Review - 2016 Hong Kong-Vienna Music festival, Symphony No. 8 (Mahler), Hong Kong City Hall Concert Hall, 28 August 2016

Sir Simon Rattle once put Beethoven's symphonies to a kind of Mount Everest to climb. In a similar metaphorical representation, Mahler's symphonies arguably could compare to the Alps for the sheer scale and sound world. I feel the depth in Mahler's music is boundless and beyond imagination, which has a gigantic iceberg lies under every symphonies. The eighth symphony is an especially challenging work to perform among the symphonic repertoire. Mahler persistently regarded the symphony as his most important work even after completing Das Lied von Erde. It asks not only for a large orchestral and choral force, but also the input of enormous energy from the ground-breaking tutti E-flat major chord till its profound conclusion, which resonates alike the ringing of universe beyond the earthly sound. Technically and mentally also demanding at any performance. It is an ambitious choice for any orchestra to perform such work, even for world-class orchestras.

The recent developed Hong Kong-Vienna Music festival had decided to meet the challenge and presented a tour de force with an international cast. Hong-Kong born Jimmy Chiang took up the baton to marshal the force. Vincent Schirrmacher, who was born in China and educated in England, sang the difficult tenor role. He was joined by soprano Anna Baxter, the conductor’s wife, together with sopranos Yuki Ip and Louise Kwong, mezzo-soprano Christina Baader and Samantha Chong, baritone Klemens Sander and bass-baritone Apollo Wong. The orchestra consisted of members from the Vienna Radio Symphony Orchestra, Vienna State Opera, Vienna Symphony Orchestra, Hong Kong Philharmonic orchestra, City Chamber Orchestra of Hong Kong, as well as local university music students from The Chinese University of Hong Kong, Hong Kong Baptist University, Hong Kong Academy for Performing Arts and Vienna University of Music and Performing Arts. The ongoing debate, of  whether the symphony as a symphonic piece or choral-orchestral work, does not conceal the undeniable fact that the choral part plays an important role. The world-renowned Arnold Schoenberg Choir and the Vienna Boys Choir formed the backbone of the massed choir, teamed up with the The Learners Chorus, Hong Kong Treble Choir and Vienna Boys Choir Academy Concert Choir.

Since the beginning of the first movement already marks its first climatic moment, there is hardly any time for the players to sink in the music but only to deliver the full impact. Though the orchestra did not quite manage to achieve what I expected and fell short from building up the thick texture. The textual richness was not ably deliver partly due to the relatively small sized orchestra. I would prefer a horizontal reading of the score since some passages should be more expressively played. Neither the quieter moments sounded still and calm enough. Violins were not tidy in the technically difficult passages and some intonation problems happened among the vocal soloists. The execution of switching the moods, between the majestic and explosive 'Veni, veni creator spirtus' and the expressive legato orchestral phrase led by the violins, were not effective. Singers too were not in their best form and some audible mistakes.

The timbre varied and one could hear three different voice colours among the combined choir, probably due to age differences and technical abilities. The blending was not homogeneous and high notes sometimes sounded breathy and unsupported. The beginning and ending consonances could be tidier. Otherwise they delivered a round tone for most of the time. Despite some noticeable mistakes, the performance was presentable enough and gradually improved as the performance proceeded. It managed the built up to the concluding climax successfully with a nice crescendo, and ended the first part in a round muscular tone.

The second half of the symphony mostly follows the final scene of Faust written by Goethe. After a slightly disappointing first half, the orchestra eventually warmed up and performed better. The woodwinds' solo passages at the beginning were beautifully played. Though there were some balance problems that the soloists had to battle with the orchestra in terms of volume. The orchestra could be overpowering and one could not always hear the singing. The baritone Klemens Sander sang 'Ewiger Wonnebrand' with a warm and round tone. Words were clearly articulated, and the lines were expressively and lyrically phrased. 'Wie Felsenabgrund' sang by the bass Apollo Wong was louder in projection by comparison but his diction was not as clear as Sander. Among the five female soloists, Louise Kwong sang particularly well with her diction crystal clear, and the sound of the notes at her high tessitura was so transparent that as if effortlessly sung. The tenor Vincent Schirrmacher sang his line emotionally, high notes were beautifully produced and carried the vocal weight. His diction was good and crafted each line with great care so that the mood change was effective.

I would regard this performance a success that it provided a platform for cultural and musical exchange between the two cities. Musically it was a great performance judging by local standard and to perform such towering piece was an tremendous achievement. This performance would undoubtedly one of the city cultural highlights of 2016. Yet one should not satisfy at this level of success, but to aim further for a higher standard that would be internationally acclaimed otherwise.

Photo credits: Facebook Page and Website of the Vienna Boys Choir Music Academy Foundation