Par MAHLER ALMA. Manch einer suchen in Almas Musik den spezifisch Mahlerschen Ton vergebens. Dies gründet zweifellos auf der Tatsache, dass sie den Ideen der jungen Wiener Avantgarde um Schönberg und Zemlinsky weit näher stand als jenen Gustav Mahlers. Tatsächlich unterscheidet sich ihre musikalische Sprache deutlich von der ihres Mannes: sie ist harmonisch reicher, komplexer und manchmal auch gewagter. Beispiel hierfür geben die vorliegenden Lieder, wo sie etwa in Laue Sommernacht zu einer musikalischen Prosa findet, die mit der Partitur-Anweisung Sehr frei im Vortrag nur annähernd beschrieben wird./ Répertoire / Chœur ssaaattbbb

All of Mahler's symphonies are now available in the Eulenburg catalogue.Mahler 2 – written between 1888 and 1894 and known as 'Resurrection Symphony'. Mahler came up with the idea for the final movement 'Resurrection' at the funeral ceremony for Hans von Bülow. Mahler 3 – the middle of the three symphonies which sets texts from the poetry collection 'Des Knaben Wunderhorn' to music and is often described in the history of reception as peak of Mahler's monumentality. Mahler 9 – the last finished symphony; composed in a creative frenzy as a farewell of a great superstitious composer; often regarded in the history of receptionas work of the highest compositional value and as transition to a new musical epoch. For Mahler 10 realised by Yoel Gamzou see ED 21849 (published by Schott Music) and WER 51222

The Austrian late-Romantic composer Gustav Mahler (1860-1911) is nowadays recognised as one of the greatest composers of his time. A successful conductor during his lifetime it was only after Mahler's death that his own compositions began to enjoy widespread popularity. Composed between 1887-1888 Mahler's celebrated First Symphony received high critical acclaim as a groundbreaking work which took the imagination and narrative of a symphonic poem and gave this the cohesion of earlier structures from the genre. Mark Goddard's innovative Mahler One Inspiration By The Ton! takes the First Symphony and condensesand abbreviates the movements into four delightful miniatures for flexible String Ensemble. Suitable for String groups at an intermediate level this enjoyable arrangement is highly playable and enormous fun. Mahler One Inspiration By The Ton! is also available for Flexible Wind Ensemble and Flexible Brass Ensemble . These three instrumental packs can all be used together.

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Few composers since the mid-twentieth century have escaped Mahler's influence. This book is the first discussion of Mahler's ten completed symphonies to offer music lovers a comprehensive overview of the music as it strikes today's listeners. The book caters to the novice as well as the expert as David Hurwitz describes what the listener will hear section by section. He explains how each work is arranged how the various parts relate to one another and how one work leads to the next. The emphasis throughout is on the experience of listening and how each symphony embodies Mahler's dictum that the symphony 'must embrace the world. It must contain everything'. Hurwitz describes the emotional extravagance that lies at the root of Mahler's popularity the consistency of his symphonic thinking and his dazzling and revolutionary use of orchestral instruments to create an expressive musical language that is varied in content and immediate in impact.

Dans sa préface à la nouvelle édition critique de la 'Septième Symphonie, le Dr Reinhold Kubik (rédacteur en chef et vice-président de la Société internationale Gustav Mahler) se penche sur la réception de Mahler et la discussion entre l'éditeur et Erwin Ratz, le rédacteur en chef de la première édition critique, et résume ce qui suit: 'dans le même temps, le niveau des autres éditions complètes avec leurs appareils complets critiques a été acceptée par l'édition Mahler ainsi. Les temps ont changé: Mahler se classe maintenant parmi les compositeurs les plus réussis et est devenu important pour les éditeurs. Objections ont été supprimés. En conséquence, il était grand temps de rendre justice à ce travail en profondeur la préparation d'une nouvelle édition, y compris une nouvelle typographie musicale avec matériel d'exécution qui est compatible avec la partition. Il est difficile à croire, mais la vérification à travers les sources de nouveau découvert une foule de passages, des erreurs même, qui sont dans le besoin d'amélioration.La première représentation de cette édition a eu lieu à l'Hôtel de Gasteig Philharmonic, le 8 Mars 2007 avec l'Orchestre symphonique de Bavière, sous la direction de Mariss Jansons. / Orchestre

Symphonische Dichtung. Par MAHLER GUSTAV. Gustav Mahler’s “Funeral Rites“ (literally translated: “Celebration of the Dead“) was initially conceived as the first movement of a symphony in C minor and completed in 1888. After certain alterations, – mainly cuts and extensions regarding the instrumentation – the piece became the First Movement of Mahler’s Symphony No. 2 (study scores available with the number UE34315) a few years later. Mahler himself conducted it as an independent piece with the Berlin Philharmonics in 1896./ Répertoire / Orchestre

Eine Tondichtung In Symphonieform In Zwei Teilen und Fünf Sätzen. Par MAHLER GUSTAV. “Titan”, the early five-movement version of the “Symphony No. 1”, has never been published before. Universal Edition is proud to make this score available for the first time in connection with the Complete New Critical Edition. Mahler composed the work at the beginning of 1888 in Leipzig. In 1889 it was subsequently premiered as a “symphonic poem” in Budapest. Our first edition of “Titan” contains the history of its genesis, reviews of the performances in Hamburg and Weimar, a discussion of the programmes and the underlying ideas behind the work, colour prints of important sources, and an extensive critical commentary that describes the variants, problematic passages and all editorial interpolations. At this point, we would like to refer to a statement by the International Gustav Mahler Society (IGMG), which is very concerned about Mahler editions that are not up to date with musicological research and thus cannot do justice to the composer's intentions. To the statement (click in the top right corner to read in English)/ Répertoire / Orchestre

The Flute Collection – Emmanuel Pahud presents
for flute and piano
arranger: Kornfeil, Ronald
editor: Pahud, Emmanuel
composer: Mahler, Gustav
The only known chamber music by Gustav Mahler is a movement for piano quartet from his student days at the Conservatorium in Vienna (1875-1878). The present new arrangements by Ronald Kornfeil go some way to addressing this gap while they also enrich the repertoire with pieces that are very interesting and demanding in their own right. The composer's rich song output includes his Wunderhorn songs, the Songs of a Wayfarer, the Rückert songs, the Kindertotenlieder (Songs on the Death of Children) as well as movements from his symphonies and the Song of the Earth. This book includes a selection of pieces that best suit the sound of the flute while providing plenty of variety. The arrangements transform Mahler's songs from their original conception for voice and piano or orchestral accompaniment into a purely instrumental dialogue between two equally important instrumentalists. In most cases the colourful orchestral versions provide the starting point. The omission of the text also demands different compositional techniques to bring out the various effects between indulgent sweetness and grotesque irony.
The internationally acclaimed flautist, Emmanuel Pahud presents further publications in this new series bringing together selected pieces from the repertoire of famous flautists. / Partitions classique / Bois / Flûte traversière / UNIVERSAL EDITION

In this great work first published in 1912 Mahler experimented with the four-movement symphonic form producing a masterpiece of musical innovation satiric writing and poetic drama expressed in purely instrumental terms. Now the full orchestral score of the Ninth Symphony is available in this inexpensive high-quality edition reprinted from an authoritative Viennese score. Music lovers and admirers of Mahler's work will find in these pages abundant evidence of the fresh and formidable thinking the composer brought to this monumental composition.One of the last composers of the great Romantic tradition Mahler possessed a strong sense ofthe dramatic in life. He chose to record that drama in nine magnificent symphonies all works of vivid orchestration innovative symphonic structure and rich emotional expression.

Fünf Ausgewählte Lieder-Mahler for violin and piano? Why not! The violin is probably the instrument most akin to the human voice and Mahler was a prolific song writer. Georgian violinist Lisa Batiashvili has chosen five songs in arrangements by Ronald Kornfeil to enhance her own and others? concert repertoire. She offers a selection from ?Aus der Jugendzeit? ?Fahrenden Gesellen? and ?Des Knaben Wunderhorn? including the gorgeous ?Urlicht?. The full-throated piano accompaniments of these originally orchestral songs will not only do the songs justice but also remind us of their use in Mahler?s symphonies where of course the solo violin often featured. With no huge technicaldemands these arrangements can be tackled even by intermediate players and will offer students a rewarding exercise in powerful yet lyrical playing.

Over the years, the need for a new edition of Mahler's Symphony #2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerizationalso ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony #2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors have been corrected. (Reinhold Kubik, taken from the preliminary note) Oh believe, my heart, oh believe:Nothing is lost with thee!Thine is what thou hast desired,What thou hast loved, what thou hast fought for!(Gustav Mahler in the Finale of Symphony #2) / Choeur Mixte (SATB) Et Piano