# Understanding Mahler's Second, Part 2



## Mahlerian (Nov 27, 2012)

Understanding Mahler's Second Symphony

_*Part 2: I - Allegro Maestoso*_*

Form*

0:00~4:05 Exposition
0:00~2:53 First Theme group (C minor)
2:53~4:05 Second theme group (E major->E-flat minor)

4:05~16:47 Development
C minor, A-flat (brass chorale), G minor (march), C major (2nd theme), E major (2nd theme), E minor (intro figure returns, english horn melody), C-sharp minor, B major, E flat minor (pseudo intro), C minor (dissonant chords, climax)

16:48~21:23 Recapitulation
16:48~18:36 First theme group(C minor)
18:36~21:23 Second theme group (E major->E minor)

21:23~24:41 Coda (C minor->C major->C minor)

Although it follows the general contour of sonata form, even this outline is bizarre. The development section takes up half the movement, and the recapitulation is itself longer than the exposition. In the recapitulation, the second theme reappears in its original key, although the theme in question does appear in the tonic C major during the development section. This, combined with the extreme length of the development, on top of the relatively short exposition, leaves the ultimate stabilization of the tonic key to the lengthy coda, which, in stark contrast to everything that preceded it, stays in the tonic key throughout.

*Themes*

_I will be using score examples here and in the other movements, which I think will be valuable even for those who cannot read music; in most cases, familiarity with the work combined with the visual contour of the theme should be enough to call it to mind. Examples are taken from the two-piano reduction of the score available at IMSLP._

The first theme group comprises several elements, which are introduced in stages throughout the first part of the exposition. The first of these is found right at the beginning, a turning figure rising from the tonic to the third(Ex1a). The second follows it almost immediately, after a sequential repetition: a rising scale followed by an octave drop(Ex1b).









The next two elements are more important for their rhythm and shape than for the notes used, which here simply reaffirm the tonic. The first is a nervous jumping figure with the same rhythm as the octave drop(Ex2a), and the second a series of triplets(Ex2b). These are immediately combined and used together with the preceding.









The next major motif to be introduced is a fanfare in the winds, ending with the same octave descent as before(Ex3). Until this point the bass had carried all of the melodic material, unharmonized except for a tremolo G sustained by the strings. From here on the orchestra grows continually in size and color until the first climax.









Following this climax, a short lamenting motif(Ex4) leads into the second theme, a rising melody with a similar shape(Ex5).
















Nearly everything in the movement is based on these.

*Analysis*

The symphony opens with a tremolo G attacked sharply in the upper strings but quickly dying away to _piano_. Against this the cellos and basses play fragments of the C minor scale, pausing between each, culminating in an ascending scale followed by a falling motif spanning an octave: C-G-C. The jumping fanfare-like rhythm of this theme is combined with the opening fragments and a new triplet rhythm, suddenly bursting out _forte_ before receding back to _piano_ in unpredictable fashion. After they finally settle down on the original C, they begin the same pattern again. This time, it is not the center of attention, but accompaniment to a melody in the oboes and English horn, with a similar stern, fanfare-like character. The horns enter, then trumpets and trombones, and nearly the entire orchestra plays a descending scale with the earlier jumping rhythm, culminating in a cadence on the home key of C minor.

The funereal pomp of this climax is interrupted by a plaintive, sighing motif in the winds that leads abruptly into the second theme in E major, slowly rising to the soft accompaniment of horns and flutes. The cellos and basses stubbornly continue to play the triplets of the procession, and remain around B. As the sighing from earlier takes over the melody, the lower strings drop down to B-flat and the orchestra takes a quick turn to cadence in E-flat minor.

The development juts in immediately with the return of the tremolo G from the beginning, not as a resolution of the G-flat of the preceding chord but as a dissonance against it. Back in tempo, the lower strings seem poised to repeat the introduction, but a stream of triplets followed by fanfares in the winds direct it elsewhere. A chorale in trumpets and trombones in A-flat major is interrupted by a stormy passage that finally settles in G minor, where a slow march rhythm in the lower strings backs lamenting melodies in the horns and winds. The procession slows down, eventually leaving only a harp playing in its lowest register.

From this relative void comes the second theme, this time in C major, where it stays briefly before moving on to E major. A gentle new figure reminiscent of the end of Die Walkure appears, first in the English horns, then in the violas and cellos. The sedate music soon darkens into E minor, and the jumping rhythm returns in the lower strings, accompanying a variation on the first themes in the English horn and bass clarinet. The music soon speeds up, however, leading on to a wild outburst from the entire orchestra. Not diffusing this tension at all, the second theme drifts in in the key of F major, moving, through a series of alternating sighs and fanfares, into a cadence in B major.

Without warning, the intro returns, but in the distant key of E-flat minor, accompanied by snarling brass and the eerie sound of strings played on the bridge of their instruments. A passage echoing the exposition of the first theme is played by lower strings and English horn, "beginning very slowly". Soon the trumpets enter, then the horns, playing a chorale related to the dies irae plainchant made famous by Berlioz and Rachmaninoff. This chorale seems poised to go into the major, but another outburst in the full orchestra on a dissonant chord leads to the first theme played by horns to the clicking accompaniment of string played col legno. The intensity reaches its peak as a brass call leads to a full orchestra unison octave drop on C minor.

The recapitulation that follows cuts the first theme group from 47 to 31 bars by reintroducing the themes all at once. When the second theme reappears, once again in E major, the Walkure motif accompanies it. The tremolo G that follows leads into a long funereal coda in C minor over the march rhythm from earlier in the lower strings and harp (in its lowest register). This builds steadily until a climax, which then falls away. A solemn trombone chorale over timpani leads to a sudden shift into the major, but a sharp turn back to the minor is followed by a descending chromatic scale for the full orchestra, bringing the movement to a close.

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## Ramako (Apr 28, 2012)

I am enjoying your blog a lot Mahlerian - when you have finished the series of posts on Symphony 2 I'll read all of them together and then listen to it (or perhaps both at once) and see if it helps me understand it any better.


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## Mahlerian (Nov 27, 2012)

Thanks. I'll try to keep up the pace, so it'll be through the end of the symphony by next week. The finale might take me longer, though. There's a lot going on there.


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## SottoVoce (Jul 29, 2011)

I'm glad I wasn't the only one who read the Die Walkurie. I see it as one of the most beautiful homages to another composer. Would you recommend listening to the symphony while reading, or reading the blog posts and then listening? I find the former but it gets hard to focus on both.


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## Mahlerian (Nov 27, 2012)

Whatever works best for you and helps you to focus on the music the most. If reading these posts distracts you, then you should do them separately. If it helps to focus your attention on the music, then concurrently.

And the Walkure allusion has always stood out to me. They're even in the same key of E major, and I doubt that this was an unconscious reminiscence on Mahler's part (there are a few of Schubert in the 4th and 6th, if I recall), given how well he knew Wagner's works.


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## julianoq (Jan 29, 2013)

Hi Mahlerian! I am reading your blog posts and enjoying them a lot. Can you tell me what's the performance of the symphony that you used in this example? I don't know if it is not in the blog post, but I just can't find it! Thanks


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## Mahlerian (Nov 27, 2012)

Sorry, I don't even remember at this point...I think it may have been Bernstein/NYP. I used several different recordings for this series.


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## Weston (Jul 11, 2008)

Ah, so this explains why I was a little lost in this movement. The exposition is very short compared to the rest of it. We are already in the development part and I'm thinking, "Where is the repeat?" I think it does repeat, just much sooner than I expect and not verbatim? 

So far this is more accessible to me than the Symphony No.1 had been.

I am dutifully pausing for five minutes to gather my thoughts before moving on to the next movement. Well, a bit more than five minutes actually.


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