A) Thila Plaichinger B) Etta de Montjau C) Michalek D) Alida Lütkemann
A) Nuremberg B) Karlsruhe C) Stuttgart D) Frankfurt
A) Masterpiece of the era B) Folk-dance masterpiece C) Tragic symphony D) Vaudeville-Symphony
A) The sound of breaking glass B) A gathering storm C) Autumn wind blowing through dead leaves D) A screeching owl
A) The sheet music was missing B) The hall was too small C) Weingartner chose it because of a near-empty audience D) The orchestra refused to play the full work
A) Neues Taggblatt B) Berliner Tageblatt C) Vossische Zeitung D) Schwäbischer Merkur
A) He was fired from the Kaim Orchestra B) He retired from music completely C) He was traumatized and never conducted Mahler again D) He became Mahler's primary supporter
A) Olga Wood B) Michalek C) Bella Alten D) Thila Plaichinger
A) Bruno Walter B) Max Kalbeck C) Willem Mengelberg D) Donald Mitchell
A) Wiesbaden B) Berlin C) Vienna D) Amsterdam
A) The orchestration B) The conductor's tempo C) The work's naïveté D) The soprano soloist
A) Henry Wood B) Gustav Mahler C) Bruno Walter D) Walter Damrosch
A) Anatole Fistoulari B) Adrian Boult C) Willem Mengelberg D) Henry Wood
A) Olga Wood B) Bella Alten C) Etta de Montjau D) Alida Lütkemann
A) Adrian Boult B) Bruno Walter C) Henry Wood D) Willem Mengelberg
A) The soprano's lyrics B) The tempo of the finale C) Religious references in Das himmlische Leben D) The orchestration of the strings
A) The invention of radio broadcasts B) The publication of Mahler's letters C) Performances by Fistoulari and Boult D) The 1920 Amsterdam Festival
A) Its experimental musical structure B) Its modest resources and approachability C) Its extreme length and complexity D) Its endorsement by famous politicians
A) Zychowicz B) Kurt Blaukopf C) La Grange D) Donald Mitchell
A) The orchestration was widely considered vulgar B) It was Mahler's most difficult work C) The composer was uncannily concise D) It was rarely performed
A) D minor B) G major C) C major D) E-flat major
A) 1899 to 1900 B) 1892 to 1895 C) 1901 to 1902 D) 1904 to 1905
A) Six B) Three C) Five D) Four
A) A baritone B) A tenor C) A full choir D) A soprano
A) Bad Aussee B) Munich C) Maiernigg D) Vienna
A) Gustav Mahler B) Bruno Walter C) Hidemaro Konoye D) Willem Mengelberg
A) A child's vision of heaven B) The resurrection of the dead C) Death at his fiddle D) Heroic suffering
A) Six B) Four C) Seven D) Five
A) Donald Mitchell B) Natalie Bauer-Lechner C) James L. Zychowicz D) Paul Bekker
A) Bavarian folk tales B) Des Knaben Wunderhorn C) The Third Symphony programs D) A collection of five Humoresken
A) 1892 B) 1899 C) 1900 D) 1901
A) London B) Munich C) Berlin D) Vienna
A) Cyclic form B) Baroque fugal form C) Strict serialism D) Rondo form
A) Berlin Philharmonic B) Vienna Philharmonic C) London Symphony Orchestra D) Kaim Orchestra
A) Romantic B) Expressionist C) Neoclassical D) Impressionist
A) Strophic variations B) Sonata form developments C) Ländler-like trios D) Double theme and variations
A) Felix Weingartner B) Margarete Michalek C) Richard Strauss D) Henry-Louis de La Grange
A) November 1901 B) July 1901 C) October 1901 D) August or September 1901
A) 25 November B) 18 November C) 3 July D) 12 October
A) 12 October 1901 B) 25 November 1901 C) 18 November 1901 D) January 1902
A) The Finale B) The second movement C) The first movement D) The third movement
A) Kleine Journal B) Münchener Zeitung C) Allgemeine Zeitung D) Die Musik
A) Bayerischer Kurier B) Die Musik C) Münchener Zeitung D) Münchener Post
A) Instrumental quirks B) Troubled waters C) Incredible cacophony D) Immense spiky thistles
A) A succession of disjointed atmospheres B) A work trespassing against the Holy Spirit C) Transparent, sensitive, almost hysterical D) A work of incredible cacophony |