A Cartoon of Mahler

 

 

Symphony No. 2

Autograph full score – AF2

 

Current location unknown

 

Fascicle structure

 

 

 

 

 

 

 

 

Title

  [None]
Date
  [End of 1st movement:] Son̄tag 29. April 94. / renovatum.
  [End of 5th movement:] Beendigt am / Dienstag, den 18. Dezember / 1894 / zu Hamburg.

Calligraphy

  Autograph: black, brown, violet ink, with bar lines ruled in pencil; revisions in violet ink, pencil, blue crayon, red crayon. Weidig and Hermann Behn: pencil

Paper

  A 28 staves, Joh. Aug. Böhme, Hamburg. No. 20., no watermark, upright format, 350 x 268 (r= 279–280), grey stave lines
  B 24 staves, no maker's mark, no watermark, upright format, 350 x 270 (r= 306), grey stave lines

Manuscript structure and collation

  120 folios. The basic fascicle structure is of stacked bifolia:

I: 15 bifolia

II: 7 bifolia + 2 single sheets

III: 14 bifolia

IV: 2 bifolia

V: 21 bifolia + 1 single sheet

Use the links in in the left-hand column to navigate to a more detailed account of the manuscript and its fascicle structure. 

Provenance

 

Alma Mahler, 1911 (as part of the composer's estate); gift to Willem Mengelberg, 1920; Willem Mengelberg Stichting, Amsterdam, 1951 (after Mengelberg's death; deposited in N-DHgm in 1982); Gilbert Kaplan, 1984 (purchase), on loan to US-NYpm as part of the Gilbert Kaplan Collection; sold at Sotheby's (London), 29 September 2016.

Facsimiles

  Complete document, GMS2Fac

[106r], Philharmonia Edition, No.395 (Vienna: Universal Edition, 1973), frontis.; KBME, pl. 131

Select Bibliography

  DM2, 269; HLG1F, 1017; GMS2Fac, passim.; SWIIb II, 117ff. (source Aut); NKGII.2, 28–31, 117–20 (source Aut)

Movements

 

1. Maestoso. Mit durchaus ernstem und feierlichem Ausdruck

 

2. Andante con moto  Graphic: quaver= 92 M.M.

 

3. Ersten Takte: Graphic: dotted crotchet= 52 übergehend in ...Graphic: dotted crotchet= 58 [b. 9]

 

4. „Urlicht”  Sehr feierlich aber schlicht

 

5. Im Tempo des Scherzo[.] Wild herausfahrend!

Notes

 

The order of the inner movements evolved in 1893–4 and it is not certain when the final sequence was established (click here for an overview). In AF2 only Urlicht is numbered in ink: '4'. The remaining movements are all numbered in blue crayon (certainly later additions) and the fascicle structure is such that the Andante and Scherzo could have been in reverse order when the manuscript was originally prepared, and placed in their present sequence only at a later date; however, the fascicles were in the final order when the pencil foliation was supplied. The first three movements were once bound (presumably to keep them together during preparations for the partial premiere on 5 March 1895): many, if not all of the threads are in place, so the sheets may have been trimmed in the binding process; they are now disbound. The last two movements show no evidence of binding.

There are no rehearsal numbers in this score, except in the fourth and fifth movements where they are added in autograph blue crayon (presumably because ACF1 (which was the most up-to-date manuscript of movements 1–3 and already included rehearsal numbers) served as the source for the first three movements in ACF2 and/or [CO], but the last two movements had to be copied from AF2, so the numbers were added in the latter, prior to copying).

The opening of the third movement lacks the striking introduction for two sets of timpani which was added in 1895, though some faint pencil annotations adumbrate the final version (see the description of the autograph timpani part (AO) for an account of the evolution of this passage). The annotations at the end of the  movement in AF2 are notable, implying that Mahler may have contemplated adding a coda.

In the last movement only there is a series of pencil annotations, probably in the hand of Hermann Behn, that appear to be an attempt at casting off the music for printing (see the notes on the fascicle structure for details). However the proposed layout clearly does not refer to a full score (for example, the first annotation, 'S.1 (15)' indicates that the first page would contain 15 bars), but initially does broadly (but imprecisely) mirror the layout adopted for the printed version of Behn's two-piano arrangement (PT2p41). The notes may therefore have been made while he was working on the now lost manuscript of that arrangement.

   
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© 2007 Paul Banks | This page was lasted edited on 04 March 2019