Is there an issue? Send a MessageReason:
None
Changed line(s) 70 (click to see context) from:
** The [[LastNoteNightmare final chord]] of ''Das Klagende Lied''.
to:
** The [[LastNoteNightmare final chord]] of ''Das Klagende Lied''.''Music/DasKlagendeLied''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 58 (click to see context) from:
* InfantImmortality: Subverted by ''Music/Kindertotenlieder'', a song cycle based on a series of poems on the death of children by Friedrich Rückert.
to:
* InfantImmortality: Subverted by ''Music/Kindertotenlieder'', ''Music/{{Kindertotenlieder}}'', a song cycle based on a series of poems on the death of children by Friedrich Rückert.
Is there an issue? Send a MessageReason:
None
Changed line(s) 40 (click to see context) from:
* DeathOfAChild: The theme of ''Music/Kindertotenlieder'' (meaning "[[ExactlyWhatItSaysOnTheTin Songs on the Death of Children]]".) Each song explores a different aspect of [[TearJerker the grief that follows losing a child]].
to:
* DeathOfAChild: The theme of ''Music/Kindertotenlieder'' ''Music/{{Kindertotenlieder}}'' (meaning "[[ExactlyWhatItSaysOnTheTin Songs on the Death of Children]]".) Each song explores a different aspect of [[TearJerker the grief that follows losing a child]].
Changed line(s) 55 (click to see context) from:
* GermanicDepressives: His music is very dark, moody and brooding. One of his oldest works was ''[[Music/DasKlagendeLied Das Klagende Lied]] ("The Song of Lament")'' and ''Music/Kindertotenlieder'' is also not exactly the happiest of subjects. ''[[Music/DasLiedVonDerErde Das Lied von der Erde]] ("Song of Earth")'' also deals with tragic themes. And, of course, his famous "6th Symphony" is referred to as "Tragische" ("Tragic").
to:
* GermanicDepressives: His music is very dark, moody and brooding. One of his oldest works was ''[[Music/DasKlagendeLied Das Klagende Lied]] ("The Song of Lament")'' and ''Music/Kindertotenlieder'' ''Music/{{Kindertotenlieder}}'' is also not exactly the happiest of subjects. ''[[Music/DasLiedVonDerErde Das Lied von der Erde]] ("Song of Earth")'' also deals with tragic themes. And, of course, his famous "6th Symphony" is referred to as "Tragische" ("Tragic").
Changed line(s) 64 (click to see context) from:
* OutlivingOnesOffspring: The theme of ''Music/Kindertotenlieder'', mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]][[invoked]] when the couple lost their own four-year-old daughter to scarlet fever.
to:
* OutlivingOnesOffspring: The theme of ''Music/Kindertotenlieder'', ''Music/{{Kindertotenlieder}}'', mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]][[invoked]] when the couple lost their own four-year-old daughter to scarlet fever.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No. 7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''[[Music/DasLiedVonDer Erde Das Lied von der Erde]] ("Song of Earth")''. [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...That being said, Music/DmitriShostakovich managed to write fifteen symphonies, although he had [[UsefulNotes/JosephStalin other things to worry about]].
to:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No. 7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''[[Music/DasLiedVonDer Erde ''[[Music/DasLiedVonDerErde Das Lied von der Erde]] ("Song of Earth")''. [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...That being said, Music/DmitriShostakovich managed to write fifteen symphonies, although he had [[UsefulNotes/JosephStalin other things to worry about]].
Changed line(s) 32 (click to see context) from:
* CradleOfLoneliness: ''[[Music/DasLiedVonDer Erde Das Lied von der Erde]] ("Song of Earth")'' has a movement called "Der Einsame im Herbst" ("The Lonely One in Autumn").
to:
* CradleOfLoneliness: ''[[Music/DasLiedVonDer Erde ''[[Music/DasLiedVonDerErde Das Lied von der Erde]] ("Song of Earth")'' has a movement called "Der Einsame im Herbst" ("The Lonely One in Autumn").
Changed line(s) 47 (click to see context) from:
* DrunkenSong: His ''[[Music/DasLiedVonDer Erde Das Lied von der Erde]] ("Song of Earth")'' has a drinking song, but it's one for "Earth's Misery": "Das Trinklied vom Jammer der Erde." Another one is called "Der Trunkene im Frühling" ("The Drunken Man in Spring").
to:
* DrunkenSong: His ''[[Music/DasLiedVonDer Erde ''[[Music/DasLiedVonDerErde Das Lied von der Erde]] ("Song of Earth")'' has a drinking song, but it's one for "Earth's Misery": "Das Trinklied vom Jammer der Erde." Another one is called "Der Trunkene im Frühling" ("The Drunken Man in Spring").
Changed line(s) 55 (click to see context) from:
* GermanicDepressives: His music is very dark, moody and brooding. One of his oldest works was ''[[Music/DasKlagendeLied Das Klagende Lied]] ("The Song of Lament")'' and ''Music/Kindertotenlieder'' is also not exactly the happiest of subjects. ''[[Music/DasLiedVonDer Erde Das Lied von der Erde]] ("Song of Earth")'' also deals with tragic themes. And, of course, his famous "6th Symphony" is referred to as "Tragische" ("Tragic").
to:
* GermanicDepressives: His music is very dark, moody and brooding. One of his oldest works was ''[[Music/DasKlagendeLied Das Klagende Lied]] ("The Song of Lament")'' and ''Music/Kindertotenlieder'' is also not exactly the happiest of subjects. ''[[Music/DasLiedVonDer Erde ''[[Music/DasLiedVonDerErde Das Lied von der Erde]] ("Song of Earth")'' also deals with tragic themes. And, of course, his famous "6th Symphony" is referred to as "Tragische" ("Tragic").
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No. 7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...That being said, Music/DmitriShostakovich managed to write fifteen symphonies, although he had [[UsefulNotes/JosephStalin other things to worry about]].
to:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No. 7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das ''[[Music/DasLiedVonDer Erde Das Lied von der Erde'' (''The Song Erde]] ("Song of the Earth'').Earth")''. [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...That being said, Music/DmitriShostakovich managed to write fifteen symphonies, although he had [[UsefulNotes/JosephStalin other things to worry about]].
Changed line(s) 30 (click to see context) from:
* BreakTheBadass: The whole point of the fourth movement of the ''Tragic'' is to send the [[WorldOfHam ridiculously large orchestra]] through a series of twists of fate represented by hammer strokes until it gives up after [[RuleOfThree the third one]].
to:
* BreakTheBadass: The whole point of the fourth movement of the ''Tragic'' Symphony (No. 6) is to send the [[WorldOfHam ridiculously large orchestra]] through a series of twists of fate represented by hammer strokes until it gives up after [[RuleOfThree the third one]].
Changed line(s) 32 (click to see context) from:
* CradleOfLoneliness: "Das Lied von der Erde" ("Song of Earth") has a movement called "Der Einsame im Herbst" ("The Lonely One in Autumn").
to:
* CradleOfLoneliness: "Das ''[[Music/DasLiedVonDer Erde Das Lied von der Erde" Erde]] ("Song of Earth") Earth")'' has a movement called "Der Einsame im Herbst" ("The Lonely One in Autumn").
Changed line(s) 40 (click to see context) from:
* DeathOfAChild: The theme of "Kindertotenlieder" (meaning "[[ExactlyWhatItSaysOnTheTin Songs on the Death of Children]]".) Each song explores a different aspect of [[TearJerker the grief that follows losing a child]].
to:
* DeathOfAChild: The theme of "Kindertotenlieder" ''Music/Kindertotenlieder'' (meaning "[[ExactlyWhatItSaysOnTheTin Songs on the Death of Children]]".) Each song explores a different aspect of [[TearJerker the grief that follows losing a child]].
Changed line(s) 47 (click to see context) from:
* DrunkenSong: His ''Das Lied von der Erde'' ("The Song of the Earth") has a drinking song, but it's one for "Earth's Misery": "Das Trinklied vom Jammer der Erde." Another one is called "Der Trunkene im Frühling" ("The Drunken Man in Spring").
to:
* DrunkenSong: His ''Das ''[[Music/DasLiedVonDer Erde Das Lied von der Erde'' ("The Song Erde]] ("Song of the Earth") Earth")'' has a drinking song, but it's one for "Earth's Misery": "Das Trinklied vom Jammer der Erde." Another one is called "Der Trunkene im Frühling" ("The Drunken Man in Spring").
Changed line(s) 55 (click to see context) from:
* GermanicDepressives: His music is very dark, moody and brooding. One of his oldest works was "Das Klagende Lied" ("The Song of Lament") and "Kindertotenlieder" ("Songs on the Death of Children") is also not exactly the happiest of subjects. "Das Lied von der Erde" also deals with tragic themes. And, of course, his famous "6th Symphony" is referred to as "Tragische" ("Tragic").
to:
* GermanicDepressives: His music is very dark, moody and brooding. One of his oldest works was "Das ''[[Music/DasKlagendeLied Das Klagende Lied" Lied]] ("The Song of Lament") Lament")'' and "Kindertotenlieder" ("Songs on the Death of Children") ''Music/Kindertotenlieder'' is also not exactly the happiest of subjects. "Das ''[[Music/DasLiedVonDer Erde Das Lied von der Erde" Erde]] ("Song of Earth")'' also deals with tragic themes. And, of course, his famous "6th Symphony" is referred to as "Tragische" ("Tragic").
Changed line(s) 58 (click to see context) from:
* InfantImmortality: Subverted by "Kindertotenlieder" ("Songs on the Death of Children"), a song cycle based on a series of poems by Friedrich Rückert.
to:
* InfantImmortality: Subverted by "Kindertotenlieder" ("Songs on the Death of Children"), ''Music/Kindertotenlieder'', a song cycle based on a series of poems on the death of children by Friedrich Rückert.
Changed line(s) 64 (click to see context) from:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder'', mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]][[invoked]] when the couple lost their own four-year-old daughter to scarlet fever.
to:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder'', ''Music/Kindertotenlieder'', mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]][[invoked]] when the couple lost their own four-year-old daughter to scarlet fever.
Is there an issue? Send a MessageReason:
None
Changed line(s) 56 (click to see context) from:
* HolyPipeOrgan: The final restatement of the chorus in the 2nd Symphony (''Aufersteh'n! Ja, aufersteh'n wirst du, mein Herz, in einem Nu!'') is accompanied by a pipe organ, saved just for that moment. By contrast, the 8th Symphony brings the organ in on the very first note (''Veni! Veni, Creator Spiritus!]]).
to:
* HolyPipeOrgan: The final restatement of the chorus in the 2nd Symphony (''Aufersteh'n! Ja, aufersteh'n wirst du, mein Herz, in einem Nu!'') is accompanied by a pipe organ, saved just for that moment. By contrast, the 8th Symphony Symphony brings the organ in on the very first note (''Veni! Veni, Creator Spiritus!]]).Spiritus!'').
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* HolyPipeOrgan: The final restatement of the chorus in the 2nd Symphony (''Aufersteh'n! Ja, aufersteh'n wirst du, mein Herz, in einem Nu!'') is accompanied by a pipe organ, saved just for that moment. By contrast, the 8th Symphony brings the organ in on the very first note (''Veni! Veni, Creator Spiritus!]]).
Is there an issue? Send a MessageReason:
None
Changed line(s) 67 (click to see context) from:
* ScareChord: After the third movement of his 1st Symphony quietly fades out, the fourth movement starts with a rapid ''Crash-Screech-'''''BOOM!''' to jolt the audience out of their seats and make them pay attention again, while the final movement of the 2nd Symphony starts with a quick figure in the low strings and then a shrill, dissonant chord Mahler called the ''Ruf des Schmerzes'' ("Scream of Anguish"). [[EarnYourHappyEnding Both symphonies get better, though.]]
to:
* ScareChord: ScareChord:
** After the third movement of his 1st Symphony quietly fades out, the fourth movement starts with a rapid ''Crash-Screech-'''''BOOM!''' to jolt the audience out of their seats and make them pay attention again, while the final movement of the 2nd Symphony starts with a quick figure in the low strings and then a shrill, dissonant chord Mahler called the ''Ruf des Schmerzes'' ("Scream of Anguish"). [[EarnYourHappyEnding Both symphonies get better, though.]]]]
** The [[LastNoteNightmare final chord]] of ''Das Klagende Lied''.
** After the third movement of his 1st Symphony quietly fades out, the fourth movement starts with a rapid ''Crash-Screech-'''''BOOM!''' to jolt the audience out of their seats and make them pay attention again, while the final movement of the 2nd Symphony starts with a quick figure in the low strings and then a shrill, dissonant chord Mahler called the ''Ruf des Schmerzes'' ("Scream of Anguish"). [[EarnYourHappyEnding Both symphonies get better, though.
** The [[LastNoteNightmare final chord]] of ''Das Klagende Lied''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 66 (click to see context) from:
* ReclusiveArtist: Preferred composing when in near-total social isolation in a cabin.
to:
* ReclusiveArtist: Preferred Although he was personable enough (an orchestra conductor has to be able to get along with and manage large numbers of people, after all), he preferred composing when in near-total social isolation in a cabin.cabin. Three 'composing huts' he had built near his homes still exist, preserved as little museums to him.
Is there an issue? Send a MessageReason:
None
Changed line(s) 28 (click to see context) from:
* BoleroEffect: Symphony No. 1 "The Titan" has this in its third movement on the tune of "Frère Jacques".
to:
* BoleroEffect: Symphony No. 1 "The Titan" (''Titan''), has this in its third movement on the tune of "Frère Jacques".
Deleted line(s) 42 (click to see context) :
Changed line(s) 48 (click to see context) from:
* DrunkenSong: His "Das Lied von der Erde" ("Song of Earth") has a drinking song, but it's one for "Earth's Misery": "Das Trinklied vom Jammer der Erde." Another one is called "Der Trunkene im Frühling" ("The Drunken Man in Spring").
to:
* DrunkenSong: His "Das ''Das Lied von der Erde" ("Song Erde'' ("The Song of the Earth") has a drinking song, but it's one for "Earth's Misery": "Das Trinklied vom Jammer der Erde." Another one is called "Der Trunkene im Frühling" ("The Drunken Man in Spring").
Is there an issue? Send a MessageReason:
None
Changed line(s) 27 (click to see context) from:
* BoleroEffect: First Symphony "The Titan" has this in its third movement on the tune of "Frère Jacques".
to:
* BittersweetEnding: Symphony No. 9 simply fades out, interpreted as a farewell from the composer.
* BoleroEffect:First Symphony No. 1 "The Titan" has this in its third movement on the tune of "Frère Jacques". Jacques".
* BoleroEffect:
Changed line(s) 40,42 (click to see context) from:
* DownerEnding:
** Symphony No. 6 (''Tragic''), ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
** Symphony No. 9 simply fades out, interpreted as a farewell from the composer.
** Symphony No. 6 (''Tragic''), ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
** Symphony No. 9 simply fades out, interpreted as a farewell from the composer.
to:
* DownerEnding:
**DownerEnding: Symphony No. 6 (''Tragic''), ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
** Symphony No. 9 simply fades out, interpreted as a farewell from the composer.
**
Is there an issue? Send a MessageReason:
None
Changed line(s) 64 (click to see context) from:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder'', mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]] when the couple lost their own four-year-old daughter to scarlet fever.
to:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder'', mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]] later]][[invoked]] when the couple lost their own four-year-old daughter to scarlet fever.
Is there an issue? Send a MessageReason:
None
Changed line(s) 46 (click to see context) from:
** [[SubvertedTrope Played very slowly]] at the end of the 3rd Symphony.
to:
** [[SubvertedTrope Played very slowly]] at the end of the 3rd Symphony.Symphony No. 3.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No. 7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
to:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No. 7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies... \nThat being said, Music/DmitriShostakovich managed to write fifteen symphonies, although he had [[UsefulNotes/JosephStalin other things to worry about]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No.7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
to:
[[AuthorExistenceFailure Mahler died before he could complete his 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No. 7 only exists in sketch form[[/note]], Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No. 00 and No. 0[[/note]], and Music/AntoninDvorak[[note]] except the symphonies now known as Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
Changed line(s) 39 (click to see context) from:
* DeathOfAChild: The theme of "Kindertotenlieder" (meaning "[[ExactlyWhatItSaysOnTheTin Songs on the Death of Children]].") Each song explores a different aspect of [[TearJerker the grief that follows losing a child]].
to:
* DeathOfAChild: The theme of "Kindertotenlieder" (meaning "[[ExactlyWhatItSaysOnTheTin Songs on the Death of Children]].") Children]]".) Each song explores a different aspect of [[TearJerker the grief that follows losing a child]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 11,12 (click to see context) from:
He mostly restricted his output to symphonies and song cycles. Mahler once remarked that "the symphony must be like the world. It must embrace everything." No wonder then that his symphonies work on a larger scale than anything previously conceived: some of them have elaborate philosophical programs, like his Symphony No. 3 which, like [[Music/AlsoSprachZarathustra Richard Strauss' tone poem]], is based on [[Creator/FriedrichNietzsche Nietzsche]]'s ''Literature/AlsoSprachZarathustra''. Mahler continually specified larger orchestras and more esoteric instruments; the culmination of this is his Symphony No. 8, which requires a ridiculously large number of musicians: double orchestra, an organist, eight vocal soloists and three choirs. Not surprisingly, then, it is often called the "Symphony of a Thousand".
to:
He mostly restricted his output to symphonies and song cycles. Mahler once remarked that "the symphony must be like the world. It must embrace everything." No wonder then that his symphonies work on a larger scale than anything previously conceived: some of them have elaborate philosophical programs, like his Symphony No. 3 which, like [[Music/AlsoSprachZarathustra Richard Strauss' tone poem]], is based on [[Creator/FriedrichNietzsche Nietzsche]]'s ''Literature/AlsoSprachZarathustra''. Mahler continually specified larger orchestras and more esoteric instruments; the culmination of this is his Symphony No. 8, which requires a ridiculously large number of musicians: double orchestra, an organist, eight vocal soloists soloists, and three choirs. Not surprisingly, then, it is often called the "Symphony of a Thousand".
Changed line(s) 15,20 (click to see context) from:
Nonetheless, they are still considered powerful and emotionally affecting pieces of music. Many of his works, such as his Second and Fifth Symphonies, start out with a despairing and anguished tone that darkens even further throughout the work, only to [[EarnYourHappyEnding work their way]] to a profoundly triumphant and joyous ending.
He is sometimes viewed as a transitional figure between the romantic era and the early modern era of classical music (particularly German Expressionism), much the way that Beethoven can be viewed as a transition between the classical and romantic eras. Mahler was a major influence for Arnold Schoenberg and his students. In particular, the way that Mahler begins to dissect tonality in his 9th symphony and the parts of the 10th that he did manage to finish -- this leads directly to the 12 tone system that Arnold Schoenberg pioneered.
[[AuthorExistenceFailure Mahler died before he could complete his Tenth Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony now known as No.7 only exists in sketch form[[/note]], Anton Bruckner[[note]] if one ignores two early symphonies, now known as No.00 and No.0[[/note]], and Music/AntoninDvorak[[note]] except that the symphonies now known as Nos.1-4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died, and were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
He is sometimes viewed as a transitional figure between the romantic era and the early modern era of classical music (particularly German Expressionism), much the way that Beethoven can be viewed as a transition between the classical and romantic eras. Mahler was a major influence for Arnold Schoenberg and his students. In particular, the way that Mahler begins to dissect tonality in his 9th symphony and the parts of the 10th that he did manage to finish -- this leads directly to the 12 tone system that Arnold Schoenberg pioneered.
[[AuthorExistenceFailure Mahler died before he could complete his Tenth Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony now known as No.7 only exists in sketch form[[/note]], Anton Bruckner[[note]] if one ignores two early symphonies, now known as No.00 and No.0[[/note]], and Music/AntoninDvorak[[note]] except that the symphonies now known as Nos.1-4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died, and were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
to:
Nonetheless, they are still considered powerful and emotionally affecting pieces of music. Many of his works, such as his Second and Fifth Symphonies, start out with a despairing and despairing, anguished tone that darkens even further throughout the work, only to [[EarnYourHappyEnding work their way]] to a profoundly triumphant and joyous ending.
He is sometimes viewed as a transitional figure between the romantic era and the early modern era of classical music (particularly German Expressionism), much the way that Beethoven can be viewed as a transition between the classical and romantic eras. Mahler was a major influence for Arnold Schoenberg and his students. In particular, the way that Mahler begins to dissect tonality in his 9th symphony and the parts of the 10th that he did manage to finish -- this leads directly to the12 tone 12-tone system that Arnold Schoenberg pioneered.
[[AuthorExistenceFailure Mahler died before he could complete hisTenth 10th Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony that is now known as No.7 only exists in sketch form[[/note]], Anton Bruckner[[note]] Music/AntonBruckner[[note]] if one ignores two early symphonies, now known as No.No. 00 and No.No. 0[[/note]], and Music/AntoninDvorak[[note]] except that the symphonies now known as Nos.1-4 Nos. 1–4 were not published until after Mahler (and, more importantly, DvoĆák himself) had died, and died; they were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
He is sometimes viewed as a transitional figure between the romantic era and the early modern era of classical music (particularly German Expressionism), much the way that Beethoven can be viewed as a transition between the classical and romantic eras. Mahler was a major influence for Arnold Schoenberg and his students. In particular, the way that Mahler begins to dissect tonality in his 9th symphony and the parts of the 10th that he did manage to finish -- this leads directly to the
[[AuthorExistenceFailure Mahler died before he could complete his
----
Changed line(s) 29,30 (click to see context) from:
* BunnyEarsLawyer
* CallBack: Some material from earlier symphonies can be heard in later ones, for example a horn call in the fifth returning in the sixth.
* CallBack: Some material from earlier symphonies can be heard in later ones, for example a horn call in the fifth returning in the sixth.
to:
Changed line(s) 41,42 (click to see context) from:
** The 6th symphony, [[FanNickname so-called]] ''Tragic'', ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
** His 9th symphony simply fades out, interpreted as a farewell from the composer.
** His 9th symphony simply fades out, interpreted as a farewell from the composer.
to:
** The 6th symphony, [[FanNickname so-called]] ''Tragic'', Symphony No. 6 (''Tragic''), ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
**His 9th symphony Symphony No. 9 simply fades out, interpreted as a farewell from the composer.
**
Changed line(s) 50,53 (click to see context) from:
** Mahler's First Symphony details the life of a hero, including his funeral in the third movement. The final movement is him fighting his way out of Hell to ascend to Heaven.
** The 2nd symphony opens once again with the funeral rites of the hero from the previous symphony, while the finale is a depiction of the Last Judgement. The first ten minutes depict the angelic summons (Mahler subtitled the initial offstage horn call "a voice calling in the wilderness"), then a thundering drum roll represents the ground tearing wide open as the dead rise from their graves and march off to be judged. The triumphant final minutes suggest that even the condemned souls have been redeemed and restored by ThePowerOfLove.
* EverythingIsAnInstrument: The infamous ''Mahlerhammer'' in the 6th symphony is a large wooden hammer slammed against a wooden platform or box, used as a percussive instrument. Also needs [[Creator/ChristopherWalken more cowbell]] in the finale.
* {{Expy}}: Gustav von Aschenbach of ''Literature/DeathInVenice'' is closely modeled after Mahler. Even more so in the FilmOfTheBook where Aschenbach is a conductor and composer instead of a writer. Movie-Aschenbach [[NoCelebritiesWereHarmed is Mahler with a moustache]], really. Even Aschenbach's wife looks exactly like Alma. The soundtrack to said film also consists of Mahler.
** The 2nd symphony opens once again with the funeral rites of the hero from the previous symphony, while the finale is a depiction of the Last Judgement. The first ten minutes depict the angelic summons (Mahler subtitled the initial offstage horn call "a voice calling in the wilderness"), then a thundering drum roll represents the ground tearing wide open as the dead rise from their graves and march off to be judged. The triumphant final minutes suggest that even the condemned souls have been redeemed and restored by ThePowerOfLove.
* EverythingIsAnInstrument: The infamous ''Mahlerhammer'' in the 6th symphony is a large wooden hammer slammed against a wooden platform or box, used as a percussive instrument. Also needs [[Creator/ChristopherWalken more cowbell]] in the finale.
* {{Expy}}: Gustav von Aschenbach of ''Literature/DeathInVenice'' is closely modeled after Mahler. Even more so in the FilmOfTheBook where Aschenbach is a conductor and composer instead of a writer. Movie-Aschenbach [[NoCelebritiesWereHarmed is Mahler with a moustache]], really. Even Aschenbach's wife looks exactly like Alma. The soundtrack to said film also consists of Mahler.
to:
** Mahler's First Symphony No. 1 details the life of a hero, including his funeral in the third movement. The final movement is him fighting his way out of Hell to ascend to Heaven.
**The 2nd symphony Symphony No. 2 opens once again with the funeral rites of the hero from the previous symphony, while the finale is a depiction of the Last Judgement. The first ten minutes depict the angelic summons (Mahler subtitled the initial offstage horn call "a voice calling in the wilderness"), then a thundering drum roll represents the ground tearing wide open as the dead rise from their graves and march off to be judged. The triumphant final minutes suggest that even the condemned souls have been redeemed and restored by ThePowerOfLove.
* EverythingIsAnInstrument: The infamous ''Mahlerhammer'' inthe 6th symphony Symphony No. 6 is a large wooden hammer slammed against a wooden platform or box, used as a percussive instrument. Also needs [[Creator/ChristopherWalken more cowbell]] in the finale.
* {{Expy}}: Gustav von Aschenbach of ''Literature/DeathInVenice'' is closely modeled after Mahler. Even more so in the FilmOfTheBook where Aschenbach is a conductor and composer instead of a writer. Movie-Aschenbach [[NoCelebritiesWereHarmed is Mahler with amoustache]], mustache]], really. Even Aschenbach's wife looks exactly like Alma. The soundtrack to said film also consists of Mahler.
**
* EverythingIsAnInstrument: The infamous ''Mahlerhammer'' in
* {{Expy}}: Gustav von Aschenbach of ''Literature/DeathInVenice'' is closely modeled after Mahler. Even more so in the FilmOfTheBook where Aschenbach is a conductor and composer instead of a writer. Movie-Aschenbach [[NoCelebritiesWereHarmed is Mahler with a
Changed line(s) 61 (click to see context) from:
* TheMentor: To Music/ArnoldSchoenberg and like-minded. He actually was friends with Schoenberg. But since Mahler had shades of DrillSergeantNasty, [[RageAgainstTheMentor they had hot-headed arguments]]. According to Alma, Mahler was GenreSavvy enough to know that Schoenberg [[TakeUpMySword will eventually built on Mahler's innovations and herald a new age of classical music]]. During Schoenberg's "Skandalkonzerte" he always defended his friend. Keep in mind, [[BadassTeacher these arguments sometimes ended in fistfights of pro and contra-Schoenberg]].
to:
* TheMentor: To Music/ArnoldSchoenberg and like-minded. He actually was friends with Schoenberg. But since Mahler had shades of DrillSergeantNasty, [[RageAgainstTheMentor they had hot-headed arguments]]. According to Alma, Mahler was GenreSavvy enough to know that Schoenberg [[TakeUpMySword will eventually built build on Mahler's innovations and herald a new age of classical music]]. During Schoenberg's "Skandalkonzerte" he always defended his friend. Keep in mind, [[BadassTeacher these arguments sometimes ended in fistfights of pro and contra-Schoenberg]].
Changed line(s) 64 (click to see context) from:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder,'' mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]] when the couple lost their own four-year-old daughter to scarlet fever.
to:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder,'' ''Kindertotenlieder'', mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]] when the couple lost their own four-year-old daughter to scarlet fever.
Changed line(s) 66 (click to see context) from:
* ThePowerOfLove: Strong believer of this, and considered God and Love to be one and the same. With the exception of No.4 (which ends serenely), No.6 (which ends brutally), ''Das Lied von der Erde'' (which ends bleakly), and No.9 (which simply fades away), his symphonies end in a massive blaze of glory in the finale, representing the victory of love over suffering.
to:
* ThePowerOfLove: Strong believer of this, and considered God and Love to be one and the same. With the exception of No. 4 (which ends serenely), No.No. 6 (which ends brutally), ''Das Lied von der Erde'' (which ends bleakly), and No.No. 9 (which simply fades away), his symphonies end in a massive blaze of glory in the finale, representing the victory of love over suffering.
Changed line(s) 69,71 (click to see context) from:
* ShoutOut: Mahler's "Adagietto" from his Fifth Symphony was famously used in ''Film/DeathInVenice''.
* TraumaCongaLine: The third hammer stroke in his 6th symphony, [[DespairEventHorizon after which everything dies down]]... [[LastNoteNightmare until one last desperate tutti stroke ends it]].
* WorldOfHam: The 8th symphony with ''three'' choirs, multiple soloists, a church organ and a double orchestra.
* TraumaCongaLine: The third hammer stroke in his 6th symphony, [[DespairEventHorizon after which everything dies down]]... [[LastNoteNightmare until one last desperate tutti stroke ends it]].
* WorldOfHam: The 8th symphony with ''three'' choirs, multiple soloists, a church organ and a double orchestra.
to:
* ShoutOut: Mahler's The "Adagietto" from his Fifth Symphony No. 5 was famously used in ''Film/DeathInVenice''.
* TraumaCongaLine: The third hammer stroke inhis 6th symphony, Symphony No. 6, [[DespairEventHorizon after which everything dies down]]... [[LastNoteNightmare until one last desperate tutti stroke ends it]].
* WorldOfHam:The 8th symphony Symphony No. 8 with ''three'' choirs, multiple soloists, a church organ and a double orchestra.
* TraumaCongaLine: The third hammer stroke in
* WorldOfHam:
Is there an issue? Send a MessageReason:
None
Changed line(s) 64 (click to see context) from:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder,'' mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]] when the couple lost their own two-year-old daughter to scarlet fever.
to:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder,'' mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]] when the couple lost their own two-year-old four-year-old daughter to scarlet fever.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* OutlivingOnesOffspring: The theme of ''Kindertotenlieder,'' mentioned above. Mahler's wife Alma was upset that he would write on this subject, believing it to be TemptingFate. Tragically, [[HarsherInHindsight her fears proved prescient a few years later]] when the couple lost their own two-year-old daughter to scarlet fever.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
[[AuthorExistenceFailure Mahler died before he could complete his Tenth Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony now known as No.7 only exists in sketch form[[/note]], Anton Bruckner[[note]] if one ignores two early symphonies, now known as No.00 and No.0[[/note]], and Music/AntoninDvorak[[note]] except that the symphonies now known as Nos.1-4 were not published until after Mahler (and, more importantly, Dvorak himself) had died[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
to:
[[AuthorExistenceFailure Mahler died before he could complete his Tenth Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony now known as No.7 only exists in sketch form[[/note]], Anton Bruckner[[note]] if one ignores two early symphonies, now known as No.00 and No.0[[/note]], and Music/AntoninDvorak[[note]] except that the symphonies now known as Nos.1-4 were not published until after Mahler (and, more importantly, Dvorak DvoĆák himself) had died[[/note]], died, and were not counted toward the numbering of his symphonies until the 1950s[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
[[AuthorExistenceFailure Mahler died before he could complete his Tenth Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony now known as No.7 only exists in sketch form[[/note]], Anton Bruckner[[note]] if one ignores two early symphonies, now known as No.00 and No.0[[/note]], and Music/AntoninDvorak[[note]] except that the symphonies now known as Nos.1-4 were not published until after Mahler (and, more importantly, Dvorak himself) had died[[/note]], and as later happened to Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
to:
[[AuthorExistenceFailure Mahler died before he could complete his Tenth Symphony]]. Interestingly, he had feared exactly this: he believed in the "Curse of the Ninth", which states that a composer has to die either while working on or after completing his/her ninth symphony, as had happened to Music/LudwigVanBeethoven, Music/FranzSchubert[[note]] sort of; in Mahler's lifetime, Schubert was only seen as having written eight symphonies, as the symphony now known as No.7 only exists in sketch form[[/note]], Anton Bruckner[[note]] if one ignores two early symphonies, now known as No.00 and No.0[[/note]], and Music/AntoninDvorak[[note]] except that the symphonies now known as Nos.1-4 were not published until after Mahler (and, more importantly, Dvorak himself) had died[[/note]], and as later happened to Alexander Glazunov and Ralph Vaughan Williams. Mahler tried to subvert the Curse by not numbering ''Das Lied von der Erde'' (''The Song of the Earth''). [[SelfFulfillingProphecy This would have been his ninth symphony]][[note]] although the use of the term "symphony" to refer to the work is somewhat contentious[[/note]], making the Ninth his actual 10th. It seems the Curse of the Ninth only goes after numbered symphonies...
Is there an issue? Send a MessageReason:
None
Changed line(s) 40 (click to see context) from:
* DownerEnding: The 6th symphony, [[FanNickname so-called]] ''Tragic'', ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
to:
* DownerEnding: DownerEnding:
** The 6th symphony, [[FanNickname so-called]] ''Tragic'', ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
** The 6th symphony, [[FanNickname so-called]] ''Tragic'', ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
Changed line(s) 42,43 (click to see context) from:
* DramaticTimpani: Used very quietly in the third movement of his 1st Symphony (emphasizing the motif of the descending fourth interval that ties the four movements together) and to accompany the fanfares in the fourth movement, and [[SubvertedTrope played very slowly]] at the end of the 3rd Symphony.
** Also in the 6th, in the first movement just before A major-minor chord. The same rhythm comes back over the final chord
** Also in the 6th, in the first movement just before A major-minor chord. The same rhythm comes back over the final chord
to:
* DramaticTimpani: DramaticTimpani:
** Used very quietly in the third movement of his 1st Symphony (emphasizing the motif of the descending fourth interval that ties the four movements together) and to accompany the fanfares in the fourth movement.
** In the 2nd, after the soft pizzicato chords at the end of the second movement,and the audience is jolted back to attention by a sudden BA-DUM! from the timpani to introduce the third movement.
** [[SubvertedTropeplayed Played very slowly]] at the end of the 3rd Symphony.
** Also in the 6th, in the first movement just before A major-minor chord. The same rhythm comes back over the finalchordchord.
** Used very quietly in the third movement of his 1st Symphony (emphasizing the motif of the descending fourth interval that ties the four movements together) and to accompany the fanfares in the fourth movement.
** In the 2nd, after the soft pizzicato chords at the end of the second movement,
** [[SubvertedTrope
** Also in the 6th, in the first movement just before A major-minor chord. The same rhythm comes back over the final
Changed line(s) 45 (click to see context) from:
* EscapedFromHell: Mahler's First Symphony details the life of a hero, including his funeral in the third movement. The final movement is him fighting his way out of Hell to ascend to Heaven.
to:
* EscapedFromHell: EscapedFromHell:
** Mahler's First Symphony details the life of a hero, including his funeral in the third movement. The final movement is him fighting his way out of Hell to ascend toHeaven.Heaven.
** The 2nd symphony opens once again with the funeral rites of the hero from the previous symphony, while the finale is a depiction of the Last Judgement. The first ten minutes depict the angelic summons (Mahler subtitled the initial offstage horn call "a voice calling in the wilderness"), then a thundering drum roll represents the ground tearing wide open as the dead rise from their graves and march off to be judged. The triumphant final minutes suggest that even the condemned souls have been redeemed and restored by ThePowerOfLove.
** Mahler's First Symphony details the life of a hero, including his funeral in the third movement. The final movement is him fighting his way out of Hell to ascend to
** The 2nd symphony opens once again with the funeral rites of the hero from the previous symphony, while the finale is a depiction of the Last Judgement. The first ten minutes depict the angelic summons (Mahler subtitled the initial offstage horn call "a voice calling in the wilderness"), then a thundering drum roll represents the ground tearing wide open as the dead rise from their graves and march off to be judged. The triumphant final minutes suggest that even the condemned souls have been redeemed and restored by ThePowerOfLove.
Added DiffLines:
* ThePerfectionist: Mahler was meticulous in marking the scores of his symphonies with precise performance instructions for both the musicians and the conductor; he was adamant that the performance should reflect the vision in his mind to the letter.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* DeathOfAChild: The theme of "Kindertotenlieder" (meaning "[[ExactlyWhatItSaysOnTheTin Songs on the Death of Children]].") Each song explores a different aspect of [[TearJerker the grief that follows losing a child]].
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* CallBack: Some material from earlier symphonies can be heard in later ones, for example a horn call in the fifth returning in the sixth.
Added DiffLines:
** Also in the 6th, in the first movement just before A major-minor chord. The same rhythm comes back over the final chord
Is there an issue? Send a MessageReason:
None
Changed line(s) 38,39 (click to see context) from:
* DownerEnding:
** The 6th symphony, [[FanNickname so-called]] ''Tragic'', ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
** The 6th symphony, [[FanNickname so-called]] ''Tragic'', ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
to:
* DownerEnding:
**DownerEnding: The 6th symphony, [[FanNickname so-called]] ''Tragic'', ends with a massive dissonant tutti burst just to be silenced by a lonely pianissimo, representing the loss of hope.
**
Changed line(s) 46 (click to see context) from:
* FoolishSiblingResponsibleSibling: Mahler had a sister, Justine. Mahler's wife Alma hated her and [[AnnoyingYoungerSibling accused her of being exploitative of her brother's naivity]].
to:
* FoolishSiblingResponsibleSibling: Mahler had a sister, Justine. Mahler's wife Alma hated her and [[AnnoyingYoungerSibling accused her of being exploitative of her brother's naivity]].naivete]].
Is there an issue? Send a MessageReason:
None
* FoolishSiblingResponsibleSibling: Mahler had a sister, Justine. Mahler's wife Alma hated her and [[AnnoyingYoungerSibling accused her of being exploitative of her brother's naivity]].
* FriendlyRivalry: With [[Music/AlsoSprachZarathustra Richard Strauss]]. Mahler said [[NotSoDifferent they were digging towards the same summit from different sides of a mountain]].
* FriendlyRivalry: With [[Music/AlsoSprachZarathustra Richard Strauss]]. Mahler said [[NotSoDifferent they were digging towards the same summit from different sides of a mountain]].
Changed line(s) 49 (click to see context) from:
* KavorkaMan: Described as this by his widow Alma. Also had the (unjust) reputation of being TheCasanova.
to:
* KavorkaMan: Described as this by his widow Alma.Alma Mahler-Werfel. Also had the (unjust) reputation of being TheCasanova.
Added DiffLines:
* TheMentor: To Music/ArnoldSchoenberg and like-minded. He actually was friends with Schoenberg. But since Mahler had shades of DrillSergeantNasty, [[RageAgainstTheMentor they had hot-headed arguments]]. According to Alma, Mahler was GenreSavvy enough to know that Schoenberg [[TakeUpMySword will eventually built on Mahler's innovations and herald a new age of classical music]]. During Schoenberg's "Skandalkonzerte" he always defended his friend. Keep in mind, [[BadassTeacher these arguments sometimes ended in fistfights of pro and contra-Schoenberg]].
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* IllBoy: Like his siblings, he inherited a weak heart from his mother.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* KavorkaMan: Described as this by his widow Alma. Also had the (unjust) reputation of being TheCasanova.
Is there an issue? Send a MessageReason:
None
Changed line(s) 9,10 (click to see context) from:
Austrian composer and conductor (7 July 1860 –- 18 May 1911), one of the last of the Romantic era.
to:
Austrian composer and conductor (7 July 1860 –- – 18 May 1911), one of the last of the Romantic era.
Is there an issue? Send a MessageReason:
None
Changed line(s) 44 (click to see context) from:
* EverythingIsAnInstrument: The infamous ''Mahlerhammer'' in the 6th symphony is a large wooden hammer, used as a percussive instrument. Also needs [[Creator/ChristopherWalken more cowbell]] in the finale.
to:
* EverythingIsAnInstrument: The infamous ''Mahlerhammer'' in the 6th symphony is a large wooden hammer, hammer slammed against a wooden platform or box, used as a percussive instrument. Also needs [[Creator/ChristopherWalken more cowbell]] in the finale.
Added DiffLines:
* ScareChord: After the third movement of his 1st Symphony quietly fades out, the fourth movement starts with a rapid ''Crash-Screech-'''''BOOM!''' to jolt the audience out of their seats and make them pay attention again, while the final movement of the 2nd Symphony starts with a quick figure in the low strings and then a shrill, dissonant chord Mahler called the ''Ruf des Schmerzes'' ("Scream of Anguish"). [[EarnYourHappyEnding Both symphonies get better, though.]]
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* DramaticTimpani: Used very quietly in the third movement of his 1st Symphony (emphasizing the motif of the descending fourth interval that ties the four movements together) and to accompany the fanfares in the fourth movement, and [[SubvertedTrope played very slowly]] at the end of the 3rd Symphony.