Hartford Symphony Orchestra Masterworks Series Program No. 2 Mahler: Symphony No. 9 in D Major Thursday through Saturday, October 10, 2009 at 8:00 PM Concert Preview, 7:00 PM, Belding Theater Sunday, October 11, 2009 at 3:00 PM Concert Preview, 2:00 PM, Belding Theater EDWARD CUMMING, conductor www.hartfordsymphony.org Review by Donna Bailey-Thompson Evident from Maestro Cumming's pre-concert talk was his respect and admiration of Mahler's music, and especially the evening's selection, Symphony No. 9 in D Major. He described Mahler as the greatest symphonist; that Michael Tilson Thomas, Music Director of the San Francisco Symphony, measures everything "before Mahler and after Mahler." In his scores, Mahler augmented printed instructions with handwritten orders, such as, "Don't you dare go too fast here." Cumming added that he's taken some liberties ("never with the notes") where he's "seen an intention" by the composer. Speculation about how much Mahler's health influenced the writing of the Ninth approaches parlor game distinction. Both he and his wife were distraught over the death of their young daughter from scarlet fever, but his wife's despondency needed medical intervention. After she was examined, Mahler said that the doctor might as well listen to his heart too. Distinct abnormal valve sounds were detected, a result of frequent strep throats. Always athletic, he was advised not to stress his heart unnecessarily. He knew he faced the likelihood of dying young, and indeed he did at age 51 (1911) but not before writing the Ninth followed by drafting Symphony No. 10. In Cumming's notes about the first movement, The Art of Transition (Adante comodo), he writes, "Everything in this movement is introduced by Mahler in the first 25 seconds." First, there's "an irregular rhythm (heartbeat?);" second, "a harp then announces a more regular 4-note idea;" third, "another horn issues a 5-note melodic fragment, heroic, but nasal;" and four, "second violins enter, falling sighs. All four musical ideas are combined and reintroduced in continuous variation." They sure are! But to ears not intimately familiar with the score, there seem to be far more than four basic musical ideas. The first movement's beginning was reminiscent of an instrument being tuned which morphed into a sweet melody, and then a deep resonance, within minutes majestic, followed by a lilting passage, then languid moments, and what seemed like a new emotional journey studded with heart beats. Had Mahler reached an acceptance of medical limitations? Continuous mind pictures were interrupted by a sudden slide into a major key, the plucking of a harp, golden tones, mellow horns, a flute's single high note falling to nothing. Hushed audience. Great vigor enlivened the second movement; dancing is obvious, definitely happier music. With the third movement (correctly subtitled, March of Defiance), the tempo quickened, and energy exploded. Several times, Cumming's feet left the podium; sudden deep knee bends demanded more from the musicians -- and they gave it. With the final movement, the strings were soothing, healing, and there was a brief suggestion of hymnal music. Did the deep searing pain stem from the daughter's death? Did the solemn passages suggest Mahler was experiencing the solace of acceptance only to have it jarred by a return of dreadful grief? How was it possible for the full string section to play so softly that the effect was as if only one instrument was being bowed? Was this prolonged wrenching of emotions Mahler's inability to express the ultimate goodbye to his daughter? Was he crying out, "Hear me!"? A crescendo, cymbal, strings blending into single notes, and the repeated return to a major key. Lights at the rear of the stage were dimmed, creating the effect of storm clouds. And still, what seemed like a single note from one violin could be heard -- barely. Eventually, achingly, it faded into nothing. Was Mahler's tortured farewell to his beloved daughter realized? The silence -- profound, heartbreaking -- was held to appreciate a moment of eternity. By one and two, and then small clusters, an emotionally charged audience stood and clapped, reverently.

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