Scarce and unusual Vienna concert program, single sheet flyer, 28 January, 1900. Gustav Mahler conducting the Vienna Philharmonic Orchestra in performances of Bruckner's Symphony Number 4, Mendelssohn's Meeresstille und glückliche Fahrt, and Wagner's Kaisermarsch. The text for the Mendelssohn is printed on the verso. Original programs from Mahler's illustrious Viennese tenure are quite scarce. Folds, some toning and small tears around the edges, reinforced with what appears to be archival tape on the verso, else fine. 6 x 9.5 inches; 15 x 24 cm. Reference: Mahler's Concerts, page 147.
Mahler had made many cuts in the score and retouched the orchestration of the Bruckner. A reconstruction of that edition was recorded by Rozhdesvensky and the USSR Ministry Symphony Orchestra in 1985. Of particular and not unrelated note here, is the advertisement in the lower quarter for the upcoming performance of Mahler conducting Beethoven's 9th Symphony, which created a great scandal at the time.
On February 18, 1900, Mahler conducted the Wiener Philharmoniker at the Musikverein in Vienna at the annual Nicolaikonzert, in his own re-re-orchestration of Beethoven’s Ninth Symphony, his decades-long project to modernize the symphony through the incorporation of modern instruments and techniques, an attempt, according to him, to enhance the expression to Beethoven’s intentions, who he felt had not had an orchestra sufficiently suited to his musical imagination. Mahler's orchestration of the Ninth remains controversial and its critical reception has been mixed. His erasures and additions in the choir passages in the finale —which he doubled by other instruments, because he considered them otherwise not properly set in relief — leave even present-day listeners perplexed. But his intention was to bring out in this score the timbre clarity and the “melodischer Gang” (melodic ductus)—which were also the goal of Wagner’s indications in his own reworkings. Indeed, Mahler was following a very personal ideal of performance, pursuing a much broader and more nuanced concept of “Werktreue” (faithfulness to the original).
Mahler’s Retuschen of Beethoven’s “sacred text," however, aroused a savage response from critics, one calling it "scarcely recognizable" and a "forgery." In Deutsche Zeitung, a newspaper with anti-Semitic orientation, Theodor Helm describes Mahler’s performance of Beethoven’s “Wunderwerk” (miracle work) as alienating and too far removed from “wie es der Meister schrieb” (as the master wrote). Indeed, K.M. Knittel suggests that pervasive antisemitism in fin-de-siècle Vienna offers the best explanation for critics' reactions. Mahler was so taken aback by these criticisms that he decided to issue an explanatory note, responding to critics stressing that he had proceeded carefully, noting that he was not the first conductor to make changes to the Ninth, and stating that he had a "veneration" for Beethoven. He conducted a repeat performance on February 22, 1900 and his printed “defense” was distributed gratis at this second performance in which the overture was not included.
Scarce and unusual Vienna concert program, single sheet flyer, 28 January, 1900. Gustav Mahler conducting the Vienna Philharmonic Orchestra in performances of Bruckner's Symphony Number 4, Mendelssohn's Meeresstille und glückliche Fahrt, and Wagner's Kaisermarsch. The text for the Mendelssohn is printed on the verso. Original programs from Mahler's illustrious Viennese tenure are quite scarce. Folds, some toning and small tears around the edges, reinforced with what appears to be archival tape on the verso, else fine. 6 x 9.5 inches; 15 x 24 cm. Reference: Mahler's Concerts, page 147.
Mahler had made many cuts in the score and retouched the orchestration of the Bruckner. A reconstruction of that edition was recorded by Rozhdesvensky and the USSR Ministry Symphony Orchestra in 1985. Of particular and not unrelated note here, is the advertisement in the lower quarter for the upcoming performance of Mahler conducting Beethoven's 9th Symphony, which created a great scandal at the time.
On February 18, 1900, Mahler conducted the Wiener Philharmoniker at the Musikverein in Vienna at the annual Nicolaikonzert, in his own re-re-orchestration of Beethoven’s Ninth Symphony, his decades-long project to modernize the symphony through the incorporation of modern instruments and techniques, an attempt, according to him, to enhance the expression to Beethoven’s intentions, who he felt had not had an orchestra sufficiently suited to his musical imagination. Mahler's orchestration of the Ninth remains controversial and its critical reception has been mixed. His erasures and additions in the choir passages in the finale —which he doubled by other instruments, because he considered them otherwise not properly set in relief — leave even present-day listeners perplexed. But his intention was to bring out in this score the timbre clarity and the “melodischer Gang” (melodic ductus)—which were also the goal of Wagner’s indications in his own reworkings. Indeed, Mahler was following a very personal ideal of performance, pursuing a much broader and more nuanced concept of “Werktreue” (faithfulness to the original).
Mahler’s Retuschen of Beethoven’s “sacred text," however, aroused a savage response from critics, one calling it "scarcely recognizable" and a "forgery." In Deutsche Zeitung, a newspaper with anti-Semitic orientation, Theodor Helm describes Mahler’s performance of Beethoven’s “Wunderwerk” (miracle work) as alienating and too far removed from “wie es der Meister schrieb” (as the master wrote). Indeed, K.M. Knittel suggests that pervasive antisemitism in fin-de-siècle Vienna offers the best explanation for critics' reactions. Mahler was so taken aback by these criticisms that he decided to issue an explanatory note, responding to critics stressing that he had proceeded carefully, noting that he was not the first conductor to make changes to the Ninth, and stating that he had a "veneration" for Beethoven. He conducted a repeat performance on February 22, 1900 and his printed “defense” was distributed gratis at this second performance in which the overture was not included.