自然時期：讚賞永恆的事物

全然的音樂成形

一切皆是新穎的、未知的

第二號

第三號

第四號

第六號

第七號

第八號《千人》

第九號

第十號
（僅完成第一樂章與五樂章架構）

• 00:00 1. 第一樂章 Trauermarsch (Funeral march). In gemessenem Schritt. Streng. Wie ein Kondukt (At a measured pace. Strict. Like a funeral procession.) (C-sharp minor)
• 13:04 2. 第二樂章 Stürmisch bewegt, mit größter Vehemenz (Moving stormily, with the greatest vehemence) (A minor)

Part II 第二部分

• 27:34 3. 第三樂章 Scherzo. Kräftig, nicht zu schnell (Strong and not too fast) (D major)

Part III 第三部分

• 44:33 4. 第四樂章 Adagietto. Sehr langsam (Very slow) (F major)
• 54:06 5. 第五樂章 Rondo-Finale. Allegro – Allegro giocoso. Frisch (Fresh) (D major)

Rotation 2 2:11

Rotation 3 5:23

Rotation 4 7:06

Rotation 5 9:57

參考樂譜影片

https://youtu.be/9u87xiQEWww?si=ECHBiVMabyNxyoFv

第一段落 ROTATION 1

0:00 – 樂曲以遠方的小號聲，宣告送葬進行曲開始。 

– 送葬進行曲，「樂句1」。

其核心節奏借鑒了貝多芬第五號交響曲的命運動機。

與孟德爾頌的無言歌Op. 62 No. 3：

https://youtu.be/z4OVs85YJ84?si=Unxmxp90XpwWUioa

1:06 – 送葬進行曲的第二樂段「樂句2」，進入大調。

疲憊的旋律，充滿悲傷和渴望，音樂總是向上延伸，卻在下一刻失落。

1:23 –  哀切的旋律，不斷地發展而沈寂

「樂句1」的節奏與旋律在此段亦再次出現

第二段落 ROTATION 2

2:04 – 很快，我們又回到了小調。

小號聲再次響起。 隨著遊行的臨近，這次的高潮更加混亂和不和諧。

2:54 – 葬禮進行曲，「樂句 1」

現在有更完整的和聲和管弦樂。

3:12 – 「樂句2」再次出現並發展。

號角聲中的附點節奏作為伴奏出現

旋律重新由木管與大提琴之間的對話

且越來越完整（大調） 

4:07 – 新出現的「樂句3」（Rehearsal No.5）

我們到達了進行曲的全新的「樂句3」，作為「樂句 1」大調的變奏。 

本段號角的三連音節奏與主題淡化，但依舊存在

然而，隨著動機的回歸，很快就會陷入全面的崩潰。

第三段落 ROTATION 3

5:17 – 音樂中的喧囂與不安再次出現

在弦樂益加狂放的「樂句2」變奏中

小號的「樂句 1」再次出現，兩個樂句終於重疊

此時進入對位法寫作，音樂陷入瘋狂

6:13 – 「樂句2」的變奏

弦樂狂放＋銅管動機片段出現

持續蓄積能量，音樂推至最高點

7:09 – 小號的「樂句 1」再次出現

– 小號的尾句與Oboe增值演奏

低音銅管齊奏

葬禮的行進隊伍似乎慢慢地消失在遠方

8:06 – 「樂句 1」由Oboe演奏

「樂句 2」亦出現

但主旋律已無法完整呈現支離破碎

8:23 – 「樂句 2」由雙簧管持續演奏

號角的節奏與旋律出現在「樂句 2」成為補白

音樂時而大調時而小調

人世之歌．喜悲哀歡

生死之時．愛別離苦

人生喜悲哀歎之感，此時油然而生

P.S. （來自馬勒的諷刺）

此時可能是大部分人睡著的時候

卻是音樂最精彩的時刻…

9:12 – 「樂句3」再次出現（Rehearsal No.14）

雙簧管＋A調單簧管，第二小提琴＋中提琴演奏主旋律

第一小提琴與大提琴卡農式跟隨在後

附點實質倍增

速度極緩 哀傷氛圍

進入虛空之休止段落（定音鼓預備）

第四段落 ROTATION 4（Rehearsal No.15）❤️

你還醒著嗎？最精彩的狂想要來了

10:00 – 「樂句1」由定音鼓演奏，再次出現

10:12 – 第一小提琴奏出弱起拍起始的全新「樂句4」

伴隨著「片段式」的「樂句1」

呈現出節奏的變奏

大提琴加入旋律的對話

小提琴的吶喊

反映出急切而焦急的心情

法國號的副旋律獨奏

似乎象徵那終日惶惶的不安

10:53 – （Rehearsal No.16）

小提琴的吶喊

反映出急切而焦急的心情

法國號的副旋律獨奏

似乎象徵那終日惶惶的不安

喜樂交織

內心無法寧靜

11:52 – 最後的號角聲響起，樂團越來越安靜

回歸沈寂．失望告終

送葬進行曲此時以黯然收場

– Theme 1 13:04

– Theme 2 14:25

– Theme 1 16:30

– Theme 2 18:24

Development 19:30

Recapitulation

– Theme 1 25:45

– Theme 2 26:41

0:00 – Theme 1, limb A. Instruments play incompatible, fragmented material with clashing rhythms, textures, dynamics, and harmonies, resulting in a frantic atmosphere.

0:34 – Theme 1, limb B. The instruments finally connect with each other for a brief moment, as stable rhythm, melody, and harmony are introduced.

1:02 – Violins play motives from limb B, while limb A starts to dominate brass and lower strings until it completely takes over. This leads to a collapse.

1:25 – Theme 2, phrase 1. The accompaniment is constructed from repeated notes, intertwined with leaping figures from theme 1 (0:07). The theme begins in minor.

1:50 – Theme 2, phrase 2. The music manages to modulate into major, and quickly begins to rise, trying to affirm a major tonality as the sonata’s secondary key.

2:35 – The music collapses back into minor and returns to the first phrase, with a fuller orchestration.

2:50 – A variation on the second phrase re-introduces a major tonality. However, before the music ever manages to reach a strong cadence in the major tonality, the music becomes corrupted and leads us into exposition repeat.

EXPOSITION REPEAT

3:38 – We’re back to the frustrated first theme, with even darker orchestration. The theme collapses before limb B even makes an appearance.

4:29 – The leaping figures take on the role of a transition, and produce one of the most melancholic passages in all of music. The cellos leap higher and higher, yearning to leave this place behind.

5:31 – The second theme follows the structure of the first part of the exposition, only with fuller orchestration and more countermelodies. First phrase.

5:49 – Second phrase, again modulating into major. The music starts to get corrupted much sooner than before, which means that the second theme once again fails to affirm the secondary key. DEVELOPMENT

6:20 – We periodically start to leave the sonata form. The brass inverts the second theme, now plunging downwards. The strings desperately reach higher and higher, trying to shake off the minor key.

6:53 – Suddenly we arrive at the main theme of the first movement. The second theme follows with a brief statement before we’re once again pulled out of the sonata form with a baffling march in major.

8:20 – After the climax, we’re brought back to the sonata form with theme 1 limb A. Limb B again connects the instruments, but now motives from the second theme enter into the texture, for now completely distorted by the first theme.

9:26 – The second theme manages to reclaim the music, and starts to rise. Only its second statement is present.

9:56 – Another quote from the first movement invades into the sonata form- the violent fanfare. The second theme manages to lead the music back to the sonata and starts to rise yet again with its second phrase.

10:53 – At the second peak, the second theme again collapses. Without any energy left, it almost surrenders to the first theme, before out of nowhere, a giant, glorious climax in D major ensues.

RECAPITULATION

13:16 – The first theme forcefully pulls us out of our vision, and reminds us of the bleak reality. However, the recapitulation of the first theme proves to be a complete failure, as the preceding climax dismantled the tonal schema of the movement, forcing the recapitulation to begin in D minor instead of the home key of A minor. The theme collapses very quickly.

14:27 – The recapitulation of the second theme is an even greater failure, as only fragmented accompaniment figures manage to form. The movement ends in A minor, in complete exhaustion.

– Theme 1 27:35

– Theme 2 29:56

Development 30:55

Recapitulation

– Theme 1 38:09

– Theme 2 40:40

Coda 43:40

0:00 – Theme A – Landler. It’s an Austrian dance characterized by its emphasis of the second beat. In a characteristic Mahler fashion, different strands of the dance are first presented one by one, before playfully appearing in all kinds of combinations with one another.

0:42 – Episode. The landler is put on hold, as more anxious and darker materials surface.

0:51 – Landler re-enters in the counterpoint, pulling music back to the care-free beginning.

1:12 – The dance returns to its former enthusiasm, more joyful than ever. The joy culminates in an almost aggressively happy passage.

1:30 – Episode again appears, as we begin to suspect that something’s wrong. The landler nonetheless manages to resurface.

2:26 – Theme B – Waltz. We are introduced to a lilting waltz, perhaps the first sincere moment in the movement. It features the typical Viennese rhythm of the second beat coming a bit early. The theme itself is very elegant, featuring beautiful modulations and countermelodies.

3:17 – Theme A. Landler rudely interrupts the waltz and pulls us back to its swinging rhythm. The texture grows thick and complex, as ever more elaborate combinations of strands are tested.

DEVELOPMENT

3:45 – The dark episode cuts off the landler in the middle of its phrase, and goes into a development section.

4:06 – The episode’s motives form into a proper theme. The scherzo is slowly revealing its true colors.

4:27 – Amidst the anxious episode a solo horn appears, playing a very expressive line, as if trying to tell/warn us about something.

4:40 – The episode, still needing to express its sorrow, returns. The melody is now reduced to increasingly frenzied 3 notes in the brass. This leads to a scream of terror, as the episode demands an answer.

5:08 – Solo horn again appears with an extremely beautiful recitative, attempting to answer the instruments and push them into a different direction.

6:18 – The next section merges the Viennese rhythm of theme B, with the solo horn melody, all played in anxious plucked notes.

6:45 – The waltz manages to form for a brief moment before the solo horn melody appears on a less-threatening clarinet.

7:04 – In a beautiful moment, the violins and horns play solo horn melody in an imitative duet, finally developing it into a theme. It seems like the instruments listened to what the horn had to say.

7:29 – More canonic imitation on the solo horn figures ensue, with the tone starting to gradually darken.

8:00 – Various instruments give their take on the horn figures, desperately trying to save the music from winding back to the dark episode material. At 8:20 we hear the landler attempting to form, trying to take us back to the comforting ignorance of the exposition.

9:03 – Empowered by the horn material, the genuinely joyful waltz starts to form.

9:25 – As we find out, the anxious episode hasn’t been defeated yet. We hear it desperately trying to form and voice its grief, completely distorting the once gracious waltz into an aggressive and chaotic sequence, bursting with tension.

9:47 – The episode starts to dominate the orchestra, and we again hear the landler in the different instruments trying to form.

RECAPITULATION

10:03 – Right at the emotional peak of the dark episode, the landler interrupts, transitioning us straight into the recapitulation. Here the true nature of the landler is explained to us.

10:43 – As much as the dance would like to remain ignorant of the music’s true state of emotions, we’re constantly reminded of the development section through brief interjections that the landler was unable to silence.

11:18 – The landler becomes more and more distorted and aggressive, as it tries to put on a fake smile.

11:38 – Episode. This time the solo horn figures take the foreground, trying to calm the music down.

12:30 – The waltz tries to form, but the anxiety of the music fragment and distorts it, preventing the gentle waltz from ever appearing in the recapitulation.

13:33 – The music again unleashes a scream of terror and the horn answers. After another frenzied scream, it manages to calm the music down, and it again begins to preach to the instruments.

CODA

15:25 – The contradictions of the movement unleash all of their built-up tension. The episode material wants to voice its grief and terror, all the while the landler wants to end the movement in triumph. And so, those ideas collide in a genius coda, exploding with tension and terror.

B 48:07

A 50:46

0:50 – Theme A, second statement, with the melody now in the cellos.

1:50 – Theme A, third statement. Violins invert the opening notes, as the third statement commences. Ornamentation is added.

2:18 – The theme can’t contain itself anymore, as it bursts out into an impassioned climax, ripping its heart out.

2:40 – Closing gestures.

3:09 – Theme B – a passionate prayer.

3:54 – Passion turns into gratitude, portrayed by a very delicate and vulnerable melody.

5:13 – Music concentrates on 3 notes, playing them slower and slower, anticipating the return of the main theme.

5:40 – A heart-stopping glissando transitions us back into theme A, which is repeated with slight changes to the melody.

Rondo theme 54:48

Episode 1 55:23

Transition 1 56:12

Rondo theme 56:51

Episode 2A 57:27

Episode 2B 57:52

Transition 2 58:43

Episode 2A 59:06

Episode 1 59:26

Transition 3 1:00:01

Transition 1 1:00:14

Episode 2A 1:00:32

Episode 2B 1:01:10

Transition 2 1:02:03

Episode 2A 1:02:13

0:45 – Theme – a pastoral melody, rich with countermelodies.

1:21 – Episode 1, based on motives from the introduction.

2:44 – A short transition, using the introduction motives in cannon.

2:56 – Theme

3:31 – Episode 2 – a proud, if a bit clumsy melody, always rising.

3:58 – The second episode is transformed into a lilting dance, revealing that it is in fact a quote from the Adagietto’s middle section!

4:50 – Episode 2 fragmented, descending in sequences.

5:12 – Episode 2, slowly morphing into episode 1.

5:33 – Episode 1

5:59 – Episode 1 starts to rise in sequences, reaching for a climax.

6:11 – We return back down, as the horn call motive transitions us back to the theme.

6:26 – Theme.

6:37 – Playful sequence based on episode 1.

7:00 – Episode 2, rising. Just as we were about to reach the climax the music again fakes out.

7:27 – Lilting dance transformation of episode 2 (adagietto quote).

8:19 – Episode 2 fragmented, descending in sequences.

8:27 – Episode 1 accompaniment merges with the melody of episode 2.

9:08 – We again reach for the climax.

9:30 – The melodies from the episodes in a fugato, but once again right before the climax we return to the beginning.

9:46 – Theme.

10:08 – Episode 1 appears augmented on top of the theme.

10:47 – Episode 1 in its original form

11:18 – Episode 1 starts rising towards the climax, but as expected, the music again recedes just before we reach it.

11:38 – At the bottom, the principal theme starts to pick up the pieces. Different instruments gradually join, all eager to give their take on the theme.

12:30 – We skip straight to the lilting dance transformation of episode 2 (adagietto quote), which starts rising right away.

14:07 – After more than an hour into the symphony, we finally reach a stable climax in a major key. At the top, we’re greeted by episode 1 in a gracious statement.

14:29 – The vision from the second movement turns to reality. The vision is in fact constructed out of the motives from the introduction

14:55 – The principal theme closes off the movement in a playful and sunny variation.