An exciting exploration of the sources of Mahlerian inspiration.Can one really grasp the whole of Mahler's symphonic output
without knowing his songs? Not only do they extensively irrigate the first four symphonies, often known as 'Wunderhorn
symphonies'; they also encapsulate the fundamental principles of his reading of the world. Bernarda Fink explores the Mahler
cycles from three different angles: the traditional format with piano naturally has its counterpart in the orchestral song,
culminating in the Kindertotenlieder and the Rückertlieder.