Halle Orchestra: Mahler’s Fifth Symphony
Usher Hall, Edinburgh, 17/8/24
Hallé Orchestra, Sir Mark Elder, conductor, Anne Stéphany, mezzo, Magnus Walker, tenor
In a previous career, I worked extensively with Sir Mark Elder when he was Music Director at English National Opera in London, always inspiring, sometimes a little scary, but never dull! In his last concert as Music Director of the Hallé Orchestra at the Usher Hall, he was at his most inspiring, both with his music making but also with his emotive and well-chosen words at the end.
The music was fantastic. First, a little performed work by Lily Boulanger, the tragically short-lived sister of Nadia, Psalm 130, ‘De Profundis’. After the interval, we heard a magisterial performance of Mahler’s 5th Symphony, earth-shatteringly monumental in the hands of Sir Mark and the Hallé.
Lily Boulanger (1893-1918) had been a child prodigy and was the first female winner of the coveted Prix de Rome. She was very close to her older sister, Nadia, and was very attached to her father, Ernest, who was 77 when she was born. His death in 1900 affected her greatly and when she wrote this grand work for mezzo solo, chorus and large orchestra in 1917, she dedicated it to his memory. She had been in poor health since she was born, and tragically died in 1918 at the age of 24.
Psalm 130 (Out of the deep have I called to Thee, O God) is a surprisingly mature work, lasting about 25 minutes. It is in French, and we hear repeated cries of Jahweh and Adonai, meaning God and My Lord in Hebrew. The two Boulanger sisters were heavily influenced by Debussy, but Lily had already formed an individual style, which was very impressive in this strong performance by the Hallé and the Edinburgh Festival Chorus (director James Grossmith). The mezzo-soprano, Anne Stéphany, was the main soloist and came over strongly, although often pitted against full chorus and orchestra. The composer’s immaturity showed slightly in the rather unbalanced nature of the solo writing – no fault of the performers. There was a tiny tenor solo, sung mellifluously by Magnus Walker, who we last heard in this hall singing an outstanding solo in Berlioz’ Requiem with the RSNO. It was unfortunate that Mr Walker sang from the front row of the chorus. I heard several comments at the interval, suggesting costs had been cut by giving a chorus member this small solo. The fact that this was a serious full-time professional singer was obscured by his placement in the chorus. I would have been livid to have been placed in that situation! No details of either soloist could be found in the Festival free sheet or online.
After the interval, we were treated to a truly superb performance of Mahler’s 5th Symphony, premiered in Cologne in 1904. This is the first of the Middle Period symphonies, and the first to dispense with the human voice since the First Symphony. There are still noticeable themes derived from the folk songs in Des Knaben Wunderhorn, but it is nearer to a conventional symphonic form than any of its predecessors. At this time, Mahler was Director of the Vienna Court Opera and Principal Conductor of the Vienna Philharmonic Orchestra, a very famous man, but not yet celebrated for his compositions. The bizarre fact that the first British performance of the symphony was not until 1945 speaks volumes!
Even now, it is best known for the astonishingly beautiful Adagietto for harp and strings which forms the 4th Movement, written in part as a love song to his new wife, Alma. Sir Mark and the Hallé played this movement most tenderly, perhaps subconsciously on his part as a farewell to his beloved players.
The outer movements were given the full treatment, and I was immensely impressed by the sheer weight of sound pouring forth from the platform. All the brass instruments were superb, the trombones being particularly strong, and we were treated to fantastic solos on trumpet, in the first movement, and horn in the third. I’m afraid I can’t tell you who was playing, as the information was not supplied, but they were brilliant!
Woodwind, strings and percussion were similarly impressive, and clear evidence of the evolution of this orchestra over the 25 years of Sir Mark’s directorship. The last movement, a Rondo of mighty proportions, threatened to remove the roof, as did the clamour of the audience at the end.
We were delighted to hear Sir Mark speak at the end about his time with the orchestra, about his love for them all, and he delivered a strong and powerfully worded plea to government for more support for the Arts. So say all of us!
A beautifully played encore of Elgar’s ‘Chanson de Nuit’ sent us out into the night, reminding us of the particular emphasis that Sir Mark has placed on that most English of composers in his work with the orchestra. He will become Conductor Emeritus of the Hallé, and as such is welcome back to Edinburgh any time.
Photo Credit: Maxime Ragni
