Comment on the ways in which Mahler organises his thematic material in the first movement of his 4th symphony from beginning to figure 8 and from figure 18 to the end of the movement.

At figure 3 the music has modulated to the dominant, D major, and a warm tune is heard in the cellos tenor register. This is theme 4, which is diatonic, and built from two-bar phrases and a clear answering phrase. In the answering phrases the orchestra is used particularly flexibly; first the melody is in the oboe at bar 41, then it is passed to the violins at bar 44, and returns to the oboe at bar 45. At bar 47 a broad string theme enters forming theme 5, which is related to the cello melody of theme 4, and quickly builds to a climax at bar 51-52. At bar 52, theme 4 returns, accompanied by a moving bass line and an A played by four flutes. This leads to a more serene climax and a prolonged cadence before the music reaches figure 4.

The closing section starts at bar 58 with theme 6; a playful little tune on the oboe, and a staccato bass line on the bassoon. The strings then take this idea forwards, and previously seen motifs begin to appear, for example, the triplet semi-quavers at bar 60, and the dotted rhythm scale at bar 66; both theme 2 ideas. Mahler does not follow common classical practice for the end of his exposition by completely repeating it, but begins a varied and summarised repeat of his opening material at bar 72. Theme 1 returns at figure 6 with an echoing countermelody in the oboe, and the semi-quaver accompaniment played in opening by the clarinets, now in the cello. Themes 2 and 3 are set against each other until the end of the repeat at bar 91, where it comes to a close after returning unconventionally to the tonic key of G major. The last section of the exposition is very peaceful, and contains theme 7; a new melodic idea in the cellos which is then taken up by other instruments.

The recapitulation of the movement traditionally follows the same pattern as the exposition, and complies with classical formulas in that the transition section no longer modulates to the dominant. It is also exactly the same number of bars as the exposition; an example of Mahler unusually demonstrating a very classical sense of structure. G major is re-established at the beginning of the recapitulation, with familiar themes from the exposition and a more intricate, contrapuntal texture. For example, the dotted rhythm can be seen at bar 239 in the first violin, and the semi-quaver triplet reappears at bar 240 in the horn. At bar 255 the three crotchets of the ‘Paradise Theme’ that the symphony is based on can be heard. The transition occurs at 257, and sticking to classical customs remains in the tonic key, G major. At 263 the cello theme from bar 38 returns in the violins and violas with enriched orchestration. The strings power is increased by doubling the melody and using a high register with many bow changes. The broad string melody from theme 5, then returns at bar 272. The movements closing section begins at bar 283, with many recognisable themes, such as the dotted rhythms scales in the bassoon, horn, cello and bass at bar 292. The shortened repeat starts at bar 298, with the return of the bells motif with a staccato chord in flute 1, 3 and 4. Flute 2 plays a semi-quaver accompanying figure, giving the motif a similar feel to the movements opening. There are more staccato chords reminiscent of the bells motif in the horn at bar 303, the clarinet and flute at bar 307 and the violin and viola at bar 308.

The music slows to a halt before the coda at 340, and then picks up tempo once it has begun, creating energy through the use of more dotted rhythms scales over three octaves. The last four bars use the vigorous broken chords and the tonic/dominant harmony of the transition theme, bringing the music to a stirring close. This ending emphasises the naïve nature of Mahler’s ideas for the symphony, creating comforting end to the movement that satisfies the listener.