ROTTERDAM SYMPHONIC ORCHESTRA leaded by Yannick Nézet-Séguin in Mahlers 2nd Symphony - RESURRECTION. at Theatre des Champs-Elysees, Paris. Photo: Henning Høholt

With Rotterdam Symphonic Orchestra, conducted by the young conductor Yannick Nezet-Seguin Gustav Mahlers 2. Symphony “RESURRECTION”  became something extraordinary at Theatre des Champs Elysees. I liked the conductors temperament and energy, and especially as it seems that the orchestra followed up his ideas of making it spectaculary
. It was OUTSTANDING, and a big success for the orchestra, 80 persons choire Collegium Vocale Gent & Academia Chigiana Siena, solists Kate Royale and Ekaterina Gubanova, and – the conductor  Yannick Nezet-Seguin. One of the longest symphonies in the Symphonic history.

This symphony is full of brilliant contrasts, and when it is taken so well care of as with this outstanding young conductor Yannick Nezet-Seguin, it is no wonder that the time was just running, and we, the audience, could forget about time and place, and only enjoying the spectacular sound mystery going on in front of our open eyes.

It allopened with a fire like intensitivity, Funeral Rites, which didn´t stop until it all was over.

Part of Rotterdam Phil Orch. Beefore the concert starts. 2010. Photo: Henning Høholt

The 2nd. Symphony has five parts:

1. Allegro maestoso, Totenfeier

2. Andante ,oderato

3. Scherzo, In ruhig bevegung – Attacca

4
. “Urlicht”,  Sehr feierlich, aber schlicht

5 Im Tempo des Scherzos, Wild herausfahrend.

The “Resurrection” was Gustav Mahler‘s favorite symphony, which he led on many auspicious occasions, and it had the longest gestation of any of his works. The opening was completed in 1888 as “Totenfeier” (“Funeral Rites”), a stormy symphonic poem to bear the hero of Mahler’s recently-completed First Symphony to his grave, amid torment over the meaning of his life
. The middle movements awaited Mahler’s summer vacation of 1893 and reflected his fascination with the same medieval folk poetry which provided the texts for most of his songs.

“His creative block for a suitable finale was finally broken in a startling way. The conductor Hans von Bulow was a cherished mentor but had violently rejected the Totenfeier as incomprehensible after encouraging Mahler to play it for him. Thus, when he attended von Bulow’s funeral, Mahler’s feelings must have been quite conflicted. As he later recalled, at the climax a children’s choir sang Friedrich Klopstock’s Aufersteh’n (“Resurrection Ode”), and “it flashed on me like lightning and everything became plain and clear in my mind.” Seized with inspiration, Mahler added his own apocalyptic and cathartic verses to the Ode and quickly pulled his symphony into final form”.

The first movement is hugely dramatic; according to Mahler’s own program notes it aims to convey nothing less than a search for the meaning of life – Funeral Rites. The second movement, representing long-forgotten pleasure, is a gentle, old-fashioned dance of lilting grace, yet challenged by creeping shadows. The third movement is a grotesque and wickedly sarcastic waltz, shot through with anguished outcries

. The fourth movement is a child’s song, naïve and wistfully introspective.

And then comes the vast finale, which depicts the full terror and glory of a pagan last judgment and resurrection. It begins with a huge crash and progresses through episodes of hushed expectancy, quivering tension, funeral dirges, hopeful fanfares and fevered misgiving, culminating in a triumphant apocalyptic chorale, one of the most glorious and powerful climaxes in all of music. Gustav Mahler adds to the awesome wonder with extraordinary instrumental effects, including offstage brass, –  8 musicians, good played at Theatre des Champs Elysees, which was brought in for the finale part, a massive battery of percussion inclusive three church bells, double set of paukes, and ultimately the sheer visceral excitement of the potent sound produced by hundreds of singers and players. During the way i enjoyed very much the many soloparts in all corner of the orchestra, inclusive the soloviolinist, the two harps, the wonderful sound of the cello groupe, and the splitting up of the same.

By meeting the young conductor Yannick Nezet-Seguin on this special occassion, we have perhaps enjoyed a special evening with one of the really coming big conductor stars in the world
. His coming projects are Carmen at the Met. Debuts with Berliner Philharmonic, the Chicago Symphonics, Orchester of Bayerischnen rundfunk, Gewandhaus in Leipzig, Debut with Carmen at La Scala in Milano, Romeo and Juliet in Montreal, and in 2011-2012 debut at Covent Garden. THANK YOU.