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[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX
[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937). Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX.

Grouping of Vienna Music Festival 1912 poster designs, unsigned by almost certainly by the Austro-Hungarian artist Philip de László, who designed the programs and final event posters printed by Reisner & Sohn.  Our set includes four color sketches on a single sheet together with a separate larger, more elaborate mockup, all prominently featuring Beethoven's head in a sea of bold blue and for different or unspecified weeks of the festival.  The larger mockup frames the composer's portrait with elaborate illustrations of musical instruments.  A copy of the final poster including the Mahler IX premiere (see poster image provided in listing for reference only) is part of the collection of the Upper Austrian State Gallery.  Watercolors over pencil.  Sheet of four sketches 20 x 11 inches (50.5 x 28 cm.).  Larger mockup 14.75 x 19.5 inches (37.5 x 50 cm.). Moderate toning, and a vertical fold-mark on the smaller four-sketch mockup, else fine.


Organized by the municipality of Vienna to stimulate tourism, the Musikwoche, or Music Festival, of 1912 ran throughout the spring and summer.  Richard Specht wrote in his review for Die Musik [Translated from the German], "All those who long to experience beloved works of art removed from the hustle and bustle of everyday life, who find themselves turning away from the day-to-day with ever increasing distaste, who find that these works created for the liberation of the spirit and purification of the soul have been rendered mere diversions from the worries of life, all such people have had a wonderful wish fulfilled in this first Vienna Musikfestwoche."  The festival included a dizzying array of pieces, including Mozart's The Marriage of Figaro and Bedřich Smetana's Dalibor, performances of works by Brahms, Bruckner, Dvořák, Liszt, Schubert, Senfl, Wolf, and, of course, Beethoven, to name but a few.

Also included in the program was Bruno Walter (1876–1962) conducting the world premiere of Mahler's ninth and final symphony. "Mahler did not live to hear his Ninth Symphony performed.  It was premiered under Bruno Walter during the 'Wiener Musikfestwoche,' on 26 June 1912 in Vienna, more than a year after Mahler's death...[T]he first critical comments about the work date from after the premiere.  In his review...Richard Specht appreciates the variety of moods present in the symphony, from the 'irony' and 'infernal Witz' of the middle movements, to the 'found Gotteslied' in the first and last movements."  (Vera Micznik, "The Farewell Story of Mahler's Ninth Symphony," 19th-Century Music, Autumn, 1996, Vol. 29, No. 2, Special Mahler Issue, pp. 144–166, University of California Press.)

On Mahler's Ninth, Lewis Thomas wrote "in the final movement, was an open acknowledgment of death and at the same time a quiet celebration of the tranquillity connected to the process...a metaphor for reassurance, confirming my own strong hunch that the dying of every living creature, the most natural of all experiences, has to be a peaceful experience." (Late Night Thoughts on Listening to Mahler's Ninth Symphony)

Philip de László was an Austro-Hungarian painter known for portraits of royalty and aristocrats.  He lived in England for much of his life, marrying Lucy Guinness in 1900.

[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937) Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX

Schubertiade Music and Arts
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[Mahler, Gustav. (1860–1911)] [Beethoven, Ludwig van. (1770–1827)] László, Philip de. (1869–1937). Poster Drafts for Wiener Musik Fest Woche - PREMIERE of Mahler IX.

Grouping of Vienna Music Festival 1912 poster designs, unsigned by almost certainly by the Austro-Hungarian artist Philip de László, who designed the programs and final event posters printed by Reisner & Sohn.  Our set includes four color sketches on a single sheet together with a separate larger, more elaborate mockup, all prominently featuring Beethoven's head in a sea of bold blue and for different or unspecified weeks of the festival.  The larger mockup frames the composer's portrait with elaborate illustrations of musical instruments.  A copy of the final poster including the Mahler IX premiere (see poster image provided in listing for reference only) is part of the collection of the Upper Austrian State Gallery.  Watercolors over pencil.  Sheet of four sketches 20 x 11 inches (50.5 x 28 cm.).  Larger mockup 14.75 x 19.5 inches (37.5 x 50 cm.). Moderate toning, and a vertical fold-mark on the smaller four-sketch mockup, else fine.


Organized by the municipality of Vienna to stimulate tourism, the Musikwoche, or Music Festival, of 1912 ran throughout the spring and summer.  Richard Specht wrote in his review for Die Musik [Translated from the German], "All those who long to experience beloved works of art removed from the hustle and bustle of everyday life, who find themselves turning away from the day-to-day with ever increasing distaste, who find that these works created for the liberation of the spirit and purification of the soul have been rendered mere diversions from the worries of life, all such people have had a wonderful wish fulfilled in this first Vienna Musikfestwoche."  The festival included a dizzying array of pieces, including Mozart's The Marriage of Figaro and Bedřich Smetana's Dalibor, performances of works by Brahms, Bruckner, Dvořák, Liszt, Schubert, Senfl, Wolf, and, of course, Beethoven, to name but a few.

Also included in the program was Bruno Walter (1876–1962) conducting the world premiere of Mahler's ninth and final symphony. "Mahler did not live to hear his Ninth Symphony performed.  It was premiered under Bruno Walter during the 'Wiener Musikfestwoche,' on 26 June 1912 in Vienna, more than a year after Mahler's death...[T]he first critical comments about the work date from after the premiere.  In his review...Richard Specht appreciates the variety of moods present in the symphony, from the 'irony' and 'infernal Witz' of the middle movements, to the 'found Gotteslied' in the first and last movements."  (Vera Micznik, "The Farewell Story of Mahler's Ninth Symphony," 19th-Century Music, Autumn, 1996, Vol. 29, No. 2, Special Mahler Issue, pp. 144–166, University of California Press.)

On Mahler's Ninth, Lewis Thomas wrote "in the final movement, was an open acknowledgment of death and at the same time a quiet celebration of the tranquillity connected to the process...a metaphor for reassurance, confirming my own strong hunch that the dying of every living creature, the most natural of all experiences, has to be a peaceful experience." (Late Night Thoughts on Listening to Mahler's Ninth Symphony)

Philip de László was an Austro-Hungarian painter known for portraits of royalty and aristocrats.  He lived in England for much of his life, marrying Lucy Guinness in 1900.

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