Chicago is well-known as the “Windy City”. A lesser-known sobriquet was coined by the poet Carl Sandburg in 1914: “City of Big Shoulders”, a reference to its working-class roots. That’s also an apt description of the Chicago Symphony Orchestra’s performance of Mahler’s monumental Sixth Symphony in its first-ever appearance at Prague Spring. With Jaap van Zweden on the podium, the orchestra offered a brawny, dynamic reading that barreled off the Municipal House stage like a thunderstorm coming in off Lake Michigan.
The symphony is subtitled “Tragic” for good reason, describing heroic struggles that ultimately end in defeat. But there was nothing tragic about van Zweden’s interpretation, which got off to a thrilling start and emphasized surges of triumph, moments of repose and a wealth of colorful details, all unfurled at a bracing pace that never faltered in its momentum and determination. Even the final movement, with its notorious hammer blows of cruel fate, maintained a sense of striving buoyed by bright notes of optimism before the music turned unrelentingly dark. In that context, the closing orchestral crash seemed more like an exclamation point than a fatal demise.
Pulling this off with a lengthy, weighty piece requires both power and finesse, which were reflected in van Zweden’s extensive physical vocabulary. He seemed to have a specific – and different – hand motion for every sound he wanted from the orchestra, crafting both the phrasing and impact. One way to look at the symphony is as a series of dramatic contrasts, and in that the conductor showed himself to be a master craftsman, building propulsive marches into percussive explosions, then smoothly segueing to a soft murmur of strings and soothing woodwinds. His skill with dynamics gave the music a compelling through line, an organic feel of many disparate elements fitting neatly together in a riveting narrative.
This stood out in particular in the Andante, dreamlike with a luxurious turn in the strings and luminous sound from the woodwinds, which were a standout the entire evening. They emerged with refined ease, glimmering and sparkling with a gentle touch that made the entire movement seem like the calm eye of the storm. Amid the pounding power that frames that movement, van Zweden did expert work highlighting the many details easily lost amid the tumult, small embellishments from the brass, horns and woodwinds – even an occasional single shot of percussion – that lend the piece color and character.
That all this was accomplished by an ensemble so large it barely fit on the stage made for a particularly memorable performance. Big shoulders notwithstanding, the orchestra showed itself to be nimble and exquisitely responsive to the slightest nuance. The caliber of musicianship was high, including some sharp work by percussionists who often led the music, playing with precision and authority.
The blend of influences was also striking. American and European orchestras tend to have notable differences in their sound and styles, but not on this night. The bold, ardent sound of the New World was shaped by Old World decorum and tradition – another reflection of the conductor, who has extensive experience on both continents. The result was a fresh face for a familiar piece, an invigorating and insightful reading that offered unexpected inspiration for overcoming adversity.
