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Extra info for 101x2 New Popular Fake Book. 202 New Popular Songs Combo Style - For All Popular Instruments (C-book)

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Dika Newlin, ed. Peter Franklin (Cambridge: Cambridge University Press, 1980), 160. Quoted in Adorno, Mahler, 15–16. For a discussion of parageneric spaces, see Hepokoski and Darcy, Elements of Sonata Theory, 281–305. The most famous precedents include the offstage oboe in the “Scène aux champs” from Hector Berlioz’s Symphonie fantastique, op. 14, and the offstage viola in the finale of his Harold en Italie, op. 16. In both cases, however, the instruments remain stationary and are closely related to the programmatic meaning of these works.

When the principle of spatial dislocation is transferred to the symphonic realm, it is adapted to very different ends. This is particularly evident in the First Symphony, a work that while clearly indebted to the dramatic symphonies of Berlioz also exploits space in a way that displays a far less obvious connection to the work’s programmatic dimension. Stripped of any particular dramatic or, arguably, programmatic significance, Mahler’s entirely novel expansion of symphonic space thus takes on a quality that can be best described as abstract.

But the combination of two different streams of music is also evocative of the fanfares of Act II of Lohengrin, which cut across the orchestra’s chromatic F sharp minor with the purest D major. But whereas Wagner juxtaposes elements, Mahler combines them and accentuates the contrast by placing orchestra and band in different meters (4/4 against 3/4), a feature which Donald Mitchell has compared to the introduction of the off-stage band in the Finale of the Second Symphony . . 16 The distinction Williamson makes between combination and juxtaposition is important in that it calls attention to Mahler’s unique strategy of drawing on obviously operatic gestures and recasting them in a non-operatic context.

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