Book contents
- Schoenberg in Context
- Composers in Context
- Schoenberg in Context
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Notes on Contributors
- Preface and Acknowledgements
- Abbreviations
- Part I Schoenberg in Place
- Part II More than a Composer
- Part III Approaches to Composition
- Part IV Paradoxes and Predicaments
- Part V Schoenberg’s Others
- Chapter 16 Richard Wagner
- Chapter 17 Johannes Brahms
- Chapter 18 Igor Stravinsky (and Adorno)
- Chapter 19 Alexander Zemlinsky
- Chapter 20 Gustav Mahler
- Chapter 21 Richard Strauss
- Chapter 22 Alban Berg and Anton Webern
- Part VI Viennese Institutions
- Part VII Performers and Critics
- Part VIII Ideas, Beliefs and Interventions
- Further Reading
- Index
Chapter 20 - Gustav Mahler
from Part V - Schoenberg’s Others
Published online by Cambridge University Press: 04 September 2025
Edited by
Book contents
- Schoenberg in Context
- Composers in Context
- Schoenberg in Context
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Notes on Contributors
- Preface and Acknowledgements
- Abbreviations
- Part I Schoenberg in Place
- Part II More than a Composer
- Part III Approaches to Composition
- Part IV Paradoxes and Predicaments
- Part V Schoenberg’s Others
- Chapter 16 Richard Wagner
- Chapter 17 Johannes Brahms
- Chapter 18 Igor Stravinsky (and Adorno)
- Chapter 19 Alexander Zemlinsky
- Chapter 20 Gustav Mahler
- Chapter 21 Richard Strauss
- Chapter 22 Alban Berg and Anton Webern
- Part VI Viennese Institutions
- Part VII Performers and Critics
- Part VIII Ideas, Beliefs and Interventions
- Further Reading
- Index
Summary
In the beginning, relations between Mahler and Schoenberg seem to have been somewhatstormy. In fact, there were not only frictions of character between Schoenberg and Mahler, but also substantial differences in their conception of composition. In contrast to the prevalent opinion expressed in the copious literature on the topic, the relationship between Schoenberg and Mahler resembled that of two composers who were fundamentally alien to each other musically, but who, through human solidarity, a common ethical view of uncompromising artistic coherence and a closeness that grew over the years, decided to approach each other compositionally as well. Several examples from Schoenberg’s works will be shown in the chapter to substantiate this thesis.
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- Schoenberg in Context , pp. 203 - 211Publisher: Cambridge University PressPrint publication year: 2025
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