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The form conventionally followed is sonata form, with an exposition, development and recapitulation, but of course with less new material than the first movement, more a combination of the material already heard. Mahler’s fourth movement of his First symphony begins with a 55 bar introduction, which is also part of the exposition. This allows time for a build up and an introduction of any new material before the main body of the movement. The introduction is in F minor, with no modulation until well into the exposition. The themes of the movement are introduced early, with a story of a battle, when preparing for a conflict. The first new idea is based on ‘Dantes Dell Inferno’ – hell, this is introduced in bar 7, in the trumpets and trombones. The second idea is also introduced early, in bar 19 by the trumpets. There were a few devices used by Mahler to achieve a battle-like effect. There is a section which appears angry, by the use of quin-duplet quavers, and lots of incisive chords, at bar 14. Double stopping is an example of a device used in the orchestration of the piece, as Mahler tended to push the instruments to their limits to achieve the best effect. Double stopping is used in the viola and cello in bar 1, which also refers to movement 1. In bar 32, Mahler varies the original rhythmic idea by augmenting the triplet quavers to crotchets. The first ‘tutti’ chord is not until bar 25, halfway through the introduction. This delay of using the full orchestra together is another example of Mahler’s unconventional orchestration. The exposition starts at bar 55 and lasts until bar 253. The form of it is – 1st subject group (bars 55-143); 1st part of transition (bars 143-167); 2nd part of transition (bars 167-174); 2nd subject group (bars 175-237); and codetta (bars 238-253). The key is F minor as before until bar 175, when there is a modulation to Db major. This is unusual as it is unrelated to the previous key. There are a few changes of mood in the exposition. The first part is much like the introduction, with a battle-like quality to it. However, the transition part slows it down to a halt, and the 2nd part of the transition takes it onto an almost songlike mood. When it reaches the codetta, there is a return to the fate themes already extended, is preparation for the development. A new idea is introduced at bar 67 in the oboes and clarinets. There are a few references to previous material in the exposition, with falling fourths from the 1st (bar 108) movement, and canonic style, which returns at bars 91-2, in the oboe and clarinet, then with an inversion in the horn. There are also a few devices used to show ‘frantic’, with a clear accenting ‘frantic’ (bar 84), and the quavers returing at 106 in the strings. This was a strong influence from Lizst. The development is in 4 or 5 sections, for the purpose of this, it is in 4. Part 1 is from bars 254-289, part 2 is from bars 290-316, part 3 from 317-427, and part 4 from 428-558. There are quite a few modulations in the development, more than in the rest of the movement. For example, in part 1, it begins in G minor (253/4), then goes to A minor (266), then has a hint of Db major (273). In part 1, the woodwind makes a few exclamations, for example at bar 262-3, which links to bar 67.There is a later exclamation at bars 274-6. Part 2 has two key changes, to C major at bar 290, and then to it’s tonic minor (C minor) at bar 312. This part is full of references to previous material, for example, the bird song of the first movement (bar 312) in the strings, with another reference to the first movement in the clarinet and oboe. The second idea is played by muted trumpets at bar 296, and a triumphant ‘chorale’, also played by trumpets (originally from bar 54). The tone is lightened by trills in the strings, which creates a dominant pedal. In part 3, the key returns to C major (bar 371), and then to D major unusually at 375. The ‘chorale’ theme truly arrives, with a counter theme played by trumpets at bar 392. The theme transforms the crucial work begun in the woodwind into oscillating quavers in the cellos and bass, which then diminishes from bar 396. Underneath these melodies at around bar 378, a military rhythm is characterised by the timpani and lower strings. Part four has frequent modulations, D minor, so the tonic major at bar 428, C major, an unrelated key at 436, Ab major at 438, the tonic pedal, C major at 441, F major at 442, C minor at 447, and C major at 454. This part sees the reintroduction of the bird call idea from the first movement, and also the ‘hell’ idea in the trumpets (4 descending staccato notes). The development seems lighter than the exposition, and in the story of a battle, it appears to be the moment that victory becomes near. Unusual elements in this movement are the amount of modulations and the relation, or lack of relation between the keys in the development. Also the inversion of subjects in the recapitulation, the 2nd subject comes before the 1st subject. This movement is almost like a story of a battle, with plenty of emotion which is created by the complicated and detailed orchestration, and the use of different techniques on instruments. Bibliography: Word Count: 970
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