Das Lied Von Der Erde - Structure

Structure

1. Das Trinklied vom Jammer der Erde

   The first movement, "The Drinking Song of Earth's Misery", continually returns to the refrain, Dunkel ist das Leben, ist der Tod (literally, "Dark is life, is death"), which is pitched a semitone higher on each successive appearance. Like many drinking poems by Li Bai, the original poem "Bei Ge Xing" (a pathetic song) (Chinese:悲歌行) mixes drunken exaltation with a deep sadness. The singer's part is notoriously demanding, since the tenor has to struggle at the top of his range against the power of the full orchestra. This gives the voice its shrill, piercing quality, and is consistent with Mahler's practice of pushing instruments, including vocal cords, to their limits. According to philosopher Theodor W. Adorno, the tenor should here create the impression of a "denatured voice in the Chinese (falsetto) style", perhaps in the style of Peking opera.

   "The wine in the golden cup calls us, but first let me sing you a song of sorrow which shall ring laughingly in your soul. When sorrow comes the gardens of the soul lie waste, joy and song fade and die: Dark is life, dark is death. Master of this house! Your cellar is full of golden wine! This lyre I shall call mine, for emptying the glass and sounding the lyre are things that go together. A full beaker of wine at the right time is worth more than all the riches of this world: Dark is life, dark is death. The sky is endlessly blue, and the earth will long remain, and bloom in Spring. But you, Man, how long will you remain? Not even a hundred years shall you enjoy all the mouldering trinkets of this earth! A wild, ghostly figure crouches in the moonlight on the tombs - it is an Ape! Listen, its howling cuts through the sweet scent of Life. Now, drink the wine! Now is the time, comrades! Empty your golden cups to the lees! Dark is life, dark is death."

2. Der Einsame im Herbst

   "The lonely one in Autumn" is a much softer, less turbulent movement. Marked 'somewhat dragging and exhausted', it begins with a repetitive shuffling in the strings, followed by solo wind instruments. The lyrics, which are based on the first part of a Tang Dynasty era poem by Qian Qi, lamenting the dying of flowers and the passing of beauty. The orchestration in this movement is sparse and chamber music-like, with long and independent contrapuntal lines.

   "Autumn mists roll across the lake, as if a dust of Jade had been spread over the flowers, and their scent is gone. The withered lotus leaves will soon float on the lake waters. My heart is weary, and I come to this beautiful place of rest, for I need solace: I weep much in my loneliness. Autumn lasts too long in my heart: Sun of Love, will you never shine and dry away my bitter tears?"

3. Von der Jugend

   The third movement, "Of Youth" (for tenor), is the most obviously pentatonic and faux-Asian. The form is ternary, the third part being a greatly abbreviated revision of the first.

   "A pavilion of green and white porcelain stands in the middle of a tiny pond. Like a tiger's back, a Jade bridge arches over to it. Inside the house beautifully-dressed friends drink and chat, and some write poetry: their silk sleeves slip back and their silk caps hang cheerfully over their necks. Everything is marvellously reflected in the still surface of the water. Everything stands on its head in the green and white pavilion. The bridge is like a half moon, the arch upturned. Beautifully dressed friends drink and chat."

4. Von der Schönheit

   The music of this movement, "Of Beauty", is mostly soft and legato, with a loud articulated section in the brass as the young men ride by. There is a long orchestral postlude to the sung passage.

   "Maidens gather blossoms in their laps as they sit among the bushes of the river bank, and the sunlight reflects them in the water. Handsome youths ride past on horses among the willows, trampling the flowers. The loveliest of the maidens looks on the handsome young man with burning desire, her heart's excitement beseeching him through her gaze behind her mask of pride."

5. Der Trunkene im Frühling

   The scherzo of the work is represented by the fifth movement, "The drunken man in Spring". Like the first, it opens with a horn theme. In this movement Mahler uses extensive variety of tempo, which alters every few measures. The middle section features a solo violin and solo flute.

   "If Life is a dream, why all this work and worry? I drink all day, till I can drink no more! Then I roll home and sleep. When I wake, a bird is singing, and I ask him if Spring has come. Yes! he replies, it came last night, and he sings and laughs, and I listen in wonder. And I fill my cup and drain it, and sing till the moon fills the night sky, and fall asleep again. What's the Spring to me? Just let me be drunk!"

6. Der Abschied

   The final movement, "The Farewell", is nearly as long as the previous five movements combined. Its text is drawn from two different poems, both involving the theme of leave-taking.

   "The sun sinks beyond the hills, evening descends into the valleys with its cooling shade. See, like a silver boat the moon sails up into the lake of the sky. I sense a soft wind blowing beyond the dark fir-trees. The brook sings melodiously through the dark. The flowers grow pale in the twilight. The earth breathes a deep draught of rest and sleep. All longing now will dream: tired people go homewards, so that they can learn forgotten joy and youth again in sleep! Birds sit motionless on their branches. The world is slumbering! It grows cool in the shade of my fir-trees. I stand and await my friend, I wait for him for our last farewell. O friend, I long to share the beauty of this evening at your side. Where do you linger? Long you leave me alone! I wander here and there with my lyre on soft grassy paths. O Beauty! O endless love-life-drunken world!

   He dismounted from the horse and handed to him the drink of farewell. He asked him where he was bound and why it must be so. He spoke, and his voice was muffled: 'You, my friend, Fortune was not kind to me in this world! Where do I go? I am departing, I wander in the mountains. I am seeking rest for my lonely heart. I am making my way to my home, my abode. I shall never stray far away. My heart is still and awaits its moment.'

   The beloved Earth blooms forth everywhere in Spring, and becomes green anew! Everywhere and endlessly blue shines the horizon! Endless... endless..."

   (The last lines were added by Mahler himself.) The singer repeats the final word like a mantra, accompanied by a sparse mix of strings, mandolin, harps, and celesta, until the music fades into silence, the final chord "imprinted on the atmosphere" as Benjamin Britten put it.

   The last movement is very difficult to conduct because of its cadenza writing for voice and solo instruments, which often flows over the barlines, "Ohne Rücksicht auf das Tempo" (Without regard for the tempo) according to Mahler's own direction. Bruno Walter related that Mahler showed him the score of this movement and asked, "Do you know how to conduct this? Because I certainly don't." Mahler also hesitated to put the piece before the public because of its relentless negativity, unusual even for him. "Won't people go home and shoot themselves?" he asked.