Mahler’s Second Symphony, often referred to by its unofficial subtitle, lacks a definitive narrative crafted by the composer himself. Despite Mahler’s decision to abandon programmatic explanations, the sense of an epic journey remains intact. Much like Beethoven’s Ninth, the finale incorporates a chorus, soloists, and a massive orchestral ensemble, culminating in a breathtakingly monumental climax.
In this context, the finale of The Hallé’s first performance at the Proms with their new principal conductor, Kahchun Wong, was nothing short of captivating. From the elemental chords that opened the piece to the offstage horns piercing through the air, every moment gripped the audience. Wong, conducting without a score, ensured precise coordination within the vast expanse of the Royal Albert Hall. An hour into the performance, the audience stood entranced, even before the Hallé Choir and Hallé Youth Choir entered with their first unaccompanied segments—delicately blended and remarkably quiet. In the final minutes, with an organ pedal vibrating through the floor and powerful brass and bells echoing from the gallery, Wong abandoned his baton, guiding the massive forces with grand, sweeping gestures, as if he were steering an ocean liner into dock. The audience erupted into applause just as the last chord resonated.
What made the finale so impactful was Wong’s commitment to building a long-term emotional arc. His initial baton flick launched an energetic display from the upper strings, but Mahler’s frantic motif for the cellos and basses maintained an earthy quality rather than ferocity. Wong consistently returned to a baseline of delicate, ethereal tones whenever possible. The second movement was performed with a genteel, sugar-coated touch, showcasing Mahler’s Ländler. However, in the third movement, a more vivid energy emerged: lean woodwind solos, assertive stopped horns, and the resonant bloom of two gongs. While the subsequent orchestral song featuring Emily D’Angelo’s creamy mezzo came off as slightly underwhelming, it seemed Wong was still reserving intensity for the finale. Yet, his refined approach continued to shine in the fifth movement, balancing lightness with the deeper shadows inherent in Mahler’s music.
For those interested in reliving this experience, you can listen again on BBC Sounds until October 12. The Proms run until September 13.
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