Symphony No. 1 – Printed Editions

Annotations in blue, red and brown crayon, pencil and red ink.

Rubber stamped on the tp and p.3: GUSTAV MAHLER / WIEN and annotated in red ink and blue crayon. Presumably used by him for the performances in December 1909, and later by Bruno Walter (1933) and Leonard Bernstein. Kept with a set of PO1 parts not used by Mahler.

This is an item from the small collection of scores donated to the Library of the University of Southampton by Anna Mahler in 1973 (USLOP, 14–5). Some were originally owned by Mahler, though others appear to have been acquired later (probably by Alma Mahler-Werfel) in America.

The relatively sparse annotations in this copy - revisions and corrections - include the insertion of repeat signs in the first and second movements. Equally significant is the Eberle stamp on the title page (see the notes to PF1 above).

The Stichvorlage for PS1; this was probably a copy of PF1 annotated by the composer

Copies: A-Wst M.58830; GB-Lbl Hirsch M.996 (with undated manuscript revisions and corrections); US-NYp JMG 85-543 (paste over reads: “UNIVERSAL-EDITION / WIEN - NEW YORK”)

Copies of PF1, with original prices deleted and “UNIVERSAL-EDITION” stickers over J. Weinberger imprints on title page and wrapper.

In the GB-Lbl copy the prices for the full score on the front cover and title page have been blocked out and on the title page '40.-' has been substituted in pencil. The revisions, in red and black ink, add the repeats in movements 1 and 2 and revise the scoring and dynamics etc. broadly in line with PF2. These have been effected very neatly – perhaps by Universal Edition.

The A-Wst copy does not have this sticker: the original publisher's details have been deleted in blue ink, and “UNIVERSAL-EDITION” rubber stamped; repeats have been added in this copy by hand in red ink in movements 1 and 2.

The UE Verlagsbuch indicates that the company received the remaining 114 copies of the Eberle/Weinberger edition of the full score on 17 November 1910; a new UE edition  was not issued until 1912, and the stickers were presumably added to the old stock for sale in the meantime. However the sticker on the US-NYp copy was obviously added rather later since the New York office was in existence c. 1921–8.

Wrapper: [Brown/black ink, non-autograph:] Mahler I Symphonie / Partitur / [red ink, autograph:] Corrigirt und / für die Neudruck richtig / befunden. / Gustav Mahler / [brown/black ink, non-autograph:] Korr. Exemplar 13/7/10

Analysis: [1-2] are not present; 3–47=I; 48–77=II; 78–94=III; 95–171=IV; [172] not present.

Printed from the plates of PF1 as revised for PS1, and used as the Stichvorlage for PF2. The sheets have been printed directly from the engraved plates, probably on a proofing press, on one side only, and pasted together to make up double-sided sheets; Mahler's corrections and revisions are chiefly in red ink (cf. the comparable Stichvorlage for the second edition of the full score of the Second Symphony). A non-autograph annotation on p. 3 reads: Neustich Pag. 163, 164, 165, 166, 167, 168, 169, 146. In fact rather more re-engraving was needed and new plates were prepared for pp. 146, 162–71 inclusive.

SW1b considers this to be a 'Second Edition': only this copy has been located and the text as printed in this copy was never published in this format. A comparable set of proofs, used as a Stichvorlage for a new edition of the full score, survives for the Second Symphony (APFpr). The new edition of the full score of the First Symphony was not published until 1912 (see below).

The revisions reflect Mahler's final thoughts on the work, after performances in New York on 16 and 17 December 1909. Two days later he wrote to Bruno Walter that he ‘was pretty pleased with that youthful effort!’ (GMSL, 346).

Title Page: [See facsimile. Black, within orange border:] ERSTE / SYMPHONIE / IN D DUR / VON / GUSTAV MAHLER / PARTITUR / [lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION / RÉSÉRVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN-LEIPZIG. /

Wrapper: [Lilac decorative border on light green] [In top shield:] ·UNIVERSAL–EDITION· / [in next shield:] № 2931 / [in main shield:] GUSTAV MAHLER / 1. SYMPHONIE / D DUR / RÉ MAJEUR D MAJOR / PARTITUR

Analysis: [1]=tp, [2]=blank, 3–47=I; 48–77=II; 78–94=III; 95–171=IV; [172]=blank.

Copies: A-Wigmg N/I/13 (with annotations by Harold Byrns = [B-DP3]); A-Wn MS18637-4°; GB-Lam 0090578 (Otto Klemperer Bequest; bound copy, no wrappers; a few conductor's markings, but not much used)

This edition was ordered on the same day as the second editions of the full scores of the Second and Third Symphonies (prints runs also of forty copies). The copy text was APF5; and new plates for pp. 146, 162–71 inclusive had to be engraved in addition to corrections and revisions to the remaining plates.

SWIb dates this edition to November 1910, but there is strong evidence that the relevant 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 EWZG Mahler publications that passed into UE ownership. If the reading of this entry adopted here is correct, then none of the annotations in [B-DP3] can be autograph, as suggested by SW1b.

According to the Verlagsbuch, this was the only new impression of the second edition of the full score before 1938. The paper quality is poor.  

PRINTED STUDY SCORES

Title Page: [See facsimile. Black, within orange border:] ERSTE SYMPHONIE / IN D-DUR / 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 & Cọ  Wien. / [black:] IN DIE “UNIVERSAL-EDITION” AUFGENOMMEN. / [left:] BUDAPEST / ROZSAVÖLGYI 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 & Cọ / 46, BERNERS STREET W.

Analysis: [1]=tp, [2]=blank, 3–47=I; 48–77=II; 78–94=III; 95–171=IV; [172]=blank.

Copies: A-Was SCO M15.1, M16 (2 copies); CND-Lu Mahler-Rosé Collection S3-MD27-809 (ex coll. Arnold Rosé; no back wrapper); GB-Lbl Hirsch M. 235 (no wrappers); GB-Lpc 2-9600333 (unbound); 2-9200234 (bound; ex coll. Josef Zmigrod (aka Allan Gray; 1902–73)

The original plates of PF1 were revised – i.e. the repeats were added in the first and second movements and the plate number changed to ‘6’ (to avoid duplication of ‘1’ assigned to the full score of the Second Symphony in the Hofmeister edition taken over by Erste Wiener Zeitungs-Gesellschaft/Weinberger in 1898) – and photographically reduced for printing by lithography in study score format. This revised state of the plates was never issued in full score format (though one such copy does exist – see APF5), and appeared only in study score format.

The Hofmeister entry is revealing: apparently a clear example of a pre-announcement by UE, since the first entry for this publication in the UE Verlagsbuch dates from the following month. In fact 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. However there is evidence that the early Verlagsbuch records may be incomplete (see the extended discussion on the  Universal Edition page for further details) so there may have been an unrecorded printing early in 1906.

UE publications rarely bear a price and Hofmeister always gives them in Marks. In 1907, ahead of the Linz première of the work, an advert gives the cost of a score (evidently the study score) as K 7.20 and of the piano duet arrangement as K 9.

The Verlagsbuch records that there were two further impressions of the study score before 1910 (when the rights in the work were transferred from the Erste Wiener Zeitungs-Gesellschaft to Universal Edition): in March 1907 and December 1909 (see below). No copy 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).

Arnold Rosé's copy listed above is unmarked except for some blue crayon annotations on p. 65.

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

No copy of this impression has been identified.

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

No copy of this impression has been identified.

Title Page: [Black, within orange border:] ERSTE SYMPHONIE / IN D-DUR / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN / UNIVERSAL-EDITION / AKTIENGESELLSCHAFT / WIEN-LEIPZIG.

This was the first issue following the transfer of the work from the Erste Wiener Zeitungs-Gesellschaft to Universal Edition in 1910. For some reason (perhaps an oversight) the plate number was not revised to correspond with the UE edition number, and the superseded text of the PS1 is retained.

According to the brief description in SW1b, this edition was a study score format reissue of PF2. No copies of such an edition have yet been identified, so a full description is not possible.

The Verlagsbücher record two further printings of the study score between May 1920 (possibly to capitalise an anticipated upswing in interest in the wake of the Amsterdam Mahler Festival of that year) and March 1922 (the last before the Anschluss). 

The UE Verlagsbücher records no further orders before 1945.

PRINTED ORCHESTRAL PARTS

Make-up of set: 43 parts (but see below): fl 1–4; ob 1–4; cl in E; cl 1–3; bsn 1–3; hn 1–7; hn (Verstärkung) 1–2; tpt 1–5; trb 1–4; tuba; timp 1–2; bd; cym; tr and tam–tam; hp; vn 1; vn 2; vla; vcl; db.

Copies: A-Wigmg N/I/22 (lacking strings, 5th tpt and bd.; tpt 2 = PO2); A-Wst U.E. Deposit, Mahler/G. 004(D) (lacking tpt 2 and strings - part of a mixed set marked up probably in connection with the preparation of  SWIa); N-Aconcertgebouw; US-NYph 440

The copy text was probably the most recent set of manuscript parts Mahler had available (see the notes to [CO1/CO2] for details of the lost manuscript part sets).

Vn 1 only bears the type-set heading: Mit Unterstützung der Gesellschaft zur Förderung deutschen Wissenschaft, Kunst und Literatur in Böhmen (only one of the parts in the US-NYph set actually bears this note; see the notes to PF1 for an explanation of its significance).  It is not clear what parts were originally issued for the Verstärkung at the end of the Finale. The additional hn, tpt and trb parts all have pl. no.7.

The Hofmeister entry does not specify that it refers to the parts, but as the score had been listed in January 1899 at a different price it seems probably that the April entry relates to the part set. Availability of the parts had been announced in a publicity flyer of November 1898 and they were also advertised in the issue of Musikhandel und Musikpflege for 16–22 April 1899.

No repeats marked in movements I and II.

The first desk Violin I (which would have been used by Arnold Rosé and Karl Prill) and the harp part (signed by the harpist, Roman Moßhammer (1868–1920)¹) have 18 November 1900,  the date of the Viennese première of the work, added in pencil at the end.

Used on 16. and 17.xii.1909 and with performers' timings.

N/I/21: Single copies of each string part bearing Mahler's stamp. The revisions (which include the insertion of repeat marks in red crayon) are not autograph.

N/I/28: Lacking string parts. The revisions are not autograph. The Fl 1 part has a scarcely visible note: Vorlage Exemplar auch in Partitur, korr. am 21/12[?] 1909.

Copies [no complete set located]: A-Wigmg N/I/22 (tpt II part only); A-Wst (strings only = SW1b [St4] [not located]); A-Wst U.E. Deposit, Mahler/G. 004(D) (tpt 2 and strings only - part of a mixed set marked up probably in connection with the preparation of  SWIa)

The copy text for the revised edition of the parts has not been identified: it may well have been APF5, also used as the copy text for PF2. 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 November 1910, and it was only in 1912 that new Vn 1 parts were printed, followed by Vn 2 in 1918, and the rest in 1920.

PRINTED ARRANGEMENTS FOR PIANO DUET

Title Page: [See facsimile for the second issue. Blue text within decorative border:] SYMPHONIE / № 1 / in / D-dur / von / GUSTAV MAHLER. / Mit Unterstützung der Gesellschaft zur Förderung deutscher Wissenschaft, Kunst und Literatur in Böhmen. / PARTITUR netto [design] CLAVIERAUSZUG à 4 / ms. netto. / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers für alle Länder. / Eingetragen in des Vereins-Archiv. Mit Vorbehalt aller Arrangements. / ·JOSEF WEINBERGER· / [left:] Leipzig / Querstrasse Nọ  13 / [rule] // [centre:] WIEN / Kohlmarkt 8 / [rule] // [right:] Paris / 40 Boulevard Haussmann / [rule] // Musikaliendruckerei v. Jos. Eberle & Cọ  Wien VII. / [beneath border:] 4148/98.

Wrapper: [front: dark blue on mottled blue; see facsimile for the second issue (text is identical to that of the title-page); back wrapper is blank]

Copies: A-Wn Mus MS67476-4º (ex coll. Anna Bahr-Mildenburg; bequest 1951); A-Wn F21.Berg.197 (Alban Berg's copy, with some analytical annotations in the first movement); D-B Mus. Km 52; F-Pgm MAH-pa1-001 (with dedication to Sylvain Dupuis, dated 1899); copy offered for sale by Antiquariat Stefan Krüger 2011 (with autograph dedication to Arnold Rosé: 'Lieber Arnold! Voderhand begnüge dich mit dem "Kupferstich" Gustav Mahler').

The unidentified arranger was Bruno Walter. No manuscript of the arrangement has been located, but Walter was hoping to show it to Mahler early in August 1898 (HLGII, 110). The edition contains no repeats, but does include a number of metronome markings. Availability of the arrangement was announced in a publicity flyer of November 1898 and the programme notes to the sixth performance, conducted at Dresden by Ernst von Schuch on 16 December 1898 state that the arrangement had been published in Vienna.

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

Copies: A-Wst M. 49354 (ex. coll. Wilhelm Legler); A-Wigmg N/I/42 (front wrapper blue on light brown; prices unaltered); GB-Lpc

Copies of PTp41 with a printed UNIVERSAL-EDITION label pasted over the publisher's imprint on the front wrapper and title page. 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. (For  discussion of the rather uncertain history of this issue, see the Universal Edition page.) 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.

The sale price (in Marks) of the arrangement as listed in Hofmeister was 50 Pfennig less than the first issue: on the GB-Lpc copy, the printed price as been modified lightly in pencil (illegible).

Wilhelm Legler (1875–1951) was an artist whose first wife, Margarethe (1884–1942), was Alma Mahler's half-sister.

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

Title Page: [See facsimile. Black, within orange border:] ERSTE / SYMPHONIE / IN D DUR / VON / GUSTAV MAHLER. / KLAVIERAUSZUG ZU VIER HÄNDEN / [in lower shield:] EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN / JOSEF WEINBERGER / ·WIEN·LEIPZIG·PARIS· / [below border, in orange:] Lith.v.Jos. Eberle & Cọ  Wien. / [black:] IN DIE „UNIVERSAL-EDITION” AUFGENOMMEN. / [left:] BUDAPEST / ROZSAVÖLGYI 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 & Cọ / 46, BERNERS STREET W.

Copies: GB-Lpc; two further copies may be copies of this issue: US-Wc M209.M22;  D-B Mus Km 52/2 [not seen].

Apart from the revised title page and new wrappers, this appears to be an unaltered reissue of the text of PTp41. It formed part of a batch of publications of Mahler's first four symphonies originally published  in 1898–1902 under the imprint of Josef Weinberger (nos 1–3) and Doblinger (no. 4) although the publishing rights were owned by the Erste Wiener Zeitungs Gesellschaft; in 1906 the the piano duet arrangements and the study scores (a format that had not previously been published) were reissued under the imprint of Josef Weinberger, but labelled 'In die Universal-Edition aufgenommen'. (There is still no indication on these copies that the arranger was Bruno Walter though the omission appears to have been an oversight, as Walter is credited in a 1906 UE advertisement.)

The identification of the copy described above as one of the copies of this third issue is conjectural, since there is no date code on the rear wrapper (as was normal in UE publications, certainly in later years), 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, the fact that the highest edition number listed in the advertisement on the rear wrapper is 907, suggest that this may not be a copy of the 1909 issue (see below).  

UE publications rarely bear a price and Hofmeister always gives them in Marks. In 1907, ahead of the Linz première of the work, an advert gives the cost of a score (evidently the study score) as Kr. 7.20 and of the piano duet arrangement as Kr. 9.

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

No copy of this impression has been identified, although one or more of the copies listed under PTp41b may be examplars of this impression.

Title Page: [See facsimile. Black, within orange border:] ERSTE / SYMPHONIE / IN D DUR / VON / GUSTAV MAHLER. / KLAVIERAUSZUG ZU VIER HÄNDEN / [in lower shield:] EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN / JOSEF WEINBERGER / ·WIEN·LEIPZIG·PARIS· / [below border, in orange:] Lith.v.Jos. Eberle & Cọ  Wien. / [black:] IN DIE „UNIVERSAL-EDITION” AUFGENOMMEN. / [left:] BUDAPEST / ROZSAVÖLGYI 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 & Cọ / 46, BERNERS STREET W.

Wrapper: [See facsimile. Standard floral mauve on blue] [upper shield:] ·UNIVERSAL-EDITION· / [next shield:] № 947 / [main:] GUSTAV / MAHLER / I. SYMPHONIE / RÉ MAJEUR D DUR D MAJOR / KLAVIER ZU 4 HÄNDEN / PIANO à 4 MS PIANO DUET / [lower shield:] BRUNO WALTER; [Back wrapper: adverts, with date code XII 1911; see facsimile]

An unaltered reissue of the music text of PTp41 on slightly larger paper than the third issue. The front wrapper of this issue identifies the arranger as Bruno Walter, the first to do so. However, neither the title page nor the plate number has been updated to reflect the change in publisher.

No copy of this impression has been identified, though the following copies may be of it or of later impressions: A-Wigmg N/I/31 (no  wrappers); GB-Lbl g.1128.gg.(7.) (lacking rear wrapper; on last page: Weag).

No copy of this impression has been identified.

No copy of this impression has been identified.

Title Page: Black, within orange border:] ERSTE / SYMPHONIE / IN D DUR / VON / GUSTAV MAHLER. / KLAVIERAUSZUG ZU VIER HÄNDEN / [in lower shield:]  „UNIVERSAL-EDITION” / WIEN–LEIPZIG

Wrapper: [Standard floral mauve on green] [upper shield:] ·UNIVERSAL-EDITION· / [next shield:] № 947 / [main:] GUSTAV / MAHLER / I. SYMPHONIE / RÉ MAJEUR D DUR D MAJOR / KLAVIER ZU 4 HÄNDEN / PIANO à 4 MS PIANO DUET / [lower shield:] BRUNO WALTER; [Back wrapper: adverts, with date code Nr. 24 X. 1923]

No copy of this impression has been identified.

No copy of this impression has been identified.

PRINTED ARRANGEMENTS FOR PIANO, TWO HANDS

SECOND MOVEMENT (excerpts); THIRD 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 with 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 [=bb. 1–67; 133–170]	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 E 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 (E 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:

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:] 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 E major]	1-68 [complete]
	18–20	II. Symphonie / Der Rufer in der Wüste / V. Satz	43–96+1 bar
	[21]	vol. 2 title page
	22–24	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

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 (E 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:

Why this piecemeal production sequence was adopted is not clear.

The UE Verlagsbuch records no further orders.

PRINTED ARRANGEMENTS FOR SALON or SMALL ORCHESTRA

Title Page: none (the wrapper takes over that function)

Wrapper: [Back text and border on red card:] [upper shield:] VINDOBONA COLLECTION / GUSTAV MAHLER / SYMPHONIE I / II. SATZ / IInd MOVEMENT / IIèME MOUVEMENT / ALLEGRO / A) SALON ORCHESTER | SMALL ORCHESTRA | SALON ORCHESTRE / Flauto, Oboe, Clarinetto I, Tromba I, Trombone, Batteria (Schlagwerk), Violino I (Direction), {2 Expl.} / Violino II (obligato), Viola, Cello, Basso, Harmonium, Piano (Direction) /  B) KLEINES ORCHESTER | FULL ORCHESTRA | ORCHESTRE COMPLET / Besetzung wie bei A (ohne 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 / [rule] / Arrangement E. Bauer / [rule] / V.C. 68 / UNIVERSAL-EDITION | WIEN | LEIPZIG | NEW YORK

Make-up of set: Pf (Direction), harm, vn 1 (Direction) [2 copies], vn II (Obligato), vla, vlc, cb, fl, ob, cl in A, tpt I in A, trb, tr/pk/cym (14 parts)

Dimensions: 310 x 238 (r=206 [pf p. 1])

Printing method: lithographic transfer from engraved plates

Hofmeister: ii.1928    Price: M 6,50 (small orchestra); M. 5,50 (salon orchestra)

Salon salon orch. sets: Print ordered: 25.x.1926 Copies received: 08.xii.1926 Print run: 1000

Extra parts (small orch.) – Print ordered: 25.x.1926 Copies received: 08.xii.1926 Print run: 300

Vn I (additional stock):  – Print ordered:25.x.1926 Copies received: 25.xi.1926 Print run: 500

Vn II (additional stock):  – Print ordered:25.x.1926 Copies received: 25.xi.1926 Print run: 100

Vla, vcl, db:  – Print ordered: 25.x.1926 Copies received: 25.xi.1926 Print run: 100

Pf  – (additional stock): Print ordered: 04.vii.1927 Copies received: 27.x.1927 Print run: 96

Edition number: V.C. 68    Plate number: V.C. 68

Copies: A-Wn MS16083-4°/68 (Salon Orchestra set only)

Vindobona-Collection, 68. 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).

As in the case of V.C. 70, all the parts bear the statement 'Copyright 1926 by Universal-Edition'. Although the paper used has no watermark, and the edition and plate numbers are the significantly higher might be construed as suggesting that the production of this material may have been rather later than that of the first three Mahler items in the collections (V.C. 12, 14, 15) and nearer the date of the Hofmeister entry, the UE Verlagsbuch indicates that this was not the case. The omission of any information about the printer is undoubtedly an oversight: it would have been Waldheim-Eberle.

The arrangement is a complete transcription of the movement, but the placing of rehearsal numbers does not correspond to the placing of rehearsal numbers in the original score. No full score is included: the piano part gives the most complete details of the musical textures.

Interpreting the UE Verlagsbuch entry is not straightforward, but it seems that in 1926 1000 complete sets of the salon orchestra version together with 500 sets of the extra parts needed for the small orchestra version, and additional parts for vn I, vn 2, vla, vcl, db (to supply replacements/duplicates) were supplied; and that the following year there was a reprint of the piano/director part (probably to supply replacements/duplicates). No further orders were recorded.

ABANDONED SYMPHONIC MOVEMENT: BLUMINE

Title Page: [See facsimile. Black on white:] Gustav Mahler / SYMPHONIC MOVEMENT / Blumine / [star] / Theodore Presser Company / Bryn Mawr, Pennsylvania / c Copyright 1967 by Theodore Presser Co. / Published in 1968 / International Copyright Secured / All Rights Reserved / Printed in U.S.A.

Copies: GB-Lpc

This movement was probably based on one number from Mahler's incidental music to a tableaux vivants version of Der Trompeter von Sakkingen; incorporated into the First Symphony as the second movement it was finally deleted c.1896. 

This publication takes AF2 as its source, so omits all of Mahler's later revisions in ACF2. The first modern performance – on its own – was at an Aldeburgh Festival Concert on 18 June 1967, conducted by Benjamin Britten from a dyeline copy of a copyist's manuscript derived from AF2. This dyeline score, with annotations by Britten, survives (GB-Lbl MS Mus. 102).  At the time of the performance Faber Music hoped to publish the movement (see US-NHub Osborn Collection, OSB MSS 7, Box 49, folder 1024), but it was eventually assigned to Theodore Presser.

At Guildford Cathedral on 8 December 2011 the RCM Philharmonic Orchestra, conducted by Peter Stark, gave what was probably the first performance of the revised version of Blumine since 1894, in an edition prepared by Paul Banks.