Featured Essay

How Mahler Brought Bach to America

by Mary Wagner
Dr. Mary H. Wagner is assistant professor of music at the University of Michigan at Flint. She received her Ph.D. in Musicology/Ethnomusicology from Kent State University. Her credentials also include a master of music in voice, Master of Arts in musicology, and a Master of Business Administration. At the University of Michigan-Flint Dr. Wagner teaches courses in music history, world music, and women in music. Wagner is completing a book entitled Gustav Mahler and the New York Philharmonic Tour America that will be published by Scarecrow Press. Citizens in Europe and New York were not the only people to witness Gustav Mahler as a conductor at the turn of the twentieth century. In thirteen cities throughout America thousands of people eagerly watched Mahler conduct the New York Philharmonic as he took the Orchestra on their first tours beyond greater New York and performed his arrangement of the Bach Suites. Reviews from these performances shed new light on Mahlers reception in America. Mahlers final years were marked by several monumental achievements including the premiere of the Eighth Symphony in Munich and the completion of Das Lied von der Erde. During his lifetime Mahler became one of the most famous conductors, not only in Europe, but also in America. In 1909, Mahler accepted the position of director with the New York Philharmonic and soon rejuvenated a crumbling Orchestra. As a part of this programming Mahler brought Bachs music into the spotlight with his new arrangement of the Bach Suite. For this composition Mahler arranged the Overture and Rondeau from Bachs Orchestral Suite No. 2 followed by the Air and 1 Gavotte from the Orchestral Suite No. 3. During the following two seasons the Bach Suite became a hallmark of Mahlers programming, as he performed it at least twenty-three times in New York and eleven times outside of New York. Thus, Mahler brought Bach into the modern concert hall and demonstrated his skills as a conductor, composer, and performer. The Steinway Harpsichord Finding the right instrument for such a composition created no obstacle for Mahler. In fact New Yorkers had become acquainted with a socalled harpsichord over the past several years. Prior to Mahlers arrival, conductor Nathan Franko of the Metropolitan Opera engaged a modified Steinway piano to accompany the recitatives in a production of Don Giovanni in January 1906. The performance commemorated th the 150 anniversary of Mozarts birth and the New York Times noted, The long successions of recitative with accompaniment for the 2 pianoforte, representing the old harpsichord, jar upon modern ears. When Mahler arrived at the Metropolitan Opera to produce Don Giovanni in January 1908, he decided to use the Steinway instrument to accompany the recitatives. As in Mozarts time, he played the accompaniments. Although the sound produced seemed overstated, the critics approved and believed that such an exaggeration was 3 deemed necessary in a house the size of the Metropolitan Opera.

Other conductors throughout New York City also demonstrated interest in the instrument. On 15 March 1908, Walter Damrosch incorporated the so-called harpsichord in a New York Symphony performance. In a concert designed to be part of a Beethoven series, Damrosch played the harpsichord in Beethovens Trio in G Major for Piano, Flute, and 4 Bassoon. Although reporters criticized Damrosch for placing too much emphasis on the harpsichord and for a lack of ensemble, the audience 5 reacted with enthusiasm. A few weeks later at Carnegie Hall Walters brother, Frank Damrosch, conducted the New York Oratorio Society in a production of Bachs St. Matthew Passion on 16 April 1908, and, again, used the instrument. Critics commended the conductors attempt to reproduce significant features of the work that are today to 6 a greater or less extent obsolete or neglected. Mahler continued to make use of the instrument, and the following year it again appeared at the Metropolitan Opera on 13January 1909, in a 7 production of Mozarts The Marriage of Figaro. Joining the Philharmonic By 1909 the Metropolitan Opera had undergone several changes including the departure of manager Heinrich Conried and the hiring of Toscanini. These factors influenced Mahler to consider his options and other opportunities. At the same time, a group of volunteers at the Philharmonic organized the Guarantors of the Fund for the Permanent Orchestra of the Philharmonic Society of New York. Led by the Mary 8 Sheldon, wife of financial leader George Sheldon, the group quickly raised over $90,000 to secure the following three seasons. With the financial support of several wealthy citizens the Philharmonic reorganized from the cooperative plan into one dependent on guarantors. This transition marked a pivotal time in the orchestras history but proved necessary for its survival and stability. Some of the positive changes included a new administration, a committed board of directors, full-time positions for the musicians, and a new music director. Based on Mahlers ability, fame, and success with the Metropolitan Opera, the committee invited him to lead the organization and invoke new life into the programming and quality of the orchestra. Mahlers primary objective as director focused on raising the popular musical standards and making the New York Philharmonic the best in 9 this country and the equal of any in the world. Under the new plan the season expanded from sixteen concerts to a forty-six concerts, which extended over twenty-three consecutive weeks. Part of the new plan also involved touring to fill in open slots in the New York schedule. This concept of touring had already proved advantageous to other orchestras such as the New York Symphony and the Boston Symphony Orchestra. In fact, for the approaching 1909-10 season the Boston Symphony Orchestra scheduled a subscription series of ten concerts at Carnegie Hall. Mahler accepted the position and a salary of $25,000. Although some critics believe the salary seemed outrageous, Mahler earned only $5,000 more than the previous conductor Vassily Ilyich Safanoff, plus
4 Beethoven, Trio in G Major for Piano, Flute, and Bassoon, WoO37. Damrosch thought the harpsichord served as an appropriate instrument for the work since the Beethoven work called for a clavicembalo instead of a piano. Although written between 1786-90 in Bonn, the work was first published in 1888. 5 6 7

Beethoven Novelty Heard, New York Times, 16 March 1908, 7. Bachs Matthew Passion, New York Times, 17 April 1908, 6.

Gustav Mahler, Suite aus den Orchesterwerken von Johann Sebastian Bach Suite from the Orchestral Works of Johann Sebastian Bach, (New York: Schirmer, 1910). This work includes an arrangement of the Overture and Rondeau from Bachs Orchestral Suite No. 2 in B Minor, BWV 1067, followed by the Air and Gavotte from the Orchestral Suite No. 3 in D Major, BWV 1068. Throughout this book the work will be referred to as the Bach Suite.

Richard Aldrich, A Triumph in Italian Grand Opera: Revival of Mozarts Marriage of Figaro at the Metropolitan Wins the Public, The New York Times, 17 January 1909, X7. This article refers to the production on Wednesday, January 16, 1909. George R. Sheldon also served on the Board of Directors for Cincinnati Northern Railway Company, Detroit Edison Company, Electrical Securities Company, the Laclede Gas Light Company, Montreal Locomotive Works, Locomotive Securities Company, Metropolitan Trust Company, Milwaukee Light, Heat, and Traction Company, National Copper Bank, North American Company, New Jersey Terminal Dock and Improvement Company, Republic Iron and Steel Company, Rogers Locomotive Works, and St. Louis Transit Company. Nations Best Orchestra, Mahlers Musical America, 30 October 1909, 31.

2 Mozarts Masterpiece on his 150th Birthday, New York Times, 28 January 1906, 7. The opera took place on 27 January 1906. 3 Don Giovanni given at the Metropolitan, New York Times, 24 January 1908, 7. Mahler conducted the opera on 23 January 1908.

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the board expected Mahler to conduct almost three times as many concerts. As Mahler planned the 1909-10 season he organized several series to increase patronage including an All Beethoven, Historical, and Popular Concerts series. Along these lines he hoped to gradually educate the public and to introduce more modern compositions in the programs. As somewhat of a novelty and as a method of educating listeners, the Historical series focused on the history of orchestral music from Bach to the present. Mahler programmed six consecutive historical concerts for Wednesday evenings, allowing each concert to chronologically connect the development of orchestral music. To draw interest to this series Mahler developed his arrangement of the Bach Suites. Based on the positive reviews that Mahler and other conductors received when incorporating the reconfigured Steinway instrument into programs, Mahler believed that the instrument and the composition would generate great interest in Baroque music and increase patronage of the Orchestra Bach Suite Logistics To create a Baroque setting, Mahler conducted from and also played the keyboard for this selection. Although noted as a harpsichord in the programs and reviews, Mahler played a Steinway baby grand piano, most likely an L or A series. To produce a sound similar to a harpsichord the Steinway Company placed tacks on the hammer portion of the keys. Since an authentic harpsichord could not produce enough sound for a standard American concert hall, the sound of a reconstructed piano with the strength of modern metal strings could adequately fill the larger halls. Some people may believe that Mahler asked the Steinway Company to create such an instrument when he became director of the New York Philharmonic, but this noted harpsichord was most likely the same instrument that Mahler used at the Metropolitan Opera. Mahler decided that just as Damrosch played the harpsichord in the New York Symphony concert, he too would demonstrate his keyboard and conducting skills simultaneously in the Bach Suite. To accomplish this task Mahler insisted that the harpsichord be placed on a platform to give him full view of the orchestra. Evidence of this so-called platform appeared in correspondence including a letter addressed to M. Steinert & Sons, Providence, from Steinway and Sons, New York. The letter explicitly mentions, We send the same three blocks which your Springfield house will forward you on with the instrument on which it is placed to bring it up to the proper height of Mr. Mahlers conducting 10 Although the platform may not have seemed essential for desk. Carnegie Hall, in other performance spaces such as Infantry Hall in Providence, Rhode Island, the audience watched the concert from one single level. Thus, the platform also permitted the audience to view Mahler as a conductor and soloist. Furthermore, this reconfigured instrument also more proved durable in strenuous winter conditions than an actual period instrument. A traditional harpsichord would quickly become out of tune without proper heating and temperature control, but a piano could maintain its pitch with more variant temperature. Today pianos are shipped in specific crates, yet the moving conditions at the turn of the twentieth century were much more primitive. For example, in a memo from the Philharmonics archive, the Steinway Company coordinated the delivery of the keyboard instrument to Boston. The letter mentions that a sled transported the piano from the Steinway Company to the train 11 station in New York for the Philharmonic tour. Based on Steinways records this sled entailed a wooden board with wheels and two straps that secured the instrument on its side. The sled could then be attached to a carriage and taken to the Grand Central Depot or Penn 12 Station.
10 J[ames]. H[enry]. Hempstead at Steinway and Sons, New York to M. Steinert and Sons Co., Providence, 18 February 1910, TS, Papers of Felix Leifels, Archives of the New York Philharmonic. 11

Organizing the Programs Finally, as part of the overall plan, the Philharmonic added touring as a new component. Compared with the other programs these concerts featured more of a potpourri of music that demonstrated the versatility of the orchestra and Mahlers ability as a conductor and performer. During the 1909-10 season Mahler performed the Bach Suite on tour in the following locations: Date Day City/ST Springfield, MA Boston, MA Place Court Square Theater Symphony Hall Capacity 2,683 1,860 2,625 23-Feb-10 Wed 24-Feb-10 Thu 26-Feb-10 Sat New Haven, CT Woolsey Hall

Programming for the tours during the first season offered a variety of music, but at least fifty percent of the program reflected romantic music. Several favorites appeared on these tour programs including the Berlioz Symphony Fantastique and Mahlers arrangement of the Bachs Suites. Both pieces worked especially well as selling points for the concerts. Compared with other touring orchestras that averaged between fifty and sixty musicians Mahler toured with a larger orchestra of almost one hundred musicians during this season which allowed audiences to hear the a greater range of dynamic contrasts in the Berlioz work. Furthermore, the work had never been heard before in some cities such as Providence, Rhode Island. The Bach work allowed listeners to hear a modernized version of Bachs music suitable for an American sized concert hall of several thousand listeners and featured Mahlers ability as a conductor, arranger, and performer. In these concerts Mahler performed the keyboard segments and simultaneously conducted the orchestra. Furthermore, Mahler used the Bach work as a novelty to entice the public. This piece offered something unique to the concert that was different from any music performed by the Boston Symphony Orchestra, the Theodore Thomas Orchestra, or even the New York Symphony. For Mahlers first season he placed the Berlioz Symphony Fantastique as the first selection on the touring programs. With almost one hundred musicians on stage the Berlioz work received overwhelming praise. Many conductors today might have decided to chronologically order the works on the program and place the Berlioz work after the Bach piece. With such a drastic change from a large orchestra in the Berlioz work to a Baroque composition, it is not surprising that the Bach Suite received less favorable reviews. When Mahler decided to open concerts with the Bach selection during the second season, however, it received much more favorable reviews. In fact, a number of critics even selected the Bach work as the highlight of the program. Advertising: Compared with other Philharmonic programs advertisements for these concerts promoted Mahler as the soloist. Throughout the tours advertisements usually appeared in the newspapers between two or three weeks before the performance. Most newspapers often printed feature stories in a Sunday edition and ran subsequent articles during the week in an Arts or Metropolitan section. When introducing the New York Philharmonic to a new community, articles devoted at least half the space to Mahler while the remaining space described the program and Philharmonics history. Some articles documented Mahlers work as a conductor, but continually focused on two compositions, his Eighth Symphony and his newly arranged Bach Suite. Mahler had recently completed the Eighth Symphony and news about its premiere and reception often accompanied a featured article. The management marketed the orchestra under various themes, such as a large orchestra, first appearances, Mahler, or a great musical program. One piece of music routinely appeared in the advertisement section, namely Mahlers Bach Suite. Remarks about the composition and Mahlers role as a performer, conductor, and composer followed as

Albert Steinert, Providence to Felix Leifels, New York, 19 February 1910, TS, Papers of Felix Leifels, Archives of the New York Philharmonic. Henry Steinway of New York, interviewed by author, 28 February 2001, New York, transcribed notes, Steinway Hall, New York.

12

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ads and articles promoted Mahler to Play Bach Cycle on 13 14 Harpsichord, Steinway Piano Used, and Mr. Mahler will also 15 appear as soloist playing the Harpsichord. Phrases portraying Mahler as the best conductor in the country, or even the world, also covered the Hartford and Springfield advertisement sections noting Mahler as A Great Man with a Great 16 17 Big Orchestra and the Worlds Greatest Symphony Conductor. As the designer of the reconfigured piano, Steinway played an important position in advertising the tours. As with other musicians, Mahler soon endorsed the Steinway piano and full page advertisements promoting the Steinway Company appeared in prominent locations, such as the back cover. Each program emphasized that Mahler performed only a Steinway piano throughout the tour. In addition to printing the piano manufacturers name underneath the Bach selection in the program, full-page advertisements encouraged readers to purchase a Steinway from the local dealer. With everything in place for the concerts, the Philharmonic left New York City for New England on the morning of 23 February 1910. What the Critics had to Say New Haven 23 February 1910 In addition to Mahler performing at the reconfigured piano an organist sometimes was included in the Bach work. At Yales Woolsey Hall Music Professor Harry Jepson doubled the keyboard part on the organ, while Mahler conducted and performed at the harpsichord. Even though the work appeared as a novelty with a made-over piano, the

piece was thoroughly enjoyable. Critics also recognized that some purists might be offended by Mahlers tampering with the score of a sacred composer. Yet both the New Haven Times Leader and the New Haven Morning-Courier believed the work better than anything else 19 shows Mr. Mahlers genius and originality. As a keyboardist, Mahler 20 received praise for his fine sympathy and rhythmic precision. The only suggestion came from the reviewer of the New Haven Evening Register, who advised Mahler to reduce the size of the orchestra. Although no documents verified the number of musicians performing this work, the reviewer recommended that a better result might have been obtained by using only a few strings and a clavichord 21 with less tone so that more transparency might have been gained. On the whole, Mahler created a renewed interest in Bach for listeners, and several articles applauded him for this accomplishment. The New Haven Times Leader and the New Haven Morning Courier-Journal concluded, We doff our hat to the man who can make Bach interesting 22 even if he has to tamper a little with the score to do it. Springfield, MA 24 February 1910 The following evening Mahler conducted a concert at the Court Square Theater in Springfield. After concluding the opening Berlioz selection, 23 the reconfigured piano was moved to the center of the stage and 24 placed on three blocks so Mahler could also conduct the orchestra. The critic of the Springfield Weekly Republican regarded the performance of the Bach work as an extremely interesting novelty as the wiry twang of the harpsichord added a quaint touch which 25 transported one instantly into another century. Mahler impressed critics as he gave another illustration of his remarkable ability to understand music from different periods, to arrange a composition, and to play the harpsichord. The reviewer in the Springfield Weekly Republican commended Mahler on the performance; however, he believed that while the violinists admirably played the piece, they did not have the same brilliance as those in the Boston Symphony 26 Orchestra. Boston 26 February 1910 On the following day the Philharmonic performed at Providences Infantry Hall but the Bach Suite was not part of the program. Finally, as the last leg of the tour the Philharmonic performed at Bostons Symphony Hall on Saturday evening, 26 February 1910. Overall, Bostonians appeared not as cordial to the Philharmonic as New Yorkers had been over the past several decades to the Boston Symphony Orchestra. It is therefore no surprise that conflicting accounts appeared regarding Mahlers interpretation and arrangement of the Bach Suite. Noted as a novelty along the tour, Elson of the Boston Daily Advertiser hesitated from proclaiming Mahler a genius and remarked, We did not see any especial advantage in Mahlers
17 18

18

Springfield Daily News, 17 February 1910, 2.

Philharmonics and Mahler Here Tonight, New Haven Evening Register, 23 February 1910, 5.

19

Superb Playing of Philharmonic, New Haven Morning Journal-Courier, 24 February 1910, 12. This portion of the article also reported in The Philharmonic Concert a Treat for Music Lovers, New Haven Times Leader, 24 February 1910, 4. Ibid.

20 21

Philharmonics and Mahler Here Tonight, New Haven Evening Register, 23 February 1910, 5.

22

Superb Playing of Philharmonic, New Haven Morning Journal-Courier, 24 February 1910, 12. Gustav Mahler and the Philharmonic Society, Springfield Daily News, 25 February 1910, 4.

23 13 14 15 16

Wilson G Smith, Cleveland Press, 29 October 1910, 7. Amusements, Syracuse Herald, 4 December 1910, sec 4, 6. [Advertisement], Cleveland Town Topics, 26 November 1910, 2. Advertisments, Hartford Daily Times, 15 February 1911, 7.

24 Of Music and Musicians: The Philharmonic Concert, Springfield Weekly Republican, 3 March 1910, 6. 25 26

Ibid. Ibid.

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conducting at the piano except to give an object-lesson in the eighteenth century style of leadership. If any auditor thought that the result brought us nearer to the actual effect of Bachs performances he 27 was mistaken. Elson predicted his readers would not conclude that Mr. Mahler or the Philharmonic could surpass the status of the Boston Symphony Orchestra as he wrote, The Bach Suite was excellently done but not better than many performances that our orchestra has 28 given. Reporters of the other major newspapers, however, formed more complimentary opinions as the suite not only pleased the audience, but also sparked interest in the Baroque period. Philip Hale of the Boston Sunday Herald believed Mahler succeeded in bringing to life the vitality of Bach and concluded, The music that is sometimes merely dead as 29 dry bones was last night living flesh radiant with beauty. Hale was aware some listeners or even perhaps critics, such as Elson, disapproved of Mahlers interpretation and the manner in which he used the harpsichord. Rather than dropping the matter, however, Hale addressed those readers opposing the arrangement and commented, If they were asked what they would have [done] they would be at a 30 loss for reply. Mahlers skill as a conductor, arranger, and interpreter of Bach found favor in the column of the Boston Evening Transcript as the conductor created the eloquence of Bach in the varying substance and color of the tonal mass, in the differing animations of diverse rhythms, in the contrasts and combinations of adroitly and 31 modulated instrumental voice. Mahlers Second Season with the Philharmonic Well before Mahler departed to Europe for his summer home in Toblach, a new and very experienced manager Loudon Charlton joined the Philharmonic. Charlton quickly began signing contracts and making arrangements for the 1910-11 season and designed a Philharmonic touring schedule on the same caliber as that of the New York Symphony, the Philadelphia Orchestra, and the Boston Symphony Orchestra. Date 5-Dec-10 6-Dec-10 7-Dec-10 8-Dec-10 9-Dec-10 Day Mon Tue Wed Thu Fri City/State Pittsburgh, PA Cleveland, OH Buffalo, NY Rochester, NY Syracuse, NY Utica, NY Hartford, CT Place Soldiers and Sailors Memorial Hall Grays Armory Convention Hall Convention Hall New Wieting Opera House Majestic Theater Parsons Theater Capacity 2,378 5,000 5,000 3,000 2,140 1,345 1,860 1,700

encompassing Springfield, Massachusetts, and Hartford, Connecticut, on 15 and 16 February 1911. For the second time Mahler conducted in Springfield and repeated a performance of his arranged Bach Suite. Furthermore, concertgoers in the nearby city of Hartford experienced one of Mahlers last moments at the podium and the final time he performed at the harpsichord. Although less publicized than the other journeys, this set of concerts occurred only one week before Mahlers final appearance at Carnegie Hall with the New York Philharmonic on 21 February 1911. During this second season of touring the Bach Suite was heard in the locations beyond Greater New York, as listed in the left column. What the Critics had to Say Pittsburgh 5 December 1910 For a Monday evening concert the Philharmonic attracted a record size audience as twenty-two hundred patrons fill the Soldiers and Sailor 32 Memorial Hall and another five hundred turned away at the doors. Within great anticipation a thrill of curiosity ran through the large audience as a striking figure, small of stature, but absolutely individual in looks, walked to the front of the stage with quick, nervous strides, and perching himself in a high chair with his back to the audience, 33 directed the orchestra. Mahler began the concert with his Bach Suite, and critics immediately evaluated his use of a modified piano in this work. Rentz noted that the altered tone of the instrument as theoretically a very interesting plan but hardly a success in a large hall when the instrument competes against the volume of many 34 strings. The critic for the Pittsburgh Index expressed a similar opinion as he acknowledged the harpsichord as a reminder of by-gone customs, and a doubtful proposition in these days of large orchestras 35 and large halls. On the contrary, the audience expressed sheer approval as they produced hearty applause after each movement. The critics admired the arrangement of the Air as the first violins bowed the melody in 36 unison. The Pittsburgh Press applauded Mahler for his wonderful musical and somewhat athletic feat of presiding at the harpsichord and 37 conducting the orchestra at the same time. Charles Wakefield Cadman of the Pittsburgh Dispatch offered the most favorable review as he wrote, Wisdom and musical acumen run through the sympathetic adaptation in veins of pure gold. The calling into use of the harpsichord is in itself a masterstroke. As handled by Mr. Mahler, it 38 enhances the character of the work twofold. Cleveland 6 December 1910 In the Cleveland Plain Dealer Russell observed that when the concert commenced the orchestra plunged into the suite like a race horse at a 39 signal. Throughout the evening the orchestra continued to play in this same manner and the program offered no vacillation, no 40 weakening, no hesitancy, no drag.

10-Dec-10 Sat 15-Feb-11 16-Feb-11 Wed Thu

Springfield, MA Court Square Theater

In reality, this plan developed into fourteen concerts on tour, more than double the number of performances beyond New York during the previous year. Charlton organized the first tour of the 1910-11 season for the week of 5 December 1910 covering Pittsburgh, Cleveland, Buffalo, Rochester, Syracuse, and Utica, New York. Different than the first season the Philharmonic provided the same program in each city, which reduced the rehearsal time and simplified the production of programs and promotional materials. After more concerts in New York and a tour to Philadelphia and Washington, D.C. in January 1911, Mahler traveled with the Bach Suite to New England on a tour
27 Louis C. Elson, Symphony Concert was a Great One, Boston Daily Advertiser, 28 February 1910, 5. 28 Ibid. 29

32 Martha L. Root, Concert a Brilliant Society Event, Pittsburgh Post, 6 December 1910, 2. 33 Charles Wakefield Cadman, Brilliant Welcome to Mahler, Pittsburg Dispatch, 6 December 1910, 7. 34 Theodore Rentz, Orchestra Given Grand Reception, Pittsburgh Gazette Times, 7 December 1910, 4. 35

Music, Pittsburgh Index, 10 December 1910, 13.

36 Theodore Rentz, Orchestra Given Grand Reception, Pittsburgh Gazette Times, 7 December 1910, 4. 37

. N.Y. Orchestra Makes Its Debut in Pittsburg, Pittsburgh Press, 6 December 1910, 4.

38

Philip Hale, Boston Premiere of Philharmonic, Boston Sunday Herald, 27 February 1910, 4. Ibid.

Charles Wakefield Cadman, Brilliant Welcome to Mahler, Pittsburg Dispatch, 6 December 1910, 7.

30 31

39 Miriam Russell, Mahler, Leading, Shows his Power, Cleveland Plain Dealer, 7 December 1910, 2. 40

Music and Drama: Mr. Mahler as a Concert Conductor, Boston Evening Transcript, 28 February 1910, 18.

Ibid.

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Writing for the Cleveland Leader Alice Bradley was convinced Mahler captured the true essence of Bach in his arrangement and avoided any possible dull moment as he melded the true feeling of the lighthearted ancient composer into intimate sympathy with modern 41 moods. In the Badinerie and the Gavotte, Bradley noticed how the harpsichord accented each measure and added to the proper interpretation of eighteenth century music. Marcosson of the Cleveland News also believed Mahler gave youthful vigor to the Gavotte which 42 made it refreshing and inspiring. The popular Air also pleased listeners and critics as Mahler created a revelation of beauty in the 43 fusion of tone that flowed from the string body of the Philharmonic. Thus, Mahler transformed the famous Air into a divine piece of tonepoetry as the Philharmonic created its rightful body and color and the 44 work became tender and spiritual. Compared with other renditions Mahler managed to spark interest in Baroque music as Marcosson concluded, He manipulates tradition with a bold hand and imbues with fresh life and vigor the spirit too often dormant in the musty 45 manuscript. The Bach selection delighted a number of critics but several writers expressed extremely negative comments regarding the modified piano. Wilson Smith noted in the Cleveland Press that while Mahler modernized the scoring of the Suite for a modern orchestra, he should have provided listeners with the sound of a modern piano. Mahlers use of the harpsichord reminded Smith of the reading of some antique to me by candlelight and he believed that the modern concert stage 46 has forgotten it. Buffalo 7 December 1910 While evidence survived to confirm the presence of an organ in Buffalos Convention Hall for the opening Bach Suite, none of the reviews or the program mentioned an organist for this work. Overall, the audience and critics enjoyed Mahlers modifications of the Bach composition, and the Buffalo Courier remarked, To many this was the 47 favorite of the evening. The critic for the Buffalo Evening News praised Mahler for emulating the spirit of Bach as he performed the 48 music with a vitality that pulsated with life and energy. Although listeners identified Bach as a master of Baroque music, Mahler captured the excitement of the composer as the elastic rhythm and nuance of each phrase made Bach seem the human being he was in his music and not the automaton that pedantry often makes him 49 appear. Critics approved of Mahlers enhancements, and some even endorsed the reconfigured piano as an appropriate replacement for the harpsichord. The critic for the Buffalo Enquirer described the instrument to readers as a pianoforte with modified action that 50 produced a tone similar to an old harpsichord, but somewhat louder. One writer for the Buffalo Express disapproved of the modified piano and rated it as unsatisfactory for replacing an instrument of Bachs time since it lacked the gentle, thin sweetness of the harpsichord and both
41 42

in the Overture and Gavotte it was disagreeably strident. Yet, the same critic admitted that the instrument lent itself better in the Rondeau and created a delightful performance that transported 52 listeners to the days of Bach. Rochester 8 December 1910 Compared to other works on the program, the Rochester Union and Advertiser acknowledged the opening Bach Suite as the primary 53 attraction. As verified in several accounts, Mahler again directed from 54 his seat at the piano and appeared as some old cembalist from the eighteenth century who improvised a part from the continuous bass 55 line of Bach and led with only look and gesture. Furthermore, the reviewer for the Rochester Herald complimented Mahler for his arrangement and ability to reconstruct and adapt Bachs music for modern audiences. According to this critic, Mahler achieved an offering not Bach sacrosanct but Bach in his proper setting for modern 56 hearers and for modern means. Compared with other performances of Bachs music in Rochester, this selection appeared full of reverence 57 58 which satisfied the soul, and and veneration for Bach, demonstrated the music of Bach as a living, a pulsating, and 59 emotional language. During this performance the critic for the Rochester Herald admired the brilliancy, incisiveness, and virtuosity of the string section as the peer 60 of any orchestra heard in Rochester in many years. The reviewer emphasized he meant nothing derogatory about the woodwinds or brass, but believed the strings created a convincing effect that 61 demanded recognition. Syracuse 9 December 1910 When Mahler performed the Bach Suite at the New Wieting Opera House in Syracuse, only the Syracuse Post-Standard commented on the selection. The writer reported that several men placed the keyboard instrument on pedestals. Mahler then sat down, faced the 62 audience, and conducted the orchestra as he played. This review documented the first time along the tour that Mahler actually faced the audience, either partially or completely, rather than perform with his back turned to the audience. Mahlers interpretation of Bach obviously pleased the audience and critics. Hence, not one reviewer disapproved of the reconfigured Steinway piano or Mahlers tampering with the score. On the contrary, the critic for the Syracuse Post-Standard concluded, The effect, probably as near an approach as has been made since Bachs own time, two centuries ago, to the effects which Bach himself used to create, was indescribably picturesque and telling. The somewhat nasal voice of the harpsichord sounded through the bright fabric of the composition like some oriental
51 52 53.

51

M. M. H., Music Hath its Charms, Buffalo Express, 8 December 1910, 5. Ibid.

Alice Bradley, Concert Delight to Big Audience, Cleveland Leader, 8 December 1910, 9 Sol Marcosson, Mahler Calls Back Spirits of Masters, Cleveland News, 7 December 1910, 4.
43 44.

In Local Playhouses: Convention Hall, Rochester Union and Advertiser, 9 December 1910, 16. Ibid.

Ibid.

54

Alice Bradley, Concert Delight to Big Audience, Cleveland Leader, 8 December 1910, 9.

55 Music and the Drama: Convention Hall Rochester Post Express, 9 December 1910, 11. 56

45 Sol Marcosson, Mahler Calls Back Spirits of Masters, Cleveland News, 7 December 1910, 4.

Mahler and the Philharmonic, Rochester Herald, 9 December 1910, 11.

Wilson G. Smith, Little Mahler Looms Giantlike in Concert, Cleveland Press, 7 December 1910, 6.
47 48

46

57 In Local Playhouses: Convention Hall, Rochester Union and Advertiser, 9 December 1910, 16. 58

Mahler and the Philharmonic, Rochester Herald, 9 December 1910, 11.

Superb Poetry in Philharmonics Art, Buffalo Courier, 8 December 1910, 8.

Superb Concert Philharmonic Orchestra, Buffalo Evening News, 8 December 1910, 18. Ibid. Delightful Concert by Philharmonic, Buffalo Enquirer, 8 December 1910, 12.

59 Music and the Drama: Convention Hall Rochester Post Express, 9 December 1910, 11. 60 61 62

49 50

Mahler and the Philharmonic, Rochester Herald, 9 December 1910, 11. Ibid. When the Curtain Rises, Syracuse Post-Standard, 10 December 1910, 9.

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pattern appearing and reappearing amid the broad color of the orchestral score in contrast and yet in exquisite harmony with the 63 rest. Utica 10 December 1910 As the last leg of this tour Mahler performed the Bach work for the sixth evening in a row at Uticas Majestic Theater. Of the movements in the suite, the Air quickly became a favorite among listeners and critics as the writer for the Utica Sunday Tribune remarked, This was the most 64 beautiful and called forth hearty applause. The reporter for the Utica Daily Press noticed the audience enjoyed the third movement and the 65 Gavotte of the fourth movement. Throughout this work Mahler 66 displayed his thoroughness in the manner of conducting, 67 demonstrated another instance of his ability as a musician, and took 68 the audience back two centuries to the days of Bach. Mahlers Last Tour Springfield 15 February 1911 The opening of Mahlers Bach Suite at the Court Square Theater marked the second time listeners in Springfield heard the composition. Critics expressed opposing opinions on the inclusion of Mahlers reconfigured piano, but the critic for the Springfield Daily News approved of the instrument. He rated the effect as remarkable and believed the selection was immeasurably enhanced by the peculiar accompaniment of the old instrument which masterful Mahler played vigorously, combined with impressive and dignified work on the part of 69 the orchestra. Unfortunately, the critic for the Springfield Union thought the selection demonstrated a look back into the musical past and appeared as only an anachronistic novelty which could have 70 been left out of the program. As the third movement, the popular Air quickly captured the audiences attention. Rather than a soloist playing the melodic line on the violin, all the stringed instruments enriched the primary melody with more depth and fullness of tone. In a cynical comment regarding the cultural level of the community the critic for the Springfield Union remarked that the movement had such a sensuous 71 and poetic appearance even the tone deaf could appreciate [it]. Hartford 16 February 1911 Although the instrument on the stage of Hartfords Parsons Theater visually represented a typical twentieth century baby grand piano, listeners anticipated a big and brilliant tone with fine sustained effects and were surprised when the instrument produced a muffled and 72 tinkling sound. A description in the Hartford Daily News noted the rendition as more of a study of former music rather than a piece of concert music. The critic recorded that Mahler even played the piano in the manner of the 73 Although the sound appeared at times modified instrument. insufficient, thin, and rather foreign to listeners, the reviewer concluded

the interpretation interesting and carried through in a rounded manner, 74 and with much finish and style.

Conclusion Unfortunately, less than a week later Mahler became critically ill. Hopes of conducting the Bach Suite in Philadelphia and Washington, D.C. vanished and on 18 May 1911 Mahler passed away. His accomplishments with the New York Philharmonic led the Philharmonic to a prosperous future and marked a number of firsts for the orchestra. The Philharmonic became one of the first orchestras to travel with one hundred musicians. With an expanded season these years marked the first time musicians enjoyed full-time employment. On these tours audiences across the country heard the Philharmonic for the first time and experienced Mahlers performance of his Bach Suite for the first and unfortunately the last time. As a conductor, Mahler improved the performance standards of the New York Philharmonic, broadened the audience base beyond New York City, and transformed the orchestra into a leading orchestra. These accomplishments led the Philharmonic, still the oldest orchestra in America, to a bright future. For further reading refer to the forthcoming book by Mary Wagner, Gustav Mahler and the New York Philharmonic Tour America. This book will be published by Scarecrow Press. Those interested in Mahlers Bach Suite may wish to consult the following recording: Gustav Mahler: Symphony no. 3 / Bach Suite Riccardo Chailly, conductor; Concertgebouw Orchestra London/Decca (2 CDs) CD 02894706522 CD B0002502 (SACD); B0002336 (conventional CD format)

63 64 65 66 67 68

Ibid. Mahler and the Philharmonic, Utica Sunday Tribune, 11 December 1910, 2. A Delight to Music Lovers, Utica Daily Press, 12 December 1910, 15. Ibid. Mahler and the Philharmonic, Utica Sunday Tribune, 11 December 1910, 2. The Stage: The Philharmonic Orchestra, Utica Observer, 12 December 1910, . Memorable Concert, Springfield Daily News, 16 February 1911, 4. The Theaters: Orchestral Concert, Springfield Union, 16 February 1911, 3. Ibid.

7.
69 70 71

72 N.Y. Philharmonic Orchestras Success, Hartford Daily Courant, 17 February 1911, 10. 73

Unusual Musical Event: New York Philharmonic, Hartford Daily News, 17 February 1911, 7.

74

Ibid.

Naturlaut vol. 4 no. 2