FRI LIEDER
Alma María Mahler - Arr. Yónatan Sánchez-Santianes

FOURTH SYMPHONY in G M
Gustav Mahler – Arr. Iain Farrington/Adapt. Isabel Costes

Carmen Acosta, soprano

Alma María Mahler - Arr. Yónatan Sánchez-Santianes

Of Alma Mahler's music, only the 16 lieder that she composed before she turned 20 remain, pieces that are still performed today. However, Alma Mahler's legacy goes beyond her own music: she was a woman who challenged the conventions of her time, who used her creativity and ingenuity to inspire the men around her and who, like the great philosopher contemporary Lou Andreas-Salomé, claimed her freedom above all.

His memoirs of her, her diaries, biographies of her as Alma Mahler. A Passionate Character(2020) by Cate Haste or the recently released film Alma Mahler, the Passion (2023) by director Dieter Berner, serve us not only for to understand the ins and outs of such an important era for Europe, but also to approach the testimony of an extraordinary woman whose torrent of vital energy, unlike her music, could never be silenced.

Gustav Mahler – Arr. Iain Farrington/Adapt. Isabel Costes

1. Heiter, bedachtig
2. Im gemachlicher Bewegung
3. Ruhevoll (Little Adagio)
4. Sehr behaglich

Arrangements of Gustav Mahler's music for small ensembles have existed since Arnold Schönberg founded his Society for Private Musical Performances in Vienna in 1918. It was appropriate that Mahler had appeared in this way, as his music often has soloist and contrapuntal orchestration, pointing towards the minimalist sound world of Berg, Webern and Schönberg himself. Now that Mahler's music is widely performed and heard, a new chamber arrangement may seem unnecessary. However, by retaining the character of the original and treating each performer as a soloist, Mahler's exposed and chamber writing can be realized successfully. Listening to the clarity of individual lines can reveal hidden aspects of the score, adding intimacy to the performing and listening experience, as well as allowing these monumental works to be performed in smaller venues without enormous financial limitations.

This arrangement consciously avoids recreating Schönberg's instrumentation and instead aims to create a full orchestral picture with few performers using the instruments from Mahler's score.

The original soprano part is preserved without modifications.