Promising launch of the Mahler cycle in Zürich with Paavo Järvi
Thimothée Grandjean, February 5, 2024
On Saturday 3 February, the Tonhalle Orchestra Zürich gave a concert under the baton of its Music Director, Paavo Järvi. The soloist was Spanish oboist Cristina Gómez Godoy. After recordings featuring Tchaikovsky and Bruckner (ICMA for best symphonic recording of the year 2023 for Bruckner's Symphony No. 8), Paavo Järvi and the Tonhalle Orchestra Zürich tackle one of the leading composers of the repertoire: Gustav Mahler and his symphonies. Paavo Järvi considers him to be one of the greatest composers of German symphonic music. Mahler alone sums up all the music that preceded him. So it was with a sense of continuity that Mahler was chosen for the new cycle. This concert, the last in a series of three, marks the start of this cycle, further cementing the fruitful collaboration between the Estonian conductor and the Zurich orchestra. The programme includes Mozart's Oboe Concerto in C major, KV 314, and Gustav Mahler's Symphony No. 5 in C sharp minor.
First, Mozart's Concerto for oboe in C major, KV 314. This work was composed in 1777 for his oboist friend Giuseppe Ferlendis, also a member of the Salzburg Royal Chapel. This three-movement piece is considered to be the benchmark classical symphonic work for the oboe. This evening's soloist, Cristina Gómez Godoy, offers us her version of this concerto. Her interpretation is convincing. She displays musicality and beautiful contrasts. Her sound is round and warm, almost clarinet-like. Paavo Järvi and the orchestra (obviously in a reduced formation compared to what awaits us next) pay close attention to the soloist in order to follow her musical ideas. This concerto, a brilliant success, is an excellent introduction to the rest of the programme. As an encore, we are treated to a sublime extract from Glück's opera Orpheus and Eurydice. Cristina Gómez Godoy manages to conjure up breathtaking pianissimos, especially on the oboe where the task is more difficult than on the clarinet, for example. The audience applauded warmly at the end of this first half.
Time for the masterly Symphony No. 5 in C sharp minor! Musically, Paavo Järvi and the Tonhalle Orchestra Zürich delivered a performance of the highest quality. However, it was not until the second movement that the orchestra was completely free and at ease, as there were a few inaccuracies in the first movement. From the second movement onwards, however, the Estonian conductor takes matters into his own hands and delivers a dazzling performance, both in terms of sound, nuance and musicality. The climax in the second movement is nothing short of magisterial in its power. After so much power, which is also to be found in the third movement, it's time for the Adagietto. What a moment of musical fulfilment. This movement demonstrates all the musicality and sensitivity displayed by the musicians. They are guided by Paavo Järvi, whose reading is clear and committed. The final movement is an explosion of contrasts, with darker moments and then some truly grandiose ones, such as the finale, which leaves the audience in awe. It was to experience such emotions that the audience turned out in such numbers for these three evenings. In fact, the audience made no mistake, cheering the artists for a long time.
Paavo Järvi and the Zurich Philharmonic gave a committed, intense and musical performance. The maestro gives meaning to this landmark work in the repertoire with a clear reading of the piece. He knows his score intimately and knows what he wants to achieve. He shows which motivic elements should stand out, while maintaining coherence throughout the symphony.
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