Mahler Symphony 1

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Mahler Symphony 1 - First Movement Analysis

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First Movement Analysis Frühling und kein Ende (Spring and No End) The first movement is in modified sonata form in 4/4 time throughout. It begins with a slow introduction representing the gradual "awakening of nature from a long winter's sleep" (from the Hamburg program). Introduction:

Symphony 4 Langsam. Schleppend (Slowly. Dragging) Wie ein Naturlaut

Theme of fourths (Nature Theme)

Symphony 6

Bar: 1-9

Symphony 7

9 - 15

Più mosso

Clarinet fanfare (Awakening call)

Symphony 8

16- 21

Tempo I

Theme of fourths

Symphony 9

22- 27

Più mosso

Trumpet fanfare (Awakening call)

Symphony 10 (Unfinished)

28- 29

Tempo I

Theme of fourths

30- 31

Più mosso

Cuckoo calls

32- 35

Tempo I

Slow mellow horn melody

36- 39

Più mosso

Trumpet fanfare

40- 43

Tempo I

Slow Mellow horn melody

44- 46

Più mosso

Trumpet fanfare and cuckoo calls

47- 58

Tempo I

Chromatic bass motif and theme of fourths

Symphony 5

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The tempo of the introduction section alternates between: Langsam. Schleppend (Slowly. Dragging) - Depicts nature's slumber. Più mosso (more movement). - Awakening calls of fanfares on clarinet and trumpet. The strings hold the note A, spread over a range of seven octaves, the violins using harmonics for the highest registers. A two-note motif is gradually developed in the woodwinds establishing the following repeated pattern of descending fourths, reminiscent of the first movement of Beethoven’s 9th Symphony in d minor:

(MP3 Format) Format) This ‘nature’ theme is interrupted by a fanfare ‘awakening call’ played by the clarinets, and later by muted offstage trumpets, indicated in the score: "In sehr weiter Entfernung aufgestellt" ("At a very far distance"):

(MP3 Format) Format) A slow and mellow melody is later introduced in the horns with directions to be "sung very softly":

http://gustavmahler.com/symphonies/No1/Musical-Analysis-Of-First-Movement-Spring-and-No-End.html

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(MP3 Format) After more interruptions by the trumpets playing the fanfare theme, a rising chromatic motif is played by the double bass’ and cellos, with the nature theme layered on top by the trumpets.

(MP3 Format) The ending of the introduction leads seamlessly into the exposition through the gradual build up of the descending two-note cuckoo motif which transforms itself into the main theme of the first movement, marking the beginning of the exposition.

(MP3 Format) Exposition: 62-74

Song theme

75-108

Music from third verse of 2nd song from: Lieder eines fahrendon Gesellen

109-135 Music from first verse of 2nd song from: Lieder eines fahrendon Gesellen 136-162 Final group (taken from Tirili motif) The exposition breaks free from the tense atmosphere established in the introduction section, becoming carefree and light. The main theme takes its melody from the second song from Mahler’s Lieder eines fahrendon Gesellen, titled: "Ging heut' Morgen übers Feld". The songs lyrics: "Isn't it becoming a fine world?; Chirp! Chirp! Fair and sharp!; How the world delights me!" translate beautifully both musically and semantically.

(MP3 Format) This melody first appears in the cellos and gradually builds in dynamic as it makes its way through the different sections of the orchestra, eventually being played by the entire brass section. A new bird call is introduced towards the end of the exposition: the Tirilli motif. It begins in the woodwinds and is later shared with the strings:

(MP3 Format) The exposition is repeated. Development: 163-206

Part I: New form of introduction (now with gradual retard) without use of clarinet and trumpet fanfares, with the inclusion of the Tirili motif; preparation of cello theme

207-304

Part II:

209-220

Fanfare theme of the horns

221-229

Cantabile cello theme (functioning as a secondary theme)

225-304

Renewed statement and development of the song motif in changing colors, including the cantabile cello theme

305-357

Part III: A foreshadowing of the inferno in anticipation of a section from the Finale (bars 574-628)


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352-357

"Breakthrough": Trumpet fanfares and woodwind and horn signals

358-442

Recapitulation

443-450

Coda

The development section begins as a new form of the introduction, keeping the drone A and cuckoo calls, the clarinet and trumpet fanfare motif is however, suppressed until later in the section. The opening also incorporates the newly introduced Tirilli motif. A cantabile cello theme is introduced which functions as a secondary theme:

(MP3 Format) The song motif is developed through variations in colour, dynamic and orchestration. The inferno section from the Finale is also hinted upon in this section creating a terrifying darkness which directly contrasts against the joyous ‘Breakthrough’ climax which immediately follows. Overview: Mahler Symphony 1 Context Of Mahler's First Symphony Creation & Origin

When Symphony Written Incorporating Previous Works Premiere Negative Reception

Mahler’s Symphonic Debut, Reaction & Pursuing Revisions

Hamburg Revised Ed, 2nd Performance & Divided Reception 3rd Weimar Performance & Divided Reception 4th Berlin Performance 'Absolute Music' Origin & Description

Blumine Movement

Reasons For Removal Blumine's Discovery In 1966 Blumine's 20th Century Premiere Symphonys Beginnings As Program Music Different Versions Of Program Notes

The Symphonys Beginnings As Programme Music

Analysis Of Title: 'Titan' Analysis Of Funeral March Title Reasons For Removal Of Program Notes

Musical Structure

Final 4 Movement Structure Previous Structures 1st Movement - Themes, Motifs With Audio Examples

Musical Analysis

2nd Movement - Themes, Motifs With Audio Examples 3rd Movement - Themes, Motifs With Audio Examples 4th Movement - Themes, Motifs With Audio Examples Instrumentation List Of Premieres

Other

List Of Publications MIDI File Downloads Sheet Music Download (External Site) Bibliography & Further Reading List

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Mahler Symphony 1

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