Fischer wraps Mahler return with a deep and devastating Sixth
It’s hammer time at the Utah Symphony.
Music director emeritus Thierry Fischer is concluding his two-week return to the Abravanel Hall podium with another Mahler symphony. Last week brought emotionally charged readings of the Fifth; this time out, it’s the tragic Sixth, known to Mahler buffs as “the one with the hammer of fate.”
The take-away from Friday’s performance was one of valiant struggle, punctuated by a few moments of peaceful reflection and even happiness but eventually dissolving into a sense of futility. But even if it doesn’t send you back to your car with a spring in your step, that is no reason to skip this stirring performance.
The orchestra came out of the gate with purposeful stride, easing its urgent pace only occasionally as the assorted bells and chimes mingled with Jason Hardink’s masterful celesta work to create magical moments of calm. After her heroic outing last weekend, principal horn Jessica Danz came through again with several well-nuanced solo and small ensemble episodes both here and elsewhere during the evening.
There is some disagreement in the music community on the order of the symphony’s two middle movements. Fischer opted to place the Andante before the Scherzo, as was the case during Mahler’s lifetime. Whether the prevailing mood in theslowmovement was one of calm or resignation is up to the individual listener, but Mercedes Smith’s cool, mysterious flute solos and the sublime high string playing were among the highlights. At one point, Fischer moved his baton to his left hand so he could sculpt the sound with his right.
The players went back on the march during the halting Ländler of the third movement, letting out some heart-tugging cries of agitation before retreating to a sobering close. The extended between-movements applause was mildly annoying all evening but was especially so here.
An ominous outburst from the massive brass section led to a mournful tuba solo from Alexander Purdy, with eerie backup from the two harps. The giant wooden mallet that is this symphony’s calling card sat near the back of the stage like Chekhov’s gun, resting on an enormous box topped with what looked like green felt. Principal percussionist Keith Carrick’s striking of the first fateful blow drew an audible startle from the crowd; the second came as less of a surprise. There was no third hammer blow, only a somber trombone choir (competing with a chorus of coughs) leading to the desolate coda.
The program will be repeated 5:30 p.m. Saturday. utahsymphony.org
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