pictures חסונות frames n1 ם ס נר ם. ש. ש ל 1 ס ר־ג ל ס ב ר ג רח 1 ב בן־יהודה it א. בית ד־ר זילנציק M. S. SCHLOSSER-GLASBERG Ben Jabuda St. 11 A, House Dr. Wilenczik המחלבה ההיגינית רחביה* דה׳ הקרן הקימה « 1 ארוחות - ב 1 קר צהרים וערב גן נהדר ג 1 ו 1 ט ר א ו ת סקום־שהות 1 עים לאחר־הצהרים Breakfast, Lunch Beautiful Garden Terraces Pleasant Afternoon Stay THE HYGIENIC DAIRY REHAVIA * 19, Keren Ka Yemeth St. GUSTAV MAHLER FIRST SYMPHONY (justav Mahler (1860—1911) has perhaps more than any other artist suffered intensely the tragic fate, which involves constant misunderstanding of creative work. The world he lived in was puzzled by the boundlessness of his strivings as well as by the constant struggling for the delineation of his artistic visions, which endow his works with special character and manifest themselves also through unusual dimensions. Even though towards the end of his life — rather late — success began , to smile upon him, the composer, grown suspicious because of his past experiences, always questioned whether this long belated enhusiasm was not attributed more to this ability as a conductor than to his creative work. To-day, after many years, the general- opinion of Gustav Mahler seems to tend more and more towards high estimation of his work, and his Symphonies are distinctly valued as the last great synthesis of the evolution presented by the story of the Symphony after Beethoven. Mahler worked almost exclusively toward this form. Even his songs, whose thematic material has so frequently been melted in the structure of his symphonic movements, reveal themselves as primary steps toward vaster conception. Including his last work, which has become known to us only in the • fragmentary state of a roughly sketched score, Mahler has left ten Symphonies, most of which could fill an evening’s performance, and the “Song of the Earth”, a composition amalgamating in its style elements of a Symphony and a Cantata. As to the power of expressive musical form, with Beethoven the symphony had attained its climax, which it seemed could not be surpassed. The “Romantics”: Mendelssohn, Schumann, Schubert and Brahms, did (Continued on page 18) 17
RkJQdWJsaXNoZXIy NDUxMg==