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Updated: June 7, 2025
If his music expresses anything at all, it expresses just the characteristics that Mahler was most anxious to have it conceal. Life is the greatest of practical jokers, and Mahler, in seeking to escape his racial traits, ended by representing nothing so much as the Jew.
Hooted, hissed, and jeered at by the thousands of citizens on the viaduct and hill above the dock, these self-immolated prostitutes to the god of greater profits were taken to the hospitals for treatment. Among the crowd of citizens was Mrs. Edith Frennette, who had been in Everett a couple of days in connection with a lumber trust charge against her, and with her were Mrs. Lorna Mahler and Mrs.
It was after this interview that the call went out for the I. W. W. to hold a public meeting in Everett on Sunday, November 5th. Mahler was recalled to the stand to verify McGill's statement in the matter of the interview.
Geneva, "la ville Protestante," that saw unclose the art of Ernest Bloch, was, after all, not much more eager to welcome a Jewish renaissance than was the Vienna of Gustav Mahler. But some inner might that the elder man lacked gave the young Genevese composer the courage to speak out, and to attain salvation.
His subjects are a rather vulgarised edition of some of Beethoven's ideas in their unfinished state. But Mahler gets no further than the rough sketch. And, lastly, I want to speak of the greatest danger of all that menaces music in Germany; there is too much music in Germany. This is not a paradox. There is no worse misfortune for art than a super-abundance of it.
But, for the most part, it is precisely the personal tone that his music completely lacks. For he was never himself. He was everybody and nobody. He was forever seeking to be one composer or another, save only not Gustav Mahler. The fatal assimilative power of the Jew is revealed nowhere in music more sheerly than in the style of Mahler.
Only, it would have been good music instead of a nondescript and mongrel thing that he composed. All that he really attained by hampering himself was sterility. And, in the end, we are forced to conclude that it was not solely the environment, however much that favored it, that condemned Mahler to sterility.
No; we can no longer hear Beethoven and Mozart in Germany to-day, we can only hear Mahler and Strauss. Well, let it be so. We will resign ourselves. The past is past. Let us leave Beethoven and Mozart, and speak of Mahler and Strauss. Gustav Mahler is forty-six years old. He is a kind of legendary type of German musician, rather like Schubert, and half-way between a school-master and a clergyman.
While we see in Mahler much of the duophonic manner of his teacher, Bruckner, in the work of the younger man the barren art is crowned with the true fire of a sentient poet. So, if Bruckner had little to say, he showed the way to others. And Mahler, if he did not quite emerge from the mantle of Beethoven, is a link towards a still greater future.
Bruckner, Mahler's teacher, is also incessantly reflected by these works, by the choral themes which Mahler is so fond of embodying in his compositions, and, more particularly, by the length and involutions of so many of the themes of his later symphonies. For, like Bruckner's, they appear chosen with an eye to their serviceability for contrapuntal deformation and dissection.
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