My personal homage for the 100th anniversary of Mahler's death.

Gustav Mahler (7 July 1860 -- 18 May 1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then Austria-Hungary; as a composer, he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century.
Mahler's list of compositions is relatively small—for much of his life composing was a part-time activity, secondary to conducting—and is confined to the genres of symphony and song, except for one early piano quartet. Most of his ten symphonies are very large-scale works, several of which employ soloists and choirs in addition to augmented orchestral forces. These works were often controversial when first performed, and were slow to receive critical and popular approval; an exception was the triumphant premiere of his Eighth Symphony in 1910. Mahler's immediate musical successors were the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler.
The union of song and symphonic form in Mahler's music is, in Cooke's view, organic; "his songs flower naturally into symphonic movements, being already symphonic in cast." To Sibelius, Mahler expressed the belief that "The symphony must be like the world. It must embrace everything." True to this belief, Mahler drew material from many sources into his songs and symphonic works: bird calls and cow-bells to evoke nature and the countryside, bugle fanfares, street melodies and country dances to summon the lost world of his childhood. Life's struggles are represented in contrasting moods: the yearning for fulfilment by soaring melodies and chromatic harmony, suffering and despair by discord, distortion and grotesquerie. Amid all this is Mahler's particular hallmark—the constant intrusion of banality and absurdity into moments of deep seriousness, typified in the second movement of the Fifth Symphony when a trivial popular tune suddenly cuts into a solemn funeral march. The trite melody soon changes its character, and in due course re-emerges as one of the majestic Brucknerian chorales which Mahler uses to signify hope and the resolution of conflict. Mahler himself recognised the idiosyncrasies in his work, calling the Scherzo in the Third Symphony "the most farcical and at the same time the most tragic piece that ever existed ... It is as though all nature is making faces and sticking out its tongue."