In many ways Gustav Mahler's Seventh and Eighth Symphonies are the most unusual works that the late Romantic composer ever wrote. The Seventh was the last in a series of middle-period pieces that were purely instruments in character. Two movements headed Nachtmusik and the remarkable writing for a guitar and mandolin help to create a sequence of darkly Romantic visions. And even within Mahler's markedly eclectic output, the Eighth Symphony enjoys the status of an exotic outsider thanks not only to its two-movement form combining an early medieval hymn and the final scene from Goethe's Faust but also to the vast forces for which it is scored, earning it the title of Symphony of a Thousand