Far and away the best, most accessible and entertaining analysis of what makes Mahler so appealing and indispensable to so many of us. Keep doing what you're doing, Mr Hurwitz!
Dave, imo, this is your best series for teaching. It’s really outstanding and your talks are funny and thoughtful, but most importantly can be digested by those of us who aren’t professional musicians. Would love to see you do this in a similar fashion with conductors and how to recognize their tells.
Gotcha. Well, I very much appreciate the lessons. We are the same age, but I would have loved being in your classes. You have a great sarcastic humor which I very much appreciate.
BRAVO!!!! Well done!!!!! Of course we want you cover each symphony individually 😂 Disappointed the cats didn't make an appearance...we all know they adore Mahler 😊
David, you excelled yourself this time. It was an amazing video and I thank you wholeheartedly for it. I thought I knew the symphonies well but I learned so much more from the video.
Good stuff. There are a great many recurring footprints, of course, going back to his earliest creations. Some are very prominent, others more subtle. An old geezer Mahler devotee like me, who has heard everything he ever wrote a gazillion times, recognizes them all. Since you mentioned the sleigh bells in the 1st movement 4th, it should be noted that they were meant to simulate the little jingly bells on a jester's hat, which obviously are too small to be heard in a concert hall. Glad you included a plug for your excellent book, which I highly recommend to any Mahler buff.
Very helpful and, for me, your most indispensable series, along with the repertoire talks. I especially appreciate being shown how two trends I had begun to see as lazily repetitious are in fact quintessentially great Mahler trademarks; namely the self quoting aspiration theme and the climax gone wrong which I had foolishly regarded as faux Wagnerian.
Great forensic talk to identify the greatest dramatic moments in Mahler's most expressive motifs. For me one of the most dramatic, frightening and musical resignations comes twice in the 10th. I know you have your issues with the tenth, Dave...but I would be remiss in not pointing out the the desperate shriek of strings then terminal resignation that occurs at the symphony's end. The first time I heard it I was so jarred in it's despairing resonance and ultimate acceptance of life's seeming final moments...well, I just lost it. Thanks for articulating your treasure trove of knowledge in these talks...the insights reaffirm what we all feel inside when we hear Mahler's genius.
Wonderful explication of Mahler's musical "footprints," Dave! The multiple instances of the "climax gone wrong" you pointed out in the 9th applies so well to the finale of the 6th as well! I heard a live performance of the 6th by the Boston Symphony a few years ago that included all three original "hammer blows". You would have loved it--they used a HUGE wooden hammer like an overgrown chairperson's gavel with a handle that looked to be 4 or 5 feet long. The percussionist banged that on a hollow wooden box that created a terrifying thwack each time. He also made an exaggerated backswing to bring the hammer down that introduced a striking visual element! It was as though we were seeing the climaxes literally struck down each time.
This is wonderful! Can never get enough of Mahler topics! Dave, if you ever decide to do a 'Part 2' (or 3, or 4!), then I'd love to hear your thoughts on something I've noticed in reviewing the score of Mahler's 9th. As a disclaimer regarding what I'm about to ask: The 9th is the only Mahler score I have, and it's actually the first orchestral score I've ever owned. So, I'm not sure if this tendency I've noticed is something all composers of the era did, or if it is unique to Mahler, or unique to Mahler's 9th. Anyhow, to the point: I think I've noticed some melodic lines (or fragments/motives) which are carried across various instruments. In searching on the internet for clues, I've seen reference to the term 'Klangfarbenmelodie' - with Mahler being mentioned as a precursor in using this technique to add to orchestral color using different timbres, etc. but not sure if this concept applies to Mahler's 9th. Also, not sure what the difference between Mahler's use of this technique vs. Schoenberg's idea of it would be? But what I find even more intriguing is certain places in which Mahler will switch in the middle of a melodic phrase between the 1st and 2nd violin parts (i.e. in which it's not counterpoint, but a continuation of a melody). Is there a separate term for this? Was Mahler unique in writing like this- or is this just something all composers do? Since there would be no difference in timbre, I've been trying to think of reasons why he might do it. Maybe in a live performance it creates a feel of propulsion as the 1st and 2nd violins are seated separately- so the listener gets a really dynamic experience- a feeling of churning from the 1sts to the 2nds? Maybe giving the 1st violins a little arm break?! haha. Could it be as simple as that? Anyhow, if not too much trouble, would love to get thoughts from any Mahler-scholar!
Mahler was one of the greatest symphonic orchestrators that ever lived, and that's not a subjective observation. His use of the orchestra reflects both his inner inspiration and his practical experience as arguably the greatest conductor of his day. This is a topic that would be impossible to cover in detail here, but you really are on to something and your observations and very sharp and to the point.
I always like it when you get a chance to play samples. Keep honing your powers of persuasion on the record companies. When you began to introduce the climax in the Adagio of the Fourth, I expected the one at the VERY end of the movement--the one with what must be the biggest portamento and luftpause ever written. But it can't be said to be a climax gone wrong.
Thanks for the wonderful videos! I think I found a good Symphonist that you have yet to mention on your channel (which seems impossible): Are you familiar with Vladimir Shcherbachev and his five big symphonies?
There are lots of composers I either don't know or haven't discussed yet. It all depends on the discography and the availability of recordings. I know a couple of his symphonies, but I certainly haven't heard all of them.
I'm writing this comment while viewing so I don't forget my idea for a video 😊 I know you have touched on this topic here & there....how about a video on the start/composers that start the increased use of percussion instruments to add color and such to their symphonies.
Marvelous video, a true gem of this channel! A quick sanity check for myself: isn't the recurring theme (the second item in your list of footprints) also featured prominently in the Finale movement of Mahler's Symphony No. 5, e.g. in sections 7-9 and then later sections 15-19 and finally 28-30 (which really derives from melodic material already developed in the Adaghietto)?
Far and away the best, most accessible and entertaining analysis of what makes Mahler so appealing and indispensable to so many of us. Keep doing what you're doing, Mr Hurwitz!
Dave, imo, this is your best series for teaching. It’s really outstanding and your talks are funny and thoughtful, but most importantly can be digested by those of us who aren’t professional musicians. Would love to see you do this in a similar fashion with conductors and how to recognize their tells.
That would be impossible because of copyright issues. I got four erroneous copyright claims on this video and I had permission to use the music.
Gotcha. Well, I very much appreciate the lessons. We are the same age, but I would have loved being in your classes. You have a great sarcastic humor which I very much appreciate.
BRAVO!!!!
Well done!!!!!
Of course we want you cover each symphony individually 😂
Disappointed the cats didn't make an appearance...we all know they adore Mahler 😊
Great! Thanks for this one, can never have too much Mahler.
Wonderful analysis into the world of Mahler! Thank you!
David, you excelled yourself this time. It was an amazing video and I thank you wholeheartedly for it. I thought I knew the symphonies well but I learned so much more from the video.
That was amazing, Dave! Thank you so much! Can’t wait for the next ones!
Kudos!!!! Have always thought Mahler’s “screams” were the aural equivalent of the Edvard Munch paintings
Magnificent.
This is a video to rewatch.
Good stuff. There are a great many recurring footprints, of course, going back to his earliest creations. Some are very prominent, others more subtle. An old geezer Mahler devotee like me, who has heard everything he ever wrote a gazillion times, recognizes them all. Since you mentioned the sleigh bells in the 1st movement 4th, it should be noted that they were meant to simulate the little jingly bells on a jester's hat, which obviously are too small to be heard in a concert hall. Glad you included a plug for your excellent book, which I highly recommend to any Mahler buff.
Mahler is amazing. You said it. And that was terrific.
Never heard this set. Must admit it sounds great. Will listen to it tonight.
I think it's pretty mediocre, actually.
Very helpful and, for me, your most indispensable series, along with the repertoire talks. I especially appreciate being shown how two trends I had begun to see as lazily repetitious are in fact quintessentially great Mahler trademarks; namely the self quoting aspiration theme and the climax gone wrong which I had foolishly regarded as faux Wagnerian.
Great forensic talk to identify the greatest dramatic moments in Mahler's most expressive motifs. For me one of the most dramatic, frightening and musical resignations comes twice in the 10th. I know you have your issues with the tenth, Dave...but I would be remiss in not pointing out the the desperate shriek of strings then terminal resignation that occurs at the symphony's end. The first time I heard it I was so jarred in it's despairing resonance and ultimate acceptance of life's seeming final moments...well, I just lost it. Thanks for articulating your treasure trove of knowledge in these talks...the insights reaffirm what we all feel inside when we hear Mahler's genius.
Wonderful explication of Mahler's musical "footprints," Dave! The multiple instances of the "climax gone wrong" you pointed out in the 9th applies so well to the finale of the 6th as well! I heard a live performance of the 6th by the Boston Symphony a few years ago that included all three original "hammer blows". You would have loved it--they used a HUGE wooden hammer like an overgrown chairperson's gavel with a handle that looked to be 4 or 5 feet long. The percussionist banged that on a hollow wooden box that created a terrifying thwack each time. He also made an exaggerated backswing to bring the hammer down that introduced a striking visual element! It was as though we were seeing the climaxes literally struck down each time.
Brilliant! Another Hurwitzian Summit triumphantly reached - and this climax is definitely NEVER going to fail!
Outstanding talk. I've ordered your Mahler's Owners Manual.
Awesome! Thank you!
I bought your Mahler book about 10 (?) years ago in a Borders store, when it was published by Amadeus books and contained a CD with musical examples.
This is wonderful! Can never get enough of Mahler topics! Dave, if you ever decide to do a 'Part 2' (or 3, or 4!), then I'd love to hear your thoughts on something I've noticed in reviewing the score of Mahler's 9th. As a disclaimer regarding what I'm about to ask: The 9th is the only Mahler score I have, and it's actually the first orchestral score I've ever owned. So, I'm not sure if this tendency I've noticed is something all composers of the era did, or if it is unique to Mahler, or unique to Mahler's 9th. Anyhow, to the point: I think I've noticed some melodic lines (or fragments/motives) which are carried across various instruments. In searching on the internet for clues, I've seen reference to the term 'Klangfarbenmelodie' - with Mahler being mentioned as a precursor in using this technique to add to orchestral color using different timbres, etc. but not sure if this concept applies to Mahler's 9th. Also, not sure what the difference between Mahler's use of this technique vs. Schoenberg's idea of it would be? But what I find even more intriguing is certain places in which Mahler will switch in the middle of a melodic phrase between the 1st and 2nd violin parts (i.e. in which it's not counterpoint, but a continuation of a melody). Is there a separate term for this? Was Mahler unique in writing like this- or is this just something all composers do? Since there would be no difference in timbre, I've been trying to think of reasons why he might do it. Maybe in a live performance it creates a feel of propulsion as the 1st and 2nd violins are seated separately- so the listener gets a really dynamic experience- a feeling of churning from the 1sts to the 2nds? Maybe giving the 1st violins a little arm break?! haha. Could it be as simple as that? Anyhow, if not too much trouble, would love to get thoughts from any Mahler-scholar!
Mahler was one of the greatest symphonic orchestrators that ever lived, and that's not a subjective observation. His use of the orchestra reflects both his inner inspiration and his practical experience as arguably the greatest conductor of his day. This is a topic that would be impossible to cover in detail here, but you really are on to something and your observations and very sharp and to the point.
I always like it when you get a chance to play samples. Keep honing your powers of persuasion on the record companies.
When you began to introduce the climax in the Adagio of the Fourth, I expected the one at the VERY end of the movement--the one with what must be the biggest portamento and luftpause ever written. But it can't be said to be a climax gone wrong.
No, but it IS a scream (albeit a happy one).
Thanks for the wonderful videos! I think I found a good Symphonist that you have yet to mention on your channel (which seems impossible): Are you familiar with Vladimir Shcherbachev and his five big symphonies?
There are lots of composers I either don't know or haven't discussed yet. It all depends on the discography and the availability of recordings. I know a couple of his symphonies, but I certainly haven't heard all of them.
I bought the Stenz Melbourne M5 on your recommendation. Recently I got the Stenz Gürzenich-Orchester Köln Mahler 8th and I quite like it.
I'm writing this comment while viewing so I don't forget my idea for a video 😊
I know you have touched on this topic here & there....how about a video on the start/composers that start the increased use of percussion instruments to add color and such to their symphonies.
Great video as always! May i suggest Bruckner for the next footprints?
You may, but I think it will happen a bit later. We will see.
Sounds like your book is a good read.
Of course.
Marvelous video, a true gem of this channel! A quick sanity check for myself: isn't the recurring theme (the second item in your list of footprints) also featured prominently in the Finale movement of Mahler's Symphony No. 5, e.g. in sections 7-9 and then later sections 15-19 and finally 28-30 (which really derives from melodic material already developed in the Adaghietto)?
Absolutely!