“A brisk, engaging journey through the life of a fascinating and enormously influential artist.”
—Kansas City Star
“Very enjoyable to read, gossipy as well as learned, and it makes the man come to life.”
“Lebrecht’s book brings Mahler scholarship into to the present by including interviews with conductors, visits to sites with Mahler connections and an excellent annotated discography.”
“Readers of Why Mahler? will be grateful to Lebrecht for his enthusiasm and for his highly personal cultural history.”
—The Wall Street Journal
“As a short introduction to the meaning of Mahler, this sympathetic biography will do very well.”
—The Times (London)
“We could not put the book down. Mahler is boss.”
Since the early 1970s, culture commentator Lebrecht (Who Killed Classical Music?) has pursued all things Gustav Mahler: his music, his genius, his problems (from depression to racism). More comprehensive than his 1987 work, Mahler Remembered, this second look at the Austrian composer and conductor adds memoir and meditation to musical analysis for a compelling, opinionated, sometimes overwrought narrative. Noting Mahler's wide-ranging influence today (examples include Leonard Bernstein, a Harry Potter movie, and even Pink Floyd), Lebrecht finds in Mahler "a maker of music that interacts with what musicians and listeners are feeling in a fast-changing often threatening world." Throughout, Lebrecht interrupts the text with personal commentary, while being careful to connect the dots linking events in Mahler's life to his musical oeuvre and its realization. In chapters entitled "Whose Mahler?" and "How to Mahler" Lebrecht not only tells readers what to listen to, but why. Occasionally, such fervent admiration leads to fevered prose, as when Lebrecht writes that "the music pulses from him like blood from a severed artery." With more to appreciate than abhor, Lebrecht's affectionate study, like its subject, is laborious but engaging. (Oct.)
Lebrecht (Mahler Remembered; The Life and Death of Classical Music) presents a highly personal view of Gustav Mahler and the reasons behind the increasing popularity of his music. Using Mahler's biography, which occupies the majority of the book and features historical background, Lebrecht weaves a fascinating study that includes wide-ranging references to literature, politics, art, sociology, and popular music. Lebrecht's primary thesis is that Mahler's music, more than that of any other composer, invites highly personal and extremely varied interpretations—a point emphasized by including descriptions of numerous recordings by famous musicians over the last 80 years. The book is skillfully written and clearly—even passionately—reasoned. VERDICT This is music history, criticism, and biography at its best. A treasure trove for Mahler fans, this is also likely to convert even the most obstinate detractor. Highly recommended for all music lovers.—Timothy J. McGee, Trent Univ., Peterborough, Ont.
Music critic Lebrecht (The Life and Death of Classical Music: Featuring the 100 Best and 20 Worst Recordings Ever Made, 2007, etc.) pens an extended love letter to the composer whose majestic symphonies and brooding vocal works have become almost sacrosanct in the contemporary concert hall.
This book will appeal to Gustav Mahler (1860–1911) enthusiasts who share the author's tendency toward unabashed hyperbole—read no further than the subtitle. Lebrecht's penchant for exaggerating the role played by the classical music tradition in Western culture permeates this latest work, as it has throughout much of his previous writing. Yet the author's premise is worthy of consideration: How do we account for the rise in Mahler's popularity since Leonard Bernstein almost singlehandedly initiated a Mahler Renaissance in the 1960s? Though Lebrecht doesn't provide a definitive answer, he does offer an ample introduction to the composer. As part biography, part gonzo journalism and part confessional, the book seems unnecessarily confusing. The most compelling sections, which chronologically trace Mahler's biography, are tainted by Lebrecht's decision to write in the present tense. Likewise, many of the sections within the biographical portion of the book jump to tenuously related anecdotes from the present just as the narrative settles into a more comfortable rhythm. Lebrecht writes with appealing detail, however, filling in the crevices of his subject's life with adages and impressions about Mahler conveyed through the letters and reminiscences of those who knew him. Consequently, the author richly animates Mahler as the moody, self-obsessive and tragic figure he seems to have been. The book also includes interviews with surviving family members and accounts of the author's pilgrimages to important Mahler sites.
Lebrecht takes on a fascinating topic, but his attempt results in a disorienting formal hodgepodge.