The musical compositions of Gustav Mahler (1860–1911) are almost exclusively in the genres of song and symphony. In his juvenile years he attempted to write opera and instrumental works; all that survives musically from those times is a single movement from a Piano Quartet from around 1876–78.[1] From 1880 onwards Mahler was a professional conductor whose composing activities had to be fitted around concert and theatrical engagements.[1] Nevertheless, over the next 30 years he produced nine complete symphonies and sketches for a tenth, several orchestral song cycles and many other songs with piano or orchestral accompaniment. Mahler's symphonies are generally on an expansive scale, requiring large forces in performance, and are among the longest in the concert repertoire.[3]
Mahler scholar Deryck Cooke divides Mahler's compositions into separate creative phases, preceded by a "juvenile" period up to 1880. The earliest surviving whole work is Das klagende Lied (The Song of Lament), a cantata for soloists, chorus and orchestra which was completed in 1880 just before Mahler took up his first conducting post.[1] In Cooke's chronology Mahler's first period as a mature composer extends over 20 years, to 1900, and includes his first four symphonies, his first song cycle Lieder eines fahrenden Gesellen ("Songs of a Wayfarer") and numerous other songs. The period includes Mahler's Wunderhorn phase, after his discovery in 1887 of the German folk-poems collected by Achim von Arnim and Clemens Brentano under the title Des Knaben Wunderhorn ("The Young Lad's Magic Horn"). Music critic Neville Cardus writes that this anthology nourished the composer's "pantheistic feelings about life and the world ... in which an all-embracing love [makes] all creatures kin."[2] Mahler set 24 of these poems to music; three were absorbed into his Second, Third and Fourth symphonies; nine were used to create Volumes II and III of Lieder und Gesänge ("Songs and Airs"), and the remaining 12 were grouped to form Mahler's own Wunderhorn song cycle.[3][3]
Cooke dates Mahler's "middle period" as between 1901 and 1907, covering the trio of instrumental symphonies (Fifth, Sixth and Seventh), the massive Eighth Symphony, and the settings of poems by Friedrich Rückert including the Kindertotenlieder cycle and the Rückert-Lieder.[4] The final period covers the last works: the symphonic Das Lied von der Erde ("The Song of the Earth") and the Ninth and Tenth Symphonies. None of these late works were performed during Mahler's lifetime. The unfinished Tenth Symphony was rendered by Deryck Cooke into a "performing version" which was first performed in London in 1964.[5][10]
| Type | Date of
composition | German title (original title) | English title | Scoring | Premiere performance | Notes | References |
|---|
| Stage | 1875–1878 | Herzog Ernst von Schwaben | Ernst, Duke of Swabia | for voices and orchestra | not performed | lost; both the music and the libretto by Josef Steiner are lost. | [6][7] |
| Stage | 1878–1880 | Die Argonauten | for voices and orchestra | not performed | lost; music and libretto (by Mahler and Steiner) lost | [6] |
| Stage | 1879–1883 | Rübezahl | for voices and orchestra | not performed | libretto (by Mahler) held privately; music lost, but some may have been incorporated into early songs and/or parts of Das Klagende Lied | [8][6] |
| Stage | 1884 | Der Trompeter von Säckingen | Trumpeter of Säckingen}}The Trumpeter of Säckingen | for orchestra | Kassel, 23 June 1884 | incidental Music to play by Josef Viktor von Scheffel; most music lost; First number became the "Blumine" andante in the original version of Symphony No. 1. | [16][9][10] |
| Stage | 1886–1887 | Die drei Pintos | Three Pintos}}The Three Pintos | for voices and orchestra | Leipzig, 20 January 1888 | completion of opera by Carl Maria von Weber; Mahler arranged Weber's sketches and other music from Weber's minor works, and composed a small amount himself | [8][9] |
| Chamber music | 1875–1876 | Sonate | Sonata | for violin and piano | possibly performed in Iglau, 12 September 1876, with Mahler at piano | lost | [6][11] |
| Chamber music | 1876 | Klavierquartett a-Moll | Piano Quartet in A minor (first movement) | for violin, viola, cello and piano | possibly performed at Vienna Conservatory 10 July 1876 | first verified public performance: New York, 12 February 1964 | [6][11] |
| Chamber music | 1876–1878 | Klavierquartett g-Moll | Piano Quartet in G minor (scherzo fragments) | for violin, viola, cello and piano | New York, 12 February 1964 | approximately 36 bars of music | [12][6][11] |
| Chamber music | 1875–1878 | Klavierquintett | Piano Quintet | violins 2}}2 violins, viola, cello and piano | performed at the Vienna Conservatory, 11 July 1878, Mahler at the piano | lost | [6][11] |
| Piano | 1877 | Suite | Suite | for piano | performed at the Vienna Conservatory on an unknown date | lost; Apparently the piece was awarded a prize by the Conservatory. | [11][13] |
| Orchestral | 1877 | Student Symphony}}[Student Symphony] | for orchestra | not performed | lost; rehearsed at the Conservatory under Joseph Hellmesberger, and rejected | [11][13] |
| Orchestral / choral | 1878–1880 | Das klagende Lied, Kantate {{ordered list>Waldmärchen | Der Spielmann | Hochzeitstück }} | Song of Lament}}The Song of Lament, Cantata | for soprano, alto, tenor, chorus and orchestra | Vienna, 17 February 1901 (second and third movements)
Vienna Radio, 8 April 1935 (original version) | words by Mahler; unsuccessful Beethoven Prize entry, 1881 | [12][8][36][37] |
| Orchestral | 1882–1883 | Symphony in A minor | for orchestra | not performed | possibly a more developed version of the "Student Symphony" rejected by Hellmesberger | [14] |
| Orchestral | 1888 | Blumine | Blumine | for orchestra | Budapest, 20 November 1889 (as part of Symphony Nr. 1) | originally planned for use as movement II of Symphony No. 1, dropped in 1893 | [15] |
| Orchestral | 1884–1888 | Sinfonie 01}}1. Sinfonie D-Dur | Symphony 01}}Symphony No. 1 in D major | for orchestra | Budapest, 20 November 1889 (five movement version) | originally 5 movements, later 4; originally a symphonic poem, given title "Titan" at second performance, title later discarded; in revisions 1893–96 "Blumine" andante withdrawn | [16][16][17] |
| Orchestral | 1888 | Todtenfeier [sic] | Todtenfeier (Death Celebration) | for orchestra | Berlin, 16 March 1896 | symphonic poem; later reworked as movement I of Symphony No. 2 | [18] |
| Orchestral / choral | 1888–1894 | Sinfonie 02}}2. Sinfonie c-Moll "Auferstehungssinfonie" | Symphony 02}}Symphony No. 2 in C minor "Resurrection" | for soprano, alto, mixed chorus, organ and orchestra | Berlin, 4 March 1895 (movements 1–3); Berlin, 13 December 1895 (complete) | 5 movements; movement IV: "Urlicht" from Des Knaben Wunderhorn collection; movement V: text by Mahler and Friedrich Gottlieb Klopstock; movement I: 1888 symphonic poem Todtenfeier | [16][16][19] |
| Orchestral / choral | 1893–1896 | Sinfonie 03}}3. Sinfonie d-Moll | Symphony 03}}Symphony No. 3 in D minor | for alto, women's chorus, boys' chorus and orchestra | Krefeld, 9 June 1902 | 6 movements; 4th movement: "O Mensch! Gib acht!" from Also sprach Zarathustra (Friedrich Nietzsche); 5th movement: Wunderhorn poem "Es sungen drei Engel" | [8][16][16][20] |
| Orchestral / vocal | 1899–1900 | Sinfonie 04}}4. Sinfonie G-Dur | Symphony 04}}Symphony No. 4 in G major | for soprano and orchestra | Munich, 25 November 1901 | 4 movements; revised 1901–10; movement IV: "Das himmlische Leben" from Des Knaben Wunderhorn collection, originally intended for Symphony No. 3, composed in 1892 | [16][52][21] |
| Orchestral | 1901–1902 | Sinfonie 05}}5. Sinfonie cis-Moll | Symphony 05}}Symphony No. 5 in C{{music|sharp}} minor | for orchestra | Cologne, 18 October 1904 | 5 movements; repeatedly revised up to Mahler's death | [10][52][22] |
| Orchestral | 1903–1904 | Sinfonie 06}}6. Sinfonie a-Moll | Symphony 06}}Symphony No. 6 in A minor | for orchestra | Essen, 27 May 1906 | 4 movements; revised 1906 and repeatedly thereafter | [10][52][23] |
| Orchestral | 1904–1905 | Sinfonie 07}}7. Sinfonie e-Moll | Symphony 07}}Symphony No. 7 in E minor | for orchestra | Prague, 19 September 1908 | 5 movements; revised repeatedly from 1905; known as Lied der Nacht ("Song of the Night"), though not named by Mahler | [10][52][24] |
| Orchestral / choral | 1906–1907 | Sinfonie 08}}8. Sinfonie Es-Dur 1. Teil: Hymnus „Veni, creator spiritus“ 2. Teil: Schlußszene von Goethes „Faust II“ | Symphony 08}}Symphony No. 8 in E{{music|flat}} major Part I: Hymn "Veni creator spiritus" Part II: Closing Scene from Goethe's Faust | sopranos 3}}3 sopranos, 2 altos, tenor, baritone, bass, 2 mixed choruses, boys' choir, organ and orchestra | Munich, 12 September 1910 | known also as "Sinfonie der Tausend" ("Symphony of a Thousand"), though not named by Mahler | [10][6][25] |
| Orchestral / vocal | 1908–1909 | Das Lied von der Erde | Song of the Earth}}The Song of the Earth | for alto or baritone, tenor and orchestra | Munich, 20 November 1911 | Song Cycle; words from ancient Chinese poems in translation by Hans Bethge | [10][6][26] |
| Orchestral | 1909–1910 | Sinfonie 09}}9. Sinfonie D-Dur | Symphony 09}}Symphony No. 9 in D major | for orchestra | Vienna, 26 June 1912 | 4 movements | [10][6][27] |
| Orchestral | 1910 | Sinfonie 10}}10. Sinfonie Fis-Dur | Symphony 10}}Symphony No. 10 in F{{music|sharp}} major | for orchestra | Vienna, 12 October 1924 (movements I and III); complete performing version (Deryck Cooke) London, 13 August 1964 | incomplete; Mahler drafted five movements but scored only the first and third; Apart from Cooke's, five other performing versions had been recorded up to 2010; Frans Bouwman has created a critical and annotated publication of all the surviving manuscript pages of the 10th Symphony | [10][6][28][29][30] |
| Vocal | 1876–1879 | Song Fragments 2}}[Two Song Fragments] | not performed | Song settings; one fragment identified as a setting of "Weder Glück noch Stern" (Heinrich Heine, 1830) | [11] |
| Vocal | 1880 | Drei Lieder für Tenorstimme und Klavier {{ordered list>"Im Lenz" | "Winterlied" | "Maitanz im Grünen" }} | Songs 3}}3 Songs | for tenor and piano | Brno, 30 September 1934 (radio broadcast) | words by Mahler; from a projected set of five songs | [12][31][32] |
| Vocal | 1880–1883 | Frühlingsmorgen | Spring Morning | for voice and piano | Budapest, 13 November 1889 | words by Richard Leander; published in Lieder und Gesänge, Volume I | [31][32][33] |
| Vocal | 1880–1883 | Erinnerung | Memory | for voice and piano | Budapest, 13 November 1889 | words by Richard Leander; published in Lieder und Gesänge, Volume I | [31][32][34] |
| Vocal | 1880–1883 | Hans und Grethe | Hans and Grethe | for voice and piano | Prague, 18 April 1886 | words by Mahler; a reworking of "Maitanz im Grünen" (from Drei Lieder, 1880); published in Lieder und Gesänge, Volume I | [31][32][34] |
| Vocal | 1880–1883 | Serenade aus Don Juan | Serenade from Don Juan | for voice and piano | Prague, 12 October 1909 | words by Tirso de Molina; published in Lieder und Gesänge, Volume I | [31][32][35] |
| Vocal | 1880–1883 | Phantasie aus Don Juan | Imagination | for voice and piano | Prague, 12 October 1909 | words by Tirso de Molina; published in Lieder und Gesänge, Volume I | [31][32][35] |
| Vocal | 1883–1885 | Lieder eines fahrenden Gesellen {{ordered list>Wenn mein Schatz Hochzeit macht | Ging heut Morgen übers Feld | Ich hab'ein glühend Messer | Die zwei blauen Augen von meinem Schatz }} | Songs of a Wayfarer, Song cycle {{ordered list>When My Sweetheart Is Married | I Went This Morning over the Field | I Have a Gleaming Knife | The Two Blue Eyes of My Beloved }} | for voice and piano or orchestra | Berlin, 16 March 1896 (orchestral) | setting of four poems by Mahler; originally with piano accompaniment, orchestral setting added between 1891 and 1895; a performance with piano accompaniment may have preceded Berlin 1896 | [36][32][37][38] |
| Vocal | 1887–1890 | Um schlimme Kinder artig zu machen | How to Make Naughty Children Behave | for voice and piano | Munich 1899–1900 season | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume II | [36][16][39] |
| Vocal | 1887–1890 | Ich ging mit Lust durch einem grünen Wald | I Walked with Joy | for voice and piano | Stuttgart, 13 December 1907 | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume II | [36][16][40] |
| Vocal | 1887–1890 | Aus! Aus! | Out! Out! | for voice and piano | Hamburg, 29 April 1892 | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume II | [36][16][41] |
| Vocal | 1887–1890 | Starke Einbildungskraft | Strong Imagination | for voice and piano | Stuttgart, 13 December 1907 | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume II | [36][16][42] |
| Vocal | 1887–1890 | Zu Strassburg auf der Schanz | On the Ramparts at Strasbourg | for voice and piano | Helsinki, November 1906 | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume III | [36][16][42] |
| Vocal | 1887–1890 | Ablösung im Sommer | Changing of the Summer Relief | for voice and piano | Berlin, 1904–05 season | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume III | [36][16][43] |
| Vocal | 1887–1890 | Scheiden und Meiden | Parting Is Painful | for voice and piano | Budapest, 13 November 1889 | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume III | [36][16][43] |
| Vocal | 1887–1890 | Nicht wiedersehen! | Never to Meet Again! | for voice and piano | Hamburg, 29 April 1892 | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume III | [36][16][44] |
| Vocal | 1887–1890 | Selbstgefühl | Self-esteem | for voice and piano | Vienna, 15 February 1900 | poem from Des Knaben Wunderhorn; published in Lieder und Gesänge, Volume III | [36][16][45] |
| Vocal | 1892 | Urlicht}}Urlicht | Primeval Light | for voice and piano or orchestra | Berlin, 13 December 1895 (as part of Symphony No. 2) | poem from Des Knaben Wunderhorn; re-orchestrated July 1893 for use as movement IV in Symphony No. 2 | [36][52][46] |
| Vocal | 1892 | Das himmlische Leben | The Heavenly Life | for voice and orchestra | Hamburg, 27 October 1893 (with orchestra) | poem from Des Knaben Wunderhorn; used as movement IV in Symphony No. 4; original poem entitled "Der Himmel hängtvoll Geigen" | [36][47] |
| Vocal | 1892 | Der Schildwache Nachtlied}}Der Schildwache Nachtlied | Sentinel's Nightsong}}The Sentinel's Nightsong | for voice and piano or orchestra | Berlin, 12 December 1892 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1892 | Verlor'ne Müh}}Verlor'ne Müh | Labour Lost | for voice and piano or orchestra | Berlin, 12 December 1892 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1892 | Trost im Unglück}}Trost im Unglück | Solace in Misfortune | for voice and piano or orchestra | Hamburg, 27 October 1893 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1892 | Wer hat dies Liedlein erdacht}}Wer hat dies Liedlein erdacht? | Who Thought Up This Song? | for voice and piano or orchestra | Hamburg, 27 October 1893 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1892–1893 | Das irdische Leben}}Das irdische Leben | Earthly Life}}The Earthly Life | for voice and piano or orchestra | Vienna, 14 January 1900 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1893 | Des Antonius von Padua Fischpredigt}}Des Antonius von Padua Fischpredigt | St. Anthony of Padua's Sermon to the Fish | for voice and piano or orchestra | Vienna, 29 January 1905 (with orchestra) | poem from Des Knaben Wunderhorn; an orchestral adaptation of the song used as movement III in Symphony No. 2 | [36][16][48] |
| Vocal | 1893 | Rheinlegendchen}}Rheinlegendchen | Little Rhine Legend | for voice and piano or orchestra | Hamburg, 27 October 1893 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1895 | Es sungen drei Engel}}Es sungen drei Engel | Three Angels Sang a Sweet Air | for voice and piano or orchestra | Krefeld, 9 June 1902 (as part of Symphony No. 3) | poem from Des Knaben Wunderhorn; composed for use in Symphony No. 3; piano version published 1899 | [36][20][52] |
| Vocal | 1896 | Lob des hohen Verstandes}}Lob des hohen Verstandes | Praise of Lofty Intellect | for voice and piano | Vienna, 18 January 1906 | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1898 | Lied des Verfolgten im Turm}}Lied des Verfolgten im Turm | Song of the Persecuted in the Tower | for voice and piano or orchestra | Vienna, 29 January 1905 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1898 | Wo die schönen Trompeten blasen}}Wo die schönen Trompeten blasen | Where the Fair Trumpets Sound | for voice and piano or orchestra | Vienna, 14 January 1900 (with orchestra) | poem from Des Knaben Wunderhorn | [36][16][48] |
| Vocal | 1899 | Revelge}}Revelge | Reveille | for voice and piano or orchestra | Vienna, 29 January 1905 | poem from Des Knaben Wunderhorn; later published with the five Rückert songs as Sieben Lieder aus letzter Zeit (Seven Last Songs) | [49][50][51] |
| Vocal | 1901 | Der Tamboursg'sell}}Der Tamboursg'sell | Drummer Boy}}The Drummer Boy | for voice and piano or orchestra | Vienna, 29 January 1905 | poem from Des Knaben Wunderhorn; later published with the five Rückert songs as Sieben Lieder aus letzter Zeit (Seven Last Songs) | [49][50][51] |
| Vocal | 1901 | Blicke mir nicht in die Lieder}}Blicke mir nicht in die Lieder | Do Not Look at My Songs! | for voice and piano or orchestra | Vienna, 29 January 1905 | poem by Friedrich Rückert | [49][50][52] |
| Vocal | 1901 | Ich atmet' einen linden Duft}}Ich atmet' einen linden Duft | I Breathed a Gentle Fragrance | for voice and piano or orchestra | Vienna, 29 January 1905 | poem by Friedrich Rückert | [49][50][52] |
| Vocal | 1901 | Ich bin der Welt abhanden gekommen}}Ich bin der Welt abhanden gekommen | I Am Lost to the World | for voice and piano or orchestra | Vienna, 29 January 1905 | poem by Friedrich Rückert | [49][50][52] |
| Vocal | 1901 | Um Mitternacht}}Um Mitternacht | At Midnight | for voice and piano or orchestra | Vienna, 29 January 1905 | poem by Friedrich Rückert | [49][50][52] |
| Vocal | 1902 | Liebst du um Schönheit}}Liebst du um Schönheit | If You Love for Beauty | for voice and piano (or orchestra) | Vienna, 8 February 1907 | poem by Friedrich Rückert; Mahler neglected to orchestrate this song; an orchestral version was prepared later by a Leipzig musician, Max Puttmann. | [49][52][53] |
| Vocal | 1901–1904
1901
1901
1901
1904
1904 | Kindertotenlieder {{ordered list>Nun will die Sonn' so hell aufgeh'n | Nun seh' ich wohl, warum so dunkle Flammen | Wenn dein Mütterlein | Oft denk' ich, sie sind nur ausgegangen | In diesem Wetter, in diesem Braus }} | Songs on the Death of Children {{ordered list>Now the Sun Wants to Rise as Brightly | Now I See Well, Why with Such Dark Flames | When Your Mother | I Often Think: They Have Only Just Gone Out | In This Weather, in This Windy Storm }} | for voice and orchestra | Vienna, 29 January 1905 | poem by}}poems by Friedrich Rückert | [49][50][54] |
The possibility of previously unknown early Mahler works emerged when, in 1938, the Dutch conductor Willem Mengelberg revealed the existence of an archive of manuscripts in Dresden, in the hands of Marion von Weber, with whom Mahler had been romantically involved in the 1880s. Mengelberg claimed that these manuscripts included drafts of four early symphonies, which he and the German composer Max von Schillings had played through on the piano. Mahler historian Donald Mitchell writes: "Though one may perhaps be a shade sceptical about the existence of four symphonies, each of them completely carried through, the strong possibility remains that some important manuscripts, either early symphonies or parts of early symphonies, were to be found in Dresden." The archive was almost certainly destroyed in the bombing of Dresden in February 1945.[55]
In his capacity as a conductor Mahler was responsible for many rescorings of works by, among others, J.S. Bach, Beethoven and Schumann. He also prepared string orchestra versions of Beethoven's String Quartet No. 11 and Schubert's Death and the Maiden Quartet, and a four-hand piano arrangement of Bruckner's Third Symphony.[8][9]
1. ^Cooke, p. 8
2. ^Cardus, p. 55
3. ^Sadie, pp. 515–18
4. ^Sadie, pp. 518–23
5. ^Cooke, pp. 103–21
6. ^1 2 3 4 5 6 7 8 9 10 Carr, p. 240
7. ^Sadie, p. 505
8. ^1 2 3 4 5 6 {{Cite web|last= Franklin|first= Peter|editor-first= Laura (ed.)|editor-last= Macy|title= Mahler, Gustav|url= http://www.oxfordmusiconline.com/public/|publisher= Oxford Music Online |year= 2007|accessdate= 21 February 2010}}
9. ^1 2 Carr, p. 241
10. ^Cooke, p. 34
11. ^1 2 3 4 5 6 Mitchell Vol.I, pp. 116–117
12. ^1 2 3 4 Cooke, pp. 21–26
13. ^1 Carr, p. 21
14. ^Mitchell, Vol. I p. 117 and pp. 131–34
15. ^{{cite web|url=http://www.mahlerfest.org/mfXIX/blumine_notes.pdf |title=Archived copy |accessdate=2010-03-16 |deadurl=yes |archiveurl=https://web.archive.org/web/20110718174344/http://www.mahlerfest.org/mfXIX/blumine_notes.pdf |archivedate=18 July 2011 |df= }}
16. ^1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Carr, p. 238
17. ^Cooke, pp. 33–35
18. ^Mitchell Vol. II, pp. 165–167; 269
19. ^Cooke, pp. 52–58
20. ^1 Cooke, pp. 60–65
21. ^Cooke, pp. 66–69
22. ^Cooke, pp. 80–83
23. ^Cooke, pp. 83–87
24. ^Cooke, pp. 88–91
25. ^Cooke, pp. 91–102
26. ^Cooke, pp. 103–13
27. ^Cooke, pp. 114–118
28. ^{{Cite journal|authorlink= Theodore Bloomfield|last= Bloomfield|first= Theodore|title= In Search of Mahler's Tenth: The Four Performing Versions as seen by a Conductor|journal= The Musical Quarterly|jstor= 742188|volume= 74|publisher= Oxford University Press|pages=175–96|year= 1990|issue= 2|doi= 10.1093/mq/74.2.175}}
29. ^{{Cite journal|last= Bouwman|first= Frans|title= Unfinished Business: editing Mahler's 10th|journal= The Musical Times|url= http://findarticles.com/p/articles/mi_qa3870/is_200101/ai_n8931464/?tag=content;col1|volume= 142|publisher= The Musical Times Publications Ltd|pages=43–51|year= 1990|issue= 4|doi= 10.2307/1004576|jstor= 1004576}}
30. ^Cooke, pp. 118–21
31. ^1 2 3 4 5 6 Sadie, p. 527
32. ^1 2 3 4 5 6 7 Carr, p. 237
33. ^Cooke, p. 27
34. ^1 Cooke, p. 28
35. ^1 Cooke, p. 29
36. ^1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 Sadie, p. 528
37. ^Cooke, pp. 30–32
38. ^Mitchell, Vol. II p. 25
39. ^Cooke, p. 36
40. ^Cooke, p. 37
41. ^Cooke, p. 38
42. ^1 Cooke, p. 39
43. ^1 Cooke, p. 40
44. ^Cooke, p. 41
45. ^Cooke, p. 42
46. ^Cooke, p. 59
47. ^Cooke, pp. 59–60
48. ^1 2 3 4 5 6 7 8 9 Cooke, pp. 43–52
49. ^1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Sadie, p. 529
50. ^1 2 3 4 5 6 7 8 9 10 11 12 Carr, p. 239
51. ^1 Cooke, pp. 71–73
52. ^1 2 3 4 Cooke, pp. 74–77
53. ^Carr, p. 129
54. ^Cooke, pp. 77–80
55. ^Mitchell, Vol. II pp. 51–54