The Symphony No. 4 in G major by Gustav Mahler was written between 1899 and 1901. The four-movement orchestral work features a solo soprano in the finale. Her song, "Das himmlische Leben", presents a child's vision of Heaven.
Instrumentation
The symphony is scored for a fairly small orchestra by Mahler's standards interestingly lacking trombones and tubas. It is scored for the following orchestral forces:
Composition
Mahler's first four symphonies are often referred to as the "Wunderhorn" symphonies because many of their themes originate in earlier songs by Mahler on texts from Des Knaben Wunderhorn (The Youth's Magic Horn). The fourth symphony is built around a single song, "Das himmlische Leben." It is prefigured in various ways in the first three movements and sung complete by a solo soprano in the fourth movement.
"Das himmlische Leben" was composed as a free-standing piece by Mahler in 1892. A year later Mahler considered using the songs in the fifth and seventh movement, which would be the finale, of his Third symphony. Motifs from "Leben" are threaded throughout the Third symphony, but Mahler eventually decided to use the song (in revised form) as the seed for his fourth. The Fourth symphony thus presents a thematic fulfilment to the musical world of the Third.
Structure
A typical performance of the Fourth lasts about an hour, making it Mahler's shortest symphony. The performing forces are also small by Mahler's usual standard. These features have made it the most frequently performed Mahler symphony, though in recent years the First has gained ground.
The movements of the symphony:
- Bedächtig, nicht eilen (Moderately, not rushed)
- In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste)
- Ruhevoll, poco adagio (Peacefully, somewhat slowly)
- Sehr behaglich (Very comfortably)
Sleigh bells open the unusually restrained first movement, often described as possessing classical poise leads to the second movement scherzo featuring a solo part for a violin tuned a tone higher than usual (see: scordatura). The violin depicts Freund Hein, a figure from German art. Freund Hein is a skeleton who plays the fiddle and leads a Totentanz (death dance). The scherzo movement represents the dance and the unusual tuning of the violin adds tension to its sound and contributes to the music's ghostly character. The third movement is a solemn processional march cast as a set of variations.
The fourth movement opens in G major onto a relaxed, bucolic scene. A child (soprano) presents a sunny, naive vision of Heaven and describes the feast being prepared for all the saints. The scene has its darker elements: the child makes it clear that the heavenly feast takes place at the expense of animals, including a sacrificed lamb. The child's narrative is punctuated by faster passages recapitulating the first movement. Several ties to the Third Symphony can be heard in these sections. The movement draws to a tranquil close in E major.
Text (for last movement)
- Das himmlische Leben
- (aus Des Knaben Wunderhorn)
- Wir genießen die himmlischen Freuden,
- Drum tun wir das Irdische meiden.
- Kein weltlich Getümmel
- Hört man nicht im Himmel!
- Lebt alles in sanftester Ruh.
- Wir führen ein englisches Leben,
- Sind dennoch ganz lustig daneben.
- Wir tanzen und springen,
- Wir hüpfen und singen,
- Sankt Peter im Himmel sieht zu.
- Johannes das Lämmlein auslasset,
- Der Metzger Herodes drauf passet,
- Wir führen ein geduldig's,
- Unschuldig's, geduldig's,
- Ein liebliches Lämmlein zu Tod!
- Sankt Lukas, der Ochsen tät schlachten
- Ohn' einig's Andenken und Achten,
- Der Wein kost' kein' Heller
- Im himmlischen Keller,
- Die Englein, die backen das Brot.
- Gut Kräuter von allerhand Arten,
- Die wachsen im himmlischen Garten,
- Gut Spargel, Fisolen
- Und was wir nur wollen!
- Ganze Schüsseln voll sind uns bereit!
- Gut Äpfel, gut Birn und gut Trauben,
- Die Gärtner, die alles erlauben.
- Willst Rehbock, willst Hasen,
- Auf offenen Straßen
- Sie laufen herbei!
- Sollt' ein Festtag etwa kommen,
- Alle Fische gleich mit Freuden angeschwommen!
- Dort läuft schon Sankt Peter
- Mit Netz und mit Köder
- Zum himmlischen Weiher hinein,
- Sankt Martha die Köchin muß sein.
- Kein Musik ist ja nicht auf Erden.
- Die unsrer verglichen kann werden,
- Elftausend Jungfrauen
- Zu tanzen sich trauen!
- Sankt Ursula selbst dazu lacht!
- Kein Musik ist ja nicht auf Erden,
- Die unsrer verglichen kann werden.
- Cäcilie mit ihren Verwandten,
- Sind treffliche Hofmusikanten.
- Die englischen Stimmen
- Ermuntern die Sinnen,
- Daß alles für Freuden erwacht.
|
- Heaven's Life
- (From Des Knaben Wunderhorn)
- We enjoy heavenly pleasures
- and therefore avoid earthy ones.
- No worldly tumult
- is to be heard in heaven.
- All live in greatest peace.
- We lead angelic lives,
- yet have a merry time of it besides.
- We dance and we spring,
- We skip and we sing.
- Saint Peter in heaven looks on.
- John lets the lambkin out,
- and Herod the Butcher lies in wait for it.
- We lead a patient,
- an innocent, patient,
- dear little lamb to its death.
- Saint Luke slaughters the ox
- without any thought or concern.
- Wine doesn't cost a penny
- in the heavenly cellars;
- The angels bake the bread.
- Good greens of every sort
- grow in the heavenly vegetable patch,
- good asparagus, string beans,
- and whatever we want.
- Whole dishfuls are set for us!
- Good apples, good pears and good grapes,
- and gardeners who allow everything!
- If you want roebuck or hare,
- on the public streets
- they come running right up.
- Should a fastday come along,
- all the fishes at once come swimming with joy.
- There goes Saint Peter running
- with his net and his bait
- to the heavenly pond.
- Saint Martha must be the cook.
- There is just no music on earth
- that can compare to ours.
- Even the eleven thousand virgins
- venture to dance,
- and Saint Ursula herself has to laugh.
- There is just no music on earth
- that can compare to ours.
- Cecelia and all her relations
- make excellent court musicians.
- The angelic voices
- gladden our senses,
- so that all awaken for joy.
|
Premieres
- World premiere: November 25, 1901, Munich, Margarete Michalek (soprano) with the Kaim Orchestra conducted by the composer.
- Dutch première: October 23, 1904, Amsterdam, with the composer conducting the Concertgebouw Orchestra. The orchestra performed twice that evening.
- American premiere: November 6, 1904, New York City, Etta de Montjau (soprano) with the New York Symphony Society conducted by Walter Damrosch.
- English premiere: October 25, 1905, London, in a Proms concert conducted by Henry Wood. Wood's wife sang the soprano part.
- Recording premiere: May 1930, Sakaye Kitasaya (soprano) with the New Symphony Orchestra of Tokyo conducted by Hidemaro Konoye, Japanese Parlophone. This was also the first electrical recording of any Mahler symphony.[1]
References
- ^ Smoley, Lewis M. (1996). Gustav Mahler's Symphonies: critical commentary on recordings since 1986, first edition, Westport, CT: Greenwood Press, 93. ISBN 0313297711.
External links
Comments
No comments have been added.
|
