Gustav Mahler
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a symphony should be like the world: it must embrace everything
男
49 歲
Vienna
奧地利
上次登入時間： 2007/8/3
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Gustav Mahler 的自我介紹 |
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Gustav Mahler (July 7, 1860–May 18, 1911) was a Bohemian-Austrian composer and conductor.
Mahler was best known during his own lifetime as one of the leading orchestral and operatic conductors of the day, but he has since come to be acknowledged as among the most important post-romantic composers – a remarkable feat for a figure whose mature creativity was concentrated in just two genres: song and symphony. Besides the nine completed numbered symphonies, his principal works are the song cycles Lieder eines fahrenden Gesellen (usually rendered as 'Songs of a Wayfarer', but literally 'Songs of a Travelling Journeyman') and Kindertotenlieder ('Songs on the Death of Children'), and the synthesis of symphony and song cycle that is Das Lied von der Erde ('The Song of the Earth').
Mahler was the last in a line of Viennese symphonists extending from the First Viennese School of Joseph Haydn, Mozart, Beethoven and Franz Schubert to Bruckner and Johannes Brahms; he also incorporated the ideas of Romantic composers like Robert Schumann and Felix Mendelssohn. The major influence on his work, however, was that of Richard Wagner, who was, according to Mahler, the only composer after Beethoven to truly have "development" (see Sonata form and History of sonata form) in his music.
The spirit of the lied (German for song) constantly rests in his work. He followed Franz Schubert and Robert Schumann in developing the song cycle, but rather than write piano accompaniment, he orchestrated it instead. Lieder eines fahrenden Gesellen (Songs of a Travelling Journeyman) is a set of four songs written as a rejected lover wandering alone along the earth; Mahler wrote the text himself, inspired by his unhappy love affair with a singer while conducting at Kassel.
Keenly aware of the colourations of the orchestra, the composer filled his symphonies with flowing melodies and expressive harmonies, achieving bright tonal qualities using the clarity of his melodic lines. Among his other innovations are expressive use of combinations of instruments in both large and small scale, increased use of percussion, as well as combining voice and chorus to symphony form, and extreme voice leading in his counterpoint. His orchestral style was based on counterpoint; two melodies would each start off the other seemingly simultaneously, choosing clarity over a mass orgy of sound.
Often, his works involved the spirit of Austrian peasant song and dance. The Ländler – the Austrian folk-dance which developed first into the minuet and then into the waltz – figures in several symphonies, as indeed do the minuet and the waltz. (All three historical stages – Ländler, minuet and waltz – are represented in the 'dance movement' of the Ninth Symphony).
Mahler combined the ideas of Romanticism, including the use of program music, and the use of song melodies in symphonic works, with the resources which the development of the symphony orchestra had made possible. The result was to extend, and eventually break, the understanding of symphonic form, as he searched for ways to expand his music. He stated that a symphony should be an "entire world". As a result, he met with difficulties in presenting his works, and would continually revise the details of his orchestration until he was satisfied with the effect.
Mahler's harmonic writing was at times highly innovative, and only long familiarity can have blunted the effect of the chords constructed in 'perfect fourths' which lead to the 'first subject' of the Seventh Symphony, or the remarkable (and unclassifiable!) 9-note 'crisis' sonority that erupts into the first movement of the Tenth. 'Anti-modernist' zeal presumably lies behind assertions to the effect that Mahler "never abandoned the principle of tonality, as those following him, in particular those of the Second Viennese School, would later do": anyone who would deny this composer's pre-Schoenbergian exploitation of expressive anti-tonality should be challenged to name the keys that they hear at such points as bb.385ff in the finale of the Sixth Symphony or the most tonally complex areas of the Tenth.
He was deeply spiritual and described his music in terms of nature very often. This resulted in his music being viewed as extremely emotional for a long time after his death. In addition to restlessly searching for ways of extending symphonic expression, he was also an ardent craftsman, which shows both in his meticulous working methods and careful planning, and in his studies of previous composers.
In spite of above statements, tonality, as an expressive and constructional principle, was clearly of great importance to Mahler. This is shown most clearly by his approach to the issue of so-called 'progressive tonality'. While his First Symphony is clearly a D major work, his Second 'progresses' from a C minor first movement to an E-flat major conclusion; his Third moves from a first movement which ends in F major to a finale which ends in D major – while his Fourth dies away in a serene E major that seemingly has no awareness of its distance from the work's basic G major. The Fifth moves from a C-sharp minor funeral march, through a desperately conflict-ridden A minor movement, a vigorous dance movement in D major, and a lyrical F major 'Adagietto', to a triumphant finale in D major – while the Sixth, very much by contrast, starts in A minor, ends in A minor, and juxtaposes a slow movement in E-flat major with a scherzo in A minor. The Seventh is tonally highly 'progressive', with a first movement that moves from a (possible) B minor start to an E major conclusion, and a finale that defines a celebratory C major. In the Eighth Symphony the composer's expressive intentions led him to construct a work that both starts and ends in E-flat – whereas the 'valedictory' Ninth moves from a D major first movement to a D-flat major finale. The Tenth, insofar as we can be sure that Mahler's ultimate tonal intentions are discernible, was to start and end in F-sharp major.
Mahler was obsessed by Beethoven's legacy; he declared that all of his symphonies were "ninths", having the same impact and scale as Beethoven's famous Choral symphony. Mahler was also apparently a firm believer in the curse of the ninth and thus terrified of writing a ninth numbered symphony. This is held to be the reason why he did not give a number to the symphonic work - Das Lied von der Erde - which followed his Eighth, but instead described it merely as Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges "Die chinesische Flöte") (A symphony for one tenor and one alto (or baritone) voice and orchestra, after Hans Bethge's "The Chinese Flute"). The work can be considered a combination of song cycle and symphony. As it happened, Mahler did in fact die after writing his ninth numbered symphony, leaving his tenth unfinished. There have been several attempts to complete the work (or produce 'performing versions' of the draft) since the 1940s.
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