Abstract
This study explores Mahler’s incorporation of general or specific references to musical Classicism and early Romanticism in his symphonic works. It also establishes proper terminology for such references, which emerges as a problem in the research of this topic. The thesis articulates all types of conventions recognized in Mahler’s symphonies: the conventional symphonic cycle, traditional forms, periodic phrase structures, dance character with an intermezzo function in inner movements, diatonic harmony, simple homophonic texture, and reduction of the orchestral forces. It identifies the nature of Mahler’s references to the past as subtle or profound deformations of the conventions. It shows different combinations of tradition and modernity in several examples and reveals their possible functions. The conclusions are based not only on analytical observation, but also on the programmatic inspiration, biographical facts, ideas that the composer communicated with friends and colleagues, and on the comparison of Mahler’s symphonies to the related song cycles.
The thesis also shows a possible influence of Vienna’s cultural and political life on Mahler’s classicality. The most influential elements are the paradoxical conservatism of the Liberals’ cultural practices and nostalgia reflected in the architectural style of the Ringstrasse, a complex of buildings built around the city. The archaic nature of its style was a reflection of the cultural values that could influence Mahler’s development.
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