He kicks things off with the prelude from Wagner's “Tristan und Isolt” and “The Love Death of Isolt.” He does not believe in big emotions, but rather a kind of simple objectivity.
With the Austrian premiere of “Aquifer” by Thomas Ades, Rattle answers why this work was done in the first place and why this work began. The work's eponymous term refers to a layer of rock that can store and transmit water, and that says it all. Rattle shapes this music into a magnificent sonic sculpture that shifts in constant metamorphosis. The tutti storms, the strings in exquisite flagolet pianissimo, the quotations from Wagner's “Tristan” create a real attraction. A proper congratulation to the present composer. At the beginning of Beethoven's “Sixth” in F major, called “The Pastorale,” Rattle resorted to haste and later analysis, which comes at the expense of transparency.
The great Mahler
In every way, Rattle struck a different tone with his “Bayern” the next day. She is completely in her element with Gustav Mahler's short “Sixth”. He vividly addresses “tragedy”. Each chord shows that there is no escape from these defensive marching rhythms. Spherical sounds and cowbells seem like an otherworldly greeting to the composer that implacably envelops itself. Rattle's reading, which focuses entirely on emotion and expression, makes clear why this symphony is considered Mahler's most personal work. Logically, he places the slow movement in the second, not the third, which has often caused controversy in Mahler's interpretation. “Landler” in the scherzo seems ghostly, like a dance of evil spirits.
Rattle, with his excellent orchestra (excellent horns, as well as brass instruments), builds relentlessly to a grandeur in the finale. A reference to the composer's rumored superstitions, the hammer strikes twice. Kudos for this great performance.
