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
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 flyttede i 1892 til København. Der var hun tættere 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 dette 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 forfatteren Sophus Michaëlis, og som blev antaget til opførelse på Det Kongelige Teater. Grundet 1. verdenskrig og den materialemangel, krigen medførte, måtte 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 fortsatte, 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
I sin bog om komponisterne Hilda Sehested og Nancy Dalberg skriver Lisbeth Ahlgren Jensen, at Sehested omkring 1904 fik interesse for messingblæsere. 1 Det første værk hun skrev var Suite for Cornet i B og Klaver (1904), som blev udgivet på Wilhelm Hansens Musikforlag i 1906 med en tilegnelse til solotrompetist i Det Kongelige Kapel, Thorvald Hansen (1847-1915). Inspirationen til at skrive værket skyldtes uden tvivl Thorvald Hansen, der selv komponerede en række værker for messingblæsere. Det var da også Thorvald Hansen, der sammen med komponisten på klaver uropførte suitens første sats, Ballade, og tredje sats, Ritornel, i Kammermusikforeningen i København den 30. marts 1905. I 1907 blev alle tre satser opført ved en privat koncert.
I 1906 skrev Sehested i et brev til musikhistorikeren Angul Hammerich om
[…] det herlige Instrument, Trompeten, som trækker en saa lynklar Kontur op, inspirerer En baade Energi og Humør. Og saa aabner dette stolte Instrument ved sin særlige Karakter nye Egne paa Følelsernes Omraade. Trompetens særlige Klang er lige langt fra den Smægten, Valdhornet let henfalder til, og de forfinede, kælne Nuancer, Strygerne raader over. Stolt er altid dens Klang i sin blændende Kraft og Varme – og hvor rørende kan den ikke være naar den er “god ” i en cantabil Strofe, som den altid faar til ligesom at lyse. Og saa dens rytmiske Disposition som ligefrem ægger til Liv og Humør. Den gode, herlige Trompet!
“De kan nok mærke, jeg holder af den”, erkender hun i brevet. 2 Nærværende orkesterversion af suiten blev udarbejdet af komponisten i sommeren 1914. Den følger nøje den originale version for trompet og klaver, dog har Sehested, efter at orkesterstemmerne var udskrevet, føjet 15 indledende takter til midtersatsen, Romance. Disse takter findes altså i orkestermaterialet, men ikke i Sehesteds egenhændigt udarbejdede partitur. Tilføjelsen er indklæbet i stemmerne af Sehested selv og må være kommet til umiddelbart før uropførelsen, som fandt sted den 25. marts 1915 i Studenterforeningen Store Sal i København. Dirigent var komponisten Peder Gram, og solisten var Tycho Mohr. Der var tale om en kompositionskoncert, i øvrigt Sehesteds første orkesterkoncert, som hun selv havde foranstaltet med økonomisk støtte fra sin søster, Thyra Sehested. Hilda Sehested deltog engageret i prøvearbejdet, som hun fortæller om i et brev til sin bror, Hannibal Sehested:
Næsten betydningsfuldere end Koncerten selv, var for mig alt det, der gik forud – Orkesterprøverne først og fremmest. Hvad kan man ikke lære af saadan 3 Prøver! Der hører man, hvad der let vil komme frem, og hvad der putter sig, hvor man har været for ængstelig og fordoblet for stærkt, og hvor man har haft en lykkelig Haand. Og hvor uhyre interessant at følge min unge begavede Dirigent, Peder Grams Arbejde med at faa de vigtige Replikker frem og alle Farver i de rette Planer. Hans mening om mine Orkesterarbejder var: at Suiten […] var for massivt instrumenteret […] 3
Flere anmeldere beklager, at programmets fire orkesterværker ikke kom til deres ret pga. salens dårlige akustik: “Det ramler altid ganske Rædsomt i Studenterforeningens Festsal, naar et
1 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4 (København: Multivers, 2019), 45-46
2 Det Kgl. Bibliotek, Ny kgl. Samling, NKS 4980, dateret 24.4.1906.
3 Rigsarkivet. Privatarkiv 6328 Hannibal Sehested. A.I.2. Brevet er dateret 29.3.1915
Preface
In her book about the composers Hilda Sehested and Nancy Dalberg, Lisbeth Ahlgren Jensen writes that Sehested became interested in brass instruments around 1904. 1 The first work she wrote was Suite for Cornet in Bb and Piano (1904), which was published by Wilhelm Hansens Musikforlag in 1906 with a dedication to Thorvald Hansen (1847 – 1915), the solo trumpetist in the Royal Danish Orchestra. The inspiration for writing the work was undoubtedly due to Thorvald Hansen, who himself composed a number of works for brass. It was also Thorvald Hansen who, together with the composer at the piano, premiered the first movement of the suite, Ballade, and the third movement, Ritornel, at the Chamber Music Society in Copenhagen on 30 March 1905. In 1907, all three movements were performed at a private concert.
In 1906, Sehested wrote in a letter to the music historian Angul Hammerich about
[…] the glorious instrument, the trumpet, which cuts such a clear line, inspires one both in energy and mood. And so this proud instrument, with its special character, opens up new areas in the domain of emotions. The trumpet’s special sound is just as far from the languor that the French horn easily succumbs to, and the refined, tender nuances that the strings possess. Its sound is always proud in its dazzling power and warmth – and how touching it can be when it is “good” in a cantabile stanza, which it always seems to make shine. And then its rhythmic disposition that directly incites to life and humour. The good, glorious trumpet!
“You can probably tell that I love it”, she admits in the letter. 2 The present orchestral version of the suite was prepared by the composer in the summer of 1914. It closely follows the original version for trumpet and piano; however, after the orchestral parts had been written out, Sehested added 15 introductory bars to the middle movement, Romance. These bars are therefore found in the orchestral material, but not in Sehested’s autograph score. The addition was pasted into the parts by Sehested herself and must have been made immediately preceding the premiere, which took place on 25 March 1915 in the Student Association’s Large Hall in Copenhagen. The conductor was the composer Peder Gram, and the soloist was Tycho Mohr. It was a composition concert, incidentally Sehested’s first orchestral concert, which she herself had arranged with financial support from her sister, Thyra Sehested.
Hilda Sehested participated enthusiastically in the rehearsals, about which she recounts in a letter to her brother, Hannibal Sehested:
Almost more significant to me than the concert itself was everything that preceded it – first and foremost the orchestral rehearsals. What can one not learn from three such rehearsals! There one hears what will come across easily, and what it is that is hidden, where one has been too anxious and doubled too strongly, and where one has had a lucky hand. And how incredibly interesting it was to follow my young gifted conductor Peder Gram’s work in bringing out the important lines and all the colours on the right planes. His opinion of my orchestral works was: that the suite […] was too heavily orchestrated […] 3
1 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, vol. 4 (Copenhagen: Multivers, 2019), 45 – 46.
2 The Royal Danish Library, New Royal Collection, NKS 4980, dated 24 Apr. 1906.
3 The National Archives. Private archive 6328 Hannibal Sehested. A.I.2. The letter is dated 29 Mar. 1915.
Orkester tager fat”, kunne man læse i avisen København. 4 I Nationaltidende indledte kritikeren Gustav Hetsch sin omtale på følgende måde: “Allerede det første Nummer paa Gaarsaftenens Program var noget uden for det sædvanlige – en Suite for Orkester med obligat Kornet! Endnu mere usædvanligt var det, at den var komponeret af en Dame.” 5 Anmeldelsen i Berlingske Tidende var skrevet af Alfred Tofft:
Frk. Sehested [synes] gennemgaaende at være for haandfast i sin Orkesterbehandling. En Suite for Orkester med obligat Kornet, meget dygtigt blæst af Hr. Tycho T. Mohr, stod ikke helt igennem lige klart, navnlig paa Grund af de overlæssede Mellemstemmer. Imidlertid ejer Frk. Sehested dog aabenbart Sans for orkestral Kolorit og vil utvivlsomt forstaa at drage Lære af denne Opførelse. 6
Selv om komponisten måtte drage den lære, at instrumentationen af suiten var for massiv, tog hun ikke efterfølgende initiativ til en revision af værket. Der kendes ingen senere opførelser, og partitur og orkestermateriale foreligger i dag som ved opførelsen i 1915. Som nævnt rummer stemmesættet en 15 takter lang tilføjelse til 2. sats, men blæserstemmerne og til dels strygerne er desuden forsynet med præciseringer og rettelser, typisk vedrørende frasering, artikulation og dynamik, som er indføjet med blæk, efter al sandsynlighed af komponisten selv. En del af disse ændringer, men langt fra alle, er foretaget parallelt i autografpartituret. Detaljer fra stemmematerialet supplerer således partituret og er af væsentlig betydning for udgaven.
I både partitur og stemmer findes klammer tilføjet med farvestift omkring en række korte passager i blæserne (særligt eliminering af fordoblinger), hvilket er sket på foranledning af Peder Gram under indstuderingen og givetvis i samråd med komponisten, i hvert fald med hendes accept. Udgiverne har valgt at følge disse ændringer, om end de kun i ringe grad afhjælper den dominans, komponisten generelt har tildelt blæserne gennem sin instrumentation.
Partituret fremstår i betydelig grad mangelfuldt og præget af inkonsekvenser, hvad angår dynamiske angivelser, artikulation og frasering. Udgiverne har i stort omfang af hensyn til værkets praktiske udførelse fundet det nødvendigt at komplettere partituret ved hjælp af analogitilføjelser, sådan som det fremgår af udgavens noteapparat.
Som klaverpartitur til brug ved indstudering af værket i forbindelse med en orkesteropførelse benyttes værkets originalversion, publiceret i kritisk udgave af Edition·S i 2024, 7 i kombination med den til nærværende orkesterversion udarbejdede solostemme.
Suiten blev i 1996 indspillet af trompetisten Ketil Christensen og Aalborg Symfoniorkester med Henrik Vagn Christensen på podiet. Der er imidlertid tale om et arrangement, hvor Sehesteds 15 blæsere er reduceret til en blæserkvintet. Paukestemmen er endvidere udeladt. 8
Bendt Viinholt Nielsen
Several reviewers regret that the four orchestral works in the programme were not done justice by the hall’s poor acoustics: “It always rumbles quite terribly in the Student Association’s Banquet Hall when an orchestra plays”, one could read in the newspaper København 4 In Nationaltidende, the critic Gustav Hetsch began his review in the following way: “The very first number on last night’s programme was something out of the ordinary – a suite for orchestra with obligato cornet! Even more unusual was that it was composed by a lady.” 5 The review in Berlingske Tidende was written by Alfred Tofft:
Ms. Sehested [seems] to be too firm in her orchestral treatment throughout. A suite for orchestra with obligato cornet, very skillfully played by Mr. Tycho T. Mohr, was not entirely clear throughout, especially because of the overloaded middle parts. However, Ms. Sehested clearly has a sense for orchestral color and will undoubtedly understand how to learn from this performance. 6
Even if the composer had to learn the lesson that the instrumentation of the suite was too heavy, she did not subsequently take the initiative to revise the work. There are no known later performances, and the score and orchestral material are available today in the same state as they were at the 1915 performance. As mentioned, the set of parts contains a 15-bar addition to the 2nd movement, but the wind parts and to some extent the strings are also provided with clarifications and corrections, typically concerning phrasing, articulation and dynamics, which were inserted in ink, in all likelihood by the composer herself. Some of these changes, but far from all, were made in parallel in the autograph score. Details from the part materials thus supplement the score and are of significant importance to the edition. In both the score and parts there are brackets added in crayon around a number of short passages in the winds (particularly the elimination of doublings), which were made at the instigation of Peder Gram during the rehearsal and presumably in consultation with the composer, in any case with her acceptance. The editors have chosen to follow these changes, although they only slightly remedy the dominance that the composer has generally given to the wind instruments in her instrumentation.
The score is in many ways problematic and characterised by inconsistencies in terms of dynamic indications, articulation and phrasing. The editors have found it necessary, largely for reasons concerning the practical performance of the work, to complete the score by means of analogical additions, as is evident from the edition’s critical notes.
The original version of the work, published in a critical edition by Edition·S in 2024, 7 is used as the piano score for use when rehearsing the work in connection with an orchestral performance, in combination with the solo part prepared for the present orchestral version.
The suite was recorded in 1996 by trumpeter Ketil Christensen and the Aalborg Symphony Orchestra with Henrik Vagn Christensen on the podium. However, this is an arrangement in which Sehested’s 15 wind instruments are reduced to a wind quintet. The timpani part is also omitted. 8
Bendt Viinholt Nielsen
4 “S.A.” [Sophus Andersen], København 26.3.1915.
5 “–st–ts.” Nationaltidende 26.3.1915
6 “A. T.”, Berlingske Tidende 26.3.1915
7 Redigeret af Bendt Viinholt Nielsen og Ole Ugilt Jensen
8 Rondo RCD 8359. Arrangementet blev foretaget af Torben Petersen, og denne version blev i 2022 publiceret af BrassMusikOnline med Ketil Christensen som redaktør og under titlen “Koncert”.
4 “S.A.” [Sophus Andersen], København 26 Mar. 1915.
5 “–st–ts.” Nationaltidende 26 Mar. 1915
6 “A. T.”, Berlingske Tidende 26 Mar. 1915
7 Edited by Bendt Viinholt Nielsen and Ole Ugilt Jensen
8 Rondo RCD 8359. The arrangement was made by Torben Petersen, and this version was published in 2022 by BrassMusikOnline with Ketil Christensen as editor and under the title “Concert”.
Faksimiler
Facsimiles
Faksimile 1.
Sats 1. Autograf, s. 23, t. 95-99 (kilde A).
På den viste s. 23 er trombone 3-stemmen udeladt for at lette instrumentationen. Ottendedelstremoloer i fløjte 1, obo 2 og klarinet 1 er elimineret i t. 96-98 af komponisten i orkesterstemmerne (kilde B), men denne ændring er ikke indført i partituret. Hilda Sehested har åbenlyst glemt at tilføje fraseringsbuer i solotrompetstemmen på denne side. I udgaven er buerne tilføjet, sådan som de står i værkets originalversion for kornet og klaver (kilde C-D).
Facsimile 1.
Movement 1. Autograph, p. 23, bb. 95 – 99 (source A).
On this page 23, the trombone 3 part is omitted in order to obtain a less heavy intrumentation. The quaver tremolos in flute 1, oboe 2 and clarinet 1 in bb. 96 – 98 were eliminated by the composer in the parts (source B), but this alteration was not transferred to the score. On this page, Hilda Sehested obviously forgot to add slurs to the cornet solo part. In the present edition, slurs in this passage were added as they appear in the original cornet and piano version of the work (sources C – D).
Faksimile 2.
Sats 2. Afskrift, s. 1, t. 1-5 (kilde A). Et autografmanuskript til sats 2-3 foreligger ikke. En afskrift blev udført af en ukendt, professional nodeskriver og suppleret med enkelte detaljer af komponisten. På denne førsteside ses Sehesteds håndskrift ikke. Men i orkesterstemmerne (kilde B) eliminerede hun otendedelstremoloerne i træblæserne. For at reducere blæsersatsen yderligere blev oboerne udeladt i t. 1-9 i samråd med dirigenten Peder Gram.
Facsimile 2.
Movement 2. Transcript, p. 1, bb. 1 – 5 (source A).
An autograph score of movements 2 – 3 is not extant. A copy was made by an unknown professional copyist and augmented with a few details by the composer. Sehested’s handwriting is not to be seen on this first page of movement 2 . However, in the parts (source B), she eliminated the quaver tremolos in the woodwinds. In order to obtain a less dominating sound from the wind instruments, the oboe in bb. 1 – 9 were furthermore omitted in consultation with the conductor, Peder Gram.
Faksimile 3
Sats 3. Afskrift, s. 14, t. 40-45 (kilde A). Afskriften af satserne 2 og 3 blev forsynet med visse detaljer af komponisten; på denne side har hun tilføjet “poco f” over fløjterne samt under kontrabasstemmen. Fløjterne blev imidlertid udeladt i denne passage for at udgå unødige fordoblinger.
Facsimile 3. Movement 3. Transcript, p. 14, bb. 40 – 45 (source A).
The score of movements 2 and 3 was augmented with certain details by the composer; on this page she has added “poco f” above the flutes and below the double bass part. However, the flute parts were omitted in this passage in order to avoid unnecessary doublings.
Orkesterbesætning / Orchestral forces
2 Flauti
2 Oboi
2 Clarinetti in Sib
2 Fagotti
4 Corni in Fa
3 Tromboni
Timpani
Violini 1
Violini 2
Viole
Violoncelli
Contrabbassi
1. Ballade
Hilda Sehested (1858-1936)
Cornetto in B
Viole
Violoncelli
Contrabbassi
Flauti
Clarinetti in B b
Fagotti
Corni in Fa
Tromboni
Oboi
Abbreviations
b. bar
bb. bars
cb. contrabbasso
cl. clarinetto cor. corno
cnt. cornetto cresc. crescendo dim. diminuendo div. divisi
fg. fagotto
fig. rehrarsal figure
fl. flauto fol. leaf
HS Hilda Sehested marc. marcato mark ob. oboe
p. page pp. pages pag. paginated picc. flauto piccolo (piccolo) stacc. staccato
str. strings ten. tenuto mark timp. timpani
tr. tromba trb. trombone
vl. violino
vcl. violoncello vla. viola woodw. woodwinds
Critical Commentary
Description of Sources
A Score, autograph and transcript
B Parts 1915 (transcript, revised)
D Solo part; printed copy with additions
C Score; printed original version (cornet and piano)
A Score, autograph and transcript
DK–Kk, Royal Danish Library (Musikafdelingen), C II, 12. Hilda Sehesteds samling, 17. Title (autograph): “Suite for Kornet / og Orkester / af / Hilda Sehested” Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949–50.1035). 34.5 × 26 cm.
Movement 1 (autograph, fair copy in ink): 17 leaves with 33 pages of writing numbered: (title page), (blank page), pp. 1–32.
Paper type: Leaves 1–13: “Heimdal” 1663 (18 staves); leaves 14–17: “Heimdal” 1654 (20 staves).
Movements 2–3 (unsigned transcript in ink): 16 leaves with 31 pages of writing numbered 1–31, blank page at end.
Paper type: 20 staves without manufacturer’s name.
Contents: “Ballade.”, “Romance.”, “Ritornell.”
In movements 2–3, there are autograph additions. Conductors’ annotations can be seen in all three movements. In the wind instruments mainly, certain groups of bars are surrounded by square brackets in blue crayon.
B Parts 1915 (transcript, revised)
DK–Kk, Royal Danish Library (Musikafdelingen), Mf. A, 1575.
Transcript (signed in ink after the final bar of Basso No. 1 “A.P. Marts 1915”; in Basso No. 2: “A.P. 1915”).
No title; headings: “Ballade”, “Romance”, “Ritornell”.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949 – 50.1035).
34.5 × 26 cm. Transcript in ink with additions in autograph; a “Forspil til Romance” (15 bars) is on a loose leaf (ca 17 × 26 cm) placed in all parts except trb.1–3.
Paper type: 12 staves without manufacturer’s name.
Comprises: 2 fl., 2 ob., 2 cl. (Bb), 2 fg., 4 cor. (Fa), 3 trb., timp., 5 vl.1, 4 vl.2, 3 vla., 3 vcl., 3 cb.
The “Forspil til Romance” is not in sources A, C and D. The composer’s handwriting can be observed in several places. There are additions of tempi, dynamic indications and other details in ink. In the wood and brass parts, certain groups of bars are surrounded by square brackets in blue crayon.
C Solo part; printed copy, with additions
DK–Kk, Royal Danish Library (Musikafdelingen), C II, 12. Hilda Sehesteds samling, 17. No title; headings: “Ballade”, “Romance”, “Ritornel”.
33.5 × 25 cm. 4 pp. numbered 1 – 4.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949–50.1035). Plate number 13808 [1904].
The separate solo part is included in the published cornet/piano version; cf. source D; Source C, however, belongs to the orchestral material (B) and has been supplied with rehearsal figures corresponding to the score (A) and a few handwritten additions proving that the part was used by the soloist at the 1915 performance. It is marked that Romance begins with a rest of 15 bars.
D Score; printed original version (cornet and piano)
Cover title: “WILHELM HANSEN / EDITION / No. 1132. / SEHESTED / SUITE / Für / Cornet in B und Klavier. / KOPENHAGEN & LEIPZIG. / WILHELM HANSEN, MUSIK–VERLAG”
Title page: “WILHELM HANSEN EDITION. / HERRN THORVALD HANSEN GEWIDMET. / SUITE / FÛR / CORNET IN B UND KLAVIER / VON / HILDA SEHESTED. / […] KOPENHAGEN & LEIPZIG. / WILHELM HANSEN, MUSIK–VERLAG.”
33 × 27 cm. Cover, title page, pp. 2 – 21.
Plate number 13808 [1904].
A seperate, four-page solo part with the same plate number and size is included (cf. source C).
Evaluation of Sources
The score (A) is generally flawed and inconsistent in terms of phrasing, and in many places there is doubt as to the beginning and end point of slurs. The dynamics are also unclear in several places. For example in movement 3, b. 102, where a crescendo leading to forte in bar 104 is clearly missing. Sehested added cresc. in b. 102 in the clarinet 1–part in B, but not in any of the other the parts. One must go to source D, the work’s original version for cornet and piano, to find the missing crescendo. Source D can also serve as a guiding source in other places where the score and parts leave doubts.
The set of orchestral parts (B) was prepared by a music copyist using the autograph score (A) as the source. However, the copyist overlooked a number of details such as slurs, dynamics and staccato indications. Prior to the performance in 1915, the composer revised the orchestral material and added some of the missing details and made additions and alterations by means of erasures and additions in ink, e.g. in the form of pasted-on pieces of music paper with corrections. However, no systematic proofreading of the parts was done by Sehested; her revision is characterised by randomness and incompleteness. Part of the corrections were made in parallel in the score (A). However, the parts also contain added slurs and other details that are not found in the score, just as corrections implemented in the score have not been transferred to the parts. Sehested’s revision of the orchestral material can be identified via ink colour, handwriting, and the nature of corrections and additions. All of it is in ink.
The source material includes a copy of the printed solo part with additions (C). This part must have been used by the soloist for the 1915 performance, even though the score’s solo part (A) contains a large number of variants compared with the printed version. The score is the main source of the work in this version, and this must also apply to the solo part. The part is, however, supplemented with individual, significant details which are found in the printed version. These have apparently been overlooked by the composer when preparing the score.
Editorial Emendations
1. BALLADE
Bar Part Comment
2 – 4 vla. slurs emended by analogy with vl.1 and vcl.
3 fl.2 ob.2 notes 2 – 4: slur added by analogy with fg.1 – 2
3 – 5 cnt. solo two slurs from b. 3 note 2 to the end of b. 5 added in accordance with C
3, 4 cor.3, 4 p added by analogy with the dynamic level in the rest of the orchestra
4 fg.2 note 2: # before F added by analogy with fg.1
5 vcl. cb. p added by analogy with vl.1,2 and vla.
5 – 6 fg.2 slur added by analogy with vcl. and cb.
6 – 7 ob.1 fg.1 slur from penultimate note b. 6 to b. 7 note 1 added by analogy with fl.2 and cl.2
7 ob.1 fg.1 notes 2 – 4: slur added by analogy with fl.2 and cl.2
7 – 8 cnt. solo slur added in accordance with C vl.2 vla. cb. cresc poco f added by analogy with vl.1 and vcl.
8 cor.3 – 4 dec added by analogy with cor.1 – 2 str. dec added by analogy with wind instr.
10 – 11 fg.1 slur b. 10 note 1 ending b. 11 note 1 added by analogy with fg.2 vl.1 slur b. 10 note 4 ending b. 11 at note 3 added by analogy with fl.1
11 vl.2 notes 1 – 3: slur added by analogy with vcl. and cb. (bb. 10 – 11)
11 – 12 vl.1 slur b. 11 note 4 to b. 12 note 2 added in accordance with addition in B [HS] vl.2 slur b. 11 note 4 to b. 12 note 2 added by analogy with vl.1
12 fl.2 p added by analogy with fl.1
ob. cl. notes 1 – 2; slur added by analogy with fl.
13 fg. last note: stacc. added by analogy with fl., ob. and cl. cor. timp. f added by analogy with the rest of the orchestra
14 cl. fg.1 note 2: stacc. added by analogy with fl., ob. vla. vcl. cb. notes 1 – 2: marc. added by analogy with vl.1, 2
15 vl.1,2 vla. vcl. note 1: stacc. added by analogy with fg. and cb. vl.1,2 vla. note 2: stacc. added by analogy with fg., vcl. and cb. vl.1,2 vla. note 3: stacc. added by analogy with fl., ob., cl., vcl. and cb.
16 vl.1,2 vla. note 1: stacc. added by analogy with vcl. vl.1,2 vla. cb. note 1: stacc. added by analogy with fl., ob., cl., fg. and vcl.
17 – 18 cl. fg. slur added by analogy with fl. and ob. vla. slur extended from note 4 to note 7 by analogy with b. 19 and vcl. 18, 20 cnt. solo note 1: marc. added in accordance with C (and by analogy with b. 16) vla. vcl. slur added by analogy with b. 20
22 fg.1 note 2: ## c1 emended to b# by analogy with cl.1 and vl.2
23 vl.1 note 1: slur to b. 24 note 1 added by analogy with vla.
23 – 24 vl.2 cresc dec added by analogy with the other strings
25 cor.3 – 4
notes 1, 2 and 3, 4: stacc. and ten. added by analogy with cor.1 – 2 cor. vl.2 vla. vcl. cb. f added by analogy with fg. and vl.1 vl.1 slurs notes 1 – 3 and 4 – 6 omitted and replaced by ten. at notes 1 and 4 and stacc. at notes 3 and 6 in accordance with correction in B [HS] vl.2 vla. notes 1, 3: ten. added by analogy with vl.1 (cf. note to vl.1) vcl. slurs notes 1 – 3 and 4 – 6 omitted and replaced by ten. at notes 1 and 4 and stacc. at notes 3 and 6 by analogy with correction in vl.1 in B [HS] (cf. note to vl.1 above) cb. notes 1, 2: stacc. and ten. added by analogy with fg. and cor.1 – 2
26 cor. notes 2, 3: stacc. and ten. added by analogy with b. 25 and fl., ob. and cl. vl.1 vla. note 5: stacc. added by analogy with vl.2 and vcl.
27 – 28 vla. slur added by analogy with vl.1, 2 vcl. cb. slurs added by analogy with fg.
28 fl.2 cl.2 slurs added by analogy with ob.1
29 fg. notes 5, 7: stacc. added by analogy with fl., ob. and cl. cor.3 – 4 notes 1 – 7: stacc. added by analogy with woodw. and str. cor. str. f added by analogy with fl., ob., cl. and fg.
30 trb.3 mf added by analogy with trb.1 – 2
31 cor.3 – 4 notes 2 – 7: stacc. added by analogy with woodw. and str. cnt. solo cresc added by analogy with b. 125
32 fg. notes 1 – 6: stacc. added by analogy with fl., ob. and cl.
33 cor.1 mf added by analogy with mf in the rest of the orchestra
34 fg.1 mf added by analogy with fg.2 (b. 33) cor.2, 4 mf added by analogy with mf b. 33 in the rest of the orchestra
35 fl. mf added by analogy with cl. and fg. (bb. 33 – 34)
35 – 36 ob. all notes omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
36 cl.1 notes 1 – 2: ten. added by analogy with omitted ob.2 (cf. note above) and vl.2
notes 3 – 5: slur added by analogy with fl. cl.2 notes 1 – 3, 4 – 5: slur added by analogy with fl. and b. 35 fg.1 notes 1 – 3: slur added by analogy with b. 35 vcl. notes 1 – 3: added by analogy with b. 35
37 cor.3 cb. f added by analogy with f in the rest of the orchestra
38 cor.4 f added by analogy with cor.3 (b. 37)
vl.2 notes 2 – 3, 4 – 6: slurs added by analogy with vl.1
39 fl. ob. cl. cor.1 – 2 f added by analogy with f in the rest of the orchestra (bb. 37 – 38) fg.2 note 1: stacc. added by analogy with fl., ob. and cl. vla. last harmony: stacc. omitted by analogy with vl.1, 2 (no stacc. in B)
40 fg.2 cor.3 cb. note 1: stacc. added by analogy with stacc. in the rest of the orchestra cor.3 – 4 note 4, 3: stacc. omitted by analogy with cor.1 – 2 (B has stacc. in cor.4 only)
vl.1 – 2 vl.2 notes 3 – 4: slur added by analogy with vcl.
41 fg.2 mf added by analogy with fg.1 (b. 40)
vl.1 B: mf added in ink [HS], but no addition of mf in the other strings
41 – 43 fg.2 slur unclear in bb. 42; interpreted as one continuous slur
43 ob.1 notes 1 – 2: slur added by analogy with fl.2 and cl.
44 – 46 fl.1 b. 44 last note and all notes in bb. 45 and 46 2 omitted (placed in [ ] in A and B) (cf. Special editorial issues above); fl.2 emended to fl.1 ob. b. 44 last note and all notes in bb. 45 and 46 omitted except for the last crotchet in b. 46 (ob.1) (placed in [ ] in A and B) (cf. Special editorial issues above) ob.2 notes 3–4: slur added by analogy with fl.1 and cl.1 fg.1 notes 2–3: stacc. added by analogy with cor.4
46 – 47 cor.1 b. 46 notes 1–3 and b. 47 notes 1–4: stacc. added by analogy with cor.4
47 trb.1 notes 1 – 2: ten. added by analogy with trb.2
48 fl.2 note 1: ten. added by analogy with ob.1 fl.2 notes 2 – 4: stacc. added by analogy with ob.1 cl.2 notes 2 – 4: stacc. added by analogy with ob.1 (and vl.2) fg.1 notes 1 – 2; stacc. added by analogy with ob.2 (and vl.1) fg.2 cb. note 2: stacc. added by analogy with vcl. cor.3 – 4 note 1: stacc. added by analogy with cor.2 (and vcl.)
51 cl.1 p added by analogy with cl.2 (b. 49) cl.2 notes 1 – 2: slur added by analogy with fg.2 (and vla.)
51 – 52 fg.2 slur added by analogy with cor.4 and vcl.
52 fl.1 rest at the end of the bar added by analogy with vl.1 fg.1 p added by analogy with fg.2 (b. 49)
55 – 56 cl.2 stacc. added by analogy with cl.1
56 fg.1 notes 1, 2 and 6: stacc. added by analogy with ob.1 fg.2 note 1 – 2: stacc. added by analogy with ob.1 cor.1 – 2 note 1: stacc. added by analogy with cor.4
57 cor.3 mp added by analogy with cor.1-2 and 4 (b. 53) vl.1 note 2: tie with no continuation in b. 58 omitted vcl. cresc added by analogy with vl.1, 2 and vla. cb. mp added by analogy with vla. and vcl.
58 ob.1 note 1: marc. added in accordance with addition in B [HS] vl.1 notes 1 – 3: slur added in accordance with addition in B [HS] vla. notes 1 – 3: slur added by analogy with vl.1 (cf. comment above)
59 cb. p added by analogy with vla. and vl.2
59 – 60 fg.2 slur added by analogy with fg.1 and vcl.
61 vl.1, 2 vla. vlc notes 1, 6: stacc. added in accordance with B (vl.1); HS made an alteration which was only implemented in B vl.1: slurs notes 1 – 3 and 4 – 6 were erased and stacc. added at notes 3 and 6; in A, slurs were erased in vl.1,2 and vla., but no stacc. was added; in vcl. the original version with two slurs is unaltered; the editors implement the alteration on the basis of B vl.1
vla. cb. f added by analogy with vl.1, 2 and vcl.
62 cor.1 – 2
note 2: stacc. added by analogy with cor.3 and trb.1 – 2
vl.2 notes 3 – 4: stacc. added by analogy with vl.1
63 fl.1 B: notes 2 – 3: cresc added [HS]; not in other parts
ob.1 notes 1 – 3: one slur emended to two slurs notes 1 – 2 and from note 3 to b. 64 note 1 in accordance with addition in B [HS]
ob.2
cor.2
notes 1 – 4: slur added in accordance with addition in B [HS]
notes 2 – 6: slur added by analogy with ob.1 and fg.1
64 ob. notes 1 – 2: stacc. added in accordance with addition in B [HS] and by analogy with fl.2 (and vl.1)
cor.2 notes 5 – 7: added in accordance with addition in B [HS]
vl.2
notes 1 – 2: stacc. added by analogy with vl.1
vla. note 1: stacc. added by analogy with vl.1
65 – 71 ob.1 quaver tremolo eliminated in accordance with B (lines through the stems are erased in B [HS])
65, 67, 69 – 70 ob.2 quaver tremolo eliminated in accordance with B (lines through the stems are erased in B [HS])
65 – 72 fl. cl. quaver tremolo eliminated in accordance with corrections made in B [HS] in ob.1 and 2 (cf. Special editorial issues above)
66, 68 cl.1 notes 1 – 4: slur added by analogy with fl.1 and cor.1 vl.1, 2 note 1 – 7: slur added by analogy with b. 68
67 cor.1 note 1: marc. added by analogy with b. 65
68 ob.2 notes 1 – 3: stacc. added by analogy with b. 66 (also stacc. in B) cor.3 slur added by analogy with b. 66 cnt. solo f added in accordance with C vl.2 slur added by analogy with vl.1
69 fg.2 notes 1 – 3: slur omitted by analogy with trb. and cb.
70 cb. note 1: marc. added by analogy with vla. and vcl.
71 fl. cl. cresc added in accordance with addition in B [HS] and by analogy with ob. and fg.
71 – 72 fg.2 cor.4 slur added by analogy with trb.2, 3 cor.1 slur added by analogy with vla. cor.2 slur added by analogy with trb.1
72 cl.2 slur added by analogy with ob.2 and cl.2
73 – a tempo added in accordance with B and C fg.2 note 1: slur to b. 74 note 1 added by analogy with fg.1
74 ob.1 mf added in accordance with addition in B [HS] and by analogy with fl. ob.2 notes 3 – 5: stacc. added by analogy with ob.1 fg.2 notes 2 – 4: stacc. added by analogy with fg.1 fg. note 5: stacc. added by analogy with fl. and ob.1
75 fg.1 slur added by analogy with fg.2 vla. mf added by analogy with vl.1, 2 (b. 74) cb. slur added by analogy with vcl.
75 – 76 vl.1, 2 slur b. 75 note 1 to b. 76 last note added in accordance with addition in B vl.1 [HS]
75 – 77 ob.1 quaver tremolo eliminated in accordance with B (lines through the stems are erased in B [HS])
75 – 79 ob.2 B: unison with ob.1 (A has no a2 indication)
76 fg.1 notes 1 – 2: slur added by analogy with cor.1 cor.1, 3 – 4 mf added by analogy with cor.2 (b. 74)
78 vl.2 vla. vcl. poco f added by analogy with vl.1 and cb.
79 cb. dim. added by analogy with vcl.
80 – rit. added in pencil in A; in B, rit. is added in ink in several parts, probably by HS) cl.1 espr. added in accordance with addition in B [HS] cl.2 p added by analogy with cl.1 vcl. cb. mf added by analogy with vl.2 and vla.
81 fg.1 p added by analogy with cl. and fg.2
81 – 82 fl.2 B: unison with fl.1 (A has no a2 indication)
83 vcl. cb. p added by analogy with vl.1, 2
83 – 84 cor.3 – 4 all notes omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
84 cor.1 note 1: emended from h to q in accordance with B (error in A) vla. p added by analogy with vl.1, 2 (b. 83)
85 fl.1 p added by analogy with vl.1 (and the rest of the orchestra) cor.4 p added by analogy with cor.1 – 2 (b. 83)
86 fl.1 mp added in accordance with addition in B [HS] cor.3 p added by analogy with cor.1 – 2 (b. 83)
87 ob.1 cresc added in accordance with addition in B [HS]
87 – 88 cor.1 slur added by analogy with cor.2
88 – 89 fl.2
87 – 90 ob.2
b. 88 note 3 – b. 89: quaver tremolo eliminated in accordance with B (lines through the stems are erased in B [HS])
b. 88 note 3 – b.90: quaver tremolo eliminated by analogy with fl.2. (cf. comment above)
cor.3 slurs added by analogy with cor.1, 2 cb. slurs added by analogy with vcl.
89 – 90 fg.2 slurs added by analogy with cor.1, 2
91 vl.1
B: cantabile added in blue crayon (unknown hand)
vla. mf added by analogy with vl.1
92 cl.1 slur adjusted and cresc dec added in accordance with B [HS]
cor.3 slur added by analogy with cor.1, 2
93 fg.2 slur added by analogy with fg.1
94 ob.2 cresc added by analogy with cl.
95 fl.2 slur added by analogy with fl.1
95 – 98 cl. quaver tremolo eliminated in accordance fl.1 and ob.2 (cf. note above and Special editorial issues above)
ob.1 quaver tremolo eliminated in accordance ob.2 (cf. Special editorial issues above)
95 – 99 trb.3 all notes omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
95 – 100 cnt. solo slurs added in accordance with C
96 ob.2 note 2: slur to b. 97 note 1 added in accordance with addition in B [HS]
96 – 98 fl.1 ob.2 quaver tremolo eliminated b. 96 note 3 and bb. 97 – 98 in accordance with B (lines through the stems are erased in B [HS])
98 fg.1 note 1: stacc. omitted by analogy with fg.2, fl., ob.2 and cl.2
99 cor.1-2 p added by analogy with fg.2
100 cor.1 one slur altered to two slurs in accordance with correction in B [HS]
103 – 104 fl.2 ob.2 slurs added by analogy with fl.1 and ob.1
104 fg. cor.2 slurs added by analogy with vcl. and legato in fl. and ob.
105 fg.2 cor.4 slurs added by analogy with fg.1 and cor.3
106 fg.2 slur added by analogy with fg.1
107 trb.3 note 2: slur to b. 108 note 1 added by analogy with trb.1, 2 timp. vla. vcl. cb. f added by analogy with the rest of the orchestra vcl. notes 1 – 3: slur added by analogy with vla. cb. notes 1 – 3, 4 – 6: slurs added by analogy with vla. and vcl.
108 ob.1 notes 1 – 2: stacc. added by analogy with vl.1 ob.2 notes 2 – 3: stacc. added by analogy with vl.2 cl.2 notes 2 – 3: stacc. added by analogy with fg.1 fg.1 note 4: stacc. added by analogy with cl.2 fg.2 note 2: stacc. added by analogy with cl.2 vla. note 4: stacc. added by analogy with vl.1, 2 vcl. note 2: stacc. added by analogy with vl.1, 2
110 vl.2 note 2: stacc. emended to ten. by analogy with vl.1 vla. note 2: ten. added by analogy with vl.1
112 cnt. solo f added in accordance with C vla. slur added by analogy with vl.1, 2
114 ob. cl. fg.1 cor.1 – 2 slur added by analogy with fl. and cor.3
115 fl.2 ob.1 cl.1 notes 1 – 2: ten., slur and stacc. added in accordance with revision in B cl.1 [HS] fl.1 notes 4 – 6: slur added by analogy with notes 1 – 3, ob.1 and cl.1 ob.2 slurs notes 1 – 3 and 4 – 6 added by analogy with fl.1, ob.1 and cl. vla. notes 1 – 3: slur added by analogy with vl.1, 2
116 cl.1 slur added in accordance with addition in B [HS] and by analogy with fl.1 and ob.1 vl.2 vcl. cb. dim. added by analogy with vl.1 and vla.
117 trb.1 – 2 p added by analogy with cor.1 – 3
117 – 119 – poco rit. – a tempo added in accordance with revision in B fl.1 [HS] (in A, poco rit. is added in pencil, a tempo is missing)
118 fl. ob. cl. p added by analogy with the rest of the orchestra (b. 117) cl.1 B: cresc added in ink [HS] but not in any other part cor.3 slur added by analogy with cor.1
119 cnt. solo note 1: ten. added in accordance with C and by analogy with note 4 and b. 120 note 1 vcl. cb. f added by analogy with vl.1, 2 and vla.
121 cnt. solo notes 1 – 4: ten. added in accordance with C
122 cl.1 slur added by analogy with ob.2 and fg.1 cnt. solo slur added in accordance with C
123 vla. vcl. cb. notes 1 – 7: ten. and stacc. added by analogy with vl.1, 2
124 vl.2 slur added by analogy with ob.1, cl. and trb.1
125 trb.2 slur added by analogy with trb.3
127 vl.2 notes 1 – 3: slur added by analogy with vl.1
127 – 130 cor.3 – 4 all notes bb. 127 – 129 and cor.4 b. 139 omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
129 cl.2 cor.2 f added by analogy with fl. and ob. cnt. solo notes 3 – 4: slur added by analogy with b. 35
130 – 131 cnt. solo slur added by analogy with bb. 131 – 133
131 ob.2 slur ending at note 2 added by analogy with fl. fg. note 2: slur to b. 132 note 1 added by analogy with b. 130 – 131
131, 132 cor.4 A: note 1 placed in ( ) in blue crayon, but not deleted in B
132 fg.2 notes 2 – 3: slur added by analogy with cor.3 cnt. solo note 3: marc. added by analogy with bb. 130, 131 and in accordance with C
132 – 133 fg.1 b. 132 notes 2 – 4 and b. 133: slurs added by analogy with cor.3
vcl. slur b. 132 note 6 to b. 133 note 4 added by analogy with vl.1,2
133 vl.2 last note: marc. added by analogy with vl.1 and ob.1
134 ob. cl. f added by analogy with fl. and fg.
136
– rit. and dim. only indicated in vcl. and cb. in A; however, in B both indications are added in fl.1 and other parts [HS]
ob.2 note 4: tie to b. 137 note 1 added by analogy with fl.
139 ob.1 note 1: tie to b. 140 note 1 added by analogy with fl.2
ob.2 slur to b. 140 note 1 added by analogy with fl.1 ob. cl. mf added by analogy with fl.
140 cl.1 slur added by analogy with vl.1 and cl.2
2. ROMANCE
Bar Part
4
Comment
fg.2 mf added by analogy with fg.1 (b. 3)
vla. f emended from note 4 to note 1 by analogy with vl.1
5 fg.1 f added by analogy with cl. and str. (b. 4)
vl.1 dec added by analogy with vla.
cb. notes 5 – 7: slur added by analogy with vcl.
6 cor.4 p added by analogy with cor.1 – 2, 3 (b. 1)
vl.1 vla. p added by analogy with fl.1, ob.1 and cor.
7 cl.1 p added by analogy with cl.1
9 vcl. notes 1 – 3: slur added by analogy with the other str.
10 cl.2 poco f added by analogy with cl.1 fg.2 f added by analogy with cb. (and vcl.)
vl.2
slurs notes 1 – 3 and 4 – 7 added by analogy with the other str. f added by analogy with vl.1, fl. and cb.
vla. slurs added by analogy with b. 11 cresc f added by analogy with cb. (and vcl.)
vcl. f added by analogy with cb.
cb. notes 1 – 4: slur added by analogy with vcl.
11 cl.1 f added by analogy with cl.2
cl.2 note 1: marc. added by analogy with cl.1
12 cor.4 poco f added by analogy with cor.1 – 2, 3 (b. 9)
13 cb. p added by analogy with fg.2
16 fg. slur to b. 17 note 1 added by analogy with cb. cb. mf added by analogy with the other str.
18 cnt. solo starting point of slur emended from note 2 to note 1 in accordance with C
16 – 24 fl. cl. fg. cor.1 – 2 quaver tremolo eliminated in accordance with B (beams through the stems are erased in B in revised fl.1 – 2 [HS]); (cf. Special editorial issues above)
16 – 24 ob. all notes omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
18 – 19 cor.2 slur added by analogy with cb. and fg.
24 cb. note 3: quaver tremolo eliminated by analogy with bb. 25 – 26 in which tremolo was altered to semibreve notes (there is no indication that tremolo in vcl. and cb. bb. 27 – 29 should be eliminated)
24 – 27 vl.1,2 vla. quaver tremolo emended to unmeasured tremolo in accordance with general indication in A (“trem.”) and B (vl.1,2)
27 fg. str. cresc / cresc. added by analogy with cor. and in accordance with D cor.2 slur added by analogy with cor.1
28 cl.2 slur added by analogy with fl.1 and ob. cnt. solo notes 4 – 5: slur added in accordance with C str. f added by analogy with woodw., cor. and trb.3
29 fl.1 last note: stacc. added in accordance with addition in B [HS] ob.1 last note: stacc. added by analogy with fl.1 trb.1 notes 1 – 2; stacc. added by analogy with fl. and ob.1
30 fl.1 notes 1 – 4: stacc. and slur added by analogy with ob.1 and cl.1 cl.1 B: notes 5 – 6: ten. added [HS] but in no other part
32 – a tempo added in accordance with addition in B fl.1 [HS]
34 cor.1-2 p added by analogy with cor.3 – 4
34 – 35 cl.1 B: all notes: ten. added [HS] but in no other part
36 fg.2 notes 1 – 3: mf, stacc. and slur added by analogy with trb.3 (a part which is omitted in the edition, cf. comment below)
trb.1 slur added by analogy with fg.2
36 – 37 trb.3 b. 36 notes 2 – 4 and b. 37 replaced by fg.2 (notes in b. 36 added in fg.2 in pencil in A)
37 cor.3 mf added by analogy with fg.2 and trb.1 (b. 36)
38 fg.1 notes 2 – 4: portamento added by analogy with b. 36
trb.1 notes 1 – 3: slur added by analogy with fg.1 (and similar figures in b. 36)
trb.3
39
mf added by analogy with trb.1 (b. 36)
– A: rit. added in pencil (probably conductor’s hand); no following a tempo
40 fg.1 note 3: b added by analogy with vcl.
vcl. notes 3 – 5: slur added by analogy with fg.1
42 fl.1 B: cresc added in ink (probably added by HS, but in no other part)
cl.1 note 4: tie and slur (to b. 44 note 1) added in accordance with B (probably added by HS)
cl.2 note 4: slur (to b. 44 note 1) added by analogy with cl.1
cor. mf added by analogy with fl., ob. and cl.
cor.2 notes 1 – 3: slur added by analogy with b. 29 cnt. solo notes 3 – 4: stacc. added by analogy with notes 1 – 2 and in accordance with C vl.2 vla. notes 2 – 4: stacc. added by analogy with vl.1, vcl. and cb.
43 cnt. solo note 1: stacc. added in accordance with C
44 cl.1 notes 1 – 3: portamento added in accordance with addition in B [HS] cl.2 notes 1 – 3: portamento added by analogy with cl.1 fg. notes 1 – 3: slur added by analogy with cl.1
cor.1 mf added by analogy with cor.2 – 4 (b. 27)
cor.1 portamento added by analogy with cl.1
cnt. solo notes 2 – 4: stacc. added in accordance with C and by analogy with b. 30
45 fl.2 notes 2 – 4: slur added by analogy with ob.2 ob.2 notes 2 – 3: tie added by analogy with fl.2
cl.1 notes 1 – 2: slur added in accordance with addition in B [HS] cl.2 notes 1 – 2: slur added by analogy with cl.1
fg. cresc dec added in accordance with addition in B [HS] and by analogy with fl., ob. and cl.
cor.1 note 1: stacc. added by analogy with vla.
cor.2 note 4: tie to note 5 omitted by analogy with cor.4 notes 5 – 6: slur added by analogy with cor.4
46 vcl. notes 2 – 3: slur added by analogy with cb.
47 fl.1 mp dec added in accordance with addition in B [HS] fl.2 cl. fg. cor. dim. added by analogy with cl. vla. notes 1 – 3: slur added by analogy with b. 31 vcl. cb. dec added by analogy with vl.1, 2 and vla.
48 fl. cor. vcl. cb. p added by analogy with ob., cl., fg., vl.1, 2 and vla. cor.3 – 4 notes 1 – 2: slur added bu analogy with cor.2 and vcl. cb. f added by analogy with cor.3 – 4 and trb. cb. notes 2 – 4: stacc. added by analogy with vcl.
48 – 49 cor.1 – 2 notes b. 48 note 2 to b. 49 note 1 omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
49 fl.2 ob. vl.1,2 vla. f added by analogy with fl.1, cl and cor.2 ob. note 2: slur to b. 50 note 1 added by analogy with fl.2 and fg.1 cl. f added in accordance with addition in B [HS] note 1: slur added in accordance with addition in B [HS]
50 – 51 trb.3 all notes omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
51 cor.2 mf emended to p by analogy with cor.1, 3, 4 cor.4 slur added by analogy with fg. fg. str. p added by analogy with cor. and trb.1 vcl. cb. slurs added by analogy with vl.1, 2 and vla.
52 fl. ob. cl. p added by analogy with p in the rest of the orchestra (b. 51) fl.2 ob. fg.1 slur added by analogy with fl.1 and cl. cl. slurs added in accordance with addition in B [HS] cor.1 note 2: ten. added by analogy with cor.1, 3 vl.1 cresc added by analogy with vl.2, vla., vcl. and cb. vl.2 n before b1 added in accordance with B and cor.2 vla. note 2: slur added by analogy with vl.1
53 fg.1 slur added by analogy with fl.1 and cl.1 vla. note 1: emended from f to e in accordance with B (notational error in A)
54 – a tempo added in accordance with B (fl.1, added probably by HS)
55 – 67 tutti the passage repeats bb. 16 – 29
67 trb.1 notes 1 – 2: stacc added by analogy with fl.1 and ob.1
68 fl.1 notes 1 – 4: portamento added in accordance with B (added probably by HS) ob.1 cl.1 notes 1 – 4: portamento added by analogy with fl.1
69 fl.1 notes 2 – 3: stacc. added in accordance with addition in B [HS] ob.1 notes 2 – 3: stacc. added by analogy with fl.1 trb.3 notes 1 – 2: slur added by analogy with trb.1, 2
1
Bar Part Comment
cor.3 – 4 f added by analogy with trb. cnt. solo notes 3 – 5: slur and stacc. added by analogy with b. 60 and in accordance with C vla. notes 1 – 3: stacc. added by analogy with vl.1,2, vcl. and cb.
3 cl.2 vcl. p added by analogy with vl.1,2, vla. and fg. (b. 4)
cnt. solo notes 3 – 5: stacc. added by analogy with b. 1 and in accordance with C
4 cl.1 p added by analogy with fg.
cnt. solo notes 1 – 4: slur added by analogy with b. 61 and in accordance with C
7 ob.2 notes 1 – 2: slur added by analogy with cl.1 (cf. note below) cl.1 notes 1 – 2: slur added in accordance with addition in B [HS] fg. note 3: sfz added by analogy with fl., ob., cl. and cor.3 – 4 cnt. solo notes 1 – 4: stacc. and slur added in accordance with C
7 – 8 cl.1 B: stacc. b. 7 note 3 and b. 8 note 1 (added probably by HS, but not in any other part in B)
8 ob.1 note 1: stacc. omitted by analogy with fl., ob.2, cl. and fg. cor.1-2 f added by analogy with f in the rest of the orchestra (bb. 5 – 6)
cor.3 – 4 note 1: sfz (or fz) omitted by analogy with the rest of the orchestra (sfz seems unmotivated in cor.3 – 4 only in C the first chord in b. 8 has sfz, however)
9 cnt. solo notes 1 – 3: slur added in accordance with C
14 ob.1 ending point of slur emended from note 2 to note 3 by analogy with cl.1 ob.2 notes 1 – 2: slur added by analogy with cl.1 cl.2 notes 1 – 3: slur added by analogy with cl.1 note 3: stacc. added by analogy with cl.1
15 cor.2 f added by analogy with f in the rest of the orchestra (b.14)
17 cnt. solo notes 1 – 3: slur added in accordance with C
18 cor.1 – 2 3 – 4 f added by analogy with fl., ob. and cl.1
19 fl.2 ob. note 3: stacc. added by analogy with fl.1 and b. 21 cl.1 notes 2 – 4: slur added by analogy with vla.
20 – 21 vl.2 slur b. 20 note 3 to b. 22 note 1 omitted by analogy with vl.1 (the slur in vl.1 is erased in A)
21 fl.1 note 1: stacc. added in accordance with addition in B [HS] fl.2 ob. note 1: stacc. added by analogy with fl.1 ob. note 3: stacc. added by analogy with fl.1, 2
22 cl. note 6: tie to b. 23 note 1 added by analogy with fl.
23 – 24 cl.1 slur added by analogy with fl.1 cl.1 B: slur b. 23 notes 2 – 4 and b. 24 notes 1 – 3 added by HS; the edition follows A by analogy with fl.1 and fg.1
24 cl.1 note 3: # before g1 added by analogy with fl.1
25 – 31 fl. cl. fg. cor. str. mp added in accordance with mp added in B (cl.1 – 2) [HS] and by analogy with p in cb. b. 24; D has mf in b. 25 (cf. cresc. in b. 31 leading to f in b. 36)
25 – 30 fl. all notes from b. 25 note 2 to b. 30 last note omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
27 cor.2 note 1: starting point of slur added by analogy with fl.2 and cl. (slur continues in b. 28 after page break in A) vcl. cb. note 2: starting point of slur added by analogy with vla. (slur continues in b. 28 after page break in A)
27 – 29 fg. slurs added by analogy with vcl., cb. and slurs in cl. and cor.2
33 fl.2 slur added by analogy with cl.
34 – 35 cl. slurs b. 34 note 2 to b. 35 note 2 added in accordance with additions in B [HS]
35 vl.2 note 1: b before d2 added by analogy with fl.1 and cl.1
36 ob. cl. note 1: stacc. added by analogy with fl. cl.2 fg.2 note 2: stacc. added by analogy with cl.1 and fg.1 fg.1 note 2: stacc. added by analogy with fl. fg cor.3 – 4 trb. f added by analogy with fl., ob., cl. and cor.1 – 2 cor.4 notes 2 – 3: stacc. added by analogy with cor.1 – 2
36, 37 vla. harmony 1: n added by analogy with vl.1,2
37 cl.1 B: note 1: stacc. (added by HS, but not in any other part) cor.4 mf added by analogy with cl and fg vla. vcl. mf added by analogy with vl.1
37 – 38 fg.2 cor.4 slurs b. 37 note 2 to b. 38 last note added by analogy with fg.1 vcl. slur added by analogy with vl.1 and fg.2
37 – 39 cl.1 slur from b. 37 note 2 to b. 39 note 1 added in accordance with addition in B [HS] cl.2 slur added by analogy with cl.1 (cf. comment above) vla. slur added by analogy with vl.1 and cl.2
37-40 cor.1 – 4 mf added by analogy with mf in ob., cl. and vl.1 (b. 37)
37 – 42 fl.1 all notes b. 37 note 2 to b. 42 last note omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
fl.2
37 – 44
all notes b. 37 note 2 to b. 44 note 2 omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
38 cnt. solo mf added in accordance with C and by analogy with mf in the orchestra
39 ob.1 mf added by analogy with cl. and fg. (b. 37) cl.1 notes 2 – 5: slur added in accordance with addition in B [HS] cor.2 notes 1 – 3: slur added by analogy with fg. vl.2 mf added by analogy with vl.1, vla. and vcl. (b. 37) vcl. notes 1 – 4: slur added by analogy with fg.
40 cb. mf added by analogy with mf in the rest of the orchestra
41 ob. fg. str. poco f written above fl.1 and below cb.; the intention must be that it relates to fl. (omitted cf. comments to bb. 37 – 44), ob., fg. and str. (not implemented in B) cnt. solo note 3: f added in accordance with C (cf. f in cor.3) slur emended from note 4 to note 3 in accordance with C
41 – 45 cnt. solo slurs from b. 41 note 4 to b. 43 note 3 and from b. 43 note 4 to b. 45 note 1 added in accordance with C
43, 44 fl.1, 2 poco f added by analogy with poco f in the rest of the orchestra (cf. comment to b. 41)
44 – 45 cor.3 slur added by analogy with cor.2
45 – B, C: poco rit. (no following a tempo) cor.4 notes 1 – 2: slur added by analogy with cor.2 – 3
46 ob.1 cl.2 mf added by analogy with fl. vla. vcl. cb. mf added by analogy with vl.1,2 (b. 45)
48 fl.2 dim. added by analogy with fl.1 (cf. comment to bb. 48 – 49) cor.3 mf added by analogy with cor.4 (b. 46)
48 – 49 fl.1 dim. and p added in accordance with addition in B [HS]
49 ob. fg.1 last note: stacc. added by analogy with fl.2 fg.2 slur added by analogy with cor.3 – 4 cor.3 – 4 p added by analogy with ob., cl., fg. and str. vl.2 vla. note 4: stacc. added by analogy with vl.1
51 cl. marc. and sf added in accordance with additions in B [HS]
52 fg.1 f added by analogy with fl.1 (and str. b. 49)
52 – 53 fl.1 dec added in accordance with addition in B [HS]; not added in any other wind part
53 fl.2 f added by analogy with fl.1 (b. 51)
fg.2 vcl. f added by analogy with the dynamic level in the rest of the orchestra vl.1 B: note 5: stacc. added [HS] (not in any other part) vl.2 f added by analogy with vl.1
54 vl.1 note 4: stacc. at tied over db2 omitted
55 cl.2 B: slur notes 1 – 3 and stacc. at note 4 (in B, cl.1 by mistake plays this bar; in A, note 4 is tied over to b. 56 and the stacc. is irrelevant, cf. the below comment to vla.) fg.1 slur notes 1 – 4 emended to slur notes 1 – 3 and stacc. at note 4 by analogy with vcl. cnt. solo note 1: marc. added in accordance with C vla. note 4: stacc. at tied over g1 omitted
55 cb. f added by analogy with f in the other strings
56 cl.1 slur added in accordance with addition in B (HS)
56 – 57 fg. slurs added by analogy with cor.1 – 2, vcl. and cb.
57 cl. mp added by analogy with fl. and ob.
58 cl. B: dec added in the middle of the bar [HS], but not in any other part fg. mp and slurs added by analogy with cor.1 – 2
58 – 59 cl. slurs starting at b. 58 note 6 added by analogy with slurs bb. 57 – 58
60 cor.3 – 4 poco f added by analogy with fg. and trb.
62 cnt. solo p added by analogy with fg. and str. and in accordance with C notes 3 – 5: stacc. and slur added by analogy with b. 60 and in accordance with C
63 cnt. solo notes 1 – 3: slur added by analogy with b. 4 (C has b. 63 two slurs: notes 1 – 2 and 3 – 4)
64 cl. fg. f added by analogy with str.
65 cor. f added by analogy with f in str. etc. b. 64
66 cnt. solo notes 1 – 4: stacc. and slur added in accordance with C (cf. b. 7)
66 – 67 fg.2 slur and stacc. b. 67 notes 2 – 4 added by analogy with trb.3
67 fl.1 cl. note 1: stacc. added by analogy with fl.2 and ob.
68 trb.3 note 1: tie to b. 69 note 1 added by analogy with fg.2
68 – 69 fg.1 one slur b. 68 note 1 to b. 70 note 1 emended to two slurs by analogy with vcl. and bb. 70 – 71
69 ob.2 note 2: b before d2 added by analogy with fl.2
70 vl.2 note 1: marc. added by analogy with vl.1 and bb. 68 – 69, 71
72 fg.2 cor.1 – 2 trb.1 – 2 timp. vcl. cb. f added by analogy with fl., ob., cl., vl.1,2 and vla. vcl. note 2: b before d1 added by analogy with fg.2
73 – 74 fg.2 marc. added by analogy with cor.1 – 2, trb.1 – 2, vcl. and cb.
74 vcl. note 2: slur to b. 75 note 1 added by analogy with cb. cb. note 2: marc. added by analogy with vcl.
76 vl.2 vla. cb. p added by analogy with cl. and fg.
78 fg, cor.3 cresc. added by analogy with cl. and vcl. vcl. p added by analogy with vl.1
79 fg.1 vla. mp added by analogy with fl., cl., vl.1,2 and vcl.
79, 80, 81, 83 cor.1 – 2, 4 mp added by analogy with fl., cl., vl.1,2 and vcl. (b. 79)
81 fg.2 mp added by analogy with fl., cl., vl.1,2 and vcl. (b. 79)
86 – 87 cl. slurs added by analogy with vl.2 and vla. cl.1 B: slur added from note 3 to b. 87 note 2 [HS]
87 cor.1 mp added by analogy with fl., ob.
88 cl.1 slur extended from note 2 to b. 89 note 1 in accordance with alteration in B [HS] cl.2 slur extended from note 2 to note 4 by analogy with correction in B cl.1 [HS] (A has slurs notes 1 – 2 and note 4 to b. 89 note 1) cor.3 mp added by analogy with mp in cor.1 – 2 and 4 bb. 80 – 87
89 cl.1 notes 2 – 4: slur added in accordance with addition in B [HS] cl.2 notes 2 – 3: slur added by analogy with cl.1 fg. cor. cb. dim. added by analogy with cl., vla. and vcl. cor.2 slur added by analogy with cor.3
90 fl. ob. cl. fg. cor.1 cb. p added in accordance with “general” p written above fl.1 and below cb. in A (and p in timp. and vcl.) ob. cl. last note: stacc. added by analogy with fl.
91 cor.2 p added by analogy with cor.1 (b. 90)
91 – 93 fg.2 ties added by analogy with cb.
92 vla. p added by analogy with vcl. (b. 90)
93 fg.2 slur note 2 to b. 94 note 1 added by analogy with fg.1 and cor.4 cor.4 p added by analogy with cor.1 (b. 90)
94 fg.2 cor.4 notes 2 – 3: slur added by analogy with cb. and slur bb. 93 – 94 vl.1,2 p added by analogy with p in the rest of the orchestra from b. 90
94 – 95 vla. all notes omitted (placed in [ ] in A and B) (cf. Special editorial issues above)
95 fg.1 slur added by analogy with cor.2, 4 vl.2 vcl. p added by analogy with vl.1
96 – 97 fg.1 slurs added by analogy with previous bars and vla. and vcl.
98 cl.2 p added by analogy with p (b. 90) in the rest of the orchestra
100 cl.1 cor.1 p added by analogy with p (b. 90) in the rest of the orchestra
101 cor.2 p added by analogy with p (b. 90) in the rest of the orchestra
102 ob.2 fg. vl.1,2 vla. vcl. cresc. added in accordance with D and addition in B (cl.1) [HS] ob.2 slur note 1 to b. 103 note 1 added by analogy with vl.1 cor.4 slur added by analogy with cb. p added by analogy with p in cor.1 – 2 bb. 100 – 101
102 – 103 cl. ten. and stacc. added in accordance with additions in B cl.1 [HS]: b. 102 note 2 and b. 103 note 1: ten.; b. 102 note 3: stacc. fg.2 note 3: tie to b. 103 note 1 added by analogy with cb.
103 ob.1 notes 1 – 2: stacc. added by analogy with fl. ob.2 notes 2 – 3: stacc. added by analogy with fl. note 4: misplaced stacc. omitted by analogy with fl. and ob. cl. vl.1,2 vla. trb.1 f added by analogy with trb.2 (b. 102) cl.2 note 2: stacc. added by analogy with fl. and note 3 vla. notes 2 – 6: stacc. added by analogy with vcl. vcl. f added by analogy with fl. and ob.
104 fg. cor. trb.3 cb. f added by analogy with f in b. 103 ob.2 cl.2 notes 1 – 4: stacc. added by analogy with fl. fg.1 notes 2 – 3: stacc. added by analogy with cor.1 – 2 trb.1 notes 3 – 4: stacc. added by analogy with fl. and cl.1 vcl. note 1: misplaced stacc. omitted by analogy with vla., fl.2, ob.1, cl.1 and fg.1 last note: b before a added by analogy with fg.1
105 fg.2 last note: stacc. added by analogy with vcl. and cb. cor.1 slur added by analogy with cor.3 – 4
106 fl.2 note 3: stacc. added by analogy with fl.1
ob.2 notes 1 – 3: stacc. added by analogy with ob.1 cl.1 note 3: stacc. added by analogy with fl.1 and ob.1 cl.2 notes 1 – 3: stacc. added by analogy with fl.1 and ob.1 vla. notes 3 – 5: stacc. added by analogy with fg.1
107 ob.2 notes 1 – 2: stacc. added by analogy with ob.1
cl.1
note 2: stacc. added by analogy with fl.2, ob.2 and vl.1 cor.3 – 4 notes 2 – 4: slur added by analogy with vcl.
108 trb.3 p added by analogy with trb.1 – 2
109 fl.1 stacc. added by analogy with fl.2 ob. stacc. added by analogy with fl.1 and in accordance with D cl.1 stacc. added in accordance with addition in B [HS] cl.2 stacc. added by analogy with cl.1 cor. stacc. added by analogy with fl.2, cl.1 and in accordance with D
110 fl. ob. cl. cor. vl.2 vla. vcl. p added by analogy with vl.1 and in accordance with D ob. cl.1 slurs added by analogy with fl.1
111 ob. slurs added by analogy with fl.1
112 fg. cor.1-2 p added by analogy with p in the rest of the orchestra (b. 110)
112 – 113 cl.1 B: cresc dec added [HS], but not added in any other wind part vla. cresc dec added by analogy with vcl. and in accordance with addition in B [HS]
113 cnt. solo starting point of slur emended from note 2 to note 1 by analogy with bb. 111, 112, 115, 117
115 fg.1 notes 2 – 5: slur added by analogy with cl.2 and b. 117
118 – 119 fg. slurs added by analogy with vcl. and cb.
119 cl. notes 2 – 5: ten. and stacc. added in accordance with addition in B cl.1 [HS] fg.1 note 1: g emended to f by analogy with vla.
120 fg. notes 2 – 3: slurs added by analogy with cb. vla. vcl. cb. mf added by analogy with vl.1,2 vcl. notes 1 – 2: slur added by analogy with cb. and b. 121
121 cl.2 slur added by analogy with cl.1 fg. poco f added by analogy with fl., ob. and cl.
121 – 122 fl.1 slur b. 121 note 2 to b. 122 note 3 added in accordance with addition in B [HS] ob.1 slur b. 121 note 1 to b. 122 note 3 added by analogy with fl.1
121, 122 vl.1 slurs added by analogy with vla. b. 121
122 cl.1 slur added by analogy with vl.2 fg.1 notes 1 – 4: slur added by analogy with vl.2 and vcl.
124 cl. slurs added by analogy with b. 118 vcl. cb. pp added by analogy with vl.2 and vla.
126 – 190 tutti repetition of bb. 1 – 65 (in A marked as repetition ‘dal segno ϕ al ϕ’)
191 cl. cor. trb. timp. vla. vcl. cb. f added by analogy with fg. and vl.1,2 cnt. solo f added in accordance with C note 1: stacc. added in accordance with C (cf. b. 66)
191, 192 vl.1 vl.2 note 2: ab2 emended to a2; the lack of n before a must be a notational error due to the tonality, the unmotivated clash with the cornet’s g and because the notes 2 – 4 of b. 191 and b. 192 must be an imitation of notes 2 – 4 in the cornet part transposed up a semitone
193 ob.2 notes 2 – 3: slur added by analogy with fl.2
196 cor.2 slur added by analogy with cor.1, 3
196 – 198 cl.2 marc. added by analogy with fg.
198 fl.2 last note tied to b. 134 note 1 added by analogy with vl.1,2
202 cor.3 notes 2 – 3: slur added by analogy with cor.1 – 2
207 vcl. note 5: stacc. emended to ten. by analogy with cb.
