Mahler Symphony No. 9 Symphonies No. 9 occupy a particular post in the history of music. After the eighteenth century, where the authors vied for the vastness of choral and symphonic production - remember Haydn with 104 cataloged and recurring symphonies - the symphony enters a more meditative and less dominant artistic phase of music production, leaving space for concerts, sonatas and chamber music in general up to Lied, the true triumph of the German body. An almost obligatory interpreter of the Symphony No.9 is Georg Szell, who with John Barbirolli and Jascha Horenstein represented the Mahlerian symphonic body as a scenic complex - almost theater - in continuous evolution towards the absolute of art and human thought / religious.