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Bilkent Symphony Orchestra Concert Notes for
December 25
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Gustav Mahler (1860-1911), was a composer of symphonies and lieder cycles and is known for the length, depth, and painful emotions of his works. In his short life, Mahler achieved an unprecedented synthesis of music, philosophy, psychology, and experience. His fear of death appears in almost all of his compositions, especially in the Kindertotenlieder (“Songs on the Deaths of Children”), which are actually about the loss of an innocent view of life. Mahler’s early career was spent at a series of regional opera houses (Hall in 1880, Laibach in 1881, Olmutz in 1882, Kassel in 1883, Prague in 1885, Liepzig in 1886-8, Budapest from 1886-8, and Hamburg from 1891-7), he become head of the Vienna Opera in 1897. Mahler ended some of the more slovenly performance practices of the past; he removed significant cuts that had been “traditionally” made in performances of Wagner's operas, significantly upgraded the expected level of performance for both vocalists and instrumentalists, expanded the traditional repertoire, and introduced many new works. Mahler believed that opera was the highest form of art, not mere entertainment. A classic example of this is when Mahler decided to give the Vienna premiere of Charpentier's Louise. Afterwards he accepted an offer to conduct the Metropolitan Opera. He conducted two seasons, and accepted a two-year contract from the Philharmonic Society (now the New York Philharmonic).
Symphony No. 2 in C minor, “Ressurection”, Mahler’s second symphony, is a huge work, requiring a large orchestra, a mini-brass section stationed outside the concert hall, a full chorus, and two solo vocals (alto and soprano).
The first movement is in essence a massive funeral march (and much more), and may be regarded as a mini symphony in itself .In fact, in most concerts, the conductor takes a walk at this point, signaling the end of Part One.
Part Two begins with a gentle rustic, folkish intermezzo of sorts, played first by the stringed instruments. It is a lovely short movement, until it picks up momentum and heads in a more dramatic direction.
The third movement begins with ominous timpani sounds, before exotic melodies carry us into a world of musical fantasy. There are powerful sudden changes of moods through out this section.
The fourth movement is the famous Urlicht, where the contralto sings “O rose so red.” A magical stillness opens this movement, before gradually building up into a massive climax.
The last section, lasting about half an hour, is another mini-symphony in itself. After an orchestral surge, there is a quiet that anticipates something magical, then a powerful Maestoso section rushes in, led by the brass section, along with contributions by the off-stage band. Then a march begins, and takes us to the chorus and soprano singing "Rise again, you will rise again.”
In order to understand why this is named “The Resurrection Symphony”, one must listen to the entire work, from beginning to end!
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