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 stafetten 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 ansatte 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 sammenfattes 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 rettelser.
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 rettelser 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
Nancy Dalberg (1881-1949) blev født Nancy Hansen i 1881 på godset Bødstrup i nærheden af Slagelse. Hendes far, Christian D.A. Hansen (1843-1916), var en særdeles succesfuld forretningsmand, der udviklede produkter til mejeribranchen, og Dalberg voksede derfor op i en familie, hvor der ikke manglede økonomiske ressourcer. I 1882 flyttede familien ind på det nyerhvervede gods Mullerup på Sydfyn, hvor Dalberg voksede op. I 1901, da hun var 17 år gammel, blev hun gift med ingeniørofficeren og portrætmaleren Erik Dalberg (18751945). Hun modtog klaverundervisning af én af tidens mest anerkendte klaverlærere, Ove Christiansen (1856-1909), og i 1909-11 studerede hun komposition hos den norske komponist Johan Svendsen (1840-1911). Hun var formentlig også elev af komponisten Fini Henriques (1867-1940) før hun i 1913 blev elev af tidens helt store musiknavn, Carl Nielsen (1865-1931). Igennem tiden udviklede Dalberg og Nielsen et tættere professionelt forhold, og Nielsen dirigerede eller medvirkede som violinist i opførelsen af adskillige af hendes værker. Han bad hende også hjælpe med at instrumentere sine værker Alladin og Fynsk Foraar
Dalberg fik opført en række sange i 1911, og hendes første strygekvartet blev opført i hendes hjem – med Carl Nielsen på violin – i 1914, men hendes egentlige offentlige debut som komponist kom i 1915, hvor hun holdt en såkaldt kompositionskoncert i Odd Fellow Palæet, kun med hendes værker på programmet. Hun holdt endnu en kompositionskoncert i 1918 og en tredje i 1922. Ved disse koncerter blev blandt andet hendes strygekvartetter, sange og flere orkesterværker – ikke mindst symfonien – opført. Generelt blev Dalbergs musik modtaget godt, men anmelderne undlod sjældent at kommentere på hendes køn, ofte fordi de var overraskede over, at en kvinde kunne komponere så godt.
I vinterhalvåret 1922-23 havde hun et ophold i Algeriet, fordi hun var plaget af helbredsproblemer, blandt andet gigtsmerter. Her blev hun inspireret af nomadefolkets musik og nedskrev melodier, der siden blev til værket Arabisk Musik fra Sahara Efter hjemkomsten begyndte hun at komponere en opera over Selma Lägerlöfs (1858-1940) Gösta Berlings Saga, men da Lägerlöf allerede havde givet italienske Riccardo Zandonai (1883-1944) tilladelse til at komponere en opera over denne historie, måtte Dalberg opgive det – dog efterlod hun sig sangen Marianna Sinclairs Sang fra dette arbejde.
I 1929 afholdt Dalberg sin fjerde og i 1937 sin sidste kompositionskoncert. Stilmæssigt bevægede Dalberg sig fra det senromantiske og ind i det moderne. I hendes musik findes både svungne, romantiske melodier og korte, repetitive motiver. Sidstnævnte træk blev af samtidens anmeldere ofte kritiseret men kan også høres som en moderne kvalitet i Dalbergs musik.
Thomas Husted Kirkegaard
Biography
Nancy Dalberg (1881 – 1949) was born Nancy Hansen in 1881 at the estate of Bødstrup near Slagelse. Her father, Christian D.A. Hansen (1843 – 1916), was a highly successful businessman who developed products for the dairy industry, meaning that Dalberg grew up in a family with no lack of financial resources. In 1882, the family moved to the newly acquired estate of Mullerup in South Funen, where Dalberg grew up.
In 1901, at the age of 17, she married the engineering officer and portrait painter Erik Dalberg (1875 – 1945). She received piano lessons from one of the most renowned piano teachers of the time, Ove Christiansen (1856 – 1909), and from 1909 to 1911 studied composition with the Norwegian composer Johan Svendsen (1840 – 1911). She was presumably also a student of the composer Fini Henriques (1867 – 1940) before, in 1913, becoming a student of the most prominent Danish musician of the time, Carl Nielsen (1865 – 1931). Over time, Dalberg and Nielsen developed a closer professional relationship, and Nielsen conducted or participated as a violinist in the performance of several of her works. He also asked her to help orchestrate his works Aladdin and Springtime on Funen
Dalberg had several of her songs performed in 1911, and her first string quartet was performed at her home – with Carl Nielsen on violin – in 1914, but her true public debut as a composer came in 1915 when she held a so-called composition concert at the Odd Fellow Palace in Copenhagen, with only her works on the programme. She held another composition concert in 1918 and a third in 1922. At these concerts, her string quartets, songs, and several orchestral works – most notably the symphony – were performed. Generally, Dalberg’s music was well received, but critics rarely failed to comment on her gender, often surprised that a woman was able to compose so well.
During the winter of 1922 – 23, she took up residence in Algeria due to health problems, amongst them arthritis. Here, she was inspired by the music of nomadic people and wrote down melodies, which later became the work Arabic Music from the Sahara. Upon her return, she began composing an opera based on Selma Lagerlöf’s (1858 – 1940) Gösta Berling’s Saga, but since Lagerlöf had already granted the Italian composer Riccardo Zandonai (1883 – 1944) permission to compose an opera on this story, Dalberg had to give it up – however the song Marianna Sinclair’s Song remains from this work.
In 1929, Dalberg held her fourth composition concert, and in 1937, her last. Stylistically, Dalberg moved from the late romantic and into the modern. In her music, one finds both sweeping, romantic melodies and short, repetitive motifs. The latter feature was often criticized by contemporary critics but can also be heard as a modern quality in Dalberg’s music.
Thomas Husted Kirkegaard
Forord
Om tilblivelsesprocessen af Nancy Dalbergs Symfoni i cis-mol er ingen kilder overleveret. Efter Dalbergs kompositionskoncert i 1915 er det muligt, at Dalberg så orkestermusikken som det naturlige næste skridt i sin komponistkarriere.
Symfoni i cis-mol havde uropførelse i 1918 ved en kompositionskoncert, hvor også Dalbergs Capriccio blev uropført. 1 Stemmesættet indeholder dateringer og blev produceret fra 10. dec. 1917 til 28. jan. 1918, det vil sige netop forinden produktion af stemmesættet til Capriccio, der blev produceret fra 28. feb. 1918 til 4. mar. 1918.
At en kvinde i 1918 fik opført en selvstændig koncert med orkestermusik, gik ikke dagspressen forbi. I koncertens anmeldelser var det ikke overraskende Dalbergs Symfoni i cis-mol, der fik den største opmærksomhed. Symfonien fik en blandet modtagelse hos anmelderne. Kristeligt Dagblad skrev blandt andet følgende:
Fru Dalberg havde altsaa paa Forhaand sat Sindene i Bevægelse. Hendes Symfoni blev imidlertid ikke den Indsats, som paa dette Punkt godtgjorde Kvindens Ligeberettigelse med Manden. Det var ganske godt Arbejde, der ogsaa klang godt, men Ideerne nødvendiggjorde ikke den store Form. Bedst forekom sidste Sats. Ogsaa for de to andre Orkesterstykkers Vedkommende gjaldt det, at man kunde ønske dybere Musikindhold. 2
Politiken i nogenlunde samme stil:
Det er jo ikke nogen dagligdags Ting, at Damer skriver Musik for stort Orkester, og en endnu større Sjældenhed, at de vover sig i Kast med en symfonisk Opgave. Fru Nancy Dalbergs Symfoni i cis-moll var da ogsaa snarest at betragte som en Suite, eller om man vil en ufuldendt Symfoni; de tre Satser dannede i hver Fald ikke nogen Helhed, og man søgte forgæves efter Sammenhængen. Men det var slet ikke daarlig gjort, tværtimod dygtigt lagt til Rette, og Enkeltheder røbede baade Klangsans og en vis orkestral Opfindsomhed. Betragtet som Elev-Arbejde var det lovende, og Tilhørerne fremkaldte da ogsaa med opmuntrende Bifald den kvindelige Komponist. 3
Og Nationaltidende, ganske positive:
En Dame, der skriver Orkesterværker, er en stor Sjældenhed, en Dame, der binder an med en Symfoni, et Fænomen. Et saadant kan Danmark opvise siden i Gaar, da Fru Nancy Dalberg, som tidligere har vist os sine kompositoriske Evner i Sange og Kammermusik, præsenterede sig som Symfoniker. Hendes cis-moll Symfoni er saa godt gjort et Musikerarbejde, at mangen en af hendes mandlige Kolleger meget vel kunde være den bekendt. Det er i Grunden forbavsende, at en Debutant behersker baade den store Form og det store, moderne Orkesterapparat saa dygtigt og overlegent. 4
Mere negativt lød det fra Hovedstadens anmelder, som bl.a. skrev: “Symfonien manglede den tematiske Storhed og musikalske Mangfoldighed, man uvilkaarligt knytter til Begrebet Symfoni, – var snarere en Sinfonietta, indeholdende en Række moll-tyngede Stemninger.” 5
1 Se også forordet til Capriccio i nærværende serie.
2 “Vic”, Kristeligt Dagblad 15.3.1918, citeret i Lisbeth Ahlgren Jensen, “‘En komponerende Dame’: Modtagelsen af Nancy Dalbergs musik i samtiden”, Fund og Forskning 45 (2006), 79-106, 88.
3 Axel Kjerulf, Politiken 15.2.1918, citeret i Ahlgren Jensen, “‘En komponerende Dame’”, 88.
4 Nationaltidende 15.3.1918, citeret i Ahlgren Jensen, “‘En komponerende Dame’”, 89.
5 Emilius Bangert, Hovedstaden 15.3.1918 citeret i Ahlgren Jensen, “‘En komponerende Dame’”, 90.
Preface
No sources have been handed down about the creation process of Nancy Dalberg’s Symphony in C-sharp minor. After Dalberg’s composition concert in 1915, it is possible that Dalberg saw orchestral music as the natural next step in her composing career. Symphony in C sharp minor had its premiere in 1918 at a composition concert, where Dalberg’s Capriccio was also premiered. 1 The set of parts contains dates indicating that it was produced from 10 Dec. 1917 to 28 Jan. 1918, i.e. just before the production of the parts for Capriccio, which was produced from 28 Feb. 1918 to 4 Mar. 1918.
The fact that a woman in 1918 was given an independent concert with orchestral music did not go unnoticed by the daily press. In the reviews of the concert, it was not surprisingly Dalberg’s Symphony in C-sharp minor that received the most attention. The symphony received mixed reviews. Kristeligt Dagblad wrote, among other things, the following:
Mrs. Dalberg had, therefore, already set minds in motion. Her symphony however, was not the effort that confirmed women’s equality with men on this point. It was quite good work, and also sounded good, but the ideas did not necessitate the large form. The last movement seemed best. With the other two orchestral pieces as well, it was true that one could wish for deeper musical content. 2
Politiken in roughly the same style:
It is not an everyday thing for women to write music for a large orchestra, and an even greater rarity for them to take on a symphonic task. Mrs. Nancy Dalberg’s Symphony in C-sharp minor should also most likely to be considered a suite, or if you like an incomplete symphony; the three movements did not in any case form a whole, and one searched in vain for a connection. But it was not badly done at all, on the contrary skilfully executed, and details revealed both a sense of sound and a certain orchestral ingenuity. Considered as student work, it was promising, and the audience gave the female composer encouraging applause. 3
And the Nationaltidende, very positive:
A lady who writes orchestral works is a great rarity, a lady who tackles a symphony, a phenomenon.
Denmark can boast of something like this since last year, when Mrs. Nancy Dalberg, who has previously shown us her compositional abilities in songs and chamber music, presented herself as a symphonist. Her c-sharp minor symphony is as a well-executed a piece of music as many of her male colleagues could manage. It is fundamentally surprising that a debutant masters both the large form and the large, modern orchestra apparatus with such skill and superiority. 4
Hovedstaden’s reviewer was however more negative, writing, among other things: “The symphony lacked the thematic grandeur and musical diversity that one inevitably associates with the concept of a symphony, – was rather a sinfonietta, containing a series of minor-heavy moods.” 5
1 See also the preface to Capriccio in the present series.
2 “Vic”, Kristeligt Dagblad 15.3.1918, quoted in Lisbeth Ahlgren Jensen, “‘A Composing Lady’: The reception of Nancy Dalberg’s music in the present”, Fund og Forskning 45 (2006), 79 – 106, 88
3 Axel Kjerulf, Politiken 15.2.1918, quoted in Ahlgren Jensen, “‘A Composing Lady’”, 88.
4 Nationaltidende 15.3.1918, quoted in Ahlgren Jensen, “‘A Composing Lady’”, 89.
5 Emilius Bangert, Hovedstaden 15.3.1918 quoted in Ahlgren Jensen, “‘A Composing Lady’”, 90
Kritikken mod form og tematik kom også til udtryk i Vort Land, som skrev:
Fru Dalberg har endnu svært ved at kunne bestemme Værdien af de Idéer, hvorover hun bygger sin Komposition. Undertiden udformer hun et ret ligegyldigt Tema gennem en polyfon Behandling, der viser en vis kompositionsteknisk Dygtighed, men som ikke kan tilføre det større Værdi end det har i sig selv, og til andre Tider synes hun at negligere Motiver, som man skulde tro havde Udviklingsmuligheder. 6
Efter at have opført symfonien i sin fulde længde i 1918, valgte Dalberg at fjerne symfoniens første sats og ved samme lejlighed omdøbe den til To orkesterstykker. Denne tosatsede version opførtes i radioen; f.eks. i 1935 – blot få år før Dalbergs død – med Emil Reesen som dirigent for Radiosymfoniorkestret. 7
Asmus Mehul Mejdal Larsen København 2024
6 Birger Wøllner Gaarn, Vort Land 15.3.1918, citeret i Ahlgren Jensen, “‘En komponerende Dame’”, 90.
7 Ved denne koncert uropførtes desuden Rued Langgaards Symfoni nr. 7, opus 15.
Criticism of form and theme was also expressed in Vort Land, which wrote:
Mrs. Dalberg still finds it difficult to determine the value of the ideas on which she builds her composition. Sometimes she develops a rather unimportant theme through a polyphonic treatment that shows a certain technical compositional skill, but which cannot add more value than it has in itself, and at other times she seems to neglect motifs that one would think contained possibilities for development. 6
After performing the symphony in its entirety in 1918, Dalberg chose to remove the symphony’s first movement and at the same time rename it Two Orchestral Pieces. This two-movement version was performed on the radio; eg. in 1935 – just a few years before Dalberg’s death – with Emil Reesen as conductor of the Radio Symphony Orchestra. 7
Asmus Mehul Mejdal Larsen Copenhagen 2024
6 Birger Wøllner Gaarn, Vort Land 15.3.1918, quoted in Ahlgren Jensen, “‘A Composing Lady’”, 90.
7 Rued Langgaard’s Symphony no. 7, opus 15 was also premiered at this concert.
INSTRUMENTATION
2 Flauti
2 Oboi
Clarinetto 1 in La/si bemolle
Clarinetto 2 in La/si bemolle
2 Fagotti
4 Corni in Fa
2 Trombe in Fa
3 Tromboni
1 Tuba
Timpani
Violini I
Violini II
Viole
Violoncelli Contrabbassi
Transposed score
Critical commentary
The editorial work on Symphony in C-Sharp Minor has been done in close cooperation among the editors. However, the ultimate responsibility has been distributed among the two editors as follows:
Frederik Døj Erforth Larsen: Emendations and alternative readings of the 1st and 2nd movements, engraving, part preparation, source description, and filiation and evaluation of sources.
Asmus Mehul Mejdal Larsen: Emendations and alternative readings of the 1st and 3rd movements, preface and editorial strategy.
In the Critical Commentary the following conventions are used:
1. “by analogy with” is used when something has been “added”, “emended” or “omitted” by analogy with another passage in the main source. The analogy may be vertical. When something is added “by analogy with” one or more instruments, it is understood that the analogy is with the same place in the same bar(s). The analogy may also be horizontal. When something is added “by analogy with” one or more bars, it is understood that the analogy is with a parallel place in the same instrument(s).
2. “as in” is used when something is “added”, “emended”, or “omitted” to correspond to the same place in another source.
3. “in accordance with” is used in cases where there is no authoritative source, only guideline – for example part material.
Sources
A1 Autograph score of 1st movement, performance material.
A2 Autograph score of 2nd and 3rd movements, performance material.
B Autograph score, fair copy.
C1 Autograph parts of 1st movement (incomplete).
C2 Autograph parts of 2nd and 3rd movements.
D Autograph piano reduction for four hands.
E Autograph fragments of parts to the 1st movement (missing parts of C1).
Source A1
The Royal Danish Library (DK-kk MA ms 6180 mu 0108.2000). Autograph score, (fair copy and performance material) in ink in the composer’s hand with few marks in blue crayon and pencil by Carl Nielsen and other unknown handwritings.
The score: 64 pages bound with yarn.
Paper type: Unknown, 16 systems per page (345mm × 260 mm).
Page 1r: Tempo: Moderato (h = 58 added with pencil in an unknown hand).
Title: Symfoni [Symphony]. Composer: Nancy Dalberg. Year: 1917.
Comment: This source was originally a part of A2 but was cut out of the binding.
Source A2
The Royal Danish Library (DK-kk C II, 26 2°). Autograph score (fair copy, performance material) in ink in the composer’s hand with few marks in blue crayon and pencil by Carl Nielsen and other unknown handwritings.
The score: 88 pages bound with yarn and bound in cardboard with a glued cloth book spine.
Paper type: Unknown, 16 systems per page (345mm × 260 mm).
Title page: “Nancy Dalberg/To Orkesterstykker/Op.9/1. Andante Sostenuto/2. Rondo”. 1
Page 1r: Tempo: “q = 66” added with pencil in an unknown hand. Title: Andante Sostenuto.
Composer: Nancy Dalberg.
Dating: 1917 (localised by source A1).
1 Nancy Dalberg/Two Pieces for Orchestra/Op. 9/1. Andante Sostenuto/2. Rondo.
Comments: This source originally contained A1 A1 and A2 has the same paper type, the marks added with blue crayon is in the same handwriting in both sources. Furthermore, A2 bears marks of pages been cut from it.
The second movement does not differ significantly from source B but is reorchestrated in certain parts. fag. 2 from bb. 5 – 9 is added in A2. timp. in bb. 5 – 15 in B is in cb. In A2 cor. 1 plays in unison with vlc., and cor. 3 in rehearsal mark 1 is erased in A2
The third movement is identical in page numbers and bars per page, and can be seen as a fair copy of B
Source B
The Royal Danish Library (DK-kk MA ms 6179 mu 0108.2000). Autograph score (fair copy of draft) in ink by the composer with editorial suggestions in blue crayon and pencil by Carl Nielsen.
The score: 158 pages bound with yarn and bound in carboard with a glued cloth book spine.
Paper type: Unknown, 16 systems per page (345mm × 260 mm).
Title page: “Kladde/til/Symfoni/i/cis-moll/af/Nancy Dalberg”. 2
Page 1r (1st movement): Tempo/title: Moderato Page 1r (2nd movement): Tempo/title: Andante Sostenuto Page 1r (3rd movement): Tempo: Vivace. Title: Rondo
Dating: 1917 (localised by A1)
Comment: Source B is in general identical to A1 and A2 in page numbers and bars per page. B in general contains less dynamic and expressions than A1 and A2, and a substantial part of the bowings in the stings are emended. Furthermore, B contains three pages cut from the 1st movement (see “Cuts and emendations”).
Source C1
The Royal Danish Library (DK-kk MA ms 6181 mu 0108.2000). Autograph parts to the 1st movement in an unknown hand.
The parts: 180 pages: Flauto 1,2, Oboe 1,2, Clarinetto 1,2, Fagotto, 1,2, Corno (Fa) 1,2,3,4, Tromba (Fa) 1,2, Trombone 1,2,3, Tuba, Timpani, Archi (6/5/4/3/3).
Paper type: Unknown, 12 systems per page (345mm × 265mm)
First page of all parts: [Part name]. Tempo: Moderato. Title: Symfoni [Symphony]. Subtitle: (cis-moll) [C-Sharp Minor]. Composer: Nancy Dalberg. Dating: December 1917 to January 1918 (localised by source C2).
Comment: This source was originally a part of C2 but was cut out of the binding. The set of parts are all missing the last part of the 1st movement. Only one emendation from C1 is included, which is fl. 1, 2 in bb. 197 – 206 which have been moved one octave up (see the comments).
Source C2
The Royal Danish Library (DK-kk Mf. A. 1567). Autograph parts to the 2nd and 3rd movements in an unknown hand.
The parts: 313 pages bound with yarn and bound in carboard with a glued cloth book spine. Parts: Flauto 1,2, Oboe 1,2, Clarinetto 1,2, Fagotto, 1,2, Corno (Fa) 1,2,3,4, Tromba (Fa) 1,2, Trombone 1,2,3, Tuba, Timpani, Archi (6/5/4/3/3).
Paper type: Unknown, 12 systems per page (345mm × 265mm).
Title page of all parts: “[part name]/To Orkesterstykker/Op. 9/1. Andante Sostenuto/2. Rondo/Nancy Dalberg”. 3
First page of all parts, 1st movement: Composer: Nancy Dalberg. Title: 1. Andante Sostenuto (in the composer’s hand).
First page of all parts, 2nd movement: Title: 2. Rondo. Tempo: Vivace.
Dating: 10 Dec. 1917, to 21 Jan. 1918. The back of every part is signed with the date when they were produced.
2 Draft/of/Symphony/in/C-Sharp Minor/by/Nancy Dalberg
3 [Part name]/ Two Pieces for Orchestra/Op. 9/ 1. Andante Sostenuto/2. Rondo/Nancy Dalberg.
Comment: C1 was originally a part of this source but was cut out. There are clear glue residues on C1 resembling C2. On some of the pages, the last part of the first movement is covered with a piece of paper (see e.g., Flauto 1 and Oboe 2). Furthermore, the symphony’s premiere date has been added under the 3rd movement by some musicians, including their signature. See e.g. Violino 2, no. 1, Tuba, and Trombone 3. Furthermore, C2 has underwent a substantial revision and proofreading by the composer in both ink and pencil. E.g., page 2 of Violino 1, no. 1 is covered in a piece of paper and rewritten by the composer. 4 All revisions by the composer have been adapted and are documented in the critical commentaries.
Source D
The Royal Danish Library (DK-kk MA ms 6178 mu 0108.2000). Autograph piano reduction for four hands by the composer (incomplete, only the 1st movement and 2nd movement. It is unknown whether the piano reduction was never finished, or whether the 3rd movements has been lost).
The piano score: 32 pages bound with yarn. Paper type: Unknown, 16 systems per page (345 mm × 260 mm).
Title page: “Symfoni/af/Nancy Dalberg/Firehændigt Klaverudtog”. 5
Comment: The dating of this source is unknown, but it was produced at the same time or before B, and was revised at the same time as B. It was likely produced before A1 and A2 D contains the same readings and revisions regarding expression and tempo as B and contains the cuts from the 1st movement. It furthermore has an alternative ending to the first movement (see “Cuts and emendations”).
Source E
The Royal Danish Library (DK-kk MA ms 6179 mu 0108.2000 & MA ms 6181 mu 0108.2000). 6 Autograph parts to the 1st movement in the same hand as C1 and C2
26 pieces of paper in different sizes. 20 from DK-Kk MA ms 6179 mu 0108.2000 and 6 from DK-Kk MA ms 6181 mu 0108.2000.
Comment: These fragments came from C1. Most likely they were cut when C1 was removed from C2.
4 Title page: Violino 1 No. 1 (DK-Kk Mf. A. 1567).
5 Symphony/by/Nancy Dalberg/Piano Reduction for Four Hands.
6 The same source as B and C1
Filiation
Editorial strategy
In accordance with the purpose of the Danish Classical Music series, and as described in the series preface in the current edition, the work is presented here in its full length and without indication of editorial additions and corrections. These are only found in the critical apparatus. In the main sources A1 and A2, corrections are found in both pencil and blue crayon. Pencil corrections and notes written by the composer are included tacitly. Corrections and notes in crayon often by the conductor, are not included. In cases where corrections and notes by others than the composer are included, this is documented in the critical review.
The musical text is standardised so that it follows modern practices regarding instrument names, notation practices, layout, performance indications, tempi, practices regarding fixed and loose accidentals (in horns), and more. This is done tacitly. “muta in” in connection with retuning of timpani and switching between A and Bb clarinets is tacitly standardised.
Articulations and signs
Dalberg often only writes articulations for one instrument, even if several appear in the same system. The same applies to accidentals, where Dalberg often does not insert an accidental for one voice if the accidental has been set for another voice earlier in the measure. Furthermore, Dalberg does not set accidentals if the same note appears again in a different octave. This practice is tacitly modernised.
Dalberg often omits accidentals before a modulation. Where it can be analysed from the context, these accidentals are inserted. All accidentals inserted by the editors have been documented in the notes.
Rehearsal marks
Rehearsal marks in the present edition of Symphony in C-Sharp Minor follow Dalberg’s own as they appear in the main sources A1 and A2. In these, however, the rehearsal mark S in the 1st movement is not found, which is why this edition from this place onward will be one rehearsal mark behind.
Slurs
The way Dalberg writes slurs differs in some cases from modern notational practice. This typically applies to places where slurs and ties are placed next to each other. Here, tacit adjustments are made so that the slur begins or ends at the same place as the tie. Dalberg also often forgets to continue a tie over a page break. This is also tacitly corrected. Where slurs contain substantial information that would be lost when translated into modern notation, original slurs are however retained despite the overall editorial strategy.
Tempi, dynamics, and expressions
Sometimes it seems that Dalberg does not distinguish clearly between expression and tempi. All tempi that are notated as expressions are tacitly set above the upper system and above the string section according to applicable notation principles. Character, dynamic and tempo designations are also tacitly written out completely. (e.g., dol., marc., and rit. are tacitly normalised to dolce, marcato, and ritardando.)
Divisi and pizzicato
For divisi and pizzicato, Dalberg does not always use unison and arco. These are tacitly inserted editorially.
The trumpet parts
Nancy Dalberg uses trumpet in F. As an addition to this edition, there is also a set of parts for trumpet in Bb
Bar Part Comment -
3 – 7 fag. 2
A1, C1: c/ added with pencil.
b. 3, note 3 to b. 7, note 1: slur emended to b. 3, note 2 to b. 7 note 1 by analogy with fag. 2
5 fl. 1 b. 6, note 1 to b. 7, note 2: slur emended to b. 5, note one to b. 7, note 2 by analogy with cl. 1 and by analogy with b. 221.
6 – 7
cl. 1 cresc dec added by analogy with fl. 1.
11 cl. 1 note 1: accent added by analogy with fl. 1.
17 vla., cb. “unis.” added.
19 strings B: cresc (A1: cresc.)
19 vl. 1, 2 f emended from b. 20, note 1. to the upbeat to b. 20.
20 vl. 2 note 2: accent added by analogy with vlc. and cb.
22 vla. note 3: accent added by analogy with vl. 1,2.
23 strings A1: “cantabile” added with pencil [ND].
23 vla., vlc., cb. molto espressivo added by analogy with vl. 1, 2; A1 (vla.): espressivo
24 vl. 2 note 1: accent added by analogy with vl. 1.
24 vla. B: octave below A1
29 cor. 2 b. 29, note 1 to b. 30, note 1: slur added by analogy with cor. 1.
34 tr. note 5 emended from q. to q in accordance with the quaver rest after
35 fl., ob. f emended from b. 36, note 1 to the upbeat to b. 36
36 cor. 3, 4 B: different voice leading:
37 tr. 2
note 4: ## added by analogy with fl. 2 and ob. 2.
37 cor. 4 f added by analogy with cor. 1, 3.
40 trb. cresc. emended to cresc by analogy with the rest of the orchestra and as in B.
42 fl. 1 note 3: # added by analogy with ob. 1. and as in B.
42 – 43 tr. 2, timp., vl. 1 dec dim. emended to dec by analogy with the rest of the orchestra.
44 B: “Tranquillo” (in ink) emended to “Grave” with pencil [ND]; A1: “Grave” (in ink) emended to “Tranquillo” with ink [ND].
44 – 46 vl. 1, 2 B: different voice leading:
44 vlc. B: octave above A1
47 cl. voice added as in B; note 1: sf added by analogy with fl.
49 tba. A1: note 1 emended from F͵ to F with pencil.
53 – 54 vl. 1 A1: b. 53, note 7 to b. 54, note 2 and b. 56, note 3 – 6: slur crossed with pencil.
56 cl. note 5: cresc. added by analogy with fag.
57 vlc., cb. slur emended from notes 2 – 4 to notes 3 – 4 by analogy with b. 63 (vlc., cb.).
58 cl. 2 crescdec added by analogy with fl.
58 vlc., cb. B: marcato
59 cl. 1 note 5: n added by analogy with vla.
59 vla. note 3: accent added by analogy with vl. 1,2
60 vla., vlc., cb. note 2: accent added by analogy with b. 59 (vl. 1, 2).
60 vlc., cb. note 6: accent added by analogy with note 2 and b. 62.
60 cb. notes 3 – 4: slur added by analogy with vlc.
61 ob. note 1: tenuto added by analogy with fl.
61 strings espressivo added by analogy with woodw.
61 vl. 1. note 2: accent added as in B.
61 vlc., cb. note 1: staccato added by analogy with bb. 57 – 60 (vlc., cb.); note 2: accent added by analogy with b. 60 (vlc., cb.).
62 – 63 vl.1, 2 B: b. 62, note 8 to b. 63, note 1: tie
64 cor. 3, 4 B: unison with cor. 1, 2.
65 fag. 2 note 1: emended from C# to b as in B and in accordance with C1.
66 tr. note 1: redundant marcato omitted.
67 vla., vlc., cb. articulations and slurs added by analogy with bb. 60, 63.
68 fag. note 1: meno f added by analogy with fl., brass, and strings.
70 tr. notes 1, 5: staccato added by analogy with b. 67 (vla., vlc., cb.)
71 ob.
B: tacet.
71 fl., ob., cl. notes 1, 5: staccato added by analogy with b. 67 (vla., vlc., cb.)
71 vlc., cb. p added by analogy with vl. 1, 2, vla.
71 – 72 cl. b. 71, note 6 to b. 72, note 1: dec added by analogy with fl., ob.
71 – 72 vla., vlc. B: tie from b. 71 to b. 72, note 1.
72 vla., vlc. articulations and slurs added by analogy with bb. 60, 63.
74 B: poco à poco calando
82 cl. 1
B: note 2: #
82 cl. 2 p dolce added by analogy with b. 76 (cl.).
85 B: three pages cut from A1, see “Cuts and emendations”.
95 – 96 fag.
95 – 96 cb.
A1: voices added with pencil [ND], dynamic added with ink [ND].
A1: it is unclear whether the slur ends at b. 95, note 4 or b. 96, note one. A1: slurs from notes 2 – 3 and notes 4 – 5 emended to one slur from note 2 – 5 with pencil [ND].
97 vla. B: note 2 – 5: two slurs.
102 ob. marcato emended to molto marcato by analogy with fl.
103 cor. 2 note 2: p added as in B.
104 cor. 4 notes 1 – 2: staccato added by analogy with fag., vl. 2, vla.
105 cl. note 6: tenuto added by analogy with fag.
106 cor. 2 note 2: tie added as in B.
107 fl. 1, vl. 1 B: mf espressivo
107 cl., fag. notes 3, 6: tenuto added by analogy with bb. 105 – 106 and in accordance with C1
107 fag. slur emended from notes 1 – 2 to 1 – 3 by analogy with cl. and bb. 105 – 106 (cl., fag.); slur emended from notes 4 – 5 to 4 – 6 by analogy with cl. and bb. 105 – 106 (cl., fag).
107 – 110 fl., vl. 1 B: articulations, slurs, and dynamic.
108 fl. 1, vl. 1 B: note 1: accent.
108 vl. 1 slur emended from notes 1 – 2 to 1 – 3 by analogy with fl.
108 – 110 vl. 1 b. 108, notes 3, 6, b. 109, note 6, and b. 110, notes 3, 6: tenuto added by analogy with fl. and as in B (bb. 111 – 112).
109 fl. 1, vl. 1 note 2: tenuto added by analogy with b. 106 (cl., fag.); B (fl.1): notes 3, 6: tenuto.
111 fl. notes 3, 6: tenuto added by analogy with fag.; B: note 3: accent.
111 – 112 fl. notes 3, 6: tenuto added by analogy with fag., vl. 1, and as in B.
111, 112 cl. B: b. 111, note 3, b. 112 note 1: #
111 – 112 tr. 1 b. 111, note 3 to b. 112, note 1: tie added as in B.
112 fl. 1 notes 1 – 3: slur added by analogy with b. 111.
113 – 116 cor. 2 b. 113, note 1 to b. 116, note 2: slur added by analogy with tr.
117 – 119 cl. A1: b. 117, note 1 to b. 119, note 1: slur added with pencil.
119 vlc. B: note 2: p marcato
122 – 123 cor. 3, 4 bb. 123 – 124: tie added by analogy with cor. 1, 2 and as in B
126 cl. 1 note 1: marcato added by analogy with b. 125 (fag. 2).
126 fag. 1 note 2: tenuto added by analogy with b. 127 (cl. 1).
126 fag. 2 note 1: tenuto added by analogy with b. 127 (cl. 1)
128 B: Cantabile
129 cor. 3 note 4: # emended to ## .
131 B: Allegro Vivo (Tempo 1mo)
131 fag. 1 note 2: # added by analogy with b. 129, note 2.
131 cor. 1 note 1 – 5: slur added by analogy with b. 129 (fag. 1).
131 cor. 2 note 1: mf added by analogy with tr. 1
131 tr. 1 note 1: # added by analogy with cor. 1, 2
132 double bar line emended from b. 133 to b. 132 at the key change.
132 – 136 strings B: corrections in blue crayon [CN].
143 cor., tr. B: note 1: f
144 – 146 vl. 2, vla.
B: accidentals, slurs, and ties:
144 vl. 1, vla. note 3: accent added by analogy with b. 143.
148 fag., cl., vla. note 5: accent added by analogy with vlc., cb.
149 vla. note 1: accent added by analogy with vl.1, 2.
151 vlc., cb. note 1: accent added by analogy with vl. 1, 2 and vla.
152 fl., ob., cl. notes 4 – 5: cresc added by analogy with vl. 1, 2, vla., vlc.
154 fag. note 4: # added by analogy with trb. 1, 2 and as in B
155 tr. 1, cb. note 2: accent added by analogy with fag.
157 tr., trb. 1, 2 ff added as in B.
157 – 158 tba. B: two measures:
158 tr. A1: notes 2 – 3: c#′ emended to b with pencil [ND].
160 cor. note 1 emended from h to h. by analogy with woodw.
165 ob., cl., fag., cor. cresc added by analogy with fl., vl. 1, 2, vla.
167 fl. ob. B: triplets as in vl. 1, 2.
167 cl. 2 note 2: n added by analogy with cor. 2, 3.
167 vl. 1, 2, vla. A1: breath mark added with pencil after note 7.
168, 169 vl. 1, 2, vla. b. 168, notes 1 – 6 and b. 169, notes 1 – 3: slurs added as in B.
170 vla. note 1: n omitted by analogy with fl., ob., vl. 1, 2.
171 – 172 cor. 1, fag. 1 b. 171, note 1 to b. 172, note one: tie added by analogy with fl., ob.
172 – 173 cor. 1 b. 172, note 1 to b. 173, note 1: slur omitted by analogy with fl., ob.
175, 176 ob., cl., fag., cor., tr., trb. b. 175, note 1: accent and sf added by analogy with fl., vlc., cb; b. 176, note 1 (ob. cl., fag., cor. 3, 4, tba); accent and sf added by analogy with fl.
176 – 177 trb. cresc added by analogy with woodw.
178 tr. note 1: sf added by analogy with cor., trb. tba., timp.
178 vl. 1, 2, vla. A1, B, C1: div. added with pencil [ND], but unspecified how.
181 – 182 cor. 3, 4 b. 181, note 1 to b. 182, note one: tie added as in B.
183 fag. crescdec added by analogy with vla., vlc., cb.
186 tr. A1: note 1: mf added with blue crayon [CN].
186 tba. A1: note 1: p added with blue crayon [CN].
186 – 187 cor. 1, 2 tie from b. 186, note one to b. 187, note one completed as in B; A1: tie uncompleted (page turn).
192 vl. 2 A1: notes 1 – 3: slur crossed out with pencil.
193 vl. 2, vla. note 1: sf added by analogy with cl.
195 strings A1: fz added with pencil.
197 – 198 cb. note 2: “pesante é molto espressivo” added by analogy with vl.1, 2, vla., vlc.
197 – 206 fl. bb. 197 – 206 moved one octave up as in C1; A1: b. 197: “8va?” added with pencil [ND]; B: bb. 197 – 206: “8va?” added with pencil [CN?]; C1: bb. 197 – 206: 8va added with pencil [ND].
200, 201, 202, 203 cor. 1, 2, tr. note 2: accent added by analogy with tr., trb., tba.
200 strings note 1 emended from q to e by analogy with bb. 201 – 206, as in B, and in accordance with C1.
205 A1: rall. added with pencil.
210 vlc. A1: hairpins crossed out with pencil.
211 – 212 vlc., cb. A1: b. 211, notes 7 – 8: slur added with pencil; B: b. 211, note 6 to b. 212, note 2: slur.
219 A1: c/ added with pencil; B: c
220 fag. 2 pp added by analogy with b. 219 (fag. 2).
226 – 229 cl. 1 b. 226, note 1 to b. 229, note 1: slur added by analogy with fl. 1.
228 A1: c added with pencil [ND].
234 cl.1 “dolce espressivo” added by analogy with fl. 1.
234 fag. pp added by analogy with brass, vl. 1, 2.
235 ob. 1 pp added by analogy with b. 234 (brass, vl. 1,2).
235 – 236 cor. 4, tr. 1 A1, B: b. 235, note 1 to b. 236, note 1: tie incomplete (page turn).
235 vl.1 B: pp
237 cor. 4 B: cresc.
237 cor. 3
A1: note 2: ## added with pencil; B note 2: #
237 cor. 1, tr. 1 A1: note 5: e″ added with pencil [ND].
238 fl. notes 3 – 5: cresc added by analogy with vlc., cb.
238 ob. 1, fag. 1 cantabile added by analogy with vl. 2.
238 – 239 cor. A1, B: tie incomplete (page turn).
239 vlc., cb. cresc added by analogy with vl. 2.
239 – 240 cor. 3, 4 A1, B: tie incomplete (page turn).
240 cl., fag. crescdec added by analogy with fl., ob. 1
240, 241 vl. 2 crescdec added by analogy with fl.
241 fag. dynamic emended from cresc to crescdec by analogy with ob. 1.
243 vl. 2 p added by analogy with b. 242 (vl. 1, vla., vlc, cb.).
243 vla. notes 2, 4, 5: staccato added by analogy with b. 235 (fl. 1, cl. 1).
245 Vcl., cb. notes 3 – 6: slur added by analogy with fag.
246, 247 cl. notes 1, 2, 4, 5: tenuto emended to staccato by analogy with cor. 1 and bb. 247 – 248 (cl.).
248 trb. 1 mf espressivo added by analogy with b. 247 (trb. 2).
250, 251 fl. b. 250, note 2, 4, 5: staccato added by analogy with vl. 1; b. 250; dynamic emended from cresc. to cresc by analogy with vl. 1; b. 251: cresc. added by analogy with vl. 1.
250 ob. 1 p added by analogy with b. 249 (ob. 2).
250 cl. 1, trb. 1, 2 note 1: tenuto added by analogy with ob., vl. 2.
250 cor., tr. crescdec added by analogy with ob., cl., trb. 1, 2, vl. 2.
253 ob. 2 note 2: accidental emended from # to ## by analogy with fl.
254 woodw. notes 1 – 6: slur added by analogy with b. 249 (fl., vl. 1).
254, 255 cor. notes 2 – 4: slur added by analogy with b. 249 (fag.).
255 strings A1: slur emended with pencil.
257 vla., vlc., cb. slur emended from notes 1 – 2 to notes 1 – 3 by analogy with vl. 1, 2
257 cb. notes 1 – 3: slur added by analogy with vl. 1, 2
261 A1: a tempo and c added with pencil.
268 vla. note 1: f added by analogy with vl. 1, 2, vlc., cb.
270 – 274 fag. tenuto added by analogy with vlc.
272 cor. 1, 2, cb. A1: tie incomplete (page turn).
274 – 278 cor. 1, 2 articulations added by analogy with vlc.
275 trb. 1, 2 tba. vla., cb. notes 1, 2 (trb. 1, 2, tba.): accent added by analogy with vl. 1, 2, vla; note 2 (vla., cb): accent added by analogy with vl. 1, 2
275 vlc. B: note 1: accent
277 – 278 tr. articulations added by analogy with vlc.
279 vla. slur emended from notes 2 – 4 to 1 – 4 by analogy with vlc., cb.
287, 288 tr., trb., Tba bb. 287, 288, notes 1 – 2: tenuto added by analogy with cb.; b. 288, note 3: accent added by analogy with cb.
289 vl. 1, 2 A1: a tempo
290 timp. note 1: f added by analogy with vl. 1, 2
290 – 191 vl. 1, 2, vla. A1: slurs emended with blue crayon [CN].
291 vla. notes 1 – 3: slur added by analogy with vlc.
294 strings A1: note 1 fz added with pencil
297 woodw. note 1: f added by analogy with strings
301 tr. note 1: tenuto added by analogy with cor.; note 1: f added by analogy with b. 300 (tr. 2).
302 – 307 cor. 2 B: a2
304 cb.
note 2: Emended from demisemiquaver tremolo on a quaver stem to semiquaver tremolo on a quaver stem by analogy with bb. 301 – 303 and 305 – 311.
309, 310 vla., vlc., cb. notes 1, 2: sf and accent added by analogy with b. 309 (vl. 1, 2)
310 vl. 1, 2 notes 1, 2: sf and accent added by analogy with b. 309 (vl. 1, 2); B: note 1, 2 sff marcato
2nd movement: Andante Sostenuto
Bar part
Comment
4 – 15 cb., timp. B: cb. voice in timp; “pizz bas!!” added with pencil [ND].
5-9 fag. 2, cb. B: fag. 2 voice in cb.
8 cb.
A2, C2 notes 1, 2 emended from C3 to F# with pencil [ND].
12 – 13 cor. 1 crescdec added by analogy with vlc.
13 – 15 cor. 1 b. 13, note 1: n added by analogy with vlc.; b. 14, note 1: # added by analogy with vlc.; A2: b. 13, note 1: n added with pencil; b. 14, note 1: # added with pencil. B: b. 13 – 15:
14 vl. 2
note 2: # added by analogy with vl. 1; A2 note 2: # added with pencil.
14 cb. A2, C2: note 2 emended from d# til g# with pencil [ND].
16 – 17 vl. 1 b. 16, note 4 to b. 17, note 1: slur added as in B
17 vl. 2 note 1: p added by analogy with vl. 1.
19 vla. notes 5 – 6: slur added as in B.
21 vlc. note 1: dynamic emended from cresc to cresc i by analogy with vla.
22 fag. 1 note 6: # added by analogy with fl., ob., cl., and as in B.
24 – 25 vl. 2 slur emended from b. 24, note 1 to b. 25, note 1 to b. 24, notes 1 – 4 as in B, and in accordance with C2
25 vl. 2
A2: “con dolore” added with pencil [ND].
29 vl. 1 B: dolce espressivo
33 trb. 1 note 1: pp added by analogy with trb. 2
37 – 38 cl. A2: tie from note 2 unfinished (page turn).
38 fag., cl., cor. 3, 4 notes 1 – 2: tenuto added by analogy with bb. 36, 37.
38 cor. 3, 4 note 2: # added by analogy with fag.
39 cor. 3, 4 note 1: # added by analogy with fag., vla., vlc.
40 – 42 fag., cor. vla., vlc. slurs added by analogy with cl.
45 trb. trb. 1 notes 1 – 3 and trb. 2, 3 notes 2 – 4: tenuto added by analogy with cl., fag., cor.
45 ob., vl. 1, 2 note 4: accent added by analogy with fl.
45 ob. notes 4 – 5: slur added by analogy with fl., vl. 1, 2.
48 timp. note omitted by analogy with C2, and as in B; A2: note crossed out with pencil [ND?].
59 vl. 1, 2 A2: dynamic emended from f to mf with pencil [CN].
65 fl. dec added by analogy with cl. 1, fag. 2.
66 cl. 1 pp added by analogy with fl.
66 vl. 2 marcato added by analogy with vlc.; dynamic emeded from pp to p by analogy with vlc.
83 vla. marcato added by analogy with cor. 1, 3.
84 trb. 2, tba., vla. marcato added by analogy with bb. 83 (cor. 1, 2), 85 (cor. 1, 2, vla.)
84 trb. 2 note 3 emended from q. to q by analogy with tba., vl. 2.
87 tba. note 1: tenuto added by analogy with trb. 1, 2.
90 vl. 2, vla., vlc. og cb. molto cresc. added by analogy with vl. 1.
91 tr. 2 note 1: f added by analogy with tr. 1.
92 fag. 2 note 4: # added by analogy with vlc; note 6: n added by analogy with vlc.
92 tba. notes 3, 4: accent added by analogy with cor. 2, 4, tr. 2
93 trb. 3 note 1: f added by analogy with b. 92 (trb. 1, 2).
93 strings B: note 1: dim
94 fag. slur emended from b. 95, notes 1 – 2 to b. 24, note 2 to b. 25, note 2 by analogy with cl., cor., and as in B
94 cor. 1 A2: note 2: n added with pencil [ND].
94 strings B: note 1: p
94 vl. 1 chord 1, 2: A4 added as in B; A2
94, 95 vla., vlc., cb b. 24, note 2 (1, cb.): tenuto added, and slur started by analogy with vl. 1, 2; A2: b. 24, note 1 to b. 25, note 3: start of slur open (page break).
95 trp. 1 notes 1 – 4: accents added by analogy with trb., tba and b. 96.
95 vl. 2, vla. note 2: tenuto omitted by analogy with fl., cl., ob., vl. 1
96 tba. notes 1 – 4: accent added by analogy with tr., trb. and b. 95.
96 tr. 1 note 2: sf added by analogy with trb., tba.
96 vla. note 2: tenuto added by analogy with vl. 1, 2, vlc., cb.
96 vlc. note 3: espressivo added by analogy with vla.; A2: “espressivo” added with pencil [ND].
97 vla. A1: espressivo added with pencil. C1: note 1: dolce added with pencil [ND]
97 vlc. note 1: accent emended to tenuto by analogy with cor. 1.
98 vla. notes 3 – 4: slur added by analogy with notes 1 – 2.
101 ob. 2 note 1: p cresc. added by analogy with cl.
102 fag. 1 notes 1, 3: accent added by analogy with ob. 1.
105 ob. note 1: mf added by analogy with b. 104 (fl.).
108 fag., cor. 3, 4 notes 1 – 2: slur added by analogy with fl., ob.
108 fl., ob. note 3 emended from f n to e# for better readability.
108 tr. 2 cresc. added by analogy with b. 107 (tr. 1).
109 trb. 1 notes 1 – 3: slur added by analogy with cor. 1, 3, bb. 110, 111 (cor. 1, 3, trb. 1).
109 – 121 timp. B: voice not present in either A2 nor C2 (see “Cuts and emendations”).
109 – 111 vl. 1, vl. 2, bow marks added with blue crayon.
112 – 113 cor. 2, 4, trb. 2, 3, tba. b. 112, note 2 to b. 113, note 1: slur added by analogy with tr.
115 fl.2 notes 1 – 2: slur added by analogy with ob. 2.
115 cl. marcato added by analogy with fl. 1.
116 fl. slur extended to note 3 by analogy with ob. and in accordance with C2.
118 cl., fag., brass note 2: accent added by analogy with cor.
120 fag. 2 note 1 emended from h to h. by analogy with cor. 2, 4, trb. 3, tba. and as in B.
123 strings dec added by analogy with cl., fag.
126 B: Adagio A2: Calando added with pencil [ND].
130 tba. crescdec added by analogy with the rest of the orchestra.
3rd movement: Rondo
Bar Part Comment
1 fl. 1 staccato omitted by analogy with the rest of the orchestra
12 fl. 1 cresc. added by anaogy with fl. 2, ob., cl, fag. 2.
14 tr. C2: mf with the m in pencil; the the m covers the s in sf (in ink)
14 cb. ff emended to sf by analogy with vlc.
18 – 27 fl. 2 C2: “Comes fl. 1” written in pencil (unknown hand).
25 fl. 1 cresc ememded from note 2 – 6 to note 1 – 3 by analogy with ob. 1, cl., 1.
25 vlc. notes 1 – 2: staccato added by analogy with vla.
27 cor. 3 p emended to mf by analogy with cor. 4
67–68 fag. 1 slur from b. 67 note 2 to b. 67 note 8 emended by analogy with cl.
78 fl. 1 slur added by analogy with fl. 2
80 vla. note 1: accent added by analogy with vl. 1
80 – 81 cl., fag. slurs from b. 80 note 3 to b. 80 note 5 emended to b. 81 note 4.
81 cor. 3 notes 2 – 3: tenuto added by analogy with cor. 1, 2
81 vlc. note 1: accent added by analogy with vla.
81 – 82 vlc. slur from b. 81, note 3 to b. 82, note 4 emended to b. 81 note 4 by analogy with vl. 1 and vla.
82 cor. 3 tenuto added by analogy with cor. 1
82 vlc. notes 1 – 4: tenuto added by analogy with vla.
86 cb. note 1: accent added by analogy with vlc.
92 tr. 1 mf emended to sf by analogy with trb.
99 cor., trb A, B: sff
99 cor. 4, trb. 3 sff emended to sf by analogy with cor. 1, 2, 3, trb. 1, 2.
101 fl. 1 note 2: accent added by analogy with fl. 2, ob. 1
102 fl., ob. 2, cl. 1 dim added by analogy with cl. 2
103 cb. ff emended to f by analogy with vlc.
109 vla. C2: note 2: n added with pencil.
116, 117 vl. 2 notes 2 – 4: accents added by analogy with vl. 1
141, 142 fag. 2 p emended to pp and emended from b. 142 to b. 141 by analogy with the rest of the orchestra.
142 cor. 3 pp added by analogy with cor. 1, 2.
146 “Più mosso” added as in A; A: “Più mosso” added with pencil [ND].
146 vl. 1 accent added by analogy with fl., tr., tba.
146 cb. f emended to sf by analogy with vl. 1, 2, vla., vlc.
147, 151 vlc. sf added by analogy with vl. 2, vla.
150 – 153 trb. 2 A: “8va” added with ink [ND].
153 vla. note 1: accent omitted by analogy with vl. 2.
162 – 165 cor. accents added by analogy with b. 176 (cl. 1).
171 vla. note 1: staccato added by analogy with vl. 1, 2, vlc.
183 vl. 1 notes 3 – 5: slur added by analogy with b. 176 (cl. 1).
186 vl. 2 ppp added by analogy with b. 187 (vl. 1).
187 vl. 2 pp omitted by analogy with b. 188 (vl. 1).
206 vla. notes 4 – 8: staccato added by analogy with vl. 2.
207 cor. 4, trb. 3 sff emended to sf by analogy with trb. 1, 2.
212 vl. 2 note 1: staccato added by analogy with b. 213.
218 fl. 1 cresc. added by analogy with fl. 2., ob.
234, 235 vl. 1, 2 “Poco Tranquillo” moved from b. 234 to 235 by analogy with the rest of the orchestra.
244 – 245 cb. slur prolonged from b. 244, note 5 to b. 245, note 1 by analogy with vlc.
253 fl. slurs emended by analogy with cor. 1; C2: slur from b. 253 to b. 254, note 3.
253 – 255 cor. 3 notes 2 – 3: tenuto added by analogy with cor. 1, 2.
254 tr. 2 note 1 – 2: slur added by analogy with tr. 1
255 – 256 cl. tie from b. 254, note 3 to b. 255, note 1 added by analogy with ob.
255 cor. 3 note 1: accent added by analogy with cor. 1
256 – 257 cor. 3 tenuto added (from b. 256, note 2) by analogy with cor. 1, 2; slur from b. 156, note 2 to b. 157, note 4 added by analogy with cor. 1, 2.
259 tr. 2 sf emended to ff by analogy with fl., cor., tr. 1
261 trb. 1 C2: after b. after b. 261: trb.1. has one bar more than the other parts: repeat of b. 261.
263 cor. 2 slur from note 1 – 2 added by analogy with fl.1, cor.1.
263 – 264 fl. 1 slur from note 1 – 6 emended to b. 263, note 1 – 2 and b. 263, note 3 – b. 264, note 1 by analogy with fl. 2, cor. 1.
264 fl. 1 note 1 emended from q. to q by analogy with cor. 1, 2.
277 vl. 2 note 3: accent added by analogy with vl. 1.
279 vl. 1 notes 3 – 5: slur added by analogy with cl.
285 – 286 fl., ob., cl. 1 slur added from bb. 101 – 102.
286 cl. 2 slur added by analogy with b. 102.
296 cor. 4 note 3: accent added by analogy with fag.
305 cor. 3, 4, tr. note 1: accent added by analogy with cor. 1, 2.
309 cl. 1 cresc emended from note 3 – 8 to note 1 – 8 by analogy with fl., cl. 2.
309 trb. 1 sf added by analogy with fag., cor., tr,
309 vl. 1, 2 cresc added by analogy with fl., ob.
311 fl. 1 notes 3 – 4: slur omitted by analogy with fl.2, ob., vl. 1, 2.
1st movement: page 17 – 19 in source B B
Nancy Dalberg: Symfoni
Dalberg: Symfoni
2nd movement, timp. bb. 109 – 121 in source B
Nancy Dalberg: Symfoni i cis-mol - 149
Nancy Dalberg: Symfoni i cis-mol - 150
