The obsession with morbidity in the 19th century that culminated in the age of decadence is easy to comprehend: people were never ever far from death. Not least in the Victorian parlours hermetically sealed from the malodorous outside air and yet exposed to wallpaper saturated in arsenic. Mahler knew all about death at first-hand. Not one of his symphonies is without a funeral march, solemn procession or black-edged lament. Such music is part of life itself; it acts as a memento mori, a chilling reminder that no one is to be spared.
The third movement in this performance of Mahler’s First Symphony, given by the Royal Philharmonic Orchestra under Ilan Volkov, was suitably dark-robed, with a sensitive double-bass solo from Graham Mitchell at the start followed by beguilingly soft dynamics from lower strings, clarinets, bassoons and tuba. Just before the klezmer elements which throw the listener out of a contemplative mood the central section for strings and flutes was beautifully realised by the players.
The second movement had a rustic earthiness wholly in keeping with the character of the Ländler: you could almost see the foot-stamping, thigh-slapping and bell-shaking folk in the local tavern, the air heady with the smell of brewed hops, and Volkov allowed his trumpets just the right touch of village-band stridency. When this relaxed into the trio section – which is a disguised waltz – it had all the elegance of ballroom dancers lost in the moment.
Of the outer movements I was less convinced. Mahler’s instructions at the outset are “Slow. Dragging. Like a sound of nature”, but what was missing here was a sense of mystery. Seen from Volkov’s vantage-point the sun’s rays had already penetrated deep into the forest and the horns that can sound like cooing doves were closer to a tally-ho. He had already begun with dynamic levels set unusually high and he kept the music on the move so nothing deflected from the path ahead, not even those aching cello phrases which represent the deepest levels of Romantic yearning. In fact, this was one of the fastest live performances I have ever heard, coming in at just 53 minutes.
The finale begins with the aural equivalent of Munch’s The Scream, the first version of which appeared in the same year (1893) as the Hamburg revision of the symphony. Volkov and the RPO certainly delivered a massive punch with thunderous timpani and tumultuous trombones, but it was the decibel level which had the bigger impact, rather than the terror that the composer surely had in mind. The initial key is in F minor, representing the “inferno” which was part of Mahler’s original programmatic title, “Dall’ Inferno al Paradiso”. Where were those glimpses of the abyss, made even more spine-chilling in the next number of the canon?