Mahler: Symphony No. 3 (with Score)
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- Опубликовано: 26 июл 2024
- Gustav Mahler:
Symphony No. 3 (with Score)
Composed: 1896
Mezzo-soprano: Cornelia Kallisch
Choir: Europe Choir Academy
Children's choir: Aurelius Sängerknaben Calw
Orchestra: SWR Symphonieorchester
Conductor: Michael Gielen
Erste Abtheilung
00:00 1. Kräftig, Entschieden (D minor - F major)
Zweite Abtheilung
35:30 2. Tempo di Minuetto. Sehr mässig (A major)
45:15 3. Comodo. Scherzando. Ohne Hast (C minor - C major)
1:03:43 4. Sehr Langsam. Misterioso. Durchaus ppp (D major)
1:13:09 5. Lustig im Tempo und keck im Ausdruck (F major)
1:17:36 6. Langsam, Ruhevoll. Empfunden (D major)
This is Mahler's longest symphony, in six movements and lasting nearly two hours. Mahler's concept of the symphony as a world unto itself finds its complete exposition here in the highly diverse styles and elements, creating problems of continuity and coherence that he did not completely solve. The primary theme of the Third is Nature and Man's place therein, and its principal literary inspirations are Das Knaben Wunderhorn (as in the previous symphony) and Nietzsche. As in the Second Symphony, Mahler added words and voices to expand his means of expression and used material from one of his earlier Wunderhorn Songs. The original program ran like this: "The Joyful Knowledge: A Summer Morning's Dream." I. Pan Awakes: Summer Marches In; II. What the Meadow Flowers Tell Me; III. What the Creatures of the Forest Tell Me; IV. What Night Tells Me (Mankind); V. What the Morning Bells Tell Me (the Angels); VI. What Love Tells Me; and VII. The Heavenly Life (What the Child Tells Me). Ultimately, Mahler dropped the seventh movement and used it as the core around which he built the Fourth Symphony. The sum of this program represents Mahler's cosmological hierarchy at this point in his life and the Third Symphony as a whole is his most specific example of "world building" in artistic terms.
Kräftig. Entschieden. (Strongly and Confidently). This is the single longest sonata-form movement ever written. Mahler sets bizarre, primordial, and harsh brass and percussion rumblings depicting Pan's awakening in opposition to pastoral music of bird calls and light fanfares over tremulous strings and woodwind trillings. These elements are transformed into the ultimate example of Mahler's symphonic military marches. The entire movement covers a vast soundscape of imagery, from bold, assertive proclamation to harsh and grotesque fugal passages, to despairing outcries, to a lighthearted and popular sounding march tune.
Tempo di Menuetto. (Minuet Tempo). This is a light and folk-like dance movement in the style of the comic Wunderhorn Songs. It stands in sharp contrast to the weighty first movement.
Comodo. Scherzando. Ohne Hast. (Moving, Scherzo-like, Without Haste). This movement quotes extensively from Mahler's song Ablösung im Sommer (Relief in the Summer) about a dead cuckoo. Its comic vein is interrupted twice, once by a sentimental posthorn solo, and later by a dramatic outburst symbolic of the great god Pan's intrusion into the peaceful summer.
Sehr langsam. Misterioso. Durchaus ppp. (Very Slow, Mysterious, Pianissimo Throughout). Here Mahler moves into a more metaphysical realm by setting Nietzsche's "Midnight Song" in this slow and haunting movement.
Lustig im Tempo und keck im Ausdruck. (Happy in Tempo, Saucily Bold in Expression). Boys and women's voices are used here to sing this angel's song about the redemption of sin from Das Knaben Wunderhorn. Mahler imitates church bells to delightful effect in this innocent and uplifting movement.
Langsam. Ruhevoll. Empfunden. (Slow, Peaceful, Deeply Felt). A majestic and awesome Adagio concludes the symphony in a hymn-like paean on love. It rises to a powerful climax as "Nature in its totality rings and resounds."
www.allmusic.com/composition/... 
Видеоклипы
The only problem with Mahler is that It is completely addicting, it is hard to listen to anything else after such an experience. This symphony is perfection
What strikes me with Gustav's scores is the vast amount of detail and suggestions on dynamics. Can tell the guy was a conductor full time. No wonder his pieces have so much scope for performance variety.
My guy foresaw many orchestral habits that would happen so he often wrote disclaimers to avoid said habits.
This is one of the greatest symphonies of all time, very long but outstanding.
Agreed❤
Not long enough 💕
he he he ha
@@jonnieinbangkokvalid
"one of"
I swear if I see another ad interrupting the climaxes
Damn the tuba and bass trombone combo at 23:30
The first movement is one of the best things ever written
I agree, but what about the finale in the last movement?
@@eddieandmaxie last movement is the most emotional writing ever
Be our guest by Gustav Mahler : 13:20
I love this section! But it kinda reminds me of Shostakovich 7 and I feel like: Something bad is about to come!
the beginning of the finale is just gorgeous
I agree 😢
How about the end?
A great performance complete with youtube ads every 3 minutes, just the way Mahler intended
I have accepted it and made a game out of laughing at what the ad will be for, and how that might enrage or tickle Herr Mahler himself as he listens along in das himmlische Leben! But as Gielen's cycle has such a power not to mention its idiomatic character it's one I'm enjoying now even as this symphony goes to 110 minutes and now I must have the latest Cheetos flavor! Any suffering is worth it for St. Gustav and his sprawling canvases of humanity.
Use opera mini
You can buy YT Premium for a year for the price of one classical music concert ticket 🎟️ No commercials and unlimited streaming and downloads.
get brave browser
So much for the "invisible hand of the market .... "
Genuinely one of the most beautiful finales ever. Goosebumps and tears every time I listen to it.
I had the honor to play the solo trumpet part for my college performance of the finale, and me and my professor were both nearly in tears during the brass chorale. This symphony is easily my favorite piece of music ever written and the finale in particular is burned into my heart for eternity.
Thanks for uploading with a new version of the score!
7:30 that rendition of the famous trombone solo is easily the best i have ever heard. Bravo to that trombonist
19:51 This part sounds so sweet!!
thank you so much
Nice work, the translations😊
The ending is Heavenly
Text from Des Knaben Wunderhorn
Es sungen drei Engel einen süßen Gesang,
mit Freuden es selig in dem Himmel klang.
Sie jauchzten fröhlich auch dabei:
daß Petrus sei von Sünden frei!
Und als der Herr Jesus zu Tische saß,
mit seinen zwölf Jüngern das Abendmahl aß,
da sprach der Herr Jesus: "Was stehst du denn hier?
Wenn ich dich anseh', so weinest du mir!"
"Und sollt' ich nicht weinen, du gütiger Gott?
Ich hab' übertreten die zehn Gebot!
Ich gehe und weine ja bitterlich!
Ach komm und erbarme dich über mich!"
"Hast du denn übertreten die zehen Gebot,
so fall auf die Knie und bete zu Gott!
Liebe nur Gott in alle Zeit!
So wirst du erlangen die himmlische Freud'."
Die himmlische Freud' ist eine selige Stadt,
die himmlische Freud', die kein Ende mehr hat!
Die himmlische Freude war Petro bereit't,
durch Jesum und allen zur Seligkeit.
Three angels sang a sweet song,
with blessed joy it rang in heaven.
They shouted too for joy
that Peter was free from sin!
And as Lord Jesus sat at the table
with his twelve disciples and ate the evening meal,
Lord Jesus said: "Why do you stand here?
When I look at you, you are weeping!"
"And should I not weep, kind God?
I have violated the ten commandments!
I wander and weep bitterly!
O come and take pity on me!"
"If you have violated the ten commandments,
then fall on your knees and pray to God!
Love only God for all time!
So will you gain heavenly joy."
The heavenly joy is a blessed city,
the heavenly joy that has no end!
The heavenly joy was granted to Peter
through Jesus, and to all mankind for eternal bliss.
La tercera de Mahler (1895-1896) fue compuesta en Steinbach, cerca de Salzburgo y fue estrenada por el mismo Mahler el 9 de junio de 1902 en Krefeld. El se expresó de ésta sinfonía como "su monstruo" por la longitud (1 hora y 42 minutos). Es la segunda sinfonía más larga de la historia.
What's the first?
Symphony No.1 in D minor "Gothic" by Havergal Brian is considered to be longer @@calebealves5186
It is considered THE longest in the standard repertoire. There are certainly longer works, even symphonies, but this is the real deal when it comes to classical performances
29:43 Mahler 9th
Love this symphony...the only downside to me is that the first movement far exceeds the rest; even though I love the rest
The bass trombone at 23:30 😮
what's with the captions in the first movement? is it reciting a poem
Those captions are for the 4th and 5th movements. I have already corrected them.
Around bars 25-35, it always seems strange that orchestras play the acciacatura triplets the same as the eight note triplets. I wonder if G. Mahler meant that the ornament ones were to fit in the last beat of the trombones' triplet, or something else
cathartic
1:34:52
19:50 The most beautiful french horn solo ever written. The figure at 20:32 is so incredibly good…
1st Movement, Bar 19: Look at the 6, 8 Horns - how are they able to hit that bottom E (A, they're in F)??? I only thought they could go down as low as the G a tenth above (an 11th below middle C)
That's a pedal E (sounds A three ledger lines below bass clef staff). It's a very difficult note that low horn players spend a lifetime perfecting, I'd imagine. The F right above that is usually the "accepted lowest note" in textbooks.
This note is reachable, and you can reach D, C# and even C but it's harder.
If you want to write something for horn, stop you at the bottom F, you gonna save us life time 😂
I 73 - 34:19
II 12 - 41:29
IV 29 - 1:38:26
the deeds of men remain the same
I don't love Mahler 3 but Mahler 3 doesn't care and I like that
What the hell
What?
Mahler didn't really write for others to listen to. He wrote mostly for himself. So yeah, I guess Mahler 3 doesn't care. xD
these are fascinating. One question though: what to the large numbers randomly appearing at the top and sometimes 2 thirds down the score represent? They don't appear to match with bar numbers or pages or anything.
They help to break the piece up into smaller, more manageable sections. If you listen to the piece again and take note of what the music is doing when the large numbers appear, you will quickly notice that they correspond to a change in atmosphere/mood, or the entrance of a new/returning theme in the music etc. The numbers also help massively during rehearsals. Conductors will often say something like 'from 15' and everyone will know exactly where to turn to.
Rehearsal markings
24:50
Deep love, kansamida🎉
15:15
yah I could prolly do the same thing if I tried
i always thought the same about my own ability
Am i the only one who thinks the second movement has a very very similar vibe with the third movement of the Brahms 2??? especially at the start
27:05
3:33
1:10
19:50
24:30 28:00 33:30 41:40 51:00 1:22:45
34:57
22:47
1:03:10
24:50
13:12
23:04
36:21
15:15
31:30