Shedrin. Shostakovich. Mahler

Mahler's Sixth Symphony (1903–1904) differs from the preceding ones in many respects. Previously, the composer had endeavoured to fill his symphonies with song. They were permeated with intonations, separate phrases and even whole sections from his vocal-symphonic cycles. The Sixth Symphony is not connected to the vocal cycles, and its theme has a more generalised character. Mahler did not speak about the content of the Sixth: whoever wishes to may penetrate the depth of its concept, may meditate, may listen attentively to the music! «My Sixth, it seems, again turned out to be a hard nut, one which the weak teeth of our critics are unable to crack!» he exclaimed. But even without being explained by the author, the content of the symphony, which was not entitled Die Tragische by mere chance, can literally «be read» from the music. Outstanding conductor Willem Mengelberg, one of the best interpreters of Mahler’s works, wrote of the Sixth: «It contains a stunning drama in sound, a titanic struggle by a hero perishing in a dreadful catastrophe». Despite the tragic element, the symphony’s music is not bereft of hope. The hero’s death is not in vain: through his example, he inspires those who come after him. The finale of the symphony evokes associations with the funereal movements of Beethoven’s symphonies, full of stern power and mournful greatness.