Alexander Street Press is offering a recording of Mahler’s Symphony No. 1 as free, legal mp3 downloads this week only. The performance is by Orchestre National de Lille under the direction of Jean-Claude Casadesus and is usually a $9.99 album on iTunes, so grab the free version while you can. Muruch wrote about the WVSO performance of the work two years ago.
This NPR recording from All Things Considered, in which the Winterreise song cycle is discussed, is a work of art in itself.
WGBH offers free Classical performance downloads. Composers recently featured include Brahms, Franck, Bach and Debussy.
My Mahler obsession has been reignited. The adagietto from his 5th Symphony is perhaps my favorite piece of music. There is a sumptuous version of it available from Brevard Music Center, conducted by NC Symphony’s Grant Llewellyn:
West Virginia Symphony Orchestra’s “Mahler 1: Titan” concerts were held at The Clay Center’s Maier Foundation Performance Hall this past weekend.
Italian pianist Domenico Codispoti joined Maestro Grant Cooper and his orchestra for a performance of Mozart’s “Piano Concerto No. 20 in D minor” and Mahler’s “Symphony No. 1 in D major.”
During the pre-performance “Preludes” discussion Saturday night, Maestro Cooper and guest pianist, Domenico Codispoti, discussed training for Mozart’s concerto. I appreciated Codispoti’s remark that people still “need to hear Mahler and Mozart.”
Maestro Cooper also explained the technical aspects of tailoring a piano’s tuning to the soloist, the orchestra and the work being performed. Codispoti spoke of the progressive intimacy between a pianist and his piano as well as the role a technician plays in that particular relationship.
Codispoti exited the stage when Cooper began to talk of Mahler. 2011 marks the 100th anniversary of Mahler’s death, leading to this tribute by the WV Symphony. Cooper shared portions of Mahler’s biography with the sparse “Preludes” audience, particularly the prejudice the composer faced and how he combined the earthiness of traditional Jewish music with the elegance of classic Viennese music. One fact that was new to me was what Cooper described as Mahler’s railing against “the star system” – a common practice at the time of using popular singers rather than those whose voices were best suited to the material.
Cooper’s affection and admiration for Mahler’s music mirror my own, yet heightened by his own knowledge as a conductor and composer. He expertly compared the success of a piece of music to that of any great work of art or entertainment – to be truly captivating requires both depth and character. He ended with an architectural metaphor to explain the struggle a conductor and orchestra face in interpreting a composer’s structural outline.
I wish I could have recorded Maestro Cooper’s words to share here, as they were quiet poetic as well as informative. I encourage WV Symphony attendees who have not been arriving early enough for the “Preludes” discussion to do so in the future, it is the appetizer to an evening of fine dining.
Guest pianist Domenico Codispoti joined the symphony for Wolfgang Amadeus Mozart’s “Piano Concerto No. 20 in D minor, K. 466,” the first performance of the evening. Like Beethoven, Mozart really needs no introduction. The composer himself took on the role of soloist when this concerto premiered in Vienna in 1785.
Unfortunately, I am unable to comment on the WV Symphony’s performance of the piece as I was seated next to a very noisy and flailing child. Try as I might, it was impossible to concentrate on the orchestra amidst such chaos. While I appreciate any parent introducing their offspring to classical music, it was a sadly jarring distraction for everyone seated quietly around them.
I can say from my pre-concert research Mozart’s three-movement concerto begins with a dark, syncopated rhythm championed by the string section before the piano eventually joins the orchestra. The second movement has an almost song-like melody with G minor operatic embellishments. And the finale begins with what is known as a Mannheim Rocket – a rapidly ascending arpeggio that begins with the piano then spreads to the rest of the orchestra. The drama mood of the piece rises into a jubilant lightness for the conclusion.
Judging from the crowd’s standing ovation, Codispoti and the WV Symphony did not disappoint.
The second half of the evening was devoted to Austrian composer-conductor Gustav Mahler’s “Symphony No. 1 in D major: Titan.”
Thankfully, a gentleman and his wife a few rows infront of me got up to leave during the intermission and they graciously allowed us to take their seats for the Mahler performance when I explained my child-related predicament. I’m so grateful for the kindness of those strangers, as it was an astounding performance.
Mahler is one of my favorite composers (surpassed only by Chopin) and his first symphony competes with his eighth “Symphony of a Thousand” (I’d love to hear the WVSO tackle that one!) as my favorite of his works. To say I was thrilled to hear the WV Symphony perform the Titan symphony would be a massive understatement.
Like many of Mahler’s other works, the four-movement “Symphony No. 1 in D major: Titan” explores themes of nature, youth, love and death. The title “Titan” comes from Mahler’s original concept of a tone poem based on Jean Paul’s novel and the symphony includes themes from Mahler’s own “Songs of a Wayfarer.”
A contemporary of Brahms and Bruckner, Mahler’s extraordinary compositions are full of subtle intricacies as well as cinematic grandeur. More than any other composer, I think Mahler utilized, emphasized and glorified every instrument in the orchestra. His use of woodwinds and horns is always captivating, particularly in the first movement of this work as the trumpets imitate the sound of a cuckoo.
Mahler’s gradual introduction of each section of the orchestra at the opening of the first movement has the effect of a just dawning sunrise – beginning with the subtle shadows and silhouettes of the horns, then a few random rays of light from the strings before the entire horizon of the stage is filled with the warm, golden tones of the radiant symphony.
The final portions of both the first and second movements were so exhilarating bombastic, I saw several audience members visibly restrain themselves from breaking the unspoken no-applause-between-movements rule.
Maestro Cooper took a long, dramatic pause before beginning the magnificent third movement, which begins with a contrabass-led transformation of “Frère Jacques” as a hunter’s funeral march.
The movement then blossoms into what sounds like a Jewish folk song mixed with a waltz – a superb example of Mahler embracing his Jewish heritage while simultaneously paying homage to the classical composers he revered.
The third movement melts away as the fourth erupts with an unexpected, heart-pounding cymbal crash. The final movement beautifully expands on the themes of the preceding movements before its triumphant end.
The WV Symphony’s breathtaking performance revealed nuances in Mahler’s work that I hadn’t picked up from recordings before. The entire orchestra is to be commended, but I must give extra praise to the trumpeters and other horn players for really bringing Mahler’s complex arrangement to vivid life. The WV Symphony’s rendition of Mahler’s “Titan” was the most exciting, chill-producing live performance of my life.
“When I compose a symphony, I compose the world.” – Gustav Mahler
Cameras and recording devices were prohibited, so I have no audio or photographs from this performance to share. But WVSO’s site had a link to this YouTube video…
West Virginia Symphony Orchestra’s “Song of the Earth” concerts were held at The Clay Center’s Maier Foundation Performance Hall this past weekend.
Mezzo-soprano Nancy Maultsby and tenor John MacMaster joined Maestro Grant Cooper and his orchestra for a performance of Gustav Mahler’s “Das Lied von der Erde (The Song of the Earth).”
Austrian composer-conductor Gustav Mahler is my third favorite composer (just after Chopin and Beethoven), so I was very excited to hear the WV Symphony tackle another of his substantial works. A contemporary of Brahms and Bruckner, Mahler was as famous for his arrogance as he was for his brilliance. His compositions possess a complexity and grandeur to rival Wagner.
“Das Lied von der Erde (The Song of the Earth)” was composed for two vocal soloists and an orchestra. The sixty-five minute, six-movement symphony is comprised of six independent songs. Mahler’s work contains several Chinese motifs, with lyrics both inspired by and culled directly from Hans Bethge’s German translation of ancient Chinese poetry.
During the pre-performance “Preludes” discussion with orchestra member Tom Beal, Maestro Cooper encouraged the audience to reflect on what meaning this ancient Chinese poetry – first translated into German and then expounded upon for Mahler’s composition – holds for the 21st century.
An obvious Mahler enthusiast, Cooper called the discovery of Mahler’s music a life-changing event for himself. He shared his passion for this particular piece, his knowledge of the composer’s life and his pleasure at the resurgence in popularity Mahler’s music has enjoyed in recent decades after having been banned by the Nazi regime.
According to Maestro Cooper, Mahler called “Das Lied von der Erde” his most personal work and the poetic scenes of the original Chinese text are clearly painted by Mahler through his music. Cooper also extolled the virtues and multi-layered nature of opera (though “Das Lied von der Erde” is technically a symphony), particularly how the orchestra can reveal a singer’s true thoughts and emotions when they are singing something entirely different.
Rather than opening with another work as usual, Maestro Cooper and his orchestra instead spent the first hour of the performance dissecting Mahler’s “Das Lied von der Erde.” While I understood Cooper’s desire to educate the audience in hopes of enhancing their listening experience and greatly appreciated his insights, I felt the musical “spoilers” performed by the symphony during the lecture diminished the power of the work when they finally performed it in its entirety. I think it would have been more effective to have incorporated that segment into the “Preludes” discussion or scheduled it for the second half of the evening. That small complaint aside, however, the actual performance of “Das Lied von der Erde” was lovely.
The first movement, “Das Trinklied vom Jammer der Erde (The Drinking Song of Earth’s Misery),” masks a lament of human mortality beneath the ignorant bliss of inebriation.
The earth will stand firm for ages – and forever bloom in sping. But you, Mankind, how long will you live then?
The second movement, “Der Einsame im Herbst (The lonely one in Autumn),” is a softer, gentler dirge. The slow death of nature’s beauty as winter approaches mimics the weariness and loneliness of age.
The autumn in my heart has lasted too long
The third movement, “Von der Jugend (Of Youth),” seems to yearn for the careless mirth of youth, but is really a metaphor for the trivial phases of life that can never be recovered.
Friends, beautifully dressed, are drinking and chatting
The fourth movement, “Von der Schönheit (Of Beauty),” sings of the fleeting passions and beauty of youth. Cooper pointed out that Mahler altered the description of the horses in this verse to refer to the trampling effects of life.
The agitation of her heart leaps after him, lamenting
The fifth movement, “Der Trunkene im Frühling (The drunken man in Spring),” contrasts the self-absorption of a drunkard with the renewal of Spring.
What does Spring mean to me? The chance to be drunk!
The finale, “Der Abschied (The Farewell),” is a wistful rumination on life’s passing into death as the day passes into night.
Quiet is my heart, even while waiting for its final hour!
What I enjoy most about the piece is the juxtaposition of voice and instrumentation in Mahler’s arrangement. Rather than focusing heavily on vocals – which can be a composition’s downfall in the wrong hands (or voice) – the singers must compete here with the dynamic energy of the orchestra.
Tenor John MacMaster was especially capable of such a contest. His powerful voice initially engaged in a lilting dance with the orchestra before exploding into the musical equivalent of two thunder clouds colliding.
Mezzo-soprano Nancy Maultsby was also quite good, though she at times lacked the projection necessary to truly dazzle. Granted, it would be difficult for any singer to surpass Audrey Babcock’s performance of Mahler with the WV Symphony in 2009.
Throughout the performance, the WV Symphony played as beautifully as always. The orchestra skillfully and gorgeously portrayed the subtle, emotive nuances of Mahler’s arrangement – from blithe frivolity and radiant jubilance to simmering melancholy and delicate resignation.
Cameras and recording devices were prohibited, so I have no audio or photographs from this performance to share.