Symphony No. 4 – Printed Editions

APFpr1

FIRST EDITION, PROOFS WITH AUTOGRAPH CORRECTIONS – [Vienna: Erste Wiener Zeitungs-Gesellschaft]/Doblinger, 1901]

Facsimiles: pp. 67, 107 (Gustav Mahler, Symphony No. 4, ed. Hans F. Redlich (Mainz: Schott/Eulenburg, 1966)), xxix-xxx.

Select bibliography: SWIVb (=source B); B&HIV, 141, 146 (= source BP0GM1); see also Gustav Mahler, Symphony No. 4, ed. Hans F. Redlich (Mainz: Schott/Eulenburg, 1966), xxvi.

Printed directly from the plates on both sides of single sheets; bound but the current binding not earlier than 16 July 1911 (date of binding material clearly visible). It is possible that this score was used by Mahler in conjunction with his read-through with the Vienna Philharmonic orchestra on 12 October 1901.   If so, this provides a terminus post quem for the preparation of the copy.

In at least one instance Mahler's revision posed a challenge for the engravers. As the facsimile of p. 67 reveals, one of Mahler's revisions was the doubling of the double-bass part by contrabassoon in b. 246–51 of the second movement: he notated the new contrabassoon part in ink on a hand-drawn stave above the top system of p. 67 (bb. 246–50), and on the empty printed contrabassoon stave at the start of the second system (bb. 251–52). The outline of the plate is visible on the facsimile and it is clear that addition of a new stave for the contrabassoon, between those for clarinets and harp, in the upper system, would have been impossible. The expedient adopted was to designate the bottom stave of the system Ctrfag u. Cb. / unisono (see also the further discussion of this under PS1 below).

Title Page: [See facsimile: brown on cream] SYMPHONIE / in / G Dur № 4 / von / GUSTAV MAHLER. / [scroll] // [left:] Partitur...netto / Orchester-Stimmen...netto [blank] // [right:] Clavierauszug à 4 / ms | arrangiert von J.V.von Wöss netto // [centre:] Sopran Solo: “Wir geniessen die himmlischen Freuden” / (“Des Knaben Wunderhorn”) für Gesang und Klavier. netto / [rule] / Aufführungsrecht vorbehalten. Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements. / [in border:] WIEN, LUDWIG DOBLINGER. / [below border:] (Bernhard Herzmansky) / I. Dorotheergasse 10. / Deposé à Paris. London, Ent. Sta.Hall. / Leipzig K.F.Köhler. / [double rule] / Musikaliendruckerei v.Jos. Eberle & Cọ, Wien.VII.

Wrapper: [As title page, but brown on mottled green]

Analysis: [1]= tp; [2]=Orchester-Besetzung; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126]=blank

Dimensions: 334 x 255 (r = 236)

Printer: Stich der Musikaliendruckerei v. Jos. Eberle & Cọ, Wien.VII. [tp]; Stich und Druck von Jos. Eberle & Cọ, Wien VII. [p. 3]

Printing method: lithographic transfer from engraved plates

Hofmeister: i.1902    Price: Mk 30 *n.

Edition number: none    Plate number: [2]=G.M. 31; 3–125=31

Copies: A-Wigmg N/IV/18, N/IV/19; D-B 174821 (not seen); GB-Lbl h. 3965a.(2) (bound copy, no wrappers, red stamp: 18 FE 1905); GB-Lbbc 9349; GB-Lpc (bound copy, ex coll. Fritz Müller); US-STu MLM 632 (ex coll. Richard Specht); US-Wc M1001.M21 No.4; US-NYp JMG 85-546; US-NYpm 113741 (James Fuld Collection); US-NYnypo 2175 (Leonard Bernstein's copy: [This has manuscript revisions reflecting both the 1905 revisions and Mahler's final revisions of 1911 so may need a separate note.]

Registered with the Verein der deutschen Musikhändler on 4.i.1902. It was advertised, together with the piano duet arrangement and the vocal score of the last movement in the Neue Freie Presse on 19th January 1902:

Fig. 1: Early advert in the Neue Freie Presse

Mahler sent a copy of this edition (together with piano arrangements of other works) to William Ritter on 31 December 1901 (postmarked 2 January 1902) (GMUB, 145; GMUBE, 141).

Mahler's own copy of the first edition has not been has not been traced.

Mahler's relatively sparse and hasty annotations are mainly concerned with articulation, scoring and tempo; Mengelberg's notes, as always, are of considerable interest in both practical terms and interpretative insight.

A-Gk Sign. 272

The autograph revisions were entered in a copy of the score used for the first performance of the work in Steiermark, conducted by Richard Wickenhauser in Graz on 3 November 1905; these anticipate to some extent those incorporated in PS1 (1906).

No other copies of PF1 which include Mahler's 1905 revisions written in by hand have been traced, so it remains unclear to what extent (if any) any existing stock of PF1 was updated to bring the text into line with that of PS1, prior to 1912 (when PF2 was published). However, if the full score was reprinted in the period 1906–1911 the new copies would presumably have included Mahler's 1905 revisions. For information relating to one currently unavailable copy that might provide important evidence, see PF1a below.

US-NYnypo 2175 (ex coll. Leonard Bernstein)

The copy incorporates two sets of undated ink revisions that appear to have been made by the same person.  A note on the title page seems unambiguous:

Fig. 2.

Facsimile of the handwritten note on the copy of PF1 in the NYPO collection

Although the source of those entered in green is ostensibly identified precisely (a new printing of the full score was ordered in November 1920 (PF2b)), the source of the red revisions, is not. Moreover there are other annotations in the score in different hands, some evidently of a practical nature (e.g. bar numbers), but others that, like the ink corrections, help to bring the score more in line with PF2 and, more crucially, with Mahler's last revisions in APFpr2. Only an employee of UE or Waldheim-Eberle would have had access to that score and also the date of the PF2b order, so the original ink layers may have been prepared (rather haphazardly) after Erwin Stein rediscovered APFpr2 at the UE offices in the late 1920s (ESUA; ESUAE).

Copies: copy offered for sale in Catalogue 65 of Musikantiquariat Dr Ulrich Drüner (2009), no. 44 (with a facsimile of the title page).

A copy of PF1, with “UNIVERSAL-EDITION” stickers over the Doblinger imprint on the title page and wrapper. The UE Verlagsbuch indicates that the company received what were presumably the remaining 204 copies of the Eberle/Doblinger 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. The font used for the sticker is ornately serifed: most Universal-Edition paste-overs use a sans-serif font, but for another example of the type used on this copy, see Symphony No. 2, PF1c (with facsimile). The catalogue description makes no reference to revisions entered in black ink (see CPF1a below), but nonetheless the inaccessibility of this copy leaves open the question of its place in the transmission of Mahler's evolving text.

On both the front wrapper and the title-page the publisher's imprint has a UNIVERSAL-EDITION sticker (gold lettering (sans serif) on black) pasted over it.

This copy has three layers of markings: neat black ink revisions (in some cases, on fragments of manuscript paper pasted over the original text) that bring the music text into line with PF2; and blue pencil and red pencil conductor's markings.

The revisions, the majority of which occur in the first two movements, have been made with care and only four of the new readings found in PF2, were not incorporated (presumably an oversight):

The circumstances under which this careful revision was undertaken are unclear, but two scenarios come to mind:

a) That they were incorporated in-house by either Doblinger (prior to the score's receipt by Universal-Edition as part of the batch delivered in November 1910 (see CPF1a)),  between late 1910 (by which time Mahler's 1910 revisions were in the hands of UE (see APF3)) and mid-1912 when the first printing of PF2 was ordered. The contract covering UE's acquisition in 1910 of the rights to those works by Mahler originally assigned to EWZG required that prior to the publication of new editions of the first four symphonies, existing scores or parts offered for sale or hire by UE had to be revised in black ink to conform with the revised copies Mahler had supplied.

b) That these revisions were transferred from a copy of PF2 by or for the owner of the score (presumably a conductor).

I am most grateful to Professor Franklin for bringing this score to my attention.

SWIVb considers this to be a 'later edition', but it is impossible to identify this source from the wholly inadequate description that is provided:

None of the source descriptions in SWIVb give any details of size, so this could be a reference to the first edition of the study score (PS1), which is otherwise not alluded to in the Editorial Report. On the other hand, given the carelessness in evidence here, it is possible that this is a reference to a copy of PF1a; if so, this would suggest that some copies in full score format were printed after the plates had been revised during the production of the study score, and that the copy described was part of such stock delivered to Universal-Edition, and provided with a UE label to cover the original imprint.

[Need to have a look at the text of PF1 and PS1 (see the sample list below) to identify differences, and then look at copies with the UE paste over on the wrappers, since it is possible that Doblinger issued a second batch after the plates had been revised for PS1.]

Copy: A-Wn L17.IGMG.9. Mus R/Leihgabe17/9 

Select bibliography: SWIVb = D; B&HIV = BP2GM5) pp. 141, 146

Previously A-Wigmg, N/IV/112, this Correktur-Partitur was created by pulling single-sided proofs from the original plates (size (approx): 295 x 226mm (r=231)) as modified for PS1 and pasting them together in pairs to make double-sided sheets; these were then stitched together and bound in black-covered boards. This must have seemed a sensible way of proceeding, as it ensured that Mahler's working text was the most up-to-date printed version of the score. (The muddle that could be caused when the composer and publisher worked from an already superseded score is well illustrated by the history of the second edition of the full score of the Fifth Symphony.)

Previously A-Wigmg, N/IV/116, this set of proofs prints arrived in New York in early February 1911: Mahler acknowledged its receipt on 10th, a few days before the onset of his final illness.³ It embodies the revisions made in APF3, with further autograph corrections and revisions made by Mahler during and after his last rehearsals and performances of the work January–February 1911. The sheets are contained in a folder (presumably provided by the IGMG) with a label, annotated by Erwin Ratz: Mahler, IV. Symphonie (letzte Fassung); the two boards are now separated.

The proofs are made up of sheets printed from plates on one side only and glued together in pairs and then stapled together in four gatherings (some double sheets are now detached). Brown paper sheets were included in the first and fourth gatherings to form an outer cover. The front cover – now detached – has a red ink annotation by Alma Mahler: Director Hertzka / c/o Universal-Edition / Wien I / Wipplingerstrasse 32. Each double sheet is rubber-stamped: DER UNIVERSAL-EDITION A.G. ARCHIV. Mahler's corrections are in red crayon and red ink.

The revisions made by Mahler in APF3 had involved major changes to plates, most notably those for pp. 19 and 41, which had to be partially re-engraved, and the plate to p. 99, which was replaced. No doubt to the exasperation of Wöss and his engravers, in a few instances Mahler restores a reading he changed in APF3 (e.g. I, b. 10, bsn;  b. 44, hns 2/4; II, b. 206–7, va; III: b. 277, bsn I, II; bb. 316–7, fl 3–4, hn, cb). For a complete list of Mahler's revisions made in this copy, see JZMF, 167–81.

The proofs were sent to UE by Alma Mahler after Mahler's death, but for some reason, and despite the fact that Erwin Stein (an employee of the firm) published a short report on these final revisions in 1929 (see ESUA)⁴  they were not incorporated into any reprint of the score before the IGMG edition of 1963. See also CPF2 below.

Proofs incorporating the revisions made in APF3 [?] with further corrections and revisions by Mahler. The wrapper bears the annotation: corrigiert nach den Korrekturen von G. Mahler definitiv Vorlage.

April 2014: This is NOT part of the loan to A-Wn and has not been seen. It needs to be collated with CPF2.

Title Page: [Black, within orange border:] VIERTE / SYMPHONIE / G DUR / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN.-LEIPZIG

Wrapper: [front wrapper: lilac decorative border on light green, text in black] [In top shield:] ·UNIVERSAL–EDITION· / [in next shield:] № 2944 / [in main shield:] GUSTAV MAHLER / IV. SYMPHONIE / G DUR / [left:] SOL MAJEUR [right:] G MAJOR / PARTITUR [back wrapper, black text on light green:  advert for works by Mahler published by UE]

Copies: GB-Lbl Hirsch M. 999 (bound copy, with wrappers); GB-Su MS22, xx M 302.M2 (ex coll. Anna Mahler); US-NYph 443 (though this may exhibit bibliographic differences: check); .

This edition transmits Mahler's penultimate version of 1910, as embodied in APF3, not his final revisions from 1911. It was this edition that was reprinted by Boosey & Hawkes in 1943 (see ??), and by Dover in 1989.  [Incorporate facsimiles]

The GB-Lpc copy listed under PF2b may in fact be a copy of PF2a.

Title page: [See facsimile: black, within orange border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER. / PARTITUR / [in lower shield:] AUFFÜHRUNGSRECHT VORBEHALTEN / DROITS D'ÉXÉCUTION RÉSERVÉS. / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN - LEIPZIG

Wrapper: [See facsimile: lilac decorative border on light green, text in black] [In top shield:] ·UNIVERSAL–EDITION· / [in next shield:] № 2944 / [in main shield:] GUSTAV MAHLER / IV. SYMPHONIE / G DUR / SOL MAJEUR G MAJOR / PARTITUR / PARTITION  SCORE

Copies: A-Wn MS18640-4º (Pflichtexemplar, listed: Pfl. (K.) Z:895/31); GB-Lam 0090580 (bound copy, no wrappers, Otto Klemperer Collection; conductor's annotations (not all by Klemperer) [re-examine this]; GB-Lpc (ex coll. Städtische Orchester Magdeburg; bound and lacking rear wrapper: this may be a copy of PF2a); US-NYph 6193 (lacks wrappers, so date of publication uncertain; conductors' annotations).

The UE Verlagsbuch records no further orders of the full score.

Copies: A-Wn L17.IGMG.10 R/Leihgabe 17/10

Previously A-Wigmg, N/IV/113, this score is bound in a thick, blue-card cover with a hand-written title on the front: Gustav Mahler / [centre:] IV. Symphonie // [right:]  (nach Korrekturen / von G. Mahler) // [centre:] Partitur / (Ausgabe letzter Hand); it is stamped at the foot of the cover UNIVERSAL-EDITION / WIEN-NEW YORK.

This is a complete proof copy (pp. [1]–125); not pulled directly from the plates) of the text of the second edition, with manuscript annotations and paste-overs in black ink (possibly by Erwin Stein) incorporated almost all of the corrections and revisions Mahler made in January–February 1911 (APF3). In addition there are a few conductor's annotations in pencil and brown and red crayon.

Proofs incorporating the revisions made in APF3 [?] with further corrections and revisions by Mahler. The wrapper bears the annotation: corrigiert nach den Korrekturen von G. Mahler definitiv Vorlage.

April 2014: This is NOT part of the loan to A-Wn and has not been seen. It needs to be collated with CPF2.

Title page: [See facsimile: black, within orange border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER. / PARTITUR. / [In lower shield:] EIGENTHUM DES VERLEGERS / AFFÜHRUNGSRECHT VORBEHALTEN / [motif]·WIEN·[motif] / LUDWIG DOBLINGER / (BERNHARD HERZMANSKY) / [below border, left, in orange:] Lith.v.Jos. Eberle & Cọ Wien. // [black:] IN DIE „UNIVERSAL-EDITION” AUFGENOMMEN. / [left:] BUDAPEST / RÓZSAVÖLGYI ÉS TÁRSÁNÁL / [rule] / POZSONY / STAMPFEL KÁROLYNAL // [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: [Front wrapper: violet shield design on green, text in black:] [in upper shield:] ·UNIVERSAL-EDITION· / [lower small shield:] № 952 / [main shield:] GUSTAV / MAHLER / IV. SYMPHONIE / SOL MAJEUR - G DUR - G MAJOR / PARTITUR [back wrapper: none seen]

Analysis: [1]=tp; [2]=Orchester-Besetzung; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126]=blank

Dimensions: 237 x 162–5 (r = 156) [from bound copies]

Printing method: photographically reduced lithographic transfer from engraved plates

Hofmeister: i.1906    Price: Mk 6 n.

Edition number: 952    Plate number: [2]=G.M.31; 3–125=31

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

Copies: A-Was SCO M17 (lacks back wrapper; has a few annotations by Schoenberg); A-Wn MS6902-4° (not examined); GB-Lbl Hirsch M. 238 (bound copy, lacking back wrapper; signed by Hirsch on the title page); GB-LFelixA (current location uncertain); GB-Lpc (2 copies: 1 ex coll. Frederick Sternfeld; both bound and lacking back wrappers); D-B Mus. Km 62 (not seen)

Neither the printer's copy used in the preparation of this publication, nor corrected proofs have come to light. This score was a revision of the text of PF1, and subsequently formed the basis of the more extensively revised text that appeared as PF2.

As the following sample listing of revisions made on the first ten pages of score demonstrates, the changes made are not insignificant:

Page	Bar	Instrument	Reading: PF1	Reading: PS1
3	1	Tutti	Heiter, bedächtig. Nicht eilen	Bedächtig. Nicht eilen
3	4	vn I	beat 1: 2 quavers	beat 1: quaver, semiquaver, semiquaver rest
4	8	vla, vcl, db		– added to all all dotted quavers
4	9	hn 1	2 quavers	quaver, semiquaver, semiquaver rest
4	10	hn 1		mf and   added
4	11	hn 1		p added
5	18	vn 1	beat 1: 2 quavers	beat 1: quaver, semiquaver, semiquaver rest
5	18	vcl	beat 1: 2 quavers	beat 1: quaver, semiquaver, semiquaver rest
5	25	vn II		arco added
5	25	vla, vcl, db	beat 3½: superfluous	beat 3½: no
6	27, 29	vn I	fp	f
6	27, 29	vn II, vla, vcl, cb	beat 3: f	beat 3: mf
6	30	hn 1–4 fl 1–2, ob 2–3		omitted added
6	31	hn 1–4 fl 1–4, ob 1–3 cl 1–3	Schalltrichter auf.	omitted added omitted
7	47–48	cl 1–3	slurs over groups of 3 or 4 quavers	long slurs omitted
8	58	Tutti	Sehr gemächlich. (Langsam.)	Plötzlich langsam und bedächtig. (Molto meno mosso.)
	58	bsn 1	p	pp
9	65	ob. 2		added
9	66	Tutti	Heftig.	Etwas eilend
9	66	ob 1–2, cl 1–2, bsn 1–3, strings		added
10	72	db	Solo	1. Solo
10	77	vn I		semi-quaver rest added
10	78	ob 1, bcl, bsn 1		semi-quaver rests added
10	80	Tutti		Fliessend. added
11	82	vl II		arco added
11	90	vcl	[last quaver:] p	[last quaver:] f
12	91	fl 1–4		semi-quaver rests added
12	93	fl 1, 3–4		semi-quaver rests added
12	91–93	vcl		dynamics revised
12	100–101	vcl		semi-quaver rests added

A notable change concerns bb. 246–52 in the second movement (p. 67; see also APFpr1): although the contra-bassoon part originally in the first two bars of  the second system of the page has been removed, the label Ctrfag u. Cb. / unisono remains as the label for the bottom stave of the upper system. Mahler may have deleted the contrabassoon part only in bb. 251–2, but a more likely explanation may be that he decided to eliminate the contra-bassoon doubling entirely, and he and/or the editors at EWZG overlooked the need to revise the label, which was subsequently retained in PF2 and other editions, including SWIVb. [Look at APO]

Details of the negotiations between EWZG, Weinberger and Universal-Edition for the licensing of the score (in study score format) and the piano duet arrangement to UE have not been traced, but were presumably concluded in 1905. When Mahler undertook the revisions to the score is not known and, unhelpfully, the UE Verlagsbuch fails to record the first print order (presumably because it was initiated internally by EWZG - see the Universal Edition page for further details). However, by mid-December 1905 UE had advertised their marketing of the study scores of the first four symphonies in the  Neue Zeitschrift für Musik:

Fig. 3

Neue Zeitschrift für Musik 72/51 (13 December 1905), 1079

Josef Stritzko, the director of the music department at EWZG sent Mahler a copy of the new study score on 5 January 1906, and the composer was duly impressed by the publication (GMBsV, 114–15).

None of the copies listed above can be unequivocally associated with the first impression, but all must pre-date the transfer of all rights in the work to Universal-Edition in 1910.

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

Print ordered: 09.xi.1906    Copies received: 10.xi.1906   Print run: 250

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

Print ordered: not recorded    Copies received: 27.xii.1907   Print run: 200

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).

Hofmeister: no entry

Print ordered: 15.xii.1913    Copies received: 23.i.1914   Print run: 200

This was the first new impression of the study score following the transfer of the rights to the work to Universal-Edition in 1910.

Hofmeister: no entry

Print ordered: 28.ii.1918    Copies received: 20.ix.1918   Print run: 494

Print ordered: 13.xi.1919    Copies received: 07.v.1920   Print run: 494

It was presumably ordered in anticipation of the Amsterdam Mahler Festival in May 1920 (in which case the delivery was rather late).

Print ordered: 23.vii.1920    Copies received: 07.i.1921   Print run: 494

The UE Verlagsbuch records no further orders of the study score: in 1925 a new miniature score edition was issued by Universal-Edition/Wiener Philharmonischer Verlag.

Title page: [black, within orange border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] / EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN. /  „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN. – LEIPZIG.

Wrapper: [front wrapper, lilac design on green/grey background, text in black:] [upper shield:] ·UNIVERSAL-EDITION· / [small shield:] № 952 / [within main space:] GUSTAV / MAHLER / IV. SYMPHONIE / SOL MAJEUR – G DUR – G MAJOR / PARTITUR; [rear wrapper is blank]

Analysis: [1]=tp; 2=Besetzung des Orchesters; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126]=blank.

Dimensions: 245 x 174 (r = 156)

Printing method: photographically reduced lithographic transfer from engraved plates

Hofmeister: no entry

Edition number: U.E. 952    Plate number  U.E. 952

Copies:  US-NYp *MTA (rear wrapper not present)

The form of title-page reflects the transfer of this work from EWZG/Doblinger to Universal Edition in 1910.  The UE Verlagsbuch records three impressions of the study score between 1914 and 1921 (all listed below). Delete this in due course

Study Scores: Unassociated Copies of the First Edition

A number of bibliographically distinct Universal-Edition impressions of the study scores of the Fourth Symphony have been examined that cannot be plausibly associated with a particular UE order. These are described below. Those that refer to both the old EWZG/Doblinger plate number for the first edition of the full score, G.M. 31, in association with the UE Edition number for the study score, U.E. 952, were perhaps early in date, and have been listed first.

Title page: [black, within orange border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] / EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN. /  „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN – LEIPZIG

Wrapper: none present

Analysis: [1]=tp; 2=Orchester-Besetzung; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126]=blank.

Dimensions: 238 x 166 (r = 157)

Printing method: photographically reduced lithographic transfer from engraved plates

Edition number: U.E. 952    Plate number:  p. 2: G.M. 31; p. 3: 31 / Universal-Edition Nr. 952; pp. 4, 6: 31 /  U.E. 952; pp. 5, 7–125: U.E. 952

Copies: A-Was SCO M15.2 (bound copy, no wrappers)

This copy cannot be unequivocally associated with any of the documented impressions.

PS1B

FIRST EDITION, UNIDENTIFIED ISSUE – Vienna: Universal Edition, [n.d.]

Title page: [black, within orange border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] / EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN. /  „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN. – LEIPZIG.

Wrapper: [front wrapper, lilac design on green/grey background, text in black:] [upper shield:] ·UNIVERSAL-EDITION· / [small shield:] № 952 / [within main space:] GUSTAV / MAHLER / IV. SYMPHONIE / SOL MAJEUR – G DUR – G MAJOR / PARTITUR

Analysis: [1]=tp; 2=Orchester-Besetzung; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126]=blank.

Dimensions: 250 x 178 (r = 157)

Watermark: none

Printer: none identified

Printing method: photographically reduced lithographic transfer from engraved plates

Edition number: U.E. 952    Plate number:  p. 2: G.M. 31; p. 3: 31 / Universal-Edition Nr. 952; pp. 4: 31 /  U.E. 952, pp. 5–125: U.E. 952

Copies: A-Was Archiv (unbound copy, lacks back wrapper; rubber stamped (p. 3): ARCHIV / des Vereines für musikalisches Privataufführungen / in Wien.)

On the title page this copy has a handwritten note in green pencil: Erwin Stein's / arrangement for / Kammerorchester. The score contains various pencil annotations which may well relate to that arrangement, but it also contains neat, red-ink revisions to the text. These probably reflect Stein's knowledge of Mahler's late (and at the time of this copy, unpublished) revisions.

Title page: [black, within orange border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] / EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN. /  „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN. – LEIPZIG.

Wrapper: [front wrapper, lilac design on green/grey background, text in black:] [upper shield:] ·UNIVERSAL-EDITION· / [small shield:] № 952 / [within main space:] GUSTAV / MAHLER / IV. SYMPHONIE / SOL MAJEUR – G DUR – G MAJOR / PARTITUR; [rear wrapper is blank]

Analysis: [1]=tp; 2=Besetzung des Orchesters; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126]=blank.

Dimensions: 245 x 174 (r = 156)

Printing method: photographically reduced lithographic transfer from engraved plates

Edition number: U.E. 952    Plate number  U.E. 952

Copies:  US-NYp *MTA (rear wrapper not present)

Title page: [See facsimile: black, within orange border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / PARTITUR / [in lower shield:] / EIGENTHUM DES VERLEGERS. / AUFFÜHRUNGSRECHT VORBEHALTEN. /  „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN. – LEIPZIG.

Wrapper: [See facsimile: front wrapper, lilac design on green/grey background, text in black:] [upper shield:] ·UNIVERSAL-EDITION· / [small shield:] № 952 / [within main space:] GUSTAV / MAHLER / IV. SYMPHONIE / SOL MAJEUR – G DUR – G MAJOR / PARTITUR; [rear wrapper is blank]

Analysis: [1]=tp; [2]=Besetzung des Orchesters; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126]=blank.

Dimensions: 250 x 180 (r = 156)

Printing method: photographically reduced lithographic transfer from engraved plates

Edition number: U.E. 952    Plate number  U.E. 952

Copies: GB-Lpc 2-9600334 (unbound copy, signed by Vespasian Battan [1903–1972] and dated 27 Dez. 1921); GB-Ob Mus. 221 d.368 (bound and trimmed copy; acquisition date (p. [2]) 3 Feb 1968).

The quality of the printing in this copy is noticeably less consistent than most others that have been examined.

Title page: HAWKES POCKET SCORES / GUSTAV MAHLER / SYMPHONY No. 4 / G MAJOR / $3.50 / BOOSEY & HAWKES / LTD / [column 1:] LONDON / 295 Regent Street // [column 2:] NEW YORK / 43 West 23rd Street // [column 3:] SYDNEY / 250 Pitt Street // [column 4:] TORONTO / 10a Shutter Street // [column 5:] CAPETOWN / 84 Loop Street [see also the facsimile].

Wrapper: [Front wrapper: dark blue printing on flecked light grey card (often browned in surviving copies):] HAWKES POCKET SCORES // [text reversed out in dark blue rectangular panel:] GUSTAV MAHLER / SYMPHONY NO. 4 / G MAJOR // BOOSEY & HAWKES / [l.h.:] No. 581; [fwv, bwr: blank]; [back wrapper, verso: listing of works by Mahler published by Boosey & Hawkes - see facsimiles]

Analysis: [1]=tp; [2]=blank; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126–128]=blank

Dimensions: 267 x 175 (r = 162)

Printing method: photographically reduced lithographic transfer from engraved plates of PF2

Edition number: 581    Plate number: none present

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

Copies: GB-Lpc 2-9200237

The date of this edition is established by the footnote on p. 3: Revised Edition Copyright 1943 by BOOSEY & HAWKES, INC. It is a photographically reduced printing (on pages of approximately the same format as the study scores printed in Vienna (1906–21)) of the text of PF2, and thus embodies the penultimate revision of the score undertaken by Mahler. The appearance of this publication, issued by the American branch of a British-owned music  publisher, reflects in several ways the impact of the Anschluss (March-April 1938) on international music trade. No printer is identified, but it seems likely that the publication was prepared and printed in the USA. [Deal with this in the separate B&H essay].

The copy described has a loose insert, a seven page leaflet containing an introductory essay (printed in English and Spanish) by Fritz Stiedry (1883–1968). He was a Viennese conductor (who may have known Mahler) and by the late 1930s was working in New York, where he gave the first performance of Schoenberg's Second Chamber Symphony.

Copies: none located

The possibility that prior to 1952 Boosey and Hawkes Inc. had printed and offered the score for sale at the lower price of $3.00 and lacking the back wrapper adverts is suggested by the issue described below. [However the possibility that PS2a predates the copy described above cannot be discounted]

Title page: HAWKES POCKET SCORES / GUSTAV MAHLER / SYMPHONY No. 4 / G MAJOR / $3.00 / BOOSEY & HAWKES / LTD / [column 1:] LONDON / 295 Regent Street // [column 2:] NEW YORK / 43 West 23rd Street // [column 3:] SYDNEY / 250 Pitt Street // [column 4:] TORONTO / 10a Shutter Street // [column 5:] CAPETOWN / 84 Loop Street.

The lower part of the page, containing the original publisher's imprint (transcribed above) is covered by a pasted-on typeset label that reflects the post-WWII reacquisition of the copyright by Universal-Edition (Fig. 4):

Fig. 4a

This new copyright situation is reinforced by a rubber-stamp at the foot of p. 3 of the score (Fig. 4b):

Fig. 4b

Wrapper: [Front wrapper: dark blue printing on flecked light grey card (often browned in surviving copies):] HAWKES POCKET SCORES // [text reversed out in dark blue rectangular panel:] GUSTAV MAHLER / SYMPHONY NO. 4 / G MAJOR // BOOSEY & HAWKES / [l.h.:] No. 581; [fwv, bwr: blank]; [bwv: blank except for a logo:] published by Boosey & Hawkes - see facsimiles]

Analysis: [1]=tp; [2]=blank; 3–46=I; 47–75=II; 76–99=III; 100–125=IV; [126–128]=blank

Dimensions: 267 x 175 (r = 162)

Printing method: photographically reduced lithographic transfer from engraved plates of PF2

Edition number: 581    Plate number: none present

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

Copies: GB-Lpc 2-9200237

This edition is a photographically reduced printing (on pages of approximately the same format as the study scores printed in Vienna (1906–21)) of the text of PF2, and thus embodies the penultimate revision of the score undertaken by Mahler. The appearance of this publication, issued by the American branch of a British-owned music  publisher, reflects in several ways the impact of the Anschluss (March-April 1938) on international music trade. No printer is identified, but it seems likely that the publication was prepared and printed in the USA. [Deal with this in the separate B&H essay].

The copy described has a loose insert, a seven page leaflet containing an introductory essay (printed in English and Spanish) by Fritz Stiedry (1883–1968). He was a Viennese conductor (who may have known Mahler) and by the late 1930s was working in New York, where he gave the first performance of Schoenberg's Second Chamber Symphony.

[This description rests on the assumption that the printed copy was part of a recent impression, although

Edition number: [952]     Plate number: [U.E. 952 W.Ph.V. 214]

Print ordered: 07.x.1925    Copies received: 04.xi.1925   Print run: 497

Hofmeister: [no entry]    Price: [M 6]

In 1925 a completely re-engraved new edition was prepared by UE and the Wiener Philharmonischer Verlag (W.Ph.V.) in reduced format (185 x 135). The copy text appears to have been PF2 (i.e. not APFpr2), but with new editorial interventions (e.g. in the first movement, bar 3).¹ In addition, the house style for the Wiener Philharmonia Verlag included an insistence that all German tempo markings were also printed in Italian, and all other instructions were given only in Italian translation – resulting, despite the best efforts of the engravers, in an often cluttered (though useable) score. In the last movement the text is given in German and English. The same plates were used for the parallel issues, and bear double plate numbers (of which the UE number retains that of the study score (PS) despite the fact that the printed text had been newly originated).⁵

According to the Verlagsbuch entry, three impressions of the miniature score were printed between 1925 and March 1938, a total of 2988 copies split between the two publishers (all listed below). Early versions of the forward survive: proofs of the German text by Friedrich Saathen; a typescript of the English translation by Eugene Hartzell; and the manuscript of the French translation, signed S.B. (A-Wst UE Deposit Mahler/G. 015(D)).

Edition number: [214]     Plate number: [W.Ph.V. 214]

Print ordered: 07.x.1925    Copies received: 04.xi.1925   Print run: 500

Hofmeister: [no entry]    Price: [M 6]

See the notes to PM1ue.

Title page: VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / [decorative device] / Aufführungsrecht vorbehalten. — Droits d'exécution réservés. /  UNIVERSAL-EDITION /  WIEN — LEIPZIG / [below border:] Printed in Austria

Wrapper: [Front wrapper, dark green on light green within dark green rectangular border]  GUSTAV MAHLER / IV. SYMPHONIE / SOL MAJEUR  G DUR  G MAJOR / PARTITUR / [lyre logo] / UNIVERSAL-EDITION / No. 952; [Rear wrapper: dark green on light green; Advert: Studienpartituren moderner Kammermusik / und Orchesterwerke in der Universal-Edition; date code: Nr. 65 X.1927]

Analysis: [i]=blank; [ii]=Portrait photograph of Mahler (Dr. [Josef] Szekely, Wien, 1898 (MA 28)); [iii]=tp; [iv]=[brief history of the work]; [iv–v]=FORMÜBERSICHT | SYNOPSIS OF FORM | RÉSUMÉ DE LA FORME; [v]= ORCHESTRA [in Italian]; [vi]=blank; 1–72=I; 43–114=II; 115–149=III; 150–188=IV.

Dimensions: 180 x 133 (r = 111) [bound copy]

Printing method: photographically reduced lithographic transfer from engraved plates

Print ordered: 14.x.1927    Copies received: 13.xii.1927   Print run: 400  Advert: X. 1927

Copies: GB-Ob mus. 221 e. 141(5) (bound copy; signed and dated in ink on the front wrapper: Robert Ainsworth / Düsseldorf / 1929]

Print ordered: 14.x.1927    Copies received: 13.xii.1927   Print run: 600

Title page: [See facsimile: black, within double border:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / [decorative device] / Aufführungsrecht vorbehalten. — Droits d'exécution réservés. /  UNIVERSAL-EDITION /  WIEN  / [below border:] Printed in Austria

Wrapper: [Front wrapper, dark green on light green within dark green rectangular border (see facsimile)]  GUSTAV MAHLER / IV. SYMPHONIE / SOL MAJEUR – G DUR – G MAJOR / PARTITUR / [lyre logo] / UNIVERSAL-EDITION / No. 952; [Rear wrapper: dark green on light green: Advert (see facsimile)]

Analysis: [i]=blank; [ii]=Portrait photograph of Mahler (Dr. [Josef] Szekely, Wien, 1898 (MA 28)); [iii]=tp; [iv–v] [brief history of the work], FORMÜBERSICHT | SYNOPSIS OF FORM | RÉSUMÉ DE LA FORME, ORCHESTRA [in Italian]; [vi]=blank; 1–72=I; 43–114=II; 115–49=III; 150–88=IV.

Dimensions: 185 x 135 (r = 111)

Printing method: photographically reduced lithographic transfer from engraved plates

Edition number: U.E. 952    Plate number: [iv–v:] W.Ph.V. 214 U.E. 952; 1–188 U.E. 952 W.Ph.V. 214

Print ordered: 01.iii.1938    Copies received: 06.ii.1946   Print run: 499

Copies: GB-Lpc (2 copies, UE issue, ex coll. Etti Zimmer; Harold Truscott)

The Verlagsbuch entry for the last order gives a delivery date of 6 February 1946, though the date on the rear wrapper is given as III.1938. Did Waldheim-Eberle manage to keep the stock hidden in store until after WWII?

Print ordered: 01.iii.1938    Copies received: 06.ii.1946   Print run: 491

Copies: none located

See the previous entry.

Make-up of set: 33 parts: fl 1–4; ob 1–3; cl 1–3; bsn 1–3; hn 1–4; tpt 1–3 ; hp; timp; glock, Schelle, cym; bdrum, tr, tam-tam; vn 1; vn 2; vla; vcl; db

Dimensions: [vn 1] 343 x 264 (r = 237)

Printing method: lithographic transfer from engraved plates

Hofmeister: not listed

Edition number: [none]  Plate number: D 2720

Copies: A-Wph IV/67 (incomplete: the woodwind and horn parts are copies of the second edition); US-NYph OL443 (complete set)

What source was used as the printer's copy for the printed orchestral parts, and their date of publication are both uncertain. The early performances of the first three symphonies had all taken place before Mahler had a publishing contract, so were given from manuscript materials (score and parts) prepared under the composer's supervision. However, by the time of the first performances of the  Fourth, Mahler did have a publisher and it is possible that in this case the score was used as the printer's copy, and a set of parts engraved ahead of the read-through in Vienna on 12 October 1901. The busy schedule of performances between 25 November 1901 and 20 January 1902 (nine in all, conducted by Mahler (4) and Weingartner (5)) would certainly have been less risky if not reliant on a single set of manuscript parts. At the time of the January advertisement (see above), the parts were  described as 'im Druck', a statement that does not preclude either scenario.

There is no Hofmeister entry and the set was assigned a plate number in the general Doblinger sequence, not (as might have been expected) '32' in the sequence used by EWZG for its Mahler publications. Some of the parts in these sets have a note in the bottom left-hand corner of the first page: Stich und Druck von Jos. Eberle & Cọ, Wien VII; the inconsistency implies that there may have been more than one impression, or that this element was printed in a separate process and was sometimes omitted accidentally.

A manuscript copy of the solo violin part in the second movement that omits the use of scordatura (CO3) is kept with the A-Wph set. The NYPO set (a facsimile of which is available online) is of interest because it was clearly used for Bruno Walter's recording of the work made in May 1945, and also for the timings of the work, and sometime individual movements noted down by the players. Details are provided in a separate note.

This set of parts is contained in a large black portfolio. In the upper right hand corner of the front cover there is a label pasted on – [type written:] Mappe X. / [hand written:] [...] Material. In the centre of the cover is another label, handwritten by Mahler: [black ink:] 4. Symphonie / Mahler [blue crayon:] 10.

The set is complete and the make up of the string parts is:

Vn I: 8 parts (+ 1 unnumbered part with no rehearsal letters and only annotations by Forstik)
Vn II: 6 parts* (+ 3 unnumbered parts with no rehearsal letters and only annotations by Forstik)
Vla: 4 parts (+ 4 unnumbered parts with no rehearsal letters and only annotations by Forstik)
Vcl: 5 parts (+2 unnumbered parts with no rehearsal letters and only annotations by Forstik)
Db: 4 parts (+ 2 unnumbered parts with no rehearsal letters and only annotations by Forstik)

*It is not clear that the vn II, 6th desk part has been used. The unnumbered part it would seem that the string section used for for the New York performances consisted of no more than 16, 12, 8, 10 & 8 players.

The annotated parts have revisions and corrections by Mahler (red and black ink and blue crayon), Johann Forstik (Vienna copyist), Henry Boewig (New York copyist) and unidentified players (some at least from New York). Although the printed edition is supplied with rehearsal numbers, this set has been provided with additional rehearsal letters, the placing of which do not correspond to the numbers. The intention may have been to provide the performers with additional reference points within the score, to facilitate thorough rehearsal. Similar rehearsal letters are to be found in some parts in the early NYPO part sets (listed in the entries for PO1 and PO2).

This set was used for Mahler's final performances of the work, in New York in January 1911. The vn II fifth desk and viola first and third desk parts have annotations providing an overall timing of 55 minutes; the hn 3 part has timings for individual movements:

 I: 17 mins    II: 9 min;    III: 20 min    IV: 8 min

The first desk string parts and all the wind and percussion parts were used by Erwin Ratz in preparing the IGMG edition, and are identified by the pencil 'R' in the upper right hand corner of the the first page of the part concerned.

[A rectangle of paper has been removed from the upper edge of p. 7/8 in hn I, and the bottom edge of timp p.3/4!]

Copies: US-CIu (Albino Gorno Memorial Music (CCM) Library)

This first desk part was revised by Johann Forstik ('the best and most reliable of copyists' according to Mahler (GMBaA, 428; GMBaAE, 360–61) to bring it more-or-less in line with the text of PF2. Exceptions are noted below:

Movement I
Bar
	The chief change throughout the movement is the frequent modification of groups of four quavers to ; a similar revision is applied to some pairs of quavers.
93	The arco necessitated by the PF2 version of b. 89 has been added, but the printing error (d'' instead of b') has NOT been corrected
219	Strich für Strich added (not added in PS or PF2)
283	a tempo NOT deleted
292	Heftig NOT replaced with Eilend.
Movement II
Bar
15	first not added
141	down-bow NOT corrected to up-bow
160	Vn 1 (Tutti): f added (not in PF2)
171/4	Vn 1 (Tutti): sf added (c.f. PF2)
Movement III
Bar
292	The portamento between b. 2924 and b. 2931 is NOT deleted
314	The comma at the end of the bar is NOT inserted
Movement IV
Bar
29	Superfluous geth. NOT deleted
35	Tutti NOT deleted

This part is housed at the Spiering Archive, US-CIu (Albino Gorno Memorial (CCM) Library). Theodore Spiering (1871–1925) was an American violinist and conductor, who, after studying at the College of Music, Cincinnati, become a pupil of Joachim in Berlin (1888–1892). In early 1909 Mahler was seeking to recruit new, younger players to the New York Philharmonic Orchestra. By this time Spiering was teaching at the Stern Conservatoire in Berlin, and when he was told by Fritz Kreisler that Mahler was also looking for a leader of the orchestra he immediately sent Mahler a telegramme. The two men met in Vienna, and Spiering was duly offered a contract (see HLGIV, 419ff.). His admiration for Mahler is abundantly expressed in his contribution to GMCCM (pp. 31–32).

The date of Forstik's revisions is not quite certain, but they post-date PS (1906). When (or how) this annotated part came into the possession of Theodore Spiering is not known. It appears not to have been used and contains no performers' annotations.⁶

Make-up of set: 33 parts: fl 1–4; ob 1–3; cl 1–3; bsn 1–3; hn 1–4; tpt 1–3 ; hp; timp; glock, Schelle, cym; bdrum, tr, tam-tam; vn 1; vn 2; vla; vcl; db

Dimensions: [vn I] 308.5 x 235 (r = 237)

Edition number: U.E. 2945   Plate number: U.E. 2945a–e [string parts]; U.E. 2945 [Harmonie (i.e. wind, percussion and harp)]

Copies: A-Wph IV/67 (incomplete: only fl 1–4, ob 1–3, cl 1–3, bsn 1–3, hn 1–4);  A-Wph IV/84 (vn 1 and vn 2 parts only); US-NYph OL443 (lacks percussion parts); A-Wst U.E. Deposit Mahler, G.032(D) [Vorlage for the Ratz Edition, 1961; not examined]; A-Wst U.E. Deposit Mahler, G.033(D) [not examined]

PRINTED VOCAL SCORES

Title Page: [See facsimile: brown on cream] SYMPHONIE / in / G Dur № 4 / von / GUSTAV MAHLER. / [scroll] // [left:] Partitur...netto / Orchester-Stimmen...netto [blank] // [right:] Clavierauszug à 4/ms | arrangiert von J.V.von Wöss netto // [centre:] Sopran Solo: „Wir geniessen die himmlischen Freuden” / („Des Knaben Wunderhorn”) für Gesang und Klavier. netto / [rule] / Aufführungsrecht vorbehalten. Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements. / tragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements. / [in border:] WIEN, LUDWIG DOBLINGER. / [below border:] (Bernhard Herzmansky) / I. Dorotheergasse 10. / Deposé à Paris. London, Ent. Sta.Hall. / Leipzig K.F.Köhler. / [double rule] / Musikaliendruckerei v.Jos. Eberle & Cọ, Wien VII.

Wrapper: front wrapper = title page, but brown on mottled green; back wrapper is blank (as in the GB-Lbl copy of PV1a described below)

Printer: Musikaliendruckerei v. Jos. Eberle & Cọ Wien, VII. [wrapper and tp]; Stich und Druck von Jos. Eberle & Cọ Wien VII. [p. 3]

Copies: A-Wn MS67493-4° [4] (ex coll. Anna Bahr-Mindenburg, lacks wrappers, no markings); D-B Mus. Km 63 (not examined)

Copies: GB-Lbl h. 3965.p. 1. (bound copy, with wrappers; ex coll. Birgit Engell, Hofopernsangerin); A-Wph IV/67

Wrapper: [front wrapper, lilac on green, text in black:] [Upper shield:] ·UNIVERSAL-EDITION· / [next shield:] № 2946 / [main shield:] GUSTAV MAHLER / „Wir geniessen die himmlischen Freuden” / Sopransolo aus der / IV. Symphonie / Gesang und Klavier / [lower shield = blank]; [back wrapper = adverts dated xi. 1911]

Print ordered: 07.xi.1911    Copies received: 27.xi.1911   Print run: 200

Copies: NL-DHnmi Mengelberg Stichting 436c

Mengelberg's copy is annotated and includes a number of his metronome markings.

Title Page: [Violet on white:] SYMPHONIE / in / G Dur № 4 / von / GUSTAV MAHLER. / [scroll] // [left:] Partitur (U.E. 2944)...[blank] / Orchester-Stimmen (U.E. 2945)...netto [blank] // [right:] Clavierauszug à 4/ms (U.E. 953)....[blank] / arrangiert von J.V.von Wöss // [centre:] Sopran Solo: „Wir geniessen die himmlischen Freuden” / [offset to the right:] („Des Knaben Wunderhorn”) für Gesang und Klavier. / [rule] / Aufführungsrecht vorbehalten. Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements. / UNIVERSAL-EDITION / AKTIENGESELLSCHAFT / WIEN-LEIPZIG / [rule] / DRUCKEREI u. VERLAGSAKTIENGESELLSCHAFT vorm. R.v.WALDHEIM, JOS. EBERLE & Cọ WIEN VII.

Wrapper: [front wrapper, lilac on green, text in black:] [Upper shield:] ·UNIVERSAL-EDITION· / [next shield:] № 2946 / [main shield:] GUSTAV MAHLER / „WIR GENIESSEN DIE HIMMLISCHEN / FREUDEN” / Sopransolo aus der / IV. Symphonie / Gesang und Klavier / [lower shield = blank]; [back wrapper = adverts dated iv. 1913]

Print ordered: 15.iv.1913    Copies received: 13.v.1913   Print run: 199

Copies: US-Wc M1621.M (this copy is not date stamped)

Title Page: [see SYMPHONIE / in / G Dur № 4 / von / GUSTAV MAHLER. / [scroll] // [left:] Partitur (U.E. 2944)...[blank] / Orchester-Stimmen (U.E. 2945)...[blank] // [right:] Clavierauszug à 4/ms (U.E. 953)....[blank] / arrangiert von J.V.von Wöss. // [centre:] Sopran Solo: „Wir geniessen die himmlischen Freuden” / [offset to the right:] („Des Knaben Wunderhorn”) für Gesang und Clavier. / [rule] / Aufführungsrecht vorbehalten. Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements. / UNIVERSAL-EDITION / AKTIENGESELLSCHAFT / WIEN-LEIPZIG / [rule] / DRUCKEREI u. VERLAGSAKTIENGESELLSCHAFT vorm. R.v.WALDHEIM, JOS. EBERLE & Cọ WIEN VII.

Wrapper: [front wrapper: see facsimile: lilac on green, text in black:] [Upper shield:] ·UNIVERSAL-EDITION· / [next shield:] № 2946 / [main shield:] GUSTAV MAHLER / „WIR GENIESSEN DIE HIMMLISCHEN / FREUDEN” / SOPRAN SOLO AUS DER IV. SYMPHONIE / GESANG UND KLAVIER / [lower shield = blank]; [back wrapper: see facsimile = adverts dated v. 1916]

Print ordered: 17.v.1916    Copies received: 17.vi.1916   Print run: 99

Copies: GB-Lpc (ex coll. Betsy Rijkens-Culp (1884–1958))

Wrapper: [front wrapper, lilac on green, text in black:] [Upper shield:] ·UNIVERSAL-EDITION· / [next shield:] № 2946 / [main shield:] GUSTAV MAHLER / „WIR GENIESSEN DIE HIMMLISCHEN / FREUDEN” / SOPRAN SOLO AUS DER IV. SYMPHONIE / GESANG UND KLAVIER / [lower shield = blank]; [back wrapper = adverts dated v. 1919]

Print ordered: 19.v.1919    Copies received: 14.vi.1920   Print run: 200

Copies:  GB-Lbl Document Supply MUSIC W87/8665; NL-DHnmi Mengelberg Stichting 436c

Title Page: [Black on white: passe-partout German/English title page listing all the Wunderhorn Songs available from UE]

Wrapper: [front wrapper, standard UE rectangular design, dark green on green:] GUSTAV MAHLER / WIR GENIESSEN DIE HIMMLISCHEN FREUDEN / (SOPRAN SOLO AUS DER IV. SYMPHONIE) / IN THE PLEASURES OF HEAVEN WE'RE JOYOUS / SOPRANO SOLO FROM THE 4TH SYMPHONY / [lyre design] / 2946; [back wrapper = adverts dated x. 1920]

Print ordered: 12.x.1920    Copies received: 10.ii.1921   Print run: 495

Copies:  US-NYph OL443 (this copy has a second English hand-written translation added in ink)

This is the first impression to include the English translation by Addie Funk. Between 1923 and 1936 a further three impressions were issued, totalling 1100 copies (listed below).

Title Page: [Black on white: passe-partout German/English title page listing all the Wunderhorn Songs available from UE]

Wrapper: [front wrapper, standard UE rectangular design, dark green on green:] GUSTAV MAHLER / WIR GENIESSEN DIE HIMMLISCHEN FREUDEN / (SOPRAN SOLO AUS DER IV. SYMPHONIE) / IN THE PLEASURES OF HEAVEN WE'RE JOYOUS / SOPRANO SOLO FROM THE 4TH SYMPHONY / [lyre design] / UNIVERSAL-EDITION / Nr. 2946 / [back wrapper = adverts dated x. 1920]

Copies:  A-Wn M.S.17606 (Pflichtexemplar, 1931) [trimmed copy]; CH-LAcu 991011024529702851

This copy is on good quality paper. What is the advert date? The Pflichtexemplar details suggest its more likely to be a copy of PV2f.

Copies: no copy of this impression has been located

Title Page: Black on white (see facsimile): passe-partout German/English title page listing all the Mahler Lieder available from UE]

Wrapper: [front wrapper] WIR GENIESSEN DIE HIMMLISCHEN FREUDEN / (SOPRAN SOLO AUS DER IV. SYMPHONIE) / IN THE PLEASURES OF HEAVEN WE'RE JOYOUS / SOPRANO SOLO FROM THE 4TH  SYMPHONY / [lyre design] / UNIVERSAL-EDITION / Nr. 2946; [back wrapper = adverts dated xi. 1936]

Copies:  GB-Lpc

The UE Verlagsbuch records no further orders until 1953.

Title Page: [See facsimile: brown on cream] SYMPHONIE / in / G Dur № 4 / von / GUSTAV MAHLER. / [scroll] // [left:] Partitur...netto / Orchester-Stimmen...netto [blank] // [right:] Clavierauszug à 4 /ms | arrangiert von J.V.von Wöss netto // [centre:] Sopran Solo: “Wir geniessen die himmlischen Freuden” / (“Des Knaben Wunderhorn”) für Gesang und Klavier. netto / [rule] / Aufführungsrecht vorbehalten. Eigenthum des Verlegers für alle Länder. e="font-family: Verdana">Eigenthum des Verlegers für alle Länder. / Eingetragen in das Vereins-Archiv. Mit Vorbehalt aller Arrangements. / [in border:] WIEN, LUDWIG DOBLINGER. / [below border:] (Bernhard Herzmansky) / I. Dorotheergasse 10. / Deposé à Paris. London, Ent. Sta Hall. / Leipzig K.F.Köhler. / [double rule] / Musikaliendruckerei v. Jos. Eberle & Cọ, Wien VII.

Wrapper: [As title page, but brown on mottled green]

Dimensions: 336 x 262 (r = 238)

Printing method: lithographic transfer from engraved plates

Hofmeister: i.1902    Price: Mk 8 n.

Edition number: none    Plate number: 33

A-Wn F21.Berg 198 (Alban Berg's bound copy, no wrappers; with a few performance related annotations and alterations; bound with a copy of Symphony No. 2, PTp41); D-B Mus Km 64 [not seen]

Mahler probably saw the manuscript of the arrangement in the summer of 1901: he reported to Justine on 3 September that it was good and was being printed (to Justine on 3 September that it was good and was being printed (GMLJ, 478; GMLJE, 350). It was presumably about this time that he played it through with von Wöss as reported by de La Grange: '[Mahler] let him take the initiative just to see what he would make of the dynamics; when Wöss mistakenly over-emphasised one of them, he simply erased it from the score' (HLGII, 390–1).

The publication was advertised in the Neue frei Presse on 19 January 1902 (see PF1 above). It is not clear whether the fact Mahler did not send a copy of the arrangement to William Ritter when he dispatched a full scor(GMUB, 145; GMUBE, 141).

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.

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

Title Page: [Standard UE orange decorative design; text in black:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / J.V. v. WÖSS / [in shield] EIGENTHUM DES VERLEGERS / AUFFÜHRUNGSRECHT VORBEHALTEN / ·WIEN· / LUDWIG DOBLINGER / (BERNHARD HERZMANSKY) / [below the decorativeborder, left, in orange:] Lith.v.Jos. Eberle & Cọ Wien. // [black:] IN DIE „UNIVERSAL-EDITION” AUFGENOMMEN. / [left:] BUDAPEST / RÓZSAVÖLGYI ÉS TÁRSÁNÁL / [rule] / POZSONY / STAMPFEL KÁROLYNAL // [centre:] FÜR DEUTSCHLAND BEI / FRIEDRICH HOFMEISTER / LEIPZIG. // [right:] SOLE AGENTS FOR / GREAT BRITAIN AND THE COLONIES / LONDON / E. ASCHERBERG & Cọ, / 46. BERNERS STREET W.

Wrappers: [front wrapper, UE type A:] [Upper shield] ·UNIVERSAL-EDITION· / [next shield] № 953 / [main] GUSTAV / MAHLER / IV. SYMPHONIE  / SOL MAJEUR - G DUR - G MAJOR / PIANO ZU 4 HÄNDEN. / [l.h.:] POUR PIANO À 4/MS [r.h.:] FOR PIANO FOR FOUR HANDS / [bottom shield] J.V. v. WÖSS / [back wrapper=undated advert for keyboard music]

Analysis: [1]= tp; 2–27=I; 28–41=II; 42–57=III; 58–71=IV; [72]=blank

Dimensions: 317 x 244 (r = 238)

Printing method: lithographic transfer from engraved plates

Hofmeister: no entry

Edition number: 951   Plate number: 33    Advert date:  none

Print ordered: 09.xi.1906    Copies received: 10.xi.1906   Print run: 150

Copies: GB-Ob Mus. 123 c.42 (1) (title page overstamped (a) [in blue:] Sole Agents for the / United Kingdom: / Breitkopf & Härtel, / London; (b) [purple circular stamp:] NOVELLO & Co. Ltd / 100 [?] WARDOUR ST. LONDON W. The copy has a hand-written note on the title page verso: B.B.C. June 21 Boult / Eliz. Schumann

It is not impossible that the 150 copies supplied in November 1906 were yet more copies of PTp41a (see the Universal Edition page for further details), but new wrappers and title page may have been supplied for the November print run, in which case the copy described above, with its retention of the original plate number, and unusual descriptive content of the front wrapper suggests that it might well be an exemplar of such an impression.

FIRST EDITION, SECOND ISSUE, THIRD IMPRESSION – Vienna: [Erste Wiener Zeitungs-Gesellschaft]/Doblinger/Universal-Edition, [1910?]

The receipt date is anomalous: it seems unlikely that delivery was delayed or postponed for two years, especially since the next order was placed on 18.xii. 1911 (see PTp41d below).

Print ordered: 18.xii.1911   Copies received: 12.i.1912   Print run: 200

The UE Verlagsbuch records a further six impressions between 1913 and October 1935 (the last before the Anschluß), in total an additional 2901 copies (listed below).

Title Page: [Standard UE orange decorative design; text in black:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / J.V. v. WÖSS / [in shield] EIGENTHUM DES VERLEGERS / AUFFÜHRUNGSRECHT VORBEHALTEN / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN-LEIPZIG

Wrappers: [front wrapper, UE type A:] [Upper shield] ·UNIVERSAL-EDITION· / [next shield] № 953 / [main] GUSTAV / MAHLER / IV. SYMPHONIE  / SOL MAJEUR G DUR G MAJOR / KLAVIER ZU 4 HÄNDEN / POUR PIANO À 4 MS PIANO DUET / [bottom shield] J.V. v. WÖSS / [back wrapper=adverts dated XII.1913]

Analysis: [1]= tp; 2–27=I; 28–41=II; 42–57=III; 58–71=IV; [72]=blank

Dimensions: 308 x 236 (r = 239)

Printing method: lithographic transfer from engraved plates

Hofmeister: no entry

Edition number: 953   Plate number: U.E. 953    Advert date: XII.1913

Print ordered: 15.xii.1913   Copies received: 30.i.1914   Print run: 200

Copies: US-Wc M22 4 (not date stamped)

Title Page: [Standard UE orange decorative design, see facsimile; text in black:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / J.V. v. WÖSS / [in shield] EIGENTHUM DES VERLEGERS / AUFFÜHRUNGSRECHT VORBEHALTEN / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN-LEIPZIG

Wrappers: [front wrapper, UE type A:] [Upper shield] ·UNIVERSAL-EDITION· / [next shield] № 953 / [main] GUSTAV / MAHLER / IV. SYMPHONIE  / SOL MAJEUR G DUR G MAJOR / KLAVIER ZU 4 HÄNDEN / POUR PIANO À 4 MS PIANO DUET / [bottom shield] J.V. v. WÖSS / [back wrapper=adverts dated III.1919]

Analysis: [1]= tp; 2–27=I; 28–41=II; 42–57=III; 58–71=IV; [72]=blank

Dimensions: 308 x 236 (r = 239)

Printing method: lithographic transfer from engraved plates

Hofmeister: no entry

Edition number: 953   Plate number: U.E. 953.    Advert date: III.1919

Print ordered: 18.ii.1919   Copies received: 09.xii.1919   Print run: 198

Copies: GB-Lpc

This appears to be a relatively late use of the earliest of the UE front wrapper designs

Title Page: [Standard UE orange decorative design, see facsimile; text in black:] VIERTE / SYMPHONIE / IN G DUR / VON / GUSTAV MAHLER / KLAVIERAUSZUG ZU VIER HÄNDEN / ARRANGIERT / VON / J.V. v. WÖSS / [in shield] EIGENTHUM DES VERLEGERS / AUFFÜHRUNGSRECHT VORBEHALTEN / „UNIVERSAL-EDITION” / AKTIENGESELLSCHAFT / WIEN-LEIPZIG

Wrappers: [front wrapper: black text with ink violet design on light green card, see facsimile:] [Upper shield] ·UNIVERSAL-EDITION· / [next shield] № 953 / [main] GUSTAV / MAHLER / IV. SYMPHONIE  / SOL MAJEUR G DUR G MAJOR / KLAVIER ZU 4 HÄNDEN / POUR PIANO À 4 MS PIANO DUET / [bottom shield] J.V. v. WÖSS / [back wrapper=adverts dated No. 24 VIII. 1922]

Analysis: [1]= tp; 2–27=I; 28–41=II; 42–57=III; 58–71=IV; [72]=blank

Dimensions: 308 x 236 (r = 239)

Printing method: lithographic transfer from engraved plates

Hofmeister: no entry

Edition number: 953   Plate number: U.E. 953.    Advert date: VIII.1922

The adverts on the back wrapper do not include a listing of the Fifth Symphony. This is a late use of the earliest design for the UE front wrapper.

It is worth noting that this order was apparently placed in July 1922, before the previous order had been fullfilled, and that delivery of the new order was completed only in September 1924.

PRINTED ARRANGEMENTS FOR PIANO, TWO HANDS

THIRD MOVEMENT (excerpts); FOURTH MOVEMENT (complete) arr. Ernst Rudolf

Title Page: as for PCor2a but lacking Made in Austria below the border

Analysis:

	Page	Content/Title	Bars
	[1]	Vol. 2 title page
	2–4	III. Symphonie / aus dem 2. Satz	1–48, 260–65, 275–279
	5–10	IV. Symphonie / aus dem 3. Satz	1–129, 154–176+1 bar
	11–20	IV. Symphonie / 4. Satz	1–184 [complete]

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. 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 volume includes additional information (identification of the printer and a dated advertisement).

The arrangements in the Mahler volumes were by Ernst Rudolf: the arrangements of the songs all reproduce the complete work, while all the others are abridgements of, or selections from, the movement concerned, as noted in the list above. Urlicht is printed in the first volume in the high-voice key to facilitate performance by less skilful players. An abridgement the third movement of the Fourth Symphony is the second item in the second volume, but the arrangement of the vocal finale is of the complete movement and is in the original key.

Title Page: see facsimile

Edition number: C. 47    Plate numbers: C.C. 47

Print ordered: 13.vii.1927    Copies received: 16.i.1928   Print run: 1500

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

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