Erste Symphonie in D dur . Partitur. [Study score]

Beschreibung:

Small quarto. Full black leather-backed pebbled cloth boards with publisher's octagonal printed title label to upper, titling gilt to spine. 1f. (recto title within decorative border printed in sepia , verso blank), 3-171, [i] (blank) pp. With partial handstamp of musicseller "A.L. Ernst" to foot of title. Binding slightly worn, rubbed, and bumped. Light uniform browning; some signatures split; minor remnants of original wrappers to blank inner margin of both title and verso of final leaf. First Edition, second issue of the study score. Banks PSlc. Mainly composed between late 1887 and March 1888, while Mahler was second conductor at the Leipzig Opera, his First Symphony was first performed in Budapest at the Vigadó Concert Hall in 1889, and subsequently underwent major revisions. "The four-movement version in which the symphony is now known remains rich in imagery and technical diversity. In the opening bars Mahler uses the extraordinary orchestral effect of a unison A over seven octaves in the strings, all except the lowest basses playing harmonics, Wie ein Naturlaut ( Like a sound of nature ); a kind of virtual-reality effect is created by three offstage trumpets (the first two directed to be placed initially in the very far distance ), as if to stress a physical separation between the platform orchestra as Nature, with its explicitly marked cuckoo calls, and the realm of human activity. Mahler characteristically consigned to the silence between the second and third movements the disillusioning dramatic catastrophe, figured as the tragic love experience which separates the symphony's protagonist, like the wayfarer of the song cycle, from the comforts of youthful illusion. What follows is the most experimental of the symphony's four movements: an ironic funeral march based on the children's round Bruder Martin ( Frère Jacques ), whose trio-like interpolations include one of Mahler's most explicit evocations of the Bohemian street musicians encountered in his childhood; the pungent, chromatically inflected orchestral timbre is appropriately enriched (at a point marked Mit Parodie ) with a percussion part for a bass drum with Turkish cymbals attached, to be played by a single musician. Only in the symphony's finale does Mahler mobilize all the resources of the post-Wagnerian orchestra in a large-scale dramatic narrative. Daemonic forces and heroic aspiration are colourfully symbolized in a movement whose expressive poles are represented on the one hand by the delicately-nuanced Gesang theme that functions as a contrasting second subject, on the other by a triumphal march, whose final statement follows a cyclic flashback to the opening of the first movement (on whose falling 4ths it is based). Already, at the end of this work, Mahler was experimenting with ways of intensifying available techniques for creating an overwhelming volume of sound. He suggests in the score that the expanded horn section (he seems to have envisaged at least nine players at this point) should stand up, bells raised, in order to surmount the rest of the orchestral tutti with their peroration." Peter Franklin in Grove Music Online. Bestandsnummer des Verkäufers 40529

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