42
42
Mahler, Gustav
AUTOGRAPH SKETCHLEAF FOR THE SECOND SYMPHONY
Estimation
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ACCÉDER AU LOT
42
Mahler, Gustav
AUTOGRAPH SKETCHLEAF FOR THE SECOND SYMPHONY
Estimation
40 00050 000
Lot. Vendu 81,250 GBP (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT

Details & Cataloguing

Musical Manuscripts

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Mahler, Gustav
AUTOGRAPH SKETCHLEAF FOR THE SECOND SYMPHONY
comprising part of the first movement, ALMOST CERTAINLY THE ORIGINAL VERSION ("TODTENFEIER"), notated in pencil and black ink, in short score, with many reworkings, alterations and deletions, containing material from the E-flat minor section of the development, an early version of material eventually used between bars 262 and 303, the climax of the passage before the recapitulation, comprising 34 bars, with many melodic and contrapuntal differences from the final version,

1 page, with three bars on a second page, folio (c.31.5 x 25cm), [1888], 24-stave paper, overall browning, a few minor tears and chipping to margins


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Description

A SKETCH-LEAF FOR "TODTENFEIER", THE EARLY VERSION OF THE FIRST MOVEMENT OF MAHLER'S SECOND SYMPHONY. 

Mahler composed the first draft of this movement in 1888 as the opening of a symphony in C minor, but then decided to present it as Todtenfeier (1891), a work in one movement; a fair copy of this movement (sold in these rooms on 28 November 1986, lot 575) has the title "Symphonie in C-moll") deleted and replaced by "Todtenfeier". Only in 1894 did Mahler return to his original conception and complete the work, using this as the first movement of his Second Symphony. The present sketch-leaf evidently derives from Mahler's earliest conception of the work. His usual procedure was to jot down and elaborate preliminary ideas on two, three or four staves, later joining these up in order to form a continuous draft of a movement. This sketch comprises largely early contrapuntal drafts that are still some way from their definitive versions. At the bass-line (bar 262 in the final version), Mahler originally worked on incorporating the passage in triplets from the main thematic material of the movement (cf bar 7) as the counter subject. Other sketches for this movement survive in libraries in Vienna and Jerusalem.

Musical Manuscripts

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Londres