1/7/2024 0 Comments Superscribe music notationNone of the sketches is dated, but from other sources it is possible to estimate very roughly when they were composed. The side of the leaf on which the colophon appears is identified as the recto, although Mahler may have used the verso first. Although the numbering of the pages probably has little to do with the order in which the sketches were written down, it is used here as a matter of convenience in identifying on which leaves specific sketches are found. Probably the same person also provided identifications of the work, and in some cases the movement-not always accurately-in the right margins. In close proximity to Berg's notes, an unidentified later owner or librarian did add page numbers, however, using the pattern VII-1, VII-2, etc. "VII Berg") in the upper right-hand corner of the leaf, but he did not number them. Josef Eberle & Co., a Viennese firm) 3, although the colophon itself shows a somewhat different configuration when compared with that in the other leaves.īerg identified the works represented in the sketches with a simple Roman numeral for the symphony and his name (i. Like four of the sketch pages, it bears the colophon "J. In addition to the five leaves with sketches, a single leaf of blank music paper is preserved with the group. 3 other leaves also much that is unknown!/ (also not made use of/ in the Tenth Symphony.)/ 1 / an entirely unknown 20-bar/ passage, of which only 12 bars/permit to conclude a relationship with the Seventh./ Berg 9 July 1924.īefore considering the contents of these leaves in more detail, a few aspects of their makeup should be noted. schließen lassen./ Berg 9/7/24ĥ loose leaves/ for the most part sketches for the Seventh Symphony (last movement and/ 1 Nachtmusik/ In addition / 1 leaf also contains a literal citation from the Sixth Symphony/ on its reverse in ink. Symph./ nicht Verwertetes.)/ 1 / eine ganz unbekannte 20 taktige/ Partie, wovon nur 12 Takte auf eine / Verwandtschaft mit der VII. Symphonie/ auf der Rückseite mit Tinte/ 3 andere Blätter auch viel Unbekanntes!/(auch in der X. Symph./(letzter Satz u./ 1 Nachtmusik/ Dazu / 1 Blatt enthält außerdem ein wörtliches/ Zitat aus der VI. 2 It still proves a good general introduction to their contents.ĥ lose Blätter/ größtenteils Skizzen zur VII. Berg's description of this particular group is found with them on a separate bifolio of music paper used as a cover folder for the leaves. In 1924, probably at the time when a facsimile of the principal manuscripts of the Tenth Symphony was being prepared, Alma Mahler asked Alban Berg to go through her collection of the composer's sketches, probably with a view to sorting them out and identifying their contents. At the same time they raise many questions which may be ultimately impossible to answer. The five leaves allow students to trace certain aspects of the creation of both the Sixth and the Seventh Symphonies. This particular group of sketches is characteristic in its richness and complexity. Manuscripts connected with the Second 1, Fourth, Ninth, and Tenth Symphonies and with several songs, to say nothing of letters and other documents, make the Archives a major source for scholars interested in Mahler's evolution as a composer and in his development as a person. The sketches in the Moldenhauer Archives for Mahler's Seventh Symphony (with one leaf also representing the Sixth) are only one part of a considerable body of important manuscripts of that composer's works in the collection. Listen to this page Gustav Mahler Sketches in the Moldenhauer Archives
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