Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.1 6/24/83; site astrovax.UUCP Path: utzoo!linus!security!genrad!grkermit!masscomp!clyde!ihnp4!astrovax!tss From: tss@astrovax.UUCP (Thomas S. Statler) Newsgroups: net.music Subject: Gustav Mahler Message-ID: <194@astrovax.UUCP> Date: Thu, 15-Dec-83 18:46:26 EST Article-I.D.: astrovax.194 Posted: Thu Dec 15 18:46:26 1983 Date-Received: Sat, 17-Dec-83 02:15:55 EST Organization: Princeton Univ. Astrophysics Lines: 32 Gorsh, Charles, y'all shore have a lot to say! But that's OK-- who better to be verbose about than Mahler? I have just a few additional remarks... Mahler was, indeed, born Jewish. According to at least one book I've seen (Sorry, can't give you an exact reference.), he "diplomatically" converted to Christianity before taking over directorship of the Vienna Opera. On the other hand, the religious aspects of his music, especially the second and fourth symphonies, seem so Christian that I wonder whether his decision was motivated by diplomacy or just his personal religious beliefs. Anyone have any details? allegra!cbf points out that the 2nd symphony was "conceived as a continuation of the first". In fact, all through his symphonies, Mahler repeatedly quotes from earlier works-- not in the sense of thematic material being repeated, but rather of important tonal relationships reappearing in a similar context. (My brother, cynical sort that he is, suggested once that Mahler actually wrote only one symphony, and it's 12 hours long.) Also, the last mvt. of the 4th symphony was originally intended to be a SEVENTH movement of the 3rd, but the composer decided that no, six was probably enough. I'll agree that the 7th is the hardest to interpret. This is the only one of the symphonies that I've had the good fortune to play, and still large chunks of it remain somewhat beyond me. But I'm afraid I don't care for the Haitink recording very much, mainly because a too-fast tempo in the 1st mvt. cheats the dotted-quarter, two-sixteenth figures in the strings and upper woodwinds of the precision they deserve, and everything sort of gets lost in the mud. But I'll be fair; the treatments of the last two movements are just right. That's my three-paragraphs worth. I'm going on vacation for a couple weeks, and I expect to see all sorts of fascinating discussions waiting to be read when I get back!