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Composer: Mahler, Gustav (1860-1911)

junio 2019
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BarcelonaGustavo Dudamel & Orfeó Català: Mahler's Second

Mahler: Sinfonía núm. 2 en do menor 'Resurrección'
Munich Philharmonic Orchestra; Simon Halsey; Orféo Català; Cor de Cambra del Palau de la Música; Gustavo Dudamel

MadridGustavo Dudamel

Gustavo Dudamel
Mahler: Sinfonía núm. 2 en do menor 'Resurrección'
Munich Philharmonic Orchestra; Gustavo Dudamel; Chen Reiss; Tamara Mumford; Orféo Català; Cor de Cambra del Palau de la Música

MallorcaMahler en concierto - Gustavo Dudamel

Mahler en concierto - Gustavo Dudamel
Mahler: Sinfonía núm. 2 en do menor 'Resurrección'
Munich Philharmonic Orchestra; Gustavo Dudamel

OxfordAngela Gheorghiu

Angela Gheorghiu
Mahler, Strauss R., Koumendakis
Oxford Philharmonic Orchestra; Marios Papadopoulos; Angela Gheorghiu

MánchesterChetham's Symphony Orchestra: Mahler Symphony No. 8

Chetham's Symphony Orchestra: Mahler Symphony No. 8
Mahler: Sinfonía núm. 8 en mi bemol mayor 'Sinfonía de los mil'
Chetham's Symphony Orchestra; Stephen Threlfall; Chetham's Chorus; Leeds Festival Chorus; St George's Singers; Choristers of Manchester Cathedral
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Gergiev, Trifonov y el Mariinsky: otro recital memorable

El pianista Daniil Trifonov © Dario Acosta
Un recital memorable que confirmó, una temporada más, la hegemonía de Valery Gergiev y la Orquesta del Teatro Mariinsky en el circuito internacional.

Enigmas escatológicos con Nott y la Gustav Mahler Jugendorchester

Jonathan Nott © Guillaume Megevand
Un año más la cita con Gustav Mahler Jugendorchester se revela imprescindible: por la madurez en la elección del repertorio, por la naturalidad con la tocan con grandes maestros y solistas, por el alto nivel de la ejecución.

La GMJO en Madrid: cara y cruz de la jovialidad

La Gustav Mahler Jugendorchester © Cosimo Filippini
Primera actuación en Madrid de la Gustav Mahler Jugendorchester en su Ostertournee 2019 con Jonathan Nott al frente de la imponente Tercera sinfonía de Mahler.

Componer con el martillo: la Sexta de Mahler por la ONE y Afkham

David Afkham © Rafa Martín

La Orquesta Nacional y David Afkham hablaron con una voz propia y reconocible en una sobresaliente interpretación de la Trágica de Mahler.

Chailly y la Filarmonica della Scala: lo trágico según Mahler

Riccardo Chailly © Silvia Lelli
Riccardo Chailly articuló una Sexta de Mahler con elemento inapelable del destino como guía y los músicos della Scala respondierton a sus gestos con un sonido ejemplar.

The most striking thing about Mahler’s music is its sheer scale and ambition - and “strike” is the right word: Mahler’s music seldom shrinks from doing whatever it takes to make maximum impact. It’s evident from every stage in his compositional career: from his first major composition, das Klagende Lied, a cantata for full choir and two orchestras written when he was just twenty years old, to the third symphony with its forty minute first movement, which aspires to be a musical description of the whole of creation, to the eighth symphony, dubbed “Symphony of a Thousand” (much to Mahler’s chagrin) after Leopold Stokovsky conducted 1,068 performers at its première. And who else would attempt to cover the entire earth in a symphonic cantata for soprano, baritone and a giant orchestra, entitling it Das Lied von der Erde (the Song of the Earth)?

Mahler’s music polarises. If it connects with you, it does so with enormous power and intensity. The third symphony can indeed make you feel like you just took in all life and creation at a hundred-minute sitting. The fifth symphony opens with a funeral fanfare that leaves you shaking after just the first few bars, while the second movement’s helter skelter theme leaves you breathless and reeling. Mahler fans are amongst the most devoted set in the whole of classical music, with active societies around the world and thousands of pages dissecting his works in the minutest detail.

Mahler could also write with intimacy and contemplation. That same fifth symphony which opens so clangorously contains the adagietto for harp and strings, made famous by Luchino Visconti’s film Death in Venice, whose achingly long suspended chords quietly lead the listener through tragedy and meditation. The same intimacy can be heard in Kindertotenlieder, a song cycle that is vivid and quiet in its portrayal of a parent’s grief at the loss of a child: an eerie foretelling of the composer’s own grief when his daughter died of scarlet fever four years later.

Not everyone feels this way. Many viewed Mahler as “an excellent conductor who wrote excessively long symphonies”, and the Sunday Times of 1960 described the first movement of the third symphony as “an artistic monstrosity”. Mahler is often mercurial, mixing high drama and seriousness with a fondness for Austrian folk song and even the klezmer music of his Jewish youth: some listeners simply can’t cope with this. Even for the committed, appreciating his music demands patience, concentration and, preferably, repeated listenings. This is perhaps why he achieved far greater recognition after the widespread adoption of the long-playing record in the 1950s.

Whatever the views of him as a composer, Mahler was more or less universally acknowledged as a great conductor. He had a glittering career including positions at Vienna, Prague, Leipzig, Hamburg and Budapest, culminating in ten years as director of the Vienna State Opera. In the last years of his life, he received equal acclaim in the United States, where he conducted both the Metropolitan Opera and the New York Philharmonic, earning what was at the time the highest ever fee paid to a musician.

Perhaps for this reason, he has inspired many great conductors, starting with his contemporary and friend Bruno Walter and continuing through Jascha Horenstein and Herbert von Karajan to Claudio Abbado and Simon Rattle today.

Musically, Mahler forms a bridge from the romantic to the modern eras. He appeals to those who find the romantic form too rigid and stifling, but have difficulty in accepting the harsh atonality of much twentieth century music. His music liberally mixes orchestral and vocal forms and abandons much formal structure in its search for impact and expressivity, yet retains a base in conventional tonality that makes it easy on the ear for those raised in the romantic tradition. Love it or loathe it, a Mahler concert is a memorable experience.

David Karlin
21st December 2009

Listado de obras
Adagio from Symphony no. 10 (arr. for piano by R. Stevenson)BlumineDas Knaben Wunderhorn: Trost im UnglückDas Knaben Wunderhorn: Verlor'ne MühDas Lied von der ErdeDas Lied von der Erde: Der Einsame im HerbstDas himmlische Leben: Das himmlische LebenDas klagende LiedDes Knaben WunderhornDes Knaben Wunderhorn: Ablösung im SommerDes Knaben Wunderhorn: Aus! Aus!Des Knaben Wunderhorn: Das irdische LebenDes Knaben Wunderhorn: Der Schildwache NachtliedDes Knaben Wunderhorn: Der Tamboursg'sellDes Knaben Wunderhorn: Des Antonius von Padua FischpredigtDes Knaben Wunderhorn: Ich ging mit Lust durch einen grünen WaldDes Knaben Wunderhorn: Lied des Verfolgten im TurmDes Knaben Wunderhorn: Lob des hohen VerstandesDes Knaben Wunderhorn: Nicht wiedersehen!Des Knaben Wunderhorn: RevelgeDes Knaben Wunderhorn: RheinlegendchenDes Knaben Wunderhorn: Scheiden und MeidenDes Knaben Wunderhorn: SelbstgefühlDes Knaben Wunderhorn: Starke Einbildungskraft (Strong Imagination)Des Knaben Wunderhorn: Um schlimme Kinder artig zu machen (How to make naughty children behave)Des Knaben Wunderhorn: UrlichtDes Knaben Wunderhorn: Wer hat dies Liedlein erdachtDes Knaben Wunderhorn: Wo die schönen Trompeten blasenDes Knaben Wunderhorn: Zu Straßburg auf der Schanz (On the ramparts at Strasbourg)Des Knaben Wunderhorn: selecciónEs sungen drei EngelFeierlich und gemessen, ohne zu schleppen (Eerste symfonie in D, Titan)Frühlingsmorgen (Spring morning)Hans und GreteHumoresken (songs from Des Knaben Wunderhorn)In gemächlicher Bewegung: Ohne Hast (Vierde symfonie in G)KindertotenliederKindertotenlieder: In diesem Wetter, in diesem BrausKindertotenlieder: Nun seh' ich wohl warum so dunkle FlammenKindertotenlieder: Nun will die Sonn' so hell aufgeh'nKindertotenlieder: Oft denk' ich, sie sind nur ausgegangenKindertotenlieder: Wenn dein MütterleinLieder eines fahrenden GesellenLieder und Gesänge: Erinnerung (Memory)Lieder: selectionNachtmusik: Allegro moderato (Zevende symfonie in B)ObrasPhantasie aus Don JuanPiano Quartet in A minorRückertliederRückertlieder: Ich bin der Welt abhanden gekommenScherzo (Eerste symfonie in D, Titan)Serenade aus Don JuanSinfonía núm. 1 en re mayor 'Titán'Sinfonía núm. 10 en fa sostenido mayor: AdagioSinfonía núm. 2 en do menor 'Resurrección'Sinfonía núm. 3 en re menorSinfonía núm. 4 en sol mayorSinfonía núm. 5 en do sostenido menorSinfonía núm. 5 en do sostenido menor: AdagiettoSinfonía núm. 6 en la menor 'Trágica'Sinfonía núm. 7Sinfonía núm. 8 en mi bemol mayor 'Sinfonía de los mil'Sinfonía núm. 9 en re mayorSymphony no. 10 in F sharp major: PurgatorioTotenfeierWhat the wild flowers tell me (Second movement from Symphony No.3, arr. Britten)