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Opera Project (1888)
Title
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Unknown |
Date |
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[c.1888] |
Scoring |
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Unknown |
Duration |
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Unknown |
Manuscripts |
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See notes below |
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Printed Editions |
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None |
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Notes |
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In conversation with Natalie
Bauer-Lechner in the summer of 1901 Mahler recalled plans for an
opera in the late 1880s (NBL2,
190;
NBLE,
170–1):
Mahler erzählte mir, daß er in
Leipzig nach Vollendung der „Pintos‟ mit Weber, auf
Wunsch und Anregung von dessen Frau, eine schreiben
wollte, wozu er also Text Weber folgenden Gegenstand
vorschlug und Punkt für Punkt entwarf: Ein Soldat
wird auf dem Wege zum Galgen durch ein Mädchen,
dessen tiefste Teilnahme er erregt, nach
mittelalterlicher Sitte der Strafe frei, indem sie
ihn vor Volk und Richtern zum Manne begehrt. Der
Trauerzug löst sich in einen Jubelzug auf und
jauchzend wandert man heim. Aber der trotzige junge
Bursch kan die Schmach nicht verwinden, daß er dem
Erbarmen des Mädchens, für das sich auch seine Liebe
tief zu regen beginnt, sein Leben verdankt, und das
steigert sich zu einem so unerträglichen Konflikt in
ihm, daß er das Geschenk der Freiheit und ihre Hand
züruckweist und erklärt, liebe sterben wollen. Die
Lösung hätte der letzte Akt bringen sollen dur das
heiße Flehen und Liebesgeständnis des Mädchens.
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Mahler told me that in Leipzig, after
finishing Pintos with Weber, and at the
request and urging of the latter's wife, he had
wanted to write an opera of his own. He therefore
suggested the following subject to Weber, outlining
it in detail. A soldier on his way to the gallows is
– according to medieval custom – spared the death
penalty when a girl, whose deepest sympathy he
inspires, claims him as a husband before the people
and the judges. The funeral cortege turns into a
jubilant procession and everyone returns home happy.
But the stubborn young fellow cannot bear the shame
of owing his life to the pity of a girl whom he, in
turn, is beginning to love. His inner conflict
becomes so intolerable that he rejects her gift of
freedom and marriage, declaring he would rather die.
The last act was supposed to bring about the
resolution of the matter with the girl's ardent
pleading and confession of love.
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Nun war aber diese Vorgang von Weber
sogleich verändert worden: er mengte eine frühere
Liebe und Geliebte des Burschen ein, wodurch Mahlers
Absicht ganz gestört wurde, so daß er die Sache
alsbald aufgab. |
Weber, however, had immediately
altered this simple story. He introduced an earlier
love and sweetheart of the young man which
completely destroyed Mahler's conception, so that he
soon afterwards gave up the plan. |
„Der Schildwache Nachtlied‟ blieb als
erster Versuch davon übrig, dem Mahler wieder sein
Bekanntschaft mit „Des Knaben Wunderhorn‟ verdankte,
die für ihn so bedeutsam wurde. |
Der Schildwache Nachtlied
remains as the best draft from it, to which Mahler
owed his renewed acquaintance with Des Knaben
Wunderhorn, which was to become so significant
for him. |
The whole plot, as remembered by Mahler, with its tragic soldier
and selfless maid, is redolent of the imagined medievalism of
Des Knaben Wunderhorn, and in its funeral-turned-wedding
march would have offered the opportunity for a
characteristically Mahlerian musical juxtaposition. But Mahler's
swift response to Max von Weber's proposed addition shows how
serious the underlying theme – of the transformation and
redemption of a man through the love of a woman – was to him.
Another anecdote
about what may be the same project, was retold by Max Marschalk
in 1896, probably on the basis of information provided by the
composer (MMGM):¹
Mahlers unruhiger Geist duldete ihn
nicht lange in Leipzig. Eines Tages erwachte der
Wandertrieb in ihm, wiederum ohne ein anderes
Engagement zu haben, ging er zum Director und bat um
seine Entlassung, die ihm auch gewährt wurde. Er
wollte nach München, um dort eine schon längst
begonnene Oper, deren Text von ihm selbst herrührte,
zu vollenden. |
Mahler's restless spirit did not
permit him to stay long in Leipzig. One day the
wandering spirit awoke in him and, although without
any other engagement, he went to the Director and
asked for his release, which was granted. He wanted
to go to Munich to complete there an opera begun
some time before, based on a libretto of his own. |
After a
dispute with Albert Goldberg, an Oberregisseur (one
of two) at the Leipzig Stadttheater, Mahler had offered his
resignation, and it was accepted on 17 May (CBMiL,
299ff.). Apart from a brief spell during August 1888 when he
was rehearsing and conducting
Die drei Pintos and rehearsing Der Barbier von
Bagdad in Prague,² Mahler was unemployed until he was
approached to take over the running of the Royal Opera in
Budapest in late September (ZRGMH,
22ff.). During this professionally unsettled time, Mahler
twice visited Munich, in June or July, so Marschalk's report
is not entirely implausible.³
However, one detail in the anecdote as reported by
Bauer-Lechner is apparently contradicted by surviving
documents. Mahler's letters to Justine
(e.g.
GMLJ,
216;
GMLJE,
153) clearly
indicate that it was in January 1892 that he 'rediscovered' Des
Knaben Wunderhorn and
the earliest dated
manuscript of Der Schildwache Nachtlied
is a piano-vocal draft dated 28 January 1892. Moreover, neither
this autograph, nor, more importantly, the earlier incomplete
sketch of the song have any indications (character names,
stage directions) of an operatic origin. As Renate Stark-Voit
suggests, the reference to this song in the anecdote appears to
be either the result of a misunderstanding, or a reference to a
different sketch of a setting of a similar or related text (SWXIII/2b,
133); possibly, one might conjecture,
Zu Straßburg auf der Schanz', for which an
incomplete autograph
orchestral score survives.
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Select Bibliography |
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NBL2, 190;
NBLE,
170–71; 224–25;
HLG1,
715–6;
HLG1a, 332, 480;
HLG1F,
927;
DM2, 259–60;
SWXIII/2b,
133–37. |
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