Der Tamboursgsell from Des Knaben Wunderhorn (4 Tpts, Flugel, 4 Hns, 3 Trbs, Tuba, percussion) (Programme note: Des Knaben Wunderhorn (Youths Magic Horn) is a collection of German folk poems published in 1805-8. Mahlers numerous settings of these poems are scattered around his catalogue: some for voice and piano, some with orchestral accompanimiment and some of which he used as movements in his symphonies. The first 9 were written in 1887 and make up Volumes 2 and 3 of his voice and piano collections. 12 more were published in 1899, originally as Humeresque, conceived with orchestral accompaniment. Urlicht and Es sungen drei Engel were replaced in 1901 by 2 new songs after Mahler had incorporated the earlier songs into his 2nd and 3rd symphonies. Des Antonius von Padua Fischpredigt and Ablösung im Sommer were also included in the 2nd and 3rd symphonies as instrumental movements. Der Tamboursgsell was the final song, to words by Rückert in the Wunderhorn cycle. With with Revelge they replaced the 2 songs omitted after their use in the symphonies. It is the sad stroty of a soldier, once a drummer boy, captured and awaiting the gallows. It is a miniature version of the funeral march we hear in the 5th symphony. At the end hge sings: I cry out with a clear voice: I take leave of you! Good night! Performance note: This version can be used as accompaniment for a solo voice performance. If this is the case, balancing the dynamics is vital and some of the transcribed vocal lines may be omitted to avoid doubling the voice. The opening tempo is slow but not without movement; the pulse is of a steady march. Keep the upbeats light, making the heavy semibreve the focus of the phrase. The staccato markings at figure 1 suggest some separation but dont play too short - keep resonance and line. Treat the hairpins as phrasing indications rather than significant changes of dynamic. From bar 91 to figure 8 the style can be more cantabile and dolce. The tempo change here should be noticeably slower but still maintain a staedy marching pulse. The cry at figure 11 should be dramatic but so should the diminuendo, ensuring that it fades to nothing.)
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