Gustav Mahler and Moritz Von Schwind

“Wie die Thiere den Jäger bergraben”. Wood engraving from Münchener Bilderbogen No. 44 “Die guten Freunde” (1850). 

The composer, Gustav Mahler, found his source of inspiration in Moritz Von Schwind’s “burlesque picture of the hunter’s funeral procession in an old book of fairy tales known to all children in South Germany. The animals of the forest escort the dead forester’s coffin to the grave” (Wright). This woodcut, as well as Mahler’s Symphony No. 1, exudes a sense of irony. The irony of the woodcut lies in the fact that the animals are part of the huntsman’s funeral procession, when his death should be a time of rejoicing for them.

 

Mahler begins the piece with a children’s tune of “Frère Jacques” to portray the children’s book woodcut. However, he plays with the mocking irony of the woodcut through taking the tune of “Frère Jacques” and making it minor. The round moves slowly, as the color from the timpani creates a marching motion to paint the picture of the animals in the procession. Mahler has the bass play the solo melody, which continues this strange irony because basses almost never have solos in symphony works. Mahler was a Jewish composer at a time of growing anti-Semitism and his Jewish traditions play a part in his piece. The oboes and trumpets begin a traditional Jewish dance in the middle of the movement as if the animals were celebrating the funeral. It is also possible that Mahler may be highlighting Jewish artists, who began losing favor, just as he highlighted the bass to which composers would rarely give solos.