Mahler (arr. Lee): Symphony No. 1 in D Major
Instrumentation: 2d1. 2d1. 2d Eflat & bass cl. 2 (cfag. ad lib) - 4. 2. 2. 0 - tp - 1 (2) perc. hrp - str This arrangement of Mahler's Symphony No. 1 can be performed by a chamber orchestra of approximately 33 to 38 players. The arrangement remains very faithful to Mahler's original and is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present. This arrangement is part of the Mahler Chamber Project (MCP), a series of orchestral reductions of Gustav Mahler’s symphonic works created by conductor and arranger Yoon Jae Lee. The project encompasses the nine complete symphonies, sections of the tenth symphony, and the song cycle Das Lied von der Erde. Performance material available for hire worldwide through Ondine Press. Please email ondinepress@gmail.com for all rental inquiries.
Instrumentation: 2d1. 2d1. 2d Eflat & bass cl. 2 (cfag. ad lib) - 4. 2. 2. 0 - tp - 1 (2) perc. hrp - str
This arrangement of Mahler's Symphony No. 1 can be performed by a chamber orchestra of approximately 33 to 38 players. The arrangement remains very faithful to Mahler's original and is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present.
This arrangement is part of the Mahler Chamber Project (MCP), a series of orchestral reductions of Gustav Mahler’s symphonic works created by conductor and arranger Yoon Jae Lee. The project encompasses the nine complete symphonies, sections of the tenth symphony, and the song cycle Das Lied von der Erde.
Performance material available for hire worldwide through Ondine Press. Please email ondinepress@gmail.com for all rental inquiries.
Erfolgreiche ePaper selbst erstellen
Machen Sie aus Ihren PDF Publikationen ein blätterbares Flipbook mit unserer einzigartigen Google optimierten e-Paper Software.
Fl.
Ob.
Cl.
(B)
Fag.
Hr.
I / II
(F)
Hr.
III / IV
(F)
Trp.
(F)
Pos.
Sch.
Vl. I
Vl. II
Vla.
Vc.
339
°
& # #
& # #
& # # # #
?#
¢ #
°
& ∑ ∑ ∑ ∑ ∑ nw^ ^ ^ ^
nw
# # w w w w #
# w w
{
mf
ossia: tacet bis T. 347
^ ^ ^ ^
^
^
^
&
bw
bw
w w n nw w b bw w
w w nw
#w
w
#w
nw
∑ # w ∑ w ∑ # w
?#
¢ # b˙
∑ ∑ ∑
b˙
b
b œ œ
n
n œ œ b
b ˙˙
b
b œ œ
n
n œ œ b
b ˙˙
b
b œ œ
n
n œ œ b
b ˙˙
b
b œ œ
n
n œ œ b
b ˙˙
b
b œ œ
n
n œ œ b
b œ œ j ‰ Œ Ó
°
& # #
{& # #
NB. ppp Beginn der Steigerung. Fag., Pos., Vc u. Cb.
etwas hervortretend
*)
pp
poco a poco cresc.
344
fp fp fp fp
poco a poco cresc. fp fp fp fp
poco a poco cresc. fp fp fp fp
cresc.
p poco a poco cresc. mf mf
& ∑ ∑ ∑ ∑ ∑
poco a poco cresc.
ppp poco a poco cresc.
f
p
p subito
poco a poco cresc.
pp ohne crescendo sf sf
sf
poco a poco cresc.
poco a poco cresc.
Immer noch etwas zurückhaltend
w^ #w^ ^ ^
w # w w w #
# w w
/ æw æw æw æw æw ∑ ∑ ∑ ∑
B # # ∑ ∑ ∑ ∑ ∑
?# #
b˙
b˙
w
w
w
w
b˙
b˙
b˙
b˙
b˙
b˙
æ
b˙
n˙
n˙
b
b œ œ
n
n œ œ
n˙
n˙
n˙
n˙
æ
bœ
nœ
b
b
˙˙
w
w
w
w
b
b ˙˙
b
b
˙˙
b˙
b˙
æ
b˙
n˙
n˙
b
b œ œ
n
n œ œ
n˙
n˙
n˙
n˙
æ
bœ
nœ
n
n
˙˙
w
w
w
w
b
b ˙˙
n
n
˙˙
n˙
n˙
æ
b˙
n˙
n˙
b
b œ œ
n
n œ œ
n˙
n˙
n˙
n˙
æ
bœ
nœ
b
b
˙˙
w
w
w
w
b
b ˙˙
b
b
˙˙
b˙
b˙
æ
b˙
n˙
n˙
b
b œ œ
n
n œ œ
n˙
n˙
n˙
n˙
æ
bœ
nœ
b
b
˙˙
w
w
w
w
b
b ˙˙
b
b
˙˙
b˙
b˙
æ
b˙
n˙
n˙
b
b œ œ
n
n œ œ
n˙
n˙
n˙
n˙
æ
bœ
nœ
nw n w
nw
nw
nw
nw
b
b œ œ
nw
nw
æ
nw
nw
æ
p
f
# w w # w
#w w # w
# w
# w
# w
# w
w
w
w
w
b
b œ œ
n n œ œ œ œ œ œ œ œ b
b œ œ
b
b œ œ
n n œ œ œ œ œ œ œ œ b
b œ œ
b
b œ œ
n n œ œ œ œ œ œ œ œ b
b œ œ
b
b œ œ
n n œ œ œ œ œ œ œ œ
PERUSAL SCORE
ONLY
# w
#w
æ
# w
#w
æ
bœ
bœnœ
œ œ œ bœbœ
œ œ œ œ bœbœ
œ œ œ œ bœbœ
œ œ œ œ
NOT FOR SALE
bœ
w
w
æ
w
w
æ
bœ
nœ
œ œ œ bœ
bœ
nœ
œ œ œ bœ
bœ
nœ
œ œ œ bœ
bœ
nœ
œ œ œ
w
w
w
w
w
w
æ
w
w
æ
sf
∑
41
Cb.
?#
{¢ #
b˙
b˙
b
b œ œ
n
n œ œ
b
b ˙˙
b
b œ œ
n
n œ œ
poco a poco cresc.
b
b ˙˙
b
b œ œ
n
n œ œ
b
b ˙˙
b
b œ œ
n
n œ œ
b
b ˙˙
b
b œ œ
n
n œ œ
unis.
bœ
f
bœ
nœ
œ œ œ bœ
bœ
nœ
œ œ œ bœ
bœ
nœ
œ œ œ bœ
bœ
nœ
œ œ œ
*) Anmerkung für den Dirigenten: Violine I cresc., Violine II ohne cresc.
Change language