CityLife

BBC Philharmonic: Cerha, Mahler

Bridgewater Hall
BBC Philharmonic
February 13, 2010

Mahler packed ’em in again for the BBC Philharmonic’s concert on Saturday – and particularly men. Mahler seems to have more of a male following than any other composer – at least it’s only when he’s on the menu that you get queues in the men’s loos, in my experience.

The world premiere performance to precede Mahler’s third symphony was of Like A Tragicomedy, by Viennese veteran Friedrich Cerha. It was conducted by HK Gruber, the Philharmonic’s latest ‘signing’ and a Viennese composer himself. Clearly he’s a good judge.

So far this is the stand-out piece among the Mahler series premiere commissions, for me. It’s structurally straightforward, with alternations of its frantic, noisy opening style with two lovely slower interludes. There’s a final section which begins with gorgeous chordal string writing and develops into an ending with its own shock value.

The use of orchestral colour is outstanding, and there are elements of ‘traditional’ orchestral style that tend to creep up and surprise you. Most intriguingly, it has that element of theatricality that we often associate with Mahler’s own music (hence the title), expertly achieved.

Gruber’s conducting – the first time I’ve been him on a podium – was clear, economical and, at times, impassioned. A very good augury.

Chief guest conductor Vassily Sinaisky took on the task for Mahler’s third symphony. The enormous, lengthy score was exciting from start to finish, which is saying a lot. Contrast, control and forward momentum were all expertly achieved, with evocative atmosphere and electric climaxes.

Karen Cargill sang the mezzo soprano solo with creamy tone, pronouncing her Nietzschean gospel with penetrating fervour, and the City of Birmingham Symphony Chorus ladies and youth choir were delightful and alert.

The greatest accolade should go to the Philharmonic, though, for playing that was amazing in its effort and concentration, with glorious solos in all departments and beautifully sustained string playing, especially in the final movement (Yuri Torchinsky leading). The close of the work was simply awesome, and drew a long and part-standing ovation.

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