Mahler Symphony Structure

933 Words2 Pages

Like many of Mahler's complex symphonic movements the first movement of the ninth symphony is based on few distinct themes and motives. (163) The most important motives of the first movement are the following:
- The four note motive which first appears in bar 3 played by the harp.
- The two-note descending motive which is varied and developed extensively throughout the movement
- The rhythmic motive introduced by the horn in bar 4.
The music begins by introducing all the fundamental/primary material which the entire movement is based on. In bar 7 the violins play the first theme (in D Major) which includes the two-note descending motive and lasts until bar 25. In the last beat of bar 25 the "famous Mahlerian" major-minor duality becomes evident. The contrasting minor key theme is introduced.
The clarinets in the last beat of bar 25 and bar 26 play the "sight" motive which then is played by the bassoon and immediately after by the horn. What follows in bar 29 is a massive unexpected climatic gesture coming from nowhere.
In mm. 47-50 another Mahlerian technique which is used throughout the movement can be seen. The clarinets in A and the violas play the 4-note motif. Mahler assigns different combinations of instruments to play simultaneously either the identical music (for example in mm. 58-61, the flutes and the violins) or the same rhythmic motif but with different notes.
In mm. 54-56 Mahler's purpose to create not only a harmonic and rhythmic but also a timbral complexity is once again observed. A very quiet, almost "masked" dissonance is created which is again brief but so often evident.
The transition to the closing section (in Bb Major) occurs in bar 79. The horn is playing the "sigh" motif but in the last note it uses...

... middle of paper ...

... “adding” to the identity of the motif the parameter of color.
Mahler’s purpose to create this complexity of timbres results to a specific compositional procedure which, in turn results to or informs the structure of the music. Not only that, Mahler also avoids making certain “obvious” choices in order not to “get away” from this goal. Mahler could have developed this idea into something more extensive, for example how he uses the timpani in the development section. Instead, he avoids making this musical choice and uses the solo violin part for the purpose of varying the orchestral timbre. Once more, another strategic input by Mahler to convey color.
Musical continuity for Mahler is achieved not only by the elaboration and variation of Harmonic and rhythmic material. Timbre or color is extensively elaborated and varied along side with the other musical parameters.

Open Document