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| Name | Mahler - 2nd Symphony, I - V fig. 31 (piano solo) |
| Video Uploader | Video From Iain Farrington |
| Upload Date | This Video Uploaded At 25-02-2024 10:52:01 |
| Video Discription | Gustav Mahler - 2nd Symphony, I - V fig. 31 (piano solo) with score 1. Allegro maestoso 2. Andante moderato 3. In ruhig fliessender Bewegung 4. 'Urlicht' 5. Im Tempo des Scherzo's Arranged and performed by Iain Farrington Jessica Gillingwater (alto) Published by Aria Editions: https://www.ariaeditions.org/store/c7/Mahler%2C_Gustav.html http://www.iainfarrington.com Gustav Mahler (1860-1911) composed his Second Symphony over a number of years. He wrote the single-movement 'Totenfeier' (Funeral Rites) in 1888 while he was conductor at the Leipzig Theatre, after completion of the First Symphony. It may have been conceived as a symphonic tone poem, a depiction of the hero from the First Symphony being carried to his grave, along with a search for the meaning of life and death. Mahler played the work on the piano to the conductor Hans von Bülow in 1891, when they were both working in Hamburg. Von Bülow disliked the work and told Mahler: “If what I have heard is music, then I understand nothing about music.“ Mahler composed another two movements in 1893, but was unsure of a Finale. After hearing the hymn 'Die Auferstehung' at the funeral of von Bülow in 1894, Mahler was inspired to compose the last movement using the same text. He added the song 'Urlicht' and revised 'Totenfeier' as the first movement to complete his Second Symphony that year. An arrangement for solo piano of Mahler's work brings the music close to its compositional origins. In each one of his composing 'huts', Mahler had a piano at his disposal. His sketches are often on two or three staves of music, and can be read directly on the piano. Mahler often played his latest works on the piano to friends and colleagues, and his early training as a pianist left him with a good virtuoso technique. By performing the music in this way, it enabled the first listeners to hear the melodies and harmonies unadorned. Mahler also 'recorded' some of his music onto piano rolls: the first movement of the 5th symphony, the last movement of the 4th symphony and several songs. These demonstrate Mahler's 'orchestral' piano technique, full in texture and tone, carrying the general sweep and drama of the music. This solo piano arrangement of Symphony No. 2 is not just a literal transcription of the notes onto two staves, but a transformation into pianistic texture of the full sonic landscape. Hearing Mahler's music in this way allows us to take in the content as 'pure' music. In Mahler's lifetime, piano duet versions of the Symphonies were published, but very few for solo piano. This arrangement allows one player the opportunity to perform and study them. The final movement ends with a famous section for choir and soloists. This vocal element is essential to Mahler's work, and cannot be successfully replicated on the piano alone. The current arrangement retains those forces in a vocal score format. As it has not been possible to record a choir, this recording stops at the choral entry, figure 31 in the final movement. IV: Text from Des Knaben Wunderhorn Urlicht O Röschen rot! Der Mensch liegt in größter Not! Der Mensch liegt in größter Pein! Je lieber möcht' ich im Himmel sein. Da kam ich auf einen breiten Weg, Da kam ein Engelein und wollt' mich abweisen. Ach nein! Ich ließ mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, wird leuchten mir bis in das ewig selig Leben! Primal Light O little red rose! Man lies in greatest need! Man lies in greatest pain! How I would rather be in heaven. I came upon a broad path. There came a little angel and wanted to turn me away. Ah no! I would not let myself be turned away! I am from God and shall return to God! The loving God will grant me a little light, Which will light me into that eternal blissful life! x-VtFo-mbEU |
| Category | Music |
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