Symphony No. 9, 1st Mvmt., for Tenor recorder doubling Alto, Bass and Soprano

Symphony No. 9, 1st Mvmt., for Tenor recorder doubling Alto, Bass and Soprano

from: G. Mahler (1860-1911)

454 bars at original pitch, switching between all four of the SATB recorder family. T. W. Adorno said, [Mahler had] “the desire to fill the empty flows of time with meaning, to transform it into a permanence full of joy. That fulfilment…has found its true home in Mahler’s…symphonies.”(1) It should be noted that this is an extremely challenging arrangement that includes notes out of the normal range, especially in the sections for alto and tenor. Highly recommended for this piece is access to an R. K. Ehlert alto by Moeck or perhaps one with a bell key, such as a Dolmetsch. A similarly versatile tenor, such as a modern Von Huene, will be helpful, and playing high F# on your bass—as can be done fingering Ø1345, plus the Ab key, on my own standard Moeck Tuju baroque bass—is called for.
The original dynamics, slurs and articulations are indicated, but of course there is a limit to how faithfully a recorder can perform them, especially the dynamics. They are included mainly so that the composer’s original intent is transmitted, and the best possible recorderistic solution found. A page of translations of German terms in the score is included. (1) Quasi una Fantasia, p. 89The original dynamics, slurs and articulations are indicated, but of course there is a limit to how faithfully a recorder can perform them, especially the dynamics. They are included mainly so that the composer’s original intent is transmitted, and the best possible recorderistic solution found. A page of translations of German terms in the score is included. (1) Quasi una Fantasia, p. 89

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  • 1st Mvmt. plus translation page

    Recorder part, 6+1 pp.
    $0.50
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