Chaithu Natarajan

TH202, David Keep

Assignment 1

An Analysis of Mahler V, Movement IV

The Adagietto movement of Mahler’s Fifth Symphony is comprised of just one

main theme, which Mahler uses liberally to compose the movement. For the intents of

this assignment, I will be referring specifically to measures 1-38, and measures 72-103.

The main theme in this movement is essentially just an F major scale ascending

from SD 5 to SD 5 in the upper octave, and then descending to SD 2.

Each time it occurs, it is played twice: the first iteration is in the first violins, after

which point the melody moves to another instrument. In measure 10, it is the

violoncellos, whereas in measure 86, the second violins start the melody, which is then

picked up and melodically transformed by the first violins.

A few differences are immediately discernible between the opening A section and

the returning A’ section at mm. 72: First is the fact that in the opening section, the motive

appears three times- the first as an antecedent, the next as a consequent that actually helps

the modulatory process from F major to A minor, followed by a perfect authentic cadence

in A minor (mm 19), and the third as a second “consequent” (mm 23) back in global

tonic. However, when compared to the ending A’ section, you see that there are only 2

iterations of the motive- the first at mm. 73, and the second at mm. 86. One can infer that
this is the case because this passage does not modulate- so there is no need for a second

consequent phrase.

Another, perhaps less easily noticeable difference in the two passages is the

melodic contour: Unlike mm. 3, where you have SDs (1 4 3 | 3 2), mm. 75 changes it

slightly to (1 2 3 | 3 2). Change in melodic contouring is used to develop slight variations

on melodies. However, Mahler also achieves this effect by changing the texture of the

strings in mm. 78. He writes in a pizzicato for the violoncello and bass, mostly plucking

once every other beat, whereas in the opening A section, only the bass plays pizz.

Another consequence of this technique is that the melody gives a “lighter” impression,

perhaps a bit more whimsical in character.

This essay has demonstrated how Mahler’s use of a single theme with some

variety results in the creation of an entire movement. It has shown many, but not all, of

the instances where Mahler uses the motif developed in the beginning of this movement,

as well as how he builds later material off of it.