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Why would Gustav Mahler (1860-1911), modernist titan and so-called prophet of the New Music, commit himself time and again to the venerable sonata-allegro form of Mozart and Beethoven? How could so gifted a symphonic storyteller be drawn to a framework that many have dismissed as antiquated and dramatically inert? Mahler's Symphonic Sonatas offers a striking new take on this old dilemma. Indeed, it poses these questions seriously for the first time. Rather than downplaying Mahler's sonata designs as distracting anachronisms or innocuous groundplans, author Seth Monahan argues that for much of his career, Mahler used the inner, goal-directed dynamics of sonata form as the basis for some of his most gripping symphonic stories.

Laying bare the deeper narrative/processual grammar of Mahler's evolving sonata corpus, Monahan pays particular attention to its recycling of large-scale rhetorical devices and its consistent linkage of tonal plot and affect. He then sets forth an interpretive framework that combines the visionary insights of Theodor W. Adorno-whose Mahler writings are examined here lucidly and at length-with elements of Hepokoski and Darcy's renowned Sonata Theory. What emerges is a tensely dialectical image of Mahler's sonata forms, one that hears the genre's compulsion for tonal/rhetorical closure in full collision with the spontaneous narrative needs of the surrounding music and of the overarching symphonic totality. It is a practice that calls forth sonata form not as a rigid mold, but as a dynamic process-rich with historical resonances and subject to a vast range of complications, curtailments, and catastrophes.

With its expert balance of riveting analytical narration and thoughtful methodological reflection, Mahler's Symphonic Sonatas promises to be a landmark text of Mahler reception, and one that will reward scholars and students of the late-Romantic symphony for years to come.

Seth Monahan is Assistant Professor of Music Theory at the Eastman School of Music. He received his Ph.D. from Yale University in 2008 and has since published widely on a range of topics, including the interpretation of Classical and Romantic form, Wagnerian harmony, and the uses of metaphor in analytical writing.

Contents
Acknowledgements
On the Accompanying Short Scores
Introduction
Part I
Interpreting Mahler's Sonata Forms
Chapter 1: Sonata Form in Mahler's Narrative Imagination
Chapter 2: Adorno's Novel-Symphony: The Dialectic of Freedom and Determinism
Chapter 3: Issues in Mahlerian Narrative
Part II
Mahler's "Classical" Sonatas
Chapter 4: "A Demonic Haydn": Mahler's Confrontation with Tradition in the First Movement of the Sixth
Chapter 5: "A Play within a Play": Games of Closure and Contingency in the First Movement of the Fourth
Part III
Mahler's "Epic" Sonatas
Chapter 6: "The Objectification of Chaos": Epic Form and Narrative Multiplicity in Part One of the Third
Chapter 7: "Tragedy refuses a nominalist form": "Inescapable" Coherence and the Failure of the Novel-Symphony in the Finale of the Sixth
Works Cited
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