[G. MAHLER], MORIZ ROSENTHAL'S AUTOGRAPH REMINISCENCES ON MAHLER, [AFTER 1911?]

describing his first meeting with Mahler at Julius Epstein's, and Mahler's playing of a symphony of his on the piano, recording Mahler's interest in him as a pianist, expressing his feeling that he had made a close friendship, recalling a meeting in Toblach, detailing Mahler's views on Scharwenka, Dostoevsky and Chopin, finding the latter too much of a miniaturist, referring to Riemann's phrasing reforms, noting Mahler's claim that phrasing depended on the disposition and current attitude of the performer, commenting on Mahler's negative remarks concerning the audience at a recital in Hamburg, disagreeing with Mahler's use of octave doublings in Beethoven, and recording a meeting at a Viennese café at which he extolled the material prospects of an American tour

"...Das Mittagsessen bei Prof. Julius Epstein dem Doyen der Wiener Klavierprofessoren, verlief sehr angeregt. Mir gegenüber saß ein noch junger Mann mit scharf geschnittenen interessanten Gesichtszügen u. nervös-fahrigen Bewegungen. Epstein stellte ihn vor: Gustav Mahler, Componist, Dirigent u. mein "Klavierschüler"..."



9 pages, small 4to (27 x 21.3cm), autograph heading by Rosenthal ("Mahleriana"), no place or date [after 1911?], a few small stains, tiny tear to first leaf



together with: a collection of autograph letters and postcards signed by other composers and musicians, including Pfitzner, Moszkowski (declining an invitation), Bruno Walter (to Paul Breisach), Schreker (mentioning rehearsals), Ricardo Viñes (to Calvocoressi), Lehár, Cyril Scott and Martinu, 11 pages, various sizes, autograph envelope by Lehár, Vienna, London and elsewhere, 1894-1952, where indicated

Mark Mitchell and Allan Evans (eds.), Moriz Rosenthal in Word and Music: A Legacy of the Nineteenth Century (Bloomington, 2006), pp.58-60 (translation)

Condition is described in the main body of the cataloguing where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Moriz Rosenthal (1862–1946) was one of the foremost performers from the golden age of late romantic pianism.  Like Mahler he had studied in Vienna in the 1870s, but apparently the two only met for the first time at Julius Epstein's in 1888 - this meeting being one of a number of memorable occasions described here.