Title

Calligraphy

Paper

The three machine-cut edges all shown traces of red colouring; the torn edge does not; the corners of what would have been the fore-edge are rounded. The staves are ruled continuously across what would have been the centre fold of each folio.

Manuscript structure and collation

1r1–2 = 3½ bars of an unidentified work in A major (possibly the continuation of 2v1–3)

1v1–2 = 4 bars deleted in red crayon (= VII5 bb. 526–9)

2r1–2 = 4 bars deleted in ink (cf. main theme of VII1, used in VII5)

2r4–6 = 4 bars deleted in ink (= VII5, bb. 517–20)

2r7–9 = 5 bars deleted in ink (= VII5, bb. 521–25)

2v1–3 = 5½ bars of an unidentified work in A major (possibly continued on 1r1–2)

2v4–5 = 6 bars of an unidentified work in A major, with ossias/alternative continuations on 2v6–8

2v6–8 = 3 bars of an unidentified work in A major

Provenance

Facsimiles

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Notes

It is by no means certain that these were originally conjugate leaves, though they seem to have been attached to one another using sellotape at some point in their history: unfortunately the pattern of tearing (and the sellotape marks) do not now appear to quite match up. Nevertheless, the description given above assumes that they were so connected, or were at least adjacent leaves in a sketchbook not least because of the possibility that the system 2v1–3 was continued on 1r1–2 (i.e. with the bifolio or sketchbook opening opened out and used as a single sheet when the unidentified work was sketched).

The order in which the leaves are described above reflects the probable arrangement when the leaves were taped together. The conjectural date is based on the inclusion of material used the first and last movements of the Seventh Symphony.