OVERNIGHT REVIEW: Dudamel and L.A. Phil play Mahler's Symphony No. 1 at Walt Disney Concert Hall

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Los Angeles Philharmonic; Gustavo Dudamel, conductor
Mahler: Symphony No. 1
Friday, January 20, 2012 • Walt Disney Concert Hall
Next performance: Tonight at 8 (includes Adagio from Symphony No. 10)
Preconcert lecture by Gilbert Kaplan at 6:30 p.m.
Information: www.laphil.com

Tomorrow at 7:30 p.m.
Dudamel and Simón Bolivár Symphony Orchestra of Venezuela
Mahler: Symphony No. 2 (Resurrection)
Preconcert lecture by Gilbert Kaplan at 6:00 p.m.
Information: www.laphil.com
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Although it meant not hearing the Adagio from Symphony No. 10, I’m glad that the Los Angeles Philharmonic elected to make last night’s performance of Mahler’s Symphony No. 1 part of its “Casual Friday” format.

The Phil was one of the first major orchestras — perhaps the first — to adopt this method of reaching out to people who don’t ordinarily attend concerts by providing more than music to the experience.

“Casual Friday” has obviously struck a chord. These concerts always draw large crowds, many of whom are regular concertgoers who just like the somewhat different approach while others match the original target audience. Giving both groups a chance to experience Gustavo Dudamel’s affinity for the Austrian composer/conductor who he calls Gustavo Mahler was a smart move, IMHO.

Dudamel has a long history with Mahler’s Symphony No. 1. It was the first major piece he conducted (at the age of 16). Mahler’s first was also on Dudamel’s inaugural Walt Disney Concert Hall program as the Phil’s 11th music director on Oct. 8, 2009 and appeared on his first subscription programs later that week. In 2010, Dudamel and the Phil played the work on a cross-country U.S. tour.

Exciting as those 2009 concerts were, particularly the inaugural gala concert, there was an edgy, nervous quality to the performances, even though the orchestra played superbly. Last night, the nervousness was gone, the feeling more cohesive, and the quality was even better. As cellist Barry Gold said in the post-concert Q&A, “We [the Phil and Dudamel] know each other better now after three years of playing and touring together. We’ve gotten inside the music more.” And, one believes, inside themselves more, as well.

Last night, that translated into both an exhilarating and subtle performance of this symphony, an amazing composition for a composer still in his 20s. In his preconcert lecture, Gilbert Kaplan said, “Everything that would come to characterize Mahler is found in his first symphony.” Thus, even novice concertgoers among last night’s audience could come away with an understanding of why, 101 years after his death, Mahler remains a composer that speaks directly to 21st century listeners and also why the Phil’s “Mahler Project” has captured many (although not all) people’s imaginations.

This was one of those nights when to have a side or straight-on view of Dudamel conducting was pure joy. As happens during his finest moments, every conducting gesture Dudamel made — from the smallest twitch to the largest swoop — had musical meaning, and he reveled in — indeed, lingered over — even the smallest details. Yet the entire performance held together as an organic whole, which wasn’t really the case three years ago, and all sections of the orchestra were in top form.

Conducting without a score, Dudamel painted this 58-minute tone poem with a multi-hued palette. He chose expansive tempos for nearly the entire first movement, building gradually over the first 15 minutes to the final two-minute thunderous climax. The second was a yin and yang of shifting dynamics.

It was the third movement — with its fusion of a sardonic funeral march and a klezmer-like street-band celebration — that really stood out for me. Dudamel’s balancing of these seemingly disparate elements was masterful and the orchestra’s principal soloists — including Christopher Hanulik, bass; Ariana Ghez, oboe; David Buck, flute; Andrew Bain, horn and Thomas Hooten, trumpet — really shone. There were two especially magical moments: just as the harp was setting a mood, the violins floated in almost imperceptibly, and the stillness of the concluding measures really made the opening of the final movement explode.

In that final movement, Dudamel bookended furiously urgent passages around a tender, expansive middle section. Some may find those extremes too jarring (some critics on that 2010 tour did) but for me it was exactly the right way to conclude a superlative performance.

About half of the members of the Simón Bolivár Symphony Orchestra of Venezuela were seated directly behind the Phil for the concert. Dudamel and the Phil established what might be an impossibly high standard for their young counterparts to aspire when they take the Disney Hall stage for their portion of “The Mahler Project” beginning Sunday night. But, as those of us who heard the Bolivars in 2007 recall, don’t bet against them coming really, really close.
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Hemidemisemiquavers:
• Gilbert Kaplan’s hour-long lecture proved to be an excellent sketch of Mahler’s life and symphonies. Among the more interesting points were that Mahler was age six when he composed his first work: a polka with (what else) a funeral march! (Even at a young age, Mahler had plenty of grief moments; five of his siblings died during infancy.)
• During the Q&A, LAPO President Deborah Borda said that all 5,000+ tickets for the performance of Mahler’s Symphony No. 8 on Feb. 4 have been sold.
• There are obviously a lot of “Casual Friday” concert regulars for whom the musician’s talk to open the proceedings isn’t important. At 8 p.m. (the alleged start time), the hall was only about three-quarters full; most (but not everyone) had finally showed up by the downbeat of the symphony at 8:17.
• One of the interesting aspects of the Q&A is that you’re never sure what will come from the audience. Borda smilingly ducked a question from a New Yorker who asked why the L.A. Phil doesn’t offer tickets to open rehearsals as happens at the New York Philharmonic. Although, as Borda pointed out, the Phil does offer free seating at Hollywood Bowl rehearsals, it has no program for Disney Hall concerts. The NYPO’s open rehearsals at Avery Fisher Hall usually occur on Thursday mornings and cost $18 each, about a third the price of the cheapest NYPO concert ticket. The Boston Symphony has a similar program.
• Thomas Hooten, currently principal trumpet of the Atlanta Symphony, has returned for his second guest stint with the Phil. He also filled in for Donald Green, who is on sabbatical, at the beginning of the season.
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(c) Copyright 2012, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

Comments

[MarK]

Clarification for the last hemidemisemiquaver: Thomas Hooten is not simply a guest but is actually the LA Phil's next Principal Trumpet who will officially assume that position on a full time basis later this year.

[Bob Thomas]

MarK: As someone who spent 40+ years “on the side of the fence” as a communications professional, I have seen several personnel moves in business, golf and — yes, music — derail at the last minute. Thus, although your pipeline in these sorts of things has proved excellent in the past, I’m perfectly willing in this case to wait for official notification. On any basis, I’m happy to have Mr. Hooten playing in the ensemble.

[MarK]

It is already so "official" that several weeks ago the Atlanta Symphony has already announced local and national auditions for the position (to be vacated this August) that are scheduled to start next month. This information can be seen at the top of the audition page on their website.

[Gary]

Friday's concert was really enjoyable. Like you, I thought the third movement was the highlight.

This is our second season of subscribing to Casual Fridays and the Q+A session is a big part of it. I just wish my hearing allowed me to understand the Dude more. The acoustics at Disney seem to garble speech.

[Bob Thomas]

Yes, they do. It's the only real negative to Disney Hall and I wish the Phil would do something about it. My only suggestion is to experiment by moving to a different seat for the Talk back portion; perhaps you'll find one that works for you.