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Main heading: The Music of Gustav Mahler: A Catalogue of Manuscript and Printed Sources [rule] Paul Banks

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Notes

1

Bauer-Lechner implies that this visit took place in September–October, but given the eventual publication date it must have been during her stay in Hamburg earlier in the year.

2

The transfer from Hofmeister to Eberle/Weinberger was no doubt facilitated by the fact that as early as 1889 Weinberger had set up a company in Leipzig, to issue his publications, thereby gaining copyright protection under the Berne Convention (Germany was a signatory, Austro-Hungary was not). Indeed there is some evidence that this venture may have had a business or personal connection with Hofmeister Verlag (HYJW, 7), though the assertion that this arrangement involved Carl Günther (who later owned Hofmeister Verlag) seems unlikely since he was born in 1878.

 

3

This edition was misleadingly listed as a new publication in the Neue frei Presse on 20 October 1907: its inclusion was probably motivated by the fact that Mahler's farewell performance of the work was to be given in Vienna on 24 November.

4

This is not conclusive in itself: there is also no reference to the plates of Behn's arrangement of Urlicht but they were certainly sent to Vienna, as the piano vocal score was issued by Weinberger from Röder's plates (see the notes to PV2).

5

Although no information about the enquiries from France and Holland have come to light, two complete performances were given in Liège in 1898 and 1899 (Mahler conducted the second), and Urlicht was performed in Brooklyn in late 1898.

6

Nor does it appear in the autograph of the full score of the solo song version, AF.

7

The recipient was no doubt (Heinrich August) Adolf Weidig (1867–1931), the son of Mahler's Hamburg copyist, a violinist, composer and teacher who moved to Chicago in 1892.

8

The published editions give the date of this undated letter as 'Autumn 1895', but I take the first sentence to refer to arrival from a trip: given Mahler's demanding schedule in the early autumn of 1895 this presumably refers to his return from his summer vacation. De La Grange reports that Mahler left Steinbach c. 20 August (HLG1, 332); the season opened on 1 September with Hänsel und Gretel, conducted by Mahler (BSGMOH, 306), so Mahler probably returned to Hamburg for rehearsals c. 24 August.

9

The dating of this letter is of crucial significance in this narrative: for reasons outlined in the entry for CT2p4 I have retained here the September dating adopted in GMUBE2 rather than the alternative proposed in NKGII.2, 39, 129, note 6.

10

At the end of August the second conductor at the Hamburg Stadttheater, Otto Lohse and his wife Katarina Klafsky broke their contracts in order to join the Damrosch Opera Company in America. The director of the Stadttheater, Pollini, refused to recruit a replacement, and it was Mahler who appears to have taken over most of Lohse's conducting. In September 1895 he conducted 22 performances (see BSGMOH, passim).

11 

One reason may have been to confirm that the indications of instrumentation could be accommodated without cluttering the graphical image.

Symphony No. 2 – Printed Editions

 

Full scores

Study scores

Orchestral parts

Chorus parts

Vocal score – Urlicht

Arrangement for 2 pianos, 4 hands

arr. Hermann Behn

Arrangement for piano duet

arr. Bruno Walter

Arrangement

 for 2 pianos, 8 hands

arr. Heinrich von Bocklet

Arrangements for piano, 2 hands

Second movement (excerpts) – arr. Ernst Rudolf

Fourth Movement (complete) – arr. Ernst Rudolf

Fifth Movement (excerpt) – arr. Ernst Rudolf

Arrangement for salon/small orchestra

Second movement – arr. Emil Bauer

Publications in albums and periodicals

Fourth movement (complete) - Voice and Piano (Excelsior II)

Fourth movement (complete) - Piano (Musik für Alle)

Second movement (abridged) - Piano (Musik für Alle)

 

  PRINTED FULL SCORES
PF1   FIRST EDITION – Leipzig: Friedrich Hofmeister, 1897
     

Title Page: [See facsimile. Black on white:] Symphonie / in C-moll / N 2. / Für grosses Orchester, Chor und Soli / von / Gustav Mahler. / [rule] / Partitur (zum Privatgebrauch) netto M36,–. / Clavierauszug für 2 Claviere zu 4 Händen netto M6,–. / (zur Ausführung sind 2 Exemplare erforderlich) / Einzeln: Theil IV Urlicht für Altsolo mit Clavierbegl. netto M1,–. / [rule] / Aufführungsrecht vorbehalten. Eigenthum des Componisten. / Commissionsverlag / von / FRIEDRICH HOFMEISTER, LEIPZIG. / Copyright 1897 by Friedrich Hofmeister. / Lith.Anst. v. C.G. Röder, Leipzig.

       

Wrapper: [see facsimile of front wrapper; back wrapper is blank]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters etc; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 323 x 266 (r = 248)

        Watermark: see below
        Printer: Lith.Anst. v. C.G. Röder, Leipzig [front wrapper and title page]
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: ii.1897    Price: Mk 36

       

Edition number: none    Plate number: 1

       

Copies: A-Wst M 50346; D-Hs M B/13510 (dedication copy from Mahler to Hermann Behn); D-Hs M B/17 (dedication copy from Mahler to Ferdinand Pfohl); GB-Lbl h.3965.(2) (acquisition date: 18 February 1905); GB-Lpc (ex coll. Francis Cebron (b. 1912)); US-NYpm 113739 (James Fuld Collection)

        Select bibliography: NKGII.2, 40–41; 130 (source EA)
       

This edition was published on commission and distributed initially by Hofmeister, with the performing rights remaining with the composer as the title page and front wrapper explicitly state. At the top of p. 2 there is a note:

Die Erlaubniss zu öffentlichen Aufführungen wird nur durch Vermittlung des Verlages von der Componisten ertheilt, von welchem auch das Stimmenmaterial zu beziehen ist. Der Preis für öffentliche Aufführungen unterliegt besonderer Vereinbarung.

Permission for public performances is obtainable from the composer – from whom the performing material is also available – only through the agency of the publisher. The fee for public performances is subject to special agreement.

The performing material available (i.e. the chorus and orchestral parts) probably consisted of the manuscript set prepared for the first performance ([CO] and [CCh]), but it has been suggested (NKGII.2, [11], 99) that Röder also engraved the string, woodwind and brass parts, so copies may also have been included in the hire sets (however, for a more extended discussion of this issue, see the notes on PO1 below).

The publication of this score was set in motion by Mahler's confident, Nathalie Bauer-Lechner who visited Hamburg in April 1896 and while there persuaded the local businessman, Wilhelm Berkhan to contribute the bulk of the printing costs and to find another donor to make up the difference (it was probably Hermann Behn: see NBL2, 76–7; NBLE, 76–7).¹ On 21 June Mahler was complaining to Hermann Behn about the proof-reader's estimated charges (GMUB, 27; GMUBE, 29 (see the revised translation and commentary)) but eventually, on 17 February 1897 Mahler could announce in a letter to Max Marschalk that the score was 'published at long last' (GMB, 209; GMSL, 211). The size of the print run is unknown, but given the non-commercial nature of the venture it may have been very small.

Although the paper – like all those used in the published editions of Mahler's music – is machine-made, it is watermarked. There is only one mark, which normally appears at the foot of the page:

CGR Graphic: star shape  4

These initials suggest the paper was manufactured especially for Röder though such an arrangement is not mentioned in the otherwise illuminating summary of the firm's working practices in the 1890s (FCGR, 9–16). As the paper was supplied in large rolls and cut for printing the horizontal placement of the mark on the sheets varies.

         
CPF1.1     PRINTED FULL SCORE WITH MANUSCRIPT REVISIONS
        A-Wn F 18 Schalk 444/131 (Schalk Nachlass)
        Select bibliography: NKGII.2, 44, 134 (source DP-S)
       

A copy of PF1 annotated on the top right of the title page: 'Schalk [18]97'. The corrections – mainly in red ink, but some in lead pencil and blue pencil – are apparently by Johann Forstik and derive from APF3 rather than APF2. However, the pencil annotations on p. 187 are probably by Mahler. It is possible, but unlikely, that at some date this score may also have been consulted in the EWZG offices.

       
CPF1.2     PRINTED FULL SCORE WITH MANUSCRIPT REVISIONS
        US-Wc ML 31.H43e No.50 (Ex.coll. Bruno Walter)
        Select bibliography: NKGII.2, 44, 130 (source DP-W)
       

A pencil note on the foot of p. 1 records 'Die Korrekturen sind authentisch': these are non-autograph revisions which generally approximate to those in the study score (PS1).

       
PF1a     FIRST EDITION, SECOND ISSUE Vienna: [Erste Wiener Zeitungsgesellschaft]/Weinberger, [1898]
        Copies: GB-Lam 18878-2001 (Angelina Goetz Collection, bound copy, no wrappers)
       

Shortly after the publication 'In Commission' of PF1, Mahler contacted C.F. Peters in Leipzig in the hope the firm might publish his works, including the Second Symphony, a proposal that was wholly rejected on 29 April 1897 (EKGF nos 1–2). In the autumn of that year Guido Adler initiated the discussions that did eventually lead to the commercial publication of the first three symphonies. Having been already engraved and issued, the full score of the Second was not included in the scope of the resulting subsidy provided to the Erste Wiener Zeitungsgesellschaft by the Gesellschaft zur Förderung deutschen Wissenschaft, Kunst und Literatur in Böhmen for the publication of the symphonies. Nevertheless there must also have been early discussions about the score being included in the EWZG series, because on 13 January 1898 Mahler wrote to an unnamed recipient (probably Hermann Behn) in connection with the transfer of the plates (unpublished letter, sold at Sotheby's, in May 1989, lot 176):

...Wie verhalt sich mit den Platten der C-moll-Partitur? Ich war so keck, dieselben als meine Eigenthum zu bezeichnen. Eben werde ich von dem Verleger aufgefördert bei Röder die “Ausfolgung” der Platten zu veranlassen....

What's the situation with the plates of the score of the C minor? I was bold enough to designate them as my own property. I've just been asked by the publisher to arrange the delivery of the plates with Röder.

The copy of the full score in the Angelina Goetz Collection provides evidence that, together with the plates, the remaining stock of unsold copies or unbound sheets of the score were transferred from Leipzig to EWZG/Weinberger in Vienna, and 'Weinberger' labels pasted over the  the publisher's imprint:

 

A colour image of the Weinberger paste-over on the title page of a copy of the second issue of the full score of Mahler's Second Symphony

 

Fig. 1. GB-Lam 18878-2001 (Angelina Goetz Collection)

Title page paste-over

The date of the actual transfer of the publishing rights is not recorded, but it seems likely that it was not until after Mahler signed his publishing contract with EWZG in August 1898 and dated handbills announcing the availability of scores and other material for the first two symphonies, make it clear that by November 1898 Weinberger had taken over responsibility for the distribution of the two works.²

         
PF1b    

FIRST EDITION, SECOND ISSUE, SECOND IMPRESSION – Vienna: [Erste Wiener Zeitungsgesellschaft]/Josef Weinberger, [1898]

       

Title page: [See facsimile; brown text with brown decorative border:] SYMPHONIE / IN / C MOLL № 2 / von / Gustav Mahler / [left:] Partitur...Graphic: image showing double pricing: Mk. 36.- over Fl. 21.- netto / Orchester-Stimmen Graphic: image showing double pricing: Mk.45.- over Fl. 27.- netto // [right:] Clavierauszug à 4 ms. / arrangirt v. Bruno Walter Graphic: image showing double pricing: Mk.8.-Pf. over Fl. 4.80kr. netto. // Clavierauszug für 2 Claviere zu 4 Händen v. Hermann Behn Graphic: image showing double pricing: Mk. 6.-Pf. over Fl. 3.60kr. netto / (zur Ausführung sind 2 Exemplare erforderlich.) / Einzeln: Theil IV: Urlicht für Altsolo mit Clavierbegleitung Graphic: image showing double pricing: Mk. 1.-Pf. over Fl. -.80kr. netto / [rule] / 2083 / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements / JOSEPH WEINBERGER. / WIEN / Kohlmarkt 8 / [rule] / [left:] Leipzig / Querstrasse N 13 / [rule] // [right:] Paris / 40 Boulevard Haussmann / [rule] // Musikaliendruckerei v. Jos. Eberle & C Wien VII.

       

Wrapper: [see facsimile: other colours were used for wrappers: dark brown on light brown/cream (A-Wigmg N/II/116, N/II/118), dark brown on grey (A-Wigmg N/II/117); back wrapper is blank in all copies seen]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters etc; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

        Dimensions: 334 x 259 (r = 246)
        Watermark: none
       

Printer: Musikaliendruckerei v. Jos. Eberle & C Wien VII. [front wrapper, title page]; Stich der Musikaliendruckerei v. Jos. Eberle & C Wien, VII. [pp. 2, 3]

       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: vi.1903    Price: Mk 45 *n.

       

Edition number: none    Plate number: 1

       

Copies: A-Wn Mus MS25-4° (Pflichtexemplar, 151/1899); A-Wigmg N/II/12 (revisions from PS1 added in blue crayon), N/II/118, N/II/119 (formerly UE hire material; revisions from PS1 added in black ink; N/II/118: cream wrappers; N/II/119: no original wrappers), N/II/116 (cream wrappers; formerly UE Hire material: the second movement has been marked up for performance with a slightly reduced instrumentation), N/II/117 (grey wrappers; formerly UE Hire material); A-WphD-B Mus 1162 [not seen]; GB-Lpc 2-9200206; US-Cn VM 1001.M21s2 1897 [not seen];  US-Stu M1001 .M21 S92 1897 [not seen]

        Select bibliography: NKGII.2, 40–41 (source EA)
       

Presumably Weinberger only prepared the new impression when the existing stock was exhausted: the fact that this was within eighteen months of the firm's acquisition of that stock suggests that demand outstripped supply relatively quickly.

The second issue of the full score is basically a re-issue of the first (a Titelauflage), with only a very few, minor changes to the wrappers, title page, and  pp. 3–4, that have little or no musical significance. At what date Eberle revised the plates and Weinberger distributed the new issue is open to a little doubt. The accession date for the A-Wn copy (1899), the address given for Weinberger's Paris office on the title page and front wrapper, and the currency used for the Austrian prices (Gulden/Florins, which ceased to be legal tender in 1900) suggest an early date, but this is contradicted by the Hofmeister entry. However, it is probably significantly that the latter dates from the month of the work's high-profile performance at the Tonkünstlerfest des Allgemeinen Deutschen Musikvereins in Basel: the entry may simply be a 'launch' of the score to coincide with a highly prestigious (and, as it turned out, very successful) performance. It should also be noted that despite minimal origination costs, the new issue cost rather more (Mk 45) than the original Hofmeister edition (Mk 36).

There is no direct documentation of the size of the initial print run of PF1b, but the survival of copies with wrappers of different colour card, suggests more that more than one impresssion was issued; the UE Verlagsbuch implies that in 1910 when the remaining stock of PF2 was transferred to UE there were 153 unsold copies, suggesting an original print run of 200 copies.

         
PF1c     FIRST EDITION, THIRD ISSUE Vienna: Universal-Edition, [1910]
        Copies: GB-Lam 0090579 (Otto Klemperer Bequest; bound copy, no wrappers)
       

A copy of PF1b, with original prices deleted and a printed  “UNIVERSAL-EDITION” sticker  in a distinctive and unusual font  over the J. Weinberger imprint on title page:

 

A colour facsimile of the Universal Edition paste-over on the title page of a copy of the third isssue of the full score of Mahler's Second Symphony

 

Fig. 2. GB-Lam 0090579 (Otto Klemperer Bequest)

Title page paste-over

(For another example of this paste-over, see Symphony No. 4, PF1a)

 

Revisions, broadly in line with PF2 have been entered very neatly – perhaps by Universal Edition – and there are also a few annotations by Otto Klemperer. This copy was presented 'To Dr. Otto Klemperer on the occasion of his 80th birthday from the New Philharmonia Orchestra and Chorus with affection and gratitude 14 May 1965'.

       
      PRINTED FULL SCORES WITH AUTOGRAPH REVISIONS:
APF1       CH-Bu k r XXII 384 [1903]
        Select bibliography: NKGII.2, 43, 133 (source DP-B)
       

The score used by Mahler for the important (and very successful) performance at Basle in 1903, and subsequently presented by the composer to Hermann Suter. It bears the inscription:

Herrn Kapellmeister Suter in dankbaren Erinnerung an die treue and stets hilfsbereite collegiale Fürsorge in dem schönen Basler Konzert, die mir unvergesslich blieben wird. Juni 1903. Gustav Mahler

To Kapellmeister Suter, in grateful memory of the loyal and always helpful collegial solicitude at the fine Basel concert, which will remain for me unforgettable. June 1903. Gustav Mahler

The score has annotations and corrections in red ink, pencil, red pencil, and blue crayon, probably all dating from June 1903 and earlier and correspond to the initial revision layer in APF3. Most are by Mahler and J. V. von Wöss, though a few (pencil tempo markings above the string parts from p. 49 onwards) are by Suter.

         
APF2       A-Wst U.E.Deposit  Mahler/G.003 – [n.d.]
        Select bibliography: NKGII.2, 42–3, 132–3 (source MDP2)
       

This undated copy is bound, and lacks wrappers. The emendations were made in 1903–early 1906 and so predate (and prefigure) those made in PS1. Some revisions in red ink correspond closely to the red ink corrections in APF1; otherwise the majority of the revisions are in blue crayon. APF2 contains a few revisions that are not made in APF3, but it fails to incorporate late changes made in the latter.  The score was evidently used for some collation process – presumably in the preparation of PS1 or PF3 – as there are also signed annotations in the hand of J.V.von Wöss (e.g. p. 25). See also NAMR 5 (1979), 6. 

         
APF3      

A-Wst U.E.Deposit Mahler/G.002 –1907/1910

        Select bibliography: NKGII.2, 42, 132 (source MDP1; also facsimiles: front wrapper (vol. I, xvii); p. 56, upper staves only (vol. I, xix)); NAMR 5 (1979); RSGMWI, no. 32, pp. 63, 67 (with facsimile of p. 49 on p. 66)
       

Autograph inscription on front wrapper: [top LH corner, red ink:] Corrigiert und / Einzig Richtig befunden / Dezember 1907. / [red crayon:] September 1910 / Mahler // [top RH corner, black ink:] Gustav Mahler.

Autograph inscription on title page: [blue crayon:] V

On the basis of writing material, this important source contains at least seven layers of revision/correction (in provisional chronological sequence): light red ink, dark red ink, orange/brown crayon, black/grey ink,  pencil, blue crayon, red crayon. It was presumably this score that UE sent to Mahler in Toblach in July 1910 for the insertion of new revisions (HLGIIIF, 748).

This is the copy text used for NKG.

         
      PRINTED FULL SCORES WITH AUTOGRAPH DEDICATION
APF4       D-Mbs Mus.Ms. 23220 – [n.d.]
       

With an autograph dedication to Busoni: Hernn Busoni in freundschaftlicher / Ergebenheit / Gustav Mahler.  See GMBMBS, 126–7, with illustration on 68. This gift was probably connected with the performance of the work conducted by Mahler at Liege on 22 January 1899: Busoni played the Weber Konzertstück and Liszt's Second Piano Concerto in the second half of the concert, so probably heard the Symphony. This copy was subsequently owned by the conductor Hans Rosbaud, the teacher of Hans Moldenhauer.

         
      PRINTED FULL SCORE WITH MANUSCRIPT REVISIONS
CPF2       NL-DHnmi Mengleberg Stichting 435a
       

Select bibliography: GMWL, I.30-31 (transcription and English translations of a selection of Mengelberg's annotations)

       

Mengelberg's copy with annotations and timings in red, blue and brown crayon, pencil and ink.

         
APFpr     PROOFS WITH AUTOGRAPH REVISIONS  – Vienna: [Erste Wiener Zeitungsgesellschaft], 1908–9
        A-Wn L17.IGMG.3 Mus (previously A-Wigmg N/II/112 (on loan from Universal Edition))
        Title page: none present, and lacking wrappers
        Dimensions: 330 x  253 (r = 242); the plate dimensions: 300 x 235
       

Printer: Druckerei– und Verlags-Aktiengesellschaft / vorm. / R. v. Waldheim, Josef Eberle & Co.

       

Printing method: Printed on a proofing press directly from the plates; single-sided sheets pasted together and tipped onto stubs for binding

        Plate number: 1
        Select bibliography: NKGII.2, 44, 135 (source BA)
       

This copy was presumably run off from the plates (having been revised for the publication of the study score in 1906 they represented the most up-to-date state of the score) and sent to Mahler for revision and correction. There are two date stamps present:

[1v and on the versos of the original pulls of pp. 187 and 206]: rubber stamp, violet ink: Druckerei– und Verlags-Aktiengesellschaft / vorm. / R. v. Waldheim, Josef Eberle & Co. / 29. MAI 1908 / KORREKTURABZUG / Wien, VII. Seidengasse 3–9 / MUSIK-ABTEILUNG

[2r = p. 3] rubber stamp, violet ink, M[usik]korrektur-Abtlg. / 15.JUN.1909 / Druckerei- und Verlags-Aktiengesellschaft / vorm. R.v. Waldheim, Jos. Eberle & Co.

The significance of these stamps is not entirely certain, but there is a strong likelihood that Mahler worked on the score between these two dates, and with this in mind it is worth noting that on 8 December 1908 Mahler conducted the work in New York, a good opportunity for him to try out adjustments in preparation for a new edition. However, in the absence of other documentation, many questions remain unanswered. If it is unlikely that EWZG had initiated plans for a new edition of the score – Mahler's closest contact in the management of the firm, Josef Stritzko had been forced out of his post and died early in 1908 – it was probably the composer who was moving ahead with such plans. The costs – both direct and indirect – of preparing a new edition, perhaps coupled with the realisation that the composer might wish to follow up with revisions of some of his other works, may have been factors that encouraged the firm to sell its interests in, and the plates and stock of Mahler's music to UE in 1910. It was not until 1913 that the second edition of the full score finally appeared under the imprint of its new owner.

Mahler's corrections are in red crayon, red ink and (very occasionally) thin black ink; some pages, or queries are initialled in pencil ‘AH’ (a staff editor?) and other in-house annotations are in blue crayon. Because of significant additions to the musical texture a few plates had to be completely re-engraved (rather than merely corrected) in the second half of 1909, and are annotated 'Neu.' to indicate this: those for pp. 186–7, 190 and 208. In these cases, and in some instances where the revisions to the original plates were extensive, revised proofs are included in the copy.

     
PF2   SECOND EDITION – Vienna: Universal-Edition, 1913
       

Title page: [Black, within orange border (see facsimile):] ZWEITE / SYMPHONIE / C MOLL / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] / AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN.-LEIPZIG.

       

Wrapper: [Front wrapper: mauve border on green; text in black (see facsimile):] Universal-Edition: / 2933 / GUSTAV MAHLER  / II. SYMPHONIE / C MOLL / DO MINEUR C MINOR / PARTITUR [back wrapper, black on green card: advertisement for Mahler's music available from UE, dated IX.1912]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters (no upper note, see facsimile); 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 337 x  263 (r=248)

        Watermark: none
        Printer: none identified
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: no entry

       

Edition number: 2933    Plate number: U.E. 2933    Advert date: ix.1912

       

Print ordered: 18.ix.1912    Copies received: 12.iii.1913   Print run: 40

       

Copies: A-Wigmg N/II/14 (in a publisher's binding; no wrappers and pages slightly trimmed; paper and lithographic transfer less than ideal: possibly a copy of PF2a); A-Wigmg N/II/13 (unbound, front wrapper annotated in red crayon: 'Stichvorlage 1969'); GB-Lbl Hirsch M. 997 (bound copy, with wrappers; adverts dated IX.1912); NL-DHgm Mengelberg Stichtung (lacking last pages and back wrapper; possibly a copy of PF2a)

        Select bibliography: NKGII.2, 45, 136 (source DP-UE)
       

This edition was ordered on the same day as the second editions of the full scores of the First and Third Symphonies (prints runs also of forty copies). Although there seems to have been some delay in issuing this edition, it reflects the corrections made by Mahler in APFpr (which itself was based on the text of the 1906 study score). Page 3 retains the original note 'Copyright 1897 by Friedrich Hofmeister, Leipzig'. The  A-Wigmg copy has numerous proof-reading corrections in the hand of Erwin Stein, some simply reflecting a different house style, but others revealing a keen eye for detail.

         
PF2a     SECOND EDITION, SECOND IMPRESSION – Vienna: Universal Edition, [1920]
       

Title page: [Black, within orange border:] ZWEITE / SYMPHONIE / C MOLL / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] / AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN-LEIPZIG

       

Wrapper: [Front wrapper: mauve border on off-white card; text in black:]  ·Universal-Edition· / 2933 / GUSTAV MAHLER  / II. SYMPHONIE / C MOLL / DO MINEUR C MINOR / PARTITUR [back wrapper, black on off-white card: advertisement for Mahler's music available from UE, dated Nr. 12 x.1919]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters (lacks the upper note); 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 329 x  256 (r=248½) [bound copy, trimmed]

        Watermark: none
        Printer: none identified
       

Printing method: lithographic transfer from engraved plates

        Print ordered: 11.ix.1919    Copies received: 04.ii.1920   Print run: 97
        Copies: A-Wn MS18638-4º (Plichtexemplar, numbered 895/31 [recte '21'?]; bound copy)
       

This appears to be an unaltered reprint of the first impression, retaining the Hofmeister copyright statement on p. 3. According to the UE Verlagsbuch, no further impressions of the second edition of the full score were produced.

         
  PRINTED STUDY SCORES
PS1   FIRST EDITION – Vienna: [Erste Wiener Zeitungsgesellschaft]/Weinberger/Universal-Edition, 1906
       

Title page: [See facsimile, black, within orange border:] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER. / PARTITUR. / [in lower shield] / EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN / JOSEF WEINBERGER / ·WIEN·LEIPZIG·PARIS· / [below border, in orange:] Lith. v. Jos. Eberle & C Wien. / [black:] IN DIE „UNIVERSAL-EDITION” AUFGENOMMEN. / [left:] BUDAPEST / RÓZSAVÖLGYI ÉS TÁRSÁNÁL / [rule] / POZSONY / STAMPFEL KÁROLYNÁL // [centre:] FÜR DEUTSCHLAND BEI / FRIEDRICH HOFMEISTER / LEIPZIG. // [right:] SOLE AGENTS FOR / GREAT BRITAIN AND THE COLONIES / LONDON / E. ASCHERBERG & C  / 46, BERNERS STREET W.

       

Wrapper: [Front wrapper: violet shield design on green, text in black:] [in upper shield:] ·UNIVERSAL-EDITION· / [lower small shield:] 948 / [main shield:] GUSTAV / MAHLER / II. SYMPHONIE / UT MINEUR - C MOLL - C MINOR. / PARTITUR [rear wrapper = blank]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 230  x  167 (r = 160½)

        Watermark: none
        Printer: Lith. v. Jos. Eberle & C  Wien. [title page]
       

Printing method: photographically reduced lithographic transfer from engraved plates

       

Hofmeister: iv.1906

       

Edition number: 948    Plate number: 1

       

Print ordered: 15.iii.1906    Copies received: 23.iv.1906   Print run: 200

       

Copies: A-Was SCO M17; NL-DHgm Mengelberg Stichting (unannotated); GB-Lbl Hirsch M. 236 (with three handbills for performances: 07.iv.1916 Mengelberg; 04.ii.1925 Scherchen; 08.i.1928 Krauss. but no wrappers); GB-Lpc 2-9200233; D-B Mus Km 54; 54/2 [not seen].

        Select bibliography: NKGII.2, 44, 134 (source StP)
       

Renate Stark-Voit and Gilbert Kaplan are of the view that this new version incorporates revisions from the earlier (i.e. dating from before late 1905) layers of Mahler's annotations in APF2 and APF3, but it is possible that an undated letter from Mahler to J.V. von Wöss is also concerned with this editorial process The date (1897) of the partial translation in GMS2Fac, 93, seems implausible (Mahler began negotiations with Erste Wiener Zeitungsgesellschaft at the end of the year) and none of the corrections he mentions were incorporated in PF1b (1898), although they were effected in PS1, the music text of which represents a revised state of PF1 plates, photographically reduced. It was this text (PS1), not that of PF2 which appeared in study scores issued after 1910.

The upper note is retained on p. 2, but the programmatic headings in the fifth movement are deleted and the music text revised. The UE Verlagsbuch records two further impressions of the study score before Universal took over the rights in 1910 – March 1907³ and December 1909 (listed below). No copies of these impressions have been identified: the name and address give for the London agency on the title page may have been altered in one or both as in 1907 these changed to Ascherberg, Hopwood & Crew, at 16 Mortimer Street (JPVMP, 12).

Some months before they had been printed, UE had already advertised their marketing of the study scores and piano duet arrangements of the first four symphonies in the the Neue Zeitschrift für Musik, on 13 December 1905. Although there is evidence that some of the early Verlagsbuch records relating to the printing of study scores may be incomplete (see the Universal Edition page for further details) that appears not to be the case for the study score of the Second Symphony.

         
PS1a    

FIRST EDITION, SECOND IMPRESSION – Vienna: [Erste Wiener Zeitungsgesellschaft] / Weinberger / Universal Edition, [1907]

        Print ordered: 15.ii.1907    Copies received: 07.iii.1907   Print run: 200
        Copies: no copy of this impression has been identified
       

The name and address give for the London agency on the title page may have been altered in one or both as in 1907 these changed to Ascherberg, Hopwood & Crew, at 16 Mortimer Street (JPVMP, 12); the music text probably remained that of the first impression

         
PS1b    

FIRST EDITION, THIRD IMPRESSION – Vienna: [Erste Wiener Zeitungsgesellschaft] / Weinberger / Universal Edition, [1909]

        Print ordered: 30.xi.1909    Copies received: 31.xii.1909   Print run: 398
        Copies: no copy of this impression has been identified
       

The name and address give for the London agency on the title page may have been altered in one or both as in 1907 these changed to Ascherberg, Hopwood & Crew, at 16 Mortimer Street (JPVMP, 12).

         
PS1c     FIRST EDITION, SECOND ISSUE – Vienna: Universal Edition, [March 1911]
     

Title page: [See facsimile: black, within orange border:] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER / PARTITUR / (NUR FÜR DEN PRIVATGEBRAUCH) / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN.-LEIPZIG. / COPYRIGHT 1897 BY FRIEDRICH HOFMEISTER, LEIPZIG. / [below border, in orange:] Lith v. Jos. Eberle & C Wien

     

Wrapper: [See facsimile of the front board; rear board is blank]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 236 x 170 (r = 161) [bound copies]

       

Printing method: photographically reduced lithographic transfer from engraved plates

        Watermark: none
        Printer: Lith. v. Jos. Eberle & C Wien. [title page]
        Printing method: photographically reduced lithographic transfer from engraved plates
       

Hofmeister: no entry

       

Edition number: U.E. 948    Plate number: [pp.[2]–3; 5–20:] U.E. 948.2933, [pp. 21–209:] 1

       

Print ordered: 10.iii.1911    Copies received: 17.iii.1911   Print run: 100

       

Copies: GB-Lpc (ex coll. Alice Schwenk, Vienna); A-Wigmg N/II/19 (both copies have a publisher's binding (by Hans Scheibe, k u. k. Hofbuchbinder), so include no wrappers)

       

The new form of title-page reflects the transfer of this work from the Erste Wiener Zeitungs-Gesellschaft to Universal Edition in 1910. In this state the long-redundant upper note on p. 2 (see PF1) has been removed, and a new plate number (combining the edition number of the study score with the plate number of the second edition of the full score) added to most of the early pages. The original plate number is also visible on p. 3, but, conversely, is omitted some of the later pages from p. 21 onwards (e.g. pp. 60, 64, 73, 76, 78–9, 81, 91, 99, 119, 143, 157, 162–3, 177 and 195). All the instances of the new plate number were originated for the same model, which is clearly identifiable because of distinctive, irregular vertical alignment of the characters:

Fig. 3

Page 3 (detail), showing the original and new plate numbers

Despite the assignment of the new plate number, none of the revisions included in the second edition of the full score (PF2), except for the deletion of the p. 2 note, appear in this text. The only partial adoption of the new plate number (which may have been overprinted onto the sheets) suggests that the two copies described here are exemplars of the first impression of the second issue, and it is possible that this relatively small printing in March 1910 was of sheets to be sold in the publisher's binding (a Prachtausgabe).

The UE Verlagsbuch records nine further impressions of the study score between 1911 and 1935 (the last before the Anschluss) as listed below, a total of c.4700 copies.

         
PS1d    

FIRST EDITION, SECOND ISSUE, SECOND IMPRESSION – Vienna: Universal Edition, November 1911

     

Title page: [black text within  decorative border on off-white:] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER / PARTITUR / (NUR FÜR DEN PRIVATGEBRAUCH) / [in lower shield:] / AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN – LEIPZIG / COPYRIGHT 1897 BY FRIEDRICH HOFMEISTER LEIPZIG

     

Wrapper: [Front wrapper: violet shield design on green, text in black:] [in upper shield:] ·UNIVERSAL-EDITION· / [lower small shield:] 948 / [main shield:] GUSTAV / MAHLER / II. SYMPHONIE / C MOLL / PARTITUR /  [rear wrapper = blank]

       

Analysis: [1]=tp; [2]=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 246½ x 176 (r=162)

       

Printing method: photographically reduced lithographic transfer from engraved plates

        Watermark: none
        Printer: none identified
        Printing method: photographically reduced lithographic transfer from engraved plates
       

Edition number: 948    Plate number: 1 (pp. 3, 5,7, 9, 12, 14, 16, 19, 33, 35, 86 only)

        Print ordered: 05.x.1911    Copies received: 07.x.1911   Print run: 500
        Copies: GB-Ob Mus. 221 d.109 (bound copy, trimmed; acquisition date stamped on p. [2]: 2 Mar 1959)
       

By October 1911 Universal-Edition must have been aware that a number of orchestras were planning to perform the Symphony at memorial events for Mahler – at least thirteen in the 1911–12 concert season – and therefore anticipated heightened demand for what was clearly the most saleable published format of the work. This reprint was one of two separate batches – for the other order, see the the entry below.

The association of the copy described with this impression is conjectural and is perhaps undermined by the sporadic reversion to the original plate number, and the omission of the printer's mark on the title page. The redundant note is omitted from  p. [2], and the copy is also notable for its 'dirtiness': off-setting on facing pages, and ink smudges throughout. [Perhaps the copies labelled  PS1c/d should be ordered the other way round?]

       
PS1e    

FIRST EDITION, SECOND ISSUE, THIRD IMPRESSION – Vienna: Universal Edition, November 1911

        Print ordered: 05.x.1911    Copies received: 07.x.1911   Print run: 100
        Copies: no copy of this impression has been identified
       

This impression was perhaps intended to replenish stock of the Prachtausgabe.

         
PS1f     FIRST EDITION, SECOND ISSUE, FOURTH IMPRESSION – Vienna: Universal Edition, 1913
     

Title page: [See facsimile: black, within orange border:] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER / PARTITUR / (NUR FÜR DEN PRIVATGEBRAUCH) / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN.-LEIPZIG. / COPYRIGHT 1897 BY FRIEDRICH HOFMEISTER, LEIPZIG. / [below border, in orange:] Lith v. Jos. Eberle & C Wien

     

Wrapper: [See facsimile of the front wrapper; rear wrapper is blank]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 245 x 172 (r = 161)

       

Printing method: photographically reduced lithographic transfer from engraved plates

        Watermark: none
        Printer: Lith. v. Jos. Eberle & C Wien. [title page]
        Printing method: photographically reduced lithographic transfer from engraved plates
       

Edition number: U.E. 948    Plate number: [pp.[2]–3; 5–140; 142–7; 149–204; 206–9:] U.E. 948.2933

        Print ordered: 05.x.1911    Copies received: 21.iv.1913   Print run: 500
       

Copies: CND-Lu Mahler-Rosé Collection S3-MD27-810 (ex coll. Alfred Rosé, lacking its back wrapper); GB-Lpc 2-9200232 (ex. coll. Fritz Skorzeny (1900–1965), signed and dated 1919)

       

Although it was ordered on the same day as the third impression, copies were not delivered until nearly two years later. As in the first impression, the redundant upper note is not included on p. 2 and the The old plate number '1' is still visible on pp. 3, 77, 136 and appears alone on p. 205. The typesetting of the  the new plate number is identical to that used in the first impression (PS1c; see Fig. 3).

       
PS1g     FIRST EDITION, SECOND ISSUE, FIFTH IMPRESSION – Vienna: Universal Edition, 1920
     

Title page: [Black, within orange border on off-white:] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER / PARTITUR / (NUR FÜR DEN PRIVATGEBRAUCH) / [in lower shield:] / AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN – LEIPZIG / COPYRIGHT 1897 BY UNIVERSAL-EDITION

     

Wrapper: none present in the copy described

       

Analysis: [1]=tp; 2=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 235 x 170 (r=162) (bound copy)

       

Printing method: photographically reduced lithographic transfer from engraved plates

        Watermark: none
        Printer: none identified
        Printing method: photographically reduced lithographic transfer from engraved plates
       

Edition number:  none (no wrapper present in the copy described)  

Plate number: 1 [this appears on pp. 3, 4, 7, 9–12, 14, 19, 21, (22?), 23–29, 31–33, 35–75, 77–86, 88–94, 96–99, 101–108, 110–127, 129–139, 141, 142, 144–156, 158–159, 161, 165–175, 178–193, 195–199, 202–209]

        Print ordered: 03.iv.1919    Copies received: 17.vii.1920   Print run: 1002
        Copies: A-Wst M-71732 (bound copy; lacking wrappers)
       

The copy described lacks wrappers, so its association with this impression is conjectural. Some features seem to point to an earlier rather an a later date, most especially the use of the original Hofmeister-assigned plate number which was largely (though not consistently) supplanted by a UE plate number in the first and fourth impressions of this issue. At present it is not obvious why the reversion to '1' is so erratic.  However, the use of the two-colour version of the original UE title page design may also be evidence for an earlier rather than a later date.

This substantial impression was presumably ordered in anticipation of increased demand in the wake of the Amsterdam Mahler Festival in May 1920.

         
PSpr     FIRST EDITION, LATER ISSUE, PROOFS – Vienna: Universal Edition, [c.1920–27?]
       

Title page: [Gold on transparent sheets (used throughout):] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER / PARTITUR / (NUR FÜR DEN PRIVATGEBRAUCH) / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN.-LEIPZIG. / COPYRIGHT 1897 BY UNIVERSAL EDITION

       

Analysis: [1]=tp; [2]=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V

       

Dimensions: various sizes; maximum ca. 560 x 747 (r = 160)

        Printer: Weag [i.e. Waldheim-Eberle A.G.: bottom r.h. corner of p. 209]
       

Printing method: see below

       

Edition number: n/a    Plate number: 1

       

Copies: A-Wst U.E. Deposit Mahler/G. 035 (D)

       

The date and the precise role of these unusual sheets in the production process of a later issue of the study score are  unclear.

Each of the main single-sided sheets contains 8 pages of the score arranged in the correct imposition for the printing of an eight-page gathering, and is placed back to back with its partner and folded to make up such a gathering; the 26 main sheets thus make up the 13 gatherings of the volume, with p. 209 appearing as a  separate single small sheet (2 copies).

These proofs revert to pl. no. 1 throughout, and retain Copyright 1897 by Friedrich Hofmeister, Leipzig at the foot of p. 3. The title page uses the original UE design, but the note about performance rights is omitted from p. [2]. It is notable that the content and off-centre registration of the letterpress within the decorative border of the title page is identical to that of the copy described below in the entry for the sixth impression.

         
PS1h     FIRST EDITION, SECOND ISSUE, SIXTH IMPRESSION – Vienna: Universal Edition, 1922
     

Title page: [black text within  decorative border on off-white:] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER / PARTITUR / (NUR FÜR DEN PRIVATGEBRAUCH) / [in lower shield:] / AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN – LEIPZIG / COPYRIGHT 1897 BY UNIVERSAL-EDITION

     

Wrapper: [Dark green text and rectangular border on light green card:] MAHLER / II. SYMPHONIE / DO MINEUR C MOLL C MINOR / PARTITUR / [lyre logo] / UNIVERSAL EDITION / Nr. 948; [back wrapper missing]

       

Analysis: [1]=tp; [2]=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank.

       

Dimensions: 246½ x 176 (r=162)

       

Printing method: photographically reduced lithographic transfer from engraved plates

        Watermark: none
        Printer: none identified, but probably Waldheim-Eberle (see the notes below)
        Printing method: photographically reduced lithographic transfer from engraved plates
       

Edition number: n/a    Plate number: 1

        Print ordered: 14.xi.1921    Copies received: 19.i.1922   Print run: 999
        Copies: A-Wst M-52809
       

In the absence of the back wrapper the association of the copy described with the sixth impression of this issue is necessarily conjectural: it might be an exemplar of fifth or seventh impressions.

The content and off-centre registration of the letterpress within the decorative border of the title page is identical to that of the proofs described above, so it is worth noting that A-Wst M-52809 lacks the bottom r.h. corner of p. 209: in PSpr this is the location of the printer's mark: 'Weag.'

This substantial print run for this impression indicates that UE believed demand for the study score was still strong.

         
PS1i    

FIRST EDITION, SECOND ISSUE, SEVENTH IMPRESSION – Vienna: Universal Edition, 1927

        Print ordered: 29.ix.1926    Copies received: 10.ii.1927   Print run: 507
        Copies: none located
       

If demand was easing off, it was still healthy.

         
PS1j    

FIRST EDITION, SECOND ISSUE, EIGHTH IMPRESSION – Vienna: Universal Edition, 1930

       

Title page: [Black on white, within double rectangular border:] ZWEITE / SYMPHONIE / C MOLL / VON / GUSTAV MAHLER / PARTITUR / (Nur für den Privatgebrauch) / [in lower shield:] Aufführungsrecht vorbehalten Droits d'exécution réservés / UNIVERSAL-EDITION A.G. / WIEN Copyright 1897 by Universal-Edition LEIPZIG / [below border:] Printed in Austria 

       

Wrapper: [front wrapper: light green card with text and rectangular border in dark green:] MAHLER / II. SYMPHONIE / DO MINEUR C MOLL C MINOR / PARTITUR / [lyre logo] / UNIVERSAL-EDITION / Nr. 948; [back wrapper: advert Nr. 65 III. 1930.]

       

Analysis: [1]=tp; 2=Besetzung des Orchesters; 3–56=I; 57–79=II; 80–127=III; 128–133=IV; 134–209=V; [210]=blank

       

Dimensions: 247 x 181 (r = 161)

       

Printing method: photographically reduced lithographic transfer from engraved plates

        Watermark: none
       

Printer: Weag [i.e. Waldheim-Eberle A.G.; bottom RH corner of p. 209 (lacking in A-Wn Mus MS67477 because of damage to the final leaf)]

       

Edition number: 948    Plate number: 1    Advert date: III. 1930

        Print ordered: 26.ii.1930    Copies received: 24.iv.1930   Print run: 500
       

Copies: A-Wn Mus MS67477 (Anna Bahr-Mildenburg Bequest, 1951 with purple rubber stamps KAMMERSÄNGERIN PROFESSOR / ANNA BAHR-MILDENBURG (pp. 3 (x2), 67 and 163) and STIFTUNG (pp. 3, 67 and 163)); A-Wn MS17609-4° (Plichtexemplar: (K.)1931. Z:895/31; a bound copy, trimmed.)

       

This printing also reverts to an earlier state (cf. PSpr), with pl. no. '1' throughout, Copyright 1897 by Friedrich Hofmeister, Leipzig at the foot of p. 3 and the redundant upper note on p. 2. It appears that the copyright date on the title page was misprinted as '1997', and has been corrected to '1897' in black ink on both copies described above.

       
PS1k     FIRST EDITION, SECOND ISSUE, NINTH IMPRESSION – Vienna: Universal Edition, 1935
        Edition number: 948    Plate number: 1    Advert date: X 1935
        Print ordered: 07.x.1935    Copies received: 21.xi.1935   Print run: 497
       

Copies: US-Wc M1001.M21 no. 2.U5.

       

Description as for PS1j, except that the advert of the rear wrapper is numbered and dated Nr. 65 X.1935. According to the UE Verlagsbuch no more orders were placed until 1945 (for an exemplar of that post-war impression, see A-Wn MS88115-4°).

   
  PRINTED ORCHESTRAL PARTS
PO1  

FIRST EDITION, FIRST STATE – [Vienna: Erste Wiener Zeitungsgesellschaft/Weinberger, ?1898]

       

Make-up of set: 60 parts[?]: fl 1–4; ob 1–4 (3–4=ca); cl in B 1–2; cl 3 (=bcl) in B; cl in E 1–2; bsn 1–2; bsn (Contrafagott) 3–4; hn 1–6; tpt in F 1–6; trb 1–4; tuba; hp 1–2; timp 1–2; glock; tr; cym; bd; organ; vn 1; vn 2; vla; vcl; db; [Fernorchester:] Partitur; timp; bdrum; tr; tpt 5–6 (in der Ferne); hn 8–10 (in der Ferne).

       

Dimensions: [Vn I] 342 x 262 (r = 194)

        Watermark: none
        Printer: none identified (see the notes below)
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: not listed [see PO2 below]

       

Edition number: [none]  Plate number: [none]

       

Copies: A-Wigmg N/II/22–26; A-Wph III/93; A-Wst U.E. Deposit Mahler/G. 007(D) (fl 1 only in a set for a reduced orchestration of the second and third movements).

        Select bibliography: NKGII.2, [11], 40; [99], 129–30 (sources St-EA, St-WPh)
       

In the absence of the untraced (and probably lost) manuscript part set used in early performances ([CO]) a collation of a sample of variant readings in PO1, ACF1, ACF2 and PF2 suggests that [CO] rather than one of the scores was the copy text for the printed parts. Unfortunately revisions and corrections made in the working score (ACF2) were evidently not transferred to the manuscript part set, nor apparently was any systematic collation between PF2 and [POpr] undertaken (see the provisional stemma), so the first edition of the parts preserved many superseded readings – of interest to bibliographers, but calculated to annoy performers intensely.

When and by which printer this material was engraved has not yet been established. The front wrapper and the title page of the first edition of the full score (PF1, 1897) lists the full score, two-piano arrangement and the Urlicht vocal score with prices, but makes no reference to orchestral and chorus parts. However, the upper note on page 2 of that edition explains why that absence in itself cannot be taken as evidence relating to the printing history of the parts: Mahler had reserved the performance rights, and potential performers had to negotiate a fee. Presumably it was only once an agreement had been reached that Hofmeister or Mahler would make the material available on loan; what the performers might have received – manuscript or printed parts, or a mixture – is open to conjecture.  Renate Hilmar-Voit has suggested that the parts for strings, woodwind and on-stage brass were engraved in Leipzig by Röder (NKGII.2, [11], [99]): it is possible that Mengelberg was referring to this in one of the annotations in his full score of the work, where he records Mahler as having told him that Hermann Behn had paid the cost of printing parts. This is certainly possible, and would have made practical sense, especially in the case of string parts, for which multiple copies would be required (and which tend to need more frequent replacement); moreover the surviving early sets of printed parts are made up of a number of different states of the first edition (described here, and below) which would be consistent with this suggestion. However other issues and evidence may point in the opposite direction:

  • The cost of engraving and printing even this incomplete orchestral material would have been considerable, at least as much as the engraving of the score: Behn and Berkhan were clearly supportive patrons, but did their generosity stretch that far?

  • Mahler's comment to Mengelberg may have been a reference to the production of chorus material for the première, by lithographic transfer from writing.

  • When Mahler first raised the possibility of the Symphony being taken on by Eberle & Co. in a letter dated 13 January 1898 (see the notes to PF1a), he referred only to the plates of the score; a few days later, on 21 January 1898, he again requesting that Behn arrange for the plates of the score and of the two-piano arrangement of the Symphony to be sent to Josef Eberle & Co. in Vienna, but made no reference to plates of the parts.

  • On 24 January Guido Adler drafted a report to the Gesellschaft zur Förderung deutscher Wissenschaft, Kunst und Literatur in Böhmen in which he proposed that the Gesellschaft should subsidise the publication of the scores, parts and piano arrangements of the First and Third Symphonies, and the parts of the Second (KBM (218) and KBME (p. 216 (revised)):

Die Partitur und der 4händige Klavierauszug sind bisher nur von der zweiten Symphonie erschienen, und dies nur, weil zwei durch die Aufführung begeisterte Gönner für die Kosten aufkamen. Der weiteren Aufführung auch dieses Werkes ist es aber hinderlich, daß das Stimmenmaterial nicht gedruckt ist. Trotzt wiederholter Anfragen aus Belgien, Frankreich, Holland und auch aus Amerika konnte der Komponist das Material nicht beschaften.

Only the score and  the piano duet arrangement of the Second Symphony have been published so far, and these only because two patrons were so enthused by the performance that they paid the costs. But further performances of even this work are hampered by the fact the parts are not printed. Despite repeated enquiries from Belgium, France, Holland and even America, the composer has been unable to supply the parts. 

Adler's statement is unambiguous, and it is difficult to imagine that he would have knowingly misled his colleagues in the Gesellschaft.

The availability of an orchestral part set for sale (at 45 Marks) was advertised in the promotional handbill dated November 1898,  yet (as in the case of the first edition of the First Symphony parts presumably prepared at the same time) no publication details appear on PO1 parts (see facsimile). The status of this initial state of the Second Symphony parts, and the nature and extent of their availability remains unclear.

As no complete set of PO1 has yet been located, the make-up of the set is construed from that of the second edition, PO2. It is possible that the harp, organ, percussion and Fernorchester parts were not issued in this form, though the fact that there are more than three surviving sets make this unlikely: there would be little point in making available several partial sets.

The note about rights at the foot of p. 1 is in the form:

Droits d'éxecution, de traduction et d'execution publique réservés.

Auffürungsrecht vorbehalten.

This is omitted (presumably by an oversight) in hn 2  (A-Wph III/93).

         
PO1a    

FIRST EDITION, SECOND STATE – [Vienna: Erste Wiener Zeitungsgesellschaft/Weinberger, ?1898]

       

Make-up of set: vn 1 only

       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: not listed [see PO2 below]

       

Edition number: none  Plate number: none

       

Copies: A-Wigmg N/II/25, N/II/26; A-Wph III/93 (all the vln 1 parts in the set are in this state)

       

Bears a typeset note at the top of the first page acknowledging the subsidy that paid for the parts' publication: Mit unterstützung der Gesellschaft zur Förderung deutschen Wissenschaft, Kunst und Literatur in Böhmen. No other part or score in the standard set has been found bearing this note and the note was evidently overprinted on some copies of the vn 1 part. This suggests that the music text = PO1.

         
PO2   SECOND EDITION – [Vienna: Erste Wiener Zeitungsgesellschaft/Weinberger, ?1903]
       

Make-up of set: 60 parts: fl 1–4; ob 1–4; cl in B 1–2; cl in E; bcl; bsn 1–4; hn 1–6; tpt 1–6; trb 1–4; tuba; hp 1–2; timp 1–2; glock, tr, cym; bdrum, Ruthe; tr, Tam-tam (hoch); tr, Tam-tam (tief); organ; vn 1; hf 1–2; vn 2; vla; vcl; db; [Fernorchester:] Partitur; timp; bdrum, cym; tr; tpt 5–6 (in der Ferne); hn 7–10 (in der Ferne).

       

Dimensions: [Vn I] A-Wph III/93: 310 x 237 (r = 197); A-Wigmg N/II/21: 305 x 237

        Watermark: A-Wigmg N/II/21: none present
        Printer: none identified
        Printing method: lithographic transfer from engraved plates
        Hofmeister: vi.1903
        Plate number: 4
       

Copies: A-Wigmg N/II/21 (with pencil revisions reflecting changes in PS1); N/II/23–27; A-Wph III/93; A-Wst U.E. Deposit Mahler/G. 007(D) (partial set of wind and percussion parts only for a reduced orchestration of the second and third movements); A-Wst U.E. Deposit Mahler/G. 034(D) (incomplete; strings = PO3; a mixed set marked up as the Stichvorlage for the 1969 reprinting of the parts of SWIIa)

        Select bibliography: NKGII.2, 40, 129–30 (sources St-EA, St-WPh)
       

Although the orchestral parts had been advertised in November 1898, it was not until June 1903 that they were listed in Hofmeister’s Monatsbericht (at the same price of 45 Marks). Whether this tells us anything about the history of the parts’ availability is unclear.

The vn 1 parts have the typeset note as in PO1a; this is in line with Guido Adler’s original proposal that it should appear either on the cover of the orchestral parts or the violin part (KBME, 216).

The music text of all parts seems to have been revised to bring the set more in line with PF1, and the note about rights at the foot of p. 1 was also modified:

Aufführungsrecht vorbehalten. 

Droits d'execution réservés.

The UE Verlagsbuch implies that the remaining unsold stock was transferred to Universal Edition on 17 November 1910, along with that of the other Mahler publications Weinberger had previously distributed on behalf of Eberle.

         
APO     PRINTED ORCHESTRAL PARTS WITH AUTOGRAPH REVISIONS
        A-Wn L17.IGMG.4a-b/Horn3 (formerly A-Wigmg N/II/25, N/II/26)
        Select bibliography: NKGII.2, 45, 135 (source St1)
       

A mixed set including parts from PO1, PO1a and PO2. This set was Mahler's performing material at New York (1908) and Paris (1910) and some parts are signed by players:

Contrabass tuba

Fr Geib Dec. 8th 1908 / Carnegie Hall New York / Gustav Mahler conductor

Viola 1

H.B. New York 08

3 Horn

Paris 17 avril 1910 / Theâtre du Châtlet / J. Nassart 3e Cor / C. Coyaux 4e Cor

         
PO3   THIRD EDITION – [Vienna: Universal Edition, 1912/1917]
       

Make-up of set: 5 parts: vn 1, vn 2; vla; vcl; db

       

Dimensions: [Vn I] 310 x 237 (r = 197); A-Wigmg N/II/21: 305 x 237

        Watermark: A-Wigmg N/II/21: none present
        Printer: none identified
        Printing method: lithographic transfer from engraved plates
        Hofmeister: no entry
        Plate number: U.E. 2934a–e
       

Copies: A-Wigmg N/II/21 (vla, vcl), N/II/23; A-Wst U.E. Deposit Mahler/G. 007(D) (part of a set of parts for a reduced orchestration, with non-autograph annotations); A-Wst U.E. Deposit Mahler/G. 034(D) (part of a mixed set marked up as the Stichvorlage for the 1969 reprinting of the parts of SWIIa)

        Select bibliography: NKGII.2, 45, 136 (source St-UE (A-Wigmg N/II/21))
       

The UE Verlagsbuch implies that there was no systematic approach to the publication of a revised set of parts, and no printing of wind and percussion parts is recorded up to the Anschluß. Relatively large stocks of parts seem to have been handed over in 1910, and it was only in 1912 that new double bass parts were printed, followed by the other string parts in 1917.

The A-Wst and A-Wigmg N/II/21 parts contain the following note on the first page

Öffentliche Aufführung dieses Werkes ist nur gestattet, wenn der Veranstalter das Aufführungsrecht erworben und nachweilich vorher das gesamte Notenmaterial aus erster Hand bezogen hat. Das Ausliehen u. Abschreiben ist verboten.

         
CPO1     PRINTED ORCHESTRAL PARTS WITH MANUSCRIPT REVISIONS
        A-Wigmg N/II/23
       

A mixed set: strings = PO3; other parts = PO1a or PO2. Some of the revisions may be autograph.

         
  PRINTED CHORUS PARTS
PCh1   FIRST EDITION [Vienna: Erste Wiener Zeitungs-Gesellschaft/Weinberger, ?1898]
        Make-up of set: 4 parts (2 pp. each): Sop; Alt; Ten; Baß
        Dimensions: [Sop.] 344 x 258 (r = 219)
        Printing method: lithographic transfer from engraved plates
        Hofmeister: not listed
        Edition number: none Plate number: none
        Copies: A-Wigmg N/II/28
       

The plates were probably prepared from the material produced for the first performance in 1895; this must have been a set of manuscript copies, apparently derived from the original copying layer in ACF2, though it is likely that duplicates would have been printed (probably using a lithographic process). It appears that no collation with PF1a was undertaken before PCh1 was printed (see the provisional stemma).

No publishing details appear anywhere on this material, and no copy of the Chor Particelle in this state has been located. The text is given in German and French (the translation probably being included because of the successful performance of the work in Liège in early 1898).

The chorus parts were listed on the promotional handbill of November 1898 as being for sale at 0.60 Mk ‘per Quartett’.

         
PCh2   SECOND EDITION – [Vienna: Erste Wiener Zeitungs-Gesellschaft/Weinberger, ?1898 or 1903]
        Make-up of set: Chor-Particelle (8 pp.) and 4 parts (2 pp. each): Sop; Alt; Ten; Baß
        Dimensions: [Sop.] 342 x 262 (r = 218); [Chor-Particelle] 328 x 256 (r = 235)
        Printing method: lithographic transfer from engraved plates
        Hofmeister: not listed
        Text: Chorparticelle: German only; parts: German and French
        Edition number: none   Plate number: 4
       

Copies: A-Wigmg N/II/25, N/II/28; A-Wph III/93 (when this set was examined in the 1980s the parts were a mixture of PCh1 and PCh2, but in 2018 the parts were all photocopies of the second edition; the 6 original copies of the Chor-Particelle remain in the collection); A-Wst U.E. Deposit; A-Wn Mus MS67478-4º (2 unmarked copies of the Chor-Particelle with a copy of the piano duet arrangement of the symphony, from the estate of Anna Bahr-Mildenburg)

       

The music text has been revised to bring it more in line with that of PF1a. No publishing details appear anywhere on this material, but a plate number has been added. The unsold stock of parts and the chorus score was passed over to Universal Edition on 17 November 1910 (see the UE Verlagsbuch entries for the quantities involved).

         
      PRINTED CHORUS PARTS USED BY MAHLER
GMCh       A-Wn L17.IGMG.4a-b/Horn3 (formerly A-Wigmg N/II/25)
        Select bibliography: NKGII.2, 45, 135 (source St1)
       

1 copy of each part and the Chor-Particelle, all PCh2. Probably used for the 1910 Paris performance.

         
CPCh     PRINTED CHORUS PARTS WITH MANUSCRIPT REVISIONS
        A-Wigmg N/II/28
       

A mixed set, apparently containing material used by Mahler in New York (1908) and Paris (1910). Some of the revisions may be autograph.

         
PChup   UNPUBLISHED PRINTED CHORUS SCORE:[S.l., s.n., n.d.]
        Title: [p. 1:] The Great Summons. G. Mahler
        Make-up of set: Chorparticel only (8 pp.)
        Dimensions: 274 x 178½ (r = 210)
        Printing method: lithography from copyist's manuscript
        Hofmeister: not listed
        Plate number: none
        Copies: A-Wst U.E. Deposit (was kept in Third Symphony box when seen in 1984)
       

This is a chorus score with virtually no cues, and no accompaniment. The tenor part is notated in the treble clef; English text only. Both copies have corrections to the text in pencil at b. 623.

There are no publication details on these scores, and their date and the circumstances of their production are unclear, though they might have been prepared for the New York première conducted by Mahler in 1908. If that supposition is correct they were probably never offered for sale, or available for hire once the third edition was available (from 1910 onwards).

         
PCh3   THIRD EDITION – [Vienna, Universal-Edition, 1911/12]
        Title Symphonie No. 2. / Chor Particelle / Gustav Mahler
        Make-up of set: Chorparticel (8 pp.) and 4 parts (2 pp. each): Sop; Alt; Ten; Baß
        Dimensions: [Chorparticel] 332 x 258; [Sop.] 302 x 230
        Printing method: lithographic transfer from engraved plates
        Hofmeister: not listed
        Plate number: Chorparticel = U.E. 2936; parts = U.E. 2935a–d
       
 

Print ordered

Copies received

Print run

Total delivered (to 1933)

Soprano

05.ix.1911

07.ix.1911

300

9599

Alto

25.x.1911

28.x.1911

200

7999

Tenor

12.x.1911

21.x.1912

300

5802

Bass

25.x.1911

28.x.1911

200

6699

Chorparticel

01.v.1911

12.v.1911

100

694

        Copies: A-Wst U.E. Deposit (were kept in Third Symphony box when seen in 1984)
       

The text is given in German and English in the parts and Chorparticel. Some of the set have a  Russian translation of the text written in. The only performance of the work in Russia during Mahler's lifetime was given in 1906 under Oskar Fried, four years before this edition was issued, so the translation presumably post-dates Mahler's death.

The UE Verlagsbuch entries for the work reveal that copies of the Particell  were ordered in May 1911, and soprano, alto and bass parts in the autumn of that year, but the tenor parts were not printed until autumn 1912. Further impressions followed up to 1933 (over 30,000 chorus parts in total); no further orders were placed until 1953 (parts) and 1958 (Chorparticel).

         
  PRINTED ARRANGEMENTS
 

PRINTED VOCAL SCORES URLICHT

PV1   FIRST EDITION Leipzig: Hofmeister, [1895]
     

Title Page: [Black on white:] SYMPHONIE / in C-moll / N 2. / von / Gustav Mahler. / [divider] / Für zwei Claviere zu vier Händen gesetzt / von Hermann Behn. / Preis M 6.–n. / Eigenthum des Componisten. [divider] Aufführungsrecht vorbehalten. / Hieraus einzeln: Theil IV Urlicht. Für Pianoforte zu 2 Händen Preis M 1.–n. / [rule] / Commissionsverlag / von / FRIEDRICH HOFMEISTER, LEIPZIG. / Copyright 1896 by Friedrich Hofmeister. / Lith.Anst.v. C.G.Röder, Leipzig.

       

Wrapper: front wrapper text is identical to that of the tp: black on cream paper; back wrapper: blank

        Analysis: [i] =tp; [ii]=blank; 1–4=music; [5–6]=blank
        Dimensions: 337 x 268 (r = 214)
        Watermark: as in the case of the full score the first issue has a Röder watermark

CGR Graphic: star shape  4

        Printing method: lithographic transfer from engraved plates
        Hofmeister: xii.1895    Price: Mk 1
        Edition number: none    Plate number: 4
       

Copies: A-Wph III/98 (see the separate note below); US-Wc M1621.M (on both the wrapper and tp of this copy the '6' in the copyright date has been deleted, and the following overprinted in violet ink: Copyright 1895 by Friedrich Hofmeister, Leipzig; the copyright date assigned is in the Library of Congress record is 26.xii.1895).

       

Select bibliography:  a brief description of this edition is included in NKGII.2, 39, 129 (in the description of source KlA-B-EA); see also KGXIII/2b, 157; NKGXIII/2b, 159

       

This printing was issued 'Im Commissionsverlag', probably subsidised by Hermann Behn, who also prepared (and certainly paid for) the arrangement of the whole work for two pianos issued at about the same time. Because no autograph of the voice and piano version of the song has come to light, this very rare edition (and the variant listed below) is of great bibliographic and musicological importance as it is the only source containing the additional text, beneath bb. 3–13 of the accompaniment, from Clemens Brentano's Gockel, Hinkel, Gackeleia (see also fig. 2 below):

Stern und Blume!

Geist und Kleid!

Lieb' und Leid!

Zeit! Ewigkeit!

Many years later Anna Mahler told Henry-Louis de La Grange that Mahler delighted in reading this story to his eldest daughter, Maria (Putzi) (HLG3, 690). However the unsung quatrain also has links with other works by Brentano, including Des Knaben Wunderhorn (click here for further details) and in these the connection with the Christian hope of resurrection.

Although the (lost) autograph of the piano and voice version ([AV]) – which as Mahler stressed, was the original draft of the song, written before he knew he 'would orchestrate it and include it in the symphony' (GMUB, 24–25; GMUBE, 26) – was loaned to Herman Behn in late September/early October 1895, the printer's copy (CV), wholly in Behn's hand, that came to light in 2018, offers strong evidence that he was responsible for preparing the voice and piano arrangement, and had principally drawn on the orchestral version in the Symphony as his source text. Interestingly Brentano's text does not appear in Behn's manuscript: it was presumably added by Mahler either before the document was sent to Röder for engraving, or at the proof stage.

As in PT2p4 the printed piano part contains abbreviations giving detailed indications of the scoring; the key to the abbreviations is provided at the head of p. 1.

       
APV1     PRINTED VOCAL SCORE WITH AUTOGRAPH INSCRIPTION
        A-Wph Historisches Archiv
        Select bibliography: NKGII.2, 39, 129; see also KGXIII/2b, 157; NKGXIII/2b, 159; GMBAvM, 96
       

This copy is kept with a letter from Anna von Mildenburg, presenting the score to the Vienna Philharmonic Orchestra and recording that it had been a gift from Mahler to her. The inscription, to Anna Bahr-Mildenburg dated Hamburg 26. Mai 1896, is in the form of a poem in the top r.h. corner of the much-repaired title page:

Colour facsimile of the top right-hand corner of the title page of APV1, showing Mahler's presentation poem, signed and dated

Fig. 1

Mahler: dedicatory poem (1896)

Urlicht for voice and piano, first edition (APV1), title page (detail)

A-Wph Historisches Archiv

 

Verloren irrt' ich einst auf dunkeln Wegen
Mir leuchtete kein Stern – mir blieb kein Hoffen.
Ein Strahl des ewigen Lichts hat mich getroffen.
Nun wandl' ich ihm in sel'ge Fern' entgegen!
                      Hamburg 26 Mai 1896

                                      G.M.

Once I strayed, lost on a dark path
No star guided me – no hope was left.

A beam of eternal light fell upon me.

Now I travel towards it in the blessed distance!

Interestingly, in this copy the additional text from Clemens Brentano's Gockel, Hinkel, Gackeleia has been deleted in pencil, though by whom remains unclear:

Colour facsimile of page 1 of APV1, showing the unsung text in bb. 3-13 crossed through in pencil

Fig. 2

Urlicht for voice and piano, first edition (APV1), p. 1

A-Wph Historisches Archiv

[I should like to express my thanks to Dr. Silvia Kargl, Historisches Archiv, Wiener Philharmoniker for permission to reproduce these images; and to Dr Rupert Ridgewell and Dr Renate Stark-Voit for help in transcribing the dedication; the translation is my own responsibility.]

         
PV1a    

FIRST EDITION, SECOND ISSUE – Vienna: [Erste Wiener Zeitungs-Gesellschaft]/Weinberger, [1898–99]

        Copies: A-Wph III/93 (as seen in the 1980s; not seen in 2018)
       

This was a copy of PV1 with a paste-over covering the original publisher's imprint: Eigenthum des Verlegers für alle Länder / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements. / JOSEPH WEINBERGER. / WIEN, 1. Kohlmarkt 8 / [rule] // [left:] Leipzig / Querstrasse N 13. / [rule] //  [right:] Paris / 40 Boulevard Haussmann. Although the vocal score of Urlicht is not listed on their promotional handbill,  Weinberger (acting as publisher under licence) presumably took over Hofmeister's remaining stock of copies, and applied the paste-overs prior to selling them.

     
PV2  

SECOND EDITION – Vienna: [Erste Wiener Zeitungs-Gesellschaft]/Weinberger, [1898–99]

     

Title Page: [See facsimile; brown text with brown decorative border:] SYMPHONIE / IN / C MOLL  2 / von / Gustav Mahler / [left:] Partitur...Graphic: image showing double pricing: Mk. 36.- over Fl. 21.- netto / Orchester-Stimmen Graphic: image showing double pricing: Mk.45.- over Fl. 27.- netto // [right:] Clavierauszug à 4 ms. / arrangirt v. Bruno Walter Graphic: image showing double pricing: Mk.8.-Pf. over Fl. 4.80kr. netto. // Clavierauszug für 2 Claviere zu 4 Händen v. Hermann Behn Graphic: image showing double pricing: Mk. 6.-Pf. over Fl. 3.60kr. netto / (zur Ausführung sind 2 Exemplare erforderlich.) / Einzeln: Theil IV: Urlicht für Altsolo mit Clavierbegleitung Graphic: image showing double pricing: Mk. 1.-Pf. over Fl. -.80kr. netto / [rule] / 2083 / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements / JOSEPH WEINBERGER. / WIEN / Kohlmarkt 8 / [rule] / [left:] Leipzig / Querstrasse N 13 / [rule] // [right:] Paris / 40 Boulevard Haussmann / [rule] // Musikaliendruckerei v. Jos. Eberle & C Wien VII.

       

Wrapper: front wrapper text is identical to that of the tp: brown on yellow paper; back wrapper: blank

       

Analysis: [1]=tp; [2]=blank; 3–6=music; [7–8]=blank

       

Dimensions: 328 x 264 (r = 212)

       
Watermark: none
Printer: Musikaliendruckerei v. Jos. Eberle & C Wien VII. [title page, and p. 3]
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: no entry

       

Edition number: none    Plate number: 4

       

Copies: A-Wigmg N/II/25; A-Wph III/93 (lacks the original wrappers); F-Pgm HLG P MAHLER symph 2 (partie) en Mahler Documents, 3ème étage (not seen); NL-DHgm Mengelberg Stichting 434 (no annotations); GB-Lpc 2-9100317 (lacks wrappers)

       

The currency used for the Austrian prices – Gulden/Florins – which ceased to be legal tender in 1900 provides a terminus ante quem for the printing date.

Weinberger, acting as distributer on behalf of EWZG, took over Hofmeister's plates for the song: the Brentano text was removed and the whole repaginated. Otherwise the text is identical to PV1. The U.E. Verlagsbuch indicates that 94 copies were transferred to Universal Edition on 17 November 1910, following the sale of the rights to UE. It is possible that as an interim measure some of these copies were provided with a Universal-Edition paste-over to cover the original publisher's imprint on the title page and/or wrapper, but no copies in that state have been located.

     
PV3   THIRD EDITION Vienna: Universal Edition, 1911
     

Title Page: [Green on cream paper:] SYMPHONIE / IN / C MOLL  2 / von / Gustav Mahler / [left:] Partitur...U.E. Nr. 2933 / Orchester-Stimmen " " " 2934 / Chor-Stimmen " " " 2935  // [right:] Clavierauszug à 4 ms. / arrangirt v. Bruno Walter U.E. Nr. 949 / Chor-Particelle " " " 2936 // Clavierauszug für 2 Claviere zu 4 Händen v. Hermann Behn U.E. Nr. 2937 / (zur Ausführung sind 2 Exemplare erforderlich.) / Einzeln: Theil IV: Urlicht für Altsolo mit Clavierbegleitung U.E. Nr. 2938 / [rule] / 2083 / Aufführungsrecht vorbehalten. / UNIVERSAL-EDITION / Aktiengesellschaft / [left:] Wien. [centre: device] [right:] Leipzig. 

       

Wrapper: [front wrapper: black text in violet border on blue background:] [upper shield:] ·UNIVERSAL_EDITION· / [small shield:] 2938 / [main shield:] GUSTAV MAHLER / SYMPHONIE II / C MOLL / URLICHT / ALT-SOLO UND KLAVIER / [lower shield: blank]; [back wrapper = advert for Mahler's music available from UE: Y V. 1911.]

       

Analysis: [1]=tp; [2]=blank; 3–6=music; [7–8]=blank

       

Dimensions: 306 x 231 (r = 215) [trimmed copy]

        Watermark: none
        Printer: none identified
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: no entry

       

Edition number: 2938    Plate number: U.E. 1692.2938.    Adverts date: V. 1911.

       

Print ordered: 10.iii.1911    Copies received: 17.iii.1911   Print run: 100

       

Copies: A-Wn MS3856-4° [trimmed copy]

       

The title page is an adaptation of the Weinberger design. Although the original music text, as engraved by Röder, has been largely retained, much of the letterpress (such as the header and footer on p. 3) has been entirely replaced, thus removing the details of the instrumentation, and the list of abbreviations. The latter was in any case redundant, because all the indications of scoring have been removed from the piano part, which usefully decluttered the graphic image of the score. The fact that the advert on the rear wrapper post-dates the date copies were received appears to be anomolous.

       

 

PV4   FOURTH EDITION Vienna: Universal Edition, 1913
     

Title Page: [See facsimile; green text within green decorative border:] SYMPHONIE / IN / C MOLL  2 / von / Gustav Mahler / [left:] Partitur...U.E. Nr. 2933 / Orchester-Stimmen " " " 2934 / Chor-Stimmen " " " 2935 // [right:] Clavierauszug à 4 ms.| arrangirt v. Bruno Walter U.E. Nr. 949 / Chor-Particelle…. " " " 2936 // Clavierauszug für 2 Claviere zu 4 Händen v. Hermann Behn U.E. Nr. 2937 / (zur Ausführung sind 2 Exemplare erforderlich.) / Einzeln: Theil IV: Urlicht für Altsolo mit Clavierbegleitung U.E. Nr. 2938 / [rule] / 2083 / Aufführungsrecht vorbehalten. / UNIVERSAL-EDITION / Aktiengesellschaft / [left:] Wien. [centre: device] [right:] Leipzig.

       

Wrapper: [Front wrapper: black text in violet border on blue background:] [Upper shield:] UNIVERSAL-EDITION / № 2938 / [main shield:] GUSTAV MAHLER / SYMPHONIE II / C MOLL / URLICHT / ALT-SOLO UND KLAVIER / [back wrapper: see facsimile; dated Y. II. 1912]

        Analysis: [1]=tp; [2]=blank; 3–6=music
        Dimensions: 314 x 236 (r = 214)
        Watermark: none
        Printer: Druckerei- und Verlags-Aktiengesellschaft vorm. R.v. Waldheim - Jos. Eberle & Co. [p. 6]
        Printing method: lithographic transfer from engraved plates
        Hofmeister: no entry
        Edition number: 2938    Plate number: U.E. 1692. 2938   
       

Print ordered: 07.ii.1912    Copies received: 10.vi.1913   Print run: 200

       

Copies: GB-Lpc; GB-Lam 0117708

       

The title page is an adaptation of the Weinberger layout. The music text was printed from a revised state of the original plates: the heading of the song was revised, and all the abbreviated indications of instrumentation removed, as were the list of abbreviations, details of instrumentation and the footnote about use of mutes in the strings on p. 3. Rehearsal numbers and some tempo modifications have been inserted, and additional phrasing and dynamics have been added to the vocal line.

This was the last separate publication of the piano and voice version of the song as an extract from the Symphony. In 1900 the Erste Wiener Zeitungs-Gesellschaft/Weinberger had published the twelve Lieder aus Des Knaben Wunderhorn which included Urlicht as the final item: the original Hofmeister plates of the vocal score of the symphonic movement had been revised and used again in the single and three-volume collective editions (see Des Knaben Wunderhorn PVc1.1, PVc1.2) and it was as part of this collection of songs that Universal-Edition issued separate editions of Urlicht after 1913.

         
  PRINTED ARRANGEMENT FOR TWO PIANOS
PT2p41   FIRST EDITION – Leipzig: Hofmeister, 1896
     

Title Page: [see facsimile; black on off-white:] SYMPHONIE / in C-moll / N 2. / von / Gustav Mahler. / [divider] / Für zwei Claviere zu vier Händen gesetzt / von / HERMANN BEHN. / Preis M 6._n. / Eigenthum des Componisten. [divider] Aufführungsrecht vorbehalten. / Hieraus einzeln: Theil IV Urlicht. Für Pianoforte zu 2 Händen Preis M 1._n. / [rule] / Commissionsverlag / von / FRIEDRICH HOFMEISTER, LEIPZIG. / Copyright 1896 by Friedrich Hofmeister. / Lith.Anst.v. C.G.Röder, Leipzig.

       

Wrapper: front wrapper text is identical to that of the tp: black on brown card; back wrapper: blank

       

Analysis: [1]=tp; [2]=Besetzung des Werkes; 3–38=I; 39–57=II; 58–88=III; 89–93=IV; 94–153=V; [154]=blank

       

Dimensions: 332½ x 265 (r = 215)

       

Watermark: CGR graphic showing an outline image of a six-ponted star  4

        Printer: Lith.Anst.v. C.G.Röder, Leipzig. [title page]
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: xii.1895    Price: Mk 6 (2 copies were required for performance)

       

Edition number: none    Plate number: 3

       

Copies: A-Wigmg N/II/33; D-B Mus Km 57; D-Hs M B/13511 (dedication copy from Mahler to Hermann Behn);  F-Pgm; GB-Lbl h.3965.o (bound copy, red stamp: 30.Dec 80); GB-Lpc 2-9900022 (ex coll. Alex[ander] Rihm, Brooklyn, N.Y); US-NYp *MYD; US-Cn VM 215 .M21s2 (presentation copy from Behn to Adolf Weidig)

        Select bibliography:  NKGII.2, 39, 129: source KlA-B-EA; RSGMWI, no. 22, 57–58 (facsimile of p. 41 on the latter page)
       

This impressive arrangement was prepared by one of Mahler's Hamburg friends and admirers, Herman Behn. As in PV1 abbreviations are used throughout to indicate the orchestration, and a key to them (along with a short note on Behn's approach to the transcription) provided on p. [2]. This publication is historically significant as it reflects the text of the Symphony as it was in mid-1895, before the first complete performance, so transmits readings which were eventually superseded. The most striking of these is a countermelody in the second movement which Mahler removed before the publication of the full score, but which is nevertheless reproduced in at least two early commentaries on the work, presumably because the authors were using Behn's transcription (which was not revised in any of the later printings) as their source (click here for details).

According to J.B. Foerster (JBFDP, 407; for the text of the passage, see the notes on ACF1), Behn decided to prepare his two-piano transcription at the run-through of the first three movements in Hamburg in January 1895, but he seems to have done so without telling Mahler, who in September 1895 wrote to their mutual friend Arnold Berliner (GMB, 136–7; GMSL, 165–6):

Daß Behn einen 2 klavierigen Auszug meiner Symphonien gemacht hat, wird er Ihnen schon selbst geschrieben haben. Er ist ganz vorzüglich und soll sofort auf B. Kosten gedruckt werden. Nun klärt sich also sein plötzlich eingetretenes und so lange anhaltendes Stillschweigen aufs schönste auf.

Behn will already have written to you to tell you that he has done a two-piano reduction of my symphony. I find it first rate, and it is going to be published at once at B.'s expense. Now his sudden and long-lasting silence is most pleasantly explained.

It was probably in late August that Mahler was told of Behn's plan to publish the arrangement and that he and Wilhelm Berkhan were also willing to subsidise the work's first complete performance (in December 1895), and it may be these generous offers of patronage that is alluded to in an undated letter that Mahler wrote to his sister Justine c. 22/23 August (GMLJ, 503; GMLJE, 369):

Ich komme morgen Nachmittag circa 3 Uhr an.

Behn kommt mit – er hat mir eine große Überraschung bereitet, ich soll aber noch nichts davon sagen.

I arrive tomorrow afternoon around 3 o'clock.

Behn is coming with me – he had a big surprise for me; but I am not yet supposed to say anything about it.

A manuscript of Behn's arrangement (CT2p4) survives: he must have been working from AF2 for the last two movements (and seems to have annotated the score of the finale while doing so), but for the first three movements used ACF1 and AO (which he also annotated), and in the later stages (perhaps while the arrangement was at proof stage) must also have consulted ACF2 (not least to gain access to the final version of the opening of the scherzo. How, if Mahler was kept in the dark about the preparation of the arrangement, Behn gained access to these sources remains unclear.

It is not known exactly when  engraving got underway. In a letter to Behn dated 12 September 1895 (GMUBE2, 3–4), Mahler wrote:

I have just received proofs from Röder. I find that they leave nothing to be desired.. - Just imagine, this is my first day without an evening engagement. It is really too much....

 

[Postscript:]

I look forward eagerly to receiving the first proofs. Röder should not send too much at a time, but rather smaller instalments as they get ready.

Mahler was conducting Siegfried that evening so either he or the transcriber made an error over the date: if the statement that it was his first night off was correct,¹⁰ then the date must have been 9 September, although Mahler was also free on the 10th and 13th of the month (see BSGMOH, 300–21). Whichever of these dates it was, it is clear that C.G. Röder had not yet sent first proofs, and indeed, in a letter to Behn, dated 'mid-October' by the editor, Friedrich C. Heller, Mahler instructs Behn to 'Have the proofs sent to me, so that I can work on them for you' (GMUB, 24–5 GMUBE, 26–7). This implies that the main proof-reading process had even then not started, so the proofs Mahler received in early September may simply have been samples to indicate how the arrangement would appear on the printed page.¹¹

The subsequent proofing and printing process is not well documented, but there is evidence to suggest that publication in December 1895 was planned: a listing was included in the December 1895 issue of the Hofmeister Monatsbericht (see above), and the handbill for the first complete performance, on 13 December 1895, advertises the availability of both this arrangement and the vocal score of Urlicht. However, the ‘6’ in the date on the title page of the two-piano arrangement has clearly been modified (perhaps on the transfer sheet or the stone, rather than on the plate), although the copyright date is given as 1895 on p. 3, which may indicate that publication was delayed briefly, until early in the new year.

The Besetzung des Orchesters that appears on p. 2 of the full score is here replaced by the Besetzung des Werkes the function of which in part is to provide the abbreviations used in the arrangement to indicate scoring. At the foot of the page Behn provides a Bemerkung für den Claviervortrag des Werkes, in which he explicitly relates his approach as arranger to that of Franz Liszt (see facsimile).

The publication played a modest role in the work's early performance history: it was presumably used for the Danish première of the first four movements in Copenhagen on 23 November 1897, the Czech première of the first two movements in Brno on 20 November 1900 and probably (HLGIV, 731) at the semi-public performance in Paris on 15 April 1910.

       
APT2p41    

PRINTED ARRANGEMENT FOR TWO PIANOS WITH AUTOGRAPH INSCRIPTION

        Ex coll. Frau Carmen Weingartner-Studer (current location unknown, copy of the inscription at A-Wigmg).
       

The inscription reads Meinem Lieben, und hochverehrten Freunde / der „Gönner”, Könner und Kenner / Meister  Felix [Weingartner] in unentwegte Treue und / Dankbarkeit / Gustav Mahler / Hamburg Feber 1897

       
PT2p41a     FIRST EDITION, SECOND ISSUE – Vienna: [Erste Wiener Zeitungs-Gesellschaft]/Weinberger, [before 1900]
     

Title Page: [See facsimile; brown text with brown decorative border:] SYMPHONIE / IN / C MOLL № 2 / von / Gustav Mahler / [left:] Partitur...Graphic: image showing double pricing: Mk. 36.- over Fl. 21.- netto / Orchester-Stimmen Graphic: image showing double pricing: Mk.45.- over Fl. 27.- netto // [right:] Clavierauszug à 4 ms. / arrangirt v. Bruno Walter Graphic: image showing double pricing: Mk.8.-Pf. over Fl. 4.80kr. netto. // Clavierauszug für 2 Claviere zu 4 Händen v. Hermann Behn Graphic: image showing double pricing: Mk. 6.-Pf. over Fl. 3.60kr. netto / (zur Ausführung sind 2 Exemplare erforderlich.) / Einzeln: Theil IV: Urlicht für Altsolo mit Clavierbegleitung netto / [rule] / 2083 / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements / JOSEPH WEINBERGER. / WIEN / Kohlmarkt 8 / [rule] / [left:] Leipzig / Querstrasse N 13 / [rule] // [right:] Paris / 40 Boulevard Haussmann / [rule] / Musikaliendruckerei v. Jos. Eberle & C Wien VII.

       

Wrapper: none present in the copy described, but in the A-Wn copy of PT2p41b listed below, the front wrapper has the same text and border design as the title page, in brown on green card; the back wrapper is blank.

       

Analysis: [1]=tp; [2]=Besetzung des Werkes; 3–38=I; 39–57=II; 58–88=III; 89–93=IV; 94–153=V; [154]=blank

       

Dimensions: 327 x 264 (r = 214)

       

Printing method: lithographic transfer from engraved plates

       

Watermark: none

        Printer: Musikaliendruckerei v. Jos. Eberle & C Wien VII. [front wrapper, title page and p. 3]
       

Hofmeister: no entry

       

Edition number: none    Plate number: 3

       

Copies: A-Wn F21.Berg.198 Mus (bound copy, lacking wrappers; with annotations and amendments by Berg); see also PT2p41b

       

The currency used for the Austrian prices – Gulden/Florins – which ceased to be legal tender in 1900 provides a terminus ante quem for the publication date. This is an unaltered reissue of the first edition.

One of Berg's notes offers a reading of the work's subject matter:

Der Musik ist in dieser Symph. das Hohelied des Lebens erstanden, keine Verherrlichung der Christl. Auferstehungs idee, vielmehr ein Loblied auf die Wiederkehr der Seele, gelöstet u. vervollkommet.

In this Second Symphony the music is the song of life, no glorification of the Christ[ian] idea of Resurrection, rather a song of praise to the recurrence of the soul, dissolved & perfected.

       
PT2p41b     FIRST EDITION, THIRD ISSUE – Vienna: Universal-Edition, [1910]
       

Copies: A-Wn MS4168-4° (bound copy, trimmed; with wrappers); CDN-Lu Mahler-Rosé Collection S3-MD-812 (ex coll. Alfred Rosé; bound copy, with no wrappers)

       

This issue was made up of copies the second issue PT2p41a with UNIVERSAL-EDITION stickers pasted over the publisher's imprint:

Colour photograph of the sticker over the publisher's imprint on the A-Wn copy of this issue.

Fig. 3

These were presumably added to the remaining stock copies of the arrangement when it was acquired by UE, along with other EWZG/Weinberger Mahler publications, in 1910. The first entry for this publication in the UE Verlagsbuch refers to the transfer of 222 copies of unsold stock of the second issue, not a printing of the fourth (i.e. PT2p41c): the entry does not include details of a print order, only copies received, and similar entries were made on the same date for all the other Mahler publications that passed from EWZG into UE ownership. This suggests the stock was the remnant of a print run of 250–300 copies.

         
PT2p41c     FIRST EDITION, FOURTH ISSUE – Vienna: Universal-Edition, 1914
     

Title Page: [See facsimile. Black, within orange border:] ZWEITE SYMPHONIE / C MOLL / VON / GUSTAV MAHLER / CLAVIERAUSZUG FÜR ZWEI KLAVIERE / ZU VIER HÄNDEN / VON / HERMANN BEHN / [in shield:] / AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTIONS RÉSERVÉS. / “UNIVERSAL-EDITION / AKTIENGESELLSCHAFT / WIEN-LEIPZIG.

       

Wrapper: [Front: see facsimile. Light green paper with lilac decorative border, text in black:] [in top shield:] ·UNIVERSAL-EDITION· / [in second shield:]  2937 / [in main shield:] Gustav Mahler / II. Symphonie / C Moll / Do Mineur C Minor / 2 KLAVIERE ZU 4 HÄNDEN / 2 pianos à 4 ms / 2 PIANOS FOR 4 HANDS / [in bottom shield:]  H. Behn; [Rear: see facsimile]

       

Analysis: [1]=tp; [2]=Besetzung des Werkes; 3–38=I; 39–57=II; 58–88=III; 89–93=IV; 94–153=V; [154]=blank

       

Dimensions: 332½ x 265 (r = 215)

        Watermark: none
        Printer: Druckerei- und Verlags-Aktiengesellschaft vorm. R. v. Waldheim - Jos. Eberle & Co. [p. 153]
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: no entry

       

Edition number: 2937    Plate number: [p. 2:] U.E. 2933, 2937 [p. 3ff.:] U.E. 2937  Advert date: III.1914

        Print ordered: 03.x.1914    Copies received: 02.xii.1914   Print run: 199
       

Copies: A-Wst M-32094; D-B Mus Km 57/1 (not seen); D-Budka (not seen);  F-Pgm (not seen); GB-Lpc 2-9900023

       

This was an unaltered re-issue of the music text of the first edition. There is strong evidence that the first entry in the UE Verlagsbuch refers to the transfer of unsold ex-Eberle/Weinberger copies of the first edition, not a printing of the second: the entry does not include details of a print order, only copies received, and similar entries were made on the same date for all the other Eberle Mahler publications that passed into UE ownership. Printed from the original plates with no revisions.

       
PT2p41d     FIRST EDITION, FOURTH ISSUE, SECOND IMPRESSION – Vienna: Universal Edition, 1922
        Print ordered: 25.xi.1921    Copies received: 23.iii.1922   Print run: 296
       

No copy of this impression has been identified; the UE Verlagsbuch records no further orders.

         
  PRINTED ARRANGEMENTS FOR PIANO DUET
PTp41   FIRST EDITION – Vienna: [Erste Wiener Zeitungs-Gesellschaft]/Weinberger, 1899
     

Title Page: [See facsimile. Brown text with brown decorative border:] SYMPHONIE / IN / C MOLL № 2 / von / Gustav Mahler / [left:] Partitur...image showing double pricing: Mk. 36.- over Fl. 21.- netto / Orchester-Stimmen Graphic: image showing double pricing: Mk.45.- over Fl. 27.- netto // [right:] Clavierauszug à 4 ms. / arrangirt v. Bruno Walter Graphic: image showing double pricing: Mk.8.-Pf. over Fl. 4.80kr. netto. // Clavierauszug für 2 Claviere zu 4 Händen v. Hermann Behn Graphic: image showing double pricing: Mk. 6.-Pf. over Fl. 3.60Kr netto / (zur Ausführung sind 2 Exemplare erforderlich.) / Einzeln: Theil IV: Urlicht für Altsolo mit Clavierbegleitung Graphic: image showing double pricing: Mk. 1.-Pf. over Fl. -.80kr. netto / [rule] / 2083 / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements / JOSEPH WEINBERGER. / WIEN / Kohlmarkt 8 / [rule] / [left:] Leipzig / Querstrasse N 13 / [rule] // [right:] Paris / 40 Boulevard Haussmann / [rule] // Musikaliendruckerei v. Jos. Eberle & C Wien VII.

       

Wrapper: [front: brown text on mottled light green paper:] SYMPHONIE / IN / C MOLL № 2 / von / Gustav Mahler / [left:] Partitur...image showing double pricing: Mk. 36.- over Fl. 21.- netto / Orchester-Stimmen Graphic: image showing double pricing: Mk.45.- over Fl. 27.- netto // [right:] Clavierauszug à 4 ms. / arrangirt v. Bruno Walter Graphic: image showing double pricing: Mk.8.-Pf. over Fl. 4.80kr. netto. // Clavierauszug für 2 Claviere zu 4 Händen v. Hermann Behn Graphic: image showing double pricing: Mk. 6.-Pf. over Fl. 3.60Kr netto / (zur Ausführung sind 2 Exemplare erforderlich.) / Einzeln: Theil IV: Urlicht für Altsolo mit Clavierbegleitung Graphic: image showing double pricing: Mk. 1.-Pf. over Fl. -.80kr. netto / [rule] / 2083 / Mit Unterstüzung der Gesellschaft zur Föderung / deutscher Wissenschaft, Kunst und Literature / in Böhmen. / [short rule] / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements / JOSEF WEINBERGER· / WIEN / Kohlmarkt 8 / [rule] / [left:] Leipzig / Querstrasse N 13 / [rule] // [right:] Paris / 40 Boulevard Haussmann. / [rule] // Musikaliendruckerei v. Jos. Eberle & C Wien VII.; [back wrapper: none located]

       

Analysis: [1]= tp; 2–27=I; 28–41=II; 42–61=III; 62–65=IV; 66–95=V; [96]=blank

       

Dimensions: 325 x 255 (r = 193½)

        Watermark: none
        Printer: Stich der Musikaliendruckerei v. Jos. Eberle & C Wien VII. [p. 2]
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: i.1899    Price: Mk 8 n.

       

Edition number: none    Plate number: 5

       

Copies: A-Wn Mus MS67478-4º (=Anna Bahr-Mildenburg's bound copy (no wrappers); with two copies of the Chorparticell); A-Wn F 21 Berg 198 (bound copy, lacking wrappers; bound with a copy of Symphony No. 4, PTp41) D-B Mus Km 56 (not seen); GB-Lbl h.3965.g; GB-Lpc 2-9200700 (lacks wrapper); US-CSu MLM 628 (with autograph inscription; not seen)

        Select bibliography: NKGII.2, 42, 131 (source KlA-W-EA)
       

The manuscript for this arrangement survives – CTp4. Preliminary inspection suggests that Walter may have relied quite heavily on the Behn transcription (PT2p4) rather than PF1. The printed edition follows Walter's manuscript and seems not to have been collated with the printed full score.

       
APTp41    

PRINTED ARRANGEMENT FOR PIANO DUET WITH AUTOGRAPH INSCRIPTION

        CDN-Lu Mahler-Rosé Collection S3-MD-811 (ex coll. Alfred Rosé)
       

The inscription on front wrapper reads Meinem lieben Freunde Arnold / Dezember 1890 [sic] / Gustav Mahler. The copy contains no annotations.

         
PTp41a    

FIRST EDITION, SECOND ISSUE – Vienna: [Erste Wiener Zeitungs-Gesellschaft] / Weinberger / Universal-Edition, 1906

        Hofmeister: i.1906    Price: Mk 7,50
        Copies: A-Wst M. 49355 (ex coll. Maria [...], received by her on 9 August 1917); US-NYp *MYD
       

Copies of PTp41 with a printed UNIVERSAL-EDITION label pasted over the publisher's imprint. There is evidence that the early UE Verlagsbuch records may be incomplete (see the Universal Edition page for further details), and no printing of the arrangement is listed there until November 1906.  It seems likely that these paste-overs  were added to  unsold copies of the first issue when the arrangement was 'In die Universal-Edition aufgenommen'  at the start of 1906, although other scenarios are possible. Some months before their new impressions had been printed, UE had already advertised their marketing of the piano duet arrangements of the first four symphonies in the the Neue Zeitschrift für Musik, on 13 December 1905.

The sale price (in Marks) of the arrangement was 50 Pfennig less than the first issue, but the reduction is not indicated on the copies described.

         
PTp41b    

FIRST EDITION, SECOND ISSUE, SECOND IMPRESSION – Vienna: [Erste Wiener Zeitungs-Gesellschaft] / Weinberger / Universal-Edition, [1906]

     

Title Page: [See facsimile; black, within orange border:] ZWEITE / SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER. / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / BRUNO WALTER. / [in lower shield:] EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN / JOSEF WEINBERGER / ·WIEN·LEIPZIG·PARIS. / [below border, in orange:] Lith.v.Jos. Eberle & C Wien. / [black:] IN DIE „UNIVERSAL-EDITION” AUFGENOMMEN. / [left:] BUDAPEST / RÓZSAVÖLGYI ÉS TÁRSÁNÁL // [rule] / POZSONY / STAMPFEL KÁROLYNÁL // [centre:] FÜR DEUTSCHLAND BEI / FRIEDRICH HOFMEISTER / LEIPZIG. // [right:] SOLE AGENTS FOR / GREAT BRITAIN AND THE COLONIES / LONDON / E. ASCHERBERG & C / 46, BERNERS STREET W.

       

Wrapper:  [see facsimiles of the front and back wrappers]

       

Analysis: [1]=tp; 2–27=I; 28–41=II; 42–61=III; 62–65=IV; 66–95=V; [96]=blank

       

Dimensions: 325 x 255 (r = 193½)

        Watermark: none
        Printer: Stich und Druck von Jos. Eberle & C Wien, VII. Seidengasse 3–9. [p. 2]
       

Printing method: lithographic transfer from engraved plates

       

Edition number: 949   Plate number: 5

       

Print ordered: 09.xi.1906    Copies received: 10.xi.1906   Print run: 155

       

Copies: D-B Mus Km 56/1 [not seen]; GB-Lpc 2-9600135

       

The dating of these copies is conjectural, and it is not impossible that the copies supplied in November 1906 were yet more copies of PTp41a (see the Universal Edition page for further details). However, these copies'  retention of the original plate number suggests an earlier, rather than a later date, as do the relatively early edition numbers in the advert on the back wrapper.

         
PTp41c    

FIRST EDITION, SECOND ISSUE, THIRD IMPRESSION – Vienna: [Erste Wiener Zeitungs-Gesellschaft] / Weinberger / Universal-Edition, [1909]

        Print ordered: 27.xii.1909    Copies received: 31.xii.1909   Print run: 193
       

No copies of this impression have been identified: the name and address give for the London agency on the title page may have been altered as in 1907 these changed to Ascherberg, Hopwood & Crew, at 16 Mortimer Street (JPVMP, 12). According to the UE Verlagsbuch this was the last printing before UE took over the rights from the Erste Wiener Zeitungs-Gesellschaft.

         
PTp42     SECOND EDITION – Vienna: Universal-Edition, 1911
     

Title Page: [Black, within orange border:] ZWEITE SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / BRUNO WALTER. / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS DÉXÉCUTION RÉSERVÉS / “UNIVERSAL-EDITION” / AKTIENGESELLSCHFT / WIEN.-LEIPZIG.

       

Wrappers: [Front: light green within green grey with lilac decorative border:] ·UNIVERSAL-EDITION· / № 949 / GUSTAV MAHLER / II SYMPHONIE / DO MINEUR C MOLL C MINOR / KLAVIER ZU 4 HÄNDEN / POUR PIANO à 4 M/S PIANO DUET / [In bottom shield] BRUNO WALTER [back wrapper: adverts dated Y. ix.1911]

       

Analysis: [1]=tp; [2]–27=I; 28–41=II; 42–61=III; 62–65=IV; 66–95=V; [96]=blank

       

Dimensions: 302½ x 227 (r = 195½)

       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: no entry

       

Edition number: 949   Plate number: 949    Advert date: ix. 1911

       

Print ordered: 21.ix.1911   Copies received: 06.x.1911   Print run: 500

       

Copies: US-Wc M209.M22.2

       

A welcome example of a copy that can be unequivocally associated with an entry in the UE Verlagsbuch, the first after 1909. This exemplar also confirms that Universal Edition advert dates are a potentially useful method of dating copies. In this issue the plate number has been changed and some revisions incorporated (e.g. descriptive titles in movement V removed) but many passages remain unaltered (e.g. movement I, bb. 384–7).

         
PTp42a     SECOND EDITION, SECOND IMPRESSION – Vienna: Universal-Edition, 1918
        Print ordered: 08.x.1917    Copies received: 22.i.1918   Print run: 497
       

Copies: no copies of this impression have been identified

         
PTp42b     SECOND EDITION, THIRD IMPRESSION – Vienna: Universal-Edition, 1920
     

Title Page: [Black, within orange border:] ZWEITE SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER. / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / BRUNO WALTER. / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS DÉXÉCUTION RÉSERVÉS / “UNIVERSAL-EDITION” / AKTIENGESELLSCHFT / WIEN.-LEIPZIG.

       

Wrappers: [Front: light green within lilac decorative border:] ·UNIVERSAL-EDITION· / 949 / GUSTAV / MAHLER / II. SYMPHONIE / DO MINEUR C MOLL C MINOR / KLAVIER ZU 4 HÄNDEN / POUR PIANO à 4 MS. PIANO DUET / [In bottom shield] BRUNO WALTER [back wrapper: adverts dated Nr. 12 XII. 1919]

       

Analysis: [1]=tp; 2–27=I; 28–41=II; 42–61=III; 62–65=IV; 66–95=V; [96]=blank

       

Dimensions: 308 x 234 (r = 222)

        Watermark: none
        Printer: none identified
       

Printing method: lithographic transfer from engraved plates

       

Edition number: 949   Plate number: U.E. 949    Advert date: XII. 1919.

       

Print ordered: 13.xi.1919    Copies received: 19.i.1920   Print run: 993

       

Copies: GB-Lpc

       

This impression was presumably ordered in anticipation of increased demand because of the Amsterdam Mahler Festival in May 1920.

         
PTp42c     SECOND EDITION, FOURTH IMPRESSION – Vienna: Universal-Edition, 1922
     

Title Page: [Black, within orange border:] ZWEITE SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER. / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / BRUNO WALTER. / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS DÉXÉCUTION RÉSERVÉS / “UNIVERSAL-EDITION” / AKTIENGESELLSCHFT / WIEN - LEIPZIG

       

Wrappers: [Front: light green within lilac decorative border:] ·UNIVERSAL-EDITION· / 949 / GUSTAV / MAHLER / II. SYMPHONIE / DO MINEUR C MOLL C MINOR / POUR PIANO à 4 MS. / [In bottom shield] BRUNO WALTER; [back wrapper: adverts dated Nr. 24 XII. 1921]

       

Analysis: [1]=tp; 2–27=I; 28–41=II; 42–61=III; 62–65=IV; 66–95=V; [96]=blank

       

Dimensions: 305 x 232 (r = 223)

        Watermark: none
        Printer: none identified
       

Printing method: lithographic transfer from engraved plates

       

Edition number: 949   Plate number: U.E. 949.    Advert date: XII. 1921

        Print ordered: 25.xi.1921    Copies received: 07.i.1922   Print run: 1005
       

Copies: A-Wn MS7136-4º (Pflichtexemplar, dated 1922; bound copy); GB-Lpc 2-20181128b (with date on tp: Wien, 14 Mai 1923; dealer's stamp: Hans Reidel / Musikalienhandlung / Berlin)

       

 

PTp42d     SECOND EDITION, FIFTH IMPRESSION – Vienna: Universal-Edition, 1926
     

Title Page: [Old UE design but border and text in black on cream] ZWEITE SYMPHONIE / IN C MOLL / VON / GUSTAV MAHLER. / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / BRUNO WALTER / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS DÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHFT / WIEN - LEIPZIG

       

Wrappers: [Front: dark green within dark green rectangular border, on green card:] GUSTAV MAHLER / II. SYMPHONIE / C MOLL / [l.h.:] DO MINEUR [r.h.:] C MINOR / PIANO À 4 MAINS / (BRUNO WALTER) / [Lyre Logo] /  UNIVERSAL-EDITION / Nr. 949; [back wrapper: none present in the copy described]

       

Analysis: [1]=tp; 2–27=I; 28–41=II; 42–61=III; 62–65=IV; 66–95=V; [96]=blank

       

Dimensions: 306 x 234 (r = 223)

        Watermark: UNIVERSAL EDITION [runs horizontally at the foot of most pages]
        Printer: none identified
       

Printing method: lithographic transfer from engraved plates

        Print ordered: 08.v.1926    Copies received: 31.x.1926   Print run: 503
       

Copies: GB-Lpc 2-9600136

       

In the absence of the back wrapper in the copy examined, its association with this impression cannot be directly confirmed, but since copies of the fourth and fifth impression have been identified (see PTp42b, PTp42c) that association can be inferred with some certainty. The earlier impressions retain the original two-colour UE title-page design and decorative front cover design; this copy uses a monochrome version of the title-page design, with the later (post 1920) front wrapper design.

The UE Verlagsbuch records no further orders.

   
  PRINTED ARRANGEMENT FOR EIGHT HANDS
PT2p8   FIRST EDITION  – Vienna: Universal-Edition, 1914
     

Title Page: [Black, within orange border:] ZWEITE / SYMPHONIE / C MOLL / VON / GUSTAV MAHLER / KLAVIERAUSZUG FÜR 2 KLAVIERE ZU 8 HÄNDEN / ARRANGIERT / VON / HEINRICH VON BOCKLET / [scroll] / [lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN-LEIPZIG / COPYRIGHT 1914 BY UNIVERSAL-EDITION

       

Wrappers: [Front; black text within standard violet border on green:] [upper shield:] ·UNIVERSAL-EDITION· / [next shield:] № 3638 [vol. II: 3638a] / [main shield:] GUSTAV MAHLER / II. SYMPHONIE / DO MINEUR C MOLL C MINOR / 2 KLAVIERE ZU 8 HÄNDEN / 2 PIANOS À 8 MAINS 2 PIANOS FOR 8 HANDS / PIANO I [II] / [bottom shield:] H. VON BOCKLET

       

Analysis:

Vol I: [1]=tp; 2–33=I; 34–47=II; 48–71=III; 72–75=IV; 76–109=V; [110]=blank

Vol II: [1]=tp; 2–25=I; 26–37=II; 38–55=III; 56–59=IV; 60–91=V; [92]=blank

       

Dimensions: 305½ x 234 (r = 172 (vol. 1)/185½ (vol. 2))

        Watermark: none
        Printer: none indentified
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: vi.1914    Price: M 12.

       

Edition number: 3638/3638a   Plate number: U.E. 3638/U.E. 3638 Advert date: v.1914

       

Print ordered: 09.v.1914   Copies received: 07.xi.1914   Print run: 201

       

Copies: A-Wn MS4672-4º; F-Pgm (vol. I only, to which the front wrapper (only) for vol. II has been erroneously attached); US-Wc M216.M2B5 (copies date stamped 6.vii.1914); US-CIp M6.495 fM214sy2 v.01; M6.495 fM214sy2 v.02 [not seen]

       

According to Natalie Bauer-Lechner this arrangement was completed at least fifteen years before it was published, and was first played to Mahler on the morning of 12 November 1899 (NBL, 132; NBLE, 141); the brief report in the Neue frei Presse (22 December 1899, 7), names the pianists as Richard Epstein, J. Friedberger, Heinrich Schenker and Max Violin. Earlier in the year, on 29 August, it was presumably through this arrangement that Alma Schindler first heard the music of Mahler:

Vormittags ein Brief von Helene Brückner....Später Herr Dr. Egger, Frau Dr Magg, Frau Dr Sternlich und Paul Magg. Letzterer ist zu komisch. Sie alle kamen her, um die Mahler-Symphonie zu proben, die sie 8händig spielen. Es klang entsetzlich, ein Potpourri von Wagneropern.

In the morning a letter from Helene Brückner.... Later on Herr Dr Egger, Frau Dr Magg, Frau Dr. Sternlich and Paul Magg. The latter is so funny. They all came here to run through the Mahler Symphony, which they play [in an arrangement for] eight hands. It sounded horrible, a potpourri of Wagner operas.

Bocklet taught music at the k.k. Lehrer- und Lehrerinnenbildungschule in Vienna 1878–87 and thereafter was active as a private teacher of piano ensemble playing (i.e. 8 hands at two pianos) (RM11, 191). This arrangement has never been reprinted.

   
 

PRINTED ARRANGEMENTS FOR PIANO, TWO HANDS

   

SECOND MOVEMENT (excerpts); FOURTH MOVEMENT, FIFTH MOVEMENT (excerpt), arr. Ernst Rudolf

         

PCor1

 

FIRST EDITION, volume I – Vienna: Universal-Edition, 1926

       

Title Page: as for PCor1a but lacking Made in Austria below the border

       

Wrappers: [front:] as for PCor1a ; [rear:] advertisement as for PCor1a, but with date code I/26

       

Analysis:

 

Page

Content/Title

Bars

 

[1]

vol. 1 title page

 

 

2–5

I. Symphonie / aus dem 2. Satz

1–67; 133–170

 

6–7

I. Symphonie / Trio / II. Satz

175–218

 

8–12

I. Symphonie / Canon und Volksweise / III. Satz

1–109+ 3 bars ending in G major

 

13–15

II. Symphonie / aus dem 2. Satz

1–38+2 bars; 245–299

 

16–18

II. Symphonie / Altsolo / (Urlicht) / IV. Satz [in EGraphic symbol for a flat sign major]  

1–68 [complete]

 

18–20   

II. Symphonie / Der Rufer in der Wüste / V. Satz

43–96+1 bar

       

Dimensions: 301 x 228 (r = 213½ [p. 2]) [trimmed copy]

       

Watermark: none

       

Printer: Weag [i.e. Waldheim-Eberle; p. 20]

       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: xi.1926    Price: Mk 0.70 (paper-bound single volume)  Advert date: I/26

       

Edition number: C. 46    Plate numbers: C.C.46

       

Print ordered: 19.v.1926    Copies received: 27.vii.1926   Print run: 1503

 

 

 

 

Copies:  A-Wn MS8800-4°/46 [bound with vols II and III]

       

The Corona-Collection was a series of publications 'offering piano and chamber music, orchestral and choral works in original versions or easy transcriptions for piano solo' (see the series advert). It was available in two formats: in paper-bound volumes, with some of the composers (including Mahler) represented by three or more; and, later, in hard-cover albums devoted to single composers that brought together in one volume the contents of up to three of the relevant paper-bound volumes. In both formats there are two separate paginations: that in the upper fore-edge margin of each page is for the separate paper-bound volume and that in the lower fore-edge margin is for the collective volume. Although originated from the same engraved plates, the separate volumes have slightly different paper and rastral dimensions, and include additional information (identification of the printer and a dated advertisement).

The arrangements in the Mahler volumes were all by Ernst Rudolf: those of songs all reproduce the complete movement (with text), while all the other items are abridgements of, or selections from the movement concerned, as noted in the list above. Urlicht is printed in the high-voice key (Egraphic image of a flat sign major) to facilitate performance by less skilful players. Extracts from the second and third movements of the First Symphony form the basis of three items in the first volume.

UE Verlagsbuch indicates that the initial impression of the first  was printed in two batches in  July 1926:

1926

20/7

510

27/7

993

 

1503

         

PCor1a

 

FIRST EDITION, volume I, second impression – Vienna: Universal-Edition, 1928

       

Title Page: see facsimile;

       

Wrappers: [front:] see facsimile; [rear:] advertisement with date code II/27

       

Analysis: as for PCor1

       

Dimensions: 305 x 230 (r = 215 [p. 2])

       

Watermark: UNIVERSAL-EDITION [runs horizontally across the sheets]

       

Printer: Weag [i.e. Waldheim-Eberle; p. 20]

       

Printing method: lithographic transfer from engraved plates

       

Edition number: C. 46    Plate numbers: C.C.46

       

Print ordered: 13.vii.1927    Copies received: 12.i.1928   Print run: 1510

 

 

 

 

Copies:  GB-Lpc 2-20180809a

       

The UE Verlagsbuch records no further orders.

         

PCor

 

FIRST EDITION, collective edition – Vienna: Universal-Edition, 1927

       

Title Page: [collective title:] see facsimile; [vol. 1 title:] see facsimile; [vol. 2 title:] see facsimile; [vol. 3 title:] see facsimile

       

Cover (boards): [front, with portrait photograph, MA 37:] see facsimile; [rear:] blank

       

Analysis:

 

Page

Content/Title

Bars

 

[i]

collective title page

 

 

[ii]

contents page for the whole album

 

 

[1]

title page

 

 

2–5

I. Symphonie / aus dem 2. Satz

1–67; 133–170

 

6–7

I. Symphonie / Trio / II. Satz

175–218

 

8–12

I. Symphonie / Canon und Volksweise / III. Satz

1–109+ 3 bars ending in G major

 

13–15

II. Symphonie / aus dem 2. Satz

1–38+2 bars; 245–299

 

16–18

II. Symphonie / Altsolo / (Urlicht) / IV. Satz [in EGraphic symbol for a flat sign major]  

1-68 [complete]

 

18–20

II. Symphonie / Der Rufer in der Wüste / V. Satz

43–96+1 bar

 

[21]

vol. 2 title page

 

 

2224

II. Symphonie / aus dem 2. Satz

1–48, 260–65, 275–279

 

25–30

IV. Symphonie / aus dem 3. Satz

1–129, 154–176+1 bar

 

31–40

IV. Symphonie / 4. Satz

1–184 [complete]

 

[41]

vol. 3 title page

 

 

42–45

VIII. Symphonie / I. Satz / „Veni creator spiritus‟

1–55, 73–88, 108–125+4 bars

 

46–48

VIII. Symphonie / Gretchens Gebet

1093–1141+1 bar

 

49–52

VIII. Symphonie / Chorus mysticus

1149–1572 [end]

 

53–55

IX. Symphonie / Ländler / II. Teil

1–88, 620–621

 

56–60   

Das Lied von der Erde / „Von der Jugend‟

1–118 [complete]

 

[iii]

advert 1

 

 

[iv]

advert 2

 

        Dimensions: (paper size) 306 x 232 (r = 214 [p. 2])
        Watermark: UNIVERSAL-EDITION [runs horizontally across the sheets]
        Printer: none identified
        Printing method: lithographic transfer from engraved plates
        Hofmeister: no entry (only the individual volumes are listed, see below)
        Edition number: C. 316    Plate numbers: 2–20: C.C.46; 22–40: C.C. 47;  42–60: C.C. 48
        Print ordered: [1926]    Copies received: 30.xii.1926   Print run: 504
        Copies:  GB-Lpc 2-9500191
       

The Corona-Collection was a series of publications 'offering piano and chamber music, orchestral and choral works in original versions or easy transcriptions for piano solo' (see the series advert). It was available in two formats: in paper-bound volumes, with some of the composers (including Mahler) represented by three or more; and in hard-cover albums devoted to single composers that brought together in one volume the contents of up to three of the relevant paper-bound volumes. The copy described here is the Mahler album (see below for a description of the relevant paper-bound volume); in both formats there are two separate paginations: that in the upper fore-edge margin of each page is for the separate paper-bound volume and that in the lower fore-edge margin is for the collective volume.

The arrangements in the Mahler volumes were all by Ernst Rudolf: those of songs all reproduce the complete movement (with text), while all the other items are abridgements of, or selections from the movement concerned, as noted in the list above. Urlicht is printed in the high-voice key (Egraphic image of a flat sign major) to facilitate performance by less skilful players. Extracts from the second and third movements of the First Symphony form the basis of three items in the first volume.

The Hofmeister entry refers only to the paper-bound volumes, but annotations in the UE Verlagsbuch indicates that the initial impression was printed in a number of small batches in late 1926:

1926

15/10

151

21/10

151

8/12

40

29/12

120

30/12

42

 

504

Why this piecemeal production sequence was adopted is not clear.

         
PCora   FIRST EDITION, collective edition, second impression – Vienna: Universal-Edition, 1928
        Print ordered: 1.i.1928    Copies received: 30.iv.1928   Print run: 501
        Copies:  none identified
       

The UE Verlagsbuch records no further orders.

         
 

PRINTED ARRANGEMENTS FOR SALON or SMALL ORCHESTRA

  SECOND MOVEMENT – arranged for Salon or Small Orchestra by Emil Bauer
PVind   FIRST EDITION – Vienna-Leipzig-New York: Universal Edition, 1926
        Title Page: none (the wrapper takes over that function)
       

Wrapper: [Back text and border on red card:] [upper shield:] VINDOBONA COLLECTION / GUSTAV MAHLER / SYMPHONIE II / II. SATZ / IInd MOVEMENT / IIÈME MOUVEMENT / ANDANTE / A) SALON ORCHESTER | SMALL ORCHESTRA | SALON ORCHESTRE / Flauto, Oboe, Clarinetto I, Tromba I, Trombone, Batteria (Schlagwerk), Violino Ia (Direction),/ Violino IIa (obligato), Viola, Cello, Basso, Harmonium, Piano (Direction)B) KLEINES ORCHESTER | SMALL ORCHESTRA | ORCHESTRE COMPLET / Besetzung wie bei A (Klavier und Harmonium spielbar) mit folgenden Ergänzungsstimmen : / Orchestration like Edition A (Piano and Harmonium ad lib.) with the following supplementary parts : / Même composition que pour l'édition A (Piano et Harmonium ad lib.) avec les parties supplémentaires suivantes : / Clarinetto II, Fagotto, Corni I/II, Tromba II, Violino Ib, Violino IIb, Cello II / [rule] / Arrangement E. Bauer / [rule] / V.C. 12 / UNIVERSAL-EDITION | WIEN | LEIPZIG | NEW YORK

       

Make-up of set: Pf (Direction), harm, vn 1a (Direction)[2 copies], vn IIa (Obligato), vla, vlc I, cb, tpt I in Bgraphic image of a flat sign, fl, cl in Bgraphic image of a flat sign, ob, trb, pk, (13 parts)

       

Dimensions: 310 x 233 (r=192 [pf p. 1])

        Watermark: UNIVERSAL-EDITION [runs horizontally on most pages]
        Printer: (pf, p. 12:) Weag. [i.e. Waldheim-Eberle A.G.]
       

Printing method: lithographic transfer from engraved plates

       

Hofmeister: x.1926    Price: M 5,50 (small orchestra); M. 4,50 (salon orchestra)

       

Edition number: 12    Plate number: V.C. 12   Advert date:  none

       

Print ordered

Copies received

Print run

 

Salon salon orch. sets

15.vi.1926

23.viii.1926

999

 

Extra parts (small orch.)

15.vi.1926

23.viii.1926

298

 

Vn I, vn II (additional stock)

15.vi.1926

23.viii.1926

500

 

Vla, vcl, db, pf (additional stock) 

31.v.1927

07.vii.1927

97

       

Copies: A-Wn MS16083-4°/12 (Salon Orchestra set only)

       

Vindobona-Collection, 12. This collection was described as 'Programme of Modern Masters for all conductors' and was available in two versions: for details see the link to the series catalogue above Crucial information (especially relating to cuing of instruments) is in three languages (German, English and French).

The arrangement is a complete transcription of the movement and the placing of rehearsal numbers corresponds to those of the full score of the Symphony. No score of the arrangement was included in the performance sets: the piano part gives the most complete details of the musical textures, and also provides a note on performance (p.1:) Dynamically, the piano part should be accommodated to the strings. It has a supporting role and must never drown the string part. [sic] If the simplified version is used, the harmonium alone caries the wind and should therefore be played with greater emphasis.

Interpreting the UE Verlagsbuch entry is not straightforward, but it seems that in 1926 999 complete sets of the salon orchestra version, together with 298 sets of the extra parts needed for the small orchestra version, and additional parts for vn I and vn 2 (to supply replacements/duplicates) were ordered and supplied; and that the following year there were reprints of the vla, vcl, db and piano/director parts (probably to supply replacements/duplicates). No further orders were recorded.

     
  In addition to this salon orchestra version, UE also prepared a version of the second and third movements for a conventionally sized orchestra (2,2,3,3; 4,3,3,1; hp; strings). This was listed in UE catalogues and was presumably available for hire only. A set of printed parts with manuscript adaptations survives (A-Wst, UE Deposit Mahler/G. 007 (D)).
   
 

PUBLICATIONS IN ALBUMS AND PERIODICALS

  FOURTH MOVEMENT - Excelsior
PVExII1   FIRST EDITION, Dgraphic symbol for a flat major Vienna, Leipzig: Universal-Edition, 1914
     

Title Page: [black, in upper rectangle:] EXCELSIOR / [in main, central rectangle, red:] 100 / MUSIKALISCHE ERFOLGE / [black:] * * [i.e. volume 2] / [black, in lowest rectangle:] ALLE RECHTE, INSBESONDERE DAS AUFFÜHRUNGSRECHT/ VORBEHALTEN / UNIVERSAL-EDITION A·G· / WIEN I REICHSRATSTRASSE 9 LEIPZIG, SEEBURGSTRASSE 14/20

       

Wrapper: [front cover; gold lettering on dark green cloth:] Excelsior / [oval colour illustration with border; see the illustration below] / 100 musicalische Erfolge / * *

       

Analysis: [1]=tp; [2–3]=index; [4]=blank; [5]=section title (ERNSTE MUSIK); [6]=blank; 7–210 =music; [211]=section title (HEITERE MUSIK) [212]=blank; 213–398= music; [399]=advert for volume 1; [400]=blank

        Dimensions: 326 x 245 (r = 216)
        Printing method: lithographic transfer from engraved plates
        Hofmeister: no entry
        Edition number: 3700    Plate number: U.E. 3700
       

Print ordered: 31.viii.1912    Copies received: 20.xii.1912   Print run: 19,990

       

Copies: A-Wn 3950/2

       

Between 1911 and 1914 Universal issued three collections each consisting of 100 serious and popular pieces for piano solo, or voice and piano. Some were works from the UE catalogue, but many were licensed from other publishers, chiefly in Austria, Germany and France. The volumes were well-produced on good quality paper and sold in substantial numbers.

Urlicht occupies pp. 189–192 of the second of these collective volumes under the title Urlicht / (Alt-Solo aus der Symphonie Nr. 2 in C moll) and, apart from changes to the header and footer, reprints the music text of the first issue of the fourth edition (PV4). Two further impressions of Excelsior vol. 2 were printed in 1919 and 1925, a total of 26,819 copies.

         
PVExII1a   FIRST EDITION, SECOND IMPRESSION, Dgraphic symbol for a flat major Vienna, Leipzig: Universal-Edition, 1919
     

Title Page: [black, in upper rectangle:] EXCELSIOR / [in main, central rectangle, red:] 100 / MUSIKALISCHE ERFOLGE / [black:] * * [i.e. volume 2] / [black, in lowest rectangle:] ALLE RECHTE, INSBESONDERE DAS AUFFÜHRUNGSRECHT/ VORBEHALTEN / UNIVERSAL-EDITION A·G· / WIEN I REICHSRATSTRASSE 9 LEIPZIG, SEEBURGSTRASSE 14/20

       

Wrapper: [front cover; gold lettering on dark green cloth:] Excelsior / [oval colour illustration with border; see the illustration below] / 100 musicalische Erfolge / * *

       

Analysis: [1]=tp; [2–3]=index; [4]=blank; [5]=section title (ERNSTE MUSIK); [6]=blank; 7–210 =music; [211]=section title (HEITERE MUSIK) [212]=blank; 213–398= music; [399]=advert for volume 1; [400]=blank

        Dimensions: 335 x 225 (r = 204 (p. 7)
        Printing method: lithographic transfer from engraved plates
        Edition number: 3700    Plate number: U.E. 3700
       

Print ordered: 04.vii.1913    Copies received: 03.xi.1919   Print run: 4,838

       

Copies: GB-Lpc 2-180627

       
  Colour facsimile of the front cover

Fig. 4

It is not quite certain whether the copy described and illustrated is of the second or third impression.

         
PVExII1a   FIRST EDITION, THIRD IMPRESSION, Dgraphic symbol for a flat major Vienna, Leipzig: Universal-Edition, 1925
        Edition number: 3700    Plate number: U.E. 3700
       

Print ordered: 09.ix.1921    Copies received: 28.viii.1925   Print run: 1911

       

Copies: none located

       

The UE Verlagsbuch records no further impressions.

         
 

SECOND and FOURTH MOVEMENTS (extracts) – Musik für Alle

PTMfA   Vienna: Ullstein Verlag, 1924
     

Title Page: none

       

Wrapper: [front cover; recto: black, yellow and greyscale (see facsimile)] MUSIK FŰR ALLE / [rectangular greyscale photograph of Mahler derived from MA 80] / GUSTAV MAHLER- / HEFT / 18. BAND  VERLAG ULLSTEIN, BERLIN / NR. 200 / 200 / MUSIK FŰR ALLE; [front wrapper verso: contents list,  acknowledgement and introduction by Dr Heinrich Leon]; [back wrapper, recto: advertisement (see facsimile)]; [back wrapper verso: conclusion of the introduction, with a photograph of Mahler, MA 110.]

       

Analysis:

 

Page

Content

Bars

 

1–3

Rheinlegenchen [A major]

complete

 

3–7

Wo die schönen Trompeten blasen [D minor]

complete

 

7–8

Urlicht [Egraphic image of a flat sign major]

complete

 

9–12

Es sungen drei Engel einen süssen Gesang [F major]  

complete

 

12–16   

II. Symphonie / aus dem 2. Satz [abridged]

1–178; 222–54+1 bar

        Dimensions: 314 x 231 (r = various)
        Printing method: lithographic transfer from engraved plates
        Hofmeister: no entry
        Edition number: 18. Band    Plate number: M.f.A. 200
       

Print ordered: unknown    Copies received: unknown   Print run: unknown

       

Copies: A-Wn F21.Berg.199 Mus; A-Wn MS4720-4°

       

The full title information for the periodical is Musik für Alle. Monatshefte zur Pflege volkstümlicher Musik. Although the contents list makes a distinction between Lieder and Symphonische Werke, all but one of the items are piano arrangements with overlaid text of vocal works. On p. 1 [Rudolf] Walter Hirschberg [1889–1960] is identified as the arranger of Rheinlegenchen and he was presumably responsible for the other items as well.

The acknowledgement on the front wrapper verso reads: Unsere Bilder sind und zur Wiedergabe in diesem Heft von der Witwe Gustav Mahlers freundschaft zur Verfügung gestellt worden. Es sind zwei besonders gut gelungene Amateur-Aufnahmen. The precise date of publication cannot be confirmed, because it was not listed in Hofmeister, unlike many other volumes in the series. However, since No. 201 (devoted to Weber) was listed in the June issue of the Monatsbericht, it is likely that the Mahler-Heft had appeared the previous month.

The copy described was owned and annotated by Alban Berg. See also the working paper Mahler's Music in Supplements, Albums and Magazines.

         
         
     
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