Symphony No. 6 (Mahler) - Knowledge (XXG)

1045: 1442:"I believe that all serious students of his music should make up their own minds about which order in their view represents Mahler's genius. He was after all in two minds about it himself. We should let the music – how we hear it – decide! For me there is no right or wrong in this matter. We should continue to hear, quite legitimately, both versions of the symphony, according to the convictions of the interpreters involved. After all the first version has a fascinating history and legitimacy endowed by none other than the composer himself! Of course we must respect the fact of his final change of mind but to imagine that we should accept this without debate or comment beggars belief." 37: 1421:"It is far more likely ten years after Mahler's death and with a much clearer perspective on his life and career, Alma would have sought to be faithful to his artistic intentions. Thus, her telegram of 1919 still remains a strong argument today in favour of Mahler's original order...it is stretching the bounds of both language and reason to describe as the "only correct" one. Mahler's Sixth Symphony, like many other compositions in the repertory, will always remain a "dual-version" work, but few of the others have attracted quite as much controversy." 1462:"So as far as the facts go, then, we have on the one hand what Mahler actually did when he last performed the symphony, and on the other hand, what he originally composed and what his wife reported that he ultimately wanted. Any objective observer would be compelled to admit that this constitutes strong evidence for both perspectives. This being the case, the responsible thing to do in revisiting the need for a new Critical Edition would be to set out all of the arguments on each side, and then 964: 783: 586: 858: 1097:, have restored the third hammer blow. The piece ends with the same rhythmic motif that appeared in the first movement, but the chord above it is a simple A minor triad, rather than A major turning into A minor. After the third 'hammer-blow' passage, the music gropes in darkness and then the trombones and horns begin to offer consolation. However, after they turn briefly to major they fade away and the final bars erupt 3421: 832: 1021: 1059: 929: 1244:(IGMG) and its president, Erwin Ratz, a pupil of Webern, an edition which restored Mahler's original order of the inner movements. Ratz, however, did not offer documented support, such as Alma Mahler's 1919 telegram, for his assertion that Mahler "changed his mind a second time" at some point before his death. In his analysis of the Sixth Symphony, 1182:

Symphony, in November 1906 (Munich) and 4 January 1907 (Vienna) with his revised order of the inner movements. In the period immediately after Mahler's death, scholars such as Paul Bekker, Ernst Decsey, Richard Specht, and Paul Stefan published studies with reference to the Sixth Symphony in Mahler's second edition with the Andante/Scherzo order.

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and with a non-metallic character (like the fall of an axe)." The sound achieved in the premiere did not quite carry far enough from the stage, and indeed the problem of achieving the proper volume while still remaining dull in resonance remains a challenge to the modern orchestra. Various methods of producing the sound have involved a wooden

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eventually fatal heart condition, and his forced resignation from the Vienna Opera and departure from Vienna. When he revised the work, Mahler removed the last of these three hammer strokes so that the music built to a sudden moment of stillness in place of the third blow. Some recordings and performances, notably those of

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In addition to very large woodwind and brass sections, Mahler augmented the percussion section with several unusual instruments, including the famous "Mahler hammer". The sound of the hammer, which features in the last movement, was stipulated by Mahler to be "brief and mighty, but dull in resonance

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According to Alma Mahler, in this movement Mahler "represented the unrhythmical games of the two little children, tottering in zigzags over the sand". The chronology of its composition suggests otherwise. The movement was composed in the summer of 1903, when Maria Anna (born November 1902) was less

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it has elements of what is conventionally known as 'sonata form', but the music does not follow a set pattern ... Thus, 'expositional' treatment merges directly into the type of contrapuntal and modulatory writing appropriate to 'elaboration' sections ...; the beginning of the principal theme-group

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An additional question is whether to restore the third hammer blow. Both the Ratz edition and the Kubik edition delete the third hammer blow. However, advocates on opposite sides of the inner movement debate, such as Del Mar and Matthews, have separately argued for restoration of the third hammer

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Anton Webern had favoured the original order of movements in the two performances he conducted in Vienna on 14 December 1930 and 23 May 1933. Webern was not only a great composer, but also one of Mahler's earliest and most passionate devotees and a much admired conductor of Mahler's music...it is

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During those later May 1906 rehearsals in Essen, however, Mahler decided that the slow movement should precede the scherzo. Klaus Pringsheim, another colleague of Mahler's at the Hofoper, reminisced in a 1920 article on the situation at the Essen rehearsals, on Mahler's state of mind at the time:

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have argued for the original order as more appropriate, expostulating on the overall tonal scheme and the various relationships between the keys in the final three movements. Füssl, in particular, noted that Ratz made his decision under historical circumstances where the history of the different

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to prepare a "second edition" of the work with the movements in that order, and meanwhile to insert errata slips indicating the change of order into all unsold copies of the existing edition. Mahler conducted the 27 May 1906 public premiere, and his other two subsequent performances of the Sixth

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Alma quoted her husband as saying that these were three mighty blows of fate befallen by the hero, "the third of which fells him like a tree". She identified these blows with three later events in Gustav Mahler's own life: the death of his eldest daughter Maria Anna Mahler, the diagnosis of an

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Those close to him were well aware of Mahler's "insecurity". Even after the final rehearsal he was still not sure whether or not he had found the right tempo for the Scherzo, and had wondered whether he should invert the order of the second and third movements (which he subsequently

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first movement (even including an exact repeat of the exposition, unusual in Mahler) leading to the middle movements – one a scherzo-with-trios, the other slow. However, attempts to analyze the vast finale in terms of the sonata archetype have encountered serious difficulties. As

1139:. It was in this arrangement that the symphony was completed (in 1904) and published (in March 1906); and it was with a conducting score in which the scherzo preceded the slow movement that Mahler began rehearsals for the work's first performance, as noted by Mahler biographer 1147:"Scherzo 2" was undeniably the original order, the one in which Mahler first conceived, composed, and published the Sixth Symphony, and also the one in which he rehearsed the work with two different orchestras before changing his mind at the last minute before the premiere. 1151:

Alfred Roller, a close collaborator and colleague of Mahler's in Vienna, communicated in a 2 May 1906 letter to his fiancée Mileva Stojsavljevic, on the Mahlers' reaction to the 1 May 1906 orchestral rehearsal of the work in Vienna, in its original movement order:

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Mengelberg, who had been in close touch with Mahler until the latter's death, and had conducted the symphony in the "Andante/Scherzo" arrangement up to 1916, then switched to the "Scherzo/Andante" order. In his own copy of the score, he wrote on the first page:

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Controversy exists over the order of the two middle movements. Mahler conceived the work as having the scherzo second and the slow movement third, a somewhat unclassical arrangement adumbrated in such earlier large-scale symphonies as Beethoven's

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The work is in four movements and has a duration of around 80 minutes. The order of the inner movements has been a matter of controversy. The first published edition of the score (C. F. Kahnt, 1906) featured the movements in the following order:

1408:"...that very idea which many listeners today consider one of the most audacious and brilliant ever conceived by Mahler –: the linking of two movements – one in quadruple, the other in triple time – with more or less the same thematic material" 1194:

to Alma Mahler in preparation for the May 1920 Mahler Festival in Amsterdam of the complete symphonies, regarding the order of the inner movements of the Sixth Symphony. In a telegram dated 1 October 1919, Alma responded to Mengelberg:

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Mahler requested that the celesta part should be doubled or tripled if possible. The number of harps specified is ambiguous, with Mahler calling for two in his list of instruments, but at one point calling for four harps in the score.

1430:"...given that Mahler changed his mind so many times, it is understandable that a conductor might nowadays wish to stand by the order in the second version, if he is deeply convinced that he can serve the work better by doing this." 1222:, continued to perform (and eventually record) the work as 'Andante/Scherzo', per the second edition, right up to the early 1960s. Exceptions included two performances in Vienna on 14 December 1930 and 23 May 1933, conducted by 1412:

Moreover, de La Grange, referring to the 1919 Mengelberg telegram, has questioned the notion of Alma simply expressing a personal view of the movement order, and reiterates the historical fact of the original movement order:

1466:. Let the performers decide, and admit frankly that if the criterion for making a decision regarding the correct order of the inner movements must be what Mahler himself ultimately wanted, then no final answer is possible." 1331:"As the current Chief Editor of the Complete Critical Edition, I declare the official position of the institution I represent is that the correct order of the middle movements of Mahler's Sixth Symphony is Andante-Scherzo." 265:

to arrange the symphony, he did not authorize any sort of nickname for the symphony. He had, as well, decisively rejected and disavowed the titles (and programmes) of his earlier symphonies by 1900. Only the words

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as the preferred order, again citing the overall tonal scheme of the symphony. In keeping with Mahler's original order, British conductor John Carewe has noted parallels between the tonal plan of Beethoven's

1044: 3388: 1226:, who utilised the Scherzo/Andante order of the inner movements. Anna Mahler, Mahler's daughter, attended both of these performances. De La Grange commented on Webern's choice of the Scherzo/Andante order: 1479:

This discography encompasses both audio and video recordings, and classifies them as to the order of the middle movements. Recordings with three hammer blows in the finale are noted with an asterisk (*).

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The Scherzo is an example of 'developing variation' in its treatment of material from the first movement, where separation of the Scherzo from the first movement by the Andante disrupts that linkage.

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major, though it frequently touches on the minor mode as well. The orchestration is more delicate and reserved in this movement, making it all the more poignant when compared to the other three.

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The last movement is an extended sonata form with an introduction and coda, characterized by drastic changes in mood and tempo, the sudden change of glorious soaring melody to deep agony.

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The status of the symphony's nickname is problematic. Mahler did not title the symphony when he composed it, or at its first performance or first publication. When he allowed

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order) have independently proposed the idea of two separate editions of the symphony, one to accommodate each version of the order of the inner movements. Music commentator

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One of the first occasions after Mahler's death where the conductor reverted to the original movement order is in 1919/1920, after an inquiry in the autumn of 1919 from

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as the second movement, and this new order of the inner movements was reflected in the second and third published editions of the score, as well as the Essen premiere.

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major, is farthest removed from the key at the close of the first movement (A major), whilst the C minor key at the beginning of the finale acts as transition from E

829:, claimed represented her. This melody is often called the "Alma theme". A restatement of that theme at the movement's end marks the happiest point of the symphony. 627:, or sometimes simultaneous use of more than one of these methods. Contemporaries mocked the use of the hammer, as shown by a caricature from the satirical magazine 3378: 973: 1404:

order would damage the structure of the tonal key relationships and remove this parallel, a structural disruption of what de La Grange has described as follows:

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Today I was there at noon, but I could not talk much with Alma, since M was almost always there, I saw only that the two of them were very happy and satisfied...

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in 1902, and during the course of the work's composition his second daughter was born. This contrasts with the tragic, even nihilistic, ending of No. 6. Both

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The movement is punctuated by two hammer blows. The original score had five hammer blows, which Mahler subsequently reduced to three, and eventually to two.

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Darcy, Warren (Summer 2001). "Rotational Form, Teleological Genesis, and Fantasy-Projection in the Slow Movement of Mahler's Sixth Symphony".

3020: 2946: 2653: 2183: 2034: 2024: 2014: 1741: 1315:, restores most of Mahler's original orchestration and utilises the original order of Scherzo/Andante for the order of the middle movements. 2970: 773: 3467: 3383: 801: 2054: 734:

is recapitulated in C minor rather than in A minor, and the C minor chorale theme ... of the exposition is never recapitulated at all.

2749:"Mahler: Symphony No. 6 (study score). Neue Kritische Gesamtausgabe, Reinhold Kubik, ed. C.F. Peters and Kaplan Foundation. EP 11210" 3094: 3061: 2931: 2883: 2859: 2723: 2681: 2628: 2492: 2464: 2064: 1982: 1764: 1549: 3220: 1396:

as similar to Mahler's interconnectivity of the first two movements of the Fifth Symphony, and that performing the Mahler with the

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praised the work when they first heard it. Berg expressed his opinion of the stature of this symphony in a 1908 letter to Webern:

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The scherzo marks a return to the unrelenting march rhythms of the first movement, though in a 'triple-time' metrical context.

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Kirill Kondrashin, SWR Sinfonieorchester Baden-Baden und Freiburg, Hänssler Classic 9842273 (live recording from January 1981)

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Monahan, Seth (Spring 2011). ""I have tried to capture you ...": Rethinking the "Alma" Theme from Mahler's Sixth Symphony".

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Michael Gielen, SWR Sinfonieorchester Baden-Baden und Freiburg, SWR Classic SWR19080CD (live concert performance from 2013)

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Michael Gielen, SWR Sinfonieorchester Baden-Baden und Freiburg, SWR Classic SWR19080CD (live concert performance from 1971)

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inconceivable that he could have performed a version that would have shocked and displeased his beloved master and mentor."

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This motif reappears in subsequent movements. The first movement also features a soaring melody which the composer's wife,

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for itself lacking documentary support and for expressing a personal preference based on subjective animus related to the

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Sir John Barbirolli. New Philharmonia Orchestra, Testament SBT1451 (live recording of 16 August 1967 Proms performance)

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provides a respite from the intensity of the rest of the work. Its main theme is an introspective ten-bar phrase in E

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The most recent IGMG critical edition of the Sixth Symphony was published in 2010, under the general editorship of

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Erich Leinsdorf, Bavarian Radio Symphony Orchestra, Orfeo C 554 011 B (live recording of 10 June 1983 performance)

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order of the inner movements, and criticised the Ratz edition for its lack of documentary evidence to justify the

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David Matthews, 'The order of the middle movements in Mahler's Sixth Symphony' (website blog entry), January 2016

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Rafael Kubelík, Bavarian Radio Symphony Orchestra, Audite 1475671 (live recording of 6 December 1968 performance)

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autographs and versions was not completely known at the time. Füssl has also noted the following features of the

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Klaus Tennstedt, London Philharmonic Orchestra, EMI Classics 7243 5 55294 28 (live recording from November 1991)

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order of movements in the latter. David Matthews has noted the interconnectivity of the first movement with the

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Contemporary caricature about the unorthodox usage of a hammer: "My god, I forgot the car horn! Now I can write

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Simon Rattle, Berlin Philharmonic Orchestra (live recordings from 1987 and 2018, with DVD of 2018 performance)

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Yevgeny Svetlanov, State Symphony Orchestra of the Russian Federation, Warner Classics 2564 68886-2 (box set)

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Herbert von Karajan, Berlin Philharmonic, Fachmann FKM-CDR-193 (live recording of 27 August 1977 performance)

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Antal Doráti, Israel Philharmonic Orchestra, Helicon 9699053 (live recording of 27 October 1963 performance)

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Herbert von Karajan, Berlin Philharmonic, Saint Laurent Studio (live recording of 17 June 1977 performance)

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on 27 May 1906. Mahler composed the symphony at an exceptionally happy time in his life, as he had married

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Rabinowitz, Peter J. (September 1981). "Pleasure in Conflict: Mahler's Sixth, Tragedy, and Musical Form".

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Mariss Jansons, Bavarian Radio Symphony Orchestra, BR Klassik 900719 (live performance from October 2011)

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for imposing an advance bias rather than allowing musicians to arrive at their own choice independently.

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The Scherzo and the first movement use identical keys, A minor at the beginning and F major in the trio.

465: 349: 1327:, and uses the Andante/Scherzo order for the middle movements. Kubik had previously declared in 2004: 1932: 1860: 498: 2975: 2170:

Sir John Barbirolli, New Philharmonia Orchestra, EMI 7 67816 2 (studio recording, 17–19 August 1967)

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De La Grange has noted the justification of having both options available for conductors to choose:

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This statement has been criticised, in the manner of earlier criticism of Ratz, on several levels:

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The first three movements are relatively traditional in structure and character, with a standard

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Andrew Litton, Dallas Symphony Orchestra, Delos (live recording, limited commemorative edition)

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for its blanket dismissal of the evidence of the original score with the Scherzo/Andante order

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Klaus Tennstedt, London Philharmonic Orchestra. LPO-0038 (live recording from the 1983 Proms)

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Hartmut Haenchen, Orchestre Symphonique du Théâtre de la Monnaie, ICA Classics DVD ICAD5018

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In 1963, a new critical edition of the Sixth Symphony appeared, under the auspices of the

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Performed by the Virtual Philharmonic Orchestra (Reinhold Behringer) with digital samples

2802:"Interview with Sir Mark Elder as he prepares to conduct the Halle in a Mahler marathon" 2563: 2164:, Berlin Philharmonic, Testament SBT1342 (live recording of 13 January 1966 performance) 1701:

Eliahu Inbal, Frankfurt Radio Symphony Orchestra, 1986, Denon Blu-spec cd (COCO-73280-1)

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published (first edition, 1906; revised edition, 1906), in Specht's officially approved

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Michael Gielen, SWR Sinfonieorchester Baden-Baden und Freiburg, Hänssler Classics 93029

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echoed the dual-version scenario and the need for the availability of both options:

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Simon Rattle, Berlin Philharmonic Orchestra, BPH 7558515 (live recording from 1987)

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Vladimir Fedoseyev, Tchaikovsky Symphony Orchestra of Moscow Radio, Relief 2735809

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Leonard Bernstein, Vienna Philharmonic, Deutsche Grammophon 289 427 697-2 (*)

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Matthews, Paul Banks and scholar Warren Darcy (the last an advocate for the

624: 529: 477: 61: 2777:"The Mahler Symphonies – A synoptic survey by Tony Duggan: Symphony No. 6" 2125:, San Diego Symphony proprietary label, Jacobs Masterworks (recorded 2008) 287: 2151:, New York Philharmonic, NYP Editions (live recording from 10 April 1955) 1886: 1214:("According to Mahler's indications, first II Scherzo, then III Andante") 438: 395: 328:

The symphony is scored for large orchestra, consisting of the following:

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Gary Bertini, Cologne Radio Symphony Orchestra, EMI Classics 94634 02382

2301:, Southwest German Radio Symphony Orchestra, SWR 19099 (live recording) 2208:

Claudio Abbado, Berlin Philharmonic, Deutsche Grammophon 289 477 557-39

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Glen Cortese, Manhattan School of Music Symphony Orchestra, Titanic 257

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Sir Simon Rattle, Bavarian Radio Symphony Orchestra, BR Klassik 900217

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Hartmut Haenchen, Netherlands Philharmonic Orchestra, Capriccio 10 543

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Bernard Haitink, Chicago Symphony Orchestra, CSO Resound 210000045796

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Anton Nanut, Radio Symphony Orchestra Ljubljana, Zyx Classic CLS 4110

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Daniel Harding, Bavarian Radio Symphony Orchestra, BR-Klassik 900132

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Lorin Maazel, Royal Concertgebouw Orchestra, RCO Live RCO 12101 DVD

1818:, Saint Petersburg Philharmonic Orchestra, RS Real Sound RS052-0186 746:

The first movement, which for the most part has the character of a

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Heinz Rögner, Berlin Radio Symphony Orchestra, Eterna 8-27 612-613

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American premiere: 11 December 1947, New York City, conducted by

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Petr Vronsky, Moravian Philharmonic Orchestra, ArcoDiva UP0122-2

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Mariss Jansons, Royal Concertgebouw Orchestra, RCO Live RCO06001

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Christoph von Dohnányi, Cleveland Orchestra, Decca 289 466 345-2

542: 444: 360: 2984: 2898:, "Zur Stellung des Mittelsätze in Mahlers Sechste Symphonie". 2314:

Simon Gaudenz, Jenaer Philharmonie, Odradek Recordings ODRCD450

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Charles Adler, Vienna Symphony Orchestra, Spa Records SPA 59/60

1657:, Chicago Symphony Orchestra, Deutsche Grammophon 289 423 928-2 2070:

Martin Sieghart, Arnhem Philharmonic Orchestra, Exton HGO 0403

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Jonathan Darlington, Duisburg Philharmonic, Acousence 7944879

2446:"Analysis versus history: Erwin Ratz and the Sixth Symphony" 2282:

James Levine, Boston Symphony Orchestra, BSO Classics 0902-D

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Emil Tabakov, Sofia Philharmonic Orchestra, Capriccio C49043

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The 1968 Eulenberg Edition of the Sixth Symphony, edited by

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Gustav Mahler's orchestration of Beethoven's Symphony No. 9

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Valery Gergiev, London Symphony Orchestra, LSO Live LSO0661

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Gabriel Feltz, Stuttgart Philharmonic, Dreyer Gaido 9595564

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Harold Farberman, London Symphony Orchestra, Vox 7212 (CD)

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Order of the inner movements and performance history issue

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order, but has since changed his mind and now argues for

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