Forward thinker

Two early symphonies, two extraordinary string introductions in which the double bass is allowed to shine as rarely before in ­classical music. Gustav Mahler (1860–1911) was a composer whose imagination for symphonic colour fundamentally changed the way that we listen to the orchestra. Listeners need to adjust their expectations of form if they are to cope with his extended structures. Conductors face the challenge of bringing out an overload of fastidious instrumental detail within those same imposing overarching structures; and the exacting technical demands of Mahler’s scores oblige the musicians to play beyond themselves.

How Mahler’s artistic vision affected the course of instrumental technique is an intriguing aspect of his aesthetic. His holistic approach to orchestration brought as many challenges for the double bass as it did for the more traditional ‘lead’ instruments. Although there are many passages where the basses double the cellos, conforming to the Classical model, his use of the bass as a specific sound-source demonstrates how deeply he understood the instrument’s unique qualities and timbral potential. It’s easily forgotten that during his lifetime Mahler was recognised more as a conductor than a composer, and his view of the orchestra was founded on a very pragmatic understanding of how they work. This article explains how he expanded the bass’s role within the ­orchestra, and how the instrument fed into his imagination.

To read the whole feature buy the Winter 2007 issue of Double Bassist by calling telephone number: +44 (0)20 8606 7506 or email: newsquestsubs@wdis.co.uk.