Mahler’s Eighth Symphony doesn’t conform to the traditional four movement  symphonic layout. It’s in two parts, the first of which is a version, for orchestra, soloists and full chorus, of the 9th century Latin hymn Veni Creator Spiritus (Come, Creative Spirit); while the second uses the same forces to set the final part of Goethe’s Faust. […]


The first movement of Mahler’s seventh symphony, with its dissonant opening and use of piled fourths, is the most ‘modern’ music that the composer had, up to this point, attempted; foreshadowing not only Mahler’s own later works but also those of Schönberg and his pupils. Much of  the symphony takes place in twilight. There are […]