SETH MONAHAN Mahler's Symphonic Sonatas Figures and Diagrams
1 TMahler’s Symphonic Sonatas: Figures
,
P=
Prim
ary
�em
e/Zo
neTR
=Tr
ansit
iona
l �em
e/Zo
neS
=Se
cond
ary
�em
e/Zo
neC
=Cl
osin
g �
eme/
Zone
MC
=M
edia
l Cae
sura
EEC
=Es
sent
ial E
xpos
ition
al C
losu
reES
C=
Esse
ntia
l Str
uctu
ral C
losu
re
Expo
siti
onD
evel
opm
ent
Reca
pitu
lati
onO
ne c
entr
al m
issi
on: l
ayin
g ou
t the
stra
tegy
for t
heev
entu
al a
ttain
men
t of t
he E
SC: a
stru
ctur
e of
pro
mis
e”S,
as a
gent
, car
ries
out
the
cent
ral g
ener
ic ta
sk o
f the
sona
ta–s
ecur
ing
the
ESC
: a st
ruct
ure
of a
ccom
plis
hmen
t.”
CO
DA
PS
TR
MC
C
ESC
II
I
(�na
l cad
ence
)
Rest
art
Tona
l res
olut
ion
P
STR
MC ,
EEC
IV
or I
IIV
as ch
ord
Dev
elop
men
t
O�e
n P-
or T
R-do
min
ated
Perh
aps r
otat
iona
l
(�na
l cad
ence
)
C
““
Figu
re 1
.1. Th
e es
sent
ial s
onat
a tr
ajec
tory
to th
e ES
C (a
dapt
ed fr
om H
epok
oski
and
Dar
cy 2
006,
Fig
ure
2.1b
)
2 TMahler’s Symphonic Sonatas: Figures
exposition (162 bars)
recapitulation (85 bars)
◊
[Slow Introduction Omitted]
sub = Subrotation
Durchbruch
“Hunt” theme fromdevelopment (m. 209) elides into
recomposed Stanza 2
= Stanza 3
“continuous” recapitulation
D D358
352 358
384 416 450I: PAC
ESC
slow introduction “continuous” exposition
a D A E A63
Stanza 1
(phrygian)
Stanza 2 Stanza 3(most similar to song)
1 75 109 135 16217 28 47
V: PACV/D
EEC
sub1 sub2 sub3 sub4*
631
*
Figure 1.2. Mahler, Symphony no. 1/I, simplified overview (development omitted)
3 TMahler’s Symphonic Sonatas: Figures
S
subrotation 1 subrotation 21 64
ci: PAC
1 41
E48 116
E362
c329
329 358 401
P
P S
445
C
ephemeral, lacks root-position tonic
highly stable, “frozen” in original key
(cf. development, m. 129�.)
climax
i: PAC
357climax
Coda
ce387 392
392
c401
C
P-based
“double” sonata failure: wrong-key S and no ESC
no closing cadence
c64
V/c80
V/g89
g977459 62
P
iii: PAC
EEC? EEC
collapse! v: PAC
,
,
exposition (116 bars)
recapitulation (71 bars + coda)
Figure 1.3. Mahler, Symphony no. 2/I, simplified overview (development omitted)
4 TMahler’s Symphonic Sonatas: Figures
exposition (237 bars)
P S
VI: PAC
EEC
V/f f175
Antecedent
191
Consequent
flashback(cf. mvt. 1,
m. 47)
premonition premonition flashback(cf. mvt. 1
intro)
1
PAC + a�ermath
codetta
221 237
532
recapitulation (198 bars)
55 74 128106 143
development (295 bars)
P S
g C c254
P-theme P-theme
g238
f496290 317
P
f533 574
Introductiongenesis of P in fourbroad gestures
�eme proper
(P transformed intoDurchbruch theme)
(Durchbruch glimpsedin proper key)
(“foreseen” in mvt. I retransition, m. 305�.)anemic,
enervatedbuildup to Durchbruch
D u r c h b r u c h
trans�guration/combination of sonata P-theme and mvt. I “fourths” call
D
623533
238 458
1751
V pedal(unresolved)
Disintegration�eme
F-minor sonata fails (discarded, tonally unresolved)...
...enabling the “success” of the trans-symphonic D-major arc
tonal resolution of S evoked but not achieved
sub1 sub2 sub3
D V/Fd F428 436 458370
f
Figure 1.4. Mahler, Symphony no. 1/IV, simplified overview
5 TMahler’s Symphonic Sonatas: Figures
Symphony No. 1/I (1888)
Symphony No. 1/IV (1888)
Symphony No. 2/I (1888/94)
Symphony no. 4/I (1899)“CLASSICAL” TYPE
“CLASSICAL” TYPESymphony no. 6/I (1904)
“EPIC” TYPESymphony no. 6/IV (1904)
“INCURSIVE” TYPESymphony no. 5/II (1901)
“INCURSIVE” TYPESymphony no. 7/I (1905)
“EPIC” TYPESymphony no. 3/I (1896)
Experimental Conservativeor “Nominalist” (see Ch. 2) or “Formalist” (see Ch. 2)
Continuous exposition (no second theme)Conventional tonal plotContinuous exposition
Recurring introductory space
Recurring o�-tonic introductory space w/brass arioso Intro-derived
secondary theme
Dissolving rotational form
Strict exposition/discursive developmentDistinct transitional theme (TR)
Conservative tonal plotPervasive tonic major/minor�xation
�ree-theme exposition w/introduction-derived middle theme
TO SYMS. nos. 8, 9, 10: Fully double-subrotational exposition
Development as exposition-variant
“Breakthrough” Telos
Tri-rotational embedded-sonata form
Truncated double-subrotational
“Dutchman”-style exposition (see Ch. 4)Ephemeral, ungrounded recapitulation of S
exposition
Conventional 2-part exposition; “breakthrough” form abandons sonata themes and tonality during recapitulation.
Double-rotational exposition; second themetonally “frozen” in mediant throughout.
Normative exposition/recap, with rami�edextension; episodic, “novelistic” development
Normative exposition, failed (wrong-key) recapitulation redeemed in discusive coda; episodic, “novelistic” development
Embedded-sonata format; enormous trirotational organization; “novelistic”form defeated by strict recapitulation
Highly deformational: secondary themespace subject to incursions frompreceding funeral march movement
Highly deformational: seconday themespace subject to incursions from tonallyautonomous introduction
“Novelistic” form; continuous exposition; embedded-sonata format; enormous tri- rotational organization
Figure 1.5. Recompositional arteries and plot-types in Mahler’s early- and middle-period sonatas
6 TMahler’s Symphonic Sonatas: Figures
March �eme (5/I, mm. 35–42)
2-Bar Unit Modi�ed Repetition
( )
Continuation with three emphatic repeated notes
March �eme B-Section (5/I, mm. 119–26)
Secondary sonata theme (5/II, mm. 79–86)
Bars FunctionStrophes 1, 2
Instrumental
Instrumental
Instrumental
Vocal
Vocal
Instrumental
Instrumental (counterpoint inverted, melody doubled in 3rds;tonic presence attenuated through omission of bass voice)
Vocal (melody reset in loose mirror-image counterpoint);Harmony hovers on supertonic seventh
Vocal (melody altered; harmonic progression intensi�ed; texture thickened; violin descant transforms Abgesang 2 [m. 37])
Instrumental (vastly intensi�ed, contrapuntally enriched; 8th-note�guration spills over into succeeding strophe)
Bar FunctionStrophe 3
1, 22 Introduction 41 Introductionbecomes
becomes
becomes
becomes
becomes
5, 25 Line 1, 3 44 Introduction, cont’d.
9, 29 Link 48 Line 5 [Introduction, cont’d.]
11, 32 Line 2, 4 52 Line 6 [start of new, contrasting section]
16, 37
1
2
3
4
5 Abgesang 59 Interlude [song’s expressive climax]
Figure 2.1. Variants of the march theme in Symphony no. 5/I
Figure 3.1. “Nun will die sonn’ so hell aufgeh’n,” transfomation of model strophe into rotation 3
7 TMahler’s Symphonic Sonatas: Figures
S attains tonic major:failed recapitulation redeemed.
Naturlaut
elision intoincomplete S...
123 144 152 178 196 217 225 251 260 267 274
286 336 348 365
374 421 429 444
1 61 77 115
77P1
TR61
S
a a/C F
251episode one (p)
123episode two (tr/s)
196episode three (p)
a e a d C G Eß B b g
episode one (p)374
episode two (s/tr)421
e C A
348P
286TR336
SFalse ESC:
“failed” recap!
a a/C D
exposition (127 bars)
development (163 bars)
recapitulation (86 bars)
coda (107 bars)
EEC
VI: PAC
VI: PAC
Figure 4.1. Symphony no. 6/I, simplified overview
8 TMahler’s Symphonic Sonatas: Figures
:
,qu
asi-
MC
256
143
4757
6169
7791
9911
5
mar
chin
tro
mot
to(4
+ 4
)re
prise
(8 +
8)
tern
ary
P1.7 -b
ased
(8 +
6)
7 +
2 +
8 +
2
varie
dre
stat
emen
tdi
ssol
ving
rest
atem
ent lock
on
V7
V7
aa
aF
FF
a/C
16-b
ar p
erio
d (c
hora
le)
a�er
mat
h,S-
base
d
P1.1
as a
ccom
pani
men
t
“dec
eptiv
e”m
otio
n
no cl
osur
e; sy
ntac
tic co
ntin
uity
PS1
S1S2
TR
EEC
VI:
PAC
expo
siti
on (1
27 b
ars)
i: qu
asi-H
C?
i: H
C
Figu
re 4
.2. S
ymph
ony
no. 6
/I, e
xpos
ition
9 TMahler’s Symphonic Sonatas: Figures
From Statement 1 (mm. 6–22):
From Statement 2 (mm. 25–41):
6 8
1011 etc.
15
20
25 35
35
P1.1
P1.4
P1.5
P1.1VAR P1.7
P1.6
P1.8
P1.2
P1.3
& #bœ ™ œb æœ æœb æœ# æœ œœ#æœ# æœ æœb æœ# œœ œœœ
œ œ ˙b
Figure 4.3. Primary theme (P) motives
10 TMahler’s Symphonic Sonatas: Figures
Phrase 1a linkIntro
statement 1
Section:
No. of bars:
Measure nos.:
Primary motives:
Section:
No. of bars:
Measure nos.:
Primary motives:
Section:
No. of bars:
Measure nos.:
Primary motives:
1 6
2 + 2 + 1 + 21 + 4 2
2
(V)
(V pedal )
(i)
2 + 2 + 4
2 + 1 + 1 + 2 2 + 2 + 4 + 4
2 + 2 3 + 3 + 1 + 1 + 1 + 1
P1.1 - P1.4
P1.1 - P1.4 + P1.7
P1.1 - P1.2
P1.5 P1.6, P1.7, P1.8 P1.6, P1.7, P1.8
P1.5 P1.6
13
link
no link(elision)23
15 19
presentation continuation
Phrase 2a Phrase 2b
25 31 35 39
presentation continuation continuation'
P1.7P1.7
presentation liquidation
Phrase 3a Phrase 3b
43 47 53
(5 + 17 bars)
statement 2(2 + 18 bars)
statement 3(14 bars)
Peroration links the opening motives of Statement 1 with those
that close Statement 2.
Phrase 1b
Figure 4.4. Primary theme (P) phrase organization
11 TMahler’s Symphonic Sonatas: Figures
67
89
1011
1213
2526
2627
2829
2930
3031
stat
emen
t 1
Phra
se 1
a: 7
bar
s Li
nk: 2
bar
s
Stre
tto: m
elody
in b
ass
Orig
in o
f P1.
7
Phra
se 2
a: 6
bar
s
stat
emen
t 2 Sp
acin
g ha
s bee
n ad
juste
d to
real
ign
orde
red
�xed
-pitc
h m
odul
es (s
how
n w
ith v
ertic
al d
otte
d lin
es).
• •
Blan
ks in
the l
ower
syste
m in
dica
te tr
unca
tions
in w
hich
a sin
gle s
egm
ent c
orre
spon
ds to
two
disti
nct e
vent
s in
the u
pper
syste
m. �
e dot
ted
arcs
belo
w th
e sys
tem
conn
ect i
nsta
nces
of t
he sa
me b
arlin
e (no
te th
e rep
etiti
on o
f mm
. num
bers
26
and
30).
• Te
xtur
es h
ave b
een
simpl
i�ed
in p
lace
s for
clar
ity.
cont
inue
d...
Phra
se 2
b...
Figu
re 4
.5. C
ompa
rison
of fi
rst a
nd se
cond
P-t
hem
e st
atem
ents
12 TMahler’s Symphonic Sonatas: Figures
33
3
3
3
1519
3135 39
Basic
Idea
NB:
Elis
ion
with
pre
viou
s phr
ase-
endi
ng (l
ink
corr
espo
ndin
g to
mm
13-
14 el
imin
ated
)
Mod
i�ed
repe
titio
n el
imin
ates
exac
tly th
ose
elem
ents
der
ived
from
Phr
ase
1b!
P1.2
rhym
es p
hras
e en
ding
with
1a
stat
emen
t 1
Phra
se 1
b: 8
-bar
sent
ence
Phra
se 2
b: 1
2-ba
r sen
tenc
e
stat
emen
t 2 2-
bar m
arch
link
s pre
cedi
ng an
d fo
llow
ing
Phra
se 1
b ha
ve b
een
omitt
ed (m
m. 1
3–14
, 23–
24).
Dot
ted
lines
bet
ween
syste
ms i
ndic
ate m
etric
disp
lace
men
t: th
e hyp
erm
etric
stre
sses
of m
m. 1
9–21
are i
nver
ted
in th
e sta
tem
ent-2
repe
titio
n.• •
(con
t’d.)
(con
t’d.)
Basic
Idea
'C
ontin
uatio
n
Con
tinua
tion
Basic
Idea
'Ba
sic Id
ea: v
aria
nt o
f m. 1
5
Con
tinua
tion:
mod
i�ed
Figu
re 4
.5. (
cont
’d.)
13 TMahler’s Symphonic Sonatas: Figures
Winds
P1.1
°
¢
°
¢
°
¢
66
61
71poco rit
&
Stets das gleiche Tempo
pp
# n # #
&pizz.
?
& bn # #
n
? &
& # n # n bn #
& ?
˙w ˙ ˙ œ œ ww ™
˙n œ# w ™˙˙n˙ œ w
˙ ˙b˙
œœ
Œ œ œ œœ
Ӝ
œ Ó œœ Ó œ
œŒ œb œb
œw˙b œ# ˙œ œn ˙
˙ ˙# w ˙# ˙w# ˙˙ ˙# ˙
˙
œœ Ó
œœ Œ
œ œœ
œœ
œ˙
Œœ
œŒ œ# œ œ
œÓ
˙˙˙˙œœ œœn w ˙
˙ ˙ ™w
˙n˙b œ ˙˙ ™˙
œ˙
œ#œ# www˙# ww ˙n
œœ Œ œ œ œ
œÓ œ
œ Œ œ œb œœ
Ӝ
œ Ó œœ
Ó
i: HC
i: HC
Figure 4.6. Transitional theme (TR) (Black wedges indicate falling chord-al thirds; white wedges indicate local major-to-minor mixture.)
Figure 4.7. Secondary theme (S) motives S1.1 and S1.2
S1.1 S1.2
77
14 TMahler’s Symphonic Sonatas: Figures
ff
ff
p
ff
ffff
mf
p
sf
35
10
88
Prim
ary t
hem
e (P)
Prim
ary t
hem
e (P)
Seco
ndar
y the
me (
S1)
Figu
re 4
.8. C
ompa
rison
of S
1’s “b
reak
away
” ges
ture
to P
-the
me
exce
rpts
15 TMahler’s Symphonic Sonatas: Figures
f
Primary theme (P)
Secondary theme (S2)
91
44 48P1.7P1.1
Primary theme (P)
Secondary theme (S1)
6
76
Figure 4.9. Derivation of S2 from elements of the third subrotation of P
Figure 4.10. Derivation of S-theme incipit (S1.1) from P1.2
16 TMahler’s Symphonic Sonatas: Figures
epis
ode
1
123
144
152
158
176
178
187
196
217
225
234
239
251
260
265
281
ac
aa
Pde
velo
pmen
tof
seco
ndar
ym
otiv
es
subr
otat
ion
1?su
brot
atio
n 2?
eP1.1
P2pr
oper
them
atic
state
men
t
link
S1.1.
1ne
w th
eme
mod
i�ed
16-
bar
perio
d (8
+10)
diss
olve
s:no
clos
ure
(“fa
de-o
ut”)
broo
ding
sequ
ence
s
cut o
�!“r
esta
rt”de
velo
p-m
ent
aB
bd
d
NATU
RLAU
T 1
(sus
pens
ion
�eld
)NA
TURL
AUT
2(s
uspe
nsio
n �e
ld)
�nal
liqu
id-
atio
nof
P1.
7
con�
ict
betw
een
TR a
nd P
1.8
(tra
nsfo
r- m
atio
n in
to P
1)
P1.7 m
odi�
ed 1
6-ba
rpe
riod
(9+7
)
GC
cg
gb
V7
V7
D.C
.D
.C.
P2S1
mer
ger
S1Pr
esen
timen
ts of
Achi
eved
,lib
erat
ed fr
omm
arch
topo
s
Uto
pian
key
atta
ined
!
Loos
e ret
rogr
ade b
egin
s: D
esce
nt fr
om
Uto
pian
hei
ghts
(“ba
ck d
own
the m
ount
ain”
)
TR
(elid
ed)
TR
unra
vels
S1S1
“Dee
p” R
otat
iona
l Str
uctu
re:
epis
ode
2ep
isod
e 3
P(S
abso
rbed
into
P)
TRTR
“P”
S
deve
lopm
ent
(163
bar
s)
B: H
CPA
C
Figu
re 4
.11.
Sym
phon
y no
. 6/I
, dev
elop
men
t
17 TMahler’s Symphonic Sonatas: Figures
250
50
sf
90
4.12a
4.12b
4.12c
Figure 4.12. Comparison of “autonomized” P1.7 in development, episode 3 (b) to P1.7 liquidation in exposition (a) and S2 (c)
18 TMahler’s Symphonic Sonatas: Figures
epis
ode
1
123
144
152
158
176
178
187
196
217
225
234
239
251
260
265
281
ac
aa
Pde
velo
pmen
tof
seco
ndar
ym
otiv
es
subr
otat
ion
1?su
brot
atio
n 2?
eP1.1
P2
prop
erth
emat
icsta
tem
ent
link
S1.1.
1ne
w th
eme
mod
i�ed
16-
bar
perio
d (8
+10)
broo
ding
sequ
ence
s
cut o
�!“r
esta
rt”de
velo
p-m
ent
aB
bd
d
NATU
RLAU
T 1
(sus
pens
ion
�eld
)NA
TURL
AUT
2(s
uspe
nsio
n �e
ld)
�nal
liqu
id-
atio
nof
P1.
7
con�
ict
betw
een
TR a
nd P
1.8
(tra
nsfo
r- m
atio
n in
to P
1)
P1.7 m
odi�
ed 1
6-ba
rpe
riod
(9+7
)
GC
cg
gb
V7
V7
D.C
.D
.C.
P2S1
mer
ger
S1Pr
esen
timen
ts of
Achi
eved
,lib
erat
ed fr
omm
arch
topo
s
Uto
pian
key
atta
ined
!
TR
(elid
ed)
TR
unra
vels
S1S1
epis
ode
2ep
isod
e 3
deve
lopm
ent
(163
bar
s)
coda
(107
bar
s)
B: H
C
P-co
mpl
exS-
com
plex
(TR
and
P1.7 su
peri
mpo
sed)
link
(new
m
ater
ial
brie
§y)
varia
ntof
152
–55
eC
com
plet
esta
tem
ent
fina
l bui
ld-u
p
stron
g in
timat
ions
of F
inal
e
8-ba
r sen
tenc
ean
tece
dent
?
S1 ap
pear
s§e
etin
gly
in
A m
ajor
!
8-ba
r sen
tenc
ese
quen
tial t
reat
men
t of
P1.
7.1
P1.7
as p
rom
inen
tco
unte
rmel
ody
embe
dded
into
diat
onic
cont
ext
374
376
382
390
394
402
409
414
417
421
429
444
453
P1.1
P1.2
unra
vels
STR
AV
7 /A
OU
TBU
RST
ener
giza
tion
De
ae
S2D
evelo
pmen
t of
P1.1V
AR , P
2.2
(P2.
2 +
mot
to rh
ythm
s)
PAC
HC
HC
Figu
re 4
.13.
Sym
phon
y no
. 6/I
, com
paris
on o
f dev
elop
men
t and
coda
19 TMahler’s Symphonic Sonatas: Figures
° ¢
° ¢
° ¢198
282
ppp
429
pp
&>
bb
&>
>
>>
>>
>>
># ##
??
# ># >
bb >b >
>>
>>
# ##
&b
b
bb b
nn n
&>
>
>>
>
>>
>
>>
>
>b>
b>>
>>
# b>
?
>>
>
b b >
n nb b
>>
b bb b
>
n n >
n n
wæ æ æ wwww
˙æ æ æ œœœœæ æ æ œœœ
Óæ æ æ œœœœæ æ æ œœœ b
Óæ æ æ œœœœæ æ æ œœœ
Œæ æ æ œœœœæ æ æ œœœ
æ æ æ œœœœ≈œ
˙æ æ æ œœœ
Œæ æ æ œœœbæ æ æ œœœ
˙#œ#
œ#˙
œœn
œŒ
œ#œ
œ#œ#
œ#œ
œ≈œ
Ó
˙˙ww
www wŒ
œ≈œœ
Œœ œ
œ œ˙#Œ
œ#œ œ
œ œ˙Ó
œ œ J‰˙bœ
œ#œnŒ
œœ#
˙œ#˙#
œ#
˙˙˙˙
Ó˙˙˙
Ó˙˙˙
‰™˙˙
œœ ™
œ˙˙˙
˙Ó˙˙
˙Œ˙
b˙
œ œ œ ™™™œ œ œ
˙ ˙Œ
œ œ œ ™™™œ œ œ
œ œ œœœœ
œ œ ™™˙˙˙#n‰
Ó˙˙
œœ
Œœ
œœ
Œœ
œœ
œ ™œ J
œbœ
‰™Œœ
œœbœ ™
œ˙
œœ™
‰™œb J
œœœ
œnœ ™
œ˙nŒ
œ#™œ
˙ ˙Ó˙ ˙# #Œ
Óœœœn™™™œœœ
˙˙˙ ˙Œ
Óœœœ ™™™
œœœœœœœœœœœœ ˙ ˙
œœœ™™™œœœ
˙˙ ˙ ˙˙ ˙n nŒ
œœb™™œœœb b
˙ ˙œœœœœœ bœœœ
œœœ bbœœœ ˙ ˙
œ œ
œœœn™™™œœœb
˙n #
œ œœ œb b‰™
œ œ
œœœ #œœœ™™™ œœœ
4.14
a. D
evel
opm
ent,
episo
de 2
4.14
c. �
resh
old
of A
-maj
or ap
othe
osis
4.14
b. R
etra
nsiti
on
bass
asc
ends
by
sem
itone
4 2( )4 2( )
4 2( )
>>
>>
>>
æ æ æ˙æ æ æ
b ˙b˙æ æ æ
˙æ æ æ
Figu
re 4
.14.
Con
flatio
n of
Nat
urla
ut a
nd re
tran
sitio
n in
por
tal t
o A-
maj
or ap
othe
osis
20 TMahler’s Symphonic Sonatas: Figures
°
¢
°
¢
°
¢
°
¢
°
¢
pp pp
p p cresc. ff
sf più f ff p
ff
&##### #
U
?#####
&bbbbb
U3
3
?bbbbb
& ##
? #
& b
? bbb
&###
> > >nn
> > > >
?###> > > >
> > > >
ww˙ ™ œn w
wœ ˙ œ
wwwwwwwwww
wwwwww
w
wwwwnwwwwwn
˙ww
œJ‰ Œ œ
wwŒ Ó ww
wwww
˙˙œ
œ ˙˙œ œ œ ˙
œ œ œ œww ˙ ˙∫
œ wwwwwwww
˙˙˙ ™™™™™™™™™™™™™™™™ œœœœœœœœJ
wwwwwwww
˙˙
˙˙ ww
wwwwwww
˙˙™™™™™™™™™™™™
œœœœœœj
wwwwww
œ ™œj œ# œ ™ œ ™œ œn œ# œ ™ œ ™
œ œ ™ œ
˙ ™™œœœ ™‰ Œ ™ œ ™
œœ ™™ œœœœ ™™™™œj ‰ ‰
œ œœœœœœ
œœœœ Œœœ
˙˙ww ˙
˙
œœœœœ
˙ ™™™
ww
Œ
wwwwww
œ œb œb œ œ œ œ œ
œŒ˙ ™ œ
œœ
œœœ ™ œ
œœ œ
œ˙˙™™
œJwwwww
œœ œ
˙˙ ™™™™™œ
‰œ œn
˙#‰
‰œ œ ™ œ ˙ œ œ ™ œœ œ ™ œ
œ œ œ œ œ œ œ œ æææ æææ w˙ ™™œ œ œ œ
œœ ™™ œœœ œ œ œ
4.15c. Tristan und Isolde, Act I, mm. 15–16
4.15d. Tod und Verklärung, mm. 482–83
4.15a. Tristan und Isolde, Act III, mm. 1695–99
4.15b. Götterdämmerung, Act III, mm. 1596–98
4.15e. Mahler, Symphony no. 6/I, mm. 472–76
3543
(w/augmented 4th)
3543(w/augmented 4th)
8 963
INVERTED version of idiom in 4.15c
Figure 4.15. Converging Wagnerian/Straussian idioms in the Allegro’s Höhepunkt
21 TMahler’s Symphonic Sonatas: Figures
38P
Bells
(P0)
41
Bells
(P0)
73TR32
S58 C
177 P
91 C2
norm
ativ
e ex
posi
tion
al m
odel
(exp
osit
ion
1)(e
xpos
itio
n 2)
fals
e ex
posi
tion
rep
eat?
subr
otat
ion
2su
brot
atio
n 1
bG
GD
Nig
htm
are
�em
e/P1
102
b
defe
ctiv
eE
EC
defe
ctiv
eE
EC
“EEC
”??Ex
posit
ion
close
s in
toni
c!
102
e109
C116
“Par
adise
” �em
e (H
1)“P
arad
ise” �
eme
(H3)
125
A125
Para
dise
corr
upte
d (H
2)
145
145
e148
155
163
New
Bel
l �em
e (N
2)
167
f167
Con
ict
(P1)
185
185
188
g196
d205
209
C209
Col
laps
e/di
sinte
grat
ion
P/P1
elisi
on in
to re
cap.
..
221
--221
14
bG
7377
G9132
38D58
,
263
P239
“Nig
htm
are”
in
terp
olat
ion
(N3)
Expa
nded
sect
ion
reca
lls d
evelo
pmen
tT
R m
erge
d w
ith
H3
298
TR251
S28
3C
131
1 P32
3C
2
GG
G23
9e
G29
831
1
340
P / T
R / H
3
G340
G323
251
263
G283
,
expo
siti
on (1
01 b
ars)
deve
lopm
ent
(138
bar
s)
reca
pitu
lati
on (1
01 b
ars)
coda
(9 b
ars)
ESC
?
I: PA
C
I: PA
C
I: H
CV:
PA
C
I: H
CI:
PAC
Figu
re 5
.1. S
ymph
ony
no. 4
/1, s
impl
ified
ove
rvie
w
22 TMahler’s Symphonic Sonatas: Figures
,1
48
1821
3238
4758
6266
G IV
I
DD
Gb
(4 +
4 +
2)
(4 +
4 +
2)
(4 +
4 +
2)
b
P1P1
P2P0
PAC
7773
8091
97
GP1P2
C2C1
P0
PAC
PAC
PAC
IAC
PAC
PAC
PAC
HC
P2S1
S2TR
MC
varie
d “F
ade-
out”
on
P1.1
varia
nt o
f S1
V7
Idyl
lic,
sent
imen
taliz
edpa
stora
l
Phra
ses d
ivid
ed b
y pr
olep
tic
outb
ursts
of P
-mat
eria
l
subr
otat
ion
1su
brot
atio
n 2
bells
bells
“EEC
” Emph
atic
rhet
orica
l clo
sure
WRO
NG
KEY
!St
rong
clos
ure a
vert
ed...
woul
d-be
EEC
gra
dual
ly“w
ande
rs o
�”
C2 m
otiv
ein
trodu
ced
Cor
resp
onds
to S
tand
ard
Two-
Part
Exp
ositi
on(e
xpos
itio
n 1)
(exp
osit
ion
2)Ex
posit
ion
Resta
rt (W
ritte
n-O
ut R
epea
t?)
expo
siti
on (1
01 b
ars)
Figu
re 5
.2.
Sym
phon
y no
. 4/I
, exp
ositi
on
23 TMahler’s Symphonic Sonatas: Figures
2
4
8
3 3
22
Bell Music (P0)P0.1
P0.4
P2.1 P2.2
P2.5 P2.6 P2.7
P2.3 P2.4
P2VAR
[PAC]
P0.2 P0.3
P-Complex
P1
P2
Figure 5.3. Bell music and primary theme (P) motives
24 TMahler’s Symphonic Sonatas: Figures
New
Bell
�em
eC
on�i
ct: P
1 Re
turn
s“P
arad
ise �
eme”
H1 H3
H2
H2
N2
N2
N1
P1
N2
H2
102
109
116
121
125
142
145
151
155
157
167
175
177
185
188
192
196
199
205
209
216
221
231
225
234
237
“b” V
ee
cg
??
vs.
vs.
d
C
N1
+ N
N0
N0
N0
A
fC
Uto
pian
imag
eof
inci
pien
t �na
leth
eme
Cor
rupt
ion
of H
1
Chao
s!M
ahle
r: “d
er k
lein
e App
ell”
Tpt c
all
(Sym
. 5/i)
“hid
den”
r
epris
e
fanf
ares
corr
upte
dag
ain
H2
tran
s�gu
red/
rede
emed
P0TR
C2
COLLAPSE!
COLLAPSE!
link
(P2.
4 the
mat
ic)
(P0/
P2)
link/
intro
acco
mpa
nim
ent
ante
cede
nt
(Der
ived
from
N1:
see F
ig. 5
.7)
“Fal
se re
star
t” o
f new
subr
otat
ion
Stro
ng rh
etor
ical
resta
rt
Elem
ents
of N
0 re
turn
: el
ision
into
subr
otat
ion
2
P0 an
d P1
initi
ate r
ecap
itula
tory
rota
tion
in d
evel
opm
enta
l spa
ce
H2
N0
“Nig
htm
are”
Top
osD
eriv
ed fr
om P
0/P2
P1 S
trug
gles
to E
nter
“Par
adise
” �em
e (r
otat
iona
l pro
xy fo
r TR,
S)
Cor
rupt
ion/
Disi
nteg
ratio
nEl
ision
into
Nex
t Rot
atio
n
Subr
otat
ion
1:
Subr
otat
ion
2:
Rota
tiona
lSt
ruct
ure:
“Nig
htm
are”
topo
s / P
1“P
arad
ise �
eme”
“Par
adise
them
e cor
rupt
ed”
EPIS
OD
E 4
(18
bars
)EP
ISO
DE
5 (2
3 ba
rs)
EPIS
OD
E 6
[RET
RAN
SITI
ON
]
EPIS
OD
E 1
(25
bars
)EP
ISO
DE
2 (2
3 ba
rs)
�em
atic
Nom
encl
atur
e
“Nig
htm
are”
topo
s, d
eriv
ed fr
om P
0 an
d P2
N=
H=
Par
adise
them
e, an
ticip
atin
g“D
as h
imm
lisch
e Leb
en”
EPIS
OD
E 3
(19
bars
)
P1P1
P1
ELIS
ION
IN
TORE
CAP
cons
eque
nt
deve
lopm
ent
(138
bar
s)
Figu
re 5
.4. S
ymph
ony
no. 4
/I, d
evel
opm
ent
25 TMahler’s Symphonic Sonatas: Figures
2032
38
12
7
3
(Mov
emen
t IV
)“D
as h
imm
lisch
e Le
ben”
M9
First
app
eara
nce,
in P
1 ca
dent
ial g
estu
re
Pent
aton
ic M
aste
r C
ell
Dev
elop
men
t, E
piso
de 2
5.5b
5.5a
5.5d
5.5c
5.5e
5.5f
S1
TR H1
C2
Figu
re 5
.5. G
enes
is of
H1
(“pa
radi
se th
eme”
)
26 TMahler’s Symphonic Sonatas: Figures
P0 / P
Sym no. 6/I
Central Rhetorical/Dramatic Opposition
m. 102
m. 167
m. 123
m. 125
m. 209
m. 196
[bell-world]
[bell-world]
[march-world]
[“paradise”]
[“paradise”]
[“fantasyscape”]
m. 145
m. 221
m. 251
Sym no. 4/I
Sym no. 4/I
TR / S Combinatorial Space:Elements of P and S, withP eliding into next rotation
Elements of P destabilized, dissociated, brought into “world” of introduction [P0]
“NIGHTMARE” “UTOPIA” “CHAOS / CONFLICT”
Elements of TR and Sintermingeld and/or fused
1 2 3
(subrotation 1)
(subrotation 2)
Figure 5.6. Symphonies nos. 4/I and 6/I, simplified rhetorical/thematic layout of development sections
27 TMahler’s Symphonic Sonatas: Figures
From N1 (Episode One)
From N1 (Episode One)
13167
p
3
p
p
[Flutes]
[Harp/Oboe]
[Clar]
[Horn]
p
[Clar/Bells]
[Horn]
103
110
f
3
3 33
N2
Figure 5.7. Derivation of new bell theme (N2) from N1
28 TMahler’s Symphonic Sonatas: Figures
38
148
3
212
127
3
H1
H3
H2
S1
“Das himmlische Leben”
“Nightmare” version of P2.6
(Rhythmic Gestalt)
(scale-degree structure)
Culminating version of the “Paradise” themeimposes scale degreestructure of H1 onto rhythmic gestalt of S1(via H2)
107
x
x
x
y
y
x
Development, Episode 6
Development, Episode 3
5.8a
5.8b
5.8c
5.8d
5.8e
5.8f
(Rhythmic Gestalt)
Figure 5.8. Progressive derivations of H2 and H3
29 TMahler’s Symphonic Sonatas: Figures
pp
se
mpr
e pp
pp
f
pp
f
pp
p
298
End
of a
ntec
eden
t
From
“klei
ne A
ppel”
disi
nteg
ratio
n �e
ld
[Vc]
[Bas
ses/
Con
trab
ssn]
[Ob]
[Vla
]17
3
185
226
End
of co
nseq
uent
[Flu
tes/
Slei
ghbe
lls]
[Flu
te]
[Vln
]
[piz
z]
[piz
z][p
izz]
[Vln
]
[Vc]
P2.6
P2.7
(seg
men
t)P0
.3
N2
N3
N2
Figu
re 5
.9. R
ecap
itula
tion:
“nig
htm
are”
inte
rpol
atio
n (N
3)
30 TMahler’s Symphonic Sonatas: Figures
6.1b. �e Four Basic Material Zones (all quotations are Mahler’s, from Bauer-Lechner 1980)
6.1a. Distribution: Rotational/Subrotational Design
Interpolatedepisode Liquidation
“�e Rabble” “�e Battle Begins” “�e South Storm”
Introduction: “Pan Awakens!” “Summer Marches In”
Introduction: “Pan Awakens!” “Summer Marches In”
Introduction: “Pan Awakens!” “Summer Marches In”
Introduction: “Pan Awakens!”
Movement Proper: “Summer Marches In”
ROTATION 1:
ROTATION 2:
ROTATION 3:
CODA
W
W
Weckruf exordiumW =
“Soulless, petri�ed matter...Inarticulate sounds” “Life gradually breaks through”
“Captive life struggling for release from lifeless, rigid Nature”
“�e most sublime cheerfulness prevails, an eternally radiant day”
= Pan/Herald Complex (“Life”)Funeral March/Arioso (“Death”)=
= Herald Marches (“Low”) = Pan/Weckruf Marches (“High”)
1 27 132 164 225 247 273 298 315d d d a/F F
530 583 605C
a/F
369 453 492
671 737F
863F
643d
D Å F Gß
Figure 6.1. Symphony no. 3/I, simplified overview
31 TMahler’s Symphonic Sonatas: Figures
1–2627–131132–147148–163
164–224225–236237–246
247–272273–297298–314315–368
369–452453–462463–491492–529
530–582
583–604605–642
643–670671–736
737–799800–862863–875
Bars
6.2b. Detailed Comparison of Five Subtypes.
6.2a. Two Broad Formal-Analytic Types
TYPE A: Embedded Sonata
TYPE B: Coextensive Sonata
Autonomous, Recurring, “Non-Sonata” IntroductionExposition begins in bar 247 (“Herald March”)
Darcy (2001b), Floros (1993), Greene (1984), Danuser (1975), Adorno (1960), Specht (1916)
Marvin (2009), Kaplan (2005), Micznik (2005), Solvik (1992), de La Grange (1973), Stephan (1920)
Introduction (Funeral March/Arioso) = Sonata Primary-�eme GroupPan/Herald, Later Marches = Sonata Secondary-�eme Group
INTRODUCTION
EXPOSITION
INTRODUCTION
DEVELOPMENT
INTRODUCTION
RECAPITULATION
EXPOSITION (I)
EXPOSITION (II)
DEVELOPMENT
RECAPITULATION
Coda
EXPOSITION (I)
EXPOSITION (II)
DEVELOPMENT
RECAPITULATION
CodaCodaCoda Coda
EXPOSITION
RECAPITULATION
DEVELOPMENT
(DEVELOPMENT II?)
INTRODUCTION
EXPOSITION
DEVELOPMENT (I)
DEVELOPMENT (II)
RECAPITULATION
TYPE A1(“strong” embedded) (“weak” embedded) (“long exposition”) (“long development”)
TYPE A2 TYPE B1 TYPE B2 TYPE B3
Pan
Coda
INTRO. (Subr. 2) INTRO. (Subr. 2)
WeckrufArioso 1Pan Schl�e Herald
Arioso 2Pan Schl�e Herald
Herald MarchWeckruf/Pan MarchHerald MarchWeckruf/Pan March
Arioso 3
�e HeraldPan Interpolation
“�e Rabble”
“�e Battle”“�e South Storm”
WeckrufArioso 4
Interleaved marchesClimactic buildup
Figure 6.2. Symphony no. 3/I, formal interpretations
32 TMahler’s Symphonic Sonatas: Figures
1–2627–131132–147148–163
164–224225–236237–246
247–272273–297298–314315–368
369–452453–462463–491
492–529
530–582583–604605–642
643–670671–736
737–799800–862863–875
Bars
INTRO.
INTRO. (Subr. 2)
EXPOSITION
INTRO.
DEVELOPMENT
INTRO.
RECAPITULATION
WeckrufChaos, AriaPan 1�e Herald
Chaos 2Pan 2�e Herald
Area AArea BArea A (Subrot. 2)Area B (Subrot. 2)
Chaos 3, AriaPan 3
“Fantasy Projection”
Scherzo Episode
“�e South Storm”
WeckrufChaos 4
Area A (Subrot. 1)Area B (Subrot. 2)Coda
Darcy (2001b)
INTRO. (Strophe 2)
quasi-reprise
INTRO. (quasi-expo.)
EXPOSITION
“EXPOSITION”
INTRO.
DEVELOPMENT
INTRO.
RECAPITULATION
Weckrufab
ab
cdc´d , d , d ´ , e
a*, a**b*
Danuser (1975)
INTRO.
EXPOSITION
DEVELOPMENT
MAIN DEVELOP.
RECAPITULATION
Weckruf
“Two gigantic parallel sections”
Part 1Part 2
Part 3
Adorno (1960)
INTRO.
EXPOSITION
DEVELOPMENT
MARCH
RECAPITULATION
WeckrufRecitative/AriosoPan Schl�e Herald
Recitative/Arioso“Music from far away.”
“Music from far away.”
March
347�. “Hymnlike, thenintense climax”
“From a distance, coming closer.”
Recitative/Arioso
[Song w/o Words]
“�e Rabble”“�e Battle”“�e South Storm”
WeckrufRecitative/Arioso
March (coming closer)“Victory Fanfare”
Floros (1993)
TYPE 1a TYPE 1bSee also Greene (1984)See also Specht (1916)
–
Figure 6.3. Symphony no. 3/I, comparison of formal interpretations
33 TMahler’s Symphonic Sonatas: Figures
1–2627–131132–147148–163
164–224225–236237–246
247–272273–297298–314315–368
369–452453–462463–491
492–529
530–582583–604605–642
643–670671–736
737–799800–862863–875
Bars
DEVELOPMENT
RECAPITULATION
WeckrufGroup 1
Group 1
Group 2
EXPOSITION (I)
EXPOSITION (II)
Group 2
351�. “Closing”362�. “Transition”
Group 1
Group 2
Kaplan (2005)
EXPOSITION (I)
EXPOSITION (II)
DEVELOPMENT
RECAPITULATION
WeckrufA (recitative)B
AB
A (recitative)[transition]
B
B-group
WeckrufA (recitative)
B
La Grange (1973)
Coda
EXPOSITION (I)
EXPOSITION (II)
DEVELOPMENT
RECAPITULATION
Weckruf (S!)PS
PS
PS
[Fantasy Projection]
S
WeckrufP
S
Coda
Marvin (2009)
Coda
EXPOSITION
RECAPITULATION
ABC
DEVELOPMENT
CB
BC
AB
C
Micznik (2005)
See also Solvik (1992) See also Stephan (1920)TYPE 2a TYPE 2b TYPE 2c
Figure 6.3. (cont'd.)
34 TMahler’s Symphonic Sonatas: Figures
rotation 1 (exposition): 368 bars
rotation 2 (development): 273 bars
rotation 3 (recapitulation): 214 bars
Introduction (“Pan awakens!”) (246 bars)
Subrotation 1
Funeral March/Arioso 1
Pan/HeraldComplex
Pan/HeraldComplex
Funeral March/Arioso 2
Herald March Weckruf/Pan Weckruf/PanHerald March
Subrotation 2 Subrotation 2Subrotation 1
1 27 132 164 225 247 273 298 315
d d a/F a/FF
W
W
Sonata Exposition (122 bars)
(NON-SONATA SPACE) (SONATA SPACE)
Introductory Space (93 bars)
643
Sonata Recapitulation (121 bars) Coda (13 bars)
Introductory Space (160 bars) Development (113 bars)
Subrotation 1 Section 1 Section 2Fantasy Projection
One “subrotation”
Pan 4 (exposit. telos theme)Arioso 3w/recit. interpolation
Pan/HeraldComplex
Herald March(”�e Rabble”)
Weckruf(”�e Battle Begins!”)
[liquidation](”�e South Storm!”)
369 453 492 530 583 605
Gß C
incomplete subrotation
Funeral March/Arioso 4w/recit. interpolation
671 737
5-part Climax:Pan 4 (telos theme)
TonicCon�rmation
Interleaving/reordering ofexposition materials
824 863
Fa/F F
Section 3
secondary sonata key/EEC
ESC
W Weckruf Introductory Complex=
Figure 6.4. Symphony no. 3/I, interpreted as “embedded sonata”
35 TMahler’s Symphonic Sonatas: Figures
Rotation 1 I
Rotation 2
Rotation 3
I
I
Sonata SpaceNon-Sonata Space
Introduction EXPOSITION
DEVELOPMENT
RECAPITULATION
Introduction
Introduction
EEC
ESC
Chaos/Emptiness
3/I: 1 271 16
13249
229�.82�.
247114
331191
362N/A6/IV:
3/I:6/IV:
3/I:6/IV:
369 492N/A237 364
530397
583458
603479229
643520
671537
707575
750642
762670
857N/A
Chaos/Emptiness
Chaos
[Fantasy Episode]Restart: Exposition Materials Completely Rethought
Premature motion to closure: “wrong key”
Order Primary Key
Primary Key
Secondary Key
March EcstaticBreakthrough
Collapse/Liquidation
= Introductory Complex
(PremonitoryChorale)
Based on Exposition Closing Materials
Integration/�ematic Con�ation
I
Figure 6.5. Basic schema, “epic” plot type
36 TMahler’s Symphonic Sonatas: Figures
Herald MarchesPan/Weckruf Marches
Subrotation 1A
247 254 258 262 266273 279 289
B C D E Weckruf Pan 1.2 Pan 1.2.3
Fa/C F/d a aF/d
F F
Herald Marches
Subrotation 2
Pan/Weckruf Marches315 323
307 311B C
298 302D E
aF/d aF/d
Pan 3.1+ Weckruf
Pan 3.2
F F
331
Weckruf
D(!)
341 347
Pan 3.3
351 362
Pan 4.1
EEC cast o�: eruption of “in�nite sublime”
D
exposition (122 bars)
pppp pp
pp mf ff fff
p ff
EEC
F :HC Bß: PAC
D: PAC
Figure 6.6. Symphony no. 3/I, exposition proper
37 TMahler’s Symphonic Sonatas: Figures
Basic
“Pan
” sha
pe �
rst p
ropo
sed
Pan
1.2
reor
gani
zed
rhyt
hmic
ally
into
1 +
1 +
2 b
ar
form
at
Den
atur
ed P
an 1
.2.3
-var
iant
com
bine
d w
ith W
eckr
uf,
abso
rbs t
he la
tter’s
rhyt
hmic
ges
talt
Varia
nt o
f Pan
3.1
, con
tour
and
rhyt
hm ad
juste
d
Pan
4.1
Pan
1.1*
Pan
2.1
Pan
1.2
229
Pan
3.1*
Pan
3.2*
315
351
Pan
1.2.
3
289
(778
)
136
140
6.7a
6.7c
6.7b
6.7d
6.7e
6.7f
6.7g
32
3
from
Pan
1.2
Fina
l var
iant
com
bine
s exa
ct rh
ythm
ic g
esta
lt of
Pan
3.2
with
the l
inea
r fra
mew
orks
of b
oth
Pan
2.1
and
Pan
1.2
from
Pan
2.1
Figu
re 6
.7. P
rogr
essiv
e fo
rmat
ion
of “t
elos
them
e” P
an 4
38 TMahler’s Symphonic Sonatas: Figures
Expo
siti
on E
quiv
alen
ts
Hig
h/Lo
w M
arch
Inte
grat
ion
Five
-Par
t Cl
imax
Subr
otat
iona
l Stru
ctur
e Diss
olve
d
New
Mat
eria
l/Re
min
isce
nces
lead
-in
737
750
800
762
Wec
kruf
+H
eral
d M
arch
Wec
kruf
Episo
de: W
eckr
uf in
Chro
mat
ic St
retto
Reca
lls ve
rsio
n fro
m“S
outh
Stor
m” (
m. 6
22)
Reca
lls“�
e Bat
tle”
(m. 5
83)
Reca
lls “F
anta
sy
Proj
ectio
n” (m
. 492
)
F
816
824
832
846
857
808
Wec
kruf
+
Her
ald
Mar
ch A
F
Pan
1.2
778
Pan
1.2.
3
FF
Pan
4.3
F
Pan
4.2.
2
F
Pan
4.1
Fa
754
758
BC
F/d
F/a
a
787
791
DE
F/d
a
772
E a
Her
ald
Mar
ches
Pan/
Wec
kruf
Mar
ches
Subr
otat
ion
1
A247
254
258
262
266
273
279
289
BC
DE
Wec
kruf
Pan
1.2
Pan
1.2.
3
Fa/
CF/
da
aF/
dF
F
Her
ald
Mar
ches
Subr
otat
ion
2
Pan/
Wec
kruf
Mar
ches
315
323
307
311
BC
298
302
DE a
F/d
aF/
d
Pan
3.1
+ W
eckr
ufPa
n 3.
2
FF
331
Wec
kruf
D(!)
341
347
Pan
3.3
351
362
Pan
4.1
EEC
cast
o�:
erup
tion
of
“in�n
ite su
blim
e”
ESC
cast
o�:
erup
tion
of
“in�n
ite su
blim
e”
D
expo
siti
on (1
22 b
ars)
reca
pitu
lati
on (1
21 b
ars)
EEC
ESC
F :H
CD
: PAC
F: P
AC
Figu
re 6
.8. S
ymph
ony
no. 3
/I, c
ompa
rison
of e
xpos
ition
and
reca
pitu
latio
n
39 TMahler’s Symphonic Sonatas: Figures
6.9a (see Fig. 6.10)
1A 1B 1A'58 83 99
6.9b (see Figs. 6.11, 6.12)
1A 1B 1A' 2A 2A'58 83 99 166 185
6.9c
424
1A 1B 1A' 2A 2A' 3A 3B 3A' 4A 4A'Interp. Interp.58 83 99 166 185 369 398 441 683 704
424 707
Figure 6.9. Derivation-chains of arioso themes
40 TMahler’s Symphonic Sonatas: Figures
58
3
3
3
3
3
3
3
33
3
99
3
3
3
3
33
x
xy
y (½
) (*
octa
ve-le
ap o
mitt
ed)
y
x'
to d
: PAC
Ario
so 1
A'
Ario
so 1
A
to d
: PAC
Figu
re 6
.10.
Der
ivat
ion
of A
rioso
1A
' fro
m 1
A
(i)(V
7 )
58
3
33
16
6
3
3
3
3
3
3
Ario
so 2
A (I
ntro
duct
ion
Subr
otat
ion
2)
Ario
so 1
A'
Ario
so 1
A
Ario
so 1
A
99
63
3
3
3
D: H
C
Figu
re 6
.11.
Der
ivat
ion
of A
rioso
2A
from
1A
and
1A
'
41 TMahler’s Symphonic Sonatas: Figures
(i)(V
7 )
184
3
3
3
3
3
3
199
3
3
3
3
3
3
3
3
3
3
(con
t’d. b
elow)
175
3
3
Ario
so 2
A
16
6
3
3
3
3
A
rioso
2A
Ario
so 2
A' (
Intro
duct
ion
Subr
otat
ion
2)
Ario
so 2
A' (
cont
’d.)
Ario
so 1
A
Ario
so 1
A
58
3
3
33
365
3
3
3
3
D: P
AC
D: H
C
Figu
re 6
.12.
Der
ivat
ion
of A
rioso
2A
' fro
m 2
A a
nd 1
A
42 TMahler’s Symphonic Sonatas: Figures
1A 1B 1A' 2A 2A' 3A 3B 3A' 4A 4A'Interp. Interp.
(“Expositional”)
“Rotation” One
(“Developmental”) (“Recapitulatory”)Sonata Rotation One
“Rotation” Two
Sonata Rotation Two Sonata Rotation Threeoccurs within: occurs within: occurs within:Sonata Organization:
(Trirotational)
Introductory Space:(“Birotational”)
58 83 99 166 185 369 398424
58d d d d d d
DBß
83 99 166 185 369 398707
441 683 704
132
pp
Pan/Herald Complex
6.14a.First stirrings of life (subrotation 1)
D
6.14b.Resolution of Emergence-Narrative (subrotations 2, 3)
Recitative Interpolation 1
mm. 424–40 mm. 707–36
Recitative Interpolation 2
D MajorTonally
UnresolvedPAC (m. 735)in local tonic
Figure 6.14. Recursive use of Bß Å D to symbolize the emergence of life
Figure 6.13.Conflict between trirotational sonata structure and birotational introductory space organization
43 TMahler’s Symphonic Sonatas: Figures
Supersimpli�ed “Map” of Event-Spaces
Rotation 1:
Rotation 2:
Rotation 3:
Rotation 1:
Rotation 2:
Rotation 3:
Rotation 1:
Rotation 2:
Rotation 3:
Rotation 1:
Rotation 2:
Rotation 3:
Rotation 1:
Rotation 2:
Rotation 3:
Schema for an Integrated, �rough-Composed Narrative6.15e.
Cosmic Beseelung Narrative6.15a. 6.15b.
Sonata (“Integration”) Narrative Introductory-Space (“Emergence of Life”) Narrative 6.15c. 6.15d.
I = Introductory SpaceS = Sonata Space
I1 S1
I2 S2
I3 S3
I1 S1
I2 S2
I3 S3
I1 S1
I2 S2
I3 S3
I1 S1
I2 S2
I3 S3
I1 S1
I2 S2
I3 S3
(Discussed in Section III; derives from Mahler’s titles)
(Discussed in Section V) (Discussed in Section VI)
Figure 6.15. Map of narrative strands traceable through Symphony no. 3/I
44 TMahler’s Symphonic Sonatas: Figures
Pre-expositional (Generative) Phase (113 bars)
P
1c aa c -- a a/C D
16 49 67 114 139 191
d D A Ac/C-- -- d
c
a a
Dissolution Chorale Mobilization TR S1
D205
S2I
Exposition Proper (115 bars)
Pre-Recapitulatory Space (105 bars)
520a
P
642575
S1
A612
Retransition
a670
TR/S1
Recapitulation (78 bars)
A
TranscendentA�rmation (S/I)
728c
537
Dissolution
Section I (160 bars)
March (P-based)
229 237 336 397 479
Dissolution/S1
288 364 458
S2 Hammer-blow (TR)
Hammer-blow (TR)
UtopianVision (S1)
UtopianVision (S/I)
I
I
I
Section II (123 bars)
Epilogue (32 bars)
773 790
No cadence: “failed” exposition!
No cadence: “failed” recapitulation!
expositional block (228 bars)
developmental block (190 bars)
recapitulatory block (252 bars)
coda (49 bars)
Figure 7.1. Symphony no. 6/IV, simplified overview
45 TMahler’s Symphonic Sonatas: Figures
Pre-
Expo
siti
onal
(gen
erat
ive)
Spa
ceEx
posi
tion
Pro
per
Intro
.
116 D
issol
utio
n�e
ld (P
/S1)
65 Diss
olut
ion
�eld
(P/S
1)
191
S120
5S2 (E
rfüllu
ng:
1st a
ttem
pt)
“Fai
led”
Exp
ositi
on:
No
EEC
49 Chor
ale
82 Chor
ale
(frag
men
t)
139
(Ton
alC
on�i
ct)
180
Cor
rupt
ion
P re
turn
s!
98 Lead
-in to
Expo
sitio
n (P
)
c
aa
d
??
aa
a/C
DD
220
Cor
rupt
ion
P re
turn
s!
Dc
cg
114
PTR
(cho
rale
-bas
ed)
S
(Cha
os)
(Cha
os)
(Ord
er)
(Ord
er)
COLLAPSE !
g
A m
inor
disp
lace
s C
min
or
1.3.
Mom
entu
mbu
ilds t
owar
d ap
pare
nt
C m
inor
ex
posit
ion
4.No
! A m
inor
seiz
es co
ntro
l.C
min
or re
turn
s,im
pose
s ord
er2.
expo
siti
onal
blo
ck (2
28 b
ars)
Figu
re 7
.2. S
ymph
ony
no. 6
/IV,
exp
ositi
onal
blo
ck
46 TMahler’s Symphonic Sonatas: Figures
7.3a. �e exposition’s P-theme (mm. 114–21)
7.3b. �e exposition’s S1-theme (mm. 191–201)
S1.1 S1.2 S1.3 S1.4
S1.5
3
3
P1.1 P1.2 P1.3
P1.4 P1.5 P1.6
Figure 7.3. P and S1 motives
47 TMahler’s Symphonic Sonatas: Figures
116
3439
4969
6778
82D
issol
utio
nCh
aos &
Disi
nteg
ratio
n(s
tatic
)(d
ynam
ic)
(FU
LL)
Susp
ensio
n98 EX
POSI
TIO
NLE
AD
-IN
Mob
iliza
tion
Mob
iliza
tion
Impe
tus l
ost:
rota
tion
fails
Impe
tus s
usta
ined
...Ro
tatio
ns el
ided
Gen
erat
ive r
otat
iona
l str
uctu
requ
ickl
y er
odes
: P m
erge
s w
ith m
ain
expo
sitio
nal r
otat
ion
Chor
ale
(Seg
men
t)Ch
oral
e
cg
gCm
Am
ad
rovi
ngro
ving
[n/a
][n
/a]
C m
inor
P1.3
, P1.
2 , P1
.4P1
.3, P
1.2 ,
P1.4
P1.5
P1.5
, P1.
6(P
1.1 )
S1.2
, S1.
3 , S1
.4S1
.1S1
.4S1
.4, S
1.3
P-m
odul
es:
S-m
odul
es:
I-C
ompl
ex
Mea
sure
:
(Sub
stitu
tes f
or o
r “w
rites
ove
r” I-
com
plex
) =
mot
to
elid
ed w
ith S
1
�em
atic
/Ro
tatio
nal
Stru
ctur
e:
Dyn
amic
s:
Tona
lity:
COLLAPSE
COLLAPSE
D I S S O L U T I O N
MM
M
subr
otat
ion
1su
brot
atio
n 2
PI-
Com
plex
SCh
oral
eCh
oral
eP
P(S
)S
Succ
ess!
Mot
to in
Cm
48 b
ars
32 b
ars
g:
M
IAC
c: IA
C
pppp
pp
ff
ffff
pppp
ff
Figu
re 7
.4. S
ymph
ony
no. 6
/IV,
pre
-exp
ositi
onal
spac
e
48 TMahler’s Symphonic Sonatas: Figures
Transitional theme segment (mm. 149–56, cf. 678�.)
Chorale (mm. 49–64)
Transitional theme incipit (mm. 141–44)
“Hammer-blow” theme (mm. 336�./479�.)
Introduction (mm. 82–85)
Figure 7.5. Chorale melody (mm. 49–64) and later variants
49 TMahler’s Symphonic Sonatas: Figures
inco
mpl
ete “
mot
to” r
hyth
m, w
ithfa
lling
5th
and
falli
ng 2
ndar
pegg
iate
d as
cent
(wea
k co
rres
pond
ence
)1.
2.3.
4.(5
).
3
3
Figu
re 7
.6. O
rder
ed th
emat
ic co
nnec
tions
link
ing
P an
d S1
50 TMahler’s Symphonic Sonatas: Figures
7.7a. G1-Motives (all invertible) 7.7b. G2-Motives (some forms)
445
220
82
Figure 7.7. The two families of generic motives (G-motives)
51 TMahler’s Symphonic Sonatas: Figures
D m
inor
clos
ure
elide
s with
onse
tof
C m
inor
(!)
reca
p
Diss
olut
ion
Fiel
dIn
tro.
237
229
237
336
352
397
415
479
503
497
Con
�ict
of P
an
d S1
mod
ules
301
Cor
rupt
ion
Chao
sRe
solu
tion
Cor
rupt
ion
Liqu
idat
ion
288
Expo
sitio
nco
ntin
ues?
!?
dD
???
288
S2U
topi
anVi
sion
1
(S1.
2 /S1.
3 )
336
364
385
Ham
mer
(TR)
397
Mar
ch (P
-bas
ed)
Sect
ion
I: A
ntic
ipat
ion
Phas
e (p
re-d
evel
opm
enta
l sp
ace)
“Epi
sode
1”
“Epi
sode
2”
“Epi
sode
3”
“Epi
sode
4”
Sect
ion
II: “
Dev
elop
men
t Ac
hiev
ed”
479
Ham
mer
(TR)
Uto
pian
Visio
n 2
(S1/
S2)
458
COLLAPSE !
c??
?c
ad
C
441
GA
A
deve
lopm
ent
bloc
k (1
90 b
ars)
Figu
re 7
.8. S
ymph
ony
no. 6
/IV,
dev
elop
men
tal b
lock
52 TMahler’s Symphonic Sonatas: Figures
458
ff
f
ff
p
ff
p
[vln]
[hn/vc]
[tpt/cl]
[horn]
x(“Emancipation Motive”)
S1.2, 1.3
Figure 7.9. Tonic major “Utopian vision,” mm. 458–65
53 TMahler’s Symphonic Sonatas: Figures
205
ff
7.10a. Incipit of S2-theme, mm. 205–08
7.10b. I-complex initiating the developmental block, mm. 230–34 (texture simpli�ed)
230
x
x
x
x
x
°
¢
ff ff
p
p
pp
pp
ppp
p p
&b ∑- - - > >
- -
- -
&b ?
?b- - > >
˙˙ œ œ œ œ œ ™ œJ ˙
˙˙ ˙
˙ œœ œœ œ œ œ œ œ œ
wwwwwwwwww
wwwww˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙˙ ˙ ˙ ˙
˙ ˙
ww
˙ ˙˙ ˙ ˙
˙
wœ Œ˙˙ ˙
Ó˙ ˙
w
˙˙ ˙ ˙ ˙
w˙
˙
w
œ œ œ œwœ ™ œj ˙
wœÓœ œœ ™œœj
Figure 7.10. Comparison of S2 and the second I-complex
54 TMahler’s Symphonic Sonatas: Figures
Faile
d re
capi
tula
tion:
Toni
c cad
ence
(maj
or
OR
min
or) d
enied
.
False
“Rev
erse
” Rec
ap.
Retr
ansit
ion
Intro
.
520
537
Diss
olut
ion
(P)
612
S1
634
P/S1
550
S1 Di�
use,
itine
rant
575
S1 Impe
tus
rega
ined
670
TR/S
1sim
ulta
neou
slyre
capi
tula
ted
708
Liqu
idat
ion
728
S2
744
S2
754
Cor
rupt
ion
(P1.
5 , G
1,
mot
to rh
ythm
)
c c
aa
AA
FA
642
PTR
/S1
Fina
l Uto
pian
Visi
on (S
2)
Tonal Disjuntion
COLLAPSE !
Pre-
Reca
pitu
lato
ry S
pace
Reca
pitu
lati
on P
rope
r
reca
pitu
lato
ry b
lock
(252
bar
s)
Figu
re 7
.11.
Sym
phon
y no
. 6/I
V, re
capi
tula
tory
blo
ck
55 TMahler’s Symphonic Sonatas: Figures
497
f
790
p
p
p
p
7.12a. Epilogue, mm. 790–95
7.12c. Instances of the “emancipation” motive
S2 (mm. 205�.[see Fig. 7.10a], 288�.) “Utopia” theme (mm. 458�., 728�. [see Fig. 7.9])
7.12b. Liquidation of second “hammer” episode, mm. 497–502 (texture simpli�ed)
728
205
xx
y z
x
y z y z
x
yy
y y y y
zz z
z z
Figure 7.12. The epilogue theme and its origins in the chorale complex and the “emancipation motive”
56 TMahler’s Symphonic Sonatas: Figures
3
7.13b. “Alma” theme (mvt. I)
7.13a. Finale S1 themetransposed to F
original key
transposed to F7.13c. Finale S2 theme
76
200
205
Allegro: Adolescence and �rst realization of social forces (Emma Bovary’s and Anna Karinena’s marriages)
Scherzo: Engagement with society, constraining personal choice (Emma’s encounter with the viscount, Anna’s rise in society)
Andante: �e promise of freedom and attempted escape through personal ful�llment (Emma’s a�airs, Anna’s a�air with Vronsky)
Finale: Peripeteia and ultimate extinction (betrayal for Emma, Anna’s illness and abandonment by Vronsky, suicide for both)
Figure 7.13. Relation of finale’s S-themes to Allegro’s “Alma” theme
Figure 7.14. Samuels’s “feminine tragedy” plot archetype mapped onto the Sixth Symphony (adapted from Samuels 1995, 120)
57 TMahler’s Symphonic Sonatas: Figures
7.15a. Symphony no. 3/V, “Armer Kinder Betterlied,” mm. 35–38 (melody repeats to the text “and shall I not weep, you gracious God?”)
7.15b. Symphony no. 6/IV, mm. 49–52
p
35
49?bbb
pp
n b n
?bb nn# bn n
˙>˙ ˙
>œ œ ˙
>
˙ ™ œ œœ œ œn œœ œœ ˙ ˙
˙˙
˙ ˙
˙˙˙ ™™ œb œœ
œ˙˙˙ œœ
œ>
œœœ>
˙˙>
˙˙>
˙
Figure 7.15. Symphonies nos. 3/V and 6/IV, comparison of chorales