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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