Willem Mengelberg (1871–1951), conductor of the Concertgebouw Orchestra in Amsterdam, was captivated by Mahler’s music in 1902 after attending the premiere of his Third Symphony in Krefeld, Germany. From that moment on, he became a vigorous champion of Mahler’s music, characterizing the composer as “the Beethoven of his time.” Through his dedication to performing Mahler’s works, Mengelberg gradually established a position in the Netherlands and across Europe that left other conductors of the era far behind.

Mengelberg also repeatedly tried to bring Mahler to Amsterdam to conduct his own music (just as he had attempted with Richard Strauss). He succeeded in doing so in 1903, 1904, 1906, and 1909, with Mahler staying at Mengelberg’s home during these visits. However, Mahler was often unable to come to Amsterdam due to his busy schedule.

Mengelberg’s commitment to Mahler’s music in the years following 1900 should not be underestimated. Indeed, some audience members would walk out during performances of Mahler’s music, which critics frequently ridiculed. Through his persistent advocacy, Mengelberg swam resolutely against the tide, convinced of Mahler’s genius. Only after years of sustained effort did a “Mahler following” emerge in the Netherlands, leading to the magnificent Mahler Festival of 1920—an unprecedented success that garnered worldwide attention. In the 1920s, while conducting the New York Philharmonic, Mengelberg also sought to gain acceptance for Mahler’s music in New York. There, however, he encountered the same critical resistance and an audience whose appreciation grew only slowly. In the contemporary international culture surrounding Mahler, Mengelberg deserves a place of honor as one of the pioneers who helped disseminate the composer’s music.

Willem Mengelberg’s archive preserves, among other items, his conducting scores; these are distinguished by colorful annotations containing a wealth of detailed instructions regarding his approach to performance. Moreover, many of these scores also bear markings and notes made by Mahler himself—tangible, visible evidence of the bond between the two men.

Frits Zwart