In his Seventh Symphony, Mahler returned to the five-movement pattern: two large, outer movements flank three shorter inner ones. Exclusively instrumental, it not only is without the programmatic trappings of the earlier ones, but does not have even the biographical implications of the Sixth. It is his most purely abstract work. Perhaps because of this it seems to lack the compelling drive and conviction of all the other symphonies—it remains his least understood and least popular work. Even so, it is also in some ways his most original work. Mahler's orchestration reached a new height of creativity, and virtually every measure is full of fantastic and innovative combinations. Also, the degree of harmonic experimentation in the first movement goes beyond anything Mahler had done before, and became a model for many subsequent composers. The three inner movements are all subtle stylizations of Romantic genre pieces and open up new expressive possibilities and combinations. Only the Finale seems artificial and forced in its bustling counterpoints, and in spite of a valiant effort, fails to conclude the symphony convincingly.

Langsam (Slow). This intense and driven sonata form carries over some of the harsh and wailing bitterness of the Sixth, but there are also moments of ethereal beauty in the development. The most interesting feature, technically, is Mahler's extensive use of melodies and harmonies based on the interval of a fourth, which lend the music a mysteriously unsettling and abstract quality.

Nachtmusik. Allegro moderato. (Night Music. Moderately fast). This weird movement directly evokes and almost satirizes some of Mahler's earlier Romantic mannerisms. The opening horn call, directly followed by an extended and static passage of complex bird stylizations is an example. This alternates with an absurd and improbable march tune, which juxtaposes popular harmonies with eerie militaristic figures, and quotes several times from the march from the first movement of the Third Symphony.

Scherzo. Schattenhaft. (Shadowy). This Scherzo is in the same diabolical mode as that of the Sixth Symphony, but is subtler and more haunting in its fleeting harmonies and irregular rhythms. The movement is dominated by eerie and slippery figures that alternate with a grotesque waltz. A slow, but equally weird waltz forms the basis of the Trio, which, unusual for Mahler, only occurs once in its entirety.

Nachtmusik. Andante amoroso. (Night Music. Amorously moving). This movement is a truly romantic and genial serenade. Tender and longing themes are enmeshed in a texture dominated by harp, guitar, and mandolin, lending it its stylized serenade atmosphere. In spite of this obvious stylization, the entire movement is full of charm and grace, and is one of Mahler's most immediately attractive compositions.

Rondo-Finale. Tempo I (Allegro ordinario). (An Ordinary Allegro). Despite Mahler's best efforts at creating a rousing Finale, the rather uninspired themes and their forced development simply make this movement, for all its bluster, rhythmic activity and instrumental virtuosity, less than effective. It is generally considered Mahler's weakest movement.

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