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Category Music / Classical
Species Unspecified / Any
Size 50 x 50px
File Size 8.89 MB
Listed in Folders
This movement always gives me the shills. Not quite as much in MIDI form, but I still feel something!
At 5:01, the Trombones(?) seem to do something different from the Cook version. I think Cooke has the note at the end of that iteration of their motif go even lower.
The tam-tam at 5:21 is definitely appropriately spooky!
9:25 - love the cymbal crash!
(The timings that I've given might actually be a few seconds different in the recording)
At 5:01, the Trombones(?) seem to do something different from the Cook version. I think Cooke has the note at the end of that iteration of their motif go even lower.
The tam-tam at 5:21 is definitely appropriately spooky!
9:25 - love the cymbal crash!
(The timings that I've given might actually be a few seconds different in the recording)
Strangely, FA isn't giving me times on this submission, so I referred to the one on Weasyl.
Cooke gives the line from 4:45 to 5:06 to a tuba. I give it to 4 horns. You're right that in the Cooke version, the last note of the second iteration of the motif is an F, while in mine it's a G. The notehead looks to me like it could just as easily be either-see page 7, system 3, line 2, measure 7 of the short score: http://conquest.imslp.info/files/im.....Hs.41000-5.pdf If it were an F, it's almost a given that the quarter note on the top staff would have to be made natural to agree with it (as Cooke does). The two F's in the following bar would probably also have to be made natural (as Cooke also does) lest the reintroduction of F-sharp right before the modulation to D minor be jarring. Even if one didn't make these alterations, one would have to conclude that Mahler omitted several courtesy accidentals. If one assumes G, on the other hand, the accidentals make sense exactly as written, the motif on the top staff begins on F-sharp all three times, and the scalar motif ends in a descending second like every other time it ever appears rather than an anomalous third. This seemed more plausible.
Cooke actually uses tam-tam all throughout the beginning of the introduction and once near the end of it, but I only use it that once-I figured less is more.
9:25 is also tam-tam, not cymbals-you're hearing more high overtones because it's a loud stroke. Cooke uses cymbals, bass drum and tam-tam there, but again, I preferred something simpler.
Cooke gives the line from 4:45 to 5:06 to a tuba. I give it to 4 horns. You're right that in the Cooke version, the last note of the second iteration of the motif is an F, while in mine it's a G. The notehead looks to me like it could just as easily be either-see page 7, system 3, line 2, measure 7 of the short score: http://conquest.imslp.info/files/im.....Hs.41000-5.pdf If it were an F, it's almost a given that the quarter note on the top staff would have to be made natural to agree with it (as Cooke does). The two F's in the following bar would probably also have to be made natural (as Cooke also does) lest the reintroduction of F-sharp right before the modulation to D minor be jarring. Even if one didn't make these alterations, one would have to conclude that Mahler omitted several courtesy accidentals. If one assumes G, on the other hand, the accidentals make sense exactly as written, the motif on the top staff begins on F-sharp all three times, and the scalar motif ends in a descending second like every other time it ever appears rather than an anomalous third. This seemed more plausible.
Cooke actually uses tam-tam all throughout the beginning of the introduction and once near the end of it, but I only use it that once-I figured less is more.
9:25 is also tam-tam, not cymbals-you're hearing more high overtones because it's a loud stroke. Cooke uses cymbals, bass drum and tam-tam there, but again, I preferred something simpler.
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