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Symphony by Gustav Mahler

Symphony No. eight
"Symphony of a Thousand"
Choral symphony by Gustav Mahler
Darkened interior of a large hall with two rows of high windows along each side. It is possible to discern a seated orchestra in the foreground, with mass choirs in the background.

Final rehearsal for the world premiere in the Neue Musik-Festhalle in Munich
Key Due east-apartment major
Text
  • Veni creator spiritus
  • Closing scene of Goethe's Faust
Equanimous 1906 (1906)
Movements 5
Premiere
Date 12 September 1910
Conductor Gustav Mahler
Performers Munich Philharmonic

The Symphony No. 8 in E-flat major by Gustav Mahler is 1 of the largest-calibration choral works in the classical concert repertoire. As it requires huge instrumental and vocal forces it is ofttimes called the "Symphony of a Grand", although the work is unremarkably presented with far fewer than a one thousand performers and the composer did not sanction that proper name – actually, he disapproved of it.[1] The work was composed in a single inspired burst at his Maiernigg villa in southern Republic of austria in the summer of 1906. The final of Mahler's works that was premiered in his lifetime, the symphony was a critical and pop success when he conducted the Munich Philharmonic in its get-go performance, in Munich, on 12 September 1910.

The fusion of vocal and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period afterwards 1901, a alter of style led him to produce three purely instrumental symphonies. The 8th, marking the end of the heart period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional: instead of the normal framework of several movements, the piece is in two parts ("i." and "2. Teil"[2]). Part I is based on the Latin text of Veni creator spiritus ("Come, Creator Spirit"), a 9th-century Christian hymn for Pentecost, and Role Ii is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a mutual idea, that of redemption through the power of dearest, a unity conveyed through shared musical themes.

Mahler had been convinced from the commencement of the work's significance; in renouncing the cynicism that had marked much of his music, he offered the Eighth as an expression of conviction in the eternal human spirit. In the period following the composer'south decease, performances were insufficiently rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics accept divided opinions on the work; Theodor W. Adorno, Robert Simpson, and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has been compared by Deryck Cooke to Ludwig van Beethoven'southward Symphony No. 9 as a defining human statement for its century.

History [edit]

Background [edit]

By the summer of 1906, Mahler had been managing director of the Vienna Hofoper for nine years.[n ane] Throughout this time his practice was to go out Vienna at the close of the Hofoper flavour for a summer retreat, where he could devote himself to limerick. Since 1899 this had been at Maiernigg, near the resort town of Maria Wörth in Carinthia, southern Austria, where Mahler congenital a villa overlooking the Wörthersee.[4] In these restful surroundings Mahler completed his Symphonies No. 4, No. 5, No. six and No. 7, his Rückert songs and his song cycle Kindertotenlieder ("Songs on the Decease of Children").[5]

Until 1901, Mahler's compositions had been heavily influenced by the German folk-poem collection Des Knaben Wunderhorn ("The Youth'due south Magic Horn"), which he had first encountered around 1887.[6] The music of Mahler'south many Wunderhorn settings is reflected in his Symphonies No. 2, No. iii and No. 4, which all employ vocal too as instrumental forces. From virtually 1901, even so, Mahler'due south music underwent a change in grapheme as he moved into the middle menstruation of his compositional life.[7] Here, the more austere poems of Friedrich Rückert supersede the Wunderhorn collection as the primary influence; the songs are less folk-related, and no longer infiltrate the symphonies equally extensively as before.[8] During this period Symphonies No. 5, No. 6 and No. 7 were written, all as purely instrumental works, portrayed past Mahler scholar Deryck Cooke equally "more stern and forthright ..., more tautly symphonic, with a new granite-like hardness of orchestration".[vii]

Mahler arrived at Maiernigg in June 1906 with the draft manuscript of his 7th Symphony; he intended to spend time revising the orchestration until an idea for a new piece of work should strike.[9] The composer'southward wife Alma Mahler, in her memoirs, says that for a fortnight Mahler was "haunted by the spectre of failing inspiration";[10] Mahler'due south recollection, yet, is that on the outset 24-hour interval of the vacation he was seized by the creative spirit, and plunged immediately into composition of the work that would go his Eighth Symphony.[9] [11]

Composition [edit]

Ii notes in Mahler'due south handwriting dating from June 1906 show that early schemes for the piece of work, which he may not at first have intended equally a fully choral symphony, were based on a four-movement construction in which ii "hymns" surround an instrumental cadre.[12] These outlines show that Mahler had stock-still on the idea of opening with the Latin hymn, but had non yet settled on the precise form of the rest. The first note is every bit follows:

  1. Hymn: Veni creator
  2. Scherzo
  3. Adagio: Caritas ("Christian love")
  4. Hymn: Die Geburt des Eros ("The birth of Eros")[12]

The second note includes musical sketches for the Veni creator movement, and 2 bars in B minor which are thought to relate to the Caritas. The four-movement plan is retained in a slightly unlike form, however without specific indication of the extent of the choral element:

  1. Veni creator
  2. Caritas
  3. Weihnachtsspiele mit dem Kindlein ("Christmas games with the kid")
  4. Schöpfung durch Eros. Hymne ("Cosmos through Eros. Hymn")[12]

A small grey hut, surrounded by woods, with an open door to which is affixed a picture of the composer

Mahler'south composing hut at Maiernigg, where the Eighth Symphony was equanimous in summer 1906

From Mahler'due south later comments on the symphony'southward gestation, information technology is evident that the four-movement programme was relatively curt-lived. He soon replaced the last iii movements with a unmarried department, substantially a dramatic cantata, based on the endmost scenes of Goethe's Faust, the depiction of an ideal of redemption through eternal womanhood (das Ewige-Weibliche).[xiii] Mahler had long nurtured an ambition to set up the end of the Faust epic to music, "and to gear up it quite differently from other composers who take made information technology saccharine and feeble."[fourteen] In comments recorded past his biographer Richard Specht, Mahler makes no mention of the original four-movement plans. He told Specht that having chanced on the Veni creator hymn, he had a sudden vision of the consummate work: "I saw the whole piece immediately before my eyes, and merely needed to write it down as though it were being dictated to me."[14]

The piece of work was written at a frantic stride—"in record time", co-ordinate to the musicologist Henry-Louis de La Grange.[15] It was completed in all its essentials by mid-August, even though Mahler had to absent himself for a week to attend the Salzburg Festival.[16] [17] Mahler began composing the Veni creator hymn without waiting for the text to arrive from Vienna. When it did, according to Alma Mahler, "the complete text fitted the music exactly. Intuitively he had composed the music for the total strophes [verses]."[n ii] Although amendments and alterations were subsequently carried out to the score, there is very little manuscript evidence of the sweeping changes and rewriting that occurred with his earlier symphonies as they were prepared for performance.[18]

With its apply of vocal elements throughout, rather than in episodes at or near the end, the work was the first completely choral symphony to be written.[nineteen] Mahler had no doubts about the ground-breaking nature of the symphony, calling it the grandest matter he had ever done, and maintaining that all his previous symphonies were merely preludes to it. "Try to imagine the whole universe beginning to ring and resound. At that place are no longer human voices, merely planets and suns revolving." It was his "gift to the nation ... a great joy-bringer."[20]

Reception and performance history [edit]

Premiere [edit]

A rectangular card, the main text of which reads "Ausstellung München 1910. Neue Musik-Festhalle. Gustav Mahler VIII. Symphonie, Erste Aufführung, Montag 12. September 1910."

A ticket for the premiere of the Eighth Symphony, Munich, 12 September 1910

A long, large building with a barrel-vault roof rising above a facade with full-length plate-glass windows along the length of the building

The Neue Musik-Festhalle, venue of the premiere, now part of the transportation middle of the Deutsches Museum

Mahler made arrangements with the impresario Emil Gutmann for the symphony to be premiered in Munich in the autumn of 1910. He presently regretted this involvement, writing of his fears that Gutmann would plow the functioning into "a catastrophic Barnum and Bailey show".[21] Preparations began early in the twelvemonth, with the pick of choirs from the choral societies of Munich, Leipzig and Vienna. The Munich Zentral-Singschule provided 350 students for the children'south choir. Meanwhile, Bruno Walter, Mahler's assistant at the Vienna Hofoper, was responsible for the recruitment and preparation of the eight soloists. Through the spring and summer these forces prepared in their home towns, before assembling in Munich early on in September for iii full days of final rehearsals under Mahler.[21] [1] His youthful assistant Otto Klemperer remarked subsequently on the many small-scale changes that Mahler made to the score during rehearsal: "He always wanted more clarity, more than sound, more than dynamic dissimilarity. At one signal during rehearsals he turned to us and said, 'If, after my death, something doesn't audio right, then alter it. You accept not only a right but a duty to exercise then.'"[22]

For the premiere, fixed for 12 September, Gutmann had hired the newly built Neue Musik-Festhalle, in the Munich International Exhibition grounds nigh Theresienhöhe (now a co-operative of the Deutsches Museum). This vast hall had a capacity of 3,200; to assist ticket sales and raise publicity, Gutmann devised the nickname "Symphony of a 1000", which has remained the symphony's pop subtitle despite Mahler'south disapproval.[1] [northward iii] Among the many distinguished figures present at the sold-out premiere were the composers Richard Strauss, Camille Saint-Saëns and Anton Webern; the writers Thomas Isle of mann and Arthur Schnitzler; and the leading theatre director of the 24-hour interval, Max Reinhardt.[23] [ane] Also in the audition was the 28-year-onetime British conductor Leopold Stokowski, who six years later on would lead the first United States operation of the symphony.[24] [25]

Up to this time, receptions of Mahler'due south new symphonies had unremarkably been disappointing.[23] However, the Munich premiere of the Eighth Symphony was an unqualified triumph;[26] as the final chords died away in that location was a brusk pause before a huge outbreak of applause which lasted for twenty minutes.[23] Dorsum at his hotel Mahler received a letter from Thomas Mann, which referred to the composer as "the man who, every bit I believe, expresses the art of our fourth dimension in its profoundest and most sacred form".[27]

The symphony's elapsing at its first performance was recorded past the critic-composer Julius Korngold every bit 85 minutes.[28] [n 4] This performance was the last fourth dimension that Mahler conducted a premiere of 1 of his ain works. Eight months subsequently his Munich triumph, he died at the historic period of fifty. His remaining works—Das Lied von der Erde ("The Vocal of the World"), his Symphony No. ix and the unfinished Symphony No. ten—were all premiered after his death.[24]

Subsequent performances [edit]

On the solar day post-obit the Munich premiere Mahler led the orchestra and choruses in a repeat performance.[33] During the next three years, according to the calculations of Mahler's friend Guido Adler the Eighth Symphony received a further xx performances across Europe.[34] These included the Dutch premiere, in Amsterdam nether Willem Mengelberg on 12 March 1912,[33] and the showtime Prague performance, given on 20 March 1912 under Mahler'south former Vienna Hofoper colleague, Alexander von Zemlinsky.[35] Vienna itself had to wait until 1918 before the symphony was heard at that place.[21]

A notice headed "Academy of Music, Thursday Evening, March 1916 at 8.15." It gives details of the programme for the first American performance of Mahler's Eighth Symphony, by the Philadelphia Orchestra under Leopold Stokowski, and lists the solo performers and choirs.

Program for the U.s. premiere of Mahler's Eighth Symphony, Philadelphia, March 1916

In the U.South., Leopold Stokowski persuaded an initially reluctant lath of the Philadelphia Orchestra to finance the American premiere, which took place on ii March 1916.[36] [37] The occasion was a great success; the symphony was played several more times in Philadelphia before the orchestra and choruses travelled to New York, for a serial of equally well-received performances at the Metropolitan Opera Firm.[25] [38]

At the Amsterdam Mahler Festival in May 1920, Mahler'due south completed symphonies and his major song cycles were presented over nine concerts given by the Concertgebouw Orchestra and choruses, under Mengelberg's direction.[39] The music critic Samuel Langford, who attended the occasion, commented that "we exercise not get out Amsterdam profoundly envying the diet of Mahler showtime and every other composer subsequently, to which Mengelberg is training the music-lovers of that urban center."[40] The Austrian music historian Oscar Bie, while impressed with the festival as a whole, wrote afterward that the Eighth was "stronger in consequence than in significance, and purer in its voices than in emotion".[41] Langford had commented on the British "non being very eager well-nigh Mahler",[40] and the Eighth Symphony was not performed in United kingdom of great britain and northern ireland until 15 April 1930, when Sir Henry Wood presented it with the BBC Symphony Orchestra. The work was played once again eight years after past the same forces; among those present in the audition was the youthful composer Benjamin Britten. Impressed by the music, he nevertheless institute the operation itself "execrable".[42]

The years afterwards World War II saw a number of notable performances of the Eighth Symphony, including Sir Adrian Boult's broadcast from the Imperial Albert Hall on 10 Feb 1948, the Japanese premiere under Kazuo Yamada in Tokyo in December 1949, and the Australian premiere under Sir Eugene Goossens in 1951.[33] A Carnegie Hall operation under Stokowski in 1950 became the first complete recording of the symphony to exist issued.[43] After 1950 the increasing numbers of performances and recordings of the piece of work signified its growing popularity, but non all critics were won over. Theodor Due west. Adorno found the piece weak, "a giant symbolic shell";[44] this most affirmative work of Mahler's is, in Adorno's view, his least successful, musically and artistically junior to his other symphonies.[45] The composer-critic Robert Simpson, unremarkably a champion of Mahler, referred to Part 2 as "an sea of shameless kitsch."[44] Mahler biographer Jonathan Carr finds much of the symphony "bland", lacking the tension and resolution present in the composer'southward other symphonies.[44] Deryck Cooke, on the other manus, compares Mahler'southward Eighth to Beethoven'due south Choral (Ninth) Symphony. To Cooke, Mahler's is "the Choral Symphony of the twentieth century: similar Beethoven's, only in a different style, it sets before u.s.a. an ideal [of redemption] which nosotros are every bit nevertheless far from realising—even perhaps moving away from—only which we can inappreciably abandon without perishing".[46]

In the belatedly 20th century and into the 21st, the symphony was performed in all parts of the world. A succession of premieres in the Far E culminated in October 2002 in Beijing, when Long Yu led the Red china Combo Orchestra in the first operation of the work in the People's Democracy of China.[47] The Sydney Olympic Arts Festival in August 2000 opened with a operation of the Eighth by the Sydney Symphony Orchestra under its chief conductor Edo de Waart.[48] The popularity of the work, and its heroic scale, meant that information technology was ofttimes used as a prepare slice on celebratory occasions; on 15 March 2008, Yoav Talmi led 200 instrumentalists and a choir of 800 in a performance in Quebec City, to mark the 400th anniversary of the city'southward foundation.[49] In London on 16 July 2010 the opening concert of the BBC Proms historic the 150th anniversary of Mahler'due south nascency with a functioning of the Eighth, with Jiří Bělohlávek conducting the BBC Symphony Orchestra.[50] This operation was its eighth in the history of the Proms.[51]

Analysis [edit]

Construction and form [edit]

The Eighth Symphony's 2 parts combine the sacred text of the 9th-century Latin hymn Veni creator spiritus with the secular text from the closing passages from Goethe's 19th-century dramatic poem Faust. Despite the evident disparities inside this juxtaposition, the work as a whole expresses a single idea, that of redemption through the ability of dearest.[52] [53] The option of these ii texts was non arbitrary; Goethe, a poet whom Mahler revered, believed that Veni creator embodied aspects of his own philosophy, and had translated it into German in 1820.[32] One time inspired by the Veni creator idea, Mahler soon saw the Faust poem equally an platonic counterpart to the Latin hymn.[54] The unity between the 2 parts of the symphony is established, musically, past the extent to which they share thematic material. In detail, the offset notes of the Veni creator theme —

East ♭ → B ♭ → A ♭ :

\new Staff \with { \remove "Time_signature_engraver" } \relative c' { \clef treble \key ees \major \override Stem #'transparent = ##t ees4 bes aes' }

— dominate the climaxes to each role;[52] at the symphony's culmination, Goethe'southward glorification of "Eternal Womanhood" is set in the form of a religious chorale.[46] It has been suggested that the Veni creator theme is based on Maos Tzur, a Jewish vocal sung at Hanukkah.[55]

In composing his score, Mahler temporarily abased the more than progressive tonal elements which had appeared in his most contempo works.[52] The symphony's key is, for Mahler, unusually stable; despite frequent diversions into other keys the music always returns to its primal E ♭ major.[46] This is the first of his works in which familiar fingerprints—birdsong, war machine marches, Austrian dances—are near entirely absent-minded.[52] Although the vast choral and orchestral forces employed suggest a work of awe-inspiring sound, according to critic Michael Kennedy "the predominant expression is not of torrents of sound just of the contrasts of subtle tone-colours and the luminous quality of the scoring".[19]

For Part I, well-nigh modern commentators take the sonata-class outline that was discerned by early on analysts.[52] The structure of Role II is more hard to summarise, being an constructing of many genres.[53] Analysts, including Specht, Cooke and Paul Bekker, have identified Adagio, Scherzo and Finale "movements" within the overall scheme of Part II, though others, including La Grange and Donald Mitchell, find little to sustain this partition.[56] The musicologist Ortrun Landmann has suggested that the formal scheme for Part 2, subsequently the orchestral introduction, is a sonata plan without the recapitulation, consisting of exposition, development and conclusion.[57]

Part I: Veni creator spiritus [edit]

A handwritten sheet of music, with the instrumental and choral forces listed on the left, followed by the first five bars of the symphony

Mahler's fair copy manuscript of the offset folio of the 8th Symphony

Mitchell describes Role I as resembling a giant motet, and argues that a key to its understanding is to read it as Mahler's endeavor to emulate the polyphony of Bach'southward cracking motets, specifically Singet dem Herrn ein neues Lied ("Sing to the Lord a new vocal").[53] The symphony begins with a single tonic chord in E ♭ major, sounded on the organ, before the entry of the massed choirs in a fortissimo invocation: "Veni, veni creator spiritus".[northward v]

\relative c'' { \clef treble \key ees \major \numericTimeSignature \time 4/4 \tempo "Allegro impetuoso" \autoBeamOff ees2^\ff bes4 r | \time 3/4 aes'2^\sf g8. f16 | \time 2/4 ees4-> f-> | \time 4/4 bes,8. bes16 bes4 } \addlyrics { Ve -- ni, ve -- ni, cre -- a -- tor spi -- ri -- tus! }

The 3 note "creator" motif is immediately taken up by the trombones and then the trumpets in a marching theme that will exist used as a unifying factor throughout the piece of work.[46] [58]

\relative c { \clef bass \key ees \major \numericTimeSignature \time 4/4 r4 ees->\ff bes-> aes'-> | \time 3/4 g8[ r16 f] ees4 | ees'~ | \time 4/4 ees }

After their first declamatory argument the two choirs engage in a sung dialogue, which ends with a brusk transition to an extended lyrical passage, the plea "Imple superna gratia" ("Fill with divine grace").

\relative c'' { \clef treble \key des \major \numericTimeSignature \time 4/4 aes2^\p bes4 aes8( bes) | c2( bes8[ aes)] des([ ees)] | f4. ees8 des2 } \addlyrics { Im -- ple su -- per -- na gra -- ti -- a, }

Here, what Kennedy calls "the unmistakable presence of twentieth-century Mahler" is felt every bit a solo soprano introduces a meditative theme.[31] She is soon joined by other solo voices every bit the new theme is explored earlier the choirs render exuberantly, in an A ♭ episode in which the soloists compete with the choral masses.[58]

In the next section, "Infirma nostri corporis / virtute firmans perpeti" ("Our weak frames fortify with thine eternal strength"), the tonic fundamental of Due east ♭ major returns with a variation of the opening theme. The section is interrupted by a curt orchestral interlude in which the depression bells are sounded, adding a sombre affect to the music.[58] This new, less secure mood is carried through when "Infirma nostri corporis" resumes, this time without the choruses, in a subdued D small-scale repeat of the initial invocation.[46]

\relative c' { \clef treble \key d \minor \numericTimeSignature \time 4/4 \partial 4*1 a4^\p | f'2-> d4 r | f2-> d4 r | \autoBeamOff a'^\pp g8. f16 e4 f | bes,8-. r16 bes-. bes4-. } \addlyrics { In -- fir -- ma no -- stri, in -- fir -- ma no -- stri cor -- po -- ris, }

At the stop of this episode some other transition precedes the "unforgettable surge in E major",[58] in which the entire trunk of choral forces declaims "Accende lumen sensibus" ("Illuminate our senses").

\relative c'' { \clef treble \key e \major \numericTimeSignature \time 4/4 \partial 4*1 \times 2/3 { r8 r8 ais^\ff-> } \breathe \bar "||" e'2-> b-> | r4 b cis dis | gis2. fis4 | \autoBeamOff e8. cis16 b4 } \addlyrics { Ac -- cen -- de, ac -- cen -- de lu -- men sen -- si -- bus, }

The kickoff children's chorus follows, in a joyful mood, as the music gathers force and pace. This is a passage of great complexity, in the form of a double fugue involving development of many of the preceding themes, with constant changes to the key signature.[46] [58] All forces combine again in the recapitulation of the Veni creator section in shortened course. A quieter passage of recapitulation leads to an orchestral coda before the children's chorus announces the doxology Gloria sit down Patri Domino ("Glory be to God the Father").

\relative c'' { \clef treble \key des \major \numericTimeSignature \time 4/4 des2^\ff f,4 f' | des2 f,4 f' | ees des bes ges' | c,1 } \addlyrics { Glo -- ri -- a, glo -- ri -- a Pa -- tri Do -- mi -- no. }

Thereafter the music moves swiftly and powerfully to its climax, in which an offstage brass ensemble bursts forth with the "Accende" theme while the master orchestra and choruses stop on a triumphant rising calibration.[46] [58]

Function II: Closing scene from Goethe's Faust [edit]

A handwritten sheet of music showing the orchestral score for 13 bars from the symphony

Mahler's manuscript score for the Chorus Mysticus, which provides the triumphant decision to the Eighth Symphony

The 2nd part of the symphony follows the narrative of the final stages in Goethe'southward poem—the journey of Faust's soul, rescued from the clutches of Mephistopheles, on to its final ascent into heaven. Landmann'southward proposed sonata structure for the move is based on a sectionalisation, afterwards an orchestral prelude, into 5 sections which he identifies musically every bit an exposition, 3 development episodes, and a finale.[59]

The long orchestral prelude (166 bars) is in East ♭ modest and, in the manner of an operatic overture, anticipates several of the themes which volition be heard later in the movement. The exposition begins in near-silence; the scene depicted is that of a rocky, wooded mountainside, the dwelling identify of anchorites whose utterances are heard in an atmospheric chorus complete with whispers and echoes.[31] [46]

\relative c' { \clef bass \key ees \major \time 2/2 g2^"Pater ecstaticus" g4 g | g4. aes8 g2 | r4 f~ \times 2/3 { f g aes } | c4. bes8 bes2 } \addlyrics { E -- wi -- ger Won -- ne -- brand, glü -- hen -- des Lie -- bes band, }

A solemn baritone solo, the vocalization of Pater Ecstaticus, ends warmly as the fundamental changes to the major when the trumpets sound the "Accende" theme from Part I. This is followed past a demanding and dramatic aria for bass, the voice of Pater Profundus, who ends his tortured meditation by asking for God's mercy on his thoughts and for enlightenment. The repeated chords in this section are reminiscent of Richard Wagner's Parsifal.[60] The mood lightens with the entry of the angels and blessed boys (women'due south and children'south choruses) begetting the soul of Faust; the music here is peradventure a relic of the "Christmas Games" scherzo envisioned in the abortive iv-movement draft plan.[31]

\relative c'' { \clef treble \key thou \major \time 2/2 <g ees>2\p\< <aes f>\! \bar "||" \cardinal ees \major <bes g>1\p\> | <g ees>ii\! r | <bes g> <c aes> | <d bes>2.( <ees c>iv) | <d bes>2 } \addlyrics { Je -- ne Ro -- sen, aus den Hän -- den }

The temper is festive, with triumphant shouts of "Jauchzet auf!" ("Rejoice!") earlier the exposition ends in a postlude which refers to the "Infirma nostri corporis" music from Office I.[lx]

The offset phase of development begins equally a women'south chorus of the younger angels invoke a "happy company of blessed children"[northward 6] who must acquit Faust's soul heavenwards. The blessed boys receive the soul gladly; their voices are joined by Doctor Marianus (tenor), who accompanies their chorus before breaking into a rapturous E major paean to the Mater Gloriosa, "Queen and ruler of the world!". As the aria ends, the male voices in the chorus echo the soloist'southward words to an orchestral background of viola tremolos, in a passage described by La Grange as "emotionally irresistible".[60]

In the second function of the development, the entry of the Mater Gloriosa is signalled in E major by a sustained harmonium chord, with harp arpeggios played over a pianissimo violin melody which La Grange labels the "love" theme.[60]

\relative c'' { \clef treble \key e \major \time 2/2 b2(\pp gis') | fis( e) | r4 dis( fis) e | cis2( b) | r4 fis'( a) gis | cis,1 \bar "" }

Thereafter the key changes ofttimes equally a chorus of penitent women petition the Mater for a hearing; this is followed by the solo entreaties of Magna Peccatrix, Mulier Samaritana and Maria Aegyptiaca. In these arias the "love" theme is further explored, and the "scherzo" theme associated with the kickoff appearance of the angels returns. These ii motifs predominate in the trio which follows, a request to the Mater on behalf of a 4th penitent, Faust'south lover once known as Gretchen, who has come up to make her plea for the soul of Faust.[sixty] Afterwards Gretchen'southward entreaty, a solo of "limpid beauty" in Kennedy'southward words, an atmosphere of hushed reverence descends.[31] The Mater Gloriosa then sings her just two lines, in the symphony's opening fundamental of Due east ♭ major, permitting Gretchen to lead the soul of Faust into heaven.[60]

The last development episode is a hymnlike tenor solo and chorus, in which Doctor Marianus calls on the penitents to "Gaze aloft".

\relative c'' { \time 2/2 \clef treble \key ees \major g->\p r8 aes bes2 } \addlyrics { Blik -- ket auf, }

A short orchestral passage follows, scored for an eccentric chamber grouping consisting of piccolo, flute, clarinet, harmonium, celesta, pianoforte, harps and a string quartet.[53] This acts as a transition to the finale, the Chorus Mysticus, which begins in East ♭ major nearly imperceptibly—Mahler's notation hither is Wie ein Hauch, "like a jiff".[60]

{ \new PianoStaff << \new Staff \relative c'' { \key ees \major \clef treble \numericTimeSignature \fourth dimension four/4 <g ees>2\ppp <g ees>4 <g ees>iv | <g f>four. <aes f>8 <g f> } \new Staff \relative c' { \clef bass \key ees \major \numericTimeSignature \time iv/4 <bes ees, bes ees,>2 <bes ees, bes ees,>4 <bes ees, bes ees,> | <bes des, des,>4. <bes des, des,>viii <bes des, des,>4 } \addlyrics { Al -- les Ver -- gäng -- li -- che } >> }

The audio rises in a gradual crescendo, as the solo voices alternately join or dissimilarity with the chorus. As the climax approaches, many themes are reprised: the love theme, Gretchen'due south song, the "Accende" from Part I. Finally, every bit the chorus concludes with "The eternal feminine draws the states on high", the off-stage brass re-enters with a final salute on the Veni creator motif, to terminate the symphony with a triumphant flourish.[31] [60]

Instrumentation [edit]

Orchestra [edit]

A performance of Mahler'due south 8th in Vienna in 2009 illustrates the scale of the instrumental and song forces employed.

The symphony is scored for a very large orchestra, in keeping with Mahler's conception of the piece of work as a "new symphonic universe", a synthesis of symphony, cantata, oratorio, motet, and lied in a combination of styles. La Grange comments: "To give expression to his catholic vision, it was ... necessary to go across all previously known limits and dimensions."[xv] The orchestral forces required are, however, non as large every bit those deployed in Arnold Schoenberg's oratorio Gurre-Lieder, completed in 1911.[61] The orchestra consists of:

Mahler recommended that in very large halls, the first thespian in each of the woodwind sections should be doubled and that numbers in the strings should as well be augmented. In addition, the piccolos, harps and mandolin, and the first offstage trumpet, should have 'several to the part' ['mehrfach besetzt'][61] [29]

Choral and vocal forces [edit]

3 soprano solos
2 alto solos
tenor solo
baritone solo
bass solo
2 SATB choirs
children's choir

In Part 2 the soloists are assigned to dramatic roles represented in Goethe's text, as illustrated in the following table.[62]

Voice blazon Office Premiere soloists, 12 September 1910[23]
First soprano Magna Peccatrix (a sinful woman) Gertrude Förstel (Vienna Opera)
2nd soprano Una poenitentium (a penitent formerly known as Gretchen) Martha Winternitz-Dorda (Hamburg Opera)
Third soprano Mater Gloriosa (the Virgin Mary) Emma Bellwidt (Frankfurt)
First alto Mulier Samaritana (a Samaritan woman) Ottilie Metzger (Hamburg Opera)
2d alto Maria Aegyptiaca (Mary of Egypt) Anna Erler-Schnaudt (Munich)
Tenor Doctor Marianus Felix Senius (Berlin)
Baritone Pater Ecstaticus Nicola Geisse-Winkel (Wiesbaden Opera)
Bass Pater Profundus Richard Mayr (Vienna Opera)

La Grange draws attention to the notably high tessitura for the sopranos, for soloists and for choral singers. He characterises the alto solos equally brief and unremarkable; notwithstanding, the tenor solo role in Part II is both all-encompassing and enervating, requiring on several occasions to be heard over the choruses. The wide melodic leaps in the Pater Profundus role present particular challenges to the bass soloist.[61]

Publication [edit]

Just one autograph score of Symphony No. viii is known to exist. Once the property of Alma Mahler, it is held past the Bayerische Staatsbibliothek in Munich.[52] In 1906 Mahler signed a contract with the Viennese publishing firm Universal Edition (UE), which thus became the chief publisher of all his works.[63] The full orchestral score of the Eighth Symphony was published by UE in 1912.[64] A Russian version, published in Moscow by Izdatel'stvo Muzyka in 1976, was republished in the United states of america by Dover Publications in 1989, with an English text and notes.[65] The International Gustav Mahler Club, founded in 1955, has as its main objective the production of a consummate critical edition of all of Mahler's works. As of 2016 its critical edition of the 8th remains a projection for the future.[66]

Recordings [edit]

Sir Adrian Boult's 1948 broadcast performance with the BBC Symphony Orchestra was recorded by the BBC, simply not issued until 2009 when it was made available in MP3 form.[33] The first commercially issued recording of the complete symphony was performed by the Rotterdam Philharmonic Orchestra conducted by Eduard Flipse. It was recorded live by Philips at the 1954 The netherlands Festival.[67] [68] In 1962, the New York Philharmonic conducted by Leonard Bernstein made the outset stereo recording of Part I for Columbia Records. This was followed in 1964 by the commencement stereo recording of the complete symphony, performed by the Utah Symphony conducted by Maurice Abravanel.[68]

Since the symphony was first recorded, at to the lowest degree 70 recordings take been made past many of the world'due south leading orchestras and singers, mostly during alive performances.[43]

Notes and references [edit]

Notes [edit]

  1. ^ Mahler had joined the Hofoper every bit a staff usher in April 1897, and had succeeded Wilhelm Jahn equally director in October of that year.[3]
  2. ^ Mitchell adds a caveat to this recollection: equally far equally he had carried the composition of the hymn at the fourth dimension when the text arrived. Given the calibration of the movement and its complexity, the suggestion that it was equanimous in its entirety in advance of the words is, in Mitchell's view, impossible to accept.[18]
  3. ^ It is not in fact certain that more 1,000 performers participated in the Munich premiere. La Grange enumerates a chorus of 850 (including 350 children), 157 instrumentalists and the 8 soloists, to give a total of 1,015. However, Jonathan Carr suggests that there is evidence that not all the Viennese choristers reached the hall and the number of performers may therefore not have reached ane,000.[i]
  4. ^ The symphony's publishers, Universal Editions, give the elapsing as xc minutes,[29] equally does Mahler's biographer Kurt Blaukopf.[30] Critic Michael Kennedy, still, estimates "roughly seventy-seven minutes".[31] A typical modernistic recording, the 1995 Deutsche Grammophon version nether Claudio Abbado, plays for 81 minutes twenty seconds.[32]
  5. ^ English quotations from the Veni creator  text are taken from the translation in Cooke, pp. 94–95
  6. ^ Quotations from the Faust  text are based on the translation past David Luke, published in 1994 by Oxford University Press and used in La Grange, pp. 896–904.

References [edit]

  1. ^ a b c d eastward Carr, pp. 206–207
  2. ^ See primarily Mahler's manuscript (Munich, Baayerische Staatsbibliothek, Mus. ms. 13719, OCLC 756354535), pp. 5 and 79 (of the digital object – the author uses the spelling "Theil") and the first edition (Wien, 1911), pp. iii and 75; too, the programme for the American premiere showed below, §§§1.3.two Subsequent performances, which lists "Part I" and "Part Ii".
  3. ^ Carr, p. 86
  4. ^ Blaukopf, p. 137
  5. ^ Blaukopf, pp. 158, 165, 203
  6. ^ Franklin, Peter (2007). "Mahler, Gustav". In Macy, Laura (ed.). Oxford Music Online . Retrieved 21 Feb 2010. (four. Prague 1885–86 and Leipzig 1886–88)
  7. ^ a b Cooke, p. 71
  8. ^ Mitchell, Vol. II p. 32
  9. ^ a b La Grange (2000), pp. 426–427
  10. ^ A. Mahler, p. 102
  11. ^ A. Mahler, p. 328
  12. ^ a b c La Grange (2000), p. 889
  13. ^ Kennedy, p. 77
  14. ^ a b Mitchell, Vol. III p. 519
  15. ^ a b La Grange (2000), p. 890
  16. ^ Kennedy, p. 149
  17. ^ La Grange (2000), pp. 432–447
  18. ^ a b Mitchell, Vol. Three pp. 523–525
  19. ^ a b Kennedy, p. 151
  20. ^ La Grange (2000), p. 926
  21. ^ a b c Blaukopf, pp. 229–232
  22. ^ Heyworth, p. 48
  23. ^ a b c d "Gustav Mahler: 8th Symphony: Office One". British Broadcasting Corporation (BBC). Retrieved 6 May 2016.
  24. ^ a b Gibbs, Christopher H. (2010). "Mahler Symphony No. 8, "Symphony of a Chiliad"". Carnegie Hall. Archived from the original on 23 March 2016. Retrieved 6 May 2016.
  25. ^ a b Chasins, Abram (xviii April 1982). "Stokowski's Legend – Mickey Mouse to Mahler". The New York Times . Retrieved 9 May 2010.
  26. ^ "A New Choral Symphony". The Guardian. London. 15 September 1910. p. seven. Retrieved 21 May 2020 – via Newspapers.com.
  27. ^ A. Mahler, p. 342
  28. ^ La Grange (2000), pp. 913 and 918
  29. ^ a b "Gustav Mahler viii Symphonie". Universal Edition. Retrieved 16 May 2010.
  30. ^ Blaukopf, p. 211
  31. ^ a b c d east f Kennedy, pp. 152–153
  32. ^ a b Mitchell: "The Creating of the Eighth" p. eleven
  33. ^ a b c d Anderson, Colin (2009). "Sir Adrian Boult: Mahler's Symphony No. 8" (PDF). Music Preserved. Archived from the original (PDF) on 3 June 2016. Retrieved eight May 2010.
  34. ^ Carr, p. 222
  35. ^ "Gustav Mahler: Works". Gustav Mahler 2010. 2010. Archived from the original on 21 March 2008. Retrieved 9 May 2010.
  36. ^ "Story of a Musical Masterpiece and of its Distinguished Author". The Philadelphia Inquirer. 20 February 1916. p. 30. Retrieved 21 May 2020 – via Newspapers.com.
  37. ^ "First American Production of Mahler'due south Eighth Symphony". The Philadelphia Inquirer. 3 March 1916. p. 10. Retrieved 21 May 2020 – via Newspapers.com.
  38. ^ "To Requite Mahler's Choral Symphony". The New York Times. thirty January 1916. p. 25. Retrieved 21 May 2020 – via Newspapers.com.
  39. ^ Blaukopf, p. 241
  40. ^ a b Langford, Samuel (one July 1920). "The Mahler Festival in Amsterdam". The Musical Times. 61 (929): 448–450. doi:ten.2307/908774. JSTOR 908774. (subscription required)
  41. ^ Painter, p. 358
  42. ^ Kennedy, Michael (xiii January 2010). "Mahler's mass post-obit". The Spectator. London. Retrieved 26 March 2010.
  43. ^ a b "Symphonie No 8 en Mi bémol majeur: Chronologie; Discographie: Commentaires". gustavmahler.net. Retrieved 24 April 2010.
  44. ^ a b c Carr, p. 186
  45. ^ La Grange (2000), p. 928
  46. ^ a b c d e f chiliad h Cooke, pp. 93–95
  47. ^ "Long Yu, Artistic Managing director and Chief Conductor". The Chinese Diplomatic mission, Poland. 2004. Retrieved 9 May 2010.
  48. ^ "Olympic Arts Festival: Mahler'south 8th Symphony". Australian Broadcasting Corporation. 2007. Retrieved 9 May 2010.
  49. ^ "The Symphony of a Thousand in Québec City". Quebec Symphony Orchestra (press release). 15 March 2008. Archived from the original on 2016-06-ten. Retrieved 6 May 2016.
  50. ^ "Proms 2010: What's on/Proms by calendar week". Proms 2010. British Broadcasting Corporation (BBC). Archived from the original on 24 July 2010. Retrieved 11 August 2010.
  51. ^ "Performances of Symphony No. 8 in East-flat major Symphony of a Thousand". Proms Archive. British Broadcasting Corporation (BBC). Retrieved one March 2015.
  52. ^ a b c d e f La Grange (2000), pp. 905–907
  53. ^ a b c d Mitchell (1980), pp. 523–524
  54. ^ La Grange (2000), p. 891
  55. ^ Pickett, David (14 December 2015). "Channukah in Summer? (a note on Mahler's Eighth Symphony)". wordpress.com.
  56. ^ La Grange (2000), p. 911
  57. ^ La Grange (2000), pp. 919–921
  58. ^ a b c d e f La Grange (2000), pp. 915–918
  59. ^ La Grange (2000), p. 896 and p. 912
  60. ^ a b c d e f g h La Grange (2000), pp. 922–925
  61. ^ a b c La Grange (2000), p. 910
  62. ^ Mitchell, Vol. III pp. 552–567
  63. ^ La Grange (2000), pp. 501–502
  64. ^ Mitchell, Vol. 3 p. 592
  65. ^ Mahler, Gustav (1989). Symphony No. eight in full score. Mineola, New York: Dover Publications Inc. ISBN978-0-486-26022-viii.
  66. ^ "The Consummate Critical Edition – Future Plans". The International Gustav Mahler Guild. Retrieved sixteen May 2010.
  67. ^ Duggan, Tony. "The Mahler Symphonies: A Synoptic Survey past Tony Duggan — Symphony No. 8". MusicWeb International . Retrieved 29 December 2021. The earliest commercial recording by and large available came from a performance at Ahoy Hall in Rotterdam for the Holland Festival of 1955. Information technology was conducted by a Mahler pioneer, Eduard Flipse, who came from the Dutch Mahler tradition. This recording was much beloved of a previous generation of Mahlerites (not least for the unforgettable sound of the boys choruses—like a parliament of street urchins straight out of Fagin'southward kitchen) since it was, for some fourth dimension, the only recording y'all could go and nevertheless has much to tell u.s.a..
  68. ^ a b "DISKS: VAST 8th Mahler's 'Symphony of a Thousand' Is At Last Recorded Stereophonically". New York Times. iii May 1964. Retrieved 29 Dec 2021.

Sources [edit]

  • Anderson, Colin (2009). "Sir Adrian Boult: Mahler'south Symphony No. eight" (PDF). Music Preserved. Archived from the original (PDF) on 3 June 2016. Retrieved eight May 2010.
  • Blaukopf, Kurt (1974). Gustav Mahler. Harmondsworth, UK: Futura Publications. ISBN978-0-86007-034-4.
  • Carr, Jonathan (1998). Mahler: A Biography . Woodstock, New York: The Overlook Press. ISBN978-0-87951-802-viii.
  • Cooke, Deryck (1980). Gustav Mahler: An Introduction to his Music. London: Faber Music. ISBN978-0-571-10087-3.
  • Franklin, Peter. "Mahler, Gustav". In Macy, Laura (ed.). Oxford Music Online . Retrieved 18 March 2010. (subscription required)
  • Gibbs, Christopher H. (2010). "Mahler Symphony No. 8, "Symphony of a 1000"". Carnegie Hall. Archived from the original on 23 March 2016. Retrieved 6 May 2016.
  • "Gustav Mahler 8 Symphonie". Universal Edition. Retrieved 16 May 2010.
  • "Gustav Mahler: Eighth Symphony: Role One". British Broadcasting Corporation (BBC). Retrieved 6 May 2016.
  • "Gustav Mahler: Works". Gustav Mahler 2010. Archived from the original on 21 March 2008. Retrieved nine May 2010.
  • Heyworth, Peter (1994). Otto Klemperer, His Life and Times, Volume one 1885–1933. Cambridge, UK: Cambridge University Press. ISBN978-0-521-24293-6.
  • Hoechst, Coit Roscoe (1916). Faust in Music. Pittsburgh: University of Pittsburgh.
  • Kennedy, Michael (1990). Mahler. Oxford, UK: Oxford University Press. ISBN978-0-460-12598-7.
  • La Grange, Henry-Louis (2000). Gustav Mahler Volume 3: Vienna: Triumph and Disillusion (1904–1907). Oxford, United kingdom of great britain and northern ireland: Oxford University Press. ISBN978-0-19-315160-iv.
  • Langford, Samuel (1 July 1920). "The Mahler Festival in Amsterdam". The Musical Times. 61 (929): 448–450. doi:ten.2307/908774. JSTOR 908774. (subscription required)
  • "Long Yu, Artistic Manager and Principal Usher". The Chinese Embassy, Poland. 2004. Retrieved 9 May 2010.
  • Mahler, Alma (1968). Gustav Mahler: Memories and letters. London: John Murray.
  • Mitchell, Donald (1975). Gustav Mahler Volume Two: The Wunderhorn Years: Chronicles and Commentaries. London: Faber and Faber. ISBN978-0-571-10674-five.
  • Mitchell, Donald (1985). Gustav Mahler Volume Iii: Songs and Symphonies of Life and Expiry: Interpretations and Annotations. London: Faber and Faber. ISBN978-0-571-13634-6.
  • Mitchell, Donald (1980). Sadie, Stanley (ed.). New Grove Dictionary of Music and Musicians Book xi. London: Macmillan. pp. 505–529. ISBN978-0-333-23111-ane.
  • Mitchell, Donald (1995). The Creating of the 8th (in booklet accompanying DGG recording 445 843-ii). Hamburg: Deutsche Grammophon.
  • Seckerson, Edward (Apr 2005). "Mahler: Symphony No. viii". Gramophone. London. p. 93. Retrieved 3 May 2010.
  • Painter, Karen, ed. (2002). Mahler and His Globe. Princeton, New Jersey: Princeton University Press. ISBN978-0-691-09244-7.
  • "Symphonie No eight en Mi bémol majeur: Chronologie; Discographie: Commentaires" (in French). gustavmahler.net. Retrieved 24 April 2010.
  • Wildhagen, Christian (2000). Die Achte Symphonie von Gustav Mahler. Konzeption einer universalen Symphonik. Frankfurt am Chief, Berlin, Bern, Bruxelles, New York, Oxford, Wien: Lang. ISBN978-3-631-35606-seven.

External links [edit]

  • Symphony No. 8 (Mahler, Gustav): Scores at the International Music Score Library Projection
  • German and Latin texts, with English translation, taken from the Naxos 85505533-34 recording cond. Antoni Wit

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