Hard on the heels of a notably crisp and virile Resurrection, the opening event of Leipzig’s recent international Mahlerthon, Accentus Music brings us a different kind of gala occasion. ‘A Concert for New York’ immortalises an evening designed to commemorate the 10th anniversary of 9/11. Tickets were allocated to survivors and victims’ families, with the remainder distributed to those who queued for places on the day. Overspill seating for thousands was provided outside for the live telecast of a performance greeted by a full 10 minutes of applause. The concert has already been widely disseminated on radio and TV at home and abroad.

Alan Gilbert, now into his third season as music director of the New York Philharmonic and the first native New Yorker to hold the post, has spoken of the Resurrection as having ‘a very special place in the history and psyche of the New York Philharmonic’. Perhaps wisely, he does not attempt to emulate Leonard Bernstein’s way with it. (Bernstein conducted the piece at the special concert given in memory of President John F Kennedy and recorded it twice with the orchestra, although his audio-visual version was made in Ely Cathedral with the London Symphony Orchestra). Interpretatively speaking, Gilbert’s is an account that, at least initially, seems determined not to wear its heart on its sleeve. But then it scarcely needs to, given the emotions of an audience reflecting on a tragic moment in American history.

Is detailed critical assessment out of place? Gilbert’s energetic pacing can be choppy as well as cool in the second and third movements. Michelle DeYoung’s lustrous Wagnerian instrument makes an undoubted impact in the ‘Urlicht’, where Sarah Connolly for Chailly, like Dame Jane Baker for Bernstein, pursues a more intimate line. And Gilbert follows that with a finale of extreme contrasts and genuine passion. No one is likely to feel short-changed by the time we reach the ecstatic close. The band itself contributes a certain pathos and a weight of tone that Chailly cannot muster in Leipzig, only partly a factor of the New York venue sounding beefier, less acoustically transparent. Dorothea Röschmann’s heartfelt contribution is another definite plus, pitch-perfect or not. The chorus, a distinguished professional body, is determined to give of its best.

Mahler’s poignant message of rebirth and transcendence will resonate for as long as there is an audience for Western art music and hope is found wanting. However, this DVD release is not designed solely for those focused on music-making. Presentation and packaging signify a ritual of remembrance. There’s an extra camera positioned to cover the proceedings as experienced from Lincoln Center Plaza. On the night, some of those unfamiliar with the music started clapping in the pause after the abrupt cadence preceding the first movement recapitulation as well as in the breaks between movements 1, 2 and 3. The commercial DVD has eliminated this, mixing in some audience noise and crowd footage at key points. We are given the opening rendition of The Star-Spangled Banner and Gilbert’s carefully judged introductory speech. The bonus documentary feature includes contributions from Alan Gilbert, Zarin Mehta (the orchestra’s president and executive director) and suitably wowed concertgoers.