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...although harmonically Pierrot stands on the threshold of a brave new world, in spirit it takes its source from the work of Mahler. It is Post-Romantic, not as Verklarte Nacht is Post-Romantic, a jumble of Wagnerian cliches; but as Das Lied von der Erdeis Post-Romantic, lamenting a dying culture. The formal resemblance between Pierrot and Das Lied (they are both song cycles) goes deeper than mere coincidence. It links together in a fundamental way two works essentially decadent--where structural unity has been replaced by a series of separate emotional patterns, where the medium is over-refined...

Author: By Jonas Barish, | Title: THE MUSIC BOX | 10/24/1941 | See Source »

...Gustav Mahler: Symphony No. 1 in D Major (Minneapolis Symphony conducted by Dimitri Mitropoulos; Columbia; 12 sides; $6.50). Composer Mahler, who died in 1911, was the last and least appreciated of the great Central European symphonists. His fledgling work, songful and ironic (in a jocular funeral march on the round Frere Jacques), gets a rousing first recording...

Author: /time Magazine | Title: Music: SYMPHONIC, ETC. | 10/13/1941 | See Source »

...full-out orchestra. With precision and grace last week it swung through Beethoven's Fifth Symphony, Strauss's Till Eulenspiegel, Glazounov's Une Féte slave. Jovita Fuentes, Filipino soprano who has sung Madam Butterfly from China to Nazi Germany, sang a set of Gustav Mahler's most ivory-turreted Lieder...

Author: /time Magazine | Title: Music: Philippine Symphony | 8/18/1941 | See Source »

...30Crimson Concert Master: Handel: Organ Concerto and music of Hindemith and Beethoven. 8:45 Louis Roney '42, Tenor. 9:00 "Hot Off the Record." 9:30 Crimson Concert Hall: Mahler: Das Lied von der Erde. 10:30 Granville-Barker, Reading. 10:45 George A. Field 2G, Monologues. News...

Author: NO WRITER ATTRIBUTED | Title: CRIMSON NETWORK | 2/11/1941 | See Source »

Tchaikowski's Second Symphony was more worth bothering about than the Mahler Symphony, although the fact that its melodies are weaker, less distinguished, and less surehanded than those of the later symphonies will probably cause its rejection. But in no way does it merit Cui's contemptuous epithets of "rough and commonplace. . . . pompous and trivial . . . neither good nor bad." It is fun to listen to, and that is more than can be said for a good deal of the stuff that is perpetrated in concert-halls today...

Author: By Jonas Barish, | Title: THE MUSIC BOX | 1/24/1941 | See Source »

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