# Favorite Movement in each Mahler Symphony



## bz3

Like the title says, 9 symphonies so you pick 9 movements. Pretend you're George "The Decider" W. Bush and if that's too hard then just flip a coin. Mine:

1st: 3rd movement
2nd: 1st movement
3rd: 1st movement
4th: 1st movement
5th: 3rd movement
6th: 4th movement
7th: 1st movement
8th: 2nd movement
9th: 1st movement

Please also feel encouraged to post your favorite recording of each movement. I'll do mine after I think about it more but I'm interested in interpretations as much as the individual movements.


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## techniquest

1st: 1st movement (the sound that started it all...)
2nd: 5th movement (however any recording in which I can't hear the organ, bells and _both_ tam-tams is rejected)
3rd: 3rd movement (though the posthorn does go on a bit)
4th: 4th movement (especially the Nanut recording with Max Emmanuel Cencic)
5th: 1st movement (after which I get lost)
6th: 4th movement (for the hammers)
7th: 1st movement (even the Klemperer recording)
8th: Part 2 (especially the hushed opening section)
9th: 1st movement (as long as the very low harp is recorded clearly)


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## bz3

Thought some about my preferred recordings:

1st: 3rd movement - I don't really have a preferred for this individual movement, but I listen to Kubelik the most for this symphony

2nd: 1st movement - This is one I want to see what other people say about. Love the movement, one of my favorites in all of Mahler, but I don't feel like I have a preferred recording. Maybe Mehta, though I listen to Bernstein the most even if he takes forever in this symphony

3rd: 1st movement - Another I want to know what others think about. Levine or Haitink is my most listened to

4th: 1st movement - Boulez

5th: 3rd movement - Abbado, I feel many aren't as lively as I'd like in this beautifully long scherzo

6th: 4th movement - Sanderling

7th: 1st movement - Haitink, though no real preference here either I just happen to listen to this and Bernstein a lot

8th: 2nd movement - Boulez I think

9th: 1st movement - Boulez and Karajan, interested to various others. I love this symphony and should probably stray further in interpretations but I like these 2 so well that I usually don't.


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## motoboy

techniquest said:


> 3rd: 3rd movement (though the posthorn does go on a bit)


HERETIC!

(needed to get to 15 characters)


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## techniquest

motoboy said:


> HERETIC!
> 
> (needed to get to 15 characters)


For what am I being accused of heresy? I'm assuming it's the bit about the posthorn rather than which movement I have chosen.


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## techniquest

> 6th: 4th movement - Sanderling


Have you heard the Levine recording with the LSO on RCA? If you're wearing socks, prepare to have them knocked off!


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## motoboy

techniquest said:


> For what am I being accused of heresy? I'm assuming it's the bit about the posthorn rather than which movement I have chosen.


There is the PERFECT amount of posthorn! Or maybe not quite enough. (For my taste, of course) 
Perfect choice of movement, though.


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## maestro267

No. 1 - 4th movt.
No. 2 - 5th movt.
No. 3 - 1st movt.
No. 4 - 1st movt.
No. 5 - 3rd movt.
No. 6 - 1st movt.
No. 7 - 1st movt.
No. 8 - 2nd movt. (Faust)
Das Lied - 6th movt.
No. 9 - 4th movt.
No. 10 - 5th movt. (despite the fact the bass drum strokes still make me jump)


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## bz3

techniquest said:


> Have you heard the Levine recording with the LSO on RCA? If you're wearing socks, prepare to have them knocked off!


I have not, I will try it when I can since I do like his Mahler 3 a lot. I listen to many versions of those I'm not satisfied with but I've become satisfied with Bernstein, Sanderling, and Boulez in the 6th. But with the 2nd, I still struggle.


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## techniquest

> But with the 2nd, I still struggle.


Finding a perfect 2nd is probably impossible; it so much depends on what you're looking for in your experience of the symphony. For me, the LPO recording with Tennstedt is high on the list of very good 2nd's; but you might want to try to find the Caetani recording with the Robert Schumann Philharmonie on ARTS; it's finale is breathtaking.


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## Orfeo

*Symphonies nos.*

I: third movement.
II. first movement.
III. last movement.
IV. third movement.
V. first movement.
VI. second movement.
VII. first movement.
VIII: Part I (veni creator spiritus).
IX. first movement.


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## Cosmos

Fun idea for a thread,

Symphony 1: Movement 1: Just, brimming with life!
Symphony 2: Movement 5: One of my favorite finales
Symphony 3: Movement 1: Quite a journey
Symphony 4: Movement 4: The definition of pastorle for me
Symphony 5: Movement 3: The climactic clashes make me feel like I'm on Everest's peak
Symphony 6: Movement 1: Like the third, quite a journey
Symphony 7: Movement 5: I'm a sucker for finales
Symphony 8: Part II: The first part is orgastic sure, but the soul of the music shines here
Symphony 9: Movement 1: Music that makes me feel that the world isn't so bad a place


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## Zarathustra

1st: 1st movement
2nd: 5th movement
3rd: 1st movement
4th: 4th movement
5th: 2nd movement
6th: 4th movement
7th: 1st movement
8th: 2nd movement
9th: 2nd movement
10th: 1st movement
DLVDE: 3rd movement


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## Barbebleu

techniquest said:


> Finding a perfect 2nd is probably impossible; it so much depends on what you're looking for in your experience of the symphony. For me, the LPO recording with Tennstedt is high on the list of very good 2nd's; but you might want to try to find the Caetani recording with the Robert Schumann Philharmonie on ARTS; it's finale is breathtaking.


Bernstein and the New York Phil do a pretty intense and exciting second. Not the best quality recording I've ever heard but the first movement blows me away every time. Got to crank the volume up though!


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## techniquest

> Bernstein and the New York Phil do a pretty intense and exciting second. Not the best quality recording I've ever heard but the first movement blows me away every time. Got to crank the volume up though!


Yes, the Bernstein 1st movement is great; I think so in both his recordings (DG and Sony).


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## Aries

I like 4th movement of his 9th symphony the most of all.


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## dsphipps100

Well, I'm a newbie here (although I've been performing & listening to orchestral music for about 35 years), so I'm gonna jump in here (perhaps with some unorthodox performer preferences):

Sym # 1 - 2nd mvt (Muti-Philadelphia)
Sym # 2 - 5th mvt (Kaplan-LSO)
Sym # 3 - 1st mvt (Bernstein-NY Phil DGG)
Sym # 4 - 3rd mvt (Gatti-Royal Phil)
Sym # 5 - 5th mvt (Thomas-San Fran)
Sym # 6 - 4th mvt (Bernstein-Vienna)
Sym # 7 - 5th mvt (Levi-Atlanta)
Sym # 8 - Part 02 (Chailly-Amsterdam)
DLVDE - 4th mvt (Baker-Haitink-Amsterdam)
Sym # 9 - 1st mvt (Karajan-Berlin DDD)
Sym # 10 (Cooke) - 2nd mvt (Rattle-Berlin)

OK, let the flaming begin.


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## Xaltotun

I think I'm the only person who prefers movement 1 in the 8th symphony..?


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## Skilmarilion

1/i. the beginning
2/iv. urlicht
3/ii. minuet
4/ii. scherzo
5/i. funeral march and iv. adagietto (tie)
6/ii. andante
7/i. langsam - allegro
8/ii. un poco adagio
9/iv. adagio
10/v. the end


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## Zarathustra

While being a huge Mahler fan, I don't consider myself a Mahlerite because I often disagree with other Mahler fans as to which are the best symphonies, performances and conductors. For example, Berstein's Mahler is to my ears unbearable for the most part, but some seem completely enthralled by his readings. The same could be said for a number a Mahlerite conductors. I seem to prefer my Mahler straight. There is enough emotion and depth in the music that it needs not be milked in any way for it to have impact, quite the contrary.

Some people will diss the eighth as catering to the masses, or the seventh as meandering and pointless but then hail the third and its merits. 

A very substancial group of Mahler fans will swear that the 5th Adagietto is the greatest thing Mahler ever wrote and if there ever is a conductor that manages to stretch it to 20 minutes more than a few will probably sing its praises to high heavens. Me though, I skip it more often than not. It is not only my least favourite movement in the 5th but probably in his entire symphonic output. I actually much prefer Blumine to it, though I have read some people claim it does not have a whole lot of worth musically speaking (as least comparatively).

Would it be completely inapropriate to use this thread to ask you people what are your least favourite Mahler movements for each symphony? Or does that belong in STI?


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## Mahlerian

Zarathustra said:


> Some people will diss the eighth as catering to the masses, or the seventh as meandering and pointless but then hail the third and its merits.


Both groups would be completely wrong.



Zarathustra said:


> A very substancial group of Mahler fans will swear that the 5th Adagietto is the greatest thing Mahler ever wrote and if there ever is a conductor that manages to stretch it to 20 minutes more than a few will probably sing its praises to high heavens. Me though, I skip it more often than not. It is not only my least favourite movement in the 5th but probably in his entire symphonic output. I actually much prefer Blumine to it, though I have read some people claim it does not have a whole lot of worth musically speaking (as least comparatively).


The Adagietto is simpler than most Mahler movements, but cutting it out of the Fifth is to hobble the work's structure, as it performs much the same role as the Urlicht in the Second Symphony, by providing an interlude between two far more complex movements and introducing some of the material that will be developed in the finale.



Zarathustra said:


> Would it be completely inapropriate to use this thread to ask you people what are your least favourite Mahler movements for each symphony? Or does that belong in STI?


The Blumine is easily the weakest movement in Mahler's output. Barring that, I'd say the finale of the First.

I generally listen to Mahler whole, though, and wouldn't want to cut any movement from any of his symphonies.


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## Zarathustra

Thank you Mahlerian.

I agree that the Adagietto is integral to the 5th and I enjoy listening it being quoted in the Rondo Finale as well as the other movements. Having said that I'm sure that if by now you are already familiarized with the structure of a work, skipping a movement will ruin the whole symphony as much as skipping a few scenes in a movie that you already know inside out.

I'm not suggesting that Mahler should scap the whole movement.

The adagietto is simply not my favourite thing and while some times I'll listen to it, other times I'll just skip it and I don't think it ruins it for me any more than if I listened to a movement in isolation. I'm merely chosing the episodes to a plot I already know. No harm is done to the music.

Some movements are like tone poems that you could listen to on their own and it would already be worth your while. Like the 1st movements of the 1st, 3rd or 6th for example. Each tell its own story and if it ended there that would be enough. Luckily we are spoiled for riches and there is even more to come after those.

I know the 6th is your favourite as is mine. But your favourite movement is my least favourite. You named the 4th movement in the first as the worst. To me it would be the second. It starts in celebration then takes an unexpected curve and then finishes right where it started. Nothing changed. It puzzles me and I sometimes question why it's there, to what purpose, how does it advance the story. Perhaps it's just me but I see Mahler's works as very programatic. There is a story or a plot going on or at least I like to think that, not necessarily action based, sometimes as a personal change.

I can't atribute value to a piece objectively. Just state my preferences on what I listen to the most. I find listening to Blumine more pleasing than the overbearing emotionalism of the Adagietto. Strangely enough I quite enjoy the 10th. Go figure.

I still want to know what are yours and everyone else interested in sharing least favourite movements in each symphony.


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## Mahlerian

Zarathustra said:


> Thank you Mahlerian.
> 
> I agree that the Adagietto is integral to the 5th and I enjoy listening it being quoted in the Rondo Finale as well as the other movements. Having said that I'm sure that if by now you are already familiarized with the structure of a work, skipping a movement will ruin the whole symphony as much as skipping a few scenes in a movie that you already know inside out.
> 
> I'm not suggesting that Mahler should scap the whole movement.
> 
> The adagietto is simply not my favourite thing and while some times I'll listen to it, other times I'll just skip it and I don't think it ruins it for me any more than if I listened to a movement in isolation. I'm merely chosing the episodes to a plot I already know. No harm is done to the music.


I would never watch a movie that way. I will occasionally listen to a single movement for one reason or another, but if I'm listening through the first, second, and third movements, I'm not going to skip over the fourth so I can get to the finale more quickly. I do sympathize with being bothered by the Adagietto being dragged out to obscene lengths (though that can work too), as it certainly wasn't Mahler's intent. His performances were something more like eight minutes.



Zarathustra said:


> I know the 6th is your favourite as is mine. But your favourite movement is my least favourite.


I love all of the movements of the Sixth. I don't know which one I would choose as a favorite.



Zarathustra said:


> You named the 4th movement in the first as the worst. To me it would be the second. It starts in celebration then takes an unexpected curve and then finishes right where it started. Nothing changed. It puzzles me and I sometimes question why it's there, to what purpose, how does it advance the story. Perhaps it's just me but I see Mahler's works as very programatic. There is a story or a plot going on or at least I like to think that, not necessarily action based, sometimes as a personal change.


Hmm. I don't hear Mahler's music as programmatic per se, though it does have strong musical narratives in the sense that Beethoven or Bruckner do.

As for the second movement of the First, it's a Scherzo in more or less ABA' form, with the recap shortened significantly. If I can recall correctly, Mahler's program (which he made after the composition of the work and changed several times) said something about "At Full Sail," so in his mind it was music of motion, joy, energy, and I can certainly hear all of those things in it. The contrast between it and the next movement is certainly striking, and critics of Mahler's time said that they had a hard time reconciling the disparate moods of the first and second halves of the work. It seems like your problem is with the internal contrast, though, between the scherzo and the trio. Not that my own take would necessarily convince you, but I hear the movement as much like a Bruckner scherzo, and the older composer often used the same kinds of contrasts between a boisterous, energetic main section and a more sedate, rustic trio.


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## Il_Penseroso

If we could take the question as 'The most favorite movements in Mahler Symphonies' :

'Bimmm Bamm ... Es sungen drei Engel' from Symphony No.3

Andante moderato from Symphony No.6

Symphony No.8 almost the entire work! :tiphat:


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## Aldarion

Symphony No.: Movement No.

1: IV

2: III

3: VI

4: I

5: III

6: III (Andante moderato)

7: V

8: II

9: III

10: I


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## Cosmos

Zarathustra said:


> I know the 6th is your favourite as is mine. But your favourite movement is my least favourite. You named the 4th movement in the first as the worst. To me it would be the second. It starts in celebration then takes an unexpected curve and then finishes right where it started. Nothing changed. It puzzles me and I sometimes question why it's there, to what purpose, how does it advance the story. Perhaps it's just me but I see Mahler's works as very programatic. There is a story or a plot going on or at least I like to think that, not necessarily action based, sometimes as a personal change.
> ...
> I still want to know what are yours and everyone else interested in sharing least favourite movements in each symphony.


Throwing my own two cents in: While Mahler's earlier symphonies had programs to them, he took them out later in his life, wanting the focus to move onto the music itself over the "story" behind it. That being said, your viewing of a story in Mahler's symphonies is similar to the "story" in Beethoven's, sounds like a better approach.

I also am intrigued by the idea of listing our least favorite Mahler movements, though I wouldn't post my least favorites on this thread dedicated to favorites. You should start your own thread asking that question! Hopefully not too many fights will break out


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## hpowders

My favorite movement in all Mahler is the second movement minuet of his Third Symphony. Love the oboe!!


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## Rhombic

For clarity, the 2nd movement in Mahler 6th IS the scherzo... much better harmonic and formal clarity overall.


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## dsphipps100

Rhombic said:


> For clarity, the 2nd movement in Mahler 6th IS the scherzo... much better harmonic and formal clarity overall.


Mahler disagrees with you.

http://www.posthorn.com/Mahler/Correct_Movement_Order_III.pdf


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## Chronochromie

dsphipps100 said:


> Mahler disagrees with you.
> 
> http://www.posthorn.com/Mahler/Correct_Movement_Order_III.pdf


And most people seem to disagree with Mahler.


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## dsphipps100

Chronochromie said:


> And most people seem to disagree with Mahler.


That's OK, they have the right to be mistaken.

(I think that, tomorrow, I'm going to write a letter to all the major orchestras in the world and tell them that I "disagree" with Mahler's order of movements in all of his symphonies, and that the last and first movements should have their positions reversed, effective immediately. After all, Mahler's only the composer, what right does _he_ have to determine the way in which his music is performed??????)


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## Chronochromie

dsphipps100 said:


> That's OK, they have the right to be mistaken.
> 
> (I think that, tomorrow, I'm going to write a letter to all the major orchestras in the world and tell them that I "disagree" with Mahler's order of movements in all of his symphonies, and that the last and first movements should have their positions reversed, effective immediately. After all, Mahler's only the composer, what right does _he_ have to determine the way in which his music is performed??????)


Nice hyperbole. Nevermind that the Scherzo-Andante was Mahler's original intentions, even if he did change his mind.

Mahler is dead, he doesn't care anymore. If someone wants to reverse the order of all of the symphonies, let them. If someone wants to play Bach on the piano, or on the synthesizer, let them. Is it "mistaken"? Maybe, but does it matter?


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## pavelissa

dsphipps100 said:


> Well, I'm a newbie here (although I've been performing & listening to orchestral music for about 35 years), so I'm gonna jump in here (perhaps with some unorthodox performer preferences):
> 
> Sym # 1 - 2nd mvt (Muti-Philadelphia)
> Sym # 2 - 5th mvt (Kaplan-LSO)
> Sym # 3 - 1st mvt (Bernstein-NY Phil DGG)
> Sym # 4 - 3rd mvt (Gatti-Royal Phil)
> Sym # 5 - 5th mvt (Thomas-San Fran)
> Sym # 6 - 4th mvt (Bernstein-Vienna)
> Sym # 7 - 5th mvt (Levi-Atlanta)
> Sym # 8 - Part 02 (Chailly-Amsterdam)
> DLVDE - 4th mvt (Baker-Haitink-Amsterdam)
> Sym # 9 - 1st mvt (Karajan-Berlin DDD)
> Sym # 10 (Cooke) - 2nd mvt (Rattle-Berlin)
> 
> OK, let the flaming begin.


5th Symphony 5th movement yes!!  I was looking around if someone had said that. I agree.


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## hpowders

My favorite movements in all of Mahler are the second movement minuet of the Third Symphony and the Tenth Symphony Adagio, in my opinion, the latter work is the greatest music Mahler ever wrote.

No particular favorite movements in any of the other Mahler symphonies.


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## juliante

Skilmarilion said:


> 1/i. the beginning
> 2/iv. urlicht
> 3/ii. minuet
> 4/ii. scherzo
> 5/i. funeral march and iv. adagietto (tie)
> 6/ii. andante
> 7/i. langsam - allegro
> 8/ii. un poco adagio
> 9/iv. adagio
> 10/v. the end


Hi as urlicht is your favourite from 2 thought I would ask what recordings you enjoy. I am new to the work and loving it, when I first heard urlicht I was enraptured. It was Solti but can't remember the singers name off hand. Anyway, I also have a copy of rattle/Birmingham doing Mahler 2 - so hastened to listen to his version of urlicht, to find I was relatively unmoved by the singer (Baker ?)


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## StDior

No. 1 - 1st 
No. 2 - 5th
No. 3 - 1st & 4th 
No. 4 - 2nd
No. 5 - 1st
No. 6 - 4th
No. 7 - 1st
No. 8 - Part 2
Das Lied - 1st & 6th
No. 9 - 2nd
No. 10 - 1st


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## MagneticGhost

I think the 6th works much better with the Scherzo in the 3rd Movt position. I never got the feeling that the Andante was slight or an afterthought. The contrast works much better for me. Also I find the beginning of the scherzo too thematically similar to the opening of the 1st.


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## Totenfeier

No. 1 - 1st
No. 2 - 1st
No. 3 - 6th
No. 4 - 3rd
No. 5 - 3rd
No. 6 - 4th
No. 7 - 1st
No. 8 - Part Two
Das Lied - Der Abschied
No. 9 - 1st & 4th (can't have one without the other)


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## brucknerian

Always loved the main theme of his Symphony 6. It's the most emotional and memorable theme out of all his symphonies for me.









Also I just adore the sad, somewhat jazzy interlude after the first part of the first movement.


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## Pugg

I: third movement.
II. Fifth movement
III. last movement.
IV. fourth movement.
V. can not choose 
VI. second movement.
VII. first movement.
VIII: Part I (veni creator spiritus).


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## Dim7

brucknerian said:


> Always loved the main theme of his Symphony 6. It's the most emotional and memorable theme out of all his symphonies for me.
> 
> View attachment 83124
> 
> 
> Also I just adore the sad, somewhat jazzy interlude after the first part of the first movement.


It's the second subject of the first movement. I wouldn't call it the "main theme" of the whole symphony.


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## hansklein

Here we go.
Symphony 1: 1st movement - During the last minute or two my heart wants to burst out of my chest in unbridled joy and soar into the stratosphere. 
Symphony 2: 1st movement - The fearsome crescendo at the end of the development section is singular in its power. A very dark tone poem that can stand alone as an unforgettable concert piece.
Symphony 3: 3rd movement: - The horn solo always brings tears to my eyes and the climax reminds me of a spectacular animal stampede, a la Jumanji. 
Symphony 4: 4th movement - Some of the most beautiful, ethereal and moving music ever composed. 
Symphony 5: 1st movement - The singular most catastrophic funeral march in all of the musical literature. (I get to hear this incredible work tomorrow night courtesy of JoAnn Falletta and the Buffalo Philharmonic Orchestra. Can't wait.
Symphony 6: 1st movement - The harrowing war-like march is a kind of premonition of the horrors to befall Europe a few years after this symphony was composed. 
Symphony 7: 1st movement - Incredible contrapuntal writing reminds me of galloping horses and mysteriously misty landscapes.
Symphony 8: Part 1 - Over the top hysteria in a quasi religious fibril dreamscape.
Symphony 9: 1st movement - My favorite movement of all the symphonies. The introduction makes me feel as if I'm leisurely floating on my back down some lovely wooded stream. Then all hell breaks loose as the orchestra churns in emotive upheavals, seeming to say "I want to live goddamn it". 
Symphony 10: I've never considered any of the movements complete, contrary to the experts, and have never been able to take this incomplete work to heart.


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## Vsyevolod

Second Symphony, fourth movement (urlicht) is my favourite Mahler moment of all time. 

Stephen




.


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## lehnert

Symphony #1 - movement 3
Symphony #2 - movement 5 (my favorite symphony of all time)
Symphony #3 - movement 6
Symphony #4 - movement 4
Symphony #5 - movement 1
Symphony #6 - movement 4
Symphony #7 - movement 1
Symphony #8 - part I
Das Lied von der Erde - der Abschied
Symphony #9 - movement 4


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## Azol

I: 4th
II: 1st
III: 6th
IV: 3rd
V: you guess it... 4th
VI: 2nd
VII: 1st



Pugg said:


> VIII: Part I (veni creator spiritus).


I am sooo with you!!!

IX: 4th
X: 5th (blasphemy? you bet!)


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## AstoundingAmadeus

pavelissa said:


> 5th Symphony 5th movement yes!!  I was looking around if someone had said that. I agree.


You can count me in, though in my case it's probably closer to a tie between the 1st, 3rd and 5th movements. The 5th movement may win out simply due to the epic coda. Must be up there amongst the most spectacular movement/piece endings for sure! :trp:


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## WaterRat

Symphony 1: 3rd Movement
Symphony 2: 5th Movement
Symphony 3: 6th Movement
Symphony 4: 3rd Movement
Symphony 5: 4th Movement
Symphony 6: 3rd Movement (Andante)
Symphony 7: 4th Movement
Symphony 8: 2nd Movement
Symphony 9: 4th Movement
Symphony 10: 5th Movement
Song of the Earth: 6th Movement


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## Merl

1st: 2nd movement (Walter and Leinsdorf get this bang-on)
2nd: 1st movement
3rd: 3rd movement
4th: 4th movement
5th: 1st movement (best Mahler symphony first movement for me)
6th: 1st movement
7th: 1st movement
8th: Still don't 'get it' so can't comment
9th: 1st movement


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## LOLWUT

Some crazy choices people are making here. Choosing the first movement over the last in the 9th? Choosing the third movement over the last in the 3rd? Crazy.

Symphony 1: 4th movement
Symphony 2: 5th movement
Symphony 3: 6th movement
Symphony 4: 3rd movement
Symphony 5: 4th movement
Symphony 6: Slow movement (be it 2nd or 3rd depending on conductor)
Symphony 7: 5th movement
Symphony 8: 2nd movement
Symphony 9: 4th movement
Symphony 10: 5th movement
Das Lied von der Erde: Final song


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## Ralphus

I'm going to add favourite _moment_ to favourite movement in some cases (actually, that's how I initially mis-read the thread title).

1st: the very opening (Bernstein/Concertgebouw - magical! what a way to embark on a life of writing symphonies!)
2nd: the very ending (Tennstedt/LPO Live - cathartic, heaven-storming, life-altering!!!)
3rd: trombone solo (Bernstein/DG - the trombonist blows his lungs out)
4th: last movement
5th: Adagietto (Bernstein/VPO - wrung of its every drop; the basses saw through their strings)
6th: Andante
7th: 1st movt. (spooky)
8th: either the very opening or the very ending (Tennstedt live)
9th: 1st (I have always loved Barbirolli's take on the 1st movt.)
Das Lied: Abschied (Baker/Kubelik live)
10th: either the devastating 'vertical event' in the Adagio, or the 5th Movt, esp. the moment when the flute melody rises out...(Chailly)


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## njk345

1st: Mov. 1
2nd: Mov. 5
3rd: Mov. 3
4th: Mov. 1
5th: Mov. 1 (I'm a trumpet player)
6th: Mov. 4
7th: Mov. 4
8th: Part. 2
9th: Mov. 3
10th: Mov. 1 (not much choice here)


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