Why Mahler? Norman Lebrecht and the Construction of Jewish Genius
2011 marks the centenary of the death of Gustav Mahler. This follows last year’s one hundred and fiftieth anniversary of the composer’s birth. In addition to an upsurge in performances of Mahler’s works by orchestras around the world, last year also saw the release of a second book about Mahler by the journalist and music critic Norman Lebrecht entitled: Why Mahler? How One Man and Ten Symphonies Changed the World. This book is the latest in a long line of encomiums by Jewish music critics and intellectuals that have transformed Mahler’s image from that of a relatively minor figure in the history of classical music at mid-Twentieth Century, into the cultural icon of today. Lebrecht wants his latest work to ‘address the riddle of why Mahler had risen, from near oblivion, to displace Beethoven as the most popular and influential symphonist of our age.’[1]
Like his previous book about Mahler (Mahler Remembered) the focus here is on alerting us to fact of Mahler’s towering genius, and how this genius was inextricably bound up with his identity as a Jew. Overlaying this, as ever, is the lachrymose vision of Mahler the saintly Jewish victim of gentile injustice. Lebrecht’s new book is another reminder of how Jewish intellectuals have used their privileged status as self-appointed gatekeepers of Western culture to advance their group interests through the way they conceptualize the respective artistic achievements of Jews and Europeans. Read more