Gustav Mahler's Ich bin der Welt abhanden gekommen expertly arranged for Baritone solo and 8-part Choir (SSAATTBarB) by Bo Holten (2010). Text by Friedrich Rückert. Programme note Gustav Mahler: Ich bin der Welt abhanden gekommen (arr.: Holten 2010) is an arrangement for baritone soloist and 8-part choir of one of Mahler’s Rückert-Lieder. There is already an often performed arrangement for 16-voice choir by Clytus Gottwald which Holten has himself conducted a few times. But Holten does not really think that Gottwald does justice toMahler’s song; among other things it lacks a soloist who can express the “Ich” that is so central to the text. Holten takes his cue from Mahler’s piano setting but with Mahler’s own sublime orchestral setting firmly in mind. The choir thus functions as an (orchestral) accompaniment for the soloist. Holten has taken pains to stay as close to the model as possible within the constraints of what in fact can be sung by a choir. And he has striven to function solely as an arranger and as far as possible to avoid mixing his own personality with Mahler’s.(Klaus Møller-Jørgensen 2012)

Par MAHLER GUSTAV. 'The songs are conceived as a whole, as if a wayfarer, with his destiny, is now looking out into the world and is wandering from place to place. … The most painful experiences were bound to come…' (Gustav Mahler, 1885) Mahler's famous set of four songs for voice and orchestra is newly available in the handsome UE Study Scores format. Gustav Mahler's 'Lieder eines fahrenden Gesellen' ('Songs of a Wayfarer') occupy a special position in his song oeuvre. Subsequent to the 'Frühe Lieder und Gesänge' ('Songs and Airs') which - with the exception of the 'Serenade' and 'Phantasie' from Don Juan - were composed between 1880 and 1882 as songs for piano and voice, the 'Gesellenlieder' ('Wayfarer Songs') were the first works to be presented in the dual versions (songs for piano and voice / orchestral songs) that were so significant for Mahler's song compositions. The 'Gesellenlieder' were initially written as songs for piano and voice between late 1884 / early 1885 and 1890, and Mahler's orchestration only followed in the years between 1890 and 1893. Another unique feature is that they were explicitly conceived as a song cycle and together with the 'Kindertotenlieder' ('Songs on the Death of Children') and possibly also the 'Lied von der Erde' ('Song of the Earth') - although the latter is far more akin to a symphony - these are the only song cycles in Mahler's song oeuvre. The 'Gesellenlieder' ultimately express the subjective experience of suffering in a particularly remarkable way./ Répertoire / Voix et Orchestre

Symphonische Dichtung. Par MAHLER GUSTAV. Gustav Mahler’s “Funeral Rites“ (literally translated: “Celebration of the Dead“) was initially conceived as the first movement of a symphony in C minor and completed in 1888. After certain alterations, – mainly cuts and extensions regarding the instrumentation – the piece became the First Movement of Mahler’s Symphony No. 2 (study scores available with the number UE34315) a few years later. Mahler himself conducted it as an independent piece with the Berlin Philharmonics in 1896./ Répertoire / Orchestre

Gustav Mahler's 1st Symphony unlocked for flexible ensemble-Here are all four movements of Gustav Mahler's 1st symphony condensed and abbreviated into four delightful miniatures for Brass instruments by Mark Goddard. Highly playable and enormous fun this arrangement retains the essence of Mahler's great work yet is easy to play and concise. This Brass pack can optionally be used alongside the parts for Woodwind and Strings.

Gustav Mahler's symphonies tend to be scored for a large orchestra putting this wonderful music out of reach of many smaller orchestras. This arrangement whilst not simplifying the music attempts to remedy this by reducing the orchestral requirements. The original orchestration requires 3 flutes 3 oboes 3 clarinets 3 bassoons 7 horns 4 trumpets 3 trombones tuba timpani percussion and strings. Although in many of Mahler's symphonies each movement seems to be an integral part of the larger work we feel that this movement can stand alone quite happily and offers a good entry to the symphonic world of Gustav Mahler.

Gustav Mahler's 1st Symphony unlocked for flexible ensemble-This album for flexible Wind Ensemble contains all four movements from Gustav Mahler's 1st symphony condensed and abbreviated into four delightful miniatures by Mark Goddard. Highly playable and enormous fun. These arrangements retain the essence of the great work yet are easy to play and concise. This Woodwind Pack optionally combines with parts for Brass (SP1312) and Strings (SP1313).

The Austrian late-Romantic composer Gustav Mahler (1860-1911) is nowadays recognised as one of the greatest composers of his time. A successful conductor during his lifetime it was only after Mahler's death that his own compositions began to enjoy widespread popularity. Composed between 1887-1888 Mahler's celebrated First Symphony received high critical acclaim as a groundbreaking work which took the imagination and narrative of a symphonic poem and gave this the cohesion of earlier structures from the genre. Mark Goddard's innovative Mahler One Inspiration By The Ton! takes the First Symphony and condensesand abbreviates the movements into four delightful miniatures for flexible String Ensemble. Suitable for String groups at an intermediate level this enjoyable arrangement is highly playable and enormous fun. Mahler One Inspiration By The Ton! is also available for Flexible Wind Ensemble and Flexible Brass Ensemble . These three instrumental packs can all be used together.

Gustav Mahler's seventh symphony ranks among the composer's most popular and accessible works. Possessing neither a 'program' nor a folk-song theme it is a purely instrumental composition both hopeful and romantic in mood with a harmonic and stylistic structure that evokes the daily journey from dusk till dawn.This miniature score is reproduced from an authoritative edition complete with numbered movements for easy reference. Affordable and compact it is ideal for use in the classroom at home or in the concert hall.Reprint of Siebente Sinfonie von Gustav Mahler: Orchester-Partitur Ed. Bote & G. Bock Berlin 1909.

Revidierte Fassung 1899 in 2 Sätzen-Score for Das Klagende Lied by Gustav Mahler. Edited from the text of the critical edition by Gustav Mahler Society Vienna.

Over the years, the need for a new edition of Mahler's Symphony #2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerizationalso ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony #2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors have been corrected. (Reinhold Kubik, taken from the preliminary note) Oh believe, my heart, oh believe:Nothing is lost with thee!Thine is what thou hast desired,What thou hast loved, what thou hast fought for!(Gustav Mahler in the Finale of Symphony #2) / Choeur Mixte (SATB) Et Piano

This glorious volume contains the first five symphonies by Czech composer Gustav Mahler. These have been wonderfully arranged for Horn by Olaf Klamand. This book forms part of the Orchester Studien series which brings together fantastic repertoire pieces that also function as a valuable training resource this is a superb addition to any Horn player. Mahler was the late Romantic period’s great thinker using his tone poems and character pieces worked and reworked he infuses sentiment and passion into his work.

This volume comprises some of Gustav Mahler?s most significant and intimate work featuring authoritative editions of his orchestral settings of five poems by Friedrich Rückert and two songs to texts from Des Knaben Wunderhorn (The Boy?s Miraculous Horn). Contents include songs to Rückert?s ?Blicke mir nicht in die Lieder? (Look not love on my work unended!); ?Ich atmet? einen linden Duft? (I breathed the breath of blossoms red); ?Ich bin der Welt abhanden gekommen? (O garish world long since thou hast lost me); ?Liebst du um Schönheit? (Lovst thou but beauty); and ?Um Mitternacht? (At midnighthour). From the Wunderhorn texts a rich source of poetic materials that occupied Mahler for fourteen years- come ?Der Tamboursg?sell? (The drummer-boy) and ?Revelge? (The dead drummer). English versions of all seven songs by John Bernhoff are included in the front matter of this publication. Original Dover (2002) compilation of seven songs published separately in authoritative early editions.

Après des études de piano, d?harmonie et de composition au Conservatoire de Vienne, Gustav Mahler (1860-1911) mène une brillante carrière de chef d?orchestre qui le conduit jusqu?aux Etats-Unis. De son mariage avec l?infidèle Alma naîtront deux filles dont Maria qu?il a la douleur de perdre en bas âge : ce sera là une source de mélancolie dans ses oeuvres futures. Grâce à son sens original de l?orchestration et de la forme, Mahler marque un tournant décisif dans l?histoire de la musique viennoise. Emporté par une infection généralisée, il laisse un répertoire incontournable de musique symphonique (dix Symphonies dont la dixième inachevée) et de cycles de Lieder / Livre /

Gustav Mahler est sans doute le plus important compositeur du romantisme tardif. Des élans agités voire quasi névrotiques associés à des mélodies magnifiques et à des chorals grandioses rendent ses symphonies riches en émotions. Cet « adagio » extrait de sa 3e symphonie et arrangé de main de maître par Georges Moreau en est l?exemple parfait.