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Review/ 'In homage to the 10th anniversary of the Bristol Classical Players'

Nathaniel warren gives an insight into what it's like being in an orchestra playing a 'challenging and monumental piece'.

By Nathaniel Warren, Second year Music

Nathaniel warren gives an insight into what it's like being in an orchestra playing a 'challenging and monumental piece'.

With ten trumpets, ten horns, three deep un-tuned bells, and a large cohort of strings, Mahler’s Symphony No.2 Resurrection, uplifted the audience as they rose in standing ovation in Bristol Cathedral, on Saturday 9th February. A handful of UOB students and myself joined the Bristol Classical Players to perform a formidable Mahlerian Odyssey of epic proportions spanning 5 movements. The composition examines; life, death and transcendence, in a colossal musical masterpiece. This article will hopefully give you insight into what it’s like being in an orchestra playing a challenging and monumental piece!

It is a work of; percussion crashes, moments of sonic vibrancy and as one of my fellow trumpeters described it, an all-round ‘cracking piece of music’. Fittingly, the Phoenix choir joined the chorus for the Ascension symphony, along with the Bristol Cabot Choir. Entranced by a beguiling mezzo solo by Jenna Brown and the tones of soprano Charlotte-Anne Shipley, the opus bursts its orchestral confines as the choir serenely enters with, ‘Aufersteh’n’ (‘Rise again’), in anticipation of the overwhelming chorale of movement 5.

Upon asking conductor Tom Gauterin, ‘Why did you choose Mahler Symphony No2?’, he responded that, given the fact it is the 10th Anniversary of the Bristol Classical Players, he wanted a joyful and rejoicing piece. Essentially, Symphony No.2 was chosen as a celebratory work in homage to the anniversary. Undeniably, there was great comradery amongst the trumpeters who knew it was an ambitious work to perform, but we pulled through! It was the chance of a lifetime to perform in such an awe-inspiring setting. Playing to such a supportive audience with supportive players, certainly helped spur me to perform such a work!

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Bristol Cabot Choir

Movement 3 started with a timpani sforzando that reverberated through the cathedral. All-in-all, it is an epic work of unrivalled menace, tranquility and joy. There are intensely dramatic passages filled with foreboding, which break forth into triumphant brass heralds or melodic flourishes from the flutes. The principal trumpeter Olly Chubb concurred that it is certainly an, ‘incredibly moving and emotional’ work and remarked that it gets better each time you listen to it, as you start to recognise various themes recur.

Tom Gauterin describes the journey as ‘a frankly ridiculous undertaking’, as Mahler gives the conductor of his symphonies no small task, with a myriad of metric alterations. To partake in something so unique and so overwhelmingly triumphant, was certainly a privilege. As such, I hope this article might encourage you to explore the magnificence of Mahler’s monumental symphonies and persuade you to listen to more classical music!

*Featured Image:Brisol Cabot Choir /Facebook *


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