The fourth movement of this piece drew inspiration from a woodcut by Moritz von Schwind; the composer describes it as "now iconic and merry, now uncanny and brooding." Its second movement was originally written for a series of tableaux vivants based on the poem "The Trumpeter from Sakkingen" by Joseph von Scheffel – that movement was rediscovered in a manuscript given to Jenny Feld, and played by Benjamin Britten at the Aldeburgh Festival in 1967 – this omitted Andante had been dubbed "Blumine" by the composer. The second part of this piece was first entitled "Commedia Humana" and included a "
The fourth movement of this piece drew inspiration from a woodcut by Moritz von Schwind; the composer describes it as "now iconic and merry, now uncanny and brooding." Its second movement was originally written for a series of tableaux vivants based on the poem "The Trumpeter from Sakkingen" by Joseph von Scheffel – that movement was rediscovered in a manuscript given to Jenny Feld, and played by Benjamin Britten at the Aldeburgh Festival in 1967 – this omitted Andante had been dubbed "Blumine" by the composer. The second part of this piece was first entitled "Commedia Humana" and included a "funeral march in the manner of Callot." Originally subtitled as a "Tone Poem in the Form of a Symphony," it draws its usual title from a novel by Jean Paul and often quotes from its composer's Songs of a Wayfarer. Followed in succession by the Resurrection Symphony, FTP, name this first symphony by Gustav Mahler.
The fourth movement of this piece drew inspiration from a woodcut by Moritz von Schwind; the composer describes it as "now iconic and merry, now uncanny and brooding."
{Titan} Symphony (or {Mahler}’s {First} Symphony in D Major before