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.

I am most grateful to Michael Bosworth for drawing my attention to the music supplement, a re-engraving of 'Ich ging mit Lust durch einem grünen Wald', that accompanied the Mahler issue of Die Musik in June 1911.

Periodical details					Supplement details
Date	Place	Title/Publisher	Volume	Subscription¹ Circulation	Work	Printer
1904	Munich	Der Kunstwart Halbmonatschrift über Dichtung, Theater, Musik, bildende Kunst und angewandte Künste. Georg D.W. Callwey	17/18 2. Januarheft	3 Mk. 4 Mk.²	„Ich ging mit Lust durch einem grünen Wald‟ High-voice version Re-engraved	Stich u. Druck v. Oscar Brandstetter, Leipzig.
1904	Berlin/ Leipzig	Die Musik Illustrierte Halbmonatschrift Schuster & Loeffler	IV/4 2. Novemberheft	4 Mk. 15 Mk.³	Selbstgefühl High-voice version Re-engraved	Stich u. Druck: Berliner Musikalien Druckerei G.m.b.H. Charlottenburg
1905	Munich	Der Kunstwart Halbmonatschrift über Dichtung, Theater, Musik, bildende Kunst und angewandte Künste. Georg D.W. Callwey	Heft 9 1. Februarheft	3 Mk. 4 Mk.²	III. SINFONIE (d moll). Hauptthema des I. Satzes. Für Klavier arrang. von Ernst Otto Nodnagel III. SYMFONIE (d moll). Exposition des Finales Für Klavier arrang. von Ernst Otto Nodnagel First and only publication of these arrangements.	Stich u. Druck v. Oscar Brandstetter, Leipzig. No. 53749
1905	Berlin/ Leipzig	Neue Zeitschrift für Musik C. F. Kahnt Nachfolger	72/20 10 Mai 1905 This issue included an article on Mahler by Dr Ludwig Schiedermeyer	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	19/24 2. Septemberheft	3 Mk. 50 Pf. 4 K. 20H.⁴	Aus! Aus! High-voice version Re-engraved	Stich u. Druck v. Oscar Brandstetter, Leipzig. XIX, 18
1907	Berlin/ Leipzig	Musikalisches Wochenblatt / Neue Zeitschrift für Musik C.F.W. Siegel's Musikalienhandlung (R. Linnemann)	38/18 74/18 2 May 1907		„Liebst du um Schönheit“ High-voice version (from existing plates?)	[Stich u. Druck v. Oscar Brandstetter, Leipzig]
1910	Munich	Der Kunstwart Halbmonatschau für Ausdruckkultur auf allen Lebensgebieten Georg D.W. Callwey	23/20 2. Juliheft	4 Mk. 4K. 80H.⁴	„Oft denk' ich, sie sind nur ausgegangen‟ Low-voice version Re-engraved	Stich u. Druck v. Oscar Brandstetter, Leipzig.
1910	Vienna	Der Merker Verlag „Der Merker‟ (Richard Batka, Ludwig Hevesi)	I/23 10 September 1910	4.5 Mk. 4.5 K.⁴	Verlorne Müh'! High-voice version	[Waldheim-Eberle]⁵
1910	Munich	Der Kunstwart Halbmonatschau für Ausdruckkultur auf allen Lebensgebieten Georg D.W. Callwey	24/2 2. Oktoberheft	4 Mk. 4K. 80H.⁴	Um schlimme Kinder artig zu machen High-voice version Re-engraved	Stich u. Druck v. Oscar Brandstetter, Leipzig.
1911	Berlin	Die Musik Schuster & Loeffler	X/18 Zweites Juniheft: Gustav Mahler-Heft	4 Mk. 15 Mk.³	Ich ging mit Lust durch einen grünen Wald Low-voice version Re-engraved	Stich u. Druck: Berliner Musikalien-Druckerei G.m.b.H., Berlin.
1911	Prague	Deutsche Arbeit Monatsschrift für das geistige Leben der Deutschen in Böhmen Verlag „DEUTSCHE ARBEIT‟ Prag	11/1 October 1911		Verlorne Müh'! High-voice version Re-engraved	Stich u. Druck v. Oscar Brandstetter, Leipzig.
1913	Munich	Der Kunstwart und Kulturwart Halbmonatschau für Ausdruckkultur auf allen Lebensgebieten Georg D.W. Callwey	26/19 2. Juli-Heft	22,000⁶	Aus dem Schlußsatz der IX. Symphonie First and only publication of this arrangement.	Stich u. Druck v. Oscar Brandstetter, Leipzig.

		1	Unless otherwise stated this records the quarterly subscription rate applicable at the time of publication of the supplement.
		2	The international quarterly subscription rate.
		3	The annual subscription rate.
		4	The quarterly subscription rate for Austro-Hungary.
		5	No printer is named, but it was probably Waldheim-Eberle.
		6	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. 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),⁷ 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.

Universal-Edition may in part have been encouraged by a annual album that appears to have been first published in 1905: Sang und Klang im XIX. und XX. Jahrhundert. The publisher of the latter is often identified in catalogues and other sources as Neufeld and Henius, Berlin, but on volume 9, the imprint has 'Musikverlag „Sang und Klang“, Berlin-Basel'. This volume probably appeared in 1914, and includes what seems to have been the only Mahler item published in the series: 'Liebst du um Schönheit'. Both annuals contained a substantial number of items for piano or voice with piano (Sang und Klang, vols V-IX: 83–95; Excelsior: 100) and the subtitle to the former prefigures the repertoire division used in the latter: Ernstes und Heiteres aus dem Reiche der Töne.


Fig 1a: Sang und Klang, vol. 9 (Berlin/Basel: Sang und Klang-Verlag, 1914)	Fig 1b: Excelsior, vol. 2 (Vienna: Universal-Edition, 1913)

One drawback of both series was the size of the well-produced volumes: they were heavy (c. 400 folio pages of good quality paper bound in cloth-covered boards weighing about 1.8kg (Sang und Klang) to about 2kg. (Excelsior)) and bulky, so may have been awkward to use on the music supports on some pianos, and tiring to sing from. UE avoided such problems in Das moderne Lied (which adopted a quarto rather than a folio page size) and in the later album Von Zwölf bis Zwölf funkt Wien, which contained a mere forty items on 136 folio pages. Like Excelsior, the latter volume was aimed at the Christmas market (see, for example, the advert in the Linzer Tages-Post (6 December 1929, p. 10) which, interestingly, also indicates that both Sang und Klang and the pre-WWI Excelsior volumes were still available). But what is distinctive about the new album is the way that it reflects in its title ('Vienna broadcasts from 12 to 12'), design (see Fig. 4) 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:

All the items in section V of the album are presented complete, including the arrangement of Strauss's Tod und Verklärung.
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 origination costs were involved.
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).
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 at least 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 paper or card-bound volumes consisting of twenty pages. The series was listed in Hofmeister in November 1926.

Black and white facsimile of a tri-lingual advert listing the contents of the three volumes

Fig. 2

Corona-Collection Advert from the back wrapper of C. 46

(Vienna: Universal-Edition, 1927)

Colour facsimile of the front cover of Mein Lied, vol. 1 (high-voice)

Fig. 3

Wrapper to Mein Lied, vol. 1 (high-voice), (Leipzig: C.F. Kahnt Nachfolger, 1907)

Perhaps the first album to include a Mahler item

Another modestly-sized collection adopted an unusual format. Meister-Lieder : Kalender MCMXXI consisted of fifty-three songs, each of which was associated with a week in the 1922 calender: Mahler's contribution (Wo die schönen Trompeten blasen) was for week 34 (August 20–26). The decorated initial letters of each song title were by Axel Leskoschek (1889–1976), but it seems unlikely that he was responsible for the illustrations for the paper-covered boards (see Fig. 4a/b).

Colour facsimile of the front board of Meister-Lieder, Kalender MCMXXII

Fig. 4a (front board)

Colour facsimile of the rear board of Meister-Lieder, Kalender 1922

Fig. 4b (rear board)

Album details								Item details
1st ed.	Place	Title	Publisher	Price	Reprints	Last print	Print-run total	Work	Printer / Notes
1907	Leipzig	Mein Lied 5 vols. High and medium-voice versions, both available in small and large page formats	C.F. Kahnt	Mk. 0.50 per vol (small) Mk. 1.50 per vol (large)	?	?	?	Liebst du um Schönheit	Lith. Anst. v. C.G. Röder. G.m.b.H. Leipzig
1910	Leipzig	Meister des Liedes High and medium-voice versions⁸	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.
[1914]	Berlin/Basel	Sang und Klang im XIX/XX Jahrhundert [Band IX]	Musikverlag „Sang und Klang“	[K 14.40]				No. 62 Liebst du um Schönheit	Breitkopf und Härtel, Leipzig
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	?	?	?	„Die zwei blauen Augen‟ aus dem Zyklus „Lieder eines fahrenden Gesellen‟	No copy located Advertised (with contents list) in Neues Wiener Journal (2 December 1915), 9.
1921	Vienna	Concordia=Album Eine Sammlung der hervorrangendsten musikalischen Werke der bedeutendsten Komponisten für Klavier zu zwei Händen sowie für Gesang und Klavier	Verlag Josef Weinberger	K 200	?	?	?	Serenade (Aus „Don Juan“ von Tirso de Molina)	Waldheim-Eberle Vienna
1921	Vienna	Meister-Lieder Kalender 1922	Waldheim-Eberle	K 1000	?	?	?	Wo die schönen Trompeten blasen [D minor]	[Waldheim-Eberle A.G., Vienna] Edited by Josef Marx
1922	Berlin	Claire Dux Album	Ed. Bote & Bock	Mk. 2.50	?	?	?	„Ich atmet' einen linden Duft“	None identified Licensed from C.F. Kahnt.
1925	Leipzig	Kahnts Bariton Album	Kahnt	Mk. 4	?	?	?	Um Mitternacht [G minor]	Stich und Druck von Oscar Brandstetter, Leipzig Low-voice version, re-engraved
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 2.50⁹				Wer hat dies Liedlein erdacht?	Waldheim-Eberle
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

			7	See the transcription of the Verlagsbuch for a brief note of the unusual chronology of the initial print orders of volumes 2 and 3.
			8	A complete colour facsimile of the high-voice edition is available online.
			9	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). The title-page notes that the album was issued by the Journalists and Writers' Association 'Concordia' in Vienna, and that the whole income from the sale of the album would be donated to the Welfare Fund of 'Concordia'.


Fig. 4 Front cover of Von Zwölf bis Zwölf (Vienna: Universal-Edition, 1930)


Fig. 5 Front and back wrappers of the Concordia Album (Vienna: Josef Weinberger, 1928), one of the more elusive examples of such a collection.

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,¹⁰ 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.¹¹ 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 1923.¹² 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	No. 209	[M. 0.60]	?	Der Schildwache Nachtlied Wer hat dies Liedlein erdacht? Von der Jugend Von der Schönheit Aus Der Abschied
1929	Vienna/Berlin	Heim-Musik/Der Sirius Mappe: Monatshefte für Musik, Theater und Literatur Jahrgang 3, Heft 8 [=August 1929?]	Sirius-Verlag/Edition Bristol	H. 32		?	Glockenchor aus der dritten Symphonie [arr. J.v. von Wöss]¹³

		10	Signale für das musikalische Welt, 20 February 1924, 240
		11	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.
		12	For the founding of Edition Bristol, see Neues Wiener Tagblatt, 17 January 1923, 8.
		13	See the catalogue record for A-Wn MS21358-4°/3,8.

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:...	The following is stated in the report from the Utrecht-based Centraal Muzieklitteratuur Fonds for the year 1915: ...
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.	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.
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.	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.
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.	It should be noted that the orchestral scores and the 4-hand piano arrangements of the symphonies by Gustav Mahler were borrowed the most.