About this title: What an odd coupling: Mahler's Fourth and Eighth symphonies. One can imagine the First and Second or the Fifth and Sixth or the Ninth and Tenth together, but the Fourth and Eighth stand apart in Mahler's symphonic canon -- apart from everything else and apart from each other. The Fourth is his most lightly scored symphony -- no trombones! -- while the Eighth is his most heavily scored symphony -- it's not called "The Symphony of a Thousand" for nothing. The Fourth is light and witty and floats up to heaven on the wings of a song. The Eighth is heavy and earnest and storms the gates of ...
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