The Tenerife Symphony Orchestra will participate this weekend in the programme of the Canary Islands International Music Festival (FIMC) with a challenging piece that was also prophetic for its composer, Gustav Mahler. These performances also signify the return of maestro Victor Pablo Perez to the FIMC after more than ten years.
The concerts are set for this Friday, January 24, at 8:00 p.m. at the Tenerife Auditorium and on Sunday, the 26th, at 7:00 p.m. at the Alfredo Kraus Auditorium in Gran Canaria. Tickets for attendance can be purchased through the websites of both venues at www.festivaldecanarias.com and at the box office.
Mahler’s Sixth Symphony, commonly referred to as the Tragic, is regarded as one of the significant works of the twentieth century and, as noted by the FIMC director, Jorge Perdigón, it is not among the most frequently performed pieces by the composer. Nonetheless, most musicologists concur that it stands out as one of his finest creations. Furthermore, it demands considerable effort from the orchestra, which has been augmented to include 120 musicians on stage. Perdigón also highlighted the success achieved during their tour of the non-capital islands, where they sold out all tickets during their visit to Lanzarote for a concert held on the 10th at Jameos del Agua, conducted by Martin Froest.
The Symphony has had to bolster its ranks to perform the ‘Tragic’
The presentation was also attended by the General Director of Cultural Innovation and Creative Industries of the Government of the Canary Islands, Christopher de la Rosa, alongside the Minister of Culture of the Cabildo of Tenerife, José Carlos Acha.
Pérez provided insights into the piece they plan to perform in the upcoming recitals. “It is both curious and paradoxical that this piece premiered in 1906, one of Mahler’s happiest years, while simultaneously being so predictive concerning all its elements. In some ways, it foreshadows the challenges that would soon confront the composer in 1907.”
Among the events that awaited him were the tragic passing of one of his daughters at the age of four, his dismissal from the Vienna Opera, and the diagnosis of a heart condition that would ultimately claim his life. Notable features of this symphony include the use of a hammer for two resounding blows, referred to as “axe blows,” which Mahler included in the fourth movement. “Initially, he intended to include three strikes, but ultimately, due to superstition, he settled for just two,” the conductor elaborated. Consequently, one of the percussionists will utilise a “large wooden hammer” crafted in Germany to recreate the sounds envisaged by Mahler.
40 concerts remain in this edition with a capacity of approximately 80% occupancy
This sixth symphony is replete with symbols and intriguing details. “For instance, cowbells resonate from afar, reflecting the solitude he would endure.” Additionally, the director mentioned he has already consulted with the xylophonists of the Tenerife Symphony, as the conclusion of this work “is quintessentially theirs.” “The xylophone embodies the laughter of the devil, while the bells symbolise religion,” Pérez stated.
Meanwhile, as there are still 40 concerts remaining in the FIMC programme, scheduled over the next 27 days, the organisation lauds the impressive sales figures for this edition. Most of the remaining recitals are nearing 80% of their full capacity, and the number of subscribers has surpassed 1,400 individuals. “It is noteworthy that during the first week of concerts in our festival, five out of the seven planned performances were sold out,” De la Rosa happily reported.