MAHLERS SIXTH SYMPHONY: THE BROKEN PASTORAL

RESEARCH METHODS
MUS 600
DR. AXTELL
FALL 2015

SARAH WILSON, B.M.

You wont find a new country, wont find another shore.

This city will always pursue you. You will walk
the same streets, grow old in the same neighborhoods,
will turn gray in these same houses.
You will always end up in this city. Dont hope for things
elsewhere:
there is no ship for you, there is no road.
As youve wasted your life here, in this small corner,
youve destroyed it everywhere else in the world.
--- Constantine Cavafy
The City
In the metropolis that was Vienna in the twentieth century, many intellectuals saw
urbanization as an oppressive nature. 1 Fin-de-sicle, or turn of the 20th century, Vienna was a
city of contradiction; a city of paradoxes.2 The city was seen as a thriving, urban hub from the
outside. On the inside, however, there was an internal war raging. The city supported the artists
and intellectuals monetarily, but their concern was with what the new modernity and
urbanization brought along.
Gustav Mahler was no exception to these undecided feelings. Mahler and many other
composers, musicians, artists, and intellectuals tried to find where they fit in this new and
growing culture. Many withdrew to cafs and back rooms where they were free to separate
themselves from the superficial mass culture; where they could speak privately and create the
solace they found in their common wilderness retreats.3 Mahlers ambivalence for this time
period made him reflect on his preferred program of nature. He used his Sixth Symphony to
represent these feelings by the metaphorical breaking of nature and the bucolic pastoral. He does
1 Thomas Peattie, The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 41.

2 Frances Draughon, Mahler and the Music of the Fin-de-sicle (PhD diss., University of California, Los
Angeles, 2002), 2.

3 Sheryl Zukowski. Creating the Modernist Self: Gustav Mahler and the Fin-de-sicle Performance (PhD diss.,
University of Pennsylvania, 2000), 3.

this by writing pastoral elements such as interludes and episodes and altering and interrupting
them, displaying clear opposites within the symphony with the sounds heard, the mental images,
and the overall symphonic structure of the pastoral, and using many different and new timbres
and sonorities in the symphony, begging the question, tone or noise?
In order to fully understand Mahlers thoughts on this time period, the idea of fin-desicle Vienna and the pastoral must be expanded upon. This newly ambivalent attitude was
shared by scholars and artists alike. Famed French poet and essayist Charles Baudelaire wrote in
1851 about the modern city life:
No matter what party one may belong to it is impossible not to be gripped by the
spectacle of this sickly population which swallows the dust of factories, breathes in
particles of cotton, and lets its tissues be permeated by white lead, mercury and all the
poisons needed for the production of masterpieces.
In this passage, Baudelaire sees the great products of the era, but also sees what these
masterpieces cause in society. He sees what is at once the joy and horror of modern life,
with which so many of his contemporaries agreed.4
While Gustav Mahler lived in the city of Vienna, he spent his summers composing in a
minimalistic hut in the Austrian countryside.5 Mahler and other intellectuals of Vienna relied on
the city for their financial well-being but struggled to find a place that inspired their works.
Many retreated to these huts as a place to find refuge from the growing and uncaring city. It is
here, surrounded by nature, that Mahler finds inspiration for all of his works. When asked to

4 Thomas Peattie, The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 48.

5 Ibid., 75.

give biographical information for an article in the Prager Neue miskalische Rundschau, Mahler
writes that
[f]or me, Nature includes all that is terrifying, great and also lovely (it is precisely this
that I wanted to express in the [Third Symphony], in a kind of evolutionary
development). I always feel it strange that when most people speak of Nature what they
mean is flowers, little birds, the scent of the pinewoods, etc. No one knows the god
Dionysus, or great Pan. Well: there you have a kind of programme - i.e. a sample of how
I compose. Always and everywhere it is the very sound of Nature! I recognize no
other kind of programme, at least for my works. If I have occasionally given them titles,
it was in order to provide pointers to where feeling is meant to change into imagining.6

Pastoral music depicts characters and scenes of rural life, or is expressive of a natural
atmosphere.7 The pastoral has been used in literature for centuries in works such as Giovanni
Guarinis Il pastor fido (1585) and Shakespeares A Midsummer Nights Dream (1596).8 This is
possibly where the beginning of the concept of the broken pastoral begins. In each of these,
the idyll lies just beyond the city walls, harmony so close it can almost be touched, and the
fracture between city and nature too big to be repaired.9
In order to have fundamentally broken pastoral, the pastoral must first be present. Mahler
achieves some basic pastoral concepts in many of his symphonies in a few different ways. These
6 Julian Johnson. Mahler and the Idea of Nature, in Perspectives on Mahler, ed. Jeremy Barham. (Burlington, VT:
Ashgate Publishing Company, 2005), 24.

7 Geoffrey Chew and Owen Jander, Pastoral, in Grove Music Online (Oxford University Press), accessed
November 23, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40091.

8 Julian Johnson, Out of Time: Music and the Making of Modernity (New York: Oxford University Press, 2015), 29.
9 Ibid.

include pedal points, compound meters, markings in the score referring to nature and the natural
world, and the use of cowbells, which is confined only to the Sixth and Seventh Symphonies.10
In the Sixth Symphony specifically, Mahler sets up the pastoral by using these different pastoral
elements and then employing some techniques to make them fundamentally broken. The first
example of this is the interruption or altering of pastoral interludes and episodes.
In order to begin looking at the first evidence, we must look into Mahlers use of
repetition. It is not a technique that Mahler uses very often, but the Sixth Symphony contains
several instances of repetition. For the first time since his First Symphony, Mahler repeats the
exposition in his Sixth Symphony and there are many obvious musical gestures repeated
throughout the symphony from movement to movement, such as the key and rhythmic shifts
between major and minor and the march rhythm.11 Because of the lack of repetition in earlier
symphonies, this creates a sense of tension and uneasiness as the thematic and prominent
material returns. It is with the repetition of the thematic material that the first pastoral interlude
of the symphony is interrupted.12
The music before the pastoral interlude points to a collapse - musical gestures become
more broken and eventually evolve into a 3-note theme that leads us into the interlude. The
pastoral interlude, taking place in measures 196-250, begins with stasis and calmness, a typical
characteristic of the pastoral. This is created by tremolos in the violins, pedal point in the celli
and basses, and textural thinning.13 However, one measure after the pedal point is established,
10 Thomas Peattie, The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 80.

11 Ibid., 82.
12 Ibid., 85.
13 Gustav Mahler, Symphony No. 6 (Moscow: Verlag Music, 1969), 41.

the violins and celeste begin a wave-like quarter note passage, creating movement and a sense of
time. This makes the idyll short-lived; it breaks the pastoral element and begins to move the
listener along rather than blurring the time (see Figure 1).
Figure 1
Mahlers Sixth Symphony, first movement, mm. 196-200

The Andante is in general a happier and more peaceful movement in the key of E-flat major. As
James Buhler stated in Perspectives of Mahler, the Andante is a beautiful oasis of enchanted
happiness. Yet the dialectics of beauty are such that it can end in longing only to the extent that
it remains a dream, external to the world.14 The first pastoral section occurs very abruptly, with
14 James Buhler. Theme, Thematic Process and Variant Form in the Andante Moderato of Mahlers Sixth
Symphony, in Perspectives on Mahler, ed. Jeremy Barham. (Burlington, VT: Ashgate Publishing Company, 2005),
262.

no real close-key transition into the key of E-major, which is Mahlers heavenly key used to
symbolize utopian escape.1516 Instead, Mahler goes from E-flat major and uses briefly A-major,
E-major, and eventually B-minor. Suddenly, in the pick to the first pastoral episode, there is an
open fifth of E-B and the episode is in E major (see Figure 2, m. 83).17Figure 2
Mahlers Sixth Symphony, third movement, mm. 77-86

The passage of Mahlers E major utopian escape is then cut short by a change back into
E-flat major, possibly because of his image of its inability to live up to his heavenly expectations.
Once again, the idyll is only short-lived and relative. Warren Darcy, a music theorist at Oberlin,
15 Robert Samuels, Mahlers Sixth Symphony: A Study in Musical Semiotics (New York: Cambridge University
Press), 58.

16 It should be noted that the order of the movements in the Sixth Symphony is unclear. Mahler never definitively
stated whether the Scherzo came second or third in the movement order. For the purposes of this paper and the
scores being used, the Scherzo is the second movement and the Andante is the third movement.

17 Thomas Peattie. The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 97.

said that this is a conscious illusion, a mere fantasy, it is foreordained to collapse, which it does
through a striking chromatic disintegration. Like the childs vision of heaven that closes
Mahlers Fourth Symphony, however, this is a lost paradise that can now exist only in the
imagination.18
Once the second pastoral episode comes around, it is once again in E-major. After only a
few measures, the music begins searching again for stability through the keys of C-sharp minor,
F-sharp minor, and B-major. The orchestral texture is thick and some might argue that this
passage is a distorted recollection of the first pastoral episode with the E-major breakthrough.19
As the Sixth Symphony progresses, the pastoral interludes turn into pastoral episodes, becoming
truncated and broken (see Figure 3).20 By the final movement, the overall sense of negativity
has pervaded throughout and the recollection of the pastoral seems to be a distant memory of the
first movement, broken into three separate episodes, making only fifty-three measures worth of
the pastoral in an 822 measure movement.
Figure 3
Progression of the Pastoral in Mahlers Sixth Symphony
First Movement
Exposition

mm. 1-122

First Group:

mm. 1-56

Second Group:
Development
First Part:
Second Part:
Pastoral Interlude:

mm. 77-90
mm. 123b-285
mm. 123-77
mm. 178-95
mm. 196-250

Third
Movement
A1
B1
A2
B2
Pastoral Episode
A3

mm. 1-20

Fourth Movement
Intro 1

mm. 1-113

mm. 21-7

1st Pastoral Episode

mm. 29-33

mm. 28-55

Exposition

mm. 114-228

mm. 56-83

Intro 2

mm. 229-70

mm. 84-99

2nd Pastoral

mm. 235-259

mm. 100-

Episode

mm. 271-519

114

Development

mm. 520-574

18 Thomas Peattie, The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 99.

19 Ibid., 100.
20 Ibid., 101.

Fourth Part

mm. 251-85

B3

mm. 115-45

Intro 3

mm. 549-60

Recapitulation

mm. 286-373

Pastoral Episode

mm. 146-72

3rd Pastoral

mm. 575-772

Coda

mm. 374-481

Coda

mm. 173-

Episode

mm. 773-89

201

Recapitulation

mm. 790-822

Intro 4
Epilogue

Just like fin-de-sicle Vienna was a city of paradoxes, Mahlers Sixth Symphony is a
symphony of opposites. This comes about from the uncertain thoughts Mahler had on many
aspects throughout his life. Mahler himself struggled with the new modernism of his time and
his point of view differed greatly from the attitudes shown by his avant-garde colleagues.21
His contradicting ideals set himself apart as a cultural conservative; his music tried to
overcome the existential dilemma of which he constantly thought.22 In regards to his life, Mahler
simultaneously saw the need for the city and his own disgust for it. He needed it to live; it gave
him an audience through which his salary was earned, but he preferred his Austrian wilderness
composing hut.23 In the Sixth Symphony, the sounds heard exhibit the same contradictions
experienced by Mahler. Paul Stefan, an Austrian music historian and critic, notes that twilight
sounds full of mystery mingle with merciless march rhythms and the final search for peace
eventually is overwhelmed by an incessant roaring storm in the last movement of the
symphony, which Peter Rabinowitz calls the bleakest finale in the standard repertoire.2425 A
21 Morten Solvik. Mahlers Untimely Modernism, in Perspectives on Mahler, ed. Jeremy Barham. (Burlington,
VT: Ashgate Publishing Company, 2005), 153.

22 Ibid., 156.
23 Thomas Peattie, The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 75.

24 Edward Green, Aesthetic Realism & Mahlers Sixth: Some Philosophic Light on a Symphonic Masterpiece in
its Centennial Year, The Journal of Music and Meaning 5 (Summer 2007): 3.

25 Peter Rabinowitz, Pleasure in Conflict: Mahlers Sixth, Tragedy, and Musical Form, Comparative Literature
Studies 18, no. 3 (September 1981): 309.

10

theme is marked Fliessend, or flowing, yet the definition of flowing used here is different than
expected. Instead of a pleasant, moving melody, this section is more like a boat on very choppy
water. Theodor Adorno, a scholar on Mahler says that this alludes to the philosopher
Schopenhauers The World as Will in Representation:
Just as the boat man sits in his little boat, trusting to his fragile craft in a stormy sea
which, boundless in every direction, rises and falls in howling, mountainous waves, so in
the midst of a world full of suffering the individual man calmly sits, supported by and
trusting the principium individuationis.26
This quote describes perfectly how Mahler possibly felt while watching the world go by at this
time in his life -- helpless to the acts going on around him.
This Tragic Symphony ends in a final blow of disappointment, contrary to how large
symphonies typically end. As Jens Fischer notes, the symphony, especially the last movement, is
a retraction of all the positive final moments before and since.27 It is a desperate struggle for
the idyllic; a struggle that is not won, possibly a reason for it to be called the Tragic
Symphony.28
On an internal level, the symphonys tonal structure is also not a customary archetype. A
is the tonic of the symphony, in which it begins and ends. The first half of the symphony begins
with A and descends down to D via F. This creates an acoustically strong triad; however, it

26 Stephen Downes, Modern Musical Waves: Technical and Expressive Aspects of Fin-de-sicle Form,
Musicological Annual 42, no. 1 (2006): 55.

27 Jens Malte Fischer, Gustav Mahler (New Haven, CT: Yale University Press, 2011), 413.
28 Edward Green, Aesthetic Realism & Mahlers Sixth: Some Philosophic Light on a Symphonic Masterpiece in
its Centennial Year, The Journal of Music and Meaning 5 (Summer 2007): 11.

11

also leads away from the actual tonic, making D seem like the new tonic.29 For the second half
of the symphony, and ultimately in the large-scale structure, Mahler begins in his key of E-flat,
possibly indicative of being just short of heavenly. This is the key in which we hear many of the
themes throughout, including the heart-breaking theme of the Andante.30 What is interesting
about this choice is that while E-flat is used often in the symphony, it is very unstable, in fact a
tritone away, in relation to the tonic: A (see Figure 4). Its instability to the true tonic reveals
that the previous delightful and peaceful theme is actually an illusion.

Figure 4
Visual of descending tonal arcs of the Sixth Symphony
First Half Second Half/Overall

On a large scale and meta level, the entire symphony is opposite of Mahlers past
symphonies in that the only movement that is typically pastoral (the Scherzo) is the movement
that is not pastoral in any way in the Sixth Symphony. The Scherzo is very rhythmically
unstable; therefore, it cannot provide the moments of stasis and calm needed by the pastoral.
The movement goes between 3/8, 4/8, 3/4, 2/8, 2/4, which provides an unsteady and unbalanced
29 Ibid., 8.
30 Ibid., 10.

12

feel.31 The opening timpani theme attempts to start a march figure as in the first movement, but
the metrical instability creates conflict. The dramatic shifts in tempo and meter give the listener
metaphorical whiplash, and critics despised its syntactic discontinuity, brought on by the
rhythmic changes.32
The Sixth Symphony has pastoral properties written such as pedal points, ostinati, the blurring
of time, and non-musical tones. But in each of these, Mahler either alter or exaggerates the
conventional uses, creating tension.33 There are pastoral episodes but there is always linear
motion underneath moving them along to a new idea, or some material that breaks the pastoral
before the listener has a chance to feel the idyllic and bucolic nature of the episode. Another way
Mahler breaks the pastoral is in his use of different and new sonorities in this symphony, which
were a point of transformation for orchestral music. Mahlers use of anti-aesthetic tones were
arguably needed in order to achieve a broken utopia but also to grab the listeners attention. The
critics of Mahlers music found the new sonorities to be excessive and sensual in a way that
music never was before, and which added to the cultural degeneration that Vienna was
experiencing.34 Maximilian Muntz, critic for a German nationalist paper, was horrified at the
timbre Mahler used in this symphony. He noted that the timbre was used for sensuous effects
rather than communicating themes and experienced the finale as a monument to the impertinent

31 Gustav Mahler, Symphony No. 6 (Moscow: Verlag Music, 1969), 92-149..

32 Elisheva Rigbi. Musical Prose and Musical Narrativity in the Fin de Sicle, in Music and Narrative Since
1900, ed. Michael L. Klein and Nicholas Reyland. (Bloomington, IN: Indiana University Press, 2013), 152.

33 Julian Johnson. Mahler and the Idea of Nature, in Perspectives on Mahler, ed. Jeremy Barham. (Burlington,
VT: Ashgate Publishing Company, 2005), 32.

34 Karen Painter, The Sensuality of Timbre: Responses to Mahler and Modernity at the Fin de sicle, 19thCentury Music 18, no.3 (Spring 1995): 237.

13

weakness of decadence, and an orgy of the empty phrase, great wanton illusion, and artistic
lie. He went on:
One would seek in vain [in the timbral orgies] for an original and meaningful kind of
musical idea, for it would be to consider as an over-trumping of the open fifth in
Beethovens Ninth, and to ascribe symbolic meaning to, the remarkable triad changing
from major to minor, which the whole orchestra -- to the horror of the listener -- spews
forth fortissimo at every supposed high point, and which in the end is even strengthened
by hammerblows.35
The critics knew of no written theory regarding timbre and were not pleased with the new
timbres of rich, thick orchestral textures and non-aesthetic tones. The hammerblows,
cowbells, and even high tremolos in the violins are considered borderline noise rather than
musical and toneful.36
Focusing on the cowbells and their representation of nature and the pastoral, we note that
Mahler uses them in an unconventional way. At his time, the cowbell was not part of the musical
syntax as it is in todays world. Julian Johnson notes that [b]y importing real nature into the
symphony orchestra, Mahler exposes the artificiality of the conventional pastoral.37 The
cowbells, used in three of the four movements, are used differently in each. In the opening
movement, Mahler writes the following describing the introduction of the cowbells:

35 Ibid., 245.
36 Julian Johnson. Mahler and the Idea of Nature, in Perspectives on Mahler, ed. Jeremy Barham. (Burlington,
VT: Ashgate Publishing Company, 2005), 33.

37 Ibid., 26.

14

The cowbells must be played with discretion - so as to produce a realistic impression of a

grazing herd of cattle coming from a distance, sometimes alone sometimes in groups, in
sounds of high and low pitch.38
Mahler first writes as a musical marking in Entfernung aufgestellt meaning in the distance for
the entrance of the cowbells. After a few measures he writes nher kommend meaning coming
closer (see Figure 5).39

Figure 5
Mahlers Sixth Symphony, use of cowbell

This creates a calming use of the cowbells; while still non-aesthetic they do bring about a
pastoral image. In the Andante, cowbells are heard once again onstage; however, the difference
this time is the dynamic of the rest of the orchestra. The cowbells, being played at forte, must be
heard over the thick texture and loud dynamic. Despite their dynamic, they are barely heard and
are eventually drowned out by the orchestra.40 This is possibly one of the most telling evidences
38 Thomas Peattie, The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 87. Translation of: Die Herdenglocken mssen sehr discret behandelt werden - in
realistischer Nachahmung von bald vereinigt bald vereinigth bald vereinzelnt aus der Ferne herberklingenden
(hheren und tieferen) Glckchen einer weidenden Herde.

39 Gustav Mahler, Symphony No. 6 (Moscow: Verlag Music, 1969), 41-42.

40 Thomas Peattie, The Fin-de-sicle Metropolis: Memory, Modernity, and the Music of Gustav Mahler (PhD
diss., Harvard University, 2002), 100.

15

of the pastoral breaking down as the symphony progresses. By the final movement, the cowbells
have been completely replaced by Tiefes Glockengelute or Deep Bells, signifying the end of any
possibility of pastoral idyll-ness for the finale of the symphony.41
Gustav Mahler lived at a transition period in not only musical history but also global history.
The Fin-de-sicle in Vienna left many intellectuals at a loss for words and at an even bigger loss
for what they could say with their music. Gustav Mahler, along with his contemporaries, strived
to heighten the stimulation of the listeners all while searching for what could be said about the
times in which they were living. Mahlers undecided and ambivalent feelings about many
aspects of his life, and his yearning for nature and the answer for his existential crisis led to the
Sixth Symphony being a reflection of those thoughts and feelings through the manifestation of a
broken pastoral, shown by interrupted and altered pastoral phrases, the opposites within the
symphonic aspects, and the new timbre and sonorities displayed by the symphony. Fin-de-sicle
Vienna had the same affect on many of its musical heroes and one must consider that Gustav
Mahlers Sixth Symphony is perhaps not the only broken pastoral symphony looking for peace
of mind outside the city walls.

41 Ibid., 102.

16

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