 7 in E minor

Gustav Mahler Jugendorchester
Claudio Abbado

Musicom MC 9221
[Recorded August 1999 (place of recording not indicated)]

[scans, individual flac files]

...What we have here is a superb stereo recording from 1979 with one of the world’s greatest orchestras and conductors. Indeed, so good is the sound and playing that this qualifies as a straightforward new recording of Mahler’s Seventh to be considered alongside any other version in the catalogue. In keeping with Tahra’s strict policy of only releasing material with the permission of the original artists and from master tapes or discs this is no bootleg or "air-check" either.

...Mahler himself conducted the orchestra in this hall and from then on they have taken special pride in playing his music. So it’s thrilling to hear the Concertgebouw Orchestra of 1979 in this work in this hall and in an interpretation so distinguished and distinctive as this.

A good example can be heard at the start of the second movement (Nachtmusik I) where the solo horns call to each other, embroidering the air with their strange harmonies. If you are only used to studio recordings you will be used to hearing the horns close in and you might, on first hearing this recording, be a little disappointed that they sound more distant than usual. But this is how you would hear them in a concert hall and it is how Mahler himself would have expected you to hear them too. Bear that in mind when you read criticism of a conductor departing from Mahler’s score markings in a studio recording. Mahler knew nothing of "re-mixing", "spot-miking" and balance engineers. He, the conductor, was his own balance engineer and in this case the real balance engineer is Kondrashin with those credited on the record sleeve apparently there to make sure that is what we get...

Kondrashin was certainly no stranger to Mahler. His previous Mahler recordings made in Russia are quite hard to find and the orchestral playing out of the Mahler tradition. But here is a performance played by one of the great Mahler ensembles that is easy to find and should be heard by all Mahlerians and anyone convinced by the need to hear music played "live", as I am. The notes mention a recording of the First Symphony in the Dutch radio archives so let us hope Tahra can lay hands on that one too.

A superb performance of Mahler’s Seventh to be ranked with the finest but carrying an extra magic only "live" performance with realistic concert hall recording balance can bring.

Tony Duggan

The complete review of Kondrashin's performance can be found here.

DISCLAIMER: According to the Gramophone, Abbado's recording of Seventh was from Edinburgh Festival. More on that you can find here

(special thanks to person who posted Mahler's Seventh with Kondrashin on, now long "nla", web torrent site - "demonoid")

9 comments:

Appassionato said...: Concertgebouw Orchest Amsterdam, Kondrashin
https://mega.nz/file/jdkSVahR#9hUd256-5k2S5n-oR521eG8Xscou0JpRY2WurJl8Mbg

Gustav Mahler Jugendorchester, Abbado
https://mega.nz/file/iQ8VSZAQ#8-VCyKuCjS6qfkEiYm3Id8dngu5ju9BnXs0QHu9-KcU; 13 July 2025 at 09:54
Nosreme said...: Thanks for this Kondrashing recordings!; 14 July 2025 at 07:12
jimtheobscure said...: Thank you! While the 7th isn't among my favourites, Kondrashin usually has something interesting to convey. Look forward to listening.; 14 July 2025 at 18:23
Davide said...: Super-post, thank you Appassionato!; 14 July 2025 at 21:30
Electra said...: Thank you for these gems, Appassionato. I was familiar with the Kondrashin recording, but Abbado's is new to me. Looking forward to hearing him with an orchestra that brought out the best in him, IMHO.; 15 July 2025 at 03:36
dgrb said...: Obviously one can't be certain, but there has been a recording floating around the net for some years of an Abbado/GMJO Mahler 7 given at the Edinburgh Festival on August 17 1999.; 15 July 2025 at 06:34
nzguy said...: Many thanks for these Mahler recordings.; 17 July 2025 at 05:57
shakoliere said...: Merci infiniment pour ces versions très intéressantes!; 19 July 2025 at 16:29
Francisco Ortiz Archila said...: Muchas gracias, bendiciones.; 26 July 2025 at 01:51