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“The Fifth is a cursed work. Nobody gets the point of it.” That was Gustav Mahler’s frustrated comment on the performance of his latest work in 1905 in Hamburg, where as former opera director he should have been able to count on staunch support. In the same vein, an Italian who had to copy the score for a concert in Trieste shortly afterwards – complete with the composer’s numerous changes – irritably scribbled the words “la sinfonia maledetta” on the cover sheet.
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