Uploaded January 2026 | Updated September 2026, 2 weeks ago
Pannon Philharmonic Orchestra conducted by Zsolt Hamar.
Teil I: Aus den Tagen der Jugend, Blumen, Frucht und Dornenstücke
I - Frühling und kein Ende. Langsam, schleppend, wie ein Naturlaut - Immer sehr gemächlich: 0:00
II - Blumine. Andante allegretto: 14:34
III - Mit vollen Segeln. Kräftig bewegt, doch nicht zu schnell - Recht gemächlich: 21:10
Teil II: Commedia Humana
IV - Des Jägers Leichenbegängnis, ein Totenmarsch in Callots Manier. Feierlich und gemessen, ohne zu schleppen - Sehr einfach und schlicht wie eine Volksweise - Wieder etwas bewegter, wie im Anfang: 28:24
V - Dall' inferno al Paradiso. Stürmisch bewegt - Energisch: 38:37
Mahler's "The Titan" was composed between 1887-8, initially conceived as a symphonic poem in two parts. It was premiered in Budapest on November 20 of 1889, performed by the Budapest Philharmonic Orchestra conducted by the composer. It was badly received by critics and audiences alike, bewildered by the style and lack of any descriptive notes from the composer. Mahler subsequently revised the score multiple times, until it reached its definitive form in 1896 as a symphony. All programmatic elements were dropped, the second movement was removed and the orchestration was expanded.
The work was inspired by Jean Paul's "The Titan", but more than the novel itself its character called Roquairol: a romantic anti-hero gifted with a burning artistic desire that the world has no use for, and who, finding no outlet or ability to adapt, gives way to despair and suicide. Mahler apparently identified with this figure. Roquairol is talented and charismatic, but burnt-out, inwardly empty, and dissipated. He is intended to represent a contemporary type of cynical, self-destructive "genius". On the other hand, the music barely fits in this narrative, and specially the triumphal conclusion seems to contradict it. Actually most of it was accumulated from various earlier works with no intended program, so its understandable Mahler reworked the project into an abstract symphony.
The first movement is structured in a modified sonata form. It begins with a slow introduction that represents the awakening of nature. Several motives are introduced that are the basis of the work; over sustained strings a descending two-note idea on woodwinds, a radiant brass call, a solemn chorale on horns, and a two-note cuckoo call on the clarinet. The main allegro begins with a gentle and pastoral main theme on cellos, derived from the two-note motive. A rhythmic and jovial second theme is also introduced. The material was largely reused from the lied "Ging heut' morgens übers Feld" of Mahler's "Songs of a Wayfarer".
The development opens with a variation of the introduction with its two-note motive and cuckoo calls. Horns introduce a solemn march theme that leads to the transformation of the main themes in a combined form. The music then grows more intense and agitated, foreshadowing the finale, until reaching an explosive climax. The fanfare theme then leads us to the joyful recapitulation of the themes. A playful coda, derived from the two-note motive, ends with in high spirits. The movement in its initial concept was a song of Spring that represents the awakening of nature or figuratively the birth of the Titan, the hero presented in the work.
The second movement is written in ternary form, being later removed by Mahler. It opens with string tremolos, followed by a widely lyrical and romantic main theme on the trumpet, extracted from Mahler's incidental music to the play "The Trumpeter of Säckingen". The central section features a more contemplative and melancholic second theme on woodwinds, unfolding like a nocturne. It then takes the form of a waltz before leading to an expressive climax. The trumpet recapitulates the main theme, before it gradually fragments. The music then vanishes with high strings and three chords from the harp. In this movement, the titan falls in love and plays the trumpet that is heard through the night as a kind of romantic serenade to his loved one.
The third movement is a scherzo in ternary form. It begins with a rhythmic main theme in form of a vigorous and rowdy ländler, a dance of Germanic origin. It bears a resemblance to the lieder "Hans und Grete", which would later for part in the first volume of "Lieder und Gesänge aus der Jugendzeit". After a boisterous climax, the trio opens with a lyrical second theme in form of a waltz. The scherzo is then recapitulated in a shorter, more heavily orchestrated way. A brilliant coda ends the movement. Here the Titan fully experiences the joys and sadness of life, but is ultimately left unsatisfied.
[Analysis continued in the comments section]
Picture: "Hercules and the Hydra" (1921) by the American-British painter John Singer Sargent.
Musical analysis partially written by myself. Sources: tinyurl.com/yosee6t2, tinyurl.com/ym7h473p and bit.ly/2Uo1nZO
Score: tinyurl.com/ycpzgkhf
Pannon Philharmonic Orchestra conducted by Zsolt Hamar.
Teil I: Aus den Tagen der Jugend, Blumen, Frucht und Dornenstücke
I - Frühling und kein Ende. Langsam, schleppend, wie ein Naturlaut - Immer sehr gemächlich: 0:00
II - Blumine. Andante allegretto: 14:34
III - Mit vollen Segeln. Kräftig bewegt, doch nicht zu schnell - Recht gemächlich: 21:10
Teil II: Commedia Humana
IV - Des Jägers Leichenbegängnis, ein Totenmarsch in Callots Manier. Feierlich und gemessen, ohne zu schleppen - Sehr einfach und schlicht wie eine Volksweise - Wieder etwas bewegter, wie im Anfang: 28:24
V - Dall' inferno al Paradiso. Stürmisch bewegt - Energisch: 38:37
Mahler's "The Titan" was composed between 1887-8, initially conceived as a symphonic poem in two parts. It was premiered in Budapest on November 20 of 1889, performed by the Budapest Philharmonic Orchestra conducted by the composer. It was badly received by critics and audiences alike, bewildered by the style and lack of any descriptive notes from the composer. Mahler subsequently revised the score multiple times, until it reached its definitive form in 1896 as a symphony. All programmatic elements were dropped, the second movement was removed and the orchestration was expanded.
The work was inspired by Jean Paul's "The Titan", but more than the novel itself its character called Roquairol: a romantic anti-hero gifted with a burning artistic desire that the world has no use for, and who, finding no outlet or ability to adapt, gives way to despair and suicide. Mahler apparently identified with this figure. Roquairol is talented and charismatic, but burnt-out, inwardly empty, and dissipated. He is intended to represent a contemporary type of cynical, self-destructive "genius". On the other hand, the music barely fits in this narrative, and specially the triumphal conclusion seems to contradict it. Actually most of it was accumulated from various earlier works with no intended program, so its understandable Mahler reworked the project into an abstract symphony.
The first movement is structured in a modified sonata form. It begins with a slow introduction that represents the awakening of nature. Several motives are introduced that are the basis of the work; over sustained strings a descending two-note idea on woodwinds, a radiant brass call, a solemn chorale on horns, and a two-note cuckoo call on the clarinet. The main allegro begins with a gentle and pastoral main theme on cellos, derived from the two-note motive. A rhythmic and jovial second theme is also introduced. The material was largely reused from the lied "Ging heut' morgens übers Feld" of Mahler's "Songs of a Wayfarer".
The development opens with a variation of the introduction with its two-note motive and cuckoo calls. Horns introduce a solemn march theme that leads to the transformation of the main themes in a combined form. The music then grows more intense and agitated, foreshadowing the finale, until reaching an explosive climax. The fanfare theme then leads us to the joyful recapitulation of the themes. A playful coda, derived from the two-note motive, ends with in high spirits. The movement in its initial concept was a song of Spring that represents the awakening of nature or figuratively the birth of the Titan, the hero presented in the work.
The second movement is written in ternary form, being later removed by Mahler. It opens with string tremolos, followed by a widely lyrical and romantic main theme on the trumpet, extracted from Mahler's incidental music to the play "The Trumpeter of Säckingen". The central section features a more contemplative and melancholic second theme on woodwinds, unfolding like a nocturne. It then takes the form of a waltz before leading to an expressive climax. The trumpet recapitulates the main theme, before it gradually fragments. The music then vanishes with high strings and three chords from the harp. In this movement, the titan falls in love and plays the trumpet that is heard through the night as a kind of romantic serenade to his loved one.
The third movement is a scherzo in ternary form. It begins with a rhythmic main theme in form of a vigorous and rowdy ländler, a dance of Germanic origin. It bears a resemblance to the lieder "Hans und Grete", which would later for part in the first volume of "Lieder und Gesänge aus der Jugendzeit". After a boisterous climax, the trio opens with a lyrical second theme in form of a waltz. The scherzo is then recapitulated in a shorter, more heavily orchestrated way. A brilliant coda ends the movement. Here the Titan fully experiences the joys and sadness of life, but is ultimately left unsatisfied.
[Analysis continued in the comments section]
Picture: "Hercules and the Hydra" (1921) by the American-British painter John Singer Sargent.
Musical analysis partially written by myself. Sources: tinyurl.com/yosee6t2, tinyurl.com/ym7h473p and bit.ly/2Uo1nZO
Score: tinyurl.com/ycpzgkhf
