MAHLER Symphony No 2 RESURRECTION Judith Henley, soprano Anne Fulton, mezzo Queensland Youth Symphony CONDUCTED BY JOHN CURRO QPAC Concert Hall Saturday 28 August
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Gustav Mahler elicits extreme emotions from music lovers - many regarding his work as inspired and sublime, while others see it as self-indulgent and sentimental.

Despite mixed reactions, 2010 is definitely his year. Orchestras around the world are celebrating the 150th anniversary of his birth with a plethora of his works, in particular the symphonies. The Second Symphony known as the Resurrection, and Mahler’s particular favorite, is a work of true genius.

Demonstrating the breadth of his vision - a desire to depict the beauty of life, the afterlife and resurrection within the confines of the symphonic structure, while offering disregard for any conventional musical form - it is a monumental and musically challenging work for audience and orchestra alike. This makes the undertaking and ultimate success by the Queensland Youth Symphony the more astonishing for its audacity.  

The opening movement, Allegro Maestoso, is a tone poem which was composed separately and only added to the symphony later. It is a sombre and funereal work with a darkness in the percussion and brass that was well paced by conductor, John Curro. The strength in the lower strings across tremolo violins was spine-tingling, with the dirge by the woodwinds skilfully realised.  The separate themes and many key changes make this a complex tonal movement, which was expertly delivered.

Taking the five minute break that the composer requested, which is not often adhered to, the Andante con moto movement contrasts beautifully with the violence of the first with its musical lightness of touch. Reminiscent of the joy of life, the delicate, gentle phrasing offered excellent opportunities for solo work by the oboe, flute and first violin in particular, all sensitively handled.

The third movement, In ruhig Fließender Bewegung, with its evocative timpani strokes and a soaring melody line from the winds across pizzicato strings, illustrating the ‘flow of life’, precedes an impressive climax into orchestral chaos. There was some fine playing from the dissonant strings with solid winds and horns, capped by the ‘death-shriek’ of the full brass ending on a sombre and chilling note.

Mahler introduces the human voice as a prelude to the finale in the short fourth movement, Urlicht. While not offering the dark full-bodied contralto required of this role, Anne Fulton’s warm, rich mezzo-soprano was dignified and expressive, helping to transition smoothly to the impressive fifth movement.

Based on the Book of Revelation, the lengthy finale divides almost equally into instrumental and chorale sections leading by stages to a powerful climax. The lyrical passages from the Chorale were beautifully measured, matched by Judith Henley’s ethereal soprano and excellent phrasing. Mahler throws everything into this movement from numerous brass fanfares, off stage horns and trumpet, organ, church bells and vocal lines with a range of themes and tonal variety. The orchestra rose splendidly to this demanding challenge, from the delicate flute solo through the complex and difficult key changes, building to a joyous finale celebrating the power of the resurrection.

Under maestro Curro’s expert and masterful leadership, the result was a comprehensive and ultimately moving performance of this colossal work.  Curro demonstrated not only a deep understanding of Mahler’s work but also was able to bring out the nuances of the emotional moods and tonal changes through his young and talented performers. It would be hard to imagine this Symphony better played, with the sensitive and passionate commitment of the soloists across all sections complemented by fine vocalists and excellent choral work.

Suzannah Conway