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The two-fold task of A Symphony of Distances is to provide an overview of Hans Urs von Balthasar’s use of distance imagery with regard to personal distinctions in the Holy Trinity and to offer a critical analysis of him as a modern Catholic theologian. A metaphor of “distance” integrates all of Balthasar’s theological thought as a primary cipher for the many symbols through which he reads the Christian theological tradition in a trinitarian and eschatological mode. The book follows a chronological, four-stage development of Balthasar’s trinitarianism through the lens of this distance metaphor as it occurs across representative texts. The critical analysis employs the conceit of a symphony of four musical movements that correspond to four varieties of theological distance. These distances show certain correspondences of God’s creation and redemption of the world—marked by the first two “distances”—with the relations of the divine persons to each other in the economy of salvation and in the eternal Trinity itself—marked by the third and fourth distances. “Listening” to the four movements of Balthasar’s theological distances enables his readers to “hear” the themes of all four movements in the ascending order of richness, complexity, and inclusivity over the long development of his thought. This fundamentally positive approach of A Symphony of Distances allows for a thorough critique of the internal consistency of Balthasar’s applied method, of the controversial use of gendered trinitarian notions in his speculations on divine pathos, and of his adequacy to the tasks of modern theology. The final judgment is that Balthasar’s theology of distance can be accepted, with reservations, as a positive element of his contribution to contemporary trinitarian theology. The book can thus serve as a critical reference for readers who find Balthasar’s notion of trinitarian distance, and indeed his trinitarianism as a whole, to be compelling, confusing, or frustrating.

A new analysis of Mahler’s symphonies, placing each within the context of his musical way of being in and experiencing the world.

Between 1888 and 1909 Gustav Mahler completed nine symphonies and the orchestral song cycle Das Lied von der Erde; his tenth symphony was left incomplete at his death in 1911. Mahler’s Symphonic World provocatively suggests that over his lifetime, the composer pursued a single vision and a single, ideal symphony that strived to capture his personal outlook on human existence. Writing at the turn of the twentieth century, when all trust in firm philosophical and spiritual foundations had evaporated, Mahler’s music reflected a deep preoccupation with human suffering and transience and a search for sources of possible consolation.

In Karol Berger’s reading, each of the symphonies follows a similar trajectory, with an opening quest leading to the final unveiling of a transcendent, consolatory vision. By juxtaposing single movements—the opening Allegros, the middle movements, the Finales—across different works, Berger traces recurring plotlines and imagery and discloses the works’ multiple interrelationships as well as their cohesiveness around a central idea. Ultimately, Mahler’s Symphonic World locates Mahler’s music within the matrix of intellectual currents that defined his epoch and offers a revelatory picture of his musical way of being in the world.

A new history of how the musical worlds of German towns and cities were transformed during the Nazi era.

In the years after the Nazis came to power in January 1933 and throughout the Second World War, all aspects of life in Germany changed. Despite the social and political upheaval, gentile citizens continued to attend concerts. In this book, historian Neil Gregor surveys how the classical concert scene was impacted in Nazi Germany. Taking the perspective of the audience, rather than institutions or performers, Gregor delves into the cultural lives of ordinary Germans under conditions of dictatorship. Did the ways in which Germans heard music in the period change? Did a Nazi way of listening emerge?

For audiences, Gregor shows, changes to the concert experience were small and often took place around the edges. This, combined with the preserved idea of the concert hall as a space of imagined civility and cultivation, led many concertgoers and music lovers to claim after the war that their field and their practice had been innocent—a place to retreat from the vicious violence and racism of the Nazi regime. Drawing on untapped archival sources, The Symphony Concert in Nazi Germany reveals that the true history was one of disruption but also of near seamless adaptation. Through countless small acts, the symphony concert was reframed within the languages of strident nationalism, racism, and militarism to ensure its place inside the cultural cosmos of National Socialist Germany.