# Understanding Mahler's 5th, Part 5



## Mahlerian (Nov 27, 2012)

Understanding Mahler's Fifth Symphony

_*Part 5: IV - Adagietto*_*

Form*

0:00~4:00 Theme (F major->A minor->F major)

4:00~5:36 Variations on theme (C minor->G-flat major)
5:36~6:51 Modulating passage (G-flat major->E major->D major)

6:51~9:41 Varied reprise (F major)

One of Mahler's most straightforward movements, the Adagietto is both a lyrical interlude between two more raucous movements in D major and an introduction to the finale that incorporates one of its main themes. Its structure more or less adheres to a simple ABA ternary pattern. Scored exclusively for strings and harp, it contrasts heavily with the brass and wind-laden movements that preceded it, lacking their sharper edges as well as their formal intricacies. Mahler's own performances of this movement ran approximately eight minutes, and although contemporary conductors have, at times, lengthened it to twelve, it works better in context if it is not drawn out past ten. The movement proceeds without pause into the Finale.

*Themes*

The song-like theme of the movement.








An accompaniment figure in the cellos that leads the B section.








The variation on the theme that is taken up in the finale as its secondary theme.








*Analysis*

The movement begins hesitatingly with a _pianissimo_ C in the violas. An A is added, and the harp begins to arpeggiate these notes. The first notes of the theme in the violins lead up to what seems as if it might be a cadence in A minor, but the harmony changes to F major, and the melody's E becomes an apoggiatura to F. The lyrical melody, backed by a subtly shifting accompaniment, passes from violins to cellos for what seems like a second stanza, but it gets cut off and moves into the A minor that the opening seemed to imply. The violins take up the song once more, this time in variation. The melody begins to rise and fall convulsively, leading to an impassioned outburst for the entire group on a 6/4 F major chord. After this subsides into a tonic, the second violins and violas add comments of their own before settling down.

The violins begin again on C as at the beginning, but instead of rising to F major, they copy the cellos' earlier A minor figure, and the harmony leads into C minor. Against the wall of the other strings, the violins sing a lamenting recitative that is cut off after a few bars with a sudden jump into the distant key of G-flat major. An upwards leap to an apoggiatura in the second violins and violas recalling the second movement leads to a new variation on the theme, but this gets stuck on a repeated figure. The harmony moves to the dominant of E major in search of resolution, but quickly moves to the dominant of D major, where it repeats the variant as before, but once again cannot finish.

The music is shifted back into F major once more, and the theme begins again, varied slightly. The cellos add a major-key variant of their lament from earlier, and the violins take up the same variant that led to the first climax. The music builds, but this time, the passionate outburst remains hanging for some time, each suspension and apoggiatura resolved slowly in an untangling web that slowly dies away in a satisfied F major chord.

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## Novelette (Dec 12, 2012)

Thoughtful, clear, and concise. Your analyses have been very helpful in my own exploration of Mahler's symphonies. An ongoing process. Much appreciated!


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## Kieran (Aug 24, 2010)

The Bruno Walter conducted version I have is most likely based closely on Mahler's intentions: it weighs in at 7'37", and I'm at a loss as to how this exquisite movement could be dragged out to fill 12 minutes!

Excellent summary again, Mahlerian, especially the description of this movement as being both an interlude between two movements and a direct introduction to the finale. It stands alone but it works much better in context...


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