Ealing Symphony Orchestra
The concert by the Ealing Symphony Orchestra under John Gibbons February 24 demonstrated that this orchestra knows no bounds. This performance of Mahler’s gigantic Third Symphony gave evidence, if it was needed, of total confidence in facing the demands of a work that can be regarded as the composer’s most outrageous and original of the cycle of ten. He was only 33 when he began writing the music, needing three more years to complete the score and then it had to wait ten years before its premiere.
He wrote the symphony after his mighty Second (“Resurrection”) Symphony which seems to have settled the questions of life and death. His Third allowed him to turn his gaze onto the natural world, exploring Mother Nature in her many guises. His ninety minute duration, therefore, offers Mahler an early opportunity to predict a conversation he later had with Jean Sibelius in which he said “The Symphony must be like the world. It must embrace everything.”
The triumph of this wonderful performance of such a monster work can be squarely attributed to John Gibbons, whose broad shoulders were enough to bear the almost super-human demands of not only conducting the work (brilliantly) but of assembling his huge forces (the mezzo-soprano, Harriet Williams in glowing voice, two Youth Choirs — Ealing Music Service and London Youth Choirs — little cherubs all and the St Albans Chamber Choir) and a massive orchestra, the like this church has probably never witnessed before.
The evening was a credit to everybody concerned with such ambition. Suffice to say the performance was magnificent. I often think the world’s best orchestras produce a veneer of silky sound in Mahler 3. Whereas, on this occasion, aided by the large acoustic, we got down with the elements producing a sound closer to my ideal of naturalness rather than polish. I quote the magisterial opening for nine horns, not a note out of place and beginning the concert with the greatest confidence. Gibbons adopted a swift basic tempo in the long first movement which allowed the many tributaries Mahler introduces their proper contrasting role. The players showed great strength in maintaining concentration and awareness for balancing Mahler’s huge demands. The final Adagio was beauty incarnate requiring my and probably many more handkerchiefs to be smuggled in underhand. Some regard this work in a negative way, too much pretence and not enough symphonic content. But after everyone’s contribution I can safely declare the music to be fabulous — as was the performance.
Edward Clark for Musical Opinion, April – June 2024