Happy birthday Gustav #Mahler (Kalist, now Czech Republic, 1860). Few, if any will say he’s the best or the most important conductor, but that really that doesn’t matter, he is my favorite conductor and there are many reasons for this, I’ll mention a few in this short thread.
He wrote symphonies and Lieder, beautiful, breathtaking ones. His sensibility developed from early life, listening to marching bands near his home, soldiers singing with gusto and above all, the sounds of nature that echoed his own inner life experience.
He battled to be heard throughout his musical career. From his days at Conservatory in his teens, finding visiting conductor work, to fighting to get his own compositions played.
Mahler went against the current musically, sometimes looking to other composers like Bach and Wagner for a better understanding of what he wanted from his music.
He first made a mark, not as a soloist (he played the piano, he rocked Beethoven apparently 🤘🏻), or a Composer (he didn’t exactly excel in Conservatory), but he did as a Director. Gustav’s work was not only recognized but lauded. His Wagner operas especially were legendary.
Music drama followed in part the complexity of his personal life. This is the other aspect to know about Mahler, he lived his music, I believe, more than most composers. That’s why his oeuvre resonantes with me, us.
I am sure there are many things to understand of his music (orchestration, use of strings, timpani, brass, vocal arrangements) but to understand Mahler, we should observe he also resides in the human condition, the psychological condition I’d say.
He turned day-to-day angst, pain, grief or tragedy into meaningful sound. He wrote joyful music as well. His Fourth and Seventh continuously shift between sadness, innocence and despair, to weirdness and symbolic laughter.
His use of Lieder is not a plain forward vocal essence, but a decree of an idiom were the self resonantes in every word.
Finally, he was loved by many, Alma, his daughters, sisters and friends, for them he was Gustav, a sensitive and brilliant man who showed his humanity not just with music but with love.
Alma and Bruno Walter wrote in different books what I believe is the portrait of Mahler to take in. Of course there are many books on Mahler, of course La Grange is essential here, perhaps even Adorno for different reasons.
However, if you want to know the man in the artist, look for Alma and Walter. Happy birthday Gustav, thanks for the music.
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We can find clear similarities between Freud and Mahler. Both born in the Czech Republic, age (only four years apart), the death of siblings at an early age, both celebrated by their peers. Both loved their mothers and hated or had an ambivalent
relationship with their fathers. Let's remember that their religion kept them with a constant feeling of not being accepted in the world. Mahler said "I am three times homeless, as a native of Bohemia in Austria, as an Austrian among the Germans, and as a Jew all over the world."
While Freud said: "My language is German, my culture and my achievements are German, I consider myself intellectually German, until I observed the increased anti-Semitism and prejudice in Germany and Germanic Austria. Since then I prefer to call myself, Jew."
In the sanatorium Alma met the future founder of the Bauhaus school, Walter Gropius who was then twenty-seven years old, and Alma was thirty. The relationship within the sanatorium lasted about a month, and it was intense
and significant in many ways, not just the sexually. Alma and Walter's bond continued once Alma left Tobelbad. However, the erotic and loving letters that Walter wrote to Alma, arrived at the Villa where the Mahler lived in Toblach. On one occasion,
Gropius writes a letter addressed to Gustav "by mistake" and of course, destruction ensued. The one from Kalištè while opening the correspondence that was on his piano, reads Walter's letter, and asks Alma, "What is this?" How could Alma let this happen? An unconscious wish?
Hay muchas razones para que la Séptima sinfonía sea mi favorita de Mahler: es incómoda, desbalanceada, tétrica, y carnavalesca. El último movimiento me recuerda a los circos que mis padres nunca me llevaron (malditos),
pero sabía de los silbidos, el estruendo, los gritos de niños, estímulos sensoriales de todas partes, luces, animales, sombreros, gimnastas, esto es el Rondo de la 7ma., pero me estoy adelantando. La Séptima fue completada en 1905.
Una sinfonía enigmática que “Se rehúsa a ser una sinfonía de Mahler” (S. Hefling) y el “Niño problema del canon Mahaleriano” (D. Mitchell). Pero qué la hace ser la más controversial e impopular de su ciclo sinfónico? Comencemos con la premier, la cual se presentó en
A brief introduction thread to Gustav Mahler’s Fifth Symphony.
For this thread, I decided to write less about the history and background of this symphony, and opted to describe more about the goings-on in the music, in each movement. My focus is to pause a bit with this Mahler composition, and for you to follow the work.
I believe that this is a better way to do this thread, because there are so many shifts, twists and turns in it, that I find it can be a little difficult to grasp. The Fifth Symphony, (composed 1901-02) is a five movement tour de force.
Breve hilo introductorio a la Novena Sinfonía de Gustav #Mahler. El hilo en esta ocasión es en Español, disculpen los errores gramaticales y traducción, y espero convencerlos a escuchar esta sinfonía, para mí, la más bella y desoladora composición de Mahler.
Mahler nos presenta su experiencia en los últimos años de su vida. Sus biógrafos la definen como una creación de los golpes de vida al Austríaco en 1907: la muerte de su hija y el diagnóstico de su enfermedad cardíaca, y la terminación de su vinculo con la Ópera de Viena.
Gustav comenzó la sinfonía en 1908 y la concluyó en 1909. El estreno póstumo fue por Bruno Walter el 26 de Junio de 1912 con la Filarmónica de Viena. Pocas veces me detengo a analizar la Novena sinfonía,
Illness or disease, sexuality or desire, and morality or being. This can be said are the focus of both Opera and Psychoanalysis. Dramatic narrative, complex music, subjective discourse, a conductor/analyst and a singer/analysand, play a part in these two crafts.
The visual and the auditory, free association and musical bliss. The individual, the social and the cultural represents opera, and again, I believe psychoanalysis.
Although Freud disliked music in general, he mentions in his writings: Beethoven’s Fidelio (1805), Weber’s Der Freischütz (1821), Offenbach’s La Belle Helene (1864) and Tales of Hoffman (1881), Wagner’s Tannhäuser (1845), Lohengrin (1848) and Die Meistersinger von Nürnberg (1867)