Symphony No. 10 (Mahler)
The 10th Symphony of Gustav Mahler is the last work of the composer - it remained unfinished.
Gustav Mahler began in July 1910, shortly after completion ( fair copy ) his ninth, to work on a tenth symphony, which include five sets and should be written in the key of F sharp major. Mahler could not complete the score - he presented the work already in September 1910 again and could then not resume because of the workload and his health until his death in 1911. However, initially were the first set, an adagio, and the third, called Purgatorio by Ernst Krenek brought to the designs into a sideshow mature form and on October 12, 1924 by Franz Schalk premiered at the Vienna State Opera. The score of these two sets was not published until 1951.
Gustav Mahler's work in his works was usually in several stages: After the first sketches a work was first drafted in short score on three to five staves and then transferred to a score design. In the subsequent clean copy usually made more makeovers and before printing the engraving templates were again corrected and incorporated instrumentation technical retouching, which usually resulted from the experiences of the first performances.
None of the five movements of the 10th symphony has acquired the stage the score fair copy. Only the first and second sentence and 30 strokes of the third set exist as a score design. But only the design of the first movement ( Adagio ) is instrumented so far that it can be played without further additions by another hand. However, it is not long is a final version. The symphony, however, lies entirely in the short score before, so Deryck Cooke was able to determine with some justification that it was at the symphony not a fragment, but a torso sui generis.
Construction
The design for the full symphony provides the following construction steps:
Gustav Mahler's Symphony No. 10 should be a great autobiographical pain and lament in the far -flung outer movements, which many annotations point in the score. After sketching the first two sentences Mahler learned from the relationship his wife Alma with the architect Walter Gropius, which plunged him into deep despair. During this time he sketched nor the remaining three sets and began designing in the score, which he brought only in the first movement to a close. Very sketchy is his orchestration of the second and third sets. The fourth and fifth movements are in part only extremely rudimentary executed, but continuously ongoing, sketches.
In the center of the five-movement symphony is a short interlude ( Purgatorio titled), which is surrounded by two Scherzi, when surrounded in turn by the two most extensive sets ( Adagio and Finale). The symphony is thus created seen from the center, mirrored. After contrasting middle section Mahler has just prescribed a " da capo ", which would have actually left the later editors no other choice than to quote again the first part.
1st movement - Adagio
The first movement of the symphony, which had flourished most, was included as the only one in the critical edition of the works of Gustav Mahler and is now an integral part of the concert repertoire.
After the 9th Symphony, which ended in triple piano, the Adagio is a consistent further development. In the central position, on the cis1 ( as it were the enharmonic reinterpreted D flat major conclusion of the Ninth ) starts a free recitative, vaguely reminiscent of Tristan and Isolde, line of violas. Their unanimous melody is at important intersections appear several times. This weighed Andante beginning the actual respond Adagio that begins with a low-edged violin melody and continues later in their reversal. The violins lead back to Bratschenunisono. This second new beginning is taken up again and rose from the Adagio. Noteworthy is the dense polyphony, which builds Mahler in this sentence from a single line. Gradually the elements of both subjects in a kind implementation are interwoven. In the recapitulation, the Adagiothema seems combined with its converse. The music finally seems to fade away with a triple piano, as a mighty chorale in A flat minor sounds. The sound is reduced first, then piles up but as dissonant, thirds aufschichtender, Neuntonakkord on - unique in Mahler's oeuvre in terms of expressiveness and the harmonies. This chord forms the actual culmination and turning point of the sentence. It follows a swan song with fragments of a hymn, but also the viola beginning and Adagiothema appear before the music fades away.
2nd movement - Scherzo
Construction ATA' - T ' A'' Coda (A ''' T '' - AIV)
The first of the two Scherzi is only provisional and orchestrated towards the end fragmentary. There is no doubt that much of the Mahler - scoring well in this raw state to its peculiar Scherzi - set has changed. Formal contrasts a A-section with constant, continual excitement generated, time-shifting with a cozier, ländler -like B section, which is largely held in 3/4-time. The contrasting sections are strongly reduced in the repetition; the sentence ends in a coda, come together in the elements of both parts. Never before changing metric Mahler had used such obsessive, which has an exceptional concentration on the Rhythmic result.
3rd movement - Purgatorio
Construction: A-B -A ('? )
This dance set simply constructed belongs with its four minutes next to the "Angel Song " of the third symphony of the shortest sentences Mahler. Originally " Purgatorio or Inferno" about to Mahler "hell " by dot, so the idea of purification remained.
Despite its brevity Purgatory in the five-movement design is a central location. Framed by two Scherzi remembers this disposition to Mahler's Symphony No. 7, in which, however, a scherzo is in the center between two " night music ". Krenek had with the completion of this sentence probably little effort because Mahler was simple, almost song-like created him - with a literal recapitulation, preceded by a large outbreak of the orchestra in the middle part. Meanwhile, seemingly isolated occurrence ranks as the Neuntonklang into the larger context. Mahler had provided him as an important musical material for the fourth set.
4 Set [ Scherzo ] - "The devil is dancing [ it ] with me "
The second Scherzo is attacca into the finale by the written-out rhythmic ebb is intercepted by Forte -Beat the drum completely muted. This strike is also the impetus for the final start. Both sets exist only as sketches with occasional information on instrumentation. It corresponds to the demonic type Mahler 's music that the scherzo in the manuscript the motto "The devil is dancing with me " precedes. The shape of this piece is delirienhaft - constantly change threatening scherzo and waltz -like trio of themes from each other and twist the listener the sense by letting him shudder mutually or bewitched.
5th movement - Finale
The beginning of the finale is powered by the motifs from the Purgatorio - set that is processed in the fast middle section. The two far decaying cantilenas, which are then presented by the flute or the violin later characterize the third part of the fifth set. The finale is also the most ambitious and unfertigste part of Mahler's 10th Symphony, as he has only recorded a single voice or those provided with only a few simple harmonies. It is certain that he not only completed here the existing linear structure, but would have decided in the completion process to some change. The shape is quasi three parts: the gloomy introduction follows a central, changeable Allegro moderato, which opens by massive widening in the return of the first movement, which functions as the climax and then connect to the wide flowing, solemn farewell. The whole final section acts as a coda to the entire symphony.
Attempts to complete
After the death of Mahler's first task was to premiere The Song of the Earth and the 9th Symphony. It was only in the 20s published by Alma Mahler large parts of the Symphony No. 10 in facsimile. She hoped in times of inflation on additional royalties. Her son Ernst Krenek edited the Adagio and Purgatorio, whose versions were premièred in 1924. Since the Mahler enthusiasm, however, was already subsided, the work outs had little success. After 1933 there were only individual performances in the United States. Only in the course of the Mahler renaissance after 1960 resulted in several reconstructions of the entire work.
1960, the English musicologist Deryck Cooke establishes a first, yet incomplete performance version of the first, third and fifth set, which was broadcast by the BBC in a sensational broadcast concert conducted by Berthold Goldschmidt. Of 1964, Cooke before a performance version of the full symphony, although many performers (including Leonard Bernstein) strictly rejected, but has since been picked up by major orchestras and conductors, including the Berlin Philharmonic under Simon Rattle in their repertoire. Cooke revised his composure twice later, from 1966 to 1972 ( published in 1976 ) and 1972-1975 ( published posthumously in 1989).
Further attempts to complete the symphony come from Clinton Carpenter (1949, revised 1966), Hans Wollschläger ( 1954-1962, retired ), Joseph Wheeler ( 1953-1965 ), Remo Mazzetti (1989, revised 1997), Rudolf Barshai (2000), Nicola Samale and Giuseppe Mazzucca (2002) and Yoel Gamzou (2004-2010), the founder and artistic director of the International Mahler Orchestra (IMO).
The world premiere of the latest version of Gamzou was carried out by the " IMO " under his leadership in Berlin on September 5, 2010, exactly 100 years after Mahler had written the last note of it.
The British electronic musician Matthew Herbert worked for the symphony in 2010. The result appeared on the CD Recomposed by Matthew Herbert. Mahler Symphony X.