Arthur Nikisch premiered the second movement of this musical work as Blumenstück. Its penultimate movement, in F major, is marked "cheerful in tempo and cheeky in expression", and its final movement ends with thundering kettledrums to be played gesättigt, or "with rich, noble tone". This symphony's first movement features a solo tenor trombone theme that is followed by a rhythm played by offstage snare drums and a recurrence of its opening passage, in which a group of horns play a theme adapted from the finale of Brahms's First Symphony. An offstage flugelhorn interrupts the reprise of the scherzo in the third movement of this symphony. Its
Arthur Nikisch premiered the second movement of this musical work as Blumenstück. Its penultimate movement, in F major, is marked "cheerful in tempo and cheeky in expression", and its final movement ends with thundering kettledrums to be played gesättigt, or "with rich, noble tone". This symphony's first movement features a solo tenor trombone theme that is followed by a rhythm played by offstage snare drums and a recurrence of its opening passage, in which a group of horns play a theme adapted from the finale of Brahms's First Symphony. An offstage flugelhorn interrupts the reprise of the scherzo in the third movement of this symphony. Its fourth movement includes an alto soloist singing "O man! Take heed!", a quote from Friedrich Nietzsche's "Midnight Song". "What the Flowers Tell Me", "What the Angels Tell Me", and a 30-minute depiction of the "awakening of Pan" are among the six movements of this symphony. For 10 points, name this longest symphony of Gustav Mahler.