The Concerto and Symphonic Principles in the Scherzo from Mahler’s Ninth Symphony
Abstract
The article is devoted to the analysis of features of the concerto genre in the Scherzo from
Gustav Mahler’s Ninth Symphony and the interaction of traits of the concerto and symphonic
genres within the framework of Mahler’s conception of the orchestra, – the reliance on solo
and chamber-like combinations of instruments (“ensembles-in-the-orchestra”). The orchestra in
the Scherzo (along with harmonic and timbral differentiation) provides a most crucial means
of opposition between the ländler and the waltz. The first is characterized by soloists, who
represent the “protagonists,” as well as the ensembles-in-the-orchestra. The constant changes
of their instrumentation manifest a scenic quality of the action and help overcome the static
qualities of the numerous repetitions of the melody. The waltz, which may be interpreted as an
ecstatic emotional state, depicts a peculiar generalized view of the world. This creates a sense
of reliance on the group sound of the string instruments and the tutti. However, the ensemblesin-
the-orchestra, appearing in concisely determined places, continue to play highly important
functions: at the beginning of the first episode of the waltz they highlight the textural and timbral
contrast in the manner of a concerto, while at the end of the waltz episodes they are endowed
with a dramaturgical function: they interrupt the “madness” of the waltz.
The solution of the conflict becomes unexpected. It seems that the ländler gains the upper hand:
fragments of familiar intonations are presented by a large number of soloists. But in reality, the richly
orchestrated dance, the well-balanced ensembles and the proud-sounding melody are replaced by mere
emptiness. Having profoundly transformed the ländler and the waltz in a symphonic manner within
the process of development, and relying on concerto-like qualities as a perfect method of exposing
the depicted inner struggle (stemming from the Latin, rather than the Italian verb concertare), Mahler
reaches an extreme stage of juxtaposition, leading to the self-destruction of both elements.
Keywords: Gustav Mahler, orchestration, Mahler’s Ninth Symphony, concerto qualities,
symphonic traits, Scherzo.
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DOI: http://dx.doi.org/10.33779/2587-6341.2020.2.075-083
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