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Title
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None |
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Date |
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[6 June–12 July 1901] |
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Calligraphy |
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Ink, but with copious pencil
annotations |
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Paper |
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26 staves, no maker's
mark, upright format, watermark not recorded,
350 x 271 (r=302) |
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Manuscript structure and collation |
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1 fol.: 1r = bb. 1–84; 1v = bb.
110–170 |
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Provenance |
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This sketch was
one of those mentioned by Bauer-Lechner (NBL2,
195):
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Als Zeichen unseren besten
Übereinstimmung in dieser Ferien schenkte er mir die
Skizzen aller seiner heurigem Lieder. |
As a token of
our best rapport during this holiday he gave me the
sketches of all his recent songs.¹ |
It was subsequently listed in both of the
inventories of her collection of Mahler manuscripts prepared
after her death in 1921.² |
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Facsimiles |
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None traced |
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Select Bibliography |
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SWXIII/2b,
Sk, 186;
NKGXIII/2b,
Sk, 190 |
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Notes |
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The use of upright paper
for such a draft is unusual: the physical characteristics of
this paper are ostensibly very similar to two folios of 26-stave
paper used by Mahler in the autograph full score of the Third
Symphony (AF):
for an Einlage (1st movement, fol. 8) and a paste-over
(on fol. 138r of the 6th movement). (A less similar example of
26-stave paper is to be found in a copyist's score of the Second
Symphony, prepared by Ferdinand Weidig (ACF2)).
Further comparisons would be needed to confirm these
similarities, but even if this were to be the case, it appears that Mahler
never had a large stock of this paper. It is therefore
worth noting this is not the only instance of Mahler in the
summer of 1901 using a paper that he rarely or never used in
other manuscripts: the autograph piano-vocal score of „Ich
atmet' einen linden Duft‟ (AV4m) and
the composition draft of the first of the Kindertotenlieder
(S1)
both use different 18-stave papers, neither of which has been traced (so far) in any other Mahler manuscripts.
In many ways the sketch
for Der Tamboursg'sell is quite rudimentary, and on 1v,
although laid out on three-stave systems, there is no
independent vocal line: the text has merely been written in
above the accompaniment. At the foot of the page Mahler has
copied out the last two stanzas from his text source, the
edition prepared by Robert
Boxberger:
| Gute nacht, Ihr
Marmelstein Ihr Berg und Hügelein
und Hügelein
Gute Nacht, Ihr Offizier
Korporal und Musketier!
und Musketier. |
Gute Nacht, Ihr Offizier Korporal und Grenadier
und Grenadier.
Ich schrei mit heller Stimm
vom euch ich Urlaub nimm
Ja Urlaub nimm! |
Originally the whole song was
notated in D minor: the pencil annotation C-mol [sic]
in the margin at the top of 1v reflects Mahler's revised
tonal plan for what became the medium-voice version. Similarly, the occasional references to 'Trommel'
indicates that an orchestral version was probably envisaged
from the start. The conjectural dating proposed above is based on the
date of Mahler's arrival in Maiernigg and that of the
composition draft in short score (SS2m).
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