Talk:Symphony No. 2 (Mahler)

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Classical music: Compositions

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Klopstock ode

Hello classical music Wikipedians. I'm new here, and am just curious how this works. I would like to add the original Klopstock ode that is used in this symphony and a translation, but I have no idea about checking copyrights on text. It's rather old, so I would think that it would be in the public domain, but I can't be sure. Anyone have any ideas or suggestions? Thanks in advance. 19:44, 21 February 2006 (UTC)

Definitely public domain now, as Klopstock died in 1803.

Die Auferstehung

Auferstehn, ja, auferstehn wirst du,
Mein Staub, nach kurzer Ruh'.
Unsterblichs Leben
Wird, der dich schuf, dir geben.
Halleluja!

Wieder aufzublühn werd' ich gesät.
Der Herr der Ernte geht
Und sammelt Garben
Uns ein, uns ein, die starben.
Halleluja!

Tag des Danks, der Freudentränen Tag,
Du meines Gottes Tag!
Wenn ich im Grabe
Genug geschlummert habe,
Erweckst du mich.

Wie den Träumenden wird's dann uns sein.
Mit Jesu gehn wir ein
Zu seinen Freuden.
Der müden Pilger Leiden
Sind dann nicht mehr.

Ach, ins Allerheiligste führt mich
Mein Mittler dann, lebt' ich
Im Heiligtume
Zu seines Namens Ruhme.
Halleluja!

(Found at http://freiburger-anthologie.ub.uni-freiburg.de/fa/fa.pl?cmd=forum&sub=discussion&add=127)

Sources

This article uses a number of descriptive terms, particularly for the fifth movement, that it seems to suggest are Mahler's. We need sources for this. Anyone know where it might be from? Heimstern Läufer (talk) 06:40, 30 October 2007 (UTC)[reply]

The "volles Werk" annotation

I changed the text which said that the organ was instructed to play "with all stops". The actual instruction is "volles Werk" which IIRC means all foundations and the associated usual suspects. All stops OTOH would have been marked "tutti" in the score and would therefore include all the loud reeds which were definitely NOT engaged during the performance I attended last Sunday at the San Francisco Symphony under Michael Tilson Thomas. (And thank goodness for that as reeds would ruin the balance and the sheer power of the bass.) JanBielawski (talk) 18:17, 16 March 2010 (UTC)[reply]

"Notable recordings"?

I'm afraid I just don't see the value in this section. What makes any of the listed recordings particularly notable? Sure, Bernstein performed this symphony a lot and recorded it more than once, but what makes his recordings any more notable than Abbado's or Klemperer's or Sinopoli's, or anyone's more notable than anyone else's? This is what gets me about any of these "selected discography"-type sections in WP articles: they're pretty much by definition POV. If a listed recording is the first one for a work, or the first to use some new and improved edition, or the only one made by the composer, or something like that, then that's one thing, but otherwise... --Wspencer11 (talk to me...) 17:03, 8 July 2010 (UTC)[reply]

I agree. This section has become merely a way of editors expressing their personal preferences for some recordings, without necessarily involving any real notability factor. MUSIKVEREIN (talk) 17:11, 8 July 2010 (UTC)[reply]

Agreed. Without cites for notability, not worth keeping the section. --SarekOfVulcan (talk) 17:15, 8 July 2010 (UTC)[reply]

"The largest possible contingent of strings"

I was just wondering where "the largest possible contingent of strings" quote has come from, I cannot find it in the score nor in the facsimile of the autograph. I could easily have missed it when looking - your help is most appreciated! Chris — Preceding unsigned comment added by Reeveorama (talk • contribs) 00:08, 28 May 2012 (UTC)[reply]

External links modified

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Religious Matters

It would be at least interesting to have a paragraph discussing how the ideas of this symphony connect with Mahler's reputation as agnostic.David in Cincinnati (talk) 19:57, 18 September 2016 (UTC)[reply]

Exposition

Under form, the article says the exposition is from rehearsal mark 4-15 and I’m thinking that whoever wrote that part of the article inputed a personal analysis because in most analyses of this work, (or at least all the analyses I’ve read), the exposition is from the beginning to rehearsal mark 7. 2600:100E:B00C:31EF:4D76:7A13:AEF2:2B3B (talk) 19:23, 17 July 2022 (UTC)[reply]