Austrian composer (1860-1911) whose epic symphonies redefined the genre and assured him a place among the most important and influential composers of the late 19th and early 20th centuries. ALS in German, three pages on two adjoining sheets, January 21, 1902. Handwritten letter from Vienna to the piano manufacturer Friedrich Ehrbar, Jr., in part (translated): "I know that 'rehearsals' are taking place this evening; it gives me an almost melancholic feeling that I am no longer a part of it. One gets accustomed to beautiful things so quickly, and those rehearsals, in which I artistically joined with you after a long time, were such a beautiful experience.—So, it is—hopefully not forever—over again, and today all that remains for me, after this commendable achievement, is to express my heartfelt thanks to all of you for so much participation and actively successful collaboration. When I express to you that the Singakademie here in Vienna has become a closer musical home for me, I feel very well that you, too, gladly granted me a place among you and, if the opportunity arises again, will graciously allow it once more.—When you call me, I will be there." Addressed on the reverse in Mahler's hand. In fine condition.
Friedrich Ehrbar, Jr., who took over the management of the piano factory of the same name from his father in 1898, was also the president of the Vienna Singakademie from 1900 until his death. The Vienna Singakademie was an important institution in Vienna's concert life. In 1862, young Johannes Brahms was brought to Vienna as a choir director. Over the years, the circle of conductors primarily working with the choir expanded, including notable figures such as Gustav Mahler, Richard Strauss, and Bruno Walter, who himself took over the choir leadership for several years.
During the period mentioned in January, Mahler himself was heavily engaged: his Symphony No. 4 made its Vienna premiere on January 12, 1902, at the Großer Musikvereinssaal. Meanwhile, rehearsals for Richard Strauss's 'Feuersnot' took place throughout the entire week of January 21st, with its premiere occurring on January 29. Gustav Mahler and Richard Strauss first met in Leipzig in 1887 when they were both young conductors. Their correspondence extends from this point until Mahler's death in 1911. From the 63 preserved letters, one can glean the mutual solidarity and understanding between the two artists: Strauss supported Mahler, assisting him in the premiere of his first symphony, while Mahler, in turn, fought for performances of works such as 'Salome' in Vienna and personally conducted 'Sinfonia Domestica' and the opera 'Feuersnot.' During the performance of 'Feuersnot,' the composers' wives, Alma Mahler and Pauline Strauss-de Ahna, also got acquainted. While the two composers held each other in high esteem, the two women had little regard for each other.
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