English Commentary by Sergio Cánovas
Mahler’s Symphony No.1 was composed between 1887-8, initially conceived as a symphonic poem in two parts. It was premiered in Budapest on November 20 of 1889, performed by the Budapest Philharmonic Orchestra conducted by the composer. It was badly received by critics and audiences alike, bewildered by the style and lack of any descriptive notes from the composer. Mahler subsequently revised the score multiple times, until it reached its definitive form in 1896 as a symphony.
All programmatic elements were dropped, the original second movement was removed and the orchestration was expanded. While he was influenced by a wide myriad of composer (Beethoven, Bruckner, Brahms, Liszt, Berlioz, etc), Mahler quickly adopted a very personal style that was neither understood nor considered acceptable in his time, leading most of his works to be badly received. In a discussion with Sibelius, Mahler expressed the belief that «the symphony must be like the world. It must embrace everything.» True to this belief, Mahler drew material from many sources into his songs and symphonic works: bird calls and cow-bells to evoke nature and the countryside, bugle fanfares, street melodies and country dances to summon the lost world of his childhood.
The first movement is structured in a modified sonata form. Several motives are introduced that are the basis of the work; over sustained strings a descending two-note idea on woodwinds, a radiant brass call, a solemn chorale on horns, and a two-note cuckoo call on the clarinet. The main allegro begins with a gentle and pastoral main theme on cellos, derived from the two-note motive. A rhythmic and jovial second theme is also introduced. The material was largely reused from the lied «Ging heut’ morgens übers Feld» of Mahler’s «Songs of a Wayfarer». The development opens with a variation of the introduction with its two-note motive and cuckoo calls. Horns introduce a solemn march theme that leads to the transformation of the main themes in a combined form. The music then grows more intense and agitated, foreshadowing the finale, until reaching an explosive climax. The fanfare theme then leads us to the joyful recapitulation of the themes. A playful coda, derived from the two-note motive, ends with in high spirits.
The second movement is a scherzo in ternary form. It begins with a rhythmic main theme in form of a vigorous and rowdy ländler, a dance of Germanic origin. It bears a resemblance to the lieder «Hans und Grete», which would later for part in the first volume of «Lieder und Gesänge aus der Jugendzeit». After a boisterous climax, the trio opens with a lyrical second theme in form of a waltz. The scherzo is then recapitulated in a shorter, more heavily orchestrated way. The movement ends with a vigorous and exhilarating coda.
The third movement is structured as a sonata-rondo. It opens with a funereal main theme in form of a march, introduced by the doublebass over the rhythm of the timpani. It is wholly derived from the popular round «Frère Jacques», but interpreted in a satirical way. It passes to multiple instruments before, eventually, being taken by the entire orchestra. A vulgar and ironic second theme is then introduced as a popular march from a Bohemian music band. These two highly contrasting elements are briefly developed, leading us to the middle section. A deeply lyrical third theme is presented by strings, using material from the lieder «Die zwei blauen Augen von meinem Schatz» of the «Lieder eines fahrenden Gesellen». The main themes are then recapitulated in succession.
Mahler’s impressive contrapuntal technique is exhibited in the penultimate section of the movement where he interweaves the three thematic elements simultaneously on top of each other, demonstrating the painful coexistence of tragedy and triviality in life, a theme Mahler would continue to explore in later works. The movement ends as the funereal march gradually disintegrates. The movement is a representation of old folk story that was well-known among Austrian children in Mahler’s time: It tells of the burial of a hunter whose funeral procession is composed not of humans, but wild animals, including a bear, foxes, hares, a wolf, cranes and partridges, song-birds. The ironic and vulgar nature of the music reflects this tale.
The fourth movement is written as a very free, large-scale sonata form. It begins with a dissonant and violent introduction, defined by Mahler as the outcry of a deeply wounded heart. In it are introduced the motives further developed later on, which were anticipated already in the first movement. An imperious and wilful main theme is presented in form of a rugged march. A despairing transition leads us to a deeply lyrical second theme on violins, full of melancholy and anguish. The ensuing development opens with menacing figures recalling the main theme, which is extensively transformed in an intensely stormy manner. Themes from all previous movements are included as well, bringing a cyclical unity to the work.
Suddenly, on pianissimo strings and brass, a radiant and victorious theme briefly appears before being swept away. However, it returns in full force as a powerful fanfare. Material from the introduction of the first movement is then brought back. Fragments of the main themes appear, leading to an expressive passage for strings. The recapitulation then opens with the menacing main theme, reaching an explosive climax with fanfares of the trumpets. The victorious theme appears for the third and final time, bringing a triumphal conclusion before ultimately ending humorously with a quick octave drop.
Picture: A fragment of «Jupiter and Semele» (1889-95) by the French painter Gustave Moreau.
Musical analysis partially written by myself.
