A Cartoon of Mahler


  Sieben Lieder, No. 2

Der Tamboursg'sell – S2m


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During the vacation they had briefly resumed their physical relationship (GKIB, 22).




The other 1901 song sketches included in the inventories were:

Ich atmet' einen linden Duft. Sieben Lieder S4

• 'Blicke mir nicht in die Lieder'. Sieben Lieder  SS3m

• 'Wenn dein Mütterlein'. Kindertotenlieder [S1]





  [6 June–12 July 1901]


  Ink, but with copious pencil annotations


  26 staves, no maker's mark, upright format, watermark not recorded, 350 x 271 (r=302)

Manuscript structure and collation

  1 fol.: 1r = bb. 1–84; 1v = bb. 110–70



This sketch was one of those mentioned by Bauer-Lechner (NBL2, 195):

Als Zeichen unseren besten Übereinstimmung in dieser Ferien schenkte er mir die Skizzen aller seiner heurigem Lieder.

As a token of our best rapport during this holiday he gave me the sketches of all his recent songs.¹

It was subsequently listed in both of the inventories of her collection of Mahler manuscripts prepared after her death in 1921.²


  None traced

Select Bibliography

  SWXIII/2b, Sk, 186; NKGXIII/2b, Sk, 190



The use of upright paper for such a draft is unusual: the physical characteristics of this paper are ostensibly very similar to two folios of 26-stave paper used by Mahler in the autograph full score of the Third Symphony (AF): for an Einlage (1st movement, fol. 8) and a paste-over (on fol. 138r of the 6th movement). (A less similar example of 26-stave paper is to be found in a copyist's score of the Second Symphony, prepared by Ferdinand Weidig (ACF2)). Further comparisons would be needed to confirm these similarities, but even if this were to be the case, it appears that Mahler never had a large stock of this paper.  It is therefore worth noting this is not the only instance of Mahler in the summer of 1901 using a paper that he rarely or never used in other manuscripts: the autograph piano-vocal score of „Ich atmet' einen linden Duft‟ (AV4) and the composition draft of the first of the Kindertotenlieder (SS) both use different 18-stave papers, neither of which has been traced (so far) in any other Mahler manuscripts.

In many ways the sketch for Der Tamboursg'sell is quite rudimentary, and on 1v, although laid out on three-stave systems, there is no independent vocal line: the text has merely been written in above the accompaniment. At the foot of the page Mahler has copied out the last two stanzas from his text source, the edition prepared by Robert Boxberger:

Gute nacht, ihr Marmelstein

Ihr Berg und Hügelein

und Hügelein

Gute Nacht, ihr Offizier

Korporal und Musketier!

und Muskitier.

Gute Nacht, if Offizier

Korporal und Grenadier

und Grenadier.

Ich schrei mit heller Stimm

vom euch ich Urlaub nimm

Ja Urlaub nimm!

Originally the whole song was notated in D minor: the pencil annotation C-mol [sic] in the margin at the top of 1v reflects Mahler's revised tonal plan for what became the medium-voice version. Similarly, the occasional references to 'Trommel' indicates that an orchestral version was probably envisaged from the start. The conjectural dating proposed above is based on the date of Mahler's arrival in Maiernigg and that of the composition draft in short score (SS2m).

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© 2007 Paul Banks | This page was lasted edited on 31 March 2021