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Waldszenen, Op. 82: Jagdlied (Forest Scenes;Hunting Song)
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twelve songs op 1 no 9 hunting song jagdlied Manual
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However, to paraphrase such acrobatic piano passages into virtuosic horn leaps turns out to be no easy task. It requires not only a great deal of fantasy from the arranger, but also much skill and technique from the players. This pianistic tour de force is based upon three choruses by Carl Maria von Weber from his cycle Leier und Schwert, Op. Wagner replaces the original tremolos in the viola part with rolls on the field drum, to underscore the funereal character of this occasional composition. The great pilgrims scenes from the opera formed the starting point and finale, with the hunting party from the first Act functioning as an intermezzo.
In the opera itself, the horns play a prominent role in the orchestral writing, since not only huntsmen, but also pilgrims traditionally carried a horn along with them on their journey. Johannes Brahms also delved into the collec- tion for the text to his song Ich schwing mein Horn ins Jammertal I blow my horn into the vale of tears. The Wunderhorn songs of Gustav Mahler are among his most performed pieces, yet the song Nicht Wie- dersehen! We shall never see one another again, remains almost unknown.
Mahler came from a Jewish background, and throughout his life was confronted with the degeneration of the ideals of the Romantic. Patriotism and desire for Christian mysticism developed during this period into xenophobia and rampant anti-Semitism. Nicht Wiedersehen!