Gustav Mahler’s Symphony No. 4 (1899—1900) differs from his other symphonic works in its intentionally simple language and playful imagery. The composer himself called the piece “humoresque”. Yet, beneath the Fourth’s lighthearted exterior lies a poignant exploration of life’s tragic imperfections. In this way, Mahler’s conception of humor aligns closely with the German writer Jean Paul’s notion of the comic, which posits that laughter shields individuals from the anguish of pain and despair.

At the Fourth Symphony’s heart lies Das himmlische Leben (The Heavenly Life), a song from Des Knaben Wunderhorn (The Boy’s Magic Horn) that Mahler originally intended for his Third Symphony but later repurposed as the Fourth’s foundation. Comprising four relatively concise movements, the Fourth Symphony showcases a distinct sense of irony and thematic simplicity. The opening movement features stylized melodies reminiscent of Mozart and Haydn. In the scherzo, a violin tuned a tone higher creates a jarring sound akin to a street performer’s instrument.

Initially met with indifference at its 1901 premiere, the Fourth Symphony has gradually won critical acclaim. Today, it is recognized as a unique and compelling work within Mahler’s symphonic legacy, weaving together an interplay of joy and melancholy.

Contrasting with Mahler’s exploration of existential themes, Shostakovich’s Piano Concerto No. 2, a heartfelt gift for his 19-year-old son Maxim, overflows with an exuberant and optimistic spirit from the very outset.

The composer’s signature musical flair is evident in the lively and bustling outer movements. However, it is in the introspective and lyrical Andante section that his emotional depth truly shines. The second movement seamlessly flows into the third, where Shostakovich indulges in a familial jest. He incorporates a well-known exercise by Charles-Louis Hanon, playfully nodding to Maxim’s youthful talent and the dedication of the concerto to him.