Mahler- Symphony No. 4 in G Major, Part I
The Fourth Symphony is the last in Mahler’s exploration of the German poems colloquially referred to as “Des Knabben Wunderhorn” (The Youth’s Magic Horn), and is centered around the song “Das himmlische Leben” (The Heavenly Life). Unusually for Mahler, the symphony is scored for a rather light orchestra in which the low brass is severely undermanned (there are no trombones or tuba). As we’ll see, this does not prevent him from creating intense moments of power and majesty.
Finished in 1901, the last movement of the fourth was actually the first to be completed. It was originally slated to be tacked on as another movement to Mahler’s excruciatingly long Symphony No. 3 in D Minor. The opening notes of the first movement were the first time sleigh bells were used in a symphonic setting, just a taste of the musical experimentation that would characterize Mahler’s later works.
- Bedachtig, Nicht eilen
- In gemachlicher Bewegung. Ohne Hast.
- Ruhevol (Poco adagio)
- Sehr behaglich
I. Bedachtig, Nicht eilen
The symphony begins with sleigh bells and accompanying flutes. The grace note just before the main note in the flutes is a recurring motive throughout the entire symphony. A 4 sixteenth/2 eighth note motive is heard in the flutes, and soon after the clarinets enter before the ascending strings slow the music down and begin a decidedly waltz-like passage (theme one). The dotted rhythm in the low strings at 0:22 is just a slowed-down version of the sleigh bell motive, while the descending horn plays the repeated pitches in a style based on the motive from the opening sleigh bells, while the moving notes are derived from the soprano in the fourth movement (which was actually written first), soon repeated by the clarinets. The music slows again (0:53), and with slight hesitation repeats theme one. The tempo picks up at 1:33 resulting in a triumphant fanfare in the clarinets that is quickly taken up by the orchestra.
The excitement is soon subdued at 1:48 by theme two, generous and lyrical in the cellos. Echoed by the oboe over a pastoral-sounding horn (2:08) and again by the low strings over pizzicato basses, the theme builds to a pseudo-climax at 2:48 before fading away. This is interrupted at 3:06 by an awkward-sounding melody in the oboe over a walking bassoon; almost like the village fool walked in at that moment. An even more out of place staccato string figure at 3:22 describes a blunder, perhaps he knocked over a stool on his way out. This theme is repeated several times and winds its way through the wind section. At 4:01 the sleigh bells return to replay theme one. The exposition draws to a close around 5:32 with short glissandos in the cello that are followed up with notes that seem “bouncy.”
The development begins at 5:52 with the sleigh bells and flutes. The solo violin (itself a preview of the second movement) enters with a scale that ascends unevenly, which is soon matched by the same descending horn we heard at the beginning of the symphony (6:01). Theme motives are gradually added, all over a steady sleigh bell rhythm in the strings. At 6:45 after a rude-sounding horn call, the low strings start to hum with tension, barely audible. Out of the blue, the flutes sing out a very concise almost fanfare-like melody over teasing string tremolos. This sounds very much like a tune one might whistle. Throughout this section the music has been building; the flutes are followed by the clarinets and horns before the music gets very chaotic and disconnected. Theme one motives mix with the whistling motive and seem to come and go as they please. The sleigh bell motive returns in the form of flutes and triangle at 8:22, after which the rhythm is transferred to staccato strings and then the brass. Wherever the music is going, it’s going there with a purpose. The orchestra plays a dotted descending figure at 9:26, which is sequenced upwards in various sections, all somewhat ambiguous but still growing. At 10:00 the trumpets play the whistling melody, by now definitely a fanfare. The music would seem to indicate a great triumph is coming.
Instead, at the climax of the movement (10:19) a massive key change reveals the ugliness behind that huge buildup. It’s like climbing the hill expecting to see green pastures on the other side and instead finding a wasteland. The trumpets go from triumphant bugles to funeral horns as they begin to play dirge motives (10:25) amongst returns of the sleigh bells and disoriented winds and strings. Another awkward pause at 10:57 resolves into the recapitulation of the waltz theme at 11:03. At 11:31 the music finally gets to play the triumphant victory music that should have been at the climax a minute earlier. At 11:57 theme two returns, full and round in the cellos and taking on a very aristocratic and proper sound. We are definitely in the dance hall of a palace by now, or maybe we’re simply coming home after a long and stressful journey. Just as the music dies down the comical clarinet/bassoon passage returns (13:19) and is acknowledged by the orchestra. Maybe it’s someone’s annoying younger sibling.
At 14:17 the sleigh bells return, and the passage that follows is again a chaotic coming and going of previously introduced motives all played over the steady “sleigh bell” rhythm. A brief modulation beginning at 15:01 brings us back to major key and a reprise of waltz motives. The music slows to (15:37) theme two with legato notes in the strings and an upward-reaching violin line. At 16:47 the horn plays a solitary figure in the sleigh bell motive followed by pizzicato strings. The tempo gradually picks up and we hear the the waltz (17:16) which ends in horn fanfares, triangle, and two exclamatory final chords.
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If you are interested in listening to a recording, I recommend Andre Previn’s 1979 recording with the Pittsburgh Symphony Orchestra on Angel Records. You can buy this recording from Amazon by clicking on the image below. Unfortunately this recording is hard to come by and is not in the iTunes Music Store. Alternatively, you can purchase Claudio Abbado’s 1997 release on Deutsche Grammophone with the Vienna Philharmonic from the iTMS by clicking the link below.
This article is part of the Music 365 series. To find out more about this project, please visit the project homepage.
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