It was a momentous occasion, last Wednesday night, when the Oberlin Chamber Orchestra performed under the baton of Sir Simon Rattle. Recognized as one of the foremost classical musicians of our time, not to mention one of the most legendary conductors in history, Rattle’s appearance was a celebrity event.  The 2000-seat Finney Chapel was overflowing with students and community members, all wanting to see and hear this star-studded performance of Gustav Mahler’s Fourth Symphony.

Rattle’s wisdom and experience affected the orchestra in a number of positive ways. In the first movement, a strong attention to detail was quite noticeable among the players. From the most dramatic crescendo to the slightest sforzando, every phrase was played with subtlety, nuance, and intelligence. The warm, rich sounds emanating from the string section, especially during the chorale-like second theme, were particularly striking. Rattle led a highly intense and dramatic climax towards the end of the development — one of the few dark and frightening moments in this mostly cheerful symphony.

The scherzo-like second movement was, once again, played with a high level of musicianship. Special attention must be given to the exceptional solo playing of principal hornist Jeff Scaulcup and principal clarinetist Sasha Rattle (the maestro’s talented son). In this movement, and throughout the symphony, these two always played with confidence and clarity.

It is extremely difficult to translate into words the sheer beauty with which the third movement was performed. As if singing a lullaby to the audience, Rattle and the orchestra expressed an exquisite tenderness and loving serenity in the movement’s opening. Of considerable note was how remarkably together the pizzicatos of the bass section were, especially considering that Rattle gave no beats during this section. In contrast, the orchestra’s unrestrained passion in the middle section was highly effective, bringing many audience members to tears.

The fourth movement, titled “Das himmlische Leben” (“The Heavenly Life”), featured Oberlin alumnus Alyson Cambridge ’02 as the soprano soloist.  The words of this movement, taken from “Das Knaben Wunderhorn” (“The Youth’s Magic Horn”), are of a young boy describing the “heavenly pleasures” of the afterlife — from herbs and asparagus to the beautiful music sung by 11,000 virgins.   Mahler even instructs the soloist to sing with a childlike expression. 

Cambridge performed with sparing vibrato and a fresh, youthful enthusiasm, thus successfully evoking a young boy’s presence.  However, for a singer of such a fine, growing reputation, her voice was rather disappointing in that it lacked power and projection.  There were also several ensemble issues between Cambridge and the orchestra.  Despite this, the loveliness of this movement was still very explicit and enjoyed by all.

Of course, the performance was not perfect, and it seemed that many orchestra members were nervous to play under such a distinguished conductor.  The horn section, for instance, played some obvious wrong notes towards the quiet end of the third movement.  Yet, their strong, brilliant sound at the final climax of the same movement made up for these shortcomings.

In short, it has been very rare that this writer has heard an Oberlin Conservatory orchestra sound so good!  Under Rattle’s extraordinary leadership, the Chamber Orchestra approached a level of musicianship close to professional.  It was an unforgettable event — one that will stay in the hearts of everyone in Finney Chapel that evening.