When Gustav Mahler (1860-1911) began setting down the groundwork in 1901 for his Fifth Symphony, he realized that it was time to abandon 19th century romantic ideals, forego the use of texts expressing man's relationship with nature, heaven and the afterlife, and face the music (pun intended). The 20th century had only just begun and its outlook already seemed rather grim. Add to this Mahler's growing obsession with Johann Sebastian Bach's counterpoint, discomforting memories associated with military band music, his recent compulsory conversion from Judaism to Catholicism just so he could land a coveted post in Vienna, and his blossoming relationship with Alma Schindler, and you have the recipe for tremendous inner conflict.

And it's precisely these immense conflicts and emotive outbursts that conductor David Bernard captures and projects so well. From the opening movement's forceful oppression, through frays and skirmishes, love, all leading to the final movement's frenzied expression of ecstatic overwhelming joy, he always knows exactly which section(s) of the orchestra on which to focus his attention, in order to underline these conflicts. And speaking of the orchestra, I must say that for a non-professional community orchestra, where the musicians hold down day jobs, they certainly give long-established ensembles a run for their money. Except for the odd wavering pitch issues within the strings, or lack of dynamic balance here and there during the more powerful passages (which may have to do with microphone placement or the post processing mix), they play with impressive impact and convincing gusto, and also lend the beautiful Adagietto all the expressive care it calls for. You can even feel the elation within the final pages of the last movement emanate from each and every instrumentalist.