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TheNewYorkPhilharmonicOrchestra:Bernstein’sMahlerMarathonFebruary25,2018

ProgramnotesbystudentsattheFredFoxSchoolofMusic,UniversityofArizona

InanticipationoftheNewYorkPhilharmonicOrchestra’spresentationofBernstein’sMahlerMarathon:TheSonyRecordingsattheDavidRubinsteinAtriuminLincolnCenteronFebruary25,2018,severalstudentsfromtheUniversityofArizona’sFredFoxSchoolofMusicwroteshortintroductoryessaysoneachofGustavMahler’ssymphoniesandBernstein’srelationshipswiththem.SomeofthesestudentstraveledtoNewYorkCityinSeptember2017toconductresearchonMahler’smusicandothertopicswiththevaluablehelpofBarbaraHawsandGabryelSmithattheNewYorkPhilharmonicArchives;thisresearchwassupportedbytheDaveenFoxEndowedChairforMusicStudies.OtherstudentscontributingtotheseprogramnotesparticipatedinaseminaronMahler’smusicduringtheFall2017semester.Pleaseenjoythesewide-rangingessaysandinformativeessaysthatshowcasehowBernstein’sideasaboutmusicintersectedwithMahler’sfascinatingandstirringworks.—MatthewMugmon

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SymphonyNo.1(1888) ThefirstperformancegivenofMahler’sstirringFirstSymphonytookplacein1889inBudapest,anditfacedadifficultcriticalreaction.Butultimately,thefour-movementworkbecameoneofMahler’smostpopularorchestralworks.Mahlerinsistedthatmanyofhisworkswerenotprogrammatic—thatis,thattheycouldnotbeunderstoodstrictlyintermsofawritten,concreteprogram,ornarrative.Rather,hewouldsay,hismusicwasabsolute—thatis,understandableinmoreabstract,musicalterms.Nonetheless,muchofhismusicseemstostemdirectlyfromprogrammaticinfluences,likethemusicdramasofWagnerandthesymphonicpoemsofLiszt,aswellasfolktunes,nature,andMahler’sownlife.TheFirstSymphony,withitsclearreferencestoMahler’sownsongs,isnoexception.UnlikemanyofMahler’sothersymphonies,Bernsteindidnotspeakmuchofthissymphonyingeneral,soourunderstandingofhisapproachtoitreliesheavilyonwhatwehearinrecordings.Thefirstmovementofthebeginswithsoundsclearlysuggestingnature;onemightenvisionwalkingthroughamistyforestduringatimeofquietrepose.Asinglepitch,A,spanningmanyoctaves,isheardthroughouttheintroduction,creatingasenseofopennessandanaccordwithnaturaldivinity.LeonardBernstein’srecordingisentrancingfromtheseopeningmoments;hedrawstheenergycarefullyoutofeachmeasurecarefully.Afterthefirstmovement’striumphantconclusion,abuoyantsecondmovementcontinueswithajubilantsensibilityandevokesthemusiconemightexpecttohearatarusticcaféorpub.Thismovementisascherzo,whichsuggestsalight,playful,andevenjokingstyle.Bernsteincapturesthisstyleperfectly,especiallywiththeheavyemphasisonthefirstbeatofameasure,creatingakindof“stomping”soundthatissteadybutneverrushforwardorspinsoutofcontrol.Thethirdmovement,bycontrast,isdarkanddreary,atleastatfirstglance.Theopeningmelodyisfamiliartothosewhosangitasaroundingrade-school;thejoyfulfolktune“FrereJacques”isplayedbyadoublebasssoloistbassistinthebeginningofthemovement—onlythisfamiliartuneisplacedinaminorkeyinsteadofamajorone.InaYoungPeople’sConcertfrom1958,Bernsteinmadeitaspecialpointtohighlightthismomentasanexampleofmusicalhumor.Thefollowingsectionofthatmovementisadance-likepassagethatBernsteinandmanyothershavesuggestedconnectstoMahler’sJewishidentity,althoughitismoreaccuratelyconsideredtoresemblecentralEuropeanfolkmusicthananythingspecificallyJewish.InanunpublishedtypescriptforhisYoungPeople’sConcertonMahlerfrom1960,Bernsteinplannedtosaythatthissectionhas“theflavorofabandplayingataJewishwedding.”Forunknownreasons,hedeletedthatremarkbeforethebroadcast.

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Thefourthandfinalmovementisawake-upcall,beginningwithathunderouscrashofpercussion,whatMahlercalledthe“cryofawoundedheart.”Itsetsoffwhatmightbeheardasabattleinwhichtheprotagonistisvictoriousattheendofthemovement—withnoneofthesenseofambiguitythatendsBernstein’sowncompositions.—SeanCopelandSymphonyNo.2(1888–1894)

ThroughouthiscollaborationwiththeNewYorkPhilharmonic,LeonardBernsteinconductedMahler’sstirring,five-movementSecondSymphony,“Resurrection,”initsentirety,30timesstartingin1960andendingin1989—representingmorethanhalfoftheorchestra’stotalperformancesofthiswork.BeforeBernstein,theNYPOhadperformedthesecondsymphonyonly29,includingthepremier,conductedbyMahlerhimselfin1908.BernsteinalsoconductediteighttimeswiththeBostonSymphonyOrchestraandtwicewiththeViennaPhilharmonicOrchestra,amongothergroups;healsorecordedtheworkseveraltimes.Withinthelastfiveyears,ithasbeenperformedbyapproximately30orchestras,byconductorssuchasChristopherWarren-Green,AndrisNelsons,BenjaminZander,andEricJacobsen.

Althoughit’sapopularwork,itisalsoachallengingonetocoordinate,asthefinalmovementfeatureschoralforcesandvocalsoloists.Thesymphonyrequiresalargeorchestra—almostdoublethesizewhatwouldhavebeenusedacenturyearlierbuttypicalofMahler.Additionally,healsoincludesoffstagehorns,trumpetsandpercussioninthefifthmovement.Achorusandtwosoloists—sopranoandalto—arealsorequired.Whilechoruseshadbeenpreviouslyemployedinsymphonicworks,atthetimeofitscompositionthissymphonywasonlytheseventhonetodoso.

ItwasreportedbyHarriettJohnson,aNewYorkPostcolumnist,thatthissymphonyfirstcaughttheattentionofBernsteinwhilestudyingwithSergeKoussevitzky,perhapsasearlyas1940.AndwhileBernsteinwasassistantconductorwiththeNewYorkPhilharmonicin1943,anothermentor,ArturRodzinski,conductedit.Inhisdissertation,ChristopherJarrettPagehasconnectedBernstein’sperformancesofMahler’sworkstohishavingseenmentorspreparethem.WhetherornotthisisthecasewiththeSecondSymphony,thereisnodoubtthatBernsteinhadadeepconnectionwiththeSymphony,asdemonstratedbytheoccasionstowhichhechosetoconnectperformancesofthework—includingasatributetotherecentlyassassinatedJohnF.Kennedyin1963.

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OfthemusicalmemorialtoJFK,Bernsteinsaid,“Therewerethosewhoasked:WhytheResurrectionSymphony,withitsvisionaryconceptofhopeandtriumphoverworldlypain,insteadofaRequiem,orthecustomaryFuneralMarchfromtheEroica?Why,indeed.WeplayedtheMahlerSymphonynotonlyintermsofresurrectionforthesoulofonewelove,butalsofortheresurrectionofhopeinallofuswhomournhim.”Lookingbackin1969atconcertsfromthelate1940s,Bernsteinremarked,“InalltheyearsIhaveperformed[Mahler’sResurrection]symphony,theperformancesIrecallwithmostemotionwerethosewegavehereinIsraelnineteenyearsago,duringthewarofIndependence.ThisideaofResurrectionatthattimewasmomentous;afterall,thislandhadliterallyjustbeenreborn.Butstilltheancientcycleofthreat,destruction,andrebirthgoeson;anditisallmirroredinMahler’smusic—aboveall,theexpressionofsimplefaith—ofbeliefthatgoodmusttriumph—Enb’rerah![Thereisnoalternative.]”

Bernstein’slinkageofthisworkwithlargerissuesisfitting,asitclearlyreflectsMahler’sownfascinationwithdeathandrebirth.Thefirstmovement,whichoriginatedinasymphonicpoemcalled“Totenfeier,”contemplatesfinitemortalitythroughapowerfulandprofoundfuneralmarch.Bernsteincalledit“anextensiveessayingrief.”Thesecondmovement,anetherealländler,reminiscesonthejoysofthepastcoloredbythegriefofthepresent,whatBernsteincalled“Mahler’sstatementofwhatlifecouldbelike,orperhapsoncewaslikeinthebygoneinnocenceofchildhood.”Inthethirdmovement,Mahler,accordingtoBernstein,ridiculed“theliltinggraceofthepreviousmovement”inaconfused,dance-likeatmospherethatdrawsheavilyonhisownsong“DesAntoniusvonPaduaFischpredigt”fromthecollectionDesKnabenWunderhorn.

Bernsteincontinuedthat“Afterananguishedclimaxthemovementsuddenly—almostabruptly—petersoutintosilenceandthealtovoiceisheardinthegentlesttones,singingasongoffaithwhichMahlercalls‘Urlicht’—primallight.”Afterthisshortmovement,whichisactuallyanotherWunderhornsong,the“roarthefinalmovementbegins.Itisakindofmusic[al]depicting[of]theDayofJudgmentwithheavenlyhorncallsalternatingwithfeverishmarches,organlikechorales,andtorturedwrithings.”Hecontinued,“Thehushedentranceofthechorusinthemiddleofthemovementputsanendtoallthedoubts,struggles,andpainofallthemusicthathasgonebefore.Fromthismomenton,thealtoandsopranosolosjoinwiththechorusinthewords‘Youwillriseagain,mydust,donottremble,Idieonlytolive.AllyouhavesufferedwillbringyoutoGod.’”

Mahlerdidnotalwaysprovidesuchunambiguouslytriumphantconclusions,buthissenseofdramaandtheatricalitypervadeshisworks.TheSecondSymphonyisnoexception,anditmaywellexplainwhyBernstein—whofrequentlycomposedforthetheater—wassodrawntoit.—GavinElyandMarianaMevansVidal

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SymphonyNo.3(1896)

ThestorybehindMahler’sThirdSymphonymakesforfascinatingcasestudyontheideaof“programmusic”—thatmusiccanexpressaverbalnarrative,ratherthanabstractmusicalqualitiesoremotions(usuallycalled“absolute”music).Mahlerapparentlyhadaspecificprograminmindwhencomposingthesix-movementsymphony,whichlastsaroundanhourandahalf,buthelaterdiscardedthatprogram.Thissuggeststhatthesymphonyis,ontheonehand,atestamentofatriumphofarawandunidentifiablemusicabstraction,representingperhaps“thegloomyrigidityofmerelyelementalbeing(theforcesofNature),”asMahlerscholarPeterFranklinputit.Ontheotherhand,itdemonstratesthepowerofvividsoundstocaptureconcreteimages;whenBrunoWalterwenttovisitMahlerinSteinbachthenextsummerandstoppedtoadmirethemountainview,Mahlerisfamouslyreportedtohavesaidthathealready“composed”themountainsintheformofmusic.”EventhoughMahlerhadclearlybeeninspiredbyNature,heultimatelyleftittothelistenertodecidewhattomakeofthissymphonyinparticularandhismusicingeneral.Thesymphonyasagenre,andespeciallyoneascornucopianastheThirdSymphony,canbesuggestiveofeverythingandanything,andperhapsitisnottheroleofthecomposertodecipheritsmeaning.WithMahler’shelp,though,wecandecipheroneaspectthatliesinthecenterofliteraryinspirationforthiscomposition—theideaoftranscendence,especiallyasunderstoodbythephilosophersNietzscheandSchopenhauer,bothofwhomwereofgreatinspirationtoMahler.Theideaofachievingjoyandtranscendencethroughsufferingandpainisstronglymanifestedinthemusicandbecomescentraltothefinalthreemovementsofthissix-movementsymphony.Thetitlesofthesymphony’smovementsaresuggestiveofliteraryinspirations.Theopeningmovement,“PanAwakes,SummerMarchesIn,”isajourneythroughpropheticsoundsofbrassandmomentsofunconstrainedforce.Itissovastinitsconceptionthatitalmostseemslikeasymphonybyitself.Thesecondmovement,“WhattheFlowersintheMeadowTellMe,”isakaleidoscopeofmysteriousandsoaringmelodieswithitsquicklychangingtempiandmoods.Thethirdmovement,“WhattheAnimalsintheForestTellMe,”isyetanotherplayfuldisplayofmelodicandcontrapuntalfireworksandofcleverrhythmicdevices,anditsmeditativeandretrospectivequalitystandsout.Thefourthmovement,“WhatManTellsMe,”openswithambiguousharmoniesaccompaniedbyameditativealtosolothatoffersanemotionalsensibilitycompletelynewtothesymphonythusfar.Thefifthmovement,“WhattheAngelsTellMe,”addsachildrenchoirtothetexture;musicalnarrativehereseemstobedevelopingveryrapidlyfromacheerfulopeningmelodytoforebodingsoundswithintheorchestraandbacktoablissfulfadeout.Finally,thesixthmovement,“WhatLoveTellsMe,”isperhapsthemostretrospectiveandmeditativeofallwithitsstring-drivenintensity.Itisbeautifullypaced,andharmonicallyitcapturesthedualnatureoflove—itspower,aswellasitsdeceptiveand

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tragicquality.Mahlerlaterdiscardedthetitles,buttheyprovideaglimpseintothemindsetofthecomposer.Regardlessofhowonewouldlistentothisoverflowingwork,withorwithouttheawarenessoftheinitialtittles,itobviouslypossessesanintrinsicimperativeevokingallkindsofmoodsandemotions.ThismadeitafittingchoiceforLeonardBernsteintoselecttheThirdSymphonyforhisfinalconcertsasmusicdirectoroftheNewYorkPhilharmonic,in1969.Bernsteinsaid(asquotedinChristopherJarrettPage’sdissertation),

Theidentificationissostrongonsomanylevels.SometimesIfeelasthoughI’dwrittenthismusicmyself.IchosetheThirdbecauseithappenstostrikeawonderfulnotebetweengrandeurwithoutbeinggrandioseorpompous[and]asenseoffarewellandnostalgia.There’stremendousnostalgiainthissymphony;it’sallaboutremembering,lookingbackwardsandlookingahead.Itjustseemedtocombinealltheelementsthatfittedthisoccasion.Itdoesn’thaveafinaleliketheSecond,wherebellspealandorgansbreakout.Nordoesithaveanendingofresignation,liketheNinth,inwhicheverythingfadesandfloatsheavenwardinanticipationofdeath.Ididn’twanttomaketheoccasioneitherfestiveoffunereal.Ontheotherhand,itisanendingandthereshouldbeadefinitefinale.

Bernsteinwasnotthefirsttosensearangeofcomplexemotionsinthiswork,despitetheseeminglytriumphantending.WhenthecomposerArnoldSchoenbergattendedtheViennapremierein1904,hewrotetoMahler:“IthinkIhaveexperiencedyoursymphony.Ifeltthestruggleforillusions;Ifeltthepainofonedisillusioned;Isawtheforcesofevilandgoodcontending;Isawamaninatormentofemotionexertinghimselftogaininnerharmony.Isensedahumanbeing,adrama,truth,themostruthlesstruth!’”—JakubRojek

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SymphonyNo.4(1899–1900)ThelastofMahler’sWunderhornsymphonies,hisFourthSymphonywasthefirstcompletesymphonyBernsteinperformedbesidestheSecondSymphonyandDasLiedvonderErde;hedidsoatthestartoftheNewYorkPhilharmonicOrchestra’sMahlerfestivalin1960.Bernsteindescribedthesymphonyasmusicof“uttercharmandsimplicity”thatalsoembodiedthedualityofMahler’spersonality.BernsteinunderstoodtobeMahlera“doublemanineverysinglepartofhismusicallife,”amanwhoseexistencewasdictatedbythesamebattlethatgaverisetothissymphony.Theworksuggestshuntinghorns,birdcalls,andforestmurmurs,whichBernsteinattributedtoMahler’s“childlikeideaofbeauty.”ButdespiteBernstein’slabeloftheFourthSymphonyas“happyanddelightful”music,heidentifiedastrugglebeneaththesurface.Duringthe1960YoungPeople’sConcerttitled“WhoisGustavMahler?”,BernsteinrecountedMahlertotheaudienceas“oneofthemostunhappypeopleinhistory”asaresultof“thebattlethatwasalwaysgoingoninsidehim.”BernsteincontinuedontosharehisinterpretationoftheFourthSymphonybyadding,“Inthisverysamesymphonywhichissohappyanddelightful,everyonceinawhileyoucanhearthissad,cryingvoice,theotherMahler’svoice,asifhisheartwerebreaking,rightinthemiddleofallthehappinessandgaiety.”Thissymphony’scoreisitsfinale,thesong“DashimmlischeLeben”(TheHeavenlyLife),whichsetsapoemfromthecollectionDesKnabenWunderhorn(TheYouth’sMagicHorn).Thesongservedastheinspirationforseveralthemesandmotivesthroughouteachmovement.Thefirstmovementofthesymphonyopenswithagesturethatreturnsinthefourthmovement,whatBernsteinreferredtoas“MerryChristmasy”sleighbellswithflute;thisisfollowedbyadelightfulmelodyplayedbystringsandhorns.ThemelodyisaperfectexampleofMahler’sconnectiontotheAustro-Germantradition,particularlytheeleganceofMozart’smusic.ThissymphonyalsoexhibitsthemodernistsideofGustavMahler,atleastaccordingtoBernstein,whosaid,“InhisFourthSymphonyhewasalreadyfiddlingwith…bitonality,atonality,polytonality.”Anunusualapproachtomelodyandharmonyismostapparentintheviolinsoloatthebeginningofthesecondmovement;itutilizesthePhrygianmode,whichBernsteinsaidsuitedMahler’s“Jewish-Czech-Easternturnofmind.”BernsteinaddedthattheviolinsolowhichMahler“tunedupawholetone,soastosoundlikeasomewhatcrudecountryfiddle”incorporatedthe“deliberateuseofwrongnotes.”Mahler’stwentieth-centurycreativityalsopointstoBernstein’sargumentthatMahlerwasa“doubleman,”ashenoticedMahler’sfrequentuseoforchestrationmoretypicalofthenineteenththanthetwentiethcenturyinthatitwassometimes“plush,lush,andfat,inthegoodoldWagneriantradition.”ThejuxtapositionsofolderandnewertechniquescontributetoasenseofwhatBernsteincalledMahler’s“loveableinconsistencies.”

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Bernstein’sadmirationoftheFourthSymphonyisperhapsmostevidentinhisdescriptionofthethirdmovement,whichfeaturesa“deeplytragictriple-song”amongaFrenchhorn,oboe,andEnglishhornthatis“terriblymoving–andutterlynewfor[Mahler’s]time.”BernsteinusedthismovementasevidencethatMahlerwasamoderncomposer:“That,myfriends,isthesoundofmodernmusic,fresh,lean,andfulloffreshair…astyleofsucheconomy,transparency,andrelianceonhorizontalwriting,orcounterpoint,thathefeddirectlyintothenewmusicofourtime,thatwecallneo-classic.”ThefourthandfinalmovementoftheFourthSymphonyisoneofpeaceandserenity,tingedwithanironicsenseoflonging.AglimpseofMahler’svulnerability,itiswhatBernsteincalled“aman’sdreamofchildhood,peaceful,quiet,andcontented”writtenparadoxicallywith“theknowingartofaverygrown-upman.”Inthismovement,“DashimmlischeLeben”issungbyasoprano,personifyingachildinordertofulfillwhatBernsteinidentifiedasMahler’s“searchforthestateofpure,childlikepeaceandinnocencethatheyearnedforsostrongly.”Thesopranosingsofheavenlypleasuressuchasdancing,leaping,singing,andthevegetablesgrowinginheaven’sgarden.Butjustasthelife/deathandlight/darkdualitiesexistedwithinMahler(accordingtoBernstein),sotheyexistedwithinthewordsofsongfromtheperspectiveof“anaïve,purechoir-boy…abouthowheavenisgoingtobewhenwegetthere—ifwegetthere.”Inaremarkablerecordingfromlateinhislife,in1987,Bernstein—perhapsrealizinghisvisionofthisasanultimateexpressionofnaivete—hadthefourthmovementsungnotbyanadultwoman,asistraditionallythecase,butbyaboysoprano.—CandiceSierraSymphonyNo.5(1901–2)WhenitcomestoMahler’sFifthSymphony,LeonardBernsteindidnotshyawayfrompowerfulimagerytodemonstratefeelingsaboutwhatmightbeMahler’smostrecognizablework.Inhisscoreofthework,heldattheNewYorkPhilharmonicArchives,Bernsteinwrote“Rage—Hostility.SublimationbyMahlerandHearer.”Perhapstheopeningofthefirstmovement,withatrumpetsolothatsharestheshort-short-short-longrhythmicpatternwithBeethoven’sFifthSymphony,presagesthesenseof“rage”thatwillfigurelateron.Bernsteindescribedthefirstmovementas“angrybitter,sorrowmixedwithsadcomfortinglullabies—rockingacorpse.”Heoncespokeveryhighlyofthesecondmovement,writinginarecordreview“IcanhumblysaythatIonlywishIhadwrittenit.”Inhisscore,hecalledthemovementan“Outburstofrage.MorepublicversionofprivatefeelingsinI.Endswithteethstillclenched,despiteoccasionalhintsofultimategloryandsalvation(chorale,marches).”ThenextpartofBernstein’spersonalcommentaryonMahler’sFifthSymphonyshiftsdramaticallywiththethirdmovement,thescherzo:“Tohellwithit—let’sgetdrunk—aball,”

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hewroteinhisscore.Thismovement,agenerallyjoyfulscherzo,certainlycapturesasenseofcelebratoryabandon;itbeginswithajoyoushornflourishthatoffsetsthesombertrumpetsolofromtheverybeginningofthesymphony.ButtheAdagiettomovementofthissymphony,probablyMahler’sbest-knownpiece,isoneBernsteinconnectedtotragedydespiteitsplaceinthesymphonyafteracelebratorymovement,anddespiteitsownapparentoriginsasamusicallovelettertoMahler’swifeAlma.AfterRobertF.Kennedy’sassassinationin1968,Bernsteinconducteditduringthefuneral.TheAdagiettoisthemostvariedintermsofperformancepractice.Conductorsactiveintheearlytwentiethcentury,suchasWillemMengelbergandBrunoWalter(bothofwhomwereMahler’scolleagues)conductthismovementatafastpace,withtimesintherangeofsevenoreightminutes,perhapssupportingaviewofthemovementasaloveletter.Ontheotherhand,theGermanconductorHermannScherchenstretchedthismovementtoalengthy15minutes,suggestingperhapsamoretragictone.LeonardBernstein’stimingsfellinthemiddleoftheseextremes.BernsteinperformedMahler’sFifthSymphonyfrequentlycomparedtotheothersymphonies,anditclearlyheldaspecialandchangingplaceinhisimagination,evenhelpinghimcopewithstrugglingtocompletehisowncompositions:inJanuaryof1963,shortlyafterhisfirsttimeconductingtheFifthwiththeNewYorkPhilharmonic—andlongbeforeheassociateditwiththetragedyofRFK’sdeath,hewroteinalettertoDavidDiamond,“Ihavenotyetfinishedmy3rdSymphony(Kaddish)whichwillbesomethingwhenandifitgetswritten.Ihadhopedbynowtohaveitcomplete...Lastweekhadjoyinit:Mahler#5.Glorious.”ButonedetailcommunicatestheimportanceofMahler’sFifthSymphonytoLeonardBernsteinmorethananyother:hewasburiedwithacopyofthescoreofthisverysymphony.–JessicaBergandJuleStreety

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SymphonyNo.6(1903–4)GustavMahlercomposedhisfour-movement“Tragic”SixthSymphonyduringthesummersof1903–4.Whiletheoriginsofthe“Tragic”monikerareoftencontested,thenowcommonlyincludednicknamelargelycontradictstheeventsofMahler’spersonalandprofessionallifeofthoseyears.HemarriedAlmaMahlerin1902,andthatmarriagehadproducedtwodaughtersbythesummerof1904.Professionally,MahlerwasexperiencinganumberofsuccesseswiththeViennaCourtOpera,whereheservedasartisticdirectorandconductor.Hisowncompositionswerebeingperformedatanincreasingrate.Yetdespitethesecausesforhappiness,MahlercomposedtheKindertotenlieder(SongsontheDeathofChildren)aswellasthedarkand“tragic”Sixthataroundthesametime.Anothermystery,besidestheoriginsofthesymphony’snickname,isthemovementorderofthetwoinnermovements.Mahlerfrequentlychangedhismindaboutthisorder.WhiletheinitialdraftfeaturedtheScherzoasthesecondmovementandtheAndanteasthethird,MahlerfamouslyswitchedtheirorderatthepremiereinEssenin1906.MahlerbiographerHenry-LouisdeLaGrangecitedboththeoriginalorderanda1919telegramfromAlmaMahlertotheconductorWillemMengelberginwhichAlmaconfirmedthattheorderwasScherzo-Andante.Whileherconfirmationmayraisesomeskepticism,LaGrangeisquotedassayingthat“itisextremelyunlikelythat,whenshesenthertelegramtoMengelbergin1919,shemerelystatedherownpreferredorderofmovements.Itisfarmorelikelythat,tenyearsafterMahler’sdeath,andwithamuchclearerperspectiveonhislifeandcareer,Almawouldhavesoughttobefaithfultohisartisticintentions.”LeonardBernstein’spublicrelationshipwiththeSixthbeganinthespringof1967,whenheconducteditforthefirsttimewiththeNewYorkPhilharmonic.WhilehewouldleadtheViennaPhilharmonicintwonoteworthyperformances(duringthe1976and1988seasons),the1967concertswouldbehisonlyperformancesoftheworkwiththeNewYorkPhilharmonic.Thiswasthefourthtimethesymphonyhadbeenprogrammedbytheorchestra,andperhapsthemusicwasstillfreshinsubscribers’minds,asithadbeenperformedasrecentlyas1965underthebatonofWilliamSteinberg.AndtheAmericanpremiereitselfwasrelativelyrecent,withDimitriMitropoulosconductingthesamegroupin1947.InhisscoreoftheSixth,heldattheNewYorkPhilharmonicArchives,wecanseeBernstein’sfascinatingannotations.Inthesenotes,BernsteinlabelstheSixthas“OperaSymphonica,”atermheassignstoMahler’ssymphonicworksthatdemonstratenarrative,oroperatic,qualities.BernsteinalsonotesthattheSixthis“the“mostoperaticofall,”clarifyingthatthisisdueperhapsthepurelyinstrumentalnatureoftheSixthcombinedwiththerecitative-likestyleofthefinalmovement.InhisYoungPeople’sConcertwiththeNewYorkPhilharmoniconMahler

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from1960,wellbeforeheconductedtheSixthSymphony,BernsteinalsodiscussedMahleras“anaturaloperaticcomposerwhodidnotwriteone.”Inhisannotatedscore,BernsteinexpandsontheSixthwithaclearlistofsonicqualitiesthathebelievesderivefromMahler’suseofGermanelementsmixedwithItalianopera.Hewritesthatthesebasicmusicelementsare“...driventotheirfuriousultimatepower.Result:neuroticintensity,irony,extremesentimentalism,despair(thatIcan’tgoevenfurther),apocalypticradiance,shudderingsilence,volcanicauftakten[upbeats],gaspingluftpausen[rests],titanicaccentsachievedbyeverymeans(sonicandtonic),ritardsstretchedtonearmotionlessness,marcheslikeaheartattack,old-fashioned4barphrasespunctuatedinbrassandfire,cadencesthatblesslikethemomentwhenanexcruciatingpainsuddenlyceases.”ProbablythemoststunningfeatureoftheSixtharrivesinthefinalmovement:thefamoushammerblows,forwhichapercussionistisinstructedtostrikeacratewithahammer.WecanlooktoAlmaMahler’swritingsforapossibleideaofprogrammaticmeaning:“Inthelastmovementhedescribedhimselfandhisdownfallor,ashelatersaid,hishero’s.‘Itisthehero,onwhomfallthreeblowsoffate,thelastofwhichfellshimasatreeisfelled,’werehiswords.”WhileMahler’slaterrevisionstotheSixthhavereducedthenumberofhammerblowsintheperformancetotwo,theimageofaperformerraisingthehammerisaniconicaspectoftheSixthSymphony.–NealWarnerandJohnWillisSymphonyNo.7(1904–5)AlthoughthereceptionofMahler’smusicwasoftencontroversial,thecaseofhisSeventhSymphony—whichLeonardBernsteinconcededwas“theuglystepchildoftheMahlersymphonies”—isprobablythemostextreme.ThepieceembodiesoneofthemostradicalmanifestationsofMahler’smoderniststyle:itscombinationofseeminglydisparatemovements,itsaudaciousprogressionofdistant-relatedkeys,anditsunapologeticallysomberquality,arguablymakethistheleastpopularofhissymphonies.BetweenitscompletioninAugust1905anditspremiereinSeptember1908,Mahlerenduredtwodevastatingtragediesinhispersonallife.In1907,shortlyafterhewasdiagnosedwithaheartissue,hiseldestdaughterdiedofscarletfever.ItisnotunreasonabletospeculatethatthesetwoeventsdeeplyinfluencedhisSeventhSymphony,anditmightexplainhowaworkwithaseeminglycheerfulandoptimisticconclusioncan,afteracloseranalyticalscrutiny,paradoxicallybeinterpretedasdismalreflectionofthecomposer’spersonalmisfortunes.

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EachofMahler’ssymphoniescanbeheardasadialogueofsomesort.Forexample,hisFifthSymphonyevokesadialogueofkeys,whilehisSixthcanbeinterpretedasaconversationofthemesthatrepresentdifferentmembersofhisfamily.Inthissense,theSeventhwouldbeadialogueofmodes;itportraysamusicalnarrativebasedontheinteractionbetweenthejoyfulmajormodeandthesomberminormode.Thefirstmovement,forexample,beginswithacharacteristicrhythmicpattern(short-short-long)inthestringsandwoodwinds.Thispattern,writteninBminor,wouldhavebeenrecognizedbyaudiencesofthetimeasthe“deathmotive,”mainlyduetoitsoriginsintheItalianoperatictradition,notablyinGiuseppeVerdi’soperas.Althoughthismotivepersiststhroughoutthemovement,itscharacteristicpathosisconstantlycounterbalancedbytheinsistentappearancesofthemajormode.Here,thestrugglebetweenthedarkB-minorthemeanditsoptimisticB-majorcounterpartrepresentsanessentialelementofthemovement’sexpressivenarrative.Boththemescanbeinterpretedasmusicalagents,longingforinconsistentandopposingoutcomes.Ontheonehand,thefirstthemeaimsforapessimisticconclusion,depictsthedarknessofthenightandtheinevitabilityofdeath.Ontheother,theB-majorthemestrivesforaheroicending,onethatcandojusticetotheecstasyoflife.Wecanheartheclimaticstruggleofthisoptimisticthemeattheendofthedevelopmentsection(towardthemiddleofthemovement),whentheB-majorarpeggiosintheharpsseemtosuggestthatthestruggleisover:lighthasfinallyvanquisheddarkness.Soonafter,however,thedeathmotivereappears,suppressingthebrightqualityofthepreviousthemeanddeclaringitssombervictoryonceandforall.Thesecondandfourthmovements,respectivelywritteninCmajorandFmajor,caninitiallybeinterpretedastwobeacons,sheddinglightoverthedarknessoftheotherthreemovements.Mahlerfinishedtheminthesummerof1904,ayearbeforehestartedcomposingtheotherthree.Atthetime,hedecidedtonamethemNachtmusik(serenades,nocturnes),apparentlyreferencingthesoothingnatureoftheromanticnocturnes—asinChopin’snocturnes,forexample.However,asLeonardBernsteinnotedinhismostdetailedcommentsaboutthework,quotedherefromChristopherJarrettPage’sdissertationonMahlerandBernstein,“[t]heminuteweunderstandthatthewordNachtmusikdoesnotmeannocturneintheusuallyricalsense,butrathernightmare—thatis,nightmusicofemotionrecollectedinanxietyinsteadoftranquility—thenwehavethekeytoallthismixtureofrhetoric,camp,andshadows.”Bernstein’sinterpretationsuggeststhatMahler’suseofNachtmusik—whichlistenersmightalsohaveconnectedtoMozart’splayfulserenadeEineKleineNachtmusik,or“ALittleNightMusic”—isironic.TheplayfultoneofthesetwomovementsofMahler’sSeventhcanbeinterpretedasasarcasticpunwithinthesymphony.Insteadofcounteractingthesombernessoftheothermovements,theyevoke“anxietyinsteadoftranquility,”contributingtotheoverallpessimisticnarrativeofthesymphony.ThetwoNachtmusikmovementsareseparatedbyaScherzoinDmajor.Thisthirdmovement,appropriatelynamed“Schattenhaft”(shadowy,ghost-like),isgrimand,likeitsadjacentmovements,sarcastic.Inthemiddlesection,forexample,theoboesintroduceabright,waltz-

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likethemeinDmajorthatisprogressively“degraded”intoagloomyminorversionofitself,causedbyapersistentmelodicminor-modeintrusionheardfirstintheviolinsandlaterintheflutes.Likewise,throughoutthemovement,theoptimisticqualityofthemajorkeyisoffsetbytheinsistenceoftheminormode,theupsettingmelodicturmoiloftheviolin’sglissandi,andtheconcealedthematicreferencestothefirstmovement.Thebrassfanfareatthebeginningofthelastmovementpromisesaheroicending,onethatwillredeemthepathosofthepreviousfourmovements.DescribedbyLeonardBernsteinas“longandriotous,”theRondo-Finaleisassurprisingasitisdisconcerting.Thismovement,likethefirst,incorporatesthemajor-minor(happy-sad)dualitythatcharacterizestheexpressivenarrativeofthesymphony.Inthiscase,however,thelightofthemajormodeeventuallyvanquishestheminor-modedarkness,fulfillingthepromiseoftheheroicending,butsacrificingthedramaticcoherenceestablishedpreviouslyinthesymphony.Itispossible,therefore,tointerpretthefirstandlastmovementsasexpressivecounterparts.Unlikethemajor-minorthematicstrugglethatpermeatedthefirstmovement,themajor-minordichotomyofthefirstandlastmovementspermitsthemtoworktogetherandcomplementeachother.Afterall,asBernsteinputsit,thesetwomovements“areliketwohugearmsthatholdthethreeshortermiddlemovementscradledbetweenthem.”TheentirecontradictorytoneoftheSeventhSymphonycanbeunderstoodasareflectionofthecomposer’sequallycontradictorypersonality,atleastasBernsteinportrayedit.LeonardBernsteindescribedMahleras“splitrightdownthemiddle,”anditiseasytoseehowthiscuriouspersonalqualitymanifestsinhismusic,andthispieceinparticular.“Ofwhatothercomposercanthisbesaid?”Bernsteinasked.“CanwethinkofBeethovenasbothrough-hewnandepicene?IsDebussybothsubtleandblatant?Mozartbothrefinedandraw?Stravinskybothobjectiveandmaudlin?Unthinkable.ButMahler,uniquely,isallofthese—rough-hewnandepicene,subtleandblatant,refined,raw,objective,maudlin,brash,shy,grandiose,self-annihilating,confident,insecure,adjective,opposite,adjective,opposite.”TheSeventhSymphonyisnoexception.—FaezAbdallaAbarca

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SymphonyNo.8(1907)Theyear1965markedBernstein’sfirsttimeconductingMahler’sEighthSymphonyinitsentirety.HedidsounderthethemeoftheNewYorkPhilharmonic’s1965-66season,“SymphonicFormsintheTwentiethCentury.”InaletterdatedJanuary28,1965,LeonardBernsteinwrotetothecomposerDavidDiamond,

Thewholeyearisdevotedtoasurveyofthesymphonyinthe20thcentury,includingall7ofSibelius,owingtohiscentenary.Andthat’sanotherreasonfordoingyour5thinsteadoftheRounds.There’llalsobesomeothersyou’lllove—VaughanWilliams#4,Aaron#3,Nielsen#3,Bartók2-pnoConcerto,&WebernOp.2,Mahler#7,#8&#9!Abigyear,alotofwork:Ilookforwardtoit.

Before1965,BernsteinhadonlyconductedPartOne(Veni,CreatorSpiritus),anditwasforamomentousoccasion:theinauguralconcertinLincolnCenter’sPhilharmonicHall(nowDavidGeffenHall)onSeptember23,1962.TheconcertalsoincludedtheGloriafromBeethoven’sMissaSolemnisandtheworldpremiereofAaronCopland’sConnotationsforOrchestra.Throughouttheyearsthatfollowedthe1965performance,heconductedMahler’sEighthtwomoretimes,onewiththeLondonSymphonyOrchestraonApril17,1966,andthesecondonewiththeViennaPhilharmonicOrchestraonAugust30,1975.GustavMahlerfinishedhisSymphonyNo.8inE-flatmajorduringthesummerof1906.Thatyear,hewrotetohisfriend,theDutchconductorWillemMengelberg,detailinghisfeelingsafterfinishinghisEighthSymphony:

ItisthebiggestthingIhavedonesofar.AndsoindividualincontentandformthatIcannotdescribeitinwords.Imaginethatthewholeuniversebeginstovibrateandresound.Thesearenolongerhumanvoices,butplanetsandsunsrevolving.

Asatwo-movementsymphony,Mahler’sEighthisformallyunusual;itstwopartsareasettingoftheLatinhymn“Veni,CreatorSpiritus”(whichisattributedtotheArchbishopofMainz,HrabanusMaurus)andthelastsceneofGoethe’sFaust.Thesetwopartsstatetwodifferenttexts,featuretwodifferentlanguages,andevoketwodifferentepochs,allwhilemaintaining,asHenry-LouisdeLaGrangehassuggested,acohesivethematicmaterialandaunifiedsubjectofhopeandredemptionforhumanity.ButunlikeBeethoven’sSymphonyNo.9andMahler’sThirdSymphony,bothofwhichalsocontendwiththehumancondition,theEighthstraysfromsymphonicnormsbyincorporatingthehumanvoicefromitsbeginningtoitsend.Mahler’sEighthwasnicknamedthe“SymphonyofaThousand”bytheGermanconcertmanagerEmilGutmannbecausetheforcesrequiredtoperformthismassiveworkconsistof

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twomixedchoruses,aboys’choir,eightsoloistsforthesecondhalf,andafullorchestra.ThisgrandioseorchestralforceshowcasesthedirectinfluenceofMahleronBernstein’scompositionalstyle,rangingfromorchestrationtotextsettingelements.EventhoughBernsteindidnotdiscussMahler’sEighthSymphonyextensivelyorconductitasfrequentlyashedidmanyofMahler’sotherworks,theimpactthissymphonyhadontheAmericancomposerandconductorresonatesinhiscompositionaloutput.Theinclusionofaboys’choircanbeseeninBernstein’sownmusic;forinstance,hisSymphonyNo.3,“Kaddish”(1963),andMASS(1971)includeaboys’choirtosuggestinnocence,purityandhope.Furthermore,andinkeepingwithBernstein’sdetectionofcontrastsinMahler,andthejuxtapositionofdifferentlanguagesinMahler’sEighthSymphony,BernsteinblendsHebrew,Aramaic,andEnglishintheSymphonyNo.3andEnglishandLatininMASS.—KathyAcostaZavalaDasLiedvonderErde(1908–9)LeonardBernsteindidn’thedgehisopinion:hecalledDasLiedvonderErde(TheSongoftheEarth)“essentialMahlerandthereforehisgreatestwork.”WhetheronebelievesDasLiedtobeMahler’s“greatestwork,”itdoesholdaspecialplaceamongMahler’scompositions—andinmusichistorywritlarge—whichcanbestbeunderstoodinaseriesofdichotomies.First,DasLiedissplitroughlyintotwohalveswithregardtoform.Itisnominallyinsixmovements:

1.“DasTrinkliedvomJammerderErde”("TheDrinkingSongofEarthlyWoe")2."DerEinsameimHerbst"("TheSolitaryOneinAutumn")3."VonderJugend"("Youth")4."VonderSchönheit"("Beauty")5."DerTrunkeneimFrühling"("TheDrunkardinSpring")6."DerAbschied"("TheFarewell")

Butthefinalmovementisroughlyequalinlengthtothefirstfiveputtogether.Thusthelistenerexperiencesasetoffiveshortersongsthatbalancethehalf-hoursinglemovementattheend.Diggingfurther,thefinalmovementcomprisestwopoems,andisitselfsplitinhalfbyalengthyorchestralinterlude.Thisdiscussionofformbringsupanotherdichotomy:istheworkasongcycleorasymphony?Composedin1908and1909,DasLiedisscoredfortenorandaltosoloists(Mahlerindicatedthatabaritonecouldbeusedinplaceofthealto)andlargeorchestra.Thelargeforcesseemtosuggestthatitisasymphony,andyetthecarewithwhichtheyaredeployedcalltomindorchestratedsongs.Indeed,indraftmaterials,Mahlerseemstosuggestthattheworkcouldbefororchestraorpiano,andtheworkhasalsobeenarrangedforchamberorchestraseveral

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timesthroughthedecades,notablybyArnoldSchoenbergandhisprotégéErwinStein.Mahler’soriginalorchestrationsaresodelicateandrestrainedthatlongpassagescangobyinthechamberarrangementsinwhichthedifferencesbetweenthechamberandfullversionarenegligible.GivenMahler’sloveofblurringgenres,apparentnotonlyinhisearliersymphoniesbutinhisearliestmaturework,DasKlagendeLied,perhapsDasLiedcanbestbeseenastheculminationofthetwomainthreadsofhiscompositionallife:songandsymphony.Itisnotoneortheother,butboth.ThetextisderivedfromHansBethge’sDiechinesischeFlöte—acollectionofadaptationsandtranslationsoftraditionalChinesepoetry.Mahlerfurtheradaptedandaddedtotheseworkssuchthattheresultanttextisconsiderablyaltered,bothindetailandsometimesunderlyingmeaning,fromtheoriginalChinesepoetry(anotherdivision:onefootintheWest,oneintheEast).TheEasternnatureofthesubjectmatterisfurtherunderscoredbyextendeduseofthepentatonicscaleandbriefappearancesfromthewhole-tonescale,thecelesta,andthemandolin.Onepassagethatusestheseinstrumentsistheendofthe“Abschied”movement(theendoftheentirecomposition),astunningmusicalmomentthathasbecomeiconic.Harmonicallyunmoving,it’sasortofmeditationonthepentatonicscale,asoundthatwouldbeoftenreferenced(orevenimitated)bycomposersofthecomingdecades,fromGrofe’sGrandCanyonSuitetoCopland’sAppalachianSpring.LeonardBernsteinspecificallyhighlightedthismomentattheconclusionofhis1960YoungPeople’sConcertonMahler’smusic,asanexampleofanotherdichotomythathebelieveddefinedhismusic:thatofMahlerasthe“endofthewholeromantic19thcenturytraditionofcomposing”andthe“beginningofmodernmusic,ofwhatwecallthemusicofourtime.”BernsteinwaseffusiveinlinkingthetextofthepoemtohisvisionofMahler’splaceinmusichistory: Attheveryendofthepoemthesingersays,‘Thisbeautifulworldbloomsagain,every spring,overandover,forever.’Thatmeansthepromiseofeverlastinglifeattheendof life.Butitmeanssomethingelsetoo.ItislikeMahler’spersonalfarewelltotheold RomantickindofGermanmusic,asifheknowsit’sallover,andnowmustbeginanew kindofmusic,whichhebeginsrightthenandthere…Butatthesametimehedoesn’t wanttosaygood-byetotheoldmusic;helovesallthatWagnerandSchubertsomuch: sohesaysgood-byesadly,unwillingly,sothatattheendofthepiecewhenthesinger saystheGermanwordewig,meaningforever,shesingsitoverandoveragain,asifnot wishingtoletgoofthisbeauty.”Beforeconductingtheendofthework,sungbyaltoHelenRaab,heofferedonepieceofadvicetohisaudienceofchildren:“Ifthismagicstillnessattheendmakesyoufeellikenotclapping,thenjustdon’t.I’llunderstand.”Theyclappedanyway.—ThomasPetersonandErinPlisco

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SymphonyNo.9(1908–9)

WhatcanbesaidaboutBernstein’srelationshipwithMahler’sNinthsymphonythatBernsteindidn’talreadysayhimself?ForBernstein,theNinthwasaprofound,propheticvisionofthefuture,bothartisticandotherwise.BernsteinpicturesMahlerastortured“atknowinghewastheendoftheline,[that]thelastpointinthegreatsymphonicarcthatbeginwithHaydnandMozart,finishedwithhim…notinaprettybow,byanymeans,butinthefearfulknotmadeoutofhisownnervesandsinews.”ForBernstein,Mahler’sNinthhadaclear,ifforeboding,message,a“messagetootrue,tellingsomethingtoodreadfultohear,”anditwasthenatureofthismessagethatwasresponsibleforthe“neglect”whichMahler’smusichadenduredfollowinghisdeathin1911.So,whatwasthismessage?Inaword,death.IntheseriesofNortonLectureshedeliveredatHarvardin1973,Bernsteindevotedthefifthtalktothe“20thCenturyCrisis,”outliningwhatheenvisionedasMahler’smessageofnotonebutthreedistinctbutwhollycomplete“deaths.”ThefirstdeathwasMahler’sown,somethingofwhichBernsteinclaimsMahlerwas“intenselyaware,”usingthefar-fetchedideathattheopeningmeasureswere“animitationofthearrhythmiaof[Mahler’s]failingheartbeat.”Theseconddeathisthe“deathoftonality,”whichforMahler(accordingtoBernstein)meantthe“deathofmusicitself,musicasheknewitandlovedit.”Bernsteinelaborates:

Allhislastpiecesarekindsoffarewellstomusic,aswellastolife.ThinkonlyofDasLiedvonderErde,withitsfinalAbschied,andthatcontroversialunfinished10thSymphony.Eventhatone,whichtriedtotakeatentativestepintotheSchoenbergianfutureandwhichhasundergonesomanyattemptsatcompletion,eventhat10th,remainsformebasicallytheonecompletedmovementwhichisyetanotherheartbreakingAdagiosayingfarewell.Butitwasonefarewelltoomany.I'mconvincedthatMahlercouldneverhavefinishedthewholeSymphonyevenifhehadlived;hehadsaiditallinthe9th.

Withregardtothe“deathoftonality,”thesymphony’scontinuedfailuretoarriveattonalresolution,itsinsistenceonchromaticambiguity,andultimatelyitsfailedfinalresolutioninthefinalmovement(thesymphonystartsinDbutendstentativelyinD-flat)createadiscourseofdeaththatisfarmoreconcretethanBernstein’sinitialclaimofanarrhythmiaattheopening.Thethirdandfinaldeath,asBernsteindescribedit,wasmuchbroader—hecalleditthe“mostimportantvision”—“thedeathofsociety,ofourFaustianculture.”Thisideaisanextensionofthesymphony’stonalambiguity,withtheendoftonalparadigmasananalogueforthehumancondition.The“tonalprecipice”uponwhichthesymphonyteetersbecomes,forBernstein,thetippingpointoftheentiretonaltradition,andthiscrisisbecomesamirrorforlargercrisesofthe20thcentury—theshiftofsocietyfromruraltourban,frompastoraltoindustrial,fromfaithtofaithlessness,fromGodtoscience.Thefateofthetonalsymphonictraditionas

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BernsteindefineditinMahler’sNinthistherealizationofasenseoftheendofWesternsociety’sunbrokenchainofculturaldevelopment,innovation,andinvention.ForBernstein,Mahler’spropheticvisionencapsulatedanentire“centuryofdeath,”andyetevenwhenwefacethisbleakvisionofdeathstocome—accepting,asitwere,ourownmortality—forBernsteinwearedriven,especiallybythearts,to“persistinoursearchforimmortality.”Weareobligatedtoshareour“criticalfeelingsaboutthepast,totrytodescribeandassessthepresent,”sothatwemightprojectourselvestowardanuncertainfuture,butafuturenonetheless.Despitethisinsistenceonafuture,ifuncertain,andhisapparentfaithinthehumanspirittopersist,hebelievedthehumanspiritwas,atitscore,theultimatesourceofambiguity.Itisthissameambiguitywhich,inBernstein’sview,generatedthedualismsoftenassociatedwithMahler—acomposerandconductor,aJewwhowasalsoChristian,“sophisticatedyetnaïve”and“theprovincialandthecosmopolitan.”BernsteinbelievedtheseconflictsledtothedramaticandsometimesfranticturnsofMahler’smusicaswellashis“ambivalenttonalattitudes.”Forallofourawarenessofmortality,forallourpersistenceinoursearchforafuture,forBernsteinitwascreativityalonethattookusbeyondthelimitsofourmaterialcondition.AndforBernstein,Mahlerwaspreciselytheembodimentofthismoderncrisis,theinnateambiguitiesofthisconditionbeingparticularlypresentinthefinaleofhisNinthSymphony,“whichisasonicpresentationofdeathitselfandwhichparadoxicallyreanimatesuseverytimewehearit.”Bernstein’svisionoftheNinthasasymphonyofdeath,however,isnotlimitedonlytothesebroadstrokes,heviewseachmovementasa“farewell”ofitsownandinthiswayeachmovementformsamorenuanceddiscourse,asortofitemizedlistofthedearlydeparted.Thefirstmovement,aloosesonataform,isdescribedbyBernsteinas“agreatnovel,atorturedsagaoftendernessandterror...oftorturedcounterpointandharmonicresignation…It'sbeenafarewelltolove,toDmajor,afarewelltothetonic.”Mahler’ssecondmovement,then,isbasedonaseriesofdancesthatfluctuatebetweensimpleplayfulnessandtensionsofunsteadyharmonyandrhythms.ThisstrugglealignswellwithBernstein’sinterpretationofthesymphony,butatthesametimeitisforBernstein“...asortofsuperLändler,”andinit“we’veexperiencedafarewelltotheworldofnature.It'sbeenabitterreimaginingofsimplicity,naiveté,theearthpleasureswerecallfromadolescence.”Thethirdmovement,calledbyMahlera“Rondo-Burleske,”isdescribedbyBernsteinas“...againakindofscherzo,butthistimegrotesque.Afarewelltotheworldofaction,theurbancosmopolitanlife,thecocktailparty,themarketplace,theraucouscareersandcareeningsofsuccess,ofloudandhollowlaughter.”Themovementischaracterizedbyanelaborateandvirtuosicdisplayofrichlyorchestratedcounterpoint,oneoftheconspicuousaspectsofMahler’slateworks.The“tonalprecipice”uponwhichthesymphonyteeters,forBernstein,placestheentiresymphony“ontheedgeofdeath,”itself,anditisonlyinthiscontextthatMahlerpresentshislastmovement,anAdagio.BernsteinenvisionsthisAdagioasMahler’s“finalfarewell,”andasa“prayerfortherestorationoflife,oftonality,offaith.”Bernsteinelaborates:

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Thisistonality,unashamed,presentedinallitsaspectsrangingfromthediatonicsimplicityofthehymntunethatopensitthrougheverypossiblechromaticambiguity.It’salsoapassionateprayer,movingfromoneclimaxtoanotherclimaxeachmoresearingthanthelast,buttherearenosolutions.Andbetweenthesesurgesofprayerthereisintermittentlyasuddencoolness,awidespacedtransparency,likeanicyburning,azen-likeimmobilityofpuremeditation.Thisisawholeotherworldofprayer,ofquietacceptance,butagain,therearenosolutions.

Itishere,inthisAdagio,thatthemostexplicitofBernstein’s“deaths”ispresented.The“dyingaway”thathedescribesinthefinalmomentofthesymphonyisamostappropriatedescription.Thesefinalmomentsareevocativeandconjureanimageofabodyslowlyexpiringandthesoundofthatbody’slabored,finalbreaths.Thefinalruminationsofthisbody’sdyingmindarecapturedintherepetitiveiterationofthesamemusicalthoughtpresentedinaneverdiminishingandslowingmusicaltexture.Thismusicalpassingisnotviolent,butsomber,anditisnotbitter-sweetbutareverieoffondremembrance.ThemusichereanditsresemblancetodeathcanfitanywhereintoBernstein’soverarchingvisionofMahler’sNinthasasymphonyofdeath,butitsomehowfeelsintenselypersonal;byvirtueofthemusicitselfweexperiencethisdyingawayvicariously,weresignourselvestotheendofourownpersonaljourneythroughMahler’sNinth.Andinthismoment,weareinneedofnomediation—weunderstandcompletely.ForBernstein,hisjourneythroughtheNinth,aspunctuatedbythesefinalmoments,isexhaustingandpurifying—itisforhimatypeof“purgatory,justifyingallexcess,”wherewe“ultimatelyencounteranapocalypticradiance,aglimmerofwhatpeacemustbelike.” WegleanthatwhatBernsteinsawinMahler’sNinthwasnotjusttheendofMahler’slife,buttheendofawholewayoflife,amonumentalandtransformativethreshold,atippingpointforallhumanhistory.HisreflectionsonthesesubjectsarewhatBernsteincalledMahler’s“lastwillandtestament,”butBernstein,some60yearson,hadatleastsomeperspective.Hehadseenthe“centuryofdeath”thatMahlersupposedlyforesaw.ButBernsteinhadalsoseenacenturyofnew,ifpainful,beginnings.TheoptimismofhislectureseriesandhisdesiretoteachanewgenerationaboutthemasterworksofthepastattestthatwhereMahlersawnosolutionstothemoderncrisis,BernsteinusedMahlerintheserviceofalargerpoint—thathumanitymustcarryoncourageouslyahead.—OlmanAlfaroPortuguezandBlakeCesarz

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SymphonyNo.10(1910)WhenBernsteinwasaskedina1989interviewwithJonathanCottifhewouldconductarevisedoreditedversionofMahler’sTenthsymphony,Bernstein’sresponsewasstriking:“Ihaveonequestion.Willitgivemeanorgasm?”Whetheraseriouscommentoracasualquip,thiswascertainlyanunusualcriteriononwhichtobaseadecisionaboutwhethertoperformawork—especiallyconsideringthesombercircumstancesofthiswork,whichMahlerdidnotfinishbecauseofhisdeathfromaheartvalveinfection.Onlythefirstmovement,theAdagio,wascompleteatthetimeofhisdeath,butsignificantamountsofmaterial,andspecificdetail,survivedoftheremainingmovements.TherehavebeennumerousattemptsbycomposersandmusicologiststotakeMahler’spersonalsketchesofhissymphonyand“finish”thefive-movementwork.DeryckCooke’sisthemostwidelyperformedoftherevisions,butreconstructingtheworkwasaninternationalaffair:otherattemptsincludetheAmericancomposerClintonCarpenter,theGermancomposerHansWollschläger,andtheEnglishcomposerJoeWheeler.TheAdagio,asthelonemovementcompletedbyMahler,istheonemostoftenperformed,andLeonardBernsteinrefusedtoperformanymovementbesidesit.ConvincedthattheendofMahler’slifewasallabouttragedyandsadness,givenissueswithhismarriageandhealth,BernsteinstatedthatperformingtherevisedmovementswouldbedoingadisservicetoMahler:“SomehowIthinkhewasunabletolivethroughthatcrisis,becausetherewasnosolutionforhim;hehadtodiewiththatsymphonyunfinished.”Inhis20-minute-plusAdagio,Mahlertraversesthroughcontrastingthemesthatbuilduptoamonumentalclimax.Healsohintsatatonality,orthelackofasenseofaparticularkeyasareferencepoint.ThisnewemphasisondissonanceforeshadowsmusicbymodernistsIgorStravinskyandArnoldSchoenberginthe1910sand1920s.AndBernsteinremainedskepticalofMahler’scompositionaltechniquesinhisTenthSymphony,perhapsareflectionofhisownskepticismtowardatonality;hefounditfittingthatMahlerdiedwiththesymphonyincomplete:“Ihaveneverbeenconvincedofthoserhythmicexperiments(modernisticandinnovativerhythms)intheScherzo,oftheflirtationwithatonality.IoftenwonderwhatwouldhavehappenedhadMahlernotdiedsoyoung.Iamafraidthattheunfinished10thmustremain,forthepresentatleast,thefinaltragedyofMahler’slife.”–DennisSenkbeil