Word: self
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Dates: during 1960-1969
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...distraught mid-century man who is, like all of us course, pre-phoenix in spirit. Such descriptions might deeply engage the imagination of the creators on Easy Rider but are a ludicrous profanation of an extremely complex musician. No matter how hard harried annotators try, their exegeses are usually self-congratulation for the act of explanation. The result has been a sanctimonious exhumation which consists of a disfiguring serious of antinomies, most commonly Mahler as neurasthenic Demon and Poet. But more violent misconceptions are the persistent currency of Mahler criticism, Many people think of him as a charnel-house...
...succeeding only in repeating the great men's first thoughts, and eventually making a cult of lamentation out of their own shortcomings. Thomas Mann described this period of apparent artistic desperation and extravagance as the miserable satyr play of a smaller time. This business of post-romantic it self is a continuously evolving, because imperishable, force in music. The post-romantic period was a continuation of the nineteenth-century attempts to fuse literature and music in the creation of a more ardent poeticism and evocative drama. The popular portrayal of this period also habitually refers to it as the death...
What they usually is that Mahler's music is flawed by self-parody and sentimentality. But the cry of self-parody is usually only disguised condescension, and the accusation of sentimentality is humorous in how it reveals the insular bathos of the critic. Mahler's art was really a plea for intensity, and compellingly recalls a similar plea by T.S. Eliot...
...lifetime afflicted by mockery, Mahler struggled toward the agonizing realization, perhaps attainable only through self-torture, that there is a divine harmony which dissolves strife in lucid order and makes the world intelligible. Schoenperg wrote him after heating the Second Symphony...
...foolish to catalogue the crdits and debits of the opening night of a production as volatile and hurriedly achieved as this one. Only two things are certain. First, than in Jesus and Job Mayer has moved towards an intimacy and self-revelation which may eventually carry him away from his cherished devices of stagecraft and the Cambridge audience which applauded its more conventional manifestations. The other is that Mayer's visions and his struggles with them are worth seeing. For the sake of the man, for the sake...