Mahler 7 Abbadodausgaard

Transcriptions of chamber works to orchestral works have been interesting asides for composers for a long time - whether the transcription are alterations of a composer's own songs or chamber works to full orchestral size or those of other composers for which the transcriber had a particular affinity. Stokowski's transcriptions of Bach's works are probably the most familiar to audiences. The two transcriptions on this recording are the creations Gustav Mahler and his election to transcribe the quartets of Beethoven and Schubert is not surprising: Mahler 'transcribed' many of his own songs into movements or portions of movements for his own symphonies. Listening to Mahler's transcriptions of these two well known quartets - Franz Schubert's String Quartet in D Minor 'Death and the Maiden' and Ludwig van Beethoven's String Quartet in F Minor 'Serioso' - provides insight into both the orginal compositions and the orchestration concepts of Gustav Mahler. The themes of these two works would naturally appeal to Mahler's somber nature. Mahler naturally extends the tonal sound of each of these transcriptions by using the full string orchestra and in both works it is readily apparent that his compositional techniques within string sections are ever present.

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

Whenever Gustav Mahler spoke of Beethoven, he did so with an air of reverence: "Among poets and composers of more recent times we can, perhaps, name but three: Shakespeare, Beethoven, and Wagner.” And yet, Mahler the conductor considered Beethoven’s scores primarily a challenge; material that needed adapting and adopting to the orchestras and concert halls of his time. Richard Wagner had already prepared Beethoven’s scores and written about it in great detail. The balance of sound of the classical orchestra was off, and a return to previous states was out of the question, given the increased size of the concert halls. People knew of their existence, but it was not until 1927 that Erwin Stein, the composer, pianist, and music journalist active in Schoenberg’s circles, was able to report that all of Mahler’s conductor’s scores, replete with his “Retuschen” (retouchings), had in fact survived.

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

Whenever Gustav Mahler spoke of Beethoven, he did so with an air of reverence: "Among poets and composers of more recent times we can, perhaps, name but three: Shakespeare, Beethoven, and Wagner.” And yet, Mahler the conductor considered Beethoven’s scores primarily a challenge; material that needed adapting and adopting to the orchestras and concert halls of his time. Richard Wagner had already prepared Beethoven’s scores and written about it in great detail. The balance of sound of the classical orchestra was off, and a return to previous states was out of the question, given the increased size of the concert halls. People knew of their existence, but it was not until 1927 that Erwin Stein, the composer, pianist, and music journalist active in Schoenberg’s circles, was able to report that all of Mahler’s conductor’s scores, replete with his “Retuschen” (retouchings), had in fact survived.

Whenever Gustav Mahler spoke of Beethoven, he did so with an air of reverence: "Among poets and composers of more recent times we can, perhaps, name but three: Shakespeare, Beethoven, and Wagner.” And yet, Mahler the conductor considered Beethoven’s scores primarily a challenge; material that needed adapting and adopting to the orchestras and concert halls of his time. Richard Wagner had already prepared Beethoven’s scores and written about it in great detail. The balance of sound of the classical orchestra was off, and a return to previous states was out of the question, given the increased size of the concert halls. People knew of their existence, but it was not until 1927 that Erwin Stein, the composer, pianist, and music journalist active in Schoenberg’s circles, was able to report that all of Mahler’s conductor’s scores, replete with his “Retuschen” (retouchings), had in fact survived.