Gustav Mahler:
Origins and Legacy

I just watched this episode on KQED HD with the audio piped through my stereo system. My stereo system does not use Automatic Gain Control. I think you should go through this episode and redo the most of the mix. If you set the volume so that MTT and others speaking are at an appropriate volume, easy to hear but not booming, then most of the orchestra selections, especially the ff sections, are about 6db too soft. Later in the program there are orchestra selections where the music is not ff or even f, but the orchestra is too loud relative to the speaking sections. Also when MTT plays the piano, the piano is a bit too loud. As a whole the levels of orchestra, narration, and piano are very inconsistent. The other way to say this is that if you adjust the volume so that the full orchestra sections sound right, in other words, not suppressed, then the narration and piano selections and some of the later mf orchestra sections are too loud. I don't recall noticing these problems with previous episodes. Thanks for this wonderful series!

Not since Leonard Bernstein has Gustav Mahler's music — the power and complexity of its composition; the authenticity of its sorrow and elation; its heartfelt pain and immeasurable beauty — been so confidently and empathically impersonated in presentation than through the brilliance of Michael Tilson Thomas. I look forward to Part 2: Legacy on KQED tomorrow evening and especially next month to the SFS performance of what many musicians and scholars alike agree is Mahler's most personal work (and one of music’s greatest achievements), Symphony No. 9 in D major, one of a very small number of works from any age or culture that merit total silence from the audience upon completion of a performance. I attended two presentations in the same week of MTT’s Mahler No. 9 a couple of years ago, and I anticipate another transcendent experience to come. As one YouTube reviewer perfectly described a segment halfway through the 4th movement ("Adagio: Sehr langsam und noch zurückhaltend") with Bernstein leading the Vienna Philharmonic: “… a moment of writhing passion in its extreme paroxysm physically tears the listener into pieces.” Many thanks to each of you… MTT, the musicians of the SFS and, most of all, Gustav Mahler… for making your life’s greatest work our life’s greatest joy.

Thanks for sharing the link to your past episodes of the SF Symphony / Keeping Score.

A few weeks ago, The Washington Post in WDC printed that the television series about classical composers "Keeping Score" will be showing two documentaries "Origins" and "Legacy" on June 23rd and June 30th. It further states, "On WETA, check local listings for exact times."

Well, I checked and NOTHING for 6/23 on WETA is showing this program. Can you help please? During Mahler month this past May on WETA classical station, I listened and fell in love with Mahler's music and very much want to watch this program. But it will not show this Thursday in WDC!!

Thanks a lot to San Francisco Symphony and a conductor Michael Tilson Thomas for a great presentation of Gustav Mahler's spirit & music!!!
I watched TV Keeping Score on June the 23rd 2011 with non stopping desire to see and hear more about G. Mahler's deep, same time simple and complicated beautiful composition of the 1st Simphony.
This Origins and Legacy program should be available to school age audiences to understand classical music approach of sound, nature and human spirit!
Congratulations,
Sima Schwartz

I stayed up an hour past my usual bedtime to listen to this fine performance, and it was SO worth it. I had to stand up for the last movement to stay awake (I wake at 4:45 a.m.), but then I just felt like one of the horn players! You have done a fine job bringing this to a national audience. Congratulations!

I cannot thank you enough for the wonderful series on Mahler! What a great exposé on his life, with terrific examples of his music, precisely 100 years after his untimely death. Although I am not a musician, discovering Mahler was truly life-changing for me, beginning in 1971, when as a 19 year old (with considerable existential angst), I attended a concert of his 1st Symphony in London, where Bernard Haitink conducted the London Philharmonic. The following couple decades of my life, I was immersed in Mahler, and I was very fortunate to regularly attend Mahler concerts in my area, including the Chicago Symphony Orchestra conducted by Sir George Solti. It has been many years since those early days and, while I do not have the ear of a musician, Mahler’s music remains indelibly imprinted on my being. I will be forever grateful for all of those highly charged emotional journeys through the inner and outer cosmos, especially when I was struggling so intensely with the meaning of existence and the purpose of my own life. Each movement of Mahler's symphonies has enraptured me, but early on, the Scherzo in Mahler's 5th struck me particularly. I thought it was an extraordinary demonstration of man's tumultuous struggle with intense pleasure and utter despair, especially the horn’s anguishing cries, and with joy the exuberant victor that ultimately enables the celebration of life and a fervent ability to endure it, in all its beauty, in the Adagietto. I discovered Rilke not long after finding Mahler, and Rilke's writing similarly transformed me during that time. Since they were from the same era and location, sometimes, I've often wondered if Rilke's descriptions of music were in reference to any personal experiences he may have had with Mahler's music, such as when he wrote, in 1910, "I, who even as a child had been so distrustful of music (not because it lifted me out of myself more violently than anything else, but because I had noticed that it never dropped me again where it had found me, but lower down, somewhere deep in the unfinished), I endured this music, on which one could ascend upright, higher and higher, until one imagined that, for a while this must just about have been heaven." A huge Bravo to Michael Tilson Thomas, for commemorating Mahler with such terrific examples of his music and perceptive insights into his soul! And an enormous thank you to Mahler himself, for touching and revealing the human condition at its very core!

Later in the program there are orchestra selections where the music is not ff or even f, but the orchestra is too loud relative to the speaking sections. Also when MTT plays the piano, the piano is a bit too loud. As a whole the levels of orchestra, narration, and piano are very inconsistent. The other way to say this is that if you adjust the volume so that the full orchestra sections sound right, in other words, not suppressed, then the narration and piano selections and some of the later mf orchestra sections are too loud. I don't recall noticing these problems with previous episodes. Today, July 1st, was the first time I saw your banner ad for the Mahler specials. It is the only internet advert I have ever clicked through, and now I see that I have already missed these broadcasts. I suggest the SF Symphony look into how their account was handled by Yahoo.

really ya owe me i was searching for this kind of infos for 3 hours know but finally i found it in here thanks again

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In this episode of Keeping Score, Michael Tilson Thomas and the San Francisco Symphony bear witness to Mahler’s grand achievements and great sorrows—his career-crowning appointments in Vienna and New York, and the sudden, tragic death of his daughter—and show how his stormy inner life inspired new heights of creativity.

Thank you so much that for you shared those things with us. All the love

Symphony bear witness to Mahler’s grand achievements and great sorrows—his career-crowning appointments in Vienna and New York, and the sudden, tragic death of his daughter—and show how his stormy inner life inspired new heights of creativity.

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WETA is showing this program. Can you help please? During Mahler month this past May on WETA classical station, I listened and fell in love with Mahler's music

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