This period is characterized by many Mahler concerts. We had last week, the sixth symphony, paired with Schumann's beautiful Cello Concerto, This week comes the symphony II "Auferstehung, combined with the concert KV 503 for piano by Mozart and next week we will have the seventh, combined with the symphony of" Goodbye "by Haydn. As you can see a lot of programs are intense and tiring! For me this couple of years Mahler was also an opportunity to return old books on Mahler that I had read many years ago: the book of Adorno (combined with a study of Wagner) and those of Ugo Duse, published by esntrambi Einaudi. The first one I think has been reprinted, and the second is perhaps more if not on Maremagnum.com. I also got a new book that came out recently by the Assayer, which is titled: Gustav Mahler: My time will come.
is not a study or a biography, but it is a very large collection (742 pages!) And interventions of essays written by various people from 1901 to 2010. These range from Thomas Mann, Arthur Schnitzler, from Schoenberg with Glenn Gould, Quirino Da Prince Pierre Boulez, as Bernstein, Bruno Walter. There are also writings of people who go there directly Mahler and give a private and very characteristic portrait, a portrait live.
One of the aspects dealt with since the first speech of 1901 Schiedermair Ludwig, who wrote in 1901, at the time of the Fifth Symphony, Mahler's first essay is the question of the programs associated with the music of Mahler, and Mahler himself then by all withdrawn because considered misleading. Evidently then there arose the question whether this was absolute music or program. The issue is still topical because Mahler's music always seems to solicit membership in a program. For example, the sixth symphony played last week, want to hammer the history of the last movement (two or three shots? The third shot you should run or not? Thing is these hammer blows? What were the intentions on the final third shot?), or the motto consists of the triad, major / minor that rages from start to finish, either because the topic of Alma the first time for children to play the joke going to end up quite ill, however (as second or third movement? how it changes the interpretation the symphony if you swap the two middle movements? what were the intentions of Mahler on the final disposition of the two movements?), in short, a lot of reasons for the Sixth Symphony has always paid more than others, to be associated with a story, a narrative, a story, for a program that perhaps was not there at all. Indeed it may be a sign of weakness of this music if you ever feel the need to invoke a program, the hero who succumbs to three shots, etc.. All in all, I remain quite indifferent to these interpretations also because everything is not in the best in the Mahler symphony VI will be found instead in the central moment of the first movement, nell'andante (like third movement!) so serene and sad memories of the Kindertotenlieder, in certain passages of the joke (like The movement!) and the final chorale, choir, which usually see Bruckner, have always been associated with moments absolutely steadfast, strong and happy, and that Mahler limelight in a total negativity. Mahler is the most beautiful speaking voice, is that of a dialogue between a horn and an oboe, is that of "Das Lied von der Erde", where the detachment from the earth and life is whispered in the 'ewig "until the final off the awareness of how far there is between the short life of men and the eternity of the return of the sunrises and sunsets. In the sixth symphony Mahler shake instead, becomes paroxysmal, urla una musica che non si esegue mai abbastanza forte. Personalmente non esco molto sconvolto dalla VI sinfonia mentre mi turba molto di più un lied come " Ich bin der Welt abhanden gekommen " dai Ruckert Lieder dove la più suprema arte dell'orchestrazione è messa al servizio dell'espressione poetica.
Consiglio molto questo nuovo libro su Mahler che fornisce innumerevoli spunti di riflessione e di interesse.
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