Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.1 6/24/83; site allegra.UUCP Path: utzoo!linus!philabs!seismo!harpo!eagle!allegra!cbf From: cbf@allegra.UUCP Newsgroups: net.music,net.records Subject: Re: Gustav Mahler Message-ID: <2099@allegra.UUCP> Date: Wed, 14-Dec-83 15:14:52 EST Article-I.D.: allegra.2099 Posted: Wed Dec 14 15:14:52 1983 Date-Received: Fri, 16-Dec-83 02:36:15 EST References: <2927@utcsrgv.UUCP> Organization: AT&T Bell Laboratories, Murray Hill Lines: 70 As a hardcore Mahlerite -- one of my mottos is "Mahler : Bonheur" -- I appreciated Mr. Nierstrasz's submission enormously. However I'd like to add a few thoughts to his intelligent observations. Mahler was born Jewish, a little-known fact. He died in 1911, music director of both the Metropolitan Opera and the New York Philarmonic. While that would have been enough to exhaust anyone, Mahler had been diagnosed as having a serious heart condition (one of the three dead hammerblows in the Sixth, but that's another story) and that was simply too much. [Minor flame: When I think of the two second-raters now occupying those positions, how can I not get depressed? All those people who cheered Pierre Boulez's departure from the NYPO have been blessed with Zubin Mehta, everybody's favorite candidate for the "World's Worst Conductor". Unfortunately the rest of us are stuck with him too, and he's brought the orchestra down to his own level. Across the plaza at the Met, Chubby Levine, whose ego is as hefty as his talent is small, is reigning supreme. When was the last time a world-class opera conductor made a guest appearance at the Met? Also, Mr. Levine's Mahler cycle is the one to avoid... at all costs. I once heard on the radio his highly acclaimed recording of the Seventh and failed to appreciate what the fuss was all about. His failure in the Sixth is be avoided especially, and... oh, heck it's not worth it.] One thing Mr. Nierstrasz neglected to mention is the very important relationship between Mahler's song cycles and some of his symphonies. For example, the gorgeous second song from the "Songs of a Wayfaring Lad" (ah, that sensuous modulation) is the central theme in the first movement of his first symphony. Also the second symphony was originally conceived as a continuation of the first, depicting the further adventures, death and resurrection of that wayfaring hero. Of crucial import to Mahler's artistic output is a book known as "Das Knaben Wunderhorn" (The Youth's Enchanted Horn). Mahler discovered this illustrated medieval manuscript early in his career and was deeply moved by it. It consisted of poems portraying beautiful children and their tragic untimely deaths. Mahler first set some of these poems to music in a song cycle of the same name (currently, the wonderful Norman/Haitink Philips recording is the only complete one around). Later he used other poems from the book or music from the cycle in individual movements of several symphonies. These symphonies, the 2nd, 3rd, 4th and 5th are all somehow linked to "Das Knaben Wunderhorn" and are sometimes referred to collectively as the "Wunderhorn" symphonies. The fifth is often considered a turning point for Mahler, combining his early song-based style and the "late" style that culminates in the Ninth. As for the early advocates of Mahler's music, the man who is more responsible than any other for Mahler's emergence from obscurity is without a doubt Bruno Walter, who had been Mahler's only pupil and choice confidant. His recording of the First is a classic and his performance of "Resurrection" (a great bargain on Odyssey) is said to be the greatest ever. It's certainly the most moving I've ever heard. I was suprised by Mr. Nierstrasz's listing of "Das Lied von der Erde" as one of Mahler's most accessible works. Although I absolutely share his enthusiasm for that work, I would not consider it to be that easily penetrable, especially, and Mr. Nierstrasz's does point that out, since many listeners might have trouble with a composition for voice and orchestra. Traditionally, Mahler's most popular works have been the first, second, and the fourth symphonies, and they're as good a place as any to start. More on Mahler recordings in a following article. Also, Mr. Nierstrasz, is it all right to call you Oscar? I feel as though I'm mispronouncing your name every time I type it. -- "Yes, but is it art?" Charles B. Francois (decvax!allegra!cbf)