The inclusion of Nigel Ubrihien’s work was due to him being a finalist in TMO’s Composer Development Programme. This significant project with contemporary Australian composers benefits the musical community at large and brings new music to audiences, satisfyingly premiered by TMO.

Ubrihien’s compact yet expressive  work was not dwarfed by the Mahler symphony. They rather bounced off each other because of the similar way, years apart,  the two composers approached the unearthing of narrative content or emotion as well as creating a keen sense of place.

The musing of Mahler as we follow his ‘wayfarer’ character are mirrored to an extent in Ubrihien’s thought-provoking study of variety, colour and the possibilities of multiculturalism in Mexico and Australia by extension.

TMO’s precise realisation of gesture in Ubrihien’s new work ensured characters and feelings were both clearly conveyed  and cleanly delivered. Penetrating outbursts of drama were always on standby. Such an approach made for a very effective premiere of this suite, and a smooth segue to the sensory smash hit  of the much anticipated Mahler First followed with  its epic tale to be told.

With regards to the impressive or ‘Extraordinary First ‘ of TMO performing the Mahler 1 with an extended band of over ninety players, it would be incorrect to just describe the efforts displayed as a rite of passage or ‘coming of age’ moment. The standard of orchestral playing witnessed and conductor Sarah-Grace William’s interpretation of the work’s complex flux was simply too mature and assured for the weakness of such labels.

The continued confidence on show and elevated nature of the performance rather showed TMO to have matured some time ago. The navigation through the score and extra musical concerns to paint this sprawling story in exquisite colours put TMO’s established talents up in lights.  The orchestra delivered Mahler which was full of substance and successful subtleties, nicely carved lines and portions of pure quirkiness.

This was a generous interpretation of the score but resisted all temptations to overplay. When exposed solo lines and fragments flicked across the orchestral backdrops they were exquisitely vulnerable but eloquent and firm from all soloists involved.

The symphony’s opening movement contained an exquisite restraint and control. There were many pleasing moments of seamless and hushed exposition. From this finely sculptured platform,  glorious climaxes then unfolded organically whether all of a sudden or following an admirably gauged and prolonged build up. Percussionists, timpanists, horns  and harpist in particular crowned many tutti moments with scintillating filigree and sheer power.

Mahler’s fine sense of experimentation with melodic development, form and tone colour was handled here with caricature and with his trademark dark humour intact.  This composer’s sense of surprise was present, making the listening experience literally an edge-of-the-seat one.

The approach to the borrowing of the tune to ‘Frère Jacques’, hauntingly suggested in this venue by solo double bass, was developed through interesting guises across the huge orchestra. Such entries  were never restless, perfunctory or off-hand.

In this way there was no aimless wandering on behalf of TMO throughout  either work in this concert. The degree to which they worked as a team to present this work in a direct and straightfoward manner also allowed for a  magical array of colours and the tracing of large trajectories with interesting sonic effects. This was quite a masterful and  accomplished orchestral execution.