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Updated: June 7, 2025
In Germany since the masterpieces of Brahms we glean little besides the learnedly facile scores of a Bruckner, with a maximum of workmanship and a minimum of sturdy feeling, or a group of "heroic" symphonies all cast in the same plot of final transfiguration. The one hopeful sign is the revival of a true counterpoint in the works of Mahler.
If people wish to institute a joust between French and German art, let it be a fair one, I repeat; let Wagner be matched with Berlioz, and Strauss with Debussy, and Mahler with Dukas or Magnard. Such were the conditions of the combat; and they were, whether intentionally or not, unfavourable to France.
It is a true symphony; and the same may be said of Mahler's composition. But Strauss and Mahler are already reforming themselves, and are coming back to the model of the classic symphony. But there are more important conclusions to be drawn from a hearing of this kind. The first is that Strauss's talent is becoming more and more exceptional in the music of his country.
The Second should have been the Song of Death, the music of the knowledge of death. The Third was conceived as a Song of the Great Pan his "gaya scienza," Mahler would have liked to call it.
For Mahler would have been the first to have been repelled by the sound of his own harsh, haughty, guttural, abrupt Hebrew inflection. He would have been the first to turn in contempt from his own gestures. There was in him the frenetic unconscious desire to rid himself of the thing he had come to believe inferior.
In 1901 he went to Berlin, and became the Kapellmeister of the "Uberbrettl," the cabaret managed by Birnbaum, Wedekind and von Wolzogen. Due to the influence of Richard Strauss, he secured a position as instructor in Stern's Conservatory. In 1903 he returned to Vienna. He aroused the interest of Gustav Mahler, who secured performances for several of his works.
So a ruinous conflict was introduced into the soul of Gustav Mahler. In the place of the united self, there came to exist within him two men. For while one part of him demanded the free complete expression necessary to the artist, another sought to block it for fear that in the free flow the hated racial traits would appear.
The free speech prisoners were charged with vagrancy on the police blotter, but no formal charge was ever made, nor were they brought to trial. Next morning, Thompson and his wife, who had return tickets on the Interurban, were deported by rail, together with Herbert Mahler, secretary of the Seattle I. W. W. Mrs. Mahler, Mrs.
Wagner, Haydn, Schumann and Brahms, the sentimental Wienerwald Brahms, also pass incessantly through these scores. But it was Beethoven whom Mahler sought chiefly to emulate. Mahler was undoubtedly Beethoven's most faithful disciple. All his life he was seeking to write the "Tenth Symphony," the symphony that Beethoven died before composing.
Edith Frennette then spoke briefly and called for a song. The audience responded with "The Red Flag," but meanwhile Mrs. Frennette and Mrs. Lorna Mahler had been placed under arrest. In succession several others attempted to speak but were pulled or pushed off the stand. The police then formed a circle by holding hands around those who were close to the platform.
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