English Commentary by Sergio Cánovas

Mahler’s Symphony No.8 was composed in the summer of 1906, being premiered in September 12 of 1910. It was performed by the Munich Philharmonic Orchestra with choruses from Munich, Leipzig and Vienna, all conducted by the composer.The reception of the work was triumphant, it being one of the few moments of glory that Mahler received as a composer. The large number of choral and orchestral resources required had given it the nickname of «Symphony of a Thousand», which Mahler dissaproved.

The work is divided into two parts. The first «Veni, creator spiritus» uses as text the Pentecost Hymn written in Latin by the Archbishop of Mainz, Rabanus Maurus in the 9th century, words that Mahler changed according to his needs. It is structured in sonata form. Opens with a powerful organ chord followed by a massive tutti, introducing a brilliant and joyful main theme. The four vocal soloists then present the lyrical second theme, with the words «Imple superna gratia».

The choirs join the soloists, who lead to the repetition of the main theme further expanded and elaborated by the orchestra. An ominous orchestral postlude leads into the depths, where anxious choral voices sing the words «Infirma nostri corporis» over a violin solo, they are met by a conciliatory response from the soloists. The singing takes an antiphonal form, with the choirs responding to each other. 

The development begins with a crepuscular orchestral interlude, which leads to the solo singers, with the reaffirmation of the stanza «Infirma nostri corporis», on a counterpoint background of woodwinds and strings. The fundamental part of the development begins with the choirs singing «Accende lumen sensibus», with a theme that will have great importance in the second part of the work. The intervention of the choirs is carried out in a triumphant way, bringing the music to the climax of the movement. The development ends with a broad double fugue by the choruses, beginning with the words «ductore sic te praevio». The recapitulation of the main themes then begins, which leads us an extensive and triumphal coda on the «Gloria».

The lengthy second part consists of the final scene of the second part of Goethe’s Faust: The journey of Faust’s soul, rescued from the clutches of Mephistopheles, on to its final ascent into heaven, redeemed by love. It begins with an orchestral prelude and which constitute the basis of the whole part. The first, presented by woodwinds and pizzicato strings, is dubitative. It is contrasted by the second one: a glowing chorale for strings and lower woodwind. The music grows in a climax, followed by the main theme transformed into a recessional. A passionate third theme breaks in, bringing with it the second theme in intensified guise.

The main theme reappears, joined by the chorus representing holy Anchorites who shelter among rocky clefts, singing mysteriously the phrase «Waldung, sie schwankt heran». The second theme reappears, also with chorus, before an abrupt change of expression brings the arrival of Pater Ecstaticus in a glowing apostrophe to love attained through suffering, ending with its most spiritual aspect in the final sentence «O Gott! beschwichtige die Gedanken, erleuchte mein bedürftig Herz!». This latter is dwelt upon by Pater Profundus, in anguished tones that uses the Accende theme of the first movement, thereby bringing together the texts of both movements.

A orchestral postlude leads to the joyful appearance of Angels and Blessed Boys, then the more reserved response of Younger Angels. They sing the stanza «Jene Rosen, aus den Händen», reflecting innocence in its purest form. The ominous idea heard near the start of Part One is recalled, as More Perfect Angels sing in a meditative way, considering the unearthly union of Faust and Gretchen, then Younger Angels join with Doctor Marianus in anticipating the arrival of Faust’s soul in its chrysalis state, there to await the benediction of the Queen of Heaven (Mater Gloriosa, or the Virgin Mary). The chorus, joined by Penitent Women and Una Poenitentium (Gretchen), similarly pay homage with the most beatific music of the whole work, upper strings underpinned by harp arpeggios and harmonium chords.

A sequence of solos for three women, who were present at Christ’s crucifixion, takes place: Magna Peccatrix, Mulier Samaritana and Maria Aegyptiaca, each considering the importance of repentance as the means to salvation. Una Poenitentium looks forward to the emergence of Faust in his cleansed condition, and Blessed Boys wistfully contrast their unformed state with the wisdom that Faust will impart. Gretchen turns to await him &, and Mater Gloriosa sends out her greeting from on high. Doctor Marianus urges those on earth to yield to the redeeming gaze of their heavenly queen. The exalted mood is intensified by the chorus, before an orchestral interlude, with its magical interplay of harp and celesta, plaintively fades to silence. Now the Chorus Mysticus gradually builds in a vast crescendo of praise to the Eternal Feminine: drawing on themes from across the work, and culminating with the return of the very opening music in a coda of exultant affirmation.

It can be considered an intensely religious work, but in Mahler’s case his way of seeing religion is not dogmatic. A man endowed with great spirituality, believed in a supreme being towards which man was heading after traveling a hard path. The work presents us with a song of praise to the creator, followed by the redemption of man through love. Faust is a sinner redeemed by Gretchen’s love. Through the intervention of the Virgin will come his forgiveness. The woman as the salvation of man through an act of love. The work is dedicated to his wife Alma, to whom he united an unrequited love, especially at the time of the premiere of the symphony.

Lyrics: https://bit.ly/3lhDS80

Picture: «The Last Judgement» (1853) by the English painter John Martin.

Source: https://bit.ly/2XNOyfu and https://bit.ly/3IakMHQ