NH Philharmonic performs Mahler’s Resurrection Symphony
Among the most well-regarded of Gustav Mahler’s nine symphonies is his second. Commonly called the Resurrection Symphony, it’s a daunting work. For Mark Latham, conductor and musical director of The Phil — the New Hampshire Philharmonic Orchestra — scale is a big reason he’s drawn to it.
“It’s not very often done because it’s just so large and it’s a challenge to get all the forces in place,” Latham said by phone recently. “But I think it’s actually the dream of probably all conductors — the challenge of this incredible masterpiece.”
Latham promised an “immersive” experience when The Phil performs Mahler’s Second Symphony in C Minor at two afternoon shows, on Feb. 24 and Feb. 25.
“There are gigantic forces involved,” he said. “A huge orchestra, gigantic percussion, an off-stage band, a chorus of about 80 or 90, and two soloists. I think the audience can’t help but get immersed.”
The upcoming performance will feature two guest solo vocalists. Alto Hannah Murray is a Plymouth State University faculty member, and soprano Dr. Evangelia Leontis is from Keene State University. As the combined choirs from both schools are also performing, “it seemed appropriate and sensible to use their own faculty,” Latham said. “I have worked with both of them; they both have fabulous voices.”
The Keene State Concert Choir, directed by Dr. Sandra Howard, is non-auditioned and open to all students regardless of major. Plymouth State’s includes both students and community members in its non-auditioned University Chorale. Conversely, the Chamber Singers are an auditioned ensemble that tours nationally and internationally. Both are directed by Harmony Markey.
Despite its name, the Resurrection Symphony isn’t a Christian work; most biographers say the Jewish born composer was agnostic, though it does explore life, death, and death’s transcendence. Mahler, who was born in the mid-19th century and had siblings who died in infancy, was captivated by the topic of death.
“One of the games that he and his brothers and sisters would play would be to reenact funeral marches — a natural thing as kids, right?” Latham said, adding that Mahler wrote a piece called Polka and Funeral March before he was 10. “Even from a very young age, he was concerned with dying … how we can better live through understanding what death means, and what happens after death.”
Finishing the symphony was difficult for Mahler, who got stuck on choosing a text for the choral section in the final movement (stirringly recreated in the Leonard Bernstein biopic Maestro). Before that, he’d shared the first section with renowned conductor Hans von Bülow, who didn’t like it; he covered his ears. “This sent Mahler into a big funk,” Latham said. “He didn’t compose for quite a while after that.”
When Bülow died, though, a reading of Friedrich Gottlieb Klopstock’s poem “Die Auferstehung (The Resurrection)” at his funeral finally gave Mahler clarity. “That was the a-ha moment for him,” Latham said. “He raced back and began finishing the final movement.”
For Latham, the Resurrection Symphony “is an incredible journey … an exploration of the big themes of our lives.” He offered his thoughts on its five stages.
“The first movement is as long as a Beethoven symphony; its original name is Funeral Rites, and in a way, it’s the funeral of the hero that he presented in his first symphony,” he said. “Then it just goes from there, there’s a lovely, gentle, what’s called a Ländler, a German dance, in the second movement, then Saint Anthony and the Fish in the third movement,” which includes a song from a set of Mahler poems.
“Philosophically, it’s expressing in a way what seems to be the senselessness of human existence,” Latham said. “Saint Anthony goes to preach and the church in Padua is empty; then he goes and preaches to the fishes. They’re swimming about, and don’t pay much attention either. The actual song is hilarious.”
The fourth movement, Primordial Light, “is really pure and angelic,” and includes Murray’s alto solo. An apocalyptic vision commences the first half of the fifth movement, “followed by looking at what resurrection might mean — even if you’re not Christian, in fact. It’s just a gigantic voice, and you get swept up. Before you know it, it’s almost over. It’s fantastic.”
Mahler’s Resurrection Symphony
When: Saturday, Feb. 24, and Sunday, Feb. 25, 2 p.m.
Location: Seifert Performing Arts Center, 44 Geremonty Dr., Salem
Tickets: $5 to $35 at nhpo.booktix.com
Featured photo: Mark Latham. Courtesy photo.
