Here's something you might be interested in.
Ask a Hipster — Advice you didn't know you needed
Big Screen — Movie commentary
Blurt — Music's inside track
Booze News — San Diego spirits
Classical Music — Immortal beauty
Classifieds — Free and easy
Cover Stories — Front-page features
Drinks All Around — Bartenders' drink recipes
Excerpts — Literary and spiritual excerpts
Feast! — Food & drink reviews
Feature Stories — Local news & stories
Fishing Report — What’s getting hooked from ship and shore
From the Archives — Spotlight on the past
Golden Dreams — Talk of the town
The Gonzo Report — Making the musical scene, or at least reporting from it
Letters — Our inbox
Movies@Home — Local movie buffs share favorites
Movie Reviews — Our critics' picks and pans
Musician Interviews — Up close with local artists
Neighborhood News from Stringers — Hyperlocal news
News Ticker — News & politics
Obermeyer — San Diego politics illustrated
Outdoors — Weekly changes in flora and fauna
Overheard in San Diego — Eavesdropping illustrated
Poetry — The old and the new
Reader Travel — Travel section built by travelers
Reading — The hunt for intellectuals
Roam-O-Rama — SoCal's best hiking/biking trails
San Diego Beer — Inside San Diego suds
SD on the QT — Almost factual news
Sheep and Goats — Places of worship
Special Issues — The best of
Street Style — San Diego streets have style
Surf Diego — Real stories from those braving the waves
Theater — On stage in San Diego this week
Tin Fork — Silver spoon alternative
Under the Radar — Matt Potter's undercover work
Unforgettable — Long-ago San Diego
Unreal Estate — San Diego's priciest pads
Your Week — Daily event picks
Mahler's problem child
Maestro Ling discusses Mahler's Seventh Symphony.
Jahja Ling
Let’s talk a little more about Mahler. His Seventh Symphony is this weekend at San Diego Symphony and I was able to speak to non other than Maestro Ling about Mahler’s “problem child”.
We spoke about more than Mahler. We spoke about Bruckner, Cleveland, China, the number of new symphony players in the last ten years, music outreach, Bernstein, Royal Albert Hall, Telarc, Yo Yo Ma, Carnegie Hall, and so much more but for now I’m going to limit it to Mahler and the upcoming concert.
Jahja Ling: I agree, Mahler’s Seventh is a problem child. Few audiences can understand it and only a few conductors dare to play it. This is the first time it will be played at San Diego Symphony.
San Diego Reader : Who is playing the cowbell?
JL: That’s the thing, when you mention the cowbell. Mahler started composing, not with the first movement, he started with the second movement, with the Nachtmusik. Some people think night music, terrible, dark, nightmare, the tragedy of his daughter dying. Night doesn’t only mean darkness or nightmare. It could be a beautiful dream. It could be a relaxing evening. After all the tragedy of the Sixth Mahler is coming back from that and relaxing and finding comfort. Then when you bring up the cowbell that’s when Mahler is presenting the pastoral mood. It’s like Psalm 23, ‘Yea though I pass through the valley of the shadow of death...’ and we arrive at a green pasture — and you hear the cowbells. That’s why I feel you base the interpretation on the second movement. Mahler also uses mandolin and guitar which gives it a feeling of a serenade. It’s almost schmaltzy. It’s like you're singing to someone you love.
SDR: Romeo and Juliet.
JL: Ya! and then of course the scherzo is another Nachtmusik in disguise. The outer movements are the most modern of any Mahler because of the harmony and the juxtaposition of the melody — it’s just crazy.
Here's something you might be interested in.
Mahler's problem child
Maestro Ling discusses Mahler's Seventh Symphony.
Mahler's problem child
Maestro Ling discusses Mahler's Seventh Symphony.
Jahja Ling
Let’s talk a little more about Mahler. His Seventh Symphony is this weekend at San Diego Symphony and I was able to speak to non other than Maestro Ling about Mahler’s “problem child”.
We spoke about more than Mahler. We spoke about Bruckner, Cleveland, China, the number of new symphony players in the last ten years, music outreach, Bernstein, Royal Albert Hall, Telarc, Yo Yo Ma, Carnegie Hall, and so much more but for now I’m going to limit it to Mahler and the upcoming concert.
Jahja Ling: I agree, Mahler’s Seventh is a problem child. Few audiences can understand it and only a few conductors dare to play it. This is the first time it will be played at San Diego Symphony.
San Diego Reader : Who is playing the cowbell?
JL: That’s the thing, when you mention the cowbell. Mahler started composing, not with the first movement, he started with the second movement, with the Nachtmusik. Some people think night music, terrible, dark, nightmare, the tragedy of his daughter dying. Night doesn’t only mean darkness or nightmare. It could be a beautiful dream. It could be a relaxing evening. After all the tragedy of the Sixth Mahler is coming back from that and relaxing and finding comfort. Then when you bring up the cowbell that’s when Mahler is presenting the pastoral mood. It’s like Psalm 23, ‘Yea though I pass through the valley of the shadow of death...’ and we arrive at a green pasture — and you hear the cowbells. That’s why I feel you base the interpretation on the second movement. Mahler also uses mandolin and guitar which gives it a feeling of a serenade. It’s almost schmaltzy. It’s like you're singing to someone you love.
SDR: Romeo and Juliet.
JL: Ya! and then of course the scherzo is another Nachtmusik in disguise. The outer movements are the most modern of any Mahler because of the harmony and the juxtaposition of the melody — it’s just crazy.
Comments