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A best seller when first published in Germany in 2003, Jens Malte Fischer's Gustav Mahler has been lauded by scholars as a landmark work. He draws on important primary resources-some unavailable to previous biographers-and sets in narrative context the extensive correspondence between Mahler and his wife, Alma; Alma Mahler's diaries; and the memoirs of Natalie Bauer-Lechner, a viola player and close friend of Mahler, whose private journals provide insight into the composer's personal and professional lives and his creative process.Fischer explores Mahler's early life, his relationship to literature, his achievements as a conductor in Vienna and New York, his unhappy marriage, and his work with the Metropolitan Opera and the New York Philharmonic in his later years. He also illustrates why Mahler is a prime example of artistic idealism worn down by Austrian anti-Semitism and American commercialism. Gustav Mahler is the best-sourced and most balanced biography available about the composer, a nuanced and intriguing portrait of his dramatic life set against the backdrop of early 20th century America and fin de siècle Europe.

Composers --- Mahler, Gustav,

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In this study Thomas Peattie offers a new account of Mahler's symphonies by considering the composer's reinvention of the genre in light of his career as a conductor and more broadly in terms of his sustained engagement with the musical, theatrical, and aesthetic traditions of the Austrian fin de siècle. Drawing on the ideas of landscape, mobility, and theatricality, Peattie creates a richly interdisciplinary framework that reveals the uniqueness of Mahler's symphonic idiom and its radical attitude toward the presentation and ordering of musical events. The book goes on to identify a fundamental tension between the music's episodic nature and its often-noted narrative impulse and suggests that Mahler's symphonic dramaturgy can be understood as a form of abstract theatre.

Symphonies --- Analysis, appreciation. --- Mahler, Gustav, --- Criticism and interpretation. --- Mahler, Gustav, 1860-1911 -- Criticism and interpretation. --- Mahler, Gustav, 1860-1911. Symphonies. --- Music industry. --- Symphonies -- Analysis, appreciation. --- Analysis, appreciation --- Mahler, Gustav --- Maler, Gustav, --- Maler, G. --- Mārā, Gusutafu,

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"A coming-of-age memoir, using inventive essay forms, about the nature of belonging, memory, and place"--Provided by the publisher.

Teenage girls --- Coming of age --- Belonging (Social psychology) --- Mahler, Kristine Langley --- Childhood and youth. --- North Carolina

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The music of Gustav Mahler repeatedly engages with Romantic notions of redemption. This is expressed in a range of gestures and procedures, shifting between affirmative fulfilment and pessimistic negation. In this groundbreaking study, Stephen Downes explores the relationship of this aspect of Mahler's music to the output of Benjamin Britten, Kurt Weill and Hans Werner Henze. Their initial admiration was notably dissonant with the prevailing Zeitgeist - Britten in 1930s England, Weill in 1920s Germany and Henze in 1950s Germany and Italy. Downes argues that Mahler's music struck a profound chord with them because of the powerful manner in which it raises and intensifies dystopian and utopian complexes and probes the question of fulfilment or redemption, an ambition manifest in ambiguous tonal, temporal and formal processes. Comparisons of the ways in which this topic is evoked facilitate new interpretative insights into the music of these four major composers.

Music --- History and criticism --- Britten, Benjamin --- Henze, Hans Werner, --- Mahler, Gustav, --- Weill, Kurt, --- Ṿail, Ḳurṭ, --- Weil, Kurt, --- Weill, Kurt --- וייל, קורט --- Mahler, Gustav --- Maler, Gustav, --- Maler, G. --- Mārā, Gusutafu, --- Henze, Heinz-Werner --- Henze, H. W. --- Criticism and interpretation. --- Influence. --- History and criticism. --- Britten, Benjamin, --- Britten, Edward Benjamin --- Britten, Benjamin E.

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Over the past two centuries Western culture has largely valorized a particular kind of "good" music-highly serious, wondrously deep, stylistically authentic, heroically created, and strikingly original-and, at the same time, has marginalized music that does not live up to those ideals. In Good Music, John J. Sheinbaum explores these traditional models for valuing music. By engaging examples such as Handel oratorios, Beethoven and Mahler symphonies, jazz improvisations, Bruce Springsteen, and prog rock, he argues that metaphors of perfection do justice to neither the perceived strengths nor the assumed weaknesses of the music in question. Instead, he proposes an alternative model of appreciation where abstract notions of virtue need not dictate our understanding. Good music can, with pride, be playful rather than serious, diverse rather than unified, engaging to both body and mind, in dialogue with manifold styles and genres, and collaborative to the core. We can widen the scope of what music we value and reconsider the conventional rituals surrounding it, while retaining the joys of making music, listening closely, and caring passionately.

Music --- Popular music and art music. --- Philosophy and aesthetics. --- Bruce Springsteen. --- George Frideric Handel. --- Gustav Mahler. --- Ludwig van Beethoven. --- good music. --- jazz. --- marginalized music. --- progressive rock. --- the Beatles. --- valuing music.