Mahler Symphony No. 2 Surround

San Francisco Symphony Mahler No. 2 Cover Image

Complete Album 96kHz PCM - Surround (FLAC - 3.12GB):

$40.00 USD

Complete Album 2.8MHz DSD - Surround (DSF - 10.5GB):

$50.00 USD

Cover Art JPG: View

Booklet PDF: View

Graphics ZIP: Download

Michael Tilson Thomas, conductor Isabel Bayrakdarian, soprano
Lorraine Hunt Lieberson, mezzo-soprano
Vance George chorus director
San Francisco Symphony Chorus

Recorded live at
Davies Symphony Hall
San Francisco,
June 23 - 26, 2004

This recording of Mahler's Symphony No. 2 was made possible by the encouragement and generous leadership funding of
Mr. Gordon Getty.

Special thanks to David Kawakami and Colin Cigarran of the Sony Super Audio CD project.

Producer: Andreas Neubronner
Balance Engineer: Peter Laenger
Tape Operator: Christian Starke
Editing, Remixing, and Mastering: Christian Starke, Andreas Neubronner
Technical Assistance: Jack Vad
DSD Recording: Dawn Frank, Gus Skinas
Art Direction and Design: Alan Trugman
Cover Photo: Michele Clement
Inside Cover Photo: Terrence McCarthy
Mahler Photo: The Kaplan Foundation Collection, New York
Editorial: Larry Rothe

Mahler Symphony No. 2 in C Minor

In February 1888, Gustav Mahler began a large orchestral piece called Todtenfeier, or Funeral Rites. Mahler realized that Todtenfeier was not an independent piece but the first movement of a second symphony. In 1894, Symphony No. 2 was completed. The present recording incorporates revisions Mahler made up to 1909. The Second Symphony is often called the “Resurrection,” but Mahler himself gave it no title.

The first movement celebrates a dead hero, retaining its original Todtenfeier aspect. The second and third movements represent retrospect, the former being innocent and nostalgic, the latter including a certain element of the grotesque. The fourth and fifth movements are the resolution and deal with the Last Judgment, redemption and resurrection.

Writing to the critic Arthur Seidl in 1897, he refers to the three middle movements as having the function only of an “interludium.” There is, as well, the question of breaks between movements. The score is explicit, specifying a pause “of at least five minutes” after the first movement and demanding that the last three movements follow one another without interruption.

The Andante is composed as a kind of intermezzo (like some lingering resonance of long past days from the life of him whom we bore to his grave in the first movement—something from the days when the sun still smiled upon him). The first and last movements are the symphony’s biggest. In other ways, they are as different as possible, partly because of the six years that separate them, still more crucially because of their different structural and expressive functions.

—edited excerpt from booklet