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Idyllic Masks of Death
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Mahler’s orchestral song ‘Das himmlische Leben’ (1892) includes references to the chanson of Aristaeus from Act I of Offenbach’s Orphée aux Enfers (1858)—an opéra bouffon Mahler conducted twice in Kassel, between 1883 and 1885. The archaisms of melodic line, part-writing, harmonisation and orchestration in Mahler’s song are at least partly inspired by the direct historicism of Offenbach’s fake pastoral. Irony also has a crucial role in the rhetoric strategies of both works. Jean Paul’s definition of humour as ‘the inverted sublime’ can just as well be applied to Offenbach’s parody of a myth as to the childish and worldly joys of Paradise depicted in ‘Das himmlische Leben’. A comparison with another Humoreske of 1892 by Mahler, ‘Wer hat dies Liedlein erdacht?’, demonstrates that the subversive quotation or allusion, which involves a duality of naivety and chicanery, the lofty and the lowly, is a virtually indispensable feature of the genre.
Title: Idyllic Masks of Death
Description:
Mahler’s orchestral song ‘Das himmlische Leben’ (1892) includes references to the chanson of Aristaeus from Act I of Offenbach’s Orphée aux Enfers (1858)—an opéra bouffon Mahler conducted twice in Kassel, between 1883 and 1885.
The archaisms of melodic line, part-writing, harmonisation and orchestration in Mahler’s song are at least partly inspired by the direct historicism of Offenbach’s fake pastoral.
Irony also has a crucial role in the rhetoric strategies of both works.
Jean Paul’s definition of humour as ‘the inverted sublime’ can just as well be applied to Offenbach’s parody of a myth as to the childish and worldly joys of Paradise depicted in ‘Das himmlische Leben’.
A comparison with another Humoreske of 1892 by Mahler, ‘Wer hat dies Liedlein erdacht?’, demonstrates that the subversive quotation or allusion, which involves a duality of naivety and chicanery, the lofty and the lowly, is a virtually indispensable feature of the genre.
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