The Mahler Revival of the early 1960s, a movement galvanized by the centenary of the composer’s birth, bears scrutiny for the diverse ways in which the renewed interest shaped the reception of his music. The term “revival” perhaps overstates the case, as Mahler’s name was by no means unknown in the first half of the 1900s: performances of his music occurred, albeit infrequently; most works had been recorded; editions had been published and were still available; and the composer had been the subject of several biographies. The new elements, surveyed here, include an unprecedented intensity of activity in three specific areas: recordings, particularly full cycles, first by Bernstein but soon followed by Solti, Karajan, Haitink, Inbal, Chailly, and others; lectures and published research, here again spearheaded by a clear leader, Adorno, but with a substantial body of secondary (and far less notorious) figures; and new editions, most importantly, the Gesamtausgabe begun in 1959.