Republication of this study of Gustav Mahler, written twenty years ago, makes me ask myself whether I still share its point of view and endorse its content. The answer is Yes, I do.
True, I wish I had gone more fully into many matters, notably the marked change in his work from his Fifth Symphony onward. An extensive literature has, however, gone thoroughly into this development of his inner sound-image and the resultant enhancement of his polyphony as well as his technique, and even his whole sym-
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