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Universal Edition - Gustav Mahler – 7 frühe Lieder

Gustav Mahler

Gustav Mahler
7 frühe Lieder

Year of composition: 1880-1889
Year of arrangement: 2011
Subtitle: transcribed for soprano and orchestra
Scored for: for soprano and orchestra
Composer: Gustav Mahler
Arranger: Eberhard Kloke
Instrumentation: 1 1 2 1 - 2 1 1 0 - perc(2), hp, pno, str (min: 3-2-2-2-1(5-Saiter); max: 12-10-8-6-4(5-Saiter))
Instrumentation details:
flute (+picc
alto fl)
oboe (+c.a)
1st clarinet in Bb (+2ndcl(A)
basset hn in Es)
2nd clarinet in Bb (+2ndcl(A)
bass cl(Bb)
cb.cl(Bb)
cl(Eb)
basset hn in Es)
bassoon (+cbsn)
1st horn in F (+wagner tuba in B)
2nd horn in F
trumpet in Bb (+Posthorn in B
cornet)
trombone (+cb.tbn)
harp
piano (+cel)
1st percussion
2nd percussion
violin I
violin II
viola
violoncello
double bass
Table of Contents:
Nicht wiedersehen!
Ablösung im Sommer
Es ritten drei Reiter
Zu Straßburg auf der Schanz'
Selbstgefühl
Ich ging mit Lust durch einen grünen Wald
Mägdlein trat aus dem Fischerhaus
Remarks: aus Achim von Arnims und Clemens Brentanos „Des Knaben Wunderhorn“– nebst einem Liedtext von
Tirso de Molina/R. Leander
Duration: 25′
Dedication: Anna Prohaska gewidmet
 
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World Première

Location: Philharmonie Essen Essen / Germany
Date: 22.06.2013
Orchestra: Essener Philharmoniker
Conductor: Eberhard Kloke

Work Introduction

Mahler’s early songs are influenced by the Wunderhorn theme to which he returned in his first symphonies (I–IV). Mahler borrows, as it were, from his other works in his early symphonic oeuvre, with further processing of musical material in a symphonic setting.

It should be emphasised that Mahler’s musical language and compositional substance became apparent in many different characteristics at a very early stage – already in the late 1880s and early 1890s. I consider most of the early songs, therefore, to be paradigmatic of his entire compositional oeuvre. As Mahler wrote many song orchestrations himself, adding instrumentation was a major challenge and could only be tackled in a procedure of compositional recreation.

For this transcription I attempted in a kind of reverse process to incorporate musical themes, compositional techniques, instrumentation quotations and allusions from the symphonic Wunderhorn world into the song orchestration and thus ‘interpret’ them in further composition.

Elements of the Wunderhorn theme from Symphonies I–IV were marked in this score as “Episode I, II, III, IV (for the symphonies); 1, 2, 3 ... (for the movements)”. The term “lontano” or “da lontano” frequently used by Mahler himself may serve as a metaphor for the technique employed in order to create a connection between subsequent/later musical developments and the early works. The title Seven Early Songs alludes to Berg’s song collection of the same name, which was composed at the same time as Mahler’s Wunderhorn material in his symphonies.

Eberhard Kloke

Selected editions are available on sale on request.

7 frühe Lieder

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