Gustav Mahler’s Eighth Symphony was given its first performance at the Musical Festival Hall of Munich on Monday last. The work is of colossal dimensions, taking over one hour and thirty minutes to perform. It is written in two parts, the first to the words of the great Catholic invocation “Veni Creator Spiritus,” and the second to the apotheosis of the second part of Goethe’s “Faust.” In the “ Veni Creator” part the symphonic form is considerably enlarged and almost dispensed with, while in the “Faust” section the composer follows closely the form of the poem. Although seven other symphonies by Mahler have been heard before, none has made such a deep impression as this one. The choral parts are conspicuously predominant, and, the words being a sure guide, it is not difficult for the audience to follow the intentions of the composer. The emotional power of certain parts is of wonderful purity and uplifting strength.
Mahler’s thematic invention, however, cannot be pronounced to be a very remarkable one. He is more successful in the architectural structure, of which he proves real mastership. His scoring is almost unsurpassable. Even Richard Strauss has lately in a letter to a newspaper admitted that Mahler is the greatest living artist in this musical department.
No less than one thousand performers were engaged at the Munich performance. This is the number demanded by the composer for an ideal rendering of the work. He employs two choirs of mixed voices, a chorus of children, eight solo singers, an orchestra of 120 players, and an organ. Almost every musician of standing was present at this first performance. The huge Festival Hall was filled to overflowing, and after the closing chord the calls seemed as if they would never end.
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