In this repetition Mahler preserves the rhythm and some of the melodic features of his first vocal phrase, but shifts it to a different level and concludes with an upward rather than downward movement. The continuing even motion in the strings suggests the quiet wafting of the scent through the air.
The settings of the two stanzas share material, but are no longer overtly strophic.
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The opening vocal phrase of the second stanza makes use of the second phrase of the first stanza, and continues on a different path. It is introduced and continues in a lovely contrapuntal dialogue with an oboe solo that returns as the instrumental postlude of the song.
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- MAHLER, G. - Blicke mir nicht in die Lieder (digital) – Symphony Services International.
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Mahler calls for an orchestra without strings. The length, weight and scale of the song match its theme.
Gustav Mahler: Rückert-Lieder
Three central motives are introduced in the opening bars and form the foundation for much of the song: a fluctuating dotted figure in the clarinets; a rising and falling figure, also dotted, in the flute and then the oboe also used in the Eighth Symphony ; and an even descending scale in the horns later also used in its inverted rising form. There, although the two songs share at least one motive, the overt affirmative climax is deliberately avoided. By implication the last is the product of the preceding two.
A variant of this descent is used again to conclude and frame the three stanzas of the main body of the song.
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The setting of the beginning of each stanza draws on the introduction in different forms, and in each continues differently, with the second moving further afield in order to return more clearly to the opening in the third. May 12, by ASO. Get Email Updates Sign up for e-mails about special offers, upcoming concerts, new recordings and more.
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Rückert Lieder (Blicke mir nicht in die Lieder, medium voice - Books
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Mahler’s Rückert-Lieder: which recording is best?
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