Title (deu)
Performative Form im ersten Satz von Gustav Mahlers Neunter Symphonie. Eine Diskussion der Deutungen von Erwin Stein, Bruno Walter, Leonard Bernstein und Michael Gielen auf Basis einer Korpusstudie zu 121 Aufnahmen
Author
Abstract (deu)
The concept of “performative composition,” guided by his conducting experience, leads Gustav Mahler to implement variable tempo design as a formal principle in the first movement of his Ninth Symphony (1909–10). The Schoenberg student and conductor Erwin Stein, who held Mahler’s conducting in high esteem, argued that the movement’s tempo design, that is, the various tempi employed throughout the movement’s sections, should be oriented toward the main tempo (Andante comodo). A review of comments on this principle by Theodor W. Adorno, Bruno Walter, and Nicholas Cook is complemented by record-ings of the movement by Walter, Leonard Bernstein, and Michael Gielen in a comparative study of over 100 recordings from 1938 to 2019 with respect to tempo design and “performative form.”
Keywords (deu)
main tempoperformance historymacroformal tempo structureperformance analysis
Type (eng)
Language
[deu]
Persistent identifier
Is in series
Title
Archiv für Musikwissenschaft
Volume
80
Issue
2
ISSN
0003-9292
Issued
2023
From page
127
To page
150
Publication
Franz Steiner Verlag
Version type (eng)
Date issued
2023
Association (eng)
Access rights (eng)
License
- Citable links
Persistent identifier
DOI
https://phaidra.kug.ac.at/o:135005
https://doi.org/10.25162/afmw-2023-0007 - Content
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