Gustav Mahler's Symphonic Landscapes by Thomas Peattie

By Thomas Peattie

During this research Thomas Peattie deals a brand new account of Mahler's symphonies by way of contemplating the composer's reinvention of the style in mild of his occupation as a conductor and extra largely by way of his sustained engagement with the musical, theatrical, and aesthetic traditions of the Austrian fin de siècle. Drawing at the principles of panorama, mobility, and theatricality, Peattie creates a richly interdisciplinary framework that unearths the distinctiveness of Mahler's symphonic idiom and its radical perspective towards the presentation and ordering of musical occasions. The e-book is going directly to determine a basic pressure among the music's episodic nature and its often-noted narrative impulse and means that Mahler's symphonic dramaturgy could be understood as a kind of summary theatre.

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For a comprehensive discussion of these early sources, see Stephen McClatchie, “The 1889 Version of Mahler’s First Symphony: A New Manuscript Source,” 19th-Century Music 20 (1996): 99–124; and Sander Wilkens, Editionspraxis und allgemeine Korrekturensystematik zu den Werken Gustav Mahlers: kritischer Bericht und Revisionsbericht zum Autograph der Ersten Symphonie (Munich: Musikverlag Emil Katzbichler, 1996). The Stichvorlage (c. 1898) is housed in the Austrian National Library (L1 UE 375). For further discussion of this point, see Thomas Peattie, “In Search of Lost Time: Memory and Mahler’s Broken Pastoral,” in Mahler and His World, ed.

Ian Bent (Cambridge: Cambridge University Press, 1994), 171. Hepokoski, “Beethoven Reception,” 424, 428. Lewis Lockwood, Beethoven: The Music and the Life (New York: W. W. Norton & Company, 2003), 438–39. Bonds goes on to draw an explicit parallel between the Ninth and Mahler’s Fourth Symphony. Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony (Cambridge, MA: Harvard University Press, 1996), 176. Such criticism was often laden with anti-Semitic overtones. For a re-evaluation of Mahler’s Beethoven performances, see K.

The pioneering work of Zoltan Roman, Monika Tibbe, and Donald Mitchell in particular has brought into focus the many conflicting strains of the song/symphony relationship. , University of Toronto, 1970); Donald Mitchell, The Wunderhorn Years, vol. , Berkeley and Los Angeles: University of California Press, 1995); Monika Tibbe, Über die Verwendung von Liedern und Liedelementen in instrumentalen Symphoniesätzen Gustav Mahlers, 2nd ed. (Munich: Musikverlag Katzbichler, 1977). More recently, Raymond Knapp has revisited this relationship in terms of the programmatic dimension of these symphonies, in Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s ReCycled Songs (Middletown, CT: Wesleyan University Press, 2002).

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