Mahler's 8th - Do you like it?

[owlice]

With Marin Alsop conducting?

Some of them, yes, but not all of them.

Oh, I would if I could, believe me! And I may yet...

You'll get there!

[jochanaan]

jochanaan, A long time ago, you pointed out to me some common themes that bound parts 1 ans 2 together. Could you be bothered to repeat it for me?

Thanks,

Mike

First, the triumphant brass chorale at the end begins with a near-literal repetition of the opening chorus' first measures.  Then the "Imple superna gratia" and "Infirma nostri corporis" passages are repeated at the words " ...er ahnet kaum das frische Leben" and "Uns bleibt ein Erdenrest"; the latter repetition is virtually literal.

But beyond these obvious contact points, there are lots of subtle motivic commonalities.  The pizzicato theme and high woodwind lines that open the second movement are both variants of the motive first heard on the words "Accende lumen sensibus," which is itself strongly related to the opening choral theme.  In fact, now that I think about it, that opening three-note cell simply saturates both movements.

Mahler was a great master at motivic development and, as I said somewhere else, multi-dimensional counterpoint.

[knight66]

jochanaan, Thanks for this. I have just go the Nagano version and will liten out for these themes.

Mike

[imperfection]

First, the triumphant brass chorale at the end begins with a near-literal repetition of the opening chorus' first measures.  Then the "Imple superna gratia" and "Infirma nostri corporis" passages are repeated at the words " ...er ahnet kaum das frische Leben" and "Uns bleibt ein Erdenrest"; the latter repetition is virtually literal.

But beyond these obvious contact points, there are lots of subtle motivic commonalities.  The pizzicato theme and high woodwind lines that open the second movement are both variants of the motive first heard on the words "Accende lumen sensibus," which is itself strongly related to the opening choral theme.  In fact, now that I think about it, that opening three-note cell simply saturates both movements.

Mahler was a great master at motivic development and, as I said somewhere else, multi-dimensional counterpoint.

Quoted for truth
+1