PROMS 2026: Orchestra and Soloists Create a Collective Magic for Mahler’s Das Lied von Der Erde

Compositional stimulus comes in many forms, and for this concert given by the BBC Philharmonic Orchestra under its principal guest conductor Anja Bihlmaier, impetus derived from an early form of industrial action to trigger Haydn’s Symphony No. 45 and ancient Chinese poetry prompted Mahler’s Das Lied von der Erde. This lyric symphony, we are told, was the inspiration behind Mosaic by Lebanese British composer Bushra El-Turk, though its “notions of identity and otherness” seemed to me to be only distantly related to Mahler’s orchestral song-cycle. More recognisable is a valedictory quality linking the finale of Haydn’s ‘Farewell’ Symphony to the closing song, ‘Abschied’, of Mahler’s late work. Proceedings began with El-Turk’s seven-minute Mosaic written for the Manchester Camerata’s 2009/10 season. It draws on the composer’s reflections on “how borders can be blurred, yet differences can still be immense”. Emerging from near inaudibility, this performance unfolded from a series of fragmentary figures and swirling gestures of gathering intensity across a dynamic arc, its scraps of quasi-Byzantine chant culminating in a haunting leave-taking as atmospheric as it was unknowable. Much of Haydn’s compositional motivation stemmed largely from courtly obligation, yet the celebrated ending of his ‘Farewell’ Symphony was a ploy to wind up an extended visit to Prince Esterházy’s summer palace so he and his instrumentalists could return to their families. With instructions for each player from the beginning of the closing Adagio “to blow out his candle and to leave with his instrument under his arm”, the royal party immediately recognised the composer’s ruse and the next day an order was issued to leave Esterháza. The seriousness of Haydn’s gesture could have been translated here with a certain sobriety. Instead, it merely provided amusement but ended a first-rate account marked by rigorous attention to detail. Every accent and dynamic change was underlined in the opening Allegro, while the poetic eloquence of the Adagio was neatly conveyed, though perhaps horns and oboes could have been less reserved in their brief contributions. Witty exchanges coloured the Minuet, almost as if coquettish violins were being affronted by oboes and horns. The finale was a racy affair, leaving us no doubt of the scrupulously clean string playing from the Salford players, and the closing bars of diminishing players were no less refined. The stage filled for Mahler’s Das Lied von der Erde (‘Song of the Earth’), with the BBC Philharmonic Orchestra joined by a pair of American singers, mezzo-soprano Jamie Barton and tenor Clay Hilley. Besides being an intensely personal expression of mortality and the beauty of nature, it’s a work that needs voices that can soar over an orchestra that includes quadruple woodwind, an array of percussion and mandolins. And if there were occasional balance issues, Bihlmaier conjured a compelling account, one notable for drawing out the clarity of the orchestration in a persuasive performance rich in detail. Of the score, Benjamin Britten once commented that it was “cruel that music should be so beautiful”. Yet there’s anguish and defiance inhabiting the opening ‘Drinking Song of the Earth’s Sorrow’ where Hilley brought a sense of desperation and theatricality to his presentation. Those priapic horns (drunken or mocking?) were initially overbearing, but soon Hilley was able to project, his bright focused tone bringing infinite tonal variety and a measure of bitterness for the thrice sung “dark is life, dark is death”. Mahler’s sighing phrases were beautifully caught by Barton in ‘Autumn Loneliness’, the whole prefaced with due consideration by muted strings and Jennifer Galloway’s yearning oboe. The sense of resignation was unmistakable; intimacy provided in spades by delicate chamber sonorities captivating for their subtlety of expression. Hilley seemed more relaxed in ‘Youth’, responding with story-telling ease to Mahler’s cavorting woodwind phrases, and no longer having to struggle against full orchestral textures. Barton and Bihlmaier were perfectly in sync for the tempo changes in ‘Beauty’, those dashing boys bringing a rare moment of unbridled joy for singer and players. And on to more revelry with Hilley in full flight for ‘Wine in Spring’, throwing himself into its bravura demands, knocking out top A’s as if they were child’s play. The mournful sounds of ‘The Farewell’ with its consoling woodwind arabesques brought a carpet of perfumed timbres, Alex Jakeman’s tender flute especially beguiling. Throughout, Bartons’s voice variously floated, caressed and shaped each phrase with exquisite poise, images of the setting sun, moonlight and birds preparing for sleep were all brought to life with flawless sensitivity. After the orchestral interlude (a funeral oration?), she gathered all her resources for her closing address, orchestra and soloist in rapt communion. Little wonder after the final ‘ewig’ there was a long respectful and well-deserved silence. David Truslove PROMS 2026: Mahler’s ‘Song of the Earth’ Bushra El-Turk – Mosaic. Haydn – Symphony No. 45 in F sharp minor, ‘Farewell. Mahler –Das Lied von der Erde. Jamie Barton – mezzo-soprano; Clay Hilley – tenor; BBC Philharmonic Orchestra; Anja Bihlmaier Royal Albert Hall, London, 21 August 2026 All photos © BBC/Chris Christodoulou