Des Knaben Wunderhorn; No. 14: Revelge, low voice (B-flat minor, transposed) Cover Image

Des Knaben Wunderhorn; No. 14: Revelge, low voice (B-flat minor, transposed): Low Voice, Orchestra Accompaniment

$65.00 USD

Des Knaben Wunderhorn; No. 14: Revelge, low voice (B-flat minor, transposed): Low Voice, Orchestra Accompaniment

Name: Des Knaben Wunderhorn; No. 14: Revelge, low voice (B-flat minor, transposed): Low Voice, Orchestra Accompaniment
Brand: Alfred Music
SKU: 36-A566202
Price: 65.00 USD
Availability: InStock

By Gustav Mahler/ Folktale texts, as published by Achim von Arnim and Clemens Brentano

Item: 36-A566202

$65.00

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Gustav Mahler (1860-1911) began composing the songs of Des Knaben Wunderhorn (The Boy's Magic Horn) in 1892, finishing in 1901. Comprised of 15 songs total by the end, each sets folktale texts, as published by Achim von Arnim and Clemens Brentano, to music with piano accompaniment, though some also have orchestral accompaniment. Revelge (Reveille) was written in July of 1899 and was the penultimate song written for the collection. Originally intended to replace another previously written song to keep the collection at twelve, Revelge is actually the fourteenth among the total songs written. Instrumentation: 2(2nd dPicc).2.2.2+CBsn: 4.3.0.0: Timp.Perc(5): Str (9-8-7-6-5 in set): Solo Voice.

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Series: Kalmus Vocal Library

Publisher: Keiser Productions, Inc.

UPC: 676737944599

SKU: 36-A566202

Instrumentation: 2(2nd dPicc).2.2.2+CBsn: 4.3.0.0: Timp.Perc(5): Str (9-8-7-6-5 in set): Solo Voice

More about this title

About the Composer: Gustav Mahler

Gustav Mahler (1860–1911) was an Austrian composer and conductor whose ten symphonies and numerous vocal works fundamentally reshaped the musical landscape of the late nineteenth and early twentieth centuries. A towering figure in both composition and performance, Mahler held prestigious conducting positions across Europe, including at the Vienna Court Opera, while composing prolifically during summers and breaks. His work bridges Romanticism and modernism, marked by orchestral sophistication, emotional intensity, and deep engagement with folk traditions and literary texts.

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Why we love this

Revelge captures Mahler at his most theatrical and orchestrally inventive. The piece demands a vocalist capable of dramatic storytelling over a richly detailed accompaniment that never overwhelms the narrative; directors programming major works alongside Mahler's orchestral or symphonic music will find this a compelling and sophisticated choice that showcases both the singer and the ensemble.

What to expect

Revelge unfolds as a military march filtered through Mahler's ironic and darkly imaginative lens. The orchestration glimmers with precise detail, marching rhythms pulse beneath the vocal line, and a sense of folklore authenticity coexists with sophisticated harmonic language that surprises and deepens the listener's engagement with the text.

Who it's for

This work suits experienced art song singers with strong dramatic instincts and the vocal maturity to project over orchestral accompaniment. It is ideal for concert soloists, university voice students, and advanced young artist programs seeking substantial repertoire that combines Romantic lyricism with twentieth-century harmonic language.

How to get the most out of it

Shape the melody with the dramatic arc of the folktale text; Mahler's setting follows the emotional trajectory of the military narrative, so invest in clear characterization and phrasing rather than technical display.
Balance the soloist's voice against an active orchestral texture by ensuring the orchestra remains transparent during lyrical passages and builds support during moments of higher dramatic intensity.
Work with the percussionist and timpani player to anchor rhythmic profiles; the military character of the piece relies on precise coordination between voice and rhythm section to maintain clarity.

How to use it

This song pairs exceptionally well with other Mahler vocal works or with a program exploring Romantic engagement with folk sources. It also stands as a substantial solo offering in a mixed concert that might include symphony excerpts or chamber music, providing both vocal and orchestral substance without excessive duration.