Symphony No. 4

by Kelly Dean Hansen

In terms of actual music, the Fourth is the shortest of Mahler's symphonies, and is the most modestly scored. The notion of the work as "childlike" cannot be denied, as Mahler himself furthered this idea in the large amount of correspondence with his friend Natalie Bauer-Lechner. These facts have often led to what I view as the erroneous conclusion that the symphony is somehow lightweight and perhaps lacking in the profundity that characterizes the works surrounding it, the Third and Fifth symphonies. Because of the fact that the work grew out of an idea that was originally planned as the finale to the Third Symphony, it is also tempting to look at the Fourth as perhaps an appendix to that massive work. Fortunately, these ideas are not as prevalent as they once were. The Fourth is a work of great complexity and subtlety, as illustrated by the fact that the first three movements all have material that is derived, in some way or other, from the orchestral song that serves as the symphony's finale. To some obtuse critics, the song- finale might seem tacked onto the substantial movements that precede it. It does indeed seem strange to use an orchestral song as a symphonic finale, but the song was in fact the starting point of the composition from which the other movements grew.
For my notes, I have referred most extensively to the excellent discussions by Constantin Floros (Gustav Mahler: The Symphonies, trans. Vernon Wicker. Portland: Amadeus Press, 1993) and James L. Zychowicz in his monograph on the Fourth Symphony published this year by Oxford University Press. I will focus on the structures of the movements and the interrelationships between the finale and the first three movements. There are also connections to other symphonies, the Second, Third, and Fifth. I will only briefly mention any extra-musical or programmatic interpretations, as these have been described in some detail by Stan Ruttenberg. It would perhaps be easier to describe the finale first, but I would like to discuss the movements in the order in which they are played to show how the thematic connections, although derived from the finale, have the effect of reminiscences when they are heard there.

First Movement

It is helpful to the understanding of the character of the work to point out that the symphony really has no fast movement. The tempo marking for the first movement, Bedächtig, means "Thoughtfully." This is balanced by markings such as gemächlich, (leisurely) and Nicht eilen; (unhurried). The movement is cast in a straightforward sonata form with conventional key relationships, but the variety of the thematic material is quite remarkable, as is the complexity of the development section. Mahler mentioned that the movement, although free, was at the same time very regularly constructed. He pointed out that there are no less than seven themes in the exposition. The first two of these form the first subject in the tonic key of G Major. This main section is introduced by a few introductory measures with sleigh bells and rather strange, winding woodwind figuration. These bell motifs come directly from the song-finale, where they are more forceful. Here, the introduction gently settles into the leisurely first subject. The second theme is really a consequent to the first. The neoclassical nature of the piece is illustrated by sudden stepwise harmonic and melodic shifts. The two themes are then varied, leading to the third tune, which serves as a transition to the dominant key of D Major. It is in a suddenly faster speed and has the character of a children's chasing song. Having reached the dominant key, the fourth and fifth themes serve as the conventional second subject in sonata form. As with the first subject, the fifth theme is really a consequent to the fourth. They are warm, singing tunes with rich string sound. The sixth theme begins the closing section of the exposition. It is suddenly much slower and begins with a thoughtful melody played by the oboe. The main section briefly returns before a final, restful epilogue that returns, unusually, in the main key of G Major.
The development section falls into about eight parts of increasing complexity and great tonal range. The main argument is the first subject group, but the most remarkable element is the introduction of a new theme of a pastoral nature played by the flutes over bassoon and bass clarinet. This tune is derived from the main theme of the finale and it gains prominence as the development progresses. Tension steadily builds until a bright brass outburst of the new theme in counterpoint with the third theme breaks it. No sooner does this happen, though, than a large dissonant outburst that distorts the new, finale-based tune and leads to a trumpet fanfare. This fanfare is almost exactly the same as the one that opens the Fifth Symphony, even duplicating the exact pitches. Mahler referred to the fanfare as a signal calling the troops to order as they become more and more confused during the development. The fanfare dissolves into a disguised return of the main theme, and the recapitulation thus sneaks upon the listener. It follows the same path as the exposition, except for the fact that the new theme is incorporated into the first group and the warm second group is stated in the tonic key. After the closing group, a brief, energetic coda closes the movement. Mahler described the movement as beginning as if it could not count to three but then going into the higher multiplication table. At the end, we are dealing, dizzily, with millions and millions.

Second Movement

The second movement is cast in a scherzo form with a contrasting trio section. The trio is stated twice, resulting in a five-part form with the three statements of the main scherzo section framing the two trio sections. The scherzo sections are in c minor/Major, and the trio sections are in F and D Major. The most remarkable thing about this movement is the violin solo, which is largely played on an instrument with its strings tuned a tone higher. This results in a pinched and eerie sound, which is amplified by the fact that the tune itself uses unusual intervals and has a distinctly grotesque character. The use of strange string sounds is not limited to the re-tuned violin. There are also col legno passages, where the strings play with the wood of the bow, as well as pizzicato and muted passages. The introductory horn solo is similarly grotesque, and horns are used in this strange manner throughout the movement. All of this is meant to suggest a vision of death. As Mahler described it, Freund Hein spielt zum Tanz auf (Friend Death is Striking Up the Dance). The trio sections are much brighter and have the character of the Ländler, a German Dance. It is in these sections where the allusions to the finale take place. They occur in pastoral, bagpipe-like sections that have similar sounds to certain passages of "heavenly music" in the song. The repetitions of the scherzo and trio sections are greatly varied, and at one point in the last repetition of the scherzo, Mahler adds to the eerie effect with a bass drum roll and a tam-tam. The movement is clearly ambivalent, as is death itself. Indeed, death could be seen as wearing a smile throughout the movement, and he is in fact ironically described by Mahler as a "friend." The marking lustig (merrily) occurs three times. The piece ends in C Major, not minor, yet the harmonies are of a very ambiguous nature in the final cadence.

Third Movement

This is one of Mahler's finest slow movements. It is a set of double variations in G Major. Two theme complexes are presented and developed in alternation. The first complex is restful and soft, while the second is quite different, of a lamenting quality and in a minor key (the relative E Minor moving to D Minor). Each theme group has three parts in a structure similar to a chorale: an opening theme, a varied repetition of that theme, and a closing section made up of new material. The first theme complex features a singing cello line and bell-like motifs in pizzicato double basses. The final part of the theme features an almost direct quotation of a theme from the finale of the Second Symphony that is associated with eternity. The second theme group is far more tense, and it builds to a collapse-like climax before settling back down. There then follows a variation of the first theme group in a more-lively Allegretto tempo that Mahler directs should gradually become more lively as the variation progresses. As expected, the second, lamenting theme group is then varied, and in new keys (G, C-sharp, and F-sharp Minor). The collapse-like climax is heard again, and after the music settles down, Mahler returns to the first theme group for more variation. This time, he presents four variations of increasing tempo on the first part of the theme, moving from Andante to Allegretto (both now in triple meter) and then to an Allegro tempo followed by an Allegro molto (both in duple meter). Each tempo shift is very sudden, and after the very brief Allegro molto reaches a climax, the opening tempo returns just as suddenly and the calm final part of the theme brings the complex to a close. The third variation (Allegro) is significantly in E Major.
The most magnificent music of the movement is in the coda following these last variations. In a sudden sweep, the full orchestra bursts forth with new material in the key of E Major. This outburst is punctuated by statements in the horns of the music that will become the introduction to the song-finale. It is very closely related to the theme from the development of the first movement that was derived from the finale. Since the finale follows very closely after this, the relationships of all of these themes become more noticeable. E Major is the "heavenly" key of the end of the finale. After this foreshadowing outburst, the music subsides rapidly and moves back to G Major. The motives from the second symphony are heard again. A series of soft chords fades gradually away, ending in a state of ethereal suspension.

Fourth Movement

Growing immediately out of the suspended ending of the slow movement, we have arrived at the answer, the goal, and the source of everything that has preceded it. Most of this final song is in the main key of the symphony, G Major, but it ends in the "heavenly" E Major that has already been foreshadowed in the slow movement. If the two theme complexes of the third movement represent heavenly joys and earthly sorrows, respectively, then the end of that movement and this finale provide the answer as to which will prevail, as Mahler himself hinted. If the first movement reached to millions and millions, then here we have the return to the simplicity of its opening. Even the eerie "friend death" of the second movement is overcome by the heavenly joys. The structure is very simple. A prelude with a solo clarinet presents the music from the final climax of the third movement. There are four musical verses sung by the soprano soloist and separated by interludes. These interludes consist of the bell music from the very beginning of the first movement, and always begin forcefully rather than gently. The first verse is gentle and begins with the music of the prelude, becoming more lively at Wir führen ein englisches Leben; It ends with a chorale- like phrase at the mention of St. Peter. The second verse is more troubled, including text mentioning the butcher Herod and the slaughter of the lamb. It ends, however, with the same chorale-like phrase that ended the first verse. It is music from this second verse that also appears in the fifth movement of the third symphony, a setting of another "angelic" text, and the text that is set to that music in that movement is also the most troubled of the piece. The third verse is longer, incorporating two verses of text. It begins like the first, but then develops independently, including rapid text declamation describing the food present at the heavenly feast. Like the first two verses, it settles to the chorale like phrase at the line describing Martha as the cook. I have not seen this mentioned elsewhere, but I notice a distinct affinity between this verse and music from another movement of the Third Symphony: the scherzo depicting animal life. The text of the verses here lend some credence to this speculation. After the final bell interlude, the music moves to E Major, the key in which the movement and the symphony will end. It becomes very tender and soft, featuring prominent harp and English horn. This is the "heavenly music" to which the trio sections of the scherzo alluded, and in the key associated with the heavenly life. The final verse begins like the first, but turns to the music of the preceding interlude, reaching a high point, significantly, at the mention of the smiling of St. Ursula. The text refers to the heavenly music, awakening everything to joy. It is perhaps fittingly incongruous that the final word sung is erwacht (awakens) just as the music is dying away. The final sounds are soft, nearly inaudible harp strings.

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