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Table of contents

Several similar exchanges occur over the course of the development. Yet the opening bass scales—now punctuated by crashes in the percussion and brass—reappear before the development concludes. A sighing English horn signals the return of fragments of the funeral march, in addition to a broader melody stated in the trumpet. The recapitulation that ensues closely follows the lines of the exposition, at least until the lyrical second theme.

Here the composer also recalls some of the pastoral ideas he initially presented in the development. Although Mahler left this indication off of the published version of Symphony no.

Symphony No.2 in C Minor (Dover miniature scores)

Only a succinct coda consisting of a descending chromatic scale in the full orchestra temporarily restores a more forceful, assertive mood before the music fades out. The score specifies a pause of at least five minutes after the first movement. In , Mahler conveyed to Bauer-Lechner that he considered this discontinuity a fault in the symphony.

For piano four hands

Overall, the layout of the second movement alternates between two musical ideas. Approximately ninety seconds later, another melody appears. Its detached articulation and extremely soft volume impart a playful character, while the minor key clearly distinguishes the tune from the beginning of the movement. The woodwinds twice present a lyrical passage on top of overlapping statements of this second idea before the music rises to a peak.

The second melody follows soon thereafter, but it extends to a greater length and reaches a larger climax—facilitated through the addition of the brass and timpani—this time around. Anthony preaching to the fish in the river. And Anthony too emerges as an ironical figure, since he seems perfectly content to deliver his sermon to a flock that cannot understand him. Antonius zur Predigt Die Kirche findt ledig. Die Predigt geendet, Ein jeder sich wendet.

Past Performances

Sie bleiben wie Allen! Antonius at sermon Finds the church empty. He goes to the rivers And preaches to the fishes! They whip their tails Glistening in the sunshine! The carp with roe All are drawn here Mouths wide open, Intent listeners! No sermon ever Pleased the fish so! Sharp-mouthed pike That fight all the time Swam here in a hurry To hear the piety! Even those oddities That fast all the time, I mean the stockfish, Appear at the sermon. Good eels and sturgeon That elegantly feast, They force themselves To hear the sermon! Also crabs, turtles, Usually slow runners, Rise urgently from the ground To hear this mouth!

No sermon ever Pleased the crabs so!

Fish large, fish small, Noble and common, Raise their heads Like intelligent creatures! The sermon ended, Each one turns. The pike remain thieves, The eels great lovers: The sermon has pleased, But they all remain as before. The crabs go backwards; The stockfish stay plump, The carp devour many, Forgetting the sermon!

The sermon pleased, But they all remain as before!

Mahler – Symphony No. 2 in C-Minor – Resurrection () | Channel Classics Records

In the vocal versions of the Lied, the instruments whether piano or orchestral evoke the constant motion of the swimming fish, while the singer simultaneously relays the text and suggests the preaching of St. A recording of the Lied exists at this link. The symphony movement, however, leaves out most of the vocal melody. Mahler instead focuses on creating a sense of restless energy through constant rhythmic motion, swirling melodies, and dissonance. As the turning melodic lines move through various instruments, fragments of a slower-moving tune i.

A rumble in the brass and timpani—followed by a protracted whistle in the piccolo and flute—heralds the contrasting central portion of the movement. The trumpets carry the melody here, with the support of undulating strings. But the respite proves short-lived, and a varied restatement of the Lied returns. These culminate in a dissonant outcry that constitutes the climax of the third movement. And as the Lied resumes, the tension abates, so that the composer may subtly anticipate motives that will figure prominently in the finale.

There is fluting and fiddling Trumpets blare in it Here dances the wedding dance My dearest. There is a ringing and booming A drumming and a sounding of shawms; Between them sob and moan The sweet angels.

Symphony No.2 in C Minor 'Resurrection'

Considering that the program Mahler outlined for Marschalk in specifies that the hero mourned in the opening movement of Symphony no. Like the third movement, the fourth began as setting of a Wunderhorn poem. Mahler separates the first line of text from the remainder of the poem, using it to initiate the movement. Following a choral-like passage played by a brass choir—which the composer requests sit at the rear of the orchestra—the alto sings the second, third and fourth lines of poetry.

Chromaticism now infiltrates the vocal line, which gradually rises in pitch and constantly fluctuates meter.


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A solo oboe then closes off this first portion of the movement. A contrasting central section then begins in a minor key. As clarinet, harp, and glockenspiel mark off regular increments of time, the voice delivers the fifth, sixth, and seventh lines of text at a slightly quicker tempo. No clear pause separates the middle of the movement from the varied restatement of the opening material.

As the alto moves to the final line of the poem, however, the melody first heard in conjunction with the fourth line of text returns. O little rose red Humanity lies in greatest need, Humanity lies in great agony, Ever I would prefer to be in Heaven. Then I came upon a wide path There came an angel who wanted to turn me away. But no, I did not let myself be turned away. I am from God, I want to return to God, The loving God will give me a little light, Which will light me into eternal, blessed life. Listening Guide for the Fifth Movement Many scholars interpret the fifth movement as another example of sonata form, with instrumental expositional and developmental sections, followed by a choral recapitulation.

Because Mahler based the vocal portion of the finale on the same materials as its orchestral beginning, this scenario does actually describe the shape of the movement to a certain extent. However, the composer incorporates elaboration of his themes—a process normally associated with the development—in the exposition, and the act of fitting words to instrumental melodies will also necessitate substantial alteration of those materials in the recapitulatory portion of the score. This builds in intensity and eventually erupts in triumphant fanfares that derive from the introductory fifths and descending triplets.

Drum rolls then declare the start of the developmental section, which commences with the recurrence of the terrifying and dissonant introduction. The center of the movement combines its main materials in a seemingly endless variety of ways. Mahler also transforms the characters of his themes into a number of unexpected guises. Mahler hints at a bit of lyricism before the tempo accelerates, the volume rises, and the level of dissonance increases. Horn fanfares first surface from this din—followed by the return of the falling fifths, ascending scales, and descending triplets—before the recapitulatory portion of the movement commences.

Following this, the chorus presents overlapping entries of the descending-triplet material, a motive that had remained the property of the orchestra until this point in the movement. As the buildup of these gestures nears its peak, another instrumental theme—the pairing of the falling fifths and ascending scales—resounds in the chorus and horns.

About the Work

Unsterblich Leben Wird der dich rief dir geben. Dein ist, was du gesehnt! Dein, was du geliebt, was du gestritten! O glaube: Du wardst nicht umsonst geboren! Is there a continuity? Is all this but a confused dream or is there a meaning to this life and to this death? One of the resurrection themes of the final movement is hinted at in the development section.

In the published score Mahler states that an interval of at least five minutes should be placed at the end of this movement. The second movement i A-flat major is a in principle graceful and tender Andante moderato: "A blissful moment from the life of the beloved dead and a nostalgic reminiscence of his youth and his lost innocence.

The third movement starts again in the key of c minor. After enormous drumbeats, a sarcastic bassoon and a mocking clarinet introduce an extensive paraphrase of the song Des Antonius von Padua Fischpredigt from the cycle Des Knaben Wunderhorn. Especially fascinating is the alternating play between the graceful phrase of the B-flat clarinet and the strings on one hand and the sarcastic answer of the E-flat clarinet.

Gustav Mahler - Symphony No. 2 in C-minor "Resurrection" 2/3

He looks upon the tumult around him and together with his childlike purity he loses the inner steadfastness which only love can give. He doubts himself and God; the world and life become phantoms. Disgust with all that is and grows grips him like an iron fist and drives him to cry out in despair. Very unexpectedly comes the middle part, a triumph in D major, cries of joy of a splendid clarity from the trumpets and horns, gliding over into a romantic moonlight atmosphere: the dream-like beautiful climax of the movement before returning to the Fischpredigt.

Once again the music raises into enthusiastic heights, a "cry of despair" Mahler , in order to finally die down in c minor. Without a pause, the voice of the contralto is heard: She sings the poem Urlicht from Des Knaben Wunderhorn. In the world's darkness, suddenly a mysterious light is shining. From far sounds the call of the horns, a religious poem of the orchestra is heard and transforms into the march of the dead to the "last Trumpet".