Most of the songs which Mahler incorporated into his symphonies were originally written with orchestral accompaniment (rather than piano). Unlike Schubert, who used vocal themes as bases for variations in some movements of his instrumental works, Mahler never quoted a song for the specific purpose of writing variations. Instead, the material directly influences the melodic structure and content of the symphonies, particularly the first five, through the literal quotation of entire themes and motives.

Works: Schubert: Wanderer Fantasy; Trout Quintet; Death and the Maiden; String Quartet in D Minor; Octet in F Major (based on the air "Gelagert unter'm hellen Dach der Bäume," from the operette Die Freunde von Salamanka); Fantasy in C Major for violin and piano (based on Sei mir Gegrüsst); Introduction and Variations for piano and flute, Op. 160 (based on Trock'ne Blumen); Mahler: "Ging heut' morgen über's Feld" and "Die zwei blauen Augen von meinem Schatz" from Lieder eines fahrenden Gesellen; "Das Himmlische Leben," "Des Antonius von Padua Fischpredigt," "Ablösung in Sommer," "Es sungen drei Engel," "Lob des hohen Verstandes," "Um schlimme Kinder artig zu machen," and "Nicht Wiedersehen" from Lieder aus des Knaben Wunderhorn; "Nun will die Sonn' so hell aufgeh'n" and "Nun seh' ich wohl, warum so dunkle Flammen" from Kindertotenlieder; Symphonies 1-7. [??]

Index Classifications: 1800s, 1900s