Mahler Symphony No. 5

“There are few words to accurately describe the intimidation and pressure that come with taking on preparing and recording Mahler Symphony No. 5; they are not part of my lexicon. What I can express is my great appreciation for the amount of collective work that was done by everyone involved in order to prepare, rehearse, and refine such an iconic piece of work. Deeper than that is my gratitude for the rest of the trumpet section, who served as a constant reminder that a summit is only as stable as the base that supports it, and that the whole is greater than the sum of its parts, regardless of who plays the first C# triplet.”

“Preparing the magnificent obligato horn part of the Scherzo movement and building up the endurance to record it, rank among my greatest personal achievements. I have run four marathons and this was, in my opinion significantly more challenging. Horn players revere this symphony and it is hard to put into words the satisfying physical and mental exhaustion that come after rehearsing or performing it. Throughout the movement, Mahler uses the German word “keck” to urge the solo horn to play “boldly.” In a stroke of genius, Mahler then amplifies the directive by adding an exclamation point (keck!). As I prepared for this recording of Mahler 5, I circled every “keck!” I could find, used the highlighter on others, and added several more of my own “kecks!” in large, block letters. During this process, I spent a lot of time not only thinking about how to play boldly, but also how to play “boldly!” “Keck!” became a way to approach the entire piece, and a mantra for all of my horn playing since.”

“Recording and performing Mahler Symphony No. 5 was a deeply fulfilling musical experience. As a harpist, we perform Mahler 5, and especially the Adagietto quite frequently. Rarely do we have the freedom to experience truly taking the piece apart within each take, and to work with an orchestra that encourages such artistic freedom. Even though so many people were a part of each take, we didn’t move on until the soloists felt complete, and each orchestra member was willing to do whatever it took to reach that level of clarity and expression.

As always, it is a true privilege to work with Maestro David Bernard, who not only analyzes, studies and interprets every notation, every word…but who also holds space for you as a musician, giving you the freedom to truly be a soloist, taking the music of Mahler and running with the beauty of it in your own artistic way. By the time I reached the glorious rolled chord in the middle of the Adagietto on our last take, it was pretty exhilarating, and emotional for all of us …and I think this comes across in the recording.” 

“Serving as Concertmaster in the preparation and recording of Mahler’s Symphony No. 5 has been the most challenging and deeply personal experience of my life. Preparing the violin parts took months, and I acquired a new instrument just for this occasion.  The rehearsal process with the unmatched musicians of the Park Avenue Chamber Symphony was exhilarating, and I will always hold this recording close to my heart.   Having lost my father to Covid just before the start of rehearsals, I couldn’t help but think of him every time we played the funeral march and of course, the Adagietto.”

“Rehearsing, performing and recording Mahler’s 5th Symphony was an incredible journey for me. One of my most memorable moments was leading the Adagietto after the intensity and excitement of the first 3 movements.  Sitting in the center of this immense work, leading the stunning and sensitive inner lines of the 2nd violin part, I was aware of the focus and intensity of every person in the room, whether they were scored in this movement or not.
I can't help but smile every time I listen to the ending of the final movement, where the strings and winds are playing their hearts out while the brass bring it home! We truly brought the energy and emotion this immense work demands, and I am so proud to have been a part of it"

Preparing and recording Mahler Symphony No. 5 was a very challenging and rewarding experience.  It’s an extremely intricate cello part that requires sensitivity and virtuosity.  There are two moments in our experience of Mahler 5 that I cherish.  In the second movement right before start of the second theme, there is an extended cello soli requiring precise intonation and dynamic range. We captured multiple takes, but after what would be the final take, with the room completely still and silent, the engineer very gently said, “that’s the one.” I am also most proud of how our cello section prepared and executed the running eighth notes in last movement. Some of the runs are like etudes and all of them are clear and crisp throughout the entire movement in the recording.  Bravo celli!

“I was looking forward to playing and recording Mahler 5 since it is not often programmed, and I love Mahler.  There is plenty in the symphony for a violinist to sink his teeth into as well as moments as sublime as can be found in the entire repertoire.”

“For me, Mahler 5 was in equal parts emotionally expansive and technically tenacious, with transparent orchestration where each voice is crucial to the texture at any given moment.  As a violist, feeling that continual sense of significance in the overall fabric of the music, was an incredible experience.  This was both a challenge and a personal triumph."

“Of the numerous remarkable cello moments in Mahler's 5th, one moment stands out as one of the most thrilling and terrifying cello experiences in the symphonic repertoire. A few minutes into the second movement, the cello section plays an extended section at barely louder than a whisper.  This music, which will eventually develop into the movement's second theme, is so exposed that a section cannot afford a single note even slightly out of tune from any member of the section. The dynamics are so delicate that all of the section members must be completely in sync about how the melody will grow before the rest of the orchestra comes in, even as the writing takes each cellist between strings with distinct dynamic ranges. The focus from each and every one of my section colleagues to deliver a spotless take of this moment is something I will never forget!"

“Recording a monumental work like Mahler 5 is not something to be undertaken lightly and with just anyone - it requires an incredible amount of dedication and trust. It was a privilege to have experienced this with musicians intent on creating something of beauty and meaning, both for ourselves and to share with the world.  I will never forget the feeling of being bathed in the wall of sound from the PACS brass section towards the end of the fifth movement and I firmly believe if everyone could experience what it is like to be immersed in sound like that even once in their life, the world would truly be a better place.”

“Recording and performing Mahler’s fifth symphony was a joy and a challenge. The hard work of perfecting the intonation the woodwind ensemble moments was rewarded by being able to sit back and take in the ‘Adagietto’ played by the PACS amazing string section.  The cherry on top of this recording was the privilege of sitting beside my good friend, Kelly Cuevas, who played Principal Flute on the Mahler. I will always cherish this recording as a memory of my time in Park Avenue Chamber Symphony.”

“While the journey of Mahler’s 5th is a roller coaster for listeners between utter despair and glorious triumph, it is also an intense experience for members of the orchestra.  The work continuously demands more and more emotional energy, and by the end of the finale, I was completely exhausted.  Mahler’s famously quote, “a symphony must be like the world, it must embrace everything” was especially meaningful as we prepared and recorded this amazing work.   This symphony meant the world to us, and we embraced every single note of it.”

“Preparing and Recording Mahler’s Fifth at this level has always been a dream of mine, and it was a thrill to experience that dream coming to life.   The process was incredible---something I never could have imagined.”

“Mahler packs a lot of emotion into every note, and we all rose to the demands of the music, pouring our hearts into every measure. My favorite moment in the entire symphony occurs towards end of the first movement where the low brass plays a series of descending eighth notes that continually release tension.  During this agony-filled lament, I remember feeling viscerally connected to the notes, in body and breath, finding the moment’s emotion almost overwhelming. I think we all did, and you can hear this in the recording. Preparing and recording this magnificent symphony under the expert direction of David Bernard was truly one of the greatest highlights of my musical career.”

“Bringing Mahler's 5th to life was an inspirational and moving experience, with every member of the  orchestra bringing immense grace, passion, and a collective drive towards excellence to our preparation and recording. As a flutist, being able to sit in the very center of this wonderful orchestra was an electrifying experience, as Mahler’s beautiful motifs and moving harmonies swirl around you, bringing you further into the depths of his composition. This recording showcases our deep respect and appreciation for Mahler, Maestro Bernard, and one another."

“Preparing and recording Mahler’s Fifth Symphony was one of the greatest joys I’ve had as an orchestral oboist.  I will always remember our work preparing and recording the second movement, Stürmisch bewegt, mit größter Vehemenz.  Many passages for the full oboe section require the most precise execution and intonation, and the success in mastering not only this material, but the entire symphony alongside my colleagues was an absolute thrill!”

"I enjoyed a perfect vantage point from which to appreciate this mammoth work.  Although the English horn part contains several moving passages, the true joy of performing Mahler’s Fifth for me came from being able to put both my instruments down at various points and just immerse myself in the extraordinary harmonies and sonorities my fellow musicians were creating under Maestro Bernard’s expert and inspiring direction.  Sitting in front of the low brass during the chorale at the end of the fifth, final movement and in back of the viola section during the entirety of the fourth are acoustic and musical experiences I will never forget."

“During the intense recording session I remember playing the chorale towards the end of the second movement and realizing that being in that place, at that time, with such an outstanding section of fellow trumpet players, that this was a memory I would never forget. When passionate musicians such as the members of the Park Avenue Chamber Symphony and Maestro Bernard come together to take on a project that requires such dedication and love, the results can be truly spectacular. Being a part of that is something for which I am truly thankful."

“I have always dreamt of playing Mahler Fifth Symphony, especially tackling the incredibly uplifting third movement scherzo which includes some of the most difficult trombone writing in the repertoire.  I put everything I had into the preparation attacking this difficult music with every ounce of training and feeling my soul could muster.  The experience was thrilling, and I will remember this for a long time.  As we finished the final take, I was both overwhelmed with the relief of having completed the challenge and overtaken with a sense of sadness that the music was coming to an end.”

“Preparing and recording Mahler’s Fifth Symphony required a high-level of finesse and thought.  Early in the First Movement, I calibrated the sound of the Bass Drum so I could keep the last wisps of the funeral march going until the very end of the phrase where it overlapped with the start of the Violin ‘Tango.’  And while playing the Bass Drum in the Coda of the Third Movement Scherzo,  I made sure my stick motions ‘danced’ so they generated the liveliness and energy needed to bring sufficient bounce, energy and forward motion to transmit the feel of a Ländler.  But most inspiring for me was feeling the overwhelming commitment from everyone in the room during the recording session itself, especially from the Principal Trumpet and the entire brass section, who at the end of the session insisted on another take or two to get it right despite the fatigue they were probably feeling from an intense day.   I will remember this experience for a long time.” 

“The journey of preparing and building this conception of Mahler’s Fifth Symphony with the fine musicians of the Park Avenue Chamber Symphony was as profound and triumphant an experience as the work itself. You could feel the intensity of the music making and the commitment of each musician with each passing moment, and it absolutely comes through in the recording. I will remember this for a lifetime.”