Gustav Mahler in the context of Romy Schneider

The University of Vienna (German: Universität Wien, Austrian German: [univɛrsiˈtɛːt ˈviːn]) is a public research university in Vienna, Austria. Founded by Duke Rudolph IV in 1365, it is the oldest university in the German-speaking world and among the largest institutions of higher learning in Europe.

The University of Vienna is associated with 17 Nobel Prize laureates and has been home to numerous scholars of historical and academic significance, including Erwin Schrödinger, Karl Popper, Stefan Zweig, Friedrich Hayek, Gustav Mahler, Sigmund Freud, Gregor Mendel, Ludwig von Mises, among others.

Richard Georg Strauss (/straʊs/; German: [ˈʁɪçaʁt ˈʃtʁaʊs] ; 11 June 1864 – 8 September 1949) was a German composer and conductor known for his tone poems and operas. A leading figure of the late Romantic and early Modern era, and a successor to Richard Wagner and Franz Liszt, he combined, along with his friend Gustav Mahler, subtleties of orchestration with an advanced harmonic style.

His compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome, which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen.

A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Beethoven's Ninth Symphony, or Mahler's Second Symphony).

In the Western classical music tradition, Lied (/liːd, liːt/ LEED, LEET, German: [liːt] ; pl. Lieder /ˈliːdər/ LEE-dər, German: [ˈliːdɐ] ; lit. 'song') is a term for setting poetry to music. The term is used for any kind of song in German, but among English speakers, lied is often used interchangeably with "art song" to encompass works that the tradition has inspired in other languages as well. The poems that have been made into lieder often center on pastoral themes or themes of romantic love.

The earliest Lieder date from the late fourteenth or early fifteenth centuries, and can even refer to Minnesang from as early as the 12th and 13th centuries. It later came especially to refer to settings of Romantic poetry during the late eighteenth and nineteenth centuries, and into the early twentieth century. Examples include settings by Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Robert Schumann, Johannes Brahms, Hugo Wolf, Gustav Mahler or Richard Strauss.

SS Kaiser Wilhelm II was a Norddeutscher Lloyd (NDL) Kaiser-class ocean liner. She was launched in 1902 in Stettin, Germany. In the First World War she was laid up in New York from 1914 until 1917, when the US Government seized her and renamed her USS Agamemnon. In 1919 she was decommissioned from the Navy and laid up. In 1927 she was transferred to the United States Army, who renamed her USAT Monticello. She was scrapped in 1940.

When launched, Kaiser Wilhelm II was the largest ship registered in Germany. The weight of her hull and machinery was surpassed only by the British White Star Liners RMS Cedric and Celtic. She served NDL's transatlantic route between Bremen and New York. She won the Blue Riband in 1904. Her passengers included the composers Gustav Mahler in 1910 and Jean Sibelius in 1914.

A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ode An die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony.

A few 19th-century composers, notably Felix Mendelssohn and Franz Liszt, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by Gustav Mahler, Igor Stravinsky, Ralph Vaughan Williams, Benjamin Britten and Dmitri Shostakovich, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by Mikis Theodorakis, Peter Maxwell Davies, Tan Dun, Philip Glass, Hans Werner Henze, Krzysztof Penderecki, William Bolcom and Robert Strassburg.

The Symphony No. 5 by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's holiday cottage at Maiernigg. Among its most distinctive features are the trumpet solo that opens the work with a rhythmic motif similar to the opening of Ludwig van Beethoven's Symphony No. 5, the horn solos in the third movement and the frequently performed Adagietto.

The musical canvas and emotional scope of the work, which lasts nearly 70 minutes, are huge. The symphony is sometimes described as being in the key of C♯ minor since the first movement is in this key (the finale, however, is in D major). Mahler objected to the label: "From the order of the movements (where the usual first movement now comes second) it is difficult to speak of a key for the 'whole Symphony', and to avoid misunderstandings the key should best be omitted."

The German composer Carl Maria von Weber (1786–1826) is best known for his operas, of which he wrote 10 between 1798 and 1826. His first four exist in various states: Die Macht der Liebe und des Weins (de) (comp. 1798) is completely lost; two fragments survive for Das Waldmädchen (1800); the libretto to Peter Schmoll und seine Nachbarn (1803) is lost; and only three numbers from Rübezahl (comp. 1804–05) survive. Weber's mature operas—Silvana (1810), Abu Hassan (1811), Der Freischütz (1821), Die drei Pintos (comp. 1820–21), Euryanthe (1823), Oberon (1826)—all survive intact; they were all performed within his lifetime, except Die drei Pintos which was posthumously completed by Gustav Mahler. His contributions to the genre were crucial in the development of German Romantische Oper (German Romantic Opera) and its national identity, exhibiting much influence on Richard Wagner. Der Freischütz, his most famous and significant work, remains among the most revered German operas.

After his family moved to Munich in 1798, the 13 year old Weber began study with Johann Nepomuk Kalcher, under whose supervision he wrote his first opera, the Singspiel Die Macht der Liebe und des Weins; the work was never performed. Two years later in Freiburg, he embarked on his second opera, Das Waldmädchen, to a libretto by Carl von Steinsberg, whose traveling company premiered it the same year. The two surviving fragments of the work show little sophistication, although it received moderate success. Weber's next opera, Peter Schmoll und seine Nachbarn, was written in Salzburg under the supervision of Michael Haydn to a libretto by Josef Türk after Carl Gottlob Cramer's popular novel of the same name. Premiered in 1803 in Augsburg, the work did not match the novel's popularity and was subsequently forgotten. In 1804 Weber was appointed Kapellmeister at the Breslau Opera and worked with a libretto by the theatre's director Johann Gottlieb Rhode (after a story by Johann Karl August Musäus), to produce Rübezahl. The work was never performed and the three extant fragments show little improvement in his craft. After his two-year tenure, Weber spent time in modern-day Pokój, Opole Voivodeship and eventually moved to Stuttgart where he began Silvana.

Moriz Nähr (born 4 August 1859 in Vienna; died 29 June 1945 in Vienna) was an Austrian photographer. Nähr was a friend of the members of the Vienna Secession art group. He is best known for his portraits of Gustav Klimt, Gustav Mahler, and Ludwig Wittgenstein.

The Repertory of the Vienna Court Opera under Gustav Mahler is an account of the ten years during which Gustav Mahler held the office of director and when he directed the productions of more than 100 different operas, of which 33 had not previously been staged at the Hofoper and three were world premieres. Another 55 were presented in either entirely new or substantially revised productions. In all, almost 3,000 performances took place at the Hofoper during Mahler's tenure, of which Mahler conducted more than 600.

Mahler, well known as a symphonic composer, joined the Vienna Court Opera (the Hofoper) in May 1897 as a staff conductor and director-designate, pending confirmation of his appointment as director. After his confirmation in October 1897, he remained in the post until his resignation in November 1907.

Friedrich Gottlieb Klopstock (German: [ˈklɔpʃtɔk]; 2 July 1724 – 14 March 1803) was a German poet. His best known works are the epic poem Der Messias ("The Messiah") and the poem Die Auferstehung ("The Resurrection"), with the latter set to music in the finale of Gustav Mahler's Symphony No. 2. One of his major contributions to German literature was to open it up to exploration outside of French models.

The term neo-romanticism is used to cover a variety of movements in philosophy, literature, music, painting, and architecture, as well as social movements, that exist after and incorporate elements from the era of Romanticism.

It has been used with reference to late-19th-century composers such as Richard Wagner particularly by Carl Dahlhaus who describes his music as "a late flowering of romanticism in a positivist age". He regards it as synonymous with "the age of Wagner", from about 1850 until 1890—the start of the era of modernism, whose leading early representatives were Richard Strauss and Gustav Mahler (Dahlhaus 1979, 98–99, 102, 105). It has been applied to writers, painters, and composers who rejected, abandoned, or opposed realism, naturalism, or avant-garde modernism at various points in time from about 1840 down to the present.

The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. As it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and Mahler greatly disapproved of the name. The work was composed in a single inspired burst at his Maiernigg villa in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.

The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of style led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional: instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of Veni creator spiritus ("Come, Creator Spirit"), a ninth-century Christian hymn for Pentecost, and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes.

The Symphony No. 2 in C minor by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895. This symphony was one of Mahler's most popular and successful works during his lifetime. It was his first major work to establish his lifelong view of the beauty of afterlife and resurrection. In this large work, the composer further developed the creativity of "sound of the distance" and creating a "world of its own", aspects already seen in his First Symphony. The work has a duration of 80 to 90 minutes, and is conventionally labelled as being in the key of C minor; the New Grove Dictionary of Music and Musicians labels the work's tonality as C minor–E♭ major. It was voted the fifth-greatest symphony of all time in a survey of conductors carried out by the BBC Music Magazine.

The Song of the Earth is a ballet based on Das Lied von der Erde, a symphonic work written by the Austrian composer Gustav Mahler in 1908–1909. It is scored for two voices and orchestra, and has been used for ballets by several well-known choreographers, including Antony Tudor (1908–1987), Kenneth MacMillan (1929–1992), Heinz Spoerli (born 1940), and John Neumeier (born 1939).