On Thursday evening, April 17, 2025, in a concert to be reprised April 18-19, Dutch conductor and violinist Jaap van Zweden, currently Music Director of the Seoul Philharmonic and Music Director Designate of the Orchestre Philharmonique de Radio France, led the Chicago Symphony Orchestra in a glorious performance of Gustav Mahler’s blazing, daring and artistically special Symphony No. 7 in E minor, “Song of the Night”, 1904-05. At 79 minutes in duration, it was unnecessary- and would’ve been negligible- to position anything else on the program, presented at Orchestra Hall in Symphony Center, 220 S. Michigan Ave., Chicago.
Van Zweden, lauded around the world, who will lead the CSO next month performing Mahler in Europe, held a tightly-controlled Orchestra in a highly structured reading that nonetheless was permeated with light and a rare beauty. In the two outer movements, with their dramatic ascensions, transitions and challenge to the very notions of symphonic structural continuity, the Maestro was confident enough not to belabor or overly manage every phrase. Particularly in the opening, with its strong and twisty finale, van Zweden met the abrupt changes head-on.
Further, in the central trio of movements, the 2 almost ghostly Night Music segments bookending the “Shadowy” Scherzo, the distinct brilliance of the CSO’s playing revealed a clarity in every detail and transmitted a vivid beauty of sound from the full Orchestra.
Much has been written about the so-called “incomprehensible” or “controversial” nature of the Seventh, its moods that shift “too” abruptly, the lack of connection between its movements, the very unusual use of mandolin and guitar in the 4thmovement Andante amorosa. Yet much has also been written about the cunning- if elusive-inner trajectory, moving from darkness to light. If you listen closely to the music, it takes you on a memorable ride through frantic discord, lullaby, a night’s dance, into morning.
The Symphony commences through a slow introduction bearing a solemn mood wherein a changeable melody is developed by a unique use of tenor horn, proceeding to other instruments through a dirge-like march. Then the first Night Music movement comes in via a duet of French horns, calling and answering; ultimately the march is restated and the music fades. The Scherzo embraces a wailing melody in the muted strings but then divides into a playful waltz led by cheery violins, violas bring in yet another dance; it all devolves into distortion, briefly saved by lyrical horns and cellos.
The fourth movement Night Music 2, referred to by the composer as a serenade, apparently referring to the plucked strings, harps, guitar and mandolin, opens with a prominent melody in violins and horns, modulating in tone and tempo, returning and reprising, ultimately ending quietly with the sound of birdcalls.
In the last movement Rondo-Finale, refrains and episodes proceed in variations after a lusty introduction moving into a significant fanfare. Trumpets sound an important chorale, a duet of oboes weave a melodic pattern, transferring to English horn while amid the soft chimed percussive playing a twig is stuck against the bass drum. In the final segment, a pastoral mood is changed and passed repeatedly between brass instruments and tempi to a light-filled conclusion.
The audience leapt to its collective feet, yelling praise, shouting repeatedly as the triumphant Maestro introduced each section of the Orchestra- a wonderful achievement.
All photos by Todd Rosenberg Photography
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The 7th, like the 4th, is a mere pit stop in the Mahlerian repertoire. The van Zweden interpretation was in line with the oft-sited Abbado recording of the CSO. It is hardly a Mahler composition that can be milked for emotion that isn’t there. Indeed, Mahler conducted the premiere at a sprightly 72 minutes – and the range of performance time ranges more than any other Mahler work. Maestro van Zweden instead focused on the intensely personal playing that came from the entire orchestra in a manner rarely heard anywhere. Ms. Davy’s review points out the incredible playing by the entire orchestra. It was a rare occasion when none of the orchestra positions were filled by substitutes.
Audience respect continues to decline along with much of the population. The morons that shout “Bravo!” before the last chord has even rung out are an increasing annoyance. The scattered end-of-movement applause is one thing, the baseball caps are another element.
And why in the world did the CSO allow late arrivals to disrupt rows of seating on the main floor between movements 2-3? A large group of music students from South Carolina were a bright spot, but real musicians always show respect for their peers.
With next week’s Mahler 3 requiring even more audience concentration and end-of-symphony restraint, I’m shuddering just thinking of what we’re in store for.