Performance History
There is some controversy over the order of the two middle movements, though recent research has clarified the issue considerably. Mahler is known to have conceived the work as having the scherzo second and the slow movement third, a somewhat unclassical arrangement adumbrated in such earlier gargantuan symphonies as Beethoven's Ninth and Bruckner's Eighth and (unfinished) Ninth, as well as in Mahler's own four-movement First and Fourth. It was in this arrangement that the symphony was completed (in 1904) and published (in March 1906); and it was with a conducting score in which the scherzo preceded the slow movement that Mahler began rehearsals for the work's first performance, in May 1906. During those rehearsals, however, Mahler decided that the slow movement should precede the scherzo, and he instructed his publishers C.F. Kahnt to prepare a "second edition" of the work with the movements in that order, and meanwhile to insert errata slips indicating the change of order into all unsold copies of the existing edition. The seriousness of such a decision is not to be underestimated: as Jeffrey Gantz has pointed out, "A composer who premières his symphony Andante/Scherzo immediately after publishing it Scherzo/Andante can expect a degree of public ridicule, and didn't spare the sarcasm". Moreover, this revised, "second thoughts" ordering was observed by Mahler in every single performance he gave; it is also how the symphony was performed by others during his lifetime.
The first occasion on which the abandoned, original movement order was reverted to seems to have been in 1919, after Alma had sent a telegram to Willem Mengelberg which said "First Scherzo, then Andante". Mengelberg, who had been in close touch with Mahler until the latter's death, and had happily conducted the symphony in the "Andante/Scherzo" arrangement right up to 1916, then switched to the "Scherzo/Andante" order. In this he seems to have been alone: other conductors, such as Oskar Fried and Dimitri Mitropoulos, continued to perform (and eventually record) the work as 'Andante/Scherzo', per Mahler's own second edition, right up to the early 1960s.
In 1963, however, Erwin Ratz's "Critical Edition" of the Sixth appeared, and in this the Scherzo preceded the Andante. Ratz, however, never offered any support (he did not even cite Alma's telegram) for his assertion that Mahler "changed his mind a second time" at some point before his death; but his editorial decision was questioned by few musicians—and even those who did not accept his "third thoughts" ordering (such as Barbirolli in his acclaimed 1967 recording) could find that their 'Andante/Scherzo' performance would be changed by the record company to "Scherzo/Andante" so as to make their recording agree with the "Critical Edition". The utter lack of documentary or other evidence in support of Ratz's (and Alma's) reverted ordering has caused the most recent Critical Edition to restore the Andante/Scherzo order; however, many conductors continue to perform the Scherzo before the Andante. The matter remains hotly debated, however.
Read more about this topic: Symphony No. 6 (Mahler)
Famous quotes containing the words performance and/or history:
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)
“When the history of this period is written, [William Jennings] Bryan will stand out as one of the most remarkable men of his generation and one of the biggest political men of our country.”
—William Howard Taft (1857–1930)