Schubert, Franz.

notated in the key of C-sharp minor, on three systems per page, the music diverging in many details from the published editions, affecting both the vocal line and the piano accompaniment; together with, on the fourth page, the start of an unidentified march in G major for piano and solo instrument, marked "No.1"), in another hand, 3 pages, oblong 4to (23 x 29.5cms), 10-stave paper, [Zseliz], September 1818, two leaves affixed at hinge, gilt edges, cloth folder and quarter-morocco slipcase

Miss E.A. Willmott, sale in our rooms, 1-3 April 1935, lot 573

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is a Schubert discovery: the present autograph of Blondel zu Marien D.626 has been untraced since it was sold in these rooms in 1935.  All the early sources present the song in C minor, including the important copy by J.W. Witteczek (in the Gesellschaft der Musikfreunde in Vienna), where the song bears the note "Im Orig: Es mol", and the first edition of 1842.  Walther Dürr, in the Neue Schubert-Ausgabe, presents the song in E-flat minor, a whole tone higher than the present autograph.  Dürr suggests that all the extant early sources are dependent on the lost Stichvorlage; certainly the present autograph shows no signs of use by any publisher.  See Dürr, Neue Schubert-Ausgabe, IV/12 (1996), pp.40-42 & 236 (note).

Throughout this manuscript there are important readings differing from the known versions, including pitches, words, crescendos, and song rhythms, particularly at the conclusion, where the vocal line ends on the lower octave (D flat) and the piano postlude contains additional chromaticisms.  The author of the poem is apparently unknown.