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Symphonie Nr. IV
(Humoreske)
Nro I Das Welt als ewige Jetztzeit—G-dur
Nro II Das irdische Leben—Es moll
Nro III Caritas—H-dur (Adagio)
Nro IV Morgenglocken—F-dur
Nro V Die Welt ohne Schwere—D-dur (Scherzo)
Nro V Das himmlische Leben!—G-dur |
Symphony No. 4
(Humoresque)
No. I The World as Eternal Present—G major
No. II Earthly Life—E flat minor
No. III Love—B major (Adagio)
No. IV Morning Bells—F major
No. V The World without Burdens—D major
No. V Heavenly Life!—G major |
As Paul Bekker originally pointed out,
this plan should be read alongside the similar outlines for the
Third Symphony, and he may well be right that they are in a
sense 'twin' works, which initially represented different
strategies for concluding a symphony with Das himmlische
Leben. James Zychowicz suggests that the inclusion of
the Morgenglocken movement (i.e. Es sungen drei Engel)
which was eventually incorporated into the the Third Symphony is
strong evidence that this plan for the Fourth dated from a time
when the content of the earlier work was still in flux, and
therefore between September 1895 and the summer of 1896.
Two of the vocal
movements – the second and sixth – had already been composed,
and the fourth, which also uses voices, may have existed in
draft form by the time the plan was written down.² It
has been suggested (see for example,
HLGIII, 754) that the three remaining (presumably
instrumental) movements may all have been realised in later
works: the first and third as the opening movement and slow
movement in the Fourth Symphony, the D major scherzo in the
Fifth Symphony. The key associated with the 'Caritas' movement
(a title that reappeared in 1906 in an early synopsis for the
Eighth Symphony) weakens the supposition, but the character and
key of the scherzo of the Fifth are consistent with the movement
description in the plan. What is missing is anything resembling
the C minor scherzo that was eventually composed as the second
movement of the Fourth.
At the foot of the page is a non-autograph
provenance note, presumably in
the hand of Paul Bekker:
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Handschrift von Gustav Mahler / zum Geschenk
von Frau Alma Mahler, Wien 13/I/1919 |
Autograph of Gustav Mahler / received as a
gift from Frau Alma Mahler, Vienna 13/I/1919 |
The paper has been cut down and was
evidently framed for a time in its history.
This document has not been examined; the description in based on
JZMF and the online facsimile. |
