Album available // Mahler: Symphony No. 2 "Resurrection" by Otto Klemperer
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Gustav Mahler (1860-1911) Symphony No. 2 "Resurrection" IMG 8
00:00 I. Allegro maestoso
19:01 II. Andante moderato
29:31 III. In ruhig fliessender Bewegung
41:11 IV. Urlicht
45:13 V. In Tempo des Scherzos, Kräftig, Langsam Misterioso
Hilde Rössel-Majdan
Elisabeth Schwarzkopf
Philharmonia Chorus & Orchestra
Conductor: Otto Klemperer
Recorded in 1962, at London
New mastering in 2023 by AB for CMRR
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Mahler believed that a symphony was "like the world," a composition developing many images and experiences. Here, the five movements stretch over about eighty minutes, and there is a huge orchestra, as well as brass and percussion offstage. In the last two movements, voices are added: soloists and a choir. The music has a wide emotional range, and the extremes of dynamics are remarkable. The first entry of the choir is perhaps the softest in the entire repertoire, while the end is overwhelming in power: "What effect I could have achieved with the choir and organ if I had used them earlier! but I wanted to keep that for the climax and I prefer to give up its effect in other places."
The "Resurrection" Symphony by Mahler played a crucial role in launching Otto Klemperer's career. In November 1905, young Klemperer, then a music student in Berlin, was hired to accompany choir rehearsals and direct the off-stage orchestra in a performance of the symphony under the direction of Oskar Fried. Mahler attended the final rehearsal, and Klemperer nervously approached him to ask if the off-stage music had been satisfactory. "No," Mahler replied, "it was dreadful, far too loud. Since it was impossible to place the musicians farther away, they played very softly during the performance. Later, in the artists' room, Mahler spotted Klemperer and shook his hand. "Very good," he said.
"I was very happy," Klemperer wrote many years later. "From that day on, my only dream was to work with Mahler." An opportunity arose in January 1907 when Mahler returned to Berlin to conduct a performance of the Third Symphony. Klemperer played the accompanying drums off-stage. This time as well, Klemperer made a piano reduction of the "Resurrection" Symphony, and a month later, during a visit to Vienna, he had the opportunity to play the Scherzo for Mahler. The composer was touched—and impressed. Klemperer had played from memory. Why, Mahler asked, did he want to become a conductor when he clearly had a promising future as a pianist? Klemperer replied that it was his "unwavering ambition" to conduct, and Mahler sent him to see the director of the Volksoper.
When Klemperer returned empty-handed, Mahler took a visiting card from his pocket and wrote on it: "Gustav Mahler recommends Herr Klemperer as an exceptional musician, who despite his young age is already very experienced and destined for a career as a conductor. He vouches for the successful completion of the trial period and will be happy to provide personal information." Klemperer kept a copy of the card in his wallet until the day he died. "It opened all the doors for me," he said. "Mahler was, in fact, my 'Creator Spiritus'."
Wagner by Otto Klemperer: The Ring Without Words, Wesendonck Lieder, Overtures, Preludes
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