Kalischt, 7 July 1860 – Wien, 18 May 1911
COMPLETED WORKS:
> "3 lieder Lieder for tenor and piano", texts by Gustav Mahler, devoted to Josephine Poisl, 1880:
- Im Lenz.
- Winterlied.
- Maitanz im Grünen.
> "Das Klagende Lied", text by Gustav Mahler. Text completed on 18 March 1878, score completed on 1 November 1880:
- Waldmärchen.
- Der Spielmann.
- Hochzeitsstuck.
> "5 Lieder" ("Lieder und Gesänge", vol. I), 1880-1883:
- Frühlingsmorgen.
- Erinnerung.
- Hans und Grethe.
- Serenade aus «Don Juan».
- Phantasie aus «Don Juan».
>"Lieder eines fahrenden Gesellen", text of Gustav Mahler, 1884:
- Wenn mein Schatz Hochzeit macht.
- Ging heut' morgen übers Feld.
- Ich hab' ein glühend Messer.
- Die zwei blauen Augen.
> "4 Lieder" ("Lieder und Gesänge", vol.II) 1887-1890:
- Um schlimme Kinder artig zu machen.
- Ich ging mit lust durch einen grünen wald.
- Aus! Aus!
- Starke einbildungskraft.
> "5 Lieder" ("Lieder und Gesänge", vol.III) 1887-1890:
- Zu Straßburg auf der Schanz'.
- Ablösung im Sommer.
- Scheiden und Meiden.
- Nicht wiedersehen!
- Selbstgefühl.
> "Symphony n.° 1 in D major", 1885 (?) - 1888:
- Langsam, schleppend. Immer sehr gemächlich.
- Blumine (Andante alegretto) (eliminata dopo il 1894).
- Kräftig bewegt, doch nicht zu schnell.
- Feierlich und gemessen, ohne zu schleppen.
- Stürmisch bewegt. Energisch.
> “Totenfeier in C minor“, (? - 1888) was initially conceived as the 1st movement of a symphony in C minor. After certain alterations (mainly cuts and extensions regarding the instrumentation) this piece became the 1st Movement of Mahler’s Symphony n.° 2 in 1894. Mahler himself conducted it as an independent piece with the Berlin Philharmonics in 1896.
> "9 Lieder" from "Des Knaben Wunderhorn", for voice and piano, 1888-1891:
- Um schlimme Kinder artig zu machen.
- Ich ging mit Luszt durch einen grunen Wald.
- Aus! Aus!
- Starke Einbildungskraft.
- Zu Strassburg auf der Schanz'.
- Ablösung im Sommer.
- Scheiden und Meiden.
- Nicht wiedersehen!
- Selbstgefühl.
> "10 Lieder" from "Des Knaben Wunderhorn", for voice and orchestra, 1892-1896:
- Der Schuldwache Nachtlied.
- Verlor'ne Müh'.
- Trost im Unglück.
- Wer hat dies Liedlein erdacht?
- Dar irdische Leben.
- Des Antonius von Padua Fischpredigt.
- Rheinlegendchen.
- Lied des Verfolgten im Turm.
- Wo die schönen Trompeten blasen.
- Lob des hohen Verstandes.
- Es sungen drei Engel.
- Urlicht.
> "Symphony n.° 2" in C minor, for soprano, alto solo and mixed chorus, 1888 - 1894:
- Allegro maestoso (mit durchaus ernstem und feierlichem Ausdruck).
- Andante moderato (sehr gemächlich).
- In ruhig fliessender Bewegung.
- Urlicht (sehr feierlich, aber schlicht).
- Im Tempo des Scherzos. Wild herausfahrend. Kräftig. Langsam. Misterioso.
> "Symphony n.° 3" in D minor, for alto solo, female chorus and children's choir, 1895 - 1896:
- Kräftig. Entschieden.
- Tempo di minuetto: sehr mässig.
- Comodo. Scherzando. Ohne Hast.
- Sehr langsam. Misterioso.
- Lustig im Tempo und keck im Ausdruck.
- Langsam. Ruhevoll. Empfunden.
> "Symphony n.° 4" in G major, for soprano solo, 1899 - 1900:
- Bedächtig, nicht eilen.
- Im gemachlicher Bewegung, ohne Hast.
- Ruhevoll.
- Sehr behaglich.
> "2 Lieder" from "Des Knaben Wunderhorn", for voice and orchestra, 1899 - 1901:
- Revelge.
- Der Tamboursg'sell.
> "5 Lieder", texts by Friedrich Ruckert, for voice and orchestra, 1901 - 1902:
- Blicke mir nicht in die Lieder!
- Ich atmet' einen linden Duft.
- Ich bin der Welt abhanden gekommen.
- Um mitternacht.
- Liebst du um Schöenheit.
> "Symphony n.° 5" in C sharp minor, 1901 - 1903:
1) First Part:
- Trauermarsch (in gemessem Schritt. Streng. Wie ein Kondukt).
- Stürmisch bewegt mit grösster Vehemenz.
2) Second part:
- Scherzo (Kräftig, nicht zu schnell).
3) Third part:
- Adagietto (sehr langsam).
- Rondo - Finale (Allegro).
> "Kindertotenlieder", for voice and orchestra, texts by Friedrich Ruckert, 1901 - 1904:
- Nun will die Sonn' so hell aufgeh'n.
- Nun seh' ich wohl, warum so dunkle Flammen.
- Wenn dein Mutterlein.
- Oft denk' ich, sie sind nur ausgegangen.
- In diesem Wetter.
> "Symphony n.° 6" in A minor, 1903 - 1904:
- Allegro energico, ma non troppo.
- Scherzo. Wuchtig (Pesante).
- Andante moderato.
- Finale (Allegro moderato).
> "Symphony n.° 7" in E minor (or in B minor), 1904 - 1905:
- Langsam. Allegro risoluto ma non troppo.
- Nachtmusik I (Allegro moderato).
- Scherzo (Schattenhaft: fliessend, aber nicht schnell).
- Nachtmusik II (Andante amoroso).
- Rondo - Finale (Allegro ordinario. Maestoso).
> "Symphony n.° 8", in E flat major, for 3 sopranos, 2 altos, tenor, baritone and bass soloists, chorus of children and double mixed chorus, 1906, also known as "The Thousand":
- Inno "Veni creator Spiritus".
- Scena finale del Faust di Johann Wolfgang von Goethe.
> "Das Lied von der Erde", eine Symphonie für eine Tenor und eine Alt (oder Bariton). Stimme und Orchester, texts by chinese poets translated by Hans Bethge in "Die chinesiche Flöte", 1908:
- Das Trinklied vom Jammer der Erde.
- Der Einsame im Herbst.
- Von der Jugend.
- Von der Schönheit.
- Der Trunkene im Frühling.
- Der Abschied.
> "Symphony n.° 9" in D major, 1909:
- Andante comodo.
- Im Tempo eines gemächlichen Ländlers.
- Rondo - Burleske (Allegro assai. Sehr trotzig).
- Adagio (Sehr langsam und noch zurückhaltend).
> "Symphony n.° 10" in F sharp major, 1910 (unfinished):
- Andante. Adagio.
- Scherzo (Schnelle Viertel).
- Purgatorio (Allegretto moderato. Nicht zu schnell).
- Scherzo: Der Teufel tanzt es mit mir (Allegro pesante. Nicht zu schnell).
- Finale (Langsam, schwer. Ein wenig fliessender, doch immer langsam).
WORKS REMAINED UNFINISHED OR LEFT IT AS A FRAGMENT:
> Klavierquartett n.° 1 (?) in A minor, first time (Nicht zu schnell Enschlossen) (1876).
> Klavierquartett, Scherzo in G minor, probably part of Klavierquartett n. ° 1 in A minor (1876?).
> Es fiel ein Reif in der Frühlingsnacht, Lied to a text by Heinrich Heine (1876 - 1879).
> Im Wunderschönen Monat, Lied to a text by Heinrich Heine (1876 - 1879).
> Fragment for piano 4 hands, from the Scherzo of the Symphony No. 1 ° 1876 (1876).
WORKS ABANDONED, LOST OR DESTROYED:
Chamber music:
> Polka mit einem Trauermarsch als Einleitung, for piano (1866).
> Die Türken haben Töchter, Lied, from a poem by di Gotthold Ephraim Lssing (1867).
> Piano pieces, played in front of Julius Epstein (1875?).
> Suite for Piano (1876?).
> Nocturne, for cello and piano (1876).
> Sonata for violin and piano (1876).
> String Quartet (?) (1876?).
> Lied, for a competition at the Vienna Conservatory (1878?).
> Lieder, composed in the years of the Conservatory, of which remain 2 fragments (1876 - 1879).
> Klavierquintett n.° 1 (1876).
> Klavierquartett n.° 2 (1876).
> Klavierquintett n.° 2 (1878).
Orchestral music:
> Symphony No. ° 1 (1876?).
> Symphony No. 2 in A minor, (1876 to 1878?).
> Nordische Symponie (or Nordische Suite) (1878 - 1882?).
> 4 Symphonies ("Dresden") (1878 - 1888).
> Trauerhymne (?) 1884.
Theatrical works:
> Herzog Ernst von Schwaben, booklet by Josef Steiner, maybe from Ludvig Uhland (1875? - 1879).
> Die Argonauten, booklet by Gustav Mahler, in Stabreimen, probably from the second drama of the trilogy Das Goldene Vliess di Franz Grillparzer (1879 - 1880).
> Rubezahl, in 5 acts, booklet by Gustav Mahler (1879 - 1890).
> Project for a work, untitled, on a booklet by Karl von Weer, from an idea by Gustav Mahler (1887 - 1888).
Music for the scene:
> Vorspiel mit Chon (1883).
> Der Trompeter von Säkkingen, music for the scene for Tableaux vivants, from poem by Joseph Vikor von Scheffel (1884).
> Das Volkslied, to a text by Solomon Hermann von Mosenthal (1885).
UNFINISHED WORKS BY OTHER COMPOSERS, ACCOMPLISHED BY GUSTAV MAHLER:
> Die drei Pintos, opera in three acts, booklet by Theodor Hell, music ofi Carl Maria von Weber, booklet revised by Karl von Weber, score reworked and rebuilt by Gustav Mahler, 1887 - 1888.
TRANSCRIPTIONS:
> Anton Bruckner, Symphony No. ° 3, transcription for piano 4 hands (perhaps in collaboration with Rudolf Krzyanowski), 1878 or 1880.
TRANSCRIPTIONS:
> Anton Bruckner, Symphony No. ° 3, transcription for piano 4 hands (perhaps in collaboration with Rudolf Krzyanowski), 1878 or 1880.
> Johann Sebastian Bach, Suite aus seinen Orchestererken, transcription for different orchestra, 1909:
- Ouverture, from the Suite n.° 2.
- Rondeau, from the Suite n.° 2.
- Badinerie, from the Suite n.° 2.
- Aria, from the Suite n.° 3.
- Gavotte 1 e 2, from the Suite n.° 4.
REVISIONS ORCHESTRAL:
> Ludvig van Beethoven, Symphonies nn.' 5, 6, 7, 8 e 9; Ouvertures Coriolan, Egmont, Leonore n.° 2, Die Weihe des Hauses.
> Robert Schumann, Symphonies nn.' 1, 2, 3 e 4.
> Anton Bruckner, Symphonie n.° 5.
ADJUSTMENTS STAGING:
> Wolfgang Amadeus Mozart, Le nozze di Figaro, new recitatives for the stage of judicial proceedings, Act III° nn.' 17 e 18 (1908).
> Carl Maria von Weber, Euryanthe, booklet revised (1903 - 1904).
> Carl Maria von Weber, Oberon, booklet revised (1906).
WORKS OF DOUBTFUL AUTHENTICITY:
> Symphonisches Praeludium: Nicht zu rasch. Orchestrated by Albrecht Gürsching.
The "Symphonisches Praeludium" is something of a mystery. If not by Mahler himself, it certainly hails from the Vienna of his student days. It was unearthed in the late 1970's in the Austrian National Library: a piano transcription, by one Heinrich Tschuppik, made from what the title-page described as a score "from the year 1876, supposedly by Anton Bruckner" that had been copied "by the Bruckner-pupil Rudolf Krzyzanowski". The sound and style of the Prelude certainly has much of Bruckner about it, and not a little of Wagner. Structural peculiarities nevertheless led some musicologists to hear in it the work of a younger composer inspired by Bruckner, rather than Bruckner himself. Since Rudolf Krzyzanowski was a close and admiring student friend of Mahler's, the tantalizing possibility arose that it might just be one of Mahler's own lost student compositions. The mystery may never be solved. As thematic connections are known to exist between Mahler's later works and the symphony by Hans Rott, another of his student companions, it would be reasonable to assume that there was a fairly close community of styles and even musical ideas within Mahler's circle of the later 1870's, whose members influenced and inspired each other. Mahler must surely have known and identified with this expansively brooding symphonic movement, even for if he did not actually compose it himself. If it is an unknown work by Bruckner, then its survival in a copy by one of Mahler's friends makes it all the more valuable as an indicator of the kind of music in which they steeped themselves and out of which the individual style of their most famous colleague would develop.
The "Symphonisches Praeludium" is something of a mystery. If not by Mahler himself, it certainly hails from the Vienna of his student days. It was unearthed in the late 1970's in the Austrian National Library: a piano transcription, by one Heinrich Tschuppik, made from what the title-page described as a score "from the year 1876, supposedly by Anton Bruckner" that had been copied "by the Bruckner-pupil Rudolf Krzyzanowski". The sound and style of the Prelude certainly has much of Bruckner about it, and not a little of Wagner. Structural peculiarities nevertheless led some musicologists to hear in it the work of a younger composer inspired by Bruckner, rather than Bruckner himself. Since Rudolf Krzyzanowski was a close and admiring student friend of Mahler's, the tantalizing possibility arose that it might just be one of Mahler's own lost student compositions. The mystery may never be solved. As thematic connections are known to exist between Mahler's later works and the symphony by Hans Rott, another of his student companions, it would be reasonable to assume that there was a fairly close community of styles and even musical ideas within Mahler's circle of the later 1870's, whose members influenced and inspired each other. Mahler must surely have known and identified with this expansively brooding symphonic movement, even for if he did not actually compose it himself. If it is an unknown work by Bruckner, then its survival in a copy by one of Mahler's friends makes it all the more valuable as an indicator of the kind of music in which they steeped themselves and out of which the individual style of their most famous colleague would develop.
RECORDINGS (with Gustav Mahler who plays):
Recordings with piano roll (9 november 1905):
> "4 Lieder" ("Lieder und Gesänge", vol.II)
> "4 Lieder" ("Lieder und Gesänge", vol.II)
- "Ich ging mit lust durch einen grünen wald".
>"Lieder eines fahrenden Gesellen", testo di Gustav Mahler:
- Ging heut' morgen übers Feld.
> "Symphony n.° 4" in G major, for soprano solo:
- Sehr behaglich.
> "Symphony n.° 5" in C sharp minor:
- Trauermarsch (in gemessem Schritt. Streng. Wie ein Kondukt).
- Stürmisch bewegt mit grösster Vehemenz.
Phonographic recording (London? 1905?):
> Gustav Mahler (???) - F. Mendelssohn "Rondò Capriccioso in E minor, op.14".
Is a very rare phonographic recording whose attributability to Mahler is profoundly controversial.
It is contained in a LP privately recorded in Japan, in 1960, by a mysterious "Mr Y" that say of have buy this recording in a sound test of G&T, with a white label, with the autograph that Mahler writes with his own hand, and with the words "Gustav Mahler plays Mendelssohn's Rondo". On the liner notes gave the year 1905, when Mahler was briefly visiting London. But the original record was never shown to the public, and nobody knows where the record is right now.
It is contained in a LP privately recorded in Japan, in 1960, by a mysterious "Mr Y" that say of have buy this recording in a sound test of G&T, with a white label, with the autograph that Mahler writes with his own hand, and with the words "Gustav Mahler plays Mendelssohn's Rondo". On the liner notes gave the year 1905, when Mahler was briefly visiting London. But the original record was never shown to the public, and nobody knows where the record is right now.
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