In a different thread, Maury and I were discussing Mahler's contemporary influence, which he rated higher than I did. After some further digging I think I was in the wrong in at least one aspect: the symphony for solo voice (usually soprano) and orchestra - i.e., a symphony with an orchestral song inserted for just one voice in the finale. I know of no examples before Mahler's Fourth in G major (1901), but have counted no fewer than five in the years afterwards: by Hans Huber (4th, "Heroische" in C minor, 1902), Mathilde Kralik von Meyerswalden ("Hymnische" in F minor, 1904*), Jan van Gilse (3rd, "Erhebung" in D major, 1903) and Rued Langgaard (2nd, "Vaarbrud" in A minor, 1914). That can't be a coincidence. Peter Gram's 2nd symphony of 1927 could also be mentioned, but it's quite a bit later, and the song is used in the penultimate movement, not the finale.
Interestingly, of these really only Van Gilse's sounds somewhat Mahler-esque at some points, and it is also the only one to share a major key. The rest appear to have used the form (orchestral song by soprano as movement or part of movement(s)) but not so much its musical content. I am not entirely certain what that means for my hypothesis about Mahler's rather limited influence, but I am reminded of a possible parallel in popular music: David Bowie. A hugely successful artist, but arguably more influential in issues of form and presentation than in the music itself.
All this to lead up to my question: can you think of other examples of this setup, possible even ones predating Mahler? I have been looking, but came up short. There are several for voice and chorus
*From Kralik's great-grandson I understood that the symphony's fourth movement was probably not completed before 1943, but it was conceived as containing an orchestral song from the beginning in 1904).
Interestingly, of these really only Van Gilse's sounds somewhat Mahler-esque at some points, and it is also the only one to share a major key. The rest appear to have used the form (orchestral song by soprano as movement or part of movement(s)) but not so much its musical content. I am not entirely certain what that means for my hypothesis about Mahler's rather limited influence, but I am reminded of a possible parallel in popular music: David Bowie. A hugely successful artist, but arguably more influential in issues of form and presentation than in the music itself.
All this to lead up to my question: can you think of other examples of this setup, possible even ones predating Mahler? I have been looking, but came up short. There are several for voice and chorus
*From Kralik's great-grandson I understood that the symphony's fourth movement was probably not completed before 1943, but it was conceived as containing an orchestral song from the beginning in 1904).