Table Of ContentStudies in Musical Genesis and Structure
General Editor: Malcolm Gillies
Studies in Musical Genesis and Structure
Anna Bolena and the Artistic Maturity of Gaetano Donizetti
Philip Gossett
Beethoven's Diabelli Variations
William Kinderman
Robert Schumann and the Study of Orchestral Composition
The Genesis of the First Symphony Op. 38
Jon W. Finson
Euiyanthe and Carl Maria von Weber's Dramaturgy of German Opera
Michael C. Tusa
Beethoven's 'Appassionata' Sonata
Martha Frohlich
Richard Strauss's Elektra
Bryan Gilliam
Wagner's Das Rheingold
Warren Darcy
Beethoven's Piano Sonata in E, Op. 109
Nicholas Marston
Mahler's Fourth
Symphony
JAMES L. ZYCHOWICZ
OXTORD
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© James L. Zychowicz 2000
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Zychowicz, James L.
Mahler's Fourth Symphony/James L. Zychowicz.
p. cm.—(Studies in musical genesis and structure)
Includes bibliographical references and index.
i. Mahler, Gustav, 1860—1911. Symphonies, no. 4, G. major. I. Title. II. Series.
MTi3o.M25Z93 2000 y84.2/i84 21—dc2i 99-046013
ISBN 0-19-816206-5; 0-19-518165-4 (pbk.)
1 3 5 79 10 8 6 42
Typeset in MGaramond
by Kolam Information Services Pvt Ltd, Pondicherry, India
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Published as an Oxford University Press paperback 2005
Editor's Preface
Since Philip Gossett's inaugural monograph on Donizetti's Anna Bolena in
1985, the series Studies in Musical Genesis and Structure has sought to chart the
currents of musical creation through studies of single works by eminent com-
posers. Under the editorship of Lewis Lockwood those currents have mainly
been of the nineteenth or early twentieth centuries, with a particular emphasis
on Beethoven. The series' volumes have both pioneered new approaches to
sketch study and provided penetrating insights into the detail of the composi-
tional routine of half a dozen leading composers.
James L. Zychowicz's meticulous examination of Mahler's Fourth Sym-
phony continues that series tradition. This symphony stands at the stylistic
cross-roads, culminating the 'Wunderhorn' period yet laying the foundations
for Mahler's next band of symphonies initiated by the Fifth. Originally
planned as a six-movement 'symphony humoresque', the Fourth was born
as Mahler's shortest symphony, with four movements lasting for around
three-quarters of an hour: 'a symphony of normal dimensions', Mahler mod-
estly commented. Zychowicz's study of the sketch materials is exciting be-
cause of its information by a rich (although not complete) chain of sources,
leading from rough preliminary ideas to fair copy. After an opening survey
of the symphony's overall structure, Zychowicz adopts a chronological ap-
proach and progressively documents the emergence of Mahler's renowned
precision of musical thought, sometimes early suggested in the sketches by
his characteristic attention to issues of timbre and tone colour.
One particularly important aspect of this study is its pursuit of Mahler's
symphonic vision beyond the work's first edition of 1902. He thought of
his symphonies as evolving phenomena needing periodic revision. As
Zychowicz reveals, Mahler engaged in at least three revisions of the Fourth
Symphony, which in their changed detail accorded with his search in more re-
cent works for purer colours and greater differentiation of texture. In Chapter
9 the consequences of these painstaking revisions for any attempt at a definit-
ive reading of Mahler's symphony are outlined, with Zychowicz rejecting the
notion that Mahler's final revisions necessarily lead to an edition of the great-
est authority since even they can be 'transitional and untested'. Rather, he as-
serts that each source of revision has its own particular historical context.
In early 1999 Oxford University Press reconceived this series as Studies in
Musical Genesis, Structure and Interpretation. Its intention is to retain the central
vi Editor's Preface
focus on genesis, but to encourage inclusion of the wider gamut of Western
repertory through an extension of possible perspectives to include, as appro-
priate, issues of performing interpretation and performance practice. In push-
ing the end-point of his study beyond the first edition to take in revisions
informed by Mahler's own performing interpretation of this work and indeed
later symphonies, Zychowicz provides a convenient bridge between the origi-
nal and the reconceived purposes of this series.
Malcolm Gillies
University of Queensland
^/ J 0*i--
Preface
The study of Gustav Mahler's music, especially his manuscripts, often in-
volves working with materials in a variety of locations and with a number
of individuals. The Fourth Symphony, like other music of Mahler, requires
as much patience on the part of the researcher to find the sketches as it
does the good will of those who own or have charge of the manuscripts to
make them available for study. With regard to the latter, I am grateful for
the kindness extended to me by a number of institutions, and especially the
following individuals, who gave me access to manuscript materials: Dr
Giinther Brosche and the staff of the Osterreichische Nationalbibliothek,
Vienna; Dr Otto Biba and the staff of the Gesellschaft der Musikfreunde,
Vienna; Dr Herta Blaukopf, Frau Emmy Hauswirth, Frau Gerda Hanf, and
the Internationale Gustav Mahler Gesellschaft, Vienna; M. Henry-Louis de
La Grange of the Bibliotheque Musicale Gustav Mahler, Paris; Dr Hans
Braun of the Bibliotheca Bodmeriana, Cologny-Geneve, Switzerland; Mr J.
Rigbie Turner of the Pierpont Morgan Library, New York; the Newberry Li-
brary, Chicago; the Stanford University Library, Stanford; the Music Library
of the University of Western Ontario, London, Ontario; and the Public
Library of Cincinnati and Hamilton County (Ohio).
I was first able to work on Mahler manuscripts in 1985, with the assistance
of a summer research fellowship from the University of Cincinnati for study
in Vienna. It was possible to continue work through a Fulbright scholarship
for study in Vienna, 1986—7. The generosity of M. Henry-Louis de La Grange
allowed me to continue my work in Europe between 1987 and 1988. Subse-
quent visits to archives and libraries have been on my own, but not without
the help and support of family and friends.
In addition, my research on Mahler benefits from the friendships of collea-
gues, particularly Robert Bailey, Susan M. Filler, and Steven D. Coburn. I am
also grateful to Professor Lewis Lockwood, the former series editor, for his
interest in my work. I appreciate the previous assistance of Bruce Phillips
and the current support of Maribeth Payne and Helen Peres da Costa at Ox-
ford University Press. Bonnie Blackburn contributed much in her thoughtful
and insightful editing. I am indebted to my family, particularly my mother
Jean Zychowicz, for her understanding and support. I should also like to
thank Salvatore Calomino, whose meticulous eye proved invaluable in count-
less ways during the latter stages of this project.
J.L.Z.
Acknowledgements
I should like to acknowledge the following for permission to use the facsi-
miles found in this publication:
J. Rigbie Turner, Pierpont Morgan Library, Lehman Deposit
Department of Special Collections, Stanford University Libraries
Henry-Louis de La Grange, Bibliotheque Musicale Gustav Mahler
Dr Giinther Brosche, Osterreichische Nationalbibliothek, Musiksammlung
Contents
List of Illustrations x
List of Tables xi
List of Musical Examples xii
List ofSigla and Abbreviations xiv
1. Introduction: Sketches and Drafts i
2. Structural Considerations 12
3. 'Das himmlische Leben' before the Fourth Symphony 3 5
4. Early Plans: Mahler's 'Symphonic Humoreske' 47
5. Preliminary Sketches 5 9
6. Short Score 94
7. Draft Score 111
8. Fair Copy 140
9. Revisions of the Fourth Symphony and the Problem of
Editing Mahler's Music 151
Conclusion 16 5
Appendix. Critical Report for Mahler's Final Autograph Revisions 167
Select Bibliography 182
Index 189
