# Understanding Mahler's Sixth Symphony, Second Movement Scherzo



## Mahlerian (Nov 27, 2012)

Understanding Mahler's Sixth Symphony

_*II. Scherzo: Wuchtig. (Powerful)*_*

Form*

0:00~0:55 Scherzo 1 (A minor)
0:55~1:21 Pre-trio (E-flat major)
1:21~2:10 Scherzo returns (A minor)
2:10~4:27 Trio 1 (F major)
4:27~5:20 Codetta 1 (F minor)

5:20~7:13 Scherzo 2 (A minor->C minor/major)
7:13~9:25 Trio 2 (D major)
9:25~10:21 Codetta 2 (E-flat minor)

10:21~11:24 Scherzo 3, climax (A minor)
11:24~12:44 Coda (A minor/major)

Mahler's scherzo movements often have two trios, doubling the traditional Scherzo-Trio-Scherzo model of earlier composers. Even this, though, is utilized only with significant modifications; the pre-trio introduces the theme of the trio to come in the midst of the initial scherzo section, and the codettas act as development of the scherzo themes and a transition between trio and scherzo.

The tonal plan of the movement mirrors that of the first. The keys of the trio sections are the same as those of the second theme's exposition and recapitulation, and E-flat appears prominently.

In terms of the overall symphony, if this movement follows immediately upon the first, then its A minor nullifies the triumphant A major that preceded it. If it follows the Andante, then its A minor signifies a return to the darker world of the first movement.

*Themes*

The main theme of the scherzo is an uneven, jumpy line reminiscent of the first movement's primary theme.









An upwards sweep spanning a minor ninth.









An oscillating, growling bass motif that leads to the climax of the movement.









The simple diatonicism of the trio theme is undermined by persistent rhythmic distortions.









*Analysis*

The scherzo begins with repeated As in the timpani and low strings, fighting each other for dominance with their own rhythmic accent. The rest of the strings immediately join in with the main theme, harsh and nervous, culminating in an octave drop marked "whip-like". The winds respond with an upwards sweeping motif and a mocking sequence of chromatic trills. The scherzo theme comes to a close with a see-sawing alternation of A major and B-flat major chords, which, following a shrill climax, works its way into the lowest register of the orchestra.

The strings, jumping off from the tonal ambiguity of this motif, launch into a new diatonic theme in the extremely remote key of E-flat major, the simplicity of which is undermined by uneven phrasing and metric ambiguity. A full orchestral tutti greets this arrival, complete with triangle and cymbals, but the jumping motif reappears, and the key lurches back through C minor into A minor. The scherzo theme is more or less repeated as before, but the first climax this time disintegrates into a downwards chromatic scale and repeated staccato As.

A solo oboe turns the repeated A into a C, which becomes the first note of the trio. The diatonic theme from earlier is played by winds and then strings. Its irregular rhythms, constantly switching between 3/8 and 4/8, take on an increasingly nervous cast, especially as a sudden cresendo complete with pounding timpani is interrupted by the strings entering seemingly mid-phrase, as if nothing had intervened. Twice more the music rushes forward, and the timpani mark the third beat (as at the introduction), but this dissolves into the mock innocence of the theme once more. The third time, the trio culminates in a collection of fanfare figures, but these move down into the lowest range of the orchestra, and the pounding timpani enters once more, now greeted by squirming chromatic figures in the horns. Upward sweeps from the oboes, accompanied by an exotically tinted rhythmic figure in _col legno_ strings and muted trumpets, usher in the codetta to the first section. Here the jumping of the main theme is given a less sinister cast, and the music even flirts with A-flat major for a brief moment before the return of the chromatic figures in the upper winds and low strings.

The scherzo theme enters shrilly and suddenly in tempo, and this iteration compacts all of its motifs into a smaller space than before. This time, the growling motif comes to a halt on a low inverted B-flat chord, backed by tamtam and harp in its bass range. The violins take up this motif, leading into a lamenting C minor variation on the main theme, mocked by the upper winds. Trombones add an odd punctuation mark with a C major version of the oscillating motif. Staccato strings lead the music back towards A minor, but a sudden climax of A major, quickly turning into minor, is greeted with fanfare figures in the trumpets and horns. Repeated As move about the orchestra.

This A becomes the first note of the trio, now in D major, introduced once again by the winds, although with pizzicato accents added by the strings. The rhythmic games return much the same as before, although scoring is noticeably fuller. After the theme comes to its abrupt conclusion, the timpani pound insistently on B-flat, and the squirming chromatic figures usher in the second codetta, in the distant key of E-flat minor. Trombone and horn chords give the sweeping theme in the clarinets and the clicking of the _col legno_ strings a darker hue.

The oboes take up the cry of the opening theme, and a descending scale in the basses jerks the tonality back into A minor. The scherzo returns in full force as an unrelenting rhythm of sixteenth notes heightens the tension, even as the growling bass motif makes its appearance. The oscillating minor second is transformed by the flutes and strings into a leaping minor ninth, which leads to the climax of the movement, a long-held, harshly-scored dislocated seventh chord. An oboe plays a fragment of the trio theme, and a chromatic scale rushes downwards from the highest B-flat of the flute to the lowest A in the basses and horns. Against a constantly beating timpani, various solo instruments play fragments of the themes as major chords turn into minor one after another. The low instruments of the orchestra take up the main theme, and the movement comes to a close with a final comment in the timpani.

Blog Index​


----------



## Aramis (Mar 1, 2009)

I can't say it makes me understand the symphony any better than before. It's more like you would describe it to some person that never had a chance to hear the work. If you're doing this as part of academic training to become musicologist, it may be fine, but after reading the title I find myself disappointed with the concent, since I don't think that understanding a piece of music is acquired by reading about it's the tonal plan (precisely named chords and keys are the only thing being new to me as I read your entry).


----------



## Mahlerian (Nov 27, 2012)

I'm sorry to hear that, of course, and I'm open to suggestions as to what you think would work better.

I don't actually believe that I can "make" anyone understand something they aren't open to. I only think I can help them help themselves get to that point.

My idea is that these entries can help to focus a listener's attention. For someone who's not familiar with a piece or style, it can be hard to simultaneously take in events and understand how they fit into the overall plan. You should be able to more or less ignore any specific jargon (and this includes mentions of specific key areas, although in this case it's interesting to note that the sequence resembles the first movement's) and still get a better idea of how the music is fit together. If that's not working, then I'd like to know.

Different people will need different things to move them in the direction of understanding, and I'd like to be as accommodating as possible.


----------



## Aramis (Mar 1, 2009)

For a common listener, I think it the most interesting thing would be explaination of "how it works" - by "it", I mean the effect that Mahler achieved and the impression that the listener is having when he listens to the particular part - an artistic effect, the expressive gesture: all the things that most people can only describe with abstract words such as "powerful", "dramatic", "full of tension", "reminescent of..." explained by truely explaining the score. How is the drama, tension etc. builded by he means of instrumentation, form and harmony? You talk about modulations, but you don't relate them to their artistic sense, purpose and meaning. If you would, I suppose it could be really interesting to read.


----------



## Mahlerian (Nov 27, 2012)

I had forgotten my usual explanatory section following the formal outline, which I hope addresses some of your qualms. I don't put these sorts of things in the analysis because that is meant to mirror the listener's experience of the movement, and it would bog things down to engage in too much reflection on "what you heard" over "what you are hearing".

Perhaps a conclusion section afterwards might help...


----------

