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GUSTAV MAHLER/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_071 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"A true "personality" . . . is like a robust organism that, with unconscious sureness, seeks out and digests the nourishment appropriate to it and vigorously rejects that which is unsuitable." - Gustav Mahler, [Advice to his wife Anna]
-www.quoteland.com/author.asp?AUTHOR_ID=2128
Gustav Mahler -
Gustav Mahler (7 July 1860 – 18 May 1911) was a Bohemian-born Austrian composer and conductor. He was best known during his own lifetime as one of the leading orchestral and operatic conductors of the day. He has since come to be acknowledged as among the most important late-Romantic composers, although his music was never completely accepted by the musical establishment of Vienna while he was still alive. Mahler composed primarily symphonies and songs; however, his approach to genre often blurred the lines between orchestral Lied, symphony, and symphonic poem.
Works:
Symphonies
* Symphony No. 1 in D major (?1884–1888; rev. 1893–1896; 2nd rev. 1906).
o Note: This was first called "Symphonic Poem", later "Titan" (presumably after Jean Paul, a suggestion however rejected by Mahler). Originally in 5 movements, the second movement, Blumine, was discarded in the final revision.
* Symphony No. 2 in C minor (1888–1894; rev. 1903)
o Note: The title "Resurrection", while popular with listeners, does not appear on the score and is not used in works of reference (e.g. the New Grove).
* Symphony No. 3 in D minor (1893–1896; rev. 1906)
* Symphony No. 4 in G major (1892, 1899–1900; rev. 1901–1910)
* Symphony No. 5 in C-sharp minor/D major (1901–1902; scoring repeatedly rev.)
o Note: While the symphony begins in the advertised C-sharp minor, it should be noted that the composer, himself, wrote in a letter to his publisher, "it is difficult to speak of a key for the whole symphony, and to avoid misunderstandings the key should best be omitted."[21]
* Symphony No. 6 in A minor (1903–1904; rev. 1906; scoring repeatedly rev.)
o Note: At a performance in Vienna in 1907, the title "Tragic" was attached to the symphony on posters and programs, but the word does not appear on the score and is not used in works of reference.
* Symphony No. 7 in E minor (1904–1905; scoring repeatedly rev.)
o Note: The title "Song of the Night", while popular with listeners, did not originate with Mahler, does not appear on the score, and is not used in works of reference.
American premiere of Mahler's Symphony No. 8
* Symphony No. 8 in E-flat major (1906–1907)
o Note: The title "Symphony of a Thousand", while popular with listeners, is not due to Mahler, does not appear on the score, and is not used in works of reference. The composer, in fact, strongly objected to this title being applied to the eighth symphony.[22]
* Das Lied von der Erde (subtitled A Symphony for One Tenor and One Alto (or Baritone) Voice and Orchestra, After Hans Bethge's "The Chinese Flute") (1908–1909)
* Symphony No. 9 in D major (1908–1909)
* Symphony No. 10 (1910–1911) (unfinished; a continuous "beginning-to-end" draft of 1,945 bars exists, but much of it is not fully elaborated and most of it not orchestrated.)
o Various completions by:
+ Adagio (first movement) and "Purgatorio" (third movement) prepared for performance by Ernst Krenek with contributions from Franz Schalk, Alban Berg and Alexander Zemlinsky (1924)
+ Joseph Wheeler (1948–1965)
+ Deryck Cooke, assisted by Berthold Goldschmidt, Colin Matthews and David Matthews (1960, 1964, 1976, 1989)
+ Clinton Carpenter (1966)
+ Remo Mazzetti, Jr. (1989)
+ Rudolf Barshai (2000)
+ The duo of Nicola Samale and Giuseppe Mazzucca (2002)
Note: Several prominent Mahler conductors – notably Bruno Walter, Leonard Bernstein, Bernard Haitink, Pierre Boulez, Claudio Abbado and Sir Georg Solti – have, for various reasons (for instance, the lack of counterpoint) refused to perform any of the various "completions" or "performing versions" of the Tenth that were available to them. Some have however performed the Adagio as a standalone movement.
Vocal works
* Das klagende Lied, cantata (1880; rev. 1893, 1898)
* Drei Lieder, three songs for tenor and piano (1880)
* Lieder und Gesänge, fourteen songs with piano accompaniment (1880–1890)
* Lieder eines fahrenden Gesellen, for voice with piano or orchestral accompaniment (1883–1885)
(literally Songs of a Travelling Journeyman, usually translated as Songs of a Wayfarer.)
* Lieder aus "Des Knaben Wunderhorn" (The Youth's Magic Horn), for voice with piano or orchestral accompaniment (1888–1896; two others 1899 and 1901)
* Rückert Lieder, for voice with piano or orchestral accompaniment (1901–1902)
* Kindertotenlieder (Songs on the Death of Children), for voice and orchestra (1901–1904)
* Das Lied von der Erde (The Song of the Earth) for alto (or baritone) and tenor soloists and orchestra (1908–1909)
o Note: this work can be classified as both a symphony and a song cycle. Some believe[citation needed] that Mahler avoided numbering it as a symphony due to a superstitious fear of the curse of the ninth.
Other works
* Piano Quartet in A minor (1876)
Recordings
On 9 November 1905 Mahler recorded four of his own compositions for the Welte-Mignon reproducing piano:
* "Ging heut' morgen übers Feld", from Lieder eines fahrenden Gesellen (piano accompaniment only).
* "Ich ging mit Lust durch einen grünen Wald", from Lieder aus "Des Knaben Wunderhorn" (piano accompaniment only).
* "Das himmlische Leben", Wunderhorn setting used as fourth movement of Symphony No. 4 (piano accompaniment only).
* First movement (Trauermarsch) from Symphony No. 5 (in arrangement for solo piano).
Arrangements of the symphonies
In view of the relative infrequency of the symphonies' early performances (partly a result of their instrumental demands), consideration of the various piano, 2-piano and piano duet arrangements that were current during Mahler's lifetime (or shortly after) is not without interest – especially where these were produced by outstanding musicians:
* Das klagende Lied: vocal score with piano reduction by J.V. von Wöss
* Symphony No. 1: arranged for piano duet by Bruno Walter (1906)
* Symphony No. 2: arranged for 2 pianos by Hermann Behn (Leipzig, 1895); for piano duet by Bruno Walter (1899); for 2 pianos (8 hands) by Heinrich von Bocklet (1899; publ. U.E., Vienna, 1914)
* Symphony No. 3: arranged for piano duet by J.V. von Wöss; second movement (Menuetto) transcribed for piano solo by Ignaz Friedman (1913)
* Symphony No. 4: arranged for piano duet by J.V. von Wöss
* Symphony No. 5: arranged for 2 pianos by August Stradal (Leipzig, n.d.); for piano (2 hands) by Otto Singer (Leipzig, n.d. [1920?]); fourth movement (Adagietto) arranged for violin and piano by Otto Wittenbecher (C.F. Peters, Leipzig, 1914)
* Symphony No. 6: arranged for piano duet by Alexander Zemlinsky (Leipzig, 1906)
* Symphony No. 7: arranged for piano duet by Alfredo Casella (Berlin, 1910)
* Symphony No. 8: vocal score with piano reduction by J.V. von Wöss (1910)
* Das Lied von der Erde: vocal score with piano reduction by J.V. von Wöss (1912)
* Symphony No. 9: arranged for piano duet by J.V. von Wöss (1912)
-en.wikipedia.org/wiki/Gustav_Mahler
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