While we see in Mahler much of the duophonic manner of his teacher, Bruckner, in the work of the younger man the barren art is crowned with the true fire of a sentient poet. So, if Bruckner had little to say, he showed the way to others. And Mahler, if he did not quite emerge from the mantle of Beethoven, is a link towards a still greater future. The form and the technic still seem, as with most modern symphonies, too great for the message. It is another phase of orchestral virtuosity, of intellectual strain, but with more of poetic energy than in the symphonies of the French or other Germans.
In other forms we see this happy reaction towards ancient art, as in the organ music of a Reger. But in the Finale of Mahler's Fifth Symphony there is a true serenity, a new phase of symphony, without the climactic stress of traditional triumph, yet none the less joyous in essence.
We cannot help rejoicing that in a sincere and poetic design of symphony is blended a splendid renaissance of pure counterpoint, that shines clear above the modern spurious pretence. The Finale of Mahler's Fifth Symphony is one of the most inspired conceptions of counterpoint in all music. In it is realized the full dream of a revival of the art in all its glorious estate.
I.—1. Funeral March.
2. In stormy motion (with greatest vehemence).
II.—3. Scherzo (with vigor,—not too fast).
III.—4. Adagietto (very slowly).
5. Rondo-Finale (allegro).
Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be decided only by time and wear, undoubtedly marks a high point of orchestral splendor, in the regard of length and of the complexity of resources. By the latter is meant not so much the actual list of instruments as the pervading and accumulating use of thematic machinery.[63]
The plan of movements is very original and in a way, two-fold. There are three great divisions, of which the first comprises a Funeral March, and an untitled Allegro in vehement motion. The second division has merely the single movement, Scherzo. In the third are an Adagietto and a Rondo Finale.
I.—1. Funeral March.—A call of trumpet, of heroic air and tread, is answered by strident chords ending in a sonorous motive of horns that leads to the funeral trip, of low brass. The mournful song of the principal melody appears presently in the strings, then returns to the funeral trip and to the strident chords. The first trumpet motive now sounds with this clanging phrase and soon the original call abounds in other brass. The deep descending notes of the horns recur and the full song of the funeral melody much extended, growing into a duet of cellos and high woodwind,