Edinburgh Festival (19): Royal Concertgebouw on Top Form in Mahler’s Ninth

01/09/2013

EIF Logo

 

 

 

 Edinburgh International Festival 2013 (19) – Mahler: Royal Concertgebouw Orchestra /Daniele Gatti (conductor), Usher Hall, Edinburgh, 30.8.2013 (SRT)

 

Daniele Gatti. Photo by Abramovitz

Daniele Gatti. Photo by Abramovitz

Mahler: Symphony No. 9

The classical programme of this year’s Edinburgh Festival has hit some definite heights, most obviously, for me, the Bavarian Radio Symphony Orchestra’s visit, together with Christian Gerhaher’s morning recital.  However, many of the Usher Hall evenings I have attended, while generally very strong, have left me with reservations.  And so I was particularly looking forward to this visit from one of the world’s very finest (if not the finest) orchestras playing a work that is central to their repertoire.  It may not quite have hit the heights, but nevertheless I wasn’t disappointed.

The sheer quality of the playing on offer was exceptional, and it was only with the Bavarians that I have heard anything comparable this festival.  The Concertgebouw is a Rolls Royce outfit, a crack orchestral team if ever there was one, and that was evident from the playing of every shimmering, pristine section.  The violins, for example, had a special gleam on them, particularly evident when the firsts entered in the first theme of the great Andante comodo, ripe with meaning and full of potential, all the more poignant for the fact that it is snuffed out by a D minor theme of such turbulence and anger.  The violas and cellos were every bit as compelling, underpinning the sound with velvety richness that most other orchestras would kill for.  The strings sounded lyrical and soaring in the first movement, but they weren’t afraid to sound thick and heavy for the clunky Ländler of the second movement, particularly the second theme which seemed to harrumph its way through the music with a heavy ungainliness that seemed almost destructive.

The brass were every bit as fine, and I loved the way the trombones and tubas weren’t afraid to play subtly as well as storming through the climaxes.  The solo trumpet in the Rondo was so ethereal as to appear almost disconnected from reality, while the principal horn produced playing so beautiful that he surely deserves a place in Valhalla.  The winds were sensational too, and I loved the way they weren’t afraid to make a blatantly ugly sound, something they did to great effect in both middle movements.

I wasn’t at all taken with Daniele Gatti’s reading of Mahler’s Seventh symphony last year, but I found him more compelling here.  Impressively, he conducted the whole symphony without a score and he was at his finest in the third movement, shaping it with savagery and bite.  For me he didn’t quite manage to encompass the breadth of the emotive power of the outer movements.  I particularly wanted more of a sense of encroaching entropy in the first movement.  For me it sounded too controlled, even after the great climax towards the end, so that you never felt that enough of a risk was being ventured: this music was daring but ultimately safe.  I also wasn’t quite swept away by the finale, despite the almost overwhelming breadth of the main string theme – it felt more like listening to Mahler’s great heartsong from an objective distance rather than being swept up in an uncontrollable wave.  However, he shaped the ending very impressively indeed, with the music quivering on the border of silence in a way that made you lean in to catch every phrase, and the final pages, with their astoundingly subtle strings and their delicately graded decline into nothingness, created a powerful impression that will live with me for a very long time.

Simon Thompson

 

 

 

Print Friendly

Comments

Comments are closed.

Recent Reviews

Facebook-button-1

Season Previews

__________________________________
  • NEW! Leeds Lieder’s Forthcoming Schubert Song Series in Leeds and Sheffield __________________________________
  • NEW! Svetlana Zakharova and Bolshoi Stars Bring Amore to the London Coliseum in November __________________________________
  • NEW! Tom Green and Carol Ann Duffy’s The World’s Wife Premieres on 15 October in Cardiff __________________________________
  • NEW! The 2017 Malcolm Arnold Festival in Northampton __________________________________
  • UPDATED! English National Ballet’s 2017 – 2018 Autumn/Winter Season __________________________________
  • NEW! Contemporary Music from Manchester’s Psappha in 2017-18 __________________________________
  • NEW! I Musicanti’s ‘Alexandra and the Russians’ at St Johns Smith Square, 2017-18 __________________________________
  • NEW! The 2017 Oxford Lieder Festival – The Last of the Romantics __________________________________
  • NEW! Anna Netrebko and Yusif Eyvazov’s Return to London in May 2018 __________________________________
  • NEW! St John’s Smith Square announces its 2017/18 Season __________________________________
  • NEW! The Pierre Boulez Saal’s 2017/18 Season in Berlin __________________________________
  • NEW! Birmingham and Beyond: Ex Cathedra in 2017/18 __________________________________
  • NEW! The Glyndebourne Opera Cup and Glyndebourne in 2018 __________________________________
  • NEW! The City of Birmingham Symphony Orchestra’s 2017/18 Season __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! English Music Festival in Yorkshire Lifts the Lid Off an English Treasury __________________________________
  • NEW! Opera Philadelphia’s Inaugural O17 Festival __________________________________
  • NEW! A FULLY STAGED PILGRIM’S PROGRESS IN ORLEANS, MA __________________________________
  • NEW! JIŘÍ BĔLOHLÁVEK (1946-2017) AND THE CZECH CONDUCTING LEGACY __________________________________
  • NEW! JUSTIN DOYLE DISCUSSES MONTEVERDI WITH MARK BERRY __________________________________
  • NEW! Katie Lowe Wins the 2017 Elizabeth Connell Prize __________________________________
  • NEW! Opportunity for a Rare Composition Masterclass with Gavin Bryars in April 2018 __________________________________
  • NEW! ITINÉRAIRE BAROQUE 2017: TON KOOPMAN TALKS TO COLIN CLARKE __________________________________
  • NEW! The Royal Opera House in Mumbai is Restored to its Former Glory __________________________________
  • NEW! iSING! – International Young Artists Festival in Suzhou, China __________________________________
  • NEW! A Riveting Kokoschka’s Doll from Sir John Tomlinson and Counterpoise __________________________________
  • Archives by Week

    Archives by Month

    Search S&H