Main cтраница Main cтраница
Main cтраница
Main cтраница
Main cтраница

Main cтраница
Main cтраница Main cтраница Main cтраница Main cтраница

Gustav Mahler / Gustav Mahler (1860-1911)

In the short preface to the collection of letters and memoirs on the great Austrian musician Dmitry Shostakovich writes: "О=ю captivates in its music? First of all - deep humanity. Mahler understood high ethical value of music. It has got into the most secret hiding places of human consciousness, he was excited with the highest world ideals. The humanism, unrestrained temperament, passionate love to people in connection with amazing composer endowments have helped Mahler to create its symphonies, "¤хёэш wandering яюфьрё=хЁі " "¤хёэш about died фх= §" grandiose "¤хёэі about чхьых". It is close to us the humanism, the nationality... In struggle for realisation of the best ideals of mankind Mahler it will be eternal with us, Soviet ы¦фіьш..."

Gustav Mahler / Gustav Mahler So pathetically and with emotion speaks Shostakovich about the musician, the best which years of a life have passed in the end of XIX century, the musician who has tested all sorrows notorious fin du siecl'a which breath is poisoned by pessimism and fear before the future. Mahler has died fifty one years old three years prior to the Sarajevo shot, sounded a signal to the beginning of a world slaughter-house. Whether it is possible to name pessimism ability of especially sensitive contemporaries with seismic accuracy to foresee public, international accidents? Whether it is necessary to consider, what only from the letter marks developing in words and phrases, it is possible to give out predictions for original omens of events, what the musical signs designating melodic phrases, in turn, merging in grandiose scores, concede to them in reliability and force of generalisation of the most typical phenomena in sphere of human spirit, in sphere of public consciousness? Certainly, no. And Mahler's musical heritage testifies to it with huge force of conviction and the truth. Gustav Mahler's place - among great symphonists of our century. It not simply outstanding conductor, the ingenious composer, he is a person amazing with integrity and obsession.

The Tragical childhood, a poor youth, hatred to everything that generates humiliation and the insult, humiliated and offended that will cripple a human soul. Belief in greatness and force of human reason - here that fed Mahler's socially-philosophical sights that did not allow to triumph in it to pessimism. Its erudition amazes with width, the reading circle is almost boundless. But not books, let the wisest, push it on reflexions about imperfection of the world. The life leads him by the hand, speaking: look, test everything, be truthful and write! Neither Spinosa, nor Nitsshe, Schopenhauer will not define pathos of creative impulses and the meditations fixed on pages of its scores which it would be desirable to name more solemn word - "ьрэѕёъЁшя=№".

Whether life displays in a mirror malerovskih songs and symphonies are Ideally exact? Far it is not ideal. They are subjective. Mahler corrects display under the point of view. Even a surface "чхЁърыр" Mahler polishes in own way, not only supposing somewhere curvature, but rejoicing to it, expecting, anticipating, what frightening, ugly will appear angrily in krivozerkalnom, satirical reflexion.

Like Roman-korsakovu and to Grieg Mahler idolises the nature. It is enough to be present at awakening of the lord of woods, the Sir, to hear, about "ёхь speak чтх=№" "ю than animals in ыхёѕ" speak; "ю than speaks to me эюёі" (parts of the Third symphony here are named), to understand, what were true beliefs of the great musician, relatives panteizmu. It only one party of philosophy of Mahler. The nature took a huge place in his life, in creativity. But near to the Sir always there was a Person. To it, to the Person, unquenchable thirst of good and as much unsatiable hatred to harm attracted the composer. Not without reason in conversation with Arnold Shyonbergom about its pupils Mahler has thrown an angry phrase: "Грё=рті=х these people to read Dostoevsky! It is more important, than ъюэ=Ёряѕэъ=".

Mahler's Way to Dostoevsky - not a direct way of the reader. It is a way of the person speaking about by words of Dostoevsky: "-ръ I can be happy if on the earth is though one suffering ёѕЁхё=тю". The person who has experienced many of vital troubles, "шёяютхфютрт°шщё " could be such only; the music which each note was up to the end iskrennoj.

... Mahler was born in the Czech small town Kalisht, in a family "яЁю¶хёёюЁр on юсыѕёъх" as named father Mahler, the moving man who was not leaving the book. Gustav was the second of twelve children in a family which the need did not leave per day. Music constantly sounded round Mahler's hovel. A nearby barracks parade-ground thunderously played a wind band; having embraced, there passed country girls and behind them were twisted, calming down, reviving, heart-felt songs; from a vegetable marrow, like shvejkovskoj "Гхыхэющ ёр°ш" madams Palevets, rushed fervent and shrill sounds shlapaka and furianta, and under tear of the become tipsy visitors about something the melody lannerovskogo a waltz longed. The life was that. It was remembered with photographic accuracy and reflected (with an ironical smile!) in the Czech, Moravian, Hungarian, Gipsy tunes of many episodes malerovskih scores.

School days of Mahler are similar to school days of its contemporaries. The life of a family of Mahlers went from a trouble to a trouble. Five children were carried away by a diphtheria. The life of sister Leopoldiny and brother Otto has tragically ended. Mahler's musical childhood though carried a touch vunderkindstva, but vunderkindstva in a tatter, almost from eight-year age on sale for avaricious krejtsery. Anything that would remind velvet kurtochki and ringlets to shoulders, Mahler did not know. The family lived in Iglau. Here has passed a youth of the composer, anything, except the dreams, not lighted up. To it was fifteen years when it has arrived to Vienna, and, having appeared before professor Epstein, has heard from his lips powerful, authoritative words about the talent.

Mahler remains in Vienna. It is 1875, year significant, coinciding with arrival to Wagner's Austrian capital. Has less considerably passed occurrence the same year in Vienna inspired follower Schubert - Gugo Volf. Mahler and Volf have made friends. Have lodged together. Divided a grand piano (both after all composed), a table. Certainly, Mahler has passed through hobby for Wagner, but has not given in to temptations of bewitching harmony "КЁшё=рэр and Ђчюыіф№" the music shipped in waves of languor and voluptuousness. No, not it has shaken it in Wagner, and "КЁрѕЁэ№щ ьрЁ°" from "+шсхыш сюуют" a tragical epilogue of a life of the light hero - Zigfrid.

He studies in conservatory at Juliusa Epstein, Robert Fuhsa and Teodora of the List. But as the confessor considers composer Anton Bruknera, with which, despite a considerable difference of age (Brukner is more senior for 36 years!) it is connected by a true friendship as the Viennese musicians spoke, closed on two keys: violin and bass.

Some the chamber products composed in the late seventies, have not reached us. Mahler has burnt them. To it does not carry. It is unfairly bypassed at Bethovensky competition the award on which could it financially very much support.

Not on calling, and on an absolute must it becomes for a conductor's stand, without suspecting even, what forces of conductor's talent doze in it. In this field the success comes to it almost from the first wave of a conductor's baton. At first it is provincial opera theatres with provincial routine. When it on change theatres capital come, he is convinced of that, as there atmosphere is sated by routine, but only capital.

it is readable further >