Berliner Philharmoniker
Gustav Mahler Symphonies Nos. 1–10

Daniel Harding
Symphony No. 1

Andris Nelsons
Symphony No. 2

Gustavo Dudamel
Symphony No. 3

Yannick Nézet-Séguin
Symphony No. 4

Gustavo Dudamel
Symphony No. 5

Kirill Petrenko
Symphony No. 6

Sir Simon Rattle
Symphony No. 7

Sir Simon Rattle
Symphony No. 8

Bernard Haitink
Symphony No. 9

Claudio Abbado
Symphony No. 10 (Adagio)

L’Orchestre National de Lille (ONL) performed its first concert in 1976 under the baton of Jean-Claude Casadesus, who retired as music director in 2016. Since then, French conductor Alexandre Bloch has taken the reins. Bloch’s career is impressive; he is principal guest conductor for the Düsseldorfer Symphoniker (2015) and winner of the LSO Donatella Flick Conducting Competition (2012). Bloch has recorded 3 albums with the ONL, all for Alpha Classics: works by Ravel, Chausson and the recording reviewed here, Mahler Symphony No. 7 (2020). The ONL was also shortlisted for the Gramophone Classical Music Awards ‘Orchestra of the Year’ in 2020. A good pairing to take on a highly complicated symphony.

Mahler’s Seventh: The enigmatic symphony.

It’s been only a few years since I started listening to Mahler, although it does feel much longer. My first experience with Mahler, was with the First Symphony, under the direction of Leonard Bernstein and the New York Philharmonic. I was confused about what I was listening to, those first notes of expanding, sustained high As. Nature sounds from a symphony I hadn’t heard before—a clarinet cuckoo call, a free fall of dangerous notes. It was an amazing moment. By the third movement, I was completely hypnotized—this is the ‘Mahler Effect’.

The new recording from classical guitarist Martin Van Hees (on the TRPTK label), brings together compositional works from prominent Dutch composers: Roderik de Man, Aart Strootman, Jan-Peter de Graaff, Christiaan Richter, Leo Samana, Louis Andriessen, as well as Van Hees himself. There’s such diversity of tone and colour in these works, I decided to briefly review each of them. All, I believe, complement the concept of the album. The expressive layers of each composition come through the guitar of Martin Van Hees, who plays the instrument with excitement and precision.

I found the idea very interesting of having all composers the same nationality. There are a few details in the album notes where Van Hees comments a little about each composer. Intrigued, I researched more and found several writings from the soloist dating back to his Master’s degree studies at The Royal Conservatory in the Hague. Since then, he showed a growing interest in these composers. A desire to learn about their work, questioning how the composers imagined the playing style of their compositions. This important work paves the way for a unique and coherent sound throughout the album. As such, he invested himself into each composition, its complexities, and even conducted interviews and played the work for some of the composers (de Man, Andriessen and Samana). The pairing of soloist and composer is for our benefit as we listen to a faithful interpretation of the score.