Gustav Marler's Use and Cyclic Integration Of

3-79

p10.

GUSTAV MARLER'S USE AND CYCLIC INTEGRATION OF

MOTIVIC AND THEMATIC QUOTATIONS

THESIS

Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

Sharon E. Zurflieh, B.M. Denton, Texas May, 1990 3-79

p10.

GUSTAV MARLER'S USE AND CYCLIC INTEGRATION OF

MOTIVIC AND THEMATIC QUOTATIONS

THESIS

Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

Sharon E. Zurflieh, B.M. Denton, Texas May, 1990 Zurflieh, Sharon E., Gustav Mahler's Use and Cyclic Integration of Motivic and Thematic Quotations. Master of Music (Music Theory),

May, 1990, 187 pp., 153 examples, appendix, bibliography, 35 titles.

All of Mahler's works may be divided into four distinct chronological groups, referred to as "symphonic cycles." Motives and themes from the songs within each symphonic cycle were quoted in symphonies in the same cycle. This system of self-reference was unique to Mahler, although earlier composers such as Schubert and Wagner set precedents for some of the techniques used by Mahler. The quotations in the early periods appeared only on the surface and did not blend well with their surroundings, but as time progressed Mahler developed the ability to combine the seemingly incompatible elements more smoothly. Mahler's early fascination with distant sounds was also a factor in his use of quotations. The appendix contains a catalog of 100 quotations. Copyright by

Sharon E. Zurflieh

1990

iii TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES ...... v

INTRODUCTION ...... 1

Chapter

I...... 10

EPILOGUE ...... 74

APPENDIX ...... 75

BIBLIOGRAPHY ...... 183

iv LIST OF EXAMPLES

1. Ninth Symphony, Third Movement, m.79 ...... 4 2. Ninth Symphony, Third Movement, m.210 ...... 5 3. Ninth Symphony, Third Movement, m.209 ...... 6 4. Ninth Symphony, Third Movement, m.311 ...... 7 5. Eighth Symphony, First Movement, m.122 ...... 8 6.1A1.76 ...... 13 7. 4.4.128...... 14 8.5.5.95 ...... 16 9. Motive common to Eighth and Das Lied ...... 18 10. "Appoggiatura" motive in Das Lied ...... 18 11. "Appoggiatura" motive in Ninth Symphony ...... 19 12. Quotation in Tenth Symphony, Fifth Movement ...... 22 13. Quotation in Tenth Symphony, First Movement ...... 22 14. Quotation in Tenth Symphony, Third Movement ...... 23 15. Derivation of motivic material in Tenth ...... 24 16. Quotation in Tenth Symphony, Second Movement ...... 26 17. Quotation in Ninth Symphony, First Movement ...... 27 18.9.1.92 ...... 28 19. 9.2.539, 9.2.543 ...... 30 20. Derivation of motives in first theme of 9.3 ...... 32 21.9.3.1 ...... 33 22. Some forms of half-note motive in Third Movement ...... 34 23.9.4.31 ...... 36 24. Aural influences from Mahler's youth ...... 39 25. Embryonic form of"Ldndler" motive ...... 46 26. First motive in 'Wunderhorn" symphonies ...... 47 27. Variations on first idiomatic motive in Fourth ...... 48 28. First idiomatic motive in Eighth Symphony ...... 49 29. Ninth Symphony, First Movement, m. 96 ...... 49 30. Ninth Symphony, First Movement, m. 18 ...... 50 31. Ninth Symphony, Fourth Movement, m. 1 ...... 50 32. Tenth Symphony, Fifth Movement, m. 395...... 51 33. Second frequently-occurring motive ...... 52 34. "Farewell" motive -- other composers ...... 55 35. Third Symphony, Fourth Movement, m.21 ...... 56 36. Das Lied, "Der Abschied," m. 521 ...... 56 37. Ninth Symphony, First Movement, m. 7 ...... 57 38. Ninth Symphony, First Movement, m. 448...... 58 39. Ninth Symphony, Second Movement, m. 15 ...... 58 40. Ninth Symphony, Third Movement, m. 284 ...... 58 41. Ninth Symphony, Fourth Movement, m. 3 ...... 59

V 42. Ninth Symphony, Fourth Movement, m. 17 ...... 59 43. Fourth idiomatic passage ...... 60 44. Glinka: Russian and Ludmilla, Overture, m. 81 ...... 61 45.Der Trompeter von Sdkkingen, "Werner's serenade" ...... 62

47. Manifestations of "Werner" motive ...... 63 48. Embryonic form of polyrhythmic setting ...... 65 49. First Symphony, First Movement, m. 167 ...... 66 50. Fourth Symphony, First Movement, m. 334 ...... 67 51. Seventh Symphony, Second Movement, m. 12 ...... 69 52. Seventh Symphony, Second Movement, m. 27 ...... 70 53. Ninth Symphony, First Movement, m. 376 ...... 73

vi INTRODUCTION

Many composers before the time of Gustav Mahler used musical quotations in their works; in fact, the development of borrowed melodies was once considered a compliment to the original composer. Devices such as the quodlibet and parody were used during the Renaissance, and the quodlibet was still being used during Mahler's time by Charles Ives, Mahler's contemporary, for example. However, since Mahler made extensive use of quotations within a symphonic format, it was necessary for him to develop a method whereby the seemingly incompatible borrowed elements could be assimilated within their new surroundings. This paper will examine Romantic precursors to Mahler's work and will trace the development of Mahler's increasing competence in integrating musical quotations into his compositions. It will demonstrate Mahler's treatment of quotations, which served as an important link between the song cycles of the Romantic era and the processes such as pointillism and Klangfarbenmelodie employed by the Second Viennese School.

The term "quotation" is used in this paper to identify excerpts of music that were clearly inspired by other music. These quotations are obvious on the surface (or in the Schenkerian "foreground") and often do not have any deeper connections to the music in which they occur.

The terms "motive" and "theme" are used together in this paper

1 2 merely to bring attention to the length of the quotations, most of which are from three notes to several measures in length. Any longer imitation of other music would fall under the category of "variation." The beginning of Mahler's Eighth Symphony, for example, contains several passages which appear to have been inspired by Strauss's Ein Heldenleben, but no direct plagiarism can be detected because the imitation takes on a broader, more stylistic form. A distinction between the terms "motive" and "theme" is not vital to this discussion, because a distinction between the forms of the quotations usually will not be a factor in the discussion. Also, many of the quotations may contain more than one motive, but do not constitute an entire theme. For purposes of clarification, however, a motive will be defined as a basic component which may be combined with different forms of itself

or with other motives to comprise a theme. In his Thematic Process in Music, Rudolph Reti uses small motives, or "kernels," and illustrates how they are used to construct themes. 1 In Mahler's works, however, the distinction between motives and themes becomes less

clear because of the extended length of some of the motives.

Henry-Louis de La Grange points out that a "main problem" of Romantic symphonic composers who sought to synthesize motives

into themes was that their use of the Classical concept of composition,

"dynamic development that is based on small melodic units," was not

compatible with "Romantic lyricism, [which uses] long melodies that

1Rudolph Reti, The Thematic Process in Music (New York: MacMillan, 1951). 3 are complete in themselves and are therefore easily spoiled by variation." 2 Mahler overcame the problem created by these two opposing styles in his Ninth Symphony by constructing all of the themes in each movement from common motives, thus constantly re utilizing the motives in different permutations. Example 1, for instance, shows a statement from the third theme of the Third

Movement of the Ninth Symphony. The motives used in this example are the same as those of the first theme (see example 20, page 32) but are in a different order. This method of incorporation as observed in the Ninth Symphony, in fact, marked the culmination of Romantic techniques in this method and was to set the stage for techniques used in the Second Viennese School.

The appendix contains a partial listing of quotations which can be found in Mahler's works. These quotations have been chosen for their aural similarities and not because of any underlying theoretical factors, since quotations by their very nature are not developments of excerpts from other sources but, rather, are restatements that readily render themselves to immediate aural recognition. 3 Furthermore, because of the nature of the texture of Mahler's music, with its dovetailing (frequent shifting of the melody between instruments) which foreshadowed Sch6nberg's Klangfarbenmelodie, score analysis

2 Henry-Louis de La Grange, Mahler, vol. I (Garden City, New York: Doubleday, 1973), 750. 3For this reason, it is often difficult to represent a quotation in the appendix in a convincing manner; factors such as orchestration and preparation that cannot be shown in this format may contribute to the similarities between the quotation and its source. 4

Example 1 Ninth Symphony, Third Movement, m. 79 trombones, low strings; horns 4

(A) D

according to the traditional manner may not be effective. As an example of the inaccuracies that can result from conventional analysis, one may refer to the Barlow and Morgenstern Dictionary of Musical Themes, in its quotation of the fifth theme of the Third Movement of the Ninth Symphony (example 2), where the first note of the actual theme is omitted (compare with example 4). Presumably, this note was left out because that note is played by a different instrument and in a different register from the rest of the melody in each of the first

41n all examples, incuding those in the appendix, a comma will be used to separate the names of instruments playing the same parts, and a semicolon will be used to separate the names of groups of instruments appearing in different staves. 5

four statements of the theme, at measures 209, 216, 227, and 234.5 Although this first note actually belongs to the first theme, to which the fifth theme is subordinate (see example 3), the note appears in every manifestation of the fifth theme, and becomes inseparable from it. By measure 311 and thereafter the theme evolves so that that first note becomes a part of the entire melody and is played by the same instrument (see example 4). Upon further examination of this theme, it can be seen that the theme actually arises from the melody line of a quotation from the Eighth Symphony (see example 5), so that its first fragmented appearance at measure 209 can only be taken as an embryonic version of a later theme, and not as the rhythmically incomplete theme that Barlow and Morgenstern considered it to be.

Example 2 Ninth Symphony, Third Movement, m. 210 (fifth theme in Barlow and Morgenstern catalog)

5The Barlow and Morgenstern version of the theme also ignores the two-measure periods utilized by Mahler throughout the movement. 6

Example 3 Ninth Symphony, Third Movement, m. 209 clarinets (fifth theme); trombones (concurrent restatement of first theme)

A 6-0

7"'

OW Ii

-I 1

A -:- n2

"~, L two, "R 7

Example 4 Ninth Symphony, Third Movement, m. 311 horns (fifth theme); cellos and basses (first theme; coll 8vb)

6It, I I -

The above illustration shows that Mahler's characteristic shifting of texture, which allowed his later quotations to be incorporated into unlike surroundings, and which led to twentieth-century techniques such as Klangfarbenmelodie and pointillism, was already at such an advanced state that analysis according to Classical and Romantic standards could not be used to interpret them with complete accuracy. 8

Example 5 9.3.3486 A. Eighth Symphony, First Movement, m. 122 winds, organ

1 -0-

B. Ninth Symphony, Third Movement, m.348 brasses Quotation

~~E'frn - _Imp __

In addition to the exclusion of analytical illustrations employing traditional approaches, the analytical method often associated with Mahler's works that involves the comparing of passages in different movements of a symphony, or different songs in a cycle, and labelling them as "quotations" has likewise been abandoned here. All composers have developed themes within single works to some extent, in a process referred to by Hugh McDonald as "thematic

6A11 examples that also appear in the appendix will bear an identification number for purposes of comparison. See instructions on page 76. 9 transformation," 7 and Reti extensively illustrates such transformations in The Thematic Process in Music. This method of thematic or motivic comparison is considered as too commonplace to merit any special consideration in the present study of quotations. In fact, a method opposite to the above as used by other authors (the comparison of elements within a symphony or cycle) can often be used to identify quotations in Mahler's works, since many of the quotations appear to have no immediate relation to the surrounding context; that is, the appearance of a singly-stated motive or theme in the middle of a movement often causes that passage to stand out as a foreign element. Malcolm Boyd, for example, has stated that one quotation "plays no further part in the first movement, and is completely absent from the music until over 100 pages later in the score . ... "8 The use of this method of identification, in conjunction with the aural identification mentioned above, has proved to be instrumental in isolating many of the quotations in Mahler's symphonies.

7 Hugh McDonald, "Thematic Transformation," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie, (London: MacMillan, 1980), XIX, 117. 8 Malcolm Boyd, "'Dies Irae': Some Recent Manifestations," Music and Letters XLIX/ 4 (October, 1968), 355. CHAPTER I

Mahler was the first composer to ally symphonies closely with song cycles that were being composed concurrently, but, as early as the beginning years of the Romantic era, Schubert foreshadowed Mahler's blending of vocal and symphonic works by including themes from his own songs in chamber works such as the "Trout" Quintet, the

Quartet in D minor, D.810 (based on Tod und das Mddchen), and the Fantasia in C minor (based on a theme from Der Wanderer), among others. Wagner employed similar devices in works such as Tristan und Isolde, which used themes from his Wesendonck Lieder. Wagner, however, was also among those who developed the concept of the Leitmotif, which involved the re-use of motives within a large operatic format. Wagner thus enabled the force of the technique employed by Schubert to be used on a larger scale while, at the same time, reducing the lengths of the quotations. Mahler used the techniques that Schubert and Wagner had developed in their works together with the well-established song-cycle format. He achieved the integration of these devices by creating large cycles (hereafter referred to as "symphonic cycles") involving both songs and symphonies. That is, Mahler's symphonic cycles contained common motives and themes, usually taken from his own songs and incorporated into the symphonies.

10 11

Mahler's works can be divided into four separate symphonic cycles, during each of which a different method of quotation was used.

Each of his completed works from Das kiagende Lied to the Ninth

Symphony plays a part in one of these cycles, in which motivic and thematic quotations are used as unifying devices.

The first cycle, from 1878 to 1888, included Das kagende Lied,

Mahler's only cantata (1778-1780); the Lieder eines fahrenden

Gesellen (December 1884); the First Symphony (1884), and at least one unpublished work (the incidental music to Der Trompeter von Sdkkingen (1884)). The First Symphony borrowed heavily from vocal works that were being composed during the same period. Whole themes, rather than motives, were reproduced with little attempt to disguise them and with no subsequent development (note the literal reproduction of "Ging heut' morgen fiber's Feld" in the First Movement of the First Symphony, and of "Werner's serenade" in the

"Blumine" Movement). The non-symphonic works were influenced by

Bruckner and Wagner. Although this influence was mostly apparent in terms of musical style, a few literal quotations do occur, such as the harmonic imitation of a passage from Bruckner's Fourth Symphony in Das kiagende Lied (example 6); this theme, which occurs in Mahler's cantata with no motivic or thematic precedents, is not developed throughout the course of the work.

Mahler's works during the second symphonic cycle, from 1888 to 1900, showed a significant development in his ability to integrate 12 quotations more skillfully. This more subtle blending of quotations resulted from Mahler's proportionally greater use of motives, rather than themes, and his more sophisticated development of the motives. The second cycle includes the symphonies (Second to Fourth) and songs based on Des knaben Wunderhorn. Each symphony contains at least one movement devoted to a single song from the set of folk poetry from Des knaben Wunderhorn, but also includes quotations from other songs in its other movements. The influence of Bruckner and Wagner that had been predominant in the first cycle was replaced by influences from the early Romantic era, the most notable of which were that of Beethoven and Schubert. By the time of the second cycle, however, Mahler had begun to develop a more personalized style, in that his imitations took on the form of unconscious paraphrasing rather than stylistic imitations. Example 7, for instance, shows a short quotation from a Schubert sonata that is not developed well in the

Fourth Symphony, but fits better into its surroundings than did the quotation from Bruckner, which burst into Das kiagende Lied with no motivic preparation. 13

Example 6 1A1.76 A. Bruckner: Fourth Symphony, Fourth Movement, m.277

Ali 3 3

3 3

3 3 ii 3 3

3 3

3) -6-0 -6-0 3 14

B. Das kiagende Lied, "WaldmIrchen," m.76 3

A IIm A. 'AM I TI LE i~ 3

3 3

Tr 3

Example 7 4.4.128

A.Schubert: Sonata D.850, Fourth Movement, m.30

3 1 F r 15

B. Fourth Symphony, Fourth Movement, m. 128 1st violins

1 3

The third symphonic cycle, from 1901 to 1905, included the Fifth to Seventh Symphonies and the Ruckert songs which, in turn, included the Kindertotenlieder. By this time Mahler had refined his techniques of integration to such an extent that quotations were not as obvious on the surface (the Schenkerian foreground), but still played an important part in unifying the cycle. As Donald Mitchell stated,

"there is . . . a complex set of relationships between the songs and the symphonies, which both generally and specifically embodies the modification of Mahler's style that very powerfully emerged as the century turned on its pivot."1 Quotations from the song cycles were not literal but were still intrinsically related; that is to say, they conveyed the impressions of their original statements. Also, development of borrowed sections within single movements did not occur. The few examples of motivic or thematic quotation that do exist, however, are fully integrated into the themes of the symphonies.

'Donald Mitchell, Gustav Mahler, 3 vols. (Berkeley: University of California, 1985), 111/56. 16

The opening theme from "Lob des hohen Verstandes," for example, is used as a basis for the Finale of the Fifth Symphony (example 8). Mahler's fourth, and last, symphonic cycle, which includes the Eighth and Ninth Symphonies and Das Lied von der Erde, is much more loosely knit than the others. Each symphony develops only one motive from the song cycle, employed in both of their last movements. The Eighth, which contains a greater proportion of original material than any of Mahler's other symphonies, has one motive in common with "Von der Jugend." This motive serves as the symphony's only

Example 8 5.5.95 A. Des knaben Wunderhorn, "Lob des hohen Verstandes," m.1 woodwinds (staggered)

8lc

loco

I I I I - 4 17

B. Fifth Symphony, Fifth Movement, m.95 horns; 1st violin

t 4

significant link with any of his other works (see example 9). The Fourth Movement of the Ninth Symphony relies heavily on the appoggiatura motive from" Der Abschied" (see example 10); the motive is incorporated into each variation of the theme, and appears twelve times during the first statement of the theme alone (example 11). 18

Example 9: Motive common to Eighth and Das Lied von der Erde 9A3.48

A. Eighth Symphony, Second Movement, m. 444 flutes (8va)

n ICI r1

B.Das Lied von der Erde, "Von der Jugend," m. 48 piccolo, oboes

rA% Adlh

Vkv

I I -- I 1

Example 10: "Appoggiatura" motive in Das Lied von der Erde "Der Abschied," m.268 alto 19

Example 11: Manifestations of "appoggiatura" motive in first theme of Ninth Symphony, Fourth Movement (mm. 3-11) strings2

(RI1)

* 0I

.0II *.- ......

1z I r: I I.

J..I

I v.

2 This example is notated in reduced- score form; each instrument is not assigned to a specific staff. 20

Ifi I

1zd - -

I r IRW l 1 21

The partially-orchestrated Tenth Symphony stands alone as the only one of Mahler's works that does not belong to a symphonic cycle. It also appears to contain a larger proportion of original material than any of his other works, since very few quotations are evident. However, upon close inspection much cleverly-disguised borrowed material can be found, such as that shown in examples 12, 13, and 143. Also, a folk-like passage which may in fact be a quotation (example 15-A) is made up of two motives which are used as thematic bases throughout the symphony. Example 15 demonstrates the use of the second motive ("B") from this theme in the other movements of

3 Examples from the Tenth Symphony have been taken from the performing version by Deryck Cooke. These three examples, coincidentally, are quotations of quotations (the excerpt from the First Movement of the Ninth Symphony has been attributed to Das Lied by some). 22 the symphony; the octave (or unison) and third are used to construct themes in each of the five movements of the Tenth Symphony.

Example 12 A. First Symphony, Third Movement, m. 7 contrabass

A I.

B. Tenth Symphony, Fifth Movement, mm. 165-167 low strings, brasses

~1I

Example 13 A. Ninth Symphony, First Movement, mm. 4-5 2nd horn

Ira "A I I of 14

1 23

B. Tenth Symphony, First Movement, m. 71 2nd violins

A A if ti r Oft An TI Olz 9

Example 14 A. Ninth Symphony, Third Movement, m.1 1st trumpet (in F)

B. Tenth Symphony, Third Movement, m. 161 1st trombone

1 24

Example 15 A. Tenth Symphony, Fifth Movement, m.90 1st violins

A B 3

B. Tenth Symphony, First Movement, first theme (m. 16) 1st violins

u 0& ITI Win _2

C. Tenth Symphony, Second Movement, mm. 167-1684 strings

A In w

4This passage is also similar to one in "Verlor'ne Mih'." 25

D. Tenth Symphony, Third Movement, m. 7 1st violins

r A% V, 17 row V- u 4 1 ILL

E. Tenth Symphony, Fourth Movement, first theme (mm. 5-8) 1st violins

Another interesting passage in the Tenth Symphony involves a motive which is used frequently in the first Scherzo (example 16-B). This motive also appears in the Third Movement of the Ninth Symphony, but it is only used once (example 16-A). Under the conditions described above (page 9), this motive as it appears in the Ninth Symphony could therefore be classified as a quotation. It would appear that, in this case, Mahler may have either composed both of 26 the movements containing this quotation simultaneously, or he used an original motive in the Ninth symphony with the intention of basing a later symphonic movement on it.

Example 16 10.2.174 A. Ninth Symphony, Second Movement, m. 588 2nd horn

W " pp- lot 1-^-h C

B. Tenth Symphony, Second Movement, m. 174 1st horn

A w 0 I-F^lot U Ida

1 ' I 1

In addition to its role as a member of the fourth cycle, the Ninth Symphony also served as the focal point of a much larger cycle. Mahler carried the concept of the symphonic cycle to an extreme degree with the Ninth by including references to all of his other symphonies and many of his songs, as well as works by other 27 composers. The First Movement, in fact, ends with a note that is very similar in its range and texture to the first note of the First Symphony (see example 17), implying a monumental cycle covering Mahler's entire compositional life. Mahler knew that he was dying5 and, because of superstition, he felt that a ninth symphony would be his last.6 He therefore designed his Ninth Symphony to serve as the summation of his life's work.

Example 17

A. First Symphony, First Movement, m.1 strings

5 Alma Mahler, Gustav Mahler: Memories and Letters, rev. ed., trans. Basil Creighton (New Yorlc Viking Press, 1969), 122. 6 He even declined to classify Das Lied von der Erde as a symphony, the way it was originally intended, because of his superstition. Ibid., 115. 28

B. Ninth Symphony, First Movement, m.453 strings, harp, piccolo

00O

A1 -I

Quotations are treated differently in each of the four movements of the Ninth Symphony. Quotations in the First Movement more closely resemble their original forms, and they are not blended well with the original materials of the Ninth Symphony. A thematic quotation from the First Symphony, for example, is literally repeated several times throughout the movement, but has little in common with any other themes (example 18):

Example 18 9.1.92 A. First Symphony, Fourth Movement, m. 206 1st violins

lot 33 29

B. Ninth Symphony, First Movement, m. 92 winds

awl I lz a I I I1Ain1t3

Also, the motive that is the basis for the First Movement but which also occurs throughout the symphony is more prevalent in this movement than in the following movements. 7 The quotations in the Second Movement are more fragmented and obscured than those in the First Movement. In measures 539 to 543, for instance, motives from Des knaben Wunderhorn and Das Lied von der Erde have been blended so skillfully that they seem to be complements originating from the same theme (example 19).

7 This motive will be explained in chapter two. 30

Example 19 9.2.539, 9.2.543 A. Des knaben Wunderhorn, "Des Antonius von Padua Fischpredigt," m.177 strings

B. Das Lied von der Erde, 'Von der Sch6nheit," m.8 woodwinds

dr Yv 0112 4p Of

1 31

C. Ninth Symphony, Second Movement, m.539

The themes of the Third Movement are based entirely on quotations. Although some of the themes may appear to be original, they can all be interpreted as combinations of variations on motivic quotations appearing elsewhere in the movement (example 20 traces the origins of the motives used in the first theme of the Third

Movement). The motives used often have little in common with each other, and the major and minor intervals originally used are often altered to become either diminished or augmented in quality, or the intervals between the pitches are widened to give the themes a sinister character. Often the only characteristic to be literally retained Example 20 32 E A _ _ _ C ,qmmmm mmmmmm% I D r -- - - mmmmoolo,

II D

'I I______' I

- . - . ______

wI -

1. Ninth Symphony, Third Movement, first theme 2. Closest to source in same movement NumberNumberiin in appendixanne*di 6 3. Source of quotation A. 9.3.1 B. 9.3.2 C. 9.3.9 D. 9.3.4 E. 9.3.524 33 is the rhythmic structure. In example 21, for instance, the first two intervals of the motive from the Scherzo of the Fifth Symphony have been changed from a third into a second and a sixth into a tritone, causing the originally cheerful motive to take on a much more austere quality. The quotations occur so frequently, however, and are so well blended that a homogeneous texture is achieved. Also, themes are constructed with different combinations of the motives used throughout the movement, resulting in a sense of constant variation (example 22 shows some of the different forms in which one of the motives appears).

Example 21 9.3.1 A. Fifth Symphony, Third Movement, m. 1 horns (in F)

B. Ninth Symphony, Third Movement, m.1 1st trumpet (in F)

A 34

Example 22: Some forms of the half-note motive in the Third Movement

A. original form First Symphony, Fourth Movement, m. 55 horns

B. first appearance in Third Movement (first three notes of original) Ninth Symphony, Third Movement, m.4 woodwinds, strings

C. As part of the first theme (last three notes of original) Ninth Symphony, Third Movement, m.9 oboes

1 35

D. as part of third theme Ninth Symphony, Third Movement, m.64

A '"Ii

lot 9

ve I __

_____ V j ~ h~4 D h"

1 - -

E. combination of example 22-C with first theme; foreshadows motive shown in example 5 Ninth Symphony, Third Movement, m.180 trumpets, horns (in F)

-A- FN"I

IIII

-3I I

3 36

The Fourth Movement contains the greatest proportion of original material and, like the First, it is based on a motive that is common to the symphony (see example 11) but, like the inner movements, it contains quotations (more thematic in this case) which are altered from their original forms. In the Fourth Movement, in fact, the quotations are altered to such an extent that some are barely recognizable; pitch structure has been retained, but the rhythms are augmented. In example 23, for instance, the notes in a theme from the Third Symphony have been made relatively longer, causing the originally lilting theme to take on a hollow character. This procedure is the opposite of that used in the Third Movement, in which the contour of quotations was changed, but rhythmic patterns were retained. The rhythmic, rather than tonal, alteration makes the quotations less perceptible.

Example 23 9.4.31 A. Third Symphony, Third Movement, m. 84 piccolo (8va)

1 37

B. Ninth Symphony, Fourth Movement, m.31 1st violins (8va)

As the Ninth Symphony unfolds, then, the quotations become progressively more varied from their original forms in each successive movement. The quotations are also blended together with increasing efficiency. This method of incorporation appears to adhere to the autobiographical theme of the Ninth Symphony, since it parallels the stages of Mahler's productive life; the methods used in each movement roughly mimic the methods used in each of Mahler's corresponding symphonic cycles.

In addition to the quotations derived from within each cycle,

Mahler's works also contain unrelated paraphrases of his own works and of those of other composers. These quotations were deliberate at times but, more often, appear to have been employed unconsciously.' He was often criticized for his prodigious use of quotations, 2 but Mahler was usually unaware of it until after the fact. Before the premiere of the First Symphony in Vienna, for instance, he "had

'La Grange, 934. 2 Rosamund McGuinness, "Mahler und Brahms: Gedanken zu 'Reminiszenzen' in Mahlers Sinfonien," Melos/NZ; Neue Zeitschnftfur Musik 111/3 (May-June, 1977), 215 224. 38 forbidden the publication of even a thematic analysis . . . fearing that his 'quotations' from Beethoven, Wagner and Bruckner, Mendelssohn, Weber, etc., might thus be revealed... t ."3 Mahler held the belief that

all composers should avoid the use of quotations.4 On one occasion,

Mahler berated Alexander Zemlinsky for using "resemblances and

plagiarisms," saying that "Zemlinsky must have a very bad memory if he was not able to avoid them."5 La Grange reports that Mahler himself had a good memory for musical themes6 but he was, nevertheless, unable to to identify many of his own quotations until after he had published the works that contained them.

Other reminiscences which are present in Mahler's music take

on the form of imitations of Bohemian folk tunes, military signals, and natural sounds that Mahler heard as a child. These sounds had a profound emotional effect on Mahler, especially on two occasions. 7 He was later to associate certain musical atmospheres with seemingly

unrelated music. As a composer Mahler was aware that he was influenced by the sounds of his homeland. 8 These influences can be found throughout his works, but are especially prevalent in the works of the early periods. 9 Example 24 shows some instances of Mahler's childhood experiences that were incorporated into his works.

3La Grange, 600. 4 La Grange, 550, fn 40. 5Ibid. 6Ibid., 53. 7Ibid., 14 and 21. 8 Mathias Hansen, "Zur Funktion von Volksmusikelementen in Kompositionen Gustav Mahlers," Beitrdge zurMusikwissenschaft 23 (1981), 1, 31. 9 Zoltan Roman, Mahler's Songs and their Influence on his Symphonic Thought. Ph.D. dissertation (Toronto: University of Toronto, 1970), 133. 39

Example 24: Aural influences from Mahler's youth

Nature

A. Animal sounds 1. cuckoo, jackass Des knaben Wunderhorn, "Lob des hohen Verstandes," mm. 126-129

0 0 0

1 p

v Kuk - kuk Kuk - kuk 1 - ja! 1

2. bees, beetle 10 Des knaben Wunderhorn, ""Frfhlingsmorgen," m. 19

A2' '

rim Q 7 ".

1 0 Roman, 156. 40

c. expletives 11 Des knaben Wunderhorn, "Nicht Wiederseh'n," mm. 62-63

f n

Tr I In T[ O"Z

A - de! 1 A de!

B. Natural sounds

1.thunder First Symphony, Fourth Movement, mm. 1-2 woodwinds; strings; percussion

pAz

1 if'

1 1Ibid., 155. 41

2. river Des knaben Wunderhorn, "Des Antonius von Padua Fischpredigt," mm. 9-16 1st violins

A A

Id1:f

1 42

C. Folk elements Imitation of vocal techniques -- yodeling12 Des knaben Wunderhorn, "Wer hat dies Liedlein erdacht," mm. 37-41 voice

D. Military 1. Drum cadences Seventh Symphony, Second Movement, mm. 55-56 1st horn

low>

12 Roman, 197-198. 43

2. Trumpet calls Third Symphony, Third Movement, mm. 255- 261 posthorn (in B-flat)

The products of these three types of influences were often combined by Mahler into creating a unique form of polyphony, which he described as originating in the forests of Iglau:

[He] suddenly heard in the distance several harmoniously blended sounds; the singing of thousands of birds, a military band, the peasants' dances. Mahler considered that this memory had a special significance; to him it symbolized the principle of polyphony, with each voice going its own way, while the artist unites and controls the whole.13

13La Grange, 55. 44

This combination of disparate sounds had a profound effect on Mahler and he was to use the insights that he gained to develop the integral processes which he used in his later symphonies and which culminated in the Ninth. 14 His skill in combining disparate musical elements, the device which may be regarded as a forerunner of pointillism, could not have existed without his early emotional involvement with his surroundings.

1 4 Hansen, 32. CHAPTER II

Several of Mahler's motives have each been used in more than one of his works. While different manifestations of one of these motives can be associated with the original motive, they often do not resemble other forms of the same motive. In one study, for example, one pentatonic archetype is shown to have taken on ninety-two forms, 1 but many of the variations on this archetype can be associated only through reductive reasoning, and do not yield to immediate aural recognition. An examination of the methods used to develop these frequently recurring passages, however, may provide us with some insight into Mahler's approaches to the development of the process of motivic integration throughout his creative life.

The most idiomatic, and most original, of the frequently recurring passages consists of an upward glissando of a sixth or larger, accompanied by a sudden crescendo, followed by a repetition of the highest note. This motive is associated with the "Wunderhorn" symphonies in its definitive form. It appears only in symphonies, most likely because of the limited dynamic range of the voice. Although many of Mahler's symphonic motives would qualify under the conditions described above, only those which are not thematic but,

1 Philip T. Barford, "Mahler: a Thematic Archetype," The Music Review XXI/4 (Nov., 1960), 297-316.

45 46 rather, are used in bridge sections and occur in slow tempos convey the degree of similarity sufficiently to be included here. In example 25, taken from the First Symphony, the motive is shown in its embryonic form, as an upbeat in the Ldndler style that is used in many of Mahler's symphonies. The motive appears in the next three symphonies in its definitive form (see example 26) and, in the Fourth Symphony, it serves as a climax as well as a basis for other motives. An inversion of the motive, with rhythmic displacement, is used in the First Movement of the Fourth Symphony (see example 27 A). The resulting motive serves as a bridge between the original "Ldndler" motive and one developed from "das himmlische Leben" (examples 27-B and 27-C). The motive also appears in the last three symphonies, although it has been reduced to have a much less dramatic effect. In the Eighth Symphony, for example, it serves as part of an important theme of the Second Movement (example 28).

Example 25: embryonic form of "Landler" motive First Symphony, Second Movement, m.3 violins

1= 47

Example 26: first motive in the "Wunderhorn" symphonies

A. Second Symphony, Fifth Movement, m.78 violins

/Omt -a

1 pp

B. Third Symphony, First Movement, m.30 oboes

q1 PP-M=zz

C. Fourth Symphony, Third Movement, m.315

a.8~ A lo t

f/f 48

Example 27: Variations on first idiomatic motive in the Fourth Symphony

A. Fourth Symphony, First Movement, m.122 horns

B. Fourth Symphony, Third Movement, m.75 horns

_A9 A

L I dF

1 f

C. Fourth Symphony, Fourth Movement, m.151 voice

162 full

1 49

Example 28: First idiomatic motive as it appears in the Eighth Symphony Second Movement, m.97 First violins

aAA 1_I I aI, (':Ir- t- - _ 1 dier I~S/LV072 K & A V ,fr 1

The motive appears throughout the Ninth Symphony in a number of different ways but, in each version, has been reduced almost to the embryonic Ldndler form. The passage which most closely

approximates the definitive form occurs in the First Movement (example 29):

Example 29 Ninth Symphony, First Movement, m. 96 trumpet

i f sf

The previous example is actually one of many variations on the first

motive of the second theme, which presents the idiomatic motive in a slightly altered form (example 30). The motive returns in the introduction to the Fourth Movement, in a manner closer to its original tempo and intensity than in earlier manifestations, but without the dynamic contrast (example 31). Finally, a variation on the motive, with the repetition of the first note assigned to different instruments in a different register, is used to close the Tenth Symphony (example 32).

Example 30 Ninth Symphony, First Movement, m.18

Vt~oo

Example 31 Ninth Symphony, Fourth Movement, m.1 violins

II i i f 51

Example 32 Tenth Symphony, Fifth Movement, m. 395 strings

The second frequently occuring passage may have been inspired by folk elements (see example 33-A). In its definitive form, which is best demonstrated by example 33-B, it begins with a sustained tonic, sometimes followed by a leading tone, followed then by a descending line of shorter notes beginning with the supertonic and ending on the dominant. This melodic line usually continues downward to the tonic within the next measure or two for a full cadence but, in some instances, the cadence is either postponed (see example 33-F) or altered in such a way that a full cadence is not attained. In examples 33-C and 33-E, for instance, the contour of this motive has been displaced from the tonic to the dominant, resulting in an elongated version of the motive; although the opening pitches have been retained, the characteristic interruption of the downward motion does not occur until the point at which the motive would normally end. Example 33: Second frequently-occuring motive

A.Erk/B6hme III, 1272

B. Die drei Pintos, Act III, no. 20, m. 136

2 Ludwig Erk and Franz Bohme, Deutscher Liederhort, 3 vols. (Wiesbaden: Breitkopf & Hartel, 1963). 53

C. Fifth Symphony, Second Movement, m. 130 cellos

Ida

D. Sixth Symphony, Third Movement, m. 163 violins, flutes (8va)

- A 411 A I I I I it M 0 LL if JIN% ---i 737Tqw dr 'ad 11 k\-\ if 612-- 71

E. Des knaben Wunderhorn, "Revelge," m. 63

1 54

F. Seventh Symphony, Second Movement, m. 93 first violins

17, b & 70 lot 012 k

-OL

IT 1 -"q"*

G. Eighth Symphony, First Movement, m. 102 solo soprano

H. Das Lied von der Erde, "Der Einsame im Herbst," m. 87 first flute, first violin

owIda r 01% IV v

1 A third idiomatic passage, the "farewell" motive, consists merely of two notes in stepwise downward motion, the second of which is relatively longer than the first. Although this pattern is obviously too common to be called a quotation when used in conjunction with other motivic materials, in this instance it is used as a separate entity, the usage is often both thematic and motivic, and it has a specific archetypal connotation. It appears to have been inspired either by Beethoven's "Farewell" Sonata (see example 34-A) or by a motive from

Strauss' Tod und Verkldrung that is used to represent the dying hero's farewell to the world (example 34-B).

Example 34: "Farewell" motive -- other composers A. Beethoven Sonata Op. 81a, "Les Adieux," m.13

B. Strauss Tod und Verkl&rung, m. 7

3 The words "Lebe wohl," or "farewell," appear above these three chords in the piano part. 56

Mahler first used this motive in his Third Symphony (example 35) as a setting to text by Nietzsche that had no relation to the connotations of Beethoven and Strauss. Also, in this instance, the third note in the

Beethoven motive was omitted. The "farewell" motive next appears in the closing measures of "der Abschied" (or "the farewell") from Das Lied von der Erde, here with the third note included (example 36).

Example 35 Third Symphony, Fourth Movement, m. 21 alto

V- Ll4110

Example 36 Das Lied von der Erde, "der Abschied," m. 521 alto

i I i/ I A ---- I "

j I 1 I I . Jt

The third idiomatic passage appears throughout the Ninth Symphony

in its most programmatic form. As was mentioned earlier, Mahler 57 expected this symphony to be his last, and he therefore used the "farewell" motive together with his "autobiographical quotations" as a means of summing up his life. The motive is first used as the basis for the first theme of the First Movement (example 37). It brings in the first theme at measure seven, and is then repeated going into measure eight before new materials are introduced. The motive continues to permeate the themes of the First Movement, and ends the movement with its only appearance in the original three-note form (example 38). The motive also appears in the first theme of the Second Movement (example 39) and plays an important role in the rest of the movement, but the motive is abandoned in the Third Movement except for a few passing references, such as the one shown in example 40. Finally, the motive returns as an important thematic basis for the Fourth

Movement (example 41 shows its position in the first theme of the movement). The "farewell" motive also appears in the Fourth Movement (example 42) using a diminution of the rhythmic pattern of the quotation from Das Lied von der Erde (cf. example 36).

Example 37 Ninth Symphony, First Movement, m. 7 second violins 58

Example 38 Ninth Symphony, First Movement, m. 448

Ik~J . T I11 ..

1 I I

Example 39 Ninth Symphony, Second Movement, m. 15 1st clarinet (in B-flat)

ITE 41

Example 40 Ninth Symphony, Third Movement, m. 284 horns

A I&

IT% FAA

1 59

Example 41 Ninth Symphony, Fourth Movement, m.3 violins

J.1

Example 42 Ninth Symphony, Fourth Movement, m. 17 first horn

iza- 4

A fourth idiomatic passage consists of a descending line containing triplets or other groups of three, with the second note of each group functioning as an escape tone. Example 43 shows the various manifestations of this motive as it appears in Mahler's works. 60

Example 43: Fourth idiomatic passage A. Second Symphony, Third Movement, m.509 first violins

B. Fourth Symphony, Fourth Movement, m.173 violas

3 3

C. Fifth Symphony, First Movement, m. 286 woodwinds (coil 8va)

A .

I - I 1 -3 61

D. Ninth Symphony, First Movement, m. 87 first violins

43 3

A fifth idiomatic passage first appeared in Mahler's incidental music to Der Trompeter von Sdkkingen, although this motive is commonly found in works by other composers. It was used by Schubert quite frequently as a thematic basis, for example, and it is shown here as a basis for the second theme of Glinka's Russian and Ludmilia overture (example 44):

Example 44 Glinka: Russian and Ludmilla, Overture, m. 81 bassoons, strings

WAOR

Mahler used this motive to open "Werner's serenade," a trumpet solo from his Trompeter von Sdkkingen (example 45), and the entire theme is subsequently used in a trumpet solo in the "Blumine" 62

Movement of his First Symphony (example 46). This original Second

Movement was later discarded, but the opening motive remained as part of the present Second Movement (example 47-A). A later

appearance of the motive in the Third Symphony is not in context with the rest of the movement in which it occurs, and is thus readily

identifiable (example 47-B). Although in its last appearance in the

Tenth Symphony the "Werner" motive is used as a basis for themes in the Fourth Movement, it nevertheless stands out as a reference to

Mahler's early incidental music, particularly because it is once again assigned to a solo trumpet (example 47-C).

Example 45 Der Trompeter von Sakkingen, "Werner's serenade" trumpet

5 63

Example 46 1.2.5 First Symphony, "Blumine" Movement, m. 5 trumpet (in F)

lei dw TI

Example 47: Manifestations of "Werner" motive

A. First Symphony, Second Movement, m. 18 bassoons, strings

TI z

B. Third Symphony, Third Movement, m. 307 1st horn (in F) 64

C. Eighth Symphony, First Movement, m. 108 violins

Al A :1!-L n r-" 1 11 - I I IA~~Ik 11 IA" I I FA IIz- 1k 1 i I'_ iiiz 1z I I L. 1 1

D. Tenth Symphony, Fourth Movement, m. 25 1st trumpet (in F)

Another frequently recurring device in Mahler's works is not motivic or thematic but, rather, is a polyrhythmic textural setting based on the sounds of nature, usually employed in the codas or codettas of symphonies and assigned to soloists. Although no literal quotation exists between the different occurences of this textural setting, its appearance in the Ninth Symphony was clearly inspired by earlier examples. This frequently-recurring textural setting will be dealt with here, because an examination of the evolution of this setting 65 will show further proof of the development of Mahler's techniques of motivic integration. Beethoven set the precedent for the setting in the coda of his Sixth Symphony when he combined imitations of three different birds in a polyrhythmic setting (example 48):

Example 48: Embryonic form of polyrhythmic setting Beethoven: Sixth Symphony, Second Movement, m. 129 flute (nightingale); oboe (quail); clarinet (cuckoo)

Al1 11 11 1'1 11 11 %Lz444i4 4L

k o

Id I II

homod L I 1 66

Mahler used similar bird calls in a transitional passage in the First

Movement of his First Symphony (example 49). Although in this example the two calls are not simultaneous, the rhythmic contrast

between the two voices is still evident. Later in Mahler's works this

idiomatic polyrhythmic textural setting becomes more abstract; the

direct imitation of natural sounds disappears and themes, rather than

motives such as those in the First Symphony, are employed. In example 50, taken from the Fourth Symphony, three rhythmically

contrasting voices create the transition between the development and the coda of the First Movement.

Example 49 First Symphony, First Movement, m. 167 piccolo (cuckoo); flute (nightingale)

3 3 3

1 67

Example 50 Fourth Symphony, First Movement, m. 334 first horn, violins (8va), cello

I1 -7

i 1 14 r J

I At 11 1 F

A A - -all w -odd

lie% irk

J t r -r

In the Seventh and Ninth Symphonies the idiomatic setting takes on a much more complex form; military rhythms and melodic themes are added to the sounds of nature. La Grange described the resulting sound in the following manner: 68

One of the childhood memories later evoked by Mahler concerned his impressions when he was alone in an Iglau forest and suddenly heard in the distance several harmoniously blended sounds: the singing of thousands of birds, a military band, the peasants' dances. Mahler considered that this memory had a special significance; to him it symbolized the principle of polyphony, with each voice going its own way, while the artist unites and controls the whole. 4

The Seventh Symphony marks the first incidence of Mahler's addition

of military-influenced passages to the "nature" setting, but, instead of

merely in a closing section, the idiomatic texture can be found

throughout the Second Movement. Example 51 shows the contrasting

rhythms present near the beginning of the movement, and example

52 shows the different motives present in a later passage which follows a gradual build-up of voices patterned much like the converging events described in the passage above.

4La Grange, 55. 69

Example 51 Seventh Symphony, Second Movement, m. 12

A I _ 49 As - AM i

3 3 3 3 3 3

low leiI

Val 3 3

3 70

Example 52 Seventh Symphony, Second Movement, m. 27 A. flutes, bassoons

V4r V V A

-p

B. oboes

. - -- I - I 1 -- I AM I L L L to" .7 L Pw 7 -7 lk I N

lot F^ I a \.LV 71

C. clarinets

D. horns, strings

M1_

The idiomatic polyrhythmic setting last appears at the coda of the

First Movement of the Ninth Symphony, where bird-style calls are combined with elaborations on motivic quotations, using a complex polyrhythmic texture that at some points borders on pointillism.

(Example 53 shows a small section of this passage). Compared with the previous examples, this excerpt shows the chronological 72 movement, within a similar format, from a blatant imitation of natural sounds to a cohesive blend of abstract elements. Mahler's treatment of quotations followed a similar chronological pattern, and it was thus that they were combined into a whole in the Ninth Symphony. Example 53 Ninth Symphony, First Movement. mm. 376-384 73

L 7 -M L . d ~ k.. 0 Nd M. , o A ,%7 - Cb T~L-% t __ Flute, Piccolo __1 3 __ atm._ __ _olr r A f___ Ar Oboe

English Horn

Clarinet P AA Pa sip Horns I

Trumpet

p10

String

mmmmm

__ _ T

Ob.

E.H.

Cuar.

3 2

True. 3

Str. 3 EPILOGUE

The use of quotation was not widely practiced by Mahler's

successors, with the notable exception of Sch6nberg's use of "Ach, du

lieber Augustin" in the Scherzo of his Second Quartet.' The methods of integration that Mahler developed, however, that made so many of

his quotations in his later works plausible, influenced Sch6nberg and later members of the Second Viennese School. It was with these

techniques that Mahler ended the Romantic era with his Ninth Symphony and opened the way for the next generation. 2 As Zoltan Roman remarked upon the influences of Mahler,

The attention to clarity, present from the beginning, and the ever increasing use of non-stratified instrumental colour, as well as of stratified dynamic structures...were adopted and fully developed by such forces of the twentieth century as Schoenberg, Webern, and Stravinsky. 3

Dika Newlin, in reference to Sch6nberg, stated that "cyclic form, achieved through ... quotation ... brings about unity in spite of the problems of organization created by the presence of instrumental movements and vocal movements in one and the same composition." 4

SDika Newlin, Bruckner, Mahler, Schoenberg, rev. ed. (New York: WW Norton, 1978), 2International Gustav Mahler Gesellschaft, "Preface" of Philharmonia edition of Symphony IX by Gustav Mahler (1912). 3 Roman, 287. 4Newlin, 234-5.

74 APPENDIX

75 76

All examples listed in the appendix are in chronological order of composition, compiled from Mitchell, La Grange, Bauer-Lechner, and

Alma Mahler, and are referred to by an identification number which consists of the number of the symphony or song , followed by the number of the movement (where applicable), followed by the number of the first full measure in which the quotation occurs. The songs are listed according to the numbers that have been assigned to them in the song index. The identification number "3A3.27," for instance, would indicate an example beginning at measure 27 of "Trost im

Unglck." In some instances the single melody lines listed here are not sufficient to convey similarities that cannot be shown, such as preparation and background. 77

SONG INDEX

1. (Preceding First Symphony) A. Das kiagende Lied (1878-1880) 1."Waldmarchen" 2. Part I ("Der Spielmann") 3. Part II ("Hochzeitstiick")

B. Drei Lieder (1880) 1."Im Lenz" 2.'Winterlied" 3."Hans und Grethe" C. FCnf Lieder (1880-1883) 1. "Frulingsmorgen" 2. "Erinnerung" 3. "Serenade" 4. "Phantasie"

D. Vier Lieder eines fahrenden Gesellen (12/1884) 1.'Wenn mein Schatz Hochzeit macht" 2."Ging heut morgen fiber's Feld" 3."Ich hab' ein gluhend Messer" 4."Die zwei blauen Augen" 2. (Preceding Second Symphony) A. Nine songs from Des knaben Wunderhorn (with piano; 1888-1891) 1."Um schlimme Kinder artig zu machen" 2."Ich ging mit Lust durch ein grunen Wald" 3."Aus! Aus!" 4."Starke Einbildungskraft" 5."Zu Strassburg auf der Schanz" 6."Abl6sung im Sommer" 7."Scheiden und Meiden" 8. "Nicht Wiedersehen!" 9. "Selbstgefuhl"

3. (Preceding Third Symphony) A.Ten songs from Des knaben Wunderhorn (with orchestra; 1892-1896) 1."Der Schildwache Nachtlied" 2."Verlor'ne Mfih"' 3.'Trost im Unglck" 4.'Wer hat dies' Liedlein erdacht?" 5."Das irdische Leben" 6."Des Antonius von Padua Fischpredigt" 7."Rheinlegendchen" 8."Lied des Verfolgten im Turm" 9."Wo die schnen Trompeten blasen" 10."Lob des hohen Verstandes" Also included in the piano edition: 11. "Urlicht" 12. "Es sungen drei Engel"

B."Das himmlische Leben" (1892)

4. (Preceding Fourth Symphony) A. Sieben Lieder aus letzter zeit 1. "Revelge" 2. "Tambourgsg'sell" 78

5.(Preceding and coinciding with Fifth Symphony) A. Kindertotenlieder (1901) 1."Nun will die Sonn' so hell aufgeh'n" 2."Nun seh' ich wohl, warum so dunkle Flammen" 3."In diesem Wetter"

B.F inf Lieder nach Ruckert (1901-1902) 1. "Ich atmet' ein Linden Duft" 2. "Ich bin der Welt abhanden gekommen" 3."Um Mitternacht" 4."Blicke mir nicht in die Lieder"

6. (Preceding Sixth Symphony) A. Kindertotenhieder 1 ."Wenn dein Mfitterlein" 2."Oft denk' ich, sie sind nur ausgegangen"

B.Fnf Lieder nach Ruckert 1. "Liebst du um Sch6nheit"

9. (Preceding Ninth Symphony) A. Das Lied von der Erde (1907-1908) 1."Das Trinklied vom Jammer der Erde" 2."Der Einsame im Herbst" 3."Von der Jugend" 4.'Von der SchOnheit" 5."Der Trfnkene im Frfihling" 6."Der Abschied" 79

1A1.76

Source: Bruckner Fourth Symphony Fourth Movement mm.277-280

Al1 3 3

-I. I IM

3 3

3 80

Location: Das kiagende Lied "Waldmirchen" mm.76-79

A rm"

3 3

3 t

-q"" u 81

1A1.127

Source: Bruckner Fourth Symphony Second Movement mm. 3-5 cellos

-soul

Location: Das klagende Lied "Waldmirchen" mm. 127-130 tenor

3 82

1D2.3 Source: Beethoven Fourth Symphony First Movement mm. 107-109

t " 1 I iI L"% ri -- loorI 1% i p .01 VVII I 3 I

Location: Lieder eines fahrenden Gesellen "Ging heut' morgen iber's Feld" mm.3-4

IMlei

1 83

1.1

Source: Lieder eines fahrenden Gesellen "Ging heut morgen iber's Feld" (entire song)

Location: First Symphony First Movement (interspersed with contents of entire movement)

1.2.1

Source: Drei Lieder "Hans und Grethe" mm. 12-15 piano

1 84

Location: First Symphony Second Movement mm. 1-15 strings

TI -T-

1.2.5

Source: Der Trompeter von Sakkingen 'Werner's Serenade" trumpet

-- A Ji - 1 -6 - -- ! ,i ) -~I I~ PM low V Ll 3E:g: I fE: Drlr ] I _' - L I ' I i

L LJ I "

5 85

Location: First Symphony "Blumine" Movement (original Second Movement) mm. 5-10 trumpet (in F)

'Mari Uff -,p -P

Comments: La Grange, 717. The second to sixth notes, bracketed above, are also used as a motive throughout the existing Second Movement.

1.2.34

Source: Drei Lieder "Hans und Grethe" mm. 12-15 piano

0-1

1 86

Location: First Symphony Second Movement mm. 34-37 woodwinds

A 44 Adlkh A& --- - I :m Li w it"n ,rwv )w - #!=-SIL I -ffw7U-

v -,qq 1

1.3.3

Source: French traditional "Frere Jacques"

I - -LI_ 3 li ::: I rI

A I I tj I Ar -f%

EDE 87

Location: First Symphony Third Movement mm.3-10 contrabass

1.3.105

Source: Das klagende Lied "Waldmirchen" m.4 clarinets

I -1 I - i Idi 88

Location: First Symphony Third Movement m.105 violins

1.3.110

Source: Lieder eines fahrenden Gesellen "Die zwei blauen Augen" mm. 1-2 woodwinds, harp

Idi 17 AIMI MM F qw. 717

...... -loft

AMI

1 89

Location: First Symphony Third Movement mm. 110-111 flutes, harp

n "W9 r' IIA AN -h A

" " 90

1.4.215

Source: Brahms Nanie, op. 82 mm. 1-5 oboe

Location: First Symphony Fourth Movement mm. 215-218

-3 -,r---3 -- ,

3 u 91

2A8.52

Source: First Symphony Third Movement mm. 86-89 1st violin

Location: Des knaben Wunderhorn "Nicht Wiedersehen!" mm. 52-55 voice

4 92

2.1.270

Source: Liber Usualis "Dies Irae" m.1

rN -T

Location: Second Symphony First Movement mm. 270-273 horns

3 93

2.3 Source: Des knaben Wunderhorn "Des Antonius von Padua Fischpredigt" (entire song)

Location: Second Symphony Third Movement (interspersed with contents of entire movement)

2.5.194

Source: Beethoven Sonata Op. 111 First Movement mm. 20-21

" '"'"

s'J sT

Location: Second Symphony Fifth Movement mm. 194-196 cellos

1 94

2.5.166

Source: Des knaben Wunderhorn "Zu Strassburg auf der Schanz" mm. 39-42 voice

6 v t0 I A, S_

Location: Second Symphony Fifth Movement mm. 166-169 1st trombone

4 95

3A2.78

Source: Beethoven Eighth Symphony FirstMovement mm. 1-2 violins (8va)

A wl 0 AF k 4 r A% v- 0& a, r I-_ J v z r I I v L I I I

Location: Des knaben Wunderhorn 'Verlor'ne Mfh"' mm. 78-79 voice, oboe

Comments: Mahler whistled the Beethoven version every day upon arriving home to signal his cook to serve up the soup. La Grange, 382. 96

3A3.13

Source: "Husarenliebe" (Silesian folk song)

Location: Des knaben Wunderhorn "Trost im Unglck" mm. 13-14

4 LNI 97

3A6. 101

Source: Beethoven Sonata no. 10, Op. 96 Third Movement mm. 33-40 violin

A I tj I V. - * -,Or VS-1 ......

Fv. Lv ......

Ida Litz z 5 UI'l"

9 98

Location: Des knaben Wunderhorn "Des Antonius von Padua Fischpredigt" mm. 101-108 violas

-- II

K olkU I fl I

7 99

3A9.5

Source: Luigi Denza "Funiculi-Funicula" mm. 1-4 (introduction; Ditson edition)

FI 3

Location: Des knaben Wunderhorn "Wo die schonen Trompeten blasen" mm. 5-8

k, Aw| L P 100

3A10.70

Source: Schubert Sonata D. 894 Fourth Movement mm. 21-22

-----A 9 -t - 4 AM I ______Min- m a I I- AW v -9 pw -' I I I I /11-7 I ~ AMW - I

______l ' F ~

!L-4- I 1 a11L I i

ulocation: Des knaben Wunderhorn "Lob des hohen Verstandes" mm. 70-71 violins (8va); 1st clarinet and violas

SIIIi ~ t 101

3.1.200

Source: Brahms First Symphony First Movement m. 23 strings

I 1 I

I qw no - v i - 0 1 1

Location: Third Symphony First Movement mm. 200-202 1st trombone

r-3 -, r--31-

---- r . jI _I I I F I

I Jw i a I r --

r I

I 102

3.1.258

Source: Weber/Mahier Die drei Pintos Act II "Entr'-Akt" mm. 5-6

'5 1 -

Location: Third Symphony First Movement mm. 258-259 oboe

40 ~Jr _i

1~ I - i 103

3.1.273

Source: Erk/BOhme #1700 ("Burj3chenj3chaftslied") mm. 1-4

---A 9 i f II Ii1 I I A 1I I ------7] 1 8I I I

Location: Third Symphony First Movement mm. 273-276 1st horn (in F)

Comments: La Grange, 803. Some have attributed this theme to the Fourth Movement of Brahms' First Symphony; however, since the German folk tune also appears in Brahms' Academic Festival Overture, it would appear that both composers were influenced by the same source. 104

3.1.279

Source: Des knaben Wunderhorn "Lied des Verfolgten im Turm" mm. 80-82 voice

Location: Third Symphony First Movement mm. 279-280 1st flute

Comments: See also 9.3.292. 105

3.1.336

Source: First Symphony Fourth Movement mm. 644-645 woodwinds, horns

Location: Third Symphony First Movement m.336 woodwinds (8va)

33 106

3.1.721

Source: Bruckner Seventh Symphony Second Movement mm.7-9 1st violins

Location: Third Symphony First Movement mm.721-727 trombone

4 107

3.2.244

Source: Schubert Trio, D. 929 First Movement mm.84-86 piano

3 3

3 V~if

33 108

Location: Third Symphony Second Movement mm. 260-262 violins

3 3 3 3 4

Comments: Whaples.

3.3

Source: Des knaben Wunderhorn "Ablosung im Sommer" (entire song)

Location: Third Symphony Third Movement (interspersed with contents of entire movement) 109

3.3.111

Source: Haydn Symphony no. 88 Third Movement mm. 51-53 flutes, bassoons, strings

e g _ 1 . ____

7~n

0 l-t 110

Location: Third Symphony Third Movement mm.111-113 flutes, bassoons

3.3.180

Source: Des knaben Wunderhorn "Der Tamboursg'sell" mm. 9-11 voice 111

Location: Third Symphony Third Movement mm. 180-183 1st flute (8va)

AftI

3.3.293 Source: Glinka Iberian Suite, "Jota Aragonesca" mm. 33-40 clarinet, bassoon

5 112

Location: Third Symphony Third Movement mm. 293-296 posthorn (in B-flat)

4.1.4

Source: Schubert Sonata D. 568 First Movement mm. 53-56

3 113

Location: Fourth Symphony First Movement mm. 4-7 1st violin

4.2.78

Source:Des knaben Wunderhorn "Des Antonius von Padua Fischpredigt" mm. 143-144 1st oboe

'' T J _ - r RNC===P L. , 'IL A& AM lop, at "1 114

Location: Fourth Symphony Second Movement mm. 78-79 1st oboe

Comments: See also 9.2.240.

4.4.128

Source: Schubert Sonata D.850 Fourth Movement mm. 30-31

i 211 1 r " r I .1 1 - It v 3 r

Location: Fourth Symphony Fourth Movement m. 128 1st violins

3 115

5B3.17

Source: Fourth Symphony Third Movement mm. 74-75 1st violins

Location: Ffnf Lieder nach Ruckert "Um Mitternacht" mm.17-18 oboe d'amore (in A)

Comments: Mitchell III, 56. 116

5.1.1

Source: Mendelssohn Songs without Words, Op. 63 no. 3. (funeral march) mm. 1-4

4 3 3 117

Location: Fifth Symphony First Movement mm. 1-3 1st trumpet (in B-flat)

1 3 3 3 lot 0%0 %1

A 3 3

7 118

5.1.311

Source: Kindertotenlieder "Nun will die Sonn' so hell aufgeh'n" mm. 13-15 voice

Location: Fifth Symphony First Movement mm. 311-316 flute

Comments: See also 6.3.1. 119

5.2.188

Source: Piano Quartet (1876) (See La Grange, 721) First Movement m. 3 piano

P. H ) . 1 1

Location: Fifth Symphony Second Movement mm. 188-194 cellos

6 120

5.3.818

Source: Weber/Mahler Die drei Pintos Act III, no. 17 mm. 141-142

_J8 :4 I r)v

" v t r

Location: Fifth Symphony Third Movement mm. 818-819

A Id loop -7S lot [6 -7 -Ar 121

5.4.2

Source: Kindertotenlieder "Nun seh' ich wohl, warum so dunkle Flammen" mm. 1-2

AdA

Location: Fifth symphony Fourth Movement m.2 1st violins

61 all 122

5.4.3

Source: Fznf Lieder nach Ruckert "Um Mitternacht" mm. 22-24 voice

Location: Fifth Symphony Fourth Movement mm. 3-4 1st violins

J H H

1 I 123

5.4.95

Source: Finf Lieder nach Ruckert "Ich bin der Welt abhanden gekommen" mm. 7-10 woodwinds, low strings

-A I ld I F 17, A Mae IVNI v ILA Ev

-A~ -0

I -VLI Air SI-E ro -' -

-ll L - I---rl 124

Location: Fifth Symphony Fourth Movement mm. 95-103 strings

A i :t -a- k

7i-0 -ra 125

0 .

-8 _ -0~

[ L

3 - 126

5.5.95 Source: Des knaben Wunderhorn "Lob des hohen Verstandes" mm. 1-5 woodwinds (staggered)

loco

-A i I i 1 - - I 4 I

Location: Fifth Symphony Fifth Movement mm. 95-101 horns, 1st violin

- I

I ______i II lEi qw " r i 127

6A2.69

Source: Weber/Mahler Die drei Pintos Act II, no. 10 mm. 10-11

%.OFOd

Location: Kindertotenlieder "Oft denk' ich, sie sind nur ausgegangen" mm. 69-71

I ONEENNOMM" L li I :4 U di

I II i 3 128

6.1.472

Source: Liszt: Piano Concerto no. 1 Second Movement mm. 36-37 cellos

II IL -11? -p "0 dw U., A

-- TT Im 111 I

Location: Sixth Symphony First Movement mm. 472-473

A lotw '"a T I aI A A 60 TT 129

6.3.1

Source: Kindertotenlieder "Nun will die Sonn' so hell aufgeh'n" mm. 13-15 voice

Location: Sixth Symphony Third Movement (Andante Moderato) mm. 1-2 and 35-36 1st violins; woodwinds

14l

Comments: See also 5.1.311. 130

6.4.3 Source: Fifth Symphony Second Movement mm. 386-391 woodwinds (coll 8va)

* P 1 I

Oman mw*

Location: Sixth Symphony Fourth Movement mm. 3-8 1st violins (8va)

4 131

6.4.344

Source: Bruckner Fourth Symphony Second Movement mm. 6-9 cellos, violins

VII/ 132

Location: Sixth Symphony Fourth Movement mm. 344-349

A I lo b TaIJ I I

IZII

5 I

" 133

7.2.28

Source: Second Symphony First Movement m. 429 woodwinds

Ir11

Locations: Sixth Symphony Seventh Symphony First Movement Second Movement mm. 59-60 mm. 28-29 woodwinds horns

A w Ira Lit- F-Thall lot 134

7.2.131

Source: Third Symphony First Movement mm. 343-344 trumpets

A IT U 462

Location: Seventh Symphony Second Movement mm. 131-132 1st horn

1 135

7.5.370

Source: Bruckner Fifth Symphony Fourth Movement mm. 175-176 horns

Location: Seventh Symphony Fifth Movement mm. 370-371 trumpets

A I FA I 112 I 40t% A 136

8.1.48

Source: Weber/Mahler Die drei Pintos Act I, no. 1 mm. 50-53 Gaston

Location: Eighth Symphony First Movement mm. 48-51 1st soprano

3 137

8.1.58

Source: Fifth Symphony Fourth Movement mm. 54-58 1st violins (8va)

A I I . AM FA AM I V z lz li A Am I

A Id IV, k L At I%- KI v

4 q«

6 138

Location: Eighth Symphony First Movement mm. 58-60 flutes (8va)

AAk

8.1.119

Source: Seventh Symphony First Movement mm. 335-337 horns, trumpets

A 4 m, A A o.. ILL .1 4. -LL .I ff flaw 4?f-V 31 -he - - 3al -"Ifli X v, u :A Fkf t)

Location: Eighth Symphony First Movement mm. 119-121 sopranos, altos

A I tj I V. A Ar 11 1 I&S -r-#w v v fall 139

8.2.264

Source: Sixth Symphony First Movement mm.77-78 (Alma's theme) 1st violins

WA\I I

Location: Eighth Symphony Second Movement mm. 264-265 1st violins

A ~~ZZ7Now% tj I V.I -in 13 L II v a AML -f A% IF -

rr v I MU\ I I . i v

1 140

9A3.48

Source: Eighth Symphony Second Movement mm. 436-438 flutes (8va)

1 -12 r Ida Im

-__. -1 MMMMMIL-

Location: Das Lied von der Erde "Von der Jugend" mm. 48-49

m I IV AM tLSLS

1 141 /

9A6.120

Source: Bruckner Seventh Symphony Second Movement mm. 192-193 1st horn

Location: Das Lied von der Erde "Der Abschied" mm. 120-122 alto, horn

L.i

-I1 U 142

9.1.7 Sources: Beethoven Sonata, Op.81a mm. 7-8

1 Le- be wohl

Strauss Tod und Verkldrung m.1

IPA

low

Location: Ninth Symphony First Movement m.7 violins

IL ol U AL TT A 143

9.1.32

Source: Brahms First Symphony Second Movement mm. 40-41 oboe

Air

Location: Ninth Symphony First Movement mm. 32-33 1st violins

1 144

9.1.39

Source: Fifth Symphony First Movement mm. 155-163 1st trumpet

10 145

Location: Ninth Symphony First Movement mm. 39-42 violins (8va and 15ma)

Adlk

9.1.43

Source: First Symphony Fourth Movement m.8 woodwinds (8va)

fto

Location: Ninth Symphony First Movement m. 43 oboe

1 3 146

9.1.62

Source: Sixth Symphony First Movement m.8 violins

Ira V- u 11*

Location: Ninth Symphony First Movement m.62 2nd violins

AM I -17

Comments: This motive was also used in the concluding theme of Mahler's early Piano Quartet (La Grange, 721). 147

9.1.92

Source: First Symphony Fourth Movement mm. 206-209 1st violins

Location: Ninth Symphony First Movement mm. 92-95 winds

3 148

9.1.105

Source: Fifth Symphony Second Movement mm. 497-500

NL hI

.3 ,- , 3 - ,

Location: Ninth Symphony First Movement mm. 105-106 winds

3 3 3

1 3 3 3 3 149

9.1.168

Source: First Symphony First Movement m.9 clarinet

3 r-3, r-3 -, 3

Location: Ninth Symphony First Movement mm. 168-169 trumpet

A w 3 3 3 tin Til

S1 150

9.1.268

Source: Eighth Symphony Second Movement mm. 1170-1172 violins

Ad AP, ,or -u TI VN ii 0-)

Location: Ninth Symphony First Movement mm. 268-269 solo violin, 1st violins; horns

AJi

1l 151

9.1.281

Source: Eighth Symphony First Movement m. 50 1st soprano (8va)

Location: Ninth Symphony First Movement m.281 1st violins

1L 152

9.1.377

Source: Second Symphony Fifth Movement m.336 piccolo

Location: Ninth Symphony First Movement m.377 1st flute (8va) 153

9.1.453

Source: First Symphony First Movement m.1 strings

'A0

Location: Ninth Symphony First Movement mm. 453-454 strings, harp, piccolo

00O

1fft-T 154

9.2.40

Source: Fourth Symphony First Movement mm. 1-3 flutes

4L I LM 1 toy I I I I J

Location: Ninth Symphony Second Movement mm. 40-45 and 49-57 horns

1 155

9.2.57

Source: Sixth Symphony Scherzo mm. 14-15 1st trumpet

Or-1F

Location: Ninth Symphony Second Movement mm. 57-58 2nd violins

1 156

9.2.69

Source: FdnfmLieder nach Ruckert "Um Mitternacht" m.24 voice

Location: Ninth Symphony Second Movement m. 69 1st oboe

1 9.2.77

Source: Fourth Symphony Second Movement mm. 27-28 clarinet (8va)

'Lrr

Location: Ninth Symphony Second Movement mm. 77-78 violins

6 6 1 dft 158

9.2.89

Source: Sixth Symphony scherzo mm. 11-12 woodwinds

Location: Ninth Symphony Second Movement mm. 89-90 violas

1 159

9.2.216

Source: Fifth Symphony Fifth Movement mm. 169-171 horns

Location: Ninth Symphony Second Movement mm. 216-217

1 160

9.2.240

Source: Fourth Symphony Second Movement m. 78 1st oboe

Location: Ninth Symphony Second Movement m.240 flutes

1 161

9.2.366

Source: Fourth Symphony Third Movement mm. 286-288 horns (in F)

Location: Ninth Symphony Second Movement mm. 366-368 1st violins

r:1

nit

1 162

9.2.539

Source: Des knaben Wunderhorn "Des Antonius von Padua Fischpredigt" mm. 177-178 strings

CP 40 1 Mod

Location: Ninth Symphony Second Movement mm. 539-540 horns, bassoons

II I 1 163

9.2.543

Source: Das Lied von der Erde "Von der Sch6nheit" m.8 woodwinds

162 4 162

Location: Ninth Symphony Second Movement m. 543 1st violins

1 > 164

9.3.1

Source: Fifth Symphony Third Movement m. 1 horns (in F)

Location: Ninth Symphony Third Movement m.1 1st trumpet (in F)

MMMM9 OfW- 165

9.3.2

Source: Fifth Symphony Second Movement m.1 strings, bassoons

9.g

Location: Ninth Symphony Third Movement m. 2 strings

9.3.4

Source: First Symphony Fourth Movement mm. 55-56

A I I I I ArLa hIV. h z:rIL k I I I I I -fA% 166

Location: Ninth Symphony Third Movement m.4 woodwinds, low strings

i -A. - Aidb .1 vm_to 'Wift - - Of

111 9.3.9

Source: Des knaben Wunderhorn "Revelge" mm. 8-9 voice

Aft

Location: Ninth Symphony Third Movement mm. 9-10 violins

-A Ar FA% " I I V li 167

9.3.60

Source: Des knaben Wunderhorn "Das irdische Leben" mm. 7-10 voice

Location: Ninth Symphony Third Movement mm. 60-63 horns (in F; coll 8vb)

4 168

9.3.259

Source: First Symphony First Movement mm. 25-26 oboe

Location: Ninth Symphony Third Movement m. 259 violas, cellos

1 169

9.3.292

Source: Third Symphony Third Movement mm. 297-280 woodwinds

AM SI . , -- --- I I 1 ' r r_ r r- I1 I I pI A w W I IL I! I i = .. .- I I I - I I I II

uI 1

Location: Ninth Symphony Third Movement mm. 292-295 horns

Comments: See also 3.1.279. 170

9.3.348

Source: Eighth Symphony First Movement mm. 122-123 winds, organ

----A I I L I FA I I V- I zL4--A*4

1 2t

Location: Ninth Symphony Third Movement mm. 348-351 brasses

1 171

9.3.410

Source: Third Symphony Third Movement mm. 125-128 1st violins (8va)

Location: Ninth Symphony Third Movement mm. 410-415 horns, cellos (in F)

4 172

9.3.492

Source: Sixth Symphony Third Movement m.7 strings, woodwinds

Al I

Location: Ninth Symphony Third Movement mm. 492-494 strings

V 171 #-Q

" "n oso

1 -8 173

9.3.524

Source: Lieder etnes fahrenden Gesellen "Ging heut morgen fiber's Feld" mm. 23-25 violins; voice

,- A .. - I wAff A t As

Inv 174

Location: Ninth Symphony Third Movement mm. 524-526 horns (in F)

J -,93

I 9.3.614

Source: Fourth Symphony First Movement mm. 106-107 1st horn

Location: Ninth Symphony Third Movement mm. 614-615 1st horn

ow Mel 'W' WF 175

9.3.645

Source: Fourth Symphony First Movement mm. 173-174 horns

IIM

. . 1 . - -

Location: Ninth Symphony Third Movement mm. 645-646 woodwinds

cir A -14- 1mr -_

1 ;Q7 7 7 7'I

1 176

9.4.15

Source: Kindertotenlieder "Oft denk' ich, sie sind nur ausgegangen" mm. 42-43 voice, strings

-AT 17 -42

Location: Ninth Symphony Fourth Movement mm. 15-16 violins

, i- _ rt Ts - IMP or 131

1 177

9.4.31

Source: Third Symphony Third Movement mm. 184-187 piccolo (8va)

Location: Ninth Symphony Fourth Movement mm. 31-32 1st violins (8va)

Ir 178

9.4.45

Source: Sixth Symphony Fourth Movement mm. 231-235 1st violins (8va); cellos and basses

.. IF

Location: Ninth Symphony Fourth Movement mm. 45-46 2nd violins; bassoons, 2nd horn

n .IEEE] 1-- 179

9.4.88

Source: Das Lied von der Erde "Der Abschied" mm. 55-56 clarinet, harp

1 '-- 3 J '------

Location: Ninth Symphony Fourth Movement mm. 88-89 clarinet, harp

In do 462 'lei

1 180

10.1.32

Source: Das Lied von der Erde "Das Trinklied vom Jammer der Erde" mm. 75-77 woodwinds

I Tv _j Alb I itkXo--

V 1 F - -rw

Location: Tenth Symphony First Movement mm. 32-33

1 T 181

10.2.174

Source: Ninth Symphony Second Movement m. 588 horns, bassoons (in F)

I I Id n IPP- ,or Qj-

-I '

Location: Tenth Symphony Second Movement mm. 174-175 1st horn

i A IoI

1 L 1 I 182

10.2.180

Source: Fourth Symphony Second Movement mm. 215-217 solo violin

AM L 1, 9 A& NOW I -- L 0 L 130 1 -. dat- AP 1 13

Location: Tenth Symphony Second Movement mm. 180-182 1st oboe

6 6r 183

10.4.184

Source: Das Lied von der Erde "Das Trinklied vom Jammer der Erde" mm. 69-74 tenor

rip 92 WOPF

lz Nor 184

Location: Tenth Symphony Fourth Movement mm. 184- 189 solo cello; flutes

Comments: Mitchell III, 451. BIBLIOGRAPHY

Works Cited

Barford, Philip T. "Mahler: A Thematic Archetype." The Music Review XXI/4 (November, 1960), 297-316.

Barlow, Harold, and Sam Morgenstern. A Dictionary of Musical Themes. New York: Crown Publishers, 1948.

Bauer-Lechner, Natalie. Recollections of Gustav Mahler, trans. Dika Newlin, ed. Peter Franklin. Cambridge, New York: Cambridge University, 1980.

Boyd, Malcolm. "'Dies Irae': Some Recent Manifestations." Music and Letters XLIX/4 (October, 1968), 347-356.

Drabkin, William. "Theme." The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: MacMillan, 1980, XVIII, 736.

Erk, Ludwig, and Franz B6hme. Deutscher Liederhort, 3 vols. Wiesbaden: Breitkopf & Hartel, 1963.

Hansen, Mathias. "Zur Funktion von Volksmusikelementen in Kompositionen Gustav Mahlers." Beitrdge zur Musikwissenschaft XXIII (1981)/1, 31-35.

La Grange, Henry-Louis de. Mahler, vol I. Garden City, New York: Doubleday, 1973.

McDonald, Hugh. "Thematic Transformation." The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: MacMillan, 1980, XIX, 117.

McGuinness, Rosamund. "Mahler und Brahms: Gedanken zu 'Reminiszenzen' in Mahlers Sinfonien." Melos/NZ 111/3 (May June1977), 215-224.

Mahler, Alma. Gustav Mahler: Memories and Letters, rev. ed, trans. Basil Creighton. New York: Viking, 1969.

1 85 186

Mitchell, Donald. Gustav Mahler, 3 vols. Berkeley: University of California Press, 1985.

Newlin, Dika. Bruckner Mahler Schoenberg, rev. ed. New York: WW Norton, 1978.

Reti, Rudolph. The Thematic Process in Music. New York: MacMillan, 1951.

Roman, Zoltan. 'The Folk Element in Mahler's Songs." Canadian Association of University Schools of Music Journal XIII/2 (Fall 1978), 67-84.

. Mahler's songs and their Influence on his Symphonic Thought. Ph.D. Dissertation, University of Toronto, 1970.

Whaples, Miriam K. "Mahler and Schubert's A Minor Sonata D. 784." Music and Letters LXV/3 (July, 1984), 255-263.

Works consulted

Banks, Paul. "An Early Symphonic Prelude by Mahler?" Nineteenth Century Music 111/2 (Nov., 1979), 141-149.

Blaukopf, Herta, ed. Gustav Mahler Richard Strauss Correspondence 1888-1911, trans. Edmund Jephcott. Chicago: University of Chicago Press, 1984.

Blaukopf, Kurt, with Zoltan Roman. Mahler: A Documentary Study, trans. Paul Baker et. al. New York: Oxford University, 1976.

Cooke, Deryck. Letter to the Editor. Music Review XXIV/1 (Feb., 1963), 95-96.

Dahlhaus, Carl. "Form und Motiv in Mahlers Neunter Symphonie." Neue Zeitschrift fur Musik CXXXV/5 (April, 1974), 296-299.

Diether, Jack. "Mahler's Klagende Lied -- Genesis and Evolution." Music Review XXIX/4 (Nov., 1968), 268-287.

DuPree, Richard. "Recurring Thematic and Motivic Material in Gustav Mahler's Symphonies I-IX." Master's Thesis, North Texas State University, 1970.

Engel, Gabriel. Gustav Mahler, Song Symphonist, pref. by Jack Diether. New York: David Lewis, 1970. 187

Kravitt, Edward F. "Mahler's Dirges for His Death: February 24, 1901." Musical Quarterly LXIV/3 (July, 1978), 329-353.

Redlich, Hans. Bruckner and Mahler. New York: Farrar, Straus and Cudahy, 1955.

Roman, Zoltan. 'The Chorus in Mahler's Music." Music Review XLIII/1 (Feb., 1982), 31-43.

. "Connotative Irony in Mahler's Todtenmarsch in 'Callots Manier'." Musical Quarterly LIX/2 (April, 1973), 207-222.

Sams, Eric. "Notes on a Magic Horn." Musical Times CXV (July, 1974), 556-559.

Smith, Warren Storey. 'The Cyclic Principle in Musical Design, and the Use of it by Bruckner and Mahler." Chord and Discord II (1960)/9, 3-32.

Walter, Bruno. "Bruckner and Mahler." Chord and Discord II (1960)/9, 41-49.

. Gustav Mahler, trans. James Galston. London: Kegan, Paul, Trench, Trubner, 1937.

Warrack, John. "Mahler and Weber." Musical Times CXIII (Feb., 1967), 120-123.

Williamson, John. "Liszt, Mahler and the Chorale." Proceedings of the Royal Music Association, ed. David Greer, CVIII (1981-1982), 115-125.