🟦 1st Movement: Todtenfeier ("Funeral Rites") ◾Exposition 0:44 First part with funeral march character in C minor 3:00 Transition 3:18 Secondary theme with lyric, pathetic character, beginning in E major and closing in E-flat minor 4:17 First theme (!) 4:43 Third complex of themes (starting with Liszt's Cross motif in A flat major) leading to G minor 5:43 Closing group in G minor: Funeral music over a bass ostinato with tam-tam ◾First Development 6:55 Introduction (connecting to the secondary theme), beginning in C major and leading to E major 7:45 Pastorale in E major (with a new motif in the English horn) 8:55 New section primarily in E minor, developing different motifs 10:26 Development of the third theme complex (at the beginning again the Cross symbol) 11:42 Variation of the secondary theme: Music from a distance (like chamber music) 12:21 March from a distance in B major 12:53 Return to the main motifs of the movement, beginning in a triple forte and fading away bis zur Unhorbarkeit [until no longer audible] (tam-tam) ◾Second Development 13:24 Restatement of 8:55, now in E-flat minor with sighing motifs (laments) of the English horn at the beginning 14:18 Anticipation of the Finale: Dies Irae theme (14:18), main theme motifs (14:42), Cross symbol (14:52), Resurrection motif (14:56), Eternity motif (15:00), Dies Irae motif (15:05), climax on a dissonance (15:15) 15:23 Closing section with plunging motif (16:09) and again a catastrophic climax (16:23) ◾Recapitulation 16:38 First part in C minor 18:02 Transition 18:18 Secondary theme and Pastorale in E major ◾Coda 20:23 Synthesis of closing group and poritions of the first part, beginning with tam-tam: funeral march/funeral music 23:23 Major-minor seal, followed by a plunging motif 🟦 2nd Movement: Andante moderato ["echo of days gone by in the life of the one whom we carried to the grave in the first movement"] 24:40 Part A, Sehr gemachlich [very leisurely]. Grazioso in A-flat major 26:02 Part B, Nicht eilen [not hurrying]. Very leisurely in G-sharp minor, scherzolike, woodwinds enter (dolce, espressivo) at 26:51 27:36 Part A’, Tempo I in A-flat major, with countermelody in celli, molto espressivo (27:49) 29:19 Part B’, Energisch bewegt [energetically moving] Climax, in G-sharp minor, eerie ostinato timpani @ 30:58 31:56 Part A’’, Tempo I in A-flat major, pizzicato 34:32 Coda, in A-flat major 🟦 3rd Movement: Scherzo. Based on Wunderhorn song Des Antonius von Padua Fischpredigt [St. Anthony of Padua’s Sermon to the Fish] (1893) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6YUHarQJH8A.html Conveying that the ‘meaning of existence cannot be understood and that life itself seems senseless’ [Floros] 35:34 Introduction 35:47 Part A with “bittersweet humor” (clarinet @ 36:30 @ 37:13; stacatto bsn @ 37:26) 39:03 Part B, “very massive” theme in C major, piano in celli and bass. Coupled with fanfarelike melody of the winds, the theme is presented in D major @ 39:28 and E major @ 40:16. Sinister expression with dissonances in brass at 42:15 42:22 Part A’, lyric passage @ 43:30. 44:11 Part B’, shrieking dissonance "cry of despair" @ 44:34 B-flat minor chord over pedal point on C; trumpet motifs at 45:11, 45:27, first violin descending melodic line @ 45:28 will show up in the Finale. 46:16 Part A’' 🟦 4th Movement: Urlicht ["Primeval Light"] text from Das Knaben Wunderhorn 47:14 Motto [O Roschen rot, "Oh, little red rose"] and choralelike introduction [9 winds] 48:27 ◾First Stanza: Part A [Der Mensch liegt in grobter Not / Der Mensch liegt in grobter Pein, Je lieber mocht' ich im Himmel sein, "Mankind lies in great need / Mankind lies in great pain / Rather I would heaven claim"] 50:06 ◾Second Stanza: Part B [Da kam ich auf einen breiten Weg / Da kam ein Engelein und wollt mich abweisen / ach nein, ich lieb mich nicht abweisen, "Then I came upon a wide, broad way / Where a little angel came and wanted to send me away / Oh no, I did not let myself be sent away"] 51:12 ◾Third Stanza: Part A' [Ich bin von Gott, ich will wieder zu Gott / Der liebe Gott wird mir ein Lichtchen geben / Wird leuchten mir bis in das ewig selig Leben, "I am from God, I want to return to God / The loving God will grant me a little light / Will light my way to blissful life eternal and bright"] 🟦 5th Movement ◾Introduction 52:26 “Fright Fanfare” over a pedal-point C, similar to "cry of despair" @ 44:34 52:49 Eternity (53:00) and Ascension (53:21) motifs in C major; Glockenspiel (53:06 trumpet motifs heard @ 45:11) ◾Exposition, Der Rufer in der Wuste “The One Calling in the Wilderness” = Announcement of Judgment Day 54:10 Horn calls and triplet motifs = first announcement by the Caller; 54:50 trumpet motif from 53:06, 45:11 55:36 First eschatological statement by the Caller: Chorale: Dies irae followed by the Resurrection theme (56:06) in F minor 56:40 Thematic material of the Caller in F minor = secondary announcement by the Caller 58:00 “Entreaty” = anticipation of the section O glaube, mein Herz, o glaube (“Oh believe, my heart, oh believe”): insrumental recitatitive and arioso in B-flat minor 59:15 Second eschatological statement by the Caller: Chorale: Dies irae followed by the Resurrection theme beginning in D-flat major and ending in C major 1:00:35 Thematic material of the Caller in C major / C minor; inclusion of the Ascension motif = third announcement by the Caller 1:02:38 Percussion crescendo: “The earth is shaking, the graves are opening up” ◾Development (Vision of the Last Judgment), Seven Sections 1:02:50 Fear and Dies irae motifs (1:03:24 - violins, 1:03:31 - winds), often contrapuntally combined, in addition to shouting motifs 1:03:41 Allegro marziale using Dies irae (marchlike expanded version of 14:18, trombones @1:05:25), Resurrection, and Fear motifs; chorale in the trumpets @1:04:38 1:05:46 Return to the first movement @14:18 1:06:34 Collapse: Fright fanfare linked contrapuntally with tritonic variations of the Dies irae motif and inferno triplets 1:07:03 Repeated anticipation of the "Entreaty" (~58:00) in addition to "trumpets of the Apocalypse" @1:07:38: instrumental recitative and arioso, large climax, tritone @1:08:57 1:09:04 Fright fanfare over a pedal point on C-sharp (~52:26), Dies irae in trombones (1:09:12) 1:09:26 Eternity and Ascension theme in D-flat major (~52:49); again seven tones of Glockenspiel ◾Varied Recapitulation, Der grosse Appell "The Great Roll-Call" = Resurrection: The True Apocalype 1:10:39 Caller motif, bird calls, fanfares of the Apocalypse, beginning in F-sharp minor 1:13:25 First stanza: four-line Resurrection Chorale in G-flat major [Auferstehn, ja auferstehn wirst du / Mein Staub, nach kurzer Ruh! / Unsterblich Leben / Wird, der dich rief, dir geben, "Arise, yes, you will arise / Dust of my body, after a brief rest! / Immortal life / Will he, who called you, grant to you"] 1:15:34 Intermezzo (Caller motifs, Ascension theme, Eternity theme) 1:16:55 Second stanza: variation of the four-line Resurrection Chorale [Wieder aufzubluhn, wirst du gesat! / Der Herr der Ernte geht / Und sammelt Garben / Uns ein, die starben, "You are sown that you might bloom again! / The Lord of harvest goes / And gathers sheaves / Gathers us, who died] 1:18:44 Intermezzo (Ascension theme and Eternity theme, Glockenspiel) 1:20:26 Third stanza: Alto and soprano solo = Entreaty in recitative-ariosos style in B-flat minor [O glaube, mein Herz, es geht dir nichts verloren! / Dein ist, ja dein, was du gesehnt / Was du geliebt, was du gestritten / O Glaube: du wardst nicht umsonst geboren / Hast nicht umsonst gelebt, gelitten, "Oh, believe, my heart, nothing is lost for you! / Yours, yes, yours alone is what you longed for / What you loved, and what you fought for / Oh believe, you were not born in vain / Nor have you lived or suffered in vain!"] 1:22:12 Fourth stanza: different variation of Resurrection Chorale [Was entstanden ist, das mub vergehen / Was vergangen, auferstehen! / Hor auf, zu beben! / Bereite dich, zu leben! "That which was created must perish / What perished will arise! / No longer tremble! / Prepare to live!] 1:24:00 Fifth and Sixth stanzas: Alto and soprano duet with mostly independent thematic material; melodic material from Urlicht (1:24:27) [O Schmerz, du Alldurchdringer / Dir bin ich entrungen! / O Tod, du Allbezwinger / Nun bist du bezwungen! "Oh agony, you piercing pain / From you I have escaped! / Oh death, all-conquering claim / Now you are defeated!] [Mit flugeln, die ich mir errungen / In heisem Liebesstreben / Werd' ich entschweben / Zum Licht, zu dem kein Aug' gedrungen "With wings that I have gained / In seeking to perfect my love / Will I ascend / Into the light which no eye has ever reached] 1:24:41 Seventh stanza: Imitative treatment of the Ascension theme; the Eternity theme in E-flat major (1:25:38) [Mit flugeln, die ich mir errungen / Werde ich entschweben / Sterben werd' ich, um zu leben!, "With wings that I have gained / Will I ascend / I will die to be alive!] 1:26:03 Eighth stanza: new variation of the Resurrection Chorale in E flat major [Auferstehn, ja auferstehn wirst du / Mein Herz, in einem Nu! / Was du geschlagen / Zu Gott, zu Gott wird es dich tragen, "Arise, you will arise / My heart, within a moment! / What you have conquered / To God, to God it will bear you up"] 1:27:15 Postlude (Eternity theme, bells in triple rhythm): Transcendence ◾notes based on Constantin Floros : Gustav Mahler The Symphonies, Amadeus Press (1985)
I cannot thank you enough for this breakdown, and the effort it must have taken. I especially appreciate the timeline links. Because of what you have given us, I plain to learn this symphony in an exhaustive way.
Tes Tom. One of my favorite conductor too (with Abado RIP...) but music like this never die. RCO hast juste do a première for the 1 rst symphony some minutes ago with Jansons : great execution...best regards.
I've sung this in 2008, it is terribly high and very loud. But standing in the middle of this big orchestra with 300 singers around you in the front row of the choir between two choir directors and face-to-face with the orchestra director is an experience you cannot buy for any money in the world!
@@miltonderezende7906 In English this word has several meanings. One is as you suggest, the Classical period of Haydn and Mozart. It is also used to mean “symphonic music” or “art music” and “old stuff that stands up,” such as “classic rock.”
More people than ever in history are enjoying classic music. It was once reserved for a small class of aristocratic elites. Now people from all economic backgrounds can enjoy this music for free. Just enjoy it, and don't be so concerned that everyone has the same interests as you.
@@dustinlikens388 Thank you. Those same comments are under videos about philosophy, theology, science ... Everybody thinks everyone else is an idiot because they don't excel at the exact same topic as they themselves.
I agree. The thing about Mahler is that he had a superb technique, the orchestration and form were still important to him. The final part isn't a pure outburst of emotions, it's directed and focused, for me it conveys a certain sense of order, inevitability. That's how it had to be resolved.
I heard Mahler live for the first time today, it was the 2nd, and it was transcendent, sublime. Even with half the orchestra and choir of this performance, it was one of the most emotional and memorable experiences in my life. More than I could have imagined. If you ever have a chance to see this live, you will not regret it.
@@georgesclermont1911 It's 2022. It's time a sound engineer got a hold of the original recordings and cleaned it up in a way suitable for broadcast on YT.
I discovered this masterpiece as a tribute to the victims of the terrorist attacks of 11 March 2004 in MADRID. 10 bombs on four commuter trains left 193 people killed and more than 2000 injured. In 2020 this symphony was used as a tribute in the Concert "In Memoriam" organised by Terrorism Victims Foundation at the National Auditorium of Spain In Madrid presided by Their Majesties the King and Queen of Spain. REST IN PEACE. 💔
Wow, that was very successful. These are high standards that thankfully the common terrorist cannot organize. If an act was memorialized by this epic symphony they must've been very professional. Let us know no more of that, dear god.
I attended a Mahler 2 concert, it’s unbelievably incredible. The big roar at 2:50 was so loud...just a few minutes into it, I knew we were in for an experience of a lifetime!
I doubt many here in attendance speak my language. But I’m sure we are all understanding what our Mahler is “saying” musically with fluency. The language, the theory, the science, the culture, the community of musical sound can be so easily translatable from People to People.
Mariss Jansons was an individualist and an interpreter at his own terms. He was a great conductor. He lived for what he did he, he will be missed. Listened to it again; THIS A WONDERFUL PERFORMANCE. The feeling and joy felt by Mariss is contagious.
Magnificat, simply Magnificent. How did Mahler do it so well? Incredible, and with a full Orchestra sound, Voices and Organ, and to finish off with what all the Kings and Queens, at that, or any time wanted to hear, explosive sounds, ending with voices raised and the sound of Bells, signifying a singular Triumph and that part is really unsurpassed, and Mariss Jansons, did marvelous, simply marvelous, with the entire piece. Tempo was excellent.
A dear friend treated me to the San Francisco Symphony production under M.T. Thomas some years ago. He died that month, so young. Double meaning now. This was wonderful! Thank you.
Very very super.Total best rhytm .All musicians make music beutifuli together.So greath union of playng just marwellos!!!Bestest orchestra from Europe together with Berlin and London .Exelent oboe player,celli ,violins.Super together.Maris greath master.Thank you all vor This !!!
31:55 that's *half of a violin section playing a pizz together out of thin air. indistinguishable from one player. this is absolutely extraordinary playing, guys...
Love how Mr Jansons puts his arms down during this passage, holding a look of joy on his face and letting his great orchestra do their thing to perfection without any need of his arms. They are playing as a single unit with the music firmly interwoven, using the same weave, through each musician.
0:42 I. Allegro maestoso 23:44 II. Andante moderato 35:07 III. “In ruhig fließender Bewegung” (Con movimiento tranquilo y fluido) 47:10 IV. "Urlicht" (“luz primordial”) Muy solemne pero sencillo 52:23 V. Im Tempo des Scherzos (En el tempo del scherzo)
I have heard many praise for Jansen. Today I wanted to listen to Mahler 2 so I clicked on the first video that popped up. Jansen is just as good as I have heard!
The quality of the filming is essential to the enjoyment of the music. We are so blessed to have this experience available to us in our homes. I think back to the scratchy 78 records that were available to us when I was a child back in the 1950s. Attending a concert is a great experience, but much like sports fans can see so much more watching a televised sports event, what we can see in this and other videos brings concerts to life as we get insight into what is going on in an up-close and personal way.
@@layna8924 It is incredibly rude to Mahler to try and force religion on someone, because that is exactly what happened to him. Please be more mindful of other people when you bring such a controversial topic somewhere it has no right being.
This beautiful piece of music relates to I Corinthian 15:54 and 55..."death is swallow in victory...O death, where is thy sting? O grave, where's thy victory sung by the soloists. And then the choir sings I Thessalonians 4:14-17. It's epic! So we confort one another with these words.
Mariss was 50 when he conducted the M2 with the Oslo Philharmonics. We share the same birthday date 14, january and he invited everybody at the consert for a glass after the consert. Unforgettable evening with a generous man. The Orchestra and performance was excuisite.
Such an exquisite and nuanced performance by one of the world's greatest orchestras, led by Mariss Jansons, a highly renowned maestro, who is sadly no longer with us. It's a premiere listening experience that is so rare; as I am just rediscovering Mahler and finally really appreciating the depth and passion of his symphonies, here on New Year's Day; it's unbelievably immersive and soul satisfying!
Magnificent performance without a doubt. Probably my favorite Mahler with #1 and #8 being among my favorites as well. That concert hall is absolutely gorgeous also.
It is my first time with Mahler , I think I missed a lot but it is never too late to enjoy such a wonderful work , I am very content , enjoying a great music such as this , peaceful and inspiring !
Keep listening. With each listen comes a new discovery - not a cold, antiseptic, academic discovery, but a primordial, human and heart-felt discovery deep in your soul
In my semi-locked down state, I've watched/listened to this with Dudamel, Rattle, Bernstein, Abbado and now dear Mariss. Great conductors, great orchestras so they all get something out of the music, some interpretations of which might readily please a particular ear. I, however, am not in the business of ranking things but learning from the differences. I've also become aware of something which should have been more obvious to me as a Team/Organisational developer and that is to note what a wonderful job Gustav did for future generations allowing them the opportunity of being part of such a huge work and being able to then take the adulation and applauds of the audience both in the hall and at home. Well done everybody; I feel reborn!!!
It is amazing how everything you have written echoes the same sentiments and the love I have for Mahler's music. I learned to listen to the same piece played by different composers, especially the ones you mentioned, and I try to discern the peculiarities of each performance using my untrained ear. We probably would hit it off if we were to meet in person. Thank you!
@@robertmahler8894 Hey Robert, John, I think it's unoriginal by now but... I feel the same way. Moreso, I've realized that Mahler's music makes different people feel identical things, he really *was* a master at what he did. And now look, it brought people together. What a flow. *That's* music.
What to shock to learn the sad news of Great Jansons' passing when coming back to watch this video the N times. What a loss to all his world music fans! RIP Maestro .
I love Maris Jansons! Not only did he know the music he conducted like any world-class conductor should, he went beyond the technical and academic. He obviously had an unbridled love for music of the heart! RIP maestro! He really lays out his soul in this performance. And there is no better opus for laying out one's soul than Mahler's 2nd! :-)
I had the joy of performing this symphony with the Royal Concertgebouw Orchestra under the direction of Riccardo Chailly about 12 years ago at four of the major concert halls in the US. One of the highlights of my life.
Glorious music, magnificent interpretation, and flawless, committed performance. Mahler's second is one of my favorite pieces of music, and I've heard many dozens of performances of this, including hearing it performed by the Boston Symphony Orchestra in Symphony Hall (a bit of a disappointment, actually). This version is one of the best, from my point of view. I especially like that they staged it as Mahler directed, including the remote trumpets. Mariss brings a marvelous sense of dynamics to the proceedings and really seems to understand Mahler's intent (at least what I think of as Mahler's intent). In the final 10 minutes, I burst into tears, completely overwhelmed by the beauty, tragedy, and ethereal splendor of this work. Every time I hear it, I see heaven opening up--and I'm not religious. I also want to commend the recording, which is perfection, and especially the video editing, which visually highlights each element of the score as it comes up. It's wonderful to see everyone putting as much into the performance of this piece as Mahler put into creating it.
Yo! Leonard Bernstein is great at conducting Mahler too. But this is definitely the best recording on RU-vid. Absolutely amazing. Sang it this past winter with the Knoxville Symphony and it was lovely.
Mahler was so in touch with the human spirit and is so expressive on such a large intense scale. What a beautiful work! It's hard to understand why it took so long for his works to become viewed as the masterpieces that they are.
The most beautiful performance of this symphony. Although very long in time, I feel no boredom at all. Royal Concertgebouw is definitely one of the most excellent orchestra in Europe.
Stupendous orchestra, and one of the greatest conductors in history (RIP), The the choir producing that beautiful initial 'auferstehung' sound, seated ought to be noted here. Thank you to all involved in this production.
Even when I'm on a bus (for instance) listening just to a recording of this symphony, it shakes me deeply and makes me cry. Been lucky to experience this twice in concert and there are no words in this world to describe this enormous beauty and sadness and depth and passion, all in one. No other music does THAT much to me!!
I couldn't agree with you more and the power of the final movement of this symphony is electric, I just heard it being conducted by Claudio Abbado, believe me, you have heard nothing like it
4th movement with the trumpets is easily my favourite bit of this incredible symphony! it's so lyrical and beautiful and heart wrenchingly beautiful again! Mahler was a genius
MERCI Monsieur JANSONS que cette symphonie vous accompagne dans votre nouvelle éternité. Vous resterez toujours dans nos coeurs pour toutes les heures de Bonheur que vous nous avez données..
I was very privileged to have joined the Baltimore Symphony Chorus for the premier season of the season of the Joseph Meyerhoff Symphony Hall (1982-83). The magnificent work under the direction of Segiu Comissiiona unspeakably wonderful to perform with the Baltimore Symphony. I get chills to this day remembering the thundering finale. I was deeply moved to relive the experience through this performance.
@JorrigVonKnorrig you ar so lucky to have experienced this! It is one of my fantasies to be sitting in the middle of an orchestra during a Mahler symphony! I think I would die from happiness!
As sinfonias de Mahler são um hino majestoso e emocionante que nos lava a alma. É a música mais pura emergente da vida do compositor, inebriada pelas melodias do povo na sua mais bela síntese de vida, amor, majestade e sonho. Bendito Mahler que nos abençoou e nos faz feliz ouvindo-o.
Far and away my favorite interpretation of Mahler 2, dare I say one of my favorite interpretations of any symphony, ever. Having played this piece a few times, it's fascinating how much he delays crescendos and his tempo change decisions are unorthodox, yet the music is all the better for it. Rarely does such a relative outlier interpretation feel so organic like it does here. EDIT - worth pointing out the incredible dynamic control it takes from the orchestra to pull it off, 21:00 in the horn parts is just one example
