01	Lieder eines fahrenden Gesellen - Wenn mein Schatz Hochzeit macht						03:50
	02	Lieder eines fahrenden Gesellen - Ging heut morgen übers Feld						04:04
	03	Lieder eines fahrenden Gesellen - Ich hab ein glühend Messer						03:04
	04	Lieder eines fahrenden Gesellen - Die zwei blauen Augen						05:01
	05	Kindertotenlieder - Nun will die Sonn so hell aufgehn						05:30
	06	Kindertotenlieder - Nun seh ich wohl, warum so dunkle Flammen						04:44
	07	Kindertotenlieder - Wenn dein Mütterlein						04:48
	08	Kindertotenlieder - Oft denk ich, sie sind nur ausgegangen						02:33
	09	Kindertotenlieder - In diesem Wetter						06:04
	10	Vier Lieder nach Gedichte von Ruckert - Blicke mir nicht in die Lieder!						01:37
	11	Vier Lieder nach Gedichte von Ruckert - Ich atmet einen linden Duft!						02:53
	12	Vier Lieder nach Gedichte von Ruckert - Ich bin der Welt abhanden gekommen						06:19
	13	Vier Lieder nach Gedichte von Ruckert - Um Mitternacht						05:30

Gustav Mahler left no concertos, no chamber worKs, no operas
from his mature career. What exist of such works from his
early years are either fragments or simply tantalizing
references to now-lost pieces. All the music by which he is
remembered is in songs, primarily with orchestral
accompaniment, and symphonies. These were his methods of
expression, the words being used to make his concerns
concrete and the consummately orchestrated music to express
that which words could not say.

The two forms fertilized and energized each other throughout
his career, and they interpenetrated each other to a degree
found in no other composers music. Each of his first four
surviving symphonies draws on material from songs he had
set. The Second, Third and Fourth Symphonies make the
connection explicit by incorporating movements for vocal
soloists and chorus. Likewise, his independent songs and
cycles benefit from symphonic techniques of development and
instrumental coloring. His last and greatest song cycle, the
monumental work Das Lied von der Erde (""The Song of the
Earth""), is subtitled ""Eine Symphonie"" and is indeed
symphonic in the scope of its tonal and developmental plan.

Mahler composed more than forty songs, from the three
comparatively simple pieces of 1880 for tenor and piano
through the complex and masterful setting of Bethges
Chinese evocations in Das Lied. Many of the early ones
employ Mahlers own poetry (as did the 1880 cantata Das
Klagende Lied, the unfinished opera Rübezahl, of which only
the libretto survives, and the finale of the Second
Symphony). Then, for a decade and a half, his lyric
imagination was captured by Des Knaben Wunderhorn (""The
Youths Magic Horn""), the extensive and multifaceted
compilation of German folk poetry and sayings published
during the nineteenth century by Arnim and Brentano. Long
before discovering this treasure trove around 1886, however,
his love of German folk songs had influenced his own music.
Bruno Walter, the Mahler disciple, chronicler and great
interpreter, wrote of an additional ""ancestor"" in the
composers family tree:

...the ""unknown musician,"" who sang the folk song. Many
important themes, not only in his songs but also in his
symphonies, derive from folk song - nay, are folk song. The
feeling, the idea of the poetry of the people gave the
original impetus that set his musical imagination going. The
folklore of [professional soldiers] tugged at his
heartstrings and gave birth to many of his songs.... A deep
insight into a mind plainly akin to the creators of [Das
Knaben Wunderhorn] comes if we realize the close
correspondence between his verses and those written or
collected by Arnim and Brentano; in any collection his and
theirs would be indistinguishable. The music to which they
are set, like the verses themselves, is tender and simple,
folk songlike in feeling. Here are the roots from which his
art grew.

Symphonic songs and sung symphonies alike took their texts
from the Wunderhorn collection until, following the Fourth
Symphony at about the turn of the century, Mahler seemed to
have exhausted his fascination with the Wunderhorn poems and
turned toward new compositional horizons. Between 1901 and
1905 he composed the last one of his Wunderhorn songs, ""Der
Tamboursgsell,"" and embarked on a series of orchestral
songs to poetry by Friedrich Rückert (1788-1866), deep
psychological probings expressed in formal verses with no
resemblance to folk poetry. These new songs comprise both
the integrated cycle Kindertotenlieder and the five
independent songs that have come to be known collectively as
his ""Rückert- Lieder

Three symphonies, the Fifth, Sixth and Seventh, were also
composed during this period, but they are purely
instrumental works, independent of any major influence from
the Rückert songs. The final marriage of song and symphony
came at the end of the decade, with the