It’s even more awesome if you know the story behind it. See, the orchestral score doesn’t actually specify the use of a huge wooden mallet. In fact, it doesn’t specify any particular instrument at all: it just describes a completely hypothetical instrumental sound - “brief and mighty, but dull in resonance and with a non-metallic character (like the fall of an axe)” - and leaves it to the orchestra director to figure out how to actually produce it. Apart from the Big Fucking Mallet, past attempts have included custom-made bass drums, smacking a wooden crate with a sledgehammer, and dropping heavy objects onto the stage from a great height.
I don’t know if Mahler actually intended to troll entire generations of orchestras, but if he did, it totally worked.
简单说说这是啥事吧，这是古斯塔夫·马勒第六交响曲最后的第四乐章的乐器，没错，就是大锤，是音乐史上著名的大锤演出。作者本意并没说要用大锤，但是提到“此处要有巨响，好像从高处落下”，乐队指挥可以自由发挥这一段。。。所以上面也提到了，有人用特制的低音鼓，有人用大锤砸木头，有人高空坠重物。。。当然，最著名的表现手法就是大锤砸桌子。。。
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