I'd never heard the Mahler 8 at the RFH before and wondered how the venue would cope with its enormous forces. The answer was to transform the Symphony of a Thousand into one of about four hundred. Predictably there were both gains and losses.
Salonen had obviously thought through the remarkable orchestral effects that Mahler used, particularly in the Part Two. That magical moment when Faust is transfigured- harmonium, piccolo, E flat clarinet, harp, piano, celeste- was wonderful. And the woodwind detail in the middle part of the movement revealed details that I've missed since I first sang in the boys' choir in the 1959 Horenstein performance, studying recorded performances avidly ever since. The brass made a tremendous impact, as expected, and the organ looked and sounded resplendent. But the string section wasn't augmented as it probably needs to be.
However, well as the choirs sang, there was a lack of impact due to their relatively small numbers. I recall the boys' choir in Horenstein's performance
numbering one hundred plus (our choir master strong-armed everyone who could sing in tune); the Tiffin boys had about thirty or forty. If this choir is to cut through the orchestral tumult, it must shout like a gang of urchins from Oliver! And be large enough . I still have the photograph the BBC presented to us; it reveals an astonishing sight. There were 750 performers that night.
Oddly, Salonen positioned the soloists at the wings near the extra brass. To be blunt, I heard little of them.
Despite these limitations, the symphony was a thrilling event, just as Mahler desired. I just wonder whether the RFH was the right venue for it.
Salonen had obviously thought through the remarkable orchestral effects that Mahler used, particularly in the Part Two. That magical moment when Faust is transfigured- harmonium, piccolo, E flat clarinet, harp, piano, celeste- was wonderful. And the woodwind detail in the middle part of the movement revealed details that I've missed since I first sang in the boys' choir in the 1959 Horenstein performance, studying recorded performances avidly ever since. The brass made a tremendous impact, as expected, and the organ looked and sounded resplendent. But the string section wasn't augmented as it probably needs to be.
However, well as the choirs sang, there was a lack of impact due to their relatively small numbers. I recall the boys' choir in Horenstein's performance
numbering one hundred plus (our choir master strong-armed everyone who could sing in tune); the Tiffin boys had about thirty or forty. If this choir is to cut through the orchestral tumult, it must shout like a gang of urchins from Oliver! And be large enough . I still have the photograph the BBC presented to us; it reveals an astonishing sight. There were 750 performers that night.
Oddly, Salonen positioned the soloists at the wings near the extra brass. To be blunt, I heard little of them.
Despite these limitations, the symphony was a thrilling event, just as Mahler desired. I just wonder whether the RFH was the right venue for it.
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