# Understanding Mahler's 2nd Part 4.1



## Mahlerian (Nov 27, 2012)

Understanding Mahler's Second Symphony

_*Part 4: Urlicht and Finale

IV. Urlicht (Primal Light)*_*

Text*

The poem Mahler used for his setting comes from the anthology of folk poetry Des Knaben Wunderhorn (although some of the poems were either significantly redacted or edited by the compilers). It was originally written for voice and piano, but Mahler orchestrated it when he decided on making it the fourth movement of his second symphony. Some of its motifs are integrated into the finale.

The somewhat naive tone of the poem is supposed to be sung in the most pure and childlike manner, without affectation or irony, which sets it off as in brackets from the world-weary scherzo that precedes it and the apocalyptic fresco that follows. (I am putting breaks in that correspond to the musical setting, although there are none in the poem as such.)

O Roschen roth!

Der Mensch liegt in grosster Noth!
Der Mensch liegt in grosster Pein!
Je lieber mocht' ich in Himmel sein!

Da kam ich auf einen breiten Weg;
Da kam ein Engelein und wollt' mich abweisen.

Ach nein! Ich lies mich nicht abweisen:
Ich bin von Gott und will wieder zu Gott!
Der liebe Gott wird mir ein Lichtchen geben,
Wird leuchten mir bis in das ewig selig Leben!

O little red rose!

Man lies in the greatest need.
Man lies in the greatest suffering.
How much rather would I be in Heaven!

I came upon a broad road.
There came an angel and wanted to block my way.

Ah no! I did not let myself be turned away!
I am of God, and to God shall I return.
Dear God will grant me a small light,
Will light my way to eternal, blissful life.

*Themes*

The song setting is more or less a single continuous melody, but a few important elements will be pointed out here.

The first line, which forms the basis of the chorale that follows.









A tender line that expresses the singer's desire for heavenly joys.









A longing sequence.









The final line, which combines elements of examples 1 and 2. The ascending line of the last three bars and its appogiatura are particularly important for the finale.









*Analysis*

The alto arises out of the dust of the Scherzo in the distant key of D-flat major, backed quietly by strings. A brass chorale follows, its shifting metrical accents giving the passage a conversational quality, which continues throughout the movement. A darker phrase follows, then a brighter, but the bass remains stubbornly on A-flat.

The key changes to B-flat minor at the words "da kam ich am einen breiten Weg", as the strings have dropped out completely, leaving clarinet, harp, and oboe. A solo violin answers the singer, and pulls the music into A major. The sweet quality of both the setting and words at this point is belied by the bizarre juxtaposition of tonalities. The singer pushes back with "ich liess mich nicht abweisen", and the song finishes in D-flat backed serenely by harps and strings.

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