|Symphony No. 4|
|by Gustav Mahler|
|Key||G major – E major|
|Composed||1892 Steinbach – 1900 :|
|Date||25 November 1901|
Symphony No. 4 in G major by Gustav Mahler was written in 1899 and 1900, though it incorporates a song originally written in 1892. The song, "Das himmlische Leben", presents a child's vision of Heaven. It is sung by a soprano in the work's fourth and final movement. Although typically described as being in the key of G major, the symphony employs a progressive tonal scheme ('(b)/G—E').
Mahler's first four symphonies are often referred to as the Wunderhorn symphonies because many of their themes originate in earlier songs by Mahler on texts from Des Knaben Wunderhorn (The Boy's Magic Horn). The fourth symphony is built around a single song, "Das himmlische Leben" ("The Heavenly Life"). It is prefigured in various ways in the first three movements and sung in its entirety by a solo soprano in the fourth movement.
Mahler composed "Das himmlische Leben" as a freestanding piece in 1892. The title is Mahler's own: in the Wunderhorn collection the poem is called "Der Himmel hängt voll Geigen" (an idiomatic expression akin to "there's not a cloud in the sky"). Several years later Mahler considered using the song as the seventh and final movement of his Symphony No. 3. While motifs from "Das himmlische Leben" are found in the Symphony No. 3, Mahler eventually decided not to include it in that work and, instead, made the song the goal and source of his Symphony No. 4. This symphony thus presents a thematic fulfilment of the musical world of No. 3, which is part of the larger tetralogy of the first four symphonies, as Mahler described them to Natalie Bauer-Lechner. Early plans in which the Symphony was projected as a six-movement work included another Wunderhorn song, "Das irdische Leben" ("The Earthly Life") as a somber pendant to "Das himmlische Leben", offering a tableau of childhood starvation in juxtaposition to heavenly abundance, but Mahler later decided on a simpler structure for the score.
A typical performance of the symphony lasts about an hour, making it one of Mahler's shorter symphonies. The performing forces are also small by Mahler's usual standard.
The movements of the symphony:
Flutes and sleigh bells open the unusually[clarification needed] restrained first movement (and used later with a melodic theme known commonly as the 'bell theme', which helps define sections throughout the movement) often described[by whom?] as possessing classical poise.
As would be expected for the first movement of a symphony, the first movement of Mahler's Symphony No. 4 is in sonata form.
The primary theme:
The secondary theme:
The violin depicts Freund Hein, (lit. "Friend Henry") a figure from medieval German art; Hain (or Hein) is a traditional German personification of death, invented by poet Matthias Claudius. Freund Hein is a skeleton who plays the fiddle and leads a Totentanz or "danse macabre". According to Mahler's widow, Alma, Mahler took inspiration for this movement from an 1872 painting by the Swiss artist Arnold Bocklin entitled Self-Portrait with Death playing the Fiddle. The scherzo represents his dance and the unusual tuning of the violin adds tension to its sound and contributes to the music's ghostly character.
The third movement is a solemn processional march cast as a set of variations. Mahler uses the theme and variation structure in a more unconventional way. This movement can be divided into five main sections: A1 – B1 – A2 – B2 – A3 – coda. The theme is presented in the first 16 bars of A1,
but the true variations do not appear until section A3, although the theme is developed slightly within the preceding sections; sections A1, A2, B1 and B2 are in bar form. This movement remains mostly in G major, but does modulate to D minor, E minor and E major; the B2 section has a rather unstable tonality, being more chromatic and moving through many keys.
The fourth movement opens with a relaxed, bucolic scene in G major.
A child, voiced by a soprano, presents a sunny, naive vision of Heaven and describes the feast being prepared for all the saints.
The scene has its darker elements: the child makes it clear that the heavenly feast takes place at the expense of animals, including a sacrificed lamb. The child's narrative is punctuated by faster passages recapitulating the first movement. Unlike the final movement of traditional symphonies, the fourth movement of Mahler's No. 4 is essentially a song, containing verses, with interludes, a prelude and a postlude (a strophic structure). By the time the postlude is heard, there is a modulation to E major (the tonic major of the relative minor) and unusually stays in this key, ending the symphony away from the tonic of G major. Several ties to Symphony No. 3 can be heard in these passages as well.
- 4 flutes (3rd and 4th doubling piccolos)
- 3 oboes (3rd doubling cor anglais)
- 3 B♭, A, C clarinets (2nd doubling E♭ clarinet, 3rd doubling bass clarinet)
- 3 bassoons (3rd doubling contrabassoon)
Fourth movement text
Wir genießen die himmlischen Freuden,
We enjoy heavenly pleasures
- Mahler here omitted the following four lines of the original poem:
Willst Karpfen, willst Hecht, willst Forellen,
Gut Stockfisch und frische Sardellen?
Sanct Lorenz hat müssen
Sein Leben einbüßen
- World premiere: 25 November 1901, Munich, Margarete Michalek (soprano) with the Kaim Orchestra conducted by the composer.
- Dutch premiere: 23 October 1904, Amsterdam, with the composer conducting the Concertgebouw Orchestra in a concert that actually contained two performances of the work (In her memoirs, Alma Mahler incorrectly claims that the second performance was conducted by Willem Mengelberg).
- American premiere: 6 November 1904, New York City, Etta de Montjau (soprano) with the New York Symphony Society conducted by Walter Damrosch.
- British premiere: 25 October 1905, London, in a Proms concert conducted by Henry Wood. Wood's then wife, Olga Michailoff, sang the soprano part.
- Recording premiere: May 1930, Eiko Kitazawa (soprano) with the New Symphony Orchestra of Tokyo conducted by Hidemaro Konoye, Japanese Parlophone. This was also the first electrical recording of any Mahler symphony.
- Boy soprano premiere: 1983, Jamie Westman performed and recorded the 4th symphony with Benjamin Zander and the Boston Philharmonic Orchestra. Westman performed the symphony extensively throughout Europe in 1984. Gustav Mahler's granddaughter Marina Fistoulari-Mahler attended one of his performances at the Musikverein in Vienna.
- 'Gustav Mahler' (Works), in New Grove, Macmillan, 1980
- Henry Louis de La Grange
- Aldrich, Richard (6 November 1904). "Gustav Mahler - His Personality And His New Symphony". The New York Times. New York City. p. 40. Retrieved 21 May 2020 – via Newspapers.com.
- Smith, Max (4 December 1904). "Mahler's Symphony No. 4". The Salt Lake Tribune. Salt Lake City, Utah. p. 31. Retrieved 21 May 2020 – via Newspapers.com.
- Smoley, Lewis M. (1996). Gustav Mahler's Symphonies: critical commentary on recordings since 1986 (first ed.). Westport, CT: Greenwood Press. p. 93. ISBN 0-313-29771-1.
- James L. Zychowicz. Mahler's Fourth Symphony, Studies in Musical Genesis and Structure. Oxford and New York: Oxford University Press, 2000.
- Extensive history and analysis by renowned Mahler scholar Henry Louis de La Grange
- Full text of the song (with English translation)