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Mahler's Eighth | Wafuku |
Maximum Capacity |
Twin Slits
This symphony
is quoted in various ways throughout Capacity. The following gives a
little background on the piece and answers some of the questions raised
in the book.
Mahler was born in 1860 in the Bohemian village of Kalište, the son of
an Austrian-Jewish tavern keeper. Later in life he was baptised as a
Christian. The eighth symphony is generally supposed to have been the
last written whilst Mahler retained that faith. His works after this
reflect his gradual disillusionment with religion and growing awareness
of the reality of death.
The eighth symphony itself can be said to be a cry for illumination
from both a religious and humanistic point of view. It consists of two
parts, the first a setting of the medieval Catholic Pentecost hymn Veni
Creator Spiritus (Come Creator Spirit); the second is based on the last
scene of Goethe’s Faust, the scene of Faust’s redemption.
Both parts feature in the novel: for example the musician sings the main
theme at the close of the book. The landscape at the end of Justinian’s
story was inspired by the desolate land described by the music in the
opening of the second movement. There are other references hidden away
in the book if you have the time (or the inclination) to look for them.
About half way through Capacity, Zinman quotes the closing lines from
the second movement. Helen asks what it means and Judy suggests that she
looks it up on her console. I have included the text and a translation
below. To my mind, Zinman has taken the text entirely out of context.
All things
transitory
are but
parable;
here
insufficiency
becomes
fulfillment,
here the
indescribable
is
accomplished
Judy also
appears to be familiar with the work. Possibly this is because she is
trying to understand Zinman, or maybe she just likes Mahler. Either
way, Judy replies with the final two lines of the text
The Eternal
Feminine
draws us
heavenward
Mahler's Eighth | Wafuku |
Maximum Capacity |
Twin Slits
|