Some recommended recordings: Yet again it is hard to go wrong with Leonard Bernstein and the New York Philharmonic recording on Columbia. It is extremely good, one may think it sounds disjointed at moments but that’s exactly the point as the hero is staggering, nay dying, and Bernstein keeps the orchestra together all through these tempi changes and motive developments and swirls. He brings them to the edge of chaos and keeps it together in such an amazing way, it really is the reference performance for this symphony; Then we have Bernstein later with the Vienna Philharmonic Orchestra on Deutsche Grammophon which is almost as good as his earlier outing on Columbia; Georg Solti with the Chicago Symphony Orchestra on Decca is actually very good, but a bit inconsistent compared to the Bernstein NYP recording – some parts by Solti are actually better and excel, but then some drag a bit more; Sir Simon Rattle and the Berlin Philharmonic Orchestra released on their own record label really rubbed me the wrong way, performing the symphony in the “wrong” order with the scherzo movement coming third instead of second. In addition, the first movement is played too slowly. Throughout Rattle’s performance, this symphony all around sounds more like the “mystical” Mahler, which is an interesting interpretation and we hear more of that light mystical sound during the scherzo. The fourth movement is actually pretty good, and being drawn out (to 30 minutes) isn’t an issue – the hammer blows are well done, but the earlier movements’ “mystical” sounds doesn’t work for me with this symphony, though I give Rattle a solid A for originality in interpretation and a great fourth movement finale.
Mahler’s Sixth Symphony “Tragische” – the Tragic Symphony! Again, not called this by Mahler but works so well in the context of a programmatic non-program instrumental symphony from his middle period. He said he wanted only absolute music, but I can weave a loose plot out of what I hear. Here are my quick program notes: First Movement - we are introduced to the Quixotic Hero, what does this music say about his life and how he should be looked at by the listener? Second Movement - the Hero’s more raucous, light-hearted adventures, including some self-contemplative moments reflecting on his purpose and fate. Third Movement - the Hero’s self-doubt, angst, and inner conflict regarding the choices he must make in order to meet his fate head on. Fourth Movement - the Hero’s final struggle against Fate, and for a moment, it seems like he might triumph in a Pyrrhic Victory, but–!
First Movement: Allegro energetico, sonata form. The march at the beginning of the movement is excellent, one of Mahler’s greatest musical ideas. The march bounces along via a great string part and the brass blares in a call and response with them. Mahler develops this idea more and then the movement goes into a sweeping, second motif of romantic strings that seems to evolve from the beginning motif. After more development, I now hear a new theme in a quieter section that almost hints at his "nachtmusik" ideas of his Seventh Symphony and later works, perhaps? At this point it seems that celesta, possibly woodblocks, and oboe with other woodwinds jump in to fill out the mood. Then the music slowly builds up to the opening brass march motif, again accompanied by the strings and developed more together. We get some slow lines of woodwind backed by brass, which is great, and suddenly we jump back into a string development of the first march motif. Next Mahler comes back with the counter “romantic” theme we heard earlier in the movement. The music increases with carnival-like intensity and then ends. The movement shows how Mahler is almost effortlessly the Master of Symphonic Development – look at how he makes this intertwining of all these musical ideas sound so easy!
Second Movement: Scherzo/trio/scherzo. To wade into the “which movement should come next” debate, I prefer having the scherzo follow the first movement since the scherzo has many musical similarities to the first movement. My understanding is Anna Mahler talked Gustav out of having the scherzo follow as the second movement and in a moment of self-doubt, he switched it with the third movement andante, which I think is a big mistake. I appreciate the conductors that keep the original order, because the epistolary record from Mahler is not clear that this is the change he truly wanted. Back to the music – We open with a different march-like take on some first movement motives. The playful, fast musical atmosphere makes more sense here, which would be followed by a more serious movement, and then lead to a finale that gives the symphony its "Tragic" moniker. I enjoy this movement, but is it his best scherzo? Not really and not too memorable, but it’s not his worst either (looking at you Seventh and Eighth…) Perhaps he is again attempting to convey feelings of dancing and Viennese social/domestic life. He interjects the movement with some darker, more ominous thoughts in the middle trio section, but not that ominous as in some of his other scherzi / minuets. More “nachtmusik” oboe/woodwind noodling follows and the movement ends on a rather quiet note.
Third Movement: Andante Moderato, rondo form. In later versions, this movement is flipped with the scherzo, which is different from the way I first heard it with Bernstein and the NY Phil. I think it works better having the andante lead into the finale. The movement opens with strings that I feel have been copied somewhere (John Williams, where are you?). We then get an oboe led motif, which interplays with the strings. And cowbells! We move to a fuller, descending romantic string motif in the middle section that is echoed by horn. It reminds me of something else again – maybe Mahler copied Brahms, or Rachmaninoff copied Mahler? The whole movement flows and sweeps, the strings as Mahler envisioned them sound very emotive. Then the movement builds up to what I call the "up-down" motif played by horn and supported strings (it is one fellow Mahlerian’s favorite part of the movement). The horns play a descending line that step-walks down. We get a romantic, sweeping call and response motif by strings and woodwinds which is underpinned by brass as it develops (perhaps we get a key change?), and then the musical idea ends with an oboe/clarinet. As this resolves, the movement quietly ends.
Fourth Movement: Allegro moderato - allegro energetico, in a very distorted sonata form. Now we are greeted with the story of Death of the Hero: If the First Symphony’s finale revealed that the “death of the hero” would lead to a path to triumph and victory, well…that is not what is going to happen here. Interspersed throughout the movement are these famous “hammer blows” that represent the death throes of the hero. Mahler was clear that those blows could not be a drum, but he was never satisfied with what the hammer should sound like, so it is up to every orchestra to develop their own homegrown hammer solution! The movement contained 5 hammer blows at one point, but Mahler reduced that to three, then to two. It seems like I have been hearing different numbers of blows between the various recordings of this symphony – it is quite possible the conductors are using different versions/revisions of the score! A dissonant mysterious flourish of harps and strings and a few timpani hits open the movement. This leads to hints of the opening movement "march" motif as the movement builds, but not much development from how it appeared in the first movement. The music is interjected with that little hero motif we heard a few minutes before that is new to the fourth movement. The movement is very dramatic and harrowing throughout, as we get continued development, showing how Mahler’s prowess in development has matured over six symphonies. Then the first hammer blow comes (signifying the beginning of the death of the hero) a little before halfway through the movement. We now hear chimes and bells, perhaps wood rapping on something? So many soundscapes Mahler manages to include. We get a sweeping romantic string-led theme and then another hammer blow which occurs a bit after halfway through. The harp with the high strings and drums come in with the opening motif again, then it’s quieter now with woodwind runs – and we still have a third of the movement to go! A quieter section recapitulates that hero motif quietly with a solo violin part too and now it grows and gets louder and then returns us back to the opening march again (the “harried” motif I think?) which continues to develop and grow. A slow brass part builds up, and we think that the hero may finally succeed, but no! With a really loud string pluck, we return to the mysterious motif from the beginning of movement combined with another hammer blow (in some versions, omitted in later versions) but it’s softer in comparison. Now everything remains soft for the final few minutes left, really soft brass, and the movement winds down with a whimper but then a surprise final crescendo and crash and wailing trumpets, and then the symphony ends. This is the first time for a Mahler symphony to end like this (minus the 4th which was more of a pastoral ending). And there we have it, the final death throes of the hero to end the Tragic Symphony!
And links to my preferred recordings:
- Leonard Bernstein, NY Phil, Columbia
- Bernstein, VPO, Deutsche Grammophon
- Georg Solti, CSO, Decca
- Sir Simon Rattle, BPO, [self-released]
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