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Title
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None |
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Date |
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Undated [c. 29 March
1894] |
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Calligraphy |
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Ink, pencil |
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Paper |
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28 staves, Joh. Aug.
Böhme, Hamburg. No. 20., no watermark, upright format, 355 x 268–270¹ (r = 279), black staves on cream |
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Manuscript structure and collation |
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1 fol.:
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1r1–2 |
blank |
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1r3–5/7–9/10–13 |
26 bars,
ink draft of bb. 472–93 |
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1r10–11 |
after b.
493, a faint sketch in pencil headed aus dem I Satz:
≈ bb. 135–36 of the first movement |
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1r14
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blank |
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1r15–17/18–20/21–23 |
24 bars,
ink draft of bb. 512–35 |
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1r23–24 |
6 bars, ink draft of an unused
continuation of bb. 512–35 |
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1r25 |
1 bar, pencil sketch of a variant to
the 4th bar of the continuation |
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1r26–27 |
5 bars, pencil sketch of an
alternative for b. 3ff. of the continuation |
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1r28 |
blank |
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1v |
blank
except for (a) [blue crayon:] Mahler and (b) evidence that the verso
was glued to a support of some sort |
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Provenance |
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Ex coll. Mrs
Charles F. Adler, Vienna; offered for sale at
Sotheby's, London, 29/30 November 1993, lot 420;
purchased by Gilbert Kaplan |
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Facsimiles |
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Fol. 1r is reproduced in the
Sotheby's catalogue, p. 156;
DM2, p. 282;
GKMRC, frontis.
(colour facsimile)
and p. 27 (colour, with transcription by Stephen Hefling) |
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Select Bibliography |
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DM2, p. 281;
GKMRC, passim. |
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Notes |
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For an account of the composition of the finale, see the notes
to
S5.1. It is very possible that this is the
manuscript Mahler was working on when J.B. Foerster called on
him after the
funeral of Hans von Bülow on 29
March 1894 (JBFDP, 405):
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Ich öffne die Tür und sehe ihn am Schreibtisch
sitzen, das haupt ist gesenkt, die Hand hält die Feder über
Notenpapier. Noch stehe ich in der Türe. Mahler wendet sich um
und sagt: „Liebe Freunde, ich hab's!” ... Klopstocks Gedicht,
das wir am Vormittag aus Kindermünden vernommen haben, wird die
Unterlage für den Schlußsatz der Zweiten Symphonie sein. |
I opened the door, and saw him
sitting at the writing desk, head bent, hand holding
pen over manuscript paper. I remained standing at
the door. Mahler turned and said: 'Dear friend, I've
got it!'...Klopstock's poem which we heard this
morning in the mouths of children, will be the basis
of the finale of the Second Symphony. |
The draft continuation of bb. 512–35 on 1r23–27 does
not correspond to the final version, and incorporates a variant
of the E major theme from the first movement (I, bb. 48ff.) and
a reference to Urlicht (bb. 23–24): Stephen Hefling
provides a detailed account of the drafting process documented
by this sketch in
GKMRC,
pp. 13–24. This
was not the earliest sketch for the finale: towards the end of
his 1893 vacation Mahler made an unsuccessful attempt to begin
work on the finale as he reported to Natalie Bauer-Lechner (NBL2,
28;
HLG1,
276 (revised)):
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Mahler sagte mir: „Läst du mir die
Tücke des Objects statt des 4/4 Taktes, den ich zum
vierten [sic] Satz brauche, jetzt lauter 3/4 Takte
einfallen, mit denen ich nichts zu tun anfangen kann!“ |
Mahler said: 'Things have a nasty
will of their own. Instead of ideas in 4/4, which I
need for the fourth [sic] movement, I now have only
ideas in 3/4 time, with which I can do nothing!' |
No sketches
have been identified that might date from this phase of
work, and, indeed, it is by no means certain that Mahler
bothered to notate the unusable musical material that was
welling up in his mind.
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