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- Gustav Mahler
Symphony No. 5, GMW 44 (1903)
(Symphonie Nr. 5)- C.F. Peters GmbH & Co. KG (World)
Published in collaboration with the International Gustav Mahler Society, Vienna
as part of the New Complete Critical Edition: Volume V.
Chief editor: Reinhold Kubik
Herausgegeben in Zusammenarbeit mit der Internationalen Gustav Mahler Gesellschaft, Wien
im Rahmen der Neuen Kritischen Gesamtausgabe: Band V.
Leitung: Reinhold Kubik
- 4(4pic).3(III:ca).3(III:bcl).2(bn)+cbn/6.4.3.0+btuba/timp.perc/hp/str
- 1 hr 11 min
- 15th January 2025, Philharmonie, Paris, France
- 16th January 2025, Auditorium de Radio France, Paris, France
Programme Note
[...]
We do not know how far Mahler had progressed with the composition in the summer of 1901, nor do we know whether he continued to work on the symphony in the following opera season. Mahler met Alma Schindler in November 1901, became engaged to her in December and married her in March 1902. It is very likely that the expansion of the symphony to five movements was connected with these events. Mengelberg's statement that the Adagietto was Mahler's declaration of love to Alma could correspond to the facts. It is even conceivable that the movement was composed close to the time of the engagement.
In the summer of 1903, contacts were also established with the Peters publishing house. On 23 July, its owner Henri Hinrichsen (1868–1942) was informed by Gustav Brecher (1879–1940, active at the Vienna Court Opera in the 1901/02 season) that Mahler ‘had come to an amicable settlement with his publisher [...] and could henceforth freely dispose of his works.’ On the same day, Hinrichsen wrote to Mahler: ‘I understand that you have completed your Fifth Symphony and therefore allow me to ask you politely whether you are inclined to let me have it with all rights.’
Mahler postponed his reply until September, probably in order to consult his legal adviser Emil Freund. The decisive letters, in which the fee (10,000 guilders) was also agreed, were dated 30 September (Mahler) and 2 October (Hinrichsen). Mahler looked through the engraver's model – i.e. Alma's copy – again at the beginning of October (letter dated 4 October to Hinrichsen) and made corrections and additions before sending it off. On 14 October, Hinrichsen was able to confirm receipt of the engraving template and sent a cheque.
[...]
from preface of Reinhold Kubik in: Gustav Mahler, Sämtliche Werke, Kritische Gesamtausgabe, edited by Reinhold Kubik, published by the International Gustav Mahler Society Vienna, Volume V, Symphony No. 5 in five movements for large orchestra, new critical edition by Reinhold Kubik 2002, score EP 10800, Vienna, autumn 2001