DCCCI. MAHLER, Gustav: Symphony #7

DCCCI. MAHLER, Gustav (1860-1911)

Symphony #7 (1904-05)
1. Langsam -- Allegro risoluto, ma non troppo
2. Nachtmusik I
3. Scherzo
4. Nachtmusik II
5. Rondo Finale
NDR Elbphilharmonie Orchestra
Alan Gilbert, cond.
(1:29:52)

Although he was just beginning to receive appreciation for his composing, Mahler had a steady conducting gig, and was still composing his symphonies during the summer months at his retreat at Maiernigg.

He spent the summers of '04-'05 revising the Sixth and working on the Seventh.

1. Langsam -- Allegro risoluto, ma non troppo

Under an insistent, stuttering B Minor pulse, the Tenorhorn (much confusion: the Tenorhorn is pitched in E-Flat, while Mahler specifies the instrument in B-Flat, more like the baritone horn) belts out this melody:

Moving to E Minor, the horns pronounce the main theme, accompanied by the same jittery motif, but in the violins ...

The second theme is introduced in the violins -- typical heartache Mahler with fermata holds to increase tension, accompanied by rolling arpeggios in the celli:

The first violins must play a high F-Sharp!

The exposition wraps up; the development section develops and we reach a new short motif, which introduces a long section described as a "religious vision":

2. Nachtmusik I

Rembrandt: The Night Watch (1642)

Though of course Mahler never intended it to be a literal interpretation, he compared his intentions with the feeling of this Rembrandt painting.

Two horns call-and-response; the second horn muted ... the ensuing "bird-call" triplets and trills in the woodwinds evoke an eerie feeling ...

The horns introduce a new theme, which is further developed -- shrouded in ambiguity as Mahler freely switches back and forth between C Minor and C Major:

Cowbells quietly ring out -- surely a sound Mahler must have heard from his lakeside cabin!

3. Scherzo

Another painting which illustrates Mahler's musical intentions:

Henry Fuseli: The Nightmare (1781)

As one musicologist points out, this movement is really "a most morbid and sarcastic mockery of the Viennese waltz."

Like scary footsteps in the night, a half-step between timpani and low strings gradually raise to D Minor, as the muted violins play a ghoulish stop-and-start riff:

Switching to D Major, Mahler introduces a more realistic waltz melody:

A somewhat warmer theme is introduced in the Trio by the oboes:

fffff = pluck so hard that the strings hit the wood!

4. Nachtmusik II

Like many of Mahler's large-scale works, here he reduces the gigantic orchestra to a chamber music ensemble. A solo violin introduces a gentle melody on the clarinet and oboe:

And soon a French horn -- with delicate plucks from a guitar and harp -- croons out a simple melody:

The movement resolves peacefully, in anticipation of the oncoming finale:

5. Rondo Finale

The timpani introduce a fanfare-like figure which is repeated in the winds and horns:

The spirit of the finale fails to equal to the four preceding movements -- it seems stuck in a somewhat banal celebratory feeling. Unison passages feel trite in comparison. This theme pops up frequently, seemingly forcing some joyfulness:

Nevertheless, the last two bars are marvelously exciting, with the brass holding a C Augmented chord resolving to pure C Major: