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Gustav Mahler: the Symphonies

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Gustav Mahler: the Symphonies Te Hybrid Forms of Mahler’s Late Symphonies Sam Reenan Eastman School of Music | University of Rochester sam-reenan.com/SMT2018.html SMT 2018 | San Antonio, TX | Sunday, 10am I. Introduction II.II. “Der Symphony Abschied,” No. Das9, iv, Lied Adagio von der Erde III.VI “Der Abschied,”III. Symphony Das Lied No. von 9, der iv, Erde Adagio VI IV. Conclusion Rotation 1 Rotation 3 Intro A B Intro A B Rotation 2 Rotation X Intro A B Intro A B Rotation 1 Intro A B Rotational Functions in Late Mahler Two Functional Types: Expositional Recapitulatory “Expositional” Rotation “Recapitulatory” Rotation Intro A B Re-Intro A! Contrasting Temes with Original Contrasting Teme Opposite Modes Doesn’t Materialize Mahler, Symphony No. 9, i: A model for late sonata-like movements “Expositional” Rotation Rotation 1 (Expositional) Intro A B P S DM dm DM Contrasting Temes with Opposite Modes Intro P1.1 P1.2 S1 S2 S3 1 7 18 29 39 42 “Recapitulatory” Rotation Re-Intro A! Original Contrasting Teme Doesn’t Materialize Mahler, Symphony No. 9, i: A model for late sonata-like movements “Expositional” Rotation Intro A B Rotation 5 (Recapitulatory) Contrasting Temes with P Opposite Modes DM Re-Intro P motives S1, S2, & S3 P1.1 P1.2 each try and fail 316 347 357 365 372 “Recapitulatory” Rotation Re-Intro A! Original Contrasting Teme Doesn’t Materialize Rotational Functions in Late Mahler “Expositional” Rotation Intro A B Contrasting Temes with Opposite Modes “Recapitulatory” Rotation Re-Intro A! Original Contrasting Teme Doesn’t Materialize Mahler’s Late Sonata-Like Movements in relation to Mahler’s Broader Practice ex. ex. Adagietto, Symphony 5 Symphony 4, i Not at all “Traditional” a Sonata Symphony 10, v Das Lied von der Erde, vi Sonata Symphony 9, iv Das Lied von der Erde, i Symphony 10, i Symphony 9, i What is the virtue of considering these movement in dialogue with sonata form? Das Lied von der Erde, vi Symphony 9, iv I. Introduction II.II. “Der Symphony Abschied,” No. Das9, iv, Lied Adagio von der Erde III.VI “Der Abschied,”III. Symphony Das Lied No. von 9, der iv, Erde Adagio VI IV. Conclusion Mahler’s Late Sonata-Like Movements ex. ex. Adagietto, Symphony 5 Symphony 4, i Not at all “Traditional” a Sonata Symphony 10, v Das Lied von der Erde, vi Sonata Symphony 9, iv Das Lied von der Erde, i Symphony 10, i Symphony 9, i Is sonata form even generically available in these slow movements? I.I. Introduction IntroductionII. “Der II.Abschied,” Symphony No. Das 9, iv,Lied Adagio von der ErdeIII. “ DerVI Abschied,”III. Symphony Das Lied No. von 9, der iv, Erde Adagio VI IV. Conclusion Mahler, “Der Abschied”: A cross between song cycle and symphony (1908) 1. More clear connections to sonata form are recognizable 2. M. 303 as a dividing point in the movement 3. A tonal teleology exists: the move from cm to CM (per aspera ad astra) To what degree should the movement be considered in dialogue with sonata form? New Philharmonia Orchestra Otto Klemperer, Christa Ludwig, 1966 Exposition I (Rotation 1) P S cm cm FM Introductory Funeral March P1 P2Der TrAbschSie0d S1 S1 Collapse 1 19 32 Das L39ied von d55er Erde, VI69 98 117 Gustav Mahler Transcription by Sam Reenan Schwer. bb 4 ∑ ∑ Oboeœœœnœœ ˙™ œœœnœœ ˙™ Ó Œ ≈œœnœœ œ w Ó ‰™ œnœ œ œ & b4 œ R œ sf p sf p sfp bb 4 ∑ ∑ Œ & b4 ˙ Œ Œ ˙ Œ ∑ Œ ˙™ ˙™ œ bœ sfpp Hornsfpp sfpp {? b 4 b b4 w^ w^ w^ w^ w^ w^ w^ Cellos sfpp sfpp pp = (Tam-Tam) 8 1 b w 5 Ó ‰ œnœ œ œ 4 ˙ Ó ∑ Ó Œ œ &b b 4 J œ 4 œ sfp sf Œ > > > b 5 4 ˙ nœ œ n˙ œ œ œ nœ œ œ ≈ &b b Œ ˙ Œ 4 Œ œ œ Œ Ó 4 bœ nœ bb œ nœ œ n#œ n#œ bnœ œ nnœ nœ œ #œ œ œ œ #œ nœ œ Œ Œ Œ ≈ ≈ ≈ ‰n Jœ œ # œ≈‰ Jœ œ œ≈ sf pp esp. f . {? b 5 4 œ™ j œ™ j b b 4 4 w^ w œ w w w œ œ sfpp pp = 2 œ œ#œnœ 13 bœ œ nœbœnœ ˙ nœ œ œ nœ veloce nœbœ nœ œ œ #œ nœ nœ bœ bbb #œ œ n œ œœ œ œœœnœœ œ™ œ œ nœ œ œ œ œnœ bœ nœ & ‰ Jœ œ # œ ≈ œ n œ≈ œ nœ ≈ nœ . > . > . > . f sfp sf ff b œœœ œ ˙™ ˙ œ > . ≈ Œ ≈ Œ ? &b b nœ ‰ œ œ #œ #œ nœœ nœ J œ ≈ œ b œ b œ œ œ œœ œ n#œ bœ bnœ œ nœ . ≈ ≈ ‰ f J ≈ J œ sf mp . ‰ . ≈ {? b j j j b b ˙ œ™ œ œ™ œ œ™ œ w w ˙ Ó w> = . Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 16 bœ œ œ œ nœ œ bœ œ œ œ nœ œ bœ œ œ œ œbœ œ œ ˙ b bœ w &b b ÆJ ∑ sfp > > sfz p ? œ >œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ bbb ‰ ‰ ‰ ‰ ‰ ‰ Œ p f dim. p j j j j j ≈ j ≈ . {? b ‰ nœn#œ ‰ nœ#œ ‰ œ #œ ‰ nœœ ‰ bnœ œ #œ ‰ œ œ œ Œ ‰ #œ œ bnœ ≈ Œ b b J J J J w J f f p Exposition I (Rotation 1) P S cm cm Recitative Arioso FM Introductory Funeral March P1 P2 Tr S0 S1 S1 Collapse 1 19 32 39 55 69 98 117 Fließend. Im Takt. Alt-stimme. (In erzählenden Ton, ohne Ausdruck.) 19 U sempre p bb Ó ‰ j j j j j j j Œ ‰ j j œ œ œ j j j œ b˙ œ Œ Œ Œ Œ 5 ‰ œ œ j ˙ œ & b œ œ œ œ œ œ œ œ œ ˙ œ œ œ J œ œ œ J 4 J J œ Die Son-ne schei - det hin-ter dem Ge - bir - ge. In al - le Tä-ler steigt der A -bend nie - der mit sei-nen Schat - ten, œ. œ œ œnœ œ ˙ œ œ œnœ œ ˙ œ œnœ œ œ ˙ œ™ œnœ œ œ œ œnœ œ œ œ œ œ œ œ œ -nœ- ˙ b Flute œ œ œ œ œœœ 5 œ &b b ∑ ‰ J Œ ‰ Ó ‰ œ œœ 4 pp pp ? U œj œ 5 { bbb bœ bœ nœ 4 w Œ ˙™ w ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ œ œ pp sempre Cellos (Tam-Tam)25 b 5 &b b Ó Œ Ó 4 Ó Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ “Te sun sinks behind the mountains bb Ó Œ Ó 5 Ó Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & b 4 Evening descends into all the valleys ? 5 { bbb Ó Œ Ó 4 Ó Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ with∑ ∑ its ∑shadows,∑ ∑ full∑ of ∑coolness.”∑ ∑ ∑ ∑ 45 b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? b { b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Exposition I (Rotation 1) P S cm cm Recitative Arioso FM Intro lyric theme Introductory Funeral March P1 P2 Tr S0 S1 S1 Collapse 1 19 32 39 55 69 98 117 4 pp œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ &4 ∑ Ó Œ œ ˙™ ˙ b˙ Ó 3 3 Der Bach singt vol - ler Wohl - laut durch das Dun - - kel. molto esp. sehr hervortretend. Ÿ~~~~~ ™ > > 4 Flute œ œ œ œ ˙™ œ œ œ œ œ &4 ∑ ∑ œ œ œ œ œ œ œ œ œ nœ œ œ nœ œ J œ œ bœ œ œ œ œ œ œ œ sf sf p 3 3 3 3 3 3 3 4 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Bass Cl B 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ pp œ bœ ? 4 œ Œ Ó ∑ ∑ ∑ ∑ ∑ œ Œ Ó ∑ Harp 4 pp “Te brook sings its beautiful song through the darkness. 9 Te fowers grow pale in the twilight. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Te earth breathes flled with rest and sleep, ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & All longing wants to turn to dreams now.” B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Exposition I (Rotation 1) P S cm cm FM Introductory Funeral March P1 P2 Tr S0 S1 S1 Collapse 1 19 32 39 55 69 98 117 Recitative I “Expositional” Rotation Intro A B Contrasting Temes with Opposite Modes Exposition I (Rotation 1) P S cm cm FM Introductory Funeral March P1 P2 Tr S0 S1 S1 Collapse 1 19 32 39 55 69 98 117 Recitative I Exposition II (Rotation 2) P S am BbM AbM A G Introductory Nature Sounds P1 S2 S2 S2 Ecstasy Collapse Retrans 137 158 166 186 229 259 288 Recitative II Exposition II (Rotation 2) P S am BbM AbM A G Introductory Nature Sounds P1 S2 S2 S2 Ecstasy Collapse Retrans 137 158 166 186 229 259 288 193 199 206 3 ˙™ ˙ ™ ™ ™ b˙™ ˙ &4 ∑ ∑ ∑ ∑ ∑ Œ Œ œ œ ˙ bœ Œ œ™ œ™ œ™ bœ œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ich seh - - - ne mich, o Freund, an dei - ner Sei - te. poco a poco cresc. * ™ Vln™ 4 ˙ œ œ œ œ œ 3 #˙™ ˙™ bœ ˙™ ˙™ nœ #œ #œ˙™ <#>œ˙™nœ bœ œ ˙ œ -œ bœ œ ˙™ b˙™ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &4 œ n˙ œ nœ œ œ J œ - - -œ -œ œ œ œ bœ œ œ nœ œ Œ #œ Œ #œ #œ pp > > cresc. 4 4 4 ™ subito ma molto esp. 3 ˙™ ˙™ ˙™ ˙™ ˙™ b˙™ œ œ œ œ œ œ bœ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ ˙™ ˙™ ˙ bœ œ B 4 b˙™ b˙™ ˙™ b˙™ ˙™ ˙™ ‰ ‰ ‰ Œ ˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ p 4 4 cresc.
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