I'd just like to say that the article by Ingeborg Birkin-Feichtinger is one of the best I've read in many a year. It gives a great insight into the relationships that Mahler must have had with his orchestra. There seems to have been a softer side to his nature as well as the often quoted tyrranical side. The dedication to Mahler that his players had, clearly comes across too.
Now that I have finally received my copy of issue No. 59, I'd like to second Stan Wilson's praise for this interesting and well-researched article. In addition to the points made by Stan, it also shows Mahler's dedication to the administrative side of his Hofoper duties, and the demands on his time that these functions entailed.
I am happy to be able to provide some additional information in the case of the double bassist Otto Stix. In the course of 2008, one of the many missing letters from Mahler to Hermann Behn resurfaced at auction. Behn was one of Mahler's friends and an important supporter during his Hamburg years, and they remained in touch following Mahler's departure for Vienna in April 1897. Although much of their correspondence during this time was related to the status of Anna von Mildenburg, Behn also must have kept Mahler informed about general conditions in Hamburg. In the letter in question, Mahler refers to two musicians who have approached him for positions in Vienna. The relevant paragraph runs something like this:
"Herrn Salter habe ich nicht geschrieben, und leider kann ich ihm auch keine Aussichten eröffnen. Bei Stix konnte ich von einem Eintrag [?] vorsehen, weil er ein einzig tüchtiger Mensch ist. Salter ist ein Durchschnittscellist, der leider [?] [or ‚setzen’?] in unserem Orchester nur eine mittel-mäßige Rolle spielen würde. In einem solche[n] Falle kann ich nicht mit einem Gewaltsmittel (Engagement ohne Concours) vorgehen".
rough translation:
"I have not written to Mr. Salter, and unfortunately I also cannot offer him any hope. In the case of Stix I could envision his enrollment, because he is a singular, hard-working person. Salter is an average cellist, who [unfortunately] would only play a mediocre role in our orchestra. In a case such as this I cannot proceed with a power play (an engagement without audition)".
[thanks are due to Franz Willnauer for providing his expert advice in helping to decipher Mahler's script from the not very clear auction website images]
The letter is dated (in another hand) 25 May 1898, just a week before the contract of Otto Stix with the Hofoper orchestra was to take effect. This demonstrates Mahler's high regard for Stix, as is also shown in the article by Birkin-Feichtinger. Thus far I have not been able to identify the Mr. Salter referred to in the letter. It appears that Behn may have been interceding on behalf of Salter at this time.
Mike Bosworth
