Although the Salzburg Festival still runs a few more days, my ticket collection ended tonight… and what a way to end. Simon Rattle and the Berlin Philharmonic returned to the Great Festival House and brought Mahler‘s Seventh Symphony with them.
They provided a perfect balance of tension and celebration: here a dance, there a march, and over there a lullaby – but all threatened by the struggle of life. The orchestra bounced effortlessly from one concept to the other, while simultaneously balancing night and day, darkness and light, joy and trepidation. Many have failed to understand this symphony, and have criticized the final movement in particular for failing to resolve: but it does resolve, especially when crafted as Rattle did tonight. It happens to be one of my favorite movements in Mahler’s symphonies, with its great chorales striding from the darkness to proclaim to the world that it may be dark but we live – indeed, we have danced, marched, and sung lullabies.
Less commented is the original inspiration: Mahler’s conservatory classmate (and roommate) when they studied together with Bruckner was Hans Rott, who went insane and died aged 25. Bruckner (and Mahler too) had regarded him as more talented than Mahler. Rott completed only one symphony (which I had only known from recordings until I finally heard it live last year), elements of which later showed up as inspiration for some of Mahler’s works. And indeed the final movement chorales in the Seventh Symphony grew out of Rott’s. In life, Rott had failed (and was locked up in the asylum). In death, it seems he has triumphed on the wide open spaces of Mahler’s Seventh.
Of course, it takes a perfomance of such clarity as Rattle and the Berliners gave tonight in order to hear this.
For some reason, they chose to preface the symphony with a short pile of musical notes spilled on paper by Pierre Boulez: Éclat. Boulez, in his roles both as composer and as conductor carried on the French effete tradition of distilling all of the essence out of art (in this case, music) and then also throwing out the substance, so that nothing of value remains. And so it was with this opening work. Seriously, what was the point? Fortunately, it was short and easily forgotten when the Mahler arrived.