He was widely appreciated during his lifetime—besides international awards, he held honorary degrees from no fewer than sixteen universities—and several of his works seem destined already to assume places in the permanent active repertory.
Ironically, this icon of Polish modernism was not born in what we call Poland today. In Warsaw lay in the Vistulaland province of Imperial Russia. However, the Russian Revolution caused another change in the political landscape, and the insurgent Bolsheviks viewed the Polish nationalists with more than suspicion.
Two months later, what remained of the family returned to Poland and picked up their lives. In , he started classes at the Warsaw Conservatory, and shortly after that he embarked on private composition lessons with Witold Maliszewski, a Rimsky-Korsakov student.
The years preceding and, of course, during the Second World War were also tumultuous in Poland, which served as a flashpoint between the Germans and the Soviets. At first he let loose with a rampantly modern language, as in his practically atonal First Symphony, but he quickly reined in his style. We continue to be focused on creating exceptional performances and experiences that engage audiences and expand their connections to live orchestral music, to each other, and the world around them.
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What we have heard so far is a slow movement with a fast interruption. There follows its inversion, a quick movement that returns several times to the tempo of the funeral march. These two parts of Section I actually share thematic material. Still more variants of the great threnody appear, and the grieving commentary that accompanied the melody in the first movement comes more insistently into the foreground, to the point of transforming itself for a moment into a march of unseemly jauntiness.
But it is too soon for victory. The grand proclamation vanishes, and this movement, too, dematerializes in a passage of the most astounding orchestral fantasy.
The voice of a single horn detaches itself from that call, the beginning of a challenging obbligato for the principal player. This is country music, by turns ebullient, nostalgic, and a mite parodistic. There is room even for awe as horns speak and echo across deep mountain gorges.
The orchestra is reduced to strings with harp, and one could go on learning forever from the uncanny sense of detail with which Mahler moves those few strands of sound.
After the brightness of the Scherzo, Mahler sets the Adagietto in a darker key. Then, in a most delicately imagined passage, he finds his way back to the light. As abruptly as he had moved from the tragedy of the first two movements into the joyous vitality of the Scherzo, Mahler now leaves behind the hesitations and cries of his Adagietto to dive into the radiant, abundant finale.
Rietz was on the way to becoming an accomplished conductor, too, when he was swept away by tuberculosis in , a few months after his twenty-ninth birthday. It was Franz Liszt who broke the news to Mendelssohn. The string octet was in no way a classic chamber music genre.
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