The title given to this weekend’s Knoxville Symphony Orchestra concerts was “The Heavenly Life: Mahler Symphony No. 4.” A less poetic, but perhaps equally accurate title might have been “Musicianship: Now and in the Future.” The orchestra used the occasion to not only dive into the picturesque waters of Mahler symphonies, but also to celebrate the 50th anniversary of the Knoxville Symphony Youth Orchestra and demonstrate the importance of orchestra education in training future musicians.
Under KSYO Music Director and KSO Resident Conductor James Fellenbaum, the 76-player youth orchestra opened the evening with Tchaikovsky’s Marche slav, a perfect choice to unleash the enthusiasm and energy in younger players. Afterward, some of the KSYO players joined the KSO principals for two works: selections from Humperdinck’s Hansel & Gretel including the gorgeously poignant “Evening Prayer” and selections from Bizet’s Carmen Suites.
Although the snow-compromised rehearsal period altered Maestro Aram Demirjian’s performance plans, living female composers and the future of American music were represented by Jesse Montgomery and her recent work, Overture. As in previous performances of Montgomery’s work, one is easily drawn into her novel harmonic constructions that leave one hungry for more.
It is difficult to believe today that Gustav Mahler received little positive reaction during his lifetime for his symphonic works, a response often being hostile and demeaning and at odds with the respect he garnered as a conductor. In 1897, he became the primary conductor of the Vienna Opera, soon becoming its Music Director. He even termed himself a “holiday” composer, composing mostly in the summer when the Opera was not in season. Despite the limitation, he managed to pen the Fourth through Eighth symphonies during the operatic off-seasons.
For the audience who now understands the Symphony No. 4’s facade of simplicity that obscures the realities of life and death, there are sublime joys to be had with the proper orchestra and a true musical sculptor on the podium. Fortunately, that is the case with the KSO and Demirjian. This performance received the necessary loving poetic backbone of phrasing that projects gentleness, but also one that supports the moments of dramatic outburst. In a somewhat relaxed fashion, the listener is guided through the sensation of an untangling of colors and textures revealing hidden intrigues.
As if a showcase of musicianship underlining the theme of the evening, the Mahler 4 was a collection of masterfully played, exposed melodies and textures from the KSO individuals. Cellos and double basses, often joined by the violas, produced a beautifully subtle layer. Concertmaster William Shaub used his alternative instrument for the second movement scordatura solo that was skillfully played, yet delightfully eerie and edgy without being unpleasantly brittle. [Read the preview about this solo]
Needless to say, the woodwinds had a big night, from flutes (Principal Devan Jaquez) augmenting the opening sleighbell motif among many other flights, to oboes (Principal Claire Chenette) and English horn (Ayca Yayman) offering pastoral color. Although Mahler often weighted his orchestral texture differently in other symphonies with extra horns, the four in this case (Principal Jeffery Whaley) were perfectly balanced against the reeds in boldness and stature.
Although an unwitting listener may have been fully satisfied after the “peaceful” third movement, there was still “heaven” to come. Its final movement is a section for soprano of a poem from “Des Knaben Wunderhorn” that projects a child’s idea of heavenly life. Soprano Laura Strickling sang the solo “The Heavenly Life” here in the final movement, tempering her obviously powerful voice with a restrained lyrical simplicity of tone, albeit one that indicated the soprano had plenty of depth in reserve.
The ending drifts off into silent, decreasing nothingness, with single harp notes being the closest approximation that Mahler—and an orchestra—can muster.
