Giancarlo Guerrero, a native of Costa Rica, is a five-time Grammy award winning Music Director of the Nashville Symphony Orchestra, a post he has held since 2009 and recently committed to through the 2024-25 season. Guerrero previously held posts as the Principal Guest Conductor of The Cleveland Orchestra Miami Residency from 2011 to 2016, Music Director of the Eugene Symphony between 2002 and 2009, and Associate Conductor of the Minnesota Orchestra from 1999 to 2004. The Narodowe Forum Muzyki is extremely pleased with the appointment of Giancarlo Guerrero to the position of Artistic Director of the Wroclaw Philharmonic taking effect for the 2018-2019 season! Maestro Guerrero will spend eight weeks per season with the orchestra in addition to touring and recording activities. We look forward to many more successful seasons with Maestro Guerrero!
Gustav Mahler composed his Sixth Symphony in 1903 and 1904. The composer conducted the premiere in Essen, on May 27, 1906. He later revised the score during the summer of 1906 and the early part of 1907. Later that year, Mahler would have to cope with the death of his daughter, the end of his tenure with the Vienna State Opera, and the diagnosis of the fatal heart condition, which led to his death four years later. The symphony ostensibly embodies Mahler’s inner turmoil and superstition and inexplicably foreshadows the personal tragedies that followed its composition. His wife, Alma, later wrote that “the music and what it foretold touched us deeply.”
The piece is known as Mahler’s tragic symphony since he appended the subtitle Tragic to the work at its premiere. He later withdrew this subtitle, but it curiously reappeared on the printed program the final time he conducted it. Thus, lending authority and credibility to its customary use. Conductor Wilhelm Furtwängler felt that it may be “the first nihilist work in the history of music,” and Mahler’s assistant at the Vienna Opera, Bruno Walter, found the piece too dark for him to conduct, knowing that it ended “in hopelessness and the dark night of the soul.” The famous hammer blows near the conclusion of the final movement are among the most shocking and melancholy sounds in the orchestral repertoire. The composer initially defined each as a “short, powerful but dull-sounding stroke of a non-metallic character,” and later added, “like the stroke of an axe.”
Alixandra Porembski, English Language Annotator