The excerpts from Mahler's Ninth Symphony
are best understood when you know the
through a recording or, or having played
There are a lot of traditions with the
with the rubato, not that have to be
copied exactly, but
that at least should be understood and,
and digested a little.
It's hard to play this music literally as
it is on the page and, and
expect to make a great impression.
What these excerpts have in common is they
have a, a gutsy sound and
a very strong rhythm.
The expression is very outward.
In very few cases do you really have to
hide what it is you're doing.
So, they are not the most subtle excerpts.
However, there are places where you need a
very strong pulse.
And this excerpt from the first movement
is one of them.
There is a place later on at the langsamer
that's ends up being a big retard, it gets
a fair amount slower.
But everything before then needs a pulse
even when you have rubato.
You're taking and giving from the rhythm,
the pulse should remain.
Now the bowings are up to you.
The, the Mahler marked bowings, some of
which make a lot of sense.
For example, if he marks repeated down
generally we take that seriously because
we know what he's after.
He wants repeated emphases.
But, you don't always have to do it
And many of the slurs, many of the bow
changes, don't seem to make total sense,
so orchestra sections change those all the
So that, that is up to you as long as
you're getting your point across.
Let me show you what these sforzandos
might sound like because they're big ones.
really lay into it.
Sforzandos perhaps, even a little stronger
than accents, but, but really all
those notes it, it's fine to just, it's
really heart on sleeve kinda stuff.
Look near the end, actually look first
before the langsamer.
Three bars, the fingering that I like
So I'm, I get myself into
fourth position to start.
And then I shift up on the one.
That's because I want to be able
to reach that interval.
It goes by so quickly, and it's hard to
shift up and then back down.
So I like to choose one.
I'd like to reach up and then shift back
The end presents a, a special challenge
for fingering too because that's
marked by Mahler first on the D string and
then the G string.
Needless to say,
you want all those
Cs to match.
And now, this is not in the part, but it's
And it makes sense to diminuendo into
I've never had a performance that's gone
right into 13 still fortissimo,
as it would seem to be marked.
So, with those repeated slurred bars, the
energy is flagging.
It's getting a little slower, and
it's getting a little quieter to lead
right into rehearsal 13.