Symphony No. 9 in D major
Had Gustav Mahler been less superstitious, his Ninth Symphony would actually be his Tenth. But musicians believe in ‘the curse of the Ninth’, a myth about any symphony of this number doomed to be its author’s deathbed oeuvre. This is what happened to Beethoven, then to Bruckner, Dvořák, Vaughan Williams, and Schnittke. It is known how Mahler once compared his Ninth to Beethoven’s Ninth Symphony in D minor: ‘It is also in D! and least of all in major.’ Mahler could have avoided the fatal number with his Das Lied von der Erde (‘The Song of the Earth’), a previous composition for two voices and orchestra, texts taken from Chinese poetry (8th century AD), which surprisingly for the author himself ‘grew into a symphony’ — but the above-mentioned superstition made Mahler send the word ‘symphony’ down to the subtitle. Had Mahler been more consistent, his Ninth would have become his Tenth, but Das Lied von der Erde remained a ‘Lied’ (‘song’), and the Ninth Symphony, ironically, became his last finished work.
Malin Bång is residing in Stockholm, Sweden. She is the composer in residence and a founding member of the Curious Chamber Players. Her work includes music for instrumental ensembles, orchestra, electronic music based on field recordings.
She has studied composition at the Academy of Music in Piteå, Universität der Künste in Berlin, the Royal Academy of Music in Stockholm, the Göteborg University and in several master classes and courses for example Voix Nouvelles at Royaumont, Summer Academy Schloss Solitude, Forum for Young Composers by Ensemble Aleph and Darmstädter Ferienkurse, with teachers such as Brian Ferneyhough, Gérard Grisey, Philippe Manoury, Philippe Capdenat, Chaya Czernowin, Walter Zimmermann, Friedrich Goldmann, Ole Lützow-Holm, Pär Lindgren, Jan Sandström, and Peter Lyne.
The programme of the Diaghilev Festival 2019 opening concert includes her extraordinary piece splinters of ebullient rebellion, which was written in 2018.
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