The Art-Religious ideas of Mahler and Schönberg

Abstract

There is no doubt in research about the exemplary role Richard Wagner played for Gustav Mahler and Arnold Schönberg. His personality was simply too dominant in musical life and in the broader intellectual history of the time to not have a considerable influence on the two composers in their formative years. The suffering idea was the art-religious rank of music, as it had been widespread since Arthur Schopenhauer, especially in artistic circles. In contrast to Wagner’s decided atheism, which invoked Ludwig Feuerbach, Mahler and Schönberg can be diagnosed with a tendency towards modern irrationalism, asfound at the time inTheosophy and Anthroposophy. Philosophy of life and esotericism formed a favourable breeding ground for the most diverse varieties of art religion, among which emphatic art music was probably the most successful with regard to establishing itself in society. Syncretism was widespread and allowed the inclusion of heterogeneous elements, including, for example, traditional Christian religions.