Recurring Thematic and Motivic Material in Gustav

27A Atl(,

RECURRING THEMATIC AND MOTIVIC MATERIAL IN

GUSTAV MAHLER'S SYMPHONIES I -IX

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial RFulfillment of the Requirements

For the Degree of

MASTER OF ARTS

Richard D. DuPree, B.M. Denton, Texas

August, 1970 TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS. . .* * - - - * - 0 * * - - 0 vi Chapter

I. INTRODUCTION. . ,* . . . 0 , , , . 0 ", " , 1 Cyclicism from Beethoven to Mahler

0 ,, , . , , II. SYMPHONY I. . , 0 9 9 First Movement Blumine Second Movement Third Movement Fourth Movement

III. SYMPHONY II - . . - - - 9 9 9 9 ...... 35 First Movement Second Movement Third Movement Fourth Movement--'Ur1icht" Fifth Movement

IV. SYMPHONY III - 0 -,. - 9 9 9 - ...... 59 First Movement Second Movement Third Movement Fourth.Movement Fifth Movement Sixth Movement

0 * . 9 .9 ... 80 V. SYMPHONY IV - a.o 0 # - 9 - 9 First Movement Second Movement Third Movement Fourth Movement

iv Chapter Page ---0w ** . 96 VI. SYMPHONY V.* &--f &* a 0 0 First Movement Second Movement Third Movement Fourth Movement Fifth Movement

VI I. SYMPHONY V I 0*0 - a * aa - - " " ** - . . . 115 First Movement Second Movement Third Movement Fourth Movement

VIII. SYMPHONY VII. - - 0 oz op .0 .& .# .0 0 # # - . . - a 136 First Movement Second Movement Third Movement Fourth Movement Fifth Movement

IX. SYMPHONY VIII * * * * # 0* * . . . * . - 152 Part I Part II

X. SYMPHONY IX - -* * * -t -* * -- -. * - * - 164 First Movement Second Movement Third Movement Fourth Movement

XI. CONCLUSION. * 0 0 0 -0 0 0 0 . 0. . . . 179 - - *0 t . *. . .186 BIBLIOGRAPHY 0 * - - - * - * * - *

V LIST OF ILLUSTRATIONS

Figure Page 1. "Wenn mein Schatz Hochzeit macht," Lieder eines fahrenden Geselle.,

measures T s. . 0. 0.. . 12 2. "Ging heut' morgen Gber's Feld," Lieder eines fahrenden Gesellen, measures 204. . . . 12 3. "Ging heut' morgen iUber's Feld," Lieder eines fahreaden Gesellen, measures 13 4. "Ging heut' morgen Uber's Feld," Lieder eines fahrenden Gesellen, measures 75-79. . . 13 5. "Ich hab' ein glihend Messer," Lieder eines fahrenden Gesellen, measures 18-19. , ," 14 6. "Ich hab' ein gluhend Messer," Lieder eines fahrenden Gesellen, measure34. . . 14 7. "Die zwei blauen Augen von meinem Schatz" Lieder eines fahrenden Gesellen, measures 40-44 ------* . . . " . 15 8. Symphony I,Ifirst movement, measures 7-10 0 . . is 9. first Symphony T , movement, measures 22-26. . . 16 10. phony I first movement, measures 30-32. . . 16 11., Symphony I, first movement, measures 40-41. . . 17 12. xSmphony first movement, measures 47-49.0 . . 17 13. Symphony first movement, measures 165-w6 - * * W 9 9 * 0 * - - * W W...... 18 1,4. Symphony , first movement, measures

208-18. - * . * 0-6. * * - - 9 9 w .- " . . . . 18 first movement, measures Z10.'2 * 0 w 16. S$ymph,,ony ., first movement, measures - 0 * # . * 0. . * . .W.* . . S . . 19

vi Figure Page 17. symphony Ilumine, measure 1...... 22 18. Symphony I, Blumine, measures 4-13. . . . 22 19. Der Trompeter von SaicKingen, measures 1-6 . . 23 20. Symphony I, second movement, measures 1-4 . . 24 21.o 2ymhony I second movement, I_, measures, 8-12. . . 24 22. yhonyI, second movement, measures 38-39 * . 25 23. SyPhoy second movement, measures 76-77 . . 25 24. SMphhon I, third movement, measures 1-10 . * . 26 25. SyMhoy I, third movement, measures 19-23. . . 27 26. Symphony I, third movement, measures 38-42. . . 27 27. Symphony I, third movement, measures 45-49. . . 28 28. Symphony third movement, I, measures 60-62. . . 28 29. SymphonyI, third movement, measures 85-89. . . 29 30. Symphony , third movement, measures 124-31. * fout * moveme me-&asures . . . . . 30 31. Symphony fourth I, movement, measures 54-73 31 32. Symphony" I, fourth movement, measures 206-09. f r movement, .m.ea.sures . . . . . 32 33. Symphony I fourth movement, measures 32 34. hon ,Ifourth movement, measures

S . . . S 32 35. S h I, fourth movement,# measures 33 36. S I fourth movement, measures - *- * w0-- 1- 0 *- 0- - - ...... 37. s I, fourth movement, measures -S. -.--- -.... 34

vi i Figure Page 38. SymphonyII, first movement , measure 5. . . 38 39. Phony I, first movement, measures 18-21 . . 38 40. Symphony I, first movement, measures 28-30 . . 38 41. Symhony I, first movement, measure 97 . . * 39 42. SyMhon II, first movement, measures - - . . . . 109- . *- - - - , * 39 43. SII, first movement, measures 9 9 0 0 0 ...... w.. 39 44. 1, first movement, measures 0 0 0 ...... S 40 45. II ,y2jhnfirst movement, measures

4 6 . S ...... 0 . .I . . 40 46. y .phonyH, first movement, measure 206. . . 40 47. SII, first movement, measures ,&.*00- .# 0 * . 0. 041 ...... 5 .00 0 . . 48. SI, first movement, measures 0 . . 41

49. "Dies irae," Liber Usualis, p. 1810 . . 0 42 - 50. Symphony I, second movement, measures 1-4. . . 43 51. Symphony II, second movement, measures 92-1005 H thr movement, measures . . 43 52. Symp yII, third movement, measures 12-19 * - 0 - - 0 0 ...... 45 53. SHh I, third movement, measures

1 0 45 67- 0 0 0 0 0 0 0 0 54. Yukn I, third movement, measures0 -2-20 - 6 ** -9 - - *-6- 0 0 ...... 45 55. S I, third movement, measures . . 46 56. TI, third movement, measures 0 5 0 . 0 * . 0 . 0 - - -T0 . . . 0 46

viii Fi g ire Page

57. Symphony I, fourth movement., measures 1-2. . 47

58. SymphonyI , fourth movement, measures 3-7. . 47

59. Symphony II, fourth movement, measures .0 37 4 *. 0 * * * , . . . . 0 0 * , O. * 48 60. Sy n , fourth movement, measures ..... - - 0 6 0 . 0 0 0- 0 0 0 48 61. Symphony I, fifth movement, measures S Z8-29 * 51 62. Symphony H, fifth movement, measures 32-34 . 51 63. S Symphony H, fifth movement, measures, 43-47 * 51 64. Symphony I, fifth movement, measures S 57-58 .S * 52 S 65. Symphony yI, fifth movement, measures ,59-60 .S . 52 66. Symphony H, fifth movement, S measures 62-69 .S . 52 67. Symphony I, fifth movement, measures 69-73 53 68. Symphony H, fifth movement, measures 78-79 . 53 69. Sy1hony1I, fifth movement, measures 96-* - 0 0 .0 0 0 0 0 0 . 54 70. Beethoven:111, Piano Sonata in C Minor, . . . . p. measures 2 T . .. . 54 71. n II, fifth movement, measures . . . . - - - - 0 - *. .0me. . . . 54 72. SyHhonyII, fifth movement, measures W... 0 . -0 0 - 0 . . * " a0 a . . 0 . * 55 73. S >o II, fifth movement, measures 4 2. .2* 0 0 0 0 4 0 0 0 0 0 " a0 a 0

74. S I, fifth movement, measures . . . . .0'0'0 * * *#1 0 * # ' l #1 . 56. 75. Sy, fifth movement, measures T -w"f*"* a 0 0 o, a,0 * , w0 0 90 l 0 * 4 Z . . . .0 . 57 76. I, fifth movement, measures 00 0 * 0 . ... . T . - F58

ix Figure Page 77. Symphony II,, fifth movement, measures 58 78. Symphony .II, first movement, measures 1-4. 60 79. A. Brahms: S'Mphgny L, fourth movement, measures 62-65. . .* . . 0 .. . .- . . . . . B. "Ich hab' mich ergeben," tt chg. 60 Volkslied, p. 67, measures 1-4. . . . 60 80. Symphony jUj first movement, measures 11-14 . - ...... 61 81. Symphony III first movement, measures 14-17 f . . m .e e ...... ## * . . 61 82. SyMphon II first movement, measure 27. . . . 61 83. yM n II, first movement, measures 31-33 .-- * mo n.. .. , a . . . . . 61 84. Sypho L first movement, " S a 57-60 measures . mo ve - n a a . . . . 62 85. SY.phony LII.,o first movement, 83-86 measures U .7 - - - - . * - . . . . a . . . . . a 62 86. Sy phonyL III., first movement, 299-301 measures -a . * -a * .a 62 . . a . a . ., . . 87. SyMphonx III first movement, measure 337 63 88. Sphony X, , first movement, measures 502-03. - - - a - - a . .* . . * . . . 63 89. SMhon LLL, first movement, 505-07 - measures . . . 63 90. Symphony IL, fourth movement, measures 321-34 a - a . a * . . a . . . a a a a a 64

91. Symphony L, first movement, measure 550 64 4 a a 92. Symhon II_, first movement, measures 574-76, - . - - - . a a a . a a . . . 65 a " " a 93. Smhony _I, second movement, measures 1-4.. 65

x Figure Page 94. Symphony LI, second movement, measure 20 66 S . 95. Symphony II, second movement, measures 49-51 s o ov-ement measures*00.*. 66 . .6 96. SXmphXkny iii, second movement, measures 70-71

*.. 97. Symphony .LL., second movement, measures 89-80 67 . . 98. SM hon La, second movement measure 79 67 . . 99. Symphony II. second movement, measures 254-580 -.- 68 . . 100. Symphony II, third movement, measures 1-2. 69 S S 101. SXmlhony I, third movement, measures 3-11. - -* # . * - -6*I.*.* * ... I 70 102. Symphony IL, third movement, measures . . 6 256-63. - - thir movement, meaures. , 71 6 0 103. SyMphony III, third movement, measures 296-98-.& # i . movement, measure,4. * I 0 1 71 104. Symphony II, third movement, measures 433-34. . - 72 105. Symhony jII, third movement, measures456 72 . . . 106. SYMhony II, fourth movement, measures - 73 107. m .LL, fourth 0 movement, measures '3 0 8-10. . - 6 - * - - *-0 - ...... 73 108. SYmphony HIP, fourth movement, measures 11-12 - 74 109. Symphony LL, fourth movement, measures 32-33 - . . 74 110. Symphony j.II, fourth movement, measure-s 106-08. - S S-S S- - - 0 -0 0 *. **0. . 75 111. Symphony III,. fifth movement, measures 3-6. . . 75 112. 5mIonyLL, ICifth movement, measures o* q . 06 0 *0 6 20-21. & w * 6 76-

xi Figure Page 113. Symphony III, fifth movement, measures s0ure 0 9. 76 114. Symphony fifth III, movement, measures " " 115. fifth . . ." 1y4phonyk movement, measures 44'.-4 8 - *a's- - - * * . . 09 l 0 *4 * 77 116. Symphony III, sixth movement, measures 1-4. . . 77 117. Symphony III, sixth movement, measures 8104 . . 78 118. Symphony III, sixth movement, measures

4-4 : * # 0 W9 - 4 # 0 0 . I 78 119. Symphony III, s sixth movement, measures 2 Symhmny .0 * 0 0*0.W.. ,fist 0ue *-7 . . S 78 120. n IV, first movement, measures 1-7 . . 82 121. Symphony , first movement, measures

S 4 83

3 5 -0 0*8 .- 09 . * * 0* . 90 4 940 122. IV, first. . movement,.9 4 C 0 measures9 . .83 123. 5- -~ firs movement, measures . . 84 . .0 124. Symphony I, first movement, measures 126-29- - - . . . . * - - - * . * . . . - 84 . .0 125. Symphony I, first movement, measures 126-2-3-9,- - -* -*- - ...... 84 126. Symphony I, first movement, measures 85 . .0 127. S phony IV, second movement, measures 1-2. 85 0 . 128. yhony Y, second movement, measure 4 86 O 4 129. Symphony j, second movement, measures 79-80 - . . n.-aur- ...... 86 0 . 130. Symphony IV, second movement, measures 40- 9 0 -9 0 9 0 .0 . . 86 0 . 131. SyMPhonIV, second movement, measures 2 2 00 - 0 0..49.0----. 0...... 0 87

xii Figure Page 132. phony I, second movement, measures -. . . .-...... 87 .

133. Symphony ,IVthird movement, measures 1-4 . 88

134. Symphony I, third movement, measures 17-1350 a*., third moveme.n, .measu.res,

135. Symphony IV third movement, measures 13. 1-3Z -V third movement, mease 7 . . . . . 89 136. S IV, third movement, measures 4S__* -04 -& -0-&.0.0-0.0 - * 0.* *.0.&.0.0. 89

140. yVphony , third movement, measure89

138. Symphony IV, third movement, measure 817. . . . 90 139. S y nV, third movement, measures * * .0.* . . . . .0.0.0.0.0.0. 90 * - - - .

140. IV,, third movement, measures 32 - ...... 91

141. Symphony IV, third movement, measures247, , . * 91

142. Sy)hony IVf, third movement, measure 3182. . . 91 143. VSymophonyurthird movement, measures 5;11-230 -* 0 -0-*-0-0-0 0 .0.*.*.*.0.0.0.0.4.*.a 92

144. Symphony I, third movement, measures 3Z6-27 0 - - . - - - - -0 - - - .0.0 . . .9.0 .0. 92

145. Syhony TV, fourth movement, measures 1-2., 93

146. Symphony IV, fourth movement, measures 12-14 * * P * * * .*,*.*.*.*.*.*.0.0.0 .0 0,0, 94

147., Symhony I, fourth movement, measure 21, .. 94 148. IV, fourth movement, measures

149. Symphony V, first movement, measures 1-14 . . . 97 150. Mendels sohn; 'uneral March, Op. 62, No. 3,"t Songs without Words, measures 1-2 . . 97

xiii Figure Page 151. SymIh .y V, first movement, measures

0 . . 98 152. Symphony V, first movement, measures ...... *. 34a42 . . - - 0 0 0 98 153. Symphony V, first movement, measures . . . . . 99 154. Symphony V, first movement, measures

" , . * , 99 155. Sym hony V, first movement, me asures o. -. 3006- 9 - - 0 6 0 * . * 9 . 100 156. V_,onV,first movement, measures -30 * W*-. 0. * 0. . . * . . . . 100 157. "Nunliwill die Sonn' so hell aufgeh'n," Kindertotenlieder, measures 13-15 ...... 100 158. symphony V, first movement, measures *0 4 .. . 0 337-39. # 0 0. - 101 159. Sympony V ,w second movement, measures 1 . 0 . .101

160. SyMlhony V, second movement, measures 3-4 . . . 102 161. Symphony V., second movement, measures 16-18 - - 1* - ...... # .0 . . 102 162. Symphony _,, second movement, measures 78-81 - S - - - . .0 .0*...... 102 163. Symphony V, second movement, measures *S .. ...* 87-89 * 0 S S 103 164. Symphony V, second movement, measures 0a # . ....# 169-71-. - - - * S * . . . . 103 1650 Symhony V, second movement, measures 269-73. -. 9 S - 5.- 0 . 9 . . . . . 5 . , 103 166. Symphony V second movement, measures 407-03- - w 0 0- *.* ...... 4 . . . . . 104 167. Symphony V, second movement, measures 501-18...... 104 168. Symphony V, third movement, measure 1 0 . . . . 105

xiv Figure Page 169. Symphony V, third movement, measures 3F -4~.~...... a 106 170, Symphony V, third movement, measures 12336.~...... ~ . . . , a a .a 107

171. Symphoy V, fourth movement, measures 2-6 * a . 107 172. "Nun seh' ich wohl," Kindertotenlieder, measures 1-2...... T... . * a * 108

173. Symphony V, fourth movement, measure 33 . a , 108 174. Symphony V, fourth movement, measures ..a.a 6- 9 . a a . . a a . . . 109

175. Symphony V, fifth movement, measures 3-4. . a . 109 176. Symphony V, fifth movement, measures 4-6. 110 177. "Lob des hohen Verstandes," Des Knaben Wunderhorn, measures 1-3, . a a 110 178. Symphony _V, fifth movement, * a* a a* a a0 aa a a 13-16 - .a . a a a a a a . measures* a . a a a 110 179. Symphony V, fifth movement, measures 16-19 . a a a a a . a .a m a a a a a . 180. Symphony _, fifth movement, measures 24-27 .. * a a . a a a .a e a.a a a a

181. Symphony V, fifth movement, measures a a a a a a a .a me as ure s a a a 112 18Z. SmhoyV, fifth movement, a a a a a . a a measures a a a 112 183. S V, fifth movement, 1,-26 - a a a a a a a . measures a a a 113

184. S 4 on V, fifth movement, measures * a a 113 185. ) v fifth movement, wow a a a a a a a a a . a a . a a . a a 114 186. VmphOnyI, first movement, 1..* measure a a a 116 187. Symphony V, first movement, measures 2-3 . . a 116

xv Figure Page

188. SymphonyVI, first movement, measures 6-9 . . . 117 189. S h VI, first movement, measures -* ...... 9 . - 9 . . . 117 190. Symphony VI, first movement, measure 42 . . . . 117 191. Symphony VI, first movement, measure 46 . * * . 118 192. Symphony VI, first movement, measures 19 -- 9 - 9 . . . . 9 ...... 118 193. Symphony VI, first movement, measures 1 - 4 . * . . . . , 9 . , 9 . , . . .* S. ,. 119 194. Symphony VI, first movement, measures

- 7 - 9 . 9 . . S . 9 . . . . . 9 .* * . . 119 195. Symphony VI, first movement, measure 129. . . . 120 196. SymponyVI, first movement, measures

75 --- 9- 05 99 15-- 4 . . . 120 197. Symphony VIfirst movement, measures . 9 ...... 9 .*., 19-.9 9 9 . . . 121 198. L):hon VI, first movement, measures . 5 1 5 .9 ...... 0 . . . 121 199. Symphony R, first movement, measures . . . 122 200. Symphony V, first movement, measures 270-71. . . . .* . . . * * ...... * 122 201. Symphony yj, first movement, measures 388-90 - * ...... 123 202. Symphony VI, second movement, measures 1-2203.- secondmovement,.m.ea.s..r . . . . 123 203. Symphony VI, second movement, measure

* . . 124 204. S Ymphony , second movement, measures 11-12- - -*-&-0 0-0- 0 .&.* * .* 0 .&.0.*.W .* . ,124

205. 'SYMphonyVI, second movement,, measures 16-17 0- 01. -0 0- *; * &. . . .0.0.*.*.0. . * . . 124

xvi Figure Page 206. yVl, second movement, measures 98,-. VI, second mven.t., measure 1.1 . . . 125

207. Symphony VI, second movement, measure 111 . . . 125

208. SyTRphony VI, third movement, measure 1-4,. . . . 126 209. Symphony VI, third movement, measures 21.-ymho ...... I ...... u . . 126 210. Symphony VI, third movement, measures S- 7 . . . . . * . . . . . I * . . . . 127 211. SyMhony V, third movement, measures . . . . . 127 211. Symphony XL0, third movement, measures

. . . . . 128 213. SYmphony .VL,fourth. movement, measures 3-8 ...... m.. * . ., . . . . . 128 214. S-M hony ,fourth movement, measures 9-11. . . ..0 . * . * * . w* ...... 129 215. Symphony , fourth movement, measures 9-11...... * . . .* . . .* .W. . .0 . ,129 216. Symphony _L, fourth move ment, measures 16-19 ...... *. , . . . . 129 217. SMphgny , fourth movement, measures 19-20 . . . . . * .6. * . . . . * . . . 130

218. Symphony VI, fourth movement, measure 34. . . . 130 219. Syj Voy, fourth movement, measures 33-39 ...... * .0 . .1 .0 .0 .# .0 131 220. Symphony Vi, fourth movement, measures 42-43 - . o . . 0 .* f . * . . . . 131 221. SYmLhonv yI, fourth movement, measures 49-52 . - - Z 00 . . . * .0 .0 ...... 132 222. Symphony , fourth movement, meas ures 69-7Z - - - - * W . * . . . . . 131 113. Symphor y V., fourth movement, measures .. . * 82-85 N . . , . .6 . . . . .-1.& . .I. 13 3

xvi i Figure Page

224. Symphony Vi, fourth movement, me asure 139 . . . 133 225. ym h~on VI, fourth movement, measures -...... -...... 133

226. Sphoy VI, fourth movement, measure 297 . . . 134

227. SymXphony VI, fourth movement, measure 397 . . . 135

228. Symphony VI, fourth movement, measure 421 . . . 135

first movement, measure 1 * . . . 137

230. Symphony VII, first movement, measures 2-3. . . 137

231. SymphonVII, first movement, measure 11. . . . 137

232. Symphony VII, first movement, measure 15. . , . 138

233. S m-hon VII, first movement, measures . . . * ...... * . . . * . . . . 138 first movement, measures ...... # . . . . * . . . 139

237. VII,VSmphonyfirst movement, me asures ...... 140 238. SymphnVIII, first movement, measures ...... , ...... 140 second movement, measures . . sec. nd movement measure . . , . 141 239. SymphonyVII, second movement, measures sec . .o.e.n. .m.a.sur...... 141

23. Symphony Vii second movement, measures * . . . 142

240 . Symphony VI I, second movement,o measure 3 3 . . . 142

241. "Revelge," Des Knaben Wunderfhorn, measur oe 1 . . 143 242. Symphon VII, second movement, measures 484- ...... * ...... 143 243. S uhony VII, second movement, measures 319-7. .' 0 .#. 0 #. .. *. *. *. &.#I . . . . . 144

xviii Figure Page 244. Symphony VII, third movement, measure 15. . . 144 245. Symphony VII, third movement, measures 154-1110~. 145

246. Symphony VII, th ird movement measures . . ,145 247. Symphony VII, third movement, measures 94-9 . .. fu. .m.Vement me.asu1re .1. 146

248. SyMpony I fourth movement, measures. -4 . . 146

249. Symhon VI fourth movement, me asures 147 250. Sym-hyVjI, fourth movement, measures 7-11. . 147 251. Symphony VII, fourth movement, measures 1. 99-1020.* . . . 148

251. Symphony vIi, fifth movement, measures 2. . . 149 fifth movement, measures 6-10. ... * . ,149 254. Symphony VII, ...... , . . . . . 15-19 -*-0. . . . 150 255. Symphony VI, fifth movement, measures 56-60 . . ... 150

256. A. Symphony VII, fifth movement, measures 168-70-...... * 151 B. Symphony VII, fifth movement, measures 439-42...... 151

257. Symphony VIII., Part I, measures 2-5 . . . 153

258. Symphony VjI, Part I, measures 5-8 . 153

259. Symphony VI.II, Part I, measures 46-49 . . 154

260. Symphony VIII Part I, measures 135-36... . . 154 261. Symphony VIII, I, Part measures 139-40... . . 155 262. Symphony VII I.Part I, measures 145-47. . 155

263. Symphony VIlI, Part I, measures 218-19. . . 156

XIX Fi gure Page

264. Symphony VIII, Part I, measures 261-65.. . . . 156

265. Symphony VIII, Part I, measures 27478..0 . . . 156

266. Symphony VIII, Part I, measure 295. . . . . 157

267. Symphony VIII, Part I, measures 298-99.. . . . 157

268. Symphony VIII, Part I, measures 519-21.. . . . 157

269. Symphony VIII, Part I, measures 564-68. . . . 158

270. SyMghony VIII, Part II, measures 2-3.. . . . 158

271. Symphony VIII Part II, measures 4-7. . . . . 158

272. Symphony VIII, Part II, measure 52. . . . 159

273. Symphony VIII, Part II, measures 171-72 . . . 159

274. Symphony VIII, Part II, measures 412-16 . . . 160

275. Symphony VIII, Part II, measures 1105-07. . . . 161

276. Symphony VIII, Part II, measures 1223-29. . . . 161

277. Symphony VII, Part II, measures 1239-40. * . . 162

278. SymphoyVIII, Part II, measures 1402-05. * . . 162 279. Liszt: Eine Faust-Syaeonie, measures 702-05...... 'o ...... 163

280. Symphony VII, Part II, measures 1459-63. S. . ,163

281. Symphony _II, Part II, measures 1551-56. . . . 163

282. Symphony I, first movement, measures 3-5 . . . 166 283. "Trinklied vom Jammer der Erde," Das Lied von' 'der' Erde, measures 4-9...... 166

284. Symphony Ix, first movement, measures 6-8 . . . 166

285. Symphony I, first movement, measures 8-9 . . . 167 286. Symphony IX, first movement, measures . . . 167

287. Symphony , first movement, measures 32-33 ...... 167

xx Figure Page 288. Symphony IX, first movement, measures 147-49...... * . . 168 289. Symphony , first movement, measures 168-69. .0.*.*.*.0.0.*.0.0.0.0.0.0.0.0 . . . . 168 290. SyMphony L, first movement, measures 304-05...... 168 291. Sym2hoXn, , first movement, measures 376-79. . . . & . . . .-. 0 .0. . .0.0.0 . 9 9 , 170

292. Svmphny j, second movement, measure 1 *. . . 171 293. Symphony IX, second movement, measures 9-140...... 171 294. SymXhony I, second movement, measures w. * 0a 40-41 .*. . . . . 9 .9 . . . 172 295. SyphonyIX, second movement, measures I . . 0 0 *F9 0 89-94 * . . . . 9 .172 296. S IhonX, second movement, measures

17- * ...... 9 .9 . . 9 . . . 173

297. Symphony IX, third movement, measures 14w2 173 298. SXhon , third movement, measures

. *. . . . . 9. . 0 . . - 9 . . . . 174 299. Symhon I, third movement, measures I0. 9 0 0 0 . . . . . 0 0. . . 174 300. Sy honIII, first movement, measures ...... 9 0 - . . . . 9 . . . . 175 301. S uhon I, third movement, measures

-4...... 9 0 0...... 9 175

302. Syhony , third movement, measures .. 0 0 . . 1807-89. . 0 6 .9 .9 9 S. . .176 303. Symphony X, third movement, measures 32G-21.0 . 0 . .W . .0. .W,...... 176

304. Symphony IX, fourth movement, measures 1-2. * . 177

305. Sym y IX, fourth movement, measures 3-6. . . 177

xxi Figure Page 306. Sypjony IX, fourth movement, measures

307. Symphony IX, fourth. movement, measures 177-78. . .178

xxii CHAPTER I

INTRODUCTION

The works of Gustav Mahler (1860-1911), especially the

nine complete symphonies, stand transitionally between the

nineteenth and twentieth centuries. The symphonies, com-

posed between 1888 and 1910, are the culmination of nine-

teenth century symphonic writing just as counterpoint in

the eighteenth century found its greatest spokesman in Bach.1 The combined influence of Beethoven and Richard Wagner, to whom Mahler frankly stated his indebtedness,2 is evident. Mahler's treatment of text and use of the chorus in Symphony

II is very similar to Beethoven's choral finale in his Ninth

Symphony. There is also a distinct kinship between Wagner's music-dramas and Part II of Mahler's Symphony VIII. Thus the

cumulative influence of the two previous giants of the nineteenth century played an important role in Mahler's development. Mahler's influence on music of the twentieth century is more difficult to discover. His music is definitely of the nineteenth century, but the effect of it carried well beyond

1 1)ika Newlin, Bruckner, Mahler,'Schoen (New York 1947), p. 205, 2Alma Mahler, Gustav Mahler: Memories and Letters (New York, 1946), p. 2050

1 2

the bounds of the century. Arnold Schoenberg, a close per-

sonal friend of Mahler, used the latter's principles of

cyclic unification (in the String Quartets . 1 and 2, for example). 3 Mahler used themes and motives in their

original form and in variation, not only throughout various

movements of a single work but even in successive works.

Schoenberg expanded the scope of this principle. In his later works, rather than transforming many themes through

several movements, he derived all themes from a twelve-tone

row that could be transformed in almost endless variety.

Mahler's use of recurring thematic and motivic elements

is the topic under consideration in this paper. The subject was decided upon after a preliminary investigation into possible instances of the use of leitmotiv in Mahler's Symphony

JI led to the conclusion that occurrences of that device are, at best, only matters of supposition. The study did reveal, however, a considerable number of themes and motives in

Symphony 1I that could be traced directly to Symphony I. A logical question followed: Were there similar recurrences in any of the other symphonies? Further research indicated that such instances of cyclicism (a more concise synonym for

"recurring themes and motives") were not only common, but were an important element in Mahler's style.

3 Newlin, Bruckner, Mahler, Schoenberg, pp. 234-35. 3

This paper will point out themes and motives that recur from movement to movement and from symphony to symphony, as

well as from songs to symphonies. Although there are many entire themes that appear in several works, the majority of

the cyclic usages are motivic. The term "motive," as used

in this study, designates a self-sufficient melodic fragment

of not less than two notes nor longer than two or possibly three measures.

Existing information on the subject of cyclicism in

Mahler's symphonies deals only with the most obvious occur-

rences, but to cite only the obvious is to minimize Mahler's genius for applying the cyclic principle to almost all of his themes and motives. Therefore, it is the purpose of this paper to prove that cyclicism exists in far greater abundance in Mahler's symphonies than earlier studies reflect.

Cyclicism from Beethoven to Mahler Although occasional instances of cyclic treatment occur prior to the eighteenth century (such instances may be found in motto masses of the fifteenth and sixteenth centuries4 and in a 5 few works of Bach and Mozart ), Beethoven's use of the device inspired composers later in the nineteenth century. For example, the melodic outline established in the first

4 Willi Apel, Harvard Dict a of Music (Cambridge, 1969), p. 509. 5lenry C. Colles, "Leitmotiv ," Grove's Dictionary of Music and Musicians, Vol. V (London, 19T,~P._1Z 4

thirteen bars of the first movement of the Fifth Synphony may be found in various forms in each successive movement.6 A similar situation exists in the N*inth Symphony in which the opening introductory bars provide a thematic basis for subsequent movements.7 The same type of treatment may be found in the string quartets of Opus 1Z7, 130, 131, and 135.8 The cyclic connections between the first and third movements of the Fifth Symphony and those between the Finale of the Ninth and the preceding movements were consciously intended by the composer. The cyclic subtleties in some of the string quartets, however, lead to the conclusion that cyclicism was a natural, unconscious outgrowth of the spontaneous creative process. In 1830 Berlioz used the idde fixed in hisyhonie fantastique. This device is a theme stated in each movement to represent, "the beloved woman."9 The id_6e fi xe is found in Harold in Italy as a viola solo representing Harold. Its statement in measures 34-37 is followed by varied restatements in the next three movements

6 Rudolph Reti, The Thematic Process in Music (New 1951), pp. 165-92. York,

71Ibid , pp . 11- 300. 8 Joseph Kerman, The Beethoven Qua(rtts CNew York, 1967), pp. 357, 309, and23/8. 5

(second movement, measures 64-79; third movement, measures

65-71; and fourth movement, measures 50-53),10

Wagner's use of cyclicism is manifest in what is termed

leitimotive: phrases, motives, and even single chords that

represent people, places, and ideas. By definition, any

musical expression, to be leitmotivic, must be related to an

extra-musical element. Wagner used the leitmotive device as

the cohesive ingredient in his music-drama. In the tetralogy,

Der Ri des Nibelungen, motives that appear in the first

opera, Das Rheingold, may be found throughout the next three works. In fact, the opening motive of Das Rheingold, the so- called "Nature" motive, 11 is found at the end of the fourth opera, Die Gtterdammerung.

Although Wagner's use of leitmotiv was a great influence on later composers, its musical applications were limited.

This type of cyclicism necessitated a program, a literary adjunct which the composer was obliged to set to music. It restricted the composer to the depiction of specific ideas, regardless of whether or not the creative process was guiding him in other directions.

The post-Wagnerian, Richard Strauss, used cyclic elements in the great tone poem, Ein lieldenleben. It is in this work that themes from his earlier tone poems are recalled.

10Hector Berlioz, Harold in Italien (Leipzig, 1899), pp. 7-8, 83-84, 107-108, an d 13;TTerso Jacques Barun Berlioz 'and the Romantic Gentury, Vol. I (Boston, 1950),

1 1 Richard Wagner, Das Buch der Motive., edited by L. Windsperger (London,~ .d)p7T. 6

The works of Berlioz and Strauss are in the realm of program

music, but there was much cyclic non-program music being written in the nineteenth century that should be noted.

Other composers in the late nineteenth century elabo- rated on the cyclic tendencies of Beethoven's music. They

were influenced to a degree by Wagner's leitmotiv, but

avoided the total application of the principle as Wagner had used it because of its restrictiveness. In C6sar Franck's Prelude, Choral, et LFge for piano, a theme in the Prelude Gmeasure 8) appears at the beginning of the Choral (measure 1) and the E2uue (measure 1) .12 In his Symphony in Minor D the principal themes of the first movement (measures 1 and 129-32) are heard in the coda of the fourth movement (measures 330-34 and 372-73).13 Camille Saint-Saens' Third Symphony contains a motive (measures 12-13) built, in part, on the Dies irae melody (Fig. 49). It is found in the second movement at cue "S". A motive in the first measure of Claude Debussy's String Quartet is used in varied form in the first measures of the second and fourth movements.1 5 In

1 2CFsar Pranck, Prelude, Choral, et Fu ue (New York, 1916), pp. 3, 10, and 7se also Nor'man Iemu , Cosar Franck (New York, 1949), pp. 150-55. 1 3 Cdsar Franck, "ypmhony in D Minor (Leipzig, 1927), pp. 1 and 16; see alsoDemut$,~6g =a nck, pp. 80-83. 1 4 Camille Saint-Saens, hpony No. 3 (Paris .1964), pp. 1 and 126; see also Arthur erVeyISA'nt-Sans (New York, 1922), pp. 98-100. '5Claude Debussy, String Quartet in G Minor (New York n.d.) , pp. 1-15; see also scar Thompson, DFbIsy: vMan and Artist (New York, 1937), pp. 335-36. 7

Vincent d'Indy's String Quartet No. 2 a four-note Gregorian motive (used also by Mozart at the beginning of his&Sm in C ,K. 551) is found in the first measure of each movement.16

In Anton Bruckner's symphonies, the appearance of themes in several movements of the same work is common. The impor-

tant trumpet theme in the first movement of the Third

SyMphn (measures 5-12) is stated in augmentation in the

coda of the Finale (measures 451-65).17 The Finale of the Fifth Symphy is modeled after that of Beethoven's Ninth "wherein one theme after another (drawn from the preceding

movements) is tried and then discarded before the entrance

of the 1 8 main theme of the movement." In this instance the direct line of influence from Beethoven through Bruckner to Mahler is apparent. But Bruckner had, for all practical purposes, copied Beethoven with his Fifth ym y Mahler was never so deeply indebted to Bruckner. Whereas Bruckner "copied the letter, rather than the spirit"1 9 of Beethoven's Ninth, Mahler never copied the letter of Bruckner's symphonies

16 Vincent dIlndy, Stri quartet No. 2 (Paris, 1908) pp. 2, 7, 11, and 14; seea1so N_?iia !Tmuth, Vincent d'Ind (London, 1951), pp. 59-600.- --- 1 7 Anton Bruckner, Symphony No. 3 (Leipzig, n.d.) pp. 2 and 196-98.3 Liignd) 1 8 Newlin, Bruckner, Mahler, Schoenberg, p. 96. 19Ibid., p. 96. 8

to this extent, even though much of the spirit is always present,

The late nineteenth century, then, was a time of interest in and experimentation with cyclicism, It is not surprising that Mahler's symphonies contain cyclic elements, but the extremely high incidence of these elements, as discussed in the following chapters, may be somewhat unexpected, CHAPTER II

SYMPHONY I

Mahler's Symphony I (1888) was quite obviously influenced by his Lieder eines fahrenden Gesellen (1884). The latter work was composed during the time (1883-85) when he was Kapellmeister of the theatre in Kassel, a period of great emotional stress in Mahler's life.

The romantic circumstances under which he composed the cycle, after the breaking-off of his love-affair with the soprano Johanne Richter in Kassel, are intriguing insofar a they link the music to his own personal life. h That the music is directly related to this critical emotional period is further borne out by the texts of the songs them- selves. The titles alone give a sufficient hint at the content of the remainder of the text: I. "When mein Schatz Hochzeit macht" ("When my love is married"), II. "Ging heut' morgen other's Feld" ("I went through the fields this morning"), III. "Ich hab' ein gluhend Messer" ("I have a glowing dagger"), IV. "Die zwei blauen Augen von meinem Schatz" ("The two blue eyes of my love"). Although there is no indisputable evidence that Mahler deliberately cast himself in the role eines fahrenden Gesellen, speculation favoring that position seems relatively well-founded.

1 Newlin, Bruckner, Mahler, Schoenberg, p. 128.

9 10

Symphony I was written without a particular program in mind. Such a procedure was contrary to nineteenth century

tradition which practically demanded a program to ensure a measure of understanding and enjoyment by the audience and, therefore, the success of the work. This left Mahler in the position of having to decide whether it would be wiser to bow to tradition and create a program in order to give the work a better chance to win popular approval, or to continue to support his belief that his music was capable of being understood and appreciated by the better-trained listener without the artificial aid of a program. 2 A program was added--after the fact. The influence of tradition had pre- vailed and continued to do so in ymphonies II and III. There is some justification for the title [of Symphony I] ("Titan") [after Jean Paul Richter] and tor the program; that is, at the time my friends persuaded me to provide a kind of program for the D major Symphony in order to make it easier to understand. Therefore, I had thought up this title and explanatory material after the actual composition. I left them out for this performance, not only because I think they are quite inadequate and do not even char- acterize the music accurately, but also because I have learned through past experiences how the public has been misled by them. Believe me, the symphonies of Beethoven, too, have their inner program, and when one gets to know such works better one's understanding for the proper succession of the emotions and ideas increases. In the end, that will be true of my works, also.

2 Ibid., p. 140. 11

In the third movement (funeral march) it is true that I got the immediate inspiration the from well-known children's picture ("The Huntsman's Funeral.") --But in this place it is irrelevant what is represented--the only important thing is the mood which should be expressed and from which the T~oIFth movement then springs suddenly, like lightning from a dark cloud. It is simply the cry of a deeply wounded heart, preceded by brooding the gh stly oppressiveness of the funeral march.- One gets the distinct impression that Mahler had titled the entire symphony "Titan." Erwin Ratz, in the preface to the critical edition of the score, relates: The First Symphony, the composition of which was begun in 1884 and completed in 1888, comprised five movements originally. It was premiered this form on in 20 November 1889 in Budapest. Later Mahler decided to cut the second movement, "Andante," an as well as the references to Jean Paul's novel, "Titan" in the designations of the single movements, since it became apparent if anything, that they hindered the understanding of the music. Recent research has clarified the mystery surrounding the subtitle, "Titan." The "Andante" to which Ratz refers, the so-called Blumine movement, discovered in 1959 and published in 1969 by Theodore Presser, was not singled out by Mahler to be designated "Titan." The title page of the 1893 autograph version bears the sub-title which has been crossed out, probably by 5 the composer himself. The title Blumine

1bid.rp . 140, from a letter to 26 MarsT896 Max Marschalk, 4Rustav Mah(lerin7, on I"in D Ma'or, edited by Erwin atz ( kien, 1967), pr ace. 5 Jnrck Diether, "ilumine and the First Symphony ," Chord and Discord, III C1 693#800 12

and details of this expurgated movement will be discussed later in context.

The thematic influence of Lieder eines fahrenden Gesel- len on Symphony I cannot be emphasized too strongly. The interval of the fourth, the germ motive of both the cycle and the symphony, occurs for the first time in the second measure of "Wenn mein Schatz Hochzeit macht," as a part of the two-measure motive that dominates the song (Fig, 1).

Fig. l--"Wenn mein Schatz Hochzeit macht," Lieder eines fahrenden Gesellen, measures 1-2.

The same interval begins the vocal line of the second song, "Ging heut' morgen Uiber's Feld."

Fig. 2--"Ging heut' morgen Uber's Feld," eines Lieder fahrenden Gesellen, measures 2-4.

Two other themes from the same song appear in the first movement of the symphony. The first of these (Fig. 3) outlines 13 the fourth. The only theme of Lieder 'eines falirenden Gesellen used in Symphony , that does not emphasize the interval is Fig. 4,

Fig. 3--"Ging heut' morgen Ober's Feld," Lieder eines fahrenden Gesellen, measures 75-79,

LI In

_F4 P.6 -B6ET r

Fig. 4--"Ging heut' morgen Uber's eines Feld#" Lieder fahrenden Gesellen, measures 75-79.

The fourth may be found, also, in a figure (Fig. 5) in "Ich hab' ein glihend Messer." In it, the repetition of a note in the first measure deliberately emphasizes the interval, 14

ACH) W kii~T i~s bO -R SE% CAsT)

Fig. 5--"Ich hab' ein glUhend Messer," Lieder eines fahrenden Gesellen, measures 18-19.

The interval is used in the same song in anticipation of similar "horn-call" motives in Symphony I.

Fig. 6--"Ich hab ein glUhend Messer." Lieder eines fahrenden Gesellen, measure 34.

A theme from "Die zwei blauen Augen von meinem Schatz" (Fig. 7) contains the interval and is used in its entirety in the symphony. 15

A DF1 P S.44-S~E STKIL= t

Lvm %Au DA a IC4 ZQu

Fig. 7--"Die zwei blauen Augen Lieder von meinem Schatz," eines fahrenden Gesellen, measures 40-44,

First Movement The influence of Lieder eines fahrenden Gesellen is evident from the very beginning of the symphony. The opening theme consists of a series of descending fourths. Even though the interval in the third measure of the theme is a third (D-Bb) its resolution to "A" in the next measure makes the melodic outline of the fourth complete.

09."u.8

Fig, S-~ I, first movement,, measures 7-10 16

The fanfare, a device used in each of the symphonies

under consideration, appears in the trumpets.

Tr. 1) 2

_L L

Fig. 9--Symphony I, first movement, measures 22-26.

As the opening "falling fourth" motive is heard again, the diminution of the motive becomes a cuckoo-call (Fig. 10).

This effect is expressly called for in the score: "Der Ruf eines Kukuks nachzunahmen."

,Fig. 10--Symphony I, first movement, measures 30-32.

A motive which ascends chromatically measure by measure (Fig, 11) is followed by more cuckoo-calls in the clarinets, introducing to symphony I a theme taken directly from Lieder 17

CEL&

Fig. ll--Sphony I, first movement, measures 40-41

eines fahrenden Gesellen (Fig. 2). Its beginning interval

of the fourth gives a feeling of finality to the clarinet motive (Fig. 10) and an impetus to the new theme (Fig. 12).

vLmc.

Fig. 19 1 U

Fig. 12--Symphony I, first movement, measures 47-49

The song quoted here is the second of the cycle, "Ging heut' morgen uber's Feld." It provides the thematic material for the next one hundred measures. In fact, the section as it stands in the symphony is little more than a re-writing and re-scoring of the song. Two other themes already cited (Fig. 3 and 4) are a part of the song and are also found in this section.

Another bird-call, built in part on the fourth, is found at the second exposition (Fig. 13). 66 6 Gustav Mahler, Symphony I, preface by Fritz Stiedry (London, 1943), p. ii. 18

Fig. 13--Symhony I, first movement, measures 165-66

A new theme in the horns contains the fourth (Fig, 14).

Reminiscences of the cuckoo-call motive (Fig. 10) are found in measures 215-218.

~ 0 0

Fig. 14--Symphony I, first movement, measures 208-218

Also new is a theme in the cellos (Fig. 15) which comes to rest on the fourth, 19

Fig. 15--Symphony I, first movement, measures 220-224

Finally, a motive (Fig. 16) that closes the first movement

is similar to one that introduces the finale (Fig. 31).

LAIA

Fig. 16--Eyphony I, first movement, measures 310-312

Blumine

Mahler had, as was mentioned earlier, written his S - phoy I in five movements rather than the four-movement version that was originally published by Weinberger in 1898.

The composer purportedly gave the manuscript of the symphony to Jenny Feld, a student at the Vienna Conservatory, in 1891.

The data substantiate the fact that this must have been the

1893 revised autograph, however. She, in turn, passed it on to her grandson, John C. Perrin of Brussels, who offered it for sale at Sotheby's in London in 1959. It was purchased on December 8 of that year by Mrs. James M. Osborn of New 20

Haven, Connecticut, who donated it to the Yale University

Manuscript Library.7

Attempts to determine just what, if anything, the title

Blumine had to do with the suppressed sub-title of the symphony, "Titan," and the author Jean Paul have finally borne fruit.

Henry-Louis de La Grange, the indefatigable Mahler researcher and biographer, pointed out in a recent letter that word actually occurs in the title con- cocted by Jean Paul for a three-volume collection of his magazine essays published in 1810, 1815, and 1820. It seems that after listing and pondering a number of picturesque ideas for the title of that collection--Naturalienkammer, Karthaunenpapiere, Sammelsurium, and so on--the imaginative author had decided to call it Herbst-Blumine, a coinage that might be rendered as "Autumn Flora." For according to Kurt Schreinert, in the general preface to the modern B*hlaus edition of the work (Weimar, 1942; see page 86), the hyphenated title (a) alludes to the season in which the original volume was published, and (b) pays homage to C. H. Wolke's Germanization of "flora" as "Blumine" (Krom the Allgemeiner Anzeiger of June 28, 1810), The most important question of the Blumine mystery has been, however, why the movement did not appear in the published version. It has been speculated that the decision not to publish Blumine was one arrived at jointly by both

Mahler and his publisher. Mahler had, according to John Perrin, expressed his private feelings for Johanne Richter in Blumine, just as he had done in Lieder eines fahrenden

Gesellen, and did not wish to put those feelings on public

7 Diether, "Blumine and the First Symphony," p. 79. 8Ibid,, pp. 84-85. 21

display once again.9 He may have realized, also, "that the

thematic development in Blumine is not equal to the standard

set in the rest of the symphony."1 0 Weinberger, on the other

hand, probably felt that the five-movement version was too

long; thus the shorter, sparsely-developed Blumine movement would be the logical cut for publication. Diether, however, takes another point of view.

In the absence of () an 1897, 1898, or 1899 autograph, (2) a publisher's copy-model (Stichvorlage) for the first edition, or (3) any mention of the matter in question in the known correspondence of Mahler, there is not a shred of documentary evidence to sustain Mr. Perrin's assertion that Mahler even submitted the Andante movement for publication either part'T-Te' symphony or in connection with it.

Thematically, the movement does not echo themes of the

first movement and anticipates only one motive in a subse-

quent movement. Its strongest relationship is in the use

of the characteristic fourth which pervades the entire sym-

phony. The opening measure contains the fourth in the first

violin (Fig. 17), followed in the fourth measure by the same

interval in the principal theme of the movement (Fig. 18). This theme in the trumpet, due to its length and complexity, provides quite a sufficient amount of thematic material for

the Fortspinnung of the remainder of the movement,

91bid., p. 85. 1 0 Dika Newlin, "Mahler: Symphony No. 1", American Record Guide (February, 1969), 498. 1 1 Ibid.12Diether, "Blumine," p. 84. 22

Fig. 17--Symphony I, Blumine, measure I

Fig. 18--Symphony I, Blumine, measures 4-13

The fifth measure of Fig. 18 clearly relates to a punctuating motive in the following movement (Fig. 22, ym I, second movement), but this is the only instance of linkage between Blumine and other movements.

It is interesting to note that "Mahler merely takes a rather attractive 'romantic' trumpet theme (borrowed from his own incidental music to Scheffel's Der Trompeter von Sckingen) and causes it to modulate through a variety of keys, but otherwise modifies it little." 1 3 The incidental

1 3 Newlin, "Mahler: Symphony I," p. 498. 23

music referred to had been written in Kassel in 1884 but was subsequently lost. The "living picture" narrative poem was performed successfully with Mahler's music in several cities outside Kassel, but Mahler seemed to think little of the work only a few months later. 1 4

What little is known of Der Tr~oMeter von Sickingen is due primarily to Mahler's Leipzig friend, Max Steinitzer. He saw part of the score of the work and remembered later the opening of one section (Fig. 19) which may be compared to Fig, 18,

Fig. 19--Der mveter von Sackingen, measures 1-615

This was the episode in which young Werner [the hero of the poem] serenades Margaretha trumpet. with his The moonlit scene with Margaretha her castle, in Werner standing on the other side

14 Dika Newlin, uine: A Newly Discovered of Mahler's First SympF Fliy, unpublished Movement before the annual paper delivered meeting of the Texas Chapter, American Musicological Society, Austin, Texas, 9 November 1968, p. 8, ISQuoted from Diether, "Blmine" p. 87. 24

of the River Rhine (which, Scheffel us, tells attentively listens to Werner's trumpet tune)--ccls for romantic, atmospheric music.9,0,4

It is entirely possible that Mahler saw himself as Werner and Johanne as Margaretha. It is also possible that his ambivalence in this personal relationship had something to do with his on-again-off-again attitude with regard to the inclusion of Blumine as a part of Sym 1I17

Second Movement As in the first movement, the interval of the fourth assumes a position of great importance in the opening statements of the A major second movement. The ostinato accompaniment motive of the cellos and basses (Fig. 20) prepares the way for the first theme (Fig. 21).

Fig, 20--Symphony I second movement, measures 1-4

Fig. 21 SymphnyI, second movement, measures 8-l2

1 6 Newlin, "Blumine," p, 7. 1 7 Diether, "Bluine," p. 88. 25 The entire minuet section of this minuet-trio is punctuated by closely related motives (Fig. 22 and 23). Fig. 22 was mentioned earlier as coming directly from the Blumine movement.

Fig. 2 2--Symphony I second movement, measures 38-39,

Fig. 23--ymphony I, second movement, measures 76-77

The trio of the movement, in true Classical tradition, is contrasted with the minuet by a change of tonality to the submediant region and the introduction of new thematic material. The change of tempo seems to have been added mainly for emphasis of these contrasts. The various new themes will not, however, be presented here since they neither recur in subsequent movements nor show any influence from previous material. A return to the minuet and a coda complete the Classical format of the movement., Third Movement The programmatic aspects of this movement, while cer- tainly not indispensable to an appreciation of the music alone, add a touch of irony before the deadly serious Finale. One's imagination is captured by visions of a funeral procession of animals--respectful but definitely not distraught, solemn but inwardly jubilant--carrying the hunter in his coffin.

There are four distinct sections in this movement. The first begins with the French canon, "Frore Jacques," transposed to minor and somewhat altered rhythmically and melodically. The characteristic interval of the fourth begins the movement, as it has the two previous ones.

Fig. 2 4 -- Symphony I, third movement, measures 1-10 27

As this theme proceeds in canon throughout the orches-

tra, an auxiliary theme of the oboe accompanies the dirge of the orchestra, The contrast of the rather raucous oboe theme makes the dirge particularly poignant.

Fig. 25--ya n 1, third movement, measures 19-23

The second section of the movement is built on themes which are reminiscent of folk tunes or even village bands in small Bohemian towns (Fig. 26). The second of these (Fig. 27)

Fig. 26-Symphony I, third movement, measures 38-42 28

contains the interval of the fourth either as a single interval or filled-in in every measure.,

Fig. 27--Mhoy I, third movement, measures 45-49

The ubiquitous cuckoo-call of the first movement appears again in measures 48 and 49 of Fig. 27. The French horn states the motive in Fig. 28.

Fig. -I, third movement, measures 60-62

After a transition through the dirge of the first section, a new set of themes, in a new key, is introduced at 29

the beginning of the third section of the movement. Only one of these themes (Fig. 29) is important to this study because it is a quotation in a new key of the principal theme "Die of zwei blauen Augen von meinem Schatz" (Fig. 7).

Fig. 29--Symphony third movement, measures 85-89

An examination of the scores of the song and the symphony reveals that measures 4O-67 of the song are, with the addition of a few moving voices, almost identical to measures 8S-112 of the symphony.

The fourth and final section of the movement returns to the dirge of the first section. A new theme is introduced by the trumpets. It is reminiscent of a statelier theme in the firs t movement (Fig . 14) . 30

Fig. 30-Syiphony . third movement, measures 124-131

Various themes and motives of sections two and three are recapitulated as the funeral procession quietly and without ceremony disappears into the distance.

Fourth Movement After a fiery introduction in which reminiscences of the chromatic figure of the first movement (Fig. 11) are heard, the long, complex F minor theme of the Finale is stated (Fig. 31). The first two measures of the theme can be traced to Fig. 16. Whereas in the latter example the interval of the fourth was filled in melodically, the outline in the fourth movement has been expanded to a fifth. 3 1

-r-- r v - I

Fig. 3l- - ypn I, fourth movement , me asures 54 -73

One of the earliest instances in which the interval of the seventh plays an important role in Mahier's symphonies is in Fig. 31. The potential of this interval lies dormant through Symphonyr I, then begins to take on more and more importance, as will be pointed out in subsequent chapters. 32

000,0% - -, LJc "A O"N -V16 a lol i 0 v I I ill

Fig. 32--Symphony I, fourth movement, measures 206-209.

At the change of key to the dominant, a new theme (Fig. 33) which emphasizes the interval of the fourth is followed by a horn-call motive derived from an earlier fanfare motive (Fig. 34).

Fig. 33--ymphony I, fourth movement, measures 190-293.

l4w. 31

Fig. 34--Symphony I, fourth movement, measures 302-305. 33

A rather insignificant-looking motive beginning with a

fourth is heard just before the horn call (Fig. 35), but it proves important to the later development of the movement,

m..m.1

Fig. 35--Symphony I, fourth movement, measures 300-302.

A variation of the opening "falling fourth" motive of the first movement makes up one of the major themes for the remainder of the last movement (Fig. 36).

Fig. 36 I, fourth movement, measures 388-391,

A return to the opening statements of the first movement, with its characteristic interval, fanfares, and bird calls, is interspersed with a reflection of a major theme from the first movement which was quoted directly from Lieder eines fahrenden Gesellen (Fig. 2). 34

Fig. 37--Symphony I, fourth movement, measures 453-454.

The remainder of the movement consists of the interplay of Fig. 34, 35, and 36 and their fragmentations and variations. CHAPTER III

SYMPHONY II

Just as songs from Lieder eines fahrenden Gesellen in-

fluenced the thematic structure of Symphony I, songs from

Des Knaben Wunderhorn (1883-1899) became a stimulus for

SymphonII (1894). Des Knaben Wunderhorn is the title of

a collection of poems by Ludwig Achim von Arnim (1781-1831)

and Klemens Brentano (1778-1842). It is this poetry that

Mahler used as texts for his Wunderhorn songs. The first

volume of poems appeared in 1805. This volume and subsequent ones produced a wealth of romantic poetry typifying the "simple, artless life of the 'little people' and. the glamor of bygone days."1

The earliest of the Wunderhorn songs were published as a part of Lieder undGesne aus der Jugendzeit (1883).

Volumes II and III of this collection consist of nine Wunder- horn songs. Lieder aus 'Des Knaben Wunderhorn' (1888-1899) contains twelve songs in two volumes. It was published in

1905; "Revelge" (1899) and "Der Tamboursg'sell" (1899) appeared as individual publications in the same year. One additional work, "Wir geniessen die himmlischen Freuden"

(1892), may be found in SymphonyIV but was not published as

1 Newlin, Bruckner, Mahier.,Schoenber, p. 119,

35 36

a separate work. "Urlicht" (1894) and "Es sungen drei Engel" (1896) were originally movements of SRmphonies 1I

and III respectively but were included in the 1905 edition of Lieder aus 'Des Knaben Wunderhorn'. Altogether there are twenty-four compositions to texts of the Wunderhorn poetry.

The Wunderhorn cycle expresses, in a very broad sense, the struggle of Man against Nature.

The. . . songs are of many types. Grace and playfulness ("Rheinlegendchen"), the macabre ("Wo die schanen Trompeten blasen"), satire ("Lob des hohen Verstandes"), grim tragedy ("Das irdische Leben")--all of these are vividly portrayed in Mahler's music.2

Mahler wrote a program for Symphony II which was, like the program for y I, withdrawn after its first performance and completely suppressed from the publication of the score.

Movement 1. I have called the first movement "Muner Tites". . . it is the hero from my Symphony in D major [( ymhony I] whom I am here laying in his grave, an w oselife I reflect in a pure mirror, as it were, from an elevated position. At the same time it expresses the great question: To what purpose have you lived? . . . Whosoever has heard this question must give an answer, and this answer I give in the last movement. Movement 2. Remembering the past. . . . A ray 7o-suns ine, pure and unspoiled, from the hero's past life.

2 lbid., p. 131. 37

Movement 3. When you awaken from the wistful dream of movement 2, to return into the turmoil of life again, it may easily happen to you that the ceaseless flow of life strikes you with horror--like the swaying of dancers in a brightly lit ballroom into which you happen to gaze from the outer darkness, and from such a distance that its music remains inaudible. . . . Life appears senseless to you and like a dreadful nightmare from which you may start with a cry of disgust, Movement 4. The stirring voice of simple faith reaches our ear: I am of God and will go back to God. .1.*. Movement 5. The voice in the desert sounds: the RUdrf alr life has come--doomsday is approach- ing.. . . The earth trembles, the graves are opening, the dead rise and march past in endless procession. The great and small of this earth-- kings and beggars. . . . The "great tattoo" is sounded--the trumpets of the Revelation call: then, in the midst of a horrible silence we seem to hear a distant nightingale, like a last trembling echo of earthly life. Softly a choir of saints and celestial beings sings; "Resurrection, yea, resurrection, will be granted you." And the glory of God appears. A wonderful, soft light penetrates into the depth of our hearts--everything is silent and blissful. And lo and behold! there is no judgment--there is no sinner, no righteous, no great and no small--there is no punishment and no reward... . An all-powerful feeling of love transfigur s us with blissful knowledge and being. . . .

First Movement

The characteristic fourth of SEymphony I is again present at the beginning of Symphony II and is used motivically throughout the work.,

Vans F. Redlich., Rr ckier and Mahler (London., 1955) p. 187, 38

Fig. 38--Symphony II, first movement, measure 5

The first theme (Fig. 39) of the movement also contains the interval, and, in a subsequent theme, it is melodically filled-in (Fig. 40).

Q5O% *r - m----- iE&~i~fff

I 0

Fig. 39--Symphony 1I, first movement, measures 18-21

~h.. I-

Oft

J7 iri

Fig. 40--Syimphony. II, first movement, measures 28-30

The fourth continues to occur frequently in the first ninety- two measures, primarily in trumpet and French horn passages.

A chromatic motive in yIho y (Fig. 11) is directly related to Fig. 41. This motive also outlines the fourth. 39

Fig. 41--Sm, first movement, measure 97

A motive (Fig. 42) and its retrograde (Fig. 43) derived

from Fig. 39 are germinating motives for much of the movement.

Fig. 42--Symphony II, first movement measures 109-110.

Fig. 43--Symphony II, first movement, measures 99-100.

A transition section in the parallel major region produces a theme (Fig. 44) important to the last movement as well as the first. 40

HNr 1A Alf

i F 1T Ilk ti

Fig. 44--Symphony II, first movement, measures 119-123.

A variation of an earlier motive (Fig. 43) is heard in the next E minor section (Fig. 45).

Fig. 45--Symphony II, first movement, measures 160-161.

The horn-call motive of Symphony I (Fig. 34) reappears as Fig. 46.

TA PTO

Fig. 4 6--s _II,first movement, measure 206

It, is interesting to note here the anticipation of two principal themes of the fourth movement which occur at the 41

modulation to the minor mediant region and do not recur until the fourth movement,. The first of these is a motive (Fig. 46) of the so-called "Glaube" theme.

E. H mAA

2ig. 4 pho 259-261. , first movement, measures

The designation "Glaube" is inspired by the text used with this theme in the finale: "Glaube, mein Herz,/ Es geht dir nichts verloren!" 4 "Believe, my heart,/ Nothing is lost to you!" The second theme (Fig. 48) is derived from the Gregorian "Dies irae" melody (Fig. 49). The fourth (in brackets) is effectively employed in Fig. 48 as it has been in so many others.

4 Fig. )24 t. T 6 Ony4IS#frtmoeet)maue

27027masre27-2 . 8-o phny first movement, maue

4 Richard Specht, Gustav Mahler (Berlin - .- ...... v.. 199,13)p, p. 2150. 42

Fig. 49--"Dies irae," Liber Usualis, p. 1810

-It may be surmised that Mahler intended the appearance of these themes together as an anticipation of the fourth movement. The paradox of this juxtaposition must be noted. On one hand is the threat of damnation: "Day of wrath"--. the eternal judgment of God Almighty. On the other is the simple price of Salvation: "Glaube"--"Believe"!

Second Movement Most of Mahler's second movements have one thing in common: they are derived from an old dance form, the LIndler, which is

. . . a national dance popular in Austria (especially Styria), Bavaria and Bohemia. It probably derives its name from the Landel, a district in the valley of the Ens, where the dance is said have had to its origin; but according to some authori- ties the word simply means "country dance," i.e. a waltz danced in a country fashion. Landler In fact the is a homely waltz and differs from the altz only in being danced more slowly. It is in I4or J time and consists of two parts of eight bars, each part being repeated two or more times. 5

Willia5 B. Squire "Landler Music " Grove's Dicti and Musicians, Vol. V (London, M , Dctin4y. 43

Of the nine symphonies under discussion five have the Landler- type second movement. They are moniesI III IV and IX, The third movements of Symphonies V, VI, and VII although resembling the Landler, are clearly scherzi, while the structure of Symphony VIII has no place for such a movement.

The first theme (Fig. 50), reminiscent of Schubert or Bruckner,6 makes use of the fourth in measures 2 and 3.

Fig. 50--:Symphony II, second movement, measures 1-4

The interval of the sixth (measures 92-93) in the sonorous cello counter-melody (Fig. 51) becomes more important in

Fig. 51--Symphony II, second movement, 92-710 01. measures

6 Newlin, Bruckner, Mahler, choenbrg, p. 155. 44

subsequent works. The fourth may be found between measures 94 and 95 and is stated directly in measure 98. These themes have no further melodic relationship to other material but should be noted for the intervals pointed out.

Third Movement The third movement is based on the Wunderhorn song, "Des Antonius von Padua Fischpredigt" ("Antonius of Padua's Fish- Sermon"). It depicts

.*. . the hapless saint, who finds preach it useless to in church because no one comes goes to to hear him, the river in despair, not to drown himself, but to preach to the fishes. The listen shining carp in attitudes of gravest attention, with mouths wide agape. Crabs, tortoises, codfish eels, and join the throng; and all aver that never was a more pleasant sermon heard. But, as soon as the sermon is over, the fish go about ness--and their busi- return to their several sins. The still crawl crabs backwards and the carp are just as greedy as before. "The sermon was clever, but they're the same as ever1' The ever-present fourth begins the movement with the interval in the tympani and continues through the cellos and bassoons. Mahler allows himself a bit of tone painting as the violins depict the swimming, shimmering fish to whom St. Anthony is speaking.

7lbid., p. 156. 45

Fig. 52--1mphony third movement, measures 12-19

The principal (reit) theme of the movement (Fig. 53) is strikingly similar to the principal theme of the second movement of SymphonyI (Fig. 21),. Also noteworthy is the presence of the fourth in measures 67 and 69 (Fig. 53). Measure 69 is a transposed inversion of measure 2, Fig. 50.

Fig. 3 II-Symhony ,third movement, measures 67-71

Reminiscences of Symphony I (Figs. 20 and 21) can still be heard in a theme (Fig. 54) which relies heavily on the fourth.

Fg. y o,nt,s-1

Fig. II,~~ihoy_third movement, eaures 212-219 46

A trumpet theme in the raised mediant key of E major outlines the fourth.

Fig. 5 5 -Symphony II, third movement, measures 271-276

Just before the coda a trumpet motive (Fig. 56) important to the finale is introduced.

Fig. 56-- ymihony I, third movement, measures 08-5l4

Fourth Movement--"Urlicht" The chorale-like fourth movement is the song "Urlicht" for alto and orchestra. It is based on a Wunderhorn text and was included in Lieder aus 'Des Knaben Wunderhorn.' Although the song is short, its dramatic-musical content is highly concentrated, pointing the way, surely, toward the twentieth century and, more specifically, Schoenberg and his followers. The principal motive of the movement (Fig. 57) may be traced to mjhy (Fig. 30), 47

7 Fig. 5 --Symphony II, fourth movement, measures 1-2

The trumpet interlude that follows (Fig. 58) contains an augmentation of the three-note motive of Fig. 44 (measures 114-115).

Fig. 58--yMpn II, fourth movement, measures 3-7

The real importance of this theme does not become apparent until the appearance of the "Aufersteh'n' theme in the next movement. Fig. 58 will be discussed in more detail at that time.

The fourth is emphasized by the alto (Fig. 59) and the harp accompaniment (Fig. 60) at the transition section in Bb minor. 48

Fig. 59--Symphony 11, fourth movement, measures 37-40*

Fig, 60-- ympYo I , fourth movement, 36-38, 111M measures

The simple chorale strain of the contralto's Urlicht (fourth movement) stands in similar psy- choloSgical and structural relationship preceding to the music as Beethoven's baritone solo "Oh Freunde, nicht diese Tone" in the It ninth Symphony. determines the emotional and the musical climate of the finale, which breaks into the FFF outcry borrowed from the third movement very iuiidh as the dissonant orchestral passage beginning at the very of Beethoven's finale obliterates the tenderness of the preceding

Fifth Movement The finale of Symphony ii is, like the finale of aahony the emotional high point of the work, It is in these last

8 Redl3ch, Brtcekner and Mahler, p . 88-189 49

movements that Mahler can survey all that has gone before and sums up the entire work. His precedent had already been established- -Beethoven's Ninth Symphony. Mahier freely acknowledged-the use of the Beethoven model,9 but "hesitated in fear that this might be interpreted as a superficial imitation of Beethoven." 1 0 Both Beethoven and Mahler (in Symphony II) used the chorus to ensure the emotional effectiveness of their respective works by virtue of sheer volume, To this basic similarity Mahler added a measure of theatricalism, a result, undoubtedly, of his conducting background.

May I be permitted to tell you about my experience with reference to the a capella chorus in the last movement? e

So far I have noticed that it is to impossible avoid a disconcerting commotion when the singers of the chorus rise, as is customary, at the moment of their entrance. Our concentration is strained to the utmost and sharpened by the trumpet fanfares, and now the mysterious sonor- ity of the human voices (which enter p2 as on the if furthest horizon) must come as a co lete surprise.--I recommend that the chorus has (Wich- been seated up to that moment) should continue to remain seated and should only be allowed to rise at the "TTI passage "Mit Fligeln, ich die mir errungen" (bass ). This has always been surprisingly effective. The influence of the Beethoven model can be seen as well in the treatment of the text, Mahler used only the first verse of an ode, "Die Auferstehung," by Friedrich Gottlieb

bid., p. 189, 1 0 Neln B _____ Newlin,'Bruckner, Mahier, Schoebeg, p. 5, t1 Ibid., p. 160. 50

Klopstock (1724-1803), in the finale. His own verse com-

prises the remainder of the text, including the "Glaube"

section already discussed. Similarly, Beethoven had departed from the Schiller "Ode to Joy" when he wrote the recitative, "0 Freunde, nicht diese T5ne,."12

Mahler evidently spent some time trying to find the most appropriate text possible for the finale when he came across the Klopstock ode. He relates

. . . I really looked through all the world's literature, even the Bible, to find the re- deeming Word--and was finally forced to express my feelings and thoughts in my own words.

. . . Just then, BUlow died, and I attended his funeral here. [in Hamburg]--The mood in which I sat there and thought of the departed one was exactly that of the work which occupied me con. stantly then.--At that moment, the chorus, near the organ, intoned the Klopstock chorale "Auf- erstehn!" It struck me like a bolt of lightning, and everything stood clear and vivid before my soul. The creator waits for this bolt of lightning; this is his "Holy Annunciation." 1 3 The finale begins in a fashion very reminiscent of the finale of Symphony I--full of fire and chaos. But the trumpet fixes a point of reference with its emphasis on the fourth in measures 14-17. A variation of Fig. 44 is a much- used motive in this movement (Fig. 61). It is followed (Fig. 62) by the diminution of an earlier motive (Fig. 56).

121bid., p. 159. 1 3 Ibid., p. 158. 51

6 Fig. 1--Symphony II, fifth movement, measures 28-29

A A,

6 2 Fig. --Symphony I, fifth movement, measures 32-34

The horn-call motive (Fig. 63) is reminiscent of similar motives in the first movement of symphony II (Fig. 46) and the fourth movement of ymphony I (Fig. 34). The motive of Fig. 63 now stands starkly alone--the call to the "Last Judgment."

Fig. 63--Symphony II, fifth movement, measures 43-47

A motive related to Fig. 42 is altered to become Fig. 64 and the chromatic motive of the first movement (Fig. 41), also altered rhythmically and transposed, is represented in Fig. 65. 52

6 Fig. 4--Symphony II, fifth movement, measures 57-58.

6 5 Fig. -- Symphony II, fifth movement, 59-60. measures

The "Dies irae" theme from the first movement (Fig. 48) is stated in Fig. 66.

A A A A A:: A

h A AA A NAA

Fig. 66--Smph2' , fifth movement, 62-690,NO measures

An anticipation of the chorale theme, "Aufersteh'n" follows immediately (Fig. 67). 53

6 Fig. 7--Symphony II, fifth movement, measures 69-73,

The horn-call occurs in an expanded version, with emphasis on the fifth rather than the fourth (Fig. 68).

Fig. phon II, fifth movement, measures 78-79

The modulation to Bb minor (measure 97) anticipates "Glaube" the motive which appears with its text later in the movement (Fig. 76). The "Dies irae" is solemnly restated in the return of the next section to Db major (measure 143). After a deafening crescendo from the per- cussion, an ominous motive, roughly outlining the fourth, introduces a brief F minor section. This motive (Fig. 69) bears a certain similarity to the principal theme of the first movement of Beethoven's Piano Sonata in C Minor

2E. 111 (Fig. 70). 54

6 9 Fig. --Symphony IIfifth movement, 194-196" measures

7 Fig, 0--Beethoven: Piano Sonata in C Minor 11, measures 20-2 2.

a martial variation of the "Dies irae" appears at the F major modulation (Fig. 71).

Fig . 71-Symphony 1, fifth movement, measures 220 -223. NNWmaue

A new theme (Fig. 72) after the modulation to Bbmajor anticipates the "Aufersteh'n" theme. 55

Tot

3l-3Fig. 7 2 -- Symphony II, fifth movement, measures

As the movement surges toward its climax a variation of Fig. 61, crucial to the development of the latter part of the movement, is stated.

7 3 Fig. --Symphony II, fifth 421-.423* ON. movement, measures

The rhythmically free section which follows prepares for the choral finale. The horn call of the Apocalypse and the trumpet fanfares are heard again. Combined with these are bird calls: "a distant nightingale, like a last trembling echo of earthly life, "1 4

1 4 Redlich, Bruckner and Mahler. -...... & p. 187. A-

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Fig. 74-Symphony II, fifth movement 464-467. measures 57

The long anticipated "Aufersteh'n" theme (Fig. 75) tells of the certainty of resurrection.

i a n* IA- 10TI I ? lw 4MT 91

4 do %I,.- 40r lqw*mmmmop

- -. SA v rr - I EK SrTIN0

Fig. 75--yphoy II, fifth movement, measures 472-475.

It is interesting to note the metamorphosis of the

"Aufersteh'n" theme from the fourth to the fifth movement,

In the motive of Fig. 57 ("0 ROschen rot") the solo line

ascends to the mediant scale degree (Db-Bb-F), The "Auf-

ersteh'n" theme begins a similar ascent but returns to

tonic rather than continuing to the mediant (Db-Ebo Db). The

instrumental interlude which follows (Fig. 58) perfectly

outlines measures 474-476 of the "Aufersteh'n" theme (Fig,

75). By taking the first note each of measures 3 and 4 of

Fig. 58 and all of the remaining notes of measures 5-7 and

sutstituting them, in order, for the notes of Fig. 75, the melody transposed results. 1 5

Fig. 68, 73, and 75 comprise the developmental material

for the remainder of the section. Finally the full "Glaube" theme with its text appears (Fig. .76).

1 5 These notes are marked with an asterisk in Fig. 58. 58

0__ G4SE*)4 t- AvL

Fig. 76-Symphony II, fifth movement, measures

The chorus repeats the "Aufersteh'n" hymn followed by an alto and soprano duet.

Pig. 7 7 -- mphonyI, fifth movement, measures

A short coda which recapitulates Fig. 73 brings the movement to a close. CHAPTER IV

SYMPHONY III

In Symphony II- (1896) Mahler employs the cyclic principle with far greater subtlety and craftsmanship than in the previous works. The obvious relationships that existed between Symphonies I and II are few, but this is not to say that instances of cyclicism in ymh III are less frequent. These relationships in Symphony III are more dis- guised and difficult to discover, but they are just as frequent as they were inS ymphonies I and II. In keeping with the practice of supplying a program for the two previous works, Mahler titled the movements of Symphony II:

1. Summer marches on. 2, What the flowers in the meadow tell me. 3. What the animals in the forest tell me. 4, What Night tells me (Mankind). S. What the morning bejis tell me (The Angels). 6. What Love tells me. A seventh movement ("What the child tells me.") was planned for the work, but Mahler either decided against such an addition 1 or incorporated what he had written as a movement of Syhho y 2W.3

1 Newlin, BrunerMaher, oenberg, p. 164. 2 Ibid. 3 Redlich, Ccit., pp. 190- 193.

59 60

First Movement The principal theme of the first movement (Fig. 78) is so similar to the principal theme of the finale of Brahms' yp I (Fig. 79A) that the resemblance is unmistakable. Both themes were probably influenced by an Austrian folk song, "Ich hab' mich ergeben" (Fig. 79B),

Fig. 7 8 -- Symphony III, first movement, measures 1-4

ITCa I44E 4 rMIcH E- - IP$ aI~Ts TrT v40MD1,

Fig. 79--A. Brahms: ghn I, fourth movement,

B. "Ich hab' mich ergeben," Das Deutsche Volkslied, p. 67, measuredT-4.

In Fig. 78 three occurrences of the interval of the fourth may be found in the first four measures alone. A trombone motive (Fig. 80) anticipates note for note an important motive in the fourth movement. Immediately 61

Ts. i

Fig. 8 0-- y ony III, first movement, measure 11-14

following the trombone motive is a horn motive (Fig. 81) also found in the fourth movement.

Fig. 8 -yp y III, first movement, measures 14-17

Two triplet figures (Fig. 82 and 83) in the brass anticipate very definitely the beginning of ymphn V (Fig. 148).

FU ,o s3

Fig . 82--Symph IyI first movement me as ure 27

7-RP".

Fig. 8 3M--Smphony III, first movement, measures 31-33 62

Another horn theme (Fig, 84) is found later in the sixth movement (Fig. 118).

Fig. 84--Symphony III, first movement, 57-600 measures -m-

A trumpet theme (Fig. 85) that occurs frequently throughout the first movement is stated just before the modulation to Bb minor.

Fig. 8 S--Symphony III, first movement, measures 83-86. AO~P

This theme is used in a varied form in the fourth movement and may be traced to the fifth movement of ymphony II (Fig. 73). The fanfare motives of the previous works are recalled in Fig. 86.

T~.00

Fig. 86--Sypho IIi, first 299-301. movement, measures A motive (Fig. 87) strikingly reminiscent of a chromatic motive in Symphony I (Fig. 11) is heard.

Fig. 87--Symphony III, first movement, measure 337

At the modulation to Gb major the opening bars of

Symphony I (Fig. 8), transposed to the new key, are hinted at (Fig. 88).

Fig. 88--Symphony III, first movement, measures 502-503.

A new theme of the solo violin (Fig. 89) contains an ornamental turn which first appeared in the fourth movement of

Symphony II (Fig. 90).

Fig. 89--Symphony III, first movement, measures 505-507. Fig. 90--Symphony II, fourth movement, measures 32-34.

The influence of the music of Richard Wagner (1813-83) was significant in Mahler's life as a composer and conductor,4 and it is quite probable that the turn, a figure abundant in Wagner's works, was an unconscious result of that influence, This figure proves very important in some of the later works, notably in the fourth movement of Symphony Ix.

It is also interesting that the two types of notation of these turns that Mahler used most frequently are found (Fig. 89) in the same theme.

The descending sequence of a motive (Fig. 91) is related to a similar non-descending, two-note motive earlier in the movement (Fig. 81).

F -,os.

Fig. 9--yMphon 1I, first movement, measure 550

4 Newlin, Bruckwr , Mahier, Schoenberg, pp. 137-138. 65

The fourth is emphasized strongly in a trumpet fanfare (Fig. 92) as variations of the introductory theme (Fig, 78) fill out the rest of the movement.

Fig. 92-- ymphony S74-5760 I, first movement, measures

Second Movement Again, the fourth begins this LJAndler movement in the principal theme of the oboe (Fig. 93).

Oe.

Fig. 9 3 --Symphoin III, second movement, measures 1-4

A superposition of simple and compound rhythms occurs in the harp and violin (Fig. 94). Like the turn mentioned above, the superposition and juxtaposition of rhythms similar to those of Fig. 94 are noteworthy because they become more and more frequent in Mahler's later works. 66

Fig. 9 4--Symphony II, second movement, measure 20

At the change of meter to the principal theme of the second movement of Symphony I (Fig. 50) is recalled by a new theme of the flute and viola (Fig. 95).

I I

Fig. 95--y Ill, second movement, 49-510lOM"O measures

The section soon gives way to a likewise brief section. The new theme here (Fig. 96) is a variation of a motive of a theme in SyphonyI (Fig. 25).

Fig. 96 y hoY I, second movement, 70-710'-"mw~ measures 67

Returning to compound meter- again ( this time), a theme related to the illustration of St. Anthony's swimming fish

in symphony 11 (Fig. 52) is transformed to become Fig. 97,

Fig. 97--symphony III, second 79-8o.' N movement, measures

Measure 80 of this example contains a condensed version of

the descending sequence that appeared in the first movement (Fig. 91). The repeated staccato eighths that accompany

this passage (Fig. 98) anticipate a similar accompanimental figure in the fifth movement although their appearance there is in simple meter.

9 Fig. 8--Syiphony II, second movement, measure 79 68

After a reprise of the and 2 sections, a recapitulation and variation of the opening section, completing the tripartite form, contains a new counter-melody (Fig. 99).

The intervals of the sixth and fourth are prominent here.

Fig. 99--Symphony III, second movement, measures 254-258.

Third Movement

The third movement is partly based on the Wunderhorn song, "Abl5sung im Sommer," The vocal solo of the work is replaced by instruments. The song appeared originally in

Lieder und Gesange aus der JueVndzet, Vol. III and is presented in this movement with only a few alterations.5

The fourth appears at the beginning of the movement as it has in the two previous ones. Here it plays an accompanimental role (Fig. 100).

5 Newlin, Bruckner, Mahler, Schoenberg, p. 167. 69

Fig. lO-yllhonyI, third movement, measures 1-2.

A variation of the cuckoo-call motive of mphy I (Fig. 10) introduces the principal theme (Fig. 101). Again the fourth is prominent in the cuckoo call and is filled in by the principal theme in the piccolo. A transposed rhythmic

variation of the staccato repeated-note motive of Fig. 98

joins the principal theme as the latter reiterates the

descending sequence of Fig. 91 and 97.

An interesting comparison of measure 6, Fig. 101 and

measure 2, Fig. 96 may be made. The similarity of the first beats of these respective measures is clear. The rhythm is the same although the key of Fig. 101 is C major-minor (the tonality is quite ambiguous at the beginning) rather than the F# minor of the earlier example. The second beat of measure 6, Fig. 101 is a retrograde of the second beat of measure 2, Fig. 96.

After a return to C major (measure 176) and a modulation to the sub-dominant (measure 256), the posthorn plays a new theme (Fig. 102) similar to the fanfares and horn calls but much more lyric. Here, too, the fourth is abundant, 70

MMIN" I -1

n A. I* fq 6 Vc

oowo"Oolo- A AO all 2 #F W 01 -W & A Alk

r A -4!!!2 I I F I -Me

--V a- 'A k JLL-W

/00#-07 :t 5

Fig. 101- -Symphony II, third movement, measures 3 -il . _ __ 71

PonT el H

Fig. lO2--Symphony III, third movement, measures 256-263.

Near the end of the posthorn section a motive of the French horns (Fig. 103) has a direct relationship to a trumpet theme of Syrmphony II (Fig . 55) .

Fig. 103-- symphony III, third movement, measures 296-298.

The superposition of rhythms which was noted in the second movement (Fig. 94) occurs again after the modulation to tonic (Fig,104), 72

49. 43

Fig. 104--ymphony III, third movement, measures 433-434.

A non-sequencing version of the sixteenth-eighth motive

of Fig. 91 is used again (Fig. 105) before the recapitula-

tion of the posthorn theme.

Fig. 105--Symphony III, third movement, measure 456

A coda that begins at the tonic return from the preceding

subdominant section in F major (measure 557) ends the move-

ment amid an abundance of fourths.

Fourth Movement

The fourth movement is a song for alto and orchestra, paralleling the corresponding movement of Syp- y .II* The text here is Nietzsche's "Night-song" from Also sprach

Zarathustra. The deep spiritual belief reflected in "Urlicht" 73 is not present in "Night-song." It tells, rather, of the inevitability of Man's despair. "Woe speaks: Hence! For joy wants all eternity, wants deep profound eternity.06 The opening motive (Fig. 106) is almost identical to a motive at the beginning of the first movement (Fig. 81).

'Fig. 106--Symphony III, fourth movement, measures 1-3

After a repetition and extension of Fig. 106, a motive that preceded Fig. 81 in the first movement (Fig. 80) now follows (Fig. 107).

movement, measures 8-10.Fig. 107--Symphony III, fourth

This motive is also related to the "Glaube" motive of Sym- phony II(Fig. 47). Further parallels between "Urlicht" and "Night-song" may be drawn by comparing the entrance of the respective solos (Fig. 57 and 108).

6 Neville Cardus, Gustav Mahler (London, 1965), p. 105. 74

0 rfEM~CCH

Fig. 108--Symphony III, fourth movement, measures 11-l2.

The interval of the fourth, which has characterized most of the bird calls thus far, is contracted in Fig. 109 to a minor third. As in earlier bird calls, specifically Fig. 10, Symphony Iand Fig. 74, Symphony I, the performer is directed to play "Wie eine Naturlaut" ("As a sound of Nature").

0().1 A

ME w - - -APS & Aim

Fig. 109--Symphony III, fourth movement, measures 32-33. ""

Reminiscences of Fig. 85 pervade a motive (Fig. 110) which has undergone many transformations throughout this movement, 75

Fig. 1ll--Symphony III, fourth movement, measures 106-108.

"Night-song" ends as it began: quietly, on the same two- note motive.

Fifth Movement

The Wunderhorn poem, "Es sungen drei Engel," is the text of this movement. It is sung by alto solo and a chorus of women augmented by a choir of boys who imitate the sounds of bells.

After a two-bar introduction by the boy-choir, the principal orchestral theme begins with the fourth (Fig. 111).

Fig. Ill--Symphony III, fifth movement, measures 3-6

A motive in the second soprano line (Fig. 112) anticipates the principal theme of the sixth movement, 76

Fig. 112--Symphony III, fifth movement, measures 20-21.

At the entrance of the alto solo theme (Fig. 113) reminis-

cent of Fig. 111, the staccato-eighth motive of Fig. 98 returns (Fig. 114).

Fig. 113--Symphony III, fifth movement measures 38-42,

Fig. 114--Syrmphony III, fifth movement, measure 39

A theme in the alto solo similar to Fig. 112 is used as a short refrain in the fourth movement of Symphohy IV (Fig. 148)0 77

V1 0 0 1CI449 V - 1 eP, -eMTr= DIE ZtWN GE Or

Fig. 115--Symphony I.H, fifth movement, measures 44-48.

There are numerous other themes important to this movement

alone which cannot be substantially related to previous or

subsequent themes, These are not enumerated here but com-

prise the developmental material for much of the movement.

Sixth Movement

The thematic material of the sixth movement is limited

to three basic themes. The first of these (Fig. 116) is

related to Fig. 112 and 115 of the fifth movement.

Fig. 116--y1y , sixth movement, measures 1-4

A secondary theme of this first thematic group (Fig. 117) contains an augmented version of a turn similar to that of Fig. 85, 78

Fig. 1l7--Symphony III, sixth movement, measures 8-10.

Another theme (Fig. 118) at the modulation to the mediant region of F# minor has no direct thematic relationship to previous material but does contain an inversion of the familiar fourth and an outline of i.t.

Fig. 118--Symphony III, sixth movement, measures 41-45.

A varied augmentation of a theme of the first movement

(Fig. 84) is the only really direct quotation from another movement in the sixth movement (Fig. 119), although even it is transposed from the original.

Fig. 119-Symphony III, sixth movement, measures 182-190. 79

The remainder of the movement consists of the variation and interweaving of the three basic themes of the movement. The Ada constitutes a moving, lyric expression of love. The finale of ymphoy IX, also an adagio, is the only other slow last movement to be found in the nine symphonies under consideration. The uniqueness of this circumstance is all the more noteworthy because these movements are, perhaps, Mahler's most emotional compositions. CHAPTER V

SYMPHONY IV

)ym2honyIV (1899-1900) completes the cycle of the first four Wunderhorn symphonies.

. .there is every indication that he [Mahlerj felt each of these symphonies to be the logical continuation of its predecessor. When we add to this literary evidence the testimony of the music itself--the hints of thematic similarity between the First and Second Symphonies, the partial parallelism of certain movements of the Third and Fourth--there can be no doubt that the unification of these four works under but a single heading is justified. 1

As in Symphony III, the cyclic relationships among movements and with earlier works are much more refined than the relationships which existed between Symphonies I and II. The strongest link with a predecessor is that the entire symphony is an outgrowth of the unused seventh movement of Symphony 111.2 This movement appears as the fourth in Symphony IV The facts that (1) it is a song based on a poem from Des Knaben Wunderhorn and (2) it contains a motive anticipated in the fifth movement of Symphony III make the bond with the previous symphony even stronger.

1 Newlin, Bruckner, Mahler, Schoenberg, p. 170, 2 Redlich, Bruckner and iMahler, p. 193.

80 81

Formerly Mahler had quoted themes and motives in full and had developed all their creative possibilities. The method of Symphony IV, however, is one of partial statement of themes: breaking them down into short motives which may be combined with other motives, inverted, and retrograded. Perhaps the basic difference between m IV and its predecessors is its character, The spirit of the former symphonies was very serious, at times almost ponderous; that of Symphony IV is one of happiness and serenity. This change of character was prompted partially by Mahler's level of self-assuredness, reached after three monumental symphonies.3

First Movement The opening three measures of this movement (Fig. 120) are important in several respects. The staccato eighths in flutes 1 and 2 combined with the sixteenth-and-eighth-note

motive in flutes 3 and 4 appear in various guises in each of the other movements. The staccato repeated eighths were found in Symphony III in both compound and simple meter (Fig. 98 and 114). The motive of the third and fourth flutes in the second measure may be traced to Fig. 91 and 101 of Symphony III., while the sixteenth-note motive of the clarinet bears a resemblance to similar "running" motives in the second movements of the preceding work (Fig. 97). An ascending four-note pattern outlining the fourth is found in

3 Newlin , Bruckier, Iahhe'r, Schaonbere p. 173. 82

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11(3 I0 r m .~ 0 16v--i V & IV 10 20 iF it f rIF 0 m -r 1 r I ir -Ir a.1 rm mI 0 Im m 44-7L:- I i I I I a 0 - TAIA, 1 -1

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Fig. 120--Symph ony IV, first movement, measures 1-7 83

measure three introducing a sentimental theme, almost a parody of eighteenth century affectation. The first measure of this principal theme contains two interesting elements, The first is the interval of the sixth on the first beat of measure 4. The other is the turn which was introduced in Symphony II (Fig. 90) and appeared in Symphony II (Fig, 89 and 117).

The dotted-eighth-sixteenth motive occuring initially in measure eight may be found in various forms in the first movement of ym III (Fig. 93 and 96). The principal theme of the second thematic group (Fig. 121) is found in the cello,

Fig. 121--ymphon L, first movement, measures 37-39

A motive of a new theme (Fig. 122, first beat) introduces the second movement (Fig. 127),

0 i.

Fig, l22Smpon I, first movement, measures S8-5S9 84

A variation of the staccato-eighth motive in Fig. 120 is strongly related rhythmically to a motive in the third movement of Symphony III (Fig, 104).

2 3 Fig* 1 --Symphony IV, first movement, 104-050. measures

At the modulation to the supertonic key of A major, a new theme (Fig. 125) which uses a variation of the eighth- sixteenth motive of measure 6, Fig. 120 , is heard,

2 Fig. 1 4--SymphonyIV, first 126-29#,ghn movement, measures

A trumpet theme (Fig. 125) containing a sixth adds emphasis to one of the emotional peaks of the movement,

Fig, 125--Symphony V, first 221-2215 movement, measures 85

A fanfare similar to one in Symphony III (Fig. 83) is found in this movement as Fig. 126,

232-3Fig, 126--mphony.V first movement, measures

Following the DurchfUhrung section, the recapitulation (measure 239-540) and coda (measure 340-49) complete the classical form.

Second Movement Like all of the preceding symphonies, symphony IV contains a Laindler second movement. The movement begins with a transposed version of the first beat of Fig. 122, a secondary theme of the first movement.

Fig, 12 7 -- Symphony IV, second movement, measures 1-2

The staccato eighths of the previous movement now appear as staccato sixteenths in measure three. The eighth-note trills followed by a sixteenth (Fig. 128) anticipate a 86

similar figure in the contrasting section of the third movement (Fig, 141),

Fig. 1 2 8--mphony IV, second movement, measure 4

Another anticipation of the same section of the third movement (Fig. 141) is an oboe motive (Fig. 129).

Fig 19-&m -1I

79-80Fig. 129 Ph , second movement, measures

A series of similar trumpet motives (Fig, 130) anticipates a motive at the beginning of the third movement of Sym V (Fig. 165).

3 Fig. 1 0--ISymphoy V, second 200-03W movement, measures 87

A motive in the French horn (Fig. 131) is, by virtue of the rhythm and interval of the sixth, closely related to a motive of the second movement of Symphony I (Fig. 132).

Fig. l31--SymphonY IV, second movement, measures

175-76Fig. 1 3 2 - Rhony second movement, measures

The rest of the movement's development centers around only a few themes, demonstrating, as in the last movement of Symphony 111, Mahler's inventive genius for variation and combination of themes and motives.

Third Movement The principal theme is introduced by the viola and taken over by the cello in measure five (Fig. 133), 88

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Fig. 133--Symphony , third movement, measures 1-8

The second violin presents a countermelody to the principal theme in Fig. 134.

Fig. 4 13 --Symphony , third movement, measures 17-20, ~hn

The ascending eighth-note figure in the second measure of the above example is directly related to the ascending eighths that begin the principal theme of the first movement (Fig. 120). The motive that appeared in Symphony III as Fig. 115 in anticipation of the refrain motive of the fourth movement of Symphony IV (Fig. 150) is found transposed in this movement as well (Fig. 135). 89

Fig, 135-Sy-Mphony I, third movement, measures 31-32. WW maue

The similarity of two related themes from symphony II (Fig. 44 and 73) to a bassoon theme (Fig. 136) is obvious, even though neither of the earlier examples is quoted exactly here,

Fig. 136--S YmphonyI V, third movement, 45-47, measures

The interval of the seventh, which has not been motivically important in this symphony till now, is used most effectively in a horn motive (Fig. 137).

Fig. 137--yMph IV, third movement, measure 75 90

The staccato eighths of the beginning of the first movement (Fig. 120) are found for the first time in this movement in the bassoons (Fig. 138).

%4ss. 121

Fig. 138--SymponI , third movement, measure 81

A variation of the principal theme (Fig. 133) in the short G major andante section (Fig. 139) is related to Fig. 121 of the first movement.

3 9 Fig, 1 -- Symphony IV, third movement, measures 222 -25.

The contrasting 9 section contains reminiscences of the Lindler second movement. A variation of the principal theme is found in this section, also. Again the repeated-note motive of Fig. 121 is present. 91

238-39Fig. 140--ymphonyIthird movement, measures

Also in the 8 section two reminiscences of the second movement (Fig. 128 and 129) occur simultaneously in the clarinet and violin.

Fig. 141---Smh jU., third movement, measure 247

The climactic major E section relies heavily on the fourth to intensify its effect (Fig. 142).

Fig. 142--Symphony IV, third movement, measure 318 92

A variation of the trumpet motive (Fig. 125) which occured at a similar climactic point in the first movement is stated (Fig. 143).

Fig, 143--mphony IV, third movement, measures

The conclusion of the movement employs a variation of Fig. 134 and 136.

4 4 Fig. 1 --lymphn , third movement, 326-~27.,2oi V measures

Fourth Movement It is appropriate that the last of the so-called Wunder- horn symphonies, Sym I-, end with a setting of a Wunderhorn text. The poem here is "Wir geniessen die himmlischen Freuden" ("We enjoy the heavenly pleasures"). It "gives an amusing and tender picture of the musical and cul- inary pleasures to be found in Heaven,"A This movement was

4 Newlin Bruckner, Mahler, Schoenber, p 177, 93

originally planned for Symphony III but became a stimulus for much of symphony IV,

The opening theme (Fig. 145) contains several interesting elements,

Fig. 145--Symphony IV, fourth movement, measures 1-2

The very beginning notes of the clarinet appear as a transposed retrograde at the beginning of the third movement of Symphony V (Fig, 166). The remainder of the theme is a variation of a theme from the first movement (Fig. 124) with the addition of the grace notes previously associated with the staccato-eighth figure of Fig. 120. As in the other movements, the dotted-eighth-sixteenth rhythm plays an important role, Its repeated use in measure 13 is an instance of this (Fig. 146).

5 Redlich, Bruckner and Mahler . 190-930 94

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4 Fig. 1 6--Symrphony IV, fourth movement measures 12-14. --

Throughout almost the entire movement variations of the running sixteenths of the clarinet in Fig. 120 dart in and out of the woodwinds and strings (Fig. 147),

Fig. 4 1 7--Symphony IV, fourth movement, measure 21

The refrain anticipated in the fifth movement of y- phony III (Fig. 115) is stated at the end of the first stanza of the text (Fig. 148), 95

35-38Fig. 4 8 -Symphony IV, fourth movement, measures

The staccato eighths and running sixteenths of the first movement dominate the next section beginning in measure 40. At the end of the stanza a variation of the refrain appears (measures 72-74). This is basically the pattern for the remainder of the movement: a coinciding poetic and musical stanza followed by the refrain, a modified strophic song. In view of the importance of the interval of the sixth in the symphonies, the modulation before the end of the movement to the major submediant key of E from the tonic of G major has added significance and should, therefore, be noted, CHAPTER VI

SYMPHONY V

Symphony V (1901-02) is considered a turning point in Mahler's symphonic writing. The work is not a Wunderhorn symphony,' but it does contain a direct quotation from a Wunderhorn song in the last movement and there are thematic reminiscences of previous works, particularly Symphony IV, throughout.

It is interesting to note that the work full of the most humor and good spirits, Symphony IV, was written during a period of great emotional strain, while Symphony yV, a work progressing ponderously from funereal darkness to heavenly 2 joy, was completed after his marriage to Alma Schlindler (9 March 1902) and in anticipation of the birth of their first child, Maria, on 3 November 1902.

First Movement The movement begins with a trumpet fanfare (Fig. 149) closely related to Fig. 82 and 83 in Sypphony III and Fig. 126 in Symphony IV,

Redlich, Bruckner Jmahl., p. 198. 2Newlin, Brucknerahler, Schoenberg, pp. 174 and 178.

96 97

4I 39

-- -9 TatA. 77

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Fig. 149--Symphony V, first movement, measures 1-14

The similarity of the first three measures of this theme to the opening fanfare of Mendelssohn's "Funeral March" in Songs without Words(Fig 150) is also noteworthy.

Fig. 150--Mendelssohn: "Funeral March, Op. 62, Nos 3, .Songs without Words, measures 1-2.

Also in Fig. 148 is a double-dotted rhythm reminiscent of the dotted-eighth-sixteenth rhythms in SymphonyIV (Fig, 124 and 146). 98 A French horn motive from Symphony IV (Fig. 137) is found, again in the horn, in a varied and extended form (Fig. 151).

5 Fig. 1 1--Symphony V, first movement, 24-27, measures

The Trauermarsch theme (Fig. 152) contains a variation of the repeated-note motive of Symphony IV (Fig. 121 and 124) in the fifth measure.

Fig. 1 5 2 -- SymphonyV, first movement, 34-42, measures

A new theme is found at the modulation to the enharmonic equivalent of the dominant (G#, Ab). A portion of that theme (Fig. 155) recurs in variation in the second movement (Fig. 163), 99

5 Fig. 1 3--Symphony V, first movement, 120-28, measures

The interval of the fourth which has had important appearances in all of the works thus far serves as an accompaniment to a new trumpet theme at the modulation to Bb minor,

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(V"ftso) 0 ol 0

Fig. 154--Symphny, first movement, 155 -59's measures

A theme of the first violin (Fig. 155) contains an inversion of the turn prominent in Symphony IIIFig. 89), 100

Fig. 155--Symphony V, first movement, measures 306-09.

While the antecedent phrase of the theme is stated in the

violin (Fig. 155), the consequent phrase in the flute

(Fig. 156) is very similar to a motive in "Nun will die Sonn'

so hell aufgeh'n," the first song of the Kindertotenlieder (Fig. 157).

J.- -'IL IF I)I P11

Fig. 156--ym hn V, first movement, measures 312-19

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Fig, 157--"Nun will die Sonn' so hell aufgeh'n," Kindertotenlieder, measures 13-15. 101

The countermelody in the horn (Fig. 158) that may be found in the second movement as well (Fig. 166) is stated after the modulation to the A minor submediant region (measure 323).

5 8 Fig. 1 -- yphony V, first movement, 337-390 measures

A brief coda (measures 376-415) recapitulates fragments of the opening fanfare theme (Fig. 149).

Second Movement The opening motive of the movement (Fig. 159) is noteworthy because of its varied appearance later in the third movement of Symphony IX (Fig. 297).

e3%%N. )VSC . 8 $.sso. BAS("~4o3

Fig. 1 5 9 -- SYmphon V, second movement, measure 1

Staccato eighths similar to those of Symphony III (Fig. 114) and Symphony IV (Fig. 138) may be found. 102

TRP. 2

Fig. 1 6 0 -- SymphonV, second movement, measures 3-4

Single-dotted figures similar to the double-dotted motive of the first movement (Fig. 149) occur in this movement (Fig. 161),

16-18Fig, 6 1--Symphony , second movement, measures

A theme in the F minor submediant region (Fig. 162) contains intervals of the fourth and sixth as well as an inversion of the turn related to the one found in the first movement (Fig. 153),

F7g V seondmovement 78-81. Rol.. cpmaue measures 103

The countermelody of this theme (Fig. 163) presents the turn uninverted.

6 Fig. 1 3 -- Symphony V, second 87-89. movement, measures

A motive in the horn is very closely related to a motive in Symphony IV (Fig. 143).

______7 7 , 7

6 4 Fig. 1 -- Symphony , second 169-71, movement, measures

The variation of a part of a theme in the first movement (Fig. 153) is found in the bassoon and cello.

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Fig. 1 6 5 -- Symphony V, 269-730 second movement, measures 104

A slightly varied version of a horn motive from the first movement (Fig. 158) appears in Fig. 166,

6 Fig. 1 6--Symphony V. second movement, measures 402-03,

A chorale-like theme which appears later in the fifth movement (Fig. 185) is stated near the end of the first movement (Fig. 167).

Fig. 167--ymhony V, second movement, measures 501-18,

As in the first movement, a brief coda (measures 557-76) recapitulates the opening motives of the movement. 105

Third Movement Although this triple-meter movement resembles the Lndler movements of the previous works, it is clearly marked Scherzo. Some of the Landler characteristics are present, but the dance-like character of the trio (measures 129-66) is much more sophisticated than in the Landler movement, the homespun quality of which is, by definition, the essence of these country dances. Here, again, Mahler breaks with the tradition established in the earlier works. Symphony V is the first symphony that does not contain a Liindler movement. The movement begins with a broken triad containing the interval of the sixth (Fig. 168).

14m.

Fig. 16 8--Symphony V third movement, measure 1

The staccato repeated-note figure which was emphasized so much in Symphony IV_ (Fig. 120 and 138) is shortened and used most effectively in a woodwind passage (Fig. 169). 1 U6

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V1111 OFgI 1

iii

Fig. 169--Symphony V, third movement, measures 36-40.

The theme of the trio (Fig. 170) contains several

instances of the interval of the fourth. 107

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Fig. 170--yphoy V, third movement, measures 129-36,

The remainder of the movement consists of repetition and variation of themes from both sections.

Fourth Movement An ascending motive outlining the fourth and reminiscent of the principal theme of the first movement of Sym- phny 1V (Fig. 120) and the beginning of the song "Nun seh' ich wohl, warum so dunkle Flammen," the second of the Kindertotenlieder (Fig. 172), introduces the principal theme in the first violin CFig. 171).

7 Fig, 1 1--Symphony V, fourth movement, measures 2-6 108

Fig. 172--"Nun seh' ich wohl," Kindertotenlieder measures 1-2.

Afterwards the interval of the fourth occurs in the third measure and is filled-in in measures four and five (Fig. 171). A motive in the second violin recalls the turns of previous works.

Fig. 173--Symphony V, fourth movement, measure 33

The seventh is emphasized in the last two measures of Fig, 174 which are, despite the seventh, reminiscent of Fig, 61 in Symphony II. 109

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Fig. 174--Symphony V, fourth movement, measures 65-69,

Quotations from this section also appear in the fifth movement (Fig. 183), A return to the tonic region (F major) and the thematic material at the beginning complete this short ternary movement,

Fifth Movement Almost from the outset the interval of the fourth is blatantly presented (Fig. 175), followed by a varied quotation (Fig. 176) from the Wunderhorn song "Lob des hohen Verstandes" (Fig. 177).

7 5 Fig. 1 -- Symphony V, fifth movement, measures 3-4 110

Fig.l76-Smhon-- V fifth movement# measures 4-6

A A A Os.

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Fig. 177--"Lob des hohen Verstandes," Des Knaben Wunderhorn, measures 1-3.

It should be noted that Fig. 176 begins with the fourth and ends with a filled-in fourth, a rhythmic alteration of the oboe and clarinet parts in the second and third measures of the song. Another motive (Fig. 178) contains the fourth in each of its first two measures and the sixth in the third measure.

Fig. 1 7 8--Symphony V, fifth movement, measures 13-16 ill

A clarinet theme that is also important to the development of the movement follows (Fig, 179)# The last measure of this example is an almost exact transposition of the last measure of Fig. 176.

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Fig. 179-- ymph V, fifth movement, 16-190 measures

The principal theme of the finale is similar to the theme of the finale of Symhn III (Fig. 116). In both examples the interval of the fourth is filled-in.

Fig. 180--Symphony V, fifth movement, 24-27. measures

An important motive in the horn is built on both the fourth and Fig. 176. 112

Fig. 181--Symphony V, fifth movement, 94-97. measures

Another horn theme (Fig, 182) contains the fourth, the four- note ascending motive of Fig, 171, and the interval of the seventh,

8 Fig. 1 2 -- Symphony V, fifth 169-760 movement, measures

Reminiscences of Fig. 174 in the fourth movement are abundant. The ascending four-note groups of that example are fragmented, extended and augmented along with those measures containing the seventh and the ascending eighths which follow them. A comparison of Fig. 174 and 183 will reveal these differences and emphasize once again Mahler's genius for variation. 113

Fig. 183--Symphony V, fifth movement, measures 2l4-26.

Just as the symphony began with a trumpet fanfare, another is presented as the work draws to a conclusion (Fig. 184).

Fig. l84--Symphony V, fifth movement, measures 7O 3-46 114

A variation of the chorale in the second movement (Fig. 167) occurs here as well,

Fig. 18S--aSmphony V, fifth movement, 730-47, measures CHAPTER VII

SYMPHONY VI

ymphonyVI (1903-1904) is, like Symphony V, a work expressing the most doleful emotions even though it was written at a time of great happiness for Mahler and his wife, for their second child, Anna, was born in the summer of 1904. It was during this time also that Mahler set to music five poems by Friedrich Rickert(1788-1866), These were the Kindertotenlieder, the subject of which, as the title states, was the deaths of children. There are two ironies connected with the Kindertotenlieder and Symphony VI. The first is that the subject matter of the Kinderto- tenlieder would become a sad fact in Mahler's life with the death of his first child, Maria, in 1907; the other, * . .that Mahler's happiest work, the Fourth Symphony, should have been composed contented in a dis- mood, whereas the Sixth, symphonies of all his the most encumbered with all outward appurtenances the of tragedy (it is the only one which ends in a minor key) was written at a time when the composer fully conscious was "cheerful, of his great work, and flour- ishing like the green bay tree." The four movements of Sym y VI were originally arranged in the following order: Allegro, Andante, Scherzo,

1 Newlin, Bruckner, Mahler, Schoenberg, p. 182.

115 116 Finale, Later, Mahler decided to reverse the order of the middle movements.

First Movement The short introduction to the work begins with a repeated eighth-note rhythm somewhat reminiscent of the beginning of Symphony I (Fig. 120).

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Fig. 186--Symphony VI, first movement, measure 1

Joining the eighth-note foundation is a motive (Fig. 187) that emphasizes the dotted-eighth-sixteenth rhythm.

Fig. 1 8 7 -- Symphony VI, first movement, measures 2-3

The principal theme of the movement is stated at the double bar, L6 l17

Fig. 188--Symphony VI, first movement measures 6-9

An important element of this theme is the octave skip in the first measure. This interval occurs frequently in subsequent movements. Also important here is the fourth in the first half of measure three and the sixth between measures three and four. An oboe motive (Fig. 189) continues the dotted-eighth- sixteenth rhythm and emphasizes the intervals of the diminished fifth and minor seventh,

1 8 9 Fig. -- symphonyVI, first movement, 14-16, -- mauemeasures

A descending violin run (Fig. 190) is found later in the fourth movement (Fig. 228).

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Fig. 19 0 --SymphonXy VI first movement, measure 42 118

An arpeggiated motive (Fig. 191) plays a major role in each movement except the third.

9 Fig. 1 1--Symphony V, first movement, measure 46

The major-minor motive (Fig. 192) that pervades both Sy- phonies VI and VII is often, though not always, stated in Symphony VI with an accompanying tympani motive.

9 2 Fig. 1 --Symphony VI, first movement, 59-60, measures

This motive is frequently referred to as the "motto"2 of the work because of its numerous appearances but more especially because of the conciseness with which the mood of impending tragedy is portrayed.

2 Newlin, Bruckner, Mahler, Schoenber p. 183. 119

The chorale, an element of symphonies II, III, and V contains the fourth in the second bar of the melody and the major-minor motto in the fourth bar (Fig. 193).

9 Fig. 1 3--Symphony Vj, first movement, 61-64, is oeet measures

A new theme in the submediant region (F major) is related to Fig. 191. The last two beats of the first bar are a varied retrograde inversion of the first four notes of Fig. 191. Rather than the Eb major-major seventh in third inversion outlined in the earlier example, however, an E half-diminished seventh chord is outlined on beats 3 and 4 of the second measure of Fig. 194.

9 Fig. 1 4--Symphony VI, first 76-78w,. movement, measures 120

The first four notes of Fig. 194 form the four-note

ascending motive already seen in Symphony IV (Fig. 120) which fills in the fourth.

A motive that elaborates on a trilled motive in Sa- phony IV (Fig, 128) is found in both the first and second movements (Fig. 195 and 205).

Fig. 195--Symphony VI, first movement, measure 129

A flute, clarinet, and violin theme (Fig. 96) is interest-

ing because its first measure is quoted exactly in the fourth movement (Fig. 226).

9 Fig. 1 6--Symphony VI, first movement, measures 157-59.

The use of cowbells was an innovation in symphonic writing--so much so in fact that Mahler had to devise a 121

method of notation for them. 3 They are used at several places between measures 198 and 248 in this movement and appear in the third and fourth movements as well., The prominent use of the fourth is combined with the cowbells in Fig. 197.

wow., rlSELLS V V V

9 Fig. 1 7--Symphony VI, first movement, measures 201-039

A turn similar to those found in Symphonies II-V appears in a theme (Fig. 198) at the Eb major section,

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9 Fig. 1 8 -- Symphony VI, first movement, 228-.29* measures

At the modulation to the major supertonic key (B) the juxtaposition of simple and compound rhythms, an element that

3 Newlin, Bruckner, Mahler, Schoenberg p. 182. 122

appeared earlier in ahoy III (Fig. 94 and 104), is found (Fig. 199).

1 9 9 Fig. -- Symphony VI, first movement, measures 251-52.

There is a direct relationship between a violin motive (Fig.

200) and two motives in Symphony V (Fig. 172 and 181). There is one major difference, however. The leap between the second and third eighth notes in each group is an octave in Fig. 200 rather than the fourth of the previous examples.

Fig. 200--Symphony VI first movement, measures 270-71.

A motive which plays an important role in the Finale (Fig. 223) makes a brief appearance near the end of the movement (Fig. 201). The wide leaps and dotted rhythms suggest a relationship to the principal theme of the movement (Fig. 188), 123

2 Fig, 01--ymphony VI, first movement, measures 388-900

As in many of Mahler's "outside" movements--the first

and last of a symphony--a short coda is used. Codas are

not restricted to outside movements, but seem to predomin- ate in those positions. The first movement of Symphony V

carries on the tradition with a coda (measures 474-81) which recapitulates, in A major, the principal theme of the second thematic group (Fig, 194).

Second Movement

The A minor Scherzo begins with a repeated eighth-note figure (Fig. 202) similar to the opening of the first movement (Fig. 186).

Fig. 202--Symphony V, second movement, measures 1-2

A motive, the rhythm and melody of which are easily recog- nizable as coming from Fig. 187, follows (Fig. 203). 124

Fig. 203--Syrphony VI second movement, measures 2-3

The skyrocket motive derived from Fig. 194 in the first movement is found in Fig. 204, followed by reminiscences of another motive from the first movement (Fig, 195).

Fig. 204--Symphony I, second movement, measures 11-12,

Fig. 205--Symphony VI, second movement, measures 16-17,

The major-minor motto may be found frequently throughout the movement in measures 87-89, measures 261-62, and measures 420 -22, It is such a simple motive and so easily remembered that examples of each recurrence will not be given. 125

The principal theme of the trio (Fig. 206) is in the submediant region, anticipated in the Scherzo in measures 41-61. It contains the staccato repeated eighths found in Symphonies V and V (Fig. 120 and 158, respectively).

Oti

2 0 6 Fig. --Symphony _,secondmovement, 98-103, esue

Throughout the movement the fourth is emphasized, as in the instance by the oboe and horn (joined later by all of the winds):

Fig. 20 7 -- Symphony VI, second movement, measure 111

A recapitulation and further development of the Scherzo themes complete the scherzo-trio and bring the movement to a close, 126

Third Movement The principal Eb major theme of the Andante movement contains the intervals of the sixth (measure one) and fourth (measure two), and the turn (measure three),

Fig. 20 8--Symphony VI, third movement, measures 1-4

A horn theme (Fig. 209) after the change of key to E minor contains, in its last measure, a motive reminiscent of a similar measure of an oboe theme in the first movement (Fig. 189, measure 2). The intervals in the earlier example were a diminished fifth followed by a minor seventh. Here a perfect fifth is followed by an octave, an interval that is perhaps as important to Symphony VI as the fourth was to Symphony I.

60-63Fig. third movement, measures 127

A violin countermelody in the same section emphasizes the octave as well (Fig. 210),

2 Fig. 10--Symphony VI, third 65-67, movement, measures

The cowbells of the first movement return between measures 86 and 94 followed by an excellent example of Mahler's superposition of simple and compound rhythms (Fig. 211).

Fig. 211--Sympiony VI, third movement, 95-96. measures

A countermelody of the flute and violin (Fig. 212) is similar to a violin countermelody in the third movement of Symhony IV (Fig. 134). 128

2 2 Fig. 1 --jSymphony VI, third movement, 100 -03, measures

The cowbells appear once again near the end of the movement (measures 154-59) before a return to the tonic Eb ends the movement.

Fourth Movement The opening theme of the movement contains the important interval of the octave rising (rather than its original falling form in Fig. 188 of the first movement),

Fig. 2l3--Symphony V, fourth movement, measures 348

The motto, with its tympani accompaniment, is stated after the brief introduction (measures 1-8). 129

T1PT.TRB.

I It I I f2 ' I I a I ou Li MAft-f7 -I -~ -4 N~ 3-' 0 ~ I

......

000

HIJI~iI*j-21' p

9 -1 1 Figs 214--Smhony VI, fourth movement, measures

A simultaneous theme contains the filled-in fourth (Fig. 215).

V&. A

,.Jk /

9 -1 1 ,Fig. 215--Symphony VI_, fourth movement, measures

The octave is again important in a theme (Fig. 216) derived from the principal theme of the first movement (Fig. 188).

2 6 Fig. --SymphonyX VI, fourth movement, measures 16-19 130

An arpeggiated figure similar to the one found in the second movement (Fig. 204), which was in turn allied to Fig. 191 in the first movement, occurs in the Finale (Fig. 217),

Ifourth movement,19-20Fi measures 217 --Symphony L

Emphasis of the octave continues throughout the movement. Another example of this is a short bass clarinet motive (Fig. 218),

Fig. 218--ISymhyVI, fourth movement, measure 34

A horn theme at the same place (Fig. 219) contains filled- in fourths. 131

Fig. 219--Symphony VI, fourth movement, measures 33-39.

A motive of the first movement (Fig. 201) is found inverted and in diminution. It emphasizes the octave and dotted rhythms (Fig. 220),

Fig. 220--Symphony VI, fourth movement, 42-43."I measures

Another chorale section similar to that of the first movement (Fig, 193) is found in the winds at the return to the tonic region (A minor). The motto recurs after the chorale at the double bar (measures 65-66); it is again accompanied by the tympani. 132

IA ~--- 70un L-- I i -- I ANY& w & I I A Ki . CY Ma - I I IL I lopwq% I I F *~~o, - i-ftsa 2-W-~I.I~L 1mpaI w-W A , 1* *mA 'I f*~e A -I ~ I - , a I F I n a AO wll0k -tlz ILA= m t 3410-0 1 Ar I -1I --- -P------4 ...... f. t

~~1 g, 3

97 -3w 3W--Wl I b~tm,-*:# 14-r m 10tTiim =1 3ir IF I %A--4

2 2 1 Fig. --Symphony VI, fourth movement, measures 49-52.

A theme derived rhythmically and, in part, melodically

from measures three and four of Fig. 219 becomes one of the principal themes of the movement (Fig. 222). The im-

portant intervals of the fourth, seventh, octave, and

ninth are contained in only three bars of theme.

C, 114)j 7 ow aAssm - 1)

2 Fig. 22--Symphony VI, fourth movement, measures 69-72,

The motive that appeared briefly in the first movement (Fig, 201) is now important to the further development of the Finale. 133

7 ,h

2 2 3 Fig. -- mphony VI., fourth movement, measures 82:-85,

The motto appears again (Fig. 224), this time reminiscent

of the staccato repeated eighths encountered in Symphonies IV and V CFig. 120 and 149, respectively).

Fig. 2 2 4--Symphony VI, fourth movement, measure 139

A secondary theme (Fig. 225) is a variation of Fig. 223, as its wide leaps indicate.

141-44Fig. 2 2 5 --Symphony VI fourth movement, measures 134

It contains the interval of the octave in the first measure; the four-note ascending motive in measure three is a variation of the fourth measure of Fig. 223.

The cowbells return in two brief sections: measures 239-259 and measures 550-574. The first complete measure of Fig. 196 is identical to measure 297 in the fourth movement, and the motive is again found in the flute and clarinet.

Fig. 226--Symphony V, fourth movement, measure 297

The motto (Fig. 214 and 224) and arpeggiated motive (Fig. 217) recur throughout the remainder of the movement while a reminder of the beginning of the first movement (Fig. 186 and 187) is found at the return to C minor (Fig. 227). A violin motive CFig. 228) very similar to Fig. 190 in the first movement occurs after a modulation to the relative major region. 135

2 Fig. 27--SymphonyVI, fourth movement measure 397

Fig. 228--jmVhonyVI, fourth movement, measure 421

The recapitulation (measures 520-772) restates the first theme of the movement which, rather than being the principal theme, has been subordinated to others. However some of the elements contained within the theme (Fig. 213)--the opening leap of the octave, the ascending quarter notes, and the rhythm, 1 P J , were integrated into more prominent themes, Almost every other theme or motive used so far is likewise recapitulated as the movement moves to a somber coda (measures 773-822) that ends the work. CHAPTER VIII

SYMPHONY VII

Symphony VII (1904-05) is deeply rooted in the two preceding works. Perhaps the most striking relationship is that of the first and last movements to the corresponding movements in Symphony V.

Whereas the Rondo of the Fifth Symphony began in rather tentative fashion and continued in for a while an almostpastoral vein, this one opens with directly a stirring fanfare of drums and horns* promise The of the brave beginning is amply fulfilled by the principal theme, a bold trumpet its melody, and continuation in the strings and horns. of the Some alternating episodes provide the relief quieter moments; of but the rousing FFF ending, cli- maxed by a quotation from the prinwirpal the first theme of movement (thus reaffirming the principle of cyclic form maintained phony by Mahler in every sym- we have thus far studied. . . reflects precisely ), the mood of the beginning and so rounds out the form dynamically,1

Despite the formal relationships between Symphonies V and VI, however, most of the cyclic linkages come from SyMphony VI.

First Movement The slow introduction with its somber repeated motive (Fig. 229) accompanies the tenor-horn (the present-day

INewlin, Bruckner, M er Schoen p. 189,

136 137

baritone horn) solo Fig. 230); its melodic structure emphasizes the filled-in interval of the seventh.

ooowi oos

Fig 229- -Symphony V first movement,measure 1

Fig. 230--Symhony first movement, measures 2-3

A familiar figure (Fig. 231) that first became prominent in SymDhony VI (Fig. 195) is also related to Fig. 229,

Fig. 2 3 1--Symphony VII, first movement, measure 11 138

It is -followed by an important motive (Fig. 232) from Sym- phony III (Fig. 83). In both instances the interval of the seventh is filled in.

Fig, 2 3 2-- Symphony VII, first movement, measure 15

A theme (Fig. 233) that appears later in the finale emphasizes the intervals of the fourth and sixth.

Fig. 233-Symphony VII, first movement, 50-57. 3 -~Smhn measures

This example demonstrates the recurrence of the rhythm that was so prominent in Symphony VI (Fig. 187 and 192), This rhythm and other dotted rhythms continue to play an important role in Symphony VI. 139

The similarity of the third measure of a violin theme to motives of Symphony VI (Fig. 200) and Symphony V (Fig. 172 and 181) is unmistakable.

Fig. 2 3 4 --Symphony VII, first movement, measures

The ornamental turn of the last several works may be seen in the last measure of Fig, 234, As in the previous works it continues to reappear throughout Symphony VII. The fanfare motive found so often in works such as Symphony II (Fig. 74) is used for a martial effect'(Fig. 235), Especially worthy of note, also, is the motive in the first trumpet in measures 249-250. Not only is the above-mentioned rhythm used, but the melodic line consists of a series of rising and falling fourths. 140

TAPT.I low

4 00 400

TA T, 2

"MOP%4

Fig. 235 --Symphony 249-51. VI, first movement, measures

The major-minor motto of Symphony VI (Fig. 192) reappears for the first time in the horns at an emotionally charged high-point.

CL.AR.

2 3 Fig. 6 -- Symphony VII, first 354-56- movement, measures

The movement ends, as is Mahier's custom in outside movements, with a coda (measures 523-47), 141

Second Movement

The C major-minor second movement begins with a state-

ment by the horn (Fig. 237).

ON., -

4.-

Fig. 237--SymphonyV second movement, measures 1-2 4

This motive is combined with bird calls similar to those

in Symphony I (Fig. 74).

CtAlt.

l# 4 At' _3p _ _ _ _ LL ~A WVgoody siliomaillill" OF groinI 6 CL"4 3ro 0%% W%%0*ToI-t ~-I I LL t I &- m A I I -

V 11 ______I I A -1 L-L

3 3 3 bftos

I A o- b- A a I gbmm--On I ______I ______I______I____

Fig. 238--Symphony VII, second movement, measures 18-20. 142

After a quotation of the major-minor motto in measures 28-29, the principal theme of the movement appears (Fig, 239). It is derived from the horn call of Fig. 237 and contains the turn in measure five and the eighth-sixteenth-rest-sixteenth rhythm in the second, third, and seventh measures,

30-38Fig, 239-Sympho VII, second movement, measures

The col legno figure in the second violin (Fig. 240) was inspired, perhaps, by a similar motive in the Wunder- horn song, "Revelge" (Fig. 241).

Fig. 240-Symphony VII, second movement, measure 33 143

Fig. 24 1--"Revelge," Des Knaben Wunderhorn, measure 1

The eighth-sixteenth-rest-sixteenth rhythmic figure of the previous movement continues to pervade the work, as in an example at the modulation from C major to C minor (Fig. 242),

48-49Fig. 2 4 2 --Symphony VII second movement, measures

Other important themes are found in the following sections, but these contain little cyclic relevance. For further reference, however, these themes may be found beginning in measures 82-85 and measures 164-72,

A restatement of Fig. 242 is followed by a motive em- ploying the fourth with the direction, "Wie Vogelstimmen," thus establishing even more soundly the relationship with Symphony II. Connections with the bird calls at the beginning of this movement (Fig. 238) should also be noted. 144

lop

3loo3t

4 Fig. 2 3--Symphony VII, second 319-22. o h___ movement, measures

During the final passage of descending triplets (measures 337-40) derived from the bird-call motive of Fig. 238, a final statement of the major-minor motto by the horns (measures 337-38) is heard.

Third Movement

As in the scherzo of Symphonie I and V, a solo kettledrum begins the movement, The ascending D minor scale in the violin (Fig. 244) is further reminiscent of a similar motive in the Scherzo of symphony II (Fig. 52) and its source of quotation, "Des Antonius von Padua Fischpredigt," one of the Wunderhorn songs.

gL 4

Fi*g, 4 4 2 -- Symphony VMI third movement,'esue1 145

That the movement should be played schattenhaft ("shadowy") emphasizes its relationship to the eerie Scherzo ofyp VI. However, direct thematic relationships to the other movements of this work are minimal. The movement stands, rather, as a key-stone between the two movements on either side.

The interval of the sixth is found at the beginning of the brief modulation to the tonic region (Fig. 245).

2 4 Fig. 5--Qymphony VII third movement, 54-560 measures

The seventh also appears frequently in the movement, One instance of this is in Fig. 246,

ViA.

Fg. 4 6 -- Symphion VII hr o~ent, measures

A motive somewhat similar to one in Symphony V (Fig,. 151) contains the diminished seventh as its final interval, 146

4 7 Fig. 2 -Symphony VII, third movement, 394-97, WWAO measures

The movement ends with fragmentary statements of themes already cited (Fig. 245, 246, and 247) in the tonic region (D)

Fourth Movement An andante introduction by the strings (Fig. 248) is a contrast to the somewhat livelier tempo that begins in the fourth measure and is the basic tempo of the movement., The tonality is F major.

* ooommo %

000

#1A ------V.

IE~

Fig. 2 4 8 -- Symphony Viifourth movement, measures 1-4 147

This motive is used as a refrain. The motive is repeated by the solo violin (measures 23-25) and appears in partial augmentation in measures 259-63, The second measure of the first violin part, filling in a fourth, is quoted, in a varied rhythm, by the bassoon in measure five (Fig. 249). It is also similar to a motive encountered in Symphony VI (Fig. 195), although the trills of the earlier example are not to be found here.

Fig. 2 4 9 -- yhony VII, fourth movement, measure

The principal theme in the horn (Fig. 250) begins with the interval of the fourth,

2 5 7 - 1 1 Fig. 0--Symphony VII, fourth movement, measures

What might be called the "tuning" motive (the "piling up" through the strings of a chord built primarily in fifths) wittily accents the use of the guitar and mandolin in this 148

movement. This is the only use of the guitar in Mahler's works and the first instance of the mandolin's use in three consecutive works: Syp~hony VII, ymphony VIII, and Das Lied von der Erde (in which the mandolin performs as a Chinese lute).

, V

AGEM 4Am ~ZI~Z7 a .41Isn

c .. '-T *

Fig, 251--Symphony VII, fourth movement, measures 99-102, eaue

Thematic relationships are quite limited throughout the remainder of the movement because of the economy of themes in this ABA form.

Fifth Movement The tympani introduce the movement, this time with a rhythm similar to a motive in the second movement (Fig. 240). 149

Fig, 5 2--Symphony VII, fifth movement, measures 1-2

The principal theme, which was anticipated in the first movement (Pig. 233), is one of the most "heroic" themes

in all Mahler literature (Fig. 253).

Rojo 7 7

T-ar. + %MOO#

VAMW %moole

6-,Fig. 253--Symphony VII, fifth movement, measures

The use of the rising and falling fourths should be noted as well as the highly effective use of the sixth in measure three of the example. A continuation of this idea bears a resemblance to a theme in Symphony II (Fig. 72) as well as to the theme cited in Fig. 233. 150

Fig. 254--Symphony VII, fifth movement, measures

A cantabile section in the flat submediant region (Ab) contains a lyrical theme which employs the fourth and a variation of the turn.

Fig. h255--Symhony VII fifth movement, 56-60, . it oemnmaue measures

After the return to the tonic, the eighth-sixteenth-rest- sixteenth rhythm mentioned earlier assumes an important role in the finale. Of special interest is its use in a motive very similar to Fig. 124 in Symphony I. 151

A. R4 8 v ......

G&STQFT-0 V V

Fig. 256--A. Symphony VII, fifth movement, measures 168-70. B. Symho VII, fifth movement, measures T T-42.

The remainder of the movement consists of the development and restatement of themes and motives already presented. A variation of the "tuning" motive in the fourth movement (Fig. 251) is found in the horns and woodwinds (Fig. 256B). The principal theme of the first movement is restated three times before the end of the movement (measures 493-99, measures 506-10, and measures 581-85).

The cowbells of Symphony VI are added near the end of the movement (measures 559-90), seemingly to increase the din of the stirring conclusion. A coda (measures 581-90) again closes an outside movement. CHAPTER IX

SYMPHONY VIII

The roots of Symphony VIII (1906) lie in Symphony II. Spiritually and musically, it [Symphony VIII] is a pendant to the Finale of tHefSecondSym- phony, displaying (especially in the Faust section) a striking parallelism, not only in tonality, but also in philosophical content (resurrection as compared with Faust's trans- figuration), to that work. The similarities extend to orchestration--for what else is the final page of the Eighth Symphony but a heightened, accentuated version of the corresponding passage in the Second Symphony?l

Mahler's resumption of the use of the voice in symphonic writing, an element abandoned since Symphony IV, supplies, as in SympIonyI, the needed adjunct to elevate the emotional level of the music. The choice of a Latin

text, Veni, Creator Siritus (attributed to lrabanus Maurus [784-856]) in Part I, contrasted with a German text (the final scene of Goethe's Faust) in Part II, was an innovation.2 Part II also exemplifies the tradition of opera in the nineteenth century to the extent that ". . .Mahler as an original composer is. . .never closer to opera than in the Second and Eighth Symphonies.,3

1 Newlin, Bruckner, Mahler, Schoenberg, p. 192. 21bid., p. 3 193. 1bid., p. 193.

1I2 153

Part I

The opening triumphant Eb major outburst from the

chorus (Fig. 257) contains some interesting elements. The

very first interval is the fourth in the soprano and alto voices. Immediately succeeding this is the interval of the seventh.

L1 VE. CAC*AOR

Fig. 257--Symphony VIII, Part I, measures 2-5

The dotted rhythm (JT ) should be noted, for it and its variation (JT4) continue to play an important role throughout the work. as, indeed, they do in a restatement of Fig. 257 in partial diminution (Fig. 258). The interval of the octave that was found frequently in Symphony VI (Fig. 188, 213, 216, 223, and 225) is an integral part of this theme that recurs many times throughout the entire work.

TRBe.

Fig, 258--Symphony VII, Part I, measures 5-8 154

An important secondary theme is stated in the soprano

solo, "Imple superna gratia." The dotted rhythm on the word gratia should be noted, It is an augmentation of the dotted-eighth-sixteenth rhythm mentioned earlier.

Fig. 259--Symphony VIII, Part I, measures 46-49

The section beginning at the modulation to the leading tone region (D major-minor) (measures 135-55) contains several new themes. The first of these (Fig. 260) emphasizes the fourth while the second (Fig. 261) contains the intervals of the fourth and seventh (a rhythmic variation of the first three notes of Fig. 257) and an abbreviated turn.

L.JL.J

Fig. 260--Symphony VIII, Part I, measures 135-36 155

6 Fig. 2 1--SyaphonyvVII, Part I, measures 139-40

A third theme, just before a return to the tonic region, is an obbligato violin solo (Fig. 262).

SOL a LJ.. -)--

-- A-

Fig. 262--Symphony Part I, measures 145-47

The D major-minor section and the following Eb major section (measures 156-68) recur in Part II.

The bass solo, "Infirma, infirma nostri corporis," incorporates a variation of a theme from the D major-minor section (Fig, 261). The seventh of the earlier example is expanded to an octave, however (Fig. 263). The important theme to the text, "Accende, lumen" (Fig. 264), is reminiscent of Symphony II (Fig. 61), although the interval of the fifth has become a fourth and the rhythm has been altered. 156

2 Fig. 63--Symphony VIII, Part I, measures 218-19

soloI -rs c 4 OVLSU$ 3 I - r, 4 & % I

A C C~EP IDE At CkUAD.DE L -W4N I 40 7

Fig. 264--Symphony VIII, Part I, measures 261-65

In this example the filled-in sixth between the second and third measures should also be noted.

A theme stated by the boy choir is important because of its appearance in varied form in Part II.

A -mio-.Rom C.of Us- W-18(ENs .

2 6 Fig. 5--Symphony VIII, Part I, measures 274-78 157

A punctuating outcry by the chorus (Fig. 266) emphasizes

the seventh and a similar figure (Fig. 267) makes use of

the augmented fourth and diminished fifth, the latter found in Symphony VI (Fig. 189).

{i-v M

Fig. 266--5yM hony VII, Part I, measure 295

SoS'e Sop, oSOP

O r

Do NEs5 sS

Fig. 2 67--Symphony VIII, Part I, measures 298-99

After the final return to the tonic, a coda (measures 557-80)

recapitulates the principal theme of Part I (Fig. 257) to a

different text (Fig. 268) and the "Accende lumen" theme (Fig. 264) is heard in the brass. (Fig. 269).

s0o, Ato

C -- U . - no #T to -NO CI - 4' 1T,& -

Fig. 268--Symphony VIII., Part I, measures 519-21 158

"'TRPr.III 34

Fig. 269-Symhion VIII, Part I, measures 564-68

Fig. 269 is heard in variation throughout the few remaining measures of the movement.

Part II

A slightly altered version of the theme (Fig. 269) that appeared near the end of Part I is stated in Eb minor at the beginning of Part II (Fig. 270). A variation of this theme, containing the dotted-quarter-eighth rhythm, is found in the woodwinds (Fig. 271).

VL-.)BASS

Fig. Z7O m.2hon VII Part II, measures 2-3

6 0CL-T0~%

Fig. 271--ymphony VII, Part II, measures 4-7 159

Again, the four-note ascending motive filling in a seventh

that figured in Fig. 264 and 269 of the previous movement

plays an integral part in Fig. 270 and 271.

Another version of the turn, this time more extended

than in previous examples, may be found (Fig. 272).

Fig. 272--Symphony VIII, Part II, measure 52

The dotted figure of Fig. 271 employed in a motive (Fig.

273) is one of the principal choral themes of the movement.

TEN oU

V 4.1

WAL -Ovtc.SI&S&#WAMdT HEA AIM

Fig. 273--Symphony VIII, Part II, measures 171-72

A theme in the boy choir (Fig. 274) is very similar to the boys' principal theme in Part I (Fig. 265). 160

wII~IIIztI z-

Fig. 274--Sbhn IIPrI, measures 412-16

Especially noteworthy is a section (measures 550-89) that is a rescored and, in several places, slightly altered version of two sections of Part I (measures 135-55). As in the first movement, the D) major-minor section proceeds through the region of Eb and ends at a double bar and time change. The themes that were a part of these sections in Part I (Fig. 260, 261, and 262) are found in their corresponding sections of Part II.

Following the precedent set in Symphony VII_, the mandolin appears in Symphony VIII. Its use as a solo instrument is considerably more limited than in the former work, although a solo filling in the fourth does mark its first entrance

(Fig. 275). The subsequent use of the instrument is primarily harmonic, 161

Fig. 2 7 5 -Symhony VIII, Part II, measures 1105. 07

Most of the remainder of the movement's cyclic develop. ment is based on those themes already pointed out. Other variations in the movement include Fig. 276, 277, and 278 (variations of Fig., 259, 258, and 261, respectively).

0% 414 NET AK41 DAS F&M scI - LE - IN

-0 G.. CO-

SO GLEC-147EA. scNOM 1E -L #4SCH

2 Fig. 76--Symphony VIII, Part II, measures 1223-29 162

NN~ I

4~~T

400 40 7 Ta~r.t I IAI 7

k~T 3

Fig. 277--SymphoyVI II, Part II, measures 1239-40

TRs. 1)1 n :27F La -' I I ."iI --I- I I I 'I "".D! ."-"...... -.-. I I w I Ii 1 I - Ii I ; Ii --T-

Fig, 7 2 8--Symphony VIII, Part tI, measures 1402-05

The parallel major region (Eb) of Part II, which was also the tonic of Part I, is modulated to in measure 1390. This key closes the movement.

The final "Chorus mysticus" provides a summation for the entire work. The text of this chorus, "Alles Vergingliche ist nur ein Gleichnis," was used much earlier by Franz Liszt in his Eine Faust-Symoni (1857). Of special interest is the principal theme -of the final chorus of that work (Fig. 279) 163

which, when compared to the setting of the same text by Mahler (Fig. 280), reveals striking similarities.

Mat NE - 7'. 7', "7060*4 A LE I Gf0 I c0 d H ?MSSES ISOT suP. EFI14&LEicAl..DM#$S

Fig. 2 79w--Liszt: Eine Faumeasures 702-05. P 1 maue

Soto,

M .ES~a~ ~ tcII 4 A L- I Sor m VAL rr#N Gloelcm w MIS ;

Fig. 2 80--Symphony VIII, Part II, measures 1459-63

A variation of the principal theme of Part II (Fig. 257) is restated with the interval of the seventh expanded to a ninth (Fig. 281), providing a fitting climax to the work,

Fig. 2 81--$y mhn I., Part II, measures I551-56

4Newlin, Bruckner, Mahler, Schoenberg, pp. 194-95. CHAPTER X

SYMPHONY IX

Symphony IX (1908-09) occupies a special place in the works of Mahler. It is his last completed work, which, like Das Lied von der Erde (1907-08) and the incomplete Symphony X (sketched, 1910), he would never live to hear performed. He was, in fact, quite superstitious about the composition of a ninth symphony. Beethoven, Schubert, and Bruckner had died after completing their respective Ninths. For this reason Mahler attempted to cheat death by consid- ering Das Lied von der Erde a symphony, although it is really 2 a "song-symphony". Furthermore, Alma Mahler leads us to believe that the completed Symph IX was actually thought to be the Tenth. She asserts that "he had been working at full pressure during the summer [1909] and had finished the Ninth, but without venturing to call it s In August, 1910, Mahler sought the help of the father of modern psychiatry, Sigmund Freud. Speculations concerning

Redlich, Bruckner and Mahler, states that the score of SyMphony_IX was completeTdT April 1910 in New York, p. 274. 2 Newlin, Bruckner, Mahler, Schoenberg, p. 196. 3Alma Mahler, Gustav Mahler: Memories and Letters, p. 139,o

164 165

Mahler's superstition about writing a ninth symphony is

related by Theodor Reik, a close friend of Freud.

The wish to match the masters of classical symphony was intensively felt, and this ardent desire to reach the greatness of those father- representative figures was accompanied by the unconscious fear of the price that must be paid by one who has such high aspirations. That fear expressed itself in the superstitious belief that he would have to die as soon as he had ished fin- his Ninth Symphony, as the masters had died after having achieved so much. That fateful sequence in thought is really a consequence. It reveals the unconscious idea of retribution of an ambitious wish. The analyst will recognize in that fear a late offspring of the emotional reaction the boy felt at the wish to remove his father and to take his place, a reaction to an instinc- tive drive which was conceived of as outrageous and sacrilegious and which was followed by the unconscious fear of punishment and impending calamity. Beethoven, Schubert, Bruckner had, in ahler's thoughts, taken the place of the admired and envied father-figure of the boy and had in- herited the emotions, once felt toward the powerful father of childhood. The recognition of his heart disease gave Mahler's fear a reality basis provided which the resonance to his superstitious fear, 4

First Movement A horn motive in the fourth measure is the most direct thematic relationship between SymphonyIX and Das Lied von der Erde. 5 The quotation is not note-for-note, however, as a comparison of the motive in the symphony (Fig. 282) and the song theme (Fig. 283) reveals,

4 Reik, The Haunting Melody, pp. 351-52. SNewlin, Bruckner, Mahler, Shoenb , p. 201, 166

4IZZIII4I

H#0 r-

I -00

Fig. 282--Symphny ixfirst movement, measures 3-5

Vt. ets

Fig. 283--"Trinklied vom Jammer der Erde," Das Lied von der Erde, measures 4-9.

A measure latera variation of a motive from the fourth move-

ment of Symphony III (Fig. 107) appears (Fig. 284).

a **II I

2 Fig. 84--Symphony II ,first movement, measures 6-8

A horn motive containing the sixth (Fig. 285) occurs in varied form later in the fourth movement (second measure of Fig. 305). 167

YLL~

Fig. - I, first movement, measures 8-9

A fourth is filled-in by the second violin (Fig. 286),

followed in the next measure by the augmented fourth.

Fig. 286--SymphonyX, first movement, measures

The varied inversion of a motive in symphony VI (Fig. 210) is found in the first violin (Fig. 287).

IJL. I

Fig. 287--Syphony IX, first movement, measures 32-33.

A motive related to the harp melody in Fig. 282 is fragmented

and alternated between the first and second violins (Fig. 288). 168

vL A f%

S -- dP

;;K %4 ::; 9 :P:Lwmwo

Fig. 288--ympiony IX, first movement, measures 147-490

The fanfare motives seen in Mahler's earlier symphonies are in evidence at various points in the movement. One such instance (Fig. 289) recalls similar examples in symphony I (F ig. 34) and Symphony III (Fig. 86).

Fig. 289--Symphony IX, first movement, measures 168-69.

rhe turn is used frequently in this work as it has been in many of the others. Although this motive is of much greater importance in the development of the third and fourth movements, it appears in isolated instances in the first movement as well (Fig. 290). 169

- .* . Ift, 00loom

I v ElOff

2 9 Fig. 0 -Sympiony IX, firs t movement, measures 304 -050

The two types of turns found in this example should be noted. The first type (measure one) is similar to many that have been seen in earlier works, for example, in

Symphony III (Fig. 89). The second type (measure two) was found only once before, in Symphony VIII, (Fig. 272).

The first type consists of four notes and a leap of a minor third; the second type contains five notes and the third,

Bird calls similar to those heard in ymphonies I and II (Fig. 13 and 74, respectively) are once again used

(Fig. 291), although the reference to nature is not speci- fied as it was in the earlier works. Like many of Mahler's first rmovements, this one ends with a coda (measures 406-54) that restates Fig. 284 and 288, 170

a# Z06'-m'

"AF..I

I U I

Fig. 291--Sympion IX, first movement, measures 376-79.

Second Movement

The last Landler second movement encountered in Mahler's

symphonies was in Symphony IV. The use of such a movement

in Symphony IX is, perhaps, a nostalgic reminiscence of his

earlier works.6

A variation of the four-note ascending figure that was

first seen in the principal theme of the first movement of

Symphony IV (Fig. 120) and expanded to five notes in Sym-

phony V (Fig. 174) begins this movement (Fig. 292).

6 Newlin, Bruckner, Maliler, Schoenberg, p. 201. 171

Fig. 292--Symphony IX, second movement, measure 1

Another four-note motive, more closely related to Fig. 120, appears at the beginning of the principal theme (Fig. 293).

9-14A

9-4Fig. 293--Symphony Isecond movement, measures

The seventh is emphasized by its use in two successive, almost identical, measures (measures four and five of Fig. 293).

Repeated-note figures, similar to those of Symphony IV (Fig. 120), are also found (Fig. 294). 172

Fig. 294-Symphony IX, second movement, measures 40-410

A motive identical rhythmically with the initial sixteenth- note figure (Fig. 292) is even more closely associated with an important motive in Symphony VI (Fig. 204) that also appeared in retrograde in Symphon VII (Fig. 232). The motive (Fig. 295) serves as an anacrusis to the principal theme of the trio in the mediant region (E major).

Fig. 295--Symphony IX, second movement, measures 89-94.

The "sighing" motive in the first movement (Fig. 284) appears in the subdominant region at the second trio section. A variation of this motive a step higher follows CFig. 296). 173

Fig. 296--Symphony IX, second movement, measures 217-20.

After several variations of the themes in the principal

La*ndler section, as well as those of the two trios, a closing tonic section recapitulates, primarily, the opening motive (Fig. 292).

Third Movement

The movement, in A minor, begins with reminiscences of two motives in Symphony V (Fig. 168 and 157).

-TIPr, STTIN45 C'I gVW)

Fig. 297--Symphony IX, third movement, measures 1-2

The first two bars of a theme (Fig. 298) bear a close resemblance to a theme in the first movement of Symphony I (Fig. 16). 174

&SCLA.

Fig. 298--Symphony IX, third movement, measures 72-74.

A section of new thematic material (Fig. 299) has been

related to the so-called "Life" theme of Symphony III

(Fig. 300).7 A variation of the turn motive may be found in the fifth measure.

vIu, '

-' _

q =ad 1 2 I. A L I z Idil. mI mop, T7 j #00 "pow %memo# 4

Fig. 299--Symphon IX, third movement, measures 102-09,

7 Newlin, Bruckner, Mahler, Schoenberg, p, 201., 175

Fig. 300-1Symphony II, first movement, measures 146 -49 .

The wave-like, descending sixteenth-note figure (Fig. 301) has obvious similarities with motives in Mahier's earlier works, particularly Syphn III (Fig. 101) and Symphony V (Fig. 147).

Fig. 30--mpoy IX, third movement, measures 147-48,

Throughout the movement a consistently recurring device that was used in several of the previous symphonies Fy.pny _IV, Fig. 94 and y, Fig. 211), the superposition of simple and compound rhythms, may be found. In one such instance (Fig. 302) a fragment of Fig. 297 may be found in the lower winds and strings 176

CL.At'. woo- b 1y I 1 1k

______-4 AII )I i ( -A 4F______or

V 3 - . I2Q)

Fig. 302--Symphony XI, third movement, measures 187-89.

A new theme at the modulation to the enharmonic leading

tone region, Ab major (Fig. 303), contains a turn in the

first measure. From here to the end of the movement the turn is found frequently.

OB., A. I

Fig. 303--Symphon Ix, third movement, measures 320-21.

Fourth Movement

The thematic construction of the fourth movement is limited to (1) the turn motive (Fig. 304) which supplies the momentum for the entire movement and which is found in almost every measure (as originally stated or in inversion) 177

and (2) the principal theme (Fig. 305) presented after a two-bar introduction.,

3 Fig. 04--Symphony IX, fourth movement, measures 1-2

Fig. 305--Symphony IX, fourth movement, measures 3-6

The first two beats of the second measure of Fig. 305 should

be noted, for they are a variation of Fig. 285 in the first

movement. The sixth is contained in the first beat. The dotted-eighth-sixteenth rhythm that was so important in

~mphonies , VII and VIII is present throughout the movement, as shown in the examples above.

A variation of the five-note turn found in Symphony VIII (Fig. 272) and in the first movement of this work (Fig. 290) occurs again in the violins (Fig. 306). 178

Fig. 306--Symphony IX, fourth movement, measures 68-69.

The remainder of the movement is a development and variation of the turn and principal theme, The turn in augmentation occurs near the end of the movement (measures 155-78) and in retrograde augmentation in the final two bars (Fig. 307),

Fig. 307--Symphony IX, fourth movement measures 177-78fre CHAPTER XI

CONCLUSION

So far this paper has dealt primarily with the cita-

tion of cyclic relationships in Mahler's symphonies. Exam- ples of such elements are found in every movement of each of the nine symphonies under consideration. Moreover, many of Mahler's songs may be linked cyclically to the symphonies.

This brings us to the point of this study: to prove that the incidence of cyclicism in Mahler's symphonies is far greater than the few authors who have dealt with the subject have led us to believe.

Warren Storey Smith, in his article, "Mahler Quotes

Mahler," 1 recognizes the closeness of Liedereines fahrenden

Gesellen and Symphony I. He points out the themes of the songs, "Ging heut' morgen fiber's Feld" and "Die zwei blauen

Augen von meinem Schatz," that are quoted in the first and third movements, respectively, of the symphony. He takes note, also, of the importance of the fourth in the introductory motive of the work, the cuckoo calls, and the kettledrum accompaniment to the minor-keyed Frere Jacques theme in the third movement. He fails to mention, however, the fanfares in the first and fifth movements, the reappearance

Warren Storey Smith, "Mahler Quotes Mahler" Chord and Discord, II (1954), 7-13.

179 180

in the finale of a motive stated near the end of the first

movement (Fig. 16), or the fragmentary statement, also in

the finale, of the opening theme of "Ging heut' morgen

uber's Feld" (Fig. 2).

Smith's comments on cyclicism in Symphony II deal only with the quotation in the third movement of practically all of the Wunderhorn song, "Des Antonius von Padua Fischpredigt"

(Fig. 52 and 53). All other cyclic elements are ignored.

The rather extended section of the Wunderhorn song, "Abl5sung im Sommer," that appears in the third movement of Symphony

III (Fig. 101) is mentioned; so are the quotations from the

Kindertotenlieder: "Nun will die Sonn' so hell aufgeh'n" and "Nun seh' ich wohl, warum so dunkle Flammen," and the

Wunderhorn song, "Lob des hohen Verstandes," in the first fourth, and fifth movements of Symphony V (Fig. 157, 171, and 177).

Although the article deals with Symphony I in some detail and points out the most important song themes that appear in the symphonies, it ignores the cyclic elements not related to the songs in Symphonies II-V. Symphonies VI-IX are not discussed at all.

In a later article, "The Cyclic Principle in Musical

Design, and the Use of It by iBruckner and Mahler," 2 the same

2 Warren Story Smith, "The Cyclic Principle in Musical Design, and the Use of It by Bruckner and Mahler," Chord and Discord, II (1960), 3-32, 181

author, discussing Symphony I, includes a reference to the theme near the end of the first movement CFig, 16) that is a part of the principal theme of the fifth movement (Fig. 31).

The chromatic motive of the first movement (Fig. 11), found in augmentation in the Finale, is cited. The fourth in a horn motive in the final, climactic sections of the fifth movement is pointed out--another omission in the previous article.

Smith's discussion of Symphon II centers around a few themes in the finale (Fig. 61, 66, and 71). He fails to call attention to the chromatic motive (Fig. 65) that appeared in previous movements and in Symphony I. Any mention of fanfares or the anticipations of the Glaube and

Aufersteh'n motives in the first and fourth movements is omitted, as are references to the many instances in which the fourth plays an important role.

Cyclic elements in Symphony III are said to be "incidental," 3 but several instances of cyclicism, including the wave-like figure that appears originally in the first movement (Fig. 81) are pointed out. Smith notes its reappearance in the fourth movement, but does not observe its prevalence in other movements (Fig. 91, 101, 105, and 106). Some of the important relationships overlooked are: (1) those between the initial horn theme of the first movement (Fig. 78), the

3Smith, "The Cyclic Principle," p. 26. 182

folk song, "Ich habl mich ergeben" (Fig. 79B), and the prin-

cipal theme of the fourth movement of Brahms' First Symphony

(Fig. 79A); (2) the turn (Fig. 89 and 90); (3) reminiscences

of the Glaube motive in Symphony II (Fig. 80 and 107); (4)

anticipations of the staccato repeated-note figure (Fig. 98

and 101) that are common in Symphony IV.

The connections between Symphony IV and the Wunderhorn

songs quoted therein are discussed adequately in the article.

Only two other cyclic relationships are mentioned: the

restatement of the opening themes of the first movement of

Symphony IV (Fig. 120) and a theme in the same movement

similar to the one stated in Fig. 124. These themes reap-

pear in several later movements (Fig. 138, 145, and 146).

All other instances of cyclicism, cited in Chapter V of this study, are not mentioned.

Smith's comments on Symphony V deal only with the for-

mal and tonal aspects of the work. No citations of cyclic elements are to be found.

The principal theme in the first movement of Symphony

VI (Fig. 188) related to a theme in the last movement (Fig. 216), the arpeggiated "skyrocket" motive (Fig. 191, 204, and 217) and the major-minor motto (Fig. 192 and 214) are all-important, as Smith states. But the single interval of the octave (Fig. 188, 201, 218, 220 , 223, and 225) , the dotted-eighth-sixteenth rhythm (Fig. 187, 188, 189, 190, 194, 201, 203, 216, 218, 220, 222, 223, and 227), and the 183 trilled dotted-quarter followed by two sixteenths (Fig.

195 and 205) are also important. Moreover, these are by no means all of the remaining cyclic elements in Symphony

VI. There are many others, already referred to in Chapter VIII

As in Symphony VI, Smith's citation of specific cyclic occurrences in Symphony VII is severely limited. He acknow- ledges the relationship between the principal theme of the first movement (Fig. 233) and a theme derived from it in the

Rondo-Finale (Fig. 23), but ignores all others.

Most of the section dealing with Symphony VIII stresses the recurrence of the three-note ascending figure followed by a variable leap, referred to in this study as the "Accende lumen" motive (Fig. 264) and so named because of the accompanying text at its first appearance. Smith traces its transformation through the "Pater Ecstaticus" section to the chorus in Part II, "Alles Vergingliche ist nur ein

Gleichnis" (Fig. 280), commenting on the similarity of the latter to Liszt's setting of the same text (Fig. 279). A brief comment is made concerning the use of the fourth in the opening (and closing) "Veni creator" theme (Fig. 257 and

281), but the seventh in this example and many others in previous works are never mentioned.

Finally, only the quotation from Das Lied von der Lrde

(Fig. 283) is given in connection with Symphony IX. The frequent use of the turn is completely overlooked. 184

Both articles emphasize the cyclic elements in only the

first few symphonies. The first article, for example, gives

much more detailed information about Symphony I than any of

the other works, omitting entirely any comments about the

last four symphonies. The discussion of Syphonies I and II

in the second article is fairly complete, that of Symphonies

III and IV somewhat less so, while the remaining four works, with the possible exception of the Eighth, are given only the most cursory treatment.

These two articles by Warren Storey Smith are the only

writings specifically limited to a discussion of cyclicism in Mahler's works. Other studies of a broader scope have, however, dealt with selected instances of Mahler's cyclic

tendencies. Such studies attempt to demonstrate the use of

these elements in the over-all structure of a work or works.

They show, and rightly so, that cyclicism is a means rather than an end.

A work of this type is Dika Newlin's Bruckner, Mahler,

Schoenberg. References to the cyclic linkages between the

Lieder eines fahrenden Gesellen and Symphony I, between Wunderhorn songs and Symphonies II-IV, between thematic

material in the first and fourth movements of Symphony IV,

between the principal theme in the first movement of Sym-

VII and its varied restatement near the end of the last movement, and to the major-minor motto of Symphonies

VI and VII are designed not just to prove that cyclicism 185

exists in Mahler's symphonies but to relate these elements

to the broader spectrum of form.

Hans Redlich, in his book Bruckner and Mahler, admits

that the first four symphonies ". . .share thematic material

to a considerable extent." 4 He cites a few of the most im-

portant relationships in these works, especially the reli- ance on thematic material from Lieder eines fahrenden

Gesellen and Des Knaben Wunderhorn. Symphonies V-IX under-

go similar treatment. A few important cyclic connections

are mentioned, but much of the discussion centers around the

symbolic significance of Symphonies VI and VII.

It should be evident that the writings of the above

authors do not accurately reflect the extremely high inci-

dence of cyclicism in Mahler's symphonies. Doubtless the

omission of such extraneous details is a necessity in works

of the scope of Newlin's and Redlich's. Similarly, restric-

tions of space may have prohibited Warren Storey Smith from

as complete an analysis as he might have desired. This

paper is an attempt to augment the writings of these authors,

but in order to establish what should be said, one must first determine what has been said.

It should also be evident by now that cyclicism was as

inherently a part of Mahler's technique as it was in Bee-

thoven's late works or in Wagner's use of leitmotiv. Cer-

tainly itis small element of style, but for Mahler a very necessary one. BIBL BIOGRAPHY

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