Gustav Mahler: Symphonie No. 6 in a Minor Duisburg Philharmonic Orchestra - Gustav Mahler

• 1 I. Allegro energico, ma non troppo. Heftig, aber markig 23:33
• 2 II. Andante moderato 15:02
• 3 III. Scherzo. Wuchtig 13:09
• 4 IV. Finale. Sostenuto – Allegro moderato – Allegro energico 31:16
• Total Runtime 01:23:00

Info for Gustav Mahler: Symphonie No. 6 in a Minor

The Complexity of Gustav Mahler’s 'Tragic symphony' Gustav Mahler's Sixth Symphony is enigmatic. It is a work with a ‘Janus-faced’ appearance, which on the one hand strictly fulfils the conventions of a classical symphony, but is on the other hand tonally brittle like no other of Mahler’s symphonies. Also with regard to its meaning the work isn't easily accessible, for here the composer does not give pithy descriptions or comprehension aids as in the case of the previous symphonies. On top of this the few references to its meaning are bordering on dubiosity. Not even the epithet 'tragic' is authentic beyond doubt.

But firstly the Sixth symphony by Gustav Mahler fulfils the classic symphonic scheme as clearly as no other work of this composer. This begins to show itself in the sequence of movements, with a clearly structured sonata movement (exposition, development and reprise), slow movement, scherzo and a finale which once again takes up the sonata form. The fact that a densely related network of themes, motives and structures is laid over these four movements, contributes substantially to the uniform shape of this composition.

The avoidance of a radiantly optimistic ending to the Sixth Symphony, as can be found by most composers since Ludwig van Beethoven’s Fifth Symphony, and also elsewhere by Gustav Mahler, is very striking. Although Mahler’s radiantly triumphant major finales always seem compulsive and unauthentic. In Mahler's Sixth Symphony the prospect of a happy solution is however excluded right from the start, therefore striding conspicuously in the opposite direction to the 'Fifth'. While the older work wandered from the opening funeral march to the cheerful rondo finale, the hammer blows in the finale now mark the catastrophe from which the hero never recovers. What exactly could be intended by that isn't free of speculation. It is said that Gustav Mahler alluded to three strokes of fate which caught up with him soon after: the death of his elder daughter, the diagnosis of his own incurable heart condition and the task of the directorship of the Viennese Court Opera. This however, would assume that the composer had prophetic abilities. Such explanatory attempts, and also the conjuration of the ghost of the first World War are always amazing, but nevertheless also take away decisive factors with regard to a work’s ambiguity and openness.

Composition
Gustav Mahler wrote his 'tragic' symphony in the summer months of the years 1903 and 1904.The circumstances didn't offer any reason for pessimism at that time because the successful director of the Viennese Court Opera had also found his family happiness: He married Alma Schindler, and their two daughters were born in 1902 and in 1904. But professionally Mahler was so busy that he had only the summer months left for his own compositional work. He liked to spend his vacation in Maiernigg on the Wörthersee, and the Sixth Symphony was written here. In the summer vacation of the year 1903 the two middle movements and subsequently also a large part of the opening movement were drawn up, while in the following year he was not able to work as quickly and its completion was achieved only after his work on the 'Kindertotenlieder' and an excursion to the Dolomites.

Michael Tegethoff (Translation: Michael Millard)
(This text is shortened)

Jonathan Darlington

is music director of the Duisburg Philharmonic Orchestra and Vancouver Opera. His demand for the highest level of professionalism and precision, infused with genuine enthusiasm, has ever increased the quality and popularity of both orchestras.

A graduate of Durham University and the Royal Academy of Music, he began his career as freelance pianist, accompanist and repetiteur in France. His work was influenced early on by such outstanding musical personalities of our time as Pierre Boulez, Riccardo Muti and Olivier Messiaen. He made his conducting debut in 1984 at the Parisian Théâtre des Champs Elysées with Francesco Cavalli’s baroque opera ”Ormindo”, and in 1991, as deputy to the Music Director Myung-Whun Chung at the Paris Opéra with ”Le nozze di Figaro”.

Sensitivity for depth and balance and an infectious dynamism are the hallmarks of Jonathan Darlington’s work. His vast symphonic and operatic repertoire ranges from the baroque to the contemporary, with an emphasis on lesser known (contemporary) works outside the European mainstream. Numerous world and national premieres of works such as Trojahn’s ”La Grande Magia” or Kagel’s ”Broken Chords” attest to his commitment to contemporary music. Renowned for his broad repertoire, he gives regular guest appearances with major orchestras and opera houses the world over. Jonathan Darlington holds the distinctions of a Chevalier des Arts et des Lettres as well as an Honorary LRAM and a Fellow of the Royal Academy of Music, London (FRAM).

Booklet for Gustav Mahler: Symphonie No. 6 in a Minor