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Scholarly Journeys Toward Gustav Mahler – Essays in Honour of Henry-Louis de La Grange for his 90th Birthday

Edited By Paul-André Bempéchat

This collection of essays forms the second Festschrift to honour the dean of Gustav Mahler research, Henry-Louis de La Grange, on the occasion of his ninetieth birthday. It includes vibrant, new historical, theoretical, and aesthetic research on the complex mind which produced among the best-loved orchestral works and songs of Western classical music.
Henry-Louis de La Grange's passion and tireless devotion to Gustav Mahler began when he first heard his Ninth Symphony conducted by Bruno Walter at Carnegie Hall in New York. He went on to plumb the depths of this composer's mind and soul and to explore every facet of his existence.
Among the many honours he has gleaned since the publication of the first Festschrift, Neue Mahleriana (Lang, 1997), Henry-Louis de La Grange has been named Professor by the Government of Austria (1998) and Officier de l'Ordre de la Légion d'honneur (2006). He has also been awarded Bard College's Charles Flint Kellogg Award in Arts and Letters, the Österreichisches Ehrenkreuz für Wissenschaft und Kunst, 1. Klasse (2010), the Gold Medal of the Internationale Gustav Mahler Gesellschaft (2010), and an honourary doctorate from The Juilliard School (2010). As another everlasting tribute, the American film director Jason Starr released his documentary film, For the Love of Mahler: The Inspired Life of Henry-Louis de La Grange, in 2015.
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Was erzählen die Blumen auf der Wiese?: Gedanken zum zweiten Satz von Mahlers Dritter Symphonie


Was erzählen die Blumen auf der Wiese?

Gedanken zum zweiten Satz von Mahlers Dritter Symphonie


Durch Gustav Theodor Fechners Panpsychismus erhielt Mahler Inspiration für seinen kompositorisch intendierten Blick auf die Natur, der im zweiten Satz der Dritten Symphonie in einem einprägsamen Naturbild „Was mir die Blumen [auf der Wiese] erzählen“ seinen Ausdruck fand. Die Natur wird darin aus idealisierter Sicht gezeigt. Einzig in der Musik kann sie quasi als „zweite Natur“ in Töne gefasst und im akustischen Bild bewahrt werden.

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