Editing Gustav Mahler (section)

===Later influence===
[[File:Portrait gustav mahler 1910.jpg|thumb|upright|Schoenberg painted Mahler's portrait in 1910.]] Donald Mitchell writes that Mahler's influence on succeeding generations of composers is "a complete subject in itself".<ref name=M373>Mitchell, Vol. II, pp. 373–374</ref> Mahler's first disciples included [[Arnold Schoenberg]] and his pupils [[Alban Berg]] and [[Anton Webern]], who together founded the [[Second Viennese School]].<ref>Schonberg, pp. 256–258</ref> Mahler's music influenced the trio's move from progressive tonalism to [[atonality]] (music without a key); although Mahler rejected atonality, he became a fierce defender of the bold originality of Schoenberg's work. At the premiere of the latter's [[String Quartets (Schoenberg)|First String Quartet]] in February 1907, Mahler reportedly was held back from physically attacking the hecklers.<ref>La Grange, Vol 3, pp. 608–609</ref> Schoenberg's Serenade, Op. 24 (1923), Berg's [[Three Pieces for Orchestra (Berg)|Three Pieces for Orchestra]] (1915) and Webern's Six Pieces (1928) all carry echoes of Mahler's Seventh Symphony.<ref>Carr, p. 105</ref> Mahler has also influenced the film scores of [[John Williams]] and other Hollywood composers.<ref name=Lebrecht>{{cite news|title=Why Mahler?|url=https://www.nytimes.com/2010/11/29/books/excerpt-why-mahler.html|url-status=live|author=[[Norman Lebrecht]]|newspaper=[[The New York Times]]|type=book excerpt|date=29 November 2010|archive-url=https://web.archive.org/web/20170202011159/http://www.nytimes.com/2010/11/29/books/excerpt-why-mahler.html|archive-date=2 February 2017}}</ref>

Among other composers whose work carries the influence of Mahler, Mitchell lists America's Aaron Copland, the German song and stage composer [[Kurt Weill]],<ref>Mitchell, Vol. II, p. 261</ref> Italy's [[Luciano Berio]], Russia's [[Dmitri Shostakovich]] and England's [[Benjamin Britten]].<ref name=M373 /> The American composers [[Leonard Bernstein]] and [[Samuel Barber]] were also influenced by Mahler's work.<ref name=Lebrecht /> In a 1989 interview the pianist-conductor [[Vladimir Ashkenazy]] said that the connection between Mahler and Shostakovich was "very strong and obvious"; their music represented "the individual versus the vices of the world."<ref>Kozinn, 1989</ref> Mitchell highlights Britten's "marvellously keen, spare and independent writing for the wind in&nbsp;... the first movement of the [[Cello Symphony (Britten)|Cello Symphony]] of 1963 [which] clearly belongs to that order of dazzling transparency and instrumental emancipation which Mahler did so much to establish." Mitchell concludes with the statement: "Even were his own music not to survive, Mahler would still enjoy a substantial immortality in the music of these pre-eminent successors who have embraced his art and assimilated his techniques."<ref name=M373 /> A 2016 ''[[BBC Music Magazine]]'' survey of 151 conductors ranked three of his symphonies in the top ten symphonies of all time.<ref>Brown</ref>