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The precise date of this manuscript copy
is not known but clues can be adduced from a collation of it
with the other surviving early manuscripts, AV5h,
[17–21 August 1901],
AF5h
(US-NYpm) [1901–1902/3],
ACF5h
(A-Wn) [1902–3] and
CF5m
[1905] (see the
working paper for details). This
process suggests that
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as the annotation 'nach Es-dur
transponiere[n]' on AV5h
implied might be the case, Zöphel used
that manuscript as his copy text for the transposition;
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that Zöphel
originally copied the 6/4 form of bar 15 (see the notes to
AV5h for a discussion of this passage and its late revision),
and the reversion to the earlier and shorter 2/4 form of the bar
was a later revision to ACV5m
made by March 1905 at the latest;
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that there are annotations in
ACV5m,
mainly in the vocal part, that are consistent with the score
being used for rehearsal purposes: some of these are
probably in the hand of a singer (Weidemann?), but others
may be autograph;
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that another layer of corrections and
additions (presumably by staff at C.F. Kahnt) indicate that
the medium-voice full score
(ACF5h)
was taken as the definitive text, and that
its readings were incorporated into the voice and piano
version,
ACV5m.
Whatever its early history, the manuscript was certainly used as the printer's copy for the
engraving of the first edition (PV5m1),
and the casting-off is clearly marked in pencil.
At the top of fol. 1r, there is a note (presumably
by a member of editorial staff at C.F. Kahnt) in pencil:
1) Stechen
in der Tonart – 2) eine zweite Ausgabe / einen Ton höher
– nach F-Dur transponieren /
This situation is
paralleled in the the case of Um Mitternacht, the only other song in the set to
be published in two keys in 1905: again no manuscript piano-vocal score
for high voice has been located, and the printer's copy for
the medium-voice piano-vocal score (ACV6m) has a similar
note:
1)
Ausgabe wie steht – 2) Ausgabe einen ganzen Ton / höher
also: /
 C /
Original in H-Moll
The implication appears to be that the necessary
transpositions of both songs would have to be made in-house.
On fol. 1r of ACV5h Mahler noted in
blue pencil Original in F-Dur. Two numbers are also recorded on
fol. 1r: 4473 (the plate number for the first edition of the F major piano and
voice score (PV5h1))
in pencil,
and 56895/6 (a reference number that probably relates to
the engraving and/or printing process) in blue pencil;
fol. 1v bears the number 4480 (the plate number of the
first edition of the E
major piano and voice score,
PV5m1)
written in red pencil. These annotations all suggest that Mahler did
not supply a separate manuscript copy of the F major version for
voice and piano,
and that ACV5m
probably served as the in-house reference copy for both
transpositions.
At some date this manuscript was folded
vertically and horizontally.
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