Sieben Lieder – Manuscripts

This page lists only surviving autograph and non-autograph manuscript sources (including those that have been offered for sale in recent years but whose whereabouts are currently unknown) and lost sources that have been documented or whose existence can be inferred from other sources. However it remains unclear when and how many manuscript copies were produced, but at a minimum copies in three formats – CV, CF and CO – would have been required for the rehearsals and first performances of nos 1–6, in January and February 1905 and were presumably used later as the printer's copies. The following source descriptions attempt to summarise the most likely scenarios for each of the songs.

The order (and hence the numbering) in this listing follows that adopted on the passe-partout title pages used for the editions of individual songs issued by Kahnt from 1905 („Liebst du um Schönheit‟ was added as no. 7 in 1907) until the early 1920s. When, in 1916–17, compilation volumes were published they adopted the order 4, 7, 3, 5, 6, 1, 2.

In two cases, „Ich bin der Welt abhanden gekommen‟ and Um Mitternacht, Mahler certainly produced versions for both high and medium voice and it is also possible that Mahler prepared or supervised a medium-voice transposition of the piano-vocal version of Revelge in 1905–06, although, if so, no manuscript sources have been located (see the notes on PV1m1). In the years following Mahler's death Kahnt commissioned further transpositions so that by 1917 all seven songs were available for high, medium and low voice: the sigla suffixes h, m, and t are used to differentiate sources by voice range in the following list.

h = D minor; m = C minor; t = B minor

[AV1]

[June–July 1899]

Not located

Autograph piano-vocal score

[AF1h]

[July 1899]

Not located

Autograph full score

ACF1h

[1899–1902]

US-NYp Bruno Walter Papers JOB 85-8 Locked case

Copyist's full score for high voice, with autograph annotations [Stichvorlage for PF1h1]

[CV1h]

[1899–1902]

Not located

Copyist's piano-vocal score for high voice [Stichvorlage for PV1h1]

[CO1h]

[1904–05]

Not located

Copyist's set of orchestral parts used for the first performances (see PO1h)

[CV1m]

[1905–06]

Not located

Copyist's piano-vocal score for medium voice [Stichvorlage for PV1m1]

CF1t

[1917–18]

A-Wn L17.IGMG.53 Mus

Arrangement for low voice and orchestra (Max Puttmann) [Stichvorlage for PF1t1]

CV1t

[1916]

A-Wn L17.IGMG.54 Mus

Arrangement for low voice and piano (Max Puttmann) [Stichvorlage for PV1t1]

h = E minor/D minor; m = D minor/C minor; t = C minor/B minor

AWr2

[6 June–August 1901]

D-Mbs Mus.ms. 22740

Ex coll. Emil Freund. Later used as a wrapper for the scherzo (numbered 2. Satz) of the Fifth Symphony

S2m

[6 June–12 July 1901]

US-NYpm Lehman Deposit M214.D441

Sketch in D minor. Ex coll. Natalie Bauer-Lechner

SS2m

12 July 1901

D-Mbs Mus.ms. 22752

Complete draft in short score. Ex coll. Emil Freund.

[AV2m]

[1901–?]

Not located

It is not quite certain that an autograph of the piano-vocal score in D minor-C minor existed.

ACV2m

[1904–5]

A-Wn L17.IGMG.58 Mus

Copyist's medium-voice piano-vocal score [Stichvorlage for PV2m1]

AF2m1

[13 July–August 1901]

D-Mbs Mus.ms 22751

Autograph full score draft of the first version (medium voice). Ex coll. Emil Freund.

AF2m2

[1901–1904]

US-NYpm Lehman Deposit M214.D441

Autograph full score of the second, revised version

ACF2m

[1904]

A-Wn L17.IGMG.57 Mus

Copyist's full score [Stichvorlage for PF2m1]

[CO2m]

[1904–05]

Not located

Copyist's set of orchestral parts used for the first performances [see PO2m]

CF2h

[1916–17]

A-Wn L17.IGMG.55 Mus

Arrangement for high voice and orchestra (Max Puttmann) [Stichvorlage for PF2h1]

[CV2h]

[1916]

Not located

Arrangement for high voice and piano (Max Puttmann?) [Stichvorlage for PV2h1]

CF2t

[1916–17]

A-Wn L17.IGMG.56 Mus

Arrangement for low voice and orchestra (Max Puttmann) [Stichvorlage for PF2t1]

[CV2t]

[1916]

Not located

Arrangement for low voice and piano (Max Puttmann) [Stichvorlage for PV2t1]

h = A major; m = F major; t = E major

[S3]

[6–14 June 1901]

Current location unknown

Sketches (with Kindertotenlieder 4: SS4). Ex coll. Natalie Bauer-Lechner?

SS3m

14 June 1901

A-Wn Mus.Hs.4365 Mus

Complete composition draft. Ex coll. Natalie Bauer-Lechner.

[AV3m]

[after 14 June 1901]

Current location unknown.

Autograph piano-vocal score. Ex coll. Emilie Bittner.

ACV3m

[c. 1–8 March 1905]

A-Wn L17.IGMG.27 Mus

Copyist's piano-vocal score by Josef Strohs [Stichvorlage for PV3m1]

AF3m

[1901]

US-NYpm Lehman Deposit M214.L716

Autograph full score

ACF3m

[1902–5]

A-Wn L17.IGMG.28 Mus

Manuscript full score copied by Alma Mahler [Stichvorlage for PF3m1]

[CO3m]

[1904–5]

Current location unknown

Copyist's set of orchestral parts used for the first performances [see PO3m]

CF3h

[1916–18]

A-Wn L17.IGMG.39 Mus

Arrangement for high voice and orchestra (Max Puttmann?) [Stichvorlage for PF3h1]

[CV3h]

[1916–17]

Not located

Arrangement for high voice and piano (Max Puttmann?) [Stichvorlage for PV3h1]

CF3t

[1916–17]

A-Wn L17.IGMG.40 Mus

Arrangement for low voice and orchestra by Max Puttmann [Stichvorlage for PF3t1]

[CV3t]

[1916–17]

Not located

Arrangement for low voice and piano (Max Puttmann?) [Stichvorlage for PV3t1]

No. 4: „Ich atmet' einen linden Duft‟

h= F major; m = D major; t = C major

S4m

[6–9 June 1901]

A-Wn Mus.Hs.41954 Mus

Pencil sketch, lacking opening. Ex coll. Natalie Bauer-Lechner

SS4m

9 June [1901]

A-Wn Mus.Hs. 41955

Composition draft in short score

AV4m

[after 9 June 1901]

D-Mbs Mus.ms. 6565

Autograph piano-vocal draft. Ex coll. Bernhard and Bella Panzer.

AF4m

[1901]

D-Mbs Mus.ms. 20862

Autograph full score

ACF4m

[1902–3]

A-Wn L17.IGMG.26 Mus

Manuscript full score copied by Alma Mahler [Stichvorlage for PF4m1]

[CO4m]

[1904–5]

Current location unknown

Copyist's set of orchestral parts used for the first performances [see PO4m]

ACV4m

[1904–5]

A-Wn L17.IGMG.25 Mus

Piano-vocal score copied by Josef Strohs [Stichvorlage for PV4m1]

CF4h

[1915]

A-Wn L17.IGMG.35 Mus

Arrangement for high voice and orchestra (Max Puttmann) [Stichvorlage for PF4h1]

CV4h

1915

A-Wn L17.IGMG.34 Mus

CF4t

[1919]

A-Wn L17.IGMG.36 Mus

Arrangement for low voice and orchestra (unidentified arranger) [Stichvorlage for PF4t1]

CV4t

[1916]

A-Wn L17.IGMG.33 Mus

Arrangement for low voice and piano (Max Puttmann) [Stichvorlage for PV4t1]

No. 5: „Ich bin der Welt abhanden gekommen‟

h= F major; m = E major; t = D  major

S5h

[6 June–15 August 1901]

US-NYpm Cary 51

Incomplete sketch. Ex coll. Natalie Bauer-Lechner?

SS5h1

[6 June–15 August 1901]

US-NYpm Cary 51

Complete autograph draft. Ex coll. Natalie Bauer-Lechner?

SS5h2

16 August 1901

US-NYpm Cary 51

Complete autograph draft

AV5h

[17–22 August 1901]

F-Pgm

Autograph piano-vocal score

AF5h

[1901–1902/3]

US-NYpm Lehman Deposit M214.L7161

Autograph full score. Ex coll. Guido Adler.

[CV5h]

[1904–05]

Not located and probably never prepared

Copyist's piano-vocal score for high voice [see ACV5m]

ACF5h

[1902/3?]

A-Wn L17.IGMG.29 Mus

Incomplete copyist's full score for high voice prepared by Alma Mahler [Stichvorlage for PF5h1]

[CO5h]

[1904–5]

Not located and possibly never prepared

Copyist's set of orchestral parts [see PO5h]

ACV5m

[1905]

A-Wn L17.IGMG.30 Mus

Copyist's piano-vocal score prepared by Emil Zöphel [Stichvorlage for PV5m1]

[AF5m]

[January 1905]

Not located

Autograph full score of the medium-voice version

CF5m

[1905]

A-Wn L17.IGMG.32 Mus

Copyist's full score prepared by an unidentified copyist [Stichvorlage for PF5m1]

[CO5m]

[1905]

Current location unknown

Copyist's set of orchestral parts used for the first performances [see PO5m]

CF5t

[1916]

A-Wn L17.IGMG.41 Mus

Arrangement for low voice and orchestra (Max Puttmann) [Stichvorlage for PF5t1]

[CV5t]

[1916]

Current location unknown

Arrangement for low voice and piano (Max Puttmann?) [Stichvorlage for PV5t1]

No. 6: Um Mitternacht

h= B minor/major; m = A minor/major; t = G minor/major

The history of the transpositions of this song is unusual: the draft of the song (SS6) and the autograph full score (AF6) are in B minor/major, a key not used in any of the published versions. It is also worth noting how few manuscript sources for this song have been located. On the basis of the currently available evidence, it appears that Mahler may not have included any manuscripts of this song in his gift to Natalie Bauer-Lechner towards the end of August 1901: none are listed in the inventories of her collection of Mahler autographs.

SS6

[5 June–10 August 1901]

A-Wst MH 11380/c

Autograph draft in B minor/major. Ex coll. Wilhelm Legler

AF6

[1901–1904?]

A-Was

Autograph full score in B minor/major. Ex coll. Arnold Schoenberg.

AV6h

[1901–1904 or
 1905–1908]

F-Pgm

Autograph piano-vocal score. Ex. coll. William Ritter.

[CV6h]

[autumn 1904–1905]

Current location unknown

Copyist's piano-vocal score for high voice (possibly with autograph revisions) [Stichvorlage for PV6h1]

[ACF6h]

[autumn 1904–1905]

Current location unknown

Copyist's orchestral score for high voice (probably with autograph revisions) [Stichvorlage for PF6h1]

[CO6h]

[autumn 1904–1905]

Current location unknown

Copyist's set of orchestral parts for high voice [Stichvorlage for PO6h]

ACV6m

[January 1905]

A-Wn L17.IGMG.31 Mus

Copyist's piano-vocal score for medium voice prepared by Emil Zöphel [Stichvorlage for PV6m]

[ACF6m]

[January 1905]

Current location unknown

Copyist's orchestral score for medium voice [Stichvorlage for PFm1]

[CO6m]

[January 1905]

Current location unknown

Copyist's set of orchestral parts for medium voice [Stichvorlage for PO6m1]

CF6t

[1915–16]

A-Wn L17.IGMG.43 Mus

Arrangement for low voice and orchestra (Max Puttmann) [Stichvorlage for PF6t1]

CV6t

[1916]

A-Wn L17.IGMG.42 Mus

Arrangement for low voice and piano by Max Puttmann [Stichvorlage for PV6t1]

No. 7: „Liebst du um Schöhnheit‟

h= E major; m = C major; t = B major

Mahler's voice and piano version was published in March 1907, but he made no orchestral version of this song: the arrangements were undertaken c.1916–17 by Max Puttmann. The first (semi-public) performance of the song was apparently given on 8 February 1907: it is possible that one or two manuscript copies of the song (medium voice) were prepared for the baritone, Anton Moser and his unidentified accompanist, but it is more likely that they were using early page proofs.

No printed orchestral parts have been located; they may have been autographiert (i.e. printed by lithography transferred from writing) directly from Puttmann's orchestral scores, so no putative manuscript parts sets are listed here.

AV7m

20 June–c.7 August 1902

F-Pgm

Autograph piano-vocal score. Ex. coll. Anna Mahler.

[CV7m]

[1906]

Current location unknown

Copyist's piano-vocal score for medium voice [Stichvorlage for PV7m]

[CV7h]

[1906-7]

Current location unknown

Copyist's piano-vocal score for high voice [Stichvorlage for PV7h1]

CV7t

[1916]

A-Wigmg N/Rü 2t/31

Arrangement for low voice and piano [Stichvorlage for PV7t]

CF7h

[1916]

A-Wn L17.IGMG.37 Mus

Arrangement for high voice and orchestra (Max Puttmann) [Stichvorlage for PF7h]

CF7m

[1916-early 1917]

A-Wn L17.IGMG.38 Mus

Arrangement for medium voice and orchestra (Max Puttmann) [Stichvorlage for PF7m]

[CF7t]

[1917]

Current location unknown

Arrangement for low voice and orchestra (Max Puttmann) [Stichvorlage for PF7t]

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