Kalmar and Oregon Symphony reach beyond the beyond with Mahler 9

 More than two years have passed since Carlos Kalmar last stepped on the stage at the Arlene Schnitzer Concert Hall to lead the Oregon Symphony. That was in February of 2020, when the orchestra’s former music director wrapped up a series of concerts featuring violinist Augustin Hadelich in Paganini’s Violin Concerto. The pandemic body-slammed the nation, and concerts – along with pretty much any type of social gathering – were shoved out of bounds, including a big finale for Kalmar with Gustav Mahler’s Symphony No. 9 that would have capped his 18-year career at the helm of the Oregon Symphony.

So, it was fitting to see the Arlene Schnitzer Concert Hall on Saturday (May 14) filled to the brim with musicians (I counted 81), to play Mahler’s Nineth Symphony.  The house was fairly full, and the audience welcomed Kalmar to the stage with a resounding standing ovation, which he acknowledged with a grateful smile and a concise, heartfelt speech.

In Kalmar’s introductory remarks, he noted the theme of the program was “the end of life” – a serious statement that could have been extrapolated in any number of directions. Thankfully, Kalmar didn’t muse on that topic, but he did mention that the first piece on the program, Within Her Arms by British composer Anna Clyne, was quickly written in response to the death of her mother.

Played by string ensemble (15 musicians evenly split from violins to the basses), Within Her Arms offered an interwoven series of sliding tones that evoked the flow of tears and sadness. The glissandi – of varying length and timbre – was accompanied periodically by sustained low tones from the basses. A couple of poignant pauses by the entire ensemble suggested the emotional struggle of someone trying to regroup and make sense of the loss. The one-movement piece was performed with great sensitivity – with Shin-young Kwon as the concertmaster (replacing Sarah Kwak, who was ill), and Kalmar emphasizing the softness of the piece by conducting without a baton. The performance was stunningly effective.

Kalmar and the orchestra did a terrific job of shaping Mahler’s Symphony No 9 despite its the sprawling and unwieldy nature. The first movement, shifting between D major a D minor, created a feeling of melancholy and farewell that was shattered now and then by menacing darkness. In particular, a blast of death uttered by the trombones and tuba completely obliterated the gentle calm that had lulled listeners with a sense of warmth. Passages built to great heights and then collapsed, bewildering sonic battles ensued, and then it all subsided into a feeling of resignation.

The second movement cleared the air with a perky rustic dance tune – introduced by principal bassoonist Carin Miller – that gathered full-fiddle-force with the violins. A waltz-like tune seemed to counter this, and the two tunes became wildly tossed about in the orchestra before settling down and finishing with the flute (Alicia DiDonato Paulsen) – representing the rustic side – getting the last word.

The onslaught of furious sound in the third movement motive was absolutely impressive and delivered with intensity. Sonic volleys seemed to erupt from each section with an occasional respite, such as the brief, tender viola solo by Charles Noble. With Kalmar urging everyone onward, the orchestra picked up the pace, surging toward the last beat.

The hymn-like opening of the fourth movement changed into many different lines and morphed through different keys yet nothing seemed to resolve. Concertmaster Peter Frajola superbly threaded the high, delicate passages. The glorious moments faded into the distance and the sound became barer and barer.  The music became slower and slower and quieter and quieter and finally vanished. There was a very long expanse of silence before Kalmar put his hands down and the applause began. The audience was touched by the depth of emotion. Kalmar singled out musicians and sections of the orchestra for their outstanding contributions. It was remarkable how he shaped the piece and kept it from detouring in any number of directions. It was a memorable performance and a highlight of the orchestra’s season.