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1 " Friedrich Rückert wrote 425 poemsAfter his two youngest childrenDied from scarlet feverWithin sixteen days of each otherIn 1833 and 1834 he could not copeAnd often thought they had gone outFor a while " they'll be home soon" He told himself to tell his wife" They're only taking a long walk" Mahler scored five of those poemsIn 1901 and 1904 for a vocalistAnd an orchestra to break your heartAs soon as I heard the plaintive oboe And the descending movement of the hornAnd the lyric baritone enteringI felt I should not be listeningTo Dietrich Fischer-Dieskau singingKindertotenlieder with the Berlin PhilharmonicMahler's wife was superstitiousAnd thought he was chancing disasterWith Songs on the Death of Children" Now the sun wants to rise so brightlyAs if nothing terrible had happened overnightThat tragedy happened to me alone" Mahler knew he could never have written themAfter his four-year-old daughter diedFrom scarlet fever three years laterHe said he felt sorry for himselfThat he needed to write these songsAnd for the world that would listen to them "
2 " In his book Real Presences, George Steiner asks us to " imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a " republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer " invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art " embody an expository reflection which they pertain" . In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. " The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, " The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz. "
3 " I have enjoyed most particularly reading the correspondence between Gustav Mahler and Richard Strauss. The genuine friendship, competitiveness and support that thread through their communications are life lessons for us all. "