I’m deeply immersed in the score of Mahler 5 these days, as our performance of it with the Best Damn Redneck Orchestra on Earth is fast approaching, and I’m hoping to write as much as I can about what I’m discovering and what is challenging, perplexing and even worrying me about the piece. I’m re-visiting a piece I’ve loved and studied for many years, and so it’s time to through aside old assumptions and try to take a totally fresh and unprejudiced look at the work.
I thought I’d start today with the Scherzo. It’s as good a place as any to begin- even though it is the third movement of the piece, Mahler seems to have written it first, which seems to tell us that somehow, it is the heart of the symphony and it’s generative spark.
There are lots of lovely essays and program notes out there describing this movement, so I want to focus on the two things about this movement I find most vexing for me as a conductor.
First off today, is its place in the whole of the symphony, and the question: how are we supposed accept the rambunctious humor of the Scherzo when it follows immediately something so completely different?


