# Understanding Mahler's Sixth Symphony, Fourth Movement Finale (1)



## Mahlerian (Nov 27, 2012)

Understanding Mahler's Sixth Symphony

*IV. Finale*

Owing to the length of this movement, the analysis has been separated into its own entry.

*Form*

_Introduction_

0:00~0:41 Introductory fanfare (C minor->A minor)
0:41~2:52 Thematic fragments (A minor)
2:52~5:04 Chorale, theme (C minor->G minor->C minor)
5:04~5:28 Up to tempo (C minor)

_Exposition_

5:28~6:14 Theme 1 (A minor)
6:14~7:42 Theme 2 (A minor/C major->D major)

_Development Part 1_

7:42~8:48 Heroic variation (D major)
8:48~10:33 Shadowy variation (D minor)
10:33~12:50 Heroic variation 2 (F-sharp major->B-flat major->D major)
12:50~13:34 Hammerblow 1 (G minor->D minor)

13:34~14:48 Triumphant variation (A major->F-sharp major)
14:48~16:50 Frantic variation, march (F minor->C minor->C major->G major/minor)
16:50~17:37 Triumphant chorale (A major)
17:37~18:37 Hammerblow 2 (G minor)

_Development Part 2_

18:37~19:19 Introductory fanfare (C minor)
19:19~21:27 Thematic fragments (C minor)

21:27~22:36 Optimistic variation (B-flat major)
22:36~23:23 Elation (A major)

_Recapitulation_

23:23~24:10 Theme recapitulation (A minor)
24:10~25:56 Theme 2 recapitulation (A minor)

_Coda_

25:56~27:37 Chorale (A major/minor)
27:37~28:19 Introductory fanfare, [hammerblow 3] (A minor)
28:19~30:44 Final chorale (A minor/major)

This movement is only barely constrained by the ideas of sonata form. Opening with a lengthy introduction beginning in the "wrong" key of C minor, the two themes of the movement are introduced first by their individual motifs. The exposition, by contrast, is short and to the point, and the development begins without any delay.

The first part of the development is a pair of struggles towards the major which are ultimately frustrated by two hammerblows that turn the mode back into minor. At this point, when the listener expects the recapitulation, the dissonant chord and fanfare that opened the introduction returns, but the tonality remains in C minor. The development continues, still moving towards A major, and when the recapitulation finally does arrive (and A minor along with it), it overlaps with the end of the development to such an extent that one is barely aware of the moment it happens.

The coda begins with a triumphant chorale in A major, but this too turns to minor with the final appearance of the opening chord and fanfare, this time in A, and it was here that the third hammerblow was to have been in Mahler's original conception. A slow, funereal chorale follows, culminating in an A minor chord for the entire orchestra accompanied by the martial beat that underlay the first movement.

*Themes*

The introduction introduces fragments of the first theme bit by bit, distributed throughout the orchestra and interacting with each other in unexpected ways.









When the first theme finally coalesces, it appears as a march that integrates all of the above motives into a jagged melodic line (first phrase shown).









The second theme appears first as a solemn chorale in the low winds.









It becomes a leaping line in the horns. (Sounds a fifth lower than written)









Part 2

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