After conducting a quick search of Bachtrack’s database, I realised that, contrary to my expectations, only a few introductory works accompanying the 92 reviewed renditions of Mahler’s Symphony no. 4 in G major, were within the scope of the Classical repertoire. Nonetheless, this type of juxtaposition makes a lot of sense. In none of his massive symphonies was Mahler closer to the Classical ideals and forms than in his Fourth, with its restrained orchestration.
In their rendition, conductor Gianandrea Noseda and the New York Philharmonic emphasised the Mozart-like clarity and transparency in the writing whenever the opportunity arose. Throughout the first movement's opening and recapitulation, as well as in the Finale, melodies and harmonies echoed a Mozartian quality as well. Soprano Golda Schultz’s delicate and heartfelt interpretation of Das himmlische Leben, a child’s vision of Heaven, epitomised the purity and innocence found in many of Mozart’s scores. The seamless integration of her voice within the orchestral texture further evoked the refined elegance of the 18th-century composer's operatic arias.
On Wednesday night, two of Mozart’s works preceded Mahler's symphony: the Piano Concerto no. 25 in C major and the concert aria Ch’io mi scordi di te?, both composed in December 1786, only separated in Köchel's catalogue by the Prague Symphony.
Ch’io mi scordi di te? is a distinctive sort of duo concertante, combining an operatic aria and elements of a piano concerto. It opens with a recitative for voice and strings, with the piano and winds making their entrances only in the Rondo. This rendition showcased a remarkable synergy between Schultz and Swiss pianist Francesco Piemontesi, their “voices” beautifully intertwined, while Noseda ensured that the orchestra did not exceed the boundaries of its supporting role. Despite occasional moments when Schultz's instrument lacked brilliance, her interpretation was infused with a strong sense of drama, portraying her character as a prefiguration of Donna Elvira. A notable example of this was the way she shaped the descending series of semitones in “l’alma mancando va”.
Piemontesi has built a well-deserved reputation as a distinguished interpreter of Mozart. In his debut performance with the Philharmonic, he captivated the audience with his elegant and assured rendition of Mozart's concerto. His nuanced articulation and seamless phrasing were remarkable throughout a straightforward rendition. Particularly noteworthy was the pianist’s adept handling of the thematic material, exemplified by his dialogue with the oboe, flute and cellos during one of the Finale's secondary themes. However, some of the excursions into C minor, in both first and last movements of this otherwise sunny sonata, could have been better delineated. Once again, as in the preceding aria, the orchestral playing was correct, but failed to leave a lasting impression. In the brief encore – a segment from the Theme and Variations from Mozart’s Piano Sonata no. 6 in D major, “Dürnitz” – the pianist’s preoccupation with ornamentation somehow distracting from the essential.
Returning to the rendition of Mahler’s Fourth, Noseda demonstrated his skill and experience selecting the appropriate tempi and highlighting the composer’s attempts to unify the four movements through recurring motifs. However, a more subtle approach could have enhanced the sonic complexity of the first movement's development section and captured the eerie, otherworldly character of the second movement more effectively. As for the instrumentalists’ contributions, while certain players, such as principal oboe Liang Wang, excelled, others, notably the horns, encountered difficulties. But any shortcomings were ultimately redeemed by Schultz's enthusiastic performance.
