Jaap van Zweden's brief tenure as Music Director of the New York Philharmonic concluded on a grand note in the orchestra’s hometown with performances of Mahler’s monumental Resurrection Symphony. A 90-minute score of great complexity certainly serves as a poignant farewell for a music director bidding adieu to an ensemble, especially one as deeply entrenched in Mahler's legacy as the New York Phil. Van Zweden previously conducted the same score in his final performance as Music Director of the Dallas Symphony before assuming his role with the Philharmonic.
Among Mahler's works that delve into profound existential and spiritual questions, the Second stands out for its vivid portrayal of a journey from darkness to light and from doubt to certainty, similar to the transformative arcs found in Dostoyevsky's novels. The symphony begins with a funeral march, evoking deep feelings of mourning and despair. It then traverses a variety of emotional landscapes, including moments of serene beauty, anguished intensity and transcendent ecstasy. Ultimately, it culminates in a triumphant finale, celebrating the victory of life over death.
Taking the listeners along on this journey is a high-order task and there was little doubt that van Zweden, his enlarged orchestral apparatus, two excellent soloists making their Philharmonic debuts and a huge chorus were very well prepared for the endeavour. Throughout this demanding piece, van Zweden showcased his skill in sustaining overarching musical lines, maintaining strong momentum and keen dramatic tension. Various sections, with a special mention for the cellos, demonstrated excellent coordination and aplomb, while balances were well calibrated. Textures were generally transparent enough and harps and flutes were not swallowed by the tuttis. Individual contributions, such as those by trumpeter Christopher Martin, cor anglais player Ryan Roberts and special guest Katy Woolley, principal horn of the Royal Concertgebouw Orchestra, among others, were allowed to shine, as they emerged with fluid naturalness from the musical tapestry.
Vocally, the performance was also commendable. Mezzo-soprano Ekaterina Gubanova delivered an Urlicht full of gravitas, with controlled vibrato and a steady crescendo towards the end. The last words – “das ewig selig Leben” (eternal blissful life) – lingered in the air, providing a wonderful transition to the glorious finale that immediately followed. The seated choir arose from stillness, whispering Klopstock’s verses about resurrection with a level of conviction as impressive as the blazing final bars. At key moments, Hanna-Elisabeth Müller’s rich soprano effortlessly rose above the choral sound.
Despite its intensity and exuded energy, the performance did bring back memories of issues that have marked van Zweden’s Mahler. It did seem hurried at times. Mahler called for a pause of five minutes between the first and the second movements, which was not respected. In his constant quest to provide a clean path forward, the conductor largely overlooked most of the lyrical, rhapsodic qualities of the third movement. There was an insufficient feeling of a Ländler mood in the Andante. Some sound explosions were like abrupt fireworks, insufficiently prepared. Overall, there was little irony, sadness or angst. While an excellent technician, van Zweden seems to forget that Mahler’s music is not about successfully regulating heavy traffic or stripping away clutter, but rather about navigating the incessant emotional crises that arise and dissipate and the quest for meaning in a chaotic world.
