Conducted by Leonard Bernstein, the Wiener Philharmoniker (Vienna Philharmonic Orchestra) performs Gustav Mahler’s Symphony No. 4 in G major. Soprano: Edith Mathis.
Gustav Mahler’s Symphony No. 4
Gustav Mahler’s Symphony No. 4 in G major stands as a unique and pivotal work in his symphonic repertoire, composed between 1899 and 1900. It represents a departure from the monumental scale of his earlier symphonies, being both shorter in length and lighter in orchestration. This symphony is deeply rooted in Mahler’s engagement with Des Knaben Wunderhorn (The Boy’s Magic Horn), a collection of folk poetry that inspired many of his earlier works. Central to the Fourth Symphony is the song Das himmlische Leben (The Heavenly Life), a lyrical depiction of a child’s vision of heaven, which Mahler had composed in 1892 and later incorporated into the symphony’s final movement.
Initially, Mahler envisioned the symphony as a six-movement work with alternating instrumental and vocal sections, but he ultimately condensed it into the traditional four movements, with the final movement being the only vocal one. The structure is tightly unified through cyclic form, with themes from the final movement subtly anticipated in the earlier movements. This compositional technique weaves a cohesive narrative throughout the symphony, connecting each movement to the overarching theme of Das himmlische Leben.
The symphony premiered on November 25, 1901, in Munich, conducted by Mahler himself, but it received a mixed reaction. Audiences and critics were perplexed by its lighter, seemingly more whimsical character compared to Mahler’s earlier symphonies, which were known for their emotional and structural grandeur. Critics found it difficult to reconcile the symphony’s blend of simplicity and depth, with some dismissing it as inferior or even trivial in comparison to Mahler’s more complex works like the Second Symphony, the Resurrection. Subsequent performances across Germany and Vienna echoed this mixed reception, often greeted with harsh criticism and confusion about its intentions and meaning.
Despite its rocky beginnings, the Fourth Symphony gradually gained appreciation. The symphony’s relatively modest scale, lyrical beauty, and thematic clarity eventually endeared it to both conductors and audiences. Its American and British premieres in the early 20th century helped to spread its popularity, and conductors like Willem Mengelberg and Bruno Walter championed the work, further securing its place in the symphonic repertoire.
Mahler’s careful craftsmanship is evident throughout the symphony, from its nuanced orchestration to its blend of folk-like simplicity and sophisticated development. The work reflects Mahler’s ability to convey profound ideas through deceptively straightforward means, blending childlike innocence with mature introspection. The use of Das himmlische Leben as the symphony’s culmination ties the work to Mahler’s broader philosophical and existential concerns, linking earthly life with heavenly transcendence.
In the post-World War II era, Mahler’s Fourth Symphony played a significant role in the revival of interest in his music. Its relative accessibility, combined with its depth of emotion and masterful orchestration, made it a favorite among listeners and a gateway to Mahler’s larger symphonic oeuvre. Today, the symphony is celebrated for its charm, beauty, and the seamless integration of vocal and instrumental elements, embodying Mahler’s unique voice in the landscape of Romantic music.
Related: Mahler – Symphony No. 4 [Abbado]
Movements
1. Bedächtig, nicht eilen (Moderately, not rushed)
The first movement of Mahler’s Symphony No. 4 in G major, marked Bedächtig, nicht eilen (Deliberately, not rushed), unfolds with a unique blend of simplicity and complexity, characteristic of Mahler’s ability to weave deep emotion into seemingly straightforward musical forms. The movement, set in sonata form, opens with an enchanting introduction featuring flutes and sleigh bells, often referred to as the “bell theme.” This whimsical motif creates an atmosphere reminiscent of a fairytale, setting a light-hearted yet mysterious tone. The German philosopher, musicologist, and social theorist Theodor W. Adorno (11 September 1903 – 6 August 1969) likened this opening to the “once upon a time” of a story, hinting at the playful yet profound narrative Mahler would develop.
The first theme, described as “remarkably short” and imbued with a Schubert-like charm, ascends gracefully, evoking the Viennese musical tradition. This theme quickly gives way to a second theme, introduced by the lower strings in D major, marked Breit gesungen (broadly sung). The second theme is pastoral and serene, offering a moment of calm and lyrical beauty, reflecting Mahler’s love for nature and his ability to paint vivid musical landscapes.
As the movement progresses, the simplicity of these themes is transformed into a highly complex development section. Mahler masterfully intertwines and reshapes the themes, creating a rich tapestry of musical ideas. The Greek-German musicologist Constantin Floros highlights the “extraordinary complexity” of this section, which is divided into multiple parts, exploring distant keys and developing motifs with remarkable ingenuity. One of the most striking moments is the dissonant fortissimo climax, followed by a distinctive trumpet fanfare, which Mahler later reused in his Fifth Symphony as the opening theme.
The recapitulation revisits the initial themes, now infused with a sense of resolution and triumph. French musicologist and biographer of Gustav Mahler, Henry-Louis de La Grange (26 May 1924 – 27 January 2017) notes an “almost Mozartian jubilation” as the movement nears its conclusion, blending lightness with depth. The movement ends with a calm, reflective coda, leaving a serene impression that contrasts beautifully with the earlier complexity. This first movement exemplifies Mahler’s genius for blending classical structure with innovative, emotionally charged content, setting the stage for the symphony’s subsequent exploration of life and the afterlife.
2. In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste)
The second movement of Mahler’s Symphony No. 4, marked In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste), is a scherzo and trio that combines playful eeriness with folkloric charm. This movement is distinguished by its solo violin part, played with scordatura tuning, where each string is raised a tone higher than usual. This retuning gives the violin a shrill, unsettling sound, contributing to the ghostly character of the movement. The solo violin is said to represent Freund Hein, a personification of death in German folklore, often depicted as a skeleton playing the fiddle and leading a Totentanz, or “danse macabre.”
According to Alma Mahler, this movement was inspired by the Swiss painter Arnold Böcklin’s painting Self-Portrait with Death Playing the Fiddle. The scherzo reflects this influence, as it opens with a horn call, followed by a haunting, dance-like theme introduced by the scordatura violin. The violin’s eerie tone imbues the music with a sense of parody and grotesque humor, though Mahler remarked that it “wasn’t meant so seriously.” The movement alternates between the scherzo sections in C minor, characterized by this ghostly, whimsical dance, and trio sections in a cheerful Ländler style.
The trio sections, in F major, provide a stark contrast to the scherzo’s eerie mood. They are lighter, more relaxed, and pastoral, echoing the rustic dance form of the Ländler. These trios inject a “lazily cheerful” quality into the movement, creating a playful juxtaposition with the more sinister scherzo. Despite the movement’s eerie overtones, the overall impression is not one of fear but of an uncanny, good-natured portrayal of death’s dance.
The structure of the movement is carefully crafted, with the scherzo and trio sections interwoven to create a five-part form. The scherzo sections maintain the grotesque dance with their ghostly violin and minor key, while the trios offer a brighter, more carefree interlude. The movement concludes with a horn postlude, rounding off this macabre yet whimsical dance. Mahler’s use of Freund Hein as a central figure in the music brings a sense of folkloric storytelling, blending the eerie with the playful in a way that is quintessentially Mahlerian.
3. Ruhevoll, poco adagio (Peacefully, somewhat slowly)
The third movement of Mahler’s Symphony No. 4, marked Ruhevoll, poco adagio (Peacefully, somewhat slowly), is a profound meditation cast in the form of theme and variations. This movement represents the emotional core of the symphony, blending serenity and depth in a musical journey that oscillates between calm reflection and anguished intensity. The movement’s theme, introduced by the cellos, is described by some as a transfigured cradle song, embodying a gentle, meditative quality that evokes a sense of timeless peace. This theme is developed through a series of variations, though Mahler’s approach to the form is unconventional, emphasizing organic development over strict variation.
Mahler himself referred to this movement as his “first real variations,” inspired by the vision of a tombstone with a carved image of the departed in eternal sleep. The music begins with a calm, solemn procession, supported by a passacaglia-like bass line that lends a sense of gravity and inevitability to the unfolding variations. The theme is introduced in G major, but the movement explores a wide range of tonalities, including D minor, E minor, and E major, creating a rich harmonic landscape.
The movement is structured into five main parts, with alternating sections that develop the initial themes in increasingly complex and varied ways. The first theme, peaceful and motionless, is contrasted by a second theme in E minor, introduced by the oboe. This second theme is marked by a plaintive, anguished character, bringing a sense of mourning and emotional depth. Mahler captures a profound duality, as the movement “laughs and cries at one and the selfsame time,” reflecting the complexity of human experience.
As the variations progress, the music builds toward moments of greater intensity, culminating in a powerful coda. This final section is marked by a triple forte E major chord, a sudden and brilliant burst of sound that evokes a glimpse of transcendence. The coda features the reappearance of a bass motif, described as bell-like, adding a sense of solemnity and finality. The horns and trumpets introduce the main theme of the forthcoming Finale, hinting at the symphony’s resolution.
The movement concludes with a gentle fade, as the music slows and dies away, leaving a lingering impression of peace and eternity. This movement’s combination of serene beauty and profound emotion offers a glimpse into Mahler’s soul, making it one of the most poignant and reflective moments in his symphonic output.
4. Sehr behaglich (Very comfortably)
The fourth movement of Mahler’s Symphony No. 4, marked Sehr behaglich (Very comfortably), is a serene and lyrical finale that unfolds as a song, setting the text of Das himmlische Leben (The Heavenly Life). This movement provides a childlike, blissful vision of heaven, where a soprano sings of celestial pleasures, particularly a heavenly feast prepared for the saints. The music is simple yet radiant, maintaining a sense of pastoral tranquility throughout its strophic form. The melody is gentle and light, evoking a sense of innocence and purity, reflective of the child’s perspective described in the song.
Mahler carefully constructs this movement to preserve its naive charm, instructing the soprano to sing with a joyful, childlike expression, free from parody. The text of Das himmlische Leben vividly details the heavenly banquet, with an underlying touch of darkness as it references the sacrifice of animals, including a lamb. This juxtaposition of innocence with hints of mortality adds depth to the seemingly idyllic portrayal of heaven. The movement’s structure is strophic, with verses interspersed by orchestral refrains, including a recurring “bell theme” from the first movement, reinforcing the symphony’s cyclical nature.
The movement opens with a gentle orchestral prelude in G major, setting a peaceful, bucolic scene. The first verse of the song describes the joys of heaven in a carefree, childlike manner. This section concludes with a choral-like figure, followed by an orchestral interlude that recalls the bell motif. The second verse shifts to E minor, adding a subtle contrast as it depicts the heavenly feast in more vivid detail. Despite the darker undertones, the music remains light and flowing, underscoring the innocence of the child’s vision.
The third verse returns to G major, revisiting the themes of the first strophe with slight variations, maintaining the movement’s calm and serene atmosphere. The bell refrain returns, followed by a pastoral orchestral introduction in E major, leading into the final verse. This last section is marked by an extraordinary sense of gentle restfulness, as the soprano sings of the ultimate peace found in heaven.
The movement concludes with a luminous coda in E major, described as “heavenly” music, slowly fading into a tranquil, pianissimo postlude. The closing leaves the listener with an ambiguous sense of peace and unattainable joy, suggesting that the vision of heaven remains outside human experience. This finale offers a serene and comforting resolution to the symphony, blending childlike wonder with profound spiritual insight.
Fourth Movement lyrics
German: Das himmlische Leben (aus Des Knaben Wunderhorn)
Wir genießen die himmlischen Freuden,
D’rum tun wir das Irdische meiden.
Kein weltlich’ Getümmel
Hört man nicht im Himmel!
Lebt alles in sanftester Ruh’.
Wir führen ein englisches Leben,
Sind dennoch ganz lustig daneben;
Wir tanzen und springen,
Wir hüpfen und singen,
Sankt Peter im Himmel sieht zu.
Johannes das Lämmlein auslasset,
Der Metzger Herodes d’rauf passet.
Wir führen ein geduldig’s,
Unschuldig’s, geduldig’s,
Ein liebliches Lämmlein zu Tod.
Sankt Lucas den Ochsen tät schlachten
Ohn’ einig’s Bedenken und Achten.
Der Wein kost’ kein Heller
Im himmlischen Keller;
Die Englein, die backen das Brot.
Gut’ Kräuter von allerhand Arten,
Die wachsen im himmlischen Garten,
Gut’ Spargel, Fisolen
Und was wir nur wollen.
Ganze Schüsseln voll sind uns bereit!
Gut’ Äpfel, gut’ Birn’ und gut’ Trauben;
Die Gärtner, die alles erlauben.
Willst Rehbock, willst Hasen,
Auf offener Straßen
Sie laufen herbei!
Sollt’ ein Fasttag etwa kommen,
Alle Fische gleich mit Freuden angeschwommen!
Dort läuft schon Sankt Peter
Mit Netz und mit Köder
Zum himmlischen Weiher hinein.[note 1]
Sankt Martha die Köchin muß sein.
Kein’ Musik ist ja nicht auf Erden,
Die unsrer verglichen kann werden.
Elftausend Jungfrauen
Zu tanzen sich trauen.
Sankt Ursula selbst dazu lacht.
Kein’ Musik ist ja nicht auf Erden,
Die unsrer verglichen kann werden.
Cäcilia mit ihren Verwandten
Sind treffliche Hofmusikanten!
Die englischen Stimmen
Ermuntern die Sinnen,
Daß alles für Freuden erwacht.
English Translation: The Heavenly Life (from Des Knaben Wunderhorn)
We enjoy heavenly pleasures
and therefore avoid earthly ones.
No worldly tumult
is to be heard in heaven.
All live in the greatest peace.
We lead angelic lives,
yet have a merry time of it besides.
We dance and we spring,
We skip and we sing.
Saint Peter in heaven looks on.
John lets the lambkin out,
and Herod the Butcher lies in wait for it.
We lead a patient,
an innocent, patient,
dear little lamb to its death.
Saint Luke slaughters the ox
without any thought or concern.
Wine doesn’t cost a penny
in the heavenly cellars;
The angels bake the bread.
Good greens of every sort
grow in the heavenly vegetable patch,
good asparagus, string beans,
and whatever we want.
Whole dishfuls are set for us!
Good apples, good pears, and good grapes,
and gardeners who allow everything!
If you want roebuck or hare,
on the public streets
they come running right up.
Should a fast day come along,
all the fishes at once come swimming with joy.
There goes Saint Peter running
with his net and his bait
to the heavenly pond.
Saint Martha must be the cook.
There is just no music on earth
that can compare to ours.
Even the eleven thousand virgins
venture to dance,
and Saint Ursula herself has to laugh.
There is just no music on earth
that can compare to ours.
Cecilia and all her relations
make excellent court musicians.
The angelic voices
gladden our senses,
so that all awaken for joy.
Edith Mathis
Edith Mathis (born 11 February 1938) is a Swiss soprano. She made her operatic debut as the second boy in Zauberflöte in 1956. She continued gaining stage experience in her native Switzerland for the next three years. Her first appearance abroad was at the Cologne Opera in 1959.
In the early 1960s, she made frequent guest appearances in Hamburg, at the Glyndebourne Festival, and the Salzburg Festival.
In 1963, she became a member of the Deutsche Oper in West Berlin. She made her debut at Covent Garden and the Met in 1970. The 1970s saw her appear in the great opera houses of Europe: the Vienna State Opera, the Bavarian State Opera, and the Opéra de Paris.
In addition to her operatic career, Mathis made numerous concert tours in Lieder recitals, including tours to Japan, the USA, Australia, Russia, and Israel.
Sources
- Symphony No. 4 (Mahler) on Wikipedia
- Edith Mathis on Wikipedia
- Symphony No. 4 (Mahler, Gustav) on the International Music Score Library Project website
- “Introduction Symphony No. 4” on the Mahler Foundation website
- “Listening Guide – Symphony No. 4” on the Mahler Foundation website
- Symphony No. 4 First Movement: Bedächtig, nicht eilen (Moderately, not rushed) on the Mahler Foundation website
- Symphony No. 4 Second Movement: In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste) on the Mahler Foundation website
- Symphony No. 4 Third Movement: Ruhevoll, poco adagio (Peacefully, somewhat slowly) on the Mahler Foundation website
- Symphony No. 4 Fourth Movement: Sehr behaglich (Very comfortably) on the Mahler Foundation website
- “The Heavenly Life: A Guide to Mahler’s Symphony No. 4” on the Houston Symphony Orchestra’s website
- “Mahler Listening Guide: Symphony No. 4 in G Major” on the Utah Symphony Orchestra’s website
- “Symphony No. 4, Gustav MAHLER” on the L.A. Phil website
