Can you introduce yourself, and talk about your current musical role and responsibilities?
I’m Hitoshi Imai and I’ve been Principal Horn of NHK Symphony Orchestra Tokyo since 2013. Before joining the NHKSO in 1999, I held positions at the Orchestra Ensemble Kanazawa and Tokyo Symphony Orchestra.
Gustav Mahler’s Third Symphony, one of the longest in the repertory, can seem an imposing work. Could you give a brief introduction to the piece, for those who haven’t come across it before?
Whereas Mahler dealt with the theme of man and God in his Second Symphony, the Third Symphony is about reverence for nature, and return to nature. Having said that, both nature and God can be considered transcendent existences that are revered and, in that sense, one could say the two symphonies deal with a common theme.
The Third Symphony is a huge work that takes about 100 minutes to perform, but there is never a dull moment – although perhaps I feel that because I am a player, and the listener may think otherwise.
The first movement alone takes longer than 30 minutes, and the whole work is formed of six movements. Therefore, the listener needs to be mentally prepared. My advice is to familiarise yourself a bit with the work beforehand.
The opening of the symphony is an important theme played by the whole horn section alone. What is the symphony like to perform as Principal Horn, and for the whole horn section?
The beginning is very typical of Mahler. It’s rewarding for us that Mahler entrusted the opening theme to the horns as it determines the character of the symphony. I’m sure I’ll be fired up when I perform!
The theme is performed by eight horns. When so many horns play together, the sound becomes deep and expansive – almost cosmic. This is a feature that is sets us apart from the trumpets or trombones. I hope the listeners will relish this sound.
Mahler’s writing for horns is virtuosic but also highly idiomatic. What other horn highlights would you point to in this symphony?
When the trombone plays the solo in first movement, the unison horns play a similar passage in dialogue with the solo trombone, from bar 57 (3:19 above), and bar 99 (4:57). These are highlights for the horns.
This symphony is one of the most spectacular for the orchestral brass players, with famous solos for trombone and a spinetingling posthorn solo in the Scherzo. Can you talk about how you work with colleagues in other sections of the orchestra when rehearsing and performing this piece?
For example, when performing the dialogue with the solo trombone I just mentioned, we will discuss with the trombonist about our approach: whether to play with similar articulations or to contradict each other. At rehearsals, we check and discuss with other players about musical directions and approaches on a daily basis.
What impression did the work make on you when you first heard it?
I remember I was captivated by the opening 8-horns soli. But the first movement did feel never-ending… not that I was bored.
I also recall referring to the programmes that Mahler originally provided for the movements as I listened – Introduction: Pan Awakes / I. Summer Marches in (Bacchic procession) / II. What the Flowers in the Meadow Tell Me / III. What the Animals in the Forest Tell Me / IV. What the Night Tells Me / V. What the Angel Tells Me / VI. What Love Tells Me.
In the fourth movement (What the Night Tells Me), the alto solo and the women’s chorus create a unique atmosphere, and I felt like I was in a dream.
The NHK Symphony has a special relationship with Mahler, being at the forefront of the composer’s revival in Asia. Is there a recording, or a memory of a Mahler performance that is particularly special to you?
Mahler is very popular with audiences here, so we’ve performed Mahler a lot. A particularly memorable performance was his Ninth Symphony with Herbert Blomstedt in October 2022. The Maestro, a devout Christian, was 95 at the time, and I sensed a feeling of prayer in this symphony that deals with the theme of death. It was a very special concert.
NHKSO is a broadcast orchestra, so our performances are all recorded. I try to perform with the spirit and intention that we are transmitting to future generations.
Obviously we are fired up whenever we perform Mahler or Bruckner. I think the horn is an instrument that determines the colour of the orchestra, and that’s something I am always aware of when I perform.
What guidance would you give to listeners and performers new to Mahler’s music?
I think Mahler’s music is very human. One can also sense the stresses and conflicts of modern life in his music, which is probably why it fits in with our slightly broken society.
You don’t need to be afraid of this music. Just listen and feel the music, and it will flow straight into your body.
Why should one come to hear a performance of Mahler’s Third Symphony?
The Third Symphony is about returning to nature and praising nature, and the final movement is a deep contemplation of love. For us living in the 21st century when major wars are happening and the future is uncertain, I think this symphony gives us an insight into what mankind should aspire to.
NHK Symphony Orchestra Tokyo perform Mahler’s Third Symphony on 26th–27th April at NHK Hall, and in the Mahler Festival at the Concertgebouw on 11th May.
This article was sponsored by NHK Symphony Orchestra.
Translated by Nahoko Gotoh.
This article is also available in Japanese.
