The Marriage: The Mahlers in New York [pre-order]


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Gustav and Alma Mahler arrived in New York City in 1907. He had been invited to lead the Metropolitan Opera; his glamorous wife accompanied him to the New World. His embattled American career places their legendary marriage in sharp relief. Nineteen years Gustav’s junior, Alma was his constant companion and occasional soul-mate, sometimes his muse, always his caretaker, a woman otherwise restless and unfulfilled. Her husband’s life was intensely interior, sporadically alert to others’ needs and desires.

Joseph Horowitz writes: “Every Mahler biography known to me is written through European eyes and recapitulates Mahler’s own ignorance of the New World – of the teeming musical life of Manhattan and Brooklyn. The Marriage is partly conceived as a corrective. It is in fact the first book-length treatment of Mahler in New York ever written.”

Fortified by decades of scholarship, Horowitz’s novel is set in a fin-de-siècle world music capital teeming with fabled personalities: Arturo Toscanini, whose Italian juggernaut displaced Mahler at the Met; Olive Fremstad, the Maria Callas of her day;  James Gibbons Huneker, described by his protégé H. L. Mencken as a “veritable geyser of unfamiliar names, shocking epigrams in strange tongues, and unearthly philosophies”; the dapper Otto Kahn, an anomalous Jew among the Metropolitan Opera boxholders, who played cards with Enrico Caruso and pursued the company’s most fetching sopranos.

As The Marriage illuminates, there are things to be learned about Gustav and Alma that cannot as readily be observed in Vienna or Budapest as in Manhattan. Horowitz writes: “Mahler was a great personality and, when circumstances permitted, a great man. He arrived in America weakened and fatigued. His energy and idealism were aroused by the New World, but fitfully . . . he remained a chronic outsider. Gustav Mahler was not really cut out to be music director of an American orchestra, sensitive to the needs of a cultural community, its scribes, audiences, and benefactors. He had bigger things to do.”

Advance praise

Horowitz is a master of what I would call “passionate scholarship.” He has a stake in what he writes. There is a lot of very sensitive skin in his game. As a literary writer he is at heart the free-spirited scholar he has been for decades; his prose frames in precise words the psychological ambiguities of personalities no less than the nu- ances of musical compositions or performances. His deep historical knowledge blends with his narrative imagination to bring to life the sounds, the smells, the physical textures, the very air his characters breathed: Gustav and Alma Mahler are, at the same time, accurate historical portraits and haunting literary presences.
– Antonio Muñoz Molina, Winner of the Jerusalem Prize

Despite his emotions having so often been on show, there has al- ways been something enigmatic and unknowable about Gustav Mahler. But where biographers and other musicologists have struggled, Joseph Horowitz succeeds brilliantly in revealing the inner Mahler in this powerful and moving novel. It is a triumph of historical imagination.
– Richard Aldous, author of Tunes of Glory: The Life of Malcolm Sargent; Eugene Meyer Professor of History and Culture, Bard College

If we want to get closer to the “truth” of Mahler and his music, if we hope to improve our understanding of the person and his creations, we need to acknowledge the role our imagination must play in the learning process. In the case of Mahler, the essential facts have long been known. What we need now are fresh attempts to conceive what further truths they might contain. Joseph Horowitz’s brilliant novel reveals much to us about who Mahler was, what he accomplished, and how he related to his world. Readers will be as eager to study it as they would any biography, and they can expect to learn as much.
– Charles Youmans, Author of Mahler and Strauss: In Dialogue (2016); editor of Mahler in Context (2021); Professor of Musicology, Penn State University

Joe Horowitz’s The Marriage portrays Mahler with more power and poignancy than anyone else ever has. Set in a spider web of New York City wealth, power, and intrigue, the writing is so profoundly personal, so searingly intimate, that it is sometimes pain- ful to read – to get that close to Mahler and his wife Alma – “the most beautiful woman in Vienna.” I found myself unable to resist reading passages several times. This is a book for people who love Mahler and long to know him intimately (and there are millions) – a truer, more human Mahler than we have ever before encountered. Alma is also fabulously drawn, with all her love and antip- athy towards her husband.
– JoAnn Falletta, Music Director, the Buffalo Philharmonic Orchestra

Persuasive and fair. It is refreshing to see this chapter of Gustav Mahler’s biography from an American perspective, written by someone not automatically biased in favor of Europe.
– Karol Berger, Author of Beyond Reason: Wagner contra Nietzsche; Osgood Hooker Professor in Fine Arts, Stanford University

Joseph Horowitz’s eleven previous books mainly deal with the history of classical music in the United States. Understanding Toscanini: How He Became an American Culture-God and Helped Create a New Audi- ence for Old Music (1987) was named one of the year’s best books by the New York Book Critics Circle. Wagner Nights: An American His- tory (1994) was named best-of-the-year by the Society of American Music. Both Classical Music in America: A History of Its Rise and Fall (2005) and Artists in Exile: How Refugees from Twentieth Century War and Revolution Transformed the American Performing Arts (2008) made The Economist’s year’s-best-books list.

In tandem with his Dvořáks Prophecy and the Vexed Fate of Black Classical Music (2021), Horowitz produced six “Dvořák’s Prophecy” films for Naxos. His current “More than Music” radio documentaries for National Public Radio, heard bi-monthly via the daily newsmagazine “1A,” are an outgrowth of this activity. His forthcoming book, The Propaganda of Freedom: JFK, Stravinsky, Shostakovich, and the Cultural Cold Warrior, will deal with the cultural Cold War. The larger topic of all these activities is the role of the arts (today embattled) in American history and society.

Horowitz has served as a New York Times music critic, as Executive Director of the Brooklyn Philharmonic Orchestra, and as director of Music Unwound, a national consortium of orchestras and universities funded by the National Endowment of the Humanities. His website is His blog is

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