{"id":1409,"date":"2009-05-06T06:20:15","date_gmt":"2009-05-06T10:20:15","guid":{"rendered":"http:\/\/languagelog.ldc.upenn.edu\/nll\/?p=1409"},"modified":"2009-06-28T21:06:33","modified_gmt":"2009-06-29T01:06:33","slug":"mahlers-score-markings","status":"publish","type":"post","link":"https:\/\/languagelog.ldc.upenn.edu\/nll\/?p=1409","title":{"rendered":"Mahler's score markings"},"content":{"rendered":"<p><a href=\"http:\/\/web.mit.edu\/linguistics\/people\/faculty\/pesetsky\/\">David Pesetsky<\/a>, the Ferrari P. Ward Professor of Modern Languages and Linguistics at MIT, is also the principal second violin in the New Philharmonia Orchestra of Massachusetts. For their 4\/1\/2009 rehearsal, he provided English translations for the sometimes-confusing performance instructions in <a href=\"http:\/\/en.wikipedia.org\/wiki\/Symphony_No._1_(Mahler)\">Mahler's 1st Symphony<\/a>.<\/p>\n<p>Dave's sensitive interpretation of Mahler's artistic intent has been <a href=\"http:\/\/www.therestisnoise.com\/2009\/05\/no-eels.html\">received with praise<\/a> in musical circles. The first page is reproduced below, but any of you who plan to play or listen to this piece should <a href=\"http:\/\/web.mit.edu\/linguistics\/people\/faculty\/pesetsky\/April_1_Mahler_1.pdf\">read the whole thing<\/a>.<\/p>\n<p><!--more--><\/p>\n<table border=\"1\" cellspacing=\"2\" cellpadding=\"3\">\n<tbody>\n<tr>\n<td><strong>German<\/strong><\/td>\n<td><strong>English<\/strong><\/td>\n<\/tr>\n<tr>\n<td>Langsam<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Schleppend<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Dampfer auf<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Mit Dampfer<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Allmahlich in das Hauptzeitmass ubergehen<\/td>\n<td>do not look at the conductor<\/td>\n<\/tr>\n<tr>\n<td>Im Anfang sehr gemaechlich<\/td>\n<td>in intense inner torment<\/td>\n<\/tr>\n<tr>\n<td>Alle Betonungen sehr zart<\/td>\n<td>with more intense inner torment<\/td>\n<\/tr>\n<tr>\n<td>Getheilt (geth.)<\/td>\n<td>out of tune<\/td>\n<\/tr>\n<tr>\n<td>Von hier an in sehr allmaehlicher aber stetiger Steigerung bis zum Zeichen<\/td>\n<td>From this point on, the spit valves should be emptied with ever-increasing emotion<\/td>\n<\/tr>\n<tr>\n<td>Hier ist ein frisches belebtes Zeitmass eingetreten<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Haupttempo<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Noch ein wenig beschleunigend<\/td>\n<td>slowing down but with a sense of speeding up<\/td>\n<\/tr>\n<tr>\n<td>immer noch zurueckhaltend<\/td>\n<td>with steadily decreasing competence<\/td>\n<\/tr>\n<tr>\n<td>sehr gemaechlich<\/td>\n<td>with indescribably horrific inner torment<\/td>\n<\/tr>\n<tr>\n<td>Etwas bewegter, aber immer noch sehr ruhig<\/td>\n<td>Somewhat louder, though still inaudible as before<\/td>\n<\/tr>\n<tr>\n<td>Alle Betonungen sehr zart<\/td>\n<td>with smallish quantities of fairly mild inner torment<\/td>\n<\/tr>\n<tr>\n<td>Gemaechlich<\/td>\n<td>Intermission<\/td>\n<\/tr>\n<tr>\n<td>Ganz unmerklich etwas zurueckhaltend<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Etwas gemaechlicher als zuvor<\/td>\n<td>Slowly<\/td>\n<\/tr>\n<tr>\n<td>Zurueckhaltend<\/td>\n<td>Gesundheit<\/td>\n<\/tr>\n<tr>\n<td>Von hier ab unmerklich breiter werden<\/td>\n<td>as if wild animals were gnawing on your liver<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>David Pesetsky, the Ferrari P. Ward Professor of Modern Languages and Linguistics at MIT, is also the principal second violin in the New Philharmonia Orchestra of Massachusetts. For their 4\/1\/2009 rehearsal, he provided English translations for the sometimes-confusing performance instructions in Mahler's 1st Symphony. Dave's sensitive interpretation of Mahler's artistic intent has been received with [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[39,94],"tags":[],"class_list":["post-1409","post","type-post","status-publish","format-standard","hentry","category-language-and-culture","category-language-and-music"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=\/wp\/v2\/posts\/1409","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1409"}],"version-history":[{"count":0,"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=\/wp\/v2\/posts\/1409\/revisions"}],"wp:attachment":[{"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1409"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/languagelog.ldc.upenn.edu\/nll\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}