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Drapeau de Autriche

Compositeur: Mahler, Gustav (1860-1911)

novembre 2018
Spectacles à venirEn voir plus...

MadridMatthews, Bartók, Mahler en Ibermúsica

© Monika Rittershaus
Matthews C., Bartók, Mahler
Orchestre Philharmonique du Luxembourg; Gustavo Gimeno; Vilde Frang; Miah Persson

LondresIain Farrington (piano) - Concert 10 from Mahler Piano Series: Old World Farewells

Iain Farrington (piano) - Concert 10 from Mahler Piano Series: Old World Farewells
Strauss II, Schönberg, Berg, Mahler
Iain Farrington, Piano

ValladolidHomenaje a Jesús López Cobos

Homenaje a  Jesús López Cobos
Mozart, Beethoven, Mahler, Brahms, Fauré
Orquesta Sinfónica de Castilla y León; Andrés Salado; Lucas Macías Navarro; Jordi Casas i Bayer; Francois López-Ferrer; Patricia Cordero

Hong KongMahler $200 - Symphony no. 9

Mahler: Symphonie no. 9 en ré majeur
Hong Kong Philharmonic Orchestra; Jaap van Zweden

BarcelonaFrom Wagner's influencers to Wagner's influence

© Antoni Bofill
Schubert, Mahler
Orquesta Sinfónica del Gran Teatre del Liceu; Josep Pons; Anna Larsson; Nikolai Schukoff
Critiques récentesEn voir plus...

Mahler à Royaumont (2) : sueurs froides pour Les Siècles

François-Xavier Roth et Les Siècles © Festival de Royaumont
Clôture du festival de Royaumont 2018 à la grange de Vaulerent, avec un concert 100% Mahler. François-Xavier Roth et Les Siècles ont affronté des conditions météorologiques peu idéales.

Mahler à Royaumont (1) : au bonheur d’Edwin Fardini

Tanguy de Williencourt et Edwin Fardini © Festival de Royaumont
Au festival de Royaumont, le jeune baryton Edwin Fardini et le pianiste Tanguy de Williencourt ont livré un récital des plus réussis. Lieder de Mahler et sonate de Berg étaient au programme.

Nelsons et le BSO dans la Troisième de Mahler : l'Art et la Matière

Andris Nelsons © Marco Borggreve
Un des meilleurs orchestres américains, la fougue toujours plus maîtrisée d'un des chefs les plus appréciés du public parisien, et l'impeccable Susan Graham, dans la Troisième Symphonie de Mahler à la Philharmonie de Paris.

Mahler 4 : Dudamel en Chapelier fou avec le Mahler Chamber Orchestra

Gustavo Dudamel et le Mahler Chamber Orchestra à la Philharmonie de Paris © Julien Hanck
La nouvelle saison apporte son contingent habituel de symphonies de Gustav Mahler. Premier en lice, Gustavo Dudamel : le public parisien découvrait hier à la Philharmonie une interprétation fourmillante de la Symphonie n° 4.

Jonathan Nott fait revivre Mahler et Armin Jordan à Genève

Jonathan Nott © Thomas Mueller
L’Orchestre de la Suisse Romande, de retour de tournée en Amérique Latine, ravit le public genevois d une Troisième Symphonie de Mahler remarquable. Jonathan Nott aura convaincu le public que Mahler est de retour en terres genevoise par la grande porte.

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

Liste des oeuvres
BlumineChants d'un compagnon errant (Lieder eines fahrenden Gesellen)Cor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Das irdische LebenCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Der Schildwache NachtliedCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Des Antonius von Padua FischpredigtCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Lied des Verfolgten im TurmCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Lob des hohen VerstandesCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): RevelgeCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): RheinlegendchenCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Wer hat dies Liedlein erdachtCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Wo die schönen Trompeten blasenDas Knaben Wunderhorn: Verlor'ne MühDes Knaben Wunderhorn: Der Tamboursg'sellDes Knaben Wunderhorn: excerptsKindertotenliederLe Chant de la Terre (Das Lied von der Erde)Le Cor merveilleux de l'enfant (Des Knaben Wunderhorn)Lieder eines fahrenden Gesellen: Die zwei blauen Augen von meinem SchatzLieder eines fahrenden Gesellen: Ging heut Morgen übers FeldLieder eines fahrenden Gesellen: Ich hab'ein glühend MesserLieder eines fahrenden Gesellen: Wenn mein Schatz Hochzeit machtLieder und GesängeLieder: selectionQuatuor avec piano en la mineurRückert-Lieder: Ich bin der Welt abhanden gekommenRückert-liederSong of the EarthSymphonie no. 1 en ré majeur « Titan »Symphonie no. 10 en fa dièse majeurSymphonie no. 10 en fa dièse majeur: AdagioSymphonie no. 2 en ut mineur 'Résurrection'Symphonie no. 3 en ré mineurSymphonie no. 4 en sol majeurSymphonie no. 5 en ut dièse mineurSymphonie no. 5 en ut dièse mineur: AdagiettoSymphonie no. 6 en la mineur « Tragique »Symphonie no. 7Symphonie no. 8 en mi bémol majeur « des Mille »Symphonie no. 9 en ré majeurTotenfeier