By K. M. Knittel
Nobody, in fact, doubts that Gustav Mahler's tenure on the Vienna court docket Opera from 1897-1907 used to be made tremendous disagreeable through the anti-semitic press. the good biographer, Henry-Louis de l. a. Grange, recognizes that 'it has to be acknowledged that anti-Semitism used to be an enduring characteristic of Viennese life'. regrettably, the point of interest on blatant references to Jewishness has obscured the level to which 'ordinary' attitudes approximately Jewish distinction have been usual and pervasive, but sophisticated and covert. The context has been misplaced in which such coded references to Jewishness might were instantly well-known and understood. via painstakingly reconstructing 'the language of anti-semitism', Knittel recreates what Mahler's audiences anticipated, observed, and heard, given the biases and ideology of turn-of-the-century Vienna. utilizing newspaper experiences, cartoons and memoirs, Knittel eschews focussing on antagonistic discussions and overt assaults in themselves, particularly revealing how and to what quantity authors name realization to Mahler's Jewishness with extra sophisticated language. She particularly examines the experiences of Mahler's Viennese symphonic premieres for his or her resonance with that language as codified by way of Richard Wagner, notwithstanding no longer invented via him. a whole bankruptcy is additionally dedicated to the Viennese premieres of Richard Strauss' "Tone Poems", as an evidence textual content opposed to which the experiences of Mahler is usually learn and understood. Accepting how deeply embedded this manner of considering used to be, not only for critics yet for the final inhabitants, definitely doesn't mean that you can see anti-semitism below each stone. What Knittel indicates, eventually, is that a lot of early feedback used to be unease instead of 'objective' reactions to Mahler's song - a brand new point of view that permits for a re-assessment of what makes his song specific, thought-provoking and useful.
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Additional resources for Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siecle Vienna
I. name. ML410. M23K65 2010 780. 92–dc22 2010021504 ISBN 9780754663720 (hbk) ISBN 9781409412106 (ebk) V Contents record of Figures checklist of Tables Acknowledgments Abbreviations 1 creation: “Mahlers Metamorphosen” vii ix xi xv 1 2 Die Bildnisse von Gustav Mahler 15 three Das Judentum in der Musik forty nine four Die Wiener Kritiker sixty nine five Das challenge Richard Strauss 111 6 Eine musikalische Physiognomik 159 Appendix I Mahler experiences Consulted 169 Appendix II Strauss reports Consulted one hundred seventy five Bibliography Index 177 191 This web page has been left clean deliberately List of Figures 1.
Dept. of song, Park university, 1988). Fischer, Jens Malte, Richard Wagners “Das Judentum in der Musik”: Eine kritische Dokumentation als Beitrag zur Geschichte des Antisemitismus (Frankfurt am major and Leipzig: Insel Verlag, 2000). Fischer, Jens Malte, Gustav Mahler: Der fremde Vertraute, Biographie (Vienna: Paul Zsolnay Verlag, 2003). Fischer, Klaus P. , The historical past of an Obsession: German Judeophobia and the Holocaust (New York: Continuum, 1998). Fishberg, Maurice and Joseph Jacobs, “Types, Anthropological,” within the Jewish Encyclopedia: A Descriptive list of the background, faith, Literature, and Customs of the Jewish humans from the Earliest occasions to the current Day (12 vols, ny and London: Funk and Wagnalls Co.
1910 10 Sept. 1910 thirteen Sept. 1910 Sept. 1910 H. 2 (Sept. 1910) H. eight, 1911 169–75 Das Lied von der Erde, ideal, Munich, 20 Nov. ember 1911 (Gedenkfeier für Gustav Mahler, dir. Bruno Walter; with moment Symphony) 3587 Die Musik eleven Rudolf Louis H. 6 (1911/1912) 382 Appendix I: Mahler experiences Consulted 3592 3593 3594 3595 3596 3597 Der Kunstwart (Munich) Neue freie Presse Neue freie Presse Wiener Abendpost Der Merker Der Merker H. 6, 1911 173 25 Richard Specht 440–42 2 2 “Vorbesprechung” 21 Nov.
A hundred twenty five; enlarged edn of Mahler: A Documentary examine (London, 1976). 10 Henry-Louis de l. a. Grange, Gustav Mahler, Vienna: The Years of problem (1897–1904) (Oxford and ny, 1995), p. four. eleven Leon Botstein, “Whose Gustav Mahler? Reception, Interpretation, and History,” in Mahler and His global, ed. Karen Painter (Princeton, 2002), pp. 20–21. 12 Edward F. Kravitt, The Lied: reflect of overdue Romanticism (New Haven and London, 1996), p. 112. Seeing Mahler the sphere of tune, musical scholarship has tended both to disregard them or deal with them in basic terms superficially and has therefore didn't see how deeply it has misunderstood the tradition within which Mahler labored and was once judged.
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