10&11 - Hong Kong Philharmonic Orchestra

MAHLER: Symphony No. 3
In 1892 Mahler had accepted a summer conducting
engagement in London but, prestigious and lucrative as
this was, he bitterly begrudged the time lost to composing
and vowed to keep his summer months free in future.
The following year he discovered the idyllic resort of
Steinbach, high in the Bavarian Alps on the shores of
the Attersee lake. He loved the mountains, the lakes,
and, above all, the peace he found surrounded by such
beautiful natural landscapes. He spent that summer, and
the two following, at Steinbach working on his Third
Symphony, which he finally completed in August 1896.
Beyond the obvious influence of the landscape around
him, Mahler was also influenced by the current popularity
of Friedrich Nietzsche’s epic, published in 1885, Also
Sprach Zarathustra in which a mountain certainly plays
a central role. (In the same year that Mahler completed
his Third Symphony, Richard Strauss composed his own
symphonic poem inspired by Nietzsche’s work.)
Mahler was, however, not at all in sympathy with
Nietzsche’s philosophical argument. As his biographer,
Kurt Blaukopf has written; “For Mahler, everything
human is embedded in nature. The liberating power of
nature does not incite him to decry civilization. He knows
what he owes to the city. Nature is the storehouse from
which, like the giant Antaeus touching mother earth, he
replenishes his energies. Mahler’s concept of nature …
embraces the idea of universality. This unity of all things
pervades the Third Symphony”.
Originally planned with seven movements (the seventh
became the finale of the Fourth Symphony) Mahler
provided a subtitle (Ein Sommermorgentraum – “A Summer
Morning Dream”) and programmatic movement titles
for the première which he conducted in Krefeld some
six years after he had completed the work.