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Digital Sheet Music for Blicke mir nicht in die lieder (Clarinet Part) - Clarinet by Gustav Mahler, Friedrich Rückert scored for Voice/Chamber Orchestra.
Table of contents

• Gramophone collection: Mahler's Rückert-Lieder | Gramophone
• Review: A beautiful premiere and some glorious Mahler from L.A. Chamber Orchestra
• Gustav Mahler

Michael Tilson Thomas has been described as a true Mahlerian. Over the course of his long Gustave Mahler recording project, which began in and garnered four Grammy awards, he led the SF Symphony through comprehensive and definitive performances. The fruits of those years were evident Sunday afternoon in the first of three programs of their current Mahler festival.

Conducting without score, MTT was incisive and inflected and his orchestra was tight on his every gesture. Mahler is demanding and his Symphony No.

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While one can discuss sarcasm and the bite of Shostakovich, it might be more fruitful to simply approach Mahler as one who painted with contrast. In his song cycles he was more restrained, preferring a direct response to the poetry.

Here he had a gift for mood, and he used it—one can find themes from his Lieder entering his symphonic writing. Both shy and mature, it was a song of full-bodied and graceful love.

Then Graham left coyness behind for softer zephyrs of love. Her entrances were sipped at and her lifts effortless. It warns the listener not to be too inquisitive about the process of creation, and suggests that the poet does not trust himself to inquire too much: only the finished work counts, not how it was achieved. The analogy made with the work of bees in the second stanza provides Mahler with the basis for his musical imagery. A brief introduction establishes a kind of perpetuum mobile with a subtle buzzing produced by an orchestra of muted strings, without double bass, single woodwinds and a horn, together with a harp.

The two stanzas are variants of one another, but the first has an extra line, which repeats the text of the opening. In this repetition Mahler preserves the rhythm and some of the melodic features of his first vocal phrase, but shifts it to a different level and concludes with an upward rather than downward movement.

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The continuing even motion in the strings suggests the quiet wafting of the scent through the air. The settings of the two stanzas share material, but are no longer overtly strophic.

Gustav Mahler

The opening vocal phrase of the second stanza makes use of the second phrase of the first stanza, and continues on a different path. It is introduced and continues in a lovely contrapuntal dialogue with an oboe solo that returns as the instrumental postlude of the song. Mahler calls for an orchestra without strings. The length, weight and scale of the song match its theme. Three central motives are introduced in the opening bars and form the foundation for much of the song: a fluctuating dotted figure in the clarinets; a rising and falling figure, also dotted, in the flute and then the oboe also used in the Eighth Symphony ; and an even descending scale in the horns later also used in its inverted rising form.

There, although the two songs share at least one motive, the overt affirmative climax is deliberately avoided.