Symphony Hall, Birmingham
Thursday 31st March, 2016 – 7:30pm
Webern Six Pieces Op. 6 (chamber version) Brahms Four Songs for Women’s Voices,
Mahler Symphony No. 10
(completed by Deryck Cooke)
Mahler never quite finished his Tenth Symphony, but when musicologist Deryck Cooke finally pieced together the sketches, he uncovered a lost masterpiece – in which cries of love and cries of pain finally resolve in music of shattering honesty and piercing beauty. Nicholas Collon uncovers its secrets tonight, and sets it alongside miniatures from Brahms and Webern – each one a tiny, concentrated world of poetry and emotion.
Available on iPlayer BBC Radio 3 Live in Concert here until 30th April 2016
Review by Christopher Morley, Birmingham Post:
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… “And so to the Mahler, a work which perhaps would never have been written had the dying composer not realised his wife was having an affair with the next creative artist in her collection. It is maudlin, self-repeating from previous works, but also has a visionary quality which begs the listener’s forgiveness.
Collon allowed the music to make all its own points, as Mahler would have intended. He drew a wondrously rich string tone, summoned the brass to awesomely terrifying outbursts, and presided over a myriad of vital instrumental solos.
Chief among these must come the many contributions of concertmaster Zoe Beyers, and, too, the lengthy flute solo in the finale from Marie-Christine Zupancic. We have heard all such things earlier in Mahler’s authentic symphonic output, but this does not detract from how valid they sounded within this context.”
Review by Andrew Clements, Guardian:
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… “There was a real authority about the CBSO’s playing under Collon, the sense of an orchestra continuing to explore a work it knows inside out. Beyond the English Midlands, Cooke’s score may not have quite secured the place in the canon it deserves. No other completion of the 10th I’ve heard seems anything like as convincing, so true to the world of late Mahler as what Cooke, with the assistance of Berthold Goldschmidt and Colin and David Matthews, produced. This performance was a reminder of how important a musical document it is.
Occasionally, the account was perhaps a little glib. Both scherzos have more menace in them than Collon suggested, and parts of the huge first movement seemed doggedly persistent rather than genuinely aspirational. But from its crepuscular opening onwards he caught the mood of the finale perfectly, right through to the radiance of the coda, when the strings return to the untroubled world of the Fifth Symphony’s adagietto.”
Review by John Quinn, SeenandHeard, MusicWeb:
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… “In the first scherzo Mahler constantly changes the time signature, giving the music a very unstable feel. Here the playing of the CBSO was incisive and displayed no little brilliance. Collon handled the Ländler-like trio very well, using rubato very skilfully so that the music sounded very idiomatic. When the scherzo material reappeared he drove the movement to an exciting conclusion.
The short third movement, entitled ‘Purgatorio’ is a strange piece of writing. As I listened to the performance it seemed to me that the music offers echoes of the Seventh Symphony. Collon showed a fine feeling for Mahlerian style and he brought out the colours in the orchestration very vividly.
He took the second scherzo attacca. (In effect, since the finale also follows without a break, this meant that we heard the three movements that constitute Part II of the symphony as an unbroken span.) In some ways this fourth movement sounds to me the most Mahlerian of all – I’m thinking especially of the middle three symphonies and the Ninth. Here passages that require – and were given – real bite alternate with warm, sentimental music. The mood and colours of the music seems to be constantly changing – the former the responsibility of Mahler, the latter the product of Mahler’s invention as realised by Cooke’s orchestration. The CBSO played the movement with great virtuosity. The hushed coda, dominated by the percussion, was spookily effective.
If the end of the fourth movement was spooky then the beginning of the long finale was positively eerie; the dull bass drum thuds and doleful tuba distilled an atmosphere as baleful as even the start of the finale of the Sixth. And then, out of the darkness emerged the wonderfully tender flute melody, cushioned by soft violas and cellos. As voiced by the CBSO’s principal, Marie-Christine Zupancic, the melody was fragile yet soothing. Had Mahler’s sketches been left to gather dust we should have been deprived of this, arguably his most heart-stopping melody; what a loss that would have been. The consoling melody was then taken up and developed most beautifully by the violins. The paragraphs that followed were shaped with intensity and understanding by Collon and the CBSO responded to his leadership with wonderfully glowing playing. Later, in the faster episodes there was urgency and bite from the orchestra but it’s for the heart-easing lyrical passages that I will long remember this performance. The last few minutes of the movement seem suffused by acceptance and, perhaps, by a recollection of temps perdu. Collon conducted these closing pages with fine yet controlled intensity and was rewarded with luminous playing, especially from the strings and golden-toned horns. One last anguished outcry and then the symphony ends in tranquillity.
As I said earlier, many distinguished Mahler conductors have resisted performing this performing version by Deryck Cooke – or, indeed, the various versions by other hands. With all due deference, I have to say I think they are wrong. Cooke never made any pretence that what he had done was to “complete” Mahler’s score. Using highly informed conjecture and great musicianship he and his colleagues gave us a way – not the way – to hear the music that Mahler had composed. If we ignore the Tenth we surely have an incomplete picture of Mahler in his last years. If we embrace it, however, we expand and enrich our understanding of one of the twentieth century’s most important and influential symphonists. This evening’s very fine performance demonstrated very clearly how rewarding an experience Mahler’s Tenth can be.
I left Symphony Hall full of admiration for the performance by Nicholas Collon and the CBSO. But above all I left full of gratitude to Deryck Cooke and his three collaborators. Through their dedicated work our Mahler horizon was expanded significantly.”