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From: oscar@utcsrgv.UUCP (Oscar M. Nierstrasz)
Newsgroups: net.music,net.records
Subject: Gustav Mahler
Message-ID: <2927@utcsrgv.UUCP>
Date: Mon, 12-Dec-83 23:12:09 EST
Article-I.D.: utcsrgv.2927
Posted: Mon Dec 12 23:12:09 1983
Date-Received: Tue, 13-Dec-83 00:57:35 EST
Organization: CSRG, University of Toronto
Lines: 148

(This article is in response to Rob Gardner's plea for some discussion
of classical music in this group.)

I will try to give a brief account of Mahler, his music and a
recommended discography.  This is all from memory, so I cannot vouch
for accuracy or completeness of all that follows.

Mahler lived from 1860 to 1910 (give or take a year).  He was best
known in his time as a conductor rather than a composer, and became
quite well known in Vienna before coming to the United States at the
turn of the century.  (His wife was Alma Mahler, later married to
Walter Gropius, and immortalized by Tom Lehrer's song, "Alma".)

Very little of Mahler's early output survives as he destroyed just
about everything he wrote before "Das Klagende Lied".  Apparently he
wrote some chamber music early on, but I doubt that any of this still
exists, or if it does, it's not very interesting.  The bulk of his
surviving work consists of ten symphonies and several song-cycles.
Mahler represents simultaneously the ultimate height of nineteenth
century Romanticism and the end of that period of music.  (Though, I
suppose, it dribbled on well into this century.) People who wonder what
this could lead to should listen to some early works by Arnold
Schoenberg (as well as Zemlinsky, and Alban Berg).  I can't think of a
more dramatic example of the transition from romantic to atonal music
in a single composer.

Adjectives often used to describe Mahler's music include "bittersweet",
"sentimental", "schmaltzy" and so on.  Unfortunately Mahler's work is
easy to over-sentimentalize.  A lean, taut performance is far more
impressive and moving than one that emphasizes the "romantic" aspects
of the music.  If you're listening to a performance that sounds
"schmaltzy", it's probably a weak or lazy interpretation.

Although some of Mahler's most moving compositions are uplifting and
exhilarating (especially the "resurrection" at the end of his second
symphony) I would say that one of the predominant features of his music
is a preoccupation with death.  An anecdote about Mahler concerns this,
to wit:  Mahler was reluctant to title his song-cycle "Das Lied von der
Erde" a symphony (which it was) because it would have been numbered his
Ninth.  Mahler was superstitious on this point because many great
composers had written nine symphonies, and then bought the farm:
Beethoven, Schubert, Dvorak, Bruckner ...  He thought he could "cheat"
fate by not numbering his ninth.  As it turned out, he did number his
next one, started his tenth, and then croaked anyway.

The most accessible of Mahler's works are probably "Das Lied von der
Erde", and his first and second symphonies.  "Das Lied von der Erde"
(song of the Earth) is a song-cycle based on a collection of Chinese
poems (and translated or interpreted by a German whose name escapes me
right now).  Its appeal is probably not immediate, but after many
playings it still stands up for me as one of the most beautiful pieces
of twentieth century music.  I especially recommend Eugen Jochum's
Deutsche Grammophon (DG) Resonance re-issue with the Concertgebouw
Orchestra of Amsterdam.  This recording dates from the sixties, but
boasts quite remarkable sound.  Although more recent recordings have
the benefit of technically superior sound quality, none that I have
heard are quite as satisfying.  A couple of very good alternatives,
however, are Herbert von Karajan's DG issue and Bernard Haitink's
Philip's recording.

If you're not too fond of the human voice, then Mahler's first symphony
is a safe bet.  An excellent recording by Seiji Ozawa (believe it or
not) exists on DG.

Many conductors have taken up Mahler in the last ten years as his
popularity has skyrocketed.  One of the earlier (stereo) interpreters
was Leonard Bernstein.  These recordings are still available, but I
never found much to recommend them.  Similarly, there is a complete
cycle of Mahler symphonies on London (Decca) by Sir Georg Solti
(pronounced "Shol-tee").  Solti is known for getting nice big sounds,
but not so much for his interpretive skills.  Although he can be quite
good at some things, his Mahler has never moved me too much.  Still,
his recording of Mahler's eighth symphony is very impressive, and is
the only acceptable one in the catalogue at present.

Lately Claudio Abbado and Herbert von Karajan have been recording many
of Mahler's symphonies with excellent results.  Extremely impressive is
Abbado's Mahler second.  Known as the "Resurrection" symphony, this
work has one of the most moving, goose-bump raising finales I know of.
Highly recommended.

Karajan's first foray into Mahler was a recording of the fifth.
(Remember "Death in Venice"?) This too is an astounding set, and has a
satisfying performance of the "Kindertotenlieder" on side 4 (songs on
the death of children).  Karajan has also recorded Mahler's sixth
symphony, a work that requires a fine performance to make it work (a
hard nut to crack), and Mahler's ninth.

There are many fine recordings of the ninth.  An old EMI conducted by
Sir John Barbirolli is outstanding as is one by Carlo Maria Giulini
with the Chicago Symphony (great brass!) on DG.  The Karajan apparently
eclipses them all, but I've only heard it once and find it hard to buy
too many copies of the same piece of music.  The ninth is Mahler's
"swan-song".  Laden with layer-upon-layer of death, it comes as no
surprise that Mahler knew he was close to the end.  The symphony is not
merely depressing, however.  It is more of a struggle and a
coming-to-terms-with-death.  Although I find it hard to suggest as a
first purchase -- some familiarity with Mahler would make this easier
to appreciate -- it is highly recommended.

The tenth was Mahler's last symphony.  Although he "finished" it, he
died before it could be completely scored.  Deryck Cooke is responsible
for orchestrating the work (though I believe it has been revised
since).

Mahler's third is also a good symphony (and holds the Guinness record
for the longest "legitimate" symphony), but not as interesting, I feel,
as the second, fifth, ninth or "Das Lied von der Erde".

The fourth is almost a "chamber symphony".  This is a delightful work
with an alto (mezzo-soprano?) part in the fourth movement.  Bernard
Haitink's Philips recording with the Concertgebouw is recommendable as
is George Szell's old EMI recording.  (Haitink has done a complete
Mahler cycle as well, and many of his recordings are quite
serviceable.)

The seventh is another tough nut.  I have never heard a recording that
made me like this symphony, but I'm eagerly awaiting a recording by
Karajan or Abbado.

The eighth is also known as the "Symphony of a Thousand" because of the
large forces required (an enormous orchestra and three or four
choirs).  This is a bit misleading because Mahler uses them more like a
painter uses a wide assortment of colours or a pianist his eighty-four
keys.  Very seldom (if at all) does he use all the forces at once.  It
is a symphony in two movements, the first of which is based on a Latin
prayer (Mahler converted to Roman Catholicism), and the second is based
on part of Goethe's Faust.  A fascinating work, but not background
music.  As I mentioned, Solti's is the best bet if not the only.

There are other conductors of Mahler.  Recently Klaus Tennstedt has
begun recording his symphonies, but I know little about them.
Similarly James Levine has done some recording, but I find the RCA
sound so dry and brittle that I refuse to buy any more.  Levine's
Mahler third is almost unlistenable because of the poor sound quality.

Other works by Mahler are the "Kindertotenlieder", "Das Klagende Lied",
the "Ruckert Lieder" and "Lieder eines Fahrenden Gesellen" (sp?).
Although they are interesting, I suggest investigating the symphonies
first, unless you're a big fan of song-cycles.

Enjoy.  Comments are welcome.

Oscar Nierstrasz
-- 

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