Event is Live
CARNEGIE HALL PRESENTS
Orchestra dell'Accademia Nazionale di Santa Cecilia
Saturday, October 21, 2017
8 PM
Stern Auditorium / Perelman Stage
Sir Antonio Pappano by Sheila Rock / EMI Classics, Barbara Hannigan by Elmer de Haas
Tragedy and rapture are the essence of Mahler’s Sixth Symphony. The storm-tossed finale’s three titanic hammer blows presaged personal tragedies in Mahler’s life, including his own mortal illness. Superstitious, he removed the third blow. But the symphony overflows with life-affirming joys as well, from peaceful memories of mountain pastures—listen for the cowbells—to the ecstatic portrait of his wife, Alma, that fills the first movement.
Performers
Orchestra dell'Accademia Nazionale di Santa Cecilia
Sir Antonio Pappano, Music Director and Conductor
Barbara Hannigan, Soprano
Program
SALVATORE SCIARRINO La nuova Euridice secondo Rilke (NY Premiere)
MAHLER Symphony No. 6
Event Duration
The printed program will last approximately two and one-half hours, including one 20-minute intermission. Please note that there will be no late seating before intermission.
The Orchestra dell'Accademia Nazionale di Santa Cecilia is proudly supported by Enel, Founding Partner and USA Tour Sponsor.
At a Glance
Many regard Mahler’s Symphony No. 6 as the darkest and most daunting of his
nine works in the form. Certainly the violently shifting moods, maniacal
marches, and devastating hammer blows support this impression. Just as he
poured his most jubilant feelings into the Fifth, the composer told a friend
that the Sixth expressed “the cruelties I’ve suffered and the pains I’ve felt.”
Like his other symphonies, this work was considered chaotic, sprawling, or
simply unplayable in his own time. Yet the more tranquil moments—the bucolic
slow movement, the lyrical “Alma” theme—are as achingly beautiful as anything he
wrote. What is most striking about the symphony is its closeness to the
postmodern volatility of contemporary music, the constant switching from light
to dark, from open-hearted song to grinding dissonance, from cosmic grandeur to
vernacular triteness. In the Sixth, sublime terror co-exists with mocking
triviality. Mahler was a kindred spirit who uncannily anticipated the
eclecticism of the current day, and the frequency of Mahler performances
suggests that they speak eloquently to the traumatic instability of our era.
Also on the program is another challenging work, the cantata La nuova Euridice
secondo Rilke, by Salvatore Sciarrino, commissioned by the Accademia
Nazionale di Santa Cecilia and conducted by Sir Antonio Pappano in its New York
premiere.