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Mahler's Fifth Symphony in the OSC's Digital Concert Hall

Stay at home! We are all activated by health due to COVID_19. That is why the Cuenca Symphony Orchestra consistent with the world situation continues with the desire to share its concerts in its Digital Room. The second installment will take place this Wednesday, March 25 at 8 PM through your YouTube channel and on the Facebook platform https://www.facebook.com/sinfonicacuenca/

Notes to the program:

Gustav Mahler's Fifth Symphony in C sharp was composed during the summers of 1901 (first and third movements) and 1902 (the other three) and premiered in Cologne under Mahler's direction on October 18, 1904. Subsequently, and until 1909, the symphony was revised several times in its orchestration.
Gustav Mahler only dedicated the summer months to composition due to his responsibilities as director of the Vienna Opera. It was precisely in the period between 1901-1902 when Mahler met his wife: Alma Schindler. The couple married on March 9, 1902 and at the end of the summer of that year Mahler "premiered" the symphony playing it on the piano for Alma.

This is the first Mahler's symphony that was not directly or indirectly involved with the human voice (the second, third, and fourth use voice / voices and the first shares material with two lieders from the Songs of a Walker series), a singularity that made the Previously established routines with the previous four were totally inappropriate for this symphony, which is why Mahler was never completely satisfied with the orchestration that he reviewed over and over again until his death.

In a letter to his wife, Mahler said: "The Scherzo is a devilish movement that is going to have big problems. The directors will take it too quickly and do silly things with it (...) And the public, who will understand, What are they going to say about this original music, about this sea of ​​sparkling breakers that foam, roar, and rage ... This music is not from this time. "Oh, if I could give the premiere of this symphony 50 years after my death! ”

The Fifth Symphony was Mahler's first attempt at purely musical expression, without the programmatic mediation of a previous text that philosophized about love or death. It is an abstract symphony and, at the same time, more concise than the previous ones. It is also more contrapuntal than those. Here, in the Fifth, the melodic lines are more important than the chords, and the impulse of the rhythm reveals a Mahler who begins to explore the simultaneous combination of independent ideas. All this justifies his need to make an orchestration with transparent textures that preserve clarity despite the large size of the orchestra.

Mahler's Fifth Symphony is divided into three parts; the initial Funeral March and the following Allegro form the first part, the extensive Scherzo the second and the Adagietto with the Finale the third. However, due to the large dimensions of each movement, the division into five contrasting movements is rather perceived. Because each move has a different key (C sharp minor, A minor, D Major, F Major, D Major), Mahler declined any indication.

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