Mahler 3
At around 9:15 Friday night, Valery Gergiev seemlessly transitioned the London Symphony Orchestra into the Langsam Ruhevoll, Empfunden of Mahler 3. As I was sitting next to Emily German on the third tier of Lincoln Center, tears began to run uncontrollably down my face. I was a total mess.
I knew that my first experience of hearing Mahler 3 performed would be very significant for me. I had been waiting for this concert since the Fall of 2004. During my time in Vienna, my group had been poorly informed about how to score tickets for a performance of the same symphony by the Vienna Philharmonic. It turns out that showing up an hour before the performance is not a great way to score tickets…even standing room. After studying this symphony in depth with Mahler Scholar Morten Solvik, it was a shame to lose the chance to hear the work in person.
After discovering the Mahler concert series at Lincoln Center, I knew I had found my chance. Hearing the London Symphony Orchestra under the direction of Gergiev was a pretty darn good 2nd choice.
I guess the questions some might ask is, “Why Mahler?” Mahler is my favorite composer, which may seem odd to some, considering most of his compositions were symphonic. Mahler never composed opera. His vocal works consisted of lieder and orchestral song. However, his music has moved me in ways that no other composer has. I love his fusion of art song and symphony. I love how he was able to find a balance between playfulness, love, death, and philosophy.
Mahler never compromised his works during a time when his pressures from society were relentless. His status as a Bohemian Jew kept him in exile socially, and his music style kept him exiled musically in a time when Richard Strauss encompassed the spirit of the Viennese. He had a high regard for the arts and took his duties as a conductor/composer with the ultimate importance and seriousness. Mahler stated to Alma how his music would eventually be embraced….and he was right. Even if it wouldn’t be loved during his time, he composed what reflected his influences and passion.
I felt incredibly overwhelmed to finally experience this work live. I now understand the significance of a live performance in comparison with a studio recording. No longer did I have to turn up the volume of my ipod during the first movement in order to hear the marching patterns. I was able to witness the seamless transitions of the last three movements, as stated in Mahler’s program notes. Gergiev took great liberties in his conducting included moments of faster tempos than I had come to expect. However, there was a consistency and unity in the ensemble that brought everything together with great power. One of my personal favorite movements of the performance was Sehr langsam. Miserioso- featuring Anna Larsson as the Alto soloist. For a movement of reflection and stillness, there was a palpable energy in the air. All the principal musicians should be commended, considering how this work depends on the competency of practically every kind of instrument in the orchestra.
After the first movement/first part, which is 35 minutes long, there was a small burst of applause from various audience members. As a strict rule follower when it comes to concert etiquette, I did not join in. Still, I couldn’t help but share the same feelings of these enthusiastic patrons. They were bursting with love and gratitude for a composer who had a vision to share with the world. Mahler, we are still listening.
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