Pärt, Mahler, Bruckner
The good Lord put so much beauty in the world, but sometimes we have to go search for it. Zubin Mehta and the Vienna Philharmonic knew where to look tonight at the Festival.
The concert opened with a short piece by Arvo Pärt that the Philharmonic had premiered in 2014, on a commission from the Salzburg Mozarteum. Swansong was a setting for chamber orchestra of an anthem Pärt had previously on words Cardinal John Henry Newman had written shortly before he died. The piece was musical enough, but awfully repetitive for a short work – I wonder if the orginal version with text might not have been better.
The next work did have its words intact: Gustav Mahler‘s Kindertotenlieder, with baritone by Matthias Goerne. Mehta combined Goerne’s passionate sadness with distraught woodwinds, never letting the instruments overwhelm the words but portraying the anguish in Friedrich Rückert’s texts. This culminated in the final song, “In diesem Wetter,” in which the orchestra all but created a storm inside the Great Festival House – I nearly wanted to run home to check if my windows were closed – but still contained as tears.
Beauty can best be appreciated when the world is not perfect. So Mahler’s songs provided a fitting prelude to Anton Bruckner‘s Fourth Symphony. Without a soloist, Mehta did not have to worry about restraining the orchestra, and he unleashed it in full force. In this interpretation, however, Mehta drew out much of the often-overlooked tension lurking underneath the surface of this symphony. Indeed, we could see suffering in the world, yet the beauty rose above it all. Mehta bound the whole work together with the pulsing strides of the lower strings: could this have been the inevitable march of fate? But beauty triumphed: so much beauty. Praise the Lord!