Printer Friendly

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.


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.


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.


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).


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:

C.M /

v.Weber, /

G.Mahler /

Die 3/


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.


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.


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            [1888]

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


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.


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

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 ( 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: (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. [1993]), 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. [1888]). 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 (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


Lieder und Gesange     Mainz     B. Schott's Sohne   /[n. d.]
aus der Jugendzeit

Lieder und Gesange     Vienna    Universal Edition   [1943]
fur eine Singstimme
und Klavier.

Sieben Lieder aus      Leipzig   C.F. Kahnt          [1905]
der Jugendzeit                   Nachfolger

Lieder eines           Vienna    Josef Weinberger    1897
fahrenden Gesellen

Lieder eines           Vienna    Wiener Philhar-     [1924]
fahrenden Gesellen               monischer Verlag

12 Gesange aus "Des    Vienna    Universal Edition   [n.d.]
Kraben Wunderhorn"
fur eine Singstimme

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

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
[Note: The uniform
title hyphenates

Kinder-Totenlieder     Lindau    C.F. Kahnt          [19--]
von Ruckert fur
eine Singstimme mit
Klavier oder


Erste symphonie in     Vienna    Josef Weinberger    [1906]
D dur

Symphonie no. 1 in     Vienna    Josef Weinberger    [1899]

Symphonie in           Leipzig   Hofmeister Verlag   ca.1896
C-moll. no. 2

Symphonie in C-moll,   Leipzig   F. Hofmeister       ca. 1897
No. 2: fur grosses
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   [1967]

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

Siebente Sinfonie      Berlin    Bote & G. Bock      [1909]

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

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

Neunte Symphonie.      Vienna    Universal Edition   ca. 1912

Symphony no. 10        New       Associated Music    1951
                       York      Publishers


Die drei Pintos:       Leipzig   C. F. Kahnt         [1888]
komische Oper in
drei Aufzugen

Das klagenda [sic]     Vienna    Universal-Edition   1914
Lied: in 2
Abteilungen fur
Sopran-, Alt-,
gemischten Chor und
grosses Orchestra.

Das klagende Lied,     Vienna    Universal-Edition   [1899]
in 2 Abtheilungen,
fur Sopran- Alt-
und Tenor-Solo,
gemischten Chor und
grosses Orchcster


Zchnte Symphonie       Vienna    P. Zsolnay          1924

X. Symphonic           Munich    Ricke               1967
Faksimile nach
der Handschrift

TITLE                  EDITION /            PAGES            SIZE
                       PLATE NO.

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

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

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
[Note: The uniform
title hyphenates

Kinder-Totenlieder     4460 C.F. Kahnt      86 pp.           21 cm
von Ruckert fur
eine Singstimme mit
Klavier oder


Erste symphonie in     946 Universal-       171 pp.          Not
D dur                  Edition i 6                           indicated

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
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

Siebente Sinfonie      B. & B. 16867.       257 pp.          27 cm

Achte Symphonie.       U.E. 2772            218 pp.          Not

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

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

Neunte Symphonie.      Nr. 3398             182 pp.          24 cm

Symphony no. 10        Not indicated        64 pp.           30 cm


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-,
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


Zchnte Symphonie                            Unnumbered       36 cm

X. Symphonic                                Unnumbered       29 cm
Faksimile nach                              pages
der Handschrift

TITLE                  NEWBERRY CALL NO.      COMMENTS


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 :
                                              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

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

Lieder eines           minus VM 1611          Includes notes by
fahrenden Gesellen     .M214L                 Richard Specht in
                                              English, French and

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.
                                              Hoch. [3645a]

Sieben Lieder aus      minus VM 1611          Contains two late
letzter Zeit           .M214s                 Wunderhorn settings,
                                              and the five
                                              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
                                              1. Rhine legend
magic horn                                    [Rheinlegendchen]
                                              2. Sentinel's night
                                              song [Das
                                              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
                                              8. Primeval light

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

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.


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

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
                                              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

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

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

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

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


Die drei Pintos:       VM 1503 .W37d          Piano-vocal score.
komische Oper in                              Copy inscribed by
drei Aufzugen                                 Gustav Bosse

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


Zchnte Symphonie       VM 2.8 .M21s10         Symphony no. 10,
                                              facsimile (1924)
                                              full color, and the
                                              cut, with gatherings
                                              corresponding to the

X. Symphonic           7Q 322                 Symphony no. 10,
Faksimile nach                                facsimile (1967)
der Handschrift                               includes sketches
                                              not in the 1924
                                              edition; monochrome,
                                              not color facsimile
COPYRIGHT 2017 Music Library Association, Inc.
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 2017 Gale, Cengage Learning. All rights reserved.

Article Details
Printer friendly Cite/link Email Feedback
Title Annotation:Gustav Mahler, Chicago, Illinois
Author:Zychowicz, James L.
Article Type:Essay
Geographic Code:1U3IL
Date:Sep 1, 2017
Previous Article:Barbarians at the gates: grove and world percussion.
Next Article:During the 2017 Music Library Association annual meeting in Orlando, the following awards were given.

Terms of use | Privacy policy | Copyright © 2020 Farlex, Inc. | Feedback | For webmasters