Mahler：Symphony No 5 The Adagietto Rondo Finale
08:27 V. Rondo-Finale
演奏者ページ Boston Symphony Orchestra (orchestra)
Erich Leinsdorf (conductor)
公開者情報 RCA Red Seal, 1964. LSC 7031.
著作権 Public Domain
備考 Source: Internet Archive
Mahler：Symphony No. 5 The Adagietto Rondo Finale is a must-watch for any classical music lover. This emotionally powerful finale is a true highlight of the score, and well worth your time.
In this video, we'll guide you through the entire Rondo finale of Mahler's Symphony No. 5, highlighting the key elements and explaining why it's such a standout performance. Whether you're a beginner or an experienced classical music fan, this video is a must-watch!
From Wikipedia, the free encyclopedia
The Symphony No. 5 by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's holiday cottage at Maiernigg. Among its most distinctive features are the trumpet solo that opens the work with a rhythmic motif similar to the opening of Ludwig van Beethoven's Symphony No. 5, the horn solos in the third movement and the frequently performed Adagietto.
The musical canvas and emotional scope of the work, which lasts over an hour, are huge. The symphony is sometimes described as being in the key of C♯ minor since the first movement is in this key (the finale, however, is in D major).[1] Mahler objected to the label: "From the order of the movements (where the usual first movement now comes second) it is difficult to speak of a key for the 'whole Symphony', and to avoid misunderstandings the key should best be omitted."
Composition history
Mahler's composing cottage in Maiernigg
Mahler wrote his fifth symphony during the summers of 1901 and 1902. In February 1901 Mahler had suffered a sudden major hemorrhage and his doctor later told him that he had come within an hour of bleeding to death. The composer spent quite a while recuperating. He moved into his own lakeside villa in the southern Austrian province of Carinthia in June 1901. Mahler was delighted with his newfound status as the owner of a grand villa. According to friends, he could hardly believe how far he had come from his humble beginnings. He was director of the Vienna Court Opera and the principal conductor of the Vienna Philharmonic. His own music was also starting to be successful. Later in 1901 he met Alma Schindler and by the time he returned to his summer villa in summer 1902, they were married and she was expecting their first child.
Symphonies Nos. 5, 6 and 7, which all belong to this period, have much in common and are markedly different from the first four, which all have strong links to vocal music. The middle symphonies, by contrast, are pure orchestral works and are, by Mahler's standards, taut and lean.
Counterpoint also becomes a more important element in Mahler's music from Symphony No. 5 onwards. The ability to write good counterpoint was highly cherished by Baroque composers, and Johann Sebastian Bach is generally regarded as the greatest composer of contrapuntal music. Bach played an important part in Mahler's musical life at this time. He subscribed to the edition of Bach's collected works that was being published at the turn of the century, and later conducted and arranged works by Bach for performance. Mahler's renewed interest in counterpoint can best be heard in the second, third and fifth movements of this symphony.
Structure
The symphony is generally regarded as the most conventional symphony that he had yet written, but from such an unconventional composer it still had many peculiarities. It almost has a four-movement structure, as the first two can easily be viewed as essentially a whole. The symphony also ends with a rondo, in the classical style. Some peculiarities are the funeral march that opens the piece and the Adagietto for harp and strings that contrasts with the complex orchestration of the other movements.
A performance of the symphony lasts around 70 minutes.
The work is in five movements, though Mahler grouped the movements into bigger parts:
Part I
1. Trauermarsch (Funeral march). In gemessenem Schritt. Streng. Wie ein Kondukt (At a measured pace. Strict. Like a funeral procession.) C♯ minor
2. Stürmisch bewegt, mit größter Vehemenz (Moving stormily, with the greatest vehemence) A minor
Part II
3. Scherzo. Kräftig, nicht zu schnell (Strong and not too fast) D major
Part III
4. Adagietto. Sehr langsam (Very slow) F major
5. Rondo-Finale. Allegro – Allegro giocoso. Frisch (Fresh) D major
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