A Cartoon of Mahler

Working Paper:

Mahler's Music in Supplements, Albums, Magazines and Libraries

 
1. Supplements

 

From the early 1900s Mahler's music occasionally appeared as a supplement to special-interest periodicals. Some, such as Die Musik and Neue Zeitschrift für Musik, were aimed at both professionals and serious music-lovers; others, such as Der Kunstwart, Deutsche Arbeit, or Der Merker, were targeted at a somewhat wider, but nevertheless well-to-do audience. It is perhaps worth noting that Richard Batka was both one of the publishers (along with Ludwig Hevesi) of Der Merker, and music editor of Der Kunstwart.

 

The supplements were not necessarily part of the main gathering structure of the periodical, a feature that facilitated their practical use, but also, regrettably, contributed to the loss or dispersed filing of the music in both private and institutional collections. On the whole supplements are not well served, even now, by music or periodical cataloguing practices, and compiling a comprehensive list of the music (re-)published in this way would be a time-consuming task. For practical reasons music supplements usually adopted the page format of the parent publication, which itself was usually related to contemporary book-publishing practice, rather than music formats: before the introduction of photo-lithography, this would mean that works that had already been printed would often have to be re-originated in the new page format, and the resulting copies represent a new edition of the work.

 

Use the volume number hyperlinks to view any available online facsimiles of the supplement; in due course the work title will  be provided with a link to the relevant catalogue entry for the item.

 

Date

Place

Title

Publisher

Volume

Subscription¹

Circulation 

Work

Printer

Notes

1904

Munich

Der Kunstwart

Halbmonatschrift über Dichtung, Theater, Musik, bildende Kunst und angewandte Künste.

Georg D.W. Callwey, Meunchen

17/18

(2. Januarheft)

 

3 Mk.

4 Mk.²

 

„Ich ging mit Lust durch einem grünen Wald‟ 

Stich u. Druck v. Oscar Brandstetter, Leipzig.

Pl. no. 53749

High-voice version.

Re-engraved.

1904

Berlin/Leipzig

Die Musik

Illustrierte Halbmonatschrift

Schuster & Loeffler

IV/4

(2.  Novemberheft)

4 Mk.

Annual: 15 Mk

 

Selbstgefühl

Stich u. Druck: Berliner Musikalien Druckerei
G.m.b.H. Charlottenburgh

High-voice version.

Re-engraved

1905

Berlin/Leipzig

Neue Zeitschrift für Musik

C. F. Kahnt Nachfolger

72/20

(10 Mai 1905)

2 Mk.

 

„Oft denk' ich, sie sind nur ausgegangen‟

 

No copy yet located

1906

Munich

Der Kunstwart

Halbmonatschau über Dichtung, Theater, Musik, bildende und angewandte Künste.

Georg D.W. Callwey, München

19/24

(2. Septemberheft)

3 Mk. 50 Pf.

4 K. 20H.³

 

Aus! Aus!

Stich u. Druck v. Oscar Brandstetter, Leipzig.

XIX, 18

High-voice version

Re-engraved

1910

Munich

Der Kunstwart

Halbmonatschau für Ausdruckkultur
auf allen Lebensgebieten

Georg D.W. Callwey, München

23/20

(2. Juliheft)

4 Mk.

4K. 80H.³

 

 

„Oft denk' ich, sie sind nur ausgegangen‟

Stich u. Druck v. Oscar Brandstetter, Leipzig.

Low-voice version

Re-engraved

1910

Vienna

Der Merker

Verlag „Der Merker‟ (Richard Batka, Ludwig Hevesi)

 

4.5 Mk.

4.5 K.

 

Verlorne Müh'!

[Waldheim-Eberle?]

Der Merker 23/1910

U.E.1691

High-voice version

1910

Prague

Deutsche Arbeit

Verlag „DEUTSCHE ARBEIT‟ Prag

 

 

 

Verlorne Müh'!

Stich u. Druck v. Oscar Brandstetter, Leipzig.

High-voice version

Re-engraved

1910

Munich

Der Kunstwart

Halbmonatschau für Ausdruckkultur
auf allen Lebensgebieten

Georg D.W. Callwey, München

24/2

(2. Oktoberheft)

4 Mk.

4K. 80H.³

 

Um schlimme Kinder artig zu machen

 

Stich u. Druck v. Oscar Brandstetter, Leipzig.

High-voice version

Re-engraved

1913 Munich Der Kunstwart und Kulturwart

Halbmonatschau für Ausdruckkultur
auf allen Lebensgebieten

Georg D.W. Callwey, München 26/19

(2. Juli-Heft 1913)

 

22,000

 

Aus dem Schlußsatz der IX. Symphonie Stich u. Druck v. Oscar Brandstetter, Leipzig. The only edition of
this arrangement.
                   
   

1

 

2

3

4

Unless otherwise stated this records the quarterly subscription rate applicable at the time of publication of the supplement.

The international quarterly subscription rate.

The quarterly subscription rate for Austro-Hungary.

This was its peak: see http://kunstwart.uni-hd.de

     
                   

 

2. Albums

 

Within two years of its first publication in 1905 „Liebst du um Schönheit‟ was included by the publisher, C.F. Kahnt Nachfolger, in an inexpensive three-volume collection of songs Mein Lied which, unusually, was issued in two different page sizes (the smaller: 170 x 130mm); it and „Ich bin der Welt abhanden gekommen‟ were later included in a song album, Meister des Liedes (1910). Mein Lied was clearly aimed at a less high-brow constituency than its succecessor, and seems to have survived in the Kahnt catalogue rather longer (until at least 1918). Das moderne Lied, similar to but slightly more expensive than Meister des Liedes, was issued by Universal-Edition in 1914: it offered a selection of songs from the firm's 'house' composers (including Mahler's Wer hat dies Liedlein erdacht?) alongside a small number of items licensed from other publishers. But UE had already initiated a much more ambitious project, in which some of Mahler's songs and shorter symphonic movements, were repackaged by including them, along with works by other composers, in large compilation albums entitled Excelsior, a format that initially proved attractive to consumers, not least because they were well printed, and, although quite expensive, offered significant savings in comparison with the cost of acquiring individual items. Three were issued in the years 1911–1914 and reprinted up to the late 1920s.  These albums each offered one hundred items, 50 of Ernste Musik and 50 of Heitere Musik; most were for piano, two hands, but a few were for voice and piano; the majority of items were licensed from other publishers. The first volume was apparently timed for the Christmas market (though there is conflicting evidence as to whether this was the case in later years), and, as the print-run figures show, they sold well for a decade or more, though the market for such publications was apparently in decline.

 

One drawback was size of the Excelsior volumes: they were heavy (400 folio pages of good quality paper) and bulky, and may have been awkward to use on the music supports on some upright pianos. That problem had been avoided in Das moderne Lied (which adopted a quarto page size) and in the later album Von Zwölf bis Zwölf funkt Wien, which contained a mere forty items in 136 folio pages. Like Excelsior, the latter volume was aimed at the Christmas market (see, for example, the advert in the Linzer Tages-Post, 06.12.1929, p. 10). But what is distinctive about the new album is the way that it reflects in its title ('Vienna broadcasts from 12 to 12'), design and organisation an attempt to connect with the new experience of Austrian audiences that accessed music via the national radio network, RAVAG (Radio-Verkehrs-Aktiengesellschaft). The abstract design of the paper-covered boards exudes modernity and might be characterised as 'jazzy', and, more directly, five of the six sections of the volume make direct or indirect references to features of the RAVAG  schedules during the late 1920s as documented in the daily press and Radio Wien, the in-house magazine:

I. 12 Uhr: Mittagsmusik (Opernmatinee)

II. 4 Uhr: Akademie

III. 5 Uhr: Zum Five O'Clock Tea

IV. 7 Uhr: Kammermusik (Slawische Meister)

V: 8 Uhr: Symphoniekonzert

VI: 10-12 Uhr: Jazzband-Übertragung

 

The schedule often included programmes of serious instrumental and solo vocal music entitled 'Akademie', the main orchestral concert was normally scheduled for c. 20:00, and it was not unusual for the final musical broadcast of the day to be devoted to popular music, dance music or jazz. 'Mittagsmusik' is an oblique reference to the regular weekday music schedule which  invariably included Vormittagsmusik at 11:00 and chamber music was usually placed later in the schedule. The one exception to this pattern of parallels is section three, which makes no obvious reference to any regular music item in the daily schedules.

 

The choice of the arrangement of 'Von der Jugend' from Das Lied von der Erde for inclusion in the fifth section might appear to be unexpected, but it is possible to identify a number of factors that may have encouraged this decision:

  1. All the items in section V of the album are presented complete, including the arrangement of Strauss's Tod und Verklärung.

  2. The arrangement by Ernst Rudolf of Von der Jugend had already been published, in 1926, as one of the selected symphonic movements in the Mahler Album within Universal-Edition's Corona series, so minimal additional costs were involved.

  3. The movement was one of only three complete movements included in the Corona album: all were vocal, the other two being Urlicht from the Second Symphony and the finale of the Fourth. Of these the former was substantially shorter, occupying only 2½ pages (so might have required re-engraving to fit into the new album), and the latter was substantially longer (10 pages).

  4. In 1926 UE had issued an arrangement of Von der Jugend for Salon or Small orchestra by Franz Eber and by early 1929 it had already been broadcast five times by RAVAG and eight times on various German stations. It was almost certainly this arrangement that was used when the movement was recorded in September 1928 by the Dol Dauber Orchestra for Austrian Electrola (Fölöp W.5010).

The Corona volumes differ from the other albums as they were part of a series in which works (written or arranged for piano) by a single composer appeared in one or more card-bound volumes consisting of twenty pages. The series was listed in Hofmeister in November 1926. 

 

 

Fig. 1: Coronoa-Collection Advert (from the back wrapper of C. 46)

 

 

 

 

1st ed.

Place

Title

Publisher

Price

Reprints

Last

printing 

Print-run 
total 

Work

Printer

Notes

1907

Leipzig

Mein Lied

(3 vols.; high and medium versions available in small and large page formats)

C.F. Kahnt

Mk. 1.50 per vol. (large)

Mk. 0.50 per vol. (small)

 

 

 

Liebst du um Schönheit

Lith. Anst. v. C.G. Röder. G.m.b.H.
Leipzig

 

1910

Leipzig

Meister des Liedes

(high and medium-voice versions)

C.F. Kahnt

Mk. 3.00

 

 

 

No. 14 Ich bin der Welt abhanden gekommen

No. 15 Liebst du um Schönheit

None identified

 

1911

Vienna 

Excelsior I

UE

K 12 (Prachtleinenausgabe) 

K 14 (Luxusausgabe) 

3

1926

45,996

No. 14 Glockenchor aus der dritten Symphonie
No. 38 Rheinlegendchen (high)

Waldheim-Eberle, Vienna

F.M. Geidel, Buchdruckerei und
Anstalt für Notenstich und Notendruck

 

1913

Vienna

Excelsior II

UE

K 12 (Prachtleinenausgabe)

K 14.40 (Luxusausgabe) 

 

2

1925

26,819

No. 42 Urlicht (high)

Waldheim-Eberle, Vienna

 

1914

Vienna

Das Moderne Lied

                         

UE

Mk. 4

?

?

?

No. 20 Wer hat dies Liedlein erdacht? (low)

Druckerei- und Verlags-Aktiengesellschaft vorm.
R.v. Waldheim-Jos. Eberle & Co.

 

1915

Vienna

Excelsior III

UE

 

3

1929

14,036

No. 17 Menuett-Fragment aus der dritten Symphonie

No. 44 Wer hat dies Liedlein erdacht?

Waldheim-Eberle, Vienna

 

1915 Vienna Bunte Musik Neues Wiener Journal 6 Kr ? ? ? No copy has yet been located    

1926

Vienna

Corona Collection. Mahler I

UE

 Mk. 0.70

2

1927

3,013

I. Symphonie: Aus dem 2. Satz

I. Symphonie: 2. Satz: Trio

I. Symphonie: Canon und Volksweise

II. Symphonie: Aus dem 2. Satz

II. Symphonie: 4. Satz

II. Symphonie: 5. Satz: Der Rufer in der Wüste

Waldheim-Eberle, Vienna

 

1926

Vienna

Corona Collection. Mahler II

UE

 Mk. 0.70

2

1927

3,017

III. Symphonie: Aus dem 2. Satz

IV. Symphonie: Aus dem 3. Satz

[IV. Symphonie:] 4. Satz

Waldheim-Eberle, Vienna

 

1926

Vienna

Corona Collection. Mahler III

UE

 Mk. 0.70

2

1927

3,023

VIII. Symphonie: Veni, creator spiritus (1. Satz)

VIII. Symphonie: Gretchens Gebet

VIII. Symphonie: Chorus mysticus

IX. Symphonie: Ländler II. Teil

Das Lied von der Erde:
„Von der Jugend‟

Waldheim-Eberle, Vienna

 

1926

Vienna

Corona Collection. Mahler
(3 volumes in 1)

UE

No listing traced

2

1928

1,005

 

None listed

 

1928

Vienna

Musikalbum der „Concordia‟

 

AS 2.50

 

 

 

Wer hat dies Liedlein erdacht?

None located

 

1928

Vienna

Elizabeth Schumann Liederbuch

UE

 

 

 

 

Wer hat dies Liedlein erdacht?

No copy yet examined

 

1929

Vienna

Von Zwölf bis Zwölf funkt Wien

UE

AS 10.80

1

1930

10,063

V, 1: Von der Jugend

Waldheim-Eberle, Vienna

 
                     
     

5

See the transcription of the Verlagsbuch for a brief note of the unusual chronology of the initial print orders of volumes 2 and 3.

     
     

6

The Austrian Schilling (=100 Groschen) was introduced in 1924. According to one measure of absolute worth, 1 Krone (1914) would have been the equivalent of AS 2.38  (1929) (see www.historicalstatistics.org). In the mid 1920s a well-paid factory worker in Vienna was paid about AS 60 per week (see Wolfgang Pensold, Zur geschichte des Rundfunks in Österreich: Programme für die Nation (Springer: Wiesbaden (2018), 12)

   

 

3. Magazines

 

Musk für Alle was a a monthly periodical offering classical repertoire for piano and voice and piano, published by the Berlin-based Ullstein-Verlag. Founded in 1878 by Leopold Ullstein, the firm initially specialised in newspapers, but in 1903, a book publishing subsidiary was founded, and in 1904 this established the Musik für Alle series.

Karl Westermeyer, reviewing three issues of Musik für Alle, one of which was devoted to the Alpine Symphony, commented: 

Man mag vom strengmusikalischen Standpunkt aus über die popülaren Ullsteinhefte „Musik für Alle‟ urteilen wie man will, es steckt zwar genugsam Marktbetrieb, aber auch sehr viel gesunder musikalischer Geist in dem Unternehmen. Mancher Musikfreund, der sich über die Repertoiropern, über Oratorien und andere klassische Musik orientieren will, aber zu wenig Zeit, Gelegenheit oder Talent hat, bis zum Studium von Originalausgaben vorzudringen, findet hier den gesuchten Extrakt in leicht spielbarer Form und biographisch erläutet. Walter Hirschberg, den Lesern der „Signale‟ gewiss kein Fremder, hat nun in den drei angezeigte Heften die Sammlung durch musterhafte Bearbeitung wertvoller Meisterwerke ergänzt.

One may opine as much as one likes that from a strictly musical point of view the popular Ullstein magazine "Musik für Alle" plugs a modest market, but there is also a lot of sound musical spirit in the enterprise. Many a music lover who wants to explore repertoire operas, oratorios and other classical music for themselves, but has too little time, opportunity or talent to get through the study of original editions, will find here the sought-for passages in easily playable form and with a biographical introduction. Walter Hirschberg, certainly no stranger to readers of the "Signale", has with the three advertised issues expanded the collection with exemplary adaptations of valuable masterpieces.

 

Sirius-Verlag (Franz Sobotoka) was based in Vienna and Berlin; it specialised in popular music,  and published Sirius-Mappe a monthly music magazine, renamed Tonfilm, Theater, Tanz in 1933, shortly after the publication of the Glockenchor. The firm appears to have had some business connection with 'Edition Bristol Musik-und Bühnenverlags-A.G.', a Viennese publisher of popular music founded by, amongst others, the composer Ralph Benatzky (1884–1957), with capital of 75 million Kronen in January 1923. Its first publications  were issued in Leipzig soon afterwards, but by the end of the year it was established in Mahlerstrasse, Vienna and was publishing from there. By the 1930s it was acting as a distributor for at least some of Sirius-Verlag's publications.

 

 

1st ed.

Place

Title

Publisher

Vol./no.  

Price 

Print-run 
total 

Work

[May] 1924  

Berlin/Vienna

Musik für Alle, Mahler Heft I

Ullstein

No. 200

[M. 0.60]

 

Rheinlegenchen

Wo die schönen Trompeten blasen

Urlicht

‚Es sungen drei Engel einen süssen Gesang‘

II. Symphonie / aus dem 2. Satz

1924

Berlin/Vienna

Musik für Alle, Mahler Heft II

Ullstein

 

 

 

Der Schildwache Nachtlied

Wer hat dies Liedlein erdacht?

Von der Jugend

Von der Schönheit  

Aus Der Abschied

1933

Vienna/Berlin 

Heim-Musik/Der Sirius Mappe: Monatshefte für Musik, Theater und Literatur

Sirius-Verlag/Edition Bristol

   

 

Glockenchor aus der dritten Symphonie

               
   

7

SfdMW, 20 February 1924, 240

 
   

8

See Hofmeister (June 1933), 126. Sobotka seems also to have been active as a conductor and composer. He was elected a member of the board of the Gesellschaft der Autoren, Komponisten und Verleger on 27 April 1934 (see Neues Wiener Journal, 14525 (29.04.1934), 20.

 
   

For the founding of Edition Bristol, see Neues Wiener Tagblatt, 17 January 1923, 8.

 

 

 

4. Libraries

 

Another sector of cultural life that needs to be born in mind when charting the dissemination of Mahler's music is the role played by libraries. A reminder that this may have been significant is suggested by a Dutch newspaper article, that appeared in Het Centrum (Utrecht, 03.03.1916):

Aan het verslag van het te Utrecht gevestigde Centraal Muzieklitteratuur Fonds over het jaar 1915 otleenen wo het volgende:...

 

Oder de aanwinsten behooren bijvoorheeidt: Julien, Hector Berlioz; Bie, Die Oper; Kretschmar, Konzertsaal; Kalbeck, Brahms; Schurig, Mozart; Köchel-Waldsee, Mozart; Thayer, Beethoven; Dahms, Schubert; Hull, Modern Harmony; Schoenberg, Harmonielehre; Goldschmidt, Handbuch der Gesangpädagogik; Combarieu, Histoire de la musique; Wasilewski, Das Violoncell, enz. enz.

 

Het ledental stijgt langzam maar regelmatig. En ongetwijfeld heeft de toename van het aantal dat leden verband met het gebruik, want dat neemt vooral toe. Geraadpleegd werden 40 werken in den leeszaal, tegen 21 in 1914; uitgeleend werden 105 werken, tegen 48 in 1914.

 

Hierbij valt op te merken, dat met name de orkestpartituren en de 4-handige piano uittreksels van de Symphonien van Gustav Mahler het meest werden uitgeleend.

The following is stated in the report from the Utrecht-based Centraal Muzieklitteratuur Fonds for the year 1915: ...

 

Among the significant acquisitions are: Julien, Hector Berlioz; Bie, Die Oper; Kretschmar, Konzertsaal; Kalbeck, Brahms; Schurig, Mozart; Köchel-Waldsee, Mozart; Thayer, Beethoven; Dahms, Schubert; Hull, Modern Harmony; Schoenberg, Harmonielehre; Goldschmidt, Handbuch der Gesangpädagogik; Combarieu, Histoire de la musique; Wasilewski, Das Violoncell, etc. etc.

 

The number of members is slowly but steadily increasing. No doubt the increase in the number of members is related to the use, because that is noticeably rising. Forty works were consulted in the reading room, against 21 in 1914; 105 works were loaned, compared with 48 in 1914.
 

It should be noted that the orchestral scores and the 4-hand piano arrangements of the Symphonies by Gustav Mahler were borrowed the most.

 

 

 

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© 2007-14 Paul Banks | This page was last edited on 30 December 2019