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Such a pattern played out in Mahler’s milieu of Germanic Jews. Mahler, like Kafka, like Marx a generation before, was born into the bourgeoisie, then became an artistic “Bohemian,” if only to redeem himself from guilt, before he was expected to be reabsorbed by the bourgeoisie, in a classical resol…

That history cannot repeat, which is an idea infused with both European Weltschmerz and hopeful American gusto, finds resonance in Mahler’s greatest contribution to compositional technique

His absence here speaks every cliché in the world: “louder than words,” certainly louder than de La Grange’s logorrhea

living on the same Manhattan island, just blocks south, but they in sumptuary garb, practicing traditions from centuries past

Keller was citing Mahler’s Third Symphony, which contrasts its scherzo with the scherzo’s historical forerunner, the courtly minuet.