The symphony, structured in five movements spanning three distinct sections, embodies the composer’s signature “variant technique”, as described by Theodor Adorno, where musical themes are constantly reimagined and transformed. Encompassing a long journey from the funeral march to the surging finale, the emotional climax of the work lies in the Adagietto, arguably Mahler’s most famous creation. Some early champions of the composer considered this slow movement, with its hushed, string-and-harp-filled intimacy, to be his heartfelt declaration of love to Alma.

Preceding this iconic work is the world premiere of “Passacaglia — Music for Orchestra IX” by contemporary American composer Jay Schwartz. A passacaglia, originally meaning “to pass or cross the street”, represents a musical journey. The composition engages in a dynamic dialogue with the Fifth Symphony by referencing Schubert, a key figure in the musical lineage of Austro-German Romanticism leading to Mahler. The “Wanderer”, a familiar figure from Schubert’s song cycle, emerges within the piece, with Schwartz quoting seven measures and sending them on a twelve-fold journey through a network of mesmerizing glissandi — continuous sliding tones that are a trademark of Schwartz’s style. Through the lens of ancient Greek numerology, the earthly journey transcends to the ethereal, offering a glimpse into the boundless spirit.

Schwartz’s new work, co-commissioned by Teodor Currentzis and Utopia, serves as a musical reflection on the enduring themes of migration and the search for identity.