Symphony No. 5 – Printed Editions

The Stichvorlage for the full score was ACF, received by C.F. Peters on 14 October 1903. Two sheets of advance proof pages, presumably intended as samples showing layout and other features of the proposed house style, were sent to Mahler on 3 November and were returned to Leipzig later that month.

The first proofs of Part I were sent to Mahler on 21 January 1904; Part II was due to follow in eight days time, and Part III about three weeks later. Mahler returned the corrected proofs of Part I by 27 or 28 January and Parts II and III (probably separately) by 20 February 1904 (EKGF, p. 99, fn 15/1). Mahler was impressed by the care and professionalism of Paul Schäfer, the Peters proof-reader.

Title Page: None present

Wrapper: [Handwritten on cream label fixed to dark blue paper wrappers; vol. I: ] Mahler / Symphonie Nọ 5. / Partitur: I Satz. [recte: Abteilung]. [Vol. II: ] Mahler / Symphonie No. 5 / Partitur: II. Satz [recte: Abteilung] / u. III

Analysis: Volume I: [no title page], [2]=Besetzung des Orchesters; 3–47=I; 48–117=II; volume II: 118–177=III; 178–182=IV; 183–251=V; [252]=blank.

Dimensions: 322 x c.265 (r =  234; plates c.294–6 x 220)

Printing method: single-sided proofs pulled from engraved plates

Edition number: none present    Plate number: 8951

Copies: A-Was SCO M 23

The first pages of the first four movements are all stamped: C.G. Röder / Leipzig / [date] / Notenstecherei. The relevant dates are:

Movement 1: [...] FEB 04;

Movement 2: 12 FEB 04;

Movement 3: 27 FEB 04;

Movement 4 [i.e. III Abteilung]: -5 MRZ 04.

The second proofs of Part I were sent to Mahler at the end of February 1904, followed by Part II on 1 March and the rest about eight days later. Mahler returned Parts I and II on 12 March (p. 86 was then missing from the set, though it is now present) and the rest by 21st of the month. Mahler had requested third proofs: Henri Hinrischen felt these were probably unnecessary, but agreed.

Mahler's corrections are in red, orange, blue crayon and pencil; there are also engraver's annotations in red ink and black pencil. Apart from corrections, the proofs also contain Mahler's modest revisions (mostly dynamics and phrasing) and estimates (in pencil) of the playing time of the five movements:

In the first movement, pp. 34–39, there is an autograph paste-over transposing the C-clarinet part to D (there was apparently also a corresponding slip p. 33 that is now absent) – a change that was never made on the original plates, but was indicated in a footnote. There are rather fewer autograph revisions in the second movement, and the in-house editor appears to have been very competent. Mahler made no corrections in the last three movements.

Copies: not located

A set of second proofs was sent in batches to Otto Singer who prepared the piano duet arrangement: the first batch probably arrived in mid February. Reporting completion of the arrangement of that batch Singer noted that the proofs were 'certainly not free of errors'.

Copies: not located

Mahler repeated his requested for the third proofs on 29 March 1904, explicitly so that he could mark in bowing and fingering for the strings. There was some urgency now, because during Mahler's visit to Cologne to conduct the Third Symphony on 27 March (HLGIII, 671), he and Fritz Steinbach had discussed the possibility of a première at a Gürzenich Concert there in the middle of October.  The Gürzenich Orchestra was available for preliminary rehearsals under Steinbach in June, so the score and parts would need to be prepared by the first of the month.

It is not clear whether or when the third proofs were sent, but Mahler telegrammed Peters on 6 April announcing that they should expect 'corrections' (though he may have meant 'revisions') two days later.

Copies: not located

Fritz Steinbach, the conductor of the Gürzenich Orchester, was sent a set of Plattenabzuge (page proofs) of the score (together with a set of printed parts) on 6 June 1904 for use later that month during the preliminary rehearsals for the the première. It is not clear whether the score was a set of seconds or thirds. The score was probably still at Cologne at the beginning of October: on 3 October Hinrischen wrote to Mahler about arrangements for the first performance. He was unable to prepare a new set of corrected full score proofs in time, so he he suggested that Mahler might conduct from the study score he had already used for a run-through in Vienna (APS1). If this was not practical he proposed that Mahler ask Steinbach to return [PFpr] to Peters, where the revisions and corrections would be transferred from APS1 (EKGF no. 45). In fact Mahler was happy to conduct from the study score, so this latter suggestion was not taken up (EKGF no. 46).

Title Page: [Black, within pink decorative border:] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / PARTITUR. / Eigentum des Verlegers. / [short rule] / 8951. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Lith.Anst.v. C.G.Röder, Leipzig.

Wrapper: [Black, on green, within dark green rectangular border:] [within decorative shield] EDITION PETERS / [below shield] No. 3082. / MAHLER / Fünfte / Symphonie Partitur.

Analysis: [1]=tp; [2]=Besetzung des Orchesters; 3–47=I; 48–117=II; 118–177=III; 178–182=IV; 183–251=V; [252]=blank.

Dimensions: 335 x 264 (r =  240) [bound copy: GB-Lbl Hirsch]

Printing method: lithographic transfer from engraved plates

Hofmeister: xi.1904    Price: Mk 45 n.

Edition number: 3082    Plate number: 8951

Copies: A-Wph IV/49; D-B Mus. O. 3171 (not seen); GB-Lbl Hirsch M.1000 (bound copy, lacks wrappers); GB-Lpc (bound copy); US-NYpm 113742 (James Fuld Collection); US-NYph 444; US-Wc M1001.M21 no. 5 (date stamped 15.iii.1905)

After the reduced format study score (PS1) had been produced (issued in September 1904), the plates were revised prior to the printing and publication of the full score. The source for the revisions was presumably APS1, used by Mahler for a run-through, rehearsals and the première, which was returned to Leipzig on 1 November. He was sent one copy of the full score – which was presumably published at about this time –  on 23 November and another copy (together with Reger's Piano Quintet op. 64) on 26 November (EKGF no. 53, fn. 53).

Apart from major revisions to the orchestration, this second version removed the repeat of the first 147 bars of the second movement. C.G. Röder is referred to only on the title page, but was wholly responsible for the printing of the published material (see, for example, EKGF no. 28).

This score, now in the Universität für Musik und darstellende Kunst, Wien, was used by Mahler for the performance of the Symphony at Straßburg on 21 May 1905, and the associated rehearsals. Together with APO it was sent there by Peters, via the local music and piano dealer, S. Wolf.

Mahler's revisions are mostly in red ink and these were transferred to APO by a local copyist also working in red ink. The score also contains some autograph revisions in blue and brown pencil, probably made during rehearsals. Reinhold Kubik (SWV3, 344) has argued convincingly that at some time later in 1905 (most likely November) the revisions in APF1 were transferred by a (probably Viennese) copyist into three further copies of the full score, all of which were associated with subsequent performances of the work conducted by Mahler: APF2, CPF1, and APF3.

There is no indication when this score was given to Bruno Walter; it contains some pencil annotations in his hand.

This score, in the library of the Conservatorio Giuseppe Tartini in Trieste, was presumably used for  Mahler's performance of the work by the Orchestre Triestina on 1 December 1905. The flyleaf bears a pencil note: 'Schott / La sinfonia maledetta', the name being a reference to Enrico Schott of the Philharmonic Society in Trieste, who helped look after Mahler during his stay in the town.

According to Reinhold Kubik the revisions made in red ink using a fine nib are those transferred from APF1 by the Viennese copyist; the red ink changes made using a thicker nib are by Mahler. The blue and brown pencil markings were most likely made by him during the rehearsals, and some of the latter changes were probably made to accommodate the capability of the local orchestra (though Mahler reported it to be 'pretty reasonable, well prepared and full of enthusiasm and passion' (GMBaA, 268).

This score, in the library of the Koninlijk Vlaams Muziekconservatorium, was presumably used for the revision of the parts to be used at Mahler's performance of the work in Antwerp on 5 March 1906. According to Reinhold Kubik the revisions in red ink were transferred from APF1 by the Viennese copyist; there are no autograph annotations in this score.

Facsimiles: NSNC: pp. 2, 3, 41, 42, 43, 48, 149, 150, 178; GMWL, [I.135] = p. [2]; [I.136] = p. 133; MIA: p. 125

Select bibliography: SWV2 = EA 2b; SWV3 = M-Dp; SWGMF = M-Dp; pp. 67–83 (includes German translations of some of Mengelberg's annotations); RSGMWI, no. 50, p. 88 (with facsimiles of pp. 178–9 on pp. 86, 87); GMWL, I.34, I.37–8 (transcription and English translation of Mengelberg's annotations ); I.35, I.36 (colour facsimiles of the title page and  p. 133).

This score is now in the Nederlands Muziek Instituut. It is no doubt the copy that in October and November 1905 Mahler asked Mengelberg to return because he had made 'very extensive and important revisions' (GMB2, p. 302; GMSL, p. 287; see also ERGMH, letters 17, 20–23). The plan was for these to be entered into Mengelberg's score, from where they could be transferred to the set of parts to be used for the Amsterdam première, which Mahler conducted on 8 March 1906. (Mengelberg seems to have thought Mahler wanted his copy of the study score: Mahler pointed out that this had been superseded and did not contain the corrections included in both the full score and the printed parts.) The newly revised score (APF3) seems to have been returned to Mengelberg in early December (ERGMH, letter 24).

According to Reinhold Kubik most of the revisions in red ink are those transferred from APF1 by a Viennese copyist though there are also a few autograph red ink corrections and additional revisions.¹ The autograph blue and brown pencil annotations were presumably made during the rehearsals for the Amsterdam performance. Mengelberg's copious annotations (transcribed in GMWL, and discussed in SWGMF, 67–83) are concerned with historical, practical, interpretative and programmatic issues. Perhaps the most significant concern the status of the Adagietto as a love-letter from Mahler to Alma Schindler, which, according to Mengelberg, was disclosed to him by both the composer and the recipient (SWGMF, p.79).

Later, c. 12 September 1906, Mahler asked Mengelberg to send him his score once again, this time because Mahler wanted to enter the revisions he had made in APF3 into his own copy of the full score ([APF4]); Mengelberg must have responded quickly since Mahler was able to return the much-travelled copy on 15 October (ERGMH, letters 31, 33).

A stamp on the title-page indicates that this score was owned by the Concertbebouw-Gesellschaft: this has been struck through by Mengelberg, with the annotation: The score bears the note: New score [presumably CPF2] in the Concertgebouw in place of this one annotated by me (SWGMF, 69).

This important source was Mahler's own conducting score in the period 1905–07 and was the copy that indirectly acted as the printer's copy for the second edition of the full score issued posthumously in 1919 (PF2). Although its current location is unknown, it was last seen in Oxford in the 1940s and much is known about its history and contents from other sources. [? the latter seems to have been a study score with revisions copied in – see SWV₃ = Wellesz-Stp. See also the message from S. Werner.]

On 2 November 1905 Mahler wrote to Wilhelm Gericke, who he had heard was planning to perform the Symphony with the Boston Symphony Orchestra (in fact they gave four complete performances in all), and offered to have his recent revisions marked into Gericke's score so that they could be transferred to the parts. It seems likely that Gericke sent a copy of the study score, since on 9 December Mahler replied, pointing out that this publication had already been superseded, and offered to send Gericke his own full score with the revisions he had made for the Vienna première on 7 December. Mahler requested the swift return of the copy, which he needed for future performances. If this offer was accepted then the score was presumably dispatched shortly after the performance Mahler conducted in Breslau on 20 December and, to judge from his friendly letter of thanks for the performance, it must have arrived back in Vienna safely by late February (GMUB 64–5, GMUBE 62–3).

It was presumably this score that was used by Mahler in Rome on 1 April 1907 and kept with APO1 by Peters and this complete set that was used again by Mahler for the performance in St Petersburg on 9 November 1907 [EKGF letters 63–5]. In 1908, before his departure for New York, Mahler had the revisions he had marked in the score over the years copied by N. Forstig into a set of parts to be used by Ferdinand Löwe for a performance on 2 March 1909 ( .... see also SW3p. 350. However this may not have included Mahler's final thoughts on the work: see [APF5].

This score has corrections in red ink, all apparently in a copyist's hand, and some annotations by Willem Mengelberg, including some movement timings: I = 11 min., II = 13 min., III = 19 min. The score is stamped Concert Diligentia S'Gravenhage ... Eigentum van de Ned. Orchesterstichting. At some date Mengelberg apparently gave it [!] to the Concertgebouw in exchange for APF3.

This missing copy may have been the one in which Mahler entered his final revisions in 1910–11: if so, its disappearance probably represents a very serious loss is made evident by the comments made by Mahler in two letters:

To Emil Gutmann [December 1910-January 1911; GMUB2a, 425; GMSL, 370]:

To Georg Göhler [8 February 1911; GMUB2a, 463; GMSL, 372]

Wilkens argues this was the reference copy in which Mahler had cumulatively entered his revisions since 1904 (i.e. [APF4]) and Reinhold Kubik concurs, but it might have been a clean copy of PF1 used only for the 1910-11 revision, and Mahler's letter to Hinrichsen dated 1 June 1910 requesting a score and set of parts, would be consistent with such a scenario (see GMSL, 356–57, and  EKGF,  51). Whatever its origins, the score was presumably given to Georg Göhler by Alma Mahler, and passed on to C.F. Peters by him before 15.iv.1913 (EKGF letters 63–5).²  From this score the revisions were transferred into copies of PF1 (= [CPF3]), and PS1 ([CPS2])  (EKGF letter 94 and note (p. 109); see also [CPF3] below). However, neither [APF5] nor [CPF3], was used directly as the source for the preparation of PF2, but rather a revised copy of PS1 (probably [CPS2]).  The fact that the printed text of PS1 had been superseded by that of PF1 was overlooked so that, alongside Mahler's final revisions, many superseded readings from PS1 were reintroduced into PF2.

According to Erwin Ratz, [APF5] was in London in 1945, but its subsequent history remains unknown (GA EA2d).  However Mahler's revisions in this score were also copied into another copy of PS1 (= CPS1) by Egon Wellesz.

In a letter to George Göhler dated 12 December 1913 Paul Ollendorff of Peters reported that (EKGF, letter 94 fn 1):

It was the full score that was sent to Göhler in December 1913 and from which, presumably, he conducted the first performance of the revised version, in Leipzig on 9 January 1914.

It was probably these two scores that were are also referred to in a later letter (7 October 1919) from Peters to a music dealer, Adolf Stöppler of Wiesbaden, who had enquired about the availability of the work. The publisher's reply reported that the 'second version completed shortly before [Mahler's] death' was only available for hire, and there were only 'two handwritten' copies of the conducting score (EKGF, 15 and fn 67). In this context 'handwritten' is probably shorthand for 'with handwritten revisions'. [This may need expansion.]

Title Page: [Black, within pink decorative border:] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / PARTITUR. / Neue Ausgabe / Aufführungsrecht vorbehalten. / Eigentum des Verlegers. / 8951. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Druck v. C.G.Röder, Leipzig.

Wrapper: [Black, on green, within dark green rectangular border:] [within decorative shield] EDITION PETERS / [below shield] No. 3082. / MAHLER / Fünfte / Symphonie Partitur [rear wrappers, black on green = advert for Partituren; date code: 2/19]

Analysis: [1]=tp; [2]=Besetzung des Orchesters; 3–46=I; 47–115=II; 116–174=III; 175–179=IV; 180–246=V; [247–8]=blank.

Dimensions: 340 x 271 (r = 259)

Printer: Druck von C.G. Röder G.m.b.H., Leipzig [tp; the wrappers were printed by C.G. Naumann GmbH, Leipzig]

Printing method: lithographic transfer from engraved plates

Hofmeister: not listed

Edition number: 3082    Plate number: 8951

Copies: A-Wigmg; GB-Lpc; N-DHnmi Willem Mengelberg Stifting

Select bibliography: SWV2 = NA, p. [vi]; listed as a 'posthumous edition' but not assigned a siglum or described in SWV3; SWGMF: »Neue Ausgabe« der Dirigierpartitur [NA-Dp], pp. 109–124, 238–40; 260

Title Page: [Black, within pink decorative border:] Adagietto / aus der / fünften Symphonie / von / Gustav Mahler. / PARTITUR. / Aufführungsrecht vorbehalten / Eigentum des Verlegers. / 8951a. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Lith.Anst.v. C.G.Röder G.m.b.H., Leipzig.

Wrapper: ?

Analysis: [i]=tp; 178–182=music; [ii–iii]=blank.

Dimensions: 327 x 264 (r =  259)

Printing method: lithographic transfer from engraved plates

Hofmeister: xi. 1914    Price: M 3 n.

Edition number: 3496    Plate number: 8951

Copies: US-Wc M1001.M21 No.5E.

Mahler initiated the practice of performing this movement on its own in Rome on 1 April 1907. Presumably there had been or were expected to be enough (so far untraced) emulations for Peters to decide to issue the movement on its own. This publication was simply reprinted from original plates: even the pagination was retained. The Library of Congress records give 21 November 1914 as date of publication for the score and parts, and notes that the deposit copies of both were received on 19 January 1915.

Title Page: [Black, within pink decorative border:] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / PARTITUR. / (Dies Exemplar darf nicht zu Aufführung benutzt werden.) / Eigentum des Verlegers. / 9015. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Lith.Anst.v. C.G. Röder, Leipzig.

Wrapper: [pink paper, within rectangular border:] [within black oblong shield, reversed out:] EDITION PETERS / [black, below shield:] No. 3087 / [dark pink:] MAHLER / [black:] Symphonie No. 5 / Partitur

Analysis: [1]=tp; [2]=publisher's note; 3–47=I; 48–117=II; 118–177=III; 178–82=IV; 183–251=V; [252]=blank.

Dimensions: 276 x 190 (r=181)

Printing method: lithographic transfer from engraved plates

Hofmeister: ix.1904    Price: Mk 6 *n.

Edition number: 3087    Plate number: 9015

Copies: A-Wn MS39164-4°;  D-B Mus. Km 66 (not seen); GB-Lbl f. 671 (bound copy; copy described; red stamp: 29 OC 1906); US-Cra 4574(1);  online facsimile.

The production of the reduced-size lithographic printing surface for this publication must have been made before Mahler's revisions in the last set of proofs were added to the full size engraved plates, as he reports finding errors – which were correct in [PFpr] used by Steinbach for the preliminary rehearsals in July 1904 – while marking up a copy of PS1 in September 1904 (EKGF no. 41).

This first publication of the score, retaining the repeat of the first 147 bars in the second movement and an early form of the orchestration. Mahler was sent four copies of PS1 on 8 September 1904, and of these he probably retained three (the fourth was intended for Otto Neitzel) (EKGF, Nr. 34, fn. 3).

The publisher's note reads:

Aufführungen dieses Werkes sind nur statthaft mit dem vom Verleger genehmigten Material. — Zuwiderhandlung werden auf Grund der Gesetze verfolgt.
LEIPZIG, September 1904 C.F. PETERS.

The copy in the Chicago Symphony Orchestra Association Rosenthal Archives is particularly interesting as this appears to have been annotated by Frederick Stock (though not as extensively as was his usual practice), presumably in connection with the two performances he conducted there with the Theodore Thomas Orchestra in March 1907. The paper used in this copy appears to lack a watermark, so the copy may be an exemplar of an otherwise undocumented early impression. The orchestra also possesses a second study score (certainly an otherwise unrecorded impression) – see PS1b below - and a set of parts (see PO1).²

A-Wmk Teilnachlass Bruno Walter, B.W.II.38390

This was presumably one of the four copies Mahler received in early September 1904, and was used by him at the run-through with the Hofoper Orchester in Vienna between 17 and 26 September. On 28th Mahler returned this corrected and revised study score to Peters, in the hope that it could be used not only in the correction of the parts, but also in the preparation of a revised version of the full score (EKGF no. 41–3).  Since a revised set of full score proofs could not be prepared in time, Mahler was happy to follow Hinrischen's suggestion, and conducted the première from APS1. This score (together with a list of corrections to be made in the parts) was subsequently returned to Peters on 1 November and formed the basis of the final revisions to the full score and parts prior to publication later that month.

Apart from the corrections and revisions the copy also contains as a frontispiece, an autograph draft of an orchestral list; a similar list was printed in the first and second editions of the full score, but not in subsequent re-issues of the study score.

When the score came into the possession of Bruno Walter is not clear, but he made a few annotations in pencil, including some timings. On the flyleaf he notes ' 63 Min. reine Musik / 3 Min nach II, 3 Min. nach III = 69 gesamt.' Durations are also included at the end of individual movements: I = '12', II = '13½–14', III = '15–15½', IV = '7½', V = '14'. SWV3 p. 343 speculates that these might relate to Mahler's rehearsals or the first performance; this is possible (Walter arrived in time for the Generalprobe (GMBaA/GMBaAE, no. 110)), but since Mahler would have been using this score, it seems unlikely that Walter could have entered them directly at the time.

During his visit to Hamburg in March 1905 Mahler was in touch with Hermann Behn (GMBaA/GMBaAE, nos 131–2), and gave him this copy of the study score inscribed Meinen lieben Freunde Hermann Behn / am Tage unseres freudigen Wiedersehens / 10 März 1905 / Gustav Mahler. This may have been one of the four copies sent to Mahler in September 1904 (see APS1).

Behn attended Mahler's Generalprobe for the Hamburg première, on 12 March 1905 and made notes about the durations of the movements and the pauses between them (from SWV2, p. [iii]):

Title Page: [Black, within pink decorative border:] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / PARTITUR. / (Dies Exemplar darf nicht zu Aufführung benutzt werden.) / Aufführungsrecht vorbehalten / Eigentum des Verlegers. / 9015. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Lith.Anst.v. C.G. Röder G.m.b.H., Leipzig

Wrapper: [pink paper, within rectangular border:] [within black oblong shield, reversed out:] EDITION PETERS / [black, below shield:] No. 3087 / [black:] MAHLER / Symphonie No. 5 / Partitur

Analysis: [1]=tp; [2]=publisher's note; 3–47=I; 48–117=II; 118–177=III; 178–82=IV; 183–251=V; [252]=blank.

Dimensions: 264 x 185 (r = 182)

Watermark: EDITION PETERS

Printer: Lith.Anst.v. C.G. Röder G.m.b.H., Leipzig [tp]

Printing method: lithographic transfer from engraved plates

Hofmeister: no entry

Edition number: 3087    Plate number: 9015

Copies: A-Was SCO M122 (bound copy); A-Wn MS7015-4° (purchased through Haslinger, 29.i.1921. this needs examination); A-Wigmg N/V/14; GB-Lpc 2-9200239 (bound copy)

Although by this date Peters had Mahler's final revisions, this impression – apart from two minor changes on the title page and front wrapper – was identical to the first impression of the study score. [In fact I need to find an unbound copy. The A-Wn copy appears to have adverts dated 2/13.]

Title Page: [Black, with pink decorative border:] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / Partitur / (Dies Exemplar darf nicht zu Aufführungen benutzt werden.) / Aufführungsrecht vorbehalten. / Eigentum des Verlegers. / [short rule] / 9015 / [in lower shield:] LEIPZIG  C.F. PETERS. / [beneath border, in pink, center] G. Schirmer, / 35 Union Square, / New York.

Wrapper: [black on pink paper, within dark pink rectangular border:] [within decrorative shield:] EDITION PETERS / [black, below shield:] No. 3087. / [black:] MAHLER / Symphonie No. 5 / Partitur

Analysis: [1]=tp; [2]=blank; 3–47=I; 48–117=II; 118–177=III; 178–82=IV; 183–251=V; [252]=blank.

Dimensions: 269 x 202 (r = ?)

Printing method: lithographic transfer from engraved plates

Edition number: 3087    Plate number: 9015

Copies: US-Cra 4574(2)

The unmarked copy described is one of two in the Rosenthal Archives  of the Chicago Symphony Orchestra and is the only exemplar traced so far. This impression is not mentioned in EKGF, and perhaps post-dates the second issue (PS1a).  

This copy contains revisions copied from [APF4] by Egon Wellesz. It was in London by c. 1940. A photocopy is held at A-Wigmg.

In a letter to George Göhler dated 12 December 1913, Paul Ollendorff of Peters reported that (EKGF, letter 94 fn 1):

It was probably these two scores that were are also referred to in a later letter (7 October 1919) from Peters to a music dealer, Adolf Stöppler of Wiesbaden, who had enquired about the availability of the work. The publisher's reply reported that the 'second version completed shortly before [Mahler's] death' was only available for hire, and there were only 'two handwritten' copies of the conducting score [EKGF, p. 15 and fn 67]. In this context 'handwritten' is probably shorthand for 'with handwritten revisions' and the reference to the 'conducting score' a careless imprecision.

Title Page: [Black, within pink decorative border:] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / PARTITUR. / (Dies Exemplar darf nicht zu Aufführung benutzt werden.) / Aufführungsrecht vorbehalten / Eigentum des Verlegers. / 9015. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Lith.Anst.v. C.G. Röder G.m.b.H., Leipzig.

Wrapper: [pink paper, within rectangular border:] [within black oblong shield, reversed out:] EDITION PETERS / [black, below shield:] No. 3087 / [Black:] MAHLER / Symphonie No. 5 / Partitur / [back wrapper: advertisement for Ausgewählte Partuturen; date code:] 2/XI

Analysis: [1]=tp; [2]=publisher's note; 3–46=I; 47–115=II; 116–174=III; 175–79=IV; 180–246=V.

Dimensions: 273 x 192 (r=181½)

Watermark: EDITION PETERS X

Printer: C.G. Röder G.m.b.H., Leipzig; C.G. Naumann G.m.b.H., Leipzig (wrapper)

Printing method: lithographic transfer from engraved plates

Hofmeister: no entry

Edition number: 3087    Plate number: 9015

Print run: 1000

Copies: A-Wn MS7016-4° (purchased through Haslinger, 29.i.[19]21); D-B N.Mus.O. 426; GB-Lpc 2-9200238; GB-Lbl Hirsch M. 239 (bound copy, with wrappers)

Select bibliography: EKGF, 16–18

This edition is not a reduced format issue of PF2: pp. 3–24 and 26–39 are a newly revised state of the PS1 text (that reinstates readings that were superseded in PF1); the other pages are simply reduced from the plates of PF2. The circumstances of this editorial muddle are recounted in EKGF, 16–18. The copy described has adverts dated ii.1911!

This edition was reprinted by Dover in 1991.

Title Page: [Identical to PS2 but Neue Ausgabe printed in black, within its own small border, beneath the main decorative border on the tp.]

Copies: US-Wc M1001.M21 No. 5c.

[Does this need a full description?] No details of later impressions published by Peters have been traced.

Title Page: [Black, within pink decorative border (see facsimile):] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / PARTITUR. / (Dies Exemplar darf nicht zu Aufführung benutzt werden.) / Aufführungsrecht vorbehalten. / Eigentum des Verlegers. / 9015. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Lith.Anst.v. C.G. Röder G.m.b.H., Leipzig / [black, in black round-cornered rectangle:] Neue Ausgabe.

Wrapper: [front wrapper: thick green paper, dark green within dark green rectangular border:] MAHLER / SYMPHONIE V / PARTITION PARTITUR SCORE / [lyre logo] / UNIVERSAL-EDITION / Nr. 6851 / [back wrapper=blank]

Analysis: [1]=tp; [2]=publisher's note; 3–46=I; 47–115=II; 116–174=III; 175–79=IV; 180–246=V; [247–48]=blank

Dimensions: 265 x 187(r=181½)

Watermark: EDITION PETERS X

Printer: C.G. Röder G.m.b.H. [title page]

Printing method: lithographic transfer from engraved plates

Edition number: UE 6851    Plate number: 9015

Print ordered: 8.vii.1921    Copies received: 10.i.1922   Print run: 300

Copies: DK-Kk U150, 1923-24.147, U150 (bound copy, date stamped 14.JUN.1923)

Emil Hertzka clearly wished to be able to offer all of Mahler's works under the UE imprint, but he achieved this only briefly and after some delay when he licensed the study score and piano duet arrangement of the Fifth Symphony from Peters: the exact date and provisions of the agreement are unknown, and copies of the UE issue of the arrangement have not been located although some evidence of the resulting publications can be found in the UE Verlagsbuch. Curiously the availability of the Fifth was not always reflected in UE's own advertisements: those on copies of the piano duet arrangement of the Third Symphony printed early in 1923 (PTp42e), omit any reference to the work.

Edition number: UE 6851    Plate number: 9015?

Print ordered: 31.xii.1923    Copies received: 29.i.1924   Print run: 300

Copies: none located but try A-Wst M. 28787

This was the second and last printing ordered by UE and the original licensing arrangement presumably ended in the late 1920s and by 1929 at the latest the Symphony was omitted from the UE catalogue. Nevertheless, as the Verlagsbuch reveals, UE continued to order very small numbers of copies (five or ten copies) from Hofmeister in Leipzig (and perhaps another dealers, though the significance of the 'A' suffix in some entries is unclear). The reason for these orders is unknown at present, and the copies were presumably from Peters own stock.

Title Page: [Black, within black decorative border:] Symphonie / Nọ 5 / für grosses Orchester / von / Gustav Mahler. / Partitur / (Dies Exemplar darf nicht zu Aufführungen benutzt werden.) / Aufführungsrecht vorbehalten. / Eigentum des Verlegers. / [short rule] / 9015 / [in lower shield:] C.F. PETERS CORPORATION / [beneath border, black:] ADAGIETTO

Wrapper: [black on green card; front, within triple rectangular border:] [in decorative shield:] EDITION PETERS / [below shield:] No. 3496ª / MAHLER / ADAGIETTO / SCORE / [below border:] Printed in U.S.A.

Analysis: [1]=tp; 2–6=music; [7–8]=advertisements (including some items not available until 1950)

Dimensions: 190 x 139 (r =  131)

Printing method: [photo?]-lithographic transfer from engraved plates

Edition number: 3496ª    Plate number: 9051

Copies: DK-Kk (bound copy, acquired in 1954–5)

Mahler initiated the practice of performing this movement on its own in Rome on 1 April 1907. Presumably there had been enough – so far untraced – emulations for Peters to issue the movement on its own. The study score of the Adagietto (unlike the full score listed above) was apparently prepared (probably photo-lithographically) from the plates of the second edition of the full score, retaining the plate number of that edition.

Both the source of the PO stemma, and the nature of its first item is uncertain.  In November 1903 Mahler proposed that the parts be completed only after the first performance (EKGF, K12). Hinrichsen understood him to mean that parts would be engraved only after the performance – a suggestion he was happy to accept in order to avoid corrections to the plates (EKGF, K13) – but it is probable that Mahler envisaged from the start that proofs would be used for the first performance.  This seems also to have been his idea when on 29.iii.1904 he asked Peters to have a part set ready by 1 June for the preliminary rehearsals under Steinbach (EKGF, K10).  In the same letter he indicates he wishes to see [PFpr3] so that he can enter fingering and bowing for the strings, which should then be transferred to the parts.

In his reply on 30.iii.1904 Hinrichsen agreed to supply Separatabzüge of the parts for the preliminary rehearsals and by 3.vi.1904 work on the parts was well under way (EKGF, K24).  What source was used in their preparation is unclear, but since Mahler seems not to have commented otherwise the best hypothesis is that [PFpr3] was employed as the most accurate source then available.

Make-up of set: 36 parts: fl 1–4, ob 1–3, cl 1–3, bsn 1–3, hn 1–6, tpt 1–4, trb 1–3, tuba, timp, percussion (sd, bdrum, cym,  tam-tam, glock, tr, whip), bdrum+cym (played by one musician), harp, vn 1, vn 2, vla, vcl, db

Dimensions: c.338 x 271 (r = 213 [vn 1])

Printing method: Lithographic transfer from engraved plates

Hofmeister: ix. 1904; xi. 1904    Price: 'nach Vereinbarung'

Edition number: 8952  Plate number: 3082

Copies: A-Wph IV/49;

In September 1904 Hofmeister entry for the study score signalled the future availability of the 'orchestral material' by agreement with the publisher; in November the full score was available for purchase at a fixed price (Mk 45), but that of the parts was still covered by a publisher's agreement: this may reflect a application of a sliding scale that reflected the size and earning potential of the purchasing organisation. The Chicago Symphony Orchestra set was probably used for the two performances in the city in March 1907.

This set of parts, with [APF4] was used by Mahler for the performance of the Adagietto in Rome on 1 April 1907, and of the complete work at Strasburg in 1905 and St Petersburg on 9 September 1907. There are several layers of revisions and correction is these parts:

a) alterations corresponding to the autograph changes made in Mahler's copy of the study score (

A-WKonzerthausgesellschaft

According to SWV₃, p.350, Mahler had this set of parts prepared after November 1908 by one of his Viennese copyists, N. Forstig specifically for a performance by the Wiener Konzertverein on 2 March 1909, under Ferdinand Löwe. The make up of the set included string parts for a modest ensemble: 7,5,4,3,3.

A-Wn L17.IGMG.13a (previously A-Wigmg N/V/21, 37 parts, incl. first desk string; not examined); A-Wn L17.IGMG.13b (previously A-Wigmg N/V/22, 22 rank-and-file string parts; not examined);  A-Wst U.E. Deposit Mahler G.004 (string parts only, from the UE Archive; not examined).

Mahler asked Hinrichsen to send a new part set and score to him on 1 June 1910. (GMSL no. 417). Despite Wilken's suggestion to the contrary (SWGMF, 111) I think it possible that this set became APO2a. It is the only surviving primary source for Mahler's late revision of the work, probably completed in 1910, but according to Wilkens, these parts were not used in preparing PO2 (SWGMF, 114).

Make-up of set: probably as for PO1

Dimensions: not known

Printing method: Lithographic transfer from writing (autographirt)

Hofmeister: no entry

Edition number: 8952  Plate number: 3082

Copies: none located

The source for this edition was apparently [APF5]. The printers, C.G. Röder were instructed to hand copy and print the revised orchestral parts on 30 August 1913; they received the rest of the parts for printing on 11 December 1913 (EKGF, K90 & fn. 2). Described in the 1917 Peters Catalogue as Zweite, vom Komponisten in seinem letzten Lebensjahre neu instrumentierte Ausgabe.

Although the manuscript of Otto Singer's piano duet arrangement ([CTp4]) has not been located, quite a lot is known about the circumstances of its creation (see the link above for details). However, it is not clear when it was finally completed: in late March Hinrischen asked Singer to add indications of instrumentation, and it may be that the manuscript was returned to Singer for that purpose. In early May Singer visited Mahler in Vienna to  go through the arrangement (EKGF p. 107, fn 1 to letter no. 76; no source or further details are provided), but again it is not certain whether they were working on Singer's manuscript or the first proofs, but given the fact that Mahler returned the corrected and revised first proofs of Parts I and II on 2 June (EKGF no. 23), it seems likely the first proofs were available early in May.

The discussions had irritated Singer, not least because Mahler was prone to change his mind – see the notes to PTp41 below. On the other hand, Mahler was not wholly impressed with Singer's arrangement (EKGF no. 31, ([26.07.1904])):

Title Page: [Black, with pink decorative border:] Symphonie / von / GUSTAV MAHLER / [scroll] / Für Pianoforte zu vier Händen / bearbeitet von / OTTO SINGER. / [rule] / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten del // [black, centre:] 8988 // [pink, right:] Lith.v.C.G. Röder, Leipzig

Wrapper: none seen

Analysis: [1]=tp; 2–17=I; 18–43=II; 44–75=III; 76–81=IV; 82–113=5; [114]=blank.

Dimensions: 222 x 300 (r=138, p. 3)

Printing method: Lithographic transfer from engraved plates

Hofmeister: ix.1904    Price: Mk 9 

Edition number: 3081   Plate number: 8988

Copies: D-B Mus. Km 68 [not examined]; GB-Lpc (bound copy; lacking the paste-over on p. 6)

This edition is not one of Peters' more attractive piano duet publications. Although the page size is that of comparable duet arrangements issued by the firm, the decision to squeeze six systems onto each page results in a very cluttered layout. (This can usefully be compared to the publication of Singer's duet arrangements of Bruckner's symphonies a few years later which have only five systems per page and the system width is also slightly greater.)

On 15 October 1903, soon after the publishing agreement with Peters had been finalized, Mahler enquired who the company planned to invite to prepare the piano arrangement (EKGF no. 11) and the following month was happy with the news, conveyed in a missing letter from Peters, dated 3 November, that it was to be Otto Singer (1863–1931) (EKGF no. 12). (The chronology here is somewhat odd, as Singer did not write to accept the invitation from Peters until 8 November – see EKGF, p. 107).  Mahler may have expected more than one such arrangement for piano to be issued, but initially Peters only planned for a piano duet: it was many years before the firm commissioned the two other arrangements for piano (PTp2 and PT2p4).

Singer was informed on 20 January 1904 that he could expect Part I of the symphony 'by the end of next week' and the two remaining parts would follow at short intervals; Peters hoped to have the manuscript of the complete arrangement by the beginning of March (EKGF no. 72). The following day Hinrischen wrote to Mahler sending him the first proofs of the score of the 'I. Satz' (probably meaning Part I) and requesting that Mahler return the corrected proofs and 'the manuscript' (presumably ACF) as soon as possible so that Singer could commence work on the arrangement (EKGF no. 13). Mahler complied within about a week (EKGF no. 13) so presumably Singer must have been in receipt of uncorrected second proofs of the score of the first section (probably Part I) in the first half of February. By 21st he was able to send Peters the manuscript of his arrangement of two movements or parts and to request an honorarium of 350 marks (EKGF no. 73). He was rather protective about his work:

In a letter dated 24 February Singer revealed that he was also rather pleased with the outcome (EKGF no. 74):

However, Hinrischen was not entirely happy with Singer's work as he made clear on 27 March (EKGF no. 75):

Presumably Hinrischen won the day, as the published score does indeed contain (albeit somewhat cursory) indications of scoring. However by 8 July (EKGF no. 76) Singer, who had been in Vienna at the beginning of May to work on the arrangement with the composer (see EKGF p. 107, note 1 to letter 76), was complaining in the strongest of terms:

Hinrischen's reply was emollient (EKGF no. 77), but Mahler's annotations on ACF and Alma Mahler's memories of the preparations for the premiere of the Seventh Symphony in 1908, suggest that Singer may have been justified (AMGME3, 143):

This edition retains the repeat of the first 147 bars in the second movement. On p. 6 the secundo part is also lacking b. 138 of the first movement, an omission first spotted by Mahler in September 1904 (EKGF, K34).

Fig 1. Mahler, Fifth Symphony, arr. for piano duet by Otto Singer, first edition, first state (1904)

First movement, Secundo part, bb. 133–137; 139

According to Klemm, this error was corrected by paste-overs until the appearance of the second state.

Title Page: [one change only: beneath border, in pink, right:] Lith.v.C.G. Röder G.m.b.H, Leipzig

Wrapper: ?

Analysis: [1]=tp; 2–17=I; 18–43=II; 44–75=III; 76–81=IV; 82–113=5; [114]=blank.

Dimensions: ?

Printing method: Lithographic transfer from engraved plates

Copies: US-Wc M209.M22 5; possibly also A-Wigmg N/V/33. [Check both, particularly the correction and the tp transcription.]

The printer's name has been updated on the title page and p. 6 has been corrected on the plate (see PTp41c below for a facsimile of this passage in a later impression), but otherwise the text is that of the first impression and retains  the second movement repeat. In later issues (see below) this repeat was  removed (e.g. in A-Wn MS67482-qu.4° (this needs further examination), but it is not yet clear when this correction was made.

Title Page: [Black, with pink decorative border (see facsimile):] Symphonie / von / GUSTAV MAHLER / [scroll] / Für Pianoforte zu vier Händen / bearbeitet von / OTTO SINGER. / [rule] / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten del // [black, centre:] 8988 // [pink, right:] Lith.Anst.v.C.G. Röder G.m.b.H, Leipzig

Wrapper: [front wrapper: black, within dark pink border on salmon card (see facsimile):] [within shield:] EDITION PETERS / [below shield:] No. 3081 / MAHLER / Symphonie No. 5 / Klavier zu 4 Händen / (Singer) [back wrapper: black on pink card: advertisement for Ausgewählte Musik, dated 1/20 (see facsimile).]

Analysis: [1]=tp; 2–17=I; 18–43=II; 44–75=III; 76–81=IV; 82–113=5; [114]=blank.

Dimensions: 236 x 312 (r=139, p. 3)

Printing method: Lithographic transfer from engraved plates

The printer's name has been updated on the title page and p. 6 has been corrected on the plate, but otherwise the text is that of the first impression and retains  the second movement repeat.

Fig 2. Mahler, Fifth Symphony, arr. for piano duet by Otto Singer, first edition, second state (1904)

First movement, Secundo part, bb. 133–139

Title Page: [Black, with pink decorative border:] Symphonie / von / GUSTAV MAHLER / [scroll] / Für Pianoforte zu vier Händen / bearbeitet von / OTTO SINGER. / [rule] / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten del // [black, centre:] 8988 // [pink, right:] Lith.Anst.v.C.G. Röder G.m.b.H, Leipzig

Wrapper: [black, within dark pink border on salmon card:] [within shield:] EDITION PETERS / [below shield:] No. 3081 / MAHLER / Symphonie No. 5 / Klavier zu 4 Händen / (Singer)

Analysis: [1]=tp; 2–17=I; 18–43=II; 44–75=III; 76–81=IV; 82–113=5; [114]=blank.

Dimensions: 233 x 310 (r=139, p. 3)

Printing method: Lithographic transfer from engraved plates

FIRST EDITION, SECOND STATE?, SECOND ISSUE, FIRST IMPRESSION – Leipzig/Vienna: Peters/Universal Edition, 1922

Emil Hertzka clearly wished to be able to offer all of Mahler's works under the UE imprint, but he achieved this only briefly and after some delay when he licensed the study score and piano duet arrangement of the Fifth Symphony from Peters: the exact date and provisions of the agreement are unknown but some evidence of the resulting publications can be found in the UE Verlagsbuch.

In the absence of any identified copies it cannot be confirmed that this impression was of the second state, but see PTp41A.

Title Page: [Black, with black decorative border (see facsimile):] Symphonie / von / GUSTAV MAHLER / [scroll] / Für Pianoforte zu vier Händen / bearbeitet von / OTTO SINGER. / [rule] / Aufführungsrecht vorbehalten. / Eigenthum des Verlegers. / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border:] F. Baumgarten del // [black, centre:] 8988 // [pink, right:] Lith.Anst.v.C.G. Röder G.m.b.H, Leipzig / [overprinted in black, typeset:] In die Universal-Edition aufgenommen

Wrapper: [front wrapper: black, within dark green border on light green card (see facsimile):] MAHLER / SYMPHONIE V / PIANO À 4 MAINS / [lyre logo] / UNIVERSAL-EDITION / Nr. 6852; [back wrapper: blank]

Analysis: [1]=tp; 2–17=I; 18–43=II; 44–75=III; 76–81=IV; 82–113=5; [114]=blank.

Dimensions: 232 x 306 (r = 138, p. 3) (bound copy)

Printing method: Lithographic transfer from engraved plates

Edition number: 8988 (Peters); 6852 (UE)    Plate number: 8988

Print ordered: 29.ii.1924    Copies received: 30.iv.1924   Print run: 300 (SWGMF, fn. 279, p. 275)

The association of this copy with the second UE issue is conjectural. The UE Verlagsbuch records no further print orders for the duet version.

Title Page: [Black, with pink decorative border:] Symphonie / No. 5 / für grosses Orchester /  von / Gustav Mahler / Für Klavier zu 2 Händen / bearbeitet / von / OTTO SINGER. / Eigenthum des Verlegers. / 10264 / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, in pink, left:] F. Baumgarten, del. // [right:] Lith. Anst.v.C.G. Röder, G.m.b.H., Leipzig

Wrapper: ?

Analysis: [1]=tp; [2]=blank; 3–13=I; 13–27=II; 28–45=III; 46–48=IV; 49–67=V; [68]=blank.

Dimensions: ?

Printing method: Lithographic transfer from engraved plates

Hofmeister: xi.1921

Edition number: 3760   Plate number: 10264

Copies: A-Wigmg N/V/31; D-B Mus. Km 67 (not examined)

Neither the manuscript nor proofs for this arrangement have been located. Singer was invited to undertake the arrangement on 28.x.1920; his reply has not been located, but he was commissioned to do so on 4. xi. 1920 (EKGF, letter 113, pp. 71, 112).

Title Page: [all in black ink, otherwise the text is as in first edition, except beneath border right:] Druck v.C.G. Röder G.m.b.H, Leipzig

Wrapper: front wrapper: black, within dark pink border on light pink card: [within a black shield, text in pink:] EDITION PETERS /[below shield:] No. 3760 / MAHLER / Symphonie No. 5 / Klavier zu 2 Händen / (Singer); back wrapper: advertisement black text within a black decorative border: Klassiker Einzel=Ausgaben / [in bottom margin centre:] C.G. Naumann G.m.b.H., Leipzig  [right:] I/24

Analysis: [1]=tp; [2]=blank; 3–13=I; 13–27=II; 28–45=III; 46–48=IV; 49–67=V; [68]=blank.

Dimensions [possibly trimmed when bound]: 307 x 228

Printing method: Lithographic transfer from engraved plates

Copies: GB-Lpc

Title Page: [Black, with black decorative border:] Symphonie / N^o. 5 / für grosses Orchester / von / GUSTAV MAHLER / Für 2 Klaviere  zu 4 Händen / bearbeitet von / AUGUST STRADAL. / [rule] / Eigenthum des Verlegers. / 10486 / [in lower shield:] LEIPZIG / C.F. PETERS. / [beneath border, left:] F. Baumgarten del // [right:] Druck. v.C.G. Röder G.m.b.H., Leipzig.

Wrapper: [Front: dark pink border on pink, text in black:] [in shield:] EDITION PETERS / [below the shield:] No. 3761 / MAHLER / Symphonie No. 5 / 2 Klaviere zu 4 Händen / (Stradal); [Rear: Adverts for Klassische Klaviermusik, black on pink; date code: 4/26]

Analysis: [1]=tp; [2]=blank; 3–28=I; 28–61=II; 61–75=III; 102–8=IV; 109–151=5; [152]=blank.

Dimensions: 305 x 234 (r = 212½)

Printer: Druck von C.G. Röder G.m.b.H., Leipzig [tp; the wrappers were printed by C.G. Naumann GmbH, Leipzig]

Printing method: Lithographic transfer from engraved plates

Hofmeister: x.1926    Price: M 7,50

Edition number: 3761   Plate number: 10486

Copies: GB-Lpc

Edition number: Schirmer's Galaxy No. 141    Plate number: unknown

Copies: US-Wc (not examined)

This arrangement for 'orch. with piano acc.' was by Otto Langley. The Library of Congress records give the copyright date as 8 June 1919 and the date of receipt as 14 June 1919.

Title Page: [In pink border, black:] Adagietto / aus der / fünften Symphonie / von / Gustav Mahler / Für Violine und Pianoforte / von Otto Wittenbecher / Aufführungsrecht vorbehalten / [rule] / Eigentum des Verlegers. / 9917 / [in bottom shield:] LEIPZIG / C.F. PETERS / [below shield, R:] F. Baumbartner del. // [L.] Lith. Ants. v. C.G. Röder G.m.b.H.

Wrapper: ?

Analysis: score: [1]=tp; [2]=blank; 3–7=music; [8]=blank; part: [1]=blank, 2–3=music; [4]=blank

Dimensions: 31 x ?? cm

Printing method: Lithographic transfer from engraved plates

Hofmeister: xi.1914    Price: M 1.

Edition number: 3479   Plate number: 9917

Hofmeister: v.1931

Copies: none located

Arranged by L. Weninger

Hofmeister: v.1931

Copies: none located

Hofmeister: v.1931

Copies: none located