Despite the key role played by Alma Schindler Mahler-Werfel (1879–1964) in the preservation of her husband Gustav’s compositions and biography, she has often been viewed as having deliberately distorted his legacy. As sometimes happens to the widows of accomplished men, Alma’s capacity for sound judgment and right to control her image have been challenged by her husband’s devotees. This article considers Alma’s situation in terms of the #MeToo movement’s demand for the reevaluation of sexual politics between powerful men and younger women. Fundamental to this reconsideration is the imperative to listen to what individuals say about their experiences. Alma was nearly twenty years Gustav’s junior and pregnant when their marriage was hastily arranged. I explore key elements in their relationship, such as the devastating letter in which Gustav forbade her to compose, in terms of new conceptualizations of gaslighting, grooming, consent, character assessment, and believability articulated by the #MeToo movement. This theoretical foundation grounds extensive critique of both the conventions of fin-de-siècle Vienna and the chauvinism of late twentieth-century scholars. I conclude by briefly proposing an alternative perspective on Alma’s musical contributions based on her writings, compositions, and editorial, organizational, and curatorial activities. The revision of assumptions about one of Europe’s most famous musical couples has gained urgency since #MeToo began to articulate a new perspective on gender relations and artistic aspirations founded on social justice.

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