“Ridiculous,” “offensively trivial”, “a complete disaster,” just some of the critical barbs hurled at Gustav Mahler’s First Symphony following its Budapest premiere in 1889. A babel of such invective echoed around the Albert Hall launching the ingenious theatrical presentation – in effect, a staged programme note – that preceded Aurora Orchestra’s performance of the work in all its maverick majesty. Over an hour, actors and musicians took us on a light touch, deep dive into the circumstances surrounding the genesis of a symphony that frankly baffled its first audience.
“For those that listen closely, everything about me is explained in this music,” declared a beguiling Jack Bardoe, perfectly encapsulating Mahler’s combination of frenetic energy and artistic neuroses (“A bomb encased in razorblades,” is how one-time friend Ferdinand Pfohl put it). The setting was a psychiatrist’s office, with Sarah Twomey a forthright Sigmund Freud (“Tell me about your mother”) linking the composer’s compulsion to write music with a need to re-enact childhood trauma. Paternal cruelty, eight siblings lost in infancy and a disastrous love affair fostered a deeper understanding of what made Mahler tick.
