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Mahler and Klimt Social Experience and Artistic Evolution
Mahler and Klimt Social Experience and Artistic Evolution
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CARL E. SCHORSKE
who have
All
grappled
to
arts,
often
with
the climactic
regenerate
Austrian
culture
as
a whoh.
The
careers
of
the
two
artists
ran
in similar
crossed, and frequently responded
parallel, occasionally
ways to the same crisis of liberal culture and society. By 1907 the efforts of both
men to revitalize Austrian
culture seemed to be blocked.
/
Born only two years apart, Klimt and Mahler received their education in the
culture of ascendant
liberalism in the late 1870s. As the bourgeoisie
to
arts of Au stria in
new world of
itself
the
traditional
appropriated
building its
a central
Recht and Kultur, the theatrical and representative
arts
occupied
place.
the best painters of Paris or even Berlin had long abandoned decorative
Where
canvases fcr the anonymous market, Klimt,
painting in favor of self-determined
like Makart before him, was drawn to architectural painting as still the most
confident
29
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30
CARL
E.
SCHORSKE
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SOCIAL
EXPERIENCE
AND
ARTISTIC
EVOLUTION
31
Arnim
Ringstrasse
era.
//
In the mid-nineties,
Klimt began to change in a direction that brought him
in fact, the leader o? dieJungen in
closer toMahler's world of ideas. He became,
the plastic arts. A generational
revolt against the liberal fathers, the movement
loosely called die Jungen had appeared first in politics among university youth in
the 1870s, with demands for national and social reforms. To this wave belonged
not only Mahler
and his philosopher-friend
but Theodor
Siegfried Lipiner,
Fried jung and Victor Adler. Then about
Herzl and Sigmund Freud, Heinrich
to literature, where
the revolt against bourgeois
1890, the movement
spread
the
took
less
form
of
its glories and
explorations of sexuality,
morality
political
turn
In
the
in
artists
its pain.
broke away from their elders in the
1897
plastic
K?nstlerhaus and founded the Secession. Klimt served as its first president and
were two veterans from the
Spiritus rector, but its ideologists
political and literary
Hermann
Bahr
Max
and
Both men had been Wagnerians
Burckhard.
Jungen,
as
both were connected with the theater?Bahr
and Nietzscheans,
playwright
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32
CARL
E.
SCHORSKE
as director
of the Burgtheater
since
1890. In the
title
Ver
Sacrum
the
movement's
(the
very
periodical,
proclaiming
war on the desiccated culture
two
the
declared
intent),
regenerative
spokesmen
of the fathers. It was in its pages that Adolf Loos first attacked Ringstrasse
as a Potemkin City.
Vienna
a veritable
In the first issue of Ver Sacrum, Klimt displayed
sunburst of
and critic,
Secession's
Burckhard
two-dimensional
stylistic experiments:
colophons,
drawings,
pencil sketches,
cartoons.
dissolution
and new growth were proclaimed here.
Berth
type design,
of his rich repertoire of visual materials
Klimt's
inventive handling
freely
and formal experimentation
reminds one of the ironic motivic
transformations
not yet attempt a
Klimt
of Mahler's
First Symphony,
did
though
comparably
structured form. Like Mahler when he used Fr?re Jacques as a dirge, Klimt broke
of familiar images and the coherence
of traditional
up the fixed references
new
to
iconic
in a kind of
old
associations,
symbols
assigning
meanings,
as
in
contradiction
mode
which
metamorphic
logical
appeared
organic truth.
The critical idea that things are not what they seem he conveyed not only by
fracturing the systems of signs, but also by rapid shifts in style, akin toMahler's
texture
in favor of ever-transforming
of a single orchestral
abandonment
be
it
instrumental groupings.
noted, played no role in Klimt; hence
Populism,
to convey his own values. His
folk
he did not, likeMahler,
employ
iconography
was
culture
aesthetic and psychological.
of
the
regnant
exclusively
critique
Even to proclaim his break from it he used its own classical iconography.
a poster
For the first Secession
the
show, Klimt provided
proclaiming
as
of
vehicle
the
He
his
who
the
chose
slew
revolt.
Theseus,
myth
generational
to liberate the youth of Athens
brutal Minotaur
(Plate II). We should observe
that Klimt presented
the theme not directly, but?as
befitting his commitment
to Austria's powerful
tradition of theatre?in
the form of a dramatic scene on
drama. Athena, wise virgin
the stage, as though itwere Act I in the Secessionist
to stand before
protectrix of the polis, had been chosen by the Austrian Liberals
the new Parliament as a symbol of a rational polity. Klimt appropriated her now
to sponsor the liberation of the arts by the young. From politics to culture as the
scene of action: that is how the journey ran.
of
with
his
ideational
representation
changed
technique
in the Museum
In his first Athena,
the
spandrel,
goddess had
in
is
the
she
two-dimensional?Klimt's
Now,
poster,
body,
substantiality.
newfound way of stating an abstraction. She sponsors a dramatic idea; since it is
on the stage.
not yet realized, he treats it as disembodied,
allegorical,
in 1898 shows Klimt's growth in the subversive
A major painting of Athena
mode
of
the
(Plate III). To understand
it, one must
metamorphic
exploitation
include another female figure whom Klimt had devised as a symbol of his
to a truth for "modern" man: Nuda veritas. She began in a two
commitment
for Hermann
dimensional
Bahr, Klimt produced
drawing for Ver Sacrum. Then,
amolded,
emblematic
of
his
of
artistic
version
her,
explorations of erotic
fleshly
life. In the final painting of Athena, the destiny of Nuda veritas converged with
that of the goddess. Athena herself, far from the simple solidity of her persona
or from the two-dimensional
in the Kunsthistorisches
abstraction of
Museum,
now
with
is
the Theseus
but
molded,
poster,
enigmatic
vaguely
impassive
force. But more has changed than the character of Athena: the traditional Nike,
Klimt's
commitment.
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SOCIAL
EXPERIENCE
AND
ARTISTIC
EVOLUTION
33
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34
CARL
E.
SCHORSKE
Biedermeier
vitalism
and
///
as a
While Mahler has come to be understood
philosophic musician, Klimt is
as the
sensuous
of
the
life. Klimt's more
still generally
painter
regarded
a
wider
view.
"Gustav Klimt,"
held
however,
contemporaries,
comprehending
are at once a
wrote
the poet Peter Altenberg,
"you
painter of vision and a
an
modern
A
for ceiling
modern
commission
altogether
poet."
philosopher,
of
the
for
of Vienna
the
ceremonial
hall
newly completed University
paintings
an
to
the
vision
in the
Klimt
adumbrated
occasion
gave
present fully
philosophic
Dumba
music
room.
set a central
of the faculty and the Ministry
of Culture
in the spirit of traditional Enlightenment:
for the ceiling paintings
the
was
over
to
Klimt
Darkness.
produce allegorical representa
triumph of Light
and Jurisprudence.3
tions of three of the four faculties: Philosophy,
Medicine,
In Philosophy, Klimt shows himself to be still a child of a theatrical culture (Plate
to us as if we were viewing
it from the pit, as a
the world
VI). He presents
But
the
in
the
tradition.
where
theatrum mundi
Baroque
Baroque theatrum mundi
was clearly stratified into heaven, earth, and hell, now earth itself seems gone,
dissolved
into a fusion of the other two spheres. The tangled bodies of suffering
mankind drift slowly by, suspended aimless in a viscous void. Out of the cosmic
stars are far behind?a
murk?the
heavy,
sleepy sphinx looms all unseeing,
the face at the base of the
of atomized space. Only
herself but a condensation
a
conscious
in
existence
mind. Das Wissen,
its
the
of
luminosity
picture suggests
as the
in
this
is
of
like a
the rays
the footlights,
placed
figure,
catalogue calls
to
cue
as
into the cosmic
turned around,
us, the audience,
prompter
though
The
authorities
theme
drama.
asWill,
as
World
vision of the universe here is Schopenhauer's?the
blind energy in an endless round of meaningless
love, and death.
parturiency,
in 1895-96 a similar vision of the
In his Third Symphony,
Mahler developed
as conceived
vitalism. But Mahler
retained a
universe
by Schopenhauerian
cosmos
cosmos
as a Baroque hierarchy of being, while Klimt's
still
organized
was amorphous. Where painter and musician
converge is in the crucial figure of
it is das Wissen; for Mahler,
it is the
the interpreter of the cosmos. For Klimt,
who sings Zarathu
of the Third Symphony,
soloist in the fourth movement
stra's dark, rhapsodic "Drunken Song of Midnight."4
Indeed, Mahler's magnifi
can
of Klimt's Philosophy
cent setting of Nietzsche's
viewer
afford
the
song
Klimt's
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SOCIAL
EXPERIENCE
AND
ARTISTIC
EVOLUTION
43
care!
Take
man,
What
I was
asleep?
a
deep
From
The world
know:
had
known.
than
agony:
the day
still
Desire?deeper
Woe
desire
wants
Aus
tiefem
Traum
bin
ich erwacht;
Lust?tiefer
noch
als Herzeleid;
Wants
is its woe?
Deep
But
and
is deep,
than
Deeper
I woke
dream
declare?
eternity?
chain
of humankind,
"all
things
. . . are
interlinked,
entwined,
enamoured.
. . .
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44
CARL
E.
SCHORSKE
on modern
art converted
the government's
Soon, however,
public attacks
a
were a
cultural asset into political liability. The University
paintings
hinge in
this change, and Klimt was its victim, as the government
began to temper its
the Minister
of Culture,
who had firmly
Thus
strategy to the opposition.
in 1900,
and his Philosophy against the protesting
defended Klimt
professors
to weaken when
on
New
the
carried
the
attack
into
Medicine
Right
began
Parliament.
Klimt
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SOCIAL
EXPERIENCE
AND
ARTISTIC
EVOLUTION
45
a narcissistic
a sexual
power proclaims
sublimating
fantasy of potency,
m
to
the
dread
defeat
recorded
offset
consummation,
Jurisprudence.
After the crisis years, Klimt suspended his psychological
and
exploration
to be swept into the
current that carried the
allowed himself
applied-arts
in its second phase. For four years Klimt exhibited no
Secession movement
Art's
realm.
a
Mahler
occupied
high official post, director of the Court
most
the
in the Austrian
art world.
Yet
Opera,
perhaps
exposed position
Mahler enjoyed, as Klimt did not, almost
from
his political
support
unwavering
external problem lay, until the end of
superiors for almost a decade. Mahler's
his directorship
in 1907, not with his bureaucratic
superiors, but with his
the
musicians,
critics, and the public.
Scholars have long identified the summer of 1901 as a
hinge in Mahler's
as a composer. That year he came to his new summer house on the
development
Unlike
Klimt,
W?rthersee
he produced an
seriously exhausted. Yet during July and August
of
series
his
last
Wunderhorn
astonishing
compositions:
song, seven R?ckert
three
of
the
and
movement
the
scherzo
of the
Kindertotenlieder),
songs (including
Fifth Symphony.
contrasts
The
of
contained
in
these
works
is
span
truly
folk song versus self-conscious,
romantic poetry; social concerns
breathtaking:
versus
versus
depth-psychological
impulses; verbal ideas as musical material
unassisted
music
versus
monumental
confes
"pure"
by program;
symphony
sional song. In these
elements of Mahler's
polarities
lay the heterogeneous
past
and present that he was in the process of
sorting and reordering in his art as the
new century
began.
Behind the reshuffling of Mahler's
ideas as composer lay a crisis in his career
as conductor.
to be sure, he had achieved a solid
In the Opera,
position by 1900,
the changes in the company necessary
to realize his
successfully
introducing
Public and critics gave Mahler
exacting standards of ensemble performance.
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46
CARL
E.
SCHORSKE
that
negative
judgments
rather as conductor of the
of hostile
criticism
that
ideas and
role, Mahler's
as
interpreter?especially
so in his
of his culture-hero Beethoven. As in his compositions,
interpretations,
he strove for purity and luminosity in every detail, but he often achieved this, in
at the
to a different performing
the view of listeners accustomed
practice,
was
a
to Mahler
clear etching of the
expense of the main lines of work. What
to his listeners more
a
seemed
individual elements that constituted
composition
French
critic
An
otherwise
of the whole.
like fragmentation
friendly
in every note; everything
ismade
"A purpose is discovered
1900:
in
complained
that the basic design
structure is invested with so much complexity
explicit; the
of others' works, as in his own
in his interpretations
is destroyed."7 Moreover,
the emotional
widened
Mahler
range of music,
drastically
composing,
on audience
alike. He
transformed
and musicians
demands
the
increasing
new instrumental
and
with experimentation,
traditions
rescoring,
performing
of the composer, but his
insisted that he was the representative
balance. Mahler
truth made it impossible for the orchestra to
restless search for the composer's
even to his own achieved interpretation.
pin him down
his first significant opposition when he shocked the
As Klimt encountered
so Mahler
the
image of Philosophy,
deeply established
academy by recasting
the
he
when
serious
elicited
challenged
accepted reading of that
antagonism
the protesting professors
most defined of all musical heroes, Beethoven. What
of the
musicians
to
orchestral
were
resistant
of the University
Klimt,
nineteenth
of
to
were
defenders
Mahler:
Philharmonic
century
professional
modes of thought and feeling in their cultural domains. Mahler,
however, was
of the
on his opponents
than Klimt. As members
more directly dependent
had
were
he
since
been
under
his
the
musicians
command,
Opera orchestra,
a free
as members
of the Philharmonic,
But
the
Court.
director
by
appointed
and thus held collective
their conductor,
association,
they had elected Mahler
Mahler
feel the sting of their
let
them
over
The
bolder
him.
among
authority
concert of 1898 on.
Beethoven
his
first
from
increasingly
disapprobation
between
music was the most constant center of controversy
Beethoven's
a
to
was
both
hero
Beethoven
because
his
and
Mahler
critics, precisely
parties.
to restore to
as necessary
in instrumentation
Mahler
justified his alterations
that had been
the purity of line and textural balance
works
Beethoven's
to
the
since
in
instruments
day, and
composer's
by the changes
destroyed
on
attack
halls.
modern
The
of
overcome
the blurring acoustical qualities
large
scores reached its climax over a performance
of Beethoven's
his "overpainting"
a
1900. Mahler
in February
of the Ninth
pamphlet
produced
Symphony
one
Beethoven's
as devoted to
"sole aim"?"to
his
pursue
procedures
defending
will down to its minutest manifestations."8
conservative
in the orchestra and the attacks of musically
To disaffection
as
in
the case of
had
also joined their voices, just
critics, the anti-Semites
they
In
was
his
second
and defiant.
determined
Klimt.
Mahler's
response
own
season
his
First
of 1900, he included
Philharmonic
program of the Winter
one
so
was
of
the
Mahler's
by
challenged
very right to do
Symphony.
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SOCIAL
EXPERIENCE
AND
ARTISTIC
EVOLUTION
47
had originally
committee. Mahler
of the Philharmonic
orchestra's members
the Titan; it celebrated the struggle, suffering, and
called his First Symphony
he boldly placed it on the Philharmonic
defeat of the heroic individual. Now
same theme:
two
works
classic
between
dealing with roughly the
program
Creatures of Prometheus and Schumann's Manfred overture. Prome
Beethoven's
was
theus too was a Titan, creator of man and culture-former;
Byron's Manfred
If Mahler had willed
world.
figure who heroically defied the spirit
not have devised a stronger means to bring it
he
could
and
rejection,
suffering
It was
with these sovereign composers.
upon himself than this self-identification
in
enemies
the same kind of defiance that Klimt had offered his University
a Faustian
Jurisprudence.
In the wake
of the tumultuous
by critics
reception of his First Symphony
seems to have lost his sense of proportion.
In a bitter speech
but with
he charged
them not only with
hostility,
in his pride, but a
"I did not act like aman offended and wounded
faithlessness.
A
he said in unconvincing
self-extenuation.9
general abandoned by his troops,"
soon
of
the
Philharmonic
the
traumatic
illness
grave
impact
compounded
in frustration
1, 1901, Mahler
resigned his conductorship
experience. On April
and defeat.
and public, Mahler
to his musicians,
V
of his intense crisis of rejection as conductor
and
the background
Against
summer retreat of 1901 the creative
composer, Mahler
generated during his
response that changed the ideational premises of his music and gave a new turn
not too much to say that he killed off, in the
to his artistic life. It is
perhaps
he then produced, what had given him his hope in humankind
compositions
both under
thus far: his faith in the folk and the child. Surely he reconsidered
the sign of withdrawal
and death.10 He wrote the last of his Wunderhorn songs,
blackest of them all. The drummer boy of the poem
"The Drummer
Boy"?the
and is going to the death that society has decreed.
has failed in his functions,
Like a child going to bed, he says "Good night" to all his comrades and to the
Titanic
clings to this stark song of execution of an
lovely outer world. Nothing
The
from which Mahler had drawn much
Knaben
Wunderhorn,
ordinary youth.
sustenance
for his first four symphonies
in the form of
earthy philosophic
concrete folk experience, was also going to its death with the drummer boy.
Friedrich R?ckert, a romantic
Mahler
turned from folk poetry to art poetry?to
accent
who spoke in the cultivated
of personal introspection and alienation from
state of mind. Nor did Mahler's Titan survive the
the world that suited Mahler's
is replaced by a chronic
songs, the Titan
change of spirit. In the R?ckert
sufferer, burdened by the heavy pain of life and death. The last of them, "Lost
to the World"
(Ich bin der Welt abhanden gekommen) poignantly,
yet coolly,
state
of the introverted one: he has died to the struggles of the
the
expresses
world where he had so long spent his substance, and lives now, resigned and
apart, in his heaven, his love, and his song.
of Dionysian
affirmation and Biedermeier
The combination
cheerfulness
that Mahler shared with Klimt in the 1890s, and had expressed in his Third and
to the darker vision of 1901. On
also gave way
Fourth
the
symphonies,
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48
CARL
E.
SCHORSKE
at the heart
Zarathustra
side, in the "Midnight Song" of Nietzsche's
Dionysian
of the Third Symphony, Mahler had affirmed desire and the will to life, even in
& new
the highest awareness of pain and death. In Um Mitternacht,
midnight
series of 1901, the artist, suddenly becoming
conscious of
song in the R?ckert
his own mortality,
draws back from life.
Mahler's
identification of hope for mankind with the image of the child and
the folk had reached its brightest, most buoyant expression
in the Biedermeier
with
which
he
crowned
the
Fourth
In the Kindertoten
child-utopia
Symphony.
lieder, he dealt a stunning blow to the idea of the child as light of the world,
placing it too under the shadow of death. Folk faith and child hope together lost
art. Not only in his choice of texts, in his shift away from
their place inMahler's
verse
to
folk
literary poetry, did he seem to bid farewell to his populist cultural
too. In the scherzo of his Fifth, also written
but in his music,
in
of 1901, Mahler
folk
with
dance
virtually destroys
along
popular
as
by using them
symbols of fragile, false pleasure,
bourgeois waltz music
forces of chaos and existential Angst. The
break powerful
through which
eccentric reality to which he assigns the dances isNietzschean,
but
fragmented,
it with neither his former Titanic
the composer
confronts
resistance nor his
affirmation.11 Mahler
Zarathustrian
almost contemptuously,
that
prophesied,
to
this scherzo movement
would
be
both
inaccessible
musicians
and
long
audience. Conductors
would "make nonsense of it," and as for the public?"O
heavens!?what
kind of a face will they make of this chaos that is forever giving
in the next moment
birth to a new world, which
collapses, to these primordial
to
to these dancing stars."12
this
sea,
world-sounds,
roaring, howling,
tossing
as
In a worldly
thus
conceived
increasingly
reality
painfully nonhomoge
no
his
in
solace
but in transcendent,
neous, Mahler
sought
longer
folk-utopias,
too
in
This
the Fifth Sympho
found
peace.
metaphysical
powerful expression
woven
in
its
around
the
of the R?ckert
theme
movement,
ny,
mystical
adagietto
to
"Lost
the
World."
As
Mahler's
social
his
song,
experience
deepened
his
introversion
and
fed
each
upon
pessimism,
psychological
religious impulse
ideas.
other, generating powerful new musical
commitment,
the summer
VI
joined Klimt and the Secession artists in their celebration of
on Beetho
centered his contribution
Like Klimt, Mahler
toJoy. Like Klimt,
Ode
he
and
Schiller's
ignored the
Symphony
In 1902 Mahler
Beethoven.
Klinger's
ven's Ninth
Promethean
emphasis
engagement with that theme.
Titanic
that marked
Klinger's
statue,
despite
his
long
an erotic turn,
had given his interpretation of the Ninth
transmuting
into a kiss of erotic fulfillment. Such was
kiss of universal brotherhood
his utopia, such his refuge from the trials through which he had passed in the
that
of the elements
crisis. It also contained?provocatively?one
University
most shocked Klimt's antagonists:
sexual openness.
in a way similarly consistent
Mahler made his quite different contribution
with his own recent experience. He too ignored his critics' sensibilities where he
He reduced a portion of the
most had nettled them: rearranging Beethoven.
for a wind ensemble. But the portion he selected was
Ninth's
choral movement
not any more Schiller's clarion call to universal brotherhood
that had so stirred
Klimt
Schiller's
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SOCIAL
EXPERIENCE
AND
ARTISTIC
EVOLUTION
49
chose Schiller's
be there in the
Sternen
mu?
er wohnen.
to those
In the original works that expressed ideas and feelings unacceptable
in
and
that
held
cultural
old
Mahler
and
Klimt
new,
Austria,
forces,
power
sustained defeats that compelled
each to rethink and recast the premises and
a
purposes of his creative work. Both maintained
continuing fidelity to theatre,
the sovereign art that each had served in his fledgling years. In his last years at
the Opera, Mahler knew how to make of the ancient art the carrier of the new
a living example of the regenerative virtue of modernity
as well
spirit, offering
as the contemporary
it was that he
value of a traditional
inheritance. Thus
became the revered and idolized cultural figure to the avant-garde
intelligentsia
itwas that the nonverbal Klimt, who in his way had shared so
of Vienna. Thus
as artist, found the mot
much of Mahler's
experience
juste truly suited to the
when he said, "Vorbei."
faithful gathered at the Westbahnhof
References
An earlier
in the proceedings
version of this paper appeared
of the Gustav Mahler
Colloquium,
the Oesterreichische
Gesellschaft
fur musik,
in its Beitr?ge, 1979-81.
1979, published
by its sponsor,
A more detailed version of this analysis of Klimt's
will be found inmy book Fin
development
de-si?cle Vienna (New York: Knopf,
5.
1980), chapter
2Letter to Fritz Lohr, January
1, 1885. Gustav Mahler,
Briefe, edited by Alma Maria Mahler
Paul Zsolnay,
(Berlin, Vienna,
1925) p. 34.
Leipzig:
was to execute
3His partner,
Franz Matsch,
and the central
the
Theology
panel representing
of Light over Darkness.
Triumph
4Also sprach Zarathustra,
"Das andere Tanzlied."
part 3, chapter entitled
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All use subject to JSTOR Terms and Conditions
50
CARL
E.
SCHORSKE
Plates
2, 3, 4,
p.
reproduced
174
by courtesy
of Kunsthistorisches
5, 6, 7, and 8 reproduced
by courtesy
Museum,
of Galerie
Vienna.
Welz,
Salzburg.
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All use subject to JSTOR Terms and Conditions