Gustav Mahler was born in Austria-Bohemia in 1860 to parents of Jewish descent. His musical skills were evident at a young age, and despite his humble upbringing, his parents supported him in his pursuit as a musician. He attended the Conservatory in Vienna starting at the age of fifteen, where he first gained acclaim as a pianist and percussionist, and eventually as a conductor. With a robust conducting schedule, composing was primarily reserved for his spare time. He completed his first symphony in 1888 which premiered in 1889. Even though he was discouraged by its poor reception, Mahler did not give up his hobby of composing. Following a positive reception to the 1895 premiere of his second symphony, Mahler’s assistant, Bruno Walter, believed that "one may date [Mahler's] rise to fame as a composer from that day.” 

Most of Mahler’s early compositions are considered narrative and poetic, as if resembling a short story. His second symphony, also known as the Resurrection Symphony, is a perfect example of this: 
The first movement was composed in 1888, originally entitled Totenfeier (Funeral Rites). In his 1901 program notes, Mahler describes the scene of the first movement as if we, the listeners, are standing near the grave of a man we loved well. As we stand there in mourning, we ponder his life, both struggles and accomplishments, and begin to wonder solemnly “what is next?” Our minds are riddled with questions such as “What is life and what is death? Is it all an empty dream, or does life and death have a meaning?” This movement not only asks these questions, but demands an answer.  

The next three movements serve as an intermezzo. The second movement allows the departed to reflect on his life further with “sad recollection of his youth and lost innocence.” In the third movement, he is consumed with denial. Realizing that he was consumed by the business and mundane trivialities of life, he is disgusted and cries out in despair. In the fourth movement, he hears a voice of the faithful, reminding him that as he came from God, so shall he return.  

The fifth and final movement returns to the question initially posed and provides an answer. Throughout this movement, Mahler paints that “the end of every living thing has come, the last judgment is at hand and the horror of the day of days has come upon us.” All graves burst open and the deceased wail while “trumpets of the Apocalypse ring out.” This dreadful moment is broken by a chorus of heavenly hosts singing “rise again, yes, rise again thou wilt!” All consuming love and joy and a resounding chorus giving glory to God permeates the scene comfort and peace fills the souls of both the living and the formerly dead.  
 
Notes prepared by Hannah Boyack