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In addition to Volume 1, this volume provides information on questions relating to the stage and direction, orchestral setup, performance and arrangement practice, pianos, string and brass instruments of the time, and the reaction of critics to Mahler’s groundbreaking innovations Musical instruments and musical practice in the time of Gustav Mahler both the various orchestras of Mahler and especially the woodwind instruments of the time and their playing techniques are now in view, on the one hand, performance-related questions about Mahler’s realization of stage works (staging, scenic design and rhetorical presentation of the text including sign language), discussed about the appropriate orchestral arrangement and Mahler’s arrangements, on the other hand the other instruments around 1900 (pianos, strings, brass and percussion instruments) as well as the resulting special requirements and playing techniques are presented. In addition, Mahler’s G. astspiele in St. Petersburg and Moscow as well as the reaction of contemporary Laibacher and Viennese critics to the performance-practice decisions of Gustav Mahler.
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In addition to Volume 1, this volume provides information on questions relating to the stage and direction, orchestral setup, performance and arrangement practice, pianos, string and brass instruments of the time, and the reaction of critics to Mahler’s groundbreaking innovations Musical instruments and musical practice in the time of Gustav Mahler both the various orchestras of Mahler and especially the woodwind instruments of the time and their playing techniques are now in view, on the one hand, performance-related questions about Mahler’s realization of stage works (staging, scenic design and rhetorical presentation of the text including sign language), discussed about the appropriate orchestral arrangement and Mahler’s arrangements, on the other hand the other instruments around 1900 (pianos, strings, brass and percussion instruments) as well as the resulting special requirements and playing techniques are presented. In addition, Mahler’s G. astspiele in St. Petersburg and Moscow as well as the reaction of contemporary Laibacher and Viennese critics to the performance-practice decisions of Gustav Mahler.