After Gustav Mahler (1860-1911) composed this first of three immense symphonies (among his others) which include choral portions (the Second, Third, and Eighth) he would remark that this “Resurrection” Symphony would be “a world unto itself.” Truly, the addition of voices to this work lends a sense of humanity which speaks to most listeners. The grinding pathos of the first movement, the fairytale quality of the second, and the whimsical nature of the third seem to recall our own lived experiences, some more dramatic than others. It is the solemnity of the fourth movement “Urlicht” (“Primeval Light”) that reopens the door to a seriousness he asks the conductor to establish at the beginning of the opening movement. But it is the massive descent into a musical wilderness that seals the deal as the orchestral forces are asked to play in the manner of a chorus singing. Not content with the attempt at such imitation, Mahler quietly asks the chorus to beckon our hero, the Titan from the first symphony, to arise from the ashes of his grave to witness with us, this trembling moment.
The rest of the Musings for “Transcendent Mahler” posted in the concert program PDF. Join us in person on Sunday, April 6 at 2 p.m. at Orchestra Hall in Minneapolis, for this concert that will bring 200 musicians to the stage for a performance of this remarkable piece.