Akadémiai Kiadó

While Mahler's adaptation of previously existing material is generally understood from a compositional standpoint, its philosophical import remains elusive. This essay explores the relationship between these perspectives by situating the fourth movement of Mahler's first symphony within the context of Wilhelm Dilthey's hermeneutical philosophy. The Cross motif (as described by Floros) is examined for its structural relations to the latter section of Liszt's Dante and the Magnificat chant upon which it is based. These reveal a compositional attitude to the past with close philoso-phical similarities to Dilthey's concept of the present as 'the moment filled with experience'. Indeed, Mahler's borrowing emblemizes Dilthey's claim that 'both past and future elements are related to the experience in a sequence which, through these relationships, is welded into a whole.'

Williamson, John 'Liszt, Mahler and the Chorale', Proceedings of the Royal Musical Association 108, 1981-82, [115]-125.

Zychowicz, James L. 'Liszt and Mahler: Perspectives on a Difficult Relationship', Journal of the American Liszt Society 36, July-December 1994, 1-18. for more information on Mahler's first symphonty, though of a more indirect relationship to the current essay:

Adorno, Theodor Mahler: A Musical Physiognomy, trans. Edmund Jephcott, Chicago: Chicago University Press, 1992.

Banks, Paul 'Mahler's "most daringly composed work": The first symphony', Muziek & Wetenschap: Dutch journal of musicology 5/3, 1995-96, 253-265.

"Buhler", James "Breakthrough" as critique of form: The finale of Mahler's first symphony', 19th-Century Music 20/2, Fall 1996, 125-143.

[CrossRef]

Dahlhaus, Karl 'Geschichte eines Themas. Zu Mahlers Erster Symphonie' in Jahrbuch des Staatlichen Instituts für Musikforschung Preussischer Kulturbesitz. Berlin: Merse-burger 1977, 45-60.

Floros, Constantin Die Geistige Welt Gustav Mahlers in systematischer Darstellung. Breitkopf und Härtel 1977, vol. 1 of Gustav Mahler, 3 vols, Breitkopf und Härtel (1977-85).

Hoekner, Berthold 'Music as a Metaphor of Metaphysics: Tropes of Transcendence in 19th-century music from Schumann to Mahler'. PhD diss., Cornell University, 1994.

Hoyer, Michael 'Die multiperspektivische Totalität von Mahlers 1. Symphonie' in Form und Idee in Gustav Mahlers Instrumentalmusik Wilhelmshaven: Heinrichsofen 1980, 29-116.

Jones, Robert Frederick 'Thematic development and form in the first and fourth movements of Mahler's first symphony'. PhD diss., Brandeis University, 1980.

Kaplan, Richard A. 'Temporal fusion and climax in the symphonies of Mahler', The journal of musicology: A quarterly review of music history, criticism, analysis, and performance practice 14/2, Spring 1996, 213-232.

Krebs, Dieter 'Gustav Mahlers erste Symphonie: Form und Gehalt', Musikwissenschaftliche Schriften 31. Munich: Katzbichler, 1997.

Meier, Barbara Geschichtliche Signaturen der Musik bei Mahler, Strauss under Schönberg, Schriften zur Musikwissenschaft aus Münster 5. Hamburg: Wagner, 1992.

Sine, Nadine 'The evolution of symphonic worlds: tonality in the symphonies of Gustav Mahler, with emphasis on the first, third, and fifth'. PhD diss., New York University, 1983.

Sponheuer, Bernd 'Der Durchbruch als primär Formkategorie Gustav Mahlers. Eine Untersuchung zum Finalproblem de 1. Symphonie' in Form und Idee in Gustav Mahlers Instrumentalmusik. Wilhelmshaven: Heinrichsofen 1980, 117-164.

Mahler's Liszt and the Hermeneutics of Chant

Authors

Abstract

Keywords

Fulltext Preview (Small, Large)

References