FAQ

When will which symphony be published?

  • 1st Symphony: already published (March 2019)
  • 4th Symphony: 2nd half of 2019
  • 3rd Symphony: 2020

The previous publication frequency – at least one symphony per year – will be continued. For further information about the order of publication, please refer to the publication schedule


Do you plan to publish study scores?

  • Generally yes, but for now the focus is completely on the publication of the performance material as indicated in the publication schedule.


Is it possible to obtain material on hire? 


Where can I find information on orchestration and performing time?

  • Information on scoring and performing time are clearly summarized on an extra page of the score. If the symphony has already been published, more detailed information can be found on our website.


What is included in the set of orchestral parts?

  • It contains all orchestral parts needed for a performance. Each set includes string parts in a score of 10.9.8.7.6 plus the complete wind parts, including additional parts for instruments positioned off the stage and instrumental reinforcement.


Can individual parts be reordered?

  • Yes, string parts can be reordered.


Does the edition contain bowing marks?

  • No, bowings are orchestra-specific and do not belong in a text-critical edition.


Why are there bowing marks and fingerings in the edition?

  • Occasional bowings and fingerings stem from the sources. These are specific interpretative marks from the composer.


Individual percussion parts or percussion score?

  • For a better orientation, the summarized presentation of the percussion parts in a percussion score is favored (for example in the 1st Symphony). The set includes a copy for each player. The timpani have extra parts.
  • If too many individual staves cause page-turning problems, individual and/or group parts are provided.


On which sources is the edition based?

  • For the editions, all accessible surviving authentic sources are being consulted. The respective critical commentary provides detailed information on this.


There is no Urtext logo on the edition – is it nevertheless a text-critical edition?

  • Yes, based on the sources, the music text is created using the text-critical method. More details on this can be found in the Editorial Report with information on the sources used, their evaluation and editorial decisions. Nevertheless, we deliberately decided against the Urtext logo to avoid misunderstandings.


What are the differences between this edition and the Complete Critical Edition (ed. by the Internationale Gustav Mahler Gesellschaft)?

  • Created according to uniform formal and content-related criteria, all volumes come for the first time from a sole publisher 
  • Generous format (27 x 36 cm) of score and parts, larger rastral size of the parts (7.5 mm), modern engraving image. This guarantees for better readability, clarity, space between systems for entries by musicians.
  • Improved practicality of the parts (page-turns, orientation).
  • Errors and inconsistencies of the Critical Complete Edition have been corrected.
  • Divergences from the sources and differences to the Complete Critical Edition are comprehensibly documented in the critical commentary.


How reliable is the edition (printing errors)?

  • Multiple proofreadings by an experienced team ensure the highest possible reliability. Apart from the formal conformity between score and parts, attention is paid to practical aspects as well. Nevertheless: Nobody is perfect!


What do I do if I detect a printing error?

  • The editorial department is grateful for any advice. We learn from mistakes and will correct these in the next print run at the latest.