Symphony no. 4 in G Major by Gustav Mahler

Gustav Mahler’s fourth symphony was written at the start of the modern era. Mahler completed this symphony in 1901, the completed product of which consisted of four movements. The folk poem in the last movement present’s a child’s optimistic and naive view of heaven, describing the bountiful feast prepared by the saints. The work featured cyclical structure that achieved organic unity — this is a technique where material in one movement is heard in other movements, a technique that had previously been used extensively by Beethoven whom Mahler might have drawn inspiration from. As is the case in many of his works, the source of the text comes from a collection of poems titled Des Knaben Wunderhorn (The Youth’s Magic Horn), and features a large orchestra. In addition, a soprano (or mezzo-soprano) soloist is included exclusively in this movement. The movement begins in the key of G major but ends in E major, a characteristic often associated with Mahler’s works (Mahler intentionally chose to end the movement in E major since to him it was the “heavenly key”).

The form resembles something like rondo form, and the text is set in modified strophic form. The piece opens Sehr behaglich (Very comfortably) and is in common time. The clarinet plays, very softly (ppp), a folk-like melody built around the tonic chord. The lyrical quality is characterized by grace notes and dotted figures, not to mention the harp (often associated with angles and heaven) is also heard gently in the background. The mezzo-soprano marks her entry with a lilting melody imbued with dotted figures in the first verse. This melody is a more expansive version of the principal theme. Word painting is featured in many instances, for example on the undulating melisma on the word “heaven,” and the singer is instructed to “sing in a childlike expression without parody,” reflecting the simplistic and naive nature of the text. Harp and pizzicato strings accompany the soloist along with the woodwinds and triangle. The mezzo-soprano reaches sublimely for the high G in another feat of word painting depicting St. Peter in heaven. The descending line which is subsequently sung is accompanied homorhythmically (chorale-like) by flutes, horns, and harp. The parallel chord streams evoke a reverent, solemn sound reminiscent of medieval church music. The orchestral transition is introduced by a repeated-note figure with resolute grace notes is heard within the winds and brass, while the sparkling of sleigh bells is a direct reference to the opening of the first movement, which is heard between verses in abbreviated form throughout the rest of the movement. This is answered by a string of sixteenth-note passages played by woodwinds with strings in furious imitation. The second verse features the mezzo-soprano singing a descending line marked by repeated notes. There is a change in mood as the line symbolizes the lamb being led to the slaughter. A two-not “bleating” figure also accompanies the soloist, played by oboes in another occurrence of word painting. The high G is again sung, followed by the descending line in reference to “the angels…” The third verse consists of the mezzo-soprano singing a variation of the principal theme. When describing the bounties of heaven, she does so in an increasingly spirited and angular way which conveys a more robust character reflecting the text, while a variation of the chorale-like conclusion brings the verse to a close. The key changes to E major in the last verse, wherein it contains a more tranquil atmosphere which supports the image of heaven and angelic voices, marked Sehr zart und geheimnisvoll bis zum Schluss (Very tenderly and mysteriously to the end). The concluding measures recall the calm opening of the movement and feature English horn and harp; the music fades away gently in the final measures. The fact that the change in key (from G to E major) indicates Mahler’s progressive approach to harmony. Overall, this movement demonstrates Mahler’s musical style effectively, and samples many of the characteristics found in his works.