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Passionate and intense in one moment, ironic or brash in the next, Mahler’s music speaks with a diversity of voices that often undermine its own ideals of unity, narrative struggle and transcendent affirmation. The composer plays constantly with musical genres and styles, moving between them without warning in a way that often bewildered his contemporaries. Ranging freely across Mahler’s symphonies and songs in a thoughtful and thorough study of his musical speech, Julian Johnson considers how this body of music foregrounds the idea of artifice, construction and musical convention while at the same time presenting itself as act of authentic expression and disclosure. Mahler’s Voices explores the shaping of this music through strategies of calling forth its own mysterious voice–as if from nature or the Unconscious–while at other times revealing itself as a made object, often self-consciously assembled from familiar and well-worn materials. A unique study not of Mahler’ (more…)
Like particular odors certain music triggers memory, marking special moments and their moods, conjuring vivid familiarity, making the past instantly present, reassuring us that this unique memory would always be there, something permanent to rely upon as long as we are alive.
| Mahler: Symphony No. 1 |
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It wasn’t. At least to my ears “Next to Nothing” was beautiful…very sad and stark in its lyrics, but perfectly reflecting the mood they express, capturing for me the grief, loneliness and fear of my life. I was amazed that such lyrical music was in me, and had waited for so many years before it came out to play.
Another of my special music moments is triggered by Gustav Mahler’s 1st ‘Titan’ Symphony. Mahler in general is my favorite composer…I think the greatest of all time who creates a music fabric of immense emotional and dramatic complexity far beyond any other composer I’ve known. Weaving together three or four distinct melodies, each beautiful in their own right, he moves us from a proud military march, migrating to an ominously terrifying potential that drops into horrendous chaos, melting into a deeply sad funeral dirge, miraculously merging into the gay, innocent happy laughter of children playing peacefully-all within the same movement.
I’ve tried for years to get friends to hear what I feel in this man’s remarkable music with very limited success. But my wife, a relative newcomer to classical music grasped it completely when first she heard the 8th & 9th movements of the Titan. Mahler turns the “carefree children’s song, Frere Jacques, into a dark Eastern European funeral march, alternating with the sadness and irony of Jewish dance music expressing life’s tragic nature that love makes beautiful”. It was her vivid recognition (my wife is Jewish) of what Mahler was doing that prompted her to render this perfect description that I’ve quoted-which in turn gave me great joy that someone had finally been able to share my deep admiration and understanding of this man’s music.
| Verdi - Messa da Requiem / Gheorghiu · Barcellona · Alagna · Konstantinov · Berliner Philharmoniker · Abbado |
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The Agnus begins in the sadness of a minor key. But it wasn’t until midway through when the repeated theme morphs into a major key expressing the reassurance of the words (my translation) “that takest away the pain of the world grant us rest”, that tears uncontrollably ran down my face. I had a sudden realization of a great sadness in the early years of my life about which I had no conscious memory. Though I am now a happy man, every time I hear the Agnus Dei tears come back to me.
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Don Fenn Article Source: http://EzineArticles.com/?expert=Don_Fenn |
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Review
An enlightening book. — Classical Music MagazineIt is excellent. — American Record Guide, Sept/Oct 1994The translation by Vernon and Jutta Wickler is extremely readable. –Gerald S. Fox, President, The New York Mahlerites , November 1, 1999
Mahler’s 10 symphonies and Das Lied von der Erde are intensely personal statements that have touched wide audiences. This survey examines each of the works, revealing their programmatic and personal aspects, as well as Mahler’s musical techniques.
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