No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 13 April 2011
1 In 1924, Mahler's widow, Alma Mahler-Werfel, published his letters in Gustav Mahler: Briefe, 1879–1911, which has since appeared in two updated editions: Knud Martner's Selected Letters of Gustav Mahler (New York: Farrar Straus Giroux, 1979)Google Scholar , and Herta Blaukopf's Gustav Mahler Briefe (Vienna: Paul Zsolnay, 1982; rev. 1996)Google Scholar . Blaukopf has also compiled Mahler's unknown letters in Gustav Mahler Unbekannte Briefe (Vienna: Paul Zsolnay, 1983)Google Scholar . Mahler's letters to Alma were published by Henry-Louis de La Grange and Günther Weiβ as Ein Glück ohne Ruh': die Briefe Gustav Mahlers an Alma (Berlin: Siedler Verlag, 1995)Google Scholar . In addition, some of his correspondence with prominent friends and contemporaries has been anthologized; see n. 5.
2 As McClatchie notes in the introduction, Alma Mahler-Werfel's books on her life with Mahler ‘are fascinating and frustrating monuments of self-aggrandisement and selfjustification … riddled with errors, distortions, and self-serving depictions of events’ (p. 13).
3 This statement is echoed in a striking remark that Mahler made about his compositions, recorded by Natalie Bauer-Lechner: ‘A splendid example for creative people is Jacob, who struggles with God until He blesses him … God also does not want to bless me; only in frightful struggle over the existence of my works do I wrest it from Him.’ Natalie Bauer-Lechner, Recollections of Gustav Mahler, trans. Newlin, Dika, ed. Franklin, Peter (London: Faber, 1980): 76Google Scholar.
4 In his essay, ‘Gustav Mahler: Formation and Transformation’, historian Carl Schorske characterizes the dichotomy as follows: ‘As conductor, his task was to preserve and invigorate [the classical tradition], a task in which he deeply believed. As composer, he aspired to construct a picture of the world true to his modern experience.’ Schorske, Carl, Thinking with History: Explorations in the Passage to Modernism (Princeton: Princeton University Press, 1998): 172Google Scholar.
5 Mahler's correspondence with Richard Strauss is documented in Blaukopf's, HertaGustav Mahler–Richard Strauss Briefwechsel 1888–1911 (Munich: R. Piper, 1980)Google Scholar.