Chapter 24

MAHLER[A]

[Footnote A: Gustav Mahler, 1860-1911.]

In Mahler the most significant sign is a return to a true counterpoint, as against a mere overlading of themes, that began in Wagner and still persists in Strauss,--an artificial kind of structure that is never conceived as a whole.

While we see in Mahler much of the duophonic manner of his teacher, Bruckner, in the work of the younger man the barren art is crowned with the true fire of a sentient poet. So, if Bruckner had little to say, he showed the way to others. And Mahler, if he did not quite emerge from the mantle of Beethoven, is a link towards a still greater future. The form and the technic still seem, as with most modern symphonies, too great for the message. It is another phase of orchestral virtuosity, of intellectual strain, but with more of poetic energy than in the symphonies of the French or other Germans.

In other forms we see this happy reaction towards ancient art, as in the organ music of a Reger. But in the Finale of Mahler's Fifth Symphony there is a true serenity, a new phase of symphony, without the climactic stress of traditional triumph, yet none the less joyous in essence.

We cannot help rejoicing that in a sincere and poetic design of symphony is blended a splendid renaissance of pure counterpoint, that shines clear above the modern spurious pretence. The Finale of Mahler's Fifth Symphony is one of the most inspired conceptions of counterpoint in all music. In it is realized the full dream of a revival of the art in all its glorious estate.

_SYMPHONY NO. 5_

I.--1. _Funeral March._ 2. _In stormy motion (with greatest vehemence)._ II.--3. _Scherzo (with vigor,--not too fast)._ III.--4. _Adagietto (very slowly)._ 5. _Rondo-Finale (allegro)._

Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be decided only by time and wear, undoubtedly marks a high point of orchestral splendor, in the regard of length and of the complexity of resources. By the latter is meant not so much the actual list of instruments as the pervading and accumulating use of thematic machinery.[A]

[Footnote A: The symphony is probably the longest instrumental work that had appeared at the time of its production in 1904. The list of instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons, contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums, cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and strings.

Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger body of brass as well as of woodwind.]

The plan of movements is very original and in a way, two-fold. There are three great divisions, of which the first comprises a Funeral March, and an untitled Allegro in vehement motion. The second division has merely the single movement, Scherzo. In the third are an Adagietto and a Rondo Finale.

_I.--1. Funeral March._--A call of trumpet, of heroic air and tread, is answered by strident chords ending in a sonorous motive of horns that leads to the funeral trip, of low brass. The mournful song of the principal melody appears presently in the strings, then returns to the funeral trip and to the strident chords. The first trumpet motive now sounds with this clanging phrase and soon the original call abounds in other brass. The deep descending notes of the horns recur and the full song of the funeral melody much extended, growing into a duet of cellos and high woodwind,

[Music: (Strings, bassoons and clarinets)]

and further into hymnal song on a new motive.

[Music: (Wood, horns and strings) (Bass notes in lowest wood and strings)]

So the various melodies recur with new mood and manner. Suddenly, in fierce abandon, a martial tramp of the full band resounds, in gloomy minor,

[Music: _Suddenly faster. Impassioned_ (Rapid descending figure in violins) (Trumpet) (Trombones) (Tuba and strings)]

the violins in rapid rage of wailing figure: the trumpet strikes the firm note of heroic plaint.

Wild grief breaks out on all sides, the strings singing in passionate answer to the trumpet, the high wood carrying on the rapid motion. At the height of the storm the woodwind gain control with measured rhythm of choral melody. Or perhaps the real height is the expressive double strain, in gentle pace, of the strings, and the wood descending from on high.

[Music: (Woodwind doubled below) (Strings doubled above) _espressivo_ (Brass and strings)]

The duet is carried on in wilder mood by most of the voices.

A return to the solemn pace comes by imperceptible change, the softer hues of grief merging with the fiercer cries. Now various strains sound together,--the main funeral melody in the woodwind.

In the close recurs the full flow of funeral song, with the hymnal harmonies. In the refrain of the stormy duet the sting of passion is gone; the whole plaint dies away amid the fading echoes of the trumpet call.

_I.--2._ The second movement, the real first Allegro, is again clearly in two parts. Only, the relative paces are exactly reversed from the first movement. In tempestuous motion, with greatest vehemence, a rushing motive of the basses is stopped by a chord of brass and strings,--the chord itself reverberating to the lower rhythm.

[Music: _In stirring motion. With greatest vehemence_ (Brass and strings) (Bass of wood and string) (Trumpets)]

Throughout the whole symphony is the dual theme, each part spurring the other. Here presently are phrases in conflicting motion, countermarching in a stormy maze. It is all, too, like noisy preparation,--a manoeuvring of forces before the battle. Three distinct figures there are before a blast of horn in slower notes, answered by shrill call in highest wood. There enters a regular, rhythmic gait and a clearer tune, suggested by the call.

[Music: (Horns, oboes and 1st violins, G string) (Strings and wood) (Tuba and strings) (Second violins)]

In the brilliant medley there is ever a new figure we had not perceived. So when the tune has been told, trumpets and horns begin with what seems almost the main air, and the former voices sound like mere heralds. Finally the deep trombones and tuba enter with a sonorous call. Yet the first rapid trip of all has the main legend.

As the quicker figures gradually retire, a change of pace appears, to the tramp of funeral. Yet the initial and incident strains are of the former text. Out of it weaves the new, slower melody:

[Music: _Much slower_ (in the tempo of the former funeral march) (Oboes) (Flutes and clarinets) (Cellos) _molto cantando_]

Throughout, the old shrill call sounds in soft lament. Hardly like a tune, a discourse rather, it winds along, growing and changing naïvely ever to a new phrase. And the soft calls about seem part of the melody. An expressive line rising in the clarinet harks back to one of the later strains of the funeral march.

The second melody or answer (in low octaves of strings) is a scant disguise of the lower tune in the stormy duet of the first movement. Yet all the strains move in the gentle, soothing pace and mood until suddenly awakened to the first vehement rhythm.

Before the slower verse returns is a long plaint of cellos to softest roll of drums. The gentle calls that usher in the melody have a significant turn, upwards instead of down. All the figures of the solemn episode appear more clearly.

On the spur of the hurrying main motive of trumpets the first pace is once more regained.

A surprise of plot is before us. In sudden recurrence of funeral march the hymnal song of the first movement is heard. As suddenly, we are plunged into the first joyful scene of the symphony. Here it is most striking how the call of lament has become triumphant, as it seems without a change of note. And still more wonderful,--the same melody that first uttered a storm of grief, then a gentle sadness, now has a firm exultant ring. To be sure, it is all done with the magic trip of bass,--as a hymn may be a perfect dance.

Before the close we hear the first fanfare of trumpet from the opening symphony, that has the ring of a motto of the whole. At the very end is a transfigured entrance,--very slowly and softly, to a celestial touch of harp, of the first descending figure of the movement.

_II.--3. Scherzo._ Jovial in high degree, the Scherzo begins with the thematic complexity of modern fashion. In dance tune of three beats horns lead off with a jolly call; strings strike dancing chords; the lower wind play a rollicking answer, but together with the horns, both strains continuing in dancing duet. Still the saucy call of horns seems the main text, though no single tune reigns alone.

[Music: (Horns) _Scherzo. With vigor, not too fast_ (Strings and flutes) (Strings) (Clarinets and basses)]

The violins now play above the horns; then the cellos join and there is a three-part song of independent tunes, all in the dance. So far in separate voices it is now taken up by full chorus, though still the basses sing one way, trebles another, and the middle horns a third. And now the high trumpet strikes a phrase of its own. But they are all in dancing swing, of the fibre of the first jolly motive.

A new episode is started by a quicker _obligato_ of violins, in neighboring minor, that plays about a fugue of the woodwind on an incisive theme where the cadence has a strange taste of bitter sweet harmony in the modern Gallic manner.

[Music: (Clarinets) (Violas) (Violins) (Bass of brass and wood)]

Horns and violins now pursue their former duet, but in the changed hue of minor where the old concords are quaintly perverted. But this is only to give a merrier ring to the bright madrigal that follows in sweetly clashing higher wood, with the trip still in the violins. Thence the horns and violins break again into the duet in the original key. Here the theme is wittily inverted in the bass, while other strings sing another version above.

So the jolly dance and the quaint fugue alternate; a recurring phrase is carried to a kind of dispute, with opposite directions above and below and much augmented motion in the strings.

In the dance so far, in "three time," is ever the vigorous stamp on the third beat, typical of the German peasant "_Ländler_." Here of a sudden is a change as great as possible within the continuing dance of three steps. "More tranquil" in pace, in soft strings, without a trace of the _Ländler_ stamp, is a pure waltz in pretty imitation of tuneful theme.

[Music: _More gently_ (G string) (D string) (Strings) acc't _pizzicato_]

And so the return to the vigorous rough dance is the more refreshing. The merry mood yields to a darker temper. "Wild" the strings rush in angry fugue on their rapid phrase; the quaint theme is torn to shreds, recalling the fierce tempest of earlier symphony.

But the first sad note of the Scherzo is in the recitative of horn, after the lull. A phrase of quiet reflection, with which the horn concludes the episode as with an "_envoi_," is now constantly rung; it is wrought from the eerie tempest; like refined metal the melody is finally poured; out of its guise is the theme now of mournful dance.

"Shyly" the tune of the waltz answers in softest oboe. In all kinds of verses it is sung, in expressive duet of lower wood, of the brass, then of high reeds; in solo trumpet with counter-tune of oboe, finally in high flutes. Here we see curiously, as the first themes reappear, a likeness with the original trumpet-call of the symphony. In this guise of the first dance-theme the movements are bound together. The _envoi_ phrase is here evident throughout.

At this mystic stage, to pure dance trip of low strings the waltz reënters very softly in constant growing motion, soon attaining the old pace and a new fulness of sound. A fresh spur is given by a wild motion of strings, as in the fugal episode; a new height of tempest is reached where again the distorted shreds of first dance appear, with phrases of the second. From it like sunshine from the clouds breaks quickly the original merry trip of dance.

The full cycle of main Scherzo returns with all stress of storm and tragedy. But so fierce is the tempest that we wonder how the glad mood can prevail. And the sad _envoi_ returns and will not be shaken off. The sharp clash of fugue is rung again and again, as if the cup must be drained to the drop. Indeed, the serious later strain does prevail, all but the final blare of the saucy call of brass.[A]

[Footnote A: In the Scherzo are chimes, accenting the tune of the dance, and even castanets, besides triangle and other percussion. The second movement employs the harp and triangle.]

_III.--4. Adagietto._[A] "Very slowly" first violins carry the expressive song that is repeated by the violas.

[Footnote A: The Adagietto is scored simply for harp and strings; nor are the latter unusually divided.]

[Music: _Adagietto_ (Strings and harp)]

A climax is reached by all the violins in unison. A new glow, with quicker motion, is in the episode, where the violins are sharply answered by the violas, rising to a dramatic height and dying away in a vein of rare lyric utterance.

It is all indeed a pure lyric in tones.

_III.--5. Rondo-Finale._ The whole has the dainty, light-treading humor that does not die of its own vehemence. Somewhat as in the Ninth Symphony of Beethoven,--tyrant of classical traditions, the themes appear right in the beginning as if on muster-roll, each in separate, unattended song. A last chance cadence passes down the line of voices and settles into a comfortable rhythm as prevailing theme, running in melodious extension, and merging after a

[Music: (Clarinets, horns and bassoons) (Flutes and oboes) _Allegro commodo_]

hearty conclusion in the jovially garrulous fugue.

Here the counter-theme proves to be one of the initial tunes and takes a leading rôle until another charming strain appears on high,--a pure nursery rhyme crowning the learned fugue. Even this is a guise of one of the original motives in the mazing medley, where it seems we could trace the ancestry of each if we could linger and if it really mattered. And yet there is a rare charm in these subtle turns; it is the secret relevance that counts the most.

The fugue reaches a sturdy height with one of the first themes in lusty horns, and suddenly falls into a pleasant jingle, prattling away in the train of important figures, the kind that is pertinent with no outer likeness.

[Music: _Grazioso_ (Strings, bassoons and horns)]

Everywhere, to be sure, the little rhythmic cadence appears; the whole sounds almost like the old children's canon on "Three Blind Mice"; indeed the themal inversion is here the main tune. Then in the bass the phrase sounds twice as slow as in the horns. There are capers and horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we are back in the first placid verse of the rhythmic motive.

Here is a new augmentation in resonant horns and middle strings, and the melodious extension. A former motive that rings out in high reed, seems to have the function of concluding each episode.

A new stretch of fugue appears with new counter-theme, that begins in long-blown notes of horns. It really is no longer a fugue; it has lapsed into mere smooth-rolling motion underneath a verse of primal tune. And presently another variant of graceful episode brings a delicious lilt,--_tender, but expressive_.

[Music: _Grazioso_ _espressivo_ (Strings)]

With all the subtle design there is no sense of the lamp, in the gentle murmur of quicker figure or melodious flow of upper theme. Moving is the lyric power and sweetness of this multiple song. As to themal relation,--one feels like regarding it all as inspired madrigal, where the maze and medley is the thing, where the tunes are not meant to be distinguished. It becomes an abandoned orgy of clearest counterpoint. Throughout is a blending of fugue and of children's romp, anon with the tenderness of lullaby and even the glow of love-song. A brief mystic verse, with slow descending strain in the high wood, preludes the returning gambol of running strings, where the maze of fugue or canon is in the higher flowing song, with opposite course of answering tune, and a height of jolly revel, where the bright trumpet pours out the usual concluding phrase. The rhythmic episode, in whimsical change, here sings with surprise of lusty volume. So the merry round goes on to a big resonant _Amen_ of final acclaim, where the little phrase steals out as naturally as in the beginning.

Then in quicker pace it sounds again all about, big and little, and ends, after a touch of modern Gallic scale, in opposing runs, with a last light, saucy fling.

Mahler, we feel again, realizes all the craving that Bruckner breeds for a kernel of feeling in the shell of counterpoint. Though we cannot deny a rude breach of ancient rule and mode, there is in Mahler a genuine, original, individual quality of polyphonic art that marks a new stage since the first in Bach and a second in Beethoven. It is this bold revel in the neglected sanctuary of the art that is most inspiriting for the future. And as in all true poetry, this overleaping audacity of design is a mere expression of simplest gaiety.