To listen to a complete general midi version click here:
Adagietto - Soundcloud

 

10134 - Adagietto from Symphony No 5

Gustav Mahler 

arranged for 10-piece brass ensemble by Roger Harvey

Difficulty: Difficult

Price: £30.00

Programme note:

The 5th symphony was first sketched in 1901 at a time of great changes in Mahler's life. He was beginning to flourish in his role as Director of the Vienna Opera and developing as an eminent conductor, his music was becoming well-known and appreciated, significant health issues emerged and he met his future wife, Alma. The style of the new symphony was significantly different to his earlier works and progress was not easy. Even after the first performances in 1904, he made continual revisions of orchestration. However, it is now probably the most performed and best-loved of his works. The Adagietto, a brief moment of repose in an otherwise turbulant, boisterous work was intended as a love letter to Alma. Its poignant, bittersweet tone has given it a status as one of Mahler's most recognisable movements and it is frequently peformed as a stand alone item.

Performance note:
In recent times the tempo of this movement has become increasingly slower and more indulgent though Mahler's original intention seems to have been for it to stand as an expression of devotion to his wife, Alma, and not as some sort of mournful elegy. It needs time to breath, and there are sufficient indications of tempo alteration, but it should have, on the whole, a feeling of gentle forward movement, in spite of the generally slow pace. As a brass arrangement this will also be critical for phrasing and breath control, an issue not so relevant to the original string scoring. The numerous markings, such as the pairs of hairpins on sustained notes, emphasis lines and accents (some replacing Mahler's sf) are vital for conveying the shape and style of the music; use them for phrasing purpose but they should not be over-played. The arpeggio figures (from the harp writing) in the trombones should be very lightly marked to be evident but not protrusive. The final chord is very long and should dissappear to nothing. Breath as necessary but try to avoid noticeable re-articulations. The 1st trumpet part mainly colours the lower voices so avoid becoming too prominent.