Gustav Mahler Net Worth, Bio

Gustav Mahler Net Worth

Gustav Mahler how much money? For this question we spent 20 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Musicians
Total Net Worth at the moment 2024 year – is about $103,2 Million.

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Biography

Gustav Mahler information Birth date: July 7, 1860, Kali?t?, Czech Republic Death date: May 18, 1911, Vienna, Austria Birth place: Kalischt, Bohemia, Austria-Hungary [now Kaliste u Humpolce, Czech Republic] Height:5 4 (1.63 m) Profession:Soundtrack, Composer, Music Department Spouse:Alma Mahler Gropius Werfel (m. 1902–1911) Children:Anna Mahler, Mar?a Mahler Movies:Tradition is the Handing on of Fire, not the Worship of Ashes

Height, Weight:

How tall is Gustav Mahler – 1,80m.
How much weight is Gustav Mahler – 51kg

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Wiki

Gustav Mahler (German: [???staf ?ma?l?], 7 July 1860 – 18 May 1911) was a late-Romantic composer and one of the leading conductors of his generation. He was born to a Jewish family in the village of Kalischt in Bohemia, in what was then the Austrian Empire, now Kali?t? in the Czech Republic. His family later moved to nearby Iglau, where Mahler grew up.As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners, Mahler then became a frequently performed and recorded composer, a position he has sustained into the 21st century.Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York&#39, s Metropolitan Opera and the New York Philharmonic.Mahler&#39, s ?uvre is relatively small, for much of his life composing was necessarily a part-time activity while he earned his living as a conductor. Aside from early works such as a movement from a piano quartet composed when he was a student in Vienna, Mahler&#39, s works are designed for large orchestral forces, symphonic choruses and operatic soloists. Most of his twelve symphonic scores are very large-scale works, often employing vocal soloists and choruses in addition to augmented orchestral forces. These works were often controversial when first performed, and several were slow to receive critical and popular approval, exceptions included his Symphony No. 2, Symphony No. 3, and the triumphant premiere of his Eighth Symphony in 1910. Some of Mahler&#39, s immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955 to honour the composer&#39, s life and work.
Biography,Early lifeFamily backgroundJihlava (German: Iglau) where Mahler grew upThe Mahler family came from eastern Bohemia and were of humble circumstances, the composers grandmother had been a street pedlar. Bohemia was then part of the Austrian Empire, the Mahler family belonged to a German-speaking minority among Bohemians, and was also Jewish. From this background the future composer developed early on a permanent sense of exile, always an intruder, never welcomed.Bernhard Mahler, the pedlars son and the composers father, elevated himself to the ranks of the petite bourgeoisie by becoming a coachman and later an innkeeper. He bought a modest house in the village of Kalischt (Kaliste), halfway between Prague in Bohemia and Brno in Moravia, in the geographic center of todays Czech Republic. Bernhards wife, Marie (Herrmann), gave birth to the first of the couples 14 children, a son Isidor, who died in infancy. Two years later, on 7 July 1860, their second son, Gustav, was born.ChildhoodIn December 1860, Bernhard Mahler moved with his wife and infant son, Gustav, to the town of Iglau (Jihlava), 25 km (16 mi) to the south-east, where he built up a distillery and tavern business. The family grew rapidly, but of the 12 children born to the family in Iglau only six survived infancy. Iglau was then a thriving commercial town of 20,000 people where Gustav was introduced to music through street songs, dance tunes, folk melodies, and the trumpet calls and marches of the local military band. All of these elements would later contribute to his mature musical vocabulary.When he was four years old, Gustav discovered his grandparents piano and took to it immediately. He developed his performing skills sufficiently to be considered a local Wunderkind and gave his first public performance at the town theatre when he was ten years old. Although Gustav loved making music, his school reports from the Iglau Gymnasium portrayed him as absent-minded and unreliable in academic work. In 1871, in the hope of improving the boys results, his father sent him to the New Town Gymnasium in Prague, but Gustav was unhappy there and soon returned to Iglau. In 1874 he suffered a bitter personal loss when his younger brother Ernst died after a long illness. Mahler sought to express his feelings in music: with the help of a friend, Josef Steiner, he began work on an opera, Herzog Ernst von Schwaben (Duke Ernest of Swabia) as a memorial to his lost brother. Neither the music nor the libretto of this work has survived.Student daysBernhard Mahler supported his sons ambitions for a music career, and agreed that the boy should try for a place at the Vienna Conservatory. The young Mahler was auditioned by the renowned pianist Julius Epstein, and accepted for 1875–76. He made good progress in his piano studies with Epstein and won prizes at the end of each of his first two years. For his final year, 1877–78, he concentrated on composition and harmony under Robert Fuchs and Franz Krenn.[11] Few of Mahlers student compositions have survived, most were abandoned when he became dissatisfied with them. He destroyed a symphonic movement prepared for an end-of-term competition, after its scornful rejection by the autocratic director Joseph Hellmesberger on the grounds of copying errors.[12] Mahler may have gained his first conducting experience with the Conservatorys student orchestra, in rehearsals and performances, although it appears that his main role in this orchestra was as a percussionist.[13]Mahler was influenced by Richard Wagner during his student days, and later became a leading interpreter of Wagners operas.Among Mahlers fellow students at the Conservatory was the future song composer Hugo Wolf, with whom he formed a close friendship. Wolf was unable to submit to the strict disciplines of the Conservatory and was expelled. Mahler, while sometimes rebellious, avoided the same fate only by writing a penitent letter to Hellmesberger.[12] He attended occasional lectures by Anton Bruckner and, though never formally his pupil, was influenced by him. On 16 December 1877, he attended the disastrous premiere of Bruckners Third Symphony, at which the composer was shouted down, and most of the audience walked out. Mahler and other sympathetic students later prepared a piano version of the symphony, which they presented to Bruckner.[13] Along with many music students of his generation, Mahler fell under the spell of Richard Wagner, though his chief interest was the sound of the music rather than the staging. It is not known whether he saw any of Wagners operas during his student years.[14]Mahler left the Conservatory in 1878 with a diploma but without the silver medal given for outstanding achievement.[15] He then enrolled in the University of Vienna (he had, at Bernhards insistence, sat and with difficulty passed the matura, or entrance examination) and followed courses which reflected his developing interests in literature and philosophy. After leaving the University in 1879, Mahler made some money as a piano teacher, continued to compose, and in 1880 finished a dramatic cantata, Das klagende Lied (The Song of Lamentation). This, his first substantial composition, shows traces of Wagnerian and Brucknerian influences, yet includes many musical elements which musicologist Deryck Cooke describes as pure Mahler.[16] Its first performance was delayed until 1901, when it was presented in a revised, shortened form.[17]Mahler developed interests in German philosophy, and was introduced by his friend Siegfried Lipiner to the works of Arthur Schopenhauer, Friedrich Nietzsche, Gustav Fechner and Hermann Lotze. These thinkers continued to influence Mahler and his music long after his student days were over. Mahlers biographer Jonathan Carr says that the composers head was not only full of the sound of Bohemian bands, trumpet calls and marches, Bruckner chorales and Schubert sonatas. It was also throbbing with the problems of philosophy and metaphysics he had thrashed out, above all, with Lipiner.[18]Early conducting career 1880–88First appointmentsIn the summer of 1880, Mahler took his first professional conducting job, in a small wooden theatre in the spa town of Bad Hall, south of Linz.[15] The repertory was exclusively operetta, it was, in Carrs words a dismal little job, which Mahler accepted only after Julius Epstein told him he would soon work his way up.[18] In 1881, he was engaged at the Landestheater in Laibach (now Ljubljana, in Slovenia), where the small but resourceful company was prepared to attempt more ambitious works. Here, Mahler conducted his first full-scale opera, Verdis Il trovatore, one of more than 50 that he presented during his time in Laibach.[19] After completing his six-month engagement, Mahler returned to Vienna and worked part-time as chorus-master at the Vienna Carltheater.[20]In January 1883, Mahler became conductor at a run-down theatre in Olmutz (now Olomouc).[19] He later wrote: From the moment I crossed the threshold of the Olmutz theatre I felt like one awaiting the wrath of God.[21] Despite poor relations with the orchestra, Mahler brought five new operas to the theatre, including Bizets Carmen, and won over the press that had initially been hostile to him.[21] After a weeks trial at the Royal Theatre in the Hessian town of Kassel, Mahler became the theatres Musical and Choral Director from August 1883.[20] The title concealed the reality that Mahler was subordinate to the theatres Kapellmeister, Wilhelm Treiber, who disliked him and set out to make his life miserable.[22] Despite the unpleasant atmosphere, Mahler had moments of success at Kassel. He directed a performance of his favourite opera, Webers Der Freischutz,[23] and, on 23 June 1884, conducted his own incidental music to Joseph Victor von Scheffels play Der Trompeter von Sackingen (The Trumpeter of Sackingen), the first professional public performance of a Mahler work.[n 1] An ardent, but ultimately unfulfilled, love affair with soprano Johanna Richter led Mahler to write a series of love poems which became the text of his song cycle Lieder eines fahrenden Gesellen (Songs of a Wayfarer).[22]In January 1884, the distinguished conductor Hans von Bulow brought the Meiningen Court Orchestra to Kassel and gave two concerts. Hoping to escape from his job in the theatre, Mahler unsuccessfully sought a post as Bulows permanent assistant. However, in the following year his efforts to find new employment resulted in a six-year contract with the prestigious Leipzig Opera, to begin in 1886. Unwilling to remain in Kassel for another year, Mahler resigned in July 1885, and through good fortune was offered a standby appointment as an assistant conductor at the Neues Deutsches Theater (New German Theatre) in Prague.[24]Prague and LeipzigGustav Mahlers home in Leipzig, where he composed his Symphony No. 1In Prague, the emergence of Czech National Revival had increased the popularity and importance of the new Czech National Theatre, and had led to a downturn in the Neues Deutsches Theaters fortunes. Mahlers task was to help arrest this decline by offering high-quality productions of German opera.[25] He enjoyed early success presenting works by Mozart and Wagner, composers with whom he would be particularly associated for the rest of his career,[23] but his individualistic and increasingly autocratic conducting style led to friction, and a falling out with his more experienced fellow-conductor, Ludwig Slansky.[25] In April 1886, Mahler left Prague to take up his post at the Neues Stadttheater in Leipzig, where rivalry with his senior colleague Arthur Nikisch began at once. This conflict was primarily over how the two should share conducting duties for the theatres new production of Wagners Ring cycle. Nikischs illness, in January 1887, meant that Mahler took charge of the whole cycle, and scored a resounding public success. This did not, however, win him popularity with the orchestra, who resented his dictatorial manner and heavy rehearsal schedules.[25][26]In Leipzig, Mahler befriended Carl von Weber, grandson of the composer, and agreed to prepare a performing version of Carl Maria von Webers unfinished opera Die drei Pintos (The Three Pintos). Mahler transcribed and orchestrated the existing musical sketches, used parts of other Weber works, and added some composition of his own.[27] The premiere at the Stadttheater, in January 1888, was an important occasion at which Tchaikovsky was present,[25] as were the heads of various opera houses. The work was well-received, its success did much to raise Mahlers public profile, and brought him financial rewards.[27] His involvement with the Weber family was complicated by a romantic attachment to Carl von Webers wife Marion which, though intense on both sides, ultimately came to nothing. At around this time Mahler discovered the German folk-poem collection Des Knaben Wunderhorn (The Youths Magic Horn), which would dominate much of his compositional output for the following 12 years.[25][n 2]In May 1888, Mahlers new-found financial security enabled him to resign his Leipzig position after a dispute with the Stadttheaters chief stage manager.[29] Without a post, Mahler returned to Prague to work on a revival of Die drei Pintos and a production of Peter Corneliuss Der Barbier von Bagdad. This short stay ended unhappily, with Mahlers dismissal following his outburst during a rehearsal. However, through the efforts of an old Viennese friend, Guido Adler, Mahlers name went forward as a potential director of the Royal Hungarian Opera in Budapest. He was interviewed, made a good impression, and was offered the post from October 1888.[30]Apprentice composerGustav Mahler at the time of his First SymphonyIn the early years of Mahlers conducting career, composing was a spare time activity. Between his Laibach and Olmutz appointments he worked on settings of verses by Richard Leander and Tirso de Molina, later collected as Volume I of Lieder und Gesange (Songs and Airs).[31] Mahlers first orchestral song cycle, Lieder eines fahrenden Gesellen, composed at Kassel, was based on his own verses, although the first poem, Wenn mein Schatz Hochzeit macht (When my love becomes a bride) closely follows the text of a Wunderhorn poem.[28] The melodies for the second and fourth songs of the cycle were incorporated into the First Symphony, which Mahler finished in 1888, at the height of his relationship with Marion von Weber. The intensity of Mahlers feelings are reflected in the music, which originally was written as a five-movement symphonic poem with a descriptive programme. One of these movements, the Blumine, later discarded, was based on a passage from his earlier work Der Trompeter von Sackingen.[25][27] After completing the symphony, Mahler composed a 20-minute funeral march, or Totenfeier, which later became the first movement of his Second Symphony.[32]There has been frequent speculation about lost or destroyed works from Mahlers early years.[33] The Dutch conductor Willem Mengelberg believed that the First Symphony was too mature to be a first symphonic work, and must have had predecessors. In 1938, Mengelberg revealed the existence of the so-called Dresden archive, a series of manuscripts in the possession of the widowed Marion von Weber.[34] According to the Mahler historian Donald Mitchell, it was highly likely that important Mahler manuscripts of early symphonic works had been held in Dresden,[34] this archive, if it existed, was almost certainly destroyed in the bombing of Dresden in 1945.[27]Budapest and Hamburg, 1888–97Royal Opera, BudapestOn arriving in Budapest in October 1888, Mahler encountered a cultural conflict between conservative Hungarian nationalists who favoured a policy of Magyarisation, and progressives who wanted to maintain and develop the countrys Austro-German cultural traditions. In the opera house a dominant conservative caucus, led by the music director Sandor Erkel, had maintained a limited repertory of historical and folklore opera. By the time that Mahler began his duties, the progressive camp had gained ascendancy following the appointment of the liberal-minded Ferenc von Beniczky as intendant.[35] Aware of the delicate situation, Mahler moved cautiously, he delayed his first appearance on the conductors stand until January 1889, when he conducted Hungarian language performances of Das Rheingold and Die Walkure to initial public acclaim.[36] However, his early successes faded when plans to stage the remainder of the Ring cycle and other German operas were frustrated by a renascent conservative faction which favoured a more traditional Hungarian programme.[36] In search of non-German operas to extend the repertory, Mahler visited Italy where among the works he discovered was Pietro Mascagnis recent sensation Cavalleria rusticana.[35]In February 1889, Bernhard Mahler died, this was followed later in the year by the deaths both of Mahlers sister Leopoldine and his mother.[35] Mahler himself suffered poor health, with attacks of haemorrhoids and migraine and a recurrent septic throat.[37] Shortly after these family and health setbacks the premiere of the First Symphony, in Budapest on 21 November 1889, was a disappointment. The critic August Beers lengthy newspaper review indicates that enthusiasm after the early movements degenerated into audible opposition after the Finale.[38] Mahler was particularly distressed by the negative comments from his Vienna Conservatory contemporary, Viktor von Herzfeld, who had remarked that Mahler, like many conductors before him, had proved not to be a composer.[35][39]In 1891, Hungarys move to the political right was reflected in the opera house when Beniczky was replaced as intendant by Geza Zichy, a conservative aristocrat determined to assume artistic control over Mahlers head.[35] Mahler began negotiating with the director of the Stadttheater Hamburg, in May 1891, having agreed to a contract there, he resigned his Budapest post.[40] His final Budapest triumph was a performance of Don Giovanni which won him praise from Brahms, who was present.[41] During his Budapest years Mahlers compositional output had been limited to the Wunderhorn song settings that became Volumes II and III of Lieder und Gesange, and amendments to the First Symphony.[36]Stadttheater HamburgThe Komponierhauschen (composition hut) in Steinbach am AtterseeMahlers Hamburg post was as chief conductor, subordinate to the director, Bernhard Pohl (known as Pollini) who retained overall artistic control. Pollini was prepared to give Mahler considerable leeway if the conductor could provide commercial as well as artistic success. This Mahler did in his first season, when he conducted Wagners Tristan und Isolde for the first time and gave acclaimed performances of the same composers Tannhauser and Siegfried.[42] Another triumph was the German premiere of Tchaikovskys Eugene Onegin, in the presence of the composer, who called Mahlers conducting astounding, and later asserted in a letter that he believed Mahler was positively a genius.[43] Mahlers demanding rehearsal schedules led to predictable resentment from the singers and orchestra with whom, according to music writer Peter Franklin, the conductor inspired hatred and respect in almost equal measure.[42] He found support, however, from Hans von Bulow, who was in Hamburg as director of the citys subscription concerts. Bulow, who had spurned Mahlers approaches in Kassel, had come to admire the younger mans conducting style, and on Bulows death in 1894 Mahler took over the direction of the concerts.[36]Hans von Bulow, an admirer of Mahlers conductingIn the summer of 1892 Mahler took the Hamburg singers to London to participate in a six-week season of German opera—his only visit to Britain. His conducting of Tristan enthralled the young composer Ralph Vaughan Williams, who staggered home in a daze and could not sleep for two nights.[44] However, Mahler refused further such invitations as he was anxious to reserve his summers for composing.[36] In 1893 he acquired a retreat at Steinbach, on the banks of Lake Attersee in Upper Austria, and established a pattern that persisted for the rest of his life, summers would henceforth be dedicated to composition, at Steinbach or its successor retreats. Now firmly under the influence of the Wunderhorn folk-poem collection, Mahler produced a stream of song settings at Steinbach, and composed his Second and Third Symphonies there.[42]Performances of Mahler works were still comparatively rare. On 27 October 1893, at Hamburgs Konzerthaus Ludwig, Mahler conducted a revised version of his First Symphony, still in its original five-movement form, it was presented as a Tondichtung (tone poem) under the descriptive name Titan.[42][45] This concert also introduced several recent Wunderhorn settings. Mahler achieved his first relative success as a composer when the Second Symphony was well-received on its premiere in Berlin, under his own baton, on 13 December 1895. Mahlers future conducting assistant Bruno Walter, who was present, said that one may date [Mahlers] rise to fame as a composer from that day.[46] That same year Mahlers private life was disrupted by the suicide of his younger brother Otto.[47]At the Stadttheater Mahler introduced numerous new operas: Verdis Falstaff, Humperdincks Hansel und Gretel, and works by Smetana.[36] However, he was forced to resign his post with the subscription concerts after poor financial returns and an ill-received interpretation of his re-scored Beethovens Ninth Symphony.[42] Mahler had made it clear that his ultimate goal was an appointment in Vienna, and from 1895 onward was manoeuvring, with the help of influential friends, to secure the directorship of the Vienna Hofoper.[48] He overcame the bar that existed against the appointment of a Jew to this post by what may have been a pragmatic conversion to Roman Catholicism in February 1897.[49] Despite this event, Mahler has been described as a lifelong agnostic.[50]Vienna, 1897–1907Hofoper directorFurther information: Repertory of the Vienna Court Opera under Gustav MahlerThe Vienna Hofoper (now Staatsoper), pictured in 1898 during Mahlers conductorshipAs he waited for the Emperors confirmation of his directorship, Mahler shared duties as a resident conductor with Joseph Hellmesberger Jr. (son of the former conservatory director) and Hans Richter, an internationally renowned interpreter of Wagner and the conductor of the original Ring cycle at Bayreuth in 1876.[51] Director Wilhelm Jahn had not consulted Richter about Mahlers appointment, Mahler, sensitive to the situation, wrote Richter a complimentary letter expressing unswerving admiration for the older conductor. Subsequently, the two were rarely in agreement, but kept their divisions private.[52]Vienna, the imperial Habsburg capital, had recently elected an anti-Semitic conservative mayor, Karl Lueger, who had once proclaimed: I myself decide who is a Jew and who isnt.[53] In such a volatile political atmosphere Mahler needed an early demonstration of his German cultural credentials. He made his initial mark in May 1897 with much-praised performances of Wagners Lohengrin and Mozarts Die Zauberflote.[54] Shortly after the Zauberflote triumph, Mahler was forced to take sick leave for several weeks, during which he was nursed by his sister Justine and his long-time companion, the viola player Natalie Bauer-Lechner.[55] Mahler returned to Vienna in early August to prepare for Viennas first uncut version of the Ring cycle. This performance took place on 24–27 August, attracting critical praise and public enthusiasm. Mahlers friend Hugo Wolf told Bauer-Lechner that for the first time I have heard the Ring as I have always dreamed of hearing it while reading the score.[56]Mahlers conducting style, 1901, caricatured in the humor magazine Fliegende BlatterOn 8 October Mahler was formally appointed to succeed Jahn as the Hofopers director.[57][n 3] His first production in his new office was Smetanas Czech nationalist opera Dalibor, with a reconstituted finale that left the hero Dalibor alive. This production caused anger among the more extreme Viennese German nationalists, who accused Mahler of fraternising with the anti-dynastic, inferior Czech nation.[58] The Austrian author Stefan Zweig, in his memoirs The World of Yesterday (1942), described Mahlers appointment as an example of the Viennese publics general distrust of young artists: Once, when an amazing exception occurred and Gustav Mahler was named director of the Court Opera at thirty-eight years old, a frightened murmur and astonishment ran through Vienna, because someone had entrusted the highest institute of art to such a young person … This suspicion—that all young people were not very reliable—ran through all circles at that time.[59] Zweig also wrote that to have seen Gustav Mahler on the street [in Vienna] was an event that one would proudly report to his comrades the next morning as it if were a personal triumph.[60] During Mahlers tenure a total of 33 new operas were introduced to the Hofoper, a further 55 were new or totally revamped productions.[61] However, a proposal to stage Richard Strausss controversial opera Salome in 1905 was rejected by the Viennese censors.[62]Early in 1902 Mahler met Alfred Roller, an artist and designer associated with the Vienna Secession movement. A year later, Mahler appointed him chief stage designer to the Hofoper, where Rollers debut was a new production of Tristan und Isolde.[63][n 4] The collaboration between Mahler and Roller created more than 20 celebrated productions of, among other operas, Beethovens Fidelio, Glucks Iphigenie en Aulide and Mozarts Le nozze di Figaro.[61][65] In the Figaro production, Mahler offended some purists by adding and composing a short recitative scene to Act III.[66]Plaque on Mahlers Vienna apartment, 2 Auenbruggerstrasse. Gustav Mahler lived and composed in this house from 1898 to 1909In spite of numerous theatrical triumphs, Mahlers Vienna years were rarely smooth, his battles with singers and the house administration continued on and off for the whole of his tenure. While Mahlers methods improved standards, his histrionic and dictatorial conducting style was resented by orchestra members and singers alike.[67] In December 1903 Mahler faced a revolt by stagehands, whose demands for better conditions he rejected in the belief that extremists were manipulating his staff.[68] The anti-Semitic elements in Viennese society, long opposed to Mahlers appointment, continued to attack him relentlessly, and in 1907 instituted a press campaign designed to drive him out.[69] By that time he was at odds with the opera houses administration over the amount of time he was spending on his own music, and was preparing to leave.[65] Early in 1907 he began discussions with Heinrich Conried, director of the New York Metropolitan Opera, and in June signed a contract, on very favourable terms, for four seasons conducting in New York.[69] At the end of the summer he submitted his resignation to the Hofoper, and on 15 October 1907 conducted Fidelio, his 648th and final performance there. During his ten years in Vienna, Mahler had brought new life to the opera house and cleared its debts,[70] but had won few friends—it was said that he treated his musicians in the way a lion tamer treated his animals.[71] His departing message to the company, which he pinned to a notice board, was later torn down and scattered over the floor.[72] After conducting the Hofoper orchestra in a farewell concert performance of his Second Symphony on 24 November, Mahler left Vienna for New York in early December.[73][74]Philharmonic concertsSilhouette by Otto BohlerWhen Richter resigned as head of the Vienna Philharmonic subscription concerts in September 1898,[n 5] the concerts committee had unanimously chosen Mahler as his successor.[76] The appointment was not universally welcomed, the anti-Semitic press wondered if, as a non-German, Mahler would be capable of defending German music.[77] Attendances rose sharply in Mahlers first season, but members of the orchestra were particularly resentful of his habit of re-scoring acknowledged masterpieces, and of his scheduling of extra rehearsals for works with which they were thoroughly familiar.[54] An attempt by the orchestra to have Richter reinstated for the 1899 season failed, because Richter was not interested. Mahlers position was weakened when, in 1900, he took the orchestra to Paris to play at the Exposition Universelle. The Paris concerts were poorly attended and lost money – Mahler had to borrow the orchestras fare home from the Rothschilds.[78][79] In April 1901, dogged by a recurrence of ill-health and wearied by more complaints from the orchestra, Mahler relinquished the Philharmonic concerts conductorship.[65] In his three seasons he had performed around 80 different works, which included pieces by relatively unknown composers such as Hermann Goetz, Wilhelm Kienzl and the Italian Lorenzo Perosi.[78]Mature composerMahlers second composing hut, at Maiernigg (near Klagenfurt), on the shores of the Worthersee in CarinthiaThe demands of his twin appointments in Vienna initially absorbed all Mahlers time and energy, but by 1899 he had resumed composing. The remaining Vienna years were to prove particularly fruitful. While working on the last of his Des Knaben Wunderhorn settings he started his Fourth Symphony, which he completed in 1900.[80] By this time he had abandoned the composing hut at Steinbach and had acquired another, at Maiernigg on the shores of the Worthersee in Carinthia, where he later built a villa.[81] In this new venue Mahler embarked upon what is generally considered as his middle or post-Wunderhorn compositional period.[82] Between 1901 and 1904 he wrote ten settings of poems by Friedrich Ruckert, five of which were collected as Ruckert-Lieder.[n 6] The other five formed the song cycle Kindertotenlieder (Songs on the Death of Children). The trilogy of orchestral symphonies, the Fifth, the Sixth and the Seventh were composed at Maiernigg between 1901 and 1905, and the Eighth Symphony written there in 1906, in eight weeks of furious activity.[65][84]Within this same period Mahlers works began to be performed with increasing frequency. In April 1899 he conducted the Viennese premiere of his Second Symphony, 17 February 1901 saw the first public performance of his early work Das klagende Lied, in a revised two-part form. Later that year, in November, Mahler conducted the premiere of his Fourth Symphony, in Munich, and was on the rostrum for the first complete performance of the Third Symphony, at the Allgemeiner Deutscher Musikverein festival at Krefeld on 9 June 1902. Mahler first nights now became increasingly frequent musical events, he conducted the first performances of the Fifth and Sixth Symphonies at Cologne and Essen respectively, in 1904 and 1906. Four of the Ruckert-Lieder, and Kindertotenlieder, were introduced in Vienna on 29 January 1905.[54][65]Marriage, family, tragedyAlma Schindler, who married Mahler in 1902 (from 1902, possibly earlier)During his second season in Vienna, Mahler acquired a spacious modern apartment on the Auenbruggerstrasse and built a summer villa on land he had acquired next to his new composing studio at Maiernigg.[54] In November 1901, he met Alma Schindler, the stepdaughter of painter Carl Moll, at a social gathering that included the theatre director Max Burckhard.[85] Alma was not initially keen to meet Mahler, on account of the scandals about him and every young woman who aspired to sing in opera.[86] The two engaged in a lively disagreement about a ballet by Alexander von Zemlinsky (Alma was one of Zemlinskys pupils), but agreed to meet at the Hofoper the following day.[85] This meeting led to a rapid courtship, Mahler and Alma were married at a private ceremony on 9 March 1902. Alma was by then pregnant with her first child,[87] a daughter Maria Anna, who was born on 3 November 1902. A second daughter, Anna, was born in 1904.[65]1902 portrait by Emil OrlikFriends of the couple were surprised by the marriage and dubious of its wisdom. Burckhard called Mahler that rachitic degenerate Jew, unworthy for such a good-looking girl of good family.[88] On the other hand, Mahlers family considered Alma to be flirtatious, unreliable, and too fond of seeing young men fall for her charms.[89] Mahler was by nature moody and authoritarian—Natalie Bauer-Lechner, his earlier partner, said that living with him was like being on a boat that is ceaselessly rocked to and fro by the waves.[90] Alma soon became resentful because of Mahlers insistence that there could only be one composer in the family and that she had given up her music studies to accommodate him. She wrote in her diary: How hard it is to be so mercilessly deprived of … things closest to ones heart.[91] Mahlers requirement that their married life be organized around his creative activities imposed strains, and precipitated rebellion on Almas part, the marriage was nevertheless marked at times by expressions of considerable passion, particularly from Mahler.[n 7]In the summer of 1907 Mahler, exhausted from the effects of the campaign against him in Vienna, took his family to Maiernigg. Soon after their arrival both daughters fell ill with scarlet fever and diphtheria. Anna recovered, but after a fortnights struggle Maria died on 12 July.[94] Immediately following this devastating loss, Mahler learned that his heart was defective, a diagnosis subsequently confirmed by a Vienna specialist, who ordered a curtailment of all forms of vigorous exercise. The extent to which Mahlers condition disabled him is unclear, Alma wrote of it as a virtual death sentence, though Mahler himself, in a letter written to her on 30 August 1907, said that he would be able to live a normal life, apart from avoiding over-fatigue.[95] The illness was, however, a further depressing factor, at the end of the summer the villa at Maiernigg was closed, and never revisited.[96]Last years, 1908–11New YorkThe Metropolitan Opera, New York, at around the time of Mahlers conductorship, 1908–09Mahler made his New York debut at the Metropolitan Opera on 1 January 1908, when he conducted Wagners Tristan und Isolde in the cut version still standard in New York, though long since superseded in Vienna.[94] In a busy first season Mahlers

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Wikipedia Source: Gustav Mahler