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Years on the Move
1880
Assistant Conductor at Bad Hall (Upper Austria).
Mahler composes the cantata "Das klagende Lied" for solo voices, choir and orchestra set to his own text, and begins composing the fairytale opera "Rübezahl", of which only the libretto is preserved today.
1881-1882
Theatre Conductor in Ljubljana.
1883-1885
Conductor in Olmütz, music and choir conductor at the Royal Theatre in Kassel from June 1983 onwards.
In his composing, he concentrates on the traditional forms of symphony and song.
1885/86
Due to disagreements with the directorship of the Kassel Theatre, Mahler resigns his post and moves to work as Operatic Conductor at the German Landestheater in Prague.
1886
Appointed to the same position at the Leipzig Theatre.
1888
First meeting with Richard Strauss, with whom he remains close friends throughout his life.
Director of the Royal Hungarian Opera, Budapest.
About 1889
Mahler begins the setting to music of the folk song collection compiled by Clemens Bretano (1778-1842) and Achim von Arnim (1781-1831) "Des Knaben Wunderhorn". It forms the essential textual basis of his vocal composition over the next few years, whereby he puts musical structure before the content of the text.
1891-1897
He becomes First Conductor at the Hamburg City Theatre and takes over as Director of the Symphony Orchestra.
Mahler completes the Second and Third Symphonies, in which he blends the symphonic and song forms together by integrating songs and orchestral songs written as instrumental movements into the symphonies.
1891-1893
The orchestral version of the 1883 cycle,"Lieder eines fahrenden Gesellen", is one of the first original works which can be classified as orchestral song.
1897
After converting from Judaism to Catholicism, Mahler can be appointed to the post of Conductor, and later Artistic Director, of the biggest theatre of the time - the Vienna Court Opera. Here, he strives to realize his ambition to reform opera: he propagates the idea of the opera as a whole work of art and touches up some works.
Due to his professional commitments, he can only compose during periods when there are no performances going on.
Assistant Conductor at Bad Hall (Upper Austria).
Mahler composes the cantata "Das klagende Lied" for solo voices, choir and orchestra set to his own text, and begins composing the fairytale opera "Rübezahl", of which only the libretto is preserved today.
1881-1882
Theatre Conductor in Ljubljana.
1883-1885
Conductor in Olmütz, music and choir conductor at the Royal Theatre in Kassel from June 1983 onwards.
In his composing, he concentrates on the traditional forms of symphony and song.
1885/86
Due to disagreements with the directorship of the Kassel Theatre, Mahler resigns his post and moves to work as Operatic Conductor at the German Landestheater in Prague.
1886
Appointed to the same position at the Leipzig Theatre.
1888
First meeting with Richard Strauss, with whom he remains close friends throughout his life.
Director of the Royal Hungarian Opera, Budapest.
About 1889
Mahler begins the setting to music of the folk song collection compiled by Clemens Bretano (1778-1842) and Achim von Arnim (1781-1831) "Des Knaben Wunderhorn". It forms the essential textual basis of his vocal composition over the next few years, whereby he puts musical structure before the content of the text.
1891-1897
He becomes First Conductor at the Hamburg City Theatre and takes over as Director of the Symphony Orchestra.
Mahler completes the Second and Third Symphonies, in which he blends the symphonic and song forms together by integrating songs and orchestral songs written as instrumental movements into the symphonies.
1891-1893
The orchestral version of the 1883 cycle,"Lieder eines fahrenden Gesellen", is one of the first original works which can be classified as orchestral song.
1897
After converting from Judaism to Catholicism, Mahler can be appointed to the post of Conductor, and later Artistic Director, of the biggest theatre of the time - the Vienna Court Opera. Here, he strives to realize his ambition to reform opera: he propagates the idea of the opera as a whole work of art and touches up some works.
Due to his professional commitments, he can only compose during periods when there are no performances going on.
