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| | Gustav Mahler |
 | | His propagation of his own music, however, aroused opposition from a section of the Viennese musical establishment, and when the campaign against him, led by an anti-semitic press, gained momentum he was again forced to look elsewhere. |
 | | Even in the early Das klagende Lied, there are stylistic features to be found in his mature music, for example the combining of onstage and offstage orchestras, the association of high tragedy and the mundane, the drawing on folksong ideas and the dramatic-symbolic use of tonality. |
 | | Mahler's extension of symphonic form, of the symphony's expressive scope and the use of the orchestra (especially the agonized timbres he obtained by using instruments, particularly wind, at the top of their compass) represent a pained farewell to Romanticism; different aspects were followed up by the Second Viennese School, Shostakovich and Britten. |
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