Why Mahler?

[vaneramos]

Just finished reading Why Mahler? How One Man and Ten Symphonies Changed the World by Norman Lebrecht, who seems to be a controversial music critic. The book falls short of making a convincing argument for the title, although anyone who explores Gustav Mahler's music will discover what a surprising influence it has had on orchestral music to this day, notably film music. Mostly Lebrecht provides fascinating insight into one of the most dogged and revolutionary creative minds of musical history. Mahler's work rewards investigation and repeat listening. Unlike many of his contemporary composers, he wrote relatively few works, just the 10 symphonies (11 actually) and a few Lieder (songs). Many of the songs are unremarkable, however the symphonies are consistently monumental: large in scope (most timing well over an hour), rich and eccentric in orchestration, cosmic in their depth and diversity. Whether or not you are familiar with the symphonies, or even a fan of orchestral music, a work through them would make an amazing adventure, with this book as a guide.

I am taking inventory of the Mahler symphony recordings I have, comparing them to the versions Lebrecht recommends, and noting ones I would like to add to my library if I have the opportunity.

• No. 1 in D minor: I have Georg Solti and the LSO for this one (1964) and the 2nd (1966). Lebrecht says Solti "went wild" and "ferocious in the finale." He places Mahler's friend Bruno Walter "at the opposite end of the spectrum", elegaic in 1961 with the Columbia Symphony Orchestra. But he makes intriguing arguments for the the eccentricity of Klaus Tennstedt with the Chicago Symphony Orchestra (1990).
• No. 2 in C minor: Lebrecht considers my Solti version uninteresting. This symphony is practically too big to be recorded credibly; a live performance would be worthwhile. Again a more recent Klaus Tennstedt version, this time live in concert with the LPO, sounds the most interesting: "The climax is nothing short of revelation."
• No. 3 in D minor: one of my least favourites, but I would like to give it another try. Of my version, Leonard Bernstein with the New York Philharmonic, the author says only the conductor "takes a tumble" along with many other high order conductors. He suggests the most effective rendition is F. Charles Adler with the Vienna Symphony Orchestra, a 1952 release reissued by Conifer in 1997.

I must continue with no. 4 another time. Work is hard this week and I need bed.

Comments

[changeling72.livejournal.com]

Sounds fascinating.

[rsc.livejournal.com]

The book falls short of making a convincing argument for the title

Yeah, my reaction would be to say "Why not?"

Many of the songs are unremarkable

I can't agree with you there. A few of them may be "unremarkable" but many of them are astonishingly beautiful and/or have great emotional depth. Get your hands on a good performance of the Rückert-Lieder.

Michael Tilson Thomas and the San Francisco Symphony have done a series of television programs under the title Keeping Score which includes a two-episode exploration of Mahler's life and music. I recommend watching it if you can get it.

As to the individual symphonies:

The 2nd is an amazing piece, and I would agree that a live performance is necessary to get the full effect. No recording can really do justice to the extraordinarily wide range of dynamics; just for a single example, the big percussion crescendo in the middle of the last movement is absolutely hair-raising when heard live.

The 3rd is indeed tough to love. It has some wonderful moments, but it goes on and on...

The 4th is probably the most approachable of the Mahler symphonies (I think it's also the shortest). Maybe I say that because it's the first one I got to know as a teenager.

A word of warning: Don't listen to the 6th when you're feeling depressed.

Das Lied von der Erde is one of the most beautiful pieces ever written.

[rsc.livejournal.com]

And thank you for posting this; I've just put in a request for the book at my local library.

[vaneramos.livejournal.com]

"Many of the songs" does not include the Rückert-Lieder. It is probably my favourite work of vocal music. However, I do not find any of the other song cycles memorable.

But I think Mahler has something different for everyone. The Fourth and Das Lied von der Erde are the ones I have had the hardest time getting close to, along with the Third and Ninth. But I hope to explore them further with suggestions from this book. The only symphonies missing from my library are 4 and 10.

My favourite is the Sixth. It is one of my favourite compositions. The first movement is utterly gripping. The slow movement transports me to a different place and time. This symphony is one of the pieces I turn to when I am upset and need distraction. Only Bruckner's Eighth is better for that purpose.

[vaneramos.livejournal.com]

Actually, I don't believe I have ever heard the 10th, which is not pure Mahler of course, but Lebrecht is not a purist, and argues that Mahler, more than any other composer of his era, expected musicians to put their own spin on his music.

[rsc.livejournal.com]

But I think Mahler has something different for everyone.

As illustrated by this very exchange. Don't get me wrong, I think the 6th is a great piece, but I also find it emotionally draining. The ending is like a punch in the stomach. I can't imagine turning to it when I'm upset -- it would probably push me over the edge to suicidal (not really).

My least favorite of the symphonies I know (I'm almost totally unfamiliar with the 7th and the 8th) is probably the 5th, which I find it dull. Or maybe I haven't forgiven it for being a big part of my senior honors thesis 43 years ago (although I don't hold that against the 1st).

[rsc.livejournal.com]

I heard a performance of the first movement of the 10th a couple of years ago, but I don't know it well. One can really hear the edges of tonality fraying in the 9th and 10th; no wonder Schoenberg decided to just tear it up. (Gross oversimplification alert!)

[vaneramos.livejournal.com]

Oh my, what was your thesis?

With the fifth, I find myself wading through the first three tedious movements to get to the last two, which I enjoy. Still, the popular Adagietto is not nearly as interesting as the Andante of the 6th.

[rsc.livejournal.com]

what was your thesis?

I don't have it ready to hand at the moment, or I'd quote the actual title; but it was about harmonic techniques in the Mahler 1st and 5th, especially the extensive use of pedal points. I suspect I'd find much of it embarrassing to read now, but maybe not.

I actually find the second movement of the 5th to be the least uninteresting (how's that for damning with faint praise?), and I definitely agree about the (overplayed) "Adagietto".