Mahler Symphony No 2 “Resurrection”
Usher Hall 1/3/26
BBCSSO, Edinburgh Festival Chorus, Donald Runnicles (conductor); Jennifer Davis (soprano), Karen Cargill (mezzo-soprano)
https://www.bbc.co.uk/events/ej6mzc
It is just over three years since the BBC Scottish Symphony Orchestra brought back their celebrated Conductor Emeritus, Sir Donald Runnicles, to lead them in Mahler’s epic mortality-obsessed Ninth Symphony. The first day of meteorological spring, a time of anticipation of renewal and rebirth, therefore seemed particularly apt for the confirmed Mahlerian maestro to return again to direct a performance of the Second Symphony, the “Resurrection”, which acknowledges pain and grief but reaches for a serene afterlife. The Ninth had filled Glasgow’s City Halls; the Second filled Edinburgh’s thrice-as-capacious Usher Hall. The huge orchestra comprised 116 musicians, including 11 offstage horns, trumpets, timpani and percussion, and the magnificent Usher Hall organ played by Michael Bawtree in the finale. The Edinburgh Festival Chorus, at full strength with over 160 voices, were poised to proclaim the triumph of eternal life in the finale. Irish soprano Jennifer Davis and Scottish mezzo Karen Cargill were the soloists in the last two movements. I have not forgotten Karen’s superb ‘Das Lied von der Erde’ with the orchestra under Alpesh Chauhan and with tenor Brenden Gunnell in November 2023 – she too is a confirmed Mahlerian. Leader of the BBC Symphony Orchestra and Principal Guest Leader of the RSNO, Russian-born Igor Yusefovich, was our guest leader for the evening. The performance was recorded for later broadcast on BBC ‘Radio 3 in Concert’, after which it will be available as a podcast on BBC Sounds for 30 days.
The first movement is an episodic symphonic poem of bereavement and grief, starting from an outpouring of anger, the 8 double basses and 10 cellos introducing a glowering march, more pacing rant than funeral cortège. There are moments of wistful reminiscence of happier times, but also evocations of tragic and calamitous events, moments of rage and defiance contrasted with devout prayerfulness and acceptance. Over the top? Of course, it’s Mahler. Whether the contrasts are different mourners at a funeral or multiple facets of just one troubled mind (my preferred viewpoint), the whole is dramatic and gripping, and Donald Runnicles embraced its temperamental fractured sense of loss and endowed it with an empathetic universality. Just as the movement appears about to conclude with an acceptance of the tragedy of the human condition, there is a final outburst of raw chromatic rage, which I for one always find cathartic. We’ve all been there.
The second movement is shorter: an almost impossibly elegant, lilting, sweet schmaltzy Ländler. I have never been able to decide whether it is self-parodic, or an Austrian version of ‘tea and sympathy’. I just know that I love it to bits. The playing was exquisite, every last drop of teasing rubato wrung from it by the maestro. I have no such doubt about the blatant self-mockery of the Scherzo, a baleful klezmer waltz straight from the shtetl, superbly camp. There was fabulous stylish playing from solo violin, flute and trumpet.
The gentle stillness of the 4th movement, ‘Urlicht’ (Primal Light) is always balm for the soul. Karen Cargill’s mezzo, with gorgeous vibrato and tenderness, showed how unforced dynamics can still project to the back of the hall. Solo oboe and violin echoed the consolatory message. A plea to be free of the pain of this world and gain entry to the next. A moment of urgency gave way to deep repose. Perfect.
The finale starts with a crash, running basses and cellos, and offstage trumpets and horns hinting at the prize in the distance. A poem by Friedrich Gottlob Klopstock, a setting of which Mahler heard at Hans von Bülow’s funeral, provides the text, to which Mahler added his own words of affirmation. Jennifer Davis’ solo soprano voice and the chorus exhorted each other to believe in the attainability of eternal live and to exhibit the hope and courage to undertake the journey, joined by mezzo Karen. The path is not straightforward. There are trials, ordeals and setbacks described in the music. But so is the steadily solidifying determination. The eventual triumph is all the sweeter. The chorus (trained by James Grossmith) was unleashed, with exuberant brass chording and the added seismic power of the organ in the final glorious affirmation. Fabulous.
This was undoubtedly one of those concerts that all present will remember for a very long time, perhaps to the end of their days. Pretty special.