C.F.E. Horneman: Aladdin

C . F. E . H O R N E M A N

ALADDIN EVENTYROPERA I FIRE AKTER TEKST AF BENJAMIN FEDDERSEN BIND 1 ALADDIN A FAIRY-TALE OPERA IN FOUR ACTS TEXT BY BENJAMIN FEDDERSEN VOLUME 1

København 2020

UDGIVET AF EDITED BY NIELS BO FOLTMANN PETER HAUGE BJARKE MOE AXEL TEICH GEERTINGER MED INDLEDNING AF WITH AN INTRODUCTION BY INGER SØRENSEN

English translation (introduction) Cover design Layout Music typeset in Sibelius by Text font Printed by Distribution

Gillian Fellows-Jensen Willerup & Hans Mathiasen DCM Arnhem Bording Danmark Edition·S, Worsaaesvej 19, DK-1972 Frederiksberg C www.edition-s.dk 979-0-9001843-5-1 030 Augustinus Fonden Danish Centre for Music Editing (DCM) Royal Danish Library, Copenhagen

INDHOLD

CONTENTS

Generelt forord v

General Preface v

Indledning vi

Introduction vi

Faksimiler xxiv

Facsimiles xxiv

Instrumental besætning xxix

Orchestra xxix

Personer xxx

Characters xxx

Scenegang xxxi

Scenes xxxi

Ouverture 1

Overture 1

Første akt 41

Act One 41

Anden akt 179

Act Two 179

G E N E R E LT F O R O R D

G E N E R A L P R E FA C E

C.F.E. Hornemans eventyropera Aladdin fra 1888 står som et markant værk i rækken af danske operaer, selv om den kun har været opført ganske få gange siden opsætningen på Det Kongelige Teater i sæsonen 1902-03. Kildematerialets karakter har været en væsentlig årsag til, at det har været vanskeligt at opføre operaen i nyere tid: Hornemans eget håndskrevne partitur indeholder så mange rettelser og ændringer – for ikke at tale om bilagene af tilføjede og fjernede blade – at det ikke egner sig til opførelsesbrug. Dets fysiske tilstand var desuden efterhånden kritisk, idet papiret nærmest smuldrede ved berøring. Takket være bl.a. donationer blev det muligt for Det Kgl. Biblioteks bevaringsafdeling at gennemføre en gennemgribende restaurering af manuskriptet i 2011, således at det kunne studeres og digitaliseres til brug for editionsarbejdet. Det Kongelige Teaters partiturafskrift, som blev brugt i forbindelse med opførelserne i 1902-03, inkluderer ikke ouverturen og indeholder i øvrigt mange skrivefejl. Det tilhørende orkestermateriale er – ligesom Hornemans eget partitur var det – i så dårlig fysisk stand, at det ikke længere tåler brug. Der har således længe manglet tilgængeligt og gennemarbejdet opførelsesmateriale. Det rådes der nu bod på med DCMs kritiske udgave, som omfatter både partitur, klaverpartitur og orkesterstemmer.

C.F.E. Horneman’s fairy-tale opera, Aladdin (1888), stands as a significant work in the series of Danish operas, although it has only been performed very few times since its staging at The Royal Theatre during the season 1902–03. The nature of the source material has been a major obstacle for performing the opera in recent times: Horneman’s manuscript score contains so many corrections and changes – not to mention the appendices of added and cancelled folios – that it is not suitable for use. In addition, the physical condition of the material was critical by now as the paper almost crumbled by handling. Donations made it possible for the Royal Danish Library’s conservation department to carry out a thorough restoration of the manuscript in 2011, so that it could be digitized and studied for the editorial work. The Royal Theatre’s transcript of the score, used in connection with the performances in 1902–03, does not include the Overture and, furthermore, contains an overwhelming number of transcription errors. The orchestral material used for the occasion – just as the autograph score – is in such a fragile condition that it cannot withstand use any longer. Thus, there has long been a lack of accessible and revised performance material. With DCM’s critical edition, which comprises score, piano-vocal score and orchestral parts, the situation has been remedied.

Ouverturen, som Horneman komponerede som en koncertouverture mere end to årtier før selve operaen, har fra starten haft sit eget liv og hører til standardrepertoiret inden for dansk orkestermusik. Den udgives her i den lidt kortere operaversion. Initiativet til udgivelsesprojektet kom i høj grad fra Erland Kolding Nielsen, daværende direktør for Det Kgl. Bibliotek. Peter Hauge og Niels Bo Foltmann har været hovedredaktører af partituret. Klaversatsen er udarbejdet af Matias Vestergård Hansen efter Wilhelm Hansen og Samfundet til Udgivelse af dansk Musiks klaverudtog fra 1893. En særlig tak skal lyde til Augustinus Fonden, som muliggjorde projektet. Axel Teich Geertinger

The Overture, which Horneman composed as a concert overture more than two decades before the opera itself, has lived its own life from the start being among the standard repertoire of Danish orchestral music. It is published in the slightly shorter opera version. The late Director General of the Royal Danish Library, Erland Kolding Nielsen, took the initiative to the editorial project. Peter Hauge and Niels Bo Foltmann are the chief editors of the score. Matias Vestergård Hansen prepared the new piano reduction employing the piano-vocal score published by Wilhelm Hansen and Samfundet til Udgivelse af dansk Musik in 1893. Special thanks are due to Augustinus Fonden, who made the present project possible. Axel Teich Geertinger

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INDLEDNING Selv om C.F.E. Horneman (1840-1906) måtte tjene sit brød ved undervisning og også i begyndelsen forsøgte sig som dirigent, var han livet igennem overbevist om, at hans egentlige kald var at komponere, og at hans evner i den retning især lå inden for den dramatiske musik. Derfor blev operaen Aladdin hans livsværk, som han arbejdede på i hen ved fyrre år, uanset hvor megen modgang han havde. I en af sine talrige artikler, der stammer fra omkring 1900, skriver han: Det var min Ulykke, at jeg som Dreng fik særlig Lyst til at lege med Theater […] og det kan ogsaa være at min Lyst til at komponere Operaer er opstaaet af dette Talent i Forbindelse med mine musikalske Evner. […] Jeg satte mig da i Haab og blind Tro paa Idealerne tilrette paa Toppen af den lange Skraaplan ad hvilken jeg rutschede lige lukt ned i det kgl. Theaters mørke Kjælder, over hvis Indgang der staar: “Ei blot til Lyst”. Jeg har altid tidligere godt forstaaet Meningen med disse Ord, og fundet dem betegnende for det store Maal Theatret har sat sig: men nu, efter at have siddet i den mørke Kælder i 12 Aar, synes jeg, der hellere skulle staa: “Her lades Haabet ude”!1 Håbefuld var den unge Horneman, da han få år efter sin hjemkomst fra Leipzig, hvor han havde studeret på konservatoriet, besluttede sig for at skrive en opera over eventyret om Aladdin, men vel at mærke ikke baseret på Oehlenschlägers dramatiske digt, men på den oprindelige fortælling i Tusind og én Nats Eventyr. Til tekstforfatter valgte han sin og studiekammeraten Edvard Griegs nære ven, litteraten og musiklæreren Benjamin Feddersen, der mellem 1859 og 1865 oversatte og bearbejdede en række lystspil og sangspil for Casino og også leverede teksten til sangscenen De florentinske Blomsterpiger med musik af Horneman, Grieg og Viggo Kalhauge, der blev opført sammesteds 14. juni 1864. Det var også i 1864, at Horneman komponerede ouverturen til sin opera, som han selv dirigerede ved førsteopførelsen i musikforeningen Euterpe den 14. april 1866 og igen 8. maj samme år. Den blev ingen succes. Ifølge Emil Hartmann, der fik en symfoni opført ved samme lejlighed, blev den rakket voldsomt ned af pressen. Slet så galt var det nu ikke, for i Dagbladet fik den følgende ord med på vejen: Klar Tankegang, Evne til at lade Motiverne udfolde sig som Blad fra Kvist, som Green fra Stammer, synes – at dømme fra Ouverturen “Aladdin” – ikke at være Hr. Chr. Hornemans Sag; der fattes styrende Tanke, den har noget Springende, Uroligt, Holdningsløst. Maaskee har Komponisten villet følge Digtningen Træk for Træk, men vi maae tilstaae, at Ouverturen efter vor Opfattelse lige saa gjerne kunde haft en hvilkensomhelst andet Navn. Kun noget ubestemmeligt Fantastisk er det lykkedes ham at antyde, i saa Henseende har Hr. Hornemans Arbeide talentfulde Glimt og en vis barok Originalitet.2 Efter en opførelse i Musikforeningen den 4. maj 1869 havde piben fået en anden lyd. I Dagbladet kunne man læse:

1 2

C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081, fol. Dagbladet, 16.4.1866.

C.F.E. Hornemans Orkesterouverture “Aladdin” er et værk, der vidner om Komponistens Begavelse. Af slående Originalitet er det vel ikke, men det er sundt og kraftig tænkt, virkningsfuldt instrumenteret og gjennemgaaende melodieust. Berettigelsen til at kalde Ouverturen “Aladdin” er dog ikke ganske klar; men vi skulde afholde os fra at gjøre de Fordringer, som Navnet viser, gjældende overfor en Komposition, der i og for sig er saa tiltalende.3 Berlingske Tidende var endnu mere positiv: Om “Aladdin” Ouverturen har adskillige udenlandske Autoriteter allerede udtalt en særdeles fordeelagtig Dom. Den er, tildeels under Componistens egen Ledelse, bleven given i Leipzig, Berlin og Wien og har hurtig erobret sig en hæderlig plads i Udlandets Concert-Programmer. At det danske Publicum ikke dømmer anderledes, derom vidnede det udeelte Bifald, hvormed Compositionen modtoges i Tirsdags. Den udmærker sig ved en tiltalende Frihed i Opfindelsen, en sindrig Gjennemførelse i Themaerne og en effectfuld Instrumentation. Vi tvivle ikke om, at der vil blive Publicum Leilighed til at høre den oftere.4 Horneman arbejdede trøstigt videre på sin opera, som han medbragte, da han rejste rundt i Europa på det Anckerske Legat i efteråret 1867. Han var flittig, for i november kunne han berette for Feddersen: Aladdin voxer, der er navnlig et Nummer som jeg har faaet exelent, ja jeg tør næsten sige uovertræffelig, det er Terzetten med Chor i anden Act; i øvrigt er Alt, hvad jeg har skrevet endnu, blevet saa heldigt som jeg kunde ønske det. At denne Opera maa gjøre Lykke kan ikke være andet; Emnet er godt og Musiken lader virkelig til at tiltale. Alle hvem jeg spiller det for her i Tydskland, blive næsten forbausede over det og erklærer det ligefrem for noget af det bedste og originaleste de have hørt i den senere Tid; dette giver mig naturlig umaadelig Lyst, kan De tænke og ikke er jeg heller fri for at være en væmmelig storsnudet Karl, jeg taaler ingen Ting mere; naar jeg kommer hjem er der kun to det passer sig for min Værdighed at omgaaes, det er min Digter og min Kone.5 Ved hjemkomsten fortsatte han arbejdet og blev med større og mindre afbrydelser færdig med skitserne engang i 1868 eller 1869, hvorefter han instrumenterede de to første akter – selv kunne han ikke huske præcis hvornår. Men da faderen, Emil Horneman, der i sine sidste år var bestyrer for deres fælles musikforlag og redaktør af deres tidsskrift Nordiske Musikblade, døde i maj 1870, måtte han lægge arbejdet med operaen på hylden for at skaffe sig de nødvendige indtægter. Engang i november 1872 havde Horneman nær mistet sit partitur. Der udbrød brand lejligheden i Løvstræde, mens han sad og underviste. Han fik hurtigt sin kone og datteren Elisabeth, der var omkring fem år gammel, ud af huset. Hun fortalte mange år senere: 3 4 5

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Dagbladet, 7.5.1869. Berlingske Tidende, 7.5.1869. Brev dateret 27.11.1867, i C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol.

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Af alle de daarlige Operatekster, der har været indsendte til det kongelige Teater, veed jeg ingen, der i Henseende til aand- og formløs Udarbejdelse staar under den foreliggende Mishandling af det berømte Æmne. De fra Øhlenschlægers dramatiske Æventyr hentede Situationer lader naturligvis intet tilbage at ønske, men den Dialog, der træder i Stedet for Originalens, er under al Kritik. At den ikke har Spor af østerlandsk Kolorit eller blot af fantastisk Æventyrstemning, burde være en afgørende Forkastelsesgrund, hvis den skulde bedømmes som digterisk Arbejde, men herom kan der slet ikke være Tale. Den har med Undtagelse af de afskrevne Vers af Vuggevisen ikke en eneste velskabt Strofe end sige en poetisk Replik at opvise, ja den kan ikke en Gang siges at være skrevet paa Vers. Det er en Sammenhobning af udslidte Fraser, uden Rim og Rhytme i knudret omstillet Prosa, der paa den mest meningsløse Maade uden Hensyn til logiske eller metriske Cæsurer er hugget op i Linier, korte og lange mellem hverandre.10

Medens Mor og jeg sad paa en Trappe ligeoverfor, løb Far tilbage til vores Lejlighed og kom lidt efter igen med flyvende Krøller og sodet over hele Ansigtet og paa Hænderne af Røgen. I den ene Arm havde han min Oldefars tre Pastelmalerier: Kuhlau, Oldefars Selvportræt og Oldemors Portræt; under den anden Arm bar han Manuskriptet til “Aladdin”. “Nu kan det andet godt brænde”, sagde han.6 Partituret var reddet, men det varede mange år, før Horneman atter tog det frem for at arbejde på det. Kampen for det daglige brød havde første prioritet, så udover arbejdet med forlaget og Nordiske Musikblade tog Koncertforeningen og senere etableringen af Musikinstituttet al hans tid. Endelig i 1883 skete der noget. Godt støttet af bl.a. Grieg og komponisten Leopold Rosenfeld lykkedes det ham at få tildelt en årlig statsunderstøttelse. Med sin egen sorte humor takkede han Grieg for dennes indsats: Da nu endelig den Dag er oprunden da jeg ifølge kongeligt Brev har at hæve i Finantshovedkassen den Sum af 83 Kr. 33 Øre hver Maaned som Understøttelse for at sidde og svine noget Nodepapir til, er denne for mig, som Du vel kan tænke, glædelige Begivenhed en passende Leilighed til at fremkomme med min allerede for længe siden sammenbryggede Tale, saalunde lydende: I (Du, min Kone, Smitt og Rosenfeldt) “ere nogle godt bagede gemene Kjæltringer og Tyveknækte af Vinkelskrine”. Er det en ærefuld Mand værdigt at gaa ad Bagtrappen, og bag vor Ryg foretage Aareladninger paa det danske Statslegeme til Fordel for en lumpen Komponist, en tykmavet Idiot af en Spillelærer, som kan gaa hjem og lægge sig? Sæt det Fæ gaar hen og fuldender en Opera, som man troede var velforvaret i Morfeus Arme, og sæt denne Opera bliver opført; ja, endnu værre, sæt den gjør Lykke – “Vupdi, værseartig, hvad behager, den var jo tydelig nok.” Men I skal sé, den gaar ikke; I faaer ikke noget ud af Eders hinterlistige Rænkespil; Horneman bliver sgu alligevel aldrig færdig, og skulde det imod Forventning dog ské, er det da at haabe at Retfærdighedens Arm maa knuse denne forlorne Stikling af en Professor.7 Noget tyder på, at Horneman ikke var klar over, at også Det Kongelige Teaters kapelmester, H.S. Paulli, og korsyngemesteren C.L. Gerlach varmt havde været med til at støtte, at han fik denne økonomiske håndsrækning fra Staten. Sidstnævnte karakteriserede således Horneman som “en af vore mest begavede yngre komponister”, hvis opera ville blive både ham selv og hans fædreland til ære, hvis han fik mulighed for at gøre den færdig.8 Glad var Horneman for denne hjælp og tog fat på at instrumentere de to sidste akter og foretage forskellige ændringer. I foråret 1888 var han så vidt, at han indleverede operaen til Det Kongelige Teater. Den musikalske censor Johan Svendsens dom var ultrakort. Han skrev den 25. april til teaterchefen: “Et meget talentfuldt Værk, som jeg paa det varmeste anbefaler til Antagelse paa det Kgl. Teater”.9 Desværre var dommen over Benjamin Feddersens tekst den diametralt modsatte. Censoren ved Det Kongelige Teater, Erik Bøgh, skrev: 6 7 8 9

Elisabeth Rosenberg, “Spredte Minder fra et Kunstnerhjem”, Mit Hjem. Nationaltidendes Jubilæumsnummer, 18.3.1926, s. 64. Inger Sørensen (udg.), Et Venskab. C.F.E. Hornemans korrespondance med Edvard Grieg (København 2011), brev nr. 56. C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081. fol. Det Kongelige Teaters Arkiv og Bibliotek.

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Horneman var rasende over, at “denne Sjover, Erik Bøgh”, som han kaldte Det Kongelige Teaters censor, havde så meget aldeles meningsløst (ifølge Hornemans opfattelse) at indvende, så at teksten måtte omarbejdes, og han var ikke sen til at gøre Det Kongelige Teaters ledelse opmærksom på, at han var en stærk modstander af rim: For at forebygge en muelig Misforstaaelse med Hensyn til Kilden og Bearbeidelsen af Teksten til Operaen Aladdin skal jeg hermed tage mig den Frihed at gjøre D’Her Autoriteter Ved det K.T. bekjendt med, at Initiativet til Behandlingen af Aladdins Emne som Opera vel er udgaaet fra mig, men at baade Scenegangen og Dialogen, altsaa hele Bearbeidelsen, skyldes tvende Literater. Som Komponist til Operaen har jeg selvfølgelig havt en Del Indflydelse paa Forfatteren i forskjellige Retninger; saaledes udbad jeg mig instændig om at blive fri for Rimene, da disse, hvad der maaske er eiendommeligt for mig, generer mig en Del under Arbeidet, idet de ligesom tvinger mig ind paa en vis rythmisk Eensformighed og regelbundet Frasering, der ikke almindeligvis stemmer med de større Musikdramaers Karaktér. Dette antager jeg ogsaa er Grunden til at Operakomponister som Wagner og andre har strøget Rimene paa de fleste Steder. Ogsaa med Hensyn til Verselinier har jeg udbedt mig en vis Uregelmæssighed paa de Steder, der almindeligvis benævnes “Scener”, nemlig en Slags rytmisk Prosa.11 I begyndelsen af september forelå der en ny version af teksten, men Erik Bøgh lagde ikke skjul på, at han stadig fandt den under al kritik. Han indrømmede dog, at det var den musikalske komposition, der var af afgørende betydning for operaens succes, og derfor var han parat til, efter at have udtalt sig om tekstens ukunstneriske habitus, at overlade det afgørende ord til Johan Svendsen. På grund af de divergerende meninger fik Horneman dog besked om, at der sandsynligvis ville gå lang tid, førend operaen blev opført. Ulykkeligvis skiftede Teatret mening. Den 18. november skulle man fejre Christian IXs 25-års regeringsjubilæum, og det skulle naturligvis ske med pomp og pragt og festforestilling i Det Kongelige Teater. Da kongen ventede en mængde gæster fra udlandet, måtte det nødvendigvis være en opera, men der var ikke nogen af de forestillinger, der stod på repertoiret, der var velegnede. Så 10 Censur dateret 3.5.1888. Det Kongelige Teaters Arkiv og Bibliotek. 11 Udkast i C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081. fol.

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kom man i tanker om denne nye danske opera, som lå og ventede og besluttede sig seks uger før for at opføre Hornemans Aladdin. Det var hasarderet ud over alle grænser. Nodematerialet var ikke klar. Først måtte Horneman påtage sig at udarbejde en klaverudgave og korrigere hele partituret, så blev han bedt om at sørge for et klaverparti til Elisabeth Dons, der skulle synge Gulnare, og et balletparti til Emil Hansen, der skulle lave dansene samt et sufflørparti. Desværre var det ikke muligt at skaffe så mange nodeskrivere, som opgaven krævede, så han måtte nøjes med tre unge, temmelig langsomme skrivere, hvoraf den ene blev væk efter en dags forløb, og den anden meldte sig syg, så Horneman også måtte indforskrive sin datter, den senere skuespillerinde Elisabeth Rosenberg. En af Hornemans elever hjalp ham med rettelser i solostemmerne, hvor der flere steder var hele scener, der var udeladt, mens han selv indstuderede Aladdins parti med den svenske tenor Arvid Ødman og Noureddins med Niels Juel Simonsen. Og let var det ikke for sangerne. Den fejrede 69-årige kammersanger Peter Schram, der sang Sultanen, skrev til sin datter, at Wagner var en sinke imod Horneman, hvad det angik at skrive svær musik.12 Da det gik op for instruktøren, Pietro Krohn, hvor lang operaen var, og hvor svært det var at lære den, begyndte han i sidste øjeblik at foretage forkortelser, og Horneman var mere end en gang ved at tage sit partitur under armen og forlade Det Kongelige Teater. Bølgerne gik så højt, at man til sidst formente ham adgang til prøverne, fordi han uafladeligt forsøgte at få sine egne idéer realiserede. Selv på premieredagen tryglede Horneman skriftligt Krohn om at ordne scenen med Gulnares forsvinden, således som han havde beskrevet det. “De kan ikke – umulig – nægte mig denne Bøn. Operaen har ved Forkortelserne lidt saa meget at den ikke taaler mere, og hvis Publicum efter den omtalte Scene lér (høit eller indvendig) og Bladene gjør Nar af den, da kan dette blive Dødsstødet for min Opera, mit eneste Haab jeg har tilbage i Livet”.13 Resultatet af det kaotiske indstuderingsforløb udeblev da heller ikke. Man kan nærmest sidestille operaens skæbne med Beethovens Fidelio, der blev en fiasko med uropførelsen i Wien i 1805, fordi publikum hovedsagelig bestod af Napoleons franske besættelsestropper. Premieren på Aladdin med alle de fornemme gæster i parkettet blev også en fiasko, hvad publikum vel næppe ænsede; de havde alt for travlt med at råbe hurra for majestæten, og typisk nok var det balletindslagene, der fik det største bifald. Rasende beskrev Horneman udfaldet i et brev til Grieg:

ikke sige noget før Akten eller en Scene er forbi uden derfor at kunde gjøre nogen Fordring paa at det Sagte skal efterfølges.14 Især var Horneman rasende over, at så godt som alle sangpartierne var fejlbesatte, idet deres stemmetyper ikke svarede til dem, han havde skrevet dem for. Desuden var hele scener skåret væk, og det havde været den almindelige opfattelse i orkestret, at de først skulle til at prøve for alvor, når festforestillingen var overstået, men de tog fejl. Teaterchefen var ikke indstillet på at ofre mere tid på en opera, der havde haft premiere, uanset hvor urimelige vilkårene havde været. Horneman havde al god grund til at være både ulykkelig og rasende over behandlingen af hans livsværk. Den beretning om forløbet efter premieren, han senere nedskrev, er hårdrejsende, selv om den er præget af hans stærke temperament. Han slutter med en bredside mod teaterchefen: “Det er denne trofaste og paalidelige Lods, Kammerherre Fallesen, som har paataget sig det ansvarsfulde Hverv at bringe de af ham selv udvalgte Fartøier over Brændingen og Skjær uskadte i Havn. En Kahytsdreng vilde have gjort det bedre”.15 Modtagelsen i pressen var højst forskelligartet. I Illustreret Tidende skrev Charles Kjerulf: Det Publikum, der i Søndags ved Galaforestillingen i det kgl. Theater overværede den første Opførelse af Prof. Hornemanns Opera “Aladdin”, var langt fra at være det sædvanlige musikalske Première-Publikum, der trods alt sidder inde med en hel Del Kompetence. Dertil var der for mange røde Kjoler og brogede Ordensbaand, noget, som vor Musikverden ikke kan siges at være særlig begavet med. At dette Festpublikum som Helhed kjedede sig saa grundig, at der hvert Øjeblik gik som en sukkende, undertrykt Gaben gjennem hele Huset – det fik endda være. Værre var det, at den Snes eller det halvhundrede Musikmennesker, der var til Stede, i Mellemakterne gik om med lange – ja længere og længere – Ansigter og paa en besynderlig Maade undgik hinanden. Ingen ønskede at være den første til at udtale Skuffelsens skumle Ord, ingen havde Lyst til at være den lille Dreng i “Kejserens nye Klæder”.16 Det er utvivlsomt en rigtig Bjørnetjeneste, Komponistens nære Venner og Kolleger har gjort ham, naar de nu i en Snes Aar har gaaet omkring og fortalt, hvor vidunderlig hans ufuldendte Opera var, at det var en stor Skam, han ikke kunde naa at faa Slutningen lavet osv., ganske som om det var den danske Musiks Apoteose, der forestod, naar Operaen kom til Opførelse. Hornemann selv er sikkert uden Skyld heri; des bedrøveligere er det, at h a n nu skal lide under disse kortsynede Venners Tjenstivrighed, og det undgaar han næppe. Hvorfor i Alverden har dog ikke en eneste af dem haft Blik for eller Mod til i Tide at sige Komponisten, at hans Text var mer end umulig og Musiken – hvor smuk, dygtig, gidiegen den end paa mange Steder kan være – inde i et helt galt Spor, naar det som her gjaldt en Opera? Musiken til “Aladdin” er bleven som en Kilde, der løber ud i Sandet: man lige fornemmer dens Friskhed, dens forjættende Væde og Kølighed, men i samme Nu er Herligheden borte, suget bort af de brændende hede, tørre Sandskorn, – det hele bortdunstet i den omgivende Ørkennatur.

Som Du maaske allerede har hørt, gjorde Aladdin Fiasco paa Kongens Jubilæumsdag. Intet Under: De blegfede Comtesser og forspiste Festherrer, der lige var kommet fra den store Banket paa Børsen, samt det øvrige af Konger og Prindsesser stærkt betagede Publicum var aldeles ikke modtagelig for en Opera, ovenikjøbet en ny Opera af en dansk Componist. Men selv om der havde været noget Humeur den Aften, var det dog tvivlsomt om Aladdin var gaaet uskadt gjennem den Spidsrod af følgende Tortur, som i Forbindelse med Jubilæumsdagen slog den saa omtrent helt ihjel: Du maa nemlig tænke Dig 6 Ugers Indstudering efter Regler, som et af Frederik den 6te (tror jeg) stadfæstet Regulativ for det kgl. Theater hjemler og som gaar ud paa at Forfatteren eller Componisten har Lov til at sidde nede i Parquettet under Prøverne og ærgre sig, men

12 Citeret efter Robert Neiiendam, Det Kongelige Teaters Historie (København 1886-1890, 1930), bd. 5, s. 160. 13 Koncept i C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol.

14 Inger Sørensen (udg.), op. cit., brev nr. 58. 15 C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081, fol.; Edvard Fallesen var chef for Det Kongelige Teater 1876-1894. 16 Kjerulf havde skrevet en operette over H.C. Andersens eventyr, der også blev opført i 1888.

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Der sker intet i Operaen, Personerne er rene Theaterfigurer og, selv om de synger uafbrudt, næsten umælende. Næppe 16 Takter, af hvad de synger, har Evnen til øjeblikkelig at meddele sig til Tilhørerne, og uden denne Evne er enhver Opera redningsløst fortabt. Det er mer end sandsynligt, at meget, maaske det meste af Musiken til “Aladdin” er fortræffeligt – paa Nodepapiret. Med Partituret eller et Klaverudtog foran sig, vilde man maaske have ualmindelig stor Fornøjelse af Hornemanns Musik. Det er i hvert Fald den eneste Forklaring, der staar en aaben, naar der overhovedet skal ligge noget til Grund for hele den mærkelige Tradition, der har dannet sig om denne Opera, inden den kom frem. Saa meget er vist, at det, der ved den første Opførelse blev tilbage i Soldet, efter at det var rystet, endda temmelig lempelig, – det var ikke mange og store Korn. Alt det andet var som Støv, det kom og forsvandt, næsten uden at man mærkede det.17

at han endnu vil kunne udnytte den til Held for baade dansk Kunst og sig selv.18 Dagens Nyheder var mere forbeholden. Anmelderen var af den opfattelse, at det kun var fagfolk, der efter et nøjere studium af operaen ville være i stand til at værdsætte den, selv om den mere fagkyndige del af publikum også ville kunne få megen glæde af flere af detaljerne, hvis man hørte den flere gange. Det var det synspunkt, som Horneman selv havde forfægtet, at man ikke lærer at værdsætte en opera eller andre større musikværker, førend man har hørt dem flere gange og studeret dem hjemme ved klaveret. Efter en gennemgang af operaens forskellige numre kom anmelderen til denne konklusion: “Aladdin” er et Arbejde, som sikkert overalt vilde blive modtaget med Opmærksomhed i egentlige musikalske Kredse, og i vor hjemlige musikalsk-dramatiske Produktion maa denne Opera faa Plads i første Række paa Grund af den overlegne tekniske Dygtighed, hvormed Arbeidet er gjort, og det betydelige solide og ægte musikalske Indhold, der er nedlagt deri. Men paa afvexlende dramatisk Spændstighed er “Aladdin” ikke rig, Musiken er efter sin Beskaffenhed ikke let tilgængelig og forstaaelig, og Sangpartierne ere lidet flatterende.19

Det var dog ikke alle, der var enige med Charles Kjerulf. Anmeldelsen i Musikbladet – underskrevet A.T. – var i det store og hele positiv, men fremhævede som mange andre den dårlige tekst: Hvis saa endda denne Text blot var lagt godt til Rette for musikalske Former, men den indeholder næsten ingen Hvilepunkter og giver kun Motiverne sparsom Lejlighed til at vende tilbage. Des større Roes tilkommer der Komponisten, fordi han paa dette daarlige Grundlag har kunnet bygge et Toneværk af virkelig Betydning. Det bedste har han selvfølgelig præsteret, hvor han har haft frie Hænder. Der er i Korene en dramatisk Fart og Energi, som er sjælden hos danske Komponister; ligeledes er Ballet-Musiken vellykket, et enkelt Sted kommer der endog et Pust af orientalsk Kolorit over den. Aladdins Drøm i Hulen med de allerede berømte “fire Bratcher”, viser bedst hvad Horneman formaaer, naar han lader sin egen Fantasi raade. Her har han ligefrem skabt et lille Mesterstykke, saa fint er det tænkt og udført. […] Varmblodig Kraft og sprudlende Liv, det er hans Særkjende. Han forfalder aldrig til Sentimentalitet, man mærker endog, at han skyer at løbe ud i Sødladenhed, og hans Frygt gaar saa vidt, at den driver ham til den modsatte Yderlighed: at bruge for mange hurtige Tempi. Dette har sine Consequenser, som Horneman ikke har undgaaet. Den dramatiske Virkning, som i væsentlig Grad er afhængig af den rette Fordeling af Lys og Skygge, svækkes, det stemningsfulde lider derunder, og Sangerne faa ikke de mest flatterende Opgaver for deres Stemmer. Ganske karakteristisk er det, at Horneman næsten ikke lader det blive til noget mellem Aladdin og Gulnare, han svælger ikke som en Gounod i smægtende Elskovsduetter, og hvor deres Kjærlighed endelig kommer til Udbrud i Strofen: “Sig, at du elsker mig”, bruger han ikke en jublende “Dur”, men en lidenskabelig “Mol”. […]“Aladdin” er en Opera, som vil interessere enhver Musikven, ikke blot fordi den indeholder saa megen Musik, men fordi den er saa velgjørende fri for al Behagesyge, fordi Komponisten aldrig ved Godtkjøbsfraser søger at smugle sig et Bifald til, som han selv maatte foragte. Denne Opera er et fuldt ud æ r l i g t Arbejde. Horneman har i den nedlagt sine bedste Tanker, han har vejet og vraget, rettet og omarbejdet, men et Spørgsmaal er det, om han ikke havde staaet sig ved at være mere økonomisk. Erfaring gjør rig, og har Komponisten først sent erhvervet sig denne Rigdom, er der dog Haab om, 17 Illustreret Tidende (30/28), 25.11.1888.

Berlingske Tidendes anmelder mente at kunne spore indflydelse fra såvel Weber og Marschner som Wagner, den sidste fordi han fandt, at hovedvægten var lagt på det instrumentale, således at det, der blev sunget på scenen, kun var en forklarende tilgift til tonebillederne i orkestret. Desuden hæftede han sig ved, at teksten ifølge programmet var hentet direkte fra Tusind og én Nats Eventyr. På den ene side fandt han det prisværdigt, at Horneman ville være selvstændig, men på den anden side savnede han nogle af scenerne hos Oehlenschläger, fordi det simpelthen gjorde, at publikum ikke kunne følge med i handlingen, hvis ikke de kendte den i forvejen. Dette påviste han ved en gennemgang af operaen, og man må lade ham, at han på visse steder havde ret, såsom når Noureddin pludselig uden nærmere forklaring er kommet i besiddelse af lampen igen. Der var dog også rosende ord: Til Operaens ubestridelige Fortrin hører en stor rhythmisk Opfindsomhed og fremfor Alt en Instrumentation, der er ualmindelig fyldig og velklingende uden nogensinde at blive raffineret. I denne Retning har Componisten præsteret noget virkelig Genialt. De brogede Folkelivsbilleder ledsages i Regelen af en effectfuld Musik; de erotiske Scener tolkes smukt af Orchestret, men faae i de reciterende Sangpartier kun et utilstrækkeligt Udtryk, dog med Undtagelse af Gulnares store Arie i tredje Akt, som utvivlsomt er et af Operaens Høidepunkter og virkelig forener dramatisk Kraft med en lyrisk Skjønhed, der minder om Gounod.20 Slet så stor en fiasko, som Horneman selv anså Aladdin for at være på grund af den utilstrækkelige indstudering, var operaen altså næppe blevet. I 1895 fik Horneman delvis oprejsning for den måde, hvorpå operaen var blevet behandlet af Det Kongelige Teater. Ved årsmø-

18 Musikbladet (5/22), 6.12.1888. 19 Dagens Nyheder, 20.11.1888. 20 Berlingske Tidende, 20.11.1888.

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det i Samfundet til Udgivelse af Dansk Musik i december 1893 havde formanden og medstifteren, Jacob Fabricius, meddelt, at de i løbet af 1894 agtede at udgive Aladdin i et klaverpartitur, som Horneman selv havde udarbejdet, og som skulle forsynes med både dansk og tysk tekst. Med sine 379 sider blev det Samfundets største satsning siden grundlæggelsen i 1871. Klaverpartituret blev udsendt i fire leverancer, en akt ad gangen. Allerede efter udsendelsen af første akt i begyndelsen af 1894 fik Horneman positive reaktioner. Grieg kunne berette, at han havde fået et brev fra sin gode ven, den hollandske pianist og komponist Julius Röntgen, der havde udtalt om første akt, at han var overrasket over denne fine og interessante musik, som han anså for at være noget af det bedste, Danmark havde frembragt. Grieg drillede dog Horneman med, at det jo have været bedre med en hel opera, men tilføjede også, at han godt kunne forstå, at Horneman ikke kunne sidde og vente på, at Wilhelm Hansen fik snøvlet sig færdig med at udgive de resterende akter. I juli sendte Horneman anden akt til Grieg, der syntes, at meget af det var smukt, men fandt, at det var en fortvivlet idé, at der var foretaget nogle ændringer i teksten i slutningen af akten. “Jeg forstår godt, hvad Du har ment”, skrev han, “men Fanden tage mig, om mit Instinkt her bedrager mig: Dette er Skidt! Jeg er forberedt på at få en hel Bøtte Spyt i Ansigtet i denne Anledning, når vi atter mødes.”21 Det fik han med fynd og klem skriftligt. Horneman forsøgte at overbevise Grieg om, at den nye version var “Tusind Millioner Milliarder bedre end det gamle nederdrægtige, forbandede Møg”, men tilføjede dog, at det jo kunne være lige meget, for det drejede sig jo kun om 1½ takt.22 I september 1895 var hele klaverpartituret ved at være færdigt, men så fik Horneman at vide, at Samfundet til Udgivelse af Dansk Musik havde bedt pianisten og komponisten August Winding, der var en nær ven af både Horneman og Grieg, om at gennemgå klaverpartituret, ikke for at finde trykfejl, som Horneman først troede, men for at se, om der var nogle ting deri, som burde være anderledes. Horneman var rasende: “Havde jeg vidst Besked herom i rette Tid, skulde Samfundet for osv. have faaet deres velvillige Protection lige i Synet, og jeg skulde have betakket mig for den Ære osv.”, skrev han oprørt til Grieg.23 Jacob Fabricius forsøgte at gøre Horneman opmærksom på, at Samfundsrådet havde besluttet, at alle, hvis værker blev antaget til udgivelse, skulle lade deres arrangementer efterse af “det i Øieblikket fungerende Udvalg”, men Horneman protesterede med bidende ironi mod “det vise Raads” beslutning. Han sluttede med at skrive: “Jeg forstaar ikke, at Winding kunde udtrykke sig saaledes til mig om dette Forhold, som han gjorde forleden, at han syntes det var ‘noget Vrøvl’ at han skulde efterse mit Klaverudtog. En saadan – hvad skal jeg kalde det – Insubordination overfor det ‘vise Raad’, synes mig burde paatales ved et Møde”.24 Horneman sad selv i Samfundsrådet, og det havde han gjort siden grundlæggelsen i 1871. Da klaverpartituret endelig forelå komplet i slutningen af november 1895, hyldede Jacob Fabricius Horneman i en stor forsideartikel i Illustreret Tidende, som han indledte med Ordene: “Musiksamfundet har med Udgivelsen af dette Hornemans Hovedværk opfyldt, hvad det maatte anse for sin Pligt: at give det sin officielle Anerkendelse og bidrage sit til at bane det Vej i Livet, hvilket de mindre heldige Forhold, hvorunder det første Gang saa Lyset, maatte

opfordre til.”25 Dermed havde Horneman ikke alene fået oprejsning for Aladdin, han havde også gjort sin egen udtalelse til skamme: at der kun blev skrevet om én i Illustreret Tidende, hvis man var af høj rang, eller var død for nylig. Horneman var ingen af delene. I forsommeren 1898 foretog Horneman med statsstøtte en Tysklandsrejse primært med det formål at præsentere Aladdin for forskellige operahuse. På forhånd havde han sendt klaverudtog til operaerne i bl.a. Berlin, Dresden, Frankfurt, Weimar, Mannheim, Mainz, Stuttgart og Wiesbaden, og kgl. kapelmester Johan Svendsen og teaterchef P. Hansen havde givet operaen deres bedste anbefaling med på vejen, ligesom Horneman havde ladet trykke brochurer med uddrag af anmeldelserne af Aladdin, men alt forgæves. Aladdin blev aldrig opført på tyske operascener. Både Edvard Fallesen og P. Hansen udtalte flere gange over for Horneman, at de skyldte ham oprejsning for den skandaløse uropførelse, men det førte ikke til noget. Da P. Hansen i 1899 afløstes af Einar Christiansen, var Horneman derfor ikke sen til at henvende sig til ham for at forhøre sig om mulighederne af en genoptagelse af sit mishandlede storværk. Christiansen var positiv, men der var andre nye operaer, der først skulle opføres, bl.a. Lange-Müllers Vikingeblod og en af August Enna, så derfor kunne det ikke blive før i sæsonen 1900/1901. Horneman foreholdt ham, at hvis det blev udskudt for længe, kunne det være, at den strålende tenor, Vilhelm Herold, som var ideel til titelpartiet, ikke var til rådighed, og at de vanskeligheder med dekorationerne, som Christiansen havde nævnt, var ubegrundede, samt at hele hans fremtid som komponist stod på spil. Teaterchefen lovede at gøre, hvad han kunne, og Hornemans sidste ord til ham, da han gik ud af døren, var: “Herold er vigtigere end dekorationerne”.26 Tiden gik, og Horneman kunne ikke holde uvisheden ud. Derfor skrev han et langt brev til Einar Christiansen, hvor han tiggede om at få sandheden at vide: ville de, eller ville de ikke opføre Aladdin. “Sig dog dette! Lad mig ikke længere gaa og nære disse frygtelige forlorne Illusioner, der tærer paa mit Humeur og min Arbeidskraft paa andre Omraader”.27 Få dage efter, den 25. maj 1900, meddelte Christiansen så, efter at være blevet overtalt af kapelmester Johan Svendsen og sceneinstruktøren Julius Lehmann, at han kunne være rolig. Det var deres alvorlige hensigt at opføre operaen, forhåbentlig i den næste sæson. Sådan skulle det ikke komme til at gå. I februar 1901 holdt Julius Lehmann og Horneman et møde om iscenesættelsen, og Horneman bad om selv at få lov til at udarbejde mise-en-scène, hvilket han fik tilladelse til. Det tog ham hele sommeren, og den 5. september kunne han endelig sende den til Lehmann med følgende kommentar:

21 22 23 24

25 26 27 28

Inger Sørensen (udg.), op. cit., brev nr. 65. Inger Sørensen (udg.), op. cit., brev nr. 66. Inger Sørensen (udg.), op. cit., brev nr. 77. Koncept dateret 1.9.1895 i C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol.

Jeg har gjort mig en synderlig Umage med den. Disse Pile og Kranse osv. har ogsaa taget gevaldig paa mig. Jeg vil absolut ikke være Sceneinstructør, om jeg saa fik hundrede Daler. Mine fornemste Bestræbelser under Udarbeidelsen har været, næst efter de kunstneriske: At Deres Arbeide bliver saa lidt besværligt som muligt – at Iscenesættelsen ikke kommer til at koste Theatret mere end høist nødvendig, – at Sceneforandringerne bliver saa nemme at udføre, at Forvandlingerne kan foregaa for aabent Tæppe, og at Mellemakterne kan forkortes til det mindst mulige.28

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Illustreret Tidende (37/8), 24.11.1895. Dagbog i C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol. Ibid. Koncept i C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol.

Der skulle komme til at gå 2,5 måned, inden Lehmann fik tid til at indkalde Horneman til et møde om sagen, hvilket han foreslog skulle foregå hjemme hos ham i Købmagergade, så de kunne skændes i al gemytlighed. De synes dog at være nået til gensidig forståelse, for i et læserbrev i Nationaltidende angående en detalje i forestillingen betegnede Horneman senere iscenesættelsen som “glimrende, fantasifuld og smagfuld”.29 Einar Christiansen besatte rollerne i samråd med Horneman, og han udtalte i et interview i anledning af premieren, at Teatret havde rettet sig fuldstændig efter komponistens fordringer. At samarbejdsviljen i den sidste fase havde været udpræget fremgår af et nærmest underdanigt brev fra Horneman til Einar Christiansen, hvor han ligefrem beder om forslag til forkortelser og udbreder sig om, hvad der får en lang opera til at føles kort – og omvendt. Brevet er kun bevaret som koncept, så det vides ikke, om det blev afsendt i denne meget ordrige form, men på de første sider kaster Horneman lys over, hvad han syntes var væsentligt i operakomposition, og hvad det var, der havde fået ham til at vælge netop Aladdin-temaet: Jeg forudsætter naturligvis, at Deres og mine Interesser hvad Aladdin angaar falder sammen: at De og jeg ønsker og tilstræber en Succes. Hvor taknemmelig vilde jeg da ikke være Dem, hvis De gav mig en god Idé, det være en Strygning, Forkortelse, en Ændring i Scenearrangementet o.l., naar derved kunde opnaas en bedre Virkning, der forskaffede Publikum en forhøiet Nydelse og skaanede det for det langtrukne og kjedelige. Det langtrukne og kjedelige – der er jo netop det, der først og fremmest bør undgaas, hvis det skulde lykkes at bibringe Tilhørerne et frisk og stærkt Indtryk af hele Værket. Det har været min stadige Tanke og Bestræbelse, at forme de for en nydbar Opera nødvendige Elementer: Rig (ikke mosaikagtig) Afveksling af de mest forskjelligeartede Stemninger og Situationer: glade, vemodige, voldsomme osv., alt i Korthed og Længde vel afpasset. Det er denne Afveksling, jeg særlig har havt og har min Opmærksomhed fæstet paa, som Følge af, at mit Temperament ikke taaler Monotoni, uden der, hvor den netop skal virke ved sin Modsætning til det forudgaaende og efterfølgende, altsaa netop for at fremkalde forøget Liv. I Aladdin er Antallet af de stille, brede Satser yderst faa. Operaen er gjennemgaaende frisk, bevæget og flydende. Det er min medfødte Trang i denne Retning som har ledet mig til Aladdin-Emnet. Hvis det nu er lykkedes mig, at give mit personlige Naturel Udtryk i Aladdin, er det ganske utænkeligt, at Tilhørerne vil kunne trættes paa det Punkt. Men den Mulighed foreligger altsaa, at jeg hist og her kan have gjort gal Beregning og at der trods det grundige Eftersyn, jeg foretog efter forrige Opførelse og Omarbeidelsen, dog findes svage Punkter: et og andet for langt eller for kort. At komme til fuld Klarhed herom er sikkert umulig før efter en Opførelse for Publicum, maaske, dog usikkert efter en Generalprøve eller en forudgaaende fuldstændig Prøve uden Standsninger. Vi ved jo Alle hvor forskjelligt Indtrykket er af et dramatisk Værk ved Opførelsen, ved Prøverne og ved Gjennemlæsningen. Grunden hertil er sikkert den, at Forholdene hvad Længde og Korthed angaar, vanskelig lader sig bedømme på nært Hold, som ved Betragtningen af store Malerier i for kort Afstand, og kolosale Statuer til Opstilling i det fri i Billedhuggerns Atelier. Det er farligt at tage Bestemmelse om Strygninger i en Opera, efter det Indtryk, man faar gjennem Noderne. Ikke 29 Avisudklip i C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081, fol.

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den mest erfarne routinerede Theatermand er sikker her. Og er Talen om en Opera med store Træk, store Massevirkninger og Stigninger som i Aladdin, skal man være yderst forsigtig; thi det kunde hænde, at Saksen kom til at klippe Toppen af Blomsten, og hermed var hele Herligheden forbi. En Succes beroer i Operaer som Aladdin i væsentlig Grad paa Formen, de store Linier. […] Jeg har under Omarbeidelsen af Aladdin forkortet mange Scener, men ikke de tre store: 2den Akts Finale, 3die Akts Festmusik og 4de Akts Finale. Mine Forkortelser er foretagne udelukkende med kunstneriske Hensyn for Øie, og skulde det vise sig, ved en fuldstændig Prøve, at der endnu paa et eller andet Sted, der helst burde stryges eller forkortes er jeg naturligvis den første til at give Forslag herom. Men kun hvis denne Strygning eller Forkortelse er til Gavn for Operaen, m.a.O., at den kan bidrage til Succesen, derimod absolut ikke for at Forestillingen kan høre noget tidligere op. Er Operaen kjedelig, bør den helt stryges, er den underholdende, har det intet at sige om Forestillingen er forbi Kl. 10, 10½ eller 11. En kjedelig Forestilling er for lang selv om den kun varer i 5 Minutter; er den underholdende, beklager mange snarere at den er tilende, om den saa har varet 4 Timer.30 Efter at have uddybet sine synspunkter til det pinagtige sluttede han brevet med ordene: “Man tilgiver mig disse, maaske overflødige Formaninger og Forklaringer, men Skjæbnen har tidligere bragt mig saa mange og store Skuffelser paa dette Omraade, at jeg ikke kan frigjøre mig fra en Følelse af Angst, der blander sig i mine ellers glade Forventninger om en forestaaende Opførelse af Aladdin”. I sine erindringer har Einar Christiansen fortalt om et møde med Horneman kort før premieren. Horneman sad på hans kontor samtidig med, at der var arrangementsprøve på Aladdin nede på scenen. Selv om Julius Lehmann havde megen personlig sympati for Horneman, havde han på det bestemteste forlangt, at denne skulle formenes adgang til prøverne, fordi han ved opførelsen i 1888 havde blandet sig så meget, at der var opstået en sådan forvirring, at Fallesen havde været nødt til at forvise ham fra scenen. Nu sad Horneman over for Einar Christiansen og beklagede sig, ikke over forbuddet, som han til en vis grad havde forståelse for, men over den pine det var for ham at tænke på, at de nu gik nede på scenen og sang og fremstillede hans musik og hans figurer, og så var han ikke selv med. Han led, fysisk, ved denne Væren-udenfor og gav ubehersket, som den hidsige Brumbasse og elskelige Kunstner han var, sine Kvaler Luft i Bønner og Paakaldelser: om han dog ikke maatte faa Lov! – han skulde sidde stille som en Mus allerbagest i Parterret […] Og udenfor Kontordøren laa hans lille Hund og bjæffede. Den var utaalmodig som sin Herre. Men Hunden blev ikke lukket ind, og Horneman fik ikke Adgang til Scenen før paa Generalprøven. Efter denne var han idel Taksigelse. Alting var fuldendt! Han kunde ikke selv havde gjort det bedre!31 Horneman havde altså ikke behøvet at være bange. Premieren den 4. april 1902 blev en overvældende succes. 18 opførelser for fulde huse blev det til. Hornemans datter, Elisabeth Rosenberg, har fortalt, hvorledes hun den sidste gang, Aladdin stod på plakaten, mødte sin far på Kongens Nytorv. Han sagde ikke et ord, men pegede smilende over på Teatret, hvor den røde lygte strålede. En30 Koncept i C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol. 31 Einar Christiansen, Nogle Træk af mit Liv (København 1930), s. 222-223.

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delig havde han vundet den anerkendelse for sit værk, han altid havde drømt om. Blandt premieregæsterne var hofmusikhandler og koncertagent Henrik Hennings og hans kone, skuespillerinden Betty Hennings med deres gæster, den internationalt berømte østrigske dirigent Hans Richter, der var i København i anledning af en koncert, og den kendte danske operasanger Ejnar Forchhammer, der var engageret ved hofoperaen i Dresden. Et par dage efter skrev Hennings til Horneman og fortalte, hvor betagede han og hans kone havde været af al den glans og skønhed i musikken, og berettede samtidig, at Richter havde fulgt opførelsen med den allerstørste interesse. Det havde givet Hennings den idé, at han måske kunne hjælpe Aladdin frem i udlandet, og han tilbød selv at være behjælpelig. Horneman viste brevet til sin forlægger, Alfred Wilhelm Hansen, men denne bad ham om ikke at tage imod konkurrenten Hennings’ tilbud, han skulle nok selv gøre, hvad der skulle gøres for operaen, men han gjorde intet for at få den frem i udlandet. Nationaltidende havde dagen efter premieren nøjedes med følgende notits: Hornemans “Aladdin” gik i Aftes for første Gang i en ny Indstudering. Den præsenterer sig nu smukt og glansfuldt i hele Iscenesættelsen og ligeledes for det musikalskes Vedkommende i en god og følgeret, paa sine Punkter udmærket Gjengivelse. Publikum var stærkt interesseret i de store musikalske Skjønheder, dette Værk indeholder, og især de to mellemste Akter, sloge stærkt an. Af de Rollehavende maa særlig fremhæves Hr. Herold som Aladdin, Hr. Simonsen som Noureddin og Fru Ulrich som Gulnare. Til gengæld benyttede de sig den 7. april af Richters tilstedeværelse og bragte i stedet for en traditionel anmeldelse et interview med ham. Richter var en fremragende operadirigent med rige erfaringer fra bl.a. hofoperaen i Wien og Bayreuth, hvor han havde dirigeret den første samlede opførelse af Nibelungens Ring i 1876. Han havde glædet sig over at stifte bekendtskab med et værk af en så højt begavet, sund, varm og fin kunstnernatur, og han tog sin hat af for den store kompositoriske dygtighed, med hvilken det var skrevet. Især var han imponeret over den fuga à la Händel, som danner slutningskoret.32 Men ikke alene selve operaen, også udførelsen var for ham en glædelig overraskelse. Han erklærede, at man ikke kunne se en smukkere forestilling på de store operascener i Berlin og Wien. Især var han begejstret for Vilhelm Herold, der i følge Richter havde alt hvad der skulle til: stemmens glans og charme, musikalsk kultur, udmærket skoling, illuderende fremstillingskunst og et smukt ydre. Enhver verdensscene kunne være misundelig på Det Kongelige Teater. Også Niels Juel Simonsen var ifølge Richter i verdensklasse. Det pragtfulde stemmemateriale parret med hans fremtoning og spil gjorde, at Richter ville overveje at hente ham til Bayreuth. Han var dog ved at falde om af forbavselse, da han fik at vide, at Juel Simonsen var 56 år. Han troede, det var en ung mand. Særlig begejstret var han for Det Kongelige Kapel under ledelse af Johan Svendsen, som han havde lært at kende mange år tidligere i Bayreuth, men aldrig havde set eller hørt dirigere. En sådan kapelmester fandtes der ikke mange af, mente Richter. Om det så var scenografi, kostumer og balletten var der også rosende ord om dem. Kun en eneste ting var han utilfreds med: den måde hvorpå Ringens Ånd kom til syne på en sky. Det kaldte han et al32 Nationaltidende, 7.4.1902.

deles forældet arrangement. Det var han ikke ene om. Der opstod en hel lille polemik i aviserne om denne sky, da det blev påtalt i et læserbrev, og Einar Christiansen påstod, at det var komponisten, der havde ønsket det sådan, mens Horneman rasende fralagde sig ansvaret, selv om han i sin mise-en-scène havde beskrevet det nogenlunde sådan, og lod Sorteper gå videre til Julius Lehmann, der var ansvarlig for alle enkeltheder. Selv i sejrens stund fornægtede hans stridbarhed sig ikke. De 18 udsolgte huse til trods gik Aladdin over scenen sidste gang den 31. oktober 1903 og er ikke siden blevet vist på Det Kongelige Teater. Medvirkende hertil har formodentlig været, at Oehlenschlägers skuespil blev genoptaget i 1919 i en pragtopsætning ved Johannes Poulsen og med Carl Nielsens musik, der også blev brugt ved de efterfølgende genopsætninger i 1940 og 1959.

Redaktionel strategi Nærværende udgave tager udgangspunkt i Det Kongelige Teaters opførelse i sæsonen 1902-03, til hvilken der er overleveret et omfattende kildemateriale (Description of Sources, bd.2, s. 695-702). Som hovedkilde er anvendt en partiturafskrift (kilde A), som er det partitur, dirigenten Johan Svendsen benyttede ved denne opsætning. A er udarbejdet på grundlag af Hornemans egenhændige omarbejdelse (kilde B) af et partitur, der havde været anvendt ved den første opførelse i 1888. Partiturafskriften A er imidlertid meget mangelfuld. Hornemans forlæg, som rummer et utal af overspringelser, tilføjelser og ændringer, har øjensynligt været mere end kopisten har kunnet overskue, og resultatet er langt fra tilfredsstillende. Af samme grund har B stiltiende været anvendt som korrigerende instans i tilfælde af fejl i A. Størstedelen af disse korrekturer bekræftes af stemmematerialet (C1), som i vid udstrækning ligeledes er udskrevet efter B. Horneman havde meget svært ved at lægge sidste hånd på operaen, og kilde A rummer flere eksempler på, at Horneman på et meget sent tidspunkt i prøveforløbet har fortaget ændringer og tilføjelser, hvoraf flere ikke er blevet indarbejdet i stemmematerialet (C1). Udgiverne har valgt at følge disse tilføjelser således at denne udgave repræsenterer Hornemans sidste vilje, som i en vis udstrækning ikke nåede at blive realiseret i komponistens levetid. Vokalsatsen i kilde A er forsynet med en række ændringer med rødt blæk, som i vid udstrækning repræsenterer en dybere version af de respektive partier. Det gælder først og fremmest Aladdins parti. Der er ikke taget hensyn til disse dybere versioner, men de er dokumenteret i de kritiske kommentarer (bd.2, s. 702-730). Med hensyn til ortografi er vokalteksten noget uensartet i de forskellige kilder. Som udgangspunkt følges det trykte klaverpartitur (D), idet inkonsekvenser stiltiende dog er normaliseret. I forbindelse med 1902-opsætningen bearbejdede Horneman et interfolieret eksemplar af det trykte klaverudtog (D1) til brug for instruktøren Julius Lehmann. Horneman indførte egenhændigt en gennemgribende revision af scene- og regibemærkninger og tilføjede en lang række illustrationer af scenebilleder. Udgaven følger denne version med hensyn til scene- og regibemærkninger, mens illustrationerne er gengivet som faksimiler i appendiks (bd.2, . 731-751). Horneman komponerede ouverturen allerede i 1864, inden han gik i gang med selve operaen. Siden omarbejdede han ouverturen flere gange, bl.a. i forbindelse med førsteopførelsen i 1888, hvor instrumentationen var udvidet med piccolofløjte, to ekstra horn og tuba. I stemmematerialet til 1902-opførelsen genbrugte man stemmerne til ouverturen fra 1888, men da der ikke er overleveret noget partitur til denne version, har det været nødvendigt at anvende orkesterstemmerne (C1) som hovedkilde til ouverturen.

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2. Ida Møller som Gulnare (1902). Gengivet med tilladelse fra Det Kongelige Teaters Arkiv & Bibliotek.

3. Niels Juel Simonsen som Noureddin (1888/89). Gengivet med tilladelse fra Det Kongelige Teaters Arkiv & Bibliotek.

2. Ida Møller as Gulnare (1902). Reproduced by kind permission of Det Kongelige Teaters Arkiv & Bibliotek.

3. Niels Juel Simonsen as Noureddin (1888/89). Reproduced by kind permission of Det Kongelige Teaters Arkiv & Bibliotek.

1. Vilhelm Herold som Aladdin (1902). Gengivet med tilladelse fra Det Kongelige Teaters Arkiv & Bibliotek.

1. Vilhelm Herold as Aladdin (1902). Reproduced with kind permission by Det Kongelige Teaters Arkiv & Bibliotek.

Vilhelm Herold som den sovende Aladdin liggende ved sin mors grav, fjerde akt. Gengivet med tilladelse fra Det Kongelige Teaters Arkiv & Bibliotek.

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Vilhelm Herold as the sleeping Aladdin lying at his mother’s grave, Act 4. Reproduced by kind permission of Det Kongelige Teaters Arkiv & Bibliotek.

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Slutscenen i fjerde akt fra opførelsen i sæsonen 1901-02. Til venstre på forhøjningen står Gulnare (Emilie Ulrich) og Aladdin (Vilhelm Herold), mens Sultanen (Max Müller) og Viziren (Helge Nissen) henholdsvis står og sidder yderst til højre i billedet. Gengivet med tilladelse fra Det Kongelige Teaters Arkiv & Bibliotek.

The final scene of Act 4 from the staging in the season 1901–02. On the left side on the raised platform is Gulnare (Emilie Ulrich) and Aladdin (Vilhelm Herold), while the Sultan (Max Müller) and the Vizir (Helge Nissen) are standing and sitting, respectively, at the far right. Reproduced by kind permission of Det Kongelige Teaters Arkiv & Bibliotek.

INTRODUCTION Although C.F.E. Horneman (1840–1906) had to earn his living by teaching and also at the beginning by trying his hand as a conductor, he had always been convinced that his real vocation was to compose and that his talent lay first and foremost within dramatic music. Thus, Aladdin became his lifework, on which he worked for almost forty years; however, many vicissitudes came in his way. In one of his numerous articles from around 1900 he writes: It was my misfortune that as a boy I particularly wanted to play at the theatre [...] and it may well be that my desire to compose operas arose from this talent in connection with my musical abilities. [...] In hope and with a blind faith in my ideals I placed myself at the top of the long path on which I slid right down into The Royal Theatre’s dark basement; over its entrance it reads ‘Ei blot til Lyst’. I had always earlier well understood what these words meant and found them expressive of the great goal the theatre had set for itself: but now, after having sat in the dark basement for twelve years, I think it would be better to read them as ‘Abandon all hope!’1 A few years after his homecoming from Leipzig, where he had studied at the conservatory, young Horneman was full of hope, when he determined to compose an opera over Aladdin. It was not to be based on Oehlenschläger’s dramatic poem but on the original narrative in the Arabian Nights. As author of the libretto, he selected his and fellow student Edvard Grieg’s close friend, the literature scholar and music teacher Benjamin Feddersen, who between 1859 and 1865 translated and adapted a number of comedies and musical comedies for the Casino theatre. Feddersen also produced the text for the musical entertainment The Florentine Flowergirls with music by Horneman, Grieg and Viggo Kalhauge, which was performed at the Casino theatre 14 June 1864. It was also in 1864 that Horneman composed the overture to his opera, which he himself conducted at the first performance in the music society Euterpe on 14 April 1866 and again on 8 May the same year. This was not a success. According to Emil Hartmann, who had a symphony performed on the same occasion, Aladdin was violently mishandled by the press. It cannot have been as bad as all that for in Dagbladet it received the following words: Clear thinking, the ability to let the motifs unfold like leaves from a twig, like a branch from tree-trunks would – to judge from the Overture ‘Aladdin’ – not seem to be Mr Chr. Horneman’s strong point; there is a lack of a governing thought, it is rather springing, uneasy, vacillating. Perhaps the composer wanted to follow the poem episode by episode. However, we must admit that the Overture in our opinion might just as well have been given any other name. It is only something vaguely fantastic that he has succeeded in suggesting. In that respect Mr Horneman’s work shows talented glimpses and a certain baroque originality.2

C.F.E. Horneman’s Overture for orchestra, ‘Aladdin’, is a work that demonstrates the composer’s talent. It does not display striking originality, but it is thought out in a healthy and strong manner, effectively instrumented and consistently melodious. The justification for calling it ‘Aladdin’ is however not really clear but we should refrain from making the demands, offered by the name, applicable for a composition that is in itself so attractive.3 Berlingske Tidende was even more positive: On the ‘Aladdin’ Overture several foreign authorities have already expressed an extremely favourable verdict. It has, partly under the composer’s own direction, been performed in Leipzig, Berlin and Vienna and has soon won an honourable placing in the foreign concert programmes. That the Danish public does not disagree is shown by the unanimous applause with which the composition was greeted last Tuesday. It distinguished itself with an attractive freedom in its inventions, an ingenious implementation of the themes and an effective instrumentation. We do not doubt that the Public will have the opportunity to hear it more often.4 Horneman trudged on sturdily with his opera and took it with him when he travelled around Europe with the aid of the Anckerske Legat in the autumn of 1867. He had been hard at work on it for in November he reported to Feddersen: Aladdin is growing, there is namely one number that has become excellent, yes I almost dare to say of unrivalled superiority. This is the terzetto with choir in the second act; actually, everything I have written yet has done as well as I could wish. The topic is good, and the music really seems to be appealing. All those for whom I have played it here in Germany are almost amazed at it and they declare it to be something of the best and most original that they have heard in recent times. This naturally gives me immense joy, as you may well believe, and I am not free from becoming a nasty arrogant fellow, I don’t put up with anything anymore. When I come home there are only two with whom it will be fitting for my dignity to keep company, namely my poet and my wife.5

After a performance at the Music Society (Musikforeningen) on 4 May 1869 the tune changed. In Dagbladet one could read:

When he came home, he continued his work and with some greater and lesser interruptions he finished it at some time in 1868 or 1869, after which he prepared the orchestration of the first two acts – he could not himself remember exactly when. However, when his father, Emil Horneman, who in his last years had been the manager of their shared music publishing house, died in May 1870, he had to stop working on the opera in order to earn the necessary income. On one occasion in November 1872 Horneman came close to losing his score. Fire broke out in the flat in Løvstræde, while he was teaching. He soon got his wife and his daughter Elisabeth, who was then about five years old, out of the house. Many years later Elisabeth related:

1 2

3 4 5

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C.F.E. Horneman’s efterladte papirer. DK-Kk, NKS 2081, fol. Dagbladet, 16.4.1866.

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Dagbladet, 7.5.1869. Berlingske Tidende, 7.5.1869. Letter dated 27.11.1867, C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol.

While Mother and I were sitting on a staircase on the opposite side of the road, Father ran back to our flat and returned shortly after with his curls flying and soot all over his face and hands because of the smoke. Under the one arm he had Great-Grandfather’s three pastel paintings: Kuhlau, Great-Grandfather’s self-portrait and Great-Grandmother’s portrait; under the other arm he was carrying his manuscript of ‘Aladdin’. ‘Now all the rest may burn’, said he.6

the verdict on Benjamin Feddersen’s libretto was in diametrical opposition. Erik Bøgh wrote: Of all the bad opera texts that have been submitted to the Royal Theatre, I do not know any that in respect to inanity and formlessness of construction are worse than the present maltreatment of the famous topic. The situations which have been taken from Oehlenschläger’s dramatic poem leave naturally nothing to desire, but the dialogue that replaces that of the original is beneath contempt. That it shows no trace of oriental colouring or even of a fantastic fairy-tale atmosphere should be a deciding reason for rejection, if it were to be judged as a poetic work, but that cannot be done here. It has not with the exception of the copied verses of the lullaby a single well-formed verse or even a poetic exchange of words. It cannot even be claimed to have been written in verse. It is a heaping up of worn-out phrases, without rhyme or rhythm in clumsily rearranged prose that in the most nonsensical way without taking account of metrical caesuras is chopped up into lines, short and long in between each other.10

The score had been saved but many years went by before Horneman again took it out to work on. The struggle for their daily bread had the first priority so apart from the work with the publishing house and Nordiske Musikblade, the Concert Society (Koncertforeningen) and later the establishment of the Horneman’s Music Academy (‘C.F.E. Hornemans Musik-Institut’) occupied all his time. Finally, in 1883 something happened. With good support from among others Grieg and the composer Leopold Rosenfeld, he succeeded in being awarded an annual state grant. With his own melancholy humour, he thanked Grieg for his contribution: Now that at last the day has come when I can, according to a government decree, withdraw the sum of 83 kroner 33 øre each month from the state treasury as support for sitting and dirtying some music paper, this happy occasion, as you may well imagine, is a suitable opportunity for me to present my speech, prepared long ago, which runs like this: All of you (you, my wife, Smitt and Rosenfeldt) ‘are a group of hard-baked, vile scoundrels and thieves of pettifogging lawyers’. Is it worthy for an honourable man to go up the back stairs and behind our backs perform bleeding operations on the body of the Danish State so that a mean composer, a fat-bodied idiot of a music teacher can go home and lie down? Just imagine that the fool should go and complete an opera that we thought was doing very well in the arms of Morpheus, and imagine that this opera will be performed; yes may even be a success – ‘pop, hey presto, take a seat, it was clear enough.’ But you shall see, it won’t work, you’ll get nothing out of your underhand dealings; Horneman will never ever get finished and should this happen unexpectedly, it is to be hoped that the arm of justice will crush this pseudo-shoot of a professor.7 It seems that Horneman did not realize that also The Royal Theatre’s Kapellmeister, H.S. Paulli, and choirmaster C.L. Gerlach had warmly supported that he had received this financial support from the state. Gerlach had thus characterized Horneman as ‘one of our most talented younger composers’, whose opera will bring honour to both himself and his fatherland, if he is given the possibility to complete it.8 Horneman was pleased with this help and he started with the orchestration of the last acts and to make various changes. By the spring of 1888 he had got far enough to submit the opera to The Royal Theatre. The musical adjudicator Johan Svendsen’s verdict was extremely brief, for on 25 April he wrote to the theatre manager: ‘A very talented work that I recommend most warmly for acceptance for performance at The Royal Theatre’.9 Unfortunately, 6 7 8 9

Elisabeth Rosenberg, ‘Spredte Minder fra et Kunstner hjem’, Mit Hjem. Nationaltidendes Jubilæumsnummer, 18.3.1926, p. 64. Inger Sørensen (ed.), Et venskab. C.F.E. Hornemans korrespondance med Edvard Grieg (Copenhagen 2011), letter no. 56. C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081, fol. Det Kongelige Teaters Arkiv og Bibliotek.

Horneman was furious that ‘this cad, Erik Bøgh,’ as he referred to The Royal Theatre’s script reader, had so much completely meaningless rubbish (in Horneman’s opinion) to say that the text had to be revised; in addition, he was not slow to make The Royal Theatre’s management aware that he was a strong opponent of rhyme: In order to guard against a possible misunderstanding of the source and the adaptation of the text for the opera Aladdin, I shall therefore take the opportunity to make the authoritative gentlemen at The Royal Theatre aware that the initiative for the treatment of Aladdin’s topic as opera may well have been mine but that both the plot and dialogue, that is the whole of the adaptation, is the responsibility of two men of letters. As the composer of the opera I have certainly had some influence on the author in various directions; in the way that I persistently requested to be spared from rhymes, since these, perhaps as a peculiarity of my own, trouble me a lot in my work: they actually compel me into a certain rhythmic monotony and regulated phrasing which do not generally suit the character of the greater music dramas. I also assume that this is the reason why opera-composers like Wagner and others have avoided rhymes in most places. Also, with respect to lines of verse I have requested a certain irregularity in the places which are usually referred to as ‘scenes’, namely a kind of rhythmic prose.11 At the beginning of September, a new version of the text was available but Bøgh made it abundantly clear that he still thought it beneath contempt. He admitted, however, that it was the musical composition that was of greatest significance for the success of the opera and therefore he was willing, after he had expressed his opinion of the inartistic appearance of the text, to leave the final decision to Svendsen. Because of the divergent opinions Horneman was told that there might well go a long time before the opera could be performed. Unfortunately, The Royal Theatre changed its mind. On 18 November, Christian IX’s Silver Jubilee was to be celebrated and this would naturally involve a gala performance with pomp and 10 Censorship, 3.5.1888. Det Kongelige Teaters Arkiv og Bibliotek. 11 Draft, C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081, fol.

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circumstances at The Royal Theatre. Since the king anticipated the arrival of many guests from abroad, this necessarily had to involve an opera but none of the items in the repertory were suitable. Thought naturally turned to this new Danish opera that was lying in waiting and it was decided to perform Horneman’s Aladdin in six weeks’ time. This was an unbelievably hazardous decision. Neither the score nor the parts were ready yet. First, Horneman had to take responsibility for producing a piano score and correcting the whole score, then he was asked to produce a piano-vocal score for Elisabeth Dons, who was to sing Gulnare, and a ballet-score for Emil Hansen, who was to arrange the dances, as well as a promptbook. Unfortunately, it was not possible to get hold of as many music copyists as the task required so he had to make do with three young, rather slow copyists, one of whom gave up after one day and the second reported ill so that Horneman also had to call in his own daughter, the later actress Elisabeth Rosenberg. One of Horneman’s students helped him with the corrections in the solo parts, where at several places whole scenes had been left out, while he himself rehearsed Aladdin’s part with the Swedish tenor Arvid Ødman and Noureddin’s part with Niels Juel Simonsen. It was not easy for the singers. The celebrated 69-yearold court singer, Peter Schram, who sang the Sultan, wrote to his daughter that Wagner was no match for Horneman as far as writing difficult music is concerned.12 When the stage director, Pietro Krohn realized how long the opera was and how difficult it was to rehearse, he began at the last minute to shorten it, and Horneman was more than once about to take his score under his arm and leave the Royal Theatre. Feelings ran high and eventually Horneman was not allowed to attend rehearsals because he constantly tried to get his own ideas accepted. Even on the day of the first performance, Horneman implored Krohn in writing to arrange the scene with Gulnare’s disappearance as he had described it: ‘You cannot possibly refuse me this request. The opera has with the abridgements suffered so much that it cannot stand anymore and if the audience after the scene in question laugh (aloud or to themselves) and the press make fun of it, this will be the death-blow for my opera, the only hope I have left in this life’.13 The result of the chaotic rehearsals was not unexpected. The fate of the opera can almost be compared with that of Beethoven’s Fidelio, which was a fiasco on its first performance in Vienna in 1805 because the audience mainly consisted of Napoleon’s French occupying troops. The first performance of Aladdin with all the distinguished guests in the stalls was also a fiasco, although the audience hardly realized this: they were too busy cheering for his majesty, and typically enough it was the ballet features that received the most applause. A furious Horneman described the outcome in a letter to Grieg:

ment that evening, it is doubtful whether Aladdin would have run unharmed through the accompanying gauntlet of torture which in connection with the Jubilee Day almost killed it completely: You have to imagine six weeks of rehearsal according to rules which were regulations ratified by Frederik VI (I believe) for The Royal Theatre with the aim that an author or composer is allowed to sit down in the stalls during rehearsals and be chagrined not to be able to say anything before the act or the scene came to an end so that he could say that his orders must be obeyed.14 Horneman was particularly enraged because almost all the singing characters had been unsatisfactorily cast, since their types of voice did not correspond with what had been written for them. Whole scenes had been cut out and it had been the general opinion in the orchestra that proper rehearsals would not begin until the jubilee performance was over, but they were wrong. The theatre manager was not inclined to waste more on an opera that had had its first performance, however unreasonable the conditions had been. Horneman had good reason to be both unhappy and enraged over the treatment of his life’s work. The account of what took place after the first performance that he wrote down later is hairraising, even considering that it is coloured by his bad temper. He concludes with a broadside against the theatre manager: ‘It is this faithful and reliable pilot, chamberlain Fallesen, who has undertaken the responsible task of bringing the vessels selected by himself safely over the breakers and the rocks into the harbour. A cabin boy could have done it better’.15 The reception in the press was varied. In Illustrated Tidende Charles Kjerulf wrote: The public that last Sunday at the gala performance in The Royal Theatre attended the first performance of Prof. Horneman’s opera ‘Aladdin’ was very far from being the customary firstnighter music public that in spite of everything is in possession of a good deal of competence. There were too many red dress coats and colourful medal-ribbons, things with which our music world can hardly be said to be particularly wellendowed. That this gala public on the whole was so severely bored that there every moment could be heard a sighing, suppressed yawning running through the whole house – that is bad enough. It was worse that the twenty or fifty music people present went around in the intervals with long – yes, longer and longer faces and in a peculiar way avoided each other. No one wanted to be the first to express his disappointment like the little child in ‘The Emperor’s New Clothes’.16 It is without doubt an unintentional disservice that the composer’s close friends and colleagues have done him now, after they have gone around for a score of years saying how wonderful his incomplete opera was and that it was a great shame that he could not manage to compose the end etc. etc., just as if it were the apotheosis of Danish music that was approaching when the opera was performed. Horneman himself is certainly not to be blamed for this; the more deplorable is it that he now

As you may already have heard, ‘Aladdin’ was a fiasco at the king’s jubilee. No wonder: The pasty-faced countesses and surfeited party participants, who had just arrived from the great banquet at the Stock Exchange, as well as the rest of the public, spellbound by kings and princesses, were not at all receptive to an opera, into the bargain for a new opera by a Danish composer. But even if there had been any receptive tempera-

12 Quot. in Robert Neiiendam, Det kongelige Teaters Historie (Copenhagen 1886–1890, 1930), vol. 5, p. 160. 13 Draft, C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2737, fol.

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14 Inger Sørensen (ed.), op. cit., letter no. 58. 15 C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081, fol.; Edvard Fallesen was theatre manager of The Royal Theatre 1876–1894. 16 Kjerulf had written an operetta based on H.C. Andersen’s story, which was also performed in 1888.

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has to suffer for the well-intentioned efforts of these blinkered friends, and that he can hardly avoid. Why in all the world was there not a single one of them who was brave enough to say to the composer that his text was more than impossible and the music, however beautiful, clever, worthy it was in many places, can be in quite the wrong track when intended for an opera? The music for ‘Aladdin’ has become like a source that has run out in the sand. One can feel its freshness, its promising moisture and coolness, but at the same instant its glory is gone, sucked away by the burning hot grains of sand – everything evaporated in the surrounding desert waste. Nothing happens in the opera, the characters are mere theatre figures and, even though they sing unceasingly, almost inarticulate. There are hardly sixteen bars of what they sing that they can quickly communicate with the audience and without this ability any opera is lost beyond hope. It is more than likely that much, perhaps most of the music for ‘Aladdin’ is admirable – on paper. With the score or a piano-vocal score in front of one, one might have a great deal of enjoyment from Horneman’s music. This is in any case the only explanation that is open for one, if one is to have a basis for the whole strange tradition that has formed itself around this opera before it appeared. So much is certain that what is left behind of the first performance in the sieve, even after quite gentle shaking, there were not many or large corns, all the rest was dust that came and disappeared, almost without one noticing it. 17

Gounod wallow in soulful love duets, and where their passion finally erupts in the verse: ‘Say that you love me’, he does not use a jubilant ‘major’ but an impassioned ‘minor’. [...] ‘Aladdin’ is an opera that will be of interest for every musician, not only because it contains so much music but because it is so pleasantly free from coquetry, because the composer never tries to smuggle in an applause with cheap phrases that he himself would despise. This opera is an entirely honest work. Horneman has in it preserved his best thoughts, he has weighed them and rejected them, corrected and revised them, but the question is whether he had profited by being more economical. Practice makes perfect, and if the composer has become rather old before acquiring this wisdom, there is a hope that he will still be able to use this both for Danish art and himself.18 Dagens Nyheder was more guarded. The reviewer was of the opinion that it was only professionals who could after a closer study of the opera be in a position to appreciate it, although the more expert part of the audience would also be able to receive much pleasure from the details, if they heard them more often. That was the point that Horneman himself had made, that one does not learn to appreciate an opera or other music works until one has heard them several times or studied them at home at the piano. After a survey of the various numbers in the opera, the reviewer came to the following conclusion: ‘Aladdin’ is a work that will most certainly be received with attention in genuine musical circles and in our Danish musical-dramatic production this opera must find a place, firstly because of the superior technical skill with which the work has been composed and the considerable solid and genuine musical content that has been invested in it. ‘Aladdin’ is not, however, rich in varied dramatic flexibility. The music is not in its nature easily appreciated and understood and the singing roles are not very flattering.19

It was not, however, all who agreed with Charles Kjerulf. The review in Musikbladet – signed A.T. – was on the whole positive, but emphasized, as did many others, the inferior text: If only this text had been well arranged to suit musical forms; however, it includes almost no points for rest and only gives the motifs rare opportunities to return. The greater praise is to be given to the composer because he with this poor background has been able to build up a musical composition of real significance. He has been most successful when he has had his hands free. In the choirs there is dramatic speed and energy, which is rarely found with Danish composers; similarly, the ballet music is successful, in one place there even comes a whiff of oriental colouring over it. Aladdin’s dream in the grotto with the already famous ‘four violas’ can best reveal of what Horneman is capable, when he allows his own fantasy to prevail. Here he has actually created a small masterpiece, so splendid in the way that it is conceived and carried out. […] Warm-blooded strength and effervescent life, that is his hallmark. He never descends to sentimentality, one even notes that he avoids ending in mawkishness. He even goes so far as to be driven to the opposite extreme: using too many quick tempi. This has its consequences, which Horneman has not avoided. The dramatic effect, which is to a high degree dependent on the correct distribution of light and shade, is weakened, the emotional atmosphere suffers from this and the singers are not given the most flattering tasks for their voices. It is quite characteristic that Horneman almost never lets it come to anything between Aladdin and Gulnare. He does not like a

17 Illustreret Tidende (30/28), 25.11.1888.

Berlingske Tidende’s reviewer thought he could trace the influence of both Weber and Marschner and Wagner, the latter because he found that the main stress had been placed on the instrumentation, so that what was sung on the stage was only an explanatory makeweight to the tone pictures provided by the orchestra. In addition, he paid attention to the fact that the text according to the programme had been taken directly from the Arabian Nights. On the one hand he found it commendable that Horneman wanted to be independent, but on the other hand he missed some of the scenes in Oehlenschläger because this made it impossible for the audience to keep up with the plot if they did not know it already. He demonstrated this with a survey of the opera and it must be admitted that he was right in some places, for example where Noureddin suddenly without more explanation has gained possession of the lamp again. There were also words of praise: To the opera’s indisputable good qualities belong a great rhythmic ingenuity and above all an instrumentation that is unusually full and harmonious without ever being of studied elegance. In this direction the composer has really performed a stroke of genius. The motley scenes of street-life are normally 18 Musikbladet (5/22), 6.12.1888. 19 Dagens Nyheder, 20.11.1888.

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Aladdin cannot hardly have been so great a fiasco due to the insufficient rehearsal as Horneman himself considered it. In 1895 Horneman received partial redress for the way in which the opera had been treated by The Royal Theatre. At the annual meeting of the Society for the Publication of Danish Music (Samfundet til Udgivelse af Dansk Musik) in December 1893 the chairman and co-founder, Jacob Fabricius, announced that in the course of 1894 they intended to publish Aladdin as a piano-vocal score, which Horneman himself had compiled and which was to have both a Danish and German text. With its 379 pages it became the Society’s most ambitious investment since its foundation in 1871. The piano-vocal score was published in four parts, an act at a time. Already after the appearance of the first act at the beginning of 1894 Horneman received positive reactions. Grieg could relate that he had received a letter from his good friend, the Dutch pianist and composer Julius Röntgen, who had declared about the first act that he was surprised by this fine and interesting music, which he considered to be among the best that Denmark had produced. Grieg, however, teased Horneman by saying that it would have been better with a whole opera, but also added that he could well understand that Horneman could not sit and wait until Wilhelm Hansen snuffled themselves through to publishing the remaining acts. In July Horneman sent the second act to Grieg, who thought it was beautiful but found that it was a hopeless idea that some changes had been made in the text at the end of the act. ‘I can quite understand what you have intended’ he wrote, ‘but the Devil take me if my instinct deludes me here: This is shit! I am prepared to get a whole pot of spit in my face on this account, when we meet again.’21 He got it with a will in writing. Horneman tried to convince Grieg that the new version was a ‘thousand million billion times better than the old infamous, accursed muck’ but added that it made no difference because it was only a matter of one-and-a-half bars.22 In September 1895 the whole piano-vocal score was almost completed when Horneman found out that the Society for the Publication of Danish Music had asked the pianist and composer August Winding, who was a close friend of both Horneman and Grieg, to go through the piano-vocal score. It was not to find printer’s errors, as Horneman first believed, but to see whether there were things there which ought to be otherwise. Horneman was furious: ‘If I had known about this soon enough, I would have given the Society for etc. their benevolent patronage a sock in the jaw and I should have declined the honour etc.’, he wrote indignantly to Grieg.23 Fabricius tried to make Horneman aware that the Society had determined that all those whose works were accepted for publication were obliged to have their arrangements checked by ‘the Committee functioning at the time’ but Horneman protested with biting irony against ‘the wise council’s’ decision. He concluded by writing: ‘I do not understand that Winding could

express himself in that way about this matter, as he did recently, that he thought it was stupid that he should be asked to check the piano-vocal score. Such a – what shall I call it – insubordination that Winding can express himself in that way for the “wise council” seems to me should be criticized at a meeting.’24 Horneman was himself a member of the Society’s council and had been so since its foundation in 1871. When the piano-vocal score was finally complete at the end of November 1895, Jacob Fabricius praised Horneman in a long front-page article in Illustreret Tidende, which he began with the words: ‘The Society has with the publication of this, Horneman’s Masterpiece, fulfilled what must be looked upon as a duty: to give it its official recognition and to contribute to clearing its way forward, which the less favourable conditions under which it for the first time saw the light of day must demand.’25 In this way Horneman had not only received rehabilitation for Aladdin, he had also thrown a shadow over his own claim: that there were only articles about one in Illustreret Tidende, if one was of high rank or newly dead. Horneman was neither of these. In the early summer of 1898 Horneman undertook a journey to Germany with state support, primarily with the aim of presenting Aladdin to various opera houses. He had sent in advance piano-vocal scores to the operas in, among others, Berlin, Dresden, Frankfurt, Weimar, Mannheim, Mainz, Stuttgart and Wiesbaden. The Royal Theatre’s Kapellmeister, Johan Svendsen, and the theatre’s script reader and artistic leader, Peter Hansen, had recommended the opera warmly, while Horneman had had printed brochures with excerpts from the reviews of Aladdin but it was all in vain. Aladdin was never performed in a German opera house. Both Fallesen and Hansen had several times said to Horneman that they owed him redress for the scandalous first performance, but this led nowhere. When Hansen in 1899 was replaced by Einar Christiansen, Horneman was not slow to approach him to ask about the possibility of a revival of his maltreated masterpiece. Christiansen was positive but there were other new operas to be performed first, including Lange-Müller’s Vikingeblod (Viking Blood) and an opera by August Enna so it could not take place earlier than in the season 1900–01. Horneman pointed out that if it were postponed too long, it might be that the wonderful tenor, Vilhelm Herold, who was ideal for the title role might not be available and that the difficulties with the decorations that Christiansen had named were groundless and that his whole future as a composer was at stake. The theatre manager promised to do whatever he could, and Horneman’s last word to him, when they went out of the door, was: ‘Herold is more important than the decorations’.26 Time went by and Horneman was in an agony of uncertainty. He therefore wrote a long letter to Christiansen in which he begged to be told the truth: would they or would they not perform Aladdin. ‘Just tell me! Don’t let me go any longer harbouring these terrible false delusions which tax my humour and my work-capacity in other directions.’27 A few days later, on 25 May 1900, Christiansen told him that after he had been persuaded by Svendsen, the Kapellmeister, and stage director Julius Lehmann, he could be calm. It was their serious intent to perform the opera, probably in the next season. That was not what happened. In February 1901 Lehmann and Horneman held a meeting about the staging and Horneman re-

20 21 22 23

24 25 26 27

accompanied by striking music; the erotic scenes are beautifully interpreted by the orchestra, but are only given insufficient expression in the recitatives, although with the exception of Gulnare’s great aria in the third act, which is undoubtedly one of the opera’s high-points and really combines dramatic strength with a lyrical beauty that is reminiscent of Gounod.20

Berlingske Tidende, 20.11.1888. Inger Sørensen (ed.), op. cit., letter no. 65. Inger Sørensen (ed.), op. cit., letter no. 66. Inger Sørensen (ed.), op. cit., letter no. 77.

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Draft dated 1.9.1895, C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol. Illustreret Tidende (37/8), 24.11.1895. Diary, C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol. Ibid.

If I have now succeeded in presenting my personal, natural expression in Aladdin, it is quite unthinkable that the audience will be wearied on this point. The possibility still exists, however, that I here and there can have made a wrong calculation and that in spite of the thorough inspection I undertook after the previous performance and the revision, there are still to be found weak points: one thing or another too long or too short. To come to full clarity about this is probably impossible until it has been performed before an audience; perhaps, although uncertainly, it would happen after a dress rehearsal or a preceding complete rehearsal without interruptions. We all know how different the impression is of a dramatic work on its performance, at the rehearsals and during a reading. The reason for this is certainly that the conditions with respect to length and shortness are difficult to judge at close quarters, as when looking at great paintings too closely or at colossal statues to be erected in the open air in the sculptor’s studio. It is difficult to make decisions about cuts in an opera on the basis of the impression one gains from the notes. Not even the most experienced theatre-man can be certain here. And when the talk is of an opera with great features, mass effects and upsurges as in Aladdin, one has to be very careful because it might happen that the scissors came to cut the top of the flower – so that all the glory was lost. A success in an opera like Aladdin depends to a great extent on the form, its general lines. [...] In the course of revising ‘Aladdin’, I have shortened many scenes, but not the three big ones: 2nd Act Finale, 3rd Act festive music, and 4th Act Finale. My shortenings have been made exclusively with a view to what is artistic, and should it prove, at a complete rehearsal, that there are still a couple of places which ought to be deleted or abbreviated I should naturally be the first to suggest this. Only, however, if the cut or abbreviation is to the advantage of the opera, in other words that it will contribute to its success but absolutely not just because the performance can come to a quicker end. If the opera is boring, it should be cancelled entirely, if it is entertaining, it is irrelevant if the performance ends at 10, 10.30 or 11. A boring performance is too long even if it only lasts five minutes; if it is entertaining, many will regret that it has come to an end even if it has lasted four hours.30

quested that he should himself make a mise-en-scène and was given permission to do so. It took him the whole of the summer and on 5 September he was at last able to send it to Lehmann with the following comment: I have taken great pains with this. These arrows and circles etc. have also taken a lot out of me. I absolutely don’t wish to be a stage director, not even if I were paid a lot of money. My principal aims with the draft have been, next after the artistic ones: that their work should be as little difficult as possible, that the staging should not cost more than absolutely necessary, that the scene-changes will be so easy to do that they can take place with the curtain up, and that the intervals shall be kept as short as possible.28 Two and a half months passed by before Lehmann found time to invite Horneman to a meeting about the matter, which he suggested should take place at his home in Købmagergade so that they could quarrel in all friendliness. It would, however, seem that they reached mutual agreement, because in a letter in Nationaltidende about a detail in the performance Horneman later described the staging as ‘splendid, imaginative and tasteful.’29 Christiansen cast the parts in consultation with Horneman and he stated in an interview in connection with the first performance that the theatre had fulfilled all the composer’s demands. That cooperativeness in the last stage had been marked can be seen from an almost humble letter from Horneman to Christiansen in which he actually asks for suggestions for shortenings and enlarges upon what can make a long opera seem short – and the reverse. The letter only survives as a rough draft so it is not known whether it was sent in this verbose form but in the first pages Horneman throws light on what he finds most important in opera composition and what it was exactly that had made him choose the Aladdin-topic: I naturally presuppose that your and my interest coincide as far as Aladdin is concerned: that you and I both wish and work for a success. How thankful would I not be were you to give me a good idea, whether it was a cut, an abbreviation, a change in the staging etc., if it could only result in a superior effect that would give the public an increased enjoyment and protect it from all that is tedious and boring. The tedious and boring – those are the things to be avoided first and foremost if we are to give the audience a fresh and strong impression of the whole work. It has been my constant concern and endeavour to form the necessary elements for an enjoyable opera: abundant (not mosaic-like) variation of the most diverse moods and situations: glad, mournful, violent etc., everything well-adapted in brevity and length. It is this diversity that I have had, and still have, fixed in my attention because my temperament cannot endure monotony, except there where it is to function as the opposite to what went before and goes after, that is exactly to call forth more life. In Aladdin the number of tranquil, broad movements are extremely few. The opera is on the whole fresh, moving and floating. It is my congenital longing in this direction that has led me to the Aladdin-topic.

28 Draft, C.F.E Hornemans brevarkiv. DK-Kk, NKS 2735, fol. 29 Newspaper cutting, C.F.E. Hornemans efterladte papirer. DK-Kk, NKS 2081, fol.

After having elaborated his points of view at great length, he concluded with the words: ‘These my, perhaps superfluous, admonishments and explanations must be forgiven but fate has earlier given me so many and great disappointments in this direction that I cannot free myself from a feeling of dread that is mixed with my otherwise happy expectations about a forthcoming performance of Aladdin.’ In his memoirs Christiansen has told about a meeting with Horneman shortly before the first performance. Horneman was sitting in Christiansen’s office while a stage rehearsal of Aladdin was taking place. Although Lehman had great personal sympathy for Horneman, he had demanded categorically that the composer should not be allowed to attend the rehearsals because at the performance in 1888 he had interfered so much, causing such confusion that Fallesen had to banish him from the stage. Now Horneman was sitting opposite to Christiansen and complaining not over the banishment, for which he to some extent had an un30 Draft, C.F.E. Hornemans brevarkiv. DK-Kk, NKS 2735, fol.

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derstanding, but over the torment it was for him to think that they were now singing and performing his music and his characters on the stage, while he was not himself present. He suffered, physically, with this being-out of things and, like the hot-tempered growler and loveable artist he was, gave uncontrolled vent to his agony in appeals and invocations: whether he might not be allowed! – he would sit as quiet as a mouse at the very back in the stalls [...] And outside the office-door his little dog was lying yapping. It was just as impatient as its master. The dog was not allowed in, however, and Horneman was not given access to the stage before the dress rehearsal. After this he was full of thanksgiving. Everything was perfect! He could not have done it better himself!31 Horneman had had no need to be afraid. The first performance on 4 July 1902 was an enormous success. There were eighteen performances and they played to capacity audiences. Horneman’s daughter, Elisabeth Rosenberg, has related how on the last occasion when Aladdin was on the programme, she met her father on Kongens Nytorv. He did not say a word but with a smile pointed over to the theatre, where the red lights were sparkling. At last he had received the recognition for his work of which he had always dreamed. Among the guests at the first performance were Court music dealer and concert agent Henrik Hennings and his wife, the actress Betty Hennings, with their guests, the internationally famous Austrian conductor Hans Richter, who was in Copenhagen in connection with a concert, and the well-known opera singer Ejnar Forchhammer, who was engaged at the court opera in Dresden. A couple of days later Hennings wrote to Horneman to say how impressed he and his wife had been over all the radiance and beauty in the music and also said that Richter had followed the performance with the very greatest interest. It had given Hennings the idea that he might be able to promote Aladdin abroad and suggested that he could be of assistance. Horneman showed the letter to his publisher, Alfred Wilhelm Hansen, but he asked him not to accept the offer of his rival Hennings; he would himself do what needed to be done for the opera, but he did nothing to get it out abroad. Nationaltidende had the day after the first performance contented itself with the following notice:

had been pleased to have made the acquaintance of a work of such a brilliant, sound, warm and fine artistic nature, and he took off his hat for the great compositional skill with which the opera had been composed. He was particularly impressed by the Handel-like fugue that formed the concluding chorus. Not only the opera itself was a pleasant surprise to him but also its actual execution. He declared that one could not see a more beautiful performance in the great opera houses in Berlin and Vienna. He was particularly enthusiastic about Herold, who according to Richter had all desirable qualities: the lustre and charm of his voice, musical culture, excellent training, acting ability and a handsome appearance. Any international stage could be envious of The Royal Theatre. Niels Juel Simonsen was also of international format according to Richter. His fine voice linked with his appearance and acting ability made Richter consider taking him to Bayreuth. He was, however, astonished when he was told that Simonsen was fifty-six years old. He had considered him to be a young man. He was particularly enthusiastic about The Royal Theatre’s orchestra conducted by Svendsen, whom he had met many years earlier in Bayreuth, but he had never before seen or heard him conduct. There are not many conductors like him, considered Richter. Whether it was the scenography, the costumes or the ballet, Richter also had praise for them. There was only one thing that he was dissatisfied with: the way in which the Genie of the Ring appeared on a cloud. He called this an extremely antiquated arrangement. He was not alone in this. It gave rise to a small controversy in the newspapers after it had been mentioned in a letter. Christiansen claimed that it was the composer who had wanted it to be like that, while a raging Horneman denied responsibility, although he had in his mise-en-scène described it rather like that, and passed the buck on to Lehmann, who was responsible for every detail. Even at the moment of victory, Horneman’s cantankerousness did not deny itself. In spite of the eighteen full houses Aladdin was performed for the last time on 31 October 1903 and has not since been performed at The Royal Theatre. Contributory to this was probably the fact that Oehlenschläger’s play was revived in 1919 in a grandiose production by Johannes Poulsen and with Carl Nielsen’s music, which was also used at the subsequent revivals in 1940 and 1959.

Editorial strategy Horneman’s ‘Aladdin’ was staged yesterday in a new production. It presents itself now beautiful and brilliant in every aspect of the staging and similarly with respect to the music in a good, logical, at some points excellent rendering. The public was very interested in the great musical beauty contained in this work, and especially the two midmost acts caught on. Among the soloists, special praise must be accorded to Mr Herold as Aladdin, Mr Simonsen as Noureddin and Mrs Ulrich as Gulnare.32 Instead, on 7 April Nationaltidende exploited Richter’s presence and brought an interview with him. Richter was an eminent opera conductor with great experience from for example the court operas in Vienna and Bayreuth, where he had conducted the first collected performance of Der Ring des Nibelungen in 1876. Richter 31 Einar Christiansen, Nogle Træk af mit Liv (Copenhagen 1930), pp. 222–23. 32 Nationaltidende, 7.4.1902.

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The present edition is based on the extensive body of material from The Royal Theatre’s performance in the season 1902–03 (see vol. 2, Description of Sources, pp. 695–702). The transcript of the score (Source A), which the Kapellmeister Johan Svendsen employed for this production, has been chosen as main source. Source A was prepared using Horneman’s own revision of a score, Source B, that had been used at the first performance in 1888. Source A is, however, very imperfect. Source B, which contains numerous omissions, additions and changes, has obviously been more than the copyists could cope with and the result is far from satisfactory. Therefore, Source B has been tacitly employed as a corrective source whenever there are errors in Source A. Most of these corrections are confirmed by the orchestral parts (Source C1), which to a large extent are copied from Source B. Horneman had great difficulties in putting the finishing touches to his opera, and Source A contains several instances revealing that Horneman very late in the rehearsals had made changes and additions, many of which have not been incorporated in the parts (Source C1). The

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editors have chosen to follow these additions so that this edition represents Horneman’s final intention, which to some extent was not realized while the composer was still alive. In the vocal parts of Source A, a number of changes have been added in red ink, which mostly represent versions for lower vocal parts – first and foremost in Aladdin’s part. The lower versions have not been taken into consideration, but they are documented in the Critical Commentary (vol. 2, pp. 702–730). Regarding the orthography, the vocal text is rather heterogeneous in the different sources, and generally the printed piano-vocal score is followed (Source D). Inconsistencies have been normalized tacitly. In connection with the 1902 performance, Horneman revised an interleaved copy of the printed piano-vocal score (Source D1)

for the use of the stage director Julius Lehmann. Horneman substantially revised the scene descriptions and stage directions and added a large number of illustrations of the scenography. The edition follows this version with respect to scene descriptions and stage directions, while the illustrations are reproduced as facsimiles in the Appendix (vol. 2, pp. 731–751). Horneman composed the Overture as early as in 1864, before he began on the opera itself. Later he revised the Overture several times, also in connection with the first performance in 1888, when the piccolo flute, two extra horns and a tuba were added to the scoring. For the 1902 performance the parts for the Overture from 1888 were re-used but since no score for this version survives, it has been necessary to employ the orchestral material (Source C1) as the main source for the Overture.

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Kilde D1, instruktørparti, tredje akt, to indlagte blade mellem s. 194-195. Da Aladdin skulle opsættes i en ny version in 1902, reviderede Horneman et eksemplar af det trykte klaverpartitur til brug for sceneinstruktøren Julius Lehmann. Revisionen var omfattende, og Horneman holdt sig ikke tilbage, når det gjaldt udkast til scenografi og dekorationer. Som det fremgår af illustrationen, var Horneman en ganske habil tegner.

Source D1, director’s score, Act 3, two folios placed between pages 194–195. When Aladdin was to be staged in 1902, Horneman annotated a copy of the printed piano-vocal score for the use of the stage director Julius Lehmann. The revision was substantial, and Horneman did not refrain from proposing drafts for the scenography and decorations. As seen in the above reproduction, Horneman was a rather talented illustrator.

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Kilde D1, instruktørparti, tredje akt, indlagt blad mellem s. 222-223. Under Indtogsmarchen t.442-488, som er indledningen til den store fest, træder bl.a. en garde, bannerbærere, dansere, sorte og hvide slaver ind på scenen. Horneman har nøje beskrevet hele processionen med præcis angivelse af, hvordan det skal forløbe. Selv Gulnares ansigtsudtryk er angivet nederst på s. 222: “... stirrer koldt og aandsfraværende ud i Tilskuerrummet indtil Pag. 228, 2den Linie [t. 531]”. På den modsatte side er opstillingen af de medvirkende angivet med henvisning til t. 489.

Source D1, the stage director’s score, Act 3, folio placed between pages 222–223. During the Entry Marsch, bb. 442–488, which is the opening to the grand festivities, a guard, standard-bearers, dancers and black and white slaves among others, enter the stage. Horneman has described the whole procession in detail with a precise specification of how it is to proceed. At the bottom of page 222, even Gulnare’s face expression is noted: ‘... stirring coldly and distracted in the direction of the auditorium until page 228, second system [b. 531]’. On the facing page, the arrangement of those on stage is shown in the diagram referring to b. 489.

Kilde B1, anden akt, t. 7-11. Siden illustrerer de revisioner, som Horneman ad flere omgange underkastede partiturafskriften fra 1888. I dette som i mange andre tilfælde endte revisionen med at blive så omfattende, at Horneman besluttede at erstatte siden med en ny, placeret i bilagsdelen til partituret (kilde B2, se modstående side).

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Source B1, Act 2, bb. 7–11. The page illustrates several layers of revisions made by Horneman to the fair copy of the score from 1888. As in numerous other cases the revisions were substantial, and Horneman decided to substitute the entire page with a new one placed in an appendix to the score (Source B2; see facing page).

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Kilde B2, bilag til anden akt, t. 7-11. Siden indgår i Hornemans revision af operaen i 1902 og erstatter den tilsvarende side i partiturafskriften fra 1888 (kilde B1, se foregående side).

Source B2, appendix to Act 2, bb. 7–11. The page is part of Horneman’s revision of the opera in 1902 and substitutes the corresponding page in the fair copy of the score from 1888 (Source B1; see previous page).

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Kilde A, første akt, s. 30. Horneman fortsatte med at foretage ændringer og tilføjelser i partituret, selv efter at stemmematerialet var blevet udskrevet. På ovenstående illustration ses Hornemans egenhændige tilføjelse i blæserstemmerne, som ikke blev overført til stemmematerialet ved opsætningen i 1902. I nærværende udgave er denne tilføjelse medtaget.

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Source A, Act 1, p. 30. Horneman continued to add corrections and changes in the score even after the performance material had been finished. The illustration shows Horneman’s own addition in the wind section which has not been added to the instrumental parts at the staging of the opera in 1902. The present edition has included the revision.

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I N S T R U M E N TA L B E S Æ T N I N G

ORCHESTRA

3 flauti / 1 flauto piccolo 2 oboi 2 clarinetti 2 fagotti contrafagotto 4 corni 2 trombe 2 tromboni tenori / 1 trombone alto trombone basso tuba timpani triangolo ezzaluna turca macchina del tuono piatti tamburo piccolo gran cassa arpa archi coro (S. A. T. B.)

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PERSONER

Aladdin, tenor Gulnare, sopran

Aladdin, tenor Gulnare, soprano

Noureddin, basbaryton

Noureddin, bass-baritone

Sultanen, basbaryton

The Sultan, bass-baritone

Viziren, bas Morgiane, mezzosopran 1. Terne, sopran 2. Terne, mezzosopran Lampens Aand, bas Ringens Aand, mezzosopran 1. Alf, sopran 2. Alf, mezzosopran Sendebud, basbaryton

Kor Dansere To trompetblæsere Statister: Hoffolk, Pager, Spillemænd, Bannerbærere, Lansedragere, sorte Slaver etc.

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CHARACTERS

The Vizir, bass Morgiane, mezzo-soprano The first Handmaiden, soprano The second Handmaiden, mezzo-soprano The Genie of the Lamp, bass The Genie of the Ring, mezzo-soprano The first Elf, soprano The second Elf, mezzo-soprano The Messenger, bass-baritone

Choir Dancers Two trumpet players Extras: courtiers, pages, musicians, standard-bearers, lance bearers, black slaves etc.

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SCENEGANG

FØRSTE AKT Vild Bjergkløft ved Nat

SCENES

ACT ONE A wild gorge at night

Nr. 1 (Aladdin, Noureddin) 41 No. 1 (Aladdin, Noureddin) Af Naturens dunkle Skrift Af Naturens dunkle Skrift Nr. 2 (Aladdin, Noureddin) 62 No. 2 (Aladdin, Noureddin) Nu snart skal Baalet flamme højt Nu snart skal Baalet flamme højt Nr. 3 (Aladdin, Noureddin) 75 No. 3 (Aladdin, Noureddin) Se hvilken Pragt fra Jorden straaler ud! Se hvilken Pragt fra Jorden straaler ud! Nr. 4 (Noureddin) 86 No. 4 (Noureddin) Ha underfulde Magt Ha underfulde Magt Nr. 5 (Noureddin) 94 No. 5 (Noureddin) Frem da, I svulmende Længsler Frem da, I svulmende Længsler Nr. 6 (Aladdin, Noureddin) 107 No. 6 (Aladdin, Noureddin) Han nærmer sig! Han nærmer sig! Nr. 7 (Usynligt Kor, Lampens Aand, Aladdin) 119 No. 7 (Invisible Choir, Genie of the Lamp, Aladdin) Lampen er forsvunden Lampen er forsvunden Nr. 8 Ballet 144 No. 8 Ballet Nr. 9 (Synligt Kor) 155 No. 9 (Visible Choir) Hejo! Hejo! Kom! Til Dans! Hejo! Hejo! Kom! Til Dans! Nr. 10 (Aladdin, Ringens Aand, Usynligt Kor) 164 No. 10 (Aladdin, Genie of the Ring, Invisible Choir) Forsvundet! Forsvundet!

ANDEN AKT Morgianes lille fattige Stue

ACT TWO Morgiane’s little humble room

Nr. 11 (Morgiane) 179 No. 11 (Morgiane) Hjulet gaar saa trangt Hjulet gaar saa trangt Nr. 12 (Morgiane, Aladdin) 187 No. 12 (Morgiane, Aladdin) Jeg hører alt den muntre Fuglehær Jeg hører alt den muntre Fuglehær Nr. 13 (Morgiane, Aladdin, Lampens Aand, Basser, 1. Alf, 2. Alf) 211 No. 13 (Morgiane, Aladdin, Genie of the Lamp, Basses, 1st Elf, 2nd Elf) Hvilken Glans og hvilken Rigdom Hvilken Glans og hvilken Rigdom Nr. 14 (1. Alf, 2. Alf) 233 No. 14 (1st Elf, 2nd Elf) Klare Sølverbække gennem Kamret gaa Klare Sølverbække gennem Kamret gaa Nr. 15 (Kor af Folket) 238 No. 15 (Choir of the People) Ah! hvor herligt og hvor skønt! Ah! hvor herligt og hvor skønt! Nr. 16 Sultanens Parademarsch 260 No. 16 The Sultan’s Parade March Musik bag og paa Scenen

Music behind and on stage

Nr. 17 (Kor af Folket, Sultanen, Noureddin, Viziren, Aladdin) 263 No. 17 (Choir of the People, Sultan, Noureddin, Vizir, Aladdin) Vor høje Sultan leve Vor høje Sultan leve Nr. 18 (Kor af Folket, Sultanen, Noureddin, Viziren, Aladdin) 279 No. 18 (Choir of the People, Sultan, Noureddin, Vizir, Aladdin) Allah, Persiens Gud Allah, Persiens Gud Nr. 19 (Kor af Folket, Noureddin) 316 No. 19 (Choir of the People, Noureddin) Til lystig Bryllupsfest Til lystig Bryllupsfest

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TREDJE AKT Festsal i Sultanens Palads

ACT THREE The banqueting hall in the Sultan’s palace

Nr. 20 (Gulnare, 1. Terne, 2. Terne) 333 No. 20 (Gulnare, 1st Handmaiden, 2nd Handmaiden) En liden Stund lad mig alene her En liden Stund lad mig alene her Nr. 21 (Gulnare, 1. Terne, 2. Terne, Kor af Terner) 353 No. 21 (Gulnare, 1st Handmaiden, 2nd Handmaiden, Choir of Handmaidens) Men ser jeg ret? Men ser jeg ret? Nr. 22 (Gulnare, 1. Terne, 2. Terne, Kor af Terner) 382 No. 22 (Gulnare, 1st Handmaiden, 2nd Handmaiden, Choir of Handmaidens) Et Stævnemøde her i Haven– Et Stævnemøde her i Haven– Nr. 23 (Gulnare, 1. Terne, Sendebud, Kor af Folket) 389 No. 23 (Gulnare, 1st Handmaiden, Messenger, Choir of the People) Prins Aladdin ydmygt forespørger Prins Aladdin ydmygt forespørger Nr. 24 (Sultanen, Gulnare, Aladdin) 411 No. 24 (Sultan, Gulnare, Aladdin) Min elskte Datter Min elskte Datter Nr. 25 Festmusik (Kor af Folket, Sultanen, Viziren, 433 No. 25 Festmusik (Choir of the People, Sultan, Vizir, 1st Handmaiden, 2nd Handmaiden, Gulnare, Aladdin) 1. Terne, 2. Terne, Gulnare, Aladdin) Priser Alle den mægtige Gud Priser Alle den mægtige Gud Nr. 26 (Aladdin, Kor af Folket, Sultanen, Viziren, 456 No. 26 (Aladdin, Choir of the People, Sultan, Vizir, 1st Handmaiden, 2nd Handmaiden, Gulnare) 1. Terne, 2. Terne, Gulnare) Alt, hvad jeg haabed’ Alt, hvad jeg haabed’ Nr. 27 Ballet (Sorte og hvide Slaver og Slavinder) 481 No. 27 Ballet (Black and white Slaves) Nr. 28 (Viziren, Sultanen, Sendebud, 1. Terne, 519 No. 28 (Vizir, Sultan, Messenger, 1st Handmaiden, 2nd Handmaiden, Aladdin, Choir of the People) 2. Terne, Aladdin, Kor af Folket) Min høje Sultan Min høje Sultan Nr. 29 (Aladdin, Kor af Folket) 555 No. 29 (Aladdin, Choir of the People) Jeg standser ej Jeg standser ej

FJERDE AKT En Kirkegaard ved Nat

ACT FOUR A cemetery at night

Nr. 30 (Kor af Gravens Aander, Kor af Søvnens, 569 No. 30 (Choir of the Spirits from the Grave, Choir of Sleep’s and of the Death’s Genies) Kor af Dødens Genier) Mørk, kold er Graven Mørk, kold er Graven Nr. 31 (Aladdin) 584 No. 31 (Aladdin) Drømme, hvi forfølge I mig Drømme, hvi forfølge I mig Nr. 32 (Ringens Aand, Aladdin, Kor) 598 No. 32 (Genie of the Ring, Aladdin, Choir) Men Vished maa jeg ha’ Men Vished maa jeg ha’ Nr. 33 (Gulnare, Noureddin, Aladdin, Lampens Aand) 611 No. 33 (Gulnare, Noureddin, Aladdin, Genie of the Lamp) Hører du i denne Stund Hører du i denne Stund Nr. 34 (Kor af Folket, Sendebud, Viziren, Gulnare, 653 No. 34 (Choir of the People, Messenger, Vizir, Gulnare, Aladdin, 1. Terne, 2. Terne) Aladdin, 1st Handmaiden, 2nd Handmaiden) Sé! Slottet! der staar det igen Sé! Slottet! der staar det igen Nr. 35 (Kor af Folket, Viziren, Aladdin, 1. Terne, 2. Terne) 672 No. 35 (Choir of the People, Vizir, Aladdin, 1st Handmaiden, Vor Sultan er død! 2nd Handmaiden) Vor Sultan er død!

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OUVERTURE pp

Allegro assai leggiero Flauto

1 2

Flauto piccolo

Oboe

Clarinetto in A

1 2

ppp

f 1.

1 2 pp

Fagotto

1 2

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Corno in E

3 4

Tromba in A

1 2

ppp

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Trombone tenore

Trombone basso

Tuba

Timpani

Allegro assai leggiero

div.

con sord.

unis.

Violino 1 pp

div. pizz. con sord.

leggiero unis.

arco

Violino 2 div. pizz.

f arco

unis.

div. pizz.

Viola pp

div. arco

pizz.

unis. pizz.

Violoncello pp

div. arco

pizz.

unis. pizz.

Contrabbasso

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8 Fl.

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p leggiero

1 Ob. 2 1. 1 Cl. (A) 2

Fg.

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unis. pizz.

div. Vl. 1 div. pizz.

molto cresc.

arco

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ppp

pppp

molto cresc. arco

unis. Va.

fz molto cresc. arco

pizz.

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molto cresc.

ppp

Cb. ppp

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cresc. div.

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arco

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1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

126 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

Vl. 1 pp div. Vl. 2 pp div. Va.

Vc.

Cb.

DCM 030

134 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2 pp

1. Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va. pp pizz.

arco

Vc.

pizz.

arco

Cb.

DCM 030

142 Fl.

1 2

Picc.

Ob.

Cl. (A)

Fg.

1 2

2.solo pp

cresc.

1 2

Cor. (F) 1 mf cresc.

mf cresc.

Cor. (D) 2

Cor. (E)

Tr. (A)

3 4

1 2

Trb.a. f

Trb.t. f

Trb.b. f

Tb.

Timp. p cresc.

Vl. 1 cresc.

marcato

cresc.

marcato

cresc.

marcato

Vl. 2

Va.

Vc. cresc.

Cb. cresc.

DCM 030

152 Fl.

1 2

marcato

Picc. ff

Ob.

1 2

marcato a2

1 Cl. (A) 2 marcato

a2 ff a2

1 Fg. 2 marcato

marcato

Cor. (F) 1

Cor. (D) 2 marcato

Cor. (E)

3 4 marcato

Tr. (A)

1 2

Trb.a. ff

Trb.t. ff

Trb.b. ff

Tb. ff

Timp. ff

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. marcato

marcato

Cb.

DCM 030

160 Fl.

1 2

muta in fl.gr.

Picc.

a2 1 Ob. 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

4. 3.

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

168

l’istesso tempo

1 Fl. 2

Fl. 3 1. solo 1 Ob. 2

Cl. (A)

p cantabile dolce

1 2 1.

Fg.

1 2

p cantabile

l’istesso tempo Vl. 1 p Vl. 2 p Va. p cantabile Vc. mf cantabile

Cb. p

180 Fl.

1 2

Fl. 3

1. Ob.

Cl. (A)

1 2

1 2 1.

Fg.

1 2

Vl. 1 pp Vl. 2 pp Va. pp Vc.

Cb.

DCM 030

188 Fl.

1 2

ppp

Fl. 3 pp

Ob.

ppp

1 2 pp

Cl. (A)

ppp

1 2 pp

Fg.

1 2

ppp

pp ppp

Cor. (F) 1 pp cantabile

ppp

Cor. (D) 2 pp Cor. (E)

3 4

Tr. (A)

1 2

ppp

Trb.a.

Trb.t.

Trb.b. pp Tb.

Timp. ppp

Vl. 1 pp

Vl. 2 pp

Va. pp

Vc. mf cantabile

Cb. pp

DCM 030

dim.

200 Fl.

molto vivo

ppp

1 2

cresc.

muta in picc.

Fl. 3 pp

1. 1 Ob. 2

ppp

cresc.

f Cl. (A)

cresc.

1 2 ppp

cresc.

Fg.

1 2 f

ppp

Cor. (F) 1 ppp

Cor. (D) 2 ppp

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

molto vivo

Vl. 1 pp

cresc.

Vl. 2

Va.

Vc. ff

cresc.

Cb. pp

DCM 030

210 Fl.

1 2

a tempo

Picc. ff

Ob.

1 2 f

Cl. (A)

1 2 ff

f 1 Fg. 2 ff Cor. (F) 1 p

Cor. (E)

3 4 ff

Tr. (A)

1 2 ff

Trb.a. ff Trb.t. ff Trb.b. ff Tb.

Timp. pp

div.

a tempo

unis.

Vl. 1 f

Vl. 2

Va.

Vc.

Cb. ff

3 3

Cor. (D) 2 p

DCM 030

3 3

220 Fl.

1 2

Picc.

a2 1 Ob. 2

p ff

Cl. (A)

1 2

p a2

1 Fg. 2

Cor. (F) 1 ff solo Cor. (D) 2 ff

Cor. (E)

3 4 ff

Tr. (A)

1 2

Trb.a. f Trb.t. f

Trb.b. ff

Tb. f

Timp.

Vl. 1 fff

fff

Vl. 2

Va.

solo Vc. p gli altri

cresc.

Cb.

DCM 030

232 Fl.

1 2

dim.

Picc.

1 Ob. 2

1 Cl. (A) 2

1 Fg. 2

a2 mf

dim.

cantabile

Cor. (F) 1 mf

dim.

Cor. (D) 2 mf

Cor. (E)

3 4

Tr. (A)

1 2

dim.

Trb.a.

Trb.t. mf

dim. Trb.b. mf

dim.

Tb.

Timp. mf

dim.

div. Vl. 1 mf

dim.

ppp

Vl. 2 ff

dim.

Va.

cantabile mf

unis. Vc.

mf cantabile

dim. pizz.

Cb. f

dim.

DCM 030

244 Fl.

1 2 1. solo

1 Ob. 2

Cl. (A)

1 2

cantabile a2 Fg.

1 2 sempre ppp

Vl. 1

Vl. 2 pp

cantabile

div. Va. cantabile

cresc. Vc. f

mf arco

Cb. mf

cresc.

253 Fl.

1 2 1.

1 Ob. 2 a2 1 Cl. (A) 2

Fg.

1 2

Vl. 1 mf cantabile

f 1

f 3

Vl. 2 mf cantabile

Va.

Vc.

Cb.

DCM 030

261 Fl.

1 2

Picc.

1. 1 Ob. 2

a2 Cl. (A)

Fg.

1 2

Cor. (F) 1 p

Cor. (D) 2 pp

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t. pp

Trb.b. pp

Tb.

Timp. mf

ppp

Vl. 1 f

Vl. 2

Va. pp

Vc. f

Cb.

DCM 030

pp vivo

Tempo I a2

270 Fl.

1 2

pp staccato staccato

Ob.

1 2 pp staccato a2

Cl. (A)

Fg.

1 2

pp staccato

1 2 pp

staccato

Cor. (F) 1 pp staccato Cor. (D) 2 pp staccato Timp. pp

Tempo I pizz. Vl. 1 pp pizz. Vl. 2 pp pizz. Va. pp Vc. pp pizz. Cb. pp

280

1 Fl. 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Timp.

Vl. 1

Vl. 2 arco Va.

Vc.

Cb.

DCM 030

287 1 Fl. 2

a2 f

Picc. p

f Ob.

1 2

f a2 1 Cl. (A) 2

p p

f Fg.

f f

1 2 f

p f

Cor. (F) 1 f

Cor. (D) 2 f

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b. pp

Tb.

Timp. mf

f div.

ff fz

arco

Vl. 1 ff arco Vl. 2 pp

Va. f

Vc.

arco Cb. f

DCM 030

ff 294 Fl.

1 2

Picc. ff

Ob.

1 2 ff

Cl. (A)

Fg.

ff staccato

marcato

1 2

marcato

Cor. (F) 1

Cor. (D) 2

Cor. (E)

Tr. (A)

3 4

1 2

Trb.a. ff

Trb.t. f

Trb.b. ff

Tb. f

Timp. ff

Vl. 1 ff

marcato

Vl. 2

Va.

Vc.

Cb.

DCM 030

304 Fl.

1 2

Picc.

Ob.

1 2

1 Cl. (A) 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

poco accel.

311 Fl.

1 2

Picc. f

Ob.

1 2

1 Cl. (A) 2 1.

Fg.

1 2

Cor. (F) 1 p

cresc.

Cor. (D) 2 cresc.

Cor. (E)

3 4 cresc.

1. 1 Tr. (A) 2 cresc.

Trb.a. p

cresc.

Trb.t.

Trb.b.

Tb.

Timp.

poco accel. Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

Allegro molto quasi presto

320 Fl.

1 2

fff

cresc.

Picc.

Ob.

1 2

1. fff

a2 1 Cl. (A) 2

fff

pp pp

Fg.

1 2

cresc.

fff

Cor. (F) 1 ff

fff

Cor. (D) 2

Cor. (E)

Tr. (A)

3 4

1 2

1. ff

fff

Trb.a.

Trb.t. fff Trb.b. f

fff

Tb.

Timp. f

cresc.

fff

Allegro molto quasi presto Vl. 1 ff

fff

p cresc.

Vl. 2 pp

cresc.

div. unis. Va. ff

fff div.

cresc.

unis.

Vc. ff

fff

cresc.

pizz. Cb. ff

fff

cresc.

DCM 030

332

1 Fl. 2

cresc.

Picc. p

Ob.

Cl. (A)

1 2

cresc.

1 2

1. Fg.

cresc.

1 2

cresc.

Cor. (F) 1 p

Cor. (D) 2

Cor. (E)

3 4

3. p

Tr. (A)

cresc.

1 2 pp

Trb.a.

Trb.t.

Trb.b. pp

Tb.

Timp. ppp

cresc.

Vl. 1 f

p cresc.

cresc.

Vl. 2

Va.

Vc. cresc.

arco Cb. f

DCM 030

cresc.

344 Fl.

1 2

cresc.

Picc.

Ob.

1 2 f cresc.

Cl. (A)

1 2 cresc.

cresc.

a2 1 Fg. 2

Cor. (F) 1

Cor. (D) 2 pp

4. 3 Cor. (E) 4

Tr. (A)

1 2

cresc.

Trb.a. f

Trb.t. f

Trb.b. f

cresc.

Tb.

Timp. f

Vl. 1 f

cresc.

Vl. 2 cresc.

cresc.

Va.

Vc.

Cb.

DCM 030

356 Fl.

1 2 ff

Picc. f

Ob.

1 2 ff

Cl. (A)

1 2 ff

Fg.

1 2 ff

Cor. (F) 1 ff

Cor. (D) 2 ff

Cor. (E)

3 4

Tr. (A)

1 2 ff

Trb.a. ff

Trb.t. ff

Trb.b. ff

Tb. ff

Timp. ff

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff

Cb. ff

DCM 030

366 Fl.

1 2

Picc. f

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F) 1 ff

Cor. (D) 2 ff

Cor. (E)

3 4

Tr. (A)

1 2 ff

Trb.a. ff

Trb.t. ff

Trb.b. ff

Tb. f

Timp.

Vl. 1

Vl. 2

Va.

Vc. ff

Cb. ff

DCM 030

378 Fl.

1 2

Picc. ff a2 1 Ob. 2

a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4 ff

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp. ff

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

388 Fl.

1 2

Picc.

a2 1 Ob. 2

a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

Tr. (A)

1 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

398 Fl.

1 2

Picc.

a2 Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

1 Tr. (A) 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

1 Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

a2 406 Fl.

1 2

Picc.

1 Ob. 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F) 1

Cor. (D) 2

Cor. (E)

3 4

a2 1 Tr. (A) 2

Trb.a.

Trb.t.

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

FØRSTE AKT No. 1 Molto andante sostenuto Flauto

1 2

cresc.

Flauto piccolo

Oboe

1 2 mf cresc.

Clarinetto in Bb

1 2 mf p

cresc.

p Fagotto

1 2 f

p Corno in F

1 2 p

Corno in F

mf cresc.

3 4 p

1 Tromba in F 2 Trombone tenore

1 2

Trombone basso

Tuba

Timpani fz Triangolo Macchina del tuono

Arpa

Molto andante sostenuto 3

Violino 1

3 3

f 3

Violino 2 p

cresc. 3

f 3

Viola

Violoncello

cresc.

div.

mf cresc. f

cresc

mf cresc

Contrabbasso

DCM 030

Allegro assai

1 Fl. 2

p cresc.

Ob.

1 2 f

Cl. (Bb)

1 2 pp

Fg.

1 2 f

Cor. (F)

cresc.

1 2

cresc.

3 4 fz

Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp. pp

Allegro assai Vl. 1 f

cresc.

Vl. 2 pp

cresc.

Va.

Vc.

cresc.

Cb. mf

DCM 030

cresc.

15 Fl.

1 2

ff a2

Ob.

1 2

ff a2

Cl. (Bb)

1 2

cresc.

Fg.

1 2

a2 ff

cresc.

f Cor. (F)

1 2 mf

Cor. (F)

cresc.

3 4 ff

cresc.

Tr. (F)

1 2 ff

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp. ff

cresc.

Vl. 1 ff

Vl. 2 ff

Va. ff

ff Vc.

Cb. ff

DCM 030

TÆPPE Vild Bjergkløft ved Nat. [se: Appendiks, ill. I.1] 20

poco rall.

Allegro non troppo

1 Fl. 2

Ob.

1 2 pp

a2 1 Cl. (Bb) 2

a2 1 Fg. 2 p pp

f 1 Cor. (F) 2 pp

Cor. (F) 3

Cor. (F) 4 f

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Allegro non troppo poco rall.

div.

unis.

pp div.

Vl. 1

Vl. 2

unis.

Va. p pp

Vc.

Cb. f

DCM 030

Aladdin og Noureddin viser sig paa en fremspringende Klippe. Aladdin bærer paa Ryggen et Bundt Kviste. 25 Fl.

1 2

Ob.

Cl. (Bb)

Fg.

1 2 p

cresc.

1 2

1 2 p

cresc.

cresc. 1 Cor. (F) 2

Cor. (F) 3

Cor. (F) 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

div.

Vl. 1 p

cresc.

mf div.

Vl. 2 p

cresc.

Va. p

cresc.

Vc.

Cb.

DCM 030

30 Fl.

1 2

pp pp

pp 1 Ob. 2

pp a2

1 Cl. (Bb) 2

Fg.

1 2 pp

Cor. (F)

1 2 pp

Cor. (F) 3 pp

Cor. (F) 4 pp

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. Af

rens

dunk

Skrift

unis. Vl. 1 p

pp unis.

Vl. 2

div.

pp div.

unis.

Va.

Vc.

Cb.

DCM 030

unis.

35 Fl.

1 2 cresc. 1.

1 Ob. 2 cresc.

Cl. (Bb)

1 2

cresc. Fg.

1 2

cresc. pp Cor. (F)

1 2 cresc.

Cor. (F) 3 cresc.

Cor. (F) 4 pp

Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp.

NOUR. har

jeg

lært

bøj - e

skjul

te Kræf - ter

ved

div.

Vl. 1 cresc. div. Vl. 2 cresc. Va. cresc.

Vc. cresc.

Cb. cresc.

DCM 030

39 Fl.

Ob.

Cl. (Bb)

Fg.

1 2

1 2 pp

Cor. (F)

1 2

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb. f

Timp. ff

NOUR. mæg

tigt Trold - doms - ord,

der

Aan

unis. Vl. 1 p

f unis. Vl. 2 f

p div. unis.

Va. p

Vc. p

Cb. p

DCM 030

der fra

De stiger ned fra Klippen. 45 Fl.

Cl. (Bb)

1 2

1 2 pp

Fg.

1 2 pp

Cor. (F)

1 2 3

NOUR. Ver-den dybt

Jor - dens mør-ke Gru - ber,

gen - nem Rø-gen af den brænd - te

Blom - ster- flor,

ken - des og

sva

res.

Vl. 1 pp Vl. 2 pp

Va. pp

Vc. pp Cb. pp

54 Fl.

1 2

Ob.

1 2

Cl. (Bb)

Fg.

Cor. (F)

1 2

3 4 p

Vl. 1

Vl. 2 p div.

unis.

Va. p

Vc. pp

Cb.

DCM 030

Allegretto

1 Cl. (Bb) 2

1 Fg. 2 pp Cor. (F)

1 2

Cor. (F)

3 4 pp (peger paa Jorden)

NOUR. Un - der

Fjel

det er

Hu - le,

hvor sig

ge Skat - te

skju - le,

kun en

Yng - ling naa’r

der -

Allegretto Vl. 1

Vl. 2

Va. p

3 3

Vc. p Cb. p f

poco rall.

Allegro vivo

1 Fl. 2

Ob.

1 2 pp

Cl. (Bb)

1 2 pp

Fg.

1 2

Cor. (F)

1 2

pp Cor. (F)

3 4 pp

(utaalmodig)

ALAD. Vis mig Vej - en, jeg skal

gaa,

jeg

ly - der

Jer

i - blin - de;

til

NOUR. ned

ik - kun jeg

dens Ind - gang

poco rall.

ved.

Allegro vivo

Vl. 1 pp

Vl. 2 f

pp Va.

pp Vc.

pp Cb. pp

DCM 030

mit

poco tranquillo

risoluto

rit.

1 Fl. 2

Ob.

1 2

f solo

1 Cl. (Bb) 2 p

1 Fg. 2

Cor. (F)

1 2 f

Cor. (F)

3 4 f

ALAD. Maal,

Gul - dets

Magt mig

fø

skal

til

poco tranquillo

mit

Maal

det

him - mel

høj

risoluto

Gul - dets

Magt mig

fø

rit.

Vl. 1 p

Vl. 2

div. Va. p

Vc.

Cb.

Allegro non troppo

1 Fl. 2 mf

1 Cl. (Bb) 2 mf Fg.

1 2 p

mf (for sig)

ALAD. skal.

de - lig

skim - ter jeg Lys

i det Fjer - ne, Haa - bet for - ja - ger min Tvivl,

NOUR. Hvad

Skjæb

Allegro non troppo

nen

end

mon - ne

døl

pizz.

arco

ge,

Haa - bet min Tvivl dog for - ja

ger,

pizz.

Vl. 1 mf pizz.

pizz.

arco

Vl. 2 mf

mf p

unis. pizz.

arco

pizz.

arco

pizz.

Va. p Vc. p

Cb. p

DCM 030

cresc.

mf 80 Fl.

1 2 mf p

mf fz Ob.

1 2 p

cresc.

f Cl. (Bb)

1 2 p mf

Fg.

Cor. (F)

1 2 mf fz

mf fz

cresc.

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. blæn - den - de sti - ger min Lyk

kes

Sol,

Maa

let er

nær!

blæn - den - de sti - ger min Lyk

kes

Sol,

Maa

let er

nær!

NOUR.

arco Vl. 1 p

cresc.

f fz

arco Vl. 2 fz

p arco

Va. p

arco Vc. fz

Cb. p

DCM 030

Vej - en

aab - ner sig

poco tranquillo

84 1 Fl. 2

1. solo Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

dolce

a2 p cresc.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

f tenuto

p cresc.

f tenuto

Trb.b.

Tb.

Timp.

(Aladdin til Noureddin i Spænding)

ALAD. Men sig mig, hvad ag - ter I at

gø - re?

NOUR. her.

Se her:

poco tranquillo

paa det - te

Sted

sig aab - ner

Hu - lens skjul - te Dør.

non div.

Vl. 1 p sempre tenuto non div. Vl. 2 p sempre tenuto

Va. p cresc.

f tenuto

p cresc.

f tenuto

p cresc.

f tenuto

p cresc.

f tenuto

p cresc.

f tenuto

p cresc.

f tenuto

Vc.

Cb.

DCM 030

89 Fl.

1 2

f 1.

Ob.

1 2

f a2

1 Cl. (Bb) 2

Fg.

1 2 pp

Cor. (F)

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb. f

Timp.

ALAD. Her?

NOUR. Ja,

just her,

hvor

drig før

Dag

Fod

har traadt,

her aab

nes

Lyk

kens Por

for

Vl. 1

fz 3

p 3

Vl. 2 mf

Va. pp

Vc.

Cb. ff

DCM 030

93 1 Fl. 2

rit.

Recit.

Andante

p 1.

1 Ob. 2

Cl. (Bb)

Fg.

p dolce

1 2

1 2 pp

Cor. (F)

p dolce

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb. f

Timp.

ALAD.

(med forstilt Ømhed)

NOUR. beg - ge to.

Et Baal vi først maa tæn - de,

rit.

og den - ne

Recit.

Ild

for - tæ

re skal

fa - ger

duf - ten - de

Blomst. Da

Andante

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff

Cb. p

DCM 030

101

Allegro non troppo con energie

Recit.

1 Fl. 2

Ob.

1 2

1 Cl. (Bb) 2

Fg.

ff a2

1 2

ff Cor. (F)

1 2 ff

3 Cor. (F) 4 ff parlando NOUR. sti

ger op af Grun - den brat

en Stén,

mens Jor - den bæ - ver.

Fluks

gri - ber Du med dri - stig

Allegro non troppo connon energie div.

Recit.

Vl. 1 ff

non div.

Vl. 2 ff Va. p

ff Vc. ff

Cb.

Andantino

106 1 Fl. 2 Ob.

1 2 p dolce

1 Cl. (Bb) 2

p dolce 1 Fg. 2 (gaar nær ind paa Aladdin, med dæmpet Stemme)

NOUR. Haand

en Ring,

som paa den er

fæ - stet,

næv

ner

Nav - net paa den Kvin - de

Du el - sker højst

af al

Andantino Vl. 1 p

Vl. 2 p

Va. p

Vc.

Cb.

DCM 030

112 Fl.

Allegretto

1 2 pp

Ob.

1 2

1. 1 Cl. (Bb) 2

Fg.

1 2 p

Cor. (F)

1 2 pp

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD.

(med Ild)

NOUR. le.

løf

ter

den tun

Stén,

som

Bæ

ger aab

ner

Allegretto Vl. 1 pp

Vl. 2 pp

Va. pp

Vc.

Cb.

DCM 030

116 Fl.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2

f fz

1 2

1 2 pp

1 2

1 2 fz

f fz

f fz Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

(for sig)

ALAD. Hvor

NOUR. sig

den mør

Jord.

Men fra det

be bry - der

frem

et Skjær

far - ve - ri - ge Straa

div.

ler.

unis.

Vl. 1 f

div.

mp unis.

Vl. 2 mp f

div. Va. f

Vc. f fz

Cb. f fz

DCM 030

121

Andantino

accel.

rit.

Allegretto

1 Fl. 2 pp

Ob.

1 2

1 Cl. (Bb) 2

pp 1.

Fg.

Cor. (F)

1 2

1 2 pp

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

(til Noureddin)

(for sig)

ALAD. her

ligt!

Men Nav - net paa den...

Den

blandt Kvin

der

cresc. NOUR. blandt Kvin

Andantino

der, som Du

accel.

el - sker højst af

rit.

le her

paa

Jor

den,

Allegretto

Vl. 1 mf

pp div.

Vl. 2 mf

unis. Va. mp

Vc.

arco pizz. Cb. mf

DCM 030

127 Fl.

1 2 p dolce

Ob.

1 2 pp

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2 pp

Cor. (F)

3 4

Tr. (F)

1 2 mf

Trb.t.

1 2

Trb.b. mf

Tb. mf

Timp.

(heftigt)

ALAD. den

blandt Kvin

der

jeg

sker

højst

af al

le?

Nej, nej!

NOUR. næv - ne maa!

Hans

Kær

lig - hed

Vl. 1

Vl. 2 mf Va.

Vc.

arco

pizz. Cb.

DCM 030

Fl.

poco accel.

131 1 2

cresc.

pp Ob.

Cl. (Bb)

Fg.

1 2

cresc.

1 2 pp

Cor. (F)

1 2

Cor. (F)

3 4

cresc.

pp Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp.

ALAD. jeg kan

ej næv

til Trold - doms - kun - ster,

hvad mest

alt

jeg har

kær,

be - smit - te

Or - dets re - ne

NOUR. Dø

den ham fø - rer,

mens

jeg

til Li - vet,

Jor - dens Glæ - der

gaar ind,

poco accel.

ny - de den Sum

Lyk - ke

jeg spa

div.

Vl. 1 cresc.

cresc.

Vl. 2 pp

cresc. div.

Va. pp

cresc.

Vc.

Cb.

DCM 030

red

No. 2 risoluto

G.P.

138 Fl.

Ob.

1 2

Orkestret maa ikke begynde, før Noureddin har lagt sig paa Knæ for at lægge Baalet tilrette.

Allegro non troppo

p muta in A

Cl. (Bb)

Fg.

Cor. (F)

Tr. (F)

Trb.t.

1 2

3 4

1 2

Trb.b. f

Tb.

Timp. f

fz (Aladdin løser Bundtet op.)

ALAD. Klang. (søger Stedet ud, hvor Baalet skal lægges)

(Noureddin giver sig i Lag med Ordningen af Kvistene.)

NOUR. op!

Læg Kvi -ste -ne her!

risoluto G.P.

unis.

Allegro non troppo

pizz.

Vl. 1 f

p pizz.

unis. Vl. 2 f

unis.

pizz.

Va. fz

p pizz.

Vc. f

p pizz.

Cb. f

DCM 030

143 Fl.

Ob.

1 2

1 Cl. (A) 2

Fg.

Cor. (F)

1 2

p solo

3 4 p

ALAD. Jeg føl

ger Jer i - blin - de

(tager Fyrtøj, nogle Blomster, af hvilke han udvælger den bedst tjenelige, og Røgelse frem og sysler med disse Sager indtil Replikken: ”Ja, ja, ret snart…”)

NOUR. Nu

snart skal

Baa - let

flam - me Højt som arco

til

Bryl

lups - fest

Vl. 1 p

arco

Vl. 2 p

arco

Va. p

arco

f arco

Vc.

Cb.

149 Fl.

1 2

Ob.

1 2

1 Cl. (A) 2 pp Fg.

1 2 pp

pp Cor. (F)

1 2

pp pp

3 Cor. (F) 4 pp ALAD. om

end Vej - en

fø - rer

til

min Grav!

gen Magt

mig stand - ser.

NOUR. for no -gen Fa -

Frygt ej

div.

re.

Vl. 1 fz

Vl. 2 fz

Va. fz

Vc. fz

pp Cb. pp

DCM 030

155 Fl.

1 2

f Ob.

1 2

1. solo Cl. (A)

1 2 f

dolce

Fg.

1 2 p

Cor. (F)

f 2.

1 2

3 4

NOUR. vel,

saa har

Na - tu

ren alt

- ru

- stet dig med

Vil

jens

Kraft,

som alt

be - her -sker

unis. Vl. 1 f

Vl. 2

Va. f Vc. f

Cb.

162 Fl.

Ob.

Cl. (A)

1 2

1 2 f

Fg.

1 2 p

Cor. (F)

p 4.

3 4

NOUR. stil

ler

Din Be - gær!

Skøn -ne Kvin -der dig om-flok -ke

i Tu - sind - tal

med Smil paa Kind

Vl. 1 p

Vl. 2 f

Va.

Vc.

Cb.

DCM 030

skovs - ful - de

169 a 2 1 Fg. 2 p

cresc. NOUR. Blik - ke,

naar snart

med Hu

lens Per

ler smyk -ket

som

Sul

tan

Slot

Sølv

Guld

Vl. 1 cresc.

cresc.

Vl. 2

Va.

Vc. cresc.

cresc.

Cb.

175 1 Fl. 2

cresc.

p Ob.

Cl. (A)

1 2

cresc.

a2 Fg.

1 2 pp

Cor. (F)

cresc.

1 2 p

Cor. (F)

3 4 p

ALAD. U - mu - ligt!

Min Tan - ke flag -rer om,

for - vir - ret, som i Drøm - me. (rejser sig)

NOUR. tro

ner.

Ja,

ja,

ret

Vl. 1 dolce

cresc.

dolce

cresc.

Vl. 2

Va. cresc.

dolce Vc.

cresc.

dolce Cb.

cresc.

DCM 030

181 Fl.

1 2

Ob.

1 2

p Cl. (A)

1 2

Fg.

1 2 p

Cor. (F)

3 4 f

(Med Fyrstaalet slaar han Ild og tænder Baalet.)

NOUR. snart

Din Tvivl

for - gaar!

Vl. 1 f

decresc.

Vl. 2

Va.

Vc. f

decresc.

Cb. p

186 Fl.

Ob.

Cl. (A)

Fg.

1 2

1 2 1 2

1 2 pp

Cor. (F)

3 4 pp

Timp. ppp sempre NOUR. Se her!

alt Baa - let flam - mer!

Vl. 1 pp div. Vl. 2 pp div. Va. div.

pp Vc. pp Cb. pp

DCM 030

Paa Tegnet * stiger ved Siden af Baalet, som stadig brænder, en firkantet Sten med en Hank op af Jorden (under Torden). Stenen maa ikke hæve sig hurtigere, end at den først helt er oppe paa Tegnet ).

* a tempo e fuoco

poco lento 191 1 Fl. 2

ppp sempre

Picc.

Ob.

Cl. (A)

1 2

ppp sempre

ff ff

Fg.

1 2 pp

ppp sempre

ff Cor. (F)

1 2

ppp sempre

3 Cor. (F) 4 ppp sempre Tr. (F)

1 2 pp

Trb.t.

1 2

Trb.b.

Tb.

Timp. pp cresc.

ff pp

cresc.

M.tno. p (Aladdin træder ved Synet af den opstigende Sten angstfuld nogle Skridt baglænds med opløftede Arme imod Forgrunden tilhøjre.)

ALAD. (kaster Blomsten i Ilden, som et Øjeblik flammer højere)

NOUR. Ved Lam -pens Aand,

stig frem!

poco lento

a tempo e fuoco

Vl. 1 ppp sempre

unis. Vl. 2 ppp sempre

unis. Va. ppp sempre

cresc.

unis. Vc. ppp sempre

Cb. ppp sempre

DCM 030

ff fz

199 Fl.

1 2

ff fz

Picc.

Ob.

Cl. (A)

Fg.

1 2

ff fz

ff fz a2

ff fz

1 2 ff fz

Cor. (F)

1 2

a2 ff

Cor. (F)

3 4

ff fz

1 Tr. (F) 2

Trb.t.

ff fz

1 2

ff fz

Trb.b. ff fz

Tb. ff fz

ff fz

Timp. ff

ff fz

M.tno. f

ALAD. Det er som Læn -ker bandt min Fod! (griber fat i Aladdin)

NOUR. Grib Rin- gen der!

Nu skal og maa Du ned i Dy-bet sti- ge,

nu skal og maa

Vl. 1 p

ff fz

Vl. 2 ff pp

ff pp

Va. ff pp

Vc. p

ff fz

ff pp

Cb. ff

ff fz

DCM 030

ff fz

Du ned i Dy- bet

206 Fl.

1 2

ff fz

Picc. ff fz

Ob.

1 2

ff fz ff fz

Cl. (A)

1 2 ff pp

Fg.

1 2 ff fz

Cor. (F)

1 2

ff fz

3 4 ff fz

Tr. (F)

1 2 ff fz

Trb.t.

1 2

Trb.b. ff

Tb. ff

Timp.

M.tno.

ALAD.

(mildere)

NOUR. sti - ge!

Du øn - sked’ Guld,

det lig - ger Dig for

Fo - de!

en Ha - ve

skal Du van - dre om,

hvis Ma - ge fin - des ej paa den - ne

Vl. 1 ff pp

Vl. 2 ff pp Va. fz

Vc. fz

Cb. fz

DCM 030

Recit.

211 1 Fl. 2

pp pp

Cl. (A)

1 2

ALAD.

NOUR. Jord,

hvor Æ - del-ste - ne, Di - a - man - ter

som Frug - ter hæn - ge tungt paa Træ - ets Gre - ne.

Vor Sul - tans Rig - dom er en Draa - be Vand mod Per - ler - ne i den-ne Hu- les

Recit. Vl. 1 ff Vl. 2 ff

Va. ff

Vc. ff Cb.

risoluto rall. a tempo 216 Fl.

Ob.

1 2

1 2 ff

1 Cl. (A) 2 Fg.

muta in Bb

1 2 ff

Cor. (F)

1 2

3 4

ALAD. Jeg er be- redt!

En Lam - pe kun?

NOUR. Dyb.

Som Løn jeg ik - kun ven- ter,

risoluto rall. a tempo Vl. 1 ff

Vl. 2

Va.

Vc.

Cb.

DCM 030

at Du fra Hu - lens in - der - ste mig brin- ger

en gam - mel Kob - ber - lam - pe.

223

Recit.

ALAD. mf quasi parlando NOUR. Ja en Lam -pe kun, og jeg er vel for - nøj - et, brin -ger Du blot den til -ba - ge.

Den hæn -ger midt paa Væg - gen, helt af Rust be -dæk - ket, Du let den fin -de kan, dens Lys ud -bre -der

Recit. Vl. 1 mf

Vl. 2

Va.

Vc.

Cb.

Moderato

227 1 Fl. 2

Ob.

1 2

Cor. (F)

1 2 p dolce

Fg.

1 2

p dolce

Cl. (Bb)

1 2

3 Cor. (F) 4

ALAD. (sætter Ringen paa Aladdins Finger) 3

(tager en Ring af Fingeren og holder den op for Aladdin)

NOUR. Glans

ud o - ver Hu -lens Væg -ge og Ha -vens gyld -ne

Frugt.

En Tryl - le -ring jeg sæt -ter paa din Fin - ger, den dig til

Moderato Vl. 1 p Vl. 2 p Va. p Vc. p Cb. p

DCM 030

232 1 Fl. 2

Ob.

Cl. (Bb)

Recit. p

1 2

1 2 1.

Fg.

Cor. (F)

1 2

ALAD.

NOUR. Ly

set at

ter

fø - rer.

Og kom saa her, tag fat

og prøv, om Ste -nen rok -kes kan.

Recit. Vl. 1 p

Vl. 2 p

Va.

Vc.

Cb.

237 ALAD. Nej in -gen -sin - de,

jeg næv -ner her et hel - ligt Navn!

NOUR. husk,

at Du maa næv -ne den Du el -sker højst.

Det tje -ner jo Din e - gen Sag,

Vl. 1 fp

Vl. 2 fp Va. fp Vc. fp

Cb. fp

DCM 030

hvi tø - ver Du?

Men

241

Moderato

1 Fl. 2

Ob.

Recit.

Allegro

1 2

p Cl. (Bb)

1 2 mf

p a2 1 Fg. 2 p

Cor. (F)

1 2

3 4

(trækker forgæves i Stenens Hank)

(lægger Haanden paa Stenens Hank)

ALAD. Mor - gi - a - na,

min Mo -der kæ - re!

NOUR. Ha!

Moderato

Recit.

Allegro

Vl. 1 p

gli altri p

Vl. 2

Va.

solo Vc.

Cb.

DCM 030

Recit.

245 1 Fl. 2 a2 1 Ob. 2 Cl. (Bb)

1 2 a2

1 Fg. 2 pp (bestemt)

ALAD. Jeg næv -ner ik - ke hen -des Navn! NOUR. Din Mo - der kan det ik - ke

væ - re;

Dit Hjer - te har en an - den kær.

Hvad?

saa me -gen Lyk - ke

Recit. Vl. 1 p

Vl. 2 p

Va. p

Vc. f

Cb. fz

Moderato

249 1 Fl. 2

1. 1 Ob. 2

Cl. (Bb)

Fg.

mf 1.

1 2

1 2 (Aladdin gaar nogle Skridt frem paa Scenen i Kamp med sig selv, vender derpaa pludselig om.)

(griber Ringen)

ALAD. Vel - an!

til - giv, Gul -na - re! (trækker i Ringen)

NOUR. vil Du for -spil -de

af en taa -be - lig Frygt?

Gul-

Moderato

Vl. 1 mf

Vl. 2

Va.

Vc.

Cb.

DCM 030

No. 3 Nedgangen til Hulen aabner sig roligt under crescendoet i Orkestret. Paa Tegnet * er den helt aaben.

Midt paa Scenen vælter Stenblokke op af Fjeldet og kanter et Hul, hvorfra at rødt Skær belyser Stenkanterne og Noureddins og Aladdins Ansigter, naar de ser ned i Dybet.

Allegro moderato

254 Fl.

1 2

Recit.

Picc. mf cresc. Ob.

Cl. (Bb)

1 2

cresc.

1 2 ff

Cor. (F)

1 2 ff

Fg.

cresc.

1 2 ff fz

ff fz

cresc.

ff fz

cresc.

ff fz

cresc.

f fz

cresc.

3 Cor. (F) 4

Tr. (F)

Trb.t.

1 2

Trb.b.

Tb.

Timp. Tordenskrald M.tno. ff

ALAD.

NOUR. na - re?

Allegro moderato

Recit.

hvil - ken Pragt

fra Jor - den straa - ler

Vl. 1 ff

cresc.

Vl. 2 ff

Va. ff Vc. ff Cb.

DCM 030

con fuoco

Recit. fz

con fuoco

fpp

260 1 Fl. 2 ff

Picc. ff

Ob.

Cl. (Bb)

1 2

1 2 fz

Fg.

1 2 fp ff

Cor. (F)

Tr. (F)

Trb.t.

1 2

3 4

1 2

Trb.b.

Tb. ff

Timp. ff

ALAD.

NOUR. ud!

Se, Glans af Guld og Æ - del - ste- ne vin - ker Dig.

con fuoco

Recit.

con fuoco

Vl. 1 ff

Vl. 2 ff

fpp

ff div.

Va. ff

Vc.

Cb.

DCM 030

Recit.

con fuoco

fpp

cresc.

fpp

cresc.

265 Fl.

1 2

Picc.

Ob.

Cl. (Bb)

1 2

1 2 fz

Fg.

Cor. (F)

1 2

3 4 fz

Tr. (F)

Trb.t.

1 2

cresc.

Trb.b.

Tb. fz

Timp. fz

ALAD.

NOUR. Stig

ned

Rig - doms dy - be Svælg og

øs

af Jor - dens

Kil - de

Stor - hed,

Magt!

Recit.

con fuoco

f pp

cresc.

f pp

cresc.

marcato

cresc.

marcato

cresc.

marcato

Vl. 1

Vl. 2

unis. Va.

Vc.

Cb.

DCM 030

Animato Allegro non troppo

270 Fl.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

Tr. (F)

Trb.t.

1 2

mf fz

1 2 mf

1 2

3 4

1 2

Trb.b.

Tb.

Timp.

(tilhøjre i Forgrunden) (for sig)

(til Noureddin)

ALAD. Nu kækt

jeg trod - ser

Fa - ren!

Be - skyt -tet

af Din Kær - lig - hed jeg sti - ger glad

der - ned,

bet,

der

(tilvenstre i Forgrunden) (for sig)

NOUR. Nu,

ret saa!

Der svandt min sid

Animato Allegro non troppo

ste Frygt

nær

ved

Maa

Vl. 1 fz

fz div.

Vl. 2 pp

fz div.

Va. pp

pp div.

Vc. fz

pp fz

Cb. fz

DCM 030

let staar jeg nu,

p 275 Fl.

Cl. (Bb)

1 2

fz Fg.

1 2

fz ALAD. pluk

ker

mit Held

jeg

Krans

Per

ler

som

Din

hvi

kæm

pet

Pan

NOUR. svig - te

kan,

thi

jeg

har

Næt

ter,

Vl. 1 fz unis.

unis.

div.

Vl. 2 fz unis. Va. fz div.

unis. Vc. fz Cb. fz 279 Fl.

Ob.

1 2

1 Cl. (Bb) 2 pp

2. 1 Fg. 2 pp

f pp

Cor. (F)

1 2 f

3 Cor. (F) 4 f ALAD. skal

om - sno.

Haab

Frygt

mit

ri - ge

Skat,

Hjer

slaar,

her,

her

Lys

her,

her

NOUR. og

vel - for - tjent,

den

hvis

kla - re

Vl. 1 pp

Vl. 2 pp f Va. pp

f unis.

Vc. f

pp Cb. pp

DCM 030

283 Fl.

Ob.

1 2

ffz

1 2

ffz

Cor. (F)

p 1.

1 Cl. (Bb) 2

Fg.

1 2 ffz

ffz

1 2

3 4 ffz

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. i

det kol - de

Fjeld

den

som

straa

len

der

vin

ker

Glans

NOUR. jeg

ser,

her

Stjer

fra

ris

mig

til.

For -

Vl. 1 p

ffz

Vl. 2 ffz

Va. ffz

ffz

Vc.

Cb.

DCM 030

287 Fl.

Ob.

1 2

1 2 cresc.

mf cresc.

1. 1 Cl. (Bb) 2 mf

Fg.

cresc.

1 2 cresc.

Cor. (F)

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. dro

ges

jeg

ned,

mens

Længs - ler

At - traa

som

lers

Ild

mit Bryst

om - spæn

der, glø

der;

NOUR. borg

Længs

Gnist

blus

ser

mæg

tig

paa -

Vl. 1 fz

cresc. div.

Vl. 2 cresc.

Va. cresc. div. Vc. cresc.

Cb. cresc.

DCM 030

291 Fl.

Ob.

Cl. (Bb)

1 2

cresc. Fg.

1 2 ff

Cor. (F)

1 2 ff

cresc.

3 4

Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b. f

Tb. f

Timp.

ALAD. thi

det

Mag

skovs

Fryd,

Kær

lig - he

tens

Fryd,

Her

sker - væl

div.

dens Vaan - de,

som

NOUR. ny,

Vl. 1 ff p unis.

cresc.

Vl. 2 p

div.

unis.

Va. ff

cresc. unis.

Vc. ff

cresc.

Cb.

DCM 030

dens

Sød - me

som

mig

mit

295

accel.

1 Fl. 2

Ob.

1 2

a2 Cl. (Bb)

Fg.

Cor. (F)

Tr. (F)

Trb.t.

1 2

1 2 ff

1 2

3 4

1 2

1. p

cresc.

Trb.b. fz

Tb. p

Timp.

ALAD. Hjer

fyl

der

bræn

Sin

der!

Kval

de!

fri

NOUR. Sjæl

ske

accel. Vl. 1 f

Vl. 2 div.

div.

unis. Va. f

Vc.

Cb.

DCM 030

più allegro 299 Fl.

Ob.

Cl. (Bb)

1 2

1 2 f

Fg.

1 2 f

Cor. (F)

1 2

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

1. f

Trb.b. f

Tb. f

Timp. f

ALAD. Lyst!

Dri

Haab!

For - yn - get Mod

stig frem

mod

mit Maal!

Strøm

fø

min

alt

ler jeg alt

her

mit Haab

til

Gul -

NOUR. og

Kraft

som

Kil - dens kla - re

i mit Bryst Ung

più allegro Vl. 1 ff

div.

unis.

Vl. 2 ff

Va.

Vc. ff

Cb. ff

DCM 030

rall.

Tempo I

306 Fl.

1 2 mf

Ob.

1 2 p

Cl. (Bb)

dim.

1 2 p

dim.

p Fg.

1 2 dim.

Cor. (F)

1 2

mf Cor. (F)

dim.

3 4 mf

Timp. p

dim.

(Han stiger ned i Hulen.)

ALAD. na

staar. (stirrer ned efter ham og bliver saaledes staaende indtil Tegnet

)

NOUR. -

rall.

doms - mod.

Tempo I

Vl. 1 mf

dim.

Vl. 2 p

dim.

mf Va. mf div.

dim.

mf unis.

Vc. mf

dim.

Cb.

312 Vl. 1

Vl. 2

Va. pp Vc. pp

ppp

Cb. pp

ppp

DCM 030

No. 4 319

Allegro assai

1 Fl. 2

ff a2

Ob.

1 2 ff

Cl. (Bb)

1 2

ff a2

Fg.

1 2 ff

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. f

Tb. f

Timp.

(i Ekstase)

(Med et Sæt vender Noureddin sig bort fra Nedgangen.)

NOUR. Ha

Allegro assai Vl. 1 ff

Vl. 2

Va. ff

Vc. ff

Cb. ff fz

DCM 030

un - der - ful - de

326 Fl.

Ob.

1 2

1 2 f

Cl. (Bb)

Fg.

1 2

1 2 f

Cor. (F)

1 2

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb.

Timp. f

NOUR. Magt!

løst

Dit Baand,

frem

bry

der

Vl. 1 p

Vl. 2

Va.

Vc.

Cb. f

DCM 030

pp 333 Fl.

1 2 p

pp sempre

1. 1 Fg. 2 mf Cor. (F)

Cor. (F)

pp sempre 2.

1 2

pp sempre 3.

3 4

pp sempre

NOUR. Væl - de, og

paa Dit

Vink

bøj

Knæ!

Men

tys!

her gæl - der det For -

Vl. 1 p

pp sempre

ren

stor.

Vl. 2 p

pp sempre 3

Va.

pp sempre

f Vc.

pp sempre

p Cb.

pp sempre

338 Fl.

1 2

Ob.

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

1. pp sempre

NOUR. sig - tig - hed;

thi

hvis han o - ver Jor

den

naar,

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

Som

343 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

pp sempre

Trb.b.

Tb.

Timp.

NOUR. Lam

pens Her - re kan han

de,

Lam

pens Aand maa blindt ham

de,

saa

snart

han Hu - len har for -

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

348

Recit.

1 Fl. 2

Ob.

Cl. (Bb)

Fg.

1 2

1 2 ff

Cor. (F)

1 2 ff

Cor. (F)

Tr. (F)

3 4

1 2 ff

Trb.t.

1 2

Trb.b. ff

Tb. ff

Timp. pp sempre

ad lib. NOUR. ladt.

Nej,

nej!

det maa

ske!

Men har jeg Lam - pen først i

Recit. Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff

Cb. ff

DCM 030

mosso 352 Fl.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

Tr. (F)

Trb.t.

1 2

mosso

Recit.

1 2

3 4

1 2

Trb.b.

Tb.

Timp.

ad lib. NOUR. Hæn

de,

jeg stø - der ham i

Dy - bet ned;

Recit.

mosso

jeg la - der Hu - lens Ind - gang

Recit.

mosso

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff

Cb. ff

DCM 030

mosso

Recit.

mosso

Recit.

356 Fl.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2

3 4 ff

Tr. (F)

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. spær

re,

og med det u - sle Liv

Recit.

mosso

brudt

den sid - ste Hin - dring for mit

Recit.

mosso

Vl. 1 ff

Vl. 2 ff

Va.

Vc. ff

Cb. ff

DCM 030

360 Cl. (Bb)

1 2

a tempo p

NOUR. Held!

For

a tempo

sig - tig

jeg

gem - mer

ved

mit

Bryst

min

Skat,

som

al - drig

no - get

pizz. Vl. 1 p

pizz.

Vl. 2 p pizz. Va. p Vc. p Cb. p 366 1 Fl. 2

1 Ob. 2

pp muta in A

Cl. (Bb)

1 2

Fg.

1 2 pp

Cor. (F)

1 2

3 Cor. (F) 4 pp Timp. pp

NOUR. Øj - e

faar

se.

kun

Nat - tens

tav

se Stund, naar

alt

om - kring mig

ver trygt,

arco Vl. 1

arco

Vl. 2 arco

Va. pp Vc. pp Cb. pp

ritenuto

372

NOUR. frem

Skju

let

ger

jeg

min

Lam

pe,

saa,

saa!

ritenuto Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

No. 5 377 Fl.

Lento ac el.

a tempo

Lento ac el.

a tempo

Allegro con brio

1 2 ff

Picc.

Ob.

Cl. (A)

1 2

1 2 ff

Fg.

1 2 ff

ff pp

1 Cor. (F) 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b.

Tb.

Timp. ff

NOUR. Frem da, I svul -men -de Længs - ler,

Allegro con brio

Lento ac el. pizz.

a tempo arco

frem hvert et Øn - ske, som dæm - rer,

Lento a cel. pizz.

alt, hvad min Sjæl

a tempo

Vl. 1 p

Vl. 2 ff

Va.

Vc. ff

Cb. ff

DCM 030

fav - ned i

Lento a cel.

a tempo

Lento a cel.

a tempo

384 Fl.

1 2 ff

Picc.

Ob.

Cl. (A)

1 2

1 2 ff

Cor. (F)

1 2 ff

Cor. (F)

1 2 pp

Fg.

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. ly - se - ste, sa - lig - ste Haab.

Frem, der er Plads for Jer

arco

Lento ac el.

al - le,

snart skal I fø - des til Liv.

a tempoarco

Lento a cel.

pizz.

Ri - get er

mit:

alt, hvad jeg

a tempo

pizz.

Vl. 1 ff

Vl. 2 ff

Va.

Vc.

Cb. ff

DCM 030

391 Fl.

1 2 ff

Picc. ff

Ob.

1 2 ff

Cl. (A)

1 2 pp

Fg.

1 2 ff fz

Cor. (F)

1 2

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. vil

paa mit ”Bliv” maa det

ske!

rens Krans,

der

smyk - ker

Hel - tens

Pan - de.

Kro

arco Vl. 1 ff fz

ff fz

Vl. 2 ff

ff fz

div. Va. ff

ff fz

Vc.

Cb.

DCM 030

nens

398 Fl.

Cl. (A)

Fg.

1 2

1 2 ff fz fz

Cor. (F)

1 2

f NOUR. Guld

med Her - sker - magt og

Væl - de,

græn

se - løs

Vi - den,

de - lig

Rig - dom;

Vl. 1 pp

Vl. 2

Va. ff fz fz

Vc. ff fz fz

ff fz fz

Cb.

406 1 Fl. 2 1 Ob. 2

1 Cl. (A) 2 pp Fg.

1 2 pp pp

Cor. (F)

1 2

3 4 pp

Tr. (F)

1 2

Timp. pp NOUR. selv

hvad skøn

nest Hjer

tet

ved:

Kær

lig - he

dens sø

Lyst

jeg

Vl. 1 f Vl. 2 f Va. f Vc. f Cb.

DCM 030

414 Fl.

1 2

Picc. ff

Ob.

1 2 ff

Cl. (A)

1 2 ff p

1 Fg. 2 mf

Cor. (F)

cresc.

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b.

Tb.

Timp. f

NOUR. by

der:

paa

mit

Vink

mig

læg - ges alt

for Fo

de!

Vl. 1 ff

Vl. 2 ff

Va. fz

cresc.

Vc.

Cb.

DCM 030

Lento ac el.

a tempo

Lento a c l.

a tempo

422 Fl.

1 2 pp

Picc. ff

Ob.

1 2 ff

Cl. (A)

1 2 pp

Fg.

1 2 ff

ff pp

pp 1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. Frem da, I svul - men - de Længs - ler;

Lento ac el.

a tempo

pizz.

arco

frem hvert et Øn - ske, som dæm- rer,

Lento a cel. pizz.

alt hvad min Sjæl

fav - ned i

ly - se - ste, sa - lig - ste Haab!

a tempo

arco

Vl. 1 p

Vl. 2 p

Va. ff

Vc. ff

Cb. ff

DCM 030

Lento a cel.

a tempo

Lento a cel.

a tempo

429 Fl.

1 2 p

Picc. ff

Ob.

1 2 ff

ff pp Cl. (A)

1 2 p

Fg.

1 2 ff

Cor. (F)

Tr. (F)

1 2 pp

Cor. (F)

3 4

1 2 ff

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. Frem, der er Plads for Jer al - le,

Lento a cel.

snart skal I fø - des til Liv;

a tempo

pizz.

arco

Lento a cel.

Ri - get er mit:

alt hvad jeg vil paa mit ”Bliv” maa det ske!

Skøn

a tempo arco

pizz.

Vl. 1 p

ff fz

Vl. 2 p

Va.

Vc. ff

Cb. ff

100

DCM 030

437 Fl.

Cl. (A)

Fg.

1 2

1 2 ff fz

Cor. (F)

ff fz

1 2 f

NOUR. Fryd,

her - ske

u - den

Græn - ser!

Sø

Lyst,

ej -

jor - disk

Al - magt!

Vl. 1 pp

ff fz

f fz

ff fz

f fz

Vl. 2 ff fz

ff fz

div.

Va. pp

f fz

ff fz

f fz

ff fz

f fz

Vc.

Cb.

445 1 Fl. 2

Ob.

Cl. (A)

Fg.

1 2

1 2 pp

Cor. (F)

1 2 pp

Cor. (F)

3 4 pp

Tr. (F)

1 2 pp

Timp. pp

NOUR. Mer

end

Kvin

de - smil

Kys!

fry

der

dets

lyst

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

101

452 Fl.

poco a poco più animato

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

f f

Fg.

1 2 p

1. Cor. (F)

Cor. (F)

1 2

f 3.

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. Sind!

Ja, næp

jeg

fat

ter

selv

den

Gud - doms - lod

som

min!

poco a poco più animato Vl. 1 p f

Vl. 2 p

Va. f

Vc.

Cb.

102

DCM 030

p 459 Fl.

1 2 f

Picc.

Ob.

1 2

Cl. (A)

1 2 f p

Fg.

1 2 f

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

3. f

Trb.b. f

Tb. f

Timp.

NOUR. Det træn - ger paa,

som om

Bry - stet skul - de

spræn

ges,

Gøg - le - sy - ner

hvirv - les for mit druk

Øj

Vl. 1 p

Vl. 2 p

Va.

Vc.

Cb. f fz

DCM 030

103

467 Fl.

più animato

1 2

Picc. pp

Ob.

1 2

Cl. (A)

1 2 pp pp

Fg.

1 2 pp pp

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. rundt.

lig

Rus

har

gre

bet

mig,

den daa

più animato div. Vl. 1 pp

pp div.

unis.

Vl. 2 pp

pp div.

unis.

Va. pp

pp Vc.

Cb.

104

DCM 030

rer

Vid

og Sans!

Jeg

più animato 475 Fl.

1 2

Picc. ff

Ob.

Cl. (A)

Fg.

1 2

ff Cor. (F)

Cor. (F)

1 2

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b. ff

Tb.

Timp.

NOUR. skæl

ver

alt,

hver

Ner

sit - rer!

Vel

lyst

più animato non div. Vl. 1 ff

Vl. 2 ff

Va. ff

Vc.

ff Cb. ff

DCM 030

105

483 Fl.

1 2

ppp

1 Ob. 2

Cl. (A)

1 2 pp

Fg.

1 2 p

NOUR. skum

mer

vildt

som

Hav

Storm,

tæm

me - li - ge

div.

unis.

Vl. 1 p

div.

unis.

div.

Vl. 2

Va.

Vc. p Cb.

Adagio

490 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

rit.

1 2 p

Cor. (F)

1 2

Cor. (F)

3 4 p

NOUR. Ly

ster

gri

ber

min

Sjæl

ve,

i Læng - sel

jeg

Adagio unis. Vl. 1 ppp

p unis.

Vl. 2 ppp

Va. p Vc. p Cb. p

106

DCM 030

rit.

for -

No. 6 Allegro molto quasi presto 497

1 Fl. 2

Picc. f

a2 1 Ob. 2

Cl. (A)

1 2

f a2

f Fg.

1 2 f

Cor. (F)

1 2

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb. f

Timp. f

Trgl.

f (gaar hen til Hulens Aabning og lytter efter Aladdin)

NOUR. gaar.

Allegro molto quasi presto

Vl. 1 f

Vl. 2 f

Va. f

Vc. f

Cb. f

DCM 030

107

505 Fl.

Andante

1 2

p p

1 Cl. (A) 2 p

Cor. (F)

1 2

NOUR.

Andante

Vl. 1

p Vl. 2 p 3

Va. p

pizz.

Vc. p pizz. Cb. p

511 1 Fl. 2 muta in Bb

1 Cl. (A) 2

Fg.

1 2 mf

1 Cor. (F) 2 cresc. Cor. (F)

3 4

NOUR.

Vl. 1

Vl. 2 div.

Va. 3

div. arco Vc. mf Cb.

108

DCM 030

516 Fl.

1 2

1. Ob.

1 2 p

1 Cl. (Bb) 2

Fg.

1. 3

p 1.

1 2

p Cor. (F)

3 4

NOUR. 3

Vl. 1 3

3 3

Vl. 2 3

unis. pizz.

arco 3

Va. p

unis. pizz.

arco 3

Vc. 3

p arco

pizz.

ff 3

Cb. p

519 Fl.

1 2

p 2.

1 Cl. (Bb) 2

p 1.

1 Cor. (F) 2

Cor. (F)

mf 3.

3 4

NOUR. Han nær - mer sig!

arco 3

Vl. 1

div.

Jeg hø - rer alt hans Fjed. 3

Vl. 2 p 3

arco Va. p

pizz.

Vc. p

mf pizz.

Cb.

DCM 030

109

524 Fl.

1 2

Picc.

Ob.

1 2

2. 1 Cl. (Bb) 2

Fg.

1 2 mf

1. Cor. (F)

1 2 cresc.

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD.

NOUR. Naa, han har læs - set godt, det maa man si - ge,

Vl. 1 f fz

cresc.

Vl. 2 div. Va. cresc.

f fz

div. arco Vc. mf Cb.

110

DCM 030

528

Allegro

1 Fl. 2

ppp

Picc.

1 Ob. 2

Cl. (Bb)

1 2

1 Fg. 2

1. ppp

ppp 1. ppp

1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

2. ppp

ppp

Trb.b.

Tb.

Timp. ppp

ALAD.

NOUR. fast

Byr

den

tyn - ger ham

til

Jor

den

ned.

Allegro div. Vl. 1 ppp non div. Vl. 2 ppp unis. Va. ppp unis. Vc. ppp arco Cb. ppp

DCM 030

111

532 Fl.

1 2 cresc.

Picc.

Ob.

1 2

1. cresc.

Cl. (Bb)

1 2 cresc.

Fg.

1 2

1. cresc.

Cor. (F)

1 2

2. cresc.

3 4 cresc.

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. cresc.

ALAD.

NOUR. Selv

Kjor

tel

fli - gen gem - mer

Æ - del - ste - ne.

Vl. 1 cresc.

Vl. 2 cresc.

Va. cresc.

Vc. cresc.

Cb. cresc.

112

DCM 030

stringendo Recit.

536 Fl.

1 2

ff fz

Picc. mf

Ob.

cresc.

ff fz

1 2 mf

cresc.

a2 1 Cl. (Bb) 2 ff

Fg.

1 2 mf

Cor. (F)

Tr. (F)

Trb.t.

cresc.

1 2 mf cresc.

mf cresc.

3 4

1 2

Trb.b.

Tb.

Timp. ff

(usynlig for Tilskuerne)

ALAD. Ræk mig Haan - den, hjælp mig op! tro mig slig Byr - de

NOUR.

unis.

stringendo

Recit.

Vl. 1 ff

Vl. 2 ff

div. Va. ff

Vc. ff

Cb.

DCM 030

113

541

Allegro

1 Fl. 2 f 1 Ob. 2

Cl. (Bb)

Fg.

f a2

1 2

1 2 f

Cor. (F)

1 2 f

Cor. (F)

3 4 f

Timp. f ALAD. træt - ter.

NOUR. Gør Dig først for

Byr - den fri;

hvor har Du

Lam - pen?

Allegro

ræk

mig den!

div. arco

pizz. Vl. 1 f

pizz.

arco

Vl. 2 ff

f unis. pizz.

arco

Va. f

pizz.

arco

f pizz.

Vc.

arco

Cb. ff

547

Recit.

1 Fl. 2 f

ALAD. Lad

mig kom - me

dog først;

mit

NOUR.

Recit. unis.

Vl. 1 p Vl. 2

Va.

Vc.

Cb.

114

DCM 030

Skød den

be - gra - vet

un - der Frug - ter - ne

fra

Ha - ven!

549 Fl.

Ob.

Cl. (Bb)

Fg.

1 2

Allegro

Recit.

1 2

1 2 pp ff

Cor. (F)

Tr. (F)

Trb.t.

1 2

3 4

1 2

Trb.b. ff

Tb. pp

Timp. ff

ALAD. Nu i - gen?

(vredt)

NOUR. Ræk mig Lam - pen,

Allegro

ræk

mig

Lam - pen!

Kast, Du Nar, de dum - me Ste- ne.

Lam - pen, Lam - pen si - ger jeg!

Recit.

Vl. 1 ff

Vl. 2 p

ffp

Va. p

ffp

Vc.

Cb.

DCM 030

115

Allegro non troppo

554

Recit.

1 Fl. 2

Picc.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2

ffz

1 2

1 2 ff

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

(viser sig)

ALAD. Naa giv Tid, Du skal nok faa den,

nu straks jeg kom - me

skal.

Hjælp! (støder Aladdin tilbage)

(tager Røgelsen frem,

NOUR. Stands!

Allegro non troppo div.

Du skal ej hø - ste Løn - nen for min Møj - e!

Recit.

Vl. 1 ffz

Vl. 2 ffz

Va. ffz

Vc. ff

Cb. ff

116

DCM 030

557 Fl.

1 2

Allegro con fuoco

Hulens Aabning lukker sig roligt, medens Baalet slukker.

fff

Det hele er forbi her.

Picc. fff

Ob.

1 2

1 Cl. (Bb) 2

Fg.

a2 f

fff

1 2 f

Cor. (F)

fff

1 2 f

Cor. (F)

fff

3 4 fff

Tr. (F)

1 2 fff

Trb.t.

1 2

fff

Trb.b.

Tb.

Timp. fff

kaster den paa Ilden, som blusser op)

NOUR.

Allegro con fuoco unis. Vl. 1 f

fff

Vl. 2

Va.

unis.

div. Vc. f

fff

Cb.

DCM 030

117

563 Fl.

Recit.

1 2

Picc. ff

Ob.

Cl. (Bb)

Fg.

1 2

1 2 ff

Cor. (F)

1 2 ff

Cor. (F)

Tr. (F)

Trb.t.

3 4 f

1 2

Trb.b. ff

Tb. ff

Timp. ff (i største Affekt) (frem i Forgrunden)

NOUR. Saa luk Dig at - ter Klip - pe, ved mit Baal!

Jeg stand - ser ik - ke før jeg naa’r mit

Recit. Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. fz

Cb.

118

DCM 030

Maal,

jeg naa’r mit Maal,

jeg

naa’r

mit

No. 7 Allegro con fuoco 570 Fl.

1 2

Scenen indhylles i fuldstændigt Mørke. Sceneforandringen for aabent Tæppe.

Picc. ff

Ob.

1 2 ff

Cl. (Bb)

Fg.

1 2

1 2 ff

Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b. ff

Tb. ff

Timp. fz

(iler ud)

NOUR. Maal!

Allegro con fuoco Vl. 1 ff

Vl. 2 ff

ff Va.

Vc. ff

Cb. ff

DCM 030

119

577

1 Fl. 2 3

Picc. 3

Ob.

1 2 3

Cl. (Bb)

1 2 3

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. fz

NOUR.

Vl. 1 3

Vl. 2 3

Va.

Vc.

Cb.

120

DCM 030

584 Fl.

1 2

a2 3

dim.

Picc. 3

Ob.

1 2 ff 3

muta in A

1 Cl. (Bb) 2

Fg.

1 2 dim.

Cor. (F)

1 2

3 Cor. (F) 4

Tr. (F)

dim.

1 2 ff

Trb.t.

1 2

Trb.b. ff

Tb. ff

Timp. ff

NOUR.

Vl. 1 3

Vl. 2

Va. 3

Vc. ff

Cb. ff

DCM 030

121

Lidt efter lidt

—

590 1 Fl. 2

—

tiltagende Lys indtil

ritardando

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

1 Cor. (F) 2

Cor. (F)

1. p 4.

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR.

ritardando pizz.

Vl. 1 p pizz. Vl. 2 p

Va. p pizz. Vc. p pizz. Cb. p

122

DCM 030

—

— —

—

SCENE I HULEN En underjordisk Hule med Planter og Frugter af Ædelstene. I Baggrunden Lampens Aand: Sværlemmet Gestalt i mørkebrunt Trikot, fuldt af Glimmer. Om Panden en Guldring med en stærk lysende rød Karfunkel (elektrisk Lys). Han anbringes paa en Forhøjning, at han kan se kæmpemæssig ud, og paa en Lem. — halvt Lys. f

Allegretto 597 1 Fl. 2

Picc. f

Ob.

Cl. (A)

1 2

1 2 f

p Fg.

1 2 p

Cor. (F)

1 2

Cor. (F)

f a2

3 4

f pp

Timp.

De usynlige Kor i denne Opera bedes om at maatte blive anbragt saaledes, at de komme til at klinge saa stærkt som muligt.

S. p A. Lam - pen

er for - svun - den.

T. Lam - pen

Allegretto

er for -

pizz.

arco

arco pp Vl. 1

f pizz.

arco

pp arco

arco

pizz.

pp Vl. 2

arco

pp pizz.

arco

arco pp

arco Va. p

p div. arco

unis.

Vc. p

arco Cb. p

DCM 030

123

605 Fl.

Ob.

1 2

pp pp

p Cl. (A)

f f

1 2 pp

f f

Fg.

1 2 pp

Cor. (F)

1 2 f

3 Cor. (F) 4 p Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. mf S. og

dens Lys

ud - slukt.

dens Lys

ud - slukt.

dens Lys

ud - slukt.

T. svun - den. B.

Vl. 1

Vl. 2

pp leggiero

div. Va. f

pp leggiero

f f

Vc.

Cb. pp leggiero

124

DCM 030

611 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2 p

Fg.

1 2 p

Cor. (F)

1 2 p

3 Cor. (F) 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. p Tb.

Timp.

f S. En skyld

fri Sjæl

ste - get

len

ned,

skyld

fri Sjæl

ste - get

len

ste - get

len

f A. En

skyld

fri

Sjæl

ste - get

len

ned,

f T. En

skyld

fri Sjæl

ste - get

len

skyld

fri Sjæl

ste - get

len

f B. En

pizz.

Vl. 1

p pizz.

Vl. 2

p Va. p div. Vc. p Cb. p

DCM 030

125

614 Fl.

1 2 pp

Picc. pp

Ob.

Cl. (A)

1 2

1 2 pp

Fg.

1 2

pp Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

LAMP. Hør

den

S. ned. A. ned. T. ned. B. ned.

arco

Vl. 1

pp arco pp

Vl. 2

pp unis. Va. pp unis.

pizz.

Vc. pizz. Cb.

126

DCM 030

bul

dren

Bra

gen?

618 Fl.

1 2

Picc.

Ob.

1 2 p

Cl. (A)

1 2 fz

Fg.

1 2 p

Cor. (F)

1 2 f

f fz

p pp

p 3 Cor. (F) 4 f fz

1 Tr. (F) 2

Trb.t.

1 2

Trb.b. pp Tb.

Timp.

LAMP. Fjeld

kon - gen

A. Fjeld

kon - gen rys - ted’

Vre

sin Skul

der.

Fjeld

kon - gen rys - ted’

Vre

sin Skul

der.

Vl. 1

Vl. 2

pp Va. arco

Vc. arco

Cb.

DCM 030

127

624 Fl.

1 2

dim.

cresc.

dim.

cresc.

dim.

cresc.

dim.

cresc.

dim.

cresc.

Picc.

Ob.

Cl. (A)

Fg.

Cor. (F)

Tr. (F)

1 2 1 2

1 2

3 4 1 2

cresc.

p Trb.t.

1 2

p cresc.

Trb.b. mf

cresc.

Tb.

Timp. dim.

f f LAMP. luk

den

sten

ste

Dør.

Vl. 1

Vl. 2

cresc.

cresc. div.

cresc.

dim.

unis.

Va. pp dim.

div. unis. Vc. cresc.

dim.

Cb. f

128

DCM 030

629 Fl.

1 2

decresc.

ppp

Picc.

Ob.

Cl. (A)

1 2

a2 mf

decresc.

cresc.

dim.

cresc.

dim.

1 2 decresc.

ppp

mf a2

Fg.

1 2 mf

decresc. Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

LAMP.

S. Snart bræn - der Lam - pen,

snart

bræn - der

Lam - pen

dæm - pet

paa-

Snart

bræn - der

Lam - pen

dæm - pet

paa-

Snart

bræn - der

Lam - pen

dæm - pet

paa-

Snart

bræn - der

Lam - pen

dæm - pet

paa-

decresc.

ppp

Vl. 1

Vl. 2

ppp decresc. Va. decresc.

decresc.

Vc.

Cb.

DCM 030

129

638 Fl.

1 2

dim.

Picc.

Ob.

1 2

a2 Cl. (A)

1 2

1 Fg. 2

ff dim. Cor. (F)

1 2

dim.

3 Cor. (F) 4 1 Tr. (F) 2 Trb.t.

1 2

dim.

Trb.b.

Tb. ff

Timp. ff LAMP.

S. ny! A. ny! T. ny! B. ny!

Vl. 1

Vl. 2

dim.

Va.

Vc.

dim.

Cb.

130

DCM 030

642 Fl.

1 2

Picc. pp

Ob.

1 2

Cl. (A)

1 2 pp

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

LAMP. Kun

Vl. 1

ver

Jor

den

min

Her

jeg

der,

Vl. 2

pp Va. pp

Vc.

Cb. pp

DCM 030

131

646 Fl.

1 2

Picc.

Cl. (A)

1 2

LAMP. her

hans

ling

kun

det

jeg

ke,

han

Vl. 1

Vl. 2

Va.

Vc.

Cb.

649 Fl.

1 2

Picc.

Cl. (A)

1 2 a2

Fg.

1 2 f fz

Cor. (F)

1 2

f fz

LAMP. ag

ter

hø

rer

Vl. 1

Vl. 2

Va.

Vc.

f fz

Cb.

132

DCM 030

652 Fl.

1 2

Picc.

Ob.

Cl. (A)

1 2

1 2 a2

Fg.

1 2 f fz

a2 1 Cor. (F) 2 f fz Cor. (F)

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. pp

LAMP. suk

ker

græ

der?

Lam

pen

kraft

løs,

mit

Vl. 1

Vl. 2

Va.

Vc.

f fz

Cb.

DCM 030

133

656 Fl.

1 2 cresc.

cresc.

Picc. ff p Ob.

1 2

cresc.

Cl. (A)

Fg.

1 2

1 2 pp

Cor. (F)

ff a2

cresc.

1 2 fff fz

Cor. (F)

Tr. (F)

3 4

cresc.

ff ten.

ten. ten.

ff ten.

ten. ten.

ff ten.

ten. ten.

1 2

1 Trb.t. 2

Trb.b. f

Tb. f

Timp. f (synker under Torden i Jorden)

LAMP. Ø

Vl. 1

Vl. 2

jeg

luk

ker.

cresc.

fff fz

cresc.

fff fz

cresc.

fff fz

Va.

Vc.

Cb.

134

DCM 030

661 Fl.

1 2 fff fz

Picc. fff fz

Ob.

mf cantabile

1 2 fff fz a2

1 Cl. (A) 2

1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. pp

LAMP.

fff fz

dim.

Vl. 1

Vl. 2

fff fz

dim.

fff fz

dim.

Va. dim.

Vc. dim.

Cb. fff

dim.

DCM 030

135

666 Cl. (A)

1 2

Fg.

1 2

pp Timp. ppp pizz. ppp

Vl. 1

pizz. ppp pizz. ppp

Vl. 2

pizz. ppp

pizz.

Va. pp

ppp

Vc. pp Cb. pp

673 1 Fg. 2

ppp

Allegretto ff fz

Cor. (F)

1 2

Allegretto

ff fz

pizz.

arco

Vl. 1 p

pizz.

arco

Vl. 2 p pizz.

arco

Va. p

pizz.

fff fz

arco

Vc. p

pizz.

arco

Cb. p

136

DCM 030

fff fz

678 Fl.

Allegro molto agitato

1 2

f Ob.

Cl. (A)

Fg.

1 2

1 2 ff

p f

Cor. (F)

1 2 p

ff 3 Cor. (F) 4

(Aladdin kommer styrtende fortvivlet ned fra en Sidegang.) (Aladdin bærer, fastbundet ved Lænden, en Bylt.)

ALAD. In

gen hø

rer mit Raab,

in - gen rø - res af

Allegro molto agitato

div.

min Stem - me,

Vl. 1

Vl. 2 p

ff Va. fp

ff Vc.

Cb. p 686

1 Fl. 2 Ob.

1 2 p

Cl. (A)

1 2

1 Fg. 2

Cor. (F)

1 2 p

3 Cor. (F) 4

ALAD. in - gen hø - rer mit Raab,

in - gen

ter paa min

Kla

ge!

Hør

mig,

hør

mig

unis. Vl. 1

Vl. 2

Va.

f cresc.

Vc.

f cresc. Cb. f

cresc.

DCM 030

137

694 Fl.

1 2

f p

1 Ob. 2

Cl. (A)

Fg.

1 2

Cor. (F)

1 2 f

Cor. (F)

1 2

3 4

ALAD. alt

for - tabt!

Hør,

mig, hør mig fal - ske

Vl. 1 f

Vl. 2

Va. f

Vc.

Cb.

702 1 Fl. 2

Ob.

1 2 f

Cl. (A)

1 2 p

Fg.

1 2 f

ALAD. Trold,

Du skal

faa

hvad Du

for - lan - ger,

hør min

Vl. 1

Vl. 2

Va. f

Vc.

Cb.

138

DCM 030

Kla

ge,

hør

min

a2 710 1 Fl. 2

Recit.

ff fz

Picc. ff fz cresc.

1 Ob. 2 f

ff fz

a2 1 Cl. (A) 2

ff fz

cresc.

Fg.

1 2 f

Cor. (F)

ff fz

1 2

ff cresc.

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. Jam

- mer!

fri

mig

Mør - kets

Kval!

jeg straf - fes for min

Recit. Vl. 1 pp

cresc.

ff fz

cresc.

ff fz

Vl. 2

div. Va. f

ff fz

cresc.

ff fz

Vc.

Cb.

DCM 030

139

a tempo

716 Fl.

1 2

Recit.

a tempo

Recit.

a tempo

Recit.

ff fz

Picc.

a2 1 Ob. 2

ff fz a2

1 Cl. (A) 2

Fg.

ff fz a2

1 2

ff fz

Cor. (F)

1 2

ff fz

1 2

Trb.t.

1 2

3 4

Tr. (F)

ff fz

Trb.b.

Tb.

Timp.

ALAD. Brø - de,

at Gul - na - res Navn jeg næv - ned,

a tempo

Recit.

Til - gi - vel - se, ej Red - ning,

Recit.

a tempo

jor - det er jeg med mit

a tempo

Recit.

Vl. 1 ff fz

ff fz

Vl. 2 ff fz

Va. fz

ff fz

Vc. ff fz

ff fz

Cb.

140

DCM 030

722

stretto

1 Fl. 2

Andante

ff fz

Picc.

a2 Ob.

1 2

ff fz

a2 Cl. (A)

Fg.

1 2

ff fz

Cor. (F)

1 2

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

(styrter til Jorden, paa et lavt Naturleje paa højre Side i Forgrunden)

ALAD. Haab!

fri

mig

Mør

kets

Vold!

stretto

Andante

Vl. 1 ff fz

ff fz

Vl. 2 p unis. Va. p ff fz

ff fz

Vc. f

Cb.

DCM 030

141

730

rit.

1 Cl. (A) 2

p Fg.

1 2 f

1. Cor. (F)

1 2 mf

rit.

Vl. 1 p

ten.

Vl. 2 p

ten.

Va. p

ten.

Vc. pp

Cb.

a tempo 738

a tempo

accel.

(rejser sig noget overende)

(i liggende Stilling) 3

(synker atter tilbage) 3

cresc.

al min Kval og

bit - tre Nød kun Dø - den fri - er mig ud.

ALAD. Ak,

Alt

for - bi,

ve,

for - bi;

a tempo

accel.

a tempo

Vl. 1 pp Vl. 2 pp pp Va. pp

Vc.

Cb. pp 747

1 Ob. 2

p dolce Cl. (A)

1 2

1. p dolce

1 Fg. 2

mp dolce (paa Knæ paa Lejet)

cresc.

(i samme Stilling med foldede Hænder og bøjet Hoved)

ALAD. Ak

ja,

for - barm Dig, Al - lah,

tag

mig snart, o tag mig snart

Din

Favn.

Vl. 1 mp Vl. 2 mp Va. mp Vc. mp Cb. mp

142

DCM 030

(i halv siddende, halv liggende Stilling, støttende sig paa Albuerne med Haanden paa Hovedet)

755

cresc.

ALAD. Tag mit Far - vel, Min - des jeg kan,

o o

Mo Mo

der, der,

en - somt maa den - gang Du

Du mig

suk vug

ke ged’

Da blidt

gen lang, Din Favn;

og jeg ej lin - dre kan Dig da var der Fryd og sa - lig

Vl. 1 p

Vl. 2 p

Va. p

Vc.

Cb.

761

Fg.

accel.

1 Cl. (A) 2

p 1.

dolce

1 2

(forskjellige Gestus med højre Arm)

con affetto

ALAD. Nø Fred

den, Du li - der. i mit Hjer - te.

Rast Ak,

løs for

op - sø in

ger tet

Du Du

nu gav

Din mig

Søn, Alt;

men for - gæ - ves Du kun med U - tak jeg

accel. Vl. 1

Vl. 2

Va.

Vc.

Cb. pp

rit.

765 Cl. (A)

a tempo

1 2 f 3

p f

ALAD. træt - ter Din Fod, ak In - tet, ej Bøn - ner, ej Taa - rer mig kal - der til - ba løn - ned’ Din Kær - lig - hed, og kun daa - ren - de Læng - sler op - fyld - te mit Hjer

rit.

ge. te.

In - tet Haab, Brø - de - fuld,

Sorg og Død, an - ger - fuld,

a tempo

Vl. 1

Vl. 2

Va.

Vc. mp

tenuto

Cb.

DCM 030

143

rall.

769

1 Cl. (A) 2 1. Fg.

1 2 pp mp

dolce

(synker ned og slumrer ind)

ALAD. ak, in - tet Haab, kun Sorg og Død! ak, in - tet Haab, kun Sorg og Død!

rall.

Vl. 1 mp

smorzando

Vl. 2 mp Va.

Vc.

Cb.

No. 8 BALLET Allegretto con grazia

hun opdager Aladdin og vinker en anden Alf til, som kommer løbende.

En Bjergalf kommer tilsyne,

1. 775

Fl.

1 2

dolce

De vove sig hen til ham, og idet de overraskes af hans Skønhed fatte de Godhed for ham og beslutte at vaage ved hans Leje.

accel. molto vivo 785 Fl.

ad libitum

1 2

793 Fl.

accel.

rallentando

accel.

rallentando

De plukke hver en Palmegren hvormed de sagte vifter ham.

1 2 senza sord.

Va.

dolce con sord.

802

Va.

poco rall.

810 pp

Va.

144

DCM 030

De ville lege, men de to første Alfer søge at forhindre dem deri af Frygt for, at de skulle vække Aladdin.

I Baggrunden ses en tredje Alf komme løbende, efterfulgt af en fjerde. 818

p dolce

Vl. 1

p dolce

Va.

senza sord.

p Vc. p dolce

826

Vl. 1

Va.

Vc.

De fører dem hen til Lejet. Et Øjeblik studse de to sidste Alfer ved Synet af ham, men straks derpaa fortsættes Legen med nogle flere Alfer, som netop i samme Øjeblik kommer frem.

a tempo

834 1 Fl. 2

Cl. (A)

p 1.

1 2

1. Fg.

1 2

mf dolce cantabile

Timp. p

a tempo Vl. 1

cresc.

Vl. 2 mf

Va.

cresc.

mf solo

solo

Vc.

mf cantabile gli altri

mf Cb. mf

DCM 030

145

De to første Alfer holde sig stadig ved Lejet, for at værne om Aladdin under den stadig tiltagende vilde Leg og Dans af Alfer og Gnomer, som efterhaanden fylder Scenen.

842 Fl.

Ob.

1 2

Fg.

cresc.

mf dolce cantabile

1 2

cresc.

1. Cl. (A)

cresc.

1 2 mp

Cor. (F)

1 2

Cor. (F)

3 4

cresc.

Timp.

p molto leggiero cresc. Vl. 1 pizz.

cresc.

Vl. 2 cresc.

Va. 3

div. pizz.

cresc.

arco

cresc. Vc.

cresc.

pizz. Cb. cresc.

146

DCM 030

848 Fl.

1 2

cresc.

Ob.

1 2

cresc. cresc. a2 Cl. (A)

1 2 cresc.

Fg.

1 2

cresc.

Cor. (F)

1 2 mf

Cor. (F)

cresc.

3 4

Timp.

cresc.

Vl. 1 arco

cresc.

Vl. 2 cresc.

cresc.

Va. 3

cresc.

Vc.

cresc.

arco Cb. cresc.

DCM 030

147

853 Fl.

1 2

cresc.

staccato

a2 Ob.

Cl. (A)

1 2 f

cresc.

1 2

a2 Fg.

1 2 f

Cor. (F)

cresc.

1 2 cresc.

Cor. (F)

3 4

Timp.

arco

pizz

arco

cresc.

staccato

Vl. 1

staccato

Vl. 2 f

cresc.

Va. 3

cresc.

f Vc.

cresc.

Cb. cresc.

148

DCM 030

858 Fl.

1 2

cresc.

a2 Ob.

1 2 cresc. a2

1 Cl. (A) 2 cresc.

Fg.

1 2 cresc.

Cor. (F)

1 2 cresc.

Cor. (F)

3 4 cresc.

Timp.

cresc.

Vl. 1 3

cresc.

Vl. 2 cresc.

Va. 3

cresc.

cresc. Vc.

cresc.

Cb. cresc.

DCM 030

149

862

1 Fl. 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Timp.

Vl. 1

div.

unis.

Vl. 2

Va.

Vc.

Cb.

150

DCM 030

866 Fl.

1 2 ff cresc.

Ob.

1 2 ff cresc.

a2 1 Cl. (A) 2 ff cresc.

Fg.

1 2 ff

cresc.

Cor. (F)

1 2

cresc.

ff Cor. (F)

cresc.

3 4

Timp. f

cresc.

Vl. 1

div. Vl. 2 ff

cresc.

Va.

ff cresc. Vc.

cresc.

Cb.

DCM 030

151

Ildfluer 870 Fl.

Ob.

1 2

cresc.

1 2 ff

1 Cl. (A) 2

Fg.

cresc.

1 2 ff

Cor. (F)

cresc.

1 2 ff

Cor. (F)

cresc.

3 4

cresc.

ff Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp. cresc. Koristerne indtager én efter én deres Pladser.

Vl. 1

cresc.

Vl. 2 cresc. ff div. Va. ff

cresc.

Cb.

152

3 3

Vc.

DCM 030

a2 874 Fl.

1 2

3 3

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

mf Trb.t.

3 3

cresc.

1 2

Trb.b.

Tb.

Timp.

Vl. 1

unis. Vl. 2

Va.

Vc.

Cb.

DCM 030

153

878 Fl.

Ob.

Cl. (A)

1 2

fff

1 2

fff a2 fff

Fg.

1 2 fff a2

1 Cor. (F) 2

Cor. (F)

Tr. (F)

3 4

fff

1 2 fff

Trb.t.

1 2

fff

Trb.b. fff Tb. fff

Timp. fff

Vl. 1

fff fz

fff fz unis.

fff fz

Vl. 2

Va.

Vc.

fff

fff fz

Cb.

154

DCM 030

No. 9 Allegro con fuoco 884 1 Fl. 2

Picc. ff

Ob.

Cl. (A)

Fg.

Cor. (F)

1 2

f a2

1 2

1 2 f

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. f

Kor (synligt)

S. Hej - o!

Hej - o! f A. Hej - o!

Hej - o!

f T. Hej - o!

Hej - o!

f B. Hej - o!

Hej - o!

Allegro con fuoco Vl. 1 f Vl. 2 f Va. f Vc. f Cb. f

DCM 030

155

890 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

f 1 Trb.t. 2

Trb.b.

Tb.

Timp.

S. Hej - o!

Hej - o!

Kom!

Til Dans!

Hej - o!

Kom!

Til Dans!

Hej - o!

T. Kom!

Hej - o!

B. Kom!

Vl. 1

Vl. 2

Va.

Vc.

Cb.

156

DCM 030

Hej - o!

896 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

3 Cor. (F) 4

f 1 Tr. (F) 2 f Trb.t.

1 2

Trb.b. f Tb. f

Timp. f

S. Nu er Fjeld- dø - ren

lukt!

Her

i vor Hal

svin - ge vi om!

Her

i vor Hal

svin - ge vi om!

A. Nu er Fjeld - dø - ren

lukt!

T. Nu er Fjeld-dø - ren

lukt, u - for - styr - ret vi

svin - ge om - kring,

svin - ge vi om,

Nu er Fjeld-dø - ren

lukt, u - for - styr - ret vi

svin - ge om - kring,

svin - ge vi om,

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

157

a2 902 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

S. Hej - o!

Hej - o!

ly - stig om - kring!

Hej - o!

ly - stig om - kring!

Hej - o!

ly - stig om - kring!

Hej - o!

ly - stig om - kring!

Hej - o!

A. Hej

Vl. 1

Vl. 2

Va.

Vc.

Cb.

158

DCM 030

908 Fl.

1 2 p

cresc.

Picc.

Ob.

1 2 fz

Cl. (A)

Fg.

1 2

Cor. (F)

Trb.t.

cresc.

3 4 fz

Tr. (F)

cresc.

1 2 fz

Cor. (F)

1 2

Trb.b.

Tb.

Timp.

S. Her!

her!

Her!

her!

ner

om - slyn

ger

den

Her!

her!

Her!

her!

ner

om - slyn

ger

den

T. Her!

her!

Her!

her!

Her!

ner

om - slyn

ger

den

Her!

her!

Her!

her!

Her!

ner

om - slyn

ger

den

p fz

cresc.

Vl. 1

Vl. 2 fz

p cresc.

Va. p

cresc.

Vc.

Cb. p

DCM 030

cresc.

159

914 Fl.

1 2

Picc. ff

Ob.

Cl. (A)

Fg.

1 2

1 2 ff a2

1 Cor. (F) 2

ff a2

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b. ff Tb. ff

Timp. ff ff S. hvirv - len - de

Ska - re, den

hvirv - len - de

Ska - re

bro

get

Glans,

bro

ff A. hvirv - len - de

Ska - re, den

hvirv - len - de

Ska - re

bro

get

Glans,

bro

get

Glans,

bro

get

Glans,

bro

ff T. hvirv

len

Ska

bro ff

B. hvirv - len - de

Ska - re, den

hvirv - len - de

Ska - re

bro

Vl. 1 fz

Vl. 2 ff

Va. ff Vc. ff

Cb. ff

160

DCM 030

Stadig vildere og vildere Dands. a2

921 Fl.

1 2

cresc.

Picc. ff

a2 Ob.

1 2 mf

Cl. (A)

cresc.

1 2 a2

cresc.

1 Fg. 2

a2 Cor. (F)

1 2

3 Cor. (F) 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

S. get

Glans.

get

Glans.

get

Glans.

Se,

hist

fra

ven træn - ger sig

frem

gens

se blæn - den - de

get

Glans.

Se,

hist

fra

ven træn - ger sig

frem

gens

se blæn - den - de

Vl. 1 mf

cresc.

Vl. 2

Va. mf

cresc.

Vc.

Cb. fz

cresc.

DCM 030

161

928 Fl.

1 2

Picc. ff a2 Ob.

Cl. (A)

1 2

f a2 f

Fg.

1 2

a2 f a2

Cor. (F)

1 2

a2 3 Cor. (F) 4

Tr. (F)

f 1 2 f 1 Trb.t. 2 f Trb.b. f Tb. f

Timp. f

S. Se,

hist

Alf

fra Drøm - me - nes Land

ømt

kær - ligt ham vin - ker til - ba

Se,

hist

Alf

fra Drøm - me - nes Land

ømt

kær - ligt ham vin - ker til - ba

Skær,

se,

Alf

fra Drøm - me - nes Land

ømt

kær - ligt ham vin - ker til - ba

ge,

Skær,

se,

Alf

fra Drøm - me - nes Land

ømt

kær - ligt ham vin - ker til - ba

ge,

Vl. 1 f Vl. 2 f Va. f Vc. f Cb. f

162

DCM 030

(En urolig Bevægelse af Aladdin foranlediger at Alle, undtagen Aladdin, forsvinder.)

934 Fl.

1 2

Picc. a2 Ob.

1 2 fz

Cl. (A)

1 2

fz p

a2 1 Fg. 2 fz

a2 Cor. (F)

Cor. (F)

1 2

3 4

a2 fz

1 Tr. (F) 2 fz Trb.t.

1 2

Trb.b. fz Tb. fz Timp. fz

S. gy

der

Trøst

hans

Bryst.

A. Trøst

det sorg

be - tyn - ge - de

Bryst.

T. Trøst

hans

Bryst.

B. Trøst

det sorg

be - tyn - ge - de

Bryst.

Vl. 1 fz

Vl. 2 fz Va. fz Vc. fz Cb. fz

DCM 030

163

941 Fg.

ppp

No. 10 Recit.

rit.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

(vaagner og ser sig forfærdet omkring)

ALAD. For - svun - det!

rit.

ak,

i - gen for - svun - det!

Ved Kil - dens Ris - len har jeg so - vet!

det var kun en

Recit.

Vl. 1 p Vl. 2 p Va. p Vc. p

pp pizz. Cb. p

947 1 Cl. (A) 2 p Fg.

1 2 f (rejser sig)

p 6

ALAD. Drøm, den svandt som al - le an - dre!

Kun Hu - lens Ræd - sler er end - nu til - ba - ge, fra Haa - bets Him - mel styr - ted’ jeg

Vl. 1

Vl. 2

Va.

Vc. arco Cb. p

164

DCM 030

Dø - den!

lah vær mig

Andante sostenuto

952 Fl.

1 2 f

Picc. f Ob.

1 2 f

Cl. (A)

1 2 f

Fg.

1 2 f p

Cor. (F)

1 2 f

Cor. (F)

3 4 f 2.

Trb.t.

1 2

Trb.b. f Tb.

Timp. f

Arpa

Ved Ordet ”naadig” styrter Aladdin med opløftede Arme plat til Jorden, hvorved han kommer til at støde Ringen mod Klippegulvet. Scenen oplyses lidt efter lidt. Ved Lyden af Aandekoret rejser Aladdin sig op og ser med Forundring paa den tiltagende Lysning.

ALAD. naa - dig!

O Al

lah vær mig naa - dig!

Kor (usynligt)

S. Kom mf

mer hid

med

sets

Kom mf

mer hid

med

sets

Kom mf

mer hid

med

sets

Kom

mer hid

med

sets

Andante sostenuto

div.

Vl. 1 f

div.

Vl. 2

div. Va. f

p div.

Vc. p

Cb.

DCM 030

165

955 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2 p

Cor. (F)

1 2

Cor. (F)

3 4 p

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Arpa

S. Pragt!

Kom

mer hid

med

sets

Pragt!

Kom

mer hid

med

sets

Pragt!

Kom

mer hid

med

sets

Pragt!

Kom

mer hid

med

sets

Vl. 1

Vl. 2

Va.

Vc. p Cb. p

166

DCM 030

957 Fl.

Ob.

Cl. (A)

1 2

1 2 1 2

cresc.

mf Fg.

1 2 mf

Cor. (F)

Tr. (F)

Trb.t.

1 2 3 4

cresc.

1 2

Trb.b. p

cresc.

Tb.

Timp. cresc.

Arpa

(Ringens Aand (en høj hvid Kvindeskikkelse paa høje hvide Vinger) lader sig tilsyne paa en hvid lysende Sky.) (Skyen, som kommer fra højre Side, standser midtvejs paa Scenen.)

RING.

S. Pragt! A. Pragt! T. Pragt! B. Pragt! unis. Vl. 1 p unis.

cresc.

Vl. 2 p

cresc.

Va. cresc. p unis. Vc. p

cresc.

Cb.

DCM 030

167

Moderato

958 1 Fl. 2

Ob.

Cl. (A)

Fg.

1 2 1 2

1 2 mf

ff Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b. ff Tb.

Timp. f

Arpa

RING. Stands Din

Kla - ge!

Du by - der

Moderato Vl. 1 ff Vl. 2 ff Va. ff Vc. ff Cb. ff

168

DCM 030

o - ver Rin - gens Aand,

ved

Rin - gen paa Din e

gen Haand.

963 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2 p

Cor. (F)

1 2 p

3 Cor. (F) 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Arpa

RING. Sig mig, hvor - hen?

og straks

jeg

fø - rer Dig did

paa

mi - ne

let - te

Vin - ger.

S. Ved A. Ved T. Ved

B. Ved

Vl. 1 pp Vl. 2 pp

Va. pp pizz.

arco

Vc. p pizz.

arco

Cb. p

DCM 030

169

967 Fl.

Andante sostenuto

1 2

p p

Ob.

Cl. (A)

Fg.

1 2

1 2 p

Cor. (F)

1 2

3 4 p

Timp.

Arpa

S. Rin

gen paa

Din

e - gen

Haand!

Ved

Rin

gen paa

Din

e - gen

Rin

gen paa

Din

e - gen

Haand!

Ved

Rin

gen paa

Din

e - gen

Rin

gen paa

Din

e - gen

Haand!

Ved

Rin

gen paa

Din

e - gen

Rin

gen paa

Din

e - gen

Haand!

Ved

Rin

gen paa

Din

e - gen

Andante sostenuto Vl. 1

unis. Vl. 2

Va.

div. Vc.

Cb.

170

DCM 030

970 Fl.

Ob.

Cl. (A)

Fg.

Cor. (F)

1 2 cresc.

cresc.

1 2

3 4 cresc.

Timp. p

cresc.

Arpa

ALAD. Al-

S. Haand!

A. Haand!

T. Haand!

B. Haand!

unis. Vl. 1 p

cresc.

Vl. 2

Va.

unis. Vc.

Cb.

DCM 030

171

971

Allegro non troppo

ALAD. mæg - ti - ge!

for - maa’r,

bring mig hjem

til

pa - han!

Allegro non troppo

Alt

mit

Guld

vil

unis.

Vl. 1 f Vl. 2 f unis. Va. f Vc. f Cb. f

rit.

975 1 Fl. 2

Ob.

Cl. (A)

Fg.

mf 1.

1 2

1 2 mf

ALAD. skæn - ke

for

Glimt

- lens

Lu -

Før

mig

bort

rit. Vl. 1

Vl. 2

Va.

Vc.

Cb.

172

DCM 030

her - fra!

jeg

Dig

979 1 Fl. 2

Ob.

1 2

Cl. (A)

1 2

Moderato p

p p Fg.

1 2 p

Cor. (F)

1 2 p

Cor. (F)

3 4

Arpa

RING. Ræk

mig, Her - re, blot Din Haand,

o - ver Rin - gens Aand be - fa - ler Du!

Næp - pe har Du Or - det

talt,

før

Dit

Øn - ske er

ALAD.

Moderato div. Vl. 1 pp

div. Vl. 2 pp div. Va. pp

Vc. pp

Cb. ppp

DCM 030

173

fuld-

986 Fl.

Ob.

Cl. (A)

1 2

1 2 1 2

cresc.

1 Fg. 2 pp

Cor. (F)

1 2

cresc.

3 4 pp cresc.

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Arpa

RING. bragt!

ALAD.

S. Dit

A. Dit

T. Dit

B. Dit

Vl. 1 pp

cresc.

Vl. 2 pp

cresc.

Va. pp

cresc.

Vc.

Cb.

174

DCM 030

Andante sostenuto 988 Fl.

1 2

1 Ob. 2

Cl. (A)

1 2 mf

1 Fg. 2 mf Cor. (F)

1 2 mf

Cor. (F)

3 4 mf

1 Tr. (F) 2 mf

mf Trb.t.

1 2

Trb.b. mf Tb. mf

Timp. mf

Arpa

(Aladdin nærmer sig Ringens Aand noget ængstelig.)

ALAD.

S. Øn

ske

er fuld - bragt

ved

Rin

gens

Øn

ske

er fuld - bragt

ved

Rin

gens

Øn

ske

er fuld - bragt

ved

Rin

gens

Øn

ske

er fuld - bragt

ved

Rin

gens

Andante sostenuto Vl. 1 mf

Vl. 2 mf Va. mf div.

div.

unis.

Vc. mf Cb. mf

DCM 030

175

TÆPPET FALDER 991 1 Fl. 2 cresc.

Ob.

1 2 cresc.

Cl. (A)

Fg.

1 2

cresc.

1 2 cresc.

Cor. (F)

1 2 cresc.

Cor. (F)

Tr. (F)

Trb.t.

3 4

cresc.

1 2

cresc.

1 2

cresc.

Trb.b. cresc. Tb. cresc.

Timp. cresc.

Arpa

cresc.

(Aladdin træder op paa Skyen, som drager hurtig bort tilvenstre.)

(ude af Scenen)

ALAD.

S. Magt. A. Magt. T. Magt. B. Magt. unis. Vl. 1 molto cresc. unis. Vl. 2 div.

molto cresc.

Va.

unis.

molto cresc.

Vc. molto cresc. Cb. molto cresc.

176

DCM 030

992 Fl.

Ob.

Cl. (A)

Fg.

1 2

1 2 f

Cor. (F)

1 2

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f Tb. f Timp. f

Arpa

div. unis. Vl. 1 f

div.

fz unis.

Vl. 2 f

ff unis.

Va. fz

Vc.

Cb.

DCM 030

177

ANDEN AKT No. 11 Allegretto 1.

Flauto

1 2

Flauto piccolo Oboe

1 2

Clarinetto (A)

1 2

Fagotto

cantabile

1 2 p

Corno (F)

1 2 p

3 Corno (F) 4 Tromba (F)

1 2

Trombone tenore

1 2

Trombone basso Tuba

Timpani

Triangolo Mezzaluna turca Macchina del tuono Piatti Gran cassa Tamburo piccolo

Arpa

CORO

Soprano

Alto

Tenore

Basso

Allegretto Violino 1 p espressivo

Violino 2 p

Viola p

p espressivo

Violoncello

p Contrabbasso p

DCM 030

179

poco accel. a2

7 Fl.

1 2 p

cresc.

ff 1. 1 Ob. 2

1 Cl. (A) 2

cresc.

1. p

cresc. ff

mf cresc.

Fg.

1 2 cresc.

Cor. (F)

1 2

cresc.

3 4 p

cresc.

Timp. pp

cresc.

ff fz

poco accel. Vl. 1 cresc.

cresc.

Vl. 2

Va.

cresc.

Vc.

Cb. cresc.

180

DCM 030

sostenuto

a tempo

rall.

1 Fl. 2 p Ob.

Cl. (A)

pp 1.

cresc.

1 2

p Fg.

1 2 p

cresc.

1 Cor. (F) 2

p p

3 Cor. (F) 4 p

cresc.

Timp. f

a tempo

pizz.

sostenuto

arco

rall.

Vl. 1 p

cresc. arco

pizz.

cresc. arco

p pizz.

cresc. arco

p pizz.

cresc.

ppp

arco f

ppp

pizz. Vl. 2 p

ppp

Va.

Vc.

cresc.

Cb. p 22

Allegretto con moto

1 Ob. 2

Cor. (F)

cresc. 1.

1 2

3 Cor. (F) 4

pp Timp. pp

Allegretto con moto sul G Vl. 1 mf cantabile

cresc.

dim.

Vl. 2

p mfp

cresc.

mfp

cresc.

mfp

cresc.

mfp

cresc.

dim.

Va.

Vc.

dim.

Cb.

DCM 030

181

33 Fl.

1 2

1 Ob. 2

Cl. (A)

Allegro vivace fz

1 2 pp

1 Fg. 2 Cor. (F)

1 2 fz

3 Cor. (F) 4

Allegro vivace

div. pizz.

arco

pizz.

Vl. 1 p div. pizz.

unis. arco

Vl. 2 p Va. p pizz. Vc. p pizz.

pizz.

Cb. p

TÆPPRT GAAR OP Scenen fremstiller Morgianes lille fattige Stue. Morgiane sidder sovende ved Rokken nærmest tilvenstre. Det er Nat, en svagt brændende Lampe staar paa Bordet. Dør tilhøjre, Vindue tilvenstre. En Stol paa højre Side i Forgrunden. [se: Appendiks, ill. II.1]

41 1 Fl. 2 Ob.

Lento

1 2 1. solo

1 Cl. (A) 2 Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

espressivo

p 3.

Timp. p

(Morgiane vaagner og sætter Rokken i Gang.)

MORG. unis. arco

Lento

Vl. 1 f fz

f fz

f fz arco

f fz

f fz arco

f fz

Vl. 2

Va. ff

Vc.

Cb.

182

DCM 030

Andantino con moto

Fl. 1 p Fl. 2 p 1 Ob. 2 Cl. (A)

1 2

2. pp

1 Fg. 2 pp

1 Cor. (F) 2 3 Cor. (F) 4

pp MORG. Hju

let gaar

saa trangt

naar Taa - ren

rin

Andantino con moto

der

Vl. 1 p Vl. 2 p Va. p

Vc.

p Cb. p

61 1 Fl. 2

rit.

1 Ob. 2 Cl. (A)

1 2

Fg.

1 2

2. pp

Cor. (F)

1 2

Cor. (F)

3 4

MORG. træt

min

Fod

og træt

mit

Øj

Sjæ

len læn

ges

ak!

ef - ter

Søv

nens

rit. Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

183

a tempo

1 Fl. 2 Ob.

Cl. (A)

1 2

1 2 pp

1 Fg. 2 pp

Cor. (F)

1 2

MORG. Fred.

Rast

løs maa min

Fod

dog Hju - let

træ

a tempo

de,

Vl. 1 pp Vl. 2 pp Va. pp

Vc.

Cb. pp

73 1 Fl. 2 pp Ob.

1 2 dim. cresc.

Cl. (A)

1 2

Fg.

Cor. (F)

dim.

1 2

pp 2.

1. pp pp

cresc. MORG. al

drig

mit

Øj

hvi

ler,

tid

Be - kym - ring ja

ger

Sjæ

Vl. 1 cresc.

dim.

Vl. 2 cresc. Va. cresc.

Vc.

cresc.

pizz.

dim.

Cb. cresc.

184

DCM 030

len

Dag

79 Fl.

1 2

1 Ob. 2

Cl. (A)

Fg.

p 1.

1 2

cresc.

1 2

MORG. Nat.

tungt

ven

paa

Vl. 1 cresc. Vl. 2 cresc. Va. cresc.

solo

Vc.

cresc.

arco

pizz.

cresc. Cb. cresc. 85 Fl.

1 2

1 Ob. 2

Cl. (A)

1 2

Dagen begynder at gry. Langsomt tiltagende Dagslys – til fuldt Lys Takt 163.

p 1.

pp 1.

dim.

Fg.

1 2

ppp

ppp pp

Cor. (F)

1 2 pp

3 Cor. (F) 4

4. ppp

MORG. den

man el - sker

i Haab

Frygt

og ban

Tvivl,

men

Vl. 1 pp dim.

div.

Vl. 2 dim.

pp div.

Va. dim.

Vc.

dim.

arco

pizz.

Cb. dim.

DCM 030

185

pp 91 Fl.

1 2

1 Ob. 2 Cl. (A)

1 2

Fg.

1 2

1 Cor. (F) 2

MORG. ti

fold

Jam

mer,

fold

Jam

mer

naar

Vl. 1

Vl. 2

Va.

Vc.

Cb.

96 1 Fl. 2 Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

(Hun standser Rokken.)

MORG. hjer

tet

maa kval - fuldt

æng - stes for

sit Barn,

maa kval - fuldt

æng - stes for

Vl. 1 unis. Vl. 2

unis. Va.

Vc.

arco

arco Cb.

186

DCM 030

sit Barn.

der -

No. 12 104

Moderato quasi recit.

1 Fl. 2

1 Ob. 2 Cl. (A)

1 2 pp fz pp

Fg.

1 2 pp

Cor. (F)

1 2

Cor. (F)

3 4 (rejser sig)

(aabner Vinduet)

MORG. Jeg hø - rer alt den mun - tre Fug- le - hær,

hvis gla - de To-ner sol - klar Dag be - bu- der,

det da - ges u - de,

Al - lah, ak, her - in - de

vil Nat - tens mør - ke Skyg - ger ik-ke

Moderato quasi recit. Vl. 1 fz pp Vl. 2 fz pp Va. fz pp Vc. fz pp Cb. fz

Recit.

108 1 Fl. 2

Ob.

Cl. (A)

1 2

1 2 f

Fg.

1 2 f

Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

(stille, tildels ligegyldig)

MORG. svin-de.

div.

Hvad ser jeg hist i So - lens Mor - gen - skær? En Yng-ling slum - rer paa vor Sul - tans Trap - pe,

Recit.

og So - lens Straa - ler som en gyl - den Krans

unis.

Vl. 1 p f Vl. 2 f

Va. f

Vc. f

Cb.

DCM 030

187

har

Moderato Recit.

112 1 Fl. 2

Ob.

Cl. (A)

Fg.

1 2

1 2 1.

1 Cor. (F) 2

f Cor. (F)

3 4 3

MORG. lagt sig om hans Pan - de

og hans Kjor - tel er pur - pur - far - vet.

Hvil - ket dej - ligt Syn!

Nu svin - der Mor - gen - rø - den, den kol - de Nat har ble - get hans Kin - der.

Moderato Recit. div.

Vl. 1 f

Vl. 2 p

Va. p

Vc. p

Cb. p

117 Fl.

Ob.

Cl. (A)

1 2

Moderato p

Recit.

1 2

1. 1 Fg. 2 p Cor. (F)

1 2 f

3 Cor. (F) 4 (stadig ligegyldig)

(Først nu kjender hun ham – vinker, og raaber ud til ham.)

(stadig ligegyldig)

MORG. Han vaag - ner

Moderato

div.

som væk - ket af en Drøm,

mens Øj - et ba - des i en Taa - re - flod; han ser her - hen

Recit.

Vl. 1 p

div.

Vl. 2

Va.

Vc.

Cb.

188

DCM 030

han nær - mer sig

A - lad - din!

122

Andante

Recit.

1 Fl. 2 pp

1. Ob.

1 2

f 1.

1 Cl. (A) 2

Fg.

1. pp

1 2 f

Cor. (F)

1 2

Cor. (F)

3 4

3. pp (gaar atter tilbage til Stolen og sætter sig)

MORG. Hvad tyn - ger saa dybt

i Li - vets Som - mer

min Søn, min Søn, dit gla -

de Hjer- te?

(En Bylt med Ædelstene fra Hulen lægger han fra sig paa Stolen.)

ALAD. God Mor - gen, min elsk - te Mo - der!

Andante

Recit.

unis. Vl. 1

unis. Vl. 2 f div.

pp unis.

Va. pp

Vc. f

Cb.

a tempo 1.

128 1 Fl. 2

dolce

1 Ob. 2 Cl. (A)

1 2

p dolce 1 Fg. 2 Cor. (F)

1 2

Cor. (F)

3 4 (knæler ned ved Moderens Side og tager hendes Haand)

ALAD. jeg har

saa vidst for - voldt Dig

Smer - te,

kan

til - gi

ve?

Let -

a tempo Vl. 1 f

p dolce

Vl. 2 p

Va. p Vc. p Cb. p

DCM 030

189

a2 133 Fl.

1 2

a2 Ob.

1 2

a2 Cl. (A)

1 2

a2 Fg.

1 2

a2 Cor. (F)

Cor. (F)

1 2

3 4 f

MORG. Jeg

ALAD. sin - digt

jeg glem - te,

hvad bit - tert

jeg ang - rer,

har mig kæ - rest

dog.

Vl. 1 p

Vl. 2 f

Va. f

Vc. f

Cb. f

190

DCM 030

til - gi - ve,

jeg

til - gi - ve?

ak, kun - de

139 Fl.

1 2 pp

Ob.

1 2

2. pp

pp 1 Cl. (A) 2 pp

pp Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 pp

MORG. jeg Din Smer

lin - dre.

Jeg ser Dig med Taa - rer paa Kind,

med dy

Suk - ke,

Dit Lej - e Du sø - ger ej mer,

naar Nat - ten

ALAD.

Vl. 1 fz

Vl. 2 pp

Va. pp

pizz. Vc. fz

pizz. Cb. pp

DCM 030

191

poco accel.

a tempo

Fl.

Ob.

1 2

poco accel.

144

2. f

Cl. (A)

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

MORG. kom - mer.

O sig, hvi Du van - drer saa mørk

i maal - løs Kvi - de?

Hvor - for er Dit livs - gla - de Sind med et

for - svun- det,

Dit livs - gla - de

ALAD.

poco accel.

non div.

a tempo

poco accel.

Vl. 1 p

cresc.

unis.

div. Vl. 2

cresc.

div.

unis.

Va. p

ff p

cresc.

div. arco unis. Vc. p

ff p

cresc.

arco Cb. p

192

cresc.

DCM 030

149 1 Fl. 2

Ob.

Cl. (A)

Fg.

1 2

a tempo a2

1. p

a2 p

1 2 p

Cor. (F)

1 2

Cor. (F)

3 4

3. p

MORG. Sind

med et

for - svun - det.

ALAD. Du kæ - re Mo

der!

Du skal

ej græ

de,

den stør - ste Sorg

kan ven - de sig til

a tempo Vl. 1 p

Vl. 2

Va.

Vc. p

pizz.

arco

Cb. p

DCM 030

193

154 Fl.

1 2 pp

1. Ob.

Cl. (A)

1 2

1 2 mf

Fg.

1 2 pp

Cor. (F)

1 2

Cor. (F)

3 4

MORG. Ak!

jeg

dog kun

de hjæl

pe?

Ak, slaa

Dig til Taals

i Dit

(rejser sig)

ALAD. Glæ

de.

Snart

mit

Ord

san

vil.

Vl. 1 f

Vl. 2 mf

Va. f

Vc. mf

Cb.

157 MORG. Hjem

og hos Din Mo - der, lad fa - re den stær - ke Be - gær, de sto - re Drøm - me; Du glem - mer at

Lyk - ken kan bo

ALAD.

Vl. 1 p

Vl. 2

Va.

Vc.

Cb.

194

DCM 030

fat - tig Hyt - te, Din Mo - der Du

160 1 Fl. 2

Fuldt Lys

Recit.

Adagio

rit.

Recit.

a2 Ob.

Cl. (A)

1 2

1 2 f

Fg.

1 2 f

Cor. (F)

1 2 f

Cor. (F)

3 4 f

MORG. tro,

bliv helst ved Jor- den.

Hvad me-ner Du?

dolce

ALAD. Der staar en Stjer - ne

Recit.

jeg kan ej for den fæng- sler mi - ne Blik- ke, den fæng-sler mi - ne Blik- ke!

o- ver So- li-mans Slot,

Adagio

rit.

Recit.

div. Vl. 1 f

div. Vl. 2 f mf

pp p

Va. p

Vc. f

Cb. p

DCM 030

195

165

Molto allegro

1 Fl. 2

f fz

a2 1 Ob. 2

f fz

p a2

1 Cl. (A) 2

Fg.

ff fz

f fz

1 2 pp f fz

Cor. (F)

1 2 ff fz

Cor. (F)

f fz

3 4 f fz

f fz

ALAD. En En - gel hvid og skær,

mit

Øj

saa

skovs

Ild

div.

Molto allegro unis.

unis.

Vl. 1 ff fz

f fz

div.

unis.

Vl. 2 ff fz

f fz

ff fz

f fz

ff fz

f fz

ff fz

f fz

Va.

Vc.

Cb. pp

196

DCM 030

mit

174 Fl.

1 2 1.

1 Ob. 2

Cl. (A)

Fg.

1 2 2.

1 2

fz ff

ALAD. Hjer

bor,

Haa - bets

Stem

me ta - ler

mit Bryst,

Haa - bets

Stem

Vl. 1 pp Vl. 2 pp

Va. mf

fz ff

Vc. pp

Cb. pp

182 Fl.

Ob.

Cl. (A)

Fg.

1 2

p 1.

1 2

1 2 mf

ALAD. - me ta - ler

mit Bryst,

hun

skal

en Gang

vor

de min!

Vl. 1 pp

cresc.

dim.

cresc.

dim.

cresc.

Vl. 2

Va. cresc. Vc.

Cb.

DCM 030

197

190 Fl.

1 2

Cl. (A)

1 2

Fg.

1 2

1 Ob. 2

1 Cor. (F) 2 Cor. (F)

3 4

ALAD. Hver Dag

jeg

hist

bag Søj - len stod

og ven - ted skæl - ven - de

Frygt og

Læng

sel,

for

Vl. 1 p Vl. 2 p Va. p

Vc. pizz. Cb. p

199 1 Fl. 2 p

cresc.

1 Ob. 2 Cl. (A)

1 2 cresc. pp

Fg.

1 2 cresc.

pp Cor. (F)

1 2

3 Cor. (F) 4 p ALAD. u - be - mærkt,

naar hun

fra

det

kom med si - ne

Ter - ner,

flyg - tigt

Øj

e - blik

Vl. 1 pp

cresc.

Vl. 2 cresc.

pp Va.

cresc.

div. unis. Vc.

pp arco

cresc.

Cb.

198

DCM 030

poco meno mosso

207 Fl.

1 2

1 Ob. 2

Cl. (A)

Fg.

Cor. (F)

ff fz

1 2

ff fz

1. pp

1 2

3 4

ALAD. præ

hen

des

Bil

led

i min

Sjæl; nu Dag

og Nat

det

svæ - ver

for

mit

Øj

poco meno mosso Vl. 1 fz

Vl. 2 ff

fpp

Va.

Vc. ff

Cb. ff

215 Fl.

a tempo

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Recit.

1. pp

MORG. Og der - for tror Du at hun el - sker Dig?

En for - nem Da - me, som fra Ba - det føl - ges hjem af

ALAD. ja,

jeg

ser

det Dag

og Nat.

a tempo

Recit.

Vl. 1 pp Vl. 2 pp Va. pp Vc. pp pizz.

arco

Cb. pp

DCM 030

199

Andantino

225

Allegro con moto, rall. quasi recit.

Recit.

1 Fl. 2 Ob.

Cl. (A)

Recit.

1 2

p cresc.

1 2

mf 1. Fg.

Cor. (F)

1 2

p 1.

1 2

Timp. p MORG. Ter - ner, og Du,

en fat - tig Knøs!

ALAD. Hør vi - de - re, og Du skal snart faa se, det er ej no - gen Drøm, ej Hjer - ne - spind!

Andantino div.

Recit.

En Dag

Allegro con moto, rall. quasi recit.

unis.

Recit.

Vl. 1 pp

p Vl. 2 p

Va. p

cresc.

Vc. pp

Cb. p

232 Fg.

mosso

accel.

Tempo I

1 2

1. p

rall

a tempo

ALAD. da hun fra Ba - det hjem - ad gik

mosso

og tæt for - bi

mit Skjul hun søg - te hen,

accel.

just

i det sam - me Øj - e - blik jeg saa,

jeg saa hun løf - tet Slø - ret

Tempo I

rall

Vl. 1 p

Vl. 2 p

Va.

Vc. p

Cb.

200

DCM 030

og et

a tempo

240 Fl.

1 2

rall.

Recit.

Andante

p dolce 1.

Ob.

Cl. (A)

1 2

p dolce

1 2 p dolce

1 Fg. 2

MORG. Der - i jeg ej det mind - ste

ser

som kan Din Tro be - styr - ke.

Hun

ALAD. Blik,

Blik

saa

ømt

hun

send - te mig.

rall.

Recit.

Andante

Vl. 1 f p dolce Vl. 2 f

p dolce

Va. f

p dolce

Vc.

Cb.

Recit.

244 1 Fl. 2 Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

MORG. løf - ted’ vel sit Slør kun for at sva- le sig i kø - lig Skyg - ge,

og Blik- ket, som hun send - te Dig,

har Du

vist hel - ler ikke ret for -tol - ket.

ALAD. Men om jeg nu for -tal - te Dig

Recit. Vl. 1 pp Vl. 2 pp Va. pp

Vc. pp Cb. pp

DCM 030

201

Allegro risoluto

Allegretto con moto

248 Fl.

1 2

ff Picc.

Ob.

ff a2

1 2

Cl. (A)

ff a2

1 2

p dolce

1 Fg. 2 ff 3

Cor. (F)

1 2

3 Cor. (F) 4

Timp. ff

pp (bevæget, halvt hviskende)

Il canto ad libitum ALAD. I vor Sul - tans Ha - ve

Allegro risoluto 3

Vl. 1 ff

Vl. 2 3

dim.

Va. ff

3 3

Allegretto con moto 3

dim.

dim. unis.

jeg en Mor - gen-stund mig li - sted

pp 3

Vc. 3

ff Cb.

3 3

dim.

3 3

255

Fg.

1 Cl. (A) 2

1. 1.

1 2

Timp.

ALAD. ind, der jeg vid - ste at Gul - na - re, vor Prin - ses - se, van - dred om;

bag en Ro - sen - busk jeg skjul - te mig,

jeg hør - te let - te Trin og en Kvin - de eng - le - lig,

snart

Vl. 1 p dolce Vl. 2

Va.

Vc.

Cb. p

202

DCM 030

più mosso

268 Fl.

1 2

cresc.

ff f

Ob.

1 2 mf

Cl. (A)

cresc.

ff 1.

1 2

Fg.

1 2 mf

Cor. (F)

cresc.

1 2 f

f Cor. (F)

3 4 f

ALAD. me - re straa - len - de end So - len svæ - ved ha - stig tæt for

bi;

men

più mosso Vl. 1 mf cresc.

dim.

Vl. 2 cresc.

div. Va. mf

cresc.

Vc.

Cb.

rall.

278

a tempo

ALAD. med et

rall.

hun stand

sed’,

vend - te

og frygt - som

gik

til - ba - ge

hen mod

Bu - sken, der hun

a tempo

Vl. 1 p

Vl. 2 p

p unis.

Va. p Vc. p Cb.

DCM 030

203

286 Ob.

1 2

rall.

a tempo

rall.

Recit.

p dolce

ALAD. pluk - ked’ med sin

hvi - de Haand

en kun halvt ud - sprun - gen Ro

rall.

sen - knop, og svandt saa hur

a tempo

tig bort.

rall.

Her

ser Du den!

Recit.

Vl. 1

Vl. 2

Va. 3

Vc.

Cb. 3

Allegro 294 Fl.

1 2

Picc.

Ob.

1 2

3 3

Fg.

Cor. (F)

1 2

3 3

1 2 3

ff Cor. (F)

ff 1 Cl. (A) 2

3 4 ff 3

Timp. ff (rejser sig)

MORG. Gul - na - re!

vor Prin - ses - se,

So - li - mans Dat - ter!

(viser hende Rosen)

ALAD. El - skovs - pan - tet,

tviv- ler Du end - nu?

tviv-ler Du end - nu?

Allegro

Vl. 1 3

3 3

f 3

Vl. 2 ff

Va. ff

p 3

Vc.

Cb. 3

204

DCM 030

har hun med

pp 300 Fl.

1 2

1 Ob. 2 Cl. (A)

1 2

Fg.

1 2

MORG. e - gen Haand ALAD. Ja hun

har den pluk -

ket,

og hun har tryk 3

Vl. 1

ket den ømt 3

til sit Bryst 3

og ka

sted

sen til

mit 3

pp 3

3 3

Vl. 2 pp 3

Va.

Vc.

pp Cb. 3

Fl.

305 1 2

1 Ob. 2 1. 1 Cl. (A) 2 1 Fg. 2

2. pp

MORG. Vor Sul

tans Dat - ter!

Drøm - mer jeg?

Nej,

nej,

jeg

kan

tro

der - paa

at Per

siens

ALAD. Skju - le - sted. 3

Vl. 1 3

div.

unis.

Vl. 2 3

3 3

mf pp

Va. pp

pp 3

Vc. 3

pp 3

Cb. pp

DCM 030

205

310 Fl.

1 2

1 Ob. 2 a2 1 Cl. (A) 2

2. Fg.

1 2

MORG. Sol,

Gul - na - re,

en Knøs, som Du, af rin - ge Stand, kan el - ske.

Kun en Spøg

har hun

for.

ALAD. U - mu

ligt!

Vl. 1 p

mf 3

Vl. 2 p p

Va. 3

Vc. 3

Cb. p

316 Fl.

1 2

cresc.

dim.

cresc.

dim.

a2 Ob.

1 2

muta in Bb

Cl. (Bb)

1 2 2.

1 Fg. 2

MORG. ved Du ej,

li - man

be - gæ

rer

Mor - gen - ga - ve

rig

skøn

Vl. 1 p

cresc.

dim.

cresc.

dim.

cresc.

dim.

Vl. 2

Va. dim. Vc.

Cb.

206

DCM 030

hver, som

a2 322 Fl.

1 2

a2 Ob.

1 2 p

1 Cl. (Bb) 2

Fg.

1 2

Cor. (F)

1 2

pp p

3 Cor. (F) 4 p MORG. bej - ler

til

Gul

na - res

Haand og

Hjer

te;

har

maa - ske

Vl. 1

Vl. 2

Va. p

Vc.

Cb. p

327 Fl.

1 2

ff fz

fz dim.

fz p

fz dim.

fz p

1 Ob. 2 a2 1 Cl. (Bb) 2 ff fz 1. solo 1 Fg. 2

Cor. (F)

cresc.

dim.

1 2 f dim.

3 Cor. (F) 4 MORG. saa - dan, kan jeg tæn - ke,

Byl - ten der,

ej sandt?

en kost

bar

Skat

af Klu - de, Ben og

an - det Skram - le - ri.

A-

Vl. 1 cresc.

Vl. 2 cresc.

Va. cresc.

dim.

cresc.

dim.

cresc.

Vc.

Cb.

DCM 030

dim.

207

332 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

tenuto

pp Fg.

1 2 p

dim. Cor. (F)

Cor. (F)

1 2

3 4 pp

MORG. lad - din, hør

min Bøn,

for - jag

den Daar - skab!

Hvor - for

vil

Du Dig selv og

mig

be - drø - ve?

ALAD. En Vl. 1 fz p

fz p

fz dim.

Vl. 2 fz dim.

div.

Va. dim.

dim.

Vc.

Cb.

339 Fl.

1 2

pp sempre Ob.

Cl. (Bb)

Fg.

1 2

sempre

1 2

1 2 pp sempre

1 Cor. (F) 2

sempre

Mor

3 Cor. (F) 4

ALAD. -

gen

ve,

rig

skøn,

jeg

Vl. 1 pp sempre Vl. 2 pp sempre Va. pp sempre Vc. pp sempre Cb. pp sempre

208

DCM 030

brin - ger vor

Sul

tan.

344 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

MORG.

ALAD. Stør - re

Pragt

al - drig

saa,

drig

saa.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

209

Recit.

a2 350 Fl.

1 2

fff

cresc.

Picc. fff a2 Ob.

1 2 cresc. a2

Cl. (Bb)

1 2

fff

cresc. Fg.

1 2 fff cresc.

1 Cor. (F) 2

fff

cresc.

Cor. (F)

Tr. (F)

3 4

cresc.

fff

1 2 fff

Trb.t.

1 2

fff

Trb.b. fff

Tb. fff

Timp. fff

MORG. Al

lah, sto - re Gud, hvad sér jeg?

(aabner Bylten)

ALAD. Se!

se!

Frug - ter

af Ru - bi - ner,

Di - a - man - ter.

Recit. Vl. 1 cresc.

fff

cresc.

fff

Vl. 2

Va. cresc.

fff

Vc. cresc.

fff

cresc.

fff

Cb.

210

DCM 030

No. 13 358 Ob.

1 2

Fg.

1 2

Cor. (F)

Allegro alla breve

poco accel.

1 2 p

MORG. Hvil - ken Glans

og hvil - ken Rig - dom,

Di - a - man - ter, Per - ler og

Allegro alla breve

Æ-del - ste - ne,

ej de

for - nem - ste Fru - er og Frøk - ner, ja, Sul - ta - nen

poco accel.

pizz.

Vl. 1 mf pizz. Vl. 2 mf unis. pizz. Va. mf pizz. Vc. mf pizz. Cb. mf

non alla breve

365

1 Fl. 2

Ob.

Cl. (Bb)

Fg.

mf 2.

1 2

pp a2

1 2

1 Cor. (F) 2

Cor. (F)

3 4 f

(falder ned paa Stolen og slaar Hænderne sammen)

MORG. selv har be - stemt ik - ke Ma - ge!

Til vor Sul - tan fra A - lad - din! (stolt)

ALAD. Den - ne Ga - ve skal Du brin - ge til vor Sul - tan fra A - lad

din.

non alla breve arco

Vl. 1 mf arco

Vl. 2

div. arco

pp unis.

Va. mf arco

mf arco

Vc. pp

Cb.

DCM 030

211

374 1 Fl. 2

Ob.

Cl. (Bb)

Fg.

poco tranquillo

pp 1.

1 2

cantabile

1 2

pp a2

1 2

pp Cor. (F)

1 Cor. (F) 2

3 4 f

MORG. Jeg skal brin - ge Mor - gen - gave!

jeg san - ser el - ler sam - ler.

ALAD. Al min Lyk - ke i

Din Haand,

kæ - re Mo - der, læg - ger

poco tranquillo div. Vl. 1 fz

Vl. 2 fz

Va. f

Vc.

Cb.

sostenuto

381

rall.

1 Fl. 2 1. 1 Ob. 2

cresc.

1 Cl. (Bb) 2 1 Cor. (F) 2

cresc.

3 Cor. (F) 4

p pp

MORG.

(kjærtegner Morgiane)

ALAD. jeg,

gaa til Slot - tet, bejl for mig, gaa,

tøv ej, skynd Dig, hør min Bøn,

sostenuto

unis.

den - ne e - ne, sid - ste Gang

Din

Søn Du

Vl. 2 p

Va. mf Vc. cresc. Cb. cresc.

212

DCM 030

rall.

Vl. 1 cresc.

føj

388

tranquillo

Allegretto

1 Fl. 2 Ob.

1 2

1 Cl. (Bb) 2

Fg.

Cor. (F)

pp sempre

1 2

p 1.

1 2

pp (skyder Aladdin sagte fra sig) 3 3

MORG. Hvem gav Dig den - ne Mor - gen - ga - ve? Hvor

var Du

i den lan - ge, mør - ke Nat?

ALAD. maa!

Han, Du ved,

tranquillo

den sor - te

Trold - mand, kunfor en rin - ge

Allegretto

Vl. 1 pp Vl. 2 pp Va. pp Vc. pp sempre

pp dolce Cb. pp

pp sempre

393 1 Fl. 2 Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

(begge betragter den)

MORG. (tager Lampen frem)

ALAD. Tjen - e-ste

mig lo - ved’ saa man - ge Æ - del - ste - ne

jeg kun - de bæ- re;

den - ne Lam - pe kun

jeg skul - de hen - te i en Klip - pe - hu - le,

ej langt her - fra.

Vl. 1

Vl. 2 pp sempre Va.

Vc.

Cb.

DCM 030

213

398 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

1. pp 1.

1 Fg. 2

MORG. Han (Han sætter Lampen paa Bordet.)

ALAD. Be - syn - der - ligt!

hvad kan en saa - dan

gam - mel ru - sten

Lam - pe

vel ha-ve for Vær - di?

men det maa han for - staa sig paa!

Vl. 1 pp sempre Vl. 2 pp sempre Va.

Vc.

Cb.

403 1 Fl. 2 Ob.

1 2

mf Cl. (Bb)

1 2 1.

Fg.

1 2

pp (giver Aladdin Lampen)

MORG. den sor-te Mand, som gaar saa tidt for-bi

og stir - re saa

vist

paa Hyt - ten her?

Han har vist Ondt i

ALAD.

Vl. 1

Vl. 2

Va. pp Vc. mf

Cb.

214

DCM 030

Sin - de!

Gaa! bring ham Lam - pen

408 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

(Hun rejser sig for at ordne Spinderokken; af og til betragter hun Ædelstenene, tager enkelte op for nøjere at beskue dem, endelig lukker hun Bylten og sætter sig til at spinde, paa Tegnet

*.)

MORG. og ind - lad Dig al - drig me - re med ham.

(afsides)

ALAD. Jeg

Lam - pen skul - de brin - ge ham,

nej, al

drig!

Den lum - ske Trold,

Vl. 1

Vl. 2

Va. mf

Vc.

Cb.

Recit.

416

Allegretto

1 Fl. 2 Ob.

1 2

Cl. (Bb)

1 2

Fg.

dolce

cantabile

1 2 pp

Cor. (F)

1 2

Cor. (F)

3 4

MORG. (parlando) ALAD. som stod mig ef - ter

Li - vet.

Jeg sæl - ger den, den har vel sin Vær - di,

Recit.

thi el - lers hav - de han den ej saa kær;

men den er

Allegretto

non div.

Vl. 1 p

non div. Vl. 2

non div. Va.

p Vc. p Cb.

DCM 030

215

421 Fl.

1 2 p dolce

Ob.

1 2

pp dolce

pp 1. 1 Cl. (Bb) 2 p dolce

Fg.

Cor. (F)

1 2

p 1.

1 2

* (Her begynder Morgiane at spinde.) MORG. (gaar om og søger efter en Klud)

ALAD. sort!

Den træn - ger til at pud - ses lidt.

La la la la la

la la la la la

Vl. 1

Vl. 2 div. Va.

Vc.

Cb. p 428 Fl.

Ob.

Cl. (Bb)

più tranquillo

1 2 1 2

pp 1.

1 2

p Fg.

Cor. (F)

colla voce Adagio

rit.

pp 3

1 2

M.tno. (sætter sig tilrette i en Stol paa Scenens højre Side for at pudse Lampen, men falder i Tanker)

(drømmende hen for sig)

ppp

ALAD. Gul - na

re,

più tranquillo

var

min! div.

Gul - na

rit. pp

Vl. 2 pp Va. pp Vc. pp

216

DCM 030

re!

colla voce Adagio

Vl. 1

Cb.

Scenens Lys noget afdæmpet

Torden ophører

Allegro molto e con fuoco non alla breve a2

meno allegro

433 Fl.

1 2

a2 Ob.

Cl. (Bb)

1 2

a2 mf

1 Fg. 2 fff Cor. (F)

Cor. (F)

1 2

3 4

a2 ff a2 ff

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. mf

Tb. mf

Timp. f

M.tno.

f (Morgiane farer op, og ved Synet af Aanden falder hun med et Skrig til Jorden.)

MORG.

(vaagner som af en Drøm og gnider ivrigt paa Lampen)

(Aladdin farer op fra Stolen.)

(Aladdin staar forstenet med Lampen i Haanden.)

ALAD.

(Lampens Aand op hurtig)

LAMP. Hvi gni - der Du

Allegro molto e con fuoco non alla breve

saa hæf - tig?

Lam - pens Aand ad - ly - de maa, hvo

meno allegro

Vl. 1 fff

p fz

Vl. 2 fz fff

unis. Va. fff

fff

Vc. mf

Cb.

DCM 030

217

440 Fl.

1 2 ff

cresc.

Ob.

Cl. (Bb)

1 2 ff

1 2 cresc.

Fg.

1 2

cresc.

a2 Cor. (F)

Cor. (F)

1 2

cresc.

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b. ff

Tb. ff

Timp. ff

ALAD.

LAMP. Lam

pen

har

i Haand.

Sig

blot et Ord: hvad er det, Du be - gæ - rer?

Vl. 1 cresc.

ff p

Vl. 2 cresc.

ff p unis.

div.

Va. cresc.

cresc.

Vc.

Cb.

218

DCM 030

Som Sla - ve

hvert af

Fl.

1 2 p

Ob.

Cl. (Bb)

Fg.

Cor. (F)

Recit.

449

1 2

1 2 p

1 2 pp

1 2

pp f Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. pp

Tb.

Timp.

ALAD. Hvad jeg be - gæ - rer?

Har Du en saa - dan Magt? Kan Du op - fyl - de Alt, hvad næp - pe jeg tør øn - ske?

LAMP. Di - ne Vink jeg

der.

Ved Lam - pen,

Ja!

Recit. Vl. 1 mf

Vl. 2 f

Va. f

Vc. mf

Cb. f

DCM 030

219

455

Allegro non troppo

1 Fl. 2

Ob.

Recit.

1 2 p

Cor. (F)

p 1 Cl. (Bb) 2

Fg.

a tempo

1 2

1 2 f

Cor. (F)

3 4

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. Ved den - ne Lam - pe?

U - mu - ligt!

Ved Lam- pen,

Vel - an,

lad se,

jeg by - der:

ste - li - ge Ret - ter

LAMP. Prøv!

Allegro non troppo

Recit.

div.

unis. pizz.

a tempo arco

Vl. 1 f

p pizz.

arco

Vl. 2 mf

p p

pizz.

div. pizz.

unis. arco

arco

Va. mf

p p

p mf

arco

pizz. Vc.

arco

pizz.

Cb. f

220

DCM 030

Et rigt dækket Bord stiger op af Gulvet. [se: Appendiks, ill. II.2]

463 Fl.

Ob.

Cl. (Bb)

1 2

f a2

1 2

p Fg.

1 2 p

Cor. (F)

1 2 mf

Cor. (F)

3 4 mf

1 Tr. (F) 2 mf Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. Du her

Maal

tid straks skal dæk - ke

paa Stand.

U - tro - ligt!

LAMP. Det

Vl. 1 f

ff fz

Vl. 2 ff

Va.

Vc. p

Cb.

DCM 030

221

470

1 Fl. 2

Ob.

1 2

Fg.

p Cl. (Bb)

1 2

1 2 p

ff Cor. (F)

1 2 p

Cor. (F)

3 4 p

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b.

Tb.

Timp. pp

ALAD. Bliv! (Aanden begynder at synke ned, men stiger op igjen paa Aladdins ’Bliv!’.)

LAMP. er

fuld - bragt.

Hvad

be - fa -

B. Ved Lam

pens

Magt.

Vl. 1 f

unis.

div. Vl. 2 f

Va.

Vc.

Cb. f

222

DCM 030

ler

Du?

Fl.

Ob.

Recit.

478 1 2

1 2 f

Cl. (Bb)

1 2

pp pp 1 Fg. 2

Cor. (F)

1 2 pp

Cor. (F)

3 4 f

pp Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb.

Timp.

ALAD. Vid! Gul - na -re el - sker jeg,

vor Sul - tans Dat - ter;

o - ver - alt Din Magt jeg højt vil pri - se,

hvis Du in - den den - ne Dag er om

fø - rer hen-de til

LAMP.

Recit.

Vl. 1 f 3

Vl. 2 f 3

Va. f

Vc. f

Cb. f

DCM 030

223

1 Fl. 2

Ob.

Cl. (Bb)

1 2

1 2 f

Fg.

Allegro non troppo

Allegretto

486

1 2 f

pp Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

ppp

Trb.b.

Tb.

Timp. f

f ALAD. mig,

som min Brud,

som min Brud!

End - nu i

sostenuto LAMP. Jeg

ly - der blindt et - hvert af

Di - ne

Vink,

et - hvert

af Di - ne Vink!

Allegro non troppo

Allegretto Vl. 1 ff fz

ff fz

Vl. 2 f

Va. fz

Vc. f fz

Cb. ff fz

224

DCM 030

494 1 Fl. 2

Ob.

Cl. (Bb)

Recit.

1 2

1 2 p

Fg.

1 2 p

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. Af - ten

i Gul - na- res Favn

sto

Gud!

Jeg svim - ler!

Du lo - ver godt,

men skal jeg tro min e - gen Lyk - ke,

for - lan - ger jeg end - nu

LAMP.

Recit.

div.

unis.

Vl. 1 ff fz

fpp

ff fz

fpp

ff fz

fpp

ff fz

Vl. 2

Va.

Vc.

Cb.

DCM 030

fpp

ff fz

225

Allegro non troppo 499 Fl.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2

1 2 pp

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. pp

ALAD. at Du skal byg - ge

paa Ste - det her et Slot

af u - kendt Pragt.

Paa

høj-e Mar - mor - pil - ler skal det hvi - le

og hund - red Spir sig hæ - ve i - mod Him - len.

LAMP. Det

Allegro non troppo div. Vl. 1 fz fz

pp div.

Vl. 2 fz fz

pp div.

Va. fz fz

Vc. fz fz

Cb. fz fz

226

DCM 030

Scenen forvandles meget hurtig for aabent Tæppe. Total Mørke. [se: Appendiks, ill. II.3]

cresc. 505 Fl.

1 2 f cresc.

Ob.

1 2

1 Cl. (Bb) 2

Fg.

Cor. (F)

1 2

a2 cresc.

cresc.

1 2

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. f Tb.

Timp. cresc.

ALAD.

(synker ned)

LAMP. er

fuld

bragt!

T. Det

fuld

Det

fuld

unis. Vl. 1 cresc.

cresc.

unis. Vl. 2

Va.

Vc.

Cb.

DCM 030

227

Slottet. Fuldt Lys.

l’istesso tempo 511 Fl.

Ob.

1 2

1 2 ff

Cl. (Bb)

1 2 ff

a2 Fg.

1 2

ff 1.

Cor. (F)

1 2

3 4 ff

1 Tr. (F) 2 ff

Trb.t.

1 2

Trb.b. ff Tb. ff Timp. ff

Arpa

MORG. Ak spar mit Liv! (hjælper Moderen op)

ALAD. Mo - der!

Se dog!

T. bragt!

B. bragt! div.

l’istesso tempo Vl. 1 ff

div. pizz.

Vl. 2 ff

unis.

Va. pp

div.

Vc. ff

Cb. ff

228

DCM 030

Rejs Dig!

Vær ik - ke ban - ge!

Hvor har Du bragt mig

Aladdin fører Morgiane ud gennem Portalen. Han vender tilbage, medens to Alfer, usynlige for Aladdin, komme ud af Indgangsdøren til Badekammeret.

poco più mosso 1.

518 Fl.

Ob.

Cl. (Bb)

1 2

f Fg.

1 2 f

Cor. (F)

1 2

Cor. (F)

3 4

f Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Arpa

MORG. hen?

ALAD. Nu er der in - gen Tid at spil - de.

Gaa! Op - søg Sul - ta - nen og kom snart til - ba - ge. arco

poco più mosso

pizz. Vl. 1 mf

ppp

Vl. 2 pizz. Va. mf

unis. pizz. Vc. mf

pizz. Cb. mf

DCM 030

229

524 Fl.

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

1. ALF Kom!

Kom!

Her,

her,

og his - set i Ro - ser - nes

2. ALF Vi!

Vi!

ALAD. Hvo kal - der mig? 3

Men hvor? arco

pizz.

unis. arco

pizz.

unis. arco

Vl. 1 div. arco

3 3

pizz.

p 3 arco

p 3

Vl. 2 ppp

div. arco

p pizz.

arco

pizz.

unis.

Va. ppp

3 3

pizz.

div. arco

arco

pizz.

unis.

Vc. 3

pizz.

Cb. p

531 Fl.

Ob.

Cl. (Bb)

Fg.

1 2

1 2 1 2

1. pp

1 2

1. ALF Kalk!

U - syn - lig om - kring Dig vi

byg

ge, bo!

Vi vog - te Din Tan - ke, vi vog - te Dit

2. ALF Vi vog - te Din Tan - ke, vi

Vl. 1 grazioso Vl. 2

Va. pp

Vc.

grazioso

pp grazioso

arco

Cb. pp

230

DCM 030

vog - te Dit Hus

538

rit.

1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

pp smorzando

1. pp smorzando

1. Fg.

Cor. (F)

1 2

pp smorzando 2.

1 2

pp smorzando smorzando 1. ALF Hus,

le - de Dig Fre - den og Lyk - ken der - ind!

Dig

Fre

den

Lyk

ken der - ind!

smorzando 2. ALF le - de Dig Fre - den og

Lyk - ken der - ind!

Dig

Lyk

rit.

Vl. 1 smorzando Vl. 2

Va. smorzando Vc. smorzando Cb. smorzando

Alferne stille sig paa hver sin Side af Aladdin og føre ham ved Haanden omkring paa Scenen. 545

Allegretto con moto

1 Fl. 2

Ob.

Cl. (Bb)

1 2 1 2

1. p

1 Fg. 2

Cor. (F)

pp 2.

1 2

1. ALF I

Pur

pur og Guld

vi Dig klæ

de paa Stand!

2. ALF

Allegretto con moto

pizz.

Vl. 1 p pizz. Vl. 2 p pizz. Va. p solo con sord.

leggiero

solo arco

Vc. pizz. p pizz. Cb. p

DCM 030

231

551 Fl.

1 2 1.

Ob.

1 2 3

1 Cl. (Bb) 2

Fg.

1 2 pp

Cor. (F)

1 2

1. ALF Til

Ba - det hist in

de!

2. ALF Den skøn - ne - ste Tur - ban skal smyk - ke Dit Ho - ved!

Kom følg os til Kam - ret!

Vl. 1 p Vl. 2 p Va. p

unis. pizz.

Vc. pizz. p pizz Cb. p

No. 14 559 1 Fl. 2

1. p

1 Ob. 2

p p

Cl. (Bb)

1 2

1 Fg. 2

pp 1 Cor. (F) 2

Cor. (F)

3 4

pp 1. ALF Kla - re Søl - ver - bæk - ke

gen - nem Kam - ret

gaa,

Ro - ser

vend

ler

sødt

blan - de de - res

2. ALF Kla - re Søl - ver - bæk - ke

gen - nem Kam - ret

pizz. Vl. 1 pizz. Vl. 2 pizz. Va. pizz. Vc. pizz. Cb.

232

DCM 030

La - vend - ler

sødt

blan - de

de - res

Duft

un poco tranquillo

567 1 Fl. 2

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2 sempre pp

cresc.

1 2

cresc.

1 2

3 4

Timp. sempre

ppp

Arpa

cresc.

1. ALF Duft

Kil - dens kla - re Strøm - me!

sva

le Vin

de vif - te

som

svul

men - de

Mu - sik,

der

sva

le Vin

de vif - te

som

svul

men - de

Mu - sik,

der

2. ALF Kil - dens kla

re Strøm - me!

div. arco

un poco tranquillo

unis.

Vl. 1 3

cresc.

arco Vl. 2 ff

cresc.

arco Va. pp leggiero

cresc.

arco

pp leggiero

cresc.

Vc. arco

cresc.

arco Cb. pp

cresc.

DCM 030

233

574 Fl.

1 2 sempre pp

Ob.

Cl. (Bb)

1 2

dim.

1 2 dim.

Fg.

1 2

a2 pp

cresc.

1 2 dim.

Cor. (F)

cresc.

dim.

Cor. (F)

cresc.

3 4 pp

Timp.

Arpa

dim.

3 3

cresc.

1. ALF er

en Skøn-heds - fyl - de,

hvor - hen

Dit Øj - e ser,

der

en sa

lig Vel - lyst

hvert

et Aan

de - drag;

den

en Skøn-heds - fyl - de,

hvor - hen

Dit Øj - e ser,

der

en sa

lig Vel - lyst

hvert

et Aan

- de - drag;

den

2. ALF

Vl. 1 dim.

cresc.

dim.

cresc.

dim.

cresc.

Vl. 2

Va.

Vc.

dim.

Cb. pp

234

DCM 030

cresc.

Vivo

rall.

582 Fl.

Ob.

1 2 f pp

cresc.

f pp

1 2 pp

dim.

Cl. (Bb)

cresc.

1 2 dim.

Fg.

1 2 pp dim.

Cor. (F)

1 2 pp

dim.

Cor. (F)

3 4 pp

Timp.

Arpa

pp 1. ALF gi

ver Ar

men Kraft,

den

ver Hjer

tet

Glæ

de.

ver Hjer

tet Glæ

de.

pp 2. ALF gi

ver Ar

men Kraft,

den

Vivo

pizz.

rall.

Vl. 1 dim.

pp cresc.

div. pizz.

unis.

Vl. 2 dim.

cresc.

pizz. Va. dim.

pizz.

dim.

Vc. pizz. dim.

dim.

Cb.

DCM 030

235

590 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

1. p

Cor. (F)

3 4

Timp.

Arpa

1. ALF I

Pur - pur og Guld vi Dig klæ - de paa Stand!

2. ALF Den skøn - ne - ste Tur - ban skal smyk - ke Dit

Vl. 1 p

Vl. 2

Va. solo arco

arco

fz Vc. pizz.

pizz. Cb. p

236

DCM 030

598 Fl.

Ob.

1 2

1 2 pp

Cl. (Bb)

1 2 pp

Fg.

Cor. (F)

1 2

3 4 pp

Timp.

Arpa

(De føre ham ind i Badekammeret.)

1. ALF Til

Ba - det hist in - de!

Følg

med!

Følg

med!

2. ALF Ho - ved!

Kom

følg os til Kam - ret,

Følg

med!

Følg

med!

div. pizz.

arco

unis. Vl. 1

arco

pizz.

Vl. 2 pp div.

unis.

Va. pp unis. pizz

arco

pizz.

Vc. 3

Cb.

DCM 030

237

No. 15 606

Enkelte Mænd og Kvinder af Folket i forskjellige brogede Dragter viser sig paa Gaden (udenfor Buerne) tilvinkende Andre, som efterhaanden stimle sammen, stærkt gestikulerende, pegende paa Slottet osv.

Allegro con brio

1 Fl. 2 f p

cresc.

1 Ob. 2

f al

cresc.

1 Cl. (Bb) 2

a2 1 Fg. 2

1 Cor. (F) 2

cresc.

Cor. (F)

cresc.

3 4

Tr. (F)

Trb.t.

1 2 f

cresc.

1 2

Trb.b. ff

Tb.

Timp.

Allegro con brio arco

Vl. 1 f

cresc.

arco

cresc.

Vl. 2

arco

Va. f

cresc.

arco Vc. f

cresc.

arco Cb. f

238

DCM 030

Alle trænge ind igjennem Buerne til midtvejs imellem disse og første Kulisse. Under hele denne Korscene et bevæget Folkeliv ude paa Gaden af Voksne og Børn, (indtil Sultanens Parademarsch [No. 16]) [se: Appendiks, ill. II.4] a2

613 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb.

Timp.

f (hele Koret med opløftede Arme) S. Ah!

hvor

her - ligt og hvor skønt!

hvor

her -ligt og hvor skønt!

f A. Ah! f

(pegende til højre og venstre, og andre Gestus)

T. Ah!

hvor

her - ligt og hvor skønt, se Søj -ler af Mar - mor, gyld - ne Zi-

hvor

her - ligt og hvor skønt, se Søj -ler af Mar - mor, gyld - ne Zi-

f B. Ah!

Vl. 1

Vl. 2 marcato

Va. marcato

Vc. marcato

Cb. marcato

DCM 030

239

621 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

a2 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb. f

Timp.

(slaar Hænderne sammen, og andre Gestus)

S. Hvil - ken blæn - den - de Pragt,

Æ - del - ste - ne

glø

der i

So - len,

funk - ler som tu - sen - de Stjer - ner,

som

sen - de

Hvil - ken blæn - den - de Pragt,

Æ - del - ste - ne

glø

der i

So - len,

funk - ler som tu - sen - de Stjer - ner,

som

sen - de

som

sen - de

ner,

T. ra - ter,

høj - e mæg -ti - ge Bu - er

glø

der i

So - len,

funk - ler som tu - sen - de Stjer - ner,

ra - ter,

høj - e mæg -ti - ge Bu - er

glø

der i

So - len,

funk - ler som tu - sen - de Stjer - ner, som tu - sen - de Stjer

div. Vl. 1 marcato

Vl. 2

Va.

Vc.

Cb.

240

DCM 030

628

1 2

Fl.

a2 1 Ob. 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

(seende paa hinanden med alvorlige Ansigter)

S. Stjer - ner,

som tu - sen - de

Stjer

Stjer - ner,

som tu - sen - de Stjer - ner!

ner!

Hvor sæl - somt dog,

Nat

tens

Mulm

Hvor sæl - somt dog, hvor sæl - somt dog,

Nat

tens

Mulm

Hvor sæl - somt dog, hvor sæl - somt dog,

Nat

tens

Mulm

Nat

tens

Mulm

T. Stjer - ner, som tu - sen - de Stjer - ner,

som tu - sen - de

Stjer - ner!

som tu - sen - de

Stjer - ner!

B. som

tu - sen - de Stjer - ner,

Vl. 1 fz

marcato

Vl. 2

Va.

Vc. fz

Cb.

DCM 030

241

636

1 Fl. 2

1 Ob. 2

a2 1 Cl. (Bb) 2 a2 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.b.

Tb.

Timp.

(disputerende med tiltagende Ivrighed og Fagter)

S. Jor - den skød op

af sig selv det - te

Slot, af sig selv det - te

Slot, af sig selv.

Jor - den skød op

af sig selv det - te

Slot, af sig selv det - te

Slot, af sig

Jor - den skød op

af sig selv det - te

Slot, af sig selv det - te

Slot, af sig selv. Ved

Jor - den skød op

af sig selv det - te

Slot, af sig selv det - te

Slot, af sig

Ved

sor - te,

sor - te Trold - doms - kun - ster er

det

A. selv det - te Slot.

Ved

lahs

Magt

T. sor - te Trold - doms - kun

ster, ved

sor - te Trold - doms-

lah

unis. Vl. 1

div.

unis.

Vl. 2

Va.

Vc.

Cb.

242

DCM 030

selv det - te Slot.

Ved

det

642

1 Fl. 2

fz a2

1 Ob. 2

1 2

Cl. (Bb)

fz a2 fz a2

1 2

Fg.

Cor. (F)

1 2

3 4 fz

Tr. (F)

Trb.t.

1 2

Trb.b. fz

Tb. fz

Timp. fz

S. sket.

Nej,

ved Trold-doms -kun - ster er det sket!

Nej,

ved Trold-doms-kun - ster er det sket,

er det sket,

A. sket,

ved Al - lah er det sket,

ved

Al - lah er det sket!

Ved

Al - lah er det sket,

ved

Al - lah er det sket,

er det sket,

ved

T. kun-ster er det sket.

Nej,

ved Trold-dom er det sket!

Ved Trold- dom er det sket,

ved Trold-dom er det sket, er det sket, er det sket, er det sket,

B. sket,

ved Al - lah er det sket,

nej,

ved

Al - lah

det

sket,

nej,

ved

Al - lah er det sket, er det sket, er det sket, er det sket, ved

Vl. 1 fz

Vl. 2 fz

Va. fz

Vc. fz

Cb. fz

DCM 030

243

648

1 2

Fl.

pp a2

1 2

Ob.

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

mf fz

Trb.b.

Tb.

Timp.

(seende til hinanden med store Øjne)

S. ved Trold - dom,

ved Trold - dom!

Jeg

hør

saa vist

der - lig su - sen - de

Jeg

hør

saa vist

der - lig su - sen - de

ved

Mid - nats

tid,

ved

Mid - nats

tid

ved

Mid - nats

tid,

ved

Mid - nats

tid

mf A. Al - lah,

ved

Al - lah! (med Pegefingeren, alvorlig)

T. ved Trold - dom,

ved Trold - dom!

Just,

just p

B. Al - lah,

ved

Al - lah!

just

Just,

pizz. Vl. 1 p pizz. Vl. 2 p

Va. fz f

Vc. p pizz. Cb. fz

244

DCM 030

654 1 2

Fl.

pp a2

1 Ob. 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

mf fz

Trb.b.

Tb.

mf S. Lyd;

det

klang

som de vil

ja - gen - de Hæ -

re,

klang

som de vil

ja - gen - de Hæ -

re,

mf A. Lyd;

det f

T. dybt

dybt

Jor - den,

dybt

Jor - den

lød

Tor

den,

ja,

B. dybt

dybt

arco

Jor - den,

dybt

Jor - den

lød

Tor

den,

pizz.

div. arco

pizz.

mf div. arco

ja,

unis.

Vl. 1

arco

unis.

Vl. 2

Va. f fz

Vc.

Cb. p

DCM 030

245

mp 660 1 2

Fl.

mp mp

1 2

Ob.

mf fz

1 2

Cl. (Bb)

a2 1 2

Fg.

Cor. (F)

mf fz

1 2 a2

3 Cor. (F) 4 mf fz Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

(rolige Nik med Hovedet)

(atter heftig)

S. ja

gen - de

Hæ

re.

Ja,

gan - ske vist,

nej det i

Luf - ten var,

og selv jeg

Luf - ten

var

og selv jeg

A. ja

gen - de

Hæ

re.

det er

gan

ske vist,

nej det i

f T. Tor

den

buld

ren.

det er

gan

ske, gan - ske

vist.

Der lød en Buld - ren,

selv

jeg

den, selv

jeg

B. Tor

den

ren.

gan

ske vist.

Der var en Buld - ren,

buld

Vl. 1 mf

mf arco

Vl. 2 f

Va.

Vc.

Cb.

246

DCM 030

Tor

mp 667 1 2

Fl.

mp mp

1 2

Ob.

mf fz

1 2

Cl. (Bb)

1 2

Fg.

mf fz

Cor. (F)

mf fz

1 2 a2

3 4

Tr. (F)

1 2

Trb.t.

1 2

mf fz

Trb.b.

Tb.

Timp.

S. hør - te gan - ske ty - de - lig en

sen.

Nej,

sen,

ja,

gan - ske vist.

A. hør - te gan - ske ty - de - lig en

sen.

sen,

ja,

det er

gan

ske vist.

det er

gan

ske vist.

gan

ske vist.

T. føl - te

at Jor - den

bæ

ved.

Nej, ff

Buld - ren, fz

Buld

ren,

ja,

B. føl - te

at Jor - den

bæ

ved.

Nej,

Buld - ren,

Buld

ren,

Vl. 1 mf

Vl. 2

Va.

Vc.

arco

pizz. Cb. p

DCM 030

247

675 1 2

Fl.

f a2

1 Ob. 2

f a2

1 Cl. (Bb) 2 f a2 1 Fg. 2

Cor. (F)

Tr. (F)

1 2

3 4

1 2 f

Trb.t.

1 2

Trb.b. f Tb. f Timp. (Alle vender sig om mod Scenens venstre Side, idet de seende op til Vinduerne slutter sig tættere sammen paa denne og raaber, løftende den ene Arm:) [se: Appendiks, ill. II.5]

ff S. Hol

la!

Hol

la!

Hol

la!

Hol

la!

Hol

la!

Kom

frem

vel

Kom

frem

vel

Djæ

vel,

ler

gel,

Djæ

vel,

ler

gel,

ff A. Hol

kom

frem

Djæ

ff T. Hol ff B. Hol

Vl. 1 ff Vl. 2 ff Va. ff

Vc. ff Cb. ff

248

DCM 030

kom

frem

Djæ

681 1 2

Fl.

a2 1 2

Ob.

a2 1 2

Cl. (Bb)

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

ud,

for - tæl

os,

frem,

for - tæl

os,

ud,

for - tæl

os,

frem,

for - tæl

os,

Trb.b.

Tb.

Timp.

S. kom

her

ud,

kom

her

ud,

kom

her

ud,

kom

her

ud,

kom

ud,

for

tæl

hvor

det

frem,

for

tæl

hvor

det

ud,

for

tæl

hvor

det

frem,

for

tæl

hvor

det

A. kom

her

kom

her

T. -

B. kom

her

kom

her

Vl. 1 3

Vl. 2 3

div. 3

Va. 3

Vc.

Cb.

DCM 030

249

688 1 2

Fl.

a2 1 2

Ob.

1 2

Cl. (Bb)

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. (over mod højre Side paa samme Maade:) [se: Appendiks, ill. II.6] (De samle sig midt paa Scenen ud mod Publicum, i samme Orden som før.)

ff S. Slot, hvor det - te Slot er kom - men

fra.

Hol

la!

Nej,

der

har

in - gen

la!

Nej,

der

har

in - gen

ff A. Slot, hvor det - te Slot er kom - men

fra.

Hol ff

T. Slot, hvor det - te Slot er kom - men

fra.

Hol ff

B. Slot

Vl. 1

Vl. 2

kom - men

fra.

Hol

unis.

Va. 3

Vc.

Cb.

250

DCM 030

694 1 2

Fl.

ff a2 1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

ff mf

cresc. mf

Cor. (F)

cresc.

1 2 f

Cor. (F)

Tr. (F)

3 4

cresc.

1 2 f

Trb.t.

1 2

Trb.b. f

Tb. f

Timp. p

S. Kun

til

Fol - kets

Fryd

Gam - men

det

skæn - ket

Is - pa -

han,

kun

til

Fol - kets

Fryd

Kun

til

Fol - kets

Fryd

Gam - men

det

skæn - ket

Is - pa -

han,

kun

til

Fol - kets

Fryd

hjem - me!

Kun

til

Fol - kets

Fryd

Gam - men

det

skæn - ket

Is - pa -

han,

kun

til

Fol - kets

Fryd

hjem - me!

Kun

til

Fol - kets

Fryd

Gam - men

det

skæn - ket

Is - pa -

han,

kun

til

Fol - kets

Fryd

Vl. 1 3

cresc.

Vl. 2 3

cresc.

ff 3

Va. mf

cresc.

Vc.

cresc.

Cb.

DCM 030

251

a2 700 1 2

Fl.

a2 1 Ob. 2 a2 1 Cl. (Bb) 2 a2 Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

1 Tr. (F) 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. f

S. Gam

men

det

skæn

ket

han,

det

skæn - ket

han,

kun

til

Gam

men

det

skæn

ket

han,

det

skæn - ket

han,

kun

til

Gam

men

det

skæn

ket

han,

det

skæn - ket

han,

kun

til

Gam

men

det

skæn

ket

han,

det

skæn - ket

han,

kun

til

Vl. 1

Vl. 2 div.

unis.

Va.

Vc.

Cb.

252

DCM 030

a2 705 1 2

Fl.

a2 1 2

Ob.

a2 Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. ff

(helt frem i Prosceniet, stikkende Hovederne sammen, leende polisk)

S. Fol

kets

Fryd

Gam - men

det skæn

ket

Is - pa - han,

skæn - ket

os.

Fol

kets

Fryd

Gam

men

det skæn

ket

Is - pa - han,

skæn - ket

os.

Fol

kets

Fryd

Gam

men

det skæn

ket

Is - pa - han,

skæn - ket

os.

Fol

kets

Fryd

Gam

men

det skæn

ket

Is - pa - han,

skæn - ket

os.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

253

p 712

Allegro con brio

1 Fl. 2

f 1.

1 2

Ob.

1 2

Cl. (Bb)

p 1 2

Fg.

p Cor. (F)

Cor. (F)

1 2

3 4

Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp.

p S. Der - for

vil

vi,

der - for

vil

vi,

der - for vil vi mo - re os, saa

læn - ge til det at - ter fly - ver

bort,

ja, saa

læn - ge, til det fly - ver bort. f

cresc.

A. Der - for

vil

vi,

der - for

vil

vi,

der - for vil vi mo - re os saa

læn - ge, til det fly - ver bort. cresc.

T. Der - for

vil

vi,

der - for

vil

vi,

der - for vil vi mo - re os, saa

læn - ge til det at - ter fly - ver

bort,

ja, saa

læn - ge, til det fly - ver bort. f

cresc.

p B. Der - for

vil

vi,

der - for

vil

vi,

der - for vil vi mo - re os saa

læn - ge, til det fly - ver bort.

Allegro con brio Vl. 1 p

Vl. 2 f

div.

unis.

div.

Va. p

Vc.

Cb.

254

DCM 030

719 1 2

Fl.

f p a2

a2 1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

S. Der - for vil vi mo - re os, p

til det at - ter fly - ver, fly - ver, p

fly - ver bort, til det fly - ver bort, f

ja fz

der - for vil vi p

mo - re os, til det at - ter

fly - ver, fly - ver, fly - ver, fly - ver

A. Der - for vil vi mo - re os, p

til det at - ter fly - ver, fly - ver, p

fly - ver bort, til det fly - ver bort, f

ja fz

der - for vil vi p

mo - re os, til det at - ter

fly - ver, fly - ver, fly - ver, fly - ver

T. Der - for vil vi mo - re os, p

til det at - ter fly - ver, fly - ver, p

fly - ver bort, til det fly - ver bort, f

ja fz

der - for vil vi p

mo - re os, til det at - ter

fly - ver, fly - ver, fly - ver, fly - ver;

B. Der - for vil vi mo - re os,

til det at - ter fly - ver, fly - ver,

fly - ver bort, til det fly - ver bort,

der - for vil vi

mo - re os, til det at - ter

fly - ver, fly - ver, fly - ver, fly - ver;

Vl. 1 p

Vl. 2

Va.

Vc. f Cb. f

DCM 030

255

725 1 2

Fl.

1 2

Ob.

cresc.

pp 1 2

Cl. (Bb)

1 2

Fg.

pp a2

pp Cor. (F)

cresc.

1 2

pp Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. pp

cresc.

Tb.

Timp. (almindelig Forvirring. Nogle vil tilvenstre, andre tilhøjre; Raaben og Skrigen)

(alle sprede sig noget) (slaar op med Haanden)

S. bort;

os,

mo - re os,

os,

mo - re

os,

mo - re os,

os,

ja,

mo - re

os,

os!

ja,

mo - re

os!

Ind

(hoppende i Takt med Sangen)

A. bort;

mo - re

os,

mo - re

Kom

følg med,

(slaar op med Haanden)

T. mo

os,

mo - re os,

os,

mo - re os,

Ind

(hoppende i Takt med Sangen)

B. mo - re

os,

mo - re os,

mo - re os!

Kom

div. unis. Vl. 1 pp div.

cresc.

mf unis.

Vl. 2 mf pp

cresc.

Va. mf

Vc. mf

Cb.

256

DCM 030

følg med,

730 1 2

Fl.

mf a2

1 2

Ob.

mf 1 2

Cl. (Bb)

1 2

Fg.

cresc.

mf Cor. (F)

1 2 cresc.

Cor. (F)

3 4 cresc.

mf Tr. (F)

Trb.t.

1 2

cresc.

1 2

Trb.b.

Tb.

Timp. p

S. Slot - tet

her!

Hal - lo!

kom,

følg med mig,

skynd Jer,

her den - ne

Vej,

saa

kom

dog,

saa

kom

dog

A. kom

til Slot - tets Hal - ler, kom

til Slot - tets Hal - ler, kom,

skynd Jer, kom

ad Trap - pen

til Taar - net,

ad Trap -pen

til Taar - net.

T. Slot - tet

her!

Hal - lo!

kom,

følg med mig,

skynd Jer,

her den - ne

Vej,

kom

her,

kom

her!

B. kom

til Slot - tets Hal - ler, kom

til Slot - tets Hal - ler, kom,

skynd Jer, kom,

til

Si - de,

til

Si - de!

Vi skal nok Vej - en

Vl. 1 cresc.

Vl. 2 cresc.

Va. cresc. div.

unis.

Vc. cresc. Cb. cresc.

DCM 030

257

735 1 2

Fl.

1 2

Ob.

f a2

1 Cl. (Bb) 2

f 1 2

Fg.

f Cor. (F)

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b.

Tb.

Timp. f

S. her

den

an - den

Vej, Hal - lo.

Kom nu, skynd Jer,

den

an - den

Vej.

Saa kom dog

A. Her

Dø - ren

luk - ket,

høj,

høj!

Kom nu, skynd Jer, den - ne

Vej,

kom

her,

(De banke løs paa Døren tilvenstre paa Scenen.)

T. den

an - den

Vej, Hal - lo!

Vej - en,

den

an - den

Dø - ren

luk - ket maa vi

bry - de ind,

spræn - ge

Dø - ren.

Saa kom dog

B. fin - de, kom!

Nej,

Si - de,

kom dog,

Vl. 1 f

Vl. 2 f div. Va. f Vc. f Cb. f

258

DCM 030

skynd Jer, kom,

maa

Dø- ren spræn - ge,

739

1 2

Fl.

a2 1 2

Ob.

a2 Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

f Cor. (F)

3 4 f

1 Tr. (F) 2 f Trb.t.

1 2

Trb.b. f

Tb.

Timp. f

S. her,

kom,

lad

gaa her - fra,

hur - tig bort,

hur - tig,

hør dog,

hør dog!

A. kom, lad

gaa her - fra.

Hør dog!

Nej,

maa ej spræn - ge

Dø - ren, nej,

maa ej spræn - ge

Dø - ren! Nej!

T. her!

Nej,

maa

bry - de ind,

bry - de

ind,

spræn - ge

Dø - ren,

spræn - ge

Dø - ren!

B. vi maa Dø - ren spræn - ge,

spræn - ge,

vi maa

bry - de ind med Magt, kom lad

spræn - ge

Dø - ren, spræn - ge

Dø - ren!

Vl. 1

Vl. 2

Va.

Vc.

Cb.

attacca DCM 030

259

No. 16 Musik bag og paa Scenen Alle standse pludselig og lytter.

743 Fl.

1 2

Alle vende sig omkring og løber tilbage, ud paa Gaden, hvor de blive staaende og ser ud tilhøjre efter Sultanens Tog.

SULTANENS PARADEMARSCH Moderato a2

Picc.

a2 Ob.

1 2

1 Cl. (Bb) 2

Fg.

1 2

1 Cor. (F) 2

3 Cor. (F) 4 p

1 Tr. (F) 2

p 3

Trb.t.

1 2

Trb.b. p

Tb. p

Mezzal.

Ptti. Gr.c. p

Tamb.picc.

260

DCM 030

Musikkoret svinger ind paa Scenen og igjennem Buen. Alle give Plads for Toget, som skal passere den midterste Bue. Sopraner og Tenorer tilvenstre, Alter og Basser tilhøjre.

poco a poco crescendo 751 Fl.

1 2

Picc. fz

1 Ob. 2 fz

Cl. (Bb)

1 2 fz

Fg.

1 2 fz

Cor. (F)

1 2 fz

Cor. (F)

3 4 fz

Tr. (F)

1 2 fz

Trb.t.

1 2 fz

Trb.b. fz

Tb. fz

Trgl.

Mezzal.

Ptti. Gr.c. fz

Tamb.picc.

DCM 030

261

igjennem Buen a2

761 Fl.

1 2

Sultanen med Følge viser sig. Lange og stærke Hurraer, Vinken og Viften af hele Folket.

Picc. f

Ob.

1 2

Cl. (Bb)

1 2 f

Fg.

1 2

a2 1 Cor. (F) 2

a2 3 Cor. (F) 4 f

Tr. (F)

1 2 f mf

Trb.t.

1 2 mf

Trb.b.

Tb. mf

Trgl.

Mezzal. mf

Ptti. Gr.c. mf

Tamb.picc.

262

DCM 030

No. 17 Naar Musikkorpset har passeret Buen, gaar det tilhøjre (Scenens venstre Side) og stiller sig op ved anden Kulisse, medens to Fanebærere, som er fulgt umiddelbart efter Musikkorpset bliver staaende foran Søjlerne til Midterbuen. 772

Hurraerne ophører.

1 2 ff 3 1 2

Cl. (Bb)

ff Cor. (F)

Cor. (F)

1 2

3 3

1 2

Fg.

Allegro maestoso

poco rall.

Allegro molto

1 Fl. 2

Ob.

Her passerer Sultanen, Viziren, to Pager og Folket Buerne og skrider frem imod Forgrunden medens der synges. Paa hvilket Sted i Musikken de standser er ligegyldig. Toget bestaar kun af: Musikkorpset, to Fanebærere (der ikke passerer Buen, men bliver staaende tilhøjre og venstre under denne), Sultanen og Viziren, to Pager og en lille Deling bevæbnede Drabanter (som stiller sig op uden for Buerne, altsaa ikke passerer dem)

3 4 ff

1 Tr. (F) 2 ff 1 Trb.t. 2 Trb.b.

Tb.

Timp. ff Trgl. Ptti. Gr.c. (tyk, rød i Ansigtet og stivt, ubevægelig med komisk Værdighed)

SULT. (mager og bleg)

VIZ. f S. Vor

Sul - tan

le - ve!

Sul - tan

le - ve!

Sul - tan

le - ve!

Sul - tan

le - ve, vor

f A. Vor

f T. f

Vor høj - e

Sul - tan le - ve, vor sto - re

B. Vor

Allegro molto Vl. 1 3

ff Vl. 2

ff div.

poco rall. 3

høj - e Sul - tan

le - ve!

Vor

Allegro maestoso

ff unis.

Va. 3

Vc. ff

Cb. ff

DCM 030

263

Naar Sultanen og Viziren standser (i Forgrunden) slutter Koret en Halvkreds om dem. [se: Appendiks, ill. II.7] p 778 1 2

Fl.

p Ob.

1 2

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. p Tb. p

Timp.

Trgl.

Ptti. Gr.c.

S. Vor

Sul - tan

le -

ve!

Den

stør - ste

Sul

Vor

Sul - tan

le -

ve! I

Sul - tan le - ve, vor sto - re

Sul - tan

le -

ve!

tan

Sul - tan

le -

ve!

I From - hed og Vis - dom

tan

paa

den

stor, den

stør

ste

paa

Vis - dom den stør - ste

Sul

tan

paa

den

stør - ste paa den

A. From - hed og

Vis - dom

den

T. Vor høj - e

den

B. sto - re Sul

le -

ve!

Vor

div. Vl. 1 p Vl. 2 p Va. p Vc. p Cb. p

264

DCM 030

li - ge

stor,

784 Fl.

1 2

Ob.

1 2 f 1 2

Cl. (Bb)

f 1 2

Fg.

Cor. (F)

Tr. (F)

1 2

3 4

1 2 f

Trb.t.

1 2

Trb.b. f Tb. f

Timp. f

Trgl. f Ptti. Gr.c.

S. gan - ske Jord! Ret - sin - dig

gav - mild,

Pro

fe - tens Bud i

al - le

Maa - der

ly - dig.

gan - ske Jord! Ret - sin - dig

gav - mild,

Pro

fe - tens Bud i

al - le

Maa - der

ly - dig.

gan - ske Jord! Ret - sin - dig

gav - mild,

Pro

fe - tens Bud i

al - le

Maa - der

ly - dig.

gan - ske Jord! Ret - sin - dig

gav - mild,

Pro

fe - tens Bud i

al - le

Maa - der

ly - dig.

Pro-

A. Pro

tens

Bud

T. Pro-

B. Pro

tens

Bud

unis. Vl. 1 f Vl. 2 f Va. f Vc. f Cb. f

DCM 030

265

790 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2 mf

Trb.t.

1 2

mf Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

S. fe - tens

Bud

al - le

Maa - der

dig!

Maa - der

ly - dig!

Vor

Maa - der

ly - dig!

Vor

Maa - der

ly - dig!

Vor

Maa - der

ly - dig!

Vor

A. al - le

Maa - der

ly - dig!

T. fe - tens

Bud

al - le

Maa - der

dig!

B. al - le

Maa - der

ly - dig!

Vl. 1

Vl. 2

Va.

Vc.

Cb. fz

266

DCM 030

796

1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

S. høj - e

Sul - tan

ve,

vor

sto - re

Sul - tan

le -

ve,

vor

høj - e

Sul - tan

ve,

vor

høj - e

Sul - tan

ve,

vor

sto - re

Sul - tan

le -

ve,

vor

høj - e

Sul - tan

ve,

vor

høj - e

Sul - tan

ve,

vor

sto - re

Sul - tan

le -

ve,

vor

høj - e

Sul - tan

ve,

vor

høj - e

Sul - tan, vor sto

Sul - tan

Han

le -

ve!

vor

høj - e

Sul - tan

ve,

vor

B. le -

ve!

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

267

802 Fl.

1 2

Ob.

1 2

a2 1 Cl. (Bb) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Ptti. Gr.c.

SULT. Pro-

S. sto - re

Sul - tan

ve,

han

ve!

sto - re

Sul - tan

ve,

han

ve!

sto - re

Sul - tan

ve,

han

ve!

sto - re

Sul - tan

ve,

han

ve!

Vl. 1

Vl. 2

Va.

Vc.

Cb.

268

DCM 030

808

Recit.

1 Fl. 2 Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2 p

1 Cor. (F) 2 Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. p Tb.

Timp.

Ptti. Gr.c. SULT. fe

ten

vil

be - skyt - te

vor For - stand,

be - skyt - te

E - ders Sul - tan

og hans

kæ - re Folk!

Jeg

813 1 Fl. 2 Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Ptti. Gr.c. SULT. tak

ker

E - der

Børn

for

den

Kær - lig - hed,

DCM 030

som, næst

Pro -

ten,

min

bed - ste

269

Allegro assai

Allegro assai Recit.

817 1 Fl. 2

1 2

Ob.

1 2

Cl. (Bb)

Cor. (F)

Trb.t.

ff a2

1 2

Fg.

Tr. (F)

1 2

3 4

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

SULT. Styr - ke!

Som, næst Pro - fe - ten, er f

vor bed - ste Styr - ke.

Om f

S. Vor

høj - e

Sul - tan le

ve!

Vor

høj - e

Sul - tan le

ve!

høj - e

Sul - tan le

ve!

høj - e

Sul - tan le

ve!

Sul

tan

ve!

f A. Vor

høj - e

Sul - tan le

ve!

Vor

T. Vor

høj - e

Sul - tan le

ve!

Vor f

f B. Vor

Sul

tan

ve!

Vor

Allegro assai 3

Recit. 3

Vl. 1

p 3

Vl. 2

p 3

Va.

p 3

Allegro assai

Vc. ff

Cb. ff

270

DCM 030

822

Moderato

1 Fl. 2

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

p Cor. (F)

1 2 p

mf f

Cor. (F)

3 4 p p

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f Tb.

Timp. f

Trgl.

Ptti. Gr.c.

SULT. E - ders Sul - tan, Al - lah og Pro - fe - ten ved,

han

le - ver kun sit Folk til Gavn og

Glæ

de, han

le - ver kun sit

Folk til Gavn og

Glæ - de,

Moderato Vl. 1 ff

Vl. 2

Va.

Vc.

Cb.

DCM 030

271

rit.

Allegro maestoso

829 1 Fl. 2

1 2

Ob.

1 2

Cl. (Bb)

Cor. (F)

1 2

Fg.

1 2

3 4 p

Tr. (F)

Trb.t.

1 2

Trb.b. ff Tb. ff

Timp. p

Trgl.

Ptti. Gr.c. f SULT. sit kæ - re

Folk

til

Glæ

de.

S. Vor

Sul - tan

le -

ve!

Sul - tan

le -

ve!

Sul - tan le - ve, vor sto - re

Sul - tan

le -

ve,

tan

Sul - tan

le -

ve, vor høj - e

f A. Vor f T. Vor høj - e

vor høj - e

Sul - tan

f B. Vor Sul

rit.

le - ve,

Allegro maestoso

Vl. 1 p

Vl. 2

Va.

Vc.

Cb.

272

DCM 030

vor

Sul

tan

Paa et Vink af Viziren trækker Folket sig tilbage. 836

Allegretto

1 Fl. 2 Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

(betragter Slottet)

SULT. For

Allegretto

un - der - ligt!

Et Slot frem - tryl - let

her

og stør - re,

me-re pragt - fuldt end mit

e - get.

Højst in - t’res -

Vl. 1 p Vl. 2 p Va. p div.

unis.

Vc. p

Cb. p

842 1 Fl. 2 Ob.

1 2

1 Cl. (Bb) 2

Fg.

1 2 p

1 Cor. (F) 2 p Cor. (F)

3 4

1 Tr. (F) 2 p

SULT. sant,

og højst mærk - vær - digt.

Saa tror Du sik - kert

det er Al - lahs Værk og

VIZ. I Sand - hed, ja.

Hvo

for - staar vel at ud - gran - ske Al - lahs Vis - dom!

Vl. 1 f Vl. 2 f div. Va. f Vc. f

Cb. f

DCM 030

273

848 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2 f

Fg.

1 2 f

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2 p

Trb.t.

1 2

Trb.b.

Tb.

Timp.

SULT. in - gen ned - rig Trold, der vil ta’

Li - vet og min Kro - ne

af mig?

VIZ. Nej, høj - e

Sul - tan,

et saa - dant Værk er kun af Al - lah skabt til E - ders Pryd,

Vl. 1 p

cresc.

Vl. 2 f

f unis.

cresc.

p div.

Va.

Vc. f

Cb.

274

DCM 030

854 Fl.

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2 pp

Cor. (F)

3 4

pp Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

SULT.

VIZ. og for

til - li

be - vi - se,

i hvor høj en Grad

han skat - ter E - ders

klo

ge og be - sin - di - ge

Re -

Vl. 1 mf

Vl. 2 mf

Va. pp unis. Vc. pp

Cb. pp

DCM 030

275

860 Fl.

1 2

a2 Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

3 3

pp 3

Trb.b. f

Tb.

Timp.

SULT. Ja,

stor

Al - lahs

Naa

VIZ. - ge

ring!

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff

Cb. ff

276

DCM 030

mod

den

der er, som

jeg

kær - lig

Fa - der

for

sit

Fl.

risoluto a2

867 1 2

a2 a2

1 Ob. 2

Cl. (Bb)

Fg.

Cor. (F)

ff a2

1 2

ff a2

1 2 f

1 2

3 4 f

Tr. (F)

1 2 f 3

Trb.t.

1 2 f

Trb.b. f

Tb.

Timp. f

SULT. Folk.

Kald Fol - ket hid,

vi straks

vil brin - ge ham vor Tak. (Viziren giver Tegn til Folket, at det skal træde nærmere.)

VIZ.

risoluto Vl. 1 ff

3 3

Vl. 2 ff

Va. ff

Vc. ff 3

Cb. ff

DCM 030

277

Koret stiller sig atter op i en Halvkreds om Sultanen og Viziren. 873 Fl.

1 2

Andantino

1 Ob. 2

Cl. (Bb)

1 2

muta in A

p Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

a2 p

f dim. Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

SULT. Det he - le Folk

op - løf - te nu sin Tak

til

Al - lah

for hans sto

re Mis - kund - hed og Naa

VIZ.

Andantino

div.

Vl. 1 p

pp div.

Vl. 2 p

pp div.

Va. p

Vc. p

Cb.

278

DCM 030

No. 18 Andante 880 1 2

Fl.

1 2

Ob.

1 Cl. (A) 2

1 2

Fg.

pp Cor. (F)

1 2

3 Cor. (F) 4 pp Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. p SULT. de! (alle med korslagte Arme)

mf S. Al - lah, Per - siens Gud, rigt Du skæn - ker os mf

af Din Kær - lig - hed

al vor Be - hov!

Rin - ge

er vor Tak

for hvad Du os gav;

Du træt - tes, dog

Al - lah, Per - siens Gud, rigt Du skæn - ker os

af Din Kær - lig - hed

al vor Be - hov!

Rin - ge

er vor Tak

for hvad Du os gav;

Du træt - tes, dog

Al - lah, Per - siens Gud, rigt Du skæn - ker os mf

af Din Kær - lig - hed

al vor Be - hov!

Rin - ge

er vor Tak

for hvad Du os gav;

Du træt - tes, dog

Al - lah, Per - siens Gud, rigt Du skæn - ker os

af Din Kær - lig - hed

al vor Be - hov!

Rin - ge

er vor Tak

for hvad Du os gav;

Du træt - tes, dog

mf T.

div.

Andante

unis.

Vl. 1 mf

p unis.

Vl. 2 p

cresc.

p unis.

Va. p

cresc.

Vc. p pizz.

arco

Cb. p

DCM 030

279

887 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2 cresc. 1 2

Fg.

cresc. Cor. (F)

1 2 cresc.

Cor. (F)

3 4 cresc.

1 Tr. (F) 2

Trb.t.

1 2

Trb.b. pp Tb.

Timp. pp f

cresc.

dim.

cresc.

S. selv for

Øj - ets

cresc.

Glæ - der Du f

sør - ger,

pry- der her - ligt

Land og Stad.

Skøn - nest dog

dim.

Him - mel - bu - en cresc.

A. glem - mer os ej,

selv for cresc.

Øj - ets

selv for

Øj - ets

Glæ - der Du f

sør - ger, dim.

pry - der mf

her - ligt Land og Stad.

Glæ - der Du

sør - ger,

pry-der

her - ligt Land og Stad.

Skøn - nest dog

Him - mel - bu - en cresc.

T. glem - mer os ej,

cresc.

Skøn - nest dog

dim.

Him - mel-bu - en cresc.

B. glem - mer os ej,

selv for

Øj - ets

Glæ - der Du

sør - ger,

pry - der

her - ligt, pry - der her - ligt Land og

Stad!

Him - mel - bu - en

div. Vl. 1 f

cresc.

div.

Vl. 2 cresc.

fz f

p div.

unis.

div.

Va. f

cresc.

div.

unis.

Vc. f

cresc.

Cb.

280

DCM 030

894 1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

f Cor. (F)

1 2

p f

Cor. (F)

3 4 p

f Tr. (F)

1 2 f

Trb.t.

1 2 f

Trb.b. pp

Tb.

Timp. f p

S. hvor Din høj - e Tro - ne staar,

sen - der

Lys

til

Her - sker

sa - le,

sen - der til

Ar - mods

rin

A. hvor Din høj - e Tro - ne staar, ff

staar,

sen - der sen - der

Lys p

til

Her - sker

sa - le,

sen - der til

Ar - mods

rin p

T. hvor Din høj - e Tro - ne staar, ned - sen - der ff

Lys

til

Her

sker

til

Her - sker

sa - le,

sen - der til f

Ar - mods

rin p

sa - le, sen - der til

Ar - mods

rin

B. hvor Din høj - e Tro - ne staar, ned - sen - der

Lys

div.

unis.

Vl. 1 f

pp unis.

Vl. 2 f

pp unis.

Va. f

Vc. f Cb. f

DCM 030

281

900 Fl.

1 2

Ob.

1 2

l’istesso tempo

pp 1 2

Cl. (A)

p 1 2

Fg.

pp Cor. (F)

1 2

Cor. (F)

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

NOUR.

(hæver Armene)

SULT. Al -

lah, Per - siens Gud, for Dig staar yd - myg her So - li - man for Dit Aa - syn, yd - mygt her bøj - et,

for

al Din sto - re Mis - kund - hed og sto - re Naa -

de,

(ligeledes)

VIZ. For

al Din sto - re Mis - kund - hed og sto - re Naa cresc.

de, dim.

S. Vraa.

For Din

sto - re

Naa - de,

cresc.

dim.

A. Vraa.

For al Din Miskund - hed og sto - re Naa cresc.

de, dim.

T. Vraa.

For al Din Mis - kund - hed og sto - re Naa - de, dim.

cresc. B. Vraa.

For Din sto

re, sto - re Mis - kund - hed og sto - re Naa - de,

l’istesso tempo Vl. 1 p

div.

Vl. 2 p Va. p Vc. p Cb. p

282

DCM 030

906

poco meno lento

1 2

Fl.

cresc.

1 2

Ob.

cresc. 1 2

Cl. (A)

cresc.

1 2

Fg.

cresc. Cor. (F)

1 2 p

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

(Noureddin viser sig i Forgrunden til venstre.)

NOUR. Død og For- ban - del - se ram - me, for-vov -

ne, Dit Held; dybt i Jor - den jeg skjul - te Dig, ve!

af min Flid,

p SULT. sen - der Dig Per - siens Sul - tan

her

sin

Tak,

for

Din

Naa

sen

der

sin

Din

Naa

sen

der

sin

Din Naa

her

vor

p VIZ. sen - der Dig Per - siens Sul - tan

her

sin

Tak,

vor

Tak,

for

p S. mod

tag

her

mod

tag,

tag

mod

tag

for al

p A. mod

her

vor

mod

Tak,

vor

Tak,

mod

tag vor

cresc.

T. mod

tag

her

vor

Tak,

mod

tag

vor

Tak,

tag

her

vor

Tak,

mod

tag

vor

Tak,

mod

tag

vor

p B. mod

poco meno lento

mod

tag

vor

div.

Vl. 1 mf

unis.

cresc.

Vl. 2 mf non legato

cresc.

Va. mf non legato

cresc.

Vc. mf

cresc.

mf cresc.

Cb. mf

DCM 030

cresc.

283

911 1 2

Fl.

rall.

a tempo

cresc.

1 2

Ob.

1 2

Cl. (A)

cresc. 1 2

Fg.

f Cor. (F)

1 2

p 3 Cor. (F) 4

Tr. (F)

Trb.t.

p 1.

1 2

cresc.

1 2 pp

Trb.b. pp Tb.

NOUR. af min Kløgt f

e - ne Du hø - sted’ Løn. p

SULT. rin - ge Tak, sin rin - ge Tak. p

le pri - se Dig,

pri - se Dig,

thi Du er stor

og mæg - tig;

le pri - se Dig,

pri - se Dig,

thi Du er stor

og mæg - tig;

VIZ. rin - ge Tak, sin rin - ge Tak.

f S. rin

ge Tak.

Dig pri - se

højt, thi stor

præg - tig er

Du,

f A. rin

ge Tak. f

højt

Dig

pri f

se,

thi Du er stor

og mæg - tig,

T. rin - ge Tak. Al f

le pri - se Dig,

thi stor,

mæg - tig er

Du,

pri - se Dig, f

thi Du er stor

pri

o og mæg - tig;

B. rin

ge Tak.

rall.

le,

dig,

a tempo unis.

Vl. 1 p f

cresc.

div.

unis.

Vl. 2 f

cresc.

Va.

Vc.

Cb.

284

DCM 030

Allegretto 915 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

muta in Bb

1 Fg. 2

1 Cor. (F) 2 cresc.

1 Tr. (F) 2 f

f 1 Trb.t. 2

ppp

Trb.b. ppp Tb.

(Aladdin viser sig i en pragtfuld Klædning paa Trappen foran Døren til Badekammeret.)

ALAD. f NOUR. Ha! for - dømt!

Ha! f

Din stjaal - ne Glans snart bleg - ner.

Snart

(ser først tilhøjre (Scenens venstre Side), derpaa tilvenstre, og da han bliver Aladdin vaer, strækker han Armene ud frem for sig og staar som forstenet.)

SULT. Al -

lah.

Hvad nu?

Slig

Pragt jeg al - drig sku

ed!

(gjør en hastig Bevægelse i Forbavselse over Aladdin)

VIZ. Al -

lah.

En Frem - med!

Selv So-lens Glans maa

f (peger paa Aladdin) S. Al -

lah.

Se!

Nej

hvor skøn,

han er Sen - de - bud

fra

Nej

hvor skøn,

han er Sen - de - bud

fra

(peger paa Aladdin)

f A. Al -

lah.

Se!

T. Al -

lah.

Hvem kom - mer der? (De af Koret, som staar paa højre Side trækker sig baglænds med Øjnene fæstede paa Aladdin noget over mod venstre Side skraa Frond.) [se: Appendiks, ill. II.8]

han er

kom - men hid som Sen - de - bud fra

B. Al -

lah.

Hvem kom - mer der?

han

Sen - de - bud fra

Al - lah, han er Sen - de - bud

fra

Allegretto Vl. 1 f Vl. 2 fp

Va. f

3 3

Vc. mf

Cb. f

DCM 030

285

a2 920 1 2

Fl.

mf mf

1 2 a2

mf 3

3 3

1 2

Fg.

1 Ob. 2

Cl. (Bb)

mf Cor. (F)

1 2 mf mf

Cor. (F)

3 4 mf

1 Tr. (F) 2 f Trb.t.

1 2 f

Trb.b. f Tb. f Timp. fp 3

NOUR. er Din Lyk - ke for - bi.

Snart

har jeg gre - bet min Skat!

SULT. Dog

nel - ser mit Hjer - te

knu - ger. 3

VIZ. bleg

ne.

Frygt ej,

min høj - e

Sul - tan!

Hør Fol - kets

(med opløftet Arm)

S. Al - lah!

Hil

set

væ

Al - lah!

Hil

set

væ

Al - lah!

Hil

set

væ

Al - lah!

Hil

set

væ

Vl. 1 mf

f 3

Vl. 2 mf 3

3 3

Va. mf 3

3 3

Vc. mf 3

3 3

Cb. mf

286

DCM 030

a2 924 1 2

Fl.

mf 3

1 2

Ob.

1 2

Fg.

Cor. (F)

3 3

3 4

3 3

f fp

f f

1 2 f

Trb.t.

f Tr. (F)

1 2 f

Cor. (F)

f Cl. (Bb)

1 2

Trb.b. f

f 3

Tb. f

f 3

Timp. f

NOUR. -

Lam

pen er min,

snart,

snart

den min!

SULT. A

nel - ser mit Hjer - te knu - ger,

mit Hjer - te

knu - ger!

Jeg

lahs

Tolk!

ved trygt

mit

le Liv

VIZ. Røst

det hil - ser ham som

S. Him

lens

Sen

bud!

Him

lens

Sen

bud!

Him

lens

Sen

bud!

Him

lens

Sen

bud!

Vl. 1 mf

Vl. 2

f p

3 3

Va. f

f p 3

Vc. 3

Cb. 3

DCM 030

287

929 1 2

Fl.

1 2

Ob.

p fp

1 2

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2 p

p Cor. (F)

3 3

3 4 fp

Tr. (F)

3 3

1 2 f

1 Trb.t. 2

Trb.b. f Tb.

Timp. f

f NOUR. I f

sin Rus

han

sik

kert har

sin

vets

ten mig

ligt

Sind,

SULT. Lyk

kens ly

ge;

skal

nu f

Ej f

et fjendt

VIZ.

ondt

jeg

S. Er

lahs

Tolk? f

Sig f

A. Er

lahs

Tolk? f

lahs

Tolk?

Sig

hvad pp

Du brin

ger,

Du brin

ger,

T. Er

Sig f

B. Er

lahs

Tolk?

Vl. 1 p

Vl. 2 fp Va. fp div.

unis.

Vc. p

Cb. f

288

DCM 030

Sig

hvad

f pp

933 1 2

Ob.

f 1 2

Cl. (Bb)

f 1 2

Fg.

f f pp

Cor. (F)

1 2 f

3 Cor. (F) 4 f pp Tr. (F)

Trb.t.

1 2

Trb.b.

Tb. f

Timp. pp

f (Noureddin gaar bag om Koret.)

NOUR. Lam

pe glemt hist - in

de.

lig Skæb - ne

mø

de!

je.

SULT. -

fjendt

VIZ. læ

ser

hans

Høj - e Sul - tan,

lad E - ders Frygt

ej mær - kes! mf

(Folket knæler.)

S. hvad

brin

ger

Du?

Se,

mf A. hvad

brin

ger

Du?

Se, mf

brin

ger

Du?

Se,

T. hvad

mf B. hvad

brin

ger

Du?

Se,

Vl. 1 fp

div. pizz. Vl. 2 fp div.

unis.

div.

unis.

pizz.

Va. 6

Vc.

Cb. p

DCM 030

289

937 Fl.

1 2

Ob.

1 2

Cl. (Bb)

pp 1 2

Fg.

pp 1 Cor. (F) 2

Cor. (F)

3 4 pp

Tr. (F)

1 2 pp

Trb.t.

1 2

Trb.b. pp Tb. pp

Timp. pp

NOUR.

SULT. Du har Ret!

Som Ven jeg ham mod - ta - ger.

VIZ. Mod - tag ham ven - ligt

som

in - tet ondt I

a - ned!

S. lyt

til

Din

Røst!

Se,

lyt

til

Din

Røst!

Se,

lyt

til

Din

Røst!

Se,

lyt

til

Din

Røst!

Se,

Vl. 1

Vl. 2

Va.

Vc.

Cb. p

290

DCM 030

941 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. f (Aladdin gaar ned paa Scenegulvet.)

(Aladdin træder frem og

—

Din

—

knæler for Sultanen)

ALAD. -

mygt

her

Sla - ve

for

dig

knæ

ler.

SULT.

VIZ.

(Folket rejser sig.)

S. lyt

til

Din

Røst.

lyt

til

Din

Røst.

lyt

til

Din

Røst.

f B. lyt

til

Din

Røst.

For

div. Vl. 1 pp unis. arco

div.

Vl. 2 pp div.

unis.

Va. pp arco Vc. pp Cb. pp

DCM 030

291

946

Allegro

1 2

Fl.

f a2

1 2

Ob.

ritenuto

f 1 Cl. (Bb) 2

a2 f

1 2

Fg.

f Cor. (F)

1 2 f

3 Cor. (F) 4

Tr. (F)

Trb.t.

1 2

Trb.b. f Tb.

Timp.

(Aladdin rejser sig.)

ALAD. (Noureddin viser sig ved Trappen.)

NOUR.

SULT.

VIZ. (Koristerne tilhøjre svinger noget frem, henimod Trappen, som ikke maa skjules for Tilskuerne. De Korister, som staar nærmest Trappen, vender Ryggen til denne og Noureddin.) [se: Appendiks, ill. II.9]

f S. For

So - li - man han

bøj - er

Knæ!

Selv

Al - lahs

Tolk for

So - li - man maa

knæ -

le,

Ja!

So - li - man, for

So - li - man maa

knæ -

le,

Ja!

for

So - li - man maa

knæ -

le,

Ja!

So - li - man, for

So - li - man maa

knæ -

le,

Ja!

f A. Han bøj - er

Knæ!

Selv

Al - lahs Tolk for

f T. For

So - li - man han

bøj - er

Knæ! Selv

Al - lahs Sen - de - bud

B. So - li - man han

bøj - er

Knæ!

Selv

Al - lahs Tolk for

Allegro

ritenuto

Vl. 1 f unis. Vl. 2 div.

f Va. f Vc. f Cb. f

292

DCM 030

951

Andantino maestoso

1 Fl. 2 1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2 3 4

1 Tr. (F) 2 ff Trb.t.

1 2

Trb.b.

Tb.

Timp. ff (Alle med opløftet Arm)

ALAD. Hil

Dig

Sul - tan

li - man!

Hil

Dig Sul - tan So

li - man!

Hil

Dig

Sul - tan

li - man!

Hil

Dig Sul - tan So

li - man!

Hil

Dig

Sul - tan

li - man!

Hil

Dig Sul - tan So

li - man!

Hil

Dig

Sul - tan

li - man!

Hil

Dig Sul - tan So

li - man!

Hil

Dig

Sul - tan

li - man!

Hil

Dig Sul - tan So

li - man!

Hil

Dig

Sul - tan

li - man!

Hil

Dig Sul - tan So

li - man!

NOUR.

SULT.

VIZ.

Andantino maestoso Vl. 1 ff

ff unis.

Vl. 2

Va.

Vc. ff

Cb.

DCM 030

293

Recit.

Allegro 95

1 Fl. 2

1 2

Ob.

mf 1 2

Cl. (Bb)

mf 1 2

Fg.

Cor. (F)

1 2 mf

Cor. (F)

3 4

Timp.

ALAD. A - lad - din

(Noureddin vover sig op paa Trappens første Trin, skulende til Alle og bliver staaende saaledes til Tegnet Ø Takt 961.)

er mit Navn, en fat-tig Knøs—

NOUR.

SULT. Sig frem Dit

Navn, Din Hjem - stavn og for - klar mig, hvis Du kan, det Sær - syn her med Slot - tet. f

S. En fat-tig Knøs!

Ha ha!

f A. En fat-tig Knøs!

Ha ha!

f T. En fat-tig Knøs!

Ha ha!

f B. En fat-tig Knøs!

Ha ha!

Allegro

Recit. Vl. 1 mf

f marcato

Vl. 2 f marcato

Va. f marcato

Vc.

Cb.

294

DCM 030

f marcato

Recit. 961

Andantino

1 Fl. 2 p p 1 2

Ob.

p 1 2

Cl. (Bb)

1 2

Fg.

p Cor. (F)

1 2

Cor. (F)

3 4 p

Timp.

ALAD. Ja,

thi end - nu

er den Skat ej min,

som

ne mig lyk - sa - lig gør.

Ø (Noureddin smutter hurtig indad Døren.)

NOUR.

SULT. Vel

er jeg me - get rig

og me - get gav - mild,

Andantino

div.

Recit.

Vl. 1 f

div. Vl. 2 f

div. Va. f

Vc. p

Cb. p

DCM 030

295

men

Andantino

967 Fl.

Ob.

1 2

1 2 ff

Cl. (Bb)

1 2 ff

Fg.

1 2 ff

Cor. (F)

1 2

Cor. (F)

3 4 p

Timp.

ALAD. Nej he - le Per - siens Land

SULT. vil Du her en Skat af mig be - gæ - re,

den vist - nok blev for stor,

mit he - le

Ri - ge vist knapt for - slog.

Andantino

div. Vl. 1

Vl. 2 ff

div. Va. ff

Vc. ff

Cb. mf

296

DCM 030

op - ve - jer

Recit.

973 Fl.

Allegretto

rit.

1 2

1. Ob.

Cl. (Bb)

Fg.

1 2

p 1.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

4. pp

ALAD. ej

den Skat.

SULT. For - klar Dig ty - de - ligt: hvad me - ner Du? unis.

Recit.

Allegretto

rit.

Vl. 1 mf

Vl. 2 mf

unis.

Va.

Vc.

Cb.

a tempo 980 Fl.

1 2 leggiero

ALAD. Blandt tu - sen - de Ju - ve

ler som pry - der Slot - tets Hal

kun En min Hu

be - gæ - rer,

a tempo Vl. 1 pp leggiero Vl. 2 pp div.

unis.

Va. pp Vc. pp pizz. Cb. p

DCM 030

297

985 Fl.

Ob.

1 2

1 2 pp

Cl. (Bb)

1 2 pp

1 Fg. 2 ALAD. i Ren - hed,

Skøn - hed,

Glans

den

Al - le

o - ver - straa - ler,

for - dunk - ler

So - len selv

Vl. 1 div. unis. Vl. 2

div.

unis.

Va.

Vc. arco Cb.

Recit.

Allegro

Recit.

Allegro

Recit.

990 1 Fl. 2

Ob.

Cl. (Bb)

Fg.

1 2 1 2

1 2 ff

Cor. (F)

1 2

3 4 ff

1 Tr. (F) 2 ff 3

ALAD. Din skøn

Recit.

ne Dat - ter Gul - na - re

jeg

Allegro

Recit.

div. Vl. 1 ff

div.

Vl. 2 ff Va. ff Vc. ff Cb. ff

298

DCM 030

sker ømt og rent,

Allegro

Recit.

døm mig høj - e

Sul - tan,

til

998

poco lento Allegro

1 2

Fl.

cresc. cresc.

1 2

Ob.

rall.

cresc.

1 Cl. (Bb) 2 f

mf cresc. 1 2

Fg.

cresc.

f f Cor. (F)

1 2 p

mf cresc.

3 Cor. (F) 4 ff ALAD. Liv

el - ler Død.

(Koristerne tilhøjre træder helt frem i Forgrunden (altsaa skjuler Trappen.)) [se: Appendiks, ill. II.10]

S. Til

Prin - ses

sen kom - mer han at

bej - le!

Til Prin - ses - sen,

til Prin - ses - sen.

Prin - ses

sen kom - mer han at

bej - le!

Til Prin - ses - sen,

til Prin - ses - sen.

sen kom - mer han at

bej - le!

Til Prin - ses - sen,

til Prin - ses - sen.

sen kom - mer han at

bej - le!

Til Prin - ses - sen,

til Prin - ses - sen.

f A. Til f T. Til

Prin - ses

B. Til

Prin - ses

poco lento Allegro

rall.

Vl. 1 mf

cresc.

Vl. 2 mf

cresc.

Va. p

Vc. mf

cresc.

Cb. mf

1005

cresc.

Moderato quasi recit.

SULT. Skøndt Din Ta - le er ej gan - ske klar,

tror jeg dog at Me - nin - gen jeg gæt - ter,

til Hu - stru min Gul - na - re Du be - gæ- rer. Nu vel, men ej

til hvem - som - helst jeg

Moderato quasi recit. Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

299

Recit.

1012

Allegro non troppo

1 Fl. 2

Ob.

1 2 ff dim.

Cl. (Bb)

1 2 ff

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

dim.

1. p

1 2

Trb.b. p

Tb. p

Timp.

SULT. skæn

ker

bort

mit e

get

Kød og

Blod,

jeg me - re vi - de maa, end blot dit Navn.

Allegro non troppo

Recit. Vl. 1

ff fz

div.

fz dim.

Vl. 2 ff div.

dim.

Va. ff

dim.

div.

Vc. f

Cb.

300

DCM 030

dim.

1018 Fl.

1 2

Ob.

1 2

1 Cl. (Bb) 2

cresc.

cresc. 3

Fg.

Cor. (F)

1 2

cresc.

1 2

cresc.

pp cresc.

Cor. (F)

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp.

ALAD. Se det - te Slot til - hø - rer mig

syn

ligt Tegn paa Al - lahs Gunst.

Hvis ej

Du tror mig

SULT.

Vl. 1 pp

cresc.

pp sempre

cresc.

unis. Vl. 2 cresc.

cresc.

unis Va. pp

cresc.

sempre

pp sempre

cresc.

unis Vc. pp

pp cresc.

cresc. Cb. pp

cresc.

DCM 030

301

più allegro

1023 1 Fl. 2

1 2

Ob.

Cl. (Bb)

1 2

Fg.

1 2

cresc.

p Cor. (F)

cresc.

1 2 p cresc.

Cor. (F)

3 4

ALAD. vær

dig nok

til Gul - na

res Haand,

hel - ler kan

Du tro hvad her

Dit

Øj

e ser.

SULT.

VIZ. (til hinanden indbyrdes)

S. Saa er det

f (til hinanden indbyrdes) A. saa er det

Saa er det ham,

(til hinanden indbyrdes)

T. Saa f

er det ham,

(til hinanden indbyrdes)

B. Saa

div.

più allegro

Vl. 1 cresc.

Vl. 2 cresc. 3

Va. cresc. 3

Vc. cresc.

Cb. cresc.

302

er det ham,

DCM 030

rall. 1028 1 2

Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

f pp Cor. (F)

1 2 pp

f Cor. (F)

3 4 f

ALAD.

SULT.

VIZ.

S. ham,

saa

det

ham,

Slot - tets

Her - re,

Slot - tets

Her - re!

ham,

saa

det

ham,

Slot - tets

Her - re,

Slot - tets

Her - re!

T. saa

det ham, saa

det

ham,

Slot - tets

Her - re,

Slot - tets

Her - re!

saa

det ham, saa

det

ham,

Slot - tets

Her - re,

Slot - tets

Her - re!

div.

unis.

rall.

Vl. 1 ff

div. unis.

Vl. 2 f

ff div.

unis.

Va. f

Vc.

Cb.

DCM 030

303

1032 Fl.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Recit.

SULT. Hvad me - ner Du:

han

sy - nes rig

og mæg - tig,

dog kun - de han be - dra -

ge.

VIZ. I

E - ders

Recit.

Naa - de

og Vis - dom

non div.

Vl. 1 p

Vl. 2

Va. p

Vc. p

Cb. p

Moderato

1036 Ob.

1 2 p

Cl. (Bb)

1 2 p

SULT. Ja, Du har Ret.

VIZ. har I selv ud - fun - det Mid - let

til at for - vis - se E - der.

Mor - gen - ga - ven!

Moderato Vl. 1 p Vl. 2 p Va. p Vc. p Cb. p

304

DCM 030

Om han kan brin - ge den.

1042

Allegretto

rit.

Recit.

1 Fl. 2 mf Ob.

1 2

Cl. (Bb)

1 2 3

1 2

Fg.

Cor. (F)

1 2 mf

Cor. (F)

3 4

Tr. (F)

1 2 f (til Aladdin)

SULT. Du ved,

jeg

ind - stif - tet

har

en Lov,

ej af Be - gær - lig - hed,

det

Allegretto

rit.

Recit.

Vl. 1 ff

p f

Vl. 2 ff

Va. 3

Vc.

Cb.

DCM 030

305

Allegro non troppo 1051

Lento

1 2

Fl.

p 1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2

3 4

SULT. ved En - hver,

men kun

e - ne

for

væ

o - ver

ty - det

Bej - lers

fo - re -

f S. En - hver. f A. En - hver. f T. En - hver. f B. En - hver.

Allegro non troppo

Lento Vl. 1 p

cresc.

Vl. 2

Va. p

Vc. p

Cb.

meno mosso

1058 1 Cor. (F) 2

p SULT. giv - ne

Rang

Rig

dom;

hvis Du en

meno mosso Vl. 1 ff

Vl. 2 ff

Va. p

cresc.

Vc. ff Cb. ff

306

DCM 030

Mor - gen - ga - ve

p 1065 Fl.

1 2

cresc.

p 1 Ob. 2 p

cresc. p

1 Cl. (Bb) 2 p

Fg.

1 2

cresc.

p 1 Cor. (F) 2 cresc.

Tr. (F)

3 Cor. (F) 4

cresc.

1 2

Timp.

(Morgiane trænger sig frem gennem Mængden og rækker Aladdin Bylten med Ædelstenene og forsvinder igjen.)

MORG.

ALAD.

SULT. brin - ger mig,

stor nok

til at for - ja - ge hver

en Tvivl, skal Du

for - gæ - ves ej

Din Lyk - ke sø

Vl. 1 cresc.

Vl. 2 cresc.

Va. cresc.

Vc. cresc.

Cb. cresc.

DCM 030

307

Fl.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2 f

cresc.

1 2 ff

3 4 fp

cresc. f

Tr. (F)

1 2

Cor. (F)

poco accel.

Maestoso

1073

1 2 f

Timp. f

(holder Bylten højt hævet)

ALAD. Mod - tag,

mod - tag

min høj - e

Sul

tan den - ne Ga

ve,

SULT. ge.

VIZ.

poco accel.

Maestoso Vl. 1 f

cresc.

Vl. 2

div.

unis.

Va. f

cresc.

Vc.

Cb.

308

DCM 030

Allegro

1081 1 Cl. (Bb) 2

Fg.

muta in A

1 2

ALAD. skøndt rin -ge kun,

mod den jeg selv be - gæ - rer.

(ud imod Tilskuerne)

SULT. Ha, ha,

(Viziren tager imod Bylten, aabner den noget og kigger ned, studser ved Synet af Ædelstenene, vinker Pagerne til, giver dem hver to Hjørner af Byltens Klæde.)

nu maa jeg le

en Mor - gen- ga - ve i

den - ne Bylt.

Ha, ha, det

er nok sto-re Sa - ger.

VIZ.

Allegro

div.

non div.

Vl. 1 p div.

unis.

Vl. 2 p Va. p

Vc.

Cb. pp

1089

poco a poco animato

(Pagerne breder Klædet ud.) [se: Appendiks, ill. II.11]

1 Fl. 2 Ob.

1 2

pp 1 Cl. (A) 2 p Cor. (F)

1 2

ALAD. (Sultanen vender sig om og ser Ædelstenene.)

SULT. (et Skridt tilside)

Hvad!

(peger paa Klædet)

Æ - del - ste - ne,

Per - ler,

Di - a - man - ter!

Nej

al - drig har jeg

VIZ. Ja, sto - re Sa - ger, gan - ske vist,

se blot!

poco a poco animato Vl. 1 f p

Vl. 2

Va. f

Vc.

Cb.

DCM 030

309

poco tranquillo 1097 Fl.

1 2

cresc.

pp Ob.

1 2 mf

cresc.

cresc. Cl. (A)

1 2 cresc.

Fg.

1 2

cresc.

pp 1 Cor. (F) 2 mf

cresc.

f 3 Cor. (F) 4

pp Tr. (F)

cresc.

1 2 pp

Trb.t.

cresc.

1 2

Trb.b.

Tb.

Timp.

ALAD. Og

det - te Slot

til - hø - re skal min Brud.

SULT. set

en stør - re

Pragt.

Hun Dig til - hø - re!

poco tranquillo div. Vl. 1 cresc.

cresc.

Vl. 2

Va.

Vc.

Cb.

310

DCM 030

Kom

i mi - ne

1106

Allegro

1 Fl. 2 f 1 2

Ob.

f 1 2

Cl. (A)

f 1 2

Fg.

Cor. (F)

Tr. (F)

f a2

1 2

f a2

3 4

f a2

1 2

f Trb.t.

1 2

Trb.b. f Tb. f

Timp. f

(Sultanen og Aladdin omfavne hinanden et Øjeblik. Pagerne lukker Bylten, som de beholder, og stiller sig som før bag Sultanen. Viziren stiller sig paa Sultanens højre side. Under dette Kor staar Sultanen og Viziren stive og ser lige ud, medens Aladdin gestikulerer takkende til Koret.) [se: Appendiks, ill. II.12]

ALAD.

SULT. Ar

me! f

S. Prins A - lad

din

ve, Prin - ses

Prins A - lad

ve, Prin - ses

ve, Prin - ses - sen og Sul - tan

So - li - man

ve, de

sen og Sul

tan

Sul - tan

So - li - man

ve, de

din

ve, Prin - ses - sen og Sul - tan

So - li - man

ve, de

sen og Sul

tan

So - li - man

ve, de

f A. Prins

A - lad

din

So - li - man,

f T. le

f B. Prins

A - lad

din

So - li - man,

Sul - tan

Allegro Vl. 1 ff Vl. 2 ff Va. ff Vc. ff Cb. ff

DCM 030

311

1111 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD.

SULT.

S. le

ve, de le

ve, de

i Fryd

Kær - lig - hed!

ve,

ve, de le

ve, de

i Fryd

Kær - lig - hed!

ve,

ve, de le

ve, de

i Fryd

Kær - lig - hed!

ve,

ve, de le

ve, de

i Fryd

Kær - lig - hed!

ve,

Vl. 1

Vl. 2

Va.

Vc.

Cb.

312

DCM 030

1116 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD.

SULT.

S. de

ve!

Sul

tan

So - li - man

Prins

lad

din

Prin - ses

sen

ve!

Sul

tan

So - li - man

Prins

lad

din

Prin - ses

sen

T. le

ve!

Sul

tan

So - li - man

Prins

lad

din

Prin - ses

sen

ve!

Sul

tan

So - li - man

Prins

lad

din

Prin - ses

sen

div.

Vl. 1 div. Vl. 2

Va.

Vc.

Cb. f

DCM 030

313

REVIDERET SLUTNING 1121a Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. Nu

høj - e Sul - tan,

før

mig til Gul - na - re,

men fluks,

S. ve!

A. - ve!

T. ve!

B. ve!

unis. Vl. 1 pp sempre unis. Vl. 2 pp sempre div. Va. pp sempre Vc. f Cb. f

314

DCM 030

thi in - den Af - ten

skal

vort

Bryl - lup

staa.

OPRINDELIG SLUTNING 1121b Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

S. –ve!

A. –ve!

T. –ve!

B. –ve!

unis.

Vl. 1 unis.

Vl. 2 3

Va. 3

Vc. 3

Cb.

SULTANEN: Inden Aften? Noget hastigt synes mig; men som Du vil, min kære Prins, jeg godt forstaar Din Utaalmodighed, jeg selv en Gang var ung og mindes vel – men først maa Du, for min Nysgærrighed at stille, føre mig en liden Stund omkring i Dine Sale.

ALADDIN: Mine Sale? (ser sig om, noget forvirret) (Koristerne tilvenstre træder tilbage for at give Plads) [se: Appendiks, ill. II.13]

SULTANEN (til Viziren, medens Aladdin iler foran og fører dem ind i Slottet ad Døren i Forgrunden til venstre.) I Sandhed, jeg er grumme nysgærrig – naar Slottet bare ikke faar i Sinde pludselig at flyve bort, medens vi er derinde.

DCM 030

VIZIREN: Naa –

315

No. 19 Allegro vivace 1 Fl. 2

1129

1 2

Ob.

mf cresc. f

f mf cresc. f

1 2

Cl. (A)

1 2

Fg.

Cor. (F)

mf cresc. f

1 2 f

p Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. mf Tb. mf

Timp. f ff Bryl - lups - fest sam

(Koret helt frem i Prosceniet)

les

mf cresc.

S. Til

stig

Bryl - lups- fest, til ly mf cresc.

stig Bryl - lups - fest vi sam ff fz

stig

Bryl - lups- fest, til ly mf cresc.

stig Bryl - lups - fest vi ff

stig

Bryl - lups- fest, til

stig Bryl - lups - fest vi sam - les,

les

her

i - gen, vi mf

sam

les

her

i - gen, til

ly - stig

les

her

i - gen, vi mf

sam

les

her

i - gen, til

ly - stig

sam

les

her

i - gen, til

ly - stig

sam

les

her

i - gen, til

ly - stig

p A. Til p

sam fz

T. Til

sam

vi mf

B. Til

stig

Bryl - lups- fest,

les

her

i - gen, vi

Allegro vivace Vl. 1 p

Vl. 2

Va.

Vc.

Cb. p

316

DCM 030

1138 1 2

Fl.

1 2

Ob.

mf cresc.

1 2

Cl. (A)

a2 1 2

Fg.

Cor. (F)

1 2

pp Cor. (F)

3 4 ff

mf Tr. (F)

1 2

Trb.t.

1 2

Trb.b. f Tb. f

Timp. pp

cresc.

dim.

S. Bryl - lups - fest.

Der

skal

sti - ge

til

Him-len en

bel - sang,

cresc.

en Ju - bel -sang fra Al

le fjern

og nær,

fra Al - le dim.

A. Bryl - lups - fest.

Der

skal

sti - ge

til

Him-len

en Ju - bel - sang, fz

cresc.

en Ju - bel -sang fra Al mf

le fjern

og nær,

fra Al - le dim.

T. Bryl - lups - fest.

Der

skal

sti - ge

til

Him-len en

bel - sang,

cresc.

en Ju - bel -sang fra Al mf

le fjern

og nær,

le fjern

og nær,

fra Al - le

B. Bryl - lups - fest.

Der

skal

sti - ge

til

Him-len

en Ju - bel - sang,

en Ju - bel -sang fra Al

Vl. 1 cresc.

Vl. 2 f f

cresc.

unis.

div. Va. f

Vc. f

cresc.

Cb.

DCM 030

317

1149 1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

Cor. (F)

1 2

fff

3 4 f

Tr. (F)

1 2 mf

Trb.t.

dim.

1 2

Trb.b.

Tb.

Timp. mf mf

S. fjern og nær,

fjern og nær, en mf

bel - sang skal sti

ge til Him

len op

fra Al - le

A. fjern og nær,

fjern og nær, en mf

bel - sang skal sti

ge til Him

len op

fra Al - le

T. fjern og nær,

fra Al - le

fjern og nær, en

bel - sang skal sti

ge til Him

len op ff

B. fra Al - le fjern

og nær, en

bel - sang skal sti

ge til Him

len op

div. Vl. 1 f

fff

dim.

Vl. 2

Va. f

Vc.

Cb.

318

DCM 030

dim.

1161 1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

Cor. (F)

cresc.

mf cresc.

1 2 p

Cor. (F)

3 4

Tr. (F)

1 2 dim.

Trb.t.

1 2

Fg.

1 2

Trb.b. mf

Tb. mf

Timp. f ff Bryl - lups - fest

sam

les

vi mf

p S. fjern og nær.

Til

stig

Bryl - lups- fest, til

ly -

stig Bryl - lups - fest vi sam ff

les

her

i - gen, vi

sam

les

sam

les

sam

les

p A. Til

fjern og nær. dim.

stig

Bryl - lups- fest, til

stig Bryl - lups - fest vi

sam

les

her

i - gen, vi mf

T. en

Ju-bel - sang fra dim.

Al - le fjern og nær.

Til

Bryl - lups- fest, til

stig Bryl - lups - fest vi sam - les,

sam

B. en

Ju-bel - sang fra

Al - le fjern og nær.

Til

Bryl - lups - fest

les

her

i - gen, vi

sam

Vl. 1 p

cresc.

dim.

cresc.

dim.

cresc.

dim.

Vl. 2

Va.

Vc.

Cb. ff

DCM 030

319

1171 1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

cresc.

1 2

Fg.

Cor. (F)

ff fz

1 2 ff fz

cresc.

3 Cor. (F) 4 p Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp.

cresc.

S. her

i - gen til

ly - stig Bryl - lups - fest,

mens

Klok - ke - klang

fra al - le Taar - ne klin - ge

og os for - kyn - der

cresc.

A. her

i - gen til

ly - stig Bryl - lups - fest,

mens

Klok - ke - klang

fra al - le Taar - ne klin - ge ff fz

og os for - kyn

der

cresc.

T. her

i - gen til

ly - stig Bryl - lups - fest,

mens

Klok - ke - klang

højt

fra al - le Taar - ne

ff fz

ud o - ver Land og By f

cresc.

B. her

i - gen til

ly - stig Bryl - lups - fest,

mens

Klok - ke - klang

højt

fra al - le Taar - ne

ud o - ver Land og By

Vl. 1 ff fz

cresc.

ff fz

cresc.

ff fz

cresc.

ff fz

cresc.

ff fz

cresc.

Vl. 2

Va. p

Vc.

Cb.

320

DCM 030

1182

1 2

Fl.

cresc.

1 2

Ob.

cresc. 1 2

Cl. (A)

cresc.

1 2

Fg.

p Cor. (F)

1 2 f

Cor. (F)

3 4 p

cresc.

1 Tr. (F) 2

1 Trb.t. 2

Trb.b.

Tb.

Timp.

cresc.

S. at

der

slut

tes

Pagt

tven

skovs

ful

Sjæ

le,

le cresc.

A. at

der

slut

tes

Pagt

tven

el - skovs - ful - de

Sjæ

le,

le cresc.

T. os

for

kyn

der,

der

slut - tes

skovs

pagt,

le cresc.

B. os

for

kyn

der,

der

slut - tes

skovs

pagt,

Vl. 1 cresc.

Vl. 2 cresc.

Va. cresc.

cresc.

Vc.

Cb.

DCM 030

321

1191 1 2

Fl.

f tenuto

tenuto

Picc.

1 2

Ob.

f 1 2

Cl. (A)

f tenuto a2

1 2

Fg.

Cor. (F)

tenuto

1 2 tenuto

3 4 f

Tr. (F)

1 2

Trb.t.

1 2

tenuto

Trb.b.

Tb.

Timp.

ff S. Per

siens

Folk

dem

hil

se:

A - lad

din,

Gul - na

re!

din,

Gul - na

re!

din,

Gul - na

re!

din,

Gul - na

re!

ff A. Per

siens

Folk

dem

hil

se:

A - lad ff

T. Per

siens

Folk

dem

hil

se:

A - lad ff

B. Per

siens

Folk

dem

hil

se:

A - lad

Vl. 1 ff

Vl. 2 ff div. Va. ff

Vc. ff

Cb. ff

322

DCM 030

1198 1 2

Fl.

Picc. ff

1 2

Ob.

1 2

Cl. (A)

ff a2 1 2

Fg.

ff Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

1 Tr. (F) 2 ff Trb.t.

1 2

Trb.b.

Tb.

Timp. ff

Koristerne tilvenstre trække sig hurtig tilbage over til højre Side for at give Plads for Sultanen, Aladdin, Viziren og Pagerne, der træder ud af Døren. Sultanen komplimenterer Aladdin med Gestus og Udbrud som: storartet! pragtfuldt! herligt! osv. De gaar henimod Midterbuen. Musikkorpset sætter sig i Bevægelse og marcherer foran dem ud igjennem Buen og derpaa tilhøjre. Fanebærerne træder imellem Musikkorpset og Sultanen med Følge; tilsidst marscherer Drabenterne ledsaget af hele Folket under Sang, ud af Scenen. [se: Appendiks, ill. II.14]

Vl. 1 ff Vl. 2 ff

unis.

Va. ff Vc. ff Cb. ff

DCM 030

323

Allegro maestoso

1206 1 2

Fl.

Picc. p 1 2

Ob.

a2 1 Cl. (A) 2

1 2

Fg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. p Tb.

Timp. f

Trgl.

Ptti. Gr.c.

ff fz f

S. Vor

Sul - tan

le - ve!

Vor

Sul - tan

le - ve!

Sul - tan

le - ve!

Vor

Sul - tan

le - ve! I

Sul - tan

le - ve!

Sul - tan

le - ve!

Sul - tan

le - ve, vor sto - re Sul - tan

Sul - tan

le - ve!

f A. Vor

From - hed og Vis - dom

T. Vor høj - e Sul - tan le - ve, vor sto - re

Vor høj - e Sul - tan le - ve, vor sto - re

f B. Vor Sul - tan

le - ve,

vor

Allegro maestoso

le - ve!

Vor

I From - hed og

div.

Vl. 1 p Vl. 2 p Va. p Vc. p Cb. p

324

DCM 030

1213 1 2

Fl.

Picc.

1 2

Ob.

f 1 2

Cl. (A)

f 1 2

Fg.

Cor. (F)

Tr. (F)

1 2

3 4

1 2 f

Trb.t.

1 2

Trb.b. f Tb. f

Timp. f

Trgl. f Ptti. Gr.c.

S. den

stør - ste

Sul - tan paa

den

gan-ske Jord! Ret - sin-dig

gav - mild,

Pro - fe - tens Bud i al - le

Maa - der ly - dig,

stor, den stør - ste paa

den

gan - ske Jord! Ret - sin-dig

gav - mild,

Pro - fe - tens Bud i al - le

Maa - der ly - dig,

gan-ske Jord! Ret - sin-dig

gav - mild,

Pro - fe - tens Bud i al - le

Maa - der ly - dig,

den stør - ste paa den gan - ske Jord! Ret - sin-dig

gav - mild,

Pro - fe - tens Bud i al - le

Maa - der ly - dig,

A. li - ge

Pro -

T. Vis - dom den stør - ste Sul - tan paa

den

B. Vis - dom

li - ge stor,

Pro -

unis. Vl. 1 f Vl. 2 f Va. f Vc. f Cb. f

DCM 030

325

1220 1 2

Fl.

Ob.

1 2

Cl. (A)

1 2

dim.

1 2

Fg.

dim. Cor. (F)

1 2 dim.

Cor. (F)

3 4 dim.

Tr. (F)

1 2 mp

Trb.t.

1 2

dim. Trb.b. dim. Tb. dim.

Timp. dim.

Trgl. dim. Ptti. Gr.c. dim. S. Pro - fe - tens Bud

al - le Maa - der

ly - dig!

dig!

Maa - der

ly - dig!

Vor høj - e

Sul - tan

Maa - der

ly - dig!

Vor høj - e

Sul - tan

Maa - der

ly - dig!

Vor høj - e

Sul - tan

Maa - der

ly - dig!

Vor høj - e

Sul - tan, vor

A. fe - tens Bud i

al - le

Maa - der

T. Pro - fe - tens Bud

al - le Maa - der

dig!

B. fe - tens Bud i

al - le

Maa - der

ly - dig!

Vl. 1 dim. Vl. 2 dim. Va. dim. Vc. dim. Cb. fz dim.

326

DCM 030

Scenen tom 1228 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. pp

Trgl.

Ptti. Gr.c. (Noureddin lister sig forsigtig ud af Døren til Badekammeret, bliver staaende tæt op til denne og spejder til alle Sider, om Alle er borte, –)

NOUR.

S. le -

ve,

vor

sto - re

Sul - tan

le - ve,

vor

høj - e

Sul - tan

ve, vor

sto - re

Sul - tan

ve!

le -

ve,

vor

sto - re

Sul - tan

le - ve,

vor

høj - e

Sul - tan

ve, vor

sto - re

Sul - tan

ve!

le -

ve,

vor

sto - re

Sul - tan

le - ve,

vor

høj - e

Sul - tan

ve, vor

sto - re

Sul - tan

ve!

sto - re

Sul - tan

le - ve!

Han

le - ve

vor

høj - e

Sul - tan

ve, vor

sto - re

Sul - tan

ve!

Vl. 1

Vl. 2 pp Va. pp Vc. pp Cb.

DCM 030

327

Recit.

Allegro con fuoco

a2 1236 1 Fl. 2

Ob.

1 2

muta in Bb

Cl. (A)

1 2

Fg.

1 2 ff

Cor. (F)

Tr. (F)

1 2 ff

3 4

1 2 ff

Trb.t.

1 2

Trb.b. ff

Tb. ff

Timp.

(Triumferende iler han ned ad Trappen og frem i Forgrunden med Lampen i den opløftede Haand.)

NOUR. Ha!

Allegro con fuoco

Blin - de Dreng, ret - fær - dig Dom nu

Recit.

div. non div.

Vl. 1 ff

ff div.

non div.

Vl. 2 ff

Va. ff

Vc. ff

Cb.

328

DCM 030

1243 Fl.

a tempo

1 2

Ob.

1 2 ff fz

fz 3

Cl. (Bb)

1 2 3

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

NOUR. ly - der:

Jeg

der

Dig

Din

Bru - de - seng

Dø - dens

a tempo Vl. 1 ff fz

ff fz

ff molto marcato

Vl. 2 ff molto marcato

Va. ff fz

ff molto marcato

Vc. ff fz

ff molto marcato

Cb. ff fz

ff molto marcato

DCM 030

329

rit.

a tempo a2

1249 Fl.

Presto

TÆPPET FALDER

1 2

mf a2

Picc. 3

Ob.

1 2 ff

Cl. (Bb)

3 3

ff 3

1 2 3

1 2

ff 3

fz p

fz 3

3 3

1 2

3 Cor. (F) 4

ff 3

1 2

Trb.t.

Tr. (F)

3 3

Cor. (F)

1 2 mf

Fg.

ff 3

f 3

ff 3

f 3

Trb.b.

Tb.

Timp.

ff 3

Trgl. ff 3

NOUR. kol - de Ar - me,

mens jeg

Gul -na

rit. solo a2 Vl. 1

re fav

Presto

div.

ner.

Vl. 2

tutti

cresc.

a tempo

fz 3

3 3

unis.

Va. ff 3 3

Vc.

3 3

Cb. ff 3

330

DCM 030

1255 Fl.

1 2

Picc.

a2 1 Ob. 2

3 3

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

NOUR.

Vl. 1

div. 3

unis

Vl. 2

Va.

Vc.

Cb.

DCM 030

331

C . F. E . H O R N E M A N

ALADDIN EVENTYROPERA I FIRE AKTER TEKST AF BENJAMIN FEDDERSEN BIND 2 ALADDIN A FAIRY-TALE OPERA IN FOUR ACTS TEXT BY BENJAMIN FEDDERSEN VOLUME 2

København 2020

UDGIVET AF EDITED BY NIELS BO FOLTMANN PETER HAUGE BJARKE MOE AXEL TEICH GEERTINGER MED INDLEDNING AF WITH AN INTRODUCTION BY INGER SØRENSEN

Cover design Layout Music typeset in Sibelius by Text font Printed by Distribution

Willerup & Hans Mathiasen DCM Arnhem Bording Danmark Edition·S, Worsaaesvej 19, DK-1972 Frederiksberg C www.edition-s.dk 979-0-9001843-5-1 030 Augustinus Fonden Danish Centre for Music Editing (DCM) Royal Danish Library, Copenhagen

INDHOLD

CONTENTS

Tredje akt 333

Act Three 333

Fjerde akt 569

Act Four 569 Abbreviations 694 Critical Commentary Description of Sources 695 Variant Readings and Editorial Emendations 702 Appendix 731

TREDJE AKT

No. 20 Allegro a2

Flauto

1 2

Flauto piccolo ff

Oboe

Clarinetto (A)

1 2

1 2 ff

Fagotto

1 2

Contrafagotto ff

Corno (F)

1 2

3 4 ff

Tromba (F)

Trombone tenore

1 2

Trombone basso ff

Tuba ff

Timpani ff

Triangolo

Piatti Gran cassa ff Tamburo piccolo

Allegro Violino 1 ff Violino 2 ff

Viola ff

Violoncello ff

Contrabbasso ff

DCM 030

333

6 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

334

DCM 030

a2 11 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1 div. unis.

Vl. 2 div. unis. Va.

Vc.

Cb.

DCM 030

335

a2 16 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

336

DCM 030

21 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

337

a2 25 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4 a2

1 Tr. (F) 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

338

DCM 030

rit.

30 1 Fl. 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

dim.

Cfg.

Cor. (F)

Tr. (F)

Trb.t.

1 2

3 4 dim.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

rit. Vl. 1 fz

mf cresc.

dim.

Vl. 2 dim.

Va. fz

dim.

Vc.

Cb. fz

dim.

DCM 030

339

TÆPPE Tæppet gaar op. Festsal i Sultanens Palads. En Trone paa hver Side langt frem i Prosceniet. Den halve Del af Scenegulvet hen imod Baggrunden danner en halvcirkelformig Estrade. I Baggrunden (paa Estraden) en bred Portal. [se: Appendiks, ill. III.1-2] 35

Andantino

rall.

1 Fl. 2 1. solo ad libitum

muta in Bb

1 Cl. (A) 2 dolce

GUL.

rall.

Andantino Vl. 1 p

Vl. 2 p

Va. p

Vc. p

Cb. p

Gulnare og to Terner kommer ind fra venstre Side. 41

Ternerne gaar ud for sig

Recit.

Andante

1 Fl. 2 dolce p Cl. (Bb)

(sætter sig paa Tronen tilvenstre og falder i Tanker)

GUL. En li - den Stund lad mig a - le - ne her,

hvor alt til Sor - gens Fest, min Bru - de - færd

Recit.

smyk - ket staar.

Andante

Vl. 1 pp Vl. 2 pp Va. pp

Vc.

Cb. pp

340

DCM 030

45 Fl.

1 2

Ob.

1 2

mf Cl. (Bb)

Fg.

1 2 p

dim.

1 2

1. Cor. (F)

1 2 pp

Cor. (F)

3 4 p

GUL. For - un - der - li - ge Drøm, du

se, mil- de,

Vl. 1 mf

f fz

Vl. 2 p

Va. f

Vc.

Cb.

DCM 030

341

poco più mosso

rall.

1 Fl. 2 mf Ob.

1 2 mf

1 Cl. (Bb) 2 p

mf Fg.

1 2

Cor. (F)

1 2

3 4 mf f

GUL. som fyl - der Sind og Tan - ke

Dag

og Nat,

skal net - op du

mig vol - de dy - best Smær - te,

e - vig kal - de frem

poco più mosso

mit Savn,

min Læng - sel? Du

rall.

Vl. 1 mf

Vl. 2 p Va. p

Vc. p Cb.

Tempo I

3 Cor. (F) 4 p

GUL. El - ske - de,

som vandt mit Hjer

te,

hvor - for maa vi skil - les nu

Tempo I Vl. 1 p Vl. 2 p div. Va. p

Vc. p Cb. p

342

DCM 030

for

vig?

ne Øj - ne

63 1 Fl. 2

Ob.

rall.

1 2

f 2.

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2

f 1.

1 2

3 Cor. (F) 4

(rejser sig)

GUL. saa

jeg

Ver

den,

jeg

kend

før,

ra - dis, som nu for mig

rall.

Vl. 1 f Vl. 2 f

Va.

Vc.

Cb. p

a tempo

1 Fl. 2 1. 1 Ob. 2

p cantabile e dolce

cantabile e dolce p Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

pp 1.

GUL. tabt.

Grant

a tempo

jeg ser dig

i dit Skjul bag Ro - sen - hæk - ken,

mit Hjer

te ban - ked';

jeg skæn - ked' dig

Vl. 1 p dolce

Vl. 2

Va. pizz.

arco

Vc. mf 3

Cb. p

DCM 030

343

rit.

GUL. Ro

se,

ak,

med

den

mit

Hjer

snar

ligt

vis

ner

hen,

ak,

vis - ner hen.

rit.

div. Vl. 1 pp

Vl. 2 pp div. Va. pp Vc. pp Cb.

Allegro non troppo

1 Fl. 2

Ob.

1 2 p

Cl. (Bb)

1 2

Fg.

1 2

p p

3 4

1 2

Trb.t.

1 2

cresc.

p Tr. (F)

cresc.

1 Cor. (F) 2

Cor. (F)

cresc.

(rejser sig)

cresc.

(gjør urolige Skridt)

(i Affekt)

GUL. Ja,

maa det ske,

Magt,

ej Tru - sels - ord,

hel - ligt Baand skal søn - der - ri - ve;

kun

Allegro non troppo Vl. 1 fp

cresc.

Vl. 2

Va. cresc.

Vc.

Cb.

344

DCM 030

84 Fl.

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2

fz ff

1 2

1 2 f

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

fz ff

GUL. ham

til - hø - rer jeg,

kun

Dø - den skil - ler os

Skænd

sel er det,

Skænd - sel ej at

trod

se den,

som kræn

ker hel

lig

1. TERN.

2. TERN.

sul G Vl. 1 f

fz ff

fz ff sul G

Vl. 2 f

Va. f

Vc.

Cb.

DCM 030

345

poco rall.

Recit.

1 Fl. 2

Ob.

1 2 mf

Cl. (Bb)

1 2 mf

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(tager en Dolk frem)

(i Graad)

GUL. Pagt

og saa - rer

Hjer

tet til

Dø

de.

Ak,

Fa - der,

hvor haardt jeg end maa kræn - ke dig,

du selv

det har for-

(Første Terne kommer hurtig løbende fra højre Side i Baggrunden over imod Gulnare og udbryder paa Vejen:)

1. TERN.

2. TERN.

poco rall.

Recit.

Vl. 1 p

Vl. 2 p mf

Va. p

Vc. p

Cb.

346

DCM 030

Allegro

1 Fl. 2

Ob.

Cl. (Bb)

1 2

1 2 pp pp

Fg.

1 2 pp

Cor. (F)

1 2 pp pp

3 Cor. (F) 4 pp Tr. (F)

1 2

Trb.t.

1 2 (vil støde Dolken i sit Bryst, men holder (forskrækket) inde ved Ternes "Nej!" og skjuler hurtig Dolken)

GUL. skyldt. (kommer løbende ind)

(sætter sig udmattet ned)

1. TERN. Nej,

nej,

al - drig så (Anden Terne som Første) f

jeg

til

Pragt

har

jeg

set

Glans!

Fra

Al -

(kommer løbende ind)

2. TERN. Nej,

Allegro

al - drig

saa - dan

Pragt!

lad

dins

div.

Vl. 1 p

pizz.

div.

Vl. 2 fz f

pizz.

div.

Va. p

fz f

div. pizz. Vc. p

fz f pizz.

Cb. fz f

DCM 030

347

102 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL.

1. TERN. ta - nen kan man

To - get

sno

sig

gen - nem Ha - vens

Gan - ge

hvi

Sla

som

Flod af

Di - a - man

2. TERN. Tog

sig

nær - mer,

sor

ver

bæ

Kur

div. arco

pizz. Vl. 1 f

cresc.

fz f

Vl. 2 f

Va. f

div. Vc. mf

Cb. f

348

DCM 030

110 Fl.

1 2 p

Ob.

1 2

Cl. (Bb)

1 2 p

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL.

1. TERN. ter.

Prins

lad - din,

E - ders

Brud - gom, stolt

sin

Pragt,

ver - straa - ler

2. TERN. ful

del

ste

ne.

Stolt

sin

Pragt,

unis. Vl. 1 p

arco Vl. 2 p div. arco. Va. p arco Vc. p

arco Cb. mf

DCM 030

349

117 Fl.

1 2 p

Ob.

1 2 p

Cl. (Bb)

1 2 p

a2 1 Fg. 2

Cor. (F)

1 2 p

Cor. (F)

3 4 p

Tr. (F)

1 2

Trb.t.

1 2

1. TERN. al

le, hvor

han

skøn,

nej,

hvor

han

skøn.

le.

Fest - trom -pe - ter

og Ba - su - ner

højt fra Mu - ren

2. TERN. Prins A - lad

din

o - ver - straa - ler

Fest - trom - pe - ter

højt fra

Mu - ren gjal - de.

pizz. Vl. 1 fz div. pizz. Vl. 2 fz

div. pizz. Va. fz

fz div. pizz.

Vc. fz

pizz. Cb. fz

350

DCM 030

126 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

a2 Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

1. TERN. gjal - de.

He - le Fol - ket

strøm

mer

til

Fol - ket

strøm - mer

til

fra

Kan

til

fra

ter,

strøm - mer

2. TERN. He

fra

al - le

Kan - ter, strøm - mer

al - le

Kan - ter,

arco Vl. 1 p

arco Vl. 2 p

arco Va. p

arco

div.

Vc. p

Cb. pp

DCM 030

351

133

1 Fl. 2

a2 1 Ob. 2 mf

a2 1 Cl. (Bb) 2 pp

Fg.

1 2 pp

Cor. (F)

1 2

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

1. TERN. til

fra

al - le

Kan - ter,

bel

den

som

Storm,

bry - der

frem

2. TERN. og

de,

som

div.

Vl. 1 pp

Vl. 2 pp

Va. pp

Vc. pp

arco Cb. pp

352

DCM 030

Storm

bry - der

140 Fl.

Ob.

1 2

Cor. (F)

cresc.

1 2

1 Cl. (Bb) 2

Fg.

f non legato

1 2 f non legato

1 2 f

Cor. (F)

3 4 cresc.

Tr. (F)

1 2

Trb.t.

1 2

1. TERN. o - ver -

alt,

o - ver

alt!

Hvor

her

ligt dog.

o - ver

alt!

Hvor

her

ligt dog.

2. TERN. frem

o - ver -

alt,

Vl. 1 cresc.

cresc.

Vl. 2

Va.

Vc.

Cb.

DCM 030

353

148

1 Fl. 2 f p

Ob.

1 2 f

p p Cl. (Bb)

1 2 f

pp Fg.

1 2 f

Cor. (F)

1 2 pp

3 4

Tr. (F)

1 2

Trb.t.

1 2

(løber ud gjennem en af Buerne, bliver staaende lige udenfor den og ser tilhøjre efter Toget)

1. TERN. Kom

se!

2. TERN. Kom

pizz. Vl. 1 fz

Vl. 2

pizz. Va. fz

pizz. Vc. fz

pizz. Cb. fz

354

DCM 030

No. 21 poco meno mosso

157 Fl.

Ob.

1 2

p dolce

1 2

p dolce

Cl. (Bb)

1 2

pp 1.

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL.

1. TERN.

2. TERN. se!

Men ser jeg

ret?

paa E - ders Kind

en Taa - re

tril

ler, ja

selv jeg kun - de

græ - de, saa

poco meno mosso arco

Vl. 1 p dolce

Vl. 2 p arco Va. p dolce p div. arco. unis. Vc. p

arco Cb. p

DCM 030

355

167 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2 p 1.

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Ej

til Glæ - de

staar

(Første Terne kommer tilbage, gaaende.)

1. TERN.

2. TERN. glad

er den - ne

Dag,

saa rig den

Lyk

ke, som

nu skal

ti - mes

Jer.

div. Vl. 1

Vl. 2 f

Va.

Vc.

Cb.

356

DCM 030

min

176 Fl.

1 2

Ob.

1 2 p

Cl. (Bb)

1 2

Fg.

1 2 p

Cor. (F)

cresc. mf

cresc.

1 2

Cor. (F)

3 4 p

Tr. (F)

1 2

Trb.t.

1 2

p cresc.

cresc.

GUL. Hu!

Gru

og Sorg ned - tyn

ger

mig.

1. TERN. Al - lah,

hvad er

det - te?

Gru

Sorg?

Hvad skal det

Al - lah,

hvad er

det - te?

Gru

Sorg?

Hvad skal det

2. TERN.

div. Vl. 1 p

cresc.

Vl. 2 p

Va. p

cresc.

Vc.

Cb.

DCM 030

357

a2 185 Fl.

1 2 f

dim.

1. 1 Ob. 2

Cl. (Bb)

1 2

cresc.

dim.

1. Fg.

1 2 p

Cor. (F)

cresc.

dim.

1 2 p

3 4 p

cresc.

p f

Tr. (F)

1 2

Trb.t.

1 2

dim.

GUL. Ej

den

Ver

dens

Glans

Pragt

1. TERN. si - ge?

2. TERN. si - ge?

Vl. 1 f

dim.

Vl. 2 p

cresc.

dim.

cresc.

dim.

Va.

Vc.

Cb.

358

DCM 030

min

Kval

for

maar

194 Fl.

1 2

1. 1 Ob. 2

Cl. (Bb)

1 2

Fg.

1 2 p

Cor. (F)

cresc.

1 2 p

Cor. (F)

3 4

3. p

Tr. (F)

1 2

Trb.t.

1 2

GUL. lin

dre,

for

maar

læ

ge.

1. TERN.

2. TERN.

Vl. 1 p

Vl. 2 p

Va. p

cresc.

Vc. p

cresc.

Cb. p

DCM 030

359

tranquillo

203 1 Fl. 2

Ob.

1 2 f

cresc.

Cl. (Bb)

1 2 f

Fg.

1 2 p

Cor. (F)

cresc.

cresc. molto

1 2 mf

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Ud

spørg mig

ej,

1. TERN. O

tal,

tro

Jer

Sorg!

tal,

tro

Jer

Sorg!

2. TERN.

tranquillo Vl. 1 cresc.

cresc.

Vl. 2

Va. p

cresc.

cresc. molto

Vc. p

Cb. p

360

DCM 030

thi

212 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2 cresc.

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

cresc. GUL. alt

for

gæ

ves,

hvert

Haab

for

vig

1. TERN.

2. TERN.

Vl. 1 cresc.

Vl. 2 pp

cresc.

Va.

Vc.

Cb.

DCM 030

361

molto tranquillo

221 1 Fl. 2

Ob.

1 2 p

Cl. (Bb)

1 2 mf

Cor. (F)

1 2

Fg.

1 2 p

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(drømmende)

GUL. slukt,

slukt,

slukt!

var

mit

1. TERN. Hvil

ken

Kval,

Jam

mer!

2. TERN. Hvil -

ken

Kval,

hvil - ken

Jam

molto tranquillo

sul G Vl. 1 mf

Vl. 2 p

Va. p

Vc. mf

Cb. p

362

DCM 030

rit.

Vivo

230 Fl.

Ob.

1 2

1. solo Cl. (Bb)

Fg.

1 2

pp dolce

1 2

1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Liv,

mit

Alt,

far

vig

vel!

(afsides til Anden Terne)

1. TERN. Hun

el - sker

an - den,

(afsides til Første Terne)

2. TERN. Hun

rit.

el - sker

an - den,

Vivo

Vl. 1

Vl. 2

Va.

solo tutti Vc. p

Cb. f

DCM 030

363

Tempo I 1.

239 Fl.

1 2

p dolce

tenuto

1. 1 Ob. 2

Cl. (Bb)

Fg.

1 2

p dolce

tenuto

1 2

p p Cor. (F)

Cor. (F)

1 2

p 4.

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL.

(til Gulnare)

1. TERN. ja

det

klart!

Men naar

først Jer Brud - gom

ser,

(til Gulnare)

2. TERN. det

klart!

Ja, naar

Tempo I Vl. 1 f

dolce

Vl. 2 f

Va. f

p solo

dolce

Vc.

Cb. p

364

DCM 030

247 Fl.

1 2

tenuto

Ob.

tenuto 1.

1 2

pp dolce 1.

Cl. (Bb)

1 2

tenuto

Fg.

Cor. (F)

1 2

tenuto

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL.

1. TERN. tro blot mit

Ord,

tro paa mit

Ord, at

E - ders

Sorg

snart til

Glæ

sig

ven

der,

2. TERN. først Jer Brud - gom

ser,

saa skal jeg

ve,

E - ders

Vl. 1 mf

Vl. 2

Va.

Vc.

Cb.

DCM 030

365

255 Fl.

1 2

1. 1 Ob. 2 mf

Cl. (Bb)

1 2 mf

Fg.

1 2 mf mf

Cor. (F)

1 2 mf

Cor. (F)

3 4 mf

Tr. (F)

1 2

Trb.t.

1 2

GUL. Nej, nej, for

vig tabt

min

ler

1. TERN. og

de.

sik - kert selv Jer

Lyk

pri

vil.

Saa

skøn en

Bej - ler

2. TERN. Sorg

snart faar

Saa

Vl. 1 mf

dim.

Vl. 2 mf

dim.

Va. dim.

mf Vc.

Cb. mf

366

DCM 030

skøn

Bej

263 Fl.

1 2

Ob.

1 2 p pp

1 Cl. (Bb) 2 pp

Fg.

1 2 pp

Cor. (F)

1 2

Cor. (F)

3 4 p

Tr. (F)

1 2

Trb.t.

1 2

GUL. Glæ

de;

al - drig

nej,

E - ders

Trøst

er spildt!

1. TERN. saa,

saa

rig

smuk;

og skøn en

Bej

ler

al - drig

saa!

rent

2. TERN. al

drig

saa!

saa

ung

han har

mit

Hjer

div. Vl. 1 p

Vl. 2 p

Va.

p Vc.

tutti

Cb.

DCM 030

367

270 Fl.

1 2 f

a2 Ob.

1 2

f fp

Cl. (Bb)

1 2 f

1. Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(rejser sig)

GUL. For - lad

mig!

jeg

der!

1. TERN. al

drig

saa!

sig

dog

2. TERN. daa

ret.

Hvad vil

gø

re?

Vl. 1 ffpp

ffpp

Vl. 2

div. Va. ffpp

ffpp

Vc. ffpp

ffpp

Cb.

368

DCM 030

278 Fl.

1 2

cresc. molto

a2 Ob.

1 2

cresc. molto

fp Cl. (Bb)

1 2 mf cresc. molto

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(i stigende Affekt)

(et Skridt frem mod Ternerne)

Jer!

Bort!

GUL. Bort!

Jeg be - fa

ler

(Ternerne trækker sig baglænds nølende tre Skridt tilbage henimod højre Side.)

Bort!

(tre Skridt mere som før)

1. TERN. Lad E - der

ge!

hør

os!

Lad E - der

ge!

hør

os!

2. TERN.

Vl. 1 ffpp

cresc. molto

ffpp

cresc. molto

ffpp

cresc. molto

Vl. 2

Va.

Vc.

Cb.

DCM 030

369

Flere Terner kommer ind fra venstre Side, forfærdede ved Raabene. a2

[se: Appendiks, ill. III.3]

rit.

287 1 Fl. 2

1 2

Ob.

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2

Trb.t.

1 2

GUL.

1. TERN.

2. TERN.

S. Hvad

der

sket?

Hvad

der

sket?

rit. Vl. 1 ff

Vl. 2

Va.

Vc. fz

Cb. ff

370

DCM 030

294

Recit.

1 Fl. 2

Cl. (Bb)

1 2

Fg.

1 2

GUL. I

kæ - re

Ven - in - der,

lad mig væ - re

e - ne her,

blot en

li - den Stund!

For - lad

mig.

1. TERN.

2. TERN.

Recit. Vl. 1

Vl. 2

Va.

Vc.

Cb.

297

Andantino

1 Fl. 2

Cl. (Bb)

1 2

Fg.

1 2

GUL.

f (nærmere hen mod Gulnare) 1. TERN. Nej,

vi kan ej,

bør

ly - de;

al - drig før

var du saa

sorg

be - tyn - get,

og din dun - kle Ta - le vars - ler

2. TERN.

Andantino Vl. 1 mp Vl. 2 fz mp

Va.

Vc. f

Cb.

DCM 030

371

302

Allegro alla breve

1 Fl. 2

1 2

Ob.

Cl. (Bb)

1 2 f

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Bort!

1. TERN. il

de.

2. TERN.

Hvad

der

vor

Prin

hvad

hæn - det

vor

Prin

ses

se?

ses -

se,

vor

Prin -

ses

se?

hæn - det

vor

Prin

ses

se?

S. Hvad

der

vor

Prin

hæn - det

A. Hvad

der

hæn - det

ses -

se,

div.

Allegro alla breve Vl. 1

Vl. 2 p

cresc.

Va. p

cresc.

Vc. p

Cb.

372

DCM 030

Recit.

Andantino

307 1 2

Fl.

1 2

Ob.

Cl. (Bb)

1 2 fz

1 2

Fg.

fz f Cor. (F)

1 2 fz f

Cor. (F)

3 4 fz f

Tr. (F)

1 2

Trb.t.

1 2

GUL. Jeg

be - fa - ler Jer!

1. TERN.

(nærmere hen mod Gulnare)

2. TERN. Hør os!

hør os!

Alt,

selv Dø - den vil vi

li - de for din Lyk - ke; skænk

os din For - tro - lig - hed!

Recit.

Andantino

Vl. 1 p

Vl. 2 fz

Va. fz

fz mf

Vc. fp

Cb. fp

DCM 030

373

312 1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

Molto allegro non alla breve

Recit.

a tempo mf

p cresc.

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Ak!

hvad mag - ter

gø -

re?

2. TERN.

S. For

din

Frel

gær - ne

Molto allegro non alla breve

For

Recit.

din

Frel

a tempo

Vl. 1

cresc.

Vl. 2

Va. f

Vc.

Cb.

374

DCM 030

Andantino 317 1 2

Fl.

1 2

Ob.

Cl. (Bb)

1 2

Fg.

f marcato Cor. (F)

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2

Trb.t.

1 2

GUL. Saa hør mig da,

2. TERN.

S. Dø

den

gaar;

prøv

os,

prøv

os,

prøv

os!

Dø

den

gaar;

prøv

os,

prøv

os,

prøv

os!

Andantino Vl. 1 fz

Vl. 2

Va.

Vc. f marcato

f marcato

Cb. fz

DCM 030

375

[se: Appendiks, ill. III.4]

rall.

322

a tempo

1 Fl. 2

1. solo 1 Ob. 2 dolce

pp 1. solo

1 Cl. (Bb) 2 dolce pp Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(gaar hen foran Suffløren)

GUL. om I for - maar at kal - de

Liv til - ba - ge

i den Dø - de:

Naar

ved

rall.

a tempo div.

Vl. 1 p

Vl. 2 p

Va. p

Vc.

Cb.

376

DCM 030

327 Fl.

1 2

Ob.

1 2

1. Cl. (Bb)

1 2

Fg.

1 2

ppp

ppp 1 Cor. (F) 2 ppp

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Mor - gen - gry

med E - der

jeg

til

Ba - det

gaar,

fra

sit

Skjul

han

stir - rer

paa

mig

som

unis. Vl. 1 pp

Vl. 2

pp 3

Va. pp

Vc.

pizz. Cb.

DCM 030

377

rall.

333

a tempo

1 Fl. 2

1. 1 Ob. 2

Cl. (Bb)

ppp

1 2 mf mf 1 2

Fg.

Cor. (F)

ppp

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

ppp

cresc. GUL. Drøm

me,

ham,

kun

ham

jeg

ske

kan.

S. Han, som staar bag Pil - len stiv og stil - le som en Støt - te?–

A. Han, som staar bag Pil - len stiv og stil - le som en Støt - te?–

rall.

a tempo

pizz.

Vl. 1 ppp

pizz. Vl. 2 ppp

pizz. Va. 3

ppp

unis.

pizz.

Vc. ppp

arco Cb. ppp

378

DCM 030

339 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2 p a2

1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Ja,

just ham.

Jeg ken - der ej hans Navn,

og har ej hørt hans Røst.

(til hverandre indbyrdes med dæmpet Stemme)

(til Gulnare)

en fat - tig Knøs fra Ga -

S. den?

ken - der ej

en Gang hans

A. en

fat - tig Knøs

fra

Ga - den?

I ken

der

ej en Gang hans

arco Vl. 1 mp

f dim.

arco Vl. 2 mp arco Va. mp

arco 3

Vc. mf

dim.

Cb. p

DCM 030

379

343 1 2

Fl.

Ob.

1 2

Cl. (Bb)

1 2

p dolce

1. 1 2

Fg.

ppp ppp

Cor. (F)

1 2 ppp

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Un

der

Lø

vet,

hvor

duf

ten - de

Ro - ser

staar,

mød - tes

S. Navn!

A. Navn!

unis. Vl. 1 pp

div. Vl. 2 pp

pp 3

Va. pp

Vc. pp pp pizz. Cb. pp

380

DCM 030

Blik - ke,

rall.

349 1 Fl. 2

1. solo 1 2

Ob.

ppp

1. solo 1 Cl. (Bb) 2

ppp

1. 1 2

Fg.

Cor. (F)

ppp

1 2 ppp

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. mød - tes

Hjer

ter,

el - skovs

var

til

skovs -

rall. Vl. 1 ppp

Vl. 2 ppp

Va. 3

ppp

unis. Vc. ppp

arco Cb. ppp

DCM 030

381

No. 22 Vivo

1. solo

354 1 2

Fl.

1. 1 2

Ob.

1. 1 Cl. (Bb) 2

1. Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. pagt.

Nej,

1. TERN. Til

El - skov

ham stæv - ned'– nej, hvor

dris - tig!

for - tæl

os!

Til

El - skov

ham stæv - ned'– nej, hvor

dris - tig!

for - tæl

os!

2. TERN.

S. Et Stæv - ne - mø - de

her

Ha - ven–

for - tæl,

for - tæl!

Et Stæv - ne - mø - de

her

Ha - ven–

for - tæl,

for - tæl!

Vivo Vl. 1 p

Vl. 2 p

Va. p

Vc. f

Cb.

382

DCM 030

poco tranquillo

362

rall.

1 Fl. 2

1 2

Ob.

Cl. (Bb)

1 2 p

1 2

Fg.

1 Cor. (F) 2

3 4

Tr. (F)

1 2

Trb.t.

1 2

Cor. (F)

cresc.

GUL. e - vig Tro - skab jeg ham svor.

Ja,

da ømt jeg kys - sed' Ro - sen, som jeg skæn - ked' ham hin un

der - ful - de

1. TERN. I Tro - skab

har

svo - ret?

I Tro - skab

har

svo - ret?

2. TERN.

S. I

Tro

skab

svor?

Tro

skab

svor?

poco tranquillo

rall.

Vl. 1 p cresc.

p cresc.

cresc.

Vl. 2

Va.

Vc. pp

Cb. p

DCM 030

383

372

a tempo

1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

p 2. 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Stund.

(til Gulnare)

1. TERN. O,

hvil - ket

dej - ligt

E - ven -

dej - ligt

E - ven -

(til Gulnare)

2. TERN. O,

hvil - ket

S. Et

saa - dant

El - skovs - e - ven

tyr

jeg

gær - ne

selv

op -

gad.

saa - dant

El - skovs - e - ven

tyr

jeg

gær - ne

selv

op -

gad.

a tempo Vl. 1 mp

Vl. 2 mp

mp sul C

Va. mp

ffz

Vc. mp pizz. Cb. p

384

DCM 030

378 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

muta in A

2. 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL.

1. TERN. tyr,

først

jeg

tyr,

først

jeg

ret

for - staar.

Nej,

for - staar.

Nej,

2. TERN. ret

S. Et

Baand saa

ømt

saa

ømt,

ømt

hel - ligt

skal

hel - ligt

skal

bris - te.

A. Et

Baand

saa

bris - te.

Vl. 1

Vl. 2 fp

Va. fp Vc. fp arco Cb. fp

DCM 030

385

mp 384 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

1. TERN. det

maa

ske!

ham

til

hø - rer!

skal

nok

staa

Jer

det

maa

ske!

ham

til

hø - rer!

skal

nok

staa

Jer

2. TERN.

S. Nej,

det

skal

ske!

Han

Jer

til

hø - rer!

Nej,

det

skal

ske!

Han

Jer

til

hø - rer!

Vl. 1

Vl. 2 fp

Va. fp

Vc. fp

Cb. fp

386

DCM 030

391 1 2

Fl.

Ob.

1 2

Cl. (A)

1 2

mp cresc.

cresc.

1 2

Fg.

cresc.

1. 1 Cor. (F) 2 p cresc.

Cor. (F)

3 4

mp cresc.

Tr. (F)

1 2

Trb.t.

1 2

1. TERN. bi!

Ja,

der

2. TERN. bi!

Han

Jer

til - hø - rer,

skal

al - le

staa

Jer

bi.

S. Ja,

Ja,

skal

nok

al - le

staa

Jer

bi!

staa

Jer

bi!

al - le

staa

Jer

bi!

staa

Jer

bi!

A. skal

nok

Vl. 1 cresc.

cresc.

ffz pp

cresc.

ffz pp

cresc.

ffz pp

cresc.

ffz pp

cresc.

Vl. 2 cresc.

Va. cresc.

Vc.

Cb.

DCM 030

387

398 Fl.

1 2

Cl. (A)

1 2

Fg.

1 2 p

Cor. (F)

1 2

Cor. (F)

3 4

Trgl.

Ptti. Gr.c. p

1. TERN. Bryl - lups - dan - sens

Hvir - vel,

skal

ders Fri

heds - ti

slaa,

skal

E - ders

Fri - heds - ti

skal

E - ders

Fri - heds - ti

skal

E - ders

Fri - heds - ti

skal

E - ders

Fri - heds - ti

2. TERN.

Vl. 1 mf

Vl. 2 mp

Va. mp

fz mp

Vc.

pizz. Cb. p

388

DCM 030

No. 23

Første Terne løber ud gjennem en Bue og bliver staaende lige udenfor denne for at se tilhøjre hvem der kommer.

Alle lytter. 405

Allegretto con moto

Gulnare gaar tilbage til Tronen og sætter sig. Anden Terne følger efter og stiller sig ved Gulnares venstre Side. Tilsidst Ternekoret, som stiller sig bag Anden Terne.

1 Fl. 2

1 2

Cl. (A)

1 2

Fg.

fz mf

Cfg. pp

Cor. (F)

1 2

3 4 p

Trgl.

fz mf

Ptti. Gr.c. pp (Idet hun vender sig om og løber hen til de andre, ved Siden af Anden Terne.)

1. TERN. slaa.

Ja!

2. TERN. slaa.

S. slaa.

A. slaa.

Allegretto con moto Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

389

Et Sendebud med Følge (2 Slaver) i fantastiske Dragter viser sig bag Buerne tilhøjre og skrider gravetetisk igjennem en af de midterste hen til Gulnare: Et Skridt for hver fjerde Del.

412 Fl.

1 2

Ob.

1 2

a2 Cl. (A)

1 2 f a2

Fg.

1 2

f f

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trgl.

Ptti. Gr.c.

1. TERN. Et Sen - de - bud sig nær - mer.

arco sul G

pizz.

Vl. 1 f

mf pizz.

arco

mf pizz.

Vl. 2 f

mf arco

pizz.

mf pizz.

Va. mf

arco

pizz.

mf pizz.

Vc. mf

arco

pizz.

pizz. Cb. mf

390

DCM 030

De bøjer sig dybt for Gulnare. [se: Appendiks, ill. III.5]

420

Hæver sig atter

1 Fl. 2

Ob.

Cl. (A)

Fg.

1 2

2. p

p p

fz mf

a2 p

Cfg. p

Cor. (F)

Trb.t.

1 2

3 4

1 2

Trb.b. pp

Trgl.

Ptti. Gr.c.

GUL.

SEND. Prins

A - lad

din

mygt

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

391

427 Fl.

1 2

Cl. (A)

1 2 p

Fg.

1 2

fz mf

Cfg.

Cor. (F)

1 2 p

Cor. (F)

3 4

p Trb.t.

fz mf

1 2

Trb.b.

Trgl.

Ptti. Gr.c.

GUL. Mæld,

SEND. fo

re - spør - ger,

om det ham

til - ste

des

for Jert Aa

syn at frem - træ

de.

pizz. Vl. 1 mf pizz. Vl. 2 mf pizz. Va. mf

pizz. Vc. mf

pizz. Cb. mf

392

DCM 030

at her

Sendebudet med Følge rejser sig og gaar hurtig bort.

434 Fl.

1 2 a2

Cl. (A)

1 2 mf

Fg.

1 2

Cfg.

1 Cor. (F) 2

Cor. (F)

3 4

Trb.t.

1 2

Trb.b.

Trgl.

Ptti. Gr.c.

GUL. jeg mø - de skal

Prins A - lad - din.

SEND.

arco

pizz.

Vl. 1 f

arco

mf pizz.

Vl. 2 f

arco

mf pizz.

Va. f

mf pizz.

arco Vc. f

arco

pizz.

Cb. mf

DCM 030

393

Alle i Toget kommer fra højre Side bag Buerne; en festlig smykket Garde marscherer ind og stiller sig op foran det bagerste Bagtæppe. 442 1 Fl. 2

Allegro con moto 3

Picc.

Ob.

Cl. (A)

Fg.

1 2

Cfg. ff

1 Cor. (F) 2 3

Cor. (F)

3 4 ff

Tr. (F)

1 2

Trb.t.

1 2

Timp. ff

Trgl.

Ptti. Gr.c.

arco

Allegro con moto Vl. 1

ff arco Vl. 2 ff arco Va. ff arco Vc. ff

Cb.

394

DCM 030

448 Fl.

1 2

Picc. ff a2 Ob.

1 2

a2 1 Cl. (A) 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4 fz

Tr. (F)

1 2

Trb.t.

1 2

Timp.

Trgl.

Ptti. Gr.c. f

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

395

Toget (i følgende Orden): Flere Fanebærere, Dandsere (sorte og hvide Slaver og Slavinder, alle i fantastiske Dragter parvis), Pager med Palmegrene, sorte Slaver med Guldringe om Arme og Ben (bærende Kurve paa Hovedet med Ædelstene – Brudegaven), to Fanebærere, Viziren med Følge (Embedsmænd), Hoffolk (Damer og Herrer). Alle igjennem Midterbuen, svingende om ad Scenens venstre Side, forbi Gulnare (hilsende med dybe Buk – Slaverne knælende paa det ene Ben) og stiller sig op paa begge Sider af Scenen. [se: Appendiks, ill. III.6] 453 Fl.

1 2

Picc. ff

Ob.

Cl. (A)

1 2

a2 ff a2 ff

Fg.

1 2

Cfg. ff

Cor. (F)

1 2

3 4 ff

Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b. ff Tb. ff

Timp. ff

Trgl. ff Ptti. Gr.c. ff

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff arco Cb. ff

396

DCM 030

458 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

397

463

1 2

Picc.

Fl.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

div. Vl. 2 div. Va.

Vc.

Cb.

398

DCM 030

468 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

a2 3

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

399

473 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cfg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

400

DCM 030

a2 478 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

muta in Bb

Cfg.

1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

div. Vl. 1

div. Vl. 2 div.

Va.

Vc.

Cb.

DCM 030

401

Sultanen og Aladdin med Følge (Bannerfører og Pager viser sig).

rall.

483 1 Fl. 2

fff

Picc. fff

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

fff

a2 fff

Cfg.

Cor. (F)

1 2

fff

3 4 fff

Tr. (F)

1 2 fff

Trb.t.

1 2 fff

Trb.b. fff

Tb. fff

Timp. fff

Trgl.

fff

Ptti. Gr.c.

rall. Vl. 1 fff

Vl. 2 fff

Va. fff

Vc. fff

Cb. fff

402

DCM 030

Her træder Sultanen osv. indenfor Buen og gaar ligeud til Forgrunden. Efterhaanden som Sultanen osv. skrider frem slutter Koret sig bag ved de 4 Pager [se: Appendiks, ill. III.6]. Gulnare stirrer koldt og aandsfraværende ud i Tilskuerrummet indtil [b.531]

Allegro maestoso a2 1 2

Fl.

489

1 2

Ob.

f a2 1 Cl. (Bb) 2

f a2

1 Fg. 2 f Cor. (F)

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Timp. f

S. Fest - lig Ju

bel, Høj - tids - glæ

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der he - le

Per - siens

Fest - lig Ju

bel, Høj - tids - glæ

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der he - le

Per - siens

Fest - lig Ju

bel, Høj- tids - glæ

fylder nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyld - er he - le

Per - siens

Fest - lig Ju

bel, Høj -tids - glæ

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der he - le

Per - siens

Allegro maestoso Vl. 1 f

Vl. 2 f div. Va. f

Vc. f

Cb. f

DCM 030

403

[se: Appendiks, ill. III.8] a2 494 Fl.

1 2

Ob.

1 2

a2 Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Timp.

S. Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der he - le

Per - siens Land. Øn

sker - ne

Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der he - le

Per - siens Land. Øn

sker - ne

Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der he - le

Per - siens Land. Øn

sker - ne

Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der he - le

Per - siens Land. Øn

sker - ne

Vl. 1

Vl. 2

div.

unis. Va.

Vc.

Cb.

404

DCM 030

499 1 2

Fl.

1 2

Ob.

Cl. (Bb)

mf a2

1 2

mf 1 2

Fg.

Cor. (F)

1 2

Cor. (F)

3 4

a2 mf

Tr. (F)

1 2

Trb.t.

1 2

Timp.

S. højt mod Him - len

sti

ge,

sti - ger fra Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt naar tven - de

Hjer

ter

højt mod Him - len

sti

ge,

sti - ger fra Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt naar

tven - de

Hjer

ter

højt mod Him - len

sti

ge,

sti - ger fra Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt

naar

Hjer

ter

højt mod Him - len

sti

ge,

sti - ger fra Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt

naar

Hjer

ter

div.

Vl. 1 mf

Vl. 2 mf

Va. mf

Vc. mf

Cb. mf

DCM 030

405

504 1 2

Fl.

cresc. 1 2

Ob.

f cresc. Cl. (Bb)

1 2 f

1 2

Fg.

cresc.

Cor. (F)

Tr. (F)

1 2

3 4

1 2 mf

Trb.t.

1 2

Trb.b. f

Tb. f

Timp.

S. slut

Pagt;

men

fold

skønt,

naar de

slut

Pagt;

men

fold

skønt,

naar

slut

Pagt;

men

skønt,

naar de

slut

Pagt;

skøn

pran - ge

beg - ge to

Ung - doms - kraft,

un - der

Kro - nens Guld

som A -

de pran - ge beg - ge to

Ung - doms - kraft,

un - der

Kro - nens Guld

som A -

beg - ge to

Ung - doms - kraft,

un - der

Kro - nens Guld

som A -

de pran - ge beg - ge to

Ung - doms - kraft,

un - der

Kro - nens Guld

T. -

fold

pran - ge

B. -

nest

dog,

naar

som

Vl. 1 cresc.

cresc.

Vl. 2

unis.

div. Va. cresc.

cresc.

Vc.

Cb.

406

DCM 030

più mosso

509 1 2

Fl.

Picc. ff a2

a2 1 2

Ob.

a2 1 Cl. (Bb) 2

ff a2

1 Fg. 2

Cor. (F)

Tr. (F)

Trb.t.

ff a2

1 2

ff a2

3 4

1 2

Trb.b. ff Tb. ff

Timp. ff

Trgl.

Ptti. Gr.c.

S. lad

din

hans

Brud.

lad

din

hans

Brud,

lad

din

hans

Brud,

A - lad - din og

hans

Brud,

Ja,

hil

lad

din

hans

Brud,

lad

din

hans

Brud,

ja,

hans

Brud,

hans

Brud,

più mosso Vl. 1 ff Vl. 2 ff Va. ff Vc. ff Cb. ff

DCM 030

407

513

1 2

Fl.

Picc. a2 a2 1 2

Ob.

a2 a2 Cl. (Bb)

1 2 a2 1 2

Fg.

Cor. (F)

1 2

3 4

Tr. (F)

1 2

Trb.t.

1 2

fz a2 fz a2 fz

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

S. hil

to!

hil

to!

hil

to!

hil

to!

Ja,

hil

lad

din

hans

Brud,

lad

din

hans

Brud,

ja,

hans

Brud,

hans

Brud,

Vl. 1

Vl. 2 div.

Va.

Vc.

Cb.

408

DCM 030

517 1 2

Fl.

Picc. a2

1 2

Ob.

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

3 Cor. (F) 4

Tr. (F)

1 2

Trb.t.

1 2

fz a2 fz a2 fz

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

S. hil

to!

og hil

vor Sul

tan,

ja hil

den sto - re So

li - man,

hil

A-

hil

to!

og hil

vor Sul

tan,

ja hil

den sto - re So

li - man,

hil

A-

hil

to!

og hil

vor Sul

tan,

ja hil

den sto - re So

li - man,

hil

A-

hil

to!

og hil

vor Sul

tan,

ja hil

den sto - re So

li - man,

hil

A-

div.

Vl. 1 div. Vl. 2 div. unis. Va.

Vc.

Cb.

DCM 030

409

Viziren hæver Haanden til Tegn paa at alle skal fjerne sig. Gulnare og de to Terner bliver hvor de er. Koret (og Ternekoret), Dandsere og Dandserinder trækker sig tilbage paa Scenen, dels udenfor, dels noget indenfor Buerne, underholdende sig indbyrdes, dannende smaa Klynger og bevægende sig frem og tilbage under den næste Scene. Pagerne (tilhøjre i Forgrunden) ud i Kulissen (bort). Slaverne (med Kurve) ud af den lille Bue og tilhøjre bort. Garden (med Undtagelse af to Mænd) ud tilvenstre. Embedsmændene ud i Kulissen (bort). Alle Fanebærerne ud igjennem de smaa Buer, stillende sig op i en Række og bliver Akten ud. De to Mænd af Garden stiller sig paa hver sin Side af Midterbuene og bliver Akten ud. Viziren gaar over imod højre Side lidt tilbage og bliver staaende knapt midtvejs paa Scenen. Bannerbæreren med de 4 Pager gjør et kort Sving og gaar ud af Midterbuen. Bannerbæreren stiller sig midt for denne og bliver Akten ud. Pagerne bort tilvenstre.

521

straks videre, altsaa ikke vente til den beskrevne Fjernelse er sket.

1 2

Fl.

Picc. a2 1 2

Ob.

Cl. (Bb)

1 2

1 Fg. 2 1 Cor. (F) 2 3 Cor. (F) 4 1 Tr. (F) 2

Trb.t.

1 2

Trb.b. 2 2

Tb.

Timp.

Trgl. Ptti. Gr.c. 2

S. lad

din

Gul

re!

lad

din

Gul

re!

lad

din

Gul

re!

lad

din

Gul

re!

Vl. 1 7

Vl. 2 7 7

Va. 7

Vc.

Cb.

410

DCM 030

No. 24 Andantino quasi recit.

526

1 Fl. 2

Ob.

Cl. (Bb)

Fg.

p 1.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

(Gulnare drejer sit Hoved langsomt om imod Aladdin og rejser sig med et Sæt.)

mf GUL.

Hvad (tager Aladdin ved Haanden og fører ham meget langsomt frem henimod Gulnare)

(bliver staaende)

SULT. Min elsk - te

Dat - ter,

Prins A - lad - din,

min Tro - nes Ar - ving og din Brud - gom

fø - rer jeg til dig.

Andantino quasi recit. Vl. 1 p Vl. 2 p Va. p Vc. p Cb. p

532

Allegro quasi recit. De to Terner tilkjendegiver for hinanden ved Gestus deres Forbavselse.

1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

(afsides)

(med Hænderne for Ansigtet)

(til Aladdin)

GUL. ser jeg,

hvad ser jeg?

Fryd!

nej,

et Blænd - værk kun,

mig!

Er det Be -

(Aladdin strækker sin højre Arm ud imod hende og bliver staaende i denne Stilling.)

ALAD.

Allegro quasi recit. Vl. 1 ff

Vl. 2 ff

Va. mf

ff Vc.

ff Cb. ff

DCM 030

411

537

Sultanen gaar hen til Viziren samtalende over til højre Side (ikke for langt), hvor de vender sig om for at betragte de Elskende, saa længere tilbage paa Scenen. [se: Appendiks, ill. III.8]

De to Terner gaar tilbage paa Scenen for at samtale med de andre.

1 Fl. 2 1. 1 Ob. 2

1. Cl. (Bb)

1 2

p 1.

Fg.

1 2

p (Gulnare længere frem imod Aladdin.)

GUL. drag?

o tal!

hvem er

du,

som væk-ker Haab paa - ny?

ALAD. Gul - na

re!

Din Stem - mes Klang som To - ner fra Him - len sødt mit Ø - re kvæ - ger. div.

Vl. 1 fz

fz p

Vl. 2

div.

Va. p

Vc. p

Cb. fp

544

Recit.

[se: Appendiks, ill. III.9]

1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

(nærmere Aladdin)

GUL. Skønt di - ne Blik - ke ta - le,

og hver en Tvivl er svun - det,

et Tegn du gi - ve

maa! (viser hende Rosen)

ALAD. I

selv

til Prins mig kaa - red'

med det - te

Recit. Vl. 1 f

Vl. 2

Va.

Vc.

Cb.

412

DCM 030

El - skovs -

548

Andantino

rall.

Allegretto

Recit.

1 Fl. 2

Ob.

1 2

1. p dolce

1. 1 Cl. (Bb) 2

1. Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Ja,

men sig mig, hvor kom - mer du fra? og den - ne

ALAD. pant,

pluk - ket af Jer

Andantino

gen Haand,

be - dug

get af

Jer e - gen Mund.

rall.

Allegretto

Recit.

Vl. 1 fz f

Vl. 2 fz f

dolce

Va. fz f

Vc. fz f

arco

pizz. Cb.

DCM 030

fz f

413

Allegretto

553

Recit.

Andantino

1 Fl. 2

1. Ob.

Cl. (Bb)

1 2

p dolce

1 2

2. solo 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. Pragt,

saa un - der - fuld?

ALAD. Mit Hjem, min Bo

din Sjæl,

div.

Allegretto

Recit.

Andantino

unis.

Vl. 1 fz f

p dolce

Vl. 2 p fz f

Va. p dolce

fz f

Vc. fz f

fz f

p dolce

Cb.

414

p dolce DCM 030

DCM 030

al - le di - ne re - ne Tan - ker.

O lad mig

rit.

559 1 Fl. 2

1. Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL.

(synker paa det ene Knæ uden at nærme sig Gulnare)

ALAD. byg - ge der

for e - vig;

den

bed

ste

Skat

jeg

vandt,

det

dig

selv

din Kær

lig - hed.

rit. Vl. 1 mf

Vl. 2

Va.

Vc.

Cb.

DCM 030

415

pp 564

Allegro

1 Fl. 2 pp

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

2. 1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. med

min Sjæl

Sin

de–

ALAD. du

sig

sker mig–

Allegro Vl. (solo) p

Vl. 1 pp

Vl. 2 pp

Va. pp

Vc. pp

Cb. pp

416

DCM 030

tro

fast

Kær

lig - hed–

pp 570 Fl.

1 2 pp

Ob.

1 2

1. pp

Cl. (Bb)

1 2

pp p

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(helt ind paa Aladdin)

GUL. og

til

vig

de!

him

melsk

lig - hed,

jeg

næp

him

melsk

lig - hed,

jeg

næp

(rejser sig og omfavner hende)

ALAD.

Vl. (solo)

tutti Vl. 1

Vl. 2 p

Va. p

Vc.

Cb.

DCM 030

417

pp 575 Fl.

1 2 pp 1.

Ob.

1 2

2. Cl. (Bb)

Fg.

1 2

1 2 pp

Cor. (F)

1 2 pp

Cor. (F)

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

GUL. fat -

ter.

med

min Sjæl

(halv sagte, indtrængende idet han tager begge hendes Hænder)

Sin

de–

(fuld Røst)

ALAD. fat -

ter.

sig

sker mig–

Vl. 1 pp

Vl. 2 pp

Va. pp

Vc. pp

Cb. pp

418

DCM 030

tro

fast

Kær - lig - hed–

582 Fl.

1 2 pp

1 Ob. 2

Cl. (Bb)

1. pp

1 2

pp Fg.

1 2

pp Cor. (F)

1 2 pp

3 Cor. (F) 4

Tr. (F)

1 2

Trb.t.

1 2

(De omfavner hinanden)

GUL. og

til

vig

de.

vig

din.

For -

ALAD. Nu er

min,

ja,

for

vig

min.

Vl. 1 pp

Vl. 2 pp

Va. pp

Vc. pp

Cb. pp

DCM 030

419

588 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

1. 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

cresc.

GUL. e

net

skal

føl

ges

ad,

(Aladdin tager hendes højre Haand med sin venstre og løfter højre Arm.)

Kær

lig

Kær - lig

(løfter sin venstre Arm)

ALAD. For - e

net,

for - e

net

skal

føl - ges

Liv

Død,

Vl. 1 mf cresc.

cresc.

mf cresc.

Vl. 2

Va.

Vc.

Cb.

420

DCM 030

Fl.

Ob.

risoluto

596 1 2

1 2 f

Cl. (Bb)

1 2

1. 1 Fg. 2

dim.

Cor. (F)

1 2 f

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(lægger venstre Haand paa hans Skulder)

GUL. 2

hed

for

net;

Kær

lig

Kær

lig

(sænker højre Arm og lægger den om hendes Liv)

ALAD. hed

for

net;

risoluto

Vl. 1 2

dim.

Vl. 2 mf

Va.

Vc.

Cb.

DCM 030

421

Fl.

Ob.

risoluto a tempo

rall.

603 1 2

1 2 f

1. Cl. (Bb)

1 2

p mf cresc.

Fg.

1 2 p

1 Cor. (F) 2 f

mf cresc.

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

GUL. hed

for

net

føl

ges

ad,

Liv

Død,

ALAD. hed

for

net

føl

ges

ad,

Liv

risoluto a tempo

rall. Vl. 1 2

mf cresc.

cresc.

mf cresc.

Vl. 2 f

Va. f

Vc.

Cb.

422

DCM 030

610 Fl.

risoluto a tempo

rall.

1 2

rall.

f p

Ob.

1 2 f p

Cl. (Bb)

Fg.

1 2

1 2 f

Cor. (F)

1 2 f

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(slipper hans Haand og løfter højre Arm)

(tager atter hans Haand)

GUL. ja,

til

e - vig

Tid,

ja,

til

ja,

til

ALAD.

rall.

risoluto a tempo

rall.

Vl. 1

Vl. 2 fz

Va.

Vc.

Cb.

DCM 030

423

a tempo

617 Fl.

1 2 fz f

fz f

p Ob.

Cl. (Bb)

1 2

p p

Fg.

1 2 p p

1 Cor. (F) 2

Cor. (F)

3 4

fz f

Tr. (F)

1 2

Trb.t.

1 2

(Helt ind paa Aladdin idet hun griber hans udstrakte Hænder)

GUL. e

vig

Med

Tid.

(Aladdin gjør et Skridt tilbage idet han holder sine Arme udstrækte frem for sig imod hende [se: Appendiks, ill. III.10].)

ALAD. e

vig

Tid.

sig

a tempo Vl. (solo) p

Vl. 1 p

fz f

Vl. 2 p

Va. p

Vc. p

fz f

Cb. p 424

424

DCM 030

sker mig–

pp 624 Fl.

Ob.

Cl. (Bb)

Fg.

1 2

2. 1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

(De omfavner hinanden.)

GUL. al

min Sjæl

Sin

de–

til e - vig

de!

him

melsk Sa - lig - hed,

jeg

him

melsk Sa - lig - hed,

jeg

ALAD. i

tro

fast Kær - lig - hed–

Vl. (solo)

Vl. 1 p

Vl. 2

Va.

Vc.

Cb.

DCM 030

425

632 Fl.

1 2 pp

1 Ob. 2

1. pp

2. 1 Cl. (Bb) 2 pp pp Fg.

1 2

pp Cor. (F)

1 2

3 Cor. (F) 4

Tr. (F)

1 2

Trb.t.

1 2

(lægger begge Hænder paa hans Skuldre:)

GUL. næp

fat -

ter!

min

Læng

sel

staar

til

dig,

alt

mit

(lægger sine Hænder over hende)

ALAD. næp

fat -

ter!

Elsk

Vl. 1 pp

Vl. 2

div. Va. pp

Vc. pp

Cb.

426

DCM 030

te,

til

dig staar

min

Læng

639 Fl.

dim.

1 2 pp

Ob.

1 2 p

Cl. (Bb)

1 2 pp

cresc.

dim.

pp Fg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

dim.

(lægger venstre Haand paa hans Skulder)

(løfter venstre Arm)

GUL. Haab

kun

hos

dig,

alt

mit

Haab

(sænker højre Arm langsomt og lægger den om hendes Liv)

(løfter højre Arm)

ALAD. -

sel,

alt

mit

Haab

kun

hos

dig,

alt

mit

Vl. 1 cresc.

dim.

Vl. 2 cresc. dim.

Va. cresc.

dim.

Vc. cresc.

dim.

Cb. cresc.

DCM 030

dim.

427

647 Fl.

Ob.

Cl. (Bb)

1 2

1 2 f

Fg.

1 2 f

Cor. (F)

1 2 p

Cor. (F)

3 4 f

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Timp.

GUL. kun

hos

dig,

hos

dig

hos

dig

(tager hendes venstre Haand bort fra sin Skulder, men slipper den ikke)

ALAD. Haab

kun

hos

dig,

hos

dig,

Vl. 1 f

Vl. 2 p

Va. f

Vc. f

Cb. f

428

DCM 030

Sultanen nærmer sig Gulnare og Aladdin. Viziren opfordrer Hoffolkene til at nærme sig Forgrunden. 654 Fl.

1 2 mf

Ob.

f 1.

1 2 p

f a2

1 Cl. (Bb) 2 mf

Fg.

1 2 p

f fp

1 Cor. (F) 2

Cor. (F)

Trb.t.

3 4 p

Tr. (F)

1 2

Trb.b. p

Timp.

GUL. er

alt,

alt

mit

alt,

alt

mit

ALAD.

Vl. 1 f

Vl. 2 f

Va.

Vc. f

Cb.

DCM 030

429

animato

661 Fl.

Ob.

1 2

Cl. (Bb)

1 2 ff

Fg.

Cor. (F)

1 2

1 2 ff

Cor. (F)

3 4 ff

ff fz Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp.

(De omfavner hinanden)

(slipper hinanden og løfter højre Arm som til Ed)

GUL. Haab.

vig

jeg

din,

Haab.

vig

jeg

din,

ALAD.

animato Vl. 1 ff

Vl. 2 ff

Va. ff

Vc.

Cb.

430

DCM 030

Koret nærmer sig (ikke for hurtig) Forgrunden. Viziren stiller sig midt foran Koret, noget tilhøjre. De to Terner foran Korets Damer. Sultanen lægger sine Hænder paa Gulnares og Aladdins Hoveder.

a2 667 Fl.

Ob.

Cl. (Bb)

1 2

fz ff

1 2

1 2 fz

Fg.

1 2 ff

Cor. (F)

1 2 fz

Cor. (F)

3 4 ff

fz Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b.

Tb. f

Timp. f

GUL. e

vig

din!

vig

din!

ALAD.

Vl. 1 ff fz Vl. 2 fz

Va. fz

Vc. fz

Cb.

DCM 030

431

Sultanen tager deres Hænder. 673 Fl.

Ob.

1 2

1 2 fz

Cl. (Bb)

Fg.

1 2

Cor. (F)

Tr. (F)

fz a2

1 2 fz

Cor. (F)

1 2 fz

3 4

1 2 fz

Trb.t.

1 2

Trb.b. fz

Tb. fz

Timp.

GUL.

ALAD.

Vl. 1 fz

Vl. 2 fz

Va. fz

Vc. fz

Cb. fz

432

DCM 030

No. 25 FESTMUSIK Sultanen fører Aladdin og Gulnare hen til venstre Trone, hvor de sidstnævnte træder op, men bliver staaende for Stolene, medens Sultanen gjør venstre om og gaar lidt længere frem i Prosceniet og tilhøjre.

Allegro non troppo, maestoso a2

680 1 Fl. 2

ff fz

Picc.

1 2

Ob.

Cl. (Bb)

1 2 1 2

Fg.

1 Cor. (F) 2

Cor. (F)

Tr. (F)

3 4

1 2

f a2 Trb.t.

1 2

Trb.b. f fz

f fz

Tb.

Trgl. Ptti. Gr.c. ff S. Pri

ser

le den mæg - ti - ge

Gud,

som

skæn

ked' os Kær - lig - heds

ser

le den mæg - ti - ge

Gud,

som

skæn

ked' os Kær - lig - heds

Pri ff

ser

le den mæg - ti - ge

Gud,

som

skæn

ked' os Kær - lig - heds

Pri

ser

le den mæg - ti - ge

Gud,

som

skæn

ked' os Kær - lig - heds

ff A. Pri ff T.

Allegro non troppo, maestoso Vl. 1 ff fz

ff fz

Vl. 2

Va.

Vc.

Cb.

DCM 030

433

684 Fl.

1 2

marcato

Picc.

Ob.

1 2

marcato

1 Cl. (Bb) 2

marcato

Fg.

1 2

1 Cor. (F) 2 2

3 Cor. (F) 4 fz Tr. (F)

1 2

a2 Trb.t.

1 2

Trb.b.

Tb.

Timp. fz Trgl.

f fz

1. TERN.

2. TERN.

SULT.

VIZ.

S. Ild

til

Lyst

Liv,

til

Lyst

til

Lyst

til

Lyst

til

Lyst

A. til

Ild

Lyst

Liv,

ja 2

T. til

Ild

Lyst

Liv,

ja 2

B. til

Ild

Lyst

Liv,

Vl. 1 fz 2

Vl. 2 fz div.

Va. fz

Vc. marcato

marcato

Cb.

434

DCM 030

[se: Appendiks, ill. III.11] 688 1 2

Fl.

Picc.

1 2

Ob.

fz Cl. (Bb)

1 2

fz Cor. (F)

1 2 fz

3 Cor. (F) 4

f fz

1 2 fz

Trb.t.

1 2

Fg.

Tr. (F)

f fz

1 2 fz

Trb.b. fz

Tb. fz

f fz

Timp. fz

Trgl.

1. TERN. Hvil

ket

Held

og hvil

ken

Fryd!

Sor

gen svandt; nu gen

nem

Taa

ren glim - ter

Hvil

ket

Held

og hvil

ken

Fryd!

Sor

gen svandt; nu gen

nem

Taa

ren glim - ter

Per - siens Dat

ter,

her

de,

sig

net væ

gla

Stund!

Liv.

Den her

lig

ste,

den mæg

tig - ste,

Liv.

Den her

lig

ste,

den mæg

tig - ste,

Liv.

Den her

lig

ste,

den mæg

tig - ste,

Liv.

Den her

lig

ste,

den mæg

tig - ste,

2. TERN. (afsides)

SULT. Sig

net væ

lig Brud

til

Brud - goms Glæ

VIZ. O

det ly

Haab

Vl. 1 fz

Vl. 2 fz

Va. fp

Vc. f

Cb.

DCM 030

435

693 1 2

Fl.

Picc.

1 2

Ob.

Cl. (Bb)

1 2 f 1 2

Fg.

Cor. (F)

1 2

3 Cor. (F) 4 f Tr. (F)

Trb.t.

1 2

Trb.b. Tb. f

Timp.

Trgl.

1. TERN. sa

lig

skovs

lyst.

Ja, hil

dig

Kær

lig

skovs

lyst.

Ja, hil

dig

Kær

lig

Kær

lig

2. TERN.

SULT. Pag

ten,

hel

tets

Dyb

ligt Baand

VIZ. fra

Hjer

straa

ler

S. her

lig

ste,

mæg

tig

her

lig

ste,

mæg

tig

her

lig

ste,

mæg

tig

her

lig

ste,

mæg

tig

Vl. 1 fz f

fz ff

Vl. 2 fz

Va. fz

Vc. fz f

fz ff

fz f

fz ff

Cb.

436

DCM 030

696 Fl.

Allegro con fuoco

1 2 ff

Picc.

Ob.

1 2

1 Cl. (Bb) 2

Fg.

1 2

a2 ff a2

1 Cor. (F) 2 ff 3 Cor. (F) 4

Tr. (F)

1 2

ff Trb.t.

1 2

Trb.b. ff Tb. ff Timp. ff Trgl. Ptti. Gr.c.

ff 1. TERN. hed! 2. TERN. hed!

(gjør et Sving om forbi Aladdin og Gulnare, idet han rækker sin venstre Arm ud imod dem for at tilkjendegive, at de skal følge ham. Alt langsomt og ceremonielt. De stiller sig op foran Suffløren. [se: Appendiks, ill. III.12])

SULT. hed! (bliver staaende)

VIZ. frem! S. ste!

Ja,

her

tven

Hjer

ter

flam

mer El - skovs - lyst.

ste!

Ja,

her

tven

Hjer

ter

flam

mer El - skovs - lyst.

ste!

Ja,

her

tven

Hjer

ter

flam

mer El - skovs - lyst.

ste!

Ja,

her

tven

Hjer

ter

flam

mer El - skovs - lyst.

Allegro con fuoco

unis.

div.

Vl. 1 ff 3

div.

Vl. 2 ff

div.

Va. ff

Vc. fz

Cb. ff

DCM 030

437

700 1 2

Fl.

Picc.

1 2

Ob.

a2 3

1 Cl. (Bb) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

3 3

Trb.b.

Tb.

Timp.

Trgl. Ptti. Gr.c.

S. Kækt

frem

ad,

baar

højt

Haa

bets Vin - ge - slag,

Kækt

frem

ad,

baar

højt

Haa

bets Vin - ge - slag,

Kækt

frem

ad,

baar

højt

Haa

bets Vin - ge - slag,

Kækt

frem

ad,

baar

højt

Haa

bets Vin - ge - slag,

unis.

div.

Vl. 1 3

div.

Vl. 2

Va.

Vc.

Cb.

438

DCM 030

div.

a2 704 1 2

Fl.

cresc.

Picc.

1 2

Ob.

Cl. (Bb)

1 2 p p

cresc.

mf mf

cresc.

1 2

Fg.

Cor. (F)

1 2 p

Cor. (F)

mf cresc.

cresc.

3 4 p

mf cresc.

cresc.

mf cresc.

1 Tr. (F) 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. mf

Trgl. Ptti. Gr.c. mf S. sty

rer ud de

mod

den grøn - ne Strand,

det

fag

den,

mod mf

det

fag

den,

mod

det

fag

den,

det

fag

den,

mod mf

A. sty

rer ud de

mod

den grøn - ne Strand,

sty

rer ud de

mod

den grøn - ne Strand,

T. mf B. sty

rer ud de

mod

den grøn - ne Strand,

mod

Vl. 1 fp

cresc.

Vl. 2

Va.

Vc.

Cb. f

DCM 030

439

709 1 2

Fl.

cresc.

Picc. f 1 2

Ob.

Cl. (Bb)

Cor. (F)

Trb.t.

cresc.

1 2

Fg.

Tr. (F)

1 2

3 4

1 2

Trb.b. f

Tb. f

f mf

Timp. f Trgl.

f ff

f S. hvor

kun Som

mer,

vig

Som

mer

bor– al - les Maal,

al - les Haab

A. hvor

kun Som

mer,

vig

Som

mer

bor– al - les Maal,

al - les Haab

f T. hvor

kun Som

mer,

vig

Som

mer

bor– al - les Maal, ff

al - les Haab

kun Som

mer,

vig

Som

mer

bor– al - les Maal,

al - les Haab

f B. hvor

Vl. 1 f

cresc.

Vl. 2 ff

Va. f f

cresc.

Vc. f

Cb.

440

DCM 030

714 1 2

Fl.

Picc.

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Trgl.

S. naar

i Hjer - tet der

tæn - des den flam - men - de

Ild–

Kær

lig

naar

i Hjer - tet der

tæn - des den flam - men - de

Ild–

Kær

lig

naar

i Hjer - tet der

tæn - des den flam - men - de

Ild–

Kær

lig

naar

i Hjer - tet der

tæn - des den flam - men - de

Ild–

Kær

lig

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

441

Gulnare, Aladdin og Sultanen med korslagte Arme. De andre ikke foreløbig. 719

Andante sostenuto a2

1 Fl. 2 pp Picc. 1. 1 2

Ob.

pp dolce e cantabile pp dolce e cantabile a2 Cl. (Bb)

1 2 pp

1 2

Fg.

1 Cor. (F) 2

dolce e cantabile

a2 p dolce e cantabile a2

pp Cor. (F)

3 4 fpp

Trgl.

GUL. O

lah,

Him - lens Drot,

nu hø - re

du vor Bøn: o

ræk os din mil - de Haand,

be - segl og

sign

vor Pagt!

be - segl den

ALAD. O

Drot,

lah, du Him - lens

nu hø - re

vor

Bøn:

ræk

os din mil - de

SULT. O

Al -

lah, du Him - lens

Drot,

sign den - ne

Pagt,

Drot,

sign den - ne

Pagt,

(frem i lige Række med Sultanen, Aladdin og Gulnare) (med korslagte Arme)

VIZ. O

Al -

lah, du Him - lens

S. hed!

A. hed!

T. hed!

B. hed!

Andante sostenuto Vl. 1 p Vl. 2 fp Va. fp Vc. fp Cb. p

442

DCM 030

Haand,

rall.

724

a tempo

1 2

Fl.

Picc.

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

1. p

3 4 p

Trgl.

GUL. Pagt, som her

vi slut - ter

dit Navn! Skænk

din Vel - sig

nel - se!

til

(frem i lige Række med de andre Solister)

Bøn

for hvert

Bøn

for

den

til

Bøn

for

den

til

Bøn

for hvert

(med korslagte Arme)

1. TERN. til (frem i lige Række med de andre Solister)

(med korslagte Arme)

2. TERN.

ALAD. be - segl og sign

vor Pagt,

som

her vi slut

ter,

skænk

os din Vel - sig - nel - se!

SULT. skænk

dem,

skænk

dem

din

Vel

sig

nel - se!

Nu hæ - ve sig Fol - kets Røst til Bøn

for dem, som

skænk

dem,

skænk

dem

din

Vel

sig

nel - se!

Nu hæ - ve sig Fol - kets Røst til Bøn

for dem, som

VIZ.

rall.

a tempo

Vl. 1

Vl. 2

Va. unis. Vc.

Cb.

DCM 030

443

[se: Appendiks, ill. III.13] 729

1 2

Fl.

f 1. solo 1 Ob. 2

Cl. (Bb)

cresc.

1 2 f

mf mf

1 2

Fg.

cresc. 1. solo Cor. (F)

1 2 p

Cor. (F)

cresc.

3 4 cresc.

cresc. GUL. hel

ligt

Baand,

som knyt - ter

dem sam - men–

Mand

Viv.

Du Him

lens

cresc. 1. TERN. sto

Pagt,

som knyt - ter

for

e - vig

tven

Hjer - ter.

Du Him - lens Drot,

cresc. 2. TERN. sto

re Pagt,

som knyt - ter

for

e - vig

tven

Hjer - ter.

Du Him - lens Drot,

cresc. ALAD. hel - ligt

Baand, som knyt - ter

sam - men

Viv

og Mand; for

dem

sig

hæ

Fol

kets Røst.

Du Him

lens

Du Him

lens

cresc. SULT. Al

lah

skæn

ked'

Lyk

kens

Naa

de - ga

ve. f

cresc. VIZ. Al

lah

skæn

ked'

Lyk

kens

Naa

de - ga

(helt frem i Prosceniet)

ve.

Him

lens

f (med korslagte Arme)

S. (helt frem i Prosceniet)

O Al - lah, du Him - lens Drot, f (med korslagte Arme)

nu hø - re du

vor Bøn: o

nu hø - re du

vor Bøn: o

A. (Tenorer og Basser træder først frem, naar de skal falde ind.)

Al - lah, du Him - lens Drot, (helt frem i Prosceniet) f (med korslagte Arme)

T. O

lah, du

Him - lens

Drot,

(helt frem i Prosceniet) f (med korslagte Arme)

B. 3

div. Vl. 1 3

cresc.

Vl. 2

Va.

Vc.

Cb.

444

DCM 030

Him

lens Drot,

a2 733 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

cresc.

Cor. (F)

1 2

Cor. (F)

3 4

cresc. GUL. Drot,

ræk

din

mil - de Haand,

be - segl den Pagt,

som her

slut - ter

dit Navn,

cresc. 1. TERN. ræk dem

din

mil - de Haand,

be - segl den Pagt,

som her

slut - tes

dit Navn,

cresc. 2. TERN. ræk dem

din

mil - de Haand,

be - segl den Pagt,

som her

slut

tes cresc.

ALAD. Drot,

ræk

din

mil - de Haand,

be - segl

sign

den Pagt,

som

her

cresc. SULT. Drot,

ræk dem

din

mil - de Haand,

skænk

dem, cresc.

VIZ. Drot,

ræk dem

din

mil - de

Haand,

skænk

dem,

cresc. S. ræk

dem din mil - de Haand,

ræk dem

din

mil - de Haand,

be - segl den Pagt,

som her

slut - tes

dit Navn,

cresc. A. ræk

dem din mil - de Haand,

ræk dem

din

mil - de Haand,

be - segl den Pagt,

som her

slut

tes cresc.

T. nu hø - re

vor

Bøn:

ræk

dem din mil - de Haand,

be - segl

sign

den Pagt,

som

her

B. Him - lens

Drot,

sign

den - ne

Pagt,

skænk

dem,

unis. Vl. 1 cresc. Vl. 2 cresc. Va. cresc. Vc. cresc. Cb. cresc.

DCM 030

445

737

1 2

Fl.

dim.

1. solo 1 2

Ob.

dim.

a2 Cl. (Bb)

1 2 f

dim. 1 2

Fg.

f Cor. (F)

1 2 f

Cor. (F)

3 4 f

dim.

GUL. skænk

din

Vel - sig

nel - se!

dim.

f 1. TERN. skænk

dem

din

Vel - sig

dim.

2. TERN. i

dit Navn, skænk dem din Vel - sig f

nel - se! (med opløftede Arme)

dim.

ALAD. slut

ter,

skænk

din

Vel - sig

nel - se!

dim.

Nu (med udstrakte Arme)

se!

løf

ter

sig

(med opløftede Arme)

SULT. skænk

dem,

skænk

dem

din

Vel

sig

nel

bre

der

sig

ud,

(med udstrakte Arme)

dim.

se!

løf

ter

sig

(med opløftede Arme)

VIZ. dem

skænk

din

Vel

sig

nel

bre

der

sig

ud,

løf

ter

sig

dim.

f S. skænk

dem f

din

Vel - sig

nel - se!

dim.

A. i

dit Navn, skænk dem din Vel - sig dim. f

nel - se!

(med opløftede Arme)

T. slut

tes,

skænk

dem

din

Vel - sig

nel

se! p

dim.

(med udstrakte Arme)

løf

ter

sig

(med opløftede Arme)

B. skænk

dem

din

Vel

sig

nel

se!

bre

der

sig

ud,

Vl. 1 p

dim.

f unis.

Vl. 2 f

p dim.

Va. f

dim.

Vc.

Cb.

446

DCM 030

løf

ter

sig

Alle med opløftede Arme a 2

741 1 2

Fl.

cresc.

1 2

Ob.

1 Cl. (Bb) 2 cresc.

1 2

Fg.

Cor. (F)

mf cresc.

1 2 mp

Cor. (F)

cresc.

mf cresc.

cresc.

3 4 cresc.

mf cresc.

1 Tr. (F) 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. ff GUL. Nu ff

klin

ger mod

Sky

fra

les

Mund:

Lyk - sa - lig hver

Sjæl

den - ne

klin

ger mod

Sky

fra

les

Mund:

Lyk - sa - lig hver

Sjæl

den - ne

højt

klin

ger mod

Sky

fra

les

Mund:

Lyk - sa - lig hver

Sjæl

den - ne

højt

og ff

klin

ger mod

Sky

fra

les

Mund:

Lyk - sag - lig hver

Sjæl

den - ne

Nu ff

klin

ger mod

Sky

fra

les

Mund:

Lyk - sa - lig hver

Sjæl

den - ne

klin

ger mod

Sky

fra

les

Mund:

Lyk - sa - lig hver

Sjæl

den - ne

højt

klin

ger mod

Sky

fra

les

Mund:

Lyk - sa - lig hver

Sjæl

den - ne

højt

klin

ger mod

Sky

fra

les

Mund:

Lyk - sa - lig hver

Sjæl

den - ne

1. TERN. 2. TERN.

ALAD.

SULT. VIZ.

Vl. 1 mf fz

fz cresc.

mf fz

fz cresc.

mf fz

fz cresc.

mf fz

fz cresc.

Vl. 2

Va.

Vc. ff

Cb. ff

DCM 030

447

1 2

Fl.

rall.

745

cresc.

Picc. f cresc. 1 2

Ob.

Cl. (Bb)

Cor. (F)

Trb.t.

1 2

3 4

1 2

cresc.

1 2

Fg.

Tr. (F)

mf cresc.

1. f cresc.

f cresc.

ff 3

1 2

cresc.

Trb.b. 3

cresc.

Tb.

Timp.

GUL. Stund!

Lyk - sa

lig hver

Bo,

Lyk - sa

hvor Glæ - den fandt ind,

1. TERN. 2. TERN. Stund!

Lyk - sa

lig hver

Bo,

hvor Glæ - den fandt ind,

Stund!

Lyk - sa

lig hver

Bo,

hvor Glæ - den fandt ind,

hvor Bud - skab lød

om Bryl - lups- fest

i Mah - muds

ALAD. Lyk - sa

SULT. VIZ. Stund!

Lyk - sa

lig hver

Bo,

hvor Glæ - den fandt ind,

hvor Bud - skab lød

om Bryl - lups - fest 3

i Mah - muds

S. Stund!

Lyk - sa

lig hver

Bo,

hvor Glæ - den fandt ind,

hvor Bud - skab lød 3

om Bryl - lups- fest

i Mah - muds 3

A. Stund!

Lyk - sa

lig hver

Bo,

hvor Glæ - den fandt ind,

hvor Bud - skab lød

om Bryl - lups - fest 3

i Mah - muds

T. Stund!

Lyk - sa

lig hver

Bo,

hvor Glæ - den fandt ind,

hvor Bud - skab lød 3

om Bryl - lups- fest

i Mah - muds 3

B. Stund!

Lyk - sa

lig hver

Bo,

hvor Glæ - den fandt ind,

hvor Bud - skab lød

om Bryl - lups - fest

i Mah - muds

rall.

Vl. 1 fz

cresc.

ff 3

cresc.

ff 3

Vl. 2 ff 3

3 3

Va.

Vc. 3

448

cresc.

DCM 030

3 3

Cb. ff

Alle Arme ned

a tempo

Alle slaar op med højre Arm.

749

1 Fl. 2

rit.

Picc. a2 1 2

Ob.

a2 Cl. (Bb)

1 2 a2

1 Fg. 2 a2 Cor. (F)

1 2 fff a2

3 Cor. (F) 4 fff Tr. (F)

1 2 ff

Trb.t.

1 2

Trb.b.

Tb. f Timp. f sostenuto

ff GUL. lig.

Ja, om en

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

nu fej - rer. sostenuto

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

nu fej - rer. sostenuto

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

nu fej - rer. sostenuto

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

nu fej - rer. sostenuto

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

ff 1. TERN. 2. TERN. Slot.

Ja, om en ff

ALAD. lig.

Ja, om en ff

SULT. VIZ. Slot.

Ja, om en ff

S. Slot

Ja, om en ff

fej - rer.

sostenuto

A. Slot.

Ja, om en

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

nu fej - rer. sostenuto

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

nu fej - rer. sostenuto

Bryl - lups - fest

i Sul - tan Mah - muds Slot,

som he - le

Per - siens Folk

ff T. Slot.

Ja, om en ff

B. Slot.

a tempo

Ja, om en

rit.

fej - rer.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

449

Korets to Fløje trækker sig et Skridt tilbage (baglænds), medens den øvrige Del gjør saa mange Skridt tilbage (baglænds), at Fronten kommer til at danne en Halvcirkel. Gulnare, Aladdin, Sultanen og Viziren gjør, to og to, et Sving ad Scenens venstre Side om langs Korets Front tilbage til Korets Dameside, hvor de stiller sig op i en Række. [se: Appendiks, ill. III.14] 753

Allegro vivace

1 Fl. 2

Ob.

1 2

Clarinetto (Bb) p

Fl.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

S. Med ly - stig Dans

til Fløj - ters Klang

den

se Sal,

den

Med ly - stig Dans

til Fløj - ters Klang

den

se Sal,

den

T. Med ly - stig Dans

til Fløj - ters Klang

den

se Sal,

Med ly - stig Dans

til Fløj - ters Klang

den

se Sal,

Allegro vivace Vl. 1 p

Vl. 2

Va.

Vc. p

Cb. p

450

DCM 030

760 Fl.

1 2

f fz

1 2

Ob.

Cl. (Bb)

cresc.

f a2

1 2 fz

cresc.

2. 1 2

Fg.

Cor. (F)

f fz

1 2 fz mf

fz mf

cresc.

3 4

Tr. (F)

1 2

Trb.

1 2

S. sva - le Lund,

mun - ter og glad,

mun-ter og glad,

un-der Lam - per - nes Skin, un - der Stjer - ner - nes

Glans, med ly - stig

Dans,

mun - ter og glad, un - der Lam - per-nes Skin, un - der Stjer - ner - nes

Glans, med ly - stig

Dans,

A. sva - le Lund,

mun - ter og

glad,

T. i

den

sva

Lund

un - der Lam - per - nes Skin, un - der Stjer - ner - nes

Glans,

med ly - stig

Lund,

mun - ter og glad, un - der Lam - per-nes Skin, un - der Stjer - ner - nes

Glans,

med ly - stig

B. sva

Vl. 1 mf

Vl. 2 mf

Va. f

Vc. mf fz

cresc.

mf fz

cresc.

Cb.

DCM 030

451

767 Fl.

1 2

ff fz

marcato

ff fz

marcato

ff fz

marcato

Picc. 2

1 Ob. 2 2

Cl. (Bb)

1 2

Fg.

1 2 ff fz

marcato a2

1 Cor. (F) 2

ff 2

3 Cor. (F) 4 fz

ff a2

1 Tr. (F) 2

ff Trb.

1 2 f

Trb.b.

Tb.

Timp. f

S. med ly

stig

Dans

til Fløj - ters

Klang

i den

Sal,

i den

sva

Klang

i den

Sal,

i den

sva

Klang

i den

Sal,

i den

sva

Klang

i den

Sal,

i den

sva

A. med ly

stig

Dans

til Fløj - ters 2

T. Dans,

med ly

stig

Dans

til Fløj - ters 2

B. Dans,

med ly

stig

Dans

til Fløj - ters

div.

Vl. 1 2

marcato

Vl. 2

Va.

2 2

Vc.

Cb.

452

DCM 030

773 Fl.

accelerando

1 2

Picc. f 1 2

Ob.

1 Cl. (Bb) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b. f Tb. f

Timp.

S. Lund,

un - der Lam - per - nes Skin, un - der

Stjer

ners

Glans,

til

Sol

staar

op,

til

Lund,

un - der Lam - per - nes Skin, un - der

Stjer

ners

Glans,

til

Sol

staar

op,

til

Lund,

un - der Lam - per - nes Skin, un - der

Stjer

ners

Glans,

til

Sol

staar

op,

til

Lund,

un - der Lam - per - nes Skin, un - der

Stjer

ners

Glans,

til

Sol

staar

op,

til

accelerando Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

453

779 Fl.

Aladdin i Begejstring frem midt for Koret

1 2

Picc. ff 1 2

Ob.

1 Cl. (Bb) 2

ff a2 ff

1 2

Fg.

ff Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

Trb.

1 2

Trb.b. ff Tb. ff

Timp. ff

S. Sol

staar

op.

Sol

staar

op.

Sol

staar

op.

Sol

staar

op.

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff

Cb. ff

454

DCM 030

785

Recit.

1 Fl. 2

Picc. ff 1 2

Ob.

a2 Cl. (Bb)

1 2

Fg.

ff Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.

1 2

Trb.b. ff Tb. ff

Timp. ff (stiger ned fra Tronen frem paa Scenen)

ALAD. Ja, vi fej - rer en Glæ - dens Fest,

og vi fej - rer en Sej - rens Fest,

thi jeg staar ved mit Maal, ved mit hø - je Maal! Ja

Recit. Vl. 1 ff

Vl. 2 ff Va. ff Vc. ff Cb. ff

DCM 030

455

No. 26 Allegro, molto animato 3

792 Fl.

1 2 p

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1. solo p

1 2

ALAD. Alt,

hvad jeg

haa

bed',

Alt,

hvad jeg

øn

sked',

Allegro, molto animato

sen - de

Drøm

me,

div.

Vl. 1 p 3

Vl. 2 p Va. p 3 pizz. Vc. p Cb.

799 Fl.

Ob.

1 2

1 2 1.

Cl. (Bb)

1 2 mf

mf Fg.

1 2 mf

mf Cor. (F)

Cor. (F)

1 2

3 4

mf 3.

ALAD. al

stær

gen - de

Læng 3

sler–

alt

til 3

Vl. 1 mf

mf 3

3 3

Vl. 2 p

mf 3

Va. mf

arco

Vc. mf

mf 3

Cb. mf

456

DCM 030

806

1. solo

1 Fl. 2 mf Ob.

1 2 mf

Cl. (Bb)

1 2 mf

p Fg.

1 2

mf 1.

1 Cor. (F) 2 mf 3.

3 Cor. (F) 4

ALAD. Li

bragt,

sprin

ger

som

Blomst

Vaar,

og med

Vl. 1 3

fz 3

fz f

Vl. 2 3

Va. 3

fz 3 3

3 3

Vc. 3

Cb. p

814 Fl.

rit.

1 2

a tempo

ALAD. straa

len - de

Far

ver til

Liv

Lyst

ud - fol - der

sin

Rig

dom, al

sin

Pragt.

rit.

pizz.

Saa

fød

tes mit

a tempo

Vl. 1 p pizz. Vl. 2 p 3

Va. p

solo Vc. p pizz. Cb. p

DCM 030

457

823 Fl.

poco rit.

a tempo poco accel.

1 2 mp

1. solo Ob.

1 2 p

Cl. (Bb)

Fg.

1 2 mf

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

ALAD. Haab,

Alt

jeg

vandt,

saa

sandt

hun

pp arco

Vl. 1

6 6 6

Vl. 2 mf 3

pp 6

Va. mf

Vc.

3 3

arco Cb. mf

458

DCM 030

ker mig,

a tempo poco accel.

poco rit. arco

els

hun

sker mig

Gulnare hen til Aladdin. De omfavner hinanden og bliver staaende saaledes indtil Tegnet * nedenfor. [se t. 852]

Lento ad libitum 832 Fl.

1 2 cresc.

1. Ob.

1 2 cresc.

Cl. (Bb)

1 2 p cresc. p

Fg.

1 2 mf cresc.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

ALAD. saa

fød

tes mit

Haab,

Alt,

Alt

jeg

vandt,

saa

sandt

hun

sker

Lento ad libitum Vl. 1 cresc.

cresc.

Vl. 2

Va.

Vc.

Cb. mf

DCM 030

459

840

Presto

1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2 f

Cor. (F)

sempre marcato a2

1 2

f Cor. (F)

3 4

f Tr. (F)

1 2

Trb.

f 1 2

Trb.b.

Tb.

Timp.

ALAD. mig.

S. Hil

A. Hil

lad

din,

T. Hil

lad

din,

hil

Gul

B. Hil

lad

din,

Presto Vl. 1 f Vl. 2 f Va. f

Vc. f

sempre marcato

Cb.

460

DCM 030

hil

Gul

re,

rall. Fl.

846 1 2

Picc. f 1 2

Ob.

a2 f

a2 Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

3 3

3 Cor. (F) 4

Tr. (F)

1 2

Trb.

1 2

3 3

Trb.b. f Tb. f

Timp. f

ALAD.

S. lad

din

Gul

re,

hil!

Fest - lig 3

A. Gul

hil

re,

hil!

Fest - lig 3

T. na

re,

hil

dem

beg

ge,

Fest - lig

hil!

B. hil

dem

beg

ge,

hil!

Fest - lig

rall. Vl. 1 3

Vl. 2 3

Va. 3

Vc.

Cb.

DCM 030

461

Aladdin fører Gulnare ved Haanden i et Sving ad Scenens højre Side om langs Korets Front, hilsende Hoffolket, tilbage til de andre Solister. [se: Appendiks, ill. III.15]

Allegro maestoso 853 Fl.

1 2

Ob.

1 2

Koret og alle Solister helt ud i Prosceniet

a2 Cl. (Bb)

1 2

Fg.

1 2

mf 1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

S. Ju

bel,

Høj - tids - glæ

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

bel,

Høj - tids - glæ

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

bel,

Høj - tids - glæ

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

bel,

Høj - tids - glæ

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

Allegro maestoso

div.

Vl. 1 mf Vl. 2 mf div. Va. mf Vc. mf Cb. mf

462

DCM 030

a2 857 Fl.

1 2

Ob.

Cl. (Bb)

1 2

Fg.

ff Cor. (F)

Cor. (F)

Tr. (F)

1 2

3 4 ff a2

1 2

Trb.

1 2

Trb.b. ff

Tb.

Timp. ff

Trgl.

Ptti. Gr.c. ff

S. he - le

Per

siens Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

he - le

Per

siens Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

he - le

Per

siens Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

he - le

Per

siens Land;

fyl - der nu Sul - ta - nens Hal,

fyl - der den straa - len - de Stad,

fyl - der

Vl. 1 mf

ff Vl. 2

ff Va.

ff Vc. ff

Cb.

DCM 030

463

861 Fl.

1 2 f 1 2

Ob.

f Cl. (Bb)

1 2 f

1 Fg. 2

1 2

Cor. (F)

f Cor. (F)

3 4

f Tr. (F)

1 2

f a2

1 Trb. 2

Trb.b. f Tb.

Timp. f

Trgl.

Ptti. Gr.c. f

S. he

Per

siens Land.

Øn

sker - ne

højt

mod

Him - len

sti

ge,

sti - ger fra

Per

siens Land.

Øn

sker - ne

højt

mod

Him - len

sti

ge,

sti - ger fra

Per

siens Land.

Øn

sker - ne

højt

mod

Him - len

sti

ge,

sti - ger fra

Per

siens Land.

Øn

sker - ne

højt

mod

Him - len

sti

ge,

sti - ger fra

Vl. 1 f Vl. 2 f Va. f Vc. f

Cb. f

464

DCM 030

865 Fl.

1 2 mf 1.

1 Ob. 2

Cl. (Bb)

1 2 mf a2 1 2

Fg.

Cor. (F)

mf a2

1 2

mf a2

3 4

mf Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

S. Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt naar tven - de

Hjer

ter

slut - te

Pagt;

men

fold

skønt, naar de

Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt naar tven - de

Hjer

ter slut - te

Pagt;

men

fold

skønt,

Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt

naar

Hjer

ter slut - te

Pagt;

men

ti - fold

Sul - ta - nens Bryst,

sti - ger fra he - le hans Folk!

Skønt

naar

Hjer

ter slut - te

Pagt;

skøn

A. naar

T. skønt, naar de

B. -

nest

dog

naar

Vl. 1 mf

Vl. 2 mf

Va. mf Vc. mf Cb. mf

DCM 030

465

870 Fl.

1 2

cresc.

Picc. a2 1 2

Ob.

Cl. (Bb)

cresc. 1 2

f 1 2

Fg.

cresc. Cor. (F)

1 2

f Cor. (F)

3 4

f Tr. (F)

Trb.

1 2

Trb.b. f Tb. f

Timp.

Trgl. Ptti. Gr.c.

S. pran

beg - ge

Ung

doms

kraft,

un - der

Kro

nens

Guld

som

A - lad

din

hans

de pran - ge beg - ge

Ung

doms

kraft,

un - der

Kro

nens

Guld

som

A - lad

din

hans

beg - ge

Ung

doms

kraft,

un - der

Kro

nens

Guld

som

A - lad

din

hans

de pran - ge beg - ge

kraft,

un - der

Kro

nens

Guld

A - lad - din og

hans

T. pran

B. Ung

doms

som

Vl. 1 cresc.

cresc.

Vl. 2

Va. f

Vc. cresc.

cresc.

Cb.

466

DCM 030

più mosso 874 Fl.

1 2

Picc. ff a2 1 Ob. 2

ff a2

1 Cl. (Bb) 2

ff a2

1 2

Fg.

Cor. (F)

Tr. (F)

1 2

3 4

1 2

ff 1.

1 Trb. 2

Trb.b. ff Tb. ff

Timp. ff

f Trgl.

Ptti. Gr.c.

S. Brud.

Ja,

hil

lad - din

hans

Brud!

hil

to!

lad - din

hans

Brud!

hil

to!

Ja,

hans

Brud!

hil

to!

hans

Brud!

hil

to!

Ja,

hil

A. Brud.

T. Brud.

B. Brud.

più mosso Vl. 1 ff Vl. 2 div.

ff Va. ff Vc. ff Cb. ff

DCM 030

467

879 Fl.

1 2

Picc. a2 1 Ob. 2 a2 1 Cl. (Bb) 2 a2 1 2

Fg.

1 Cor. (F) 2

Cor. (F)

Tr. (F)

3 4

fz a2 fz a2 fz

1 2 1.

1 Trb. 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

S. lad

din

hans

Brud,

hil

to!

og hil

vor

lad

din

hans

Brud,

hil

to!

og hil

vor

Ja,

hans

Brud,

hil

to!

og hil

vor

hans

Brud,

hil

to!

og hil

vor

div.

Vl. 1 ff

div.

Vl. 2 div.

unis. Va. ff Vc.

Cb.

468

DCM 030

Molto allegro 883 Fl.

1 2

Picc.

a2 1 2

Ob.

Cl. (Bb)

1 2

Fg.

marcato Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b. marcato Tb. marcato

Timp.

Trgl.

Ptti. Gr.c.

S. Sul

tan,

ja hil

den sto - re Sul - tan og

hans he - le

Hus!

Sul

tan,

ja hil

den sto - re Sul - tan og

hans he - le

Hus!

Sul

tan,

ja hil

den sto - re Sul - tan og

hans he - le

Hus!

Sul

tan,

ja hil

den sto - re Sul - tan og

hans he - le

Hus!

Molto allegro Vl. 1

Vl. 2

Va.

Vc. marcato Cb. marcato

DCM 030

469

[se: Appendiks, ill. III.16]

quasi presto 889 1 Fl. 2

p solo p

1 2

Ob.

Cl. (Bb)

p cresc. solo

1 2 p cresc. 1 2

Fg.

Cor. (F)

cresc. 2.

1 2

3 4

cresc.

GUL. Lad

Glæ

dens

Bøl

ger

bru

se,

højt

lad

San

gens

bru

se,

San

gens

cresc.

1. TERN. 2. TERN. Lad

Glæ

dens

Bøl

ger cresc.

ALAD. Lad

Glæ

dens

Bøl

ger

bru

se,

højt

lad

cresc.

SULT. VIZ. Lad

Glæ

dens

Bøl

ger

cresc.

S. Lad

Glæ

dens

Bøl

ger

bru

se,

højt

lad

San

gens

bru

se,

cresc.

A. Lad

Glæ

dens

Bøl

ger

cresc.

T. Lad

Glæ

dens

Bøl

ger

cresc.

B. Lad

Glæ

dens

Bøl

quasi presto Vl. 1 p

cresc.

Vl. 2

Va. cresc.

Vc. p

cresc.

Cb.

470

DCM 030

ger

a2 895 Fl.

1 2

cresc.

1 2

Ob.

a2 Cl. (Bb)

1 2

f cresc. 1 2

Fg.

Cor. (F)

1 2

cresc.

f cresc.

3 4 f cresc. ff f

cresc.

GUL. To

ner

svul

me,

tol

Hjer

tets

Fryd

bel! ff

cresc.

1. TERN. 2. TERN. To

ner

tol

Hjer

tets

Fryd

bel! ff

cresc.

ALAD. To

ner

svul

me,

tol

Hjer

tets

Fryd

bel! ff

ner

svul

me!

f cresc. SULT. VIZ. bru

se,

San f

gens

cresc.

S. To

ner

svul

me,

tol

Hjer

tets

Fryd

bel! ff

cresc.

A. To

ner

tol

Hjer f tol

cresc. ke -

tets

Fryd

Hjer

bel! ff

tets

T. bru

se,

San

gen

tol

Fryd

bel! ff

f cresc. B. bru

se,

San

gens

ner

svul

me!

Vl. 1 f

cresc.

Vl. 2

Va. f

cresc,

Vc. f

cresc.

Cb.

DCM 030

471

901 Fl.

1 2

Ob.

1 Cl. (Bb) 2

1 2

Fg.

2. 1 Cor. (F) 2

Cor. (F)

cresc.

3 4

cresc.

GUL. Let

skal

den

træ

cresc.

1. TERN. 2. TERN. Let

skal

den

træ - de

Dan - sen

til mun - tre

Me - lo - di - er,

mens Øj - ne,

Smil og

Lat - ter

cresc.

ALAD. Let

skal

den

træ

cresc.

pp SULT. VIZ. Lad

Glæ

dens

Bøl

ger

bru

se,

højt

lad

San

gens

ner

cresc.

S. Let

skal

den

træ - de

Dan - sen

til mun - tre

Me - lo - di - er,

mens Øj - ne,

Smil og

Lat - ter

Dan - sen

til mun - tre

Me - lo - di - er,

mens Øj - ne,

Smil og

Lat - ter

cresc.

A. Let

skal

den

træ - de

pp cresc. T. Let

skal

den

træ

Dan

cresc.

B. Nu

let

skal

den

Vl. 1 pp

Vl. 2 pp

Va. pp

Vc. pp

Cb. pp

472

DCM 030

træ

Dan

sen,

Øj

ne,

Smil

908 Fl.

1 2

cresc. 1 2

Ob.

f Cl. (Bb)

1 2

a2 cresc.

f a2

1 2

Fg.

f 2.

1 Cor. (F) 2

Cor. (F)

cresc.

3 4 f

cresc. Tr. (F)

1 2

f 1.

1 Trb. 2

Trb.b. f f GUL. den

mun

tre

Dans,

mens de

gla - de

Smil og

mun - ter

Sind

Sans,

mens de

gla - de

Smil og

mun - ter

tre

Dans,

mens de

gla - de

Smil og

mun - ter

tets

Fryd,

mens de

gla - de

Smil og

mun - ter

f 1. TERN. 2. TERN. sødt daa - rer

Hjer

ter, f

ALAD. den

mun

f SULT. VIZ. svul

me,

tol

Hjer

ter,

Sind

Sans,

daa - rer

Hjer - ter, Sind

Sans,

ja,

ter,

Sind

Sans,

daa - rer

Hjer - ter, Sind

Sans,

ja,

ne,

Smil

daa - re

Hjer - ter, Sind

Sans,

ja,

Sans,

daa - re

Hjer - ter, Sind

Sans,

ja,

f S. sødt daa - rer

Hjer

f A. sødt daa - rer

Hjer

f T. sen,

Øj

f B. Lat

ter

daa

Sind

Vl. 1 cresc.

Vl. 2 cresc.

Va. cresc.

cresc.

Vc.

Cb.

DCM 030

473

915 Fl.

1 2

Ob.

f fz

a2 Cl. (Bb)

1 2 f a2

1 2

Fg.

f Cor. (F)

1 2 f fz

Cor. (F)

3 4 1.

1 Tr. (F) 2

f Trb.

1 2

Trb.b. f Tb.

Timp.

GUL. Lat - ter

fry - de vor - e

Hjer - ter, Sind og

Sans.

Lad

Glæ

Lat - ter

fry - de vor - e

Hjer - ter, Sind og

Sans.

Lad

Glæ

Lat - ter

fry - de vor - e

Hjer - ter, Sind og

Sans.

Lad

Glæ

Lat - ter

fry - de vor - e

Hjer - ter, Sind og

Sans.

Lad

Glæ

1. TERN. 2. TERN.

ALAD.

SULT. VIZ.

S. sødt

daa - rer

Hjer - ter, Sind og

Sans.

Ja,

lad

Glæ

sødt

daa - rer

Hjer - ter, Sind og

Sans.

Ja,

lad

Glæ

sødt

daa - rer

Hjer - ter, Sind og

Sans.

Ja,

lad

Glæ

sødt

daa - rer

Hjer - ter, Sind og

Sans.

Ja,

lad

Glæ

Vl. 1 f

Vl. 2

Va. f Vc. f

marcato

Cb.

474

DCM 030

922 Fl.

1 2

ff fz

Picc. f 1 2

Ob.

Cl. (Bb)

ff fz

1 2

Fg.

ff fz

Cor. (F)

1 2

ff fz Cor. (F)

3 4 ff fz

Tr. (F)

1 2 f

1 Trb. 2 Trb.b. f Tb. f

Timp. f GUL. dens

Bøl - ger

bru - se,

højt,

højt

lad

San - gens

dens

Bøl - ger

bru - se,

højt,

højt

lad

San - gens

dens

Bøl - ger

bru - se,

højt,

højt

lad

San - gens

dens

Bøl - ger

bru - se,

højt,

højt

dens

Bøl - ger

bru - se,

højt,

højt

lad

San - gens

dens

Bøl - ger

bru - se,

højt,

højt

lad

San - gens

dens

Bøl - ger

bru - se,

højt,

højt

lad

San - gens

dens

Bøl - ger

bru - se,

højt,

højt

1. TERN. 2. TERN.

ALAD.

SULT. VIZ.

Vl. 1 ff fz

Vl. 2 ff fz Va. ff fz Vc. ff fz Cb. ff fz

DCM 030

475

929 Fl.

1 2

Picc. ff 1 2

Ob.

Cl. (Bb)

1 2 ff 1 2

Fg.

Cor. (F)

1 2 ff

3 Cor. (F) 4

Tr. (F)

Trb.

1 2

Trb.b. ff Tb. ff Timp. ff

GUL. To

ner

svul

me,

lad

dem

tol

ner

svul

me,

lad

dem

tol

ner

svul

me,

lad

dem

tol

ner

svul

me,

lad

dem

tol

ner

svul

me,

lad

dem

tol

ner

svul

me,

lad

dem

tol

1. TERN. 2. TERN.

ALAD.

SULT. VIZ. To

S. To

A. To

T. To

ner

svul

me,

lad

dem

tol

ner

svul

me,

lad

dem

tol

ff fz

Vl. 1

Vl. 2

Va.

Vc. marcato

marcato

Cb.

476

DCM 030

a2 936 Fl.

1 2

Picc. fz

1 2

Ob.

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

fz 3 Cor. (F) 4 fz Tr. (F)

1 2 f

Trb.

1 2

Trb.b.

Tb.

Timp.

GUL. Hjer

tets

Fryd.

Frem

til

Dans!

Til

Dans

Hjer

tets

Fryd.

Frem

til

Dans!

Til

Dans

Hjer

tets

Fryd.

Frem

til

Dans!

Til

Dans

Fryd.

Frem

til

Dans!

Til

Dans

Fryd.

Til

Dans

frem!

Til

Fryd.

Til

Dans

frem!

Til

Fryd.

Til

Dans

frem!

Til

Fryd.

Til

Dans

frem!

Til

1. TERN. 2. TERN.

ALAD.

SULT. VIZ. Hjer

tets

S. Hjer

tets

A. Hjer

tets

T. Hjer

tets

B. Hjer

tets

Vl. 1 fz

Vl. 2 fz Va.

Vc.

Cb. ff

DCM 030

477

a2 943 Fl.

1 2

marcato

Picc. a2 1 2

Ob.

Cl. (Bb)

1 2

marcato

marcato a2

1 2

Fg.

marcato 1 Cor. (F) 2

Cor. (F)

marcato

3 4

1 Tr. (F) 2

Trb.

1 2

marcato

Trb.b. marcato Tb. marcato Timp.

GUL. frem!

Til

Dans!

Hør

kens

frem!

Til

Dans!

Hør

kens

frem!

Til

Dans!

Hør

kens

frem!

Til

Dans!

Hør

kens

1. TERN. 2. TERN.

ALAD.

SULT. VIZ.

S. Dans

frem!

Hør

kens

Dans

frem!

Hør

kens

Dans

frem!

Hør

kens

Dans

frem!

Hør

kens

unis. Vl. 1 fz unis. Vl. 2 fz Va.

Vc. marcato Cb. marcato

478

DCM 030

949 Fl.

1 2

Picc. a2 Ob.

1 2

Cl. (Bb)

1 2

a2 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

GUL. To

ner

kal

de!

til

Dans,

til

Dans!

ner

kal

de!

til

Dans,

til

Dans!

ner

kal

de!

til

Dans,

til

Dans!

ner

kal

de!

til

Dans,

til

Dans!

ner

kal

de!

til

Dans,

til

Dans!

ner

kal

de!

til

Dans,

til

Dans!

ner

kal

de!

til

Dans,

til

Dans!

ner

kal

de!

til

Dans,

til

Dans!

1. TERN. 2. TERN.

ALAD.

SULT. VIZ.

div.

unis.

Vl. 1 unis.

div. Vl. 2 div.

unis.

Va.

Vc.

Cb.

DCM 030

479

956 Fl.

Sultan til højre Trone og sætter sig. Viziren stiller ved hans Side paa Gulvet. Aladdin og Gulnare til venstre Side og sætter sig. De to Terner ved deres Side paa Gulvet. Koret danner Espalier paa begge Sider op til Kulisserne. Dandsere og Dandserinder ordnede til Dands foran Buerne.

1 2

Picc.

Ob.

1 2

Cl. (Bb)

1 2

muta in A

a2 1 Fg. 2

Cor. (F)

1 2

3 Cor. (F) 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

GUL.

1. TERN. 2. TERN.

ALAD.

SULT. VIZ.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

480

DCM 030

No. 27 BALLET

Ensemble: Sorte og hvide Slavinder

962 Fl.

1 2

Allegro non troppo a2

Picc.

Ob.

Cl. (A)

1 2

a2 Fg.

1 2 mf

Cor. (F)

1 2 f

Cor. (F)

3 4

f mf

f Tr. (F)

1 2 mf

f Trb.

1 2

Trb.b. f

Tb.

Timp.

Trgl.

Ptti. Gr.c. f Tamb.picc.

Allegro non troppo Vl. 1 f

Vl. 2

div. Va. mf

Vc. f

Cb.

DCM 030

481

969

1 Fl. 2

Picc. p

Ob.

1 2 f

Cl. (A)

1 2 p

Fg.

Cor. (F)

1 2

1 2 mf 4.

3 4 p

1 Tr. (F) 2 f f 1. 1 Trb. 2

Trb.b. f

Tb. f

Timp. p

Trgl.

Ptti. Gr.c. f Tamb.picc.

p cresc. 1.

Vl. 1 ff

Vl. 2

Va. ff

Vc. ff

Cb. ff

482

DCM 030

Ensemble: Sorte og hvide Slaver og Slavinder 977b Fl.

1 2

2. a 2

Picc.

a2 Ob.

Cl. (A)

1 2

f a2

1 2

f a2 1 Fg. 2 ff

Cor. (F)

1 2 fz f

Cor. (F)

3 4

f Tr. (F)

1 2 fz f 2.

Trb.

1 2 f

Trb.b. f Tb. f

Timp. f

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1 ff

Vl. 2

div. Va. ff

Vc. fz

Cb. ff

DCM 030

483

a2 984 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

484

DCM 030

990 Fl.

a2 a2

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

f 1 Tr. (F) 2 mf

Trb.

1 2 mf

Trb.b. mf

f Tb.

Timp. fz

Trgl.

Ptti. Gr.c. fz Tamb.picc.

Vl. 1

Vl. 2

Va.

Vc. 3

Cb. 3

DCM 030

485

996 Fl.

Ballet da capo senza repetizione

1 2

Picc.

a2 Ob.

1 2

a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

f Tr. (F)

1 2 f

f Trb.

1 2

Trb.b.

Tb. f

Timp. f

Trgl. f Ptti. Gr.c.

Tamb.picc.

Ballet da capo senza repetizione 3

Vl. 1

Vl. 2

Va.

Vc. 3

Cb. 3

486

DCM 030

998b Fl.

Større Ensemble: Slaver og Slavinder (Alle)

Pas de deux af to hvide Slavinder

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2 p

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

dim.

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1 p

fz mf

Vl. 2

Va. ff mf

Vc. ff mf

Cb. ff

DCM 030

487

1007

1 Fl. 2

Picc. mf

Ob.

Cl. (A)

Fg.

Cor. (F)

1 2

1. p

1 2

Cor. (F)

3 4

Tr. (F)

1 2

p Trb.

1 2

Trb.b.

Tb.

Timp. p

Trgl.

Ptti. Gr.c.

Tamb.picc.

div. Vl. 1

Vl. 2

Va.

div. Vc.

pizz.

arco

Cb. p

488

DCM 030

1015 Fl.

1 2

Picc.

Ob.

1 2

dolce a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 p

Tr. (F)

Trb.

1 2

Trb.b. p

Tb.

Timp. p

Trgl.

p arco

Vl. 1

pizz. Vl. 2

Va.

Vc.

pizz. Cb.

DCM 030

489

1023

1 Fl. 2

cresc.

Picc.

Ob.

1 2 f

cresc.

mf cresc.

cresc.

a2 1 Cl. (A) 2

Fg.

Cor. (F)

1 2

3 Cor. (F) 4

Tr. (F)

Trb.

mf cresc.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c. Tamb.picc.

Vl. 1 arco

cresc.

Vl. 2 ff

cresc.

Va. cresc.

Vc. cresc.

arco Cb. ff

cresc.

490

DCM 030

Ensemble: Alle

1030 Fl.

1 2

Picc.

Ob.

1 2

a2 Cl. (A)

1 2 ff

Fg.

1 2 f

f f

Cor. (F)

1 2 f

f f

Cor. (F)

3 4 f

Tr. (F)

1 2

f f

Trb.

1 2

Trb.b.

Tb. f f

Timp. f

Trgl.

Ptti. Gr.c. f

Tamb.picc.

Vl. 1 f

Vl. 2

Va.

Vc.

Cb. f

DCM 030

491

1036 Fl.

a2 a2

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

f 1 Tr. (F) 2

Trb.

1 2 f

Trb.b. f

Tb.

Timp. fz

Trgl.

Ptti. Gr.c. fz Tamb.picc.

Vl. 1

Vl. 2

Va.

Vc. 3

Cb. 3

492

DCM 030

1042 Fl.

1 2

Picc.

a2 1 Ob. 2

a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 f

Tr. (F)

1 2 dim.

mf Trb.

1 2

Trb.b. mf

Tb. mf

Timp. mf

Trgl.

Ptti. Gr.c. fz Tamb.picc.

Vl. 1 p 3

Vl. 2 p 3

Va.

Vc. 3

Cb. 3

DCM 030

493

Pas de deux af to sorte Slavinder

1049

1 Fl. 2

Picc. mf 1. solo 1 Ob. 2 mf

Cl. (A)

1 2 p

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

div. Vl. 1 f

Vl. 2 f

fz mf

Va. ff mf

Vc. ff mf pizz. Cb. ff

494

DCM 030

1058

1 Fl. 2

Picc.

Ob.

Cl. (A)

Fg.

1 2

1 2 p

Cor. (F)

1 2

3 4 p

Tr. (F)

1 2 p

Trb.

1 2 p

Trb.b. p

Tb.

Timp. p

Trgl.

Vl. 1

Vl. 2

Va.

div. Vc.

arco Cb.

DCM 030

495

1066 Fl.

1 2

Picc.

dolce 1 Ob. 2

a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

arco Vl. 1

pizz. Vl. 2

Va.

Vc.

pizz. Cb.

496

DCM 030

1072

1 Fl. 2

cresc.

Picc. a2

Ob.

1 2 mf

Cl. (A)

Fg.

Cor. (F)

Tr. (F)

cresc.

ff f

1 2

cresc.

1 2

3 4

mf f

1 2 f

mf Trb.

1 2

Trb.b. f Tb. f

Timp.

Trgl.

cresc.

Ptti. Gr.c. f Tamb.picc.

Vl. 1 arco

cresc.

Vl. 2 cresc.

ff div.

Va. cresc.

Vc. cresc.

arco Cb. cresc.

DCM 030

497

Ensemble: Alle 1078 Fl.

1 2

Picc. f a2 Ob.

1 2 f a2

Cl. (A)

1 2 f

Fg.

1 2 f f

Cor. (F)

1 2 f f

Cor. (F)

3 4 f

Tr. (F)

1 2

mf f

Trb.

1 2

Trb.b. f Tb. f

Timp. f

Trgl.

Ptti. Gr.c. f Tamb.picc.

Vl. 1 ff Vl. 2 ff Va. ff

Vc. ff

Cb. ff

498

DCM 030

1084 Fl.

a2 a2

1 2

Picc.

1 Ob. 2

1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 f

1 Tr. (F) 2 mf

Trb.

1 2 mf

Trb.b. mf

f Tb.

Timp. fz

Trgl.

Ptti. Gr.c. fz

Tamb.picc. fz

Vl. 1

Vl. 2

Va.

Vc. 3

Cb. 3

DCM 030

499

1090

1 Fl. 2

Picc. a2 Ob.

1 2

1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 f

Tr. (F)

1 2

Trb.

1 2

Trb.b. f

Tb.

Timp. f

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1

Vl. 2

Va.

Vc. 3

Cb. 3

500

DCM 030

1095 Fl.

1 2

Picc.

Ob.

1 2 a2

1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

501

1101

poco meno mosso

1 Fl. 2

Picc.

Ob.

1 2 mf

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

poco meno mosso Vl. 1 ff

Vl. 2 ff

Va. ff

mf div.

Vc. ff

mf pizz.

Cb. ff

502

DCM 030

Solo: hvid Slavinde 1109

tranquillo

1 Fl. 2

Picc.

1. Ob.

1 2

p dolce 1.

1 Cl. (A) 2

p p

Fg.

1 2

1. 1 Cor. (F) 2 p

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b. pp

Trgl.

Ptti. Gr.c.

Tamb.picc.

tranquillo Vl. 1 cantabile pizz. Vl. 2

pizz. Va.

Vc.

cantabile pizz.

arco Cb.

DCM 030

503

1116 Fl.

1 2

Picc.

1. Ob.

1 2

p dolce 1.

1 Cl. (A) 2 p Fg.

1 2 p 1.

Cor. (F)

1 2 p

Cor. (F)

3 4

pp 1 Tr. (F) 2 pp Trb.

1 2

Trb.b. pp

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

504

DCM 030

poco vivo a2

1123 Fl.

1 2

Picc. f 1. Ob.

1 2 1.

Cl. (A)

1 2 f

Fg.

Cor. (F)

1 2

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.

1 2

Trb.b. f Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

poco vivo Vl. 1 f arco Vl. 2 f arco Va. f

Vc.

f arco

f Cb. f

DCM 030

505

1128 Fl.

1 2

Picc.

Ob.

1 2

ff ff Cl. (A)

1 2 ff

Fg.

Cor. (F)

1 2

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.

1 2

Trb.b. ff Tb. ff

Timp. f

Trgl.

Ptti. Gr.c.

Tamb.picc. p

Vl. 1 ff

Vl. 2 ff div. Va. ff

Vc. ff Cb. ff

506

DCM 030

rall.

1133

Solo: sort Slavinde

tranquillo

1 Fl. 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

1. 1 Trb. 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

rall.

tranquillo

Vl. 1 cantabile pizz. Vl. 2 fz pizz. Va. fz

Vc.

pizz. fz

Cb.

DCM 030

507

1138

1 Fl. 2

Picc.

1. 1 Ob. 2

p dolce 1.

1 Cl. (A) 2 p Fg.

1 2

p 1.

1. Cor. (F)

1 2 p

Cor. (F)

3 4

1 Tr. (F) 2

pp Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

508

DCM 030

più vivo 1145b Fl.

1 2

Picc. f

Ob.

1 2

ff ff

Cl. (A)

1 2 f

Fg.

Cor. (F)

1 2

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.

1 2

Trb.b. ff

f Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

più vivo Vl. 1 ff

f arco Vl. 2 f

arco Va. f

arco Vc. f

Cb.

DCM 030

509

1151 Fl.

Pas de deux: hvid og sort Slavinde

1 2

Picc. mf

cresc.

mf Ob.

1 2 mf mf

mf Cl. (A)

1 2 mf

mf mf

Fg.

1 2 mf

Cor. (F)

1 2

Cor. (F)

3 4 cresc.

mf Tr. (F)

cresc.

1 2 p

Trb.

1 2

cresc.

Trb.b.

Tb. mf

Timp. mf

Trgl.

cresc.

Ptti. Gr.c.

Tamb.picc.

cresc.

Vl. 1 p

cresc.

Vl. 2 mf

cresc.

Va. mf

Vc. mf

cresc.

Cb.

510

DCM 030

1157 Fl.

1 2

Picc. f Ob.

1 2 f

Cl. (A)

1 2 f

Fg.

1 2 f

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

f Trb.

1 2

Trb.b. f Tb. f

Timp. f

Trgl.

Ptti. Gr.c.

Tamb.picc.

Vl. 1 f

Vl. 2 f

Va. f

Vc. f

Cb. f

DCM 030

511

Ensemble: Alle med Soloerne

Tempo I a2 1163 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2 mf

a2 1 Fg. 2 mf

Cor. (F)

1 2 ff

Cor. (F)

3 4

ff 1 Tr. (F) 2

ff Trb.

1 2

ff Trb.b. ff

Tb.

Timp.

Trgl.

ff Ptti. Gr.c. ff

mf 3

Tamb.picc.

Tempo I Vl. 1 mf

Vl. 2 mf

ff div. Va.

Vc. mf

Cb. mf

512

DCM 030

1170 Fl.

1 2

Picc. mf

Ob.

1 2 f

Cl. (A)

1 2 f

a2 Fg.

Cor. (F)

1 2

3 4

f Tr. (F)

1 2 f

f f Trb.

1 2

Trb.b. f

Tb. f

Timp. mf

Trgl.

Ptti. Gr.c. f Tamb.picc.

Vl. 1 ff

Vl. 2

Va. ff

Vc. ff

Cb. ff

DCM 030

513

Molto allegro mf

1177 Fl.

1 2 cresc. mf

Picc. mf

Ob.

cresc.

1 2 mf

cresc.

mf Cl. (A)

Fg.

1 2

a2 cresc.

Cor. (F)

1 2 cresc.

Cor. (F)

3 4 cresc. mf

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp. cresc.

Molto allegro Vl. 1 cresc.

Vl. 2 cresc.

Va. cresc.

Vc. mf

cresc.

Cb.

514

DCM 030

1183 Fl.

1 2

Picc. f

Ob.

1 2 f a2

1 Cl. (A) 2

Fg.

1 2 f

Cor. (F)

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.

1 2

Trb.b. f

Tb. f

Timp. f

Vl. 1 f

Vl. 2 f

Va. f

Vc. f

Cb. f

DCM 030

515

1190 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2 a2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c. Tamb.picc. div. Vl. 1 div. Vl. 2

div. Va.

Vc.

Cb.

516

DCM 030

Dandserne og Dandserinderne tilbage i Baggrunden, dels udenfor dels indenfor Buerne 1197 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp. 3

Trgl.

Ptti. Gr.c. f Tamb.picc.

Vl. 1 3

Vl. 2

Va.

Vc.

Cb.

DCM 030

517

1204 Fl.

1 2

Picc.

Ob.

1 2

Cl. (A)

1 2 a2

1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

VIZ.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

518

DCM 030

Sultanen, Aladdin og Gulnare holder hinanden i Hænderne, stiger ned fra Tronerne og samles midt paa Scenen i Forgrunden. Viziren ved Sultanens højre Side et Par Skridt tilbage paa Scenen [se: Appendiks, ill. III.17]

No. 28 Viziren stiller sig foran Sultanen:

1212

Moderato

1 Fl. 2

Picc. 3

Ob.

1 2 p

decresc.

p Cl. (A)

1 2 3

Fg.

1 2 p

Cor. (F)

1 2

Cor. (F)

3 4 p

decresc.

1 Tr. (F) 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

VIZ. Min hø - je

Sul - tan,

Nat - ten stun - der til.

Be - fa - ler I

Moderato

at Bru - de - dan - sen nu

be - gyn - der?

sul G

Vl. 1 fz ff

dim. p

fz ff

dim. p

fz ff

dim. p

fz ff

dim. p

fz ff

dim. p

Vl. 2

Va.

Vc.

Cb.

DCM 030

519

1220 Fl.

1 2

Ob.

1 2

1. pp pp

Cl. (A)

1 2 pp pp

Fg.

1 2 pp

Cor. (F)

1 2

2. pp

3 Cor. (F) 4

Tr. (F)

1 2

Trb.b.

Tb.

Timp.

SULT. Ef - ter gam - mel Skik

træ - de,

før Sol gaar ned,

Vl. 1 mf

Vl. 2

Va.

Vc.

Cb.

520

DCM 030

med hin - an - den

en Bryl

lups - dans;

thi skal det

FANFARE Sultanen vender sig om og gaar tilbage til Tronen, efterfulgt af Viziren, Aladdin og Gulnare.

ral-len-tan-do

1226

Molto vivo

1 Fl. 2 pp 1. solo Ob.

1 2

pp pp 5

Cl. (A)

muta in Bb

1 2 pp

ppp

1. Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

ppp

1 Tr. (F) 2 ff

Trb.b.

Tb.

Timp. ff

(lægger Aladdins og Gulnares Hænder sammen)

SULT. mindes,

I lo - ved' kær

ligt at van

dre Haand

i Haand til Li - vets

Sol

ral-len-tan-do

gaar

ned.

Molto vivo

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

521

Dandsen begynder. De sorte Slaver og Slavinder bevæger sig fra Baggrunden tilvenstre langs denne Side henimod Forgrunden (Koret træder noget tilbage ind i Kulisserne) i Geledder paa 3-4 Personer (som i Procession) med dandsende Bevægelser, derpaa langs Rampen over til højre Side og tilbage mod Baggrunden (Koret træder noget tilbage ind i Kulisserne). Naar Gulnare og Aladdin har naaet Midterbuen, sætter de hvide Slaver og Slavinder sig i Bevægelse fra Baggrunden tilvenstre i samme Orden og paa samme Maade men drejer om tilhøjre tæt foran Lemmen og omkring samme. Samtidig skrider Gulnare og Aladdin fra Midterbuen lige frem over Scenen henimod Forgrunden, medens de sorte Slaver og Slavinder fortsætter Procession-Dandsen bag om dem hen imod venstre Side og videre langs denne imod Forgrunden efter de hvide. Aladdin og Gulnare maa afpasse Hurtigheden af deres Gang saaledes, at de er skjulte for Tilskuerne af Slaverne naar de er komne til den midterste Lem paa Scenen. Naar Aladdin og Gulnare er nær ved Lemmen (2 Skridt) gjør de dandsende et Sving, kort bag om dem, saa at Aladdin og Gulnare bliver helt omringet af en snæver Ring. Lidt før (1 Skridt) Gulnare betræder Lemmen mørknes Scenen pludselig (næsten totalt) og samtidig fra højre og venstre Side i Forgrunden kommer Alfer og Gnomer fra Hulen (med Ildfluer [se t. 1285]) løbende hen foran Slaverne og hvirvler rundt med disse i to modsat løbende Kredse. For yderligere at dække Aladdin og Gulnare naar Forvandlingen skér, gaar Farten bagom meget hurtig, medens der foran gjøres hurtige Omdrejninger med Legemet, men holdes igjen paa Flugten fremad, altsaa her mere fortættet. Imidlertid har Gulnare stillet sig paa Lemmen, som gaar ned med hende og Aladdins Prindsedragt, medens Aladdin bliver staaende paa Scenegulvet i sin fattige Klædning. [se: Appendiks, ill. III.18-19] 1232

Allegretto

1 Fl. 2

Ob.

Cl. (Bb)

1 2

1 2 mf

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4 p

Tr. (F)

1 2 dim.

dim.

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Allegretto Vl. 1

Vl. 2

Va.

Vc.

Cb.

522

DCM 030

1239 Fl.

1 2

Ob.

1 2

a2 1 Cl. (Bb) 2

mf a2

Fg.

1 2

2. 1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

mf tenuto

tenuto

Trb.b.

Tb.

Timp.

Trgl.

Vl. 1

Vl. 2

Va. mf

Vc.

Cb.

DCM 030

523

1246 Fl.

1 2 mf

Picc.

Ob.

1 2 5

Cl. (Bb)

1 2 mf

a2 Fg.

Cor. (F)

Trb.

1 2

mf 2.

fz f

3 4

1 2

fz f

Trb.b.

Tb.

Timp. mf

Trgl. mf

div.

unis.

Vl. 1 5

Vl. 2 mf

Va. mf

Vc.

Cb. mf

524

DCM 030

a2 1251 Fl.

1 2

ff fz

Picc. ff

Ob.

1 2 ff

Cl. (Bb)

1 2

a2 1 Fg. 2

Cor. (F)

Trb.

1 2 fz f

fz f

3 4

1 2

Trb.b. f

Tb. f

Timp. f

Trgl.

Vl. 1 ff

Vl. 2 ff

fz div.

Va. fz

ff ff

Vc. ff

Cb. ff

DCM 030

525

1257 Fl.

1 2

Picc.

Ob.

Cl. (Bb)

1 2

fz a2

Fg.

1 2

a2 1 Cor. (F) 2 f

Cor. (F)

3 4

Tr. (F)

1 2 tenuto

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Vl. 1 fz

Vl. 2 fz

Va. fz

Vc.

Cb.

526

DCM 030

tenuto

1263 Fl.

1 2

Picc.

a2 Ob.

Cl. (Bb)

1 2

a2 Fg.

1 2

Cor. (F)

1 2

a2 f

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Vl. 1 5

Vl. 2

unis. Va. 5

Vc.

Cb.

DCM 030

527

1268 Fl.

1 2

Picc.

a2 Ob.

1 2

Fg.

Cor. (F)

1 2

a2 1 Cl. (Bb) 2

a2 fz

tenuto

fz tenuto

tenuto

fz tenuto

tenuto

fz tenuto

1 2

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Trgl.

Vl. 1 fz

Vl. 2 fz

Va. fz

Vc. fz

Cb.

528

DCM 030

1273 Fl.

1 2

Picc.

a2 Ob.

Cl. (Bb)

1 2

1 Fg. 2 6

a2 Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

f tenuto

tenuto

Trb.b.

Tb.

Timp.

Trgl.

Vl. 1

Vl. 2

Va. 6

Vc. 6

Cb.

DCM 030

529

Her maa Aladdin og Gulnare være skjult og de dandsende.

1279 Fl.

1 2

Picc.

Ob.

1 2

Cl. (Bb)

1 2 a2

1 Fg. 2

a2 Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

tenuto

Trb.b.

Tb.

Timp.

Trgl.

Ptti. Gr.c.

Tamb.picc.

unis. Vl. 1 6

Vl. 2 6

Va. 6

Vc. 6

Cb.

530

DCM 030

Her kommer Alferne og Gnomerne med Ildfluer. 1285 Fl.

1 2

più mosso

fz f

Picc.

Ob.

Cl. (Bb)

1 2

a2 Fg.

Cor. (F)

1 2

3 4 f

Tr. (F)

Trb.

1 2

Trb.b. f

Tb. f

Timp. fz

Trgl.

Ptti. Gr.c.

Tamb.picc.

più mosso Vl. 1 f

Vl. 2 f unis. Va. f unis. Vc. f

Cb. ff

DCM 030

531

1 Fl. 2

1290 a 2

Picc.

Ob.

1 2

a2 Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

532

DCM 030

1295 Fl.

1 2

Picc.

Ob.

1 2

fz a2

Cl. (Bb)

1 2 fz

a2 Fg.

Cor. (F)

1 2

1 2 fz

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b. tenuto

tenuto

Tb.

Timp.

Vl. 1 fz

Vl. 2

Va. fz

Vc.

Cb. fz tenuto

fz tenuto

DCM 030

533

1300 Fl.

1 2

Picc. fz

Ob.

Cl. (Bb)

1 2

fz a2

fz a2 Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

Ptti. Gr.c.

Vl. 1 fz

Vl. 2 fz

Va. fz

Vc. fz

Cb.

534

DCM 030

Aanderne fra Hulen, Slaverne og Slavinderne forsvinder, at Alle kan være ude paa sidste Takts Begyndelse (Allegro) a2

1305 Fl.

1 2

Picc. ff a2 1 Ob. 2 ff a2 Cl. (Bb)

1 2

ff a2

1 Fg. 2 ff

Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

Trb.

1 2

Trb.b. ff

Tb. ff

Timp.

Ptti. Gr.c. f

Vl. 1 ff

Vl. 2 ff

Va. ff

Vc. ff

Cb. ff

DCM 030

535

Koret, Sultanen, Viziren og de to Terner frem imod Aladdin; lidt mindre mørkt [se: Appendiks, ill. III.20]

1311 Fl.

Allegro non troppo

1 2

Picc. f 1 2

Ob.

Cl. (Bb)

1 2

fz a2

mf cresc.

1 2

Fg.

Cor. (F)

1 2 3 4

fz a2

ff a2

fz a2

cresc.

mf cresc.

fz Tr. (F)

1 2 fz

Trb.

1 2

Trb.b.

Tb.

Timp.

1. TERN. 2. TERN. Hvor

(Gulnare er forsvundet, og Aladdin ser sig forfærdet om.)

lis

tig

blev hun

rø - vet

bort!

ALAD. Gul - na - re!

Gul - na - re!

Ha!

for - svun - det!

Ræd

sel!

SULT. Hvad er hændt?

Min Dat - ter

brat

for - svun - det!

Skynd jer!

VIZ. For - svun - det?

u - mu - ligt!

Søg da!

SEND.

S. For - svun - det!

brat

for - svun - det!

Ræd

sel!

brat

for - svun - det!

Ræd

sel!

brat

for - svun - det!

Ræd

sel!

brat

for - svun - det!

Ræd

sel!

A. For - svun - det! T. For - svun - det! B. For - svun - det!

Allegro non troppo Vl. 1 fz

cresc. ff

Vl. 2 fz

cresc.

Va. ff

Vc. fz

cresc.

Cb.

536

DCM 030

Forvirring i Koret: nogle vender sig tilhøjre andre tilvenstre atter andre helt omkring og vil løbe i forskjellige Retninger, men standses af Sendebudet, som gjennem Midterbuen kommer løbende ind, hen til Sultanen. Koret og de to Terner samler sig nærmere om Aladdin, Sendebudet, Vizir og Sultan, for at lytte til. pp [se: Appendiks, ill. III.21] 5 1317 Fl.

1 2

ppp

Picc. pp 5 ppp 1 Ob. 2

Cl. (Bb)

1 2 ppp ppp

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

1. TERN. 2. TERN.

ALAD.

SULT.

VIZ. Skynd jer! SEND. Hø - je Sul - tan, Prins A - lad - dins Tryl - le-slot

er for - svun - det.

Selv jeg saa det hæ-ve sig fra

S. hur - tig søg!

skynd jer!

A. hur-tig søg!

hur - tig, skynd jer!

T. hur - tig søg! B. hur-tig søg! skynd jer! hur - tig, skynd jer!

Vl. 1 ff

fz pp

ppp

Vl. 2 ff

fz tenuto

ppp

Va. pp 6 leggiero

ppp

Vc. fz

pp 5 leggiero

ppp

Cb. fz

DCM 030

537

risoluto

1323

1 Fl. 2 mf Picc.

1 2

Ob.

mf 1 Cl. (Bb) 2

1 2

Fg.

Cor. (F)

1 2 ff

mf mf

Cor. (F)

3 4

ff mf

1. TERN. 2. TERN. Ja,

han er

en Trold - mand, har Gul - na - re

sin

hol - der han nu

sin

en Trold - mand, har Gul - na - re

sin

hol - der han nu

sin

SULT. Ja,

han staar i

Pagt med Mør - kets Aan - der, og Gul - na - re

VIZ. Ja,

han er

SEND. Jor - den

og fly - ve

bort hen - o - ver Sta - den.

Ja,

han staar i

Pagt med Mør - kets Aan - der, og Gul - na - re

S. Ja,

han er

en Trold - mand, har Gul - na - re

sin

Ja,

han er

en Trold - mand, har Gul - na - re

sin

T. Ja,

han staar i

Pagt med Mør - kets Aan - der, og Gul - na - re hol - der han nu

sin

Ja,

han staar i

Pagt med Mør - kets Aan - der, og Gul - na - re hol - der han nu

sin

risoluto Vl. 1 mf

Vl. 2 ff fz

Va. cresc. div.

Vc. ff fz

ff fz

Cb.

538

DCM 030

Fl.

[se: Appendiks, ill. III.22]

1328 1 2

marcato

Picc. f a2

1 2

Ob.

Cl. (Bb)

1 2

f a2

marcato

1 2

f f

Cor. (F)

marcato

f Cor. (F)

1 2

Fg.

fp fz

fp 3.

3 4

f fz Tr. (F)

Trb.

1 2

f fz

1 2

Trb.b.

Tb.

Timp. fz 1. TERN. 2. TERN. Ve Vold,

hvor hun

i Skræk og Nød sig

dig,

vaan - der.

ALAD. Ha! min Lam - pe

be - rø

vet!

(nærmere Aladdin)

SULT. Vold,

hvor hun

i Skræk og Nød sig

vaan - der.

dig,

Vold,

hvor hun

i Skræk og Nød sig

vaan - der.

dig,

Vold,

hvor hun

i Skræk og Nød sig

vaan - der.

Vold,

hvor hun

i Skræk og Nød sig

vaan - der.

Vold,

hvor hun

i Skræk og Nød sig

vaan - der.

(slutter sig nær ind til Sultanen, Vizir og Sendebudet)

Vold,

hvor hun

i Skræk og Nød sig

vaan - der.

(slutter sig nær ind til Sultanen, Vizir og Sendebudet)

Vold,

hvor hun

i Skræk og Nød sig

vaan - der.

(nærmere Aladdin)

VIZ. (nogle Skridt tilbage og nærmere Aladdin)

SEND. dig,

Vl. 1 f

marcato

Vl. 2 marcato

Va. f fz

marcato

Vc. f

Cb. fp

DCM 030

539

1333 Fl.

1 2

Picc.

1 2

Ob.

Cl. (Bb)

1 2 1 2

Fg.

ff Cor. (F)

Cor. (F)

Tr. (F)

Trb.

1 2

3 4

fp 3.

1 2

Trb.b.

Tb.

Timp. fp

1. TERN. 2. TERN. Skæn

di - ge!

Hæv

nen

ram

dig!

fræk

Skæn

di - ge!

Hæv

nen

ram

dig!

fræk

Skæn

di - ge!

Hæv

nen

ram

dig!

fræk

Skæn

di - ge!

Hæv

nen

ram

dig!

fræk

SULT.

VIZ.

SEND.

S. ve

dig,

Skæn - di - ge!

Hæv

nen

ram - me dig!

dig,

Skæn - di - ge!

Hæv

nen

ram - me dig!

dig,

Skæn - di - ge!

Hæv

nen

ram - me dig!

dig,

Skæn - di - ge!

Hæv

nen

ram - me dig!

Vl. 1 ff

Vl. 2

Va. ff

Vc. ff

Cb.

540

DCM 030

1337 Fl.

1 2

Picc.

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2 ff

Cor. (F)

1 2

3 Cor. (F) 4 ff Tr. (F)

1 2 f

1 Trb. 2

Trb.b. f Tb. f

Timp. f

1. TERN. 2. TERN. Nid

ding!

din

sor

Kunst

skræk - ke kan,

Nid

ding!

din

sor

Kunst

skræk - ke kan,

Nid

ding!

din

sor

Kunst

skræk - ke kan,

Nid

ding!

din

sor

Kunst

skræk - ke kan,

SULT.

VIZ.

SEND.

S. Ej

din

sor

Kunst

skræk - ke kan,

din

sor

Kunst

skræk - ke kan,

din

sor

Kunst

skræk - ke kan,

din

sor

Kunst

skræk - ke kan,

B. frygt

Vl. 1 ff Vl. 2 ff div.

unis. 3

Va. 3

3 3

Vc. ff

Cb. 3

DCM 030

541

1341 Fl.

1 2

Picc.

1 2

Ob.

Cl. (Bb)

3 3

1 2

3 4

1 Tr. (F) 2

Trb.

1 Cor. (F) 2

Cor. (F)

1 2

Fg.

1 2

Trb.b.

Tb.

Timp. frygt

1. TERN. 2. TERN.

fræk - ke

Nid

ding,

Nid

ding,

frygt

vor Hævn,

Nid

ding,

frygt

Nid

ding,

frygt

vor

Hævn,

vor Hævn!

frygt

vor Hævn!

vor Hævn,

frygt

vor Hævn!

vor Hævn,

frygt

vor Hævn!

vor

Hævn,

vor Hævn!

vor

Hævn,

vor Hævn!

vor

Hævn,

vor Hævn!

Hævn,

vor Hævn!

SULT. fræk - ke 3

VIZ. fræk - ke 3

SEND. fræk - ke

S. frygt

vor Hævn!

frygt

A. frygt

vor Hævn!

frygt

du 3

T. frygt

vor Hævn!

frygt

B. du

vor

Vl. 1

frygt

vor 3

Vl. 2

Hævn!

3 3

Va. 3 3

3 3

fz 3

Vc. fz 3

3 3

Cb. fz

542

DCM 030

l'istesso tempo Fl.

1346

1 2

Picc. f

p 1 2

Ob.

p 1 Cl. (Bb) 2

1 2

Fg.

1 Cor. (F) 2 Cor. (F)

3 4 f

f Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp. Ve 1. TERN. 2. TERN. Ve

dig, fal - ske Trold,

Him

len straf - fe

dig!

ALAD. Him - lens Mag - ter vær mig naa - dig, knapt jeg sand - ser hvad er hændt.

SULT. Ve

dig, fal - ske Trold,

Him

len straf - fe

dig!

dig, fal - ske Trold,

Him

len straf - fe

dig!

dig, fal - ske Trold,

Him

len straf - fe

dig!

VIZ. Ve SEND. Ve S. Nej

se,

hvor from!

Nej

se,

hvor from!

Nej

se,

hvor from!

Nej

se,

hvor from!

l'istesso tempo Vl. 1 mf

Vl. 2 mf

f mf

Va. mf

Vc. p

Cb.

DCM 030

543

min

1350 Fl.

1 2 mf

Picc. f 1. 1 2

Ob.

mf Cl. (Bb)

1 2

Fg.

mf 1 Cor. (F) 2 Cor. (F)

3 4 f

1 Tr. (F) 2 Trb.

1 2

Timp. Ej 1. TERN. 2. TERN. dit Hyk - le - ri

skal

be - snæ - re

os.

ALAD. Lyk - ke blev mig rø - vet, er

det

Sand - hed, er

det Drøm?

Ak,

SULT. Ej

dit Hyk - le - ri

skal

be - snæ - re

os.

dit Hyk - le - ri

skal

be - snæ - re

os.

dit Hyk - le - ri

skal

be - snæ - re

os.

VIZ. Ej SEND. Ej

S. Ja vist,

en Drøm!

Ja vist,

en Drøm!

Ja vist,

en Drøm!

Ja vist,

en Drøm!

Vl. 1 mf

fzp

Vl. 2

Va.

Vc. mf

Cb. mf

544

DCM 030

bort -

1354 Fl.

1 2 f

Picc.

1 2

Ob.

1. solo

pp Cl. (Bb)

Cor. (F)

Tr. (F)

Trb.

f a2

1 2

Fg.

1 2 3 4

f a2

1 2

Trb.b.

Tb.

Timp.

1. TERN. 2. TERN. Ja,

du selv!

Ja, i

din Vold!

men

ALAD. ra - net har den on - de Trold min Brud.

Slot - tet

Gul -na - re har han i

sin Vold.

SULT. Ja,

du selv!

Ja, i

din Vold!

Ja,

du selv!

Ja, i

din Vold!

Ja,

du selv!

Ja, i

din Vold!

Ja,

du selv!

Ja, i

din Vold!

men

Ja,

du selv!

Ja, i

din Vold!

men

Ja,

du selv!

Ja, i

din Vold!

Ja,

du selv!

Ja, i

din Vold!

VIZ.

SEND.

Vl. 1 f fz

fzp

f fz

mf fz

Vl. 2 f fz

mf fz

Va. f

Vc. mf fz

Cb.

DCM 030

545

1358

1 Fl. 2

mf fz cresc.

tenuto

Picc. ff tenuto a2

1 2

Ob.

mf fz cresc.

tenuto

a2 Cl. (Bb)

1 2

mf fz cresc.

tenuto

1 2

Fg.

1 2

mf fz Cor. (F)

ff Cor. (F)

cresc.

tenuto

3 4

fp 1 Tr. (F) 2 f tenuto Trb.b.

Tb.

Timp.

1. TERN. 2. TERN. i

din

gen

Sna

- re

fan -

get.

skæl

ALAD. Jeg er

ej ond,

jeg har ej

SULT. men

din

gen

Sna

fan - get.

men

din

gen

Sna

fan - get.

men

din

gen

Sna

fan - get.

din

gen

Sna

fan -

get.

skæl

din

gen

Sna

fan -

get.

skæl

men

din

gen

Sna

fan - get.

men

din

gen

Sna

fan - get.

VIZ.

SEND.

Vl. 1 cresc.

Vl. 2 cresc.

fz 3

Va. cresc.

fz 3

Vc. cresc.

fz mf cresc.

ff fz

Cb.

546

DCM 030

1362 Fl.

1 2

Picc.

1 2

Ob.

Cl. (Bb)

1 2

a2 mf

f 1 2

Fg.

fz f a2 Cor. (F)

Cor. (F)

fz f

1 2

3 4

f Tr. (F)

1 2

f f

Trb.b. f

Tb. f

Timp. fz 1. TERN. 2. TERN. -

ver!

ALAD. Skyld,

jeg selv

er Of - fer

for en ned-rig

Daad.

Hør mig!

hør mig!

SULT. Du

skæl

ver!

skæl

ver!

skæl

ver!

VIZ.

SEND.

S. -

ver!

Prøv din sor - te Kunst,

om du dit Liv kan frel - se;

kald frem den le - de

Prøv din sor - te Kunst,

om du dit Liv kan frel - se;

kald frem den le - de

A. (blotter deres Sværd)

T. Du

skæl

ver!

Prøv din sor - te Kunst,

du dit Liv kan frel - se;

kald frem

den le - de

du dit Liv kan frel - se;

kald frem

den le - de

(blotter deres Sværd)

B. Du

skæl

f fz

ver!

Prøv din sor - te Kunst,

Vl. 1

Vl. 2

Va. f

Vc.

Cb.

DCM 030

547

Allegro con brio 1367 Fl.

1 2

Ob.

Cl. (Bb)

Mændene trækker sig tilbage i deres forrige Stilling.

[se: Appendiks, ill. III.23]

muta in A

1 2

a2 1 Fg. 2

Cor. (F)

1 2

a2 ff fz

Cor. (F)

3 4

ff Tr. (F)

1 2 ff fz

Trb.

1 2

ff fz

Trb.b. ff fz Tb. ff fz

Timp. ff fz (viger tilbage)

ALAD. Vær barm- hjer

tig!

lah!

VIZ. Stands! 3

S. Trol - de - hær,

tør trod - se

lahs

Magt.

tør trod - se

lahs

Magt.

A. Trol - de - hær,

(trænger ind paa Aladdin med løftede Sværd)

(noget frem imod Aladdin)

T. Trol - de - hær,

tør trod - se

lahs

Magt.

Nid - ding!

Magt.

Nid - ding!

(trænger ind paa Aladdin med løftede Sværd)

(noget frem imod Aladdin)

B. Trol - de - hær,

tør trod - se

lahs

Allegro con brio Vl. 1 ff

Vl. 2

Va. fz

ff Vc. ff

Cb.

548

DCM 030

1371

Recit.

1 Cor. (F) 2

Cor. (F)

pp a2

3 4

pp Tr. (F)

1 2 pp

Trb.

1 2

Trb.b. pp

VIZ. Til - giv,

her

jeg

raa - der

til

lad - dins

Liv

gen,

skaa

ne;

for - svandt Prin - ses - sen

paa

hans

Recit. Vl. 1

Vl. 2

Va.

Vc.

Cb.

1373 1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

VIZ. Bud,

Haa

bet

jert

Barn

til

ham

Vl. 1 p Vl. 2 p Va. p

Vc. p

Cb. p

DCM 030

549

Andantino

1375 Fl.

1376

1 2

2. 1 Ob. 2

1. solo Cl. (A) p 1. solo Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

(nærmere hen til Aladdin [se: Appendiks, ill. III.24])

SULT. Ja, du har Ret.

Saa hør mig,

A - lad

din!

VIZ. knyt - tet.

Andantino

div. Vl. 1

p cantabile

div. Vl. 2 p cantabile

div. Va. p

p cantabile

Vc. p cantabile

p cantabile

Cb.

550

DCM 030

tog

den

Dat

ter

Gud

mig

1383 Fl.

1 2

1. Ob.

1 2

1. Cl. (A)

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

SULT. gav,

barn

løs

jeg

til Gra

ven gaar.

Der - for

bø - de du

Liv og Æ

re.

VIZ.

Vl. 1 pp

Vl. 2 pp

Va. pp

Vc. pp

Cb. pp

DCM 030

551

1391 1 Fl. 2

1. Ob.

1 2

Cl. (A) pp pp 1 Fg. 2 p

1 Cor. (F) 2

pp 3 Cor. (F) 4

SULT. Dog,

som Him

len

skæn

ker

Naa - de,

og - saa jeg

lang - mo - dig;

end - nu

Frel - se mu - lig.

Vl. 1 mf

div.

Vl. 2 mf

p Va.

Vc. mf Cb. mf

1399 1 Fl. 2

Ob.

1 2

1. p dolce e cantabile

Cl. (A) p

1. Fg.

Cor. (F)

1 2

p dolce e cantabile

1 2 pp

Cor. (F)

3 4

SULT. Saa vogt

da nø

je paa

mit Ord.

lahs

Navn

for - kyn

des

her:

div. Vl. 1 p Vl. 2 p Va. p Vc. p Cb. p

552

DCM 030

1407 Fl.

Ob.

1 2

Cl. (A) ff

p cresc.

Fg.

Cor. (F)

1 2

p cresc.

1 2 ff

Cor. (F)

3 4 ff

Timp.

SULT. En Frist

dig gi - ves

til

raa - de

Bod

for din

Brø

de.

In - den fyr - re - ty - ve

Da - ge,

til mig Gul - na - re du skal sul G

Vl. 1 cresc.

fff

p sul G

fff

Vl. 2 cresc.

Va. cresc.

3 unis. 3

Vc. 3

3 3

cresc.

Cb. cresc.

1412 Timp. (Han vakler, som ramt af et Slag, Viziren og Sendebudet holder paa ham, og ledsagede af de to Terner forlader de Scenen tilhøjre.)

ppp (halv højt)

SULT. brin - ge.

Hvis

ej,

ram - me Dø - den dig!

Dø

den,

Dø

den.

Vl. 1 pp Vl. 2 pp Va. pp Vc. pp Cb. pp

DCM 030

553

1421 Fl.

1 2

rit.

pp 1 2

Ob.

pp 1.

Cl. (A) p 1 2

Fg.

Cor. (F)

1 2

a2 pp

3 4 pp

Tr. (F)

1 2 ppp

Trb.

1 2

Trb.b. pp Tb. pp

Timp. ppp

SULT.

p S. Ak,

se hvor bleg,

se hvor mat!

vil han dø

af sin Sorg?

Ak,

ve,

ve!

se hvor bleg,

se hvor mat!

vil han dø

af sin Sorg?

Ak,

ve,

ve!

se hvor bleg,

se hvor mat!

vil han dø

af sin Sorg?

Ak,

ve,

ve!

se hvor bleg,

se hvor mat!

vil han dø

af sin Sorg?

Ak,

ve,

ve!

p A. Ak, p T. Ak, p B. Ak,

rit. Vl. 1 ppp f Vl. 2 ppp f Va. f

ppp

Vc. f Cb.

554

DCM 030

ppp

No. 29 Allegro molto con fuoco

Koret langt frem i Forgrunden [se: Appendiks, ill. III.25]

1429

Fl.

1 2

Picc. ff 1 2

Ob.

a2 Cl. (A)

1 Fg. 2

ff a2

ff Cor. (F)

1 2

ff Cor. (F)

3 4

ff Tr. (F)

1 2 ff

Trb.

1 2

Trb.b.

Tb.

Timp.

(i højeste Extase; helt frem i Prosceniet)

ALAD. Jeg

stand

ser

ej,

før jeg at - ter staar med Sej - rens ly - se Pal - mer i min Haand.

Frem - ad,

ff T. Vort

Nid

og Nag

skal

Nid

og Nag

skal

ff B. Vort

Allegro molto con fuoco

sul G

Vl. 1 ff

mf cresc.

f sul G

Vl. 2 ff

mf cresc.

f sul G

Va. ff

mf cresc.

ff marcato

mf cresc.

3 3

Vc. fz

Cb.

DCM 030

555

1435 Fl.

1 2

f fz

Picc.

a2 1 Ob. 2 ff

f fz

fz a2

Cl. (A) ff

a2 1 2

Fg.

f fz

Cor. (F)

1 2

a2 fz

Cor. (F)

3 4

cresc.

f fz

fz Tr. (F)

mf cresc.

f fz

1 2 mf cresc.

Trb.

f fz

mf cresc.

1 2

Trb.b. p cresc.

p cresc.

Tb.

Timp. p cresc.

ALAD. frem - ad!

Er end

mit Maal

nok saa fjernt,

du,

jeg

vil

det naa,

for

ban

for

ban

for

ban

jeg

trod - ser al - le

Fa - rer.

det

væ

du!

Vort Nag dig

det

væ

du!

Vort Nag dig

det

væ

du!

Vort

Nid og Nag dig

du!

Vort

Nid og Nag dig

ff S. For

ban - det væ

For

ban - det væ

føl - ge dig,

for

ban - det væ

føl - ge dig,

skal

føl

ff A. du,

T. du,

B. -

for

dig,

ban

det

væ

Vl. 1 fz

mf cresc.

Vl. 2

Va. mf cresc.

3 3

Vc. fz

mf cresc.

fz 3

Cb. fz

556

mf cresc.

DCM 030

1441 Fl.

1 2

Picc. mf

fz a2

1 2

Ob.

Cl. (A) fz

mf 3

1 Fg. 2 mf

fz Cor. (F)

cresc.

1 2 mf cresc.

Cor. (F)

3 4 mf cresc.

Tr. (F)

1 2 mf cresc.

Trb.

1 2

Trb.b. mf

Tb.

Timp. p cresc.

ALAD. Ja,

frem

til Kamp

mod al

Mør

kets Mag - ter!

Frem

til

Kamp

S. føl

ger,

dig føl - ger,

vær

for

ban

det!

Din

sik - re

Løn

føl

ger,

dig føl - ger,

vær

for

ban

det!

Din

sik - re

Løn

føl

ger

hvor

du gaar,

vær

for

ban

det!

Din

sik - re

Løn

føl

ger

hvor

du gaar,

Din

sik - re

Løn

B. vær

for

ban

det!

Vl. 1 cresc.

cresc.

mf Vl. 2

Va. fz

3 3

Vc. fz

cresc.

Cb. fz

cresc.

DCM 030

557

1446 Fl.

poco accelerando

1 2

Picc. a2 1 Ob. 2

Cl. (A) f

1 Fg. 2 f

Cor. (F)

1 2

3 4 f

Tr. (F)

1 2 f

Trb.

1 2

Trb.b. f Tb. f

Timp.

ALAD. mod

ven

ter

ven

Mør

ter!

kets

Mag

dig–

blo

dig

Hævn

dig

ter

dig–

blo

dig

Hævn

dig

ter

dig–

blo

dig

Hævn

dig

ter

dig–

blo

dig

Hævn

dig

poco accelerando Vl. 1 f Vl. 2 f 3

Va. f Vc.

Cb.

558

DCM 030

più animato Fl.

1451 1 2

3 3

Picc. 3

1 2

Ob.

3 3

Cl. (A) 3

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

f Trb.

1 2

Trb.b. fz

Tb.

Timp. f

ALAD. Sej

ler

Død,

tet el

ler

alt!

S. ram - mer,

blo - dig

Hævn dig

ram - mer,

de Trold,

blo-dig

Hævn dig

sik - kert

ram - mer,

de Trold.

ram - mer,

blo - dig

Hævn dig

ram - mer,

de Trold,

blo-dig

Hævn dig

sik - kert

ram - mer,

de Trold.

ram - mer,

blo - dig

Hævn dig

ram - mer,

de Trold,

blo-dig

Hævn dig

sik - kert

ram - mer,

de Trold.

ram - mer,

blo - dig

Hævn dig

ram - mer,

de Trold,

blo-dig

Hævn dig

sik - kert

ram - mer,

de Trold.

più animato

Vl. 1 3

Vl. 2 3

Va. fz

Vc. 3

Cb.

DCM 030

559

1457 Fl.

1 2

Picc.

a2 1 2

Ob.

Cl. (A) a2 Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

ALAD. jeg trod - ser

al Fa - re,

tet

skal

mig

ku -

Hel

veds

S. U

den

Naa

ved

Bød

lens

Sværd

skal

den

Naa

ved

Bød

lens

Sværd

skal

den

Naa

ved

Bød

lens

Sværd

skal

den

Naa

ved

Bød

lens

Sværd

skal

Vl. 1 fz

Vl. 2

Va.

Vc.

Cb.

560

DCM 030

1463 Fl.

1 2

Picc. a2 1 Ob. 2

Cl. (A)

a2 Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2 f

Trb.

1 2

Trb.b. f Tb. f

Timp. f

ALAD. Magt,

Trold - doms - kunst

mig

stand

se.

S. Skænd

sels

dø

den,

ved

Bød - lens

Sværd skal

Skænd

sels

dø

den.

Skænd

sels

dø

den,

ved

Bød - lens

Sværd skal

Skænd

sels

dø

den.

Skænd

sels

dø

den,

ved

Bød - lens

Sværd skal

Skænd

sels

dø

den.

Skænd

sels

dø

den,

ved

Bød - lens

Sværd skal

Skænd

sels

dø

den.

Vl. 1 3 3

Vl. 2 3

Va. 3

Vc.

Cb.

DCM 030

561

1469 Fl.

1 2

Picc.

1 2

Ob.

1. Cl. (A) p 1. 1 2

Fg.

Cor. (F)

1 2

Cor. (F)

3 4

p 1 Tr. (F) 2

Trb.

1 2

Trb.b. pp Tb. pp

Timp.

ALAD. Ef

ter Træng

sels - ti

der

kom - mer

den

Naa

den

Naa

den

Lyk

kens

ge;

er Gul - na - re

at - ter min,

Skænd

sels

dø

den

Skænd

sels

dø

den

Naa

Skænd

sels

dø

den

Naa

Skænd

sels

dø

den

p S. U p A. U p T. U p B. U

den

Vl. 1 p Vl. 2 p Va. p

Vc. p

Cb. p

562

DCM 030

1475 Fl.

1 2

Picc.

1 2

Ob.

cresc.

Cl. (A) 3

1 2

Fg.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

ALAD. da

er Gul - na

ter

min.

Kun Haab

Tro

der,

f S. skal

de.

Frækt

han

frækt

han

f A. skal

de.

skal

de.

skal

de.

Hvor

frækt f

han

T. Hvor

frækt

han

Hvor

frækt

han

der

Vl. 1 mf cresc. unis. Vl. 2 3

mf cresc. unis.

Va. mf cresc. Vc. mf cresc. Cb. mf cresc.

DCM 030

563

1480 Fl.

1 2

f fz

Picc.

1 2

Ob.

Cl. (A)

1 2

Fg.

Cor. (F)

1 2 f

Cor. (F)

fz a2

3 4 f

Tr. (F)

Trb.

1 2

Trb.b.

Tb.

Timp.

ALAD. og Mod!

Dri - stig frem

til

Kamp,

dri - stig frem

til

Kamp,

jeg

stand - ser

før

jeg

S. by - der

Dø

den

Trods,

by - der

Trods,

by - der

Trods,

by - der frækt

Dø - den Trods.

For

A. -

der

Dø

den

Trods,

by - der

Trods,

by - der

Trods,

by - der frækt

Dø - den Trods.

For

der

Dø

den

Trods,

by - der

Trods,

by - der

Trods,

by - der frækt

Dø - den Trods.

For

den

Trods,

by - der

Trods,

by - der

Trods,

by - der frækt

Dø - den Trods.

For

B. Dø

unis. Vl. 1 f

Vl. 2 f

Va. ff fz

Vc. f

Cb.

564

DCM 030

1485 Fl.

1 2

ff fz

Picc.

1 2

Ob.

Cl. (A) fz

ff fz 1 2

Fg.

Cor. (F)

1 2

ff fz

3 4 fz ff

Tr. (F)

1 2 f fz 1.

1 Trb. 2

Trb.b. ff fz Tb. ff fz

Timp. ff

ALAD. staar

med

Sej

rens

Pal

mer i

min

Haand,

Sej

rens Pal - mer

min

S. ban

det

væ

du;

vor

For

ban - del - se

dig

føl - ger hvor

ban

det

væ

du;

vor

For

ban - del - se

dig

føl - ger hvor

ban

det

væ

du;

For

ban - del - se

dig

føl - ger hvor

ban

det

væ

du;

For

ban - del - se

dig

føl - ger

B. hvor

Vl. 1 ff

fz unis.

Vl. 2 ff

Va. ff

Vc. ff

Cb. ff

DCM 030

565

1491 Fl.

1 2

Presto

TÆPPE

fff

Picc. fff 1 2

Ob.

fff

Cl. (A) fff

1 2

Fg.

Cor. (F)

fff

1 2 fff

Cor. (F)

Tr. (F)

3 4

1 2

fff a2 fff

Trb.

1 2

fff

Trb.b. fff Tb. fff

Timp. fff (Iler bort gennem Mængden, som skiller sig i to Dele [se: Appendiks, ill. III.26])

ALAD. Haand.

S. gaar.

A. gaar.

T. gaar.

B. gaar.

Presto Vl. 1 fff marcato Vl. 2 fff marcato unis. Va. fff marcato Vc. fff Cb. fff

566

DCM 030

1498 Fl.

1 2

Picc. a2 1 2

Ob.

Cl. (A)

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.

1 2

Trb.b.

Tb.

Timp.

ALAD.

Vl. 1

Vl. 2

Va. div. Vc.

Cb.

DCM 030

567

FJERDE AKT No. 30 Allegretto Flauto

1 2

Flauto piccolo 1. Oboe

1 2

Clarinetto (Bb)

Fagotto

Corno (F)

1. 1 2

1 2

p Corno (F)

3 4 p

fz fz

1 Tromba (F) 2 Trombone tenore

1 2

Trombone basso

Tuba

Timpani p

Triangolo Piatti Gran cassa

Arpa

GRAVENS AANDER (usynligt Kor) Alto 1

Alto 2

Basso 1

Basso 2

Allegretto

div.

Violino 1

Violino 2 p

div.

Viola p

div.

fz Violoncello p

Contrabbasso

DCM 030

569

TÆPPET GAAR OP Scenen forestiller en Kirkegaard ved Nat. Aladdin ligger sovende ved sin Moders Grav. [se: Appendiks, ill. IV.1]

8 Fl.

1 2

1. Ob.

1 2 fz

Cl. (Bb)

1 2

p 1 Fg. 2 fz

Cor. (F)

1 2 p

Cor. (F)

fz 3.

3 4

fz Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. p

A. 1

A. 2

B. 1

B. 2

Vl. 1 fz div. unis. Vl. 2 p

Va. fz

Vc. fz

Cb. p

570

DCM 030

15 1 Fl. 2

Ob.

1 2 mf

1 Cl. (Bb) 2

Fg.

1 2 mf

Cor. (F)

1 2 mf

Trb.t.

3 4 mf

Tr. (F)

1 2 mf

Cor. (F)

1 2

Trb.b.

Tb.

GRAVENS AANDER (usynligt Kor) pp A. 1 Mørk,

mørk,

kold,

kold

mørk,

kold,

kold

mørk,

kold,

kold

mørk,

kold,

kold

pp A. 2 Mørk, pp B. 1 Mørk, pp B. 2 Mørk,

unis. Vl. 1 p

Vl. 2 unis. Va.

Vc.

Cb.

DCM 030

571

23 Fl.

1 2 pp 1.

1 Ob. 2

pp 1.

1 Cl. (Bb) 2 pp

Fg.

1 2 pp

Cor. (F)

1 2

p pp

Cor. (F)

3 4

2. 1 Trb.t. 2

Trb.b. p

Tb. p

Timp. pp sempre

A. 1 er

Gra

ven,

tavs

stil

le;

ven,

tavs

stil

le;

ven,

tavs

stil

le;

ven,

tavs

stil

le;

A. 2

B. 1

B. 2

div. Vl. 1 p div. Vl. 2

div.

Va. p

Vc. p Cb. p

572

DCM 030

32 Fl.

1 2 cresc.

Ob.

1 2

cresc.

Cl. (Bb)

1 2

Fg.

1 2 cresc.

Cor. (F)

1 2 p

cresc.

f 3.

3 Cor. (F) 4 cresc. 2. 1 Trb.t. 2 cresc.

Trb.b. cresc. Tb.

cresc.

Timp.

A. 1 tet

Liv,

kun

her

sker

dens

tet

Liv,

kun

her

sker

dens

tet

Liv,

kun

her

sker

dens

tet

Liv,

kun

her

sker

dens

A. 2

B. 1

B. 2

Vl. 1 cresc.

cresc.

Vl. 2

unis. Va.

Vc. cresc. Cb. cresc.

DCM 030

573

più mosso a2

40 1 Fl. 2

rall.

1 2

Ob.

fz pp 4

1 Cl. (Bb) 2 4

fz pp 4

1 2

Fg.

Cor. (F)

fz pp

1 2 ff

3 Cor. (F) 4 fz pp

1 Tr. (F) 2 ff

2. Trb.t.

1 2

Trb.b. ff

fz 4

Tb. ff

Timp. ff fz

SØVNENS GENIER (usynligt Kor)

S. Skøn

straa

le - ri

Ver - de - ner

fø - des

svin

de,

Skøn

straa

le - ri

Ver - de - ner

fø - des

svin

de,

naar

Skøn

straa

le - ri

Ver - de - ner

fø - des

svin

de,

naar

Skøn

straa

le - ri

Ver - de - ner

fø - des

svin

de,

naar

A. 1 Dyb. A. 2 Dyb. B. 1 Dyb. B. 2 Dyb.

più mosso

rall.

unis. Vl. 1 ff

unis.

Vl. 2 p

ff Va. ff

Vc. ff

Cb. ff

574

DCM 030

a tempo

1 Fl. 2

1 2

Ob.

p Cl. (Bb)

1 2 p p

1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. pp

S. naar

jet

lukt

til

Hvi

Søv

nens

Arm.

A. Ø

jet

lukt

til

Hvi

Fred

Søv

nens

Arm.

jet

lukt

til

Hvi

Fred

Søv

nens

Arm.

jet

lukt

til

Hvi

Fred

Søv

nens

Arm.

a tempo Vl. 1 pp sul G Vl. 2 pp

Va. pp Vc. pp

Cb. p

DCM 030

575

53 1 2

Fl.

Cl. (Bb)

1 2 pp

Fg.

1 2

Cor. (F)

3 4

Timp.

DØDENS GENIER (usynligt Kor)

S. I

Dø

den,

kun

Dø

den,

kun

Dø

den,

kun

Dø

den,

kun

Dø

Vl. 1

Vl. 2

Va.

Vc.

Cb.

576

DCM 030

61 Fl.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

3 4

Timp.

S. -

den

fin

der

den

fin

der

den

fin

der

den

fin

der

den

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

577

69 1 2

Fl.

Picc.

1 2

Ob.

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Timp.

S. -

Hvi

Fred,

Hvi

Fred,

Hvi

Fred,

Hvi

Fred,

sul G Vl. 1

sul G Vl. 2

Va.

Vc.

Cb.

578

DCM 030

77 1 2

Fl.

Picc.

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

p Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. p

Timp.

S. den

Fred,

den

Fred,

den

Fred,

den

Fred,

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

579

86 1 2

Fl.

Picc. mf

1 2

Ob.

Cl. (Bb)

1 2

Cor. (F)

a2 mf

1 2

Fg.

mf fz

1 2

3 4 p mf fz

Tr. (F)

1 2

Trb.b. mf fz

mf fz

Tb.

Timp. p

SØVNENS GENIER S.

Saa

A. p

Saa

T. Saa p B. Saa S. e

vig

lig

Fred.

vig

lig

Fred.

vig

lig

Fred.

vig

lig

Fred.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

580

DCM 030

94 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Trb.b. p

SØVNENS GENIER S. dvæl

i Drøm

me - nes

ge,

sov

trygt

og læn

ge,

sov

dvæl

i Drøm

me - nes

ge,

sov

trygt

og læn

ge,

sov

dvæl

i Drøm

me - nes

ge, -

sov-

trygt

og læn

ge,

sov

dvæl

i Drøm

me - nes

ge,

sov

trygt

og læn

ge,

sov

T. -

Vl. 1

div.

unis.

Vl. 2

div.

unis.

Va.

div. Vc.

Cb.

DCM 030

581

100 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2 pp

1 2

Fg.

Cor. (F)

1 2

Cor. (F)

3 4 pp

S. trygt,

sov

læn

ge–

Søv

nens

nier

ver

ge–

Søv

nens

nier

ver

ge–

Søv

nens

nier

ver

ge–

Søv

nens

nier

ver

A. trygt,

sov

trygt,

sov

læn

T. læn

B. trygt,

sov

læn

Vl. 1 pp

Vl. 2 pp unis. Va. pp

Vc. pp

Cb. pp

582

DCM 030

108 Fl.

1 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

S. Lin

dring

for

din

træt

Sjæl.

Lin

dring

for

din

træt

Sjæl.

Lin

dring

for

din

træt

Sjæl.

Lin

dring

for

din

træt

Sjæl.

Vl. 1

Vl. 2

Va.

unis. Vc.

Cb.

DCM 030

583

No. 31 Andante

Recit.

119 1 Fl. 2

ff 1.

1 Ob. 2

Cl. (Bb)

Fg.

Cor. (F)

1 2

1 2 ff

3 Cor. (F) 4 fp Tr. (F)

1 2 ff

Trb.t.

1 2 ff

Trb.b. ff Tb.

(Aladdin vaagner.)

(rejser sig)

ALAD. Drøm - me,

Andante

hvi for - føl - ge I mig

Recit.

Vl. 1 fp

div. Vl. 2 fp

Va. fp

ff div.

f 3

Vc. fp

ff fz

Cb.

poco adagio

124 1 Cl. (Bb) 2

Fg.

1 2

f 3

ALAD. med e - ders fal - ske, gæk - ken - de Taa - ge - spil?

Skal nu,

skal nu,

da jeg

til

Gra - vens Af - grund ha - ster hen,

poco adagio Vl. 1 mf

ff Vl. 2 ff

mf unis.

Va. mf

ff Vc.

mf Cb. mf

584

DCM 030

kun

sé,

Andantino

127 1 Fl. 2

cantabile

1 Cl. (Bb) 2 p

f 1.

Fg.

1 2

p Cor. (F)

Cor. (F)

1 2

3 4

ALAD. hvad jeg

vet

mi - sted?

bit - tre

Kval,

bit

tre

Kval!

Andantino div. Vl. 1 f

Vl. 2

Va.

Vc.

Cb.

130

1 Fl. 2 dolce Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2

3 4

ALAD. Stil

le,

frem af

Sor - ger - nes

Nat,

Bil

led

Vl. solo

unis. Vl. 1

Vl. 2

Va.

Vc. p Cb.

DCM 030

585

136 Fl.

1 2

1. 1 Ob. 2

p dolce

1 Cl. (Bb) 2

Fg.

Cor. (F)

2. pp

1 2

Cor. (F)

3 4

ALAD. hæ - ver sig–

en En - gel

ren

og skær,

mig vin - ker til

Vl. solo

Vl. 1

Vl. 2

Va.

Vc.

Cb. p

586

DCM 030

Him - lens Fred.

Jeg ser dig, o

143 Fl.

1 2

Ob.

1 2

dolce

1. Cl. (Bb)

1 2

Fg.

1 2 p

Cor. (F)

1 2

Cor. (F)

3 4

ALAD. Mo -

der, snart

mø -

des.

Jeg vil

glem

hver

en Sorg,

glem - me al

tutti

solo Vl. 1

Vl. 2

Va.

solo

Vc.

Cb.

DCM 030

587

150 Fl.

1 2

1. Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2 f

Cor. (F)

3 4 f

ALAD. den fal

ske

Lyk

ke,

som

mit

Hjer

daa -

red'.

Mo -

der, tag

i - mod

dit

Barn

i -

Vl. 1 cresc.

Vl. 2 cresc. Va. cresc.

tutti Vc.

Cb. cresc.

156 1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

1 2

cresc.

1 Cor. (F) 2

Timp. ppp pp

decresc. ALAD. gen;

jeg

snart

kom

mer

at hvi

hos

dig.

Vl. 1 pp

pp Vl. 2 cresc.

div.

Va. pp div.

cresc.

Vc. p

cresc.

Cb. pp

588

cresc.

DCM 030

p cresc.

rall.

162 1 Fl. 2

a2 Ob.

1 2 f

mf cresc. Cl. (Bb)

1 2 f

mf cresc. Fg.

1 2 f

mf cresc. Cor. (F)

1 2 f

Cor. (F)

3 4

Timp. cresc.

(sætter sig paa Graven)

ALAD.

rall. Vl. 1 f

Vl. 2

unis. Va. f

unis. Vc. f

Cb. f

DCM 030

589

170

Tranquillo

1 Ob. 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Timp.

ALAD. 1. Vi - se - lul

2. Sov Barn - lil - le 3. Nat - ter - ga - len

nu, Barn - lil,

sov

sødt

ved min Sang, nær - mer sig,

in - tet fry - der

skal dig

din dens

sov

nu læn - ge,

skønt din

Vug - ge

stan - der stil',

u - den

Glæ - de mang - le; bli - de Kluk - ke?

hø - rer Du har

du den of - te

mun - tre Klang vug - get mig,

hist i nu skal

Tranquillo Vl. 1

Vl. 2

Va.

Vc.

Cb.

177 Ob.

Fg.

Cor. (F)

1 2

poco animato

1., 2.

rall.

1 2

3 4

Timp.

ALAD. u - den Gæn - ge. af din Rang - le? at - ter vug - ge.

poco animato

1., 2.

Vl. 1 p

Vl. 2

Va.

Vc.

Cb.

590

DCM 030

rall.

Dun

Taar - net jeg dig

Allegro 180b Fl.

1 2

p Ob.

Cl. (Bb)

1 2

1 2 ff

pp f

p 5

Fg.

1 2 ff

1 Cor. (F) 2

ff Cor. (F)

3 4 ff

fpp

1 Tr. (F) 2 ff Trb.t.

1 2

Trb.b. ff

Tb. ff

Timp. ff

(rejser sig op)

ALAD. Nej,

nej, bort her - fra!

I min

Sjæl

kun bræn - der jor

disk Læng - sel.

Fra Død

og Grav

med Ræd - sel mit

Allegro 3.

Vl. 1 ff

div. Vl. 2 ff

Va. pp ff

Vc. 3

Cb. 3

DCM 030

591

187 Fl.

Ob.

Cl. (Bb)

1 2

f mf

Fg.

1 2 pp

Cor. (F)

cresc.

1 2

Cor. (F)

3 4 f

Tr. (F)

1 2

Trb.t.

1 2

cresc.

Trb.b. f

Tb.

ALAD. Ø - je bort sig ven - der.

Til Liv,

til Lys!

Frel - se!

kom,

red mig,

før mig

ud af det - te

Mør - ke,

af den - ne Grav!

Vl. 1 pp

fpp

cresc.

unis. Vl. 2 pp

Va. p

Vc.

fpp

cresc.

Cb.

592

DCM 030

Le - ve

194 Fl.

1 2

a2 Ob.

Cl. (Bb)

Fg.

1 2

1 2 fp

fz Cor. (F)

1 2 fp

ff p

3 Cor. (F) 4 fz

ff 2.

1 Tr. (F) 2

Trb.t.

1 2 fz

Trb.b.

Tb. fz

parlando ALAD. vil

jeg.

Ind i

den - ne Ræd - sels - hu - le, Trold - mand, har du spær - ret mig,

Ned - ri - ge!

med Guld og fal - ske Løf - ter.

For - døm-te

Vl. 1 fz

Vl. 2 fz

Va. fz

Vc. fz

Cb. fz

DCM 030

593

rit.

200 1 Fl. 2

a2 1 Ob. 2

a2 1 Cl. (Bb) 2

Fg.

1 2

1 Cor. (F) 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. f

Tb.

cantabile ALAD. Skurk,

luk op,

luk op!

Lam - pen skal du

faa

og al den tom - me Glim - mer, som blæn - der her mit Ø - je,

men kun er mat og kold

mod Da - gens ly - se

rit. Vl. 1 pp

div. Vl. 2

Va.

div. Vc. pp

Cb.

594

DCM 030

Moderato a2

206 Fl.

1 2

p p

Ob.

1 2 p

Cl. (Bb)

Fg.

Cor. (F)

1 2

p Cor. (F)

3 4 p

Tr. (F)

1 2 p

Trb.t.

1 2

Trb.b. p

Tb. p

ALAD. Skær.

lah!

før mig bort

her - fra,

send din

ly - se En - gel hid,

send mig

Moderato div.

Vl. 1 mf

Vl. 2 mf div. Va. mf unis.

Vc. mf

Cb. p

DCM 030

595

Recit. Andante

211 1 Fl. 2

Ob.

Cl. (Bb)

Fg.

Cor. (F)

1 2

cresc.

1 2 1 2

cresc.

1 2 cresc.

3 Cor. (F) 4 cresc. 1 Tr. (F) 2

Trb.t.

cresc.

1 2 cresc.

cresc.

Trb.b.

Tb. cresc.

Timp. p

cresc.

quasi parlando ALAD. Rin

gens Aand!

Ha! drøm - mer jeg end - nu,

el - ler var det Van - vid, som om - taa - ge - de mit Syn?

Recit. Andante unis.

Vl. 1 f

cresc.

unis. Vl. 2 cresc.

p unis.

Va. cresc.

Vc. f

cresc. Cb.

cresc.

214 ALAD. Her

Kir - ke - gaar - den,

her min Mo - ders Grav,

og Maa - nen skin - ner blidt her - ned.

Vl. 1 pp Vl. 2 pp

Va. pp Vc.

p Cb.

596

DCM 030

Men var jeg

Andante

217 1 Fl. 2

1. solo Ob.

1 2

dolce

ALAD. Hu - len ej,

har Rin - gens Aand mig ik - ke frelst?

Jo,

her paa min Fin - ger straa - ler Rin - gen end - nu,

og ved mind - ste

Andante Vl. 1 p dolce Vl. 2 p dolce Va. p dolce Vc. p Cb. p

Recit.

221 1 Fl. 2 p 1. 1 Ob. 2

1 Cl. (Bb) 2

Fg.

1. p

1 2

p f

mf ALAD. Vink

div.

er jeg hos Gul - na

re.

Jeg vo - ver knapt,

Recit.

thi hvis det ik - ke

lyk - kes,

for - fær - de - ligt!

unis.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

597

No. 32 Allegro

225 1 Fl. 2

Adagio

a2 3

ff fz

a2 1 Ob. 2

a2 1 Cl. (Bb) 2

ff fz

a2 1 Fg. 2

Cor. (F)

ff fz

1 2 ff

3 4 ff fz

1 2

Tr. (F)

Trb.t.

1 2

Trb.b. f fz

Tb. ff Timp. ff

Arpa

(lægger sig paa Knæ med opløftede Arme)

(kaster sig plat til Jorden)

ALAD. Men Vis - hed maa jeg ha',

ej læn - ger kan jeg tø - ve,

nu straks maa jeg for - sø - ge.

Kom,

du ly - se Aand!

USYNLIGT KOR S.

Allegro 3

Adagio

Vl. 1 3

ff 3

Vl. 2

ff 3

3 3

ff fz

Va. ff 3

Vc.

Cb. ff

598

ff 3

ff fz

DCM 030

Skytæpperne en efter en op. Scenen oplyses lidt efter noget. 232

Andante

1 2

Fl.

p p 1 Ob. 2

Cl. (Bb)

1 2 p

1 2

Fg.

Cor. (F)

1 2

3 Cor. (F) 4 p Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Timp.

Arpa

mf 10

ALAD.

S. Kom

mer hid

med Ly

sets

Pragt!

Kom

mer hid

med Ly

sets

Kom

mer hid

med Ly

sets

Pragt!

Kom

mer hid

med Ly

sets

Kom

mer hid

med Ly

sets

Pragt!

Kom

mer hid

med Ly

sets

Kom

mer hid

med Ly

sets

Pragt!

Kom

mer hid

med Ly

sets

Andante Vl. 1 p div. Vl. 2 p div. Va. p div.

Vc. p Cb. p

DCM 030

599

235 1 2

Fl.

1 2

Ob.

Cl. (Bb)

1 2

Fg.

Cor. (F)

1 2

3 4

cresc.

1 2

Tr. (F)

cresc. p

Trb.t.

1 2

cresc.

Trb.b.

Tb.

Timp.

cresc. 3

Arpa

3 3

3 (Ringens Aand lader sig tilsyne paa en hvid lysende Sky fra højre Side og standser midtvejs paa Scenen.)

RING.

S. Pragt! A. Pragt! T. Pragt! B. Pragt!

Vl. 1 p

cresc. unis.

Vl. 2 p

cresc.

Va. p

cresc.

unis. Vc. p

cresc.

Cb.

600

DCM 030

ingen Skytæppe

Moderato

236 1 Fl. 2

1 2

Ob.

Cl. (Bb)

1 2

Fg.

ff Cor. (F)

1 2 ff

Cor. (F)

3 4 ff 1 2

Tr. (F)

ff Trb.t.

1 2 ff

Trb.b. ff Tb. ff

Timp. ff

Arpa

RING. Hvi

tø

ved’ du

kal - de

Rin - gens Aand

til

Kamp for dig mod Mør

kets

Moderato Vl. 1 ff Vl. 2 ff Va. ff Vc. ff Cb. ff

DCM 030

601

240 Fl.

1 2

Ob.

1 2

Cl. (Bb)

Fg.

pp muta in A

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Arpa

RING. Magt.

Sig mig hvor - hen,

og straks

jeg

fø - rer dig did

paa mi - ne let - te Vin - ger.

ALAD. Saa

Vl. 1 pp

Vl. 2

Va.

pp pizz. Vc. f pizz. Cb. f

602

DCM 030

245

Allegro

1 Fl. 2 Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

ALAD. hør

mig da.

Nys

jeg

stod paa Lyk - kens Tin - de,

højt

ved Maa - let

for

min

Læng

sel.

Allegro Vl. 1 p Vl. 2 p Va. p mf arco Vc. mf

Cb. mf

pp 250 Fl.

1 2 pp

Ob.

1 2 p

Cl. (A)

1 2

Fg.

1 2 p

Cor. (F)

1 2

Trb.b. f Tb. f ALAD. Un

der

stens

bel,

i Bryl - lups - dan - sens Hvir

vel–

ve,

min Haand hun som en

Vl. 1 ff

Vl. 2

Va.

Vc. arco Cb. p

DCM 030

603

255 Fl.

1 2

f fz

1. 1 Ob. 2

Cl. (A)

f fz

p dolce

1 2

p Fg.

Cor. (F)

1 2 f fz

f fz

1 2 p

3 4 p

ALAD. Taa - ge

gled bort,

for - svandt.

Til Dø

Vl. 1 f fz

f fz

Vl. 2

Va.

Vc. 3

Cb. ff fz

604

DCM 030

den

dømt,

nu o - ver - alt

søg

jeg

min Skat,

261 Fl.

1 2

ff fz

1. Ob.

Cl. (A)

1 2

ff fz

1 2 ff fz

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

ff fz

ff fz ALAD. mit Alt

og Frel - sen

for

os beg - ge.

Og rast - løs drev mig frem mit Haab, min Tro.

Vl. 1 fz

ff fz

ff Vl. 2 ff Va.

Vc. ff fz

ff fz

Cb. ff

267 1 Fl. 2 pp Ob.

Cl. (A)

Fg.

1 2 pp

1 2

p 2.

1 2

RING.

ALAD. Men ak, for - gæ - ves!

Nu er jeg træt,

jeg

kan

me - re,

jeg

fin - der

Ve - jen,

Raad.

Vl. 1 p Vl. 2 p Va. p

Vc. p Cb. p

DCM 030

605

275 Fl.

Ob.

1 2

1 2 pp

pp Cl. (A)

1 2 pp

p Fg.

1 2 pp

RING.

ALAD. Hjælp

mig nu

ter

mæg

ti - ge

Aand,

før

mig til min

elsk

div. Vl. 1 pp Vl. 2 pp Va. pp Vc. pp Cb. pp

Recit. 283 Fl.

Ob.

1 2

ppp

1 2 ppp

1 Cl. (A) 2 ppp Fg.

1 2

ppp

RING. Ræk mig, Her - re, blot din Haand;

o - ver Rin - gens Aand be - fa - ler du!

ALAD. Brud.

Recit. Vl. 1 ppp div. Vl. 2 pp div. Va. pp Vc. pp Cb. pp

606

DCM 030

Næp - pe har du Or - det

talt,

før

dit

Øn - ske er

fuld-

Andante sostenuto 290 1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

ppp

cresc.

ppp

cresc.

ppp

cresc.

ppp

cresc.

p p

1 Cor. (F) 2

Cor. (F)

ppp

cresc.

ppp

cresc.

3 4

Arpa

p cresc.

RING. bragt!

ALAD.

S. Dit

Øn

ske

er fuld -

Dit

Øn

ske

er fuld -

Dit

Øn

ske

er fuld -

Dit

Øn

ske

er fuld -

Andante sostenuto

Vl. 1 cresc.

cresc.

Vl. 2

Va. p

cresc.

div.

Vc. p

cresc.

Cb. p

cresc.

DCM 030

607

Aladdin træder op paa Skyen. 293 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2 p

Trb.t.

1 2

Trb.b. p Tb. p

Timp.

Arpa

S. bragt

ved

Rin

gens

bragt

ved

Rin

gens

bragt

ved

Rin

gens

bragt

ved

Rin

gens

Vl. 1

Vl. 2

Va.

Vc.

Cb.

608

DCM 030

Skyen drager hurtig bort tilvenstre. 295 1 2

Fl.

molto cresc. 1 2

Ob.

molto cresc. 1 2

Cl. (A)

molto cresc. 1 2

Fg.

molto cresc. Cor. (F)

1 2 molto cresc.

Cor. (F)

3 4 molto cresc. 1 2

Tr. (F)

molto cresc. Trb.t.

1 2 molto cresc.

Trb.b. molto cresc. Tb. molto cresc.

Timp. p molto cresc.

Arpa

molto cresc.

S. Magt!

A. Magt!

T. Magt!

B. Magt! unis.

Vl. 1 molto cresc. unis. Vl. 2 molto cresc. Va. molto cresc. unis. Vc. molto cresc. Cb. molto cresc.

DCM 030

609

Totalt Mørke. Scenen forvandles for aabent Tæppe til Slottet.

Igjennem Portalen i Baggrunden sés en øde Slette.

Fuldt Lys

296 1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

Cor. (F)

1 2

3 4 ff

1 2

Tr. (F)

Trb.t.

1 2

ff fz

Trb.b.

Tb.

Timp.

div.

Vl. 1 fz

div. Vl. 2 ff unis.

div. 6

Va. ff

6 6

div.

Vc. pp

ff Cb.

610

DCM 030

No. 33 Ved Midterbuens venstre Søjle staar Gulnare tankefuld og stirrer ud over Sletten.

Andante con moto 299 1 Fl. 2 cantabile espressivo 1. 1 Ob. 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

muta in Bb

pp 1.

1 2 pp

Cor. (F)

3 4

Andante con moto Vl. 1 unis. Vl. 2 unis.

Va. 3

p 3

3 3

Vc. p Cb. p

305 Fl.

1 2 1.

1 Ob. 2 1. 1 Cl. (Bb) 2 p cantabile espressivo Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

unis. Vl. 1 cantabile Vl. 2

Va.

Vc.

Cb.

DCM 030

611

311

1 Cl. (Bb) 2

p p

Fg.

1 2 p 3.

3 Cor. (F) 4

Vl. 1 cantabile

cresc.

cantabile

cresc.

Vl. 2

Va. cresc. Vc. cresc. Cb. cresc.

316 1 Cl. (Bb) 2

Fg.

1 2 (med ufravendt Blik ud over Sletten tilhøjre)

GUL. Hø

rer du i

den

Vl. 1 pp sempre Vl. 2 pp sempre Va. pp sempre

Vc. pp sempre Cb. pp sempre

322 GUL. Vin

dens sag - te Hvis

ken,

fø

ler du

dens

Vl. 1

Vl. 2

Va.

Vc.

Cb.

612

DCM 030

sva

Pust

aan

de paa din

Kind?

ne Stund

p 328 Fl.

1 2 p

p 1. 1 Ob. 2

solo cantabile mf

Cl. (Bb)

solo

1 2 pp 1.

1 Cor. (F) 2

(vender sig om mod Forgrunden og gaar langsomt frem imod denne til midtvejs paa Scenen)

GUL. Det

en Hil - sen,

et Kys, din Brud

dig

sen

der.

men

Ak,

Ørk'

nens

Vl. 1 p Vl. 2 3

Va. 3

Vc. Vc.

Cb.

Noureddin kommer ud af Døren tilvenstre og bliver staaende udenfor denne uden at se Gulnare.

334 Fl.

1 2 1.

Cl. (Bb)

Fg.

1 2

1 2 pp

Cor. (F)

1 2

GUL. er

Sand

som

Dø

dens

Mark,

der

skil - ler

for

e - vig.

O Jam-

Vl. 1 pp 3

Vl. 2 3

Va.

Vc. Vc.

Cb.

DCM 030

613

Fl.

Allegretto

338 1 2

pp Ob.

Cl. (Bb)

1 2

ff p

1 2

p Fg.

1 2 f

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

fpp

1 2 f

Trb.t.

1 2

Trb.b.

Tb.

(Gulnare sér ham, vender sig hurtig om og gaar et Stykke tilbage paa Scenen [helst, til Buen (Midterbuens højre Søjle.), hvis det kan passe med Tiden, naar Noureddin skal føre hende frem i Forgrunden] og bliver staaende med Ryggen til.)

GUL. -

mer!

Ve mig!

NOUR. Skal

da mit

Liv

i Kval

for - gaa,

Allegretto

skal

al - drig jeg

det

skjul

div.

Vl. 1 p

f fz

fpp

div. Vl. 2 p

unis. Va. p

fpp

ffpp

unis. Vc. p

Cb. f fz

614

DCM 030

quasi recit.

346 1 Fl. 2

Ob.

1 2 cresc.

Cl. (Bb)

cresc.

1 2

Fg.

1 2 cresc.

Cor. (F)

1 2 f

Cor. (F)

3 4 p cresc.

Trb.b. f

(et Par Skridt henimod højre Side)

NOUR. Mid - del fin - de,

hvor - med jeg tvin - ge kan

min

Skæb - ne?

For - gæ - ves blev jeg Lam - pens Her - re.

unis.

Hvad

quasi recit.

Vl. 1

cresc.

unis. Vl. 2 p cresc.

div.

unis.

Va.

cresc.

unis. Vc. cresc.

fz f

Cb. cresc.

fz f

DCM 030

615

Allegro molto

352 Fl.

Ob.

Cl. (Bb)

1 2

risoluto

Recit.

ff fz

tranquillo

fz 1.

1 2 ff fz

ff fz

f fz

p dolce

1 2 p

a2 Fg.

Cor. (F)

1 2

1 2 (et Par Skridt længere hen mod højre Side)

sotto voce NOUR. gav - ner mig al Ver - dens Glans

Her

Allegro molto

sker - magt?

risoluto

den skæn - ker mig dog ej

det bed - ste.

Recit.

Hvad om jeg

tranquillo

Vl. 1 ff

Vl. 2 ff

Va. ff

div.

Vc. fz

Cb. ff

poco tranquillo

357 Fl.

1 2

Ob.

1 2

stretto

a2 3

1 Cl. (Bb) 2

p 3

p Fg.

1 2

3 (eftertænker)

cresc.

NOUR. tvang det stri - de Sind–

det haar - de Staal

poco tranquillo Vl. 1

Vl. 2

Va. p cresc.

p cresc.

Vc.

Cb.

616

DCM 030

sig bø - jer

let,

naar ved

dens Magt det selv til

stretto

Glød

362 1 Fl. 2

Ob.

Cl. (Bb)

Fg.

1 2

rit.

a tempo

a2 f

f f f

Cor. (F)

1 2 f

Cor. (F)

3 4

Tr. (F)

Trb.t.

1 2

f fz

Trb.b. f fz

Tb. f fz (vender sig omkring og faar Øje paa Gulnare)

(hen udfor Suffløren)

(gaar hen til hende)

NOUR. vor - den.

Ja,

min

Vil - lie er

mit Held,

sej - er - stolt jeg hvi -

rit.

ler i Gul - na

res

Favn!

Du her?

a tempo

Vl. 1 f

Vl. 2 f

Va. f 3

f fz

div. unis. Vc. f fz

Cb.

DCM 030

617

368

Andantino

1 Fl. 2

Ob.

1 2

Cl. (Bb)

1 2

Fg.

pp 1.

1 2

Timp. pp (tager hendes Haand og fører hende frem i Forgrunden)

NOUR. Al - tid sorg - fuldt

du stir - rer

paa Ørk - nens gol - de Sand,

og glem - mer alt,

hvad her

til Glæ - de dig

Andantino Vl. 1 pp Vl. 2 pp Va. pp Vc. pp pizz. Cb. p

373 Fl.

Her skal de være (ud for Suffløren i Forgrunden, hvor Duetten synges).

1 2

Ob.

1 2

Cl. (Bb)

1 2

rall.

pp pp

muta in A

pp Fg.

1 2 pp

3 Cor. (F) 4

Tr. (F)

pp 1.

1 2

(river sin Haand fra ham og træder et Par Skridt tilhøjre)

GUL. Ti!

kun som en Haan din Ta - le for mig ly - der; selv Ørk - nen hist er ej

saa glæ - de - løs.

NOUR. by- der.

O vær ej haard mod den, som el-sker ømt, og gær-ne Alt for dig gav

rall. Vl. 1 f

Vl. 2

Va.

Vc. f arco

Cb.

618

DCM 030

ind-

379

l'istesso tempo

1 Fl. 2 pp Ob.

1 2

Cl. (A)

1 2 pp

Fg.

1 2 pp

NOUR. hen.

Sér

alt,

hvad jeg li

der?

fø

ler

den Ild, som mit Hjer - te for-

l'istesso tempo div. pizz. Vl. 1 div. pizz. Vl. 2 div. pizz. Va. div. Vc. p pizz. Cb.

rit.

388 1 Fl. 2 Ob.

1 2 pp

1 Cl. (A) 2

Fg.

p cresc.

1 2

cresc.

NOUR. tæ

rer?

drig før

har

en Kvin

mig daa

ret,

drig før

unis. arco

kend - te jeg

Kær

lig - heds

rit.

Vl. 1 cresc.

unis. arco Vl. 2

cresc.

arco Va.

cresc. div. unis. Vc. cresc. arco Cb. cresc.

DCM 030

619

396

rit.

a tempo

1 Fl. 2

cresc.

1. 1 Ob. 2

1. 1 Cl. (A) 2

Fg.

Cor. (F)

1 2 p

cresc.

1 2

3 4 mf

Tr. (F)

1 2

Trb.t.

1 2

GUL.

NOUR. Magt,

dens

bæ - ven - de Haab,

ej dens Smer - te.

har be - ru

set min Sans,

din Skøn - hed har mig i

rit.

a tempo Vl. 1 p

cresc.

Vl. 2 p

div.

unis.

Va. p

cresc.

div.

unis.

Vc. p

cresc.

pizz.

arco

Cb. mf

620

DCM 030

405 1 Ob. 2

Fg.

l'istesso tempo

1. pp a2

1 2

Trb.t.

1 2

Trb.b. pp (afsides)

GUL. -

skovs - ord som Hjer

tet

naar,

der fra det

NOUR. Læn - ker lagt,

jeg

el - sker, el - sker

dig!

l'istesso tempo Vl. 1 p Vl. 2 p 3

Va. div.

3 3

Vc. p Cb. p

410 1 Ob. 2 Fg.

1 2

Trb.t.

1 2

Trb.b.

GUL. Fjær

ne;

gen Røst

mig

dø

kan

for

A - lad - dins Stem

me.

NOUR.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

621

Recit.

415 1 Fl. 2

Ob.

Cl. (A)

Fg.

1 2

p cresc.

1 2

1 2 p p

Cor. (F)

Trb.t.

1 2 f

cresc.

3 4

1 2

Trb.b.

Tb.

parlando NOUR. Al -

tid,

tid

det-te Navn!

O tro

mig,

tro

mig

dog!

Du er be - dra - get;

han er en fat -tig Dreng, en -fol - dig, u - op - dra - gen;

Recit. Vl. 1 f

cresc.

Vl. 2 p

Va.

unis. Vc. p

Cb.

622

DCM 030

risoluto

Recit.

a tempo

421 Fl.

1 2

ff Ob.

1 2

ff Cl. (A)

1 2 ff

Fg.

Cor. (F)

1 2

p p

1 2 ff

Cor. (F)

3 4 ff

cantabile NOUR. mig

kun skyl - des al den Glans, hvor - med han dig be - snæ - red!

Det -te Slot er mit,

risoluto

ej hans!

Recit.

og det, og mer skal vor

a tempo

Vl. 1 cresc.

ff marcato

Vl. 2 cresc.

ff marcato

Va. cresc.

ff marcato

Vc. p

cresc.

ff marcato

pizz. Cb. p

cresc.

ff marcato

426 1 Fl. 2 dolce

1 Ob. 2 pp

2. Cl. (A)

Fg.

Cor. (F)

1 2 1 2

1 2 p

(til Noureddin)

GUL. Nej,

Svig

han 3

al - drig ø

ved';

for Svig

han selv

Of - fer

blev. 3

NOUR. dit.

Jeg vil ska -be et

ra - dis

af hver Plet du be - træ

der;

hver Dag

me vi fej - rer en

Vl. 1 p 3

pizz. 3 Vl. 2 3

Va. p Vc.

Cb.

DCM 030

623

430 Fl.

1 2

Ob.

1 2

2. 1 Cl. (A) 2

mf 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

(afsides)

GUL. Elsk

te,

e - ne ved dit

Hjer

tes Guld du vandt et

Hjer

ak,

Hjer

NOUR. Fest.

Alt

er dit,

hvad du øn -sker det sker;

paa dit mind - ste Vink

Vl. 1 p

div. Vl. 2

div. Va. p

div. 3

Vc. p

arco Cb.

624

DCM 030

dig tje - ner Jor -dens Tryl - le - kraft og

al - le Luf - tens Aan- der; som

435 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2 p

Cor. (F)

1 2 p

Cor. (F)

3 4

GUL. vi

Dø

den.

A - lad - din

kæ - re,

bliv

da hos

mig

di - ne

Fø

ler

NOUR. Løn jeg kun be - der om Kær - lig - hed.

Sér

alt,

hvad

jeg

der?

div. Vl. 1 leggiero

arco

leggiero

Vl. 2

arco

Va.

3 3

unis.

Vc.

Cb.

DCM 030

625

poco a poco animato a2

441 Fl.

1 2

1. Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

4. p

GUL. Tan

ker,

til

det

sid - ste

Glimt

Haab er

slukt,

NOUR. ej

den

Ild, som mit Hjer - te for - tæ

rer?

drig

poco a poco animato unis. Vl. 1

Vl. 2

unis. Va.

div.

Vc.

Cb.

626

DCM 030

før

har

446

rit.

1 Fl. 2

cresc.

Ob.

1 2 f

cresc.

Cl. (A)

1 2

cresc. Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

cresc.

GUL. til

min

sid

mig

daa

ste Stund–

Elsk

te,

din

Skøn

hed

Elsk

te!

NOUR. Kvin

ret.

be - rust,

fø-ler jeg Kær -lig - heds Ild i min

rit. Vl. 1 cresc.

Vl. 2

cresc.

Va.

Vc.

Cb.

DCM 030

627

p 452

a tempo

rit.

1 Fl. 2

1. 1 Ob. 2 f

dim.

p Cl. (A)

1 2 mf

Fg.

1 2 p

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

GUL.

(knæler)

NOUR. Sjæl.

Jeg

er din

Træl,

Her -sker - in -

de;

yd - mygt jeg tryg - ler om

a tempo

Naa - de for din

rit.

Vl. 1 p cantabile

dim.

unis. Vl. 2 p

div.

unis.

div.

unis.

Va. p

p div.

unis. Vc. pizz.

pizz.

arco

Cb. p

628

DCM 030

459

Allegro

1 Fl. 2

Ob.

Cl. (A)

1 2

1 2 ff

Fg.

1 2 ff

Cor. (F)

3 4 p cresc.

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

GUL. Bort!

kun Had

sky

du væk - ker i min Sjæl!

(rejser sig)

NOUR. Fod.

ver

Allegro Vl. 1 p cresc.

ff marcato

Vl. 2 ff marcato

p cresc. div. Va. p cresc.

p cresc.

Vc.

Cb.

DCM 030

629

466 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2 f

Fg.

1 2 f

Cor. (F)

1 2

Cor. (F)

3 4 p

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

(gaar et Par Skridt tilhøjre og svinger et Par Skridt om imod Baggrunden, vender sig derpaa om imod ham og bliver staaende)

GUL.

NOUR. du

min

Vl. 1

skov at

for - haa

ne,

godt,

faar

sé

p 3

saa

Vl. 2 p unis.

div.

Va. f

div.

Vc. f

Cb.

630

DCM 030

ik - ke jeg

har

473 Fl.

Ob.

Cl. (A)

Fg.

Cor. (F)

1 2

1. p

1 2

1 2 pp

Cor. (F)

Tr. (F)

3 4

1 2 mf

Trb.t.

1 2

Trb.b. mf

Tb. pp

GUL.

NOUR. Magt

tvin

ge dig,

har

Magt

bø

Vl. 1 f

Vl. 2 fp

Va.

Vc.

Cb.

DCM 030

631

480 Fl.

1 2

Ob.

1 2

1. Cl. (A)

Fg.

1 2

1 2 pp

Cor. (F)

1 2

3 4 pp

Trb.t.

1 2

Trb.b.

Tb.

GUL.

(trænger nærmere ind paa hende)

(griber hendes Arm)

NOUR. stri - digt Sind,

din stol - te

Trods.

Ha,

skæl - ver!

Ja,

Vl. 1 3

Vl. 2 pp unis. Va. pp

Vc. pp

Cb. pp

632

DCM 030

487 Fl.

Ob.

Cl. (A)

1 2

f p Fg.

1 2 f

Cor. (F)

3 4

Trb.t.

1 2

Cor. (F)

Trb.b.

Tb.

GUL.

NOUR. i

min Favn

snart

skæl

ver,

og stil - ler mit Be - gær,

for - di jeg vil

Vl. 1 3

f p

Vl. 2 f

Va. f

Vc.

Cb.

DCM 030

633

Allegro molto 496 Fl.

Ob.

Cl. (A)

Fg.

stretto

1 2

1 2 ff

Cor. (F)

1 2 f

Cor. (F)

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb.

Timp.

(vil rive sig løs)

GUL. Bort,

(vil føre hende bort)

NOUR. dit Had til Trods

men trod -ser du,

da ram - mer dig en blo - dig

Hævn!

Allegro molto

stretto Vl. 1 ff

Vl. 2 p div. Va. ff

Vc.

Cb.

634

DCM 030

Aladdin kommer løbende ind fra Baggrunden, styrter løs paa Noureddin og slaar * hans Haand bort 505 1 Fl. 2

Ob.

Cl. (A)

Cor. (F)

Tr. (F)

Trb.t.

1 2

1 2 f

Fg.

1 2 p cresc.

p cresc.

fz p

f fz

1 2 mf

3 4

1 2

Trb.b.

Tb.

Timp.

GUL. fræk - ke!

vig fra mig,

Trold!

Hjælp!

Slip mig,

slip mig!

(trækker hende under Modstand saa langt tilvenstre, at de kommer til at staa ud for * Suffløren)

NOUR. Følg

mig,

mig!

følg

ver

du,

Trod

si - ge...

vogt dig,

vogt dig!

div.

unis.

unis. Vl. 1 p

cresc.

f div.

div.

unis.

Vl. 2 cresc.

cresc.

div.

unis. Va. cresc.

cresc.

Vc.

Cb. mf

DCM 030

635

Fl.

1 2

Animato

513

ff fz

Picc. ff fz a2 Ob.

1 2

ff fz a2

1 Cl. (A) 2

Fg.

Cor. (F)

1 2

ff fz

ff fz a2

1 2

ff fz

Cor. (F)

Tr. (F)

Trb.t.

3 4 fz

ff fz

1 2

Trb.b.

Tb. fz

ff fz

Timp. ff fz

(styrter henrykt i Aladdins Arme) (begge nærmere frem i Forgrunden)

GUL. ah!

ALAD. Gul (viger tilbage nogle Skridt tilvenstre)

NOUR. Ha!

Animato Vl. 1 ff

Vl. 2 ff

Va. ff

mp 3

Vc. fz

mp 3

Cb. fz

636

DCM 030

mp 519 Fl.

1 2

Picc.

Ob.

1 2 mp

Cl. (A)

1 2

2. 1 Fg. 2

Cor. (F)

1 2

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

GUL. O

Fryd,

lig

Fryd!

lig

Fryd!

lig

Fryd,

ALAD. na

re!

Gul - na

re!

NOUR.

Vl. 1 fz

Vl. 2 fz

Va.

Vc.

Cb. mp

DCM 030

637

lig

a2 526 Fl.

1 2

mp cresc.

a2 Ob.

1 2

a2 Cl. (A)

Fg.

1 2

mp cresc.

1 2 ff

mp cresc.

Cor. (F)

Tr. (F)

ff fz

1 2 cresc.

cresc.

ff fz

3 4

1 2 ff fz

Trb.t.

1 2

ff fz

Trb.b. ff fz

Tb. ff fz

GUL. al

drig skil - les mer!

Min Elsk -

te!

(peger paa Noureddin)

ALAD. Fryd!

Nej

al - drig mer!

Men først

et Ord

til ham,

den

Vl. 1 cresc.

ff fz

sul G Vl. 2 cresc.

cresc.

ff fz

Va.

Vc.

Cb.

638

DCM 030

f fz

535 Fl.

Ob.

Cl. (A)

1 2

p a2

1 Fg. 2 p

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

a2 p

Trb.b.

Tb.

GUL.

ALAD. Nid - ding, som

med fal

ske

Løf

ter daa

red,

Tro

skab kræn

ked,

for e - get

Held

Vl. 1 p

Vl. 2 p div. pizz.

unis. arco

Va. p arco

pizz. Vc. p

arco

pizz. Cb. p

DCM 030

639

543 Fl.

1 2

Picc. ff

4 4

Ob.

Cl. (A)

Fg.

1 2

p cresc.

1 2

p cresc.

f fz

ff fz

f fz

ff fz

f fz

ff fz

p Cor. (F)

Cor. (F)

1 2

3 4 f fz

Tr. (F)

1 2 ff fz

Trb.t.

1 2

ff fz

Trb.b. ff fz Tb. ff fz

Timp. fz

GUL.

ALAD. vin - de, mig

Dø

den

vil - de sen

de;

stjal

mit

Slot,

min

Brud!

NOUR.

Vl. 1 cresc.

f fz

ff fz

Vl. 2 fz

cresc.

f fz

ff fz

cresc.

f fz

ff fz

cresc.

ff fz

cresc.

ff fz

Va.

Vc.

Cb.

640

DCM 030

549 Fl.

1 2

Picc.

4 4

Ob.

Cl. (A)

Fg.

1 2

ff fz

ff fz a2

ff fz

1 2

1 2 fz

Cor. (F)

1 2

3 4 ff fz

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. f fz

GUL.

ALAD. Ve

dig!

NOUR. Læn

nok

var Lam - pen din;

Vl. 1 mf

Vl. 2 fz 2

Va. mf

Vc. fz

Cb. fz

DCM 030

641

555 Fl.

1 2

Picc. p p Ob.

1 2 1.

Cl. (A)

Fg.

1 2

1 2 pp

Cor. (F)

1 2

Cor. (F)

3 4 pp

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. ppp

GUL.

(drager sit Sværd)

ALAD. Sæt Lam - pen mel - lem

NOUR. for

vist

Tje - ne - ste

mig

Vl. 1 pp Vl. 2 pp Va. pp

Vc. pp

Cb. pp

642

DCM 030

nes

godt

be - talt.

563 Fl.

1 2

Picc.

Ob.

1 2

f a2

1 Cl. (A) 2

f a2

Fg.

Cor. (F)

1 2

1 2 f fz

Cor. (F)

3 4 f

Tr. (F)

f fz

1 2 f

Trb.t.

1 2 f

Trb.b. f

Tb. f Timp. f

GUL.

ALAD. os

kæmp

om den en

ær - lig Kamp!

om min

Lam - pe,

NOUR. Ha, ha!

At kæm - pe

mit

get

Vl. 1 f

cresc.

fz mf

fz cresc.

Vl. 2 f

Va. f

ff marcato

cresc.

ff marcato

cresc.

ff marcato

cresc.

Vc.

Cb.

DCM 030

643

p 571 Fl.

1 2

Picc.

Ob.

1 2

p p

p Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2 f

Cor. (F)

3 4

ff fz Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

(til Aladdin)

GUL. Kæmp ej

med ham;

on - de

Mag - ter staar ham

bi. (til Gulnare)

go - de

kæm - pe.

ALAD. For mig

(vender sig haanligt om og gaar hen paa Lemmen tilvenstre, hvor han vender sig om imod Aladdin med trodsig Mine)

NOUR. Værk

Vl. 1 f

cresc.

Vl. 2 pp

cresc.

Va. f

Vc. f arco

pizz. Cb. f

644

DCM 030

(nogle Skridt henimod Noureddin)

a2 579 Fl.

1 2

Picc.

a2 1 Ob. 2

ff a2

Cl. (A)

Fg.

Cor. (F)

1 2

1 2 f

Cor. (F)

3 4 f

Tr. (F)

Trb.t.

1 2

Trb.b. f

Tb.

Timp.

(Gulnare nogle Skridt baglænds tilhøjre [se: Appendiks, ill. IV.2])

GUL.

ALAD. Sæt

Lam

- pen mel - lem

os,

tag

dit

Sværd! (tager Lampen frem)

NOUR. Her er

mit Sværd!

og ret

Vl. 1 ff

f Vl. 2

f Va. fz

Vc. fz Cb. fz

DCM 030

645

be -

586 Fl.

1 2

cresc.

Picc. f

1 Ob. 2 ff

cresc.

a2 Cl. (A)

Fg.

Cor. (F)

1 2

mf cresc.

cresc.

3 4 ff

Tr. (F)

cresc.

1 2 ff

Cor. (F)

cresc.

1 2 ff

Trb.t.

1 2

Trb.b. fz

Tb.

Timp.

GUL.

(styrter ind * paa Noureddin og gnider * Lampen)

(et Skridt nærmere Noureddin)

ALAD. Fei - ge Trold! 2

kom du,

Tos - se,

Taa - be,

Al - lah,

NOUR. lej

lig

Alt

nok!

Vl. 1 ff

cresc.

Vl. 2

Va.

Vc. 2

Cb.

646

DCM 030

staa

mig

Lampens Aand skyder op * af Gulvet under Torden. Gulnare nogle Skridt baglænds tilhøjre. Scenen indhylles i et saadant Mørke, at Laterna magicaen, til Brug ved Slottets Flugt igjennem Luften, kan virke. [se: Appendiks, ill. IV.3]

593 Fl.

1 2

fff fz

Picc. fff fz

Ob.

Cl. (A)

Fg.

1 2

fff fz

1 2

fff fz

1 2 fff fz

Cor. (F)

1 2 fff fz

Cor. (F)

3 4 fff fz

Tr. (F)

1 2 fff fz

Trb.t.

1 2

fff fz

Trb.b. fff fz

Tb. fff fz

Timp. fff fz

GUL.

(støder ham ned, og tager hurtig Lampen op, som er faldet ud af Noureddins Haand)

ALAD. bi! (falder og bliver liggende paa Lemmen)

NOUR. Ah!

Vl. 1 fff fz

dim.

fz unis.

dim.

Vl. 2 fff fz

Va. fff fz Vc. fff fz

Cb. fff fz

DCM 030

647

accelerando

601 1 Fl. 2

Picc.

Ob.

1 2

ppp

Cl. (A)

1 2 pp

ppp

pp Fg.

1 2 pp

Cor. (F)

ppp

cresc.

ppp

cresc.

ppp

cresc.

1 2 pp

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

ppp

Trb.b. ppp

Tb.

Timp.

ALAD.

LAMP. Som

sla

hvert

Vink

jeg

der.

accelerando Vl. 1 cresc.

Vl. 2 cresc. div.

unis.

Va. cresc. div.

unis.

Vc. cresc.

Cb. cresc.

648

DCM 030

Allegro con brio 3

617 1 Fl. 2

Recit.

ff a2 3

1 Ob. 2

3 3

Fg.

1 2

fz 3

Tr. (F)

3 3

Trb.t.

1 2

3 3

1 2

3 Cor. (F) 4 fz

3 3

Cor. (F)

a2 1 Cl. (A) 2

Picc. ff

Trb.b. fz

Tb. fz

fz 3

Timp. fz

ff (til Lampens Aand)

ALAD. Saa brin - ge

Vel - an!

du da Slot - tet

LAMP.

Allegro con brio 3

Vl. 1 ff

Recit.

3 3

Vl. 2 ff

3 3

div.

fz 3

Va. ff

Vc. fz

Cb. fz

DCM 030

649

621

1 Fl. 2

a tempo

quasi Recit. f

fpp

Picc. ff

3 3

Ob.

1 2

ff a2 Cl. (A)

Fg.

1 2

Cor. (F)

1 2 ff

3 Cor. (F) 4

fpp

1 Tr. (F) 2

ff Trb.t.

1 2 fz

Trb.b. f

Tb. fz

Timp. ff

p cresc.

f fz

ALAD. end - nu i

hjem,

den - ne Stund'

til

Is -

pa - han!

Men Trol - den der,

a tempo

quasi Recit.

Vl. 1 ff 3

Vl. 2 f

ff unis. 3

fpp

div. 3

Va. fpp

ff 3

f 3

Vc. ff 3

Cb. ff

650

DCM 030

som lig - ger paa sin

mosso

Fl.

tranquillo

626 1 2

fffz

Picc. mf

1 Ob. 2

ff fz

Cl. (A)

1 2 ff fz

Fg.

Cor. (F)

1 2

ff fz

1 2

ff fz

3 4 ff fz

Tr. (F)

1 2 ff fz

Trb.t.

1 2

ff fz

Trb.b. ff fz

Tb. ff fz

Timp.

ALAD. Ger

ning,

kast ham i

len til sin stol - te Skat;

mosso

der kan han mæt - te sig

med Ste

nens

tranquillo

pizz. Vl. 1 mf

ff fz

pizz. Vl. 2 mf

ff fz

pizz.

arco

Va. ff fz

f pizz.

p arco

Vc. pp

ff fz

Cb.

DCM 030

651

poco rall.

631 Fl.

a tempo

1 2

cresc.

Picc. 6

p cresc.

Ob.

Cl. (A)

Fg.

1 2

p cresc.

pp cresc.

1 2

1 2 p

Cor. (F)

1 2

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

ALAD. Frugt, og stil - le Tør - sten i Kry - stal

lens Draa

be.

Og nu til Is - pa - han!

LAMP. Til

poco rall.

pa -

arco

a tempo

Vl. 1 ff

arco

cresc.

Vl. 2 6

p cresc. div.

unis.

Va. p cresc. div.

unis.

Vc. p cresc.

cresc. 3

Cb. p cresc.

652

DCM 030

cresc.

Noureddins Lig og Lampens Aand synker i Gulvet. Aladdin hen til Gulnare og fører hende hen til Døren tilvenstre, hvor de blive staaende. Aladdin holder Gulnare tæt ind til sig. a2 636 Fl.

1 2

Picc.

Sætstykket foran Lufttæppet sænkes. Skyer farer forbi (Laterna magica).

Allegro alla breve

6 6

Ob.

No. 34

1 2

cresc.

fff

cresc.

fff

cresc.

fff

cresc.

fff

cresc.

fff

cresc.

fff

cresc.

fff

Slottets Flugt.

mf a2

Cl. (A)

Fg.

Cor. (F)

Tr. (F)

1 2

3 4

ff 6

mf a2

1 2 ff

Trb.t.

1 2

p cresc. fff

Trb.b.

Tb. ff

p cresc. fff

Timp. ff

fff

LAMP. han!

Vl. 1

fff

cresc.

fff

cresc.

fff

6 6

div.

cresc.

mf 6

Vl. 2

Allegro alla breve

unis.

Va. 6

Vc. ff

fff

Cb. ff

DCM 030

653

641

1 Fl. 2

fff sempre

cresc.

fff sempre

cresc.

fff

cresc.

fff sempre

cresc.

Picc. f a2 Ob.

1 2 mf

Cl. (A)

1 2 mf

1 Fg. 2

a2 mf

fz mf

Cor. (F)

1 2 mf

Cor. (F)

fff fz

fff

cresc.

3 4 fff fz

Tr. (F)

1 2

Trb.t.

1 2

fff

cresc.

fff

Trb.b. p

Tb. p

Timp. p

fff

Vl. 1 cresc.

fff

cresc.

fff

cresc.

fff

Vl. 2

Va.

Vc. mf

fff

Cb. mf

654

fff

DCM 030

647 Fl.

1 2

Picc.

Ob.

Cl. (A)

1 2

a2 1 Fg. 2

Cor. (F)

1 2 fz

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

655

652

1 Fl. 2

Picc.

Ob.

1 2

a2 Cl. (A)

1 2

a2 Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. f

Tb. f

Timp.

Vl. 1

Vl. 2

Va.

Vc. fz

Cb.

656

DCM 030

656 Fl.

1 2

Picc. p 1.

a2 Ob.

1 2 mf

Cl. (A)

1 2

p a2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

fff

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

div. Vl. 1 p

Vl. 2 p div. Va. p

Vc. p

Cb. p

DCM 030

657

p cresc.

661 Fl.

1 2 p cresc.

Picc. p

Ob.

p cresc.

1 2 p cresc.

Cl. (A)

1 2

1 Fg. 2

2. p cresc.

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

1. p cresc.

Trb.b.

Tb.

Timp.

Vl. 1 p cresc.

Vl. 2 p cresc. unis. Va. p cresc.

Vc. p cresc.

Cb. p cresc.

658

DCM 030

Sætstykket med Taarne, Kupler osv. hæves langsomt op * af Gulvet. Skyerne ophører med at fare.

666 Fl.

1 2

Picc. f a2 Ob.

Cl. (A)

1 2

f 2. 1 Fg. 2

1. Cor. (F)

Cor. (F)

1 2

3 4 f

Tr. (F)

1 2 f

Trb.t.

1 2

Trb.b. f

Tb. f

Timp. f

unis. Vl. 1 f

Vl. 2 f

Va. f

Vc. f

Cb. f

DCM 030

659

Sætstykket er oppe. *

671 1 2

Fl.

Folk stimler sammen udenfor Buerne. *

Picc. a2 1 2

Ob.

a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp. f

Vl. solo

Vl. 2

Va.

Vc.

Cb. marcato

660

DCM 030

677

Allegro

1 Fl. 2

Picc.

1 2

Ob.

1 2

Cl. (A)

p 1 2

Fg.

f 1 Cor. (F) 2

a2 p

f Cor. (F)

3 4 p 1 2

Tr. (F)

a2 p

f Trb.t.

1 2

Trb.b.

Tb.

Timp. f

([Kor:] under Portalen)

S. Sé!

Slot - tet!

Sé!

Slot - tet!

der staar det

i - gen,

her

ligt,

her

ligt,

A. der staar det

i - gen,

her

ligt,

her

ligt,

straa

ler

(peger)

T. Sé!

Slot - tet!

Sé!

Slot - tet!

der

staar det

i - gen,

her

ligt,

her

ligt,

B. der staar det

i - gen,

her

ligt,

her

ligt,

straa

ler

Allegro Vl. 1 p

Vl. 2

Va.

Vc.

Cb.

DCM 030

661

683 Fl.

1 2

Ob.

1 2 fz

1 2

Cl. (A)

cresc.

1 2

Fg.

1 Cor. (F) 2

a2 cresc.

Cor. (F)

3 4 cresc.

Tr. (F)

1 2

Timp.

S. straa

ler

som

før

her

ligt

som

før.

sin Pragt,

her

ligt

som

ligt

som

her

ligt

som

her

ligt

som

A. Her - ligt som

før

her

T. straa

ler

som

før

her

ligt

som

før.

sin Pragt,

her

B. Her - ligt som

før

Vl. 1 cresc.

cresc.

Vl. 2

div. Va. cresc.

f marcato

cresc.

f marcato

cresc.

f marcato

Vc.

Cb.

662

DCM 030

p 689 1 2

Fl.

1 2

Ob.

fz a2 1 2

Cl. (A)

1 2

Fg.

Cor. (F)

1 2

3 Cor. (F) 4

Tr. (F)

1 2

Timp.

([Kor:] forsigtig vover de sig indenfor Porten.)

(peger)

S. Gul - na - re,

før.

hvor er

de?

Der staa

bag

(peger)

A. før.

A - lad - din

der staa de,

der staa de

(peger)

T. før.

Gul - na - re,

hvor er

de?

Der staa

bag

(peger)

B. før.

A - lad - din,

der staa de,

der staa de

Vl. 1 fz

pp sempre

Vl. 2 f p

pp sempre

unis. Va. pp sempre

f p

Vc. fz

pp sempre

Cb.

DCM 030

663

a2 695 1 2

Fl.

1 2

Ob.

f tenuto

a2 1 Cl. (A) 2 f

1 2

Fg.

Cor. (F)

Tr. (F)

1 2

3 4

1 2

Timp.

S. Søj - len

ud - fri - et

af on

ud - fri - et

af on

ud - fri - et

Mag

ters Vold,

Mag

ters Vold,

A. bag Søj - len

Mag

ters Vold,

Mag

ters Vold,

T. Søj - len

ud - fri - et

Mag

ters Vold,

Mag

ters Vold,

B. bag Søj - len

Mag

ters Vold,

Mag

ters Vold,

Vl. 1 f

Vl. 2

div. Va.

Vc.

Cb.

664

DCM 030

a2 701 1 2

Fl.

cresc.

ff fz

cresc.

ff fz

1 2

Ob.

1 2

Cl. (A)

cresc.

1 2

Fg.

cresc.

ff a2

1 Cor. (F) 2 ff

cresc.

Cor. (F)

3 4

cresc.

Tr. (F)

1 2 ff

mf cresc.

Timp.

([Kor:] træder nærmere frem paa Scenen)

S. fri

frelst,

fri

frelst,

fri

frelst,

fri

frelst,

fri

frelst,

fri

frelst,

fri

frelst,

fri

frelst,

Vl. 1 cresc.

ff fz

cresc.

ff fz div.

Vl. 2 div.

unis.

Va. cresc.

ff fz

Vc. cresc. ff

Cb. cresc.

DCM 030

665

707

1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

3. pp

Trb.b.

Tb.

Timp. f parlando BUD. Gør (Koret til begge Sider *)

Plads!

til -

S. der staar

ter

fri

frelst.

der staar

ter

fri

frelst.

der staar

ter

fri

frelst.

der staar

ter

fri

frelst.

Vl. 1 fz

pp sempre

Vl. 2 7

unis. Va. fz

Vc. pp

Cb. pp

666

DCM 030

Aladdin og Gulnare træder frem og gaar henimod dem langsomt. [se: Appendiks, ill. IV.4]

Viziren med to Trompetblæsere og de to Terner ses udenfor Buerne fra højre Side kommende.

713 1 2

Fl.

a2 1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

f Cor. (F)

Cor. (F)

1 2

3 4

f a2

1 2

Tr. (F)

Trb.t.

1 2

Trb.b. f

Tb. f

Timp. f (stiller sig op foran Basserne)

BUD. ba - ge!

Vi - zi

ren kom - mer!

Gør

Plads! (Her træder de [Koret] indenfor Buerne.)

S. Vi - zi - ren,

a - le

ne?

A. Vi - zi - ren,

a - le - ne?

Hvor -

T. Vi - zi - ren,

a - le

ne?

B. Vi - zi - ren,

a - le - ne?

Hvor -

Vl. 1 7

cresc.

f marcato

cresc.

f marcato

cresc.

f marcato

Vl. 2

Va.

Vc.

Cb.

DCM 030

667

Gulnare og Ternerne iler, henrykte ved Gjensynet, hinanden imøde og kjærtegner hinanden. Aladdin nærmer sig Viziren, som staar stille og bøjer sig for ham. Aladdin griber hans Haand. Derpaa gaar de videre frem til Forgrunden. a2 720 1 2

Fl.

1 2

Ob.

1 2

Cl. (A)

ff a2 ff a2

ff a2 1 2

Fg.

Cor. (F)

1 2 ff

Cor. (F)

3 4 ff

Tr. (F)

1 2 ff

1 Trb.t. 2

Trb.b. ff Tb. ff Timp. ff

S. Kom

mer

vor

Sul

tan

selv?

kom

mer

vor

Sul

tan

selv?

Kom

mer

vor

Sul

tan

selv?

kom

mer

vor

Sul

tan

selv?

A. for

B. for

Vl. 1 ff marcato Vl. 2 ff marcato Va. ff marcato Vc. ff marcato

Cb. ff marcato

668

DCM 030

Koret slutter sig sammen bag om Solisterne, som samler sig i Forgrunden. [se: Appendiks, ill. IV.5] 726

poco rall.

1 Fl. 2 Ob.

1 2

Cl. (A)

1 2 p

1 Fg. 2 fz Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

dim.

Trb.b.

Tb.

poco rall. Vl. 1 dim. Vl. 2 p

dim.

div. Va. fz

dim.

Vc. p

Cb.

732 Cor. (F)

1 2

Cor. (F)

3 4

Moderato quasi Recit. 4.

Trb.t.

1 Tr. (F) 2

1 2

pp tenuto

Trb.b. p

pp tenuto

Tb.

VIZ. Hø - je

Fyr - ste,

æd - le Fyrst - in - de!

Mod - tag

Vel - komst - hil - sen

fra he - le

Per -siens Folk;

men ej

Moderato quasi Recit. unis. Va. p Vc. p Cb. p

DCM 030

669

fra

742 Cor. (F)

1 2 mf

3 Cor. (F) 4 Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

GUL. Min Fa - der! 2

VIZ. ham,

som

knust

Sor - gens

tun

- ge

Slag,

ud - aan

de - de

Vc. mf fz

mf fz

Cb.

749 Cor. (F)

1 2 pp

3 Cor. (F) 4 Tr. (F)

1 2 p

(grædende ved Aladdins Bryst)

GUL. Et

tro - fast Hjer - te

bris - tet

un - der Sorg

Smer - te–

der!

VIZ. sid

ste

Suk. p

S. Ja p A. Ja p T. Ja p B. Ja div. Vl. 1 pp div. Vl. 2 pp div.

Va. pp Vc. pp Cb. pp

670

DCM 030

sit

757 Cor. (F)

Andante

rall.

1 2 p

Cor. (F)

3 4 p 2.

1 Tr. (F) 2

Trb.t.

1 2

p tenuto

tenuto

p tenuto

tenuto

p tenuto

tenuto

p tenuto

tenuto

Trb.b.

Tb.

dim.

1. TERN. Nu højt i

lahs

Him - mel

trygt

dim.

han bor.

2. TERN. Hos

lah

trygt

han bor.

ALAD. Ja græd,

du kæ

re,

græd ud din tun

Sorg. f

dim.

VIZ. Nu højt i

lahs

Him - mel

trygt

han bor.

dim.

S. græd

kun

din

tun

Sorg.

Hos

lah

trygt

han bor. pp

dim.

A. græd

kun

din

tun

Sorg.

Hos

lah

trygt

han bor. pp

dim.

T. græd

kun

din

tun

Sorg.

Hos

lah trygt

han bor. pp

dim.

B. græd

kun

din

tun

Andante

Sorg.

Hos

Al - lah

trygt

han bor.

rall.

unis.

Vl. 1 mp cantabile unis. Vl. 2 mp cantabile

Va. p Vc. p

Cb. p

DCM 030

671

No. 35 Allegro non troppo 763 1 2

Tr. (F)

Paa Scenen a2 f

(giver Tegn til Trompetblæserne) (Viziren gaar nogle Skridt tilhøjre og vender sig imod Folket. Aladdin, Gulnare og Ternerne et Skridt frem og i lige Række. Korets Alter og Basser noget tilbage. [se: Appendiks, ill. IV.6])

VIZ.

768

Poco adagio

1 Fl. 2 1 2

Ob.

mf 1 Cl. (A) 2 1 2

Fg.

mf Cor. (F)

1 2 mf

Cor. (F)

3 4 mf

1 Tr. (F) 2 mf Trb.t.

1 2

Trb.b. mf Tb. mf

VIZ. Vor

Sul

tan

død!

Vor Sul - tan

ve! f

mf S.

vor f

Død! mf A. Død!

vor f

mf T. Død!

vor f

mf B. Død!

vor

Poco adagio Vl. 1 cresc.

mf Vl. 2 mf

cresc.

Va.

Vc.

Cb.

672

DCM 030

Sultanens Bannerfører (med Banner) og de 4 Pager, efterfulgt af Drabanter, sés udenfor Basserne at komme fra højre Side. Naar Bannerføreren og Pagerne, som svinger ind igjennem Midterbuen, er kommen et lille Stykke indenfor denne, standser de, medens Drabanterne stiller sig op i en Række udenfor Buerne. [se: Appendiks, ill. IV.7] 772 1 Fl. 2

1 2

Ob.

ff a2

f a2 1 Cl. (A) 2 f 1 2

Fg.

f 1 Cor. (F) 2

3 4

1 Tr. (F) 2

f Trb.t.

f Cor. (F)

1 2

Trb.b. f Tb. f Timp. f (med opløftet Arm)

ff 1. TERN. Han

ve!

ff 2. TERN. Han ff VIZ. Han (Alle (med opløftet Arm) frem i lige Række bag Solisterne)

Per - siens Folk

S. Sul

tan

ve,

han ff

ve!

Sul

tan

ve,

han

ve!

A. ff T. Sul

tan

ve,

han ff

B. Sul

Vl. 1

tan

Vl. 2

Va. 3 3

3 3

Vc.

ve,

han

Cb. f

DCM 030

673

Pagen yderst tilvenstre bærer paa begge sine udstrakte Arme Aladdins Hermelinskaabe. Pagen yderst tilhøjre bærer paa samme Maade Gulnares. De to midterste Pager bærer Aladdins og Gulnares Sultan- og Sultaninde-Turban. 775 1 Fl. 2

1 2

Ob.

ff a2

1 Cl. (A) 2 ff a2

1 2

Fg.

ff 1 Cor. (F) 2

Cor. (F)

3 4 ff

1 Tr. (F) 2 ff Trb.t.

1 2 f

Trb.b. f Tb. f

Timp. f

Trgl. f VIZ. hyl - de

A - lad - din,

hyl - de

Gul - na - re! (Koret deler sig og stiller sig op som Grundridset viser [se: Appendiks, ill. IV.1])

ff S. Ja, ff A. Ja, ff T. Ja, ff B. Ja,

Vl. 1 f Vl. 2 f Va. f Vc. 3

Cb. f

674

DCM 030

Viziren løfter sin Arm til Tegn paa, at alle skal træde tilside, og gaar derpaa hen til Aladdin. Med en Haandbevægelse opfordrer han Fyrsten og Fyrstinden til at begive sig hen, hvor Kroningen skal foregaa. Aladdin vender sig højre omkring, Gulnare venstre om, Aladdin tager hendes Haand og fører hende i et kort Sving venstre om og et lille Stykke frem i Forgrunden. Naar de er komne hertil og Pagerne skal hænge Kaaberne paa dem, slipper de hinandens Hænder. De to Terner slutter sig til Sopranerne. Bannerføreren og Pagerne skrider frem; den første standser midt paa Scenen, medens Pagerne gaar videre forbi ham hen til Aladdin og Gulnare og hænger Kaaberne om deres Skuldre og sætter Turbanerne paa deres Hoveder. Derpaa tager de Slæbene op (to i hvert). Aladdin og Gulnare med Pagerne, holdende Slæbene, skrider langsomt Haand i Haand rundt langs Korets Front og standser tilsidst foran Suffløren. Al dette skér, medens Koret synger nedenstaaende Hyldningskor.

Allegro 777 1 Fl. 2 f

1 2

Ob.

f f 1 2

Cl. (A)

f 1 2

Fg.

Cor. (F)

1 2 f

Cor. (F)

3 4 f

1 Tr. (F) 2 f 1 Trb.t. 2

Trb.b.

Tb.

Timp. f Trgl. f S. hil

A - lad - din, hil

Gul - na -

re,

hil

vor

Sul - tan,

Sul

tan - in

de,

f A. hil

A - lad - din,

hil

Gul

re,

hil

vor

Sul - tan,

Sul

tan - in

de,

lad - din, hil

Gul - na

re,

hil

vor

Sul - tan,

Sul

tan - in

de,

lad - din, hil

Gul - na

re,

hil

vor

Sul - tan,

Sul

tan - in -

de,

f T. hil

A - lad - din,

hil

f B. hil

A - lad - din,

hil

Allegro Vl. 1 f Vl. 2 f Va. f Vc.

Cb. f

DCM 030

675

783 1 2

Fl.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Timp.

S. Per - sers

hø

Her - sker,

Per - sers

hø

Her - sker,

Per - sers

hø

Her - sker,

Per - sers

hø

Her - sker,

le,

A. -

le,

T. -

le,

B. -

Vl. 1

Vl. 2

Va.

Vc.

Cb.

676

DCM 030

le,

788 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Timp.

S. Per - sers

hø

Her - sker,

sker,

hø

Her - sker,

hø

A. Per - sers

Her

hø

T. Per - sers

hø

je Her

sker,

hø

Her - sker,

hø

Her

sker,

hø

Her - sker,

hø

B. Per - sers

hø

Her - sker,

div. Vl. 1

div. Vl. 2

Va. marcato

Vc. marcato

Cb.

DCM 030

677

794 1 2

Fl.

1 Ob. 2 3

1 2

Cl. (A)

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2 f

Trb.b. f

Tb.

Timp.

S. hø

Her - sker

de!

Hil

lad - din,

hil

Gul - na - re,

hil

na - re,

hil

Gul - na - re,

hil

A. hø

Her - sker - in

de!

Hil

lad - din,

sker - in

de!

Hil

lad - din,

hil

sker - in

de!

Hil

lad - din,

hil

Gul

hil

T. hø

Her

B. hø

Her

Gul

Vl. 1

unis. Vl. 2

Va. 3

Vc.

Cb.

678

DCM 030

na - re,

800 1 2

Fl.

f 3

1 Ob. 2 3

1 2

Cl. (A)

1 2

Fg.

f Cor. (F)

1 2 ff

f Cor. (F)

3 4 f 1 2

Tr. (F)

Trb.t.

1 2

Trb.b. f Tb. f

Timp. f

S. lad - din,

hil

Gul - na

re,

hil

Gul - na - re,

Sul

tan - in -

de,

Per

re,

hil

Gul - na -

re,

Sul

tan - in -

de,

Per

Gul - na

re,

hil

Gul - na -

re,

Sul

tan - in -

de,

re,

hil

Gul - na -

re,

Sul

tan - in -

de,

sers

A. lad - din,

hil

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sers

T. lad - din,

hil

Per

sers

B. lad - din,

hil

Gul

Per

sers

unis. Vl. 1

div.

unis.

Vl. 2 f

ff div.

unis.

Va. ff

Vc.

Cb.

DCM 030

679

a2 806 Fl.

1 2

Ob.

1 2 fz a2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2 ff

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

S. hø

Her

sker,

Per - sers

Her - sker!

Hil

A-

Per

sers

Her - sker!

Hil

hil

A-

sers

Her - sker!

Hil

hil

A-

Her - sker!

Hil

A. hø

hø

Her

sker,

T. hø

Her

sker,

Per

B. hø

Her

sker,

hil

div. Vl. 1 div.

unis.

Vl. 2 fz Va.

Vc. fz

Cb.

680

DCM 030

A-

molto rit.

812 1 2

Fl.

3 3

1 2

Ob.

1 2

Cl. (A)

a2 1 Fg. 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

S. lad - din,

hil

Gul - na

re, vor hø

Sul - tan,

Sul

tan - in

de.

Sor

ger

A. lad -

din,

hil

Gul - na

re, vor hø

Sul -

tan,

Sul

tan - in

de.

Sor

ger 3

T. lad -

din,

hil

Gul - na

re, vor hø

Sul -

tan,

Sul

tan - in

de.

Sor

ger

B. lad -

din,

hil

Gul - na

re, vor hø

Sul -

tan,

Sul

tan - in

de.

Sor

ger

molto rit.

div.

Vl. 1 3

div. Vl. 2

Va.

Vc.

Cb.

DCM 030

681

Aladdin og Gulnare slipper hinandens Hænder og Pagerne slipper Slæbene. [se: Appendiks, ill. IV.9]

a tempo 817 1 Fl. 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

S. svin

de!

Held

os!

Held!

svin

de!

Held

os!

Held!

svin

de!

Held

os!

Held!

svin

de!

Held

os!

Held!

a tempo

unis.

Vl. 1

unis. Vl. 2

unis. Va.

Vc.

Cb.

682

DCM 030

822

Andantino

1 Fl. 2

1 Cl. (A) 2 pp ALAD. Nat - ten er svun - den,

Sol - gry - et tændt,

Fa - ren er om - me,

Kam - pen er endt.

At - ter skal Fre - den

o - ver os da - le,

mildt til os ta - le,

Andantino Vl. 1 p Vl. 2 p div. Va. p

solo

Vc. Vc. p pizz. Cb. p 829 1 Ob. 2

1. pp

1 Cl. (A) 2

pp Fg.

1 2 pp

Cor. (F)

1 2 pp

3 Cor. (F) 4 pp

Arpa

GUL. Al - lah er Al - lah,

Ma - hom hans Pro - fet,

ALAD. un - der dens Vin - ger

trygt

bo,

un - der dens Vin - ger al

trygt

vi bo.

Vl. 1 p Vl. 2 p

Va. p

Vc. Vc. p arco Cb. p

DCM 030

683

836

1 Fl. 2 Cl. (A)

1 2 pp

Arpa

GUL. naa - digt hans Ø

til

os har sét.

Alt,

hvad der tru

ed,

mildt

han bort - vend - te,

Frel - sen

han send

Vl. 1

Vl. 2 div. Va.

Vc. Vc.

Cb.

841 Fl.

Ob.

1 2 1 2

1. pp

Fg.

1 2 pp

Cor. (F)

1 2 pp

Cor. (F)

3 4 pp

Arpa

GUL. han

vor Fa

der,

han

vor Fa

der, gav

Vl. 1 p Vl. 2 p unis. Va. p

Vc. Vc. p Cb. p

684

DCM 030

naa - dig,

gav

naa

dig

som

bad.

te,

Alle helt frem i Prosceniet [se: Appendiks, ill. IV.10] 846 Fl.

Ob.

Cl. (A)

1 2

cresc.

1 2 cresc.

Fg.

1 2

p cresc.

1 Cor. (F) 2

cresc.

3 Cor. (F) 4

Trb.b. p

cresc.

Timp. pp sempre

Arpa

cresc.

1. TERN. Nat - ten er svun - den,

Sol

staar

op,

sej

ren - de

sti - ger den

vars - len - de

Held!

Nat - ten er svun - den,

Sol

staar

op,

sej

ren - de

sti - ger den

vars - len - de

Held!

2. TERN.

ALAD. Nat - ten er svun - den,

Sol

staar

op,

sej

ren - de sti

- ger den!

Nat - ten er svun - den,

Sol

staar

op,

sej

ren - de sti

- ger den!

VIZ.

S. Nat - ten er svun - den,

Sol

staar

op,

sej

ren - de

sti - ger den

vars - len - de

Held!

Nat - ten er svun - den,

Sol

staar

op,

sej

ren - de

sti - ger den

vars - len - de

Held!

T. Nat - ten er svun - den,

Sol

staar

op,

sej - ren - de

sti

ger

den vars - len - de

Held,

Nat - ten er svun - den,

Sol

staar

op,

sej - ren - de

sti

ger

den vars - len - de

Held,

Vl. 1 p

cresc.

Vl. 2

Va. p tutti

cresc. pizz.

arco

Vc. p

cresc. pizz.

Cb. p

cresc.

DCM 030

685

sostenuto 851 1 2

Fl.

1 2

Ob.

f 1 2

Cl. (A)

f 1 2

Fg.

f Cor. (F)

1 2 f

3 Cor. (F) 4

1 2

Tr. (F)

Trb.t.

1 2

Trb.b.

Tb.

Timp. f

Arpa

GUL. E

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

vig,

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

vig,

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

vig,

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

vig,

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

vig,

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

vig,

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

Held!

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

vig, du

Him

- lens Drot,

din gyld - ne

Straa - le

krans,

1. TERN.

2. TERN.

ALAD.

VIZ.

B. Held!

sostenuto Vl. 1 f Vl. 2 f Va. f Vc. arco

Cb. f

686

DCM 030

856 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b. Tb.

Timp. p cresc.

Arpa

GUL. i

din hø - je,

Sal

vig

pri

set,

vig,

vig

pri

set

din hø - je,

Sal

vig

pri

set,

vig

pri

set,

vig,

vig

din hø - je,

vig

pri

set,

vig

pri

set,

vig,

vig

din hø - je,

vig

pri

set,

vig,

vig

pri

set

din hø - je,

vig

pri

set,

vig,

vig

din hø - je,

vig

pri

set,

vig

pri

set,

din hø - je,

vig

pri

set,

e e

vig -

pri vig

set,

e e -

vig, vig

e - vig pri - set

din hø - je,

vig

pri

set,

vig

pri

set,

vig,

din hø - je,

vig

pri

set,

vig,

vig

pri - set,

1. TERN.

2. TERN. Sal

ALAD. Sal

VIZ. Sal

S. Sal

A. Sal

T. Sal

vig

B. Sal

div. Vl. 1 3

div.

Vl. 2 div. Va.

Vc. Cb.

DCM 030

687

rit.

Molto allegro quasi presto

861 Fl.

1 2

Ob.

1 2

Cl. (A)

1 2

a2 3

1 2

Fg.

1 Cor. (F) 2

Cor. (F)

3 4 3

1 Tr. (F) 2

Trb.t.

1 2

Trb.b. Tb.

Timp. p

Arpa

GUL. væ

du,

vig

pri

set

væ

du!

1. TERN. pri

set

væ

du,

e - vig

pri

set

væ

du,

e - vig

du,

set

væ

du!

væ

du!

2. TERN. pri - set

ALAD. væ

vig

pri

pri pri

vig -

set

væ

du!

set

væ

du!

set set

væ

du!

VIZ. pri

set,

vig

S. væ

set -

du!

vig

du, e

e - vig, vig

e pri

e - vig,

vig

pri

A. pri væ

pri

væ

- re re du!

pri - set set

væ

du!

pri - set

væ

du!

væ

T. set

væ

du!

- vig

B. -

vig,

set

du!

Molto allegro quasi presto

rit.

unis. Vl. 1

div.

unis.

Vl. 2 div.

unis.

unis. 3

Va. 3

Vc. 3

Cb.

688

DCM 030

865

1 Fl. 2

1 Ob. 2

a2 1 Cl. (A) 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

GUL. Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

Held

os!

1. TERN. I

man - ge

gla - de

Aar

sam - les

her

man - ge

Aar

sam - les

her

man - ge

Aar

sam - les

her

gla - de

Aar

sam - les

her

man - ge

Aar

sam - les

her

gla - de

Aar

sam - les

her

man - ge

Aar

sam - les

her

2. TERN.

ALAD.

VIZ.

S. I

man - ge

A. I

T. I

man - ge

B. I

Vl. 1

Vl. 2

Va.

Vc.

Cb.

DCM 030

689

871

1 2

Fl.

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

GUL. Ved

lahs

Magt

Sej

ren

1. TERN. om

ham,

født

til

Mag - ten,

Sej

ren

til

Mag - ten,

Sej

ren

Magt

Sej

ren

2. TERN. ham,

som

født

Ved

som

født

ALAD. -

lahs

jeg

VIZ. om

ham,

til

Mag - ten,

Sej

ren

til

Mag - ten,

Sej

ren

født S. om

ham,

som

født

ham,

som

født

til

Mag - ten,

Sej

ren ren

ham,

som

født

til

Mag - ten,

Sej

ham,

som

født

til

Mag - ten,

div.

Vl. 1 div. Vl. 2 3

div. Va.

Vc. 3

Cb.

690

Sej 3

DCM 030

ren

TÆPPE 877

1 2

Fl.

Picc. a2 Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

GUL. vandt,

ved

lahs

Magt

Sej

ren

vandt!

1. TERN. vandt,

født

til

Mag

ten

Sej

ren

vandt!

vandt,

født

til

Mag

ten

Sej

ren

vandt!

lahs

Magt

jeg

Sej

ren

vandt!

2. TERN.

ALAD. vandt,

ved

vandt,

som

født

til

Mag

ten

Sej

ren

vandt!

født

til

Mag

ten

Sej

ren

vandt!

født

til

Mag

ten

Sej

ren

vandt!

født

til

Mag

ten

Sej

ren

vandt!

født

til

Mag

ten

Sej

ren

vandt! div.

VIZ.

S. vandt, A. vandt,

som

T. vandt, B. vandt,

som

unis. Vl. 1 div. Vl. 2 div. unis. Va.

Vc.

Cb.

DCM 030

691

a2 882 1 2

Fl.

Picc.

Ob.

1 2

Cl. (A)

1 2

Fg.

1 2

Cor. (F)

1 2

Cor. (F)

3 4

Tr. (F)

1 2

Trb.t.

1 2

Trb.b.

Tb.

Timp.

GUL.

1. TERN.

2. TERN.

ALAD.

VIZ.

unis. Vl. 1 unis. Vl. 2

Va.

Vc.

Cb.

692

DCM 030

693

A B B R E V I AT I O N S A. ALAD. B. b. bb. cb. cfg. cl. cor. DK-Kk fg. fl. fl.gr. gr.c. GUL. LAMP. m.tno. marc. mezzal. MORG. NOUR. ob. perc. picc. Pl. no. ptti. RING. S. SEND. stacc. str. SULT. T. tamb.picc. tb. ten. TERN. timp. tr. trb.a. trb.b. trb.t. trgl. va. vc. VIZ. vl. ww.

694

alto Aladdin basso bar bars contrabbasso contrafagotto clarinetto corno Det Kgl. Bibliotek, København Royal Danish Library, Copenhagen fagotto flauto flauto grande gran cassa Gulnare Lampens Aand macchina del tuono (thunder machine) marcato mezzaluna turca (turkish crescent, halvmåne) Morgiane Noureddin oboe percussion flauto piccolo plate number piatti Ringens Aand soprano Sendebud staccato strings Sultanen tenore tamburo piccolo tuba tenuto Terne timpani tromba trombone alto trombone basso trombone tenore triangolo viola violoncello Viziren violino woodwind

DCM 030

C R I T I C A L C O M M E N TA R Y

Volume 2 (Act 2): Title page: ‘2den Akt.’ 45x32.7 cm; front flyleaf, title page (p. 261), music to Act 2 (pp. 262–581), blank page with staves, end flyleaf; in all 80 bifolios. In half-binding with leather corners and spine and redbrown marbled boards. Label, ‘2. Akt.’, in blue crayon pasted on upper board; another label with ‘8[3]7’ pasted on spine and ‘Aladdin 2’ printed in gold. Paper type: 24 staves (hand-ruled).

DESCRIPTION OF SOURCES Musical Sources A B1 B2 C1 C2 D D1 D2 D3 E1 E2 E3 F

Score, transcript, fair copy (1902) Score, autograph, fair copy (1888) Score, autograph, fair copy, appendices (1888) Instrumental parts, transcript (1902) Vocal soloist parts, transcript (1902) Piano vocal score, print (1893) Piano vocal score, print, director’s score (1902) Piano vocal score, print, Horneman’s private copy (1902) Piano vocal score (1893) Instrumental parts, transcript (1888) Choir parts, lithographed (1888) Rehearsal score, transcript (1889) Score, autograph, sketches and drafts

Volume 3 (Act 3): Title on first music page: ‘3die Akt.’ End-dated (p. 374): ‘17/10 1900 S. A. Bagge’. 45.4x32.9 cm; front flyleaf, music to Act 3 (pp. 1–374), end flyleaf missing; in all 94 bifolios. In half-binding with leather corners and spine and red-brown marbled boards. Label, ’3. Akt.’, in blue crayon, pasted on upper board; another label with 83[7] pasted on spine and ‘Aladdin 3’ printed with gold. Paper type: 24 staves (hand-ruled).

Musical Sources (Overture) Ga (=C1) Gb Gc Gd (D) Ge Gf Gg Gh

Instrumental parts, transcript (1902) Printed score, Bartholf Senff, Leipzig (1868) Printed parts, Bartholf Senff, Leipzig (1868) Piano vocal score (1893) Manuscript copy, score (bb. 1–16), Statsradiofonien (1869–1888) Autograph draft, score (bb. 1–16) (1869–1888) Manuscript copy, score (bb. 1–16), Musikforeningen (c. 1869) Autograph fair copy, score, printer’s copy (1867)

Textual Sources H

Booklet, print (1888)

MUSICAL SOURCES A Score, transcript, fair copy (1902). DK-Kk, C II 8, Hornemans Samling (4 vols.). The source, which is a transcript dating from 1902, is the composer’s final authorized version including cancellations (cuts), changes, deletions, erasures, and additions in red ink and pencil and markings blue and red crayon (nonautograph, conductor’s markings). Some sections have been pasted over with new sections and torn pages have been repaired with adhesive tape. The present fair copy is a transcript based on Sources B1 and B2. Provenance: received from The Royal Theatre in 2016.

Volume 4 (Act 4): Title on first music page: ‘4de Akt.’ 45.3x32.5 cm; front flyleaf, music to Act 4 (pp. 1–215), blank page with staves, end flyleaf; in all 54 bifolios. In half-binding with leather corners and spine and red-brown marbled boards. Label, ‘IV. Akt.’, pasted on upper board; another label with ‘8[3]7’ pasted on spine and ‘Aladdin 4’ printed in gold. Paper type: 24 staves (hand-ruled). B1 Score, partly autograph, fair copy (1888). DK-Kk, C II 8, 1909-10.69 (4 vols.). The source was restored in 2011. The source dating from 1888 has been heavily revised by the composer, with numerous cancellations (including cuts), changes, deletions and additions in blue and red crayon, pencil, and a little in ink. Some sections have been pasted over with new sections and torn pages have been repaired. Numerous references to sections which have been reworked, placed in appendices (see Source B2).

Volume 1 (Act 1): Title on first music page: ‘1ste Akt.’ 44.8x 32.4 cm; front flyleaf, music to Act 1 (pp. [1]–259), blank bifolio with staves, blank folio with staves, end flyleaf; in all 66 bifolios, nested. In half-binding with leather corners and spine and red-brown marbled boards. Label, ‘Iste Akt.’, pasted on upper board; another label with ‘[8]37’ pasted on spine and ‘Aladdin 1’ printed in gold. Paper type: 24 staves (hand-ruled).

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Volume 1 (Act 1): Title page: in blue crayon: ‘Aladdin | Opera. | Partitur | Første Afskrift | efter mit egenhæn- | dige Manuscript | ___ | Rettelser og Bilag | egenhændigt.’; in pencil: ‘Overspring | Fra Pag 95 til 104’. 40.5x26.2 cm; 2 front flyleaves, title page, blank page, music to Act 1 (orig. pp. 1–265; changed in red crayon to 81–345 (autograph)), blank page with staves, 2 end flyleaves; in all a title page, 66 bifolios nested twos, and one single folio. In modern library binding. Paper type: several distinct paper types, 22 staves (hand-ruled staves). Volume 2 (Act 2): Title page: ‘2den Akt.’ 40.5x26.2 cm; front flyleaf, title page, music to Act 2 (orig. pp. 266–585; changed in red crayon to 346–665 (autograph)), blank page with staves, end flyleaf; in all 166 bifolios nested in pairs of 1, 2 or 3, in addition to one folio and one single insertion between pp. 634–35. In modern library binding.

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Paper type: 22 staves (hand-ruled); insertion: 25 staves (handruled) on different paper.

numeric references) in red and blue crayon; some references to pages in the original source. The sections are to be inserted in Source B1, Act 1 (bb. 276–281, 377–405, 414–444, 452–494, 516–518, 528–540, 638–641, 660–663, 714–726, 737–774). Paper type: 22 staves (hand-ruled).

Volume 3 (Act 3): Title on first music page: ‘Forspil til 3die Akt.’ 40.5x26.5 cm (insertion: 40x26 cm); 2 front flyleaves, music to Act 3 (pp. 666a–666e (orig. p. 1 in pencil), 667–1075 in red crayon (orig. p. 410 in pencil), blank folio with staves, 2 end flyleaves; in all 103 bifolios nested in 2 with one bifolio inserted at the beginning. In modern library binding. The insertion placed before p. 1 (pp. 666a–666d) is also autograph. Paper type: 22 staves (hand-ruled); insertion: 28 staves (handruled).

Volume 2 (Act 2): Title page: ‘Bilag | til 2den Akt | (Aladdin)’ in blue crayon. 35.2x30 cm (pp. 1–40) and 34.5x26 cm (p. 41; bifolio); two front flyleaves, title page, blank page with staves, music (pp. 1–41), seven blank pages with staves, two end flyleaves. In modern library binding. Few changes and cancellations in ink and pencil. Various markings and references added in blue and red crayon. The sections are to be inserted in Source B1, Act 2 (bb. 7–13, 153–156, 162–188, 242–358, 391–417, 650– 674, 1023–1026, 1050–1061, 1238–1261). Paper type: two distinct sizes with 22 and 20 staves (handruled).

Volume 4 (Act 4): Title on first music page: ‘4de Akt.’ 40.5x26.3 cm; placed in four folders: folder 1: music (orig. pp. 411–464 in pencil; changed in red crayon to 1076–1129), consisting of folios and bifolios; an insertion consisting of two folios (orig. pp. 465–466 in pencil; changed in red crayon to 1130–1131) which is a cancellation referring to p. 91. folder 2: music (orig. pp. 467–536 in pencil; changed in red crayon to 1132–1201), consisting of folios and bifolios of which some are nested. folder 3: music (orig. pp. 537–610 in pencil; changed in red crayon to 1202–1275), consisting of folios and bifolios of which some are nested. folder 4: music (orig. pp. 611–662 in pencil; changed in red crayon to 1276–1327), consisting of folios and bifolios of which some are nested. The present version of the Finale is a different orchestrated version also including cuts. Paper type: 22 staves (hand-ruled).

Volume 3 (Act 3): Title page: ‘Aladdin | Bilag | til | 3die Akt’ in blue crayon. 34.9x26.4 cm (pp. 1–8), 34.2x26.7 cm (pp. 9–53), 34.7x26.1 cm (pp. 54–103); three front flyleaves, title page, blank page with staves, music (pp. 1–38), a cancelled blank page with staves, music (pp. 39–45), a cancelled blank page with staves, music (pp. 46–75), blank page with staves and ‘Se videre Pag. 943 ⊕’ in blue crayon, music (pp. 76–103), blank page with staves, three end flyleaves. In modern library binding. Changes, cancellations in ink and few in pencil and blue crayon, a new section pasted in. The sections are to be inserted in Source B1, Act 3 (bb. 88–94, 190–226, 236–241, 272–404, 512–559, 574–582, 718–838, 875–880, 888–960, 1242–1261, 1289–1316, 1327–1330, 1370–1405, 1500–1521). Paper type: various paper types with 20 (hand-ruled; pp. 9–53 with printed staves).

B2 Score, fair copy, autograph (1888) DK-Kk, C II 8, 1909-10.69 (Bilag til akt 1-4; 4 vols.). The source was restored in 2011. The source was originally part of the autograph ink fair copy of 1888. When the work was heavily revised in 1902, the new sections were included as appendices with references to the specific pages in Acts 1–4.

Volume 4 (Act 4): Title on first music page: ‘Bilag til 4de Akt (Aladdin)’. 35x26.1 cm; two front flyleaves, music (pp. 1–119), blank page with staves, two end flyleaves. In modern library binding. Changes, cancellations in ink and few in pencil and blue crayon, a new section pasted in. The sections are to be inserted in Source B1, Act 4 (bb. 72–91, 108–118, 165–206, 218–226, 245–429, 459–470, 491–762). Paper type: 20 staves (hand-ruled).

Volume 1 (Act 1): a: Title page: ‘Bilag | til | 1st Akt | (Aladdin)’ in blue crayon. 35.5x30 cm; two front flyleaves, title page with staves, blank page with staves, music (pp. 1–42), two end flyleaves; in all 22 folios. In modern library binding. Few cancellations and changes made in same black ink as source. The section is to be inserted in Source B1, Act 1 (bb. 62–180). Paper type: 22 staves (hand-ruled). b: 35.5x29.5 cm; two front flyleaves, music (pp. 45–48), two end flyleaves; in all 3 folios. In modern library binding. Few changes made in same black ink as source and one single addition in pencil. The section is to be inserted in Source B1, Act 1 (bb. 197–227, 271–275). Paper type: 22 staves (hand-ruled). c: 35.6x29.7 cm; two front flyleaves, music (pp. 49–78), blank page with staves, two end flyleaves. In modern library binding. Few changes in same black ink as source and markings (alpha-

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C1 Instrumental parts, transcript. DK-Kk, KT 837. Datings: 4 April 1902; some of the parts are also dated 2 Nov. 1906 (Overture only), 22 Apr. 1907 (Overture only?), 24 June 1914, 17 Dec. 1940, 23 Feb. 1943 (radio transmission), 1953 (radio transmission), and 1978 (radio transmission and record production). c. 33.5x25 cm, 39 orchestral parts (picc., 2 fl., 2 ob., 2 cl., 2 fg., cfg., 4 cor., 2 tr., 2 trb.t., trb.b., tb., timp., gr.c./ptti., tamb., trgl., arpa, 4 vl.1, 4 vl.2, 2 va., 4 vc./cb.) written in ink with some cancellations (cuts), changes and emendations in pencil, ink, indelible ink, blue crayon and very little in red crayon, in addition to scraps of paper with changes pasted in the parts. Some of the markings have later been erased. Many the changes, including the use of correcting fluid, date to the radio

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production in 1978. In original cloth quarter binding with mauve cardboard boards and label with instrument name and title pasted on upper board, pages trimmed at binding. Inside of lower board (trb.t.1): notes concerning the dates of the rehearsals; inside of lower board (trb.t.2): notes concerning the dates of performance in 1902 and 1903 and which performances were sold out; inside of upper board (va.1): remarks concerning the performance starting with the premiere in 1888 and up until 1903. One vc./cb. includes an extra part for the Overture dating to around 1902. The Overture has been removed from the 1888 parts and bound with the present set (different paper with staves handruled in brown ink). Paper-type: 12 staves (hand-ruled). Provenance: received from The Royal Theatre in 1983. C2 Vocal soloist parts, transcript. DK-Kk, KT-A837. c. 25x34 cm; oblong format, 17 parts (Noureddin, 2 Morgiana, Sultanen, 3 Viziren, Sendebud, Første Alf, Anden Alf, 2 Første Terne, 2 Anden Terne, Ringens Aand, 2 Lampens Aand) written in ink. The parts were prepared for the staging in 1902 (except parts 15 and 25 which date to 1903). Paper-type: 10 staves (hand-ruled). Aladdin (‘8’): Title page: ‘Aladdin. | Eventyr-Opera Märchen Oper | von | C.F.E. Horneman. | ___ | Klavierauszug mit text | vom | KOMPONISTEN. | Deutsche Uebersetzung von M. von Borch. | ___| Eigenthum des Verlegers für alle Länder. | KOPENHAGEN & LEIPZIG. | WILHELM HANSEN, MUSIK-VERLAG. | Die Ouverture mit Genehmigung des Herrn B. Senff in Leipzig aufgenommen.’ Dedication (fol. 1r): ‘Til min Hustrue | Louise Horneman, | født Nannestad.’, caligraphed. Pl. no.: 11279 (1893). 30.5x23 cm; title page, blank page, dedication, blank page, table of contents (pp. [1–2]) stamped ‘DET KGL: THEATERS MUSIKARCHIV’, music (pp. 3–379), blank page stamped ‘DET KGL. THEATERS MUSIKARCHIV’; quarter-binding with spine in dark brown ‘cloth’ and bluish-black marbled boards. Label, ‘<[encircled in red crayon:] 8 [in blue crayon:] A> 837. | C.F.E. Horneman: | Aladdin | <i | “Aladdin”>’ pasted on upper board. The source was used as Aladdin’s part and contains numerous changes and and additions in blue and read crayon, cancellations in blue crayon, and some additions in pencil. Provenance: received from The Royal Library in 1983. Gulnare and Første Terne (‘9’): Dedication: ‘Til min Hustrue | Louise Horneman, | født Nannestad.’, caligraphed and stamped ‘DET KGL. THEATERS SOUFFLEUR ARCHIV’. Title page (Acts 3 and 4): ‘TREDIE OG FJERDE AKT.’, with ‘Gulnare. Frk. I. Møller. | (Doubl.) | d. 20-1-1902’ in ink, later cancelled (erased) but re-established; then ‘Frk. T. Larsen (Dubl.) d. 30-5-1902’ added in ink, later cancelled in ink; also ‘for Chr. Lauenberg | E. Büchner.’ in ink. 32.9x26.3 cm; no primary page; table of contents (‘837’ added in blue crayon, ‘Ida Møller’ in pencil), dedication, blank page, title

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page to Acts 3 and 4, music (pp. 194–379), blank page stamped ‘DET KGL. THEATERS SOUFFLEUR ARCHIV’; in quarterbinding with brown ‘cloth’ spine and black-brownish marbled boards; label, ‘<[in blue crayon:] A837> Gulnare <[in ballpoint, encircled with red crayon:] 9> | og | Første Terne | i | Aladdin (Opera)’ on upper board. The source, which was used as Gulnare’s part for the staging in 1902, is a rebound piano vocal score discarding Acts 1 and 2. The original primary title page was that of Source D3. The source contains very few changes and additions in pencil and with cuts marked in blue crayon. Morgiana (‘10’), C2I: Bound in mauve limp binding with spine reinforced with black cloth, label with character and work title pasted on front cover; the part has marks of having been folded on the middle. Few changes and additions in pencil. A loose sheet (27x17 cm) with 10 hand-ruled staves in ink inserted, belonging to ‘Hvem gav dig denne Morgengave’ for voice added in pencil and accompaniment in ink. Morgiana (‘11’), C2II: Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; label with name of singer (‘Frk. F. Christensen (Doubl.)’), date (‘30-12-1901’) and copyist’s signature all in ink pasted on inside of front cover. Few changes and additions in pencil and blue crayon. A sheet (13.2x16.2 cm) with 10 handruled staves in ink has been pinned between pages 16 and 17, belonging to ‘Hvem gav dig denne Morgengave’ for voice and accompaniment in ink. Sultanen (‘12’): On title page a label with name of singer (‘Hr. Max Müller’), date (‘10/10 1900’) and copyist’s signature has been pasted. Bound in mauve limp binding with spine reinforced with black cloth; label with name of character and work title pasted on front cover, the part has marks of having been folded on the middle; binding in bad condition. Additions and changes in pencil. A new section has been pasted in, in same ink and by same copyist presumably due to a copying error. Noureddin (‘13’): On title page ‘Niels Juel Simonsen’ added in pencil; bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; label with name of singer, date (‘10/10 1900’) and copyist’s signature all in ink pasted on inside front cover. Cancellations, additions and changes carried out in pencil and red crayon. Viziren (‘14’), C2I: On title page the name of the singer (‘Hr. Nissen (Doubl.’), date (‘15-2-1902’) and copyist’s signature has been noted. Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; the part has marks of having been folded on the middle. Only few additions and changes in pencil. Viziren (‘15’), C2II: On title page the name of the singer (‘Hr. Berthelsen (Dubl.’), date (‘6-4-1903’) and copyist’s signature has been noted.

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ed on front cover; the part has marks of having been folded once, in poor condition. No additions or changes made.

Bound in mauve limp binding, label with name of character and work title pasted on front cover, back cover has been lost; the part has marks of having been folded on the middle. No additions and changes made. Part prepared for the staging in Aug. 1903.

Lampens Aand (‘24’), C2I: On title page the name of singer (‘Hr. B. Christensen’), date (‘19-2-1902’) and copyist’s signature has been noted. Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; the part has marks of having been folded three times. Few changes and additions in pencil.

Viziren (‘16’), C2III: Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; label with name of singer (‘Hr. Lincke’), date (‘10/10 1900’) and copyist’s signature all in ink pasted on inside front cover. Very few additions and changes and a single cancellation carried out in pencil.

Lampens Aand (‘25’), C2II: On title page the name of the singer (‘Hr. G. Berthelsen’), date (‘14-8-1903’) and copyist’s signature has been noted. Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; the part has marks of having been folded once. Very few and additions in pencil. Part prepared for the staging in Aug. 1903.

Første Alf (‘17’): On title page the name of the singer (‘Frk. Jonassen’), date (‘4-1-1902’) and copyist’s signature has been noted. Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; the part has marks of having been folded on the middle. A single addition in pencil. Anden Alf (‘18’): Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; label with name of singer (‘Frk. Prehn’), date (‘10/10 1900’) and copyist’s signature all in ink pasted on inside front cover; the part has marks of having been folded on the middle. Very few additions and changes in blue crayon. Første Terne (‘19’), C2I: On title page the name of the singer (‘Frk. Reimann (Doubl.)’), date (‘15-2-1902’) and copyist’s signature has been noted. Bound in grey limp binding with spine reinforced with black cloth, label with name character and work title pasted on front cover; on inside of front cover a label with no text has been pasted. Very few changes and additions in pencil. Første Terne (‘20’), C2II: Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; label with name of singer (‘Ida Møller’), date (‘10/10 1900’) and copyist’s signature all in ink pasted on inside front cover. Very few additions and changes in pencil. Anden Terne (‘21’), C2I: Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; the part has marks of having been folded twice, in poor condition. Very few changes in pencil. Anden Terne (‘22’), C2II: On title page the name of the singer (‘Frk. Margrethe Boeck (Doubl.)’), date (‘20-2-1902’) and copyist’s signature has been noted. Bound in mauve limp binding, label with name of character and work title pasted on front cover, back cover has been lost; binding loose. Very few changes in pencil. Ringens Aand (‘23’): Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title past-

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Et Sendebud (‘26’): Bound in mauve limp binding with spine reinforced with black cloth, label with name of character and work title pasted on front cover; part in poor condition. Very few additions and changes in pencil and red crayon. D Piano vocal score, print, DK-Kk, Wilhelm Hansen-Arkivet, pl. no. 11279. Title on front cover: ‘ALADDIN. | Märchen-Oper | von | C.E.F. Horneman.’ Back cover: ‘Wilhelm Hansen, Musik-Verlag. | kopenhagen & leipzig.’ Title page: ‘Aladdin. | Eventyr-Opera Märchen-Oper | von | C.F.E. Horneman. | ___ | Klavierauszug mit Text | vom | KOMPONISTEN. | Deutsche Uebersetzung von M. von Borch. | ___| Eigenthum des Verlegers für alle Länder. | KOPENHAGEN & LEIPZIG. | WILHELM HANSEN, MUSIK-VERLAG. | Die Ouverture mit Genehmigung des Herrn B. Senff in Leipzig aufgenommen.’ Dedication (fol. 1r): ‘Til min Hustrue | Louise Horneman, | født Nannestad.’, caligraphed. Pl. no.: 11279 (1893). 31.1x23.7 cm; title page (fol. 1r), blank page (fol. 1v), dedication (fol. 2r), blank page (fol. 2v), table of contents (pp. [1–2]), music (pp. 3–379), blank page; in limp binding with illustrated front cover and pages not trimmed. D1 Piano vocal score, print, director’s copy. DK-Kk, KT-A 837. Title page: ‘Aladdin. | Eventyr-Opera Märchen-Oper | von | C.F.E. Horneman. | ___ | Klavierauszug mit Text | vom | KOMPONISTEN. | Deutsche Uebersetzung von M. von Borch. | ___| Eigenthum des Verlegers für alle Länder. | KOPENHAGEN & LEIPZIG. | WILHELM HANSEN, MUSIK-VERLAG. | Die Ouverture mit Genehmigung des Herrn B. Senff in Leipzig aufgenommen.’ Dedication (fol. 1r): ‘Til min Hustrue | Louise Horneman, | født Nannestad.’, caligraphed.

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Pl. no.: 11279 (1893). 30.5x23 cm; front flyleaf, title page, blank page, dedication, blank page, table of contents (pp. [1–2]), inserted folio, music (pp. 3–379), blank page, end flyleaf; half-binding with brown marbled boards and leather corners and spine. Title on spine (gilded): ‘Aladdin’, and pasted label with ‘837’ and ‘1’ in red circle. The source is an inter-foliated exemplar of Source D; it includes numerous changes, emendations, and cancellations of the original piano-vocal score of 1893 carried out in black ink, a few in red and blue crayon (all autograph) mainly concerning scenography and staging but also text as well as music; the pencil markings are non-autograph and pertain only to the scenography and staging and presumably added by the director, Julius Lehmann. The present source includes a large number of diagrams and detailed illustrations of the scenography. A large number of the musical changes made in the draft to the present source have not been included in the fair copy Source A implying an extra layer of revision. It is a reworking of the opera and may be dated to 1902. Provenance: received from The Royal Theatre in 1983. D2 Piano vocal score, print, Horneman’s private copy. DK-Kk, MA ms 6758, mu 0409.1500. Title page: ‘Aladdin. | Eventyr-Opera Märchen-Oper | von | C.F.E. Horneman. | ___ | Klavierauszug mit Text | vom | KOMPONISTEN. | Deutsche Uebersetzung von M. von Borch. | ___| Eigenthum des Verlegers für alle Länder. | KOPENHAGEN & LEIPZIG. | WILHELM HANSEN, MUSIK-VERLAG. | Die Ouverture mit Genehmigung des Herrn B. Senff in Leipzig aufgenommen.’ Dedication (fol. 1r): ‘Til min Hustrue | Louise Horneman, | født Nannestad.’, caligraphed. Pl. no.: 11279 (1893). 30.5x23 cm; front flyleaf, title page, blank page, dedication, blank page, table of contents (pp. [1–2]), music (pp. 3–379), blank page with the heading ‘Rettelser’ added in pencil (autograph), end flyleaf; half-binding with corners and spine in black cloth. Source includes numerous autograph changes, emendations, and cancellations in pencil, black ink and a few in red and blue crayon mainly concerning scenography, and staging, but there are also numerous changes in the music. It includes a larger number of insertions with diagrams and illustrations of the scenography. The draft is a reworking of the opera dating to 1902. Provenance: bequest from Jytte Bondesen (2004).

E1 Instrumental parts, transcript. DK-Kk, KT 837. Datings: 18 Nov. 1888 (premiere; cor.1, trb.t., vl.1/2), 23 Nov. 1888 (trb.t.), 25 Nov. 1888 (trb.t.), 19 nov. 1889 (cor.4). c. 34x25.5 cm, 38 orchestral parts (picc., 2 fl., 2 ob., 2 cl., 2 fg., 4 cor., 2 tr., 2 trb.t., trb.b., tb., timp., trgl., tamb., gr.c./ptti., arpa, 4 vl.1, 4 vl.2, 2 va., 4 vc./cb.) written in ink with numerous changes and emendations in ink, pencil, blue and red crayon as well as numerous cancellations (cuts) and insertions. In original mauve cloth, quarter-binding with cardboard boards and pages trimmed at binding with the occasional loss of page numbers; label with instrument name and title pasted on upper board. Paper-type: 12 staves (hand-ruled). The part material was used at the premiere in 1888. The cl.1 contains a splash from a candle. The Overture has been cut out and placed in Source C1; some the string parts, however, have a new transcript or the printed edition of the Overture inserted. The transcript is a later copy with printed staves. Provenance: received from The Royal Theatre in 1983.

E2 Choir parts, lithographed. DK-Kk, KT 837. Datings: 29 Sept. 1888; some of the parts are also dated 1952. c. 25.4x34.2 cm; oblong format, 60 lithographed parts (18 S., 14 A., 14 T., 14 B.) based on transcripts. The parts include a few additions, changes and cancellations in pencil and red crayon and in some cases indelible ink has been employed. 12 bass parts include an insertion between pages 2 and 3 on paper with hand-ruled staves and some of these include also an insertion at page 1 (on hand-ruled staves). In original mauve cloth, quarter binding with cardboard boards and pages

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699

Another copy: DK-Kk. No title page and the original first four pages have been replaced by new ink fair transcript sometime during the twentieth century; copy includes numerous additions in pencil, ink, red or blue crayon. The arpa part has been added on the two bottom staves, partly in pencil (bb. 31–47). In half-binding with bluish-greenish marbled boards. Provenance: received from the Danish Broadcasting Cooperation (‘Statsradiofonien’), music archives 2017.

trimmed at binding. The lithographed part material was used for the premiere in autumn 1888. Provenance: received from The Royal Theatre in 1983. E3 Rehearsal score, transcript (1889). DK-Kk, MA mu 4023 (olim KT A837 nr. 27). Dating (on upper board): 1889. Title on first music page (fol. 1r): ‘Aladdin.’ Title page (fol. 5r): ‘Aladdin | Repetiteurparti’. Title page on music page (fol. 11r): ‘Dands til “Aladdin” | Tredie Act’. Title page (fol. 20r): ‘<[in pencil:] 26 feb. 1889.> Balletmusik | i | Konge for én dag.’ 34.2x26.1 cm; nested in 2, 1, 2, 4, 2 bifolios; flyleaf, music (fols. 1r–3v), blank folio with staves (fol. 4r–v), second title page (fol. 5r), music (fols. 5v–10r), blank page with staves (fol. 10v), music (fols. 11r–19r), blank page with staves, title page (fol. 20r), music (fols. 20v–21v), blank folio with staves (fol. 22); in half-binding with leather spine and corners and black, light-brownish marbled boards. Label, ‘<[in blue crayon:] A837 [in ink and encircled with red crayon:] 27> Aladdin, <[in pencil:] Hornemann> | <[in blue crayon:] A836> Konge for en Dag. | 1889. Emil Hansen’, pasted on upper board. Paper type: two different paper types (12 hand-ruled staves) Source is an incomplete rehearsal score (partly consisting only of the melody line), dating from the premiere of the first version in 1888. It includes numerous changes, additions and cancellations in pencil, red and blue crayon. The ‘Aladdin’ is bound with ballet music to ‘Konge for en dag’ (‘Si j’étais roi’) by Adolphe Adam premiered at The Royal Theatre in 1889. Provenance: received from The Royal Theatre in 1983. F Score, autograph, sketches and drafts. DK-Kk, C II, 8 1909-10.69. c. 44.5x35 cm. Loose folios, bifolios and slips of paper in bad condition written in ink with a large number of changes, additions, deletions, erasures and cancellations in both ink and pencil; numerous sections have been pasted over with new versions. Paper type: various distinct paper types with 22 and 24 staves (hand-ruled).

700

Another copy: DK-Kk, Mf. 765. Title page, first four pages replaced by a new ink fair transcript sometime during the twentieth century; the arpa part has been added on the two bottom staves, partly in pencil (bb. 31–47). In half binding with brown marbled boards. The source was purchased by Musikforeningen 23 January 1869 together with printed parts, which are not extant in DK-Kk.1 Provenance: received from Musikforeningen in 1944–45. Another copy: DK-Kk, C II 8, Hornemans Samling, 1951-52.281. Xerox copies of the first four pages. Gc Instrumental parts, print. Title page: ‘Dem Orchester der Gewandhausconcerte zu Leipzig | in Verehrung gewidmet. | ALADDIN. | Eine Mährchen-Ouverture | für Orchester | componirt | von | C.F.E. HORNEMAN. | Orchesterstimmen. | Eigenthum des Verlegers für alle Länder: | LEIPZIG, Verlag von BARTHOLF SENFF. | Entd. Stat. Hall. | Pr. 10 Mark 50 Pf. | Zum ersten Mal aufgeführt im Gewandhausconcert zu Leipzig am 28. November 1867. | Im Druck erschienen am 15. Februar 1868. | Das Recht der öffentlichen Aufführung dieser Ouverture ist von der Verlags| handlung zu erwerben gegen ein an dieselbe zu zahlendes Honorar. | Für das Pianoforte zu vier Händen arrangirt vom Componisten.--- Pr. 4 Mark. | 801. 802. Pl. no.: 801. Printed parts placed in Source E1: vl.1 part: c. 33.7x26.3 cm; title page (p. 1), music (pp. 2–7), blank page; va.: c. 33.7x26.3 cm; title on first music page: ‘ALADDIN. | OUVERTURE. | Viola.’; music (pp. 1–5), blank page; vc.: c. 33.7x26.3 cm; title on first music page: ‘ALADDIN. | OUVERTURE. | Violoncello.’; music (pp. 1–5), blank page. Gd (= D) Ge Score, transcript, fair copy (before 1888). DK-Kk, C II 8, Hornemans Samling, 1945-46.366 Title on first music page: ‘Aladdin’ 27.1 x 18.8 cm; two front flyleaves, Source Gg (pp. 1–4), music (pp. 1–4), end flyleaf; Source Ge consists of two folios in all. In modern library binding. Numerous cancellations and changes made in pencil, red and blue crayon. Pagination in pencil. Paper type: 17 staves (hand-ruled). 1

DCM 030

DK-Kk, Musikforeningens Arkiv, kasse 19, ‘Bilag til Musikforeningens Regnskab for 1868/69’, bilag nr. 69.

Title on first music page: ‘Ouverture til Aladdin’ (crossed out in pencil). 33.3 x 25.5 cm; front flyleaf, music (pp. 1–82), Source Gf (pp. 1–6 and paper fragment), fragment of label, end flyleaf. In half-binding with leather corners and spine and red-grey marbled boards. Printed on spine in gold: ‘[monogram of Chr. X] | Hornemann | Ouverture | til | Aladdin | [Danish Coat-ofArms]’. A label glued onto a piece of paper is inserted before the end flyleaf, probably stemming from the original binding; it reads: ‘Partitur | Ouverture til Aladdin | for | Orchester | af | C.F.E. Horneman.’ (in ink). Added in blue crayon: ‘nicht weitläufig | Ende December [1867] | fertig’. Paper type: 14 staves (hand-ruled). The score is written in ink with corrections and additions in pencil, of which some are by Horneman, others by the engraver. On p. 1, the plate number of the printed score of Febr. 1868 (Source Gb), ‘800’, is added in pencil. The label before the end flyleaf suggests that the engraver finished his task in December the previous year. Instrumentation: 2 fl., 2 ob., 2 cl., 2 fg., 2 cor., 2 tr., timp., trb.a., trb.t., trb.b., 2 vl., va., vc., cb., arpa. Provenance: received from C.F.E. Horneman in 1909–10.

The source is a reworked version of the Overture, bb. 1–16, presumably stemming from before the 1888 performance. It was one of several working documents that Horneman used during his preparations for the performance in 1888. Source Ge was not, however, the source for E1. Following the 1888 performance, Horneman used the present source to revise the work further, correcting and adding in pencil and crayon. Some of the changes were transferred to C1. The score was contained in a printed score belonging to Statsradiofonien (cf. Source Gb) but was removed and bound with Source Gg on the instigation of Sven Lund, the Royal Danish Library (cf. note on front flyleaf fol. 2r). Instrumentation: 2 fl., 2 ob., 2 cl., 2 fg., 2 cor., 2 tr., timp., trb.a., trb.t., trb.b., 2 vl., va., vc., cb., arpa. Provenance: received from the Danish Broadcast Cooperation (‘Statsradiofonien’) in 1945–46. Gf Autograph score, draft (after 1869?). DK-Kk, C II 8, Hornemans Samling, 1909-10.69 Title on first music page: ‘Aladdin Ouverture’ (in pencil). 33.9 x 25.5 cm; front flyleaf, Source Gh (pp. 1–82), music (pp. 1–6 and paper fragment), fragment of label, end flyleaf. In half-binding with leather corners and spine and red-grey marbled boards. Printed on spine in gold: ‘[monogram of Chr. X] | Hornemann | Ouverture | til | Aladdin | [the Danish Coatof-Arms]’. A paper fragment (8.7 x 25.5 cm) inserted between pages 2 and 3 contains an alternative to bb. 8–9 of vl.2, va. and vc. parts. Paper type: 14 staves (printed). The source is a reworked version of the Overture, bb. 1–16. The score is written in ink with numerous corrections and additions in pencil. Instrumentation: 2 fl., 2 ob., 2 cl., 2 fg., 2 cor., 2 vl., va., vc., cb.; two arpa parts added in pencil. Provenance: received from C.F.E. Horneman in 1909–10. Gg Score, transcript, fair copy (c. 1869). DK-Kk, C II 8, Hornemans Samling, 1944-45.367 Title on first music page: ‘Ouverture’. 25.9 x 17.3 cm; two front flyleaves, music (pp. 1–4), Source Ge (pp. 1–4), end flyleaf; Source Gg consists of 1 bifolio in all. In modern library binding. Few cancellations and changes made in pencil. Pagination in pencil. Across the score on p. 1 is written in pencil: ‘Indtil Pag. 6 | ominstrumenteret. | Er indført i | Stemmerne’. Paper type: 10 staves (hand-ruled). The source is a reworked version of the Overture, bb. 1–16. Because of its provenance, this version was probably performed in Musikforeningen at the only known performance there in 1869. The score seems to be partial in the sense that it is lacking tr.1,2, trb.a., trb.t., trb.b., timp. and arpa due to the fact that these instruments are not playing in bb. 1–16. The score was copied by H.E. Hansen, copyist at Musikforeningen. It was contained in a printed score belonging to Musikforeningen (cf. Source Gb), but removed and bound with Source Ge on the instigation of Sven Lund, The Royal Danish Library (cf. note on front flyleaf fol. 2r). Instrumentation: 2 fl., 2 ob., 2 cl., 2 fg., 2 cor., 2 vl., va., vc., cb. Provenance: received from Musikforeningen in 1944–45. Gh Autograph score, fair copy, printer’s copy (1867). DK-Kk, C II 8, Hornemans Samling, 1909-10.69

TEXTUAL SOURCES H Booklet, print (1888). Title page: ALADDIN, | OPÉRA EN 4 ACTES | [vignette] | COPENHAGUE. | IMPRIMERIE DE J. H. SCHULTZ. | 1888. 21.7x14.4 cm. In 8o; title page, blank page, text (pp. [1]–8), blank page. The booklet in French contains a summary of the plot and characters; it was presumably handed out at the premiere to the foreign patrons invited for the celebration of the sovereign’s jubilee in 1888.

SOURCE EVALUATION Source A has been chosen as principal source for the present edition. It is the composer’s latest authorized revision of the opera, re-premiered in 1902. Source A, which is a transcript carried out under the supervision of Horneman, is based on the earlier ink fair transcript dating from 1888, Source B1. The source B2 comprises appendices including the revised sections carried out in 1902. The changes and cancellations in Source A are defined as part of the final version and listed as variants. However, the nonautograph markings in blue and red crayon are not considered part of the work and hence not listed. Source A was produced in great hurry and includes an overwhelming number of inconsistencies. The collation between Sources A and B1–B2 reveals that the latter often is more precise and consistent though Source A includes some final corrections and changes by the composer. Due to the inconsistent quality of Source A, it must be emphasized that the main source for the present edition is a construed ‘Fassung letzter Hand’. The additional information in Sources B1–B2, such as articulation, dynamics, slurring, pitch and rhythm, has been defined as being part of the main source; these parameters are therefore not considered revisions or variants

DCM 030

701

and hence not noted in the List of Emendations. Revisions to the construed main source A are noted in the List of Emendations as are variants in other sources. The instrumental parts (Source C1) was carried out employing the orchestral score of 1888 (Sources B1–B2); these parts have been consulted whenever Sources A and B1–B2 were ambiguous in notation but in general variants have not been listed. Horneman’s revision of the vocal parts for the performance in 1902 is not seen in Sources A and B1–B2 (the latter source does not even include the vocal setting). For this part of the revision as well as the libretto and staging, the chosen main source is the inter-foliated, printed piano-vocal score (Source D2). The source contains numerous autograph changes and additions, especially in terms of the scenography including detailed drawings and was used as the director’s score for the 1902 production. The draft for Source D2 is Horneman’s private copy of the printed piano-vocal score, Source D1. As with the instrumental parts, also the vocal soloist parts (Source C2) have been consulted in order to solve ambiguities. The importance of the printed piano-vocal score (Source D) as representing the final version regarding the vocal parts and libretto is emphasized by the fact that the soloist parts of Gulnare and Aladdin are indeed Source D. It should be noted that especially Source A but also Sources D2 and C2 often include handwritten alternative phrases in the vocal parts, mainly in Aladdin’s part; these are not defined as being part of the main source and are therefore only listed as variants. Horneman reworked the Overture several times between 1864 and 1902. The sources reflect at least seven different versions, but since the present edition reflects the opera of 1902 only those sources relevant for the editing of this version have been included. Thus, for the Overture, the set of instrumental performance parts of 1902 (Source Ga (=C1)) has been chosen as the main source since neither Sources A and B1 include the movement. As each desk part (vl.1, vl.2, va., vc./cb.) are not entirely identical, the first desk of each string instrument has been chosen. Corrections in ink carried out by the scribes, presumably sometime around 1888, are considered part of the main source and hence not listed as variants. However, markings in pencil and crayon, added over a long period during the twentieth century starting with the premiere in 1902, are listed. Variants in Sources Gb, Ge, Gf and Gg are not noted in the List of Emendations as, firstly, they pre-date the final version and, secondly, because the distance between these sources is fairly large. They are, however, taken into consideration when internal variants are detected in Ga (= C1). Sources Gb and Gc have in some cases been used to support emendations (Gb and Gc are not identical, Gb being the most reliable). Concerning the Overture’s bars 1–16, Ge, Gf and Gg have been consulted. As Gd (= D) is from 1893 – that is, between the two performances of the Overture as part of the opera – this source represents a re-worked version of the 1888 performance.

702

VARIANT READINGS AND EDITORIAL EMENDATIONS OVERTURE Bar Part 1 ww. cor.2,3,4 tr. trb.a. trb.t. trb.b. tb. timp. vl.2 va. vc. cb. 1–22 fl.3 1 cor.1 1 vl.1 3

fl.1

vl.2

fl.1

fl.2

4 4 4–5

cl. fg. va.

4–5

vc.

fl.1

cor.2

vl.1

fl.1

cl.1

7–8 8

cl.1 fl.1

9–10

fl.1

9 10–11 10–11 10–11 10–12

va. fl.1 fl.2 ob.1 cl.1 cl.2

10–12

vl.2

Comment bar before b.1 omitted in accordance with Ga (cor.1); Ga: bar before b.1 cancelled in pencil (vl.1: pencil and blue crayon)

Ga: cancelled in pencil by adding Pauseret Ga: Allegro assai for Allegro assai leggiero before b.1: bar omitted in accordance with Ga (cor.1); Ga: before b.1: bar cancelled in pencil and blue crayon note 1: stacc. added by analogy with fl.2 and in accordance with Ge, Gf con sord. added by analogy with vl.1 (b.1); Ga: con Sordin added in pencil note 1: stacc. added by analogy with fl.2 and in accordance with Ge, Gf note 2: stacc. omitted by analogy with fl.1 and in accordance with Ge, Gf Ga: crossed out in red crayon Ga: crossed out in pencil b.5 note 7: end of slur changed to note 8 by analogy with vl.2 and in accordance with Ga (desk 2); Ga: b.5 note 7: end of slur changed to note 8 in pencil b.4 chord 1: f moved from b.5 chord 1 by analogy with cb. Ga: note 3: rit. added in pencil; notes 2–3: stacc. added in pencil # note 2: e  emended to d  by analogy with vc., cb.; Ga: # note 2: e  changed to d  in pencil added by analogy with the other parts and added in in accordance with Ge, Gf, Gg; Ga: blue crayon p added by analogy with cl.1 and in accordance with Ge, Gf, Gg; Ga: note 1: pp added in pencil; note 3: marc. added in pencil Ga: p changed to pp in pencil; note 3: marc. added in pencil Ga: dynamic signs erased b b tie (b –b ) added by analogy with cl.1 and in b b accordance with Ge, Gf, Gg; Ga: tie (b –b ) added in pencil; f pp cancelled in pencil Ga: b.9 note 3: end of slur erased and changed to b.10 note 1 in pencil Ga: note 2: added in pencil Ga: erased Ga: cancelled in pencil Ga: erased and re-written in pencil omitted in accordance with Ge; Ga: cancelled in blue crayon Ga (desk 1): upper part: erased and re-written in pencil;

Ga (desks 2,3,4): 12–13

va.

13 13–14 15–17 16 16 23

fl.1 va. va. vl.1 va. trb.a.

vl.1

23–25

vl.2

23 25–26

va. vc. fg.2

vl.1

DCM 030

added between ff and pppp by analogy added between ff and pppp with vc.; Ga: in pencil between notes 6 and 7: ® added Ga: b.13 note 2 to b.14 last note: slur added in pencil Ga: b.15 note 1 to b.17 note 1: slur added in pencil rest 3 added Ga: above notes 1–2: 3-3 added in pencil marc. added by analogy with trb.t. and in accordance with Gb notes 1–2: slur added by analogy with str. and in accordance with Gb; Ga: notes 1–2: slur added in blue crayon senza sord. added because of con sord. (b.3) and by analogy with vl.1; Ga: senza Sord. added in pencil Ga: note 1: added in pencil mf added by analogy with fg.1 and in accordance with Gb notes 1–2: slur added by analogy with other str. and in accordance with Gb; Ga: notes 1–2: slur added in blue crayon

25 28

vl.2 vc. fg.1

28 31

trb.a. vl.2

32–33

fg.1

35–36

cl.1 fg.2

37–38

cl.1 fg.1

39–40

cl.

41–42

cl.1 fg.2

cor.2

43 45

timp. trb.t.

47–48

cor.1,2

47–48

tr. trb.a.

48 48 49–51

vl.1 vl.2 trb.b.

55–56

trb.t.

56 59–60

vl.1 va.

60–62 63–64

fl.3 cl.1

63–64

fg.1

63–64

tr. trb.t.

ob.2

67 67 68

cl. cor.2 vl.1 va.

fg.1

fl.1

cor.2

vc.

ob.2

91–92

ob.2

97–98

fg.1

101 102

cor.3 ob.1

102

cl.2

102

cor.2

102–103

cor.3

102

cor.3,4

Ga: note 1: added in pencil slur added by analogy with fg.2 and in accordance with Gb slur added by analogy with trb.t. pizz. added by analogy with va., vc. and in accordance with Ga (desks 2,3,4) and because of arco in b.47; Ga: pizz. added in pencil between bb.32 and 33: extra bar omitted in accordance with Gb; Ga: bar cancelled in pencil two slurs emended to one by analogy with cl.2, fg.1 and in accordance with Gb two slurs emended to one by analogy with cl.2, fg.2 and in accordance with Gb two slurs emended to one by analogy with fg. and in accordance with Gh two slurs emended to one by analogy with cl.2, fg.1 and in accordance with Gb tie (a –a ) omitted by analogy with ob., cor.1, tr. and in accordance with Gb Ga: cresc. added in pencil p added by analogy with trb.a., trb.b. and in accordance with Gb slur and stacc. added by analogy with ob.2, cl., fg., trb.t., trb.b. and in accordance with Gb, Gh; Ga (cor.1): b.47 note 1 to b.48 last note: slur added in pencil; all notes: stacc. added in pencil slur emended to two by analogy with ob.2, cl., fg., trb.t., trb.b. and in accordance with Gb, Gh Ga: note 9: marc. added in blue crayon Ga: note 9: marc. added in pencil ties (A–A) added by analogy with tb. and by analogy with bb.57–59; Ga: slur added in pencil slur emended to two by analogy with trb.a., trb.b. and in accordance with Gb, Gh Ga: note 9: marc. added in blue crayon Ga: b.59: bis added in pencil indicating a repetition of bar empty bars added; Ga: empty bars added in pencil two slurs emended to one by analogy with ob., cl.2, fg., cor., trb. and in accordance with Gb, Gh b.64: end of slur moved from b.63 by analogy with fg.2 and in accordance with Gb two slurs emended to one by analogy with ob., cl.2, fg., cor., trb. and in accordance with Gb, Gh added by analogy with ob.1, fg. and in accordance with Gb Ga: p changed to pp in pencil Ga: p changed to pp in blue crayon notes 2–3: stacc. omitted by analogy with vl.1,2 and in accordance with Ga (desk 2), Gb, Gc note 4: stacc. omitted by analogy with fg.2 and in accordance with Gb notes 1–3: stacc. omitted as they are notated in order to remind the player of sempre staccato in b.67 note 1: stacc. omitted by analogy with cor.1 and by analogy with b.280 and in accordance with Gb note 2: pizz. added by analogy with cb. and because of arco (b.93) and in accordance with Gb, Gc; Ga: note 2: pizz. added in pencil notes 1–3: stacc. added by analogy with ob.1 and in accordance with Gb notes 4–5: stacc. added by analogy with ob.1 and in accordance with Gb stacc. added by analogy with ob.1 and in accordance with Gb b.97 note 6: end of slur changed to b.98 note 6 by analogy with fg.2 ff added by analogy with the other parts notes 2–4: stacc. added by analogy with ob.2 and by analogy with b.103 sempre staccato emended to sempre marcato by analogy with the other parts and in accordance with Gb sempre emended to sempre marcato by analogy with cor.1 and in accordance with Gb between b.102 and b.103: extra bar omitted; Ga: between b.102 and b.103: bar cancelled in pencil sempre marcato added by analogy with ww., cor.1,2, tr., str. and in accordance with Gb, Gh

102 109

tr.2 fl.2

118 118

cor.3 va.

120

fl.2

148

tr.1

149

vl.1

152 156

cor.4 fl.2

158

cl.1

161–162

tr.1

165

fg.2

166–167 167–168

cor.3,4 tr.2 tb. cb.

168 176–177

vc. vl.1

188 194–195

cl.1 fl.2

198

ob.2

199–200

ob. cl.1

200

206 208–211

fl. ob.1 cl. fg. cor.2,3,4 tr. trb.a. trb.t. trb.b. tb. timp. str. ob.2 cor.1 vl.1 vl.2 va. vc. cb. fg.1 vl.1

209

fl.1

209

vc. cb.

210 210

vl.2 va.

211

vl.2

212

fl.3

212 212

tr.1 trb.a.

212–213 212

trb.a. trb.t.

213

fg.1

213–214 214–215 215

trb.a. trb.a. cor.3

215 216

trb.a. fl.1

200 200

DCM 030

sempre emended to sempre marcato by analogy with tr.1 notes 4–6: e x e emended to e e e by analogy with the other parts and in accordance with Gb ff omitted by analogy with the other parts note 1: stacc. added by analogy with vl.1,2 and in accordance with Gb, Gc one beam emended to two by analogy with the previous and the following passages f added by analogy with cor., tr.2, trb.a., trb.t., trb.b. and in accordance with Gb b  emended to d  in accordance with Gb; Ga: b  changed to d  in blue crayon; above bar: d written in blue crayon marc. added by analogy with cor.1,2,3 ff added by analogy with fl.1,3 and in accordance with Gb notes 1–3: e ≈ x e emended to e e e by analogy with the other parts and in accordance with Gb Ga: above b.161: bis added in pencil indicating repetition of bar # note 1: f emended to a because of the harmony and # in accordance with Gb; Ga: note 1: f changed to a in pencil added by analogy with tr.1, trb.a., trb.t., added in pencil trb.b.; Ga (tr.2): tie (A–A) added by analogy with vl.1,2, va. and in accordance with Ga (desk 4) Ga: note 1: added in pencil Ga: b.176 last note to b.177 first note: slur added in pencil b Ga: c  changed to e  in ink tie added by analogy with bb.190–191 and because of slur ppp added by analogy with ww. and in accordance with Gb ppp added by analogy with ww. and in accordance with Gb poco vivo emended to molto vivo in accordance with Gd

Ga: no tempo designation Ga: tempo designation erased and changed to molto vivo in pencil Ga: note 1: solo added in pencil Ga (desks 1,3): erased and re-written in pencil; Ga (desks 2,4): erased and re-written in pencil:

cresc. added by analogy with fl.2 and in accordance with Gb note 2: f added by analogy with b.210 (vl.1,2); Ga: note 2: f added in pencil Ga: erased and re-written in pencil f added by analogy with vl.1,2; Ga: note 1: f added in pencil b  added because of re-written passage in vl.1 and according to Gb (vl.1); Ga: b  added in pencil marc. added by analogy with ww. and by analogy with b.216 ff added by analogy with tr.2; Ga: ff added in pencil ff added by analogy with the other parts and in accordance with Gb; Ga: mf added in pencil Ga: slur added in pencil f emended to ff by analogy with the other parts and in accordance with Gb notes 2–3: q q emended to e e by analogy with ww., tr.1, vl.1 and in accordance with Gb; Ga: notes 2–3: q q changed to e e in pencil Ga: tie (a–a) added in pencil Ga: b.214 note 2 to b.215 note 1: slur added in pencil bar added by analogy with b.219; Ga: bar added in pencil Ga: tie (g–g) added in pencil marc. added by analogy with ww. and in accordance with Gb

703

219–220 220 221 221 224 226 236 236

237–238 239 239 238–239 240–269 240 240 243–246 247 256–265 260–261

260–261

261–265 261 265–266 265–266 266 267 268 269–270

269–270 270 270 270 270 270 270 270 270

270 270 270

704

trb.t.

marc. added by analogy with trb.a., trb.b. and in accordance with Gb ‰ emended to ‰. in accordance with Gb; notes 2–4: vc. cb. emended to cue-note size due to irregular note values trb.a. marc. added by analogy with tr.1 and in accordance with Gb vc. cb. notes 2–6: emended to cue-note size due to irregular note values fg.2 note 2: d emended to e by analogy with tr.2, trb.b., tb., vc., cb. and in accordance with Gb cl.1 note 1: n added for harmonic reasons and in accordance with Gb; Ga: note 1: n added in blue crayon ob.1 dim. added by analogy with fl., ob.2 and in accordance with Gb vl.2 notes 2–3: tremolo slashes added by analogy with va. and in accordance with Ga (desks 2,3,4), Gb; Ga: notes 2–3: tremolo slashes added in blue crayon fz added by analogy with vl.2 and in accordance with va. Gb pp added by analogy with fl.2, ob.2 and in accordance fl.1 ob.1 with Gb cor.1 dim. added by analogy with cl., cor.2 and in accordance with Gb timp. b.239: pp moved from b.238 by analogy with the other parts and in accordance with Gb fl.3 Ga: cancelled in pencil; Pauseret added in pencil fg.2 cantabile added by analogy with fg.1 vc. Ga: added in pencil fg.1 slur added by analogy with fg.2 and in accordance with Gb cb. arco added in accordance with Gb va.2 slur emended to two slurs by analogy with va.1, cb. cl. b.261 note 1: beginning of slur moved from b.260 note 1 by analogy with ob., vl.2, vc. and in accordance with Gb vl.2 between b.260 and b.261: bar omitted by analogy with ob.1, cl., vl.1, va. and in accordance with Ga (desks 2,3,4), Gb; Ga: between b.260 and b.261: bar cancelled in pencil fl. slur emended to two slurs by analogy with ob., cl., vc. and in accordance with Gb vc. Ga: notes 1, 3: 1 added above in pencil # # fl.2 Ga: tie (d –d ) added in pencil ob. tie omitted by analogy with fl., cl., vc. and in accordance with Gb # added by analogy with fl.1 and in accordance with fl.2 Gb; Ga: # added in pencil fg.2 added by analogy with ww. and in accordance with Gb vc. Ga: note 4: 1 added above in pencil ww. between bb.269 and 270: 54 bars omitted in cor.2,3,4 tr. accordance with Ga (cor.1); Ga: 54 bars cancelled in trb.a. trb.t pencil trb.b. tb. timp. str. cor.2 trb.t. Ga: b.269 to b.270: ties omitted because of deletion of trb.b. b.270 in pencil tutti Tempo I added due to tempo marking in the cancelled passage between bb. 269 and 270 fl. cl. Ga: notes 1–3: erased and re-written in pencil ob.1 Ga: notes 1–3: cancelled and re-written in pencil ob.2 fg.1 Ga: note 1: erased and re-written in pencil cor.1 staccato added by analogy with cor.2 and in accordance with Gb cor.4 Ga: Tempo Imo added in pencil tb. Ga: Moderato added in pencil vl.1 pizz. added by analogy with vl.2, va. and in accordance with Gb, Gc and because of arco (b.291); pp added by analogy with the other parts and in accordance with Gb, Gc; Ga: chord 1: erased and re-written in pencil; pizz. added in pencil; pp added in blue crayon vl.2 Ga: note 1: erased and re-written in blue crayon; note 1: pp added in blue crayon va. chord 1: e  added because of chord in b.269; Ga: chord 1: e  added in pencil; Tempo Imo added in blue crayon cb. chord 1: e added by analogy with b.269 and because of deletion of bars between bb. 269 and 270; Ga: chord 1: e added in pencil

≥

Ga: re-written in pencil in order to replace repetition sign Ga: note 1: erased and re-written in pencil reconstructed by analogy with cl.1 and in accordance with Gb; Ga: contains only a repetition sign, thus referring to the original contents of b.270 before the first half was erased and re-written notes 4–5: ‰. x e changed to ‰ e e by analogy with the other parts and in accordance with Gb; Ga: notes 4–5: x e changed to e e in pencil note 1: stacc. omitted by analogy with cor.2 and by analogy with b.77 and in accordance with Gb note 1: stacc. added by analogy with cor.1 and by analogy with b.79 and in accordance with Gb note 1: stacc. added by analogy with cor.2 and by analogy with b.80 and in accordance with Gb # added by analogy with fl.2 and in accordance with Gb; Ga: note 1: # added in pencil last note: n emended to # by analogy with vc. and in accordance with Ga (desk 2); Ga: last note: n changed to # in pencil marc. added by analogy with ob.1, cl., fg.; added by analogy with cl.2, fg.1 f added by analogy with cl.2, fg.1 and in accordance with Gb tie added by analogy with ob.2, cl.2, fg.1 and in accordance with Gb rest 1: ‰ emended to ‰. p added by analogy with fl., ob.2, cl.2, fg.1 and in accordance with Gb Ga: note 1: 3 added in pencil stacc. added by analogy with vc. and by analogy with b.289 and in accordance with Ga (desks 3,4) note 3: marc. added by analogy with fl.2, ob.1, cl.2, fg. and in accordance with Gb b.291 note 3: beginning of slur changed to b.294 note 2 in accordance with Gb, Gh b.291 note 3 to b.295 note 2: slur omitted by analogy with cor.2 and in accordance with Gb, Gh f added by analogy with cl., fg. and in accordance with Gb b.292 note 1: beginning of slur changed to b.294 note 2 by analogy with fg.2 and in accordance with Gb, Gh middle of b.292: beginning of slur changed to b.294 note 2 by analogy with fg.2 and in accordance with Gb, Gh b.292 note 2: beginning of slur changed to b.294 note 2 by analogy with fg.2 and in accordance with Gb, Gh slur emended to two slurs in accordance with Gb, Gh ff added by analogy with ww., other brass and in accordance with Gb note 1: stacc. added by analogy with vl.1, va., vc., cb. and in accordance with Ga (desks 2,3,4), Gb Ga: at beginning of stave: key signature added in pencil marcato added by analogy with ww., cor., tr.2, str. marcato added by analogy with ww., cor., tr.2, str. and in accordance with Gb ff added by analogy with b.297 (ww., brass, str.) # note 5: e  emended to f  by analogy with fl.3, ob., cl.1, fg.2, cor.2, vl.1,2 and in accordance with Gb n note 5: g  emended to a  by analogy with cl.2, fg.1, cor.1, va. note 6: n added by analogy with vl.2, va. Ga: beginning of stave: slur cancelled in pencil; to the left: Celli? added in pencil Ga: b.308 to b.309: slur added in pencil Ga: notes 1–2: slur added in pencil slur emended to two slurs by analogy with ob., cl., fg. and in accordance with Gb, Gh Ga: poco accel. Ga: pp added in blue crayon, later partly erased Ga: p added in blue crayon Ga: note 1: added in pencil Ga: accel.

271

fl.2

271 271

cl.1 cl.2

274

ob.2

280

cor.1

282

cor.2

283

cor.1

284

fl.1

284

va.

287

ob.2

287

cl.1

287–288

cl.1

288 288

ob.2 cl.1

289 290

va. cb.

291

fl.1

291–295

ob.1

291–295

cor.1

292

ob.2

292–295

ob.2

292–295

cl.

292–295

fg.1

293–295 296

fl. cor.1

296

vl.2

297

fg.2

297 297

cor.3,4 tr.1

300 301

fl.2 fl.1

301

fl.2

307 308

vl.1 va.

308–309 310, 311 312–319

va. va. fl.2

312 312 312 312 313

cl.2 vl.1 vl.2 vc. cb. fl.2 tr.2 trb.a. trb.t. tb. cor.3,4 vl.1 Ga: accel.

314

DCM 030

Ga: accel. fff added by analogy with ww., brass, str. and in accordance with Gb note 1: n added by analogy with fl.2,3, cl., vl.1, vl.2 and in accordance with Gb Ga: added in pencil

316 320

trb.b. fl.1

322

fl.1

322

ob.1 tr. trb.a. trb.t. tb. timp. cl.2 note 1: b added by analogy with cl.1 and in accordance with Gb; Ga: note 1: b added in pencil ff emended to fff by analogy with cor.2,3,4, tr., trb.a., cor.1 trb.t., trb.b., tb. and because of ff (b.321); Ga: ff changed to fff in pencil trb.b. Ga: fff cancelled in pencil; dim. added in pencil tb. Ga: dim. added in pencil cor. Ga: added in pencil d  added in accordance with Gb; Ga: lacuna due to trb.t. paper damage fl.3 Ga: Presto # n fg.1 note 1: d  emended to d  by analogy with ob.1, vl.1 # and in accordance with Gb; Ga: note 1: d  changed to n # n d in pencil; note 2: f changed to f in pencil fg.1 Ga: erased and re-written in ink cor.2 f added by analogy with ww., cor.1, tr., trb.b., timp., str. cor.2 Ga: double bar line vl.2 chord 2: n added by analogy with cl.1 fl.2 ff added by analogy with the other parts and in accordance with Gb va. note 1: beginning of slur changed to note 2 by analogy with vl.1,2 and by analogy with b.360 f emended to ff by analogy with tr.2 and in tr.1 accordance with the general dynamic level vl.1 chord 2: e ‰ changed to q and tremolo slash added by analogy with str. and in accordance with Gb, Gc; Ga: chord 2: e ‰ changed to q and tremolo slash added in blue crayon ob.1 marc. added by analogy with fl., ob.2, cl. and in accordance with Gb added in pencil cor.2 Ga: vc. marc. added by analogy with vl.1,2, va. and by analogy with bb.371–374 added in pencil cor.2 trb.a. Ga: . . emended to fl.2 by analogy with fl.1 and in in pencil accordance with Gb; Ga: . . changed to ob.1 tie (a –a ) omitted by analogy with fl., ob.2, cl., fg.1 and in accordance with Gb vl.1 Ga: note 4: dim. added in pencil added in blue crayon vl.2 Ga: cor.1 note 2: stacc. added by analogy with ww., cor.2, tr. and in accordance with Gb vl.1 Ga: note 2: cresc. added in pencil added in blue crayon vl.2 Ga: cl.1 marc. added by analogy with fl., ob., cl.2, fg.1 and in accordance with Gb cor.3 tie added by analogy with fg., cor.1 # fl.3 note 2: b  emended to c  by analogy with fl. and by analogy with b.392 ob.2 note 3: d  emended to b  by analogy with ob.1, cl. and in accordance with Gb; Ga: note 3: d  changed to b  in pencil fl.1 added by analogy with fl.2,3, ob. and in accordance with Gb; Ga: added in pencil vl.1 Ga: note 2: dim. added in pencil cor.4 between b.387 and b.388: extra bar omitted; Ga: between b.387 and b.388: bar cancelled in pencil fg.1 marc. added by analogy with ww. and by analogy with b.380 and in accordance with Gb cor.1 notes 2–3: stacc. added by analogy with cor.2, tr. and by analogy with b.380 and in accordance with Gb vl.1 Ga: note 1: cresc. added in pencil cl.1 marc. added by analogy with ww. and by analogy with b.381 and in accordance with Gb cor.3 tie added by analogy with fg., cor.1 tr.1 marc. added by analogy with tr.2 and in accordance with Gb trb.a. Ga: fff added in pencil vl.1 note 1: omitted in accordance with Gb; Ga: note 1: cancelled in blue crayon and moved to note 2

322 322

322 322 323 323 324 335

336–341 352 359–360 359 360 364 370 371

373–375 375–376 375 377 378–379 378–379 378 378–379 380 380 380–381 381 382–383 384 384

385 386 387–388 388 388 388 389 390–391 390 394 398

402–403

tr.

406

timp.

ACT ONE Bar 1 17 19 22 23–24 31 33–34

Part fl. va. vc. fg. NOUR.

tie (c –c ) added by analogy with bb.400–401 and in accordance with Gb; Ga: tie added in pencil Ga: fff added in pencil

Comment D: Andante note 1: stacc. added by analogy with bb.15–16 stacc. added by analogy with vl.1,2 A: q = 144 added in pencil fz added by analogy with fg.1 A: Allo non troppo added in pencil A: changed in pencil to ; C2, D:

vl.1

35 36

cor.1 NOUR.

59 63–64 64–67

NOUR.

notes 9–16: stacc. added by analogy with notes 2–8 and in accordance with C1 pp added by analogy with the dynamic level in cor.4 b b B1–B2, C2: notes 3–4: e e (a –a ) changed in pencil b to q q (a –f) A: q = 100 added in pencil 14 bars cut between b.63 and b.64 A, C2:

changed in pencil to

67 67–68

va.

as consequence of cut between b.63 and b.64 A: q = 144 added in pencil second slur added by analogy with vl.1,2

74–75

ALAD.

A: changed in red ink to ; C2: changed in blue crayon to

76 76

cl.1

76–77

NOUR.

A: = 72 added in pencil B1–B2: no p

emended to

as in C2, D 77

ALAD.

78–79

ALAD.

A, C2: alternative part added in red ink (A), blue crayon (C2):

emended to

80 81

DCM 030

vl.2 va. vc. vl.1

as in D arco added arco added

705

ALAD.

A: d ; C2: g  changed in blue crayon to d  and in pencil to g 

NOUR.

A: changed in pencil to ;

changed in pencil to ;

D1: changed in ink to

C2, D:

93 94 95 97–100

NOUR. cl. NOUR.

n notes 1–2: d –d  emended to c –b as in C2, D stacc. added by analogy with fl., ob. A: q = 69 added in pencil A:

172 176 180 180

vc. cb. NOUR. cl. fg. fg.

note 3: marc. added by analogy with fg. alternative note (A) added as in D notes 1–2: stacc. added by analogy with fl. p added by analogy with the dynamic level in fl., cl.

188

NOUR.

changed in ink and pencil to

changed in pencil to ;

; C2, D:

101 103–104 107 110–112

112 121 125 127 128–129

C2, D:

194 194 194 196 197–200

NOUR.

A: q = 112 added in pencil A: added in ink (Horneman) A: q = 72 added in pencil A, C2: alternative part added in red ink (A), pencil (C2):

201

ALAD.

A: q = 108 added in pencil A: q = 76 added in pencil; D: Andante con moto A: l’istesso added in pencil; D: Allegro non troppo D1: note 1: d  changed in pencil to g 

ww. cor.

ALAD.

202 202 204 204 206 221–222 222

emended to as in D

128–130

ALAD.

A, C2: alternative part added in red ink (A), blue crayon (C2):

130–131

NOUR.

A, C2: alternative part added in red ink (A), pencil (C2):

135–137

ALAD.

A, C2: alternative part added in red ink (A), pencil (C2):

138 139–140

va.

140 140 +141

NOUR. cb.

150

ALAD.

unis. added as in C1 A, D1, C2: 107 bars cut, a new transition (bb.140–142) added in ink (Horneman) D1: vocal text: Grenene instead of Kvistene stacc. added by analogy with the other parts A: q = 112 added in pencil A, D1:

cor.2,4

va. fl. vl.1 vc. NOUR. str. ALAD.

225 244 248–249

NOUR. NOUR.

248

vl.2 va.

251 254 254 254–257 269 271 272

cl.1 str. fg. tb. m.tno. NOUR.

273–276

ALAD.

D: rall. A: fp

added in blue crayon

A: q changed to ‰ e in blue crayon; C2, D: q D: a tempo no e fuoco Torden [thunder] part added as indicated in D1; A: Torden is only indicated by the remark (under Torden) [during thunder]; the percussion parts (C2) does not include m.tno. A, C2: alternative part added in red ink (A), pencil (C2):

A: a tempo! added in blue crayon n b b chord 1: upper note: b emended to b ; C1: d  A: a tempo! added in blue crayon added in pencil A: mf added as in C2, D A: pp added in blue crayon A, C2: alternative part added in red ink (A), pencil (C2):

mf quasi parlando added as in C2, D D: Allegro moderato A, C2: alternative part added in red ink (A), pencil (C2):

f emended to fz by analogy with vl.1, vc., cb.; A: fz added in blue crayon added in blue crayon A: A: q = 112 added in pencil added by analogy with the other parts added according to D1 C2, D: w A: third crotchet: q = 144 added in pencil redundant con anima omitted

changed in pencil (A), ink (D1) to

emended to 154

ALAD.

A, C2: alternative part added in red ink (A), pencil (C2):

157–158

fg.1

tie added

158–160

NOUR.

as in D; A, C2: alternative part added in red ink (A), pencil (C2):

emended to ;

as in C2, D;

706

DCM 030

A: alternative part added in pencil and blue crayon:

274 275–278

fl.2 NOUR.

added by analogy with the other parts A: alternative part added in red ink and pencil

367–372

NOUR.

A, C2: alternative part added in red ink (A), pencil (C2):

374

NOUR.

p added as in C2, D

376–377

NOUR.

as in C2, D

; C2:

278 283–291

va. ALAD.

513 516 523

vc. NOUR.

D: Presto A: first minim: U added in pencil; second minim: a tempo added in pencil; D: tranquillo ad libitum; D1: Recit. added in ink D1: Presto added in ink A: first minim: U added in pencil; D: tranq. ad lib.; D1: Recit. added in ink D: no a tempo D: a tempo; D1: Presto added in ink A: first minim: U added in pencil; D: tranq. ad lib.; D1: Recit. added in ink stacc. added by analogy with b.388 D1: Presto added in ink A: first minim: U added in pencil; D: tranq. ad lib.; D1: Recit. added in ink D: no a tempo note 1: marc. added as in C2, D D: a tempo; D1: Presto added in ink stacc. added by analogy with cl. stacc. added by analogy with bb.408, 410 D: ad libitum; D1: Recit. added in ink D1: Presto added in ink D: ad lib.; D1: Recit. added in ink D: no a tempo D: a tempo; D1: Presto added in ink D: ad lib.; D1: Recit. added in ink stacc. added by analogy with b.431 D1: Presto added in ink D: ad lib.; D1: Recit. added in ink D: a tempo; D1: Presto added in ink stacc. added by analogy with cl.1 B1–B2, C1: no tempo indication; D1: poco a poco crossed out in pencil D: note 3: e note 2: e ‰ Œ emended to as in C2, D pp added by analogy with the dynamic level in fl.1 A: rall. added in pencil A: q = 50 added in pencil D: Presto note 4: beginning of slur emended from note 5 by analogy with b.498 A: poco ritenuto added in blue crayon A: q = 63 added in pencil Andante sostenuto emended to Andante as in B1–B2; B1–B2: Molto Andante sostenuto changed in pencil to Andante; D: Molto Andante sostenuto arco added A: q = 63 added in pencil A, C2: alternative part added in red ink (A), pencil (C2):

525 525 527–530

va. vc. NOUR.

note 1: marc. added by analogy with vl.1 arco added A, C2: alternative part added in red ink (A), pencil (C2):

377 379

added by analogy with vl.1,2, vc., cb. A, C2: alternative part added in red ink (A), blue crayon (C2):

380 381 382 384 386 386 387 388

285

ALAD.

286–288

ALAD.

D: note 3: c  (probably printer’s error)

emended to as in D 287

fl.2

289

NOUR.

p added by analogy with the dynamic level in fl.1 emended to as in C2, D

291 295–296

ob. cl. fg. marc. added by analogy with the other parts trb. 1,2 vl.2 NOUR.

emended to as in C2, D

300 300 301 302 303 303 304 307 313

cor.1 vc. cb. vc. cb. cor.1 NOUR. va.(2) fg.2

marc. added by analogy with fg.2, trb.1, tb. stacc. added by analogy with b.302 stacc. added by analogy with b.299 marc. added by analogy with fg.2, trb.1, tb. note 1: e ‰ emended to q as in C2, D notes 1–2: stacc. added by analogy with vc., cb. note 2: stacc. added by analogy with vc., cb. A: meno added in blue crayon timp. vl.1,2 A: changed in pencil to vc. cb.

332 344, 345

vc. vl.1

352, 354, 356, 358

vl.1 va. vc. cb.

emended to

note 1: marc. added by analogy with vl.1,2, va. b A: note 3, 8: b ; B1–B2: note 3, 8: g ; C1: note 3, 8: g  b changed in blue crayon to b  stacc. added by analogy with b.350

389 390 391 408 412 422 423 424 425 427 429 429 430 431 434 447 452 460 462 478 492, 493 494 497 500

fl. cl.

NOUR. fl. fl. cl.

fl. cl.

cl.2

NOUR. NOUR. fl.2

fl.

505 507 507

528 528 536 541 546 555

DCM 030

cb. ob.2 NOUR.

A: q. = 100 added in pencil arco added cresc. added by analogy with fg.2, cor.1 A: q = 144 added in pencil notes 2–3: c–c emended to g–g as in C2, D A: q = 100 added in pencil

707

556 557 559 560 560–562 561–562 570 580 597 602 603 604–605 607 610 614 615 617 618 618 618

ob. cor.3,4 tr. picc. fl. ob. cl. fg. va.

vc. cb. cor. T. cl.2 fl. cl. fl. vl.1(1) vc. cb. cb.

620

vc.

627 628 629

fg. cl. fg. cb.

632 654–657 665–666 671 673 676 678 682–683

ob. cl. picc. fl. vl.2(1) vl.2 va.

ALAD.

686 689

ALAD. cor.4

693 694 700–710

vl.1,2 va. ALAD.

703–707

vc.

Recit. added as in B1–B2, D A: = 108 added in pencil ff emended to fff by analogy with the other parts stacc. added by analogy with b.559 notes 3–5 stacc. added by analogy with b.559 notes 3–5 stacc. added by analogy with ob., cl. A: = 72 added in pencil second minim: emended to jjjq jjjq by analogy with vc. and in accordance with C1 A: metronome mark q = 80 added in pencil arco added stacc. and slur added by analogy with fg. D: bass part (f) instead of tenor part A: Vivo added in blue crayon fz emended to f by analogy with fl.1,2, ob.1 notes 1–2: stacc. added by analogy with picc., ob. notes 1–2: stacc. added by analogy with fl., ob. notes 7–8: stacc. added by analogy with ob., cl. f emended to fz added by analogy with vc. arco added stacc. added by analogy with vc. and in accordance with C1 stacc. added by analogy with b.618 and in accordance with C1 dim. added by analogy with the other parts pp added by analogy with the other parts emended to decresc. by analogy with the other parts notes 3–4: stacc. added by analogy with fg. stacc. added by analogy with bb.638–653 slur added by analogy with va. pizz. added by analogy with vl.1 and as in C1 A: q = 84 added in pencil notes 2–8: stacc. added by analogy with vl.1,2 A: = 100 added in pencil A: alternative part added in red ink:

A: note 2: alternative note (c ) added in red ink p added as in C1 and by analogy with the dynamic level in cor.3 stacc. added by analogy with bb.690–692 n notes 3–4: b emended to a A: alternative part added in red ink:

ALAD.

747–748

ALAD.

760 761 +775

ALAD. ALAD.

785 791 796 798 817 855 865–866

fl.1 vl.1

865–866 872

vl.2 fg.1

876

ob.2 fg.1 cor.1,2 vl.1,2

876–877 884 884, 888 894 900 902 902 904 905–906 905 906, 907 910, 911 912 912 912 913 915 916 916 940 944 954 954 969 969 974 979 980 989

ob. vl.1,2 ob. T. fl. fg.1 vl.1,2 picc. fl. ob. fg.1 vc. ob.1 fg. va. cb. CORO vl.1 S. A. T. B. fg.1 cor.1 ALAD. CORO ob.2 cor.2

RING. fg.1

990

ob.1

990

trb.t.1

990

tb.

A: alternative vocal text (Forbi instead of Ak ja) added in red ink cresc. added as in D added as in D Andantino emended to Allegretto con grazia as in B1– B2, C1 molto vivo added as in B1–B2, C1 ad libitum added as in B1–B2, C1 rallentando added as in B1–B2, C1 A, C1: Andantino added in pencil poco rall. added as in B1–B2, C1 cresc. added by analogy with the other parts b.865 note 7 to b.866: stacc. added by analogy with b.864 to b.865 note 6 stacc. added by analogy with b.864 added by analogy with fl., ob., vc.(1) added by analogy with bb.874–875 and vc.(1) stacc. added by analogy with bb.874–875 A: q. = 100 added in pencil stacc. added by analogy with cor.1,2,3 notes 1–3: stacc. added by analogy with bb.893, 895 upper part added as in D note 1: stacc. added by analogy with picc. marc. added by analogy with ob., cl. marc. added by analogy with b.901 stacc. added by analogy with bb.901–902 marc. added by analogy with b.904 note 1: marc. added by analogy with bb.902, 903 note 2: marc. added by analogy with va. cresc. added by analogy with the other parts note 7: marc. added by analogy with vc. p added by analogy with the other parts A: cresc. added in blue crayon fz fz added by analogy with bb.912–914 ff added by analogy with T., B. ff added as in D p added by analogy with cor.3,4 note 1: ‰. x emended to ‰ e as in D A: q = 76 added in pencil mf added as in D p added by analogy with the dynamic level in fl., cl., fg.2 p added by analogy with the dynamic level in cor.3,4 A: All[egr]o. added in pencil A: q = 72 added in pencil notes 3–4: e e emended to e. x as in C2, D mf added by analogy with the dynamic level in fl., ob.2, cl., fg.2 mf added by analogy with the dynamic level in fl., cl., fg. mf added by analogy with the dynamic level in trb.t.2, trb.b. mf added by analogy with the dynamic level in trb.t., trb.b. and as in C1

emended to as in D 706 711 716 717

717 718 720 721–723

721 727 743

708

fg. ALAD. ALAD.

vl.1,2 va.

ALAD.

vl.1,2 va.

ALAD.

ff emended to fz by analogy with ob. A: c  changed in pencil to g  (due to scribal error) D: mosso instead of a tempo A: alternative part added in red ink:

semiquaver tremolo slashes added by analogy with b.715 and as in C1 D: mosso instead of a tempo D: mosso instead of a tempo A: alternative part added in red ink:

semiquaver tremolo slashes added by analogy with b.719 and as in C1 A: q = 72 added in pencil cresc. added as in D

ACT TWO Bar 1 5 18–19

vl.1 MORG. MORG.

Comment A: q. = 50 added in pencil; No. 11 added in blue crayon p added by analogy with vl.1 beginning of slur emended from b.19 note 2 to b.18 note 1 by analogy with vl.1, vc.(1) sostenuto added as in B1–B2, C1 p added by analogy with the dynamic level in cor.3 added by analogy with cor.3, timp. Lento added as in B1–B2, D B1–B2, C1: Tempo 1mo instead of Andantino con moto note 6: x emended to e by analogy with b.77 notes 4–5: slur omitted as in B1–B2, C2, D pp added as in B1–B2, C2, D

85–86

MORG.

C2I:

87 88 91

cl.2 vl.2 cl.1

upper part added in pencil pp added by analogy with the dynamic level in ob.1, fg. notes 1–5: slur added by analogy with b.87 pp added by analogy with fl.

19 52 52–53 54 55 65 76 77

DCM 030

Part vl.2 vl.2

fg.2 fg.2

lower part in ink,

91–92

MORG.

fg.2

101 104 108 114 115

cb.

122 133 135 145 146 147 148 149 149 153 154 162 163 163 164 165 168 173 179–180

MORG.

va. vc.

fl. cb. MORG.

vl.1 ALAD.

cl.2 ALAD. ALAD.

A: lower part added in pencil; C2: lower part in ink; D: lower part printed pp added by analogy with the dynamic level in the other parts and in accordance with C1 arco added A: No. 12 added in blue crayon B1–B2: Moderato crossed out in pencil; D: Moderato A: q = 80 added in pencil C2I: alternative part added in pencil (cue size notes):

A: q = 63 added in pencil A: poco accel. added in pencil A: rall. added in pencil D: stretto instead of poco accel. A: tranquillo added in pencil unis. added D: poco stretto instead of poco accel. a tempo added as in B1–B2, D p added by analogy with the other parts arco added n note 4: b  emended to a  as in C2, D A: Molto added in pencil before Adagio; e = 72 added in pencil second minim: n added added as in D rit. and Recit. added as in D A: = 100 added in pencil pp added by analogy with fg., cor.1,2 p added as in D A, C2: alternative part added in red ink (A),

248 251 263 267 268 268 271 272 276 279 284 285 288

ALAD. ALAD. ALAD. ALAD. ALAD. ALAD. ALAD. ALAD.

A: q = 144 added in pencil; D: Allegro instead of Allegro risoluto A: q = 144? added in pencil; D: Allegretto instead of Allegretto con moto A: second crotchet: U added in pencil A: added in red ink A: rit. added in pencil A: ten. added in red ink added in red ink A: A: q = 144 added in pencil A: f added in red ink A: p added in red ink A, C2: note 1: alternative part (c ) added in red ink (A), blue crayon (C2) A: cresc. added in red ink A, C2: notes 1–2: alternative part added in red ink (A), blue crayon (C2):

289 290 291 291 292 293

ALAD. ALAD. ALAD.

294 295

ALAD.

A: added in red ink A: note 4: dim. added in red ink D: no rall. A: note 3: U added in red ink A: p added in red ink A: note 1: alternative part (d ), ten. and f added in red ink A: q = 144 added in pencil A: notes 5–6: alternative part added in red ink:

298

MORG.

A: alternative part added in red ink:

ALAD. ALAD.

;

blue crayon (C2): 187

ALAD.

C2I:

A, C2: alternative part added in red ink (A), blue crayon (C2):

195, 197 203–204

ALAD. vl.2

209 209–211 213

213–214

ALAD.

225 227

ALAD.

228 228 229–230 230–231 231 233 240 240 243

fg.1 fg.1

ALAD.

244 245 246 246

MORG.

A: note 1: marc. added in red ink bb.203–204: one slur emended to two slurs by analogy with vl.1, vc. A: = 72 added in pencil D: meno mosso in b.211 instead of poco meno mosso in b.209 A: alternative part added in red ink:

D: A: q = 50 added in pencil; fourth crotchet: rit. added in pencil A, C2: alternative part added in red ink (A), blue crayon (C2):

quasi recit. added as in D1; D1: quasi recit. added in ink (Horneman) A: q = 100 added in pencil mf added by analogy with fg.2 and in accordance with C1 stacc. added by analogy with ob., cl., fg.2 D: a tempo A: q = quasi 144 added in pencil; D1: Vivo added in ink (Horneman) instead of mosso A: accel. added in pencil added as in D A: second minim: q = 50 added in pencil; D: Andantino instead of Andante D: second minim: Recitativ D: second minim: Andantino D: second minim: Recitativ C2: emended to

300–301

ALAD.

A: alternative part added in red ink:

304

ALAD.

A, C2: alternative part added in red ink (A), pencil (C2):

313–314

ALAD.

A: alternative part added in red ink:

313 331 343 351 356 358 358–390 361

vl.2 va. vc. ob.1 ALAD.

stacc. added by analogy with b.312 note 1: marc. added by analogy with va. pp by analogy with the dynamic level in the other parts A: vocal text: se! changed to blot! in red ink Recit. added as in B1–B2, D A: = 72 added in pencil; No. 13 added in blue crayon D: notated with three # poco accel. added as in D and according to addition in pencil in A A: rall. added in pencil A: Tempo 1mo added in pencil notes 5–6: e. x emended to e e as in B1–B2, C2, D A: = 50 added in pencil A: poco rall. added in blue crayon # # A: notes 3–4: alternative part (g –g ) added in red ink A, C2: originally spoken text, sung part later added in ink A: q = 72 added in pencil A, C2: originally spoken text, sung part later added in ink A: q = 100 added in pencil rit. Adagio added as in D1; D1: rit. Adagio added in ink A: q = 144 added in pencil A: q = 100 added in pencil added by analogy with the other parts p added by analogy with fg. A: q = 112 added in pencil; non troppo crossed out in blue crayon a tempo added as in B1–B2, D; A: q = 144 added in pencil A, C2: alternative part added in red ink (A),

366 371 374 377 382 387 388–390

ALAD. MORG.

391 403–409

MORG.

420 431–432 433 435 441 447 455

MORG.

cor.1,2 ob.

461 462

as in D; C2: alternative part added in pencil

ALAD.

pencil (C2):

DCM 030

709

476 478 489 494–496

501 505 509 512

cor.1,2 LAMP. ALAD.

fl. vc. cb.

513 514–520

ALAD.

added by analogy with the other parts A: Pochettino tranq. added in pencil sostenuto added as in C2, D A: alternative part added in red ink:

704 704 704 704 712 717–718 717 718 720–721 722 722–724 722 725 726 727 727 732 734 743 749

A: q = 112 added in pencil A: q = 144 added in pencil added by analogy with the other parts D1: addition in ink (Horneman): Hvis denne Takt er overflødig for Forvandlingens Skyld maa den helst udelades. Den foregaaende [takt] kan ogsaa udelades. Saa kommer [teksten] ’bragt’ i denne Takt [b.513] L’istesso tempo added as in B1–B2, D; A: Poco meno added in pencil A: alternative part added in red ink:

752

517–518

cor.1

518 521 526, 528 545 559 578 589 600 600 601 602 603–604 604 606 607 624–625

vl.1 fl. ob.

1.ALF va. 2.ALF vl.1 vc. ob. cl. cor.3,4

fg.

633 634–635

fg. vl.1

644–645

end of slur emended from b.517 note 8 to b.518 note 1 by analogy with bb.515–516 marc. added by analogy with b.516 and vc. A: q = 144 added in pencil stacc. added by analogy with fg. (bb.525, 527) A: q = 100 added in pencil A: q = 100 added in pencil; No. 14 added in blue crayon C2, D: note 4: c  pizz. added by analogy with vl.1,2, vc., cb. d  b n  emended to b n  f  as in C2, D stacc. added by analogy with b.598 stacc. added by analogy with b.599 stacc. added by analogy with cl. stacc. added by analogy with ob. stacc. added by analogy with cor.1,2 A: No. 15 added in blue crayon A: = 72 à 84 added in pencil b.624 note 5 to b.625: stacc. added by analogy with b.624 notes 1–4 marc. added by analogy with vc., cb. marc. and stacc. added by analogy with fl., ob. emended to

755 757 758 758 772 775 776 776 782 785 785 785 787 787 790 793 797 800–803 801–803 808 817–818

as in D 651 651 656 658 658 660 667 667 668 670–671 673 678 692 700 700 700–704 701 701–704 702 702 702 703 703–704 703–704 703

710

p added by analogy with ob., fg. mf added as in D and by analogy with A. note 1: f  emended to g  as in E2 and by analogy with fl.1, vl.1 vl.1,2 arco added p added by analogy with the dynamic level in the cb. other string parts ff added as in D and by analogy with S. A. vc. cb. stacc. added by analogy with va. cb. marc. added by analogy with va., vc. p added by analogy with the dynamic level in the cb. other string parts A. T. B. fz mf added as in D and by analogy with S. f added as in D and by analogy with S. B. fg. vl.2 va. note 1: marc. added by analogy with the other parts cor. trb.t.1,2 marc. added by analogy with the other parts cl. note 5: marc. added by analogy with fg. trb.b. tb. stacc. added by analogy with tr., trb.t. vl.1,2 stacc. added by analogy with bb.698–699 cl. note 1: marc. added by analogy with fg. va. stacc. added by analogy with vl.1,2 cl. note 5: marc. added by analogy with fg. cor.1 ten. added by analogy with trb.t., trb.b., tb. vc. notes 1–3: stacc. added by analogy with vl.1,2, va. fl. fg. note 1: marc. added by analogy with ob., cl. str. marc. added by analogy with b.702 vc. stacc. added by analogy with vl.1,2, va. cb. notes 3–5: stacc. added by analogy with bb.701, 702 cor.3,4 S. S.

818 819 821 836 838 857 857 873 880 884 886 890 890 890–891 892 893 893 894 894 900 904 906–907 911 912

DCM 030

fl. cl. cor.1 tr. trb.t. trb.b. tb.

note 1: marc. added by analogy with ob., fg. ten. added by analogy with trb.t. note 1: ten. added by analogy with bb.702–703 note 2: ten. added by analogy with cor.1, trb.t. A: = 72 added in pencil fg.1 stacc. added by analogy with vc. and bb.725–726 A. B. cresc. added as in D T. cresc. added as in D and by analogy with S. cor.3,4 stacc. added by analogy with b.719 and va. cor.3,4 marc. added by analogy with the other parts cor.3,4 stacc. added by analogy with va. f emended to fz as in D CORO cl.2 note 7: marc. added by analogy with fl.2, vl.1,2 fg. cresc. added by analogy with the other parts cl.2 note 7: marc. added by analogy with fl.2, vl.1,2 c  emended to a  as in D T. cl. stacc. added by analogy with fl., ob. fg stacc. added by analogy with b.733 and vc., cb. A: q = 72 added in pencil cl. cor. tr. note 1: stacc. added by analogy with b.746 and the other parts fl. picc. ob.2 last quaver stacc. added by analogy with the other trb.t. parts added by analogy with the other parts trb.b. tb. trb.b. tb. marc. added by analogy with fg. and b.753 trb.t.1 stacc. added by analogy with the other parts trb.t.2 notes 3–4: stacc. added by analogy with the other trb.b. tb. parts A: q = 144 added in pencil A: q = 144 added in pencil; B1–B2: Allegro non troppo maestoso; D: Allegro non troppo e maestoso timp. marc. added by analogy with b.779 f added as in D S. A. tb. p added by analogy with the dynamic level in trb.b. cl.1 fg.1 tr.1 stacc. added by analogy with ob.1 cor.3,4 note 2: redundant f omitted T. A: note 3: e  changed in pencil to c ; E2: c ; D: note 3: e  ob. fg. marc. added by analogy with fl., cl. tr.1 notes 6–7: stacc. added by analogy with fl., ob., cl. T. note 4: a  emended to d  as in D, E2 vc. note 4: marc. added by analogy with b.792 T. note 3: g  emended to c  as in D, E2 fl. stacc. added by analogy with b.799 cl. b.801 note 4 to b.803: stacc. added by analogy with bb.799 to 801 note 4 A: q = 112 added in pencil fg. marc. added by analogy with trb.t., trb.b., tb. and bb.820–821 vl.2 va. third crotchet: marc. added by analogy with vl.1, vc. A: tranq. added in pencil SULT. vocal text: Som emended to Om as in C2, D1; C2, D1: Som changed to Om in pencil A: q = 72 added in pencil cb. p added by analogy with the dynamic level in vl.1,2, va., vc. fg. stacc. added by analogy with b.856 cor.1,2 tr.1 ten. added by analogy with fl., ob., fg. A: q = 72 added in pencil A: q quasi 50 added in pencil fg. p added by analogy with the other parts cor.1,2 stacc. added by analogy with bb.884–885 cl.2 notes 4–7: one slur emended to two slurs notes 4–5, 6–7 by analogy with fl. fg.1 notes 4–5, 6–7: slurs added by analogy with fl., cl.2 bb.890–891 instead of b.890 CORO A. D: chord 3: lower part missing A. T. B. cresc. added by analogy with S. and as in D B. last quaver: upper part added as in D fl. notes 3–6: slur emended to two slurs notes 3–4, 5–6 by analogy with ob., cl. CORO marc. added as in D A: q. = 50 added in pencil CORO cresc. added as in D fg.1 b.906 note 3 to b.907 note 3: slur added by analogy with vc. # SULT. C2: note 1: d S. added as in D

913 914 914 915 915 916 916

S. A. T. B. SULT. VIZ.

SULT. T. B.

added as in D added as in D added as in C2, D A: q = 100 added in pencil D: Andantino con moto instead of Allegretto f added as in C2, D A:

1080 1083 1083–1084 1083 ALAD. 1084 SULT. 1098–1100 ALAD.

1099 1100 1101 1101 1101 1106 1106 1107 +1129

changed in pencil to

918–919

vc. cb.

919 923

vl.2 fg.

923 931

vl.2 fg.2

932 932 933 935 936 945 946 946 947 950 951 959 964 975 980 991 994 996 999 1004 1015 1016 1022 1025 1025–1026

S. S. T. B.

1026

CORO B. S. A. T. A.

ALAD.

SULT. ALAD. ALAD.

f emended from b.919 note 1 to b.918 note 4 by analogy with fg. notes 8–9: stacc. added by analogy with vl.1 notes 7–9: stacc. added by analogy with notes 2–6 and vc., cb. chord 1: stacc. added by analogy with va., vc. p added by analogy with the dynamic level in the other parts emended to w as in D pp added as in D omitted as in D A: non troppo added in pencil mf added as in D f added as in D A: q = 144 added in pencil f added as in D note 1: e emended to q as in D A: molto ritenuto added in pencil A: = 50 added in pencil A: last quaver: q = 144 added in pencil A: q = 72 added in pencil A: q = 100 added in pencil A: q = 112 à 120 added in pencil A: fourth crotchet: q = 150 added in pencil A: q = 150 added in pencil marc. added as in B1–B2, D A: q = 144 added in pencil rall. added as in D; A: molto rall. added in pencil vocal text: til emended to dit as in C2 A: q = 112 added in pencil A: alternative part (c – c ) added in red ink A: Poco tranq. / tranquillo added in pencil A: alternative part added in red ink:

+1129 1134 1135 1136 1139 1139–1140 1142 1144–1145 1149 1150 1151 1151 1161 1162 1163 1164 1168 1169–1170 1169 1174 1178 1180 1181 1181 1181 1182 1186 1186 1193 1206

1207 1215 1216 1219

changed in pencil to

1224–1225 1224–1225

A: più in più allegro crossed out in blue crayon; non troppo added in blue crayon; = 100 added in pencil 1027 S. T. B. f added as in D 1038 A: q = 72 added in pencil 1042 A: q = 84 à 100 added in pencil 1048 A: rall. / molto rall. added in pencil 1051 A: q = 50 added in pencil 1052 A: q = 112 added in pencil 1066 fg.1 marc. added by analogy with vl.2 1073 fl. ob. cl. fg. marc. added by analogy with cor.1,2, str. cor.3,4 1076 A: q = 84 added in pencil 1077 ob. mf added by analogy with the dynamic level in the other parts 1078–1080 ALAD. A: alternative part added in red ink: 1027

1231–1232 1232 1237 1250 1250

fl. ob.2 fl.1 cl.1 cor.1,2 str.

note 1: stacc. added by analogy with b.1098 mf added by analogy with cor.2 notes 5–8: stacc. added by analogy with notes 1–4 notes 3–4: stacc. added by analogy with fl.1, cl.2, fg., tr.2 stacc. added by analogy with b.1100 A: q = 144 added in pencil f added as in D A. B. T. f added as in D A: q = 132 added in pencil; vivace crossed out in blue crayon p added as in D CORO B. mf added by analogy with S., A. and as in D A. redundant mf omitted vl.1 notes 4–5: stacc. added by analogy with vl.2 pp added by analogy with the dynamic level in fg.2 fg.1 CORO mf cresc. added as in D B. f added by analogy with A. and as in D added as in D CORO B. mf added as in D T. mf added as in D mf added as in D S. A. cb. stacc. added by analogy with va. T. B. D: e , e  T. B. dim. added as in D p added as in D S. A. T. B. p added as in D A. T. B. fz added as in D mf added by analogy with S. and as in D A. B. T. mf added as in D ob. fg.1 pp added by analogy with the dynamic level in fl., cl., fg.2 cor.4 stacc. added by analogy with cl., fg. cor.2 stacc. added by analogy with ob., cl., fg., cor.3,4 cor.1 stacc. added by analogy with str., b.1108 vl.2 chord 1: stacc. added by analogy with vl.1 va. vc. cb. stacc. added by analogy with vl.1,2 (b.1179) mf added by analogy with A. and as in D S. T. B. fg. cresc. added by analogy with the other parts fg.2 cor.4 p added by analogy with the dynamic level in fg.1, tr.2 cor.3., tr.1 vc. stacc. added by analogy with cb. B1–B2: Allegro non troppo maestoso ; D: Allegro non troppo e maestoso f added as in D S. A. fg. note 1: g emended to a by analogy with vl.2, va. cl.1 fg.1 tr.1 stacc. added by analogy with ob.1 tr.1 notes 4–5: stacc. added by analogy with fl.1, cl.; note 6: ten. added by analogy with fl., ob., cl., cor.3,4 A. A: b.1224 note 8 to b.1225 note 1: d –g  changed in pencil to e –d  B. A: b.1224 note 8 to b.1225 note 1: d–g changed in pencil to e–d fl. stacc. added by analogy with cl. and b.1230 cl. stacc. added by analogy with bb.1231–1232 A: = 72 added in pencil b n fg.2 notes 1–6: e emended to e by analogy with trb.t.2 b n va.(2) chords 1–6: e emended to e by analogy with trb.t.2

ACT THREE Bar Part 1

DCM 030

poco accel. added as in D; A: q = 112 added in pencil Allegro added as in B1–B2, D A: più mosso più mosso added in blue crayon A: alternative part (a –c ) added in red ink D1: second crotchet: Ha, ha! added in ink A: alternative part added in red ink:

Comment D2: Horneman has added the following remark regarding scenography in ink: Denne Estrade ønskede jeg gjerne for at Festmusikken kunde klinge bedre ud; men da den siges at tage længere Tid at sætte op og borttage, og da korte Mellemakter er af største Vigtighed, maa den undværes. Dette har medført en Omarbeidelse af det personelle Scenearrangement med en Trappe, som optager hele Scenens Bredde.; D: Allegro con moto

711

1 1 1

1 2 3 3

3 3 3 3 4 4 4 4 5 5 5 5 5 5 5 6 6 7 7 7 7 8

8 8 9

9 9 9

9 9 9 10 10 10 11 11

712

fl.

second semibreve: stacc. added by analogy with picc., ob., cl., fg., brass picc. fl. cl. notes 2–3: stacc. added by analogy with ob. and by analogy with b.5 (picc., fl., ob., vl.1,2) fg. cfg. cor. note 2: stacc. added by analogy with b.5 (fg., cor.) tr. trb.t. trb.b. tb. str. stacc. added by analogy with b.5 (picc., fl., ob., vl.1,2) tr. notes 1–4: articulation added by analogy with picc., fl., vl.1; note 5: ten. added by analogy with ob., cl., fg. picc. fl. notes 2–3: stacc. added by analogy with b.7 ob. cl. cfg. note 2: stacc. added by analogy with fg., cor. trb.t. trb.b. tb. cor.3,4 trb.t. notes 3–6: stacc. added by analogy with ww., cor.1,2, trb.b., tb. tr.1 notes 2–5: stacc. added by analogy with b.7 (picc., fl.) tr.2 stacc. added by analogy with b.7 (picc., fl.) str. stacc. added by analogy with b.7 (picc., fl., vl.1,2) cl. cor.3,4 tr. notes 2, 4: stacc. added by analogy with picc., fl., ob., vl.,2 va. fg., cor.1,2, vl.1 va. vc. third crotchet: ten. added by analogy with vl.1,2 vc. cb. notes 1–4: articulation added by analogy with picc., fl., ob., fg., cor.1,2, vl.1 cb. note 5: ten. added by analogy with ww., brass ob. cl. fg. marc. added by analogy with picc., fl. brass str. cl. notes 2–3: stacc. added by analogy with picc., fl., ob. cfg. trb.t. note 2: stacc added by analogy with fg., cor. trb.b. tb. tr. notes 2–3: stacc. added by analogy with picc., fl., ob. timp. trgl. stacc. added by analogy with b.1 vl.1,2 notes 2–3: stacc. added by analogy with picc., fl., ob. va. vc. cb. stacc. added by analogy with picc., fl., ob. and vl.1,2 (notes 4–7) cfg. ten. added by analogy with ob., cl., fg. tr. notes 1–4: articulation added by analogy with picc., fl., vl.1; note 5: ten. added by analogy with ob., cl., fg. ob. cl. fg. note 2: stacc. added by analogy with cor., trb.t. and by cfg. tr.2 analogy with b.3 (fg.) tr.1 notes 2–5: stacc. added by analogy with picc., fl. vl.1,2 notes 2–3: stacc. added by analogy with picc., fl. va. vc. cb. stacc. added by analogy with picc., fl. and by analogy with vl.1,2 (notes 4–9) cfg. cor.3,4 third crotchet: ten. added by analogy with picc., fl., trb.t. trb.b. ob., cl., fg., cor.1,2 tb. tr. notes 2, 4: stacc. added by analogy with picc., fl., ob., cl., fg., cor., str.; note 5: ten. added by analogy with picc., fl., ob., cl., fg., cor.1,2 vl.1 note 5: ten. added by analogy with b.4 vl.2 va. note 5: ten. added by analogy with picc., fl., ob., cl., fg., vc. cb. cor.1,2 picc. fl. note 1: ten. added by analogy with vl.1; notes: 2–3: stacc. added by analogy with ob. and by analogy with bb.5, 7 ob. cl. note 1: ten. added by analogy with b.11; C1 (ob.): note 1: marc. cl. notes 2–3: stacc. added by analogy with ob. cfg. cor.3,4 ten. added by analogy with fg., cor.1,2, str. tr. trb.t. trb.b. tb. cfg. trb.t. trb.b. tb. stacc. added by analogy with fg. cor. tr. fourth quaver: stacc. added by analogy with ob., cl., fg. str. notes 2–3: stacc. added by analogy with ob. and by analogy with bb.5 (picc., fl., ob.), 7 (picc., fl.) fl. cor.1,2 tr. notes 2, 4: stacc. added by analogy with picc., ob., cl., vl.1,2 vl.1 note 5: ten. added by analogy with bb.4, 12 va. note 4: stacc. added by analogy with picc., ob., cl., vl.1,2 picc. fl. note 1: ten. added by analogy with ob., cl., vl.2, va., vc., cb. picc. fl. ob. notes 2–3: stacc. added by analogy with cl. and by vl.2 va. vc. analogy with bb.5 (picc., fl., ob.), 7 (picc., fl.), 9 (ob.) cb. cfg. notes 2–4: stacc. added by analogy with fg., cor.

11 11 12 12 13 14

16 16 16 16 17 17 18 19 20 21 21 22

22 22 22 23 23–24 24 24 24 24 25 25 25 26 26

26 26

26 27 27 27 29 29 31 31 31 31 33 38 42 46

DCM 030

trb.t. trb.b. articulation added by analogy with fg., cor. tb. vl.1 notes 1–3: articulation added with analogy with cl. and by analogy with vl.2, va., vc., cb. (note 1) cor.1 notes 2, 4: stacc. added by analogy with picc., fl., ob., cl., vl.1,2, va. cor.2 articulation added by analogy with picc., fl., ob. cl., vl.1,2, va. tutti fourth crotchet: stacc. added by analogy with b.5 (picc., fl., ob.) ob. cl. tr. articulation added by analogy with picc., fl., vl.1 vl.2 va. vc. cb. picc. fl. ob. notes 2–3: stacc. added by analogy with b.5 (picc., fl., cl. tr. str. ob.) cl. tr. vl.2 second to fourth quaver: stacc. added by analogy with va. vc. cb. picc., fl., ob., vl.1 and by analogy with b.1 fg. cor. trb.t note 2: stacc. added by analogy with b.3 (fg., cor.) trb. tb. cfg. stacc. added by analogy with fg, cor. tr. articulation added by analogy with ww. vl.1 notes 2, 4, 5: articulation added by analogy with picc., fl. ww. articulation added by analogy with bb.3, 5, 7 brass. str. tutti articulation added by analogy with b.4 ww. brass. articulation added by analogy with b.5 trgl. str. ww. tr. vl.1 articulation added by analogy with b.6 cfg. ten. added by analogy with b.6 picc. fl. fg. articulation added by analogy with b.7 cfg. cor.3,4 tr. trb.t. trb.b. tb. str. ob. notes 2–5: stacc. added by analogy with notes 6–9 and by analogy with b.7 (picc., fl.) fg. A: note 3: changed to e e e e in pencil (Horneman?) cor.1,2 note 2: stacc. added by analogy with b.7 tutti articulation added by analogy with b.8 vl.1 b.23 note 9 to b.24 note 1: slur omitted by analogy with bb.9, 463–464, 476–477 picc. fl notes 1–3: articulation added by analogy with b.9 ob. cl. fg. articulation added by analogy with b.9 cfg. brass vl.1 note 1: ten. added by analogy with b.9 vl.2 va. articulation added by analogy with b.9 vc. cb. cor.3,4 marc. added by analogy with bb.27, 478, 480 and by analogy with cor.1,2 tr. articulation added by analogy with b.8 trb.t.2 trb.b. ten. added by analogy with b.8 tb. picc. fl. ob. notes 1–3: articulation added by analogy with vl.1 and by analogy with bb.9, 24 cl. fg. tr.1 articulation added by analogy with vl.1 and by analogy vl.2 va. with bb.9, 24 vc. cb. b cl.2 notes 4–7: f  emended to e  by analogy with ob.1 cfg. cor.1,2 articulation added by analogy with bb.9, 24 trb.t. trb.b. tb. trb.b. note 1: n added ob. note 7: grace note omitted by analogy with picc., fl., cl. tr. articulation added by analogy with bb.9, 24 trb.t. ten. added by analogy with bb.9, 24 trb.b. tb. cor.1 note 1: # added vl.1 B1–B2, C1: notes 1–7: passage in octaves (e –e  etc.) A: second crotchet: poco rit. added in blue crayon added by analogy with cb. fg. tr. p added by analogy with cor.2 vl.2 note 2: n added by analogy with vl.1 cb. dim. added by analogy with fg. cl.1 ad lib. omitted vl.1 second crotchet: e ‰ emended to q vc. cb. note 6: b added by analogy with va. and in accordance with C1

50 52–53 54–55 57 63 67–68 68–70

cor.4 cor.1,4 vl.1 fg. GUL. cl.2 vl.1

71 72

vl.1

74 78 79 83

va. GUL. GUL. vl.2

85 87 88–89 89

vl.1 fg.2 fg. cor.3

94 95 98

cb.

1.TERN. 1.TERN.

2.TERN.

99 100 102 102–103 102 102 104

vl.1(2) cor.4 fl.2 ob.1 ob.2 cl.2 fg. cl.

104 105

fg. cor. ob.1 cl.1

105 108 117 122 123, 125 126 126–127

fg. cor. vl.1 va. vc. cl. fg. cor. cl. fg. cor. ob. cl. fg. cor. vl.1

136 137 138 138 139 139 140 140 141 142 142 144 144 145

vc. cb. vc. vc. cb. cb. fg. vc. fg. vc. cb. fg. vc. cb. vc. vc. fg. vc. cb. vc. fg.2 va. fg.1

146

2.TERN.

148 149 151

ob.1 cb. fg.1 ob.2

153–154

vl.2 va. vc. cb.

154 155 155–156 155 157

vl.1 vl.2 va. vc. vl.1

note 4: stacc. added by analogy with cor.1 b.53 note 1: end of incomplete tie added B1–B2, C1: b.54 note 1 to b.55 note 4: ‰ and U added by analogy with cl. A: (rejser sig) b.68 note 1: end of incomplete slur emended b b notes 3–4: g –f  emended to f –f  as in B1–B2 by analogy with b.71 added by analogy with bb.68–70 A: En Takt for meget i Partituret (det gamle) (A bar too many in the score (the old one [i.e. C1]) div. added by analogy with vl.1 A: Œ changed to Œ in pencil (Horneman?) A: note 2: n added in pencil (Horneman?) cresc. added by analogy with fg., cor.2,4, vl.1, va., vc., cb. second crotchet: n added note 1: n added added by analogy with fl., ob., cl., cor., str. note 1: ff emended to fz by analogy with b.88 and by analogy with ww., cor.1,2 p added by analogy with b.93 (vl.1,2, va.) A: Slut added in blue crayon b note 2: d  emended to e  as in C2, D

160

vc.2

162 165–167 173–174 176 178–179 184–185 184–185 184–185 189–190 190 190 194

ob.1 va. GUL. 1.TERN. ob. fg.1 cor.1 fg.2 cor.2 cl. cl.1 vl.2 va. vc. cb.

195 196 196 196

va. ob. va. vc.

197

cor.1,2,3

204

ob.

207–208

va.

222 222 224

cl.1 fg.1 vl.2

225 225 226

cl.1 fg.1 cor.2

234–235

vl.2

emended to as i C2, D # first to second crotchet: q e e; notes 3–4: c –c  b n # emended to b –a as in D; C2: note 4: c note 6: n added p emended to pp by analogy with fg.2 note 3: stacc. added by analogy with fl.1, cl.1 b.102: incomplete beginning of slur added note 4: stacc. added by analogy with b.105 (ob.2) note 4: stacc. added by analogy with cor. note 1: stacc. omitted by analogy with fg., cor. and by analogy with b.101 (cl., fg., cor.) stacc. added by analogy with b.101 note 3: stacc. added by analogy with fl. and by analogy with b.102 stacc. added by analogy with b.102 added by analogy with vl.2, va., vc. div. added stacc. added by analogy with b.102 stacc. added by analogy with b.101 stacc. added by analogy with fl. b.127 note 1: end of slur emended to b.127 note 2 by analogy with vl.2, va., vc. stacc. added by analogy with fg. stacc. added by analogy with fg., cb. note 1: stacc. added by analogy with fg. note 2: stacc. added by analogy with fg., vc. note 2: stacc. added by analogy with cb. note 1: stacc. added by analogy with bb.137, 138 note 1: stacc. added by analogy with bb.138, 139 note 2: stacc. added by analogy with fg., cb. stacc. added by analogy with fg., cb. note 1: stacc. added by analogy with b.141 (fg.) note 2: stacc. added by analogy with cb. note 3: b added note 6: b added note 1: b added

236 236 240 242–243 242 243 248, 250 255–256 265 265–266 269–275 276 281 286 287–291 287 287–288 291 292 296 296 297 300 302

vl.2 va. vc. 2.TERN. vl.1 GUL. 1.TERN. GUL. GUL. cor.3,4 vl.2 va. fl.2 A. fg.1 GUL.

302

vl.2 va. GUL. 1.TERN. CORO vc. cb. fl.1 ob.1 vl.1

emended to as in C2, D note 3: b added b added p added by analogy with ob.1 (b.149) and by analogy with cl. stacc. added by analogy with fl., ob., cl. A: third quaver: rall. added in pencil A: chord 1 note 4: n added in red ink (Horneman) stacc. added by analogy with fl. A: chord 1 note 3: n added in red ink (Horneman) arco added

vc. 1.TERN. fg.1 vc.

306 306 307 307 307 309 311 312

DCM 030

vl.2 vl.1

fl.1 fg. 2.TERN.

note 1: marc. omitted as in B1–B2 and by analogy with cb. and by analogy with b.162 1. added as in B1–B2 and in accordance C1 added by analogy with vl.2 b.173 note 1: beginning of incomplete tie add note 2: a  emended to e  as in C2, D p added by analogy with cl., fg., cor.3,4 end of incomplete slur emended to b.184 note 2 end of incomplete slur emended to b.184 note 1 end of incomplete tie emended to b.184 note 1 b.189: incomplete tie emended note 1: # emended to n p added by analogy with cor.1,2,4, vc., cb. p added by analogy with cor.1,2,3 and by analogy with b.197 above stave: omitted 1. added as in B1–B2 by analogy with fg.2 cresc. emended to and cresc. emended to by analogy with fg.2 p added by analogy with vc., cb. and by analogy with b.194 by second quaver: cresc. emended to analogy with b.202 emended to b.207 note 1 to b.208 note 4: cresc. molto by analogy with fg., vc., cb. mf added by analogy with fg.2, vc. C1: stacc. added by analogy with va. and by analogy with bb.222–223 mf added by analogy with fg.2, vc. C1: note 2: # added emended to as in B1–B2, C1 D: Molto vivo tutti added c  emended to f  as in C2, D tie added by analogy with cor.1 p added by analogy with va. A: first quaver: rit. added in pencil, one of them underlined in blue crayon ten. added by analogy with b.246 b.255 note 1: end of incomplete slur omitted note 2: n added as in C2, D b.266 note 1: end of incomplete slur emended A: above stave: poco a poco accel---- added in pencil note 2: b added A: above stave: accell-- added in pencil note added as in D; A: bar empty incomplete slur added by analogy with cor.1,2 div. added A: below stave: accell--- added in pencil b added b F2: note 1: e  A: n added in pencil (Horneman?) notes 1–2: e. x emended to x. y as in D D: Allegretto note 2: n added by analogy with vl.1 A: above stave: Allegro [= pencil] non troppo [= blue crayon] added A: added in pencil

note 1: n added by analogy with cl.1, vl.1(1), 2 div. added A: Andantino cancelled in pencil and moved to b.308 fz added by analogy with fl.2, ob., cl., fg., cor., vl.1,2, va. stacc. added by analogy with fl., ob., cl. C2: first to second crotchet: ‰ q ≈ x A: third crotchet: rit added in pencil A: in right-hand margin: added in pencil; D: Allegro alla breve

713

314 314 318 319 320–321 320 321 321

GUL. va. vc. CORO fl.2 fl. ob. cl. vc. cb. vl.2

323 324 327 330 333 334 336 336 337 340 340 341 343 347–348

fg. A. vc. S. cor.1,2

350–352

GUL.

GUL. vl.2 GUL. GUL. GUL.

A: above stave: added in pencil marc. added by analogy with b.312 note 1: emended to q Œ as in D note added as in B1–B2 b.321: incomplete end of tie added note 3: n added by analogy with fl.2, cl., vl.1,2, va. D: Allegretto chord 1 note 2: n added by analogy with fl.2, cl., cor.3, vl.1 A: third crotchet: rall. added in blue crayon A: a tempo. added in blue crayon note 4: q emended to ‰ e as in D trem. added cresc. added as in D fourth crotchet: q emended to ‰ e as in D D: note 1: rit. rit. omitted A: third crotchet: Andantino added in pencil note 2: n added bar added as in D; A: Œ note 1: f omitted b note 1: b  emended to d  as in D b.348 note 1: end of incomplete tie added

354–356

GUL.

D: note 1: rit. D: Allegro alla breve note 1: e ‰ emended to q as in D

S. A.

356 357–360

vc. 1.TERN.

phrases emended as in C2, D A: section cancelled in pencil, cancellation later erased stacc. added by analogy with vl.1,2, va. A: text added in pencil

357–359

2.TERN.

356–408

changed to in pencil

358

1.TERN.

358 360–361 360

vl.1 2.TERN. va.

360 361 364 366 366

vc. fl.1 vc. vl.2 va. vl.2 va. vc. cb.

371 373 377 391 391–397

S. vc. cor.1 2.TERN. S. A.

1.TERN.

as in D rests emended to phrase as in C2, D D: L’istesso tempo, ma non breve

408–409

1.TERN.

410

cl.2

410

1.TERN.

cancelled in pencil (Horneman) note 2: # added by analogy with cor.2 and by analogy with b.406 A: note and text added in pencil (Horneman)

410–411

2.TERN.

emended to

as in D 353 354 354

403–405 405

A: note 1: . changed to q q q in pencil due to text (Horneman?) notes 2–4: slur added by analogy with vl.2 A: text added in pencil stacc. added by analogy with vl.1,2 and by analogy with b.356 stacc. added by analogy with vl.1,2 A: note 3: n added in pencil (Horneman?) p added by analogy with va. n added by analogy with S., vl.1 stacc. added by analogy with vl.1 D: note 1: rit. D: note 2: d  note 2: f emended to fz by analogy with bb.372, 373 cresc. added by analogy with fl., str.

411 412–413 413 419 419 432 432 436 436 437 437 437 440 442 446 446

446 446

447 447 448 449 454 454 454

454 455 455 456 456

456

456 emended to

714

457

DCM 030

cancelled in pencil (Horneman) cor.3,4 note 7: stacc. added by analogy with cor.1,2 1.TERN. A: phrase added in pencil (Horneman?) 1.TERN. C2: note 2: x ≈ cl. note 4: # added by analogy with va. fg. vc. added by analogy with cl., vl.1,2, va. fg. cfg. A: repeat sign (as previous bar) cancelled in pencil (Horneman?) trgl. gr.c. rhythm omitted as in B1–B2 and by analogy with fg. cor.4 note 2: # added by analogy with cor.1 trb.t.2 slur added by analogy with cor.1,4, trb.t.1, trb.b. added by analogy with b.419 tutti fg. grace notes added by analogy with cl., vc. vl.1,2 va. vc. note 1: marc. added by analogy with b.419 D: note 1: poco accel. e cresc. A: Allegro con moto changed to Allegro in pencil fl. cl. stacc. added by analogy with cor.1,2 ob. notes 3, 6, 9, 12: stacc. added by analogy with tr. and by analogy with cor.1,2 (notes 4, 9); eighth quaver: ff omitted as level is already ff cor.1,2 ff added by analogy with general dynamic level tr. notes 1–2: slur added by analogy with cor.1,2; notes 4–5: stacc. added by analogy with cor.1,2; notes 6–7: slur added by analogy with cor.1,2; note 10: stacc. added by analogy with cor.1,2 cor.1,2 note 2: stacc. added by analogy with fl., ob., cl., tr. vl.1,2 arco added ob. cl. stacc. added by analogy with fl. fg. note 1: marc. added by analogy with vl.2, va., vc. picc. fl. cl. notes 2–3: stacc. added by analogy with ob. and in tr. str. accordance with b.1 fl. str. notes 4–7: stacc. added by analogy with picc., ob., cl. and in accordance with b.1 fg. cfg. cor. note 2: stacc. added in accordance with b.1 trb.t. trb.b. tb. timp. trgl. stacc. added by analogy with b.1 tr. articulation added by analogy with picc., fl. and in accordance with b.2 gr.c. fourth crotchet: q emended to Œ by analogy with bb.2, 459 and as in B1–B2 picc. fl. notes 2–3: stacc. added by analogy with b.3 tr.1 str. ob. cl. note 2: stacc. added by analogy with fg. and in cor.3,4 tr.2 accordance with b.3 trb.t. trb.b. tb. cor.1,2 tr.1 second to third crotchet: stacc. added by analogy with trb.t. str. picc., fl., ob. cl., cor.3,4, trb.b., tb. and in accordance with b.3 tr. str. notes 4–9: stacc. added by analogy with picc., fl. and in accordance with b.3 cfg. trb.t. ten. added by analogy with b.4 trb.b. tb.

457 457 457 457 458 458

458 458 458 458 458 458 459 459 460 460 460 460 460 460 460 461 461 461 461 462

462 462 462 462 462 462 462 463 463 463 463 464 464 464 464 464 465

cor.3,4

note 4: stacc. added by analogy with picc., fl., ob., cl., fg., cor.1,2 and in accordance with b.4 timp. trgl. ten. added in accordance with b.4 vl.1 note 5: ten. added in accordance with b.4 vl.2 va. articulation added by analogy with vl.1 (notes 1–4) vc. cb. and in accordance with b.4 cl. articulation added by analogy with picc., fl. and in accordance with b.5 fg. trb.t. note 1: marc. added by analogy with picc. and in trb.b. tb. accordance with b.5; note 2: stacc. added by analogy with cor. and in accordance with b.5 cfg. stacc. added in accordance with b.5 cor. note 1: marc. added by analogy with picc., fl. and in accordance with b.5 tr. notes 1–3: articulation added by analogy with picc., fl. and in accordance with b.5 timp. trgl. stacc. added in accordance with b.5 str. articulation added by analogy with picc., fl. and in accordance with b.5 vl.2 marc. added by analogy with picc., fl. and in accordance with b.5 tr. articulation added by analogy with picc., fl., vl. (notes 1–3, 5) and in accordance with b.6 vl.1 note 4: stacc. added by analogy with picc., fl. and in accordance with b.6 fl. notes 6–9: stacc. added by analogy with picc. and in accordance with b.7 ob. cl. fg. note 2: stacc. added by analogy with cor., trb.t. cfg. stacc. added in accordance with b.7 tr.1 stacc. added by analogy with picc. and in accordance with b.7 tr.2 stacc. added by analogy with cor., trb.t. trb.b. tb. stacc. added by analgy with cor., trb.t. str. stacc. added by analogy with picc. and in accordance with b.7 cfg. note 3: ten. added by analogy with picc., fl. ob., cl., fg., cor. and in accordance with b.8 tr. articulation added by analogy with picc., fl., ob., cl., cor. and in accordance with b.8 trb.t. trb.b. ten. added by analogy with cfg. (notes 1–2) and in tb. accordance with b.8 str. note 5: ten. added by analogy with picc., fl., ob., cl., fg., cor. and in accordance with b.8 picc. fl. cl. note 1: ten. added by analogy with str. and in accordance with b.9; notes 2–3: stacc. added by analogy with ob., tr.1 and in accordance with b.9 ob. note 1: ten. added by analogy with str. and in accordance with b.9 cfg. trb.t. articulation added in accordance with b.9 trb.b. tb. cor.1,2 note 2: stacc. added by analogy with fg. and in accordance with b.9 cor.3,4 notes 3–6: stacc. added by analogy with cor.1,2 and in accordance with b.9 tr.1 note 1: ten. added by analogy with str. and in accordance with b.9 tr.2 articulation added by analogy with fg. and in accordance with b.9 str. notes 2–3: stacc. added by analogy with ob., tr.1 cor.1,2 notes 2, 4: stacc. added by analogy with picc., fl., ob., cl., vl.1,2 and in accordance with b.10 tr. articulation added by analogy with picc., fl., ob., cl., vl.1,2 and in accordance with b.10 vl.1 note 5: ten. added by analogy with ww., brass, vl.2, va., vc., cb. and in accordance with b.10 va. note 4: stacc. by analogy with picc., fl., ob., cl., vl.1,2 and in accordance with b.10 picc. fl. ob. notes 2–3: stacc. added by analogy with cl. and in tr.1 str. accordance with b.11 picc. fl. tr.1 note 1: ten. added by analogy with ob., cl., vl.1,2, va. and in accordance with b.10 cfg. stacc. added in accordance with b.11 tr.2 articulation added by analogy with fg., cor. and in accordance with b.11 trb.t. trb.b. articulation added in accordance with b.11 tb. fg. ten. added by analogy with cfg., trb.t., trb.b., tb., vc., cb. and in accordance with b.12

465 465 465 466 466 466

466 466 467

469 469 469 469 470 471

472

472 473

474 474 475 475 475

475

476–477 476

477 477

477

478

DCM 030

cor.1,2 tr.

articulation added by analogy with picc., fl., ob., cl., vl.1,2, va. and in accordance with b.12 cor.3,4 notes 2–3: ten. added by analogy with cfg., trb.t., trb.b., tb., vc., cb. and in accordance with b.12 vl.1 note 5: ten. added by analogy with picc., fl., ob., cl., vl.,2, va. and in accordance with b.12 picc. fl. ob. notes 2–3: stacc. added in accordance with b.13 cl. tr.1 str. cl. vc. cb. notes 4–7: stacc. added by analogy with picc., fl., ob., tr.1, vl.1,2, va. and in accordance with b.13 cor. tr.2 note 2: stacc. added in accordance with b.13 trb.t. trb.b. tb. cfg. stacc. added in accordance with b.13 trb.b. tb. notes 3–6: stacc. added by analogy with fg., cor., tr.2, trb.t. and in accordance with b.13 ob. cl. tr. articulation added by analogy with picc., fl., vl.1 and vl.2 va. in accordance with b.14 vc. cb. picc. fl. ob. notes 2–3: stacc. added in accordance with b.16 cl. tr. str. cl. tr. vl.2 notes 4–9: stacc. added by analogy with picc., fl., ob., va. vc. cb. vl.1 and in accordance with b.16 fg. trb.t. note 2: stacc. added by analogy with cor. and in trb.b. tb. accordance with b.16 cfg. stacc. added in accordance with b.16 tr. vl.1 articulation added by analogy with picc., fl. and in accordance with b.17 picc. fl. ob. stacc. added in accordance with b.18 cl. fg. cfg. cor. tr. trb.t. trb.b. tb. str. picc. fl. ob. articulation added in accordance with b.19 cl. fg. cor. tr. str. trb.t. trb.b. ten. added in accordance with b.19 tb. picc. fl. ob. articulation added in accordance with b.20 cl. fg. cfg. cor. tr. trb.t. trb.b. tb. trgl. str. picc. fl. tr. articulation added in accordance with b.21 vl.1 tr. note 1: # added picc. fl. ob. notes 2–5: stacc. added in accordance with b.22 cl. tr.1 str. picc. fl. cl. notes 6–9: stacc. added by analogy with ob. and in tr.1 str. accordance with b.22 fg. cfg. cor. note 2: stacc. added in accordance with b.22 tr.2 trb.t. trb.b. tb. fg. cor.3,4 notes 3–6: stacc. added by analogy with cor.1,2 and in tr.2 trb.t. accordance with b.22 trb.b. tb. picc. fl. b.477 note 1: end of incomplete slur emended by analogy with bb.23–24 picc. fl. ob. articulation added in accordance with b.23 cl. fg. cfg. cor. tr. trb.t. trb.b. tb. vl.1,2 va. ww. brass. note 1: ten. added in accordance with b.24 str. picc. fl. ob. notes 2–3: stacc. added by analogy with vl.1 and in cl. fg. tr.1 accordance with b.24 vl.2 va. vc. cb. ob. cl. fg. notes 4–7: stacc. added by analogy with picc., fl., vl.1 tr.1 vl.2 va. and in accordance with b.24 vc. cb. cfg. cor. stacc. added in accordance with b.24 tr.2 trb.t. trb.b. tb. tr. trb.t. articulation added in accordance with b.25 trb.b. tb.

715

479 479

480 483 484–485 +489 489 490 491 491, 492 494 494, 495 496 497 500 501 501–502 503 503–504 506 507 507 507 508–509 511 512 513

ww. brass str. picc. fl. ob. cl. fg. tr.1 vl.2 va. vc. cb. cl. tr.1 vl.2 va. vc. cb. cfg. cor. tr.2 trb.t. trb.b. tb. tr. trb.t. trb.b. tb. trb.t.2 cfg. fl. ob. cl.

emended to

note 1: ten. added in accordance with b.26 stacc. added by analogy with the vl.1 and in accordance with b.26

notes 4–7: stacc. added by analogy with picc., fl., vl.1 and in accordance with b.26 stacc. added in accordance with b.26 518 articulation added in accordance with b.27

A: note 1: b added in pencil b.485 note 1: end of incomplete slur or tie omitted slur added by analogy with vl.1,2 and by analogy with b.489 notes 3–4 (fl., cl.) fl. ob. cl. fg. note 1: f omitted as already notated in previous bar vl.1 vc. cb. and by analogy with vl.2, va. vl.1 slur added by analogy with vl.2 cl. fourth dotted quaver: emended from rest by analogy with b.490 and as in B1–B2 va. vc. cb. notes 1–3: stacc. added by analogy with vl.1,2 cor.3,4 tie added by analogy with cor.1,2 va. vc. cb. fourth dotted quaver: stacc. added by analogy with vl.1,2 vl.1 vc. cb. notes 1–3: stacc. added by analogy with vl.2, va. fl. note 5: a  emended to g  by analogy with ob., cl., CORO, vl.1,2, va. cl. vc. cb. notes 5–7: stacc. added by analogy with fl., vl.1,2, va. vl.1 notes 1–3: stacc. added by analogy with vl.2 va. vc. cb. stacc. added by analogy with vl.2 mf added by analogy with fl., ob., cl., cor.3,4; A: note 4: fg. B changed to c in pencil; B1–B2: note 4: c fg. b.504 note 1: end of incomplete slur emended va. cresc. added by analogy with fl., ob., fg., vl.1,2, vc., cb. fg. a 2 added in accordance with C1 cor.3,4 fourth dotted quaver: q. emended to q ‰ by analogy with cor.1,2 f added by analogy with ww., vl.1 vl.2 va. vc. cb. A: section (repeat of bb.489–508) cancelled in pencil, cancellation later erased ob. a 2 added in accordance with C1 picc. A: marking erased A. T. B.

521

cl. cor. tr. vl.1,2 va. A. T. va. picc. fl. ob. cl. cor. tr. vl.1,2 va. vl.2(2)

522

cor.1,2

522 522 523

cor.3,4 tr. trgl. vl.1

523

vl.2

526 533 534

cor.3,4 GUL. GUL.

538 539

va. GUL.

542 542 542–543 542 543 543 543

cl.1 fg.1 vl.1 vl.2 cl.2 fg.2 va.2 vl.2(1)

550 550

cl.2

552

GUL.

518 518 518 519

as in D stacc. added by analogy with picc., fl., ob.

note 1: c  emended to e  as in D note 1: e  emended to c  as in D non div. emended to unis. stacc. added by analogy with b.518

note 1: g  emended to c  as in B1–B2 and in accordance with C1 note 4: marc. emended to marc. as in B1–B2 and by analogy with picc., fl., ob., cl. note 4: marc. added by analogy with picc., fl., ob., cl. marc. added by analogy with timp., gr.c. note 1: chord (e –c ) emended to c  as in B1–B2 and in accordance with C1 chords 2–3: g –c –e  emended to e –c –e  as in B1–B2 and in accordance with C1 mf added by analogy with ob.1, cl., fg. C2: note 1: f  changed to g  in pencil b A: notes 1–2: b  changed to g  in blue crayon; C2: notes 1–2: g  A: note 2: b added in pencil A: above stave: rall. added in pencil, later cancelled in blue crayon note 1: n added A: note 3: b added in pencil (Horneman?) b.542 note 2: beginning of incomplete slur added slurs added note 2: n added by analogy with ob.1 note 2: b added by analogy with ob.1 b note 2: f  emended to e  by analogy with cl.2 and in accordance with C1 D: note 1: rall. A: note 2: n added in pencil (Horneman?)

emended to

514 514 515 516

A. T. fl. ob. cl. cor.1,2 tr. fl.1

516–517

picc. fl. cl.

517

tb.

517

A. T. B.

716

as in D note 1: c  emended to e  as in D note 1: e  emended to c  as in D stacc. added by analogy with b.511

# note 13: f  emended to a  by analogy with picc., fl.2 and by analogy with b.512 incomplete slur between bars emended by analogy with bb.512–513 added by analogy with trb.t.1 and by analogy with b.881

556 557–558 557–558

vl.2 ob.1 vc.2

560–561

ALAD.

563 564 566 567

574–575

ob. cor.1 va. str. cl. fg.2 cor.2,4 vl.1,2 va. fl.2 cl. vc. cb. ob.1

574

ALAD.

574 575 578–579 585 593

vl.2 va. cor.4 fl.2 GUL. GUL.

568–569 571

DCM 030

as in D2 B1–B2, C1: note 1: ten. b.557 end of incomplete slur emended to b.558 note 3 b.557 note 1: beginning of incomplete tie added alternative phrase added in red ink (Horneman) p added by analogy with cl., fg., str. notes 3–4: stacc. added by analogy with vl.1,2 added by analogy with fl.2 added by analogy with fl., str. and by analogy with b.571 stacc. added by analogy with bb.564–565 added by analogy with ob., fg.1, cor.2,4, vl.1,2, va. and by analogy with b.567 b.574: end of incomplete slur emended to b.575 note 2 emended to as in C2, D pp added by analogy with fg. notes moved from cor.3 to cor.4 b.579 note 2: end of incomplete slur emended A: note 1: # added in blue crayon b b note 1: a  emended to b  as in D; C2: b  changed to a  in pencil

593 593

ALAD. va.

593

vc.

594

ALAD.

b second dotted crotchet: b  emended to rest as in D2 note 1: Œ. emended to g  as in B1–B2; A: bb.592–593: incomplete slur cresc. added by analogy with fg., vl.1,2, va., cb.; B1–B2: note 1: f b first dotted crotchet: b  emended to rest as in D; note b  1: d emended to b as in D; A: note 1: f  added in red ink (Horneman)

662

fg.

662 663 663–664 663 663–665

vc. fl.2 cl. fg. ALAD.

f emended to ff by analogy with b.661 (fl., ob., cl., cor.2,3,4, str.) notes 3–6: stacc. added by analogy with vl.1,2, va. stacc. added by analogy with fl.1, ob., cl., vl.1,2, va., vc. b.663: end of incomplete tie added to b.664 note 1 stacc. added by analogy with ob. alternative lower part omitted in accordance with D; A:

595–596

emended to

ALAD.

664 667 667 667–668

as in D; C2: phrase 596 598–599 599 599

vl.1(2) vl.1,2 cl. va.

601 604 609 609 610 610

vl.2 fg.1 cor.1 vl.1 vc. fl.2 cl. cor.2

610 610 611 613 613 614 615–616

vl.1 va. vc. vl.2 va. vc. va. vc. ALAD.

added in pencil

675 676–679 677–678 681 682 682 683 684 684 685–686 687 687

fl. cor.1 cl.1 trb.t. tr. trb.t. ob. vl.2 CORO fl. cor.3,4

687

tr.

687 687 687 688

vl.1 vl.2 trgl. tr.

688 688 689 689 690 690 691–692 691 691 691 692 692

vl.1 vl.2 trb.b. vc. cb. vl.2 fl. ob. cl. fg. trgl. ob. cl. fg. B. ob. cl. fg. tr.

692 692

trb.t. timp.

692

693

cl.

;

vl.2 vl.1 vl.2 va. fl.2 cl.1 cl.2 vl.1,2 va. ob.1 fl.2 fg.1 ALAD.

633 633 634 635

cor.1,3 str. GUL. ALAD.

C2: upper part and Basso 8va added in blue crayon A: chord 1, note 2: n added in pencil (Horneman?) notes 3–4: stacc. added by analogy with b.565 stacc. added by analogy with b.565 b.624: end of incomplete slur emended to b.625 note 2 emended to e  (e) ‰ ‰ Œ ‰ by analogy with b.568 emended to d  (e) ‰ ‰ Œ ‰ by analogy with b.568 stacc. added by analogy with bb.564–565 added by analogy with str. b.629: end of incomplete slur emended to b.631 note 3 added by analogy with vl.2, va. D: lower part lacking; C2: lower part added in blue crayon added by analogy with ob.1, cl.2, fg., str. pp added by anaology with ob.1, cl.2, fg., cor.1,3 A: note 1: marc. added in blue crayon A: note 1: marc. in blue crayon

643–644

ALAD.

-∑ -∑

changed to b ; C2: q. (b ) Œ. |

vl.2

644 649 650 650 651 654 654 656–657

fg.1 vc. cl. vc. cor.2 vl.1,2 ALAD.

va. cl.

-∑

b.645: end of incomplete slur emended to b.646 note 12 note 2: # emended to n notes 4–6: stacc. added by analogy with vl.1,2, va. note 1: stacc. added by analogy with fl. notes 4–6: stacc. added by analogy with vl.1,2, va. D: first crotchet: poco accel. added by analogy with cor.4 added by analogy with va., vc., cb. alternative lower part omitted in accordance with D; A:

659 661 662

cl. ob. cor.3,4 ALAD.

but later erased note 2: d  emended to f  by analogy with GUL. b.599 note 1: end of incomplete slur emended note 1: f omitted by analogy with fg.1, vl.1,2 note 4: f moved to note 1 by analogy with vc., cb.; B1– B2: note 1: ff note 1: stacc. omitted f added by analogy with str. note 2: f omitted by analogy with vc. stacc. added by analogy with vl.1,2, va. note 1: stacc. added by analogy with fl.1 note 1: f omitted by analogy with ob., cor.3,4 and by analogy with b.614; A: note 1: f added in light ink in foreign hand note 1: stacc. added by analogy with vl.2, va., vc. notes 4–6: stacc. added by analogy with vl.1,2 note 1: stacc. omitted note 4: stacc. added by analogy with vl.1,2 stacc. added by analogy with vl.1,2, va. notes 4–6: stacc. added by analogy with vl.1,2 A: alternative lower part omitted in accordance with D;

615 623 623 624–625 626 626 626–627 628 629–631 632 632

643–646

;

C2: upper part added in blue crayon D: first crotchet: a tempo notes 4–6: stacc. added by analogy with vl.1,2, vc. note 1: stacc. added by analogy with fl.

C2: lower part added in blue crayon omitted by analogy with cor., str. stacc. added by analogy with fg. stacc. added by analogy with b.663 alternative lower part omitted in accordance with D; A:

669 669–670 675–677

693 693 693 694 696 696 699 699

DCM 030

trb.t. tr. trb.t. trb.b. tb. timp. timp.

;

C2: lower part added in blue crayon D: Prestissimo b.670: beginning of incomplete tie added to b.669 note 1 B1–B2: section added in pencil b note 1: c emended to a b note 1: a emended to a A: marking (not cancellation) referring to bars lacking in D though that source has an extra bar (b.678) note 1: b added note 2: b added note 1: b added stacc. added by analogy with b.681 marcato added by analogy with picc., fl., cl. A: notes 11, 12, 23, 24: d  changed to b  in pencil b.685: end of incomplete tie emended note 2: stacc. added by analogy with picc., ob., cl., fg. fz added by analogy with ww., cor.1,2, trb.t., trb.b., tb., vl.1,2, va., vc. note 1: stacc. added by analogy with note 2 and by analogy with cor. chord 2: stacc. added by analogy with vl.2, va. chord 1: stacc. added by analogy with vl.1, va. fz added by analogy with ww., brass., vl.1,2, va., vc. stacc. added by analogy with b.687 note 2 and by analogy with cor.1,2 stacc. added by analogy with b.687 chord 1 stacc. added by analogy with b.687 chord 2 A: note 1: b added in pencil

note 2: b added stacc. added by analogy with picc. fz added by analogy with b.692 b.691: end of incomplete slur emended to b.692 note 1 note 1: stacc. added by analogy with picc., fl. stacc. added by analogy with b.689 b D2: note 3: e stacc. added by analogy with picc., fl. fz added by analogy with ww., cor.1,2, trb.t., trb.b., tb., vl.1,2, vc., cb. and by analogy with b.690 f added by analogy with b.690 and as in B1–B2 fz emended to f by analogy with b.690

? emended to & 8

stacc. added by analogy with picc., fl., ob. and by analogy with b.695 B. note 1: b added vl.1 vc. note 10: end of slur emended to note 12 by analogy with b.695 ff emended til f by analogy with ww., brass., vl.1,2, vc. va., cb. fz added by analogy with ww., cor., tr., trb.t., str. trb.b. tb. vl.1 notes 4–6: stacc. added by analogy with vl.2 vl.2 notes 7–9: stacc. added by analogy with vl.1 fg. notes 3–4: stacc. added by analogy with picc., fl., ob. cl. cor.3,4 tr. stacc. added by analogy with picc., fl., ob., cl., cor.1,2, trb.t. trb.b. vl.1,2 tb. va. vc. cb.

717

700 702 703 703 703 704

vl.1 fg. fg. trb.b. tb. va. vc. cb. picc. fl. ob.

704

cor. tr. trb.b. tb. str. fl. ob. cl. fg. cor.2 cor.1 T. fl. cor.2

704, 705 708 708–709 708 709–710 709–710 709 709 711–712

716

tr.2 trb.t.1 fl.2 cor. trb.b. tb. tb. trb.t.1 fl. cl. fg. cor.1,2 cor.3,4 tr.

716

trb.t.

717

picc.

717

cor.

719 719 720

CORO fg.

724–727

fl.1

711 712 716 716

notes 7–9: stacc. added by analogy with vl.2 a 2 added in accordance with C1 stacc. added by analogy with picc., fl., ob., cl. stacc. added by analogy with cor., trb.t. stacc. added by analogy with vl.1,2 stacc. added by analogy with cl., fg. and by analogy with b.703 stacc. added by analogy with trb.t. and by analogy with b.703 stacc. added by analogy with b.703 A: mf added in a different pen; B1–B2: note 1: mf erased b.708: end of incomplete slur emended to b.709 note 1 D: lower part: (d ) q (d ) slur added by analogy with ob.2, cl.2, fg.2 b.710 note 2: beginning of slur emended to b.709 note 4 by analogy with ob.2, cl.2, fg.2 Œ added in accordance with C1 A: 1: # added in pencil b.712: beginning of incomplete slur added to b.711 note 1 first semibreve: added in accordance with C1 A: note 1: # added in pencil stacc. added by analogy with picc., ob. note 3: stacc. added by analogy with picc., ob.

-∑

726 727–728

cl.1 SULT.

729

vl.2

730–731 731 731 737 737 737

cor.1 fg.1 T. B. fg. cor.1 2.TERN.

737

SULT. VIZ.

738 738

vl.2 va.

739–740 742 743

cor.1 vl.2 tb.

743–744

vl.2

743 744 746 746 746 747 747 747 748

vc. fg. cor. cor.4 va. trb.b. trb.b. tb. T. cl.

notes 1–2: stacc. added by analogy with cor.1,2; note 3: stacc. added by analogy with picc., ob. notes 1–2: stacc. added by analogy with trb.b., tb.; note 3: stacc. added by analogy with picc., ob. note 2: e  emended to c  as in B1–B2 and by analogy with fl.1 note 1: stacc. added by analogy with picc., fl., ob., cl. and by analogy with b.718 D: Andante bar added as in D dolce emended to dolce e cantabile by analogy with ob. and by analogy with bb.719 (fg.1), 720 (cl.) b.725: beginning of incomplete slur added to b.724 note 1; A: bb.724 notes 1–7: slur; b.725: beginning of slur incomplete tie added D: b.727 second crotchet to b.728 third quaver: rests; C2 as A cresc. added by analogy with ob., cl., fg., cor., vl.1, va., vc., cb. b.730 note 5: incomplete slur omitted omitted by analogy with ob.2, cl.2 notes 3–5: f added by analogy with S., A. (b.730) note 2: n added note 3: # omitted note 3: f moved to note 4 by analogy with GUL., 1.TERN., ALAD., SULT., VIZ., CORO f added by analogy with GUL., 1.TERN., 2.TERN., ALAD., CORO rest 1: dim. moved to note 1 by analogy with vl.1 omitted by analogy with vl.2; rest notes 1–4: 1: dim. moved to note 1 by analogy with vl.1 b.740: end of incomplete tie added ff added by analogy with vl.1, va., vc., cb. notes added in accordance with C1; A: no indication of a 2, 1., 2. two slashes emended to three by analogy with vl.1, va., vc. fz added by analogy with vl.1,2, va. mf added by analogy with cor.2,4 note 1: b added; f added by analogy with cor.1,2 cresc. added by analogy with cor.1,2 third crotchet: two slashes emended to three cresc. added by analogy with ob. f added by analogy with trb.t. note 1: n added note 1: marc. added by analogy with fl., ob.;

cor.1,2 tr.

by analogy third crotchet: q emended to with fl., ob., CORO note 4: marc. added by analogy with fg., trb.t., trb.b. A: note 1: ff changed to f

748 748

718

833 834–835 835

trb.t. trb.b. A: note 1: ff erased tb. 1.TERN. note 9: n added 2.TERN. ALAD. A: alternative notes an octave lower added in red ink (Horneman) ff added by analogy with ww., cor., vl.1,2, va. vc. cb. trb.b. tb. marc. added by analogy with trb.t. trb.t.1 second crotchet: q tied to e emended to e tied to x ≈ as i B1–B2 and in accordance with C1 cl. notes 2–3: tie added by analogy with fl., ob., fg., vl.1,2, va., vc. added by analogy with fl., ob., cl. fg. D: Allegro molto vivace vl.2 va. stacc. added by analogy with vl.1 n added cb. vl.2 va. stacc. added by analogy with vl.1 D: sixth quaver: sost. va. second quaver: stacc. added by analogy with b.760 ob.1 note 1: c  omitted as in B1–B2 and in accordance with C1; A: note added in light ink ob.2 note 1: f  omitted as in B1–B2 and in accordance with C1; A: note added in light ink fg. fz added by analogy with ob., cl., cor.2,3,4, vc., cb. fg. note 1: fz emended to f by analogy with va., vc., cb. va. note 1: beginning of slur emended to note 2 by analogy with fg. n added cb. fg. note 4: end of slur emeneded to note 3 by analogy with fl. ob., vl.1, vc., cb. tr. a 2 added as in B1–B2 and by analogy with b.769 and in accordance with C1 B. tie added according the text tr. b.773: beginning of incomplete slur added to b.772 note 1 fl. notes 4–6: stacc. omitted as in B1–B2; B1–B2: notes 4–6: stacc. cancelled in ink b vl.1(2) chord 2 note 1: g  emended to a  by analogy with ob.1, fg., trb.b., tb., va., vc., cb. and in accordance with C1; b C1: note changed from g  to a  in ink fl. note 1: stacc. added by analogy with picc., cl. vl.1(1) chord 2, bottom note: n added vl.1 chord 1: stacc. added by analogy with picc., fl., ob., cl. ff added by analogy with ww., cor. tr. trb.t. trb.b. tb. timp. str. ALAD. note 9: b added as in D va. note 1: marc emended to marc. and stacc. by analogy with bb.792, 794 ALAD. C2, D: note 2: d  va. mf added by analogy with fl., ob., cl., fg., cor.1,2,3, vl.1,2, vc., cb. b n vc.(1) note 3: b emended to a as in B1–B2 n vc.(2) note 1: added ALAD. A: above stave: poco rit added in pencil ALAD. A: above stave: poco accel. added in pencil fl. stacc. added by analogy with bb.827–831, 833–835 vl.1,2 slur over two bars emended to one in accordance with C1 vl.2 B1–B2: second crotchet: n vl.1,2 slur added in accordance with C1 va. slur added in accordance with C1

836–840

ALAD.

836–837 841 844–845 846 849–850 849

vl.1,2 va. vc. cb. cor.3,4 tr. fl. picc. fl. fg. cor. tr.

849

timp.

850, 851 852

trb.t. fg.

748 748 748–749 748 749 750, 751 752 752 753 755 755 756 757 757 758 758 763, 764 765 766 766 768 769 769 772–773 773 776

777 777 781 790

791 793 794 802 823 824 826 828 832 832–833

DCM 030

A: alternative phrase added in red ink (Horneman) slur added in accordance with C1 marc. added by analogy with fg. b.844: end of incomplete tie added f added by analogy with the general dynamic level b.849 beginning of incomplete slur added note 1: f omitted as dynamic level is already f and in accordance with B1–B2 three slashes emended to two by analogy with bb.850– 851 note 1: ten. emended to marc. by analogy with trb.b., tb. note 2: single stem emended to two in accordance with C1

853 854 854 855 855–856 855, 856 856 858 858 859 859 859 859 859 859 859 860 860 860 864 865 865 865 865 866 866 868–869 869–871 869 870 871 871 872 872 875 875 876 879 881–882 882 882–883 883 884 884 885–888 885 888 889 889 893 893 893 897 897 898–899 899 899 900

trgl.

three slashes emended to two by analogy with bb.854, 858, 859, 864, 865 fl. fg. stacc. added by analogy with ob., cl. tr. notes 1–2: stacc. added by analogy with b.853 ob. notes 1–2: stacc. added by analogy with b.856 fg. stacc. added by analogy with fl., cl. trgl. three slashes emended to two by analogy with bb.860, 866 vl.1(2) ties added by analogy with vl.1(1),2 fg. stacc. added by analogy with fl., ob., cl. tr.1 stacc. added by analogy with b.854 fl. notes 6–8: stacc. added by analogy with ob., cl., fg. fg. notes 1–3: stacc. added by analogy with fl., cl. tr.1 note 4: marc. added by analogy with b.855; note 6: stacc. added by analogy with b.855 tr.2 first dotted crotchet: Œ ‰ added by analogy with bb.860, 865, 866 and in accordance with C1 CORO note 5: e emended to q as in D A. note 4: g  emended to b  as in D vl.1 fourth dotted quaver: stacc. added by analogy with b.855 fg. stacc. added by analogy with fl., cl. tr.1 notes 1–3: stacc., note 4: marc. added by analogy with b.856 mf added by analogy with ww., tr., trb.b., tb., vl.1,2, vc., va. cb. fg. stacc. added by analogy with fl., ob., cl. fl. fg. stacc. added by analogy with cl. ob. notes 1–2: stacc. added by analogy with b.856 tr.1 notes 1–4: articulation added by analogy with b.856 vl.1 notes 1–3: stacc. added by analogy with vl.2 fg. stacc. added by analogy with fl., cl. tr.1 note 2: # omitted fg. b.869: beginning of incomplete tie added to b.868 ob.2 b.870 note 2: beginning of slur emended to b.869 by analogy with fl.2 vl.1,2 slurs added by analogy with S., A. and by analogy with b.868 vc. cb. cresc. added by analogy with fl., ob., fg., vl.1,2 fl.1 note 6: # added fg. stacc. added by analogy with fl., ob., cl., str. fg. vl.1,2 va. note 6: marc. added by analogy with fl., ob., cl., vc., cb. T. slurs added by analogy with C., A., B. tr. stacc. added by analogy with cor.1,2 added in accordance with C1 tb. picc. note 2: ff omitted as it also appears on note 1 and by analogy with b.512 fl. ob. cl. stacc. added by analogy with b.875 cor.1,2 tr. cor. slurs added by analogy with bb.517–518 cor. tr. vl.1,2 stacc. added by analogy with picc., fl., ob., cl. and by va. analogy with motif bb.854–866 tr. marc. added by analogy with bb.518–519 picc. fl. cl. stacc. added by analogy with ob. and by analogy with tr. vl.1,2 va. motif bb.854–866 cl. notes 4–12: stacc. added by analogy with notes 1–3 and by analogy with motif bb.854–866 tr. vl.1,2 va. stacc. added by analogy with cl. (notes 1–3) and by analogy with motif bb.854–866 cl.1 ties and ~~~ added by analogy with picc., fl., vl.1 vc. marcato added by analogy with fg., trb.b., tb., cb. CORO note 1: emended to q as in B1–B2, D ob.1 tie added by analogy with vl.2, and by analogy with b.890 mf added by analogy with 1.TERN., 2.TERN., ALAD., GUL. SULT., VIZ., CORO ob.1 stacc. added by analogy with vl.2 GUL. marc. added by analogy with ALAD., S. vl.2 marc. added by analogy with ob.1 f added by analogy with GULN., 1.TERN., 2.TERN., A. T. ALAD., SULT., VIZ., S. B. f cresc. added by analogy with GUL., 1.TERN., 2.TERN., ALAD., SULT., VIZ., S. added by analogy with fl., cl., fg., cor., str. ob. fg. cor.1,2 note 1: f omitted by analogy with cor.3,4, str. B. marc. added by analogy with GUL., ALAD., SULT., VIZ., S., T. ob.2 bar added as in B1–B2

-∑

904

cor.2

909 909 909

S. A. vc.

914

cl.

917 917 925–926

fl. str. cor.

925 928 936 943 953

str. B.1 tr.1 fg.2 fg.

953–957

ALAD.

954–955

ob. cl. cor. tr. GUL. 1.TERN. 2.TERN. ALAD. SULT. VIZ. CORO cl.2 SULT. ob. cor.3,4 tr.2 va. fg. trb.b. cor.3,4 tr. va. cl. fg trb.b. fg. cor. tr.

956–957 956–957 962 962 962 963 963 964 964 965 965 966–967 966–968 966–967 966 968 969 969 969 969 970 970 971 971 972 972 972 972 973 973 973 979

979 979 979 979 979 980 980 982–983 982

DCM 030

note 1: cresc. omitted by analogy with fl., cl., cor.3,4, str. note 4: a  emended to f  as in D note 4: c  emended to a  as in D note 4: d  emended to g as in B1–B2 and in accordance with D note 1: marc. moved to note 2 by analogy with fl., cor.3,4, vl.1,2 stacc. added by analogy with cl. f added by analogy with ww., cor., tr.1, trb.t.1, trb.b. b.925: end of incomplete slur and tie added to b.926 note 1 ff added by analogy with ww., cor. b note 1: b emended to a as in D note 1: # added note 1 added as in B1–B2 and in accordance with C1 note 4: G emended to E as in B1–B2 and by analogy with vc., cb. and in accordance with C1 A: alternative note an octave lower added in red ink (Horneman) b.954: end of incomplete tie added to b.955 note 1

tie added by analogy with picc., fl., ob. missing tie added note 3: stacc. added by analogy with cl., fg. notes 1–2: stacc. added by analogy with cor.1,2 notes 1–2: stacc. added by analogy with vc. stacc. added by analogy with ob., cl. stacc. added by analogy with cb. notes 1–2: stacc. added by analogy with cor.1,2 notes 1–2: stacc. added by analogy with vc. stacc. added by analogy with ob. stacc. added by analogy with cb. slurs added by analogy with fl., tr.1 notes 1–2: stacc. added by analogy with bb.962 (cor.1,2), 964 (cor.1,2), 970 (cor.1,2) va. notes 1–2: stacc. added by analogy with b.968 cb. stacc. added by analogy with b.967 fg. slur added by analogy with fl., ob., cl., tr.1 cl. stacc. added by analogy with fl., ob., fg. cor.3,4 stacc. added by analogy with cor.1,2 trb.t. notes 1–3: stacc. added by analogy with trb.b., tb. vl.1,2 notes 5–6: stacc. added by analogy with va., vc., cb. cl. fg. notes 1–2: stacc. added by analogy with cor. tr.2 stacc added by analogy with cl., fg., cor. tamb.picc. note 4: p emended to f by analogy with trgl. vl.1,2 va. vc. fourth quaver: stacc. added by analogy with cb. added by analogy with b.1173 cl. fg. cor. cl. fg. cor. notes 1–2: stacc. added by analogy with b.970 (cor.) tr.2 cor. notes 3–4: stacc. added by analogy with ob., fg. cor.4 note 1: # added added by analogy with vl.2, va., vc. fg. fg.1 mf added by analogy with fg.2 and by analogy with b.1174 added by analogy with vl.2, va., vc. and by vl.1 analogy with b.1174 picc. fl. ob. stacc. added by analogy with cor.3,4 cl.2 cor.2 tr.2 trb.b. cl.1 stacc. added by analogy with cor.1, tr.1, trb.t., tb. fg. marc. added by analogy with str.; note 4: stacc. added by analogy with str. f added by analogy with timp., trgl., tamb.picc. gr.c. va. note 1: n added timp. trgl. stacc. added by analogy with picc., fl., ob., cl.2, tamb.picc. cor.2,3,4, tr.2, trb.b. cor.3,4 notes 5–7: stacc. added by analogy with picc., fl., ob., cl., cor.1,2, tr., trb.t., trb.b. tamb.picc. notes 5–7: stacc. added by analogy with timp., trgl. timp. tie added va. fourth quaver: stacc. added by analogy with vl.1,2, vc.

719

983

vl.2

984

ob.1 cl.1 cor.1 cor.1 tr.1

984 984 986 986 986 986–987 987 987 988 989 990 991 991 991–992 992 992 992 993 993 994 994 995 996 996 996 996 997 997–998a 998a 998a 998a 998b 999a 999a 999a 1000a 1000a 1000a 998b 998b 998b 998b 999 999 999 999 1012 1013 1014 1014 1016 1017 1017 1017 1018 1018 1025 1025

720

added by analogy with picc., fl., ob., cl., cor., tr., timp., perc., vl.1, va., vc. second crotchet: marc. added by analogy with b.1031

note 1: marc. added by analogy with fg., cor.4 marc. added by analogy with picc., fl., fg., cor.2,3,4, trb.t., trb.b., tb. picc. fl. ob. note 1: stacc. addded by analogy with vl.1 cl. fl. notes 6–7: stacc. added by analogy with picc., ob., cl. cl.1 note 4: stacc. added by analogy with ob.1 cor.4 b.986: end of incomplete slur emended to b.987 note 1 cl.1 note 4: stacc. added by analogy with ob.1 vl.1 note 2: stacc. added by analogy with picc., fl. picc. note 1: stacc. added by analogy with fl., cl., vl.1 b va. chord 2: b –e  emended to a–d  by analogy with vl.2 ob.1 cl.1 note 4: stacc. added by analogy with note 1 and by analogy with b. 1037 cl.1 note 4: stacc. added by analogy with ob.1 cl.2 note 3: f  emended to g  by analogy with bb.987, 1034, 1038 fg. incomplete slurs emended ob. notes 4–6: stacc. added by analogy with notes 1–3 and by analogy with b.988 vl.2 stacc. added by analogy with trb.t., va. (chord 1) va. chord 2: stacc. added by analogy with chord 1 and by analogy with trb.t. ob. cl. stacc. added by analogy with picc., fl. trb.t.1 tb. tr.1 trb.t.2 stacc. added by analogy with trb.b. vl.2 note 5: stacc. added by analogy with vl.1, va. vc. cb. stacc. added by analogy with vl.1, va. vl.2 va. stacc. added by analogy with vc., cb. tr.1 notes 5–6: stacc. added by analogy with vl.1, va., vc., cb. trb.t.2 trb.b. note 4: stacc. added by analogy with vl.1, va., vc., cb. timp. note 3: stacc. omitted vl.2 notes 1–3: stacc. added by analogy with va., vc., cb. trb.b. note 2: stacc. moved to note 3 by analogy with trb.t.2 and by analogy with b.1044 str. b.997 note 5: end of slur emended to b.998a note 1 by analogy with bb.997–998b fg. marc. added by analogy with va., vc., cb. cor.3,4 marc. added by analogy with cor.1,2 trb.t.2 stacc. added by analogy with trb.b. str. note 1: stacc. added by analogy with b.998a picc. note 6: n added fg. vl.1 note 1: n added trb.b. marc. added by analogy with tr., trb.t. fg. note 1: n added vl.2 va. note 1: stacc. added by analogy with vc., cb. vc. cb. note 3: stacc. added by analogy with vl.2, va. cor.1 note 1: e  emended to c  as in B1–B2; B1–B2: phrase changed in pencil cor.3 note 1: e  emended to c  as in B1–B2; B1–B2: phrase changed in pencil trb.b. note 1: stacc. added by analogy with trb.t.2 trb.t. trb.b. fourth quaver: stacc. added by analogy with fl., ob., cl., tb. fg. picc. fl. cl. stacc. added by analogy with ob., fg. cor.1 A: note 1: # added in pencil cor.3,4 stacc. added by analgy with cor.1,2 trb.t. stacc. added by analogy with trb.b., tb. picc. notes 4–8: stacc. added by analogy with bb.1009–1011, 1059 tr. stacc. added by analogy with ob., cl., fg., cor.1,2 cor.1,2 stacc. added by analogy with ob., cl., fg. and by analogy with b.1013 tr. stacc. added by analogy with ob., cl., fg. fl. note 2: n added cl. cor.1,2 stacc. added by analogy with ob., fg. tr. articulation added by analogy with ob., fg. vc.1 cb. added by analogy with vl.1 cor.1,2 p added by analogy with cor.3,4, tr., trb.t., trb.b. # vl.1(2) chord 1 bottom note: f  emended to e  cl. mf added by analogy with picc., fl., ob., fg., cor.1,2, tr.2, trb.t., trb.b., tb. cor.1,2 marc. added by analogy with b.1026

1025 1025 1025 1025 1025 1025 1025 1026 1027–1028 1027–1028 1027 1027–1028 1030 1031–1032 1031

1031 1031–1034 1031–1032 1031 1032 1032 1033 1033 1034 1034 1034 1035–1036 1036 1036 1036 1037 1038 1038–1039 1039 1040 1040 1040

1040 1041 1041 1041 1041 1042 1042 1043 1043 1043 1044 1044 1044 1044

DCM 030

cor.3,4 tr.2 cb. cor.3 cor.3,4 tr.2

fourth semiquaver: stacc. added by analogy with cor.1,2, vc. mf cresc. added by analogy with cor.1,2 eighth semiquaver: stacc. added by analogy with cor.1,2 tr.2 cresc. added by analogy with ww., cor., trb.t., trb.b., tb., timp., trgl., str. vl.1 stacc. added by analogy with b.1072 vl.2 va. note 2: stacc. added by analogy with cor.1,2, vc. vl.2 vc. cb. eighth semiquaver: stacc. added by analogy with va. cor. vl.2 va. note 2: stacc. added by analogy with tr.2, cb. vc. ob. cl.2 b.1028: beginning of incomplete tie added to b.1027 note 1 cor. b.1028 end of incomplete tie added trgl. two slashes emended to three by analogy with timp. va. two slashes emended to three as in B1–B2 and by analogy with timp. vl.1,2 va. vc. f added by analogy with fg., brass, cb. A: bar cancelled in pencil (Horneman?) cor.1 note 1: marc. added by analogy with fg. and by analogy with b.984; note 3: end of slur emended to b.1032 note 1 by analogy with b.985 cor.3 marc. added by analogy with cor.2 cor.4 b.1033: beginning of incomplete slur added to b.1031 note 2 by analogy with bb.984–987 trb.t. phrase added as in B1–B2 and by analogy with bb.984–985, 1078–1079 vl.2 note 2: marc. added by analogy with ob.1, cl.1, cor.1 and by analogy with b.984 tr. notes 2–3: stacc. added by analogy with b.985 f added by analogy with timp., perc. and by analogy gr.c. with b.1079 fl. note 1: stacc. added by analogy with picc., ob., cl., vl.1 cl.2 note 2: n added picc. fl. note 1: grace note added by analogy with vl.1 and by analogy with bb.987, 1038, 1080 cl. note 1: stacc. added by analogy with picc., fl., ob. cl.1 note 4: stacc. added by analogy with ob.1 cor.2 slur added by analogy with bb.988–989 picc. fl. note 1: stacc. added by analogy with vl.1 and by ob. cl. analogy with bb.989, 1083 cor.1 notes 2–3: tie omitted by analogy with cor.4 and by analogy with b.989 n n vl.1 notes 2–3: b –c  emended to a –b  by analogy with picc., fl., ob., cl. tamb.picc. first quaver: e emended to ‰ as in B1–B2 and by analogy with bb.990, 1084 fg.1 beginning of phrase added as in B1–B2 and by analogy with bb.991, 1085 fg.2 incomplete slurs emended (see also bb.991–992) trb.t. vl.2 stacc. added by analogy with b.992 va. fl. ob. cl. stacc. added by analogy with picc. tr.2 trb.t.1 tr.1 trb.t.2 stacc. added by analogy with trb.b. trb.t.2 f added by analogy with b.993 and by analogy with trb.b. tr.1 va. chord 1: stacc. added by analogy with vl.1,2, vc., cb. cor.3,4 tr.1 marc. added by analogy with cor.1,2 and by analogy with b.994 tr.2 marc. added by analogy with cor.1,2 and by analogy with b.994; stacc. added by analogy with b.994 vl.2 va. note 5: stacc. added by analogy with vl.1 vc. cb. vc. cb. notes 6–7: stacc. added by analogy with vl.1,2, va. vl.2 marc. added by analogy with va., vc., cb. va. vc. cb. stacc. added by analogy with vl.2 tr.1 stacc. added by analogy with picc., fl., ob., cl., vl.1 tr.2 fourth quaver: ‰ added by analogy with b.1044; B1– B2: phrase changed in pencil C1: note as tr.1 trb.t.2 trb.b. note 4: stacc. added by analogy with str. tr. second crotchet: marc. added by analogy with cor. tr.2 first dotted quaver: ‰. added by analogy with b.997; B1–B2: phrase changed in pencil; C1: note as tr.1 trb.t.2 stacc. added by analogy with trb.b. f added by analogy with bb.997, 1091 timp.

1045 1045 1046

1046 1049 1054

1060–1061 1060–1061 1062 1064 1064 1064 1064 1064 1065 1065 1066–1067 1068 1072 1072 1072 1072 1072 1072 1073–1074 1073 1073 1073 1074 1074–1075 1076 1077–1078 1077 1077 1078

1078–1079 1079 1080 1080 1081 1081 1082–1083 1083 1083 1083 1083 1083 1084 1084 1084 1085

trb.t. tb.

marc. added by analogy with trb.b. and by analogy with b.998b; stacc. added by analogy with fl., ob., cl., fg. str. note 1: stacc. added by analogy with b.998a fl. ob. cl. fg. stacc. added by analogy with picc. and by analogy with cor. trb.t. b.999 (ob., fg., cor., trb.b., tb., str.) trb.b. tb. str. cor.1 note 1: # added vl.1 notes 2, 5, 8, 11: marc. and stacc. added by analogy with b.1002 ob.1 note 6: stacc. added by analogy with b.1007; note 6: beginning of slur moved to note 7 by analogy with b.1007 tr. stacc. added by analogy with ob., cl., fg., cor.1,2; A: note 1: # added in pencil vl.2 va. added by analogy with vl.1 and by vc. cb. analogy with bb.1013–1014 tr. note and tie added by analogy with b.1015 and by analogy with ob., cl., fg., cor.1,2 ob. note 3: e ‰ emended to q by analogy with b.1017; A: tail to e and ‰ added in light ink ob. cl. cor.1 stacc. added by analogy with fg. tr. phrase added as in B1–B2 and by analogy with b.1017 added by analogy with vl.1, va. vc.1 cb. vc.2 slur added by analogy with vl.2 p added by analogy with cor.3,4, tr., trb.t., trb.b. cor.1,2 cor.3,4 trb.t. stacc. added by analogy with cor.1,2, tr., trb.b. vl.2 va. note 2: stacc. added by analogy with vc. and by analogy with bb.1068–1071 vc. note 2: stacc. added by analogy with vl.2, va. ww. cor. tr.2 mf added by analogy with b.1025 cor.3,4 fourth semiquaver: stacc. added by analogy with cor.1,2, va. tr.2 trgl. cresc. added by analogy with ww., cor., str. and by analogy with b.1025 tr.2 vl.2 cb. stacc. added by analogy with cor.1,2, va. vl.1(2) cb. arco added vc. note 4: stacc. added by analogy with cor.1,2, va. ob.2 b.1073 note 2 to b.1074 note 1: tie omitted by analogy with bb.1026–1027 cor. note 2: stacc. added by analogy with tr.2, va., vc., cb. vl.2 articulation added by analogy with cor., tr.2, vc., cb. va. note 4: stacc. added by analogy with cor., tr.2, vc., cb. f added by analogy with ww., cor.3,4, tr.2 and by cor.1,2 analogy with b.1074 va. two slashes emended to three as in B1–B2 and by analogy with timp. vc. marc. added by analogy with vl.1,2, va. A: bar cancelled in pencil (Horneman?) picc. fl. ob. ff added by analogy with b.1030 cl. vl.1,2 va. vc. f added by with fg., brass, cb. fl. ob.1 cl. second crotchet: marc. added by analogy with picc., cor.1,2,3 ob.2, fg., cor.4, trb.t., trb.b., tb., vl.1, vc., cb. and by tr.1 timp. analogy with bb.984, 1031 vl.2 va. cl.1 slur added by analogy with ob.1, cor.1 tr.2 stacc. added by analogy with picc., fl., ob., cl., vl.1 and by analogy with b.984 b picc. note 6: a  emended to b  by analogy with bb.986, 990, 1033 cl. note 1: stacc. added by analogy with picc., fl., ob. fl. cl. note 1: stacc. added by analogy with picc., ob. cl.2 note 3: f  emended to g  by analogy with bb.987, 991, 1034 cor.2,3,4 b.1083: end of incomplete slur emended ob. note 1: stacc. added by analogy with b.1036 ob.2 note 7: a  emended to d  by analogy with bb.989, 1036 cor.1 notes 2–3: tie omitted by analogy with b.989 cor.4 note 2: stacc. omitted vl.1 note 1: stacc. added by analogy with picc., fl., cl. and by analogy with bb.989, 1036 b ob.2 fourth quaver: b –c  emended to a –a  by analogy with bb.990, 1037 cl. note 1: stacc. added by analogy with picc., fl., ob. b b cl.2 fourth quaver: d –e  emended to c –c  by analogy with bb.990, 1037 cl. note 1: stacc. added by analogy with picc., fl., ob.

1086

trb.t. vl.2 va. stacc. added by analogy with bb.992 (trb.t., va.), 1039 (trb.t., va.) 1087 ob. cl. tr.2 stacc. added by analogy with picc., fl. tb. 1087 tr.1 note 1: stacc. added by analogy with trb.t.2, trb.b. 1088 cor. tr. marc. added by analogy with fl., ob., cl. and by analogy with bb. 994, 1041 1088 tr.2 stacc. added by analogy with ob., cl. and by analogy with b.994 1088 trb.t.2 trb.b. note 1: stacc. added by analogy with bb.994, 1041 fz added by analogy with tamb.picc., gr.c. and by 1088 timp. analogy with b.1041 1088 vl.1 va. note 5: stacc. added by analogy with vl.2 1088 vc. cb. stacc. added by analogy with vl.2 mf added by analogy with trb.t., trb.b., tb., timp., trgl. 1089 tr. and by analogy with b.995, 1042 1089 vl.2 va. stacc. added by analogy with vl.1 vc. cb. 1090 tr.1 notes 5–6: stacc. added by analogy with vl.1 1090 tr.2 stacc. added by analogy with trb.t., trb.b., tb. 1091 trb.t.2 trb.b. stacc. added by analogy with bb.997 (trb.t.2), 1044 (trb.b.) 1092 fg. cor.1,2 stacc. added by analogy with cor.3,4 tr. trb.t. trb.b. tb. 1092 cor.1,2 marc. added by analogy with fg., cor.3,4, trb.t. trb.b. tb. 1092 str. note 1: stacc. added by analogy with b.998a 1093, 1095, trb.t. stacc. added by analogy with cor., tr., trb.b., tb. 1096 1097–1100 fg. bb.1097–1098, 1099–1100: two slurs emended to one by analogy with ob., cl. 1097

va.

1099

tr.1

1099 1100

1103

trb.t. tr. trb.t. trb.b. tb. vl.1 va. cb. vl.2

1104 1104 1108 1116 1117–1118 1117

va. cb. vl.1 vl.1 vl.(1) vc.(1)

1119

vc.(1)

1120

tr.2

1124

tr.

1124

vc.1

1125 fl. ob. vl.1 1125–1128 trb.b. 1125

vl.2

1126

va.

1127 1128

fg.1 ob.2

1128

cl.

1128

vc.

1128 cb. 1129–1130 cl.2 1129 fg.

DCM 030

emended to as in B1–B2 and by analogy with b.1098 articulation added by analogy with b.1098 and by analogy with picc., fl., vl.1,2 stacc. added by analogy with cor., tr.2, va., vc., cb. stacc. added by analogy with picc., fl., cor., vl.2, vc.

stacc. added by analogy with general articulation in the section mf added by analogy with vc., cb. stacc. omitted as in B1–B2 and due to pizz. A: rit added in pencil slur added by analogy with b.1144a b.1118: end of incomplete slur emended added by analogy with vl.1 and by analogy with b.1109 added by analogy with vl.1 and by notes 2–4: analogy with b.1111 pp added by analogy with b.1119 (tr.1, trb.t., trb.b., tb.) and by analogy with b.1112 notes 1–2: double stems added by analogy with bb.1116, 1144a, 1149 and in accordance with C1 note 1: stacc. added by analogy with vl.1 and by analogy with b.1116; note 4: ten. omitted by analogy with vl.1,2, va., vc.2, cb. note 1: stacc. added by analogy with b.1145 (fl., ob.) marc. added by analogy with cb. and by analogy with bb.1129–1131 b b b sixth quaver: g  emended to chord (b –g ) as in B1–B2 and by analogy with b.1145b b b chord 2 note 1: f emended to e by analogy with b.1146 and in accordance with C1; C1: chord 2 note 1: f b changed to d, erased and changed to g b in pencil note 1: b added b b second dotted crotchet: e e e (c –e –g) emended to b  q. (c ) as in B1–B2 and by analogy with b.1148 slur added by analogy with fg.2 and by analogy with b.1148 notes 2–3: stacc. added by analogy with notes 5–6 and by analogy with bb.1125–1127; note 4: marc. added by analogy with note 1 and by analogy with bb.1125–1127 note 1: marc. added by analogy with bb.1125–1127 slur added by analogy with b.1149 stacc. added by analogy with fl., ob., vl.1,2

721

1129

tr.

1129

vc.

1130–1131 picc. 1130–1131 fl. 1130 1130 1131 1131

tb. vl.1 cor.3 trb.b. tb.

1132 1132

ob. gr.c.

1133

1135 1135

ob. trb.t. trb.b. tb. cl. fg. va. ob.2 cl. fg. va. cor.3,4 vc. cb. vl.2 va.

1137 1137

tr.1

1133 1133 1134 1134 1134 1135

1137–1138 vc.(1) 1139

vc.(1)

1140

tr.2

1144b–1147 trb.t. 1144a, va. 1144b 1145b 1145b–1147 fl.

1145b tr. 1145b–1147 tb. 1145b–1148 trb.b. 1145b 1145b

trgl. vl.1

1146

cb.

1147 1148 1148

fg.1 va. vc.

1149

ob.

1149 1149

fg.1 trb.b. tb.

1149 1150

tamb.picc. ob.

1151 1151 vl.2 1153–1154 cl.1 1153 1154 1155

vl.2 trb.b. tb. cl.

1155

cl. va.

1155

cor.3,4

722

note 1: double stems added by analogy with bb.1116, 1144a, 1149 and in accordance with C1 note 1: stacc. emended to marc. by analogy with note 4 and by analogy with bb.1125–1127, 1130–1131 marc. added by analogy with bb.1125–1127 stacc. emended to stacc. and marc. by analogy with ob. and by analogy with bb.1125–1127 A: note 2: n added in pencil note 1: b added note 2: b added note 2: marc. added by analogy with note 1 and by analogy with bb.1129–1130 and by analogy with cb. notes 7–12: stacc. added by analogy with picc., fl., vl.1,2 sixth quaver: ‰ emended to e as in B1–B2; A: ‰ a later addition in pencil stacc. added by analogy with picc., fl., vl.1,2 note 4: stacc. added by analogy with cor.3,4 chord 1: stacc. added by analogy with vc. note 2: stacc. added by analogy with cor.3,4, vc., cb. stacc. added by analogy with ob., cor.3,4, vc., cb. note 3: b added stacc. added by analogy with fl., ob., cl.

1156 1156 1157 1157 1157–1160 1157–1158 1158

cl. va. ob.1 ob.2 cl. vl.2 va.

1159

ob. fg. cor. tr. trb.t. trb.b. tb. va. vc. cb. ob. fg. cor. tr. trb.b. tb. va. cb. fl. ob. fg. cor. tr. trb.t. trb.b. tb. va. vc. cb. fg. cor. tr. trb.b. tb. va. cb. ob. fg. tr. trb.b. tb. ob. cl. fg. tr.1 cor.3,4 tr.2 va. tr.2 va. vc.

1159

1160 1160

1160

1161 stacc. added by analogy with vc.2 note 2: stacc. added by analogy with vc.2; note 3: marc. added by analogy with vc.2 D: dolce e b  emended to d  by analogy with b.1109 and in b accordance with C1; C1: e  emended to d  in ink b.1137: beginning of incomplete slur added by analogy with vl.1 and by analogy with bb.1113–1114 note 1: beginning of slur moved to b.1138 note 3 by analogy with bb.1114–1115 pp added by analogy with tr.1, trb.t., trb.b. and by analogy with b.1112 A: phrase added in pencil note 1: n added as in B1–B2 D: poco più mosso b.1145 note 6, bb.1146–1147, notes 1, 4: stacc. emended to stacc. and marc. by analogy with ob. and by analogy with bb.1125–1127 added by analogy with b.1125 added by analogy with b.1148 and by analogy with bb.1125–1128 and in accordance with C1 marc. added by analogy with cb. and by analogy with bb.1129–1131 mf added by analogy with b.1125 notes 1–2: slur omitted by analogy with b.1125; note 1: stacc. added by analogy with fl., ob. note 2: marc. added by analogy with note 1 and by analogy with b.1126 note 1: b added stacc. added by analogy with b.1128 notes 2–3: stacc. added by analogy with notes 5–6 and by analogy with bb.1145–1147 note 6: stacc. emended to stacc. and marc. by analogy with fl. stacc. added by analogy with fl., ob., vl.1,2 ff added by analogy with fl., ob., cl., fg., cor., tr., trb.t., str. and by analogy with b.1129 p added by analogy with b.1129 notes 1, 4: stacc. emended to stacc. and marc. by analogy with fl. D2: più mosso added in ink mf added by analogy with vl.1, va., vc., cb. b.1154 note 4: beginning of slur moved to b.1153 note 1 by analogy with bb.1151–1152 note 2: stacc. added by analogy with va., vc., cb. stacc. added by analogy with trb.t. note 1: marc. added by analogy with picc. and by analogy with note 6 cresc. added by analogy with picc., fl., ob., fg., cor.1,2, tr., trb.t., trb.b., tb., timp., tamb.picc., vl.1,2, vc., cb. p cresc. added by analogy with picc., fl., ob., fg., cor.1,2, tr., trb.t., trb.b., tb., timp., tamb.picc., vl.1,2, vc., cb.

-∑

1163 1163 1165 1165 1166 1167 1167–1169 1167–1169 1168 1169 1170 1171 1171 1171 1171 1171 1172 1172 1173 1173 1173 1173 1173 1173 1173 1174 1174 1175 1175 1175 1176 1176–1177 1176 1177, 1178 1179 1179

DCM 030

marc. added by analogy with picc. and b.1155 (note 6) note 2: n added # note 2: e  emended to g  by analogy with b.1155 # note 2: g  emended to b  by analogy with b.1155 marc. added by analogy with picc. and b.1155 (note 6) stacc. added by analogy with va. (notes 3–4) stacc. added by analogy with note 3–4 and by analogy with b.1157 note 2: stacc. added by analogy note 4 (trb.t., vc.)

note 4: stacc. added by analogy with trb.t., vc.

note 5: marc. added by analogy with picc., cl. note 2: stacc. added by analogy with note 4 (ob., trb.t., vc.)

note 4: stacc. added by analogy with ob., trb.t., vc.

marc. added by analogy with picc., fl., cl., cor., trb.t., vc., cb. marc. added by analogy with cor., trb.b., tb., va., vc., cb.

third to fourth semiquaver: stacc. added by analogy with b.1165 (cor.) third to fourth semiquaver: stacc. added by analogy with cor. trb.b. articulation added by analogy with cb. ob. fg. trb.b. stacc. added by analogy with cl., cb. cor.3,4 notes 1–2: stacc. added by analogy with cor.1,2 and by analogy with b.1168 tr.2 va. notes 1–2: stacc. added by analogy with cor.1,2 trb.b. tb. marc. added by analogy with cb. fg. marc. added by analogy with vc. and by analogy with b.1167 cor.3,4 notes 1–2: stacc. added by analogy with cor.1,2 and by analogy with b.1168 f added by analogy with b.969 trgl. tamb.picc. ob. stacc. added by analogy with trb.t., vc. cor. A: note 4: p added in pencil; stacc. added by analogy with cl., fg. tr.1 stacc. added by analogy with cl., fg. tr.1 trb.t.1 marc. added by analogy with ob., vc. trb.b. gr.c. note added by analogy with b.969 cor. vc. stacc. added by analogy with cl., fg., vl.2, va. vl.1 stacc. added by analogy with picc., fl. ob. trb.t. stacc. added by analogy with vc. trb.b. cl.1 tr.2 note 1: # added tr. stacc. added by analogy with cl., fg., cor., vc. tr.1 trb.t. marc. added by analogy with ob., trb.b., vc. tb. marc. added by analogy with cb. gr.c. note added by analogy with b.969; f added by analogy with b.972 va. stacc. added by analogy with cl., fg., cor., vc. mf added by analogy with bb.1173 (fl.), 1173 (fg., str.) picc. and by analogy with b.973 vl.2 added by analogy with vl.1, va., vc. and by analogy with b.973 mf added by analogy with the general dynamic level cl.2 and by analogy with b.974 cor.4 marc. added by analogy with cor.1,2 vc. stacc. added by analogy with fg., vl.1,2, va. cor.2 note 1: # added cor.1,2,4 b.1177: end of incomplete slur emended vl.1 grace note added by analogy with picc., fl. cb. stacc. added by analogy with vc. vc. note 3: stacc. added by analogy with bb.1177–1178, 1180 cb. note 1: stacc. added by analogy with vc.; note 2: stacc. added by analogy with bb.1177–1178 (vc.), 1179–1180

1181

cl.2

1181 1181

fg. vc.

1182

cor.1,2

1182–1184 trb.b. tb. 1187 1187 1187 1187, 1188 1189

B1–B2:

note 1: # added marc. added by analogy with ob., fg., cor., trb.t., trb.b., tb. tr. trb.b. tb. stacc. added by analogy with trb.t. cor.3 tr.

1190

va. vc. cb. picc. fl. ob. cl. fg. cor.1,2 cor.3,4 tr. trb.b. tb. va. vc. cb. fl. va. vc. cb.

1191 1193 1194 1194

vl.1,2 vc. cor.3,4 va.

1195 1196 1196–1197 1197–1198

tb. va. cb. fl.1 cor.1 fl.

1189 1189

mf added by analogy with picc., ob. and by analogy with the general dynamic level cresc. added by analogy with ob. articulation added by analogy with bb.1177–1178, 1180 stacc. added by analogy with cor.3,4

1198 trb.b. 1199–1202 fl. 1199–1201 fg. 1199 vl.1,2 1201–1202 trb.t.2 1202 1202 1204

cor.2 vl.1,2 tr.

1205 1210 1210

cor.1,2 tr.2 vl.1

1217–1218 1223 1227 1227 1227 1228 1232 1239 1241

ob.1 cor.2

1244

cor.2

1245

fl.1 ob.1

vl.2(1) va. vl.1(2) cor.3 fl.1

1248 1250

cor.3,4 vl.2

1251

cl.

1252 1253 1253 1253 1256 1262 1263 1264

fl. fl. vl.2 vc. va.(1) cl.2 cl. va. fg.

stacc. added by analogy with ob., fg., cor. note 2: stacc. added by analogy with cor.1,2, trb.t., trb.b., tb. note 1: stacc. added by analogy with ob., trb.t. stacc. added by analogy with trb.t.

stacc. added by analogy with picc., ob., cl., cor., tr.2, trb.t., trb.b., tb. trem. added note 1: n added stacc. added by analogy with tr. fifth quaver: three slashes and beam emended to two slashes and beam note 1: n added stacc. added by analogy with fl.2 b.1197: end of incomplete tie added stacc. added by analogy with b.1196 (fl.2) and by analogy with fg., trb.t.2, trb.b., vc., cb. stacc. added by analogy with fg., trb.t.2, vc., cb. note 1: stacc. added by analogy with b.1200 (vl.1,2) note 4: E emended to B  as in B1–B2 and by analogy with b.1202 note 1: stacc. added by analogy with b.1200 # note 1: e emended to g as in B1–B2 and by analogy with b.1202 # note 4: a  emended to f  as in B1–B2 stacc. added by analogy with b.1200 stacc. added by analogy with ww., cor., trb.b., tb., vc., cb. notes 2–3: stacc. added by analogy with tr.1 note 1: # added first quaver: e  emended to chord (e –e ) as in B1–B2 and in accordance with C1 slur added by analogy with cl.2 pp added by analogy with ob.1, cl.2, fg.2 D: molto rallentando note 1: b added notes 2, 4: b added slurs added by analogy with vl.2, va. D: Moderato mf added by analogy with 2 note 2: end of slur emended to note 3 by analogy with bb.1242, 1246 ten. emended to tenuto and marc. by analogy with bb.1239–1240, 1243 note 2: end of slur emended to note 3 by analogy with bb.1242, 1246 stacc. added by analogy with fg. stacc. added by analogy with va., vc., cb.; ff added by analogy with fl., ob., cl., vl.1, va., vc., cb. note 2: f emended to ff by analogy with picc., fl., cor., str. stacc. added by analogy with picc., vl.1 added by analogy with vl.1,2, va. stacc. added by analogy with cl.1 note 3: Ÿ moved from note 4 note 2: n emended to b ten. added by analogy with fl.1, ob.1, vl.1, va.1 ten. added by analogy with vl.1,2 marc. added by analogy with cor.1,2,3 and by analogy with bb.1260–1263, 1265–1266; note 1: g emended to d  as in B1–B2 and by analogy with b.1243 and in accordance wirth C1

1264

trb.t.1

1266

fl.1

1267 1267 1268–1269 1268–1269

cor.4 va. cor.1 cor.2

1268 1268

trgl. vl.1

1268 1269 1269 1269 1269

vl.2 cl.2 fg. trgl. vl.1

1270

fl.

1271, 1272 1271 1272 1272 1272 1272

trb.t.1 cb. trb.t. vl.1 va. cb.

1273 1273 1277 1277 1278 1289 1289

fg. vc. cl. tr. tr. ob. cl.

1289 1291, 1292 1293 1293 1296–1297

cor.2 tr. cl. tr. va. vl.1,2 va.

1307–1308 fg. 1311 tr. 1314 1315

cor.1,2 vl.2 va.

1317 1321 1321 1323 1323 1325 1328 1328–1329

va. vl.2(1) va. cl.2 vl.2 cl. trb.b. tb.

1329

ob.

1329 fg. 1329 SEND. 1330–1331 ALAD.

second crotchet: Œ added by analogy with bb.1260– 1261, 1262–1264, 1267 and in accordance with C1 ten. added by analogy with ob., cl.2, vl.1, va.1 and by analogy with b.1267 note 2: stacc. added by analogy with fg. ten. added by analogy with fl., ob., cl., vl.1,2 b.1269: end of incomplete slur emended b.1269: end of incomplete slur emended; b.1269 notes 1–2: tie added two slashes emended to three by analogy with timp. # # first crotchet: c  emended to chord (a –c ) as in B1– B2 and in accordance with C1 stacc. added by analogy with cor.3,4, vc., cb. note 2: # added note 2: stacc. added by analogy with cl., cor., va., vc., cb. fz added by analogy with bb. 1268, 1270–1271 fz added by analogy with fl., ob., cl., fg., cor., trb.t., # trb.b., tb., vl.2, va., vc., cb.; first crotchet: c  emended # to chord (a–c ) as in B1–B2 and in accordance with C1 a b

first crotchet: x x y yy emended to x x x y y as in B1–B2 and by analogy with fg., vl.1, va. note 1: # added stacc. added by anaology with fg., vl.2, vc. fz added by analogy with b.1270 note 1: # added chord 2 note 2: n added note 2: stacc. added by analogy with cl., fg., cor.3,4, vl.2, va., vc. stacc. added by analogy with va. marc. added by analogy with va. fz added by analogy with picc., fl., ob., vl.1,2 tenuto added by analogy with trb.t. tenuto and marc. added by analogy with trb.t. note 2: stacc. added by analogy with fl., cl., fg., cor.4 f added by analogy with ob., fg., cor., tr., trb.t., trb.b., tb. stacc. added by analogy with fl., cl., fg., cor.4 b emended to n stacc. added by analogy with fl., ob., cl., fg., cor.2,4 notes 1–12: slur omitted b.1297: end of incomplete slur emended to b.1296 note 12 as in B1–B2 stacc. added by analogy with ob. fz added by analogy with ob., cl., fg., cor., trb.t., trb.b., tb., timp., str. phrase and slurs to following bar added as in B1–B2 trem.-slashes added by analogy with vl.1 and bb.1311– 1314, 1316 tenuto added by analogy with vl.2 note 2: b added note 1: a 2 omitted # A: note 1: a  changed to g  in pencil slur added by analogy with vl.1, va., vc. D: non slentando A: note 1: # added in pencil slur added by analogy with fl., ob., cl., fg., cor.1,2,3, trb.t. notes 2–4: stacc. added by analogy with fl., cl., vl.1,2, va., vc. stacc. added by analogy with fl., cl. vl.1,2, va., vc. note 7: # added emended to as in D

1333

vl.2

1333

va.(2)

1334 1334

SEND. vc. cb.

1335 1337 1340 1340

timp. vc. cb. T.2 vc. cb.

DCM 030

chord 2: e ‰ emended to q as in B1–B2 and by analogy with b.1335 chord 5: bottom note added by analogy with the other chords of the bar and by analogy with b.1335 note 1: # added fp added by analogy with fg. and by analogy with b.1332 ff added by analogy with b.1333 ff added by analogy with va. note 1: # added note 11: # added

723

1345 vc. cb. 1348–1349 vl.1,2 va. 1348 va. 1349 1349 1350–1351 1350 1351 1352

ob.1 SEND. cl.1 fg.2 cl. picc.

1352–1353 vl.2 1352–1353 va.

rest 1:

U omitted by analogy with the other instr.

added by analogy with fl., ob., cl., fg., vc., cb. note 7: marc. added by analogy with fl., ob., fg., vl.1,2, vc., cb. note 5: marc. added by analogy with cl.2 note 5: e emended to g as in C2, D tie added note 4: n added fourth dotted crotchet: mf omitted b note 2: g  emended to e  as in B1–B2 and by analogy with b.1353

1433 1434 1435

vl.1 vl.2 va. vc. cb. vl.1 vc. vc.

1436

ob. cl.

1437 1438

vl.2 fl.1

1438 1438 1439

va. vc. vc.

1440 1440 1441

fl. ob. cl. ALAD. fg.

1441

B1–B2: added by analogy with fl., ob., cl., fg., vl.1,2,

vc., cb. note 2: q emended to e by analogy with tr., trb.t. note 3: q emended to q. as in C2, D note 3: q emended to q. as in D note 3: q emended to q. as in D note 3: q emended to q. as in C2, D note 1: n added D: L’istesso tempo ob.1 trb.t.1 note 1: n added A. f added by analogy with vl.1 1357 vl.2 1357 va. note 3: fz added by analogy with ww., cor., vl.1,2, vc., cb. 1358 cl. a 2 added by analogy with fl., ob. and in accordance with C1 fz added by analogy with vl.1,2, va., vc. 1358 cb. 1360 cb. note 3: b added 1361–1362 ob.2 cl. b.1361 note 1: beginning of slur emended to b.1360 note 2 by analogy with fg., vl.,1, vc., cb. added by analogy with cor.2 1361–1362 cor.3,4 f emended to fz by analogy with ob.2, cl., fg., vl.1, vc., 1361 vl.2 cb. 1361 va. fz added by analogy with vc., cb. 1362 cor.3,4 note 3: marc. added by analogy with cor.1,2 1362 vl.1 note 3: f emended to fz as in B1–B2 and by analogy with vl.2, va., vc., cb. 1362 va. note 1: fz added by analogy with fg., vc., cb. 1363–1364 fl. b.1363: end of incomplete slur omitted by analogy with ob., cl. 1355 1355 1355 1355 1355 1355 1357 1357

1429 1429

trb.b. tb. 1.TERN. 2.TERN. SULT. VIZ. SEND. A.

1441 1441 1442 1442 1443 1443

1444 1445 1447 1449 1449 1450 1451–1452 1453 1456 1457–1459 1457, 1458

1364 1365 1366–1367 1367 1367 1367 1370 +1376–1377

trb.b. tb. vl.1 va. ALAD. va. va. cb.

1383

cl.1

1389 1399

fg.

1406 1407

vl.1(2) vc.(1)

1409 vc. 1410 fl. 1421–1423 trb.t. 1424–1425 1425–1426 1427 1427–1428

724

fg. vc. cor.4 tr.1

fourth crotchet: ff omitted fourth crotchet: f omitted first crotchet: dotted e x emended to e ≈ x by analogy with fg., vl.1,2, va. and by analogy with b.1435 fourth crotchet: e ‰ emended to q as in B1–B2; A: b.1437note 4 to b.1438 note 1: slur; flag, rest seem to be a later change; slur not erased tie added by analogy with vl.1 added; A: no indication of a 2, 1., or 2. but downwards positioned slur implies that only fl.2 is playing the note, see also b.1443 note 1: marc. added by analogy with vl.1,2 marc. added by analogy with vl.1,2 first to fourth crotchet: stacc. omitted as in B1–B2 and by analogy with b.1444 and in accordance with C1 f added by analogy with picc. A: notes 1–2: (f ) added in red ink (Horneman) note 1: marc. added by analogy with va., vc., cb.; fz added by analogy with vc., cb.

-∑

A: notes 3–5:

changed to in pencil

1363–1366 ALAD.

1364–1365 cor.3,4

note 1: ff omitted stacc. added by analogy with vl.1

alternative phrase added in red ink (Horneman) b.1364 note 2 to b.1365 note 1: fz added by analogy with cor.1,2 note 3: f omitted by analogy with B1–B2 note 3: # added b.1367: end of incomplete slur emended D: Molto allegro note 1: b added as in C2, D note 1: fz omitted by analogy with vl.1,2, vc., cb. U added by analogy with vl.1,2, vc. b.+1376 note 1 to b.1377 note 2: slur added by analogy with vc. A: note 1: g  changed to d  in pencil; note 6: g  changed to f  in pencil added by analogy with ob.1, str. D: first to second quaver: stacc.; third to fourth quaver: non stacc. slur added by analogy with vl.1(1) note 6: f  emended to a  as in B1–B2 and by analogy with vl.1 seventh quaver: n added added by analogy with str. ten. added by analogy with b.1420 and by analogy with tr., trb.b., tb. b.1424: beginning of incomplete slur added slurs added by analogy with vl.1,2 note 1: # added tie added by analogy with fl.1, fg., cor.3, timp., cb.

1457 1458 1458 1458 1460–1467 1460 1460–1464 1461, 1462 1465–1467 1466 1466 1467–1468 1468

1471 1473 1475

1475 1476 1477 1477

DCM 030

fz added by analogy with vc., cb. marc. added by analogy with va. cresc. added by analogy with fg., cor.1,2, tr., str. marc. added by analogy with vl.1,2, va. note 4: # added third quaver: # added; seventh quaver: B emended to A # by analogy with cb.; marc. added by analogy with vl.1,2, va. fz added by analogy with picc., fl., ob. cl., brass fg. ALAD. A: notes 1–2: f  added in added in red ink (Horneman) vc. quavers emended to semiquavers as in B1–B2 ob.2 note 3: n added va. third crotchet: n added fl.2 note 3: n added fl. ob. cl. b.1452: end of incomplete slur emended by analogy cor.3,4 with fg. trb.b. tb. note 2: marc. omitted by analogy with str. and by analogy with b.1455 A. T. B. note 1: n added added in accordance with C1; A: no indication of tr. a 2, 1., 2. trb.b. tb. emended to marc. by analogy with fg., cor. (b.1456), and by analogy with cor. (b.1457) B.1 B.2 A: notes 1–2: slur added in pencil fg. marc. added by analogy with cor. and by analogy with b.1456 trb.b. A: note 1: n added in pencil B.1 B.2 A: notes 1–2: slur added in pencil va. stacc. added by analogy with b.1459 and by analogy with vc., cb. (bb.1464–1466) S. note 1: n added cb. stacc. added by analogy with b.1459 fg. note 2: n added ALAD. A: b.1465 note 1 to b.1467 note 1: g  added in red ink (Horneman) A. note 4: e  emended to g  as in D2 and by analogy with S., T., B. va. note 6: n added fl. ob. cl. fg. b.1468: end of incomplete slur emended fg. cor.1,2 seventh quaver: stacc. added by analogy with picc., fl., trb.b. tb. ob., cl., cor.3,4, tr. str. pp omitted trb.b. tb. fg.1 added by analogy with fl., cl., cor.3,4 fl. cl. fg. added by analogy with vl.1,2 cor.3,4 va. vc. cb. vl.2(2) note 1: n added fl. cl. added by analogy with vl.1,2 A. A: note 1: n added in pencil va.(1) chord 1 note 2: n added va. cb. cor.3,4 vc. tr.1 vc.

-∑

1480–1481 cor.1 1480–1481 cor.2 1480 vc.

tie added by analogy with fl., ob., cl., fg., cor.3,4 slur added by analogy with fl., ob., cl., fg., cor.3,4 f added by analogy with fl., ob., cl., fg., cor., vl.1,2, va., cb.

1481–1483 ALAD. emended to

1481 1481 1482

cor.3,4 tr. vc. vc.

1483

cor.3,4

1483

tr. trb.t. trb.b. tb. timp. timp.

1483 1485–1486 1485–1486 1485–1486 1486–1487

ALAD. A. T. ob.

1486–1497 fg. 1486

fg.1

1486

cor.3,4

1487

va.

1488 1488

T. vl.1

1489–1490 fg. 1489–1490 cor.1,2 1490 ob. 1490 1490 1490

fg. cor. tr. trb.t. cor.3,4 trb.t.

1491

cor.3,4

1491–1494 1491–1493 1491 1492 1496 1497 1498 1498 1503–1505

ALAD. S. vl.2 T. vc.2 timp. fg. vc. cb. timp. timp.

ACT FOUR Bar Part 1–3 timp. 2 2 5–6

vl.1 vc. timp.

6 8 8

va. fg.1 vl.2

as in C2, D fz added by analogy with fl., ob., cl., fg., cor.1,2 note 1: stacc. omitted by analogy with va., cb. note 1: stacc. omitted by analogy cb. and by analogy with bb.1485–1486 note 4: f emended to fz by analogy with ww., cor.1,2, va., vc., cb. note 2: fz added by analogy with ww., cor.1,2, va., vc., cb. second and fourth crotchet: Œ emended to notes as in B1–B2 and in accordance with C1 C2, D: b.1485 note 1 to b.1486 note 1: no lower part f –e  emended to d –a # as in D D: b.1487 note 1 to b.1488 note 2: no upper part b.1487: end of incomplete slur emended by analogy with picc., fl., cl., cor. b.1486: beginning of incomplete slur added by analogy with picc., fl., cl., cor. note 1: fz omitted by analogy with picc., fl., ob., cl., cor.1,2 note 1: fz omitted as in B1–B2 and by analogy with picc., ob., cl., cor.1,2

10 10–11 12 12 15 15 15 16 18 18 23–29

vl.2 cb. fg.1 vl.2 ob. cor.1,2 vl.1 va. A. A.1 vl.1 CORO

23 23

vl.2 vl.2(2)

29–30

vl.2

31 31 33 33–34

cor.4 va. B. vl.2

33 33–34

va. va.

34–35 36 36

cor.1 S. vl.2

37 38 39 39 40

cor.3 va. tb. A.1 trb.t.2

40 40 42–43

trb.b. tb. S. B. ob. cl. fg. cor.1,2 vl.1,2 A. T. B. S. B. vl.2

emended to as in D fz added by analogy with picc., fl., ob., cl., fg., vl.1,2, vc., cb. note 1: vor emended to du; as in D note 5: marc. added by analogy with picc., fl., ob., cl., cor.1,2 b.1489: beginning of incomplete slur omitted b.1490: end of incomplete slur emended notes 2–3: stacc. added by analogy with picc., fl., cl., fg., cor., tr., trb.b., tb. seventh quaver: stacc. added by analogy with picc., fl., ob., cl. stacc. added by analogy with tr.1 note 1: stacc. added by analogy with picc., cl., fg., cor., tr., trb.b., tb. fff added by analogy with ww., tr., trb.t., trb.b., tb., timp., str. C2, D: no lower part D: no upper part marcato added by analogy with vl.1, va. D: b  note 5: # added note 2: # added stacc. added by analogy with b.1497 note 2: # added tie added by analogy with ww., brass., str.

42 44–45 45 45–46 50–51 50 52 54 66 68–73 80–81 86 87 88–89 89 90 90–93 91 93–94 94 95–96

Comment trem.-slashes emended from two to three by analogy with bb. 9–11, 13–14 div. moved from b.6 div. added trem.-slashes emended from two to three by analogy with bb. 9–11, 13–14 div. added p added by analogy with fl., cl. p added by analogy with vc.

95 96 97 97 99 99 99–100

DCM 030

A: (Tæppet gaar op–) Kirkegaard. (Aladdin ligger sovende ved sin Moders Grav.) div. added b.10 note 1: end of incomplete slur emended added by analogy with fl., cl. unis. added marc. added by analogy with cl.1, fg.2, cor.3,4, trb.t. marc. added by analogy with fl., cl.2, fg.1 unis. added A: note 1: pp added in red crayon A: note 1: pp added in red crayon notes 3–4: tie added by analogy with va. A: above top stave: added in blue crayon div. added first dotted crotchet: # added; second dotted crotchet: n added added by analogy with ww., cor.3,4, vl.1, va., vc., cb. note 1: p omitted by analogy with ob.1, cl.1, vl.1, vc., cb. div. added D: added by analogy with trb.t., trb.b., tb., va., vc., cb. unis. added two slurs one in each bar emended to one by analogy with vl.2 b.35: end of incomplete slur emended A: above stave: cresc added in red crayon cresc. added by analogy with ob., fg., cor.1,2, trb.t.2, trb.b., tb., vl.1, va., vc., cb. cresc. added by analogy with fl. note 1: n added n added note 3: n added note 1: f emended to ff by analogy with ww., cor.1,2,3, tr., trb.b., tb., str.; notes 1–5: omitted by analogy with trb.b., tb., va., vc., cb. fz added by analogy with trb.t., va., vc., cb. A: below stave: p added in blue crayon stacc. added by analogy with previous bar

unis. added b.45: end of incomplete slur added A: below stave: p added in blue crayon b.46 note 1: beginning of slur emended to b.44 note 3 by analogy with vl.1, va., vc. cl. b.51: end of incomplete tie added added by analogy with cl. cor.3 n added as in D A. cor.3 pp added by analogy with cl. va. chord 1 note 2: n added vl.1 phrase changed from double stems to single stems vc. cb. b.81: end of incomplete slur added cb. note 1: f emended to fz by analogy with fg.2, cor., trb.b., tb., timp., vl.1,2, va., vc. fg.2 vl.1 va. p added by analogy with cor., trb.b., tb., timp., vl.2 vc. cb. B.1 tie added cb. note 2: n added picc. fl. ob. A: note 1: f changed to mf in ink cl. cor.2 slur added by analogy with ww. erased cor. tr. A: trb.b. tb. A: section cancelled in pencil (Horneman?) vc. stacc. added by analogy with vl.1,2, va. fg.1 b.95: beginning of incomplete slur omitted; note 3: stacc. added by analogy with vc., cb. vl.2 marc. added by analogy with vl.1, va., vc. va. div. added fl.2 note 2: c  emended to a  as in B1–B2 and by analogy with b.93 vl.2 va. unis. added cl. fg. added by analogy with str. cor.3,4 va. vc. div. added vc.2 b.100: end of incomplete slur added

725

102 104 105–106

S. va. vc.(2) cb.

110–111 111 111 112 119–122

vc.(2) B. vl.2 vc. vl.1 va.

121 121 122 126 126 128 130–131 133 134 135 136

ob.1 cor.3 va. va. vc. cb. str. vl.2 ALAD. vl.2 vl.1 fg.

A: note 1: pp added in red ink unis. added b.106: tie added as in B1–B2 and by analogy with bb.106–112 (cb.) tie added as in B1–B2 and by analogy with cb. note 1: n added as in D note 2: n added by analogy with vc.2, cb. unis. added A: b.119 note 1, b. 120 note 2, b.121 note 1, b.122 note 2: added in red crayon note 2: b added A: b added in pencil div. added unis. added note 1: mp emended to mf by analogy with vl.1,2, va. cresc. emended to by analogy with cl., cor.1 b.130: beginning of incomplete tie omitted note 2: q. emended to q ‰ as in D stacc. and slur added by analogy with va. unis. added p omitted by analogy with cl.

136

ALAD.

141–146 143–144 144 146 147 149–150 150

cl.1 cor.2 fg.2 fg. ALAD. ALAD. cb.

in red ink (Horneman) slur added as in B1–B2 b.144: end of incomplete slur added note 1: a emended to g as in B1–B2 added by analogy with bb.149–150 note 1: f  emended to e  by analogy with fl., cl. b.150: end of incomplete tie added added by analogy with fg.2, vc.

151–152

ALAD.

154 158 161

vl.2 va. vc.

162 162 164–165 164–165

ALAD. vc. fl.1 fg.

164 164 164

fg.1 va. vc.2

165 165 167 170

va. vc.

177 178 178

178 180a, 180b 181 185 185–186 185 185 186

186 189 191 192–193 194

726

ob. vl.1,2 ob. fg. cor.1,2 timp. str. vc. cb. timp. va. cl. cl.2

≥

alternative phrase added

alternative phrase added in red ink (Horneman) added by analogy with vl.1, va. div. added added by analogy with div. added; va. A: (sætter sig paa Graven) added by analogy with va. b.165: beginning of incomplete slur omitted b.165: end of incomplete slur added to b.164 note sixth quaver by analogy with fl., ob., cor., str. cresc. added by analogy with cl., cor.1 sixth quaver: n added in accordance with C1 notes 1–3, 4–6: two slurs emended to one by analogy with va.2, vc.1 D: poco meno lento f added by analogy with vl.1,2, vc., cb. unis. added A: x Uddrag af Oehlenschlägers Digt i Skuespillet Aladdin. A: p changed to pp in pencil (Horneman?) A: Poco animato changed to Animato in blue crayon A: fourth quaver: f cancelled in pencil (Horneman?)

A: note 1: p changed to pp in pencil (Horneman?) note and rest added as in B1–B2 added by analogy with vc., cb. f added by analogy with fl., fg., vl.1,2, va., vc. b.186 note 1: end of slur moved to note 6 by analogy with fg.1 added by analogy with fl., cl., vl.2, va., vc., fg.1 cb. vl.2 div. added added by analogy with cor. fl. ob. cl. fg. trb.b. tb. str. vl.2(2) first semiquaver: a emended to chord (a–a ) as in B1– B2 ALAD. A: w (f ) added as alternative in red ink (Horneman) ALAD. note 3: n added as in D trb.b. tb. phrase added as in B1–B2 fz added by analogy with fl., ob., cl., cor.3,4, trb.t., cor.1 trb.b., tb., str.

198 199 200 201

ALAD. ALAD. vl.2 tr.2

201 202 202–206 205 205–206 207 207 207 209–210 209 211 212 212 213 216 221 221–222 225

vl.1 ALAD. vl.1,2 va. trb.t.1 va. vc. cor.2 va. va. trb.t. ALAD. vl.2 va. vl.1,2 va. vl.2 vl.1 va. cl.

225

str.

227 227 228 229

vl.2 vl.2 va. vl.2 va. vc. vl.1

229 231–232

vc. cor.1

231

ALAD.

232 234 235 235 235

va. ob.1 vl.2 vl.2(2) va.

235 236

vc. tr.

238 244 245 250

RING. vl.1 vc. va.

251 251

vl.1 va.

252 253

va. vl.1

253

va.

notes 3–4: e e emended to e. x as in D2 parlando added as in D2; D2: (parl.) added ink div. added ten. added by analogy with trb.t.2, trb.b. and by analogy with b.199 stacc. added by analogy with vl.2, va., vc. cantabile added as in D2; D2: (cant.) added in ink incomplete slur emended by analogy with va. rit. added as in D incomplete slur emended note 1: b added div. added unis. added b.210: end of incomplete slur emended second minim: b added cresc. added by analogy with ww., cor., tr., str. quasi parlando added as in D single stem emended to double stems unis. added note 2: b added div. added b.221 note 4 to b.222 note 1: slur omitted as in B1–B2 note 1: stacc. added by analogy with fl.1,2, ob.; a 2 added stacc. added by analogy with fl., ob., cl. and by analogy with b.227 (vl.1) note 1: b added stacc. added by analogy with vl.1 stacc. added by analogy with vl.1 stacc. omitted as in B1–B2 and by analogy with vl.2, va., vc. added by analogy with vl.1,2, va. b.231: beginning of incomplete slur omitted as in B1– B2 D2: kaster sig plat til Jorden added in pencil to q in ink (Horneman) and bar emended from div. added p added by analogy with the general dynamic level unis. added chord 1 bottom note: b added p added by analogy with ww., brass, timp., vl.1,2, vc., cb. unis. added ff added by analogy with ww., cor., trb.t., trb.b., tb., arpa, str. note 4: b added as in C2, D third crotchet: e –c  emended to chords as in B1–B2 arco added note 4: stacc. omitted as in B1–B2 and by analogy with vl.2 marc. added by analogy with b.250 note 3: stacc. omitted as in B1–B2 and by analogy with vl.2 note 5: stacc. added by analogy with vl.2 note 1: marc. emended to stacc. by analogy with vl.2, vc., cb. stacc. added by analogy with vl.2, vc., cb.

254–255

ALAD.

255 256 257 258 267 271 275

vc. va. vc. fg.2 ALAD. vc. ALAD.

276

ALAD.

282 292 292 292 294 294 295

vl.1 ob.2 va. vc. trb.t.1 vc.(2) tr.

DCM 030

-∑

alternative phrase added in red ink (Horneman) fz added by analogy with ww., cor., vl.1,2, va. sixth quaver, bottom note: n added added by analogy with vl.1,2, va. note 2: n added note 2: q emended to e A: note 6: n added in pencil (Horneman?) # A: note 1: alternative note (c ) added in red ink (Horneman) # A: note 2: alternative note (c ) added in red ink (Horneman) div. added A: note 2: n added in pencil (Horneman?) double stems added div. added A: note 3: n added in pencil (Horneman?) phrase added as in B1–B2 molto cresc. added by analogy with the other instr.

296 296 297 297–298 298 299 300 302 308 311 312 313–314 313–314 314 317 317–318 320 333 335 337 338 340 340 341–342 342 343 343 345 346–348 346 347 347 347 348 352 353 354 358–359 361 362 362 363 363 364 364 367 367 367 369

372 376 379 379 388 389 389 392 393 393 396 396 397 400 400

notes (e ) emended to chords as in B1–B2 unis. added div. added div. added and single stems emended to double stems div. added unis. added unis. added notes 2–3: q. e emended to q e ‰ as in B1–B2 unis. added cantabile added by analogy with vl.2 p added by analogy with bb.311 (fg.), 313 (cl.) b.313: end of incomplete slur added to b.313 note 2 b.313: end of incomplete slur added cresc. added by analogy with vl.1, va., vc., cb. note 1: f emended to a as in B1–B2 b.318: end of incomplete tie or slur omitted pp emended to pp sempre by analogy with vl.1, va., vc., cb. b va. note 8: f emended to e in accordance with C1; C1: b note 8: f emended to to e in pencil vl.1 A: notes 2–8: slur added in red crayon GUL. notes 1–2: tie omitted as in C2, D A: (Noureddin træder ind fra venstre.) vl.2 div. added cb. note 1: fp emended to f and fz as in B1–B2 and by analogy with vl.1 vl.2 b.341 note 1 to b.342 note 1: single stems emended to double stems by analogy with b.342 note 2 cl.2 note 2: n added vl.1 ff added as in B1–B2 and by analogy with ww., vc., cb. va. unis. added vl.1 div. added vl.2 b.346 note 1 to b.348 note 1: single stems emended to double stems va. div. added cor.3 note 2: b added vl.2 note 1: n emended to b as in B1–B2 and by analogy with cor.3 va.(1) note 1: b added vl.1,2 va. vc. unis. added D: eighth quaver: risoluto va. note 4: fz added by analogy with fl., ob., vl.1 NOUR. sotto voce added as in C2, D poco tranquillo added as in C2, D stretto added as in B1–B2; A: note 1: accel. added in blue crayon vl.2 note 1: marc. added by analogy with vl.1 fz omitted cb. fg.2 note 1: b added vc. div. added fg. cb. note 2: b added as in B1–B2 and by analogy with vc. vc. unis. added ob.2 note 1: b added trb.b. tb. fz added by analogy with ww., cor.3,4, tr., trb.t., str. trb.b. tb. A: third crotchet: marc. added in red crayon vl.1 vc. cb. # NOUR. A: note 2: alternative note ( e (f ) ‰ ) added in red ink (Horneman); notes 3–6: same rhythm above stave also added in red ink (Horneman), later cancelled in blue crayon va. A: note 1: # added in pencil (Horneman?) pp added as in B1–B2 and by analogy with the general cor.3,4 tr. dynamic level vl.1,2 va. vc. div. added p omitted as in B1–B2 and by analogy with vl.1,2, va. cb. vc. unis. added vl.1,2 va. unis. added vc. div. added vc. cb. note 1: cresc. omitted as in B1–B2 A: note 1: poco accel. added in blue crayon vl.2 cresc. added by analogy with cl., fg., vl.1, va., vc., cb. va. notes 3–5: slur added by analogy with vl.2; A: slur added in blue crayon va. vc. unis. added va. notes 1–4: slur added by analogy with vl.2; A: slur added in blue crayon A: note 1: accel.- added in blue crayon NOUR. notes 1–2: slur omitted as in C2, D vl.1 va. vl.1 vl.2 va. vc. va. vl.2 ob.1 vl.1 vl.1 cor.3 fg. cor.1 vl.2 fg.2 vl.1 vl.2

401 402 402 403 403 407 416 416 417 417–418 417 418 419 421 430 430 430–433 430 430 433 434 435 436 436 437 437 438, 439 440 441 441 441 442

444 444 445 446–447 449 449 450 452 452 453 454 454 456 456 457 459 459 463 466 466 471 479 482 482 487–488 487–488 494 502 502 503 504 506 507 507 508 510 511

DCM 030

div. added note 1: b added unis. added mf added by analogy with ob., cor.3,4 arco added as in B1–B2 div. added p added by analogy with fl., ob.1, trb.t., trb.b., tb. unis. added fp emended to fz as in B1–B2 and by analogy with cl. b.417 note 2 to b.418 note 1: tie added as in B1–B2 note 1: e emended to x A: # added in pencil (Horneman?) note 2: # added as in D; parlando added as in D cantabile added as in C2, D A: above stave: animé added in blue crayon; (afsides) A: pp added in blue crayon double stems emended to single stems as in B1–B2 div. added arco added as in B1–B2 A: above stave: cresc added in blue crayon # # # chords 2, 4: c –g  emended to e –b  as in B1–B2 A: rit in blue crayon moved from fifth quaver to first quaver str. A: note 1: above vl.1, va., vc.: mf added in blue crayon vc. unis. added vl.1,2 notes 3–6: stacc. added by analogy with bb.440, 441, 443 vl.1,2 vc. A: p added in blue crayon vl.1,2 notes 3–6: stacc. added by analogy with bb.440, 441, 443 vl.1,2 sim. omitted vl.1(1) note 5: X added vl.1(2) note 6: X added vl.2 note 7: X added vl.2 notes 3–6: stacc. added by analogy with bb.440, 441, 443; note 2: # added as in B1–B2 and by analogy with NOUR. vl.1 va. unis. added vc. div. added ob.1 A: note 1: # added in pencil (Horneman) added by analogy with fl., vl.1, fg.1 vl.2(2) # cl.2 note 2: f  emended to f  vc.2 ten. added by analogy with bb.444–448 cb. stacc. and slur added by analogy with bb.444–449 vl.2 p added by analogy with vc.(1); unis. added vc.(1) A: note 1: 8va--- added in blue crayon vl.2 added by analogy with vc.(1) va. unis. added p added by analogy with fg., vl.1,2, va. cb. NOUR. notes 1–2: slur omitted due to text setting va. div. added va. vc. unis. added vl.2 note 4: stacc. added by analogy with vl.1 va. div. added cor.4 note 1: # added va. unis. added vc. div. added va. div. added pp omitted as in B1–B2 trb.b. NOUR. A: (trænger nærmere ind paa hende) va. unis. added cor.1,2 b.487 note 1: incomplete beginning of tie added by analogy with cl. cor.4 b.487 note 1: incomplete beginning of tie added as in B1–B2 and by analogy with cl. va. quavers emended to semiquavers as in B1–B2 D: Più Allegretto cor. tr. trb.b. note 1: ff emended to f as in B1–B2 vl.1 second quaver: e  emended to chord e –e  as in B1– B2 va. div. added vl.1, 2 div. added GUL. A: note 1: marc. added in blue crayon vl.1,2 non div. changed to unis. NOUR. A: note 1: marc. added in blue crayon vl.1,2 div. added A: (Aladdin viser sig i Portalen) va. vc. cor.2 va. cl.1 cb. vc. cl. vc. ob.1 cor.3,4 vl.1,2 va. cor.2 NOUR. NOUR. GUL. vl.1 vc. cb. vl.2 vl.2 va. vc. cb. GUL. vc. vl.2

727

511

cor.3,4 tr.

511 513 515

vl.1,2 NOUR. tr.

521 521–529

vl.1,2 ALAD.

fz added by analogy with fl., ob., fg., cor.1,2, trb.t., trb.b., tb., timp. unis. added A: (slipper hende ved Synet af Aladdin) fz added by analogy with ww., cor., trb.t., trb.b., tb., timp. notes 3–4: q e emended to e ‰ e as in B1–B2 A:

623 624

va. fg.2 vl.1

div. added fz added by analogy with fl., ob., cor.1,2,4, tr., trb.t., trb.b., tb., timp., vc., cb.

624–626

ALAD.

627 628 628

ALAD.

628 629

630 630–633

531 533 537 546 554 559 562 567 568 572

vl.1,2 va. cor.1,2 va. fg. cor.4 fg.2 fl. cb. va. vc.

578 579 580 586 586–587

vl.1 va. vc. cb. cl. fg.1 fg.

587 588 588 588 589, 590

NOUR. cor.2 cor.4 NOUR. cor.4

alternative phrase added in red ink (Horneman) note 2: # added as in B1–B2 and by analogy with cor.4 note 3: fz emended to marc. as in B1–B2 A: note 1: b added in blue crayon ff omitted as in B1–B2 and due to notation of ff in previous bar note 1: e emended to q as in B1–B2 ff added by analogy with vl.1,2 div. added p added by analogy with cl., cor.1 note 1: b added n added as in B1–B2 stacc. added by analogy with picc., ob. fz added by analogy with vl.1,2, va. note 1: # added by analogy with note 1: marc. emended to cor.3, va. fz omitted as in B1–B2 and by analogy with vl.2, va. note 1: q. emended to q q and rest missing emended to e ‰ ‰ Œ ‰ as in B1–B2 # added by analogy with NOUR., va. b.586 note 1 to b.587 note 1: stacc. added by analogy with picc., fl., ob., cl. note 1: # added as in C2, D note 2: # added as in B1–B2 note 2: g emended to e by analogy with b.587 note 1: # added as in C2, D note 2: g emended to e by analogy with b.587

590–591

ALAD.

522 528 529 531

593 607 610 613–614 617 618 618 618 618 618 619 619 619 619–620 619 621 621 623 623 623–624 623 623

728

vl.2 fl. cl. vl.1 ob.1 cor.

alternative phrase

added in red ink (Horneman) ALAD. A: (støder ham ned, og tager hurtig Lampen op som er falden ud af Nourredins Haand) va. div. added vc. div. added cl. slur omitted as in B1–B2 and by analogy with ob., fg. fl. a 2 added D: Allegro risoluto tutti note 1: ff omitted cl. fg. stacc. added by analogy with picc., fl., ob., cor., tr. fz added by analogy with ww., cor., tr., trb.b., tb., timp. trb.t. str. va. div. added fl. note 12: stacc. omitted by analogy with ob., cl., fg., vl.1,2, va. cor.3,4 tr. note 3: marc. emended to marc. and stacc. by analogy with cor.1,2 trb.t. trb.b. ff added by analogy with ww., cor., tr., str. and by tb. analogy with timp. va. b.619 note 7 to b.620 note 1: single stems emended to double stems vc. stacc. added by analogy with cb. fg. cor. tr. stacc. added by analogy with picc., fl., ob., cl. va. unis. added A: a tempo changed to Allegro in blue crayon cor.1,2 added by analogy with fg.2, cor.3,4, tr. cor.1,2 b.622 note 2 to b.623 note 1: slur added by analogy with cor.4 tr.1 A: note 1: # added in pencil (Horneman?) tr.2 A: note 2: # added in pencil (Horneman?)

tr. ALAD.

ALAD.

alternative phrase added in red ink (Horneman) A: note 1: n added in red ink (Horneman) D: Recit. but no quasi recitativo in b.624 ff added by analogy with ww., cor., trb.t., trb.b., tb., str. A: note 1: ten. added in red crayon A: Mosso tranquillo changed to tranquillo in blue crayon; rall. added in blue crayon ; D: sixth quaver: tranquillo A: molto tranquillo added in blue crayon A:

alternative phrase added in red ink (Horneman) arco added A: sixth quaver: Poco rall. changed to rall. in blue crayon div. added B1–B2: note 4: ten. p added by analogy with ww., cor., va., vc., cb. non div. emended to unis. arco added ff added by analogy with fl., ob., cl., fg., brass., timp., str. A: (Noureddins Lig og Lampens Aand forsvinde) div. added note 1: mf omitted as in B1–B2 and by analogy with cl., fg., cor.3,4, vl.1,2, va. cresc. emended to cresc.--- by analogy with picc., fl.

630 631

va. vc.

631 632 632 632 633 636

va. vc. ob. cl. vl.2 va. vc. vl.1 picc.

636 636 638

LAMP. va. ob.

638–639

ob. cl. fg. cor. vl.1,2 va. picc. note 4: # added as in B1–B2 cl.1 note 2: b added as in B1–B2 vc. cb. added by analogy with ww., brass., vl.1,2, va. and by analogy with b.639 cl. vl.1,2 va. fff sempre emended to ff by analogy with brass, timp. vc. cb. ob. note 7: # added as in B1–B2 # # (e ) (e ) emended to w (e ) as in B1–B2 cor.4 trb.t. trb. tb. b.644: beginning of incomplete slur added # added by analogy with ob.2, fg., cor.2,4, trb.t.2 cb. cl.1 stacc. added by analogy with fl.1, ob.1, fg. fl. a 2 added fl. note 4: # added as in B1–B2 vl.1 div. added fl.2 note 1: b omitted as in B1–B2 and by analogy with vl.2, va.; A: b later addition (?) in lighter ink cl.1 1. added in accordance with C1 p added by analogy with picc., fl., cl., fg., str. cor.1 va. unis. added cl. a 2 added fl. double stems added in accordance with C1 vl.1 note 11: # added as in B1–B2 S. T. A: note 1: alternative note an octave lower added in pencil (Horneman) va. note 5: n added as in B1–B2 # va. first quaver: a emended to chord d –a  # T. A: note 1: alternative note (d ) added in pencil (Horneman) S. A: alternative note an octave lower added in pencil (Horneman) T. A: b.684 note 1 to b.685 note 1: alternative phrase added in pencil (Horneman) va. div. added ob. fz added by analogy with fg. cor.1,2 marc. added by analogy with cor.4, tr. vl.2 va. A: note 2: p changed to pp in blue crayon va. unis. added fl.1 marc. added by analogy with bb.691–692 cl. note 4: # omitted as in B1–B2

640 640 642 643 644 644 644–645 652 655 656 658 660 663 663–666 663 663 667 698 670 677, 678, 681, 682 681, 682 683 683 684–685 684–685 687 689 689 689 689 690 693

DCM 030

693

vl.1

697–698

697 697 697–698

cl. va. vc. cb.

698 698 699–700

cl. vl.1,2 CORO

701 701 701 702

cl.2 tr.2 vl.2 va. fg.

702 702 702 703 704 705 705 706 708

fg. cor.1,3 vl.2 va. va. vc. va. va.(2) vl.2 cor.3,4

708–709 708 711 714 716 719–720

CORO va. SEND. va. CORO A. B.

720

VIZ.

723 725

tr. cl.

725

cor.1,2

727 728 729 730 730 730 732 747 750 750 756 757 760 760 761

va.

768 770 771 771 771 771 772 773 775 776 776

va.

marc. emended to marc. and stacc. by analogy with bb.690–692 A: Bis? / N.B. added in top right-hand corner in pencil (Horneman?) and bis below timp. added in blue crayon, these two bars correspond to bb.699–700 p added by analogy with fg., cor. div. added emended to b.698 note 1: beginning of b.697 by analogy with cl., fg., cor., vl.1,2, va. marc. added by analogy with fg., cor. A: note 7–8: slur added in red crayon D:

note 1: b added as in B1–B2 marc. added by analogy with ww., cor. notes 7–12: articulation added by analogy with vl.1 stacc. added by analogy with fl., ob., cl.; note 3: n added by analogy with fl., ob., cl., cor., tr., str. slur omitted as in B1–B2 articulation added by analogy with vl.1 notes 1–6: stacc. added by analogy with vl.1 div. added note 2: n added as in B1–B2 unis. added note 1: f  emended to a as in B1–B2 note 1: n added as in B1–B2 note 2: marc. omitted by analogy with fg., cor.1,2 and as in B1–B2 b.708: beginning of incomplete tie added unis. added parlando added as in D cresc. added by analogy with vc., cb. A: (Koret deler sig til høire og venstre) A: b.719 rest 1 to b.720 rest 1: rests changed to

in pencil (Horneman?) A: (Viziren efterfulgt af to Trompetblæsere kommer fra Baggrunden. Aladd. og Guln. træde frem) double stems added ff added by analogy with b.723 (fl., ob., fg., cor., tr., trb.b., tb., timp., str.) marc. added by analogy with fl., ob., fg., cor.3,4, tr., trb.b., tb. div. added A: (ternerne ile Gulnare imøde) p added by analogy with fg.1, vc. D: rall. note 1: p omitted as in B1–B2 note 2: p omitted as in B1–B2 unis. added A: note 1: ten. added in red crayon div. added single stem emended to double stems # added unis. added A: note 3: # added in blue crayon A: note 3: mf added in blue crayon dim. added as in D

780 782

784 784 794 794–795

vl.2 fl.1 ob.1 cor.1 ob.2 A. B. vl.2

794 795–796

va. ob.1

795–801

vl.1

796 797

cor.3 tr.

797

trb.t. trb.b. tr. fg. tr.2 trb.t. cl.2 CORO

798 799 799 799 800–801 801

va.(1) va.(2) va. GUL. vl.1,2 va. va. A. vl.1,2 1.TERN. S. B. 2.TERN. VIZ. CORO str. A: note 1: mf changed to pp in pencil (Horneman?) b added cor.4 A: second crotchet: mosso added in blue crayon ob. added by analogy with cor.2 VIZ. A: note 1: b added in blue crayon vl.2 marc. added by analogy with vl.1, va., vc., cb.; note 3: b added f added by analogy with ob., cl., fg., cor.1,2 cor.3,4 tr. f added by analogy with cor., trb.t., trb.b., tb., timp., str. VIZ. A: between notes 5–6: added in blue crayon A: second crotchet: mosso added in blue crayon fg. note 5: # added by analogy with cl.

777 779

D: Kroningsceremoni note 5: e  emended to d  as in C, D and by analogy with vl.1 # note 1: a  emended to g  as in B1–B2 added by analogy with cl.1

# note 2: f  emended to e  as in B1–B2 n note 1: added as in D and by analogy with va. note 3: # added b.794 note 2 to b.795 note 2: single stems emended to double stems notes 1–2: e emended to x x as in B1–B2 b.795 note 2: note, tie and slur added as in B1–B2 and by analogy with fl.1 b.795 note 3 to b.801 note 6: single stems emended to double stems marc. added by analogy with 2 third to fourth crotchet: stacc. added by analogy with b.799 stacc. added by analogy with b.798 (trb.t.) and by analogy with bb.798–801 (trb.b.) stacc. added by analogy with b.800 notes added as in B1–B2 notes 1–2: stacc. added by analogy with trb.b. stacc. added by analogy with trb.b. b.801 note 1: end of incomplete slur added D2:

second half of bar cancelled in pencil in connection with jump div. added div. added marc. added by analogy with fl.2 unis. added unis. added b.807 note 1 to b.808 note 1: slur emended to b.807 notes 1–3: slur and b.807 note 4 to b.808 note 8: slur as in B1–B2 marc. added by analogy with cor.3,4 note 6: g  emended to e  as in B1–B2 # # note 1: g  emended to b  as in B1–B2; unis. added D: notes 1–2: g–g; A: changed due to skip div. added stacc. added by analogy with vl.1, va. notes 5–6: slur omitted div. added stacc. omitted by analogy with the other instr. notes 1–2: slur added by analogy with vl.2 stacc. added by analogy with trb.t., trb.b. unis. added second crotchet: U added by analogy with str.

801 802 803 803 804 807–808

vl.2 va. ob.2 va. vl.1,2 fl.1

808 810 810 810 811 811 811 812 815 816 817–818 819 821

cor.1,2 vl.1 vl.2 B. vl.1 vl.2 vc. cb. vl.2 trb.b. vl.1(2) tr. vl.1,2 va. ww. brass timp. CORO p added by analogy with vl.1,2, va., vc. cb. # va. note 4: d  emended to c  as in B1–B2; A: note 4: # added in pencil (Horneman?) vc.solo A: note 4: # added in pencil (Horneman?) vl.2 A: eighth quaver: top note of chord, b –g , cancelled in pencil (Horneman?) vc.(1) A: notes 2–5: slur added in pencil (Horneman?) vl.2 A: chord 2 note 1: d  changed to e  in pencil (Horneman?) vl.2 va. unis. added added by analogy with b.843 vc.(1) ALAD. A: notes 3, 6: ten. added in pencil (Horneman?) added by analogy with b.844 (vl.2, vc.solo) vl.1,2 va. added by analogy with vl.1,2, vc., cb. vl.2 A: chord 2 note 1: d  changed to e  in pencil (Horneman?) vc. cb. A: notes 1–2, 3–4: slurs added in blue crayon GUL. notes 1–2: slur omitted as in D va. unis. added cb. notes 1–2: slur added by analogy with vc. vl.1 note 2: beginning of slur emended to note 1 by analogy with b.831 vl.2 marc. added by analogy with b.831

822 824 825 826 826 829 830 831 832 832 840 841 841 842 842 842 843 843

DCM 030

729

843 844 845 847

vc. vl.1 vc. cb. ob.

847

1.TERN. 2.TERN. arpa fl. ob.

848 849 857 858 861 861 862 862 863 866

tb. vl.2 va. vl.1,2 va. fl.2

867–868 868

va. trb.b. tb. timp. trb.t. cb.

872–874

solo added added by analogy with vl.2 added by analogy with b.833 beginning of slur emended from note 1 to note 2 by analogy with picc., fl. third to fourth crotchet: q emended to q tied to e ‰ as in C, D # sixth quaver: f  emended to g  as in B1–B2 beginning of slur emended from note 1 to note 2 by analogy with picc. and by analogy with b.847 (picc., fl.) A: note 2: n added in pencil (Horneman?) div. added div. added unis. added D: rall. notes 1–6, 7–10: two slurs emended to one by analogy with cl. div. added emended to notes and rests as in B1–B2

-∑

stacc. added by analogy with tr., trb.b., tb. stacc. added by analogy with tr., trb.b., tb. A:

changed to

in pencil

730

872 877 877–878 877

878 878 880 880 880 881 883 883 883 884 884 884 884 885 886

DCM 030

vl.1,2 va. vc.

div. added unis. added semiquavers emended to quavers by analogy with bb.874–877, 879–884 cb. semiquavers emended to quavers as in B1–B2; B1–B2: reworking and new passage in ink pasted in (bb.877– 878) ob. cl. marc. added by analogy with picc., fl. fg. stacc. added by analogy with ob., cl. picc. fl. ob. stacc. added by analogy with fg., cor., tr. cl. trb.t.2 vl.1,2 va. div. added vl.2(1) A: chord 1: two slashes in pencil added to stem (Horneman?) vl.2(2) A: notes 1–8: stroke added in pencil to stems (Horneman?) cor.3,4 notes 1, 4: stacc. added by analogy with cor.1,2 tr. trb.t.2 note 1: stacc. added by analogy with cor.1,2 trb.b. vl.1,2 unis. added fg. stacc. added cor.1,2 note 1: stacc. added by analogy with cor.3,4 cor.3,4 note 2: stacc. added by analogy with cor.1,2 tr. trb.t. stacc. added by analogy with cor. trb.b. tb. vc. cb. notes 2–4: stacc. added by analogy with vl.1,2, va. . timp. fourth crotchet: Œ emended to ≈ x (A) as in B1–B2

APPENDIX Horneman’s drawings from the piano vocal score, source D1 ACT ONE I.1 (b. 22)

DCM 030

731

ACT TWO II.1 (b.45)

732

DCM 030

II.2 (b. 467)

DCM 030

733

II.3 (b. 507)

II.4 (b. 615)

734

DCM 030

II.5 (b. 675)

II.6 (b. 690)

II.7 (b. 780)

DCM 030

735

II.8 (b. 915)

II.9 (b. 948)

II.10 (b. 998)

736

DCM 030

II.11 (b. 1089)

II.12 (b. 1106)

II.13 (b. 1121b)

II.14 (b. 1198)

DCM 030

737

ACT THREE III.01 (b. 35)

738

DCM 030

III.02 (b. 35)

III.03 (b. 291)

III.04 (b. 324)

DCM 030

739

III.05 (b. 423)

III.6 (b. +489)

740

DCM 030

III.7 (b. 494)

III.8 (b. 537)

III.09 (b. 545)

DCM 030

741

III.10 (b. 620)

III.11 (b. 688)

III.12 (b. 696)

742

DCM 030

III.13 (b. 731)

III.14 (b. 753)

III.15 (b. 853)

DCM 030

743

III.16 (b. 889)

III.17 (b. 1218)

III.18 (b. 1232)

744

DCM 030

III.19 (b. 1232)

III.20 (b. 1311)

DCM 030

745

III.21 (b. 1317)

III.22 (b. 1332)

III.23 (b. 1369)

746

DCM 030

III.24 (b. 1376)

III.25 (b. 1432)

III.26 (b. 1492)

DCM 030

747

ACT FOUR IV.1 (b. 9)

748

DCM 030

IV.2 (b. 579)

IV.3 (b. 593)

IV.4 (b. 718)

DCM 030

749

IV.5 (b. 728)

IV.6 (b. 763)

IV.7 (b. 772)

750

DCM 030

IV.8 (b. 776)

IV.9 (b.821)

IV.10 (b. 846)

DCM 030

751