Movies

How Gustavo Dudamel’s Mahler festival grooves for young and old

BBG News

A few months prior to embarking on his six-week Mahler Project in 2012, the 30-year-old Gustavo Dudamel admitted that he had been cramming for studies intensely.

Prior to the initial concert on January 13 that year, he exclaimed, “This is unbelievable!” The astonishment stemmed from the fact that he was preparing to undertake something seemingly irrational: executing all nine finished Mahler symphonies and the first movement of the 10th with the Los Angeles Philharmonic and Simón Bolívar Youth Orchestra of Venezuela over a span of three weeks in L.A., followed promptly by another performance in Caracas.

Asked how he felt at the end, a near-delirious Dudamel could barely blurt out “craaaazzzy.”

The Mahler Project, though arguably challenging, wasn’t unique without its own distinct Los Angeles flair and style. For over three decades, starting when live performances of these symphonies, which were profound emotional experiences, weren’t widely available, the local Mahler Society hosted annual “Mahlerthons.” During these events, recordings of everything Mahler were played continuously from 8 a.m. to midnight. Additionally, participants could purchase a gray Mahler sweatshirt and a “Mahler Grooves” bumper sticker.

In an extraordinary fashion, Dudamel is currently engaged in another Mahler endeavor with the L.A. Phil, which continues until Sunday at Walt Disney Concert Hall. Although “Mahler Grooves” might not be as mind-bending for Dudamel, who conducts only two full symphonies, the Fifth and the Seventh, neither this seasoned Mahler proponent nor the L.A. Phil has abandoned their boldness. On Sunday, while the Oscars lasted almost four hours, a 10-hour Mahlerathon, the first of its kind anywhere, unfolded at Disney Hall.

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On a sunny day in Los Angeles, I had the pleasure of witnessing six youthful orchestras, consisting of high-schoolers, college students, and conservatory musicians, bring to life movements from Symphonies Nos. 1, 3, and 4 by Mahler. Not just mere student pieces, these symphonies present some of the most formidable musical and emotional challenges for professional orchestras worldwide. Yet, on this day, over 500 young musicians from across L.A., with an enthusiasm that was nothing short of infectious and a level of expertise beyond their years, embarked on a journey to uncover, in Mahler’s footsteps, the profound essence of life itself.

The morning saw the LA Phil’s YOLA, composed of 150 talented young musicians, performing Mahler’s First Symphony’s final movement under Alan Mautner. Unfortunately, a technical issue with my digital tickets prevented me from making it to my seat on time, causing me to listen to the performance in the concert hall’s upper listening room instead. While I missed seeing the orchestra, the excitement was palpable and spread throughout the audience.

As a devoted supporter, I’m thrilled to share that I was part of the Intercity Youth Orchestra of Los Angeles under the guidance of Charles Dickerson III. We embarked on an extraordinary journey, performing the first and last movements from Mahler’s Third Symphony – his longest work yet. This impressive group of teenagers dared to explore Mahler’s quest for harmony amidst the tumult of nature and our inner turmoil, displaying unwavering determination and inspiration.

The Chamber Orchestra from Santa Monica High School gracefully infused a lyrical radiance into Mahler’s orchestral adaptation of Schubert’s “Death and the Maiden” string quartet. Following this, their Symphony Orchestra skillfully tackled the first movement of Mahler’s Fourth symphony. The refined execution by Jason Aiello left me momentarily bewildered, as it was hard to believe these were just high school musicians.

In the evening, Neal Stulberg orchestrated an intense, brilliant, captivating rendition of Mahler’s eighth agitated symphony, the 80-minute Sixth (often referred to as the “Tragic”). Towards the end of a long day, the Colburn Orchestra delivered an electrifying performance of Mahler’s Second Symphony, “The Resurrection,” with Earl Lee conducting with verve. Madison Leonard and Kayleigh Decker were the emotive vocal soloists, while the Los Angeles Master Chorale provided a powerful finale.

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While part of the Master Chorale was echoing Mahler’s message of hope within one of the world’s most renowned concert halls, filling it with uplifting melodies, the other half found themselves performing in a poorly-designed auditorium, providing somber solace during the “In Memoriam” segment at Hollywood’s Dolby Theatre for the Oscars.

There’s more to the connection between L.A., especially Hollywood, and Mahler than one might initially hear. In fact, a considerable number of German immigrants in L.A. had strong ties to Mahler. These figures spanned various fields such as conductors (Otto Klemperer, Bruno Walter), composers (like Arnold Schoenberg), writers (such as Thomas Mann), and even included Mahler’s widow, composer Alma Mahler, and their daughter, sculptor Anna Mahler.

However, it’s interesting to note that two more composers who left their native countries, Erich Wolfgang Korngold and Max Steiner, both influenced by Mahler, are responsible for shaping the modern symphonic film score in Hollywood. Additionally, Anna Mahler, whose statue of Klemperer greets you upon entering the Dorothy Chandler Pavilion, had a link with Hollywood, as she made an appearance on Groucho Marx’s radio program “You Bet Your Life.

As a movie buff of symphonies, I can confidently say that Mahler’s compositions really move me. I’m unsure if Dudamel has one of those Disney Hall stickers on his car, but there’s no denying the incredible depth of his understanding of Mahler’s work. He kicked off the festival with “Blumine,” an originally intended movement from the First Symphony that Mahler ultimately cut out in a later revision, and the Adagio from his Tenth Symphony, which was his final composition.

Combining a newborn’s bloom and an end-of-life meditation, Dudamel skillfully orchestrated a profoundly rich emotional experience that felt effortless yet deeply present. Last week with the Seventh Symphony, “Song of the Night,” Dudamel immersed us in soundscapes, vividly portraying Mahler’s enigmatic nocturnal music steeped in both tragedy and triumph. This powerful performance reverberated profoundly amidst the charred landscape of Los Angeles.

However, there’s no better representation of Los Angeles’ resilience than the Mahlerthon. With over 500 young musicians in agreement, it certainly seems accurate.

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2025-03-07 19:01

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