Gustav Mahler's Symphony No.

9
Chenoweth, Richard . The Horn Call : Journal of the International Horn Society; Durant Vol. 39, Iss. 3,
(May 2009): 63-65.

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An Interview with Elizabeth Freimuth

Few composers are more highly regarded by horn players than Gustav Mahler (1860-1911). Mahler's symphonies
contain brilliant, soloistic, expressive, and heroic horn passages that emphasize the broad tonal and emotional
range of the instrument. In addition, most of his symphonies employ more than four horns, thus providing addition
performance opportunities for area hornists when one of his symphonies appears on an orchestra's concert series.
Only Symphonies No. 4 and 9 are scored for four horns - all of the others employ extra players. Although Mahler
began work on a Tenth Symphony, it was never completed. When this Symphony is programmed, it is usually
performed in a version realized by Deryck Cooke, which has four horn parts.
Mahler's Symphony No. 9, written between 1909 and 1911, remains one of his most discussed and popular
symphonic works. Sometimes referred to as his "Farewell" symphony, Mahler wrote the 9th while already aware of
his own fatal heart ailment. Some sources believe that the first-movement quotation from Beethoven's Op. 81a
Piano Sonata (Les adieux) also contributes to that subtitle. Tragically, Mahler never heard a performance of his 9th
Symphony, the premiere of which was given in Vienna in 1912 with Bruno Walter conducting.
Although labeled as a symphony, it does not follow the conventional form of the Classical/Romantic symphony.
The outer movements are slow, while the middle two movements are faster. The first movement begins Andante
comodo, with a motive that has been variously described the "voice of fate" or, as Leonard Bernstein espoused in
his Norton Lectures at Harvard, a reflection of Mahler's own irregular heart-beat. The second movement (Im Tempo
eines gemächlichen Ländler - in the tempo of a moderate Ländler) is a parody of that Austrian dance form with
variations. Movement III (Rondo. Burleske Allegro assai, Sehr trotzig - Rondo. Burlesque Allegro assai, very defiant)
is a massive movement that contains dissonant harmonies and complicated fugal writing more appropriate for a
final movement. The last movement (Adagio. Sehr langsam und noch zurückhaltend - very slow and holding back
even more) is an expressive song for orchestra which ends with fragments of the principal melody from the first
movement. It has been characterized as a resolution between Mahler's thoughts of his impending death and his
affirmation of life.
In a recent interview, Elizabeth Freimuth, principal horn of the Cincinnati Symphony, shared her thoughts and
suggestions regarding the performance of the first horn part of Mahler's 9th Symphony:
Elizabeth Freimuth: It is very important to consider the context of the piece before playing it - too many young
players focus on the trees rather than the forest, meaning that they worry about the technical issues of the piece
rather than the musical and emotional content found in the symphony. The work begins with musical "sighs,"
setting up the melancholic nature of the first movement.
Mahler was superstitious about writing a 9th Symphony, as symphonies given the number nine had been the last
symphonies of Beethoven and Bruckner. Mahler tried to trick the "Ninth-Symphony-Counting-Gods" by writing the
symphonic-length Das Lied von der Erde, but found that he was already stricken with a fatal heart ailment. Thus, a
fear of death and a type of irrationality is reflected throughout the 9th Symphony, although the last movement
contains a feeling of acceptance and resolution.
Playing this piece goes far beyond the practice room - if you try to approach this as a traditional symphony, such

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as a one by Brahms that contains several big solos but also periods of rest, you will be missing something. This
work is complicated and emotional because Mahler was placing the reality of his own impending death into the
music. From the moment that you start playing to the finish, you are in a marathon - there is no marking time or
letting up. Every note is crucial to the emotional moods of the piece, so physical exhaustion is a given and,
mentally, you're squeezed dry. It requires such intense mental commitment that, if you are not exhausted at the
end, you probably have not taken the journey.
Movement I contains the most-commonly requested excerpt from this symphony for orchestral auditions:
This excerpt includes a wide emotional spectrum. This is an important solo that is played simultaneously with a
contrasting flute. Although it is important to match and line up rhythms with the flute, these are solos of parallel
emotional extremes. The flute seems to be portraying an almost giddy joy on the verge of madness, while the horn
alternates between joy and despair. It is a complicated passage to organize but in performance often seems to
sort itself out. The mood that underlies this entire solo contains an intensity that seems to imply, "I think I'm losing
my mind."
Beginning with a dance-like and easy-going motive, the mood changes abruptly as the triplets become more
chromatic in mm. 384-385, becoming more manic and intense as the rhythm changes to the sixteenth-notes. The
tempo is sometimes pushed here (mms. 385-386) or at least an increase of intensity should give the impression of
moving forward and the crescendo at this point should be exaggerated, until the abrupt mood change at the subito
piano. At this point, the mood reverts to the easy-going style. Exaggerating the articulation here adds flavor and
characterizes the "bi-polar" mood swings. What does this trill mean? Play it with a carefree style, then the final
crescendo with the chromatic passage is a snap back into reality. Suggested breathing points in the solo are
marked above with a V.
Movement I also contains one of the most beautiful lyrical moments in the entire symphony:
This is such a beautiful moment, loving and tender. In playing this solo, be beyond the horn, with an absolutely
vocal inflection. This is also about what you do between the notes. It is significant that there are hardly any
dynamic markings, other than the first diminuendo, with minimal instructions (zart gesungen, aber sehr
hervortretend - gently cantabile, but very expressive). This solo is all about the "sigh" and farewell, so it is important
to recognize and portray the implied personal expression and not think hornistically
Another beautiful moment is the final solo passage at the end of the first movement:
In a way, this is reminiscent of the earlier material in Ex. 2, with a similar theme of longing. After the descending
"sighing" theme, the chromaticism reappears, underscoring the intensity and ambiguous emotional state. Be sure
to not play so softly in the final chromatic passage that the movement between the notes is not apparent.
However, the final 4 notes, with their major modality, reflect acceptance and calm.
The first movement is like an entire symphony - a mini version of the entire piece. If you are asked to play this on
an audition, think of it as an opportunity to play music, not as a test.
The second movement contains lots of trills - it requires great flexibility and a different set of skills than the first
movement. Keep the style fresh, masculine, and youthful. This movement is reminiscent of a specific earlier time
in Mahler's life, so the style should be energetic and vibrant. In general, keep the trills light.
The third movement has lots of tutti material. The title Burlesque is exemplified by passages such as this:
In this case, the trill should be more like a "shake" - the sound should "rattle" and be quite noisy. Accent the grace
notes and exaggerate all of the ornamentation.
In a later passage, there is a very organized trill:
It might be safer to play mms. 266-267 with your valves, rather than as slow controlled trills, since this passage is
doubled with the third horn and in the woodwinds. In any case, the sixteenths should be very even and clean.
Movement IV has moments of great emotional content, a relinquishing of the struggle. In this example, Mahler
seems to be portraying a soul ascending:
This movement is very tonal and optimistic, as if Mahler's writing is telling us that the struggle is over. This
affirmation is apparent in that the convoluted chromaticism of previous movements is now gone, and the melodies

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are broad and noble.
Pick moments that acknowledge the moods and motives, and think about your playing in an emotional and
musical style, while not getting caught up in the technicalities of the piece. Think about what you do, not about
what you don't do. Imagine the possibilities and allow them to happen. Mahler was very successful in telling a
story in sound - he used a "kitchen German" to give very specific instructions about how he wanted the music to
sound. This symphony tells about his life, as if he is speaking to us from the grave.
Elizabeth Freimuth is the principal horn of the Cincinnati Symphony and Pops Orchestras. Before joining the CSO
in 2006 she was principal horn of the San Francisco Ballet Orchestra (2005-2006), principal horn of the Kansas City
Symphony (2000-2005), and assistant principal horn of the Colorado Symphony (1998-2000). She was the adjunct
professor of horn at the University of Missouri-Kansas City Conservatory of Music 2000-2003. In summers,
Elizabeth performs with the Sun Valley Summer Symphony and the Grand Teton Music Festival. She has been a
member of the Chamber Music Society of Kansas City, the principal horn of the Kansas City Chamber Orchestra,
and has performed with the Burning River Brass.
AuthorAffiliation
by Richard Chenoweth, Series Editor
AuthorAffiliation
Richard Chenoweth is professor of horn at the University of Dayton and principal horn of the Dayton Philharmonic
Orchestra. He has performed as second horn with the Santa Fe Opera for thirty-five years and is a founding
member of the Carillon Brass Quintet. Richard has made numerous recordings for the MMC, Integra, and
Equilibrium labels and his newest recording, The Horn in Opera, is available at: thehorninopera.com.
The Mahler 9th Symphony excerpts were realized for this article using Finale 2007 by hornist Eric Fehrman, a
member of the University of Dayton horn studio.

: Gustav Mahler's Symphony No. 9

: Chenoweth, Richard

: The Horn Call:; Journal of the International Horn Society; Durant

: 39

: 3

: 63-65

: 3

: 2009

: May 2009

: International Horn Society

: Durant

/: United States, Durant

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: Music

ISSN: 00467928

: English

: Ge neral Information

ProQuest ID: 224160257

URL: https://www.proquest.com/trade-journals/gustav-mahlers-symphony-no-
9/docview/224160257/se-2?accountid=10253

: Copyright International Horn Society May 2009

: 2010-06-09

: Music Periodicals Database

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