Fourth symphony
Download 175.49 Kb.
|
“Ruhevoll” (“Peacefully”) is the heading of the third movement. “Poco Adagio” stands behind it in brackets, more a performance than a character indication. The model of the grand, comprehensive Adagio, as it had been in the Finale of the Third, has here already moved further back for Mahler. In the Fourth, the ground has not been plowed enough to allow an Adagio that commences with strong energy and tension to take root. The spiritual realm is, with all the loveliness [158] of the first movement and all the fantasy of the second, still too narrow to give room to far-reaching expressions of feeling. But the position of the two preceding movements in this work is at any rate completely different than in earlier cases. Both have only a preparatory significance. It is the task of the later portions to consolidate emotionally the tones that were only struck as a light prelude in the preceding movements, and to internalize their interpretation. The Adagio style in particular proved especially suitable for this, provided an Adagio could successfully be constructed that, following the tone and sphere of mood in the preceding movements, was capable of creating for itself, in the course of its development, forces of profundity and of a grand, captivating sweep. There was one possibility for this: the layout of the Adagio movement in variation form, the spreading and emotional heightening of an unemotional basic idea through the sharpening, stirring variation that lays bare the strongest spiritual impulses. Mahler chose this path. With that, he made the third movement the spiritual fulcrum of the work. This Poco Adagio does not bring the final resolution, it is true, but it does provide the decision about the overall character of the work: about the question of whether the play of the first two movements is just an entertaining game, or whether a profundity of life and feelings of the world, hidden within the mask of serenity, forms its basis. The third movement needed to open the view from these depths. It needed to pull the veil from the hidden grounds upon which those trifling and eerily fantastic apparitions played their game—only pulling away the veil for a moment and then immediately letting it fall again. Then the closing idyll could fully unfold without self-consciousness, similar to the opening movements, related to them in tone and character, but distinctly separated from them by one thing: by the knowledge of tragedy born through pain that only then gives the play its inner freedom and meaning. This knowledge is conveyed and proclaimed by the Adagio. Unpretentiously singing, it commences, in constantly increasing self-disclosure of the artful variations, leading up to the heights of that dreamland of which the opening movements only offer a dull, earthly colored or obscure reflection. It is the idea of the ascent, of liberating that which is bound, that here determines the character of the main idea as well as its formal expansion, and with that provides the symphony, beyond its refined artistic charm, its deep tone of feeling. This movement, in its profoundly swelling melodic character and the transfigured expression that indicates the path to transcendent regions, belongs to Mahler’s most intimate creations. Even more: in it is shown an ability to make the celestial and the invisible comprehensible to the ear and conceivable to the senses, an ability that reaches far beyond all boundaries of cognition and gives a moving testimony for the revelatory power of music in general. Divided cellos and violas begin in a very tenderly swaying, softly tinted fundamental color. The melody is assigned to the upper cellos. Beginning “very songfully” (“sehr gesangvoll”), pianissimo, it is directed upward, scale-like, in noble calm from measure to measure. It is like the view of an eye that is slowly opening, that seeks to grasp a new world. The melody thus rises in the first eight measures, gradually passing from the whole-note motion into a more lively rhythmic flow. At the close of the first period, it quickly reverts again to the starting point. A longing two-measure [159] motive initiates a new, upward-directed motion, pressing “with rising expression” (“im Ausdruck steigernd”) out of the G-major circle and further toward D-major. A lucid calm streams out of the broadly layered harmonies that initially only alternate between tonic and dominant. The voices spin into each other in a most tender legato, and only the string basses accompany in bell-like pizzicato strokes:  
[Example 4-53: violas, cellos, basses, mm. 1-16 (violas and lower cellos omitted, mm. 12-15)] It is a calm that wishes to unfold into motion, a restrained force that wishes to be released into action. The main formal and poetic idea of the movement is the opening of this force, directing it to the final goal that is achievable precisely by means of its awakening and becoming conscious. The first half of the melody is repeated twice, first in a light motion through the cellos, then in an ethereal heightening of the sound by the violins playing in octaves. Both times, a longing, eloquent counterpoint provides a new impulse to motion:  
[Example 4-54: second violins, upper voice of cellos, mm. 17-24] With the elevation to the high sonic regions, the strength of development that the melody carries within itself is exhausted. In peaceful horn chords, it sinks down again stepwise:
[Example 4-55: horns, bassoons, cellos (upper voice only, mm. 31-33), mm. 31-36] The strings sink to the depths as well, closing like a prayer:
[Example 4-56: violins, violas, mm. 45-51 (some second violin notes omitted)] The melody dies away, and the harmonies sound quietly after it, mingling into each other. The bell strokes of the basses fade, and the picture dissolves like a vision whose strength is not yet sufficient to hold. “Lamenting” (“Klagend”), the oboe enters “very expressively” (“sehr ausdrucksvoll”) in a new tempo, “much slower” (“viel langsamer”). In the bassoons, a reminiscence of the bell motive of the basses throbs as an accompanying voice, and resounding horn sounds provide a sparse harmonic filling:
[Example 4-57: oboe, bassoons, horns, mm. 62-66 (without m. 62 in horns 1-2), violas and cellos, m. 66] “Singing” (“Singend”), the violins expand, emphatically increasing the expression from measure to measure until, from the high point of A, it falls again, exhausted, to the depths:
[Example 4-58: first violins, mm. 66-71, oboe, mm. 71-72] Once more, reaching more widely, thrusting “passionately” (“leidenschaftlich”) with a sharper tension of forces, the onset begins. The expression intensifies to a powerful [160] buildup and expansion, traversed by sharply incisive chromatic lines:
[Example 4-59: full orchestra (strings woodwinds, horns, trumpets), mm. 87-90, one descending line omitted in mm. 89-90] Then it slumps to a melancholy lament, into which the bell motive, now assigned to the solo violin, clarinet, and harp, slowly sounds, as if dripping:
[Example 4-60: second violins pizzicato, solo violin, flute, horn, harp, mm. 97-100] Now there is a sudden change. It is as if the lamenting interlude has loosened the restrained forces of the first melody so that they break free from the solemn calm of the opening and unfold their own impulses to motion. From the D-minor conclusion of the interlude, a gentle dominant seventh chord on B-flat leads surprisingly back to G major. The first theme appears again, but now varied, “gracefully moving” (“anmutig bewegt”), lightly flowing in tempo, the melody divided into half-measure, upward-striving phrases, to which are added an expressive, singing legato counterpoint in the clarinet:
[Example 4-61: clarinet and top voice of cellos, mm. 107-114] As before, the melody and countermelody now also gradually rise up into the higher register. As before, the play of voices quietly dissolves again after a gentle interweaving. The appearance, this time closer, more comprehensible, and revealing itself as more full of life than before, escapes for a second time without having brought any direct impact, recovery, or liberation. For the second time, the lament commences, sharper and more biting than before. In long resounding tones, the oboe begins over the harsh, dissonant E-flat of the horn: 
[Example 4-62: oboe and horn, mm. 174-178] This time, there are several voices that come together in the lament: horn, English horn, and oboe:
[Example 4-63: English horn and horn, mm. 179-181, oboe, mm. 180-181] Flutes and cellos enter in, a passionate outburst drives toward C-sharp minor, and the melody sounds austerely from the horns, supplemented by the violins with intense agitation:
[Example 4-64: second violins and horns, mm. 192-194, first violins, mm. 193-194] Mightily reaching out, the lament thrusts upward in C-sharp minor from the low strings:
[Example 4-65: violas and cellos, mm. 195-197] “Passionately and somewhat urgently” (“Leidenschaftlich und etwas drängend”), the tension is driven further, resting on F-sharp-minor harmonies, then quietly, dreamily sliding to F-sharp major, and from here, as if unexpectedly, almost unintentionally flowing into the second variation of the opening theme. Now it appears still freer than before, in an almost dance-like, striding Andante:
[Example 4-66: top voice of cellos, mm. 222-229, with upbeat from lower voice of cellos in m. 221]37 Now a strange development takes place. In the moment where the repetition should begin, a new picture forces its way in: in the place of the Andante comes [161] Allegretto subito, 3/8 time, and this new tempo appears “without the slightest mediation” (“ohne die geringste Vermittlung”)—it presses, as it were, the previous, not yet closed off tempo impatiently to the side:
[Example 4-67: first violins, mm. 238-243] This appearance also fares as had the previous one. “Likewise suddenly and surprisingly as before” (“Ebenso plötzlich und überraschend wie vorher”), the Allegretto changes into Allegro subito. Not only the tempo, but also the key and meter change abruptly from G major 3/8 to E major 2/4:
[Example 4-68: second violins and cellos, mm. 263-266; flutes and oboes, mm. 267-270, clarinets, mm. 268-269, trumpets, m. 270]38 Winds now take the lead. Both groups, strings and woodwinds, come together in the last Allegro molto tempo increase, which flows again into G major with unrelenting, urgent strength, heightening the theme, as it were, to an almost mechanical agility in the utmost freedom of rhythmic swing:
[Example 4-69: oboes, clarinets, bassoons 1 and 2, violas, top voice of cellos, mm. 278-281] Into this play of forces that finally achieves its full resolution suddenly breaks in, Andante subito, as if reminiscent and admonishing to reflection, the opening tempo of the variation:
[Example 4-70: horns, mm. 282-288] Solemn stillness and peacefulness enter. The intimate closure of the Poco Adagio sounds again, with earnest harmonies sliding into one another like an organ in very slow, slurred motion and mystically blurred colors. Yet this is all different than at the beginning of the movement, no longer filled with longing uncertainty and suppressed urges, but rather carried by the consciousness of the formative, creative force that has revealed itself in the vitality of images within the variations. This force, now only artificially dammed up while internally unleashed, here takes up the last, decisive onset. With elevated enthusiasm, violins and flutes suddenly swing to E major, and in roaring jubilation, the full orchestra storms after them. It is a moment of shattering effect, this powerful blaze of full sound, the undulation of the string arpeggios, the harp glissandi, and the solemnly beaming splendor of the wind harmonies. From this new, last height now resound the tidings of paradise from horns and trumpets with “bells in the air” (“Schalltrichter auf”):
[Example 4-71: horns, mm. 318-322 (first half), trumpets (with optional clarinet support), mm. 320-323] There lies the country that has been sought, of which the trumpets already told in the first movement, to which secret voices pointed in the scherzo, and to attain which all forces of prayer and lament were called forth in the third movement. Now it shows itself in its radiant glory—and as if blinded, the eyes close: “very tenderly and intimately” (“sehr zart und innig”), delicately slurred harmonies lead from E major, over a serious and dark C major, back again to G major:
[Example 4-72: first violins, mm. 326-332, lower cellos and basses, m. 332] Ever more softly it fades away, as if earthly harmonies were too material for these [162] spheres, and, “dying completely away” (“gänzlich ersterbend”), the piece trails off as if uncompleted on a D-major half-close.
Drum tun wir das Irdische meiden. And thus avoid earthly things. Kein weltlich Getümmel No worldly turmoil Hört man nicht im Himmel! Is heard in heaven! Lebt alles in sanftester Ruh.” Everything lives in gentlest calm.”
Sind dennoch ganz lustig daneben. But are nonetheless cheerful as well. After these words, the cozy description of the activities on the heavenly fields begins, whose broad depiction takes up the greater portion of the poem, although for Mahler it is of secondary consideration compared with the primarily lyrical musical mood. Hence, in the composition, he also cut some lines here. In exchange, the closing strophe of the poem is emphasized all the more emphatically, led into by these words: Kein Musik ist ja nicht auf Erden, No music exists on the earth Die unsrer verglichen kann werden. That can be compared to ours. Here as well, it is not the depiction of a utopian life that permeates the music, but rather of a transfiguration. This transfiguration gives the work its exceptional place in Mahler’s oeuvre and exalts it to one of the most gratifying images of the world that an artist has ever created. Mahler uses the lightest resources for the presentation of the song. Everything that is in any way massive or heavy must be avoided, and the feeling of soaring, of [163] being freed from all material things must be awakened in the listener. The vocal solo is assigned to a soprano. Although no attacca is expressly prescribed, the movement follows directly upon the D-major half-close of the Adagio. The pastoral main theme sounds from the clarinet, while strings and harp add simple undulating accompanying voices. Everything is kept as unpretentious and undemanding as possible. After a single preparatory statement of the melody, the voice begins its lightly trilling song: 
[Example 4-73: voice, mm. 12-14, first line of text] The presentation becomes a bit more animated and fluent in the song and in the gracefully colored accompaniment at the depiction of the piously merry life of heaven’s inhabitants:
[Example 4-74: voice, mm. 24-28, text “Wir führen . . . ganz lustig daneben,” as above] Wir tanzen und springen, We dance and leap, Wir hüpfen und singen. We skip and sing. 
[Example 4-75: voice with harmonies (flutes, horns, harp), mm. 36-38 with vocal upbeat, text “Sankt Peter im Himmel sieht zu!” (“St. Peter in heaven looks on!”)] Here is not only Mahler’s characteristic mystical harmonic effect: parallel octaves and fifths in stepwise rising and falling triads. Here is above all the direct reminiscence of the angel song in the Third symphony, “Ich hab übertreten die zehn Gebot” (“I have broken the ten commandments”) and “Ach komm und erbarme dich” (“Ah, come and have mercy”). Immediately thereafter is a second reminiscence, this time not of the Third, but of the first movement of the Fourth Symphony. “With sudden, fresh motion” (“Plötzlich frisch bewegt”) sounds the introductory sleigh bell motive, here however, as indicated in the score, “more active than in the corresponding passages in the first movement” (“bewegter als an den korrespondierenden Stellen im ersten Satz”). It is also more broadly executed here, with the reed pipe theme of the song melody interwoven in minor—as if it is only now in the right place here, where it can fully sing itself out and leap about, while it always took only a brief course in the first movement and was then immediately interrupted by themes of a different nature. Now there comes the description of the heavenly life with the playful guise of mysterious and deep things:
Der Metzger Herodes drauf passet! The butcher Herod keeps watch! Wir führen ein geduldig’s, We lead a patient, Geduldig’s unschuldig’s, Patient, innocent, Ein liebliches Lämmlein zu Tod! A sweet little lamb to its death! Sankt Lukas den Ochsen tät’ schlachten, St. Luke slaughters the ox, Ohn’ einig’s Bedenken und Achten, Without a single concern or care. Der Wein kost kein Heller The wine does not cost a cent Im himmlischen Keller, In the heavenly cellar, Die Englein, die backen das Brot. The angels, they bake the bread. [164] Gut Kräuter von allerhand Arten, Good greens of all kinds Die wachsen im himmlischen Garten. Do grow in the heavenly garden. Gut’ Spargel, Fisolen Good asparagus and beans Und was wir nur wollen! And whatever we may want! Ganze Schüsseln voll sind uns bereit! Full bowls are prepared for us! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben! Good apples, pears, and grapes! Die Gärtner, die alles erlauben! The gardeners allow it all! Willst Rehbock, willst Hasen, If you want deer or rabbit Auf offener Straßen In the open streets, Sie laufen herbei! They come running! Sollt ein Fasttag etwa kommen, If a fast day should come about, Alle Fische gleich mit Freuden All fishes in the same way, with joy, angeschwommen! swim here! Dort läuft schon Sankt Peter St. Peter is already running Mit Netz und mit Köder With net and bait Zum himmlischen Weiher hinein. Into the heavenly pond. Sankt Martha die Köchin muß sein! St. Martha must be the cook!
[Example 4-76: first violins and flute, mm. 125-128] Muted violins and flute intone it. One already knows it from the Scherzo, where it appeared prophetically, but only here is it able to properly unfurl its intimate sweetness and oblivious grace, its soaring lightness. And what it has to say is also the last: the glorification of music, which looses all bonds, which casts off all heaviness, which forgives all persons of good will their sins, takes away their pain, and opens paradise to them:
[Example 4-77: voice, mm. 142-144, text “Kein Musik ist ja nicht auf Erden,” (“There is no music on Earth”)] Die unsrer verglichen kann werden. That can be compared to ours. Elftausend Jungfrauen Eleven thousand maidens [165] Zu tanzen sich trauen! Dare to dance! Sankt Ursula selbst dazu lacht! Even St. Ursula smiles at it! Cäcilia mit ihren Verwandten Cecilia and her kinsfolk Sind treffliche Hofmusikanten! Are excellent court musicians! Die englischen Stimmen The angelic voices Ermuntern die Sinnen, Enliven the senses Daß alles für Freuden erwacht. So that everything awakens for joy.
Download 175.49 Kb. Share with your friends:
|
