Edition·S is supported by The Danish Arts Foundation.
ISBN 978-87-93750-85-2
ISMN 979-0-706839-08-0
Varighed / Duration: 4 min.
Indhold / Contents
Danish Classical Music iii Biografi / Biography iv
Forord / Preface v Faksimiler / Facsimiles viii Lygtemænd / Will–o’–the–Wisps 11
Abbreviations 26
Critical Commentary 27
Danish Classical Music
Udgivelsesserien Danish Classical Music (DCM) har til formål at tilgængeliggøre dansk musikalsk kulturarv i pålidelige og gennemarbejdede praktisk – videnskabelige nodeeditioner for musikere og forskere i ind – og udland. Således er ambitionen at overtage stafeten fra Dansk Center for Musikudgivelse, som opererede som et forskningscenter under Det Kgl. Bibliotek, 2009 – 2019. Centeret udgav praktisk – videnskabelige editioner af høj filologisk kvalitet, og siden lukningen af centeret er denne opgave ikke blevet varetaget – men behovet er ikke blevet mindre.
Mens Dansk Center for Musikudgivelse fungerede som et center med ansate medarbejdere er forholdene for det nye DCM anderledes: Her er tale om selvstændige og individuelt finansierede projekter under DCM – paraplyen. Derfor er der ikke blevet udarbejdet et nyt sæt redaktionelle retningslinjer – i stedet videreføres de retningslinjer, som blev formuleret af Dansk Center for Musikudgivelse. De eneste ændringer fra retningslinjerne er layoutmæssige, og så er der i DCM – udgivelserne tilføjet en kort biografisk introduktion til komponisten.
De redaktionelle retningslinjer sikrer udgivelsernes høje og konsistente editionsfilologiske niveau og grundindstillingen til udgivelsesarbejdet kan sammenfates i nogle få, centrale punkter.
Om “praktisk – videnskabelige editioner”
Med begrebet “praktisk – videnskabelige editioner” sigtes der til, at udgivelserne skal være praktisk anvendelige for musikere, uden at musikerne nødvendigvis skal forholde sig til redaktørens arbejde og filologiske overvejelser. Derfor er selve nodesiden “ren” og uden fodnoter eller lignende. Samtidig er udgivelserne videnskabelige, idet interesserede læsere kan finde den nødvendige information om det editionsfilologiske arbejde i tekstdele placeret før og efter nodedelen: Før nodedelen bringes en introduktion til værket, dets tilblivelses – og receptionshistorie samt generelle kommentarer til det filologiske arbejde (eksempelvis nogle særlige udfordringer eller valg); efter nodedelen følger en grundig kildebeskrivelse og en oversigt over redaktionelle ændringer, deres begrundelse i kilderne samt information om varianter.
Om redaktørens rolle
Som James Grier skriver i bogen The Critical Editing of Music fra 1996, så er al editionsfilologisk arbejde også et fortolkningsarbejde, ideelt set baseret på grundige, kritiske og historisk forankrede studier af kildematerialet. Idéen om at den videnskabelige edition videregiver den “eneste rigtige” version af værket er en fiktion: Ofte vil redaktører komme frem til varierende udlægninger af et værk, og ofte kan der argumenteres lige godt for den ene læsning som den anden. Det er derfor vigtigt at bevæggrunden for de enkelte valg er tydeliggjort i oversigten over redaktionelle retelser.
I serien undgås såkaldte “eklektiske” editioner, en sammenblanding af forskellige kilder, der kan resultere i en version af værket, der aldrig har eksisteret fra komponistens hånd. Der bestemmes derfor altid en hovedkilde, som editionen er baseret på, mens varianter kan bruges som hjemmel ved retelser af klare fejl.
Thomas Husted Kirkegaard, ph.d.
Danish Classical Music
The publication series Danish Classical Music (DCM) aims to make Danish musical heritage accessible for musicians and researchers in Denmark and abroad by providing reliable and meticulous practical – scholarly music editions. The ambition is thus to take over the baton from the Danish Centre for Music Publication which operated as a research centre under the Royal Library from 2009 to 2019. The centre published practical – scholarly editions of high philological quality, and since the closure of the centre, this task has not been undertaken –but the need has not diminished.
While the Danish Centre for Music Publication functioned as a centre with dedicated employees, the conditions for the new DCM are different: it comprises of independent projects funded individually under the DCM framework. Therefore, a new set of editorial guidelines has not been developed – instead, the guidelines formulated by the Danish Centre for Music Publication are being sustained. The only changes to the guidelines relate to layout, and in DCM publications a brief biographical introduction of the composer is added.
The editorial guidelines ensure a high and consistent level of philological quality in the publications, and the fundamental editorial approach can be summarized in a few key points.
On “practical – scholarly editions”
The term “practical – scholarly editions” refers to the aim of making the publications practically useful for musicians without requiring them to engage directly with the editor’s work and philological considerations. The sheet music is therefore “clean”, without footnotes or similar additions. At the same time, the publications are scholarly in nature, as interested readers can find the necessary information about the philological work in sections placed before and after the sheet music: Prior to the sheet music, there is an introduction to the work, its genesis and reception history, as well as general comments on the philological work (such as specific challenges or choices). After the sheet music, a thorough description of sources and an overview of editorial changes, their justification based on the sources, and information about variants are presented.
On the role of the editor
As James Grier writes in his book The Critical Editing of Music from 1996, all philological work is also an act of interpretation, ideally based on thorough, critical, and historically grounded studies of the source material. The notion that the scholarly edition presents the “only correct” version of a work is a fiction: Editors often arrive at varying interpretations of a piece, and equally compelling arguments can often be made for different readings. Therefore, it is important to clarify the rationale behind each choice in the overview of editorial revisions.
The series avoids so – called “eclectic” editions, which involve a mixture of different sources and may result in a version of the work that never existed in the composer’s hand. Therefore, a primary source is always determined as the basis for the edition, while variants can be used as evidence for correcting clear errors.
Thomas Husted Kirkegaard, Ph.D
Biografi
Hilda Sehested blev den 27. april 1858 født ind i en adelig familie på herregården Broholm på Fyn og døde 15. april 1936 i København.
Som del af den almene dannelse, som kvinder fra Sehesteds socialklasse var pålagt, blev hun som barn undervist i klaver og musikteori. Sehested gik ikke på konservatoriet, men hun begyndte at modtage privatundervisning i klaver hos komponisten C.F.E. Horneman som 15-årig i 1873. Fra 1886 studerede hun komposition privat hos Orla Rosenhoff.
Sehested udtrykte en trang til at frigøre sig fra sin hjemegn og sine selskabelige pligter på Broholm og flytede i 1892 til København. Der var hun tætere på musiklivet i hovedstaden og ligesindede, aspirerende musikere og komponister.
Sehested blev forlovet med arkæologen Henry Petersen, som dog døde kort før deres planlagte bryllup i 1896. Efter dete stoppede hun både med undervisningen hos Rosenhoff og med at komponere. I de efterfølgende år forsøgte hun at finde en ny vej i livet og uddannede sig som organist. Hun fik sit afgangsbevis i 1899, men vides ikke at have haft embede som organist efterfølgende.
Først i 1900 vendte hun tilbage til sin gamle musikalske omgangskreds og begyndte igen at komponere og udgive musik. I 1903 udgav hun værkerne Klaversonate i As-dur og Intermezzi for violin, cello og klaver, og året efter begyndte hun at komponere for blæseinstrumenter. I 1905 skrev hun Suite für Cornet in B und Klavier, der i 1915 blev bearbejdet til Suite for Kornet og Orkester Klaversonatens kompositionsstil blev af hendes læremester Orla Rosenhoff beskrevet som “hyper-romantisk,” og han mente, at den bar præg af hendes kærlighed til Wagner og Schumann.
I 1913–1914 skrev hun sin første og eneste opera Agnete og Havmanden, der havde tekst af forfateren Sophus Michaëlis, og som blev antaget til opførelse på Det Kongelige Teater. Grundet 1. verdenskrig og den materialemangel, krigen medførte, måte opsætningen aflyses.
I 1910’erne havde hun opnået anerkendelse som komponist, og hendes værker blev opført af flere solister og ensembler. Orkesterstykkerne Lygtemænd og Mosekonen Brygger blev begge opført ved en kompositionskoncert i 1915, hvor Politikens anmelder skrev, at Sehested viste sig som en “virkelig dygtig Dame.” 1
Sehesteds forkærlighed for at komponere musik for blæseinstrumenter fortsate, og hun skrev i midten af 1920’erne de to større værker for basun Morceau pathétique pour trombone avec accompagnement de piano i 1924 og Course des athlètes du Nord. Morceau symphonique pour trombone avec orchestra ou piano i 1925.
I de sidste ti år frem til sin død i 1936 indstillede Hilda Sehested komponistkarrieren.
Biography
Hilda Sehested was born on 27 April 1858 into a noble family at the Broholm manor on Funen and died on 15 April 1936 in Copenhagen.
As part of the general education that was required of women of Sehested’s social class, she was taught piano and music theory as a child. Sehested did not attend the conservatory, but began receiving private piano lessons from the composer C.F.E. Horneman as a 15-year-old in 1873. From 1886 she studied composition privately with Orla Rosenhoff.
Sehested expressed a desire to free herself from her home environment and her social duties at Broholm and in 1892 moved to Copenhagen. There she was closer to the musical life of the capital and like-minded, aspiring musicians and composers.
Sehested became engaged to the archaeologist Henry Petersen, who, however, died shortly before their planned wedding in 1896. Following this, she stopped both her lessons with Rosenhoff and composing. In the following years, she tried to find a new path in life and trained as an organist. She obtained her graduation certificate in 1899, but is not known to have held office as an organist afterwards.
It was not until 1900 that she returned to her old musical circle and began to compose and publish music again. In 1903 she published the works Piano Sonata in A Major and Intermezzi for Violin, Cello and Piano, and the following year began composing for wind instruments. In 1905 she wrote Suite for Cornet in Bb und Piano, which in 1915 was adapted into the Suite for Cornet and Orchestra The compositional style of the piano sonata was described by her teacher Orla Rosenhoff as “hyper-romantic,” believing that it was influenced by her love of Wagner and Schumann.
In 1913 – 1914 she wrote her first and only opera Agnete og Havmanden, to a text by the author Sophus Michaëlis, and which was accepted for performance at the Royal Theatre. Due to the 1st World War and the shortage of materials caused by the war, the staging had to be cancelled.
By the 1910s, she had achieved recognition as a composer, and her works were performed by several soloists and ensembles. The orchestral pieces Lygtemænd and Mosekonen Brygger were both performed at a composition concert in 1915, where Politiken’s reviewer wrote that Sehested proved to be a “really talented lady.” 1
Sehested’s penchant for composing music for wind instruments continued, and in the mid-1920s she wrote the two major works for trombone Morceau pathétique pour trombone avec accompaniment de piano in 1924 and Course des athlètes du Nord. Morceau symphonique pour trombone avec orchestra ou piano in 1925.
1 “Gusch”, Politiken 26.3.1915.
In the last ten years before her death in 1936, Hilda Sehested suspended her career as a composer. 1 “Gusch”, Politiken 26 March 1915.
Forord
Kompositionstidspunktet for det lille orkesterstykke Lygtemænd kendes ikke eksakt. Det blev uropført ved Hilda Sehesteds koncert i Studenterforeningens Festsal i København den 25. marts 1915 og blev betegnet som det nyeste orkesterværk på programmet. Det må antages, at det er komponeret sidst på året 1914 eller snarere primo 1915. Orkestret var sammensat til lejligheden og blev dirigeret af komponisten Peder Gram. Under programpunktet Miniaturer for Orkester opførtes Mosekonen brygger efterfulgt af Lygtemænd. Sidstnævnte gjorde lykke hos publikum og måte gentages.
I Axel Kjerulfs anmeldelse i Politiken omtales de to stykker som “et Par velinstrumenterede fikse Smaating”. 1 Videre skrev han, at “Frk. Sehested viste sig i disse Orkesterstykker som en virkelig dygtig Dame, der har lært en hel Del og som vel ikke har store Ting paa Hjerte, men formaar at give det en vis moderne Form og Façon.” Også Suite for Orkester med obligat Kornet samt en i dag forsvundet Rhapsodi for orkester blev opført ved koncerten. Gustav Hetschs generelle omtale i Nationaltidende gælder derfor alle fire værker:
Hvad angaar Indholdet af Frk. Sehesteds (her for første Gang præsenterede) Orkesterarbejder, har det sin Styrke deri, at det ikke er Allemandstale. Det har noget Personligt over sig, selv om det ikke er nogen stor Personlighed, der har præget det. Man holdes hele Tiden i Aande ved musikalske Ideer, som man ikke havde ventet (i hvert Fald ikke ventet skulle komme der og saaledes), og er end den melodiske Opfindsomhed ikke betydelig, er dog denne Musik fuld af Vendinger, som man lægger Mærke til og interesserer sig for, og som til Dels holder En skadesløs for Mangelen på prægnante Motiver. 2
Den 28. juni 1929 blev Lygtemænd og Mosekonen brygger (i denne rækkefølge) udsendt som en direkte transmiteret studieopførelse i radioen i programmet “Nyere dansk Musik” kl. 22.05 til 23.00. Der var også værker af Alfred Tofft, Carl Nielsen, Knud Harder, Louis Glass og Oto Olsen. Radioorkestret blev dirigeret af Emil Reesen. Senere opførelser kendes ikke. Som det har vist sig at være tilfældet i forbindelse med flere af Sehesteds værker, er der også her tale om, at de professionelt udskrevne orkesterstemmer er blevet revideret (men ikke konsekvent) af komponisten, hvis håndskrift ses en del steder i materialet. Der findes dog også småretelser i partituret, som ikke er implementeret i stemmerne. Partituret foreligger ikke i renskrift, men i kladdeagtig form udført med blyant og med rettelser, der bl.a. ses som udraderinger (med viskelæder) eller overstregninger og blyantsændringer. Korrektionerne i orkesterstemmerne er foretaget ved hjælp af udradering og retelser udført med blæk. Typisk er der tale om fraser, hvor en bue er fernet og noderne i stedet forsynet med staccato- eller tenuto-angivelser. En række detaljer af denne art fra orkestermaterialet er derfor af betydning for nærværende udgivelse. Ved koncerten i 1915 ydede dirigenten Peder Gram en indsats for at lete udtrykket i programmets lidt massivt instrumenterede orkesterværker, hvilket især gjaldt suiten med kornetsolo. Gram udelod fx fordoblinger og indsatser i det dybe leje i horn og messingblæsere, idet han sate disse i parentes i partituret og i stemmerne. Resultatet var til komponistens udtrykkelige tilfredshed. Grams udsagn om Lygtemænd var dog, at det var det
Preface
The exact date of composition for the small orchestral piece Lygtemænd is unknown. It was first performed at Hilda Sehested’s concert in the Student Association’s Ballroom in Copenhagen on 25 March 1915 and was described as the newest orchestral work on the programme. It must be assumed that it was composed at the end of the year 1914 or more likely at the beginning of 1915. The orchestra was put together for the occasion and was conducted by the composer Peder Gram. Under the program item Miniatures for Orchestra, Mosekonen brygger was performed, followed by Lygtemænd. The latter was a hit with the audience and had to be repeated.
In Axel Kjerulf’s review in Politiken, the two pieces are referred to as “a pair of well-instrumented, well-made< miniatures”. 1 Furthermore, he wrote that “Ms. Sehested showed herself in these orchestral pieces as a really talented lady who has learned a great deal and who probably doesn’t have big things on her heart, but manages to give it a certain modern shape and form.” Also Suite for Orchestra with Obligatory Cornet and a Rhapsody for orchestra, now lost, were performed at the concert. Gustav Hetsch's general mention in Nationaltidende therefore applies to all four works:
As for the content of Ms. Sehested’s (presented here for the first time) orchestral work has its strength in the fact that it is not common talk. It has something personal about it, even if it is not a great personality that has shaped it. You are kept in the spirit all the time by musical ideas that you did not expect (at least not expected to come there and in that manner), and even if the melodic inventiveness is not significant, the music is full of twists and turns that one notices and takes an interest in, and which in part hold one indemnified against the lack of meaningful motifs. 2
On 28 June 1929, Lygtemænd and Mosekonen brygger (in this order) were broadcast as a live studio performance on the radio in the program “New Danish Music” from 22:05 to 23:00. There were also works by Alfred Tofft, Carl Nielsen, Knud Harder, Louis Glass and Oto Olsen. The Radio Orchestra was conducted by Emil Reesen. Further performances are not known.
As has turned out to be the case in connection with several of Sehested’s works, here too it is the case that the professionally produced orchestral parts have been revised (but not consistently) by the composer, whose handwriting can be seen in several places in the material. However, there are also minor corrections in the score that are not implemented in the parts. There is no fair copy of the score, which is written in draft-like form in pencil and with corrections that, amongst other things, appear in the form of erasures (with an eraser) or cross-outs and pencilled-in changes. The corrections in the orchestral parts have been made via erasures with the corrections added in ink. Typically, these are phrases where a slur has been removed and the notes instead provided with staccato or tenuto indications. A number of details of this kind from the orchestral material are therefore of importance to the present publication.
At the concert in 1915, the conductor Peder Gram made an effort to lighten the expression in the program’s rather heavily instrumented orchestral works, which particularly applied to the suite with solo cornet. Gram omited, for example, doublings and insertions in the lower register of the horns and brass, as he put these in parentheses in the score and in the parts. The result was to the express satisfaction of the composer. However, Gram’s statement about Lygtemænd was that it was the most
1 “Ax”, Politiken 26.3.1915.
2 “–st–ts–”, Nationaltidende 26.3.1915.
1 “Ax”, Politiken 26 March 1915.
2 “–st–ts–”, Nationaltidende 26 March 1915.
mest vellykkede af værkerne i denne henseende. 3 Ikke desto mindre er enkelte blæserpassager i partituret sat i parentes og dermed foreslået udeladt. De pågældende passager er imidlertid kun i ét tilfælde indføjet i orkesterstemmerne og synes således ikke at være udeladt ved opførelsen i 1915 og derfor nok heller ikke ved radioopførelsen i 1929. Værket præsenteres her i dets fuldstændige form, mens udeladelsesforslagene dokumenteres i den kritiske beretning.
Bendt Viinholt Nielsen
successful of the works in this respect. 3 Nevertheless, individual brass passages in the score are bracketed and thus suggested to be omitted. However, the passages in question are only included in the orchestral parts in a single case and thus do not seem to have been omitted in the performance in 1915 and therefore probably not in the radio performance in 1929 either. The work is presented here in its complete form, with the suggested omissions documented in the critical report.
Bendt Viinholt Nielsen
3 Sehested meddeler sine indtryk fra koncerten i brev af 29.3.1915 til sin bror Hannibal Sehested. Brevet findes i Rigsarkivet. Privatarkiv 6328 Hannibal Sehested. A.I.2. Det gengives s. 63-65 i: Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4 (København: Multivers, 2019)
3 Sehested communicated her impressions from the concert in a letter dated 29 March 1915 to her brother Hannibal Sehested. The letter can be found in the National Archives. Private archive 6328 Hannibal Sehested. A.I.2. It is reproduced pp. 63 – 65 in: Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, volume 4 (Copenhagen: Multivers, 2019).
Faksimiler
Facsimiles
Faksimile 1.
Partitur i autograf, første nodeside, t. 1-4 (kilde A).
Partituret foreligger kun i blyantsform, som således blev benyttet ved opførelser af værket i 1915 og 1929. Dirigentnotater i blå farvestift skyldes Peder Gram eller Emil Reesen. Parenteser omkring visse nodegrupper er indføjet af Peder Gram med henblik på at lete instrumentationen. Hans forslag blev dog kun delvis implementeret i orkesterstemmerne, og udgaven her medtager alle partiturets noder.
Facsimile 1.
Score in autograph, first sheet of music, bb. 1 – 4 (source A). The score is only available in pencil form, and was thus used for performances of the work in 1915 and 1929. Conductor’s notes in blue pencil were made by Peder Gram or Emil Reesen. Parentheses around certain groups of notes have been inserted by Peder Gram with the intention of lightening the instrumentation. However, his suggestions were only partially implemented in the orchestral parts, and the version here includes all the notes of the score.
Faksimile 2.
Partitur i autograf, s. 19, t. 72-73 (kilde A).
Som det er normalt for Hilda Sehested, er heller ikke dete manuskript forsynet med en datering. Det forhold, at der undtagelsesvis ikke foreligger en renskrift med blæk, kunne tyde på, at Lygtemænd blev til kort tid før uropførelsen i marts 1915. På denne sidste side har der været tvivl om, hvornår strygerne skal skifte fra pizzicato til buestrøg; det ser ud til at være en dirigent (Gram eller Reesen), som har angivet, at akkorden skal spilles pizz., og at arco først indtræder til sidst.
Facsimile 2.
Score in autograph, p. 19, bb. 72 – 73 (source A).
As is usual for Hilda Sehested, this manuscript is not dated. The fact that, exceptionally, there is no clean copy in ink, could indicate that Lygtemænd was created shortly before the first performance in March 1915. On this last page, there has been doubt as to when the strings should change from pizzicato to a bow stroke; it appears to be a conductor (Gram or Reesen) who has indicated that the chord is to be played pizz., and that the arco only enters at the end.
Orkesterbesætning / Orchestral forces
3 Flauti
2 Oboi
Corno inglese
2 Clarinetti in Sib
3 Fagotti
4 Corni in Fa
3 Trombe in Fa
3 Tromboni
Timpani
Violini I
Violini II
Viole
Violoncelli Contrabbassi
Hilda Sehested: Lygtemænd -
Hilda Sehested (1858-1936)
Clarinetti in B b
Fagotti
Oboi
Trombe in Fa
Corni in Fa
Flauti
Tromboni
Hilda Sehested: Lygtemænd - 13
Hilda Sehested: Lygtemænd - 16
Hilda Sehested: Lygtemænd - 18
Abbreviations
Abbreviation Meaning b. bar bb. bars cb. contrabbasso cl. clarineto cor. corno
c. i. corno inglese cresc. crescendo dim. diminuendo div. divisi
HS Hilda Sehested marc. marcato mark ob. oboe p. page pp. pages pag. paginated picc. flauto piccolo (piccolo) stacc. staccato str. strings ten. tenuto mark timp. timpani tr. tromba trb. trombone vl. violino vcl. violoncello vla. viola woodw. woodwinds
Critical Commentary
Description of sources
A Score, autograph, in pencil
B Parts (transcript, revised by HS)
A Score, autograph, in pencil
DK–Kk, Royal Danish Library (Musikafdelingen), C II, 12. Hilda Sehesteds samling, 09.
Cover title (another hand): “Partitur / Hilda Sehested / Lygtemænd”
Heading (p. 1, autograph, in ink): “Lygtemænd”
Signed (p. 1 in ink): “Hilda Sehested”
Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949–50.1035).
35 × 26.5 cm. 12 leaves with 20 pages of writing: title page, blank page, 19 pages of music numbered 1–19, 3 blank pages.
Paper type: Cover (fols. 1+12): 12 staves without manufacturer’s name; fols. 2–11: “Heimdal” 1663 (18 staves).
Score in pencil with some autograph corrections in pencil and conductor’s annotations in blue (and red) crayon. Six passages in the wind instruments (on pp. 1, 2, 6, 7, 11, 17–18) proposed omited and placed in blue crayon brackets.
After the final bar: “4 Min.”
B Parts (transcript, revised by HS)
DK–Kk, Royal Danish Library (Musikafdelingen), Mf. A. 157.
Heading: “Lygtemænd”
35 × 26 cm. Transcript in ink (unsigned). Revised by HS in ink (her handwriting can be seen in several places).
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949–50.1035).
According to a receipt among HS’s private papers (in the Royal Archives, Copenhagen) the orchestral material was produced by copyist Harald Petersen in 1915.
Evaluation of sources
A collation of the autograph score (A) with the orchestral parts (B) reveals a number of variants which stem neither from the copyist nor to the musicians who played the work. In the parts, there are a number of alterations regarding phrasing and articulation made by means of erasures and additions in ink. In some cases, but not always, corresponding corrections are found in the score. As the composer’s handwriting can be identified in several places, the revision in ink of the parts is without doubt made by the composer prior to the performance in 1915. However, the corrections are not consistently carried out. HS’s intention is often clear, although, for example, a correction may be found only in one or two instruments while parallel passages in other instruments have not been corrected. In other words, the revision is characterised by randomness and can be considered unfinished. As mentioned, some of the corrections made in the parts have not been transferred to the score, just as a few alterations in the score are not implemented in the parts. The following list provides an overview of the alterations made in the score and parts:
Bar Source
1, 2, 4
Alteration
A + B f # 3 emended to a2 in fl. 2 (in bb. 68, 69 the alteration is not made)
2 – 4 B slur altered and stacc. added in fg. 2, fg. 3 (only b. 4) and cb. (A without these alterations)
5 – 8 B slur altered and stacc. added in fg. 1, 3, fg. 2 (bb. 7 – 8), cor. 3, vcl. (bb. 7 – 8) and cb. (A has a slur notes 1 – 7)
10 B ten. added in fl. 1 and cl. 1 notes 1 – 8 (not in fl. 2, 3, cl. 1) (A without these alterations)
26 – 27 B slur altered and stacc. added in cl.2 (not in cl. 1) (A without these alterations)
27 B ten. added in fl. 1 and stacc. in fg. 1 (no changes in fl. 2) (A without these alterations)
28 B marc. added notes 1 – 3 in fl. 1, 2 (A without this alteration); A has marc. notes 1 – 3 in vl. 1 which are not in B
29 – 30 B long slur covering two bars in vl. 1 changed to two slurs and stacc. (A only corrected in b. 29; b. 30 has slur notes 1 – 5)
31 A + B slur notes 2 – 10 altered to slur notes 2 – 6 and stacc. in vla.
45 – 46 A + B slur altered to stacc. in vla. and vcl.
46 B slurs altered to stacc. notes 1 – 3 and 5 – 7 in fl. 1 – 3 (A has slur notes 1 – 7)
46 A slurs altered to stacc. in vl. 1, 2 (no change in B)
67 A w cb altered to h cb + h b in fg. 3, vcl. and cb. (B has w cb)
Furthermore, short passages in the score are bracketed in blue crayon. In connection with the first performance in 1915, the conductor Peder Gram suggested a simplification of the orchestration by omiting doublings here and there in the wind parts. However, only three of the six “omited” passages are marked in the orchestral parts, so it is doubtful whether Gram’s proposal was fully or partially realised in practice. It concerns the following:
Omissions indicated in both A and B: ob. 1 – 2 b. 1 to b. 7 note 1 (in B only bb. 1 – 6 are bracketed) ob. 1 – 2 bb. 68 – 70 cor. 3 bb. 5 – 6
Omissions indicated in A but not in B: trb. 1 – 3 bb. 21 + 23 cor. 1 – 2 b. 37 cl. 1 – 2 bb. 68 – 69
Commentary on the edition
The edition has the autograph score, A, as its main source. The orchestral parts (B) serve as a supplementary source as regards corrections made in this source by the composer [HS]. The edition presents the work in its complete form including the passages in the wind parts that were placed in brackets and suggested omited.
Notes
Bar Part
Comment
1 fl. 3 n added by analogy with ob. 2 vl. 1, 2 vla. vcl. p added by analogy with cb. and fg. 2, 3, 4 fg. 2 cb. notes 1 – 4: slurs omitted and stacc. notes 3, 4 added in accordance with corrections in B [HS]
4 fg. 3 notes 3, 4: stacc. added in accordance with correction in B [HS]
5 cor. 1 – 2 m added by analogy with cor. 3 and fg. 1, 2
5, 6 fg. 2 – 3 cor. 3 cb. notes 1 – 6: slurs emended to slurs notes 1 – 4 and stacc. at notes 4 – 6 in accordance with corrections in B [HS]
7 fg. cor. 4 vcl. cb. notes 1 – 6: slurs emended to slurs notes 1 – 4 and stacc. at notes 4 – 6 in ccordance with corrections in B [HS]
8 cl. cor. 3 – 4 vl. 2
vla. vcl. cresc. added by analogy with ob., c.i., fg., cor. 1 – 2, vl. 1 and cb. fg. 1 – 2 cor. 4 vcl. cb. notes 1 – 6: slurs emended to slurs notes 1 – 4 and stacc. at notes 4 – 6 in accordance with corrections in B [HS]
fg. 3 notes 1 – 6: slur emended to slur notes 1 – 4 and stacc. at notes 4 – 6 by analogy with b. 7 and fg. 1, 2 (cf. note above)
9 ob. tr. f added by analogy with fl., fg., cor. and str.
10 fl. ob. cl. notes 1 – 8: ten. added in accordance with additions in B [HS] in fl. 1, 2 and cl. 2 and by analogy with vl. 1, 2 and vla. (not implemented in B in fl. 3, ob. and cl. 1)
fl. 2 – 3 ob. cl. fg.
cor. 1 – 2 vl. 1, 2
vcl. cb. d added by analogy with fl. 1, cor. 3 – 4, trb. 3 and vla.
11 fl. 1 note 2: stacc. added by analogy with fl. 2, 3 and ob. tr. p added by analogy with cor. and trb. 3
12 fl. notes 1 – 3: stacc. added by analogy with ob. and str. cb. m added by analogy with other str. (b. 11) d added by analogy with vla. and vcl.
13 – 16 fl. 1 stacc. b. 13 note 4, b. 14 notes 1 – 3, b. 15 note 1 and b. 16 note 1 added by analogy with fl. 2, 3 and vl. 1, 2
14 cl. 1 – 2 vl. 1 cresc. added by analogy with fg. 1 – 2, vl. 2, vla. and vcl.
14 – 16 fl. 2 – 3 stacc. b. 14 notes 3 – 4, b. 15 note 1 and b. 16 note 1 added by analogy with b. 13, b. 14 notes 1 – 2, etc.
14 – 15 tr. 1 – 2 slurs added by analogy with cl. and fg. 1 – 2
15 c.i. fg. 3 m added by analogy with fl. 2 – 3, ob. and fg. 1 – 2 (b. 11) cb. cresc. added by analogy with str. (b. 14)
16 vl. 1 note 1: f added by analogy with vl. 2
17 fg. 1 – 2 f added by analogy with cl. vl. 2 f added by analogy with vl. 1 vcl. m added by analogy with vla.
19
cb. m added by analogy with vla. and vcl. (b. 17)
21 fg. 3
23
note 1: slur ending b. 22 note 1 added by analogy with cor. and vcl.
c.i. poco f added by analogy with cl.
fg. 1 – 2 trb. 1 – 2 notes 1 – 4: stacc. added by analogy with b. 21
24 fl. m added by analogy with ob.
26 – 27
27
cl. slur from b. 26 note 2 to b. 27 note 1 omitted and stacc. supplied at notes 3 – 6 in accordance with correction in B cl. 2 [HS] (not implemented in B cl. 1)
fl. 1 notes 2 – 6: ten. added in accordance with addition in B [HS]
cl. notes 2 – 4: slur omited and stacc. added at notes 3 – 4 in accordance with correction in B cl.2 [HS]
fg. 1 – 2
28
note 2: slur ending b. 28 at note 3 added by analogy with cor.1 – 2
vla. poco f added by analogy with other str.
fl. 1 – 2 notes 1 – 3: marc. added in accordance with additions in B [HS]
fl. 3 cresc f added by analogy with str.
fl. 3 tr. erroneously indicated rests r r emended to r by analogy with str. c.i. vla. notes 2 – 3: slur added by analogy with cl. 2 and cor. 3 cl. 1 c added by analogy with str.
str. last note: n (before g) added by analogy with g in fl., cl., etc.
30 vl. 1 continued slur ending at note 5 (deleted in A in b. 29) emended to stacc. at notes 1 – 3 and slur notes 4 – 5 in accordance with correction in B [HS] vl. 2 lower part: slur added by analogy with vla.
31 vl. 2 slur added by analogy with vl. 1
32 fg. 1 – 2 m added by analogy with fl. 2 – 3 and cl.
33 fg. 2 – 3 p placed under the fg. 2 – 3 stave in A omitted (unmotivated)
33 – 36 fg. 2 continuing slur ending b. 36 note 2 added by analogy with fg. 1
38 fl. 2 – 3 m added by analogy with fl. 1 and ob. 1 fg. 1, 3 vcl. notes 1 – 3 and 4 – 6: slurs added by analogy with cl. and vla. b. 37, c.i. and cor.1 – 2 in b. 39
39 c.i. m added by analogy with ob.1 (b. 38), cor. 1 – 2 and vl. 1, 2 cl. 1 m added by analogy with cor. 1 – 2, and vl. 1, 2 fg.1 note 2: b before a added by analogy with fg. 3 notes 5 – 7: slur added by analogy with fg.2 fg.2 notes 1 – 3: slur added by analogy with fg. 1
note 3: b before a added by analogy with fg. 3 vcl. slur emended from notes 2 – 3 to notes 2 – 4 by analogy with cb. cb. p added by analogy with vcl. (b. 38)
40 fl. 2 ob. 1 slurs added by analogy with fl. 1 ob. 1 – 2 fg. m added by analogy with cl.
fg. 1 – 2 d added by analogy with cl. fg. 3 c d added by analogy with cl. trb. notes 1 – 3: slur added by analogy with cor. 4 and tr. 1 vl. 2 poco f added by analogy with vl. 1
42 vcl. notes 1 – 5: continuation of slur added by analogy with fg.
43 vla. note 5: stacc. omited by analogy with bb. 42 and 44
44 fl.3 notes 2 – 3: slur added by analogy with ob.1 cl. 1 notes 6 – 7: slur added by analogy with ob. 2 fg. 1, cor. 1 – 2 d added by analogy with fg. 2
fg. 2 note 4: b added by analogy with fg. 1
45 ob. m added by analogy with fl.
fg. 1 – 2 note 2 added in accordance with B (A has only note 1 and slur)
vl 2 m added by analogy with vl. 1
notes 1 – 3: slur added by analogy with vl. 1
46 fl. slur notes 1 – 7 omited and stacc. added at notes 1 – 3 and 5 – 7 in accordance with correction in B fl. 1 [HS] (only partly implemented in B fl. 2 and 3)
cl. 1 m added by analogy with cl.2 (b. 45)
vl. 1,2
A has slurs notes 1 – 3 and 4 – 7 and a later addition of stacc. at notes 1 – 3 and 5 – 7; the intention is that slurs should be replaced by stacc. in accordance with HS’s correction in B fl. 1 (cf. note above); in B vl. 1, 2 the correction was not implemented (vl. 1 has one slur notes 1 – 7, vl. 2 has two slurs notes 1 – 3 and 4 – 7)
vcl. m added by analogy with vla. (b. 45)
47 vl. 2 c poco f added by analogy with vl. 1
vcl. note 6: stacc. omited (note 6 tied over to note 7)
48 ob. 1 notes 5 – 6: slur added by analogy with notes 2 – 3 and cl. 1 ob. 2 slur notes 2 – 3 and stacc. note 4 added by analogy with cl. 1 vl. B: note 7: marc. [HS?] (no marc. in vl. 2)
49 ob. 2 c.i. vla. vcl. cb. note 1: stacc. added by analogy with the rest of the orchestra
50 fl. 2 – 3 ob. cl. fg. tr. trb. note 1: stacc. added by analogy with fl. 1, c.i. and str.
51 cor. 3 f added by analogy with the rest of the orchestra
53 cor. 2 note 1: tie to note 2 added by analogy with fg. 3 and b. 54 f added by analogy with the rest of the orchestra (b. 51)
54 fg. 3 notes 1 – 2 and slur added by analogy with cor. 2 and b. 53 (the bar is empty in A)
55 – 65 tuti repetition of bb. 17 – 27 (“Come sopra 11 bars”)
66 c.i. notes 1 – 3: marc. may seem unmotivated and is not present in b. 28 (in B, however, marc. is added in b. 66 in ink [HS])
tr. poco f added by analogy with the rest of the orchestra (b. 65)
67 fg. 1 – 2 stacc. notes 1 – 2 and 5 – 6 and slurs notes 1 – 2, 3 – 4, 5 – 6 added by analogy with cor.2, 3 (and cl.)
fg. 1 – 2 cor. 2 cor. 3 d added by analogy with tr., vla. and vcl. cl. fg. 3 p added by analogy with vcl. and cb. (b. 66)
68 timp. p added by analogy with woodw. and cor.4 vl. 1,2 vla. vcl. p added by analogy with cb.
68, 69 fl. 2 f # 3 emended to a by analogy with corrections in bb. 1, 2 and 4
69 – 70 cor. 4 c m added by analogy with fg. 3 and cb.
70 cl. 1 note 2: stacc. added by analogy with fg. 1 and cor. 1 cor. 1 – 2 m added by analogy with cl. and fg.
71 fl. 2 – 3 ob. slurs added by analogy with fl. 1
72 fl. 2 – 3 notes 1 – 5: continued slur added by analogy with fl. 1 ob. one continued slur ending at the last note emended to two slurs by analogy with fl. vl. 1,2 vla. arco added in accordance with B (in A added by “conductor” in red crayon)
73 fl. 2 – 3 ob. f added by analogy with fl. 1 cor. 3 – 4 vcl. cb. f added by analogy with the rest of the orchestra
