Date: Tue, 19 Nov 2002 07:11:01 -0600
Mahler, aged 41, met Alma Marie Schindler, aged 22, on Nov. 7 1901, at a dinner party in the Zurkerkandl's house. She had the reputation of being the most beautiful girl in Vienna, and several prominent artists had been or were in love with her (such as Gustav Klimt, who was present at the party and had been madly in love with her pursuing her through half o Europe when she was only 16).
Their mutual feelings blossomed very quickly. They were engaged on November 27th and got married on March 9th, 1902.
Their first meeting triggered an important Hylonome theme in their lives
Sun 1st meeting = 21,01 Libra
(18h GMT, sidereal)
NOTE: unless otherwise indicated, the source of these dates is "Mahler", by Jose L. Perez de Arteaga, Salvat, 1986 (in Spanish)
Alma was pregnant before the wedding, and their first daughter "Maria Anna" ("Putzi"), was born November 3, 1902.
Mahler natal Sun = 16,59 Gemini
approx. (July 1st 1860)
A second daughter, "Anna Justine" ("Guzki") was born June 15, 1904. As soon as Alma recovered from Anna's birth, the whole family moved to their country house Maiernigg, and Mahler started the composition of his 6th Symphony, called "Tragic", and finished his "Kindertotenlieder" or "Songs for the Death of Children", with the alarm of his wife, who in her memoirs tells she warned his husband "not to tempt Fate" (<<Um Gotteswillen, du malst den Teufel and die Wand!>>)
The Kindertotenlieder, based on poems by Friedrich Ruckert (17888-1866) after the death of his only 2 children, were first performed in Vienna by Mahler on January 29, 1905.
<<Mahler had not yet met his wife Alma when he began Kindertotenlieder. It is mildly surprising that Mahler, given his predisposition to superstition, performed them at all. By 1905 he was married with two daughters; the elder, Maria, died from scarlet fever in 1907. The poet Ruckert had lost two children of his own, and it was the name of one, Ernst, that particularly moved Mahler. He had lost a beloved brother of the same name in 1874, a loss that affected him deeply.>> [http://www.radio.cbc.ca/specials/mahler/concert3.html]While on vacation in Maiernigg, Putzi contracted scarlet fever and her condition worsened until she started to suffocate. A tracheotomy was performed, but to no avail. She choked until her death 1 day later, July 5, 1907.
Hylonome at Putzi's death = 22,01 Capricorn
Ruckert was born May 16, 1788. I have a time: "6 a.m." but without a source. For 5h GMT I get (sidereal):
Ruckert natal Sun = 4,07 Taurus
(see below for the data)
Alma natal Sun = 14,37 Leo
(August 31, 1879, noon GMT)
When the doctor who came to treat his mother-in-law, who had suffered a heart attack, was asked to examine him that same day, he received another fatal blow: he suffered an incurable and progressive heart disease.
Mahler survived his daughter less than 4 years, and died at the age of 50 in Vienna the 18th of May, 1911, at 11 p.m.
Putzi natal Sun = 16,45 Libra
The "11 p.m." time of death is found in: Jeffrey Dane, "The Idealist: A Profile of Gustav Mahler"
Date: Tue, 19 Nov 2002 15:43:28 -0600
I want to recapitulate the themes that have appeared. First, is the Hylonome theme:
Sun 1st meeting = 21,01 Libra (18h
The death of their daughter culminated the Hylonome signature of their first meeting. As we can see this is almost perfect mathematically, poignant. It suggests that Hylonome played a very important role in Alma's love for Mahler, that their relationship was "Hylonomian".
Recall that she was 20 years younger than him. She sacrificed her own personal life and had to live that of her husband, who was not only a "luminary" in Vienna's cultural and spiritual life, as director of the Vienna Philarmonic, but who as a composer was conscious of the fact that he was "the last romantic", the last of the great in a lofty European musical tradition.
Alma was a strong personality. A mutual friend had said of their union: "it's like joining fire with fire", but she surrendered completely to his demands, and he was often inconsiderate. Near the end of Mahler's life, by 1910, they had deep marital problems, a symptom of which was Mahler's impotence and Alma's opening herself to the advances of a lover, the 27 year old architect Walter Gropius, with whom she was to re-marry in 1915.
Despite Alma's love ambivalence, she never left Mahler, and was at his side to the date of his death. Mahler's attitude became more loving and considerate after a personal "walk" with Freud where he explained to Mahler Alma's projection of her idealized father figure upon him (he rejected Freud's diagnosis of a mother fixation in him, however).
Recall that "the virgin and the prostitute, purity, redemption..." are among my keywords for Hylonome. We find Hylonome right there in Freud's diagnostic of Mahler. In a letter he wrote to a pupil, we can read:
<<I analyzed Mahler for an afternoon in Leyden. If I may believe reports, I achieved much with him at that time... [During] a highly interesting expedition through his life history, we discovered his personal conditions for love, especially his Holy Mary complex (mother fixation). I had much opportunity to admire the capability for psychological understanding in this man of genius.>> [ref. p.174 of Egon Gartenberg "Mahler. The Man and His Music", New York, 1978]Alma apparently had fallen really in love with Gropius, so, why did she *not* leave Mahler?
One biographer said: "She was chained to the genius in mercy and disgrace". For Mahler, I think, she was the "wife-girl" or "child-wife". I think both show the action of Hylonome.
Date: Wed, 20 Nov 2002 08:00:53 -0600
Probably the Moon is always closer to true poetry than the Sun. The longings, the moods, the remembrances, the dreaming, the world that becomes fluid, the disappearance of the distinction between "outer" and "inner"... they all look like the child's or the soul's longing for the lost paradise.
At least, one can say safely that every poem can be easily identified as more solar or lunar, and that this solar or lunar quality is a reflection of the position that either the Sun or the Moon have in the poet's astrological chart.
Up until now, I have dealt only with Sun-TD10 contacts, but in my last post on Mahler I encountered the first exact Moon-TD10 conjunction, in the chart of the poet Friedrich Rückert (assuming that the time of birth "6 a.m." is correct):
Rückert Venus =
18,51 Gemini (sidereal)
This configuration, with the involvement of the Black Moon, is very powerfully lunar; we should expect to find TD10 very acutely present in all the Moon/Venus dimensions of the poet's life and personality: children, family, women, love life, emotional needs, the search for the lost "love of the womb"...
The Britannica says that he <<published several epic poems and historical plays>> (=The Sun), <<but achieved greater success and repute with his lyric verse>> (=the Moon configuration above).
Rückert's "Kindertotenlieder", written in 1834 after the death of his 2 children, was published posthumously in 1872 (he died in 1866). It consists of 428 poems, of which Mahler chose only 5. He had also chosen 5 more from other Rückert cycles, known as "Rückert Lieder", 4 of which were performed for the first time with the Kindertotenlieder on the same programme, January 29, 1905.
We saw that one strong astrological connection between Mahler and Rückert is found in the death of his daughter Maria ("Putzi"):
Sun Putzi's death = approx.
18,51 Gemini (sidereal)
The first 3 Kindertotenlieder were composed in 1901, when Mahler had not yet even known his wife. It was the last 2, composed in 1904, that alarmed Alma, who couldn't help feel like a mother. This is how she told the story in her memoirs:
<<I found this incomprehensible. I could understand setting such frightful words to music if one had no children, or had lost those one had... Rückert did not write those harrowing elegies solely out of his imagination; they were dictated by the cruelest loss of his whole life. What I could not understand was bewailing the deaths of children who were in the best of health and spirits... hardly one hour after having kissed and fondled them. I exclaimed at the time: "For Heaven's sake, don't tempt Providence">> [ref.: p.288 Egon Gartenberg's book cited before]I already mentioned the role of Pluto here:
Ruckert natal Sun = 4,07 Taurus
Alma saw these compositions as prophecy, and such they were. The same day that Putzi died in 1907, her husband received the news of the fatal heart disease that took his life 3 years later. To Mahler, however they were experience lived rather than prophecy. He had seen death all his life: the death of 8 brothers and one sister. He saw 5 of them die in early childhood, and then was Ernst, who died at 14 and whose name was the same as one of Rückert's sons, Leopoldine, who died in 1889 at 26 --the same year that his mother and father also died--, and Otto, who committed suicide at 22 in 1895.
There is a possibility that TD10 is related to Death, such as Pluto, but obviously in a different way. The difference lies in my opinion in the very low inclination of TD10, which makes it much less dynamic and liberating than Pluto... but this is only an intuition and I cannot develop it further than that for the moment.
The exact Moon/TD10 conjunction in the chart of Rückert is clear enough, but how can one relate TD10 to Mahler except indirectly through his connection to Rückert? Perhaps, the following is a good clue:
At the time of his death (see my 1st post for the data), one finds:
Moon at death = 5,09 Capricorn
Death as an entity, as a presence, an atmosphere that accompanied his Moon (siblings, children, wife...) all his life. We also have, along the same lines:
Sun at death = 3,17 Taurus
We have a Sun/TD10 applying quincunx at death that becomes exact through his daughter Putzi.