RSNO: Mahler Symphony No. 6

The unfortunate thing about Mahler’s symphonies is that they inherently invite a high expectation. A vast majority of the public are familiar with at least one of these grand works – knowingly or not – and once you’ve heard one, you need to hear another. Arguably, their unique impact is matched only by the works of a handful of other nineteenth century composers and for this reason, the RSNO’s choice to include nothing but the sixth symphony in tonight’s programme makes for a stunning experience.

Particular commendation must go to the strings for amazing unity, to the wind and brass for admirable stamina and to the percussion section for the effortlessness with which they dealt with the incredible array of instruments before them. From the very opening, the strings set a mood of intensity and establish a sense of true familiarity with the work, emphasising every element of the rich harmonies. The wind cut through fantastically throughout this movement and each repeated theme seems to bring with it a new element.

In response to an ongoing controversy concerning the order of the two central movements, conductor Stéphan Denève made the decision to follow the first movement with the andante at the concert’s performance the previous night, reversing the order for the Edinburgh audience tonight, providing us with a dramatic build up to the andante in which a horn solo carries beautifully through the resonant hall. The finale is a work in itself, full of foreboding and menace. The brass display fantastic tones and the percussion continue to punctuate the melody. By the close, the tuning in the wind section isn’t what it was at the work’s opening, but the balance within the sizeable section continues to create an impact.

Both conductor and orchestra portray the genre remarkably well, and an almost full Usher Hall surely displays a desire for more works of the same calibre from the RSNO in the near future.