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10 On Behalf of Gustav Mahler (1942)
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Published:July 2003
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Abstract
Most young American and English musicians have been encouraged, I think, to disregard Mahler. At least I myself was. Always coupled with Bruckner, he was supposed to be a purely local composer. For Germans, I was told, he had a certain sentimental attraction, though even on the Rhine and the Danube, the academicians preferred Brahms, the glamour-seekers Strauss, and the modernists Schonberg and Berg. He was long-winded and formless-the bright intellectuals cited him as an example of a romantic self-indulgent, who was so infatuated with his ideas that he could never stop. Either he couldn’t score at all, or he could only score like Wagner, using enormous orchestras with so much going on that you couldn’t hear anything clearly. Above all, he was not original. In other words, nothing for a young student! And so, when I was at a concert soon after leaving school, specially to hear an exciting new piano concerto, and saw from the programme that I had first to hear a symphony by Mahler, I naturally groaned in anticipation of forty-five minutes of boredom.
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