جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
by Seth Monahan
Why would Gustav Mahler (1860-1911), modernist titan and so-called
prophet of the New Music, commit himself time and again to the
venerable sonata-allegro form of Mozart and Beethoven? How could so
gifted a symphonic storyteller be drawn to a framework that many have
dismissed as antiquated and dramatically inert? Mahler's Symphonic Sonatas
offers a striking new take on this old dilemma. Indeed, it poses these
questions seriously for the first time. Rather than downplaying Mahler's
sonata designs as distracting anachronisms or innocuous groundplans,
author Seth Monahan argues that for much of his career, Mahler used the
inner, goal-directed dynamics of sonata form as the basis for some of
his most gripping symphonic stories.
Laying bare the deeper
narrative/processual grammar of Mahler's evolving sonata corpus, Monahan
pays particular attention to its recycling of large-scale rhetorical
devices and its consistent linkage of tonal plot and affect. He then
sets forth an interpretive framework that combines the visionary
insights of Theodor W. Adorno-whose Mahler writings are examined here
lucidly and at length-with elements of Hepokoski and Darcy's renowned
Sonata Theory. What emerges is a tensely dialectical image of Mahler's
sonata forms, one that hears the genre's compulsion for tonal/rhetorical
closure in full collision with the spontaneous narrative needs of the
surrounding music and of the overarching symphonic totality. It is a
practice that calls forth sonata form not as a rigid mold, but as a
dynamic process-rich with historical resonances and subject to a vast
range of complications, curtailments, and catastrophes.