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Jeremy Barham (Editor) - The Cambridge Companion to Mahler

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In the years approaching the centenary of Mahlers death, this book provides both summation of, and starting point for, an assessment and reassessment of the composers output and creative activity. Authored by a collection of leading specialists in Mahler scholarship, its opening chapters place the composer in socio-political and cultural contexts, and discuss his work in light of developments in the aesthetics of musical meaning. Part II examines from a variety of analytical, interpretative and critical standpoints the complete range of his output, from early student works and unfinished fragments to the sketches and performing versions of the Tenth Symphony. Part III evaluates Mahlers role as interpreter of his own and other composers works during his lifelong career as operatic and orchestral conductor. Part IV addresses Mahlers fluctuating reception history from scholarly, journalistic, creative, public and commercial perspectives, with special attention being paid to his compositional legacy. Comprehensive coverage of Mahlers works, providing the reader with a balanced overview Includes a discography and a detailed chronology Chapters consider Mahler in the context of surrounding cultural and political events

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Jeremy Barham (Editor)
The Cambridge Companion to Mahler

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The Cambridge Companion to Mahler In the years approaching the centenary of - photo 1
The Cambridge Companion to Mahler

In the years approaching the centenary of Mahlers death, this book provides both summation of, and starting point for, an assessment and reassessment of the composers output and creative activity. Authored by a collection of leading specialists in Mahler scholarship, its opening chapters place the composer in socio-political and cultural contexts, and discuss his work in light of developments in the aesthetics of musical meaning. Part II examines from a variety of analytical, interpretative and critical standpoints the complete range of his output, from early student works and unfinished fragments to the sketches and performing versions of the Tenth Symphony. Part III evaluates Mahlers role as interpreter of his own and other composers works during his lifelong career as operatic and orchestral conductor. Part IV addresses Mahlers fluctuating reception history from scholarly, journalistic, creative, public and commercial perspectives, with special attention being paid to his compositional legacy.

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to Mahler
Edited by
Jeremy Barham
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521540339
Cambridge University Press 2007

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2007
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
ISBN 978-0-521-83273-1 hardback
ISBN 978-0-521-54033-9 paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

Contents
Jeremy Barham
Peter Franklin
Morten Solvik
Vera Micznik
Jeremy Barham
Zoltan Roman
Peter Revers
Stephen E. Hefling
Christian Wildhagen
Jrg Rothkamm
Herta Blaukopf
David Pickett
Christoph Metzger
Reinhold Kubik
Stephen Downes
Lewis M. Smoley
John Williamson
Plates
Tables and figures
Music examples
Notes on contributors
Jeremy Barham is lecturer in music at the University of Surrey. In addition to Mahler, his research interests include nineteenth- and early twentieth-century music history and aesthetics, interdisciplinary and cultural studies, film music and jazz. He is editor of Perspectives on Gustav Mahler (Ashgate, 2005), editor and translator of Alfred Rosenzweig, Gustav Mahler. New Insights into his Life, Times and Work (Ashgate/GSMD, ), contributor to The Mahler Companion (Oxford, 2002) and has written on Kubricks use of music in The Shining (Equinox, 2007).
Herta Blaukopf (19242005) was one of the leading figures in Mahler scholarship. She collaborated with Kurt Blaukopf on Mahler, His Life, Work and World (London, ). She continued throughout her life to write regularly on topics relating to Mahler and Austrian literary culture, and played a central role in the activities of the International Gustav Mahler Society, Vienna.
Stephen Downes is reader in music at the University of Surrey. Research areas include Central and Eastern European musical modernism and the erotic in music since 1800. He has published on Szymanowski, Beethoven, Rossini, Schumann, Sibelius, Mahler, Bartk, Henze and Penderecki. In 1989 he won the University of Southern Californias Wilk Prize for Research in Polish Music, and in 1999 the Karol Szymanowski Memorial Medal. His latest book is The Muse as Eros: Music, Erotic Fantasy and Male Creativity in the Romantic and Modern Imagination (Ashgate, 2006).
Peter Franklin is Professor of Music at the University of Oxford and a Fellow of St Catherines College; he edited the English translation (by Dika Newlin) of Natalie Bauer-Lechners Recollections of Gustav Mahler (Faber, 1980). His more recent Mahler publications include Mahler. Symphony no. 3 and The Life of Mahler (both with Cambridge University Press, 1991 and 1997 respectively); he also wrote the new Mahler entry for the Revised New Grove Dictionary of Music and Musicians in 2001.
Stephen E. Hefling , Professor of Music, Case Western Reserve University, is the author of Gustav Mahler. Das Lied von der Erde (Cambridge, 2000), editor of Mahler Studies (Cambridge, 1997) and contributor to The Mahler Companion (Oxford, 1999), the revised New Grove , and numerous journals. He serves on the editorial committee of the Mahler Complete Critical Edition, and edited the autograph piano version of Das Lied von der Erde . His two-volume study of Mahlers symphonies will be published by Yale University Press.
Born in Vienna, Reinhold Kubik has taught at the Vienna Conservatoire and in Nuremberg, Yale, Karlsruhe and London. He has written on Handel, Schubert, Mahler, Baroque opera and editorial problems, and has published editions of Zelenka, Schubert, Zelter, Handel, Leopold Mozart, Loewe, Dvo k, Mahler (original version of Das klagende Lied , Fifth and Seventh Symphonies) as well as eighty Bach cantatas. Since 1993 he has been Chief Editor of the Mahler Complete Critical Edition and Vice-President of the International Gustav Mahler Society, Vienna.
The musicologist and curator Christoph Metzger graduated from TU Berlin with a dissertation on Mahlers reception history. He has taught in Wiesbaden, Berlin, Gent and Darmstadt, and directed interdisciplinary events such as Musik und Licht , Minimalisms (Akademie der Knste), transmediale 99 , Klangkunstforum (19992001), Musik und Architektur (Darmstadt, 2002), and the Baltic Biennale of Sound Art (200406). He was the recipient of the AICA Award and the CEREC Award of the Financial Times, Europe (2001). He currently lives in Berlin and teaches in Cottbus and Braunschweig.
Vera Micznik teaches historical musicology at the University of British Columbia in Vancouver, Canada. She has published on issues of biography, programme, narrative, semiotics, genre, and verbal vs. musical discourse in the music of Mahler, Liszt and Berlioz. She is currently working on a book on musical discursive techniques in the nineteenth century.
Born in England, David Pickett was a recording engineer at EMIs Abbey Road Studios, Head of Tonmeister Studies at the University of Surrey and Director of Recording Arts at Indiana University. Currently Professor of Music at the University of North Texas, Dr Pickett is the leading authority on Mahlers Retuschen and an editor of the new Sibelius complete edition for Breitkopf & Hrtel. A pupil of Igor Markevitch, he undertakes regular conducting engagements in Europe and the United States.
Peter Revers was born 1954 in Wrzburg. He studied musicology, psychology and composition at the Universities of Salzburg and Vienna, and at the University Mozarteum in Salzburg. Formerly Assistant Professor and Lecturer at the University of Music in Vienna, in 1996 he became Professor of Musicology at the University of Music and Dramatic Arts in Graz, and in 2001 President of the Austrian Musicological Society. His research focuses on Mahler, Mozart, Sibelius and the late nineteenth and early twentieth-century reception of Far-Eastern music in Europe.
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