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Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna. K. N. Knittel. Surrey: Ashgate, 2010. 218 pp. ISBN 978-0-7546-6372-0
Reviewed by Karen Painter
Seeing Mahler: Music and the Language of Antisemitism in Fin-de-Siècle Vienna expands upon K. N. Knittel’s pathbreaking work on the reception of Mahler’s conducting, published in 19th Century Music in 1995 and 2006. The book’s trajectory has a clear rhetorical strategy, moving from explicit and offensive accounts of the Jew’s body to, in my view, speculation on how musical discourse served the cause of antisemitism, while concluding with ruminations on anti-Jewish prejudice in the United States today. Ironically, the resistance Mahler faced as a Jew (or merely perceived that he faced, Daniel Jütte has recently argued in a paper on Jews at court) in aspiring to become director of the Court Opera, is all but ignored. Rather, Knittel moves into the important but murky subject of criticizing music because it sounds Jewish. Read the rest of this entry »
Reading Mahler: German Culture and Jewish Identity in Fin-de-Siècle Vienna. Carl Niekerk. Rochester, NY: Camden House, 2010. ISBN 978-1-5711-3467-7
For a composer once considered to be on the margins of the Germanic symphonic tradition, Gustav Mahler (1860-1911) now enjoys an enormous discography, an ever-expanding corpus of biographical and musicological scholarship, and nothing short of a cult of followers ready to discuss and debate any detail that might suggest new paths to interpreting his lengthy and emotionally involving works. Carl Niekerk’s Reading Mahler is a notable addition to the composer’s bibliography because it counters conventional images of Mahler as a “nostalgic modernist” or a “neoromanticist” derived from the first-person recollections of the composer’s wife, Alma, and the conductor Bruno Walter. Niekerk instead places Mahler at the head of the “avant-garde” generation of composers that followed (212). This is a Mahler concerned with nothing less than “reinventing the German cultural tradition” in a way distinct from the nationalist models most closely associated with the influential anti-Semitic opera composer Richard Wagner (218). For Niekerk, then, Mahler’s “Jewishness is of importance, even though he said little about it in public” (12), and even though it plays little more than a background role in philosopher Theodor Adorno’s essential monograph on the composer. His reconsideration of Mahler thus encompasses much more than musical issues per se. Niekerk aims to place Mahler securely within the intellectual context of his time by focusing on the texts that may have been formative in his thinking, and that often played direct roles in the construction of his songs and symphonies. Read the rest of this entry »
Jewish Musical Modernism, Old and New. Edited by Philip V. Bohlman, with a foreword by Sander L. Gilman. Chicago: University of Chicago Press, 2008. 218 pp. with CD supplement. ISBN 978-0-226-06326-3
In his 2002 essay “Inventing Jewish Music,” Philip Bohlman called our attention to a surprising fact rarely noted by previous scholars: the term “Jewish music” hardly existed before the late nineteenth century . Tracing its first appearance among German Jewish cantors, Bohlman argued that that the new locution reflected a crucial turning point in the emergence of modern Jewish historical consciousness as a whole. He has gone on to develop this thesis in various publications that emphasize the centrality of music in the modern European Jewish experience. In his new anthology, Jewish Cultural Modernism, Old and New, he now expands this line of inquiry from Jewish modernity to European modernism. His goal is to break down the familiar dichotomy between studies of modern Jewish music and those of individual Jewish musicians within the movement of European modernism. Read the rest of this entry »