For a long time, I couldn't place Mahler's soundworld in the context of the chronology of classical music; he always sounded sui generis to me, a unique harmonic palette. And then recently I heard Tristan und Isolde, a wonderfu involving and transfiguring experience. And I finally seemed to have found the missing link for that Mahler sonic palette: Wagner. (Indeed, there is a little motif near the end of the Parsifal Prelude that I swear Mahler either copies or quotes (around the 11' mark on the Solti version)).
I now hear the influence everywhere in late Romanticism - Webern's In Sommerwind, Schoenberg's Verklarte Nacht, many of Strauss's tone poems. He seems to have opened up a new harmonic language, something we just don't hear before in Brahms, Beethoven, etc. Am I right in hearing this?
I am looking forward to next week's Wagner-fest on R3, especially the various documentaries. I wonder if they'll comment on this aspect of his music.
I now hear the influence everywhere in late Romanticism - Webern's In Sommerwind, Schoenberg's Verklarte Nacht, many of Strauss's tone poems. He seems to have opened up a new harmonic language, something we just don't hear before in Brahms, Beethoven, etc. Am I right in hearing this?
I am looking forward to next week's Wagner-fest on R3, especially the various documentaries. I wonder if they'll comment on this aspect of his music.
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