Des Knaben Wunderhorn, No. 6: Des Antonius von Padua Fischpredigt, GMW 28, medium voice (D minor, transposed) Cover Image

Des Knaben Wunderhorn, No. 6: Des Antonius von Padua Fischpredigt, GMW 28, medium voice (D minor, transposed): Medium Voice, Orchestra Accompaniment, Parts only

$60.00 USD
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Des Knaben Wunderhorn, No. 6: Des Antonius von Padua Fischpredigt, GMW 28, medium voice (D minor, transposed) Cover Image
Des Knaben Wunderhorn, No. 6: Des Antonius von Padua Fischpredigt, GMW 28, medium voice (D minor, transposed): Medium Voice, Orchestra Accompaniment, Parts only

Des Knaben Wunderhorn, No. 6: Des Antonius von Padua Fischpredigt, GMW 28, medium voice (D minor, transposed): Medium Voice, Orchestra Accompaniment, Parts only

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

Item: 36-A846602
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Description
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. DES ANTONIUS VON PADUA FISCHPREDIGT (ST. ANTHONY OF PADUA'S SERMON TO THE FISH) was written in July-August of 1893 and was published in 1899 in a collection of twelve songs under the title HUMORESKEN (HUMORESQUES). Versions for low voice (C minor; original) and medium voice (D minor) are available from the publisher. Instrumentation: 2.2.2.3: 4.0.0.0: Timp.Perc(3-4): Str (9-8-7-6-5 in set): Solo Medium Voice. Reprint edition. No score is available for this edition.

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Additional Details
Series: Kalmus Vocal Library
Publisher: Keiser Productions, Inc.
UPC: 605258886552
SKU: 36-A846602
Instrumentation: 2.2.2.3: 4.0.0.0: Timp.Perc(3-4): Str (9-8-7-6-5 in set): Solo Medium Voice (no score available)

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 shaped the musical landscape of the late Romantic era and influenced generations of twentieth-century composers. His song cycles, including Des Knaben Wunderhorn, blend folk-like simplicity with sophisticated harmonic language, often juxtaposing humor and pathos within a single work. Mahler's tenure as conductor of the Vienna Court Opera and later the Metropolitan Opera in New York established him as one of history's most transformative orchestral leaders.

Mahler drew extensively from German folk poetry and popular song traditions, integrating these elements into orchestral song cycles that expand the scale and emotional range of the Romantic Lied. His orchestrations are celebrated for their clarity and color, with instrumental detail serving the voice rather than overwhelming it. Des Knaben Wunderhorn stands as a cornerstone of the vocal repertoire, demonstrating his gift for capturing narrative drama and emotional immediacy through deceptively folk-like melodies.

Why we love this

This orchestral setting brings witty irreverence to a sacred subject; Mahler's ironic scoring undercuts any pretense while the medium voice transposition makes it accessible to a wider range of singers. The instrumentation is lean enough for schools with moderate orchestral resources yet orchestrally colorful, allowing singers to experience the full theatrical potential of this repertoire without requiring a massive ensemble.

What to expect

Pithy and irreverent, with Mahler's orchestral voice winking at the audience while a medieval saint preaches to fish. The medium voice transposition (D minor) sits comfortably in the speaking range, allowing for naturalistic storytelling that alternates between whimsy and mock-solemnity. The sparse orchestration creates an intimate theater despite the full ensemble required.

Who it's for

Medium voice soloists (baritone, mezzo-soprano, or alto) performing with orchestra in recital or concert settings. This transposition suits singers comfortable in the passaggio without excessive strain, making it well-suited to university and professional singers seeking character-driven Romantic repertoire.

How to get the most out of it

  • Clarify the vocal line's rhythm and phrasing with the soloist well before orchestra rehearsals; Mahler's rhythmic flexibility within the folk-song framework rewards interpretive confidence from the singer.
  • Balance the orchestral details so they support rather than bury the text; the humor in this piece depends on clarity of the narrative, and instrumental commentary should enhance rather than compete with the vocal line.
  • Establish the D minor tonal center firmly in the opening and maintain tonal focus through potential harmonic excursions, as Mahler's key relationships can be slippery.
  • Work with the percussionists to shape the character of the piece; timpani and percussion strokes often anchor or illuminate moments of textual irony.

How to use it

Program this as an encore or centerpiece for a concert exploring Mahler's orchestral songs or German Romantic vocal traditions. It pairs well with other vocal works of comparable length and contrasts effectively with purely instrumental repertoire. The shorter length and character piece energy make it suitable for spring recitals or themed programs exploring humor in classical music.

Skills your students will build

  • Storytelling through rhythmic clarity and text underlay in a non-English language
  • Ensemble coordination between voice and orchestra in a complex orchestral texture
  • Understanding Mahler's harmonic language and tonal ambiguity
  • Interpretive flexibility within a folk-song idiom

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