"[13] The orchestral forces required are, however, not as large as those deployed in Arnold Schoenberg's oratorio Gurre-Lieder, completed in 1911. The Symphony No. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes. Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. During the next three years, according to the calculations of Mahler's friend Guido Adler the Eighth Symphony received a further 20 performances across Europe. Yet there are less tangible aspects to which the excellence of this performance must be attributed. In his "middle" compositional period after 1901, a change of style led him to produce three purely instrumental symphonies. Rights, Entitlements, and the Cost of Medical Care, How to Disable Yahoo’s Theft of Firefox’s Open a New Tab, Educational Thought of the Day – E Coli in Germany, Zinka Milanov – The Most Beautiful Voice in the World, Asymptomatic Subjects Do Not Transmit the Coronavirus, Texas Tech University Health Sciences Center, Archives: Older posts and additional material. He and Polish National Radio Symphony really know how Mahler should play. Landmann's proposed sonata structure for the movement is based on a division, after an orchestral prelude, into five sections which he identifies musically as an exposition, three development episodes, and a finale. [17], For Part I, most modern commentators accept the sonata-form outline that was discerned by early analysts. [45], In the late 20th century and into the 21st, the symphony was performed in all parts of the world. NotEs ON thE PROgRam: MAHLER SYmPhONY NO. [26], The symphony's duration at its first performance was recorded by the critic-composer Julius Korngold as 85 minutes. 8", "Story of a Musical Masterpiece and of its Distinguished Author", "First American Production of Mahler's Eighth Symphony", "Symphonie No 8 en Mi bémol majeur: Chronologie; Discographie: Commentaires", "Long Yu, Artistic Director and Principal Conductor", "Olympic Arts Festival: Mahler's 8th Symphony", "The Symphony of a Thousand in Québec City", "Performances of Symphony No. 2: Und bleibt ein Erdenrest - Hier Ist die Aussicht frei By Gustav Mahler Sarah Connolly, Stefan Vinke, Philharmonia Orchestra, BBC Symphony Chorus, Philharmonia Voices, Philharmonia Chorus, Boys of … The first performance was attended by, among others, Richard Strauss, Camille Saint-Saëns, Anton Webern, Thomas Mann,  Max Reinhardt, and Leopold Stokowski, who led the work’s American premiere 6 years later. This vast hall had a capacity of 3,200; to assist ticket sales and raise publicity, Gutmann devised the nickname "Symphony of a Thousand", which has remained the symphony's popular subtitle despite Mahler's disapproval. [59], In the second part of the development, the entry of the Mater Gloriosa is signalled in E major by a sustained harmonium chord, with harp arpeggios played over a pianissimo violin melody which La Grange labels the "love" theme. "[43] Mahler biographer Jonathan Carr finds much of the symphony "bland", lacking the tension and resolution present in the composer's other symphonies. 4, which all employ vocal as well as instrumental forces. [27][n 4] This performance was the last time that Mahler conducted a premiere of one of his own works. hier ist's getan;                          is here accomplished; [30] She is soon joined by other solo voices as the new theme is explored before the choirs return exuberantly, in an A♭ episode in which the soloists compete with the choral masses. [51] In 1906 Mahler signed a contract with the Viennese publishing firm Universal Edition (UE), which thus became the main publisher of all his works. [23], On the day following the Munich premiere Mahler led the orchestra and choruses in a repeat performance. 8 is known to exist. [33] These included the Dutch premiere, in Amsterdam under Willem Mengelberg on 12 March 1912,[32] and the first Prague performance, given on 20 March 1912 under Mahler's former Vienna Hofoper colleague, Alexander von Zemlinsky. [57] This new, less secure mood is carried through when "Infirma nostri corporis" resumes, this time without the choruses, in a subdued D minor echo of the initial invocation.[45]. [61], La Grange draws attention to the notably high tessitura for the sopranos, for soloists and for choral singers. das Unzulängliche,                         the incomplete Theodor W. Adorno found the piece weak, "a giant symbolic shell";[43] this most affirmative work of Mahler's is, in Adorno's view, his least successful, musically and artistically inferior to his other symphonies. [14][15] Mahler began composing the Veni creator hymn without waiting for the text to arrive from Vienna. Similar items. 5, No. Of course, no recording can approach the impact that this symphony makes when heard live. In particular, the first notes of the Veni creator theme —, — dominate the climaxes to each part;[51] at the symphony's culmination, Goethe's glorification of "Eternal Womanhood" is set in the form of a religious chorale. They have typical traditions of Mahler. 6 and No. 3 and No. das Unbeschreibliche,                      the indescribable [30] The Mater Gloriosa then sings her only two lines, in the symphony's opening key of E♭ major, permitting Gretchen to lead the soul of Faust into heaven.[59]. The exposition begins in near-silence; the scene depicted is that of a rocky, wooded mountainside, the dwelling place of anchorites whose utterances are heard in an atmospheric chorus complete with whispers and echoes. [22][20] Also in the audience was the 28-year-old British conductor Leopold Stokowski, who six years later would lead the first United States performance of the symphony. Work Title Symphony No.8 Alt ernative. Mahler had decided to use the song as the finale of his Third Symphony instead. Alles Vergängliche                         All that is ephemeral [22] However, the Munich premiere of the Eighth Symphony was an unqualified triumph;[25] as the final chords died away there was a short pause before a huge outbreak of applause which lasted for twenty minutes. The soloists are all in very good form and (in spite of a few 'rough' moments) the orchestra and chorus are committed and enthusiastic. Mahler: Symphony No. Mahler 8 finale Solti CSO, Leonard Bernstein and the Vienna Philharmonic recorded Mahler’s 8th before Solti’s was made. The final development episode is a hymnlike tenor solo and chorus, in which Doctor Marianus calls on the penitents to "Gaze aloft". MAHLER - Symphony No 8 - Amazon.com Music. [52] This acts as a transition to the finale, the Chorus Mysticus, which begins in E♭ major almost imperceptibly—Mahler's notation here is Wie ein Hauch, "like a breath". Mahler made his living conducting. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. [51] The symphony's key is, for Mahler, unusually stable; despite frequent diversions into other keys the music always returns to its central E♭ major. [41], The years after World War II saw a number of notable performances of the Eighth Symphony, including Sir Adrian Boult's broadcast from the Royal Albert Hall on 10 February 1948, the Japanese premiere under Kazuo Yamada in Tokyo in December 1949, and the Australian premiere under Sir Eugene Goossens in 1951. 9 as a defining human statement for its century. Mahler rehearsed the symphony between 17 and 26 September with the court opera orchestra for the purpose of “small retouchings”. It requires 2 separate choirs and a choir of children together with 8 soloists and an orchestra of over 100 instruments. 8. You have not only a right but a duty to do so. Sinfonie; ซิมโฟนีหมายเลข 8; Simfonija št. [31] Once inspired by the Veni creator idea, Mahler soon saw the Faust poem as an ideal counterpart to the Latin hymn. Mahler 8 finale Solti CSO Leonard Bernstein and the Vienna Philharmonic recorded Mahler’s 8th before Solti’s was made. To Cooke, Mahler's is "the Choral Symphony of the twentieth century: like Beethoven's, but in a different way, it sets before us an ideal [of redemption] which we are as yet far from realising—even perhaps moving away from—but which we can hardly abandon without perishing". [7] The composer's wife Alma Mahler, in her memoirs, says that for a fortnight Mahler was "haunted by the spectre of failing inspiration";[8] Mahler's recollection, however, is that on the first day of the vacation he was seized by the creative spirit, and plunged immediately into composition of the work that would become his Eighth Symphony.[7][9]. [30], The atmosphere is festive, with triumphant shouts of "Jauchzet auf!" Of course, no recording can approach the impact that this symphony makes when heard live. 8 "Symphony of a Thousand", Pt. The four-movement plan is retained in a slightly different form, still without specific indication of the extent of the choral element: From Mahler's later comments on the symphony's gestation, it is evident that the four-movement plan was relatively short-lived. Mahler did not like the appellation, but it has stuck. Mahler opens the finale with diatonic, singable melodies that he later merges with the transcendent chorale of the second movement. La Grange comments: "To give expression to his cosmic vision, it was ... necessary to go beyond all previously known limits and dimensions. [49] This performance was its eighth in the history of the Proms. From about 1901, however, Mahler's music underwent a change in character as he moved into the middle period of his compositional life. [59], The sound rises in a gradual crescendo, as the solo voices alternately join or contrast with the chorus. Despite the evident disparities within this juxtaposition, the work as a whole expresses a single idea, that of redemption through the power of love. 2 by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895.This symphony was one of Mahler's most popular and successful works during his lifetime. [42] After 1950 the increasing numbers of performances and recordings of the work signified its growing popularity, but not all critics were won over. This gigantic symphony is sometimes referred to as the “Symphony of a Thousand,” a nickname that was invented by promoters for the premiere in Munich in September 1910, conducted by the composer. The work was played again eight years later by the same forces; among those present in the audience was the youthful composer Benjamin Britten. [19] Preparations began early in the year, with the selection of choirs from the choral societies of Munich, Leipzig and Vienna. He told Specht that having chanced on the Veni creator hymn, he had a sudden vision of the complete work: "I saw the whole piece immediately before my eyes, and only needed to write it down as though it were being dictated to me. It was his first major work that established his lifelong view of the beauty of afterlife and resurrection. Impressed by the music, he nevertheless found the performance itself "execrable". 9 and the unfinished Symphony No. The fusion of song and symphony had been a characteristic of Mahler's early works. Mahler’s Symphony No. Never mind. 5 PREVIEW 5 Songs, 1 Hour, 11 Minutes. A superstitious man, he noted that two previous important Viennese symphonists, Beethoven and Schubert, had both died after completing nine symphonies; he believed that he, too, could not survive beyond a ninth. Intuitively he had composed the music for the full strophes [verses]. [45] This is the first of his works in which familiar fingerprints—birdsong, military marches, Austrian dances—are almost entirely absent. And this performance is really great! Symphony No. It was not performed until September 12, 1910 when the composer led 858 singers and 171 instrumentalists in the New Festival Music  Hall in Munich. Rather than restating one idea after another in retrospect, Mahler weaves the musical strengths of his symphony all together into a larger, stronger fabric. [59] The mood lightens with the entry of the angels and blessed boys (women's and children's choruses) bearing the soul of Faust; the music here is perhaps a relic of the "Christmas Games" scherzo envisioned in the abortive four-movement draft plan. Symphony No. And this record does capture all the glory and emotion that its composer captured in his estival outpouring of genius. [48] In London on 16 July 2010 the opening concert of the BBC Proms celebrated the 150th anniversary of Mahler's birth with a performance of the Eighth, with Jiří Bělohlávek conducting the BBC Symphony Orchestra. Gustav Mahler: Symphony No 8: Mixed Choir: Vocal Score Orchestra [Sheet music] Universal Edition. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Eight months after his Munich triumph, he died at the age of 50. In these arias the "love" theme is further explored, and the "scherzo" theme associated with the first appearance of the angels returns. [5] Here, the more austere poems of Friedrich Rückert replace the Wunderhorn collection as the primary influence; the songs are less folk-related, and no longer infiltrate the symphonies as extensively as before. Medicine and Opera is a blog by Neil Kurtzman MD about just that, medicine and opera. 8 in E-flat major, "Channukah in Summer? [45][57], The second part of the symphony follows the narrative of the final stages in Goethe's poem—the journey of Faust's soul, rescued from the clutches of Mephistopheles, on to its final ascent into heaven. All that falls inbetween is a great gift to whomever has the privilige of hearing it. These two motifs predominate in the trio which follows, a request to the Mater on behalf of a fourth penitent, Faust's lover once known as Gretchen, who has come to make her plea for the soul of Faust. 10—were all premiered after his death. [3], Until 1901, Mahler's compositions had been heavily influenced by the German folk-poem collection Des Knaben Wunderhorn ("The Youth's Magic Horn"), which he had first encountered around 1887. Heard it yesterday for the first time. Finally, as the chorus concludes with "The eternal feminine draws us on high", the off-stage brass re-enters with a final salute on the Veni creator motif, to end the symphony with a triumphant flourish.[30][59]. Details. La Grange enumerates a chorus of 850 (including 350 children), 157 instrumentalists and the eight soloists, to give a total of 1,015. The vocal forces needed for this work are significant. By Gustav Mahler Valery Gergiev & London Symphony Orchestra. This is a passage of great complexity, in the form of a double fugue involving development of many of the preceding themes, with constant changes to the key signature. [59] After Gretchen's entreaty, a solo of "limpid beauty" in Kennedy's words, an atmosphere of hushed reverence descends. hier ist's getan;                          is here accomplished; das Ewig-Weibliche                         the Eternal Feminine. The symphony's publishers, Universal Editions, give the duration as 90 minutes, Mitchell: "The Creating of the Eighth" p. 11, "Gustav Mahler: Eighth Symphony: Part One", "Mahler Symphony No. A succession of premieres in the Far East culminated in October 2002 in Beijing, when Long Yu led the China Philharmonic Orchestra in the first performance of the work in the People's Republic of China. Poetry, of course, is what is lost in translation. The work was composed in a single inspired burst at his Maiernigg villa in southern Austria in the summer of 1906. One reason for this has been the huge – even for Mahler – contrasts that it encompasses: from a first movement which seems to continue the atmosphere of the previous symphony, the ‘Tragic’ Sixth, to a finale that has been accused of excessive triumphalism, and which Mahler himself once … [46] The Sydney Olympic Arts Festival in August 2000 opened with a performance of the Eighth by the Sydney Symphony Orchestra under its chief conductor Edo de Waart. Mahler’s 8th symphony was composed in a blaze of inspiration during his Summer vacation in 1906 at Maiernigg in southern Austria. In the period following the composer's death, performances were comparatively rare. [42], Mahler had joined the Hofoper as a staff conductor in April 1897, and had succeeded. At the end of this episode another transition precedes the "unforgettable surge in E major",[57] in which the entire body of choral forces declaims "Accende lumen sensibus" ("Illuminate our senses"). 62.95 GBP - Sold by Musicroom UK Shipment: (stock) information on site. It is in two parts, both with chorus and soloists. 4, No. 8, "Symphony of a Thousand": II. 1 'The Titan' [LP][Limited Edition] ... also the case that the Vienna Philharmonic brass get so excited as the Eternal Feminine draws them ever onward in the finale that they blast themselves somewhat out of tune. 7 were written, all as purely instrumental works, portrayed by Mahler scholar Deryck Cooke as "more stern and forthright ..., more tautly symphonic, with a new granite-like hardness of orchestration". [64] The International Gustav Mahler Society, founded in 1955, has as its main objective the production of a complete critical edition of all of Mahler's works. [16], With its use of vocal elements throughout, rather than in episodes at or near the end, the work was the first completely choral symphony to be written. [51] Although the vast choral and orchestral forces employed suggest a work of monumental sound, according to critic Michael Kennedy "the predominant expression is not of torrents of sound but of the contrasts of subtle tone-colours and the luminous quality of the scoring". [5], Mahler arrived at Maiernigg in June 1906 with the draft manuscript of his Seventh Symphony; he intended to spend time revising the orchestration until an idea for a new work should strike. before the exposition ends in a postlude which refers to the "Infirma nostri corporis" music from Part I. [32] A Carnegie Hall performance under Stokowski in 1950 became the first complete recording of the symphony to be issued. [30][45], A solemn baritone solo, the voice of Pater Ecstaticus, ends warmly as the key changes to the major when the trumpets sound the "Accende" theme from Part I. They are glorious. [57], In the next section, "Infirma nostri corporis/virtute firmans perpeti" ("Our weak frames fortify with thine eternal strength"), the tonic key of E♭ major returns with a variation of the opening theme. [17] Mahler had no doubts about the ground-breaking nature of the symphony, calling it the grandest thing he had ever done, and maintaining that all his previous symphonies were merely preludes to it. The Symphony No. "[n 2] Although amendments and alterations were subsequently carried out to the score, there is very little manuscript evidence of the sweeping changes and rewriting that occurred with his earlier symphonies as they were prepared for performance. [40] Langford had commented on the British "not being very eager about Mahler",[39] and the Eighth Symphony was not performed in Britain until 15 April 1930, when Sir Henry Wood presented it with the BBC Symphony Orchestra. [2] In these restful surroundings Mahler completed his Symphonies No. [32] The first issued recording of the complete symphony was Stokowski's Carnegie Hall performance with the New York Philharmonic and combined New York choirs on 9 April 1950. draws us ever upwards. [38] The music critic Samuel Langford, who attended the occasion, commented that "we do not leave Amsterdam greatly envying the diet of Mahler first and every other composer afterward, to which Mengelberg is training the music-lovers of that city. [56], Mitchell describes Part I as resembling a giant motet, and argues that a key to its understanding is to read it as Mahler's attempt to emulate the polyphony of Bach's great motets, specifically Singet dem Herrn ein neues Lied ("Sing to the Lord a new song"). [62] The full orchestral score of the Eighth Symphony was published by UE in 1912. [35][36] The occasion was a great success; the symphony was played several more times in Philadelphia before the orchestra and choruses travelled to New York, for a series of equally well-received performances at the Metropolitan Opera House. [45] It has been suggested that the Veni creator theme is based on Maos Tzur, a Jewish song sung at Hanukkah. hier wird's Ereignis;                      is here fulfilled; The sobriquet A Symphony of a Thousand is an obvious one given the army commanded by its composer at its premiere. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. Thereafter the music moves swiftly and powerfully to its climax, in which an offstage brass ensemble bursts forth with the "Accende" theme while the main orchestra and choruses end on a triumphant rising scale. Mahler compared the first of these movements to Rembrandt’s “The Night Watch”; as historically reluctant as Mahler was to providing programmatic meaning to his work, he described the symphony’s plan to Swiss critic William Ritter this way: “Three night pieces; the finale, bright day. Part 1 is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus (“Come, Creator Spirit”), and Part II is a setting of the words from the closing scene of Goethe’s Faust. Mahler: Symphony No. [22] Back at his hotel Mahler received a letter from Thomas Mann, which referred to the composer as "the man who, as I believe, expresses the art of our time in its profoundest and most sacred form". Finale Scene from Goethe's Faust, (d) "Gerettet ist das edle Glied" (Choir of Angels, Choir of Blessed Boys, Younger Angels) is a popular song by Elizabeth Connell/Edith Wiens/Dame Felicity Lott/Trudeliese Schmidt/Nadine Denize/Richard Versalle/J | Create your own TikTok videos with the Mahler: Symphony No. [52] Analysts, including Specht, Cooke and Paul Bekker, have identified Adagio, Scherzo and Finale "movements" within the overall scheme of Part II, though others, including La Grange and Donald Mitchell, find little to sustain this division. 7, his Rückert songs and his song cycle Kindertotenlieder ("Songs on the Death of Children"). Details. But neither of these texts demands a “symphonic” context in which the composer treat the voices—whether choral or solo—as “instruments” of … [32] Thus, the composer’s appropriation of Goethe for the Eighth Symphony’s finale necessitates that the singing persist through the entire piece. [44] The composer-critic Robert Simpson, usually a champion of Mahler, referred to Part II as "an ocean of shameless kitsch. das Ewig-Weibliche                         the Eternal Feminine Title “Symphony of a Thousand” Name Translations Симфония № 8; 8-a simfonio; Symphony No. ("Rejoice!") [59], Thereafter the key changes frequently as a chorus of penitent women petition the Mater for a hearing; this is followed by the solo entreaties of Magna Peccatrix, Mulier Samaritana and Maria Aegyptiaca. At one point during rehearsals he turned to us and said, 'If, after my death, something doesn't sound right, then change it. Mitchell adds a caveat to this recollection: It is not in fact certain that more than 1,000 performers participated in the Munich premiere. The hut in which Mahler wrote the symphony is above the title. The last Sunday of June, Michael Tilson Thomas was to conduct Mahler’s colossal Eighth Symphony, known as “Symphony of a Thousand,” in San Francisco. 8, "Symphony of a Thousand, "Stokowski's Legend – Mickey Mouse to Mahler", "Sir Adrian Boult: Mahler's Symphony No. zieht uns hinan. Since Stokowski's version, at least 70 recordings of the symphony have been made by many of the world's leading orchestras and singers, mostly during live performances. [45][57] All forces combine again in the recapitulation of the "Veni creator" section in shortened form. [60], Only one autograph score of Symphony No. Mengelberg, a close friend and early champion of the composer, had easily as much credentials as the upholder of the Mahler tradition as Walter, but it is enough to compare Walter's strict and controlled reading of Mahler's 4th symphony (1945, Mahler: Symphony No. 8 ranks as one of the most exacting and authoritative ever made. To close our 2018–2019 season, John DeMain and the MSO partner with three choirs and eight opera singers May 3–5, 2019, to present one of the greatest musical feats in the classical repertoire, Mahler’s Symphony No. ist nur ein Gleichnis;                     is but a symbol; 8, "Symphony of a … Information from its description page there is shown below. Here, what Kennedy calls "the unmistakable presence of twentieth-century Mahler" is felt as a solo soprano introduces a meditative theme. When Gustav Mahler, the speccy oddball with the huge ambitions and the knack for bluster and religious confusion, wrote his second symphony, it was clear that its … [54], In composing his score, Mahler temporarily abandoned the more progressive tonal elements which had appeared in his most recent works. As the climax approaches, many themes are reprised: the love theme, Gretchen's song, the "Accende" from Part I. Since 1899 this had been at Maiernigg, near the resort town of Maria Wörth in Carinthia, southern Austria, where Mahler built a villa overlooking the Wörthersee. Mahler’s music restores anything lost in translation. Mahler: Symphony No. Part I is based on the Latin text of a ninth-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. [n 1] Throughout this time his practice was to leave Vienna at the close of the Hofoper season for a summer retreat, where he could devote himself to composition. 5, No. This is one of the four scores of EA-Stp (plate number 9015), that Mahler received from the company on 8 September 1904 (Klemm 1979, p. 102, note 34/3). Two notes in Mahler's handwriting dating from June 1906 show that early schemes for the work, which he may not at first have intended as a fully choral symphony, were based on a four-movement structure in which two "hymns" surround an instrumental core. The section is interrupted by a short orchestral interlude in which the low bells are sounded, adding a sombre touch to the music. [58], The long orchestral prelude (166 bars) is in E♭ minor and, in the manner of an operatic overture, anticipates several of the themes which will be heard later in the movement. "[39] The Austrian music historian Oscar Bie, while impressed with the festival as a whole, wrote subsequently that the Eighth was "stronger in effect than in significance, and purer in its voices than in emotion". Over the next 50 years it was performed only rarely. He characterises the alto solos as brief and unremarkable; however, the tenor solo role in Part II is both extensive and demanding, requiring on several occasions to be heard over the choruses. The first note is as follows: The second note includes musical sketches for the Veni creator movement, and two bars in B minor which are thought to relate to the Caritas. Here are two performances of this finale. Gustav Mahler: Symphony No. "[12], The work was written at a frantic pace—"in record time", according to the musicologist Henry-Louis de La Grange. zieht uns hinan. ist nur ein Gleichnis;                     is but a symbol; das Unzulängliche,                         the incomplete. 8 3 Today Gustav Mahler is universally recognized as one of the supreme masters of the symphony, but this status was hard-won, and, for the most part, posthumous. Nearly two years before, in July 1948, the Hungarian-born conductor Eugene Ormandy had recorded the "Veni creator spiritus" movement at the Hollywood Bowl. When it did, according to Alma Mahler, "the complete text fitted the music exactly. [11] Mahler had long nurtured an ambition to set the end of the Faust epic to music, "and to set it quite differently from other composers who have made it saccharine and feeble. Redemption, art, and had succeeded tell you precisely why sound in! Notably high tessitura for the text to arrive from Vienna did not like the appellation, but and..., Austrian dances—are almost entirely absent that more than 1,000 performers participated in the 20th! Song as the music, he nevertheless found the performance itself `` execrable '' yet there are No longer voices. To a combination of orchestra and choruses in a single inspired burst at his Maiernigg in... Triumph, he nevertheless found the performance itself `` execrable '' [ 60 ], one! 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