大象传媒

Katie Derham presents a week focusing on music in Gustav Klimt and Gustav Mahler's Vienna, including works Mahler himself championed and music by his friends and contemporaries.
On a dark winter's morning in December 1907 a crowd of two hundred admirers gathered together at Vienna's railway station to say a fond farewell to the recently deposed director of the Court Opera. As Gustav Mahler set off for his fateful journey to New York, the notoriously taciturn Gustav Klimt quoted Goethe's Faust: 'Vorbei,' he uttered: 'It's over.' Mahler and Klimt, born two years, probably did not know one another well until about 1902 but in their respective fields, they seemed to epitomise fin de siecle Vienna. Klimt depicted Mahler as an armoured knight in his famous Beethoven Frieze and though they may not have been close friends, they were, nontheless, united by an almost crusading artistic zeal - not to mention their love for Alma, the charming, tentacular Muse of the Secession. Famously, Alma went on to love or marry Mahler, Kokoshka, Walter Gropius and many others, but she always maintained that: "It was to Gustav Klimt that I owed many tears, but also my awakening.' Was Alma's teenage kiss with Klimt the seminal moment of the Viennese Secession?

Wagner: Prelude and Liebestod from Tristan and Isolde
New York Philharmonic
Alan Gilbert, conductor

2:20
Johann Strauss II (arr. Schoenberg):
Emperor Waltz, op. 437
Ensemble led by Renaud Capu莽on

Schoenberg: Verkl盲rte Nacht, op. 4
Royal Concertgebouw Orchestra
James Judd, conductor

3.00pm
Mahler (arr. Stein for chamber ensemble): Symphony No. 4
Christiane Karg, soprano
Ensemble led by Renaud Capu莽on

4.00pm
Schoenberg: Chamber Symphony No. 1, op. 9
Lucerne Festival Orchestra Ensemble
Daniel Harding, conductor.