A Cartoon of Mahler

 

  Sieben Lieder, No. 5

„Ich bin der Welt abhanden gekommen‟ – ACF5h

 

A-Wn L17.IGMG.29 Mus

 

Sieben Lieder – Manuscript sources

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Title

  [Alma Mahler, violet ink:] „Ich bin der Welt abhanden gekommen‟ / (von Rückert) / [unidentified hand, black ink:] G. Mahler / [pencil, possibly autograph:] original hoch
Date
  [1902/3?]

Calligraphy

  Copyist, Alma Mahler: violet ink, bar lines ruled in pencil; with annotations by Mahler (black ink) and staff of C.F. Kahnt and Oscar Brandstetter: purple and lead pencil

Paper

  16 staves, J.E. & C  / N  4 / 16 linig., upright format, no watermark, 340 x 264 (r=279)

Manuscript structure and collation

  3 fol.:
 
1r Title page
1v blank
Graphic representing a single bifolio 2r bb. 1–6
2v bb. 7–14
3r bb. 15–21
3v bb. 22–27

Provenance

 

Supplied to C.F. Kahnt under contract; transferred to A-Wigmg (signature: N/Rü 4h/11); placed on loan at A-Wn in 2007.

Facsimiles

  Colour facsimile: GKIB, 85–90

Select Bibliography

  GKIB; SWXIII/4, StV II (F), p. xvi; SWXIV/4, StV II (F), p. xvi; RKGMK, 163–4

Notes

 

Alma's currently incomplete copy of Mahler's autograph full score (AF5h) was probably written in 1902 or 1903, and its original reading of bar 15 was a 6/4 measure. However, later – after Emil Zöphel had prepared a manuscript piano-vocal score for medium voice (ACV5m), probably in January 1905, that also used the long form of bar 15 – Mahler, first in pencil and later in ink, revised his autograph piano-vocal score (AV5h) to revert to the original, shorter form of the bar found in SS52 (see SHGoI, 27): the three later scores (AF5h, ACF5h and ACV5m) were subsequently adjusted accordingly. This reversion to the shorter reading of b. 15 was clearly made at a late stage, possibly after the first two performances.

In the meantime, in January 1905 it was decided that the first performance, on 29 January, would be sung by a baritone, Friederich Weidemann and a transposed piano-vocal score (ACV5m) and orchestral score and parts (ACF5m, [CO5m]) were quickly prepared. The new medium-voice score differed from the F major version in a number of respects, some of the changes no doubt being introduced during rehearsals. However, when it was decided to publish the song in both keys, no attempt was made to incorporate new readings from the newly transposed score into Alma's copy, which, unaltered, was used as the printer's copy for the engraving of the first edition of the high-voice orchestral score (PF5h1). The plate number of 4474, was added to both 1r and 2r, along with 4475, the number assigned to the orchestral parts for this F major version. On fol. 1r, left-hand upper corner, an oval stamp: Musikalien-Verlag / C. F. Kahnt / Nachfolger / LEIPZIG; below this, in pencil (unidentified hand): Zum Stich; a reference number, 56897  in blue pencil in an unidentified hand appears in the top right-hand corner. At the foot of the page a label has been pasted on: [unidentified hand, ink:] Alle Rechte vorbehalten / [printed:] Eigenthum des Verlegers für alle Länder / C. F. Kahnt Nachfolger, Leipzig.

The manuscript probably originally consisted of 6 folios, perhaps arranged thus:

 

Graphic representing a single bifolio forming a wrapper, enclosing two stacked bifolios

1r Title page
1v blank
2r bb. 1–6
2v bb. 7–14
3r bb. 15–21
3v bb. 22–27
4r bb. 28–34
4v bb. 35–42
5r bb. 43–50
5v bb. 51–56
6r bb. 57–63
6v bb. 64–67
 

At what date the missing folios were lost cannot be determined at present, but presumably it was after the engraving had been completed; at some point the surviving leaves were folded in half vertically.

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© 2007 Paul Banks | This page was lasted edited on 16 October 2021