Fischer Conducts Compelling Mahler First

In recent seasons, Mahler’s seminal First Symphony, which had tended to be neglected by the Los Angeles Philharmonic in favor of its more grandiose, subsequent fellows, has become something of a signature piece. The close attention and affection of Esa-Pekka Salonen--who, for instance, showcased the work in the fall of 1999--achieved this.

The orchestra returned to its beauties Thursday, on the second and final program led by guest conductor Adam Fischer. Fischer--who earlier in the summer was treated like a hero when he took over at Bayreuth after the death of Giuseppe Sinopoli---coaxed a high level of concentration and detailing from the ensemble. And the Hungarian conductor’s devotion to, and expertise in, the Mahler proved equal to Salonen’s.

Which is not to say he sees it the same way. On the contrary: Where Salonen produces a long-lined reading in which all roads lead to the cathartic final movement, Fischer creates a structure of equal strengths in the outer movements, with the real catharsis coming early on. Each conductor makes his vision convincing, and one need not choose between them.

The performance Thursday moved compellingly through those early climactic peaks and through the more understated intensities of the inner movements to the work’s engrossing final moments. The full effects of this huge canvas and its massive dynamic range were realized convincingly.

The redoubtable Martin Chalifour dominated the first part of this program as soloist in the Violin Concerto (1940) by Aram Khachaturian. The virtuoso principal concertmaster gave an immaculate and resourceful performance. But he could not convince this listener that the piece is anything more than tired and tawdry. A loudly cheering Bowl audience clearly felt otherwise.