This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
I asked ChatGPT4o: “Mahlerʼs Symphony No. 7 is sometimes considered a flawed work. What are the reasons for this?”
There are several reasons why Mahlerʼs Symphony No. 7 is sometimes regarded as a "flawed" work. This is, of course, dependent on subjective evaluation, and it is often highly regarded today. However, the following points are frequently subject to criticism.
Mahlerʼs Symphony No. 7 is sometimes criticized for lacking a sense of unity compared to his other symphonies, particularly the Fifth and Sixth.
For example, some listeners feel that the complex structure of the first movement and the sudden festive character of the fifth movement disrupt the overall unity of the piece.
The roles of the second and fourth movements, "Nachtmusik" (Night Music), within the overall flow of the symphony are also sometimes seen as ambiguous.
The fifth movement (Finale) is particularly prone to criticism.
It is a festive and bright movement, but the abrupt change in atmosphere compared to the previous movements, along with its ironic elements, leads some to describe it as "sarcastic and lacking seriousness."
Some critics and conductors, especially those with a perspective close to the Brucknerian school, have harshly criticized it as "the most failed finale in Mahlerʼs works."
Compared to the Sixth Symphony ("Tragic"), some feel that the Seventh is somewhat ambiguous in its drama, with a weak decisive climax.
In the finale, despite the presence of powerful trumpets and fanfares, there is ambiguity about whether it conveys a true sense of victory or irony.
The premiere (1908, Prague) received mixed reviews.
Even Mahlerʼs supporters seemed unable to fully understand the piece.
Until the mid-20th century, the symphony was not performed as frequently as Mahlerʼs other works, contributing to its reputation as a "failed work."
Compared to Mahlerʼs other symphonies, particularly the Fifth and Sixth, the Seventh is often seen as lacking strong thematic unity.
For example, the themes in the first movement are not clearly developed, with various motifs intermingling, leading some listeners to find it difficult to discern what is being expressed.
Mahlerʼs Symphony No. 7 is sometimes criticized for its perceived lack of cohesion among its diverse elements. In particular, the ambiguity of the finaleʼs character and the lack of unity are reasons it is sometimes labeled a "flawed work." However, the symphony possesses a unique musical world, and since the latter half of the 20th century, it has been re-evaluated and is now frequently performed as an important work.
I asked ChatGPT4o: “What are the reasons for its re-evaluation?”
There are several reasons why Mahlerʼs Symphony No. 7 has been re-evaluated. Particularly since the latter half of the 20th century, the uniqueness of this work has been recognized, and with increased performance opportunities, its value has been reassessed. Below are the main factors contributing to its re-evaluation.
Until the first half of the 20th century, Mahlerʼs symphonies were often criticized as "long-winded and difficult to understand."
However, from the 1960s onwards, conductors like Leonard Bernstein actively promoted Mahler, leading to more recordings and performances.
As a result, Symphony No. 7 began to be listened to anew alongside his other works.
Symphony No. 7, with its complex orchestration and diverse soundscapes, was a challenging work to perform adequately.
However, improvements in recording technology and orchestral performance techniques have allowed for clearer expression of the workʼs details.
Conductors such as Bernstein, Abbado, Chailly, and Rattle have excelled in this piece, expanding its expressive range and conveying its appeal.
Symphony No. 7 features sounds that approach Impressionism and Expressionism, anticipating the development of 20th-century music.
The unique atmosphere of the second and fourth movements, "Nachtmusik," resonates with later composers like Schoenberg and Berg, as well as elements of contemporary music.
As these musical styles became more widespread in the latter half of the 20th century, the innovative sounds of Symphony No. 7 became better understood.
Symphony No. 7, with its mix of serious and humorous elements, can be seen as a work with a postmodern sensibility.
Particularly, the interpretation of the festive finale of the fifth movement, once criticized as "abrupt and lacking cohesion," is now appreciated as ironic and multilayered music.
It has become possible to interpret it similarly to the ironic music of Strauss or Shostakovich, leading to its re-evaluation as a "20th-century work."
Earlier conductors viewed the "lack of unity" in Symphony No. 7 as problematic and attempted to create a cohesive expression.
However, recent conductors have emphasized the differences in character between movements, bringing out the workʼs unique charm.
For example, Claudio Abbado performed the fifth movement with an emphasis on lightness and playfulness rather than excessive drama.
Simon Rattle interpreted the entire work as a "dreamlike nocturnal journey," highlighting its Impressionistic sounds.
The fantastical and nocturnal sounds of Symphony No. 7 have influenced film music, making it more accessible to film music audiences.
The fantasy of the Nachtmusik (Night Music) has particularly influenced film composers like John Williams and Jerry Goldsmith.
This has led to greater acceptance of the unique atmosphere of Symphony No. 7.
Symphony No. 7, long misunderstood due to its uniqueness, has been re-evaluated due to factors such as:
Re-evaluation of Mahler
Advances in performance and recording technology
Development of 20th-century music
Introduction of postmodern perspectives
Influence of film music
As a result, it is now seen as a "distinctive masterpiece among Mahlerʼs works." Today, the Nachtmusik of the second and fourth movements and the unique energy of the finale are particularly highly regarded, leading to more frequent performances.
I asked ChatGPT4o: “Do you know how Alma Mahler evaluated this piece?”
It is known that Alma Mahler did not highly regard Mahlerʼs Symphony No. 7. According to her memoirs and testimonies, her impressions of this piece were as follows:
Alma Mahler reportedly did not feel an emotional connection to Symphony No. 7 compared to Mahlerʼs other symphonies, particularly the Fifth and Sixth.
In her memoir Gustav Mahler: Memories and Letters, there are few mentions of this symphony, suggesting she did not have a special attachment to it.
According to some sources, Alma considered Symphony No. 7 to be "emotionally lacking."
She preferred Mahlerʼs works with deep emotions and tragic elements, such as the Sixth Symphony and the song cycle Kindertotenlieder, and may not have resonated with the eccentric structure and potentially ironic finale of the Seventh.
Some researchers, based on Almaʼs testimony, speculate that "Mahler himself may not have had a strong attachment to this piece."
However, there is no definitive evidence for this, and it is possible that Mahler considered "this work to be his greatest masterpiece" (Mahler often tended to evaluate his own works as "his best").
When Symphony No. 7 was composed around 1904-1905, Mahler and Almaʼs relationship was relatively stable.
However, in the following years, Mahlerʼs health issues (heart disease) and Almaʼs relationship with Walter Gropius became problematic, affecting Almaʼs view of Mahler.
These circumstances may have led Alma to later consider the symphony as lacking deep meaning.
It is likely that Alma Mahler did not highly regard Symphony No. 7.
She preferred more emotional and tragic works (such as the Sixth Symphony),
and may have found it difficult to understand the complex structure and ironic elements of the finale.
I asked ChatGPT4o: “How have the modulations and chromaticism in this piece been evaluated?”
Mahlerʼs Symphony No. 7 is characterized by frequent modulations and chromaticism (non-harmonic tones, chromatic movements, and ambiguous tonality), and these elements have been evaluated from various perspectives by critics and scholars. In particular, the bold handling of tonality and the fusion of diverse musical languages highlight the individuality of this symphony.
In this symphony, modulations occur frequently, creating a sense of unpredictability and a fantastical atmosphere that is highly regarded.
In the first movement, the opening in E minor (with the eerie theme of the euphonium) quickly shifts to E-flat major, only to transition to another key soon after.
There is no prolonged stay in a specific tonic, leading to constant changes in color and an ambiguous sense of tonality.
The absence of a tonal center is also present in Mahlerʼs later works (such as the Ninth Symphony and the fragments of the Tenth), and some evaluations see it as a bridge to the twelve-tone technique (possibly influencing the Second Viennese School, including Alban Berg).
This movement is based on C major but involves frequent modulations.
Influences from Mozartʼs "The Magic Flute" and Wagnerʼs "Die Meistersinger von Nürnberg" are evident, but the sudden modulations of these tonalities are interpreted as ironic quotations (similar to the parodic techniques in Richard Straussʼs "Till Eulenspiegel").
Some critics point out that the excessive modulations disrupt the coherence of the finale, while others view it positively as creating the "chaotic festivity" of this movement.
In Mahlerʼs Seventh Symphony, chromaticism (especially chromatic progressions) is extensively used, creating a sense of dissonance and instability.
In the opening theme of the first movement, the euphoniumʼs melody is chromatic, quickly moving to the next note, giving an unstable impression.
This contrasts with the persistent functional harmony of the Sixth Symphony, emphasizing instead the character of "music that doesnʼt know where itʼs going."
There are similarities to the chromatic harmonic progressions of Schubert and Wagner, but Mahler takes it further.
In the second and fourth movements (Nachtmusik), Impressionistic harmonies are used, with chromaticism appearing throughout, creating music that seems to oscillate between light and shadow.
In scenes involving instruments like the flute, guitar, and mandolin, chromaticism produces a dreamlike effect.
There are often noted similarities with Impressionist music by Debussy and Ravel, with modulations and chromaticism defining the symphonyʼs fantastical character.
The modulations and chromaticism in Symphony No. 7 were initially criticized as "incoherent music" and "unclear structure."
For example, at the time of its premiere, there were criticisms of "lack of harmonic unity" and "tonal instability in the finale."
Since the 1960s, as Mahlerʼs music became widely performed by conductors like Bernstein, the abundance of modulations began to be appreciated as "rich musical color."
Particularly from perspectives such as "connection to Impressionism," "bridge to twelve-tone technique," and "surreal aesthetics," the novelty of this symphony gained attention.
Today, the modulations and chromaticism in Symphony No. 7 are actively evaluated as "expressions of Mahlerʼs experimental spirit."
The differences in interpretation by conductors significantly alter the sound of this symphony.
Abbado and Rattle emphasize the diversity of timbres, bringing out the colorful beauty of chromaticism.
Bernstein and Chailly express the abundance of modulations as intense dynamic contrasts, treating it as chaotic energy.
The modulations and chromaticism in Symphony No. 7 were initially criticized as "lacking unity" and "difficult to understand," but since the latter half of the 20th century, they have been appreciated as "rich musical color," "Impressionistic sound," and "experimental modernism." In particular, the fantastical modulations in Nachtmusik, chromatic melodies, and sudden tonal changes in the finale make this piece unique. As a result, the modulations and chromaticism in this symphony are now seen as having value as "diversity" rather than "confusion."
Consequently, the modulations and chromaticism in this symphony are now regarded as having value as "diversity" rather than "confusion."
I asked ChatGPT4o: “Isnʼt the extensive use of modulations and chromaticism in this piece similar to Emanuel Bachʼs music?”
The frequent modulations and extensive use of chromaticism observed in Mahlerʼs Symphony No. 7 indeed share common elements with Emanuel Bachʼs music. The expressive techniques of Emanuel Bachʼs Empfindsamer Stil (Sensitive Style) may have influenced composers of the late Romantic period, such as Mahler, through the Romantic era.
In Emanuel Bachʼs music, sudden modulations and ambiguous tonality are often observed. This is thought to be similar to the instability of modulations in Mahlerʼs Symphony No. 7.
In Emanuel Bachʼs Fantasias, sudden modulations frequently occur, with a particular emphasis on chromatic progressions.
For example, in works like H. 289 (Fantasia in B-flat major), the harmony changes abruptly, with many sections where the sense of tonality is unstable.
Mahlerʼs Symphony No. 7, especially in the introduction of the first movement and the middle of the fifth movement, features abrupt modulations that are reminiscent of Emanuel Bachʼs sense of modulation.
Emanuel Bachʼs keyboard sonatas (such as the Prussian Sonatas Wq. 48) are characterized by unstable tonality and difficulty in returning to the tonic, unlike the more developed forms of the Classical period.
Mahlerʼs Symphony No. 7 also has a structure where it is difficult to grasp "which key it is heading towards" when viewed over a long span, similar to Emanuel Bachʼs modulation techniques.
Emanuel Bachʼs works are characterized by unexpected chromaticism (such as non-harmonic tones like ♭6 or ♯4), which is a common element with Mahlerʼs music.
Emanuel Bach frequently uses chromaticism in melodies and harmonies.
For example, in Wq. 62-12 (Suite in E minor), chromatic melodies appear throughout, sometimes blurring the outlines of tonality.
Mahlerʼs Symphony No. 7 also features extensive chromatic melodic progressions, particularly notable in the opening theme of the first movement.
In Emanuel Bachʼs fantasias and adagio movements, sudden dissonances appear, creating a momentary collapse of tonality.
This is similar to the unique sonic instability created by the addition of guitar and mandolin in Mahlerʼs Symphony No. 7, particularly in the second and fourth movements (Nachtmusik).
In Mahlerʼs Symphony No. 7, there are movements that evoke a "nocturnal" atmosphere (particularly the second and fourth movements, Nachtmusik). Emanuel Bach also left behind several works with a nocturnal atmosphere, and there are commonalities in their expressive techniques.
In Emanuel Bachʼs Wq. 65-11 (Sonata in G minor), the second movement Andante has a fantastical atmosphere, with frequently changing harmonies.
Similarly, Mahlerʼs Nachtmusik movements (second and fourth movements) have a fantastical sound, characterized by their use of modulations and chromaticism.
In nocturnal pieces, Emanuel Bach tends to ambiguously shift between minor and major keys.
For example, Wq. 48-4 (Prussian Sonata in C minor) begins in a minor key but incorporates major key sounds along the way, resulting in fluid tonality.
Mahlerʼs Symphony No. 7ʼs second movement (Nachtmusik I) also creates a fantastical atmosphere by interspersing major keys within a G minor framework.
In Emanuel Bachʼs works, harmony often changes suddenly. For example, in Wq. 43-4 (Concerto in C minor), modal changes occur frequently within movements.
This is similar to the "dramatic changes" in harmonic progressions in Mahlerʼs Symphony No. 7.
Emanuel Bach often deviates from standard functional harmony (tonic, dominant, subdominant) to create unpredictable harmonic progressions.
Mahler also ignores traditional harmonic flow in Symphony No. 7, sometimes abruptly modulating to distant keys.
The use of modulations and chromaticism in Mahlerʼs Symphony No. 7 shares several commonalities with the characteristics of Emanuel Bachʼs Empfindsamer Stil.
Sudden modulations and instability in returning to the tonic
Chromatic melodic progressions and unstable harmonies
Expression of fantastical and nocturnal atmospheres
Progressions that transcend traditional harmonic frameworks
These features are related to the unique musical language of Mahlerʼs Symphony No. 7, suggesting that the techniques established by Emanuel Bach may have influenced music from the late 19th to early 20th centuries.
I asked ChatGPT4o: “Translate this: <p><br /><br /> Focusing on Mahlerʼs Symphony No. 7, I have written about the content I asked ChatGPT-4o in <a href="MahlerSym7_CPEB.html">‘Commonalities Between Mahlerʼs Symphony No. 7 and Emanuel Bachʼs Music’</>. </p>”
Focusing on Mahlerʼs Symphony No. 7, I have written about the content I asked ChatGPT-4o in "Commonalities Between Mahlerʼs Symphony No. 7 and Emanuel Bachʼs Music".
I asked ChatGPT4o: “Please do not omit tags.”
I asked ChatGPT4o: “Is there a connection between the reasons Mahlerʼs Symphony No. 7 was initially not well-received and the reasons Emanuel Bach was not appreciated in the 19th century?”
There are several commonalities between the reasons Mahlerʼs Symphony No. 7 was initially not well-received and the reasons Emanuel Bachʼs music was not appreciated in the 19th century. Both were not aligned with the musical values and aesthetics of their time, leading to delayed recognition.
▶︎ Mahlerʼs Symphony No. 7
Symphony No. 7 was considered a work that was difficult for listeners to understand due to its lack of unity and differences in character between movements.
In particular, the abrupt brightness of the finale did not connect with the fantastical atmosphere of the first movement and Nachtmusik, leading critics to view it as an incoherent work.
▶︎ Emanuel Bach
To 19th-century music critics and scholars, Emanuel Bachʼs works seemed fragmented and lacking unity, unlike the developmental forms of Beethoven.
His sonatas and fantasias were characterized by abrupt modulations, sudden tempo changes, and unpredictable developments, and in the 19th century, when sonata form was established, they may have been seen as "unfinished music."
📌 Commonality:
Both types of music were not properly evaluated due to a perceived "lack of unity" that did not align with the aesthetic standards of their time.
▶︎ Mahlerʼs Symphony No. 7
In Mahlerʼs Seventh, the tonal sense is unstable, with frequent modulations.
The mysterious atmosphere of the "Nachtmusik" and the use of guitar and mandolin created sounds different from typical symphonies, making it difficult for contemporary audiences to accept.
▶︎ Emanuel Bach
Emanuel Bachʼs music, characterized by the Empfindsamer Stil, frequently used chromatic melodies and unpredictable harmonic progressions.
To 19th-century composers, it may have been seen as "too unstable" and "not refined as a form."
📌 Commonality:
The unique use of harmony and melody did not fit the aesthetics of the time.
▶︎ Mahlerʼs Symphony No. 7
Mahlerʼs Symphony No. 7 was created at the cusp of the end of the late Romantic period and the beginning of 20th-century music.
As a result, it was too unconventional for those seeking "understandable music" of the 19th century, yet still transitional for the modernism of the 20th century.
Being a "work caught between eras," its evaluation was not established at the time of its premiere.
▶︎ Emanuel Bach
Emanuel Bachʼs music was also a transitional presence between the Baroque and Classical periods.
His works lacked Baroque polyphony and did not fit into the balanced forms of the Classical period, leading to a tendency in the 19th century to view them as merely "underdeveloped music."
📌 Commonality:
Both were "caught between eras," leading to an undefined evaluation.
Both types of music received proper recognition only in the latter half of the 20th century.
▶︎ Mahler
Since the 1960s, performances by Leonard Bernstein, Abbado, and Rattle led to its re-evaluation as a "revolutionary work."
Particularly with the development of film music, the Impressionistic sounds and fantastical atmosphere of the Seventh began to be appreciated.
▶︎ Emanuel Bach
In the latter half of the 20th century, with the revival of the clavichord and fortepiano, the uniqueness of his music gained attention.
He was re-evaluated as the "most innovative composer of the Bach family."
What was not appreciated under the Romantic aesthetic was recognized as having value as an "individualistic composer."
📌 Commonality:
Both were eventually recognized as "revolutionary music" in the 20th century.
There are many commonalities in the reasons why Mahlerʼs Symphony No. 7 and Emanuel Bachʼs music were initially not well-received.
Lack of formal unity → Seen as lacking coherence due to differing from traditional forms
Unconventional harmony and melody → Unpredictable modulations and chromaticism did not fit the aesthetics of the time
Caught between eras → Both were transitional music, not fitting into a clear category
Re-evaluation in the 20th century → Both were eventually recognized as "revolutionary music" from a modern perspective
In other words, the same reasons Emanuel Bach was not appreciated in the 19th century made Mahlerʼs Symphony No. 7 difficult to understand initially.
Both can be seen as works that were ahead of their time, leading to delayed recognition.