GUSTAV MAHLER SYMPHONIE IV
Arranged for Chamber Ensemble by ERWIN STEIN for the Verein für Musikalische Privataufführungen in Wien [Director: Arnold Schönberg] (1921)
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Copyright © 2001 by Marion Thorpe
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INSTRUMENTATION
Flute (dbl. Piccolo)
Oboe (dbl. Cor Anglais)
Clarinet in A / B / C (dbl. Bass Clarinet)
Percussion
(Sleigh bells, Susp. Cymbal, Glockenspiel, Bass Drum, Tam-tam, Triangle)
Harmonium
Piano (2 Players)
Strings
Duration: c. 55 mins.
Editorial Notes
The following abbreviations are used:
UE1: first printed edition of FS (1902 - Universal Edition)
UE2: second printed edition of FS (1906 - Universal Edition)
FS: full score
GM: Gustav Mahler
ES: Erwin Stein
fl: flute
picc: piccolo
ob: oboe
ca: cor anglais
cl: clarinet
bcl: bass clarinet
hn: horn
tpt: trumpet
perc: percussion
timp: timpani
bd: bass drum
cym: cymbals
tri: triangle
glock: glockenspiel
hp: harp
harm: harmonium
pno: piano
vln: violin
vla: viola
vcl: cello
db: bass
1 st Movement
Bar
10 ob, cl: on the fourth beat they are correct in their rhythmic difference
31-33 either harm or pno: the harm, if it is of high quality, is the preferred sonority
69 either harm (ES) or ca: but not both instruments
85 vla: in UE1 but deleted in UE2
86-88 fl: in UE1 but deleted in UE2
88 ob: in UE1 but deleted in UE2
127-134 harm: ES assigned this part, originally that of the bcl, to the harm. The choice between these two instruments is left to the conductor
133-138 cl: ES assigned this part, originally that of the bsn, to the cl
144-153 cl: for greater convenience this passage may also be played on the B flat cl; the designation for the C cl is GM’s original intent
150 harm: mit Dämpfer is the original marking in the tpt (NB: markings such as mit dämpfer and gestopft apply only to the particular passage in question; thus an offen marking afterwards is assumed but not always shown)
158 harm: + is the original marking in the hn
160 harm: immer mit Dämpfer is the original marking in the tpt
173 harm: gestopft is the original marking in the hn
181 harm: if the instrument is only capable of producing one of these effects, the f dim. p is preferable
188-189 vla: this exists only in UE1; it is here included as an option
200, 202 harm: if the instrument used has range capable of reaching this note, the fl can be omitted in these bars at the discretion of the conductor
211 ob: this may need to be fff (as in GM’s marking for the hns in this bar)
216 bd: to be used at the discretion of the conductor. As there were only two percussionists listed in the programme of the first performance (20 January 1921), it is possible that only the tri and glock were played in this passage. In any case, the bd is to be used with great discretion! The bd – if used – can begin at bar 217 (and not at bar 216, as GM specifies)
221-223 harm: the upper line – a duplication of the ob – is to be used only if it is impossible for the ob to be heard
231 fl: original tpt ppp
245 vla: this exists only in UE1; it is here included as an option
246-247 pno: this was given by GM to the bsn, and was assigned to the harm by ES. The editor feels that they in fact work better on pno instead, and thus they are given in the pno as an option
249-250 vln2: this exists only in UE1; it is here included as an option
251-262 cym: these are to used with great discretion, if at all
262 cl: either of the two notes indicated may be used, at the conductor’s discretion. GM calls for only the lower E, but the upper note is the natural continuation of the tpt and hn lines
287 pno: original hp f
293 pno: original hp f
299 bd/pno: the quaver on the 1st beat was scored by GM for timp; here it can be played by the bd or pno as ES leaves no indication in his score
303 harm: mit Dämpfer is the original GM marking in the hn
309-310 pno: LH optional (or as a replacement for the db)
311-312 harm, pno: the conductor may wish to use either of these
315 vla: in UE1, whilst in UE2 it has been taken out. It is here restored by the editor, though only the lower octave has been added; in the original it is divisi in octaves
338-340 pno: optional
344 cym: to be used with great discretion, if at all
2 nd Movement
1 perc: 2 players playing the following – bd, glock, cym, tam-tam
1 vln1: the player alternates between two instruments: one with its four string tuned in the normal fashion, and the other tuned in the scordatura fashion (i.e. one whole tone higher A, E, B, F#): passages to be played on the scordatura instrument are this notated in a key signature one lower that that of the normally tuned instrument. ES’s solution was to have the scordatura part played by a third violinist
34 pno: original hp f
36 pno: original hp ff
48 pno: original hp f
48 cl: gestopft original hn
68-70 pno, harm: optional notes are playable on pno or harm; for obvious dynamic-related reasons, the harm is the preferable instrument
72 pno: original hp f
94 vla: original hn p
115 pno: original hp f
119 pno: original hp f
153 pno: original hp f
185 pno: original hp f
186 pno: original hp ff
204 vla: original hn p
221-228 bd: optional
262-265 pno: the low A is to be sustained for these bars if the note is unplayable on the harm
266 pno: original hp f
273 cl: in UE2 the cl part is deleted in this bar
281 pno: original hp p
291 pno, harm: this bar can be played on either the pno or harm
292 pno: original hp f
302 vln2: the harmonic is not indicated in UE2
309 cl: Dämpfer ab original hn
309-313 pno, harm: the RH harm for these bars has been reproduced in the RH pno. If a high-quality harm (i.e. one that can successfully realize the dynamic markings given) is available, the passage is to be played by the harm alone; if not, the passage is to be played only by the pno
313 harm: the lower part in this bar is not optional
314 pno: original hp p
332 pno: original hp p
352-355 harm: at the conductor’s discretion, these bars may be cut
3 rd Movement
187 vcl: the crescendo is to be played if one is not possible on the harm
199-200 pno: in UE1 these two bars in the LH are semibreves for the hns
258 db: in UE2 this quaver is an A (i.e. a perfect fourth lower)
318-321 vln2: optional
337, 339 vcl, db: in UE2 these bars are not semibreves but minims tied to the previous bar in each case
4 th Movement
1 voice: soprano or treble
71 pno: based on the previous bar, the C natural in the RH could well have been meant to be a sounding B natural
72 fl: original picc mf
96-98 vla, vcl: optional, as they reflect a doubling of the ob and ca parts found only in UE1
170-184 cl, harm: ES’s solution is to have the original bcl part (i.e. from 174) played by the harm; the editor’s solution is to have that passage, and the A cl 3 bars before it played by the bcl, and is especially preferable if a good harm is not available
182-184 vcl: optional
Klavier (Spieler 1)
Reconstruction by Alexander Platt as authorized by THE BRITTEN ESTATE (1993)
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