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EspañolSYMPHONY NO. 2 (MAHLER)
The 'Symphony No. 2 in C minor' by Gustav Mahler, known as the '''Resurrection''', was written between 1888 and 1894, and first performed in 1895. Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime. The work has a duration of about eighty to ninety minutes.
The symphony began life as ''Totenfeier'' (Funeral Rites), a one movement symphonic poem, which Mahler completed in 1888. Later, he returned to the movement, and added three others so that by late 1893, the first four movements of the symphony as we now know it were complete. He then set the work aside for a while, aware that it needed something else to complete it, but lacking inspiration as to what that something else might be.
In 1894, the conductor Hans von Bülow died, and Mahler went to his funeral. There he heard a setting of Friedrich Gottlieb Klopstock's ''Die Auferstehung'' (The Resurrection), and this inspired him to complete his symphony with a massive choral movement with text based on Klopstock's poem.
Mahler devised a narrative programme for the work which he told to a number of friends. In this programme, the first movement represents a funeral and asks questions such as "Is there life after death?"; the second movement is a remembrance of happy times in the life of the deceased; the third movement represents a view of life as meaningless activity; the fourth movement is a wish for release from life without meaning; and the fifth movement, after a return of the doubts of the third movement and the questions of the first, ends with a fervent hope for everlasting, transcendent renewal, a theme that Mahler would ultimately transfigure into the music of his sublime Das Lied von der Erde.
The work was first published in 1897 by Friedrich Hofmeister. The rights were transferred to Josef Weinberger shortly thereafter, and finally to Universal Edition, which released a second edition in 1910. A third edition was published in 1952, and a fourth, critical edition in 1970, both by Universal Edition. As part of the new complete critical edition of Mahler's symphonies being undertaken by the Gustav Mahler Society, a new critical edition of the Second Symphony is due to be released in late 2007 as a joint venture between Universal Edition and the Kaplan Foundation.
Reproductions of earlier editions have been released by Dover and by Boosey & Hawkes. The Kaplan Foundation published an extensive facsimile edition with additional materials in 1986.
The symphony is written for an orchestra, a mixed choir, two soloists, organ, and an offstage ensemble of brass and percussion.
;Woodwinds:
:4 Flutes (all four doubling Piccolos)
:4 Oboes (3rd and 4th oboe doubling English Horns)
:3 Clarinets in B-flat, A, C (3rd clarinet doubling Bass Clarinet)
:2 E-flat Clarinets (2nd E-flat clarinet doubling 4th clarinet) [1]
:4 Bassoons (one doubling Contrabassoon)
;Brass:
:10 Horns in F, four (7-10) used offstage
:8-10 Trumpets in F, four to six used offstage [2]
:4 Trombones
:Tuba
;Percussion:
(Requires total of seven players)
:Timpani (2 players and 6 timpani, with a third player in the last movement using two of the second timpanist's drums)
:Several Snare Drums
:Bass Drum
:Cymbals
:Triangle
:Glockenspiel
:3 deep, untuned steel rods or bells
:Rute, or "switch", to be played on the shell of the bass drum
:2 Tam-tams (high and low)
:Offstage Percussion in Movement 5:
::Bass drum with cymbals attached (played by the same percussionist), Triangle, Timpani
;Keyboards:
:Organ (used in fifth movement only)
;Voices:
:Soprano Solo (used in fifth movement only)
:Alto Solo (used in fourth & fifth movements only)
:Choir (used in fifth movement only)
;Strings:
:Harps I, II (several to each part in the last movement and possibly at one point in the Scherzo)
''"The largest possible contingent of strings"''
:First and Second Violins
:Violas
:Violoncellos
:Double basses (some with low C extension).
The work in its finished form has five movements:
#''Allegro maestoso''
#''Andante moderato''
#''In ruhig fliessender Bewegung'' (With quietly flowing movement)
#''Urlicht'' (Primeval Light)
#''In Tempo des Scherzos'' (In the tempo of the scherzo)
Musically, the first movement, though passing through a number of different moods, often resembles a funeral march, and is violent and angry. It is in C minor.
The form of this movement is still debated. It is undoubtedly in an extended sonata form, and organization of the final section, beginning with the recapitulation, just after rehearsal 20, is clear. The first theme group includes the bass theme that opens the movement and the dirge in the woodwinds that follows, and the second theme group is introduced in the distant key of E major in the violins, at rehearsal 3. After this, it is difficult to say whether there is a second exposition, a large development section (or two), or some combination thereof. One possible reading has two expositions, the second one beginning at rehearsal 4, and a long development section beginning after rehearsal 9. The development presents several ideas that will be used later in the symphony, including a theme based on the Dies Irae plainchant.
Mahler uses a somewhat modified tonal framework for the movement. The secondary theme, first presented in E major, begins its second statement in C major, a key in which it is not expected until the recapitulation. The statement in the recapitulation, ironically, is in the original E major. The eventual goal of the symphony, E-flat major, is briefly hinted at after rehearsal 17, with a theme in the trumpets that returns in the finale.
Following this movement, Mahler calls in the score for a gap of five minutes before the second movement. This pause is rarely followed today. Often conductors will meet Mahler half way, pausing for roughly two-and-a-half minutes or so while the chorus that is used in later movements files in.
The second movement is a delicate Ländler in A-flat major with two contrasting sections of slightly darker music. This slow movement itself is contrasting to the two adjacent movements. Structurally, it is one of Mahler's simplest movements in his whole output. It is the remembrance of the joyful times in the life of the deceased.
The third movement is a scherzo in C minor. It opens with two strong, short timpani strokes. It is followed by two softer strokes, then followed by even softer strokes that provide the tempo to this movement, which includes references to Jewish folk music. Mahler called the climax of the movement, which occurs near the end, sometimes a "cry of despair" and sometimes a "death-shriek". The movement is based on Mahler's setting of "Des Antonius von Padua Fischpredigt" from "Des Knaben Wunderhorn", which Mahler composed almost concurrently.
The fourth movement, ''Urlicht'', is a ''Wunderhorn'' song, sung by an alto, which serves as an introduction to the Finale in a manner similar to the bass recitative in Beethoven's Ninth. The song, set in the remote key of D-flat major, illustrates the longing for relief from worldly woes, leading without a break to the response in the Finale.
The finale is the longest, typically lasting over half an hour. It is divided into two large parts, the second of which begins with the entry of the chorus and whose form is governed by the text of this movement. The first part is instrumental, and very episodic, containing a wide variety of moods, tempi and keys, with much of the material based on what has been heard in the previous movements, although it also loosely follows sonata principles. New themes introduced are used repeatedly and altered.
The movement opens with a long introduction, beginning with the "cry of despair" that was the climax of the third movement, followed by the quiet presentation of a theme which re-appears as structural music in the choral section, and by a call in the offstage horns. The first theme group reiterates the "Dies Irae" theme from the first movement, and then introduces the "resurrection" theme to which the chorus will sing their first words, and finally a fanfare. The second theme is a long orchestral recitative, which provides the music for the alto solo in the choral section. The exposition concludes with a re-statement of the first theme group. This long opening section serves to introduce a number of themes which will become important in the choral part of the finale.
The development section is what Mahler calls the "march of the dead". In addition to developing the Dies Irae and resurrection themes and motives from the opening cry of despair, this section also states, episodically, a number of other themes, based on earlier material. The recapitulation overlaps with the march, and only brief statements of the first theme group are re-stated. The orchestral recitative is fully recapitulated, and is accompanied this time by offstage interruptions from a band of brass and percussion. This builds to a climax, which leads into a re-statement of the opening introductory section. The horn call is expanded into Mahler's "Great Summons", a transition into the choral section.
Tonally, this first large part, the instrumental half of the movement, is organized in F minor. After the introduction, which recalls two keys from earlier movements, the first theme group is presented wholly in F minor, and the second theme group in the subdominant, B-flat minor. The re-statement of the first theme group occurs in the dominant, C major. The development explores a number of keys, including the mediant, A-flat major, and the parallel major, F major. Unlike the first movement, the second theme is recapitulated as expected in the tonic key. The re-statement of the introduction is thematically and tonally a transition to the second large part, moving from C-sharp minor to the parallel D-flat major, the dominant of F-sharp minor, in which the Great Summons is stated. The choral section begins in G-flat major.
The chorus comes in quietly a little past the half-way point of the movement. The choral section is organized primarily by the text, using musical material from earlier in the movement. Each of the first two verses is followed by an instrumental interlude; the alto and soprano solos, "O Glaube", based on the recitative melody, precede the fourth verse, sung by the chorus; and the fifth verse is a duet for the two soloists. The opening two verses are presented in G-flat major, the solos and the fourth verse in B-flat minor (the key in which the recitative was originally stated), and the duet in A-flat major. The goal of the symphony, E-flat major, the relative major of the opening C minor, is achieved when the chorus picks up the words from the duet, "Mit Flügeln", although after eight measures the music gravitates to G major (but never cadences on it).
E-flat suddenly re-enters with the text "Sterben werd' ich um zu leben," and a proper cadence finally occurs on the downbeat of the final verse, with the entrance of the heretofore silent organ (marked to be played with all stops) and with the choir instructed to sing "mit höchster Kraft" (with highest power). The instrumental coda is in this ultimate key as well, and is accompanied by the tolling of deep bells. Mahler went so far as to purchase actual church bells for performances, finding all other means of achieving this sound unsatisfactory. Mahler wrote of this movement: "The increasing tension, working up to the final climax, is so tremendous that I don’t know myself, now that it is over, how I ever came to write it. " [3]
Note: This text has been translated from the original German text from ''Des Knaben Wunderhorn'' to English on a very literal and line-for-line basis, without regard for the preservation of meter or rhyming patterns.
Note: The first eight lines were taken from the poem ''Die Auferstehung'' by Friedrich Gottlieb Klopstock.[4] Mahler omitted the final four lines of this poem and wrote the rest himself (beginning at "O glaube").
★ World premiere (first three movements only): March 4, 1895, Berlin, with the composer conducting the Berlin Philharmonic Orchestra.
★ World premiere (complete): December 13, 1895, Berlin, conducted by the composer.
★ American premiere: December 8, 1908, New York City, conducted by the composer.
★ English premiere: April 16, 1931, London, conducted by Bruno Walter.
★ The symphony was a favorite of Pope John Paul II.
★ The use of a chorus in this last movement has led to comparisons with Ludwig van Beethoven's ''Symphony No. 9''. This comparison is supported also by the opening of the last movement, which, like Beethoven's symphony, contains references to music from earlier movements.
★ Otto Klemperer's famous recording from 1963 takes 79 minutes, despite his reputation for using slow tempos. He made another recording in 1951 which is even faster, taking 72 minutes. Leonard Bernstein's two well-known recordings of the work take 85 and 93 minutes respectively.
★ Bernstein conducted the work live on television as a memorial to President John F. Kennedy, who had just been assassinated in Dallas, Texas. He first recorded the work eight days after the President's death.
★ Amateur conductor Gilbert Kaplan has carried out extensive research into the symphony; his performances are now renowned, albeit controversial.
★ The third movement of Luciano Berio's ''Sinfonia'' (1968-69), is based on the third movement of this symphony.
★ The B-flat below the bass clef occurs four times in the choral bass part: three at the chorus' hushed entrance and again on the words "Hör'auf zu beben". It is the lowest vocal note in standard classical repertoire. Mahler instructs basses incapable of singing the note remain silent rather than sing the note an octave higher.
★ Instead of using the usual one tam-tam, Mahler interestingly used two, one high and one low. The effect is clearly heard in the final measures of the symphony, when the tam-tams resonate repeatedly in alternation.
★ In 1899 an arrangement by Bruno Walter for piano four hands (two players at one piano) was published.
★ In the book, but not the film, Requiem for a Dream by Hubert Selby, Marion enjoys listening to this Mahler symphony after injecting heroin.
★ History and analysis by renowned Mahler scholar Henry Louis de La Grange
★ Analysis by Parks Grant
★
★ Classical Notes
1. According to the instrumentation list in the edition of the Symphony published by Dover, both E-flat clarinets are doubled in ''ff'' where possible, but there is no indication of this in the score itself.
2. At one point in the fifth movement, rehearsal numbers 22-25, there are two off-stage trumpet parts in F and C with multiple instruments on each part, according to the score playing from as furthest a distance as possible, which utilize players other than parts 1-6 of the orchestra. Later, four trumpet parts are used off-stage, which the score states are played by parts 3-6. In this passage, the score states that the four trumpets must play from opposite sides: the horns and offstage trumpets 2 and 4 on the left side and parts 1 and 3 on the right. For the final minutes of the symphony, the on-stage trumpets are to be joined with "reinforcement" players, presumably using the off-stage musicians from the section starting at rehearsal number 22. The figure of 8 total players assumes that in this passage only one trumpeter is playing on each of the two offstage parts, while the high-end figure of 10 assumes 2 on each part. However, it is probable that Mahler would have preferred even more players in this section than allowed by the "ten" he indicated in the score, especially as he wrote "mehrfach besetz" rather "doppelt besezt" for the passages at rehearsal numbers 22-25 (that is "multiple to the part" rather than simply "doubled"), and as the indication for "reinforcement" applies to all six trumpet parts.
3. Natalie Bauer-Lechner, Recollections of Gustav Mahler, trans. Dika Newlin, ed. Peter Franklin (New York: Cambridge University Press, 1980), pp. 43-44.
4. Klopstock's ''Die Auferstehung'' is not, as is commonly believed, one of his ''Oden'', but rather from a set entitled ''Geistliche Lieder'' (Spiritual Songs).
| Contents |
| Origin |
| Publication |
| Instrumentation |
| Form |
| First movement |
| Second movement |
| Third movement |
| Fourth movement |
| Fifth movement |
| Text |
| Fourth Movement |
| Fifth Movement |
| Premieres |
| Trivia |
| External links |
| Notes |
Origin
The symphony began life as ''Totenfeier'' (Funeral Rites), a one movement symphonic poem, which Mahler completed in 1888. Later, he returned to the movement, and added three others so that by late 1893, the first four movements of the symphony as we now know it were complete. He then set the work aside for a while, aware that it needed something else to complete it, but lacking inspiration as to what that something else might be.
In 1894, the conductor Hans von Bülow died, and Mahler went to his funeral. There he heard a setting of Friedrich Gottlieb Klopstock's ''Die Auferstehung'' (The Resurrection), and this inspired him to complete his symphony with a massive choral movement with text based on Klopstock's poem.
Mahler devised a narrative programme for the work which he told to a number of friends. In this programme, the first movement represents a funeral and asks questions such as "Is there life after death?"; the second movement is a remembrance of happy times in the life of the deceased; the third movement represents a view of life as meaningless activity; the fourth movement is a wish for release from life without meaning; and the fifth movement, after a return of the doubts of the third movement and the questions of the first, ends with a fervent hope for everlasting, transcendent renewal, a theme that Mahler would ultimately transfigure into the music of his sublime Das Lied von der Erde.
Publication
The work was first published in 1897 by Friedrich Hofmeister. The rights were transferred to Josef Weinberger shortly thereafter, and finally to Universal Edition, which released a second edition in 1910. A third edition was published in 1952, and a fourth, critical edition in 1970, both by Universal Edition. As part of the new complete critical edition of Mahler's symphonies being undertaken by the Gustav Mahler Society, a new critical edition of the Second Symphony is due to be released in late 2007 as a joint venture between Universal Edition and the Kaplan Foundation.
Reproductions of earlier editions have been released by Dover and by Boosey & Hawkes. The Kaplan Foundation published an extensive facsimile edition with additional materials in 1986.
Instrumentation
The symphony is written for an orchestra, a mixed choir, two soloists, organ, and an offstage ensemble of brass and percussion.
;Woodwinds:
:4 Flutes (all four doubling Piccolos)
:4 Oboes (3rd and 4th oboe doubling English Horns)
:3 Clarinets in B-flat, A, C (3rd clarinet doubling Bass Clarinet)
:2 E-flat Clarinets (2nd E-flat clarinet doubling 4th clarinet) [1]
:4 Bassoons (one doubling Contrabassoon)
;Brass:
:10 Horns in F, four (7-10) used offstage
:8-10 Trumpets in F, four to six used offstage [2]
:4 Trombones
:Tuba
;Percussion:
(Requires total of seven players)
:Timpani (2 players and 6 timpani, with a third player in the last movement using two of the second timpanist's drums)
:Several Snare Drums
:Bass Drum
:Cymbals
:Triangle
:Glockenspiel
:3 deep, untuned steel rods or bells
:Rute, or "switch", to be played on the shell of the bass drum
:2 Tam-tams (high and low)
:Offstage Percussion in Movement 5:
::Bass drum with cymbals attached (played by the same percussionist), Triangle, Timpani
;Keyboards:
:Organ (used in fifth movement only)
;Voices:
:Soprano Solo (used in fifth movement only)
:Alto Solo (used in fourth & fifth movements only)
:Choir (used in fifth movement only)
;Strings:
:Harps I, II (several to each part in the last movement and possibly at one point in the Scherzo)
''"The largest possible contingent of strings"''
:First and Second Violins
:Violas
:Violoncellos
:Double basses (some with low C extension).
Form
The work in its finished form has five movements:
#''Allegro maestoso''
#''Andante moderato''
#''In ruhig fliessender Bewegung'' (With quietly flowing movement)
#''Urlicht'' (Primeval Light)
#''In Tempo des Scherzos'' (In the tempo of the scherzo)
First movement
Musically, the first movement, though passing through a number of different moods, often resembles a funeral march, and is violent and angry. It is in C minor.
The form of this movement is still debated. It is undoubtedly in an extended sonata form, and organization of the final section, beginning with the recapitulation, just after rehearsal 20, is clear. The first theme group includes the bass theme that opens the movement and the dirge in the woodwinds that follows, and the second theme group is introduced in the distant key of E major in the violins, at rehearsal 3. After this, it is difficult to say whether there is a second exposition, a large development section (or two), or some combination thereof. One possible reading has two expositions, the second one beginning at rehearsal 4, and a long development section beginning after rehearsal 9. The development presents several ideas that will be used later in the symphony, including a theme based on the Dies Irae plainchant.
Mahler uses a somewhat modified tonal framework for the movement. The secondary theme, first presented in E major, begins its second statement in C major, a key in which it is not expected until the recapitulation. The statement in the recapitulation, ironically, is in the original E major. The eventual goal of the symphony, E-flat major, is briefly hinted at after rehearsal 17, with a theme in the trumpets that returns in the finale.
Following this movement, Mahler calls in the score for a gap of five minutes before the second movement. This pause is rarely followed today. Often conductors will meet Mahler half way, pausing for roughly two-and-a-half minutes or so while the chorus that is used in later movements files in.
Second movement
The second movement is a delicate Ländler in A-flat major with two contrasting sections of slightly darker music. This slow movement itself is contrasting to the two adjacent movements. Structurally, it is one of Mahler's simplest movements in his whole output. It is the remembrance of the joyful times in the life of the deceased.
Third movement
The third movement is a scherzo in C minor. It opens with two strong, short timpani strokes. It is followed by two softer strokes, then followed by even softer strokes that provide the tempo to this movement, which includes references to Jewish folk music. Mahler called the climax of the movement, which occurs near the end, sometimes a "cry of despair" and sometimes a "death-shriek". The movement is based on Mahler's setting of "Des Antonius von Padua Fischpredigt" from "Des Knaben Wunderhorn", which Mahler composed almost concurrently.
Fourth movement
The fourth movement, ''Urlicht'', is a ''Wunderhorn'' song, sung by an alto, which serves as an introduction to the Finale in a manner similar to the bass recitative in Beethoven's Ninth. The song, set in the remote key of D-flat major, illustrates the longing for relief from worldly woes, leading without a break to the response in the Finale.
Fifth movement
The finale is the longest, typically lasting over half an hour. It is divided into two large parts, the second of which begins with the entry of the chorus and whose form is governed by the text of this movement. The first part is instrumental, and very episodic, containing a wide variety of moods, tempi and keys, with much of the material based on what has been heard in the previous movements, although it also loosely follows sonata principles. New themes introduced are used repeatedly and altered.
The movement opens with a long introduction, beginning with the "cry of despair" that was the climax of the third movement, followed by the quiet presentation of a theme which re-appears as structural music in the choral section, and by a call in the offstage horns. The first theme group reiterates the "Dies Irae" theme from the first movement, and then introduces the "resurrection" theme to which the chorus will sing their first words, and finally a fanfare. The second theme is a long orchestral recitative, which provides the music for the alto solo in the choral section. The exposition concludes with a re-statement of the first theme group. This long opening section serves to introduce a number of themes which will become important in the choral part of the finale.
The development section is what Mahler calls the "march of the dead". In addition to developing the Dies Irae and resurrection themes and motives from the opening cry of despair, this section also states, episodically, a number of other themes, based on earlier material. The recapitulation overlaps with the march, and only brief statements of the first theme group are re-stated. The orchestral recitative is fully recapitulated, and is accompanied this time by offstage interruptions from a band of brass and percussion. This builds to a climax, which leads into a re-statement of the opening introductory section. The horn call is expanded into Mahler's "Great Summons", a transition into the choral section.
Tonally, this first large part, the instrumental half of the movement, is organized in F minor. After the introduction, which recalls two keys from earlier movements, the first theme group is presented wholly in F minor, and the second theme group in the subdominant, B-flat minor. The re-statement of the first theme group occurs in the dominant, C major. The development explores a number of keys, including the mediant, A-flat major, and the parallel major, F major. Unlike the first movement, the second theme is recapitulated as expected in the tonic key. The re-statement of the introduction is thematically and tonally a transition to the second large part, moving from C-sharp minor to the parallel D-flat major, the dominant of F-sharp minor, in which the Great Summons is stated. The choral section begins in G-flat major.
The chorus comes in quietly a little past the half-way point of the movement. The choral section is organized primarily by the text, using musical material from earlier in the movement. Each of the first two verses is followed by an instrumental interlude; the alto and soprano solos, "O Glaube", based on the recitative melody, precede the fourth verse, sung by the chorus; and the fifth verse is a duet for the two soloists. The opening two verses are presented in G-flat major, the solos and the fourth verse in B-flat minor (the key in which the recitative was originally stated), and the duet in A-flat major. The goal of the symphony, E-flat major, the relative major of the opening C minor, is achieved when the chorus picks up the words from the duet, "Mit Flügeln", although after eight measures the music gravitates to G major (but never cadences on it).
E-flat suddenly re-enters with the text "Sterben werd' ich um zu leben," and a proper cadence finally occurs on the downbeat of the final verse, with the entrance of the heretofore silent organ (marked to be played with all stops) and with the choir instructed to sing "mit höchster Kraft" (with highest power). The instrumental coda is in this ultimate key as well, and is accompanied by the tolling of deep bells. Mahler went so far as to purchase actual church bells for performances, finding all other means of achieving this sound unsatisfactory. Mahler wrote of this movement: "The increasing tension, working up to the final climax, is so tremendous that I don’t know myself, now that it is over, how I ever came to write it. " [3]
Text
Note: This text has been translated from the original German text from ''Des Knaben Wunderhorn'' to English on a very literal and line-for-line basis, without regard for the preservation of meter or rhyming patterns.
Fourth Movement
Fourth movement, beginning of alto solo
:'Original German' :'Urlicht' :O Röschen roth! :Der Mensch liegt in größter Noth! :Der Mensch liegt in größter Pein! :Je lieber möcht ich im Himmel sein. :Da kam ich auf einen breiten Weg: :Da kam ein Engelein und wollt’ mich abweisen. :Ach nein! Ich ließ mich nicht abweisen! :Ich bin von Gott und will wieder zu Gott! :Der liebe Gott wird mir ein Lichtchen geben, :Wird leuchten mir bis in das ewig selig Leben! | :'In English' :'Primeval Light' :O red rosebud! :Man lies in deepest need! :Man lies in deepest pain! :Oh how I would rather be in heaven. :There, I came upon a broad path; :There, came a little angel and wanted to send me away. :Ah no! I would not let myself be sent away! :I am from God and will return to God! :The loving God will give me a little light, :Which will light me into that eternal blissful life! |
Fifth Movement
Note: The first eight lines were taken from the poem ''Die Auferstehung'' by Friedrich Gottlieb Klopstock.[4] Mahler omitted the final four lines of this poem and wrote the rest himself (beginning at "O glaube").
:'Original German' :Aufersteh'n, ja aufersteh'n :Wirst du, Mein Staub, :Nach kurzer Ruh'! :Unsterblich Leben! Unsterblich Leben :wird der dich rief dir geben! :Wieder aufzublüh'n wirst du gesät! :Der Herr der Ernte geht :und sammelt Garben :uns ein, die starben! :O glaube, mein Herz, o glaube: :Es geht dir nichts verloren! :Dein ist, ja dein, was du gesehnt! :Dein, was du geliebt, :Was du gestritten! :O glaube :Du wardst nicht umsonst geboren! :Hast nicht umsonst gelebt, gelitten! :Was entstanden ist :Das muß vergehen! :Was vergangen, auferstehen! :Hör' auf zu beben! :Bereite dich zu leben! :O Schmerz! Du Alldurchdringer! :Dir bin ich entrungen! :O Tod! Du Allbezwinger! :Nun bist du bezwungen! :Mit Flügeln, die ich mir errungen, :In heißem Liebesstreben, :Werd'ich entschweben :Zum Licht, zu dem kein Aug'gedrungen! :Mit Flügeln,die ich mir errungen :Werde ich entschweben. :Sterben werd'ich, um zu leben! :Aufersteh'n, ja aufersteh'n :wirst du, mein Herz, in einem Nu! :Was du geschlagen :zu Gott wird es dich tragen! | :'In English' :Rise again, yes, rise again, :Will you My dust, :After a brief rest! :Immortal life! Immortal life :Will He who called you, give you. :To bloom again were you created! :The Lord of the harvest goes :And gathers in, like sheaves, :Us together, who die. :O believe, my heart, O believe: :Nothing to you is lost! :Yours is, yes yours, is what you desired :Yours, what you have loved :What you have fought for! :O believe, :You were not born for nothing! :Have not for nothing, lived, suffered! :What was created :Must perish, :What perished, rise again! :Cease from trembling! :Prepare yourself to live! :O Pain, You piercer of all things, :From you, I have been wrested! :O Death, You masterer of all things, :Now, are you conquered! :With wings which I have won me, :In love’s fierce striving, :I shall soar upwards :To the light which no eye has penetrated! :Its wing that I won is expanded, :and I fly up. :Die shall I in order to live. :Rise again, yes, rise again, :Will you, my heart, in an instant! :That for which you suffered, :To God will it lead you! |
Premieres
★ World premiere (first three movements only): March 4, 1895, Berlin, with the composer conducting the Berlin Philharmonic Orchestra.
★ World premiere (complete): December 13, 1895, Berlin, conducted by the composer.
★ American premiere: December 8, 1908, New York City, conducted by the composer.
★ English premiere: April 16, 1931, London, conducted by Bruno Walter.
Trivia
★ The symphony was a favorite of Pope John Paul II.
★ The use of a chorus in this last movement has led to comparisons with Ludwig van Beethoven's ''Symphony No. 9''. This comparison is supported also by the opening of the last movement, which, like Beethoven's symphony, contains references to music from earlier movements.
★ Otto Klemperer's famous recording from 1963 takes 79 minutes, despite his reputation for using slow tempos. He made another recording in 1951 which is even faster, taking 72 minutes. Leonard Bernstein's two well-known recordings of the work take 85 and 93 minutes respectively.
★ Bernstein conducted the work live on television as a memorial to President John F. Kennedy, who had just been assassinated in Dallas, Texas. He first recorded the work eight days after the President's death.
★ Amateur conductor Gilbert Kaplan has carried out extensive research into the symphony; his performances are now renowned, albeit controversial.
★ The third movement of Luciano Berio's ''Sinfonia'' (1968-69), is based on the third movement of this symphony.
★ The B-flat below the bass clef occurs four times in the choral bass part: three at the chorus' hushed entrance and again on the words "Hör'auf zu beben". It is the lowest vocal note in standard classical repertoire. Mahler instructs basses incapable of singing the note remain silent rather than sing the note an octave higher.
★ Instead of using the usual one tam-tam, Mahler interestingly used two, one high and one low. The effect is clearly heard in the final measures of the symphony, when the tam-tams resonate repeatedly in alternation.
★ In 1899 an arrangement by Bruno Walter for piano four hands (two players at one piano) was published.
★ In the book, but not the film, Requiem for a Dream by Hubert Selby, Marion enjoys listening to this Mahler symphony after injecting heroin.
External links
★ History and analysis by renowned Mahler scholar Henry Louis de La Grange
★ Analysis by Parks Grant
★
★ Classical Notes
Notes
1. According to the instrumentation list in the edition of the Symphony published by Dover, both E-flat clarinets are doubled in ''ff'' where possible, but there is no indication of this in the score itself.
2. At one point in the fifth movement, rehearsal numbers 22-25, there are two off-stage trumpet parts in F and C with multiple instruments on each part, according to the score playing from as furthest a distance as possible, which utilize players other than parts 1-6 of the orchestra. Later, four trumpet parts are used off-stage, which the score states are played by parts 3-6. In this passage, the score states that the four trumpets must play from opposite sides: the horns and offstage trumpets 2 and 4 on the left side and parts 1 and 3 on the right. For the final minutes of the symphony, the on-stage trumpets are to be joined with "reinforcement" players, presumably using the off-stage musicians from the section starting at rehearsal number 22. The figure of 8 total players assumes that in this passage only one trumpeter is playing on each of the two offstage parts, while the high-end figure of 10 assumes 2 on each part. However, it is probable that Mahler would have preferred even more players in this section than allowed by the "ten" he indicated in the score, especially as he wrote "mehrfach besetz" rather "doppelt besezt" for the passages at rehearsal numbers 22-25 (that is "multiple to the part" rather than simply "doubled"), and as the indication for "reinforcement" applies to all six trumpet parts.
3. Natalie Bauer-Lechner, Recollections of Gustav Mahler, trans. Dika Newlin, ed. Peter Franklin (New York: Cambridge University Press, 1980), pp. 43-44.
4. Klopstock's ''Die Auferstehung'' is not, as is commonly believed, one of his ''Oden'', but rather from a set entitled ''Geistliche Lieder'' (Spiritual Songs).
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