Examines how Nietzschean ideas influenced the composition of Mahler's first four, so-called Wunderhorn, symphonies.

Gustav Mahler and Friedrich Nietzsche both exercised a tremendous influence over the twentieth century. All the more fascinating, then, is Mahler's intellectual engagement with the writings of Nietzsche.
Given the limited and frequently cryptic nature of the composer's own comments on Nietzsche, Mahler's specific understanding of the elusive thinker is achieved through the examination of Nietzsche's reception amongst the people who introduced composer to philosopher: members of the Pernerstorfer Circle at the University of Vienna.

Mahler's Nietzsche draws on a variety of primary sources to answer two key questions. The first is hermeneutic: what do Mahler's allusions to Nietzsche mean? The second is creative: how can Mahler's own characterization of Nietzsche as an "epoch-making influence" be identified in his compositional techniques? By answering these two questions, the book paints a more accurate picture of the intersections of the arts, philosophy and politics in fin-de-siècle Vienna. Mahler's Nietzsche will be required reading for scholars and students of nineteenth and early twentieth century German music and philosophy.

Contributor: Leah Batstone LEAH BATSTONE is a musicologist working at the intersections of art music, politics, and philosophy in Central and Eastern Europe. She received her PhD in musicology from McGill University and holds a Master's degree in musicology from the University of Oxford

In this persuasive and carefully argued study, then, Batstone not only helps clarify just what, in music, is "Mahlerian" but also elucidates some of the larger intersections among musical style, philosophy, and politics in fin-de-siècle Europe. --- As a trained musicologist, Batstone knows how to support her philosophical explorations and historical reconstructions through meticulous use of music theory and analysis, helpfully illustrated by numerous excerpts from the symphonies' scores.