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- W805600834 abstract "In his 2009 review of Donald Mitchell’s Discovering Mahler and Jeremy Barham’s Cambridge Companion to Mahler, Julian Johnson wryly observed that in the wake of the celebrations surrounding the centenary of the composer’s death in 2011, the most fitting tribute might be to ‘play none of his music and write nothing about him’ (Music & Letters, 90 (2009), 703). While for many ‘Mahler-fatigue’ has inevitably set in, particularly for those still reeling from overexposure to the more cultish aspects that have come to characterize the composer’s recent reception, Johnson’s rich and provocative study Mahler’s Voices: Expression and Irony in the Songs and Symphonies, serves not only as a welcome antidote but also as an open invitation to a renewed engagement with this all-too-familiar music in terms of what Johnson hears as its multi-vocal character. Johnson’s study as a whole aims to illuminate the expressive force of Mahler’s songs and symphonies in terms of the broad category of voice, a category whose ‘slippery’ nature he acknowledges from the outset. Although he offers the requisite nods to Edward T. Cone, Carolyn Abbate, and Mikhail Bakhtin, he is concerned less with advancing a new theoretical account of voice than in using it as a flexible lens through which the multifaceted nature of Mahler’s own musical voice can be brought into focus with respect to its ‘definitive plurality, its resistance to the unity it nevertheless seeks, its fragmentary, recalcitrant, tangential, obtuse, polyphonic identity’ (p. 254)." @default.
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- W805600834 date "2012-08-01" @default.
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- W805600834 title "Mahler's Voices: Expression and Irony in the Songs and Symphonies. By Julian Johnson" @default.
- W805600834 doi "https://doi.org/10.1093/ml/gcs029" @default.
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