A Conservative Obligation: Gustav Mahler’s Second Symphony in C-Minor, “Resurrection”
From the desk of Thomas F. Bertonneau on Tue, 2009-10-27 11:22
Readers of The Brussels Journal might approach the following essay as though it were an extended footnote to “Fjordman’s” magisterial multi-part treatment of Western music-history. My essay is also, in its way, a follow-up to my own earlier Brussels Journal statements about Johann Sebastian Bach and Joseph Haydn. This year (2009) is the bicentenary of Haydn’s death. The year 2011 will be the centenary of Gustav Mahler’s death. As in the cases of Bach and Haydn, I consider Mahler (1860-1911) – and specifically his Second Symphony (1894) – to be what I call “a conservative obligation,” an essential and poignant manifestation of the Western spirit, close familiarity with which Westerners ought to cultivate. Not all “conservative obligations” are musical. I hope, in future, to dedicate some words to the Hudson Valley School of American landscape painting and to the aesthetics of steam locomotion, European and American. I have reason to believe that once, during his sojourn in New York State and on his way to Niagara Falls with his wife, Mahler passed through the small town on Lake Ontario where – in my exile from my native California – I have lived since the fall of the fateful year 2001. A fair number of Mahler acquaintances made their way to California in the 1930s. His influence may be heard in certain landmark film-scores, like those of Eric Korngold. For me, Mahler is a presence, immediate and personal.



