Berlin Philharmonic performance of the Mahler 7 blows away audience in Chicago

On its tour of the US, the Berlin Philharmonic made a stop in Chicago where, on November 16th at Symphony Center, Kirill Petrenko led it in an astounding performance of Mahler's Symphony No. 7. From what I have read, a lot of orchestras shy away from playing the Mahler Seven because it is so long (one hour and forty minutes) and unwieldy. As Phillip Huscher in the program notes stated: "The Seventh Symphony doesn't disclose its secrets readily. Perhaps because of its jigsaw construction - further complicated by the composre's bout with writer's block - it lacks the sheer narrative sweep of Mahler's other symphonies."

Ergo, as Huscher noted: "The Seventh has remained something of an outsider among Mahler's symphonies. It is still the least well-known of the nine he completed; it is often the last one conductors learn and the one orchestras rarely play - with the possible exception of the eighth, which is seldom performed because of the enormous forces it requires."

Notwithstanding those facts, it was all the more incredible that Petrenko and his forces gave the Maher Seven shape, dynamic intensity, emotional clarity, and created a profound, musical experience. The first movement (Slow-Allegro risoluto, ma non troppo) began with brooding, sullen quality that was punctured at times by the tenor horn. A terrific choir of trumpets sang almost against the double basses and strings. Wonderful harmonic clouds swept by with the themes passing from the horns and to the harps, and that was followed by elation before dissipating to the opening, dark statement. (One cellist broke a string and had to leave.)

One thing that struck me about the second movement (Night Music 1: Allegro moderato), was how one of the horns sounded so far, far away, even though he was sitting right next to the other horns. The mood of the piece turned lighter with a Bohemian waltz-like passage, and a rhapsodic section before marching ahead. 

The third movement (Scherzo: Shadowy) shuddered forward with ghostly glissandi. Two viola solos, bleating woodwinds, and blatantly single shots from the timpani (three times), and a throbbing waltz highlighted the movement. 

The fourth movement (Night Music 2: Andante amoroso) created a serenade that seemed nostalgic. Gentle phrases from the mandolin, guitar, and harp were lovely and unusual. A transition to a little march became subdued and wound up in a super-soft ending.

The fifth movement (Rondo finale: Allegro ordinario) started with a big statement from the timpani and trumpets and generated a rollicking theme with a huge fanfare. The piece picked up steam, but Petrenko pulled the sound back before unleashing a triumphant ending in which the string bowed like crazy and then went even faster, as if everyone had double-shots of espresso.  It was jaw-dropping to see and louder than hell!

The audience exploded with applause, cheers, bravos, and shouting at the top of their lungs. If Petrenko had wanted to body surf the place, he could have. Wave after wave of acclamation swept over the hall. No one left. Everyone was going nuts. Petrenko acknowledged various musicians and the bravos/bravas just didn't let up. This was going to go on for a while longer; so Petrenko wisely ushered the concertmaster off the stage and the musicians followed; so the audience finally calmed down.

Petrenko, who I have heard at Bayreuth, has a crisp, precise conducting style, but he is also very emotive. I have heard that the musicians absolutely love to play for him. 

I neglected to mention that the concert was sold out. I think that the cheapest tickets were about $190 in the uppermost balcony, and I did see some people in front of the entry with signs in a last-minute attempt to buy a seat. 

I have placed the concert at the pinnacle of the many that I've attended. I'll never forget it.