BBC Philharmonic Orchestra – Mahler Symphony No. 3 ‘The Voice of Nature’ – Live Review

Saturday 14 June 2025

Bridgewater Hall, Manchester

*****

John Storgårds conducts the BBC Philharmonic Orchestra in a breathtaking performance of Mahler’s Third Symphony

Having just come back from the Shostakovich Festival in Leipzig, with performances by two of the world’s most renowned orchestras – the Leipzig Gewandhaus Orchestra and the Boston Symphony Orchestra – I was looking forward to returning to the Bridgewater Hall in Manchester for a concert by the BBC Philharmonic Orchestra by way of comparison.

The Leipzig Gewandhaus concert hall, where the Festival took place, has an internal design similar to Manchester’s magnificent Bridgewater Hall, and both feature fine acoustics – Prof. Trevor Cox of the University of Salford chose the latter as one of the best concert halls in the world. It’s gratifying to report that the BBC Philharmonic, shortlisted for Gramophone‘s Orchestra of the Year award in 2023, more than matched their illustrious rivals in a stunning performance of Mahler’s gargantuan Third Symphony on Saturday.

The concert was billed as ‘the voice of nature’, but as Stephen Johnson said in his astute and informative programme note, Mahler perhaps had Nietzsche in mind when he wrote the following,

It always strikes me as strange that most people, when they speak of ‘nature’, think only of flowers, birds and woodsy smells. No-one knows the god Dionysus, the great Pan. There now! You have a sort of programme – that is, an example of how I make music. Everywhere and always it is only the voice of nature!

Mahler provided subtitles for each of the six movements, showing how they related to nature. Although he later withdrew them, they still offer a valuable guide to the symphony’s journey from the awakening of elemental nature, via communications from flowers and animals to what humankind and the angels communicate, to a vision of love and perhaps even heaven or God. The subtitles are quoted below.

Movement One Pan Awakes – Summer Marches In (Bacchic procession)

The hugely ambitious opening movement is almost as long as the combined length of the remaining five movements. On its own, it’s as long as many full-length symphonies, but anyone expecting a clear symphonic development in its structure would be confused. As Stephen Johnson points out, it ‘feels more like a fantastic kaleidoscope of wildly contrasting sounds.’

The movement began with a splendid brass opening, rich, bright, and strident, followed by passionately anguished lower strings, spiky trumpets and shimmering upper strings. Conductor John Storgårds brought out the detail of this strange but compelling music, combining precision with passion, as he did throughout this superb performance.

An ominous bass drum announced Pan, the god of the wild, rousing himself with what sounded like a Wagnerian funeral march. Offset against this was a lilting, pastoral section for woodwind and strings, with a Romantic violin solo from Leader Zoë Beyers, whose solos were all excellent.

The highlight of the movement was a series of solos from trombonist Richard Brown; at times, it was a concerto for trombone and orchestra. His playing was warm and rich, with a lovely legato and a mellow tone set against harmonically shifting, evocative lower strings.

The movement ended with the Bacchic procession, led by the god Bacchus (the Roman name for the Greek god Dionysus, god of wine and fertility). There was an explosion of joy and ecstasy, a stunning ending to the first half of the symphony. Although it was tempting to applaud, the audience sat in respectful silence.

Movement Two – What the Flowers in the Meadow Tell Me

After the tumultuous onslaught and epic length of the first movement, the second movement is a short minuet. Mahler allowed it to be performed separately before the whole symphony was premiered, with mixed feelings, ‘This modest little piece will no doubt present me to the public as the ‘sensuously’ perfumed ‘singer of nature.’ He wanted the complete symphony to show that ‘nature hides within itself everything that is frightful, great and also lovely.’

The BBC Philharmonic brought out the loveliness of this movement, with graceful, sweeping strings that created an idealised image of pastoral meadows, recalling Wordsworth’s lines from his Ode: Intimations of Immortality from Recollections of Early Childhood (1807).

There was a time when meadow, grove, and stream,
The earth, and every common sight,
To me did seem
Apparelled in celestial light,
The glory and the freshness of a dream.

The orchestra played the movement with a precision and lightness of touch that was remarkable for such large forces. The effect was enchanting and gently uplifting.

Movement Three – What the Animals in the Forest Tell Me

The third movement is dedicated to the animals of the forest, and the wisdom they communicate. The animals are gentle, enjoying their pastoral setting, with perhaps a hint of sadness and a little jeopardy.

The movement began with a characterful clarinet solo by John Bradbury, followed by themes that scattered across the orchestra like a waterfall. The frolicking of the forest animals was interrupted by an offstage trumpet, played by Gwyn Owen, representing a post horn that seemed to evoke nostalgia for the countryside. Owen’s playing was mellow, rich and warm with a beautiful legato.

There was a heart-stopping moment of stasis when suspended strings and hymn-like brass accompanied the trumpet. It seemed we were heading for a gentle ending to the movement, but Mahler wanted to remind us of the wildness of Pan, and the brutality lurking beneath nature’s serene surface.

Movement Four – What Humanity Tells Me

The first movement, which describes the effect of humanity on the composer, aptly features a mezzo-soprano singing a text by Friedrich Nietzsche from his philosophical novel Also sprach Zarathustra (1883–85). This mysterious passage describes ‘midnight’ addressing humankind about the depth of joy and pain in the world, and the battle between the two.

Pain says cease!
Yet all joy desires eternity –
Desires deep, deep eternity.

There was luxury casting on Saturday, with the contralto Jess Dandy, who was so impressive in last April’s performance of Bach’s St John Passion, returning to the Bridgewater Hall. Her deep, warm contralto tones were ideally suited to the profound text. Time was suspended as we reflected on the ‘deep eternity’ of the text.

Movement Five – What the Angels Tell Me

The fifth movement takes its text Es sungen drei Engel einen süßen Gesang (Three Angels Sang a Sweet Song) from Des Knaben Wunderhorn (The Boy’s Magic Horn), the collection of folk poems that Mahler returned to so often. The children’s choir opens the movement singing ‘Bimm, bamm’ to represent bells, joined by real bells from the orchestra. The three-part women’s chorus represents the angels, later joined by the soprano soloist, singing for joy because Saint Peter has been absolved from his sin in denying Jesus.

The choirs were made up of CBSO Children’s Chorus and Youth Chorus, and women of the Hallé Choir. The children, having sat quietly through over an hour of music, were well-drilled, singing without scores, and bringing lively tones to the music. The women sang mellifluously, joined by the luxurious warmth of Dandy’s contralto. The overall effect was suitably angelic and heavenly.

Movement Six – What Love Tells Me

The symphony is bookended by another long, instrumental movement. Mahler summed up its place in the symphony’s journey,

‘I could almost call this [movement] ‘What God tells me’… in the sense that God can only be understood as love. And so my work begins as a musical poem embracing all stages of musical development in a stepwise ascent. It begins with inanimate nature and ascends to the love of God.’

On Saturday, the BBC Philharmonic, under its Chief Conductor John Storgårds, beautifully illustrated the final ascent. The movement began with a quietly ecstatic string melody; Storgårds stepped back on the podium as if to luxuriate in the sound that was reminiscent of Wagener’s Parsifal. An ecstatic climax on strings and horns revealed a vision of heaven, of quiet joy lovingly created by the orchestra. There was a hymn-like sense of inevitability, with warm but precise ensemble.

The orchestra shone, shimmering with joy, as it reached another transcendent climax, with Storgårds becoming more vigorous and animated. The music fell away with a gentle string melody, until there was another climax of terrifying beauty and luminescence, similar to the moment in Edward Elgar’s Dream of Gerontius when the Soul is briefly in the ‘awful Presence of its God.’

The brass played a lovely chorale, beautifully controlled like the finest of brass bands. Storgårds danced on the podium at the final climax, with almost the whole orchestra playing the final joyful melody as we ascended into heaven; there was a moment of peace, followed by a massive concluding chord with vigorous double timpani.

Storgårds began to drop his arms slowly; the convention is that the audience waits until this gesture is complete, but the audience were having none of, bursting immediately into rapturous applause. This marked the end of an outstanding performance, proving that there is no need to leave Manchester to experience the highest quality music-making.

Programme

Gustav Mahler Symphony No. 3 in D minor

Performers

BBC Philharmonic Orchestra
John Storgårds conductor
Jess Dandy contralto
Hallé Choir
CBSO Children’s Chorus
CBSO Youth Chorus

The concert will be broadcast on BBC Radio 3 on Wednesday 2 July at 19.30, and will be available for 30 days after broadcast on BBC Sounds.