Editing Gustav Mahler (section)

===Antecedents and influences===
Mahler was a "[[Romantic music|late Romantic]]", part of an ideal that placed Austro-German classical music on a higher plane than other types, through its supposed possession of particular spiritual and philosophical significance.<ref name=Franklin9>Franklin (9. Musical style)</ref> He was one of the last major composers of a line which includes, among others, Beethoven, Schubert, Liszt, Wagner, Bruckner and Brahms.<ref name=Carr35 /><ref name=Cooke10>Cooke, pp. 10–11</ref> From these antecedents Mahler drew many of the features that were to characterise his music. Thus, from [[Symphony No. 9 (Beethoven)|Beethoven's Ninth Symphony]] came the idea of using soloists and a choir within the symphonic genre. From Beethoven, Liszt and (from a different musical tradition) [[Hector Berlioz|Berlioz]] came the concept of writing music with an inherent narrative or "programme", and of breaking away from the traditional four-movement symphony format. The examples of Wagner and Bruckner encouraged Mahler to extend the scale of his symphonic works well beyond the previously accepted standards, to embrace an entire world of feeling.<ref name=Franklin9 /><ref name=Cooke10 />

Early critics maintained that Mahler's adoption of many different styles to suit different expressions of feeling meant that he lacked a style of his own; Cooke on the other hand asserts that Mahler "redeemed any borrowings by imprinting his [own] personality on practically every note" to produce music of "outstanding originality."<ref>Cooke, pp. 13–14</ref> The music critic [[Harold Schonberg]] sees the essence of Mahler's music in the theme of struggle, in the tradition of Beethoven. However, according to Schonberg, Beethoven's struggles were those of "an indomitable and triumphant hero", whereas Mahler's are those of "a psychic weakling, a complaining adolescent who&nbsp;... enjoyed his misery, wanting the whole world to see how he was suffering."<ref>Schonberg, p. 138</ref> Yet, Schonberg concedes, most of the symphonies contain sections in which Mahler the "deep thinker" is transcended by the splendour of Mahler the musician.<ref name="Schonberg, p. 143" />