Mahler - 7th Symphony (piano solo)

Gustav Mahler - 7th Symphony (piano solo) with score
Arranged and performed by Iain Farrington

Published by Aria Editions: https://www.ariaeditions.org/store/c7...

http://www.iainfarrington.com​

1. Langsam – Allegro risoluto, ma non troppo
2. Nachtmusik I. Allegro moderato. Molto moderato (Andante)
3. Scherzo. Schattenhaft. Fließend aber nicht zu schnell
4. Nachtmusik II. Andante amoroso
5. Rondo-Finale

Gustav Mahler (1860-1911) composed his 7th Symphony in 1904-5 while he was music director at the Vienna State Opera. It was written at Mahler's composing hut in Maiernigg near the Wörthersee, and he conducted the premiere in 1908 in Prague. The Symphony is notable for its inner movements that evoke the night: two subdued slow movements separated by a biting and sarcastic waltz. These contrast strongly with the opening movement (notable for its frequent use of ascending or descending fourths) and a consistently joyous Finale. The opening jagged rhythm of the piece was supposedly inspired by the sound of oars while Mahler was rowing on the Wörthersee. Mahler compared the first Nachtmusik to the Rembrandt painting The Night Watch, with a continuation of the major/minor conflict from the Sixth Symphony. The Schattenhaft movement is a grotesque nightmare that parodies the Viennese waltz, followed by the calm serenade quality of the second Nachtmusik. The Finale is filled with a sunny and optimistic mood, with hymn-like brass themes that seem to reference Wagner's Die Meistersinger von Nürnberg. There is no Classical key scheme for the Symphony, instead each movement inhabits its own tonal world. With its unorthodox structure and unexpected dissonant harmony, the work was not an initial success. However, one early admirer of the Symphony was the composer Arnold Schoenberg, who became a staunch admirer of Mahler's music after hearing a performance in Vienna.

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. 7 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.