2nd symphony (Mahler)

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The 2nd Symphony in C minor is a symphony with soprano and alto soloists and a mixed choir by Gustav Mahler . The frequently used epithet Resurrection Symphony does not come from Mahler.

Emergence

Due to Mahler's workload as a conductor, the history of the creation of the entire symphony extends over several years. He wrote the work between 1888 and 1894. In September 1888, the instrumentation of the first movement, which at that time was entitled "Totenfeier", had already been completed. Apparently Mahler did not get to work on the symphony because he took up the post of opera director in Budapest and then moved to Hamburg . The second and third movements were not composed until 1893 and the entire symphony was not completed until 1894. The idea for the final movement, which sets the idea of ​​the resurrection to music, came to Mahler according to his own statement in 1894 at the funeral for Hans von Bülow in the Hamburg St. Michaelis Church . At the same time, Mahler set the songs from Des Knaben Wunderhorn to music , of which he used the song “ Des Antonius von Padua Fischpredigt ” only instrumentally and the song “Urlicht” also vocal in the symphony.

To the music

occupation

Soprano - and alto solo , mixed choir , four flutes (all also piccolo flutes ), 4 oboes (3rd and 4th and English horn ), 5 clarinets (1st and 2nd in A, B and C, the third in A, B, C and bass clarinet , 4th in Eb, 5th in A, B and Eb), 4 bassoons (4th also contrabassoon ), 6 horns , 6 trumpets , 4 trombones , bass tuba , organ , timpani (2 players), percussion ( glockenspiel , 2 triangles , 2 tam-tams (high and low), 3 low bells , cymbals , snare drum , large drum ), 2 harps , 1st violin , 2nd violin, viola , cello , double bass (at least 2 double basses with double C- String). There is also an isolated remote orchestra with 4 horns, 4 trumpets, timpani, bass drum, cymbals and triangle.

1st movement: Allegro maestoso. With quite serious and solemn expression

The first movement occupies an exposed position in the symphony. The so-called funeral ceremony is the first of the two monumental frame movements. Its counterpart is the final sentence Resurrection. After the first version had been completed, the movement was initially entitled “Symphony in C minor”. Mahler later changed the heading to “Todtenfeier” and performed the movement on its own under this name, independently of the entire symphony. The funeral ceremony is loosely based on the sonata form . The exposition begins with a chord of the lower strings, after which a restless figure and finally a distinctive motif in the lower strings develops. The final movement takes up this string figure again. The winds then intone the main theme of the first movement on this carpet of sound:

Main theme of the 1st movement

The further development of the topic takes on march-like features, which is derived from the second part of the topic. A lyrical thought that arises afterwards can certainly be described as a second theme, which ends in a dramatic climax in C minor. This is followed by the repetition of the exposition, in which a chorale-like thought appears in the marching style. The following is dominated by a tense and undefined mood, which is still threatening due to the low strings. Only the intonation of the lyrical counter-theme in piano is able to dissolve this tension a little. Nevertheless, the musical event does not completely lose its tense wait. A vocal woodwind motif reminiscent of Dvořák complements the second theme. The moving figures of the low strings in the accompaniment, returning after a while, trigger a forward-pushing dynamic that slowly increases to a climax. Some trumpet chords lead back into a lyrical mood, the tension has eased a little further. However, a few moments later, at the beginning of the implementation , she returns with a vengeance. The string figure leads to a brief protest by the orchestra in forte . Just as suddenly, however, this mood dissolves again and leads to a brief resting point. A dynamic that pushes forward will continue to develop from this. A process that is repeated many times and at the climax of which the main theme is jubilantly presented before the tension builds up in the highest drama and in the orchestra's tutti . The march character asserts itself more and more strongly at this moment, which makes the music sometimes appear militant. The climax of the movement is reached in a dissonant chord repeated several times in the orchestral tutti and signifies the collapse of the action. Now a reprise-like part begins with the motif of the low strings. A descending, threatening motif of the strings heralds the coda , whereupon the marching idea is exposed in the winds. The well-known forward impulse reappears, but finds no real valve and collapses in a faint. A few chords of the winds end the movement, accompanied by the restless figures of the low strings and restrained drum beats, before a chromatically descending scale of the orchestra causes the event to crash for the last time.

Mahler demands a break of at least 5 minutes at the end of the first movement before the next movements are to be heard.

2nd movement: Andante comodo. Very leisurely. Never rush

The second movement is a simple dance movement. The theme looks traditional, almost classical . The peaceful and idyllic minuet theme is kept simple:

Subject of the 2nd movement

The first trio is introduced by a moving string figure, whereupon a spartan woodwind melody is exposed. The trio is partly reminiscent of Beethoven . As spooky as it began, it disappears again and the minuet returns. The second trio represents a more dramatic repetition of the first trio. It is now also voiced by brass and timpani and experiences a dynamic increase. The recurring minuet theme is initially played exclusively in the pizzicato of the strings, supported by the harp. This leads to an unusual and interesting sound.

3rd movement: In calm flowing movement

The third movement of the symphony is linked to the song Des Antonius von Padua Fischpredigt from the Wunderhorn songs , but does not leave the framework of the purely instrumental. The movement was based on the piano song that served as a template, but before the orchestral version of the piano song. It resembles a Scherzo , as its shape corresponds to the principles of the Scherzo in the form ABA. The A parts are very closely based on the song, while the B part was newly composed. The movement begins with a double bang , whereupon the striking, flowing movement of the movement, starting from the kettledrum, sets in motion. Always kept in three-time, the strings and woodwinds unfold short motifs to the accompaniment of pizzicati of the strings and striking inserts of percussion instruments, for example the rod . This takes place in a diverse and tonally differentiated way. On the one hand, this sound image illustrates the flowing water and the fish swimming in from all directions, and on the other hand the grotesque stupidity of the situation. A sermon is given, but nothing changes. In the text it says: "The sermon was successful, you remain like everyone else." This humor is to be seen as satire on the people. The trio uses a simple melody reminiscent of a chorale , which is more of an unclear articulated sound than a concrete melody. The return of the scherzo is initially like the first part. Towards the end, the hasty brass figure rushes to a small musical breakdown, which is to be understood as the end of the sermon. Then remove and slowly dissolve the motifs. After a short standstill, the old movement returns unchanged and the movement ends in this style with a few piano chords fading away.

4th movement: Urlicht - very solemn but simple. Do not drag

The fourth movement is also based on a poem from the Des Knaben Wunderhorn collection . Here Mahler uses the poem “Urlicht” and, for the first time in his symphonic oeuvre, adds the human voice to the performance apparatus. This orchestral song is designed for alto solo . The song “Urlicht” in Mahler's song cycle Des Knaben Wunderhorn hardly differs from this symphony movement. According to Mahler's friend Natalie Bauer-Lechner , Mahler said of this sentence: “The 'primal light' is the soul's questioning and struggle for God and for its own divine existence beyond this life.” The short sentence plays a key role in the conception of the work a. He answers the questions of the previous scherzo and introduces the also vocal finale, the symphony cantata .

The three-part form of the sentence is opened by a motto in which the first verse of the song is set to music. The singing has the effect of a solemn but simple chorale . In the delicate piano of the accompanying chords of the strings, the alto intones the first verse, which is answered in a solemn tone by a brass choir. The important verses "Man is in greatest need, man is in greatest torment" let the sound slide briefly to minor. Mahler uses an extremely large number of time changes in this part of the song.

Alto solo, detail

The second part is a little more moving and lively. In this part the contrasts of the song are clearly side by side. Folk elements such as the violin solo with clarinet accompaniment are juxtaposed with much more sensitive parts, which are mainly embodied by the alto soloist. The moving middle section is also characterized by numerous key changes. Mahler vividly sets the angel vision described to music through the explicit use of harp and glockenspiel . The last part, which is important in terms of content, deals with the last two verses, which represent the transition to the finale. The music regains its simple and solemn form in the first part. The now more pressing motifs derive from the first part of the song. The text reads at this point: "The good Lord will give me a little light, will shine for me into eternal 'blessed' life." The idea of ​​eternal life represents the connection between the funeral and resurrection and leads directly to the finale.

5th movement: At the tempo of the scherzo. Driving out wildly - reluctant again - slowly. Misterioso

The text of the final movement is based on the poem Die Auferstehung by Friedrich Gottlieb Klopstock . Mahler set the first two stanzas of Klopstock's text to music, which he supplemented and changed with his own additions in order to increase individual expression. The text is sung by the soprano and alto solo and the mixed choir. The two-part finale, however, begins with a full-blown, purely orchestral part. This begins with the "wildly moving out" figure of the low strings from the first movement. It immediately culminates in a dissonant tutti chord . Only then does a sound carpet unfold through the strings, on which the main theme (resurrection theme), which will later experience a great apotheosis , is cautiously intoned. A general pause follows this first presentation of the topic and is followed by a horn fanfare . A forward-pushing dynamic now develops very slowly and extremely cautiously in several attempts, which also takes up the resurrection theme anew through an initiating motif of the woodwind. This wanders piano through the various groups of the orchestra. Finally, a few string tremolos bring about a cautious increase, which leads to a chorale-like intonation of the resurrection theme, which soars to solemn size. A drum roll heralds an extremely lively and expressive passage in which a few motifs appear in the brass section and quickly fade away. A rhythmic background of the strings leads to a changed return of the main theme. The passage, which runs continuously forte, ends with some dissonant chords, which let it sink into the depths and lead to a new structure. This happens through a march-like part, which ends in a tutti summit of the whole orchestra. None of these attempts reach any goal, which is why Mahler now resorts to the human voice, which is used in the second part of the movement that begins here. For this purpose, Mahler builds up an extremely tense atmosphere in a lengthy process, during which fanfares sound from a separately placed distant orchestra . The entire rest of the movement resembles a large, increasing arc of tension that is oriented towards a final apotheosis. The choir now begins very carefully pianissimo to intone the first verses of the text on the resurrection theme: “Rise, yes you will rise, my dust, after a short rest! The one who called you, will give you immortal life. ”The soloists and brass players join them in the further course almost imperceptibly. In an orchestral interlude, Mahler slowly increases the dynamic . The choir continues its singing slightly increased in volume. At the end of the verse, the trumpet and soloists appear again. The alto recites the following longer section as a soloist and is occasionally supported by a solo violin. The choir starts again with a sudden dynamic increase, with the words: “What has arisen must pass! What has passed, rise again ”. In the following passages of the chant, there are often sudden dynamic changes. Alto and soprano now take over the following passage of text together. Mahler increases its speed and dynamism more and more and comes to a climax with the words: “I will die to live! Resurrection, yes, you will rise. ”The apotheosis of the resurrection theme has been reached and tutti is sung by the orchestra, choir and organ. With a last great increase, the text reaches its last and central statement: "What you hit, it will take you to God". A magnificent orchestral aftermath, to the full sound of all participants, ends the mighty movement with a mighty chord.

effect

The first performance of the entire symphony took place on December 13, 1895 in Berlin under the direction of Gustav Mahler. The first three movements were performed by Mahler on March 4, 1895. The first performance of the 2nd symphony therefore took place chronologically after that of the 3rd symphony . The reviews after the performance were mostly restrained, sometimes even mocking. The Allgemeine Musik-Zeitung spoke in harsh terms of a “hollow nothing” and “brutal bad taste”. The résumé of “Lärm, Scandal, Nfug, Umsturz” shows how overwhelmed the audience was with Mahler's radically new work. In this context, Mahler also describes Hans von Bülow's reaction to the first sentence: "When I played him my funeral ceremony, he got into nervous horror and explained that Tristan is a Haydn symphony compared to my piece , and acted like a madman." Some more open-minded contemporaries such as Anton Webern , however, expressed their admiration of Mahler's symphony. After this work he described Mahler as a “deeply inward composer”. The conservative Johannes Brahms called Mahler the "King of the Revolutionaries" because of the 2nd symphony. In view of the further development of music history and later Mahler symphonies, the 2nd symphony hardly seems revolutionary in terms of sound. Their dimensions, however, are still considered unusually large. The work is one of Mahler's most popular symphonies and is often heard in the programs of large orchestras.

Status

The 2nd symphony represents in many ways the revolutionary beginning of Mahler's further development of the genre to its limits. If the 1st symphony was still in four movements and not more extensive than the Bruckner symphonies , the 2nd symphony represents a new beginning in this regard The five-movement structure of the work already shows that the classic four-movement scheme is no longer used here. Mahler extends the number of movements in many of his other symphonies, something that has only been done in isolated cases in music history. The large cast of the symphony is also a novelty. Mahler only prescribes a similarly large orchestral apparatus in the 3rd and 8th symphonies . The performance of over 90 minutes is also a radical innovation that was only achieved in isolated cases with Bruckner. Together with the following 3rd symphony, it represents Mahler's most extensive work and one of the greatest symphonies in music history. Like most of Mahler's symphonies, the work follows a concept of content. As in most of Mahler's symphonies, the motto Per aspera ad astra ( Through the rough to the stars ) applies . Based on an extensive funeral ceremony , the symphony ends in a triumphant resurrection movement. Here Mahler sets the poem "Resurrection" by Friedrich Gottlieb Klopstock to music. With a playing time of 38 minutes, the movement is Mahler's longest symphonic movement. Because of the third and fourth movements, the 2nd and 3rd and 4th symphonies belong to the Wunderhorn symphonies. She sets poems from the Des Knaben Wunderhorn collection by Clemens Brentano and Achim von Arnim to music . The model for the instrumental third movement is the poem “Des Antonius von Padua Fischpredigt”. The fourth movement, sung by an alto voice, represents the song “Urlicht” from the collection. In its overall concept, the second symphony mixes lines of thought and tradition from various origins, which is why it is sometimes referred to as a “syncretistic symphony”. For example, the classical-romantic symphony mixes with the achievements of Wagnerian music. Mahler does not yet completely say goodbye to the pathos of the late Romantic symphonies, as he did later radically in his 4th symphony. Rather, the 2nd symphony takes up all the prevailing musical traditions without wanting to unite them, which often leads to a juxtaposition of opposing elements. This typical trait of Mahler's music, which becomes even clearer in the 3rd symphony, is already clearly developed here. The tendency, already to be found in Wagner, to merge the arts into a universal work of art becomes the program in this work. And so the use of the human voice is not an “imitation of Beethoven” (a reproach Mahler feared), but is the consequence of a fusion of musical materials and the softening of the traditional generic terms.

Reception history

The American singer Mme. Charles Cahier , who was personally committed to the Vienna Court Opera by Mahler in 1907, is one of the well-known interpreters of the alto solo .

Gilbert Kaplan's recording of Mahler's Symphony No. 2 with the London Symphony Orchestra in 1987 was voted one of the New York Times ' Records of the Year in 1988. Sold in more than 175,000 copies, it became the best-selling Mahler recording in history.

literature

  • Herta Blaukopf (Ed.): Gustav Mahler - Letters , expanded and revised new edition, Vienna 1982.
  • Herbert Kilian (Ed.): Gustav Mahler in the memories of Natalie Bauer-Lechner. With comments and explanations by Knut Martner (revised and expanded edition), Hamburg 1984.
  • Constantin Floros : Gustav Mahler III. The symphonies. Breitkopf & Härtel, Wiesbaden 1985, ISBN 3-7651-0210-5 .
  • Christoph Metzger : Mahler Reception - Perspectives on Gustav Mahler's Reception . Florian Noetzel, Wilhelmshaven 2000, ISBN 3-7959-0769-1 .
  • Rudolf Stephan : Gustav Mahler. Symphony No. II in C minor . Masterpieces of Music Issue 21. Wilhelm Fink Verlag, Munich 1979, ISBN 3-7705-1737-7 .
  • Renate Ulm (Ed.): Gustav Mahler's Symphonies. Bärenreiter and dtv, Kassel u. Munich 2001, ISBN 3-7618-1533-6 .
  • Ferdinand Pfohl , Gustav Mahler, impressions and memories from the Hamburg years. (Ed. Knud Martner ), Pfohl-Woyrsch-Gesellschaft, Hamburg, 2016, ISBN 1326803220
  • Gerd Indorf: Mahler's symphonies . Rombach, Freiburg i. Br./Berlin/Wien 2010, ISBN 978-3-7930-9622-1 .

Web links

Individual evidence

  1. ^ Letter to Anton Seidl. Quoted from: Herta Blaukopf: Briefe, 200.
  2. ↑ Klaus Döge : Winding paths of origin. In: Program of the Munich Philharmonic from September 17, 2015, p. 2, URL: https://www.mphil.de/fileadmin/redaktion/Saisonfolder/Saisonfolder_1516/Programmhefte_1516/Hefte_1516/Mphil_Gergiev1_www.pdf
  3. ^ Christian Martin Schmidt: Universal artwork as a program. In: Renate Ulm: Gustav Mahler's Symphonies, 83
  4. ↑ On the genesis of the song: Christian Martin Schmidt: Universalkunstwerk als Programm. In: Renate Ulm: Gustav Mahler's Symphonies, 88.
  5. ^ Herbert Kilian: Gustav Mahler in the memoirs of Natalie Bauer-Lechner , 27f.
  6. ^ Herbert Kilian: Gustav Mahler in the memoirs of Natalie Bauer-Lechner , 27f.
  7. ↑ This poem belongs to the collection of sacred songs by Friedrich Gottlieb Klopstock and has the original title “The Resurrection”.
  8. ^ Christian Martin Schmidt: Universal artwork as a program. In: Renate Ulm: Gustav Mahler's Symphonies, 84.
  9. ↑ Here and below when quoting the poem: Friedrich Gottlieb Klopstock / Gustav Mahler : "The Resurrection".
  10. ↑ Erich Reinhardt: Article in Allgemeine Musik-Zeitung, March 8, 1895. In: Renate Ulm: Gustav Mahler's Symphonies, 91.
  11. ↑ Anton Webern's diary entry , January 1902. Quoted from: Renate Ulm: Gustav Mahler's Symphonies, 92.
  12. ↑ Johannes Brahms quoted from: Ludwig Karpath: Article in Der Merker, April 1913. In: Renate Ulm: Gustav Mahler's Symphonie, 92.
  13. ^ Christian Martin Schmidt: Universal artwork as a program. In: Renate Ulm: Gustav Mahler's Symphonies, 80.
  14. ^ Christian Martin Schmidt: Universal artwork as a program. In: Renate Ulm: Gustav Mahler's Symphonies, 90.
  15. ^ Letter to Anton Seidl. Quoted from: Herta Blaukopf: Briefe, 200.