Luogo e data di registrazione		Herkules-Saal, München (Germania): - gennaio 1971 (Symphony) - dicembre 1968 (Lieder)
	Registrazione: live / studio		studio
	Executive Producer		Wilfried Daenicke
	Recording Producer		Hans Weber (Symphonie), Rainer Brock (Lieder: 1,2,4), Wolfgang Lohse (Lieder: 3)
	Balance Engineer		Heinz Wildhagen
	Prima Edizione LP		Deutsche Grammophon - 2707 056 - (2 LP's) - durata 42' 50" & 39' 21" - (p) 1971 - Analogico
	Prima Edizione CD		Deutsche Grammophon - 429 042-2 - (10 CD's - 6°) - (c) 1989 - ADD
	Note		Illustration: Gustav Klimt "Salome" (Ausschnitt)

The beginning of the composition of his Fifth Symphony marked the opening of a new chapter of Mahler's work in the symphonic field. Nevertheless in every respect - intellectual, musical, architectonic, harmonic and textural - new elements here came to the forte. These elements are of great importance to the Fifth, Sixth and Seventh Symphonies, which together form a sub-group within Mahler's symphonic œuvre. The Fourth was completed in the summer of 1900, and the Fifth was composed during the following two years. Nothing is known of any outward experiences or inner transformations during that period which could account for the new mode of expression. There was, therefore, no outward struggle which could have threatened the composer's career and shattered his peace of mind, so the stylistic change in Mahler's compositions must have been entirely inward in its origins, resulting from a change of personality. Mahler's music provides us with the only indication that his inner life underwent a change at that time. Prior to that the source of his inspiration had been a mystical concept of life and of nature. His music had been directed, as it were, towards the solution of the world's problems. The mystery of the giving of life to the inanimate by spiritual means had been the subject of his musical aspirations. Now, however, that theme was exhausted. He had pursued it into the most lofty, purest spjeres until, freed from all pathetic and dynamic elements, it had dissolved in fairy tales, symbols, and the simple beliefs of childhood. The composer now had to make a new beginning, to seek out a new way. There was only one road to take; it led from the world of fairy tales into reality, from dreams to a conscious confrontation with the world. This is what the next trio of symphonies, the Fifth, Sixth and Seventh, have to offer: they are no longer mystic reveries, but music directed towards the real world, instrumental symphonies which have their origins in impulses of absolute music, rather than works set in motion by lirical or poetic concepts. The Fifth Symphony is unfolded on a very large scale. The idea of division into several major sections, which Mahler introduced in his Third Symphony, is again evident here. On this occasion there are three such sections, and it can scarcely be doubted that the second of these, a grandiose Scherzo which one might almost describe as larger than life size, is the most important movement of all. This Scherzo is no dance or character piece in the older sense, but an expression of inflexible strenght and of an exuberant urge to take action. It is not emotional or spiritual experiences which hold the musical events of this movement together; what creates an arresting effect here might be described as a vigorous play of abstract musical forces. The two sections which flank this central Scherzo, each of them comprising two movements, are to be understood in relation to the Scherzo. The first section begins with a Funeral March in C sharp minor, followed by a warlike Allegro in A minor. The heading "Funeral March" is the only quasi-programmatic indication in the score. Who is being carried to the grave here? Neither a hero nor a specific personality. But perhaps the reference is to part of Mahler's own past, from which he severed himself in this solemn and demonstrative manner. The A minor Allegro which follows might then be said to mark the beginning of a fresh life, a new phase of intensified activity which can produce results only if every ounce of effort is expended. The forceful, often aggressive character of this music shows clearly that a grim conflict is to take place. However, by the time the tumult subsides, and the divergent strands of the orchestral texture come together in music suggesting a chorale, the positive out-come of the conflict is no longer in doubt. After the Scherzo, which has already been described as a play of musical forces, the third section of the Symphony opens with a tender Adagietto, whose aesthetic purpose os, perhaps, to re-introduce feeling and contemplation after the previous complete domination of force and willpower. This piece is concise in form and is orchestrated with extreme delicacy, only harp and strings being used. It is almost miraculous that this Adagietto, with its delicacy, its modest scale and tonal restraint, is not stifled by the colossal movements surrounding it. The fifth movement follows without a break. It may be said that this movement exploits in a practical manner what the Scherzo presented in abtract; it makes use of such concrete musical materials as themes, figures, and shapes which are no longer pure spirit but also have bodily substance. The gaiety with which the principal theme is introduced, after various other motives have been tried out and discarded, is reminiscent of the humour of Joseph Haydn, and indeed the principal theme itself has a somewhat Haydnesque cut. Only at the beginning is it marked by simplicity, however. This movement, full of exuberant joie de vivre, becomes a thing of extremely complex patterns. Never before had Mahler made use of contrapuntal technique with such zeal and mastery. It is not always easy to analyze the formal structure of this Rondo Finale. No effort is needed, through, to enjoy the effect created by this immensely lively musical expression of joy. Heinrich Kralik