Aurora Orchestra/Collon review – reduced Mahler still packs a punch
Kings Place, LondonA chamber reduction of Das Lied von der Erde formed the centrepiece of this spring-themed concertBack when Mahler’s symphonies were still rarely played in Britain – and, yes, there really was such a time – Das Lied von der Erde (The Song of the Earth) was the most familiar of his major orchestral works. Much of that was the legacy of Kathleen Ferrier’s inimitable recording of Das Leid’s final song, Der Abschied (The Farewell) under Bruno Walter before her early death in 1953. But then came the Mahler renaissance of the 1960s and performances of The Song of the Earth – in effect a six-movement song symphony for tenor and alto – became part of the new and much more varied Mahlerian picture.Renewed interest in chamber reductions of Mahler has been part of this change. Iain Farrington’s version of Das Lied for the Aurora Orchestra is the latest example, and formed the centrepiece of this spring-themed concert under Nicholas Collon. As with Arnold Schoenberg’s 20th-century version, completed by Rainer Riehn, the reduction is abrupt, with just a handful of solo strings and winds in place of a full orchestra. But most of the detail is still there, allowing the winds to be heard with particular clarity, and, under Collon’s fluent and vigorous direction, it still packs a true Mahlerian punch. Continue reading...
Kings Place, London
A chamber reduction of Das Lied von der Erde formed the centrepiece of this spring-themed concert
Back when Mahler’s symphonies were still rarely played in Britain – and, yes, there really was such a time – Das Lied von der Erde (The Song of the Earth) was the most familiar of his major orchestral works. Much of that was the legacy of Kathleen Ferrier’s inimitable recording of Das Leid’s final song, Der Abschied (The Farewell) under Bruno Walter before her early death in 1953. But then came the Mahler renaissance of the 1960s and performances of The Song of the Earth – in effect a six-movement song symphony for tenor and alto – became part of the new and much more varied Mahlerian picture.
Renewed interest in chamber reductions of Mahler has been part of this change. Iain Farrington’s version of Das Lied for the Aurora Orchestra is the latest example, and formed the centrepiece of this spring-themed concert under Nicholas Collon. As with Arnold Schoenberg’s 20th-century version, completed by Rainer Riehn, the reduction is abrupt, with just a handful of solo strings and winds in place of a full orchestra. But most of the detail is still there, allowing the winds to be heard with particular clarity, and, under Collon’s fluent and vigorous direction, it still packs a true Mahlerian punch. Continue reading...
