oscar@utcsrgv.UUCP (Oscar M. Nierstrasz) (12/13/83)
(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
--
UUCP: { allegra cornell decvax decwrl floyd ihnp4 linus
sask ubc-vision utzoo uw-beaver watmath } !utcsrgv!oscarcbf@allegra.UUCP (12/14/83)
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)
edhall@randvax.ARPA (Ed Hall) (12/16/83)
--------------------------------- Bravo! I greatly appreciated this article, even though I was already pretty familiar with Mahler. I hope others follow the example and post what they have discovered in their own exploration of art music. (And, yes, I think `art music' is probably about the best name for what many people call `classical'.) -Ed Hall decvax!randvax!edhall (UUCP) edhall@rand-unix (ARPA)