Adam Schoenberg’s Losing Earth, a percussion concerto centred on the theme of climate change, was massively effective with its spectacular array of instruments, upon which soloist Jacob Nissly vented his virtuosity.
New’s dramatic body movements complemented Nissly’s deft moves as she marshalled the considerable drama, heightened by orchestral percussionists playing from the circle.
For all its timely messaging and sonic firepower, it was musical details that lingered, such as Nissly’s gentle wash of vibraphone and Thai nipple gongs, the sheer groove and energy of his foot on a drum pedal, and the gentle optimism of the final spinning roto cymbals echoing in the circle.
Early on, New announced she views Mahler’s Symphony No. 5 as a response to him meeting the love of his life — with the score’s death dances and funeral marches conquered by the light and joy of marital bliss.
Perhaps this is why the opening march seemed to have an extra edge to it, or why Mahler’s sinuous slips from minor to major seemed particularly resonant?
The adagio, the beating heart of the work, was appropriately heartrending, and the final movement a glorious celebration — not only of marital bliss, but equally of Mahler’s growing contrapuntal and orchestral confidence, done full justice by orchestra and conductor.
