When Maestro Somtow conducts, the sparks are sure to fly.
Somtow used an actual child-sized coffin for the famed 'hammer-blows' in the symphony, which many have taken to be prophetic of the death of Mahler's child.
Last Friday, marking the end their current season, the charismatic Somtow Sucharitkul conducted the fabulous Siam Sinfonietta Youth Orchestra and achieved more than a miracle. The young musicians' performance left the audience stunned as the last pizzicato note sounded.
Mahler's Symphony No.6 demands a very large orchestra so the Sinfonietta was supplemented by some former players and guests from Malaysia. What a marvellous sound these young players created -- the strings were beautifully harmonious throughout; the woodwind delightfully chirpy and at times strident in the many poignant outbursts that litter the score; the brass were on top form, deep and resonant in places and in others forcefully rich and penetrating; and the half dozen or so percussionists had a field day as they employed the enormous range of instruments in the many climactic passages that Mahler wrote.
This was a great performance of a mighty work and all achieved through serious hard work the previous five days -- the orchestra with additional teachers had slaved away from morning until night in rehearsal at the Pattaya Training Centre of the sponsor, the Siam Commercial Bank. Here Somtow was able to fine tune the performance after sections of the orchestra had worked in small groups with experts such as distinguished violinist Vilmos Olah from Budapest, cellist Jonathon Oh from Malaysia, plus several former players -- now alumni -- of the orchestra, refining the brass and woodwind.
Mahler's music needs to be played with conviction and determination and Somtow achieved this admirably with his young players. What was so amazing was the fact that the strength and forcefulness of youth was able to capture the terrifying journey through "angst und stürm" -- anxiety and turmoil of the most penetrating kind -- which are the hallmarks of this enigmatic work. This symphony is anything but happy, cheerful or jovial; it demands passion and dedication and a great deal of understanding to get close to performing the piece as Mahler had intended.
We were treated to an electrifying performance that balanced the passion and persistent strident rhythms with the few interludes of peace and calm. Even the andante, placed as the third movement in this performance, never ceased its pulsating beat, perhaps reminding us that beauty and true happiness are never permanent features and that the ominous and threatening moods will return. And return they did, but in a superb performance of the long final movement. This was indeed an evening to be remembered.
