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Explore the Score: Mahler 2, Movement II- Relief, Repose and Reflection

by Kenneth Woods | Mar 28, 2006 | Explore the Score, Mahler, Mahler 2 Notes

After the highly-charged, dramatic and ultimately tragic arc of the first movement, it is natural that one would need some time to recover. After all, Mahler waited five years after completing Totenfeier before continuing on to the second movement. As it turns out,...

Explore the Score: Mahler 2, Movement III- Wit and weirdness

by Kenneth Woods | Mar 27, 2006 | Explore the Score, Mahler, Mahler 2 Notes

There is a strong relationship in Mahler’s 2nd between the first and last movement: in essence the finale resolves the questions posed in the first movement, both musically and spiritually. Likewise the 2nd and 3rd movements of the symphony form a pair. Both are...

Explore the Score, Mahler 2, Movement IV- Heavenly Light

by Kenneth Woods | Mar 25, 2006 | Explore the Score, Mahler, Mahler 2 Notes, Nuts and bolts

The third movement of this symphony ended with nothing less than “the appalling shriek of this tortured soul.” How magical, then, is the moment that follows? Mahler instructs us that the third, fourth and fifth movements should be played without any break, and so from...

Explore the Score: Mahler 2, Movement V- Auferstehen Part I

by Kenneth Woods | Mar 22, 2006 | Explore the Score, Mahler, Mahler 2 Notes

As the fourth movement resolves into a vision of heavenly rest one could easily believe that our journey is at its end, but of course this short movement (only four minutes) could hardly balance out and resolve all the issues and challenges the symphony had posed up...

Explore the Score: Mahler 2, Movement V- Auferstehen Part II

by Kenneth Woods | Mar 21, 2006 | Explore the Score, Mahler, Mahler 2 Notes

The great scene of the end of the world plays out as a march, mostly in F minor. Four flats in the key signature, far from the purity of the C major peroration that preceded it. The final scream Mahler describes is a masterstroke- we’ve been expecting him to...
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