O Schmerz! Du Alldurchdringer!
Dir bin ich entrungen!
O Tod! Du Allbezwinger!
Nun bist du bezwungen!
Mit Flügeln, die ich mir errungen,
In heißem Liebesstreben,
Werd’ ich entschweben
Zum Licht, zu dem kein Aug’ gedrungen!
Sterben werd’ ich, um zu leben!
Aufersteh'n, ja aufersteh'n wirst du,
mein Herz, in einem Nu!
Was du geschlagen,
zu Gott wird es dich tragen!
(O Pain, all-pervading,
I have escaped from you!
O Death, all-conquering,
now you are conquered!
With wings which I have won
In love’s ardent striving,
I shall soar upwards
to the light which no eye has penetrated!
I shall die in order to live!
Rise again, yes, you shall rise again,
my heart, in an instant!
Your beating
shall lead you to God!)
(Concluding lines, Symphony No. 2 in C Major)
Way back on April 28, our chorus (ASU Choral Union) performed Mahler’s Symphony No. 2 in C Major at Gammage Auditorium. I started writing this up about a week later and have had trouble describing this event. Probably because music like this doesn’t lend itself well to description in words? So I’ll just describe what I can.

Mahler was especially good at putting together big works utilizing large groups of performers. This piece, which primarily is orchestral, is in that style. The orchestra had over 125 performers (some of whom performed offstage). Our chorus was joined by various other ASU choirs for a total of over 285 singers. Plus two dynamic soloists. Over 400 performers total.
Here’s an anecdote that gives a sense of what was going on in terms of intensity. At about the 2:20 mark in the video, you can (barely) hear the Gammage pipe organ’s entrance. Prior to the performance, they preset the organ to a volume level that complements the volume of the rest of the orchestra and chorus at the organ’s entry point. When the chorus was warming up at rehearsal, no one had brought a pitch pipe. So the conductor used the organ (with volume preset as described above) to lead the warmup. That is, he used it only until he realized no one in the chorus could hear a word he was saying (and eventually attempting to shout) over the organ. The organ – one small piece of the overall ensemble – was set that loud.
The music involves quite a bit more than lots of performers and occasional very loud moments. Mahler’s program notes discuss his goals for the five movements. “The first movement represents a funeral and asks questions such as "Is there life after death?"; the second movement is a r

emembrance of happy times in the life of the deceased; the third movement represents a complete loss of faith, and belief in life as meaningless; the fourth movement, a song, is a rebirth of faith ("I am from God, and will return to God"); and the fifth movement, after a return of the doubts of the third movement and the questions of the first, ends with a realization of God's love, and recognition of everlasting life.” All this is explored by the orchestra for about 65 minutes through the first 4+ movements while the choir sits quietly and waits. I can tell you that it was quite a buildup.
Toward the climax of the piece, we sing for about 15 minutes total (approximately the last three minutes are on the video). Mahler asks a lot from the chorus during that time. I’ve posted a couple pages of the score (click to enlarge). I enjoy his admonition “Mit hochster Kraft” (with maximum force); and I haven’t (tried to) hit a G in many years (bottom line, page 14). You can see how the four basic parts are subdivided as we approach the conclusion.

By the time (at 2:08 in the video, bottom line of page 14 of the score) that we reach the climactic message in the 5th movement–
Aufersteh'n, ja aufersteh'n wirst du,mein Herz, in einem Nu! (fourth line from the bottom in the German text above) – and
after all that build-up now over 75 minutes and counting – I can report that this is an excellent moment to be in a chorus. I don’t know how you beat it.
And it was great that the crowd got into it. This easily was the longest, most spontaneous ovation I’ve ever experienced at any performance, including ND Glee Club days. As often noted, live performance has a power . . .
Patrick came up from Tucson to attend and videotape. Patricia came to our rehearsal on Thursday evening, back for the concert on Friday evening, and ran the usual post-concert party. This support makes for a nice event. A goodly number of friends also attended.
If you pause the video at 4:40, you can see a “photo” of the three performers. I’m just to the right of the fat bald guy in the second row from the top; Paul Jr. is to the right of me in the same row; Christopher is in the row ahead of us, just to the left of me.
(Information about Mahler is at
http://en.wikipedia.org/wiki/Gustav_Mahler. Information about this particular symphony is at
http://en.wikipedia.org/wiki/Symphony_No._2_%28Mahler%29.)
Will post information about 2006-07 season later.