世紀交換前最後的曙光 傳承與革新調停者古斯塔夫•馬勒

Abstract

”Vienna was the most favored city of G. Mahler, but he had been rejected by the city for his entire life. Because of the accusations and the slander against him, the citizens felt sorry and regretted his death, so an honorable burial was then held. It was to show respect to him, just as with all of the other outstanding musicians who had once lived in this city. The obituaries in all of the newspapers expressed the deepest sorrow and condolences. G. Mahler has finally achieved his victory in Vienna.” In May 1911, Gustav Mahler (1860-1911) passed away. A great talent was gone. His passionate style of speech, the power of his soul and the unknown crazy energy recognized by everyone, were all remembered. A complex sensitivity, contradictions, and a depressive pessimism can be found in his symphonic music, revealing the rejection, insecurity and fear for the unsecured future in Europe. ”The Era of Christians” is a note of the genius Mahler's Symphony No.2. Baptized in 1879 by the Catholic Church in Hamburg, Germany, Mahler, as a composer in the musical field of Germany and Austria, composed this symphony in Vienna after having wandered for many years. As a Jew, this act of conversion was likely intended for better career prospects. The poet Siegfried Lipiner stated: ”Mahler is a genius. Without a doubt, he is so unpretentious and avid. However, his enthusiasm has nothing to do with vanity or activism.” This comment remained accurate even after he took over as the conductor of the Vienna State Opera. Ernst Křenek frequently quoted Mahler's often repeated self identification as: ”Bohemian, Jew, German and Austrian”, and pointed out that ”Mahler's transition in belief is caused by financial plans, but if someone interprets it as a narrowed personal question of death or a concept of achieving goals and creative ideals, it will be nothing but imaginary. Actually, Mahler is without exception; his works represent admiration and praise for Mother Nature, like other pantheists.” The impression of his works is still centered on ambivalent thoughts by people of later age. His lengthy efforts and expectations for renovation of human nature and his being led by his spiritual mentor. Richard Wagner. transformed him into a legendary musician who was internationally famous for conducting Wagner's works, even in that anti-Jewish era. By the turn of the century, as a revolutionist burdened with missions requiring an iron determination, Wagner was an important member of the New German School of Music with followers practicing his revolutionary ideals without regrets, swaying between ”old” and ”new” as well as between ”support” and ”obstacle.” The exodus of artists became a fad in the Vienna of that period. If Wagner can be justly viewed as the heroic beginner, following Beethoven, as well as a stylish person with strong willpower and a destined metamorphosis, then Mahler is the undefeated giant overcoming fluctuations of the age, the mediator of inheritance and renovation and the last hope of the Late-Romantic period. This article will look into Mahler's creative ideals acquired during the process of his revolutionary artistic growth, and delve deeper into the musical field at the turn of the century, a period of time filled with chaotic thoughts.