In 1811, a giant of music, Franz Liszt, was born in Hungary; in 1911 the life of another giant, Gustav Mahler, ended. The lives of both profoundly impacted music in ways that we are still learning to fathom. As we reflect on their legacies in 2011, some fascinating parallels emerge.
Both men were German-speaking, yet both were born outside Germany (Mahler was born in Bohemia). Both experienced alienation and minority status, particularly Mahler, who was Jewish and had to deal with lingering Antisemitism. Yet each also received widespread adoration and acclaim. Ultimately each embraced Catholicism, and Liszt even joined a religious order. Spirituality, but not religiosity, played a role in the lives of the two men. Women of strength, accomplishment and strong opinions were a vital presence in the lives of each man.
Although Mahler and Liszt are remembered today as composers, the two were also noted conductors, known for their florid and expressive styles. What is perhaps not so well-known is that each began to push the boundaries of music into atonality--music lacking a clear tonal center, or keynote. And yet, few composers have crafted melodies as direct and heartfelt as flowed from their pens.
Although we lack recordings from which to judge, Liszt was generally deemed the greatest pianist who ever lived. He was an innovator who established the modern tradition of the solo piano recital (which is acquiring a new vogue these days), and began the custom of seating the performer sideways on stage. Compositionally, Liszt cultivated the expansion and elaboration of a melody within a given piece, which inspired continued development in the works of Wagner, Brahms, Mahler and others.
Perhaps no other composer penetrates directly to the soul quite like Mahler. Although his music is not always easy for some listeners to grasp at first, it can exert life-changing influences, probably most notably evidenced by the New York stockbroker Gilbert Kaplan, who devoted himself to Mahler upon hearing the "Resurrection" Symphony and being transformed by it.
The St. Louis Symphony will present Mahler's Symphony No. 6 on February 4 and 5, under highly-acclaimed guest conductor Semyon Bychkov. On April 8, 9 and 10 the Symphony will perform the Symphony No. 2, Resurrection, with the Symphony Chorus, soprano Christine Brewer and mezzo-soprano Kelley O'Connor, under the direction of David Robertson and chorusmaster Amy Kaiser. Adding to the offerings, the Symphony Youth Orchestra will program Mahler's Symphony No. 1, Titan, on May 15.
Washington University will host a symposium, Perspectives on Liszt, the Man and Musician, on February 26, followed by a performance that evening entitled Liszt and His Contemporaries: A Pianistic Panorama. Although not a local event, it is worth noting that the University of Georgia will host a conference on Liszt and the Future, to be held February 17-19. Around the world, numerous festivals, conferences and performances will abound this year in honor of the historic anniversaries of both composers.
Part of the significance of Liszt and Mahler is their influence on the music of today, whether it be found in musical theater, film scores, contemporary classical music, or even in popular music. The sense of drama, introspection and melodic transformation emanate in no small part from their contributions. By touching the past we can touch the future, and understand the present more fully. We are blessed here in 2011 to have the music of these two seminal composers so readily accessible through recordings, live performances and internet downloads. Let's enjoy it and give thanks, and learn as we do so.
Gary Scott blogs about music, education and life in general at scottmind.blogspot.com.
