Maestro Series: A Conversation with Steve Hackman...

Conductor, composer, arranger, producer and songwriter Steve Hackman is increasingly in demand as one of the most compelling artists contributing to a new landscape in hybrid music. Fluent in both classical and popular repertoire, he crafts  and conducts virtuosic, cross-genre works and performances that intrigue the established audience and engage an excited new one. He currently holds the positions of Creative Director of FUSE at the Pittsburgh Symphony Orchestra, Music Director of the 'Mash-Up' series at the Colorado Music Festival, and founder/creative director of his music brand :STEREO HIDEOUT:

Maestro Series: A Conversation with Steve Hackman...

Conductor, composer, arranger, producer and songwriter Steve Hackman is increasingly in demand as one of the most compelling artists contributing to a new landscape in hybrid music. Fluent in both classical and popular repertoire, he crafts  and conducts virtuosic, cross-genre works and performances that intrigue the established audience and engage an excited new one. He currently holds the positions of Creative Director of FUSE at the Pittsburgh Symphony Orchestra, Music Director of the 'Mash-Up' series at the Colorado Music Festival, and founder/creative director of his music brand :STEREO HIDEOUT:

A Conversation with Maestro Andres Franco....

Recently named Music Director for the Signature Symphony at TCC and Assistant Conductor for the Pittsburgh Symphony Orchestra, Andres Franco has established himself as a conductor on the rise.

Brief reviews....

AMC was in Pittsburgh and saw two performances:

• The Emerson String Quartet performed at Carnegie Music Hall as part of the Chamber Music Pittsburgh Series.  Prior to the quartet was a lobby recital featuring Monique Mead from Carnegie Mellon University and three of her students: Isabel Cardenes (Piano and harp), Tino Cardenes (piano), and William Wang (violin).  Ms. Mean is the wife of violinist Andres Cardenes,  and Isabela and Tino are their children.  This was a stellar performance by all four performers.  Being able to listen to grand music in the grandeur of the lobby of the Carnegie Music Hall was a real treat. The Emerson Quartet was on the main stage playing Haydn"s Quartet in B-flat major, Op. 76. No. 4 "Sunrise."  This is a remarkable piece was published in 1799 and surely set the stage for his pupil Mozart, and Beethoven after him, to burnish the quartet as a musical form.  The second piece was Shostakovitch's Quartet No. 10 in A-flat major, Op. 118, which was written in July 1964.  The work is very lyrical in parts and does is not full of the "sturm und drang" that characterizes many of the composer's work. That is not to say it lacks in angst, but it does not sear itself into the listener's ear.   The final work was Brahms' Quartet in A minor, Op. 51, No. 2.  AMC is a huge fan of Brahms, but this quartet is awash in pretty sound but little melodic development.  Lushness cannot carry a whole piece. The Emerson Quartet played beautifully.   They were very sensitive to audience-generated noise and delayed the start of two movements because of it.  Their instruments blend in such a wonderful way- it as if there was only one very large instrument- from the E7 on the violin to the C2 on the cello.  AMC has never heard such smooth transition from one instrument to the other.  The musicians (Eugene Drucker and Philip Setzer on violin, Lawrence Dutton on viola, and Paul Watkins on cello) share such a shared vision of the music that their playing sounds as integrated as the sounds of their instruments.  This is the string quartet that sets the standard for all others.  
• The Pittsburgh Symphony Orchestra, under conductor and composer, Steve Hackman, a program that fused the music of Beethoven and Coldplay.  AMC expected this to be awful, but in fact it was a revelation.  The PSO played Beethoven's Third Symphony, "The Eroica" while three singers from time to time sang songs by Coldplay on top of the Beethoven masterpiece. Hackman made a few adjustments to the Beethoven in order to accommodate the Coldplay melodies, but it was not actually noticeable.   In fact, Hackman describes this as an Eroica-Oratorio.   The lyric "Nobody said it was easy, No one ever said it would be this hard" was used from time-to-time and it accentuated the sadness and loss in Beethoven's life as reflected in his music.  AMC found it to be very touching.  Malia Civetz had a wonderful voice.  Ben Jones and Will Post were the other singers.  They too were quite good.  The stage at Heinz Hall was bathed in gentle blues and reds that complemented the music.  The PSO played to perfection.  Their ensemble is breathtaking and the horn section is unbelievably good; it deserves its fine reputation.  AMC is always a bit surprised when hearing this level of playing- its hard to believe that it could be so good.  Hackman deserves great credit for this work.  Kudos also to the PSO to have this series, titled FUSE@PSO.  The audience was made up of mostly twenty and thirty somethings- the very demographic orchestras are attempting to draw into the concert hall.  Do I want to hear Beethoven like this always? No.  Would I want to hear it again" Yes.  Hackman cuts quite a  figure on the podium- he is undeniably handsome.  There were also hors d'oeuvres served pre-concert was well as an outdoor courtyard cocktail bar, with a deejay.  It was a celebratory event.  Good on them.  

Maestro Series: A Conversation with...Manfred Honeck, Music Director, Pittsburgh Symphony Orchestra

Maestro Honeck is becoming one of the most recognized conductors for his ability to energize his players and provide interpretations that shed new light on the standard repertory.  He has refined the Pittsburgh Symphony into what is described by critics as one of the best in the world.  His recordings with the PSO have generated acclaim, not only for him, but for the PSO.  He is described by some musicians as a "hands-on" conductor, who has strong ideas of how a work should be played, but he does so in a genial way.  AMC found him to be a true gentleman, full of wisdom, with just the right amount of European elegance.  Please enjoy the interview:

Three in Two

The Pittsburgh Symphony Orchestra, under Music Director Manfred Honeck presented an interesting program that included two Pittsburgh premieres (one of which was also a world premiere) and a familiar Tchaikovsky symphony. The concert was being recorded as part of the Reference Recording's Fresh series.  There were many microphones visible over the orchestra.

Before the performance, a short video featuring PSO members talking humorously about the evening's works. It was clever and enjoyably informal.

The concert began with a suite from Dvorak's opera "Rusalka," as arranged by Honeck, and it was a world premiere.  The maestro has a certain affinity for Dvorak's music, maybe owing to his familiarity with the Czech culture and heritage.  (He is Principal Guest Conductor of the Czech Philharmonic after all.) This was a nice set of excepts form the not-so-frequently heard opera that are tuneful, upbeat, and colorful. Honeck's arrangement kept all of that and the pieces seemed to flow together quite well.  Fortunately, there were none of those awful Broadway-like transitions from section to section, so it worked as a whole.  Had AMC not know the source, he would have thought that this was a newly discovered Dvorak tone poem.  The PSO played beautifully.  AMC's only reservation was that the piece was a big long for an opener to a concert, but it  is understandable given the exigencies of recording, that is, you may need to change the parameters of the concert a bit to fit the requirements of a CD.

The second work of the night was Benjamin Britten's violin concerto with Rainer Honeck as soloist.  Rainer is Manfred's younger brother.  It should be noted that when Rainer and Noah Bendix-Balgley were on stage, there were concert masters of three of the world's greatest orchestra''s (Rainer from the Vienna Phil and  Bendix-Balgley from Pittsburgh and the Berlin Phil).The younger Honeck played with warmth and technical skill.  The Concerto demands great technical precision and that it received. AMC must admit a certain dislike for Britten'w music.  Many phrases are beautiful, but each to stand alone from the one the preceded it and the one that succeeded it.  AMC looked for structure but didn't discern it.  Nevertheless, the Pittsburgh audience went wild, calling back both Honeck brothers for repeated curtain calls, each with a standing ovation.  This was not just a polite SO- it was the real deal.

The final work on the program was Tchaikovsky's Symphony No. 6 (The Pathetique).  This was the third time this season that AMC has head this work, but the first two did nothing to prepare me for Honeck's version.  He has a reputation for shedding new light on familiar works with his own unique interpretations.  This performance feel in line with that.  The second beautiful them in the first movement arose so quietly from the muted violins that it seemed to grow from nowhere, yet it blossomed into a wonderfully golden performance by the PSO violins. The second movement waltz was taken a bit fast, which in no way detracted from its lightness and grace.  Honeck understands that often Tchaikovsky put in accent notes, frequently played by the horns. Too often conductors don't seem to understand that these are only accents, and should be treated as such.  They should not dominate, and thus become distractions.  The third movement march highlighted the gorgeous sound of the Pittsburgh brass and the strong playing of the percussion section.  But it was in the last movement that Honeck really showed that he understood what the composer was getting at.  Yes, it is a deeply despairing piece- there are only occasional glimpses of  hope, at least in AMC's opinion.  But what Honeck seemed to bring out was the anger and rage under the despair and unhappiness.  In fact, anger is a key component of depression and despair and this performance made the listener look into that darkness.  Now this may not be everybody's cup-o-musical-tea, but it was raw and powerful.  Some will say the brass was too dominant but that's part of the power of Honeck's interpretation.  AMC had chills from parts of the performance and it was thrilling!

This was probably the best AMC has ever hear this symphony played and interpreted.  Well done- well done.

Hair....

"The Hair"

Lobby of Heinz Hall

The Pittsburgh Symphony Orchestra, under guest conductor Krzysztof Urbanski presented a program featuring the PSO's concertmaster Noah Bendix-Balgley as soloist.  Mr. Urbanski is the Music Director of the Indianapolis Symphony, among other similar positions.   He is in his early thirties and is either loved or not loved according to articles in the Indianapolis newspapers.  ie is either a prima donna or the greatest conductor alive, or maybe both.  But the hair- it has more gel in it than a bowl of Bill Cosby's jello.  But he wears it well. And AMC digresses. 

Mr. Bendix-Balgley (say that 10 times fast) is also First Concertmaster of the Berlin Philharmonic.  He is a bit younger than Maestro Urbanski and his hair is much less flashy.  He played a near perfect performance of the Khachaturian Violin Concerto.   Khachaturian, an Armenian composer, is best known for "Saber Dance" from the ballet  Gayaneh and also the ballet Spartacus.  He music does not appear often in our concert halls yet his music is vibrant and accessible.  Bendix-Balgley's performance was intense and technically brilliant.  His violin has a sweet golden tone and his vibrato is well controlled and appropriate.  He was very very intense while playing.  During breaks between movements, he mopped his brow and the fingerboard of the violin repeatedly.  During an encore, he played a gorgeous Klezmer piece.  Bendix-Balgley has been a champion of this music of Eastern European Ashkenazi Jews and he plays with various Klezmer groups.   When performing this music, his demeanor changed markedly.  Gone was the formal technician and in its place came an emotional musician playing his heart out in music that he truly loves.  That's not to say that the Khatchaturian piece suffered- rather it means the Klezmer piece was a contrast with its pathos and sadness.  Both pieces were successes though vastly different.  Bendix-Balgley's art is that he can do both kinds of works with vastly different requirements with equally good results.  Apparently, he has been given a year to decide if he wants to go to Berlin permanently. He is a great talent.  AMC wishes his good fortune either way- although it would be nice to see him stay in the 'Burgh. Finally, the love that both the musicians and audience showed for Mr. Bendix-Balgley was impressive.  

The second half of the performance consisted of Mussorgsky's "Pictures at an Exhibition" with a twist.   Before the piece was played, Jim Cunningham (the voice of Pittsburgh's classical music station, WQED) discussed sections of the work and presented passages of the original piano version (played by PSO pianist Rodrigo Ojeda) followed by the same snippet played by the full orchestra.  It was entertaining and informative- AMC sort of felt like he was at a Bernstein Young People's Concert.  Cunningham noted that the Pictures is a specialty for Mr. Urbanski, who conducted the piece without a score.  The host has a wonderful knowledge of music as well as a wonderful radio voice.  Unfortunately, he spoke rather quickly and the content tended to get muddled in the richly reverberant Heinz Hall acoustics.  There were a few attempts at humor that seemed to make Maestro Urbanski a bit uncomfortable.  Well, not everyone can be Ed McMahon to Cunningham's Carson. But when the main course came the PSO gave a tingling performance.  James Vosburgh's trumpet in "Two Polish Jews (Samuel Goldenberg and Schmulye) was unbelievably controlled and precise. Lorna McGhee's flute tone was smooth and golden.  The cellos, which sit adjacent to the first violins and facing the audience, gave a solid bass underpinning for the music that adds to its punch.  The violins play with such precision.  They begin and end a phrase so precisely that it is as if one were listening to one instrument.  Heinz Hall is a big auditorium (it has about 2600 seats) yet each section of the orchestra is clearly defined in the soundscape- there is no auditory smear.  

AMC noticed that the audience appeared to have many more young people than is the case in Atlanta, for example.  Many college-age students and young business-types were in the audience. Before the concert, a student string quartet played in the lower lobby.  

Some final random observations- over half of the PSO musicians have endowed chairs.  They seem to have jettisoned the Principal Guest Conductor (it was Leonard Slatkin) position as well as the Victor DeSabata Guest Conductor (it was Gianandrea Noseda). Cost saving moves maybe.  There is a grand gentleman in a white overcoat and top hat who is the doorman to Heinz Hall- he adds a touch of the theatrical to entering the facility. 

It is a grand experience to hear a truly world-class orchestra.  Everyone should allow themselves the thrill of hearing 100 musicians play great music together.  It is a peak experience.   

Impeccable....

The Pittsburgh Symphony Orchestra presented a concert featuring works loosely tied to Italy, in part, reflecting the participation  of Gianandrea Noseda, the Victor de Sabata Guest Conductor of the PSA.

The De Sabata "La Notte di Platon" (Plato's night) is a rarely played work that is lush, romantic, and, at times, exciting.  The Ravel Concerto for the Left Hand featured soloist Benjamin Hochman.  This work is fairly short but full of fresh ideas for the time it was composed, and it is a showpiece for the soloist.  The final work is a symphonic poem by Richard Strauss titled "Aus Italien."  It too is rarely heard and is best described as a travelogue about Italy.  It is one of Strauss' weaker works, which may explain why it is rarely heard. 

Every time I hear the PSO I am startled by its precision.  Each section plays as if it were one instrument.  Such technical ability is certainly to be admired. At the conclusion of the Strauss work, there is a single loud chord.  To hear it be played so precisely was a treat.  I like not having to cringe at intonation issues in the French horns.  In fact, their ability to play very pianissimo is incredible.  I like the European seating of the orchestra- it provides an opportunity for the cellos to be clearly heard and the lower strings to be highlighted.   It also provides an opportunity to hear some of the interplay between the first and second violins. 

Maestro Noseda addressed the audience before the concert, especially reminding patrons that Victor de Sabata was very important in PSO history because he was a guest conductor in the late 1940's who helped bridge the time between Fritz Reiner and William Steinberg.  Noseda also described the PSO as one of the great orchestras of the world.  He is a very tall man who is charming and confident.  When he conducts, he does so with vigor.  He becomes so involved in the music he can be heard humming, probably in spite of himself.  His arms are long and he sometimes appears to have them hovering over the orchestra.  When I last saw him with the PSO I wrote about how good he was.  He has only gotten better and the PSO is wise to have him be a special guest conductor. 

I like having the conductor address the audience briefly.  It seems odd that so many conductors just amble on the stage, turn their backs to the audience, conduct, bow, and walk off.  A bit of conversation with the audience humanizes and de-formalizes the sometimes stuffy concert experience.

Mr. Hochman played well, with a large tone, even with using only his left hand.  The Ravel came off as cool and sophisticated music, which is appropriate since it is cool and sophisticated music. 

   

Attending a concert at Heinz Hall is a special event.  The auditorium has great acoustics, and the hall is beautiful.  The ushers are dressed in tuxedos and the audience is generally well-dressed.  The audience seems to encompass a broader age range than I have seen elsewhere, except maybe in Vienna. 

I do have a few quibbles.  The first is that since there is such grand sound coupling between the orchestra shell and the auditorium, the musicians'  pre-performance tuning and rehearsal is rather loud and cacophonous.  European orchestras have it right- walk on stage after the audience is seated, tune a bit, and then get ready to play.  It's much easier on the ears.  The second is that Concertmaster Noah Bendix-Balgley has a big, big sound.  At times, I could hear his instrument over those of his colleagues.   It may have been where I was sitting but I found it introduced a bit of incohesion in the first violins. 

This was a great concert with a great orchestra.  Even if the program was what some might consider very traditional, it showcased the talents of the wonderful Pittsburgh Symphony.

 By the way, its 2013 European tour was recently announced. It is one of the few American orchestras that is able to do such touring and one of the few that the Europeans seem to want to hear! 

Thanks to all of the benefactors, patrons, musicians, and volunteers that made this concert possible. 

Don't forget to vote.........

http://pso.culturaldistrict.org/pso_home/web/concerto-competition

PSO plans residency in Vienna

Maestro Honeck and the Pittsburgh Symphony continue to garner international attention. 


http://www.post-gazette.com/pg/12057/1212274-388.Publish Poststm

A Deserved Award...

The recording of Gustav Mahler's Symphony No. 4 by Manfred Honeck, the Pittsburgh Symphony Orchestra and soprano Sunhae Im has won the 2012 International Classic Music Award for symphonic music, the organization announced on Monday in Vienna.The jury, which considered 250 nominated CDs and DVDs, consisted of music critics and editors of magazines, online services and radio stations from a dozen countries. 

Read more: Pittsburgh Symphony Orchestra recording wins award - Pittsburgh Tribune-Review http://www.pittsburghlive.com/x/pittsburghtrib/ae/music/s_782769.html#ixzz1n9RI25NS

A Sonic Spectacular....

The Pittsburgh Symphony Orchestra presented a concert on February 12 consisting
of:

Beethoven- Symphony No. 1 in C major

Mozart- Piano Concerto No. 16 in D major
Respighi- The Fountains of Rome and The Pines of Rome


The soloist in the Mozart was Lars Vogt.  Music Director Manfred Honeck conducted.

This was a performance that makes a listener appreciate that this might just be the best orchestra in the country. Maestro Honeck's programming of the Beethoven as the lead piece was rather bold. This was an exquisite performance and a piece that Mr. Honeck seems to love conducting.  The fourth movement had a bracing drive and fast pace. The maestro was continually molding the sound of the orchestra with his left hand while providing a strong beat with his right. The only criticism was that late seating occurred after the first movement, and it interrupted the flow of the piece a bit.

Pianist Lars Vogt was born in 1970 in Düren, Germany. He studied with Ruth Weiss in Aachen and with Karl-Heinz Kämmerling in Hannover. Mr. Vogt has a high-profile career Europe as well as in the United States USA and Asia. In the 2003-04 season, for example, he had the honor of being named pianist-in-residence with the Berlin Philharmonic. In the past three years he has concertized under the baton of Christian Thielemann with the Vienna Philharmonic, embarked on an extensive tour with the Dresden Staatskapelle Dresden under Myung-Whun Chung, and made appearances with the London Symphony, the Royal Concertgebouw Orchestra, and the Orchestre de Paris. In the summer of 2008 he performed at the BBC Proms and the Salzburg Festival; in the current season he has been concertizing again with the Berlin Philharmonic and giving solo recitals in London, Paris, Madrid, and Istanbul. Lars Vogt has also become a familiar name in America, performing with the Cleveland Orchestra, the Boston and Chicago Symphony Orchestras, and the Los Angeles and New York Philharmonics.

In Pittsburgh, the Mozart was beautifully played.  There seemed to be great simpatico between Honeck  and Vogt.  They paid close attention to each other so there were no missed cues or dynamic imbalances.   The only problem I noted was that Vogt seemed to have a difficult time with his entry.  It seemed a bit behind the beat but after that his performance was as close to perfect as one could want.  Vogt's tone was very large, but never lacking in subtlety.  While not usually an instrument often in the spotlight, the timpani had a very controlled sound as played by Principal Edward Stephan, that is, the notes were crisp, without any tubbiness. 

Ottorino Respighi (July 9, 1879 – April 18, 1936) was an Italian composer and musicologist and conductor. He is best known for his orchestra "Roman trilogy": Fountains of Rome (Fontane di Roma); Pines of Rome (Pini di Roma); and Roman Festivals (Feste Romane). He was a masterful orchestrator and orchestral colorist.  His music is at times bombastic, but never less than beautiful and full or orchestral fireworks. 

The two Respighi pieces were played with undeniable strength, authority, and virtuosity. Honeck manages to pull the quietest pianissimos I have ever heard from an orchestra.  The control of the musicians was phenomenal in these quiet passages, which were marred only by a barrage of coughs from the audience.  The orchestra also manages to create great fortes without harshness. Maestro Honeck seats the orchestra in the European style so that the basses face toward the audience, which adds to their impact.  The solos by the orchestra members were wonderful.  Particular praise goes to concertmaster Noah Bendix-Balgley, whose tone is sweet and controlled.  Pittsburgh’s horns are renowned for their virtuosity.  The Principal horn is William Caballero who, along with Trumpet Principal, George Vosburgh, has been referred to as “gods” on the internet for their skill.  Honeck lets the brass have their way and it worked beautifully for these Roman tone paintings.  Principal Flautist Lorna McGhee also is noteworthy for her tone and skill.  Honeck added a nice touch at the end of the “Fountains” by adding some brass players in the balcony.  That nicely added a depth to the performance and a perfect complement to the off-stage instruments in other parts of the work.  I believe that the Heinz Hall organ is electronic, which sends chills up the spines of organ purists.  For me, the incredibly low pedal notes required by the music sounded just fine and were a perfect accompaniment to the orchestra.


This was one of those performances that make the hair on your arms stand at attention.  There is no doubt that something very special happens when the PSO plays under Honeck.  I only wish I could hear more. 


I have some other observations about attending this performance at Heinz Hall:
The audience seems a tad younger than I am used to in Atlanta.  That is a good sign.
The auditorium, which seats about 2600, was nearly full. Unfortunately there was a coughing epidemic.


There was a student recital in one of the lobbies of the Hall before the PSO actually played.  There was also a chamber recital after the PSO program, which consisted of excerpts from Beethoven’s String Quartet in C minor, played by PSO artists.  In total there was about 3-hours of solid music making.  The PSO gives its patrons their money’s worth and Heinz Hall has wonderful spaces for performing.


Heinz Hall is absolutely beautiful and carefully maintained.  It is the Baroque style in gold leaf, off white, and red.  Black marble also decorates the main lobby.  It has two bars and one elegant restaurant.  Finally, the sound of the hall is warm and reverberant, which showcases the PSO’s grand sound.  The orchestra association owns the building.


One of the Hall's lobbies has large posters discussing each composer on the program. They are informative and visually handsome. 


The PSO has 6 (yes, count them, 6) conductors.  They include Maestro Honeck (Music Director), Marvin Hamlisch (Principal Pops Conductor), Leonard Slatkin (Principal Guest conductor), Gianandrea Noseda (Victor deSabata Guest conductor chair), Lawrence Loh (Resident Conductor), and Thomas Hong (Assistant Conductor). Three of these postions are endowed (Honeck, Hamlisch, and Loh).  Of the 102 listed players in the symphony, a full 43 are in endowed chairs.


During this particular performance, the orchestra members presented a check for a $100,000 donation to the symphony association as part of their recent contract agreement.  They also agreed to take a ten percent pay cut.  Honeck and Hamlisch both contributed nearly a like amount from their salaries.  These were grand gestures and a measure of the spirit of the organization in tough financial times.


If you ever are in Pittsburgh, do your best to hear this great orchestra under Maestro Honeck.   It will be a real treat and an experience to remember.  He is a relative conducting newcomer but he brings polish and skill that has enhanced the PSO’s playing and reputation. 

Mahler's sublime Second Symphony

On January 26, The Atlanta Symphony Orchestra, under Principal Guest Conductor, Donald Runnicles, presented Gustav Mahler’s Symphony No. 2 in C minor, “Resurrection.”  The soloists were Nicole Cabell, Soprano, and Kelley O’Connor, Mezzo-soprano.  The Atlanta Symphony Orchestra Chorus was prepared by Norman Mackenzie.

This symphony is one of the greats in the late romantic period.  Mahler wrote large, but never sprawling, symphonies whose themes usually have to do with those things that make us human.  I have been listening to Mahler for decades, but must admit that I never really understood them.  But recently, I had the pleasure of hearing Maestro Manfred Honeck and the Pittsburgh Symphony Orchestra play Mahler’s First.  Honeck’s interpretation highlights the folk-themes of the music and he plays particular attention to the layering of the music so that the inner voices do not get lost in a smear of sound.  Honeck’s interpretation is wonderful and moved me to a much greater appreciation of Mahler’s genius.

 

The ASO performance was stunning.  Runnicles has started to seat the sections of the orchestra in the European style (basses to the left, second violins to the right, with the celli adjacent to them).   This arrangement causes the soundboards of the low strings face directly into the auditorium.  Mahler’s music is rich with low strings and the seating arrangement provides a wonderful showcase for it. 

Mahler wrote this symphony for a very large orchestra, augmented with enhanced percussion, two harps, and organ.  At several points throughout the work, musicians leave to play-off stage.  The effect is stunning, particularly when Mahler’s music describes the clarion call of the four horsemen of the apocalypse.   Mahler wrote some grand fortes, using the full resources of the orchestra, but especially the low brass, tam-tams, and, two sets of tympani.  In spite of Symphony Hall’s problematic acoustics, this mass of sound was rich without being strident.  I noticed that some of the musicians took to wearing earplugs at the height of the sound, especially with the French horn players sitting next to the cymbals and tam-tams.   In several passages the reeds were required to play with their bells facing out toward the audience so as to increase their volume when they were massed with the rest of the orchestra.  The reeds never sounded harsh or squeaky.  Special kudos goes to Christina Smith, principal flute, and David Coucheron, concertmaster for outstanding solo work. 

Much has been said about the glories of the ASO chorus.  Their diction is precise, as if only one voice was singing.  Their performance was outstanding, bringing strength and beauty to Mahler’s lyrics.  Both Cabell and O’Connor are strong soloists.  Both were able to produce volume without losing their tonal quality.   Ms. O’Connor has a warm mezzo voice that fit perfectly with Mahler’s musings about earthly life, death, and eternity.  Both women had to sit and face the audience for a long time before their solos.  Ms. O’Connor took the opportunity to revel in Mahler’s music.  It was nice to see a musician enjoy the music to which she is a part. 

There was one long standing ovation for this performance.  It was well deserved and it seemed so much more genuine than the obligatory S.O. that ASO audiences give at nearly every performance.   

Finally, there was nary a seat empty in Symphony Hall.  That was nice to see.