MAHLER SYMPHONY NO . 6 do today — to listen to the Sixth and not think of the ensuing catastrophes is nearly impossible in a work whose extreme emotional potency attracts meaning like metal to a magnet . While the historical record may not neatly accommodate the symphony ’ s “ Tragic ” moniker , and while the work may offer moments of hope and tenderness , its trajectory toward a devastating finale can hardly be described any other way .
The Sixth is a work of huge proportions — proportions that , unlike the majority of Mahler ’ s symphonies , are nonetheless firmly rooted in the formal conventions of the previous hundred years . It adheres to a standard , four-movement structure . The orchestra is large — when premiered by the Essen Orchestra , musicians from nearby Utrecht had to be called in as a supplement — but makes no use of chorus or solo vocalists . The first and final movements are in a classical sonata form ( exposition – development – recapitulation or restatement ). And , in contrast to Mahler ’ s other middle symphonies , which wander between distant tonal centers and often end in different keys than they start with , the Sixth remains largely centered around the key of A minor .
The first movement , Allegro energico , ma non troppo , commences with a grim , determined march . To the Italian , Mahler adds in German , “ Heftig , aber markig ” ( severe , but vigorous ). Making particularly effective use of percussion , these opening bars are taught and tense . Following a moment of sudden relaxation — a chorale in the woodwinds — the strings burst forth in a rhapsodic theme in F major , allegedly Gustav ’ s attempt to capture Alma in a melody . The “ Alma theme ” is momentarily extinguished by the relentless march before re-emerging to conclude the exposition .
The development section intensifies the increasingly maniacal march , offering some respite in a particularly delicate , if disquieted passage that melds swirling harmonies with the otherworldly clattering of distant cowbells . The march returns , now in a menacing A major , and a tug-of-war commences between the major and minor keys . The recapitulation rehashes the opening material — here , “ Alma ’ s theme ” has the last word .
Mahler agonized over the order of the inner movements . The autograph score places the Scherzo first , followed by the Andante . But in the days leading up to the premiere , Mahler repeatedly changed his mind and eventually swapped the two , a decision he solidified in the second edition of 1906 . Some have alleged that he later came to favor the original ordering found in the autograph , although the matter remains a topic of much debate .
From the memory of the relentless march breathes the tender Adagio , an expanse of long , sweeping melodies buoyed by pianissimo strings . In turns hopeful and despondent ( often within the course of a single phrase ), the movement reaches a mid-point climax not in the warm E-flat major where it began , but in an unexpected and radiant E major . Here , Mahler draws a melody from the final moments of his first Kindertotenlieder , whose corresponding text reads “ Heil sei dem Freudenlicht der Welt !” (“ Hail to the joyous light of the world ”). The texture relaxes , building towards a final surge and settling calmly into the home key of E-flat major .
Scherzo : wuchtig (“ weighty ”) resembles a grotesque , distorted reflection of the first movement ’ s march : misshapen , limping , and wry . In place of a minuet , Mahler substitutes a Ländler — the rustic , triple-meter Bavarian folk dance — in which strings and percussion stubbornly disagree on the placement of the downbeat emphasis . The twice-presented Trio prompted Alma Mahler ’ s reading of “ the arhythmical play of little children ,” followed by a Coda where “ the childish voices become more and more tragic , finally to die out in a whimper .”
If the previous movements possess any moments of tenderness , hope , romance , or peace , they are rendered sour by the Sixth ’ s devastating Finale . In its short and uneasy introduction , a screaming string recitative functions like a lit fuse preceding the violent explosion of an A major chord . But the chord quickly mutates
to A minor , the “ Fate ” chord , and here our hero ’ s destiny is sealed . Trepidation follows in a haze of alien timbres and muddled harmonies . Gradually and almost imperceptibly , we find ourselves again in a terrifying march . Just as it seems that victory may be within grasp , the first hammer-blow strikes , a sound Mahler describes as a “ short , powerful , heavy-sounding blow of non-metallic quality , like the stroke of an ax .” The hero falters , regains composure , and embarks again on the march . But the second hammer-blow arrives , even more terrible than the first . The return of the opening material will carry the Finale to its end , but the tide has turned , and the struggle is lost .
Originally , Mahler had arranged for three hammer blows , the third falling at the explosive A major chord following the return of the introduction . For reasons not entirely clear , whether strictly musical or maybe , as some have suggested , as an act of emotional self-preservation , it was later removed in the revised edition . In any event , the reappearance of the “ Fate ” chord , the restatement of the opening material , and the music ’ s last , excruciating spasm are more than enough to undo — and then entomb — the Sixth ’ s vanquished hero .
Instrumentation Four flutes , one piccolo , four oboes , one English horn , four clarinets , one bass clarinet , four bassoons , one contrabassoon , eight horns , six trumpets , four trombones , one tuba , two timpani , four percussion , four harp , two keyboard , church bells , bass drum , large hammer , rute , suspended cymball , xylophone , orchestra bells , snare drum , herdeglocken , tam-tam , cymbals ( pair ) triangle , chimes , celeste , and strings .
Maximilian Franz
MAR-APR 2024 / OVERTURE 35