Mahler, Gustav

the short score notated on systems of up to four staves each, in pencil and black ink, up to fourteen staves per page, a few instrumental markings ("Harfe"), including drafts of the transition from the second B Major section at Figure 11 ["Vorwärts"], to the reprise of the A-flat Andante at Figure 12 ["Wieder in's Tempo zurück gehen"] (16 bars), followed by sketches for the string passage at Figure 13 (10 bars), marked in ink at the end "Bassi u. Celli allein", together with, on the other page, very early sketches for music that could be for either the final pages of second movement or for the third (28 bars), and a passage in 4/4 time at the top of the page.

2 pages, folio (c.34.5 x 27cm), 18-stave paper, no place or date [probably Steinbach am Attersee, summer 1893], overall browning, remains of mounting tape at top bottom of the leaf,

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."

Although a number of sketch-leaves for Mahler's Second Symphony ("Resurrection"), have appeared at auction, we have no record of any other example from the second movement ("Andante moderato"), since this one appeared for sale in 1988.  The contents of this leaf seem to represent a very early stage in the design of the work, the composer working in parallel on material for other movements. Mahler actually completed the orchestral drafts of the third movement at Steinbach am Attersee on 16 July 1893 and that for the present "Andante" on 30 July. Indeed, the recto, mainly written in black ink, contains sketches that could be for either the second or third movement (both are in 3/8 metre), or even, conceivably, for the Third Symphony.  The nine-bar sketch at the top of the page, also in ink, is in 4/4 time, which is not used in either movement.  It may possibly represent his earliest thoughts for the Finale, but cannot be pinned down to anything in particular.  The extended draft of the "Vorwärts" transition from Figure 11 is actually written in pencil on the verso, sparsely annotated in ink, and may have been arrived at only after Mahler's work on the other sections which really came to nothing.   In his original complete draft of this movement, now at Yale, Mahler designated it the fourth rather than the second.