I yield to no-one in my veneration for Mahler 5, some great renditions of which I’ve provided here—irreverently introduced by a version of the symphony’s opening trumpet solo on rubber chicken…
In distressingly similar vein, I’ve just had a vision of how Mahler might have revised the sublime Adagietto had he lived through to the 1930s (as he should have done) to arrange it as a catchy up-tempo number for a New York swing band, with blaring horn section (led, perhaps, by Buck Clayton) and zany syncopations, largely dispensing with the sentimental appoggiaturas.
So here’s my preliminary draft of the melody on horns, leaving you to fill in the boogie-woogie bass-line, drum-kit, and funky sax harmonies—it works even better with the hushed original opening bar and a half:
Actually, Mahler’s choice of key works well for jazz winds, making one suspect that the original was just a preliminary sketch—after all, if you’re writing a slow love song for strings, whoever would plump for F major rather than E major or F♯ major?!
As to tempo, one might regard the two versions of the Adagietto as the opposite of what happened to the music of the Tang court after it was exported to Japan, where it began a long process of retardation.
The big-band arrangement would also suit a turbo-charged Balkan brass band like Fanfare Ciocârlia. I can’t take responsibility for my wayward visions, but I realise WAM purists (bless) may be alarmed. Conversely, composers from Bach to Mahler did often creatively recycle their previous work. Bach has inspired a wealth of jazz and world arrangements; and folk and popular musics were intrinsic elements in Mahler’s sound world (see e.g. under the 4th symphony). I rest my case.
As I observed with reference to the musician’s fantasy of performing Always look on the bright side of life as encore to the Matthew Passion, we come to accept such cognitive dissonance. Or at least I do.
Not merely as an attempt to redeem myself, now we must go back to Mahler’s original version—within the context of the whole glorious symphony. I’m also constantly amazed at the second movement, its turbulent trauma punctuated by the hushed cello recitative.
You can find links to my series on Mahler here—extending to chamber arrangements and Mahler’s own piano rolls. Among many movies that incorporate the Adagietto, do watch Tampopo! And here’s a roundup of my series on jazz. For the “Ming-dynasty bebop” of the Hua family shawm band in China, with A/V and analysis, click here.