the hidden program in mahler's fifth symphony

8/20/2019 The Hidden Program in Mahler's Fifth Symphony

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The Hidden Program in Mahler's Fifth SymphonyAuthor(s): Barbara R. BarrySource: The Musical Quarterly, Vol. 77, No. 1 (Spring, 1993), pp. 47-66Published by: Oxford University PressStable URL: http://www.jstor.org/stable/742428

Accessed: 28/07/2010 15:03

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2/21

The

Twentieth

Century

T h e

i d d e n

P r o g r a m

n

M a h le r s

i f t h

S y m p h o n y

Barbara

.

Barry

FromBeethovenonwards,here s no modemmusic hat has not its inner

program.

GustavMahler

n a

letter

o MaxKalbeck

By

1900

the Wunderhorn

ears

wereover. Almost

as

if

nature

were

imitating,

or

possibly

prefiguring

rt,

on

24

February

901

Gustav

Mahler

uffered 'hammer

troke,'

a

near-fatal

emorrhage

fter

con-

ducting

a commemorative

erformance

f

Mozart's

ie

Zauberflbte

t

the ViennaImperialOpera.The attackwasso intenseand severe hat

Mahler

hought

he was about o die.

Emergency

medicalaid was

rushed

n

and the immediate risis

passed.

Thanks o a resilient

on-

stitution

he madea

good

recovery

uring

he

summer

acation ater

that

year

at

Maiernigg,

nd when Mahler esumed is

demanding

work

schedule,

t

appeared

hat

recovery

was

complete.

Yet

underlying

Mahler's

uccessful

ecovery

nd

resumption

f

conducting

workwas a

decisive

change

n

compositionaltyle,

most

evident n the FifthSymphony,he Riickertliedernd Kindertotenlieder.

While the 1901 crisiswas

probably

he

single,

most

striking

ontribu-

tory

factor,

the

change

of

style

could

not

be

attributed

o

it exclu-

sively.

Its motivation

equires,

ather,

nterpretation

n

a

range

of

fronts--a

senseof the

interlocking

riteria

f relevance

and evalua-

tion,

such

as the climateof

patronage,

ommissions nd audience

receptivity; pecificpressures

n

the

composer

t

a

particular

ime,

which

may

contribute o a

change

n

direction;

ew

approaches

o

formal,

yntactic

or

other

compositional

echniques,

which

the

com-

poser

sees as structural nd

expressive

roblems

o solve.

Nevertheless,

within

the

network of

personal history,

attitudes and

values,

certain

events

may

act as

triggers,

to

accelerateand focus

existing

trends. The

1901 crisis

had

decisive

ramifications or Mahler's

compositions.

Conflict

between

the

opposing

forcesof life and death had

always

patterned

Mahler's ife and was

incisively

etched into his

music.

47


3/21

48

TheMusical

Quarterly

Mahler's

rushwith death

reopened

ecurrent

ainful

memories f

childhooddeathand lossin his

family,

now

sharpened

y

experience

of

his

own imminent

mortality.

Not

for

nothing

did

Mahler

ay

that

he was drawn

o

Rtickert's

indertotenlieder

oetry

n

spite

of

himself.)

In

his

earlier

works,

triking

ontrasts f

tempo

and

texturehad been

characterized ithin

the

contextof the

Knabenwunderhorn,

uffusing

them with its

poetic imagery.

The

Wunderhorn

oetry

had sustained

Mahler's

ompositional

nergy

or

almost

ifteen

years,

providing

richly

varied

epertory

f

imaginative

ymbols hrough

which

his

music

coulddepictdrama,ronyandlyricism.Now, confrontation ithhis

own

mortality,

n

its

pain

and

immediacy,

ecessitated

n

urgent

re-evaluation f its

meaning

and a

new

way

to reformulate

t in his

art.

Forthe intense

projection

f

mortality,

ecorative nd

picaresque

elementswere

stripped way,making

he

expression

f darkand

light

more

direct

n

impact.

Clearly,

he

conceptual

asis

of the

Knaben-

wunderhorn

as

no

longer

adequate

or

his

needs.

The

existential

search

or

meaning

now took on a new

direction; nd,

in

turn,

its

expression emanded newstylefor its realization.Mahler'shange

in

outlook

manifested

n

a

significant hange

of

compositional

direction--in

a

conceptual

eformulation,

n which

a

darker,

more

sharply

efined

vision

of

mortality

clipses

he

Wunderhorn

orld;

and

in

a

reworking

f

compositional

echniques,

where exturebecomes

more

contrapuntal

due,

in

part,

to

his close

study

of

Bach),

and

tonal

strategy

more

closely ntegrated.

While

the

February

4

crisis

was indeedsuch a

trigger,

ther

factors

also contributed

o

the

change

of direction.

For

Mahler he

1900/1seasonhadbeenoverloadedwithwork,and,characteristic-

ally,

fraught

with

antagonism.

n

addition o

his

administrative

responsibilities

nd

heavy

conducting

cheduleas Director f the

Vienna

ImperialOpera,

Mahler

egularly

onducted he Vienna

Phil-

harmonic rchestra.

Never

a

quiescent elationship,

t

had

become

increasingly

trained.

Mahler's ehearsal

echniques

were

unprece-

dented

n

demands

nd

intensity-and accordingly

esented.

n

order

to achieve

accurate

hrasing,

e

would

drive

he orchestra

with un-

bending nsistence o numerousepetitions f a singlephrase,while

his

causticremarks

n

faulty

notation

provoked

crimonious

x-

changes

with the

players.

Mahler was

clearly

heading

towardsan

explosive

confrontation.

The

decisive

issue was Mahler'scontroversial

rescorings

of

parts

of Beethoven's

symphonies.2

Few

subjects

could have been calculated

to

inflame musical

opinion

more

strongly

becauseof

diametrically

opposed

views

held

about Beethoven and Beethoven's

symphonies.

To


4/21

The Hidden

rogram

49

the

Viennese

musical

press,

Beethoven's

ymphonies

erea

central,

and sacrosanct

art

of the classical

radition;

o

Mahler,

hey

werea

constant

ource

of

vital

discovery,

nnovationand

reinterpretation.

(Once

questioned

bout raditionMahler

epliedwitheringly

Tradi-

tion

is

'Schlamperei.'

)

For

audiences,

Mahler's

ighlycharged

conducting

f

the Beethoven

ymphonies

wasoften

a

revelatory

xpe-

rience,

but

his

conducting tyle

and

particularly

he rescored

ections

aroused

irulentcriticism n Vienna's nfluentialDie Neue

Freie

Presse,

where he

arrangements

ere

attacked s seditious

ampering

with

Beethoven'sworks.3Attackedwith suchopen hostility,on 22 Febru-

ary

1900,

Mahler

published

disclaimer,

efending

is artistic

nteg-

rity

and

asserting

is

fidelity

o Beethoven's

ntentions.4

rreparable

damage, hough,

was done

in

the

already

ense

relationsbetween

orchestra

nd conductor.

Less

han

a week

after

his severe

hemor-

rhage,

Mahler

esigned

s conductor f the Vienna

Philharmonic.

Still,

it was as conductor

f Beethoven's

ymphonies

hat

Mahler

had achieved ome

of his

greatest

uccesses,5

nd the

culmination f

these acclaimed

erformancesand

also of Mahler's

ontroversial

Beethoven

ymphonic

rrangements)

as the

opening

concert

n

April

1902 of

the

14th

ViennaSecession

Exhibition,

dedicated

o

Beethoven.

Dominating

he exhibition

pace

was

Klinger's

monumen-

tal,

lavishly

nthroned tatueof

Beethoven,

a

Prometheancon of

heroic

grandeur.6

he

statuewas framed

y

a

triptych

f

panelsby

the

artist

Gustav

Klimt.7

Yet

it

was ironicthat

in

an

exhibition

dedicated

to

Beethoven,

representing

he

central

concept

of

human

dignity

and

fraternity

n the

choral inaleof the Ninth

Symphony,

here

was abu-

sive criticism evelledat the exhibition's rtistsKlimtand Mahler.

Nor was

such criticism n isolated

phenomenon,

imited

o values

and criteria

n

art.

Rather,

t

formed

part

of the

larger

ontext of

increasingly

trident

political

conservatism

n

the 1890s. The

moder-

ate liberalism f

the

1870s

had been

superceded y

hardline

political

retrenchment,

which in

turnmanifested

n

the

arts,

iterature nd

medicine.8

As

CarlSchorske

notes,

Political ssues

became

cultural,

cultural

ssues

became

political. 9

Klimt,

one

of Vienna's

most inno-

vativepainters,had causeda stormof controversyver his threeceil-

ing paintings

or

the

University

f

Vienna,

painted

n

1900/1.

In

the

painting

'Medicine'

(1901)

Klimt inverted the

imagery

of

healing

and

confronted

the viewer with

a Nietzschean vision of

writhing

human

forms

presided

over

by

a hieratic

goddess.

While less

overtly

dissonant

than

the

University

paintings,

the

figures

n

the Beethoven

panels

were

deliberately

dissociated,

flat

in

design

and isolated in

space.

If,

as

Schorske

says

of the Klimt

panels,

There is

no

encounter,

no


5/21

50 TheMusical

Quarterly

equivalent

o Beethoven'sierce

Turkish

battlemusic n the

Ninth, 10

there s

also none of Beethoven's

rofoundly

umanconnectionwhich

madeThomasMann'sAdrian

Leverkuihn

inally eject

his

own desic-

catedcerebral

rilliance,

and

madethis twentieth

century

Faustus

reclaim he

humanity

f

the

Ninth

Symphony.

Bitter

rancor

gainst

both Mahlerand Klimtwas

contributory,

n

each

case,

to

significant

changes

of

stylistic

direction-to

personal

eassessmentnd far-

reaching

eformulationf the elementsof their

art.

12

Mahler'sworks

composed

n the summer

f 1901

following

his

near-fatal

illness--the

Rickertlieder,hreeof the Kindertotenliedernd two movements f the

Fifth

Symphony--are

arker

n

tone and leaner

n

texture

han

the

Wunderhorn

ymphonies,

nd

preoccupied

ith

death. Mahler

had

literally

nd

metaphorically

ost the Wunderhorn

oice he had

so

viv-

idly

created.

Now,

moresombre nd

intensely

human

aspects

of death

and loss

imprint

his music.

In

his 1901

Lieder

ettings

Mahler

urned

away

rom he folk-like

poetry

of

Amim

and

Brentano o

the

art-

poetry

of

Riickert.But the Fifth

Symphony

and

subsequently

he

Sixth andSeventh)hasno word. Doesthismeanthat Mahlerhad

simply

everted

o abstract

ymphonic

orm?13

r,

for this

highly

allu-

sive,

complex

composer,

who

used

structuralcaffoldso

underpin

is

large-scale

esigns

and interleaved

uotations

f both

his

own and

other

composers'

music,

was

there

a

hidden

rogram

hich

stands

behindhis

Fifth

Symphony?

Mahler

himself

provided

he

essential

lue

in

his

letter,

quoted

above,

to Max

Kalbeck,

which is

undated

but

ascribed

y

KnudMart-

ner fromall

its

internal

eferenceso

January

902. From eethoven

onwards,here s no modemmusic hat has not its inner

program. 14

Kalbeck ad

written

o Mahler

with

a

sympathetic

eview

of

the

Fourth

Symphony,

which had elicitedMahler's

rateful

esponse;

ut

by

January

902,

both

time

and

events

had

superceded

Mahler's

on-

ceptual

outlook

n

the Fourth

Symphony.

n

January

902,

Mahler

was

in

the middleof work

on the Fifth

Symphony,

which

spanned

he

summers f

1901 and

1902.

Ongoing

preoccupation

ith the

Fifth,

grappling

o

find

satisfactory

olutions o its

compositional roblems,

wasstill in the forefront f Mahler'smind.In addition, herewas no

reason

o talk about

a

hidden

program

or the

Fourth

Symphony

because

t

had an

explicit

Wunderhorn

ext

in

the

Finale--and

ts

neo-classic

tyle,

with the child'sview of

heaven,

would

seem

to have

few

points

of reference with Beethoven.

But the

Fifth

certainly

does

have

those

points

of

reference-dramatic, intense,

with the first move-

ment funeralmarch.

Nevertheless,

perhaps

because

of its

ganz

neuer

Stil,

its realizationwas far

from

easy.

Mahler

repeatedly

said that the


6/21

TheHidden

rogram

51

Fifth

gave

him moretroublewith the

scoring

han

any

of his

other

works,15

nd

he

continued

o revise t to the last

year

of

his

life.16

Between

Mahler

and Beethoven tandsa chain of

connections,

in

which

identification,

reativity

nd

recreativity

re interlinked.

ust

as Mahler'sntense

empathy

with Beethoven's

works

timulatedheir

recreation

n

performance,

o his identification ith

Beethovenalso

manifests

n

manyways-as

artist,

or

his

courage

n

adversity,

nd

as

composer,

or his

powerful

nnovations

n

the

symphony.

There

were

even

similarities f facial

expression,

7

and Bruno

Walter,

Mahler's

friendandconducting ssociate, estifieso similar haracterraits,

including

uddenmood

changes

romabsent-mindedness

o

crankiness,

kindness,

udden

gusts

of

laughter,

nd

Mahler's

abit,

like

Beetho-

ven's,

of

taking

walks

n

the

country

and

sketching.

8

But

the

identifi-

cation was far

more

profound

nd

multi-levelledhan

possibly

fortuitous imilarities f character.Mahler aw

Beethovenas

the

com-

poser

who had madethe

most

powerful

nternal

ransformationnd

individualizationf the

symphony.

Beethoven

had

stamped

t

with his

own unmistakablehythmiceatures, xpanded roportionsf sections

and

movements,

nlarged

he

orchestra nd

expanded

empo

ranges.

Beethoven's

ignificant

tructural

ntegrations

nabled

ndividual

movements

o be

more

sharply

haracterizednd

differentiatedt the

music's

urface nd

yet

more

closely

co-ordinated

y

techniques

f

development

nd

transformation,

hereby

ndividualmovements

on-

tributed o the whole.

In

Beethoven's ands he

symphony

ecame

moresubstantial

nd

individual,

emanding

rom ater

nineteenth

century

omposers,

s

Dahlhaus

ays,

the same

degree

of reflec-

tion. 19 n

particular,

eethoven's eroic

symphonies-the

Third,

Fifthand

Ninth-had

special ignificance

or

Mahler,

who

was

both

sensitive

o,

and

extremely

uperstitious

bout,

numbers.20

t a time

of

adversity

nd

reformulation,

hile

coming

o

grips

with his

own

Fifth,

Mahler

ooked o

Beethoven,

and

particularly

o

Beethoven's

Fifth,

to

provide

a

congruent

onceptual mage

and,

more

specifically,

the model

for a structural

roundplan.

ven

more,

the

distinctive

material nd

integrated

tructure f

Beethoven'sFifthwere

to

provide

the basis orhis ownFifth.21

Before

onsidering

he

detailed

matching

f

the two

Fifths,

here

is some

contextual evidence

which

supports

he

premise

of a

specific

background

modeling. By

1801,

Beethoven's

hearing

had

deteriorated

so much

that he was unable to

discern

speech

unless in close

proxim-

ity,

and to hear

the

upperpartials

of musical

pitches.

In

a letter to his

close friend Franz

Wegeler,

on 29

June

1801,

he

describedthe

misery

caused

by

his

hearing

which,

for the

past

three

years,

had become


7/21

52 TheMusical

Quarterly

weaker

nd

weaker.

On

the

adviceof his

physician,

Dr.

Schmid,

BeethoveneftVienna or the country. n lateApril1802,from he

village

of

Heiligenstadt,

e

wrote

he

open

letter,

knownas the

Heiligenstddter

estament,

2

which

records is crisis

of

despair

nd reaf-

firmation f commitmento his art. Beethoven's

truggle

with

adver-

sity

from

which

he

forged

a

new

directionand

purpose-and

resultant

burstof creative

nergy-provided

Mahler,

n

1901,

afterhis own

crisis,

with

a

meaningful

model--the

heroic

concept

ingedby

death

which

provided

he

specific

background

or his own reformulation.

Mahler

had

already

sed

aspects

of

the

modelof Beethoven's

Fifth

prior

o

his

own

Fifth.

In

his Second

Symphony,

he Resurrec-

tion,

Mahler

had

used

the heroic

concept,

with

its

transcendence/

apotheosis

n

the

finale,23

n

Beethoven's haracteristicconflict

ey

of

C

minor.The two

openings

how similar aut

rhythmic

ttack

and

the delineation f a

rising

6

as constructional

itches

(Ex. 1).

Both

second

movements

re

in the

key

of

A

flat

major,

both

are

in

,

have

anacrustic

penings

tarting

n

the

dominant

E

flat,

and both are

Andante

movements

Ex. 2).

In Mahler's cherzo

movement,

he

heavy-footedavortingn the cellosandbasses eems o follow

directly

rom he

elephantine

umbering

n

the

trio

from he

scherzo

of Beethoven's

ifth-and

in the

same

key

(Ex. 3).

Mahler's

se

of

the heroic

concept

and

specific

eatures rom

Beethoven's

ifth

accordingly

rovides

ubstantial

lementsof

the

background

caffolding

or the Resurrection

ymphony.24

While such

similarities

reso

apparent

hat

the

borrowings

may

be termed he

direct

mode

f

transference,

n

Mahler's

ifththe transference

s

both

moresubtleandthoroughgoing.eethoven's ifthprovideshe back-

ground

model

or the

tautly

articulated

irstmovement

prime

material

and

for

large-scale

tructural

ntegration

cross

he

whole work.

Against

his

background,

Mahler

elects,

individualizes

nd

transforms

the

component

lements.This

secondkind of

transference,

hichwill

be

explored

more

ully

below,

may

be

termed

he

metamorphic

ode.

5

The terse

rhythmic,

epeated

ote motto

opening

of Beethoven's

Fifth-sometimesreferred

o as

the

Klopfton,

r

Klopfrhythmus 26

--is

one

of

its

most

arresting

eatures,

oth as

striking esture,

and

for

its close-knitwebbing f the firstmovement.As well asenunciating

the famous

pening

which is

extendedas

first

ubject

motivic

exchange,

it

provides

the

rhythmic

underpinning

of the second

subject

and is the almost

exclusive substance of

development

and coda.

In

addition

to its

integratedinterlocking

of the

first

movement,

a

closely

derivedvariant

of the

Klopfton

also forms

the

prime

materialfor the

scherzo,

thereby

providing

integration

across

movements,

in

particular


8/21

The

Hidden

rogram

53

Mahler

2nd,

-

Allegro

maestoso

Ist

mvt.E

f

-ff

f

f

Example

.

Mahler

2nd,

2nd myt.

Andante

moderato

Beethoven

5th,

2nd

mvt.

Andante con moto

p

dolce

Example

.

Mahler

2nd,

3rd

mvt.

b. 190

Cellos & Basses

Beethoven

5th,

3rd

mvt. b.

141

Cellos

&Basses

Example

.

the C-minormovements.After the muffled, minousopeningof the

scherzo,

he

fortissimo

orn

figure

mm.

19/20)

has the

prime Klopf-

ton

characteristics,

ut now

accentually

ltered

Ex. 4).

Equally

famous

s

the

skeletal,

pianissimouote

of

this scherzo

material

n

the

finale

(m.

160

ff)

(Ex.

5).

Although

quoting

of

earliermaterial t

the

end of

the same

movementdid not

originate

with Beethoven-the

famous

xample

s

the

opening

of

Haydn's ymphony

No. 103

in

E

flat

(Drumroll)

the Fifth

Symphony

s one

of the

first nstances f


9/21

54

TheMusical

Quarterly

Beethoven

5th,

opening

Hns.

(as

sounding)

VIn.1

Cellos&

Basses

f

Example

.

Beethoven

5th,

Finale

b. 160

-_V

n..

izz.-

Cellos

pizz.

Example

.

quoting

rom

one movement o

another,

and where

he

quotation

appears

n a transformedharacterrom he original.

Beethoven's istinctive

Klopfton,

nd

its

subsequent

ariant

quoted

n

a

later

movement

n

a

recognizable

ut

transformedharac-

ter,

provide

ardinal

oints

of reference

or

Mahler's ifth.The

open-

ing

motto

theme,

so

closely

patterned

n Beethoven's

eremptory

gesture

as

seen

in

the

comparison

f the two

openings

n Ex.

6)

delineates

he

major

ections

of the

movement,

nitiating

he firstand

second

expositions

mm.

60/1),

the

development

m. 152)

and

the

recapitulationm. 254).27(Thedoubleexposition onata irstmove-

ment

is

Mahler's

ndividual

nterpretation

f

the normal

epeated

exposition).28

ut Mahler's

motto

theme is different

n

function rom

Beethoven's

within

the movement tself:

t

introduceshe firstmove-

ment Trauermarschheme

and

provides

he essential

ontrast

between

articulatedrameand contoured orm.

If

the motto

is

the

taut

rhythmic

generator,

o the

Trauermarsch

s the work'smore

nward,

yrical

resource f

derivation nd

transformation

Ex. 7).


10/21

TheHidden

rogram

55

Beethoven

5th,

1st

mvt.

A Hns. 1,2

Mahler

Sth,

1st

mvt.

BITpts. (as

sounding)

3

3

p

=

if

--

--=•ff

Example

.

Mahler

Sth,

1st mvt.

motto

theme

3

3

3

etc.

WbTpts.

(as

sounding)

a

If

=

if

=

itf

---

Trauermarsch

Vln.

I,

Vlas.

b. 35

S

Basses

i

Basses

pizz.

Example

.

The

Trauermarsch

heme

is

also

essential

o

the

articulation

f

the doubleexposition tructuref the movement. n the firstexposi-

tion,

contrast s

focused

on the

rhythmic

erseness

f

the

motto

and

the

sombre,

downward-pressing

elody,

but in

the

second

exposition

(starting

n

the

middle

of m.

59),

the

C-sharp

minor

Trauermarschs

followed

by

a

warmly yrical

omplement

n

A

flat

major,

richly

scored

in

the

winds n

thirds

and

sixths,

and is

the

organic

outgrowth

n

rhythmic

patterning

nd

contour

rom

he

first

ubject.

But

A

flat

major

s

the

enharmonic

quivalent

f

G

sharp,

which

is V

of

C

sharp,and thissectionconstituteshe movement'secondsubject Ex.

8).

In

the

recapitulation

t

appears

n D

flat

major-tonic

major,

enharmonically,

f C

sharp

minor,

measure

94

ff.

(The

second

sub-

ject

derivation rom

he

Trauermarsch

s

given

in

Ex.

9.)

It is

this

second

subject

which

forms

one of

those

cardinal

oints

of

reference rom

Beethoven's

Fifth.

In

quoting

he

scherzo

materialn

the

finale,

Beethoven

used

two

separate,

ut

interrelated

lements,

which

provide

ecognition

nd

differentiation.

ne

is

melodic

nd


11/21

56

The

Musical

uarterly

Mahler

5th,

Ist myt.

b. 121

2.2

nd subject

7 q

pi

q

meIIi

d--

=k

il-

Example

.

All0.b.35

1st

subj.

derived

~l b

i

2nd

subj.9IF

IA

•

'

1

'

; ;

'

'

•

-

-

,F , r,

-

'

,

Example

.

rhythmic

dentity,

whereby

e

retains

he

pitch

and

rhythmic

ontent

of

the

original;

he

other

is

transformed

haracter,

hich

is achieved

by

different

coring

in

the

quote

using

strings,

versus

he horns

of

the

original),

changed

articulation

pizzicato)

nd different

ynamics

'inm'

v

'fS').

In his

Fifth,

Mahlerusestwo

quotes,

each

using

one of

Beethoven's

echniques.

The

first

n Part

I

(Movements

and

2)

is

a

literal

quote,

with

the

A-flat

second

subject

rom

he

first

movement

restated

dentically

n the second

movement

second

movement,m.

266ff)

but

at

a new

pitch

level,

on

B.

The

second

quote,

in

part

III

(Movements

and

5,

the

Adagietto

nd

the

Finale),

s a

transformed

version

of

the

Adagietto

aterial

which

returns

n the

Finale,

affected

in

tempo,

character

nd

rhythmic

ontour

by

its new

context.

Carl

Schorske assuggested29hatPartIIIof the work s a transcendental

journey

r

transfiguration

f Part

I.

If

so,

then

it clarifies

Mahler's

choice

of

the

metamorphic

mode

for

the

transformed

haracter

f

the

Adagietto

uote

in the

finale.

But

there

s also

another

evel

of trans-

formation

t

work

n Part

III. The

Adagietto

heme

s itself

(as

will

be

seen

shortly)

a transformation

f

the

funeral

marches

n Part

I.

In Part

I,

the

first

wo

movements

ach

contain

a

funeral

march-in

the

first

movement

he

C-sharp

minor

Trauermarsch,

n the


12/21

The

Hidden

rogram

57

Mahler,

st

mvt.,

Trauermarsch

b. 35

VIn.I

2nd mvt.

Cellos

v. 79

Example

0.

Mahler

5th,

Ist

mvt.

BLTpts. as sounding)

Develop.

3

b. 153

3 3

>-'

>> >

P

-,

,,,

'= i

,

_

- r

- •

,.

a

.-

-

Example

1.

second

movement he

F-minormarch s the

central

episode,

a

point

of

sombre

quiet

in a movementof restless

nergy

and

biting

dissonance.

Similarities

re

underlined

y

Mahler

when he

says

of

the

second-

movement

march:

Im

Tempo

des erstenSatzes

Trauermarsch ;

ut it

is morethan

tempo

alone,

or even

general

mood,

which

they

have

in

common.

The

second-movement arch s

a

derivedvariantof the

first,30

ust

as

the horn

figure

n

the scherzo f

Beethoven's

ifth

s

a

derivedvariantof the work's pening Klopfton Ex. 10).

In

addition o the direct

comparison

f

the two

marches hown

in

Example

10,

in the first

movement

Mahler

laborates series

of

indirect

tages

of derivation rom he

Trauermarschhich

point

towards he

second

movement,

and

again,

t is the

motto theme

which

provides

he cue to these

links

of

compositional

trategy.31

he

opening

of

the firstmovement

development,

eralded

y

the motto

rhythm

n the

trumpets,

eads nto the

following

variantof

the

TrauermarschEx. 11). At the centerof the recapitulation,Mahler

rescores he motto for

timpani,

and its

eerie

sonority

ntroduces

another

lightly

alteredvariantof

the

Trauermarsch.

s each variant

shifts

direction

lightlyaway

rom

he

Trauermarsch,

o it moves

towards he second-movement

-minormarch.Mahler

underscores

he

forward-pointing

elationship

o

the F-minormarch

by

one of his

most

skillful trokes.

Against

he

recapitulation

ariantof

the

Trauermarsch

(m.

322

ff),

two

figures

rovide

a

counterpointed

ackdrop: yearning


13/21

58 TheMusical

Quarterly

Mahler

5th,

Ist

mvt.

3

b. 137

3 3 3

b. 323

Timp.

mP

3

_

molto espress.

Vln.

i-

Vin.

Vlas.-

Example

2.

appoggiatura

n the violasof an

upwardeaping

eventhor

ninth,

and

an

anacrustic,

epeated

ighth-note igure

n the

inner

strings

Ex.

12).

These two

figures

orm he

mediating

inkage

between

he first

and

second

movement uneralmarches.Carried orwardrom irst

movement

variant

o

second

movement

pisode,

hey

provide

he

distinctive,plangent imbral ontextfor the F-minormarch,and

underpin

he transformational

rocedures

etween he two

funeral

marches.

The connectionbetween

he two funeralmarches s

accord-

ingly

achieved

by

subtleshiftsof retention

and

transformation.32

Against

hese transformational

rocedures,

Mahler

ets the literal

quote

at

the center

of

the second

movement-the firstmovement

A-flat

major

econd

subject,

now

in

the

key

of

B

major

m.

266ff:

Tempo

des erstenSatzes

Trauermarsch'

).

Eventhe literal

quote,

though,

s affected

by

its

context;

t is

expressivelyounterpointed

n

the violins

by

the bird-call

igure

Ex.

13).

While

the

literal

quote

accounts

or

one

of the

principal oints

of internal eference

within Part

I,

there

s

one other

quote,

external

to

the

work,

which occurs

n the

first

movement

ecapitulation,

ust

after

he second

subject

n

the enharmonic

onic

major,

D

flat,

and

just

before

he

second

variantof the Trauermarsch.

ahler

quotes

from he first

of the

Kindertotenlieder,

Nun

will die Sonn' so hell


14/21

TheHidden

rogram

59

Mahler

5th

Fls.

4

Cellos

b.266

Fls.

p espress.

Vln.

II

A

0P

Example

3.

aufgeh'n. elf-quoting

romotherworks

was,

of

course,

not

new:

in

the First

Symphony,

e

had drawnon his

Gesellen

ong,

Ging

heut'

Morgen

iber's

Feld ;

n

the

thirdmovementof the

Second

Sym-

phony,on DesAntoniusvon PaduaFischpredigt ;nd the scherzo f

the

Third

Symphony

uotes

Der

Kuckuck

at

sich zu

Tode

gefallen.

As

Donald

Mitchell

notes,

Furthermore,

the

Wunderhorn

ongs]

functioned s a storehouse f

invention,

symbol

and

image

n

parallel

relation o

the

symphonies, 33

nd

goes

on to

say,

.

.. just

as the

Gesellen

ycle

and Wunderhorn

ongs

were

directly

elated o the

whole

creative

period

hat

followed,

o

the last two

Wunderhorn

ettings,

he

Kindertotenlieder

nd

the

'Rtickert'

ongs,

beara

significant

elationship

o

the

symphoniesurrounding

hem.

34

n the

present

nstance,

he

theme

of

death,

through

ts

expressive

elineation f turn

figure

nd

downward-weighted

ppoggiaturas,

onnects he

Trauermarsch

nd

Kindertotenlieder.

rom he

Trauermarsch

volves

the

lyrical

econd

subject,and

t is

rendered ven

more

poignantby

reference o the

Nacht

f

the

song

(Ex.

14).35

If

Kindertotenlieder

s

directly

quoted

n

Part

I,

then it

reappears

transformed

n

Part

III,

in

the

Adagietto.

ust

as the

end of

the

song

cycle

transfigures

he

grief

of

death

into

consolation,

o the

Adagietto

transfigureshe earlier eferenceo death-the external eferenceo

the

Kindertotenlieder

nd

the

internal

eference o the

F-minor

uneral

march-into a transcendent

tillness.The

Adagietto

s also

related

n

key

and contour

o

the

other

Ruickert

ong

on the theme

of

death,

Ichbin der

Welt abhanden

ekommen,

omposed

ontemporane-

ously

with

threeof

the

Kindertotenlieder

n

the summer

f 1901.

The

three

works orma

network f

poetic

and musical

eferentiality

Ex.

15).


15/21

60

The

Musical

uarterly

Mahler

th,

Ist

mvt.

b.

313

•Ppf

Nacht,

no.

I

b. 13

Kein. Un

_

gl0ck

die

Nacht

ge

scheh'n

(als sei)

Example

4.

Mahler,

ch

bin

der Welt

abhanden

ekommen

SI

Ob.

. 0

(Voice)

b.

12

KTL

no.2

(Voice)

5th,

'Adagietto'

5th,

2nd

mvt.,march

-4: bw I II I II AI .I?

..

.

.

Example

5.

While

the scherzohas

the

positional

enter

of the

Fifth

Sym-

phony,

the

Adagietto

s the

expressive

enterof

the workand

the

hinge-point

f its

metamorphic

rocedures.

ndeed,

even the transfor-

mationof the Rackertlied,he reference o Kindertotenliederndto the

funeral

marchof the

Fifth

Symphony

o

not exhaust

he

referentiality

of the

Adagietto.

t was also a

privately

oded ove

message,

bliquely

referring

o

Tristan nd

Isolde,

romMahler

o

his wife

Alma,

as

Donald

Mitchell

discussed

ome

yearsago,36

a

position

which

Mahler

enthusiast

Gilbert

Kaplan

s now

attempting

o

popularize

y claiming

that

only

such

a

reading

houlddetermine

he

interpretation

f the

movement

n

performance

nd

the selection

of

tempo.37

But

Mahler's


16/21

The

Hidden

rogram

61

programmatic

ntent

is

never so

blatant,

nor so

monodimensional.

The movementhas a

two-way

ime dimension: n the one

hand

it

gathers p

and

transformsarlier

material romPart

I;

and on

the

other,

it

points

forwardo this transformed

eference n

the

Finale.

In

both

its

position

n

the workand

in

the

altered haracter f the

quote,

the

Adagietto

eference

ompares

losely

with

Beethoven's

quote

of the scherzomaterial

n

the finaleof his Fifth

Symphony.

Like

Beethoven,

Mahlerdraws n

the

dramatic nd

referential ffect

of

the

device,

which confronts he

listener

with

a

prior

dentity

n

a new context.Mahlerunderlineshe connectionbetween he literal

and transformed

uotesby stating

hem

both

in

the

key

of B

major

(Finale,

m.

190ff)(and

later

n

the

key

of D

major,

he

Adagietto

reference

eturns

s a

recapitulatory

eature,

m.

373ff).

Interestingly,

the

Adagiettouote

is

not drawn rom he

opening

of

the slow

movement

which

transfigures

he music

on

death)

but from ts

more

mpassioned

middle

ection. While

the

identity

of

the

quote

is

immediately

ecognizable,

ts

originally

ntense

expressivity

as

been modified ythe Finalecontextand becomeengagingly

grazioso.

At

a

point

of

crucial

change

and

stylistic

reformulation

fter he

end of the Wunderhorn

eriod,

Mahler

neededa

meaningful round-

plan,

a

compositional

modelas

inner

program

hich

would

provide

the basis or his own

individual

ealization,

nd

enablehim in

subse-

quent

works o

forge

his own

new

way.

Given his

strong

empathy

for and identification

ith

Beethoven,

here is

a

strong

propositional

rationale hat Mahler

ooked oward

Beethoven,

and

particularly

o

the

symphony

with the samenumber shis own. Beethoven's

ifth

Symphony rovided

Mahlerwith

a structural

lueprint

or his

own

Fifth

Symphony, background

f

both

conceptual

haracter nd

com-

positional echniques.

t

includes

he

reinterpretation

f the

heroic

concept

with

its

large-scale

haracterization

f

conflict

n

the first

movement o

affirmation/resolution

n

the

Finale;

he

use of

keys

a

third

apart

between

movements

in

Mahler's

ifth,

the

two

move-

mentsof PartI are

a

third

apart,

C

sharp

minor-A

minor;

he

major

keyresolution/transformationn Parts Iand IIIare D major-F

major-D

major);

hirdsalso

play

a

crucial

ole

in the

generating

rime

material

f the first

movement;

he

modeling

n

the retention/

transformation f the

Klopfton

n

the scherzo

material;

and the

strategic

use of

quotation.

The

groundplanreplaced

the

explicit

Wunderhorn

rogram

with a new

and

hidden

program.

As Donald

Mitchell

says:

The

Fifth,

it

seems

to

me,

initiatesa new

conceptof

an

interior

drama

replacing

the old

and

explicit 'programmatic'

dea. '38


17/21

62

TheMusical

Quarterly

No

workof

Mahler's

was

revised o often and

extensively

s

the

Fifth.39Was it becausehe FifthSymphonywasso crucial o Mahler

in

reestablishing

is

compositional

nd

psychological

ersona,

after

the orchestrated

ttackson

his

creativeand recreative

work,

that

he

constantly

eturned

o

it,

frequently

eworking

he

orchestration?

n a

letterto

the

conductor

Willem

Mengelberg

t

the end of

1905,

he

asks

Mengelberg

o

return

he full

scoreof

the

Fifth

mmediately,

as

I

have made

very

extensiveand

important

evisions, 40

nd which

Mengelberg

eturned

oon

after

n

early

1906.41

n

June

1910 Mahler

wrote o hispublisher etersasking hem to issuea neweditionof his

Fifth,

which

he would

pay

for,

to

incorporate

ll the amendments

e

had

since made.42

In

the event the revised dition

was

only

pub-

lished

n

1964.)

During

his last

year,

1911,

writing

o

Gohler rom

New

York,

he

recognized

he

vital

place

the

Fifth

had

in his

work,

ts

new

style

and direction

for

a

completely

ew

style

demandednew

technique ;43

nd

in

the addenda o

the same

etter44

e

insisted o

Gohler

hat the

firstversionof

the Fifthshould

never

be

played

again

because

t was

badly

orchestrated.

Mahler's reoccupation ith the Fifthrevealsa number f inter-

related ssues

and

perspectives:

echnical

problems

f

orchestrationnd

expression;

etentionand transformation

f formal

rameworks;

nd

what Leonard

Meyer

alls

ideological

hoices45

--that

variegated

ol-

lection of

contemporary

eliefs,values,

deasand intentions

which

impinge

on

composers'

hoices;

actors

affecting

iographical

istory,

and the wider

political

ramificationsf

attitudes

nd

policy-making

which

affect

artistic

limateand audience

eceptivity.

Different ways f seeing 46--oftructuralohesion(as in Ratz47

and

Redlich48),

iographical

nd

historical

ostulates

Floros)49

nd

hermeneutic/philosophical

escription

Adomo)50-provide

nterpre-

tive

insights

nto

Mahler's

ifth,

but

in

this

particular

ymphony

here

werealso

strategic

actors

at work

which resulted

n the

adoption

f a

specific

tructural

roundplan,

ased

on Beethoven's

ifth.

In his

Sixth and

Seventh

symphonies,

Mahlerhad movedonto

othercre-

ative

impulses

nd

impetuses,

nd

in

the

Eighth

he

returned

o vocal

texts,

setting

Goethe

in a

massively

laborated

resco.

But the Fifth

remains,

numerically

nd

conceptually,

t

the centerof his

output.

In

no

work

more than

the Fifth was his

empathy

and identification

with

Beethoven

so

strong.

Its hidden

program

llowed

Mahler to

forge

ein

ganz

neuer

Stil,

and

to

provide

the structural

ohesion for his

characteristic

diversity

of

sharply uxtaposed

deas

and

richly

delin-

eated

expressive

range.


18/21

TheHidden

rogram

63

Notes

1. As he

is

totally

absorbed-to

the last fiber-in the work

of

art,

so

he

expects

the

same from his

co-workers.He will not relent until

everything

is achieved that

seems achievable

to

him. He demands the

continuation,

repetition

and

augmentation

of the rehearsals.

Here he hits

the

most substantial

resistance--to

the

musicians,

earn-

ing

a livelihood

is of

equal importance,

excessive exertion

disagreeable.

Edward

R.

Reilly,

Gustav

Mahler ndGuido

Adler:

Records

f

a

Friendship

Cambridge:

ambridge

University

Press,

1982),

45.

2.

David

A.

Pickett,

GustavMahler s an

Interpreter:Study f

his

TextualAlter-

ations nd

Performance

ractice

n the

Symphonic

epertory

ol. 1

(The

British

Library/

UMI

Press,

1988),

87-97.

3. The

opposition

o

Mahlerwas

ntensified

y

an

anti-semitic

ampaign.

ee Karl-

Josef

Muiller,

Mahler: eben-Werke-Dokumente

Mainz: chott;

Munich:

Piper,

1988),

177-81.

4.

Mahler's

urpose

nd

approach

o the Beethoven

Retuschen'

s discussed

y

Ernst

Hilmar,

Mahlers

eethoven-Interpretation

n

Mahler-Interpretation:spekte

um

Werk ndWirken onGustavMahler

d. Rudolf

Stephan

Mainz;

London;

New

York;

Tokyo:

Schott,

1985),

29-44.

5.

Fora

full

listing

of Mahler's

onducting

ee

Knud

Martner,

GustavMahler

m

Konzertsaal:

ineDokumentation

einer

Konzerttatigkeit

870-1911

(Copenhagen,

1985).

6.

As

the

old

century

ameto a

close,

cult

figures

rom

he

'unblemished'eroic

past

assumed

xtraordinary

mportance.

lessandra

omini,

The

Changingmage

f

Beethoven:

Study

n

Mythmaking

New

York:

Rizzoli,

1987),

397.

7.

Jean-Paul

ouillon,

Klimt:

Beethoven:he

Frieze

or

theNinth

Symphony

New

York:Rizzoli,1990).

8.

Fordiscussion

f

politics

n

a

sharper

ey

ee William

.

McGrath,

Dionysian

Artand

Populist

olitics

n

Austria

New

Haven:

Yale

University

ress,

1974),

165-

207.

On the

politicization

f anti-semitism

ee

John

W.

Boyer,

Political

adicalismn

Late

mperial

ienna

Chicago;

London:

University

f

Chicago

Press,

1981),

81-99

and

377-410.

9.

Carl

E.

Schorske,Fin-de-Siecle

ienna:

olitics

ndCulture

New

York:

Knopf,

1985),

232.

10.

Schorske,

58.

11. Thomas

Mann,

Dr.

Faustusrans.

H.

T.

Lowe-Porter

New

York:

Knopf,

1948),

478.

12.

ForMahlerno less than

for

Klimt,

he

years

1900

and

1901

were

years

of

per-

sonal

rial,

traumatic

ncounterwith

society,

and

consequent

rtistic

eorientation.

Carl

E.

Schorske,

Mahler nd

Klimt:Social

Experience

ndArtistic

Evolution

d.

Rudolf

Klein,

Beitrage

79-81:

Gustav

Mahler

Kolloquium

979

(Kassel:

Basel:

London:

Barenreiter,

981):

16-28.

Extracted

.

23.


19/21

64

The

Musical

Quarterly

13.

This

is the view

adopted

y

many

writers

n

Mahler.

For

example,

Colin

Mat-

thewsconsidershat If he FifthSymphonyasany'programme',t is anabstract,

objective

ne,

perhaps progression

rom

darkness

o

light.

Colin

Matthews,

Mahler

at Work:

Aspects f

the

Creative

rocess

New

York

and

London:

Garland

ublishing,

Inc,

1989),

52.

14.

Ed. Knud

Martner,

elected

etters

f

GustavMahler

New

York:

Farrar,

traus&

Giroux,

1979),

262.

15.

Revisions re isted n

Rudolf

Stephan,

GustavMahler:

Werk nd

Interpretation.

Autographe,

artituren,

okumente

Cologne:

Amo

Volk

Verlag,

1979),

59-63,

86-88.

See also Sander

Wilkens,

Gustav

Mahlers

iinfte

infonie:

uellen

nd

Instru-

mentationsprozessFrankfurt;ewYork:Peters,1989).

16.

See

Martner

bid.,

p.

287, 356,

372,

448.

17.

Natalie

Bauer-Lechner,

ecollections

f

GustavMahler

rans.

DikaNewlin

(Cam-

bridge:Cambridge

niversity

ress,

1980),

84.

18.

Bruno

Walter,

GustavMahler

Vienna:

Herbert

Reichner

Verlag,

1956),

97-100.

ForMahler's

dentification

ith

Beethoven,

nd

mythicizing

f

Mahler's

image,

ike

Beethoven's,

ee

Hermann

Danuser,

GustavMahler

nd

eineZeit

Laaber:

Laaber-Verlag,

991),

287.

19. Toprovehimselfa worthyheirof Beethoven, composerf a symphonyin

the laternineteenth

entury]

ad to

avoid

copying

Beethoven's

tyle,

and

yet

main-

tain the same

degree

of

reflectionhat

Beethoven ad

reached

n

grappling

ith the

problem

f

symphonic

orm.

Carl

Dahlhaus,

Nineteenth

entury

Music

rans.

J.

Brad-

fordRobinson

Berkeley:

niversity

f

California

ress,

1989),

153.

20.

Mahler voided

numbering

as Lied on

derErde

s his Ninth

Symphony,

ince

both

Beethoven nd Bruckner ad

died after heir

Ninth

symphonies.

y

a

strange

twistof

fate,

Mahler ever ived

to

complete

his

Tenth,

so the

superstition

as

ful-

filled.

21. Another nstance f measuringpto a specificBeethovenmodelwasSchu-

mann's

Third

Symphony.

Not

only

is it

in

the

key

of the

Eroica,

ut its

firstmove-

ment

shares,

among

other

eatures,

he

triple

ime,

heroic

character,

nd

strong

triadic

patterning

f the Eroicairst

ubject.

22.

Maynard

olomon,

Beethoven

New

York:Schirmer

ooks,

1977),

116-18.

23.

Berlioz nd Mahler tood

or the two

opposing

iewsof

the

eschatology

f the

Romantic

main: he

certainty

f

eternal

damnation f the

former,

nd the

beliefof

universal nd

unconditional

esurrectionor the latter.

Zoltan

Roman,

The

Limits

of Romantic

Eschatology

n

Musicand

Literature:rom

Byron

nd

Berlioz o Mahler

andKafka, tudiaMusicologica2 (1980):273-98. Extracted. 298.

24.

While Beethoven's ifth

may

be understood

o

provide

he

scaffolding

lan

for

the instrumental

ovements,

t is the

choral inaleof the

Ninth

Symphony

hich s

the

typus

or the

vocal

ast

movement f

the Resurrection.

n

a letter

o Arthur

Seidlon Feb.

17, 1897,

Mahler

xplains

hat

he

did

not wantto

simply

mitate

Beethoven's

horal inale.

I

had

long

contemplated

ringing

n

the

choir

n

the last

movement,

nd

only

the fear hat it

wouldbe takenas a

formal mitation f


20/21

The

Hidden

rogram

65

Beethoven

made

me hesitate

again

and

again

(Martner,

ibid,

p.

212).

What is

evi-

dently

at

issue

for

Mahler

is

the individualized

eworking

of a

strong

compositional

background--aprincipleof theme and transformational ariation.

25. On

the

large-scale ntegration

see

Constantin

Floros,

Mahlervol. 3

(Wiesbaden:

Breitkopf

and

Hartel,

1985),

135.

On Beethoven's Fifth

as

conceptual groundplan

or

Mahler's

Fifth see

Ernst Otto

Nodnagel,

Gustav

Mahlers

Fiinfte

Symphonie

in

Cis-

moll: technische

Analyse

Die Musik

4

(1904/5)

pt.I:

243-55,

especially

246.

26.

Floros,

ibid.

vol.2,

1977,

60.

27.

The

trumpet

motto theme

actually anticipates

the

recapitulation.

It

begins

at

measure

232

towards

the end of the

development,

leading

into the

return

of C

sharp

minor and the

consolidation of

the motto

figure,

which occur at measure

254.

28. While the motto

theme

provides

the

categorical

opening

of Mahler's

Fifth,

it

has

a

fragmentary

et tantalizing

pre-history.

In

the first movement of the

Fourth

Symphony,

near the end of the

development,

the

following

trumpet

line

appears

out

of

an

amorphous

exture.

Enharmonically,

t

is

the

motto,

with

pitch

and

rhythm

identical to the

opening

of the

Fifth

Symphony.

Was

it some kind of

compositional

jotting,

which

slipped

in for

a lone

appearance

among

the

chiming

bells of the Fourth

Symphony?

Ab.225

3 3 3 3

Trumpets

in

F

(as

sounding)wrw

www wwwww

www

Example

16.

29. Carl

E.

Schorske,

Beitrige,

bid.

30.

In

addition o the

foreground atching

f

rhythmic

attern,

both marches

re

mediant

pitch prolongations.

he

Trauermarschas

neighbor-note

otion

31. Thephrase compositionaltrategy s usedbyLewisLockwoodn his descrip-

tion

of

Beethoven'structural

ntegration

n

the first

movement f the

Eroica

ym-

phony.

'Eroica'

erspectives:

trategy

nd

Design

n

the

First

Movement eethoven

Studies ol. 3. ed. Alan

Tyson

(Cambridge: ambridge

niversity

Press,

1982),

85-105. See

p.

101.

It

may

be

a

coincidence

hat Mahler

dopts

ne

of Beethoven's

most innovative

ompositional

echniques-or

t

may

not.

32.

Reilly

bid.

p.

55.

33. Mahler

rticle,

TheNew

Grove

Dictionaryf

Music nd

Musicians

ol.

11,

515.

34.

New Grove

Dictionary,

19.

(Emphasis

ine.)

35.

See Edward

.

Kravitt,

Mahler's

irges

or his Death:

February

4,

1901 The

Musical

Quarterly

XIV/3

July

1978):

329-53.

36.

See Donald

Mitchell,

GustavMahler:

ongs

nd

Symphonies

f Life

and

Death.

Interpretations

nd

Annotations.

Berkeley,

Los

Angeles:University

f

California

ress,

1985),

131.


21/21

66 TheMusical

Quarterly

37. GilbertKaplan, ADirge?No. It'sa LoveSong, TheNew YorkTimes, uly19,

1992:19.

38. Mitchell

p.

77.

39. Ed. Herta

Blaukopf,

Gustav

Mahler,

Richardtrauss.

orrespondence.

888-1911

trans.Edmund

ephcott

Chicago:University

f

Chicago

Press,

1984),

142.

The dif-

ferentversions f

the Fifthare isted

n

Rudolf

Stephan,

Gustav

Mahler:Werk nd

Interpretation.

utographe,

artituren,

okumente

Cologne:

Amo

Volk

Verlag,

1979),

56-63, 86-88;

also

see Sander

Wilkens,

GustavMahlers

iinfte

infonie:

uellen

nd

Instrumentationsprozess.

40.

Knud

Martner,

bid.

287.

41.

Martner,

88.

42.

Martner,

56.

43.

Martner,

72.

(Emphasis

ine.)

44.

Ibid.,

448.

45.

Leonard

.

Meyer,

Style

ndMusic:

Theory,History,

nd

IdeologyPhiladelphia:

University

f

Pennsylvania

ress,

1989).

46. See

JohnBerger,Waysof Seeing

NewYork:VikingPress,1973).

47.

Erwin

Ratz,

Zum

ormproblem

ei GustavMahler:

Eine

Analyse

des ersten

Satzes

der

IX Sinfonie

123-141);

and Zum

ormproblem

ei

Gustav

Mahler:

Eine

Analyse

des Finales

der

VI

Sinfonie

9-122)

in T. W.

Adomo et

al.

Gustav

Mahler

(Tiibingen:

Wunderlich,

966).

The Sixth

Symphony

rticle

s

translated

y

Paul

Hamburger,

Musical

orm

n

GustavMahler:

An

Analysis

f the Finaleof the Sixth

Symphony

he

Music

Review

9

(1968):

34-48.

48.

Hans

F.

Redlich,

DieWelt der

V.,

VI. und VII.

Sinfonie

Mahlers

Musikblatter

desAnbruch

,

nos.

7/8

(1920):

265-68.

49.

Constantin

Floros,

GustavMahler vols.

(Wiesbaden:

reitkopf

nd

Hirtel,

1977-85).

50.

Theodor

W.

Adomo,

Gustav

Mahler: inemusikalische

hysiognomik

Frankfurt:

Suhrkamp,

960).

Repr.

1981.

Engl.

trans

by

Edmund

ephcott,

Mahler: Musical

Physiognomy

Chicago:

University

f

Chicago

Press,

1988).

A

detailed

ritique

f

Adomo is

given

by

Doris

D6pke,

Adomos

Mahler-Deutung:

um

Verhtltnis

on

'musikalischer

hysiognomik'

nd

geschichtsphilosophischer

sthetik

n

Adorno

n

seinen

musikalischen

chriften. eitrage

um

SymposiumPhilosophische

usserungen

iber

Musik.

Musik

m

Diskurs.

Vol.

2.

(Regensburg:

ustav

Bosse

Verlag,

1987),

35-72.

SheconvincinglyefutesAdomo's ontention f theAdagiettof the FifthSymphony

as kulinarische

entimentalitait55-60).

the hidden program in mahler's fifth symphony

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