Loud timpani strokes rudely wake us up from the idyllic state the second movement had left us in and, just like that, the drama is resumed with this Scherzo, which is an adaptation of a strange song Mahler had composed before, "St. Anthony of Padua's Sermon to the Fish". In it, St. Anthony preaches to a school of fish. The fish listen to what he says, but one by one they leave. A parallel between the fish and humanity can be made here... whatever the song's content means remains open to interpretation, but the general consensus is that to Mahler it, and thus this Scherzo as well, represented the pointlessness and triviality of life.
Indeed, there's also a humorous aspect to this music, but it's a dark brand of humor. As Mahler himself said about it, "This piece is really as if nature were pulling faces and sticking its tongue out at you, but it contains such spine-chilling panic-like humor that one is overcome more by dismay than laughter."
The Trio is a fugue-like episode based on a surprisingly long theme stated by the bass strings (3:40). It begins quietly but soon enough becomes quite an exciting and ecstatic affair (4:05), before subsiding into a pleasant reverie (5:03); a beautiful cadence (5:44-5:49) even gives us a glimpse of the symphony's transcendent conclusion.
However, via an extended transition that at times becomes quite sinister (6:30), the main Scherzo section returns (6:40).
Eventually, the futility of it all and the consequent existential anxiety that has been building up since the beginning of the symphony becomes too much, and the orchestra gives out a massive shriek of terror and despair (8:49), a keystone moment in the symphony. Quickly afterward, though, the music calms down as we get an even bigger glimpse into the "resurrection" that we'll encounter in the fifth movement; many melodic figures are used here, looking back as well as forward, such as the Trio's main theme right at the outset (9:07) and a very well-hidden version of the first movement's beautiful second theme (9:44).
Quite suddenly, though, we're harshly pulled back into reality (9:57). The following multi-layered coda begins with the strings playing the Trio's fugal theme while the winds play the yearning, sigh-like two-note motif that will have an important role in the finale (10:10). The Scherzo's theme returns with a vengeance (10:30), combined with much material from the Trio.
In the end, this momentous and emotionally mercurial movement concludes on a quiet but incredibly ominous note.
Symphony No. 2 in C minor "Resurrection"
III. In ruhig fließender Bewegung
Composer: Gustav Mahler
Soundfont: The Legend of Zelda: Majora's Mask
Movement 1: • Mahler - Symphony No. ...
Movement 2: • Mahler - Symphony No. ...
Movement 4: • Mahler - Symphony No. ...
Movement 5: • Mahler - Symphony No. ...
Ocarina of Time version: • Mahler - Symphony No. ...
Негізгі бет Mahler - Symphony No. 2 "Resurrection", Movement 3 (Majora's Mask Soundfont)
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