BSO — 2022/10/22

 On Thursday, you could say I heard a surprise symphony — not Haydn's "Surprise" Symphony, but Mahler's 6th. I had trekked in to Boston thinking that they were going to play Beethoven's "Emperor" Concerto and Shostakovich's 5th Symphony, but when I looked at the program booklet, it turned out that it   would be the Mahler. Here's how WCRB puts it:

Saturday, October 22, 2022
8:00 PM

The Boston Symphony scales the depth and breadth of Gustav Mahler’s Symphony No. 6 led by Music Director Andris Nelsons.

Andris Nelsons, conductor

Gustav MAHLER Symphony No. 6

Andris Nelsons talks with CRB's Brian McCreath about Mahler's Sixth Symphony, how its emotional power is different from the Fifth Symphony, and how his interpretation of the piece has changed over the years. Also, Nelsons talks about the BSO's upcoming tour to Japan, which include, coincidentally two pieces with major roles for ... cowbells (Mahler's Sixth Symphony and Strauss's Alpine Symphony). To listen, use the player above, and read the transcript below.

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Andris Nelsons. And Andris, it's great to see y

The interview with Maestro Nelsons takes 20 minutes on audio, maybe less to read. I haven't looked at it, but it could be informative.

Here's a bit from the orchestra's performance detail page, where you can find a link to their program notes:

Gustav Mahler’s intensely emotional Symphony No. 6, written in 1903–04, is arguably his most heartfelt symphonic statement — his wife Alma called it "the most completely personal of his works." The Sixth features three powerful and ominous hammer blows in its finale, which evidently represented for Mahler "three blows of fate." 

At the performance on Thursday, someone shouted "Bravo" after the third movement. I don't know if she thought it was the end of the symphony — probaably so — or if she just thought that movement had been very well played. In any case, I had found it very pleasant. I also found the entire symphony very engaging. Often a long piece such as this seems to be dragged out and I find myself wishing that the composer would "bring it home," but not here. It held my interest throughout, even though I didn't notice some of the details mentioned in the prograam notes, such as the alternating major and minor keys.

The Globe gives a favorable review, concluding that it was "by far Nelsons’s and the orchestra’s strongest showing of the season." The Intelligencer is also highly favorable.

So that's a thumbs up from me and from both reviewers. Check it out.