Gustav Mahler
Symphony No. 4
Overall Analysis
Lawrence V. McCrobie
After the enormity of the Third Symphony, Mahler now gives us a much more
manageable piece, in length and in palette, as though after two such pieces, another of
this scope were simply unnecessary, or rather, it has now become necessary to step back,
to reconsider more modest means.

Mahler’s Fourth has always been a much more manageable piece, in length and in
palette, and referred to as the “little one,” lacking low brass and with triple woodwinds
instead of quadruple, and missing even Mahler’s trademark in orchestral writing, the
section of eight horns. “Little,” however, is not the right word. In scope, it is no less
than the pieces that precede it, and in breadth, it is still a long piece by the standards of a
Brahms or a Dvorak, and uses a much larger orchestra than those composers typically
demanded.
The correct word is not “little” but “taut,” at least in this first movement. Mahler’s
timbral materials are somewhat reduced, but more interesting is the fact that there is none
of the sprawling motivic or harmonic architecture of the previous pieces. All of the basic
motives of the piece are introduced in the first two key areas, and this economy of means
is not surprising, but I haven’t seen Mahler taking it to this degree until now. In addition,
Mahler’s formal construction is very traditional–the closest yet to a sonata-allegro form
in the “textbook” sense.

The piece begins with a very characteristic texture–flutes in fifths doubling sleigh bells,
followed by oboe and clarinet figurations. These three measures set the stage in a very
specific, very unique manner. Mahler does not continue with this music, but brings it
back at key locations throughout the piece, and the open fifths become a motor rhythm
that gives a propulsive aspect to the “exposition” of this movement.

The “first theme” begins on the anacrusis to m. 4 in the violins, but most importantly, the
downbeat of that measure features a falling sixth. This interval and its rising form are
another crucial motive for the movement. Measure 5 and 6 also contain material that is
developed later–six-sixteenth notes leading to the downbeat and a rising dotted eighth-
sixteenth rhythm.

In this sonata form, the transition from first to second key area begins in m. 18 with a
modified version of the first theme. A spinning out of the sixteenth-note motive leads to
m. 38 and the entrance of the second theme, beginning with a rising sixth–a motivic
relation between the two very different themes.

Following the rising 6th are three repeated notes, which are echoed in rhythmic
diminution throughout the rest of the piece (for example, in the clarinets in m. 47ff.
Following a half cadence in m. 57, oboe and bassoon present music that appears to sum

 
  

up, in a way, the second theme area. It, too, receives the same sort of developmental
treatment upon its repetition in the clarinets in m. 67, this time in the mixolydian mode.
Measures 72ff see a return of the opening material, at the same pitch level despite the key
signature indicating the dominant. The development section begins at this point,
returning to a key signature of G major at m. 77 with a reappearance of the first theme.
This development section moves through G major, then A major, E-flat minor, F minor,
and a return to G major. The development ends not with a “standing on the dominant,”
but abruptly, with a caesura after m. 238, followed by the recapitulation without
transition.

Oddly enough, the recapitulation begins with neither the sleigh bell motive nor the first
theme, but depends heavily on the material from each. At measure 263, the second theme
appears in the tonic key, in the same way we would expect. Measure 330 is the end of
the recapitulation, leading to a very typical coda section, emphasizing the subdominant to
indicate “after the ending” sentiment.

UNDERSTANDING THE SYMPHONY

Gustav Mahler's Symphony No 4 in G major, with soprano solo.
1st movement: Bedächtig. Nicht eilen (Deliberate. Not hurried)
2nd movement: In gemächlicher Bewegung. Ohne Hast (With leisurely movement.
Without rushing)
3rd movement: Ruhevoll (Calm)
4th movement: Sehr behaglich (Very cozy)

Musical Form and Outline

It is a curious fact that this symphony, that raised so much scorn and vehement reaction at
its introduction to the world, should now often be recommended as an entry point for
those not yet familiar with Mahler's symphonies. Certainly, this is due partly to it being
smaller in scale than the others, but also to the melodic ease of all its movements. The
apparent 'easiness' however is a falsehood; this symphony is highly original. At the time
of its composition, Mahler was, to use the modern parlance, pushing the envelope.
Superficially, Mahler appears to be conforming to the 19th-Century classical tradition of
Beethoven and Schubert, but the illusion becomes unsustainable after even a cursory
examination of the work.

The three so-called Wunderhorn symphonies, the Second, Third and Fourth, each make
use of song settings that Mahler made from the collection of German folk poetry entitled
Des Knaben Wunderhorn (Youth's Magic Horn). For the fourth movement of the present
symphony, Mahler chose to use a song originally composed in 1892, and at one time
intended to be the conclusion of the Third Symphony. Thus, it had been in existence for
some eight years before finding its place as the Finale of the Fourth. The song presents a
simplistic, essentially child-like view of what it might be like to live in Heaven. Just as

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the Finale pre-dates the rest of the movements, so the whole symphony may be seen as a
journey in reverse, from adulthood to childhood.

First Movement
The 'classical tradition' case gets off to a good start in the first movement, which has well
defined Exposition, Development and Recapitulation sections of sonata form. The
movement opens with a jingling sleigh-bell Introduction, Troika-like. This is followed by
the requisite first and second subjects (themes) in the keys of G major and D major
respectively. The Introduction and the first theme are the principal elements of the
movement, the second theme not reappearing until the recapitulation. The development
section also gives us a hint of the coming fourth movement Finale. Towards the end of
the development section, there is an orchestral climax followed by a trumpet passage that
Mahler referred to as the "Little Summons", a comparative reference to the 'Great
Summons' in the final movement of the Second Symphony. This 'Little Summons' theme
will become the motif at the beginning of the next symphony, the Fifth. Thus, we have a
link back to the Third (it will be remembered that the fourth movement was at one time
planned as part of the Third), as well as one forward to the Fifth. At the very end of the
development, there is an odd moment, a discontinuity. The movement seems to just stop,
and then start again as at the beginning with the jingling sleigh-bells. We are now in the
recapitulation section. The first and second subjects are revisited as expected, with the
second theme now in the home key of G major – pure sonata form. A traditional Coda
rounds off the movement.

Second Movement
The second movement, one of Mahler's Ländler1 movements, is a Scherzo in C minor,
with two F major Trios. The first crack has appeared in the illusion – we would expect a
slow movement followed by a Scherzo, but here Mahler has reversed the expected order
of the middle movements. The leader of the orchestra is required to play on a violin tuned
two semi-tones higher than normal, to produce a thin, ghostly sound. This represents
Death playing a dance to lead us to, where – to Heaven or to Hell?

Third Movement
This is followed by the slow movement, opening with a theme in the symphony's home
key, accompanied by an important rocking motif in the bass strings, played pizzicato; the
theme will later be the subject of a set of short variations. The first theme is followed by a
second in the home key's relative minor, E minor. Again, Mahler appears to be
conforming to the classical tradition with a 'Theme and Variations' movement, but there
are significant departures. Firstly, there are two themes, of which only the first is varied –
the second theme merely returns with some augmentation before the variations. Some of
the variations are made on previous variations, rather than on the original theme itself.
The overall structure of this movement is very complex indeed, far ahead of anything
written up until this time. At the start of the variations proper, the tempo increases from

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adagio to andante/allegro, before returning to adagio for the final variation, which is
again accompanied by the rocking bass motif. At the close of the variations, the
movement, and indeed the whole symphony, reaches a pivotal moment. A sudden and
unexpected fff E major eruption in the orchestra leads to a passage in which the brass
section proudly state the principal theme of the Finale that is to follow. This is the theme
that was hinted at in the development section of the first movement. As the eruption
dissipates, the movement ends slowly and quietly with prominent harp arpeggios.

Fourth Movement
The final movement breaks away completely from the classical tradition; the illusion in
tatters. No composer prior to Mahler would have dreamed of ending a classical-style
symphony with a Lied. The soprano soloist sings the Wunderhorn song, 'Das himmlische
Leben'. In this, she is asked to 'adopt a joyous, child-like tone, without parody'. In the
words of the song, we enjoy the delights of Heaven, dancing, hopping, jumping and
singing, whilst St Peter looks on. Food and drink are plentiful, although there is a slightly
darker side to the song as the Saints John and Luke facilitate the slaughter of a lamb and
an ox respectively. Between verses, we hear once again the jingling sleigh bells that
launched the symphony. As a final departure from the classical norm, instead of ending
the symphony in its tonic key, in the coda Mahler moves the harmony to E major. This
was the key in which the principal theme was given, triple-forte at the end of the third
movement, and the movement dies away peacefully to the rocking rhythm, as of an
infant, in the harp and the basses.

A Deeper Understanding
Gustav   Mahler’s   Fourth   Symphony   is   in   dialogue   with   the   Type   3   sonata,   though  
with   some   deformations.   The   exposition   can   be   divided   into   two   subsections,   the  
first  subsections  begins  the  movement  with  a  short  lived  introductory  space.  This  P-­‐
0   space   begins   with   woodwinds   that   sound   like   sleigh   bells.   The   harmony   initially  
suggested   is   b   minor   because   the   sleigh   bells   play   an   open   fifth   on   B   and   F#.  
However,   the   violin   theme   that   enters   with   the   pickups   to   measure   4   (P1)  
establishes  the  tonic  G  Major.  The  P  material  comprises  two  different  P  themes,  P1  
and  P2.  When  P1  cadences  with  a  I:  PAC  in  measure  7,  P2  enters  in  the  lower  strings.  
P1   begins   with   stepwise   motion   and   is   generally   more   lyric   than   P2,   which   begins  
with   a   leaping   arpeggiation   of   G   Major   and   contrasts   the   lyricism   of   P1   through  
dotted   rhythms.   PACs   in   measure   18   and   21   continue   to   emphasize   the   G   Major  
tonic.   The   P   themes   keep   alternating,   generally   appearing   in   the   strings,   but  
occasionally  appearing  in  the  upper  woodwinds.    
 
The   TR   module   is   brief,   only   six   measures   in   length.   Beginning   at   measure   32,   TR  
modulates  to  D  Major,  and  creates  energy  through  short  phrases  and  repetition.  The  
running   sixteenth   notes   in   the   strings   also   help   create   energy,   and   the   clarinet’s  
leaping  figure  gets  fragmented  through  rhythmic  diminution  in  the  woodwinds  (m.  

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35),  which  further  helps  the  energy  build.  This  energy  drives  forward  to  the  rather  
clear  MC  in  measure  37.  The  MC  is  generated  through  three  hammer  strokes,  and  a    
V:PAC  followed  by  a  Grand  Pause.  
 
Structurally,  the  S  space  is  a  small  rounded  binary  form.  The  lyric  S  theme  appears  
in  the  cello  in  D  Major  (this  begins  the  A  section  of  the  rounded  binary).  After  a  V:  
PAC  in  measure  41,  the  S  theme  is  picked  up  by  the  oboe,  and  cadences  again  on  a  V:  
PAC  in  measure  46.  The  B  section  of  the  rounded  binary  begins  in  measure  47.  Here,  
a  contrasting  idea  enters  in  the  cello  and  the  theme  appears  to  be  a  variant  of  S.  At  
measure   52,   S   appears   in   its   original   state,   marking   the   return   of   A’.   However,   this   S  
space  appears  to  be  problematic  because  where  we  expect  to  hear  the  EEC,  Mahler  
writes   a   PAC   in   the   key   of   A   Major   (V/V:   PAC).   The   EEC   has   failed;   at   this   point,  
Mahler  introduces  a  new  theme  for  a  closing  zone.  The  closing  space  begins  with  a  
reduced  texture,  and  eventually  modulates  to  what  sounds  like  b  minor  (m.  72).    
 
The   introduction   sleigh   bells   return   at   measure   72,   which   suggests   a   repeated  
exposition;   this   also   indicates   the   beginning   of   the   second   subsections.   However,  
this   soon   proves   to   be   a   false   repeat   of   the   exposition,   as   it   falls   apart.   While   Mahler  
uses  the  P  theme  after  the  introductory  material,  there  is  no  occurrence  of  TR,  MC,  
or   S.   Instead,   after   the   introductory   material,   Mahler   writes   P1   in   the   violin   (in  
stretto   with   the   oboe,   m.   77)   and   continues   to   use   P   material   (both   P1   and   P2)   in  
attempt  to  lead  up  to  an  EEC.  However,  this  time  the  resulting  cadence  is  a  I:  PAC  (m.  
91),   which   is   the   key   we   would   expect   to   hear   in   the   recapitulation.   Both   times  
through   the   exposition   material,   the   EEC   has   failed   to   arrive   in   the   proper   key.   A  
second  closing  zone  follows  in  measure  92  (C2),  and  the  lack  of  a  proper  EEC  results  
in   a   failed   sonata   exposition,   which   after   a   lyric   closing   module,   the   theme   sort   of  
dies  as  the  texture  thins  and  the  instruments  decrescendo  to  ppp.    
 
The   development,   and   the   second   subsections,   begins   at   measure   102;   overall,   the  
development  can  be  divided  into  two  large  subsections  (m.  102  and  m.  155).  At  the  
beginning  of  the  first  subsections,  the  first  idea  presented  is  the  sleigh  bells  from  the  
beginning.   This   makes   it   easily   recognizable   as   the   beginning   of   another   rotation,  
and   the   theme   appears   to   suggest   b   minor   as   the   key;   however,   we   soon   discover  
that   b   minor   is   actually   preparing   us   for   e   minor.   The   second   measure   reveals   an  
overlap   of   themes:   the   sleigh   bells   continue   in   the   clarinet   while   the   violins   play   P2.  
Themes   are   both   expanded   (such   as   the   solo   violin   theme   of   P2)   and   show   up   in  
fragmentation   (m.   108,   P2   fragments   in   the   flute).   In   measure   109,   e   minor   is  
established  as  the  new  key.  In  measure  110,  P2  evolves  into  a  new  theme  (NT)  and  
appears   in   the   horn.   This   transformation   of   P2   comes   from   the   second   half   of   the  
theme,  and  is  evident  if  you  refer  back  to  the  exposition  around  measures  25-­‐31  and  
follows  the  violin,  particularly  in  measures  28,  3031.  While  the  NT  is  playing  in  the  
horn,   the   accompanying   celli   and   bass   play   the   original   P2.   At   measure   115,   the  
violins   play   a   variant   of   P1   in   C   Major,   while   the   clarinets   and   bassoon   play  
fragments   of   the   NT.   The   themes   continue   to   be   fragmented   until   measure   121,  
when   there   is   a   large   collapsing   motion   with   descending   melodic   lines   (this   part  
almost   sounds   like   a   small,   controlled   storm   because   of   the   general   downward  
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motion   and   the   fast   string   tremolos).   At   this   measure,   the   harmony   is   C   Major  
seventh  chord,  but  with  a  major  7th,  so  the  B  clashes  against  the  C.  The  music  loses  
energy  as  the  texture  thins.    
 
At  measure  125,  the  Paradise  theme  emerges.  This  theme  appears  in  the  flute  and  
uses  elements  from  S  to  produce  a  new  theme.    
 
The   elements   from   S   are   evident   through   the   initial   restating   of   E,   and   the   following  
dotted   rhythm   is   a   slight   variant   on   the   second   measure   of   S.   The   Paradise   theme   is  
first   played   in   the   key   of   A   Major,   which   is   being   outlined   by   the   basses,   who   are  
playing   an   ostinato   on   A   and   E.   The   Paradise   theme   remains   in   the   flute   throughout  
this   section,   and   the   accompaniment   is   primarily   C2based   material   in   the   clarinet  
and   bassoon.   At   measure   145,   a   variant   of   the   Paradise   theme   appears   in   the  
clarinet,   but   the   theme   gets   interrupted,   fragmented,   and   sequenced,   indicating   a  
collapse  or  breakdown  of  the  theme.    
 
By  measure  148,  the  theme  now  more  closely  resembles  a  variant  of  P2,  and  muted  
trumpets   interrupt   with   diminished   triads   (and   this   trumpet   gesture   happens   again  
in  measure  153).    
 
The   second   subsection   of   the   development   begins   at   measure   155   with   the  
overlapping   themes.   The   sleigh   bells   appear   in   the   flute,   while   the   oboes   play   P2.  
The   key   has   changed   to   e-­‐flat   minor,   and   its   relationship   to   the   previous   Paradise  
section   (A   Major)   is   significant   because   of   the   tritone   interval.   P2   then   appears   in  
the   bassoon,   and   this   section   continues   to   present   ideas   that   overlap   one   another,  
similar   to   the   first   rotation.   One   difference,   however,   is   the   muted   trumpet   chords  
from  the  previous  section  are  still  interrupting  some  ideas.  A  new  idea  emerges  in  
the  flute  in  measure  167,  and  the  tonality  shifts  to  f  minor.  The  flute  theme  (FT)  is  
harmonized  in  thirds,  and  is  picked  up  by  the  horns  in  measure  173.  The  sleigh  bells  
enter  again,  though  this  time  pizzicato  in  the  second  violin,  making  them  harder  to  
hear.  The  FT  returns  in  the  flutes  in  measure  177  and  P1  and  P2  keep  reappearing  in  
fragments.  P1  returns  in  the  violin  in  measure  188.    
 
Mahler   begins   to   combine   the   P   themes   with   the   Paradise   theme.   At   measure   192,   a  
variant  of  the  P  theme  is  played  in  the  strings  and  upper  woodwinds  until  measure  
200.   The   woodwinds   suggest   the   Paradise   theme   through   three   quarter   notes,   but  
the   Paradise   theme   itself   does   not   fully   emerge   until   measure   212.   This   suggests  
that  the  P  theme  and  the  Paradise  theme  might  eventually  merge  together  (and  as  
we   will   later   see   in   the   recapitulation,   this   does,   in   fact,   happen).   At   measure   208,  
the  tonality  modulates  to  an  active  dominant  of  C  Major,  and  the  trumpet  plays  the  
Paradise  theme  at  measure  212.  At  measure  216,  the  TR  theme  enters  in  the  upper  
woodwinds  and  trumpet,  which  suggests  a  connection  between  TR  and  the  Paradise  
theme.   The   music   continues   to   gain   energy   until   the   crash   at   measure   221,   where  
the  descending  melodic  lines  and  clashing  chord  result  in  a  larger  collapse  than  the  
first  that  occurred  at  measure  121.  The  chord  at  measure  221  is  a  Db  Major  chord  (b  
II   in   C   Major),   but   with   a   G   in   the   bass,   which   clashes   against   the   Ab,   and   clashes,  
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even   more   when   the   trumpet   lands   on   a   B.   The   texture   thins   after   this,   and   a  
trumpet   melody   enters   at   measure   225   that   initially   sounds   very   much   like   the  
opening  to  the  fifth  symphony.  At  measure  234,  P1  enters  and  the  texture  continues  
to  thin  as  the  contrabassoon  moves  from  4#4  in  the  key  of  G  Major  (m.  238),  which  
prepares   us   for   the   return   to   the   tonic   key   (the   celli   actually   continue   this   and  
eventually  resolve  to  D  in  measure  239).    
 
The   third   rotation   and   recapitulatory   space   begin   at   measure   239.   This   rotation  
omits   P0   (the   sleigh   bells)   and   begins   immediately   with   P1   stated   in   the   violins.  
However,  in  the  second  measure  the  violins  play  the  Paradise  theme—  the  two  have  
finally  merged.  The  trumpet  plays  the  Paradise  theme  in  stretto  with  the  violins,  and  
the  horns  accompany  with  a  variant  of  P2  that  is  harmonized  in  parallel  thirds.    
 
The   violas   take   over   the   theme   in   measure   242   (and   it   has   returned   to   P1),   until  
measure   245,   the   violins   enter   with   P2,   which   then   becomes   fragmented.   At  
measure  253,  the  trumpet  enters  with  the  Paradise  theme  and  drive  forward  to  the  
transition   zone,   at   measure   257.   The   TR   theme   (which   has   now   also   merged   with  
the   Paradise   theme)   is   being   played   by   nearly   all   the   instruments   (except   low  
strings  and  bassoons,  which  have  a  fast  moving  melodic  line  to  gain  energy  and  push  
forward  to  the  MC  at  measure  262.  The  MC  is  a  I:  HC,  and  the  S  theme  follows  in  G  
Major.    
 
The  recapitulation  of  the  S  theme  is  a  larger  orchestration  than  its  first  appearance.  
In  the  exposition,  the  S  theme  had  minimal  accompaniment,  but  in  the  recapitulation  
the  texture  is  fuller,  particularly  at  measure  267  with  the  second  statement  of  S.  This  
idea   holds   true   for   the   rest   of   S,   as   well;   the   first   statement   has   smaller  
accompaniment,   but   the   second   statement   of   themes   has   a   richer   texture   with   more  
grandeur.  There  is  no  ESC,  but  Mahler  goes  right  on  to  C1  material  at  measure  283.  
The  C1  material  is  stated  very  similar  to  its  appearance  in  the  exposition  (and  only  
one  measure  longer).    
 
The   sleigh   bells   enter   at   measure   298,   which   marks   the   beginning   of   the   second  
subsections   (the   false   repeat).   The   introductory   material   is   expanded   at   some  
length,  with  embellishing  figures.  In  measure  311,  the  strings  enter  with  P2,  which  is  
then  moved  to  the  horn,  playing  the  variant  (NT  from  development  that  was  based  
off   P2).   A   P2   variant   then   enters   in   the   violin   (m.   315),   while   the   original   P2   is  
played   by   the   oboe,   clarinet   and   bassoon.   The   triplet   part   of   P2   becomes  
increasingly   important   as   it   helps   build   energy   to   lead,   hopefully,   to   the   ESC.   In  
measure   317,   the   triplet   figure   occurs   in   violin   and   flute   and   resolves   to   C   in  
measure  318.  These  two  measures  are  sequenced  down  a  fifth,  and  then  continue  to  
be   fragmented   and   sequenced   until   finally   the   ESC   in   measure   323.   The   closing  
material  is  C2,  and  the  coda  occurs  at  measure  340.  The  coda  is  P  based  and  helps  to  
confirm  the  G  Major  tonic  after  a  long  journey.    
 
The   first   movement   uses   many   themes   that   are   also   present   in   the   fourth  
movement;   in   some   cases,   Mahler   uses   blocks   of   material   that   preview   the   fourth  
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McCrobie,  Lawrence  V.         Gustav  Mahler  Symphony  No.  4  
  

movement.  The  sleigh  bells,  P2  and  the  Paradise  theme  are  all  used  multiple  times  in  
the  fourth  movement.  The  sleigh  bell  motive  acts  as  a  kind  of  refrain  in  the  fourth  
movement,   occurring   at   measures   40,   75,   and   again   at   115.   They   even   appear   at   the  
same   pitch   level   (the   open   fifth   of   B   and   F#),   although   usually   at   a   much   faster  
tempo  than  in  the  first  movement.  Fragments  of  P2  are  also  frequently  used  in  the  
last  movement.  P2  appears  as  early  as  measure  12  in  the  clarinet,  and  moves  to  the  
flute   (m.   14).   In   measure   80,   the   violins   play   P2   in   stretto,   while   the   Paradise   theme  
is  played  above.  The  Paradise  theme  opens  the  fourth  movement  as  a  clarinet  solo,  
and   also   appears   in   the   voice   and   oboe   in   measure   80;   although   they   are   slightly  
varied,  all  of  these  occurrences  are  very  closely  related  to  the  Paradise  theme.    
 
The   harmonic   significance   of   the   sleigh   bell   open   fifth   is   revealed   in   the   last  
movement.   In   the   first   movement’s   development,   we   eventually   learned   that   this  
open  fifth  did  not  refer  to  b  minor  as  it  suggested,  but  as  the  dominant  of  e  minor.  
Similarly,  in  the  fourth  movement,  the  open  fifth  is  acting  as  a  dominant  of  E,  but  E  
Major   this   time.   According   to   the   movement’s   title   “The   Heavenly   Life,”   E   Major  
could   be   the   heavenly   key,   and   the   Paradise   theme   plays   a   significant   role   in   both  
the   first   and   last   movements   because   of   the   various   keys   it   traveled   through.   In   a  
bright   key   such   as   E   Major,   the   Paradise   theme   could   have   more   programmatic  
meaning.   This   idea   is   similar   to   the   significance   of   Eb   Major   in   Mahler’s   Second  
Symphony   with   the   Victory   Chorale   and   Resurrection   theme;   in   general,   the   key   has  
programmatic   significance   when   a   certain   theme   has   finally   been   played   in   the  
intended   key.   This   is   especially   true   in   cases   of   Mahler,   when   he   sometimes  
introduces   a   theme   an   hour   before   it   gets   played   in   the   most   significant   key   to  
understanding  the  programmatic  elements.    
 
Overall,   the   deformation   aspects   of   this   sonata   include   the   treatment   of   the   EEC,   the  
false   repeat   of   the   exposition,   and   the   Paradise   theme,   which   acts   as   a   kind   of  
Breakthrough  deformation  in  this  movement.  Although  the  Paradise  theme  does  not  
completely   override   the   P   theme   in   the   recapitulation,   it   becomes   significantly  
involved  in  the  P  themes.  In  an  eighteenth  century  sonata,  a  developmental  theme  
being   used   to   such   extent   in   the   recapitulation   would   not   be   normative.   In   the  
exposition,  Mahler  tries  twice  to  set  up  an  EEC,  but  fails  both  times.  The  “repeat”  of  
the   exposition   eliminates   much   material,   and   is   not   a   true   repetition.   The   music   has  
a  difficult  time  leaving  the  tonic  key,  and  the  I:  PAC  (m.  91)  confirms  the  tonality  has  
failed   the   expositional   trajectory   of   moving   to   the   EEC.   Because   of   this,   the   ESC   in  
the   recapitulation   is   not   as   effective   as   it   could   have   been   since   it   has   already  
appeared  in  the  same  way  (and  same  key)  previously.    
 

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McCrobie,  Lawrence  V.         Gustav  Mahler  Symphony  No.  4