Mahler's Symphonic World

Music for the Age of Uncertainty

Inbunden, Engelska, 2025

659 kr

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A new analysis of Mahler’s symphonies, placing each within the context of his musical way of being in and experiencing the world.Between 1888 and 1909 Gustav Mahler completed nine symphonies and the orchestral song cycle Das Lied von der Erde; his tenth symphony was left incomplete at his death in 1911. Mahler’s Symphonic World provocatively suggests that over his lifetime, the composer pursued a single vision and a single, ideal symphony that strived to capture his personal outlook on human existence. Writing at the turn of the twentieth century, when all trust in firm philosophical and spiritual foundations had evaporated, Mahler’s music reflected a deep preoccupation with human suffering and transience and a search for sources of possible consolation.In Karol Berger’s reading, each of the symphonies follows a similar trajectory, with an opening quest leading to the final unveiling of a transcendent, consolatory vision. By juxtaposing single movements—the opening Allegros, the middle movements, the Finales—across different works, Berger traces recurring plotlines and imagery and discloses the works’ multiple interrelationships as well as their cohesiveness around a central idea. Ultimately, Mahler’s Symphonic World locates Mahler’s music within the matrix of intellectual currents that defined his epoch and offers a revelatory picture of his musical way of being in the world.

Produktinformation

Utgivningsdatum2025-01-14
Mått152 x 229 x 38 mm
Vikt708 g
FormatInbunden
SpråkEngelska
Antal sidor392
FörlagThe University of Chicago Press
ISBN9780226836027

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Klassisk musik, konstmusik och orkestermusik inom Kultur
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Musiker, sångare och grupper inom Kultur
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Musikhistoria inom Kultur

PrefacePrologue: The Lesson of Mahler1. Cycles: The Norm and Its Extensions2. Allegro: The March of the World The First: Art before ArtThe Second: Building and BreakingThe Third: The Rite of SummerThe Fourth: Neoclassicism and ExhaustionThe Fifth: The Tentative TriumphThe Sixth: The Programmatic TemptationThe Seventh: The Intransitive AnticipationThe Ninth: The Amalgamation of FormsThe Tenth: Music and Autobiography3. Andante: The Respite The Funeral March The First: Jewishness in Music The Dance-Based Andante The Second: Remembrance of Music’s PastThe Third: The Dance of the jeunes filles en fleurs The Serenade The Sixth: Night Music IThe Seventh: Night Music II and III4. Scherzo: The Run of the World The First: Danse à la campagne and Danse à la villeThe Second: An Outsider Looks InThe Third: Animals ListenThe Fourth: Dancing till We DropThe Fifth: La ValseThe Sixth: The Invention of CubismThe Seventh: Night Music IVThe Ninth: The Development of CubismThe Rondo-Burleske of the Ninth: The Wild ChasePostscript: The Tenth5. Finale: In Search of Consolation The Allegro-Finale The First: The BreakthroughThe Sixth: The Unmotivated Catastrophe The Rondo-Finale The Fifth: The Taking Back of the NinthThe Seventh: On the Nuremberg Meadow The Adagio-Finale The Third: Love DescendingThe Ninth: On the Heights The Vocal Finale The Second: The Taking Up of the NinthThe Fourth: Finding the Solution6. The Vocal Cycles The Eighth Symphony I. Hymnus: Veni, creator spiritusII. Schlußszene aus “Faust” Das Lied von der Erde I. Das Trinklied vom Jammer der ErdeII. Der Einsame im HerbstIII. Von der JugendIV. Von der SchönheitV. Der Trunkene im FrühlingVI. Der Abschied7. Symphonies for the Age of Uncertainty The Sense of an EndingHow Poor a Yea-Sayer Was Mahler?The Worldview MusicEpilogue: The Lesson of ProustAcknowledgmentsSymphonic WorksChronologyNotesBibliographyIndex

“Deploying a brilliant range of literary and philosophical sources in tandem with innovative analyses of all that is most striking in Mahler’s symphonic world, Karol Berger grants the composer his greatest reach as a cultural force during a time when the once reassuring foundations of reason were rapidly giving way to the existential alarms of modernity. The book’s creatively designed structure stems from the imaginative supposition that Mahler composed one ideal symphony, emanating from resonant features shared by the movement types of his real symphonies.”