Os mundos de Mahler

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Mensaje  Psanquin el 25/9/2016, 12:04

Un programa de radio brasileira a cargo de Jorge de Almeida. Es del 2010. Una serie en varios capítulos sobre Mahler. He escuchado el primer capítulo -los gallegos lo tenemos más fácil para entender el portugués- y me parece bastante bueno.

En este primer capítulo se escucha el Klagende Lied de Rattle -magníficamente elegida la versión. En el 51'30" -y en el hilo de lo que hablábamos sobre la obra- cita las virtudes y hallazgos de la obra.


Os mundos de Mahler Y2whx

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Mensaje  Todtenfeier el 18/10/2017, 17:35

He creído oportuno colgar aquí la opinión de Barenboim sobre la música de Mahler.

Por su interés os facilitó el link a una entrevista que se le hace a D. Barenboim sobre Mahler y su música. Se contempla también la influencia, si es que existe, que ejerce el judaísmo en Mahler. En mi opinión ninguna.

Copio lo que más me ha impresionado de su lectura que acabo de leer.



And Mahler is the voice of the 20th century to express this?

Barenboim: Mahler has one foot in the 19th century, and one towards the end of the 20th century, no question. And you can imagine everything, you can imagine that this huge fortissimo in the 9th Symphony of Beethoven in the last movement, “Und der Cherub steht vor Gott, vor Gott, vor Gott, vor Gott”, and there is a fantastic, terrible modulation, that you feel the whole world comes to an end. And somebody will tell you, this is already a premonition of Auschwitz. Sure, you can imagine all those things, and these images very often are very helpful to many people in the way that they perceive the music, BUT THE MUSIC IS ALWAYS LARGER THAN THAT. (estas mayúsculas son mias)

You mentioned Auschwitz.  I read, in preparation for these interviews, that Hitler attended a performance of Lohengrin in the state opera, and Mahler conducted.

Barenboim: I didn’t know.

Is there a meaning behind it?

Nothing probably. No.

But how can you explain it? Hitler went to a performance of Lohengrin, he went to many performances of Lohengrin, and he is meant to have gone to a performance of Lohengrin in Bayreuth in 1936 conducted by Furtwängler, which I am sure was so wonderful, and he was moved to tears by it. How do you put together the fact that you can be moved to tears by music, and then murder millions of people? Or Stalin, whose favourite piece of music was the D minor Concerto of Mozart, probably was also moved to tears by it, and 20 million people were murdered by him. How is this possible? You cannot connect these things. That’s why I keep repeating the same phrase, ‘the music is larger than all of this.’ The music is like a complete world, a world you can talk about: you can talk about nature, you can talk about the lakes, and you can talk about the mountains, and you can talk about the cities, and you can talk about the desert. But the whole world always includes a lot more. And when you talk about Mahler’s neuroses and Mahler’s fear of anti-Semitism and all this, it’s as if you were talking about the world, about only one element in it. And these are all things that were inside him, and like all great musicians, what he gave us is not only an exercise in counterpoint, melody and rhythm, but what he felt as the innermost content of his being.

Mahler said: a mystery remains.

Barenboim: That’s right.

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Mensaje  gustavo el 19/10/2017, 13:58

Acertadísimas respuestas las de Barenboim, las suscribo integramente. Os mundos de Mahler 367260 Os mundos de Mahler 367260 Os mundos de Mahler 367260

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