Symphony No. 7 (Mahler)
The Symphony No. 7 by Gustav Mahler was written in 1904–05, with repeated revisions to the scoring. It is sometimes referred to by the title Song of the Night (German: Lied der Nacht), which Mahler never knew.[1] Although the symphony is often described as being in the key of E minor, its tonal scheme is more complicated. The symphony's first movement moves from B minor (introduction) to E minor, and the work ends with a rondo finale in C major.[2] Thus, as Dika Newlin has pointed out, "in this symphony Mahler returns to the ideal of 'progressive tonality' which he had abandoned in the Sixth".[3] The complexity of the work's tonal scheme was analysed in terms of "interlocking structures" by Graham George.[4]
Symphony No. 7
Background[edit]
In 1904, Mahler was enjoying great international success as a conductor, but he was also, at last, beginning to enjoy international success as a composer. His second daughter was born that June, and during his customary summer break away from Vienna in his lakeside retreat at Maiernigg in the Carinthian mountains, he finished his Symphony No. 6 and sketched the second and fourth movements (the two Nachtmusik movements) for Symphony No. 7 while mapping out much of the rest of the work. He then worked on the Seventh intensively the following summer. While Mahler later claimed to take just four weeks to complete the first, third and fifth movements, scholars have asserted that a timeframe of six to seven weeks is more plausible.[5][6]
The completed score was dated 15 August 1905, and the orchestration was finished in 1906; he laid the Seventh aside to make small changes to the orchestration of Symphony No. 6, while rehearsing for its premiere in May 1906. The Seventh had its premiere on 19 September 1908, in Prague with the Czech Philharmonic, at the festival marking the Diamond Jubilee of Emperor Franz Joseph.
The three years which elapsed between the completion of the score and the symphony's premiere witnessed dramatic changes in Mahler's life and career. In March 1907 he had resigned his conductorship of the Vienna State Opera, as the musical community in Vienna turned against him (which was why he chose Prague for the work's debut);[7] on 12 July his first daughter died of scarlet fever; and, even as she lay on her deathbed, Mahler learned that he was suffering from an incurable heart condition. Musicologists surmise that this is why the optimism and cheerfulness of the symphony was subsequently tempered by the small but significant revisions Mahler made in the years leading up to its premiere.
The symphony was first published in 1909 by the firm Bote & Bock. In 1960, a critical edition of the symphony edited by Erwin Ratz appeared, correcting about 800 printing errors.[5][8] Two years later, Hans Redlich's edition of the symphony was published without any of Mahler's amendments to the score made after publication, unlike Ratz's edition.[5][8] In 2012, a new critical edition prepared by Reinhold Kubik was published.[5]
Critical analysis[edit]
The harmonic and stylistic structure of the piece may be viewed as a depiction of the journey from dusk till dawn.[20] The piece evolves from uncertain and hesitant beginnings to an unequivocal C major finale, with its echoes of Wagner's Die Meistersinger von Nürnberg: indeed, at the premiere the overture to this opera was performed after the symphony.
This journey from night to day proceeds via the third movement scherzo, marked schattenhaft (shadowy), which may have been what prompted Arnold Schoenberg to become a particular champion of the work. The abundance of themes based upon the interval of a fourth has parallels with the First Chamber Symphony.
The piece has several motifs in common with the Symphony No. 6, notably the juxtaposition of major with minor chords, the march figure of the first movement, and the use of cowbells within certain pastoral episodes.
Reception[edit]
Mahler conducted the premiere of his Symphony No. 7 in Prague in 1908. A few weeks later he conducted it in Munich and the Netherlands. Both the audience and the performers at the premiere were confused by the work, and it was not well received.[15]