22-23 Program Book - Flipbook - Page 80
Symphony No. 5 in C# minor CONTINUED
CLASSICAL SERIES: MAHLER'S FIFTH
In the time leading up to the Fifth Symphony, Mahler experimented with
all sorts of textural possibilities, culminating in his Fourth Symphony. The
Fourth is unique and signals a new direction with two ends: exploring
possibilities in handling simple melodies (emphasized by adding a vocal
soloist in the last movement) in relatively simple formal structures, and
attempting to achieve intensely personal, intimate sounds and feelings
in a large orchestral context. What is particularly interesting, however, is
that rather than using the enlarged orchestra simply to increase the sheer
volume, Mahler more often uses the larger forces simply for a wider palette
of timbres to choose from.
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Composed in the summers of 1901 and 1902, the Fifth Symphony, however,
is a complete about-face from the Fourth. He seemed to have returned to
the extroverted and more complicated Post-Romantic expression that was
the “other side” of his first three symphonies. Mahler decided to reserve the
intimate, tender side for other works and his orchestral lieder for voice and
orchestra. He wound up reworking the Fifth Symphony several times after
its initial completion, which created several publication difficulties. These
were finally resolved by the Internationale Gustav Mahler Gesellschaft with
a definitive version published in 1964.
The symphony has a somewhat unique format, with three large sections
comprising of five movements. The first movement, with its intense solo
trumpet opening, is a Funeral March with two contrasting, sentimental
trios. The stormy second movement borrows materials from the first,
culminating in a beautiful chorale melody and a gentle fade. The third
movement constitutes the entire second large section and is one of the
longest individual movements he ever wrote.
As a Scherzo, it has a light-hearted, forthright character even in its more
sentimental sections, and features an amazing obbligato horn solo. The
final large section begins with the famous Adagietto for strings and
harp alone. This moving, intimate movement is in direct contrast to the
previous movement, introspective and intensely personal. The Finale
begins gradually but optimistically incorporates material from the second
and fourth movements. It includes a great deal of counterpoint and an
expanded version of the chorale melody heard previously that brings this
monumental work to a triumphant close. As a whole, the work succeeds
like a huge, walled city—self-contained, consistent in its themes and overall
design. Yet, the composition is rich in colorful details that proceed in an
unhurried manner until their possibilities are exhausted.
Mahler broke from the norms of conventional four-movement symphonic
composition by including folksong borrowings, unusual instruments,
radically dissonant harmonies, and solo as well as choral singing. He opened
up the boundaries of symphonic form and expanded it to enormous,
encyclopedic lengths. Like Beethoven before him, Mahler dispensed
with the notion that a symphony should comprise of instruments alone.
No fewer than half of his symphonies are scored with voices in different
combinations. He also was able to obtain very personal, intimate moments,
clearly related to song in the middle of these massive structures. However
in the Fifth Symphony, he returned to instrumental conventions associated
with symphonic compositions. Yet, Mahler still expanded all of the possible
resources available to him in unconventional ways. Thus, this made Mahler's
work one of the most beloved and admired of all orchestral music.