48:
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rehearsals for the concert had been costly, as it was necessary to pay overtime to the
Philharmonic musicians, on top of their already considerable fee to perform in the first place. Despite being sold out twice, the small Musikvereinsaal had not enough seats to cover expenses, which forced the Vereinigung to cancel an orchestral concert, and to finally cease activities after two final chamber music concerts on February 20 and April 17.
434:, now called the Brahmssaal. The singers were the tenor Fritz Schrödter and the baritones Friedrich Weidemann and Anton Moser. These singers were accompanied by members of the Vienna Philharmonic, which were conducted by Mahler himself. Moser sang "Ich atmet’ einen linden Duft!" and "Blicke mir nicht in die Lieder!", and Weidemann sang "Ich bin der Welt abhanden gekommen" and "Um Mitternacht". The songs were in the following order:
689:
3111:
585:, namely 'Ich bin der Welt abhanden gekommen', sung by Weidemann, and 'Um Mitternacht', sung by Erik Schmedes, in a concert at the Graz Festival, on June 1, 1905. Mahler again conducted, with the orchestra comprising 23 members of the Konzertverin Orchestra and "professors from the Steiermäkischer Muisverein," as well as members of the Vienna Philharmonic that accompanied Mahler to
392:, Mahler composed another Rückert setting that was eventually added to the collection: "Liebst du um Schönheit". Unlike the other four, this was solely intended as a private gift to Alma as a proof of his love for her, due to simmering tensions between her and Mahler at the time. On 10 August, Mahler presented the song to Alma, who was deeply moved by the setting of the last line:
381:, and according to her chronicles, each song was composed in one day and orchestrated the next day. Then on 16 August, "Ich bin der Welt abhanden gekommen" was completed. The serenity of his surroundings, as well as the emotional aftereffects of the near-death experienced he had suffered earlier in 1901 (seen most in "Um Mitternacht") exerted a considerable influence on the
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2785:
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860:. This focus on melody, as well as the transparent, chamber-like orchestration and briefness of the songs, contribute to their lyrical nature. Despite this lyricism, and the serene circumstances that Mahler experienced when he composed these songs, the songs sometimes take on darker tones. For example, 'Um Mitternacht' deals with
769:
were never intended to be a cohesive song-cycle. The piano score and the orchestral score differ in their ordering of the songs, and when conducting the songs, Mahler frequently changed the order of the songs according to the circumstances of each performance. For example, at the premiere performance
804:
In addition, each of the songs requires a specific ensemble of instruments, different from one song to the next, though the instrumentation of all five combined is equivalent to a standard-sized orchestra. Though it has become standard to perform them in large halls with full-size orchestras, Mahler
368:
From June to August 1901, Mahler spent his vacation at his newly completed lakeside villa near
Maiernigg. Its isolation meant the summer was peaceful, and he experienced the most productive summer of his life, completing two movements of the Fifth Symphony and eight Lieder, including four of the
165:
548:
I could only compose more Rückert – which is lyricism at first hand, all the rest is lyricism at second hand." More importantly for Mahler, these two triumphant performances had made him become aware that he had entered a new period in his career as a composer. As for the
Vereinigung, the long
182:
589:. The acclaim from the audience was apparently so spontaneous that the fellow composers in the hall, as well as those who regularly criticised Mahler, booed him off in envy. Again critics, even those who were biased against Mahler's work, praised this triumph, with
556:
with their piano accompaniment. It would take until 1908 for Kahnt to agree publication the full scores of those songs with orchestral accompaniments, and 1910 for these scores to appear, along with Mahler's settings of 'Revelge' and 'Der
Tamboursg’sell' from
471:, and he helped to organise and perform in several of these concerts, of which this Lieder concert was one. Mahler had already promised Schoenberg and Zemlinsky when he accepted the honorary presidency that he would premiere one of his own works for the
500:
Due to demand, the final rehearsal (on 28 January, the day before the premiere) was open to the public, and the concert itself was completely sold out, with many being turned away at the door. The concert was greeted with a positive reception, with
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posits that Mahler was attracted to the lyricism of Rückert's poetry, and points out both of them "admired folk-art" and considered it the "living source of all poetry". In addition, Rückert has also been considered a "close spiritual relative" to
398:
Due to its intimate nature, Mahler never orchestrated the song, and it was not performed in public in Mahler's lifetime. Instead, when the full collection was published, it was orchestrated by Max
Pullman, an editor at the publishing company
820:(with the exceptions of "Revelge" and "Der Tamboursg’sell"), but he also started writing exclusively instrumental symphonies, without explicit references to his songs. Instead of the "ironic, critical stance" assumed in the
522:
thought that Mahler's setting of Rückert's poetry was "noble, sensitive and poetic", though he felt that the intimacy of Rückert's poetry was not well suited to orchestral accompaniment. Finally, an anonymous critic wrote:
726:. Between 1895 and 1900 his poetry revived in popularity, but today he is generally considered a minor poet, though Mahler was not troubled by this, holding the view that masterpieces of poetry should not be set to music.
750:, an Orientalist and psychophysicist who was greatly admired by Mahler. Mahler himself drew comparisons between the two. Stephen E. Hefling has also suggested that Mahler, disappointed by the lack of popularity of his
527:
The songs, their sequence, and their performance offered the highest state of polished refinement ... It does not matter to or to the listeners whether the melodies are suffused with juicy banalities or borrowed from
864:
questions that preoccupied Mahler, and both that song and 'Ich bin der Welt' deal with man's loneliness in the world. The latter song in its spiritual withdrawal from the world has been said to be influenced by
166:
601:, reminiscing on the concert in the wake of Mahler's death, would write that "few eyes remained dry in the concert hall" and that "the audience surrounded with acclamation, ... gratitude, and genuine love."
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761:
and orchestral accompaniment; Mahler composed both versions simultaneously and performed the Lieder in both versions. Thus, the piano version is regarded to be as authoritative as the orchestral version.
513:
were "less satisfactory" and even "sentimental", but still containing a "beauty of vocal expression, which is sometimes of overwhelming inwardness", singling out "Ich atmet einen linden Duft" for praise.
303:, in a repeat performance on 3 February 1905. The songs were first published as a collection in their versions for piano accompaniment in 1905, and later re-published, in full score, along with the
3177:
532:... He makes the accompaniment progress in the time-honoured manner, stepwise with the voice, but casts over the whole a glittering orchestral web, full of clever ideas and piquant effects.
2548:
Hefling, Stephen E. (2007). "Song and symphony (II). From
Wunderhorn to Rückert and the middle-period symphonies: vocal and instrumental works for a new century". In Barham, Jeremy (ed.).
365:
setting ‘Revelge’. Eventually Mahler suffered a near-fatal haemorrhage on the night of
February 24, 1901, requiring emergency treatment, an operation, and a seven week long recuperation.
544:
settings. Following the concert, Mahler had dinner with the musicians of the
Vereinigung, which deepened the bond between the two. Webern later recalled that Mahler had said that "After
232:. Four of the songs ("Blicke mir nicht in die Lieder!", "Ich atmet’ einen linden Duft", "Ich bin der Welt abhanden gekommen", and "Um Mitternacht") were written in the summer of 1901 at
3088:
809:
in a small hall with a small orchestra, particularly cutting down the size of the string section. The scoring of the Lieder often focus on small groups of instruments akin to
593:
saying "Each song was incontestably a 'phenomenon' unto itself, because of the 'absolutely unprecedented of his chamber orchestra." These reports paved the way for the
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3068:
876:
The collection has been viewed as representing the "supreme consummation and perfection of the Mahler Lied," and as anticipating the style, not only of his 5th,
236:, with one ("Liebst du um Schönheit") completed in the summer of 1902, also in Maiernigg. Both smaller in orchestration and briefer than Mahler's previous
3063:
2653:
3162:
714:
are all settings of poems by the early 19th-century poet
Friedrich Rückert. Rückert's poems are heavily influenced by his activity as a scholar of
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in a Lieder concert, which was especially interesting given that most of Mahler's Lieder with orchestral accompaniment had not been performed yet.
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later recalled that the concert was "wonderfully compelling" and "quite unbelievable." Messchaert and Mahler would later perform two of the
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355:. Over the following years his compositional output dwindled due to over-work and ill health; between 1897 and 1900, he only completed the
385:, and they contributed to Mahler creating a new musical style which has been said to “ an artist who is already exploring another world”.
518:
noted that "With , words do not create the atmosphere. It is more as if, in order to create it, he needs the text as much as the music".
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settings, was drawn to setting more popular poetry in order to appeal to a wider audience, provided it met his artistic purposes.
477:. Mahler could not premiere the 5th Symphony, as it would be too costly to perform, and in any case had already been promised to
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816:
It is generally considered that Mahler forged a new style with this collection. Not only did he abandon setting the poems from
614:
729:
The turn to Rückert's poetry has been considered conservative on Mahler's part, given his connections with modernists such as
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1595:
361:
305:
238:
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songs. Gone too are those songs' satirical excursions, with their accompanying instrumental pungencies and sarcasms.
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737:, as well as the novelty of his own music. However, Mahler himself felt no need to borrow from these early
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Instead, the collection, with its "brevity and intimate character ... represent a short interlude of pure
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334:
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229:
66:
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853:
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settings, Mahler instead adopts a "first-person perspective that ... is intimately introspective."
605:
288:
280:
2658:
2529:
Hefling, Stephen E. (1999). "The Rückert Lieder". In
Mitchell, Donald; Nicholson, Andrew (eds.).
1006:
715:
352:
422:("Liebst du um Schonheit" was not included in the programme) were premiered, alongside the five
47:
260:, and both were composed concurrently with the collection and contain subtle references to the
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wrote that there had been a "sizeable audience", alluded to the Graz concert, and said the
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373:. By 10 August, Mahler was playing six of his Rückert settings (including three of the
2582:
Gustav Mahler, Songs and Symphonies of Life and Death: Interpretations and Annotations
608:
at the piano in a recital at the Bösendorfer Saal in Berlin, consisting of five early
242:
settings, the collection marked a change of style from the childlike, often satirical
3151:
3002:
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958:
837:
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701:
536:
The programme was repeated in another sold-out concert on February 3, this time with
225:
39:
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But at the repeat performance on 3 February, the songs were in the following order:
3048:
3012:
2979:
506:
247:
675:"Ich atmet’ einen linden Duft!" (I breathed a delicate fragrance) – June–July 1901
2580:
718:, and his poems were widely read in his lifetime, being set by composers such as
164:
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861:
857:
637:
502:
431:
389:
291:. The songs met with a positive reception, though they were overshadowed by the
284:
2664:
3027:
678:"Ich bin der Welt abhanden gekommen" (I am lost to the world) – 16 August 1901
490:
187:
53:
35:
672:"Blicke mir nicht in die Lieder!" (Do not look at my songs) – June–July 1901
644:
again repeated the criticism that the songs were occasionally "sentimental."
738:
597:
to publish a long article about Mahler's Lieder later in 1905. In 1911, the
233:
217:
509:, who attended the premiere, was more cool, writing in his diary that the
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947:
849:
332:, and many elements of these songs would anticipate later works such as
1021:
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328:
and the 5th Symphony, are considered to be a turning point in Mahler's
213:
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later published a score consisting of only the five Rückert settings.
162:
1040:
279:
settings, in Vienna on 29 January 1905 by Mahler and members of the
465:(among others). Mahler had accepted the honorary presidency of the
1053:
1048:
758:
687:
221:
271:(without "Liebst du um Schönheit") were premiered, alongside the
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1034:
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925:
636:
were "certainly among the best songs that Mahler had composed".
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451:
The concerts were part of a series of concerts organised by the
209:
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684:"Liebst du um Schönheit" (If you love for beauty) – August 1902
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902:
The instrumentation of the complete collection is as follows:
1488:
1486:
1602:(2nd ed.). London: J. M. Dent & Sons. p. 135.
905:
770:
on January 29, 1905, the songs were in the following order:
626:
as at the collection's premiere. An unsigned article in the
256:, Mahler's other settings of Rückert's poetry, and with the
3079:
Gustav Mahler's orchestration of Beethoven's Symphony No. 9
733:, the musicians of the Vereinigung, and the artists of the
2479:
Gustav Mahler: Vienna: Triumph and Disillusion (1904–1907)
2160:
2158:
2457:
Gustav Mahler: Vienna: The Years of Challenge (1897–1904)
2272:
2270:
1563:
1561:
813:, with even the voice being treated like an instrument.
3089:
Repertory of the Vienna Court Opera under Gustav Mahler
2661:, the lyrics with translations at the LiederNet Archive
2194:
2192:
2190:
174:"Ich bin der Welt abhanden gekommen", performed by the
2552:. Cambridge: Cambridge University Press. p. 110.
3125:
2237:, §12 "Fifth and Sixth Symphonies, Rückert settings".
430:
settings, on 29 January 1905 in Vienna at the small
3041:
2995:
2954:
2919:
2883:
2830:
2814:
2717:
2665:
Rückertlieder Chronologie Discographie Commentaires
388:The next year, after his courtship and marriage to
155:
134:
126:
111:
96:
80:
72:
61:
23:
485:in Cologne. Instead, Mahler opted to complete the
309:settings of "Revelge" and "Der Tamboursg’sell" in
505:writing that "Mahler's Lieder touched everyone".
395:Liebe mich immer, dich lieb' ich immer, immerdar.
2533:. Oxford: Oxford University Press. p. 342.
1851:. Oxford: Oxford University Press. p. 278.
1449:
1447:
1445:
884:symphonies, but also of his late works, such as
2603:. "Mahler and the Visual Arts of His Time". In
1849:Gustav Mahler: A New Life Cut Short (1907–1911)
805:himself premiered and preferred to perform the
681:"Um Mitternacht" (At midnight) – June–July 1901
250:style. The collection is often linked with the
3178:Musical settings of poems by Friedrich Rückert
299:settings which were performed, along with the
208:(Songs after Rückert) is a collection of five
2686:
2567:McCoy, Marilyn L. "Mahler and Modernism". In
552:Later in 1905, C. F. Kahnt would publish the
8:
2402:
2390:
2351:
2300:
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2210:
2181:
2149:
2137:
2113:
2089:
2065:
2041:
2017:
2005:
1993:
1981:
1964:
1952:
1940:
1928:
1916:
1901:
1889:
1874:
1831:
1819:
1807:
1792:
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1731:
1719:
1707:
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1629:
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1552:
1540:
1492:
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1465:
472:
466:
452:
393:
25:
3069:Composing hut of Gustav Mahler (Wörthersee)
2443:Barham, Jeremy. "Literary Enthusiasms". In
741:trends of which he was aware. Furthermore,
454:Vereinigung schaffender Tonkünstler in Wien
351:In 1897, Mahler became the director of the
2693:
2679:
2671:
2496:Franklin, Peter (2001). "Mahler, Gustav".
46:
20:
3064:Composing hut of Gustav Mahler (Attersee)
2654:International Music Score Library Project
2625:. Cambridge: Cambridge University Press.
604:On February 14, 1907, Mahler accompanied
581:Mahler subsequently performed two of the
489:in the summer of 1904, and premiere that
2426:
2375:
2363:
2336:
2312:
2234:
2164:
2125:
2101:
2077:
2053:
2029:
1516:
1453:
1071:
873:, who Mahler was heavily influenced by.
840:rhythms and the quasi-folk style of the
3132:
2613:
2604:
2568:
2512:10.1093/gmo/9781561592630.article.40696
2444:
2324:
2288:
2276:
1567:
1528:
1504:
1441:
2612:Solvik, Morten. "German Idealism". In
2414:
2261:
2222:
836:, the military signals, the dance and
2198:
577:Subsequent performances and reception
7:
3074:Gustav Mahler Conducting Competition
410:, who first published these Lieder.
16:Collection of songs by Gustav Mahler
2481:. Oxford: Oxford University Press.
2459:. Oxford: Oxford University Press.
780:Ich bin der Welt abhanden gekommen'
444:Ich bin der Welt abhanden gekommen'
1421:Frederica von Stade – Mahler Songs
791:Ich bin der Welt abhanden gekommen
14:
2585:. Woodbridge: The Boydell Press.
2550:The Cambridge Companion to Mahler
159:
3135:
3110:
3109:
2783:
2750:
757:The songs exist in versions for
668:consist of the following songs:
3163:Classical song cycles in German
2853:Lieder eines fahrenden Gesellen
2667:on gustavmahler.net (in French)
794:Blicke mir nicht in die Lieder!
777:Blicke mir nicht in die Lieder!
615:Lieder eines fahrenden Gesellen
441:Blicke mir nicht in die Lieder!
377:) plus "Der Tamboursg’sell" to
2621:Youmans, Charles, ed. (2021).
1081:"Ich atmet' einen linden ..."
563:Sieben Lieder aus letzter Zeit
457:, founded on 23 April 1904 by
414:Premiere and initial reception
311:Sieben Lieder aus letzter Zeit
1:
2891:Gustav Mahler Jugendorchester
1426:London Philharmonic Orchestra
797:Ich atmet’ einen linden Duft!
774:Ich atmet’ einen linden Duft!
656:on July 1, again to acclaim.
438:Ich atmet’ einen linden Duft!
246:settings, to a more lyrical,
3158:Song cycles by Gustav Mahler
1600:The Master Musicians: Mahler
852:in work," characterised by
228:, based on poems written by
2911:Médiathèque Musicale Mahler
52:The composer, portrayed by
3194:
595:Neue Zeitschrift für Musik
567:Seven Songs of Latter Days
315:Seven Songs of Latter Days
3105:
2708:
2475:de la Grange, Henry-Louis
2453:de la Grange, Henry-Louis
1845:de la Grange, Henry-Louis
1090:"Liebst du um Schönheit"
540:singing three additional
196:
160:
151:
100:29 January 1905
45:
34:
3018:Henry-Louis de La Grange
2901:Mahler Chamber Orchestra
743:Henry Louis de la Grange
642:Allgemeine Musik-Zeitung
2504:Oxford University Press
1456:, §7 "Vienna 1897–1907"
1084:"Ich bin der Welt ..."
1078:"Blicke mir nicht ..."
463:Alexander von Zemlinsky
3054:Bernstein–Mahler cycle
2779:Symphony of a Thousand
869:and the philosophy of
846:
707:
534:
473:
467:
453:
394:
170:
26:
2860:Des Knaben Wunderhorn
2792:Das Lied von der Erde
887:Das Lied von der Erde
830:
828:writes of the songs:
818:Der Knaben Wunderhorn
691:
559:Der Knaben Wunderhorn
546:Des Knaben Wunderhorn
538:Marie Gutheil-Schoder
525:
379:Natalie Bauer-Lechner
362:Des Knaben Wunderhorn
335:Das Lied von der Erde
306:Der Knaben Wunderhorn
239:Des Knaben Wunderhorn
169:
2711:List of compositions
2531:The Mahler Companion
1468:, pp. 334, 342.
622:, and the same four
530:Bruckner's Romantic
3059:Colorado MahlerFest
2944:Mahler on the Couch
2920:Cultural depictions
2607:, pp. 143–145.
2417:, pp. 186–187.
2405:, pp. 781–782.
2403:de la Grange (1995)
2391:de la Grange (1995)
2352:de la Grange (1995)
2303:, pp. 783–784.
2301:de la Grange (1995)
2250:de la Grange (1995)
2225:, pp. 143–145.
2213:, pp. 689–694.
2211:de la Grange (1995)
2182:de la Grange (1995)
2152:, pp. 782–783.
2150:de la Grange (1995)
2138:de la Grange (1995)
2114:de la Grange (1995)
2090:de la Grange (1995)
2066:de la Grange (1995)
2042:de la Grange (1995)
2018:de la Grange (1999)
2006:de la Grange (1999)
1994:de la Grange (1999)
1982:de la Grange (1999)
1965:de la Grange (1999)
1955:, pp. 223–224.
1953:de la Grange (1999)
1941:de la Grange (1999)
1931:, pp. 220–222.
1929:de la Grange (1999)
1917:de la Grange (1999)
1902:de la Grange (1999)
1890:de la Grange (1999)
1875:de la Grange (1999)
1832:de la Grange (1999)
1820:de la Grange (1995)
1808:de la Grange (1999)
1793:de la Grange (1999)
1776:de la Grange (1999)
1759:de la Grange (1999)
1747:de la Grange (1999)
1732:de la Grange (1999)
1722:, pp. 107–108.
1720:de la Grange (1999)
1708:de la Grange (1995)
1693:, pp. 692–693.
1691:de la Grange (1995)
1679:de la Grange (1995)
1667:de la Grange (1995)
1655:de la Grange (1995)
1630:de la Grange (1999)
1583:de la Grange (1995)
1553:de la Grange (1995)
1543:, pp. 367–368.
1541:de la Grange (1995)
1493:de la Grange (1995)
1478:de la Grange (1995)
1466:de la Grange (1995)
1074:
871:Arthur Schopenhauer
854:linear counterpoint
606:Johannes Messchaert
483:Gürzenich Orchestra
289:Friedrich Weidemann
281:Vienna Philharmonic
2846:Lieder und Gesänge
2659:Fünf Rückertlieder
2499:Grove Music Online
1072:
716:Oriental languages
708:
171:
144:orchestra or piano
3168:1901 compositions
3123:
3122:
3095:Song of the Earth
2982:(father's cousin)
2936:Bride of the Wind
2874:Kindertotenlieder
2839:Das klagende Lied
2807:
2632:978-1-108-43835-3
2623:Mahler in Context
2592:978-0-85-115908-9
2559:978-1-139-00169-4
2540:978-0-19-816376-3
2521:978-1-56159-263-0
2488:978-0-19-315160-4
2466:978-0-19-315159-8
2378:, pp. 62–64.
2366:, pp. 59–60.
2128:, pp. 38–39.
2104:, pp. 34–35.
2080:, pp. 32–33.
2056:, pp. 30–31.
2032:, pp. 36–37.
1996:, pp. 603–4.
1858:978-0-19-816387-9
1609:978-0-460-12598-7
1411:
1410:
1087:"Um Mitternacht"
1069:
1068:
693:Friedrich Rückert
620:Kindertotenlieder
599:Grazer Volksblatt
571:Universal Edition
487:Kindertotenlieder
459:Arnold Schoenberg
426:, and six of the
424:Kindertotenlieder
375:Kindertotenlieder
326:Kindertotenlieder
324:, along with the
293:Kindertotenlieder
273:Kindertotenlieder
253:Kindertotenlieder
230:Friedrich Rückert
200:
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67:Friedrich Rückert
3185:
3173:Orchestral songs
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3042:Related articles
2884:Named for Mahler
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2718:Orchestral music
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2652:: Scores at the
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2577:Mitchell, Donald
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2502:(8th ed.).
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1596:Kennedy, Michael
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867:Buddhist thought
735:Vienna Secession
705:
652:at a concert in
629:Vossiche Zeitung
516:David Josef Bach
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3142:Classical music
3136:
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3119:
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3084:Neo-romanticism
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3023:Donald Mitchell
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2896:Mahler (crater)
2879:
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1454:Franklin (2001)
1452:
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1428:, conducted by
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1162:2 Clarinets (A)
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1070:
982:
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898:Instrumentation
826:Donald Mitchell
731:Richard Strauss
720:Robert Schumann
699:
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520:Julius Korngold
479:Fritz Steinbach
432:Musikvereinsaal
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2867:Rückert-Lieder
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2649:Rückert Lieder
2643:
2642:External links
2640:
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2631:
2618:
2614:Youmans (2021)
2609:
2605:Youmans (2021)
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2429:, pp. 56.
2419:
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2325:Hefling (1999)
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1568:Hefling (2007)
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1529:Hefling (2007)
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1505:Hefling (1999)
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807:Rückert-Lieder
802:
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800:Um Mitternacht
798:
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783:Um Mitternacht
781:
778:
775:
767:Rückert-Lieder
748:Gustav Fechner
724:Franz Schubert
712:Rückert-Lieder
697:Bertha Froriep
695:; portrait by
686:
685:
682:
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673:
666:Rückert-Lieder
661:
658:
650:Rückert-Lieder
646:Otto Klemperer
634:Rückert-Lieder
624:Rückert-Lieder
612:settings, the
583:Rückert-Lieder
578:
575:
554:Rückert-Lieder
511:Rückert-Lieder
495:Rückert-Lieder
449:
448:
447:Um Mitternacht
445:
442:
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420:Rückert-Lieder
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390:Alma Schindler
383:Rückert-Lieder
371:Rückert-Lieder
353:Vienna Hofoper
348:
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1199:Contrabassoon
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1136:English horn
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3049:Alma Problem
3013:Deryck Cooke
2980:Fritz Mahler
2942:
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2806:(unfinished)
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2736:Resurrection
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1430:Andrew Davis
1419:
1230:4 Horns (F)
1150:Clarinet (A)
1131:English horn
1119:Oboe d'amore
1063:
936:oboe d'amore
901:
892:9th Symphony
885:
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862:metaphysical
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507:Anton Webern
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418:Four of the
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275:and several
272:
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258:5th Symphony
251:
248:contrapuntal
243:
237:
204:
203:
201:
156:Audio sample
24:
18:
3033:Paul Stefan
2986:Otto Mahler
2968:Anna Mahler
2962:Alma Mahler
2947:(2010 film)
2939:(2001 film)
2931:(1974 film)
2906:Mahler Spur
2831:Vocal music
1414:Discography
1407:Contrabass
1260:3 Trombones
1209:3 Horns (F)
1188:2 Bassoons
1141:Clarinet (B
1045:2nd violins
931:cor anglais
858:heterophony
700: [
638:Paul Bekker
569:) in 1910.
503:Paul Stefan
474:Vereinigung
468:Vereinigung
404: [
401:C. F. Kahnt
347:Composition
317:) in 1910.
285:Anton Moser
3152:Categories
3028:Erwin Ratz
2970:(daughter)
1437:References
1402:Contrabass
1362:Violin II
1221:4 Horns (E
1212:2 Horns (E
1185:2 Bassoons
1182:2 Bassoons
1179:2 Bassoons
1007:Percussion
842:Wunderhorn
822:Wunderhorn
752:Wunderhorn
610:Wunderhorn
542:Wunderhorn
491:song cycle
428:Wunderhorn
297:Wunderhorn
283:, sung by
277:Wunderhorn
244:Wunderhorn
119:1905, 1910
115:1905, 1910
104:1905-01-29
54:Emil Orlik
36:Song cycle
2988:(brother)
2579:(2002) .
1357:Violin II
1352:Violin II
1347:Violin I
1273:Bass tuba
1017:Keyboards
993:trombones
948:clarinets
912:Woodwinds
739:modernist
234:Maiernigg
218:orchestra
127:Movements
112:Published
97:Performed
65:poems by
3115:Category
3098:(ballet)
2996:Scholars
2976:(cousin)
2477:(1999).
2455:(1995).
1847:(2008).
1598:(1990).
1342:Violin I
1336:Violin I
1244:♭
1224:♭
1215:♭
1206:Horn (F)
1168:♭
1156:♭
1144:♭
1122:2 Oboes
1103:2 Flutes
987:trumpets
983:♭
971:♭
954:bassoons
943:♭
890:and the
850:lyricism
834:fanfares
660:Overview
493:and the
359:and the
295:and the
81:Composed
73:Language
2777:No. 8 (
2763:No. 6 (
2734:No. 2 (
2725:No. 1 (
2436:Sources
1295:Celesta
1286:Timpani
1176:Bassoon
1041:violins
1030:Strings
1022:celesta
1012:timpani
654:Cologne
640:in the
342:History
135:Scoring
117: (
102: (
86: (
3128:Portal
2964:(wife)
2955:Family
2928:Mahler
2803:No. 10
2772:No. 7
2765:Tragic
2629:
2589:
2556:
2537:
2518:
2485:
2463:
1855:
1606:
1393:Cello
1378:Viola
1339:Violin
1064:
1054:cellos
1049:violas
920:flutes
880:, and
706:, 1864
618:, the
330:oeuvre
210:Lieder
76:German
56:, 1902
2798:No. 9
2758:No. 5
2748:No. 4
2743:No. 3
2727:Titan
1388:Cello
1383:Cello
1373:Viola
1370:Viola
1367:Viola
1329:Piano
1318:Harp
1098:Flute
1095:Flute
1026:piano
976:horns
964:Brass
926:oboes
838:march
759:piano
704:]
408:]
222:piano
214:voice
141:voice
2627:ISBN
2587:ISBN
2554:ISBN
2535:ISBN
2516:ISBN
2483:ISBN
2461:ISBN
1853:ISBN
1604:ISBN
1315:Harp
1312:Harp
1309:Harp
1306:Harp
1116:Oboe
1113:Oboe
1110:Oboe
1039:1st
1035:harp
998:tuba
974:, F
946:, A
856:and
765:The
722:and
710:The
664:The
587:Graz
461:and
320:The
287:and
267:The
216:and
212:for
202:The
188:help
183:file
130:five
88:1901
84:1901
62:Text
2508:doi
980:2 E
968:4 E
940:2 B
882:7th
878:6th
561:in
481:'s
224:by
220:or
92:–02
38:by
3154::
2514:.
2506:.
2383:^
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1444:^
1424:,
1171:)
991:3
952:2
924:2
918:2
894:.
702:de
406:de
338:.
264:.
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2694:e
2687:t
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1247:)
1227:)
1218:)
1159:)
1147:)
565:(
313:(
121:)
106:)
90:)
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