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from Part II - Performance
Published online by Cambridge University Press: 18 December 2020
This chapter considers Mahler’s operatic and orchestral repertoire choices in light of norms for the late nineteenth and early twentieth centuries. Particular questions addressed include: What are the characteristics of his preferred repertoire? Which composers did he favor, and whom did he neglect? What new music did he perform, besides his own? When did his choices match the norm, and when did they deviate from it? The personal qualities of Mahler’s repertoire emerge with new clarity when his decisions are situated within the broader context of Austro-German operatic and concert traditions. The contrast between Hamburg (1891–95) and Vienna (1897–1907) is particularly instructive; at the Hamburg City Theater, Mahler took orders from the intendant, Bernhard Pollini, whereas in Vienna he had free rein, at least until circumstances became unbearable and he departed for New York.
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