Mahler: A Life

The Author describes, at appreciable length, why Gustav Mahler was widely misunderstood both as man and musician. More than 50 years after his death his works were left apart until, restored to life prompted by interest and performance, Mahler took his deserved place in the repertoires. Mahler's tempestuous marriage to Alma Schindler is of particular interest. Alma claimed she was for decades the main authority of Mahler's works, values, character and his day-to-day actions and movements. For many years, Alma's various publications quickly became the central source of information and references for Mahler scholars and music-lovers alike. But, unfortunately, many writers have treated her accounts as unreliable, false, misleading and often impaired soundness. It is a fact that these imperfect accounts have nevertheless had a great influence upon several generations of music-lovers, hence the legend: "Alma's Problem"". Mahler's youth, as described in the first two chapters is fascinating, like the reader's watching a live short resume cast by History Channel. There begins Mahler's occupation as summer composer "" in isolated huts in the country, and his revolutionary achievements as director of Vienna Opera. In 1907 Mahler resigned his post, many claimed he was driven from it, and went with Alma to America. Four years later his health in ruin and his marriage crumbling, he returned to Vienna and died there on the 18th of May 1911, a few weeks before his 51st birthday. He was buried four days later in Grinzing cemetery next to his daughter Maria (died in 1907)"" ""On the day he died, that teeming rain on that blustery Monday afternoon, hundreds of ordinary Viennese crowded outside the little church where the service was held and the coffin blessed. Only minority had come to pay tribute to Mahler the composer. His gigantic Symphonies had rarely gone down well in Vienna and not a single one had been premiered there. But Mahler -the Opera Director- that was another matter. In a few stormy years he had lashed the institution at the heart of the city's cultural life to a peak of excellence it might never reach again. Many Viennese had acknowledged as much while Mahler was still at the helm. Now some erstwhile critics were starting to do so too. As one contemptuous Mahler fan put it, `'the same sneering somebody's'' who had attacked every Mahler production were now `'keen to belong to the exclusive circle of Mahlerites'"" The talented, ambitious and ruthless conductor is often degenerated in Alma's memoirs as a sickly and cerebral recluse; Arnold Schoenberg called him a `saint'. For some of Mahler's friends and disciples, he was a great creative artist. Mahler was even suicidal, often called `the Jewish Monkey'' because he was committed to his interpretations of Wagner, Mozart, Beethoven, Dvorak, Berlioz, Brahms, Bruckner, Schubert, Tchaikovsky, Debussy, even Georges Bizet and many more. His violent conducting gesticulations had been subject to laug

I strongly disagree with the Kirkus review that the author is a die-hard Mahlerian who can't write objectively. The author is not ashamed to write about Mahler's character flaws.Most of the book is about Mahler's biography, but there are two chapters which discuss Mahler's symphonies and the "Das Lied von der Erde" song cycle. The musical discussion is great except for the very sketchy treatment of Symphony #9.The biographical details of Mahler's life were interesting, and here the author pulls in data from many sources, not just the diary of Alma. He argues in this book that the Mahler symphonies are not reflections of Mahler's personal struggles (for example, Symphony #6, the "Tragic" symphony was written during a happy period.), but the character of Mahler's music reflects his thoughts and personality (the rapid mood changes present in his music and personality.)Altogether a good read.

Jonathan Carr's excellent new biography of Gustav Mahler brings a breath of fresh air to Mahler criticism. I have read just about everything written in English that I could find about Mahler, including the massive de La Grange volumes, Alma's memoirs, and Bruno Walter's reminiscences. Never, however, has Mahler, the Man, been portrayed so well as in Mr. Carr's book. I was also gratified to see Mr. Carr debunk the pernicious myths concerning Mahler's abrupt resignation from the Vienna State Opera (I always thought there was more to it than what other biographers reported), and correct the misinformation about what really happened in New York. What Mr. Carr says makes sense on both accounts. The book is well documented; the writing style is lively and highly literate; even the recommendations at the end of the book are well done. I usually turn instant curmudgeon when someone recommends buying a complete set of any CD collection, especially for a composer whose music is interpreted so controversially as Mahler's. However, Mr. Carr's "short cut" recommendation to purchase the complete set by Solti or Kubelik is an excellent one. (I would recommend Solti and the Chicago Symphony.) In short, Mr. Carr should be highly commended for producing this excellent biography. I look forward to further books by this excellent writer.

Mahler by Jonathan Carr is a frustrating book. It certainly debunked many of the myths that have grown up around this composer, particularly those relating to his relationship with his wife. None of the other works of comparable length did as well. On the other hand his discussion of the composer's music was more of the awe-struck fan variety and would provide no new insights into what, for most people, is the most important aspect of his life. As to Carr's writing, it is light and easy reading. At the same time, it does seem occasionally to reach too far to speculate on some aspect of Mahler's life that, as a good researcher, he admits, can not be documented. Every Mahler fan will have to read this book, but none will feel that it can begin to compare with Mitchell or de la Grange. Others, looking for a light gossipy life of Mahler will enjoy a few hours with Carr.

Jonathan Carr has done a great service to Mahler fans by debunking some of the romantic myths that have distorted our view of this genius. This warts-and-all biography makes Mahler seem all the greater by making him seem more real and human. The unsentimental look at Alma is also a breath of fresh air. Bravo!