|  | Opera Project (1888)  
			
			
				| Title
				
 |  
				|  | Unknown |  
				| Date |  
				|  | [c.1888] |  
				| Scoring |  
				|  | Unknown |  
				| Duration |  
				|  | Unknown |  
				| Manuscripts |  
				|  | See notes below |  |  
				| Printed Editions |  
				|  | 
		None |  |  
				| Notes |  
				|   | 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. | 
							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. |  
							| 
							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. |  
				| Select Bibliography |  
				|  | NBL2, 190; 
				NBLE, 
				170–71; 224–25;  
				HLG1, 
				715–6; 
				
				HLG1a, 332, 480;
				HLG1F, 
				927;
				
				DM2, 259–60; 
				SWXIII/2b, 
				133–37. |  |