Professional Documents
Culture Documents
Textbook Rethinking Mahler 1St Edition Jeremy Barham Ebook All Chapter PDF
Textbook Rethinking Mahler 1St Edition Jeremy Barham Ebook All Chapter PDF
Barham
Visit to download the full and correct content document:
https://textbookfull.com/product/rethinking-mahler-1st-edition-jeremy-barham/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
https://textbookfull.com/product/tangled-minds-society-of-
exalted-minds-book-1-1st-edition-a-m-mahler-mahler/
https://textbookfull.com/product/revved-the-driven-world-1st-
edition-a-m-mahler/
https://textbookfull.com/product/passionate-spirit-the-life-of-
alma-mahler-1st-edition-cate-haste/
https://textbookfull.com/product/rethinking-schubert-1st-edition-
lorraine-byrne-bodley/
Quantum Profiles 2nd Edition Jeremy Bernstein
https://textbookfull.com/product/quantum-profiles-2nd-edition-
jeremy-bernstein/
https://textbookfull.com/product/electricity-markets-theories-
and-applications-1st-edition-jeremy-lin/
https://textbookfull.com/product/killer-apps-war-media-
machine-1st-edition-jeremy-packer/
https://textbookfull.com/product/regression-analysis-a-practical-
introduction-1st-edition-jeremy-arkes/
https://textbookfull.com/product/ancient-greece-a-new-
history-1st-edition-jeremy-mcinerney/
Rethinking Mahler
Rethinking Mahler
EDITED BY
Jeremy Barham
1
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
9 8 7 6 5 4 3 2 1
Printed by Sheridan Books, Inc., United States of America
In memoriam
vii
viii Contents
Bibliography 353
Index 381
Figures and Tables
Figures
ix
x Figures and Tables
Tables
xiii
xiv Music Examples
3.2 Modulating Deceptive Cadence: Das Lied von der Erde, ‘Der
Trunkene im Frühling,’, bars 6–8 53
3.3 Modulating Deceptive Cadence: Fifth Symphony, ‘Adagietto,’
bars 45–47 54
3.4 Hybrid Cadence: Das Lied von der Erde, ‘Das Trinklied Jammer
der Erde,’ bars 225–30 55
3.5 Das Lied von der Erde, ‘Von der Jugend,’ bars 22–25 56
3.6 Das Lied von der Erde, ‘Von der Jugend,’ bars 107–11 57
3.7 Ninth Symphony, second movement, bars 429–32 57
3.8 Das Lied von der Erde, ‘Das Trinklied Jammer der Erde,’
bars 147–53 58
3.9 Ninth Symphony, second movement, bars 564–71 59
3.10a Das Lied von der Erde, ‘Der Einsame im Herbst,’ bars 98–103 60
3.10b Das Lied von der Erde, ‘Der Einsame im Herbst,’ bars 98–103
(voice leading graph) 61
3.11a Das Lied von der Erde, ‘Der Abschied,’ bars 213–21 61
3.11b Das Lied von der Erde, ‘Der Abschied’, bars 213–221 (voice
leading graph) 62
3.12a Ninth Symphony, second movement, bars 295–99 63
3.12b Ninth Symphony, second movement, bars 295–99
(voice leading graph) 64
3.13 Das Lied von der Erde, ‘Das Trinklied Jammer der Erde,’ bars
311–26 68
4.1 The octave leaps in the scherzo of Mahler’s First Symphony 75
4.2 The Ländler-t heme in the scherzo of the Ninth Symphony
(bars 9–16, reduced to strings, horn 1 and clarinet 1) 77
4.3 Harmonic reduction of the first Ländler’s entire section in the
Scherzo of the Ninth Symphony 78
4.4 Harmonic reduction of the waltz theme at its first appearance
(bars 90–102) 80
4.5 First bars of the second Ländler (bars 218–21, reduced to strings) 81
6.1 Mahler’s ritornello theme (MA1 + MA2) framing Wagner’s
theme (A) 107
6.2 Wagner’s theme B and the introductions to the Seventh’s first
and last movements 108
6.3 Cadences in the Meistersinger Overture and in Mahler’s Finale 108
6.4 Deceptive cadences in Mahler’s ritornello and Meistersinger III, 5 110
Music Examples xv
I would like first to thank all the contributors for the diligence and rigour with
which they prepared their work, and for their patience and understanding in
awaiting the book’s completion. The origins of the volume lie in an international
conference convened by the editor at the University of Surrey, July 2011: ‘Gustav
Mahler Centenary Conference. Mahler: Contemporary of the Past?’ I grate-
fully acknowledge the following for their generous support of this event: the
Institute of Advanced Studies (University of Surrey), the British Academy, the
Royal Musical Association, the Music & Letters Trust, the Institute of Musical
Research, the Austrian Cultural Forum (London), the Department of Music
and Sound Recording (University of Surrey), Stephen Downes, Julian Johnson,
Uri Caine, the Endymion Ensemble, Stephen Goss and the Tetra Guitar
Quartet, Emilie Capulet, Maureen Galea, Michelle Castelletti, Caroline Tate,
Matthew Sansom, Keith Clarke, Mirela Dumic, Hera Yoon, Laurence Willis,
Julian Fagan-King, Peter Bryant, Julie Barham and Georgina Barham.
For the production of the present book, I would like to express my profound
thanks to Suzanne Ryan, Adam Cohen, Daniel Gibney, Andrew Maillet, Jessen
O’Brien, and Eden Piacitelli at Oxford University Press for their unstinting
support and encouragement; to Jake Willson and Harry Barham for produc-
ing the music examples; and to the following institutions for permission to
reproduce materials: the Mahler-Rosé Collection (Gustav Mahler-A lfred Rosé
Room, Music Library, University of Western Ontario), the Pierpont Morgan
Library, New York, the Trustees of the Boston Public Library, and the Serge
Koussevitzky Music Foundation, Inc.. I am grateful to my colleagues past and
present in the Department of Music at the University of Surrey for their col-
legiality and intellectual curiosity. Finally I thank my family Julie, Georgina,
Samuel, and Harry for their love and support throughout all the years.
xvii
Contributors
xix
xx Contributors
Jeremy Barham
Mahler was far from overlooked in the concert hall up to the late 1930s,1 but
if he truly was ‘reborn’ in the 1960s, then he is very close in age to myself. The
similarities may end there, but though I can lay no claim to artistic greatness
it is interesting to consider how in times chronologically distant from his own
he re-emerged and re-developed within the same postwar, Western-dominated
but increasingly globalised, cultural environment: an age of extremes and frac-
ture as Eric Hobsbawm would have it. My generation grew up alongside the re-
awakening Mahler. Caring adults nurtured his fragile second infancy, including,
towards the end of her own days, the sometimes over-protective ‘mother’ figure
of his afterlife, Alma Maria. Godparents were an initially select but later ex-
panding, second-generation group—from Schoenberg, Berg, and Webern to
Berio, Schnittke, and Rochberg; from Walter and Mengelberg to Bernstein and
Haitink; and from Stefan, Bekker, and Specht to Cooke, Mitchell, and de La
Grange. He was frequently scolded, but his potential was understood all too well
by generous spirits, among them beloved eccentric uncle, Ken Russell. He has
since become a global godchild, though attempted baptisms have been inconclu-
sive. Teenage years were full of awestruck, first-time musical discoveries of world
sorrow, mortality, and yet radiant life-intensity—all equally essential parts of an
inwardly heroic youthful mindscape from which to forge meaningful identities,
to locate formidable truths amid uncertainty and chaos. As they sometimes do,
maturity and acceptance came at a price. While Beethoven was strong enough
to cope with Alex DeLarge’s violent, anarchic championing in Kubrick’s filmic
realisation of Burgess’s future social dystopia A Clockwork Orange, in the same
year (1971) Mahler’s fledgling status allowed him, through Visconti’s re-working
of Thomas Mann’s past artistic dystopia Death in Venice, readily, thoroughly,
and enduringly to colonise the public consciousness in frameworks of overripe
artistic decay and a transgressive pathos and pathology of personal longing.
Whether this early stereotyping and synechdochical interpretative confinement
have been, will be, or should be displaced is open to question.
There is considerably more to Mahler, of course, than that which narrow
streams of media appropriation (whether populist or ‘art-house’), however
powerful, would have us believe. But, should we wish to, it remains difficult
xxv
xxvi Introduction
can be traced erratically back to the 1970s,6 a time when modernism in music
arguably began to experience serious threats to its hegemony, this collection
emerges from the centenary conference held at the University of Surrey in
2011, themed ‘Mahler: Contemporary of the Past?’, an intentional play on the
title of Kurt Blaukopf’s 1969 study of the composer, Gustav Mahler oder der
Zeitgenosse der Zukunft [Gustav Mahler or the Contemporary of the Future]. Its
principal rationale, therefore, is to re-evaluate the ‘modern-izing’ of Mahler
that has come as an inevitable consequence of reflection constructed through
the lenses of historical linearity and teleology combined with continuing de-
sires to get to grips with modernism’s highly potent, more than century-old
claim on Western thought, which is now straining at the limits of living, social
memory. One of the most devoted exponents of that modernism and a prolific
performer of Mahler’s music, Pierre Boulez, within the same text seems to hold
in tension contradictory diagnoses of his predecessor’s historical status:
There is no sense in looking for the clear markers we find in classical music
… There is [in Mahler] … a determination to disregard the categories of
the past.
There is too much nostalgia, too much attachment to the past in Mahler’s
music for him to be declared, without any qualifications, the revolutionary
who initiated an irreversible process of radical renewal in music.7
If this seems confusing, it also suggests a need not only to rethink Mahler’s
debt to, and re-fashioning of, the legacies he inherited from his own past as
a musician working at the end of one and the beginning of another century,
deeply involved in the re-creation of earlier repertoires in the opera house and
concert hall, but also to re-conceptualise a modernity that, in the face of po-
litical catastrophes, was as much about preservation and restoration as it was
about destruction, forgetting, superseding and advancement.
Under the title Bahnbrüche: Gustav Mahler, incorporating an intriguing
neologism stemming from Bahnbrecher/bahnbrechend (pioneer, ground-
breaking, or paving the way for) that could translate as ‘acts of breaking (or
preparing) new ground’, a third recent volume on the composer at least starts
by seeming to recognise these subtleties of modernist culture, and the con-
ceivably irreconcilable plurality of Mahler’s creative output: ‘In many respects
Gustav Mahler’s works constitute an initial surge in the unfolding of a multi-
faceted modernism. In his music, tradition and the avant-garde, awareness of
established forms and experimental structural daring, early romanticism and
modern consciousness of the self and reality, enter into thoroughly “impossible
syntheses” ’.8
In facing the challenge to (re- )address ‘impossible’, paradoxical ques-
tions of past, present, and future in Mahler’s creative practice and interpre-
tation, the (initially Freudian) concept of ‘Nachträglichkeit’, ‘après-coup’, or
xxviii Introduction