Saturday, November 23, 2024
Orchestra Hall, Max M. & Marjorie S. Fisher Music Center, Woodward Avenue, Detroit, Michigan
There was a hitherto unsuspected correspondence (at least for me) between these two Symphonies, namely that the trumpet solo that cues the percussion outburst in Haydn’s second movement is remarkably similar to the one that introduces the Mahler, which Hunter Eberly played impeccably to launch an interpretation that was inconsistent. Jader Bignamini, based on the first two movements, was seemingly taking a long-view of the work, coherence above all, until the third, which while attractively lilting and flexible also indulged the slower music to beyond itself, becoming tedious, as did the subsequent Adagietto, tender certainly, beautifully played, yet static over eleven-plus minutes (Mengelberg and Bruno Walter have shown the more-flowing way with this often-separated, now cinematic movement). Come the Symphony’s spirited ultimate coda, Bignamini raced through it to leave a rather hollow impression. This account and companion others are intended for a commercial release – even though M5 already has a sizeable discography – and it’ll be interesting to hear how they edit together. Taking out between-movement clapping will be easy enough – but why do some people interrupt with their noise when specifically requested to remain quiet for the duration of the performance? Still, it’s too soon to rate this account in competitive terms, well-prepared and -played as it was, and with superb horn contributions in the third movement, the player not required to stand at the front of the orchestra (Mahler’s wacky afterthought), thankfully. The Haydn was neat if rushed in the first movement, needing greater shape and playfulness, although the percussion of the second was kept in check, at least as broadcast, which is just fine with me.