Dear Columbus Symphony Supporter,

Thank you for joining us as we start the new year with four outstanding programs from our 2024-25 Masterworks Series:
Mahler 2, January 24 & 25: Widely considered one of the greatest symphonies of all time, the Columbus Symphony and Chorus will join forces for this profound reflection on life and redemption, from Mahler’s chilling “cry of despair” to the finale’s cathartic call to “prepare yourself to live!”

Beethoven’s Eroica, January 31 & February 1: Includes John Corigliano’s Phantasmagoria (a Columbus Symphony co-commission) for solo cello and orchestra, featuring cellist Sterling Elliott, and Beethoven’s sweeping third symphony, the “Eroica” or “Heroic” symphony.

Appalachian Spring, February 28 & March 1: Guest conductor Thomas Wilkins leads the orchestra in a captivating concert that includes Copland’s iconic Appalachian Spring, contemporary American composer Michael Daugherty’s Letters from Lincoln, and Dvořák’s poetic Symphony No. 8.

All Mozart, March 14 & 15: Celebrate one of the greatest composers of all time with a program featuring three of Wolfgang Amadeus Mozart’s mature works: the delightful Overture to Così fan tutte, pianist Orli Shaham performing Piano Concerto No. 20, and the extraordinary Symphony No. 38.

On behalf of the entire Columbus Symphony family, thank you for your exceptional support of our orchestra, and for joining us to experience these powerful performances together.

Please enjoy tonight’s performance!

Rossen Milanov,
Columbus Symphony Music Director

MAHLER 2
MASTERWORKS 4

Rossen Milanov, conductor
Jessica Rivera, soprano
Ronnita Miller, mezzo-soprano
Columbus Symphony Chorus
Stephen Caracciolo, chorus director

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This concert and continued support for the Columbus Symphony Chorus is made 
possible by longtime friend of the Columbus Symphony, Anne H. Melvin.

Operating Support Generously Provided by

Masterworks Hotel Sponsor

Media Sponsor

Symphony No. 2
(“Resurrection,” 1888-1894)
by Gustav Mahler (Kalischt, Bohemia [now Kaliště, Czech Republic,] 1860 - Vienna, 1911)

Everything Gustav Mahler did was done on an exceptionally high level of intensity. His energy seemed boundless. His restless spirit was constantly preoccupied by life’s greatest questions, and although many of his contemporaries (writers, artists, philosophers) grappled with similar problems of disillusionment and searched for faith and reassurance, few made such heroic efforts to solve those problems as he.

Mahler’s Second Symphony is a powerful musical drama leading from an evocation of death to the triumphant resurrection. The first movement was originally conceived as an independent piece under the title Todtenfeier (“Funeral Rites”); the choral finale, using the “Resurrection” ode by 18^th-century German poet Friedrich Klopstock (with additions by Mahler), provides a monumental counterweight. Three intervening movements were necessary to create a sort of bridge between these two mighty statements.

Mahler was 28 when he began work on this symphony and 34 by the time he completed it. The work’s long gestation period shows the inordinately difficult challenges it posed to the composer. When, in 1891, Mahler played the first version of Todtenfeier on the piano for the great pianist and conductor Hans von Bülow, the latter exclaimed: “If what I just heard is music, then I no longer understand anything about music!” Mahler was deeply hurt but undaunted. He did not abandon his artistic path, but neither did his admiration for Bülow diminish. And it was precisely Bülow’s funeral in 1894, where the chorus sang a setting of Klopstock’s hymn, that he received the decisive impulse that allowed him to write the finale. The premiere of the entire work took place under Mahler’s direction in Berlin, on December 13, 1895.

The opening movement–the revised Todtenfeier–is based on two main themes: the funeral march, which becomes ever more excited and tragic, and a second melody which brings some hope. Then, at one point before the end of the development section, the horns begin to play a chorale-like melody, which expresses faith and confidence in the midst of all the turmoil. This quasi-chorale is then brutally silenced by a return of the funeral march, more violent than ever before. The tension rises to near-ecstasy; then, after an extremely harsh dissonance (the likes of which probably no one had ever written previously), we return to the music of the opening. The recapitulation has begun.

After the first movement, Mahler wrote in the score: “An interval of at least five minutes follows.” We don’t know whether he carried out this instruction, which strikes us today as somewhat exaggerated, in his own performances of the symphony. But it is clear why he wanted to insert a major caesura between the first and second movements: the contrast between the funeral march and the leisurely Ländler dance could hardly be greater. According to Mahler’s program (later withdrawn), this movement relates a cheerful episode from the deceased hero’s life.

The third-movement scherzo is an expanded version of Mahler’s song “St. Anthony of Padua’s Sermon to the Fishes,” on a text from the German collection of folk poetry, The Youth’s Magic Horn. The song is about the futility of all human endeavor, but it treats the idea with a great deal of irony. Mahler used this song as a point of departure for something much more serious, as the development culminates in a visceral outcry of terror. At the end of the movement, though, the music returns to its initial calm state.

If Mahler asked for a long pause after the first movement, the third, fourth and fifth movements follow one another without any break at all. No sooner has the “St. Anthony” scherzo faded out than we hear a soft human voice as the contralto soloist enters without any accompaniment. The text she sings also comes from The Youth’s Magic Horn: a song expressing faith in God and eternal life. It serves as a prelude to the great “Resurrection” finale, which opens on a note of despair recalling the climax of the third movement. 

Mahler’s great model for the last movement was obviously Beethoven’s Ninth. The choral finale of that iconic work likewise proceeds from tragedy (the famous “Fanfare of horror”) to the Ode to Joy. But Mahler’s “Ode to Joy” is more introspective than jubilant. As in the Beethoven, the entrance of the chorus is preceded by a long instrumental section. Mahler introduces a chorale theme that turns into a march, twice interrupted by subdued, fragmented, and plaintive motifs. During the second of these interruptions, we hear an offstage wind ensemble placed “at the greatest possible distance,” according to the composer’s instructions. This concept of stereophonic sound was far ahead of its time in 1894. The materials of the offstage band and the onstage orchestra do not blend together; instead, they exist side by side, remaining independent from one another.

Soon thereafter, der grosse Appell (“The Great Summons”) sounds. This is another stereophonic passage, with two trumpets on either side, two closer to the orchestra, the other two farther away. The summons is answered by the frightened bird-sounds of the flute and piccolo. After the long march in regular 4/4 time, this new passage, which lacks meter altogether, takes us totally by surprise. The listener, who has been following events up to this point, doesn’t know what to expect now. It is an unmistakable expression of uncertainty, a musical question mark as it were, and the response comes from the chorus, entering with Klopstock’s hymn in a mysterious, barely audible pianissimo. “Rise again, yes, you will rise again,” sings the chorus, and from this point on, the music is a single uninterrupted rise. The tonality is rising along the circle of fifths: G-flat major (6 flats) is followed by D-flat (5 flats), A-flat (4), and finally E-flat (3). The orchestration gains in splendor and richness, the music becomes more solemn and majestic. Life triumphs over death, all doubts are laid to rest, and the philosophical questions, raised at the beginning of the work, find their final answer.