(1860-1911)
Symphony No.8 in E-flat
Symphony of A Thousand
We hear no longer human voices,
but those of planets and suns which revolve.
MAHLER, letter to Mengelberg
An Inktroduction by Derek Lim
with additional input on Faust
by Chia Han-Leon
Left: Virgin and Child with the Infant John the Baptist
and St. Anne, Leonardo da Vinci
It was a miracle that this work was composed at all. Given the amount of time that Mahler took to conceive the draft of the Symphony (three weeks), the forces involved (extended orchestra, double choir, boys choir, three solo sopranos, two altos, one tenor, baritone and bass) and the total amount of time he took to finish it (seven weeks), and finally the remarkable musical unity of the work, one can but marvel.
Like the two paintings above the texts have been derived from startlingly disparate sources. The first movement is built around the text of the medieval hymn Veni Creator Spiritus ("Come, Creator Spirit") in a modified sonata form. Movement two takes the text from the mystical last scene of Johann Wolfgang von Goethe's Faust: Part II.
The first movement is most interesting in that it essentially uses an archaic text and an archaic key form. The use of Baroque devices such as melisma (think Messiah), double fugues (think Bach), the repetition of the text (think Vivaldi's Gloria) and last of all, the use of an archaic language - Latin - as text were techniques which Mahler had never used before.
Most remarkably, Mahler manages to make it sound as if it were out of a Baroque hymn setting, though in terms of orchestration (timpani, trombones) it is obviously firmly set in the Romantic period. That is true only for the beginning, though. Mahler's distinctive own writing first comes to its own in the orchestral passage preceding the Infirma nostri corporis portion. In one spot he uses an attention-catching trombone descending theme that goes against the rhythm (Hostem repellas longius, the improvisation which Stravinsky admired). Other noteworthy spots in this movement are the wonderfully exciting Accende lumen sensibus (with full orchestra and all chorus crashing down!), Praevio, with its remarkable organ re-entrance, and the fugal build-up which results in the re-statement of "Veni Creator Spiritus".
Mahler uses several features to tie the movement together, one of which includes a very memorable solo violin passage at the first Infirma nostri corporis. The entrance of the boys' choir in Gloria Patri Domino is also another very memorable moment, which leads to the very glorious ending of the movement, where the Creator Spirit seems to come in on ascending choral lines.
The remarkable last scene, with its ideas of the all-redeeming qualities of the "Eternal-Feminine" (Das Ewig-Weibliche) was one of the favourite scenes of the time. It remains difficult to understand the importance and weight that the scene holds for scholars and composers alike, who continue to pursue interpretations. Nevertheless we can enjoy the music.
The main "characters" are, in order of appearance, the Pater ecstaticus, Peter profundus, Chor der Engel (Chorus of Angels), other angels, Doktor Marianus (the highest manifestation of Faust), Chor, Magna peccatrix, Mulier Samaritana, Maria Aegyptiaca, Una poenitentium ("A Penitent once known as Gretchen", in fact the spiritual form of Marguerite/Gretchen whom Faust had seduced), the Mater Gloriosa (highest manifestation of the Eternal-Feminine) and finally the Mysticher Chor, otherwise known as the Chorus Mysticus ("Mystical Chorus").
The scene is too complex to really describe in detail and its meaning has baffled scholars and students of literature for ages, but here are a few highlights:
• After the entrance of the Holy Anchorites, the entrance of Pater ecstaticus, soaring up and down (!) is one of the most heart-warming ever, and paves the way for greater things to come. This part is sung by the baritone, and is one of my favourite parts of the setting.
• The entrance of Doctor Marianus ("Hier ist die Aussicht frei") is at first like an accompaniment to the boys' choir that comes before it, but it soon becomes a kind of "aria" in itself ("Höchste Herscherrin der Welt")
• Doctor Marianus in "Blicket auf" is one of those moments when I am tempted to listen to what he says and look up (and sometimes I do ...)
left: Detail from "Beatrice Addressing Dante from the Car" (1824-7) by William Blake. From Illustrations to Dante's Divine Comedy.
• "Alles vergängliche ist nur ein Gleichnis" is the start of the end of the symphony. It is whispered by the Chorus Mysticus, and gradually works up to the grand apotheosis of the Symphony, the acceptance and forgiving of Doctor Marianus and his redemption by the Eternal Feminine.
There are numerous cross-themes from the first movement, including the theme from "Infirma nostri corporis". The last "quotation" comes from the very start of the whole symphony, the "Veni Creator Spiritus" theme, which is played with extra brass group at the end. In this way, Mahler works into his Symphony elements which bind the texts from different ages and in different languages.
On the other hand, it is known that Mahler thought his wife Alma as his Eternal-Feminine, and the symphony is dedicated to her. It is possible that Mahler had intended to do a faithful setting of Goethe's Faust, but as with so many things, managed to present instead his own personal view, or interpretation of the last scene. All things considered, I must say that the addition of music to Goethe's last scene makes the scene come thoroughly alive, but also focusses (narrows?) the room for interpretation to something that was probably closer to Mahler's own thoughts.
How does the Eighth figure in the big scheme of Mahler's symphonic output? Well, it doesn't. Though it is thoroughly Mahler in every note which he writes, classifying it is an exercise in futility. The Eighth is very different from the "Rückert" Symphonies (Nos.5, 6, 7) which preceeded it, but though it is structurally daring, and in fact bold and ambitious in every other way, it represents a step backwards in terms of harmonic invention, a provision probably to suit the less "conventional" symphonic structure. In his next major work, Das Lied von der Erde, Mahler went back to his more "usual" symphonic writing style.
Above: Mahler rehearsing the Eighth Symphony in Munich, 1910.
I confess that for the first time I understood the music of Mahler to tell myself: here is a great composer.
Listening to the Eighth, I must say that it does have its weaknesses, but no number of those can detract it from being one of the most unique, and greatest works of its kind - it is the 20th century's choral symphony indeed.
No amount of description and words, however, can do justice to this piece of music, which is why I will now ask you to jump to a list of recommended recordings.
Barker/Hatt/Giebel/Meyer/Watts/Neate/Orda/van Mill.
Nielson/Bjerno/Bonde-Hansen/Dolberg/Gjevang/Sirkiä/Hynninen/Stabell.
Harper/Popp/Auger/Minton/Watts/Kollo/Shirley-Quirk/Talvela.
Derek Lim is counting down to his last day of national service - 6 months. Hallelujah!!! (To be sung Messiah-style, with augmented Mahlerian
orchestra, 8 horns and 4 choirs, plus children's chorus.)
Other classical music reviews by this or any other writer can be obtained from the InkVault by doing a key word search with the writer's name.
447: 5.4.1999. up.22.4.1999 ©Derek Lim
Imagine, if you can, taking two very different works of art such as those shown here, then placing them side-by-side, attempting to make them parts of a single masterpiece. Difficult, isn't it? This was the kind of challenge that Gustav Mahler put himself up to when he composed his Eighth Symphony in E-flat major, a work that stands unclassifiable in his output.
• The appearance of the Mater Gloriosa (where she sings for all of 30 seconds, for the whole movement) is quite an inspired moment as well. After this portion there is a mandolin part, which adds to the tenderness of the moment.
Mahler, it seems to me, discovered a new term in music: an ethical-mystical humanity. he enriched the symbolism of music - which already included love, war, religion, nature and mankind - with Man as a lonely creature, unredeemed on earth and circling through the universe, a lost child waiting in silent meditation in the greenwood twilight for its father to come.
The entire audience rose to their feet as soon as Mahler took his place at the conductor's desk; and the breathless silence which followed was the most impressive homage an artist could be paid...And then Mahler, god or demon, turned those tremendous volumes of sound into fountains of light. The experience was indescribable. Indescribable, too, was the demonstration that followed. The whole audience surged towards the platform.
Mahler: Symphony No.8 in E-flat - Recordings Survey
BBC Chorus & Choral Society · Goldsmith's Choral Union
Hampstead Choral Society · Emanuel School Boy's Choir · Orpington Junior Singers
London Symphony Orchestra conducted by Jascha Horenstein
BBC Music Legends BBCL 4001-7 - Click here for review
BBC Chorus & Choral Society · Goldsmith's Choral Union
Copenhagen Boys’ Choir · Danish National Radio Choir
Danish National Radio Symphony Orchestra conducted by Leif Segerstam
CHANDOS CHAN 9305/6 - Click here for review
BBC Chorus & Choral Society · Goldsmith's Choral Union
Vienna Boys' Choir · Vienna State Opera Chorus · Vienna Singverein
Chicago Symphony Orchestra conducted by Sir Georg Solti
DECCA 448 293-2 - Click here for review
Back to the Classical Index!... or read previous Mahler features in the Inkvault archives.
Readers' Comments
From: John Driscoll (john_driscoll@deloitte.com.au / Tuesday, June 29, 1999 at 09:34:29)
Can anyone advise me of any forthcoming performances of Mahler's Eighth Symphony around the world?Dear John,
Details regarding forthcoming Mahler performances may be found on this very useful page: http://perso.cybercable.fr/mahler/concert.htmlUnfortunately it is wholly in French, but it is really quite easy to decipher since conductor's names etc. as they are. Hope this proves helpful! - Derek