Symphony No. 3 (Mahler)

The Symphony No. 3 in D minor by Gustav Mahler was written in sketch beginning in 1893, composed primarily in 1895, and took final form in 1896. Consisting of six movements, it is Mahler's longest composition and is the longest symphony in the standard repertoire, with a typical performance lasting around 95 to 110 minutes. It was voted one of the ten greatest symphonies of all time in a survey of conductors carried out by the ''BBC Music Magazine''.

Structure

In its final form, the work has six movements, grouped into two parts:

The first movement alone, with a normal duration of a little more than thirty minutes, sometimes forty, forms Part One of the symphony. Part Two consists of the other five movements and has a duration of about sixty to seventy minutes.

As with each of his first four symphonies, Mahler originally provided a programme of sorts to explain the narrative of the piece. He did not reveal the structure and content to the public. But, at different times, he shared evolving versions of a program for the third symphony with various friends, including: Max Marschalk, a music critic; violist Natalie Bauer-Lechner, a close friend and confidante; and Anna von Mildenburg, the dramatic soprano and Mahler's lover during the summer of 1896 when he was completing the symphony. Bauer-Lechner wrote in her private journal that Mahler said, "You can't imagine how it will sound!"

In its simplest form, the program consists of a title for each of the six movements:

Mahler, however, elaborated on this basic scheme in various letters. In an 1896 letter to Max Marschalk, he called the whole "A Summer's Midday Dream", and within Part One, distinguished two sections, "Introduction: Pan awakes" and "I. Summer marches in (Bacchic procession)". In a June 1896 letter to Anna von Mildenburg, Mahler reaffirmed that he conceived the first movement in two sections: I. What the stony mountains tell me; II. Summer marches in. In another letter to Mildenburg from Summer 1896, he said that "Pan" seemed to him the best overall title (Gesamttitel) for the symphony, emphasizing that he was intrigued by Pan's two meanings, a Greek god and a Greek word meaning "all."

All these titles were dropped before publication in 1898.

Mahler originally envisioned a seventh movement, "Heavenly Life" (alternatively, "What the Child Tells Me"), but he eventually dropped this, using it instead as the last movement of the Symphony No. 4. Indeed, several musical motifs taken from "Heavenly Life" appear in the fifth (choral) movement of the Third Symphony.

The symphony, particularly due to the extensive number of movements and their marked differences in character and construction, is a unique work. The opening movement, colossal in its conception (much like the symphony itself), roughly takes the shape of sonata form, insofar as there is an alternating presentation of two theme groups; however, the themes are varied and developed with each presentation, and the typical harmonic logic of the sonata form movement—particularly the tonic statement of second theme group material in the recapitulation—is changed. The symphony starts with a modified theme, stated by an 8-French horn choir, from the fourth movement of Brahms' first symphony with the same rhythm, but many of the notes are changed.
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The opening gathers itself slowly into a rousing orchestral march. A solo tenor trombone passage states a bold (secondary) melody that is developed and transformed in its recurrences.
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At the apparent conclusion of the development, several solo snare drums " in a high gallery" play a rhythmic passage lasting about thirty seconds and the opening passage by eight horns is repeated almost exactly.

As described above, Mahler dedicated the second movement to "the flowers on the meadow". In contrast to the violent forces of the first movement, it starts as a graceful menuet, but also features stormier episodes.
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The third movement, a scherzo, with alternating sections in and meter, quotes extensively from Mahler's early song "Ablösung im Sommer" (Relief in Summer).
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In the trio section, the mood changes from playful to contemplative occurs with an off-stage post horn (or flugelhorn) solo.
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This posthorn episode closely resembles standardised posthorn signals in Austria and Prussia of the time. The posthorn melody is suddenly interrupted (in measure 345) by a trumpet fanfare representing a literal quotation of the Austrian military signal for falling out (''Abblasen''). Another important quotation in the movement is a Spanish folk melody of ''jota aragonesa'' used by Mikhail Glinka in ''Caprice brillante'' and by Franz Liszt in '' Rhapsodie espagnole''. Most probably it borrowed here from Ferruccio Busoni's transcription of the Rhapsodie for piano and orchestra, as the harmonies are almost identical and passages are equally almost similar. Busoni himself was the first to remark on this quotation in 1910.

The reprise of the scherzo music is unusual, as it is interrupted several times by the post-horn melody.

At this point, in the sparsely instrumentated fourth movement, we hear an alto solo singing a setting of Friedrich Nietzsche's "Midnight Song" (" Zarathustra's roundelay") from ''Also sprach Zarathustra