The Real Mahler (Paperback)

One curious feature of the book is Carr's near dismissal of Mahler's 9th symphony, which many would regard as his greatest work. Whereas Carr discusses each of the other works over a few pages, he devotes little more than a paragraph to the 9th. Elsewhere he makes comments suggesting he thinks less of this than of other Mahler symphonies. If that is the case, it is a pity that Carr allows his own prejudice to prevent a fuller discussion of such an important work. If not, it is a puzzle why the 9th gets such little attention. Other than this though, a heartily recommended read. That it might leave you desiring to read more is perhaps a tribute to Mahler's stunning music more than a shortcoming of this biography.

This well-researched biography, as the title suggests, tries to demolish some of the myths that surround Mahler and his music i.e. that his music reflected his personal circumstances and that he was totally obsessed with death. Carr suggests that some of these myths were to some extent created by Alma Mahler. Carr, using detailed evidence to support his claims, reveals that Alma is often unreliable, or at best, economical with the truth in what she claims about events in her life with Mahler.

Carr also reveals that Mahler, as well as a "God Seeker" with some Buddhist leanings, was a ruthless careerist and very Machiavellian at times. For example, the circumstances leading up to Mahler's renunciation of his Jewish faith for Catholicism in order to gain the Directorship of the Vienna Opera are explored in detail. Rather than being a genuine act of faith, Carr suggests that this was but one of many acts of careerist calculation by Mahler. Mahler, the ladies man and workaholic is also revealed in this bibliography.

The sections which look at the music written by Mahler are written in an excellent non-technical style and are grounded in the context of Mahler's personal circumstances. Carr reveals that some of Mahler's most tragic music (e.g. the 6th Symphony) were written when things were going very well in Mahler's personal life. This just goes to reveal how complex and contrarian Mahler was as a person.

His reputation as a conductor, particularly of opera, is also explored. Indeed, Mahler was perhaps better thought of in this role than as a composer. As is typical for all periods, Mahler's music was not always as well received during his lifetime as it is today. Carr reveals how difficult Mahler could be to work with but how respected or hated he could be by orchestral players and opera singers who were conducted by him. It would appear that Mahler was seen as one of the great, if sometimes controversial, conductors of his time. It is a pity that recording technology was not sufficiently advanced for us to hear some of his interpretations of his own and other composers' music.

If there is a weakness in the book, it is that it does not consider the legacy that Mahler left in influencing composition and conducting practice. It would have been interesting to have explored the influence and impact that Mahler had on the Second Viennese School of Schoenberg, Berg, Webern et al.

There is a very useful recommendations section for those readers who are interested in reading further about Mahler and a good, if maybe controversial, listeners guide.

Both those who want an accessible introduction to Mahler and his music and those who are committed Mahlerians will get something out of this book. I for one found it hard to put down. Thoroughly recommended.