«Songs of a Wayfarer»: Mahler’s orchestral thinking in the performance practice of an accompanist
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Review article DOI: 10.56620/2227-9997-2026-3-124-139 |
Maria A. OselkovaGnesin Russian Academy of Music, Moscow, Russia, |
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| Abstract: The subject of this study is the performance-specific features of Gustav Mahler’s chamber vocal music in relation to his symphonic thinking. The article focuses on the vocal cycle Songs of a Wayfarer (piano version, 1884–1885). The author examines the genre relationships between song miniatures and symphonies. Special attention is paid to the tasks of the pianist-coach, who, in the chamber genre, must convey the orchestral palette, spatiality, and dramaturgy characteristic of Mahler’s scores. The methodology encompasses historical-stylistic, comparative (piano versus orchestral versions), and performance-based analysis of the musical text. The key method is that of timbral-aural orientation, whereby the pianist relies on knowledge of orchestral voice-leading, articulation, and texture. The scholarly novelty lies in identifying specific pianistic techniques and strategies for realizing symphonic scope within the chamber vocal genre. For the first time, the organization of musical time, the specific use of pedaling to achieve an orchestral sonority, and the differentiation of textural layers are systematically examined. The conclusions confirm that reference to orchestral arrangements and to Mahler’s symphonic oeuvre is essential for a stylistically authentic interpretation of his vocal music Keywords: Gustav Mahler, «Songs of a Wayfarer» («Lieder eines fahrenden Gesellen»), performance issues, pianist-accompanist (collaborative pianist), orchestral thinking, piano texture, interpretation, First Symphony For citation: Oselkova M. A. «Songs of a Wayfarer»: Mahler’s orchestral thinking in the performance practice of an accompanist. Scholarly papers of Gnesin Russian Academy of Music. 2026;(3):124-139. (In Russ.). DOI: 10.56620/2227-9997-2026-3-124-139 |
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