Grant argues that Bruckner and Mahler are dissimilar in many respects, which he enumerates, and suggests that the linking of Mahler with Richard Strauss might be more meaningful. Their influence was reciprocal. Part of the last song in Lieder eines fahrenden Gesellen may be seen as the ancestor of the final duet in Der Rosenkavalier, and the off-stage fanfares in the outer movements of Mahler's First Symphony may have suggested the off-stage fanfares in Ein Heldenleben. Strauss also influenced Mahler, with apparent connections between Ein Heldenleben and the last movement of Mahler's Eighth Symphony; the neuroticism of Salome and parts of Das Lied von der Erde and the Ninth Symphony; and "wandering" solo violin passages in Strauss's Don Juan and Ein Heldenleben and similar solo violin passages in Mahler's Eighth Symphony.

Index Classifications: 1800s, 1900s