Mahler’s apocalyptic Second Symphony is a popular season opener these days, a reliably emotional experience guaranteed to pack them in with a message of hope that transcends the overtly Christian message underpinning its finale. It was a good choice for the City of Birmingham Symphony Orchestra and Kazuki Yamada, a conductor who combines theatrical vision with a keen instinct for orchestral colour.
This was a bold reading from the outset. Yamada indulged in a massive intake of breath after the initial rush of cellos and basses before permitting the orchestra to proceed. The opening march was slow and steady, a treacly elasticity releasing its pent-up energy in colossal, delayed climaxes. The first movement was high on extremes, from overwhelmingly noisy to breathlessly hushed; from drawn-out funereal to foot-on-the-gas urgent. Orchestral discipline was tight and solo contributions distinguished. The blend was never less than acceptable, though a mid-symphony pause to retune was a good call.
