By Thomas Peattie
During this research Thomas Peattie bargains a brand new account of Mahler's symphonies via contemplating the composer's reinvention of the style in gentle of his profession as a conductor and extra commonly when it comes to his sustained engagement with the musical, theatrical, and aesthetic traditions of the Austrian fin de siècle. Drawing at the rules of panorama, mobility, and theatricality, Peattie creates a richly interdisciplinary framework that finds the individuality of Mahler's symphonic idiom and its radical angle towards the presentation and ordering of musical occasions. The ebook is going directly to establish a primary pressure among the music's episodic nature and its often-noted narrative impulse and means that Mahler's symphonic dramaturgy might be understood as a kind of summary theatre.
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Extra resources for Gustav Mahler's Symphonic Landscapes
Pavel Eisner (Prague: Artia, 1955), 386. For a brief discussion of the interpretive challenges raised by this passage – including Heinrich Schenker’s striking avoidance of it in his otherwise detailed analysis of the movement – see Nicholas Cook, “Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph,” Music Analysis 14 (1995): 98. For a more sustained attempt to grapple with the march’s “radical otherness,” see Lawrence Kramer, “The Harem Threshold: Turkish Music and Greek Love in Beethoven’s ‘Ode to Joy,’” 19th-Century Music 22 (1998): 78–90.
By engaging 27 28 For an account of these conventions, see William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford: Oxford University Press, 1998), 203–8; and James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2006), 295–304. See Knapp, Symphonic Metamorphoses, 171, 288n16; and Walter Frisch, Brahms: The Four Symphonies (New Haven, CT: Yale University Press, 2003), 87.
12 Two aspects of Lee’s account are worth pursuing further: her appeal to the concept of acousmatic sound and her contention that an unseen musical event can function as a dramatic intrusion. ” As for the gesture’s “modernist provenance,” however, it is also true that the autonomy of musical utterances that intrude from without is a common operatic device that can be traced back to the origins of the genre. Regarding Lee’s characterization of such events in the context of “Hochzeitsstück” as an “intrusion of the dramatic,” her assessment is entirely on the mark.