Mahler heads in different directions
Mahler’s Symphony No 7, by New Zealand Symphony Orchestra Wellington’s Michael Fowler Centre, November 9 Reviewed by John Button
The Michael Fowler Centre was not particularly full for the New Zealand Symphony Orchestra’s performance of Mahler’s most problematic symphony, Symphony No 7 – and I was not surprised.
The weather would not have helped, but the symphony itself did not help either – it is Mahler’s most problematic work, needing a guiding hand of great skill and experience to make any sort of cogent impact.
Of course, there are countless memorable passages but rarely, within its five movements, does any sense of an ultimate destination emerge.
Maybe the chaotically aimless final movement, tells us something – particularly as Mahler’s previous symphony – the Sixth – is so dark and gloomy.
But, for all this, the Seventh is an extraordinary work, one that took Mahler in new directions.
Fortunately, guiding things was Edo de Waart, one of the most experienced Mahler conductors around, and this obviously carefully prepared performance showed this demanding work in its true light.
Opening with the distinctive sounds of the euphonium, the first movement took a little time to settle but through the five movements, we heard Mahler in full colour, spectacular sound.
By the time the second movement was in full flow, so was the orchestra; one gloried in the sweep and richness of the strings, and some beautifully graded balances.
Also, unlike the 2012 performance under Pietari Inkinen, the guitar and mandolin in the intimate Night Music II were audible, and, in both the Night Music movements, the playing was beautifully in scale.
The chaotic Finale, with its echoes of Wagner was brilliantly done, bringing this fascinatingly confusing symphony to a triumphant conclusion.