Gustav Mahler and the Symphony of the 19th Century
Translated by Neil K. Moran
Bearbeitet von
Constantin Floros
1. Auflage 2014. Buch. X, 397 S. Hardcover
ISBN 978 3 631 62689 4
Format (B x L): 14,8 x 21 cm
Gewicht: 630 g
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Table of Contents
Introduction ...........................................................................................................1
First Part
Basics of the Symphony
I
Mahler’s place in history...........................................................................5
1. Eclectic or original genius? ................................................................5
2. Bruckner-Successor or Bruckner-Antipode? ......................................7
II
Beethoven and the new categories of symphonic music ........................13
III
The history of the reception of Beethoven’s music ................................15
IV
Mahler’s conception of the symphonic cantata ......................................19
V
Borrowings from the Lieder repertoire ...................................................25
1. Schubert, Mendelssohn and Brahms.................................................25
2. Mahler’s intentions with his borrowings ..........................................27
VI
Aspects of architectonics ........................................................................31
1. Varying number of movements and their arrangements –
sectional structuring ..........................................................................31
2. From Beethoven’s Pastoral and Berlioz’
Fantastique to Mahler’s Titan
Some programmatic symphonies in five movements.......................34
VII
Content and Form
The “axis” of the new aesthetics .............................................................37
VIII
The cyclic form principle and the programmatic idea............................41
Beethoven – Schubert and Schumann – Berlioz – Liszt –
The correlation between music and program in Liszt’s Les Préludes....47
Bruckner – Tchaikovsky – Mahler .........................................................50
“Flashbacks”: Six examples from the symphonies of
Beethoven, Berlioz, Bruckner and Mahler .............................................54
V
IX
Musical themes and the “poetical conception”.......................................57
1. The alteration and ornamentation of thematic characteristics
as a means of expression in Berlioz, Liszt and Mahler ....................57
2. Simultaneous reduplication of contrasting themes as
a means of expression in Berlioz, Liszt, Bruckner and Mahler........59
X
The Mephisto movement of Liszt’s Faust Symphony
A semantic analysis.................................................................................65
1. The themes and Liszt’s method of ornamentation............................66
2. The Malédiction for piano and string orchestra as a source for
the Mephisto movement....................................................................69
3. The curse as a central idea of the Mephisto movement....................71
4. Liszt’s setting of the Chorus mysticus ..............................................72
Part Two
The Universality of the Symphony
XI
Characteristics in general ........................................................................77
1. Fundamentals ....................................................................................77
2. Regarding Adorno’s conception of the “material theory
of form in music” ..............................................................................79
XII
Characteristics derived from vocal music...............................................81
1. Speaking parts: Recitative and Arioso..............................................81
2. The Chorale
Regarding the meaning of genres in the symphonies
of Berlioz, Mendelssohn, Liszt, Bruckner, Brahms
and Mahler ........................................................................................85
3. The Hymn
The hymn in Bruckner and Mahler as well as in Beethoven,
Schubert and Brahms ........................................................................96
4. Lieder ................................................................................................99
XIII
Characteristics derived from instrumental music .................................103
1. March (marziale) and funeral march
The meaning of the category in the symphonies of
Berlioz, Liszt, Bruckner and Mahler ..............................................103
2. Entombment music: “like a very slow funeral procession” ...........109
3. Pastorale
VI
The genre in Beethoven, Berlioz, Mendelssohn, Liszt,
Bizet, Brahms and Mahler ..............................................................111
4. “Music from afar”
Orchestra in the distance or illusion of an orchestra
in the distance..................................................................................118
5. Crescendo (and diminuendo) as sounds dynamics
expressing musical form
March music from afar, gradually coming closer
Nine examples in works of Mozart, Beethoven, Berlioz,
Wagner, Bizet, Mahler and Debussy ..............................................124
XIV
Scherzo, scherzando and dance characteristics.....................................129
1. Fundamentals ..................................................................................129
2. Minuet
The genre in Mahler, Bizet and Liszt .............................................133
3. Ländler
Two types used by Mahler: The “leisurely” Ländler as
main movement and the “slow” Ländler as the trio – Ländler
of Schubert and Bruckner ...............................................................135
4. Waltz and Valse ..............................................................................138
XV
Conclusions ...........................................................................................141
Structure of the opening movement of Mahler’s Third Symphony
Analysis in accordance with the characteristics....................................143
Third Part
Elements of the Symphonies
XVI
The symbol in music .............................................................................147
1. Explanation of the concept..............................................................148
2. Schering’s conception of the symbol..............................................150
3. Techniques for solving the problem (heuristic)..............................153
XVII The semantics of the sounds of birds....................................................155
1. Birdcalls and sounds as the “sounds of nature”..............................155
2. Mahler and the birdcalls in Beethoven’s “Scene at the brook”......157
3. Mahler and birdcalls in Wagner’s “Forest murmurs” ....................158
4. The “bird of the night” ....................................................................160
5. The “bird of death”
The song of the nightingale as the “echo of earthly life” ...............161
VII
5. Bird cantilenas, duets and concerts.................................................163
XVIII Elementary Motifs.................................................................................165
1. Calls and signals..............................................................................166
2. Sighing motifs
Plaintive cries, woes, motifs of suffering, “screams”.....................167
XIX
Motifs of falling and symbols of the abyss...........................................171
XX
Symbols of night and of sleep...............................................................173
XXI
Satanism and the Crucifix
The polarity of the spiritual world in the music of Franz Liszt ............177
1. Liszt’s attraction to Goethe’s Faust and for Dante’s
Divine Comedy................................................................................178
2. The polarity between calamity and victory.....................................180
3. The diabolus in musica and the “tonal symbol of the Cross”
The semantics of the most important symbols in the
music of Liszt..................................................................................185
XXII “Dall’ Inferno al Paradiso”
Theological-philosophical motifs .........................................................191
1. Regarding a fundamental philosophical-poetical idea
in the symphonies of Liszt and Mahler...........................................191
2. Inferno and Lucifer motifs in Liszt, Tchaikovsky and Mahler.......193
3. The “tonal symbol of the cross” as a representation of the
“heavenly” in Wagner, Mahler, Bruckner and Tchaikovsky..........199
4. Motifs for “eternity” in Wagner and Mahler ..................................201
XXIII La Gamme terrifiante
The history of the whole tone scale ......................................................203
XXIV Rhythmic Leitmotifs
Symbols of death, fate and combat .......................................................207
Beethoven – Liszt – Wagner and Bruckner – Strauss –
Tchaikovsky – Mahler ..........................................................................207
XXV Guiding sounds (Leitklänge)
Characteristic chords and symbols........................................................219
1. An “eerie“ minor third chord as a tonal symbol in Wagner,
Liszt, Mahler and Strauss................................................................220
VIII
2. Major-minor motivic shifts in Schubert, Mahler,
Strauss and Brahms.........................................................................224
3. The “terrifying fanfare” in Beethoven’s Ninth and
in Mahler’s Second .........................................................................225
4. Four note chords as mottos .............................................................227
5. Neapolitan sixth chords and dissonances at climaxes in
Mahler, Schubert and Strauss
Neapolitan Sixth and Fifth-Sixth Chords –
Diminished Seventh Chords – ‘Minor’ Ninth Chords –
Double Leading Tone Sounds and Double Dominant Sounds –
Thirteenth Chords ...........................................................................229
6. The shape of Bruckner’s climaxes..................................................234
7. The nine-tone sound in the Adagio of Mahler’s Tenth...................236
8. Regarding the technique of imprévu
A “frightening note” in Beethoven, Berlioz, Bruckner
and Mahler ......................................................................................237
XXVI Idiophonic sound symbols ....................................................................239
1. Regarding sound symbols generally ...............................................239
2. The tamtam as a funereal and macabre sound symbol
in Mahler, Wagner, Liszt, Strauss, Tchaikovsky,
Schönberg and Berg........................................................................240
3. Bell sounds in Berlioz, Liszt and Strauss .......................................245
4. Bell sounds as a sound symbol for the eternal in Mahler...............246
5. The symbolic and coloring functions of the Glockenspiel
The Glockenspiel as an essential sound for the
musica angelica...............................................................................248
6. Cow bells as a sound symbol for the “otherworldly solitude” .......249
Epilogue
.........................................................................................................251
Abbreviations ....................................................................................................253
Notes..................................................................................................................255
Selected Bibliography .......................................................................................291
List of Tables.....................................................................................................311
Tables ................................................................................................................315
Index ..................................................................................................................395
IX