English Commentary by Sergio Cánovas 

Mahler’s Symphony No.2 began as a symphonic poem titled «Totenfeier» (1888), which later would become the first movement once the composer added four more between 1893-4. The first three movements were premiered in Berlin on March 4 of 1895, performed by the Berlin Philharmonic Orchestra conducted by Mahler, being poorly received. The composer was not discouraged, and on December 13 of the same year, he premiered the complete work also in Berlin, with the Philharmonic, choirs and soloist conducted by Mahler. The reception was again a failure, but it received the admiration of notable figures such as Nikisch, Weingartner and Humperdinck.

Mahler initially devised a narrative programme for the work. The first movement represents a funeral and asks questions such as «Is there life after death?»; the second is a remembrance of happy times in the life of the deceased; the third represents a view of life as meaningless activity; the fourth is a wish for release from life without meaning; and the fifth movement (after a return of the doubts of the third and the questions of the first) ends with a fervent hope for everlasting, transcendent renewal. Taking Beethoven’s Choral Symphony as a predecessor, Mahler addresses the spiritual and transcendental concerns of life, death and redemption. As generally happened, he later withdrew all versions of the programme from circulation.

The first movement is structured in a modified sonata form. It begins with dramatic tremolos followed by a brooding and funereal main theme in form of a march, fully exposed between woods and strings. It unfolds with a solemn sense of tragedy, reaching a climax. It is greatly contrasted by a fragile, broadly lyrical second theme on upper strings, with the menacing march on cellos and basses. The main theme then returns in a varied form, only briefly interrupted by a majestic chorale third theme that is quickly swept away. The ensuing development is highly dramatic in tone, transforming the themes in an evident struggle that intensifies towards the end. The Dies Irae plainchant is referenced through a second chorale, which will be important later on. The development ends with a series of forceful and dissonant chords, followed by a complete recapitulation of the themes. An extensive coda begins with the march theme growing into a despairing climax that quickly recedes. The music fragments itself before one last forceful outburst.

The second movement is written in an expanded ternary form. It opens with a pastoral, gentle main theme in form of an Austrian ländler, creating a huge contrast from the previous movement. It is unfolded through a series of increasingly complex variations, leading to a chromatic and rhythmic second theme that grows to a tumultuous peak. The main theme is then recapitulated with a lovely counter melody on cellos, its lyrism offering great contrast. The agitated second theme returns in full force, and is soon put in counterpoint with the main theme. After a diminuendo, the main theme is recapitulated by pizzicato strings, finally being taken by full orchestra. A graceful and gentle coda ends the movement.

The third movement is a scherzo, modelled after the fifth lieder of his collection «Des Knaben Wunderhorn», entitled «Des Antonius von Padua Fischpredigt». Two timpani blows trigger the rhythmic movement of the scherzo, a constant underpinning ostinato. The main material is assembled from a series of sardonic motives, transformed into a distorted and grotesque ländler, which is confronted by a more rural and bucolic variation. A climax that verges between the vulgar and the brilliant is reached. The trio section opens with a lyrical, naïve second theme exposed by the trumpet, which greatly contrasts with the surrounding sections. The scherzo is recapitulated in an increasingly unstable and chaotic way. We get a new anticipation of the finale in the form of a massive climax, defined as a «cry of despair». After this, the scherzo and trio themes merge into a single entity. The movement ends with an enigmatic coda.

The fourth movement takes the form of a lied in ternary form. It begins with the contralto singing the first phrase of a poem that illustrates the longing for relief from worldly woes, extracted from the “Lieder aus Des Knaben Wunderhorn” collection. A solemn chorale is then softly introduced by the brass. The contralto continues singing with great pathos and chromatism. In its last phrase, the alto sings the melody from the brass chorale, before a solo oboe takes over and leads to the central section. In it the tempo slightly speeds up and the orchestration darkens, also modulating through tonalities. We then return to the opening tempo and tonality. The music reaches a minor climax, before closing off the movement with the return of the melody from the brass chorale, leading without a break to the finale.

The fifth movement is structured as a large-scale, modified sonata form. It opens with the wild cry of despair from the previous scherzo. As it collapses, the chaos and terror are replaced by a sublime atmosphere, where we hear the first hints of the noble and expansive main theme. A chorale on woodwinds reminds us of the Dies Irae of the first movement. Several motives and ideas are also introduced, which will be sung by the soprano and choruses at the end. A Wagnerian, passionate second theme brings a sense of despair, answered by the dies irae and chorale. A great crescendo performed by percussion, timpani, drum, bass drum and tam-tams, starts the development. After several wildly dissonant climaxes, the recapitulation opens with the scream of despair, followed by the main themes and motives.

After a brief pause, the chorus enters in pianissimo singing «Die Auferstehung» as amplified by Mahler himself. The motives introduced previously are then developed as full themes. Each of the first two verses is followed by an instrumental interlude; the alto and soprano solos, «O Glaube», based on the recitative melody, precede the fourth verse, sung by the chorus; and the fifth verse is a duet for the two soloists. It ends with a final apotheosis, in which all the united choirs sing in fortissimo. Then, the orchestra repeats the first notes of the theme, triumphantly accompanied by the organ, the tam-tam and the bells.

Picture: «The Creation of Adam» (1508-12) by the Italian painter Michelangelo.

Sources: https://tinyurl.com/yvb5l4fu, https://tinyurl.com/yt9xjhpz and https://bit.ly/2PmfPkC To check the score: https://tinyurl.com/ym3bl66g