Gustav Mahler: the Symphonies

Home , Christa Ludwig, Das Lied von der Erde

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. #œ bœ œbœ œ #œ #œ bœ œ bœ bœ ? 3 œ œ œ œ œ œ œ nœ œ œ œ œ œ bœ œ œ ˙Harp™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙ bœ 4 œ œ bœ bœ œ œ œ bœ œ bœ œ bœ œ œ bœ œ œ b˙™ ˙™ ˙ ˙ ˙ ˙™ b˙™ ˙™ ˙™ ˙ nœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ œ Œ Œ œ Œ Œ œ œ œ œ bœ bœ bœ cresc. bœ bœ bœ cresc. > > > Viola & Cello “I long, o friend, to enjoy the beauty Of this evening at your side.” 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 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Expanded Funeral March March Continues Apotheosis P1 Kindertotenlieder Quote

303 374 382 430

New Motive “Recapitulatory” Rotation Recapitulation (Rotation 3) P Re-Intro A!

Expanded Funeral March March Continues Original Contrasting Teme Doesn’t Materialize Apotheosis P1 Kindertotenlieder Quote

303 374 382 430

New Motive New Philharmonia Orchestra Otto Klemperer, Christa Ludwig, 1966 Recapitulation (Rotation 3) P

Expanded Funeral March March Continues Apotheosis P1 Kindertotenlieder Quote

303 374 382 430 Recitative III

371 375 (erzählend und ohno Espressivo) , 381 ∑ ∑ ∑ ∑ Ó ‰ j j j j j j j Œ bœ ˙ Œ œ bœ j j j œ œ b˙ œ ‰ œ bœ ˙ bœ bœ ˙ 4 Ó ∑ Ó™ Œ & œ œ œ œ bœ œ œ œ œ b˙ œ œ J bœ œ œ J J bœ bœ œ 4b˙ Er stieg vom Pferd und reich-te ihm den Trunk des Ab-schieds dar. Er frag-te ihn, wo-hin er füh - re und auch war - um, war-um es müß - te sein. Woodwinds p œ - Oboes bœ œ œ Ú 4 œ œ œ œ œ œ ™ œ œ œ & ≈ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 Ó Œ Œ Ó ‰ œ bœ J ‰ ‰ R œ bœ p Bassoons pp f H. orn.s . Clarinets & Cla.rine.ts . > > . . . > > . > > > œ œ œ ˙ 4 bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ B Ó ‰ bœ œ œ b˙ Œ j ‰ j ‰ j ‰ ∑ ∑ ∑ ∑ ∑ Œ Œ Ó™ Ó Œ 4 ‰ J bœ ≈ œ œ ≈ ‰ J bœ ≈ œ œ ≈ ‰ J nœ ≈ œ œ ≈ œ nœ ≈ bœ bœ œ œ œ bw f > > sf f f f ? ∑ ∑ ∑ 4 Ó Œ j ‰ Œ j ‰ Œ 4 bœ œ bœ œ bœ w w w w ˙ w w w wœ poco esp. wœ > > > > Cellos Bass & ppp > > > sfp sfp (Tam-Tam)

384 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó Œ New Philharmonia Orchestra Otto Klemperer, Christa Ludwig, 1966 Recapitulation (Rotation 3) P

Expanded Funeral March March Continues Apotheosis P1 Kindertotenlieder Quote

303 374 382 430 Recitative III

384 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó Œ “He descended from his horse and handed him Recapitulation (Rotation 3) the farewell drink. He asked him where he P was going, and why it had to be.”

Expanded Funeral March March Continues Apotheosis P1 Kindertotenlieder Quote

303 374 382 430 Recitative III

384 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? Œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó Œ Recapitulation (Rotation 3) P

Expanded Funeral March March Continues Apotheosis P1 Kindertotenlieder Quote

303 374 382 430 Recitative III

“Recapitulatory” Rotation

Re-Intro A!

Original Contrasting Teme Doesn’t Materialize New Philharmonia Orchestra Otto Klemperer, Christa Ludwig, 1966 Recapitulation (Rotation 3) P S “Die Liebe Erde...”

Expanded Funeral March March Continues Dissolves infnitely Apotheosis P1 Kindertotenlieder Quote S1 S2 S2

303 374 382 430 460 486 509 Durchbruch 454 460 4 U œ 3 ˙™ ˙ ™ &4 ∑ ∑ ∑ ∑ ∑ Ó Œ 4 œ ˙ ˙ Œ U Die lie - - - - be Er - - de pppp ™ ™ w w ˙ ˙ ˙ ˙ œ œ œ œ œ ˙™ ˙™ 4nw w˙ w w w ˙™ 3 ˙™ œ œ œ œ ˙™ ˙œ™ &4 b˙ b˙ b˙ Œ 4 œ œ œ œ œ œ œ Œ Œ pp pp u Ó œ > > Vlns dolcissimo Strings pp 3 3 U œ œ œ œ œ œ # œ œ œœ # œ œ bœ B 4 œ Œ Ó w ˙ ˙ b˙ ˙ w ∑ 3 œ Œ œ Œ œ Œ œ œœ œ œ œœ œ œ 4bœ bw ˙ b˙ b ˙ ˙ w 4 œ œ œ #œ œ œ #œ œ bœ œ 3 3 pp Harp and Strings 4:3 4:3 w w ˙ ˙ w w Œ Œ U 3 œ œ œ 3 ? 4 ∑ 3 œ œ œ Œ 3 œ œ œ Œ œ œ œ œ Œ œ œ œ 4 4 œ œ œ œ œ œ Œ œ œ œ 3 œ 3 pp 3 ‰ 3 3

464 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ New Philharmonia Orchestra Otto Klemperer, Christa Ludwig, 1966 Recapitulation (Rotation 3) P S “Die Liebe Erde...”

Expanded Funeral March March Continues Dissolves infnitely Apotheosis P1 Kindertotenlieder Quote S1 S2 S2

464 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 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

Recapitulation (Rotation 3) Tragedy Transcended P S “Die Liebe Erde...”

Expanded Funeral March March Continues Dissolves infnitely Apotheosis P1 Kindertotenlieder Quote S1 S2 S2

303 374 382 430 460 486 509 Durchbruch “Recapitulatory” Rotation

Re-Intro A!

Original Contrasting Teme Doesn’t Materialize I.I. Introduction IntroductionII. "Der Abschied,”II. Symphony Das Lied No. von 9, iv,der Adagio Erde VI III. “ DerSymphony Abschied,” DasNo. Lied 9, von iv, der Adagio Erde VI IV. Conclusion Mahler 9, iv, Rotational Form Chart, First Rotation

Rotation 1 bassoon interlude contrasting section

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28 Mahler 9, iv, Rotational Form Chart, First Rotation

Rotation 1 bassoon interlude contrasting section

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28

Sehr langsam und noch zurückhaltend a tempo (Molto adagio) großer Ton ≤ 3 b b ≤ ≥ Strings &b b bc Œ œœ™∫œœnœœ b˙ œ∫œ œbœ ™ j œ ™ >> >> >> > œ nœ œœœ™ nœ œ œ œ œ œ œ dim. œ œ œ œ ˙ œ Vlns lang gezogen p molto espressivo > œ™ j ™ {? b b c ∑ ∑ œ œ bœ œ œ œ œœ œ œnœœœ œ b œ œ b b œ œ nœ nœ œ bœ b˙œ œ nœ nœ œ bœ

28 b # # &b bbb ∑ # #

? # # { bb b ∑ # # b b

Plötzlich wieder sehr langsam und etwas zögernd “” 28 Vlns w≤ ≥™ ≤ , ™ œ #### ˙ œ œ œ œœœœœ œ œ™ œ œ œ œ ˙ & J J pp ohne Empndung ≤ ≥ ?# ## Œ ‰ ‰ j œ nœ œ œ œ Ó { # j œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ pp œ œ œ nœ œ œ œ Cellos œ œ œ œ ppp Cellos and Basses

33 # # & # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # {?## # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Mahler 9, iv, Rotational Form Chart, First Rotation

Rotation 1 bassoon interlude contrasting section

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28

28 b # # &b bbb ∑ # #

? # # { bb b ∑ # # b b

33 # # & # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # {?## # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Berlin Philharmonic, Herbert von Karajan, 1982 Mahler 9, iv, Rotational Form Chart, First Rotation

Rotation 1 bassoon interlude contrasting section

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28

28 b # # &b bbb ∑ # #

? # # { bb b ∑ # # b b

33 # # & # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # {?## # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Mahler 9, iv, Rotational Form Chart, First Rotation

Rotation 1 bassoon interlude contrasting section

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28 Sehr langsam und noch zurückhaltend a tempo (Molto adagio) großer Ton ≤ 3 b b ≤ ≥ Strings &b b bc Œ œœ™∫œœnœœ b˙ œ∫œ œbœ ™ j œ ™ >> >> >> > œ nœ œœœ™ nœ œ œ œ œ œ œ dim. œ œ œ œ ˙ œ Vlns lang gezogen p molto espressivo > œ™ j ™ {? b b c ∑ ∑ œ œ bœ œ œ œ œœ œ œnœœœ œ b b b œ nœ œ bœ œ bœ œ œ nœBerlin Philharmonic, Herbert˙ von Karajan, 1982 œ nœ nœ œ bœ Mahler 9, iv, Rotational Form Chart, First Rotation

Rotation 1 bassoon interlude 28 b contrasting section # # b ^ ^ ^ ^ # # &b b b5 4 3 2 A ∑ B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in A1 A2 B A3 A1 A2 ? b b ∑ of motives # ## { b 1 3 7 11 13 17 21 # b b 28

33 # # & # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # {?## # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Mahler 9, iv, Rotational Form Chart, First and Second Rotations

Rotation 1 bassoon interlude contrasting section

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28

Rotation 2 A B Retransition DbM V DbM T pedal D pedal I c#m (f#m) F#M no B minimized here V V non-thematic mosaic contrapuntal lead-in A1 A2 A3 A1 A2 A1 A1 A2 of motives A3 outburst 49 53 60 64 68 73 77 81 88 107 114 Mahler 9, iv, Rotational Form Chart, First and Second Rotations

Rotation 1 bassoon interlude contrasting section

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m non-thematic mosaic Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28

Rotation 1 bassoon interlude Intro contrasting section A B

^ ^ ^ ^ 5 4 3 2 A B of Fb DbM (dbm) V DbM c#m Contrasting Temes with non-thematic mosaic Opposite Modes Lead-in B A1 A2 A3 A1 A2 of motives 1 3 7 11 13 17 21 28

Rotation 2 Added material Added material A B Retransition DbM V DbM T pedal D pedal I c#m (f#m) F#M no B minimized here V V non-thematic mosaic contrapuntal lead-in A1 A2 A3 A1 A2 A1 A1 A2 of motives A3 outburst 49 53 60 64 68 73 77 81 88 107 114 “Modifed Repetition” may be more appropriate than “Double Exposition” Berlin Philharmonic, Herbert von Karajan, 1982 Rotation 3

(subtle ^ ^ ^ ^ 5 4 3 2 A lead-in) of Fb DbM V7 D

climactic lead-in motivic dissolution sfz, ff A1 A2 A f 118 126 130 134 148 159 Pesante Wieder zurückhaltend Tempo I. Molto Adagio Sehr ießend Viel bogen > immer fff 4 > Winds ≥ ≥ Tpt an>d Ob>oe 1 nœ œ ˙™ œ > > > > 118 > œ œ œ > > > > 121 b˙™ œ œ bœbœ≥™ ˙≥ ˙ ≥ ≥ 126 œbœ œ œ ˙ nœ œbœnœ œ bw Vlns w ∫˙ ˙ ˙≥ œ j b b ˙ b˙ ˙™ œœnœœ œ nœ j nw J œ œ œ œ™ &b b bc w œ nœ œbœœœœ œ nœ n˙ #œ œœ#œ œ bœ n w œ œœnœœœœœbœ #œ #bœ 3 > œ œ nœ nœ œ#œ nœ Tpt nœ >> > > ff Horn 7 ≈ 3 fff sf sf sf sf sf sf sf > 3 > 3 Strings and Winds rit. molto rit. ff Vlns Tbone 9 ff> > #nw œ œ™ j >>>> > nœnœ n w œ œ™ œ# œ™ nœ {? b b c ˙ œœœœ w #œ #œ nœ nœ nœ n˙ b˙ n#w œ bœ nœ™ n#œ b b b w w nœ nœ b w w w œ n œ nœœ#œœ nœ ff ˙ ˙ bw w w - - - - æ æ æ æ æ ff

127 b œ≤ &b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

{? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b b

150 b &b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? b { b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

164 b &b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? b { b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Berlin Philharmonic, Herbert von Karajan, 1982 Rotation 3

(subtle ^ ^ ^ ^ 5 4 3 2 A lead-in) of Fb DbM V7 D

127 b œ≤ &b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

{? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b b

150 b &b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? b { b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

164 b &b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? b { b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Sehr langsam und noch zurückhaltend a tempo (Molto adagio) großer Ton ≤ 3 b b ≤ ≥ Strings Rotation 1 &b b bc Œ œœ™∫œœnœœ b˙ œ∫œ œbœ œ œ™ j œ œ ™ >> >> >> > œ nœ œœœ™ nœ œ œ œ œ œ dim. œ œ œ œ ˙ œ Vlns lang gezogen ^ ^ ^ ^ A p molto espressivo > 5 4 3 2 œ™ œj ™ œ of Fb DbM (db {? b b c ∑ ∑ œ bœ œ œ œ œœ œ nœœœ œ b œ œ b b œ œ nœ nœ œ bœ b˙œ œ nœ nœ œ bœ Lead-in A1 A2

1 3 7 11 28 b # # &b bbb ∑ # # Pesante Wieder zurückhaltend PesanteTempo I. Molto Adagio Wieder zurückhaltend Tempo I. Molto Adagio Sehr ießend Sehr ießend Viel bogen Viel bogen > immer fff > immer fff 14 > Winds ≥ ≥ 14 > Winds > ≥ ≥ Rotation 3 > Tpt an>d Ob>oe > œnœ œ ˙™ œ Tpt an>d Ob>oe > ≥ ≥ œnœ œ ˙™ > œ > > ≥ ≥ > > > 118 bœ œ œ œ ˙ n>œ >œb>œ >œ118 121121 b˙™ œ œ bœbœ™bœ˙œ œ˙œ∫˙≥ ˙≥ ˙≥n>œ12>œ6 b>œœ >œ 121 # b˙™ œ œ bœbœ™ ˙ ˙ ∫˙≥ ˙≥ ≥ 126 œ b ˙ b˙ ˙™ œnœœ œ nœ œ nœ ? bb bw˙ b˙ Vln˙s™j w œnœœ œ nœ œ ˙ œ nœ œ œ ™ bw # Vlnjs j w ˙ œ œ œ ™ j b œ œœ œ { b bb #œ œ bœ nw œ œœJ œ ∑ œ œ #œ œ# # bœ bœ nw J œ œ bœ c b c œ œ n˙ œ œ n w œ œ &b b b w œ nœ œbœœ œ > &nœnbœbbbn˙w œ#œ œ œ nnœwœbœ œ œœ>nœœ œœbnœœn#œœ nœ œ#œ# œ œ œnœœ œbœ #œ nœ œ#œ# œ 3 œ œ 3 œ œ nœ ^ ^ ^ ^ nœ Tpt nœ >> > > Tpt nœ >> > > A! ff Horn 7 ≈ ff3 ffHforn sf sf 7 sf sf sf sf ≈ sf > 3 fff sf sf sf 5 s4f 3 sf2 sf sf > 3 3 > > 3 Strings and Winds rit. molto rit. ff 3 Strings and Winds rit. of Fbmolto rit. ff Vlns Vlns DbM Tbone ff PlötzTlibcohne wieder sehnwr langsam und etwas zögernd ff nw >>>> 9 > > >>>> # w 9 > >œ œ™ œ ™ w j # w œ œ™ œ ™ j w> nœnœ #œ n“”w w> nœnœ #œ œ œ™ bœ# œn™ w #œ nœ œ œ™ bœ# œ™ #œ nœ {? b b c ˙ œœœœ #œ nœ nœ nœ n˙ b˙ {2?8 Vblnbs nc#w≤˙ œœœœ ≥ #œ nœ nœ n,œ n˙ b˙œ nœ™n#w n œ climactic lead-in œ nœ™ n œ b b b w w nœ nœ b w b#b#b www w w ˙™ ≤ nœœnœ b œw™ œ œ œn œ nœœwœœ#œœ w œ n œ nœœ#œœ # # œ œ œ œœœ œ œ™ œ ˙nœ sfz, ff A1 A2 nœ ff ˙ ˙ bw & wff ˙ w˙ bw J- - w w - - - æ æ æ æ æ ææ æ ff J - æ - æ fff - æ æ æ pæp ohne Empnædungææ æ æ æ ≤ ≥ 118 126 130 134 ?# # j œ œ œ 127 {127 # # Œ ‰ j œ ‰ œ œ nœ œ œ Ó b b b œ≤œ œ œœœ œ œ œ œ œ œ œ≤ b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b ∑ ∑ ∑œ œ∑ Œœ Ó∑ œ œ∑ œ œ ∑ ∑ pp∑ ∑œ ∑ œ œ ∑nœ œ œ∑œ ∑ Œ ∑ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & b & bCellos œ œ œ œ ppp “ACello s gloriousand Basses moment of

33 {? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ {∑? #b #b#∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ recapitulatory∑ ∑ ∑ ∑ reprise”∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b b &b #b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # {?## # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 150 150 b b b &b bbb ∑ ∑ ∑ ∑ ∑ ∑ &b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b ? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { b bbb ∑ ∑ ∑ ∑ ∑ ∑{ b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

164 164 b b b b &b b b ∑ ∑ ∑ ∑ ∑ ∑ &b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b ? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { b bbb ∑ ∑ ∑ ∑ ∑ ∑{ b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ I.I. Introduction IntroductionII. "Der Abschied,”II. Symphony Das Lied No. von 9, iv,der Adagio Erde VI III. “ DerSymphony Abschied,” DasNo. Lied 9, von iv, der Adagio Erde VI IV. Conclusion

Rotation 3

(subtle ^ ^ ^ ^ 5 4 3 2 A! lead-in) A of Fb DbM V7 DbM

climactic lead-in motivic dissolution fragments of A3 sfz, ff A1 A2 A replace B and dissolve f 118 126 130 134 148 159

“Recapitulatory” Rotation

Re-Intro A!

Original Contrasting Teme Doesn’t Materialize I.I. Introduction IntroductionII. "Der Abschied,”II. Symphony Das Lied No. von 9, iv,der Adagio Erde VI III. III.“Der Symphony Abschied,” No. Das 9, Lied iv, vonAdagio der Erde VI IV. ConclusionIV. Conclusion

What is the virtue of considering these movement in dialogue with sonata form?

1. Situate the works within Mahler’s late symphonies

2. Understand them as Hybrid Sonata-Like Slow Movements

3. Connect them to the broader Modernist stance toward tradition Tank you! Works Cited

Adorno, Teodor W. 1996. Mahler: A Musical Physiognomy, trans. by Edmund Jephcott. University of Chicago Press.

Caplin, William. 1998. Classical Form: A Teory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford University Press.

Danuser, Hermann. 1986. Gustav Mahler: Das Lied von der Erde. Wilhelm Fink Verlag.

De la Grange, Henry-Louis. 2008. Gustav Mahler, Volume 4: A New Life Cut Short (1907-1911). OUP.

Floros, Constantin. 2003. Gustav Mahler: Te Symphonies, trans. by Vernon Wicker and Jutta Wicker. Amadeus Press.

Hefing, Stephen E. 2000. Mahler: Das Lied von der Erde. Cambridge University Press.

Hepokoski, James and Warren Darcy. 2006. Elements of Sonata Teory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata. Oxford University Press.

Hurwitz, David. 2004. Te Mahler Symphonies: An Owner’s Manual. Pompton Plains, NJ: Amadeus Press.

Mitchell, Donald. 1985. Gustav Mahler: Songs and Symphonies of Life and Death. Berkeley and Los Angeles: University of California Press

Monahan, Seth. 2015. Mahler’s Symphonic Sonatas. New York: Oxford University Press.

Utz, Christian. 2011. “Die Neunte Symphonie.” In Gustav Mahler. Interpretationen seiner Werke, vol. 2, edited by Peter Revers and Oliver Korte. Laaber: Laaber-Verlag. Te Hybrid Forms of Mahler’s Late Symphonies

Sam Reenan Eastman School of Music | University of Rochester

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