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.
Maria Claustad
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.
In the last ten years before her death in 1936, Hilda Sehested suspended her career as a composer.
Maria Claustad
1 “Gusch”, Politiken 26.3.1915.
Forord
Tonebilledet Poême lyrique – med undertitlen Maagerne more sig – er i partituret dateret 6. september 1917. Denne datering står både på første nodeside og som slutdatering og må vel opfates som datoen for afslutningen af renskriften. Partituret bærer imidlertid præg af revision i form af udraderinger og ændringer med blæk, som komponisten rimeligvis har foretaget efter den angivne dato og helt frem til kort før uropførelsen i 1920.
På Dansk Koncert – Forenings koncert i Odd Fellow Palæet den 16. februar 1920 dirigerede Peder Gram et program, hvis hovednumre var uropførelsen af Gustav Helsteds nye cellokoncert i C – dur og J.P.E. Hartmanns 2. symfoni. Programmets første del omfatede også et melodrama af Christian Geisler og som første programpunkt Poême lyrique. Undertitlen blev ikke offentliggjort her. Ugen før havde Hilda Sehested omtalt opførelsen i et brev til sin bror, Hannibal Sehested: “Paa Mandag d. 16 spilles i ‘Dansk Koncert – Forening’ et ‘Poême lyrique’ af mig, for Orkester. Jeg skal høre en Prøve paa Torsdag. Der er et vanskeligt Harpeparti, og jeg er lidt urolig for om de kan faa Prøver nok i disse kostbare Tider.” 1 Koncerten blev anmeldt i de fleste af hovedstadens aviser. I Nationaltidende skrev Gustav Hetsch: “Frk. Hilda Sehesteds ‘Poéme lyrique’ […] virkede nærmest som en talentfuld Orkesterstudie efter Modernisterne Rich. Strauss og Debussy, og viste en afgjort koloristisk Evne, i ringere Grad Sans for Struktur og melodisk Fantasi […]”. 2 En mere fyldig kritik fremkom i avisen Hovedstaden. Bortset fra Hartmanns symfoni var Hilda Sehested ifølge anmelderen, Emilius Bangert, “den Førende” i programmet:
Hendes “Poême lyrique” var tiltalende. Som de fleste af hendes Kompositioner, var ogsaa her en Oprigtighed og Ærlighed, noget fint fantaserende, som man maa have Respekt for. Hendes Harmonik og Modulationer er smukke; men der mangler stadig Styrke i Motiverne, ligesom der ikke rigtigt vil komme Flugt i Udarbejdelsen. 3
I Berlingske Tidende lød det i Alfred Toffts anmeldelse, at stykket “interesserede mere ved sine Klangsammenstillinger end ved selve Indholdet, hvis Refleksioner ikke rigtig samlede sig til en Helhed. Men Stykket havde en for os Nordboere tiltalende Understrøm af blid Melankoli.” 4
Blandt komponistens papirer findes også en dagbladsanmeldelse uden oplysning om dato og kilde, men som her også skal gengives:
Hilda Sehested hører til Komponistinder, hos hvem der er en iboende Trang til at meddele sig i nye og ukendte Former, skrue sin Ydeevne endnu en Grad ud over, hvad man tidligere har hørt. Og ikke sjældent lykkes det Kunstnerinden at frappere, interessere og – genere. I Aftes var der en god Vilje til at spænde Forventningerne … men det hele blev til Tilløb, uden at man fik Fat paa, hvad Kunstnerinden egentlig vilde. 5
Der kendes ingen senere opførelser af kompositionen. Den revision, som kan konstateres i partituret, omfatter typisk justeringer i blæserne. Da orkestermaterialet blev produceret med henblik på uropførelsen i 1920, var de fleste af disse ændringer foretaget. Lidt usædvanligt blev violin 1-2 – stemmerne samt cellostemmen produceret som nodesats og trykt af A/S
1 Brev af 10.2.1920 til Hannibal Sehested. Rigsarkivet, privatarkiv nr. 6328, Hannibal Sehested. A.I.2. Breve fra Hilda Sehested 1917 – 20.
2 “ – st – ts – ”, Nationaltidende 17.2.1920.
3 “E. Bgt.”, Hovedstaden 17.2.1920.
4 “A.T.”, Berlingske Tidende Aften 17.2.1920.
5 Udklip uden kildeangivelse og dato. Rigsarkivet, privatarkiv nr. 6344, Hilda Sehested. C. 6.
Preface
The tone poem Poême lyrique – with the subtitle Maagerne more sig (The Seagulls Are Having Fun) – is dated 6 September 1917 in the score. This date appears on both the first page of the music and as the end date and should most likely be taken as the date of the completion of the fair copy. However, the score bears traces of revision in the form of erasures and changes in ink, which the composer most probably made after the above date and right up until shortly before the premiere in 1920.
At the Danish Concert Society’s concert in the Odd Fellow Palace on 16 February 1920, Peder Gram conducted a programme whose main works were the premiere of Gustav Helsted’s new cello concerto in C major and J.P.E. Hartmann’s second symphony. The first part of the programme also included a melodrama by Christian Geisler and, as the first programme item, Poême lyrique. The subtitle was not presented here. The week before, Hilda Sehested had mentioned the performance in a letter to her brother, Hannibal Sehested: “On Monday the 16th, a ‘Poême lyrique’ by me, for orchestra, will be played at the ‘Danish Concert Society’. I will hear a rehearsal on Thursday. There is a difficult harp part, and I am a little worried about whether they can rehearse enough in these pressed times.” 1
The concert was reviewed in most of the capital’s newspapers. Gustav Hetsch wrote in Nationaltidende: “Ms. Hilda Sehested’s ‘Poéme lyrique’ [...] seemed almost like a talented orchestral study after the modernists Rich. Strauss and Debussy, and showed a decidedly colouristic ability, to a lesser degree a sense of structure and melodic imagination […]”. 2 A fuller review appeared in the newspaper Hovedstaden. Apart from Hartmann’s symphony, Hilda Sehested was, according to the reviewer Emilius Bangert, “the leader” of the programme:
Her “Poême lyrique” was appealing. Like most of her compositions, here too there was a sincerity and honesty, some fine fantasising, for which one must have respect. Her harmony and modulations are beautiful; but there is still a lack of strength in the motives, just as there is a lack of flow in the development. 3
In Berlingske Tidende it was stated in Alfred Tofft’s review that the piece “was more interesting in its sound combinations than in the content itself, whose reflections did not really come together as a whole. But the piece had an undercurrent of gentle melancholy that was appealing to us Northerners.” 4 Amongst the composer’s papers there is also a newspaper review without information regarding the date and source, but which should also be reproduced here:
Hilda Sehested is one of those female composers who have an inherent urge to communicate in new and unknown forms, to push her performance to another degree beyond what has been heard before. And not infrequently the artist manages to shock, interest and – annoy. Last night there was goodwill to raise expectations… but it all turned into a runup, without geting a grasp on what the artist really wanted. 5
No later performances of the composition are known. The revisions that can be seen in the score typically include adjustments in the winds. By the time the orchestral material was produced for the premiere in 1920, most of these changes had been made. A little unusually, the violin 1 – 2 parts and the
1 Letter of 10 Feb. 1920 to Hannibal Sehested. The National Archives, private archive no. 6328,
2 “–st – ts–”, Nationaltidende 17 Feb. 1920.
3 “E. Bgt.”, Hovedstaden 17 Feb. 1920.
4 “A.T.”, Berlingske Tidende Aften 17 Feb. 1920
5 Clippings without source and date. The National Archives, private archive no. 6344, Hilda Sehested. C. 6
“Nodetrykkeriet Presto”, København V. Det øvrige blev udskrevet af en professional nodeskriver. To kompositoriske ændringer kom til efter at orkestermaterialet var fuldført. Det drejer sig om en udeladelse på 16 takter efter t. 122, og en gentagelse af passagen t. 34-46, som blev indskudt efter t. 140. Disse ændringer samt en række korrektioner af forskellig art blev indføjet i de foreliggende stemmer af Sehested selv – hendes håndskrift ses i hele materialet (basun 2-stemmen og harpestemmen er i autograf). Blandt de mindre korrektioner er der en betydelig del, som kun blev foretaget i orkesterstemmerne og ikke indføjet i partituret. Omvendt har Sehested i partituret korrigeret visse detaljer, som ikke blev implementeret i orkesterstemmerne. Efter opførelsen synes Sehested ikke at have bekymret sig om ajourføring eller revision af partitur og stemmer. Materialet blev fundet blandt komponistens efterladte manuskripter og indleveret af nevøen Jørgen Sehested til Det Kgl. Bibliotek i 1950.
Partituret rummer en del uklare eller manglende angivelser af, hvornår de træblæsere og horn, som i partituret er noteret parvis på ét system, spiller unisont eller solistisk i de enstemmige passager. Angivelser som “a 2”, “1mo” og “2do” savnes med andre ord. Nodeskriveren har foretaget et skønsmæssigt valg og disponeret de separate træblæserstemmer herefter. Hornstemmerne er udskrevet ligesom i partituret således at horn 1-2 står sammen i én stemme, og tilsvarende med horn 3-4. Mange steder synes Sehested stiltiende at have accepteret nodeskriverens valg i stemmerne, mens hun andre steder har elimineret fordoblinger ved at overstrege eller overklæbe passager, typisk i 2.-stemmerne. Hornstemmerne er enkelte steder kompleteret af komponisten med fx tilføjelsen “1mo”. Nodeskriverens valg og Sehesteds præciseringer fremgår kun af orkestermaterialet, der således alt i alt rummer en række informationer af betydning for nærværende udgave.
Bendt Viinholt Nielsen
cello part were produced as sheet music and printed by A/S “Nodetrykkeriet Presto”, Copenhagen V. The rest was written out by a professional sheet music copyist. Two compositional changes were made after the orchestral material was completed. It concerns an omission of 16 bars after bar 122, and a repetition of the passage bb. 34 – 46, which was inserted after b. 140. These changes and a number of corrections of various kinds were inserted into the orchestral parts by Sehested herself – her handwriting can be seen throughout the material (the trombone 2 part and the harp part are in autograph). Among the minor corrections there is a considerable number that were made only in the orchestral parts and not incorporated into the score. Conversely, Sehested has corrected certain details in the score that were not implemented in the orchestral parts. After the performance, Sehested does not seem to have worried about updating or revising the score and parts. The material was found among the manuscripts left by the composer and handed to The Royal Danish Library by her nephew Jørgen Sehested in 1950.
The score contains a number of unclear or missing indications as to when the woodwinds and horns, which in the score are notated in pairs on a single system, play in unison or solo during the single-voice passages. In other words, indications such as “a 2”, “1mo” and “2do” are missing. The copyist made a discretionary choice and arranged the separate woodwind parts accordingly. The horn parts are written out just as in the score so that horns 1 – 2 appear together in one part, as is the case with horns 3 – 4. In many places Sehested seems to have tacitly accepted the copyist’s choice in the parts, while in other places she has eliminated doublings by crossing out or pasting over passages, typically in the 2nd voices. The horn parts are in some places supplemented by the composer with, for example, the addition “1mo”. The copyist’s choice and Sehested’s clarifications appear only in the orchestral material, which thus all in all contains a range of important information for the present edition.
Bendt Viinholt Nielsen
Critical Commentary
Description of sources
A Score, autograph
B Parts (print and transcript, revised by HS)
A Score, autograph
DK – Kk, Royal Danish Library (Musikafdelingen), C II, 12. Hilda Sehesteds samling, 15.
Title page: “Poème lyrique / – Maagerne more sig – / for Orkester / af / Hilda Sehested”
Heading p. 1: “Poème lyrique / [illegible word, erased] / Maagerne more sig”
Signed and dated p. 1: “Hilda Sehested / 6 – 9 – 17”
Dated at the end (p. 50): “6 – 9 – 17”
Donated to the Royal Danish Library by J. Sehested, Broholm (DK – Kk 1949 – 50.1035).
34.5 × 26 cm. 27 leaves with 51 pages of writing in ink, numbered: (title page), (blank page), 1 – 50, 4 blank pp.
Paper type: fol. 1 + 12 – 27: 18 staves, no manufacturer’s name but with printed mark “5” –fol. 2 – 11: 20 staves, no manufacturer’s name but with printed mark “6”.
Autograph fair copy. Many erasures and re- writen bars; on pp. 4 – 5 and p. 50 sections of the harp part is re-writen on glued - on pieces of music paper. On p. 34 the last bar is covered with a piece of blank paper and the following 15 bars on pp. 35 – 37 are crossed out. On p. 41 (after b. 140) a repetition of bb. 34 – 46 is marked with “dal * al ** ”. Conductor’s annotations are in crayon or pencil. In addition, it seems as if the conductor has suggested a few changes in the instrumentation in red crayon. Flutes in b. 2 are placed in brackets, so is bassoon in bb. 2 – 3 and horn 3 in b. 1 to b. 5?; there are also some unclear additions in clarinet and violin 1 in b. 2. In b. 21 a rest is suggested in the clarinet 1 – 2 part, and in b. 154 the horn 3 part is crossed out. None of these suggestions are implemented in B, however. Finally, the flutes in b. 46 are crossed over in A; in the flute 1 part of B this bar is also deleted in red crayon, but not in flute 2.
B Parts (print and transcript, revised by HS)
DK – Kk, Royal Danish Library (Musikafdelingen), Mf. A. 1576.
Title: “Poëme lyrique” [no subtitle].
Violin I, violin II and cello are in print, engraved by A/S “Nodetrykkeriet Presto” København V
Donated to the Royal Danish Library by J. Sehested, Broholm (DK – Kk acc. 1949 – 50.1035).
34 × 27 cm. Each part consists of 2 leaves with 3 unnumbered pages of music and 1 blank page at the end. The material comprises 5 vl. 1, 5 vl. 2, 3 vcl.
The following parts are in a professional copyist’s hand (unsigned, 33 × 26 cm): Viola (3 copies) and double bass (3 copies) + 2 fl., 2 ob., cor. ingl., 2 cl. (A), 2 fg., cor. 1 – 2 (together), cor. 3 – 4 (together), tr. 1 – 2 (D) (together), trb. 1 – 2 (together), trb. 3, timp. All parts are revised in ink by HS. In autograph are: a separate trb. 2 part and 2 harp parts (only one bearing signs of use)
Prior to the first performance in 1920, HS revised the material in the following way: – 16 bb. between bb. 122 and 123 were deleted.
– a repetition of bb. 34 – 46 was inserted between bb. 141 and 153
– in several woodwind passages where the 2nd instrument is doubling the 1st instrument, HS omited the 2nd instrument; the unintended doublings are due to unclear or (still) missing information in the score.
– details, especially regarding phrasing and articulation, were added or altered in the parts.
Commentary on the edition
The edition has the autograph score (A) as its main source. Conductor’s notes and remarks in crayon and pencil are left out of consideration. The composer’s revision of the orchestral material (B) is of significance to the edition, as the score (A) was only partly updated with details supplied in B by HS.
Thus, additions and corrections in B, which can be atributed to the composer, are, with a few exceptions, incorporated in the edition as it appears from the comments below. The copyist’s text in B contains a number of misread details and oversights and has no significance for the edition. However, in certain places where HS’s beginnings or end points of slurs are ambiguous, the copyist’s reading in B has served as a guideline.
A special issue is the question of solo or unison playing in the woodwind instruments and horns. In A, woodwinds are generally scored in pairs just as horns 1 – 2 and 3 – 4. In the score, however, HS very inconsistently indicates whether a melodic line should be played by the first instrument (“1mo”) or in unison (“a 2”). This obscurity has led the copyist of the orchestral material (B) to make decisions based on the musical context at places where no exact information is given in the score. In most places, HS seems tacitly to have accepted the copyist’s dispositions, but in some woodwind passages she has deleted notes (normally in instrument 2) to avoid doubling of instruments. In a few places, she has changed a solo passage to unison a2 playing.
Beginnings or endings of slurs or ties that are missing in connection with a page break in A have been tacitly supplied as long as there is no doubt about the composer’s intention. In a few places where two instruments are combined in one stave with stems up and down, the second instrument has been supplied tacitly with a slur that is marked only in the first instrument (stems up).
Notes
Bar Part
4 – 5
Comment
fg. fg. 1 – 2 playing unison in accordance correction in B [HS]
8 fl. ob. A: p added in pencil by conductor? (p also added in B in pencil)
8, 9 cl.2 notes 1 – 6: slur added by analogy with cl. 1
10 – 11 fl. fl. 1 playing in accordance with B
11 arp. m added by analogy with fl., ob., vl.1,2
13 cor. 1 1. added by analogy with “1mo” in b. 16
14 cl. cl. 1 playing in accordance with B
14 – 15 fg. 1 cor. 1 slur beginning b. 14 at note 4 added by analogy with cl.1
16 – 17 – stringendo is clearly marked in A but only present in a few of the wind parts in B; no a tempo is marked in A and B; a tempo in b. 17 is the editor’s suggestion
16 cl. fg. slurs added by analogy with fl., ob. and c.i. (ending of the slurs are present in b. 17 after page break in A)
tr. m added in accordance with addition in B [HS] (A has cresc. which is omited in B)
17 tr. 2 trb. 1,2 notes 1 – 2: slurs added by analogy with tr.1 vl. 1 notes 1 – 2: slur added by analogy with vl.2
18 cl. 2 notes 1 – 2: tie added by analogy with cl. 1 (and in accordance with B)
19 cor. 4 cor. 4 playing in accordance with B [in B, HS changed 3. to 4.]
22 – 23 fl. fl. 1 playing in accordance with B
22 vl. 1 A: f changed to m in red crayon (conductor?) (no change in B) vla. A: m changed to f in red crayon (conductor?) (no change in B)
24 – 25
fl. 2 ob. 2 slurs added by analogy with fl. 1 and ob. 1 vl. 2 slur b. 24 note 2 to b. 25 note 1 added by analogy with vla. and vcl.
24 – 26 cl.1 slurs added in accordance with addition/correction in B [HS] cl. 2. slur added in accordance with addition in B [HS]
25 vcl. cresc. added by analogy with vl.1,2 and vla.
27 cl. d added in accordance with additions in B [HS]
28 cor. m added by analogy with fg. 2
vl.2 vla. slur added by analogy with vl. 1
29 fl. 1 fg. 2 cor. c added by analogy with ob. 1, cl. and fg. 1 vl. 2 slur added by analogy with ob.1 and slurs in vcl. and cb.
29 – 30 cl. b. 29 + b. 30 note 1: cl. 1 – 2 unisono in accordance with B
29 – 32 fl. ob. fl.1 and ob. 1 playing in accordance with B
30 cl.1 slur ending at b. 31 note 1 added by analogy with fl.1 and vl.1
31 vl.1 slur added by analogy with b. 29
31 – 32 cl. b. 31 + b. 32 note 1: cl.1 – 2 unisono in accordance with B
32 fl.1 ending of slur at b. 32 note 1 added by analogy with ob.1 cor. 1 slur added by analogy with fg.1
35 cl. notes 3 – 5: cl. 1 – 2 unisono in accordance with B
37 fl. ob. p added by analogy with cl. and fg. (bb. 34 – 35)
38 cor. 1 1. added in accordance with B [in B, “1mo” is added by HS]
38, 39 fg. 2 last notes: stacc. added by analogy with b. 40 (and in accordance with B)
38 – 40 fg. fg. 1 – 2 unisono in accordance with B
39 cb. f added by analogy with the other str.
41 c.i. d added in accordance with addition in B [HS] tr. tr. 1 playing in accordance with B timp. f added by analogy with tr. 1 and trb.
43 cor. 1, 3 m added in accordance with addition in B [HS]
44 cl. p added by analogy with fg.
46 cor. 1, 3 p added in accordance with addition in B [HS]
47 cor. 3 notes 1 – 2: slur added by analogy with cor. 3, fg. and vcl.
48 vl.1
notes 4 – 7: one slur emended to two slurs by analogy with b. 49 (corrected in B by HS)
48, 50 vcl. c and d added in accordance with B (in B added in ink, probably by HS)
49 vl.2 m added by analogy with vl.1 (b. 48)
50 vl.2 notes 8 – 10: slur added by analogy with vl.1
50 – 51 c.i. d added in accordance with addition in B [HS]
51 fg. b. 51 + b. 52 note 1: fg. 1 – 2 unisono in accordance with B (fg. parts corrected in B by HS)
52 c.i. m added in accordance with HS’s addition in B vla. chord at the end of the bar, lower note: n before c added by analogy with cb.
52 – 53 fl. fl. 1. playing in accordance with B fg. fg. 1 playing from b. 52 note 2 to the end of b. 53 in accordance with B (fg. parts corrected in B by HS)
53 cor. 1 1. added editorially (change from deep horn bb. 48 – 51 to high horn bb. 53 – 54)
54 fl. fl.1 – 2 playing in accordance with B and by analogy with the continuation (a2) b. 55 to b. 56 note 6
fg. m added by analogy with cor.1 – 2 and tr.
54 – 61 ob. ob. 1 playing b. 54 to b. 61 note 1 in accordance with B
55 – 58 cl. cl. 1. playing b. 55 to b. 61 note 1 in accordance with B
56 vl.1 note 5: s added by analogy with fl., ob. 1 and cl. 1
56 – 57 cor. 3 slur added by analogy with cor. 1 – 2
57 fg. 1 notes 5 – 8 played by fg. 1 in accordance with B
58 ob. c.i. last note: marc. added by analogy with fl. and vl. 1,2
59 cor. 2. and 4. added editorially (deep parts) tr. 1 f c d added in accordance with additions in B [HS]
60 – 61 fl. fl. 1. playing b. 60 + b. 61 note 1 in accordance with B
61 fg. 2 c added by analogy with vcl and cb and in accordance with B (probably added in B by HS)
cb. c added by analogy with vcl
62 fg. m added by analogy with cl. and cor.
64 c.i. m added by analogy with fl., ob. cl. and fg. (bb. 62 – 63)
64 – 65 fl. ob. fl. 1 – 2 and ob. 1 – 2 playing b. 64 and b. notes 1 – 5 in accordance with B
65 vl.2 c added by analogy with vl.1
66 cl. note 1: emended from q to e (stacc.) + r r in accordance with correction in B [HS] fg. m added in accordance with addition in fg. 1 in B [HS] fg. 1 fg. 1 playing notes 3 – 10 in accordance with B (rests in fg. 2 in B are inserted by HS)
67 fg. B: for an unknown reason HS exchanged the 1. and 2. parts; the edition follows A (cf. comment to b. 68)
cor. 1 note 1: slur extended from b. 66 note 4 to b. 67 note 1 in accordance with B (in B probably added by HS)
68 fg. 2 note 1: A# emended to f# in accordance with correction in B [HS] (actually the alteration was made in fg. 1, cf. comment to b. 67)
69 cl. espress. added in accordance with addition in B [HS] cl.1 note 4: marc. added in accordance with addition in B [HS] cl.2 note 4: marc. added by analogy with cl.1 (cf. comment above)
73 cor. tr. m added by analogy with m in cor.1 (b. 71) and str. (b. 70 – 73)
74 c.i. f added in accordance with addition in B [HS] fg. 2 f emended to m c f in accordance with correction in B [HS]
74 – 75 trb. 2 slur added in accordance with B
75 fl. 2 notes 1 – 2, 3 – 4: slurs added by analogy with fl. 1 fg. 2 m c f dec added in accordance with additions in B [HS] cor. 2 notes 2 – 4: slur added by analogy with b. 74 notes 2 – 4 note 5: slur to b. 76 note 1 added in accordance with B (in B probably added by HS) tr. notes 6 – 8: tr. 1 playing in accordance with B
75 – 76 cor. 3 – 4 slur added in accordance with B [HS]
76 vl.2 last note: marc. added by analogy with vl. 1
76 – 79 tr. tr. 1 playing in accordance with B
77 ob. 2 vl. 1,2 last note: marc. added by analogy with fl., ob. 1 and b. 76
79 cl. d added by analogy with fl., ob.
vl.2 last note: slur to b. 80 note 1 added in accordance with B (added in ink in B probably by HS) vla. d added by analogy with vl. 1,2
80 – Allegreto added by analogy with b. 34 fg. cor. p added by analogy with b. 34
80 – 82 fg. fg. 1 playing b. 80, 81 + b. 82 notes 1 – 2 in accordance with B
84 cor. 4 slur added by analogy with cor. 3 and woodw. vl.2. slur added by analogy with vl. 1
87 – 98 fg. slurs added in accordance with additions in B [HS]
88 fg. 1 d added in accordance with addition in B [HS]
90 vl. 2 beginning of slur emended from note 1 to note 2 by analogy with vl. 1 and vla.
91 fg. 1 p added in accordance with addition in B [HS]
91 – 92 ob. 2 slur added by analogy with ob. 1
95 fg. fg. 1 playing from b. 95 to b. 127 note 1 in accordance with B (bb. 121 – 122 were revised by HS in A but not in B – this is why both instruments are playing in bb. 121 – 122 in B) fg. vla. vcl. cb. A: m changed to p in pencil (conductor); in B vla. m is changed in crayon to f while fg., vcl, cb still have m – vcl. and cb. m is supplied with “espressivo” in HS’s hand vl. 1 note 6: stacc. added by analogy with bb. 96, 97 vla. vcl, cb espress. added in accordance with HS’s addition in B vcl. and cb. (cf. comment above) cb m added by analogy with vla. and vcl.
97, 98 vla. note 1: stacc. added by analogy with vl.2 bb. 96 – 97
98 fl. 2 last note: slur extended to b. 99 note 1 by analogy with fl.1
99 vl. 1 note 1: stacc. added by analogy with vl.2
101 fg. 1 slur added by analogy with b. 99 vl. 2 note 1: stacc. added by analogy with vl.1 b. 100
103 vl. 2 note 1: stacc. added by analogy with vl.1
103 – 105 fl. fl. 1 playing in accordance with B
104 vl. 2 notes 1, 4, 5: stacc. added by analogy with vl. 1
104 – 107 cor. beginning of slur from b. 104 through bb. 105 – 106 added; end of slur is marked b. 107 note 1 in A (after page break)
105 cl. arp. 1 vl. 1, 2 note 1: stacc. added by analogy with fl. 1
114 cor. 4 note 1: # added by analogy with cor. 3 cor. 3 slur added in accordance with addition in B [HS]
115 vla. cb. f added by analogy with vl. 2 and vcl.
116 fg. 1 slur extended from b. 115 note 3 to b. 116 note 1 in accordance with alteration in B [HS]
119 fg. 1 vlc. 2 vla. cb. m added by analogy with ob. 1, c.i., vl. 1 and vcl.
121 cor. 1. and 3. added editorially (high parts) vla. dim. added by analogy with vl. 1 and vcl. notes 1 – 3: slur added by analogy with vl. 1
121 – 122 fg. the two parts were revised by HS in A in connection with the omission of the following section; in B, however, the revision was not implemented
123 fl. 2 notes 1 – 3: stacc. added by analogy with b. 95 cl. notes 1 – 4: stacc. added by analogy with b. 95 and bb. 124, 125
123 – 127 fg. fg. 1 playing b. 123 to b. 127 note 1 in accordance with B
125 vl. 1 note 6: stacc. added by analogy with b. 97 vl. 2 note 1: stacc. added by analogy with b. 126 vla. slur added by analogy with vcl. and cb.
126 cl. note 1: stacc. added by analogy with b.98 cresc. added by analogy with fl. and fg.1 vla. cb. cresc. added by analogy with vcl.
127 ob. cb. f added by analogy with fl., fg., vl.1, 2, etc. cl. note 2: marc. and f added in accordance with additions in B [HS]
127 – 128 fl. 1 marc. added by analogy with fl. 2. (cf. comment below) fl. 2 marc. added in accordance with B fl.2 (in B added in ink probably by HS)
128 tr. 2 marc. added by analogy with trb. 3
129 – 132 cor. cor. 4 playing in accordance with B
130 cl. cor. 4 arp. vcl. cresc. added by analogy with fl., vl.1,2 and vla. (in A, below cb., a large “crescendo” indicates that the whole orchestra continues with cresc. until b. 133)
131 fl. 2 2 slurs added by analogy with cl.1
133 tr. f added by analogy with cor. and trb. vcl. cb. notes 1 – 4: slur added by analogy with vl.2
133 – 134 fg. B: HS added slurs b. 133 notes 1 – 2 and b. 134 notes 1 – 4, but only in fg.2; she also glued on a correction on the below line which, probably unintentionally, covered c in both fg. 1 and fg. 2; the edition follows A
134 fl. 2 ob. 1 notes 1 – 4: slur added by analogy with vl.2 fg. 2 notes 2 – 4: slur added by analogy with cor.2
134 – 135 tr. 2 slur added by analogy with trb.1 (cf. comment below) trb. 1 slur added in accordance with addition in B [HS]
135 cor. 1 – 2 p added by analogy with cor.3 – 4
141 – 153 tuti repetition of bb. 34 – 46 (same comments)
154 fl. notes 1 – 3: slurs added by analogy with b. 47 cl. 2 notes 4 – 5: slur added in accordance with addition in B [HS] cor. 1 notes 1 – 2: slur added by analogy with vcl. and in accordance with B
cor. 4
B: HS added m at the beginning of b. 154; omited as is does not match the dynamic level of the rest of the orchestra
A: all notes in the bar are crossed over in red crayon; in B, a semibreve rest is added in red crayon; probably the conductor’s suggestion (ignored) vcl. tie ending at note 1 added by analogy with b. 47
155 – 156 fg. fg. 1 – 2 unisono in accordance with B
157 c.i. p added by analogy with fg. 1 and cor. 4 cl. 2
B: mf added at note 1 by HS (the edition keeps A: m = cl.1.) notes 1 – 2: slur added in accordance with HS’s addition in B fg. 1 B: HS marked fg. 1 “m espressivo” which is interpreted as an error as A clearly has p (cf. parallel bars: c.i. and cor.4)
157 – 159 fg. 1 fg. 2 emended to fg. 1 (high passage)
158 cl. c added by analogy with fl. and ob. fg. 1 notes 1 – 2: slur added by analogy with c.i. and cor.4 c added by analogy with c.i. and cor.4
158 – 159 cor. 4 cor. 3 emended to cor. 4 (deep horn)
159 vl. 1, 2 m added by analogy with vla. and vcl.
160 cb. m added by analogy with vla. and vcl.
161 fg. 2
note 3: marc. deleted in accordance with B (erased in B, probably by HS) cor. in A, the bar was revised in pencil, but the revision was only implemented in B in cor.1 – 2 (!); in cor.1 – 2, HS altered the dynamic level at note 1 from m to to p without a following f at note 2; it seems unlikely that cor. should play p bb. 161 – 162; the edition follows A
162 fg. 2 notes 1, 4, 7, 10: marc. deleted in accordance with B (erased in B, probably by HS) cor. 1 – 2, tr. note 3: slur to b. 163 note 1 added by analogy with trb. trb. 1 – 2 f added by analogy with trb.3
166 cor. 1, 4 m added by analogy with cl., timp. and str. (b.163)
166 – 168 cor. 4 cor. 3 emended to cor. 4 (deep horn passage)
167 fl. 1 ob. 1 note 11: slur to b. 168 note 1 added by analogy with vl.1, 2
168 cb. f added by analogy with vcl.
169 cl. note 2: marc. added by analogy with fl. and ob.. cor. 3 m added by analogy with dynamic level in cor. 1 – 2 arp. 1 chord 1: # before g2 added by analogy with # before g1 in the same chord
169 – 173 cor. cor. 3 playing from b. 169 to b. 173 note 1 (high horn)
170 arp. 2 # before e and # before g added by analogy with arp.1 vla. vcl. slur notes 1 – 4 (after page break in A) adjusted by analogy with b. 169
171 cl. 2 two slurs added in accordance with B (in B, HS changed one slur added by the copyist to two slurs) vla. vcl. cb. f added by analogy with vl.1,2
173 – 174 fl. fl. 1 playing from b. 173 note 2 to b. 174 note 1 in accordance with B
173 – 175 ob. ob. 1 playing from b. 173 to b. 175 note 4 in accordance with B
175 c.i. notes 1 – 3: slur added by analogy with fl.2 note 4: marc. added in accordance with HS’s addition in B trb. trb. 1 playing in accordance with B
176 – 177 fl. 1 slur b. 176 note 1 to b. 177 note 1 added by analogy with ob. 1 ob. slurs added in accordance with B (slurs added in B in ink by HS) cl. 2 f added by analogy with cl. 1 (b. 175)
note 4: slur ending b. 177 note 1 added in accordance with B (added in B in ink by HS) fg. 1 note 4: slur ending b. 177 note 1 added by analogy with cl. 2 fg. 2 note 3: slur ending b. 177 note 1 added by analogy with cl. 2 tr. slurs ending b. 177 note 1 added by analogy with c.i. and other woodw.
178 fg. fg. 1 playing in accordance with alteration in B [HS]
179 fl. cob. cl. note 3: stacc. added by analogy with vl. 1,2
181 c.i. cl. fg. cor. f added by analogy with the rest of the orchestra
