BY CUTCOMMON
What do you get when you bring together some of the highest-calibre players from Australia’s orchestras and ensembles? The Australian World Orchestra.
If that sounds like an epic group of classical musicians, just wait until you hear what they’re going to play for you.
Conductor Alexander Briger AO is going to lead the AWO through Mahler’s Fourth and Fifth symphonies on this year’s concert program. Not only will the event span two cities, but Alexander reckons it will be the first back-to-back performance of Mahler 4 and 5 in the Southern Hemisphere. He tells CutCommon about this festival-like occasion.
Alexander, tell us about Mahlerfest! What inspired AWO to dedicate the full program to this epic composer?
AWO always tries to push the boundaries. We try to do firsts and programs which are not the ‘norm’.
After the success of our performance of Mahler 1 with Zubin Mehta and then our Mahler 9, which I conducted, all the orchestra wanted to do was more Mahler as it fits perfectly with this quality orchestra.
Plus, we had done a whole Strauss program with Maestro Mehta, and that was a great success. So we thought, ‘let’s do the same but with Mahler!’. It’s definitely a ‘festival’ program, and we are a ‘festival’ orchestra.
How were these symphonies selected?
It would be impossible to do two other Mahler symphonies in the one program. They’re simply too long. These two works fit really well together. It’s not the first time it’s ever been done, but only rarely — and we believe this is the first time in the Southern Hemisphere!
How do you feel these two symphonies fit into the story of Mahler’s life?
I’m quite obsessed with the Fourth Symphony. I have my own thoughts about it, which I’m sure are not correct, but it gives me my own concept.
I feel it is a premonition of the Holocaust. The first movement is a child’s playful happiness and pure joy; the second movement the devil descending on Earth; the third is the child’s unbelievable pain, sorrow and death; and the fourth is an angel taking the child to heaven.
When I was 12 years old, my mother took me to my first concert, and on the program was the fourth symphony with my Uncle Charles conducting the Sydney Symphony Orchestra. As soon as I heard the third movement, I realised I wanted to conduct as well. I became obsessed with that third movement.
Later, when I was living in London, I had the honour of the London Philharmonic Orchestra asking me to conduct that symphony, and my Uncle Charles came to see me conduct it, so we kind of did a full circle.
With that history, how are you gearing up to conduct these two enormous pieces of music?
I don’t have any especial routine. Regarding energy, two big symphonies in one concert is really no issue for me. They’re both works that I absolutely love conducting and losing myself in when I’m on the podium, so I’m very excited to be doing this.
How do you think these symphonies will bring out the strengths of AWO, which is made up of so many leading orchestral musicians from across Australia?
We have a phenomenal orchestra with so many soloists. It’s easy for them all to shine with such intense music.
Plus, there are some big solos in these works – solo horn (Andrew Bain), solo trumpet (Lukas Beno), solo violin (Rebecca Chan), trombone (Michael Mulcahy), plus others.
The orchestra is well known for its huge, lush, and virtuosic string sound/section, so these sorts of works are absolutely perfect for AWO, especially those intense adagios and quick scherzos, finales, etc.
Mahler with this orchestra is a match made in heaven.
How would you describe the identity of AWO in the orchestral landscape in Australia? It performs with the calibre of a major state orchestra but operates differently – and not quite like a community orchestra, either. I’d love to hear your take on its place.
We are completely different to every other orchestra in Australia, and we don’t compare ourselves to them and they wouldn’t compare themselves to us. The state orchestras are highly well-oiled machines who have honed their fortes over decades of work together, whereas we are a festival orchestra that runs on intense high-level pressure for six days. Rehearsals are like concerts, and there is a constant energy in the room.
What is so special about the AWO is how it brings our nation’s musicians together, from all around the world, just for a few days. We are completely unique on this Earth. No one else does this, and for some reason it clicks every time with our musicians. There is a certain admiration amongst the players that makes them excel when they come together.
We are all about showing the world that Australians are actually some of the best classical musicians on Earth, and we can play and interpret German, English, Italian, French, American, etc. music better than any other nationality. Our musicians have conquered the world of classical music, both here at home and overseas, more than any other industry in Australia. We are incredibly proud of that fact, and we are not afraid to show it off.
We are the opposite of the long-held belief that if it comes from overseas, it’s better!
Another long-held and widely contested belief is that classical music is decreasing in popularity. However, we do exist in a time when people’s attention spans seem to be dwindling across the board. How do you see AWO’s program sitting in this space? How will you hold your audience’s attention for two symphonies in a row?
I think the excitement and beauty of these works, plus the brilliance and attraction of the orchestra itself, will hold the attention of any audience.
The music is so passionate, and these musicians play as if their lives depend on it, from start to finish. That reflects onto an audience – that intensity, that energy. Everyone feels it. It’s something you can’t put into words. You have to be there!
AWO concerts are not just concerts, they’re events.
If there’s one moment to listen out for in this concert program, which moment would it be?
At the end of the third movement ‘Adagio’ of the Fourth Symphony, there is a huge climax where the entire orchestra plays as loudly as possible. Just after that is the most beautiful music Mahler ever wrote. It literally breaks your heart. I always shed a tear when I hear this music. There are two chordal changes there, which my sister Nicky and I used to call ‘killer’ chords because they tear your heart apart!
Hear Alexander Briger AO conduct the Australian World Orchestra through Mahler 4 and 5 featuring solo soprano Sarah Traubel.
Book now to hear them at 7.30pm September 3 in Hamer Hall, and 8pm September 4 in the Sydney Opera House.
Images supplied. AWO by Prudence Upton.
