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Mahler 5 with Dudamel

Fri / May 14, 2021 - 11:00AM

Gustavo leads Mahler’s monumental and memorable Fifth Symphony.



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About this Performance

Due to the continuing COVID-19 crisis, all LA Phil concerts at Walt Disney Concert Hall have been canceled through December 31, 2020. 

Tickets to this event are not available at this time.

While this concert has not yet been canceled, we know that everything from seating configurations to which artists are able to travel will be impacted by the pandemic. If the LA Phil is permitted to stage live events in early 2021, tickets will go on sale at least four weeks before the first concert. Visit this page for the latest updates and to learn more.


Julia Adolphe’s Underneath the Sheen was described as expertly crafting “grandeur as well as intimacy” (Alta magazine) when Gustavo Dudamel premiered at the LA Phil’s 2018 gala. The New York native and L.A.-based composer has received multiple commissions from top orchestras, and her new Violin Concerto will receive its world premiere with our Principal Concertmaster, Martin Chalifour. 

Days away from the premiere of his Fifth Symphony, Mahler wrote his wife, Alma Schindler, saying, “The public, oh heavens, what are they to make of … this foaming, roaring, raging sea of sound?” Mahler’s musical canvas and emotional scope in this work are simply huge. Each of its five movements contain numerous striking features that, as the composer wrote with concern to his wife, build wholly formed worlds that will fall away as the next idea grows from the ashes of the last. Mahler begins his symphony with one of the most famous, coveted, and nerve-racking trumpet solos in all of symphonic repertoire: a lone trumpet funeral fanfare, entirely exposed calling out in the dark, finally met with the swell of the orchestra. The most memorable moment in the symphony comes in the fourth movement, the famous Adagietto for strings and harp, said to be a love poem to Alma. That tender and passionate movement has become Mahler’s most frequently performed piece; Bernstein conducted it for Robert Kennedy’s funeral. It became especially widespread after it was used in the 1971 film Death in Venice. 

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