University of Cincinnati

UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ The Pedagogical and Performance Uses of Gustav Mahler’s Lieder Transcribed for Trombone and Piano a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Division of the College‐Conservatory of Music 2008 by Daniel E. Cherry B.M., Capital University, 1995 M.M., University of Cincinnati, 1998 Committee Chair: Timothy Northcut ABSTRACT This document examines the pedagogical and performance uses of the songs of Gustav Mahler. It also includes transcribed trombone versions of 32 of Mahler’s songs, written to both emulate the original vocal pieces and to take advantage of the trombone’s range, technical facility and dynamic capabilities. These transcriptions can be performed with the existing vocal/piano scores. Gustav Mahler’s songs work particularly well as instrumental transcriptions because of his beautiful melodies, his symphonic compositional style, his emphasis of thematic development over text declamation, and his inclusion of so many expressive elements into the accompaniments of his songs. They are particularly well suited to performance on trombone because many are written in a baritone register, using the full range of dynamics and articulation styles to express various emotions and settings. The transcribed song is truly a neglected source of music for trombonists, and both student and professional trombonists have a great deal to gain by including transcriptions of Mahler’s songs in their repertoires. By studying these song transcriptions, trombonists can improve their fundamental concepts of legato style, phrasing, and musical expression, leading to a singing style of playing. And, they can include pieces by one of the master composers in their performance programs. iii © 2008 Daniel E. Cherry All Rights Reserved iv ACKNOWLEDGEMENTS I would like to thank my committee members for their time and expertise. I would also like to thank David Vining, a great mentor who helped me get started with this project, and my friend and colleague Shannon Thompson for her helpful suggestions. Finally, I would like to thank my amazing wife, Amy, whose tremendous encouragement, support and inspiration made this entire project possible. v CONTENTS LIST OF MUSICAL EXAMPLES 2 Chapter 1. INTRODUCTION: WHY TRANSCRIBE THE LIEDER OF GUSTAV MAHLER FOR TROMBONE? 4 2. THE USE OF TRANSCRIBED VOCAL MUSIC IN THE TROMBONE REPERTOIRE 7 3. THE PERFORMANCE OF TRANSCRIBED VOCAL MUSIC ON TROMBONE 12 4. THE LIEDER OF GUSTAV MAHLER AND THEIR SUITABILITY FOR TRANSCRIPTION 36 5. CONCLUSION: GREAT LITERATURE FOR TROMBONE– THE UNTAPPED RESOURCE OF MAHLER’S LIEDER 42 SELECTED BIBLIOGRAPHY 44 Appendix A. LIEDER UND GESÄNGE AUS DER JUGENDZEIT, VOL. I 51 B. LIEDER EINES FAHRENDEN GESELLEN 67 C. THE FIRST NINE WUNDERHORN SETTINGS 85 D. FÜNF HUMORESKEN 121 E. LIEDER, HUMORESKEN UND BALLADEN 139 F. THE FINAL TWO WUNDERHORN SETTINGS 176 1 LIST OF MUSICAL EXAMPLES Example 1: Legato Mahler/Cherry “Phantasie” mm. 14-16 14 Example 2a: Portamento Mahler, Gustav “Wenn mein Schatz Hochzeit macht” mm. 85-88 15 Example 2b: Portamento Mahler/Cherry “Wenn mein Schatz Hochzeit macht” mm. 85-88 15 Example 3: Vibrato Mahler/Cherry “Nicht Wiedersehen!” mm. 63-66 16 Example 4: Characteristic singing tone Mahler/Cherry “Serenade” mm. 28-31 18 Example 5a: Syllabic stress Mahler, Gustav “Aus! Aus!” mm. 71-72 19 Example 5b: Syllabic stress Mahler/Cherry “Aus! Aus!” mm. 71-72 20 Example 6a: Articulation for text declamation Mahler, Gustav “Wenn mein Schatz Hochzeit macht” mm. 14-17 21 Example 6b: Articulation for text declamation Mahler/Cherry “Wenn mein Schatz Hochzeit macht” mm. 14-17 22 Example 7a: Phrasing for text declamation Mahler, Gustav “Starke Einbildungskraft” mm. 15-16 23 Example 7b: Phrasing for text declamation Mahler/Cherry “Starke Einbildungskraft” mm. 15-16 23 Example 8: Expression Mahler/Cherry “Die zwei blauen Augen” mm. 52-54 24 Example 9: Loud volume Mahler/Cherry “Ich hab’ ein glühend Messer” mm. 68-71 26 Example 10a: Octave displacement Mahler, Gustav “Ging heut Morgen übers Feld” mm. 19-20 26 Example 10b: Octave displacement Mahler/Cherry “Ging heut Morgen übers Feld” mm. 19-20 27 2 Example 11: Brassy tone Mahler/Cherry “Revelge” mm. 126-128 28 Example 12: Muted tone Mahler/Cherry “Der Tamboursg’sell” mm. 110-111 29 Example 13a: Elimination of repeated pitches Mahler, Gustav “Wer hat dies Liedlein erdacht?” mm. 69-73 30 Example 13b: Elimination of repeated pitches Mahler/Cherry “Wer hat dies Liedlein erdacht?” mm. 69-73 30 Example 14a: Change in rhythm Mahler, Gustav “Der Tamboursg’sell” mm. 58-61 31 Example 14b: Change in rhythm Mahler/Cherry “Der Tamboursg’sell” mm. 58-61 31 Example 15a: Change in phrasing Mahler, Gustav “Des Antonius von Padua Fischpredigt” mm. 178-181 32 Example 15b: Change in phrasing Mahler/Cherry “Des Antonius von Padua Fischpredigt” mm. 178-181 32 Example 15c: Change in phrasing Mahler, Gustav Symphony No. 2 Third movement, Rehearsal 35 32 Example 16a: Change in articulation Mahler, Gustav “Selbstgefühl” mm. 53-56 33 Example 16b: Change in articulation Mahler/Cherry “Selbstgefühl” mm. 53-56 33 Example 17a: Change in note lengths Mahler, Gustav “Zu Strassburg auf der Schanz’” mm. 27-29 34 Example 17b: Change in note lengths Mahler/Cherry “Zu Strassburg auf der Schanz’” mm. 27-29 34 Example 18a: Addition to the melodic content Mahler, Gustav “Um schlimme Kinder artig zo machen” mm. 37-39 35 Example 18b: Addition to the melodic content Mahler/Cherry “Um schlimme Kinder artig zo machen” mm. 37-39 35 3 Chapter 1: Introduction Why transcribe the songs of Gustav Mahler for trombone? Musicians constantly strive to expand the repertoire for their given instrument, and transcriptions have always been a popular method of delving into new territory. Trombonists frequently perform pieces originally composed for cello or bassoon, and borrow music regularly from other instruments as well. Vocal transcriptions are used less frequently, and very few have become standard trombone recital repertoire. The transcribed song is truly a neglected source of music for trombonists. This document examines the pedagogical and performance uses of the songs of Gustav Mahler. It also includes transcribed trombone versions of 32 of Mahler’s songs which can be performed with the existing vocal/piano scores. Gustav Mahler is best known by trombonists for his symphonies, particularly the dramatic solos of Symphony No. 3, which are frequently included on orchestral audition lists. Until recently, the only published music by Mahler appropriate for trombone recitals has been a version of the Third Symphony solos with piano accompaniment.1 Many of Mahler’s songs lend themselves to instrumental transcription, and the recent releases of several arrangements of the song cycle Lieder eines fahrenden Gesellen (Songs of a Wayfarer) are a welcome addition to the repertoire.2 Even before these publications became available, this song cycle had been performed often enough to appear on a list of 1 Gustav Mahler, Trombone Solo from the Mahler Third Symphony (1st movement). Transcribed by Allen Ostrander (New York: Edition Musicus, 1958). 2 There are two existing published versions for trombone, one for euphonium and one for tuba. See: Gustav Mahler, Lieder eines fahrenden Gesellen (Songs of a Wayfarer). Edited and arranged for Trombone and Piano by Doug Sparkes (Vancouver: Cherry Classics Music, 2000); Gustav Mahler, Songs of a Wayfarer (Lieder eines fahrenden Gesellen). Transcribed and edited for Trombone and Piano by Eric Carlson (Philadelphia: CEC Music, 2003); Gustav Mahler, Songs of a Wayfarer for Euphonium and Piano. Arranged for Euphonium and Piano by James Curnow. Festival Solo Series (Wilmore, KY: Curnow Music Press, 2005); and Gustav Mahler, Lieder eines fahrenden Gesellen. Arranged for Tuba and Piano by Dan Perantoni (Troy, Michigan: Encore Music Publishers, 1992). 4 frequently performed trombone solos compiled by David Guion.3 Many of Mahler’s other songs work equally well as trombone recital pieces, and in addition they are valuable teaching tools. Perhaps the strongest argument against using instrumental transcriptions of vocal works in performance is the lack of text to carry the expression of the poetry. There are strong opinions on both sides of the argument regarding the primacy of music or poetry when the two arts are combined in song;4 however, there is a strong case to be made that Mahler himself believed in the primacy of music over text.5 His compositional style and treatment of poetic texts are important factors in why his songs work so well as trombone transcriptions, suitable for performance by students and professionals alike. The adaptations of Mahler’s songs for trombone presented in this document are purposely labeled “transcriptions,” not “arrangements.” There is at least some confusion over the difference between a transcription and an arrangement6–the Harvard Brief Dictionary of Music equates the two terms.7 The term “transcription” as contained here agrees with the following argument made by Howard Feldsher: 3 Of the 13,648 total program entries submitted to the International Trombone Association over a twenty-five year period (1972-1997), there were 58 entries for the Gesellen cycle. See David M. Guion, “25 Years of Trombone Recitals: An Examination of Programs Published by the International Trombone Association.” ITA Journal 27, no. 1 (1999): 28. 4 For an excellent discussion of both sides of this argument, see E. Mary Dargie, Music and Poetry in the Songs of Gustav Mahler (Bern, Frankfurt am Main, Las Vegas: Peter Lang, 1981), chapter 1. 5 “Schopenhauer claims that when words and music are united, music remains the more meaningful component–a view Mahler specifically endorsed.

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