Adagietto from Symphony No. 5, for bass recorder—doubling alto—and keyboard
The famous and often-excerpted fourth movement, arranged here at original pitch. The middle section lies significantly higher than the first section, so the alto recorder works far better there, and there is a good place to allow time for the switch. The last section can be played by either bass or alto. Theodor Adorno said, [Mahler had] “the desire to fill the empty flows of time with meaning, to transform it into a permanence full of joy. That fulfilment…has found its true home in Mahler’s…symphonies.” (1) The original dynamics, slurs and articulations are indicated, but of course there is a limit to how faithfully a recorder can perform them, especially the dynamics. They are included mainly so that the composer’s original intent is transmitted, and the best possible recorderistic solution found. A page of translations from the German is included. NOTA BENE: The recorder part has a short score with it to allow for optimum coördination and cuing.
(1) Quasi una Fantasia, p. 89
Keyboard parts include separate recorder parts at no additional cost.
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Recorder & Keyboard part, 6+3+1 pp.