Tonality, genre, and form: Mahler's Lieder eines fahrenden Gesellen.

Abstract

The aim of this study is to determine the function and significance of directional tonality in Mahler's Lieder eines fahrenden Gesellen. Since tonality, genre, and form constitute the nexus from which a connotative meaning for Mahler's work evolves, the relationships between these components are examined; in this respect, inner and outer form are seen as connected to tonality and genre, respectively. The analytical methods that Schenker, Stein, and Meyer use to approach Chopin's Prelude op. 28 no. 2 are examined and compared to a hypermetrical evaluation. Likewise, Salzer and Schachter's analysis of Brahms Intermezzo op. 76 no. 4 is also critiqued in light of its hypermetrical structure. Analyses of selected Lieder of Schubert, Mahler, and Richard Strauss illustrate the use of non-monotonality in vocal genres. After a brief review of sources and documentary evidence for both the Lieder eines fahrenden Gesellen and the First Symphony, Mahler's poetic texts are investigated for structure and content. Each movement of Mahler's cycle is analyzed separately, using the linear and pitch-space techniques explored earlier in conjunction with hypermetrical analysis. The overall non-monotonal design, seen in terms of both the Lied genre and the symphonic genre, indicates that Mahler truly combined the genres. While some of the songs appear as borrowed material in Mahler's First Symphony, some material for the cycle is traced back to his Das klagende Lied. Indeed, some borrowings appear in all three compositions, thus providing an excellent opportunity to look at inter-textuality. The sections of the first and third movements of the First Symphony that borrow from the song cycle are examined in their own context, and the results are compared to their original contexts. Finally, the tonal structure of the finale to the First Symphony is the subject of informed speculation; by comparing the tonal designs of the Lieder eines fahrenden Gesellen and the First Symphony it may be shown that tonal coherence does not rely upon monotonality.