Mahler reception in forty historic editions: significant holdings in the Newberry Library, Chicago.
Investigations into Mahler's music benefit from careful attention to the early printed editions, which contain details about both the music and its reception. While early printed editions are rare, institutions like the Newberry Library (Chicago) have substantial holdings that yield many details that will supplement current biographies in elucidating the publishing history of Mahler's music, information that may at times challenge some of the assumptions made about his legacy in the mid to late twentieth century. The article includes a detailed table of the Mahler holdings of the Newberry Library, along with an analysis of significant tides in its collection. The criteria used in this article can be applied to other items to revise or update descriptions in catalogs or annotated bibliographies. As a result, it may be possible to understand better the reception of Mahler's music through sources that have been hiding in plain sight in many libraries.
Is it possible that the investigations of printed editions associated with earlier eras can yield significant information about the nineteenth and early twentieth centuries? The legacy of Gustav Mahler (1860-1911) benefits from several biographies, which derive from published letters as well as articles and memoirs by those who knew him, including his widow Alma, his onetime confidante Natalie Bauer-Lechner, his protege Bruno Walter, and others. Although they offer many insights into his life, the reception of Mahler's music would be insufficiently documented if based only on this documentation. Instead, biography can benefit from the use of notated musical sources. Any misunderstandings about reception could be clarified by analyzing publications issued during the composer's lifetime and the decades soon after this death.
Although early editions of Mahler's music can be found in some academic libraries, their availability may be limited if libraries were forced to deaccession older materials with the publication of the Mahler Gesamtausgabe (1960-). (1) Consequently, it may be difficult to find a comprehensive set of materials representing the publishing history of Mahler's music. Extant historic editions that are still among some holdings reveal much about the way this composer's music was disseminated in print. The particularly strong holdings of the Newberry Library in Chicago represent the reception of Mahler's music in the number of publications acquired over the years, and found today in its permanent collection. This study will focus on the historic Mahler editions among the holdings at the Newberry Library, a rich repository that warrants further exploration. The accompanying analysis will offer information about the publication history of Mahler's music, which, in turn, makes it possible to dispel some myths about the composer, and to set the stage for future investigations of the reception of his music and his place in twentieth- and twenty-first-century culture.
REDISCOVERING A COMPOSER
A century after Mahler's death, the works receive frequent performances worldwide. Whether this speaks to the quality of the music or the nature of the audiences that find it relevant, the modern response to Mahler's work would have astounded the composer himself, who once wondered if his works would be known sufficiently after his passing, (2) or if he himself needed to be alive to ensure that the music would be presented the way he wanted. (3) Despite Mahler's fears, his music came to be known in his lifetime through performances and editions for which he was responsible.
After his death, others championed the works not only in Europe, but around the world. The revival of interest in Mahler's work around the time of the composer's centenary (4) has resulted in some myths that distort the understanding of Mahler's place in modern repertoire, sometimes suggesting a heroic rescue of the composer's oeuvre from obscurity. In truth, Mahler was never actually unknown or ignored. The fresh ears that came from hearing Mahler's music through new media, including recordings and live broadcasts, eclipsed the fact that Mahler's music continued to be performed and recorded since the 1920s. (5) Because earlier recordings were not readily available, and early broadcasts were not always captured on tape or other media, for audiences of the 1960s, it was as if Mahler's music had been neglected. (6) Even if the idea of a misunderstood composer finding a new audience half a century after his death makes an appealing story, Mahler's legacy in print fails to support that myth. (7)
In assessing the reception of Mahler's music, various factors offer different perspectives. Beyond the performances of the music and the critical views of its values, the publication of Mahler's work bears scrutiny for the ways in which it reflects its availability from his lifetime and the present. In this sense, the music itself bears witness to the composer's legacy, not only when it was originally published, but as it appears in reprints, revised editions, and even versions of uncertain provenance. The evidence in print is a strong indicator of the ways in which Mahler's music was part of the culture of his generation and succeeding ones, and this stands alongside other criteria for assessing it.
In fact, the publishing history of Mahler's works offers particularly rich and detailed information about the availability of the music, the performance materials, and the availability of the works in reprints and adaptations of the scores. It is important to remember that Mahler's music was competing with other new music of the twentieth century for places in programs in Europe and around the world. Although the Nazis officially banned performances of Mahler's music in Germany and Austria (along with the work of other Jewish composers), their interdict did not limit performances of his works in others parts of the globe, and a critical analysis of the discography is useful in tracking those other venues. (8)
With repeated performances after his death, the posthumous image of Mahler shifted from a conductor who composed, to a composer who was a highly-regarded conductor in his day. In his lifetime Mahler was considered a proponent of new music, and that perspective helped establish a context for the mixed reaction to his works. Some satirical cartoons, such as one featuring his image with an auto horn, (9) point to an awareness of the new and different sounds the composer used in his music, and his innovative scorings. In a more substantive way, some articles about Mahler from his lifetime recognize his music as experimental, since some of the publications in which they appeared heralded new pieces of the time. It is important to keep the latter distinction even in the mid-twentieth century, when Mahler's popularity developed as if he were a living composer, one whose music offered something new and relevant to the public.
This context is useful for understanding the tone of some writers, including Pierre Boulez, who commented on how long it had taken for Mahler's music to be perceived as part of the repertoire. (10) Boulez surmised that Mahler's legacy was in the hands of a few devotees, who divided further into the progressives and conservatives. That point is not borne out in the number of details associated with performances and recordings produced in the six decades between Mahler's death and 1976. Moreover, the time of Boulez's comments implies that the "rare" or, perhaps, significant performances of Mahler's music prior to its rediscovery in the latter half of the twentieth century, (11) refer only to the "smaller" scores, that is, works without the expanded forces required for the Second and Third Symphonies, let alone the Eighth as the "Symphony of a Thousand." This is further evidence that a study of the publication of the music is important toward understanding Mahler's work in context.
Regarding reception issues, misinterpretation inevitably occurs because of the ways in which facts--such as the numbers of performances, recordings, published editions, and other data--are subsumed under assessments of the perceived importance, and this is the case with Mahler. While overt misreadings occur in Mahler reception after I960, (12) the inherited understandings (13) point to the failures of previous generations of scholars to assess existing documentation thoroughly, and without the bias that may have been part of the images of Mahler previously conveyed in various music dictionaries and reference works. Whether the reception of Mahler's music can be mapped to the history of musicology in the second half of the twentieth century, (14) the musicological approaches of the late-twentieth- and early-twenty-first centuries allow for the exploration of this composer's music that move beyond merely exhuming and retelling well-known accounts of his career and music. Such approaches include an evaluation of the sources, specifically the editions of Mahler's music, since those materials were the ways in which generations of musicians became familiar with his work.
MAHLER IN THE NEWBERRY LIBRARY
The music collection of the Newberry Library holds a number of historic editions that warrant attention for the details they contain about the composer's legacy in print. Publications leading to the issue of the Mahler Gesamtausgabe are extremely valuable. Without the efforts of generations of publishers bringing the music to print, Mahler's work would not be known as widely as it is, and it would not be possible to begin to raise questions about revision and the differences between first and later printings. The role of Mahler's publishers goes hand in glove with the reception of the music, as publications make the works available for generations of performers. This is true for Mahler as it is for any other composer: the works are meant to be heard when scores are opened, rather than left pristine in unopened volumes unyielding their content to audiences. It is to the credit of the Newberry Library that the collection retains older editions alongside the new editions released during the second half of the twentieth century. The details in the historic editions in the Newberry Library reflect on the different publishers that issued Mahler's music, as well as various distributors who sold the editions. Some materials were gifts to the collection by musicians in the Chicago area, as Mahler's music became part of the cultural milieu of the city.
While the Newberry Library's catalog includes more than seventy items related to Mahler, it is important to refine the search further to learn more about the scope of the holdings. A search by genre shows that roughly forty-nine of the listings are music scores; and of these, a single catalog listing covers the Mahler Gesamtausgabe. At the Newberry, the Mahler Gesamtausgabe itself represents more than a dozen items (a portion of all the critical editions that were released between 1960 and the present), which are detailed in the full description of this single catalog entry (and not always including some volumes in the Gesamtausgabe that were cataloged separately). That stated, it is also important to investigate the holdings more closely for the details they contain about the individual items in the Newberry's collection, and their relationship to modern, critical editions of Mahler's music. Toward this end, a useful search could be restricted to items published from the composer's lifetime to 1960, when the Mahler Gesamtausgabe began to release its editions. In this context, the forty historic editions of Mahler's music in the Newberry Library are a discrete set of materials that offer insights into ways in which the composer's legacy was perceived in the decades immediately before his death but before the 1960 centenary, when his music took on its current significance in modern concert and recital repertoire.
With regard to the historic editions in the Newberry Library, table 1 offers an overview of those items, formatted by tide (as cataloged by the Newberry), place of publication, publisher's name, plate or edition number (sometimes both appear), the size (dimension), and selected comments. The comments include the detailed contents of collective volumes, or explanations of items that are represented by partial holdings. While it is possible to organize the items in various ways, the table is arranged topically by genre, and sorted under four headings: (1) Songs and Song Cycles; (2) Symphonies; (3) Other Works; and (4) Facsimile Editions. Although most of the cataloging offers full descriptions, some items might benefit from revision, based on a closer examination of the specific contents.
The rubric separating songs from symphonies is a convenience that imposes an order on the items in the collection, and also identifies some unique features of the Newberry's holdings. For example, Mahler's songs are currently available in collected editions, rather than separately. The Newberry Library's holdings include some songs published as sheet music to be performed individually, rather than as sets and cycles, a detail that is part of the performing history of the music. More than that, the sheet-music editions of Mahler's songs include singing translations in English, a performative choice that is no longer in vogue, but which reflects one way in which Mahler's music was known at mid-twentieth century.
The Newberry Library seems to have acquired the items when they were available, and preserved them while simultaneously collecting the Mahler Gesamtausgabe. Unlike some academic libraries, the Newberry is not known to remove duplicate pieces when new editions appeared in the Mahler Gesamtausgabe. The result is a broad selection of Mahler's works in full score, vocal score, and miniature score, as well as rare formats, like sheet music. The holdings represent years of collecting what was then new music or newly-released music, along with some donations by supporters of the Newberry Library who contributed what they felt was significant material from their private collections. In addition, the Newberry acquired several items from antiquarian dealers. This is indicated in the cataloging and, at times, marked on individual items. (See, for instance, the first edition of Mahler's Symphony no. 1 that was purchased from Broude Brothers, as annotated in the copy in the Newberry Library.) All in all, the collection is estimable on its own merits for its depth and significance.
TITLES AND TRANSLATIONS: MAHLER OUTSIDE GERMANY AND AUSTRIA
Some tides bear scrutiny for the fascinating ways they have changed over time. For example, the title Lieder und Gesange aus der Jugendzeit found in the Newberry catalog was given by Schott to the original publication of Mahler's Lieder und Gesange after the composer's death. Schott's revised tide reflects the phrasing used in the collection of five Ruckert settings (published in Mahler's lifetime), which include his last two settings from Des Knaben Wunderhorn, and bear the tide Sieben Lieder aus letzter Zeit. The effort to create a parallel heading is understandable, and, perhaps more indicative of the place of the songs in Mahler's oeuvre than the actual tide Lieder und Gesange, which is used in some catalogs, specifically the New Grove and MGG and, most recently in Grove Music Online as "Lieder," without further qualification. Notwithstanding the rubrics in catalogs, the differences are also part of the composer's legacy. In the case of Eight Songs from The Youth's Magic Horn, (15) a collection of his songs that Boosey & Hawkes released in 1943, the publication contains the following lieder (note the primacy given to the English translation over the German original):
1. Rhine legend [Rheinlegendchen]
2. Sentinel's night song [Der Schildwache Nachtlied]
3. Far over the hill [Wer hat dies Liedlein erdacht]
4. Comfort in sorrow [Trost im Ungluck]
5. Where the shining trumpets blow [Wo die schonen Trompeten blasen]
6. Life on earth [Das irdische Leben]
7. St. Anthony and the fishes [Des Antonius von Padua Fischpredigt]
8. Primeval light [Urlicht]
This edition reflects a practice of the time in performing the music in English, and also sheds light on the publishing history of his music. In the early twenty-first century the source of current editions of Mahler's music is Universal Edition (Vienna), but that was not the case in Mahler's lifetime, when he worked with several publishers, including a number who eventually came together in 1901 to form Universal. (16) (See the appendix: Mahler's publishers during his lifetime.) The publication date of the Boosey & Hawkes edition is significant because it was released during the Third Reich, when his works were proscribed by the Nazi government. One of Universali principals, Alfred Kalmus, moved from Austria to England, where he established Universal Edition London in 1937, and issued his titles with Boosey & Hawkes. (17) The selection of pieces from Mahler's Des Knaben Wunderhorn settings does not match other collections of Mahler's songs, but stands apart as unique to this publication. It also does not represent preferences of the composer, but instead reflects the decisions of the publisher at that time to make a selection of the songs available in a popular edition evidently for an English-speaking audience. Nevertheless, it is of interest for some of the freer translations of Mahler's music. Modern audiences often find Wer hat dies Liedlein erdacht? translated as "Who composed this little song?" not as "Far over the hill" as found in this 1943 publication. Although this departure is unique, the other pieces in this edition also warrant attention for the popular-sounding titles and lyrics the publisher gave the music. Those details aside, this particular publication is significant because it calls attention to the fact that Mahler's music was not suppressed entirely during the Second World War, but made available by the emigre publishing house that would later be repatriated to Vienna, and then poised to issue Mahler's music in Europe again, when it was reopened in 1951 (four years before Austria gained its independence).
EXPLORING UNIQUE EDITIONS
The Newberry Library also owns several extremely rare titles, such as the opera Die drei Pintos, represented by a piano-vocal score. If libraries own this work, it would be found typically as the piano-vocal score (with or without the dialogue), (18) rather than the full score, which was available in Mahler's lifetime as a rental and not sold. Popular in Mahler's lifetime, Die drei Pintos was not included in the Mahler Gesamtausgabe, since it is treated as an arrangement of music by another composer. Even so, this is a rare item, and the example in the Newberry Library is notable for retaining the original binding, as evident in the spine copy, with its typically German orthography of adding a period after the tide, even in the narrow space. The spine reads:
The score is a relatively recent acquisition through Newberry's Jane Oakley Fund, and this particular copy was once owned by Gustav Bosse (1884-1943), (19) who inscribed his name on the upper-right-hand corner of the tide page. Of the Mahler holdings, this is the oldest item, which dates from 1888, when C. F. Kahnt published it. The work is the first international success by Mahler, who became famous for completing the comic opera that Carl Maria von Weber left unfinished at his death. (20) Mahler completed this work just before his First Symphony, thus earning international renown for bringing the legendary Pintos torso to the stage.
Other works, such as the early Wunderhorn symphonies, figure well among the Newberry's holdings with various editions in quarto and octavo format. One significant item in the catalog is the First Symphony in a rare first edition, originally cataloged as a second edition. An examination of the item itself reveals that it is actually the publication by Josef Weinberger, not the well-known 1906 revised (or second) edition that Universal released. This oversize score is in remarkable condition; it attests to the quality of the original publication itself, which used sufficiently heavy and opaque stock, rather than the acidic paper, often associated with the period, that becomes brittle with age. This copy also benefits from a tight binding and the original-size margins. It was never rebound or otherwise inserted into boards, which some institutions have done with similar material by Mahler and other composers.
The date of this item may be authenticated by the publication information found in the volume, which indicates the original publisher and also the original plate number (Plattennummer), critical for identifying the edition, since the modern inclusion of publication dates and copyright notices occurred infrequently then. As a whole, the Newberry's holdings are valuable for authenticating other editions from the late nineteenth and early twentieth centuries, since the conventions associated with twenty-first-century publications were not used then, or were not implemented consistently. To authenticate publications from this era, it is important to review several details: (1) publication date; (2) copyright date (if used); (3) name of the publisher; (4) publisher number; (5) plate number [Plattennummer holds for most of Mahler's publications]; (6) place of publication; (7) format; (8) size (dimensions); and other details in the publication itself. For this reason, the table 1 listing the historic Mahler editions in the Newberry offers a starting point for authenticating various volumes, with some of the data summarized for verification when inspecting the individual items.
Such an inspection may be useful for digging deeper into the publication details. Rather than on the tide page, for instance, the publication date may appear on the cover, tide page, or first page of music, and sometimes occurs in multiple locations. When the date appears in multiple locations, the information may differ. While the copyright often appears on the bottom of the first page of the music, publishers did not always include it in their scores. Because tide pages and copyright notices do not always appear in modern reprints of historic editions, it is useful to consult some original printings to verify provenance. For example, the first edition of Mahler's Symphony no. 5 contains the publisher's number on the cover (example 1-a), with the plate number on the title page (example 1-b); the recto of the tide page does not contain publication details, but has a warning about performing the piece without consulting the publisher (example 1-c), and this note is dated September 1904. Note that the plate number is on the first page of music (example 1-d), along with the publication date. (21) Such details are important to ascertain the provenance of editions, and include them in bibliographic descriptions of the item.
In fact, these criteria are useful in exploring a rare early edition of the Adagio movement from Mahler's unfinished Symphony no. 10. Dating from 1951, the score of the Adagio appears to be a transcription in modern notation of the fair copy that was published in facsimile in 1924. It is actually an edition of the movement. This is not insignificant, since the step from facsimile to study score shifts the work from its passive state as an artifact in the Mahler Nachlass to a work that could be performed. In fact, the release of the score in 1951 fits into the larger scheme, whereby performances and recordings of the Tenth Symphony Adagio began to occur in the early 1950s, (22) a quarter century after Alma made the manuscripts available in facsimile. This important late work by Mahler could have been heard decades earlier, and although the history of the premiere of the Tenth has its own complications, (23) this particular item warrants attention as the first published edition of the Adagio movement. (24)
This edition warrants further attention because it bears few indicators that help to identify it in detail. Aside from the name of the publisher (Associated Music Publishers, Inc.) and the publisher's city (New York), the edition is undated and contains no references to its provenance. The editor listed in the catalog is Otto Jokl (1891-1963), but his name is neither part of the edition nor otherwise found on the score. Without editorial guidelines, it is possible to assume that this transcription of the fair copy did not involve editorial decisions, yet various passages required editing in rendering them for publication. One example can be seen at rehearsal no. 26 (pp. 32-33, which correspond to mm. 194ff. of the critical edition), where the continuation of a tempo marking (Andante presented at the rehearsal number in parentheses), as well as doublings (a 2 and a 3), voicings, as found with divisi markings in the strings, and dynamic markings (note the consistently notated decrescendos in the winds in m. 194). Since this complex score has a consistent editorial style, someone must have intervened to arrive at the logical presentation evinced in this edition, which differs in detail from both the obvious source in the facsimile and the later edition published in the Mahler Gesamtausgabe. As to the actual item, this edition looks like an urtext edition of the Adagio, since it lacks any explicit critical apparatus, description of editorial method, or notational conventions associated with edited music. In contrast to the multiple dates that contribute to the ambiguity of the Newberry's 1910 score of Das Lied von der Erde, for example, this early edition of the Adagio from the Tenth Symphony lacks any dating or overt statements of purpose, thus making it equally daunting when it comes to establishing its place in Mahler's oeuvre.
MISCATALOGING AND MAHLER'S POPULARITY
A case in point is the apparent first edition of the full score of Mahler's Das Lied von der Erde, (25) which is listed in the catalog with the date 1910. An examination of the item itself reveals that the date in the catalog is on the item, with the date 1910 at the bottom of the Universal colophon in the lower part of the page. Yet the actual publication date is printed on the first page of the music, with 1912 explicitly given in the line "Copyright 1912 by Universal-Edition." Even that copyright notice calls attention to itself because it is not in German but English. By rights the copyright should be stated in German, and so this marking may be a later addition to the plates (it is not overprinted on the copy). Yet other internal information in the body of the score yields nothing to contradict the latter date, which corresponds to the date of the first edition. The back cover, however, warrants attention, since it lists study scores of modern chamber music and orchestral works, which include Mahler's Symphony no. 9, which was first published in 1913. The back-cover copy is indicated as no. 65, and dated 1922, thus making this copy of Das Lied von der Erde a reprint rather than a first edition ["Nr. 65 I. 1922"]. As much as the item would be notable as a first edition, it is even more important as a reprint, because this status confirms its significance to the publisher as worth marketing a decade after it was initially released. In fact, the date fits into the time when Mahler's music was commemorated with various festivals of his music, notably the retrospective in the Netherlands, and also when several publications about Mahler were first published, specifically the iconographic study by Alfred Roller, (26) the memoirs of Natalie Bauer-Lechner, (27) Alma Mahler's edition of the composer's correspondence, (28) and the facsimile of the Tenth Symphony sketches. (29)
By unraveling the miscataloging, it is possible to place this reprinted edition into the context in which it was published, a time when Mahler's music had not only established a place in the performance world, but also benefited from the historic distance of the decade since his death. That decade was significant on various counts, notably World War I, which became a point of demarcation between the so-called long nineteenth century and the modernism of the twentieth. (30) Take, for example, the watershed year 1913 that saw the premiere of Igor Stravinsky's Le sacre du printemps, a work that departs radically from the modernism associated with the Austro-German musical tradition. As remote as Stravinsky's work may be from Mahler's music, it is an important touchstone, since the other explorations of musical modernism depart from the hyper-romantic traditions of the late-nineteenth century. In this sense, it is useful to consult the Newberry catalog further to find not only the first edition of Paul Bekker's groundbreaking Gustav Mahlers Sinfonien, (31) but also the small book issued two years later by the same author offering an overview on the genre, Die Sinfonie von Beethoven bis Mahler. (32) The latter book consists of sixty-one printed pages, and while it could have been included as a postscript in a reprinted edition of Bekker's detailed investigation of Mahler's symphonies, the focus on Mahler as the heir of the Beethoven tradition might have been obscured if the essay were just a new conclusion to the previously published book. By placing Mahler at the modern end of the symphonic spectrum that begins with Beethoven, Bekker was also able to include references to other responses to Beethoven's oeuvre by other nineteenth-century composers.
TOWARD FURTHER STUDY
As a case study, the historic editions of Mahler's music in the Newberry Library offer insights into how the composer's works found their way to the modern world. While the content of each edition may be served well by a critical edition, the mode of transmission found in each publication encapsulates parts of music history that helped to shape modern ideas of Mahler. Beyond the basic information found in encyclopedic summaries of the composer, the individual items merit attention because of the ways in which they reflect the times in which they were released, with details uniquely shaping the historic record. The issues that emerge with miscataloged items call attention to the importance of examining editions as objects that contain as much history in their packaging along with the content of their texts. The 1910 Das Lied von der Erde, for example, begs the question of dating, and in doing so points to the availability of Mahler's music at a time when conventional wisdom has his popularity at a low point (see example 2). Even then the dating of the Newberry's copy projects back to a time when Mahler's reputation benefitted from publications about him. When considering something as basic as uniform tides, the actual content of editions bears scrutiny for significant details, such as the missing link in the bibliography of Mahler's Symphony no. 10, relating to an important early edition by Jokl that is actually among the holdings of the Newberry Library. Archival collections like this one contain important materials that reflect the reception and publishing history of Mahler and other composers. Most of all, this impressive collection of Mahler materials is a testimony to the strength of the Newberry Library as a uniquely valuable archive for music. No mere repository for historic scores, it has the depth that an archival collection should have for scholars and performers as they explore music in ways that are impossible elsewhere, and, most importantly, validate or challenge conceptions that are documented in the publications themselves.
APPENDIX: Mahler's publishers during his lifetime This table offers an overview of Mahler's major works, the original publishers, and the corresponding publication dates. The table does not include publishers who issued his music after his death. Note the ways in which Mahler's choices of publishers corresponds to the emergence and growth of Universal Edition in the first decade of the twentieth century. Work First Edition Publisher Date Die drei Pintos C. F. Kahnt  Lieder und Gesange B. Schott's Sohne 1892 Lieder eines fahrenden Gesellen Josef Weinberger 1897 Symphony no. 1 Josef Weinberger 1899 Des Knaben Wunderharn Das klagende Lied Universal Edition 1901 Symphony no. 2 Friedrich Hofmeister 1897 Symphony no. 3 Josef Weinberger 1899 Symphony no. 4 Ludwig Doblinger 1902 Symphony no. 5 C. F. Peters 1904 Kindertotenlieder C. F. Kahnt 1905 Sieben Lieder aus letzter Zeit C. F. Kahnt 1905 Symphony no. 6 C. F. Kahnt 1906 Symphony no. 7 Bote & Bock 1909 Bach Suite Schirmer 1910 Symphony no. 8 Universal Edition 1911 Das Lied von der Erde Universal Edition 1912 Symphony no. 9 Universal Edition 1913 Work Revised Edition Publisher Date Die drei Pintos Lieder und Gesange Lieder eines fahrenden Gesellen Symphony no. 1 Universal Edition 1906 Des Knaben Wunderharn Das klagende Lied Symphony no. 2 Universal Edition 1910 Symphony no. 3 Universal Edition 1906 Symphony no. 4 Universal Edition 1906 Symphony no. 5 C. F. Peters 1904 Kindertotenlieder Sieben Lieder aus letzter Zeit Symphony no. 6 C. F. Kahnt 1906 Symphony no. 7 Bach Suite Symphony no. 8 Das Lied von der Erde Symphony no. 9 Work Comments Die drei Pintos Lieder und Gesange Lieder eines fahrenden Gesellen The musical content differs in the piano-vocal score (Vienna: Josef Weinberger, No.40, 1897), Plate J.W. 888 Symphony no. 1 Depending on the printing, some of the Universal copies retain Joseph Weinberg in the plates. Des Knaben Wunderharn Das klagende Lied While known in the twenty-first century, the original first movement ("Waldmarchen") was not published in Mahler's lifetime, but remained in manuscript until it was first published as an individual work in 1973 by Belwin-Mills. Symphony no. 2 Shordy after publication Mahler assigned the rights to Josef Weinberger Symphony no. 3 Symphony no. 4 Symphony no. 5 Published in September 1904, Peters superseded the first edition in October, to incorporate Mahler's revisions in winds and percussion Peters printed "Neue Ausgabe" at the bottom of the title page of the revised edition, but not all reprints include the title page. Kindertotenlieder Sieben Lieder aus letzter Zeit Symphony no. 6 The editions of the Sixth Symphony were also issued just months apart and differ in movement order: In the first edition, the Scherzo is the second movement, in the revised edition and the Scherzo is the third movement. Symphony no. 7 Bach Suite Symphony no. 8 Das Lied von der Erde The first edition cover is dated 1910. Symphony no. 9
James L. Zychowicz, Ph.D., is a musicologist whose specialization in Mahler's music has emerged in several journals and other publications, including a monograph on the genesis and publication of the composer's Fourdi Symphony, an annotated bibliography 011 Mahler published by Oxford University Press, and a critical edition of Mahler's first international success--his completion of Weber's comic opera Die drei Pintos. Zychowicz serves on the editorial board of Oxford University Press's Bibliographies Online: Music. He is director of The Special Projects Division of A-R Editions, where his responsibilities include The Computer Music Digital Audio series, The MLA Monographic Series, and and A-R Online Music Anthology.
(1.) Gustav Mahler, Samtliche Werke: Kritische Gesamtausgabe, ed. by the Internationale Gustav Mahler Gesellschaft (Vienna: Universal, 1960-). The critical edition is indicated in Anglo-American sources with the siglutn MW (Mahler's works), as found in Grove Music Online (http://www.oxfordmusiconline.com): and in German-language references with the siglum GA (Gestaintausgabe), as found in Die Musik in Geschichte und Gegenwart (MGG), 2d ed. (Kassel: Barenreiter, 1994-2008). The set began publication in 1960, the centenary of the composer's birth, with an edition of his Seventh Symphony, and proceeded with various volumes that were released irregularly over the next four decades. The Mahler Gesellschaft is currently producing new editions of the composer's works that are intended to supersede their earlier ones.
(2.) Mahler's famous statement about finding a future audience ("my time will come") requires explication in the context of his rivalry with the composer Richard Strauss. See Gustav's letter to his wife Alma, 31 January 1902: Gustav Mahler: Letters to His Wife, ed. by Henry-Louis de La Grange and Gunther Weiss, in collaboration with Knud Mariner, trans, by Antony Beaumont (Ithaca, NY: Cornell University Press, 2004), 100. Mahler actually wrote "My time will come when his [Strauss's] is passed" and, like other perceived prophecies, should not be taken literally. In the early twenty-first century the works of both composers remain part of the performing repertory.
(3.) Mahler suffered an internal hemorrhage in late February 1901, and discovered while he was recuperating that the copyist reversed the order of the inner movements of the Fourth Symphony. See James L. Zychowicz, " 'They Only Give Rise to Misunderstandings': Mahler's Sketches in Context," in Genetic Criticism and the Creative Process: Essays from Music, Literature, and Theater, ed. by William Kinderman and Joseph F.. Jones (Rochester, NY: University of Rochester Press, 2009), 151-69, at 162-63.
(4.) See the comments by Peter Franklin in "Mahler, Gustav," Grove Music Online, regarding the popular interest in Mahler's music around the centenary in 1960 of the composer's birth. See also Christoph Metzger, Mahler-Rezeption: Perspektiven der Rezeption Gustav Mahlers, Taschenbucher zur Musikwissenschaft, 136 (Wilhelmshaven: Florian Noetzel, 2000), 237ff.
(5.) Some of the early recordings have been preserved on compact disc in the ten-disc set, Gustav Mahler, Document CD 22351 (2006). The recordings included in this compilation date from 1915 through 1952, and include a number of his songs, along with most of the symphonies in performances by important early Mahler conductors: the First Symphony (Mitropoulos, 1940), the Second (Oscar Fried, 1924), the Fourdi (Mengelberg, 1939), the Fifth (Bruno Walter, 1947), the Eighth (Stokowski, 1950), the Ninth (Bruno Walter, 1938), Das Lied von der Erde (Bruno Walter, 1952), and the Tenth, Adagio only (Hermann Scherchen, 1952).
(6.) Hans F. Redlich, Bruckner and Mahler, 2d ed.. Master Musicians Series (London: J. M. Dent; New York: Farrar, Straus and Cudahy, 1963), vii. In his preface to the second edition, Redlich summarizes some of the developments in Mahler performance since the publication of the first edition in 1955.
(7.) See, for example, Norman Lebrecht, Why Mahler?: How One Man and Ten Symphonies Changed Our World (New York: Pantheon Books, 2010), 16-17. A further level of distortion about Mahler occurs in presentations for the general public, something the late Erich Leinsdorf lamented in The Composer's Advocate: A Radical Orthodoxy for Musicians (New Haven, CT: Yale University Press, 1981). His comments remain valid criticism for those who generalize about Mahler (or other composers): "Poor Mahler seems to exert a special magnetism for the dilettante. In New York, I once found myself in a private home listening to a talk on Mahler's death motive, given by a psychiatrist and a group of his peers--and myself--using phonograph records to support his claims. For ninety minutes we listened to a series of obvious and unoriginal conclusions that any person familiar with the outlines of Mahler's life and personality might arrive at. It was from what the doctor did not say that I gathered how little he knew...." (p. 21)
(8.) The reception of Mahler's music in recorded sound has yet to be undertaken from an analytic perspective, but it is useful to consult the work of Peter Fulop in his ongoing Mahler discography, specifically "The Discography of Gustav Mahler's Works," Studia Musicologica Academiae Scientiarum Hungaricae 26 (1984): 219-418: this is the basis for his Mahler Discography (New York: Kaplan Foundation, 1995; rev. ed., Toronto: Mikrokosmos, 2010). Annotations are minimal in Fulop's work, with more existing in the efforts of Lewis M. Smoley, The Symphonies of Gustav Mahler: A Critical Discography (New York: Greenwood Press, 1986); and his Gustav Mahler's Symphonies: Critical Commentary on Recordings since 1986 (Greenwood, 1996). Released over two decades ago, the latter is primarily of historic interest.
(9.) The cartoon has been reproduced in various places, including Mahler: Sein Leben, sein Werk und seine Well in zeitgenossischen Bildern und Texten, ed. by Kurt Blaukopf (Vienna: Universal Edition, 1976), item no. 250. The caricature of Mahler has the composer holding his head with one hand and a car horn with the other. The caption reads: "Herrgott, dass ich die Hupe vergessen habe! Jetzt kann ich noch eine Sinfonie schreiben" (Dear God, I forgot the car horn! Now I can compose another symphony). The cartoon appeared in Die Muskete 19 (10 January 1907). The cartoon has the title "Tragische Sinfonie" ("Tragic Symphony"), which some connect to the epidiet of Mahler's Symphony no. 6, which has the nickname "Tragisch," a work that received its premiere on 27 May 1907. A scan of the cartoon is available online: https://en.wikipedia.org/wiki/File:Mahlercartoon_1907.jpg (accessed 18 May 2017).
(10.) Pierre Boulez, "Mahler Now," in Anthology: Selected Essays from Thirty Years of The New York Review of Books (New York: The New York Review of Books, n.d. ), 137-52. Originally published in the Review on 28 October 1976.
(11.) Boulez, "Mahler Now," 140.
(12.) Christoph Metzger, "Issues in Mahler Reception: Historicism and Misreadings after 1960," The. Cambridge Companion to Mahler, ed. by Jeremy Barham (Cambridge; New York: Cambridge University Press, 2007), 203-16.
(13.) Ibid., 204-5.
(14.) Ibid., 206.
(15.) Gustav Mahler, Eight Songs from The Youth's Magic Horn (London: Boosey & Hawkes, 1943), plate H. 15479. The Newberry call number is: sheet music VM 1612 .M21kn.
(16.) Universal Edition was founded on 1 June 1901 by the firms Josef Weinberger, Bernard Herzmansky (of the Viennese firm Doblinger), and Adolf Robitschek, and in its formative years benefited from the leadership of Emil Hertzka, with whom Mahler had some correspondence. In addition to its emphasis on new music, Universal Edition also acquired various smaller publishers, including Aibl (1904); Cranz (1909); Otto Maass Sohne (1918-19); Gutmann (1920); Hofmeister (1921); Blaha (1925); and the Wiener Philharmonischer Verlag (1925). Starting in 1909 Universal also entered into contracts with various publishers, including Bote & Bock; Breitkopf & Hartel; Doblinger; Leuckart; and others. Some of Mahler's early scores were published by Josef Weinberger, and so it is not surprising that his music would appear later with Universal Edition.
(17.) When it comes to discussing Mahler's publishers, it is important to note that Universal Edition London became independent of Boosey & Hawkes in 1949.
(18.) Carl Maria von Weber, Die drei Pintos: Komische Oper in drei Aufzugen (Leipzig: C. F. Kahnt. n.d. ). According to the title page, the piano-vocal score with the dialogue ("Klavier-Anszug mit Text") is designated M8, and the version without dialogue ("Klavier-Auszug oline Text") is M6. This copy is marked as "Partitur M" and does not include the dialogue.
(19.) In 1912 Gustav Bosse founded the Gustav Bosse Verlag, which was subsumed by Barenreiter in 1957 and remains an active imprint. Among Bosse's releases are titles that explore German nationalism, such as Konrad Huschke, Die deutsche Musik und unsere Feinde (Regensburg: Bosse, 1921). Later publications include the 1935 monograph on music in the Third Reich by then president of the Reichsmusikkammer Peter Raabe, Die Musik im Dritten Reich. While the current Web site for the Gustav Bosse Verlag does not contain information about the firm's history, some details are available online: http://www .wikiwand.com/de/Gustav_Bosse_Verlag (accessed 18 May 2017). The connection between a Mahler score and this publishing house seems an odd fit, but this exemplar seems to have been a personal possession of Bosse, and it is notable that it survived the Third Reich.
(20.) The challenge of the completion is even more estimable as a successful accomplishment of a task that even Giacomo Meyerbeer attempted but ultimately failed to do. See Gustav Mahler: Die drei Pintos: Based on Sketches and Original Music by Carl Maria von Weber, ed. by James L. Zychowicz, libretto translated by Charlotte Brancaforte and Salvatore Calomino, 2 vols. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, vols. 30-31 (Madison, WI: A-R Editions, 2000), x-xi ("Die drei Pintos after Weber's Death").
(21.) For details on the publication history of this work, see the Reuisionsbericht in the first critical edition of the Fifth in the Mahler Gestamtausgabe. Gustav Mahler: Symphonic Nr. 5, ed. by Erwin Ratz (Frankfurt; New York; London: C. F. Peters, 1964; rev. ed., edited by Karl Heinz Fussel, 1989), two unnumbered pages preceding the score; and Gustav Mahler: Symphonic Nr. 5, ed. by Reinhold Kubik (Frankfurt am Main: C. F. Peters, 2002), esp. pp. 343-44 (an overview of the publication history is on pp. v-vii). Unfortunately, the 2002 edition is problematic in its editorial approach, which is based on a stemma that includes all source material, including sketches. While autograph material is important in Mahler studies, it is important to recognize the primacy of editions for completed works, since their content has the implicit approval of the composer over sketches, drafts, and other earlier versions of the music.
(22.) For an analysis of Mahler's Symphony no. 10 in recorded sound, see James L. Zychowicz, "Mahler's Unfinished Legacy: Exploring the Discography of the Tenth Symphony," ARSC Journal 43, no. 2 (2012):197-223. The earliest recordings are those of the Adagio and "Purgatorio" conducted by Charles Adler and released in 1953 (see p. 212).
(23.) In the prefatory material of his performing score of Mahler's Tenth Symphony, Deryck Cooke discussed some of the issues that arose with bringing the piece to performance. See Gustav Mahler, A Performing Version of the Draft for the Tenth Symphony, 2d cd., prepared by Deryck Cooke, in collaboration with Berthold Goldschmidt, Colin Matthews, and David Matthews (London: Faber, 1989). This is the latest published edition of the completion, which is based on the 1964 and 1972 versions of the score. For a discussion of the issues surrounding other performing versions of this work, see Jorg Rothkamm, Gustav Mahlers Zehnte Symphonie: Entstehung, Analyse, Rezeption (Frankfurt am Main: Peter Lang, 2002), esp. the bibliography (pp. 314-43).
(24.) Unfortunately this edition is not included in the bibliographies found with the New Grove and Grove Music Online, which defer to the 1964 performing edition of Mahler's Tenth Symphony prepared by Deryck Cooke. Notwithstanding the merits of the Cooke score, the Jokl edition (see below) is the first publication of the Adagio, which fits into the Groves' tendency to include the first publications of works in its bibliographies.
(25.) Mahler composed Das Lied von der Erde in 1908-9, but deferred the premiere of the completed score for several years. Mahler discussed the premiere of his Symphony no. 9 with Bruno Walter, and while he did not mention Das Lied von der Erde explicitly, it seems logical dial he would premiere the latter around the same time. Complete at his death in May 1911, both works were premiered posthumously under the direction of Bruno Walter: Das Lied von der Erde on 20 November 1911 (Munich); and Symphony no. 9 on 26 June 1912 (Vienna).
(26.) Alfred Roller, Die Bildnisse van Gustav Mahler (Leipzig: E. T. Tal, 1922).
(27.) Natalie Bauer-Lechner, Erinnerungen an Gustav Mahler (Leipzig: E. T. Tal, 1923).
(28.) Gustav Mahler, Briefe 1879-1911. ed. Alma Maliler (Vienna: Paul Zsolnay, 1924). While dated 1924 on the title page, the copy in the Newberry Library is actually a 1925 edition, as evidenced by the additional two pages of front matter (pp. xv-xvi).
(29.) Mahler, ZehnteSymphonic [sketches] [Vienna: Paul Zsolnay. 1924?].
(30.) For critical perspectives on this point of demarcation, see Richard Taruskin, The Oxford History of Western Music, 6 vols., vol. 4: The Early Twentieth Century (Oxford; New York: Oxford University Press, 2005), 471-73.
(31.) Paul Bekker, Gustav Mahler's Sinfonien (Berlin: Schuster & Loeffler, 1920). The first edition was reprinted in 1969 by Hans Schneider (Tutzing) to make this classic study available as a photographic reproduction. The item is from the first printing ("Erstes bis drittes Tausend" is printed on the tide page).
(32.) Paul Bekker, Die Sinfonie von Beethoven bis Mahler (Berlin: Schuster & Loeffler, 1922). The copy in the Newberry's collection is an unnumbered reprint, indicated as "siebentes bis neuntes, Tausend" (7,000-9,000 copies). In terms of quantity, the latter example includes an announcement of Bekker's earlier book on Mahler, with a reprint that brings the number of copies in print to 3,000 ["Drittes Tausend"], as found in the advertisement on the verso of p. 61. Presumably, 3,000 copies of Gustav Mahlers Sinfonien had been printed prior to 1922, which indicates the relative popularity of that volume in a relatively short time--just two years.
Caption: Ex. 1. Mahler, Symphony no. 5 (Leipzig: C. F. Peters, 1904): (a) cover; (b) title page; (c) copyright warning on the reverse of the title page; and, (d) the first page of music (p. 3).
Caption: Ex. 2. Selected pages from Das Lied von der Erde (Vienna: Universal-Edition, 1912): (a) cover with the 1910 copyright; (b) first music page (p. 3) with the actual 1912 copyright; and, (c) back cover with the advertisement of 1922 releases.
Table 1. Historic editions of Mahler's music in the Newberry Library TITLE CITY PUBLISHER DATE SONGS AND SONG CYCLES Lieder und Gesange Mainz B. Schott's Sohne /[n. d.] aus der Jugendzeit Lieder und Gesange Vienna Universal Edition  fur eine Singstimme und Klavier. Sieben Lieder aus Leipzig C.F. Kahnt  der Jugendzeit Nachfolger Lieder eines Vienna Josef Weinberger 1897 fahrenden Gesellen Lieder eines Vienna Wiener Philhar-  fahrenden Gesellen monischer Verlag 12 Gesange aus "Des Vienna Universal Edition [n.d.] Kraben Wunderhorn" fur eine Singstimme mit Orchesterbegleitung Sieben Lieder aus Vienna Wiener Philhar- 1926 letzter Zeit monischer Verlag Des Knaben Vienna Wiener Philhar- [1924?] Wunderhorn: Lieder monischer Verlag fur eine Singstimme mit Orchesterbegleitung Eight songs from London Boosey & Hawkes 1943 The youth's magic horn Kinder-Totenlieder Leipzig C. F. Kahnt c1905. von Ruckert, fur eine Singstimme mit Klavier oder Orchester [Note: The uniform title hyphenates Kindertotenlieder] Kinder-Totenlieder Lindau C.F. Kahnt [19--] von Ruckert fur eine Singstimme mit Klavier oder Orchester SYMPHONIES Erste symphonie in Vienna Josef Weinberger  D dur Symphonie no. 1 in Vienna Josef Weinberger  D-dur Symphonie in Leipzig Hofmeister Verlag ca.1896 C-moll. no. 2 Symphonie in C-moll, Leipzig F. Hofmeister ca. 1897 No. 2: fur grosses Orchester. Chor und Soli Symphony no. 2 Vienna Universal Edition 1952 Zwcite Symphonic in Vienna Universal Edition ca. 1897 C moll Symphony no. 3 Vienna Universal Edition  Dritte Symphonie in Vienna Universal Edition [1906?] d Moll Symphonic IV, G dur Vienna Wiener Philhar- 1925 monischer Verlag Viertc Symphonic in Vienna Universal Edition [19061 G Dur Symphonic No. 5 fur Leipzig C'. E. Peters ca. 1904 grosses Orchester Symphonic No. 5 fur Leipzig C. E. Peters ca. 1904 grosses Orchester Sechste Symphonie, Leipzig C.F. Kahnt Ca. 1906 A moll Nachtblger Siebente Sinfonie Berlin Bote & G Bock 1909 fur grosses Orchester Siebente Sinfonie Berlin Bote & G. Bock  Achte Symphonie. Vienna Universal Edition 1911 Achte Symphonie Vienna Universal Edition 1911 Achte Symphonie Vienna Universal Edition 1910 Das Lied von der Vienna Universal Edition 1910 [date Erde: eine given in the Symphonie fur cinc catalog) Tenor-und eine Alt- (oder Bariton) Stimme und Orchester Das Lied von der London Universal Edition ca. 1952 Erde: eine Symphonie fur cine Tenor-und cine Alt (oder Barition) Stimme und Orchester The song of the London Boosey & Hawkes ca. 1940 earth: (Das Lied von der Erde) a symphony for tenor, contralto (or baritone) and orchestra Neunte Symphonie. Vienna Universal Edition ca. 1912 Symphony no. 10 New Associated Music 1951 York Publishers OTHER WORKS Die drei Pintos: Leipzig C. F. Kahnt  komische Oper in drei Aufzugen Das klagenda [sic] Vienna Universal-Edition 1914 Lied: in 2 Abteilungen fur Sopran-, Alt-, Tenorsolo, gemischten Chor und grosses Orchestra. Das klagende Lied, Vienna Universal-Edition  in 2 Abtheilungen, fur Sopran- Alt- und Tenor-Solo, gemischten Chor und grosses Orchcster FACSIMILE EDITIONS Zchnte Symphonie Vienna P. Zsolnay 1924 X. Symphonic Munich Ricke 1967 Faksimile nach der Handschrift TITLE EDITION / PAGES SIZE PLATE NO. SONGS AND SONG CYCLES Lieder und Gesange 25183-25185 B. Vol. 1: 15 pp. 32 cm aus der Jugendzeit Schott's Sohne Vol. 2: 15 pp. 7530a--7531a B. Schott's Sohne 8264a B. Schott's Sohne Lieder und Gesange Schott 829, 831, Not indicated 30 cm. fur eine Singstimme 833 UE 3952a- und Klavier. UE 3954a. Sieben Lieder aus Pub. no. 7445. 5 pp. 34 cm der Jugendzeit Lieder eines J.W. 888 21 pp. 32 cm fahrenden Gesellen Lieder eines W. Ph. V. 251 68 pp. 19 cm fahrenden Gesellen 12 Gesange aus "Des 3639b, 3645a Not indicated 31 cm Kraben Wunderhorn" fur eine Singstimme mit Orchesterbegleitung Sieben Lieder aus Philharmonia 96 pp. 19 cm letzter Zeit Partituren no. 253 Des Knaben Philharmonia no. Not indicated 19 cm Wunderhorn: Lieder 219-220. fur eine Pl. nos.: W. Ph. Singstimme mit V. 219. 220 U.E. Orchesterbegleitung 7506, 7507 Eight songs from H.15479 56 pp. 31 cm The youth's magic horn Kinder-Totenlieder Plate no.: 4459. 31 pp. 30 cm von Ruckert, fur eine Singstimme mit Klavier oder Orchester [Note: The uniform title hyphenates Kindertotenlieder] Kinder-Totenlieder 4460 C.F. Kahnt 86 pp. 21 cm von Ruckert fur eine Singstimme mit Klavier oder Orchester SYMPHONIES Erste symphonie in 946 Universal- 171 pp. Not D dur Edition i 6 indicated Weinberger Symphonie no. 1 in Pl. no. 1 171pp. Not D-dur indicated Symphonie in 3 Hofmeister 153 pp. Not C-moll. no. 2 indicated Symphonie in C-moll, Not indicated in 209 pp. 24 cm No. 2: fur grosses catalog Orchester. Chor und Soli Symphony no. 2 Universal Edition 209 pp 25 cm 948 LW Zwcite Symphonic in U. E. 948 209 pp. 25 cm C moll Symphony no. 3 Universal Edition 231 pp. 25 cm 950 LW. Dritte Symphonie in 950 Universal- 231 pp. 25 cm d Moll Edition Symphonic IV, G dur Philharmonia 188 pp. 19 cm Partituren no. 214 Viertc Symphonic in UE. 952 125 pp. 25 cm G Dur Symphonic No. 5 fur Plate no.: 9015 246 pp. 19 cm grosses Orchester (1904) Symphonic No. 5 fur 9015 C.F. Peters 251 pp. 28 cm grosses Orchester Sechste Symphonie, 4526 263 pp. 25 cm A moll Siebente Sinfonie 16869 153 pp. 33 cm fur grosses Orchester Siebente Sinfonie B. & B. 16867. 257 pp. 27 cm Achte Symphonie. U.E. 2772 218 pp. Not indicated Achte Symphonie Plate nos.: U.E. 218 pp. 38 cm 2772, 3000 Achte Symphonie 2660 Universal 211 pp. 31 cm Das Lied von der 3392 Universal 146 pp. 24 cm Erde: eine 3637 Universal Symphonie fur cinc Tenor-und eine Alt- (oder Bariton) Stimme und Orchester Das Lied von der UE 3391 92 pp. 31 cm Erde: eine Symphonie fur cine Tenor-und cine Alt (oder Barition) Stimme und Orchester The song of the B. & H. 8905 159 pp. 30 cm earth: (Das Lied von der Erde) a symphony for tenor, contralto (or baritone) and orchestra Neunte Symphonie. Nr. 3398 182 pp. 24 cm Symphony no. 10 Not indicated 64 pp. 30 cm OTHER WORKS Die drei Pintos: 2951 223 pp. 28 cm. komische Oper in '1 drei Aufzugen Das klagenda [sic] 2969 Universal 114 pp. 24 cm Lied: in 2 5390 Universal Abteilungen fur Sopran-, Alt-, Tenorsolo, gemischten Chor und grosses Orchestra. Das klagende Lied, 1694 Weinberger 69 pp. Not in 2 Abtheilungen, 25 Weinberger indicated fur Sopran- Alt- und Tenor-Solo, gemischten Chor und grosses Orchcster FACSIMILE EDITIONS Zchnte Symphonie Unnumbered 36 cm pages X. Symphonic Unnumbered 29 cm Faksimile nach pages der Handschrift TITLE NEWBERRY CALL NO. COMMENTS SONGS AND SONG CYCLES Lieder und Gesange 8A 482 Volumes 1 and 2 of aus der Jugendzeit the 3-volume Lieder und Gesange. Reprint edition (after 1911), for high voice (Hoch). The contents are: 1 : Fruhlingsmorgen: Erinnerun; Hans und Grete: Serenade aus "Don Juan": Phantasie aus "Don Juan" 2 : Um schlimme Kinder artig zu Machen: Ich ging mit Lust: Aus! Aus!; Starke Einbildungskraft 3 : Zu Strassburg auf der Schanz; Ablosung im Sommer: Scheiden und Meiden; Nicht wiedersehen!; Selbstgefuhl. Lieder und Gesange VM 1621 .M214L Reprint of the fur eine Singstimme original edition by und Klavier. Mainz: B. Schott's Sohne, by Universal High-voice edition [Hoch, hence the use of the suffix -a in the number]. Sieben Lieder aus 8A 480 Ich at met ' einen der Jugendzeit linden Duft for voice and piano. This single item was collected with Mahler's Sieben Lieder aus letzter Zeit anil was reprinted in 1911 as denoted by the March 1911 copyright statement on the title page. Lieder eines VM 1612 .M21L Reprint ca. 1925 of fahrenden Gesellen the 1897 piano- vocal score. Note the advertisement on the back cover for music by Jan Brandt Buys (works published after 1917), as well as works by Anatol Provaznik. Lieder eines minus VM 1611 Includes notes by fahrenden Gesellen .M214L Richard Specht in English, French and German 12 Gesange aus "Des sheet music VM 1612 2 separately Kraben Wunderhorn" .M21k published songs fur eine Singstimme bound together under mit a generic title: Der Orchesterbegleitung Schildwache Nachtlied. Tief. [3639b] Rheinlegendehen. Hoch. [3645a] Sieben Lieder aus minus VM 1611 Contains two late letzter Zeit .M214s Wunderhorn settings, and the five Ruekert-Lieder: Revelge; Der Tamboursg 'sell; Blicke mir nicht in die Lieder; Ich atmet einen Lindenduft; Ich bin der Welt abhanden gekommen; Um Mitternacht: Liebst du um Schonheit? Des Knaben minus VM 1611 Two physical Wunderhorn: Lieder .M2l4k volumes; includes fur eine notes by Richard Singstimme mit Specht in English. Orchesterbegleitung French and German English version by Addie Funk. Eight songs from sheet music VM 1612 Des Knaben The youth's .M21kn Wunderhorn Contains English-language versions. 1. Rhine legend magic horn [Rheinlegendchen] 2. Sentinel's night song [Das Schildwache Nachtlied] 3. Far over the hill [Wer hat dies Liedlein erdacht] 4. Comfort in sorrow [Trost im Ungluck] 5. Where the shining trumpets blow [Wo die schonen Trompeten blasen] 6. Life on earth [Das irdisehe Leben] 7. St. Anthony and the fishes [Des Antonius von Padua Fischpredigt] 8. Primeval light [Urlicht] Kinder-Totenlieder VM 1619.5 .R91m Piano-vocal score, von Ruckert, fur published in 1905. eine Singstimme mit This is a reprint Klavier oder made after March Orchester 1911 and sold by [Note: The uniform Universal. See the title hyphenates note in title page: Kindertotenlieder] "In der Universal Edition als U. E. Nr. 2776 aufgenommen." Kinder-Totenlieder VM 1619.5 .R91ma Item currently von Ruckert fur missing; pagination eine Singstimme mit suggests that this Klavier oder is a full score, the Orchester size a study (miniature) score. SYMPHONIES Erste symphonie in minus VM 1001 Symphony no. 1 D dur .M21sl Miniature/ reduced-size score Symphonie no. 1 in VM 1001 .M21sl Symphony no. 1 D-dur Full score. First edition, 1899 [the 1906 edition was published by Universal] Symphonie in VM 215 .M21s2 Symphonie no. 2 C-moll. no. 2 Piano reduction, four-hands, by Hermann Behn This is Behn's presentation copy to Adolf Weidig Symphonie in C-moll, VM 1001 .M2ls2 1897 Symphony no. 2. No. 2: fur grosses Label (on cover): Orchester. Wien, Josef Chor und Soli Weinberger Symphony no. 2 Ml 001 .M21 Reprint of edition no. 2. 1952 (note pagination) Zwcite Symphonic in minus VM 1001 Symphony no. 2 C moll .M21s2 Symphony no. 3 M1001 M21 no.3. Reprint of the 1906 1967 edition in reduced format. Octavo size (larger than the Philharmonia edition). Note marking LIV/67 on the back cover. Dritte Symphonie in minus VM 1001 Symphony no. 3 d Moll .M21s3 Miniature reduced- size score Symphonic IV, G dur Case 4A 3336 Symphony no. 4. no. 72 reprint ed. Miniature reduced- size score Viertc Symphonic in VM 1001 .M21s4 Symphony no. 4 G Dur Symphonic No. 5 fur VM 1001 .M2ls5 Symphony no. 5 grosses Orchester Symphonic No. 5 fur VM 1001 -M2ls5 P48 Symphony no. 5 grosses Orchester Early edition [donated in 1935 by Mrs. Weidig]; note, the cover indicates this as edition no. 3087 and lists the publisher as Edition Peters Sechste Symphonie, VM 1001 .M21s6 Symphony no. 6. A moll Rebound for sale by Universal, with edition no. 2774 on the cover; second edition (inner movements: Scherzo, then Andante) Siebente Sinfonie M 209 .M21s7 Symphony no. 7. fur grosses Piano reduction, Orchester four-hands, by the Italian composer Alfredo Casella Siebente Sinfonie VM 1001 .M2ls7 Symphony no. 7. Marked: "In die Universal-Edition aufgenommen." Achte Symphonie. VM 1001 .M21s8 U58 Symphony no. 8. Oversize full score. Achte Symphonie VM 1001 .M21s8 Symphony no. 8 Achte Symphonie VM 1533 .M21s Piano reduction by Josef V. v. Woss [Josef Venantius von Woss]. Copy inscribed by Frederick Stock to Mrs. John J. Glessner [Mrs. Frances Glessner Lee] and dated Christmas 1916. Publication date 1910 is correct, and the full score was issued the next year. Das Lied von der minus VM 1001 .M2IL Miniature/ Erde: eine reduced-size score. Symphonie fur cinc 1922 reprint [see Tenor-und eine back cover copy] of Alt- (oder Bariton) the 1912 first Stimme und edition (as printed Orchester on the title page), but not released in 1910. as indicated on the cover. Das Lied von der VM 35 .M21Li Note location of Erde: eine Universal Edition Symphonie fur cine during, and after Tenor-und cine World War II, and Alt (oder Barition) its reinstatement in Stimme und Orchester Vienna, ca. 1955 The song of the VM 1001 .M21Li Das Lied von der earth: (Das Lied Erde in an English von der Erde) a translation by symphony for tenor, Steuart Wilson contralto (or baritone) and orchestra Neunte Symphonie. VM 1001 .M21s9 Symphony no. 9. Full score. Symphony no. 10 VM 1001 .M21sl0 Edited by Otto A. see also Jokl [not identified minus VM 1001 explicitly in this .M21sl0 edition]: contains the first movement only. Rebound without its original covers. OTHER WORKS Die drei Pintos: VM 1503 .W37d Piano-vocal score. komische Oper in Copy inscribed by drei Aufzugen Gustav Bosse [Gustav-Bosse Verlag] Das klagenda [sic] minus VM 1530 Das klagende Lied Lied: in 2 .M21k (rev. two-movement Abteilungen fur version); each page Sopran-, Alt-, is marked U. E. Tenorsolo, 2969. 5390. gemischten Chor und Copyright 1914 on grosses Orchestra. the title page. (Also composer's death date supplied in the score.) Das klagende Lied, VM 1533 .M21k Piano reduction by in 2 Abtheilungen, Josef V. Woss fur Sopran- Alt- und Tenor-Solo, gemischten Chor und grosses Orchcster FACSIMILE EDITIONS Zchnte Symphonie VM 2.8 .M21s10 Symphony no. 10, facsimile (1924) full color, and the cut, with gatherings corresponding to the manuscript X. Symphonic 7Q 322 Symphony no. 10, Faksimile nach facsimile (1967) der Handschrift includes sketches not in the 1924 edition; monochrome, not color facsimile
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|Title Annotation:||Gustav Mahler, Chicago, Illinois|
|Author:||Zychowicz, James L.|
|Date:||Sep 1, 2017|
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