The Symphony No. 3 in D minor by Gustav Mahler was written in sketch beginning in 1893, composed primarily in 1895,[1] and took final form in 1896.[2] Consisting of six movements, it is Mahler's longest composition and is the longest symphony in the standard repertoire, with a typical performance lasting around 95 to 110 minutes. It was voted one of the ten greatest symphonies of all time in a survey of conductors carried out by the BBC Music Magazine.[3]
Sehr langsam—Misterioso (Very slowly, mysteriously) D major
Lustig im Tempo und keck im Ausdruck (Cheerful in tempo and cheeky in expression) F major
Langsam—Ruhevoll—Empfunden (Slowly, tranquil, deeply felt) D major
The first movement alone, with a normal duration of a little more than thirty minutes, sometimes forty, forms Part One of the symphony. Part Two consists of the other five movements and has a duration of about sixty to seventy minutes.
As with each of his first four symphonies, Mahler originally provided a programme of sorts to explain the narrative of the piece. He did not reveal the structure and content to the public. But, at different times, he shared evolving versions of a program for the third symphony with various friends, including: Max Marschalk, a music critic; violist Natalie Bauer-Lechner, a close friend and confidante; and Anna von Mildenburg, the dramatic soprano and Mahler's lover during the summer of 1896 when he was completing the symphony. Bauer-Lechner wrote in her private journal that Mahler said, "You can't imagine how it will sound!"[4]
In its simplest form, the program consists of a title for each of the six movements:
Mahler, however, elaborated on this basic scheme in various letters. In an 1896 letter to Max Marschalk, he called the whole "A Summer's Midday Dream", and within Part One, distinguished two sections, "Introduction: Pan awakes" and "I. Summer marches in (Bacchic procession)".[5] In a June 1896 letter to Anna von Mildenburg, Mahler reaffirmed that he conceived the first movement in two sections: I. What the stony mountains tell me; II. Summer marches in.[6] In another letter to Mildenburg from Summer 1896, he said that "Pan" seemed to him the best overall title (Gesamttitel) for the symphony, emphasizing that he was intrigued by Pan's two meanings, a Greek god and a Greek word meaning "all".[7]
All these titles were dropped before publication in 1898.[5]
Mahler originally envisioned a seventh movement, "Heavenly Life" (alternatively, "What the Child Tells Me"), but he eventually dropped this, using it instead as the last movement of the Symphony No. 4.[8] Indeed, several musical motifs taken from "Heavenly Life" appear in the fifth (choral) movement of the Third Symphony.[5]:276
The symphony, particularly due to the extensive number of movements and their marked differences in character and construction, is a unique work. The opening movement, colossal in its conception (much like the symphony itself), roughly takes the shape of sonata form, insofar as there is an alternating presentation of two theme groups; however, the themes are varied and developed with each presentation, and the typical harmonic logic of the sonata form movement—particularly the tonic statement of second theme group material in the recapitulation—is changed.[clarification needed] The symphony starts with a fortissimo theme, stated by an 8-French horn choir. It is similar to the opening of the fourth movement of Brahms' first symphony with the same rhythm, but many of the notes are changed.
The opening gathers itself slowly into a rousing orchestral march. A solo tenor trombone passage states a bold (secondary) melody that is developed and transformed in its recurrences.
At the apparent conclusion of the development, several solo snare drums "offstage" play a rhythmic passage lasting about thirty seconds and the opening passage by eight horns is repeated almost exactly.
As described above, Mahler dedicated the second movement to "the flowers on the meadow". In contrast to the violent forces of the first movement, it starts as a graceful menuet, but also features stormier episodes.
The third movement, a scherzo, with alternating sections in 2 4 and 6 8 meter, quotes extensively from Mahler's early song "Ablösung im Sommer" (Relief in Summer).[9]
In the trio section, the mood change from playful to contemplative occurs with an off-stage post horn (or flugelhorn) solo.
This posthorn episode closely resembles standardised posthorn signals in Austria and Prussia of the time.[10][11] The posthorn melody is suddenly interrupted (in measure 345) by a trumpet fanfare representing a literal quotation of the Austrian military signal for falling out (Abblasen).[12][13] Another important quotation in the movement is a Spanish folk melody of jota aragonesa used by Mikhail Glinka in Caprice brillante and by Franz Liszt in Rhapsodie espagnole. Most probably it borrowed here from Ferruccio Busoni's transcription of the Rhapsodie for piano and orchestra, as the harmonies are almost identical and passages are equally almost similar.[14][15] Busoni himself was the first to remark on this quotation in 1910.[16]
The reprise of the scherzo music is unusual, as it is interrupted several times by the post-horn melody.
At this point, in the sparsely instrumentated fourth movement, we hear an alto solo singing a setting of Friedrich Nietzsche's "Midnight Song" ("Zarathustra's roundelay") from Also sprach Zarathustra ("O Mensch! Gib acht!" ("O man! Take heed!")), with thematic material from the first movement woven into it.[17] The movement is punctuated by oboe glissandi, representing the cry of a night bird.[18]
The cheerful fifth movement, "Es sungen drei Engel", is one of Mahler's Des Knaben Wunderhorn songs, (whose text itself is loosely based on a 17th-century church hymn, which Paul Hindemith later used in its original form in his Symphony "Mathis der Maler") about the redemption of sins and comfort in belief.
Here, a children's choir imitating bells and a female chorus join the alto solo.
In the last movement, words are stilled—for what language can utter heavenly love more powerfully and forcefully than music itself? The Adagio, with its broad, solemn melodic line, is, as a whole—and despite passages of burning pain—eloquent of comfort and grace. It is a single sound of heartfelt and exalted feelings, in which the whole giant structure finds its culmination.[This quote needs a citation]
The movement begins very softly with a broad D-major chorale melody in the strings, which slowly builds to a loud and majestic conclusion culminating on repeated D major chords with bold statements on the timpani.
The last movement in particular had a triumphant critical success. The Swiss critic William Ritter, in his review of the premiere given in 1902, said of the last movement: "Perhaps the greatest Adagio written since Beethoven". Another anonymous critic writing in the Allgemeine musikalische Zeitung wrote about the Adagio: "It rises to heights which situate this movement among the most sublime in all symphonic literature". Mahler was called back to the podium 12 times, and the local newspaper reported that "the thunderous ovation lasted no less than fifteen minutes".[19]
Instrumentation
The symphony is scored for large orchestra, consisting of the following:
O Mensch! Gib Acht! Was spricht die tiefe Mitternacht? "Ich schlief, ich schlief —, aus tiefem Traum bin ich erwacht: — Die Welt ist tief, und tiefer als der Tag gedacht. Tief ist ihr Weh —, Lust — tiefer noch als Herzeleid. Weh spricht: Vergeh! Doch all' Lust will Ewigkeit —, — will tiefe, tiefe Ewigkeit!"
O Man! Take heed! What says the deep midnight? "I slept, I slept —, from a deep dream have I awoken: — the world is deep, and deeper than the day has thought. Deep is its pain —, joy — deeper still than heartache. Pain says: Pass away! But all joy seeks eternity —, — seeks deep, deep eternity!"
Es sungen drei Engel einen süßen Gesang, mit Freuden es selig in dem Himmel klang. Sie jauchzten fröhlich auch dabei: daß Petrus sei von Sünden frei!
Und als der Herr Jesus zu Tische saß, mit seinen zwölf Jüngern das Abendmahl aß, da sprach der Herr Jesus: "Was stehst du denn hier? Wenn ich dich anseh', so weinest du mir!"
"Und sollt' ich nicht weinen, du gütiger Gott? Ich hab' übertreten die zehn Gebot! Ich gehe und weine ja bitterlich! Ach komm und erbarme dich über mich!"
"Hast du denn übertreten die zehen Gebot, so fall auf die Knie und bete zu Gott! Liebe nur Gott in alle Zeit! So wirst du erlangen die himmlische Freud'."
Die himmlische Freud' ist eine selige Stadt, die himmlische Freud', die kein Ende mehr hat! Die himmlische Freude war Petro bereit't, durch Jesum und allen zur Seligkeit.
Three angels sang a sweet song, with blessed joy it rang in heaven. They shouted too for joy that Peter was free from sin!
And as Lord Jesus sat at the table with his twelve disciples and ate the evening meal, Lord Jesus said: "Why do you stand here? When I look at you, you are weeping!"
"And should I not weep, kind God? I have violated the ten commandments! I wander and weep bitterly! O come and take pity on me!"
"If you have violated the ten commandments, then fall on your knees and pray to God! Love only God for all time! So will you gain heavenly joy."
The heavenly joy is a blessed city, the heavenly joy that has no end! The heavenly joy was granted to Peter through Jesus, and to all mankind for eternal bliss.
Tonality
Peter Franklin in The New Grove Dictionary of Music and Musicians represents the symphony's progressive tonal scheme as 'd/F—D'.[20] More casually it is described as being in D minor. The first movement certainly begins in this key but, by its end, has defined the relative F major as the tonic. The finale concludes in D major, the tonic major, which is not unusual for minor key, multi-movement works. Throughout the symphony, traditional tonality is employed in an enterprising manner with clear purpose [vague].
The piece is performed in concert less frequently than Mahler's other symphonies[citation needed], due in part to its great length and the huge forces required. Despite this, it is a popular work and has been recorded by most major orchestras and conductors.
When it is performed, a short interval is sometimes taken between the first movement (which alone lasts around half an hour) and the rest of the piece. This is in agreement with the manuscript copy of the full score (held in the Pierpont Morgan Library, New York), where the end of the first movement carries the inscription Folgt eine lange Pause! ("there follows a long pause").[21] The inscription is not found in the score as published.
The Adagio movement was arranged by Yoon Jae Lee in 2011 for a smaller orchestra. This version was premiered by Ensemble 212 with Lee as conductor in New York on the eve of the tenth anniversary of the September 11 attacks. Subsequently, Lee arranged the five remaining movements for smaller orchestra as part of his Mahler Chamber Project. The orchestral reduction of the entire symphony was premiered in October 2015 by Ensemble 212, mezzo-soprano Hyona Kim, and the Young New Yorkers' Chorus Women's Ensemble.
The second movement was arranged by Benjamin Britten in 1941 for a smaller orchestra. This version was published by Boosey & Hawkes as What the Wild Flowers Tell Me in 1950.
The work is also referenced in the pop singer Prince's song "Good Love" ("Gustav Mahler #3 is jamming on the box") from his Crystal Ball album and the Bright Lights, Big City soundtrack.[23]
Premieres
First performance of the second movement: 9 November 1896 Berlin, conducted by Arthur Nikisch (repeated by him in Leipzig on 21 January 1897).
Performance of second, third and sixth movements: 9 March 1897, Berlin, conducted by Felix Weingartner.
Premiere of the complete symphony: 9 June 1902, Krefeld, cond. by the composer. (Between 1902 and 1907 Mahler conducted his symphony 15 times, cf. "Mahler's Concerts", by Knud Martner, New York 2010, p.341).
Dutch premieres: 17 October 1903 in Arnhem; five days later Mahler led the Amsterdam premiere with the Concertgebouw Orchestra.
British premiere: 29 November 1947, BBC Symphony Orchestra in a broadcast cond. by Adrian Boult; this was not recorded by the BBC, but an off-air recording was made on acetate discs and transferred to CD in 2008: the earliest extant recording of the symphony.
First commercial recording: 27 April 1952 Hilde Rössel-Majdan, choirs, Vienna Symphony cond. by F. Charles Adler on the SPA label. It is available for streaming on Spotify.
First public performance in Britain: 28 February 1961, St. Pancras Town Hall, cond. by Bryan Fairfax.
Related Research Articles
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Das Lied von der Erde is an orchestral work for two voices and orchestra written by Gustav Mahler between 1908 and 1909. Described as a symphony when published, it comprises six movements for a large orchestra and two singers as the soloist alternating in the movements. Mahler specified that the two singers should be a tenor and an alto, or else a tenor and a baritone if an alto is not available.
Lieder eines fahrenden Gesellen is a song cycle by Gustav Mahler on his own texts. The cycle of four lieder for medium voice was written around 1884–85 in the wake of Mahler's unhappy love for soprano Johanna Richter, whom he met as the conductor of the opera house in Kassel, Germany, and orchestrated and revised in the 1890s.
Kindertotenlieder is a song cycle (1904) for voice and orchestra by Gustav Mahler. The words of the songs are poems by Friedrich Rückert.
The Symphony No. 6 in A major, WAB 106, by Austrian composer Anton Bruckner (1824–1896) is a work in four movements composed between 24 September 1879, and 3 September 1881 and dedicated to his landlord, Anton van Ölzelt-Newin. Only two movements from it were performed in public in the composer's lifetime. Though it possesses many characteristic features of a Bruckner symphony, it differs the most from the rest of his symphonic repertory. Redlich went so far as to cite the lack of hallmarks of Bruckner's symphonic compositional style in the Sixth Symphony for the somewhat bewildered reaction of supporters and critics alike.
Anton Bruckner's Symphony No. 3 in D minor, WAB 103, was dedicated to Richard Wagner and is sometimes known as his "Wagner Symphony". It was written in 1873, revised in 1877 and again in 1889.
Des Knaben Wunderhorn is a series of songs with music by Gustav Mahler, set either for voice and piano, or for voice and orchestra, based on texts of German folk poems chosen from a collection of the same name assembled by Achim von Arnim and Clemens Brentano and published by them, in heavily redacted form, between 1805 and 1808.
Joseph Haydn's Symphony No. 31 in D major, Hob. I/31, was composed in 1765 for Haydn's patron Nikolaus Esterházy. It is nicknamed the "Hornsignal Symphony", because it gives a prominent role to an unusually large horn section of four players. Probably because of its prominent obbligato writing for the horns, in Paris, the publisher Sieber published this symphony as a "symphonie concertante" around 1785.
Sinfonia (Symphony) is a composition by the Italian composer Luciano Berio which was commissioned by the New York Philharmonic for its 125th anniversary. Composed in 1968–69 for orchestra and eight amplified voices, it incorporates musical quotations to represent an abstract and distorted history of culture. The eight voices are not incorporated classically but rather speak, whisper and shout excerpts from texts including Claude Lévi-Strauss' The Raw and the Cooked, Samuel Beckett's novel The Unnamable, instructions from the scores of Gustav Mahler and other writings.
The many recorded versions of Mahler's Symphony No. 4 include a 57-minute studio album that the operatic mezzo-soprano Frederica von Stade recorded with the Vienna Philharmonic Orchestra under the direction of Claudio Abbado. It was released in 1978.
Mahler Symphony No. 4 is a 73-minute studio album on which Mahler's Fourth and his song cycle Lieder eines fahrenden Gesellen are performed by Frederica von Stade and the Atlanta Symphony Orchestra under the direction of Yoel Levi. The recording was released in 1999.
1 2 3 Jens Malte Fischer[de], Gustav Mahler, English translation by Stewart Spencer, (New Haven: Yale University Press, 2011), 275.
↑ Willnauer, Franz, ed. (2006). Gustav Mahler: 'Mein lieber Trotzkopf, meine süße Mohnblume': Briefe an Anna von Mildenburg. Vienna: Paul Zsolnay Verlag. p.132. ISBN3-552-05389-1.
↑ Hiller, Albert. Das große Buch vom Posthorn. Wilhelmshaven: Heinrichshofens Verlag, 1985. pp. 80–81
↑ Emil Rameis, Die österreichische Militärmusik—von ihren Anfängen bis 1918, rev. ed., ed. Eugen Brixel in Alta Musica 2 (Tutzing: Hans Schneider, 1976), 183, 188
↑ Jason Stephen Heilman, O du mein Österreich: Patriotic Music and Multinational Identity in the AustroHungarian Empire (PhD diss., Duke University, 2009), 198.
↑ Morten Solvik, "Biography and Musical Meaning in the Posthorn Solo of Mahler's Third Symphony", in Neue Mahleriana: Essays in Honour of Henry-Louis de La Grange on his Seventieth Birthday, ed. Günther Weiß (Bern: Peter Lang, 1997), 340–344, 356–359.
↑ Ferruccio Busoni, Von der Einheit der Musik: Von Dritteltönen und junger Klassizität, von Bühnen und anschliessenden Bezirken (Berlin: Max Hesse, 1922), 152.
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