Word: gattis
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...passing of her judgment may have been a bit premature, however. Perhaps the character of the symphony did not lend great animation to Gatti's directing. Had he been standing in front of the Teatro Comunale di Bologna, of which he was appointed Music Director in September, he may have exhibited more of the artistry that comes from being "a part of the drama" in conducting an operatic performance...
With nary an indication of a downbeat from Gatti, the lower strings slid into the haunting opening strains of Schubert's Unfinished Symphony, displaying a rhythmic alliance so perfectly refined that it truly seemed as if only one instrument were present. The placement of the cellos between the second violins and the violas allowed for a heightened clarity, producing a concentrated, almost sinewy tone that typified the Allegro Moderato. The first movement elapsed without any fiery outbursts; Gatti instead focused intently upon the lyric strains of the oboe and clarinet. His conducting was comprised of a fairly conventional fluidity...
With the second movement of the Schubert came an increase in Gatti's emotional intensity, though physical dramatics for the most part remained conspicuously absent. At times one could see the conductor shaking his head from side to side--sometimes mouthing words to the first violins, sometimes gazing out above the mass of musicians with his lower lip protruding. Under his command, the orchestra executed the polyphonic intricacies of the Andante con Moto in perfect synchrony. One could feel the layers of music meshing throughout the hall as they blanketed the audience with their warmth...
Despite the orchestra's spotless technical precision and resplendent articulation of Schubert's themes, the spotlight continued to linger upon Gatti's motions. While the concertmaster nearly leapt from his chair at various highlycharged moments, Gatti barely took a step from his position at the front of his platform. "Gatti seemed a bit stiff," remarked one passer-by during intermission, having apparently hoped to view the conductor's signature "dramatic and instinctive style...
...misgivings about Daniele Gatti's sense of expression were quelled with the introduction of the Mahler symphony. From the first notes of the melancholy Funeral March, Gatti was literally on his toes, straining visibly to extract as much sound as possible from his orchestra. Again, the central placement of the cello section onstage allowed for the diffusion of a remarkably pithy timbre perfectly suited to the first movement. Passages seemed to dissolve into dissonance, sliding into prolonged suspensions wherein the orchestra became a sea of reddened faces...