This article investigates the genesis, programming patterns, and transnational impact of the series of early music concerts (Historische Concerte) performed on the occasion of the Viennese International Exhibition of Music and Theater of 1892. Guido Adler was the co-organizer of those concerts, and this article will focus on the impact of this set of twelve historical performances on Adler’s epistemological perspective. Through this case study, I also aim to reassess the intersections between the history of monumental music editing and the historically informed musical practices in the context of international events at the turn of the twentieth century.

19th century; Adler, Guido; Böhm, Josef; Cecilian movement; Denkmäler der Tonkunst in Österreich (DTÖ); Early music programming ; Hermann, Albert Ritter von; Historical concerts; International Exhibition of Music and Theater (Vienna 1892); Joachim, Amalie; National monumental editions

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Musicologica Austriaca: Journal for Austrian Music Studies

Exploring Music Life in the Late Habsburg Monarchy and Successor States