【BON音樂】大人社團Ｘ蹦藝術 第九號交響曲聯演（四）馬勒第九號交響曲

0:00 – Theme group 1. The music opens with the movement’s most important motives: a syncopated pulse in the cellos and the horns, a broken D major triad in the harp, a distant horn call, and a tremolo in the strings.

0:33 – After the violins introduce us to the last important motive – Lebwohl/farewell motive (a descending second), the motives start to expand into an extremely beautiful theme.

2:18 – Transition. Slowly, the music starts to descend into chaos and confusion. The texture starts to become denser and denser, as new independent voices keep joining the overwhelming polyphony. The motives of the introduction struggle to keep up with the music and are soon drowned in the polyphony.

3:09 – Theme group 2. At the climax, the different voices finally somewhat connect. Soon, a bitter, syncopated trumpet motive is introduced, which will come to represent the violent, tortured side of the music throughout the movement (and is in fact derived from the lebwohl motive). EXPOSITION REPEAT

3:45 – Theme group 1 manages to return the music to D major and again establish a peaceful atmosphere. This time it’s much more confident, with the once distant horn call now being heard in the foreground. The motives of the introduction are further expanded, with an emphasis on the lebwohl motive.

4:56 – Gorgeous modulations.

6:02 – Theme group 2. The timbre suddenly darkens, as the second theme group starts to again pull us into darkness. The motives of the introduction are dismissed even sooner before the syncopated trumpet motive leads us into an overwhelming climax.

DEVELOPMENT

7:20 – After the second theme group collapses, an amazing atmosphere is set, with the motives from the opening transformed into their distorted, grotesque counterparts, as the music is still under the influence of the second theme group. The violent syncopated motive can be heard in the muted trumpets. Slowly, the motives start to transform back to their original states, trying to again reach D major.

9:54 – The atmosphere of the opening and D major tonality is reached. Lebwohl motive is played in the form of playful exchanges between the strings.

11:13 – Theme group 2 starts to creep in the texture, soon dominating the music with polyphony and the syncopated trumpet motive.

12:03 – The horn call from the opening returns, battling with the second subject. For a brief moment, it succeeds to transform the syncopated trumpet motive into a joyful melody, but the hysteria of the second theme group returns, leading to a collapse.

13:15 – The dense polyphony returns, as the violins struggle to clear the texture and unify the different voices. Fragments of the syncopated trumpet motive can be always heard in the background, fighting the lebwohl motive.

14:35 – The syncopated trumpet motive returns in its entirety, leading the music to a climax, and then a collapse.

15:32 – The syncopated trumpet motive starts to dissolve into the lebwohl motive, leading to a return of the grotesque version of the first theme group.

17:38 – The first theme group is again reached in the form of a beautiful violin and flute duet.

18:21 – We’re once again pulled into chaos all too soon. The winds try to resist with the lebwohl motive, but the syncopated trumpet motive pulls us right into the greatest violence.

19:07 – The horn call of the opening once again appears, trying to restore order. As before, The syncopated trumpet moment is transformed into a joyful melody for just a brief moment, before as Berg puts it: “Death itself is announced with the greatest force”.

20:12 – The motives of the opening are now more violent and distorted than ever. But slowly and patiently, the timbre lightens, and we find ourselves back in D major.

RECAPITULATION

22:11 – Theme group 1. As we near the second theme group, the music becomes more and more distorted, and even though the motives from the opening try to prevent the transition with all their might, the second theme group again appears.

24:00 – Theme group 2, announced by the arrival of the syncopated trumpet motive. But in a genius moment, a series of solo instruments calm the music down, preventing another passage of overwhelming polyphony.

26:00 – The syncopated horn motive manages to burst out one more time, but is quickly silenced, transitioning us to the serene atmosphere of the coda.

CODA

26:35 – The once violent syncopated trumpet motive is transformed into a beautiful horn duet. An augmented version of the horn call and the lebwohl motive both appear, revealing their shared roots.

28:39 – The lebwohl motive is played one last time, allowing us to feel the smallest bit of bliss and closure before the music gently dies away.

2:53 – Section B, waltz. Again, the dance opens with rather simple harmonies and textures. But throughout this section, the opening gets developed so much that the original is barely recognizable by the end. The music is very persistent, always driving towards the next bar.

4:23 – Section A. The landler is even more grotesque with many “wrong” notes in its melodies and awkward orchestration.

5:20 – Section C, landler. The tempo slows down, and a calm atmosphere is achieved, as we’re finally allowed to take a break from the frenzied and crude dances. This section transforms the material of the opening landler to fit its style of dance. The orchestration is much more gentle, the melodies a lot more elegant, and the textures are a lot more clear.

7:13 – Section B. The Waltz returns in another forceful mood and style change.

8:38 – Section C. Listen to the amazing countermelodies in the horn and bassoon.

10:21 – Section A. At this point, the material of the landler is a lot more developed and fleshed out than it was in the opening. Solos from instruments give a real sense of development within material, as well as creating a wonderful concoction of textures.

11:29 – Section B. The waltz also appears in a more fleshed-out state, making use of extremities in register and textures.

13:41 – Section A. The opening landler returns one last time, with almost painful limping rhythms that seem stuck in place. Past material from all the different styles and dances merge in landler form, never again reaching the momentum they once possessed while providing us an extremely satisfying resolution of the tensions brought on by the contrasts between the themes. In the last bar piccolo and contrabassoon join forces to bring the movement to its sad, grotesque conclusion.

0:45 – Fugato. The motives of the introduction connect into a passage of extremely complex counterpoint.

1:50 – Episode 1. The motives now appear in a more pastoral and lyrical manner, which starts to sound sarcastic and mocking once put into the context of the rest of the movement.

3:03 – Fragments of the fugato section reappear as we start to modulate back to the tonic.

3:33 – Fugato. Once we’re in A minor, the fugato again fully forms, this time with even more voices.

4:27 – Episode 1

5:19 – Fugato

5:56 – Episode 2. Announced by a cymbal crash, the second episode takes us into a more reflective and sincere atmosphere. This section is dominated by a 4-note turn motive, which will also play an integral role in the finale.

9:42 – The anxious fugato starts to distort the calm music and tries to make a return. The episode however doesn’t give in, and the fugato is only allowed to return after the episode has finished its course.

11:33 – Fugato. The music regains its frenzied and ironic qualities, as the fugato reappears with even more voices and the inclusion of percussion.

13:10 – Coda. All the motives return and participate in a shouting contest with each other, before abruptly ending the movement.

0:24 – Theme. The main theme is constructed out of a warm line reminiscent of sighs and the turn motive. What would otherwise be a happy theme is undermined by ambiguous, even turbulent harmonies, and just enough counterpoint to prevent unity. In the second half of the theme, the harmony and melody start to rise.

1:47 – Episode. The texture completely thins, as sudden coolness takes over the music. A bassoon enters with a new motive, played without expression.

2:07 – Transition. We dismiss the episode completely, as passion returns to the music, leading us back to the theme. We get introduced to the second important motive – an oscillation between two notes a half step apart.

2:47 – Variation 1. Over the original bassline and chord progressions, new instruments enter for the first time and expand on the original melody. Soon, the theme again starts to rise.

4:29 – Episode. The passionate music is again interrupted by the thinning of the texture. The instruments play at the opposite extremes of the registers, making the music sparse and vulnerable. As strings join with the turn motive more and more instruments start to enter, gradually filling the texture. The transition is skipped.

7:09 – Variation 2. The harmonies and the melody of the theme get further expanded upon, drawing material from the previous section. Gradually more and more extravagant chords appear in the harmony, causing chaos.

8:20 – The music succeeds at stabilizing the harmonies, allowing it to continue its statement. Amidst the passion, the oscillating motive returns.

9:34 – Variation 3. We only get the frame of the theme, with the melody missing.

10:15 – Variation 4. The theme is transformed once again, this time with its melody returning, and being supported by the whole orchestra. As the theme starts to rise, the harmony becomes more and more turbulent, and the voices become more and more independent, causing chaos.

11:05 – After the climax fails, the turn motive already starts to pick up the pieces and tries to return to the theme. Fragments of the main melody appear in combination with gentle statements of the turn motive.

13:33 – Episode. When the cold music again forms, it lacks the bleak discomfort of its previous appearances. Instead, it’s much more resolved and even warm.

15:48 – The transition returns, gradually becoming more and more frantic and distorted as it searches for its way back to the theme. The music is dominated by the turn motive and the oscillating motive.

17:52 – Variation 5. The music manages to safely arrive back to the theme with a powerful statement.

18:40 – Variation 6. Everything undermining the theme from the start moves to the foreground. Dissonant harmonies, bombastic orchestration, chaotic counterpoint, and the instability of the turn motive thin out the music.

19:19 – We arrive at the music of the transition, once again searching for a way back to the main theme, trying to escape the frenzy at all costs.

20:12 – Variation 7. This time, we reach the theme without any chaos or frenzy. For one last time, the music again starts to climb, but the climax once again fails, as the orchestration thins out, leaving only the strings in an awkward passage.

21:25 – Coda. Here, we pass the point of no return. The instruments drop out one by one, speaking only in detached fragments of past themes. Ironically, it is only at this point that the themes finally get rid of the destructive harmonies and the chaotic counterpoint. Last to fully resolve is the turn motive, who after a couple of incomplete statements gets inverted, and gently lands on the final chord.

Wiener Philharmoniker / Bruno Walter (1876-1962)

A live recording from Grossen Musikvereinssaal in Vienna on 16th January 1938.

00:00 I. Andante comodo

25:00 II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb

40:45 III. Rondo-Burleske: Allegro assai. Sehr trotzig

52:10 IV. Adagio. Sehr langsam und noch zurückhaltend

Claudio Abbado, conductor

Lucerne Festival Orchestra, 2010

0:00 – Opening

1:04 – 1. Andante comodo

28:10 – 2. Im tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb

44:00 – 3. Rondo-Burleske: Allegro assai. Sehr trotzig

56:55 – 4. Adagio: Sehr langsam und noch zurückhaltend

1:27:29 – Ending

0:40 I. Andante comodo

25:50 II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb

41:05 III. Rondo-Burlesque. Allegro assai. Sehr trotzig

53:57 IV. Adagio. Sehr langsam und noch zurückhaltend