Gustav Mahler's approach to song differed significantly from that of other composers in the genre. While his early works, such as the Lieder und Gesänge for voice and piano from 1892 and the original version of Lieder eines fahrenden Gesellen for piano, were written for the piano, Mahler later composed his songs directly for orchestra, including the songs based on Des Knaben Wunderhorn, Kindertotenlieder, and the Rückert-Lieder. These Rückert-Lieder can be performed by both piano and orchestra.
From the very beginning, song played a central role in Mahler's development as a symphonist. He repeatedly incorporated quotations from his own songs into his works, for example, from Des Knaben Wunderhorn or Lieder eines fahrenden Gesellen. The transformation of the latter works, in particular, provided formative material for his First Symphony. After the Fourth Symphony, his literary influence shifted to Rückert's poetry, which offered a fertile foundation for new symphonic compositions.
From the outset, song played a central role in Mahler's development as a symphonist. Pianists venturing into Mahler's songs should bear in mind that they were often conceived with orchestral structures. The development of the art song was closely linked to the piano. Piano accompaniments by composers such as Schubert or Wolf frequently evoke operatic orchestras. A feel for Mahler's orchestral colors can help pianists create appropriate sounds at the piano.
Those familiar with the orchestral versions may initially miss the orchestral colors. However, piano performances offer a greater degree of intimacy and subtlety. The early songs from 1892, all written for piano, reflect Mahler's search for connections between folk music and nature.
The texts of the Songs of a Wayfarer were written by Mahler himself. In the first song, "Wenn mein Schatz Hochzeit macht" (When My Sweetheart Gets Married), rural scenes contrast with the lover's laments. "Ging heut morgen übers Feld" (Went This Morning Across the Field) establishes a somber tone that brightens as it progresses. The song "Ich hab' ein glühend Messer" (I Have a Glowing Knife) describes intense emotional turmoil following the loss of love.
In February 1901, after experiencing health problems, Mahler set poems by Rückert to music. These texts allowed him a particularly personal connection. Works such as "Ich bin der Welt abhanden gekommen" (I am lost to the world) offer insight into Mahler's deepest feelings. The piece "Blicke mir nicht in die Lieder" (Do not look into my songs) addresses the artist's seclusion during the creative process.
Mahler's close connection to Rückert's poetry is evident in his settings of Rückert's poems. The composition of "Liebst du um Schönheit" (Do you love for beauty) was a subtle message to Alma Mahler to love for her own sake. The Kindertotenlieder (Songs on the Death of Children) reflect Mahler's emotional struggle and his search for solace. "In diesem Wetter, in diesem Braus" (In this weather, in this roar) ends with an apotheosis of consolation.
The depiction of infant mortality in the Kindertotenlieder is often linked to Mahler's personal life experience, even though it is frequently interpreted as a premonition of his later loss. In his musical settings of these poems, Mahler impressively expresses the interplay of light and dark, sorrow and hope, pain and consolation.