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Title
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[Autograph, black ink, on brown
paper front wrapper:] Heft III Nro 3 / [non-autograph [Weidig]
on blue paper shield:
Scheiden und Meiden / [autograph:]
Hohe Lage: G-dur / Tiefe
Lage : F-dur /[non-autograph [another hand], purple ink at bottom of wrapper:]
251853 |
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Date |
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[5-9
Nov. 1891] |
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Calligraphy |
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Ink [copyist:
Ferdinand Weidig]; additions and revisions in brown ink and
pencil, and corrections in red
crayon by Mahler; house editor's annotations, additions,
deletions and casting-off in
pencil (see the notes below). |
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Paper |
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A = brown paper (wrapper) |
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B = 12 staves (spaced for song), no maker's
mark, upright format, 345 x 271 (r=293½) |
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Manuscript structure and collation |
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Single bifolio and a
single leaf (stub of the conjugate of fol. 3 glued onto 4r) stitched in a brown paper wrapper
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A |
1r = front wrapper
(see above for transcription) |
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1v = blank |
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B |
2r = bb. 1–14 |
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2v = bb. 15–33 |
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B |
3r = bb. 34–51 |
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3v = bb. 52–65 |
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B |
4r = bb. 66–81 |
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4v = blank |
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A |
5r = blank |
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5v = blank |
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Provenance |
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Purchased at Sotheby's, 10 May 1984, lot 101 |
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Facsimiles |
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Complete colour facsimile |
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Select Bibliography |
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SWXIII/5 , x–xi. (This edition was prepared before the
discovery of the autograph of the high-voice version of the song
(AVh)). |
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Notes |
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This manuscript was one of the batch prepared
by Weidig for dispatch to Schott as printer's copies for the
engraving of the first edition of the collection. Why he 'almost
certainly' (SHNSS,
52) used
AVh (notated in G major, the key of
the published high-voice version) and not
AVc (where the song is in F major, the key used for the
published low-voice version) as his source is puzzling since he
used the latter when making the copies of other songs in the
collection.[1]
There is a somewhat similar situation in the case of
Selbstgefühl: in AVc, the only known autograph source,
the song is notated in F major, but Weidig's copy (ACV14)
is in G major: again these are the keys used for the low- and
high-voice versions respectively. Whatever the reasons behind
these anomalous features of the copying process, it is unlikely
that they were directly connected with the provision of high and
low transpositions: in two cases, Phantasie and Aus!
Aus!, Mahler was happy to supply a copy that was in neither
of the two keys he had selected for the published editions, and
to leave the transpositions to staff at either Schott or (less
likely) the
printers, Oscar Brandstetter.
Identifying the identity of the authors of
individual annotations is not always a clear-cut process: it
might be considered that most of the pencil annotations are by
the editorial team, with the notable exception of the a tempo
in b. 51 and the important revisions to the piano part in bb. 66–7,
which are presumably by the composer. |
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