The Berg Violin Concerto (1935) and Mahler’s Ninth Symphony (1910) are indeed a magical pair. Not only did Berg have a great affection for Mahler, both works are suffused with an elegiac, deathwards-inclined but lifewards-looking mood and a kindred morbid lyricism. The formal affinities between the two works are also intriguing. The concerto consists of two movements in two sections, while the four movements of the symphony also fall into a binary pattern, one of two slow movements framing a pair of fast movements. Their differences are also enlightening. Mahler’s thematic vocabulary remained full of the popular motifs which he first absorbed in his early work with Des Knaben Wunderhorn and street music, and Berg, while weaving in a wistfull memory of a Viennese waltz, constructed the last of his two movements on a chorale of Bach (“Es itst genug!” from the Cantata, Ewigkeit, Du Donnerwort whose rich setting was sympathetic to Berg’s own harmonic vocabulary. As rich and contemporary as Berg’s treatment was, it evokes the purism of the “back to Bach” trend of the twenties and thirties. For more biographical background and analysis, click here for the rich program annotations by Michael Steinberg, which also include a fascinating defense of Mahler’s music by Aaron Copland, actually a letter to the New York Times from April 2, 1925, which was reprinted in the BSO program to the Mahler Ninth’s American premiere in 1931 under Serge Koussevitzky.