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Gustav Mahler

Biography

Born: July 7, 1860; Czech Republic   Died: May 18, 1911; Austria   Period: Romantic
"Imagine the universe beginning to sing and resound," Mahler wrote of his Symphony No. 8, the "Symphony of a Thousand." "It is no longer human voices; it is planets and suns revolving." Mahler was late Romantic music's ultimate big thinker. In his own lifetime he was generally regarded as a conductor who composed on the side, producing huge, bizarre symphonies accepted only by a cult following.
Born in 1860, in Kalischt, Bohemia, he came
Read more from a middle-class family. He entered the Vienna Conservatory in 1875, studying piano, harmony, and composition in a musically conservative atmosphere. Nevertheless, he became a supporter of Wagner and Bruckner, both of whose works he would later conduct frequently, and became part of a social circle interested in socialism, Nietzschean philosophy, and pan-Germanism. Around 1880, he began conducting and wrote his first mature work, Das klagende Lied. Mahler's conducting career advanced rapidly, moving him from Kassel to Prague to Leipzig to Budapest; he was usually either greatly respected or thoroughly despised by the performers for his exacting rehearsals and perfectionism. In 1897 he became music director of the Vienna Court Opera and then, a year later, of the Vienna Philharmonic. Mahler's conducting career permitted composition only during the summers, in a series of "composing huts" he had built in picturesque rural locations. He completed his first symphony in 1888, but it met with utter audience incomprehension. He reserved this time for symphonies, all of them large-scale works, and song cycles. In Das Lied von der Erde (The Song of the Earth), he merged the two forms into an immense song-symphony. The Viennese public largely failed to understand his music, but Mahler took their reactions calmly, accurately predicting that "My time will yet come." Meanwhile, his autocratic ways as a conductor alienated musicians. In 1901, the press and the musicians essentially forced his resignation from the Philharmonic. He married a young composition student, Alma Schindler in 1902, and they soon had two daughters. By 1907 Mahler was increasingly away from Vienna, conducting his own works, and thus he resigned from the opera as well. Just after accepting the position of principal conductor of New York's Metropolitan Opera, but before leaving Vienna, Mahler's older daughter, age 4, died from scarlet fever and diphtheria, and he learned he himself had a defective heart valve. In New York, he was impressed by the caliber of talent and quickly gained audience approval. In 1909 he became conductor of the New York Philharmonic, which he found much more agreeable than the opera work by this time. The following year, he had a triumphant premiere of his massive Symphony No. 8 in Munich. Despite the professional successes, his personal life suffered another blow when his and Alma's marriage began having problems. They stayed together, and after he became ill in February 1911, she saw to it that he made it back to Vienna, where he died on May 18.
The conductors Bruno Walter, Otto Klemperer, Willem Mengelberg, and Maurice Abravanel kept Mahler's legacy alive, and Mahler's are now among the most recorded of any symphonies. His frequent incorporation of vocal elements into symphonic writing brought to full fruition a process that had begun with Beethoven's Symphony No. 9, demonstrating his music's firm roots in the Germanic classical tradition. However, it was his huge tapestries of shifting moods and tones, ranging from tragedy to bitter irony (often explicitly indicated in performance directions), from café music to evocations of the sublime, that portended a century in which multiplicity ruled. Read less
Mahler: Das Lied Von Der Erde / Kleiber, Ludwig, Kmentt
Release Date: 10/14/2014   Label: Wiener Symphoniker  
Catalog: 7   Number of Discs: 1
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The Music of Gustav Mahler: Issued 78 R.P.M. Recordings on CD, 1903-1940
Release Date: 12/03/2013   Label: Urlicht  
Catalog: 5980   Number of Discs: 8
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Mahler: Symphony No 7 / Dudamel, Simon Bolivar SO
Release Date: 10/07/2014   Label: Deutsche Grammophon  
Catalog: 002155002   Number of Discs: 1
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Mahler: Symphony No 8 / Wit, Warsaw National Po, Et Al
Release Date: 04/18/2006   Label: Naxos  
Catalog: 8550533   Number of Discs: 2
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Mahler: Symphony No 1 / Marin Alsop, Baltimore Symphony Orchestra
Release Date: 09/25/2012   Label: Naxos  
Catalog: 8572207   Number of Discs: 1
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Work: Lieder eines fahrenden Gesellen

 

About This Work
This is Mahler's first completely mature work. It is also his first full-fledged orchestral song cycle, a genre Mahler was eventually to bring to its height. Unlike its two predecessors, Berlioz's Nuits d'été (Summer Nights) and Read more Wagner's Wesendonck-Lieder (Wesendonck Songs), Mahler's cycle was intended from the beginning as orchestral. Despite the fact that it was first sketched with piano and published this way as an alternative, the orchestral version is clearly superior. The texts are all by Mahler, although they were inspired by the collection of German folk poetry entitled Das Knaben Wunderhorn (The Young Boy's Magic Horn); they depict a "Spring Journey" of a young man who has lost his love to a rival. Stylistically, all the elements of Mahler's early work are present: folklike melodies, the invocation of nature through bird calls and open textures, an intensely dramatic and dark Allegro, and a grim military march. Also present is Mahler's lifelong juxtaposition of the love of life and nature with despair, emptiness, and death. Anticipating his later harmonic complexities, none of these songs end in the same key as they began -- a procedure called "progressive tonality."

In "Wenn mein Schatz Hochzeit macht" (When My Sweetheart Has Her Wedding), the protagonist mourns the loss of his love to a rival and attempts to find solace in nature. The first part, in which the lover mourns, is written in a simple and moving folk-Slavic style. This gives way in a central, faster section to the invocation of nature through imitation bird calls, always incorporated into the musical fabric of the accompaniment. A return to the opening mournful music ends the song bleakly.

In "Ging heut' morgens übers Feld" (I Went Out This Morning Through the Fields), the protagonist sets out on a cheerful walk in the country, only to eventually remind himself of his lost love. This is also in a folkish style, with scale-derived melodies and hints of Austrian yodeling. The accompaniment begins with simple open textures, only to give way to a flowing and contrapuntally rich texture. Towards the end, the almost ecstatic quality of much of the song gives way to a wistful melancholy.

"Ich hab' ein glühend Messer" (I Have a Glowing Knife) describes the metaphorical knife the sweetheart plunged into the lover's breast with her betrayal. In what would become Mahler's typical diabolical style, the song features muted trumpets, tremolo strings, and snarling brass. The tortured and aggressive quality of the music perfectly depicts the lover's angst.

In "Die zwei blauen Augen" (The Two Blue Eyes), finally, the protagonist goes out in the night to find peace under the linden tree (a durable Romantic metaphor for death), to the accompaniment of a funeral march the likes of which only Mahler could compose. This march eventually fades into a more folklike style, but it remains colored by its original harmonies. A poignant and grim return to a single repeated phrase of the march concludes the song.

-- Steven Coburn
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