e
hear "the voice of one crying in the wilderness" in fierce and anguished
tones. There is an apocalyptic finale where the choir sing Klopstock's
beautiful ode on the promise of the Resurrection:

"_Aufersteh'n, ja, aufersteh'n wirst du, mein Staub, nach
kurzer Ruh_!"[196]

The law is proclaimed with:

"_Was entstanden ist, dass mus vergehen,
Was vergangen, auferstehen_!"[197]

[Footnote 194: Man lies in greatest misery; Man lies in greatest pain; I
would I were in Heaven!]

[Footnote 195: I come from God, and shall to God return.]

[Footnote 196: Thou wilt rise again, thou wilt rise again, O my dust,
after a little rest.]

[Footnote 197: What is born must pass away; What has passed away must
rise again.]

And all the orchestra, the choirs, and the organ, join in the hymn of
Eternal Life.

In the _Third Symphony_, known as _Ein Sommermorgentraum_ ("A Summer
Morning's Dream"), the first and the last parts are for the orchestra
alone; the fourth part contains some of the best of Mahler's music, and
is an admirable setting of Nietzsche's words:

"_O Mensch! O Mensch! Gib Acht! gib Acht!
Was spricht die tiefe Mitternacht_?"[198]

[Footnote 198:

O Man! O Man! Have care! Have care!
What says dark midnight?

The fifth part is a gay and stirring chorus founded on a popular legend.

In the _Fourth Symphony in G major_, the last part alone is sung, and is
of an almost humorous character, being a sort of childish description of
the joys of Paradise.

In spite of appearances, Mahler refuses to connect these choral
symphonies with programme-music. Without doubt he is right, if he means
that his music has its own value outside any sort of programme; but
there is no doubt that it is always the expression of a definite
_Stimmung_, of a conscious mood; and the fact is, whether he likes it or
not, that _Stimmung_ gives an interest to his music far beyond that of
the music itself. His personality seems to me far more interesting than
his art.

This is often the case with artists in Germany; Hugo Wolf is another
example of it. Mahler's case is really rather curious. When one studies
his works one feels convinced that he is one of those rare types in
modern Germany--an egoist who feels with sincerity. Perhaps his emotions
and his ideas do not succeed in expressing themselves in a really
sincere and personal way; for they reach us through a cloud of
reminiscences and an atmosphere