KPO’s Resurrection compares favourably to The Proms

Ku-ring-gai Philharmonic Orchestra | Mahler 2, Resurrection

March 17, 2024, The Concourse, Chatswood NSW

I frequently wonder why Mahler started his symphonic works with the aptly named The Titan and followed with an extensive work clearly modelled on Beethoven’s no 9. The short answer is that possibly he didn’t, as it is thought that many of his early manuscripts were destroyed in the bombing of Dresden in 1945 and he does refer to earlier lost works. Certainly, the news that he received about his incurable heart condition turned his thoughts towards death and atonement. I also ask myself if fees for musicians and soloists were lower in his day as he thought nothing of employing a hundred vocalists to sing for ten minutes as well as a huge orchestra. We are the beneficiaries, particularly the near capacity audience at Chatswood Concourse, who were treated to a superb rendition of his second symphony.

The first movement was originally written as a memorial service (totenfeier) based on a poem by Adam Mieckiewicz. Opening with a sombre march in C minor, the music becomes less mournful with two separate episodes in E major reminiscent of the funeral march of Beethoven’s Eroica but with many more dramatic fortissimo ‘tuttis’. Mahler drew inspiration for this symphony from the funeral service of his conductor friend Hans von Bulow.

The perpetually mobile Paul Terracini then left the stage for two minutes, as opposed to the five prescribed by the composer allowing the two soloists to take their place and for a less abrupt transition to the much lighter Andante. Based on a simple folk tune (ländler) it certainly contrasts with the preceding atmosphere and is attractive in its simplicity. The third movement is based on excerpts from a song cycle on Mahler’s favourite traditional poem Des Knaben Wunderhorn (The Boy’s Magic Horn) while the fourth takes its origin from the song Urlicht or ‘primal light’.  In the original programme, the composer stated that these two segments represented ‘a view of life as a meaningless activity,’ and ‘a release from such a life’, but then, typical of his temperamentality he instructed the programme to be destroyed!

It is in the penultimate movement that the alto soloist has her entry. Celeste Haworth has a beautiful soft yet assertive voice suited to the character of the movement. Emphasising it’s debt to the Choral Symphony, the Finale is almost as long as the previous movements combined and begins with a quiet recapitulation of themes from those sections.

The soprano, ably sung by Imogen Faith-Malfitano, makes her entry and then the Willoughby Symphony Choir adds to the apotheosis of the work. This movement is responsible for the title Resurrection – it states in no uncertain terms the hope for everlasting redemption – the brass and percussion certainly get a work out!

I have heard this work once previously at the Proms in London and I can honestly state that the Ku-ring-gai Philharmonic Orchestra, ably directed by its conductor, did not suffer in comparison. A great evening.