Dudamel Conducts Mahler's Symphony No. 1
Gustavo Dudamel Era Underway at Los Angeles Philharmonic
Dudamel conducted two US premieres commissioned by the LAPA: City Noir, a three-movement piece in the form of a 30-minute symphony composed by John Adams and Su for Sheng and Orchestra, a 23-minute one-movement concerto composed by Unsuk Chin. Additionally, Dudamel conducted Gustav Mahler’s massive four-movement Symphony No. 1 in D major on four separate days!
The USA premiere of Su for Sheng and Orchestra
Unsuk Chin’s one-movement concerto Su for Sheng and Orchestra was the curtain raiser. The LAPA commissioned work featured Wen Wei playing the sheng (a Chinese mouth organ), accompanied by the Los Angeles Philharmonic.
Mahler's Symphony No. 1 in D major
Begun in January 1988, Gustav Mahler’s Symphonic Poem, was finished in March of the same year. It had five movements, which included a little Andante borrowed from an earlier piece of stage music as the second movement. It was later renamed his First Symphony. The work is steeped in the atmosphere of German romantic literature and finds its themes and underlying inspiration in the permanent conflict between idealism and realism. Mahler revised the Symphony in its entirety in 1893.
With Blumine (the original second movement) now excised, the Symphony in its final form includes four movements: Langsam, Schleppend. Wie ein Naturlaut (Slow. Dragging. Like a sound of nature); Kräftig bewegt, doch nich zu schnell (Vigorous, agitated but not too fast); Feierlich und gemessen, ohne zu schleppen (Solemn and measures, without dragging); and Stürmisch bewegt (Passionate, agitated).
Dudamel’s interpretation successfully navigated the Symphony’s themes and inspiration.
In the words of Schumann, “Hats off gentlemen, he’s a genius.” As the eleventh Music Director of the Los Angeles Philharmonic Association, the 28-year old virtuoso has already earned the trust of the musicians and has ignited a new passion for classical music throughout Los Angeles. Dudamel successfully navigated the fluctuating themes inherent in Mahler’s Symphony No. 1 with a breadth of creative resources that were beautifully revealed throughout the 55 minute symphony.
Dudamel conducted the awakening of nature from its long winter’s sleep with creativity, genuine feeling, and beauty. From the first beat Dudamel’s respectful smiles and gestures clearly communicated the way he wanted the orchestra to depict the quiet imagery of flowers opening, sparkling sunlight and bird songs. The use of three trumpets offstage to emphasize distant fanfares, the flutes as birds, and the hunting horns to evoke the poetic sounds of nature were all beautifully executed. The audience responded enthusiastically at the end of this first movement.
At age 28, Dudamel is a virtuoso and poet. The second-movement was conducted with robust energy and passion. As one of the most rustic of all of Mahler’s scherzos, Dudamel made this movement extremely enjoyable by communicating his thoughts to the orchestra through vigorous body language, creative gestures, and guiding facial expressions. The principal musicians and orchestra responded with their vital interpretations, putting their indelible stamp on Mahler’s second movement with an open-minded sense of harmony and tempo.
The third-movement was solemn, a funeral procession. The canon ('Frère Jacques' in the minor) was introduced by a double bass solo by principal bassist Christopher Hanulik in its highest register. Refined but at the same time very novel, the sonorities in this movement makes it one of the most fascinating. There is a sudden explosion that concludes the movement. Here Dudamel is exhilarating, his long hair furiously flailing with the music, the bass drum is booming, the horns and strings are thrashing.
In the fourth movement, Dudamel is thoroughly in command. His face is expressive, growling almost. This movement is a big, powerful, dramatic movement that begins with a short introduction that expresses determination, pride, and aspiration to a higher order. Refined, beautiful, flowing and emotional, the waves of sound were so powerful that many audience members were in tears from the emotional translation Dudamel brought to this great symphony. The conclusion sent shivers down my spine.
Dudamel receives a 15-minute standing ovation and takes five bows
Springing instantly to their feet, the thunderous ovation went on for nearly fifteen minutes. After five bows, the maestro took his place amidst the orchestra with a giant smile on his face. The orchestra principals took their bows and the sense of community was everywhere. The 28-year old Gustavo Dudamel gestured his gratitude to the people in the choir loft, stood next to the cello and viola sections and took another bow, indicated to the orchestra to stand and take a bow, and exited without taking a solo bow himself.
The evening ended on a very wonderful note when, during dinner, the great conductor stopped by this writer’s table at Patina to shake hands and wish us a very lively “bon appétit.” His inaugural season continues with additional US premieres, five of which will be conducted by Gustavo Dudamel. For more information, please visit www.laphil.org.
Source: Performance Magazine, October 9, 2009 - program notes
Gustavo Dudamel
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