Mahler, Gustav. (1860–1911). Original Concert Program.
Original single-sheet handbill for a January 14, 1900 Vienna Phil performance led by Gustav Mahler, featuring the Viennese premiere of five of his own songs, and the world premiere of two of them. Song texts on verso, folds, edges slight worn, overall very good. 9.2 x 11.8 inches; 23.5 x 30 cm. Original premiere programs from Mahler's illustrious Viennese tenure are quite scarce.
This program featured Robert Schumann’s “4th Symphony,” Hector Berlioz’s “Roman Carnival Overture," and five original songs for soloist and orchestra written by Mahler himself. Two of these songs came from Mahler’s “Lieder eines fahrenden Gesellen” cycle, and three came from his “Des Knaben Wunderhorn” cycle. This performance constituted the Viennese premiere of all five songs, as well as the world premiere of two out of the three “Wunderhorn” songs: “Dasirdische Leben” and “Wo die schonen Trompeten blasen."
Mahler frequently drew upon his early songs in his later symphonies -- indeed, he actually re-used themes from them within movements in his First, Second, Third, and Fourth Symphonies, respectively. Of the two songs featured on this particular program, one in particular – “Ging heut Morgen ubers Feld” – ranks very high among the most famous melodies that Mahler everpenned. In fact, Mahler himself favored it so much that he re-used it as the “A” theme of the 1st Movement of his 1st Symphony, and also chose to personally record an instrumental version of it as a piano roll in 1905. When Mahler led the Vienna Philharmonic in the Viennese premiere of his own 1st Symphony just a few months after giving this concert, however, it was not a success.
The soloist at this concert was Austrian soprano Selma Kurz (1874 - 1933), who was widely celebrated for her coloratura technique and her musicality. Like Mahler, Kurz was born into a large and poor rural Jewish family, and perhaps as a result of their similar backgrounds, she and Mahler clearly shared a strong affinity. In fact, they actually had a short-lived but passionate love affair right around the time of this performance, only to mutually abandon it several months later because the Vienna Opera strictly prohibited members from marrying each other and neither one of them was willing to give up their promising artistic career. Kurz was destined to be one of Mahler’s last lovers; he became engaged to the young Alma Schindler in December 1901, and they married three months later.
Mahler, Gustav. (1860–1911). Original Concert Program.
Original single-sheet handbill for a January 14, 1900 Vienna Phil performance led by Gustav Mahler, featuring the Viennese premiere of five of his own songs, and the world premiere of two of them. Song texts on verso, folds, edges slight worn, overall very good. 9.2 x 11.8 inches; 23.5 x 30 cm. Original premiere programs from Mahler's illustrious Viennese tenure are quite scarce.
This program featured Robert Schumann’s “4th Symphony,” Hector Berlioz’s “Roman Carnival Overture," and five original songs for soloist and orchestra written by Mahler himself. Two of these songs came from Mahler’s “Lieder eines fahrenden Gesellen” cycle, and three came from his “Des Knaben Wunderhorn” cycle. This performance constituted the Viennese premiere of all five songs, as well as the world premiere of two out of the three “Wunderhorn” songs: “Dasirdische Leben” and “Wo die schonen Trompeten blasen."
Mahler frequently drew upon his early songs in his later symphonies -- indeed, he actually re-used themes from them within movements in his First, Second, Third, and Fourth Symphonies, respectively. Of the two songs featured on this particular program, one in particular – “Ging heut Morgen ubers Feld” – ranks very high among the most famous melodies that Mahler everpenned. In fact, Mahler himself favored it so much that he re-used it as the “A” theme of the 1st Movement of his 1st Symphony, and also chose to personally record an instrumental version of it as a piano roll in 1905. When Mahler led the Vienna Philharmonic in the Viennese premiere of his own 1st Symphony just a few months after giving this concert, however, it was not a success.
The soloist at this concert was Austrian soprano Selma Kurz (1874 - 1933), who was widely celebrated for her coloratura technique and her musicality. Like Mahler, Kurz was born into a large and poor rural Jewish family, and perhaps as a result of their similar backgrounds, she and Mahler clearly shared a strong affinity. In fact, they actually had a short-lived but passionate love affair right around the time of this performance, only to mutually abandon it several months later because the Vienna Opera strictly prohibited members from marrying each other and neither one of them was willing to give up their promising artistic career. Kurz was destined to be one of Mahler’s last lovers; he became engaged to the young Alma Schindler in December 1901, and they married three months later.