The Alma Problem is an issue of concern to certain musicologists, historians and biographers who deal with the lives and works of Gustav Mahler and his wife Alma.
Alma Mahler (ultimately Alma Mahler-Gropius-Werfel), an articulate, well-connected and influential woman and a composer herself, outlived her first husband by more than 50 years, during which time she was the principal authority on the mature Mahler's values, character, and day-to-day behaviour. Her two books quickly became the central source material for Mahler scholars and music-lovers alike. Unfortunately, as scholarship further investigated the picture she painted of Mahler and their marriage, some writers found her accounts unreliable, false, and misleading, and discovered evidence of deliberate manipulation and falsification. The fact that these deeply flawed accounts have nevertheless had a massive influence — leaving their mark upon several generations of scholars, interpreters and music-lovers, and becoming a foundation of the critical and popular literature on Mahler — constitutes the 'Alma Problem'. In the wake of the MeToo movement, however, other scholars have counter-critiqued the construction of the 'Alma Problem' as based on outmoded perspectives.
Letters The 'Alma Problem' manifests itself in several dimensions. To begin with, there is her treatment of the couple's correspondence. Of the more than 350 written communications Mahler is known to have written to her, Alma suppressed almost 200 — and of the 159 that she did choose to publish, she is now known to have made unacknowledged alterations to no fewer than 122. On three occasions Alma even manufactured items by joining together separate letters. She also appears to have systematically destroyed everything that she wrote to her husband: the text of only a single one of her own letters, written before they were married, is known to survive.
As for the changes she secretly made in his letters before publication, a clear pattern can be discerned: Alma seems determined to present herself as a powerful, potent person whose tremendous gifts and personal allure placed her at the very centre of events — at the same time as insisting that her selfless devotion to her husband made her the powerless, guiltless victim of his unreasonableness. Thus her deletion of Mahler's references to the presents he bought or offered her protected her claims that he hardly ever gave her gifts; while her deletion of his references to the plentiful sums of money he handed over to her allowed her to maintain that he had kept her short of housekeeping money. Her deletion of references to people close to Mahler but not liked by her permitted her to minimise their apparent role in his life, compared to hers. And on other occasions she seems to have been anxious to create the impression that Mahler thought she might be merely unwilling to do or be something, rather than actually unable: his "Answer ... if you are able to follow me" is secretly modified to "Answer ... if you are willing to follow me".
On this subject, Jonathan Carr has noted: "If the text [of a letter] offended Alma's self-esteem or predilections then it had to be 'corrected' with some judicious deletion or insertion before the world could be allowed to see it". In some cases her deletions have actually proved impossible to correct: her distinctive violet ink has obliterated the original word, line or passage.
Memories Alleged inconsistencies surrounding Alma's recollections extend back beyond the start of her life with Mahler. She describes her father as coming "from old patrician stock", and her mother as having been sent to Vienna to take voice-lessons with a highly regarded teacher at a private academy. It is now known, however, that Alma's father was the great-grandson of a scythe-smith from the Steyr Valley — and that her mother became a singer only after an early life that had seen her family flee to escape bankruptcy and the young girl herself working as a ballet dancer (at the age of eleven), a nanny, an au pair girl, and a cashier at the public baths.
Alma's story of her 'first meeting' with Mahler (in November 1901, at a dinner party given by Berta Zuckerkandl and attended by other glittering personalities such as Gustav Klimt and Max Burckhard) is one of her most famous, but it departs from the truth in at least one major respect: it was not, in fact, their first meeting. Alma is now known to have met Mahler two years earlier in the more humdrum context of a bicycle ride in the lake region of the Salzkammergut. (In her diaries, she wrote: "He soon overtook us, and we met four or five times. Each time he struck up a conversation, staring hard at me"). It is now known that Alma, deeply infatuated with the famous and distant figure, had previously sought (and eventually obtained) Mahler's autograph on a postcard, and that on their actual first meeting she was embarrassed that he appeared to have "perceived the connection" between her and the card he had signed. (This story is instructive in that it not only casts light on Alma's motivations in expunging an important fact from the record, but also reveals the value of her original diaries in correcting her later accounts. The diaries were published only in the 1990s, having remained in almost unreadable manuscript during her lifetime.)
Many of Alma's submissions concern purely private experiences that plainly can have left no documentary evidence; nor is there any 'balancing' material from the other side of the marriage — for, in contrast to Alma, Mahler never wrote or spoke (except, perhaps, to Freud) about their relationship. The popular cultural perception of Mahler as the typical fin-de-siècle artist — an 'ascetic'; a morbid and tormented neurotic; a despairing and sickly man for whom all pleasures were suspect; and a man whose constant overwork undermined an already weak physical constitution — derives entirely from Alma's writings, and is not corroborated by others. For most of his adult life, in fact, Mahler actively enjoyed putting his strength and endurance to the test: he loved to swim long distances, climb mountains, take endless walks, and go on strenuous bicycle tours.
Even in the winter of 1910–11, when the shock of Alma's infidelity had threatened to overwhelm him, he was still planning for his old age, and making decisions about the construction and decoration of a new house in the Semmering mountains — while in 1911, in what was probably his last interview, he made the following statement: "I have worked really hard for decades, and have born the exertion wonderfully well".
Other evident manipulations and falsifications concern the people with whom the couple came into contact.
Alma and the Fifth and Sixth Symphonies Alma met Mahler during the period in which the Fifth Symphony was being composed (1901-2); her various remarks and recollections concerning this and the Sixth Symphony (1903-4, rev. 1906) provide a concise demonstration of the 'Alma Problem'.
Fifth Symphony In 'Memories and Letters', Alma writes of attending a 1904 'reading rehearsal' of the as-yet unperformed Fifth Symphony: "I had heard each theme in my head while copying the score, but now I could not hear them at all! Mahler had overscored the percussion instruments and side-drum so madly and persistently that little beyond the rhythm was recognizable. I hurried home sobbing. [...] For a long time I refused to speak. At last I said between my sobs: 'You've written it for percussion and nothing else'. He laughed, and produced the score. He crossed out the side drum in red chalk and half the percussion instruments too. He had felt the same thing himself, but my passionate protest turned the scale." (Alma Mahler-Werfel, 'Memories and Letters', p.73)
Speaking of what he calls 'this engaging story' — which is found quoted in countless books and programme-notes — Colin Matthews explains that "the evidence of the manuscript and the printed scores does not, unfortunately, bear it out. In fact, the first edition of the score actually has very slightly more percussion in the first movement [...] than the manuscript..." (Colin Matthews, 'Mahler at Work', p.59)
Sixth Symphony
First movement's 'second subject' Alma claims that Mahler told her in 1904 that he had tried to 'capture' her (the word she reports him using is 'festzuhalten') in the F-major theme that is the 'second subject' of the symphony's first movement. The story has become canonic — to the extent that no commentator can fail to repeat it, and few listeners can hear the theme without thinking of Alma's report. The report may of course be true (in that Mahler may actually have attempted to describe her in music, or may merely have chosen to claim that he had); but her statement is not corroborated.
Scherzo/children Alma asserts that in the Scherzo movement Mahler represented the unrhythmic games of the two little children, tottering in zig-zags over the sand. Ominously, the childish voices became more and more tragic, and died out in a whimper.
This memorable (and interpretatively potent) revelation is still encountered in writings about the symphony — in spite of the fact that it is not merely uncorroborated, but is conclusively refuted by the chronology: the movement was composed in the Summer of 1903, when Maria Anna Mahler (born November 1902) was less than a year old, and when Anna Justine Mahler (born July 1904) had not even been conceived.
Order of the middle movements The order of the symphony's two middle movements — Scherzo/Andante or Andante/Scherzo — has been the subject of extensive discussion. Mahler's original score (1904 manuscript and first published edition, as well as Zemlinsky's piano duet arrangement) placed the Scherzo second and the Andante third. During rehearsals for the work's first performance in 1906, the composer decided that the slow movement should precede the scherzo, and he instructed his publishers C.F. Kahnt to begin production of a 'second edition' of the work with the movements in that order, and meanwhile to insert a printed instruction in all existing scores. Mahler conducted the Sixth Symphony with the middle movements in the Andante-Scherzo order three times during his lifetime. His revised, 'second thoughts' ordering was observed by Mahler t; it is how the second edition of the symphony was published; and it is how the work was performed by others in the three additional performances that the work received during the composer's lifetime.
In 1919, following an inquiry from Mengelberg to Alma about the order of the middle movements in anticipation of a large-scale Mahler festival in Amsterdam scheduled for 1920, Alma replied:
Erst Scherzo dann Andante herzlichst Alma ("First Scherzo then Andante affectionately Alma")de La Grange, Henry-Louis, Gustav Mahler, Volume 4: A New Life Cut Short, Oxford University Press (2008), pp. 1578-1587. .
In 1955, in her later years, following a comparable inquiry from Eduard van Beinum to Alma on the same question, Alma replied in reverse to her communication to Mengelberg 36 years earlier. The matter remains under debate, with conductors and musicians having the latitude to choose either option for performance.
Third hammer blow