Figures and Diagrams - global.oup.com

SETH MONAHAN

Mahler's Symphonic SonatasFigures 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

)


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)


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

,

,


recapitulation (71 bars + coda)

Figure 1.3. Mahler, Symphony no. 2/I, simplified overview (development omitted)



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


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


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 trirotational organization

Figure 1.5. Recompositional arteries and plot-types in Mahler’s early- and middle-period sonatas


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


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


development (163 bars)


coda (107 bars)

EEC

VI: PAC

VI: PAC

Figure 4.1. Symphony no. 6/I, simplified overview


:

,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


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


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


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


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.)


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

Óœ

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

Óœ

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


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


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


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


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)


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


° ¢

° ¢

° ¢198

282

ppp

429

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bb

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>>

>

b b >

n nb b

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b bb b

>

n n >

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˙˙˙˙

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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


°

¢

°

¢

°

¢

°

¢

°

¢

pp pp

p p cresc. ff

sf più f ff p

ff

&##### #

U

?#####

&bbbbb

U3

3

?bbbbb

& ##

? #

& b

? bbb

&###

> > >nn

> > > >

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> > > >

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

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‰œ œn

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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


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


,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


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


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


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”

)


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


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


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


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)


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!”

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


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 Schlä��e Herald

Arioso 2Pan Schlä��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


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 Schlä��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


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.)


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”


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


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


pppp pp

pp mf ff fff

p ff

EEC

F :HC Bß: PAC

D: PAC

Figure 6.6. Symphony no. 3/I, exposition proper


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


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


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


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

'


(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


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


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


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


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


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


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


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


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


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)


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


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


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


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


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”


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)


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

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