Pickvibe
Conductor Gintaras Rinkevičius
For the grand opening of its 36th season of concerts, the Lithuanian State Symphony Orchestra, led by Artistic Director and Principal Concertmaster of the Orchestra of the Republic of Lithuania. The Symphony Orchestra of the Lithuanian State Symphony Orchestra of the Russian National Symphony Orchestra, which will host the Orchestra's season-long concert, which is dedicated to the music and music history of the Czech Republic, has chosen one of the most famous works of the Austrian musical genius Gustav Mahler (1860-1911) - the Second Symphony, also known as the "Resurrection" Symphony. Among Mahler's ten symphonies and the "Song of the Earth", the Second has a unique place - it opens up a group of the composer's vocal works and turns the genre towards new explorations. The symphony is a monumental five-movement cycle for soprano, mezzo-soprano, mixed choir and orchestra. The majority of its poetic texts are set to verses from the German folk song collection The Boy's Wonderful Horn, while the symphony's finale is based on the text of the hymn 'Resurrection' by the German poet Friedrich Gottlieb Klopstock, together with the composer's own verses. The work is also known as the "Resurrection" Symphony. However, neither in the Second Symphony nor in the other vocal symphonies does Mahler follow a literary programme: the musical action develops not on the basis of a plot, but on the basis of symphonic logic.
 
In the Second Symphony, the composer claimed to be continuing the ideas of the First Symphony (as evidenced by the reminiscences of these musical themes in the first movement), but at the same time, the Second Symphony is also the tragic antithesis of the First. There, the hero was full of vigour and youthful exuberance; here he is tormented by the meaning of life and other philosophical questions. The fateful questions of life and death are summarily answered in the finale of the Second Symphony, a large-scale vocal-instrumental fresco - the culmination of the entire musical process. In turn, it is a symphony within a symphony, in which three contrasting emotional spheres are essentially intertwined, with themes associated with the images of death, suffering and wandering man, and the symbolism of resurrection. The answer to the eternal questions is prophetically found: "I will die to live" ("Sterben werd ich um zu leben").