Okay, here's something to get your teeth into.
Mahler 6 - is it scherzo - andante, or andante - scherzo? And how do you respond to the various adducings of evidence for one order rather than the other?
Do you follow the documentary evidence as you can ascertain it, or your own emotional and musical response here?
And while we're about it, what ABOUT that 3rd hammer blow? It's fairly certain that Mahler himself did indeed suppress it, but given his reasons (!?) should we respect that choice, bearing in mind his original compositional decision?
If you haven't thought about it much recently, have a look at the last few editions of the IRR, in the correspondence...
Oh and, chuck in a few thoughts about those repeats if you like...
Mahler 6 - is it scherzo - andante, or andante - scherzo? And how do you respond to the various adducings of evidence for one order rather than the other?
Do you follow the documentary evidence as you can ascertain it, or your own emotional and musical response here?
And while we're about it, what ABOUT that 3rd hammer blow? It's fairly certain that Mahler himself did indeed suppress it, but given his reasons (!?) should we respect that choice, bearing in mind his original compositional decision?
If you haven't thought about it much recently, have a look at the last few editions of the IRR, in the correspondence...
Oh and, chuck in a few thoughts about those repeats if you like...