cmcdougall

Or you could just give Boston a ring and borrow THE Monette post-horn from Charlie Schlueter, now i think that would work for the post-horn solo.

JackD

Does anyone actually know what a post-horn is? (Or what Mahler had in mind)

I wonder what Gustav would have made of Dave Monette and Leigh McKinney

cmcdougall

http://www.monette.net/newsite/onlin...1_posthorn.htm

That should give you an idea what the post-horn is, I guess that is what Mr Mahler had in mind, I would love the opportunity to play one, im sure Manny has maybe he can chime in with some details.

BigBadWolf

This is what Mahler really had in mind.....

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Kevin

JJ

Interestingly, an early 1902 version of the score asks for a “Fluegelhorn in Bb”, later versions for a “Posthorn in Bb” (or a trumpet in the style of a posthorn).

In terms of Mahler’s intent, there exists an account of a reviewer of one of the first performances writing that this section reminded him of Lenau’s poem Der Postillion. Apparently, Mahler was astounded and told the reviewer: “How did you know? This is precisely the poem I had in mind.”

Also, Stan Ruttenberg has written that the posthorn melody greatly resembles a tune in Liszt's Rhapsodie Espagnol. Apparently, Busoni orchestrated the Liszt, and actually played it with Mahler at a concert on October 22 1894 in Hamburg (i.e., the very period in which Mahler was composing his Symphony No. 3). Ruttenberg goes on to write that Mahler may actually have heard this melody much earlier, as it apparently was a favorite tune among postillion drivers in Bohemia, and Mahler took a postillon at one time, the driver of which often played this Spanish tune.

Just for kicks, here’s the poem:

Pleasing was this night of May,
Silverclouds were flying,
By the gracious spring's splendour
Joyously attracted.

Slumbering lay lawn and grove,
Every path abandoned;
None but moon's pale light
Kept guard by the roadside.

Gently spoke a breath of air,
Even blew more mildly
Through the silent bedrooms
Of all spring born children.

Clandestinely the brooklet crawled
For the blossoms' dreams
Scented so delightfully
These silent chambers.

Coarser was my postillion,
Let his scourge go cracking,
Over hill and valleys
Freshly sounding his horn.

From four horses, quick as flash
Hoof's beat was asounding,
As through blooming hunting ground
They were trotting with contentment.

Forrest and field rush by in hasty course,
Hardly even greeted -- avoided;
And gone, like flight of dreams,
Vanished the villages' peace.

In the midst of May's delight
Was a churchyard lying,
That a wanderer's cursory glance
Stopped for serious contemplation.

Leaning against the mountain's rim
Was a pale grey wall,
And God's crucifixion effigy
Stood high in silent sorrow.

Coachman driving along his path
More tacit now and weary;
Brings his horses to a halt,
Staring at the cross up there.

'Steed and wheel must here stand still,
Should you be kept safe from harm,
My comrade's lying over there
Deep under the cool earth!

And such appealing a fellow he was!
Lord, it's a thousand pities!
No one blew the horn so fast,
Fast as my comrade did!

Here I always have to halt,
To him, lying there under greensward,
Blow in faithful brotherhood
His favourite song.'

And to the graveyard now he sent
Happy wanderer's tunes,
Should like to sound them through the deathly silence
To his brother's final place of rest.

And the bright tone of his horn
Resounded from the hills,
As if the deceased postillion
Had joined in to his songs.

Through field and grove again I went
Charging at full gallop forward;
In my ears for a long time stayed
That sound from the hills.

JJ

Manny Laureano

Good lord...

So, it's Taps. A beautiful homage of respect in a nocturnal setting. The last thing I ever thought of this as was a night song. I always thought of this as a mountain air in daylight where everything was clear. But it's not, is it? It's dark yet reverent and, above all, peaceful.

The orchestra is the vehicle that brings the listener to the graveyard in a bumpy ride, the solo is a beautiful respite from the ride, and it takes off again after the moment of reflection.

JJ, we who didn't know this poem, owe you a debt of thanks. I'll never hear this solo the same way.

ML

JackD

Wow, very interesting!

pwillini

Very interesting indeed!

With so many different musicians playing so many different instruments, I wonder how many will rethink their choice of horn having read the poem?! I too, like Manny, thought of this solo as as ride through the hills of southern Bavaria, meadows and all. I lived there for 4 years and could just imagine it. Now I've read the poem and I'm going to have to go back and listen to it again, to see if I can get that picture in my head as I listen.

Manny, will now reading this poem have any influence on how you play this classic piece of the trumpet repetoire?

__________________
Music's only purpose should be the glory of God and the recreation of the human spirit - J. S. Bach

2004 ZeuS Olympus ARLX
1976 Bach 37 Strad
1990 Blessing ML1-G Artist Edition
1917 Conn Victor New Wonder Cornet

Manny Laureano

Pwillini,

I don't know!

I can hardly wait until we do this and see. I think it may influence equipment choice but for sure, my thoughts will be different.

ML

govtmodel

From the Conductor's Notes in the TELARC Mahler 3 conducted by Benjamin Zander-

"In the autograph score of 1896 Mahler's word "trumpet" is scratched out by the composer and the word Flugelhorn is clearly legible. "Der Postillon" (mailcoach driver) and "wie die Weise eines Posthorns" (in the manner of a post horn) appear above the solo. The first edition indicated Flugelhorn for the solo, but all later editions call for the Post Horn. So, it appears that at some point in between, Mahler changed his mind."