Symphony No.8 in E flat major "Symphony of a Thousand" - Gustav Mahler

Warsaw Philharmonic Orchestra (along several choirs) conducted by Antoni Wit.

I - Part I: "Veni Creator Spiritus" Allegro impetuoso (0:00) - "Imple superna gratia" A tempo, Etwas (aber unmerklich) gemäßigter, immer sehr fließen (1:23) - "Infirma nostri corporis" Etwas drängend - Noch einmal so langsam. Nicht schleppend (5:28) - Tempo I. Allegro, etwas hastig (7:49) - "Infirma nostri corporis" Sehr fließend - Noch einmal so langsam als vorher. Nicht schleppend (9:07) - "Accende lumen sensibus" Plötzlich sehr breit und leidenschaftlichen Ausdrucks - Mit plötzlichem Aufschwung (12:16) - "Veni Creator Spiritus" (17:17) - "Gloria sit Patri Domin" Wieder frisch (21:10)

II - Part II. Poco adagio (23:54) - Piú mosso. Allegro moderato (29:35) - "Waldung, sie schwankt heran" Wieder langsam (32:32) - "Ewiger Wonnebrand" Moderato (36:46) - "Wie Felsenabgrund mir zu Füßen" Allegro appassionato (38:14) - "Geretet ist das edle Glied" Allegro deciso - "Hände verschlinget euch" (42:42) - "Jene Rosen aus den Händen" Molto leggiero (43:34) - "Uns bleibt ein Erdenrest" Schon etwas langsamer und immer noch mäßiger - Wie die gleiche Stelle im I. Teil (45:20) - "Ich spür’ soeben nebeind um" - "Hier ist die Aussicht frei" - "Freudig empfangen wir" Im Anfang (die ersten vier Takte) noch etwas gehalten (47:31) - "Höchste Herrscherin der Welt!" Sempre l’istesso tempo (48:40) - "Dir, der Unberührbaren" - "Du schwebst zu Höhen der ewigen Reiche" Äußerst langsam. Adagissimo (53:08) - "Bei der Liebe, die den Füßen" Fließend (56:58) - "Bei dem Bronn, zu dem schon weiland" (57:53) - "Bei dem hochgeweihten Orte" (59:17) - "Neige, neige, du Ohnegleiche" (1:01:51) - "Er überwächst uns schon" - "Vom edlen Geisterchor umgeben" Unmerklich frischer werden (1:02:43) - "Komm! Hebe dich zu höhern Sphären!" - "Blicket auf zum Retterblick, alle reuig Zarten" Sehr langsam - Hymnenartig (1:06:09) - "Alles Vergängliche ist nur ein Gleichnis" Sehr langsam beginnend (1:14:19)

Mahler's Symphony No.8 was composed in the summer of 1906, being premiered in September 12 of 1910. It was performed by the Munich Philharmonic Orchestra with choruses from Munich, Leipzig and Vienna, all conducted by the composer.The reception of the work was triumphant, it being one of the few moments of glory that Mahler received as a composer. The large number of choral and orchestral resources required had given it the nickname of "Symphony of a Thousand", which Mahler dissaproved.

The work is divided into two parts. The first "Veni, creator spiritus" uses as text the Pentecost Hymn written in Latin by the Archbishop of Mainz, Rabanus Maurus in the 9th century, words that Mahler changed according to his needs. It is structured in sonata form. Opens with a powerful organ chord followed by a massive tutti, introducing a brilliant and joyful main theme. The four vocal soloists then present the lyrical second theme, with the words "Imple superna gratia". The choirs join the soloists, who lead to the repetition of the main theme further expanded and elaborated by the orchestra. An ominous orchestral postlude leads into the depths, where anxious choral voices sing the words "Infirma nostri corporis" over a violin solo, they are met by a conciliatory response from the soloists. The singing takes an antiphonal form, with the choirs responding to each other.

The development begins with a crepuscular orchestral interlude, which leads to the solo singers, with the reaffirmation of the stanza "Infirma nostri corporis", on a counterpoint background of woodwinds and strings. The fundamental part of the development begins with the choirs singing "Accende lumen sensibus", with a theme that will have great importance in the second part of the work. The intervention of the choirs is carried out in a triumphant way, bringing the music to the climax of the movement. The development ends with a broad double fugue by the choruses, beginning with the words "ductore sic te praevio". The recapitulation of the main themes then begins, which leads us an extensive and triumphal coda on the "Gloria".

The lengthy second part consists of the final scene of the second part of Goethe's Faust: The journey of Faust's soul, rescued from the clutches of Mephistopheles, on to its final ascent into heaven, redeemed by love. It begins with an orchestral prelude and which constitute the basis of the whole part. The first, presented by woodwinds and pizzicato strings, is dubitative. It is contrasted by the second one: a glowing chorale for strings and lower woodwind. The music grows in a climax, followed by the main theme transformed into a recessional. A passionate third theme breaks in, bringing with it the second theme in intensified guise.

[Description continued in the comments section]

Lyrics: https://bit.ly/3lhDS80

Picture: "The Last Judgement" (1853) by the English painter John Martin.

Source: https://bit.ly/2XNOyfu and https://bit.ly/3IakMHQ

Видео Symphony No.8 in E flat major "Symphony of a Thousand" - Gustav Mahler канала Sergio Cánovas