MUSIC REVIEWS : Bucolic Strauss, Problematic Mahler From Philharmonic

The Los Angeles Philharmonic paired a rarely played late work by Strauss with probably the least-performed symphony by Mahler over the weekend in the Dorothy Chandler Pavilion. The likely connection, at least on paper, was nature in bucolic dress in Strauss’ Duet-Concertino for Clarinet and Bassoon, and nature in nocturnal guise but absent humanity in Mahler’s sprawling Symphony No. 7.

As guest conductor, management enlisted Michael Gielen, who proved, in the case of Mahler at least on Friday, a literalist attending--one could scarcely say interpreting--one of the most metaphoric of composers. This was not music that played itself, however.

Although the Seventh lacks any program or narrative, the composer did allude to other than merely abstract contexts--labeling two movements “Nachtmusik,” recalling his earlier “Des Knaben Wunderhorn” and Third Symphony, and incorporating, of all things, cowbells.

Gielen beat time evenly and efficiently, kept textures clear, emphasized loud dynamics and allowed the brass to overwhelm. He managed to conduct marches without momentum or vigor, indulged the composer in no semblance of character and dampened extremes of hysteria and joy.

The magical “Night Music” movements emerged without much eeriness or sensuality. The potentially frightful Scherzo unfolded tame and inchoate.

The always problematic fifth and final movement, an upbeat ending seemingly tacked on and arbitrary despite its cyclical consistencies, sounded at times uncommonly chaotic and even goofy.

Defections from the audience began about seven minutes into this 80-minute work and picked up at the breaks following each movement, although notice also must be made of the cheers and standing ovation a number of people gave at the close.

In contrast, Gielen’s keeping out of the way of Strauss’ music in no way lessened its attractive, affectionate charms, especially given the technical aplomb and emotional rapport between clarinetist Michele Zukovsky and bassoonist David Breidenthal.

Indeed, the conductor’s sensitivity to the ebb and flow of Straussian rhetoric did not prepare in any way for his later facelessness in Mahler’s epic, although he sometimes allowed the chamber orchestra to overpower Breidenthal.

In both works, concertmaster Martin Chalifour contributed warm solos. The orchestra in general sounded precise, transparent, rich in depth and powerful as needed.

In the Mahler Symphony, Byron Peebles played the tenor horn solos with varied success. Peter Zaferes and Paul Viapiano were the mandolinist and guitarist, respectively.