Sieben Lieder, No. 5

„Ich bin der Welt abhanden gekommen‟ – AV5h

F-Pgm

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1

Here, as elsewhere in such descriptions, small numerals are used to identify the staves used.

Title

None, but has an autograph pencil note in the upper margin of fol. 1r: nach Es-dur transponiere[n]

Date

[17–22 August 1901]

Calligraphy

Ink, pencil (revisions and annotations)

Paper

18 staves, no maker's mark, upright format, no watermark, 328 x 255 (r=???)

Manuscript structure and collation

1 bifolioą

1r2–4

bb. 1–6

1r6–8

bb. 7–13

1r10–12

bb. 14–18

1r14–16

bb. 19–23

1v2–4

bb. 24–27

1v6–8

bb. 28–31

1v10–12

bb. 32–35

1v14–16

bb. 36–39

2r2–4

bb. 40–44

2r6–8

bb. 45–49

2r10–12

bb. 50–54

2r14–16

bb. 55–60

2v3–5

bb. 61–66

2v7–9

b. 67

Provenance

Gift from Mahler to Justine Rosé (1868–1938); bequeathed by her to her son Alfred Rosé (1902–1975); bequeathed by him to Henry-Louis de La Grange (1925–2017); now part of the Collection de La Grange-Fleuret, Foundation de France (on deposit at the Médiatčque Musicale Mahler)

Facsimiles

Online colour facsimile; GMIBW, 82; GMHOE, 137 (b&w); SMMRC , 392–393

Select Bibliography

FDLG, 3; MFCMC, p. 32; GMIBW; SHCoI; SHGoI; SWXIII/4, Ms I, p. xv; SWXIV/4, Ms I, p. xv

Notes

This is a carefully prepared and elegant manuscript. The rhythmic and metrical organisation of the song had been largely finalised, except for b. 15. This was a 2/4 bar in the second short score draft (SS52), but Mahler now expanded it to a 6/4 bar to incorporate an instrumental anticipation of the vocal line in b. 16. However, after Mahler had adopted this new reading in the full score (AF5h), Alma had copied the new version (ACF5h) and Emil Zöphel had prepared a transposed manuscript copy (ACV5m), Mahler, first in pencil and later in ink, revised AV5h to revert to the original reading in SS52 (see SHGoI, 27) and the three later scores (AF5h, ACF5h and ACV5h) were adjusted accordingly. This reversion to the shorter reading of b. 15 was clearly made at a late stage, possibly after the first two performances.

The paper used in this manuscript is of poor quality, and was not one of Mahler's preferred papers manufactured by Jos. Eberle & Co. There is evidence that Mahler had been short of suitable paper at the start of the his 1901 vacation and this paper may be of the same type as that used for the autograph voice and piano fair copy of „Ich atmet' einen linden Duft‟ (AV4) but the latter has been carelessly trimmed, so more detailed comparisons are needed. Nevertheless, the quality of the paper alone suggests that the present manuscript was prepared before Mahler returned to Vienna, where he would have had easy access to better quality music stationery.

The conjectural dating proposed above is framed by the completion date of the second draft of the song (SS2), 16 August 1901, and the likely date of Mahler's departure (23/24 August: see GMB2a, 285–8; GMSL, 253–5).