Page 381 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 381
summaries
te, sondern nur indirekt, im Sinne sinfonischer Deutungs-Vielfalt öffentlich
machte.
Niall O’Loughlin
Mahler’s Tenth Symphony:
Motivic Development and Interaction
Mahler’s unfinished Tenth Symphony continues to fascinate. Numerous
attempts have been made to realise the sketches, with the most convincing
those made by the English musicologist Deryck Cooke and his colleagues.
The work itself is full of hints of its biographical significance, with verbal an-
notations to parts of the score and various musical connections both to oth-
er works by Mahler and to the composer’s real life crisis of his wife’s affair
with the artist Walter Gropius. The work is in five movements all of which
display musical conflict. The first contrasts a wandering theme with a hymn-
like chorale, its progress being interrupted by an organ-like chorale and vi-
olent discord. The second movement is a metrically complex scherzo with a
slower regular Ländler. The third, called Purgatorio, is short and enigmatic
providing musical material for the final movements. The fourth movement
juxtaposes music related to Das Lied von der Erde with music derived from
the Purgatorio, ending with a funereal drum stroke which is continually re-
peated in the finale. The music, initially slow, gradually becomes faster, but
moves back into a peaceful ending after the return of the dramatic episode
from the first movement. The significance of this music suggests a conflict of
themes, either by tempo or metre, and progress from peace through disrup-
tion to death and a final transfiguration.
Vlasta Reittererová – Hubert Reitterer
Guido Adler, der Bildhauer Anton Hanak und das Projekt
eines Gustav Mahler-Denkmals in Wien
Der Artikel beschäftigt sich mit der Darstellung des gescheiterten Projekts ei-
nes Gustav Mahler-Denkmals in Wien in der Zwischenkriegszeit. Im Mittel-
punkt steht der Vorsitzende des dazu eingesetzten Denkmal-Komitees, der
langjährige Freund Mahlers, Guido Adler. Es werden die Schwierigkeiten
aufgezeigt, mit denen sowohl das Komitee als auch besonders die beauftrag-
ten Künstler, insbesondere der Bildhauer Anton Hanak konfrontiert waren.
Erstmalig werden die im Adler-Nachlass in der University of Georgia (USA)
erhaltenen Dokumente veröffentlicht.
379
te, sondern nur indirekt, im Sinne sinfonischer Deutungs-Vielfalt öffentlich
machte.
Niall O’Loughlin
Mahler’s Tenth Symphony:
Motivic Development and Interaction
Mahler’s unfinished Tenth Symphony continues to fascinate. Numerous
attempts have been made to realise the sketches, with the most convincing
those made by the English musicologist Deryck Cooke and his colleagues.
The work itself is full of hints of its biographical significance, with verbal an-
notations to parts of the score and various musical connections both to oth-
er works by Mahler and to the composer’s real life crisis of his wife’s affair
with the artist Walter Gropius. The work is in five movements all of which
display musical conflict. The first contrasts a wandering theme with a hymn-
like chorale, its progress being interrupted by an organ-like chorale and vi-
olent discord. The second movement is a metrically complex scherzo with a
slower regular Ländler. The third, called Purgatorio, is short and enigmatic
providing musical material for the final movements. The fourth movement
juxtaposes music related to Das Lied von der Erde with music derived from
the Purgatorio, ending with a funereal drum stroke which is continually re-
peated in the finale. The music, initially slow, gradually becomes faster, but
moves back into a peaceful ending after the return of the dramatic episode
from the first movement. The significance of this music suggests a conflict of
themes, either by tempo or metre, and progress from peace through disrup-
tion to death and a final transfiguration.
Vlasta Reittererová – Hubert Reitterer
Guido Adler, der Bildhauer Anton Hanak und das Projekt
eines Gustav Mahler-Denkmals in Wien
Der Artikel beschäftigt sich mit der Darstellung des gescheiterten Projekts ei-
nes Gustav Mahler-Denkmals in Wien in der Zwischenkriegszeit. Im Mittel-
punkt steht der Vorsitzende des dazu eingesetzten Denkmal-Komitees, der
langjährige Freund Mahlers, Guido Adler. Es werden die Schwierigkeiten
aufgezeigt, mit denen sowohl das Komitee als auch besonders die beauftrag-
ten Künstler, insbesondere der Bildhauer Anton Hanak konfrontiert waren.
Erstmalig werden die im Adler-Nachlass in der University of Georgia (USA)
erhaltenen Dokumente veröffentlicht.
379
