To quote him, he was "thrice homeless, as a native of Bohemia in Austria, as an Austrian among Germans, and as a Jew throughout the world. Everywhere an intruder, never welcomed." In his work, the hurdy‑gurdy was used to denote an argument; marches, meanwhile, arise from his growing up near a barracks in Kalischt, in what is now the Czech Republic. His grisly‑titled "Songs on the Death of Children" are actually about the loss of childlike innocence, and are, like his oth
To quote him, he was "thrice homeless, as a native of Bohemia in Austria, as an Austrian among Germans, and as a Jew throughout the world. Everywhere an intruder, never welcomed." In his work, the hurdy‑gurdy was used to denote an argument; marches, meanwhile, arise from his growing up near a barracks in Kalischt, in what is now the Czech Republic. His grisly‑titled "Songs on the Death of Children" are actually about the loss of childlike innocence, and are, like his other works, and this tossup, way too long. _FOR 10 POINTS_ \--name this Czech composer of his symphony #8, billed on its first performance as the "Symphony of a Thousand."
To quote him, he was "thrice homeless, as a native of Bohemia in Austria, as an Austrian among Germans, and as a Jew throughout the world.
Gustav {Mahler}