Gilbert Kaplan

Gilbert Edmund Kaplan (March 3, 1941 – January 1, 2016) was an American businessman and financial publisher.

He was also an aficionado of the music of Gustav Mahler, and an amateur conductor of Mahler's Symphony No. 2.

Kaplan was born at French Hospital in New York City on March 3, 1941, and grew up in Lawrence on Long Island.

He studied at Duke University, and earned a bachelor's degree from The New School for Social Research.

He later studied at New York University School of Law.

In 1963, Kaplan took a job as an economist with the American Stock Exchange, at a salary of $15,000 per year.

Kaplan's interest in Mahler's Symphony No 2 dated back to 1965.

Kaplan founded the magazine Institutional Investor in 1967.

In 1981, he began tutelage in conducting with Charles Zachary Bornstein.

He rented Avery Fisher Hall in New York for his public conducting debut in 1982, leading the American Symphony and the Westminster Symphonic Choir.

Originally, the orchestra had requested that no reviews be published, but Leighton Kerner of The Village Voice breached this requested embargo with a positive review of this performance.

Subsequently, Kaplan conducted Mahler's Symphony No 2 in over 100 live performances over the remainder of his life.

He established the Kaplan Foundation, dedicated to scholarship and the promotion of the music of Gustav Mahler.

Kaplan owned the autograph manuscript of Mahler's score of his Second Symphony and published a facsimile edition of the score in 1986.

Tim Page wrote in The New York Times: "Only now will musicians, scholars and the general public be able to own a facsimile manuscript of one of the composer's symphonies."

After personal research, he twice recorded Mahler's Second Symphony: with the London Symphony Orchestra in 1987, and with the Vienna Philharmonic in 2002.

Mahler's Second Symphony was the only complete work he conducted in public, although he did separately record the Adagietto from Mahler's Symphony No. 5 in a studio recording.

He was publisher of the magazine until 1990, and editor-in-chief for two more years, although he sold it in 1984.

The New York Times reported: "The price was never disclosed but was rumored to be about $75 million."

Kaplan's conducting attracted criticism and praise, most controversially at his December 2008 New York Philharmonic performance.

Steve Smith wrote in The New York Times of this concert:

"That Mr. Kaplan is no professional conductor was immediately apparent. Square-shouldered and stiff, he indulged in no flamboyant gymnastics. He conducted from memory, beating time proficiently and providing cues as needed. Only in a few passages, like the pages of heavenly bliss just before the first movement's tempo-sostenuto conclusion, did a curl of the lip suggest that he was swept up in his work.

His efforts were evident throughout a performance of sharp definition and shattering power.

From the acute punch of the opening notes, every detail of this huge, complex score came through with unusual clarity and impeccable balance.

Every gesture had purpose and impact, and the performance as a whole had an inexorable sweep.

... It seems likely that no one is better equipped to reveal the impact of precisely what Mahler put on the page."

David Finlayson, a trombonist of the New York Philharmonic who performed at this concert, offered a different perspective:

"Having not previously heard either of Mr. Kaplan's two recordings of the symphony, nor having seen him conduct, I came to our rehearsals with an open mind. My initial impression was that Mr. Kaplan displays an arrogance and self-delusion that is off-putting. As a conductor, he can best be described as a very poor beater of time who far too often is unable to keep the ensemble together and allows most tempo transitions to fall where they may. His direction lacks few indications of dynamic control or balance and there is absolutely no attempt to give phrases any requisite shape. In rehearsal, he admitted to our orchestra that he is not capable of keeping a steady tempo and that he would have to depend on us for any stability in that department. Considering his Everest-sized ego, this admission must have caused him great consternation upon reflection. Mahler's wonderful use of the off stage brass in the fifth movement gave Kaplan much tribulation.

One would think that after more than fifty performances of the work, even the most plebeian of conductors would have some understanding of how to bring together musicians that are separated by great distance.

In the performance, these haunting moments of the symphony slipped away like some wayward musical slinky.

I have to take extreme exception to the many reviews I have read of his performances.

Some critics have written that he brings the finest details of the work to the surface.

If his past performances were anything like ours, Mr. Kaplan excels in ignoring the blizzard of Mahler's performance direction.

Much has been written about Mr. Kaplan's passion for Mahler's great symphony as if this emotion is unique to him.

This assertion is an insult to all professional musicians who have dedicated their entire lives and have sacrificed much toward the preservation of all the great works of history's finest composers.

A facsimile of this manuscript was published by the Kaplan Foundation in 2015.

Both manuscripts were, at one time, on deposit at the Morgan Library & Museum in New York City.

He was co-editor of the new critical edition of the Second Symphony as part of the Complete Critical Edition of Mahler's works.

On 29 November 2016, the manuscript was sold at auction for £4,546,250, a record for any music manuscript at the time.

He also owned one of Mahler's batons and the autograph manuscript of Mahler's song, "Ich bin der Welt abhanden gekommen", part of the Rückert-Lieder.