Mahler's Symphony No.2, Australian Youth Orchestra
Harriet Cunningham, ArtsReview, April 12, 2004
Posted: 2004-04-13 09:51:22
The closing bars of the first movement of Mahler's Symphony No. 2 are a quiet revelation - the expected grand thud of a resolved cadence followed by two pizzicato chords, piano and pianissimo. The lurch in volume, and the absolute precision with which these chords were placed revealed in a few seconds what the 90-odd minutes of this epic work would confirm - that the Australian Youth Orchestra, under the baton of Benjamin Zander, can play pretty much anything it chooses, with a conviction and skill to rival many a professional band.
It was, of course, working with great repertoire and an inspiring leader. Zander, who has dedicated much of this year to charting the entire Mahlerian output with his own orchestra, the Boston Phil, seems to be an inspiring journeymaster. He is not a flamboyant maestro - no histrionics for Zander.
Instead, he uses economic but energy-filled gestures to achieve a level of detail and control which is hugely impressive. Even in the most climactic of moments, when an overwhelming din filled the concert hall, there was never any doubt that every note had its time and place.
This attention to detail came through more obviously in the second movement, an interlude of Viennese grace among the emotional clamour. Strings and wind soloists handled the sophisticated idiom as if born to it. The only movement which for me lacked fluency was the third, Mahler's adaptation of his fishy tale from Des Knaben Wunderhorn. In spite of some memorable solos, particularly from the rude E flat clarinet, the obligato passages did not seem to flow with the necessary seamlessness.
The entrance, from nothing, of Sally-Anne Russell's warm mezzo-soprano, brought a return to the focus of previous movements. Soprano soloist Emma Matthews was not as commanding as Russell, choosing to blend rather than soar over the fine choral singing from the Symphonic Choir of Sydney Philharmonia. The pianissimo entrance at the opening of the movement was another demonstration of just how good this choir can be.
In the first half the choir presented Chichester Psalms by Leonard Bernstein. Treble soloist Lachlan Cameron sang well, but not with perfect clarity, mirroring the overall impression of the performance as being several notches down from the colour and impact of the second half.
Nothing can follow Mahler's second symphony, except a roar of applause. Perhaps it is equally hard to go before.
