Mahler- Symphony No. 4 in G Major, Part II
We continue our discussion of Mahler’s Symphony No. 4 with an analysis of movements II and III.
- Bedachtig, Nicht eilen
- In gemachlicher Bewegung. Ohne Hast.
- Ruhevol (Poco adagio)
- Sehr behaglich
II. In gemachlicher Bewegung. Ohne Hast.
The horn sets the tone for the movement with a lazy, vaguely pastoral dance rhythm in triple meter. The scherzo theme one (0:08) soon follows in the violin- notice how it doesn’t quite seem to fit with…well, anything really. The first theme is disconnected both rhythmically and harmonically from the rest of the orchestra, and indeed the sections of the orchestra might seem to be disconnected from each other. Also notice the tinny triangle at 0:36. At 0:45 the second section of theme one is introduced. Unlike the first section it is melodic and harmonious. Interestingly, the triangle’s role has been taken over by a high pluck in the harp. For now, this imbues a carefree and even playful mood to this calm passage. At 1:01 the first section of theme one is restated.
A powerful but gentle horn call at 1:31 brings us to theme two, another dance in triple meter featuring fat, heavy notes in the clarinet followed by trills. The horn, not happy with being relegated to the background, steals back center stage at 1:58 before a clarinet that seems to be squawking returns. They both finally draw back to yield the floor to the strings, who play a simple but steadily moving melody. At 2:33 a sign of trouble pops up- an ominous but quiet blast from muted horns.
At 2:42 the horns signal the return of theme one. Notice this time that the second phrase features that formerly playful high note in the harp accompanied by some rather nasty flute trills and the glockenspiel. The effect is totally different from that of the harp alone- it should be obvious that by now we are caught in a Totentanz- or Death Dance.
Theme three begins at 4:46 with a glaring trumpet call followed by the same indulgent clarinets and trills. This is followed by various string and wind interludes before the solo violin returns and plays a pretty, flowing melody with the solo cello. The music quiets, and ominous low strings start a descending line at 6:04 that incredibly ends in a miraculous change of key at 6:17. For an instant we get a glimpse of the heaven more fully explored in the fourth movement- a dancing clarinet melody over gently lolling string harmonies paints a very bright picture of the future indeed. Of course this cannot last for long, and at 6:58 we hear the horn sounding the return of theme one.
This final repetition of the theme’s second phrase features a violent pizzicato which starkly contrasts with the flowing melody in the background. In this context it’s almost like the kiss of death.
At 8:14 the timpani, almost sounding like drums of war, pound out a dark rhythm. The final section of the movement features jangling triangle, numerous theme one motives, and an overall mood that makes one decidedly uncomfortable. The clarinets play out one last leering figure at 8:53 accompanied by quick cello glissandos before the last piercing chord from the flutes and glock.
III. Ruhevol (Poco adagio)
A soft but firm step-wise rising scale in the strings begins the movement (theme one). Over pizzicato cellos, the strings descend stepwise before repeating the same scale in half the time. Variations on this extremely simple theme commence, starting with a wonderfully peaceful violin countermelody (one could argue that it’s actually the melody!) beginning at 1:20. The oboe takes over the countermelody at 2:00 while the strings play the melody. The bassoons and horns are next, followed by a violin descent (3:04) from their high note and the return of the pizzicato notes in the bass.
The slow contemplation continues uninterrupted in the strings until a feathery-soft flute entrance at 4:42. Almost like a prayer, the flutes are answered by the violins. On the second repetition of this small flute motive the horns answer, instantly darkening the mood.
Indeed this leads to theme two at 5:19- a lamentory melody played by the oboe with staccato bassoon accompaniment. The brass plunge into the deepest depths of the register with an announcement that seems like doom is imminent (6:39) leading to another variation, building to a very bleak climax at 7:46 with harsh trumpets and powerful low brass leading the descent into darkness. Staccato and pizzicato winds and strings characterized the next variation, while the solo violin gives us hope that things will be better soon. The music quiets.
At 9:22 the music brightens with a new variation of theme one in the strings. This is taken up by the winds and then by the high strings. The faster tempo and playful pulsating of the melody greatly lighten the mood.
The brightness disappears once again with the return of the darker, sadder theme two (11:11). The horn, oboe, and english horn play in a melancholy trio, soon joined by the rest of the orchestra. The theme builds on rolling “waves” powered by timpani rolls and powerful string bass lines. The low strings begin a brooding melody accompanied by the oboe and high strings at 14:04. This soon diminishes into the return of theme one (14:57).
Theme one is played at varied tempos and dynamics. The cellos begin softly, but are soon joined by the violas and violins. Pizzicato bass can be heard quietly underneath. At 15:39 the music speeds up even more noticeably with a variation that sounds almost like that from a carnival. The entrance of the glockenspiel at 16:27 accompanied by frantic runs in the winds and brass is cut off by a solitary horn at 16:32, whose slow descent brings the music back to the original tempo and dynamic. The strings play a final variation of theme one, joined by the horns. The music has a sense of resolution until the violins go into a series of shimmering tremolos at 18:31. Legato winds over soft pizzicato strings at 18:55 lull us gently into a sense of peace.
Mahler has other plans, however, for at 19:30 a massive string glissando is followed by a fortissimo brass and timpani roll. Massive timpani rhythms and brass lines follow as the gates of heaven are thrown open to our traveler. This is what we caught a glimpse of towards the end of the second movement, as the utopia that lies beyond the gates is peaceful and calm. The harp dances around the wonderfully warm, sustained notes throughout the orchestra under a shimmering tremolo in the violins. At 22:03 the winds make their final entrance with a calmly moving line before ending the movement on a soft chord.
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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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