The Specific Features of the Timbre Dramaturgy of Gustav Mahler’s Third Symphony
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Abstract
Third Symphony is seen by the author of the article in that the
composer for the irst time in the history of European music
broadly incorporates means of a unique kind of instrumental
thea ter and timbre dramaturgy. Examining the content of the
symphony from this point of view, he sees an essential contradiction
of the initial programmatic intentions of the composer
with the achieved result.
Mahler purposely personiies a romantic subject, in which
the hero seeks for his place in life, deludes himself wholeheartedly
and, inally, inds the true path towards happiness and
universal Harmony.
The dramatically complex history is shown by the composer
by the means of personiied instrumental timbres. Similarly to
actors in a theatrical production, they present a brilliant musical
show.
A special role belongs to the timbres of the horns, so beloved
by Mahler, symbolizing the image of the romantic hero. Close
to them are the timbres of the high trumpets and trombones.
The evil element is embodied in the timbres of the bassoons,
low cellos and double-basses. The world of happiness and the
unattained Universal Harmony is conveyed by the timbres of the
high strings, harps, lutes and, at times, oboes and English horn.
The sung texts brought into the symphony’s score (by
Nietzsche, Arnim and Brentano), participation of the solo
mezzo-soprano, boys’ chorus and female chorus convey in a
mediated form the hero’s complex philosophical and morally
aesthetical strivings. A thorough analysis of the score reveals
the non-contradictory manifestation of the content-related
conception by means of timbre-sonorous resources.
Keywords: Mahler’s symphonies, instrumental theater,
timbre dramaturgy
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