Mahler’s Fifth, Daniel Barenboim, and the Argentine Dictatorship: On Music, Meaning, and Politics

Abstract

How can we account for the meaning of music when it is performed in contexts that are characterized by extreme moral and political issues? Does a piece of instrumental music have political meaning in such situations? Does the notion of a political meaning of music make sense when applied to works without words, program, quotes of national tunes, or other explicit political signifiers?1 What is the perception of political elements regarding a work’s musical narrative? Does the belief in the autonomy of music play a role? This article explores these topics by looking at a specific performance of a symphony under a military dictatorship known for its violations of human rights. Different forms of evidence—from musical analysis, critical reception, and written accounts from diplomatic sources, to recollections of musicians, organizers, music critics, and members of the audience, to biographical and historical data on the participants, the concert itself, and the political context—are used for an interdisciplinary approach toward the listening experience.