Mahler The Symphonies Booklet

8/7/2019 Mahler The Symphonies Booklet

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G U S : - : " T A ' " ' V ' . ' , M ' 'A ' H L E 'I R " '1 '1 8 , '. ., " : , , : : , 6 , " " . , , ' , ' [ 0 ' . , , ' , 1 . - , 1 1 , r 9 , ' . - , ' . , ' , 1. - . ' _ I _ , " _ _ _ ' i_ ,_ " ~ _ 1_,_' _ ',_ ~ II,Symphon'ies 1 ,9

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'When I M a h l e r beqan to write svmphonies in themlid-1880:s l the standard model was , still theBeethovenian one. its] outstanoino conternporarvpractitioners Brahms and Dvorak. Comparedwith them. M,arhder 's approach was radicallvunorthodox. and at first he was uncertain .

- whether to use the name 'svrnphonv' la,r thepieces, 'he was writinq. Thus the First Svmphonvbeqan its, puolic ife'as, a, 'Svrnphonic Poem intwo, parts' when Mahler conducted its premierein Budapest in 1,88:9.. It was not well receivec.and for its next pertcrrnsnce in Harnburq in 1,8'93Mahler provided the followinq trtles for the'movements. together with a proqrarnrne. whichhe hoped would help the audience, understanchis intentions:

1 1st P a ~ r t - ~ F ' l r ' 0 , ' : - : 1m t- h ''.e ~ D a - ,' y " , , ' ~ ' s ~ : o t ~ O ..~ . U .I t , " h '. F : ' IQ : ' : ' w ' e r . . -[ I . _ . . . . , _ . . . [ " . . . . . . . - . . _ . . ~IFruit .~ and, Thorn-pieces. ~

1. ' ,Sprin"Q without End" (lntrod.rcticnand A . l I I e g l r o , comedo).2,,,'Blurnine (Andante). 3 ., 'In, full sail' (S c he rzo ) ..Z n d ,~ , 1P l a : - I . r - t . J C o r r "j' , m - , ' - \ e ' - ~d I " " ? h : - :u. . - m , a ' l n - c "a - , 'j1

, ,.".. - _ , III _". _ ..!U _. .. . _ . _. ~4., .jAiground~ (Funeral:1 March; in themanner of Callot'). ' f O U O W 8 , d l bv

5. 'Dall' Inferno' (AUegro turioso). thesudden eruption ofa heartwounded to t h e ' quick.

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ln addition. Ma'hler gave the work the overallt .t, I I " . f - ~'T~t~.'"" 1 .' T " '" . " . , ' : . . . . .. . ' . ..: . . ' . : " . . . " . ' " . . . . : ' . h " ' . : " - . . . . f ," ' , .-. .' _. .~ ' . ..n e 0' ,'.I sr: 0 1 .one-poern rn svrnpnomc lorlml,.-.after .Jean Paul's Hornannc nov ' , e l Titan , wit h i .whose introsp iec .tive hero Roqu ' a l i T o l Mahler '-'. ' " , ,' . . ' '" , " " ' I '" . " . . , " " J'" ~ ,'. "'.' ,: I . ~ . ;j i'_ '" -.. ." . _stronqlv identified. The subttle of t lhe first part."Flovver-, [Fru i t- and Tborn-pieces' f' referred to'

h I _ J P I. .... ' - _ .. . . , . I . ,'," . .anot er novel by' .rean r-aui. ;The Harnourq audience were enthusiastic.thouqh t lh e ' c r it ic s remained cautious ..This warmp u - iblic re: " ' S ' - " I P " ' O " J 1 S ' e - ,rnav ha lve , encouraq ed Mahler . t o.. ," _'.': '..l: . 1 ". " . ' ) ] ' . ' ..... ' ,' P", . ' ", .' '.' ~. . ~ .: .. '_'. "... .:....: " _. _.: I...:" , .. ' ., . ' . ._ '. . . . ,,: J " , ' ."dispense with the t i t le 'S, and t h e ' proorarnme. andto present thework simply as, 'Svmphonv in Dmajor". This he did for the first time, at a concerthe, conducted in Berlin in 189'6,~which alsomcluded the Lieder leines isbrenden Gesellen,the sonc-cvcle l ou t of which the svrnphonv had ~.grow'n; and the premiere of the first movementof tne Second Svrnphonv. in which Mahle' had,as hie told the critic M,alxMarse hilaIk. borne the~ ~hero 1 0 , i his First S vrn pbon v to the".g,-:ra ' V : , : ' 8 ' ' '' : ' . ~ 1 1 . ' , ' . _ ' . ' . ' , I: .,.... '.' _' '__ ~I .. ' ' _'.Unhappilv tor Mahler, the First Svmphonv waso In ,this occasion aqain received withincomprehension i

For the Berlin per . 1 0 rnance Mahler alsodecided to ornrt th ", ...I-l_ d ." ovement.jBlurnine'. which as he later explained to BrunoWalle'rJ, he had come 't O I f :11 'insufticientlvsvrnphonic'. hi L ' 'W:_'S confirmed w h e _ n

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I th e score w as p u blish e d in 1 18'98[, In th'ep ub lish e d sco re M ah le r also enlarqed theorchestration. mcreasinq the upper woodwindfrom threes to fours, and the horns from 'four toseven with at least three more S ' , , U : g " g : ested to, . .c ' ' . ' ' . ' : _ ' I ~ ' ' . I '. '. ."", . " ' .. , . ,... ' , ." :',', '-""'."',: _' '.' .::"", '._r e i n f o " I r ' C' ' 1 8 " the c hrn a , ' ictic t' heme 0 . f' " 'to he fina l e " -, - ' n ' ' _ : . ' " , . . . . . I I I ! . " . ' J ~ ", I .' I e ' " " .c . .. I . . ' . - , 'where al] the horn plavers arc further instrucredto stand U I P ' "- " :_," "_:_.' :__"_ ' - ._." [I

M h t - - ducn h f "_ . _ . . i ,T' I'. ',', \..": .' ',' ; .' .1 : " -: " " . J . - :'_ " : ", ,, : ' J " ,- .' , : I ' " . :. r : ;. ': ; .;. : ~ ,' ", : ' ,.' "1-aruer wrote that the mtro uctron tO I t e ustm o v : ,e r n e n '" t ' d . . epicts N . .Jature's a - : -w,"a~I k ' , , ' e - 'n i nq fr 0 ,. m ,. . . ' . " . . . . . , . " , . . !. L ' . . . ' . . ! J . . : II '-: , ', '. .... ~ :..:. I" '.:_ . rthe long sleep of winter'. It I'S full ot sounds thath b d f hildh d Ik - h hi.e rernernoereu trorn C:I.IIIOO' walks Wlt'~'IS,father in the forests around his horne town oflqlau (Jl ih i1 ,ava) in Morav.a : cuckoo-calls. distanttrumpet siqnals f rorn a barracks tlh e sou n d ofthe wind 'iln the pine trees (the lonq-held ,A onstrinq harmonics). The first movement's maint h s. . , m ' '- [ e ' : e ': r n !t:l r ' g e - : S o u t ,0 ' ; f t h e C : : [ U I C k 0 ' : - : : 'O . . . .c - a - [ I I I I , s ~ : M : ,, "a ' : : . h " I e ': r '. . I " ' - ' , - " . . . y;. .,'.__:. .... , '.: ,. :. ," ...,'. ..:": '..' _., '__:. ..... I.took it from th e second .son g o ff the Lieder einestenrendeo Gesetten, where the vounq manwalks throuqn the fielos on a bright sprinqmorn ing. The rnorninq walk over, there is alengthy pause - a return to' the music of theintroduction ,__ where W'8' c a i n almost f e ' e , l ! th.'e- _----- - -hea t : of the rn iddav sun D ark tho u g . l h ts il nt r 1 u ' d e- '.~ .. ' ,': '.'.' 1._ :.: .:_. :.: .' '. ',. I,. __'.' ',.','.: .:. '':':,'' , I . . . . . . , I . .. . :~ :-- . .c _ : . ,and tension builds up to an anquished climax.which is dissipated bv the trumpet fanfares fromthe Ii ntroduction. now close-up and fortissimo.heraldino a joyful ' return of the wavtarer's tune.

T h '- ' e . = _ ; ' S " 8 " ' e : ' o : ! n ' . . d - : 1 m ' " I O " - : : ' , V : , S c . c .m '" "1 e " I n ' t " 5 : : : a ' n ' e . ., x _ 'U ' b ': I e ' r ' a ' ln .. t ", ::_:.-' .__:' ':_.. :_. . c "_, :..... ,' ' ....::' ': . , ".' .'.. ' "': .' '._"". ." , l '. _t,Lalnd ' e r , . bas ie , d o n ' m l a t [ e n ~ a l from Mahler's, e 'ar lys O ' l n ' I Q : ' H a . ' 'n ' S : u n d . , , ' G : r e , - " : t " e : ~ ~ ' ~U : P I . - : ' t o " t h l S : , ; p: " 0 ' 1 ' , I ~ n ( . - t th ' j : : e ' : " r " e " "" ' ; . . . . . . ' _ t . . ' ' , : , I:: . II . . . ._ . -" .. ' . ... . '.. " , ', ',':. '. 'h ad b,e en little i l l n the s y m p l , h lQ ln y t o disturbc : o l n t . e l m I I P o r a r y a U l d l i e n c ; e ' s " , b r u t t lhe Flur le ' ral Mar[ch

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was another matter. ln his 18193 proqramrne,Mahler fel,t obhqed tal exolain thrs rnoverncnt atlength; it was. he said " m sp ire d bv a p ic tu re ,well-known lin Austria ' f rom children's fa iry-ta le ,book's c al' e o 'Th ' e H 'I .nte r's Fune ral P ro ce s S - I ' O " n "j'I: ' / .1 - : : ': : ~ : . : .' . . ' . . . . .. . . . ' U " I . " . ' . ,


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its instru me nita III and choral forces. M ia hlersSecono Sv..-rn' P 'ihonv 1 ' 5 a l s o one 0 " I f ' the most- . . ..- ' . _ . ' . ' . [ . . . . ' . - . - . ._ . ' . . . ' [ I . . . . . . . ' . ' I . . . .'_impressive, most oriqina creations [ e ' v l e r t o [spring from the rrund of man . S , I O I stronolv. "... ' , ". '. -.- -c.d ';'" " t ' ' . ' : " - . ' . . . . : : ' , ' .h .....f a ..: . " :. , - ., " th...-.t ~t ' . c,': :: ";' . ,o {g an l,se -. I:S ,I:, so muc I [0 1 ; a pi l lec[e, n a _ ~ [gives, -'the irnpressior: of havinq poured from Mahler'sp e n in a sinqle creative impulse. W'ho [ would'8'v,e 'r have dreamed that it was in falc't theoutcome o f .Ion lg land oaritul effort. that six Y ' 8 ' 8 [ r s. passed ~ . tween the first sketches of the

. . : l ' ~ eninc rnove-nent e . : J t h o , finli,s[lhilnlg touches to

. h i . - 'I j ' - - 'I' ic l II n[.i l l "In Jan ua ry 1 [8[8[8Matlll~~'lhad spent eiqhteenmoaths ,.IS sssista nt oi recto r of the LeipzigO pe a. r oenod mar ed by unsuccessful rivalrv

with an already famous colleaque some yearshis senior, Arthur Nikisch, At tlhe age ot twentv-seven. Ma'hler , s t [1 1 1h a d onlv one m a j o r score toh is , credit the can ta ta D I8 ' S : k l a - g . ' - . .tend < e : L " ied- . _.... ... .... . ~ _.'.. _. .... I.. ", '.',.', .:,.. '.., .' , . '.. '. .. "C ; . . . 0 ; . . .m e p l e t e ' . d : 1 " ' n ' l' 8 : : ' .8 ': ' 0 ' . _ " ' S ' ~ 1'1 n o ' c e '. : . t h " ' e ' " - n ' " h ' 'e " h [ a '. ' d " h ' a ' d [ to ". _ ' ' .. '[ r ) - " ' [ ! . . . ' , : ; : - : . , ,.'1 I ! . . , : '_ ' I ~ - ,. . I . : . : . 1 : , . ' . . .: .1curtail his creative impulse in deference to hs t , - m - ' . , e : " ~ " ' - C " ' C[ o ' - ; n ' - I S ~ c i l i l m " . - 1 " n g ; : 1 c : ' o m d u C.ti n - ; g -: S ~ ' C - h.. e ' , ' : [ d ' : u l e : ' W h ' e n ' [ 1 I n ' ' e ' ' -'. _. .....:'._. '_. U . I ' I . . . . . ' 1.-. _. . _ '. ,._ . ..... ." .... .set tal work aqain however. just af tercornpletino 'Weber's posthumous opera Die dteiPintos. and in the midst of thl8' kind of storrnvand unhappy love affaif which alwavs stimulatedhim, 'my pent-up emotions 'were ,.50 powerfulthat thev burs t forth h ke a qush in!g torrent ....,A ton e blow a '~ I t h ' , I e ' ' l ~ o ' - - " , o " - " ' " d :. [ g - ' ares v v . e , ~ ~re c. op e n : - I e ' : d" ' "_ J i . '. ~ I~ c ill I I . - : c -_ . . .. . ' ., .. " ' . " _ . . ' . ' .

W ~ , ' I I . . h . . . . . . . . . . . . . . ' . . . ' . . , - . . - - . : - hi s I F ' ' : : , . ' , t S : - : ' : , . ' . . " . h . . ' . I" .I! 11,8 .. e was comp[o!sulg[IS I l rs.~ , ~ylmIPolnyh e , also sketchec o[u t the f irst movement o f 8 1i s ' . h e C - "!' I I d - T s,:., ':ymlp.~lo,nly' In I',:; milnor' and ca. ec It totentete:I f R ,ite s o f' th ,e IDe ,ad ' Of j ' Fune ra I Cerremony" l . ,o n ''. e , : . : [ d : / a y < h a : . r d : , a "t w ' , , o c r k - O " ; n t h ' I S : ' s .. 0 ' : m ' . b C . [ l r l e t " : u n ' l e ' : - " ' i r '~ ~ I_ . . . . . . ' . ; 1 1 . , . . . - .1 .. I[! . I . . . :_ : _ : . ' . . . , " . . I . " ' . u~

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march, he was, gripped by a vision ol himselfstretched out on a bier. surrounded by ' theflowers and gari,an1ds heaped [o n him after thetriumphal premiere [of D i e ! drei Pintos. Onlv the- I - M' W:"b h .arnva ali ! v anon von vveoer. . 'IS currentmistress. brouqht him back to realitv.Just as he had borrowed the subtitle "litan'tor the First Svmphonv from alnovel bv JeanPaul, so he almost certainlv took the name o f h ilsvmphoruc Alleqro in C minor trom the title, of atranslation of a long epic IP081m by the greatPolish P J08L Adam Mickiewicz. DziedvJ ' F i - ' " . . [ c " -f ~ - t ' h : - ' 'I I It h . . d r- .. ... .. . , . t ' I " , . " b , . = -, : .: . : :: _ . , . ' . tr r. ._'~"I . . . :t r .d, . o re [al.e rs, ~ " '.' a .. r e cen _ y . c , e e n I r ons a. e .into German by Mahler's bovhood friend, theG I ; , - S ' frid L' " h d 'l a r e r a n wnter Sreq n o t.rp me r, who cal lec ItTotenieier.

T h e ' Totenteiet, finished in Praque in Augus t1888, remained on Mahler's shelf for severalvears. H[e ' had by' then been appointed d i rec torof: the Budapest Opera. where his immersion inpractical ard Qldm inistrauvo pursu i ts kept him .frorr composition. ~ In 1 8 [ 9 1 . , now first conductor: t - t h o H ' _ ' . b . , . . . . 0 " , '. .: " " [ " . - ' . his r forma '2~ .[8 e ramourq Ope r a . IS per ormancesaroused the enthusiastic admiration of one ofthe most illusmous ccnductors of th'e' age~,Han svon IBu~ ,ow" Convinced that th is 'Pope of .Germani music' ~ the darinc modernist whoIhad cone ucteo the first performance ot T r i s , t . a n'" .und isolde. who had mtroduced the orchestra!.. .WO{IKS; of Brahms and revealed the qeruus o f' th evounq Hichard Strauss - would help him t o [ 918this own works perfor-ned. Mahler went to seeIhim, [a lr riiv in g o n the appo~lnted Octob,er eve ,n i , ng' - n ' " . 8 : ' - "' 9 - : 11 8 1 u t, h e " h a - d - 5 -' c - a - ' r c - 'ely b e ' g ' U n t o ' ' p " 1a . .I , ' " _ , . _ : ~ ' : . " , ' . . _ ' , : . . . . . c " " ' . . : . : , : _ : . - . ' . . - - ' . \ _ [ . r . I Y "

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hen Bu~owmade a face and covered his ears.W'he ln M a l h l e J stocoeo p [ l l a y i i n g l ; , B ' ' . I I [ o [ w ' remarked:I I wh at I" ve just h ea r d is , music . then I n o , lonqer

ferstand anv hi 'n 'g about music!'. Later he'W' n t further: 'A,s tar as l'rn [COlin ce r n ed ,r. ornpared t . 0 1 this Iristen is I l i , k , e 8 1 I H a Y ' d n l.vrnphonv' ..This incident marked a completer~'a" between Mahler's past and la l future inW ,c'hhe 'w - -as...g " l o ' " I - I ' n -' g ' - ' - ' " 0 - have t o :" . . 1 1 ' : - " ' I - S ' ow n ' w " a ' I YI : ' . . . ~ ' : : : . . 1 " [ ' : - " I II:_ ::, . c I '. I .. . .c c _ . : I I.. "'.' [ ..'. ' " . " " .' .. :._" :

1 0 - " I n e - ' a :- 0 ' ' - n g 'l a " h a z a l i d '' 1 0 ' u s p a t h t h a " t o , 0 " n l l y t h e "' . I . I.-::;! :. ". > . _,'co. . _ _ . I .. - _ l . ~ , - I [ - ' " . . ' . ' - r :. :~ 1 1 , . ' 1 _ ' . J _ : _ . _ " / " _ ' . 'bstinacv ot [ g [ e n i l l u i s would enable him t o follow.'the endw'[o v ears la te r he , g[ot" 'IQWIrl tO I work a l g a i l n , ;returninq tO I his oriqinal idea of a 'Svrnphonv in C

. - i n o ~ . . In l.eipziq, while cornpletrnq theotenieier. Mahler I h a d alreadv sketched O I i U I thetwo m a l i n themes of Ian Andante in A flat, Theshcrt score of' this movement. and then i t s.' .-.-'.-.,t ---,' t i , : ' " . ' . . - . s . .'. . .- - - ~ .: ..-.O k' t- f ' ". ' . . " , - : h '.-d I J I ' ' . . ' . '- " .arc es tranon were qu C l'l~y [I mrs [8':_.1 In~.une1189 13 1 . , .mrnec ia te lv afterwards M ah le r se '-' towork, on a S ch e rzo O n tanderr wit.lh h is song De sAn -' to n iu s V ' : o : ' : ' n ' " Pe du'8 ' F J : S ' c h "p ' re d ' ig ' - : -r - vv ' h = ' O - : " S ' B ' ".' ,_',' I'~ ': ": . ',' 1:-:- . L.. _,'";'':_: ,(~i ,,' ..' i:.

I U I , S I ~ [ c a l l 'substance is Ii entican Th e writinqwent ahead at a d ' l ~ z ' z ' y ' i l n g l pace, yet the. . ' 1 - f' ~ I h dcomposer grew mcreasrnq y ever s (I ancanxious with everv passing diary: althouqh hehad 'fOIUI',d, at Steinbac I am A t: ersee In ' e i a l

S ! a l l z : b u r g ~ a s lu m m , s r r e t r e a t 'whel-e he c ' o ' l u l l , dI C o ' m ' - : " ' - p - 0 " 5 ' , , - " 8 ' , : - ' : ' ' I " n " p " . e a . - I I C e : " .. . t h , [ e '. , S - = - : l ll lm : [- m - : ' - ' - ' I e = - : r " W a - s : n . - o . w : :- . "- . ' . - ' . ' . - c . ' . . . ' """C. . '.' '-_'.' I i ! ' . . . . . ,U ':_'., .'. -''-'..d l r a ' W , ' : I n " g " ' - ' t 0 ; ' a " : c > l l - o " : ' s ~ l e ,' : ' . a - n - : [ d , S - - ~ O = - I f : - a ' " I ' h [ 8 > h a : : " d " - f ~ o , u n [ d : -[-. I:: ._.., - .:./ . '_..'..t - " . ' . . " : - ' , . " - . _. _ . . . . . ' . . - " -n e ' l i ' ~ h e r t h l e e x i t n o - t h e d s ' ia l l tlhI8'mal::ic m l a l t e r " a l l 'fOlr the IF inal le 'w'hic. w'as to crown the whol le.

J1ust when~ ther re ' fore~ did h e de c:ide t[D I U S , S ' hisp r , e v i o ) u s , l l y c:Q,m,p ' [ Q l s 8 [ d l Ur/: ichlt~, a l siong w ' i t h l p l l e ; - 0 ,

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accomparument from the 'fa I I k - c o lection DesKn a lb e n W u 'n [ d e l r h '[ o r . n ' ? ' Th e answer appears tobe sometime' i n , , 89,4,.when he definitely settledon the idea o t awarding t he , human voice [ a ld .. I' t h F " I oil h I Ieterr rurunq rO'II[e ' I n l t . l _ e I I l n , a [e . - 1 . I e wa'y . w,asinspirec fO I the I F i ~ n l a . , e l i s ; d ' 9 [ 9 ' I P , I I ' y ' indicative ottheessence o l f ' musical creation. For a lonq time Ihad bee considermq the idea of - n l t r l o d l l u l l c i l n l l g achorus mto the last movement. and onlv the fearthat this might be interpreted as a servileimitation of Beethoven made me hesitate sa lI l o n l g i Thei B G I I o w died. and II went to nistuneral ' T he ' f r ame 0', min: in which I foundmy' ,s - : e " ,If' a " n ' d th e"thoughts I de vo te d to.. [t h e d e a dI) '.-',.'.- '~I . ' . : _ _ . " . i, . _ . . . ' . . . . . ' . : . . . .: : . ' : _ ' . I. . = - . ._ _ . . .. _ . : . . 1 ' , . : . . '_ " . : r . :man 'w'lere very much li n thle spirit of th iS work Iwas then harbourmq within me. AIIIIof a suddenthe cho L - " accompanied by ' t l h e orqan, i n t o n e dKlopstock 's cho rus A : - , tersten 'n li t was as' I f ' I. :: . .. ' t' .. . , I . . . . . _ : . - _ , ' - : . _ I I I I : -= I [ m . .) ' ._ ' ~ :. .. :' , [ u . ' : I , . ' , : ' : . . ' I _ . - _ ,. . ~ . " _ . t . ~ ' 'had been struck bv Ihgh,tn: IJg, evervthinqsuddenlv seemed crvsta clear! Such is t h i e fillumination for which the creator W 8 1 1 i l t S , such is,s a : c . r e d I n - 's ~ : P - I r 'a t i o n ~ A .' f : - t ' e ". 'r t h o a :' t I h a ; -d t o c r e a t e . n : . - . . . . . . , . . . . . . ' . . ' . ' [ . . _ - _ . ~ _ . ' . : . . . . . , . _ . . : . ' - . . . . '._ 0 # ' V_..= ..SO" - ' I u n 'd w' - h ' " a t ' 1 - had iust e -x perie n e e d_ [ .: _ [ ,1 1[_. 1 _ 1 _ I J _ k . [ , J' . . . . , . 1 : : : : .~ -l :~. I , I : . .' . . . ,0Nonetheless, il f I I had not alreadv harboured thew o r k - - - = t- L .. . ' , _ . . - - , . h -('1 II [ d I h ' . " ~ " . _ ' : '"1' :"1:'" , " : " " I - " [ " ' , ' - , d lwar " . W il l i n n me , o w C ,OU __ . a v e e x p e rle n c e _ ,this rnornentl W[er ren ' tho- sands [ofotherpeople with me , in the ch 1 _ ' - C - ,. That's . [OIW litalwavs is with m e . I I compose o n l v when I I ' t r l u i l l ye xp [e rie n l,ce a thing~ and I I ex 'p 'erienc9' it l o n l l ' y. .W' h - e . : ' n ' : 1'1 C I l e ' ;" a ' :, , t - ; 8 : . 1 r,,',) .' ",' . . ~ .. _.~ 'i

T ' l h li is , ! i: s , how M l a lh l e , d le s , [ c : r i l __ c ' , e [ d th,[e' o r ig ' i l n s [ o f :h is imlmlelns'e F' ina le l i n a [ le t ter tOI the I B l e r l i n 'eri"lic:A r r t h l u r S : - : : ' e i d ' : 1 1 t h r e " - [ e ~ y , l e : - a . . ;r s : : : a f t e . ' r t h e " S ~ ' e [ c - o n d : .... . . I... : ..-.. f . ' ' , - " - " . - . . . - . ' - " . : . . . . ' - . . . 1 . . . . . . . - - " - , . . . . _ " : - -S ' y m p , l h " o , ' n ' y h 1 8 1 . S b [ e [ e ; n l [ c Q l m l p l l l e ' , e d . , I H ' e ' b ' l s ' : ; ; a l n t o


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sketch out t h e ' first draft of the Finale ' Olin tlheve - - ' I r - y da": y . : die -scrib ed to Seidl l a ' - ' nd devoted ' the'.'.' .... I.:. ',. "':'.. . ."., . . ' ._ c .... _.._ ~ . _ . '. _... '.. .. .followinq summer to the work of compositionproper. Hie'fmished thle ' CO l nposition atSteinbach in June '1 [ 8 , 1 9 [ 5 ; the orchestrati on wascomp l e t e d bv :2:5Jiluly..lt was Theodor Ado: no, the qreat Germanphilosopher of music. who oriqmeted the notionthat Mahler's iQlrealtest triurru ..hs'wei,e achieved in the realm of excess. in Ih~ IS ,dis e '[g :,J r " 1 to r th e v ir tu e s o reacbed bva. . derati dI . : . ionarv '.ourqeois society: rno: eratron aruth ~..strikinq of a happv rneoium. Malhil lec..ccordinq to Adorno. 'broke music's contractW I ' lh this soc etv and 'created a maiersvrrphonic 8 1 t at tlhe very rnornen I. when suchan art had become impossible ..'" Mahler'smonumental ach'evernent amounted to a'violent attack on the private. conventional.bourqeois curtailment of music, aqainst theeleqant ministure. apainst the sonorousviqnettes of late Brahms or Debussy' ln he Second Svrnphonv. M,ahl~I ,er~ 's,vl i :SIIIIQ,n andh i Ii s tra nsmutation ot it into sound cannot tail tO I. . , .enthrall the unbiased listener. T h e Finale,thouqh its overall t o r rn . or eve : n the ode detail, isperhaps open to discussion, provides a towerinq .[ C I Io,se'to one [0 the most amoitious creations a" ' 0 " m " P " ' O " = s r h " '5 " e " ' v ' e " :- r - c o n c e iv e d a l n d b r o u q . . h t t oI e . _ 1 , _ I: . : I _ s e , a ~ . - . - : . . . ,I, I" ., ![> .:.::, ,c , : c", ..... _ . _ 1- a, cfruition. "Mah l ' 8 f himself realised 'what I h , e h adeccompnshed I n l ' 1 9 1'0 0 1 he to ld Natalie Baue r -Lechner: 'lwil probabtv almost never attainsuch heiqhts Q{ plumb such depths , a g , a 1 i n , justas Ulvsses was, able to descend onlv once" I

durinq his earthlv lite into Tar ta rus . Onlv once o rtwice in a lifetime is, it possible to create workson themes so stupendous: Beethoven lin hisN " - ' t h - " Goet ... , Fe 1- 's 't Dan te in the DivineIn- ,~ I~ ' _ _ : - I I O l e ' l e In l ,:U.I; ,:I._ I _ ~ ' I, e _.'~":"_Commedis. W i l ' Y " [ Q , u t putting rnvself evenremotely in the same class as these qreatest ofa lii, I ;. = m ofte n astonishedeven now bv 'what IIaccomplished that summer in Steinbach l.. ~

Henry l.ouis de laGranqe

,S,y'ml~'hliony' 10.,3Each o t Mahler's svrnphonies, as well aspresentinq a purely musical arqurnent, attemptstal define aln attitude tO I I i t e . Mahler w a s reallyone 01 '; the first existentia ists. usinq hiscompositions as a means of workinq out somekind o f co he re n t vvet teoscneuunc: se v e ra l! o f hiscontemporaries were doinq much the same inother fields notablv Dostovevskv. ia writerwhom Mahler much admired. Mahler'ssvrnphonies show the development of Ihisphilosophice' outlook: from its beqinninqs inromantic nostalqia and an intense feeli i lng fornatu e (S !Y 'm ,p ,h lo 'y ' : _ I ' D ' . , 1 ) 1 it qrows to inco poratesome of the doctrines of Chnstianitv(Symphonies 2 and 4} and approachespentheisrn (Svrnphonv No.3). A,more worldllyhurna .ism takes over, whether optimistic ' ( I N l o , .5 ) 1 , ! . t ra oic I (N ! ,o. . 6 , ' 1 lo r equ ivoca (N lo,. 7)~ Thencomes the !grallnd synthesis of' Chr i snan i t v andhumanism in t h e ' IEight lh Svrnphonv, before the


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I r : -haun ted world [o f t l h l [ e last works.f -'[Q [ se 'd a lt e r M l a l h l le ' l r " s i discove rv of h is fa ta l

I - .~.~in w ' l h l " ] i C h i anquish an d bitter I retest a reI I , "1 - UI,a[[ 'y r e s o r v e c IInt 01 po r q nan t accepts n ' C : 9

' I ' ~ h the tran storrn in q Ip IQ IWe 'irof love.r c h s ' - Y - ' - m - : "pho I l n -' y . " o r e s . e n t s a - fres h a - P " : - I P ' I I " O ' "" a ' : - 'c h tO I-": ' . , . " . . ' 1 - 1 : : . - ' ~ . : _ ; - . . - ' ~ I . '. . 1 " . ! . : : J [ ' " ' . II. ., .... I . : ._. ..s x is te n t ia l p r ob lem , but there li s often 1 8 1. [_./..- continuity between I Q l ln l ' B work and 'the,- As, I M a l h , l l e r said o f l h [ e fiirst movement 1 0 l f

I I S e c o n d Sv r n p h o n v ; 'It is , t h e , hero of mv 10'I 1 1 jor svmphonv ~No~ 1 1 ) whom II bea r t o t - I e

II vc there.' ' T ' l h 1 e ' first Svrnphonv's hero bad[ . , " , a l romantic dreamer. love Q I ' f: nature andI I ' I [ a le l hiqh s p i r i t s eventuallv p reva i l i nq [OV'[6 ' f thernporarv disillusionment of a l fai led II [ 0 ve l a f f a l i r

h . d - ' t h L " d . i h ' dI ...... '-"" ,.-_.. .:. ,! ' ' ,',', - - I '.' ,,-,,_. -._ , ', .. ,' .. ' . ...... ...,. I ',-, - .-.. ..... ,- 'Ie O ln [ e ' c l a r t . e . . . I l l n l t , e f [ e . e r elnes ,.cl ren .._ ~ e , n.. . In~ '\ d - - - .. ~ .I , e s e U [ e n ' , ~ l a ln l ' , la l y o u n g l I m , a l n 5 , g r o ' w l l l n l g i ' .

0 - I n ' -' S C : ~ [ O : ' : " ' U ' S " " ' : ' n I e "" S ' ' - ' 5 ' - : [ 0 " : - ' : ' , t h [9" 'I 'W '.~ " ' [ 0 '" l r' ll ld : ' [ ' s d . . a . r k side I I' n - t " ' l h -' - 1 8 " - ' : " , . 1-. I _,_'_'. ( I . - ._ ' . . _ :" . I " . . J " , ' 1 . , " - . .: __ :_ . _ . :: . _ _ '_ , ' _ ._ " ! ..... r . : ' ~ ' , , ' . _ _ . ', I I II . ' .. .. ." ' u l l g l s l y ' ambitious Second Svrnphonv, I h , [ e

I c . . ' . . mb - , a c e s rne ::'(~pbvs ica l Cbristian resurrection,houqh without judqement. Mah le could I n I I Q , !- ~-s c c e "1 Pi . t a ' e r e a - ' "Q ' r w '" " h : " o ' : : "C " O " " U - I I I - d " disc a- i t c h s o m 'e " o f h ' I " I S "I 1. .. . _: . .. : I .:--r ...:[ I [ " . . . . . . . ' . . ;. , . 1 [ _ .. ' _ ' . ' "! "_:' .:._..-..... 1 . . . . ' . II' : 'I i' . O :: ~ . _ . . . . ' -. _ I ' : I I..I .... ...1 I _I .creation 1 ' [ 0 permanent sutter I gl in hell.This im[age ' o f a universe S it rivi n l g l towardsredemption is continued in the Third Svmphonv .which presents a vision ot the whole of creationI" S a [g 'eat ch a in [o f an ima t e be n l g l 'f f rom theII O W , : e : : s - t ' o r r n s tthe s.ton e - "s , ' . ) 'to.. ' t- h " e - " h - I ' , g l h : e - " s , ' l t ' t I G , : - - O : ' l d - I .. ,. I.".. . ._ _" I ~., ~ .. _1:--'....:.;._ . ! t , _ . . I .. . .. _ "" ,IL, , . ... 1.,himself). A,s, I .l e i had done ' f o r I is firs -,twos l y ' m p , h ' o n ' " = ' , s l ~ M a l . ' I ' e ' r d l r l e w I U I P a l p f I Q ' g r a lm m e 'W h l ~ ' C , h l h k . 6 1 h,~stW 'O I p r e v l lo , u S p [ o l ' Q l r a l l m l m e s " he~,a te ' r: s u p p r r e s s e ,d l" f e a l r i ln g t h a l t I h lI IS , , a l l u l d l il :~ ' n l lc e sW - - O " ' IU d - d - [w : . e ' ,- I I - t o ' 1 1 0 ' ' . m : : - " u [ c - 1 h - 0 - n '" t- I h ~ '' e ' : ' j p.1 1 : C : ' t O : - : I '" I la : ~I l im ' : : - a . : . l g . . e : ' s ~ h : ' e = -_ _ ' " " . . . . . ' . ' . . . . . 1 . . . . _ . . ' . " ' . " II . _. _ . :.....-, ."

[ ...'.'

I P J o v l i d [ e [ d a l l n d i ' g n l o r e l th e m u s l i [ c . His , I m l l i s g i v ' i l i n g s

1 1 1

a '8, justifisb Ie,;vet not to qivs the P i oqrarnrne' h e r e would ,s[e 'e~ unnecessa r i l y puriterucal.S e ve ra l d ra its o t ~ I t e ' X I " S I t ' : the I Q l n equoted is from a letter to ' t he , ' C . : i t I I C M axM la r s h , a k da il -[g from AUgUIS, t . 11896,shortlv afterM a [ h l [l e 'r had completed t lh ,e 's vmphon vA S' N ID ', ' I u m , m l e lf , ' oon d s v , s . I u e em1 1 st section ~Introduction: I P , a l n awakes,I N l o ' 1 1 : :' S , I U l m m '911 f m a r c h e s in 1 ( ' B i a ' c c h , a ! n " a l l ~ [ a l n

C -or teo l e . . , ) 2 . ~ n d ' se c . , '~ I I O . . l n __- II .. '~ _ ,_ '. I I ".: -._ 1 :. J _ J I L . : _ ", _l !I!I N l o l . , I I : : W'h a -, the, f l o w e r s of f the meadow t e I~,N o , . [_ II I "N , o . . ~ V - : : - - '..... i II . !II

me.' W h , a l - ' the beasts o t the forest t ie lI II r n e .What man te lilis me'What the anqe l s tell meW lh ' a - - I t' o v . . ' 1 8 ' : ' t e - " S - ) m l ' (' ' " ' '' 8 'II _ " _ _ _ . ' . ' . , :. ' _ . . _ , . _

N[ o : . V : . , :" ~I '_' EllNID' . , V I~~

[ 0 - :- , " - ' . ' ., ' [ 1 1 ' - I h ' : : " , -- : . . . i h c . . . ., " ~ - . , - : - : t t, h " . . . . .h a d' . . J [g l l n [a _ y . r li e ,sympl I O l n lV W,BS ; .0 . I [ a v e , a . :seven movements, but I M I ': = ~h i e r took OIJ ' t tbese ve n th ~ 'W -:h a t th.. e . .- . . . chtlc tells m - " - e' a ' : ' S " ' S " _ t ' ' ' ' ' I ' ' n : g 1 to rI ,1 I ,I .. 1" . 1 . . ' ' _ .. ' 1 . _ _ , f l , . . . 1 I I _ , _ . _ ! . _ ' - ' IL . _ [_ . I,.soprano solo ot the vvunoemom f O I I I )( : ~ . ioern 'The

e a l v e ' l n i l l y ~ i f e l " I ~ [He ' r e 'a ' iz ed the dancer of ove r-inf atinq a work which even in its final state isthe, largest he ever wrote, with a first movementas I l l Q l n g as t l h l '9 whole 0 Bee t h o v e n ' s Fi,fthSvrnphonv T'he oriqinal seventh movement laterbecame me finale and t oea point of the FourthS v r n p onv : t l' is C O ' In inues h e T - ' I hi d['s. ' : , _ : . ' 1 rl ' 1 . . . .: :.. 1 :. ~ ' . " r . I .. ( ._ : i .>. u: : . . J I : - . _ I _ ' " , : : - . ,p r e 'o lc c p lla 'ti1 on lw " lt '1 ~ m a l l g e s 10': t e ' d ' l i v ' " : } e in l t l - I ~ ' II n l , a t u l r a r l l w O l r r ld '~ 1 w ' l i l , c h 1 ' 0 1 - M la , h le r , c ,u l ~ m l ln la l ' t e [d inth,[8 1 i l l n l n , o c e ' n [ c , e 0 a , c h il ld ~

' h , e , ' T 1 h l l l r d S , y m p h l o n y ' s Q l lp le ln , in J i gt l h l - . .me in Dm i n o [ r - 0 1 . I U l n i s , o l n [ h o r i n s l S i s t s the S,Ci~ Ie of t h l e- -

I~I


8/48

,I

work: 'WIS m[iglht comp l[are th is - orn 0...eninq ofanother expans 'v a symphonv. Scm bert's Grea tC major, noticinq the difference in effectbetween the S O I \I .1 dof Schubert's tWIO ho rns ' andMahler's eiqht. ' T l h 1 e I l o [ n g introcuction to the mainmovement lis one ot th e most ext raord inarvp a s s a ' g ' - e " ' S ' : " - ' I n l ' : - - M > : : l a h l e or r : a s a ' ~n " 1 e" i v o c a t " I O - n " 0 ' f p r im rtiv: e : - '. '. , _ _ : ... _',' _."'.:.:._" . _. .. . ' ,.. : :'. ,II .."_ ,I '. '_ .. 1 ' .. '.....' ....'. > " , . ' " _ > . " ~ " ~I _:._nature 't rivals Stravmskv's Th'e Rite of S / J r i n I Q ' ,while here and elsewhere in he' movement thes . t a l k , juxtapositio -' 1 [ o f nnmate s o u n d s o f n a t u r eand L . IU [CO' IUS nrass band music antic patesCharles ves. The tirst oart of the' introductionW I : : . . IS 0 1 i lg i l n a l l H y ' callec ~ W l h i a l the rocks andmourn ains tell me.' . 1 , [ uno Walter relates how., . I r r t i i v in g a t M a lh l l~ e t r " ' s summer home a t Steinbacham Atte rse e and gaz" in,g in awe at : thesurroundinq moun ta ins Mahler said 'No n l ,e ,ed tolook UP I there, r'V'91 , a l r e ' a [ d l y composed a I I I that. ~Pastoral music is heard [ i l _ '_I contrast: then a sternsummons on , t 'ornbone. P an havino been

d l f " ~ ... :. . ..,.. :" - r- ;, :.' cc . -.; .. - .- ~ - -.- .:.' . ",": -:- . . = . . . ~ - - '- . [ : ' '' '1 .. ' :-- . . : := -rouse I rom s eep, summer arnves to a f - d ~ h i" m rnaqm '[Ilcentcrescenc [ o l ~ [ n l [ grnarcn: out II~'S c u m a x 'I' .. d h h '- hI[S interrupted, anc w,e iave tiD 910 tbrouql , astormy develoornent sect~on and formalrecapitulation - the movement is a fairllyorthodox sonate structure despite its size -before the final F mit : ' O I ! r triumph. Mahler has. been cnricised for repeatinq his m a t e r i a l at , S I U I I C , l h llenqth; ~n fact, considerir I g the scale ot themovement. t : - Ie . e ca p i t u la tio n is r e m a fi k a b i l ly 'c O l ln l c ~ s l e ~ . I C : lo [ m I P [ fl e , s s . [ i[ n l g thiS' 3 6 1 i 8 b la r , s lo f . .' I h l i e"':.--....p...'.-.~. .".,,-., n t ' - o 2 " ' 3 " " 3 1e x , O I S , 1 1 . IOI[nl [.1 . 1 . . . . . . . . . _ " . i.,

T h , [ 8 ' se'co[nd, m o v l e m e n l t . a minuet WI[th a,.scu[r rYl ing[ trio which comes tWI,ce, is ,s ,cored wlthl

1 2

g t r e l a t T elicacv and retinemerr .lo r a reducedorchest a 'without trombones 0 1 1 tuba, and withthe basses p i - a y i [ n , g l pizzicato. throuqhou .:~The'birds and beas s - , s c - e r Z 'l o b le " g i[ n s with a l straiqhttrenscnption of Mahler's vvunaernom sonqA.blosu[ng ' im Sommer'. about the death of thecuckoo and her replacement in the' scrrrnerhierarchv b' y the f l l i g : h l t i l n g l a - , e . , -he:-e a r e i tworios: .he first I S , l i iv ,e~yand boisterous: t -e,..-..... "-,--:-d .....-.". u d ... ' .' I I 1 I be t h . . . . . ' , . . _ . -. . . . - . .- . . . ' . . . - . ' ' . ' ' . - d - ' . ~ . . ' ,s , e [ G l o n C [QU . .: w le . " l ie I e , , S U l m l m e r n O l lo n l ~ l a y , sdream' of the oriqina title: aqain st a l shimrncnnqb- k o r - d - ' I ' l h ' ~ ' h '-1 :'- a p osth o rn p la s - ~_ a c : g r o l u r l _ . 0 1 ' . Ilg [1 V IIO [ In IS ~ ,,-1 1 1 1 , . C : ' , - , 01 , ' '1 _I ',_ e: IV: " a~o' lni lg,~se - timental rn e lodv 'as " f from the ta rdistance'. Both ' trios retur "~ l in variel jd form: t h l eposthorn trio is lovinqlv drawn out; to bedismissed f i n a t l v bv the uruption of 8 1 1 n E ftatminor chord. as if Pan hirnse f had suddenlyappeared. The last three movements ,arei....- : - ..d 'to h f . ~th .d' . .. t h . _ . .' t ' hc o n n . UIOUS , ,a ln " ~ - e . O IU lr l' . , 8 1 [ n l . ,S[ IXI~ I a r l e II[n I 1 . l esvrnphonv's true I. "e'y of D major. which has notbeen beard since the thwarted climax [of the first

1 1 " ., ' T l h f ' . I- hrnoverne [ts, exposrnon. I_I n e tourtr movement.. ." f I I I I I ' f - N j" I h ' , j IM : ' '' d e- hal set tmq 'o r S I O ' ~ O I la to !Q'['< 1 1 1 8 'tZ 'SC' . le 5 \: 1 .[ , . .n l l g '-ItS o . . ' n " lg ' ~ . t r [0 " r n A : : : "' J ' , s ~ ' 0 S '- p r e c h ' [ Z : " a :r s t h U - ' S ' " . t r e d - I e " a : I " s ' ' ' w i t h. : . ' , - , . . 1 . . : _ . _ _ ' _ _ '. _ . . . - . ' . : , : . . . . 1; . , . ..: ,' . . . :_. .. !.__' : 1 ._ .: _. - = .. . , . ' . . ' _ . . . . . .man: but man the sol ita l rv, in rnvsticacommunion with nature. with onlv .he cry o[f , a.Iilf[dl(on the oboe I soundmq th .ouq ....the hushedn e e urnal landscape. fhe " i l f t h movement ischoral: womlen~s voices sinq the Wu[nde r :ho rn lpoem 'T!u e [e 'a n qe ls w e re l s[j ln 'gl inlg;, while bovs ': '. ' [ . ' 1 ' ; ; -- I ,- . ' - , [ - . . - - . . - " " t ' . I b -' 'II~' m il l , : . I I . t - h ' " . , -' --- , , - . .. .. . d - Id" I - I I I ' " , . t OJ. '. I . . t ' I l. .. .. ~ - ,v o u : ; e s , llm[l. a ~e. _ : 8 w [5 . n I 18 m l[ 1 -_ e s e c ! [o n " , . 1 1 1 1 1 8l o - u - I " [ r t ' - h lm " " ' o - , v e - 'm e : " n ' t " ~ S s o l o ' " a : " h - o " ' " s ; - i [ n g - s ' ~ "a : - s a - " l p : - e : , n i t e , n 1 t - , -. '. ' . _ . .:. -. _ .... _ :' .: .::.. ..~ . .' . .:. I I I l . '.[~ -. -'. _ " . ._ -..' ._ . - '. I L . . I' II

s i n n e r ; thle b O I ' Y \ s , " v ' l o i c e s iloiln 'with the w ' lomen ; s~ . Jl~ng r a n t i n g a l b s o l l u t i o n ~ A , s , the b , e I II! s i o u l n l d ' s fade


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. w aY I t 19 viol il s. 'S ilent th ro r I Q , l h [ o , u , t thisI I O V I ' ent. beqin the A d [ , a l lg j IQ Ifinale. its hvrnn-

I 'e C , O , " tern plative main t : 1 - I [ e m ~ : , recallmq lateBeethoven. The music v 'le ry g raldu laUy' gat' ers

I nornenturn ,and reaches t he S , " ~ me tense climaxas in the lirst movement: but the coda re-es t ab lis h e s ca l III 1 m an d t : ' , ' ~ ' " symphony e n d s in thlestabilitv of an enormou:s, ly ' protracted I D majorcadence :- ' _ ' _ - - - ! I I ! ! D'- .d M ' : ' , _ ,h : , a V I. . - ~ v. attr s w s, -

,

Ma lh ,[le l''s I Fo lu r th was completed in '19110101 ,; th re evears atter he had been appointee to the ViennaCourt Opera. He c on d uc te d t[h le -_firstie rf ...r ' al~_lc:e i l n r - nich 'o,nl25 Noverriber 1 1 : 9 1 1 01~Th '.'Fourth IS , the simpl e st a n i d i least

overshadowed [ b l y dark thoughts o l f : M a l [ h l ll e ~ ' ssvrnpnonies It is closely connected with themovement that favoured a new simplicity otsty l is ' - althouqh n ot always expressinq a" I b . -. ~srrn o e subject ~ attired lin a late-romanticapparel (whlch is n o , n , s t h e , l l e s s , never allowed. inM -h -II " , h - ds t' -I ds h [I f l l - . . , 'al l lars ianc 'S~O occ uce n ,e ciarrtv 0' 1 1 ' 1 1 1 1 5 ,ex p re ssion ). Th le work h as alS ,,a central idea thee X -I re ssion o t a chud's v iew 1 0 , f heaven. a themewhich is expanded in th e 11[:-st m ove me nt bv asettinq of verses fro: I Des Knsbe IWu ,nde ,~h lo rn( Th ' vou t t i ~sM[a,g ic H ' [ o r n ) , . an antholoqv 0-German folk-p oe m s wh r i c h ' , " h a - 'd', I a~I l r ' e / a - d "y....:: p r ov id Ie d. _ " < _. '__. I . . .. . : . I . ,': '__ . .-.__ [. '. .:._ _ . _ ~ I . . :_ . I .: "... .. '\ ---'_ .' '.' ._. . ' '-.inspiration tor much of Mahters music. ' T , h I 8

vision is naive in the extreme - the emphasisbeinq on the quantit ies 0[, ' food an;!'- I..~ mk whichabound in ; heaven ~ a d vet is presented in soapt an d ch ar- -lilng 1 8 1 w'a'y that tr is desired ef fec tis irnrnediatelv created.

After iabrief inn o..fuction in which the fourflutes and jing ' , e , bells which Mahler included inthe score feature p.....'ominenuv the first subject. - - . . ' _ . _ . . . . _ _ , . _ , ' . ' _ , ' . - , . . . I i i " _ . ' . " " . . ' : : : ~ ( ' , . . ' - , _ : . ~Iiia qracctul anc I I~rl tL'~glviolin melody, is introdi cedi.l i t creates the comfortable and unhurriedatmosphere [o ~9010- h umo u r which i s , to provethe, predominant mood ofthe whole svmphonvThe second I Q r r O J i U [ I Pot t h e m e s is s o o n introducedon the cellos: a pleasantly jocular subject li sheard lin due '~;f i r s t between o b o e 8 1 1 n d bassoon Ifthen upper and lower strinqs an d SO i on. Th ebells usher ;n ,a r e p e ! a l _' ot t: r, 18' f i r s ' S C ' biect. , 8 1 I n "an extended developrrent f lO l 1 II [QW5 , The flutesi[ntr,ol


10/48

b r "ng to, the minds of rnanv the similar idea l i l n ,Saint-Saens' Dense mocsbre ~ a resemblancewhich [ i r s explained w h e n one recal ls that Mahlerr,sferred to trus movement as Freund Hein soiettsu! (Death stnkes U ' P I ) t _ , .The third mov ' eme ' n l t beqmswith a beautifuland restful melcdv which i,sdeveloped withi nc reas inq intricacv an d viqour in a set ot

v a , r ia tio n ' "s a n 0 ' , . " , S ' ".tinat 0 ', ba S ~ ' S ' ~ : 'p' , I : u ' c ~. k e d , ; "on t", he" I. ., ' ' ,_ , " _ , :_ ' ' ',. "" " .,' ' _ ,:_ , ' " " '. ' u ' ' -double-basse . ' S ' " servinq to link therr toqether' , ' , . , : _ ' . , : _ . ' . . : ' , ' . . " , , ' , ' " , , . ' . , - . , ' 1 " " i . , - ' , : _ ' , ' " , . , - , : ' _ ; ' " , " . ' ' , ' " . n'T . - d i n e I,he tempo onmo IS resumed In t.'J8 ast' V " - a r I' a t' I" 0 " n a ;m d ' t t h ' ,. e :; , 'r e Ii S ' " , " t h i' e ', ' ,n '; a " V - : " ; : ' I , I O ; t e n : t' 0 ' ' : u t b u I r- s " , ' : " t "ot.. '" '; ',',C., t' .' . I . I , ; - , , ' , ' ' , , ' " , . ~ " ' : : _ : ' ,I , I " ' , " " " " , , - , ' I " , . . . ' _ ' _ ' , " ,the full orchestra: at trns point Mahler t ralns' ferst he , double-bass pert to ' th e , timpani and , withw o n : id e r f U'I 1'1 e sf fect t h' " e - 0 " 5 ' t in a t o ' I S ' - c I F 8 " S ' c h ' e 's d D ' " ' Ut o : " " n "' ; : " " i . I , . . : " . ' ,_,I~,:: _, ' ,:., ,';, . , "I, I v: ,"',: ',c II~, ,,',_',1 I,: ':.. .. ' -:, ! L : : . _I IIthe drums wrth full force The ' clamour 'glradu[allydies awa y " . . a n d t: h e - : m o v e m' e m t e ' , I n " ' d :S " oianissirr " ' 1 1 0 ' '-'. - _.:_' _C ' ,: r ", . '. _. , I, ', ' _ U, < _:. ,': .- It "I .'. ,'.' ,'...u, .I'--' .' ..with the unea r th i l ~y sounds o f violin harmcnics.S-up 'iported,II bv th e f ' lut 8 " S " , "...... : .. :-",.,. _,',_,l. __ ... :',:' .' _".:_. ~ .... ':_'.'_"",_:.ln the final movement the soprano solo singsthe child's announcement that she reallv is inheaven e n l ~ o y ' - ' i l n , g " :its g ' : "a s t r o n o m i c d e l i g h t s The," :_. . '. _.' , jl " :. - - ,'~. ,,', .,' :' ,,',. , . ' I, ':. _ ". ' , .: ." __:,'. ; ' , " : .' ',,'stanzas ot the poem are separated bv livelvorcbestral .ntertuoes based on the openinq ofthe first movement: after "Ihe last of these,th e '" : r ' e ' i s h " e , ~ " a r o a , '"'I I n - : ' I e w [ m " ' :- 'e l o d : ' "y...'" a ' , " g "; e . . . .n i t ' le d : , ' " a ' n e - I c ' - e ' ~ ~ = 1i k e : ,__ ' ~ . ,: '. - ,:_,f. < _ . . ,I, . "'. _' ._: __ ',. :_, ", ' i " " " , ; : . . . . ' , . _ ' , " ' . . . . . : . . . . _ _ . . _ : . >_:." "-:'tune which clearly relates to the references in' t h '- " " ,, ' , , " ', " " " ', . " . ; ' d : : - , ; " . , . " , . -- - ;, ' t ' " t , : " S " ' t ' : ' , e : : -. , " - , ' 1 :0,' ,~ ,-' 'd ' h '". ; I e sUlccee : Ing s , , , a n : z a ,0, ' , :"e1CLI6 an: , ~ [ e rl h , e ' a v , e ' n d y I m l u s , i : c ia n , s , . A'f te ' r t h i , s I , a , s t ver5[8 t l h , e

I f' d f " ImlQv , eme ' n t s owl~ 'y' ]"a l; -' ,e ' ,sa ,way ' to a p 1e ' 8 I c : e IUc l , - , s - e - 'I ' , . . - ," O , , " ~ ' ,.

D e ' " r :y \ ' c : : - " k ~ I C " - C : : ' o : " 0 - " k - ': e ; ' ,:. - . : . :.' .. ' .._ : ' . : ' ",. " " : ' : _ : - '_',' . . . .:. . . . . " _ " : '

14

M a , ' l h ' " le rs re tu rn t 0 , - : ' V :..: 'I I; e ' : I n ' " na 1 I ' l n - : 1 1 8 ' - - : " 9 " : 1 7 , a,r lso rn a r 'k ' ,' 1 8 " d , '. , , " . . , , " . . ' . . . . . . . , . . . I . . . . . ' . . . I ' 1 1 ~ , / " . , . , " . _ , . . . 1 . _ . . . _ ,the beg, i lnn ing of a new period in Ihiscomposinglife. His earlv svmphonies. hiqhlv unorthodox inform and content, were stronqlv affected by' t lhedramatic or philosophical proqrammes thatunder lay" , them anrl by.:'the fo lk-poetic world ol', - , . ' , " " : ' - - . , : i !! ' ." ': - ' " . . " , . . ' - , " , , " 'Des Kneben vvundetrom. This romantic- - -f re ' edom of expression [n o w g :a ve w,alY to ,a 'morea -bstrac t , 1 m ' 1 0 : . ' Ir ' e . . . class ' I C ' - a 'I II c o n e e , : 'p t i o n 0 ,: , , , ' f ' th e- ,_ , ' , ' : _ : " ,, ' I' : ,: ' " ' ~ , . . " ,I ',: " .. ,' -,.. .' ,,, ,,' ~. ",C':" ".,. " .... ,. ': __ :' ,','-' .,. " , I ,. , 'svmphcnv in the middle-period works.Svmphonies Nos. 5~6 and 7. TheSIS piecesrepresent a conscious rapprochement with the'Viennese svrnphonic tradition, to which Mahler~ ,alS , a Viennese by adop tion - hadl come tof I I k" h i W ":.. h ' h h 'ee , a c _ ! o s e ' .Ins~':Ipi ,., ' : ' : :_, I t _ t '" 8 1m 'I e ' ' w a s to p < f o , v ehimself the true heir to Havdn an d M ozart. toB ' , : : " th " , ' , . , ' " - , , : S '. . . . h , ,' ,b :" " ," t; "d J B : ' ic k " , . . " ,, '' j e e , . o v e n , " " e ' u _ : ' e r ; a n ' " , . .r u e . . .n e r oThe new, sterner world of the Fj'fth SvrnphonvI~Sevident in its openino funeral march. Here., 'death is no lonqer romanticised. as in the FourthSymphor\Y~ but I S an I lmlmed ia te and fearfuIIevent, In February 119 1 ' 0 1'1Mahler had almost dieofrom, a violent haernorrhace. t h is ! e x p e r ie n ceuncoubtedlv affected the' content ot the FifthS ym p hon y, wh ich h e beqan a few months la te r " ,

. ,T'h I " d h h " I ' ", " e ,amen t l , ng sec'oln, ' , t"emSi on t" ' I e V I O ' l l n s ISr e ' I 'a t : - 'e d ' b " o - t h - t 'o t h ' - e ' : ' I f s t - ' S ' o n - g " ' o " ' f " t ' h l " e. . : I " , " , _ _ ' , : ' I " . . . ~ _ l ' ' , " Ir ' I : " , ' : ' , ; . . . ., I " , ~ , , ; . . ' : , : :..->Kindertot,en'lieder a ln l d t o t lhe Wun1de rho1 rn s,onlg~Der T a l m b o u r s , g " s e l r , 1 the thoughts ofal dlrummerb o : ' ' " ' y , , : a " b o " ' l u t " t ; ' O " 1 b ' e , ' e ~ x : . - , e .c - ;u ' t ' e " ' d . ' d l l " , v , 'o ' C ' . ' , 'r " c 'e . : ; _ d " "t : r 'o ' lm ' ' I - ' t " s , ' ," " : , : , . " , . . " , I " : . ' , _ . " " , " " . , ' . ' : ' ' : , ' , ~ , ' , _ ' , ' _ ' , ' , _ : , , ' , ' ' , ' " . ,' , _ .rOlmanltl 'c conte'xt ..it bec:ome's a med l ilt at l~on o'inthle t J ln i v e r rs l a ~ l i . [ a c t o , f d e a t l h , . M[ah l e r ' s I l m m , 8 " d i a t e


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ct on. in the wild central trio, is to rise tOI 1 8 1Itc h of ' Tcha ikovsk ian hvstena. A. second. lessrmy t r i o r develops the larnennnq material ath ionate c li k dI . . ' . - . " , . . . " . . , " r . I ..' '-.-. ,- .. ' '. -, ....-:. -I ,"""':".':.. .' .". ,',. - "...., . '"r gt UiP to a l pass iona te climax ma r ..e ,..laqend '. before t he , stifled close.The alleqro second movement is [8 larqe-scae

I v[8,IIIO I P , m l [ 8 ' n l tof the first. lts openinq paraqraphr rw s o n t!h e m u sic o f: t h e trios. while theco nd p araqrap h returns to the funeral ma r ch

I d in par t i cu la r to the lament. M a h l l e r h ad n o t. r i t t e n a : m : 'O : , V ' ,[ s - m - - 1 8 m t 1 1 ' k ' e t n i s 'with i s violently...:. . . .~ . I ' . , . ' . ' . ' : . _ ' . _ [ I . . ' . ' , . ' , ' , . I . . , . . . . . : : _ . ' . . ' . [ _ . . .ubiective tone s n id iconstantlv t l uc tua t inq

. I. x x i s S .i n" ' I C , ' ~ ' , e ~ - "t _ h I [ e ' , f : in a l . ..e 0 ' f th :l i e , '. ' I' I - . s t S : - I Y '" - mn p h o n v. . . ' . : . , . : . 1 _ . . . . I .:_::..._.' , _ I . . . _ _ _ _ _ I . _ _ . . . . . . ' . ' . ' I. ._. -'..' ..' ..,. ,icwav throucn the movement the musicucdenlv launcnes into a jauntv march and there, a b r ie f mome n t o f A ma j o r t r i umph before it . iswept aside IBu t the ma r ch returns. this time 'I n, major, t h l e kev the symphony is, l a l ~ l lm l li n l gtor.d surqes into , a l jubilant c iorale. A ' g i a l ' ~ n f thenornph is prerr.ature: the chorale tades and t .he 'peninq music returns to enid the movement in,~d k b h , int n'"., '-c'.'=: ' ,.: - ." :' '1 ..:. __'. ~. [' .- .: : " ' -. :. : I I _ ' - - I : : : : ' - . ., - .pec t r a aar cn oss ~ ou t th e turrunq oomt h ase ' 8 ' n l r e , a c : , h l e d J ,,M / [ a l h , ~ e r , a l . s l k , s 'f l o r a I lo n l lg [ I p l[ a u s l e ' I b le - to l ' e t l h l e.clherzlo, a I h u [ g l e 0 m l a l j o f [move'mentl, the first t : O I[e , c o m p l o s e , d l . I [t ~is a n e la b o lr a l t e ' an d [ e x u l b e r [ a l n t .,~ Ien,d[o f L a n d l l , e r a n id i V i e n , n e s e waltz, w l i t h an i.bllbhlglato 1,p art fo rr t lhe fi rst hlo fn~ w 'h i:c h a s weil l [ 8 1 Sea[d jng the d a n , l c e ' h as I m o m e n l t s i of n o s t a . l ' g ! l c o , n t l e f - I I P I I ~ [ a t i i l o i l n . . his, i i , S o n [e lo f M a lh ie r ~ s fe 'w 'c lh '6 ' rzo m O l v e 'm e l n lt s where t he r l e ,is n o ~ r o l l n l Y "linh e ' t~tle. fT lhere i i ,S I fl o t h l in g l o [ rm a n t lc o r 'm l y s , t ~ c 'a d. b , Q [ l u t i t", h , j l s f r ie[nd Nata[l ie, Baue r ~Lec l h ne re ' c : o l r r d s I h im a ls s a l y ' l l n l [ g , ~it ir s : s , i m , p l l y the

exp r e ss i on of incredib e1 enerqv. It is [a humanbemq li n the full liqht of day, in the prime of hish f e ~ .

The Adagietto for strings and harp i . 5 , S I [ O often. f h f ' Ih ea r d OU I , o . co n te xt that on e 0 r ts roles, as a :S ~ I ( o ' - : " ~ " : '~ . trod ucnon t ' I O - : - [ th e R . . ,o n d l [ o _ , I F I I - n : a = : 'I e " m'a ' V. . . '. . . .be, ~. .: W i l l II . II. ". . ..-"I. I:> IIII ... . ..:" I . ' . ' . '' . ' ~ ' " ~ . I . _ ' , . . . ' - : "overlooked. lts soulful main theme '[5,trensforrr ' I , e , ~ d ' - ' : 'in t h e S : , . ..eco . l l n [ d . - 1episo : I d .I e , ' " o f t h e -. ' R o . . . ' n ~ l d . : 1 0 . . . " . . . . . " ' . , . , . 1 1 W ' . - . - ' . ' . . . . . . I . '. ". '.' '. '. . . I ... ' ': ._ _ ... ~. .. .... ... I " _' .' "c.' __ .'.into a qracefui alleqro rnelodv At the beqinninqol the Finale , th,e horn lakes up the Adaqietto'sf I , n a :I n ' [ 0 ' . t e , - A . a - ;n , , ' [ d 1 le a d s. . the r n u s . ' I " [ C : : I d . - ' e . , t " e . -i r m . ; .ined I y : . - ' . ' , ; ' . ' . ~ " ' . : . . ; ' [ : _ . . . : : . : : ' _ ' . _ 1 [ . . [ ' . ' . ' ' .into D maier, with a bassoon phrase that [quotes ,f r o m I ,t' h e ' " ~ I . A I / U - 'n . .demo' l ( n ' l s : [ o l n [ Q I ~ 'I o b d e s . . . I 1 10....-....-.. e ~ n -- _" .' [,. IV [V I [ . I '. ~','. _ _" 1.:'. ,'. '.' ". '.' '. .', I. . . . . .ve r s tandes ' . lit lis,as t h [ O I [ U I Q I h i Mahler ~[S'h i 'e i re ireluctant t O I sav farewell to the Wun'derh'ornw o r l d T h ' e H o " n 'ido is I Q ' : ln . . e : o t t ' h ' [ e ' " m ' I Q . : s t' _ . : . . , ' I J _ _ ,' " II J ,I, ... . __::. "'_:'. _,_. .:_, .:., _: ,",I .. ... ': I ! '_'._.: " .brca th tak ioq displays [o f contrapuntal techniquein his work. the fruit I O I ' f his g r o l 'w i ln [ Q I interest in. and studv ot Bach. ' T ' h l r e ' e l times t l h e music boilsup towards what one irnaqines tOI be its finalclimax: .wice ii t subsides but the third time theif- h d rnovernent bursts i. ' . : . : . ....... . " '.' . ." '.. .'. . .. .; ,.. ' , ', . :: :- : _ ..[ ' "[.: .: .( .' ., . .. . . [ ' . ': '._ . . '. , '., :" :.:., -. .'. :. . c '" ..:... -. 'chora e rom t Ie se co n movement oursts m .this t i l m e ln l' o t t o b le vanqulis!hed.

S Y lm':- h ' " o . ' . [ ' Y - . - - : N , o '. 6 ' . .. . . . .' I . _. '. -' . II ..T . f M '" -h ~ - d_ I h , [ e [ c : l r c u m : s t a l n l l c [ e ' S I , 0 ,' . : _ , , /la _ l ll l l [ e r~ s la s t y e ' a r s a n . .t , l h [ e c l h , a r a I 1 c : t l e 1 f o lf s , o lm 1 e o f h i: S l m u s , i l 'C I h ' la v le g i , v , e ' nf r i s e ' t o [a l m is l e 1 a ld in lg l a n ld d l I is tOf t [9 [d l v ' ii e 'w ' i O l f hdm a srh '8 a rc 'h,e ' ty!pa I f iln~de-sl iec~ le a rt i'S lt f obse ' ssed wit[ha [ d le a t h - w ' l s lh , u .tte r in ,g a ij n ge r rir n 'g a n [d n,orbid

'15 \ .


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farewell to the beauties of th e world he w as , a llset to leave. It lis e a s v enouqh to see how this 'l eqend took shape after '190 17 ', the yea r linwh ichMahler 'was forced to resign as director o' t theVienna Opera leamed that hils heart conditionwou Id restrict his lifestyle thereafter, andsuffered a wounding bereavement by the deathof' hi's,elder daughter Mar l ,8 at the a'ge ' of l IOUr. ,Th i s t r ip le b lo w w s uncannilv to..re.. :s .h ad owed in. . . . . . 1 . . . .. . . . I.... . .. .. -the finale of the Sixth Svmpnonv. completedsome thlre'e ye ars e ar lie r .Of' his ten svrnphonies. the Sixth is perhapsthe most classical in desiqn. mood andtreatment of' material. The orqanic retationsbipbetween thernes 'is,loqical and close-knit. It: isthe answer to' those wlho write of Mahler as an iundlsc,li lp ll ine,d composer. fo r thouqh a vet largeorchestra li s used. il t is used. as j l l n the EigllhthSvrnphonv. with economy, as a rneans tO I an e n dand not tor Its own sake. Three of themovem e n ts a re in 'th e , sam e kev, , A m in er . M an y 'musicians todav reqard Mahler's Sixth as ,acoping-stone of modern orchestral music. Yet itwas not performed in the United States untilMitropoulos conducted it in New Yo,rk inDecember 1 '947 ~ forty-two, vears after it wascompleted. anld it : was not heard by' Britishhsteners L J , n t U the s a m e month, when arecordinq of a Hamburq performance wasbroadcast. No British orchestra played lit until' , ' 1 9 : - : " 5 0 " ' ' ' ' ' '_ .= " . : ": _: " ' - :. _" . '

. !!

.' 16

, .holidavs at their chalet. Two rnove-nents werecomposed in 1903~andthe last two werec o m p il e " ": t ' e ", , d in s h '0" " ' r t ' sc 0" r e '0' " 'n 9 : Septern..-'b e r 1 :' 9 0 , . . -r,I .. ' .:' ~.I.:, :II. .. _ '.:.' . 1 , : : : : 1.:. ' '.: -.,:> :._>.'.~,~._. _'.-.:....1 .:._'.'~. , ~ _'-.Orchestration was finished lin IMay ' 19105 and tht: W ' ~ : .O . . I " I k < c w ' : ' . , : a s.. t h e r e . a - ' f c : t e - r C ".onti n ua l lv . b - : : ' s ; ' , i n ' g - . revised..' ' . " ':_ :' II '., .:....._ .' _ ' . '. ' ~ " . . . -. . . '. '. _ t _. _ _..' ._.[._". ..' _. '.' -.'!"Mahler's hfe 'was outwardly' ha'PIPV' in the sereruand cloudless summer of 119 101,4 . Ye, t it was at"h i .. "h ' h .. h I I . , f' h"this nrne tn at . ',Ie wrote t " Ie ' t a s t tWIO I 0 'ISKindertoteatiede: (Sonqs on the Death of'Children) and the tragic f inale ' 0 ' 1 ' this svrnphonv

1i\4uch h as bee 'n made of th e prophetic,it t f th " k t ' I I th.,-, > ...-:;. "".'. . ". ':", ".' - : ,' " '.' ',": ,':, " '1 ' " . _ " ' , ' ' , " . , ' .>. '..: :." 1 . : : _ ' , ' . - ' " . : .. " , . . : " r - , ,\ .: 1 premom Dry aspect 0 usWOIr,~ par lieu ar v t Ethree harnr-ier-blows in the f : ~ l n l a ~ l e ; the threebil lows, of fate O i l which the last p ro ve s to befatal ..Mahler became so aqitated by hissuperstitious fear of the' prophetic nature of t h i smovement that he' deleted the third blow (bar7 8 : - ' 3 " :: ) . ~ I ' " . . ' . . . . . " , - ' . t, h . . " - : . . . . c o' . ' . - - . '. u .':C'. , .. :-: ... ' ,,. - .- ' f ' . .: -.. '-::, eavlng a ra l e r 8 1n aem iC verSI, lon 0 aC I ' I m : ; " 8 " ctic r n ; . O : V : 8 - ; , m - . ' ~ e n t (sorn.. ~ ' e ; - : c o n d U' c . .tors resto... r eI I' .... : .. . . 1.. _ .' . . ": ." . ".. _:._ . .. ,' . '. _" .' . . _ _ .. . _ ' ... : " :. ..__. ' . " . _ .. - . _ - '.. _ ~ .. .: _:" _. '.-:. a, ' : ' .' .. '. .,' _ . . ". '" "_-' - . _ .~it, as D in t lhe present rocordinql. W'hen it wasfirst 'performed, in Essen on ,2'7 May ' 1 90 6~ ,Mahler W'oIS in an emotional state about thework as a whole and particulsrlv about the'fin..i a le . . . . T h , j s : ' w ' a s . :p.irob: a . blv b l e C ' 8 - U . . s : : e . . h e 5 " .(e.. t . _ .. _ ~ ~ _ ". ." ... - 1cons ide rab le store bv the opinion o f' Hichard,S t r ,a ,U ISS, who had expressed t h e ' opinion that thsvmphonv was overscored (Mah~er leter reviserthe orchestration)" Alma Mahler's remarksboutth honv i h . t ha _lou t the svrnpnonv r n ner memoirs are tie'result of h i ; l n d s , i ! g h t and s lhou ld be t reatedl withcaution. The, Sixth ends in traqedv but the firstth l r ,ee movementsand much of t .he finale , a l r e ' .b)no means traqic - and whatever superstitionsMahler entertained when he conducted the


13/48

.., thev had not prevented h.rn comoosinq. in~yjovous and optimistic Seventh

I . ionv in 19 104-'0 15.svrnphonv ga~n , s ' it organic unity from a

1-"'"oven primitive. leitmotiv wh ich appee rsI n movements except the Andante and mav. k e rn t I I O : " represent F a t e U ' S ': :U i . , a ' I ~ y : ' ..} S : ' 0 , iund i l n ' g " o u t " . , .' . _,I _:.c. = w . ' ~ : . " r .' ., .~I.. . 1,-.1' .-.., h e: I trumpets and oo O :eS ' :. :c. :_ I I .... . ... . .... .. ...- .-. I . . : . : ' . . ' : . . ." . . . 1 '.

I 'ie remorseless nature of the' music is ,1 , I h l l a s l i l s , e d by the tact that the enn re

I phonv is in 4/4 t i i' m , e with th is exception 0 '15- . f - .che zo and' our bars of the Andante. The,', movement opens with, the march rhythms,h b d . h hatic si f - '.... . .-' ',-.. A .C; .", r - - . ' : ' , ( " - : . . : , ' , ' . . . . : ' . : . , , I .:.. ,- -: I' I ' .' . ."C": ' .I le'.. iasses ano t 1 ' 8 ' ernp ratic Six-note rqu reihle violins which is the first subject. followeda n ' , a : : ~n - g u l a r ' a : " n d la ' s : : ' , s : :.. ' e i r t i v e t h e ' ' m _ .8:'. . _ . ....., ' .. :.. . . '. '. II . .. :' . 1 . 1 . , . ' . _ .. ' . ,.. " . : . . . . . : . ..hie confident nature of, ,'heopeninqtinteqrates with the' sou n i d i of the Fa te motifda d urn-roll introduces a Ioreshacowinq of'e romantic secondl subject. s ,a id b y Alma to beportrait 0 '1 herself. After a woodwind chorale.llil S - ' A > - . I l l m .. a t h e ': " m " : - e e r n erqes fu I I ' y . t le " ' , d g e d ; in F '1 1 1 ~ . . 1 . c . . . J , . . 1 : . . ' ' _ ; _ ' ' ~ ' , ',:e.' ...: :. '.' .:' ". :.'. ~I J o r , . '

h e , exposition is repeated and th e movemente rn pursues a pattern of conf ict, I h i l g h 1 I i g h t e , d byoodwind trills and tlhe cla t ter i ng of at h M hll h .' ..' : :. :-.. '.' .':..,,... . ': " .. ', '''1' ', ,.. :.. ' .. ".:'. r r r . ., ' , 1 ' : . , . . : . '= . 1''-:'- ..:.' i= ' '1 ' .O I P ! on e . ,a e r t. en Introduces a pastoralterlude, with the sound of cowbells. He

xplained their svmbolic importance - theypresent t h e ' last terrestrial sounds penetratinqe solitude-of t lhe mountain-peaks, a reminderf his need to escape from the intriques andurlv-burlv of life as an opera director to the'an,q1uihty of composition. This tranquil worlo he

now conjures up with mu ted brass and theI I . ' . ' . . . : i ! ' . ' . , . . _ . , I L . ' : _ . . . . . ' . ' ' _ ' : : . .'Alma' theme on the woodwind, Once aqain theFate motif l e t s al 1hell loose. but the , j l A l l m atheme is blared forth by the brass in A major tOId ttl ten " tne mo ive . rn ien.,'_ . . ' . 1 : I '" , .' , -. : _ " . i i i )

lhe deliberate. march-like openinq of theScherzo is 8 1 svncopated version of tne tirst barof' the' svmphonv. It alternates with the dance-spirit. which occasional tv ratttes th "8 1 bones of itsskeleton (xylophone. wind and strinqs. abrilliantly orchestrated new version of part of thefirst movement's development sectionl. The' trois like tne ghost of a satanic minuet - l i l t ismarked altvaterisch (old Iathertv) -lormalised,. " bl' H d bea t d'' . . . . i ' - ">1 '1' -C,', ',' .., ' .. ". ., , " 1 ' . . : - . ' . - . " Ie - ,." .,. ' ;vet never quite stabre.Heavv rurn-beats c .stortthe me ..odv alnd rhvthrr into a more menacinqemanation of Fa t e . 1- rom the die p iths, o f .heorchestra fragments of' the 'minuet' ernerqeonly to Ib1eobliterated an d to p ave th 'e way fo rth e return o t th.. ,e Sche rzo . . Before the end of the_. ._.' .. I . .. _I. -', . ,'_"" '... ,.:_,'. .:_:. i '.'. .. _ .' I. ..' '.' _' '.:._:' J _ . . _ .rnovernent the trio is heard aqain in combinationwith, the' everpresent leitmotiv"

The' Andante li s in the distant ano tar-rernoveo ..ke y of IE flat major and Mahler finds, repose l i n ,the violms' opening theme. Cor anqlais. oboeand flute p lav th e second theme, (the scorinq is ,Havelian in its dehcacvl and a ho r n , has anotherimportant tune which descends into the bassesof the, orchestra. The central episodle beginswith an interlude for woodwind and horn beforethe strinqs hint at a return of tensions. But thecowbells sound aqam. orovidinq a spiritual l inkwith the first movement, end in an extended]pastors I section. like some idealised l.andler.


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~Mahlef abandons, the pnvsical war Id. Wooldwilndt r ' e ,C a d I t h e second subject and tor the fu st timethe music becomes storrnv alS the f irst themestrives to re-establish the calm of the openinqb a r s ' ~.:::-.' _ .:. [II

The introduction tlo the huqe finale beqinswith susta ned wind chords and: swirlinq strinqsand harps wit.h an impassioned outburst fromthe f~ l rs t violins. The trumpets fo r thismovement arc increased from four to six, thereis a bass trombone and a remarkalbJe arrav ofpercussion. The tuba has ia dirqe-like rnelodvand th e music seems to be s tnugg l l i ng out of an iabyss. Be lls , h orn s and celesta: a theme ' forh o rn s" a ch o ra le D in th e brass: the fatalhammer-blows - those are siqnposts for thelistener to this complex structure. Thedevelopment section is in tWOI parts. anc as thef i rst part r i ses tiD its climax w 'e hear the first ofthe hammer-blows. This precipitates a

" strenuous passaqe of marcbthernes andrhvthms. .. CO iw bleU s rattle, the' celesta tinkles the~double basses mutter threats. The Fate themeplavs a siqniticaot role hllere andl the musicseems to be achieving. a victory by conversion otthe tuba's dirqe into! a march. Bu the tonalitv isbe'ginning to crumble ano new spectres arise.The secondhammer-blow dissipates any senseof triumph. The matenal is recapitulated [again inthis second development section. in which theintroduction reappears in al varied form and the'chief themes are r e v i ewed in rev ' e rs [e order. Thework ends witf a doomed coda. .a dissonant

18'.- . . . .

f, . t . .. f . t - -..-. ' b ' , , " . h " .- ". . . .~. ." . . ' . . d t l b A I " 'l l fl , .,-c,o ug ,a ,o o r . fO lm ' , ' O l n l e S , o rns , an, . u a. :,. I l iS darkness: an A minor c lhord burs ts forthtortissimo. underlined by ' the, menacinq Faterbvthrn on the timpan! The chord dies awayand there is a fina! soft pizzicato A over a strokon the bass drurr.

' T h . F if t h S i x t h a " d '" i s . ' . . ' . . . t l - h h ; - ;. . . . .' , . b . . e e n cat ledI : . e ~ : 1 1 - - . ~ I X . I I , a n l \ .~:;e 'venl . , J I ,a v e [ : . :. : . . .'.1 l>.~... ,..:l .... h iR k _.1 "- . - - h ' - - ' . - . b ... " -..' th e : . . - - . - .te - ,uc e r t sym ,p .O lln ll,e 'S ',I ',:e'caUS8;! . ey arefertilised by the tWOI mature groups o f sonqs to

b F" d u hR" .,. k h'poems v r nee nc .. ' . :uc :e ' r t~, tileKindertotentiedet an d the f~ 've Ruckertlieder.These three purey instrumental svmphonies.. " . ' _ '. . " . . " . ' d " b " - . . .rtv ......,.,. - 1 19 , 0 ' 1 ' - ' n 'd ' 1 1 '. 9. . . .: . ' 0. . . . . .5 . . s h o . w . . . . ,c ,omlpos ,e ; . . . ,'e.weenl : a , 1 . _ "_-= '1 ' - .... .Mahler's rnasterv of an orchestral polvphonvwnich had its oriqin in his study and admiration. f h " , . . . .' 1 : .. . . . 'f : J ' ' S ' B a c h " . . - -. . . . .d " ' "I . " " t t h o . ..' . 1 ti[-.-.-o th e WOfl'\S 0 I .; ... ac .~ , , a n _ a _ . 1 . 8 1 S,cm:'8 1 1 m ~mark a veerinq towards the stronqlv- - " b ' - - h ie '1 1 , , t h - I . . . . . - - - ' -. - - . tic .-le rn;- .a u t o t n o q r a p r u c a a 1 5 , . : . e l l r pro'gram'ma J e el. . - 1 . . . e n' T h - ' B " S e v : e I n . .r th I I S ~ ) p r o bab l v s. .still t" h e leas t wide lv._ '.,. :. . _' ' ." . _ _~. ",. -'__::" " -: ',.' . t., _. _ . ~ ': I _ I . . '. _.. " . _ ' I.:. . . '.'... ... _: '. _ , .'apprecrated of the canon Even the late DervckC :..- k ". s t . ' . . ip i e n - t. .- ' a : C " n " d kno w +ed g ' " e e b ' I e " " ' 0 - 1 'J : _ . 00. e '" m 0"'' ' ' I_ pe ' r C I I . ' 1 : . _ I . , _ '",-I .. : H . . _ ~ ' , . _ ; I. . ',.. ' . ,_'E l n g - ~ I s - h - : c: " - h " a mip io n s o t M ah le r never seemed!I I.:.. l~.1":,:::.. .' . j .~. _ _ _ ___ , I . ' . . .wnollv convinced by ' I~t.I believe it ~ IS amasterpiece on several levels T ' h , e structuraland melodic invention li s of a h l ~ g l h order and theorchestration is inspired and oriqinat B'Yuse ofcertam rhvthms and thematic shapes common. ' . b . h - ' M : "" I h l - h ' - : ' - . . -t" h - - . : .t h : . . . , ' . " d ' - ' r= . " f : t ~ h 'eto . : o t _ 1 , , ' . al::llier S:.'OWS us . ,-e 0 .::er S~_ I e 0 .. _.C


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the tragic and fatalistic Six th Svmphonv.ventlh is. by contrast, optimistic. amorous

t the end, sunlit 'with qaietv. lit contains, ot'r qrotesque and disturbinq episodes ~

, I " S " " th....e , ' s i r u s t e r n .ccturnal Scherzo - but fo r '. : .J 1 J " . . ' _ . I ] " . ' . _ ' . . , . ' . . ' , . ' I ',' ." .' 1 .'-.' ,". _ , I ' :I' ~" . ,' ... :' _ "_>t ot its [length it is music in which human~henc , e~charm and hurnoui a re celebrated.I r o r n be rnq 'era n k y ' " a..rs h - : - ' a s be e ' n s 'u g : ' - g : - "cst e " d ": : " . I ' C . - . , . I: = :. I < : ~ . : - - , . . " I ' _ , I ' _ . " . ' . : . ' . 1 . .. . : ": .~ ,I:..:. '~_: ~'~ ,.'." 11_,;old describe the Seventh, as one ot Mahler's

I t accessible works, ,acompanion in this.oect to the Fourth and Fifth.: Iur i,ng his summer nol idav at Ma iern ig l lg l i n ,O~,Mahler sketched two serenade-likevernents which h i e ' called Nlight Musicctnmusil The second of these - thedente emoroso of the Seventh ,_ contains aworkinq of a theme, from his Sixth Svmphonv,

, : 1 ' that great work would not let him rest. Hl,er n_ -p l e t e d t , h e :Seven t ; I J . . . . S -: : y ' / r n i phon ' y . : d u rin g " t h ' e ' "I ' . ' . . ' . , " " _ , _ . _ ' . . " " I I I ' . ' I > ' " _ ~ 1 : _ . ' . ' . 1 1 , . : _ , I ..esummer of 190,5..At first. after the lonqnter and summer conducting and oirectinq the.enna opera , d lur ing which time [ h i e did noeative work. he found it difficult to settle to

""rnposition. Fhen. wben he wars, being rowedr O I S S a Tyrolean lake. the rhythm of the o a r sglgl,ested to him the introduction of the firstovernent. A month later he had cornplcteolietirst. third and fifth movements: he' scoredndl revised the whole svrnphonv durmq l' 905,-I Q 0 6 . , But the 'work was not performed until 19.p tern " b e " . r' 1: 1 ' 9 ~ O 8 : 'w h e ': ' n ' . - MahI l e ' ' - r C , I - ' en d U' IC ' . te -d I'it a ' t a ; - . '..ll, "-.-' . .. '_ ~ '.. , -_ .~ .. I _ . ' _ _ . _ .11. "_' ..:._" _ ) _ ~ _ " :. ", -,. I', ":.:' _.'

r a q u e f e s t i v e I t o c e 1 " l e bre te t h e 6 ,: : 0 " t h ' a : 'n n - - " I I " V " " " e ~ ' : rsa r - y . : :. . . _ . , ' . - ' ' , ' t , " ' , ' , ' _ . - "' . ' . . . 1 . ' , . . ' . ' , I ' .. ,. Emperor Franz .Joset's accession. Mahlers allocated twenty-four rehearsals but after

19

" ' I !

rnanv of them Ih e took thl8' pa r t s baclk to his hoteland altered. re-touched and corrected therr.The plavers 'w le re bewildered by the' svrnphonvand tlhle audience receivec 1 1 1 . with puzzledrespect. But it rnado a d e e p , impression onsome of the vounq musicians 'who were there. ~a rn on q th em Otto KI I ,emlper ,e r~Artur BodanzkvAlban Berq andOssip Gabrilovich. [Mahlerconducted the' Seventh aqair in Munich a few 'weeks [later and, h ie also conducted threeperformances in Holland li n 1909, . The firstEnqlish performance was conducted bv SirH en rv 'W oo ,d in 1:9 1 1 ! 3, th e first American [byFrede r i cx Stock in C h ic aq o in , 19,2 '1 ;

The svrnphonv is scored tor a very I largeorchestra: 2 piccolos 4 flutes. 3 oboes. coranqlais. E fla t c la rin e t, 3 c la r in e ts lin A ,. bassclarinet. 3 bassoons. double bassoon. tenor hornin I B , tlat. 4 , horns. ,3 trumpets, 3 trombones.tuba. various percussion. 2 harps, mandohn.guij ltar and strinqs. Yet this arrav is rarelv used intutti. Instead. Mlahler revels in the possibilities I~ taftoirds h im tor subtle c: 0 " mbinat ions rare fiedI J . ' . . . . . : . . . ' , _ ' , . : . . _ . ' ~ . . ' : . , - - ' _ ' _ ' , ' ' . : . _ . ' . . _. ~ _ ~ : . _ . . : . . _ . . . 1- f ., J .tone-colours a,nd the utmost claritv: the texturethrouqhout is wonderiullv clear. H ie wa~, "insistent t ha t the orchestra's first trumpet. f irst.horn and tirnpanist must be real lv first-class tO Ic o p e wit h t h o . e . " pa r t s he: h i a d written f: 0 : : : r th e ' -.m'.-- '. -,' :.-"'.' _"j , 1 "'C:' _:. ", '.-" , _I c .. ... '. ' . "" ,_ - . .- _ , "". _-, I . .

'T lhe rhythm suqqested bv th ose T vro le an.oarsmen is,heard as the introduction to the' f ~ l " stmovement and as the accomparument tO I thedeclarnatorv announcement of the fi rst themebv the tenor horn. This is quicklv toltowed by' aversion ot the oars rnvthrn tor oboes and


16/48

clarinets ano by an 8'-\ u i a U y f 'O f rC , e " " U [ il staccatotrumpettheme. lhe tenor h 1 0 1rn returns witt the[I -n 'it I ' I ' ~ I ' th e rn e ', afte " 'r wh ic h " hoirns 8 :nd cellos,_ ~ c g '''' _,', ,_, ...... 1 ~ ' , ' I , . . I I , _ " I. ....,. .... " .:.launch the E minor Alleqro section with a marchthem,e which is excitinolv developed, withprominence tor the rhv hm ic f.g lu re from t .heopeninq bars s- 'W h , e ' l n thIe 'official second subjecternerqes. il t is in C major, full ot Viennesenuances and seductivelv scored. lin the lengthIY- 'development. the E minor Alleqro theme( M , a r , c 'h ) 1 I [ S , extensively explored in all i t s aspects.Another episode is dominated by ' themtroductorv rhythmic phrase. ,An especiallybeautiful passaqe leads into the [ a bbreviatedrecapitu lation ~

Th e Nscntmusik is in C m in o r an d r eC8 Ip tu re ' s "with wistful irony. the innocent attractions o f thevvunoerbom works. lit opens with horns c a l l 1 ~ [ i n gtOI each other and b l l e i l n l g e r n u la ed b ly woodwind.But this is merely t l h l 18prelude to la slow marchits, theme (a variant of Ma,hle 's Wun ' , d e r h o r nsonq 'Hevelqe'l quietlv proclaimed by horns.Tnere are two episodes: the, first lin lA , flat opens'wilth a f ~ o lw l i n g cello rnelodv. W ' l h l e n the themeof the introdoction 'eturns on horns, ii " l i s , [8'V 1enmore tender. Aftler the march has been beardaqain, t l h l e introductorv music is reatedta n ta stic allv .. .lit: is h e r e that the Nochtmusik titleis justified The second e p isode is a h aun tin g" ,ee 'ie recollection ot ,eart~ierthemes andnocturnal fancies. A"s in the Sixth S v r n p h o n v ,Mah le r I [se's; C l o ' w b ' i e l l [ , 5 , 1 l n l t lh l il ,s m I Q l v ' [e ' [ m [ e ' [n ' t ; a d , d . [ i n g lcOllour " _ 1 0 the' textluI9 rather tlhlaln 8 iS symlbo ,is , Olfthle sOli i tude' of youth.

i

l i n , the remarkable Scherzo evervthinq is..s h ~1[d" '1 0,' W ~ : ' y ' ,_ ' ' o r d r~ istort e c M - r ' , " : :a ' I ~ I I - . I ich i e v e s t h ' I : , S . ,,' a.,',,'..t. ,. ._ '.:_ ,'. - .,'. . iI . . '. .... I'..= . .' _ :_ :... . '--', ' __ l .e f f e c t ' b " " Y " ' _ 't h . .r e b ' r I " [ I I I I ' [ 8 l n '. . c e : ' '0 ' -f ' h ' IS s c o r l l n [ g ' fo " ' r - ' ' S ' : o ' - l l o , - ' I S " ' "_ I . " . . . . 1 , . . . _ ~ . ' , [ . ' , 1 , _1[ :1:.,_ ' .' '< ... ' l t., ,:.,...'and tor qroups of instruments .. ll[mpaJli beqin tmovement" . ~ o r l l i o w e d l by horns and woodwind.Muted violins introduce the macabre waltz ..theme which becomes a lamentation p t a ved bf l l u t e , s an d oboes . A, oolce t h eme to r oboeses ta rb l ishes t' h e : t r io s 8 : : : C ' . t i o n s calm e : r - m e . .. . 0 ", l o : l d . . [.' '. i..... I ' : .. ~ : : : ', : ' / " ' , . I~ '. I . ' , ' . : : . [ _ ,I .:___,.J, .' . '. _ ,,", .:_ . ,,'_ i . . ' . ' . ' . . ' . ' . _ . ,iiWhe ' ; n [ the t irst section returns. lit is withsuh erranean brass, and t e roc ious pizzicetiwh ich lash th ernusi - O n t o a f e "n ' ' "Iod d"ans'e' I ~ ' :, .' I , ~ ,' _' ::, _' i r. .. I UI.: ' I e 1 1 [ '1 . ,. ._ , , ' ; . . .~ : . ,Zlo', '.~:~,I,,' '.~meceb r e .After the enticinp first few bars ofN h' 'k 1 '1 f' I' I " . . h ~ecntmusu: :._o r SO ' l 0 , vro lm 'Wit: s t n nqaccompaniment, this s l e ' r e n a ' d e ' ~ l i l i k e movementmarked Andente emoroso beqins with a soloh o rn me IIodv and a jo co se rhvthrn to r bassoonand oboes. ' V l i I I O " I I " l n l . s , also have an importantthorne, commented on bv the horn. ,andl the S ,DV ' I o - : I I n o u le t I I I I V ' ~ 'p l l a iv s its \ ' ( e = r s , I O r - In : 0 '. . f a " : ' S : , 0 . 1 1 0 . ' V ' I ~ O . I I - I ~ [ n . ., . . ' - , ' . ' I . , " : ' . " ' ' y. '_'. ,.... .., , I. .' ,. .:..:_.. ,._.theme from the finale ot the Sixth Svrnphonv.T ' ; h l e ' mandolin is heard, adding a distinctiveco lou r ' to the o re 'h lestrat ion A ' ' , thouqh.. the m"U " " I S . " '. . . . . . . . . . . . _ I_ . . _ - , - . . . . . _ ' , " _ _ ' , . . . . " , , [_ . . _,t!! .. l ] ,',.:__.- ;~."" _ . ' :.', .. _ .:',-'runs Ito a sud. ,en squall, tne return 1 0 ' themood ot In ,Q IC :_ : l u r n a ~ 1 romance i l . s ,not l o n q de l e v edTh is 1 5 - on ' e of M -r '" . " a -hler 's most be qu -I 1 [ 1 " 1 n9I : I , : ' . : . ' I . . .~ . ~ ' , I ' _ / , - Ir~, :": '1 1-:':::., : > ' I ~ " . . " . ~ . . ;movemen - 5 . ,

I n l the R o n d o , - , F ir n la d e t .he svrnphonv eme r g e sinto thle 1 1 [ ~ , g h t o f cornmor dav - and C maier .The last movement beqins with al marvellousexpression ot viqorous life-asserri on bv thetlimpalni',st~. echoled by th e bas,s,o,ons a n d h o rn san a 'wit h i m'lore o f th le o lr ch e s tr a j O ' ln i n g i[n a

. -, ..

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r . ent later. The principa I therne blazes forth1 the trumpets and horns.

- a - = h " l e : , I l " ' s p - , ~ I a . "n I~ n r h is m ' 1 0 " I V > S - ' : :r n e. . . . n : t ' 1 1 S to C ' - " : Q : . I m b , " ' 1 1 "n ' 8 , ,- .'. I ...._I.. I. I.' '.. !. '.' .' " '.'_ ..I ' . " , " , . : ' , " ' . , " , ' - '.ents of son ata-form an c variation iln eight

I r ,0 e p i s i o d l e s J, each with its theme andI tion. Listeners wilH notice that 0- ,e of tile ',: ; " . [ e': , . ,.... . ' d ' " " , I I ' I t . . . . , " , t, .-. d " '1 ' il ". " f : - h ' . . . . . M ' " . " . ' . te .,;-, 1 1 1I m l e s , , S I O I. . . IS , 1 1 ~ , e a l I P " a r I O ' I , Y 0, . n e ' . , ras te rs'm e in 'W ag n 'e ,("s Die Meiste'rsing's'( andther is,like a sly allusion tO I the tarnous w8 11 1 t z8 ' h , a r rs T h e ' M e r ry W id o,w (a h igh l ' y topicalke " l i n " l' 9.. 1 0r15...' t ' h " ' e ' ~ 've ar t"h 'e" I A / ' ~ o " " w / w ' I a - : s ~ f i r s tv '.. I. __.... ~ . ... ...." .., '. I _ 'v ' 'v ' ,f U'I . ,.'. .... " I I. . .uforrned with h IUI[gS ' success). Hete re n i c e ' s , tO I" h e r t h e m e s a bo un d. ,A 'f~ e 'a I ' y r l i c a l ~ an d

.hcate variation. the Alleqro theme from theII st movement returns, and is then combined.ith the prircipat material of the Hondo.ercussion, i 1 n l c i l u d i n ' g l the' cowbells and t ..bular 1 1. . , '. t r n : -. . . . . , . ' , ' : d b . " ' . ~- , ( . . a . = . ' h e s d -I t h . ': - : "( - , . .' l i e ' - m ' n "e 5 5,. I 1 9 1 5 1 , a l l n l . ., ' , ' r [8S,S, a,g~,ul l e a l ' , _ .1 1 f i e , 5[0'_:, . I .nd majestic procession of f a l n f a r e s which brinqhis kaleidoscopic svmphonv to its tnumphantlose i . f . hibi d iI. ose lin an expression 0_ ' u r u n r ro r te jov .

2 1 1

eiqht weeks is false, He told the Dutchcon du cto r W iU e mMenqelberq that '' 1 was th eb' l igge'st th " Ing hie ' h ad do nie ' so tar, It is the firstcompletely choral svrnphonv in the history [ o fmusic and is,divided into two unequaj parts. the' J.f i l . 'st alsettinq ot 'the Latin words lo t t i l e ninthcentury W'lhlitsulntli:dle ' vesper IhIYlmli1/:leni~ C : rr e a ' t I O ' fSp in t us . attributed to Hrabanus M a u T l u l s ,Archbishop o l f Mal lnz, and the second a settinqo f th e closinq scene o f P ar t U Io f G .:\ethes Fe u tI ' t -h ' e - 5 e : = : 's ' e : ' e " m " " - " ' 1 wide lv disp arate s o.. ' u ' r e e s of' _ I I _ . . . . ' . _ : . . . . 0 ' . '_. ~I .._ '. ' I.. . I' . '_'. ' . . . .... .. ....:". '. '~'.. ... ' :::.in S ' " P 1 " 1r a ' I . I I"0...1 n " ' " 1 MI'.' ah e' " r ' s p u rp o I s e . . .W ~ ' a - I s . 't o e r n P l " a s i" I" ..... _!. _ '. ., _ '. "I _. .' ',', ", 1 1 " " : '/ . ' - : _ ' / , , ' " : , ) . _ ,I ',~I ',' ',,' ry '. I . 'II- - -~ .the link between the earlv e xp r'eS "S 1 1 1 0 In , " ' fC hn b I" f - ' h f h S - \ d.nns ran beue: in tne power ot t -,e .. pl i r~ amGoethe's symbolic vision of m"ankind's.. '_.',_. e -..... .... .' '.': ,',. I,/' .I I " : ~ ~ . " . .. ., . " ' , . .] r:: l~.:I' " 1 ' 1 1 - ' . ' , ' : . 'redemption throuqh love. H e a lso had m minwhat he celled 'the misunderstood ."Platoniclove U': in ] a letter '1[0 his wife All rna C he work'I d l e d Ii I c : , a t l e I B ' , ,01 whom the svmphonv o n a lpersonal level l i s a h v r n n ot I IOV6 ' ) w r i tten whit .he' was reh ,ea rs l i ng 'the svrnphonv in Munu h If19 1 " , 0 [ :I e e X , I P l , a L ed:

Th . . :S8'n 0 J I" is re ah v .' [hi -t' . I . . Itiv .: r ' . IV , m th .. h e r ~pirit ' : \ . 1 , " 'r 'j'. io wh " C , is

th is ~ 0 I~. Y ou have ' li tI n l th ' I .. '. t ~,, sust. presentedsvrnbolic l i l y , . . . he wonderful discussionb tween Diet irna ,Bl ind Socrates .....,gives thec or le : ...f Plato's thouqht, his who 61 outlook [ O l inthe world. ...., . T l h J l 8 1 IC'IOlml piarison between[ S o ' c r a l te s ] i and Christ is obvious and ' hasa r i s e 'n l S p o n t a - In ' e ' , o , u s l v . in a - I - I - a ,> g " . ' e - 5 - ~ n ,e ' , , a : [ c . h " c : c l s : . . e ; . _ _ I ' . . ' . _ . . . . . . . . . . . . . . . . : . '. . : . ' . " . _ . ) . ' . . . . : _ . _ ". ., : . . . . " . ' I II ' " ' ! I I _ . . : . 1 . : . . . . . . : . ' : . : . . . I : . . . _ .Eros ,85 Crea to r of the world.

'Ii;


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,

Diotima's discourse on love in Plato'sS : " ~ " ' : m "" ' P " " ' I ' O " " si - ' m ' " , C : '" 0 1 ' n ' ' . t a ' ' ' ' n ' ' ' ' S th , c . ', fir ' I I ' ; " I ' " , ' , " , ' ' , - , , - . - I t' : -: '. S ' : : ' h e ' " I I I I ' - :' 's, Y " " .:,_,JU. ._j . ' ' . , . ! I . . ' . " Ie 0 OWing \I~nl< '.~ e y _ ,translation.)

s . it tollows that we must desire irrrnortalitvt l Q l g r ether w'th 'wha t is ' g : . ' O I I O l d , ., since LO I ' V 8' is the" 1,_',' J - ~ 1......:;. _- II' . -!II'" ~ ~. ..... .. - _.,d: l e ' - " ' s ' - , I ~ l l r e c . . : ' )t ha t" g . 'iood ~ le~1f ' ~ o " ' l r - e " : - :V , ' 1 8 : ' 1 1 i " p ir es e m t ' ' 0 . ' , IU s Ot. _ ': ' > U " . . . " . ' . : ~ . , . ' . ' , ' . ' " : ' U '., . '_' _..I ' ' _ ' : . . . . . . . ,.'_!._. _ ._. I L , . . _ . ,_,_l'll .: .. . I - L ~ b th desi f' , , - . -. . , . '. . , ' " . ' , , , ' . ' . " , . - ' - : , , ' , : ' . - - , ' , - , - " , , , , , . , . , , ' , " " . - , , - , . - , : , . . ' , ' ' . - ' , . .' : . - " 1 " . ' , - . , - - ' - ,necessrtv .ove m I U I , S , a S , O ' oe t1 1 9 cesr re 0" I immortality.

The I E l i g l h t h l Svrnphonv was not performed untit19110l r t h l e ' vear 1 0 , 1 M a h i l e t r' fs i fittietn birthdav by'which time he' had left t h e , V l i : e ' l n l n , B I Opera andbe co rn e :' "c o n du c - f I O - I I ' " 0 ' . - = - , ' , 1 ' 1 :t h e I N 'l e ' ' ' w , 'ro I r k , 'I :' , >' . " ~ 1 .: .' .' .. ..' ~ 1 I . ~ .. I J . . . ' . .. II . ...:'.' . . : . . . 1 ' r u . " _ ' . ' . ' , _ ' , . . ' . ' , _ . _ . . ~ . ' . ._ : _ . . _ " ,'IP = " h ' ~ "i l h . - , - " . - ' , " , . , : - . I R - - - - : , - : , I h - . - . ' , - , , ' , , ' C;" '-' C : " I " - ' b , " , " " . " , - , ' . : , - M " ' ,: , - : -: , " , , ' , , - d, _ I I arrnomc. re [Bar s,a l,s ., e g , a ln l I l l n ,1 ay annJ-- -1-' "II ',. Id : " I ' ( ' , - : " t ' I" . d b ",.'I M - " :". . . .' - . . . . h [ II ' ; : ' and t- ' b" I , " , , , , : 1 1 - " " . : , ,: ..t s, unlB, con l~ u C , I ~ e ,v-a,. e r ~ , , a ln l . . ] lie S , I O _ O I l . S , ~ " Sw e r e c h o s e n a n d r ' ' e - , l h : - : - 'e a r s e d b " ' - ' V ' , " Bruno -W ' - - - . " " a ' I I - ' 8 " - - : ' , I i " ". ' . , ' . ' , '. . , I .. ~..! " .: '. . I I . . ' . ' . - I . ~ 'c : . " ' a ' _ : " I S " " ' ' ' 'I I 0 " " I n (I ,t : h - - ' , e ~ ' I l a : ~ 's - ~ t : t i ~ I m ' - " '- ' -e - '. ' .. " ' . _ _ ' . ' ~ " . , " ' , : ' . . _ : I " " _ _ ' . > . _ . '_ . ' . . _ I ' . : . l ..'I .'. 1! ' .' .. . . . I . . I,' I. .':.,.~ .' ... .' Ifl .I ",:._.,1 I '.. 1 ': ....' .. II I'..'~ ' _ . II h e ' ' W l a s , tlo , C : l o l n l d I U I , c t li n E u r o p l e l , ~ w a : s a I m l a j i o J' t r i I I U lm l p h l. , - h l , e a l [ U l l d i l 1 e n i c e , l i , l n , c : ~ l u l i d l e ' d not m l e l r e l l 'yI r o l y i a t t y I b 1 u t . m , a l n I Y ' o f E I U I _ : o l p e ' ~ s i m l o : s , t : , d l i s , ti ln l 'g l u i ls , h l e l d, ; l'"; ; -,-f "-:f'-, 'f ' '".1 ,:-';-'1':-:' R " ) " ,' , h : - :' ' , .' : ' d 'C - :1 SiC " ' t " " , . ' ' " B ' , - - - - - : W , " - ' " l i t: . ', " . - - .,alr~~S,~II'Cl igurs,s." I e l i a r , :J,a[UI.sIS~ . ~ r lU ln o . ~ .. . .ae'r~l e , o , p , o ' ~ l d S l t , o l k , o ' W S i l k j ~ , A r ln l o l ~ d S " c : lh o , e ' ln b , e r l g l ~W ' l iI ll l e l mI M I9 ' ln 'g - I e ' " ' - , I b l l e r g : A n t - 10< I n '' . " , - ' e , b" " " ie rn I M a ' , -x ' R ' ~ l i l n l h a - 'r l d " I' - " , t ".:_: . ~'.....' ...: _ - '':-':, ~ .. .1_. J . , _ ,_ - . ' ' . _ ' . . . . '~ ' - I.. I "_ I ~ _ I. ., " , , i l lT ' h o , m , a l : s I M , a n l n ~ , S , t e 1 f a n , Z 'w l e lJ lg , a ln l, d m l a ln lY I m Q l t r ' e .W ' a [ I I ' t e ' r 1 1 1 8 1 5 ,d l e ' s l c r i ' b , e ' , d h IO W ~ 1 a [t t ln le e ', n ld ~ with

101

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apclause r i i n l g l i l n , ' g r o u n d the hatl, I M I , a lh l l ,e r climbeto the too ot the platform where the children 'sh" . - - , ith II h '' " : ' ' I ' : ' , : ' , ' ' : ', : , - ' - : " , , ' , ' , " : " ', c . . " . 1 " " ' . : ' :. ' , ': ' " -':,'c-'-, '. = - : - , _ " '- , - '. ' , ' " '~ , , - , '- , : ' , - . . , - , . . -c crus was stationed. cheerinc wrt 8 . , 1 t I eirm l l g . .ht and walke d r ig -h t a tong ' the row shaking l n ' = - 1[ I ~ S ' : - ' , I n " " l o.. , - ' t ' : ' O ' , c ' ' - ' f , I ' " a " ' - I m " ' : :a ~ s ' : ' s : ' > ' 1 0 " s I O u l l n " d , ' -b " : " ' u t - 1 0 ' f t - ' I h - ',e -_ I " .. _.. J " ' , .',_I. 1 . ' . : : . ' . _ , . . , .I_ I _ [,,~ ._.I.:._.I . ._... ~ j .. '_ . , _ . .. .. _ . ._ I . ~ ~ . ._ '. ._ ' .. .: .. '. , -j 1 " , "I P , r e I C s " j' lo ! [n l I O I ' t' C ' s r t a i n l , e lf : fe llc ts ~ 1 t lh le s ,U I , b , t II e i t : Ii e s , 1 0 1 f 'c o : , o u r ~ l n l g , ~ , th e I U l n c : 8 Inn'y ea [r fo r b a , I I , 8 1 I n c e , a l n d l,bllend., T l h , 8 ' fuU bra:ss str,ength li s r e s e r v e d l fo r, e ' l m p h a , s i s a t , c , l im , a c t . l lc momenlt.s,. ,

T lh e I l ln te r- fe ,l , a tl i o n s h iI P I o f t l h e lm le s , , a n id i p a J t i l c l l e sc lf ' tlhemle 's, U h r o , u , g l h , 0 1 u l t thlle g , Y l m 1 I p l h l o l n ' y [ i : 5 i l l n l ' t : r i l'c : , 8 I t 'Ea l n l , d l o r g a l l n l i , c ; , anid I P l l a r - t : L e l l a b o r a l t e a l n , d m l a s s li ' v ' e 'ae I " ' t - i i s ' I " I S : ' ' - a " r e ' : : 'c ' , o ~ " l g : : , ln i ' z a ' : [ b , l le ' ' "s : ,I O n 8 , - : ' , ' t ' a : I - flo ." r m s t " I - " u - - I C . t - ' U r l ' I B " ' - '_ Vi ...:._I._. ~' ."_.,I ". _ . :1,,_ , . ~":"".I . l_.I" .'. '..' '.' _ !. . ' . . ' ' , . . . . , ' . . I ' . _ " .'_" .. ,_ ..1 _, . I I . _ _. il i t l i s , 1 8 I m , a l r 'v ' l e l ll , o u , s pOl lyphon l ic mO'V8,m e l n t - - - - - - n l o tt i h , a t I M , a lh l ~ ' e !r ~ ' s, I C : l o u l n l e r lp I I O , il n t is ; I l i l l k / e 1 8 , a lc : h l r , s ~ I b d u l I : l i ' t . a ~ " 's - y t o - d l l s c o r n ' w,h,y h ' e ' ' e l l ' t - s o d l r a " n t O o t - ' h ' e '~~l-L'- I '. I" 'I~)do' II Ill, _ ' _ _ I I : : = ~ I ~ ,L .'!~ '~ - ,'.~__' _ - . ~ : _ : I _ . ' _ - 'g-r e , ,- , _ ,B 1 , = t ' c ~ : o ~ . n t r a i ~ [ p - I u l n t a i m ' ' I a s , , ' , t - ' e , ~ ' r . A :' In " I E f '~ , a , -- : 't - ' C - , h l o . l r d : . 1 0 . " " ' .,n '. .. . I . I .._ __ . _ _ _. - 1 - - 1 ~ __ , '. _" :- " r " ' - ' ' : -. -~ . I", ,I "'-" -.-' d - , , , : ' , - d ' - " I , C , " ,c: d , ~ - " 'I' . t - . ' .. ' _ ~ , . l l d " t ' h ' . ' , -o I g a n , W O O : ~ _ W l l l n l ~ , a n l _ - ~ I o w l e r , s . _ r ln lg s t l l e r , a l ~ . , S 1 lieI h . If h f' I~I ' d l t l - h' C - : I O l l r : 5 m ! 9 ' - 1 ty p a , e a l n l 1 0 ' 'vB!nlj a l n l ' . : _ ' 1 1 _ ' J r '9 "e1 1 l l m : - : ' p , o. .: " r t a ' - ' n i t i t- h " " l e : , " " l m l e , ' - ' S a l r s ,h - I , e ~ a > l l f " d , -l ' l n ' " q - I u - - I I: IC " ' ,- k , ' s , ' u - j , c " ' c " . - e ~ . : : _ s , ' . ' . ' ". . . . . 1 1 ~ . . ' . ' . _ . _ ' . . " . . ) I..I:_ I'_'.'.':_.'.._..1 1 . _ . . _ ' " : ' _ ' ' . . " : . _ _ _ . " _ : . ' _ . ' . _ . . 1 ". '_ " _' . '. :._ . '. :' _' .' ." . 1 .._ ._ . ! _ . I].I r e , p S ' l a t e l d c lh lo rd l,s ' :n l a l dotte1d rhy thml 'for l h i e


19/48

. , Din Soiritus. ,atrombone motive and alI ~ a : s ,e f o , . the trum p e ts ' I h l e ' ', e is also l a i n

ulsive theme in B , f tat tor th e str in qs. T h e 'JS at last s inks to a pianiss mo l a n d fou rists are heard in al beautiful passaqe li n I D flat~ second subiect p ro p,e J '- at thle l wo ds, . . S ' " upeme g '" tetie T ' I. e - " - - ' e : - ' e n t r ~ y . , o 'f ~ t' h ' ' e " c h o r u s: . ' . : , ' 1 . : . , ' 1 . 1 . . , . ': . . 1 " ) I ~ ,I ~ ': :_ ., I I : ' [ . " ~ " ' ' ' ' ' ' . , I . . . . . . _ : 1 ~ 1 1 1 : - : : - " . 1 I . : . 1 _ , ' :ti s t l o , a re tu rn [0. the openinq i n elabo atedafter w h O l e " tl e c" lh rstra egins th . n e x tI J ' . . : . ' - . _ : ~ . , ' " ! _ : . : . ' . . I" . . ::.. :' .. 1 ' . . . , : -. i'~__.'"-\~I II _ " , , 1 " i._, ' I ;c i . '1 ,non lina sombre IDminor, At the wordstms nostri coroo is. i~ solo violin.o rn p aru e s th e , chorus' antiphonv an d theIS I b , r i l n , ' g back t h e trombone motive.vetoprnent 1 0 1 " this mate , i a l ' bv ' the

. e s tr a l a 'Idl e ic ht soloists leads to the- . " . . . ' I . ' II ' I ' . . : '. : . ' . '. : . . t- " I . . .. " . - : " '. ' II I' " I I ' . . . - : .: - : ' . > : ' , t h ( " . ' " ' . , I , _ : _ - l b , : Iv e m e l n I S emo J O ln l a l c, ax,. e ,su p e . ,._ .ende lumen sensibus to a t r e r ne WhIII IC. ' is to, tu re ~ a r g e l l v in Pa r t r . Mahler interweaves

I three oper-inq rnotives ~' I a radiant E r na io r01 " l J ! l a t ~ l n ' g l tOI t h iS ' tonic to the retur __ot .n eerunq V e , n [ i ~ C r e a to r S pir itu s, .A double tuquen i ches the coda an d its crowrunq Glor ia .-~ rt I:I takes I U S , into a mOire farniliar Mahlerianvte an d worl d with us ~ o l l n g l orchest ra ', eduction " n , E,tlat 1IIIniO illust ative of the wildn c scaoe ~ ,nW,-I l ie . . ..Goethe n as se t the scener Fa,ust f , ' ssymbol ic trenstiquranon Twoe r n e s dominate this section tand the who elovernentl, one IqUI_I '9. I i ! : : , I e ' a p rove r . the other. O l inJ I e s an d clarinets. a lMehlerian ' y e a r t n 1 I l l n , gionve. Th e chore! entry liS ,SIO"~ rnvstenous.J I . i r - l g ~ Wit I th e e ' try o f P la te r Ecstaticus m IEIt, the strinqs take U l p l the ' t :WOI themes and

-I d ri nern into 1 0 e . le '~,odly T h e s olo is ts . lit

shou d be . oted represent not 5 " ' - 0 ' rn I C . - _ ' . I . . " . . ' . . ' . _ . . _ , . '" . ' . ' . I . . ' . ' _ 1 _ _ : _ _ , , _ _ Icharacters [as,symbolic ideas " In l Goethe's privateand often eniqrnauc mvtholoqv. W ' it : h l Pa t e rProfundus th e music r e t u r ns to I fla t m in o r with- - Ia re-epoeerance of the Accende theme fromPar: II !on tru m pel ts, and h o rn s an d ,-.is is auo te d~nf U I I I I " in B , major, as the C : lh ' O f I U I S 0 - Anqels sinqsof Faust's salvation ('Gerettet ist d',BS ' e d l l , eG I l i , e ' d " ' ) I ~ The sonq ot Doctor 1 r v 1 I , a , r i , a l r i ' u l s ~ theYou n q e r , A l n l ' Q l e l l s an d Ble sse d B'Q 'Y 's1 ~t rO(WSincreasinqlv rapt nous a s the V ii rig ilIn l is addressed.and tlhe svrnphonv's final sec..ion beqins with anew theme tmarked edaqissirno and vibrandc)for violins above a l' major chord D in harps andharmonium. From now on, with the , s i n l g l i l n l g ofthree women s o I I 0 I i : 5 " S - M , a lg n l a Peccatrix.Mulier Sarna itan a an d M a r ia , A e g ' V ' I ~ t l i l a I C l i themusic becomes l i l n l ' c , e , a l s : n l g l l ' y tender, notablvwhen al fourth so lo rst - U na P oe n ite n tiu rn .former ly Gre te -'lle -' '- p le ads to be ' I F , a u s , ' - ~ sI g u a r . ian anqe l . Eventually. from h , i l g h above theorchestra an d chorus. th e Mater Glonoss herselfs inqs, exouisit -r , l l y ' l a l l c l c o " Ip l a l - ied - L _ : . ., y ' the m '1 0, S i "delicate orchestral colo - r ~ l n g ~ and then, Mahlersummons aillil'-1S,eloquence as Doctor Marianus.echoed Ib y the chon S , . urces I'J IIPerutents to 10 10f'11 ipwards to the redeern 1 " l n g " g " a z e " Th"'~Ul .... - I" "",:.'.:.._ . _~ .l ~ .:~."I:. ,....' .. I .._.: ..... I.:... : - ! I I ! : .conctudmq Cho lUIS I M l y s , 1 , l i , c u l s " " ' " e g l i l n l n ~ l n l , g l in ahushed whisper , a ' , n ,d l, e n d ~ n l ,g l in a m ~ g h l t ~ , blaze ofsound. sinqs ot the Eternal-I I e ' , mine drawinqmankind towards h ea v e n . This passaqe I~ Sr o m a n t i c i' l - t at its most , e . x 8 1 1 1

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Mahler The Symphonies Booklet

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