Let’s Call This …

Tonight’s Boston Symphony Orchestra (BSO) concert with James Levine featured music by John Harbison and Gustav Mahler. AB and I were sitting in Orchestra, Row Z, just slightly audience left of center. They were great seats in a less crowded Thursday evening performance. I was very excited about Mahler’s Symphony No. 5 coming in, having had a just a taste of it previously, and I was trying to be hopeful about Harbison’s Symphony No. 3, which was written in 1990. My only other experience with Harbison was another BSO performance in which the two composers were paired in the same program. That Harbison was a Double Concerto for violin and cello, one that I enjoyed greatly. However I must admit that this one was more difficult for me to appreciate. While it began in a very interesting, decidedly modern but still palatable way, it quickly descended into a piece that I could not follow fluidly. At times I struggled with the apparently clashing dissonance, and at one point a shrill tone permeated whatever melody was being attempted in the foreground. I do not think I understood the piece even slightly and unfortunately do not think I was able to appreciate it.

On the other hand, my expectation for Mahler was heightened after having a great experience in two concerts in the first subscription series performance for this BSO season that featured Mahler’s Symphony No. 2. Despite having heard some Mahler, I am not very familiar with his music, except that it’s fairly lengthy and quite dramatic. But that’s what I look forward to, especially in symphonic music from a group like the BSO who can capture a full range of emotions so seemingly effortlessly. The Fifth did not disappoint in this regard. It begins with a big Funeral March, fully employing the horns in several tense passages. While the second movement is similar in this regard, it almost feels like resolution is achieved near the end, transitioning into a brighter Scherzo third movement. At some point I noticed a woodwind (perhaps an oboe or clarinet) that subtly picked up where the cellos had left off, creating a pureness of a tone out of a slightly richer sound. I imagine that many such wonderful nuances are to be found throughout Mahler.

The real gem of Symphony No. 5 is the Adagietto. Its execution tonight was exquisite and emotionally stirring — almost ballet-like in its development. The piece ended with a traditional flourish and fanfare in the final movement, but I will always remember this symphony for its beautiful slow movement.

I have generally had positive experiences listening to Mahler symphonies. I don’t feel like I fully “get” them, and I don’t think they’re thematically as memorable as some of the other symphonists. I’m very glad that I have heard this one, however, and it’s allowed me to be even more receptive to listening more carefully to future Mahler.