Zenck grounds her interpretation of the Scherzo from Mahler's Second Symphony on the content of the borrowed Wunderhorn song "Des Antonio von Padua Fischpredigt" and on an analysis of expressive elements. She divides the movement into four characteristic musical levels: (1) the section based on the Wunderhorn song, in which the constant reiteration of a melodic idea stands for the senseless and mechanical repetition of the same in daily life (mm. 1-189); (2) the stylized development of the previous material, standing for high art (mm. 190-211); (3) the fanfares, a code for "low music" (212-56); and (4) the "trio" representing calm and fulfillment of what the fanfares announced. The way Mahler treats these levels in the course of the movement symbolizes art (music) strongly linked with the repetitive course of the world suppressing simple music and any personal and human sphere.

Index Classifications: 1800s

Contributed by: Andreas Giger