Symphony No 5
Gustav Mahler (7 July 1860 – 18 May 1911) was a Jewish Bohemian-Austrian co… Read Full Bio ↴Gustav Mahler (7 July 1860 – 18 May 1911) was a Jewish Bohemian-Austrian composer and conductor. Mahler’s lifetime spanned the most crucial period in musical history. Behind him lay the rich, Romantic pastures of Anton Bruckner and Johannes Brahms, and ahead the “alien” musical landscapes of Schoenberg and Boulez and the harrowing emotional terrain of Shostakovich and Benjamin Britten. Such was Gustav Mahler’s all-embracing vision that he earned the respect and admiration of all these composers.
During a conversation with Jean Sibelius, Mahler insisted that his symphonies were “whole worlds” embracing his literary tastes, his neuroses, responses to nature and, most especially, the inexorable cycle of life and death.
His four great song collections – Des Knaben Wunderhorn (Youth’s Magic Horn), Lieder Eines Fahrenden Gesellen (Songs Of A Wayfarer), Kindertotenlieder (Songs On The Death Of Children) and the five Rückert Lieder – all dwell on these very subjects, and also acted as a vital melodic repository for his symphonies.
Right at the end of his life Mahler fused song and symphonic form together in an epic Lieder-symphony entitled Das Lied Von Der Erde (The Song Of The Earth).
Each of Mahler’s nine symphonies (and the unfinished Tenth) requires the highest degree of orchestral virtuosity and sensitivity. He expanded the scale of music to near-bursting point – there are single movements in his works that last longer than an entire symphony by Mozart or Haydn.
He also stretched the traditional system of major and minor keys to its limits, taking music to the very brink of atonality (keylessness). Even 40 years ago, Mahler was still dismissed by many as a “fringe” composer, but now he is widely considered the last great symphonist in the tradition of Beethoven.
Mahler was born on July 7, 1860, in the Bohemian village of Kalischt, to a poor family of Moravian Jews. His father, Bernhard, ran a ramshackle distillery, and regularly thrashed his children and Mahler’s mother, Marie. She bore Bernhard 14 children in all and, despite suffering from a limp since birth and a heart condition, was made to work like a slave.
During a session with the pioneering psychoanalyst Sigmund Freud, the deeply traumatised Mahler recalled running screaming from the house in agony to the strains of a hurdy-gurdy playing outside.
It is somewhat ironic that the physical scars left by his father amounted to little more than a severe bruising, whereas those left by his mother were to plague him to the end of his days. He suffered from a psychosomatic nervous tic in his right leg, which made his movements slightly ungainly, and he inherited his mother’s heart defect, the deciding factor in his death.
Although Mahler’s performance was only average in most of his school subjects, by his early teens he was already marked out as a pianist prodigy. At 13, he gave a sensational public recital that included a virtuoso note-spinner by Sigismond Thalberg, and as a student at the Vienna Conservatory he performed Xaver Scharwenka’s ferociously difficult Piano Concerto No.1, apparently without batting an eyelid.
Mahler’s blazing talent unwittingly contributed to the great Lieder composer Hugo Wolf’s decline. The two shared lodgings as students, and formed a kind of mutual admiration society.
Sadly, by the end of his life, Wolf’s unstinting admiration for Mahler had dissolved into spiteful resentment at the latter’s success. Wolf’s descent into madness was marked by his wild claim that he had been appointed Director of the Vienna Opera and that his first job was to sack Mahler (by now the real director). Following a bungled suicide attempt, he spent the rest of his life in a Vienna lunatic asylum.
For a while, it seemed as though Mahler would make his way in the world as a concert pianist yet, following a series of whirlwind appointments in the provinces, he emerged as a conductor of visionary genius. His pioneering methods of concert preparation and opera production were to set the standard for the rest of the 20th century, exerting a profound influence on conductors from Herbert von Karajan to Leonard Bernstein.
Meticulous down to the last detail, a performance under Mahler was – like his music – all-encompassing. During his tenure at the Vienna Opera (1897-1908), he presided over 52 new productions of established repertoire, and introduced no fewer than 32 new works, including Puccini’s La Bohème and Madama Butterfly. As a result, composing became a part-time activity during the summer months between concert seasons.
Yet, if Mahler was universally hailed as a conductor, his music excited bewilderingly contrasting reactions, ranging from idolatry to near-revulsion. As early as the 1889 premiere of his First Symphony, opinion was already sharply divided.
A report that appeared in the Nemzet newspaper positively glows with enthusiasm: “This symphony is the impassioned work of a youthful, unquenchable talent, barely containing its seemingly inexhaustible ideas within a traditional framework... wild applause broke out at the end of every movement.”
Yet the New Pest Journal was altogether less enthusiastic, suggesting that audiences will “always be pleased to see him [Mahler] with baton in hand, just as long as he’s not conducting one of his own works”.
If the First Symphony caused problems, many of the following eight symphonies left audiences aghast – most particularly the Sixth with its chilling hammer blows of fate from the timpani.
Following the premiere, one critic noted painfully: “Where music falls short, the hammer falls.”
Yet not all was doom and gloom, by any means. The Resurrection Symphony No. 2 won many fervent admirers, while the 1910 Munich premiere of the massive Eighth, the so-called Symphony Of A Thousand, was perhaps the single greatest triumph of Mahler’s career: “There was this extraordinary moment when, with thundering applause all around him, Mahler appeared in front of a thousand performers,” recalled the conductor Bruno Walter in his 1936 biography of the composer. “He mounted the steps of the auditorium towards where the children’s chorus was positioned... and shook every one of them personally by the hand.”
Other successes included an early Berlin performance of the enchanting Fourth Symphony, which Mahler himself conducted. Richard Strauss was so in awe of it that he sent Mahler his complete published works.
Mahler’s Fifth – from which the famous Adagietto comes – took longer to establish itself, but finally enjoyed an ovation in St Petersburg during Mahler’s tour of 1907. In the audience that night was the young Igor Stravinsky, himself on the verge of creating a sensation with the first of his great ballets, The Firebird.
Having conquered Europe, towards the end of his life Mahler was appointed Music Director at the Metropolitan Opera in New York. His constant battle with bouts of depression and neurosis had recently placed an appalling strain on his marriage to Alma Mahler (née Schindler), who was 19 years his junior, and he had never recovered from the death of their first daughter, Maria Anna, at the tender age of five.
Yet his new-found acclaim had a positive effect on Mahler almost immediately, and he began living for every hour.
In February 1909, Mahler agreed to revive the New York Philharmonic as a full-time professional outfit, typically insisting on the highest playing standards. On April 1, he conducted its inaugural concert, including a performance of Beethoven’s Seventh Symphony that had the critics in raptures. He was immediately signed up as director, and given carte blanche to hire and fire.
Just as it seemed that Mahler might at last be coming to terms with the psychological problems that had plagued him all his life, he was diagnosed with a serious bacterial infection. The combination of his heart condition and the lack of antibiotics in those days meant there was no hope of recovery.
Mahler expressed a wish to die in Vienna and, having only just survived the transatlantic boat crossing, travelled by train to Vienna on a stretcher. Five days later he died, six weeks short of his 51st birthday. His last words, according to his wife Alma, were “Mozart – Mozart!”
He never saw Das Lied Von Der Erde or the Ninth Symphony performed and, despite the fame he had won against all the odds, he reflected despondently: “I am condemned to homelessness thrice over: as a Bohemian among Austrians, as an Austrian among Germans, and as a Jew throughout the world.”
During a conversation with Jean Sibelius, Mahler insisted that his symphonies were “whole worlds” embracing his literary tastes, his neuroses, responses to nature and, most especially, the inexorable cycle of life and death.
His four great song collections – Des Knaben Wunderhorn (Youth’s Magic Horn), Lieder Eines Fahrenden Gesellen (Songs Of A Wayfarer), Kindertotenlieder (Songs On The Death Of Children) and the five Rückert Lieder – all dwell on these very subjects, and also acted as a vital melodic repository for his symphonies.
Right at the end of his life Mahler fused song and symphonic form together in an epic Lieder-symphony entitled Das Lied Von Der Erde (The Song Of The Earth).
Each of Mahler’s nine symphonies (and the unfinished Tenth) requires the highest degree of orchestral virtuosity and sensitivity. He expanded the scale of music to near-bursting point – there are single movements in his works that last longer than an entire symphony by Mozart or Haydn.
He also stretched the traditional system of major and minor keys to its limits, taking music to the very brink of atonality (keylessness). Even 40 years ago, Mahler was still dismissed by many as a “fringe” composer, but now he is widely considered the last great symphonist in the tradition of Beethoven.
Mahler was born on July 7, 1860, in the Bohemian village of Kalischt, to a poor family of Moravian Jews. His father, Bernhard, ran a ramshackle distillery, and regularly thrashed his children and Mahler’s mother, Marie. She bore Bernhard 14 children in all and, despite suffering from a limp since birth and a heart condition, was made to work like a slave.
During a session with the pioneering psychoanalyst Sigmund Freud, the deeply traumatised Mahler recalled running screaming from the house in agony to the strains of a hurdy-gurdy playing outside.
It is somewhat ironic that the physical scars left by his father amounted to little more than a severe bruising, whereas those left by his mother were to plague him to the end of his days. He suffered from a psychosomatic nervous tic in his right leg, which made his movements slightly ungainly, and he inherited his mother’s heart defect, the deciding factor in his death.
Although Mahler’s performance was only average in most of his school subjects, by his early teens he was already marked out as a pianist prodigy. At 13, he gave a sensational public recital that included a virtuoso note-spinner by Sigismond Thalberg, and as a student at the Vienna Conservatory he performed Xaver Scharwenka’s ferociously difficult Piano Concerto No.1, apparently without batting an eyelid.
Mahler’s blazing talent unwittingly contributed to the great Lieder composer Hugo Wolf’s decline. The two shared lodgings as students, and formed a kind of mutual admiration society.
Sadly, by the end of his life, Wolf’s unstinting admiration for Mahler had dissolved into spiteful resentment at the latter’s success. Wolf’s descent into madness was marked by his wild claim that he had been appointed Director of the Vienna Opera and that his first job was to sack Mahler (by now the real director). Following a bungled suicide attempt, he spent the rest of his life in a Vienna lunatic asylum.
For a while, it seemed as though Mahler would make his way in the world as a concert pianist yet, following a series of whirlwind appointments in the provinces, he emerged as a conductor of visionary genius. His pioneering methods of concert preparation and opera production were to set the standard for the rest of the 20th century, exerting a profound influence on conductors from Herbert von Karajan to Leonard Bernstein.
Meticulous down to the last detail, a performance under Mahler was – like his music – all-encompassing. During his tenure at the Vienna Opera (1897-1908), he presided over 52 new productions of established repertoire, and introduced no fewer than 32 new works, including Puccini’s La Bohème and Madama Butterfly. As a result, composing became a part-time activity during the summer months between concert seasons.
Yet, if Mahler was universally hailed as a conductor, his music excited bewilderingly contrasting reactions, ranging from idolatry to near-revulsion. As early as the 1889 premiere of his First Symphony, opinion was already sharply divided.
A report that appeared in the Nemzet newspaper positively glows with enthusiasm: “This symphony is the impassioned work of a youthful, unquenchable talent, barely containing its seemingly inexhaustible ideas within a traditional framework... wild applause broke out at the end of every movement.”
Yet the New Pest Journal was altogether less enthusiastic, suggesting that audiences will “always be pleased to see him [Mahler] with baton in hand, just as long as he’s not conducting one of his own works”.
If the First Symphony caused problems, many of the following eight symphonies left audiences aghast – most particularly the Sixth with its chilling hammer blows of fate from the timpani.
Following the premiere, one critic noted painfully: “Where music falls short, the hammer falls.”
Yet not all was doom and gloom, by any means. The Resurrection Symphony No. 2 won many fervent admirers, while the 1910 Munich premiere of the massive Eighth, the so-called Symphony Of A Thousand, was perhaps the single greatest triumph of Mahler’s career: “There was this extraordinary moment when, with thundering applause all around him, Mahler appeared in front of a thousand performers,” recalled the conductor Bruno Walter in his 1936 biography of the composer. “He mounted the steps of the auditorium towards where the children’s chorus was positioned... and shook every one of them personally by the hand.”
Other successes included an early Berlin performance of the enchanting Fourth Symphony, which Mahler himself conducted. Richard Strauss was so in awe of it that he sent Mahler his complete published works.
Mahler’s Fifth – from which the famous Adagietto comes – took longer to establish itself, but finally enjoyed an ovation in St Petersburg during Mahler’s tour of 1907. In the audience that night was the young Igor Stravinsky, himself on the verge of creating a sensation with the first of his great ballets, The Firebird.
Having conquered Europe, towards the end of his life Mahler was appointed Music Director at the Metropolitan Opera in New York. His constant battle with bouts of depression and neurosis had recently placed an appalling strain on his marriage to Alma Mahler (née Schindler), who was 19 years his junior, and he had never recovered from the death of their first daughter, Maria Anna, at the tender age of five.
Yet his new-found acclaim had a positive effect on Mahler almost immediately, and he began living for every hour.
In February 1909, Mahler agreed to revive the New York Philharmonic as a full-time professional outfit, typically insisting on the highest playing standards. On April 1, he conducted its inaugural concert, including a performance of Beethoven’s Seventh Symphony that had the critics in raptures. He was immediately signed up as director, and given carte blanche to hire and fire.
Just as it seemed that Mahler might at last be coming to terms with the psychological problems that had plagued him all his life, he was diagnosed with a serious bacterial infection. The combination of his heart condition and the lack of antibiotics in those days meant there was no hope of recovery.
Mahler expressed a wish to die in Vienna and, having only just survived the transatlantic boat crossing, travelled by train to Vienna on a stretcher. Five days later he died, six weeks short of his 51st birthday. His last words, according to his wife Alma, were “Mozart – Mozart!”
He never saw Das Lied Von Der Erde or the Ninth Symphony performed and, despite the fame he had won against all the odds, he reflected despondently: “I am condemned to homelessness thrice over: as a Bohemian among Austrians, as an Austrian among Germans, and as a Jew throughout the world.”
Symphony No 5
Gustav Mahler Lyrics
We have lyrics for these tracks by Gustav Mahler:
4 Rückert‐Lieder: 3. Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
5 Lieder: 2. Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
5 Lieder: 3. Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
5 Rückertlieder: 3. Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Das Lied Von Der Erde: Das Trinklied vom Jammer der Erde Schon winkt der Wein im gold′nen Pokale, Doch trinkt noch ni…
Das Trinklied vom Jammer der Erde Schon winkt der Wein im goldnen Pokale, doch trinkt noch ni…
Der Abschied Die Sonne scheidet hinter dem Gebirge. In alle Täler steigt…
Der Einsame im Herbst Herbstnebel wallen bläulich überm See; vom Reif bezogen ste…
Lieder eines fahrenden Gesellen: I. Wenn mein Schatz Hochzeit macht When my darling has her wedding-day, her joyous wedding-day,…
Rückert-Lieder No. 1: Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Rückert-Lieder: 3. Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Rückert-Lieder: Blicke mir in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Rückert-Lieder: Blicke Mir Nicht In Die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Rückert-Lieder: II. Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Rückertlieder: Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder Meine Augen schlag' ich niede…
Von der Jugend Mitten in dem kleinen Teiche steht ein Pavillon aus grünem …
Wenn mein Schatz Hochzeit macht Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, …
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@davidmoss9926
🟦 1st Movement : Trauermarsch
🔸Five part structure: Main section (A) - Trio I (B) - Main Section (A') - Trio II (B') - Coda (A'')
◾Main Section (A) in C-sharp minor
1:01 First part beginning with trumpet solo
2:10 Second part, elegiac character
3:10 First part again (altered)
4:02 Second part again (altered)
5:14 Third part beginning in A-flat major and closing in D-flat major / D-flat minor
◾Trio I (B) in B-flat minor
6:26 First Part
6:48 Second part beginning in E-flat minor
7:13 Third part (linked to the first) in B-flat minor
◾Main Section (A') in C-sharp minor
8:00 First part (altered)
8:53 Second part (altered)
10:00 Third part (altered) in D-flat major
10:48 Transition
◾Trio II (B') in A minor
11:00 First part
11:27 Second part beginning in D minor
11:59 Third part in A minor with collapselike climax
◾12:30 Coda (A'') in C-sharp minor
🟦 2nd Movement : Sturmisch bewegt! Turbulently Rough!
🔸Sonata Form, thematically linked to first movement
◾Exposition
13:37 Main section in A minor, part 1
14:10 Main section, part 2 (trumpet motif prominent)
14:48 Transition (tritone motif in trumpets and inferno figures in woodwinds)
14:57 Secondary section in F minor (new setting of Trio II, 11:00)
◾Development
17:06 Diminished 7th chord with inferno figures
17:10 Development and combination of the motifs from the main section
17:40 Tritone motifs (trumpets, later trombones); inferno figures (woodwinds); sighing in strings
17:54 Monody of the 'lamenting' cellos in E-flat minor
19:00 New setting of secondary section in E-flat minor; contrapuntal combination with motifs from the main section
20:10 Motifs from the main section
20:22 Return to the 'main section' of the first movement (10:00), now in B major
21:08 March-like section beginning in A-flat major, growing in intensity
21:43 Pesante: anticipation of the chorale (in A major)
◾Recapitulation
21:52 Main section beginning in A minor and leading to E minor
22:25 Secondary section beginning in E minor and leading to E-flat minor
24:25 Wuchtig/Weighty : contrapuntal combination of motifs from the secondary sections
25:13 Pesante: Chorale in D major (Vision of Paradise)
◾Coda
26:30 Diminished 7th chord over a nonchord B-flat, main motif of the movement, inferno figures, sighing motifs
26:37 First part of the main section in D minor (a surge of intensificiation leads up to a collapselike climax)
27:23 Area of resolution in A minor
🟦 3rd Movement : Scherzo
◾Main section
28:29 First period (main theme)
28:45 Second period (main theme with modified contrapuntal restatement)
28:56 Third period (variation of the main theme)
29:10 Fourth period (with a new eighth-note theme and a concise rhythmic counter theme beginning in B minor and leading into the substance of the main theme)
29:44 Fifth period
29:54 Sixth period (beginning with the eighth-note theme and leading into the substance of the main theme)
30:34 Seventh period
◾Trio I (in B-flat Major)
30:51 Period 1
31:15 Period 2
◾Main section (shortened recapitulation)
31:45 Period 1
31:59 Period 2
32:12 Fugato on the eighth note theme
◾Trio II
32:33 First section (of preparatory character)
32:53 Second section (beginning slow and with growing intensity)
33:31 Third section: four line episode in G minor
34:56 Fourth section: New version of the theme, reminiscent of Trio I
35:32 Fifth section: imitative treatment of the theme
36:39 Sixth section: new version of the theme with added reminisces of Trio I and the main theme)
◾Development
37:50 Development and contrasting of the motifs of Trio I and the main theme
◾Recapitulation (greatly modified)
Main Section, Period 1 (38:53), 2 (39:08), 3 (39:20), 4 (39:31)
40:07 Trio I
40:23 Trio II combined with the eighth-note theme
41:23 Strongly, motifs of Trio I and of the main theme developed in two large waves of intensification
42:33 New version of the episode from Trio II
◾Coda
44:21 Stretta
🟦 4th Movement : Adagietto
45:25
◾Popularized in Luchino Visconti’s film Death in Venice, https://youtu.be/iHB_YWIWkE8
◾Its mood and certain melodic turns are related to the Ruckert song Ich bin der Welt abhanden gekommen.
https://youtu.be/TzJyIWxjX9o
◾Mahler’s declaration of love for Alma!
◾Middle section: quotes the “gaze motif” from Wagner’s Tristan and Isolde. https://youtu.be/hcYjKs_9ov8 @ 3'10"
🟦 5th Movement : Rondo-Finale
◾Introduction
53:51 Presentation of several motifs that play a role in the fugal passages [note bassoon 54:05 = clarinet in Lob des hohen Verstandes from Das Knaben Wunderhorn @0:06 https://youtu.be/qrAUpv3e2I4]
◾Exposition
54:33 Main section, arranged in bar form = Rondo theme in D major: allegro giocoso. Fresh
55:10 Fugal Part I (D Major) [note 55:27 is a transformation of 25:58]
56:38 Main section : Rondo theme in D major
57:15 Fugal Part II (B-flat major, D major, f-sharp major)
57:41 Secondary section (grazioso) in B major [a metamorphosis of 49:39 from IV]
58:36 Epilogue in B major
◾Development
58:45 Introductory section (flowing)
59:18 Fugal Part III
59:54 Section beginning in C major
1:00:26 Section beginning in B major and modulating to D major
1:01:02 Secondary section in D major, partly treated imitatively and partly provided with countermelodies
1:01:59 Epilogue
1:02:08 Fugal Part IV
◾Recapitulation
1:03:24 Main section varied : Rondo theme in D major
1:04:09 Fugal Part V
1:05:08 Development of the main section in A-flat and A major
1:05:59 Secondary section in G major
1:07:10 Transition [gradually and constantly faster]
1:07:34 Chorale in D major
◾Coda
1:08:20 Stretta
1:08:41 Interesting form of the chorale melody in the horns
"the mood is at times reminiscent of the second Wayfarer song https://youtu.be/6VCpbMPhmWY and its wholesome world, as well as the first movement of the 4th with which the Rondo-Finale share some childlike figures", eg. flute @ 55:35 similar to @1:27 https://youtu.be/YnfhInZLmUQ
◾notes based on Constantin Floros : Gustav Mahler The Symphonies, Amadeus Press (1985)
@mattnikzad3626
My fav moments in the 2nd movement:
-the rising notes in the lower strings (celli/bass?) at 13:59 and 14:02
-the countermelody in the strings (violas?) at 14:33
-the way the melody returns in the french horns at 16:03
-THAT CHORD AT 16:27
-the way the brass copy the strings but offset by a few beats at 17:36
-the melody in the french horns at 18:59
-the out-of-nowhere light and airy very-german section at 21:08
-the high note in the violins that is sustained extra long at 22:01
-the outbursts at 22:14 which I think are low brass
-everything about 22:22 but especially the random note by the french horns that sounds like an elephant charging into battle, the piccolo that rounds out the texture, and the melody itself
-the cries of the strings at 22:29 which are constrained by the fact that it’s written to be played sul g
-the random flashback to the first movement at 23:28
-the epic low brass melody at 24:25 but also the countermelody in the strings (and how it is reminiscent of earlier moments in the movement)
@gustavmahler3840
One of my compositions. Like that !
@sfbirdclub
Yup! Just like that!
@arkazoo4769
You're full of it! You stole it from me. I'd sue your rear for plagiarism! I bet my lawyer can beat up on your lawyer with his eyes closed.
@gustavmahler3840
What ! Nope
@percyyang8367
hello Mahler dad!!!
@gustavmahler3840
Hello everyone, I finished my 11th and 12th symphonies now. The 11th's final revision is done but I only finished three movements of the 12th.
@DaviSilva-oc7iv
When I started listening Mahler I just thought it was boring, but now I am discovering a whole new universe of great music, Mahler composed differently from other romantic composers, his music is quite odd but the more I listen to his music the more I realize how great it is. Mahler is an acquired taste.
@tobilori8824
true, i think most of his composition is not immediately catchy, but after hearing it a few times, it is very rich and beautiful. If you havent heard it yet, i recommend "ich bin der Welt abhanden gekommen" from the Rückert Lieder. That is played in the movie Birdman, and its really nice. :)
@dhjerth
Agreed. There's just nothing to grab your attention in Mahler. For a long time, I had no idea how to listen to his symphonies, it all just sounded incoherent and indulgent to me. Then I listened to "Das Lied von die Erde", and loved it, and that made something click, the other symphonies suddenly made sense. Now I love Mahler. I love Maaaahler
@scottmiller6495
@dhjerth He was the greatest composer of Symphonies by anyone of all time. It started with his Symphony No. 1 which is a landmark work that grabs your heart right from the start! Nobody in history of classical music has been able to achieve this brilliance in such a short amount of time! He only lived 51 short years and composed 10 symphonies that are above and beyond Incredible atleast most people finally agree !!!!!