By W.A.Mozart-Violin
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Adorno. In his monograph on the composer, Adorno describes the introduction as follows: The First Symphony opens with a long pedal point in the strings, all playing harmonics except for the lowest of the three groups of double basses. Reaching to the highest A of the violins, it is an unpleasant whistling sound like that emitted by old-fashioned steam engines. 41 With his typically opaque yet paradoxically seductive prose, Adorno complicates the traditional understanding of this passage as a representation of pure and untroubled nature by invoking technology as an unexpected source of aural disturbance.
18 On the whole, then, their lack of any direct connection to the immediate musical and dramatic context lends them an uncannily abstract quality. That this passage represents Mahler’s only use of an offstage instrumental ensemble in the entire movement serves to heighten its expressive force. Yet Mahler is far from finished with manipulating space for dramatic effect. Indeed, he saves his most radical use of spatial dislocation for a solo voice. In what follows, the minstrel fails to heed the chorus’s warning and raises the flute to his lips.
23 That Mahler began his first symphonic work by establishing so selfconsciously a space at the threshold of the audible, as well as the visible, reveals the presence of three crucial elements that I suggest lie at the core of his provocative reinvention of the symphony. Indeed, the composer’s early fascination with the intertwined ideas of landscape, mobility, and theatricality is, I believe, crucial for a more nuanced understanding of not only the First Symphony but the later works as well. Given that Mahler’s treatment of offstage space here has less to do with the work’s original programmatic dimension or, indeed, the symphonic tradition as a whole, it is clear that the unorthodox nature of the introduction demands to be interpreted in different terms.
