Hedy Weiss: Theater Reviews

The Chicago Symphony Orchestra Captures Mahler’s Magic: Review

I’ve been a great fan of the work of composer Gustav Mahler since I lived in New York and supported a dance career by working as an editor of a journal for Boosey & Hawkes, the music publisher. The best bonus of the job was an occasional free ticket to the New York Philharmonic where Leonard Bernstein conducted works by Mahler from time to time.

I happily remembered those concerts last week as members of the Chicago Symphony Orchestra took their place on stage for three performances led by visiting conductor Jaap van Zweden. The sheer immensity of Gustav Mahler’s “Symphony No. 7” was immediately evident.

Along with the essential full orchestra for this five-movement, 79-minute work (first performed in Prague in 1908, and conducted by Mahler himself), was an exceptionally massive percussion section that included a bass drum, cymbals, tam-tam, triangle, glockenspiel, tambourine, cowbells and tubular bells, in addition to a mandolin, guitar and two harps.

But those are just “the instrument statistics.”

Guest percussionist Ian Ding featured offstage playing cowbells in a performance of Gustav Mahler’s “Symphony No. 7” on April 17, 2025. (Todd Rosenberg Photography)

The highly dramatic and varied sounds to be heard throughout the symphony were of the essence — from the dark opening moments of the brass section to the tense but bold sound of the immense orchestra, and to moments of lyrical beauty as well as bursts of sound from timpani. High drama at one moment, lyrical beauty at the next, huge bursts of sound from the brass, or the timpani, or the cymbals, and then moments of calm before the big sound built again at a breathtakingly high speed.

And that was just the beginning.

The second movement, dubbed “Night Music,” opened with a hauntingly beautiful sound from the French horn, big brass, a flute and timpani, and then moved to the subtle bass strings. And so many different moods followed — from a mysterious sound to a big, lush burst, to a lovely, lyrical riff.

The third movement, a scherzo dubbed “shadowy,” developed a kind of crying sound with lyrical winds, and then emotional heat from the strings, and shifting moods and speeds throughout. The fourth movement set a far gentler, lyrical mood, and then turned to a playful rhythm via the winds and strings. It grew with many instrumental voices, mood shifts and a lively, singing quality that was alternately feverish and joyful before a beautiful, quieter ending.

 

Conductor Jaap van Zweden leads the Chicago Symphony Orchestra in performance of Gustav Mahler’s “Symphony No. 7” on April 17, 2025. (Todd Rosenberg Photography)

The rondo finale began with a big bang and captured the full orchestra in a state of high speed, excitement and grandeur. Then came a sudden calm with a beautiful, singing melody, followed by a mix of excitement, many different voices, temperaments, and speeds, and a grand finale of high energy including a great “boom.” Not surprisingly the audience was clearly thrilled.

Note: For those who love Mahler’s music there is more wonderful news from the CSO. Klaus Mäkelä, the CSO’s Zell Music Director Designate, will conduct Mahler’s “Symphony No. 3” at 7:30 p.m. on April 24, 25 and 26 along with the Chicago Symphony Chorus and contralto Wiebke Lehmkuhl. Van Zweden will return on May 8 (at 7:30 p.m.) and May 9 (at 1:30 p.m.) to lead the CSO in Mahler’s “Symphony No. 6.”

And, if you happen to be lucky enough to attend the Mahler Festival in Amsterdam (running May 9-18), the CSO will be performing Mahler’s Symphony No. 6 and No. 7 led by van Zweden. For more information visit mahlerfoundation.org.

Follow Hedy Weiss: @HedyWeissCritic

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