The article examines the materials of Alban Berg’s archival heritage related to the work of Gustav Mahler: Berg’s printed scores of Mahler’s works, Mahler’s music manuscripts presented to Berg by the composer’s widow Alma Mahler, Berg’s analytical and textual comments on Mahler’s works, as well as copies and transcriptions made by him.
Berg dealt with Mahler’s scores throughout his life, from his early years, when he had not yet begun systematic studies in composition, to the time of maturity, when he acted as an expert in Mahler’s work. In his possession were all the scores of Mahler’s works published at that time, sketches of single themes of the Third and Eighth symphonies, as well as the most valuable draft score of the first three movements of the Ninth.
The sources considered in the article allow us to assess Berg’s contribution to the history of the completion of Mahler’s Tenth Symphony. He participated in the preparation of the first facsimile edition of the Tenth, attributed unknown Mahler manuscripts, identified errors and discrepancies in the copy of Adagio made by Ernst Křenek, and finally composed the clavier of the Adagio fragment in order to clarify the logic of the compositional process.
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