Album insights
Gustav Mahler, in his mature years as a composer, focused solely on works of two entirely different genres: the intimacy and compact form of songs, and the popular, engaging character of symphonies. These genres influenced each other, culminating in a work of notable ingenuity, sophistication, and power—a piece that combined both qualities: "Das Lied von der Erde" (1907/8).
Covering the first half of Mahler's career as a song composer, this recording includes all his songs composed up to 1890, except for two early incomplete songs and those that are lost. Many of Mahler's songs from this period were interconnected with larger works, forming a tapestry of references and allusions.
Mahler's earliest preserved works date back to his student days in Vienna in the late 1870s. Despite composing songs during this period, no complete work has survived. Beginning in the late 1870s, Mahler pursued two major projects: the cantata "Das klagende Lied" (revised and released in 1899) and the unfinished opera "Rübezahl," with only the libretto remaining. His first love affair with Josephine Poisl prompted Mahler to delve into a more intimate music form, resulting in a collection of five songs, including "Im Lenz," "Winterlied," and "Maitanz im Grünen."
"Im Lenz" features contrasting musical ideas, referencing material from "Das klagende Lied" and directly quoting from the cantata. Conversely, "Winterlied" culminates in a poignant outburst in its final lines. "Maitanz im Grünen" differs in style, influenced by popular and folk music, leading Mahler to later modify it as "Hans und Grete." Despite its apparent simplicity, this piece is a significant work in Mahler's repertoire, showcasing his early interest in the "Ländler," a rural waltz later showcased in his Symphony No. 1.
Transitioning from teaching to conducting in the summer of 1880, Mahler's career ascended rapidly. Influenced by a new love interest, he composed his first major masterpiece, the song cycle "Lieder eines fahrenden Gesellen." This cycle not only reflects on the transience of life but also contains musical elements that resurface in his Symphony No. 1.
Composed between 1884 and the 1890s, Mahler's "Lieder und Gesänge" consist of individual songs rather than a structured cycle. These pieces showcase varied themes ranging from romantic to folkloric influences, with compositions spanning ten years.
Mahler's engagement with the "Des Knaben Wunderhorn" collection inspired several of his early works, such as "Wenn mein Schatz Hochzeit macht," marking his initial ventures into Wunderhorn-based compositions. Collaborating on Tobias Weber's opera "Die drei Pintos" introduced Mahler to the Wunderhorn-Lied genre, creating a musical bridge between folk simplicity and artistic sophistication.
Mahler's ability to merge folk simplicity with artistic sophistication shines through in his Wunderhorn settings. Some songs derive from folk music elements, capturing a range of emotions from comedic flair to poignant reflections. Though Mahler never orchestrated his Wunderhorn songs entirely, his musical landmarks left a lasting impact on his compositions.
Reflecting on his student-era creations, Mahler acknowledged his early works as underdeveloped due to his uninhibited imagination. His evolution as an artist is evident in the miniature masterpieces of the 1880s, demonstrating his mastery in crafting small-scale yet profound works.