Written in 1887–8 when he was in his later 20s, Gustav Mahler’s First Symphony was a life-changing work for the composer, and is frequently a transformative experience for listeners and musicians alike. We talk to José Moreira, principal contrabass with the Royal Stockholm Philharmonic Orchestra, about his experiences performing this famous piece.
Can you introduce yourself, and talk about your current musical role and responsibilities?
My name is José Moreira, I’m currently one of the principal double basses in the Royal Stockholm Philharmonic Orchestra in Stockholm. Before moving to Sweden, I had a job briefly in the Stavanger Symphony Orchestra in Norway, and before that I used to be a member of the London Symphony Orchestra.
I will separate my role into two different dimensions. The first is one that I share with all double bassists in the world: to provide the rhythmical and harmonic foundation upon which the entire orchestra can build. The second, which fascinates me a lot, is the psychological aspect of the first chair. I remember how much it inspired me to sit behind a principal that was completely immersed in the music – it motivated me to do the exact same thing! Now that I’m sitting in the first chair, I try to give that same spark to my colleagues so we can leave the stage knowing that we have given our all.
Mahler’s First Symphony was one the composer attached great importance to. Can you give a short introduction to this famous piece?
There is a reason why Mahler’s First Symphony appears in almost every orchestra’s season. For any audience member – whether a first-time listener or the experienced concertgoer – this work’s pacing is so masterful that it is impossible not to feel captivated by it. From the slow awakening in the first movement, where one can clearly hear the nature references and quotes, to the incredibly familiar yet haunting distorted tune in the third, and finally the triumphant blast of the finale, it is one of those pieces that feels over far too soon.
Mahler’s string writing can be virtuosic, contrapuntal and even raucous at times. How does the music feel from the perspective of the contrabass section? How do you work with your string section colleagues, and those in other parts of the orchestra?
I particularly enjoy playing Mahler’s music and his double bass writing. From a technical perspective, I think he mastered the balance between keeping the instrument as the orchestral foundation while elevating the writing to a level of virtuosity that was unusual for his time. It is true that playing his symphonies can feel like a physical workout, but I have always felt the parts were so masterfully and carefully written that it never sounds out of place or unplayable.
In my view, the greatest challenge occurs when the texture gets thick: it is tempting to wait for the rest of the ensemble and it feels contra naturam to keep the tempo moving forward and, in a way, ‘push’ the orchestra. From my experience, those dense moments really come to life when the double bass section drives the momentum forward rather than reacting to it.
Mahler’s First Symphony is the kind of work that allows for no ‘passengers’ in the orchestra. Every single player must have total focus, bearing full responsibility for the performance. I find Mahler’s music so explosive and quick-changing that every musician must be 100% immersed in the score. It isn’t just the abrupt shifts in tempo; the extreme range of dynamics and the colours and sounds Mahler wants to get out of the orchestra demand full collaboration. I believe this is exactly why musicians love performing his symphonies – it represents teamwork at its fullest potential.
What impression did the work make on you when you first heard it?
I first heard Mahler’s First Symphony in its entirety while preparing to perform it during my time at the Royal Concertgebouw Orchestra Academy. Though I had heard fragments before, I had never experienced the full work. I was completely blown away; the same elements that amazed me then continue to fascinate me today. I remember listening to the symphony for the first time with the double bass part in my hands, feeling incredibly hyped to finally play it myself. I was exceptionally fortunate to have my first performance of this symphony be with the Royal Concertgebouw Orchestra under the baton of Daniele Gatti. Every chance I have to play this symphony since, I try to get the same spark and excitement I had in Amsterdam.
Do you have a personal favourite passage in the symphony?
Well, I wouldn’t be a double bass player if I didn’t mention the famous double bass solo at the beginning of the third movement. For any double bassist, that moment is the highlight of the evening! I have been fortunate enough to both perform it and listen to it live a couple of times, but I will never forget how beautifully my former colleague in the London Symphony Orchestra, Colin Paris, played it. To this day, his interpretation remains my favourite and the one that makes me think “one day, I wish I could play it like that”.
Aside from the bass solo, I really love the moment at the end of the symphony where the entire French Horn section stands up. It’s one of those heroic moments that makes me feel incredibly grateful for the opportunity to experience and perform it at such high level.
Is there a recording or a memory of a performance that is particularly special to you?
As I mentioned previously, performing this work with the Royal Concertgebouw Orchestra under the baton of Daniele Gatti was truly a very special moment in my career. We took the symphony on a small European tour, and having the opportunity to play it multiple times with such an orchestra was, in many ways, life changing. One performance in particular stands out: the concert in the Paris Philharmonie. It was the very first time I performed in that hall, and the combination of such a fantastic concert hall and an orchestra of that calibre was truly out of this world for me.
What guidance would you give to listeners and performers new to Mahler’s music?
I guess my humble guidance for performers would be to truly trust in the instructions that Mahler left in the score. He was very meticulous with his instruction, and though some of them may feel open for interpretation, there is a reason for him to write them in the first place. Much of the magic in his music comes from the relentless tempo changes and massive build ups. If a performer tries to be too ‘polite’ or cautious with these moments, we run the risk of missing the music’s essence entirely.
For the listener, my advice would be to buckle up! You are in for a ride so enjoy it while it lasts.
Why should one come to hear a performance of Mahler’s First Symphony?
Anyone attending a concert where Mahler’s First Symphony is programmed will not leave the concert hall the same person they were when they entered – especially if it’s their first time experiencing it. Listening to or performing this piece is like climbing a mountain, it requires courage and total commitment, but the reward is a sense of wonder and hope that stays with you for the rest of your life.
The Royal Stockholm Philharmonic Orchestra perform Mahler’s First Symphony on 11th and 12th March at the Konserthuset, Stockholm.
See all upcoming events from Royal Stockholm Philharmonic Orchestra.
See performances of Mahler by RSPO on Konserthuset Play.
This article was sponsored by Konserthuset Stockholm Foundation.
