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Rethinking Mahler
Rethinking Mahler
EDITED BY
Jeremy Barham

1
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
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Press in the UK and certain other countries.

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© Oxford University Press 2017

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You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-​in-​Publication Data

Names: Barham, Jeremy, 1963– editor.
Title: Rethinking Mahler/[edited] by Jeremy Barham.
Description: New York, NY: Oxford University Press, [2017] | Includes
bibliographical references and index.
Identifiers: LCCN 2016047149| ISBN 9780199316106 (pbk.: alk. paper) |
ISBN 9780199316090 (hardcover: alk. paper)
Subjects: LCSH: Mahler, Gustav, 1860–1911—Criticism and interpretation. |
Music—19th century—History and criticism.
Classification: LCC ML410.M23 R47 2017 | DDC 780.92—dc23 LC record available
at https://lccn.loc.gov/2016047149

9 8 7 6 5 4 3 2 1
Printed by Sheridan Books, Inc., United States of America
In memoriam

George Sidney Barham (1929–​2013)

Zoltan Roman (1936–​2015)

Henry-​Louis de La Grange (1924–​2017)

Contents

List of Figures and Tables ix

List of Music Examples xiii
Acknowledgements xvii
List of Contributors xix
Introduction: Mahler’s Times xxv
Jeremy Barham

I Repertoires and Structures of the Past

1 Fantasy, Denial, and Virtual Reality in Mahler’s Fourth Symphony 3

Benjamin K. Davies
2 Mining the Past for New Expressions: Song Form as Narrative
Device in Mahler’s Ballads from Des Knaben Wunderhorn 25
Molly M. Breckling
3 The Earliness of Mahler’s Late Romanticism: The Poetics
of the ‘Deceptive Perfect Cadence’ in the Ninth Symphony
and Das Lied von der Erde 51
Mark Summerfield
4 ‘Pedester ist der Musikstoff, sublim der Vortrag’: Mahler’s Scherzos
as Impulses for the Evolution of Musical Language 73
Mathieu Schneider
5 Forming Form through Force: Bruckner, Mahler, and the
Structural Function of Highpoints 85
Alessandro Cecchi
6 Die Meistersinger in Mahler’s Seventh Symphony 105
Anna Stoll Knecht
7 Idyllic Masks of Death: References to Orphée aux Enfers in
‘Das himmlische Leben’ 127
Lóránt Péteri

vii
viii Contents

II Stage, Screen, and Popular Cultures

8 Mahler and the Myth of the Total Symphony 141

James Buhler
9 On the British Reception of Ken Russell’s Mahler 163
Eftychia Papanikolaou
10 Popular Music and the Colloquial Tone in the Posthorn
Solos of Mahler’s Third Symphony 183
Timothy Freeze
11 Gustav Mahler’s Eighth Symphony and Max Reinhardt’s
Concept of Massenregie 203
Peter Revers

III Varieties of Historical and Aesthetic Experience

12 The Particularity of the Moment 219

Julian Johnson
13 Gustav Mahler and the Aesthetics of De-​Identification 237
Federico Celestini
14 Decadent Transitions: Mahler, Modernism, and the Viennese
Fin de Siècle 253
Zoltan Roman
15 Justine Mahler’s Faust Notebook: An Introduction 271
Stephen E. Hefling
16 Abridging Mahler’s Symphonies: A Historical Perspective 299
Matthew Mugmon
17 Mahler and the Game of History 315
Jeremy Barham

Bibliography 353
Index 381
Figures and Tables

Figures

1.1 Tonal centres in Mahler’s Fourth Symphony, first

movement: exposition and development (1) 15
1.2 Tonal centres in Mahler’s Fourth Symphony, first
movement: development (2), recapitulation and coda 16
2.1 ‘Der Schildwache Nachtlied’, Poem and Song text 31
2.2 ‘Des Antonius von Padua Fischpredigt’ Poem and Song Text 36–37
2.3 ‘Nicht Wiedersehen’, Poem and Song Text 39
2.4 ‘Wo die schönen Trompeten blasen’, Poem and Song Text 42
5.1 Diagram of formal tensions in Bruckner’s Ninth Symphony, first
movement 95
5.2 Diagram of formal tensions in Mahler’s First Symphony, first
movement 100
6.1 Initial part of the Meistersinger Overture (bb. 1–​58) and Mahler’s
ritornello (bb. 1–​23) 106
8.1 Classic shot/​reverse-​shot cinematic editing pattern with
concluding 2-​shot in Now, Voyager (1942) 148
8.2 Cinematic reflections, mise en abyme and fractured
subjectivity: a: The Apartment (1960); b: Lady from Shanghai
(1947); c: Citizen Kane (1941) 156
9.1a Robert Powell as Gustav Mahler. Mahler 164
9.1b Georgina Hale as Alma Mahler. Mahler 164
9.2 Advertisement for Mahler in The Guardian, 5 April 1974, 11 170
9.3 Mahler alive in the coffin. Mahler 171
9.4 Allusion to Visconti’s Death in Venice. Mahler 172
9.5 Alma dances on Gustav’s coffin. Mahler 174
9.6 Intertitle for the beginning of the conversion fantasy sequence.
Mahler 175
9.7 Cosima Wagner as Nazi dominatrix. Mahler 176
9.8 Mahler as Siegfried. Mahler 176

ix
x Figures and Tables

9.9 Robert Powell as Gustav Mahler and Antonia Ellis as Cosima

Wagner at the end of the conversion fantasy sequence. Mahler 177
11.1 Alfred Roller’s poster advertising the première of the Eighth
Symphony 204
11.2 Mahler rehearsing the Eighth Symphony 206
11.3 Max Reinhardt: Sophocles, King Oedipus (London, 1912) 208
14.1 Ernst Stöhr’s ‘Vampire’ 260
15.1 Justine Mahler Rosé’s Faust Notebook, p. 1 272
15.2 Letter of 28 April [1894] to Mahler from his sister Justine, who
was then visiting Rome 273
15.3 Justine Mahler Rosé’s Faust Notebook, p. 77 274
15.4 Siegfried Lipiner, Adam, manuscript copy in the hand
of Justine Mahler [1899] 275
15.5 Siegfried Lipiner 276
15.6 Letter of [22 (?) June 1909] from Mahler to his wife Alma, p. [4]‌ 280
15.7 Letter of [22 (?) June 1909] from Mahler to his wife Alma,
bifolio 2 (=p. [5]‌) 281
15.8 Letter of [22 (?) June 1909] from Mahler to his wife Alma, p. [6]‌ 282
15.9 Letter of [22 (?) June 1909] from Mahler to his wife Alma, p. [7]‌ 283
16.1 Deletion marked in Koussevitzky’s piano score of Mahler’s Ninth
Symphony 305
16.2 Deletion marked in Koussevitzky’s full score of Mahler’s Ninth
Symphony 306
17.1 Paul Klee, ‘Angelus Novus’ (1920) 322
17.2 Still from Syberberg, Hitler, a Film from Germany, Part 2,
‘A German Dream … Until the End of the World’ (1977) 324
17.3 Still from Farocki, Zwischen zwei Kriegen (Between Two Wars), 1978 328
17.4 Paul Klee, ‘The Twittering Machine’ (1922) 334
17.5 Lyrics of ‘I’ll Be Seeing You’ and first verse of ‘White Christmas’ 339

Tables

2.1 Gustav Mahler’s Ballads based on texts from Des Knaben

Wunderhorn 26
4.1 Structural Outline of the Movement (final version) 81
4.2 Structural Outline of the Movement (draft and score) 82
Figures and Tables xi

7.1 The Number of Performances of Offenbach’s Theatrical Works

Conducted by Mahler 132
15.1 From Justine Mahler’s Faust Notebook, pp. 116–​22, transl.
Stephen Hefling and Friedrich Thiel. 284
15.2 Comparison of Schlußszene passages in Justine’s Notebook to
Mahler’s 1909 Faust Letter 290
16.1 Deletions in Serge Koussevitzky’s Score of Mahler’s
Ninth Symphony 309
Music Examples

1.1 Mahler’s Fourth Symphony, first movement, bars 233–​38 10

1.2 Mahler’s Fourth Symphony, first movement, appoggiatura
functions 12
1.3 Mahler’s Fourth Symphony, first movement, melodic recycling 13
1.4 (a) Mahler’s Fourth Symphony, first movement, ‘dream ocarina’,
bars 126–​31; (b) and (c) related figures in Mahler’s
First Symphony, first movement, bars 135–​39, 220–​24; d) related
figure in Dvorak’s Eighth Symphony, first movement, bars 18–​22. 18
1.5 Mahler’s Fourth Symphony, first movement, sequence and ‘clone’,
bars 187–​99, 199–​212 20
1.6 Collapsing gestures in Mahler’s Fourth Symphony and Sixth
Symphony, first movements 21
2.1 ‘Der Schildwache Nachtlied’, bars 1–​4, the guard’s soundworld 32
2.2 ‘Der Schildwache Nachtlied’, bars 17–​21, the maiden’s soundworld 32
2.3 ‘Der Schildwache Nachtlied’, bars 9–​12, a musical yawn 33
2.4 ‘Der Schildwache Nachtlied’, bars 66–​8, frustration boils over 34
2.5 ‘Des Antonius von Padua Fischpredigt’, bars 16–​24, flowing river 37
2.6 ‘Des Antonius von Padua Fischpredigt’, bars 52–​57, klezmer melody 38
2.7 ‘Nicht Wiedersehen!’, bars 1–​4, tragedy beckons 40
2.8 ‘Nicht Wiedersehen!’, bars 55–​9, a hopeful reunion 41
2.9 ‘Wo die schönen Trompeten blasen’, bars 15–​20, a knock at the door 45
2.10 ‘Wo die schönen Trompeten blasen’, bars 36–​43, Ländler motive 46
2.11 ‘Wo die schönen Trompeten blasen’, bars 169–​73, the soldier’s
military theme 47
2.12 ‘Wo die schönen Trompeten blasen’, bars 5–​8, premonition from
a nightingale 48
3.1 Agawu’s ‘conflated’ cadence: Ninth Symphony, first movement,
bars 53–​54 53

xiii
xiv Music Examples

3.2 Modulating Deceptive Cadence: Das Lied von der Erde, ‘Der
Trunkene im Frühling,’, bars 6–​8 53
3.3 Modulating Deceptive Cadence: Fifth Symphony, ‘Adagietto,’
bars 45–​47 54
3.4 Hybrid Cadence: Das Lied von der Erde, ‘Das Trinklied Jammer
der Erde,’ bars 225–​30 55
3.5 Das Lied von der Erde, ‘Von der Jugend,’ bars 22–​25 56
3.6 Das Lied von der Erde, ‘Von der Jugend,’ bars 107–​11 57
3.7 Ninth Symphony, second movement, bars 429–​32 57
3.8 Das Lied von der Erde, ‘Das Trinklied Jammer der Erde,’
bars 147–​53 58
3.9 Ninth Symphony, second movement, bars 564–​71 59
3.10a Das Lied von der Erde, ‘Der Einsame im Herbst,’ bars 98–​103 60
3.10b Das Lied von der Erde, ‘Der Einsame im Herbst,’ bars 98–​103
(voice leading graph) 61
3.11a Das Lied von der Erde, ‘Der Abschied,’ bars 213–​21 61
3.11b Das Lied von der Erde, ‘Der Abschied’, bars 213–​221 (voice
leading graph) 62
3.12a Ninth Symphony, second movement, bars 295–​99 63
3.12b Ninth Symphony, second movement, bars 295–​99
(voice leading graph) 64
3.13 Das Lied von der Erde, ‘Das Trinklied Jammer der Erde,’ bars
311–​26 68
4.1 The octave leaps in the scherzo of Mahler’s First Symphony 75
4.2 The Ländler-​t heme in the scherzo of the Ninth Symphony
(bars 9–​16, reduced to strings, horn 1 and clarinet 1) 77
4.3 Harmonic reduction of the first Ländler’s entire section in the
Scherzo of the Ninth Symphony 78
4.4 Harmonic reduction of the waltz theme at its first appearance
(bars 90–​102) 80
4.5 First bars of the second Ländler (bars 218–​21, reduced to strings) 81
6.1 Mahler’s ritornello theme (MA1 + MA2) framing Wagner’s
theme (A) 107
6.2 Wagner’s theme B and the introductions to the Seventh’s first
and last movements 108
6.3 Cadences in the Meistersinger Overture and in Mahler’s Finale 108
6.4 Deceptive cadences in Mahler’s ritornello and Meistersinger III, 5 110
Music Examples xv

6.5 The first movement of the Seventh, end of the introduction

(bars 45–​50) 113
6.6 Meistersinger II, 7 ‘Auf, schreit zu Hilfe: Mord und Zeter, herbei!’ 115
6.7 Mahler’s sketchbook (6v) and Beckmesser’s serenade 116
6.8 Mahler’s sketchbook (5v), Beckmesser’s serenade, the Sixth and
Seventh symphonies 117
6.9 Meistersinger III, 1 ‘Wahn, Wahn, überall Wahn!’ 118
6.10 Götterdämmerung III, 2 and Meistersinger III, 5 119
7.1 Jacques Offenbach, Orphée aux enfers, Act I (1858 version),
‘chanson pastorale’ of Aristaeus, excerpt from the refrain 128
7.2 Gustav Mahler, ‘Das himmlische Leben’ (1892 version), entry of
the singer 129
7.3 Gustav Mahler, ‘Das himmlische Leben’ (1892 version), ending 130
8.1a Mahler, Sixth Symphony, I, bars 77–​80 154
8.1b Mahler, Sixth Symphony, I, bars 91–​94 154
8.2 Mahler, Sixth Symphony, I, bars 99–​102: dissolve from B to A' 157
10.1a Adolf Müller, Sr., “Der Postillion”, mixture of signals and
lyrical phrases 185
10.1b Adolf Müller, Sr., “Der Postillion”, tune at the cemetery 185
10.2 Viktor Nessler, Trompeter von Säkkingen, “Behüt Dich Gott”
(excerpt) 186
10.3 Mahler, Blumine, trumpet theme 187
10.4 Heinrich Schäffer, ‘Die Post im Walde’ 188
10.5 Viktor Nessler, Trompeter von Säkkingen, no. 13 (excerpt) 189
10.6 Mahler, Symphony no. 3, third movement, first posthorn
episode (excerpt) 190
10.7 Posthorn signals of the Deutsche Reichspost with closing
gesture paralleling Abblasen 192
(a) No. 1, Für Estaffeten
(b) No. 2, Für Kuriere
(c) No. 3, Für Extraposten
(d) No. 5, Für Güterposten
12.1 Mahler, First Symphony, Finale, bar 519 219
12.2 Mahler, First Symphony, Finale, bars 519–​21 and 524–​35 220
12.3 Mahler, Fourth Symphony, first movement, bars 237–​41 224
12.4 Mahler, Fourth Symphony, first movement, bars 330–​37 225
xvi Music Examples

12.5 Mahler, Ninth Symphony, final movement, bars 180–​85 233

12.6 Mahler, ‘Der Abschied’ from Das Lied von der Erde, reduction
of bars 27–​32; First Symphony, Finale, reduction of bars 511–​20 233
12.7 Mahler, ‘Der Abschied’ from Das Lied von der Erde, bars 166–​71 234
13.1 Mahler, Lieder eines fahrenden Gesellen, no. 4, ‘Die zwei blauen
Augen’ 248
13.2 (a) Mahler, Lieder eines fahrenden Gesellen, no. 4 ‘Auf der
Straße steht ein Lindenbaum’; (b) J. Strauß, ‘Eine Nacht
in Venedig’, 3rd. Act, Caramello: ‘Ach, wie so herrlich
anzuschaun’; (c) Wagner, Das Rheingold, 1st. Act, 2nd Scene,
Loges: ‘Die goldnen Aepfel’; ( d) Folk song, ‘Es wird scho glei
dumpa’ 249
14.1 Attack (a) and Accent/​duration (b) patterns, in Mahler’s Ninth
Symphony, first movement: a. bars 1–​6; b: bars 1–​7 264
14.2 Mahler’s Ninth Symphony, third movement, bars 1–​7 265
17.1 (a) opening bars of McCartney’s ‘Yesterday’; and (b) bars 101–​2,
24–​27, and 119–​21 of Mahler’s Third Symphony, fourth
movement 336
17.2 (a) opening bars of the refrain from ‘I’ll Be Seeing You’; and
(b) the four statements of the secondary motive in Mahler’s
Third Symphony, last movement: (i) bars 8–​11; (ii) bars 99–​102;
(iii) bars 206–​8; and (iv) bars 275–​78 338
17.3 (a) ‘Slip Away’: opening bars; chromatic dominant substitutions;
(b) Mahler ‘Adagietto’, chromatic dominant substitutions, bars
15, 28–​30, 46, 59–​60, 62–​64, 71–​72, 94–​95 341–42
17.4 (a) reduction of Interstellar score at 19:18; (b) Mahler,
Symphony no. 9, fourth movement bars 165–​67 343
17.5 Reduction of Interstellar score at 38:42 (first and second
systems) and 39:59 (third system); Mahler, Symphony no. 10,
fifth movement, bars 29–​31, 66–​68, 322–​24 and 352–​54. 344
Acknowledgements

I would like first to thank all the contributors for the diligence and rigour with
which they prepared their work, and for their patience and understanding in
awaiting the book’s completion. The origins of the volume lie in an international
conference convened by the editor at the University of Surrey, July 2011: ‘Gustav
Mahler Centenary Conference. Mahler: Contemporary of the Past?’ I grate-
fully acknowledge the following for their generous support of this event: the
Institute of Advanced Studies (University of Surrey), the British Academy, the
Royal Musical Association, the Music & Letters Trust, the Institute of Musical
Research, the Austrian Cultural Forum (London), the Department of Music
and Sound Recording (University of Surrey), Stephen Downes, Julian Johnson,
Uri Caine, the Endymion Ensemble, Stephen Goss and the Tetra Guitar
Quartet, Emilie Capulet, Maureen Galea, Michelle Castelletti, Caroline Tate,
Matthew Sansom, Keith Clarke, Mirela Dumic, Hera Yoon, Laurence Willis,
Julian Fagan-​King, Peter Bryant, Julie Barham and Georgina Barham.
For the production of the present book, I would like to express my profound
thanks to Suzanne Ryan, Adam Cohen, Daniel Gibney, Andrew Maillet, Jessen
O’Brien, and Eden Piacitelli at Oxford University Press for their unstinting
support and encouragement; to Jake Willson and Harry Barham for produc-
ing the music examples; and to the following institutions for permission to
reproduce materials: the Mahler-​Rosé Collection (Gustav Mahler-​A lfred Rosé
Room, Music Library, University of Western Ontario), the Pierpont Morgan
Library, New York, the Trustees of the Boston Public Library, and the Serge
Koussevitzky Music Foundation, Inc.. I am grateful to my colleagues past and
present in the Department of Music at the University of Surrey for their col-
legiality and intellectual curiosity. Finally I thank my family Julie, Georgina,
Samuel, and Harry for their love and support throughout all the years.

xvii
Contributors

Jeremy Barham is Reader in Music at the University of Surrey. His Mahler-​re-

lated publications include most recently a chapter on politics and philosophy
in the de La Grange Festschrift Naturlauf: Scholarly Journeys Toward Gustav
Mahler, as well as ‘Mahler: Centenary Commentaries on Musical Meaning’
(guest-​edited issue of Nineteenth-​ Century Music Review), The Cambridge
Companion to Mahler, Gustav Mahler: New Insights into His Life, Times and
Work, and Perspectives on Gustav Mahler. He also researches in the fields of
screen music and jazz. He is series editor of the Oxford Studies in Recorded Jazz
and co-editor of The Music and Sound of Experimental Film (Oxford University
Press). He is currently working on the monographs Post-​Centenary Mahler:
Revaluing Musical Meaning (Indiana), and Music, Time and the Moving Image
(Cambridge University Press); and the edited volume Global Screen Music in
the Early Sound Era.
Molly M. Breckling serves as an instructor of musicology at the University
of West Georgia in Carrollton (Georgia). She has previously taught courses in
music history, popular music, and voice at several institutions in North Carolina
and Tennessee. She holds a PhD from the University of North Carolina and
master’s degrees from Austin Peay, the University of Wisconsin, and North
Carolina. Her background is in vocal performance, and her research interests
include issues of narrative and epistemology in the songs of Gustav Mahler, on
which she has published several articles in journals such as MLA Notes, Ars
Lyrica, and Music Research Forum,. She is completing her first monograph,
which examines Mahler’s musical and textual narratives in his Lieder from
Des Knaben Wunderhorn as platforms for cultural and political commentary.
James Buhler is a Professor in the Sarah and Ernest Butler School of Music at
the University of Texas at Austin, where he teaches courses in music theory
and film music. He is the co-​author of Hearing the Movies (Oxford University
Press), now in its second edition, and is currently completing a manuscript,
Theories of the Soundtrack, for Oxford University Press.
Alessandro Cecchi is a Lecturer in Musicology at the University of Pisa.
His main research topics are music theory and aesthetics, the symphonies
of Bruckner and Mahler, the theory and history of film music, and mu-
sical performance. His articles appear in musicological journals including Il
Saggiatore musicale, Studi musicali, Musica/​Tecnologia, Rivista di Analisi e
Teoria Musicale, and Music, Sound, and the Moving Image. He has contributed

xix
xx Contributors

chapters to several books published by Carocci, Kaplan, Libreria Musicale

Italiana, and Pavia University Press. He is the editor of a special issue of the
Rivista di Analisi e Teoria Musicale entitled ‘Schenker’s Formenlehre.’ He par-
ticipates in the editorial board of the online journal Analitica, and in the sci-
entific committee of the Gruppo di Analisi e Teoria Musicale. He collaborates
with the Institute of Music of the Giorgio Cini Foundation, Venice, where he
serves as editorial board member of the online journal Archival Notes.
Federico Celestini is Professor of Music at the Institute of Musicology at the
University of Innsbruck. He received his doctorate in 1998 and the Habilitation
in 2004, both in musicology, at the University of Graz. At the same time, he
worked as a member of the University’s research project ‘Modern—​Vienna and
Central Europe around 1900’. From 2008 to 2011, Celestini was a lecturer at
the Institute of Music Aesthetics at the University of Music and Performing
Arts, Graz. From 2010 to 2012 he ran the project ‘Scelsi and Austria,’ with
the support of the Austrian Science Fund. Since 2011 he has been co-editor
of the journal Acta Musicologica. He has held fellowships and visiting profes-
sorships at the University of Oxford, the Riemenschneider Bach Institute, the
Free University of Berlin, and the University of Chicago. His areas of interest
include music of the seventeenth to the twenty-​first centuries, approaches to
music from cultural studies, music aesthetics, and medieval polyphony.
Benjamin K. Davies is a composer, theorist, and improvising pianist. He grad-
uated in philosophy and social and political sciences at Cambridge University
in 1983, and obtained a PhD in composition from Southampton University in
2009, supervised by Michael Finnissy. In between, he worked extensively in
theatre—​both experimental and commercial—​and contemporary dance, as
composer and musical director. Resident in Barcelona since 1988, he joined the
Conservatori del Liceu in 2009 and currently holds the posts of academic di-
rector and head of the composition and theory departments. His research areas
include post-​tonal harmony, the ontology of jazz, music and truth, Beethoven
and Habermas’s theory of communicative action, and studies of works, gen-
erally viewed as problematic with respect to analytic strategies, by composers
such as Webern, Birtwistle, and Janacek.
Timothy Freeze is visiting Assistant Professor at the College of Wooster.
He has published research on Gustav Mahler, Viennese operetta, and Aaron
Copland in several journals and collected volumes. He is currently working on
a critical edition of Gershwin’s Concerto in F for the George and Ira Gershwin
Critical Edition. Before coming to Wooster, he taught at Indiana University
and IES Abroad in Vienna. He earned a PhD in historical musicology from
the University of Michigan and has held research fellowships from the Berlin
Program for Advanced German European Studies, the German Academic
Exchange Service, and the Fulbright Program.
Contributors xxi

Stephen E. Hefling is Professor Emeritus of Music at Case Western Reserve

University, and has also taught at Stanford and Yale universities as well as the
Oberlin College Conservatory. Hefling received the AB in music from Harvard
and the PhD from Yale, with a dissertation on Mahler’s ‘Todtenfeier.’ He is vice
president of the Internationale Gustav Mahler Gesellschaft as well as co-​di-
rector of the Neue Kritische Gesamtausgabe of Mahler’s works, for which he
edited the autograph piano version of Das Lied von der Erde. Author of Gustav
Mahler: Das Lied von der Erde (Cambridge University Press, 2000) and editor
of Mahler Studies (Cambridge University Press, 1997), he has published over
two dozen articles and book chapters on Mahler and his music. Currently he
is working on a two-​volume study entitled The Symphonic Worlds of Gustav
Mahler (Yale University Press) and completing The Reilly Catalogue of Mahler’s
Musical Manuscripts. Other areas of interest include chamber music (editor,
Nineteenth-​Century Chamber Music [Routledge 2003] and historical per-
formance practice (Rhythmic Alteration in 17th-​and 18th-​ Century Music
[Schirmer, 1993]).
Julian Johnson is Regius Professor of Music at Royal Holloway, University of
London, having formerly been Reader in Music at the University of Oxford
(2001–​7), and Lecturer at the University of Sussex (1992–​2001). In the early
part of his career he combined research into musical aesthetics with work-
ing as a professional composer, an experience that continues to shape his
thinking in musicology. He has published widely on music from Beethoven
to contemporary music, but with a particular focus on Mahler, Viennese
modernism, musical aesthetics, and the wider idea of musical modernity. His
monographs include Webern and the Transformation of Nature (Cambridge
University Press, 1999), Mahler’s Voices: Expression and Irony in the Songs and
Symphonies (Oxford University Press, 2009), and Out of Time: Music and the
Making of Modernity (Oxford University Press, 2015). He is the co-​editor of
Transformations of Musical Modernism (Cambridge University Press, 2015)
and of the Cambridge University Press journal Twentieth-​Century Music.
Matthew Mugmon is Assistant Professor of Musicology at the University of
Arizona. His research focuses on the relationship between Gustav Mahler’s
music and four influential figures in American modernism—​Nadia Boulanger,
Aaron Copland, Serge Koussevitzky, and Leonard Bernstein. Publications in-
clude articles in Music & Letters and the Journal of Musicological Research, as
well as the volume Ambrosiana at Harvard: New Sources of Milanese Chant,
which he co-​edited with Thomas Forrest Kelly. Mugmon received his PhD in
historical musicology from Harvard University in 2013, and he has served as the
New York Philharmonic Orchestra’s Leonard Bernstein Scholar-​in-​Residence.
Eftychia Papanikolaou is Associate Professor of Music History at Bowling
Green State University (Ohio), where she also serves as musicology coordinator.
xxii Contributors

She holds a BA in English philology and literature from the University of

Athens, Greece; music theory degrees from the National Conservatory of
Athens; and master’s and PhD degrees in historical musicology from Boston
University. Her publications (ranging from Haydn, Schumann, and Brahms
to Liszt and Mahler’s fin-​de-​siècle Vienna) focus on the interconnections of
music, religion, and politics in the long nineteenth century, with emphasis on
the sacred as a musical topos. Other research interests include music and film
(The Last Temptation of Christ, Battlestar Galactica, Mahler), and interdiscipli-
nary and dance studies. Forthcoming publications include essays on Mahler’s
Eighth Symphony and the choreographic work of Uwe Scholz. She is currently
completing a monograph on the Romantic symphonic mass.
Lóránt Péteri is Professor, and head of the musicology department of the Liszt
Academy of Music (State University), Budapest. As a postgraduate research
student, he received supervision from the University of Oxford in 2004–​5 and
received his PhD from the University of Bristol, UK, in 2008 with the disserta-
tion entitled ‘The Scherzo of Mahler’s Second Symphony: A Study of Genre’. He
has given papers about the musical life of state socialist Hungary and about the
music of Gustav Mahler in international conferences (in Bristol, Brno, Budapest,
Canterbury, Cardiff, Guildford, New York, Pittsburgh, and Radziejowice). His
latest contribution is the study ‘The “Question of Nationalism” in Hungarian
Musicology during the State Socialist Period,’ in Słavomira Żerańska-​Kominek
(ed.), Nationality vs. Universality: Music Historiographies in Central and
Eastern Europe (Cambridge Scholars Publishing, 2016).
Peter Revers is Professor of Music History at the University of Music and
Performing Arts in Graz and has been president of the Austrian Musicological
Society (2001–​9). He studied musicology and composition at the Universities
of Salzburg and Vienna as well as at the University ‘Mozarteum’ in Salzburg.
From 1980–​96 he taught at the University of Music and Dramatic Arts in
Vienna and completed his Habilitation in 1993 (University of Hamburg). In
1988–​89 he was fellow of the Alexander von Humboldt-​Foundation, Germany.
In 1996 he became full professor in Graz. His publications list runs to eight
books and more than 120 articles, and includes volumes on Mahler, Mahlers
Lieder (Munich, 2000), and Gustav Mahler—​Interpretationen seiner Werke
(Laaber, 2011); and the European reception of Far-​Eastern music: Das Fremde
und das Vertraute—​Studien zur musiktheoretischen und musikdramatischen
Ostasienrezeption (Stuttgart, 1997).
Zoltan Roman’s scholarly work was devoted chiefly to the biographical, an-
alytical, editorial, and bibliographic study of the lives and music of Mahler
and Webern, as well as, latterly, interdisciplinary studies relating to the turn
of the twentieth century. He held elected positions on the councils of the
American Musicological Society and the International Musicological Society,
on the board of the International Webern Society, and for the Internationale
Contributors xxiii

Gustav Mahler Gesellschaft (Board of Directors, Executive Committee, and

Academic Advisory Board). He edited several fascicles of Mahler’s songs for
the Complete Critical Edition and was author or co-​author of four books
on Mahler and Webern, including Gustav Mahler’s American Years, 1907–​
1911: A Documentary History (1989) and Gustav Mahler and Hungary (1991).
His numerous studies have been published in the Music Review, the Musical
Quarterly, the International Review of the Aesthetics and Sociology of Music,
Muzyka, Acta Musicologica, and Studia Musicologica.
Mathieu Schneider is Associate Professor and Pro Vice-Chancellor at the
University of Strasbourg. A specialist of German post-​romanticism, he is the
author of a book-​length monograph on the relationship between music and lit-
erature in the symphonic works of Gustav Mahler and Richard Strauss and has
published essays in various scholarly journals both in France and internation-
ally. He has served as chief editor of Cahiers Franz Schubert and was the curator
of an international exhibition on Richard Wagner’s reception in France, which
was displayed in Bayreuth and Berlin. An additional field of interest is the study
of representations of Switzerland in nineteenth-​century music, on which he re-
cently published the book L’Utopie suisse dans la musique romantique (Paris,
2016).
British Academy postdoctoral fellow at the University of Oxford (Jesus
College), Anna Stoll Knecht conducts research on Mahler’s interpretation of
Wagner, both as a conductor and as a composer. She took her MA in musicology
and ancient Greek at the University of Geneva (with a Diploma in music theory
at the Conservatory of Music), and her PhD at New York University (2014).
Her publications include a forthcoming monograph on Mahler’s Seventh
Symphony (Studies in Musical Genesis, Structure and Interpretation, Oxford
University Press), several essays (Naturlauf: Scholarly Journeys Toward Gustav
Mahler, Peter Lang, 2016; Texts and Beyond: The Process of Music Composition
from the 19th to the 20th century, Ad Parnassum Studies, 2016) and a study of
Henri Dutilleux’s Métaboles (Annales Suisses de Musicologie, 2006). She has
been the recipient of several fellowships (Fulbright, the Swiss National Science
Foundation, and non-​stipendiary Junior Research Fellowship at Jesus College).
Mark Summerfield studied music at Royal Holloway and Bedford New
College, University of London and completed a PhD with the Open University
entitled ‘The Construction of Closure and Cadence in Gustav Mahler’s Ninth
Symphony and Das Lied von der Erde.’ He is interested in closure, the sublime
and shock from a music theoretical perspective, particularly in the music of
Mahler. He has taught as an associate tutor and summer school tutor on a
number of courses for the Open University and is currently preparing further
articles on cadences and closure in Mahler and on the psychoanalytical impli-
cations of the ways that expectation is invoked in music theory.
Introduction
Mahler’s Times

Jeremy Barham

Mahler was far from overlooked in the concert hall up to the late 1930s,1 but
if he truly was ‘reborn’ in the 1960s, then he is very close in age to myself. The
similarities may end there, but though I can lay no claim to artistic greatness
it is interesting to consider how in times chronologically distant from his own
he re-​emerged and re-​developed within the same postwar, Western-​dominated
but increasingly globalised, cultural environment: an age of extremes and frac-
ture as Eric Hobsbawm would have it. My generation grew up alongside the re-​
awakening Mahler. Caring adults nurtured his fragile second infancy, including,
towards the end of her own days, the sometimes over-​protective ‘mother’ figure
of his afterlife, Alma Maria. Godparents were an initially select but later ex-
panding, second-​generation group—​from Schoenberg, Berg, and Webern to
Berio, Schnittke, and Rochberg; from Walter and Mengelberg to Bernstein and
Haitink; and from Stefan, Bekker, and Specht to Cooke, Mitchell, and de La
Grange. He was frequently scolded, but his potential was understood all too well
by generous spirits, among them beloved eccentric uncle, Ken Russell. He has
since become a global godchild, though attempted baptisms have been inconclu-
sive. Teenage years were full of awestruck, first-​time musical discoveries of world
sorrow, mortality, and yet radiant life-​intensity—​all equally essential parts of an
inwardly heroic youthful mindscape from which to forge meaningful identities,
to locate formidable truths amid uncertainty and chaos. As they sometimes do,
maturity and acceptance came at a price. While Beethoven was strong enough
to cope with Alex DeLarge’s violent, anarchic championing in Kubrick’s filmic
realisation of Burgess’s future social dystopia A Clockwork Orange, in the same
year (1971) Mahler’s fledgling status allowed him, through Visconti’s re-​working
of Thomas Mann’s past artistic dystopia Death in Venice, readily, thoroughly,
and enduringly to colonise the public consciousness in frameworks of overripe
artistic decay and a transgressive pathos and pathology of personal longing.
Whether this early stereotyping and synechdochical interpretative confinement
have been, will be, or should be displaced is open to question.
There is considerably more to Mahler, of course, than that which narrow
streams of media appropriation (whether populist or ‘art-​house’), however
powerful, would have us believe. But, should we wish to, it remains difficult

xxv
xxvi Introduction

to extricate Mahler from the over-​determined, inflexible world of ‘applied’ or

‘functional’ music, partly because it has proved so tempting and gratifying
to read this or that meaning in his music (a process in which Mahler him-
self was complicit) and so easy to remain attached to it, and partly because so
many composers for mass screen media have called upon his music’s surface-​
level mechanics. The foster children we once never knew he had include not
just the likes of Shostakovich, Britten, and Weill, but also Korngold, Steiner,
Herrmann, and many of their more recent descendants.
It could be argued that the way in which Mahler has been approached and
understood in scholarly contexts (and certainly in the concert programme note)
has also tended to be methodologically and ideologically circumscribed, if less
stringently so. Aside from titanic biographical accounts, there remains in the
first place something of a bifurcation between music-​analytical and cultural-​
hermeneutic impulses, and in the second place prevailing, historically synop-
tical, scholarly assumptions and preferences that commonly (and not without
justification) configure Mahler as proto-​modernist. In the years since I previ-
ously referred to the first of these tendencies in the introduction to Perspectives
on Gustav Mahler (2005), during which the composer’s intervening anniver-
saries (2010–​11) might have provided opportunities for reassessment, that sit-
uation does not seem to have significantly changed. The continuing divide,
which in part has been intellectually bound up with North American disci-
plinary distinctions between music history and music theory, is demonstrated
by two recent monographs. Seth Monahan’s Mahler’s Symphonic Sonatas con-
cerns itself analytically with the works as ‘intramusical narratives’ and as ‘ab-
stract dramatic scenarios: expressive but not illustrative, volitional without
depicting extrinsic agents’.2 Thomas Peattie’s interdisciplinary Gustav Mahler’s
Symphonic Landscapes by contrast invokes external tropes of ‘Alpine journeys’,
‘cowbells and solitude’, the paintings of Turner and others, ‘Wanderers’, and
‘Mahler’s walks’ as means of approaching the composer’s ‘symphonic drama-
turgy’ which he describes, after critic Richard Heuberger and notably in terms
not dissimilar to Monahan’s, as ‘abstract theatre’.3 This is perhaps an example
of Schopenhauer’s provocative image of ‘two miners digging a shaft from op-
posite ends and then meeting underground’, used by Mahler in a letter of 1897
to Arthur Seidl to differentiate his and Strauss’s brands of programmaticism,
and originally by Schopenhauer in 1836 to demonstrate his metaphysical phi-
losophy’s relation to empirical science.4 Both volumes offer sophisticated re-​
castings of older questions of where and how to locate meaning in Mahler’s
music, and more precisely the extent to which this meaning and the methods
employed to derive it are internally and/​or externally oriented.
While my future work will address this question more fully,5 the present
volume contributes to re-​emphasising a sense of change in the second tendency
identified above. Exploring an intermittent thread in Mahler scholarship that
Introduction xxvii

can be traced erratically back to the 1970s,6 a time when modernism in music
arguably began to experience serious threats to its hegemony, this collection
emerges from the centenary conference held at the University of Surrey in
2011, themed ‘Mahler: Contemporary of the Past?’, an intentional play on the
title of Kurt Blaukopf’s 1969 study of the composer, Gustav Mahler oder der
Zeitgenosse der Zukunft [Gustav Mahler or the Contemporary of the Future]. Its
principal rationale, therefore, is to re-​evaluate the ‘modern-​izing’ of Mahler
that has come as an inevitable consequence of reflection constructed through
the lenses of historical linearity and teleology combined with continuing de-
sires to get to grips with modernism’s highly potent, more than century-​old
claim on Western thought, which is now straining at the limits of living, social
memory. One of the most devoted exponents of that modernism and a prolific
performer of Mahler’s music, Pierre Boulez, within the same text seems to hold
in tension contradictory diagnoses of his predecessor’s historical status:
There is no sense in looking for the clear markers we find in classical music
… There is [in Mahler] … a determination to disregard the categories of
the past.
There is too much nostalgia, too much attachment to the past in Mahler’s
music for him to be declared, without any qualifications, the revolutionary
who initiated an irreversible process of radical renewal in music.7
If this seems confusing, it also suggests a need not only to rethink Mahler’s
debt to, and re-​fashioning of, the legacies he inherited from his own past as
a musician working at the end of one and the beginning of another century,
deeply involved in the re-​creation of earlier repertoires in the opera house and
concert hall, but also to re-​conceptualise a modernity that, in the face of po-
litical catastrophes, was as much about preservation and restoration as it was
about destruction, forgetting, superseding and advancement.
Under the title Bahnbrüche: Gustav Mahler, incorporating an intriguing
neologism stemming from Bahnbrecher/​bahnbrechend (pioneer, ground-
breaking, or paving the way for) that could translate as ‘acts of breaking (or
preparing) new ground’, a third recent volume on the composer at least starts
by seeming to recognise these subtleties of modernist culture, and the con-
ceivably irreconcilable plurality of Mahler’s creative output: ‘In many respects
Gustav Mahler’s works constitute an initial surge in the unfolding of a multi-​
faceted modernism. In his music, tradition and the avant-​garde, awareness of
established forms and experimental structural daring, early romanticism and
modern consciousness of the self and reality, enter into thoroughly “impossible
syntheses” ’.8
In facing the challenge to (re-​ )address ‘impossible’, paradoxical ques-
tions of past, present, and future in Mahler’s creative practice and interpre-
tation, the (initially Freudian) concept of ‘Nachträglichkeit’, ‘après-​coup’, or
xxviii Introduction

‘afterwardsness’ may be of help, alongside the historical acceptance that Mahler

‘came after’ just as much as he ‘came before’. ‘Nachträglichkeit’ does not mean
simply the process whereby, with the benefit of hindsight, the historian creates
meaningful order out of piecemeal, intractable, and sometimes contradictory,
evidence of past events. Rather, it involves ‘revision of a memory … into a
form that it could take only later’,9 an understanding of history as a ‘living
experience of the past whose meanings change with new or different interpre-
tive contexts’, and an acknowledgement that historians themselves are ‘histor-
ically in process’ and ‘cannot simply confront events that happened in the past
as if these events were unmediated by subsequent experiences that shift their
valencies and change their meaning’.10 This complex of temporalities and per-
spectives entails not just past and present being grasped reciprocally through
each other, nor merely the commonplace idea of poststructural relativism, but
also notions of belatedness, especially in the sense of assimilating much later
the effects of initially unassimilable traumatic events. Such events may stretch
from, on one level, the deaths of loved ones and artistic idols, devastating ro-
mantic rejection, perceived artistic failure, or regime-​sponsored personal and
cultural prohibition, to, on another level, wider processes and movements of
geopolitical history: the destabilising revolutions of 1848 built on contrasting
yet highly prophetic centripetal and centrifugal forces in Germany and the
Austrian Empire, respectively; the Franco-​Prussian war of 1871 and the string
of Austrian defeats that preceded it; the melancholy collapse of older, more be-
nignly idealist forms of nineteenth-​century political Liberalism coupled with
the rise of competing nationalisms and institutionalised anti-​Semitism; or the
rapidly shifting sociocultural landscapes of early and postwar twentieth-​cen-
tury modernism experienced in various forms of secessionist and insurrec-
tionist art, politics, and philosophy.
This mode of thought also entails recognising that if Mahler’s widespread
reception was deferred to a significant historical period in the second half of
the twentieth century which was supposedly witnessing the twilight of that
modernism and the coming of its heterogeneous aftermath which some label
postmodernism, then in a temporal reversal the roots of the former may en-
igmatically lie in the latter, as Lyotard once suggested.11 (Mahler’s technical
recourse to more traditional (early nineteenth-​century and older), ‘re-​booted’
forms of strongly tonal voice leading and periodic phrasing were, after all, one
of several developments that only in retrospect might seem surprising in a
sensuously and sinuously chromaticised, post-​Wagnerian modernist environ-
ment, heady with the perfume of fin-​de-​siècle Vienna—​Mahler’s contempo-
rary critics were largely silent on these facets of his language.) Furthermore,
it involves the realisation that, like contemporary commentators and critics,
Mahler himself only had his own past (and evanescent present) as reference
points for his current artistic creativity, and that his (and critics’) crucial un-
derstanding of that past and fleeting present was partial, fragmented, and
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