UNIVERSITY OF CINCINNATI Date:___________________

I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of:

in:

It is entitled:

This work and its defense approved by:

Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________

The Pedagogical and Performance Uses of Gustav Mahler’s Lieder Transcribed for Trombone and Piano

adocumentsubmittedtothe

DivisionofResearchandAdvancedStudies

oftheUniversityofCincinnati

inpartialfulfillmentofthe

requirementsforthedegreeof

DOCTOROFMUSICALARTS

inthePerformanceDivisionoftheCollege‐ConservatoryofMusic

2008

by

DanielE.Cherry

B.M.,CapitalUniversity,1995

M.M.,UniversityofCincinnati,1998

CommitteeChair:TimothyNorthcut

iii

ABSTRACT

This document examines the pedagogical and performance uses of the songs of

Gustav Mahler. It also includes transcribed trombone versions of 32 of Mahler’s songs,

written to both emulate the original vocal pieces and to take advantage of the trombone’s

range, technical facility and dynamic capabilities. These transcriptions can be performed

with the existing vocal/piano scores. Gustav Mahler’s songs work particularly well as

instrumental transcriptions because of his beautiful melodies, his symphonic

compositional style, his emphasis of thematic development over text declamation, and his

inclusion of so many expressive elements into the accompaniments of his songs. They are

particularly well suited to performance on trombone because many are written in a

baritone register, using the full range of dynamics and articulation styles to express

various emotions and settings.

The transcribed song is truly a neglected source of music for trombonists, and

both student and professional trombonists have a great deal to gain by including

transcriptions of Mahler’s songs in their repertoires. By studying these song

transcriptions, trombonists can improve their fundamental concepts of legato style,

phrasing, and musical expression, leading to a singing style of playing. And, they can

include pieces by one of the master composers in their performance programs.

iv

© 2008

Daniel E. Cherry

All Rights Reserved

v

ACKNOWLEDGEMENTS

I would like to thank my committee members for their time and expertise. I would

also like to thank David Vining, a great mentor who helped me get started with this

project, and my friend and colleague Shannon Thompson for her helpful suggestions.

Finally, I would like to thank my amazing wife, Amy, whose tremendous encouragement,

support and inspiration made this entire project possible.

1

CONTENTS

LIST OF MUSICAL EXAMPLES 2 Chapter

1. INTRODUCTION: WHY TRANSCRIBE THE LIEDER OF GUSTAV MAHLER FOR TROMBONE? 4

2. THE USE OF TRANSCRIBED VOCAL MUSIC IN THE

TROMBONE REPERTOIRE 7

3. THE PERFORMANCE OF TRANSCRIBED VOCAL MUSIC ON TROMBONE 12

4. THE LIEDER OF GUSTAV MAHLER AND THEIR

SUITABILITY FOR TRANSCRIPTION 36

5. CONCLUSION: GREAT LITERATURE FOR TROMBONE– THE UNTAPPED RESOURCE OF MAHLER’S LIEDER 42

SELECTED BIBLIOGRAPHY 44 Appendix

A. LIEDER UND GESÄNGE AUS DER JUGENDZEIT, VOL. I 51

B. LIEDER EINES FAHRENDEN GESELLEN 67

C. THE FIRST NINE WUNDERHORN SETTINGS 85

D. FÜNF HUMORESKEN 121

E. LIEDER, HUMORESKEN UND BALLADEN 139

F. THE FINAL TWO WUNDERHORN SETTINGS 176

2

LIST OF MUSICAL EXAMPLES

Example 1: Legato Mahler/Cherry “Phantasie” mm. 14-16 14 Example 2a: Portamento Mahler, Gustav “Wenn mein Schatz Hochzeit macht” mm. 85-88 15 Example 2b: Portamento Mahler/Cherry “Wenn mein Schatz Hochzeit macht” mm. 85-88 15 Example 3: Vibrato Mahler/Cherry “Nicht Wiedersehen!” mm. 63-66 16 Example 4: Characteristic singing tone Mahler/Cherry “Serenade” mm. 28-31 18 Example 5a: Syllabic stress Mahler, Gustav “Aus! Aus!” mm. 71-72 19 Example 5b: Syllabic stress Mahler/Cherry “Aus! Aus!” mm. 71-72 20 Example 6a: Articulation for text declamation Mahler, Gustav “Wenn mein Schatz Hochzeit macht” mm. 14-17 21 Example 6b: Articulation for text declamation Mahler/Cherry “Wenn mein Schatz Hochzeit macht” mm. 14-17 22 Example 7a: Phrasing for text declamation Mahler, Gustav “Starke Einbildungskraft” mm. 15-16 23 Example 7b: Phrasing for text declamation Mahler/Cherry “Starke Einbildungskraft” mm. 15-16 23 Example 8: Expression Mahler/Cherry “Die zwei blauen Augen” mm. 52-54 24 Example 9: Loud volume Mahler/Cherry “Ich hab’ ein glühend Messer” mm. 68-71 26 Example 10a: Octave displacement Mahler, Gustav “Ging heut Morgen übers Feld” mm. 19-20 26 Example 10b: Octave displacement Mahler/Cherry “Ging heut Morgen übers Feld” mm. 19-20 27

3

Example 11: Brassy tone Mahler/Cherry “Revelge” mm. 126-128 28 Example 12: Muted tone Mahler/Cherry “Der Tamboursg’sell” mm. 110-111 29 Example 13a: Elimination of repeated pitches Mahler, Gustav “Wer hat dies Liedlein erdacht?” mm. 69-73 30 Example 13b: Elimination of repeated pitches Mahler/Cherry “Wer hat dies Liedlein erdacht?” mm. 69-73 30 Example 14a: Change in rhythm Mahler, Gustav “Der Tamboursg’sell” mm. 58-61 31 Example 14b: Change in rhythm Mahler/Cherry “Der Tamboursg’sell” mm. 58-61 31 Example 15a: Change in phrasing Mahler, Gustav “Des Antonius von Padua Fischpredigt” mm. 178-181 32 Example 15b: Change in phrasing Mahler/Cherry “Des Antonius von Padua Fischpredigt” mm. 178-181 32 Example 15c: Change in phrasing Mahler, Gustav Symphony No. 2 Third movement, Rehearsal 35 32 Example 16a: Change in articulation Mahler, Gustav “Selbstgefühl” mm. 53-56 33 Example 16b: Change in articulation Mahler/Cherry “Selbstgefühl” mm. 53-56 33 Example 17a: Change in note lengths Mahler, Gustav “Zu Strassburg auf der Schanz’” mm. 27-29 34 Example 17b: Change in note lengths Mahler/Cherry “Zu Strassburg auf der Schanz’” mm. 27-29 34 Example 18a: Addition to the melodic content Mahler, Gustav “Um schlimme Kinder artig zo machen” mm. 37-39 35 Example 18b: Addition to the melodic content Mahler/Cherry “Um schlimme Kinder artig zo machen” mm. 37-39 35

4

Chapter 1: Introduction

Why transcribe the songs of Gustav Mahler for trombone?

Musicians constantly strive to expand the repertoire for their given instrument,

and transcriptions have always been a popular method of delving into new territory.

Trombonists frequently perform pieces originally composed for cello or bassoon, and

borrow music regularly from other instruments as well. Vocal transcriptions are used less

frequently, and very few have become standard trombone recital repertoire. The

transcribed song is truly a neglected source of music for trombonists. This document

examines the pedagogical and performance uses of the songs of Gustav Mahler. It also

includes transcribed trombone versions of 32 of Mahler’s songs which can be performed

with the existing vocal/piano scores.

Gustav Mahler is best known by trombonists for his symphonies, particularly the

dramatic solos of Symphony No. 3, which are frequently included on orchestral audition

lists. Until recently, the only published music by Mahler appropriate for trombone recitals

has been a version of the Third Symphony solos with piano accompaniment.1 Many of

Mahler’s songs lend themselves to instrumental transcription, and the recent releases of

several arrangements of the song cycle Lieder eines fahrenden Gesellen (Songs of a

Wayfarer) are a welcome addition to the repertoire.2 Even before these publications

became available, this song cycle had been performed often enough to appear on a list of

1 Gustav Mahler, Trombone Solo from the Mahler Third Symphony (1st movement). Transcribed

by Allen Ostrander (New York: Edition Musicus, 1958). 2 There are two existing published versions for trombone, one for euphonium and one for tuba.

See: Gustav Mahler, Lieder eines fahrenden Gesellen (Songs of a Wayfarer). Edited and arranged for Trombone and Piano by Doug Sparkes (Vancouver: Cherry Classics Music, 2000); Gustav Mahler, Songs of a Wayfarer (Lieder eines fahrenden Gesellen). Transcribed and edited for Trombone and Piano by Eric Carlson (Philadelphia: CEC Music, 2003); Gustav Mahler, Songs of a Wayfarer for Euphonium and Piano. Arranged for Euphonium and Piano by James Curnow. Festival Solo Series (Wilmore, KY: Curnow Music Press, 2005); and Gustav Mahler, Lieder eines fahrenden Gesellen. Arranged for Tuba and Piano by Dan Perantoni (Troy, Michigan: Encore Music Publishers, 1992).

5

frequently performed trombone solos compiled by David Guion.3 Many of Mahler’s other

songs work equally well as trombone recital pieces, and in addition they are valuable

teaching tools.

Perhaps the strongest argument against using instrumental transcriptions of vocal

works in performance is the lack of text to carry the expression of the poetry. There are

strong opinions on both sides of the argument regarding the primacy of music or poetry

when the two arts are combined in song;4 however, there is a strong case to be made that

Mahler himself believed in the primacy of music over text.5 His compositional style and

treatment of poetic texts are important factors in why his songs work so well as trombone

transcriptions, suitable for performance by students and professionals alike.

The adaptations of Mahler’s songs for trombone presented in this document are

purposely labeled “transcriptions,” not “arrangements.” There is at least some confusion

over the difference between a transcription and an arrangement6–the Harvard Brief

Dictionary of Music equates the two terms.7 The term “transcription” as contained here

agrees with the following argument made by Howard Feldsher:

3 Of the 13,648 total program entries submitted to the International Trombone Association over a

twenty-five year period (1972-1997), there were 58 entries for the Gesellen cycle. See David M. Guion, “25 Years of Trombone Recitals: An Examination of Programs Published by the International Trombone Association.” ITA Journal 27, no. 1 (1999): 28.

4 For an excellent discussion of both sides of this argument, see E. Mary Dargie, Music and Poetry in the Songs of Gustav Mahler (Bern, Frankfurt am Main, Las Vegas: Peter Lang, 1981), chapter 1.

5 “Schopenhauer claims that when words and music are united, music remains the more meaningful component–a view Mahler specifically endorsed. As he told Bauer-Lechner, ‘…with songs…one can express so much more than the words directly say.…The text actually constitutes only a hint of the deeper content that is to be drawn out of it, of the treasure that is to be hauled up.’” Stephen E. Hefling, “The Rückert Lieder.” In The Mahler Companion, ed. Donald Mitchell and Andrew Nicholson, chapter 13 (New York: Oxford University Press, 1999), 354. See also “Chapter 3: The Lieder of Gustav Mahler and their suitability for transcription” below.

6 For a comparative analysis of these two terms, see Yuri Murata, “Reconstruction of Gustav Mahler’s Symphony No. 5, Adagietto for Trombone and Piano” (D.M.A. document, Louisiana State University, 2000), 1-5.

7 The Harvard Brief Dictionary of Music, ed. Willi Apel and Ralph T. Daniel (New York: Washington Square Press, 1960). See p. 17, “Arrangement. Also Transcription.” and p. 307,

6

Music transcribed remains philosophically the composer’s, while music arranged shifts to the arranger. The transcriber has become a translator, helping the composer communicate with musicians and audience otherwise denied access to the music. . . . When working on a transcription, I am an aid to the composer. 8

According to Alan Walker, Franz Liszt had three goals when he decided to create

piano transcriptions for a number of Schubert’s songs: to champion Schubert’s music; to

create music for pianists that would work on specific techniques; and, to supplement the

existing piano performance repertoire.9 This document was prepared with these same

three goals in mind, relative to the trombone transcriptions of the songs of Gustav

Mahler.

The following system of pitch classification will be used in this document:

“Transcription. Essentially an arrangement, but admitting considerable freedom in the handling of the original material.…”

8 Howard A. Feldsher, “Transcription or Arrangement?” The Instrumentalist 25, no. 8 (1971): 39. 9 Alan Walker, “Liszt and the Schubert Song Transcriptions.” The Musical Quarterly 67:1

(January 1981): 52.

7

Chapter 2: The use of transcribed vocal music in the trombone repertoire

Pedagogical Uses of Transcribed Songs

Vocal music can be of great use to the trombonist, as an educational tool as well

as in performance. The study of song transcriptions helps to enhance the natural vocal

qualities of the trombone, derived from its means of tone production, its timbre, and its

hand slide. Song transcriptions are also a wonderful tool to improve phrasing and musical

expression. The phrase and sentence structure of a song text provides a road map for

proper musical phrasing, and the study of the poetry provides the trombonist with specific

ideas about the emotions and images conveyed through the music. These benefits, gained

from transcribing and performing songs, can help the trombonist develop a singing style

of playing that is useful throughout the entire solo and ensemble literature.

The human voice is capable of varying degrees of articulation to define the end of

one note and the start of another, including portamento.1 Like the voice, the trombone

slide allows the performer complete control over the amount of portamento (if any) to

allow in the legato. The slide also allows the trombonist to determine the exact amount of

interruption of the airflow the tongue will cause; this is unique to the trombone in the

brass family, because there is no interruption of the air caused by valves as on other brass

instruments. Careful study of the text, as well as the overall style and character of a

specific song, can help the trombonist to determine the appropriate articulations to use,

including the degree of connection in the legato, from one phrase to another.

The trombone tone is produced when air passes through the player’s embouchure

and into the instrument, causing both the lips and the air column inside the trombone to

1 Portamento: “A special manner of singing, with the voice gliding gradually from one note to the

next. The same effect is possible on the violin and trombone, where it is somewhat incorrectly called glissando.” The Harvard Brief Dictionary of Music, 230.

8

vibrate. The vibrating lips are analogous to a singer’s vocal cords. The shape of the oral

cavity and the placement of the tongue inside the mouth have a direct effect on the

timbre. Trombonists often use higher and lower tongue placements (shaping the oral

cavity for specific vowel sounds) to affect both range and tone color. As Glen Law

explains,

The position of the tongue affects tone production. When vocalizing, the singer employs vowels for resonance and quality in various registers. Adjustments are also necessary for different qualities throughout the range of brass instruments.2

These aspects of tone production, along with the physical characteristics of the

instrument, give the trombone a naturally vocal timbre in medium to soft dynamics and

the ability to manipulate the tone color for expressive purposes.

There is a traditional, historical association between the trombone and the human

voice. Randall Mitchell makes this point very concisely:

Over the ages, composers have recognized the inherent lyrical capability of the trombone. A consistent line of vocal compositional style and allusions to the vocal qualities of the trombone may be traced back to the first use of the instrument as it is known today.3

George Duerksen also addresses the relationship between the trombone and a singing

style of playing in his article “The Voice of the Trombone.”4 Currently, vocalises are

used frequently as pedagogical exercises in trombone teaching. There is also the

performance tradition of having the trombones double the voices in some large choral

works. And it is not uncommon to find original trombone compositions that take

2 Glen Law, “Development of Brass Tone,” Brass Anthology (Northfield, Illinois: The Instrumentalist Publishing Company, 1991), 187.

3 Randall Thomas Mitchell, “The Use of Selected Vocalises of Marco Bordogni in the Development of Musicianship for the Trombonist, a Lecture Recital, Together with Three Recitals of Selected Works by Eugene Bozza, Jacques Casterede, Pierre Max Dubois, Christian Gouinguene, Axel Jorgensen, Richard Monaco, Lars-Erik Larsson, Erhard Ragwitz, and Others” (D.M.A. diss., University of North Texas, 1989), 14.

4 George Duerksen, “The Voice of the Trombone,” Brass Anthology (Northfield, Illinois: The Instrumentalist Publishing Company, 1991), 235-236.

9

advantage of this inherent lyrical capability with passages or entire pieces written in a

singing style.5

The study of the poetic texts of transcribed songs can be a wonderful aid in the

development of musical phrasing. “Good phrasing in music is very much like good

phrasing in speech. . . . It has measured phrases that make sense.”6 Not only are the starts

and ends of phrases easily identified, but understanding the text can help determine where

the climax of a phrase should be and how the phrases relate to each other. Speaking or

singing the text phrases will help the trombonist to determine the proper approach when

playing a section of music. It is also important to understand if and when an instrumental

transcription breaks the original text phrasing (and why). Once a trombonist is familiar

with the relationship between text phrasing and good musical phrasing, he or she will be

better equipped to implement the following idea from Edward Kleinhammer and Doug

Yeo:

Singers have an added advantage through the use of words, which help to carry the line forward. Try creating words to fit an instrumental part: this helps the feeling of ‘going somewhere’. Attention to this one small nuance can help breathe life into a solo line or ensemble passage.7 Musical expression involves more than just phrasing. A variety of articulation

styles, dynamics, tone colors and other musical elements are used to depict different

characters, emotions, and other programmatic elements within a transcribed song. The

intentional portrayal of these various elements can be guided by the poetry of the original

songs. Most original instrumental music does not provide such an obvious framework to

5 Ibid., 236. See also Randall Thomas Mitchell, 9-14 and examples from the trombone solo

literature such as Šulek’s Sonata Vox Gabrieli, Bozza’s Ballade, Defaye’s Deux Danses and others. 6 John R. Griffiths, Low Brass Guide, 2d ed. (Roswell, Georgia: E. Williams Music Publishing,

1999), 78. 7 Edward Kleinhammer and Douglas Yeo, Mastering the Trombone (Hannover, Germany: Edition

Piccolo Music Publishers, 1997), 61.

10

help a young trombonist explore the wide variety of expressive colors at his or her

disposal. Transcribed songs are an invaluable pedagogical tool that compels instrumental

musicians to achieve very specific musical expressions.

Performance Uses of Transcribed Songs

There are three major uses for song transcriptions in trombone performance:

performing music by major composers who wrote little or no solo music for the

trombone, achieving greater diversity of programming, and performing high quality

music that is less taxing on the embouchure. By delving into the vocal music repertoire

trombonists can perform great masterpieces by composers who did not write music for

the solo trombone. Bach, Brahms, Copland, Mahler, Rachmaninoff, Schubert, Schumann,

Tchaikovsky, Vaughan Williams–these and other composers’ works can be added to the

trombonist’s recital repertoire in the form of song transcriptions.

Lighter, lyrical songs can provide contrast to the heavier, technical pieces on a

trombone recital. Song transcriptions bring lush, legato melodies, rustic folk songs, and

light character pieces into the trombonist’s repertoire. Transcribed songs also tend to be

shorter than many standard works, providing an opportunity to include a variety of

composers or styles within one set of pieces. This can be a source of variety for both the

audience and the performer.

An individual or set of songs within a recital program can also help to maintain

the resilience of the embouchure muscles; the range in these pieces is small compared to

many original trombone works, and playing in a lower tessitura can provide a brief

respite for the performer. Songs also allow a trombonist to spend more time playing at

soft dynamic levels. The melodic contour of original trombone solos often includes many

11

demanding interval leaps, which can be a serious drain on endurance. Challenging

technical passages are also taxing on the muscles of the embouchure, tongue, and even

the arm. Transcribed songs are much less likely to pose such demands.

When programming any recital it is important that the performer does not

compromise the quality of the literature for the sake of endurance considerations.

Original trombone literature that has limited range and less demanding technique will

usually fall under the category “easy pieces for beginners.” These pieces are generally not

great works of art and would not be appropriate for a serious student or professional

trombone recital. Transcribed songs allow the trombonist to include masterworks of the

music literature in a variety of styles while incorporating less taxing pieces into a recital

program.

Conclusion

Trombonists benefit in many ways through the transcription of songs. Both the

performer and the audience profit when great works of master composers are included on

trombone recitals. In her dissertation, “Allusions to the Vocal Art in Selected Wind

Instrument Pedagogical Sources,” Barbara Comelek found that vocal and wind

instrument teachers throughout history have used a common body of pedagogical

theories.8 The study and programming of transcribed songs helps trombonists of all ages

and ability levels connect to the historical relationships in both pedagogy and

performance between instrumental and vocal music.

8 Barbara Comelek, “Allusions to the Vocal Art in Selected Wind Instrument Pedagogical

Sources” (D.A. diss., Ball State University, 1985), 101.

12

Chapter 3: The performance of transcribed vocal music on trombone

There are specific elements necessary for the successful transfer from the original

vocal version to a trombone transcription of a song. These elements include:

1) bringing out the trombone’s natural singing qualities, such as legato style, use

of portamento and vibrato, and tone color;

2) declamation of the text through syllabic stress, phrasing, articulation, and

musical expression;

3) accentuating the qualities inherent in the song that take advantage of the

trombone’s innate characteristics such as a wide dynamic spectrum, large pitch

range, variety of articulations and tone color; and

4) adjustments to the melodic content to create a more “instrumental” version of

the song through elimination of some repeated pitches; changes in phrasing,

articulations, and note lengths; and additions to the melodic content.

It is within this framework that I have created a transcription of each of these songs by

Gustav Mahler for performance on the trombone.

The trombone’s singing qualities

Vocal legato style: In his study of the vocalises of Marco Bordogni, Randall

Mitchell comes to the following conclusion:

For both the singer and the trombonist, the basis of good musical style and agility is a well developed legato technique. The fundamentals of this technique are virtually the same for both the singer and the trombonist.1

1 Randall Thomas Mitchell, “The Use of Selected Vocalises of Marco Bordogni in the

Development of Musicianship for the Trombonist, a Lecture Recital, Together with Three Recitals of Selected Works by Eugene Bozza, Jacques Casterede, Pierre Max Dubois, Christian Gouinguene, Axel Jorgensen, Richard Monaco, Lars-Erik Larsson, Erhard Ragwitz, and Others” (D.M.A. diss., University of North Texas, 1989), 21.

13

The slide gives the trombonist true control over the legato without any of the unintended

interruptions of the air stream caused by the valves on other brass instruments. Various

slurs and articulation techniques at the player’s disposal allow subtle variances in the

connections between notes. Alternate positions can often be used to create or break slurs

and to control the direction and distance of the slide movement.2 As Edward

Kleinhammer states,

In legato passages the trombone sings in many moods, and in the hands of a capable player it is closer to the human voice in character than is any other brass instrument.3

This sentiment is echoed by other notable trombone pedagogues as well.4 By taking

advantage of the trombone’s naturally vocal legato abilities, song transcriptions can be

performed in the most musically satisfying way.

The following phrase, transcribed from “Phantasie,” makes use of both natural

slurs and legato tonguing in an overall legato line; the legato style is not specifically

marked in the original score, but is implied by the mood of the song (marked

Träumerisch/Dreamily) and the text of the poem:

2 For a good overview of the various uses of alternate positions in legato trombone playing, see Randall Thomas Mitchell, 52-55.

3 Edward Kleinhammer, The Art of Trombone Playing (Miami: Summy-Birchard Music, 1963), 69.

4 “Dennis Wick states that “the human voice is probably the only musical instrument that is better equipped” to produce a good legato style. Lafosse directs trombone teachers to use the example of “how a good singer sustains legato in song” as a model for the desired trombone legato.” Randall Thomas Mitchell, 20-21.

14

Example 1: Legato

Mahler/Cherry “Phantasie” mm. 14-16

Portamento: In his book The Art of Singing, W.J. Henderson gives the following

definition of portamento:

Portamento means the sliding of the voice through the infinitesimal gradations of tone lying between a note and the ensuing one. This languorous progress of the voice is capable of much expression when judiciously employed, but when it becomes a habit it is deplorable, because then it leads to scooping.5

He goes on to caution against overusing this technique, reserving it for distinctive

moments to add expressive beauty to the melodic line.6 The trombone slide allows a true

connection of pitches (glissando) within certain interval limitations, and bends/scoops

into or out of pitches when true glissandi are not possible. Alternate positions will also

have an effect on portamento options by creating or avoiding natural slurs, while slide

speed and breath pressure are used to intensify or lighten the effect as desired. Of course,

as suggested above, this effect should be used intentionally and sparingly for the purpose

of expression. However, a slight hint of portamento in legato playing can be part of an

overall singing style, as Edward Kleinhammer explains:

. . . if you listen to your singing or that of a professional singer at half-speed [on a recording], one will hear some fast glissandi in tone connections. This is the technique of legato vocalise. Very often a student will feel like the playing is

5 W. J. Henderson, The Art of Singing (Freeport, NY: Books for Libraries Press, 1938), 86. 6 Ibid., 87.

15

slightly sloppy when the legato is actually sounding quite good. It can be adjusted to your taste and tongue movement.7

Fine jazz trombonists also use this technique in the upper register to create “contrasts

between valve-like slurs in contrary motion and ‘portamento’ in similar motion.”8

In addition, it may be desirable to make use of an intentional, drawn out

portamento effect to express the emotion of a word or phrase. In the following example

from “Wenn mein Schatz Hochzeit macht,” I have added one such portamento between

the moving notes g and b-flat during the first syllable of the word Lei-de (grief) in m. 87:

Example 2a: Portamento

Original version of Mahler’s “Wenn mein Schatz Hochzeit macht” mm. 85-88

Example 2b: Portamento

Mahler/Cherry “Wenn mein Schatz Hochzeit macht” mm. 85-88

Vibrato: Trombonists have three vibrato types at their disposal–(1) lip/jaw, (2)

slide, and (3) breath/diaphragm. The lip/jaw vibrato is most suited to imitating a vocal

7 Kleinhammer and Yeo, 44-45. 8 Denis Wick, Trombone Technique, 2nd ed. (New York: Oxford University Press, 1984), 56.

16

style of vibrato because it creates a true variation in pitch, as well as coloring the tone in

a way that best matches the singing voice.9 Both the frequency (speed) and amplitude

(width) of the vibrato can be controlled and manipulated to achieve the desired effect. It

has long been accepted that instrumentalists should look to singers as models for

producing an effective vibrato: in a letter, Mozart described his desire to imitate the

nature of a vocal vibrato on instruments.10 Whichever type of vibrato is used, listening to

great singers will allow the trombonist to hear various vocal vibrato styles to emulate.

The most effective use of vibrato will sound natural, expressive, and fluid.

The following passage from “Nicht Wiedersehen!” works particularly well with a

warm, lush vibrato throughout. The longer, middle-register notes lend themselves to a

wider, slower vibrato, while the intensification into the higher notes of measure 65 calls

for a vibrato that increases in speed while decreasing the amount of pitch variance:

Example 3: Vibrato

Mahler/Cherry “Nicht Wiedersehen!” mm. 63-66

9 There is some disagreement on this issue. Reginald Fink agrees that “the lip vibrato varies not

only the pitch, but also varies the loudness and tone color of the sound in much the same manner as a vocal vibrato.” Reginald H. Fink, The Trombonist’s Handbook: A Complete Guide to Playing and Teaching the Trombone (Athens, Ohio: Accura Music, 1977), 113. However, Denis Wick feels that the “diaphragm vibrato is possibly the best way to imitate vocal technique and, if carefully studied, can impart a singing quality to solo passages.” Wick, 61. Finally, Tommy Dorsey, perhaps the most notable trombonist to play in a singing style, was famous for the sound of his slide vibrato.

10 Barbara Comelek, “Allusions to the Vocal Art in Selected Wind Instrument Pedagogical Sources” (D.A. diss., Ball State University, 1985), 69.

17

Tone Color: The overall character of a trombone sound is multifaceted; it can be

bright or dark, mellow or intense, brassy or dull. It is a very versatile and expressive

instrument, much like the human voice. The similarities between a characteristic

trombone tone and the sound of the singing voice have been noted for centuries, up to

and including current practice among trombone professionals. Randall Mitchell points

out an early description of the ideal trombone tone by Marin Mersenne:

In his Harmonie Universelle (1636), he [Marin Mersenne] states that the trombone should not be sounded in imitation of the trumpet. Instead, it should be sounded “so that it imitates the voice and the most excellent method of singing well.”11

In Mastering the Trombone, Edward Kleinhammer simply states “In the hands of a fine

player, the sound of the trombone can be like the human voice in character.”12 In his book

A “Singing” Approach to the Trombone (and other Brass), Charles Vernon makes

several allusions to a singing tone in describing both mouthpiece buzzing and playing.13

Finally, in his pedagogical article “Development of Brass Tone,” Glen Law gives the

following advice:

The similarity of brass performing to singing can be utilized to strong advantage. In order to convey musical meaning to the listener, the instrumentalist should conceive of his playing as being related to the expressive qualities of the human voice. The sound emitted by the brass player should be comparable to the freedom of tone projected by an excellent singer; otherwise the performance becomes over-technical and impersonal. Tone on brass instruments should be executed with a communicative force that emulates fine singing.14

This singing quality of sound can be used to great effect in soft, lyrical passages.

11 Randall Thomas Mitchell, 6. 12 Kleinhammer and Yeo, 44. 13 Charles G. Vernon, A “Singing” Approach to the Trombone (and other Brass). 1995 rev. ed.

(Atlanta: Atlanta Brass Society Press, 1995), 1-3. 14 Glen Law, “Development of Brass Tone,” Brass Anthology (Northfield, Illinois: The

Instrumentalist Publishing Company, 1991), 186.

18

The following example from “Serenade” is not only soft and lyrical, but includes

other elements that are suited to a singing style of playing: limited range in the middle

register, various note lengths to incorporate vibrato, and an expressive arch to the third

phrase group:

Example 4: Characteristic singing tone

Mahler/Cherry “Serenade” mm. 28-31

Declamation of the text

“The text often determines how one would present a phrase or idea, and

knowledge of it is necessary so that the instrumentalist and accompanist are able to think,

breathe, and play like a singer.”15 But how, one might ask, is it possible to actually

communicate the text of a poem in an instrumental transcription of a song? Franz Liszt

felt that it was crucial for performers to know the original settings of the text, note for

note and word for word, in his transcriptions of Schubert’s songs for the piano.16 By

emulating a singer’s syllabic stress, articulation, phrasing, and musical expression the

trombonist can convey the sound and meaning of the missing words in a transcribed

song.

15 Robin Jean Arrigo, “Transcription of Vocal Literature for Solo Instrument and Piano

Accompaniment: A Unique Challenge for Accompanists” (D.M.A. thesis, University of Miami, 1998), 5. 16 Alan Walker, “Liszt and the Schubert Song Transcriptions,” The Musical Quarterly 67:1

(January 1981): 55.

19

Syllabic Stress: The words of the original German used in Mahler’s songs have

strong and weak syllables that give the poetry rhythm and cadence. Understanding the

syllabic stress17 of the words will help the trombonist to emulate those natural text sounds

by leaning on some notes with extra weight or volume while de-emphasizing others. The

poetry is frequently set to music in a way that takes advantage of the inherently strong

and weak beats within a given meter, although it is also important to be aware when this

is not the case.

In the following example from “Aus! Aus!”, the strong syllables Tröst and lie

(underlined in the example) fall naturally on the strong beats and on longer note values;

because this melodic phrase has been loud and accented throughout the piece, it is

important to maintain the proper syllabic stress in this soft, unaccented version of the

passage. Tenuto marks have been added to the trombone part to reinforce the weight of

these two syllables:

Example 5a: Syllabic stress

Original version of Mahler’s “Aus! Aus!” mm. 71-72

17 For helpful guides to the pronunciation (including syllabic stress) of German words commonly

found in song literature, see: Cheri Montgomery, German Lyric Diction Workbook: A Graded Method of Phonetic Transcription which employs Frequently Occurring Words from German Art Song Literature (Nashville, Tennessee: S.T.M. Pub., 2004) and William Odom, German for Singers: A Textbook of Diction and Phonetics (New York: Schirmer Books, 1981).

20

Example 5b: Syllabic stress

Mahler/Cherry “Aus! Aus!” mm. 71-72

Articulation: In the original vocal versions of these songs, the consonants of the

text will also be inherently strong or weak, hard or soft. There will also be cases where a

word starts on a vowel sound or changes pitch in mid-syllable. While it is not possible or

desirable to emulate the consonant or vowel sound that begins each and every note of a

song, all of these factors should be considered when choosing the right articulations to

help convey the text. The trombonist has a wide array of articulation choices; there is no

need to limit attacks to simply slurred or tongued.

Throughout history, instrumentalists have viewed their articulations as similar to

the enunciation of the speaking or singing voice. Trevor Herbert points out that, from the

earliest uses of the instrument, “. . . trombonists could articulate in a manner that was

sympathetic to the enunciation of words in vocal music.”18 Barbara Comelek gives this

brief synopsis of the understood relationship between instrumental articulation and

declamation of text:

As early as four hundred years ago, tonguing was utilized as the means of ‘speaking’ through an instrument. Some Bendinelli trumpet sonatas, believed to have been written ca. 1580, contained examples of both hard and soft tonguing, and Bendinelli taught his students to ‘sing’ through the trumpet in this manner. Boehm called this practice ‘articulation’ and acknowledged it as the means of “. . . declamation or correct expression of the words of a text on an instrument. . .

18 Trevor Herbert, The Trombone (New Haven and London: Yale University Press, 2006), 45.

21

.” Colin wrote about articulation as a way of “. . . making his instrument talk. . .

.”19 The most directly applicable examples of this relationship in song transcriptions are use

of accents for hard consonant attacks and slurs for melismatic passages, but there are

many subtle articulation variances which should used.

The following phrase from “Wenn mein Schatz Hochzeit macht” includes several

added articulations to reflect various aspects of the original German text. The first four

syllables (hab' ich meinen) all have soft articulations and flow together nicely as a single

slurred group. The two-note slur on the syllable trau of traurigen has been preserved

from the original version, but tenutos have been added over the final two syllables of the

word (ri-gen) to reflect both the stronger articulations of the consonants and the dramatic

weight of the word (traurigen = sorrowful/mournful). Finally, a breath accent has been

added over the strong consonant that starts the word traurigen, and a marcato accent has

been added over the hardest consonant attack on the word Tag!:

Example 6a: Articulation for text declamation

Original version of Mahler’s “Wenn mein Schatz Hochzeit macht” mm. 14-17

19 Comelek, 81.

22

Example 6b: Articulation for text declamation

Mahler/Cherry “Wenn mein Schatz Hochzeit macht” mm. 14-17

Phrasing: The natural phrasing of the text can and should be a guide to good

musical phrasing in the instrumental transcription of a song. Just as a monotone speaker

will easily bore a listener, so will a player who does not shape the phrase. The natural

high and low points within phrases, sentences, and stanzas of the poetry are guides for the

shaping of musical phrases.20 In these German texts it is important to explore literal

translations to help achieve proper phrasing; poetic translation underlays can be

deceiving because of the differences in word order between German and English. If the

study and performance of a song transcription is successful, the trombonist should be able

to “feel the lyrics and shape the phrases.”21 The following example from “Starke

Einbildungskraft” shapes the phrases by intensifying towards the word dich (you) and

then relaxing away.

20 For examples that relate musical phrasing to speech, see Philip Farkas, The Art of Musicianship

(Bloomington, Indiana: Musical Publications, 1976), passim. and John R. Griffiths, Low Brass Guide, 2d ed. (Roswell, Georgia: E. Williams Music Publishing, 1999), 77-78.

21 Griffiths, 80.

23

Example 7a: Phrasing for text declamation

Original version of Mahler’s “Starke Einbildungskraft” mm. 15-16

Example 7b: Phrasing for text declamation

Mahler/Cherry “Starke Einbildungskraft” mm. 15-16

Musical Expression: Even without the words to tell the story, the mood, drama,

emotions, and characters of a poem can come through in the overall expression of the

music. The instrumentalist performing song transcriptions needs to be sure that each song

or section within a song has its own character that reflects the missing poetry. The

audience should be able to imagine a dark and stormy night because of the sounds they

hear, even without the words to explain the setting. The trombonist is particularly suited

to this task, because the trombone is an extremely expressive instrument; as Berlioz

proclaims in this famous quote beloved by all trombonists:

In my opinion the trombone is the true head of that family of wind instruments which I have named the epic one. It possesses nobility and grandeur to the highest degree; it has all the serious and powerful tones of sublime musical poetry, from religious calm and imposing accents to savage, orgiastic outbursts. Directed by the will of a master, the trombones can chant like a choir of priests, threaten, utter gloomy sighs, a mournful lament or a bright hymn of glory; they can break forth

24

into awe-inspiring cries and awaken the dead or doom the living with their fearful voices.22

In the following excerpt from “Die zwei blauen Augen,” several performance

elements work together to create the overall mood of resignation: the pp dynamic in the

middle-upper register, the timbre of the muted tone, and the expressionless style of

playing (marked without emotion) achieved by the elimination of vibrato, the evenness of

articulation, and the lack of dynamic contour. These elements combine to create a sound

that effectively communicates the mood of the final stanza of the poem, as the heart-

broken Wayfarer resigns himself to the peace found only in death:

Da wußt' ich nicht, I did not know Wie das Leben tut, How life went on, War alles, alles wieder gut! And all, all was well again! Alles! Alles, Lieb und Leid All! All, love and sorrow

Und Welt und Traum! And world and dream!

Example 8: Expression

Mahler/Cherry “Die zwei blauen Augen” mm. 52-54

In the songs of Gustav Mahler, the overall expressions of the poems are

frequently evident in the accompaniment figures and/or in the structural, harmonic, and

22 Hector Berlioz and Richard Strauss, Treatise on Instrumentation. Trans. Theodore Front (New

York: Dover Publications, Inc., 1991), 302.

25

melodic features of the music. Expressive elements for specific songs will be discussed in

later chapters. By working to communicate the expressive elements of transcribed songs,

instrumental musicians will learn valuable tools to enhance their interpretive abilities.

The similarities between musical expression and interpretation are described by Barbara

Comelek:

Interpretation was seen by instrumentalists as the way to transform instrumental music into a means of expressing thoughts and feelings. The performer was compared to an actor who experimented with different ways of delivering a line in order to create a desired effect. The performer, as interpreter, was expected to explore many ways of playing a note or phrase before selecting the way he thought best illuminated the poetic meaning of the music.23

Exploring the songs’ instrumental qualities

Dynamics: The trombone is capable of achieving an incredibly wide range of

dynamics. A trombonist’s softest phrases can rival a singer’s most delicate moments, and

the instrument is capable of an enormously loud sound. Intensely dramatic phrases within

a transcribed song, both loud and soft, can be performed with great effectiveness on the

trombone. The loudest moments can likely be made even more intense in a transcription

than was possible in the original vocal version.

The following example from “Ich hab’ ein glühend Messer” is the climactic

moment of the entire Lieder eines fahrenden Gesellen cycle. I have adjusted Mahler’s

original indication of ff and mit grösster Kraft (with greatest strength) to fff and

“powerfully!” to indicate a clear difference in volume and tone from the other ff phrases.

The trombonist can produce an intense, powerful sound in this dramatic passage:

23 Comelek, 95.

26

Example 9: Loud volume

Mahler/Cherry “Ich hab’ ein glühend Messer” mm. 68-71

Pitch range/Octave displacement: The playing range of a trombonist (at least

two-and-one-half octaves, and some professionals may exceed four octaves) will likely

exceed the range demands of a transcribed song. In these songs, only “Lob des hohen

Verstands” exceeds two octaves, and only by a minor second. This extended range allows

not only a choice of key areas, but also the possibility of using octave displacements to

enhance the expression of a song.

This birdcall from Mahler’s Lieder eines fahrenden Gesellen provides one

example of an expressive use of octave displacement. The lip trill has also been added,

effectively increasing the range by an octave plus a major second:

Example 10a: Octave displacement

Original version of Mahler’s “Ging heut Morgen übers Feld” mm. 19-20

27

Example 10b: Octave displacement

Mahler/Cherry “Ging heut Morgen übers Feld” mm. 19-20

Tone Color: The trombone is capable of producing a variety of tone colors,

including all the qualities of sound that will help to express the dramatic elements needed

to successfully perform song transcriptions. Choices of register and volume play very

significant roles in determining the trombone’s tone color, and the songs of Mahler lie

well on the trombone in a way that takes advantage of these elements. Generally

speaking, the characteristic tone of the trombone can be described as warm, rich, and full.

This characteristic tone is most easily achieved at medium to medium-loud dynamics in

the middle register, but a good trombonist can maintain this quality of sound at all

dynamic levels in all registers. It is also relatively easy to produce a light, delicate tone at

soft volumes and an extremely aggressive (“brassy” or “edgy”) sound in fortissimo

playing. The trombonist can generally produce all of the necessary changes in tone color

that a singer would, as well as an even more dramatic or aggressive loud sound.

The “brassy” or “edgy” trombone tone can be used to great effect in the most

powerfully dramatic phrases, such as this moment in “Revelge” when the singer is

directed to shout or scream (geschrieen) the final Tra-la-li of the verse:

28

Example 11: Brassy tone

Mahler/Cherry “Revelge” mm. 126-128

In addition, mutes can be added to further manipulate the sound quality of the

trombone. There are a wide variety of mutes to choose from, and each will provide a

different timbre. Berlioz described the sound of a muted trombone in soft passages as

“tremendously gruesome, fantastic and gloomy”24–this is an effect that can certainly be

used in these transcriptions. Some mutes will effectively soften the sound, but some

metal mutes can actually project more than an unmuted sound. There are some

suggestions for the use of mutes in these transcriptions, but each performer should

experiment with this manipulation of the sound just as he or she would otherwise work to

achieve the proper characteristic tone quality. In the following example from “Der

Tamboursg’sell,” Mahler’s instruction is to play the passage “in a restrained tone” (mit

verhaltenem Ton)–this sound quality is reinforced with the use of a mute:

24 Berlioz, 329.

29

Example 12: Muted tone

Mahler/Cherry “Der Tamboursg’sell” mm. 110-111

Adjustments to the melodic content

In the adaptation of texted vocal music for instrumental performance some

choices may be made which alter elements of the original melodic line. Decisions need to

be made that attempt to balance the original intentions of the composer with an effective

instrumental version of the music. Suggestions for eliminating some repeated pitches,

altering the original rhythm, phrasing, articulations, and note lengths, and adding to the

melodic content are presented in the following paragraphs. Since the goal in a trombone

transcription is to communicate the expression of the poetic text, care must be taken in

these decisions. As Douglas Camp explains it, “Thoroughly understanding the drama of

the text guides the process of editing the stylistic markings of the music (dynamics,

tempi, and articulation).”25

Elimination of repeated pitches: There may be cases where the melodic line uses

repeated pitches as a means to “fit” the text into a melodic line. These pitches are often

on small words like articles or conjunctions. In cases where the piano accompaniment

doubles the sung melody, the “extra” notes may become more apparent. The melody can

have a cleaner sound, better flow or more characteristic style when these pitches are

25 Douglas W. Camp, “The Preparation and Performance of Selected Schubert Songs for Bass Trombone and Piano” (D.M.A. document, University of Arizona, 2007), 25.

30

eliminated in an instrumental transcription. Eliminating such pitches also allows for some

rhythmic patterns to be established from one phrase to another.

In this excerpted phrase from “Wer hat dies Liedlein erdacht?” the repeated

pitches at the beginnings of measures 70, 71, and 72 have all been eliminated: the first

two pairs of eighth notes have been changed to quarter notes, and the eighth and sixteenth

in measure 72 have been tied together. This changes the character of the melodic line, as

well as creating a nice flow to the musical phrase:

Example 13a: Elimination of repeated pitches

Original version of Mahler’s “Wer hat dies Liedlein erdacht?” mm. 69-73

Example 13b: Elimination of repeated pitches

Mahler/Cherry “Wer hat dies Liedlein erdacht?” mm. 69-73

Changes in rhythm, phrasing, articulations and note lengths: Again, in some

cases melodic patterns may emerge that are contrary to the grouping of words or syllables

of text. The piano part may be one key to determining if this is the case, and parallel or

similar phrases elsewhere in the song can help to shed some light on possible melodic

31

restructuring. A choice might be made that seems truer to the music than the text; this is a

decision that should be made with care when creating an instrumental transcription.

In this example from “Der Tamboursg’sell,” the selected phrase is the third

repetition of the opening ‘A’ material. The change from the pair of even quarter notes to

the dotted-quarter/eighth rhythm, inspired by the same rhythm found in the piano

accompaniment, serves two purposes: it provides variation to the thematic material, and it

reinforces the military imagery of the soldiers marching by.

Example 14a: Change in rhythm

Original version of Mahler’s “Der Tamboursg’sell” mm. 58-61

Example 14b: Change in rhythm

Mahler/Cherry “Der Tamboursg’sell” mm. 58-61

The following example is from “Des Antonius von Padua Fischpredigt.” This was

an interesting song to prepare for transcription because of its adaptation (in a purely

instrumental version) for the third movement of Mahler’s Symphony No. 2. The melodic

content of the song is somewhat repetitive, so I looked to the symphony for variety. This

excerpted phrase was inspired by the wind parts, particularly the bassoons, at rehearsal

32

35. Rather than following the original vocal model, this phrase connects what were two

separate text phrases with a dramatic arch, including a dynamic swell and accent:

Example 15a: Change in phrasing

Original version of Mahler’s “Des Antonius von Padua Fischpredigt” mm. 178-181

Example 15b: Change in phrasing

Mahler/Cherry “Des Antonius von Padua Fischpredigt” mm. 178-181

Example 15c: Change in phrasing

Mahler’s Symphony No. 2, third movement, bassoons at rehearsal 35

In the following passage from “Selbstgefühl,” several adjustments have been

made to the articulations that are contrary to the original setting of the text. However,

these changes are directly reinforced by the piano accompaniment. The grouping of the

first four notes under a slur matches the piano, as does the elimination of the slur over the

33

pair of eighth notes on beat 1 of measure 55 (the text syllable wie). Both the slur and the

accent in measure 54 (on the text Nun weiss) correspond to earlier examples of the same

motive found in the piano accompaniment. Finally, the tenuto over the downbeat c-sharp’

in measure 54 reinforces both the interesting harmonic change and the length of the half

note sounding in the piano accompaniment:

Example 16a: Change in articulation

Original version of Mahler’s “Selbstgefühl” mm. 53-56

Example 16b: Change in articulation

Mahler/Cherry “Selbstgefühl” mm. 53-56

In this phrase from “Zu Strassburg auf der Schanz’,” the dotted eighth notes of the

original version have been shortened to eighth notes followed by eighth rests in the

trombone transcription. The short, crisp sound created by this change heightens the drama

by enhancing the military flavor of the piece and reinforcing the fear felt by the narrator

as he awaits his coming execution.

34

Example 17a: Change in note lengths

Original version of Mahler’s “Zu Strassburg auf der Schanz’” mm. 27-29

Example 17b: Change in note lengths

Mahler/Cherry “Zu Strassburg auf der Schanz’” mm. 27-29

Additions to the melodic content: Because of range or technique, there may be

some melodic phrases that are left to the piano. Such phrases could be added to the

instrumental melody; this may, in fact, provide a more complete or logical version of the

melody. Also, when strophic songs are performed without text they often lose the only

element of variation that existed in the melody. It may be possible to create variety in an

instrumental transcription through the addition of ornamentation, countermelody, etc. The

following example from “Um schlimme Kinder artig zo machen” makes use of both an

ornamentation of the melody for contrast in the final verse (m. 37 beat 3) and the addition

of the final tag from the piano part to complete the phrase (last 8th note of m. 38 through

m. 39 beat 3):

35

Example 18a: Addition to the melodic content

Original version of Mahler’s “Um schlimme Kinder artig zo machen” mm. 37-39

Example 18b: Addition to the melodic content

Mahler/Cherry “Um schlimme Kinder artig zo machen” mm. 37-39

Conclusion

In creating a trombone transcription of a vocal work, there are many elements to

consider. By taking advantage of the instrument’s natural singing qualities and studying

the syllabic stress, articulation, phrasing, and expression of the poetic text, it is possible

to create an instrumental version of a song that remains true to the original vocal model.

However, it is also possible (and advisable) to take advantage of the qualities and abilities

of the trombone in order to create a characteristic, expressive transcription that provides

valuable opportunities for both study and performance.

36

Chapter 4: The Lieder of Gustav Mahler and their suitability for transcription

Gustav Mahler’s Lieder are well-suited to instrumental transcription for several

reasons: the choice and treatment of texts, the compositional style, and the melodic

relationships that exist between the songs and the symphonies. Carol Kimball gives the

following overview of Mahler’s Lieder which reinforces the very reasons they make such

good transcriptions for trombone performance:

Most of Mahler’s songs are lengthy, and are written for heavy voices that have extensive range and dynamic facility. . . . He used developmental techniques in his accompaniments that parallel symphonic style, and wrote accompaniments that continually commented on the text or heightened the emotional content of the words. Many of these songs feature two-part linear texture in which vocal line and accompaniment interweave.1

The Wunderhorn songs are particularly suited to performance on the trombone because

so many of them were composed for baritone voices (singing in the heart of the trombone

range) with a strong, full tone, yet capable of lightening the sound and style for dramatic

effect.

Choice of texts

The poetry used for the vast majority of Mahler’s songs is drawn from the

collection of folk poems titled Des Knaben Wunderhorn, an anthology of traditional

German poems and songs compiled and edited by Arnim and Brentano and published in

1806. The Wunderhorn anthology allowed Mahler to draw on several sources for his

musical material: children’s songs, dances, military music, and nature. The use of folk

poems for his song texts also helped him avoid a potential conflict between the separate

arts of poetry and music. As La Grange explains,

Mahler almost never used for his compositions the poems he admired most. . . . The lyrics of Mahler’s songs were taken either from Friedrich Rückert, a minor

1 Carol Kimball, Song: A Guide to Style and Literature (Seattle: Pst. . . Inc., 1996), 132.

37

romantic poet, or from Des Knaben Wunderhorn, a folklore anthology. He was too receptive to poetry not to understand that the most beautiful, the most perfect poems are complete in themselves and that, in consequence, the greatest poets are always betrayed by composers.2

Mahler’s commitment to the folk-like quality of his Wunderhorn settings had a

direct effect on the relationship that would evolve between the words and the music of his

songs. According to Edward Kravitt,

He knew that in order to create a convincing volkstümliches Lied [a traditional or nationalistic folksong] he must try to bring the words and the music into the same type of union found in the typical folksong–a marriage in which one partner, the music, dominates the other.3

This relationship, discussed in greater detail in the following section, is one of the

primary reasons that Mahler’s songs translate so successfully to an instrumental medium.

Treatment of texts

“For Mahler poetry is not a guide . . . but serves as a stimulus for the composer’s

own thoughts.”4 There are many anecdotes of Mahler composing a piece of symphonic

music only to discover that one of the Wunderhorn poems would fit it perfectly. The

imagery and expressions of these poems went hand in hand with the ideas and emotions

Mahler was trying to convey in his music. As he stated in a conversation with Natalie

Bauer-Lechner,

. . . you can express so much more in the music than the words directly say. The text is actually a mere indication of the deeper significance to be extracted from it, of hidden treasure within.5

To Mahler, the music was the vehicle of expression, not the words.

2 Henry-Louis de La Grange, Gustav Mahler. 3 vols. (New York: Oxford University Press, 1995), I, 104.

3 Edward Kravitt, “The Trend Towards the Folklike, Nationalism, and Their Expression by Mahler and His Contemporaries in the Lied,” Chord and Discord 2.10 (1963): 51.

4 Ellen Carole Bruner, “The Relationship of Text and Music in the Lieder of Hugo Wolf and Gustav Mahler” (Ph.D. diss., Syracuse University, 1974), 351.

5 Natalie Bauer-Lechner, Recollections of Gustav Mahler. Trans. Dika Newlin. Ed. Peter Franklin (Cambridge: Cambridge University Press, 1980), 32.

38

Further evidence of Mahler’s use of poetry to help express his musical ideas can

be found in an examination of how he modified and adapted his song texts to fit his

melodies. As Deryck Cooke explains,

He [Mahler] uses the poems freely as a basis for brief ‘movements’ built out of short motives: the texts are often lopped or modified, the words repeated or drawn out to fit the thematic development; the voice is just one more instrument (a highly expressive one) in the motivic texture.6

It would certainly seem that Mahler did, in fact, seek out poems to express his music,

rather than composing music to express the poetic text. This was not the standard practice

of the traditional German Lied, and Mahler was sometimes criticized for his lack of

refinement in setting words to music. Edward Kravitt again has some insight into

Mahler’s use of poetry:

Therefore, unlike most of his contemporaries, he approached the composition of the lied via the music. In fact, his attention, while setting a text, was absorbed by purely musical considerations. Consequently, he did not exercise special care to the parallel metre of the poetry in the rhythm of his vocal line. To be specific: he often applied rhythmic patterns, melodic sequences, or figures associated with the dance or the march to phrases of text. Then too, he would call for a regularity of musical stresses which produces a tripping and jigging rhythm, a metre not present in each line of poetry thus set. And he often juxtaposed two groups of time values such as eighths and sixteenths instead of assigning the longer and shorter values to the words according to their relative importance in the central meaning of the poem. And examples of incorrect accentuation of individual words are not infrequent.7

Mahler himself was aware of this lack of “refinement” in his text setting, but the

music, not the setting of individual words, was Mahler’s chief concern; in fact, he

emphatically argued “I demand a theme, development of a theme, thematic manipulation,

song, not declamation!”8 His songs are able to express the poetic imagery of the text,

6 Deryck Cooke, Gustav Mahler: An Introduction to his Music (Cambridge: Cambridge University

Press, 1997), 43. 7 Kravitt, 51-52. 8 This statement was quoted in two sources: see Bruner, 192 and Kravitt, 52.

39

including the unfolding of events and subtle changes in emotions, through this

developmental process.9 This is another reason that they work so well as trombone

transcriptions.

Compositional style

Mahler’s musical style is often described as including elements of parody or

irony. These traits can be found in the juxtaposition of key areas and the blending of folk-

like styles of music such as popular dance forms, children’s songs and military music

with sophisticated harmonization and developmental forms. In some cases, an intricate

accompaniment is juxtaposed with a relatively simple, folk-like melody. Often, the

accompaniment provides the most of the musical elements that express the poetry. Some

examples including shifting key areas and modality, unusual harmonic progressions,

simulations of shepherds pipes and military drums, and rhythmic motives from dances

and marches. A great deal of the poetic expression in Mahler’s songs can be heard

without the words being sung because so much of the imagery is contained in the music

itself.

Another important element of Mahler’s compositional style which should be

considered is the continual development of themes and melodies. As he explained to

Natalie Bauer-Lechner,

I have come to realize the perpetual evolution of the song’s content–in other words, through-composition {das Durchkomponieren}–as the true principle of music. In my writing, from the very first, you won’t find any more repetition from strophe to strophe; for music is governed by the law of eternal evolution, eternal development–just as the world, even in one and the same spot, is always changing, eternally fresh and new. But of course this development must be progressive, or I don’t give a damn for it!10

9 Zoltan Roman, “Structure as a Factor in the Genesis of Mahler’s Songs,” The Music Review 35

(1974): 166. 10 Bauer-Lechner, 130.

40

This developmental style of composition is very instrumental in nature; it is another

important aspect of Mahler’s song writing that is strongly suited to instrumental

transcription.

Relationships between songs and symphonies

There are many and varied relationships between Mahler’s songs and his

symphonies. In fact, many trombonists should already be familiar with the melodies of

these Wunderhorn and other songs because of these relationships. Of the songs

transcribed for this project, seven of them are used in a direct, thematic way in

Symphonies 1, 2 and 3:

1. “Ging heut Morgen übers Feld” Sym. 1 mvt. 1 2. “Hans und Grethe” Sym. 1 mvt. 2 3. “Die zwei blauen Augen” Sym. 1 mvt. 3 4. “Des Antonius von Padua Fischpredigt” Sym. 2 mvt. 3 5. “Urlicht” Sym. 2 mvt. 4 6. “Ablösung im Sommer” Sym. 3 mvt. 3 7. “Es sungen drei Engel einen süssen Gesang” Sym. 3 mvt. 5

Numbers 1, 3, 4 and 6 above have direct thematic quotations in the symphonies; number

2 is used motivically; number 5 was originally written as a solo song and later

incorporated into the symphony, while number 7 was originally written for the symphony

and later re-worked as a solo song. Although sometimes labeled with the term “song-

symphonist” as a criticism, Deryck Cooke believes that “Mahler was no ‘song-

symphonist’, in the sense of an inflator of lyrical material to monumental proportions; his

songs flower naturally into symphonic movements, being already symphonic in cast.”11

11 Cooke, 43.

41

Mahler’s use of his own songs in these symphonic settings provides a strong

precedent for their use as instrumental transcriptions. The thematic writing simply lends

itself to instrumental performance. As Donald Mitchell explains,

It is not accidental that the characteristic ‘contents’ of the songs, whether light-hearted or broken-hearted, sunlit or spectral, caustic or gay, and the musical imagery (e.g. military fanfares) and forms (e.g. funeral marches, Ländler-like dances) associated with them, should emerge so powerfully in those symphonies which in a very meaningful sense were born out of Mahler’s immersion in the Wunderhorn world. Nor does one forget the sometimes ironic and parodistic tone of these unconventional, indeed often uncomfortable texts, for which Mahler found a comparably biting musical voice, thus creating a musical sarcasm (a genuine extension of the vocabulary of music) which, as he proved as early as the slow movement of the first of his symphonies, did not necessarily depend on the stimulus or presence of the words.12

Conclusion

Ellen Carole Bruner explains why Mahler’s vocal melodies translate so well to

instrumental performances:

The lyricism and formal perfection of Mahler’s vocal lines make them attractive and meaningful even when divorced from the texts on which they are based. Their success as independent melodies is evidenced in Mahler’s symphonies where they frequently form the thematic basis for an entire instrumental movement.13

Considering the many expressive elements Mahler wrote into his accompaniment parts,

and his own placement of the music above the text, it is no wonder that little if anything

is lost when his songs are performed as instrumental transcriptions.

12 Donald Mitchell, Gustav Mahler: The Wunderhorn Years (Boulder, Colorado: Westview Press,

1976), 88-90. 13 Bruner, 346.

42

Chapter 5: Conclusion

Great Literature for Trombone: The Untapped Resource of Gustav Mahler’s Lieder

Mahler’s early Lieder und Gesänge and his many Wunderhorn songs are

examples of the large quantity of vocal music that is currently unused by most trombone

players. These pieces have great value as teaching tools and as additions to the recital

repertoire. By studying these song transcriptions, trombonists can improve their

fundamental concepts of legato style, phrasing, and musical expression, leading to a

singing style of playing. They can include pieces by one of the master composers in their

performance programs. And, they can reach a new level of accomplishment in their

playing. As Douglas Camp explains, “communicating [the] ideas and emotions [of

transcribed songs] through music, without the sung words, demands the highest level of

instrumental performance.”1

Gustav Mahler’s songs work particularly well as instrumental transcriptions

because of his beautiful melodies, his symphonic compositional style, his emphasis of

thematic development over text declamation, and his inclusion of so many expressive

elements into the accompaniments of his songs. They are particularly well suited to

performance on trombone because many are written in a baritone register, using the full

range of dynamics and articulation styles to express various emotions and settings. An

accomplished trombonist is more than capable of meeting the expressive demands of

these songs.

The following transcriptions of Mahler’s songs are written to both emulate the

original vocal pieces and to take advantage of the trombone’s range, technical facility,

1 Douglas W. Camp, “The Preparation and Performance of Selected Schubert Songs for Bass

Trombone and Piano” (D.M.A. document, University of Arizona, 2007), 10.

43

and dynamic capabilities. They are an incredibly diverse resource of musical materials

and should find use among both student and professional trombonists. These

transcriptions are intended to be performed with the original piano/vocal scores, which

should be studied along with the guides found in the appendices below.

44

SELECTED BIBLIOGRAPHY

Musical Scores: Original Works by Gustav Mahler 24 Songs for voice and piano, 4 vols. New York: International Music Company, 1950. Des Knaben Wunderhorn and the Rückert Lieder. For voice and piano. Mineola,

New York: Dover Publications, Inc., 1999. Fünfzehn Lieder, Humoresken und Balladen aus “Des Knaben Wunderhorn” für

Singstimme und Klavier (nach dem Text der Kritischen Gesamtausgabe). Edited by Renate Hilmar-Voit and Thomas Hampson. Vienna: Universal Edition A.G., 1994.

Lieder eines fahrenden Gesellen. Vocal score, edited with a new translation by Colin

Matthews. Introduction by Donald Mitchell. London: Josef Weinberger Ltd., 1977.

Songs of a Wayfarer. Full score. New York: Dover Publications, Inc., 1990. Symphonies Nos. 1 and 2. Full score. New York: Dover Publications, Inc., 1987. Symphonies Nos. 3 and 4. Full score. New York: Dover Publications, Inc., 1989. Three Song Cycles in Vocal Score: Songs of a Wayfarer, Kindertotenlieder and Das Lied von der Erde. New York: Dover Publications, Inc., 1991. Arrangements/Transcriptions of Works by Gustav Mahler Lieder eines fahrenden Gesellen. Arranged for tuba and piano by Dan Perantoni. Troy, Michigan: Encore Music Publishers, 1992. Lieder eines fahrenden Gesellen (Songs of a Wayfarer). Edited and arranged for

trombone and piano by Doug Sparkes. Vancouver, B.C.: Cherry Classics Music, 2000.

Mahler Songs for Trumpet: 12 Lyrical Sketches Drawn from the Songs of Gustav Mahler.

Arranged by Robert Thompson. Vienna: UE Publishing Musikverlags GmbH, 1999.

Primeval Light. Transcribed by Quinto Maganini. New York: Edition Musicus, 1972.

45

Songs of a Wayfarer for Euphonium and Piano. Arranged for Euphonium and Piano by James Curnow. Festival Solo Series. Wilmore, KY: Curnow Music Press, 2005. Songs of a Wayfarer. Arranged for trombone and piano by Eric Carlson. Philadelphia: CEC Music, 2003. Trombone Solo from the Mahler Third Symphony (1st movement). Transcribed by Allen Ostrander. New York: Edition Musicus, 1958. Sound Recordings: Original Works by Gustav Mahler Des Knaben Wunderhorn. Compact disc D101590. Teldec, 1993. Lieder eines fahrenden Gesellen. Compact disc 431 682-2. Deutsche Grammophon, 1991.

Lieder eines fahrenden Gesellen, Kindertotenlieder, 5 Lieder. Compact disc

7243 5 74738 2 8. EMI Classics, 2001. Symphony No. 4, 5 Lieder. Compact disc 7243 5 67035 2 0. EMI Classics, 1999. Symphony No. 7, Des Knaben Wunderhorn. Compact disc 414 675-2. Decca Record Company, 1985. Trombone Recordings of Transcribed Vocal Music Davis, JoDee. In the Moment. Compact disc TROY464. Albany Records, 2001. Haroz, Nitzan. Towards the Light. Compact disc. Self published. Hawes, Randall. Melodrama. Compact disc TROY549. Albany Records, 2003. Hetzler, Mark. Serious Songs, Sad Faces. Compact disc DCD 347. Summit Records,

2003. Kanda, Megumi. Gloria. Compact disc TROY694. Albany Records, 2004. Knaub, Donald. Sound Waves. Compact disc CD680. Crystal Records, 2000. Lindberg, Christian. Songs for Sunset. Compact disc BIS-CD-808. Grammofon AB BIS, 1996.

46

Other Sources Consulted: Arrigo, Robin Jean. “Transcription of Vocal Literature for Solo Instrument and Piano

Accompaniment: A Unique Challenge for Accompanists.” D.M.A. thesis, University of Miami, 1998.

Aston, Elizabeth Darlene. “A Comparative Analysis of Thematic Material found to be

Related in Gustav Mahler's Vocal and Instrumental Compositions.” M.A. thesis, Texas Woman’s University, 1972.

Barford, Philip. Mahler Symphonies and Songs. BBC Music Guides. London: British

Broadcasting Corporation, 1970; reprint, London: Spottiswoode Ballantyne Ltd., 1982.

Bauer-Lechner, Natalie. Recollections of Gustav Mahler. Trans. Dika Newlin. Ed. Peter

Franklin. Cambridge: Cambridge University Press, 1980. Baxter, Leroy Everette. “The Use of Selected Vocal Materials from the Classical and

Romantic Periods as a Method of Teaching Musical Style Characteristics to Trombone Students.” Ed.D. diss., Arizona State University, 1973.

Berlioz, Hector and Richard Strauss. Treatise on Instrumentation. Trans. Theodore Front. New York: Dover Publications, Inc., 1991. Boyd, James William. “Tonality, Genre and Form: Mahler’s Lieder eines fahrenden

Gesellen.” Ph.D. diss, University of Michigan, 1994. Bruner, Ellen Carole. “The Relationship of Text and Music in the Lieder of Hugo Wolf

and Gustav Mahler.” Ph.D. diss., Syracuse University, 1974. Camp, Douglas W. “The Preparation and Performance of Selected Schubert Songs for Bass Trombone and Piano.” D.M.A. document, University of Arizona, 2007. Comelek, Barbara. “Allusions to the Vocal Art in Selected Wind Instrument Pedagogical

Sources.” D.A. diss., Ball State University, 1985. Cooke, Deryck. Gustav Mahler: An Introduction to his Music. Cambridge: Cambridge

University Press, 1997. Cryder, Richard L. “Transcription of Six Vocal Compositions as Trombone Studies.”

M.M. thesis, Kent State University, 1971. Dargie, E. Mary. Music and Poetry in the Songs of Gustav Mahler. Bern, Frankfurt am

Main, Las Vegas: Peter Lang, 1981.

47

DePoy, Brian W. “Gustav Mahler: ‘Mahler Songs: 12 Lyrical Sketches from the Songs of Gustav Mahler,’ Arranged by Robert Thompson.” ITG Journal 26:2 (January 2002): 55.

DeYoung, Derald. “Singing As an Aid to Brass Performance,” Brass Anthology. Northfield, Illinois: The Instrumentalist Publishing Company, 1991, 507-508. Duerksen, George. “The Voice of the Trombone,” Brass Anthology. Northfield, Illinois: The Instrumentalist Publishing Company, 1991, 235-236. Espina, Noni. Repertoire for the Solo Voice. Metuchen, New Jersey: The Scarecrow

Press, Inc., 1977. Ezust, Emily. “The Lied and Art Song Texts Page.” <http://recmusic.org/lieder/>.

January 3, 2005. Farkas, Philip. The Art of Musicianship. Bloomington, Indiana: Musical Publications, 1976. Feldsher, Howard A. “Transcription or Arrangement?” The Instrumentalist 25, no. 8 (1971): 39-40. Fink, Reginald H. The Trombonist’s Handbook: A Complete Guide to Playing and Teaching the Trombone. Athens, Ohio: Accura Music, 1977. Garcia, Manuel. A Complete Treatise on the Art of Singing (Paris, 1841-1872), 2 vols.

Collated, trans. and ed. Donald V. Paschke. New York: Da Capo Press, 1984. Gazda, Frank Stephen. “The Bass Trombone Soloist: Using Transcriptions to Augment the Repertoire.” D.M.A. dissertation project, University of Maryland, 2002. Gorham, Charles. A Brass Player’s Guide to the German Instructions Contained in the

Symphonies of Mahler. Portland, Maine: Manduca Music Publications, 1992. Griffiths, John R. Low Brass Guide. 2d ed. Roswell, Georgia: E. Williams Music

Publishing, 1999. Guion, David M. “25 Years of Trombone Recitals: An Examination of Programs

Published by the International Trombone Association.” ITA Journal 27, no. 1 (1999): 22-29.

________. “Recital Repertoire of the Trombone as Shown by Programs Published in the I.T.A.,” Online Trombone Journal. www.trombone.org.

48

Hamburger, Paul. “Mahler and Des Knaben Wunderhorn.” In The Mahler Companion, ed. Donald Mitchell and Andrew Nicholson, chapter 3. New York: Oxford University Press, 1999.

Hanson, Wesley Luther. “The Treatment of Brass Instruments in the Symphonies of

Gustav Mahler.” D.M.A. Thesis, The University of Rochester, Eastman School of Music, 1977.

The Harvard Brief Dictionary of Music. Edited by Willi Apel and Ralph T. Daniel. New York: Washington Square Press, 1960. Hefling, Stephen E., ed. Mahler Studies. Cambridge and New York: Cambridge

University Press, 1996. Henderson, W.J. The Art of Singing. Freeport, NY: Books for Libraries Press, 1938.

Herbert, Trevor. The Trombone. New Haven and London: Yale University Press, 2006. Hightower, Taylor. “Cyclical Elements in Mahler's Orchestral Lieder: a Study of

Mahler's Lieder eines fahrenden Gesellen and Fünf Rückert Lieder.” D.M. diss, Indiana University, 2004.

Holden, Robert B. “The German Narrative Dramatic Ballad from Loewe to Mahler: The

Development of the Genre and its Use as a Teaching Tool for Communication.” D.M.A. Thesis, Temple University, 2000.

Johnson, William L. “Thematic Sources of Gustav Mahler's First Symphony in Lieder

eines fahrenden Gesellen.” M.A. thesis, University of Wyoming, 1977. Kennedy, Michael. Mahler. London: J. M. Dent & Sons Ltd., 1975; revised edition,

New York: Schirmer Books, 1990. Kimball, Carol. Song: A Guide to Style and Literature. Seattle: Pst…Inc., 1996. Kleinhammer, Edward. The Art of Trombone Playing. Miami: Summy-Birchard Music, 1963. Kleinhammer, Edward, and Douglas Yeo. Mastering the Trombone. Hannover, Germany:

Edition Piccolo Music Publishers, 1997. Knapp, Raymond. Symphonic Metamorphoses: Subjectivity and Alienation in Mahler’s

Re-Cycled Songs. Middletown, Connecticut: Wesleyan University Press, 2003. Kravitt, Edward. “The Trend Towards the Folklike, Nationalism, and Their Expression

by Mahler and His Contemporaries in the Lied.” Chord and Discord 2.10 (1963): 40-56.

49

La Grange, Henry-Louis de. Gustav Mahler. 3 vols. New York: Oxford University Press, 1995.

Law, Glen. “Development of Brass Tone,” Brass Anthology. Northfield, Illinois: The Instrumentalist Publishing Company, 1991, 186-189. Lehmann, Lotte. Eighteen Song Cycles: Studies in their Interpretation. With a Foreword

by Neville Cardus. New York and Washington: Praeger Publishers, 1972. Mahler, Alma. Gustav Mahler: Memories and Letters. Translated by Basil Creighton.

Enlarged edition, revised and edited by Donald Mitchell. New York: The Viking Press, 1969.

Mayo, Carol J. “Three songs from Des Knaben Wunderhorn by Gustav Mahler.” M.M.

thesis, North Texas State University, 1972. McShane, David Harold. “Gustav Mahler’s ‘Des Knaben Wunderhorn’ Lieder.” D.M.A.

Thesis, University of Texas at Austin, 1985. Miller, Heather A. “The Relationship Between Text and Music in the Soldier Songs from

Gustav Mahler’s Des Knaben Wunderhorn.” M.A. thesis, Bowling Green State University, 1997.

Mitchell, Donald. Gustav Mahler: The Early Years. Rev., Edited by Paul Banks and

David Matthews. London and Boston: Faber and Faber, 1980. ________. Gustav Mahler: The Wunderhorn Years. Boulder, Colorado:

Westview Press, 1976. ________. “Mahler’s ‘Kammermusikton.’” In The Mahler Companion, ed.

Donald Mitchell and Andrew Nicholson, chapter 10. New York: Oxford University Press, 1999.

Mitchell, Donald and Andrew Nicholson, eds. The Mahler Companion. Oxford: Oxford

University Press, 1999. Mitchell, Randall Thomas. “The Use of Selected Vocalises of Marco Bordogni in the

Development of Musicianship for the Trombonist, a Lecture Recital, Together with Three Recitals of Selected Works by Eugene Bozza, Jacques Casterede, Pierre Max Dubois, Christian Gouinguene, Axel Jorgensen, Richard Monaco, Lars-Erik Larsson, Erhard Ragwitz, and Others.” D.M.A. diss., University of North Texas, 1989.

Montgomery, Cheri. German Lyric Diction Workbook: A Graded Method of Phonetic

Transcription which employs Frequently Occurring Words from German Art Song Literature. Nashville, Tennessee: S.T.M. Pub., 2004.

50

Murata, Yuri. “Reconstruction of Gustav Mahler’s Symphony No. 5, Adagietto for Trombone and Piano.” D.M.A. document, Louisiana State University, 2000. Odom, William. German for Singers: A Textbook of Diction and Phonetics. New York:

Schirmer Books, 1981. Phillips, Lois. Lieder Line by Line. London: George Duckworth & Co. Ltd., 1979;

revised edition, Oxford: Clarendon Press, 1996. Roman, Zoltan. “Structure as a Factor in the Genesis of Mahler’s Songs,” The Music

Review. 35 (1974), pp. 157-166. Smith, Warren Storey. “Mahler Quotes Mahler.” Chord and Discord. Clark L. Elbe (ed.),

Vol. 2 No. 7 (published by The Bruckner Society of America; Athens Press: Iowa City, Iowa), 1954.

Stokes, Katarina Markovic. “The World of Mahler’s Early Symphonies: From Idea to Form.” Ph.D. diss., Brandeis University, 2004.

Vernon, Charles G. A “Singing” Approach to the Trombone (and other Brass). 1995 rev. ed. Atlanta: Atlanta Brass Society Press, 1995. Walker, Alan. “Liszt and the Schubert Song Transcriptions.” The Musical Quarterly 67:1 (January 1981): 50-63. Wick, Denis. Trombone Technique. 2nd ed. New York: Oxford University Press, 1984. Williamson, John. “The Earliest Completed Works: A Voyage towards the First

Symphony.” In The Mahler Companion, ed. Donald Mitchell and Andrew Nicholson, chapter 2. New York: Oxford University Press, 1999.

51

Appendix A: Lieder und Gesänge aus der Jugendzeit, vol. I

This set of five songs includes Mahler’s earliest surviving Lieder: “Phantasie” and

“Serenade” are both settings of poems by Tirso de Molina, “Frühlingsmorgen” and

“Errinerung” use the poetry of Richard Leander, and “Hans und Grethe” is a setting of

Mahler’s own text. The small collection is known by several names, as Mahler originally

titled it simply Fünf Gedichte (Five Poems) before it was published as the first volume of

a group of 14 songs under the name Lieder und Gesänge1 (Songs)–the modifier aus der

Jugendzeit (of Youth) was added at a later date.

These early songs already include the stylistic traits and compositional techniques

which allow for a successful transcription to the instrumental medium; the following

summary is from Donald Mitchell’s Gustav Mahler: The Early Years:

Book I of the Lieder und Gesänge aus der Jugendzeit yields two songs, Hans und Grethe and Erinnerung, both of them rich in characteristic traits and both of them heralds of the future: Hans und Grethe in its Ländler style, Erinnerung in its progressive tonal structure. In short, major elements of Mahler’s maturity are bound up with this first Jugendzeit volume. There could hardly be better evidence of the early stage at which Mahler’s musical personality revealed certain of the most pronounced features which we recognize today as uniquely Mahlerian.2

The imagery and emotions of the poems are expressed beautifully in the melodic writing

of these songs, and they could be performed as a set if desired. “Phantasie” in B minor

and “Serenade” in D major make a nice pair, as do “Frühlingsmorgen” (F major) and

“Errinerung” (F minor).

1 “We may note that this title introduces a distinction between the Lied, the art song, on the one

hand, and the Gesang, the unsophisticated air, on the other; e.g., Frühlingsmorgen as contrasted with Hans und Grethe.” Donald Mitchell, Gustav Mahler: The Early Years. Rev., Edited by Paul Banks and David Matthews (London and Boston: Faber and Faber, 1980), 199.

2 Donald Mitchell, Gustav Mahler: The Early Years, 224.

52

Title: Phantasie (Fantasy) Text: Ludwig Braunfels after Tirso de Molina from Don Juan Composed: 1882-1883 Published: 1892 by Schott of Mainz Key: B minor (B-flat minor) Range: B-f-sharp’ (1 8v + P5) Length: 2’15’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust Das Mägdlein trat aus The maiden stepped out dem Fischerhaus, of the fisherman's hut, Die Netze warf sie ins Meer hinaus! and cast her nets out into the sea! Und wenn kein Fisch in das Netz ihr ging, And even if no fish entered the net, Die Fischerin doch die Herzen fing! the fishergirl yet trapped some hearts! Die Winde streifen so kühl umher, The winds blow so coolly about, Erzählen leis' eine alte Mär! softly telling an old folktale! Die See erglühet im Abendrot, The sea gleams in the dusk, Die Fischerin fühlt nicht Liebesnot the fishergirl does not feel love's sting Im Herzen! Im Herzen! in her heart, in her heart! Useful Information:

- simplest of all the songs - only slight variation between the two verses - sadness of the song depicted by the slow tempo and the minor tonality3 - folk idiom reflected in the modal quality of the lowered 7th scale degree4

Technical Considerations:

- soft, delicate playing throughout - frequent tempo changes - subtle but important phrasing

Transcription Issues:

- added phrase/legato marks throughout to reflect style and text phrasing - eliminated some repeated pitches to create melodic flow or rhythmic patterns

(mm. 4, 8, 12) - added tenuto marks to emphasize text declamation (mm. 10-11, 16-17, 25-27, 32-

33) - added dynamics and shaping for expression of repeated text lines (mm. 15-17 and

31-33) - eliminated first fermatas in mm. 11 and 27 to reduce confusion in coordinating

with piano accompaniment

3 E. Mary Dargie, Music and Poetry in the Songs of Gustav Mahler (Bern, Frankfurt am Main, Las

Vegas: Peter Lang, 1981), 75. 4 Ibid., 75.

54

Title: Serenade Text: Ludwig Braunfels after Tirso de Molina from Don Juan Composed: 1882-1883 Published: 1892 by Schott of Mainz Key: D major (C major) Range: e-g’ (1 8v + m3) Length: 1’30’’ Translation: from the International publication Mahler: 24 Songs Volume I Ist’s dein Wille, süsse Maid If it is your will, sweet maiden, Meinem heissen Liebesstreben To my fervent wooing Erst im Tode Raum zu geben Only in death to yield, O, da wart’ ich lange Zeit Oh, then I must wait a long time! O, da wart’ ich lange Zeit Oh, then I must wait a long time! Sol lich deine Gunst geniessen If I shall enjoy your favor Erst nach meinem Erdengange Only after my span on earth, Währt mein Leben allzulange! Then my life lasts far too long! Mag es gleich im Nu zerfliessen May it melt away this instant! Mag es gleich im Nu zerfliessen May it melt away this instant! Ist’s dein Wille, süsse Maid If it is your will, sweet maiden, Meinem heissen Liebesstreben To my fervent wooing Erst im Tode Raum zu geben Only in death to yield, O das ist gar lange Zeit Oh, that is too long a time, Gar zu lange Zeit! Far too long a time! Useful Information:

- this music “communicates both the intensity and depth of unrequited love”5 - contains rhythmic repetition with melodic variation

Technical Considerations:

- requires exquisite legato and delicate phrasing - challenging upward slur leaps into mid-upper register (f-sharp and g) - generally soft playing throughout; particularly soft on the final section

Transcription Issues:

- added long phrase/legato markings throughout to coordinate with the piano accompaniment

- changed marcato accents to breath accents throughout to imply greater note lengths and less percussive attacks

- added tenutos to reinforce the syllabic stress of the text (mm. 5, 7, 9, 17, 19, 21, 23, 25, 29, 31, 33, 35, 37)

5 Gustav Mahler, Mahler Songs for Trumpet: 12 Lyrical Sketches Drawn from the Songs of Gustav

Mahler. Arranged by Robert Thompson (Vienna: UE Publishing Musikverlags GmbH, 1999), 10.

55

- added crescendos to give expressive direction to the melodic line (mm. 5, 7, 17, 19, 33-35)

- adjusted dynamic marking up to mp for the second verse (m. 15) and down to pp for the third verse (m. 27) for expressive contrast

- changed m. 28 beat 2 quarter note to an eighth note followed by an eighth rest to match the piano accompaniment

57

Title: Frühlingsmorgen (Spring morning) Text: R. Leander [pseudonym]; Richard Volkmann (1830-1889) Composed: 1882-1883 Published: 1892 by Schott of Mainz Key: F Major (G Major) Range: c-f’ (1 8v + P4) Length: 1’45’’ Translation: from http://www.recmusic.org/lieder/ by Judith Kellock Es klopft an das Fenster der Lindenbaum. The lindentree taps at the window Mit Zweigen blütenbehangen: Branches heavy with blooms; Steh' auf! Steh' auf! Get up! Get up! Was liegst du im Traum? Why do you lie dreaming? Die Sonn' ist aufgegangen! The sun is overhead! Steh' auf! Steh' auf! Get up! Get up! Die Lerche ist wach, die Büsche weh'n! The lark is up, the bushes blow! Die Bienen summen und Käfer! The bees buzz, and the beetles! Steh' auf! Steh' auf! Get up! Get up! Und dein munteres Lieb' And your jolly lover hab ich auch schon geseh'n. I've already seen Steh' auf, Langschläfer! Get up, lazybones! Langschläfer, steh' auf! Lazybones, get up! Steh' auf! Steh' auf! Get up! Get up! Useful Information:

- playful, light-hearted style - lilting quality emphasized by the 6/8 meter and the placement of stressed syllables

on each strong beat (dotted quarters). - charming irony of Steh’ auf! (Wake up!) motive in the accents of a lullaby (mm.

26-29)6 - the only example of a truly through-composed form in all of Mahler’s song

output7 Technical Considerations:

- maintaining a light, playful style in various ranges and dynamics - upward leaps into the mid-upper register - attention to the added articulations to reflect the style

Transcription Issues:

- eliminated the repeated pitch in m. 17 to maintain the natural rhythmic pattern - added tenuto marks to show syllabic stress (mm. 6, 8, 11, 21, 24, 25)

6 Donald Mitchell, Mahler: The Early Years, 214. 7 Zoltan Roman, “Structure as a Factor in the Genesis of Mahler’s Songs,” The Music Review 35

(1974): 165.

58

- extended existing slurs through weak/de-emphasized syllables (mm. 7, 8, 9, 10, 12, 23, 24)

- added slurs over two-note strong/weak syllable combinations (mm. 13, 17, 18, 20, 27)

- added dynamics and breath marks to reflect text phrasing - added staccato marks (if not already accented) over the first notes of each motive

corresponding to the text Steh’ auf! (mm. 9, 10, 21, 22, 25, 28) - changed the breath accents to marcato accents to imply shorter note lengths on the

final two Steh’ auf! motives (mm. 30, 31)

60

Title: Erinnerung (Remembrance) Text: R. Leander [pseudonym]; Richard Volkmann (1830-1889) Composed: 1882-1883 Published: 1892 by Schott of Mainz Key: F minor (G minor) Range: c-g’ (1 8v + P5) Length: 2’30’’ Translation: International publication Mahler: 24 Songs Volume I Es wecket meine Liebe My love wakens die Lieder immer wieder the songs ever anew! Es wecken meine Lieder My songs waken die Liebe immer wieder my love ever anew! Die Lippen, die da träumen My lips, which dream von deinen heissen Küssen, of your fervent kisses, In Sang und Liedesweisen In song and melody von dir die sie tönen müssen! they have to chant of you! Und wollen die Gedanken And if my thoughts der Liebe sich entschlagen, would like to dismiss love, So kommen meine Lieder Then my songs come zu mir mit Liebesklagen! to me with love’s lament! So halten mich in Banden Thus I am held a captive die Beiden immer wieder! by these two forever! Es weckt das Lied die Liebe! The song will waken love! Die Liebe weckt die Lieder! And love wakens the songs! Useful Information:

- play on words between Liebe (love) and Lieder (songs) - pattern: stressed syllables in each phrase fall on the downbeats - first manifestation of Mahler’s intense melancholy8 - obsessive rhythmic repetition reflects the character9 - earliest example of Mahler’s progressive tonality10

Technical Considerations:

- generally soft (piano and pianissimo) playing with one dramatic climax in m. 32 - several sudden soft dynamics immediately following the peaks of crescendos - several subtle tempo changes which must be coordinated with the pianist - frequent upper/lower neighbors (major and minor seconds) require careful tuning - challenging wide upward interval leaps: minor 7ths at mm. 8-9, 16-17, and 31-32

8 Donald Mitchell, Mahler: The Early Years, 216. 9 Ibid., 216-217. 10 Ibid., 219-220.

61

- phrasing should reflect the syllabic patterns of the text Transcription Issues:

- added phrase/legato marks throughout to reflect the style and phrasing - all tenuto marks have been added to reflect the syllabic stress - marcato accents have been changed to breath accents

63

Title: Hans und Grethe (Hansel and Gretel) Text: Gustav Mahler Composed: 1880 Published: 1892 by Schott of Mainz Key: E-flat major (F major) Range: B-flat-b-flat’ (2 8vs) Length: 2’00’’ Translation: from the International publication Mahler: 24 Songs Volume I: Ringel, ringel Reih’n! Ring-around-a-rosy! Wer fröhlich ist, der schlinge sich ein! Whoever is merry let him join in! Wer Sorgen hat, Whoever has cares, der lass’ sie daheim! let him leave them at home! Wer ein liebes Liebchen küsst, Whoever kisses a dear sweetheart, Wie glücklich der ist! How happy is he! Ei, Hänschen, du hast ja kein’s! Oh, Hanschen you have none! So suche dir ein’s! Then look for one! Ein liebes Liebchen, da ist was Fein’s. A dear sweetheart is something grand! Juch-he! Juch-he! High-ho! High-ho! Ringel, ringel Reih’n! Ring-around-a-rosy! Ei, Gretchen, was stehst denn so allein? Oh, Gretchen, why do you stand so alone? Guckst doch hinuber zum Hänselein!? Yet you are peeping over at Hanselein!? Und ist doch der Mai so grün!? And May is so green!? Und die Lüfte, sie zieh’n! And the breezes, they blow! Ei seht doch den dummen Hans! Oh look at stupid Hans! Wie er rennet zum Tans! How he is running to the dance! Er suchte ein Liebchen, Jush-he! He searched for a sweetheart, high-ho! Er fand’s! Juch-he! He found her! High-ho! Juch-he! Juch-he! Juch-he! High-ho! High-ho! High-ho! Ringel, ringel Reih’n! Ring-around-a-rosy! Ringel, Reih’n! Ringel, Reih’n! Reih’n! Around-a-rosy! Around-a-rosy! A-rosy! Useful Information:

- originally titled “Maitanz im Grünen” (“May dance in the country”) - used as motivic material for Mahler’s Symphony No. 1, mvt. 2 - Mahler’s first use of the Ländler dance rhythm11 - shares characteristic elements with Mahler’s Ländler symphony movements12

Technical Considerations:

- frequent tempo and dynamic changes - wide upward slurs: intervals of 6ths, 7ths and octaves

11 David Harold McShane, “Gustav Mahler’s ‘Des Knaben Wunderhorn’ Lieder” (D.M.A. Thesis,

University of Texas at Austin, 1985), 22. 12 Donald Mitchell, Mahler: The Early Years, 204.

64

- use of upper register: b-flat’ (or c’’) Transcription Issues:

- added accents or tenutos to emphasize the syllabic stress (mm. 1-3, 38-40, 79-87) - altered melodic rhythm to match the opening phrase (mm. 38-39) - altered melodic rhythm to match the piano accompaniment (mm. 7, 8, 10, 19, 29,

65, 74) - adjusted the articulations (particularly the slur groupings) to better match the

piano accompaniment throughout - added breath marks to reflect text phrasing (mm. 7, 22, 24, 27, 29, 33, 63, 65, 68,

70, 74) - added/adjusted dynamics to reflect the gradual diminuendo (mm. 79-end)

67

Appendix B: Lieder eines fahrenden Gesellen

This set of four songs, known also by its English title Songs of a Wayfarer, was

released in two versions–one for voice and orchestra, the other for voice and piano. The

piece was composed between 1884 and 1886, but wasn’t published until 1897 (both

versions by Josef Weinberger, Vienna.) The poetry is attributed to Mahler, although there

are significant influences from Arnim and Brentano’s anthology of German folk poetry

Des Knaben Wunderhorn, including the use of a Wunderhorn text as part of the poetry

for “Wenn mein Schatz Hochzeit macht.”

“The overall mood of Mahler’s Wayfarer cycle is set by the first song, ‘Wenn

mein Schatz Hochzeit macht,’ in which despair is ironically juxtaposed with joy.”1 The

Wayfarer, deeply saddened by his sweetheart’s marrying another man, goes out into

nature in hopes of finding peace and joy; however, his melancholy mood is reinforced to

the point that he begins having mocking, tormenting visions of his sweetheart. He wishes

for the sweet release of death, and eventually finds his peace “under the Linden tree.” It

was actually Mahler’s unhappy love affair with soprano Johanna Richter, during his

appointment at the opera house in Kassel, that was to become the inspiration for the

Lieder eines fahrenden Gesellen. She is the sweetheart whose blue eyes torment him

throughout the song cycle.

Mahler’s Gesellen cycle is commonly considered to be his first masterpiece. As

La Grange explains,

To fit the simple, folklore style of these poems, Mahler created a style inspired by popular music, in which the echoes of his childhood lullabies alternate with vivacious interludes, more naïve than parodic. The combination of these two elements forms an extremely personal musical style. For the first time, in

1 James William Boyd, “Tonality, Genre and Form: Mahler’s Lieder eines fahrenden Gesellen”

(Ph.D. diss, University of Michigan, 1994), 75.

68

Mahler’s work, the shape and pattern of these Lieder are as perfect as their emotional content.2

In order to give this beautiful, powerful set of songs a truly expressive performance,

trombonists are strongly encouraged to read the introduction and the section on the

Gesellen cycle of Lotte Lehmann’s wonderful book, Eighteen Song Cycles: Studies in

their Interpretation.3 All performers should study the music and poetry to the point that

one might create one’s own written interpretive synopsis of this cycle, as well as any and

all songs chosen to perform.

Some of the melodies are familiar to trombonists, as the cycle shares its thematic

material with Mahler’s Symphony No. 1. The main theme of the first movement of the

symphony is the melody of song number two, “Ging heut Morgen übers Feld,” and the

third movement makes use of material from song number four, “Die zwei blauen Augen,”

just before the return of the famous minor version of the children’s song “Bruder Martin”

(Frère Jacques). This does set a precedent for an instrumental version of these themes,

and the varied melodies of all four Gesellen songs can be expressed with a great deal of

color and character on the trombone.

2 Henry-Louis de La Grange, Gustav Mahler: Volume One (New York: Oxford University Press,

1995), 120. 3 Lotte Lehmann, Eighteen Song Cycles: Studies in their Interpretation. With a Foreword by

Neville Cardus (New York and Washington: Praeger Publishers, 1972), 1-7 and 139-144.

69

Title: Lieder eines fahrenden Gesellen I: Wenn mein Schatz Hochzeit macht (When my darling has her wedding day) Text: Gustav Mahler (adapted from Des Knaben Wunderhorn) Composed: 1884 (piano)-1896 (completed orchestral version) Published: both versions, 1897, Josef Weinberger, Vienna Key: D minor, E-flat major, D-G minor Range: B-g’ (1 octave + m6) Length: 4’30 Translation: from http://www.recmusic.org/lieder by Emily Ezust Wenn mein Schatz Hochzeit macht, When my darling has her wedding-day, Fröhliche Hochzeit macht, her joyous wedding-day, Hab' ich meinen traurigen Tag! I will have my day of mourning! Geh' ich in mein Kämmerlein, I will go to my little room, Dunkles Kämmerlein, my dark little room, Weine, wein' um meinen Schatz, and weep, weep for my darling, Um meinen lieben Schatz! for my dear darling! Blümlein blau! Verdorre nicht! Blue flower! Do not wither! Vöglein süß! Sweet little bird – Du singst auf grüner Heide. you sing on the green heath! Ach, wie ist die Welt so schön! Alas, how can the world be so fair? Ziküth! Ziküth! Chirp! Chirp! Singet nicht! Blühet nicht! Do not sing; do not bloom! Lenz ist ja vorbei! Spring is over. Alles Singen ist nun aus. All singing must now be done. Des Abends, wenn ich schlafen geh', At night when I go to sleep, Denk' ich an mein Leide. I think of my sorrow, An mein Leide! of my sorrow! Useful Information:

- Lieder eines fahrenden Gesellen cycle: o considered by many as Mahler’s first masterpiece o inspired by Kassel Theater singer Johanna Richter

- despair is ironically juxtaposed with joy, setting the mood for the entire song cycle4

Technical Considerations:

- Ultra-legato opening and closing sections - delicate use of glissando for portamento effect

4 Boyd, 75.

70

- contrasting moods achieved through careful attention to articulation, dynamic and tempo markings

- several soft upward slur leaps - tempo shifts throughout between melodic lines and piano interludes

Transcription Issues:

- added or adjusted phrase/slur groupings to better coordinate with the piano accompaniment (mm. 5-7, 10-11, 14-15, 26-27, 30, 35, 64-72, 79-88)

- added or adjusted phrase/slur groupings to connect strong and weak syllables (mm. 36-37, 46-51, 54-55, 77-78)

- added tenutos to show length and weight for syllabic stress and expression (mm. 8, 12, 16-17, 25, 30, 33, 38, 73-74, 83-84)

- added accents to reflect hard consonant attacks (m. 16 trau-) and the climactic point of the phrase (m. 17 Tag!)

- added crescendo/decrescendo patterns for expression (mm. 5-8, 10-12, 16, 22-28, 32-33, 48-49, 54-55, 64-70, 73, 78-80)

- added or adjusted dynamic markings for clarity, balance or expression (mm. 5, 30, 58-60, 64, 71, 76)

- added breath marks to show breaks in text phrases (mm. 33, 70) - added portamento (glissando) markings for expressive effect (mm. 36, 87) - changed marcato accents to breath accents for less percussive attacks (mm.

36, 58, 87)

73

Title: Lieder eines fahrenden Gesellen II: Ging heut’ Morgen übers Feld (I walked across the field this morning) Text: Gustav Mahler Composed: 1884 (piano)-1896 (completed orchestral version) Published: both versions, 1897, Josef Weinberger, Vienna Key: D major, B major Range: A-a’ (b’) (2 8vs (+ M2)) Length: 4’00 Translation: from http://www.recmusic.org/lieder by Emily Ezust Ging heut morgen übers Feld, I walked across the fields this morning; Tau noch auf den Gräsern hing; dew still hung on every blade of grass. Sprach zu mir der lust'ge Fink: The merry finch spoke to me: "Ei du! Gelt? Guten Morgen! Ei gelt? "Hey! Isn't it? Good morning! Isn't it? Du! Wird's nicht eine schöne Welt? You! Isn't it becoming a fine world? Zink! Zink! Schön und flink! Chirp! Chirp! Fair and sharp! Wie mir doch die Welt gefällt!" How the world delights me!" Auch die Glockenblum' am Feld Also, the bluebells in the field Hat mir lustig, guter Ding', merrily with good spirits Mit den Glöckchen, klinge, kling, tolled out to me with bells (ding, ding) Ihren Morgengruß geschellt: their morning greeting: "Wird's nicht eine schöne Welt? "Isn't it becoming a fine world? Kling, kling! Schönes Ding! Ding, ding! Fair thing! Wie mir doch die Welt gefällt! Heia!" How the world delights me!" Und da fing im Sonnenschein And then, in the sunshine, Gleich die Welt zu funkeln an; the world suddenly began to glitter; Alles Ton und Farbe gewann everything gained sound and color Im Sonnenschein! in the sunshine! Blum' und Vogel, groß und klein! Flower and bird, great and small! "Guten Tag, ist's nicht eine schöne Welt? "Good day, is it not a fine world? Ei du, gelt? Schöne Welt?" Hey, isn't it? A fair world?" Nun fängt auch mein Glück wohl an? Now will my happiness also begin? Nein, nein, das ich mein', No, no - the happiness I mean Mir nimmer blühen kann! can never bloom! Useful Information:

- Lieder eines fahrenden Gesellen cycle: o considered by many as Mahler’s first masterpiece o inspired by Kassel Theater singer Johanna Richter

- shares melodic material with Symphony No. 1 movement 1

74

Technical Considerations:

- contrasting moods throughout achieved through careful attention to dynamics, articulations, and written instructions

- possible use of a trill to simulate birdcall (adds a whole step to the overall range)

- key areas D major and B major with added accidentals (including double sharps)

- needs some fluidity of tempo/rubato for expression Transcription Issues:

- added some style markings to enhance expression (m. 2 leggiero, m. 65 dolce) - added or adjusted dynamic markings for clarity, balance, and expression (mm.

2, 8, 11, 19, 23, 30, 36, 39, 46, 71, 85, 95, 103, 108, 115, 119) - added crescendo/decrescendo patterns for expression and/or to better

coordinate with the piano accompaniment (mm. 14-16, 73-74, 76, 78, 81-83, 89-90, 97-98, 122)

- added, eliminated or adjusted slur/phrase groupings to better coordinate with the piano accompaniment (mm. 4-9, 12, 14, 21, 23, 32-37, 40, 42, 49, 51-52, 76, 78, 80, 81-83, 85-86, 91-92, 95-96, 117-118, 119, 122)

- changed marcato accents to breath accents for greater note lengths and less percussive attacks (mm. 11, 13, 39, 75, 77, 104, 109)

- added tenutos and accents for expression and to reflect syllabic stress (mm. 15-16, 24, 41, 43-44, 46-48, 53, 90, 91, 103-105, 108-110, 115-116, 119, 120)

- added glissando (portamento) markings to simulate vocal effect (mm. 53, 122) - added octave displacement and trills to simulate bird calls (mm. 19-20) - added breath mark to show lift and slight pause for expressive repetition of the

text (m. 119) - added breath accents to reflect treatment of the melody in Symphony No. 1

(mm. 4, 6, 12, 14)

77

Title: Lieder eines fahrenden Gesellen III: Ich hab’ ein glühend Messer (I have a glowing knife) Text: Gustav Mahler Composed: 1884 (piano)-1896 (completed orchestral version) Published: both versions, 1897, Josef Weinberger, Vienna Key: D minor-E-flat minor Range: B-flat-g’ (1 8v + M6) Length: 3’30 Translation: from http://www.recmusic.org/lieder by Emily Ezust Ich hab' ein glühend Messer, I have a red-hot knife, Ein Messer in meiner Brust, a knife in my breast. O weh! Das schneid't so tief O woe! It cuts so deeply In jede Freud' und jede Lust. into every joy and delight. Ach, was ist das für ein böser Gast! Alas, what an evil guest it is! Nimmer hält er Ruh', nimmer hält er Rast, Never does it rest or relax, Nicht bei Tag, noch bei Nacht, not by day or by night, wenn ich schlief. when I would sleep. O Weh! O woe! Wenn ich in dem Himmel seh', When I gaze up into the sky Seh' ich zwei blaue Augen stehn. I see two blue eyes there. O Weh! Wenn ich im gelben Felde geh', O woe! When I walk in the yellow field, Seh' ich von fern das blonde Haar I see from afar her blond hair Im Winde wehn. waving in the wind. O Weh! O woe! Wenn ich aus dem Traum auffahr' When I start from a dream Und höre klingen ihr silbern' Lachen, and hear the tinkle of her silvery laugh, O Weh! O woe! Ich wollt', ich läg auf der schwarzen Bahr', Would that I lay on my black bier - Könnt' nimmer die Augen aufmachen! that I could never again open my eyes! Useful Information:

- Lieder eines fahrenden Gesellen cycle: o considered by many as Mahler’s first masterpiece o inspired by Kassel Theater singer Johanna Richter

- this is the most “trombonistic” song of the cycle Technical Considerations:

- articulations are crucial to the expression - dynamic extremes, from whispering pp to powerful fff - a few fast 8th-note passages

78

- frequent tempo adjustments throughout Transcription Issues:

- added crescendos/decrescendos for expression and/or to better coordinate with the piano accompaniment (mm. 5-6, 8, 9, 12-13, 14, 15, 22-23, 27-28, 40-42, 46-50, 53-54, 59, 60-61, 62-63)

- added or adjusted dynamic markings for clarity, balance, and/or to better coordinate with the piano accompaniment (mm. 12, 16, 18, 20, 62, 64, 65, 68, 72)

- added accents or tenutos for dramatic expression of the text and/or to continue established melodic patterns (mm. 6, 7, 14-16, 26, 47, 49, 51, 54, 56, 58, 65, 66, 68-71, 73-74)

- changed marcato accents to breath accents throughout for greater note lengths and less percussive attacks

- added or adjusted slur/phrase groupings for dramatic expression of the text and/or to better coordinate with the piano accompaniment (mm. 8-10, 22-23, 28-30, 40-41, 50-51, 56-59, 72)

- shortened dotted-quarter note to an 8th-note for dramatic effect and to allow the left hand music of the piano to come through the texture (m. 11)

- added the long, sustained version of O weh! found in alternate versions of the score (mm. 40-42)

- eliminated one repeated pitch to match one phrase to the previous phrase (m. 48)

- optional muted section for expressive timbral effect (mm. 46-66)

81

Title: Lieder eines fahrenden Gesellen IV: Die zwei blauen Augen (The two blue eyes) Text: Gustav Mahler Composed: 1884 (piano)-1896 (completed orchestral version) Published: both versions, 1897, Josef Weinberger, Vienna Key: E minor, C major, F major-minor Range: A-g’ (1 8v + m7) Length: 5’30 Translation: from http://www.recmusic.org/lieder by Emily Ezust Die zwei blauen Augen von meinem Schatz, The two blue eyes of my darling- Die haben mich in die weite Welt geschickt. they have sent me into the wide world. Da mußt ich Abschied nehmen I had to take my leave vom allerliebsten Platz! of this well-beloved place! O Augen blau, O blue eyes, warum habt ihr mich angeblickt? why did you gaze on me? Nun hab' ich ewig Leid und Grämen. Now I will have eternal sorrow and grief. Ich bin ausgegangen in stiller Nacht I went out into the quiet night Wohl über die dunkle Heide. well across the dark heath. Hat mir niemand Ade gesagt. Ade! To me no one bade farewell. Farewell! Mein Gesell' war Lieb' und Leide! My companions are love and sorrow! Auf der Straße steht ein Lindenbaum, On the road there stands a linden tree, Da hab' ich zum ersten Mal and there for the first time im Schlaf geruht! I found rest in sleep! Unter dem Lindenbaum, Under the linden tree Der hat seine Blüten über mich geschneit, that snowed its blossoms onto me- Da wußt' ich nicht, wie das Leben tut, I did not know how life went on, War alles, alles wieder gut! and all was well again! Alles! Alles, Lieb und Leid All! All, love and sorrow Und Welt und Traum! and world and dream! Useful Information:

- Lieder eines fahrenden Gesellen cycle: o considered by many as Mahler’s first masterpiece o inspired by Kassel Theater singer Johanna Richter

- shares melodic material with Symphony No. 1 movement 3 o trio is taken from the F-major section of the song

- this song ends the Gesellen cycle, in death - the most hauntingly expressive song of the cycle

Technical Considerations:

- frequent soft playing with subtle gradations of volume

82

- tone color plays important role in expression - repeated pitches require sense of direction/syllabic stress - frequent upward slur leaps in soft dynamics (4ths, 5ths, and 6ths)

Transcription Issues:

- added tenutos throughout for syllabic stress/text expression - changed marcato accents to breath accents for greater note lengths and less

percussive attacks (mm. 10, 13-14, 28-29) - added accents to establish melodic patterns and to better coordinate with the

piano accompaniment (mm. 29-31) - added or adjusted dynamics for clarity, expression and/or to better coordinate

with the piano accompaniment (mm. 1, 9, (20), 26, 41, 52, 59) - added or adjusted crescendo/decrescendo patterns for expression and/or to

better coordinate with the piano accompaniment (mm. 7-8, 14-15) - eliminated some repeated pitches for better melodic flow (mm. 2, 11, 19, 51) - adjusted the rhythmic value of some pitches to establish melodic patterns

and/or to better coordinate with the piano accompaniment (mm. 4, 5, 7, 30, 45, 49, 54, 56)

- added, removed or adjusted slur/phrase groupings for expression and/or to better coordinate with the piano accompaniment (mm. 7, 9, 12-15, 20, 21-24, 26-32, 41, 44, 46, 47-48, 52-58)

- added mute to the softest without emotion sections for color and ease of playing (mm. 26-32, 52-end)

- added portamento from melodic treatment in Symphony No. 1 (m. 43) - added breath marks to set up long phrases (mm. 29, 55)

85

Appendix C: First Nine Wunderhorn Settings

This group of songs, the earliest of Mahler’s settings from the collection of folk

poems entitled Des Knaben Wunderhorn,1 was originally published along with his five

earliest surviving songs in one larger collection: Lieder und Gesänge (aus der

Jugendzeit). The Wunderhorn songs comprised volumes two and three of the collection,

while the early songs were released as volume one. Although composed for voice and

piano, there are already hints of orchestrational concepts in the accompaniment

(including imitations of wind instruments, drum rolls and cadences, and trumpet calls).

There is a great variety of subject matter in these songs, ranging from humorous

(“Selbstgefühl”) to tragic (“Nicht wiedersehen!”), with dialogue songs (“Scheiden and

Meiden”) and those with military themes (“Zu Strassburg auf der Schanz’”). This

diversity of expression provides the trombonist with many choices of song transcriptions

to fill a specific need in a recital program.

These first nine Wunderhorn songs are generally shorter and simpler than

Mahler’s later songs, but they are of greater length and stature than the songs in the first

volume of the Lieder und Gesänge that were published along with them. Only one,

“Ablösung im Sommer,” made its way into one of Mahler’s symphonies (it was to

become the main thematic material of the third movement of Symphony No. 3); another,

“Zu Strassburg auf der Schanz’,” was at least partially orchestrated by Mahler.2

1 Lieder eines fahrenden Gesellen I, “Wenn mein Schatz hochzeit macht,” uses a Wunderhorn

poem for part of the song text; see Appendix B above. 2 According to La Grange, “A two-page orchestration of the first quarter of this song exists, but it

breaks off abruptly at the end of the first page (of the piano edition).” Henry-Louis de La Grange, Gustav Mahler: Volume One (New York: Oxford University Press, 1995), 764.

86

Title: Ablösung im Sommer (Changing of the guard in summertime) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: B-flat minor (A minor) Range: f-g’ (1 8v + M2) Length: 1’45’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust Kuckuck hat sich zu Tode gefallen The cuckoo has fallen to its death An einer hohlen Weiden, On a green willow, Kukuk ist tot! Kukuk ist tot The cuckoo is dead! The cuckoo is dead! Wer soll uns jetzt den Sommer lang Who should then the summer long Die Zeit und Weil vertreiben? Help us pass the time? Ei, das soll tun Frau Nachtigall, Oh, that should be Mrs. Nightingale! Die sitzt auf grünem Zweige; She sits on a green branch! Die kleine, feine Nachtigall, The small, fine nightingale, Die liebe, süße Nachtigall! The lovely, sweet nightingale! Sie singt und springt, ist allzeit froh, She sings and springs, is always joyous, Wenn andre Vögel schweigen. When other birds are silent! Wir warten auf Frau Nachtigall, We await Mrs. Nightingale, Die wohnt im grünen Hage, Who lives in a green glen, Und wenn der Kukuk zu Ende ist, And when the cuckoo call is at its end, Dann fängt sie an zu schlagen! Then does she begin to sing! Useful Information:

- this song is used as the main thematic material for Symphony No. 3, mvt. 3 - humorous text deals with the changing of seasons represented by the end of the

cuckoo’s song and the start of the nightingale’s singing - the two birds’ songs can be heard in the distinct melodic writing of the two

sections of the form - most of the nightingale’s coloratura singing is actually in the piano right-hand

part, not the voice part3 Technical Considerations:

- distinct style (articulation) differences between the Cuckoo section (begins m. 3) and the Nightingale section (begins m. 35)

- following the suggested articulation and dynamic markings to reflect text phrasing - mainly p and pp dynamic levels

3 Paul Hamburger, “Mahler and Des Knaben Wunderhorn.” In The Mahler Companion, ed. Donald Mitchell and Andrew Nicholson, chapter 3 (New York: Oxford University Press, 1999), 68.

87

Transcription issues: many adjustments based on the examination of Symphony No. 3 mvt. 3 - altered the rhythm in mm. 3, 4, 5, 6 - added trill in m. 3 and grace note in m. 5 - adjusted articulations to match orchestral melody lines (mm. 3-13, 17-21, 27-31,

35-47) - adjusted articulations to continue orchestral pattern (mm. 50-58) - added cresc./decresc. to reflect the text in mm. 6-9, 12-13, 38-39, 46-47, 53-54,

57-58 - added pp marking in m. 41 - added articulation for syllabic stress in mm. 21, 31, 54

90

Title: Aus! Aus! (Out! Out!/Over! Over!) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: E-flat major/minor (C) Range: e-flat (d-sharp)-a-flat’ (1 8v + P4) Length: 2’30” Translation: by Stanley Applebaum, taken from the Dover publication Des Knaben Wunderhorn and the Rückert Lieder "Heute marschieren wir! “Today we are marching, Juch-he, im grünen Mai! Hurray, in the green Maytime! Morgen marschieren wir Tomorrow we are marching Zu dem hohen Tor hinaus, Out through the high town gate, Zum hohen Tor hinaus! Aus!" Out through the high town gate! Out!” "Reis'st du denn schon fort? “Are you leaving already? Je, je! Mein Liebster! Oh, oh, my darling! Kommst niemals wieder heim? Are you never coming back home? Je! Je! Mein Liebster?" Oh, oh, my darling!” "Heute marschieren wir, “Today we are marching, Juch-he, im grünen Mai! Hurray, in the green Maytime! Ei, du schwarzbraun's Mägdelein, Ah, you dark-haired girl, Uns're Lieb' ist noch nicht aus, Our love is not yet over, Die Lieb' ist noch nicht aus, aus! Love is not yet over! Over! Trink' du ein Gläschen Wein Drink a glass of wine Zur Gesundheit dein und mein! To your health and mine! Siehst du diesen Strauß am Hut? Do you see this plume on my hat? Jetzo heißt's marschieren gut! Now it’s time to march as if we meant it! Nimm das Tüchlein aus der Tasch', Take the handkerchief out of my pocket, Deine Tränlein mit abwasch'! Dry away your tears with it! Heute marschieren wir! Today we are marching! Juch-he, im grünen Mai! Hurray, in the green Maytime! Morgen marschieren wir Tomorrow we are marching Juch-he, im grünen Mai!” Hurray, in the green Maytime!” "Ich will in's Kloster geh'n, “I shall enter a convent Weil mein Schatz davon geht! Because my sweetheart is leaving! Wo geht's denn hin, mein Schatz? Where are you off to, darling? Gehst du fort, heut schon fort? Are you leaving as early as today? Und kommst nimmer wieder? And never coming back?

91

Ach! Wie wird's traurig sein Ah, how gloomy it will be Hier in dem Städtchen! Here in town! Wie bald vergißt du mein! How soon will you forget me, Ich! Armes Mädchen!" Poor girl that I am?” "Heute marschieren wir! “Today we are marching, Juch-he, im grünen Mai! Hurray, in the green Maytime! Tröst dich, mein lieber Schatz, Console yourself, my dear sweetheart, Im Mai blüh'n gar viel Blümelein! Many a flower blooms in May! Die Lieb' ist noch nicht aus! Love is not yet over! Aus! Aus! Aus! Aus!" Over, over…!” Useful Information:

- one of several marching texts Mahler set to music - a dialogue between the soldier who is marching off and his sweetheart who is

afraid she’ll be forgotten - the bold lines of the soldier are contrasted with the lyrical, melodramatic phrases

(marked to be performed with parody) of the worried girl - the title is also a play on words: one text phrase ends with the line “Out through

the high town gate! Out!” (hinaus! Aus!) while another ends “Our love is not yet over, over!” (nicht aus, aus!)

- uses a traditionally instrumental rondo form (ABA1CA2DB2A3Coda)4 Technical Considerations:

- some quick technical passages (16ths, 32nds, mordent) - several key changes (e-flat major, b major, e-flat minor, back to e-flat major) - distinct style/dynamic changes

Transcription Issues:

- changed marcato accents to breath accents to imply longer note lengths on certain text syllables (i.e., heu–te, m. 1); also, mm. 5, 19, 41, 67

- added tenuto marks for syllabic stress in mm. 2, 6, 20, 24, 42, 45, 46, 68, 71, 72 - added breath marks to reflect punctuation in mm. 2, 20, 24, 26, 42, 46, 68, 72 - adjusted articulation to match piano in section mm. 29-40 - adjusted articulation to match piano in section mm. 49-66 (exception: left out slur

and added breath mark in m. 56 for ease of breathing) - added slur from m. 4 to m. 5 for extra emphasis of the only repeated loud phrase - added breath mark in m. 6 to allow for the added crescendo in mm. 7-9; also

added crescendo in mm. 73-74 - added cresc./decresc. pattern in mm. 11-18 to reinforce phrasing; also in mm. 29-

32

4 Zoltan Roman, “Structure as a Factor in the Genesis of Mahler’s Songs,” The Music Review 35

(1974): 163.

94

Title: Ich ging mit Lust durch einen grünen Wald (I walked with delight through a green forest) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: D major (C major) Range: A-g’ (1 8v + m7) Length: 3’15’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust Ich ging mit Lust durch einen grünen Wald, I walked with joy through a green wood; Ich hört' die Vöglein singen; I heard the birds singing. Sie sangen so jung, they sang so youthfully, sie sangen so alt, they sang so maturely, Die kleinen Waldvögelein im grünen Wald! those small birds in the green wood! Wie gern hört' ich sie singen! How gladly I listened to their singing! Nun sing, nun sing, Frau Nachtigall! Now sing, now sing, Lady Nightingale! Sing du's bei meinem Feinsliebchen: sing by my sweetheart's house: Komm schier, wenn's finster ist, just come when it's dark, Wenn niemand auf der Gasse ist, when no one is on the street - Dann komm zu mir! then come to me! Herein will ich dich lassen! I will let you in. Der Tag verging, die Nacht brach an, The day was gone, night fell; Er kam zu Feinsliebchen gegangen. he went to his sweetheart. Er klopft so leis' wohl an den Ring: He knocks so softly on the ring: "Ei schläfst du oder wachst mein Kind? "Eh, are you sleeping or awake, my dear? Ich hab so lang gestanden!" I have been standing here so long!" Es schaut der Mond The moon gazes durchs Fensterlein through the little window, zum holden, süßen Lieben, at this tender, sweet love; Die Nachtigall sang die ganze Nacht. the nightingale sang the whole night. Du schlafselig Mägdelein, You sleepy maiden, nimm dich in Acht! stay alert! Wo ist dein Herzliebster geblieben? Where is your beloved staying? Useful Information:

- Mahler made adjustments to the text, and there are several different interpretations in various translations.

- “Within eight bars we take in the depth of the wood (in the bass), the height of the trees (in the rising triad), the walker pricking up his ears, and, in the piano’s twiddly bits, the birdsong.”5

5 Hamburger, 65.

95

Technical Considerations:

- gentle, soft playing throughout - upward arpeggiated slurs - upward slur leaps (6ths, 7ths, octaves, and 9ths) - occasional fast passages (several 16th-note runs/arpeggios and one pair of 32nds)

Transcription Issues:

- added or extended slurs to match the piano accompaniment (mm. 1-5, 9-13, 18-25, 30-34, 38-42, 47-54, 59-63, 67-71, 81-86, 89-93, 98-105)

- added tenutos to reflect syllabic stress and note length (mm. 6, 16, 17, 35, 45, 46, 72, 73, 74, 76, 96, 97)

- added crescendo/decrescendo patterns to reflect phrasing (mm. 6-7, 20-25, 35-36, 48-54, 60-63, 67-71, 73-74, 77, 99-105)

- adjusted/added dynamics to create a climax (although only mp) and an echo effect on a repeated text phrase (mm. 71-77)

98

Title: Nicht wiedersehen! (No reunion!) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: C minor (B minor) Range: B to g’ (1 8v + m6) Length: 4’30’’ Translation: from http://www.recmusic.org/lieder by David Ashman "Und nun ade, mein herzallerliebster Schatz, "And now, farewell, my darling treasure, Jetzt muß ich wohl scheiden von dir, now I must leave you, Bis auf den andern Sommer, until next summer, Dann komm ich wieder zu dir." when I shall return to you." Und als der junge Knab heimkam, And as the youth returned home, Von seiner Liebsten fing er an: he thought of his beloved: "Wo ist meine Herzallerliebste, "Where is my love, Die ich verlassen hab?" whom I have left?" "Auf dem Kirchhof liegt sie begraben, "She is buried in the churchyard, Heut ist's der dritte Tag. today is the third day. Das Trauern und das Weinen Her mourning and crying Hat sie zum Tod gebracht." has killed her." "Jetzt will ich auf den Kirchhof gehen, "Now I shall go to the churchyard, Will suchen meiner Liebsten Grab, to look for my beloved's grave, Will ihr allweil rufen, and will call out for her Bis daß sie mir Antwort gibt. until she answers. Ei, du mein herzallerliebster Schatz, O, my darling treasure, Mach auf dein tiefes Grab, open up your grave, Du hörst kein Glöcklein läuten, you cannot hear the bells tolling, Du hörst kein Vöglein pfeifen, you cannot hear the birds singing, Du siehst weder Sonne noch Mond!" you can see neither sun nor moon!" Useful Information:

- passionate, deeply sad song allows for beautifully expressive playing - minor tonality (sometimes even using a lowered second scale degree) reflects the

great sadness of two lovers parting, one of whom literally dies from grief - brief moment of major tonality as the returning youth speaks directly to his

beloved at her gravesite - this song is “what Germans call ‘eine Moritat’; a lugubrious street ballad of so

ominous an opening that its tragic end is foreseen at once”6

6 Ibid., 70.

99

- uses symbolization: the rhythm and fourth interval represent military aspects, the descending contour and minor mode represent sadness7

Technical Considerations:

- full dynamic spectrum from softest to loudest playing - long phrases challenge breath control - requires exquisite legato and expressive phrasing

Transcription Issues:

- added long phrase/legato markings throughout to match the piano accompaniment - eliminated some rests at phrase endings to match the rhythm of the piano

accompaniment (mm. 36, 37, 56, 63, 64, 68) - added breath marks to set up the suggested long phrases without interruptions for

breathing (mm. 9-13 and 33-37) - eliminated some repeated pitches for better melodic flow (mm. 4, 6, 28) - added one repeated pitch to create a melodic/rhythmic pattern suggested by the

original voice part (m. 49) - added crescendo/decrescendo pattern in mm. 47-48 to reflect text phrasing - changed marcato accents to breath accents throughout to imply greater note

lengths and less harsh attacks; purposefully left the final marcato accent to imply the hardest attack on the final note (A-de!)

7 David Harold McShane, “Gustav Mahler’s ‘Des Knaben Wunderhorn’ Lieder.” (D.M.A. Thesis,

University of Texas at Austin, 1985), 69.

102

Title: Scheiden and Meiden (Parting and staying apart) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: F major (G major) Range: c-g’ (1 8v + P5) Length: 2’00’’ Translation: by Stanley Applebaum from the Dover publication Des Knaben Wunderhorn and the Rückert Lieder Es ritten drei Reiter Three horsemen rode out zum Tor hinaus, through the gate! Ade! Farewell! Feins Liebchen Dear sweetheart schaute zum Fenster hinaus, looked out the window! Ade! Farewell! Und wenn es denn soll geschieden sein, And if we really must part, So reich mir dein goldenes Ringelein. then hand me your little gold ring! Ade! Ade! Ade! Farewell! Farewell! Farewell! Ja scheiden und meiden tut weh. Yes, parting and staying apart hurts! Es scheidet das Kind Even the baby in the cradle wohl in der Wieg, is sometimes taken from us! Ade! Farewell! Wenn werd ich mein Schätzel wohl kriegen? When will I get my darling back? Ade! Farewell! Und ist es nicht morgen, And, if it’s not tomorrow, ach, wär es doch heut, I wish it were today! Es macht uns allbeiden It surely would give us both gar große Freud, great pleasure! Ade! Ade! Ade! Farewell! Farewell! Farewell! Ja scheiden und meiden tut weh. Yes, parting and staying apart hurts! Useful Information:

- several alternating moods: o “a bold farewell gesture towards the girl while the hooves thunder on in

relentless dotted rhythm” o “reflecting on the words ‘Yes, to say farewell and forgo causes pain!’,

where the dotted rhythm momentarily ceases” o “another, with the rhythm but in a muted piano in the tonic minor, first

clothing the words ‘If then we have to part…’, then, rather eerily, ‘the child in the cradle says already farewell’”8

- “alternations between major and minor, sometimes within a very short space (as in bars 15-18), like the wide variations in dynamics, make the mood of the song

8 Hamburger, 69-70.

103

seem somewhat mercurial, and are perhaps an indication that its sadness is not to be taken too seriously”9

Technical Considerations:

- meter alternates between 2/4 and 6/8 (sometimes 2/4 melody against 6/8 accompaniment)

- expressive tempo adjustments throughout - frequent use of upward octave leaps (n.b. mm. 64-68) - frequent volume and articulation changes are used to create or reinforce

expression of the text Transcription Issues:

- breath marks added to separate text phrases (mm. 6, 68, 75) - marcato accents changed to breath accents throughout to imply greater note length

and less harsh attacks (exceptions: mm. 29 and 35–final note accents should remain crisp and short)

- marcato marking added in m. 61 - accents added to match the piano accompaniment (mm. 53 and 58) - tenutos added to match the piano accompaniment (mm. 19, 34, 47) - slurs added or extended to match the piano accompaniment (mm. 26-28, 30, 33-

34, 50-52, 56-59, 73-74) - dynamics added/adjusted for expression or to match the piano accompaniment

(mm. 10-11, 13-14, 33, 68)

9 E. Mary Dargie, Music and Poetry in the Songs of Gustav Mahler (Bern, Frankfurt am Main, Las

Vegas: Peter Lang, 1981), 137.

106

Title: Selbstgefühl (Self-awareness) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: F major (G major) Range: G-g’ (2 8vs) Length: 1’15’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust Ich weiss nicht, wie mir ist! I do not know what's wrong with me, Ich bin nicht krank und nicht gesund, I am not ill, yet I am not well; Ich bin blessirt und hab' kein' Wund', I've been injured, yet I have no wound, Ich weiss nicht, wie mir ist! I do not know what's wrong with me! Ich tät gern essen und schmeckt mir nichts; I love to eat, but can taste nothing; Ich hab' ein Geld und gilt mir nichts, I have some money but it does no good; Ich weiss nicht, wie mir ist! I do not know what's wrong with me! Ich hab' sogar kein' Schnupftabak, I don't even have any snuff, Und hab' kein Kreuzer Geld im Sack, And have not a farthing in my pocket, Ich weiss nicht wie mir ist! I do not know what's wrong with me! Heiraten tät ich auch schon gern', I would gladly get married, Kann aber Kinderschrei'n nicht hör'n! But I can't stand children’s screaming. Ich weiss nicht, wie mir ist! I do not know what's wrong with me! Ich hab' erst heut' den Doktor gefragt, Just today I asked the doctor, Der hat mir's in's Gesicht gesagt: Who told me to my face: "Ich weiss wohl, was dir ist, was dir ist: "I know well what's wrong with you: Ein Narr bist du gewiß!" A fool you certainly are!" "Nun weiss ich, wie mir ist!" Now I know what's wrong with me!" Useful Information:

- silly, playful, fun to perform - “vexatious” (annoyed/irritated) tone marked at the beginning needs to leave room

for the truly “angry” mood at m. 31 - “Most of the melodic devices used exaggerate the playful image which stems

from the poetry; o (1) a basic arpeggiated melodic movement, o (2) sing-song treatment of “Ich weiss nicht” (m. 1), o (3) octave displacement (mm. 13-14, 19-25, etc.), o (4) “cry-baby” descending chromatic line (m. 33), o (5) peculiar choice of pitches (mm. 15 and 35), and o (6) the final phrase which ends on the subdominant”10

10 McShane, 75.

107

- “sudden dynamic changes, not uncommon in this piece, in the greatest sense delineate the comic nature of the fool”11

Technical Considerations:

- slide technique and breath control can be a challenge at a fast tempo - frequent dynamic alterations between p and f - uses wide upward interval leaps, both tongued and slurred

Transcription Issues:

- added and altered notes in the trombone part to complete the melodic line as outlined in the piano accompaniment (mm. 4, 32-35, 40, 48, 52)

- added tenutos to match piano accompaniment length and/or reinforce the syllabic stress of the text (mm. 5, 7, 11, 17, 19, 23, 28-30, 38, 40, 42, 43-45, 50, 54)

- changed marcato accents to breath accents throughout to imply greater note length and less percussive attacks

- added, eliminated or adjusted slur groupings to match the piano accompaniment (mm. 2, 7, 8, 10, 15, 16, 17, 19, 23, 48-50, 52-55)

- added the fp and crescendo in mm. 31-34 to better coordinate with the piano accompaniment and express the change in mood

11 Ibid., 81-82.

110

Title: Starke Einbildungskraft (A vivid imagination) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: A major (C major) Range: g-g’ (1 8v) Length: 1’00’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust Mädchen: Girl: Hast gesagt, du willst mich nehmen, You said that you wanted to take me, So bald der Sommer kommt! As soon as summer came! Der Sommer ist gekommen, ja kommen, The summer has come, yes come, Du hast mich nicht genommen, ja nommen! But you have not taken me, not taken me! Geh', Büble, geh'! Geh', nehm' mich! Hey, boy! Take me! Gelt, ja? Gelt, ja? Eh, yes? Won't you? Gelt, ja du nimmst mich noch? Won't you take me yet? Büble: Boy: Wie soll ich dich denn nehmen, Why should I then take you, Dieweil ich doch schon hab'? If I already have you? Und wenn ich halt an dich gedenk', When I think of you, So mein' ich alle weile: It seems to me the entire time, Ich wär' schon bei dir! That I am already with you! Useful Information:

- humorous little song - one singer takes on both roles of a duet, in this case a girl and a boy - melody line associated with each character has slightly different qualities

reflected in the dynamics, rhythm, and range - “There is a pun here on ‘nehmen’, meaning (decently) to propose marriage and

(more crudely) to tumble a lass–an ambiguity absent in the English ‘to take’.”12 - music reflects “in its own character the naivety which forms such an essential

background to the humour of the words”13 o piano introduction like a child’s piece (2 parts, scale/arp. based) o generally simple rhythms and harmonies

- the girl’s words end in a musical question (half-cadence), boy’s statement has finality14

12 Hamburger, 67. 13 Dargie, 212. 14 Ibid., 213.

111

Technical Considerations: - achieving the desired “humorous” effect through careful application of the style,

articulation, dynamic, and tempo markings - frequent and often sudden dynamic changes

Transcription Issues:

- eliminated some repeated pitches to create better melodic flow and provide contrast between the two verses (mm. 4, 5, 15, 16, 18)

- added or lengthened slurs to complement piano accompaniment and/or reinforce strong/weak syllable relationships in the text (mm. 4, 6-8, 9-10, 12, 13-14, 15-16, 17, 18)

- added tenutos throughout to reinforce the syllabic stress of the text and the general emphasis of beats one and three

- added crescendos and decrescendos to give direction and shape to the phrasing (mm. 4, 5, 9, 10, 12, 13, 14, 15, 16)

- changed the quarter notes to eight notes followed by eighth rests in m. 11 to match the piano accompaniment

- added leggiero to better reflect the light, buoyant style

113

Title: Um schlimme Kinder artig zu machen (To make naughty children well-behaved) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: D major (E major) Range: A-a’ (2 8vs) Length: 1’45’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust Es kam ein Herr zum Schlösseli There came a gentleman up to the castle, Auf einem schönen Röss'li, riding on a handsome horse, Ku-ku-kuk, ku-ku-kuk! (Cuckoo, cuckoo!) Da lugt die Frau zum Fenster aus The woman peeps out of the window Und sagt: "Der Mann ist nicht zu Haus, and says, "My husband is not home, Und niemand heim als meine Kind', and no one is here but my children, Und's Mädchen ist auf der Wäschewind!" and the maid is at her washing!" Der Herr auf seinem Rösseli The gentleman on his horse Sagt zu der Frau im Schlösseli: says to the woman in the castle: Ku-ku-kuk, ku-ku-kuk! (Cuckoo, cuckoo!) "Sind's gute Kind', "Are they good children, sind's böse Kind'? or are they naughty children? Ach, liebe Frau, ach sagt geschwind," Ah, dear woman, tell me quickly!" Ku-ku-kuk, ku-ku-kuk! (Cuckoo, cuckoo!) "In meiner Tasch' für folgsam Kind', "In my pocket, for obedient children, Da hab' ich manche Angebind," I have there many presents." Ku-ku-kuk, ku-ku-kuk! (Cuckoo, cuckoo!) Die Frau die sagt: The woman says: "Sehr böse Kind'! "Very naughty children! Sie folgen Mutter nicht geschwind, They don't obey their mother quickly; Sind böse, sind böse!" they're naughty, they're naughty!" Da sagt der Herr: Then the gentleman says: "So reit' ich heim, "Then I will ride home, Dergleichen Kinder brauch' ich kein'!" for I have nothing to give these children!" Ku-ku-kuk, ku-ku-kuk! (Cuckoo, cuckoo!) Und reit' auf seinem Rösseli And he rides his horse Weit, weit entweg vom Schlösseli! far, far away from the castle! Ku-ku-kuk, ku-ku-kuk! (Cuckoo, cuckoo!)

114

Useful Information: - this jaunty children’s song makes the point (through bribery, of course) that good

children will receive unexpected presents, while naughty children will be left wanting

- “Cuckoo” motive is a bouncy descending slur, most frequently on the tonic arpeggio (short-long-short – do-sol-mi)

o also used on other text that falls in the same place within the phrase structure.

- “Make this as spirited and rousing as you can . . . the dynamic changes should be greatly accented”15

- this is “delicious music, with its comically plodding hoof-steps and crudely Alpine harmony sharpened up by ‘knowing’ dissonances”16

Technical Considerations:

- frequent subito dynamic changes - frequent interval leaps in both directions, sometimes as wide as a tenth - nearly constant eighth-note motion with a few brief sixteenth-note runs

Transcription Issues:

- added leggiero to reflect style and avoid numerous staccato markings - added slurs throughout on the dotted eighth-sixteenth-eighth note and quarter-

eighth note motives to match the piano accompaniment (i.e., mm. 5 and 6) - replaced the and-of-four pickup eighth notes with eighth rests in mm. 7 and 26 to

match the piano accompaniment - all breath marks have been added to reflect the original text phrasing - added the “tags” found in the piano part at the end of each verse to give finality to

the melodic line (mm. 19-20 and 38-39) - added ornamentation to the melodic line to provide some variation between verses

one and two (mm. 27, 28, 36, 37)

15 Gustav Mahler, Mahler Songs for Trumpet: 12 Lyrical Sketches Drawn from the Songs of

Gustav Mahler. Arranged by Robert Thompson (Vienna: UE Publishing Musikverlags GmbH, 1999), 18. 16 Hamburger, 65.

117

Title: Zu Strassburg auf der Schanz’ (In Strassburg on the rampart) Text: Des Knaben Wunderhorn Composed: 1887-1891 Published: 1892 by Schott of Mainz Key: F minor-B-flat major (G-C) Range: A-g’ (1 8v + m7) Length: 3’30’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust Zu Straßburg auf der Schanz, In Strassburg on the rampart, Da ging mein Trauern an; there began my troubles: Das Alphorn hört' ich I heard the alp-horn drüben wohl anstimmen, calling from afar, Ins Vaterland mußt ich hinüberschwimmen, and decided to swim to my fatherland. Das ging ja nicht an. That was unacceptable. Ein Stunde in der Nacht One hour in the night Sie haben mich gebracht; they captured me; Sie führten mich gleich they led me straight vor des Hauptmanns Haus, to Captain's house, Ach Gott, ah God, sie fischten mich im Strome auf, they'd fished me right out of the river, Mit mir ist's aus. and everything's over for me. Frühmorgens um zehn Uhr The next morning at ten Stellt man mich vor das Regiment; they'll place me before the regiment; Ich soll da bitten um Pardon, I am supposed to beg for my pardon, Und ich bekomm doch meinen Lohn, and I will receive what's coming to me, Das weiß ich schon. that I know well. Ihr Brüder allzumal, You, my brothers all, Heut' seht ihr mich zum letztenmal; today you'll see me for the last time; Der Hirtenbub ist nur schuld daran, the shepherd boy is alone to blame. Das Alphorn hat mir's angetan, The alp-horn did this to me- Das klag ich an. thus I charge it. Useful Information:

- militaristic elements include the march tempo and the drum cadence-like motive heard in the first melodic entrance and throughout the piece

- percussive, rhythmic sections alternate with more lyrical lines that create wonderful expressive contrast

- elements of the poetic imagery are written into the piano accompaniment o play like a chalumeau (reeded wind, folk instrument) o imitations of drums o switches to major when addressing his brothers-in-arms

118

- “pp head voice needed for the ghostly final section”17 Technical Considerations:

- uses a wide dynamic range, including subito changes and short, fast crescendos and decrescendos

- requires careful attention to articulation markings for expression - the highest notes are in the softest lyrical section

Transcription Issues:

- changed dotted-eighth/sixteenth motive to eighth-note/eighth-rest/sixteenth-note throughout to match the piano accompaniment and reinforce the percussive character (exceptions: lyrical passages in mm. 31 and 41-42)

- changed marcato accents to breath accents throughout to allow greater note lengths and less percussive attacks

- added or adjusted articulations and slur/phrase groupings throughout to better coordinate with the piano accompaniment

- eliminated some repeated pitches to create better melodic flow and/or match the piano accompaniment (mm. 7, 19, 54, 56)

- changed the rhythm in m. 18 to match the opening “cadence” motive - added breath marks in the main lyrical sections to reflect the original text phrasing

(mm. 45 and 47)

17 Ibid., 68.

121

Appendix D: Fünf Humoresken

Fünf Humoresken were composed in 1892, and they are the first of Mahler’s

orchestrated Wunderhorn songs. There is some debate over the reason for his choice of

label (“Humoresken”) for these pieces, and at first glance at least some of the songs may

not seem humorous at all. Mahler compared the Humoresken to his earlier Wunderhorn

songs in a letter to his sister, Justi, by saying “They are stranger still than the former

ones; they are all ‘humor,’ in the best and truest sense of the word.”1 La Grange believes

that Mahler’s label can be understood in accordance with the philosophy of Jean Paul:

The romantic novelist Jean Paul, in his Vorschule der Ästhetik (Elementary Aesthetics), defines humour in literature and music as the effect of a destructive idea (vernichtende Idee) which expresses contempt for the world. He speaks in this context of Keckheit (cheek, effrontery), and the indication keck (cheekily) is often found at the beginning of Mahler’s Lieder, or sometimes even over particular passages. . . . it seems clear that he [Mahler] was not thinking of a new vocal genre, but meant to define the character, the contents of these songs, and that his idea of ‘humour’ came very close to Jean Paul’s definition.2

Like the earlier Wunderhorn songs with piano, there is a great variety of subject

matter in the poetry of this collection: “Das himmlische Leben” extols the wonderfully

earthy pleasures of singing, dancing, and eating that are enjoyed in heaven; “Der

Schildwache Nachtlied” is a dark, military-themed song; “Trost im Unglück” is a

dialogue song between disgruntled lovers; “Verlorne Müh’” is another dialogue song, this

time between a rather forward lassie and a resistant lad; and “Wer hat dies Liedlein

erdacht?” is a playful Ländler in which the geese will whistle you the song if you can’t

sing it. Each song has its own distinct musical style, presenting unique possibilities and

challenges for the trombonist. The four songs I have transcribed from this set (leaving out

1 Henry-Louis de La Grange, Gustav Mahler: Volume One (New York: Oxford University Press,

1995), 250. 2 Henry-Louis de La Grange, Gustav Mahler Volume 2 –Vienna: The Years of Challenge (New

York: Oxford University Press, 1995), 731.

122

“Das himmlische Leben”) 3 are not intended as a cycle, although they could be performed

as a group.

3 “Das himmlische Leben” is the only one of Mahler’s Wunderhorn songs that I did not transcribe;

it relies heavily on the text for its expression, it makes use of frequent repeated pitches, and it shares significant thematic material with “Es sungen drei Engel einen süssen Gesang,” which was transcribed. Coincidentally, Dargie believes that Mahler may have intentionally left “Das himmlische Leben” out of the reissued collection of Wunderhorn songs; because it was so strongly connected to the 4th Symphony, perhaps he no longer wanted it performed as a solo song. E. Mary Dargie, Music and Poetry in the Songs of Gustav Mahler (Bern, Frankfurt am Main, Las Vegas: Peter Lang, 1981), 250-251.

123

Title: Der Schildwache Nachtlied (The sentinel’s night song) Text: Des Knaben Wunderhorn Composed: 1892 Published: 1899 by Weinberger, Vienna Key: B-flat major (C major) Range: A-g’ (1 8v + m7) Length: 6’00’’ Translation: from http://www.recmusic.org/lieder by Emily Ezust "Ich kann und mag nicht fröhlich sein; "I cannot and may not be merry; Wenn alle Leute schlafen, when everyone is asleep, So muß ich wachen, I must keep watch, Muß traurig sein." and be mournful." "Ach Knabe, du sollst nicht traurig sein, "Ah, lad, you shouldn't be sad, Will deiner warten, for I will wait for you Im Rosengarten, in the rosegarden, Im grünen Klee." in the green clover." "Zum grünen Klee, da komm ich nicht, "To the green clover, I do not come; zum Waffengarten to the weapons garden, Voll Helleparten full of halberds, Bin ich gestellt." I have been posted." "Stehst du im Feld, "If you are in the battlefield, so helf dir Gott, may God help you! An Gottes Segen On God's blessing Ist alles gelegen, is everything dependent, Wer's glauben tut." he who believes it." "Wer's glauben tut, ist weit davon, "He who believes it is far away. Er ist ein König, He is a king, Er ist ein Kaiser, he is an emperor, Er führt den Krieg." and he makes war." Halt! Wer da? Rund! Halt! Who's there? Turn around! Bleib' mir vom Leib! Stand back! Wer sang es hier? Who sang here? Wer sang zur Stund'? Who was singing this hour? Verlorne Feldwacht A solitary field sentinel Sang es um Mitternacht. was singing at midnight. Mitternacht! Feldwacht! Midnight! Field sentinel!

124

Useful Information: - first of the orchestrated Wunderhorn songs - undertones of anti-war sentimentality - has a duet-like character

o fanfare or march-like sections are the actual singing of the sentinel o tender, lyrical passages are a response from an unseen/imagined lover

- possibly a surviving fragment from an abandoned opera project with Karl Weber, 18884

Technical Considerations:

- bold, fanfare-like statements alternate with very gentle, lilting melodic lines - indications for both dynamic extremes: ppp and fff - the softest phrases include leaps up to g’ - frequent tempo and meter changes

Transcription Issues:

- accents added to correspond to the piano accompaniment (mm. 2, 3, 11, 12, 32, 33, 64, 65, 75, 80, 103, 104, 105)

- accents added to maintain patterns or reflect style (mm. 40, 71, 72) - marcato accents changed to breath accents throughout to reflect greater note

lengths and less percussive attacks - slurs added or extended to connect strong-weak syllable combinations (mm. 6,

8, 9, 12, 25, 36, 38-39, 57, 69, 71, 72) - slurs added to continue the lilting pattern in the softly and tenderly sections;

these are also strong-weak syllable combinations (mm. 17, 20, 22, 52, 53, 54) - tenutos added to reinforce the “lightly accentuated” instruction (mm. 98-end) - dynamics added or adjusted to reinforce text expression and better coordinate

with the piano accompaniment (mm. 5-9, 11-12, 23-25, 35-45, 55-57, 69, 72, 74, 78-79, 82-83, 98)

- tenuto added to reflect length and weight on the last note of the phrase (m. 58) - decreased dynamic from f to mf for greater contrast (m. 64) - added mute in the final sempre ppp section for timbral effect and greater ease

of playing (mm. 98-end)

4 La Grange, Gustav Mahler: Volume One, 171.

127

Title: Trost im Unglück (Solace in sorrow) Text: Des Knaben Wunderhorn Composed: 1892 Published: 1899 by Weinberger, Vienna Key: A major (G major) Range: A-f-sharp’ (1 8v + M6) Length: 2’30” Translation: from http://www.recmusic.org/lieder by Emily Ezust Husar: Hussar: Wohlan! Die Zeit ist kommen! Well, the time has come! Mein Pferd, das muß gesattelt sein! My horse, it must be saddled! Ich hab' mir's vorgenommen, I've resolved it, geritten muß es sein! and away must I ride. Geh' du nur hin! Ich hab' mein Teil! Off you go! I have my part! Ich lieb' dich nur aus Narretei! I love you only out of foolishness! Ohn' dich kann ich wohl leben, ja leben! Without you, I can well live, yes, live! Ohn' dich kann ich wohl sein! Without you I can well exist! So setz' ich mich auf's Pferdchen, So I'll sit upon my horse und trink' ein Gläschen kühlen Wein, and drink a glass of cool wine, und schwör's bei meinem Bärtchen: and swear by my beard dir ewig treu zu sein! to be eternally true to you! Mädchen: Maiden: Du glaubst, du bist der Schönste You believe you are the handsomest man wohl auf der ganzen weiten Welt, in the whole wide world, und auch der Angenehmste! and also the nicest! Ist aber weit, weit gefehlt! But you are far, far off the mark! In meines Vaters Garten In my father's garden wächst eine Blume drin: grows a flower: so lang' will ich noch warten I will wait only bis die noch größer ist. until it grows bigger. Und geh' du nur hin! Ich hab' mein Teil! And off you go! I have my part. Ich lieb' dich nur aus Narretei! I love you only out of foolishness! Ohn' dich kann ich wohl leben, Without you, I can well live, ohn' dich kann ich wohl sein! Without you I can well exist! Beide: Both: Du denkst, ich werd' dich nehmen! You think I'll take you! Das hab' ich lang' noch nicht im Sinn! I will not think of that for a long time! Ich muß mich deiner schämen, I must be ashamed of you wenn ich in Gesellschaft bin! when I am in society!

128

Useful Information: - Mahler’s suggested metronome mark is quarter note=100 “which, though a

little brisk, is fine, as long as Mahler’s ‘Etwas mässiger’ (‘A little slower’), as appears in the piano version, is observed.”5

- uses both military and hunting music in the melody and accompaniment6 Technical Considerations:

- two characters represented in the text - switches between duple and triple metrical groupings with a steady pulse - detailed articulation and dynamic markings should be followed to express the

various moods - a few tricky 16th-note runs

Transcription Issues:

- tenutos and slurs added or extended to reinforce syllabic stress and style (mm. 15-19, 21, 27, 37-42, 90, 92)

- adjusted rhythm, articulation and/or phrasing to better coordinate with the piano accompaniment (mm. 28-31, 42, 44-46, 54-78, 87, 89, 95-98)

- added an accent to match the later versions of a recurring phrase (m. 19) - added or adjusted dynamics for expression and to better coordinate with the

piano accompaniment (mm. 34, 36, 44, 54, 66-70, 94-98) - changed marcato accents to breath accents to imply greater note lengths and

less percussive attacks (mm. 19, 25, 26, 28, 30, 31, 42, 62, 70, 77, 92, 97) o exception: kept mm. 71-72 for percussive, short style

5 Paul Hamburger, “Mahler and Des Knaben Wunderhorn.” In The Mahler Companion, ed.

Donald Mitchell and Andrew Nicholson, chapter 3 (New York: Oxford University Press, 1999), 75. 6 Dargie, 150-151.

131

Title: Verlorne Müh’ (Labor lost) Text: Des Knaben Wunderhorn Composed: 1892 Published: 1899 by Weinberger, Vienna Key: A major/minor (G maj/min) Range: c-sharp-g-sharp’ (1 8v + P5) Length: 3’00” Translation: from http://www.recmusic.org/lieder by Emily Ezust Sie: She: Büble, wir wollen außre gehe! Laddie, let's go out! Wollen wir? Unsere Lämmer besehe? Shall we? To look at our lambs? Komm', lieb's Büberle, Come, dear laddie! komm', ich bitt'! Come, I beg you! Er: He: Närrisches Dinterle, Silly lassie, ich geh dir holt nit! I won't go with you! Sie: She: Willst vielleicht ä bissel nasche? You want maybe a bit to nibble? Hol' dir was Fetch yourself something aus meiner Tasch'! out of my pocket! Hol', lieb's Büberle, Fetch it, dear laddie! hol', ich bitt'! Fetch it, I bet you! Er: He: Närrisches Dinterle, Silly lassie, ich nasch' dir holt nit! I don't want to nibble anything! Nothing! Sie: She: Gelt, ich soll mein Herz dir schenke!? Ah, shall I give you my heart? Immer willst an mich gedenke!? so you'll always think of me? Nimm's! Lieb's Büberle! Take it! Dear laddie, Nimm's, ich bitt'! Take it, I beg you! Er: He: Närrisches Dinterle, Silly lassie, ich mag es holt nit! I don't want it!

132

Useful Information: - uses Ländler rhythm - another of Mahler’s dialogue songs - Mahler’s manuscript has eighth-note=132, “which makes it very cosy, sunny,

laid-back”7 - “music and words seem so much at one that on several occasions the melodic

line has the effect of following the inflections of speech, as at the questioning ‘Wollen wir?’ of bars 15-16, or the plaintive ‘Gelt! Komm!’ of bars 24-25, or the pleading ‘hol’, ich bitt’!’ of bars 63-64, which recurs at the repeated ‘immer’ in the final stanza.”8

- Mahler has several ways of bringing out the humor of the piece:9 o tempo increases and returns o use of dynamics o musical instructions o accompaniment style (waltz parody)

Technical Considerations:

- two characters represented in the dialogue - humorous, light character achieved through attention to the dynamics and

articulations - interval leaps into the mid-upper register - frequent use of accidentals

Transcription Issues:

- adjusted slurs to group text syllables together (mm. 8, 16-17, 28, 29, 41-42, 63, 65, 91-94, 100)

- adjusted slurs/phrasing to correspond to the piano accompaniment (mm. 18-20, 46-47, 49-50, 52, 54, 55, 80-81, 86-87)

- added dynamic markings (mm. 8, 18, 51, 54, 55, 75, 85, 97) - added crescendos/decrescendos for expression and/or to better coordinate with

the piano accompaniment (mm. 51-52, 54, 55, 85-87, 103-105) - added breath marks to continue established patterns, to reinforce repeated

words, or between “characters” (mm. 25, 30, 60, 65, 69, 97, 98, 102, 106) - changed marcato accents to breath accents throughout for greater note lengths

and less percussive attacks

7 Hamburger, 72. 8 Dargie, 219. 9 Ibid., 220.

135

Title: Wer hat dies Liedlein erdacht? (Who thought up this little song?) Text: Des Knaben Wunderhorn Composed: 1892 Published: 1899 by Weinberger, Vienna Key: F major (E-flat major) Range: c-a’ (1 8v + M6) Length: 2’00” Translation: from http://www.recmusic.org/lieder by Emily Ezust Dort oben am Berg Up there on the mountain, in dem hohen Haus, in a high-up house, Da guckt ein fein's lieb's Mädel heraus, a lovely, darling girl looks out the window. Es ist nicht dort daheime, She does not live there: Es ist des Wirts sein Töchterlein, she is the daughter of the innkeeper, Es wohnt auf grüner Heide. and she lives on the green meadow. "Mein Herze ist wund, "My heart is sore! komm Schätzel mach's gesund! Come, my treasure, make it well again! Dein schwarzbraune Äuglein, Your dark brown eyes Die haben mich vertwundt! have wounded me. Dein rosiger Mund Your rosy mouth Macht Herzen gesund. makes hearts healthy. Macht Jugend verständig, It makes youth wise, Macht Tote lebendig, brings the dead to life, Macht Kranke gesund." gives health to the ill." Wer hat denn das schöne Liedlein erdacht? Who then thought up this pretty little song? Es haben's drei Gäns übers Wasser gebracht, Three geese brought it over the water, Zwei graue und eine weiße; two grey and one white; Und wer das Liedlein nicht singen kann, and if you cannot sing the little song, Dem wollen sie es pfeifen. they will whistle it for you! Useful Information:

- “Mahler gives the singer two extended coloratura vocalises; the last ends the song with a triumphant flourish.”10

- “The style here is of a Ländler, a country-style waltz, and the music is a constant ‘molto perpetuo’. Make the phrases a continuous flow of forward moving sound.”11

- mistake in Mahler’s manuscript metronome marking; eighth note should = around 14412

10 Carol Kimball, Song: A Guide to Style and Literature (Seattle: Pst…Inc., 1996), 132. 11 Gustav Mahler, Mahler Songs for Trumpet: 12 Lyrical Sketches Drawn from the Songs of

Gustav Mahler. Arranged by Robert Thompson (Vienna: UE Publishing Musikverlags GmbH, 1999), 21. 12 Hamburger, 75.

136

- symbolization of the geese’s wing beats in the rhythm and their calls in the repeated upper Fs13

Technical Considerations:

- long melismas (slurred 16th-note passages) call for refined legato, good slide technique and breath control

- mood changes will be achieved by attention to tempo and dynamic changes; be sure to build intensity with accelerandos and crescendos, then relax the next phrases as instructed

Transcription Issues:

- eliminated some repeated pitches for better melodic flow (mm. 14, 34, 70-72) - changed marcato accents to breath accents with tenutos to imply weight and

length rather than short, percussive attacks (mm. 14-18, 97) - adjusted some slur/phrase groupings to better coordinate with the piano

accompaniment (mm. 13-18, 24, 26-28, 32, 47-68, 74-76, 78-81) - adjusted some slur/phrase groupings for better melodic flow or to continue

established patterns (mm. 22, 29, 69-73) - established slur/phrase groupings based on piano introduction and first

melodic phrase (mm. 81-88) - added or adjusted dynamic markings for clarity and balance (mm. 13, 21, 65,

68, 69, 77, 81, 88, 97) - added crescendo/decrescendo patterns for expression and/or to better

coordinate with the piano accompaniment (mm. 13-17, 30-33, 46-47, 52-55, 64-68, 78, 90, 97-98)

- added accelerandos found in some piano versions (mm. 42, 93) - added breath marks to show larger phrases and to prepare the long melismas

(mm. 35, 55, 59, 77, 88)

13 Ibid., 75.

139

Appendix E: Lieder, Humoresken und Balladen

Each of the songs of this next group drawn from the Des Knaben Wunderhorn

anthology was composed individually between the years 1892 and 1898. They are

presented here in the order of their composition, not in an intended order for

performance. These Lieder, Humoresken und Balladen are larger scale works, written in

separate versions for orchestral or piano accompaniments, and they share many common

traits with the Humoresken discussed in Appendix D above (humor, military themes,

dialogue between characters, etc.) Several of these songs have links to Mahler’s

symphonies: “Urlicht” was incorporated as a vocal solo into the fourth movement of

Symphony No. 2; the melody of “Des Antonius von Padua Fischpredigt” was used as the

thematic material for the third movement of Symphony No. 2; and “Es sungen drei Engel

einen süssen Gesang” is a solo version of the choral fifth movement of Symphony No. 3.

There are other notable songs in this set that incorporate new and interesting

concepts. “Das irdische Leben” shares similarities with Schubert’s famous “Erlkönig”: a

narrator relates the tragic tale of a child pleading with a parent (in this case, the mother),

only to die at the end of the song. The trombonist must take advantage of the varied

musical representations written into both melody and accompaniment to tell the story.

“Lob des hohen Verstands” also includes three distinct characters, but the mood is quite

different: this light-hearted, satirical song affords the trombonist the opportunity to

convey the humorous poem through three imitated animal sounds (the bird-songs of the

cuckoo and the nightingale, and the braying of a donkey). Finally, the beautiful “Wo die

schönen Trompeten blasen” incorporates ghostly mystery into a delicately sad love story

with hints of the tragedy of war.

140

Title: Das irdische Leben (Earthly life) Text: Des Knaben Wunderhorn Composed: 1892-1893 Published: 1899 by Weinberger, Vienna Key: E-flat minor (D minor) Range: B-flat-g-flat’ (1 8v + m6) Length: 2’30” Translation: from http://www.recmusic.org/lieder by Emily Ezust "Mutter, ach Mutter! es hungert mich, "Mother, oh Mother! I'm hungry; Gib mir Brot, sonst sterbe ich." Give me bread, or I shall die!" "Warte nur, mein liebes Kind, "Wait a little, my darling child; Morgen wollen wir ernten geschwind." Tomorrow we shall harvest quickly." Und als das Korn geerntet war, And when the corn had been harvested, Rief das Kind noch immerdar: The child wailed again: "Mutter, ach Mutter! es hungert mich, "Mother, oh Mother! I'm hungry; Gib mir Brot, sonst sterbe ich." Give me bread, or I shall die!" "Warte nur, mein liebes Kind, "Wait a little, my darling child; Morgen wollen wir dreschen geschwind." Tomorrow we shall thresh quickly." Und als das Korn gedroschen war, And when the corn had been threshed, Rief das Kind noch immerdar: The child wailed again: "Mutter, ach Mutter! es hungert mich, "Mother, oh Mother! I'm hungry; Gib mir Brot, sonst sterbe ich." Give me bread, or I shall die!" "Warte nur, mein liebes Kind, "Wait a little, my darling child; Morgen wollen wir backen geschwind." Tomorrow we shall bake quickly." Und als das Brot gebacken war, And when the bread had been baked, Lag das Kind auf der Totenbahr. The child was lying on the funeral bier. Useful Information:

- similarities to Schubert’s Erlkönig: 3 characters (child, mother, narrator) with different colors/moods

o the child’s 3 statements have some variation in the music, the last of which is the most dramatic and intense

o the narrator’s 3 statements also have some variation in the music, the last of which uses the child’s theme

o the mother’s music is a constant - “This is surely one of song literature’s most intense settings, a harsh

indictment of the world’s injustice.”1

1 Carol Kimball, Song: A Guide to Style and Literature (Seattle: Pst…Inc., 1996), 133.

141

- “. . . in ‘Das irdische Leben,’ the large interval leaps simulate the drastic frenzy which is present in the child’s words”2

Technical Considerations:

- Attention to the articulation and dynamic markings will help to portray the three distinct characters

- Frequent wide interval leaps, including octaves and tenths - Key of e-flat minor with frequent accidentals

Transcription Issues:

- added indications for the 3 characters: child, mother and narrator - established 3 separate articulation/dynamic patterns for the 3 characters

(implied by the text or piano accompaniment) as follows: o child: greatest variety, but generally louder with combination

slurring/tonguing and some accents o mother: p espr. and legato o narrator: pp with slurs and/or tenutos

- added first mp marking (m. 8), p espressivo markings (mm. 20, 54 and 88) and pp markings (mm. 34, 68 and 112)

- added crescendo/decrescendo patterns for expressive phrasing (mm. 21-27, 55-61, 89-96)

- added decrescendos to coordinate with piano accompaniment (mm. 13, 78 and 81)

- added accents to coordinate with piano accompaniment (mm. 42-44, 76, 124) - added accents to continue established patterns (mm. 49, 77-78, 81, 83) - changed all marcato accents to breath accents to imply greater note lengths

and less percussive attacks

2 David Harold McShane, “Gustav Mahler’s ‘Des Knaben Wunderhorn’ Lieder” (D.M.A. Thesis,

University of Texas at Austin, 1985), 88.

144

Title: Urlicht (Primordial light) Text: Des Knaben Wunderhorn Composed: 1893 Published: 1899 by Weinberger, Vienna Key: D-flat major (E flat) Range: d-sharp-f-sharp’ (1 8v + m3) Length: 5’00” Translation: from http://www.recmusic.org/lieder by Ahmed E. Ismail O Röschen rot, O little red rose, Der Mensch liegt in größter Not, Man lies in greatest need, Der Mensch liegt in größter Pein, Man lies in greatest pain. Je lieber möcht' ich im Himmel sein. Ever would I prefer to be in heaven. Da kam ich auf einem breiten Weg, Once I came upon a wide road, Da kam ein Engelein There stood an Angel und wollt' mich abweisen. who wanted to turn me away. Ach nein, ich ließ mich nicht abweisen! But no, I will not be turned away! Ich bin von Gott I came from God, und will wieder zu Gott, and will return to God, Der liebe Gott The loving God wird mir ein Lichtchen geben, who will give me a little light, Wird leuchten mir To lighten my way bis in das ewig selig' Leben! up to eternal, blessed life! Useful Information:

- later incorporated into Symphony No. 2 as the alto solo (mvt. 4) - “The melody is simplistic and transparent, aptly complimenting [sic] a text

which emphasizes mankind’s struggle to overcome pain and suffering.”3 Technical Considerations:

- requires extremely tender, delicate playing - key change to B major and use of double sharps - wide upward slur leaps (6ths and octaves) at very soft dynamics

Transcription Issues:

- adjusted or added some dynamic markings to better coordinate with the piano accompaniment (mm. 1, 23, 28, 50, 55)

- added tenutos on repeated pitch pickup notes for expressive effect (mm. 15, 18, 23, 38, 55, 59, 61)

- adjusted phrase/slur groupings and articulations to better coordinate with the piano accompaniment (mm. 24-31, 51-54, 57, 60-64)

- added crescendos/decrescendos for expression and/or to better coordinate with the piano accompaniment (mm. 25, 47, 51, 53, 60)

3 Gustav Mahler, Mahler Songs for Trumpet: 12 Lyrical Sketches Drawn from the Songs of Gustav

Mahler. Arranged by Robert Thompson (Vienna: UE Publishing Musikverlags GmbH, 1999), 7.

145

- eliminated the repeated pitch for better melodic flow and to better coordinate with the piano accompaniment (m. 29)

- changed marcato accents to breath accents for greater note lengths and less percussive attacks (mm. 51, 53, 56-59, 60)

148

Title: Des Antonius von Padua Fischpredigt (Antonius of Padua’s fish sermon) Text: Des Knaben Wunderhorn Composed: 1893 Published: 1899 by Weinberger, Vienna Key: C minor (D minor) Range: G-f ’ (1 8v + m7) Length: 4’00” Translation: from http://www.recmusic.org/lieder by Emily Ezust Antonius zur Predigt St. Anthony arrives for his Sermon Die Kirche findt ledig. and finds the church empty. Er geht zu den Flüssen He goes to the rivers Und predigt den Fischen; to preach to the fishes; Sie schlagen mit den Schwänzen, They flick their tails, Im Sonnenschein glänzen. which glisten in the sunshine. Die Karpfen mit Rogen The carp with roe Sind allhier gezogen, have all come here, Haben d'Mäuler aufrissen, their mouths wide open, Sich Zuhörens beflissen; listening attentively. Kein Predigt niemalen No sermon ever Den Karpfen so g'fallen. pleased the carp so. Spitzgoschete Hechte, Sharp-mouthed pike Die immerzu fechten, that are always fighting, Sind eilend herschwommen, have come here, swimming hurriedly Zu hören den Frommen; to hear this pious one; Auch jene Phantasten, Also, those fantastic creatures Die immerzu fasten; that are always fasting - Die Stockfisch ich meine, the stockfish, I mean - Zur Predigt erscheinen; they also appeared for the sermon; Kein Predigt niemalen No sermon ever Den Stockfisch so g'fallen. pleased the stockfish so. Gut Aale und Hausen, Good eels and sturgens, Die vornehme schmausen, that banquet so elegantly- Die selbst sich bequemen, even they took the trouble Die Predigt vernehmen: to hear the sermon: Auch Krebse, Schildkroten, Crabs too, and turtles, Sonst langsame Boten, usually such slowpokes, Steigen eilig vom Grund, rise quickly from the bottom, Zu hören diesen Mund: to hear this voice. Kein Predigt niemalen No sermon ever Den Krebsen so g'fallen. pleased the crabs so.

149

Fisch große, Fisch kleine, Big fish, little fish, Vornehm und gemeine, noble fish, common fish, Erheben die Köpfe all lift their heads Wie verständge Geschöpfe: like sentient creatures: Auf Gottes Begehren At God's behest Die Predigt anhören. they listen to the sermon. Die Predigt geendet, The sermon having ended, Ein jeder sich wendet, each turns himself around; Die Hechte bleiben Diebe, the pikes remain thieves, Die Aale viel lieben. the eels, great lovers. Die Predigt hat g'fallen. The sermon has pleased them, Sie bleiben wie alle. but they remain the same as before. Die Krebs gehn zurücke, The crabs still walk backwards, Die Stockfisch bleiben dicke, the stockfish stay thin, Die Karpfen viel fressen, the carps still stuff themselves, Die Predigt vergessen. the sermon is forgotten! Die Predigt hat g'fallen. The sermon has pleased them, Sie bleiben wie alle. but they remain the same as before. Useful Information:

- Adapted as thematic material for the scherzo of Symphony No. 2 - “Mahler employs melodic patterns in a manner picturesque of the various

movements of fish. o The interval of the descending fifth may be interpreted to simulate the

gulping motion made when a fish breathes. . . . The effect is both picturesque and humorous.”4

o “Mahler adopts a pattern which occurs throughout the bass line of the accompaniment and places it in the vocal melody. This pattern also simulates fish movements, perhaps the swimming motion of a fish’s tail. It is a one-measure triadic phrase comprised of three eighth-notes: an ascending third and a descending sixth.”5

o “To suggest the swelling of the water, Mahler adds many rises and falls in the dynamics.”6

Technical Considerations:

- style, volume, articulation, and dynamic/phrasing gestures are all important elements to convey the humor

- quick breaths needed in many spots - many short sixteenth-note runs could be challenging depending on tempo

4 Carol J. Mayo, “Three songs from Des Knaben Wunderhorn by Gustav Mahler” (M.M. thesis,

North Texas State University, 1972), 68. 5 Ibid., 69. 6 Ibid., 79.

150

Transcription Issues:

- added leggiero indication to convey the overall style - added most dynamic indications (mm. 9, 17, 27, 29, 33, 43, 47, 64, 76, 79, 82,

86, 109, 117, 121, 127, 131, 137, 143, 147, 161, 177, 181, 194) - added or adjusted articulation markings throughout to create variation

between the verses o many ideas drawn from examining the orchestral score to the Third

Movement of Mahler’s Symphony No. 2 o the text setting of the original song was generally disregarded in this

case with the exception of the recurring paired sixteenth-note phrases (mm. 43-49, 82-88, 143-149)

- added crescendos and decrescendos to create phrase shapes and/or coordinate with the piano accompaniment (mm. 18-21, 24-26, 32-33, 68-72, 76-80, 121-125, 128-129, 132-133, 137-141, 172-175, 177-181, 184-186, 190-194)

- eliminated some repeated pitches to create space to breathe or to continue rhythmic patterns (mm. 17, 129, 133, 179, 181)

154

Title: Rheinlegendchen (Little legend of the Rhine) Text: Des Knaben Wunderhorn Composed: 1893 Published: 1899 by Weinberger, Vienna Key: A major (G major) Range: B-f-sharp’ (1 8v + P5) Length: 3’30” Translation: from http://www.recmusic.org/lieder by Emily Ezust Bald gras ich am Neckar, Now I reap by the Neckar, bald gras ich am Rhein; now I reap by the Rhine; Bald hab' ich ein Schätzel, Now I have a sweetheart, bald bin ich allein! now I am alone! Was hilft mir das Grasen, What use is my reaping wenn d' Sichel nicht schneid't! if the sickle doesn't cut? Was hilft mir ein Schätzel, What use is a sweetheart wenn's bei mir nicht bleibt. if she won't stay? So soll ich denn grasen So if I am to reap am Neckar, am Rhein, by the Neckar and by the Rhine, So werf ich mein goldenes Ringlein hinein. then I'll throw in my golden ring. Es fließet im Neckar It will flow with the Neckar und fließet im Rhein, and flow with the Rhine, Soll schwimmen hinunter And float right down ins Meer tief hinein. into the deep sea. Und schwimmt es, das Ringlein, And as it floats, the little ring, so frißt es ein Fisch! a fish will eat it! Das Fischlein tät kommen The fish will eventually come auf's König sein Tisch! to the King's table! Der König tät fragen, wem's Ringlein sollt sein? The king will ask whose ring it is, Da tät mein Schatz sagen: and my sweetheart will say: das Ringlein g'hört mein. "The ring belongs to me." Mein Schätzlein tät springen My sweetheart will hurry bergauf und bergein, up hill and down hill, Tät mir wiedrum bringen and bring me back das Goldringlein mein! my little gold ring! Kannst grasen am Neckar, "You can reap by the Neckar, kannst grasen am Rhein, and reap by the Rhine Wirf du mir nur immer if you will always dein Ringlein hinein! throw your little ring in for me!"

155

Useful Information: - modified strophic form - uses Ländler rhythm - “in Mahler’s manuscript quaver [eighth note]=132, which feels perfect”7 - symbolization: “. . . kicking pebbles around (those oft-repeated Es in the left

hand, with their lazy grace notes)”8 - the melodic idea came first, then Mahler found a text to fit it9

Technical Considerations:

- several different characters within the text dialogue, but the character of the music stays consistent

- frequent use of accidentals - frequent and subtly different tempo changes (rit., poco rit., molto rit., pochett.

rit., riten.) Transcription Issues:

- adjusted phrase/slur groupings throughout to better coordinate with the piano; this often contradicts the syllabic groupings of the original text

- added or adjusted dynamic markings for balance, expression and ease of playing (mm. 16, 39, 49, 70, 78, 86, 88, 94, 106)

- added crescendos/decrescendos for expressive phrasing and/or to better coordinate with the piano accompaniment (mm. 80, 87, 88-90, 99-102, 111-114)

- adjusted the melodic/rhythmic content for variety and to better coordinate with the piano accompaniment (mm. 72-80)

o exception: m. 78 (left out the three 16th-note pickups to allow for a pause between phrases)

- changed downbeat 8th-note pitch from c# to e for melodic continuity and to match the piano accompaniment (m. 99)

- added tenutos for both note length and weight (mm. 40, 41, 44)

7 Paul Hamburger, “Mahler and Des Knaben Wunderhorn.” In The Mahler Companion, ed.

Donald Mitchell and Andrew Nicholson, chapter 3 (New York: Oxford University Press, 1999), 80. 8 Ibid., 80 9 Henry-Louis de La Grange, Gustav Mahler: Volume One (New York: Oxford University Press,

1995), 275.

158

Title: Es sungen drei Engel einen süssen Gesang (Three angels were singing a sweet song) Text: Des Knaben Wunderhorn Composed: 1896-1899 (solo version) Published: 1899 by Weinberger, Vienna Key: F major (E-flat major) Range: A-a’ (2 8vs) Length: 4’30” Translation: from http://www.recmusic.org/lieder by Linda Godry Frauenchor: Women's choir: Es sungen drei Engel einen süßen Gesang, There were three angels singing a sweet song Mit Freuden es selig in den Himmel klang. Ringing joyfully to heaven. Sie jauchzten fröhlich auch dabei, They rejoiced happily as well, Daß Petrus sei von Sünden frei. That St. Peter be free of sins. Und als der Herr Jesus And when the Lord Jesus zu Tische saß, sat down at the table Mit seinen zwölf Jügern das Abendmahl aß, Together with his 12 apostles eating dinner Da sprach der Herr Jesus: Thus spoke the Lord Jesus: "Was stehst du den hier? "Why are you standing in front of me? Wenn ich dich anseh' so weinest du mir." Looking so sadly and weeping." Alt: Alto/Peter: "Und sollt' ich nicht weinen, And why should I weep not, du gütiger Gott you, God so kindly, Ich habe übertreten die Zehn Gebot; I have violated the Ten Commandments; Ich gehe und weine ja bitterlich, I go and do weep bitterly, Ach komm und erbarme duch über mich." Oh, come and have pity on me. Frauenchor: Women's choir: Has du denn übertreten die Zehen Gebot, You have violated the Ten Commandments, So fall auf die Knie und bete zu Gott! So fall to your knees and pray to God! Liebe nut Gott in alle Zeit, Love God at all times, So wirst du erlangen die himmlische Freud! Thus you will receive the heavenly joy! Die himmlische Freud, die Selige Stadt; The heavenly joy, the blessed city; Die himmlische Freud, die kein Ende mehr hat. The heavenly joy, never ending. Die himmlische Freude war Petro bereit' The heavenly joy was given to St. Peter Durch Jesum und allen zur Seligkeit. Through Jesus and as a blessing for all. Useful Information:

- arranged by Mahler from his own choral movement, “Armer Kinder Betterlied (Poor children’s begging song)” from Symphony No. 3

- the middle section [mm. 36-62] “is distinct from the rest of the song, firstly by its key and its thematic material, secondly by the expressive interludes which

159

divide it from the opening and closing sections, and thirdly by the kind of expressiveness which Mahler requires of the singer”10

Technical Considerations:

- contrasting sections throughout (overall character, articulation style, and volume)

- includes many upward leaps of 6ths and octaves, some of which are slurred Transcription Issues:

- added instructive terms (joyfully, reverently, boldly, sorrowfully) throughout to reflect the mood/character changes of the original text

o the terms “gently (sanft),” “bitterly (bitterlich),” and “very prominent (sehr hervortretrend)” were in the original

- added or adjusted dynamic markings to better reflect the text and coordinate with the piano accompaniment (mm. 4, 14, 19, 25, 36, 49, 79)

- added crescendo/decrescendo patterns to better reflect the text phrasing and coordinate with the piano accompaniment (mm. 9-10, 14-16, 26, 28, 30-33, 50-53, 92-93, 97)

- added or adjusted the articulation markings to better reflect the intended style when performed on trombone and/or to better coordinate with the piano accompaniment (mm. 6, 8, 17-19, 21, 28-33, 36-40, 42-44, 50-51, 55-60, 84-91, 97-105)

- added breath marks to indicate the ends of text phrases (mm. 10, 14, 16, 23, 93)

- added “Tempo I” instruction (m. 80) - eliminated some repeated pitches for better melodic flow (mm. 6, 24, 28, 32,

80) - added mute to the middle sectional (St. Peter’s words) for timbral contrast

(mm. 36-62)

10 E. Mary Dargie, Music and Poetry in the Songs of Gustav Mahler (Bern, Frankfurt am Main,

Las Vegas: Peter Lang, 1981), 264.

162

Title: Lob des hohen Verstands (In praise of lofty intelligence) Text: Des Knaben Wunderhorn Composed: 1896 Published: 1899 by Weinberger, Vienna Key: D major (C major) Range: A-b-flat’ (2 8vs + m2) Length: 3’00” Translation: from http://www.recmusic.org/lieder by Emily Ezust Einstmals in einem tiefen Tal Once in a deep valley, Kukuk und Nachtigall The cuckoo and the nightingale Täten ein Wett' anschlagen: Had a contest: Zu singen um das Meisterstück, To sing the Masterpiece. Gewinn' es Kunst, gewinn' es Glück: To win by art or to win by luck, Dank soll er davon tragen. Fame would the victor gain. Der Kukuk sprach: "So dir's gefällt, The cuckoo said: "If it pleases you, Hab' ich den Richter wählt", I will nominate the judge." Unt tät gleich den Esel ernennen. And he named the donkey right away. "Denn weil er hat zwei Ohren groß, "Since he has two huge ears, So kann er hören desto bos He can hear so much better Und, was recht ist, kennen!" And will know what is correct." Sie flogen vor den Richter bald. They soon flew before the judge Wie dem die Sache ward erzählt, And when the issue was explained to him, Schuf er, sie sollten singen. He told them they should sing. Die Nachtigall sang lieblich aus! The nightingale sang out sweetly! Der Esel sprach: "Du machst mir's kraus! The donkey said: You make me dizzy! Du machst mir's kraus! I-ja! I-ja! You make me dizzy! Eee-yah! Ich kann's in Kopf nicht bringen!" I can't get it into my head! Der Kukuk drauf fing an geschwind The cuckoo then quickly started Sein Sang durch Terz his song through thirds und Quart und Quint. and fourths and fifths; Dem Esel g'fiels, er sprach nur The donkey was pleased, and only said "Wart! Wart! Wart! Wait! Wait! Wait! Dein Urteil will ich sprechen, I will pronounce judgment now. Wohl sungen hast du, Nachtigall! Well have you sung, Nightingale! Aber Kukuk, singst gut Choral! But, Cuckoo, you sing a good chorale! Und hältst den Takt fein innen! And you keep the rhythm finely! Das sprech' ich nach mein' hoh'n Verstand! Thus I say through my lofty intelligence, Und kost' es gleich ein ganzes Land, And, although it may cost an entire land, So laß ich's dich gewinnen!" I will let you win!

163

Useful Information: - irony/commentary: the music of the nightingale and the cuckoo is the same - originally titled “Lob der Kritik” (In praise of critics) - modified strophic form - “the only one in the Wunderhorn songs to use a trombone and tuba [in the

orchestration], much needed to poke fun at the pomposity of the donkey”11 Technical Considerations:

- the highest and lowest pitches are used in a glissando effect together to represent the braying of the donkey

- incorporates a lip trill (m. 53) - several technical passages using both 8th and 16th notes require attention

Transcription Issues:

- added tenutos to reinforce syllabic stress and/or melodic patterns (mm. 11, 13, 14, 19, 23, 38, 39, 40, 46, 52, 59-60, 76, 108, 109, 110, 115, 119)

- added accents for expression and/or to better coordinate with the piano accompaniment (mm. 44-45, 81-82, 83-84, 107, 130)

- added crescendos/decrescendos for expressive phrasing (mm. 25-26, 52-53) - added or extended legato/phrase markings to reinforce the syllabic stress of

the original text or continue established melodic patterns (mm. 15, 17-18, 25, 26, 48, 49, 50, 51, 53-54, 80, 84-85, 86, 99, 100, 101, 105, 111, 113-114, 117, 118, 120, 121, 122, 123)

- adjusted phrase groupings and articulations to match the piano accompaniment (mm. 74-76, 80-82, 88-92, 94-97)

- changed the melodic content to match the piano accompaniment and provide a technical challenge (m. 52)

- added the final pair of 16th notes found in the piano accompaniment to complete the melodic thought (m. 96)

- eliminated some repeated pitches for better melodic flow (mm. 24, 49, 110, 118)

- changed single quarter note to a pair of repeated-pitch 8th notes to continue the melodic pattern (m. 16)

- added glissandos to exaggerate the braying donkey effect (mm. 83, 84, 129-130)

11 Hamburger, 83.

166

Title: Lied des Verfolgten im Turm (Song of the persecuted man in the tower) Text: Des Knaben Wunderhorn Composed: 1898 Published: 1899 by Weinberger, Vienna Key: D minor (C minor) Range: G-g’ (2 8vs) Length: 4’30” Translation: from http://www.recmusic.org/lieder by Emily Ezust Der Gefangene: The prisoner: Die Gedanken sind frei, wer kann sie erraten? Thoughts are free, who can guess them? Sie rauschen vorbei wie nächtliche Schatten. They rush past like nocturnal shadows. Kein Mensch kann sie wissen, No man can know them, Kein Jäger sie schießen; no hunter can shoot them; Es bleibet dabei, Die Gedanken sind frei. for it remains thus: thoughts are free. Das Mädchen: The maiden: Im Sommer ist gut lustig sein In summer it is good to be merry Auf hohen wilden Heiden, on high, wild meadows, Dort findet man grün Plätzelein, where one finds a green little place; Mein herzverliebtes Schätzelein, my heart's beloved treasure, Von dir mag ich nit scheiden. I do not wish to part from you! Der Gefangene: The prisoner: Und sperrt man mich ein And if they lock me up Im finstern Kerker, in a dark dungeon, Dies alles sind nur Vergebliche Werke; it is all only in vain that they try, Denn meine Gedanken Zerreißen die Schranken for my thoughts rip apart the barriers Und Mauern entzwei, and break the walls in two: Die Gedanken sind frei. thoughts are free! Das Mädchen: The maiden: Im Sommer ist gut lustig sein In summer it is good to be merry Auf hohen wilden Bergen; on high, wild mountains; Man ist da ewig ganz allein, one is always alone there; Man hört da gar kein Kindergeschrei, one hears no children shrieking, Die Luft mag einem da werden. and the air is so inviting. Der Gefangene: The prisoner: So sei es, wie es will, So may it be, just as it is; Und wenn es sich schicket, nur alles in der Still; and if it is proper, may it be in silence; Mein Wunsch und Begehren Niemand kann's wehren; my wish and desire, no one can restrain; Es bleibet dabei, die Gedanken sind frei. for it remains thus: thoughts are free. Das Mädchen: The maiden: Mein Schatz, du singst so fröhlich hier My darling, you sing so cheerfully here, Wie's Vögelein in dem Grase; as if you were a bird in the grass; Ich steh so traurig bei Kerkertür, I stand so sadly by the dungeon door. Wär ich doch tot, wär ich bei dir, If only I were dead, if I were with you!

167

Ach, muß ich denn immer klagen? Alas! Must I always lament? Der Gefangene: The prisoner: Und weil du so klagst, And because you lament so, Der Lieb ich entsage, Und ist es gewagt, I will renounce love, and if I dare, So kann mich nicht plagen! then nothing will torment me. So kann ich im Herzen So in my heart Stets lachen, bald scherzen; I can always laugh and joke, Es bleibet dabei, die Gedanken sind frei. for it remains thus: thoughts are free! Useful Information:

- Mahler was proud of the defiant mood of this song - “The girl, to be imagined standing outside, close by the wall–or indeed

existing only in his head–sings seductively of summer”12 - “the hearer of the song is aware of no other interpretation than that conveyed

by Mahler’s music–for him, it is a forceful treatment of themes of personal freedom, tolerance and lack of communication”13

Technical Considerations:

- there must be a shift in tone color, as well as style and volume, to differentiate between the prisoner and the maiden

- may require double-tonguing on 16th-note pairs - frequent accidentals throughout 8th-note runs

Transcription Issues:

- added notes to complete the melodic line as found in the piano accompaniment (mm. 4-5)

- changed single 8th-note pickups to a pair of 16th notes to continue the opening melodic motive (mm. 5, 6, 29, 33, 34, 99, 103, 104)

- changed 16th-note pair to a single 8th note, or eliminated a pickup note completely, to establish more consistent melodic patterns (mm. 36, 64, 65, 70, 73)

- eliminated some repeated pitches to create better melodic flow and/or coordinate with the piano accompaniment (mm. 20, 22, 33, 90, 92, 103)

- added or adjusted the phrase/legato marks to better reflect the text phrasing and coordinate with the piano accompaniment (mm. 7, 13, 15, 18-25, 35, 38-45, 47-54, 56-61, 77-84, 88-95, 105)

- added tenuto mark to reflect full length on the first note of a long-short syllabic pair (mm. 6, 34, 104)

- added dynamic markings for expression and/or coordination with the piano accompaniment (mm. 18, 23, 47, 51-53, 56, 73, 94-95)

- changed marcato accents to breath accents for greater note lengths and less percussive attacks (m. 66, 95, 106-107, 109-110)

- added poco rit. instructions leading into each entrance of “The Girl” (mm. 10, 38, 77)

12 Ibid., 80. 13 Dargie, 199.

171

Title: Wo die schönen Trompeten blasen (Where the beautiful trumpets blow) Text: Des Knaben Wunderhorn Composed: 1898 Published: 1899 by Weinberger, Vienna Key: D minor (C minor) Range: A-g’ (1 8v + m7) Length: 8’00” Translation: from http://www.recmusic.org/lieder by Emily Ezust Wer ist denn draußen und wer klopfet an, Who is then outside, and who is knocking, Der mich so leise, so leise wecken kann? Who can so softly, softly waken me? Das ist der Herzallerliebste dein, It is your darling, Steh auf und laß mich zu dir ein! Arise and let me come in to you! Was soll ich hier nun länger stehn? Why should I stand here any longer? Ich seh die Morgenröt aufgehn, I see the dawn arrive, Die Morgenröt, zwei helle Stern, The dawn, two bright stars, Bei meinem Schatz, da wär ich gern, With my darling would I gladly be, bei meiner Herzallerliebsten. With my heart's most beloved! Das Mädchen stand auf und ließ ihn ein; The maiden arose and let him in; Sie heißt ihn auch wilkommen sein. She welcomed him as well: Willkommen, lieber Knabe mein, Welcome, my beloved boy, So lang hast du gestanden! You have stood outside so long! Sie reicht ihm auch die schneeweiße Hand. She reached to him her snow-white hand. Von ferne sang die Nachtigall From afar a nightingale sang; Das Mädchen fing zu weinen an. The maiden began to weep. Ach weine nicht, du Liebste mein, Oh, do not cry, my darling, Aufs Jahr sollst du mein eigen sein. Next year you shall be my own! Mein Eigen sollst du werden gewiß, My own shall you certainly be, Wie's keine sonst auf Erden ist. As no one else on earth is. O Lieb auf grüner Erden. O Love on the green earth! Ich zieh in Krieg auf grüner Heid, I go to war on the green heath, Die grüne Heide, die ist so weit. The green heath that is so broad! Allwo dort die schönen Trompeten blasen, It is there where the beautiful trumpets blow, Da ist mein Haus, von grünem Rasen. There is my house of green grass! Useful Information:

- “The two meters depict the two predominate moods of the piece.”14 o 2/4 meter reflects eerie dream of war o also used in the middle verse, which is primarily narration o 3/4 meter used for the romantic dialogue

- trumpet call depicted in the only octave leap15

14 Mayo, 17. 15 Ibid., 23.

172

- “‘Wo die schönen Trompeten blasen’ is perhaps the best introduction to Mahler’s Wunderhorn style in its peculiar mixture of naivety and sophistication. Indeed, Mahler was represented by this one song alone in certain anthologies of Lieder in the 1920s.”16

- “In this Lied are elements of tone color which have association with the real world:

o the military horn call represented by the melodic fourth and the harmonic open fifth;

o the serenity and peacefulness of the slow waltz (always associated in this Lied with the ghost);

o and the quietness and mystery of the dreamy mood suggested by the perpetually soft dynamics.”17

Technical Considerations:

- calls for delicate, smooth legato playing in all registers - several key changes - energy (volume) must be saved for one brief climactic moment near the end - several wide upward slur leaps (6ths and 7ths) in soft dynamics

Transcription Issues:

- added tenutos to show length and weight, often corresponding to the syllabic stress (mm. 21-24, 29, 55, 72, 77, 79, 91, 95, 103, 122, 162, 170, 172)

- added articulation marks to correspond to the piano accompaniment: o marcato accents changed to breath accents (mm. 55, 61-62, 185-186) o breath accents changed to tenutos (mm. 151-153) o sfz changed to combination accent/tenuto (m. 183)

- added breath accent on the climactic arrival (Trom-pe-ten) (m. 180) - adjusted slur/phrase groupings to better correspond to the piano

accompaniment (mm. 26-28, 39-59, 92-99, 104-106, 118-121, 129-149, 182, 185-186)

- added or adjusted slur/phrase groupings for text expression or to create melodic patterns (mm. 60, 63-71, 76, 80-83, 114-115, 150-161, 165-173, 178-181)

- eliminated some repeated pitches to create better melodic flow (mm. 41, 60, 92, 96-97, 149)

- added melodic content suggested in similar phrases elsewhere in the piece (m. 166)

- added or changed dynamic markings for clarity, balance or expression (mm. 56, 75, 91, 103, 111, 129, 146, 154, 165, 169, 177, 180)

- added crescendo/decrescendo patterns for expression or to better correspond to the piano accompaniment (mm. 54-55, 60-63, 80-82, 106, 116, 121-122, 150-153, 168-169, 181-182, 185-186)

- respelled the d-flat as a c-sharp to better prepare the key change (m. 111) - added mute to the softest, most delicate section (mm. 129-162)

16 Hamburger, 81. 17 McShane, 101.

176

Appendix F: The final two Wunderhorn settings “Revelge” (1899) and “Der Tamboursg’sell” (1901), Mahler’s final two songs

based on the Wunderhorn anthology, are both large-scale, powerfully dramatic works

composed in a symphonic style. As explained by Donald Mitchell, these songs “in a

sense reverse the established relationship in Mahler’s works between song and

symphony, i.e., one is primarily conscious throughout these songs of Mahler the

symphonist . . . This has something to do with their unusual scale and weight, and in

particular with the elaboration and independence of the orchestral part, which in both

songs is strikingly characteristic of Mahler’s mature symphonic style.”1

“Revelge” and “Der Tamboursg’sell” are particularly strong transcriptions for

trombone. Either could be used as an individual recital piece, or they could be played as a

pair (or combined with other Mahler songs). Although both are “soldier songs,” the

character of each piece is distinct:

Whereas Mahler portrays the soldiers in “Der Schildwache Nachtlied” and “Revelge” as dynamic and defiant, with a fighting spirit, he depicts the soldier in “Der Tamboursg’sell” as partly angry with some inner struggle, and partly sorrowful and resigned.2

The melodic writing in “Revelge” alternates expressive, lyrical passages with powerful,

militaristic motives of trumpet fanfares and dotted rhythms. The song ends with a loud,

despairing cry. “Der Tamboursg’sell” relies on a much more narrative, subdued style of

writing with brief outbursts of passion that are quickly restrained. It ends with an

extremely soft descending line performed “with breaking voice.”

1 Donald Mitchell, Gustav Mahler: The Wunderhorn Years (Boulder, Colorado: Westview Press,

1976), 139. 2 Heather A. Miller, “The Relationship Between Text and Music in the Soldier Songs from Gustav

Mahler’s Des Knaben Wunderhorn” (M.A. thesis, Bowling Green State University, 1997), 78.

177

Title: Revelge (Reveille) Text: Des Knaben Wunderhorn Composed: 1899 Published: 1905 by Kahnt, Leipzig Key: D minor (C minor) Range: B-flat-a’ (1 8v + M7) Length: 7’00” Translation: from http://www.recmusic.org/lieder by Jakob Kellner Des Morgens zwischen drein und vieren, In the morning between three and four, Da müssen wir Soldaten marschieren we soldiers have to march, Das Gäßlein auf und ab; the alley up and down; Tralali, Tralalei, Tralala, tralali, tralalei, tralala, Mein Schätzel sieht herab. My darling looks down. "Ach Bruder jetzt bin ich geschossen, "Oh brother, now I'm shot, Die Kugel hat mich schwer getroffen, the bullet has hit me badly, Trag mich in mein Quartier, carry me to my quarters, Tralali, Tralalei, Tralala, tralali, tralalei, tralala, Es ist nicht weit von hier." they are not far from here." "Ach Bruder, ich kann dich nicht tragen, "Oh brother, I cannot carry you, Die Feinde haben uns geschlagen, the enemies have beaten us, Helf dir der liebe Gott; may dear God help you; Tralali, Tralalei, Tralala, tralali, tralalei, tralala, Ich muß marschieren bis in Tod." I have to march unto death." "Ach, Brüder! ihr geht ja an mir vorüber, "Oh brothers, you pass by me, Als wär's mit mir vorbei, as if it were all over with me! Tralali, Tralalei, Tralala, tralali, tralalei, tralala, Ihr tretet mir zu nah. you offend me. Ich muß wohl meine Trommel rühren, I must play my drum well, Sonst werde ich mich verlieren; or else I will lose myself. Die Brüder dick gesät, The brothers, thickly sown, Sie liegen wie gemäht." they lie as if they've been mowed." Er schlägt die Trommel auf und nieder, He beats the drum up and down, Er wecket seine stillen Brüder, he wakes his silent brothers, Sie schlagen ihren Feind, they beat their enemy, Tralali, Tralalei, Tralala, tralali, tralalei, tralala, Ein Schrecken schlägt den Feind. a terror beats the enemy. Er schlägt die Trommel auf und nieder, He beats the drum up and down, Da sind sie vor dem Nachtquartier schon wieder, they are in the night-quarters again, Ins Gäßlein hell hinaus, into the alley. Tralali, Tralalei, Tralala, tralali, tralalei, tralala, Sie ziehn vor Schätzleins Haus. they march to darling's house.

178

Des Morgen stehen da die Gebeine In the morning there stand the bones, In Reih und Glied sie stehn wie Leichensteine, in rank and file as tombstones. Die Trommel steht voran, The drum stands in front Tralali, Tralalei, Tralala, tralali, tralalei, tralala, Daß sie ihn sehen kann. so that she can see him. Useful Information:

- Mahler considered Revelge “the most beautiful and the most successful of his Humoresken, perhaps even ‘the most important of all his Lieder.’”3

- the four-note ascending fanfare motive, followed by the quick drop into the lower register represents the scream of the fallen soldier4

- “particular rhythmic elements serve to define the military nature of the march, even while the minor key of much of the piece deprives it of its truly military flavor, creating a kind of irony”5

Technical Considerations:

- very trombonistic–take advantage of militaristic style - two lyrical, expressive sections contrast the military/march sections - requires a variety of articulations to achieve the overall expression - several key changes, including e-flat minor with frequent accidentals - wide upward slur leaps (6ths and octaves) - passages marked “wildly” (m. 76) and “shouting” (m. 127) need to be

performed with dramatic intensity without losing control Transcription Issues:

- eliminated some repeated pitches to create better melodic flow and establish patterns (mm. 9, 36, 60, 155)

- adjusted phrase/slur groupings throughout to emphasize the contrast between sections that stress beats 1 and 3 and those that stress beats 2 and 4

o 1+3: mm. 8-12, 18-22, 78-80, 82-84, 126-127, 154-158) o 2+4: mm. 12-18, 22-28, 76-78, 80-82, 84-88, 101-103)

- adjusted some phrase/slur groupings to better coordinate with the piano accompaniment (mm. 58-59, 63, 72, 106-109, 114, 124)

- added slurs, tenutos, and/or accents to reinforce the syllabic stress of the original text (mm. 10, 12, 14-15, 20, 22, 24-25, 33, 41-44, 65-68, 84, 99, 101, 104, 107-109, 112, 114-116, 118, 121-125, 127-128, 156, 158, 161, 162, 164-167)

- added/adjusted the phrase/slur groupings to the second lyrical, expressive section and a third, brief lyrical passage to better match the earlier section (mm. 59-65, 119-121)

- added/adjusted dynamics for expression (mm. 32, 47-48, 57, 88, 119, 127)

3 Henry-Louis de La Grange, Gustav Mahler: Volume One (New York: Oxford University Press,

1995), 523. 4 Miller, 67. 5 E. Mary Dargie, Music and Poetry in the Songs of Gustav Mahler (Bern, Frankfurt am Main, Las

Vegas: Peter Lang, 1981), 175.

179

- adjusted the melodic rhythm to better coordinate with the piano accompaniment (mm. 46-47, 70)

- shortened some notes by adding 8th- or 16th-note rests to coordinate with the piano accompaniment (mm. 10, 11, 12, 20, 21, 22, 84, 106-107, 108-109, 115-116, 118, 127, 156, 157, 158, 159)

- changed the four-16th-note slur groups to two slurred notes and two tongued notes for bolder expression and ease of playing (mm. 88, 162)

184

Title: Der Tamboursg’sell (The drummer-boy) Text: Des Knaben Wunderhorn Composed: 1901 Published: 1905 by Kahnt, Leipzig Key: D minor (E minor, C minor) Range: B-a’ (1 8v + m7) Length: 6’30” Translation: from http://www.recmusic.org/lieder by Emily Ezust Ich armer Tambourgesell, I, poor drummer boy - Man führt mich aus dem Gwölb, they're leading me from my cell. Wär ich ein Tambour blieben, If I had stayed a drummer Dürft ich nicht gefangen liegen. I would not be imprisoned now. O Galgen, du hohes Haus, O gallows, you lofty house, Du siehst so furchtbar aus, You look so fearsome, Ich schau dich nicht mehr an, I won't look at you any longer Weil i weiß, daß i gehör dran. because I know I am yours. Wenn Soldaten vorbeimarschieren, When soldiers march by Bei mir nicht einquartieren. who were not quartered with me - Wenn sie fragen, wer i g'wesen bin: when they ask who I was: Tambour von der Leibkompanie. Drummer from the first company. Gute Nacht, ihr Marmelstein, Good night, marble rocks, Ihr Berg und Hügelein. mountains and hills - Gute Nacht, ihr Offizier, Good night, officers, Korporal und Musketier. corporals and musketeers. Gute Nacht! Ihr Offizier', Good night, officers, Korporal und Grenadier! corporals and grenadiers, Ich schrei mit lauter Stimm, I cry with a loud voice, Von euch ich Urlaub nimm. and take my leave of you! Gute Nacht! Gute Nacht. Good night! Good night. Useful Information:

- march-like pulse, dotted rhythms and drum effects in the accompaniment provide the military backdrop

- originally conceived as an instrumental (symphonic) melody, text then fit to the music6

- “Through tonality, structure, instrumentation, and melodic gestures, Mahler captures the subtle, even subconscious backdrop of the drummer boy’s feelings.”7

6 La Grange, Gustav Mahler: Volume One, 631. 7 Miller, 78.

185

Technical Considerations: - several wide upward-leaping slurs (6ths and 7ths) in soft dynamics - repeated pitches need specific direction/intensity - sudden dynamic changes from loud to soft - extremely soft ending (with breaking voice)

Transcription Issues:

- added slurs to reflect syllabic stress or create melodic patterns (mm. 29-30, 58)

- added dynamic markings (mm. 32, 36, 48, 58, 110, 148, 163) - added or adjusted crescendos/decrescendos for phrasing (mm. 41-43, 45-47,

48-52, 66-69, 76-78, 118-122, 124-126, 131-132, 142-145, 148, 150-151) - changed rhythm to create variation, establish patterns, or better coordinate

with piano accompaniment (mm. 37, 58-68, 76, 77-78, 114, 120, 124, 138, 142, 148)

- added mute to one section for a timbral effect to match the suggested mood (mm. 110-135)

- changed the slur/phrase groupings in the same section to better coordinate with the piano accompaniment (mm. 112-126)

- added staccato articulations to continue the existing patter (mm. 45-46) - added accents to better coordinate with piano accompaniment or continue

established patterns (mm. 77, 128, 138, 142, 156-157)