THIERRY FISCHER RAISES THE BAR AT UTAH SYMPHONY OPENER

UTAH SYMPHONY, Abravanel Hall, Sept. 12; second performance 8 p.m. Sept. 13, tickets at 801-355-2787, 888-451-2787 or www.utahsymphony.org 

This is a weekend of firsts for the Utah Symphony and its music director — not only is it the start of the Mahler symphony cycle, but also the orchestra’s return to recording.

The main work on the program, Mahler’s First Symphony, is being recorded by Soundmirror for commercial release. This is the first recording by the Utah Symphony in many years and the first time in 40 years it has recorded this work. (Maurice Abravanel’s legendary recording was made in 1974.) Because of the sheer excellence and virtuosity exhibited by orchestra Friday evening under Thierry Fischer, one can only hope this is the beginning of a long series of recordings. (As of now, the only other recording planned is Mahler’s Eighth Symphony in February 2016.)

Thierry Fischer (Photo Credit: Lephoto)

To open the concert Fischer programmed two brief works — Alexander Mosolov’s brash The Iron Foundry and Beethoven’s theatrical Wellington’s Victory — as a warm up for the orchestra and the audience.

It was obvious right from the downbeat that Fischer had carefully prepared his score. He paid close attention to Mahler’s markings and conveyed them to the orchestra. The reading wasn’t academic in the least; instead, it was vibrant, dynamic and well defined.

And the orchestra played with clarity and precision. It was articulate and wonderfully phrased.

Fischer decided to include the original slow second movement, known today as Blumine, that Mahler omitted from later versions of the symphony. A lyrically soft piece, Fischer’s account was broad and brought out the depth and expansiveness of the music. It was a sensitively crafted reading, and the musicians played with great feeling and finely tuned phrasings.

Throughout the symphony Fischer elicited playing from his band that ranged from the sensuous to the bold — and everything in between. Among the high points was the otherworldly atmosphere that Fischer created in the funeral march fourth movement. It was eery and tantalizing. Principal bass David Yavornitzky’s solo playing to open the fourth movement was wonderful, as was principal tuba Gary Ofenloch’s solo turn.

Indeed, all of the musicians played magnificently. The expanded brass and percussion sections were superb, as were the woodwind and string players; there were many fine solo moments among them.

Since Fischer took over the reins back in 2009, the Utah Symphony’s playing has been getting more polished, refined and articulate, and Friday’s performance was without question one of its best to date. The brilliance of the playing on opening night heralded the start of what undoubtedly promises to be a stellar season.