Symphony No. 9 (Mahler)
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The Symphony No. 9 by the composer Gustav Mahler was written in 1909 and 1910, and was the last symphony that he completed. At this point in time, the infidelity of his wife Alma had been revealed to him and this personal crisis led to what is the most intense of all Mahler's symphonies.
It should also be noted that Mahler was at this time a champion of the emerging avant-garde movement, most notably Arnold Schoenberg, and that this placed him in a difficult situation as the standard-bearer of the past whilst being acutely aware of the future of music (and in particular, tonality) opening up before him. The first movement of the Ninth in particular depicts this struggle between tonal stability / instability.
It is scored for an orchestra made up of four flutes, piccolo, three oboes, cor anglais, an E flat clarinet, three B flat clarinets, a bass clarinet, four bassoons, a contrabassoon, four French horns, three trumpets, three trombones, a tuba, timpani, glockenspiel, cymbals, bass drum, side drum, triangle, tambourine, three bells, two harps and strings (violins divided into two groups, violas, cellos and double basses).
A typical performance takes about 80-85 minutes.
Contents |
[edit] Movements
The piece is in four movements:
- Andante comodo (D major)
- Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (C major)
- Rondo-Burleske: Allegro assai. Sehr trotzig (A minor)
- Adagio. Sehr langsam und zurückhaltend (D flat major)
Although the symphony has the traditional number of movements (four) it is unusual in that the first and last are slow rather than fast. As is often the case in Mahler, one of the middle movements is a ländler.
The first movement, whilst embracing a loose sonata form, consists of an extended conflict between the elements of life and death, here corresponding to major / minor, thus providing a continuation of the tonal juxtaposition displayed in earlier works (notably the 6th and 7th symphonies). The work opens with a hesitant, syncopated motif, a depiction perhaps of an irregular heartbeat, which is to return at the height of the movement's development as a sudden intrusion of "death in the midst of life", announced by trombones and marked within the score "with the greatest force".
The second movement is a dance, a ländler, but it has been distorted to the point that it no longer resembles a dance. It is reminiscent of the second movement of Mahler's Fourth Symphony in the distortion of a traditional dance into a dance of death. For example, Mahler alters traditional chord sequences into near-unrecognizable variations.
The third movement, in the form of a Rondo, displays the final maturation of Mahler's contrapuntal skills. It opens with a dissonant theme in the trumpet which is treated in the form of a cyclical fugue. The addition of Burlesque (a parody with imitations) to the title of the movement refers to the mixture of dissonance with Baroque counterpoint. The autobiographical score is marked "to my brothers in Apollo" and the movement is no doubt intended as a sarcastic and withering response to the critics of his music at the time.
After several impassioned climaxes the increasingly fragmented final movement ends quietly, albeit affirmatively. Because Mahler died not long after its completion (he did not live to witness its premiere) this ending is sometimes interpreted as being a self-conscious farewell to the world. However, as Mahler was already working on his Symphony No. 10 before his ninth was completed this is perhaps unlikely. Although he never completed the tenth, Mahler scribbled a farewell to Music and his wife Almschi in its manuscript.
[edit] Premiere
The work was premiered on June 26, 1912 at the Vienna Festival by the Vienna Philharmonic Orchestra conducted by Bruno Walter. It was first published in the same year by Universal Edition.
[edit] Trivia and Quotes about the Symphony
- The effects of the Cold War arms race on culture in general, and the enjoyment of Mahler's Ninth Symphony in particular, prompted the essayist Lewis Thomas to write the title essay in his Late Night Thoughts on Listening to Mahler's Ninth Symphony.
- It expresses an extraordinary love of the earth, for Nature - Alban Berg[1]
- It is music coming from another world, it is coming from eternity. - Herbert von Karajan[2]
- It is terrifying, and paralyzing, as the strands of sound disintegrate... in ceasing, we lose it all. But in letting go, we have gained everything. - Leonard Bernstein[3]
[edit] References and External links
- ^ Quoted in the liner notes to Mahler: Symphony No. 9, Berliner Philharmoniker/Herbert von Karajan
- ^ Quoted in Herbert von Karajan: A life in music by Richard Osborne
- ^ The Unanswered Question by Leonard Bernstein
- Extensive history and analysis by renowned Mahler scholar Henry Louis de La Grange
- Kunst der Fuge: The Mahler's 9th Symphony (MIDI files)
