United States Mahler: San Francisco Symphony / Michael Tilson Thomas (conductor). Davies Symphony Corridor, San Francisco, 25.1.2024. (HS)
Mahler – Symphony No.5 in C-sharp minor
Michael Tilson Thomas stepped rigorously, making his means slowly between the primary violins and the cellos. Wanting the rostrum, he turned to greet concertmaster Alexander Barantschik. In lieu of a bow, he used his baton to make a gesture paying homage to a salaam towards the viewers and, with a smile, tapped a crossed blue ribbon pinned to the violinist’s lapel. All of the musicians wore equivalent ribbons within the shiny blue hue of the conductor’s signature eyeglasses.
The capability throng at Davies Symphony had risen for a standing ovation even earlier than the primary be aware. A mind tumor has slowed MTT bodily because it was identified in 2021 and eliminated. It was not misplaced on the viewers that he had not too long ago withdrawn from two subscription performances, and no future concert events have been introduced. Barring some particular occasion, this weekend’s concert events could be his final sequence with the orchestra he led as music director for 25 years.
Mounting the rostrum, he stopped for a couple of seconds to absorb the love, after which turned to face the orchestra. A hush fell as he raised the baton to summon the primary quiet measures of the funeral march that opens Mahler’s Symphony No.5.
The massive gestures and lavish body-language of his conducting model are gone now, however he stood erect – no perching on a stool for him – as he coaxed out the music with minimal arm and hand actions. What emerged was magical, an account of this sprawling 80-minute rating that may solely be described as refined. My dictionary gives three definitions of that adjective: ‘with impurities or undesirable parts having been eliminated by processing’, ‘elegant and cultured in look, method or style’, and ‘developed or improved in order to be exact or refined’. All three utilized.
There was no wasted effort in Tilson Thomas’s conducting and nothing extreme on this efficiency, but it had all of the vitality one may need. The music constructed up repeatedly, solely to retreat to collect its breath reasonably than crumbling awkwardly (as some do, and this conductor has finished in previous performances). Transitions shifted easily, no simple process when Mahler’s music so typically activates a dime into a special dimension. And sure, there was precision in delicate moments and in run-ups to crashing climaxes. The ultimate measures gave in to pure pleasure.
As for subtlety, that’s what characterised the well-known Adagietto, which discovered a super tempo to convey the music’s languor and stored an underlying pulse to stir the feelings. Katherine Siochi, the orchestra’s new principal harpist, contributed elegant accents because the string sound appeared to drift weightlessly.
Affiliate principal trumpet Aaron Schuman delivered the primary motion’s minor-key trumpet fanfares with precision, matching the unfolding moments with tone colours because the context modified towards shifting harmonies. At one level, his lyrical legato phrases jogged my memory of Miles Davis, which could appear odd for Mahler however match completely. The French horn solos have been executed with exceptional presence by visiting visitor artist Michael Stevens of the Rochester Philharmonic (as principal Robert Ward retired in December). The complete horn part distinguished itself in a symphony the place there’s a lot for them to play.
The fiercely rhythmic Scherzo, the middle of the piece, drove with energy however by no means overstepped into roughness. The music danced with a country bounce.
After the respite of the Adagietto, the finale reveled in joyous exclamations from the brass, as if to reply the gloom of the funeral march at the beginning with shiny lights and superb main chords on the end. If Tilson Thomas meant to convey that he needed no solemnity, solely pleasure, he delivered.
A short silence let the magnificence of what had simply occurred sink in, after which the viewers rose as one for an extended and clearly heartfelt ovation. Nonetheless going through the orchestra, Tilson Thomas laid down his baton and applauded them, as if providing a benediction to every part. He signaled the orchestra to face for a gaggle bow, turned towards Barantschik and, nonetheless applauding, cautiously stepped off the rostrum.
Fairly than strolling off the stage and again for a curtain-call, he merely stepped again onto the platform and pointed to hornist Ring for the primary solo bow. Ring held up his French horn and the viewers roared. Subsequent up was Schuman, enjoying principal trumpet within the absence of Mark Inouye (on depart). Rainer Eudeikis, in his first season as principal cello, received a bow, and timpanist Edward Stephan, who was stored busy all through the rating. So did harpist Siochi.
With a deep breath, the conductor lastly turned to the viewers, spreading his arms huge as if to embrace the three,000 in attendance. The ovation continued till he slowly climbed the risers to exit.
Harvey Steiman
