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THIS WEEKEND BRINGS TOGETHER a pair of symphonic works from different centuries and distinct soundworlds: Unsuk Chin’s SPIRA — Concerto for Orchestra, written in 2019, and Mahler’s Symphony No. 5, completed more than a century earlier, in 1902.

This juxtaposition between the present and past is a common thread in the performances of tonight’s guest conductor, Klaus Mäkelä (right). He has openly expressed his enthusiasm for pairing works of different eras and contexts in the same concert. For example, in last week’s program, he set the work of contemporary composer Andrew Norman alongside French masterpieces of the early 20th century by

Debussy and Ravel.

In a conversation with Gramophone’s Andrew Mellor published last spring, Mäkelä explained that his vision for these expansive programs came from similar types of pairings that are common in the visual artworld, saying, “I think we can learn a lot from art museums, actually — about combining something old with something new, perhaps exploiting a theme or a contrast.”

On the surface, Chin’s SPIRA and Mahler’s Fifth seem to present a study in contrasts. The first illuminates the spectrum of textures and colors of a symphonic orchestra. Centered around the idea of the Spira mirabilis (or logarithmic spiral), it is a metamorphosis in sound, evolving from a germinating idea into a luminous polyphony.

From Chin’s abstract and ethereal soundscape, Mahler’s Symphony No. 5 embarks on a discernable journey from dark to light. Beginning with a Funeral March — said to have been inspired by the composer’s own brush with death —  it describes a life in reverse. The grief of the first section melts into a vibrant dance, followed by the heartrending Adagietto, and ending in a joyful celebration.

— Amanda Angel