# Understanding Mahler's Seventh, Second Movement Nachtmusik 1



## Mahlerian (Nov 27, 2012)

Understanding Mahler's Seventh Symphony

_*II. Nachtmusik - Allegro moderato*_*

Form*

0:00~1:25 Introduction, horn calls, swell (C major/minor)
1:25~2:16 Theme (C major/minor)
2:16~2:53 Transition 1 (c minor)
2:53~3:48 Theme variant (C minor/major)
3:48~5:32 Trio 1 (A-flat major)

5:32~6:39 Horn calls (C major/minor)
6:39~7:34 Dark variation on theme (C minor/major)
7:34~8:30 Trio 2 (F minor)
8:30~8:55 Swell 2 (C minor)
8:55~10:02 Trio 2 variation (C minor)
10:02~10:34 Transition 2, horn calls (modulating)

10:34~12:20 Theme variation, transition 3 (C minor/major->E-flat major->C minor/major)
12:20~13:48 Trio 1 variation (A-flat major)
13:48~15:03 Variation on Transition and Theme (C minor/major)
15:03~16:16 Coda (C minor)

*Themes*









The opening horn calls grow into the main theme of the movement, which constantly alternates between the major and minor modes. (Sounding a fifth lower than written)









Trio 1's theme opens with a very simple melodic fragment accompanied by triplets in the winds.









Trio 2's theme is a plaintive melody reminiscent of the third movement of the First Symphony.

*Analysis*

The movement opens with a series of horn calls and responses, as if from a distance. The winds enter in a flurry of triplets and trills, and the whole orchestra gradually builds into a crescendo which bursts into a plummeting chromatic scale against a major to minor harmony. The horns now enter with the theme, a melody built on the initial calls, with the cellos answering in an independent counterpoint. A clicking _col legno_ rhythm in the violins relates this movement to the song _Revelge_. After the horns and cello, the violins take up the next section of the melody, which soon dissolves into its rhythm alone. The transition passage that follows in basses and bassoons is derived from the theme, which soon returns in full orchestral garb, complete with running triplet figures in the winds. The theme finishes as before.

A new melody in the cellos announces the first trio. Its rhythm is at first colored by syncopated triplets in the horns, but these falter as quickly as they appear and march rhythms soon become predominant once more. The bright, almost naive melody culminates in a flourish with horns and timpani rolls, and the orchestra dissipates. The horn call returns, but the answers are more hesitant, and cowbells (a symbol of solitude) enter into the dialogue. A very short transition follows, and the theme enters once again in the horns. The running triplets in the cellos and the increased chromaticism of this variation lend it a distinctly darker color. It concludes in the basses, bass clarinet, and cellos.

A C across three octaves on the harp is followed by trills in oboe and clarinet, and the second trio begins with a slower, plaintive melody in the other oboes. The sparse scoring of this section and the lack of bass notes lend it a floating quality. The horns take up the _Revelge_ rhythm. Soon, the figurations from the intro return, and the horn call motif is heard in the low brass and basses. The texture bursts into a chromatic glissando as before, but instead of the theme, the melody of trio 2 returns, now colored by two solo cellos (and then violas). The theme ends with low murmurings in the bass clarinet and the _Revelge_ rhythm in bassoons.

Fragments of the transition return, now mixed with the harp and violins that colored the opening of trio 2. A trumpet call breaks in, answered by oboe, clarinet, then flute, and the full orchestra returns with the theme once more. A short new passage in E-flat major follows as a variant of the theme, before the violins enter with the second half as before. This is followed by a more active version of the earlier transition, now colored by upper woodwinds. Instead of the theme, this leads to a new version of trio 1, once again in A-flat, with the _Revelge_ rhythm replacing the triplets from before. The culmination of the theme this time introduces cowbell into the texture (from a distance).

The horn call comes back for the last time, leading to a passage mixing elements of the transitions with the theme, now with a more menacing and grotesque character. The trills and triplets of the introduction once more pile up, and the major-to-minor harmony returns in trumpets and clarinets. A low C in the horns is backed by tamtam and cymbals, and the music ends with a single G in cello harmonics and harp, like a question mark.

Blog Index​


----------



## Lord Lance (Nov 4, 2013)

Great work, once again. Thanks for all your dedicated and constant hard work.


----------



## Mahlerian (Nov 27, 2012)

Thanks. This one was harder than I had anticipated; the structure was more complex than I realized.


----------



## Lord Lance (Nov 4, 2013)

Well, when you embarked upon this project, I think it was a given that this was going to be a task of extreme labor and stamina.


----------



## Mahlerian (Nov 27, 2012)

My apprehension about tackling the finale borders on dread.


----------



## shangoyal (Sep 22, 2013)

Listening to the piece while reading along is great joy!


----------



## JosefinaHW (Nov 21, 2015)

This is absolutely amazing!!!! It is exactly the type of explanation and analysis that I need at this stage. Thank you very much!!!


----------

