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LPO-139 Mahler Booklet AW.Indd GUSTAV MAHLER (1860-1911) 70:38 Symphony No.5 Part I 01 13:00 Trauermarsch: In gemessenem Schritt. Streng MAHLER Wie ein Kondukt [Funeral March: At a measured pace. Strict. Like a cortège] 02 14:16 Stürmisch bewegt. Mit grösster Vehemenz SYMPHONY NO.5 [Tempestuously. With utmost vehemence] Part II JAAP VAN ZWEDEN conductor 03 17:33 Scherzo: Kräftig, nicht zu schnell [Sturdy, not too fast] LONDON PHILHARMONIC ORCHESTRA Part III 04 9:56 Adagietto: Sehr langsam [Very slow] 05 14:45 Rondo-Finale: Allegro – Allegro giocoso JAAP VAN ZWEDEN conductor LONDON PHILHARMONIC ORCHESTRA Pieter Schoeman leader Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL London LPO – 0033 LLPO-139PO-139 MMahlerahler bbooklet_AW.inddooklet_AW.indd SpreadSpread 1 ofof 6 - Pages(12,Pages(12, 1)1) 114/4/084/4/08 009:45:199:45:19 Also available from the London Philharmonic Orchestra MAHLER SYMPHONY NO.5 For more information or to purchase CDs telephone +44 (0)20 7840 4242 ‘My dear friend’, Gustav Mahler once told tragic and the most joyful worlds of feeling or visit www.lpo.org.uk his friend and conducting protegé Bruno are separated from one another entirely, LPO-0001 LPO-0003LPO- LPO-0009LPO--0009 Walter, ‘I used to possess certainty, but I lost and only bound together by Mahler’s it again. I will regain it tomorrow and lose it unmistakable personality and his command once more the day after.’ Unpredictability and of large-scale symphonic construction.’ inner conflict are indeed important facets of Mahler’s creative personality, but perhaps few One of the benefits of Mahler’s strong of his works so consistently leave us unsure structural grip was that it gave him the of what is to come next, of where the overall confidence to approach every one of his trajectory is taking us, as the Fifth Symphony. symphonies on its own architectural terms. This is not to say that its separate messages The Fifth Symphony employs a unique format are unclear: Mahler composed the work at his in which five movements are grouped into off-season retreat by the Wörthersee in the three parts, a long central Scherzo being LPO-0010O 0010 LPO-0012LPOO-0012O 0012 LPO-0013LPOO-0013 summers of 1901 and 1902, and the world framed by two pairs of movements, each of of nature is present, almost overwhelmingly which in turn is based on shared material, as if so, in the third-movement Scherzo. But deliberately presenting alternative treatments the period of the Fifth’s composition also of the same subject. Further unity is provided brought two hugely significant events in by the reappearance of material from the Mahler’s life in the form of his first personal second movement at the climax of the fifth. brush with mortality thanks to a near-fatal haemorrhage in February 1901, and his The symphony begins with a movement marriage to Alma Schindler (by then already with the unequivocal title of ‘Funeral pregnant with their first child) in March March’, in which attempts to climb towards PO 0014 PO-00300030 LPO-0032LPO-LPO-0032 1902, and so it is that death, marital love optimistic expression are weighed down LPO-0014 LPO-0030LPO- and exuberant joy are also major presences by a combination of sheer gravity and the here. Yet unlike Mahler’s other symphonies, fateful rhythm stated in the trumpet’s first this one does not mould these elements notes. Soon after the opening fanfares into some smoothly observable spiritual a yearning string melody makes an journey; rather, the Fifth forces them to jostle appearance, eventually winning for itself side-by-side in an almost schizophrenic work a lyrical extension, but just as that seems in which, as the great Mahler commentator to be attaining a measure of peace it is Deryck Cooke has described, ‘the most snuffed out, this time by its own nightmarish LLPO-139PO-139 MMahlerahler bbooklet_AW.inddooklet_AW.indd SpreadSpread 2 ofof 6 - Pages(2,Pages(2, 11)11) 114/4/084/4/08 009:45:209:45:20 Also available from the London Philharmonic Orchestra MAHLER SYMPHONY NO.5 For more information or to purchase CDs telephone +44 (0)20 7840 4242 ‘My dear friend’, Gustav Mahler once told tragic and the most joyful worlds of feeling or visit www.lpo.org.uk his friend and conducting protegé Bruno are separated from one another entirely, LPO-0001 LPO-0003LPO- LPO-0009LPO--0009 Walter, ‘I used to possess certainty, but I lost and only bound together by Mahler’s it again. I will regain it tomorrow and lose it unmistakable personality and his command once more the day after.’ Unpredictability and of large-scale symphonic construction.’ inner conflict are indeed important facets of Mahler’s creative personality, but perhaps few One of the benefits of Mahler’s strong of his works so consistently leave us unsure structural grip was that it gave him the of what is to come next, of where the overall confidence to approach every one of his trajectory is taking us, as the Fifth Symphony. symphonies on its own architectural terms. This is not to say that its separate messages The Fifth Symphony employs a unique format are unclear: Mahler composed the work at his in which five movements are grouped into off-season retreat by the Wörthersee in the three parts, a long central Scherzo being LPO-0010O 0010 LPO-0012LPOO-0012O 0012 LPO-0013LPOO-0013 summers of 1901 and 1902, and the world framed by two pairs of movements, each of of nature is present, almost overwhelmingly which in turn is based on shared material, as if so, in the third-movement Scherzo. But deliberately presenting alternative treatments the period of the Fifth’s composition also of the same subject. Further unity is provided brought two hugely significant events in by the reappearance of material from the Mahler’s life in the form of his first personal second movement at the climax of the fifth. brush with mortality thanks to a near-fatal haemorrhage in February 1901, and his The symphony begins with a movement marriage to Alma Schindler (by then already with the unequivocal title of ‘Funeral pregnant with their first child) in March March’, in which attempts to climb towards PO 0014 PO-00300030 LPO-0032LPO-LPO-0032 1902, and so it is that death, marital love optimistic expression are weighed down LPO-0014 LPO-0030LPO- and exuberant joy are also major presences by a combination of sheer gravity and the here. Yet unlike Mahler’s other symphonies, fateful rhythm stated in the trumpet’s first this one does not mould these elements notes. Soon after the opening fanfares into some smoothly observable spiritual a yearning string melody makes an journey; rather, the Fifth forces them to jostle appearance, eventually winning for itself side-by-side in an almost schizophrenic work a lyrical extension, but just as that seems in which, as the great Mahler commentator to be attaining a measure of peace it is Deryck Cooke has described, ‘the most snuffed out, this time by its own nightmarish LLPO-139PO-139 MMahlerahler bbooklet_AW.inddooklet_AW.indd SpreadSpread 2 ofof 6 - Pages(2,Pages(2, 11)11) 114/4/084/4/08 009:45:209:45:20 LONDON PHILHARMONIC JAAP VAN ZWEDEN transformation into a cruel whirling dance. similar to that of its English equivalent). ORCHESTRA dirigent After this episode the music winds down Being Mahler, however, it is never as simple again. At the point when the march has as that. True, it has a buoyancy absent from Das London Philharmonic Orchestra gilt Jaap van Zweden wurde in Amsterdam been reduced to a muffled timpani beat the heavy-legged first part of the symphony, als eines der wichtigsten Orchester der geboren. Im Alter von neunzehn Jahren there is a second new episode derived from but few could feel that this is an entirely Welt. Sein Ruf gründet sich auf seine begann er seine musikalische Karriere the string melody, but it is in a mood of carefree movement. The first of the five to Darbietungen im Konzertsaal und im als Geiger mit einem Engagement als sombre quiet that the movement ends. be written, it is also an intricately detailed Orchestergraben, seine zahlreichen jüngster Konzertmeister des Königlichen piece of work that cost the composer much preisgekrönten Schallplattenaufnahmen, seine Concertgebouw Orchesters. 1996-2000 The second movement shatters the mood intellectual effort: ‘The apparent confusion bahnbrechenden internationalen Tourneen war er Chefdirigent des Niederländischen in an instant. Stormy and impetuous, it must, as in a Gothic cathedral, be resolved und seine Pionierstellung in der Jugendarbeit. Sinfonieorchesters, 2000-2005 leitete er das nevertheless contains slower sections based into the highest order and harmony’, he Am Pult des 1932 von Sir Thomas Beecham Residentie Orchesters, 2005 wurde er zum on material from the first movement, in wrote to a friend. ‘It is kneaded through and gegründeten Orchesters standen in leitender Chefdirigenten und künstlerischen Direktor particular its two contrasted episodes. The through until not a grain of the mixture Funktion, abgesehen von Kurt Masur, Sir des Philharmonischen Orchesters und des climax comes when a brass chorale melody remains unmixed and unchanged.’ Adrian Boult, Sir John Pritchard, Bernard Kammerorchesters des Niederländischen briefly shines out to offer hope of victory, but Haitink, Sir Georg Solti, Klaus Tennstedt und Rundfunks berufen; seit 2008 ist er no sooner has it got going in earnest than The third and final section of the symphony Franz Welser-Möst. Vladimir Jurowski wurde Musikdirektor des Dallas Symphony Orchestra it begins to subside and the stormy music begins with what has become one of Mahler’s im März 2003 zum Ersten Gastdirigenten und Chefdirigent des Königlich Flämischen returns.
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