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It is through these elite contacts that he met and married the daughter of one well-known
painter (Anton Schindler) and the step-daughter of yet another (Carl Moll): Alma
Schindler, a famous beauty and the city’s most coveted bride-to-be. The couple first met
in November 1901, were engaged by late December, and married in March 1902. They
had two children, one of whom died in 1907 at age five; the other, Anna, became an
eminent sculptor. The marriage was anything but happy. Mahler insisted that Alma
shelve her artistic ambitions. Alma, who had married Mahler for reasons of ego and
social advancement, was consistently unfaithful and used her sexuality to terrorize him. A
man deeply riddled with self-doubt and ambition and surrounded by controversy, Mahler
struggled to retain Alma’s affection and even consulted with Sigmund Freud, but with
little success. Difficult marriage notwithstanding, Alma successfully exploited her status
as the widow of a legendary figure for the rest of her long and colorful life.
Before he left Vienna for America in 1907, Mahler had captivated and inspired a younger
generation of artists and intellectuals. This new generation included the composer and
conductor Alexander von Zemlinsky, and the composers Franz Schreker, Arnold
Schoenberg, and their younger acolytes, which included Alban Berg, Ernst Krenek,
Oskar Fried, Egon Wellesz, and Anton von Webern. They saw Mahler’s music and his
approach to performance as charting a path for modernist innovation. These younger
colleagues adored and admired Mahler as an exhilarating new voice and an exemplary
human being.
Everyone in Vienna knew of the intrigues in the opera house and between Mahler and the
Vienna Philharmonic, where Mahler’s demands, approach, and repertoire choices were
fiercely contested. He came to represent the modern in music, the analogue to new
developments visible in Vienna in painting, architecture, design, and writing. By 1907
Mahler was exhausted from fighting an ever-present, but persistent Viennese
conservatism and provincialism. At a concert he publicly defended Schoenberg’s much
more radically innovative music. Life and work in Vienna became too difficult. When
Mahler was offered an astronomically high fee to go to New York City to conduct the
Metropolitan Opera, and ultimately the New York Philharmonic, he accepted.
There was an astounding public outcry and protest when Mahler resigned his post at the
Opera. Pamphlets predicted that Mahler’s departure would mean the end of musical
greatness in Vienna. In December 1907, his departure by train to Paris en route to New
York was public event attended by Klimt, Roller, Webern, and Berg. Mahler’s
distinguished successor, the composer-conductor Felix Weingartner, never recovered
from the resentment and ridicule he received for having the temerity to think he could fill
Mahler’s shoes.
Although the conducting and the politics were time consuming and enervating, which
restricted his composing to the summer months, and although his marriage was not easy,
the years from 1902 to 1907 had been highly productive for Mahler. He completed three
new symphonies—numbers Four, Five, and Six—and witnessed performances of the first
three symphonies and the songs with orchestra throughout the world, in Boston, London,
St. Petersburg, and Amsterdam. By the end of 1909, after the move to New York, he
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completed two more large-scale symphonies, the innovative Seventh and the massive
Eighth, the so-called Symphony of a Thousand whose last movement set the end of
Goethe’s Faust Part II to music. Mahler would live to complete two more masterpieces,
Das Lied von der Erde and the Ninth Symphony, neither of which he lived to hear in
concert. He left a fragment of a tenth symphony, including a completed slow movement,
at the time of his death.
The slightly more than three years Mahler worked in New York, from 1907 to 1911, were
inspiring if a bit lonely, despite the presence of a large German-speaking community in
the city. Mahler never put down roots in the New World and returned with Alma to
Vienna and the Austrian countryside each summer. But they did make friends in
America. As in Vienna, Mahler found both supporters and detractors of his music and his
conducting in the critical press. By the end of 1910, Mahler was suffering from what is
today a curable cardiac inflammation. He was mortally ill when he set out for Vienna in
April 1911 (on a ship whose passengers included the writer and Mahler admirer Stefan
Zweig and the pianist and composer Ferruccio Busoni). He died in Vienna on May 18,
1911. Arnold Schoenberg, whose paintings Mahler consistently purchased in order to
provide him with money, produced a touching visual account of Mahler’s burial in the
cemetery in Grinzing on May 22.
Mahler’s Music: A Thumbnail Sketch
Mahler’s ambitions and achievement as a composer were shaped by his perception of his
place and the place of his generation in the history of music. By the time Mahler came of
age, he and his contemporaries were painfully aware that they were the heirs of an
astounding creative legacy dating back to the Baroque era. First there was the
contrapuntal mastery of J. S. Bach. During his American years Mahler made his own
modernized arrangement of two Bach orchestral suites. Bach’s exemplary creation of a
musical fabric using multiple lines working against and alongside one another—the
generating of a vertical composite sound out of the interaction of seemingly independent
voices—became a consistent source of inspiration in Mahler’s music.
Then there was the melodic beauty and expressive eloquence of Mozart. But even more
influential was the example of Beethoven, who expanded the range of instrumental
composition, particularly in his symphonies. Mahler understood Beethoven through the
lens of Wagner’s reading of the composer as the first great musical dramatist. Beethoven
had fashioned the arc of the symphony, shifting the weight of its impact from the first
movement to the last in a four or five movement form. For all composers who followed
in Beethoven’s shadow, the most powerful examples of this reframing of the symphony
were the Fifth and the Ninth Symphonies, where the last movements defined the work
without diminishing, but rather fulfilling the high expectations communicated by
astonishing opening movements.
Then came the third major inheritance: the music of Wagner. The reason that Mahler did
not succeed in writing an opera is because it seemed impossible to compete with
Wagner’s towering music theatrical achievement, just as it seemed daunting for