Just as importantly, Kreizberg encouraged a read of this epic symphony which was deeply moving as well as technically impressive. The first movement's grand, half-hour progress was powerfully conveyed; the only fault lay in too great a slackening of tension in one or two of the quieter episodes. The lilting phrasing of the second movement and the bucolic rhythms of the third suggested a surprisingly close and relaxed identification with Mahler's more vernacular and naive side. While Jean Rigby's mezzo-soprano solos in the fourth and fifth movements lacked ideal focus and raptness, the Highcliffe Junior Choir and Bournemouth Symphony Ladies Chorus made precise and telling contributions to the fifth. The long finale was searingly passionate, the rendering of its concluding apotheosis gloriously alive both to the richness of Mahler's orchestration and to the visionary heart of the composer's inspiration.
As if this weren't enough for one evening, Kreizberg returned after an interval to play the two-piano arrangement of Stravinsky's Petrushka with Paul Mann, assistant conductor of both Bourne-mouth orchestras, adding Chris Guy playing some "assorted ad hoc percussion". This witty, delightful performance boded well for the series of "post-concert concerts" on offer this season.Reuse content