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  • Hello, I'm Joseph Alessi, Principal Trombone of the New York Philharmonic.

  • The first time I performed this wonderful solo for tenor horn

  • was in 1986, soon after I joined the New York Philharmonic.

  • Maestro Leonard Bernstein was conducting,

  • and our collaboration with him resulted in the creation of

  • a Deutsche Grammophon recording that was one of

  • the highlights of my career.

  • For that recording I played the solo on the tenor tuba,

  • which is larger than the instrument you are about to hear.

  • Growing up in the town of Kaliste near an army barrack,

  • Mahler listened often to the garrison guard

  • playing in marching parades.

  • Perhaps that is why Mahler was familiar

  • with the large array of brass band instruments

  • beyond the relatively small number we hear

  • in modern orchestral music.

  • In this opening haunting solo of Symphony No. 7

  • Mahler shows the unusual horn sound.

  • In fact, this is the only time that he composed

  • anything for the tenor horn.

  • Mahler selected the tenor horn in his Seventh Symphony

  • to create an atmosphere of foreboding

  • that he described during rehearsals as a

  • tragic night without stars or moonlight.

  • Underlying this plaintive horn melody is a

  • strict, almost military, rhythm

  • that reminds us of a funeral march.

  • Even the greatest composers have suffered writer's block.

  • In a letter to his wife, Alma, in the summer of 1905,

  • Mahler wrote, “I had intended to complete the Seventh Symphony

  • having completed the two nocturne movements.

  • For two weeks, I tortured myself to the point of melancholy,

  • as you must remember, until I ran off to the Dolomites.

  • Finally, I gave up and went back to the lake

  • convinced that the summer would be wasted.

  • I stepped into the boat to be rowed home.

  • At the first stroke of the oars,

  • I hit upon the theme, or rather, the rhythm and

  • the style of the introduction to the first movement,

  • and within four weeks

  • the first, third, and fifth movements were completely finished.”

  • For the performance you are about to hear

  • I played the solo on a smaller bore horn

  • called an English baritone.

  • You may ask, Why the change in instruments

  • from the time I played it with Maestro Bernstein?

  • Well, in Mahler's manuscript score

  • he clearly lists tenor horn but also indicates, “or tenor tuba.”

  • Tenor horn has several different meanings,

  • depending where you are in the world.

  • So it is a bit of a mystery exactly what Mahler wanted.

  • With the instrument that you will hear, I believe

  • this is the sound Mahler conceived.

  • A bit more compact and lighter in sound,

  • but also more projecting than the tenor tuba.

  • I look forward to that exciting day

  • when we can all be reunited on stage.

  • As this performance makes abundantly clear,

  • I perform with the finest musicians on the planet.

  • How I miss making music with each and every one of them.

  • These broadcasts remind me how happy I have been

  • spending these past 35 years

  • as a member of the great New York Philharmonic.

Hello, I'm Joseph Alessi, Principal Trombone of the New York Philharmonic.

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我們是NY Phil @ Home:約瑟夫-阿萊西在馬勒第七交響曲中的次中音號獨唱 (We Are NY Phil @ Home: Joseph Alessi on the Tenor Horn Solo from Mahler’s Symphony No. 7)

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    林宜悉 發佈於 2021 年 01 月 14 日
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