A well-crafted and impressive Mahler 3 from Claus Peter Flor and the Phion Orchestra

Reviewed at the MusiekCentrum, Enschede on 16th December 2022

On October 17^th, 1903, Mahler’s Third Symphony was given its Dutch premiere by the Arnhem Philharmonic Orchestra. That orchestra still exists today in the guise of Phion, Orkest van Gelderland & Overijssel. And it was to that very same symphony, first premiered 119 years ago, that Phion turned to in their annual Mahler Christmas celebration on Friday evening in Enschede.

8 Double Basses — Such a joy to see eight double basses on stage © Karen Van Gilst

Seated in the balcony, one could marvel at the sheer scale of the forces needed. Lasting 90 minutes, this hymn to the natural world is both a physical and intellectual challenge for any conductor – the vastness of the first movement alone, lasting nearly 30 minutes, is a musical feat. But any doubts were soon quashed, for it was almost as if Claus Peter Flor had channelled his inner Bernard Haitink, who said in interview before a performance of the same work in the Royal Albert Hall in 2016, ‘Start as yourself, know what you really want to do… You should just listen to it and not be overwhelmed.’ Flor knew what he wanted from the performance and always looked in control. The orchestra responded to his every instruction.

Claus Peter Flor © Karen van Gilt — Claus Peter Flor © Karen van Gilst

Despite a slightly nervy start, the opening brass choral gave the promise of more to come. A rich and assured trombone solo played by Jilt Jansma echoed round the hall. There was a lovely lyrical quality to his playing, his top notes emerging as if from behind a cloud.

Confidence grew as a thundering bass drum set the tone.

At times I wanted more attack from the strings, especially the violas, in a score where Mahler indicates that the strings should almost touch the fingerboard due to the vigorous vibration. The piccolo heralded the twittering birds as the clarinets found that really piercing quality. This was an incredibly exciting performance! A cacophony of sound, an awakening of primeval life from the depths of winter, continued with the snare drum’s marching band theme dying away into the distance, and a return to nature. The orchestra really seemed to be enjoying themselves.

Soprano — The joint forces of the National Children’s Choir, the National Boys’ Choir and the ladies of Consensus Vocalis © Karen van Gilst

The violins came into their own in the 2^nd movement. A playful violin solo from Cécile Huijnen evoked music of a Viennese waltz in contrast to some skilful and dazzling tambourine trills, and a soaring trumpet solo.

Music whirled and swirled around at the beginning of the 3^rd movement before finding the safety of the offstage post horn played by Bob Koerthuis. We could have listened to this music all evening, such was the beauty.

The entrance of the mezzo-soprano Katerina Bradić brought calm and serenity to the stage. Her wonderfully clear diction and effortless phrasing kept us in suspense, the voice always questioning.

The text from the 4th movement as sung by the mezzo-soprano, Katerina Bradić

Out of nowhere, both choirs shot into the air and Bimm, Bamm echoed through the hall.

After sitting so still and in full view for so long, the voices of the National Children’s Choir and National Boys’ Choir – the youngest of which was seven years old – were joined by the ladies of Consensus Vocalis. The children proved to be an equal match to the ladies in the antiphonal passages and all vocal lines were confident and assured. In what was an astounding feat of choreography, both choirs gradually and carefully sat down in complete unison. The audience loved it!

Bradic and the boys — Katerina Bradić with two of the boys from the choir after the performance in Enschede © Clare Varney

The finale was a moment for the cellos and 2^nd violins to shine. Their understated and restrained emotion, in a movement for which Mahler said there were no words to explain its beauty, was mesmerising. The 1^st horn soared before the solo cello narrowed our vision again and the violins travelled ever higher up the G string. The flute and oboe found peace and beauty before the brass led us to the most epic of finales. I did not want the music to stop! But the flute interrupted, offering just one more chance to find the beauty amongst the shimmering strings. The brass chorale was enthralling – no one moved. The strings found their inner strength as the tuba and double basses thundered with possibly one of the most amazing bass lines ever written. We witnessed a perfectly executed climax in this most monumental of symphonies. This is the best performance I have heard from this orchestra, and I look forward to more!

A well-crafted and impressive Mahler 3 from Claus Peter Flor and the Phion Orchestra

Confidence grew as a thundering bass drum set the tone.

Music whirled and swirled around at the beginning of the 3^rd movement before finding the safety of the offstage post horn played by Bob Koerthuis. We could have listened to this music all evening, such was the beauty.

Out of nowhere, both choirs shot into the air and Bimm, Bamm echoed through the hall.

Further reading & listening:

2 Comments

Confidence grew as a thundering bass drum set the tone.

Music whirled and swirled around at the beginning of the 3rd movement before finding the safety of the offstage post horn played by Bob Koerthuis. We could have listened to this music all evening, such was the beauty.

Out of nowhere, both choirs shot into the air and Bimm, Bamm echoed through the hall.

Further reading & listening:

2 Comments

Music whirled and swirled around at the beginning of the 3^rd movement before finding the safety of the offstage post horn played by Bob Koerthuis. We could have listened to this music all evening, such was the beauty.