minstrels is finally over - for the time being, at least. Since mid-August, they had traveled to concert halls in Florida, Europe, New York and Washington, D.C.
, taking a for last week's Carnegie Hall residency.
the next three months, until they head to Miami's inaugurate an annual three-week residency. One of the works Symphony No.
1, an ideal piece to showcase these musical occasion. Few orchestras play the composer's initial foray into the symphonic world with comparable delicacy, poetry and power. Welser-M O st led a lucid, cogent account that brought the seemingly disparate aspects together, while It is a strange and wondrous piece, a veritable stew of folk elements, tender songs, tumultuous climaxes and varied connection.
But Mahler's brilliance as a narrative artist is already blazingly apparent in the First Symphony, as a masterful lesson in symphonic abstraction.
Welser-M O st leans in the latter direction. He unfolded the tempo changes as organic musical shifts.
The lyricism in context. Listeners who see Mahler as willful extremist will have to look elsewhere. On its own well-argued terms, the thrilling creation it is.
After so many recent journeys in other repertoire, the Thursday. But the untidy ensemble moments were small distractions from the reserves of warmth, might and detail that the musicians projected. The tender passages caressed the ear, the klezmer band in the third movement wailed vibrantly, and the sweeping episodes filled the hall with level.
Welser-M O st began with an austere reading of missed the music's tongue-in-cheek qualities. What should emerge as merry came across as labored, and even the trombones could barely be heard in their famous lick.
absence of 25 years.
The score reflects the Argentine form. The orchestra's many soloists did vivid work both in the lyrical and flashy demands, though the performance But do go for the Mahler.
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