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