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Robin Ticciati conducts Gustav Mahler: Cheerful music-making and a dark sound

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György Ligeti wanted seven bars of silence to follow the last note of his composition “Lux aeterna”. But the eight horn players of the large German Symphony Orchestra break into the stillness of this “sound surface composition” from 1966 to “strongly. Decided” to introduce Gustav Mahler’s third symphony.

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The astonishing combination of music in this DSO program under its chief conductor Robin Ticciati emphasizes what the heterogeneous works have in common: it is about spatial sound direction, because a magic word in the two scores is: “As if from afar”.

The women’s voices of the Berlin Radio Choir, ready for the fifth movement of Mahler’s symphony, begin with Ligety’s 16-part a cappella music. The text from the Latin requiem mass is drowned in a static sound pattern, while the tones, densely nestled without rhythmic characters, mysteriously ring down from the heights of the darkened philharmonic hall. A sublime performance by the Rundfunkchor.

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From the small “composing house” on Lake Attersee, where Mahler used to work during the summer holidays, his Third Symphony, completed in 1896, comes into the world, a giant symphony of one and a half hours in six movements, the fourth and fifth on texts by Nietzsche and from “Des Knaben Wunderhorn”. “. Joining the aforementioned performers are Karen Cargill (mezzo-soprano) and the boys of the State and Cathedral Choir.

Under Robin Ticciati, however, the miracle of an interpretation occurs that allows all the contradictions of the music to be sung out from cheerful music-making with birdcalls and romantic night darkness, Schumann sound and chromatic ecstasies, without concealing the strangely irreconcilable.

The brilliant orchestra articulates fiery marching tempo with sharpness up to “highest power”, Andreas Klein’s trombone sounds with a compelling rubato, concertmaster Wei Lu’s solo violin intervenes decoratively, and everything combines to form a great interpretation of the “First Division”. . In the Scherzo, Bernhard Plagg’s wonderful post horn solo descends “as if from far away”. Starting with the sound of the strings, every instrumental line in the last movement asserts its meaning in the polyphony under Ticciati’s modeling hands. The finale becomes the climax of an extraordinary performance. Big cheering applause.

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Source: Tagesspiegel

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