TRANSLATIONS
Movement IV: “Urlicht” (Primal Light)
German Text
O Röschen rot!
Der Mensch liegt in größter Not!
Der Mensch liegt in größter Pein!
Je lieber möcht’ ich im Himmel sein.
Da kam ich auf einen breiten Weg:
Da kam ein Engelein und wollt’ mich abweisen. Ach nein! Ich ließ mich nicht abweisen!
Ich bin von Gott und will wieder zu Gott!
Der liebe Gott wird mir ein Lichtchen geben, wird leuchten mir bis in das ewig selig Leben!
—Des Knaben Wunderhorn
English Translation
O little red rose!
Man lies in greatest need!
Man lies in greatest pain!
How I would rather be in heaven.
I came upon a broad path: There came a little angel and wanted to turn me away.
Ah no! I would not let myself be turned away!
I am from God and shall return to God!
Dear God will grant me a little light, Which will light me into that eternal blissful life!
Movement V: Aufersteh’n (Resurrection)
Aufersteh’n, ja aufersteh’n wirst du, mein Staub, nach kurzer Ruh’!
Unsterblich Leben! Unsterblich Leben will der dich rief dir geben!
Wieder aufzublüh’n wirst du gesät!
Der Herr der Ernte geht und sammelt Garben uns ein, die starben!
—Friedrich Klopstock
O glaube, mein Herz, o glaube: es geht dir nichts verloren!
Dein ist, ja dein, was du gesehnt, dein, was du geliebt, was du gestritten!
O glaube, du warst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!
Was entstanden ist, das muss vergehen!
Was vergangen, aufersteh’n!
Hör’ auf zu beben!
Bereite dich zu leben!
O Schmerz! Du Alldurchdringer! Dir bin ich entrungen!
O Tod! Du Allbezwinger!
Nun bist du bezwungen!
Mit Flügeln, die ich mir errungen, in heißem Liebesstreben,
Arise, yes, you will arise from the dead, my dust, after brief rest!
Eternal life! Eternal life will be given you by Him who called you.
To bloom again are you sown. The lord of the harvest goes and gathers the sheaves, Us, who have died.
O believe, my heart, oh believe, Nothing will be lost to you!
Everything is yours that you have desired, Yours, what you have loved, what you have struggled for!
O believe,
You were not born in vain, Have not lived in vain, suffered in vain!
What was created, must perish!
What has perished, must rise again!
Tremble no more!
Prepare yourself to live!
O Sorrow, all-penetrating!
From you, I have been wrested!
O Death, all-conquering!
Now you are conquered!
With wings that I have won, in love’s passionate strivings
werd’ ich entschweben zum Licht, zu dem kein Aug’ gedrungen!
Sterben werd’ ich, um zu leben!
Aufersteh’n, ja aufersteh’n wirst du mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen!
—Gustav Mahler
PROGRAM NOTES
I shall soar upwards to the light to which no eye has penetrated. I shall die, so as to live!
Arise, yes, you will arise from the dead, my heart, in an instant! What you have conquered will bear you to God!
Symphony No. 2 in C minor, “Resurrection”
Gustav Mahler (1860-1911)
On March 21, 1897, the Bohemian-Austrian composer Gustav Mahler wrote to his sister Justine: “[Richard] Strauss, with whom I was together yesterday, and to whom I played the last movement of my II [Symphony] (he was downright enthusiastic), also thinks that I am already on the right path, and that my triumph is now only a question of a very short time. I already had a rehearsal with the orchestra. It is very good and behaves charmingly. I am curious what sort of stir I will cause with my view of the C-minor.” Mahler’s Symphony No. 2 in C minor “Resurrection” is one of ten symphonies—a genre for which he is wellknown—that the composer penned during his lifetime. The Second Symphony endures as one of Mahler’s most-beloved and most-performed compositions. Mahler’s status as a conductor of some of the world’s most notable orchestras— including the Vienna Philharmonic and the New York Philharmonic—granted him access to orchestras that could rehearse and perform his challenging symphonies, even if they were not always thrilled to do so. Mahler’s quip about the orchestra behaving “charmingly” in this letter indicates that the opposite was often possible, especially considering Mahler’s musical demands upon performers, which often led to complaints. Some of these complaints, as well as reviews of Mahler’s compositions, were tinged with anti-Semitism, which Mahler faced from orchestras, audiences, and the press throughout his lifetime as a Jewish composer and conductor living and working in a largely anti-Semitic European classical music landscape. The anti-Semitism that Mahler faced, even in the privileged position of conductor, often led him to feel like an outsider— evidenced in his oft-quoted statement that he was “thrice homeless: a Bohemian in Austria, an Austrian amongst Germans, and a Jew throughout the world.”
Mahler’s Symphony No. 2 premiered in Berlin in December 1895, seven years in the making at the time. The size of the performing forces and the length of the Second Symphony were virtually unheard of at the time of the symphony’s premiere. The piece consists of five movements, including a choral finale (the first since Beethoven’s Ninth Symphony), utilizes a large symphony orchestra, and employs a chorus and soloists. To give just one example of the size of the performing forces required, the brass section includes 10 horns, 10 trumpets, four trombones, and a tuba; compared to the four-five horns, three-four trumpets,
two-three trombones, and single tuba of the standard Romantic symphonic brass section, the symphony stood out—and continues to stand out—as a tour de force of big and virtuosic instrumentation that continues to make the piece popular amongst performers and audiences alike.
Mahler began what would become the Second Symphony in 1888, when he composed a symphonic poem titled Todtenfeier. As Mahler first developed the symphony beyond this symphonic poem, he did so with a particular program in mind that focused substantially on death and mourning—in particular the death of the “hero” of his First Symphony, which had been subtitled Titan. As with many of his symphonies, Mahler withdrew the program for later performances of the work. Nevertheless, the death of a hero, mankind’s suffering, and mankind’s redemption through love echo throughout the symphony.
After a tumultuous and dramatic first movement, the symphony’s second movement, Andante moderato, offers musical references to the Austrian popular dance the ländler. This movement was so different from the first movement in tone and character, that Mahler indicated that a pause of “at least five minutes” should take place between the two movements.
In the third movement scherzo, Mahler presents listeners with an instrumental version of one of his early songs: Des Antonius von Padua Fischpredigt (Saint Anthony preaches to the fish). The use of this song in a symphony about a hero’s death is important because the text for the song concerns the Saint’s attempts, but ultimately failure, to communicate with the fish. Mahler explained his understanding of this movement to Max Marschalk in 1896: “When you finally wake up from this melancholy dream and again have to face this confused life, then this endlessly moving, never resting, never-to-be-understood hustle and bustle of life may seem dreadful to you, like the surging of dancing figures in a bright and illuminated ballroom into which you look from the dark night outside—from so far away that you cannot hear the music that goes with it! Senseless is how life seems to you then, a cruel nightmare from which you might jump up with a cry of disgust!” This “cry of disgust” manifests in an orchestral scream at the end of the movement.
The fourth movement, Urlicht (Primeval Light), is also an orchestral version of an early Mahler song, here performed by an mezzo soloist. The poem by L.A. von Arnim and Clemens Brentano appeared in the classic early 19th century German poetry collection Des Knaben Wunderhorn, a favorite poetic source for Mahler, and presents an appeal to God to ease mankind’s suffering. Mahler’s musical setting emphasizes the child-like angelic presence in the middle of the poem through glockenspiel, harp, clarinets, and solo violin.
The finale of Mahler’s Symphony No. 2 presents a musical vision of apocalypse, judgment day, and resurrection. After an introduction that presents in brief some of the movement’s main themes—which have been termed fright, eternity, and ascension—the first large-scale section of the movement features horn calls (the “Caller” of the apocalypse), the Dies Irae (a medieval chant that appears in the Roman Catholic Requiem Mass), and a foreshadowing of the resurrection to come. The second large-scale section begins with a return to the horn calls
of the Caller of the apocalypse, but moves swiftly into the appearance of the chorus. The chorus’s text begins with lines from Friedrich Gottlieb Klopstock’s poem Die Auferstehung (The Resurrection), which Mahler had heard and been deeply moved by at the funeral of his mentor, conductor Hans von Bülow. The bulk of the chorus’s text, however, came from Mahler himself. In the second half of the finale—sometimes referred to as a symphonic cantata—Mahler turns to a variety of musical techniques, from offstage horns and trumpets to delicate vocal soloists and massive chorales, from extremely quiet entrances to booming fortissimo moments, to communicate the power of God’s love to transform human suffering into eternal ascension into the heavens.
When Mahler pondered “what sort of stir I will cause with my view of the C-minor” in 1897, he could hardly have imagined the lasting impact of this dramatic, moving, and grandiose symphonic meditation on life, death, love, and the afterlife.
— Program notes by Jillian Rogers
BIOGRAPHIES
Tiffany Lu, Conductor
Conductor Tiffany Lu is Director of Orchestral Activities at the University of Florida, and Music Director of the renowned Pierre Monteux School and Music Festival in Hancock, Maine, where she recently conducted the first performance of the Stravinsky’s Rite of Spring in the school’s history. Previous guest conducting appearances include the Cumberland Symphony Orchestra (Sewanee Summer Music Festival), NYSSMA 2024 All-State Symphonic Orchestra, Symphony New Hampshire, and Elgin Symphony Orchestra. From 2020-2022, Lu was Director of the Sewanee Symphony Orchestra at Sewanee University of the South. Prior to her current appointment, Lu served for five seasons as Associate Conductor of the Pierre Monteux Music Festival and two seasons as Interim Music Director.
Over seven years, Lu developed a diverse portfolio of work in the D.C.-MarylandVirginia areas and Delaware. She held the position of Assistant Conductor with the Prince Georges’ Philharmonic (MD) from 2019-2022, was Music Director of the Wilmington Community Orchestra for five seasons, and also Assistant and then Associate Conductor with Washington, D.C.’s, Capital City Symphony from 2015-2022, creating groundbreaking and creative programming. She was also selected as Conducting Fellow for the Allentown Symphony in 2019 and 2020. Other positions have included Music Director of the University of Maryland Repertoire Orchestra, cover conductor and principal librarian at the 2016 and 2017 National Orchestral Institute, and conductor with the D.C. Youth Orchestra Program and Annapolis Symphony Academy. Lu has guest-conducted the Symphony New Hampshire as well as the Millikin-Decatur Symphony Orchestra, and acted as cover conductor with the Elgin Symphony Orchestra, Symphony
New Hampshire, Princeton Symphony Orchestra, Georgetown University Orchestra, and Cornell University Orchestra. She has also served as producer on recordings with the Kansas City Symphony, Virginia Symphony Orchestra, and the Smithsonian Chamber Players.
Lu maintains an active performing profile as an orchestral violinist, chamber music collaborator, and private violin teacher. Her doctoral research focused on new models in the orchestral education of undergraduate string players. Her primary conducting mentors have included Michael Jinbo, Jim Ross, and Jeffery Meyer. Lu grew up in Tampa, Fla., and holds degrees from Princeton University, Ithaca College, and the University of Maryland.
Dr. Will Kesling, Choral Director
For the past 22 years, Dr. Will Kesling has served as the Director of Choral Activities at the University of Florida. He serves as the Director of the Gainesville Master Chorale and Orchestra and the Village Voices Chorus and Orchestra. Previously, Dr. Kesling was the Director of the Orchestra and Choral programs at Utah State University for 19 years. His college choirs have received international attention and have made multiple appearances at both national and divisional conventions for the American Choral Directors Association.
At the University of Florida, his choirs have appeared with the San Diego Symphony, National Philharmonic, Washington, D.C., Czech National Orchestra, and the Czech National Theater Orchestra, as well as the Kronos String Quartet, the Three Italian Tenors, and the Posaune Voce Trio of Birmingham, England, and made a first-ever American Choral Directors Association convention appearance. On September 11, 2004, Maestro Kesling made his debut with the National Philharmonic in Constitution Hall, Washington, D.C., premiering the new Revolutionary War oratorio, A Prelude to Glory. In March 2002, his Utah State University Chamber Choir appeared before the combined Western and Northwestern Division Convention of the College Band Directors Association. That same month, the Utah State University Combined Choirs were featured in the Opening Ceremonies of the Paralympics on NBC.
Dr. Kesling has conducted numerous All State choirs and festivals and has conducted military choirs and bands. Professor Kesling has published scholarly choral editions and compositions and has penned academic articles for professional journals, and now a new book, The Voices I Hear: A Philosophical and Practical Approach to the Choral Art. Dr. Kesling serves on the International Editorial Board for the Journal of Culture and Art.
In recognition of his achievements, Dr. Kesling received The Congressional Order of Merit by the Congress of the United States of America in September 2003, and the Ronald Reagan Gold Medal in November 2004. In March
2006, Professor Kesling received the Congressional Medal of Distinction for his contributions to the cultural life of the citizenry. On October 12, 2013, Dr. Kesling was inducted into Phi Mu Alpha Sinfonia, men’s fraternity of musicians, as a National Honorary Member. In November 2017, Dr. Kesling received the Distinguished Alumni Award from his undergraduate university. In addition, Dr. Kesling was named Scholar/Teacher of the Year (2021) and International Educator of the Year (2017, 2019, 2022) for the College of the Arts at the University of Florida, and 2020 Musician of the Year by the Foundation for the Promotion of Music. The Marquís Who’s Who Publication Board presented Dr. Kesling with the Albert Nelson Marquís Lifetime Achievement Award 2020, and he is named the 2022 Professor of the Year by the Top 100 Registry.
Ann Toomey, Soprano
American soprano Ann Toomey, whom Naples Daily News proclaimed, “...is a brilliant Floria Tosca...[whose] rich voice projects power that doesn’t disintegrate under adversity,” is a former member of the Ryan Opera Center at the Lyric Opera of Chicago, a 2016 Metropolitan Opera National Council Auditions national semifinalist, and 2019 Richard F. Gold Career Grant Recipient. In early 2020, she made her European debut to critical acclaim as the title role in Suor Angelica at the Berlin Philharmonie, under the baton of Kirill Petrenko.
In the 2022-2023 season, Ms. Toomey will return to Wolf Trap Opera to perform the title role in Carlisle Floyd’s Susannah, Tosca with Livermore Valley Opera, the title role in Tobias Picker’s Emmeline with Tulsa Opera, and Ortlinde in Act III of Die Walküre with Detroit Opera. In the 2021-2022 season, Ms. Toomey made house and role debuts as Tosca with Opera Naples and Sarasota Opera, performed Die Kathrin with the Chicago Folks Operetta, and returned to the Lyric Opera of Chicago as the Lady in Waiting cover in Macbeth
Cancellations due the to COVID-19 pandemic included the First Lady in Die Zauberflöte with the Glyndebourne Festival, Tatyana in Eugene Onegin with Wolf Trap Opera, Dvorak’s Requiem with the Madison Symphony Orchestra, and a concert of arias with the Fresno Philharmonic Orchestra.
In the 2018-2019 season, she performed as Musetta in La bohème to critical acclaim with the Lyric Opera of Chicago, completing her three-year residency with the Ryan Opera Center. She debuted at the Lyric Opera of Chicago as First Lady in Die Zauberflöte, and was seen as the Fifth Maid in Elektra. She had extensive covering opportunities in Chicago, including Elettra (Idomeneo), Fiordiligi (Così fan tutte), and Micaëla (Carmen).
She has participated in nationally recognized young artist programs throughout the United States with the Lyric Opera of Chicago, Santa Fe Opera, and Opera Theatre of Saint Louis. As an enthusiast of new operatic works, she help develop the role of Boonyi in Jack Perla’s Shalimar the Clown with Cincinnati Opera Fusion: New Works
Toomey completed her Master of Music degree at the University of CincinnatiCollege Conservatory of Music after receiving a 2014 Corbett scholarship to attend the school. She appeared as Fiordiligi (Così fan tutte), the soprano soloist in Brahm’s Ein deutsches Requiem, and The Virgin in Honeger’s Jeanne d’Arc au bûcher. She earned her Bachelor of Music degree in both music education and vocal performance at Oakland University (Rochester, Mich.) near her hometown of Shelby Township, Mich.
Maire Therese Carmack, Mezzo-Soprano
American mezzo-soprano Maire Therese Carmack, Third Prize winner at the 2022 Operalia World Opera Competition, has been praised by Opera News for her “deep mezzo and vibrant metallic timbre” and for “taking focus by her very presence.”
Maire Therese’s 2024-2025 season includes house debuts with the Lyric Opera of Chicago in Rigoletto (Giovanna/Maddalena cover) and Houston Grand Opera in Missy Mazzoli’s Breaking the Waves (Dodo McNeill). She will also return to The Metropolitan Opera for The Magic Flute — Holiday Presentation (Second Lady). In concert, Maire Therese makes debuts with the Santa Fe Symphony as Marguerite in Berlioz’s La damnation de Faust, the Oregon Bach Festival and San Antonio Philharmonic as the alto soloist in Beethoven’s 9th Symphony, with Boston Youth Symphony Orchestras as Princess Eboli in Verdi’s Don Carlo, and with UF Symphony Orchestra as alto soloist in Mahler’s “Resurrection” Symphony.
Maire Therese joined The Metropolitan Opera for the 2023-2024 season as a member of the Lindemann Young Artist Development Program. She covered Fenena in Nabucco, made her debut in The Magic Flute (Second Lady), and was featured in Madama Butterfly (Kate Pinkerton). She also made her San Francisco Opera debut in Die Zauberflöte (Dritte Dame) and returned to Deutsche Oper Berlin to reprise Der Missmut in Rued Langgaard’s rarely performed Antikrist which will be released on DVD in a collaboration with NAXOS.
The 2022-2023 season marked Maire Therese’s European debut with Deutsche Oper Berlin, where she opened the season in the title role of Carmen as part of the company’s Cultural Summer Festival. During her year-long tenure with the company, she was seen in Don Quichotte (Dulcinée), Rigoletto (Giovanna/ Maddalena), Die Zauberflöte (Dritte Dame), Lucia di Lammermoor (Alisa), Manon Lescaut (Singer), Salome (Page), and Antikrist (Der Missmut). She also had debuts with Santa Fe Opera as a member of the Apprentice Artist Program, singing Mercédès in Carmen and performing as a soloist in the world premiere of David Henry Hwang and Huang Ruo’s M. Butterfly, with Pittsburgh Symphony Orchestra as alto soloist in Beethoven’s Symphony No. 9, and with the Armenian National Philharmonic Orchestra as alto soloist in Bach’s Matthäus-Passion under the baton of Christoph Koncz.
Photo © Dario Acosta
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Sheil
Bud Shorstein
Beverly T. Singer
Marvin and Sonya Slott
Stan and Rita Smith
Charles Sninsky and Kathy Connery
Solar Impact
Splitz of Gainesville, LLC
Venita Sposetti
Wendell and Sandra Stainsby
Robert O. Stripling, Jr.
Shannon Sumerlin and Tracy Giordano
George and Lucy Teel
Pat Thomas
Fran Towk and Susan Badylak
Marilyn and George Tubb
Julio and Julie Viteri
Ted and Barbara Wasserman
Marjorie and Roy Weiner
James H. White and Lisa McElwee-White
George and Ashleigh Wright
Thomas and Tammy Wright
Drs. David Wymer and Sally Glaeser
Katy and Mike Yanke
JoAnne and Tom Young
Patti Zollars
PRODUCER | $500 and above
Ellyn and Tim Ahlstrom
Annie and Bobby Altman
Tomás Berger and James Gaunt
Susan and Wes Bolch
Fred Brenneman
Kim Buckley-Boone
Diana and Jason Butler
Beverly Butts & Mary McCollum
April and Pate Cantrell
Jane and Wei Chen
Dennis and Carla Collins
Dusty Davies
Cathy Dawson and Don Hessenflow
Duke and Charlotte Emerson
DIRECTOR | $250 and above
Anonymous
Matthew Adjemian
Janet and Charles Allen
Altschuler Periodontic and Implant Center
Graham and Beverly Anthony
Walt Barry
E. Russell Bedell II
Julius and Michelle Bishop-Gylys
Tara Boonstra
Lynda M. Bucciarelli
William Burger and Celia Burger
Joan and Joel Cohen
Linda and Norm Cooney
Gabino Cuevas
Cooper and Mai Dean
Mark DiCicco
Dr. Daniel and Lisa Duncanson
Kat Durst
Catherine Edwards, MD
Eller Family
William Elliott
Ron and Dianne Farb
Gordon Finlayson
Drs. Chris and Ann Marie Gunter
Deborah Haggett and Ed Wurzburg
DIRECTOR | $250 and above
Chloe Choi
David Gabrielli
Jeana Goldstein
Wanda Godwin
Gabrielle Goodman
Michael Gorham and Veronika Thiebach
Dr. Stephanie Hanson
Dr. and Mrs. Stephen Holland
Linda Y. Jackson
David Juras and Mark Elliot
Dale and Robert Kaplan-Stein
Eric Kem
Mary C. Kilgour
Sally Kimberly
Kami Landy and Nelson Boon
MJ and Sam Markham
Sarah Maxwell
Paul and Doris Hargrave
Jim Harper
Karelisa Hartigan
Daniel and Kathleen Hayman
Vernon and Marité Haynes
Dan and Lee Helmick
Erika Henderson
James T. Hogan
Maya Israel
Bob and Lisa Jerry
Sharon Judge
L. Dianne Junior
Raj Karunakara
Catherine Keuthan
Paul and Leslie Klein
Ida Little
Allan and Janet March
Brian K. and Stephanie Marchman
Sharon McCloud
The Misener Family
Lee and Ann Mullally
Congregation Beth Jacob
Ronald and Judith Newman
Marjorie W. Opdyke
Parris Dance
Mary Ann and Phil Parsons
Susan Purdy
Kyle Groome
Madeline Halleran
Emily Lu
Michelle and Ryan Nall
Dr. Cynthia Preston
Bonnye and Larry Roose
Anne Roper
Pat Smart
Hal and Ruth Smith
John B. Swanson
Scott and Kim Thompson
Richard and Cecilia Truesdale
Mr. and Mrs. Philip Wagner
Ken Wald and Robin West
Shawn Weatherford and Peter Dittmar
Israel and Nancy Winikor
Allen and Beth Wolinsky
Carol Purpura
Carolyn Rainbow
Jaquie and Michael Resnick
Mona Rippe
Mike Rollo
Richard and Nancy Scheaffer
Klaus and Amy Schmid
Albert and Ellen Schmidt
Christoph and Charlotte Seubert
Lyn H. Silberman
Carole and David Silverman
Douglas Smith and Elizabeth Davis
Dr. Jo Snider and Jo Annalee
Irving
Kristen Stewart
Pat and Rick Tarrant
Tillander/Hammond
Diego and Lucy Villamil
Janet W Walters
Nancy J. Webb
Kathleen M. Weber
Tim Weisert
Patricia Witchel
Edward and Willa Wolcott
Brian Mazo
Meredith Nappy
Chloe Seifert
Anonymous
Matthew Adjemian
Nita Y. Beckman
Lauren Berkow, MD
DRIVEWAY THEATRE PROJECT
$100 and above
Julius and Michelle BishopGylys
Thomas H. and Helen K. Gyllstrom
ARTS EDUCATION
$100 and above
Ms. Ann Marie Rogers
C. Soldevila-Pico
Carl and Jan Wagner
Stuart and Charna Cohn
Dr. Beverly Vidaurreta Dede
Marc A. Gale
Jim and Sibet Grantham
Cherylle Hayes and Gary Schneider
Hal and Karen Kapell
Judith Lightsey-Alford and Lloyd Alford
PARTNERS
$100 and above
Jaquie and Michael Resnick
Russell and Brenda Robinson
Mary Sanford
Tim Weisert
Dr. Brian and Melissa Hoh Dr. Pauline O. Lawrence Derek Wohlust
