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Compositeur: Mahler, Gustav (1860-1911)

septembre 2018
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Spectacles à venirEn voir plus...

BarcelonaMahler's Fourth

Schubert, Mahler
Mahler Chamber Orchestra; Gustavo Dudamel

LondresIain Farrington (piano) with Rozanna Madylus (mezzo-soprano) - Concert 2 from Mahler Piano Series: On Angels' Wings

Iain Farrington (piano) with Rozanna Madylus (mezzo-soprano) - Concert 2 from Mahler Piano Series: On Angels' Wings
Beethoven, Traditional, Wagner, Mahler, Schumann, Klopstock, Friedrich Gottlieb, Bruckner, Brahms, Strauss R., Elgar
Iain Farrington; Rozanna Madylus

Las Palmas de Gran CanariaOrquesta Filarmónica de Gran Canaria

Orquesta Filarmónica de Gran Canaria
Mahler, Por determinar
Orquesta Filarmónica de Gran Canaria; Karel Mark Chichon; Ève-Maud Hubeaux; Coro de la Orquesta Filarmónica de Gran Canaria; Coro del Festival de la Ópera de Las Palmas de Gran Canaria

TokyoSir Simon Rattle conducts the London Symphony Orchestra

Grime, Mahler
London Symphony Orchestra; Sir Simon Rattle

LondresIain Farrington (piano) with Sarah Gabriel (soprano) - Concert 3 from Mahler Piano Series: A Hymn to Nature

Iain Farrington (piano) with Sarah Gabriel (soprano) - Concert 3 from Mahler Piano Series: A Hymn to Nature
Wagner, Traditional, Mahler
Iain Farrington; Sarah Gabriel
Critiques récentesEn voir plus...

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.

Vers la vie éternelle : Iván Fischer élève l’essence de la musique

Iván Fischer © Szilvia Csibi | Mupa
Conclusion grandiose du Budapest Festival à Bruges avec une interprétation extraordinaire de la Symphonie « Résurrection » de Mahler

Bruges : le Budapest Festival Orchestra professe la vérité du verbe

Elisabeth Kulman © Julia Wesely
Retour sur un concert aux forts échos politiques contemporains et conçu comme une manifeste pour la paix.
Biographie

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): Ablösung im SommerCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Das irdische LebenCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Des Antonius von Padua FischpredigtCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Ich ging mit Lust durch einen grünen WaldCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Lob des hohen VerstandesCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Nicht wiedersehen!Cor 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): SelbstgefühlCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Starke EinbildungskraftCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): UrlichtCor merveilleux de l'enfant, Le (Des Knaben Wunderhorn): Wo die schönen Trompeten blasenDas Lied von der Erde: Das Trinklied vom Jammer der ErdeDes Knaben Wunderhorn: Der Tamboursg'sellDes Knaben Wunderhorn: excerptsFrühlingsmorgen (Matin de Printemps)KindertotenliederLe 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 und gesänge: ErinnerungLieder: selectionQuatuor avec piano en la mineurRückert-Lieder: Ich bin der Welt abhanden gekommenRückert-Lieder: Liebst du um SchönheitRückert-Lieder: Um MitternachtRückert-liederSong of the EarthSuite for orchestra after JS BachSymphonie 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 majeurSymphony no. 2 in C minor 'Resurrection': Andante comodoTotenfeier