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In the colossal Resurrection symphony, Gustav Mahler sets out from the vast orchestral ensemble used on Titan to broaden it with the introduction of the human voice, with the use of soloists and choir, a feature that would be characteristic of his later symphonies. It is also the first work in which Mahler uses texts from the collection Des Knaben Wunderhorn: Alte deutsche Lieder (The Youth’s Magic Horn: Old German Songs), a set of traditional German poems and songs compiled in 1805 which became an inexhaustible source of resources for his production.
In the colossal Resurrection symphony, Gustav Mahler sets out from the vast orchestral ensemble used on Titan to broaden it with the introduction of the human voice, with the use of soloists and choir, a feature that would be characteristic of his later symphonies. It is also the first work in which Mahler uses texts from the collection Des Knaben Wunderhorn: Alte deutsche Lieder (The Youth’s Magic Horn: Old German Songs), a set of traditional German poems and songs compiled in 1805 which became an inexhaustible source of resources for his production.
In the colossal Resurrection symphony, Gustav Mahler sets out from the vast orchestral ensemble used on Titan to broaden it with the introduction of the human voice, with the use of soloists and choir, a feature that would be characteristic of his later symphonies. It is also the first work in which Mahler uses texts from the collection Des Knaben Wunderhorn: Alte deutsche Lieder (The Youth’s Magic Horn: Old German Songs), a set of traditional German poems and songs compiled in 1805 which became an inexhaustible source of resources for his production.
This season, the soloists awarded a Salvat Bach grant and the Festival Bachcelona choir and consort will be conducted by legendary figure Ton Koopman. The audience will be able to enjoy two cantatas, in direct dialogue, by the virtuoso Leipzig kantor. They are Meine Seel erhebt den Herren BWV 10 (My soul now magnifies the Lord) and Herz und Mund und Tat und Leben BWV 147 (The heart and mouth and deed and life), one of the most popular, best-known cantatas, mainly for the sparkling, radiant final chorale Jesus bleibet meine Freude (Jesu, joy of man's desiring). The two cantatas include trumpets among the instruments, adding a splendid, festive tone especially suited to the liturgical celebration of the Visitation, for which they were conceived and written.