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The dynamics are very soft. THe accent on the first note is there to make sure you get that note started.

Although the part is playable on a contra bass tuba, you may feel more secure using a bass tuba.

Finally, is the problem of breathing on the sustained D at the end of the passage. Find a good place to sneak a breath. If you look at the score, you can see a couple of possibilities. Don't wait too long before you sneak that breath, or the pause will be very noticible.

I've always thought that the intent of the cannon is imitation, therefore I've always wanted to blend with the other voices as much as possible. The marking 'solo' here does not mean 'concerto', and the disparity of the instrument families makes enough differentiation between voices. I never found any problem finding a place to breath, but watch two things: One, don't try to play too softly and risk lose tone production, and Two, as has been mentioned already, make sure you get a good breath before that final note, so that you can carry it out the full length (sneaking when you need to while other things are going on)

A couple more things:

1. Be aware that it is in D minor, so bring out the "F" naturals giving it that jewish sounding zing.
2. The items repeat themselves so make sure you play the second time identically to the first one.
3. To make it smoother, I use the part of my fingers closest to my hand on the valves. This technique allows for smoother movement of the valves.
4. Use a very legato tongue so that every note speaks clearly without interrupting the line.
5. Also, don't play it so soft that your tone/articulation suffers
Hope this helps, good luck.

TMB

Listen to several recordings of it and study the score while doing so, so you know whats going on, and you aren't surprised. You are going to be the dominant voice playing that passage. Thats just a fact. Neither of the other instruments playing it can produce as much sound as you can, so concentrate on balance. My personal favorites recording is...

Houston Symphony/Eschenbach
Dave Kirk...need I say more?

Others may disagree, but its just my favorite. I'm sure there will be other recommendations as well

Don't try to overthink it, just play it naturally. Play the same way as the double bass and bassoon that play before you. Don't try to be too quiet, just sing it natural.

I have always approached it in the terms of Mahler's personal history. He was the 2nd of 12 children, 5 of which died in infancy and 3 more did not make it to mature adulthood. So this has, to me, always been a children's funeral song (Frere Jaques in minor). Put it in context with the later clips of klezmer-ish phrases that seem almost wistful for times remembered with siblings no longer alive. Just about the time the movement threatens to become upbeat, the sadness re-appears.

I always have taught my students to develop a mental picture of what they are playing and to play that picture. A picture is worth a thousand words, so if you keep the image, you don't have to think too much.

I am studying Mahler 1 for forthcoming concert and in the Torchinsky book, he writes of the first entry at 13

The score indicates that if the tuba player cannot play this entrance softly enough, it should be played by the contrabasoonist.

My question is - Does this ever happen?

In my experience listening to contrabassoons, it is quite possible to play a tuba softer (and louder)!

BTW I am planning on using my 182 F for the 3rd movement 'solo' and Neptune for the rest

I am quite excited to at last be playing this symphony. Although apparently a lot simpler tuba part than his later symphonies I have played (2,3,5,6), it is this one which first introduced me to Mahler's inspiring music with which I have been in love ever since!

Even though it's arguably in the top five excerpts for every audition, it's not that big of a deal to the other musicians in the orchestra...including the conductor. I've found that if you play it well, no one cares too much...if you play it poorly, however, you'll get LOTS of attention! Bassoon players don't even think twice about that lick. Just hope that you have a decent principal bass that can lay it down in tune.

The dynamic is soft, but not as soft as humanly possible (i.e. don't play too soft where your tone suffers). Try practicing it around mf with your best tone, then mp with same tone, and finally p or pp with same tone. That approach works best for me, but it may not be a quick fix.

I always tell my students that with this lick, you need to make the audience cry for all the right reasons (not bad tuba tone, time and pitch).

Overall, enjoy playing some great lit.!

A timely question for me, I will be playing in this piece in early February. I am playing the Courtois 181 EEb, it blends well in the orchestra.