Gustav Mahler.(Review)

Gustav Mahler. Symphonie Nr. 4 in vier Satzen fur groBes Orchester und Sopran-Solo. Fassung 1911; vorgelegt von Erwin Ratz 1963; korrigierte Auflage 1995. (Samtliche Werke, 4.) Vienna: Universal Edition, 1995, c1963. [Note, 1 p.; Revisionsbericht, 3 p.; score, 123 p. ISMN M-008-02433-7; UE 13823. DM 69; duration: Ca. 54'.]

Gustav Mahler. Symphonie I, D-Dur. Nach dem Text der kritischen Gesamtausgabe. Taschenpartitur. (Philharmonia Partituren.) Vienna: Philharmonia Partituren in der Universal Edition, [1998], c1967. [Pref. in Ger., Eng., Fr. (Reinhold Kubik), 4 p.; notes, 1 p.; score, p. 3-171. ISMN M-008-05948-3; Philharmonia No. 545. DM 24; duration: 50'.]

Gustav Mahler. Symphony No. 1 in D Major ("Titan"). (Dover Miniature Scores.) Mineola, N.Y.: Dover Publications, c1998. Re-publication of the edition Vienna: Josef Weinberger, [1899]. [Program note, 1 p.; glossary, p. iv-v; instrumentation, p. vi; score, p. 1-169. ISBN 0-486-40419-6. $4.95.]

Gustav Mahler. Funf Lieder nach Texten von Friedrich Ruckert fur Singstimme und Orchester. Taschenpartitur. (Philharmonia Partituren.) Vienna: Philharmonia Partituren in der Universal Edition, [1998]. [Pref. in Ger., Eng., Fr., 1 p.; score, p. 3-40. ISMN M-008-05988-9; Philharmonia No. 5479. DM 16.]

Gustav Mahler. Funfzehn Lieder, Humoresken und Balladen aus Des Knaben Wunderhorn fur Singstimme und Klavier. Nach dem Text der kritischen Gesamtausgabe hrsg. von Renate Hilmar-Voit unter Mitarbeit von Thomas Hampson. Vienna: Universal Edition, c1994-95. [Ausgabe fur hohere Stimmlage (1994): 1 plate; pref. in Ger., Eng., p. v-x; score, 138 p.; song texts in Ger., Eng., p. 139-48; Mahler's German performance indications--translation and commentary (T. Hampson), p. 149- 51; 1 pl.; crit. notes in Ger., Eng., p. 153--62. UE 30 600; DM 65. Ausgabe fur tiefere Stimmlage (1995): same layout; ISMN M-008-02515-0; UE 30 601; DM 65.]

The music of Gustav Mahler has become an essential component of the performing repertory, as is evident in the number of new recordings issued annually as well as the continued publication of the composer's works. The recent publications here under review, extending from reissues and reprints of historic editions to newly edited scores, offer a range of editorial approaches toward the music, since Mahler continually revised his compositions after their initial publication. Certainly the Mahler Samtliche Werke offers one valid way of presenting the composer's music, but various reissues of earlier editions as well as the publication of new editions of selected compositions reflect different and equally acceptable editorial perspectives, underscoring the fact that the editing of Mahler's music presents a number of challenges that remain unresolved.

The editorial problem with Mahler is simple to explain, yet difficult to solve satisfactorily. Unlike Anton Bruckner, Mahler did not leave multiple, discrete versions of compositions, nor did he arrive at final, fully sanctioned versions of individual works. Rather, various sets of revisions exist in addition to the formally published versions, and those who edit Mahler's music must find a suitable methodology that both determines and expresses the composer's intentions within the constraints of a conventional edition.