Gustav Mahler: List of Works

• Songs 
• Cantatas 
• Song-Symphony 
• Symphonies 
• Juvenilia and Fragmentary Works

Three Songs for tenor and pianoforte (Year Written: 1880)

Movements/Components:

• Im Lenz 
• Winterlied 
• Maitanz im Grünen

Lieder und Gesänge (Vol 1) 
Five Songs for voice and pianoforte (Year Written: 1880-1883)

• Frühlingsmorgen (Spring Morning) 

Text by Leander 
• Erinnerung (Remembering) 

Text by Leander 
• Hans und Grethe (Hans and Grete) 

Text by Mahler 
• Serenade aus 'Don Juan' 

Text by Tirso de Molina 
• Phantasie aus 'Don Juan'

Text by Tirso de Molina

Lieder und Gesänge (Vol 2) 
Nine Songs for voice and pianoforte (Year Written: 1887-90) 

• Um Schimme Kinder Artig Zu Machen (To Teach Naughty Children to be Good) 
• Ich Ging Mit Lust Durch Einen Grünen Wald (Full of Joy I walked through a Green Wood) 
• Aus! Aus! (Finished! Finished!) 
• Starke Einbildungskraft (Strong Imagination)

Lieder und Gesänge (Vol 3) 
Four Songs for voice and pianoforte (Year Written: 1888-1891)

• Zu Strassburg Auf Der Schanz' (On the Ramparts of Strassburg) 
• Ablösung Im Sommer (The Changing of the Summer Guard) 
• Scheiden und Meiden (Farewell and Forgo) 
• Nicht Wiedersehen! (Never to Meet Again) 
• Selbstgefühl (Self-Assurance)

Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (Year Written: 1884)

Movements/Components:

• Wenn mein Schatz Hochzeit macht  
• Ging heut' morgen über's Feld  
• Ich hab' ein glühend Messer  
• Die zwei blauen Augen

Lieder aus 'Des Knaben Wunderhorn' (The youth's magic horn) (Year Written: 1892-1899)

Movements/Components:

• Der Schildwache Nachtlied (Sentry's Night-Song) (1892) 
• Trost im Unglück (Consolation in Misfortune) (1892) 
• Verlor'ne Müh (Wasted Effort) (1892) 
• Wer hat dies Liedlein erdacht? (Who made up this little song?) (1892) 
• Rheinlegendchen (Little Rhine Legend) (1893) 
• Das irdische Leben (Earthly Life) (1893) 
• Das Antonius von Padua Fischpredigt (Antony of Padua's Sermon to the Fishes) (1893) 
• Wo die schönen Trompeten blasen (Where the Splendid Trumpets are Sounding) (1895) 
• Lied des Verfolgten im Turm (Song of the Prisoner in the tower) (1895) 
• Lob des hohen Verstandes (In praise of Lofty Intellect) (1896) 
• Revelge (Reveille) (1899) 
• Tamboursg'sell (The Drummer Boy) (1901) 

Kindertotenlieder (Songs on the death of children) (Year Written: 1901-1904)

Movements/Components:

• Nun well die Sonn' so hell aufgeh'n  
• Nun seh' ich wohl, warum so dunkle Flammen  
• Wenn dein Mütterlein  
• Oft denk' ich, sie sind nur ausgegangen  
• In diesem Wetter

Fünf Lieder nach Rückert (Five Rückert Songs)

• Blicke mir nicht in die Lieder(1901) 
• Ich atmet' einen linden Duft(1901) 
• Ich bin der Welt abhanden gekommen(1901) 
• Um Mitternacht(1901) 
• Liebst du um Schönheit(1902) 

Das Klagende Lied (Year Written: 1878-1880)

• Waldmärchen (Forest Legend)
• Der Spielmann (The Minstrel)
• Hoch zeitsstück (Wedding Piece) 

Das Lied von der Erde (The Song of the Earth) (Year Written: 1911)

(btw, if this is a piece you like, you must get Alexander Zemlinsky's Lyric Symphony. Zemlinsky was a friend of Mahler's, Schoenberg's teacher and brother-in-law, and his Lyric Symphony inhabits the same sound-world, and is modeled after, Das Lied.)

Movements/Components:

• Das Trinklied vom jammer der Erde (The Drinking Song of Earth's Sorrow)In German In English
• Der Einsame im Herbst (Autumn Loneliness) In German In English
• Von der Jugend (Youth)In German In English
• Von der Schönheit (Beauty) In German In English
• Der Trunkene im Frühling (Wine in Spring) In German In English

Der Abschied (The Farewell) In German In English 

The chronology of Mahler's composition of a particular work may appear confused. The reasons are several. First, in the 1-4 symphonies, Mahler did not really compose them sequentially. The first movement of the 2nd existed first as a single movement. Unable to continue with the work, Mahler relabeled it as a one-movement tone poem. Then he figured out how to continue, modified the movement, and back it went to being the first movement of the second symphony. The final movement of the 4th was originally intended as the final movement of the 3rd. However, Mahler realized that it was too "light" a piece to follow all that had gone on in the Third, so the movement was removed and the 4th was written so as to properly lead into that movement. In addition, Mahler's usual practice was to compose one symphony while orchestrating the previous symphony. Hence, there is always overap between the beginning and completiong of one work and the beginning of the next work. Finally, the First-Fourth symphonies all incorporated material Mahler composed separately from those works--his songs.

Symphony No. 1

Movements/Components:

• Langsam. Schleppend - Im Anfang gehr gemächlich 
• Kräftig bewegt, doch nicht zu schnell 
• Feierlich und gemessen, ohne zu schleppen 
• Stürmisch bewegt

Blumine (Andante) (Originally the 2nd movt of the 1st Symphony)

Symphony No. 2 (Year Written: 1895/12/13)

Movements/Components:

• Allegro Maestoso 
• Andante moderato 
• In ruhig fliessende Bewegung 
• Urlicht 

Text from (from 'Des Knaben Wunderhorn') 
• Im Tempo des Scherzo's

Text: 'Die Auferstehung)

Symphony No. 3 (Year Written: 1902/06/09)

• Kräftig. Entschieden 
• Tempo di minuetto. Sehr mäßig 
• Comodo. Scherzando. Ohne Hast 
• Sehr langsam. Misterioso. Oh Mensch! Gib acht! 
• Lustig im Tempo und keck im Ausdruck 
• Bimm bamm - Es sungen drei Engel einen süßen gesang 
• Langsam. Ruhevoll. Empfunden

Symphony No. 4 (Year Written: 1901/11/25)

Movements/Components:

• Bedächtig, nicht eilen 
• In gemächlicher Bewegung. Ohne Hast 
• Ruhevoll 
• Sehr behaglich

Wir genießen die himmlischen Freuden from Des Knaben Wunderhorn

Symphony No. 5

Movements/Components:

• Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt 
• Stürmisch bewegt. Mit grösster Vehemenz 
• Scherzo. Kräftig, nicht zu schnell 
• Adagietto. Sehr langsam 

Used in the film 'Death in Venice,' hence the movement someone not familiar with Mahler would be most likely to have heard before. Which in a way is unfortunate, at it is not a "typical" Mahler movement--although the final movements to the 3rd and 9th symphonies certainly are akin to the adagietto. 

Rondo - Finale Allegro griocoso Frisch

Symphony No. 6 (Year Written: 1906)

• Allegro energico, ma non troppo 
• Scherzo. Wuchtig 
• Andante 
• Finale: Allegro moderato

Symphony No. 7 (Year Written: 1909)

• Langsam - Allegro risoluto, ma non troppo 
• Nachtmusik: Allegro moderato 
• Scherzo. Schattenhaft 
• Nachtmusik: Andante amoroso 
• Rondo - Finale

Symphony No. 8 (Year Written: 1909)

Movements/Components:

• Hymn: Veni, Creator Spiritus 
• Final scene from Faust

Symphony No. 9 (Year Written: 1910)

Movements/Components:

• 1st Movement 
• 2nd Movement 
• 3rd Movement 
• 4th Movement

Symphony No. 10: Adagio (Year Written: 1911)

Projected but uncompleted operas

Herzog Ernst von Schwaben

Libretto by J. Steiner, probably based on Uhland

Die Argonauten

Libretto by Mahler, probably based on Grillparzer

Rübezahl

Libretto by Mahler

Orchestral

Symphony

Rehearsed at Vienna Conservatory

Symphony in A minor

3 movements in Manuscript
 
 

Here's a little guide to the links on this page. When a particular movement/song is highlighted, the link is to the corresponding entry in Emily Ezust's wonderful Lied Song and Text Page, where the link will go to the German text of that song/movement. Emily's page is not to be missed, and if there is anything that you can do to help add to the collection there, please write Emily immediately. ;)

II. NewYork, 19O8; Boston, Jan. 22, 1918 (Muck)

III. New York, Feb. 8, 1922 (Mengelberg)

IV. New York, 1904 (Damrosch) New York, January I7, 1911 (Mahler)

V. -Cincinnati, 19O5 (Gericke) Boston, February 2, 19O6 (Gericke)

VII. Chicago, April 15, 1921 (Stock)

VIII. Philadelphia, March end, 1916 (Stokowski)

IX. Boston, October 16, 193I (Koussevitsky)

Das Lied von der Erde--New York, Season 1921 -1922 (Friends of Music, Bodanzky)

Lieder eines fahrenden Gesellen--Boston, February 5, 1915 (Paul Draper)

Mahler's only attempts at chamber music were composed in his teen aged years.  Mahler attempted a piano quartet several times, from 1875 through 1879, approximately.  His first-performed work was a Sonata for violin and piano which premiered in 1876.  He began work on two operas that never got very far, Herzog Ernst von Schwaben (approx. 1877-78) and Rubezahl (approx. 1879-83).  It has also begin guessed that Mahler made several symphonic attempts, although no full manuscripts have been found.  For many years it was guessed that two or three youthful symphonies were in private hands (Baroness Marion von Weber) and were destroyed during the WWII Dresden bombing.  However, it now appears that the scores in question were actually of Das klagende Lied, the First Symphony/Titan, and the Second Symphony.  The source of the rumors was a conversation between a Viennese music critic (Paul Stefan) and Dutch conductor Willem Mengelberg, where Mengelberg mentioned that he had seen some early Mahler manuscripts possessed by the Baroness. 

No one knew what to make of Stephan's story--there were inconsistencies, and Mahler's chief biographers, Donald Mitchell and Henry-Louis de La Grange both were unable to find any substantiation of the story. 

However, in the Spring 1998 International Classical Record Collector, in an article titled "Mengelberg and Mahler," James H. North presents the text of postcards mailed by Mengelberg to his wife on July 10, 1907, thirty years prior to alleged conversation with Stephan.  The text: 

Dear Tilly, 

...I was invited with Schillings by Madame Baroness von Webber, the same one that signed the telegram to you...She is a most kind person, a window with few children.  I think three or four.  At home there is only one and a military lieutenant, a son who comes now and then, the little daughter is quite nice but the mama is an angel.  That poor person has endured quite a bit in her life, her husband was mentally ill for ten years or so--I believe a softening of the brain.  She always took care of him and during that time never went out of the house.  You can understand that this has left its mark on her externally as well as internally. 

When I was brought to the house by Schillings, I was naturally at first speechless at all the beautiful things I saw there.  Cupboards full of manuscripts by Weber, all his letters, his books, his household effects, his death mask, the walls covered with original portraits of him and his whole family, yes even his copper doorplate with C. M. von Weber hung on the wall.  Then naturally I began to rummage in all those old, yellow manuscripts.  I discovered works totally unknown to me, for example, symphonies, operas, etc.  Have you ever heard of a symphony by Weber?  I want to give one in Amsterdam some day.  I also uncovered sketches for a complete opera, de drei Pintos. 

Those interested me greatly and Frau Baroness said then that a long time ago Gustav Mahler had prepared the score and had composed much extra music, etc., yet that the whole had turned out beautifully.  Then I said in an off-hand way, "Yes--Mahler is one of the greatest, if not the greatest of musicians!"  Tableau: she looked at me totally amazed--and closely, with those sharp gray eyes she tried to search my innermost thoughts, and when she felt she had found there true admiration for Mahler, she said suddenly, and with a shrug, "Is that really your opinion; you really believe that?"  I naturally went on about it, and she said suddenly---and with a sort of shyness--"I also still have some manuscripts of Gustav Mahler"--now again--tableu--from my side--I spring up--and say--"What are you saying--manuscripts of Mahler?"  You understand I was flabbergasted, and then followed a long talk about Mahler, through which Schilling sat rather stupidly.  You know that Schillings doesn't understand him at all.  The old lady became more and more friendly with me and finally promised to let me look at those manuscripts also.  But to both of she said, with great earnestness:  "But please--you both--Schillings and you--are the first people getting to see these things!  I think it is very important to tell you this,, and please also tell it to Mahler when you talk about this--that I had not yet found anyone worthy to show these manuscripts to..." 

The next day, shortly after dinner, she came with a thick package of music--very well wrapped--she seemed very nervous.  She said to me:  "What would you like to see first, Symphony No. 1 - 2, or for instance Das klagende Lied, etc.! "  You can understand I became more amazed.  I cried at once -- "Schillings--Das klagende Lied you must give next year at the festival in Munich -- it is so beautiful!" --(Schillings didn't know it at all.)  and immediately she came with the manuscript score of Das klagende Lied.  I could hardly believe my eyes when I had it in my hand, the whole first part, that, which he had not allowed to be published, as he had told us himself, in the past, and the rest as we know it.  She went to sit in the corner of the room and watched as Schillings and I, sitting on the old sofa of Weber, at the table of Weber, leafed through this wonderful manuscript and sand motifs, etc. 

Then she said to me, "Would you like to see the Symphony No. 1?"  I naturally said "yes, please!"  She said "there is a movement with it which has not been published."  Again great amazement.  I naturally grabbed for this part--on the title stood In glucklicher Stunde.  The Baroness now left the room, I understood why later, she was very moved...I said, "Come, Schillings, let's just play this," and seated at the piano we played four hands from the orchestral score this dream gushing andante to the bottom of the last page--Mahler had written there in clear letters--"To M. for her birthday--from M!"  Now I understood more.  She must have been a true 'Jugendliebe' of his--when he was director at Leipzig.  I looked at Schillings, and he at me, and he said very kindly -- "But we won't say a word about this."  "Yes"--I said--"the music says much more than words could."

The removal of this section (originally the second) left a composition in four movements essentially in accord with traditional symphonic form. Mahler had hitherto always programmed the work as a "Symphonic Poem, in Two Parts," even giving it a definite name (Titan) and adding a description of its inner content. This "guide" was, of course, an after-thought, at best only superficially pertinent to the music's real significance. The controversy it aroused among cri tics and music-lovers proved to Mahler that, for his music at least, literary "props" would be more misleading than helpful. Therefore he published the work merely as Symphony No. I, in D-major. The sole verbal clue to the content in the printed score is the phrase "Wie ein Naturlaut" (Like the Voice of Nature) at the head of the introduction to the opening movement. 

Added proof of Mahler's firm resolve to let the music speak for itself is contained in the following notice in the program of the first American performance of the symphony, which took place in 1909 under his own direction: 

"In deference to the wish of Mr. Mahler, the annotator of the Philharmonic Symphony's programmes refrains from even an outline analysis of the symphony which is performing for the first time in New York on this occasion, as also from an attempt to suggest what might be or has been set forth as its possible poetical, dramatic or emotional contents." 
 

FIRST MOVEMENT: D-ma]or, 4/4 (Langsam, nicht schleppend)

"That Nature includes all, being at once awesome, magnificent, and lovable, no one seems to grasp. It seems so strange to me that most people, when mentioning Nature in connection with art, imply only flowers, birds, the fragrance of the woods, etc. No one seems to think of the mighty underlying mystery, the god Dionysos, the great Pan; and just that mystery is the burden of my phrase 'Like the voice of Nature.' That, if anything, is my 'program,' the secret of my composition. My music is the voice of Nature sounding in tone." Against this unison a phrase of two slow notes, a descending fourth apart, appears softly in the woodwind. Destined to be the principal source-motif of the symphony it may justly be called the "nature motif." As it strives toward thematic integration, at first in minor, this motif evokes a series of antiphonal fanfares in woodwind and brass, which are reechoed by a trumpet "in the distance." Assuming more definite rhythmic character, pointed and sharp, it becomes the voice of a cuckoo calling. In this magic, shadowy' atmosphere a dreamy, yearning melody is heard in the horns. Mingled bird-calls and fanfares are greeted by sudden shrill reiterations of the "nature motif." A brief, winding, chromatic figure rears its head out of the muted basses. A subdued growl of timpani foretells its ominous future. The "nature motif," reinforced by numerous imitations in the woodwind, descends upon the lugubrious intruder, which retreats and vanishes. The music's pace gradually quickens. The air grows electric with suspense as these elements, symbolizing a world of latent emotional life, pass by in preliminary review. At last even the fundamental dominant sheds its long-lived unison garb. It too succumbs to the "nature motif," which emerges into the bee air and bursts into unfettered song. 

Before the symphony was published the introduction (analyzed above) had been referred to in the programs as "the awakening of nature in the early morning." The song-like, soaring melody that springs from the "nature motif' is the principal theme of the first movement. Its tempo twice as fast as that of the introduction, is qualified by the admonition, "not to hurry." Comparison shows it to be identical with the principal melody of the second of the Songs of a Wayfarer, composed just before the First Symphony. In fact, virtually all the melodic life of the opening movement (with the exception of the introduction) is rooted in that song. The process involved in this apparent transfer, however, is something far different from the wordless re-setting of a song score. The deepest implications of the term "song-symphonist" (used by the writer as the title of his Mahler biography) are here at stake. Song and symphonic movement are both expressions of the one spiritual experience. Yet the former is the mere embryo, containing only the essence of growth; the latter presents the fullest fruition of that essence. Beyond the words of the song Mahler hid a vast panorama of intensely Personal experience. It is this secret world which he reveals in the first movement of the symphony, baring and exploiting fully a number of emotional nuances permitted only momentary, skeletal embodiment in the song. "Spring" was the designation the old program notes gave the strains which now follow. Young nature is the reveler in this unbroken stream of carefree melody. It not only sings, it dances, leaps, and spins about in an ecstasy of budding life. Impatient violins snatch the melodic thread from the heavier-timbered cellos and rush it aloft to the dominant. There they pounce upon a fresh, joyous theme, while the "nature motif" sounds on every hand, smooth in the woodwind, plucked in strings and harp. The main theme, reborn in this brighter tonality, proves a richer, jollier expression. It is now a two-part canon, cellos pursuing woodwind in dose imitation. Violins join the merry company in a sprightly, staccato figure interspersed with sudden upward leaps, like exclamations of joy. The tempo is now considerably accelerated. Theme and answer combine, enhancing the power of the approaching climax. Full-throated horn-tones emphasize the dominance of the "nature theme" over the full orchestra. A brief epilogue, corresponding to the traditional Codetta, marks the conclusion of the statement of themes. The mood of happy abandon subsides amid lively reiterations of the "nature motif" and a melodious fragment suggesting a bird-call. Once only, as in the introduction, a fleeting shadow, in the guise of the ominous bass motif, threatens the happy course of the thematic exposition, but it is again banished by the "nature motif." 

Whither now? The "Voice of Nature" (the weird unison, harmonic a) pierces the stillness, inspiring a new suspense. Under its mystic, creative spell the development section begins to unfold. The bird-call, increasingly prominent in the flute, lends this mood a gentler lyricism than that of the introduction. A plaintive motif, hitherto unheard, issues like a sigh from the cellos. Cast in the minor mode it represents the first melancholy melodic element in the symphony. Its repetition, in recitative style, evokes correspondingly moody utterances in horns and flutes. A brief, upward-winding motif, drawn from the dark-tinged chromatic bass motif, makes its appearance in the harp. No longer chromatic nor depressed by heavy instrumental timbre it becomes the element of enlightenment, gradually lifting the minor veil that has descended over the music. The restoration of the major mood attains almost the air of a ritual as the trombones, hitherto silent, celebrate the new dawning with tones of mystic significance. The "nature motif" in the horns softly hymns the rebirth of joyous song. Beneath the happy spell of bird-calls the motif first heard in the cello as a questioning sigh is metamorphosed into a song of gratitude. Oboe and violin add individual melodies, endowing the passage with a spontaneous polyphony, an early example of that polymelodicism destined to become most characteristic of Mahler's style of expression. 

This display of thematic prodigality is accompanied by a corresponding growth in harmonic richness, the joyous complex of melodies throwing off the shackles hitherto limiting the symphony to neighboring tonalities. The gradual subordination of the brass marks the increased sway the orchestral setting, achieving variety largely through delicately contrasted dynamics. A shadow, which not even the vision of hope could dispel, hovers over this forced restraint. In the violins the song-theme newly derived from the sighing motif, takes on the troubled aspect of its root form. The threatening chromatic motif in the basses reappears as its counter-melody. The unfolding of this darker mood is climaxed by muted trumpet fanfares. 

The brass, thus revived, acquires gradual ascendancy, its power clearing the way for a more triumphant return of the bright major mood. Hitherto but a vision of promise glimpsed through a veil, it now becomes full realization, as the "nature theme," in tonic major brilliance, resounds in full-throated horn and trombone tones. The song-theme follows, jubilant in the trumpet. The "nature theme," irrepressibly bold and strong in its restatement, becomes a veritable proclamation of victory in the brass. This grand triumph might be identified as the recapitulation by those who wish to apply the conventional symphonic yardstick to the form of the movement as a whole. The Coda, which follows upon the final jubilant return of the "nature theme," involves a supplementary exploitation of the "nature motif," tile outstanding elemental symbol, not only of the movement just presented, but also of the three sections yet to come. 
 

SECOND MOVEMENT: A-major, 3/4 (Kraeftig bewegt)

1) A martial motif (perhaps a reminiscence of childhood days spent in the vicinity of the military barracks of Iglau). 

2) The "nature motif." 

3) A fragment of the "nature theme" (drawn from the second of the Wayfarer songs) here presented in rapid, staccato style. 

4) A nimble, rollicking, downward-spinning figure. 

5) A brief, spontaneous sequel to the preceding figure. Entering at a point where a full cadence would normally occur, this adds new life to the melodic line. 

Rhythmic exploitation of familiar motifs is the outstanding aim of the first portion of the movement. Yet it differs essentially from the far fleeter Beethoven Scherzo (also devoted to the rhythmic exploitation of motifs) not only in its comparatively moderate tempo, but in its extended thematic sentences. In the course of the dance some of the components of the principal theme attain independent melodic integration. One of the most subtle and charming of these presents a merging of the "nature motif" with the octave-leap, originally an element of the theme's harmonic background. 

The Trio in F-minor, "somewhat slower," is a Laendler, its warm sentiment intensified by the glides which the violins are expressly asked to apply to the gently swinging opening bars. Alternately wistful and playful, it hovers between a smile and a tear, embracing a world of specifically Austrian charm. The "nature motif" is also present in this fragrant melodic atmosphere, dominated by strings and woodwind. Suddenly heard in the horns it becomes the accentuated fundament of a lilting melodic line in trumpets and flutes. Four distinct, singing themes are heard in the course of this richly melodic idyl. A horn-call, entering softly Upon hushed string-murmurs, prepares the scene for the return of the boisterous, initial dance mood. Recapitulated in somewhat abbreviated form it brings the movement to a rhythmically and orchestrally powerful dose. In early programs Mahler had sought to catch the spirit of this buoyant music in the striking phrase, "Under full sail." In the published score he prescribed "a considerable pause" between this and the following section, showing that he had not ceased to regard the symphony (like the "symphonic poem") as a work in two parts. 
 

THIRD MOVEMENT: D-minor, 4/4 (Feierlich und gemessen)

Muffled drums, beating the tonic and dominant alternately, present the "nature motif" in a sombre metamorphosis. They define the rhythm of the "funeral procession" and become the harmonic foundation for the opening theme. The string basses, muttering strangely in their topmost register, become the haunted singsong of hex-voices, as they introduce titles. Lugubriously a bassoon takes up the song in canon style, inaugurating a series of similar imitative interruptions in cello, tuba, and clarinet. The complex polyphony thus set in motion is rendered all the more unusual by the incongruity between its naive subject matter and the gloomy, monotonous manner of its exposition. A curious countermelody, set off in sharp relief by cutting tones of the oboe, seeks for a moment to interrupt the incantation, as it gradually weaves its spell over the entire orchestra. This brief solo oboe passage opens the door to that world of sardonic expression which music-lovers have come to regard as especially Mahlerian. 

The composer himself has definitely labeled the ensuing passage "Parody." It is dominated by the shrill-toned, little E-flat clarinet, here granted its first symphonic reincarnation since Berlioz. Sentimental folk-song melodies of native Bohemian flavor are arrayed for parodistic treatment. Turkish cymbals alternate with bass drum to mark the quickened pulse of this passage, lending it garish instrumental coloring. Shrill, pain-filled outcries in the violins heighten the contrast between the grotesqueness of this mood and the gloom of the preceding one. Finally only a wisp of folk-song survives, like a lamenting echo in violins and oboe, evoking the return to the lugubrious canon theme in the form of a brief epilogue. 

A soft monotone in the woodwind, syncopated in low register, leads to the next passage, a slower melody in G-major, swayed by a dreamy, more hopeful mood. "Very simply," is the composer's hint to the performer, "In the manner of a folksong." The harp, characterizing the accompaniment through this portion, enhances its ingenuous quality. Muted violins alternate with flute and oboe in presenting the component phrases of this song. Its history has a significant place in Mahler's early melodic fantasy. In its original form it was one of his earliest "Wunderhorn" settings (Songs o! Youth, Part I). In its next incarnation it became the last of the Songs of a Wayfarer, where its solution in major anticipated the present symphonic concept of world-pain momentarily relieved in a dream. 

The canon theme returns, still more mysterious in a new, distant tonality (E-flat minor). The harp, still outstanding, supports the rhythm in the muffled drum. A bit of folk.song, hitherto unheard, is sounded by the trumpets, to become the principal fresh melodic feature of this passage. A brief, ironic fragment, with a jarring, cymbal-struck rhythm, evokes an insistent, grotesque motif, literally beaten from the violins with the wood of the bow (col legno). The harp joins horns and bassoon in the gloomy canon theme, bits of folk-song in strings and woodwind dogging its course until the close. The movement ends amid waning reiterations of the "nature motif." 
 

FOURTH MOVEMENT: F-minor, 2/2 (Stuermisch Bewegt)

The impetuous first theme consists of two supplementary march motifs, blared forth with full power by the brass. It attains wide exploitation at once, holding exclusive sway through more than 17o successive measures. A brief, rapid, descending chromatic figure enhances the air of agitation, the progressive degrees of which are suggested by the composer's hints to the performer. These vary from the original, "with stormy motion," to "with energy," and finally "with great savagery." The unusually extended theme is a composite of numerous source-motifs, prevalent since the first movement. Here they are welded into a single comprehensive melody in brass and woodwind, the violins spinning over it a swift, breathless line, much in the manner of a moro perpetuo. At the climax the violins finally succumb to the broadly rhythmic spell of the march-theme and the tempest subsides, as though spent by its own fury. At length only the descending chromatic motif survives, just perceptible in the brass. Tenderly the violins take it up, inverted, leading to a brighter, more peaceful tonal plane (D-flat major). 

"Very songfully," is the composer's hint concerning the following passage, a soaring song of love in the violins, contrasted with the foregoing section as light with darkness. It is swayed by a passionate yearning, the fervor of which pours forth in an unbroken melodic stream defying even the slightest cadence through nearly fifty measures. A singular song-theme indeed, it surrenders itself completely in a solitary, exhaustive revelation, never to reappear except in occasional, fragmentary form. Cello and horn melodiously confirm the fulfillment of the song-theme's message. 

The ominous chromatic motif (from the introduction of the symphony) winds slowly upward in the cello, reawakening the hostile motifs in the tempestuous opening of the Finale. The atmosphere, transformed to minor again, literally bristles with agitation. Fragments of familiar crucible, to be transmuted into creatures of the one dominating rhythmic element. The opening march-motif, thrusting resolutely upward, at last prevails over the disturbing chromatic motif. The mood changes to major again, as though a rainbow of promise suddenly appeared over a tempest-tossed scene. Horns and woodwind alternately intone the "nature motif' in broad, march-like unison, transforming it into a chorale of promise. This new metamorphosis recalls its original appearance in the introduction, amid bird-calls and distant, mystic fanfares. Yearning fragments of the broad song-theme join the reminiscence. Rather lyric than descriptive, the music's yearning subsides in repeated, long-drawn sighs, accompanied by a threatening roll in the kettle-drums. In the original storm-tonality (F-minor) the hostile forces strive once more to produce chaos, only to be irresistibly merged with a tremendous outburst of fanfares. The threshold of supreme triumph has been won. In a glorious outburst of harmony the brass sounds forth the nature-theme, a grand hymn of complete fulfillment. This has been the goal of the entire work: the apotheosis from mystic minor to triumphal major. Seven horns lend added impressiveness to the scene as the symphony draws to a close. 

Since this artide was written Columbia has released an excellent recording of Mahler's First (Minneapolis Symphony Orchestra, Dimitri Mitropoulos conducting).  [Yes, this article is that old!  The CD was rereleased on CD by SONY last year.]