File:Gustav Mahler (1893) by E. Bieber.jpg

Identifier: moderncomposerso00elso (find matches)
Title: Modern composers of Europe : being an account of the most recent musical progress in the various European nations, with some notes on their history, and critical and biographical sketches of the contemporary musical leaders in each country
Year: 1905 (1900s)
Authors: Elson, Arthur, 1873-1940
Subjects: Composers
Publisher: Boston : L.C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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nterpretations.Prague, Cassel, Leipzig, and Pesth became in suc-cession the scene of his labours. In 1888 his accom-plishments were so marked that he was selected byPollini to take full charge of a Hamburg theatre,and he soon made the operatic performances of thatcity famous through Europe. At this time his activity in composition began tobear fruit. An incomplete opera, Die Argo-nauten,,, and another on the popular subject of Riibezahl, were examples of a formative periodin his work. Then followed some beautiful vocalnumbers, — a fragrant bouquet of songs, withpiano or orchestral accompaniment. Das Klang-ende Lied, a more ambitious choral work, wondecided recognition, and gave new evidence of thecomposers growth, but it is in the symphonic fieldthat Mahlers genius has become fully evident. Mahler is sometimes regarded as the successorof Bruckner, with the distinction that he succeededwhere Bruckner failed. The struggles and partialsuccesses of the earlier master are now a matter of
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GUSTAV MAHLER, GERMAN TONE-POETS AND SYMPHONISTS 35 history, and his efforts to express worthy ideas inthe symphonic form, if not always effective, havewon many admirers. Another interesting compari-son is frequently made between Mahler and Strauss.Both are adepts in handling the modern orchestra,and both are, in large measure, devoted to pro-gramme-music. But while Strauss has developedthe symphonic poem and the single movement idea,Mahler has tried to broaden the symphony itself.Like Strauss, he gives no definite analysis of hisworks; but he avoids the mistake of trying to makemusic express too concrete ideas. He is a tone-poet,in the highest sense of the word. His second symphony, given at Vienna in 1900,was the first work to arouse wide-spread enthusiasm,and this only after a partial failure in Berlin. It isentitled Ein Sommermorgentraum, and expressesa pessimism that finds its cure in simple faith. Thefirst movement depicts despair that is hardly con-soled by the beauties of natu

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