Virtual Concert No3: Gustav Mahler, Symphony No. 2 'Resurrection'

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Virtual Concert No3: Gustav Mahler, Symphony No.2 “Resurrection” The Symphony No. 2 by Gustav Mahler, known as the Resurrection Symphony was Mahler's most popular and successful work during his lifetime. It described his lifelong view of the beauty of afterlife and resurrection. Compared with his First Symphony, the composer further developed the afterlife. The symphony is written for an orchestra, a mixed choir, soprano, contralto, organ, and an offstage ensemble of brass and percussion. The use of two tam-tams, one pitched high and one low, is particularly unusual; the end of the last movement features them struck in alternation repeatedly. The first movement started from 00:36 and ended at about 24:50. The movement's formal structure is…show more content…
It sung by an alto. (48:38) The song was the satisfaction about the world and the hope for future. It was the blessing from the heaven. Though it lasted about 5 minutes (48:38-56:19), it was naturally connected to the fifth and the final movement. The moving voice of naive faith sounds in our ears. "I am from God and will return to God. The dear God will give me a light, will light me to eternal blessed life!" The finale (54:27), the fifth movement, was the longest and it was the climax of the symphony. It was divided into two large parts. The first part loosely followed sonata principles and it was instrumental, containing a wide variety of moods, tempi and keys, with much of the material based on what had been heard in the previous movements. The second part began with the entry of the chorus and its form was decided by the text of this movement. It had a similar climax as that of the third movement. In the last movement, the first theme shows us the "resurrection" . The second theme provides alto solo music in the choral section. And it connects to the development section which was named the "march of the dead" by Mahler. It began with two long drum rolls, which include the use of the gongs.

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