The present translation was undertaken by the writer some two years ago, on the appearance of the first German edition. Oskar Fried had made known to us in Berlin the overwhelming beauty of Mahler smusic, and it was intended that the book should pave the way forM ahler in England. From his appearance there, we hoped that his genius as man and musician would be recognised, and also that his example would put an end to the intolerable existing chaos in reproductive musicmaking, wherein every quack may succeed who is unscrupulous enough and wealthy enough to hold out until he becomes popular. The English musicians prayer was: God preserve Mozart and Beethoven until the right man comes, and this man would have been Mahler. Then came Mahler sdeath with such appalling suddenness for our youthful enthusiasm. Since that tragedy, young musicians suddenly find themselves a generation older, if only for the reason that the responsibility of continuing Mahler sideals now rests upon their shoulders in dead earnest. The work, in England and elsewhere, will now fall to others. Progress will be slow at first, but the way is clear and there are those who are strong enough to walk in Mahler sfootsteps. The future of Mahler scompositions is as certain as that his ideals will live; and it is perhaps they that concern the musical public most. In Germany their greatness is scarcely disputed to-day amongst musicians.
(Typographical errors above are due to OCR software and don't occur in the book.)
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