Abstracts - American Musicological Society

26
ErLdaY morning
formed the "prlmeval ce11" of the song's t:1"
^t^it1e
fron a pentatonic scale fragnent that diffuses
--the
traditional goar-oriented process of tonality'^ ylth
the aid of Linear and notiilc analysis one can follow
Mahler' s progress from raw sketch to fair copy
'
observing how-he deploys the basic nusical material in
local an-tl lLarge-scal-e contexts to create "feeling that
rises to the lips but does not pass beyond them," as he
put it. This paper will present sketch transcriptions,
analyses, and taped musical examples focusing on the
development of three crucial passages in the song: 1)
the central modulation in the second s trophe ; 2 ) the
climax; and 3) the recapitulatory final strophe.
ON THE CHRONOLOGY OF
Christopher Lewis,
THE
Universi Ey of Alberta
Attempts to establish a conpositional chronology
for Mahler' s
must depend upon
contradictory secondary sources and an incomplete and
pwzzling set of holograph scores. We may never be
certain which three (or two) songs lrere composed in
1901 and which two (or three) in 1904. The known
cornplete holographs ( in the Pierpont Morgan Library)
comprise piano-vocal "drafts" of the last four songs
and Orchestral Drafts for all five. Two sketches, one
now lost, are also known. Although evidence of the
paper types is inconclusive, the papers of the
piano-voca1 scores do reflect two different
compositional stages: trro scores are Composition
Drafts and two are Fair Copies.
De 1a Grange supposed in 1973 rhat the first three
songs date frorn 1901 and the last two from 1904;
Mitchell has rnore recently suggested that the third and
fourth are from 19O4 and the others frorn 1901. The
piano manuscripts provide evidence that Mahler made the
Orchestral Drafts directly fron these curiously
different sources, and therefore probably never did
make Fair Copies for at least two of the songs. This
in turn gives a rationale for a dating that reverses
the previously presumed chronology of two pairs of
songs. The revised dating then stimulates a
re - examination of the relationship between the
Adagietto of the Fifth Synphony and the
Kindertotenlieder and other Rtickert songs Mahler
conposed in 1901.
THE HIDDEN PROGRAM IN THE
FIFTH SYMPHONY OF GUSTAV MAHLER
James L. Zychowicz, University of Cincinnati
.h" ,'"xn"tT .11:t'"'" f or oecame both
"tl::"lil 'fi;;:";?"n"J increas ingly