Adagietto from Symphony No. 5, for bass recorder—doubling alto—and keyboard
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Recorder part with cue staff
NOTA BENE: The recorder part has a short score with it to allow for optimum co?rdination and cuing (See recorder part incipit below).
The famous and often-excerpted fourth movement, arranged here at original pitch. The middle section lies significantly higher than the first section, so the alto recorder works far better there, and there is a good place to allow time for the switch. The last section can be played by either bass or alto. Theodor Adorno said, [Mahler had] ?the desire to fill the empty flows of time with meaning, to transform it into a permanence full of joy. That fulfilment?has found its true home in Mahler?s?symphonies.? (1) The original dynamics, slurs and articulations are indicated, but of course there is a limit to how faithfully a recorder can perform them, especially the dynamics. They are included mainly so that the composer’s original intent is transmitted, and the best possible recorderistic solution found. A page of translations from the German is included.
(1) Quasi una Fantasia, p. 89$0.503 pp.
