1r = bb. 1–19

1v = bb. 20–35

2r = blank

2v = blank

Possibly a gift from Mahler to Ernestine Schumann-Heink (1861–1936); bequeathed to Pomona College (one of the colleges that make up Claremont Colleges, California) in 1938.

This manuscript has not been examined: the physical description is from SHNSF. It is a fair copy that shows no evidence of use, supporting Stephen Hefling's view (SHNSF) that the manuscript may have been donated to Schumann-Heink by Mahler, though the possibility that she acquired it by another route cannot be excluded. Its date cannot be established with any certainty: a high-voice version must have existed by the time of its (first?) performance on 18 April 1886 at a concert in Prague: it was to have been sung by Katherina Rosen, but she was indisposed, and was replaced by Betty Frank (1860 or 1864–after 1912).[1]  However, Stephen Hefling points out that AVh is written on the same paper as a recently discovered autograph of Scheiden und Meiden and concludes that the two manuscripts 'are therefore almost certainly contemporaneous' and 'were written between July 1887... and November 1889' (SHNSS, 52), so it seems possible that they were prepared for use by Bianca Bianchi for her performances with Mahler in Budapest on 13 November 1889.

A comparison of the facsimiles of AVh and AVc emphasises that although both are fair copies, there are notable differences, chiefly:

• AVh adopts the high voice key of G major; in AVc Mahler initially notated the key signature of G major and then  immediately revised it to that of F major. Whether thereafter Mahler was transposing as he wrote, or copying from an existing (but now lost F major manuscript) cannot be determined.

• Articulation and phrasing in the piano part of AVh2 are specified in much less detail than in AVc: perhaps Mahler only intended the former for his own use or for use by a singer. It is worth recalling that on 18 April 1886 he accompanied a performance of the song by the soprano Betty Frank, replacing an indisposed Katherina Rosen,[1] at a concert in Prague: Mahler would have needed to prepare a high-voice copy for Rosen ahead of the event.

• In bar 7, the vocal line of AVh sets a version of the text close to Leander's original, but AVc Mahler alters both the text ('mit den Zweigen' is replaced by 'mit Zweigen') and the vocal contour, readings that are adopted in the published versions:
   

  

  Fig. 1

  Mahler: Frühlingsmorgen, AVh, bb. 4–8

   

  

  Fig. 2

  Mahler: Frühlingsmorgen, AVc, bb. 4–11
   

• In two other important instances a reading in AVh differs from AVc but agrees with that of the first edition (c.f. the variant readings listed in SWXIII/5, viii):

  • b. 9: AVh includes two notes omitted from the piano rh in AVc
  • b. 12: in AVc the pitch of the 5th quaver, rh, lower part, is erroneously written as f'; according to AVh and the first edition it should be a'.

The missing copy of the song by Weidig, [ACV] would undoubtedly offer some clues about how its text was arrived at, especially in these three passages, but in its absence the conjectural stemma for the volume tentatively proposes that Mahler or Weidig may have drawn on an earlier (and now unlocated) low-voice autograph manuscript of the song [AVt1] and/or AVh2 to clarify various passages in AVc (though other scenarios are certainly possible).

Variant readings:

 

Bar	System	Reading	AV2h	AVc	PV
1	pf	nicht eilen	N	N	Y
3	lh	slur	N	Y	Y
4	rh	staccato dots	N	Y	Y
4		poco rit on 1st quaver	Y	N	N
4–5	rh	lower part: slur	Y	N	Y
5	lh	staccoto dots	N	Y	Y
6		a tempo	Y	Y	N
6–7	rh	slurs	N	Y	Y
6–18	lh	slurs	N	Y	Y
7	v	semi-quavers on last beat	N	Y	N
8	lh	natural for last semi-quaver	N	N	Y
9	rh	lower notes of 1st beat omitted	Y	N	Y
	v	cautionary accidental	N	N	Y
	lh	accidental for lowest note	N	N	Y
10	rh	slur and staccato dots	N	Y	Y
11–12	lh	arppegiation added	N	N	Y
11	rh	slurs omitted	N	Y	Y
12	lh	staccato dots omitted	Y	N	N
12	rh	f2 not g2	N	Y	N
13		poco rit.	N	N	Y
13	pf	hairpins replaced by accents	N	N	Y
14		rit.	N	N	Y
	pf	2nd beat:	ppp	pp	nil
15	pf	1st beat	nil	>	ppp
16.1	pf	pp	Y	N	Y
	pf	ohne nachschlag	N	N	Y
	pf	a tempo	N	N	Y
16	rh	slur over upper part or below alto	over	over	below
17	pf	pp	(Y)	Y	N
17	rh	slur over upper part or below alto	over	none	below
18	rh	slurs omitted	N	Y	N
18–19	lh	slurs omitted	Y	N/Y	N
20–21	lh	slurs omitted	N	Y	N
20	v		p	pp	p
21	lh	low A	N	N	Y
22–23	pf	harpins	N	Y	N
24–5	pf	arpeggiation	N	N	Y
25	pf	hairpin	N	N	Y
26	pf	p	N	N	Y
	pf	ped.	Y	N	Y
28	pf	hairpin	N	Y	N
33–34	pf	slur	Y	N	?
34			ppp	pppp	ppp