Preface
Prologue: The Lesson of Mahler
1. Cycles: The Norm and Its Extensions
2. Allegro: The March of the World
The First: Art before Art
The Second: Building and Breaking
The Third: The Rite of Summer
The Fourth: Neoclassicism and Exhaustion
The Fifth: The Tentative Triumph
The Sixth: The Programmatic Temptation
The Seventh: The Intransitive Anticipation
The Ninth: The Amalgamation of Forms
The Tenth: Music and Autobiography
3. Andante: The Respite
The Funeral March
The First: Jewishness in Music
The Dance-Based Andante
The Second: Remembrance of Music’s Past
The Third: The Dance of the jeunes filles en fleurs
The Serenade
The Sixth: Night Music I
The Seventh: Night Music II and III
4. Scherzo: The Run of the World
The First: Danse à la campagne and Danse à la ville
The Second: An Outsider Looks In
The Third: Animals Listen
The Fourth: Dancing till We Drop
The Fifth: La Valse
The Sixth: The Invention of Cubism
The Seventh: Night Music IV
The Ninth: The Development of Cubism
The Rondo-Burleske of the Ninth: The Wild Chase
Postscript: The Tenth
5. Finale: In Search of Consolation
The Allegro-Finale
The First: The Breakthrough
The Sixth: The Unmotivated Catastrophe
The Rondo-Finale
The Fifth: The Taking Back of the Ninth
The Seventh: On the Nuremberg Meadow
The Adagio-Finale
The Third: Love Descending
The Ninth: On the Heights
The Vocal Finale
The Second: The Taking Up of the Ninth
The Fourth: Finding the Solution
6. The Vocal Cycles
The Eighth Symphony
I. Hymnus: Veni, creator spiritus
II. Schlußszene aus “Faust”
Das Lied von der Erde
I. Das Trinklied vom Jammer der Erde
II. Der Einsame im Herbst
III. Von der Jugend
IV. Von der Schönheit
V. Der Trunkene im Frühling
VI. Der Abschied
7. Symphonies for the Age of Uncertainty
The Sense of an Ending
How Poor a Yea-Sayer Was Mahler?
The Worldview Music
Epilogue: The Lesson of Proust
Acknowledgments
Symphonic Works
Chronology
Notes
Bibliography
Index