The Symphony No. 2 in C minor by

Gustav Mahler Gustav Mahler (; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism ...

, known as the ''Resurrection Symphony'', was written between 1888 and 1894, and first performed in 1895. This

symphony A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning com ...

was one of Mahler's most popular and successful works during his lifetime. It was his first major work that established his lifelong view of the beauty of afterlife and resurrection. In this large work, the composer further developed the creativity of "sound of the distance" and creating a "world of its own", aspects already seen in his First Symphony. The work has a duration of 80 to 90 minutes, and is conventionally labelled as being in the key of C minor; the '' New Grove Dictionary of Music and Musicians'' labels the work's tonality as C minorE major. It was voted the fifth-greatest symphony of all time in a survey of conductors carried out by the

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Origin

Mahler completed what would become the first

movement Movement may refer to: Common uses * Movement (clockwork), the internal mechanism of a timepiece * Motion, commonly referred to as movement Arts, entertainment, and media Literature * "Movement" (short story), a short story by Nancy Fu ...

of the symphony in 1888 as a single-movement

symphonic poem A symphonic poem or tone poem is a piece of orchestral music, usually in a single continuous movement, which illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-musical) source. The German term ''T ...

called ''Totenfeier'' (Funeral Rites). Some sketches for the second movement also date from that year. Mahler wavered five years on whether to make ''Totenfeier'' the opening movement of a symphony, although his manuscript does label it as a symphony. In 1893, he composed the second and third movements. The finale was the problem. While thoroughly aware he was inviting comparison with Beethoven's Symphony No. 9—both symphonies use a chorus as the centerpiece of a final movement which begins with references to and is much longer than those preceding it—Mahler knew he wanted a vocal final movement. Finding the right text for this movement proved long and perplexing. When Mahler took up his appointment at the Hamburg Opera in 1891, he found the other important conductor there to be Hans von Bülow, who was in charge of the city's symphony concerts. Bülow, not known for his kindness, was impressed by Mahler. His support was not diminished by his failure to like or understand ''Totenfeier'' when Mahler played it for him on the piano. Bülow told Mahler that ''Totenfeier'' made '' Tristan und Isolde'' sound to him like a Haydn symphony. As Bülow's health worsened, Mahler substituted for him. Bülow's death in 1894 greatly affected Mahler. At the funeral, Mahler heard a setting of Friedrich Gottlieb Klopstock's poem (The Resurrection), where the dictum calls out "Rise again, yes, you shall rise again / My dust". "It struck me like lightning, this thing," he wrote to conductor Anton Seidl, "and everything was revealed to me clear and plain." Mahler used the first two verses of Klopstock's hymn, then added verses of his own that dealt more explicitly with redemption and resurrection. He finished the finale and revised the orchestration of the first movement in 1894, then inserted the song "Urlicht" (Primal Light) as the penultimate movement. This song was probably written in 1892 or 1893. Mahler symphony no

Mahler initially devised a narrative programme (actually several variant versions) for the work, which he shared with a number of friends (including Natalie Bauer-Lechner and ). He even had one of these versions printed in the program book at the premiere in Dresden on 20 December 1901. 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 '' Das Lied von der Erde''. As generally happened, Mahler later withdrew all versions of the programme from circulation.

Publication

The work was first published in 1897 by Friedrich Hofmeister. The rights were transferred to shortly thereafter, and finally to

Universal Edition Universal Edition (UE) is a classical music publishing firm. Founded in 1901 in Vienna, they originally intended to provide the core classical works and educational works to the Austrian market (which had until then been dominated by Leipzig-base ...

, 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 was produced as a joint venture between Universal Edition and the

Kaplan Foundation Gilbert Edmund Kaplan (March 3, 1941 – January 1, 2016) was an American businessman and financial publisher. He was also an aficionado of the music of Gustav Mahler, and an amateur conductor of Mahler's Symphony No. 2. Career Kaplan was born ...

. Its world premiere performance was given on 18 October 2005 at the

Royal Albert Hall The Royal Albert Hall is a concert hall on the northern edge of South Kensington, London. One of the UK's most treasured and distinctive buildings, it is held in trust for the nation and managed by a registered charity which receives no govern ...

in London with

Gilbert Kaplan Gilbert Edmund Kaplan (March 3, 1941 – January 1, 2016) was an American businessman and financial publisher. He was also an aficionado of the music of Gustav Mahler, and an amateur conductor of Mahler's Symphony No. 2. Career Kaplan was born a ...

conducting the

Royal Philharmonic Orchestra The Royal Philharmonic Orchestra (RPO) is a British symphony orchestra based in London, that performs and produces primarily classic works. The RPO was established by Thomas Beecham in 1946. In its early days, the orchestra secured profitable ...

. Reproductions of earlier editions have been released by

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and by

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. The Kaplan Foundation published an extensive facsimile edition with additional materials in 1986. 1989 saw the publication of an arrangement by Bruno Walter for piano four hands.

Instrumentation

The symphony is scored for large orchestra, consisting of the following instruments. ; Woodwinds : : : : : ; Brass : : :4 trombones :1 tuba ; Percussion : : :several

snare drum The snare (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used ...

s (used only in mvmt. 5) :pair of

cymbal A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys. The majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs soun ...

s : :2 tam-tams (high and low) :

rute Rute is a municipality in the province of Córdoba, Spain. It lies between Iznájar to the South East, and Lucena to the North West. Its primary economy centres on the extensive production of foodstuffs including dozens of different makes of ...

(used only in mvmt. 3) : :

glockenspiel The glockenspiel ( or , : bells and : set) or bells is a percussion instrument consisting of pitched aluminum or steel bars arranged in a keyboard layout. This makes the glockenspiel a type of metallophone, similar to the vibraphone. The glo ...

;

Keyboards Keyboard may refer to: Text input * Keyboard, part of a typewriter * Computer keyboard ** Keyboard layout, the software control of computer keyboards and their mapping ** Keyboard technology, computer keyboard hardware and firmware Music * Musi ...

: :

organ Organ may refer to: Biology * Organ (biology), a part of an organism Musical instruments * Organ (music), a family of keyboard musical instruments characterized by sustained tone ** Electronic organ, an electronic keyboard instrument ** Hammond ...

(used only in mvmt. 5) ;

Voices Voices or The Voices may refer to: Film and television * ''Voices'' (1920 film), by Chester M. De Vonde, with Diana Allen * ''Voices'' (1973 film), a British horror film * ''Voices'' (1979 film), a film by Robert Markowitz * ''Voices'' (19 ...

: :

soprano A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880&n ...

solo (used only in mvmt. 5) :

alto The musical term alto, meaning "high" in Italian (Latin: ''altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by ...

solo (used only in mvmts. 4 and 5) :

mixed chorus A choir ( ; also known as a chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which sp ...

(used only in mvmt. 5) ;

Strings String or strings may refer to: *String (structure), a long flexible structure made from threads twisted together, which is used to tie, bind, or hang other objects Arts, entertainment, and media Films * ''Strings'' (1991 film), a Canadian anim ...

: :2

harp The harp is a stringed musical instrument that has a number of individual strings running at an angle to its soundboard; the strings are plucked with the fingers. Harps can be made and played in various ways, standing or sitting, and in orche ...

parts (several per part) :1st violins :2nd violins : violas : cellos : double basses (several with low C string)

Form

The work in its finished form has five movements.

I. Allegro maestoso

The first movement is marked ''Mit durchaus ernstem und feierlichem Ausdruck'' (With complete gravity and solemnity of expression). It is written in C minor, but passes through a number of different moods and resembles a funeral march. The movement's formal structure is modified sonata form. The exposition is repeated in a varied form (from rehearsal number 4 through 15, as Ludwig van Beethoven often did in his late string quartets). 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 Theme or themes may refer to: * Theme (arts), the unifying subject or idea of the type of visual work * Theme (Byzantine district), an administrative district in the Byzantine Empire governed by a Strategos * Theme (computing), a custom graphical ...

, first presented in E major (enharmonic of F major,

Neapolitan Neapolitan means of or pertaining to Naples, a city in Italy; or to: Geography and history * Province of Naples, a province in the Campania region of southern Italy that includes the city * Duchy of Naples, in existence during the Early and Hig ...

of E), begins its second statement in C major, a key in which it is not expected until the recapitulation. The statement in the recapitulation, coincidentally, is in the original E major (F 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 observed today. Often conductors will meet Mahler half way, pausing for a few minutes while the audience takes a breather and settles down and the orchestra retunes in preparation for the rest of the piece. Julius Buths received this instruction from Mahler personally, prior to a 1903 performance in Düsseldorf; however, he chose instead to place the long pause between the fourth and fifth movements, for which Mahler congratulated him on his insight, sensitivity, and daring to go against his stated wishes. A practical way of following Mahler's original indication is to have the two soloists and the chorus enter the stage only after the first movement. This creates a natural separation between the first movement and the rest of the symphony and also saves the singers more than twenty minutes of sitting on stage. One can get an idea of Mahler's intention through a comparison with his Symphony No. 3, where – due to the length of the piece – a real break after the first movement (as between two acts of an opera) is highly recommended, and indeed indicated by Mahler. As in the case of Symphony No. 2, this is not always observed nowadays.

II. Andante moderato

The second movement is marked ''Sehr gemächlich. Nie eilen.'' (Very leisurely. Never rush.) It is a delicate Ländler in

A major A major (or the key of A) is a major scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has three sharps. Its relative minor is F-sharp minor and its parallel minor is A minor. The key of A major is the only k ...

. It has two contrasting sections of slightly darker music. This slow movement itself is contrasting to the two adjacent movements. Structurally, it is one of the simplest movements in Mahler's whole output. It is the remembrance of the joyful times in the life of the deceased.

III. ''In ruhig fließender Bewegung''

The third movement is a scherzo in C minor. It opens with two strong, short timpani strokes. It is followed by two softer strokes and 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; in correspondence, Mahler expressed amusement that his sinuous musical setting could imply

St. Anthony of Padua Anthony of Padua ( it, Antonio di Padova) or Anthony of Lisbon ( pt, António/Antônio de Lisboa; born Fernando Martins de Bulhões; 15 August 1195 – 13 June 1231) was a Portuguese Catholic priest and friar of the Franciscan Order. He was bor ...

was himself drunk as he preached to the fish. In 1967–68, the movement was used by Luciano Berio for the third movement of his '' Sinfonia'', where it is used as the framework for constructing a

musical collage In music, montage (literally "putting together") or sound collage ("gluing together") is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as montage. This is often done through ...

of works from throughout the Western classical tradition.

IV. "Urlicht"

The fourth movement, "Urlicht" (Primal Light) is marked ''Sehr feierlich, aber schlicht'' (Very solemn, but simple). It is a ''Wunderhorn'' song, sung by an

, which serves as an introduction to the Finale. The song, set in the remote key of D major, illustrates the longing for relief from worldly woes, leading without a break to the response in the Finale.

V. ''Im Tempo des Scherzos''

The finale is the longest movement, 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 reappears as structural music in the choral section. This is followed 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 restatement 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". It begins with two long drum rolls, which include the use of the gongs. 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 restated. The orchestral recitative is fully recapitulated, and is accompanied this time by offstage interruptions from a band of brass and percussion (which some had explained as the apocalypse's seven trumpets). This builds to a climax, which leads into a restatement 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 minor. The restatement of the first theme group occurs in the dominant, C major. The development explores a number of keys, including the

mediant In music, the mediant (''Latin'': to be in the middle) is the third scale degree () of a diatonic scale, being the note halfway between the tonic and the dominant.Benward & Saker (2003), p.32. In the movable do solfège system, the mediant note i ...

, A major, and the parallel major, F major. Unlike the first movement, the second theme is recapitulated as expected in the tonic key. The restatement of the introduction is thematically and tonally a transition to the second large part, moving from C minor to the parallel D major — the dominant of F minor — in which the Great Summons is stated. The Epiphany comes in, played by the flute, in a high register, and featuring trumpets, that play offstage. The choral section begins in G major. The chorus comes in quietly a little past the halfway point of the movement. The choral section is organized primarily by the text, using musical material from earlier in the movement. (The B 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.) 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 major, the solos and the fourth verse in B minor (the key in which the recitative was originally stated), and the duet in A major. The goal of the symphony, E 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 suddenly reenters 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 ''volles Werk'', full organ) and with the choir instructed to sing ''mit höchster Kraft'' (with highest power). The instrumental

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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."

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

Urlicht O Röschen rot! Der Mensch liegt in größter Not! 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! —''Des Knaben Wunderhorn'' Primeval Light O little red rose! Man lies in greatest need! Man lies in greatest pain! How I would rather be in heaven. There came I upon a broad path when came a little angel and wanted to turn me away. Ah no! I would not let myself be turned away! I am from God and shall return to God! The loving God will grant 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. Mahler omitted the final four lines of this poem and wrote the rest himself (beginning at "O glaube"). Aufersteh'n, ja aufersteh'n wirst du, mein Staub, nach kurzer Ruh'! Unsterblich Leben! Unsterblich Leben will der dich rief dir geben! Wieder aufzublüh'n wirst du gesät! Der Herr der Ernte geht und sammelt Garben uns ein, die starben! —Friedrich Klopstock 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 warst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Was entstanden ist, das muss vergehen! Was vergangen, aufersteh’n! 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! 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! —Gustav Mahler Rise again, yes, rise again, Will you, my dust, after a brief rest! Immortal life! Immortal life Will he who called you, give you. You are sown to bloom again! The lord of the harvest goes And gathers sheaves, Us, who have died. O believe, my heart, O believe: Nothing is lost to you! Yours, 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 lived for nothing, Nor 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 conqueror of all things, Now, are you conquered! With wings which I have won for myself, In love's fierce striving, I shall soar upwards To the light which no eye has penetrated! I shall die in order to live. Rise again, yes, rise again, Will you, my heart, in an instant! That for which you suffered, To God shall it carry you!

Notable premieres

* World premiere (first three movements only): March 4, 1895, Berlin, with the composer conducting the Berliner Philharmoniker. * World premiere (complete): December 13, 1895, Berlin, conducted by the composer. * Belgian premiere: March 6, 1898,

Liège Liège ( , , ; wa, Lîdje ; nl, Luik ; german: Lüttich ) is a major city and municipality of Wallonia and the capital of the Belgian province of Liège. The city is situated in the valley of the Meuse, in the east of Belgium, not far from b ...

, 'Nouveaux Concerts', conducted by

Sylvain Dupuis Joseph Michel Sylvain Dupuis (; 9 October 1856 – 28 September 1931) was a Belgian conductor, composer, oboist, and music educator. Life Born in Liège, Dupuis was trained at the Royal Conservatory of Liège. After graduating in 1878, he w ...

. This was the first performance outside Germany. * Austrian premiere: June, 4, 1899,

Musikverein The ( or ; ), commonly shortened to , is a concert hall in Vienna, Austria, which is located in the Innere Stadt district. The building opened in 1870 and is the home of the Vienna Philharmonic orchestra. The acoustics of the building's 'Great ...

, Vienna, with the composer conducting the

Wiener Philharmoniker The Vienna Philharmonic (VPO; german: Wiener Philharmoniker, links=no) is an orchestra that was founded in 1842 and is considered to be one of the finest in the world. The Vienna Philharmonic is based at the Musikverein in Vienna, Austria. It ...

. * Swiss premiere: June, 6, 1903, Basel Minster, Basel, with the composer conducting the

Sinfonieorchester Basel The Sinfonieorchester Basel (Symphony Orchestra Basel; Swiss abbreviation SOB) is a symphony orchestra based in Basel, Switzerland. Its principal concert venue is the ''Musiksaal'' of the Stadtcasino. In addition, the orchestra accompanies ballet ...

. * Dutch premiere: October, 26, 1904, Concertgebouw, Amsterdam, with the composer conducting the Concertgebouw Orkest. * United States premiere: December, 8, 1908,

Carnegie Hall Carnegie Hall ( ) is a concert venue in Midtown Manhattan in New York City. It is at 881 Seventh Avenue (Manhattan), Seventh Avenue, occupying the east side of Seventh Avenue between West 56th Street (Manhattan), 56th and 57th Street (Manhatta ...

, New York, with the composer conducting the New York Philharmonic. * French premiere: April, 10, 1910, Théâtre du Châtelet, Paris, with the composer conducting the

Orchestre Colonne The Colonne Orchestra is a French symphony orchestra, founded in 1873 by the violinist and conductor Édouard Colonne. History While leader of the Opéra de Paris orchestra, Édouard Colonne was engaged by the publisher Georges Hartmann to lead a ...

Score

The original manuscript score was given by Mahler's widow to conductor Willem Mengelberg at a 1920 Mahler festival given by Mengelberg and the Concertgebouw Orchestra. It was bought from the Mengelberg Foundation in 1984 by entrepreneur

, who specialised in conducting the symphony as an amateur. On 29 November 2016 the score was sold at Sotheby's of London for £4.5 million, the highest price for a musical manuscript ever sold at auction. There were four telephone bidders for the manuscript, with the winning bidder choosing to remain anonymous. The score now is the property of the Cleveland Orchestra in Cleveland, Ohio. It was gifted to the orchestra by German media mogul and Cleveland Orchestra trustee Herbert Kloiber, who was the anonymous high bidder at the Sotheby's auction. It is the only known handwritten and autographed manuscript of the work in existence.

References

Sources *

External links

*
Classical Notes

"Mahler's Second: The Story within the Symphony"
WQXR Radio, 18 February 2012 {{Authority control Mahler 2 Symphony No. 02 (Mahler) Music for orchestra and organ 1894 compositions Death in music Stefan Zweig Collection Compositions in C minor