Word: mahlers
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Dates: during 1940-1949
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...battered streets, music lovers stopped to wring the hand of 71-year-old Conductor Bruno Walter. He had come back to preside over a ceremony as symbolic as his own return: the restoration to the Vienna State Opera of a Rodin bust of another Viennese hero-Gustav Mahler...
...Concertgebouw learned many a score under the baton of the composer himself-Strauss, Mahler, Hindemith-and many more under guest experts like Pierre Monteux, Ernest Ansermet (TIME, Feb. 2), Bruno Walter. For 45 of its 60 years it felt the sure hand of the same good conductor, Willem Mengelberg. Among his innovations were the great annual Easter performances of Bach's St. Matthew Passion and foreign tours for which the Concertgebouw is famed...
...played a bit monotonously, with very little range of volume, nobody remembered by the end of the concert. This was because, in the meantime, Bernstein, the Boston Symphony, the Harvard Glee Club and Radcliffe Choral Society, a soprano, and an alto had joined in a performance of Mahler's Second Symphony, a work which engages its performers in varying combinations for seventy five minutes. By the end of this time, the Mozart seemed to have been played a very long time...
...known that the effect of the Mahler was immense. It is impossible to say whether this was a good or bad performance of the Symphony, as it has not been played often enough to provide a basis of comparison. But it was certainly an interesting, a spectacular, a vivid performance. The music supposedly concerns in the first movement, a man's death, in the second and third, various reflections about his life, in the fourth, a search for the primal light, and in the fifth, the day of judgment. You would never guess this, however, unless you were a program...
...combined Glee Glub and Choral Society were called upon only during the last movement of the Symphony, which is set to an ode called "Resurrection" by a man called Klopstock. The ode concerns God's splendor, which according to the concert notes is Mahler's substitution for God's judgment. At any rate, this reviewer, for one, does not know whether the tenors were properly balanced with the sopranos or if the basses were in good voice, but he asserts that the tone of the choral groups was always pleasant and controlled, even when they were called upon to join...