listened to this track and was crying within ten seconds what the fuck is wrong with me
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listened to this track and was crying within ten seconds what the fuck is wrong with me
We had the first rehearsal for the Mahler with the orchestra conductor and the other two choirs tonight (not the actual orchestra though, the orchestra rehearsal is Friday) and it's going to blow the fucking roof off. I love it so much.
I still haven't really gotten into Mahler yet (perhaps that is something I need to do in 2021), but I found this by way of reading in a New Yorker article that part of this movement (I think starting somewhere around the 3:30 mark) is taken almost note-for-note from a chorus in the final scene of Halévy's La juive, which is true!
And even more importantly, after reading the text, I think this is the perfect piece going into 2021:
O glaube, mein Herz, o glaube: es geht dir nichts verloren! Dein ist, ja dein, was du gesehnt, dein, was du geliebt, was du gestritten! O glaube, du warst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Was entstanden ist, das muss vergehen! Was vergangen, aufersteh’n! Hör' auf zu beben! Bereite dich zu leben! O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, in heißem Liebesstreben, werd' ich entschweben zum Licht, zu dem kein Aug' gedrungen! Sterben werd' ich, um zu leben! Aufersteh'n, ja aufersteh'n wirst du mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen!
(Rise again, yes, rise again, Will you My dust, after a brief rest! Immortal life! Immortal life Will He who called you, give you. To bloom again were you sown! The Lord of the harvest goes And gathers in, like sheaves, Us together, who died. O believe, my heart, O believe: Nothing to you is lost! Yours is, yes yours, is what you desired Yours, what you have loved What you have fought for! O believe, You were not born for nothing! Have not for nothing, lived, Suffered! What was created Must perish, What perished, rise again! Cease from trembling! Prepare yourself to live! O Pain, You piercer of all things, From you, I have been wrested! O Death, You conqueror of all things, Now, are you conquered! With wings which I have won for myself, In love's fierce striving, I shall soar upwards To the light which no eye has penetrated! Die shall I in order to live. Rise again, yes, rise again, Will you, my heart, in an instant! That for which you suffered, To God shall it carry you!)
—Gustav Mahler (translation from Wikipedia)
May we all rise again and soar upwards in 2021.
「Resurrection Symphony」 by Sho, Lacroix Despheres, is now available for streaming overseas! Listen to it on Spotify 🎧 https://open.spotify.com/track/4PhUAQcz1MniDLJHEWNDXN
Auferstehungssinfonie (Symphony #2, "The Resurrection")
by Gustav Mahler
Performed by the Royal Concertgebow Orchestra, with Ricarda Merbeth and Bernarda Fink
Aufersteh'n, ja aufersteh'n Wirst du, Mein Staub, Nach kurzer Ruh'! Unsterblich Leben! Unsterblich Leben wird der dich rief dir geben! Wieder aufzublüh'n wirst du gesät! Der Herr der Ernte geht und sammelt Garben uns ein, die starben! —Friedrich Klopstock
O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, ja dein, was du gesehnt! Dein, was du geliebt, Was du gestritten!
O glaube Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!
Was entstanden ist Das muß vergehen! Was vergangen, auferstehen! Hör' auf zu beben! Bereite dich zu leben! O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heißem Liebesstreben, Werd'ich entschweben Zum Licht, zu dem kein Aug' gedrungen!
Sterben werd' ich, um zu leben! Aufersteh'n, ja aufersteh'n wirst du, mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen!
Mahler's 2nd symphony, "The Resurrection." One of the most emotionally charged pieces of musical literature, along with Beethoven's 9th symphony. A fitting follow-up to last night's memorial post for Lawrence Leighton Smith, as this (not this exact recording, obviously) was the first major work we did with him watching from the audience rather than on the podium. And again, not a dry eye in the audience or onstage.