Where We’ve Been: Movement I was the mixed emotions of a man facing up to death. Movement II was a strange collection of odd dances.
Now we reach the third movement, which – just to warn you upfront – is one of the most difficult and thorny things that Mahler ever composed. It’s the fastest movement in the whole ninth symphony and it’s a highly successful representation of chaos. Like the previous two movements, it consists of a several musical ideas that repeat, varied slightly each time. At the risk of being far too flippant with a serious piece, I think of the three themes as:
- Counterpoint From Hell (and counterpoint, just as a reminder, is where you have multiple melody lines or tunes stacked on top of each other; it’s like listening to several tunes at the same time, but they all work together)
- Squeaks of Doom (because there are some pretty obnoxious sounds coming from the woodwinds)
- The Last Movement Hint, because it’s really a theme to set up the music that you’re going to hear in the last movement
Let’s get cracking.
(0:00) Theme 1 – Counterpoint From Hell (CFH). How do you even describe this? It’s a chugging melody, mostly in the strings, but every other instrument group interjects over the top with angular and harsh-sounding melodies of their own. Somebody said that Mahler threw in so many different instrumental lines here that you feel the music is dense and constricting, as if you can’t move. I’m inclined to agree.
(2:04) Theme 2 – Squeaks Of Doom (SOD). A slightly milder theme arrives at the two-minute mark, but it’s still somewhat strange. Squeaky woodwinds, strange melodic leaps. Nobody likes this stuff. (Well, I don’t, anyway!)
(3:25) Theme 1 – Back to CFH, now with more attitude from the brass and a really horrendous melody line on the woodwinds.
(4:57) Theme 2 – Back to SOD, but this time the French horns take the lead.
(6:32) There’s a big cymbal crash at this point because, with this much noise going on, why not?
(6:39) Theme 3. The trumpet plays a plaintive little tune. This will be transformed into the main theme of the last movement (which, if you kind of like it now, is truly breathtaking when you hear it later, so do come back!). But for now we’ll just call this one the Last Movement Hint (LMH) motif. It’s easy to spot. One long note, followed by four shorter ones. It ends up in a sad collapse at (8:37) with the strings whistling away like monstrous kettles.
(9:11) The LMH returns with a most obnoxious squeak from the oboes.
(9:55) Once more we hear that Last Movement Hint in a more beautiful version (however, more beautiful in the Viennese schmaltz style – it still sounds a bit chintzy – and listen for the collapse in the oboe at 10:22).
(10:33) Things start to pick up and we make a gradual transition.
(10:37) And BOOM! we’re back in Counterpoint From Hell territory again. It’s big, it’s oomphy and it’s in-your-face and it continues for the remaining three minutes.
(12:19) The last minute is particularly spectacular as we reach what one conductor described as “the rush over the cliff”.
The overall effect is to leave you quite breathless …
But all that will change with the fourth movement. So see you soon for that one!