# Understanding Mahler's Seventh Symphony, Introduction



## Mahlerian (Nov 27, 2012)

Understanding Mahler's Seventh Symphony

_*Introduction and Overview*_*

Composition*

The years between the composition of Mahler's Seventh Symphony and its premiere performance were some of the most turbulent in the composer's life. After finishing the composition of his grand, optimistic Eighth, the composer's daughter fell ill and died and he resigned the position at the Vienna Court Opera that had sustained him for a decade. He was to finish only two more compositions in the three years that remained: a symphonic song cycle called Das Lied von der Erde and the Ninth Symphony.

None of this, however, was on the composer's mind during the composition stage itself. The work began in the middle with the two Nachtmusik movements, numbers two and four, the former of which makes use of the distinctive militaristic rhythm of his Wunderhorn setting _Revelge_. From here he added a shadowy scherzo, a tumultuous allegro first movement that some have called the most harmonically advanced music Mahler ever wrote, and a brilliant rondo finale that echoes Wagner's _Meistersinger_ overture. All of this variety has provoked criticisms of incoherence, and the work as a whole remains to this day one of Mahler's most controversial and least appreciated.

As with the two symphonies that preceded it, the Seventh is entirely instrumental, and no program was ever provided by the composer. The name "Song of the Night" has sometimes been connected with the work, because of the Nachtmusiken and the contrast with the "blinding day" (Mahler's words) of the finale, but the work is intended as absolute music and should be taken as such regardless of associations.

The _Chamber Symphony No. 1 in E major_ by Mahler's friend Arnold Schoenberg appears to be influenced by this work, though it was written before the premiere. Schoenberg particularly loved the second Nachtmusik movement, _Andante amoroso_, and a theme in the Chamber Symphony bears a strong resemblance to it.

*Form*

Mahler's Seventh Symphony is sometimes said to be in the key of E minor, though it neither begins nor ends in this key. The actual tonality of the work emphasizes the C major of the finale almost from the beginning. Like the Fifth, the work is in five movements:

I. Langsam (slow) - Allegro con fuoco. (B minor)->E minor->E major
II. Nachtmusik, Allegro moderato. C minor/major
III. Scherzo, Schattenhaft (shadowy). D minor->D major
IV. Nachtmusik, Andante amoroso. F major
V. Rondo Finale, Allegro ordinario. C major

Like the Fifth, the work is symmetrically oriented around a central scherzo, opening with a minor-key march rhythm and closing with a brilliant rondo. However, the weight of the movements is balanced very differently. The Fifth's scherzo is its longest and most complex movement, whereas the Seventh's outer movements are far more elaborate than any of the inner.

*The Orchestra*

2 piccolos, 4 flutes, 3 oboes, English horn, E-flat clarinet, 4 clarinets, bass clarinet, 3 bassoons, contrabassoon, tenorhorn, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, tamtam, triangle, glockenspiel, tambourine, cowbells, low bells, 2 harps, mandolin, guitar, and strings.

The orchestra isn't nearly as large as that used in the Sixth or the Eighth, though it calls for a number of rarer instruments, including the cowbells that had appeared in the Sixth and mandolin and guitar, which make their appearance in the second Nachtmusik movement. The tenorhorn, an instrument akin to a euphonium, plays the first movement's introductory theme.

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## DiesIraeCX (Jul 21, 2014)

This is great, I look forward to the next installments. Great timing for me too because Mahler's 7th is the next one I plan on tackling!


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## Mahlerian (Nov 27, 2012)

Great to hear! I'll try for one a week, but these are pretty time-consuming to write, so delays may occur.


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## Haydn man (Jan 25, 2014)

I am currently listening to my Mahler cycle in order and this is a great help
Thank you


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