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1.0 Mahler letters and Mahler documents (original donation)
1.1 Letters from Mahler
E6-MC-325. Gustav Mahler to Bela Diossy. 26-06-1896. GMB 178.
E6-MC-326. Gustav Mahler to Heinrich Krzyzanowski (1855-1933). [11-1891]. GMB 106.
E12-MC-509. Gustav Mahler to Bertha Löhr. See Friedrich Fritz Lohr (1859-1924). [early 1890s]. Mahler agrees to vacate the Vienna apartment earlier than planned.
E12-MC-510. Gustav Mahler to Bertha Löhr. See Friedrich Fritz Lohr (1859-1924). [?February ?1893]. Family troubles.
S3-MC-776. Gustav Mahler to Ernestine Löhr. See Friedrich Fritz Lohr (1859-1924). [between 09-04-1892 and 13-04-1892]. Asks Ernestine to intercede with Justine for him about a recent misunderstanding.
E2-MC-80. Gustav Mahler to Ernestine Löhr. See Friedrich Fritz Lohr (1859-1924). 16-04-1892. Letter is in English; at the time, Mahler was taking English lessons in preparation for his conducting engagement in London, June-July 1892.
E8-MC-397. Gustav Mahler to Ernestine Löhr. See Friedrich Fritz Lohr (1859-1924). 26-04-1893. Discussion of his brothers and sisters.
E6-MC-322. Gustav Mahler to Bernhard Pollini (1838-1897). 26-09-1890. Draft of a letter, page 2 only, about Mahler’s contract for Hamburg. He will not accept less than 14,000 marks.
E7-MC-336. Gustav Mahler to Bernhard Pollini (1838-1897). 14-10-1890. GMB 99.
E7-MC-337. Gustav Mahler to Bernhard Pollini (1838-1897). 07-11-1890. GMB 100.
E7-MC-338. Gustav Mahler to Bernhard Pollini (1838-1897). [12-1896]. GMB 202.
E5-MC-253. Gustav Mahler to Hans Richter (1843-1916). Copy in unknown hand. 12-04-1897. Mahler pays his respects to Richter before assuming his position in Vienna.
E5-MC-254. Gustav Mahler to Hans Richter (1843-1916). Copy in unknown hand (same as 253). 27-08-1897. Mahler offers Richter Il barbiere di Siviglia to conduct, and discusses other repertoire problems. Tells Richter of his efforts to assure critics of the friendship between the two of them.
E6-MC-321. Gustav Mahler to Max Staegemann (1843-1905). [05-1888]. Draft of a letter to Staegemann in which Mahler disavows any intention of returning to Prague.
E7-MC-335. Gustav Mahler to Joseph Steiner (1857-1913). Between 17-06-1897 and 19-06-1897. GMB 5.
E6-MC-323. Gustav Mahler to Graf Geza Vasony-Teo von Zichy (1849-1924) [late 02-1891 or early 03-1891]. Letter draft, full of pencil additions and deletions. GMB 103.
E6-MC-324. Gustav Mahler to Graf Geza Vasony-Teo von Zichy (1849-1924) [late 02-1891 or early 03-1891]. Draft letter of resignation.
1.2 Letters to Mahler (see also 4.2)
E6-CM-327a. Count Albert Apponyi de Nagyappony (1846-1933) to Gustav Mahler. 25-12-1896. Apponyi agrees to help bring Mahler to Vienna, but is unsure if he has any real influence. [Nevertheless, he wrote to Bezecny on 10-01-1897, warmly recommending Mahler.]
E6-CM-330. Countess Clara Bassewitz (1825-1900) to Gustav Mahler. 24-04-1897. A farewell letter marking Mahler’s final performance in Hamburg.
E7-CM-339. Ferenc von Beniczky (1833-1905) to Gustav Mahler. 15-01-1897. Beniczky is pleased to recommend Mahler for the Kapellmeister position in Vienna, and has written the intendant [Bezency] accordingly.
E2-CM-81. Max Bruch (1838-1920) to Gustav Mahler. [09-1887]. Missing first page. Performance instructions, corrections and alterations for the revival of Die Loreley in Leipzig.
E5-CM-260. Anton Bruckner (1824-1896) to Gustav Mahler. 1880. Unsigned card, with two lines of music: a fragment of the trio in the march in Suppé’s Faninitza, and the Valhalla theme from Wagner’s Ring.
E5-CM-261. Anton Bruckner (1824-1896) to Gustav Mahler. 07-04-1893. Thanks Mahler for his Good Friday (31-03) performance of his Te Deum and Mass in D minor, and for his support against his critics.
E5-CM-261a. Anton Bruckner (1824-1896) to Gustav Mahler. 13-11-1893? Photostat. Hans Richter has called him a fool for refusing to make further cuts.
E4-CM-194. Alfred Bruneau (1857-1934) to Gustav Mahler. 29-03-1892. Bruneau thanks Mahler for the excellent premiere of Le rêve the night before.
E4-CM-195. Alfred Bruneau (1857-1934) to Gustav Mahler. 24-06-1900]. Sends Mahler a copy of his review [in Le Figaro] of the Vienna Philharmonic’s concert in Paris on 21-06-1900, under Mahler’s direction. Will come to Vienna in-08-to review his score for a possible production at the Hofoper.
E5-CM-257. Hans von Bulow (1830-1894) to Gustav Mahler. 28-01-1884. He would need proof of Mahler’s abilities as pianist, chorus master, and conductor before he could recommend him.
E5-CM-258. Hans von Bulow (1830-1894) to Gustav Mahler. 25-10-1892. Bülow asks Mahler to coach and conduct his own songs for the concert on 07-11, since he is unable to come to grips with them.
E5-CM-259. Hans von Bulow (1830-1894) to Gustav Mahler. 15-09-1893. He will be glad to attend to Mahler’s request when he returns from a two-week trip to Scheveningen (Netherlands).
E5-CM-271. Antonin Dvorak (1841-1904) to Gustav Mahler. 26-10-1898. Sends Mahler the score to his symphonic poem, Die Taube [Písen bohatýrská, op. 111]. Heldenlied [Holoubek, op. 110] is still at the copyist. He would be pleased to come to the rehearsals.
E4-CM-200. Umberto Giordano (1867-1948) to Justine Mahler. 05-1900. Giordano praises Mahler’s compositions, which reveal “un musicista profondo, ed un orchestratore straordinario,” and opines that Mahler is an even better composer than he is a conductor.
E4-CM-201. Umberto Giordano (1867-1948) to Gustav Mahler. 07-1900. Thanks Mahler for sending him a copy of his symphony [most likely either the First or Third, since both were published the year before], and expresses hope that he-05-soon be able to hear it performed under Mahler’s “magica” baton.
[Karl Goldmark (1830-1915) to Gustav Mahler. 11-01-1897. See S1-CM-764.]
E5-CM-277. Karl Goldmark (1830-1915) to Gustav Mahler. 21-05-1900. Goldmark thanks Mahler for the congratulatory telegrams marking his 70th birthday on 18 May.
E5-CM-263. Engelbert Humperdinck (1854-1921) to Gustav Mahler. 03-12-1895. Humperdinck thanks Mahler for his invitation to the first complete performance of his Second symphony, but he is unsure if he can attend. “Jedenfalls bin ich sehr gespannt, Ihr neues Werk kennen zu lernen!”
E5-CM-264. Engelbert Humperdinck (1854-1921) to Gustav Mahler. 06-07-1902. Offers congratulations for Mahler’s birthday the next day, and reminds Mahler of his promise to send him a score to his Third symphony. Humperdinck had attended the premiere on 9-06-in Krefeld.
E5-CM-256. Franz Liszt (1811-1886) to Gustav Mahler. 13-09-1883. Thanks Mahler for sending him a copy of his composition Waldmärchen [part 1 of Das klagende Lied]. Although Liszt thinks that the music contains some valuable features, he is critical of the poem.
E4-CM-199. Joseph Marx (1882-1964) to Gustav Mahler. 01-02-1899. Sends Mahler some of his compositions and asks for his judgement.
E4-CM-192. Pietro Mascagni (1863-1945) to Gustav Mahler. 31-12-1890. Photostat. Thanks Mahler for the successful premiere of Cavalleria Rusticana in Budapest, 26-12-1890.
E4-CM-193. Pietro Mascagni (1863-1945) to Gustav Mahler. 11-05-1901. Thanks Mahler for his hospitality during his visit to Vienna, and praises that evening’s performance of Tannhäuser under Mahler’s direction.
E4-CM-196. Jules Massenet (1842-1912) to Gustav Mahler. 14-11-1897. Greetings and thanks for Mahler’s sympathy with his work.
E4-CM-197. Jules Massenet (1842-1912) to Gustav Mahler. 30-11-1898. Thanks Mahler (as director) for performances of Werther and Manon [probably those of 10-11, and 18-11, respectively].
E1-CM-13. Nellie Melba (1861-1931). [01-1900]. Regrets being out when Mahler called; is leaving the next day for Budapest.
E6-CM-327. Odon von Mihalovic (1842-1929) to Gustav Mahler. 26-12-1896. He has asked Count Julius Széchenyi to intervene with his friend Countess Trautmannsdorf, Prince Liechtenstein’s sister, on Mahler’s behalf. Apponyi will do everything possible. Mahler should write Siegmund Singer.
E6-CM-328. Odon von Mihalovic (1842-1929) to Gustav Mahler. 27-12-1896. Suggests that Mahler write to Max Falk, who is friendly with Bezecny.
E6-CM-329. Odon von Mihalovic (1842-1929) to Gustav Mahler. 11-01-1897. He has written Bezecny in such a manner that Mahler ought to be engaged on the basis of this letter. Again, recommends that Mahler write to Falk.
E5-CM-262. Jean Louis Nicode (1853-1919) to Gustav Mahler. 08-11-1893. He does not hold Generalprobe.
E5-CM-265. Arthur Nikisch (1855-1922) to Gustav Mahler. 03-11-1896. Nikisch is grateful that Mahler will hold a preliminary rehearsal tomorrow in Berlin. Asks Mahler to bring the remaining scores to the performance, as he is anxious to get to know the other pieces. [On 9-11, Nikisch conducted the Berlin Philharmonic in the premiere of the second movement of Mahler’s Third symphony, the Blumenstück.]
E5-CM-266. Arthur Nikisch (1855-1922) to Gustav Mahler. 02-12-1896. Suggests that Mahler conduct the first two movements from the Second symphony at the Liszt-Verein concert [14-12-1896], but that he (Nikisch) should conduct the Blumenstück rather than the movements from the Second at the Gewandhaus concert [21-01-1897] since that public is more resistant to new works.
E5-CM-267. Arthur Nikisch (1855-1922) to Gustav Mahler. 24-12-1896. Will definitely perform the Blumenstück on 21-01 at the Gewandhaus concert.
E5-CM-268. Arthur Nikisch (1855-1922) to Gustav Mahler. 22-01-1897. Informs Mahler of the success of his “entzückendes” Blumenstück, and notes that this success is all the more decisive given the hostility of the press towards Mahler after the Liszt-Verein performance of the first two movements of his Second symphony.
E1-CM-12. Adelina Patti (1843-1919) to Gustav Mahler. 18-09-1893. English letter, thanking Mahler for sending her the orchestration of [Wagner’s] Träume.
E4-CM-198. Emil Nikolaus von Reznicek (1860-1945) to Gustav Mahler. 04-09-1898. Admiration for Mahler and his Symphony no. 2.
E5-CM-255. Hans Richter (1843-1916) to Gustav Mahler. 27-08-1898. Thanks Mahler for granting him leave: “Denn meine Armschmerzen sind arg, wenn ich die “Meistersinger” aufgebe.”
S3-CM-777. Ernst von Schuch (1846-1914) to Gustav Mahler. Telegram. 28-12-1896. Concert on 15-01 will comprise the second and third movements of the Second symphony, and the Blumenstück.
E5-CM-269. Ernst von Schuch (1846-1914) to Gustav Mahler. 10-01-1897. Regrets that he must drop the Blumenstück, but after Mahler’s telegram, he will play the middle movements of the Second symphony. Discussion of how to present this torso in concert.
[Richard Strauss (1864-1949) to Gustav Mahler. 22-04-1900. See S1-CM-763.]
E5-CM-273. Richard Strauss (1864-1949) to Gustav Mahler. [06-1901]. Published in Mahler-Strauss Briefwechsel (see above entry), 69-70.
E5-CM-272. Richard Strauss (1864-1949) to Gustav Mahler. 17-08-1901. Published in Mahler-Strauss Briefwechsel (see above entry), 61-2.
E5-CM-275. Johan Jr. Strauss (1825-1899) to Gustav Mahler. 11-03-1894. Asks Mahler to return the score of the first act [of Die Fledermaus] to be purged of mistakes.
E3-CM-146. Cosima Wagner (1837-1930) to Gustav Mahler. 23-05-1901. This letter is Cosima’s response to Mahler’s undated letter of about 20-05-1901, published in Gustav Mahler Unbekannte Briefe, ed. Herta Blaukopf (Vienna: Paul Zsolnay, 1983), 239-40. Mahler expresses his support for Cosima’s attempt to extend the copyright for Parsifal and reserve sole performing rights for Bayreuth, and asks what he can do to help.
S2-CM-771. Bruno Walter (1876-1962) to Gustav and Justine Mahler. 18-12-1898. New Year’s greetings.
E5-CM-270. Felix von Weingartner (1863-1942) to Gustav Mahler. 23-04-1897. Greetings to Mahler on his departure from Hamburg. It is quite alright that Mahler gave the piano-vocal score of Genesius to Anna Bahr-von Mildenburg (1872-1947).
1.3 Mahler documents
E6-MD-331. Poem. “Kam ein Sonnenstrahl.” .
E6-FD-334. 4-leaf clover from either Mahler’s parents’ grave or from Richard Wagner (1813-1883)‘s.
E7-MD-340. Mahler’s will, dated Perchtoldsdorf, 29-06-1891 and witnessed by Emil Freund (1858-1928). Mahler leaves two-thirds of his estate to Justine, and one-third to Emma. Alois would receive 2,000 fl., and Otto all of Mahler’s books and manuscripts, plus a monthly allowance if he is under 24.
E7-MD-341. Mahler’s will, dated Wien, 25-08-1894 and witnessed by Emil Freund (1858-1928). Similar provisions made, although Alois is not mentioned at all. “Mein ganze musikalischer Nachlaß, insbesondere die Manuscripte meinen Compositionen hat in den Besitz meines Bruders Otto überzugehen, welchen ich bitte die Veröfftentlichung und Drucklegung zu bewerkstelligen und zu überwachen.”
E7-MD-342. Programme, 14-01-1900. Fifth subscription concert of the Vienna Philharmonic, conducted by Mahler. Selma Kurz singing songs from Des Knaben Wunderhorn and Lieder eines fahrenden Gesellen
E7-MD-343. Copy, by Justine, of Mahler’s program for the Second symphony. 13-12-“Abschrift nach einem Aufsatz von Gustav Mahler, als Geschenk an Dr. Rudolf Mengelberg nach Amsterdam gegeben.”
E7-MD-344. 13-06-1903 – Circular, signed by Mahler to members of the Hofoper Orchestra. The signatures of all the members of the orchestra are in pencil inside as an endorsement of the directive. Explains members’ responsibilities for rehearsals.
E7-MD-345. Envelope with stamp: Hamburg, 09-11-1903 (Frau Concertmeister, Taubstummengasse 4 from Mahler at Hotel Esplanade) Formerly contained two other envelopes with stamps, now rejoined with their letters (27-10-1904; 18-03-1910)
E7-MD-346. 10-1909 -Ocean crossing record of S.S. Kaiser Wilhelm II
E7-MD-347. Empty Envelope -Gustav Mahler Stiftung / Dorotheergasse 11. (“Letter to Steiner” in pencil on front in Alfred Eduard Rose (1902-1975)‘s hand.).
E7-MD-348. 06-1911 – Vienna – card announcing the formation of an international committee studying the founding of a Gustav Mahler Foundation.
E7-MD-349. Two-page draft of Mahler’s note justifying his Retouchen to Beethoven’s Ninth Symphony. Written after the reviews of the first performance (18-02-1900) for distribution at the second (22-02-1900).
E7-MD-350. Pun by Mahler: Mein lieber Sohn Cephises / Ich sage Dir nur dieses.
E7-MD-351. Pencil copy by Justine of a review of the 1892 three-volume publication of Mahler’s early songs (Lieder und Gesänge für eine Singstimme und Klavier von Gustav Mahler).
The former director of the Royal Opera, G.M. gives again a sign of life and sends us from afar his musical greetings in the form of an imposing Liederkranz. The 14 songs which he offers in three volumes are as many pictures of mood warmly felt and uniquely invented. A fine-feeling, artistically-modelling musician speaks to us with these gifts of songs. His melodies are ealthy and of a long beautiful breath, at the same time quite elegant and original in all their simplicity and folk origins which comes from the texts themselves, most of which are taken from the folk song collection Des Knaben Wunderhorn. He exhibits a rich scale of feeling. He finds characteristic sound for simple humour, charming impishness, elegy, resignation, for idyllic enthusiasm and the pains of love. (handwriting changes suddenly) For this the singing voice is always appropriately treated and the piano joins it as eloquent interpreter always following with especially fine feeling, the scenic and psychological changes.
As the most important numbers in the collection we want to point out “Hans und Grethe,” with its lovely and comfortable Laendler sound, the small ballad “Um schlimme Kinder artig zu machen”, reamily delicate “Ich gieng mit Lust durch einen gruenen Wald.” “Aus, Aus” in bold-03ing tempo has a Hungarian colouration, probably a grateful reminiscence from Budapest. “Zu Strassburg auf der Schanz” brings a tragic event in the narrowest musical frame; the piece in its folk origins basic sound is a reminder of Schumann’s “Die beiden Grenadiere.” Characteristically, the piano here is imitating the shawm. Very nice is “Ablösung im Sommer” with its light humour and perhaps the best piece “Scheiden und Meiden” with its character of moving between carelessness and farewell mood moist with tears. The three brochures have appeared in three brochures for both high and low voices.
E7-MD-352. Doodle by Mahler on Hofoper stationery.
E13-MD-543 Two pages of notes for Mahler’s address to the staff of the Royal Hungarian Opera in Budapest. [10-10-1888]. These notes were published in 1924 (GMB 75) without making clear their provisional nature. The document is full of added and deleted words and phrases, and contains an additional paragraph (written upside down and in pencil) that was omitted in the published version. The provisional nature of these notes, now that the original manuscript has resurfaced,-05-help to account for the discrepancies between the published text (GMB 75) and newspaper reports of Mahler’s speech noted by Zoltan Roman in Gustav Mahler and Hungary (Budapest: Akadémiai Kiadó, 1991), It seems likely that Mahler made a second draft of his speech from the present document, and that this has not survived.
2.0 Rosé correspondence (from the original donation and all supplements) (arranged in alphabetical order by sender, then chronologically)
E3-CAr-151. Guido Adler (1855-1941) to Arnold Rosé. 15-05-1906. Silver anniversary congratulations.
E1-CAr-37. Eugen d’Albert (1864-1932) to Arnold Rosé. n.d. Asks Rosé to return [Erich Wolfgang] Korngold’s sonata to Dr. [Julius] Korngold, who does not want it performed yet. Rosé should suggest another work for the concert. [This likely refers to Korngold’s Sonata in G for violin and piano, op. 6, published by Schott in 1913.]
E1-CAr-38. Eugen d’Albert (1864-1932) to Arnold Rosé. [early 11-1913]. D’Albert will arrive in Vienna on Saturday evening, 15-11, and suggests rehearsing the next morning. D’Albert played the Brahms op. 8 trio, and the op. 25 piano quartet with the Rosé Quartet on 18-11-1913.
E1-CAr-36. Karl Alwin to Arnold Rosé. 01-10-1918. Discussion of Pfitzner’s Palestrina, Strauss’s revised Ariadne auf Naxos, Mahler’s Ninth symphony and Das Lied von der Erde; and praise for Specht’s Mahler biography.
OS-CAr-716. Karl Alwin to Arnold Rosé. 23-10-1923. 60th birthday congratulations.
E3-CAr-160. Anna Bahr-von Mildenburg (1872-1947) to Arnold Rosé. 23-01-1916. Last page, with signature, is missing. A tribute to Rosé and the community of the Hofoper on the occasion of her farewell.
E4-CAr-223. Julius Bittner to Arnold Rosé. 8-05-1916. Asks Rosé to consider performing his string quartet in E-flat at a Rosé Quartet subscription concert.
E4-CAr-224. Julius Bittner to Arnold Rosé. 11-06-1916. Deepest and most sincere thanks to Rosé for his agreement. [The quartet was performed by the Rosé Quartet on 2-05-1917.]
S5-CAr-983 Julius Bittner to Arnold Rosé. 15-05-1931. Congratulations on Rosé’s 50th anniversary as Conzertmeister. 2½ mm. musical incipit [treble clef, 4/4, D major]
E3-CAr-153. Ludwig Bosendorfer (1835-1919) to Arnold Rosé. 16-05-1906. Silver anniversary congratulations.
E4-CAr-210. Ignaz Brüll to Arnold Rosé. 17-05-1906. Silver anniversary congratulations.
S5-CAr-981 Adolph Busch to Arnold Rosé. 25-10-1923. 60th birthday congratulations.
E4-CAr-222. Alfred Casello to Arnold Rosé. 11-07-1914. The Paris Société Musicale Indépendante, of which Casello is secretary, would like to give a Schoenberg concert next winter, and wonders if the Rosé Quartet would play the Second quartet when they are passing through Paris.
E5-CAr-283. Edouard Colonne to Arnold Rosé. 09-06-1902. Card with photo, inscribed to Arnold Rosé and signed.
E3-CAr-154. Leopold Demuth (1861-1910) to Arnold Rosé. 16-05-1906. Silver anniversary congratulations.
E1-CAr-34. Severin Eisenberger to Arnold Rosé. 11-10-1915. A proposed chamber music evening in Berlin seems impossible for financial reasons.
E1-CAr-39. Bruno Eisner to Alfred Rosé. 21-08-1917. Going to the front in Tirol for two weeks of concerts.
E1-CAr-17. Julius Epstein (1832-1926) to Arnold Rosé. 17-05-1906. Silver anniversary congratulations.
E1-CAr-18. Julius Epstein to Arnold Rosé. 28-04-1908. Unable to engage a certain musician from Boston.
E3-CAr-221. Josef Bohuslaw Forster (1859-1951) to Arnold Rosé. 12-05-1914. He is honoured to hear that the Rosé Quartet wishes to give the premiere of his third string quartet. [This took place on 2-05-1918.]
E5-CAr-276. Wilhelm Furtwängler to Arnold Rosé. 11-05-1919. The Munich Tonkünstler Orchestra is looking for personnel from Vienna. Furtwängler will be in Vienna in June, and asks Rosé for recommendations.
S5-CAr-984 Wilhelm Furtwängler to Justine Rosé-Mahler. 20-11-1933. Typewritten copy. Reassures Justine about musical and political developments in Berlin.
E4-CAr-231. Reinhold Glière to Arnold Rosé. 15-09-1918. Recommends one of his pupils, Alexander Golemka, for study with Rosé.
E5-CAr-278. Karl Goldmark (1830-1915) to Arnold Rosé. 26-10-1910. Returns the manuscript of his Romance for violin and piano to Rosé, and asks that he not copy or lend the manuscript.
E5-CAr-279. Carl Goldmark to Arnold Rosé. 30-09-1914. He has just finished a piano quartet [sic] and promises the premiere to the Rosé Quartet. [This work seems to be Goldmark’s piano quintet in E major, op. 54, which was performed by the Rosé Quartet on 01-03-1916; Goldmark’s only piano quartet was written before 1858.]
E3-CAr-161. Caroline Gomperz-Bettelheim to Arnold Rosé. 17-05-. Silver anniversary congratulations.
E1-CAr-16. Alfred Grünfeld to Arnold Rosé. 15-05-1906. Silver anniversary congratulations.
E3-CAr-162. Karl Heissler to Frau Rosé, Arnold’s mother. 30-07-1878. Concert arrangements.
E3-CAr-163. Karl Heissler to Frau Rosé. 22-08-1878. Approves of Arnold’s program and accompanist, Prof. Anton Door, for upcoming recital.
E3-CAr-164. Prince Konstantin zu Hohenlohe-Schillingsfürst to Arnold Rosé. Signed and inscribed copy of programme Rosé and Franz Neidl (baritone) gave at Hohenlohe’s residence, 02-03-1894.
E3-CAr-159. Prince Konstantin zu Hohenlohe-Schillingsfürst to Arnold Rosé. 7-11-Invites Rosé to come and make music the next evening after dinner.
S4-CArp-832 Latzi Janner (?) to Arnold Rosé and family. 27-05-1922. Postcard from Beethovenhaus, Bonn
E4-CAr-202. Emile Jaques-Dalcroze to Arnold Rosé. 20-12-1901. Asks Rosé to recommend his Sérénade en six parties, op. 61, to the Phiharmonia in Paris. He is coming to Vienna in April for concerts.
E4-CAr-203. Emile Jaques-Dalcroze to Arnold Rosé. 17-04-1905. Pleased that the Rosé Quartet is performing his Sérénade en six parties, op. 61, in Graz. Gives Rosé some advice about its performance, and appends the proper metronome markings for each movement.
E4-CAr-204. Emile Jaques-Dalcroze to Arnold Rosé. 14-05-1905. Further performance directions-particularly advice to keep the value of the eighth note constant.
Jaques-Dalcroze writes out a 3/8 passage in 4/8 to illustrate his point. E4-CAr-205. Emile Jaques-Dalcroze to Arnold Rosé. 21-05-1905. Apologies that the parts were full of errors.
E4-CAr-206. Emile Jaques-Dalcroze to Arnold Rosé. An envelope postmarked 28-11-1905 (undoubtedly that to 207.) which contains a booklet of press comments for his Sérénade, op. 61.
E4-CAr-207. Emile Jaques-Dalcroze to Arnold Rosé. 27-11-1905. Wonders if Rosé would perform his Serenade while the quartet is in Paris in the spring. Encloses press clippings (206.)
E4-CAr-232. Wilhelm Kienzl to Arnold Rosé. 30-09-1920. Kienzl offers the Rosé Quartet the first performance of his string quartet in C minor, op. 99.
E4-CAr-225. Erich Wolfgang Korngold (1897-1957) to Arnold Rosé. 11-03-1917. Gives Rosé the movement names and tempo indications for his Sextett, op. 10, and confirms its performance on 29-04. In fact, the work was given its premiere by the Rosé Quartet on 2 May.
E4-CAr-226. Erich Wolfgang Korngold to Arnold Rosé. 27-05-1917. Korngold expresses his thanks, through Rosé, to the Hofopernorchester for making his conducting debut the day before so successful.
E4-CAr-227. Erich Wolfgang Korngold to Arnold Rosé. 03-01-1918. Korngold responds to Rosé’s dismissal of his critical attitude towards Mahler.
E4-CAr-229. Erich Wolfgang Korngold to Arnold Rosé. 31-12-1918. New Year’s wishes.
E4-CAr-230. Erich Wolfgang Korngold to Arnold Rosé. 29-05-1919. Thanks Rosé, and the Hofopernorchester through him, for their support in the revival his two operas [Der Ring des Polykrates, op. 7 and Violanta, op. 8] this coming Saturday [31 May]. The date is unclear, but seems correct. According to Franz Hadamowsky, ed., Die Wiener Hoftheater (Staatstheater): ein Verzeichnis der Aufgeführten und Eingerichten Stücke mit Bestandsnachweisen und Aufführungsdaten, vol. 2., Die Wiener Hofoper (Staatsoper) 1811-1974 (Vienna: Brüder Hollinek/Österreichischen Nationalbibliothek, 1975) these operas were never performed on a Saturday in 1919. The 1919-1920 performances were the only ones conducted by Korngold. Perhaps a performance scheduled for 31-05-had to be cancelled.
E4-CAr-228. Julius Korngold to Arnold Rosé. 13-02-1918. Discusses upcoming Berlin performance of his son’s Sextett, op. 10, in light of the hostility of a number of Berlin critics.
E1-CAr-35. Wanda Landowska to Arnold Rosé. 18-02-1916 (postmark). Thanks Rosé for his hospitality.
E4-CAr-208. Richard Mandl to Arnold Rosé. 16-05-1906. Silver anniversary congratulations.
E4-CAr-209. Richard Mandl to Arnold Rosé. 14-02-1918. Asks Rosé for a second performance of his Quintet in G major. The Rosé Quartet had given the premiere of his work on 18-12-1906.
E5-CAr-280. Willem Mengelberg (1871-1951) to Arnold Rosé. 24-06-1915. The Concertgebouw Orchestra needs a first horn player with a good sound for Mahler. Can Rosé help? Mengelberg mentions the past season’s Mahler performances: Symphonies 1, 2, 3, 4, 7; Das Lied von der Erde; Das klagende Lied; Kindertotenlieder; and various orchestral lieder.
E5-CAr-281. Willem Mengelberg to Arnold Rosé. 5-08-1915. More discussion about the needed horn player.
E5-CAr-282. Willem Mengelberg to Arnold Rosé. 30-12-1917. Mengelberg discusses their mutual artistic commitment, and thanks Rosé for his willingness to assist.
OS-CAr-715. Hans Mueller to Arnold Rosé. 22-10-1923. 60th birthday congratulations.
E3-CAr-150. Franz Xavier Nagl to Arnold Rosé. 28-02-1897. Nagl would be pleased to permit entry to the Anima chapel during Rosé’s Italian concert tour; naturally the music should harmonize with the liturgical setting.
E2-CAr-82. Hans Pfitzner (1869-1949) to Arnold Rosé. 04-01-1903. Bruno Walter has told him that his latest string quartet [in D major, op. 14; dedicated to Alma Mahler] will be “baptized” by the Rosé Quartet on 13-01. Unfortunately Pfitzner’s recent illness makes his presence unlikely.
E2-CAr-83. Hans Pfitzner to Arnold Rosé. 11-02-1903. Would Rosé please send him the score of his quartet so that he-05-have more parts copied; if the Quartet is not playing the work in the near future, perhaps he would return the parts as well. “Doch nur dann, und nicht wenn Sie (wie mir Bruno Walter schrieb) das Werk demnächst in Prag zur Aufführung bringen wollen.”
E2-CAr-84. Hans Pfitzner to Arnold Rosé. 02-03-1903. Looking forward to seeing Rosé in Munich on 15-04; he is conducting a concert of his own works there on 3-04, and will also be in Prague.
E2-CAr-85. Hans Pfitzner to Arnold Rosé. 18-08-1908. Would Rosé consider accepting a smaller honorarium for his solo engagement on 20-01? Pfitzner is currently working on a piano quintet [op.23], to be published by Peters, and is thinking of a premiere by the Rosé Quartet, with himself on piano-both in Vienna and Berlin. Is Rosé interested? [Premiere took place 17-11-1908 in Berlin, and 12-01-1909 in Vienna.]
E2-CAr-86. Hans Pfitzner to Arnold Rosé. 02-09-1908. Regrets that Rosé is unable to perform on 20-01. Suggests 12-01-(Vienna) and 17-11-(Berlin) for performances of the piano quintet-perhaps Prague as well-and describes the piece to Rosé.
E2-CAr-87. Hans Pfitzner to Arnold Rosé. 15-09-1908. Gutmann’s behaviour about the honorarium is very embarrassing to him.
E2-CAr-88. Hans Pfitzner to Arnold Rosé. 17-09-1908. Possibility of a Leipzig performance of the quintet on 14-11. He is doubtful, but what does Rosé think?
E2-CAr-89. Hans Pfitzner to Arnold Rosé. 24-09-1908. Further discussion of dates and rehearsals for the piano quintet.
E2-CAr-91. Hans Pfitzner to Arnold Rosé. [before 17-11-1908]. Discussion of arrangements for 17-11 in Berlin. On p. 59 of the score the fortissimo in the viola is wrong; it should remain mezzoforte.
E2-CAr-90. Hans Pfitzner to Arnold Rosé. 14-11-1909. Would the Rosé Quartet participate in Pfitzner’s “Schumannfest” (11-06-1910 and 13-06-1910) on 11-06-1910? He would like Schumann’s piano quartet, op. 47, the violin sonata in D minor, op. 121, and a quartet of Rosé’s choice.
E3-CAr-156. Georges Picquart (1854-1914) to Arnold Rosé. 08-11-1908. Recommends to Rosé his friends, the Chaigneaus, who will be playing Reger’s Trio in Vienna on the 18th.
E3-CAr-157. General Georges Picquart to Arnold Rosé. 24-01-1909. Invites Rosé to have breakfast with him at the Ministry when he is in Paris at the end of the month.
E3-CAr-158. General Georges Picquart to Arnold Rosé. 16-12-1909. Regrets that he was unable to stop in Vienna on the way back from Constantinople and Greece, as he would like to play Haydn’s quartet op. 74, no. 3 with Rosé.
E1-CAr-15. David Popper to Arnold Rosé. 24-12-1904. Holiday wishes, and thanks to Rosé for agreeing to perform his quartet.
E2-CAr-92. Max Reger to Arnold Rosé. 16-08-1904. Understands that Rosé has received his Violin Sonata in C major, op. 72, and his String Quartet in D minor, op. 74, and wonders if he has played them yet. Discussion of proper tempi/metronome markings for each ovement of op. 74. [With only minor differences, these correspond to the tempi in the published score]. Rosé’s will likely be the first performance in most cities.
E2-CAr-93. Max Reger to Arnold Rosé. 23-01-1905. Is Rosé playing his String Quartet, op. 74 on 21-02-1905 at the Vereinigung der schaffenden Tonkünstler concert in Vienna? If so, it might be possible for Reger to be present.
E2-CAr-94. Max Reger to Arnold Rosé. 05-02-1905 (postmark). Reger is able to come to the rehearsal [of his quartet, op. 74] in the morning of 20-02-1905, or between 3 and 5 on 19-02-1905
E2-CAr-95. Max Reger to Arnold Rosé. 11-02-1905. Asks for a response to 94.
E2-CAr-96. Max Reger to Arnold Rosé. 16-02-1905 (postmark). Will arrive in Vienna on 18-02, and asks again when the rehearsal for the quartet is scheduled.
E2-CAr-97. Max Reger to Arnold Rosé. 13-11-1905. Thanks the Rosé Quartet for the marvellous performance of his String Quartet, op. 74 [on 07-11-1905], and hopes that the quartet will perform his next quartet as well.
E2-CAr-98. Max Reger to Arnold Rosé. 03-03-1906. Sends Rosé a copy of his Sieben Sonaten for solo violin, op. 91, with the hope that Rosé will perform them. Discussion of concert dates for-04. Reger has just finished a Suite im alten Stil for violin and piano [op. 93], which he would like to dedicate to Rosé. Will he accept?
E2-CAr-99. Max Reger to Arnold Rosé. 16-06-1906. Regarding the Regerabend that they discussed in Prague for the coming winter in Vienna, he proposes the following program: Sonata in F-sharp minor for violin and piano, op. 84; String Quartet in D minor, op. 74; Suite (im alten Stil) for violin and piano, op. 93 possible dates. He has just finished a Serenade for orchestra, op. 95, and asks Rosé to try to get it performed in a Philharmonic concert; “Diese ist das Liebenswürdigste was ich je in meinem Leben geschrieben habe!” The Suite edicated to Rosé would make a good conclusion for an evening of chamber music.
E2-CAr-100. Max Reger to Arnold Rosé. 25-07-1906 (postmark). Further discussion of dates for the Reger concert.
E2-CAr-101. Max Reger to Arnold Rosé. 06-10-1906 (postmark). Sends Rosé a copy of the Suite (im alten Stil), op. 93, dedicated to him. Next year, he will have a new quartet to play. Disappointed that the proposed Regerabend could not take place this year.
E2-CAr-102. Max Reger to Arnold Rosé. 13-07-1908 (postmark). Discussion of possible concert dates for next season.
S1-CAr-765. Max Reger to Arnold Rosé. 28-07-1908. Proposes the following program for a Reger concert in Vienna next winter: Sonata in F-sharp minor for violin and piano, op. 84; Suite (im alten Stil) for violin and piano, op. 93; Piano Trio in E minor, op. 102. Reger is free every day after 19-03.
E2-CAr-103. Max Reger to Arnold Rosé. 05-08-1908 (postmark). Will play his new Trio [op. 102] at Rosé’s last subscription concert, in-03.
E2-CAr-104. Max Reger to Arnold Rosé. 18-08-1908 (postmark) [incorrectly dated 18-08-1909 by Reger]. Reger has just finished a second Suite (im alten Stil) for violin and piano, op. 103 [Sechs Stücke for violin and piano, op. 103a] and suggests this, and his trio, op. 102, for the 23-03-1909 concert.
E2-CAr-105. Max Reger to Arnold Rosé. 23-08-1908. His op. 102 and op. 103 will be published on 15-09–in plenty of time for the concert. Please program the suite (25 minutes) before the trio (45 minutes). Suggests Brahms violin sonata, op. 78, or a Beethoven quartet for the first number, followed by the two Reger pieces. [Beethoven op. 18 no. 5 was chosen.]
E2-CAr-106. Max Reger to Arnold Rosé. 09-09-1908. Neither work will be a premiere, but both will be given for the first time in Vienna. Agrees to Berlin, but when?
E2-CAr-107. Max Reger to Arnold Rosé. 15-03-1909. He will arrive in Vienna on Monday morning, 22-03, and suggests a rehearsal for that afternoon, and one for the next morning as well.
E2-CAr-108. Max Reger to Arnold Rosé. 04-08-1909. Informs Rosé that his new string quartet in E-flat major, op. 109, has just been published by Bote & Bock.
E2-CAr-109. Max Reger to Arnold Rosé. 06-09-1909. Discussion of the premiere of his op. 109, and its attendant troubles.
S5-CAr-979 Alfred Roller (1864-1935) to Arnold Rosé. 23-10-1923. Congratulations on Rosé’s 60th birthday tomorrow.
E1-CAr-20. Moritz Rosenthal to Arnold Rosé. 18-08-1912. Could Rosé confirm by telegram that a change in concert date and location will suit?
E1-CAr-21. Moritz Rosenthal to Arnold Rosé. 01-09-1913. Accepts engagement to play the Brahms piano quintet, op. 34 with the Rosé Quartet the following-03. The concert took place 16-03-1914.
E1-CAr-22. Moritz Rosenthal to Arnold Rosé. 04-09-1913. Discussion of dates, fee, and venue for aforementioned concert.
E1-CAr-19. Princess Metternich-Sándor to Arnold Rosé. 28-04-1911. Expresses her appreciation for a Rosé Quartet performance.
E1-CAr-32. Emil Sauer to Arnold Rosé. 16-05-1915. Asks Rosé to return some manuscripts lent to him by Otto Singer.
E3-CAr-155. Toni Schnittenhelm to Arnold Rosé. 16-05-1906. Silver anniversary congratulations.
E1-CAr-14. Franz Schmidt to Justine Rosé. 07-12-1918 (postmark). Matters concerning Alfred’s lessons.
E1-CAr-40. Franz Schmidt to Alfred Rosé. 18-10-1917; 07-11-1917; 26-11-1918; 29-11-1918; 11-01-1919; 07-05-1919 (all postmarks). Postcards regarding Alfred Rosé’s lessons with Schmidt.
E2-CAr-112. Arnold Schoenberg (1874-1951) to Arnold Rosé. [Fall 1908]. Schoenberg asks the Rosé Quartet to give the premiere of his new string quartet [Second Quartet, op. 10]. He describes each movement, and warns Rosé of the work’s difficulty, both in terms of individual technique and ensemble. Hopes to have Marie Gutheil-Schoder for the soprano. Arnold Rosé drafted his response on the bottom of the letter: he is looking forward to Schoenberg’s latest work, but is certain that Gutheil would expect an honorarium and he is himself unable to find the money.
E2-CAr-111. Arnold Schoenberg to Arnold Rosé. [28-02-1909; dated by Rosé]. Schoenberg expresses his thanks to Rosé with a few measures of music, since words are inadequate to convey his gratitude for Rosé’s playing of his works.
E2-CAr-110. Arnold Schoenberg to Justine Rosé. . Schoenberg’s card, originally inside a copy of his Harmonielehre [not in collection], with the following inscription on the reverse: “vor Allem, weil dieses Buch Mahler gewidmet ist, müßen Sie es haben. Dann aber auch, um eine Gelegenheit zu finden, Sie herzlichst zu grüßen und Ihnen zu sage, daß ich alles liebe, was Mahler nahegestanden ist.”
E4-CAr-217. Franz Schreker (1878-1934) to Arnold Rosé. 23-03-1917. Will give Rosé the explanation verbally; the performance should still be good. [Schreker-05-be referring to the Dresden premiere of his Chamber symphony, which took place 27-03-1917.]
E4-CAr-219. Franz Schreker (1878-1934) to Arnold Rosé. 21-12-1917. Discussion of planned rehearsals for the first Vienna performance of Schreker’s Chamber symphony (see 220.). The envelope for this letter is item 218.
E4-CAr-220. Franz Schreker (1878-1934) to Arnold Rosé. 7-01-1918. Personal thanks to Rosé for his artistry and support in the rehearsals and performances of Schreker’s Chamber Symphony.
S5-CAr-982 Ethel Smyth to Arnold Rosé. 03-12-1925. Offers the Quartet £25 to play through her string quartet again for her benefit. The quartets in England are too superficial.
E1-CAr-33. Eugen Spiro to Arnold Rosé. 20-05-1915 (postmark). Has sent Rosé the lithographs.
E1-CAr-23. Bernhard Stavenhagen to Arnold Rosé. 26-01-1913. Thanks Rosé for his son a violin, and discusses possible concert engagements in Geneva Rosé.
E1-CAr-24. Bernhard Stavenhagen to Arnold Rosé. 08-03-1913. Concert arrangements.
E1-CAr-25. Bernhard Stavenhagen to Arnold Rosé. 14-04-1913. Discussion of possible dates for concert with Rosé Quartet.
E1-CAr-26. Bernhard Stavenhagen to Arnold Rosé. 01-07-1913. Unable to play in the Rosé Quartet’s Brahms cycle owing to concert duties at the theatre.
E1-CAr-27. Bernhard Stavenhagen to Arnold Rosé. 06-07-1913. Stavenhagen is now able to play in Vienna on 29-11-and 11 December, and stay in between for some sonata concerts (Brahms, Beethoven) in Budapest, Prague, Brünn, etc. [Stavenhagen did perform with the Rosé Quartet in Vienna on those dates.]
E1-CAr-28. Bernhard Stavenhagen to Arnold Rosé. 18-07-1913. Confirms the previous letter.
E1-CAr-29. Bernhard Stavenhagen to Arnold Rosé. 08-08-1913 (postmark). Would be free from 25-12-to 15-01, if Rosé can get a better fee.
E1-CAr-30. Bernhard Stavenhagen to Arnold Rosé. 07-09-1913. Program discussions for their sonata tour and approval of Vienna quartet program.
E1-CAr-31. Bernhard Stavenhagen to Arnold Rosé. 13-09-1913. More program concerns, and discussion of Rosé’s engagement by Stavenhagen next season.
E4-CAr-211. Ewald Sträßer to Arnold Rosé. 12-10-1907 (postmark). Envelope (marked “Correctur”) containing two slips of manuscript paper with changes for last movement of Sträßer’s String quartet in B-flat major, op. 15. [The quartet was given its premiere by the Rosé Quartet on 06-02-1906, and is dedicated to Arnold Rosé.]
E4-CAr-212. Ewald Sträßer to Arnold Rosé. 01-10-1909 (postmark). Does Rosé still have his quintet? [probably his piano quintet, op. 18, in F-sharp minor]. If so, will he perform it?
E4-CAr-213. Ewald Sträßer to Arnold Rosé. 15-10-1909. Thank you for returning the quintet. Discusses the Amsterdam performance of his symphony, under Mengelberg, which took place in-09-.
E4-CAr-214. Ewald Sträßer to Arnold Rosé. 24-02-1912. Would Rosé consider performing his Piano quintet [in F-sharp minor, op. 18] next season with Möckel in Vienna or Berlin? Discussion of the work. Sträßer now completely converted by Mahler.
E5-CAr-274. Richard Strauss (1864-1949) to Arnold Rosé. . Asks Rosé to play at the Allgemeiner Deutscher Musikverein conference in Graz, and requests Dalcroze’s String Sonata Serenata [op. 61] for the 24-05-concert, and a Pfitzner quartet and Draeske’s violotta quintet [“Selzner-Quintet”] for 26 May.
OS-CAr-713. Richard Strauss to Arnold Rosé. 07-10-1923. 60th birthday congratulations.
S5-CAr-985 Donald Francis Tovey to Arnold Rosé. Undated [likely after 1938]. A concert engagement prevents him from hearing Rosé’s concert. Written on the back of a printed copy of Tovey’s cadenza for the Brahms violin concerto.
E4-CAr-215. Anton Webern (1883-1945) to Arnold Rosé. 24-05-1912. Sends Rosé his Vier Stücke für Geige und Klavier, op. 7, with the hope that he will play them.
E4-CAr-216. Anton von Webern to Arnold Rosé. 14-06-1914. Would like to pick up the parts for his Vier Stücke für Geige und Klavier, op. 7, which Rosé played.
S5-CAr-980 Felix von Weingartner (1863-1942) to Arnold Rosé. 24-10-1923. 60th birthday congratulations.
E3-CAr-152. Wiener Männergesangverein to Arnold Rosé. 15-05-1906. Congratulations on Rosé’s Silver anniversary with the Hofoper.
3.0 Oversize materials (original donation)
3.1 Mahler documents
OS-MD-676. Programme, 27-10-1893, Hamburg “Erstes populäres Concert im philharmonischen Styl.” Mahler’s Titan symphony (First; from manuscript), three songs from Des Knaben Wunderhorn (“Der Schildwache Nachtlied”, “Trost im Ungluck”, “Rheinlegendchen”), and the three Humoresken (“Das himmliche Leben,” “Verlorene Muh,” “Wer hat dieses Liedlein gedacht”) conducted by Mahler. Program also included Beethoven’s Egmont overture, Mendelssohn’s Fingal’s Cave overture, an aria from Marschner’s Hans Heiling, and an aria from Adam’s Die Nürnberger Puppe. Solists Clementine Schuch-Prosska and Paul Bulss. Contains Mahler’s programme for the symphony (which included “Blumine.”)
OS-MD-677. Programme, 09-04-1899, Vienna Philharmonic. First Vienna performance of Mahler’s Second Symphony, conducted by Mahler.
OS-MD-678. Programme, 18-02-1900, Vienna Philharmonic Nicolai concert. Beethoven’s Ninth, conducted by Mahler.
OS-MD-679. Mahler’s pay sheet at the Vienna Opera for 1905-1907. 3,000 Kreutzer gross per month.
OS-MD-680. Programme, 24-11-1907, Vienna Gesellschaft concert. Mahler’s final concert in Vienna (at the Gesellschaft für Musikfreunde). Mahler’s Second symphony, conducted by Mahler, with Hermine Kittel, Elise Elizza, Gertrude Förstel, Bella Paalen and Rudolf Dittrich (organ), soloists, with the Singverein des Gesellschaft der Musikfreunde. Note in pencil by Arnold Rosé: “letztes Konzert v. Mahler”
OS-MD-681. Card circulated by Anton von Webern, Karl Horwitz (1884-1925), Paul Stefan (1879-1943) and Heinrich Jalowetz in 1907 inviting Mahler admirers to come to the Westbahnhof to see Mahler off, but not to advise the press of the planned farewell.
OS-MD-682. Programme, poster, and ticket for the Munich première of Mahler’s Eighth Symphony. 12-09-1910 and 13-09-1910. The ticket is for the second-night performance 7:30 p.m., 13-09-1910.
OS-MD-683. Envelope with photocopies of four-page letter to Justine from Mahler, willed to Henry-Louis de La Grange (1924-2017) by Alfred Rosé. Dated 10-12-1901/10-1901
OS-MD-690. Three sheets of Mahler’s personal stationery from the Wiener Hofoper with the texts of “Das irdische Leben,” “Wo die schönen Trompeten blasen,” and “Wer hat dies Liedlein erdacht” written out in Mahler’s hand. In the second song, Mahler has underlined the line “bei meinen Herzallerlieble!” and placed an asterisk in the margin.
OS-MD-698. Offprint/copy of an article, “Unbekannte Jugendlieder Mahlers,” by Dr. Rudolf Stephan Hoffmann. Inscribed “Frau Prof. Rosé / dankbar uns herzlichs!” Article mentions Paul Stefan biography (4th ed.) and Justine Mahler as sources. Printed between 1921 and 1938. 11 numbers + total in back in pencil.
3.2 Mahler manuscripts and scores (all manuscripts are autograph, unless indicated otherwise)
OS-MD-684. [Lieder. 3 Lieder für Tenorstimme.] “Josephinen zueignet [sic] / 5 Lieder (für Tenorstimme) / von / Gustav Mahler.” 4 folios. 11 pp. Incomplete song cycle to Mahler’s own texts, dedicated to Josephine Poisl (1860-after 1880) Poißl. The three completed songs are dated at the end by the composer: Im Lenz (19-021880); Winterlied (27-02-1880); Maitanz im Grünen (05-03-1880).
OS-MD-685. Copy of 684. by Alfred Rosé. 12 pp.
OS-MD-686. [Piano quartets. Piano quartet movement.] Inscribed “Clavierquartett / von / Gustav Mahler” in orangy-red pencil, with “1.ter Satz” written in pencil above Mahler’s name, and “1876” written in pencil below. Pencil doodles surround Mahler’s name. Bottom centre, handwritten in ink: “TH. RÄTTIG / * WIEN * / I. Maximilianstrasse 3” circled with an oval in blue pencil. The hand is likely that of Alfred Rosé. De la Grange describes the title page in vol. 1, p 721, and notes that the autograph belonged to Alma Mahler and was contained in a folder which vanished after her death. On the original, the “Th. Rättig” inscription is a stamp from the firm. Rosé likely borrowed the original from Alma Mahler at some point and made a copy of it for himself, attempting to reproduce the original as much as possible. The mss paper is of a type used by Alfred Rosé (for example, in the “Waldmärchen” full score).
OS-MD-687. [Lieder eines fahrenden Gesellen. Lieder und Gesänge.] “Geschichte von einem / “fahrenden Gesellen” / in 4 Gesängen / für eine tiefe Stimme mit des Begleitung des Orchesters / von / Gustav Mahler / Clavierauszug zu 2 Händen.” “Aus »des Knaben Wunderhorn« / Lieder von / Gustav Mahler.” “5 Gedichte / componirt / von / Gustav Mahler.”  pp. Bound volume with fair copies of all of Mahler’s early lieder prepared by the composer for his sister, Justine. Contains all of the songs included in the 1892 Lieder und Gesänge volumes, as well as the Lieder eines fahrendes Gesellen. Four of the Wunderhorn songs (Starke Einbildungskraft; Aus! Aus!; Zu Strassburg auf der Schanz; Serenade) are found in unpublished keys, as are the middle two songs of the Gesellen cycle.
OS-MD-688. [Symphonies, no.1. “Blumine”] “Nro. 2 / Andante alegretto [sic]” Handwritten copy of the full score of the original second movement of Mahler’s first symphony. Note at end “Renovatum / 16-08-1893”. Inscription in pencil across top: “Der ursprüngliche II. Satz von Gustav Mahlers I.Symphonie (Abschrift.)” Copied from the 1893 manuscript, now in the Osborn Collection at Yale.
OS-MD-689. [Symphonies, no. 4. Scherzo.] “3. [sic] Satz (Scherzo).” 4 pp. Full score draft of the first 33 measures. Many changes in orchestration and secondary counterpoint from final version. Solo violin part written in D major, with note “Solo Geige / um einen halben Ton höher gestimmt.” [In the final version, the violin is tuned a whole tone higher.] Given to Arnold Rosé by Mahler the day before the Vienna premiere of the symphony; signed and inscribed in upper right corner: “Erinnere dich bei diesem Blatte / an unsere gemeinschaftliche Appretur dieses Solos! / zur Zeit meiner Reconvalescenz. / Gustav.” Dated in upper left corner “11/1 902.”
OS-MD-689a. [Symphonies, no. 4. Scherzo.] 1 p. Sheet with the first 15 measures of the solo violin part in Mahler’s hand and dated “Wien 19 29/XII 00 [i.e., 29-12-1900] / G.M.”
OS-MD-691. [Das klagende Lied. Waldmärchen.] 71 pp. Ink copy by Alfred Rosé of full score. Note on title page: “Aus der handschriftlichen Partiturcopie revidiert und corrigiert von Alfred Rosé.” [See S5-MD-975 for microfilm of the score that Alfred Rosé sold.]
OS-MD-692. [Das klagende Lied. Waldmärchen.] Pencil draft of piano-vocal score by Alfred Rosé. A fair copy of Rosé’s piano-vocal score, as well as his choral and vocal parts-05-be found at: S3-MD-801/-802/-803]
OS-MD-693. [Das klagende Lied.] Photocopied text of Das klagende Lied in Mahler’s hand. Includes several omissions and alterations. Dated 18-03-1878. Folder includes several incomplete copies of same. Frontispiece of Klagende Lied manuscript once owned by Alfred Rosé; see S5-MD-975.
OS-MD-694. [Symphonies, no. 1.] 2 bound vols. (76, 78 pp. / 148 pp.) Three folios (9 pp. of music) have been inserted into the second volume. Copyist’s score in black ink. First, second, and fourth movements only. Many additions, corrections, and annotations by Mahler (and others?) in blue, red, green, and black pencil and brown and red ink. Added folios appear to be in Mahler’s hand. Contents: Langsam. Schleppend. -Fröhlich bewegt -[missing] -Heftig bewegt.
On this manuscript, see Stephen McClatchie, “The 1889 Version of Mahler’s First Symphony: A New Source,” 19th-Century Music (forthcoming).
OS-MD-695. [Lieder. Ich bin der Welt abhanden gekommen] Photocopy of the piano-voice MS willed by Alfred Rosé to Henry-Louis de la Grange. Note on top in Mahler’s hand: “nach Es-dur transponieren” [the key of the orchestral version]. Folder also includes several additional photocopies of various sizes.
OS-MD-696. [Lieder. Kindertotenlieder.] Photographic copy of manuscript of Kindertotenlieder for voice and piano. Songs 2-5 only. Also contains a supplementary page with several sketches for “drängen eure ganze Macht zusammen” from the fourth song, two of which are marked “meilleur” and “le meilleur”. Original is part of Lehmann Collection, now in the Pierpont Morgan Library in New York.
OS-MD-697. [Symphonies, no.3. Autographs.] 35 mm. microfilm copy of the autograph orchestral score. Original, once owned by Alfred Rosé, became part of the Lehmann Collection, now in the Pierpont Morgan Library in New York.
3.3 Arnold Rosé honours and awards
OS-ArD-699 22-08-1889. Awarded the Königliches Ludwigs Medaille by King Leopold of Bavaria for art and science -certificate with embossed royal seal. Inside is printed copy of Verordnung of the foundation of the medal, 25-08-1872, by Ludwig II of Bavaria.
OS-ArD-700 12-11-1894 -Handwritten honour (#7371) from Emperor Franz Josef I, Emperor (1830-1916) of Austria, granting Rosé the title “K. und K. Kammer-Virtuosen.”
Seine kaiserliche und königliche Apostolische Majestät haben mit Allerhöchster Entschließung vom 12-11 l.J. Ihnen den Titel eines k. und k. Kammer-Virtuosen allergnädigst zu verleihen geruht.
OS-ArD-701 01-04-1897 (no. 1319) -Named a Cavaliere nell’Ordine della Corona d’Italia by Umberto I after a command performance by the Rosé Quartet before her majesty the queen.
OS-ArD-702 Diploma, dated 17-18-04-1897, naming Rosé “Cavaliere nell’ Ordine della Corona d’Italia”. His name included in the foreign roll of knights, numbered 3435.
OS-ArD-703 Report on the watch 42147 and the observations of its operation from 05-01-1902 to 19-01-1902.
OS-ArD-704 05-05-1905 -Typed letter, with embossing, from Zweiter Obersthofmeister of his K and K Apostolic Majesty (signed), enclosing an engraved watch (presumably that reported on above).
Auf Grund Allerhöchster Ermächtigung beehre ich mich Euerer ochwohlgeboren, anlässlich Ihrer Mitwirkung dem am 4.d.M. stattgefundenen Hofkonzert, anbei einen mit der Allerhöchsten Namenschiffre gezierten Chronograph zu übermitteln.
OS-ArD-705 04-07-1916 -Printed form, awarding Rosé Ehrenzeichen II. Klasse mit der Kriegsdekoration (#16371). Certificate from Erherzog Franz Salvator, Protektor-Stellvertreter der Vereine vom Roten-Kreuze in der österreichisch-ungarischen Monarchie. (Fee schedule attached; Rosé’s medal would cost 30 Kreuzer.)
OS-ArD-706 15-11-1917 -Typed honour (#11286) from Emperor Franz Joseph awarding Rosé the Ritterkreuz des Franz Joseph-Ordens. 2 embossed seals. Inside is inserted the printed statutes of the Order. Signed by Erster Obersthofmeister Hohenlohe.
OS-ArD-707 24-10-1923 -Letter from the Mayor of Vienna (signed), on official letterhead, congratulating Rosé on his 60th birthday, and elevating him to the status of a “Bürger der Stadt Wien”
OS-ArD-708 23-11-1929 -Certificate from Austrian President Wilhelm Miklas awarding Rosé the “goldene Ehrenzeichen”. Embossed with seal of the Republic of Austria. Signed Loewenthal.
OS-ArD-709 29-03-1935 -Certificate from Austrian President Wilhelm Miklas awarding Rosé the “Österreichische Verdienstkreuz für Kunst und Wissenschaft I.Klasse.”
OS-ArD-710 24-09-1937 (“Anno XV”) -Letter from the Italian ministry of foreign affairs naming Rosé a “Commendatore” of the Ordine della Corona d’Italia.
OS-ArD-711 19-10-1938 (“Anno XVI”) -Letter from the Consulate General of Italy, to accompany the diploma of the order (below).
OS-ArD-712 Diploma, dated 24-05-1937, XV, naming Rosé “Commendatore dell’ Ordine della Corona d’Italia”. His name included in the foreign roll of commanders, numbered 1512 (sent with letter, above).
OS-ArD-716 24-10-1933 -Large inscribed poem in tribute to Arnold Rosé by Franz Werfel, signed by the author-poet on the occasion of Rosé’s 70th birthday, which was celebrated by the Vienna Philharmonic on 24 October, 1933. Poem is written in green ink, with title and Werfel’s signature in red. “Solang wir denken können, schwebt Dein Ton”
OS-ArD-717 photocopy of a draft of Werfel’s poem, written on a 5″ x 6″ (approx) piece of graph paper. Some word changes. Original still in Mrs. Rosé’s possession. Poem was sent to Alfred by Alma Mahler-Werfel in a letter of 25-08-1948 (S4-AAl1-838)
3.4 60th Birthday greetings for Arnold Rosé (also listed in 2.0)
OS-CAr-716. Karl Alwin to Arnold Rosé. 23-10-1923. 60th birthday congratulations.
OS-CAr-715. Hans Mueller to Arnold Rosé. 22-10-1923. 60th birthday congratulations.
OS-CAr-713. Richard Strauss (1864-1949) to Arnold Rosé. 7-10-1923. 60th birthday congratulations.
3.5 Music by Alfred Rosé (see also 7.6)
OS-AlD-718 Piano Sonata in A major (1935) -Fair copy (ink).
OS-AlD-719 Streichquartett (1919) -Bound full score and parts.
OS-AlD-720 String Quartet (1927) -Bound fair-copy (ink) full score and parts (with many performance indications in parts).
OS-AlD-721 [Rondino] for piano (1935); Later copy. Marked “Allegretto”
OS-AlD-722 Bound volume, embossed with “Alfred Rosé / Lieder / 1919-1926”, containing the following combination of published and manuscript Lieder:
- Auf See (Dehmel) (1919): later copy; vocal part rewritten in treble clef. Some later changes. Earlier copy in S4-AlD-906.
- Drei Lieder für eine hohe Stimme und Klavier (1919): one copy of printed edition (M.Kramers Nachfolger, 1928)
- 4 Gedichte von Alfred Rosé (Frühjahr 1920): later copy; vocal part rewritten in treble clef. Earlier copy in S4-AlD-907.
- Sieben Lieder aus dem »Japanischen Frühling« (Hans Bethge) für eine mittlere Singstimme mit Klavier (1920): one copy of printed edition (Doblinger, 1927, 6519). Some performance indications. English translation written underneath German for first song
- 3 Gedichte von Bruno Ertler (1922): later copy; vocal part rewritten in treble clef. Some later changes. Title page signed, with note: “Cyclus -ist ohne Unterbrechung aufzuführen Dauer 7 Minuten” Earlier copy is S4-AlD-909.
- De Profundis (Trake) (1922): later copy; vocal part rewritten in treble clef. Earlier copy: S4-AlD-908.
- Das ist die Sehnsucht -Rainer Maria Rilke (Aus den »Frühen Gedichten«) / Für eine Gesangstimme und Klavier (1924). Title page indicates a “Mittlere Stimme.” Later copy, transposed down P4 from original; 3 chords in R.H. piano part, 5-7 pasted over (copied w/o transposition from original) Earlier, untransposed copy: S4-AlD-910.
- Aelita’s Lied der Ulla (Tolsoi) (Januar 1925). Autograph copy. Earlier version: S4-AlD-911; see also OS-AlD-722d
- Versunkene Stadt für eine Mittlere Stimme und Klavier (Weinheber) (29-12-1926). Some alterations, paste-overs, and performance indications. Another version: S4-AlD-912.
- Vor dem Einschlafen (Weinheber) (31-12-1926). Fair copy. Other versions: S4-AlD-913; S4-AlD-914; S4-AlD-915 (last two transposed up a whole tone).
* manuscript Lieder appear to have been copied at the same time re consistency of title page layout, writing style and paper type. (perhaps in late 1926/early 1927? respecificity of dates for last two songs and their relative lack of revision when compared to the earlier songs; also re embossed title of volume)
OS-AlD-722a Drei Lieder für eine hohe Stimme und Klavier (1919) Thirteen copies of printed edition (M.Kramers Nachfolger, 1928) One additional copy inscribed and signed by Alfred Rosé
OS-AlD-722b -Sieben Lieder aus dem »Japanischen Frühling« (Hans Bethge) für eine mittlere Singstimme mit Klavier (1920). 2 copies of printed edition (Doblinger, 1927, 6519) One additional copy inscribed and signed by Alfred Rosé: “Meinem Vater in tiefster Verehrung und Liebe für seine Künstlerschaft und sein Menschentum / Im März 1927”
OS-AlD-722c 4 Gedichte von Alfred Rosé (Frühjahr 1920): autograph copy (pencil). Appears to post-date ink copy in supplement 4 (S4-AlD-907).
OS-AlD-722d Das ist die Sehnsucht (1924); Autograph copy of original key. Pencil performance indications; additional copy in another hand. (2 copies total) Earlier, untransposed copy: S4-AlD-910.
OS-AlD-722e Ach vernimm diesen Ton (Schröder) (?1934). Performance indications in pencil by Rosé. Copy.
OS-AlD-722f Ein Volkslied von Christian Morgenstern für eine Singstimme u. Klavier (?1933); 2 copies.
3.6 Alma Rosé memorabilia
OS-AmD-723 -printed copy (Schotts Söhne, pl. 30745a) of Erich Wolfgang Korngold’s Lieder des Abschieds, op. 14. Inscribed and signed by composer: “Alma Rosé / der Sängerin, der Geigerin, / und dem l[iebs]chen Mädchen / mit herzlichen (?) / Weihnachts wünsche / -nur der Autor / Erich Wolfgang Korngold. / 24 Dez. 21.” With two measures of Marietta’s music from Die Tote Stadt (at reh. 286 + 4): “… errang mir an mich selbst [den Glauben].”
3.7. Bruno Walter memorabilia
OS-WD-724 -Tribute to Bruno Walter by Arthur Schnitzler marking the presentation of a bust of Mahler (likely the Rodin) in thanks for his efforts on behalf of Mahler’s memory and works. Signed by 32 people (all typewritten, but for 3), including Maria and Clara Wittgenstein, Anna and Carl Moll, Selma Kurz, Alma Mahler, Arthur and Olga Schnitzler, Arnold and Justine Rosé, Albine Adler. Pencil note on top “verfasst von Arthur Schnitzler.”
OS-WD-725 -Copyist’s copy of Bruno Walter’s Sonata for Violin and Piano in A Major, composed for Arnold Rosé, and dedicated to him [“Dem Lieben Freunde und grossen Künstler / Arnold Rosé / gewidmet”.
3.8 Films and tape recordings
OS-ArD-726 Two reel-to-reel tapes of performances by Arnold Rosé, Alma Rosé, the Rosé Quartet, Enrico Caruso, Titta Ruffo, Giuseppe de Lucca, and Riccardo Stracciari. Includes the Bach Double Concerto with Arnold and Alma Rosé performing the solo parts.
OS-AlD-727 Recordings of Alfred Rosé and his works
- Streichquartett 1927, 28-03-1968, College of Music Annex performance. (reel-to-reel)
- Lecture-recital, Alfred Rosé and Vernon Howard (tenor) 10-10-1967 (2 reel-to-reel tapes)
- UWO Choir, under the direction of Alfred Rosé 18-12-1966 (reel-to-reel)
- Piano Sonata in A -Damjana Bratuz, 1967 (2 cassettes)
4.0 Supplement 1 (purchased from Alfred Rosé)
4.1 Letters from Mahler to his parents and Justine: Not included
4.2 Letters to Mahler
S1-CM-764. Karl Goldmark (1830-1915) to Gustav Mahler. 11-01-1897. Possible response to GMB 204. He will not go over Jahn’s head and directly recommend Mahler for Kapellmeister in Vienna, but if the occasion arises, he will make his favourable views known.
S1-CM-763. Richard Strauss (1864-1949) to Gustav Mahler. 22-04-1900. Published in Gustav Mahler-Richard Strauss Briefwechsel, expanded edition, ed. Herta Blaukopf (Munich & Zurich: Piper, 1988), 52-4.
4.3 Rosé Correspondence (also listed in 2.)
S1-CAr-765. Max Reger to Arnold Rosé. 28-07-1908. Proposes the following program for a Reger concert in Vienna next winter: Sonata in F-sharp minor for violin and piano, op. 84; Suite (im alten Stil) for violin and piano, op. 93; Piano Trio in E minor, op. 102. Reger is free every day after 19-03.
5.0 Supplement 2 (purchased from Sotheby’s)
Purchased at Sotheby’s, New York, at Sale No. 5256 on 12-12-1984. Formerly in the collection of Ernest Rosé, Washington, the son of Emma (Mahler) and Eduard Rosé.
Items numbered 766 to 775.
5.1 Letters from Mahler to Justine and Arnold
S2-MJp-766 03-06-1896 -Picture postcard from Mahler, in Dresden, to Justine, in Munich
Good fortune! Nikisch will produce nos. 1 & 2 from the II. [Symphony] and 4. & 5. [movements] of the III [Symphony] in Berlin. Schuch will produce the entire II! [Intendant helpful] . . . Scheidemantel will sing the Fahrenden Gesellen! Tonight I journey to Vienna.
S2-MJp-767 05-05-1897 -From Venice to “Signorina Giustina Mahleurina,” in care of Adele Marcus, Heimhuderstrasse 60, Hamburg
Best greetings from here! My duties at the Vienna Hofoperntheater please me much better than those at the Hamburg Stadttheater! Remain calm in Hamburg. . .
5.2 Letter from Mahler and Justine to Emma and Eduard Rosé
S2-MEp-768 10-06-1902 -to Frau Concertmaster Emma Rosé, Kurthstrasse 14, Weimar from Crefeld. Signed greetings also from Alma and Justine (there with baby Alfred)
My dears! I report to you the triumph of my third offspring, and congratulate you belatedly on the arrival of your second.
5.3 Six letters from Justine to Emma
S2-JE-769a -Wien am 25-10-1899 -Justine to Emma in Boston -discusses planned visit to Hamburg and need to be back in Vienna on 14-11. Plans to visit Berkan on first day
. . . Yesterday I gave Arnold your cushion. I left the choice to him, and he chose the one which you had intended for Gustav; he thanks you very much. The day before yesterday was the première of [Anton Rubenstein’s Der] Dämon. Mildenburg was in excellent voice-just as in old times. I now see her much less since Behn is in the picture. What do you think of the fact that I am again on good terms with Behn? Herr Schlesinger [Bruno Walter] has sent a letter again. I think that he would now like to be engaged here. But Rottenberg’s (who is now here for six weeks) engagement is as much as certain. He is a very good musician, and a nice fellow as well, but by no means as good a conductor as Schlesinger, although the orchestra likes him. I am very happy about his engagement: at least he is someone who will not scheme. The Philharmonic concerts are already sold out-in fact, not a single ticket was available and many reservations were in vain. Probably a second series of concerts will take place, such is the demand. I believe I have already told you that nothing has happened with either Russia or Paris. They will not pay as much as Gustav has asked; I am not unhappy about it-it would have been a tremendous exertion for Gustav. We now regularly walk for an hour each afternoon in the Prater, and this does Gustav such good that he is really much healthier this year than usual-even his digestion. . . .
S2-JE-769b -Wien am 05-11-1899 -Justine to Emma -Travelling to Hamburg tomorrow, but will be back next Tuesday for Arnold’s quartet concert. Asks Emma to write more informative letters.
. . . This time the crowd at the Philharmonic concert was so unbelievably large that a repetition of the first concert will take place on Wednesday-actually in the evening: such a demand is unprecedented. Gustav had no luck with Der Dämon. I think that the last performance will take place next week. Mildenburg was fantastic, almost like her best times in Hamburg. Last night we were with her and Behn together at Theuer’s; she is always so nice, and I always enjoy being with her. In fact, we don’t see each other often-at most, twice a week. Behn has now taken a small apartment here . . . Today is also the first concert; tonight we are at Nina’s . . .
S2-JE-769c -Wien am 16-11-1899 -Justine to Emma -reports on visit to Hamburg and Frau Marcus, Toni, Anna, Max Mumssen. Glad to be back in Vienna. Mentions Birrenkosten, Zinne, and Frau Behn
I have been back from Hamburg for two days and have received your letter, which was delayed a whole week. There was such a tumult in Hamburg that I did not write Gustav once. . . . Enough of boring old Hamburg. It will interest you to hear that Arnold’s quartet is very well attended this year, and that Hanslick himself was at the first quartet [concert]. I already told you that I sent Siegfried [Lipiner?] to Hanslick in this regard. Arnold must of course never discover this, as he would be furious, but I am still pleased that it succeeded; he seems to be very delighted. Next week he moves into his new apartment. . . . Gustav’s letter to ?Kneisel also seems to have helped a lot. Gustav said that he has never written such an admirable letter. . . . Since I got back from Hamburg, I have not seen anybody except for Albi, who ate with us yesterday. I never see Karpath either, because we never go to the restaurant now, but always eat at home. Should an opportunity arise, I will naturally take it. I have already written about the concerts. Behn has now taken a small apartment, and showers Mildenburg with presents. . . .
S2-JE-769d -Maiernigg am Wörthersee / Villa Antonia [between 15-06-1900 and 23-06-1900] -Justine to Emma -Justine glad that Emma and Eduard are returning from Boston on 01-07. Worries about them travelling with the baby and details of the move
. . . Gustav is in Paris, and I have been in Maiernigg for five days. I feel very well here. Gustav’s hut [Häuschen] in the woods is as if from a fairy-tale, just like someone had put it there by magic, and the structure of the country house promises to be exceptionally beautiful. My thoughts are now always in Weimar [where Emma and Eduard will live]-I will come visit in-09-or October. As I am settled in Vienna, we will stay here until the end of August. Unfortunately we are awfully cramped here in the Villa Antonia. My room is also the dining room, and there is unfortunately no shade outdoors. . .
S2-JE-769e -Maiernigg 23-06-1900] -Justine to Emma -details of move from Boston to Weimar. Finances. Plans to visit in-09-or October. Mentions Freund and Berkan. Eduard’s contract almost certainly permanent
. . . I have taken up the entire correspondence that Frankfurter-as the subject already had been mentioned to Gustav-sent to Alexander, than he might intervene with the Indendent. One naturally couldn’t give him an answer, but, under the circumstances, he could make inquiries. Bearing this in mind, I enclosed Rudolf Krzyzanowski’s letters. One is certainly much indebted to him in this affair! . . . Gustav has the best intentions to speak personally with Eduard this Winter. . . Moreover, I also need my relaxation this year: I have felt unwell all winter, and even took to my bed for a few days before I went to the country. But the climate here suits me splendidly, Gustav’s hut [Häuschen] in the woods is charming-and marvellously quiet, as if in the wilderness-and the structure of the country house promises to be exceptionally beautiful. . . . Gustav is probably coming tonight. He appears to have had a terrible migraine at the second concert. I will be glad when he is here. . . .
S2-JE-769f -Maiernigg am 18-07-1900 -Justine to Emma -Emma and Eduard now underway. Domestic matters. Mentions Berkan, Alice Mumssen, Albine Adler.
. . . Gustav is in Toblach for a couple of days; we couldn’t both check in this year. . . . We live badly here: my room is so terribly hot at night that I can’t sleep, and the woodman’s children are so disruptive during that day that I am at wit’s end. . . . This is the first letter I’ve written in 14 days as I was so ill that I couldn’t hold a pen . .
5.4 Letter from Mahler to Emma
S2-ME-770 -n.d. [Summer 1900] -Mahler congratulates his sister, Emma, that she is now returning to Europe. Postscript from Arnold.
Also from me, dear Emma, in great hurry (just as I am leaving), warmest greetings to you and your husband. I am always glad to be able to conclude from your letters that you are well, and getting on well with each other. We are thinking of you, and your return to Europe, which-finally-won’t be long now!
5.5 Bruno Walter letters to Mahler, Justine, and Emma
S2-WMp-771 18-12-1898 [1895 suggested at auction] -Walter writes greetings on a picture postcard from Riga.
Lieber Herr Mahler! Ihnen und ihrer lieben Schwester herzliche Neujahrwünsche und viele Grüße. Ihr Bruno Walter.
S2-WJ-772 06-06-1911 -letter from Walter in Bad Gastein to Justine -Walter tries to console both himself and Justine over the death of Mahler the previous 18-05-1911.
I would just like to tell you that my thoughts will be with you tomorrow as your sorrowful hearts will heave with new vehemence. It presses on me here also …. And I can always refresh myself with the hope to reduce at least some of my grief and sorrow in action: in the two premières of his works which I will give this coming winter. This will also be something for you, I hope. Tomorrow you are going with Elsa and Arnold to visit his grave-how gladly would I stand there too! Farewell! In faithful remembrance, I greet you and Arnold. Cordially yours, Bruno.
S2-WE-772.1a 25-02-1903 -Postcard from Wiesbaden to Emma, c/o the Court Theatre, Weimar.
Viele herzliche Grüße. Sonnabend früh bin ich schon wieder in Wien. Ihr Bruno Walter
S2-WE-772.1b 24-01-1908 -Letter card from Cologne to Emma, Bismarkstr. 34, Weimar.
Dear friend! A long business trip also takes me to Gotha; there I of course don’t want to miss the chance of visiting you. I will be with you on Sunday, elevenish, and I am greatly looking forward to finally making the acquaintance of your husband. Would both of you give me the pleasure of being my nice guests for a nice dinner in a nice restaurant in Weimar? Saturday evening I am already in Gotha, Hotel Wünscher, and in Weimar at 11 o’clock Sunday, from where I must leave again at 5:30. So, until I see you again, sincere greetings also to your husband and children.
S2-WE-772.1c 05-06-1912 and 06-06-1912 – Letter to Emma’s husband, Eduard Rosé, on the stationary of the General-Intendanz of the Hoftheater und Hofmusik, Munich
You can imagine that I thought of you first when the necessity to appoint a solo cellist was first mentioned. After all the good things I have heard about you, and after the memories of my personal impression of our meeting in Weimar, and finally also in consideration of my sincere friendship with Emma, I would have liked nothing more than to engage you for the filling of the position. There is, unfortunately-and this “unfortunately” comes from my heart-no hope for it. The age limit is 34 years, over which no court musician is allowed to be engaged-so says the statute (out of consideration of the pension fund). I have discovered that exceptions-with the greatest difficulties-have taken place, in that two or three times gentlemen have been accepted up to 37 years of age. After this, it is entirely impossible-there is thus nothing that can be done here. Please don’t worry about the subject too much. The playing in the summer-even if you can’t become a Munich court musician and solo cellist-will hopefully please you, and-if I definitely come to Munich-you-05-have this pleasure every year.
S2-WE-772.1d -Letter card from Berlin 16-11-1930
Dear Frau Rosé! Many thanks for your friendly congratulations and your welcome letter . . .
S2-WE-772.1e -photo of Walter
S2-WE-773a -[undated] -from the Parkhotel Erbprinz, Weimar
I stayed here, quite unexpectedly, longer in order to see the Goethe places with Lotte. Can I still see you? Please call me at 6:30 here in the Hotel.
S2-WE-773b 10-08-1898 -from Berlin
Many thanks for your welcome note. Enclosed, with many thanks, you will find your books returned-in good condition, I believe. Please be so kind as to return to Dr. Lipiner the Mommsen and the ? and convey to him at the same time my warmest thanks. Please do the same thing to Justi with Lipiner’s »Prometheus«, which provided me with an hour of greatest enjoyment and significant stimulation. You can also greet them often and warmly from me. Please let me know-here, still-if you are celebrating your wedding and where; in fact: everything important. I am leaving here on the 12th of August-a week from today-make then a short detour to Colberg to visit my blind friend; on the 20th my ship leaves for Stettin, and we arrive, after a 38-hour journey, in Riga on the 22nd. My address is: Riga (Livland), State Theatre. As a matter of fact, you might better write Riga (Russia).
My ship now goes full sail, and the world smiles at me cheerfully. One best accomplishes heroic deeds if one goes forth with a song on one’s lips. And I now have something similar before me, and you ought to see that it is not impossible that something will become of me yet. I now wish you the best and most beautiful things that you can thing of, and know that you can count on my friendship in sorrow and happiness in every regard. I greet you with all my heart, and wish you a pleasant journey, in the smaller and larger senses. Your Bruno
If you can, send me a few lines from your journey-even if it is only a postcard.
S2-WE-773c 21-07-1928 -From Hotel Waldhaus, Sils-Maria, Engadine.
Allow us, Elsa and I, to ask you to convey our warmest wishes to your Ernst and his young bride on their marriage. Hopefully you are happy about this tie of your son’s. Please let us hear a word about it, and also how you are keeping in general. What is Wolfgang up to? We have not heard anything for a long time.
S2-WE-773d 20-02-1931 -From Hotel Hauffe, Leipzig
I have just written Martin and Robert in the most pressing way. My good will is large, my influence, little, since probably too many such requests reach these directors. Hurriedly, with many greetings, Bruno.
5.6 Photographs of Bruno Walter
S2-WD-774 -Four cabinet photographs of Bruno Walter.
- Walter alone [J. van Ronzelen -Berlin]. Inscribed and signed on back [“Fraulein Emma Mahler zur freundlichen Erinnerung an ihren treu ergeben Bruno Schlesinger”]
- Walter alone, in profile [Hamburg -Benque & Kinderman]. Inscribed on back [“Fraulein Emma Mahler zur Erinnerung an gemeinsam schöne Stunden zugeeignet von”] and signed on front [“Bruno Schlesinger”]
- Walter with other man in white cap [mounted photograph]. Dated on back [“Sylt 1895”]
- Walter alone [Albert Meyer, Berlin]. With 2-line inscription, signature [“Bruno”], and date [“Wien den 22.IX.97”] on back
5.7 Draft of letter from Arnold Rosé in Mahler’s hand
S2-MArD-775 [between 12-1901 and 01-1902?] -Enclosure from a letter from Justine to Eduard or Emma: a copy of a letter to Rudolf Krasselt (the cellist) drafted by Mahler for Arnold to send under his own name. Letter concerns Krasselt’s brother, Alfred, the concertmaster in Weimar, and his behaviour towards Eduard.
Just now I have discovered how uncollegially and unfairly your brother, Weimar Concertmaster Kasselt, has behaved towards my brother, and, in the event that you would be hired here by director Mahler, would still fabricate stories about him. I hardly need to say how distressed I am about all this-as is Director Mahler. In any case, I regard it as my duty to inform you that, as of today, I am-under these circumstances-not in a position to receive you in my quartet, as was first proposed. I have rushed to give you this news as quickly as possible, as I know what emphasis you have placed on this decision regarding this portion of your future occupation. If you wished on your part to address the consequences of this state of affairs, I would be prepared to recommend this to Mahler.
[Justine:] In haste, the gist of G[ustav]’s letter to Krasselt (for A[rnold]).
6.0 Supplement 3: Additional material relating to Mahler (later donation from Mrs. Maria Rosé)
6.1 Letters and documents
S3-MC-776 between 09-04-1892 and 13-04-1892 -Hamburg -letter to Ernestine Löhr -complaints about Justine. Conducting Mozart Requiem and Bruckner Te Deum (on Friday 15-04-1892). Has to learn English. Ernestine’s appointment. Hoping to see Ernestine in Berchtesgaden on vacation. Asks for news.
You have probably read my last letter to Justi, and as I know you, I know you have read it correctly. Justi’s answer seems to me to have been written in der erste Rage, and I am less annoyed about its somewhat brusque form (which I naturally attribute only to the momentary mood) than I am about the content, i.e. the fundamental way of thinking (not the way of feeling), which I find so immature. Furthermore, you know that nothing irritates me more than this type of childish sensibility, from which I had really hoped she had long ago emancipated herself.
Today I sent her letter back to her with my marginal notes, and I beg you to go to her and look at my answer, and wash her childish head, and read my letter with her one more time.
I am here in the midst of work -Friday I perform the Mozart Requiem and afterwards the Bruckner Te Deum, and I really need all my peace and quietness to that end; besides that, I must use every free minute to learn English.
… My health is again as of old; as a consequence, also my vital energy and pleasure of life.
S3-CM-777 28-12-1896 -Dresden -telegram to Mahler from Ernst von Schuch, director of Dresden theatre, planning January concert of movements 2 & 3 of the Second symphony and the “Blümenstuck” from the Third; see letter of 10-01-1897 (E5-CM12-269)
Tiefiges Concert 15.Januar gemacht wird 2 und 3 Satz Ihres C moll Sinfonia und Blumenstück. Das material kömte am 16 nach Leipzig abgehen hier[.] ist es wegen Arbeitsbelastung unserer Schreibers nicht zu copieren möglich.
S3-MAD-778 -printed announcement of Mahler’s wedding (Wien/Im 03-1902); same as one for Arnold and Justine, S4-ArJD-856
S3-AJp-779 08-05-1911 (postmark) from Neuilly, France. Card on which Alma reports on Mahler’s progress by filling in information in an outline written by another hand (Anna Moll?). Mahler’s situation worsened notably on 05-05-1911. On 11-05-1911 the decision was made to travel to Vienna.
S3-JD-780 122-page handwritten study of Goethe’s Faust by Justine. Perhaps mentioned in E4-MJ-182. With handwritten (pencil) additions by Alfred Rosé.
S3-AD-781 -Score of Hector Berlioz, Symphonie Fantastique, op. 14 (Eulenberg, pl.3622). Title page inscribed and signed by Alma Mahler: “Weihnachten 1918 / Alma.”
6.2 Mahler photographs and memorabilia
S3-MD-782 Envelope containing a lock of Mahler’s hair folded in blue tissue paper. Envelope inscribed by Justine Mahler-Rosé: “Ein Haarlocken von Gustav Mahler”.
S3-MD-783 Envelope containing a lock of blond hair. Envelope inscribed by Justine Mahler-Rosé: “Diese Haarlocken seiner Mutter hatte Otto Mahler bei sich am 05-02-1895 bei seinem Tode.”
S3-MD-784 Envelope containing dried Edelweiß and starfish, inscribed “Edelweiß / Gustav Mahler”
S3-MD-785 Collection of photographs/cards belonging to Mahler -9 items Photos of Wagner [note on back “Stand am Schreibtisch von Gustav Mahler”], Beethoven (5), E.T.A. Hoffmann, Nietzsche, Nestroy
S3-MDph-786 Signed and inscribed photograph,-06-1898. “Meinem lieben freunde und »Wahlverwandten« Arnold Rosé / Wien Juni 98 Gust. Mahler”
S3-MDph-787 44 photographs [48 total, with duplicates] of Mahler alone and with others, including: Alma Mahler (2), Alma with Maria and Anna (1), Mahler and Alma (2), Mahler and Anna (2), Mahler with Strauss, Mahler w. Mengelberg and Diepenbrock (1 -3 copies), Mahler w. Bruno Walter (1 -2 copies), Mahler, Justine, and others (2), Mahler’s grave, Mahler’s daughters, with inscription: “Putzi / Gucki [Mahler (different hand)] / Maiernigg” [blue album]
S3-JDph-788 6 photographs of Justine Mahler-Rosé, taken throughout her life
S3-FDph-789 3 photographs. Photos of Mahler’s father and grandmother, and of Justine and Leopoldine
S3-MDph-790 10 photographs of Mahler’s Kompierhäusln. Steinbach am Attersee (9); Toblach (1)
S3-MDph-791 photograph of the Rodin bust of Mahler. (3 copies of one photograph). Page from Cincinnati Art Museum News,-12-1947, with photograph of Alfred Rosé’s Rodin bust of Mahler, lent to the Art Museum.
S3-MDph-792 photograph of the ornate bowl given to Mahler upon leaving the Budapest opera.
S3-MD-793 Admission Pass for participants in the première of Mahler 8 in Munich, 1910. Likely belonged to Arnold Rosé.
S3-MD-794 2 postcards relating to Mahler: one of Mahler’s birthplace, with an inset head of Mahler in the upper right-hand corner; one commemorating the 1920 Amsterdam Mahler Festival, with pictures of Mahler and of Mengelberg
S3-MD-795 poem “Als Mahler Starb”, dated “Wien, im Mai 1911” by the Viennese critic Andro [pseud. of Therese Rie]. Typed translation of same, by Alfred or Maria Rosé
S3-MD-796 typed “Erinnerung an Gustav Mahler” by Austrian composer Karl Weigl (1881-1949). Perhaps a typescript of article published in Austria ii/2 (1947), listed in NG
S3-MD-797 Envelope containing 4 envelopes with Mahler stamps on them (8 stamps total); all bear a cancellation stamp with the date 1960. One example mounted on gold paper in a black frame.
S3-MD-798 Boxed etching of Mahler by R.A Loederer
6.3 Mahler scores
S3-MD-799 -Symphony No. 10 (Facsimile of Mahler’s draft score, published by Paul Zsolnay (Berlin, Vienna, Leipzig), 1924) Alma Mahler’s postscript signed and inscribed by Alma Mahler: “Meiner geliebten Alma [Rosé] / Alma / Weihnachten 1924.” A facsimile of the five main folders of Mahler’s draft, the short score of the Adagio movement (less 2pp) and a few preliminary sketch pages. Approx. 44 pp. of Mahler’s draft are not reproduced in the 1924 facsimile. The draft (and the omissions from the present facsimile) is described by Deryck Cooke in the forward to his performing edition.
S3-MD-800 -Das klagende Lied (Full score, Josef Weinberger, pl. 26) Performance markings by Alfred Rosé. [published score; does not include Waldmärchen]
S3-MD-801 -Das klagende Lied -Waldmärchen (manuscript piano-vocal score by Alfred Rosé) Fair copy (ink), 44pp, of OS-MD17-692. Includes metronome markings. Czech text pencilled in. Presumably used for Rosé’s 1934 performances.
S3-MD-802 -Das klagende Lied -Waldmärchen (manuscript vocal parts by Alfred Rosé). Soprano, Tenor, and Bass parts only. Alto part missing.
S3-MD-803 -Das klagende Lied -Waldmärchen (manuscript choral parts by Alfred Rosé). All numbered and labelled in red pencil. Soprano (10); Alto (10); Tenor 1 (5); Tenor 2 (5); Bass 1 (5); Bass 2 (5)
- Lieder und Gesänge (bound collection belonging to Alfred Rosé of individual publications for voice and piano)
- Lieder eines fahrendes Gesellen (Joseph Weinberger, pl. 888, 1897)
- Revelge (C.F. Kahnt Nachfolger, pl. 4461, 1905)
- Der Tamboursg’sell (C.F. Kahnt Nachfolger, pl. 4464, 1905)
- Blicke mir nicht in die Lieder (C.F. Kahnt Nachfolger, pl. 4467)
- Ich atmet’ einen linden Duft (C.F. Kahnt Nachfolger, pl. 4470)
- Ich bin der Welt abhanden gekommen (C.F. Kahnt Nachfolger, pl. 4470)
- Um Mitternacht (C.F. Kahnt Nachfolger, pl. 4479)
- Lieder u. Gesänge, vol. 1 -low voice (Schott, pl. 25183, 1t, 1892)
- Lieder u. Gesänge, vol. 2 -low voice (Schott, pl. 25184, 1t, 1892)
- Lieder u. Gesänge, vol. 3 -low voice (Schott, pl. 25185, 1t, 1892)
S3-MD-805 -Lieder eines fahrenden Gesellen (Full score, Joseph Weinberger, pl. 894). Edition is dated 1897 and (erroneously) omits the vocal line in mm. 16-17 of “Ich hab’ein glühend Messer”; corrected in pencil by Alfred Rosé. S3-MD-806 -Lieder eines fahrenden Gesellen (Piano-vocal score, Joseph Weinberger, pl. 888, 1897). Stamped “Alfred E. Rosé” on cover.
S3-MD-807 -Des Knaben Wunderhorn (Piano-vocal score, Joseph Weinberger, pl. 12, 1900/1901). Stamped “Arnold Rosé” on title page, and signed “Alfred Rosé” on inside leaf. Timings and performance indications given for several songs. Printed errors corrected in “Rheinlegendchen”
S3-MD-808 -Kindertotenlieder. (Piano-vocal score, C.F. Kahnt Nachfolger, pl. 4459a, 1905)
S3-MD-809 -Symphony No. 1 (Full score, Universal edition, no. 946, 1906) Signed (or stamped?) by Arnold Rosé on cover and title page
S3-MD-810 -Symphony No. 2 (Full score, Universal edition, no. 948, pl. 948 2933, 1906)
S3-MD-811 -Symphony No. 2 (Josef Weinberger, pl. 5). Arrangement by Bruno Walter for piano, 4-hands. Signed and inscribed by Mahler: “Meinem lieben Freunde Arnold / Dezember 1899? / Gustav Mahler” [appears to say 1890, but this is clearly impossible as the symphony was not completed until 1894]
S3-MD-812 -Symphony No. 2 (Universal ed., pl. no. 3, 1896). Arrangement by Hermann Behn for 2 pianos, 4-hands.
S3-MD-813 -Symphony No. 3 (Universal ed., no. 3703). Menuetto (movement 2, arranged for piano, 2-hands, by Ignaz Friedman). Given by Alfred to Maria Schmutzer during their courtship, according to Mrs. Rosé’s biography, p. 18 [see S4-MaD6-886]
S3-MD-814 -Symphony No. 4 (Full score, Universal ed., no. 952, 1906). Signed by Maria Rosé. Has timings for each movement.
S3-MD-815 -Symphony No. 5 (Full score, Peters, pl. 9015, 1904). First edition, later corrected; see Kaplan facsimile for details.
S3-MD-816 -Symphony No. 6 (Full score, C.F. Kahnt Nachfolger, pl. 4526, 1906). Title page signed: Arnold Rosé XII 1906. Some pencil markings throughout. Middle movements in the following order: II. Scherzo; III. Andante. This is therefore the original edition of the score. Mahler later reversed the order of the movements; this ordering was followed until the publication of the edition in the Mahler Gesamtausgabe, where it was shown that Mahler intended to reverse his change.
S3-MD-817 -Symphony No. 7 (Full score, Bote & Bock (Universal ed., pl. 16867, 1909)
S3-MD-818 -Symphony No. 8 (Full score, Universal ed., no. 3000, pl. 2772.3000, 1910/1911). Page 2 signed by Bruno Walter
S3-MD-819 -Symphony No. 8 (Violin 1 part, Universal ed., no. 2771a)
S3-MD-820 -Das Lied von der Erde (Full score, Universal ed., no. 3637, pl. 3392.3637, 1911). Signed (or stamped?) by Arnold Rosé on cover and title page. Timings given for each movement. Some pencil markings
6.4 Printed Material Concerning Mahler
S3-MD-821 –Moderne Welt 3/vii (1921) -Gustav Mahler-Heft, 36pp.
S3-MD-822 -Deryck Cooke, Mahler 1860-1911. [London]: British Broadcasting Company,. Booklet issued by BBC in connection with Mahler centenary celebrations; later published by Faber and Faber
S3-MD-823 -Cardus, Neville, Gustav Mahler, a centenary appreciation. Booklet published by Royal Festival Hall in 1960.
S3-MD-824 -Mooney, William E. Offprint from Psychoanalytic Quarterly 37 (1968): “Gustav Mahler: a note on life and death in music”
S3-MD-825 –Saturday Review, 29-03-1969, containing article by Henry-Louis de La Grange, “Mahler: a new image”
S3-MD-826 –Österreichische Musik Zeitschrift 34/vi (1979). Mahler issue.
S3-MD-827 -Ephemera relating to Mahler, chiefly newspaper clippings and pages torn from periodicals. One scrapbook. Newsletters and correspondence from Mahler Gesellschaft. Topics include: Gilbert Kaplan and Mahler 2; Alfred Rosé’s sale of Waldmärchen ms; Alma Mahler, etc. Many photocopies.
S3-MD-828 -Typewritten texts of Josephinen-Lieder and Waldmärchen, presumably done by Alfred Rosé; latter is on UWO stationary
7.0 Supplement 4: Additional material relating to Arnold and Alfred Rosé (later donation from Mrs. Maria Rosé)
7.1 Letters and Cards
S4-CAr-828a -to Herr Doktor [Arnold Rosé?] from Dr. Samuel Radisehm 15-08-1881 In envelope inscribed “Herrn Kapellmeister Alfred Rosé / Berlin W50 / Rankestr. 7 II” by Justine Mahler-Rosé. [It is not clear whether Arnold Rosé is the “Herr Doktor” to whom the letter is addressed. It is largely concerned with a philosophical argument about Lippener’s book on Kant. The letter could have been part of Justine Rosé’s autograph collection.]
S4-JCp-829 -To Albine Adler from Justine Mahler-Rosé. Postmark illegible. Postcard with childhood photo of Alfred Rosé. Mention of illness of Putzi Mahler would date card early-07-1907.
S4-ArR-830 -Photocopies of letters (5) and cards (4) from Arnold Rosé to his brother Eduard.
- Wien, 20-09-01?
- Wien, 19-06-1912
- 12-02-1913 (on stationary of Madrid Place Hotel)
- 28-03-1937 (with 3 lines from Justine)
- 4 cards: 30-03-1906 [with line from J]; 09-08-1908; 19-10-1912; 02-12-1912]
S4-ArAlp-831 To Alfred Rosé from Arnold Rosé, Dienstag, 12-12-1929. Postcard with photograph of Arnold, Mossel, and Anton Walter (Quartet member)
S4-CArp-832 To Arnold Rosé and family from Latzi Janner (?) 27-05-1922 -Postcard from Beethovenhaus, Bonn
S4-RAl-833 To Alfred Rosé from Aunt Ernestine [Löhr]. 11-12-1932. Makes Alfred a present of a picture.
S4-JMa-834 To Maria Schmutzer [Mrs. Rosé] from Justine Mahler-Rosé. Handwritten card conveying birthday greetings.
S4-RAlp-835 To Alfred Rosé from Arnold, Justine, and Alma. Postcard with photograph of Arnold, Alfred, and Jens Solt?, postmarked 16-07-1933, with several lines in pencil from each.
S4-AlC-836 10-1938 or early-11-1938 -draft of a letter, addressed to “Dear Maestro” asking for help finding work. “Veendam 15 Okt. 1938” in pencil on back. Return address of letter is New York City.
*S4-CAl-837 photocopy of letter of 18-02-1941 from Thomas Mann to Alfred Rosé. Mann regrets not being able to help Alfred arrange for Arnold Rosé to come to America, but there is nothing for Arnold at Princeton. Mann is not a musician, and his recommendation would not carry the weight of Bruno Walter’s.
S4-AAl-838 To Alfred Rosé from Alma Mahler Werfel, 25-08-1948, enclosing draft of poem in tribute to Arnold Rosé by Franz Werfel [not now with letter]. Alma is in error: it is a draft of the original copy presented to Arnold Rosé in 1933 (OS-ArD18-716). A photocopy of this draft already in collection: OS-ArD19-717.
I hear and see nothing of you but I have not forgotten you! Today I found this poem under Franz Werfel’s manuscripts; he had written it in tribute to Arnold Rosé. It is the original manuscript . . . [unclear] All the best for your dear wife and you!
S4-CAl-839 To Alfred Rosé from Alice Strauss -Typewritten letter, dated 6-01-1949, concerning Rosé’s recent letter to Strauss
S4-CAl-840 To Alfred Rosé from Alice Strauss,-09-1949 -printed announcement of Richard Strauss’s death on 8-09-(signed)
S4-CAl-841 To Alfred Rosé from Elisabeth Schumann -Handwritten note, in German, on the back of an English recommendation for Rosé, Oct 1940
S4-CAl-842 To Alfred Rosé from Elisabeth Schumann -Postcard w. picture of Schumann and her dog, dated 05-03-1942, thanking Rosé for letter
S4-CAl-843 To Alfred Rosé from Elisabeth Schumann -Postcard w. picture of Schumann, postmarked 21-12-1949 conveying Christmas greetings to the Rosés. In English.
S4-CAl-844 To Alfred Rosé from Elisabeth Schumann -Postcard from South Africa, dated 30-03-1951. In English.
S4-CAl-845 To Alfred Rosé from Lotte Lehmann, 25-04-1949, thanking Rosé for his letter and photograph [perhaps the one w. Arnold Rosé and Lehmann in Salzburg in ArCDph1-857]
S4-MaAl-846 two letters from Mrs. Rosé to Alfred in London ON. Dated 12-05-1948 and 13-05-1948
S4-CAl-847 Magistrat der Stadt Wien 27-06-1949 -Inquiring whether Alfred found any engravings of his father other that those of Schmutzer, Mopp, and Pollock, or any portraits amongst his father’s Nachlaß. Looking for portrait by Prof. Hugo Bouvard.
S4-CAl-848 To Alfred Rosé from Dr. Julius Kopsch, 23-02-1952 -inviting Rosé to become a member of the Internationale Richard Strauss-Gesellschaft
S4-AlC-849 Carbon copy of Rosé’s answer to the above letter, dated 29-02, 1952. Rosé pleased to become a member. Outlines his connection with Strauss and his works, and to the Strauss family
S4-CAl-850 To Alfred Rosé from Dr. Julius Kopsch, 09-03-1952 -encloses membership card for the Internationale Richard Strauss-Gesellschaft. Rosé is the first Canadian member. Greetings from Franz and Alice Strauss S4-CAl-851 -Invitation from Austrian Bundeskanzler to take part in the “Feierlichen Eröffnungsakt” of the Vienna Staatsoper, 5-11-1955. With letter from the Austrian Legation in Ottawa, 11-10-1955, enclosing the invitation
S4-CAl-852 13-09-1955. Note from Austrian Bundestheaterverwaltung and invitation to the reopening of Vienna Staatsoper on 6-11-1955: Gala premiere of Don Giovanni
S4-CAl-853 To Alfred Rosé from Vally Weigl, 20-12-1959, thanking Rosé for performing her works
S4-CAl-854 12-1963 letter from Ballkomitee of Vienna Philharmonic [postmarked 10 December] discussing plans for 40th anniversary Ball on 23-01-1964. Are planning to invite Alfred, since he took part in the first ball in 1924.
7.2 Arnold Rosé photographs and memorabilia
S4-RDph-855 -Arnold Rosé and Family 28 items (including duplicates) + 3 negatives. Photographs of Arnold Rosé’s parents, Hermann and Marie (2); Arnold as a boy (5 items/of 2 or 3 photographs); Arnold Rosé (5 + 1 negative); Alma Rosé and Vasa Prihoda (1 + negative); Alfred and Arnold (2); Arnold Rosé, w. violin (2); Rosé family w. Felix Weingartner and Ludwig Karpath (1 -2 copies + negative); Arnold and Justine in Venice (1 -2 copies); Arnold and woman w. 2 children in background (1); grave of Arnold and Justine (2)
S4-ArJD-856 -Printed announcement of Arnold and Justine’s wedding, with announcement card inside [outer card same as one for Gustav and Alma, S3-MAD-778]
S4-ArCDph-857 -Photographs of Arnold Rosé with Richard Strauss (1 -3 copies [2 later] + negative); Arturo Toscanini (Toscanini alone); Arturo Toscanini + Philharmonic; Knappertsbusch + Philharmonic; Lotte Lehmann at the Mozarteum in Salzburg; Lehmann, Muzarelli, and Graf Esterhazy in Salzburg [same day] (2 copies of 1 photo)
S4-ArDph-858 -Signed and inscribed photograph of Joseph Joachim (1831-1907)
S4-ArDph-859 -Photo of Carl Heissler [Arnold’s teacher]
S4-ArD-860 -Silhouette of Arnold Rosé by Käte Wolff, signed by Arnold Rosé
S4-RD-861 -Small (2″ x 2″) red photo case with photos of Arnold, [Alma?], and Alfred, and a four-leaf clover [might this be a four-leaf clover from Mahler’s parents’ grave, as in E6-FD1-334?]
S4-ArD-862 -Photo of Brahms’s Geburtshaus, signed and inscribed by the actor Carl Wagner,-08-1897 [Wagner is referred to in E3-MJ-131 and E14-MJ-574]
S4-AlD-863 -coloured lithograph (pen and ink) signed in pencil
S4-RD-864 -Printed photograph from Bühne 19-08-1926 of Rosé family with Geiringer and Frau Salter
S4-RD-865 -biographical notes on the Rosé-Silberstein relationship and on Alma Rosé. Typewritten by Maria Rosé
S4-ArD-866 -“Gedenktafel für Arnold Rosé” -article in Döblinger Museumsblätter (May 1976). Photocopy of same. Invitation to the ceremony.
S4-RD-867 -“Ernest Rosé antwortet” -article by Ernest Rosé in Die Stimme Amerikas. (Ernest Rosé was the son of Arnold’s brother Eduard and Mahler’s sister Emma)
7.2.1 Material relating to the Rosé Quartet
S4-ArDph-868 -Rosé Quartet -7 items. Photographs of Rosé Quartet (various personnel), dated on back: some erroneously? (5); Photo of sketch of the quartet (1); signed photo of José Galver commemorating visit of Rosé Quartet to Cádiz, 21-03-1922 [Galver appears clerical]
S4-ArD-868a 03-04-1932 -Rosé Quartet Programme -I. Kammermusik Concert “Im Rahmen der Haydn Feier” Quartet, Maria Reining (soprano), and Prof. Dr. Paul Weingarten (piano). All Haydn Programme.
S4-ArD-869 -list of Arnold Rosé’s annotated quartet and sonata scores (fingerings, bowings, and phrasings) formerly in the Rosé collection; all but the next item sold by Mrs. Maria Rosé.
S4-ArD-870 -Hugo Wolf, Italienische Serenade für Streichquartett: first violin part with bowings and other markings by Arnold Rosé (stamped “Quartett Rosé” on verso of cover and “Arnold Rosé” on first page of score [kept in blue box with Rosé scores]
S4-ArD-871 -Joseph Haydn, III Quatuors pour Deux Violons, Alto, et Violoncelle [Hob. III: 25-7 = op. 17, nos. 1-3]. Parts. Inside of back cover bears the following inscription: `I. 18.Juin 878 / II. 5 Nov. “/ III. 16. ” “‘ Hand is likely that of Arnold Rosé. NB that 1878 pre-dates the foundation of the Rosé Quartet. 18th-century edition, published by Hoffmeister. Listed in Hoboken I, p. 386. [kept in blue box with Rosé scores]
7.3 Alfred Rosé photographs and memorabilia
S4-AlMaDph-872 -Alfred Rosé and Mrs. Rosé -Photographs of Alfred (7 + 1 dup); negative of photograph of Alfred and Mrs. Rosé during Vienna years [no print]; Alfred on campus; Alfred and Mrs. Rosé on campus; Alfred and Mrs. Rosé, 1950-2; wedding pictures (2); six graduation proofs, Mrs. Rosé at home (2); Orange envelope with multiple copies of several different publicity photos; manila envelope, ditto. Large graduation photo.
S4-AlD-873 -Leather wallet with 2 photos of Alfred
S4-AlD-874 -Alfred’s card (3)
S4-AlD-875 -Programme for lecture 5-11-1925 by Anna Bahr-Mildenburg: “Musik und Gebärde von Gluck bis Richard Strauss.” Date and place (Grosser Festsaal des Schwarzenbergcasino) and “Am Klavier: Kapellmeister Alfred Rosé” in purple ink in Rosé’s hand
S4-AlCDph-876 -Photographs of Alfred Rosé with
- Ludwig Karpath, and 3 others
- Joseph Schwarz, Feodor Chaliapin -Signed on the back in pencil by Chaliapin
- Franz Schmidt, Herr and Frau Franz Ippisch, and others. Original signed and inscribed “Zur Erinnerung an meiner Kompositionsabend am 28.2.27. (2 copies of 1 photo + negative)
- Gilda e Agostino Capuzzo (?), signed and inscribed
- Agostino Capuzzo (alone), signed and inscribed
S4-AlD-877 -Artist Photographs: Ebe Stignani (signed and inscribed), Joseph Schwarz (3 photos, all signed and inscribed), Robert Lasoie
S4-AlD-878 -Programme for I Virtuosi di Roma concert of 09-04-1964, signed and inscribed by the conductor, Renato Fasano: “Al Maestro Alfredo Rosé”
S4-AlD-879 -CMC catalogue of S.C. Eckhardt-Gramatté’s works, signed and inscribed “With best wishes / for 1969! to / Alfred and Maria Rosé / S.C. Eckhardt-Gramatté / Hope to see you soon again”
7.4 Maria Rosé memorabilia
S4-MaD-880 -Invitation to annual garden party at Schmutzer’s (Mrs. Rosé’s parents), 2-06-1928. 10 copies.
S4-MaD-881 -Programme for organ class recital of Carl Lafite’s students on 27-05-1932 in the Kleiner Musikvereins-saal. Mrs. Rosé played the fugue from Rheinberger’s Pastorale Sonata and accompanied another student (vn) on a ciaconna by T. Vitali
S4-MaD-882 -Programme for organ class recital of Carl Lafite’s students on 7-06-1934-05-1932 in the Kleiner Musikvereins-saal. Mrs. Rosé played Bach’s passacaglia and fugue in c minor and accompanied a violinist on an Andante grazioso by Padre Martini, and a singer on songs by Schubert, Wolf, and Dvorák (on the organ!)
S4-MaD-883 –12-1967 issue of Music Educator’s Journal with an etching by Mrs. Rosé’s father, Ferdinand Schmutzer, on the cover, and an article about it inside. Includes letter to Mrs. Rosé from the assistant editor.
S4-FMap-884 -06-08-1955 -card from Mrs. Rosé sister, Susanne Peschke-Schmutzer, her husband, Paul, and 2 friends (Suzanne Hilling and Margot Hill)
S4-MaD-885 -“Madonnen, Mosiaken, und Reiterdenkmäler” -Magazine article about Mrs. Rosé sister, Susanne Peschke-Schmutzer and her husband, Paul Peschke, both sculptors
S4-MaD-886 -“Biographical Sketches of Maria Rosé (Mrs. Alfred E. Rosé)” 70 pp. typescript (photocopied). With a portion of a genealogical chart.
S4-MaD-886a -Folder of clippings by Maria Rosé: articles on household matters written by her in 1937 for the Neue Freie Presse.
S4-CMa-886b -Correspondence with Maria von Trapp
7.5 Biographical material relating to Alfred Rosé
S4-AlD-887 -Alfred Rosé’s curriculum vitae, written in German. Last date = 1935. Some pencil marks. “In der heutigen schweren u. für jeden so unsicheren Zeit hat Plänmachen gar keinen Sinn.” Several typewritten biographical notes.
S4-AlD-888 -Bestätigung for Alfred Rosé from Franz Schmidt –03-1937
S4-AlD-889 -programme from 21-02-1936 Kompositionsabend of Alfred’s works at Wiener Frauenklub. Timings noted in Alfred’s hand for each work. Timings for other works (not on programme) on back. One additional copy of same.
S4-AlD-890 -Alfred Rosé’s Guggenheim Fellowship application form for 1941 (draft copy). Plans to write an orchestral work for the Cincinnati Symphony. Includes an English-language CV with a works list including performances and dates
S4-AlD-891 -typewritten list of Alfred Rosé’s compositions with additions by Maria Rosé. Also Maria Rosé’s handwritten draft of same
S4-AlD-892 -autograph list of Alfred’s lectures and performances of his works in 1967-68
S4-AlD-893 -“Autobiography” 11-02-1949; “A Teacher becomes a Student” -08-10-1948. Submitted as papers in English 21, 1948-1949.
S4-AlD-894 -Biography of Alfred Rosé (35 pp. + works list). Unknown author [Richard Newman?] Includes page of handwritten corrections and addenda by Mrs. Maria Rosé
S4-AlD-895 -Essay on Alfred Rosé by a 226 student (Keri Shepherdson) in-03-1986. Product of discussions with Mrs. Rosé, Mary Ellen Gustafson, and Clifford von Kuster. Includes letter from Keri Shepherdson to Mrs. Rosé
S4-AlD-896 -Collection of press clippings pertaining to Alfred Rosé and his activities, 1939-1975
- oblong black scrapbook, without cover, containing early years in Cincinnati
- large red scrapbook, softcover, covering the years 1946-1947 (including London Summer Opera Workshops). Some loose clippings inside cover
- large brown scrapbook, hardcover, covering the years 1948-1951. Loose clippings inside cover
- large orange scrapbook, softcover, covering the years 1951-1953. Loose clippings inside cover
- seven manila envelopes, arranged approximately by date, containing miscellaneous clippings
*** also: photocopies of most clippings on acid-free paper
S4-AlD-897 -folder of programmes and ephemera relating to Alfred Rosé’s studio in Cincinnati
S4-AlD-898 -Folder of programmes and reviews of Alfred Rosé’s own works, dating from 1939 to 1974
S4-AlD-899 -Folder of recital and concert programmes accompanied or conducted by Alfred Rosé, mostly from London Ontario. Photographs of Opera Workshop
S4-AlD-899a -Contracts between Alfred Rosé and the UWO Choir, 1951-1956; 1958-1965.
S4-AlD-900 -Folder containing press clippings and ephemera relating to the conferring of Alfred Rosé’s posthumous doctoral degree
S4-AlD-901 -Folder of correspondence with friends, former students, etc.
S4-AlD-902 -Rosé anecdotes. Single page, typewritten, on Alfred’s stationary from Greenwood Ave, Cincinnati
S4-AlD-903 -In Memoriam card for Alfred Rosé. Laminated death notice from the London Free Press
7.6 Music by Alfred Rosé (see also 3.5)
S4-AlD-904 -Chinesische Flöte -song cycle for baritone and orchestra (October-November 1918). Bound and gathered volume
- Die geheimnisvolle Flöte
- Im Frühling
- Das traurige Herz
- Nächtliches Bild
S4-AlD-905 -Kammermusiklieder / Violinstücke. Bound and gathered manuscript collection, dated 1919, containing:
- Aus Banger Brust: ein Gedicht für eine Sopranstimme, eine Violine und Klavier (Dehmel)
- Klage: ein Gedicht für eine Sopranstimme, eine Klarinette in B und Klavier (Dehmel)
- Aufblick: ein Gedicht für eine Sopranstimme, eine Violine und Klavier (Dehnel)
- 3 Stücke für Violine und Klavier
- Violin parts for all of the above
S4-AlD-906 -Auf See (Dehmel) (1919) Corrections in blue pencil. Vocal part written in bass clef, but treble clef indicated in margin in blue pencil. Later version in OS-AlD-722.
S4-AlD-907 -4 Gedichte von Alfred Rosé (Frühjahr 1920) Rosé’s own poems:
- Und wenn du lächelst
- Wie gerne möcht’ich
- Wenn ich dich an-seh’
- In deiner nähe
Fair copy (ink). Vocal part written in bass clef, but treble clef indicated in margin in red pencil. Some later changes in coloured pencil; 2 later versions already in collection: OS-AlD-722 and OS-AlD-722c.
S4-AlD-908 -De Profundis (Trakl) (1922) Some later changes in coloured pencil. Vocal part written in bass clef. Later version in OS-AlD-722.
S4-AlD-909 -3 Gedichte von Bruno Ertler (1922)
- Es war
Considerable alteration to vocal part in red pencil. Vocal part in bass clef. Later version in OS-AlD-722.
S4-AlD-910 -Das ist die Sehnsucht -Rainer Maria Rilke (Aus den »Frühen Gedichten«) / Für eine Gesangstimme und Klavier (Frühjahr 1924) Manuscript copy. Later version, transposed down P4, in OS-AlD-722. Additional copy of original: OS-AlD-722d [Later version, transposed down P4, already in collection. Also additional copy of original key, in hand of scribe A. Also additional autograph copy of original]
S4-AlD-911 -Aelita’s Lied der Ulla (Tolsoi) (Febr. 1925) Vocal part entirely in Sprechstimme! Later version in OS-AlD-722.
S4-AlD-912 -Versunkene Stadt für eine Altstimme [crossed out in pencil and “mittlere” written above] und Klavier (Weinheber) (1926). Pencil alterations and performance indications. Another version in OS-AlD-722 (probably roughly contemporary as has same pencil alterations). Copy of text.
S4-AlD-913 -Vor dem Einschlafen (Weinheber) (31-12-1926) Manuscript copy (ink). Another version in OS-AlD-722
S4-AlD-914 -Vor dem Einschlafen (Weinheber) (31-12-1926) Later ms. copy (ink), transposed up a whole tone.
S4-AlD-915 -Vor dem Einschlafen (Weinheber) (31-12-1926) Different ms. copy of transposed version (ink).
S4-AlD-916 -String Quartet (1927) -Manuscript (pencil) composition draft. Signed and inscribed: “Meinem innigstgeliebten Vater / als kleines Erinnerungs und dankbarskeitszeichen / nicht nur des 6. Dezember 1927 / sondern des ganzen Lebens, dass für ihn / und seine Mutter ganz allein aufgebaut ist. / seines Sohnes / Alfi”
S4-AlD-917 -String Quartet (1927) -Manuscript (ink) full score. Many performance indications. Timings given for each movement
S4-AlD-918 -Triptychon für eine Baritonstimme und Orchester nach Gedichten von Anton Wildgans “Herbstfrühling.” Three movements: Harlekinade (1927); Adagio (für Cello) [Alles Tagverlangen] (1928); Gebet des Weisen (1928/1933) -Manuscript score (ink). Rehearsal numbers and English translation of text and expression markings in red ink. Inserted in score are 3 parts: i) violin 1 (complete); ii) violin 1, movement 1 (to reh. #12); iii) violin 1, movement 1 (beginning at reh. #18), mov’t 2 (complete), mov’t 3 (to reh. #13+2). Typed English translation for movement’s 2 and 3
S4-AlD-919 -Triptychon für eine Baritonstimme und Orchester nach Gedichten von Anton Wildgans “Herbstfrühling.” -Manuscript piano-vocal score (ink). German text pasted over.
S4-AlD-920 -Triptychon für eine Baritonstimme und Orchester nach Gedichten von Anton Wildgans “Herbstfrühling.” -Full score, bound (ink). Rehearsal numbers and English translation of text in red ink; translation of expression and other markings in black ink (different from rest of score). 3 separate gatherings, bound; each w. title page and list of forces needed
S4-AlD-921 -Triptychon für eine Baritonstimme und Orchester nach Gedichten von Anton Wildgans “Herbstfrühling.” -Full set of parts
S4-AlD-922 -Adagio e Capriccio (1928/1941) [movements 2 and 1 of Triptychon]. Bound full score. Last page dated “Cincinnati-07-19th 1941” English translations of Wildgans’ poems precede each movement.
S4-AlD-923 -Adagio e Capriccio (1928/1941) [movements 2 and 1 of Triptychon] Complete manuscript set of parts
S4-AlD-924 -Begegnung (Mörike) (1935) Manuscript copy (ink).
S4-AlD-925 -Piano Sonata in A major (1935) -Manuscript copy (in pencil) of complete score
S4-AlD-926 -Piano Sonata in A major (1935) -Sketches and drafts (pencil) Photocopy of initial draft for first movement; Initial drafts for movement 2 and movement 3 (middle section only) (pencil). Title page in blue pencil.
S4-AlD-927 -Piano Sonata in A Major (1935) -Ink copy of third movement (marked at end “Winter 1935 begonn. /-08-1935 beendet”
S4-AlD-928 -Rondino for Piano (1935) -Manuscript score (ink) with pencil corrections. Score untitled, only tempo indication (Allegretto)
S4-AlD-929 -Missa pro nocte Nativitatis Domini (1949) for soprano and alto solo, 4-part chorus, and organ [solos in Credo and Agnus] -Full score. Folder, with Latin title, containing the following gatherings [all on Schirmer paper]:
- Gloria (pencil). First version, for 4 soli, chorus and organ. Includes setting of “Gloria in excelsis Deo.” Alterations. Inserts and paste-overs for final version. No organ parts from “Quoniam tu solus” to end.
- Credo / Sanctus / Benedictus (pencil). Credo: Some alterations throughout. Parts throughout marked for 4 soli (all but short “Et incarnatus est” sop. and alt. solos later given to chorus
- Sanctus: Parts marked for soli and chorus. Written in Eb, with note “1 tone lower” in red pencil.
- Benedictus: Longer, original setting for T, B soli. Most of first page covered by insert. Chorus enters at “Hosanna”; originally ATB only, but arrow indicates moving alto to soprano (final version appears to be all chorus, the soli covered by A and S chorus, then SAT chorus)
- Agnus Dei: First version, for 4 soli, chorus and organ. 2 copies, one on Schirmer paper, one on Dominion
* folder includes London Free Press clipping, 24-12-1949, about the Mass
S4-AlD-930 -Missa pro nocte Nativitatis Domini (1949) for soprano and alto solo, 4-part chorus, and organ [solos in Credo and Agnus] -Full score. Folder, marked “Organ”, containing the following gatherings:
- Kyrie (pencil). 3mm. introduction, 4mm. trans/intro to Gloria in ink. [on Schirmer paper] [2’40”]
- Gloria (ink). Begins with “Et in terra.” Unaccompanied choir parts written in pencil on organ staves. 8mm. paste-over on final page. 3 mm. trans/intro to Credo. Some performance indications. [on Dominion paper] [3’35”]
- Credo (ink). Unaccompanied choir parts written in pencil on organ staves. Initial 3mm. pasted over. 2 mm. trans/intro to Sanctus on back. Some performance indications. [on Dominion paper] [6’10”]
- Sanctus (ink). 2 mm. intro to Benedictus on back. [1″40″]
- Benedictus (ink). Some corrections and performance indications. 3 mm. trans. (pencil) to either a) Offertory; b) Agnus Dei [Dominion paper] [1’45”]
- Agnus Dei (ink). Some performance indications. [Dominion paper] [2’20”]
S4-AlD-931 -Missa pro nocte Nativitatis Domini (1949) for soprano and alto solo, 4-part chorus, and organ [solos in Credo and Agnus] -Chorus parts. Folder with stencils for vocal parts plus box with 23 bound copies and many loose.
S4-AlD-932 -Christmas Offertory “Laetantur coeli” (based on a “Marienlied” from the “Hohenfurter Liederhandschrift” [14th century] and “Puer natus est” from the “Lochamer Liederbuch” [15th century]) (1949). Full score (ink). 6 staves (4 choir, 2 organ). Eb major. Performance indications in pencil. Pencil alteration to sop. and alto parts, 3rd and 4th mm. of final phrase. 7 mm. transition from F major (final cadence) back to Eb added in pencil at end. Enclosed in another leaf, blank except for title (pencil) on front.
S4-AlD-933 -Christmas Offertory “Laetantur coeli” (based on a “Marienlied” from the “Hohenfurter Liederhandschrift” [14th century] and “Puer natus est” from the “Lochamer Liederbuch” [15th century]) (1949). Full score (ink), marked “Organ” on title page. Eb major. 4 staves (2 choir, 2 organ). Full of performance indications. Enclosed in another leaf, blank except for title (ink) on front. (includes 7 mm. transition back to Eb and incorporates change in vocal part near end)
S4-AlD-934 -Christmas Offertory “Laetantur coeli” (based on a “Marienlied” from the “Hohenfurter Liederhandschrift” [14th century] and “Puer natus est” from the “Lochamer Liederbuch” [15th century]) (1949). Full score (pencil). 6 staves (4 choir, 2 organ). F major. No 7 mm. postlude.-05-precede Eb version, as sop. and alto unchanged in final phrase.
S4-AlD-935 -Christmas Offertory “Laetantur coeli” (based on a “Marienlied” from the “Hohenfurter Liederhandschrift” [14th century] and “Puer natus est” from the “Lochamer Liederbuch” [15th century]) (1949). Full score (pen). 2 staves. Eb major. Repeated twice. New organ parts: 4 mm. introduction, 3 mm. transition (first ending), 4 mm. conclusion. Incorporates changed sop. and alto near end.
S4-AlD-936 -Christmas Offertory “Laetantur coeli” (based on a “Marienlied” from the “Hohenfurter Liederhandschrift” [14th century] and “Puer natus est” from the “Lochamer Liederbuch” [15th century]) (1949). Parts. 18 women’s parts, 8 marked “soprano” and 10 marked “alto,” all with paste-over correction for mm. 3-4 of final phrase. Without final transition; 10 men’s parts, 6 marked “tenor” and 4 marked “bass.” Without final transition
* Eb version follows Sanctus in Missa pro nocte nativitatis Domini [Agnus begins in Eb minor]
S4-AlD-937 -Credo (Edwin Arlington Robinson) for full [unaccompanied] choir (1952); Full score (ink). 4 staves, plus 2 for rehearsal accompaniment
S4-AlD-938 -Credo (Edwin Arlington Robinson) for full [unaccompanied] choir (1952); Full score (ink). 2 staves only. Many performance indications in red pencil
S4-AlD-939 -Credo (Edwin Arlington Robinson) for full [unaccompanied] choir (1952); Ditto of full score. 3 staves (SA, T, B). 24 copies Stencils for above.
S4-AlD-940 -typed translations for “Begegnung” and “Vor dem Einschlafen” 7.6.1 Sketches and Fragments
7.6.1 Sketches and fragments
S4-AlD-941 -Fridolin. Pencil sketch. Red pencil indicates repetition of motivic cells. Incomplete? Front page has early sketch for “Blues”
S4-AlD-942 -Blues (“Wir bummeln durchs Leben”). Pencil. Red pencil indicates repetition of motivic cells. Incomplete? Perhaps discarded: “X” through p. 1 (early sketch on Fridolin leaf)
S4-AlD-943 – 49mm. 2-hand arrangement of Mahler, “Ging heut Morgen über’s Feld” from Lieder eines fahrenden Gesellen (or Symphony no. 1)
S4-AlD-944 -Weine nicht Jungfrau Marie. Pencil score.
- Through draft, 2 leaves; pages numbered 1-4 (verso of pg. 3 has unidentified 4½ mm. pencil sketch in G major-seems to be first phrase of a waltz)
- Leaf with earlier sketch of mm. 1-14.
- Single leaf inserted in above, w. earlier (?) sketch of mm. 40-42
- Unidentified single leaf, inserted in above, w. 1 chord and inscription “Ges dur-C dur-dom von des dur-dom von d dur-D dur”
S4-AlD-945 -Unidentified fragment (8mm) of Lied, for male voice [written in pencil in bass clef] with text “Weg, weg ihr Seraphim, ihr könnet mich nicht erquicken”
7.7 Alfred Rosé writings and lectures
S4-AlD-946 -Gedichte. Pseudonym “Wolfgang Hauser” 13 poems, 22 pp. In brown mailing folder, with address label from Paul Zsolnay Verlag, Berlin.
S4-AlD-947 -“Aus der Jugendzeit Gustav Mahlers” -3 page, handwritten manuscript detailing the circumstances surrounding the composition of Das klagende Lied, as told to him by his mother, Justine Mahler.
S4-AlD-948 -lectures and writings about Gustav Mahler. Typescript
- A Few Words on Gustav Mahler’s Eighth Symphony
- From Gustav Mahler’s Storm and Stress Period (draft of translation)
- Gustav Mahler und Hans von Bulow (draft)
- Notes on Mahler 8 and Mahler as Symphonist
S4-AlD-949 -Newspaper articles by Rosé:
- “Mahler und Hans von Bülow” (Das Unterhaltungsblatt, 7-12-1929)
- “Aus Mahlers Sturm-und Drangperiode” (Unterhaltungsblatt, 23-10-1928) [same as f]
- “Um Niagara” (Neues Wiener Journal, 8-09-1928) [about Niagara Falls]
- “Im größen Kinotheater der Welt” (Neues Wiener Journal, 16-08-1928)
- “Amerikanische Eindrücke von der Journee” (Neues Wiener Journal, 29-07-1928) [2 copies]
- “Intimes aus Gustav Mahlers Sturm-und Drangperiode” (Neues Wiener Journal, 19-08-1928) [same as b]
- “Wie Präsident Coolidge das Rosé-Quartett empfing” (Neues Wiener Journal, 3-08-1928)
S4-AlD-950 -German lectures and writings
- Brown exercise book, inscribed “Musikgeschichte,” containing lecture “Was ist Musikgeschichte?” and notes for another lecture
- “Fidelio und Leonore”
- Friedrich Smetana, der Schöpfer der Modernen tschechischen Musik”
- “Johann Sebastian Bach: Johannespassion -Matthäuspassion”
- “Die Vorgeschichte der »Meistersinger«”
- “Minnesinger und Meistersinger”
- “Die Niederländer”
- “Die Musica nuova in Florenz”
- “Die Vorgeschichte zu »Carmen« und die spanischen Einflüsse auf die Musik Bizets” [+ english translation of same for 17-01-1954 lecture]
S4-AlD-951 -White envelope containing 3 reviews by Rosé in the Cincinnati Times Star, Feb-Mar 1948
S4-AlD-952 -Lectures on opera
S4-AlD-953 -“Verdi and Shakespeare” -4 copies, typewritten, + one handwritten. Public lecture given 19-01-1965
S4-AlD-954 -Music history lectures
S4-AlD-955 -Correspondence and scripts pertaining to Alfred Rosé’s CFPL Radio programme on opera.
S4-AlD-956 -Essays written by Alfred Rosé while enrolled in B.A. programme
S4-AlD-957 -Georges Bizet, Carmen. Full score, Peters, pl. 9028. Stamped “Alfred Rosé / Wien” on title page and first page of score. Inner fly-leaf contains list of performances at the Vienna Volksoper, presumably conducted by Alfred Rosé (7 performances, Spring 1932). Score contains performance indications, cuts, etc.
S4-AlD-958 -Gaspar Cassadó, Quatre Pièces Espagnoles pour piano; no. 2 Aragonesa. (Mathot, pl. Z 925 M). First page autographed by composer
S4-AlD-959 -Gerald Cole, Motet “In Thee, O Lord, Have I Put My Trust”. Autograph (?) in pen; 2 photocopies of same
S4-AlD-960 -Gerald Cole, “O Unexampled Love”. Autograph (?). Photocopy of same. 2 copies of ditto of same
S4-AlD-961 -John Cook, Two Songs: “O Mistress Mine” “Come Away Death” (Waterloo Music, 1958) Inscribed and signed by composer: “Warmest regards for / Alfred Rosé / John Cook /-10-1958”
S4-AlD-962 -John Cook, Three Songs for the Merchant of Venice (Novello, pl. 18492). Inscribed and signed by composer: “Alfred Rosé / with fond wishes / John Cook / Feb 1958”
S4-AlD-963 -Waldo Medicus (1896-), Sechs Carossa-Lieder für eine hohe Stimme (Doblinger pl. 7260) Inscribed and signed by the composer: “An Alfi Rosé / in freundschaftlicher Zueignung / V.35 Waldo Medicus”
S4-AlD-964 -A. Louis Scarmolin, The Interrupted Serenade (Opera in 1 Act). Inscribed and signed by composer. Includes letter to Alfred Rosé
S4-AlD-965 -Vally Weigl, [widow of Karl Weigl; UWO Choir performed her works]
- Heart’s Content (Markert and Co, 1955)
- Fear No More (Mercury Music, MC 324; 1958)
- Let there be music. Photocopy of her score, with note “to be published”
- Three Choral Songs of the Southwest. Photocopy of her score, with note “to be published”
- A Shelter for All (Jelsor Music)
- A Song of Hope. (Composer’s facsimile edition, 1957)
S4-AlD-966 -Black folder, inscribed a) in black ink “Moderne Tanzmusik”; b) in blue pencil: “Leichte Musik und Lieder”; containing
- Zehn alte französische Lieder
- My Darling was so fair/In der Fremde -W. Taubert
- Gnädige Frau, ich bitte, denk’ daran.. (Lied und Tango) -Robert Rella [2 copies] Stunden der Liebe -Robert Rella [2 copies]
- Was hat Melly angehabt zum Tee? (Lied und Foxtrot) -Robert Rella [2 copies]
- Du allerliebstes Mädel -Robert Rella
- Was weiss denn ein Mädel, wie Du?! -Robert Rella
- O Bajadere -Lied-Foxtrot aus der Operette Die Bajadere -Emmerich Kálmán
- Back to God’s Country -Paul Sarazan
- O Mädchen, mein Mädchen (from Friederike) -Franz Lehár
- Negerwiegenlied (Plantation Song) -G.H. Clutsam
- Salome: Orientalisches Lied und Foxtrot -Robert Stolz
- When You Learn to Love too Late -Alfred Solman
- You’re a Dangerous Girl (from Robinson Crusoe, Jr.) -Jimmie Monaco
- Ma Honey Mine (A Pickanniny Serenade) -Nat D. Mann
- Tsin: Oriental Fox-Trot (from The Greenwich Follies of 1920) -A. Baldwin Sloane
- The Gates of Gladness -Brennan, Cunningham, Rule
- Chopsticks (De Zulli)
- In the Land of Oklahoma -Clyde Monroe
- Chin-cho-San (Blues and Song) -Robert Rella
- Bo-La-Bo (Egyptian Fox Trot Song) -George Fairman
S4-AlD-967 -reel-to-reel tape of radio interview of Alfred Rosé and Robert Chesterman on CBC’s “Music Diary” from Vancouver. 23-11-1967.
S4-AlD-968 -unidentified reel-to-reel tapes
S4-CD-969 -Toscanini memorabilia: Photo of Toscanini with dog; Toscanini caricacture
S4-CD-970 -Boxed etching of Mendelssohn by R.A Loederer
S4-CDph-971 -2 photographs of older gentleman fishing, one with a lady in a chair. Looks possibly like Richard Strauss?
S4-CDp-972 -postcard with picture of an orchestra and solo violinist on front
8.0 Supplement 5: Additional Mahler-Rosé materials (1995 Donation from Mrs. Maria Rosé and additional material collected by Stephen McClatchie)
8.1 Mahler Letters, score and documents
S5-FC-973 -Letter from Otto Mahler (1873-1895) in Iglau to unknown “Lieber Freund.” [late May-early-06-1889]
Lieber Freund! Sie dürfen nicht von mir falsch denken. Wenn ich Ihnen nicht geschrieben habe, so hat es seinen Grund in einer sehr misliebigen u[nd] niedergeschlagenen Stimmung, die sich angesichts der sehr traurige Verhältniße zu Hause meiner bemächtigt hat, so daß ich wirklich eine Zeit lang nicht fähig war, auch nur eine Silbe jemandem zu schreiben, geschweige denn einen ganzen Brief. Hören Sie jetzt einmal, wie es zu Hause bei uns aussieht. Also vor allem die Mutter befindet sich in einem Zustand, der schon sehr bedenklich ist und eine Hoffnung auch eine anhaltende Besserung geradezu ausschließt. Sie leidet wirklich furchtbare Qualen, die selbst das Arzt als vereinzelt dastehend bezeichnet. Die Justi, von dieser fortwährenden Aufregung u[nd] den vielen nachtwachen physisch halb zu Grunde gerichtet, u[nd] noch zu alledem an einem Magenkatarrh leidend, ist auch sicher zu bedauern. Sie kann das schwerlich mehr lang so aushalten. Die Emma ist ein ganz gemeines nichtsnutziges Geschöpf, dessen Niederträchtigkeit zu beschreiben beinahe unmöglich ist, welches die Mutter argert u[nd] dem ganzen Hause nur eine Plaza ist, etc. Der Alois sieht seiner in 6 Wochen bevorstehenden hinrückung mit Niedergeschlagenheit entgegen. Und mir gehts auch nicht am besten. Von meinem Magenkatarrh will ich absehen, aber schon dies alles ansehen zu mussen, bringt einen Zerzweiflung. Jetzt haben Sie beiläufig einen kleinen Begriff u[nd] werden auch wissen wie mir zu Muthe ist u[nd] was für Ferien ich verbringe. Also wie geht es Ihnen? Ist Ihre Frau Mutter schon in Wien? Haben Sie schau eine Wohnung aufgenommen?
Jedenfalls sind Sie besser davon als ich. Der mitfreundschaftl[iche] Grüße verbleibt Ihr Otto.
Apropos. Gustav war ungefahr 4 Tage hier ist von nach Prag gefahren u[nd] ist jetzt wahrscheinlich in Wien. Wenn er nicht schon in Pest ist. Er befindet sich übrigens ziemlich wohl.
[see DLGE 1: 198; in Prague on 2 June]
S5-MJ-974 -Photocopies or transcriptions of Mahler letters sold by Alfred Rosé (and not represented elsewhere in the collection)
- [27-01-1893] 27/I 93 = GMUB #1
- [24-03-1897] = GMUB #2
- [beginning 08-1897] = GMUB #3
- [11-12-1901] Mittwoch = GMUB #4
S5-MD-975 -Microfilm of copyist’s MS of Das klagende Lied sold to James Osborne. Now in Beinecke Library, Yale University, Osborne Collection. Fully catalogued as: M1530.M22K5 1878a
S5-MD-976 -Bill of sale. Vienna, 03-1901. Sells Justine (through Emil Freund) a piece of land, Nr 1056/3 Reifnitz
S5-MD-977 -Justine Mahler. Birth Certificate. Issued 07-01-1902. Was registered in the “Geburts-Buche der israelitischen Cultus-Gemeinde in Iglau fol.10 nr. 55.”
S5-MD-978 -Justine Mahler. Heimatschein from the Geminderathe der königl. Stadt Iglau. 06-03-1902.
8.2 Additional Arnold and Justine Rosé letters and documents
S5-CAr-979 -Alfred Roller to Arnold Rosé. 23-10-1923. Congratulations on Rosé’s 60th birthday tomorrow.
S5-CAr-980 -Felix Weingartner to Arnold Rosé. 24-10-1923. 60th birthday congratulations.
S5-CAr-981 -Adolph Busch to Arnold Rosé. 25-10-1923. 60th birthday congratulations.
S5-CAr-982 -Ethel Smyth to Arnold Rosé. 03-12-1925. Offers the Quartet £25 to play through her string quartet again for her benefit. The quartets in England are too superficial.
S5-CAr-983 -Julius Bittner to Arnold Rosé. 15-05-1931. Congratulations on Rosé’s 50th anniversary as Conzertmeister. 2½ mm. musical incipit [treble clef, 4/4, D major]
S5-CAr-984 -Wilhelm Furtwängler to Justine Rosé-Mahler. 20-11-1933. Typewritten copy. Reassures Justine about musical and political developments in Berlin.
S5-CAr-985 -Donald Francis Tovey to Arnold Rosé. Undated [likely after 1938]. A concert engagement prevents him from hearing Rosé’s concert. Written on the back of a printed copy of Tovey’s cadenza for the Brahms violin concerto.
S5-ArD-986 -Arnold Rosé. Programme from The Austrian Musician’s Group Concert celebrating the 80th Birthday of Professor Rosé. London: Wigmore Hall, 27-10-1943, 2 newspaper clippings about Rosé’s birthday
8.3 Additional Alfred Rosé letters and documents
S5-AlR-987 -Alfred Rosé to Emma and Eduard Rosé: photocopies of a letter, a poem, and some drawings to Alfred’s aunt and uncle.
S5-CAl-988 -Richard Strauss to Alfred Rosé. Postcard. 03-01-1925 (but postmarked 30-01-1925) Herzliche dankend erwiedere ich Ihre freundlichen Glückswünsche mit besten Grüssen.[typed] auch an die lieben Eltern als Ihre Dr. Richard Strauss [written]
S5-RAl-989 -Alma Rosé to Alfred and Maria Rosé on board the “Veendam,” Southampton. Postmarked Wien 13-10-1938 (stamp = Deutsches Reich). Bon voyage.
S5-CAl-990 -Jaques Samuel to Alfred Rosé. 18-03-1949. Encloses copy of letter to him, dated 08-02-1949, from Staatsoper Intendant, Dr. Hilbert. Discussion of placing a bust of Arnold Rosé by Anna Mahler in the Staatsoper foyer next to the Rodin Mahler.
Alfred Rosé to Jaques Samuel. 28-03-1949. Agrees with the plans and offers to direct the Philharmonic free of charge.
S5-CAl-991 -Rosalind Elias to Alfred Rosé. 27-02-1960 (postmark). Thank for visit.
S5-CAl-992 -Nicolas Slonimsky to Alfred Rosé. 06-01-1961. 17-01-1961. Inquiries about Rosé Quartet premiere of Verklärte Nacht.
S5-CAl-993 -Kurt von Schuschnigg to Alfred Rosé. 31-03-1963.
S5-CAl-994 -Lotte Lehmann to Alfred Rosé. 07-05-1963.
S5-CAl-995 -Robert Chesterman to Alfred Rosé. 12-01-1966. re CBC interview
S5-CAl-996 -Rococo Records. A.G. Ross to Alfred Rosé. 1972-1973. Correspondence about making Arnold Rosé record from Alfred Rosé’s tapes
S5-CAl-997: Inquiries about Mahler Letters and MSS
- Alfred Rosé. Handwritten notes on Mahler manuscripts. [Includes some later sold]
- Clinton A. Carpenter Jr to Alfred Rosé. 18-03-1959. Inquiries about Mahler
- Anton Swarowsky to Maria Rosé to Alfred Rosé. 23-04-1963.
Alfred Rosé to Anton Swarowsky. 27-05-1963. Alludes to Mr. Lehman and their transactions (MSS and letters)
Also: handwritten memo re sale (US$3000) of the following letters: 1 Mahler to Parents; 28 Schoenberg to Rosé; 6 Richard Strauss to Mahler; 3 Webern to Rosé
- Robert O. Lehmann to Alfred Rosé. 01-03-1965. 23-03-1965.
- Donald Mitchell to Alfred Rosé. 19-01-1967. Inquires about Mahler MSS.
- Erwin Ratz, Internationale Gustav Mahler Gesellschaft, to Alfred Rosé. 20-07-1972, 10-08-1972. 05-10-1972. 02-11-1972. Correspondence about obtaining microfilm of Rosé’s Mahler MSS
S5-CAl-998 -Correspondence about Sale of Das klagende Lied MS
- Hans Moldenhauer to Alfred Rosé. 13-01-1965. Inquires about Das klagende Lied MS.
- James Osborne to Alfred Rosé. 22-08-1968. Discussion of Mahler 1 MS. Sends Rosé a copy of the 5-movement version. Asks him to consider selling the Klagende Lied MS to Yale. Alfred Rosé to James Osborne. 2-09-1968. Mentions that he has a written copy of “Blumine”
- James Osborne to Alfred Rosé. 12-09-1968. Asks where Rosé got his copy of “Blumine.” Thanks Rosé for promising to think of him first if he ever considers selling any Mahler MSS
- Alfred Rosé to James Osborne. 18-01-1969. Asks him to make him an offer for Das klagende Lied.
- James Osborne to Alfred Rosé. 30-01-1969. Asks Harold Kendrick, Manager of New Haven Symphony Orchestra, to go to London and look at the MS and negotiate its purchase. Kendrick will write.
- Harold Kendrick, Manager New Haven Symphony Orchestra to Alfred Rosé. 04-02-1969. Travel arrangements and possible dates. Alfred Rosé to Harold Kendrick. 09-02-1969. Wed. 19-02-1969 would be most convenient for Kendrick’s visit
- Jerry Bruck to Alfred Rosé. 08-02-1969. In response to Rosé’s inquiry, Bruck will offer $2500 for Klagende Lied MS. Alfred Rosé to Jerry Bruck. 23-02-1969. Has accepted Osborne’s offer
- Bank of Montreal Certificate of Deposit. $5000. 21-02-1969. [Most likely this is the purchase price of the Das klagende Lied MS]
- Notarized assignment of the Klagende Lied copyright to James Osborne. 21-02-1969.
- Harold Kendrick, Manager New Haven Symphony Orchestra to Alfred Rosé. 25-02-1969. MSS arrived safely.
- Alfred Rosé to James Osborne. 05-03-1969.
- Harold Kendrick, Manager New Haven Symphony Orchestra to Alfred Rosé. 16-04-1969.
- Harold Kendrick, Manager New Haven Symphony Orchestra to Alfred Rosé. 12-05-1969. 26-05-1969. Preparations for 13-01-1970 premiere of complete Klagende Lied. Rosé sent a copy of one of his choral scores for the work, but they were not purchased.
- Frank Brieff, Music Director, New Haven Symphony Orchestra to Alfred Rosé. 07-11-1969. Inquiries about editorial changes in Klagende Lied MS at Rosé’s 1934 premiere. Alfred Rosé to Frank Brieff. 16-11-1969.
S5-AlD-998a -Alfred Rosé. Heimatschein. 21-02-1933. Attests his “Heimatrecht” to live in Vienna.
S5-AlD-999 -Alfred Rosé. Black notebook with record of performances played or conducted by him. 13 seasons: 1921-1922 to 1933-1934. 1935-1937 (perhaps incomplete). Includes performances with the Rosé Quartet. Sometimes includes casts of operas directed. Notes when “Vater am 1. Pult”; once notes that Richard Strauss was present.
S5-AlD-1000 -Alfred Rosé. Black notebook with record of performances of his compositions and account of his manuscripts (borrowed and returned).
S5-AlD-1001 -Alfred Rosé. Black notebook containing reviews of his performances. Various newspapers. 1922-1932.
S5-AlD-1002 -Alfred Rosé. Black notebook containing reviews of his performances. Various newspapers. 1933-1936.
S5-AlD-1003 -Alfred Rosé. Blank paysheet from Staatsoper.
S5-AlD-1004 -Alfred Rosé. Blank Orchester-Einteilung from Staatsoper with Rosé’s name on it as Kapellmeister.
S5-AlD-1005 -Alfred Rosé. Brochure for Wiener Volkskonservatorium with Rosé’s name amongst the faculty.
S5-AlD-1006 -Alfred Rosé. Music Therapy. Box containing patient notes and referrals, treatment records, miscellaneous correspondence, payment records and articles. Includes co-authored article by Rosé on Music Therapy (in Mental Hygiene)
8.4 Programmes and posters (all in Vienna, unless otherwise indicated)
S5-AlD-1007 -Framed programme on gold silk. Molière/Strauss, Der Bürger als Edelmann. Staatsoper in Theater im Redoutensaal der Hofburg. 9-10-1924. Conducted by Alfred Rosé; his debut. [Rosé deputized for Strauss, conducing the third and fourth performances of the premiere]
S5-AlD-1008 -Framed programme. Rossini, Der Barbier von Sevilla. Staatsoper in Operntheater. 11-06-1926. Conducted by Alfred Rosé. [Kurz as Rosina; Händel’s “Il pensieroso” for soprano with obbligato flute inserted in Music Lesson scene (probably Il penseroso’s “Sweet bird, that shun’st the noise of folly” from L’Allegro, il penseroso ed il Moderato]
S5-AlD-1009 -90 programmes and posters for concerts involving Alfred Rosé, 1922-1938. Arranged chronologically.
Rosé Quartet. Alfred Rosé, piano. Tour of Spain. 02-1922 and 03-1922.
- Bilbao. 22-02-1922, 25-02-1922. 2 Programmes.
- San Sebastian. 28-02-1922. Insert announces programme change.
- Pamplona. 01-03-1922.
- Burgos. 02-03-1922. Programme change pencilled in in Alfred Rosé’s hand
- Gijón. 03-03-1922.
- Aviles. 04-03-1922.
- Vigo. 07-03-1922, 11-03-1922.
- Pontevedra. 08-03-1922.
- Pontevedra. 09-03-1922.
- Pontevedra. 10-03-1922.
- Madrid. 13-03-1922.
- Madrid. 15-03-1922.
- Madrid. 17-03-1922.
- Seville. 18-03-1922, 20-03-1922
- Cádiz. 21-03-1922.
- Zaragoza. 24, 25-03-1922.
- Valencia. 26-03-1922.
- Barcelona. 27-03-1922.
- Rosé Quartet. Alfred Rosé, piano. Musikvereins-Saal. 09-04-1922.
- Internationale Hochschulkurse Konzert. Alfred Rosé, piano, accompanying ElisabethSchumann. Rittersaal (Burg). 19-09-1922.
- Rosé Quartet. Alfred Rosé, piano. Festsaal der Hofburg. 30-09-1922.
- Kunststelle der Bildungszentrale Akademie. Alfred Rosé, piano, accompanying HermineKittel and Leonardo Aramesco. Festsaal der Hofburg. 18-12-1922.
- Rosé Quartet. Alfred Rosé, piano. Musikvereins-Saal. 04-03-1923.
- Rosé Quartet. Alfred Rosé, piano. Konzerthaus. 20-03-1923.
- Liederabend. Alfred Rosé, piano. Finanzministerium. 22-03-1923.
- Emmy Heim Volkslieder-Abend. Alfred Rosé, piano. Musikvereins-Saal. 11-04-1923.
- Marijan Majcen Liederabend. Alfred Rosé, piano. Konzerthaus. 21-04-1923.
- Alfred Rosé, conductor. Incidental music to Calderon’s Über allen Zaubern die Liebe(Eduard Künneke). Burgtheater. 03-11-1923 until 05-11-1923.
- Kunststelle der deutschösterreichischen Sozialdemokratie Festabend. Alfred Rosé, piano,accompanying trio from Volksoper. Festsaal der Hofburg. 12-11-1923.
- Künstler-Akademie. Alfred Rosé, piano. Sportklub, Wiener Staatsoper. 20-12-Caricatures drawn on back.
- Verband der Berufsmilitär Gagisten Österreichs. Alfred Rosé, piano. 7-02-1924.
- Judith Bokor. Cello-Abend. Alfred Rosé, piano. Linz. 25-02-1924.
- Kammer-Musikabend. Alfred Rosé, piano. Hause I.Krugerstraße 17. 11-03-1924. [Introduction by Josef Matthias Hauer; includes pieces by Webern, Bach, Mozart andKuula]
- Rosé Quartet. Alfred Rosé, piano. Musikvereins-Saal. 22-04-1924.
- Landstrasser Männergesangverein Frühjahrs-Konzert. Hofburg. 3-05-1924. Alfred Rosé accompanied Else Rainer in a set of opera arias.
- Alfred Rosé, conductor. Incidental music to Calderon’s Über allen Zaubern die Liebe(Eduard Künneke). Burgtheater. 15-05-1924.
- Rosé Quartet. Alfred Rosé, piano. Musik-und Theaterfest der Stadt Wien 1924.Musikvereinsaal. 19-09-1924.
- Alfred Rosé, conductor. Der Bürger als Edelmann. Staatsoper (Redoutensaal derHofburg). 09-10-1924. (2 posters)
- Mattia Battistini, baritone. Alfred Rosé, piano. Bratislava. 03-12-1924.
- Rosé Quartet. Alfred Rosé, piano. 25-12-1924.
- Alfred Rosé, conductor. Rossini, Der Barbier von Sevilla. Staatsoper (Redoutensaal der Hofburg). 31-12-1924. [Adam’s bravura variations on Mozart’s “Ach Mama, ich sag es Dir” inserted in Music Lesson scene]
- Wiener Männergesang-Verein. 31-01-1925. 02-02-1925. Took over piano accompaniment from Leo Birkenfeld, who was ill. Accompanied violinist Ludwig Wittels on 3 pieces.
- Alfred Rosé, conductor. Ballett-Soirée [Couperin/R.Strauss, Ravel, Rameau, J.Strauss]. Staatsoper (Redoutensaal der Hofburg). 12-02-1925.
- Légation du Ryaume des Serbes, Croates et Slovènes à Vienne. Concert. Alfred Rosé, piano. 16-03-1925.
- Alfred Rosé, conductor. Ballett-Komödien [Mozart, Stravinsky, Rubenstein, J. Strauss]. Staatsoper (Redoutensaal der Hofburg). 5-04-1925.
- Alfred Rosé, conductor. Gluck, Don Juan. Staatsoper. 30-04-1925.
- Fest-Akademie, Jüdischer Frauen-Wohltätigkeits-Verein. Alfred Rosé, piano. 19-11-1925.
- Alfred Rosé, conductor. Rossini, Der Barbier von Sevilla. Staatsoper (Redoutensaal der Hofburg). 31-12-1925. Note across top in Rosé’s hand: “Das 50mal an der Wiener Staatsoper dirigiert.” [Julius Benedikt’s bravura variations on “Karneval von Venedig” inserted in Music Lesson scene]
- Hedda Kux Liederabend. Alfred Rosé, piano. Konzerthaus. 19-01-1926.
- Alfred Rosé, conductor. Ballet-Komödien [Mozart, Ravel, Rubinstein, J.Strauss]. Staatsoper (Redoutensaal der Hofburg). 03-02-1926.
- Alfred Rosé, conductor. Rossini, Der Barbier von Sevilla. Staatsoper (Redoutensaal der Hofburg). 6-02-1926. [Julius Benedikt’s bravura variations on “Karneval von Venedig” inserted in Music Lesson scene]
- Anna Maria Chorinksy. Alfred Rosé, piano. Konzerthaus. 18-04-1926.
- Maria Olszewska, Kammersängerin. Konzerthaus. 29-04-1926. Première of Alfred Rosé’s Sieben Gesänge aus dem »Japanischer Frühling« with Rosé at the piano. (3 copies)
- Erica Darbo Arien-und Liederabend. Alfred Rosé, piano. Konzerthaus. 07-05-1926.
- Alfred Rosé, conductor. Rossini, Der Barbier von Sevilla. Staatsoper in Operntheater. 11-06-1926. [Kurz as Rosina; Händel’s “Il pensieroso” for soprano with obbligato flute inserted in Music Lesson scene (probably Il penseroso’s “Sweet bird, that shun’st the noise of folly” from L’Allegro, il penseroso ed il Moderato] (another copy is framed)
- Alfred Rosé, conductor. Beethoven, Bacchusfest [Geschöpfe des Prometheus], Gluck, Don Juan, Stravinsky, Pulcinella. Staatsoper. 1-07-1926.
- Janina Gluzinska Liederabend. Alfred Rosé, piano. Konzerthaus. 26-10-1926.
- Gedächtnisfeier für Rainer Maria Rilke. Theater in der Josefstadt. 23-01-1927. Alfred Rosé, piano, accompanying Stella Eisner in aria from Mozart’s Entführung and his own “Das ist die Sehnsucht”
- Franz Ippisch, Kompositions-Abend. Alfred Rosé, piano. Musiksalon Doblinger. 28-02-1927.
- Louise Helletsgruber Moderner Liederabend. Musiksalon Doblinger. 01-03-1927. Performance of Rosé’s “Einer Unbekannten” and “Nach dem Regen.” (3 copies)
- Janina Gluzinska Liederabend. Alfred Rosé, piano. Konzerthaus. 10-05-1927.
- Alfred Rosé, conductor. Weber, Der Freischütz. Prague, Neues deutsches Theater. 17-05-1927.
- Sedlak-Winkler Quartet. Musikvereins-Saal. Première of Alfred Rosé’s String Quartet. 15-10-1927. (2 copies and cardboard advertisement)
- Rosé Quartet. Alfred Rosé, piano. Königsberg. 21-10-1927.
- Rosé Quartet. Alfred Rosé, piano. Pr. Holland. 22-10-1927.
- Rosé Quartet. Alfred Rosé, piano. Danzig. 23-10-1927.
- Franzi Paschka, violin. Alfred Rosé, piano. Konzerthaus. 04-12-1927.
- Rosé Quartet. Konzerthaus. 06-12-1927. Vienna premiere of Alfred Rosé’s String Quartet. (programme sheet and full programme)
- Rosé Quartet. Alfred Rosé, piano. Musikvereins-Saal. 05-01-1928.
- Anny Hartig Klavierabend. Alfred Rosé, piano, accompanying song set by Walter Graf. 17-03-1928.
- Rosé Quartet. Alfred Rosé, piano. Wohltätigkeits-Konzert on board the “New York.” Hamburg-Amerkika Linie. 21-04-1928. (2 copies)
- Arnold Rosé, violin. Anton Walter, cello. Alfred Rosé, piano. Unterrichtsministerium. 22-10-1928.
- Rosé Quartet. Alfred Rosé, piano. Karlsruhe. 01-11-1928.
- Rosé Quartet. Alfred Rosé, piano. Frankfurt. 02-11-1928.
- Rosé Quartet. Alfred Rosé, piano. Erfurt. 06-11-1928.
- Alfred Rosé, conductor. Humperdinck, Hänsel und Gretl. Volksbühne Favoritner. 20-12-1928.
- Symphonischer Jazz. Alfred Rosé, piano. Deutschland Sender. 11-05-1929. Newspaper advertisement of programme.
- Rosé Quartet. Alfred Rosé, piano. Berlin. 06-02-1930.
- Rosé Quartet. Alfred Rosé, piano. Konzerthaus. 11-02-1930.
- Alfred Rosé, conductor. Marc Roland, Liebe und Trompetenblasen. Berlin. Komische Oper. [09-07-1930].
- Alfred Rosé, conductor. Walter Kollo, Die Frau ohne Kuß. Berlin. Komische Oper. [16-07-1930].
- Alfred Rosé, conductor. Jean Gilbert, Das Mädel am Steuer. Berlin. Komische Oper. [17-09-1930].
- Feierliche Stunden. Alfred Rosé, piano. Bußtag, 19-11-1930.
- Beate Roos-Reuter Concert. Alfred Rosé, piano. Bremen. 18-03-1931.
- Alfred Rosé, conductor. Bizet, Carmen. Volksoper. 22-01-1932.
- Alfred Rosé, conductor. Bizet, Carmen. Volksoper. 02-02-1932.
- Alfred Rosé, conductor. Verdi, Der Troubadour. Volksoper. 29-02-1932.
- Alfred Rosé, conductor. Puccini, Tosca. Volksoper. 06-03-1932. (2 copies)
- Alfred Rosé, conductor. Verdi, Rigoletto. Volksoper. 10-03-1932.
- Alfred Rosé, conductor. Halévy, Die Jüdin. Volksoper. 07-12-1932.
- Alfred Rosé, conductor. Auber, Fra Diavolo. Volksoper. 11-01-1933.
- Alfred Rosé, conductor. Verdi, Rigoletto. Linz, Landestheater. 25-01-1933. Advertisement. (3 copies)
- Alfred Rosé, conductor. Verdi, Rigoletto. Wels, Stadttheater. 27-01-1933. (programme and poster)
- Kammerkonzertabend. Wiener Theatergilde. 01-04-1933. Performances of Sieben Gesänge aus dem »Japanischer Frühling« and Drei Gedichte von Bruno Ertler
- Schülerabend Dr. Theo Lierhammer (Staatsakademie). Konzerthaus. 23-05-1933. Performance of Rosé’s Drei Gedichte von Bruno Ertler
- Galimir Quartet. Wiener Tehatergilde. [17-11-1933]. Performance of Rosé’s String Quartet.
- Lieder-und Arienabend Karl Uher. Alfred Rosé, piano. Urania. 25-02-1934. Programme includes 6 of Rosé’s Lieder.
- Alfred Rosé, conductor. Mahler, Das klagende Lied. Radio Brno performance. 28-11-1934. Première of “Waldmärchen” [2 copies of advertisement, one in Czech, one in German]
- Bellini-Gedenkabend. Alfred Rosé, piano. Wiener Urania. 22-01-1935.
- Rosé Quartet. Alfred Rosé, piano. Konzerthaus. 23-01-1935.
- Alfred Rosé Kompositionsabend. Wiener Frauenklub. 21-02-1936. (2 copies)
- Benefit for Wanda Landowska Paris. 27-03-1936. Performance of Alfred Rosé’s “Ein Volkslied” by Minnie Polese
- Rosé Quartet. Alfred Rosé, piano. Musikvereinsaal. 10 Movember 1936.
- Milda Lagenfeld. Alfred Rosé, piano. Konzerthaus. 06-03-1937.
- Leonore Meyer. Lisbon. 12-05-1937. Performance of Alfred Rosé’s Three Songs
- Alfred Rosé, piano continuo. Vienna Symphony, conducted by Paul Breisach. Konzerthaus. 11-10-1937.
- Alfred Rosé Lecture: Palestrina und seine Zeit. Bund für Internationale Freundschaftsbeziehungen. 20-01-1938.
S5-AlD-1010 -Programme from National Symphony Orchestra performance of Mahler’s Das Lied von der Erde in Royal Albert Hall for the benefit of the Free Austrian Movement’s War Emergency Fund for Austrian Refugees. 10-04-1945.
8.5 Sculpture, etchings and memorabilia
S5-MD-1011 –Auguste Rodin (1840-1917). Bronze bust of Gustav Mahler. Model B.
S5-ArD-1012 -Susanne Peschke-Schmutzer. Bust of Arnold Rosé. 1935.
S5-MD-1013 -Etching of Mahler. Signed “Jasmine” Apparently copied from Emil Orlik’s famous etching.
S5-ArD-1014 -Ferdinand Schmutzer. Framed etching. Vienna Philharmonic in Musikvereinsaal, with Weingartner conducting. 1926. Signed (44/50).
S5-ArD-1015 -Ferdinand Schmutzer. Framed etching. Richard Strauss. Signed. Signed and dedicated by Strauss to Arnold Rosé.
S5-ArD-1016 -Ferdinand Schmutzer. Framed etching. Arnold Rosé. Signed.
S5-ArD-1017 -Ferdinand Schmutzer. Framed pencil sketches for Arnold Rosé etching. Unsigned.
S5-ArD-1018 -Rosé Quartet. Etching by Stössel, a pupil of Ferdinand Schmutzer. Signed.
S5-ArD-1019 -Willy von Beckerath. Etching of Johannes Brahms. 1899.
S5-MD-1020 -Silver fruit bowl given to Mahler on his departure from Budapest, 1891.
S5-MD-1021 -Old French clock belonging to Mahler family
S5-MD-1022 -12 place settings of silverware with initial “M”
S5-MD-1023 -Conducting batons. Batons used by Gustav Mahler, Richard Strauss, and Alfred Rosé
S5-JD-1024 -Justine Rosé-Mahler. Silver sealing-wax stamp with letters “JR”
S5-JD-1025 -Justine Rosé-Mahler. Lock of hair, in envelope: “Herrn Alfi Rosé” and “Eine Haarlocke meiner Mutter” in Alfred Rosé’s hand
S5-AlD-1026 -Alfred Rosé. Envelope with hair. Inscribed “Alf Haare 15 Monate”
S5-AlD-1027 -Two silver goblets presented to Alfred Rosé by the UWO Opera Workshop
S5-AlD-1028 -Guest Book belonging to Alfred and Maria Rosé, 1948-1968
- 20-10-1957; Henry-Louis de La Grange
- 15-07-1958: S.C. Eckhardt-Gramatté (with several mm. of Sonata V for piano)
- 10-14-1958, 26-10-1958: Henry-Louis de La Grange
- 22-11-1959: Henry-Louis de La Grange
- 02-01-1960: Oskar Morawetz
- 25-02-1960: Rosalind Elias
- 30-10-1962: George London
- 04-04-1963: Anton Swarowsky
S5-AlD-1029 -Alfred Rosé. B.A. Degree diploma and music hood. 03-06-1950.
S5-AlD-1030 -Alfred Rosé. Silver tray presented by UWO for 20-year service. 1948-1968
S5-RD-1031 -Maria Rosé. Videotape of television interview with Raffi Armenian.
S5-AlD-1032 -Alfred Rosé. Antiphone (ear plugs)
S5-AlD-1033 -Alfred and Maria Rosé. Silver spoon.
S5-Mph-1034 -Framed photograph. Mahler in the Dolomites.
S5-Mph-1035 -Framed photograph. Mahler and Justine in hats.
S5-MRph-1036 -5 framed family photographs: Gustav and Justine; Justine and Alfred; Justine, Alfred and Alma; Alfred and Alma; Arnold and Gustav
S5-Arph-1037 -Framed photograph. Arnold Rosé and Richard Strauss in Salzburg
S5-Cph-1038 -Framed photograph. Giacomo Puccini. Signed and inscribed to Alfredo Rosé. 10-1923.
S5-Cph-1039 -Framed photograph. Johann Strauss, Jr. Signed and inscribed to Arnold Rosé. 28-10-1894.
S5-Cph-1040 -Framed photograph. Richard Strauss. Signed and inscribed to Alfred Rosé. 14-05-1924.
S5-Cph-1041 -Arturo Toscanini. Framed photograph. Signed and inscribed to Arnold Rosé. 24-10-1933 until 29-10-1933.
S5-Arph-1042 -Framed photograph. Arturo Toscanini and Arnold Rosé.
S5-Cph-1043 -Framed photograph. Giuseppe Verdi. Signed and inscribed to Arnold Rosé. 07-1890.
S5-Arph-1044 -Small oblong turquoise album. Photos of Arnold Rosé with Toscanini, Monteux, Knappertsbusch, Lotte Lehmann, Salzburg Festival orchestra (with Toscanini and Furtwängler), Adrian Boult, Rosé Quartet, Often artists are rehearsing or performing with Vienna Philharmonic.
S5-Rph-1045 -Oblong burgundy album. Inside cover: “America-Reise-04-May 1928.” Photos from Rosé Quartet (with Alfred Rosé) tour of USA. Includes photos on ship.
S5-Rph-1046 -Envelope with Viennese photos: Justine Rosé and Alfred; Justine Rosé and Maria Rosé; Rosé family; Justine Rosé and dog; Arnold Rosé and Rosé Quartet member
S5-Mph-1047 -Glass Negatives (for photos elsewhere in the collection).
- Gustav Mahler, aged 5-6
- Mahler and Arnold Rosé
- Mahler and Justine Rosé
- Gustav Mahler in Amsterdam, 1909
- Arnold Rosé and Richard Strauss
- Mahler and Bruno Walter (with umbrella)
S5-Alph-1048 -Commercial album. 1970s. Includes photographs of Ernst Rosé, Alfred’s retirement, funeral and posthumous honorary doctorate. [Not arranged in chronological order]
S5-Alph-1049 -Photographs of Alfred and Maria Rosé. Most, if not all, already in the collection.
S5-Rph-1050 -Photograph of Alma Rosé
S5-Fph-1051 -Photograph of Anna Mahler and her granddaughter Sasha. With note from Marina Mahler to Maria Rosé
S5-RD-1052 –Alte liebe Lieder für Mütter und Kinder. I. In der Kinderstube. Munich: Verlag der Jugendblätter (Carl Schnell), 1908.
S5-RD-1053 –Kling-Klang Gloria: Deutsche Volks und Kinderlieder. Vienna: F. Tempsky, 1907.
S5-AlD-1054 –Das Rosé-Quartett: Fünfzig Jahre Kammermusik in Wien. Sämtliche Programme vom 1. Quartett am 22-01-1883 until 04-1932. Forward by Julius Korngold. Vienna, 1932. Signed and inscribed by Arnold Rosé: “Meinem Sohn und Maria. Der Vater” S5-RD-1055 -Ambros,-08-Wilhelm. Geschichte der Musik. 2nd ed. 5 vols. Leizpig: F.E.C. Leuckart, 1880-1882.
S5-JD-1056 -Karpath, Ludwig. Begegnung mit dem Genius. Vienna: Fiba, 1934. Signed and inscribed: “Seiner lieben Freundin Justine Rosé-Mahler, der klassischen Zeugerin vieler im diesem Buch geschilderten Erlebniße in alter Freundschaft und Verehrung. Wien, 16-06-1934. Ludwig Karpath.”
S5-AlD-1057 -Reik, Theodor. The Haunting Melody: Psychoanalytic Experiences in Life and Music. New York: Farrar Straus & Young, 1953. Signed and inscribed.
S5-AlD-1058 -Reik, Theodor. The Search Within: The Inner Experiences of a Psychoanalyst. New York: Farrar Straus & Cudahy, 1956. Signed and inscribed.
S5-RD-1059 -Wagner, Richard. Gesammelte Schriften und Dichtungen. 2nd ed. 10 vols. in Leipzig: Fritsch, 1887-1888.
S5-AlD-1060 –Ludwig van Beethoven (1770-1827). Leonore. 2nd. ed. Ed. and introduction by Erich Prieger. Piano-vocal score. Leipzig: Breitkopf & Härtel, 1907. Includes a special bound offprint of the introduction “Zu Beethovens Leonore” inside cover.
S5-AlD-1061 –Albert Lortzing (1801-1851). Der Waffenschmied von Worms. Piano-vocal score. Vienna: Universal Edition, n.d. [Pl. UE 462]. Cuts and performance directions in blue pencil.
S5-AlD-1062 –Wolfgang Amadeus Mozart (1756-1791). Die Zauberflöte. Piano-vocal score. Vienna: Universal Edition, n.d. [Pl. UE 245] Title page has names connected with a performance at UWO penciled in beside character names. Various pencil markings.
S5-AlD-1063 –Giacomo Puccini (1858-1924). Der Mantel. Schwester Angelica. Gianni Schicchi. Piano-vocal score, German text. [Pl. 118098/9/0 (118097)] Milan: Ricordi, 1918, 1919, 1920.
S5-AlD-1064 -Puccini, Giacomo. Manon Lescaut. Piano-vocal score, German text. Milan: Ricordi, 1893. [Pl. 96463] New translation (in Rosé’s hand) frequently pasted over printed text. Many pencil corrections and indications. Puccini’s handwriting found on 224, 226, according to marginal note.
S5-AlD-1065 -Puccini, Giacomo. Tosca. Piano-vocal score, German text. Milan: Ricordi, [Pl. 104250] Inscribed and signed “Die einzige Tosca ihrem Schätzer von seiner alten Freundin Stella. Weihnacht 1921.”
S5-AlD-1066 –Richard Strauss (1864-1949). Ein Heldenleben: Tondichtung für großes Orchester, op.40. Miniature score. Leipzig: F.E.C Leuckart, 1899. [F.E.C.L. 5200]. Title page signed by Ferdinand Löwe.
S5-AlD-1067 -Strauss, Richard. Symphonia Domestica, op.53. Miniature score. Berlin: Bote & Bock, 1904. [Pl. 15613; Taken into Universal edition, UE No. 2869.] First page of score signed by Richard Strauss.
S5-AlD-1068 –Giuseppe Fortunino Francesco Verdi (1813-1901). Die Macht des Schicksals. “Dem italienischen des F. M. Piave frei nachgedichtet und für die deutsche Opernbühne bearbeitet von Franz Werfel.” Piano-vocal score, German text only. Milan et al: Ricordi, 1926. [Pl. 120130] Title page signed and inscribed: “Alfred Rosé, dem kunftigen baritono brillante und Sänger des Don Carlo zum Geburtstag. Franz Werfel. Wien, 16 Dez. 1927.”
S5-AlD-1069 -Verdi, Giuseppe. Othello [sic]. Für die deutsche Bühne übertragen von Max Kalbeck. Piano-vocal score, German text only. Milan et al: Ricordi, n.d. [Pl. 51972] Inscribed “Many Happy returns. Bob. Dec. 27.” Pencil markings indicating performance directions and cuts.
S5-AlD-1070 –Richard Wagner (1813-1883). Lohengrin. “Nouvelle Édition conforme à la représention de l’Opéra de Paris.” Piano-vocal score, French text (Charles Nuitter). Paris: Darand & Schoenewerk, 1891. Inscribed “Souvenir de votre Ami Gennaro Cinque. Monte Carlo, le 19 Décembre 1892.” [WWV XVII.j]
S5-AlD-1071 -Wagner, Richard. Lohengrin. The Illustrated Opera Series. Full libretto and musical highlights in English. New York: Edward Schuberth, n.d.
- The Gustav Mahler-Alfred Rosé collection at the University of Western Ontario.
- Inventory by Stephen McClatchie, 1996.
- It includes complete holdings of the collection except for the Mahler Family Letters from the original donation and supplement 1.
- The Collection comprises twenty-one envelopes (E1-E21), an oversize category, and five supplements (S1-5). Each item in the Collection has an individual accession number. The shelfmark for each item is made up of three components: the location, a descriptor, and the accession number, e.g. E7-MD-344.
- Within each category, items are arranged by accession number. For background information about the Collection, see Stephen McClatchie, “The Gustav Mahler-Alfred Rosé Collection at the University of Western Ontario” Notes 52 (December 1995): 385-406; and the letter in Notes 52 (June 1996): 1337
- The most common descriptors are the following:
- M Gustav Mahler
- J Justine Mahler
- F Mahler Family
- A Alma Mahler
- Ar Arnold Rosé
- Al Alfred Rosé
- Ma Maria Rosé
- R Rosé family
- C “Celebrity” (neither a Mahler nor a Rosé)
- D Document (also used for scores, recordings, and memorabilia)
- p postcard
- ph photograph
- t telegram