Review

Gustav Mahler
Kindertotenlieder:

Arranged by Erik Saras/Charles Vernon

Alto trombone and piano

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2020
URL: http://www.cherryclassics.com

Score and solo part.

Primary Genre: Solo Alto Trombone - with piano

Mahler set five poems as Lieder from a collection of over 400 written by Fredrich Ruckert (1788-1866) as a means of processing the intense grief after two of his children died from scarlet fever. The poems were not intended to be published, but were published in 1871 after Ruckert’s passing. Mahler’s “Kindertotenlieder” were composed between the years of 1901-1904.  The collection of lieder was intended to be performed as one inseparable unit and “in performing them their continuity should not be interfered with.” The work was premiered in Vienna in January 1905 by chamber orchestra, baritone soloist Friederich Weidemann, and with the composer conducting. The vocal part, for low voice, lies comfortably in the range of a baritone or mezzo-soprano. There is a version for high voice, which has been transcribed a minor third higher than the original.

This publication transcribes the original version of vocal part into alto clef. Its tessitura remains mostly above the staff and, as such, it is a challenge to perform in an appropriate style for the music. Piano or pianissimo phrases in the b¹ to f² range are a challenge. The tessitura for the collection is in the upper register of the instrument, f¹f², and questionable for expression of the musical affect. A glossary of German terms and phrases is included to assist in musical interpretation. Several of the terms, however, are not included in the notation where needed. Instances occur where a musical directive intended for the soloist appears only in the piano part or an indication for both is absent in both parts. Most irregularities in notation are found in the piano part, but not all. Slur markings cross through beams, slur markings float above note heads, dynamic indications between piano staves interferes with reading notation, the spacing between staffs could be more uniform, and there is a general lack of detail about the editing. The musical content is superb, but the edition would improve with additional attention.