16 staves, no maker's mark, upright format, 325 x 250 (r not recorded)

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.

Stephen Hefling has argued that this manuscript (AVh) predates the autograph version that appears in the large collection of his songs that the composer probably prepared in the summer of 1891 (AVc); and that it was 'almost certainly'  used as the copy text by Ferdinand Weidig when preparing the manuscript (ACV12) in November 1891 to be sent to Schott for use as the printer's copy (SHNSS, 52). Why Weidig (working under Mahler's supervision) used the earlier manuscript (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 for dispatch to the publishers.[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 the anomalous features of the copying process of these two songs, it is unlikely that they were directly connected with the provision of high and low transpositions: in two other cases, Phantasie and Aus! Aus!, Mahler was happy to supply Schott with 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.