楽曲解説 / Program Notes

死にゆくように」。

部分を引用している。の深い沈黙。死は「終わり」ではない。未けただけだ。

あるのだ。

『亡き子をしのぶ歌』の第4曲の最後の「彼ら（子どもたち）はひとあし先に出かそして、もう家に戻ることはないだろう。

私たちは、太陽の輝くなか、あの丘の上で彼らに会えるだろう。

その後訪れる吸い込まれそうなほど来へと続く「永遠の時間」のはじまりでも［楽器編成］ピッコロ、フルート4、オーボエ4（4番はイングリッシュ・ホルン持ち替え）、エス〔Es〕
・ク
ラリネット、クラリネット3、バス・クラリネット、ファゴット4（4番はコントラファゴット持ち替え）、ホルン4、トランペット3、トロンボーン3、テューバ、ティ
ンパニ（2奏者）、大太鼓、小太鼓、トライアングル、
シンバル、タムタム、グロッケンシュピール、低音の鐘3（F#、A、B）、ハープ2、弦楽5部

（野本訳）
だ！」

交響曲第9番のフィナーレで使われているのは、太字の歌詞の部分である。

先述したように、アルマの予感は的中し、『亡き子をしのぶ歌』の作曲後に長女マリアは5歳足らずで亡くなる。第9番を書いていたとき、マーラーはその悲しみから脱しきれていなかった。第9番の完成3カ月前には、ニューヨークで『亡き子をしのぶ歌』を指揮しているだけに、ふたたび悲しみが襲ったかもしれない。

マーラーがこの交響曲で最終的に到達した「死」を容認する境地とは、「あきらめ」だったのだろうか。それとも、禅宗でいう「悟りの境地」だったのだろうか。

まさに全曲の最後の小節に、マーラーは次のような発想記号を書き入れている。

「ersterbend（エアシュテルベント）――のもと・ゆきお（音楽学）／桐朋学園大学助教授を経て、玉川大学芸術学部芸術教育学科教授（音楽史、鑑賞理論、指揮法）。NHKテレビ「名曲探偵アマデウス」の元監修・解説者、同「ららら♪クラシック」のららら委員長、Eテレ学校番組「おんがくブラボー」番組委員。
「題名のない音楽会」にも出演。

22

712

Gustav Mahler (1860-1911)

Symphony No. 9 in D major
I. Andante comodo
II. Im Tempo eines gemachlichen Landlers.
III. Rondo. Burleske: Allegro assai
IV. Adagio. Sehr langsam und noch
zuruckhaltend
The last complete symphony composedby Mahler, this Ninth Symphony, is oftengrouped as a trilogy with his two otherlate symphonic works: Das Lied von derErde and the unfinished Tenth Symphony.
Th e r e a r e s o m e w h o s a y M a h l e rintentionally avoided labeling Das Liedvon der Erde as his ninth symphony,due to his superstitious nature, giventhat both Beethoven’s and Schubert’s
last complete symphonic works were
their ninth, and Bruckner’s ninth was left
incomplete due to his death.
Regardless of this purported hesitancy
to commit to writing his ninth symphony,
Mahler began composing this work inthe spring of 1909, completing it in Aprilof the following year. And perhaps in an
attempt to cheat fate, the composer almost
immediately began work on his tenthsymphony. But before he could complete
the Tenth Symphony, Mahler died in Mayof 1911. The Ninth Symphony had yet tobe performed publicly, but on June 26,
1912 Mahler’s last complete symphony
was premiered by Bruno Walter directing
the Vienna Philharmonic.
Partially due to this performance just overa year after his death, and also partly due
to his continuous search for answers about

death (and life) that pervaded many of hisworks, including this one, Mahler’s NinthSymphony is often seen as his farewellsymphony. It had only been a few years
prior to his writing this work, that Mahler’s
four and half year old daughter, Maria,
succumbed to scarlet fever and diphtheria
in July of 1907. Shortly after he had buried
his daughter, Mahler was informed that
he himself had a serious heart condition.
Hence his renewed obsession with life anddeath was not without reason.
In 1908, Mahler’s wife Alma rented ahouse in the South Tirol Mountains in an
attempt to give her husband the respite
he needed. Having had been active hiswhole life in the outdoors it was quitean adjustment for the composer with hisweakened heart condition. In a letter toBruno Walter, Mahler expressed some of
his frustrations:

716

Suntory Hall

今日、あの丘の上はすばらしい天気

Thursday, July 16 The 95th Tokyo Opera City Subscription Concert
The 867th Suntory Hall Subscription Concert
Friday, July 17

Opera City

重要な点だ。
ここで第1ヴァイオリンは、

By April L. Racana

Orchard Hall

Program Notes

717“I confess that…this is the greatest
calamity that has ever befallen me.
… Where my ‘work’ is concerned, it
is rather depressing to have to beginlearning one’s job all over again. I cannot
work at my desk. My mental activity
must be complemented by physicalactivity. … An ordinary, moderate walkgives me such a rapid pulse and such
palpitations that I never achieve thepurpose of walking – to forget my body.
… For many years I have been used toconstant and vigorous exercise, roaming
about in the mountains and woods, andthen, like a kind of jaunty bandit, bearing23

午後のコンサート

home my drafts. I used to go to my desk
only as a peasant goes into his barn, towork up my sketches.”
When Bruno Walter indicated that hethought Mahler might be making moreof his illness than was warranted, Mahler
responded strongly: “It is only here, insolitude, that I might come to myself andbecome conscious of myself. For since that
panic fear which overcame me that time, all
I have tried has been to avert my eyes andclose my ears. If I am to find the way backto myself again, I must surrender to thehorrors of loneliness. … But it is certainly
not that hypochondriac fear of death, as
you suppose. I had already realized that
I shall have to die. But without trying to
explain or describe to you something forwhich there are perhaps no words at all, I’ll
just tell you that at a blow I have simply lost
all the clarity and quietude I ever achieved;
and that I stood vis-à-vis de rien, and now
at the end of life am again a beginner who
must find his feet.”
Mahler’s continuous struggle with lifeand death seems to have found its mostprofound voice in the Ninth Symphony.
The range of emotions the composer
explores throughout this work expresses
his tremendous struggle with facing bothaspects of humanity. The work itself isout of balance with the usual form, using
four movements instead of three, which
are arranged in an unusual sequence:
opening with a slow movement Andante
comodo, followed by two faster dancelike movements – Ländlers and Rondo
Burleske, and closing with an even slower
fourth movement, Adagio.
The opening of the first movement, with
its halting rhythm, is said to represent
the composer’s own faltering heartbeat,
which persists throughout the movement.
An interval of a falling second can beheard in many variations as well, taking
as its model it seems, the ‘farewell’ motif
24

from Beethoven’s Piano Sonata ‘Les
adieux’, another reason that this work is
considered by some to be the composer’s
farewell symphony.
The scherzo that follows presents threedances with alternating tempos. The
opening ländler is marked in Mahler’s
own words: ‘etwas tappisch und sehrderb’ which can be translated as leisurely,clumsy, heavy-footed and coarse. The
second dance is more like a waltz at aquick pace. And the last, another ländler,is performed at a slower tempo than thefirst. The third movement’s burlesque ismarked sehr trotzig, or in other words,
very defiant, and leaves the audience in nodoubt with its frenzied pace and demandson the musicians at hand.
The closing Adagio brings the work fullcircle and recalls not only the motifs foundin the previous movements, but hearkens
back to lieder composed in prior years,
including Das Lied von der Erde as well
as Lieder eines fahrenden Gesellen andeven Kindertotenlieder written two years
prior to his daughter’s death, yet written
to lament the deaths of children. At thispoint, one can sense in Mahler’s musicalgestures a resolution, reconciling years ofstruggle as he comes to terms with life anddeath and finds a sense of peace. As Bruno
Walter stated: “Der Abschied might wellhave been used as the title of the ninth
symphony…[It] grew to be a tragicallymoving and noble paraphrase of thefarewell feeling. A unique soaring between
farewell sadness and a vision of Heavenly
Light…”
Instrumentation: piccolo, 4 flutes, 4 oboes(4th doubling on English horn), E-flat clarinet, 3clarinets, bass clarinet, 4 bassoons (4th doublingon contrabassoon), 4 horns, 3 trumpets, 3trombones, tuba, timpani (2 players), bass
drum, snare drum, triangle, cymbals, tam-tam,glockenspiel, 3 low bells (F#, A, B), 2 harps, strings
April L. Racana / please refer to p.17

第64回

あの日、あの時、あのメロディⅡ
指揮：尾高 忠明
Tadaaki Otaka※プロフィールはp.6をご覧下さい

スッペ：喜歌劇『詩人と農夫』序曲（約10分）
シベリウス：悲しきワルツ（約6分）
アンダーソン：アイルランド組曲（約20分）― 休憩―

チャイコフスキー：幻想序曲『ロメオとジュリエット』（1880年版）（約19分）

7/ 5

マーラー：交響曲第9番 ニ長調より（約5分）
チャイコフスキー：交響曲第6番 ロ短調『悲愴』作品74より（約3分）
エルガー：行進曲『威風堂々』第1番（約5分）
2015年7月5日（日）14：00
東京オペラシティ コンサートホール
主催：公益財団法人 東京フィルハーモニー交響楽団
助成：文化庁文化芸術振興費補助金（トップレベルの舞台芸術創造事業）
ブラボー！オーケストラ（NHK-FM放送）
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