Mahler - 9th Symphony, 2nd mvt (piano solo) скачать в хорошем качестве

Mahler - 9th Symphony, 2nd mvt (piano solo)

Gustav Mahler - 9th Symphony, 2nd movement (piano solo) with score Im Tempo eines gemächlichen Ländlers Arranged and performed by Iain Farrington Published by Aria Editions: https://www.ariaeditions.org/store/c7... http://www.iainfarrington.com​ Gustav Mahler (1860-1911) composed his 9th Symphony in 1909-10 in Toblach near the Austrian/Italian border. It followed 'Das Lied von der Erde' which he had composed in 1908-9, a song-symphony based on Chinese texts. Both of these works can be seen as a response to the devastating death in 1907 of Mahler's eldest daughter, as well as Mahler's own health concerns. He had been diagnosed with a heart condition and was acutely aware of his own fragile mortality. While he was forging ahead with his conducting career in New York, his own music was taking new directions, with more complex harmony, extensive use of counterpoint and often transparent chamber-like textures. The Ninth Symphony is often seen as a 'farewell' symphony, both in terms of referencing farewell music by Beethoven and Mahler himself, but also in the prevailing mood of resignation. The opening movement is full of nostalgia and serenity, contrasted with a tragic heroism. A series of dances comprise the second movement, exploring the pastoral Ländler through to the whirling waltz. For the third movement, a fiercely savage and contrapuntal music is unleashed. There is a visionary passage at the centre of the movement where the music is transformed into a blissful major key, before being swept aside. Mahler ends the symphony with a solemn and passionate Adagio, perhaps desperately clinging onto life as well as bidding it farewell. It was Mahler's last completed work and was premiered by Bruno Walter with the Vienna Philharmonic in 1912. An arrangement for solo piano of Mahler's work brings the music close to its compositional origins. In each one of his composing 'huts', Mahler had a piano at his disposal. His sketches are often on two or three staves of music, and can be read directly on the piano. Mahler often played his latest works on the piano to friends and colleagues, and his early training as a pianist left him with a good virtuoso technique. By performing the music in this way, it enabled the first listeners to hear the melodies and harmonies unadorned. Mahler also 'recorded' some of his music onto piano rolls: the first movement of the 5th symphony, the last movement of the 4th symphony and several songs. These demonstrate Mahler's 'orchestral' piano technique, full in texture and tone, carrying the general sweep and drama of the music. This solo piano arrangement of Symphony No. 9 is not just a literal transcription of the notes onto two staves, but a transformation into pianistic texture of the full sonic landscape. Hearing Mahler's music in this way allows us to take in the content as 'pure' music. In Mahler's lifetime, piano duet versions of the Symphonies were published, but very few for solo piano. This arrangement allows one player the opportunity to perform and study them.