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Mahler Symphony No. 1 (Titan) – Bass Excerpt

Edited by Lawrence Hurst

Title: Symphony No. 1
Composer: Gustav Mahler
Instrument: Bass
Edited By: Lawrence Hurst
Instrumentation: Orchestral
Pages: 1

This bass excerpt containing the famous third movement solo from Mahler's Symphony No. 1 in D major (nicknamed the Titan Symphony) has been edited by Lawrence Hurst, former principal bassist with the Dallas Symphony Orchestra and Professor and chair of the String Department at Indiana University School of Music since 1986. Hurst's bowings, fingerings and other editorial markings have been added throughout the score.

Gustav Mahler's Symphony No. 1 was composed mainly between late 1887 and March 1888. The name Titan Symphony has stuck due to modern performances and recordings, even though Mahler himself only used this label for two early performances before it had reached its final compositional form. The First Symphony incorporates music Mahler had composed for previous works. It was not well received at its initial Budapest première in 1889, prompting Mahler to make major revisions. It would not reach its definitive four-movement form until 1896. The symphony opens with a slow introduction, minimalist in nature, that transitions into a modified sonata form first movement. The second movement is a scherzo and trio based on a Ländler, a traditional Austrian waltz, which is followed by a slower funeral march third movement. The Titan Symphony concludes with an expansive finale that brings back musical elements from the first movement, thereby serving to unify the entire work.

Download and print the score today to gain access to expertly edited Mahler Titan Symphony No. 1 bass fingerings and bowings from Lawrence Hurst!

Please note: There are two lines of music encompassing the bass solo from the beginning of the third movement accompanied by detailed commentsand performance instructions.

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This famous solo is a rendering of the round, Frères Jacques, which begins the movement shortly after the timpani opens with the processional rhythm. 

This solo is edited in acomprehensive and detailed manner.  Larry Hurst’s insightfulperformance suggestions are enclosed with this music.

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