NO14215A by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Festpolonese, op. 12 JSV 56

Festival Polonaise, Op. 12

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-V7A

N.M.O. 14215A

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle English translation and language consultant: Thilo Reinhard Norwegian language consultant: Gunnhild Wiggen Sponsored by: Kulturrådet (Arts Council of Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14215A /ISMN 979-0-065-14787-1) For sale Parts (N.M.O. 14215B /ISMN 979-0-065-14788-8) For sale © 2019 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimiles Scoring I V XI XXVII

FEST-POLONAISE FÜR ORCHESTER Abbreviations Critical report

FEST-POLONAISE FÜR ORCHESTER Forkortelser Kritisk rapport

42 43

I V XI XXVII

42 43

GENERAL PREFACE

ohan Svendsen (1840–1911) was a leading figure in late nineteenth-century Scandinavian music, celebrated as both a composer and a conductor. His works occupy a central position in the musical history of Norway and Scandinavia in general, yet his printed music has become notoriously difficult to obtain. Older editions are often inadequate, and many are out of print or abandoned by defunct publishing houses. More than half of his works never appeared in print and only survive in manuscript. A new complete edition of Johan Svendsen’s music has therefore been long anticipated, and the present edition, part of the Johan Svendsen’s Works project, wishes to meet this demand. Johan Svendsen’s Works is a subproject under the umbrella of the Norwegian Musical Heritage project and represents a collaboration between the University of Oslo, the Norwegian Academy of Music and the National Library of Norway. The project was launched in 2011, one hundred years after the composer’s death. In preparing these editions, many new sources of Svendsen’s music were uncovered. Manuscripts of entirely unknown works have surfaced among the archives, and new biographical knowledge has come to light as well. The result is a richer picture of Svendsen himself, as well as the musical life of his time. This new edition of Svendsen’s collected works not only provides performance material that greatly improves the basis for new interpretations of well-known works, but also offers the opportunity to become familiar with pieces that have not been played since the composer’s lifetime. Alongside Svendsen’s output of chamber music, symphonies, symphonic poems and concertos—in itself an impressive corpus in the great nineteenth-century European tradition—we find other, lesser-known works, including the unpublished dances and orchestra marches written for the mid-century concertgoers of Christiania (Oslo), the celebratory cantatas and marches commissioned for public events in both Norway and Denmark, and Svendsen’s masterful orchestrations of iconic pieces from the international Romantic repertoire

GENERELT FORORD

ohan Svendsen (1840–1911) er en av våre viktigste 1800-tallskomponister. Han inntar en sentral plass i norsk og nordisk musikkhistorie, ikke minst på orkestermusikkens område. Likevel har notematerialet vært vanskelig tilgjengelig. Eldre noteutgaver er ofte mangelfulle, mange er utgått fra forlaget, eller forlaget er nedlagt. Mange verker er aldri utgitt og foreligger bare i manuskript. En ny, samlet utgave av Johan Svendsens musikk har derfor vært etterspurt i lang tid. Den foreliggende noteutgaven, som springer ut fra prosjektet Johan Svendsens Verker, skal imøtekomme dette ønsket. Johan Svendsens Verker er et delprosjekt under Norsk musikkarv og er gjennomført i et samarbeid mellom Institutt for musikkvitenskap ved Universitetet i Oslo, Norges musikkhøgskole og Nasjonalbiblioteket. Prosjektet ble etablert i 2011, hundre år etter komponistens død. Arbeidet med utgaven har avdekket mange nye kilder til Svendsens musikk. I arkivene har det dukket opp manuskripter til verker vi trodde var tapt, og verker vi ikke visste eksisterte. Mange nye biografiske dokumenter har også kommet for en dag. Resultatet er et mye rikere bilde av Svendsens liv og verk, og også et rikere bilde av musikklivet på Svendsens tid. Den nye utgaven av Johan Svendsens samlede verker gir ikke bare nye fremføringsmuligheter for verker vi kjenner, men også sjansen til å bli kjent med musikk som aldri ble utgitt, og som ikke har vært spilt på mer enn hundre år. Det gjelder for eksempel mange av Svendsens ungdomsverker, danser og marsjer for orkester, skrevet for underholdnings livet i Christiania på 1850- og 1860-tallet. Det gjelder også kantater og marsjer komponert for offisielle begivenheter i både Norge og Danmark, og det gjelder Svendsens mesterlige orkestreringer av verker fra den romantiske tradisjonen.

JOHAN SVENDSEN’S WORKS JOHAN SVENDSENS VERKER Johan Svendsen’s Works is a comprehensive edition optimized for performance and study. It is available online as well as in print, designed to meet the needs of anyone interested in any aspect of Svendsen’s music. JSW features new editions of all known works by Svend-

Johan Svendsens Verker er en utgave som er tilrettelagt både for fremføring og studier. Den formidles både på internett og i trykte utgaver, og den skal være en ressurs for alle med interesse for Johan Svendsens musikk. Johan Svendsens Verker omfatter nye utgaver av alle

sen. Early versions of some of the works are also available in edited scores. Incomplete and fragmentary works, sketches and variant passages of a certain length are presented as facsimiles and/or transcriptions. Piano scores of works for soloist and orchestra are provided for use in rehearsal. Additionally, Johan Svendsen’s Works includes a critical catalogue of the composer’s oeuvre with detailed descriptions of all the sources and a unique JSW number assigned to each work. The sources themselves are reproduced in their entirety and available as online facsimiles. Each edition offers a preface describing the genesis and reception history of the work in question, as well as its position in the context of Svendsen’s total output.

Svendsens kjente verker. Også tidlige versjoner av enkelte verker er inkludert. Ufullstendige og fragmentariske verker, lengre variantpartier og skisser gjengis i faksimile og/eller transkripsjon. Klaveruttog til verker for solist og orkester blir gjort tilgjengelige til bruk i innstudering. Johan Svendsens Verker omfatter også en vitenskapelig verkfortegnelse som beskriver kildesituasjonen i detalj. Her har alle verker fått et unikt JSV-nummer. Alle relevante kilder er gjengitt i faksimile på internettsidene. Alle de nye utgavene er utstyrt med et forord som beskriver komposisjonens tilblivelses- og resepsjonshistorie samt dens plass i Johan Svendsens samlede produksjon.

GENERAL EDITORIAL PRINCIPLES Johan Svendsen’s Works is based on a critical examination of all the available sources: music manuscripts, early printed editions and other sources relevant to a comprehensive understanding of each individual work and its musical notation, such as letters and diary entries. Throughout JSW, one of our key editorial principles has been to realize the composer’s last documented intentions while at the same time demonstrating the diversity of the source material. Each edition is therefore accompanied by a description of all the available the sources, including a review of the relationship between them. A comprehensive analysis of Svendsen’s style of musical notation has also informed the editing process. Articulation and dynamics, playing instructions and performance markings have been standardized across analogous passages except where the composer seemed to intend those passages to differ. For each work, a single primary source was chosen, i.e. the source believed to be closest to the composer’s final intentions. This source formed the starting point for the editing process. For works published during the composer’s lifetime, the primary source is generally the printed edition, but since Svendsen may not always have read the publisher’s proofs all that carefully, the autograph manuscripts often contain variants of particular interest. Deviations from the primary source as well as variants found in other sources are documented and discussed measure by measure at the end of the edition. As a rule, the editors do not discuss primary source elements missing in other sources (so-called negative variants). Editorial additions or revisions are not marked as such in the score.

GENERELLE EDISJONSPRINSIPPER Johan Svendsens Verker er basert på kritiske edisjonsprinsipper. Det betyr at den bygger på et vitenskapelig studium av alle tilgjengelige kilder, både notemanuskripter og tidligere trykte utgaver samt andre kilder av betydning for forståelsen av verket og for edisjonen av notebildet, for eksempel brev og dagbokopptegnelser. Det er et viktig prinsipp å få frem de seneste dokumenterte intensjonene til komponisten. Samtidig skal også mangfoldet i kildesituasjonen formidles. Utgavene er utstyrt med en kildebeskrivelse hvor også forholdet mellom kildene blir grundig evaluert og vurdert. Utgavene av hvert enkelt verk bygger også på en samlet analyse av Johan Svendsens notasjonsstil. Artikulasjon, dynamikk, buer, spilletekniske anvisninger og foredragsbetegnelser har i mange tilfeller blitt tilpasset slik at det er samsvar mellom analoge partier. Der det foreligger en sterk nok mulighet for at komponisten bevisst har gitt analoge partier ulik utforming, er tilpasning likevel unngått. For hvert verk er det valgt en hovedkilde som er lagt til grunn for den nye utgaven. For utgitte verker er dette normalt en trykt utgave. Imidlertid leste Svendsen trolig ikke alltid grundig korrektur på de trykte utgavene. De egenhendige manuskriptene er derfor også blitt tillagt stor vekt. Alle avvik fra hovedkilden i den nye utgaven dokumenteres og begrunnes takt for takt i en kommentarliste, der det også redegjøres for alle varianter i de andre kildene. Med vesentlige varianter menes varianter som vil kunne ha innflytelse på fremføringsmåten. Negative varianter («mangler») i andre kilder er som hovedregel ikke kommentert. Selve notebildet gjengis uten typografisk markering av redaksjonelle tilføyelser eller endringer.

The following general editorial choices are not included in the critical comments for each individual work: • Typography, score layout, and instrument names have largely been standardized in keeping with modern practice. • Where two notes share a stem, slurs, articulation markings and dynamics apply to both parts. • The notation of slurs and ties in combination has been modernized. • Markings such as ‘I.’, ‘II.’, and ‘a 2’ are sometimes editorial, but always comply with the general distribution of parts in the primary source, unless otherwise indicated in the critical comments. • Clefs and rehearsal letters are generally reproduced as they appear in the primary source. Where rehearsal letters are missing in the primary source, they have been added in the new edition. • Svendsen’s cautionary accidentals have been preserved. In a few cases, such accidentals have been added for the sake of convenience (specified in the critical comments). • Svendsen nearly always marked grace notes with a slash through the note stem and a slur to the main note. In cases where such slurs and slashes are lacking in the primary source, they have been added in the new edition. • Svendsen frequently used slanted strokes to indicate the repetition of measures or musical patterns. Such passages have been notated in full in the new edition. • Measured tremolos consisting of no more than two or three notes have been written out in full, and those consisting of more than three notes have also been written out in short passages of one to three measures. In longer passages, measured tremolos of more than three notes have usually been retained. • In longer triplet passages, the composer typically notated the triplet number above the first group of triplets only. Svendsen editions published by E.W. Fritzsch generally indicated numerals above the first two groups of triplets. The new edition includes numerals above all the triplet groups in the first measure of a given passage. • Dotted lines indicating the continuation of a crescendo or diminuendo in the primary source have been retained. Moreover, such lines have occasionally been added by analogy, especially in passages lasting several measures, as long as the end point of the dynamic change has also been marked in the source. • Svendsen employed several spellings of terms such as div., cresc. and rit. The spelling of these and similar terms has been standardized in the new edition.

Følgende generelle valg er ikke omtalt i de kritiske kommentarene til det enkelte verket: • Typografi, partituroppsett og instrumentnavn er til en viss grad normalisert i samsvar med moderne praksis. • Når to stemmer deler notehals, gjelder fraseringsbuer, artikulasjonstegn og dynamikk begge stemmer. • Notasjonen av kombinasjoner mellom legatobuer og bindebuer er modernisert. • Markeringer som «I.», «II.», «a 2» kan være redaksjonelle, men er i overensstemmelse med hovedkildens stemmefordeling så sant ikke annet er anmerket i den kritiske kommentaren. • Nøkler og orienteringsbokstaver er gjengitt som i hovedkilden. Når orienteringsbokstaver ikke finnes i hovedkilden, har vi lagt til slike. • Svendsens påminnelsesfortegn er beholdt, men i noen få tilfeller har vi funnet det hensiktsmessig å legge til slike fortegn. Dette er det i så fall redegjort for. • Svendsen knyttet så godt som alltid forslagsnoter til hovednoten(e) med en bue og gav dem en gjennomgående strek gjennom halsen. Når slike buer eller streker likevel mangler i hovedkilden, er de føyd til i de nye utgavene. • Svendsen brukte ganske ofte streksymboler ved gjentakelse av takter eller notefigurer. I de nye utgavene er slike partier skrevet fullt ut i noteskrift. • Abbreviaturer ved tonegjentakelse som bare representerer to eller tre noter, er skrevet ut i de nye utgavene. Abbreviaturer som representerer flere enn tre noter, er også skrevet ut i kortere passasjer, normalt 1–3 takter. I lengre passasjer er slike abbreviaturer beholdt. • I lengre passasjer med trioler skrev Svendsen gjerne siffer bare over den første triolen. Svendsen-utgavene fra forlaget E.W. Fritzsch har derimot som oftest siffer over de to første triolene. De nye utgavene har siffer over alle triolene i hele første takt i slike passasjer. • Stiplede linjer i crescendo- og/eller diminuendoforløp som finnes i hovedkilden, er beholdt. Slike linjer er også noen ganger føyd til ut fra analogiargument, særlig i forløp over flere takter. Dette gjelder så lenge sluttpunktet for den dynamiske endringen likevel er angitt med et dynamisk tegn. • Svendsen brukte flere skrivemåter i termer som div., cresc., og rit. Han noterte for eksempel crescendo ofte slik: cresc (uten punktum). I tidlige manuskripter skrev han cres. I de nye utgavene er skrivemåten normalisert for disse og andre standarduttrykk.

III

The editon is organized as follows: SERIES I: Orchestral Works 1. Symphony no. 1 in D major, Op. 4 2. Symphony no. 2 in B-flat major, Op. 15 3. Norwegian Rhapsodies 4. Orchestral Works I 5. Orchestral Works II 6. Orchestral Works III 7. Early Dances and Marches I 8. Early Dances and Marches II 9. Arrangements for Orchestra I 10. Arrangements for Orchestra II 11. Arrangements for Orchestra III

Utgaven er disponert på følgende måte: SERIE I: Orkesterverker 1. Symfoni nr. 1 i D-dur, op. 4 2. Symfoni nr. 2 i B-dur, op. 15 3. Norske rapsodier 4. Orkesterverker I 5. Orkesterverker II 6. Orkesterverker III 7. Tidlige danser og marsjer I 8. Tidlige danser og marsjer II 9. Arrangementer for orkester I 10. Arrangementer for orkester II 11. Arrangementer for orkester III

SERIES II: Works for Soloist and Orchestra 1. Works for Violin and Orchestra 2. Cello Concerto in D major, Op. 7

SERIES III: Works for String Orchestra

SERIE II: Verker for soloinstrument og orkester

SERIES IV: Chamber Music

1. Verker for fiolin og orkester 2. Cellokonsert i D-dur, op. 7

SERIE III: Verker for strykeorkester

1. String Quartet, String Octet and String Quintet 2. Miscellaneous Chamber Works 3. Arrangements for String Quartet I 4. Arrangements for String Quartet II

SERIE IV: Kammermusikk

SERIES V: Piano Works

1. Strykekvartett, strykeoktett og strykekvintett 2. Annen kammermusikk 3. Arrangementer for strykekvartett I 4. Arrangementer for strykekvartett II

1. Cantatas and Choral Works 2. Songs

SERIE V: Klaververker

SERIES VII: Ballet

SERIES VI: Vocal Works

Spring Is Coming, Op. 33

SERIE VI: Vokalverker

SERIES VIII: Sketches and Varia

1. Kantater og korverker 2. Sanger

SERIE VII: Ballett Foraaret kommer, op. 33

SERIE VIII: Skisser og varia

PREFACE

ohan Svendsen’s (1840–1911) Festival Polonaise, Op. 12, was written for a citizens’ ball at the Old Masonic Lodge in Christiania7 (Oslo). The coronation of King Oscar II (1829–1907) and Queen Sophie (1836–1913) had been held in Trondheim on 18 July of the same year, and a citizens’ ball was arranged in honour of the royal couple on 6 August 1873. Svendsen had composed a Coronation March (Op. 13) for the festivities in Trondheim, performed by four different wind orchestras simultaneously as the procession made its way down Munkegata toward Nidaros Cathedral. The newly written polonaise opened the ball. In its comprehensive and flowery coverage of the event, the Norwegian daily Aftenposten of 7 August began by describing the décor of the venue in minute detail, followed by a listing of the various dance partners in the polonaise:

FORORD

ohan Svendsen (1840–1911) skrev sin Festpolonese, op. 12 til et borgerball i Logen i Christiania1 (Oslo), 6. august 1873. Kong Oscar II (1829–1907) og dronning Sophie (1836–1913) hadde blitt kronet i Trondheim 18. juli samme år, og borgerballet ble avholdt til ære for det nye kongeparet. Til kroningen i Trondheim hadde Svendsen skrevet sin Kroningsmarsj, op. 13, som ble fremført samtidig av fire ulike blåseorkester mens kroningsprosesjonen forflyttet seg oppover Munkegata mot Nidarosdomen. Den nyskrevne polonesen åpnet borgerballet. Aftenpostens omfattende og blomstrende reportasje 7. august beskrev først utsmykningen av festlokalet i minste detalj og fortalte deretter hvem som gikk polonese med hvem:

The ball that was given yesterday by the citizens of Kristiania for Their Royal Majesties at the Old Masonic Lodge must in all respects be described as lustrous. […] The ball opened with a polonaise composed for the occasion by Joh. Svendsen, in which Her Majesty the Queen initially let herself be led by Mayor Jensen, while His Majesty initially led the wife of Councillor Schweigaard. At the same time, the Crown Prince of Prussia led Chief Court Mistress Due and later the wife of Consul General Redlich. Later in the Polonaise, the King led First Lady Stang, the wives of Councillors Schjelderup and Petersen, as well as several of the festival committee’s wives, just as the Queen later was led by the city’s Mayor, Supreme Court Justice Løvenskiold, and members of the festival committee, including Cavalry Master Heftye, Carpenter Konrad, Scene Painter Krogh, Mayor Jensen, Barrister Nicolaisen, Architect Nordan, Cavalry Master Radich, Barrister Schweigaard and Lieutenant Colonel Thrane.

Det Bal, som Kristiania Byes Borgere igaar gav for D.D. Majestæter i Frimurerlogen, maa i enhver Henseende betegnes som lysende. [...] Ballet aabnedes med den for festen af Joh. Svendsen komponerede Polonaise, i hvilken Hds. Maj. Dronningen lod sig først føre af Borgermester Jensen, medens Hs. Majestæt først førte Advokat Schweigaards Frue. Kronprinsen af Preussen førte samtidig Overhofmesterinde Due og senere Generalkonsulinde Redlich. Kongen førte senere i Polonaisen Statsministerinde Stang, Konsulinderne, Schjelderup og Petersen samt flere af festkomitens Medlemmers Fruer, ligesom Dronningen efterhaanden lod sig føre af Byens Ordfører, Høyesteretsassessor Løvenskiold og Festkomiteens Medlemmer, der var Ritmester Heftye, Snedker Konrad, Theatermaler Krogh, Borgermester Jensen, Høiesteretsadvokat Nicolaisen, Arkitekt Nordan, Ritmester Radich, Høiesteretsadvokat Schweigaard og Oberstløitnat Thrane.

Another major daily, Morgenbladet, described how the king ‘led the polonaise …, for which Johan Svendsen had composed some stately music.’8 The first concert performance took place at Akershus Fortress on 3 October 1874. Two days later, Aftenposten wrote:

Morgenbladet skildret hvordan kongen «førte an under den derefter begyndte polonaise, hvortil Johan Svendsen havde komponeret en pompøs musik».2 Sin første konsertfremføring fikk verket 3. oktober 1874 på Akershus festning. Aftenposten skrev dette 5. oktober:

The composition is magnificent, based on powerful as well as elegant motives with an orchestration that shows a masterful knowledge of the timbral nuances of the different instruments throughout.

Komposisjonen er storartet, bygget paa kraftige og tillige gratiøse Motiver med en Instrumentation, der gjennemgaaende viser et mesterligt Kjendskab til Nuanserne i de forskjellige Instrumenters Klangvirkninger.

Another daily, Dagbladet, published a review on the same day as Aftenposten, but misunderstood where the first performance had taken place: The main part of the programme consisted of compositions by the concert holder, all of which were received with the warmest applause, and among which the stately and masterly worked out Festival Polonaise, written for a citizens’ ball in Trondheim in 1873, made a particularly fetching impression.

Dagbladet, som hadde en omtale på trykk samme dag som Aftenposten, hadde misforstått hvor førstefremføringen fant sted: Programmets Hovedindhold bestod i Kompostioner af Koncertgiveren, der alle modtoges med det varmeste Bifald, og hvoraf navnlig den til Borgerballet i Trondhjem i 1873 skrevne pompøse og mesterligt gjennomarbeidede Festpolonæse tog sig fortræffeligt ud.

At this point, Svendsen had begun his collaboration with publisher Carl Warmuth (1844–1895), who in 1873 published arrangements of the Festival Polonaise and the Coronation March for piano two and four hands. But another thirteen years were to pass before the score and the orchestral parts to the polonaise would be released. In connection with the printing and publishing of Svendsen’s works, few letters between the composer and his various publishers are preserved. In the case of the Festival Polonaise, however, there are no fewer than three letters by Svendsen in which he mentions the issue of publication. On 16 March 1886, the composer sent detailed instructions to Warmuth:

Svendsen hadde på denne tiden begynt samarbeidet med forleggeren Carl Warmuth (1844–1895). Warmuth gav ut klaverarrangementer for to og fire hender av festpolonesen og kroningsmarsjen i 1873, men det skulle gå tretten år før partituret og orkesterstemmene til polonesen kom ut. Det finnes svært få bevarte brev mellom Svendsen og forleggerne hans der trykkingen og utgivelsen av komponistens verker er omtalt. Men når det gjelder festpolonesen, har vi hele tre brev der Svendsen nevner arbeidet med utgaven. 16. mars 1886 sendte Svendsen sine detaljerte instrukser til Warmuth:

Tomorrow, I will send you the score and parts to the polonaise. Since the original score should not be sent to the printer, you will have to have a new copy made and I kindly ask you to remember the following: a. No abbreviations! Everything must be written out! Things like ‘Colla Violin’, ‘./.’ should not be used; b. Trombone 1mo is written on its own system. Tromboni 2 & 3 together on one [system], and finally the tuba by itself. c. Triangle, cymbals, side drum and bass drum must be placed between tuba and timpani, not as in the original score below. (N.B. All instrument names should be in Italian) This will give us a proper score that ought to form the basis for revising the parts. It would be excellent if dear Hennum were to agree to take on this work. You know how highly I value his skill and conscience in these matters. I do accept the suggested fee, but in addition I would like to ask the following: two of Grieg’s and two of my busts, and a bound copy of the annual volume of Nordisk Musiktidende that includes my biography, as well as the volume for 1885.

I morgen afgaar Partitur og Stemmer til Polonaisen. Da Originalpartituret ikke maa sendes til Trykkeren bliver Du nödt til at lade et nyt udskrive og beder jeg Dig velvilligt at mærke Dig fölgende: a. Ingen Forkortelser! Alt maa udskrives! Sager som «Colla Violin», «./.» de bruges ikke; b. Trombone 1mo skrives paa et System for sig selv. Tromboni 2 & 3 paa et sammen, og endelig Tuba paa et for sig selv. c. Triangel, Bekken, Smaatromme og Stortromme maa sættes mellem Tuba og Timpani, ikke som i Originalpartituret nedenunder. (N.B. Alle Instrumenter bör betegnes paa Italiensk) Paa denne Maade faar vi et ordentlig Partitur hvorefter Stemmene bör revideres. Det vilde være prægtigt om Vennen Hennum vilde paatage sig dette Arbeide. Du ved hvor höjt jeg sætter hans Dygtighed og Samvittighetsfuldhed i disse Sager. Det tilbudte Honorar accepterer jeg, dog önsker jeg som Tillæg dertil: to af Griegs og to af mine Buster, og et indbundet Exemplar af den Aargang af Nordisk Musiktidende hvori min Biographi og ligeledes Aargangen 1885.

LETTER FROM JOHAN SVENDSEN TO CARL WARMUTH, COPENHAGEN, 16 MARCH 1886. NATIONAL LIBRARY OF NORWAY.

BREV FRA JOHAN SVENDSEN TIL CARL WARMUTH, KØBENHAVN, 16. MARS 1886. NASJONALBIBLIOTEKET.

One week later, Svendsen submitted yet another request: Regarding the Polonaise, I would like the score in tall format – like the March by Selmer – and would you be so kind as to provide a couple of ‘fine’ copies for me! – LETTER FROM JOHAN SVENDSEN TO CARL WARMUTH, COPENHAGEN, 25

En uke senere kom Svendsen med et tilleggsønske:

MARCH 1886. NATIONAL LIBRARY OF NORWAY.

Angaaende Polonaisen önsker jeg Partituret i höit Format – i Lighed med Selmers Marsch – og er Du nok saa venlig at besörge et Par «fine» Exemplar til mig! –

In May, Svendsen impatiently asks about the proofs:

BREV FRA JOHAN SVENDSEN TIL CARL WARMUTH, KØBENHAVN, 25.

How is the Polonaise doing? Will I soon get to see the proofs?

MARS 1886. NASJONALBIBLIOTEKET.

LETTER FROM JOHAN SVENDSEN TO CARL WARMUTH, COPENHAGEN, 13 MAY 1886. NATIONAL LIBRARY OF NORWAY.

I mai er han utålmodig etter å få korrektur: These proofs, both for the score and the parts, have been preserved. Since the score published by Warmuth is based on Johan Hennum’s (1836–1894) copy of the autograph, just as Svendsen had requested, there are certain discrepancies between Svendsen’s own score, which is also extant, and the printed edition. Our work with the new critical edition raised many interesting issues that are discussed in Evaluation of the Sources, page 45. Although Svendsen did not include the Festival Polonaise in the important concerts he conducted in Helsinki, Copenhagen and Stockholm in the first half of the 1880s, he often performed the work after it had come out in print. It was included, for example, when he returned to Christiania in the summer of 1893 after a long absence. On that occasion, he conducted three concerts in the Circus Building at Christiania Tivoli. The polonaise concluded the third of these concerts on 27 July. On 16 November 1907, Svendsen celebrated his 25-year association with Denmark and Copenhagen at an anniversary concert with the Royal Danish Orchestra at Koncertpalæet (Concert Palace). The Festival Polonaise opened the programme, and critic Charles Kjærulf wrote:

Hvordan gaar det med Polonaisen. Faar jeg snart Korrektur at læse? BREV FRA JOHAN SVENDSEN TIL CARL WARMUTH, KØBENHAVN, 13. MAI 1886. NASJONALBIBLIOTEKET.

Denne korrekturen er bevart, både til partitur og stemmer. Siden partituret Warmuth gav ut, er basert på den kopien Johan Hennum (1836–1894) skrev, slik Svendsen ønsket, har det blitt en viss avstand mellom Svendsens eget partitur, som også er bevart, og den trykte utgaven. De mange interessante problemstillingene i arbeidet vårt med den nye kritiske utgaven er omtalt i «Evaluation of the sources», side 45. Verket var ikke med på de viktige opptredenene Svendsen hadde i Helsinki, København og Stockholm i første del av 1880-tallet, men han dirigerte det likevel ofte i perioden etter at det ble trykt. Det var for eksempel med da han returnerte til Christiania for første gang på lenge, sommeren 1893. Da dirigerte han tre konserter i Circusbygningen i Christiania Tivoli. Polonesen avsluttet den tredje av disse, 27. juli. 16. november 1907 feiret Svendsen sitt 25 år lange forhold til Danmark og København ved en jubileumskonsert med Det Kongelige Kapel i Koncertpalæet. Festpolonesen åpnet programmet, og kritikeren Charles Kjærulf skrev følgende: Saa tog Orkesteret fat med Johan Svendsens egen Fest-Polonaise, der bærer det misbrugte «Fest»-Navn, virkelig straaler af Festivitas og Livsglæde. Et smukkere Bidrag til sin egen Fest kunde Johan Svendsen ikke give end denne straalende Tonehyldest, fuld af Ungdom og Friskhed.

Then the orchestra commenced with Johan Svendsen’s own ‘Party Polonaise’,9 which carries the misused ‘party’ moniker, but in fact radiates a festive spirit and joy of life. Johan Svendsen could not have made a more handsome contribution to his own celebration than this radiant musical tribute, full of youth and vitality. POLITIKEN, 17 NOVEMBER 1907.

The critics noted the jubilant atmosphere in the hall:

POLITIKEN, 17. NOVEMBER 1907.

When Johan Svendsen entered, the entire audience – and the orchestra – rose and gave several minutes of ovations, and when little by little the applause had subsided, the honouree himself erected a portal of honour to himself with

Kritkerne formidlet jubelstemningen i salen: Da Johan Svendsen traadte ind, reiste det ganske Publikum– og Orkesteret – sig og bragte ham minutlange Ovationer, og da Bifaldet langt om længe tiede, byggede Jubilanten selv en Æresport over sig med Tonerne af sin

VII

the sounds of his bright, as it were flower-adorned ‘Festival Polonaise’, which was welcomed by further ovations. NATIONALTIDENDE, 17 NOVEMBER 1907.

As he turned, and the orchestra began to play his Festival Polonaise, one’s senses were irresistibly filled with elation, it was as if Johan Svendsen’s entire life and work here [in Denmark], the entire achievement of his manhood years was symbolized in these exhilarating sounds, this proud hymn to the victory march of youth toward its ideals.

friske, ligesom blomstersmykkede «Festpolonaise», som hilstes med nye Ovationer. NATIONALTIDENDE, 17. NOVEMBER 1907.

Da han vendte sig om, og Orkesteret intonerede hans Festpolonaise, grebs Sindene uimodstaaeligt af en Jubelstemning, det var som om Johan Svendsens hele Virksomhed hos os, hele hans Manddomsværk symboliseredes i disse begejstrede Toner, denne stolte Hymne til Ungdommes Sejerstog mod Idealerne.

BERLINGSKE TIDENDE, 17 NOVEMBER 1907.

One of the critics noted that the polonaise was performed in an abbreviated version. The work takes approximately 11 minutes to play in its entirety, and is occasionally performed with a cut today.10

BERLINGSKE TIDENDE 17. NOVEMBER 1907.

The programme opened with a sparkling performance of the famous Festival Polonaise, which made a brilliant impression in somewhat abbreviated guise. Just as the Funeral March for Nordraak is typical of Grieg’s compositional physiognomy and kept in minor, the Festival Polonaise is the embodiment of Johan Svendsen, whose gay and joyful creativity is as if personified by the key itself: D major. [sic]

En av kritikerne nevnte at polonesen ble fremført i forkortet utgave. Polonesen er ca. 11 minutter lang i sin helhet, og i våre dager hender det den blir fremført med et sprang.3 Programmet indlededes med en brusende Udførelse af den berømte Festpolonaise, der virkede briliant i en noget forkortet Skikkelse. Som Sørgemarschen over Nordraak er typisk for Griegs Komponistfysiognomi, der er stemt i Moll, saaledes er Festpolonaisen den legemliggjorte Johan Svendsen, hvis kaade og livsglade Skaberkunst er som personificeret i selve dens Toneart: D-dur. [sic]

REVIEW FROM A DANISH NEWSPAPER, CLIPPING IN SVENDSEN’S SCRAPBOOK, SVENDSEN COLLECTION, THE DANISH MUSIC MUSEUM.

One week later, the work was once again scheduled for performance when Svendsen conducted the orchestra of the National Theatre in Christiania on 23 and 24 November 1907. Since the orchestra had been well prepared by Johan Halvorsen, Svendsen only had to hold a single rehearsal.11 These would turn out to be the last concerts Svendsen conducted in Norway. The Festival Polonaise also marked the opening of Svendsen’s ‘farewell performance’ at the Royal Danish Theatre on 31 May 1908. Both the king and queen were present, and the gross proceeds of the performance went to Svendsen. The Copenhagen newspapers described the intense and cordial tribute from both audience and orchestra. Among others, the Norwegian Student Choral Society attended the concert and contributed with hearty shouts of hooray. On 1 June, the Danish newspaper København wrote:

KRITIKK I DANSK AVIS, UTKLIPP I SVENDSENS SCRAPBOOK, SVENDSENSAMLINGEN, MUSIKMUSEET.

En uke senere stod verket igjen på programmet da Svendsen dirigerte Nationaltheaterets orkester i Christiania 23. og 24. november 1907. Johan Halvorsen hadde forberedt orkesteret godt, så Svendsen holdt bare én prøve.4 Det skulle vise seg at dette ble de siste konsertene Svendsen dirigerte i Norge. Også ved hans «Afskedsforestilling» på Det Kongelige Teater 31. mai 1908 var festpolonasien åpningsverk. Både kongen og dronningen var til stede, og inntektene av forestillingen gikk i sin helhet til Svendsen selv. Københavnavisene fortalte om en intens og hjertelig hyllest fra publikum og orkester. Den norske Studentersangforening var også med blant publikum og bidro med kraftige hurrarop. København skrev 1. juni:

Then Joh. Svendsen gave the downbeat, and the orchestra played his magnificent Festival Polonaise with liveliness and interest, a piece that abounds with wholesome youthfulness, joy of life, celebration – by the true Johan Svendsen. And once again he was met with thunderous applause, […]

Saa slog Joh. Svendsen til Lyd, og Orkesteret spillede med Liv og Interesse hans prægtige Festpolonaise, et Stykke, der bugne af kraftig Ungdom, af Livslyst, af Fest – af den r i g t i g e Johan Svendsen. Og atter brusede Bifaldet ham i Møde, [...]

VIII

On Svendsen’s 70th birthday in 1910, some 70 wind players assembled at nine a.m. in front of the composer’s home at Classensvej 4 in Copenhagen to perform the Festival Polonaise and the Norwegian national anthem in his honour: The old music director’s pale face can be spied behind the pane – but before the window is raised, a plethora of jubilant sounds issues forth: Svendsen’s own, brilliant ‘Festival Polonaise’. This radiant musical memory of youth, life and manhood seems to be making a strong impression on the him. When the final three ‘S’s of the polonaise – a kind of musical monogram – have ended, followed by a thunderous flourish, once again in ‘S’, of course, the window opens and Johan Svendsen says with quiet emotion: ‘This is the most beautiful day in my life. The tribute that was given to me here, I will never forget. I can only say thank you – my heartfelt thanks to all of you!’

På Svendsens 70-års fødselsdag i 1910 møtte ca. 70 blåsere opp ved Svendsens hjem i Classensvej 4 i København klokken ni om morgenen og spilte festpolonesen og den norske nasjonalsangen til Svendsens ære: Den gamle Kapelmesters blege Ansigt ses bag Ruden – men før Vinduet er kommet op, vælder der et Mylder af jublende Toner frem: Svendsens egen, straalende «Fest-Polonæse». Dette straalende Musikminde fra Ungdommen, Livet og Manndomen gør øjensynlig et sterkt Indtryk paa Fødselsdagsbarnet. Da Polonæsens sidste tre «S»er – som et Slags Musik Monogram – har sluttet, fulgt af en drønnende Touche, naturligvis også i «S», aabnes Vinduet, og Johan Svendsen siger stille og bevæget: «Dette er den smukkeste Dag i mit Liv. Den Hyldest, som her er bragt mig, glemmer jeg aldrig. Jeg kan kun sige Tak – hjertelig Tak til dem allesammen!»

POLITIKEN, 1 OCTOBER 1910.

The driving force behind the tribute was Axel Schiøler (1872– 1930), a violinist and conductor of various community orchestras and the like. The version of the Festival Polonaise that presumably was played on this occasion, an arrangement in E-flat major made by Joachim Andersen (1847–1909) in 1905, is today in the possession of the music archive of Copenhagen Municipality (in safekeeping with the Regimental Band of the Royal Danish Life Guards). Ever since then, the Festival Polonaise has been presented at numerous gala performances at the Royal Danish Theatre and elsewhere. Its popularity in Denmark may have been one of the reasons choreographer Harald Lander (1905–1971) chose it for his ballet Festpolonaise on the occasion of the 30th anniversary of Christian X’s accession to the throne (15 May 1942). The scenography was created by Kjeld Abell (1901– 1961), and the production became one of the great success stories of Danish ballet. In his book Harald Lander: His Life and Ballets, Erik Aschengreen writes:

POLITIKEN, 1. OKTOBER 1910.

I spissen for dette sto Axel Schiøler (1872–1930), blant annet dirigent for «Kommunens Fri Koncerter». I et kommunalt notearkiv knyttet til disse konsertene (deponert hos livgardens musikkorps) finnes den versjonen av festpolonesen som etter alt å dømme ble spilt ved denne anledningen, et arrangement av Joachim Andersen (1847–1909) fra 1905 i nettopp Ess-dur. Festpolonesen er blitt fremført ved en rekke festforestillinger på Det Kongelige Teater og andre steder frem til vår egen tid. Dens popularitet i Danmark var nok en av grunnene til at koreografen Harald Lander (1905–1971) brukte den som musikk til balletten «Fest-Polonaise», i anledning Christian Xs 30-års regjeringsjubileum, 15. mai 1942. Scenografien var ved Kjeld Abell (1901–1961), og forestillingen ble en av de store suksessene i dansk ballett. Erik Aschengreen formulerer det slik i boken Mester. Historien om Harald Lander:

Harald Lander and Kjeld Abell had created a festive ballet that captured the mood of the time. It contributed a great deal to giving the Ballet a central place as an art form at The Royal Danish Theatre, and showed how Lander’s first ten years as Artistic Director had borne fruit. And, from a technical standpoint, miracles had happened. Festival Polonaise became legendary in Danish ballet history […].12

Harald Lander og Kjeld Abell havde skabt en Festballet, der forløste en tone i tiden. Den var i höj grad med til at placere balletten centralt som kunstart på Det Kongelige Teater og vise, hvordan Landers ti første år som balletmester havde båret frugt. Også teknisk var der sket mirakler. Fest-Polonaise blev en myte i dansk ballethistorie.5

Right in the middle of the German occupation, the dancers’ national red and white costumes in conjunction with Svendsen’s music made a strong impression. On 16 May 1942, Henry Hellssen, the critic for Berlingske Aftenavis, enthusiastically wrote:

Danserne var kledd i nasjonalt rødt og hvitt, og sammen med musikken virket dette sterkt, midt i okkupasjonstiden. Kritikeren Henry Hellssen skrev begeistret i Berlingske Aftenavis 16. mai 1942:

Johan Hye Knudsen raises his baton, upon which the first theme of Johan Svendsen’s powerful March, this Festival Polonaise that erects invisible portals of honour wherever it is played, these sounds that appear like banners flying in the sunshine or like fire in a sacrificial bowl. Johan Hye Knudsen løfter sin Taktstok, og nu lyder første Tema af Johan Svendsens magtfulde Marche, denne Fest-Polonaise, der altid bygger usynlige Æresporte, hvor den spilles, disse Toner, der er som smældende Flag i Solskin eller som Ild i Offerskaale.

Several authors believe the work to be one of Svendsen’s finest. Benestad and Schjelderup-Ebbe write: Worthy of special mention among works in this category [occasional works] is the brilliant Festival Polonaise, which is festival music of unparalleled merit. […] The piece is brilliantly orchestrated and sounds wonderfully fresh and bright. Svendsen’s is undoubtedly one of the finest festival polonaises ever composed, and one can only wonder why it has thus far failed to find its rightful place in the orchestral repertoire outside Scandinavia. It is, to be sure, occasional music, but occasional music of the very finest kind. Perhaps it will one day be ‘discovered’ by the rest of the world.13

Flere skribenter har formidlet at de mener dette verket er et av Svendsens beste. Benestad og Schjelderup-Ebbe skriver: I en særstilling i denne kategorien [leilighetskomposisjonene] står imidlertid den briljante «Festpolonaise», som kan sies å være festmusikk av store dimensjoner. Verket er glandsfullt instrumentert og klinger frapperende friskt og klart. Dette er musikklitteraturens Festpolonaise med stor F, og man kan bare undres over at den ikke har fått sin rettmessige plass på orkesterrepertoaret utenfor Norden. Det er riktignok leilighetsmusikk, men av edleste karat.6

Bjarte Engeset English translation: Thilo Reinhard

Bjarte Engeset

NOTES Christiania was the name of today’s Oslo from 1624 to 1924. In 1877, the spelling Kristiania was adopted in land registers and government documents, and from 1897 also by the city’s municipal agencies. On 1 January 1925, the official name was once again changed to Oslo. In Johan Svendsen’s Works, we use the spelling Christiania in connection with events that occurred during Svendsen’s lifetime. 7

NOTER Christiania var navnet på Oslo fra 1624. Fra 1877 ble navnet skrevet Kristiania i matrikkel og statskalender og fra 1897 også av byens kommunale etater. Oslo ble igjen offisielt navn 1. januar 1925. I Johan Svendsens Verker bruker vi skrivemåten Christiania i omtalen av hendelser som skjedde i løpet av Svendsens liv. 1

Finn Benestad and Dag Schjelderup-Ebbe, William H. Halverson (transl.): Johan Svendsen: The Man, the Maestro, the Music, Columbus, Ohio 1995, p. 132. 8

Finn Benestad og Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og kunstneren, Oslo 1990, s. 115.

In Danish, the meaning of the term ‘fest’ ranges from festivity and party to feast, fête and bash. The critic plays on this by construing the work’s title, ‘Fest-Polonaise’, as ‘Party Polonaise’, and concluding that its qualities lie far beyond those of a mere party or a ‘bash’. 9

Det var trolig følgende sprang Svendsen gjorde ved konserten i 1907: Ved da capo går man til takt 138, ikke til takt 2. 3

Svendsen probably made the following cut for the concert in 1907: At the da capo one returns to bar 138, rather than to bar 2. 10

Aftenposten, 25. juli 1907.

Erik Aschengreen: Mester. Historien om Harald Lander, Gyldendal, København 2005, s. 93. 5

Aftenposten, 25 July 1907.

Erik Aschengreen: Harald Lander – His Life and Ballets, Dance Books Ltd, 2009, p. 44. 12

Benestad og Schjelderup-Ebbe, s. 305.

Benestad and Schjelderup-Ebbe, p. 378, p. 133.

FESTIVAL POLONAISE, OP. 12, AUTOGRAPH SCORE, COVER, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

FESTIVAL POLONAISE, OP. 12, AUTOGRAPH SCORE, FIRST PAGE, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

XII

FESTIVAL POLONAISE, OP. 12, AUTOGRAPH, FINAL PAGE, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

XIII

FESTIVAL POLONAISE, OP. 12, AUTOGRAPH, OVERCRESSED PAGE, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

XIV

FESTIVAL POLONAISE, OP. 12, AUTOGRAPH VIOLIN I PART, COVER, SOURCE APTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

FESTIVAL POLONAISE, OP. 12, AUTOGRAPH VIOLIN I PART, FIRST PAGE, SOURCE APTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

XVI

LETTER FROM JOHAN SVENDSEN TO CARL WARMUTH, COPENHAGEN, 16 MARS 1886. NATIONAL LIBRARY OF NORWAY.

XVII

LETTER FROM JOHAN SVENDSEN TO CARL WARMUTH, COPENHAGEN, 16 MARS 1886. NATIONAL LIBRARY OF NORWAY.

XVIII

FESTIVAL POLONAISE, OP. 12, SCORE, COPY, FIRST PAGE, SOURCE B. WRITTEN BY JOHAN HENNUM (1836â&#x20AC;&#x201C;1894) . THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

XIX

FESTIVAL POLONAISE, OP. 12, PRINTED SCORE, FIRST EDITION (PROOF). SOURCE C1. CARL WARMUTH, CHRISTIANIA 1886. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 232.

FESTIVAL POLONAISE, OP. 12, PRINTED SCORE, FIRST EDITION, COVER. SOURCE C. CARL WARMUTH, CHRISTIANIA 1886.

XXI

FESTIVAL POLONAISE, OP. 12, PRINTED SCORE, FIRST EDITION, FIRST PAGE OF MUSIC. SOURCE C. CARL WARMUTH, CHRISTIANIA 1886.

XXII

FESTIVAL POLONAISE, OP. 12, PRINTED VIOLIN I PART, FIRST EDITION (PROOF). SOURCE B PTS1. CARL WARMUTH, CHRISTIANIA 1886. THE PART IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 3506.

XXIII

FESTIVAL POLONAISE, OP. 12, PRINTED TRIANGEL PART, FIRST EDITION. SOURCE C PTS. CARL WARMUTH, CHRISTIANIA 1886.

XXIV

Festpolonese, op. 12 JSV 56

Festival Polonaise, Op. 12

BESETNING / SCORING 2 Flauti Piccolo 2 Oboi 2 Clarinetti (in La) 2 Fagotti 4 Corni (in Mi) 3 Trombe (in Mi) 3 Tromboni Tuba Triangolo Piatti Tamburo piccolo Gran Cassa Timpani Violini I. II. Viole Violoncelli Contrabbassi

Fest-Polonaise Flauto piccolo

2 Flauti

2 Oboi

2 Clarinetti in La 2 Fagotti

I. II. 4 Corni in Mi III. IV. I. II. 3 Trombe in Mi III.

I. II. 3 Tromboni III. e Tuba

Triangolo Piatti Tamburo piccolo Gran Cassa

Timpani in Mi - Si

I. Violini II.

Viole Violoncelli

Contrabbassi

# ## 3 & # 4

#### 3 a 2 4 & ## 3 & ## 4 &

? # # # # 43 & & & &

3 4 43 3 4 3 4

? # # # # 43 ? # # # # 43    

? # ## & # # ## & #

# B ## #

? ####

œ œ œ œ œ . œ %œ

œ œ œ œ œ. œ œ

 ..

ƒ ƒ

. .

œ œ œ œ œ. œ œ

 

[JSV 56]

œ.

œ œ

œ #œ œ œ œ. œ œ

œ œ

œ #œ œ œ œ. œ œ

œ.

 ..

œ œ J

œ.

œ #œ œ œ œ. œ œ

œ . œ . ƒ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ

œœœœœ ƒ  .. ƒ

. .

œœ œœ œœ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ ‰ œœœœœœœœœ œ œ œ œ œ  ..  Œ  

œ œ

 ..

. .

œ œ

œ #œ œ œ œ. œ

œ œ

œ #œ œ œ œ. œ

Johan S. Svendsen, Op. 12

œ.

n 

œ œ J

œ.

n œœ

œ #œ œ œ œ. œ

 œ #.  œ #. œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ

œœ œœ œœ

œœ œœ œœ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ ‰ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ  n  .. Œ  

œ œ

#. #.

œœ œœ œœ œœœ

œ Œ Œ . œ Œ Œ . 43  .   ƒ 3 Œ Œ œ Œ Œ œ Œ Œ 4 œ ∑ ∑ ƒ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ . 43  .   ƒ 3 œ Œ Œ œ Œ Œ œ Œ Œ 4 ∑ ∑ ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 34  . . . . . ƒ œ œ œ œ œ œ. œ œ œ œ œ #œ œ œ œ. œ œ œ œ œ #œ œ œ œ. œ œ. œ. 3 J J 4 ƒ œ œ œ œ œ. œ œ œ œ œ #œ œ œ œ. œ œ œ œ œ #œ œ œ œ. œ 34 œ J J œ. œ. ƒ œ œ œ œ œ œ. œ œ œ œ œ #œ œ œ œ. œ œ œ œ œ #œ œ œ œ. œ 34 œ. J œ. J ƒ 3 .  œ .  4 œ #. ƒ 3  œ .  4 . œ #. ƒ

6 Fl. picc.

####

#### &

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

œ œ

œ.

#œ J

œ.

# # # # # œœ œœ œœ œœ œœ œœ œœ œœ #

? #### ‰ & & & &

œ.

œœ œœ œœ œœ œœ œœ œœ

#œ J

‰ n œœ œœ œœ œœ œœ œœ œœ

F Œ

Œ F



œ œ œ œ œ œ œ œj ‰



∑ ∑

œ F

œ.

# ## œ & #

#œ J

œ.

#œ J

# B ## #

? ####

œ œ œ

œ. Œ Œ

#œ J Œ Œ

œœ œœ œœ œœ œœ œœ œœ

#œ œ ≈nœ œ. J

œœœœœœœ ‰ œœœœœœœ

#œ œ ≈nœ œ. J

œœ œœ œœ œœ œœ œœ œœ

‰ F

‰

‰ œœ œœ œœ œœ œœ œœ œœ F

‰ œœ œœ œœ œœ œœ œœ œœ

œœ

∑

‰ œœ œœ œœ œœ œœ œœ œœ

‰ œœ œœ œœ œœ œœ œœ œœ ‰ œœœœœœœ

œœ œ

Œ Œ

∑

œ œ.

œ #œ œ œ œ.

œ œ.

œ #œ œ œ œ.

œ œ.

ƒ #

nœ

œ #œ œ œ œ.

œœ œœ œœ œœ œœ

ƒ bœ œ œ œ œ

œ œ.

œ œ œ œ

.

ten.

œœ œœ œœ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ a2

œœœœœ

œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ ≈ n œœ œœ œœ ≈

ƒ bœ œ œ œ œ ƒ # 

œœœ≈ œœœ≈ œœœ≈ œ œ œ≈ n œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈ ≈ ≈ ≈

œœ œœ œœ œœ œœ

ƒ n # ƒ

œœ œœ œœ ≈ # œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œœœ œœœ œ œ œ

œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œœ œ œ ≈ nœ 

.  F ƒ œ Œ Œ ∑ ∑ ƒ . œ Œ œ œ Œ Œ   ƒ œ Œ Œ ∑ ∑ ƒ Ÿ~~~~~~~~~~~~~~~~  œ ‰ ‰ œ œ œ œ œ œ œj ‰ ‰ œ œ œ œ œ œ œj ‰ J F ƒ œ œ œ #œ œ œ œ. œ œ ≈ nœ œ. #œ œ ≈nœ œ. J J F ƒ œ œ œ #œ œ œ œ. œ œ ≈ nœ œ. #œ œ ≈nœ œ. J J ƒ F œ œ œ #œ œ œ œ. œ œ ≈ nœ œ. #œ œ ≈nœ œ. J J ƒ F #  nœ Œ œ Œ Œ œ Œ F ƒ #  nœ œ Œ Œ Œ œ Œ F ƒ œ

# ## & #

œ ≈ nœ œ.

 

œ œœœœœœ ‰œ œœœœœœ

œœ

‰ œœ œœ œœ œœ œœ œœ œœ F ‰œ œœœœœœ F

‰ nœ œ œ œ œ œ œ

? #### œ

œ ≈ nœ œ.

‰ œœ œœ œœ œœ œœ œœ œœ

#œ œ ≈nœ œ. J

‰œ œœœœœœ F

‰ œœ œœ œœ œœ œœ œœ œœ

? # # # # # œœ

œ ≈ nœ œ.

œ ‰ J

∑ œœœ≈œœœ≈ œ œ œ≈ ∑

∑

œ.

œ œ.

œ.

œ œ.

œ.  

œ œ.

œ œ. œ œ

11 Fl. picc.

Fl.

#### # œ .

#### # œ . &

Ob.

Cl. (La)

#### #

#œ. #œ.

? ####  .

œ œ.

œ œ. œ œ.

œ œ.

nœ #œ œ #œ œ œ œ œ œ œ œ œ œ œ Z nœ œ œ œ œ œ œ œ œ #œ œ #œ œ œ

œ œ œ œ

œ. œ.

ten.

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ

œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ ≈ œœ

# œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ ≈ œœ

≈

? # # # # œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ .. œ .

#œ nœ. #œ nœ.

œ œ. œ œ. œœ

œ œ

Œ #œ nœ.

œ œœ .

#œ nœ. #œ nœ.

œ œ. œ œ.

œ œ

œ œ œ œ œ.

œ œ

. .

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ

œœ

 ..

œ œ œ œ œ.

œœ

œ œ

œœœœœ Z œ  .. œ œ

∑

 

œ.

œ J

œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ œ œ ≈ ‰ œœœœœœœœœ≈  Œ

 

œœ œœ œœ ≈ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈

. .

.  œ .  œ

∑

 ..

œ.

œ œ

∑ œ œœœœœœœœœ≈

œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ ‰ Œ œ J  Œ Œ ∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . ∑ . Z

 

œ œ œ nœ #œ œ #œ œ

∑



∑



#### # œ .

œ œ.

#œ.

œ œ.

œ.

œ œ.

####

# #œ. B ## # ? #### œ

? ####  .

ten.

Cb.

≈

œ œ œ œ œ œ œ œ œ œ ? # # # # œœ œœ œœ ≈ # œœ œœ œœ ≈ # œœ œœ œœ ≈ œœ.

œœ œœ œœ œœ

œ œ œ œ œ.

œ œ.

œ œ œ œ œ.

œ œ

œ nœ #œ œ #œ œ œ œ œ œ œ œ œ œ Z œ œ nœ #œ œ #œ œ œ œ œ œ œ œ œ

œ œ œ œ œ.

œ œ

nœ #œ œ #œ œ œ œ œ œ œ œ œ œ

œ œ. œ.

#œ nœ.

œ œ.

#œ nœ.

œ œ.

œ œ

.

œ œ œ œ œ.

œ œ  

œ.

œ J

œ.

œ œ

15 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

& &

œœ œœ œœ œœ œœ

œœœœœ . ? ####  .

III. Tb.

Tgl.



T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ #œ œ œ œ.

œœ œœ œœ

? ####  . .

Pt.

œ #œ œ œ œ.

œœ œœ œœ

Tbn.

œ #œ œ œ œ.

? ####  . .

I. II.

III.

####

. ####  . & a2 # œ

III. IV.

Tbe. (Mi)

####

.  œ .  œ

  

œœ œœ œœ

œ œ  ..

œ œ

œ.

œ J

œ.

 

œ œ

œ #œ œ œ œ. œ #œ œ œ œ.

n  ..

œ #œ œ œ œ.

#. #.

œœ œœ œœ œœ œœ œœ b œœ œœ œœ

œœ œœ œœ ≈ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈ œœ œœ œœ œœ œœ œ œ œ ≈ ‰ œ œ œ œ œ œ œ œ œ ≈ bœ œ œ œ œ  n  .. Œ

œ œ

œœ œœ œœ œœ œœ œœ

#œ J

œ.

œ œ

œ.

œœ œœ œœ œœ œœ œœ œœ

#œ J

œ #œ œ œ œ.

œ œ

#### œ

œ #œ œ œ œ.

œ œ

####

# B ## #

? ####  . ? ####  .

œ #œ œ œ œ.

œ œ  

œ.

œ œ

Œ Œ

∑ ∑

Œ F Œ

œ  F

œ #œ œ œ œ.

œ œ

#œ J

œ.

#œ J

œ œ

œ #œ œ œ œ.

œ œ œ

#.

œ.

#œ J

œœ œœ œœ œœ œœ œœ œœ

#œ J

‰ œœ œœ œœ œœ œœ œœ œœ F ‰ œœœœœœœ F œœ œœ Œ

œœ

‰ œœ œœ œœ œœ œœ œœ œœ F

œ.

œ œ œ ≈ ‰ nœ œ œ œ œ œ œ Œ

œœ œœ œœ œœ œœ œœ œœ

œ ≈ nœ œ.

‰ œœ œœ œœ œœ œœ œœ œœ

œ œ

‰

œ #œ œ œ œ.

#œ J

‰ œœœœœœœ F

œ.

œ ≈ nœ œ.

‰ n œœ œœ œœ œœ œœ œœ œœ

# œœ

#œ J

‰

œ J

œ ≈ nœ œ.

œœ œœ œœ ≈ ‰ œœ œœ œœ œœ œœ œœ œœ

#. #.

œ.

# œœ œœ œœ œœ œœ œœ œœ œœ

œ œ

.  œ ∑ œ œ œ œ œ œ œ œ œ œ ≈ .  œ ∑ œ

œ œ

‰

œœ œœ œœ œœ œœ œœ b œœ œœ œœ

 

œ œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . œ œ œ œ œ œ œ œj ‰

? &

œœ œœ œœ

œ œ

∑ ∑ ∑

œ Œ

œ 

‰ œ œ œ œ œ œ œj ‰ F

œ ≈ nœ œ.

#œ J

œ ≈ nœ œ.

#œ J

œ ≈ nœ œ.

#œ J

20 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ #### ≈ n œ œ .

œ #### ≈ n œ œ . & & &

#### #

œœœœœœœ ‰ œœœœœœœ œ ≈ nœ œ.

? #### ‰

œœ œœ œœ œœ œœ œœ œœ

‰ œœ œœ œœ œœ œœ œœ œœ

& &

‰ œœ œœ œœ œœ œœ œœ œœ ‰ œœœœœœœ

? # # # # œœ ? #### œ

Œ Œ

∑



‰ œœœœœ

 

#### œ ≈ n œ œ . & # ## & # œ ≈ nœ œ. # œ ≈ nœ œ. B ## # ? #### œ ? #### œ

Œ Œ

∑ ∑

œ J

ƒ n  .. ƒ

ƒ #

œ #œ œ œ œ. œ œ #œ œ œ œ. œ œ #œ œ œ œ. œ

œ œ.

œ.

œ œ.

# # œœ œœ œœ

œ.

≈

œ œ. œ œ.

œœ œœ œœ

œ œ.

œ . #œ œ œ œ œ œ ≈ œ œ œ œ œ J ‰ Œ œ . #œ œ œ œ œ œ ≈ œ œ œ œ œ J ‰ Œ

œ œ œ a2 œ œ. ≈ œ œ œ ≈ œ œ œ œ œ ≈ œ œ œ œ Jœ ‰ Œ . œ œ . # œ œ œ œ œ œ ≈ œ œ œ œ œ Jœœ ‰ Œ

nœ

œ œ. œ œ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œœœ œ ≈ œœœ J ‰ Œ

b

n œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ. ‰ J



a 2 ten.

œœ œœ œœ œœ œœ

bœ œ œ œ œ ƒ # 

œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œJ. ‰ Œ

œœ œœ œœ ≈ # œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œœj ‰ Œ œœœ œœœ œœœ .

œœœ≈

n œœ

ƒ œ n # nœ ƒ Œ .  ƒ œ Œ Œ ƒ œ .   ƒ œ Œ Œ ƒ Ÿ~~~~~~~~~~~~~~~~ j‰  œ ‰ œœ J ƒ œ œ œ #œ œ œ œ. œ J ƒ œ œ œ #œ œ œ œ. œ J ƒ œ œ œ #œ œ œ œ. œ J ƒ # nœ Œ ƒ # nœ Œ ƒ Œ

œ.

≈

œœœ œœœ œœœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈ ≈ ≈

j ‰

œ. œœ. J ‰ Œ

œ œ œ ≈ œ œ œ ≈ œœ œ œ ≈ œj ‰ Œ  œ. œ

œ. J œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ J Œ ∑ ∑

∑

œ.

œ œ.

œ.

œ œ.

œ.

œ œ.



œ œ. œ



œ 5

‰ ‰

œ. ‰ J

Œ Œ

ten.

œœ

ten.

n ten. œœ

œœ

ten.

œ. J ‰ Œ

œ. ‰ Œ J

ten.

Œ Œ Œ

J ‰ Œ

j œ. ‰ Œ œœ.

œ‰Œ œ.

‰ Œ

œ‰Œ J

œ . # œ œ œ œ œ œ ≈ œ œ œ œ Jœ ‰ Œ œ œœœœ ≈œœœœ œ œœ œœ œœœ œ ≈ œ

œ . #œ œ œ œ œ œ ≈ œ œ œ œ œ J ‰ Œ #œ œ

œ. ‰ Œ J j œœ ‰ Œ .

œ ‰ œ. J J œ ‰ œ. J J œ œ J  œ ‰ œ J J Ÿ~~~~~~~~~

Œ Œ Œ Œ

œ. œ. œ. n œ. œ. n œ. œ.

œ. œ. n œ. œ. n œ.

œ. œ. œ. n œ. œ. n œ.

25 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

####

∑

####

∑

# ## & #

. . ‰ œœ œœ & p œ. œ. ? #### ‰ œ œ p . . ‰ œœ œœ & p ‰ œ œ & œ œ p. . #

& &

? ####

? ####    

œœ. œœ. œœ. œœ. œœ. œœ.

‰

œœ. œœ. œœ. œœ. œœ.

p # # # œ & # p # div. B # # # ‰ œœœ ? ####  p ? ####  p

. . . . # œ. œ. œ œ œ. œ. œ œ J ‰ ≈ . . ≈ # œ. œ. œ. œ œ. œ. œ. œJ ‰

œœ. œœ. ‰ b œœ. œœ. œœ. œœ. œœ.

œœ. œœ. œœ.

‰

œœ. œœ. œœ. œœ. œœ.

∑ . . ‰ n œœ œœ

∑

œœ. œœ. ‰

œœ. œœ.

œœ. œœ. œœ. œœ.

. . . . . ‰ n œœ œœ œœ œœ œœ

œœ œœ œœ ‰ b œœ œœ œœ œœ œœ ‰ œœ œœ . . . . . . . . . .

œœ œœ œœ ‰ b œœ œœ œœ œœ œœ . . . . . . . .

‰ n œœ œœ . .

∑

∑ ∑ ∑

∑ Œ

œ #œ œ œ œ. œ œ

nœ.

œ #œ œ œ œ. œ œ

nœ.

œœ œ

∑

œœ. œœ. œœ. ‰ b œœ. œœ. œœ. œœ. œœ.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ . œ p ####

‰

œœ. œœ.

. . . . # œ. œ. œ œ œ. œ. œ œ J ‰ ≈

œœ. œœ. œœ. ‰ b œœ. œœ. œœ. œœ. œœ. ‰ œœ. œœ.

∑

. . . . # œ. œ. œ œ œ. œ. œ œ J ‰ ≈ ∑ p I. . . œ. œ. . . œ. œ. #œ œ œœ J ≈ ∑ ‰ p I. . . ∑ ≈ # œ. œ. œ. œ œ. œ. œ. œJ ‰ p . . . . . . . . ‰ b œœ œœ œœ œœ œœ ‰ œœ œœ œœ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ . œ



œ #œ œ œ œ. œ œ

nœ.

œ œ

œ #œ œ œ œ. œ œ

nœ.



Œ Œ

œ œ

œœ œœ œœ ‰ n œœœ œœœ œœœ œœœ œœœ ‰ œœ œœ œ œ œ œ œ Œ

∑

 6

 

œœ œœ . .

∑ Œ

∑

œ #œ œ ‹œ œ. œ

J J

œœ œœ œœ ‰ n œœœ œœœ œœœ œœœ œœœ œ œ œ Œ



∑

œœ .

Œ Œ

‰ œœœ œœœ # #

œœœ

œœœ œœœ Œ Œ

30 Fl. picc.

Fl.

& &

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

J ‰ Œ

. œ. ‹ œ. œ. ≈ œœ œ ‹ œ œ ‰ Œ J ‰ œœ J

‰ œœ ‰ œœ J J

‰ œœ J

‰ œœ ‰ œœJ J

œ #œ ‰ œJ ‰ œJ

≈

J ‰ Œ

. œ. ‹ œ. œ. ≈ œœ œ ‹ œ œ ‰ Œ J ‰ œœ J

‰ œœ ‰ œœ J J

‰ œœ J

‰ œœ ‰ œœJ J

œ ‰ Jœ

œ #œ ‰ œJ ‰ œJ

‰

œ. œ. # œ.

. # œœ

œœ. œœ.

œœ. œœ. # œœ.

œœ. œœ. œœ. œœ. œœ. # œœ. œœ. # œœ. œœ. œœ. œœ. # œœ. œœ. œœ. œœ. œœ. œœ. œœ.

. . . . # œ. œ. œ œ œ. œ. œ œ J ‰ ∑ ≈ p I. . . œ. œ. . . œ. œ. #œ œ œœ J ≈ ‰ ∑ p I. . . ∑ ≈ # œ. œ. œ. œ œ. œ. œ. œJ ‰ p .œ œ. œ. œ. œ. . . . . . ‰ œ œ œ œ œ ‰ b œœ œœ œœ œœ œœ p œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. ‰ ‰ p . . . . . . . . . . ‰ œœ œœ œœ œœ œœ ‰ b œœ œœ œœ œœ œœ p ‰ œœ œ œœ ‰ œ œ œ œ œ b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. p ∑ ∑

j ‰ œj ‰ œj ‰ œ œ œ œ

∑

? ####

∑ ∑

∑

∑ ∑ ∑ ∑

Tgl.

≈

. . . œ. ≈ œ œ ‹œ J ‰ Œ . œ. ‹ œ. œ.

j ‰ œj ‰ œj ‰ œ œ œ œ

I. II.

I. II. Tbn. III. Tb.

####

& &

III.

####

. . . œ. ≈ œ œ ‹œ J ‰ Œ . œ. ‹ œ. œ.

œ ? #### ‰ œ J

III. IV.

Tbe. (Mi)

####

∑

? ####

   

& &

∑

œ œ . œ # œ. œ. œ. œ. œ .

#### œ .

œ œ . œ # œ. œ. œ. œ. œ .

? # # # # œj ‰ ? # # # # œj ‰

j œ ‰ œj ‰ j œ ‰ œj ‰

∑

œ.

j j j # B # # # ‰ œœœ ‰ œœœ ‰ # œœœœ J J J

∑

∑ ####

œœ œœ œœ œœ œœ œœ . . . . . .

∑

A œ œ . œ # œ. œ. œ. œ. œ œ # œ œ œ œ œ œ œ # œ œ œ œ

p . œ œ . œ # œ. œ. œ. œ œ œ # œ œ œ œ œ œ œ # œ œ œ œ p j . . . . . . j j ‰ œœœ ‰ œœœ ‰ # œœœœ œœœ # œœœ œœœ œœœ œœœ # œœœ ‰ n œœ œ œ J J J . . . . . . p j‰ j ‰ j ‰ œ œ œ. œ œ. œ œ. œ  œ . . . p j j œ ‰ œ ‰ œj ‰ œ. œ œ. œ œ. œ  . . . p 7

∑

œ #œ œ œ œ. œ œ

nœ.

œ #œ œ œ œ. œ œ

nœ.

œœ œ

J J

œœ œœ œœ ‰ n œœœ œœœ œœœ œœœ œœœ œ œœ Œ



35 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

####

∑

####

# ## & # #

. . . . # œ. œ. œ œ œ. œ. œ œ J ‰ ≈ I. . . œ. œ. . . œ. œ. #œ œ œœ J ≈ ‰

∑ ∑ . . ‰ œœ œœ

œ. œ. ? #### ‰ œ œ

F b. . . ≈ # œ. œ. œ. œ œ. œ. œ. œJ ‰ b  . F . . . . . b. ‰ b œœ œœ œœ œœ œœ b  . F œœ. œœ. œœ. œœ. œœ. bœ œ ‰ ‰n œ œ

œœ. œœ. œœ. œœ. œœ. œœ.

. . ‰ œœ œœ

œœ. œœ. œœ. ‰ b œœ. œœ. œœ. œœ. œœ.

‰œ œ œ. œ.

œœ œœ œœ ‰ b œœ œœ œœ œœ œœ . . . . . . . .

? ####

? ####    

∑

∑ ∑ ∑ ∑

∑ ####

œ #œ œ œ œ. œ œ

# B # # # ‰ œœ œœ œœ ? ####

? ####

 

F ‰ b œœ œœ F ‰ b n œœ œœ F

∑

 

œœ œœ

‰ b b œœ œœ

œœ

œœ œœ

sole

# œœ F

bœ

nœ.

Œ Œ

bœ

œœ œœ

∑

œ bœ nœ nœ œ. nœ

b. b .

bœ œ ‰n œ œ

œœ

œœ œœ

‰ n b œœ œœ

œœ

œœ œœ

‰ b n œœ œœ

œœ

œœ œœ

∑

bœ

∑ ∑

∑

∑ ∑ ∑ ∑

∑

bœ

∑

œ bœ nœ nœ œ. nœ nœ. bœ 

bœ

œ bœ nœ nœ œ. nœ

œ bœ nœ nœ œ. nœ nœ. bœ 

bœ

œ bœ nœ nœ œ. nœ

‰ b n œœ œœ F

œœ œœ

∑

bœ

∑

œœ

œ œ œ œ

j œœ # # œœ œœ # # œœ œœ ‰

∑

œœ œœ œœ ‰ n œœœ œœœ œœœ œœœ œœœ œ œœ Œ

bœ œ ‰bœ œ

œ œ

œœ œœ

nœ œ ‰ nœ œ

œœ

∑

bœ bœ J F bœ bœ J F

bœ b b  ..

b. .

∑ ∑ ∑ ∑

nœ.

∑

. n.

∑

œ œ #œ œ œ œ. œ œ

# ## œ & #

œ bœ nœ nœ œ. nœ nœ. bœ 

baœ2

∑

œ œ

œ œ œ œ

bœ œ ‰ n n b œœœ œœœ

b

œ bœ nœ nœ œ. nœ nœ. bœ 

b F 8

œœœ œ

œœœ œœœ œ œ

‰ b n œœ œœ

bœ

b

œ œ

œ œ œ œ

œ bœ nœ nœ œ. nœ Œ

40 Fl. picc.

Fl.

Ob.

Cl. (La)

####

bœ. bœ  #### & & &

∑

# œ. œ. œ . ƒ œœ. œœ. œœ ..

# # # # n  ..

b. .

nœ œ

? #### ‰ n œ œ

œ œ

bœ œ ‰bœ œ

œœ

III. IV.

‰ b b œœ œœ

œœ

I. II.

Fg.

I. II. Cor. (Mi)

Tbe. (Mi) III.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# œœ

ƒ œ. œ. œ . œ œ œ. ƒ

œ œ # œ. œ. œ . œœ #œ œ œ. œœ œœ

ƒ œ. œ. œ . ƒ

œœ œœ # œ œ œ . . . j‰

œœ # # œœ œœ # # œœ œœ ∑

n n œ. œ œ. œ œœ .. ƒ

œ. # œ.

n œ. # œ . J

J J ‰

œœ. œœ ..

œœ. œœ. ‰ J J

J b œ. n œ . bœ nœ. J n œ. nœ J

œ. # œ. œ #œ ‰ J J j j

œ. œ.

nœ œ ‰ n œ. œ.

œ. œ . J

∑

b œ. œ. ‰ J J

j n œ. œ .

j b œ. œ. j ‰

j j œœ # œœ ‰ . .

b œœ n œœ .. .

j j ‰ œ. œ.

? ####

∑

œ. œ. œ . ƒ ∑



∑



∑

? ####

∑



bœ # B # # # ‰ n n b œœœ ? ####

nœ.

œœœ œ

#œ

ƒ #œ

œœœ œ

œœœ œœœ # œ œœ

ƒ #œ

bœ 

? #### b  *) See p. 47

∑ ∑

∑

nœ. bœ 

# ## n œ . bœ  & #

∑

∑ ####

∑

œ. œ .

∑



J # œ.

‰ Œ

∑

‰ Œ

œ ‰ Œ

∑

‰ Œ

œ. œ J ‰ Œ

∑

œ. ‰ Œ J

∑

‰ Œ

∑

j ‰ Œ

∑

‰ Œ

∑

œ ‰ Œ J ƒ + *) œ ‰ Œ ƒJ œ ‰ Œ J ƒ

∑

J œ. J

# œœ. J

œ. J

j # œœ. ‰ Œ

œ. . # œœ

J III. . œ J

∑

œ #œ œ œ œ

œ #œ œ œ œ œ #œ œ œ œ

# œ. œ. œ . ƒ

B œ.

œ #œ œ œ œ œ #œ œ œ œ

j n œ. œ .

∑

∑ ∑ ∑ ∑

œ œ œ œB œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ # œ œ œ œ œ œ œ ‹œ œœœœ œœœœ

œœœœ

j j ‰ n œ. œ. 9

∑

œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ ‹œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ ‹œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ ‹œ œ. ‰ Œ J

∑

####

∑

# ## & #

∑

45 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

. . # # # # ‰ œœ œœ & &

p œ. œ.

‰ œ œ p

? # # # #  p

. . ‰ œœ œœ p ‰ œ œ œ. œ. p

& & &

œ. œ. œ. œ œ œ œœ. œœ. œœ. Œ

œœ. œœ. œœ. œœ œœ œœ . . .

∑ ∑

œ ? # # # # ten. p Œ III. ? # # # # ten. œ Œ p

∑

   

œ œ

#œ

œ œ œ œ ‰ œ œ œ œ œ #œ ‰ # œ

# #

œ œ œ œ œ œ œ œ Œ

 

‰ n œœ œœ

œœ œœ œœ

‰ #œ # œ

œœ œœ œœ œœ

‰ œ œ nœ œ

œœ œœ œœ

≈ # œ œ œ. œ. œ œ œ. . . p. ∑ . . . . . . . ≈ œœœœœ ‹œ#œ œ Œ p I.

∑ ∑ ∑ ∑

œ. ‰ .j

œ ‰ œ #œ œ

œ #œ œ œ œ. œ œ

‹œ.

œ #œ œ œ œ. œ œ œ #œ œ œ œ. œ œ Œ

#

∑

œ œ

‰

# #

‰ #œ # œ

œœ œœ œœ œœ œœ œœ œœ œœ # œ œ #œ œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ

≈ # œ œ œ. œ. œ œ œ. . . . . ∑ . . . . . . . ≈ œœœœœ ‹œ#œ œ Œ

. # œ œ. œ #œ œ œ

œ. œ.

œ. ‰ ≈ œ œ. # œ. œ. ‰ . .

. . . .

∑

j j œ ‰ ≈œ œ œ ‹ œ œ ‰ # Œœ œ J ‰

œ ‰

∑ ∑ ∑ ∑

∑

œ #œ œ œ œ. œ œ

‹œ.

œ œ. J

#œ œ.

œ #œ œ œ œ. œ œ

‹œ.

œ œ. J

œ ‹œ œ œ œ

#œ œ.

œ ‹œ œ œ œ

J J

œ J

. . . œ œœ œœ œœ ‹ œœ. œœ.

œ J

‹œ.

# œœ

‰ # œœ

∑

‹œ.

p. œ

œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ

∑ ∑ ∑ ∑

∑

# ## & # œ p # B ## # œ p œ ? #### p ? ####  p

∑ ∑

∑ ∑ ∑ ∑

‹œ.

œœ œœ œœ

œœ œœ œœ œœ

œ #œ œ œ œ. œ œ

nœ œ ‰ œ œ

œ œ œ œ œ œ

‰ # œœ

####

œ œ ‰ œ œ

œ. œ. œ. œ. œ. œ.

œ #œ œ œ œ. œ œ



#

œ œ. J

‹œ.

œ œ. J

‹œ. Œ

œ.

#œ œ. #œ œ. # œ œ. œ.

œ ‹œ œ œ œ œ ‹œ œ œ œ œ

50 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

####

œ œ

œœ œœ #### & # # # # œœ œœ & &

œ œ œ œ

œœ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ J œ

œœ œ œ œœ œ œ

œ œ ‰ Œ J

œœ œœ ‹ œœ œœ

œ œ #œ œ œ œ# œ œ

. . œ ? # # # # œ . # œ œ œœ œ œ. #œ œ

cresc. cresc. f œœ a 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ #œ œ œ

. . . # œœ. # œœ œœ. œœ œœ. œœ

f n >œœ ..

œœ œœ œœ œœ œœ œœ

f # >œœ ..

cresc.

œœ. œœ. œœ. œœ. œœ. œœ.

cresc.

œœ œœ

œœ œœ # œœ œœ

œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ

œœ œœ

œœ œœ # œœ œœ

œœ œœ œœ œœ œœ œœ

≈ œ œ. # œ. œ. ‰ Œ . ∑

.. . . ≈ œ œ ‹ œ œj ‰ Œ #œ ? #### œ J ‰ Œ ? #### œ ‰ J   

 ?

∑

cresc.

œœ œœ œœ œœ œœ œœ cresc.

∑

œ œ œ œ œ œ #œ œ œ œ œ œ .

. .

œ. œ. œ. œ. œ. œ. .

∑

cresc.

œ #œ œ œ œ œ cresc.

.

. ∑ ∑ ∑

∑

cresc.

# >œœ .. f œ .. >œ f

∑ ∑

œ. >œ .

∑ ∑ ∑

∑

f n >œœ ..

n >œ . f > #œ.

cresc.

∑ ∑ ∑ ∑

cresc.

‰ Œ

œ œ œ #œ œ #œ œ œ

œ œ œ #œ

f cresc. cresc. œ a2 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ #œ œ œ œ œ

œ #œ ‰ œœ œ œ œ #œ

∑

.  f cresc.

∑

cresc.

œ œ œ

cresc.

‰ Œ

œ œ œ #œ œ œ ∑

‰ Œ

∑

‰ Œ

∑

‰ Œ

∑

œ œ œ œ œ œ cresc.

cresc.

∑ ∑

œ œ œ œ œ ## œœ œ œ œ œ œ #œ œ œ . 

∑

∑ ∑

∑

œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ #### œ . # œ œ . œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & f cresc. cresc. # # # œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ & # œ. #œ œ. œ ‹œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ. œ. œ. œ. œ. B # # # œ . # œ œ . ‹ œ œ œ œ. œ œ ? # # # # œ . # œ œ . œ ‹ œ œ œ œ œ. œ. œ. œ. œ. œ.

œ #œ œ œ œ œ

? ####

œ œ œ œ œ œ

œ . # œ œ. œ. œ

œ. œ. œ. œ. œ. œ.

cresc.

œ œ œ œ œ œ cresc.

cresc.

#œ. > f >œ .

>œ . f

‰ œ œ œ #œ œ œ #œ œ #œ œ œ œ œ œ œ cresc.

cresc.

œ œ œ cresc.

œ œ œ #œ œ œ œ œ œ #œ œ œ

#œ

55 Fl. picc.

Fl.

Ob.

Cl. (La)

#### œ

œ a2

# ## & # & &

œ œ

#### œ a2

? ####

œ.

III. IV.

I. II.

I. II. Cor. (Mi)

Tbe. (Mi) III.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

ƒ ƒ

œœ

œ œ œ œ œ

œœ

Fg.

œœ

œ. œ. # œ.

# œ. œ. œ

œ. œ. # œ. J

# œ. œ. œ

 

? &

ƒ œ ƒ

####

j œ

# œ. œ. œ

œ. œ.

œ #œ œ

œ.

œ œ œ

œ œ

œ œ œ

œ œ

œœ œœ œœ

œœ œœ

#œ œ œ

œ œ

? #### œ . ƒ ? #### œ . ƒ

œ œ œ

#œ œ œ

œ œ œ

œ œ

#œ œ œ

œ œ

œ œ œ œ œ œ

œ. œ.

œ œ

∑

œ #### œ & ƒ œ œ # # B ##

∑

‰

œ #œ œ œ nœ

œ œ œ

œ œ

œ #œ œ œ nœ

œ œ œ

œ œ

œ #œ œ œ nœ

œ œ œ

œ œ

œœ

Z Z

œ. œ. # œ. ‰ œ J

œ œ œ # œœ œœ œœ œœ œ ? #### œ œ œ ƒ œ œ œ ? #### œ . œ œ œ œœ .. œ #œ œ œ. œ œ œ ƒ ∑ ∑  

‰

œ œ

œ #œ œ œ nœ

j œ. ‰ œ

œ.

œ #œ œ

‰

nœ

j œ. ‰ œ

#œ

j œ. ‰ œ

Z .j œœ ‰ # œœ J. Z j ‰  # œ. . Z œœj # œ J ‰ . Z œœ. ‰ œ J Z Œ œ  ƒ Œ Œ œ J œ

‰

  Œ

j œ ‰ Œ

œ œ # œ.

œ #œ œ

œ.

‰

œ.

Z #œ

œ. ‰ œ J œ. J

œ. J

‰ ‰

œ œ

#œ

œ œ œ

œœ

nœ œ J œ

nœ

‰

œ œ #œ œ.

œœ

n # œœ

œ œ œ

œœ œ

œœ

œœ ..

œœ

œ œ

œ œ œœ œœ œ œ

œœ œ

œœ

∑

œ œ œ

œ œ

œ #œ œ œ nœ

œ œ œ

œ œ

nœ

œ œ œ

œ œ

œ #œ œ œ nœ

œ œ œ

œ œ

œœ

nœ nœ

œ. œ.

œ œ œ œ. œ œ œ œ.

Œ Œ Œ ∑

œœ

∑

œœ œœ

œ œœ œœ œœ œ

œ œ œ

œ œ œ œ. ∑

œ œ œ

œœ œœ œœ œœ œœ œœ

œœ

œ œ œ œ œ œ

œ œ

œ œ œ

∑

Œ Œ Œ Œ

œ nœ œ nœ

61 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

#### C

# ## & #

# ## & # &

∑

∑ ∑

b œœ œœ œœ

F nœ œ œ ? #### n œ œ œ F

n œœ b œœ  nœ œ œ nœ œ œ

b œœ œœ

œœ

œ nœ œ œ œ œ nœ œ œ œ

b œœ œœ 

œœ  œœ 

III. IV.

b œœ œœ œœ F ∑

I. II.

∑



I. II. Cor. (Mi)

Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C. Timp.

? ####

Vln. II.

Vle.

Vc.

Cb.

####

? ####

b œœ œœ

∑

œœ

b œœ œœ 

∑

.

p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ . . nœ œ p ∑

∑

.

b.

∑

# # # # ndiv. œœ œœ œœ & F # # # # div. n œœ œœ œœ & F B

∑

∑ ∑ ∑

  

b œœ b œœ 

∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ . a2 . nœ œ

∑ ∑ ∑

n œœ. n œœ.  . .

∑ ∑ ∑

n œœ œœ

∑ ∑ ∑

œœ

n n œœ n œœ œ # œ n œ n œœ œœ œœ . . . . div. nn œœ œœ œœ œ n œ œœ œ # œ n œ œœ œœ œœ F . . . nœ n œ . n œ. œ. œ œ . œ. n œ. n œ. nœ #œ F . nœ n œ . n œ. œ. œ œ . œ. n œ. n œ. nœ #œ F

n œœ. œœ.  . .

œœ œœ  . .

n œœ œœ  . .

œ. œ.

∑ ∑ ∑

œ. # œ  p .

b œ. n œ  . b.

b.

n.

œ. # œ.  p

b œ. n œ. 

n œ. œ. 

œ. # œ. 

b. p

n œ. œ. œ. n œ . p n œ. œ. œ. n œ . p

∑ ∑ ∑

j œ. œ j œ. œ

nœ. nœ.

n œ. œ. 

j œ. œ j œ. œ

nœ. nœ.

œ. # œ. 

div.

j œ. œ n œ . j œ. œ n œ .

j œ. œ j œ. œ

## & ##

69 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

∑

œ nœ .

# # # I. & # n

œ nœ .

#### n  #

‰ n b œœ p ? # # # # ‰ n œœ p &

A œ

∑

n n

œœ œœ œœ œœ ‰ b œœ œœ œœ œœ œœ œœ œœ œœ œœ n # œœ œœ œœ œœ œœ ‰ ∑ Œ

∑

œ nœ



œ nœ



‰ b œœ œœ œœ œœ œœ n œ œ œ œ œ ‰n œ œ œ œ œ

∑

œ œ nœ

nœ

œ œ nœ

nœ

∑

nœ

œ.

nœ

œ.

∑

œ J

‰ n œœ œœ œœ œœ œœ

‰ n b œœ œœ œœ œ œ bœ œ

‰ b œœ œœ œœ œœ œœ

‰

n œœ œœ œœ œœ œœ

œ œ œ nœ œ ‰ nœ œ œ œ œ

‰

n œœ œœ œœ œœ œœ

∑

III. IV.

I. II.

∑

∑ ∑ ∑ ∑

Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? ####

? ####    

∑

# ## & # n

# ## n œ œ œ œ œ & # N œ n n œœ œœ œœ œœ œœ # B # # # n œ n œœœ nœ ? ####



? #### 

∑

œ nœ .

œœœ œ

∑

œ nœ

n

‰ n œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ

‰ n n œœœ œœœ œœœ œœœ œœœ nœ œ œ œ œ

œ œ nœ

 ‰ n œœœ nœ

∑

œœœ œ

œœœ n œœœ œ œ

nœ

∑

nœ

œ.

œ J

œœ ‰ n n œœ œœ œœ n œœ œœ ‰ n n œœ œœ œœ œœ œœ œœ nœ œ œ œ œ n œœ œœ œœ œœ œœ

œœœ ‰ n # œœ œœ œœ œœ œœ ‰ n n œœ œœ œœ œœ œœ ‰ n œœ œœ œœ œœ œœ ‰ n œœ œœ œœ n œœ œœ ‰ n œœœ œœœ œœœ œœœ œœœ œ œ œ nœ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

#

n

nœ

#

n



nœ



nœ



## & ##

75 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV.

I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

####  & ## & ##  &

bœ bœ

∑

‰ n b œœ œœ œœ œœ œœ

? # # # # ‰ n œœ œœ œœ b œœ œœ &

∑

? ####

∑

. œ .

nœ

n

p ‰ n œœ œœ œœ œœ œœ ‰ œœ n œœ œœ œœ œœ

b œœ p bœ bœ p

∑

n

œ nœ . œ nœ .

∑

nœ œ œ œ œ ‰b œ œ œ œ œ

∑

n cresc.

∑

‰ b œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n ‰ ‰

cresc.

nœ œ œ œ œ ‰ œ œ œ œ œ cresc.

∑

œ œ

bœ

∑

b  ..

∑

.

cresc.

‰

n œœ œœ œœ œœ œœ

b

 ..

∑

? ####

∑ ∑

∑

∑ ∑ ∑ ∑

∑

####

∑

# ## & # 

bœ

.

? #### n  . ? #### n  .

œœœ œ

b œœœ œœœ n œœœ œœœ n œœœ œœœ œœœ œœœ œ œ nœ

nœ

∑

‰ n œœ œœ œœ b œœ œœ œœ œœ n œœœ œœœ œœ œœ n œ œ œ œ œ nœ œ œ œ

# B # # # ‰ n n œœœ nœ

∑

nœ œ œ œ œ ‰n œ œ œ œ œ

   

∑

œ œ .

nœ œ œ œ œ ‰ œ œ œ œ œ

œœ

∑

œ œ  ..

n  .

b œœ

∑

œ nœ .

‰ n n œœœ nœ

œœœ œœœ ‰ nn œœœ œœœ œœœ œœ œœ œ œ œœ œ œ œ

.

œœœ œ

.



nœ nœ

∑

œ œ .

n

‰ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ



∑

n

‰ n n œœ œœ œœ œœ œœ nœ œ œ œ œ

∑

cresc.

‰ n œœ œœ œœ œœ œœ nœ œ œ œ œ

‰ # n œœœ œœœ œœœ œœœ œœœ

‰ n œœ œœ œœ œœ œœ nœ œ œ œ œ

‰ # n œœœ nœ

.

n

cresc.

.

cresc.

œœœ œ

## & ##

81 Fl. picc.

# ## & #

Fl.

Ob.

Cl. (La)

Fg.

nœ

dim.

# ## n œ & # . &

∑

dim.

‰ b œœ œœ œœ œœ œœ

œ œ œ œ œ ? #### ‰ œ œ œ # œ œ dim.

dim.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III. I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vc.

nœ

œœ

n œ

‰ œœ œœ œœ œœ œœ ‰

n œœ œœ œœ œœ œœ

b  ..



#œ

œ b œ

n œœ

b 

∑

? ####

∑

? ####

   

dim.



? #### 

dim.

∑

œœ

b 

∑

∑ ∑ ∑ ∑

∑

#œ #œ

n

‰ n œœœ n œœœ œœœ œœœ œœœ ‰ n œœ n œœœ nœ œ

œ œ

nœ nœ

œœ œœ œœ œœ œ œ œ œ

nœ p

‰ n œœœ œœœ œœœ œœœ œœœ  n œ œ œ œ œ n

n 



∑ ∑ ∑

p Œ

p ‰ nn œœœœ œœœœ œœœœ œœœœ œœœœ

œ ‰ Œ J

œ n

n œ œ. n œ. œ œ. . n œ œ. n œ. œ œ. .

œ n œ. # œ. œ. œ . . . n œ œ #œ œ œ ∑ . . . œ bœ #œ œ œ ∑ . œ n œ # œ. œ. œ ∑ ∑ ‰

œ. œ. œ. b œ

∑

I. . œ. œ. n œ ‰ œ p ∑

∑

œ.

œœ

∑

b œœ p> ∑

∑

∑ a2 n œ. n œ. # œ. œ

p . . ‰ . n œ nn œœ # œ œ œ Œ p . . . ‰ bœ nœ #œ œ œ nœ Œ p a2 n œ. n œ. # œ. œ ‰ p

∑

# B # # # ‰ n œœ œœ œœ œœ œœ œ œ œ œ œ ? ####



∑

# ## & # ‰ n œœœ œœœ œœœ œœ œœ

dim.

∑

# ## n œ & #

‰

∑

œ n 

b 

∑

œœ .

œ n

n 

bœ

dim.

œ.

∑

œœ œœ œœ œœ œœ ‰



dim.

∑

‰ b œœ œœ œœ œœ œœ p

dim.

Cb.

n 

dim.

Vle.

n

∑

Ÿ~~~~~~~~ œ œ ‰ Œ J

∑ ∑ ∑

Ÿ~~~~

œ n œ. n œ. œ. œ. n œ . œ œ . œ œ

p p

87 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

####

∑

## & ## ‰

n œ. n œ. # œ. œ

. . . #### ‰ n œ n œ # œ & Œ nœ . . . ‰ # b œ n œœ # œ & Œ . n œ. # œ. ? #### ‰ n œ

œ œ œ

œ n œ. # œ. œ. œ. n œ. . . . œ nœ #œ œ . .∑. œ bœ #œ œ ∑ . œ n œ # œ. œ.

& &

b œœ >

? ####

~~ œ ‰ Œ J ####

# ## œ & # # B ## # œ ? ####

? ####

œ œ

∑ ∑ ∑

cresc.

œ. n œ.

Ÿ~~~~~~~~ œ œ ‰ Œ J

œœ n œœ. œœ. œœ. n n œœ. n œœ. n œœ .. # œœ œœ # œœ

œœ # œœ. # # œœ. œœ. œœ. n œœ.

nœ

œ b œ. œ. œ n œœ. # œ. œ œ

œ. b œ. œ. n œ. œn œ

œ. b œ . n œ œ

n œ.

œ œ. n œ. œ. œ. b œ.

. œ n œœ . # œœ œœ # œœ

œœ # œœ. # œœ. œœ. œœ. n œœ.

. œ œ. œ. œ. b œ. b œ

œ. nœ œ

nœ

œ œ. # œ. œ. œ. œ.

∑

œ b œ. œ. œ. b œ. œ. b œ . œ œ

œ œ. n œ. œ. œ. b œ.

cresc.

b

cresc.

bœ ‰ Œ J

∑ ∑ ∑

∑

œ œ

∑

n œ .

ten.

cresc.

œ œ. œ. œ. œ. n œ. cresc. œ. . œ. . n œ. œ

œ. #œ 

ten.

œ . # œ ten. 

cresc.

n.

cresc.

∑ Œ

∑

Œ ∑ ∑ ∑ ∑

∑

œ œ. œ. œ. œ. n œ. œ . # œ 

n.

nœ

∑ ∑ ∑ ∑

cresc.

Œ Œ

 œ œ. œ. œ. œ. n œ. œ . # œ ten.

∑

n. p cresc.

∑ ∑ ∑ ∑

n œ. n œ. œ. œ. n œ . œ œ . œ œ

œœ

b

n œ. n œ. œ. œ. n œ . œ œ . œ œ

œ # œ. # œ. œ. œ. œ.

∑

n œ. n œ. œ. œ. n œ . œ œ . œ œ

œ. #œ œ #œ

nœ

cresc.

‰ œ œ œ bœ nœ

œ œ. # œ. œ. n œ. n œ.

bœ

n

. n œ. n œ. œ. œ. œ. œ # œ . ‹ œ 

nœ

j ‰ œ œ œ nœ #œ nœ. ‰ Œ n ∑ p cresc. p cresc. ∑ n. ∑

∑ œ

n

. . cresc. œ n œ n n  cresc. . . œ b œ n b 

∑

? ####

œœ

∑

   

∑

‰

cresc.

∑

œ œ

∑

œ. œ. œ. œ. n œ. œ . # œ 

∑

œœ œœ. # œœ œœ. œœ b œœ. . .

#œ

œ .

œœ

cresc.

∑ ∑

∑ ∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~ . F cresc.

. ten. n œ. n œ. œ. œ. œ. œ # œ . ‹ œ  ten. . n œ. n œ. œ. œ. œ. œ # œ . ‹ œ  ten. . n œ. n œ. œ. œ. œ. œ # œ . ‹ œ 

. ten. n œ. n œ. œ. œ. œ. œ # œ . ‹ œ  n.

.

93 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc. Cb.

œ. œ. œ. œ. œ # ## #

ƒ n  a2 #### & ƒ # n # # #  & ƒ a.2 . # nœ œ & ƒ a2 . . œ œ # n œ ? ## # ƒ b & ƒ b 

ƒ Œ

p œœ. œœ. n œœ. aœ.2 œ. œ. œ. b œ. n œ.

n œ. œ. n  œ œ

œœ. œœ. n b œœ.

b œœ. œœ.

œ œ. œ. œ. œ

ƒ œ. œ. œ. œ. œ

ƒ ? ####  ƒ

œ œ. œ. œ. œ

b œœ. œœ.

 >

œœ. œœ. n b œœ. J ‰ Œ . .

nœ œ . .

Ÿ~~~~~ œ œ ‰ œ. œ. J

œ œ. œ. œ. œ

∑

œ œ. œ. œ. œ

j œ ‰ Œ

œ ‰ Œ J œ+ *)‰ Œ J œ ‰ Œ J

œ ‰ Œ J

œ. ‰ Œ J

b œ. ‰ Œ J j b œœ ‰ Œ . j b œ. ‰ Œ

∑

*) See p. 47

‰ bœ œ œ bœ œ œ p ∑

∑

∑ ∑

∑

D œ œ. œ. œ. œ. b œ. n œ. œ. n œ. œ. œ. . . n œ œ œ. n œ. œ. œ. œ.

œ œ. œ. œ. œ. b œ. n œ.

n œ. œ.

∑

nœ œ œ Œ . . pœ œ bœ œ œ . . .

Œ Œ

. n œœ ‰ Œ J

. . .

∑

n œœ. J ‰ Œ

. . . œ œ nœ œ ‰ Œ J. œ œ n œ p. . .

p . . . . . . œ œ œ œ œ b œ n œ œ. n œ. œ. œ. . nœ p . . . . œ œ œ. œ œ b œ n œ. ‰ Œ Œ J

œ œ. œ. œ. œ

œ. œ. 

j œ. œ. b œ. ‰ Œ

Ÿ~~~~~ œ œ ‰ œ. œ. J

œ. œ. 

J ‰ Œ

Ÿ~~~~~ œ œ ‰ Œ J œ Œ Œ Œ Œ œ. œ.

œ œ. œ. œ. œ

œ. ‰ Œ J

Ÿ~~~~~ œ œ ‰ Œ J œ Œ Œ Œ Œ œ. œ.

œ œ. œ. œ. œ

Œ p n œ. œ. œ. n œ. nœ œ œ nœ

p . . . . . œ œ œ. œ œ b œ n œ J ‰ Œ

œœ œœ b œœ ‰ Œ . . .

> œ œ  œ. œ. >

J ‰ n œ. œ. nœ œ

œ. n œ. œ. œ. n œ. . . n œ œ œ.

œ œ. œ. œ. œ. b œ. n œ.

œ. œ.

œ. œ. b > n œœ. œœ. n >

∑

œ. œ. b œ. ‰ Œ J

œ. œ. >

 >

J ‰ Œ

œ œ. œ. œ. œ

œœ. œœ. ba>2

œ. œ. b > ƒ > n œœ. œœ.  > œ œ n > œ œ

? ####  ƒ ? # # # # n  . . ƒ Ÿ~~~~~ œ œ ‰ Œ  J ƒ œ Œ Œ  ƒ Œ Œ œ. œ.  ƒ ∑  Ÿ~~~~~ ? œ œ ‰ œ. œ. J ƒ œ. œ. œ. œ. œ # ## & # ƒ # # # # œ. œ. œ. œ. œ & ƒ . # . . B # # # œ œ œ. œ œ ? ####

œ œ. œ. œ. œ

> œœ. œœ. b  > œ. œ. >

œ œ. œ. œ. œ. b œ. Dn œ. œ. n œ. œ. œ. . . n œ œ œ. n œ. œ. œ. œ.

œœ. œœ. n 

œ. œ. œ



œ œ. œ. œ. œ

œœ. œœ. n 

œ. œ. œ

œ œ. œ. œ. œ

j œ. ‰ Œ

J ‰ Œ

n œ. ‰ Œ J

Œ Œ

œ. œ. n œ œ œ œ . . . .. œ ‰ J p .œ œ. . . n œ n œ œ. œ. Œ

∑

## & # # nœ

99 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

I. II.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

# # # # n œ. œ. œ. n œ. œ. œ. cresc.

b œ. œ. œ. n œ. . . b œ œ œ n œ bb œœ œ œ cresc.

∑

nœ

ƒ n nœ œ œ œ œ œ œ nœ

nœ

œ. b œ. œ. œ n œ . . b œ.

œ.

œ œ.

nœ

œ.

œ œ.

œ.

nœ

ƒ nœ ƒ

nœ bœ

ƒ .œ n œ. . . . œ œ n œ n œ. n  ƒ ∑ b ƒ ∑ b

∑

nœ nœ J nœ nœ J

bœ bœ J

∑

œ œ

nœ

œ. œ œ nœ

nœ

œ. œ œ nœ

bœ

. œ n œ ten.

n

œ nœ

œ bœ .

b

œ bœ

ten.

œ bœ

ten.

.

œ bœ

b

∑

œ. œ œ nœ 

œ œ



œ œ



œ œ

∑

ƒ ‰ bœ bœ F ‰ bœ F œ ‰ nœ

? ####

∑

    ?

∑ ∑ ∑ ∑

 . n œ œ œ œ œ #  . œ œ œ œ œ n  . œ œ œ œ œ n  n œ œ œ n œœ œ

bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ cresc.

? ####

∑

# ## & # nœ &

####

nœ

∑

‰

cresc.

nœ ƒ

nœ œ œ œ œ œ nœ œ œ œ œ œ n cresc. ƒ n œ. œ. œ. n œ. . . . n œ . œ . œ . # n œ œ œ n œ. n œ. B ## # n cresc. ƒ . . . . . ? # # # # n œ œ œ. n œ. n œ. œ. . n œ œ œ. n œ. œ n  œ cresc.

Cb.

cresc. n œ. œ. œ. n œ. n œ. . œ ? #### p cresc. ∑ &

III.

cresc.

# ## & # Œ

III. IV.

Tbe. (Mi)

nœ œ œ œ œ nœ œ œ œ œ œ

? #### Œ

‰

n œ. n œ. œ. p

cresc.

œ. n œ. œ. œ. n œ. . nœ

œœœ œ ‰ œ œ œ œ œ œ œ œ œ œ œœœ œ

‰ bœ œ œ œ œ

œ œ œ œ œ

‰ bœ œ œ œ œ bœ œ œ œ œ

œœ œœ œœ œœ n # œœ œœ œœ œœ œœ ‰

‰ n n œœ œœ œœ œœ œœ

nœ œ œ ‰ œ œ œ œ œ

œ œ œ œ ‰ bœ œ œ œ œ ‰

∑ ∑ ∑ ∑

bœ œ œ œ œ

‰

∑ ∑ ∑ ∑

∑

nœ

‰

œ.

ten.

œ nœ .

ten.

. œ n œ ten.

.

#.

∑

œ œ.

‰ œ œ œ œ œ ‰

∑ ∑ ∑ ∑

nœ nœ J n n n n.

∑ ∑ ∑ ∑

∑

nœ

œ. œ œ nœ

œ nœ



œ nœ



œ œ

n

nœ

œ nœ



œ œ œ œ

## & ##

105 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

œ. nœ œ.

# # # # aœ2 œ œj n œ &

œ nœ nœ œ œ œ

œ. nœ œ.

III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ œ bœ J

J J

nœ

bœ

Tbn.

? ####

I. II.

∑

œ nœ nœ œ œ œ

III.

∑

œ œ œ nœ #### J &

III. IV.

Tbe. (Mi)

∑

bœ

‰ bœ œ œ bœ œ bœ œ œ œ œ ‰

œ.

bœ

œ.

bœ

 n œ œ œ n œœ œ

‰

####

nœ

# B ## # n œ ? ####

? ####

nœ



nœ nœ nœ

œ œ œ œ œ

bœ œ œ œ œ

œ œ œ œ œ ‰ nœ œ œ œ œ

œ œ œ nœ

bœ b J



bœ



nœ

.

ten.

.

ten.

bœ

‰ b b œœ œœ œœ œœ œœ

‰ œ œ œ bœ œ nœ œ œ œ œ ‰n œ œ œ œ œ ‰

ten.

bœ



.

‰ bœ œ œ nœ œ bœ œ œ nœ œ ‰ œ œ œ œ œ nœ œ œ nœ œ ‰n œ œ œ œ œ ‰

bœ

œ. œ œ

nœ

∑

. œ n œ ten.

b

œ bœ

œ œ œ

œ. œ œ

n

ten.

.

œ bœ .

b

ten.

‰ bœ œ œ œ œ bœ œ œ œ œ

‰ œ œ œ œ œ

œ œ œ œ œ ‰ nœ œ œ œ œ

‰

bœ œ œ œ œ

‰

∑

œ nœ nœ œ œ œ nœ nœ nœ

.

œ. œ. œ.

∑ ∑ ∑ ∑

∑ J

nœ n J

œ. nœ œ.

∑ ∑ ∑ ∑

nœ n J

∑

‰

œ œ œ œ œ

bœ œ œ œ œ

‰

œ œ œ n œœ œœ

 . œ œ œ œ œ n  . n œ œ œ œ œ n œ n œ œœ œ n b œœ œ  . n œ œ œ œ œ  œ œ œ n œœ œ

∑

Nœ œ œ nœ #### J &

œ.

∑ ∑ ∑ ∑

‰ bœ œ œ œ œ ‰

   

nœ

bœ œ œ œ œ

nœ œ ? # # # # ‰ n œœ œœ œœ œ œ ? ####

œ nœ bœ œ œ œ

∑

œ œ J

œ J

∑ nœ n J

œ. nœ œ. 

bœ



bœ



bœ

n.

∑ ∑ ∑ ∑

∑

nœ

ten.

nœ

∑

œ. œ œ ten.

.

ten.

n

œ nœ .

.

n

. œ n œ ten.

.

n

ten.

nœ

#œ

nœ

.

œ nœ .

ten.



nœ

## & ##

111 Fl. picc.

Fl. Ob.

Cl. (La)

####

## œ & ## &

Fg.

? ####

I. II.

Cor. (Mi)

nœ

∑

nœ nœ

nœ

n

œ œ n

b

œ œ b

∑

nœ nœ

bœ

œ œ b

∑

œ œ

nœ nœ œ nœ. nœ œ

œ œ J œ œ J

nœ nœ œ nœ. nœ œ

nœ

œ.

bœ

œ.

bœ

∑

bœ nœ œ nœ. bœ œ

nœ

bœ



#œ



œ bœ

bœ



#œ



œ bœ

b

I. II.

‰ œ œ œ œ œ bœ œ œ œ œ

‰ œ œ œ œ œ bœ œ œ bœ œ

‰ bœ œ œ œ œ

? # # # # ‰ œœ œœ œœ œœ œœ

œ œ œ œ œ ‰ nœ œ œ œ œ

‰

bœ œ œ œ œ

nœ œ œ œ œ ‰n œ œ œ œ œ

‰

bœ œ œ œ œ

‰

‰ œ œ œ œ œ nœ œ œ nœ œ nœ œ nœ n.

‰

œ œ œ œ œ

‰

III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? ####

‰ œ œ œ œ œ ‰

.

nœ œ œ œ œ

bœ œ œ œ œ

‰

∑ ∑ ∑ ∑

   

? # ## & #

‰

# ## & # n # B ## # n  n ? ####

? ####  .

nœ

œ œ œ œ œ

∑

nœ

œ œ n œ œ n

nœ

œ œ

nœ

œ œ n

œ œ

‰ n œœ œœ œœ œœ œœ

.

nœ

nœ nœ

œ nœ

œ.

œ nœ

œ.

œ nœ

œ.

n.

. 21

œ œ œ

#œ

bœ bœ

‰ œ œ œ œ œ bœ œ œ œ œ

a2 ‰ nœ œ œ œ œ

œ œ ‰ nœ œ œ œ œ

n.

bœ œ œ œ œ nœ œ œ œ œ

‰ ‰

n.

nœ



#œ



#œ



n.

nœ œ œ œ œ

∑

nœ



bœ œ œ œ œ

∑ ∑ ∑ ∑

∑

nœ



∑ ∑ ∑ ∑

nœ

œ œ œ

‰ œ œ œ #œ œ bœ œ œ œ œ

∑

nœ nœ œ nœ. nœ œ



∑ ∑ ∑ ∑

∑

nœ

bœ

œ œ œ œ œ

∑ ∑ ∑ ∑

∑

œ œ œ œ œ œ

œ œ nœ. œ nœ.

nœ

∑

œ œ nœ. œ nœ.

III. IV.

Tbe. (Mi)

œ œ nœ. œ nœ.

œ nœ J

œ.

nœ

∑

œ œ nœ. œ nœ.

#œ

 n.

œ œ œ nœ nœ nœ

117 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV.

I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

####

a2 œ. #### &

∑

bœ œ nœ n

# ## a 2 & # œ. &

? ####

œ.

bœ

baœ2

bœ œ nœ n

naœ2

∑

#œ.

bœ œ bœ n

œ nœ

œ bœ

nœ.

œ bœ

nœ.

nœ bœ

∑ Ÿ~~~~~~~~~~~~~~~ . œ œ n

dim. n  . Ÿ~~~~~~~~~~~~~~ œ œ

Ÿ~~~~~~~~~~~~~~ . œ œ b

n

bœ

‰ bœ œ œ œ œ bœ œ œ œ œ

‰ nœ œ œ œ œ bœ œ œ œ œ

œ œ œ œ œ ? # # # # ‰ n b œœ œœ œœ œœ œœ

bœ œ œ œ œ

‰

nœ œ œ œ œ ‰n œ œ œ œ œ

? # # # # b ‰ . b œ œ œ œ œ n ‰ . n œ œ œ œ œ

& &

∑ ∑ ∑ ∑

   

∑

####

nœ

# B ## # n œ ? ####

nœ

? #### b  .

#œ. #œ. #œ.

œ nœ œ nœ

œ nœ

n.

œ. œ n

#œ

œ. œ b

b

œ. œ b

dim.

nœ

∑ ∑ ∑ ∑

∑

Ÿ~~~~~~~~~~~~~ .

nœ

n

p j

‰ b œœ œœ œœ b œœ œœ ‰ b œœ œœ œœ œœ œœ # œœ dim. p ‰ ‰ bœ œ œ j œ œ œ œ œ #œ œ nœ p dim. œ œ nœ œ œ œ œ œ œ œ # œœ ‰ nœ œ œ œ œ ‰ nœ œ œ œ œ J p dim. j ‰ ‰ nœ nœ œ œ œ œ n nœ œ œ #œ œ nœ Œ p dim.

œœ

n

œ. œ n

dim.

n

nœ

œ. œ n œ. œ n

dim.

n

dim.

∑

‰ Œ

∑

‰ Œ

∑

‰ Œ

#œ #œ nœ nœ

∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ . œ ‰ Œ Œ J p

nœ. œ #œ

dim.

nœ

œ.

∑

J ‰ Œ p j œ ‰ Œ p j‰ Œ

bœ

∑

dim.

œ #œ œ œ œ. œ œ

F n # œœ ‰ Œ J p n n œœ J ‰ Œ p

dim.

b

∑

œ. œ #œ

# œœ

dim.

∑ ∑ ∑ ∑

# œœ

dim.

∑

bœ œ nœ n

. #### œ

∑

œ #œ œ œ œ. œ œ

œ œœ œœ F

œ # œœ œœ œ

Œ Œ

œœ œœ

‰



œœ œœ œ

œ.

œ J

œœ œœ œœ œœ œœ

‰ #œ œ œ œ œ œ œ œ œ œ



Œ Œ

123 Fl. picc.

Fl.

& &

#### ####

∑

œ œ œ œ œ. œ œ



∑

œ œ œ œ œ. œ œ Œ

œ œ

œ.

∑

œ œ œ œ œ. œ œ ∑

∑

III. IV.

∑

I. II.

∑

∑ ∑ ∑ ∑

Cl. (La)

Fg.

I. II. Cor. (Mi)

Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? ####

? ####    

? &

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ . œ ‰ Œ J #### œ

œ #œ œ œ œ. œ œ

# ## & # ‰ œœ œœ # B ## # ‰ # œ œ œ œ ? #### œ ? #### œ

Œ Œ

œœ œœ œœ

‰



œœ œœ œœ œ

 .

∑

œœ œœ œœ œœ œœ

‰

œ.

Œ Œ

∑ ∑ ∑

œ œ

œ.

∑

œ œ

œ.

œ œ œ œ œ. œ œ

∑ ∑ ∑

œ œ 23

‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

 

Œ Œ

œ œ

Œ Œ

œ œ

œ.

∑

∑ ∑ ∑ ∑

Ÿ~~~~~~~~~~~~~~~~ .

œ œ œ œ œ. œ œ

‰ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ

 ..

∑

∑ ∑ ∑ ∑

œ œ œ œ œ. œ œ

‰ nœ œ œ œ œ œ œ œ œ œ

 .

Ÿ~~~~~~~~~~~~~~~~~~ j . œ ‰ Œ

∑

 ..

œ œ œ œ œ. œ œ

‰ #œ œ œ œ œ œ œ œ œ œ



∑

# ## & #

Ob.

œ.

‰

œ.

œœ œœ œœ œœ œœ

‰ œ œ œ œ œ œ œ œ œ œ

 

Œ Œ

129 Fl. picc.

Fl.

Ob.

Cl. (La)

#### 

# ## & #

# ## & # &

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

f > ? #### œ

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

≈ œ œ

œœ. ‹ ‹ œœ. # œœ. J ‰ Œ œœ. ‹ ‹ œœ. # œœ. ‰ Œ J œœn

≈ œ œ

œœn

. # œœ. œœ. ‹ ‹ œœ. # œœ J ‰ Œ ≈

. œ. ‹ œ. œ. ≈ # œœ œ ‹ œ # œJ ‰ Œ

œ. œ  Œ

œ. œ #

>œ

œ œn

≈ œ œ

≈

>œ. œ. >œ. œ. >œ. œ. >œ. œ. >œ. œ. >œ. œ. œœœœœœ œœœœœœ

>œ

cresc.



bœ. œ 

bœ. œ n

& &

? #### Œ ? #### Œ

j ‰

j ‰ #œ. œ #œ F œ. œ œ Œ œ . œ œJ ‰ F III. Œ # œ . œ # œJ ‰ F

œœ .. œœ œœ

j ‰

‰

œœ .. œœ œœ

œ. œ #œ œœ .. œœ œœ

œ. œ #œ

> > > > > > œœ. n œœ. # # œœ. œœ aœ2. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

≈ œœ Œ

j ‰

œ . œ œJ

cresc.

n œ. œ œ. œ œ. œ n œ. œ œ. œ œ. œ > . > . > . > . > . > . cresc.

œ . œ >œ. œ. œ œ

j œœ .. œœ œœ ‰

œ. œ œ œœ .. œœ œœJ

cresc.

>. œ. >œ. œ. >œ. œ. # >œ. œ. >œ. œ. >œ. œ. œ œ œ. œ #œ

œ. œ # Œ

œ . œ # >œ. œ. >œ. œ. >œ. œ. # >œ. œ. >œ. œ. >œ. œ.

œ. n œ. # œ. œœ œ ≈ œ œ # œ nœ



œœ

cresc.

bœ. œ n

œ. œ 

bœ. œ 

   

>œ

œœn

bœ. œ 

nœ. œ 

. # œœ. œœ. ‹ ‹ œœ. # œœ # œœ. J ‰ Œ ≈ ≈ f . œ. ‹ œ. œ. . ≈ # œœ œ ‹ œ # œJ ‰ Œ ≈ # œœ f a2 .  œœnœ œ 

Fg.

œœ

‰ ‰

œ. œ

# ## & #  f # œ B ## # f

? #### œ f ? #### œ f

œœ



œœ



œœœœ œœœœœœ

cresc. œ . œ # >œ. œ. >œ. œ. >œ. œ. # >œ. œ. >œ. œ. >œ. œ. cresc.

Œ œœ .. œœ œœ œœ œœ . . >. >cresc. Œ n œ . œ # œ. œ. œ. >cresc.>

œœ œœ œœ œœ œœ œœ . >. . >. . >.

∑

Œ Œ

∑

∑ ∑ ∑ ∑

œœ œœ œœ . . . >

œ. œ. œ. # œ. œ. œ. œ. œ. œ. > > > >

Œ Œ

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j . . . . œ‰ f >. . n œ. œ n œ. œ n œ. œ # œ œ. œ #œ œ

####  &

>œ. œ. >œ. œ. >œ. œ. >œ. œ. >œ. œ.

∑

>œ. œ. >œ. œ. # >œ. œ. >œ. œ. >œ. œ.

œœ

. >œ. œ. >œ. œ. >œ. œ. >œ. œ. >œ. œ. œ > . œ œ œ. œ œ cresc.

œœ

≈ œ  ≈ œ  ≈ œ 

n œ. œ 

œ œ

œ œn

≈ œ  ≈ œ  ≈ œ 

œ. œ  œ

œ œ

≈ œ  ≈ œ  ≈ œ 

n œ. œ #

œ œ

≈ œ ≈ œ ≈ œ

cresc.

n œ. œ. œ. œ. œ. œ. n œ. œ. œ. œ. œ. œ. > > > > > > cresc.

n œ. œ œ. œ œ. œ n œ. œ œ. œ œ. œ > . > . > . > . > . > . cresc.

œ. #### J ‰ Œ & ƒ.

135 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

## & ## J ƒ . # # # # œœ J & ƒ . # Jœœ & ƒ ? #### ‰ & & & &

‰ Œ

Vln. II.

Vle.

Vc.

Cb.

œ œ œœ œ

œ. ‰ Œ œ

J ƒ. œœ J ‰ Œ ƒ œœ. ‰ Œ J ƒ j œ. ‰ Œ ƒ

   

 ..

ten.

œ œ œ œ œ œ

.

œ œ œ œ œ.

œ œ

œœ

œœ a 2 œ œ œ . œ

œ œ

ƒ ƒ

 ..

 .. œ œ œ œ œ.

œ J

œ.

œœ œœ œœ œœ œœ œœ

œ œ

œ.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ œ

 œ  œ œœ œœ œœ œœ œœ œœ

œ œ

œ.

. ƒ œœ œœ œœ œœ œœ œœ

 ..

ten.

∑

# ## J ‰ Œ & # Z. œ # ## # J ‰ Œ & Z œ œ œ # B ## # ‰ ƒ ? #### ‰ œ œ œ ƒ ? #### ‰ œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

ten.

∑

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

ten.

∑

. ƒ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

? #### ‰ œ œ œ œ œ ƒ a2 œ œ œœ œ ? #### ‰

œ.

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ

œœœœœ ƒ  ..

œ œ

. .

œœ œœ œœ ≈ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈

œœœ≈ ‰ œœœœœœœœœ≈  Œ

 

œ œ

ƒ . œ Œ Œ ∑  ƒ œ Œ Œ ∑ ∑ ƒ . . œ œœœœœœœœœ≈   œ Œ Œ ∑ ∑ ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . ƒ

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ.

œ œ

œ œ œ œ. œœ

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

œ 25

.

œ œ œ œ œ.

œ œ  

œ.

œ J

œ.

œ œ

139 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

& & & &

I. II.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

. # # # #  . #

& &

III.

####

œ #œ œ œ œ. œ #œ œ œ œ. œ #œ œ œ œ.

? ####  . .

III. IV.

Tbe. (Mi)

####

œœ œœ œœ

œœ œœ œœ œœ œœ

œœœœœ . ? # # # #  . ? ####

 

 ..

œ œ

 

œ.

œ J

œ œ œ

œ #œ œ œ œ. œ #œ œ œ œ.

n 

n œœ

œ #œ œ œ œ.

#. #.

œ.

#œ J

œ.

# œœ œœ œœ œœ œœ œœ œœ œœ

œ œ

œ.

œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ œœ b œœ œœ œœ

œœ œœ œœ

‰ n œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ œœ

œœ œœ œœ

‰ œœ œœ œœ œœ œœ œœ œœ

 Œ

œ œ

‰

œœ œœ œœ

œ œ œ ≈ ‰ œ œ œ œ œ œ œ œ œ ≈ bœ œ œ œ œ  n  .. Œ

œ œ

# œœ

‰

∑ ∑

œ #œ œ œ œ.

œ œ

#### œ

œ #œ œ œ œ.

œ œ

####

# B ## #

? ####  . ? ####  .

œ #œ œ œ œ.

œ œ  

œ.

‰ œœ œœ œœ œœ œœ œœ œœ F ‰ œ œœœœœœ F

Œ F Œ

œ  F

œ #œ œ œ œ.

œ œ

œ.

œ #œ œ œ œ.

œ œ

#œ J

œ.

#œ J

œ.

œ œ

œ #œ œ œ œ.

œ œ œ

#.

#. 26

œ.

#œ J

‰ œœ œœ œœ œœ œœ œœ œœ F

œ J

œœ œœ œœ œœ œœ œœ œœ

a2 ‰ œ œœœœœœ F

#œ J

F œœ œœ œœ œœ œœ œœ œœ ‰ F œ ≈ nœ œ. #œ J F

.  œ ∑ œ œ œ œ œ œ œ œ œ œ ≈ .  œ ∑ Œ

œ ≈ nœ œ.

œœ

#œ J

œ œ œ ≈ ‰ nœ œ œ œ œ œ œ

#.

#œ J

œ ≈ nœ œ.

œœ œœ œœ ≈ ‰ œœ œœ œœ œœ œœ œœ œœ

#œ J

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . œ œœœœœœœ ‰ J

œ œ

œ.

œœ œœ œœ ≈ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ ≈ œœ œœ œœ œœ œœ

. .

.  œ .  œ

 

œ œ

œœ

∑

œ œ

∑ Œ

∑

œ 

‰ œ œ œ œ œ œ œj ‰ F

œ ≈ nœ œ.

#œ J

œ ≈ nœ œ.

#œ J

F F

œ ≈ nœ œ.

#œ J

####

144 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ ≈ nœ œ.

# # # œœ œœ œœ œœ œœ œœ œœ & # ‰ &

œ ≈ nœ œ.

? #### ‰ & & & &



> > œ œ # œ œ œ œ . œ >œ œ # œ ƒ œ œ # œ œ œ œ . œ >œ >œ >œ ƒ >œ n >œ >œ #a2 nœ ƒ b

 

ƒ b ƒ

# 

Œ ∑

ƒ b

œœœœœœœ Œ

> > œ œ # œ œ œ œ . œ >œ œ # œ

‰ œœ œœ œœ œœ œœ œœ œœ

? #### œ



‰ œœ œœ œœ œœ œœ œœ œœ ‰

ƒ n # 

œ œ œ œ œ n œœ

nœœ

ƒ œ Œ Œ  œ‰ J ƒ œ Œ Œ ∑ ƒ œ Œ œ  œ‰ J  ƒ œ Œ Œ ∑ ƒ Ÿ~~~~~~~~~~~~~~  œ‰ ‰ œœœœœœœ ‰ J J ƒ

œ #### ≈ n œ œ . &

# ## & # œ ≈ nœ œ.

œ J

# œ ≈ nœ œ. B ## # ? #### œ ? #### œ

# >œ >œ >œ

‰ œœ œœ œœ œœ œœ œœ œœ

? # # # # œœ

 

œœ œœ œœ œœ œœ œœ œœ

œ œ #œ œ œ œ

>œ >œ >œ >œ >œ >œ

œ œ œ #œ œ.

œ œ

#œ

∑

œ. J

#œ. Z

œ œ

œ. J

œ. Z

∑

>œ n >œ >œ >œ n >œ >œ

œ.

œ œ #œ œ œ.

œ œ

œ œ #œ œ œ. œ

œ.

œ œ œ #œ œ.

œ j

œ œ nœ œ œ œ nœ œ

œ œ #œ œ œ.

œ œ œ #œ œ.

œ œ œœ œ # œœ œ œ ‹ œ œœ œ œ œ ‹œ œ œ. œ #œ œ J

œ.

œ. J

∑ ∑

∑

œ.

Z j

œ œ #œ œ

œ œ œ œ nœ œ œ #œ œ œ œ œ œ nœ œ œ #œ œ j

Z œ. Z #œ. Z

œ. J

œ.

∑ ∑

œ œ # œ œ œ œ . œ >œ >œ # >œ

> > > a2 œœ nœ œ œ œ # œ > > >

nœ

n œœ œ œ œ œ

> > œ œ # œ œ œ œ . œ >œ œ # œ

ƒ #

œ œ

# >œœ n >œœ >œœ

nœ

œ œ œ #œ œ.

bœ œ œ œ œ bœ œ œ œ œ Z

>œ >œ >œ

œ œ œ œ #œ œ œ ‹œ œ

#œ œ œ # >œ >œ >œ

> > œ œ # œ œ œ œ . œ >œ œ # œ

ƒ #

nœ œ œ œ œ

∑

∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . ƒ

Z œ J

Z #œ #œ

œ œ œ #œ œ.

œ œ

œ œ œ #œ œ. #œ. Z #œ. Z

œ œ

œ œ J

œ. J œ. J

œ œ J

œ œ œ

œ œ

œ.

œ œ

œ.

œ œ œ #œ œ. œ œ œ #œ œ.

œ œ J

œ. J

œ œ

nœ œ œ œ œ #### & Z

Fl. picc.

# ## & #

Fl.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

#### œ & Z a2

Ob.

œ œ œ #œ œ.

œ œ

œ. Z

bœ œ œ œ œ bœ œ œ œ œ Z

& &

œ. J

#œ. Z

œ œ

œ œ œ #œ œ.

œ.

? # # # # #aœ2

œ.

####

Z œ. Z

œ œ #œ œ œ.

œ œ

Z .œ œ. œ. œ. >œ . œ  .

œ #œ œ

œ œ œ. œ. œ. œ.

œ œ #œ œ œ #œ œ

œ n œ œ œœ œ nœ œ Z œ œ œ œ #œ œ œ. œ œ

œ. œ. œ. œ. >œ . œ œ .

œ œ. œ. œ. œ.

‹œ œ œ #œ œ #œ

œ œ #œ œ œ.

œ œ œ #œ œ.

œ.

Z j

œ.

œ œ œ œ nœ œ œ #œ œ œ œ œ œ nœ œ œ #œ œ j

œ œ œ œ

œ. œ. œ œ. .

œ œ œœ œ # œœ œ œ ‹ œ œœ œ œ œ œ œ œ ‹œ œ œ. œ #œ œ œ nœ #œ J

nœ œœ ? #### œ œ œ œ. Z ? # # # # #aœ2 #œ. Z    

F . . . œ œ # œ œ œ œ œ œ. œ

œ œ œ œ #œ œ œ ‹œ œ

149

œ #œ œ #œ

œ œ

œ œ œ œ

œ œ

n œœ # œœ

œ. œ. œ. œ. œ

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . œ Œ Œ

∑ ∑ ∑ ∑

#### œ œ & J # œ B ## #

Z ? #### # œ ? #### # œ

œ œ œ #œ œ.

œ œ

œ œ œ #œ œ. #œ. Z #œ. Z

œ œ œ #œ œ.

œ œ

œ œ J

œ.

œ. J

œ œ

œ œ œ

œ. F œ œ. œ. œ. œ.

œ.

œ œ

‹œ

œ œ

œ. œ

œ œ. œ. œ. œ. œ

œ.

œ nœ #œ

œ.

œ œ œ #œ œ. œ œ œ #œ œ. 28

j ‹œ

œ œ #œ

‹œ œ œ #œ

œ œ

n œœ # # œœ

œ.

Z . . œ. œ œ. œ >œ . œ œ .

œ n œœ # # œœ

œ.

Z #  .. Z

 ..

#. Z Z. œ . Z #  ..

œ #œ œ #œ

œœœ 

œ œ œ  .

œ œ œ

#. Z . Z

.

n. .

∑ ∑ Ÿ~~~~~~~~~~~ .

n.

Z . . . œ. œ œ œ >œ . œ œ .

n  ..

Z  .. Z

œ.

œœœ 

œ œ œ .

œ. œ. œ. œ. >œ . œ œ .

œœœ 

œ.

 ..

∑ œ Œ Œ

∑

nœ

œœœ 

. 

∑ ∑

∑ Ÿ~~~~~~~~ .

œœœ  œ œ œ . . . .

## & ##

155 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & &

####

œ œœ

#### œ #

œ œ œ œ œ. œ œ. œ œ.

#œ œ. œ œ

œ œ œ œ œ. œ œ. œ œ.

#œ œ. œ œ

œœ a 2œ œ œ . œ œ . œ œ . œ

œ. œ œ.

? #### œ

œ. œ œ.

œ œ. œ œ nœ

œ œ. œ 

#œ œ. œ œ

œ œ œ œ œ. œ œ. œ œ.

 #œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

œ œ œ œ œ. œ œ. œ œ.

# œ œ . œ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ

œ œ œ œ œ. œ œ. œ œ.

œ #œ œ œ œ. œ œ. œ œ.

nœ

œ. œ œ.

œ œ

œ. œ œ.

œ œ. œ œ

bœ

œ. œ œ.

œ œ. œ œ

œ #œ œ œ œ. œ œ. œ œ.

? # # # # œœ . œ œœ .

œ n œœ . œ œ

œ œ

& &

œ œ œ œ œ. œ  œ œ œ œ œ. œ 

œ œ œ œ œ. œ  ? #### œ . œ œ . œ œ œ . œ œ

nœ

œ œ. œ 

œ # œ œ œ œ . œ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ

nœ

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

œ œ

œ . œœ œ .. œœ œ .. œœ œ .. œœ œ .. œœ œ .. œœ œ. œ œ œ œ œ

œœ

œ . œœ œ . œœ œ . œœ œ . œœ œ . œœ œ . œœ œ. œ. œ. œ. œ. œ.

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

œ œ. œ œ

bœ

œ œ. œ œ

. œ # œ œ œ œœ . œ œœ . œ œœ . œ œ œœ œœ . œœ œ

œ #œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ . œ # œ œ œ œœ . œ œœ . œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ

nœ

œœ

œ. œ œ. œ œ

œ œ œ œœ .. œœ  œœœ

œœ . œ œœ .

œ n œœ . œ œ

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~  œ. œ œ. œ œ. œ œ. œ  œ. œ œ. œ œ. œ œ. œ œ. œ

  

∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j .  œ ‰



? # ## & # &

œ œ. œ œ

#œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

œ œ œ œ œ. œ œ. œ œ.

#### œ . œ œ .

# œ. œ œ. B ## # ? #### œ ? #### œ

œ œ. œ œ œ œ. œ œ

nœ

∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j .  œ ‰

#œ œ. œ œ

œ œ œ œ œ. œ œ. œ œ.

œ #œ œ œ œ. œ œ. œ œ.

œ œ. œ œ

œ #œ œ œ œ. œ œ. œ œ.

nœ

œ œ

œ œ. œ œ

nœ

∑ ∑ œ. œ œ. œ œ. œ ∑

∑ ∑ œ. œ œ. œ ∑

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

#œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

œ # œ œ œ œ . œ div.œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ

œ #œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

nœ

œ œ

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ



161 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

####

## & ##

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ

# # œœ .. aœ2 œ . œ œ . œ œ . œ œ . œ œ . œ œ & ## &

œœ .. aœ2 œ . œ œ . œ œ . œ œ . œ œ . œ œ

? #### œ

œœ

œ œœ

& &

œ ? # # # # œœ ? #### œ

   

& &

####

∑ ∑ ∑

œ œ œ œ œ œ œ

Œ Œ

∑ ∑ ∑ ∑

œœ

œ œœ œœ

# # # # œœ .. œ œ . œ œ . œ œ . œ œ . œ œ . œ œ

# œ. B ## # œ œ . œ œ . œ œ . œ œ . œ œ . œ œ

? #### œ

œ œ. œ œ. œ œ. œ œ. œ œ. œ œ Œ

∑

###

∑

∑ ∑ ∑ ∑

###

### n ###

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ

? #### œ .

dim.

∑

∑ ∑ ∑ ∑

œ‰Œ Œ œ p

###

∑ ∑ ∑ ∑

∑

∑ ### ###

œ œ œ œ œ. œ. œ. 3

œ œ œ œ œ. œ. œ. ≈ 3

∑

‰ œœœœœ œœœœœœ ‰ œ œ œ p pizz.

∑

œœœ œ

≈

∑

pizz. ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ œœ p

# # # pizz. ‰ œœœ œœœ œœœ œœœ œœœœ p ### ∑ ###

∑

œœœ œœœ œœœ œœœ œœœ œœœ ‰ œœœ œœœ œœœœœœ œ œ ∑

pizz.

∑

pizz.

Œ Œ

œœœ œ

œœ œœ œ œ

œœœ œœœ œ œ Œ Œ

## & #

168 Fl. picc.

Fl.

Ob.

Cl. (La)

∑

œ œ. œ. œ.

œ. > ### J œ & ## & # &

? ###

≈

∑

œ œ. œ. œ. œ. œ. œ. œ. . œ. œ. . œ. œ. >œ œ œ J J ≈

∑

≈

∑

∑ ∑ ∑ ∑

## & #

‰ œœ œœ œœ œœ œœ

‰ œ œ œ œ œ

œ ‰ œœ œœ œœ ‰ œ J

III. IV.

∑

I. II.

& &

III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

I. II. Tbn.

cresc.

∑

III.

∑

Tbe. (Mi)

cresc.

∑

Cor. (Mi)

œ œ. œ. œ. œj œ. > œJ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ J ≈ J œ ≈ ≈ ≈ ≈

œ. >œ J

∑

I. II.

≈

œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ

∑

Fg.

∑

? ###

? ###    

∑

###

# B ## ? ###

? ###

∑

‰ œœœ œ

œœœ œ

œœœ œœ œœ œ œœ œœ

∑

œ œ œ œ ‰ œ ‰ Jœ J J div. œ œ ‰ œ œ œ ‰ œJ ‰ Jœ ‰ Jœœ ‰ œœ ‰ œœœ œ

œœœ œ

‰

œœ œœœ œ

œœ œœ

œ œ

j œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœj œ œ œ œ J #œ J J

œ œ

#œ

∑

œ œ œ œ

cresc.

œ œœ œ œ

cresc.

œ œ

cresc.

œ œœ œ œ œ œ

œ œ œ œ

œ œ

173 Fl. picc.

. œ. œ. œ. œ œ. œ. œ. œ. œ. œ ≈ # ##

F . œ. œ. œ. œ œ. œ. œ. œ. œ. œ ≈ # # & # F # # # I.œ. œ. . œ. œ ≈ œ. . œ. œ. œ. œ œ & a2

Fl.

Ob.

Cl. (La)

Fg.

I. II.

F a 2 . œ. . œ. œ œ œ ≈ œ. œ. œ. œ. œ. & F j nœ œ ? ### œ . œ. nœ œ F &

Cor. (Mi) III. IV. I. II. Tbe. (Mi) III. I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

 

œ œ



bœ

∑

œ. >œ

œ œ

‰ Œ

∑

‰ Œ

∑

œ. œ ‰ Œ J >

œ. >œ ‰ Œ J œœ Œ œ Œ œ

œ Œ

∑

? ###

∑ ∑

∑



∑

? ###

  

j # # # œœœ & J F ## j & # œœœ J F # B # # œj œ J F ? ### œ J F ? ### œ J F

∑

∑ ∑ ∑

∑ ∑ ∑ j

œ œœj ‰ ‰ œ J ‰ J ‰ ‰ œj œj ‰ œ œ J J ‰ ‰ œj œj ‰ nœ œ J J ‰ ‰ n Jœ œ ‰ J ‰ ‰ n Jœ Jœ ‰

œ Œ œ œœœ Œ œ f

Œ œœœ œ Œ œ fœ œœ Œ œœ œœ Œ f

arco. œ œ œ. ‰ ≈ R œ arco. œ œ œ. ‰ ≈ R œ

.. œ . F

œJ

 .. œ . F

∑

.. ‰ œœ œœ œœ F

# œœ # œœ

œ . œ .

œJ # œœ

œœ ..

œ # œœ

œ .

∑

œœj # œœ J

∑

œ n œœ J

 .  ..

nœ

∑

œœ œœ

‰ œœ œœ œœ œœ œœ

.. ‰ œ œ œ # œ œ F .. ∑

‰ œ œ œ #œ œ

‰ œ œ œ nœ œ

‰ œ œ œ bœ œ

∑

∑ ∑

∑

.. .. .. .. ..

∑

∑ ∑ ∑

∑

∑ ∑ ∑

∑

∑ ∑ ∑

œ œ œ œ œ œ. # œ. œ. œj œ. >œ ≈ J ..

œ œ. # œ. œ. œj œ. > œJ œ. œ. œ. œj œ. >œ J ≈ J œ ≈ J

.. œ œ œ œ œ œ œ ≈ œj j œ. œ . # œ. . F >

j œ œ # œ œ. ≈ œj œj œJ œ. œ œ. ≈ œj œ. j œ . . . . >œ >

arco

arco .. ‰ œœ œœ # œœ F œ. .. œ . J F œ. .. œ . J F

œœ œœ œ œ

‰ œœ œœ # œœ œœ œœ

œ œ œ ‰ œœ œœ œ # œ œ

œ.

œ. œ J

œ.

œ. œ

j œ. œ j œ. œ

œ n œ. œ. œ. J

œ n œ. œ. œ. ≈ J

‰ œœ œœ œœ œœ œœ

 

≈

œ œ

## & #

179 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

## & # &

I. II.

III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

≈ œ #œ #œ  f a2

∑

? ### &

∑

III. IV.

Tbe. (Mi)

###

∑

∑ # f

∑



I. ? ###  f III. ? ###  f

œ œ



## & # œ. œ œ. œ œ œ œ œ œ. f

œ œ. œ œ œ œ œ œ. # B # # # œœ .. œ œ

 

≈

#

œœ

œ œ #œ #œ œ. nœ

œ #œ. #œ œ œ œ

∑

œ œ œ œ œ. œ. œ.

F b.

œ œ. œ. œ.

œ. >œ J

∑

.

∑ ∑

∑

∑ ∑ ∑ ∑

∑

œ . œ œ . œ œ œ œ œ Ÿ~~~~~~~~~~~~~~~ . œ œ œ œ. œ. œ. œ œ œ

œœ. œœ.

. . . . . ‰ œœ œœ œœ œœ œœ

œ. œ œ. œ œ œ œ œ .

œœ œœ . .

‰ n œœ œœ œœ œœ œœ . . . . .

Ÿ~~~~~~~~~~~~~~~

œœ

œ n œ. œ œ. œ œ. œ p . . .

œ . œ œ . œ œ œ œ œ Ÿ~~~~~~~~~~~~~~~ . œœ œ œ œ œ œœ œœ œœ

œœœ œœœ



œ œ

 33

. . . p œ Œ

≈

œ œ. œ. œ. J ≈

œ. >œ J

∑

ƒ ∑ ∑ ∑ ∑

≈

∑

bœ ƒ



≈

∑

n œœ ƒ



∑

œ #œ. #œ œ

bœ ƒ



∑ ∑ ∑ ∑

œ #œ. #œ œ

# 



∑

≈ #œ #œ œ. bœ œ œ f ƒ



∑



∑ ∑ ∑ ∑

œ œ œ œ œ. œ. œ.

≈ œ #œ #œ œ. nœ œ

∑

œœ #  œ



. ### œ œ œ . œ œ œ œ œ œ .

œ #

# 

∑

? ###  f ? ###  f

#œ #œ 

≈ #œ #œ  œ f

∑ ∑ ∑ ∑

∑

#

   

œœ

#  f

≈œ f

∑

. . . .

‰ œœœ œœœ œœœ œœœ œœœ . . . . .

pizz.

185 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

###

∑

œ. > ### J œ & I. œj

## & # &

? ###

I. j

∑

œ. >œ J

∑

œ n œ. œ. œ. œ. œ. œ. œ. . œ. # œ. . œ. œ œ œ œ œ n œ. . œ. œ œ œ

≈

∑

≈

œ. >œ J

∑

œ b œ. œ. œ. œ. œ. œ. œ. . œ. # œ. . œ. œ œ œ œ œ n œ. . œ. œj . > œ ≈ œJ œ ≈ ≈ œ ≈ œ ≈

∑

.. ‰ Œ ..

∑

.. ‰ Œ ..

∑

œ. >œ J

‰

∑ Œ

∑

œ. >œ ‰ J

∑

I. . . ≈ œ. œ # œ  p ∑

œ. œ. # œ. 

∑

∑ A

∑

≈

III. IV.

I. II.

∑

∑ ∑ ∑ ∑

.. .. .. ..

∑ ∑ ∑ ∑

Tbe. (Mi) III.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? ###

? ###    

? &

∑ ###

## & # # B ## ? ###

? ###

∑

œ œ œ œ . œ. œ. pizz. œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ J J J J F pizz. nœ ‰ n œœ œœ œœ ‰ œJ ‰ œœJ ‰ œœ ‰ # œœ J J . . . F

. ‰ œœœ. .

œ œ

. .

œœœ ‰œœœ

œ ‰ œ

‰ œœ œœ œœ

‰ n œœJ

j œœœ œœœ ‰ n œœœ ‰ œœœj ‰ œœœj ‰ # œœjœ ‰ œœœ œœœ œœœ J J J J œœœ . .

Œ Œ

j ‰ n œœœ œ J

pizz.

œ œ

∑

œ Œ

œ 34

∑

œ œ arcoœ œ œ œ. œ. . œ œ œ ‰ Œ Œ .. œ ‰ ‰ 3 J

œ œ œ œ. œ.

œœ ‰ Œ Œ .. œœ arco œ. œ. œ. J p

j j œœœ ‰ Œ Œ .. œœœ œœ. œœ. œœ. œ œ

arco non div.

J p

j œ >œ œ œ ‰ J J .. œ j

arco

œ j ‰ J >œ Jœ .. œ œ j

arco

Œ Œ

œ. œ. ‰ œ.

œ. œ.

œ ‰ œ J

œœ. œœ. ‰ œœ. arco

œ ‰ œ J

arco

œ. œ.

œœ. œœ. œœ. œœ.

œ ‰ J œ ‰ J

## & #

∑

191 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

###

# # . œ. # œ.  & # ≈œ &

? ### ≈

œ. œ. # œ. 

≈ œ. œ. # œ. œ

∑

. œ. # œ. œ ≈œ

∑

≈ œ œ. # œ. œ . . . . . œ. ≈ œ œ #œ

œ œ œ œ. œ. œ. J >œ ‰ I.

∑

œ œ œ œ. œ. œ. J >œ

œ œ œ œ. œ. œj . œ > 3

∑

œ œ œ œ. œ. œ. > J œ

∑

œ œ œ œ. œ. œj . œ > 3

∑

œ œ œ œ. œ. œ. > J œ

œœœ ∑

∑

III. IV.

∑

I. II.

∑

∑ ∑ ∑ ∑

œ œ œ œ. œ. . >œ œ

œ œ œ œ. œ.

Cor. (Mi)

Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? ###

? ###    

∑

œ œ œ œ. œ. . œ œ J 3

## . & # œJ œ > ## & # ‰ œ.

œ. œ.

? ### œ

# B ## ‰

? ### œ

œœ.

œœ. œœ.

œ. œ. ‰ œ œ œœ. œœ. ‰ œœ j œ ‰ œ j œ ‰ œ

Œ Œ

œ œ œœ

‰ œ œ œ œ œ œ p. . .

œ œ œœ

j œ ‰ œ j œ ‰ œ

Œ Œ

œ œ œ. œ.

œ œ œ œ œ. œ. œ. œ.

œ œ œ œ œ œ œ œ

œ œ œ œ

j‰

œ œ œ œ

œ œ œ œ Œ Œ

œ œ œ œ

∑

œ œ œ. œ.

∑

œ œ œ œ. œ.

œ. >œ J

b œœ œœ . .

œœ œœ œœ œœ . . . .

∑

œ ‰ œ œ œ œ œ œ œ œœ ‰ œœ œœ œœ

∑

œœœ

∑ b œœ œœ . .

‰ œœ œœ œœ p. . .

∑

œ œ œœ

∑

I. II.

œœœ

œ œ œ œ œ œ œ œ

œ œ œ œ

j‰

œ œ œ œ. œ.

œ. >œ J

œ œ œ œ

œ œ œ œ Œ Œ

œ œ œ œ

œ œ œ œ œ œ œ œ

œ. ‰ J œ. ‰ J

196 Fl. picc.

###

Ob.

Cl. (La)

# # I. & # œJ ‰ Œ &

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III. I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & &

j œœ ‰ Œ

∑ ∑ ∑

∑ Œ

∑ ∑

∑

œ ‰ Œ œ

∑ Œ

? ### J ‰ Œ I.

Fg.

## J ‰ Œ & # I.

Fl.

∑

G œ œ œ œ œ œ nœ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ p n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ p

n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ # œœ p œ œ œ œ œ œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ bœ œ œ œ œ œ nœ p œ œ œ  œ. œ œ œ nn œœ .. œ œ œ œ. œ œ œ p

bœ œ œ œ œ œ p a2

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ

œ œ

bœ bœ

œ œ œ œ œ œ b œ œ œ œ œ œ œ œ b œœ œœ œœ œœ

œ œ œ œ œ œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ

∑

? ###

∑

   

∑ ∑ ∑ ∑

? ###

∑

G . œ œ. œ œ. œ œ. œ œ. œ n œ œ ### œ . & ## œ œ. œ œ. œ œ. œ œ. œ œ. œ n & # œœ .. # œ. B ## œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ n 

œ œ. œ œ. œ œ. œ œ. œ œ. œ n ? ### œ . ? ###

∑

œ.

∑

nœ œ

œ. #œ œ.

œ.

nœ œ œ 

nœ œ

œ. #œ œ.

œ.

nœ œ œ 

nœ œ nœ œ

œ. #œ œ. œ. #œ œ.

œ œ œ nœ. 36

J J J

œ J

œ œ œ

œ. 

nœ œ œ  nœ œ œ  #œ

œ œ

bœ

## œ œ œ œ œ œ & #

œ œ œ œ œ œ

## œ œ œ œ œ œ & # œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ

. .

na2.

œœ œœ œœ œœ œœ œœ

∑

202 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III. I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

## & #

œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œ œ œ œ

œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b œœ œœ œœ œœ œœ œœ

# œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ

∑

? ###

∑

   

∑ ∑ ∑ ∑

. ? ###  .

∑

& &

? ###

& &

∑

∑ ###

#

### # 

# B ## #  ? ###

#

? ###  .

œ œ

 

œ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ

œ œ

  b œœ

œœ œœ œœ n œœ œœ

œ œ œ œ b œœ œœ ∑

∑

œœ œœ œœ œœ œœ œœ

∑

œ. #œ œ.

œ œ œ.

œ 

œ œ

œ. #œ œ.

œ œ œ.

œ œ

œ. #œ œ.

œ œ œ.

œ 

œ œ

J J

œ. #œ œ. 

œ œ

œ œ œ.



œœ œœ œœ œœ œœ œœ

 ..

III.

œ  œ  .

∑

n. p

∑ ∑ ∑ ∑

∑

œ œ

œœ œœ œœ œœ œœ œœ

∑



 n.

œ œ œ œ œ œ œ œ

207 Fl. picc.

Fl.

Ob.

Cl. (La)

### œ œ œ œ œ œ

œœ œœ œœ ## & # # # œœ œœ œœ & # &

I. II. Cor. (Mi)

? ### n 

I. II.

Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œœ œœ œœ n œœ œœ œœ œœ œœ œœ 





œ œ œ œ œ œ œ œ œ œ œ œ 

 ? ###  .

∑

œ #œ œ #œ œ. œ œ #œ. ∑

∑

Œ Œ

œ œ

∑

∑ ∑ ∑ ∑

∑

n



∑ ∑ ∑ ∑

œœ





∑ ∑ ∑ ∑

∑

∑ ∑ ∑ ∑

∑

œ #œ œ #œ œ. œ œ #œ.

∑

III.

∑

? ### n     

∑

a2 bœ œ œ œ œ œ bœ œ œ œ œ œ 

III. IV.

œœ œœ œœ n œœ œœ œœ œœ œœ œœ 

œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ 

Fg.

œ œ œ œ œ œ 

∑

œ. œ œ

.



# # œ. œ œ & #

.

œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ nœ œ œ œ œ œ #œ œ œ œ œ œ

###

# B ## œ . œ œ

œ. œ œ ? ### ? ### n 

œ œ œ

. 

œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ  

n

Œ ∑

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 

Œ ∑

n

Œ ∑

œœ œœ œœ œœ œœ œœ 

Œ ∑

## & #

214 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C. Timp.

I. Vln. II.

∑

## & #

## & # &

? ###

œœ 

Vc.

Cb.

Œ Œ

∑

Œ Œ

œœ

∑

Œ Œ

œœ

∑

Œ Œ

∑

B œœ

œœ  cresc.

œ 

cresc.

∑

# œœ J ‰ Œ

∑

œœ

œœ ‰ Œ J

œœ

# œœ ‰ Œ J

# œœ J ‰ Œ

# œœ ‰ Œ J

œ œ

œœ

 

œœ J ‰ Œ

œ>œ

# œœ ‰ Œ J

>œœ >œœ

# œœ ‰ Œ J

œ œ



∑

>œœ

  

∑

. . # œœ œœ œœ ..

∑

œœ. # œœ .. J

f Z . . # œœ œœ œœ .. f Z . . # œœ œœ œœ .. f Z n œœ. œœ. œœ .. f Z . . # œœ œœ œœ .. f Z . . # œœ œœ œœ .. f Z

∑

Z .œ œ . œ #œ. J Z œœ. # œœ .. J Z œœ. œœ .. J Z œœ. # œœ .. J Z .œ œ . œ #œ. J Z

∑

? ###

∑

∑ ∑ ∑ ∑

? ###

   

∑

œœ. œœ.

J J ‰ Z .œ œ. œ œ J J ‰ Z œœ. œœ. J J ‰ Z œœ. œœ. ‰ J J Z œœ. œœ. ‰ J J Z .œ œ. œ œ J J ‰ Z

∑

# # # œ œ # œ œ œ >œ . œ œ œ # œ œ œ >œ . # œ œ

œ œ œ œ >œ . œ œ

œœœœœ

œœœœ

## & # œ œ #œ œ œ œ. œ œ œ #œ œ œ œ. #œ œ > > p cresc.

œ œ œ œ >œ . œ œ

œ œ œ œ >œ . œ œ  

œœœœœ

œœœœ

nœ

œœœœœ

œœœœ



œ. œ. œ .

# B # # # œœ p ? ### œ p ? ### œ p

div.

Vle.

œœ

∑

cresc.



# œœ 

n >

œ n >

n >

cresc.

œ n >

cresc.

# œœœœ

 

# œœœœ

œœ

>



œœ

>

 >

f f

Z Z

œ. œ. œ .

œ. œ . j

œ. œ . Z

j j œ. œ. ‰ Z j j œ. œ. ‰ Z

œ . œ. ‹ œ. # œ. œ. # œ. ‹ œ. œ. œ. # œ. ‹ œ. # œ. œ. œ. ‹ œ. œ. œ. # œ. ‹ œ. œ. œ. # œ. œ. #### # # # œ. œ & cresc. ƒ .œ . œ. # œ. œ. . n œ. # œ. œ. . n œ. # œ. œ. . œ. # œ. œ. . n œ. # œ. œ. . n œ. œ. a2 œ # œ # œœ œ ‹ œ œ œœ # œ ‹ œ œ œœ # œ ‹ œ # œ # œœ œ ‹ œ œ œœ # œ ‹ œ œ œœ # œ œ #### ### & ƒ . œœ. œœ. œcresc. . œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ œ œ # # # # #  .. # & # ƒ cresc. .œ . œ. # œ. œ. . n œ. # œ. œ. . n œ. # œ. œ. . œ. # œ. œ. . n œ. # œ. œ. . n œ. œ. a2 # œ # œœ œ # œ œ œœ n œ # œ œ œœ n œ # œ # œ # œœ œ # œ œ œœ n œ # œ œ œœ n œ œ # œ & ƒ cresc. a.2 . . . . œ . . œ œ . . œ œ # œ œ . . ## #  . œ œ B ## ‰ ? œ #œ œ œ # œ œ œ . cresc. ƒ

220 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb. Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & & &

? ###

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

F Œ

j œ.œ f j œ. f

‰

∑ ∑

 

∑ ∑



.  p cresc.

? ###



∑

.

p Œ Œ

III.

œ.

.  Œ

∑

œœ f œ.

∑ ∑

œ f

œ.

%  al 

œ œ œ œ œ. œ

œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ

œœœœœ ƒ # # # #  ..

œœ œœ œœ ≈ œœœ ≈

ƒ # ## #  . . ƒ .  ƒ œ Œ Œ ƒ .  ƒ œ Œ Œ ƒ Ÿ~~~~~~~~~~~~~~~~~~~ .

ƒ div. œ # œ œ œ # œ œ œ œ œ ‹œ #œ ‹œ #œ ‹œ œ ‹œ #œ ‹œ #œ # # # # œœ œ # œ œ œœ n œ # œ œ œœ n œ # œ œ # œœ œ # œ œ œœ n œ # œ œ œœ n œ œ # # # # & cresc. ƒ #### œ ### # œ œ œ # œ œ œ œ œ ‹ œ # œ ‹ œ # œ ‹ œ œ ‹ œ # œ ‹ œ # œ œ œ œ œ œ œ & ƒ cresc. #### ### œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & ƒ cresc. ## œ # # œ div. # # œ œ œ œ œ œ œ # œ n œ # œ n œ # œ œ # œ n œ # œ n œ œ # œ œ # # œ œ œ œ œ œ œ œ œ # B # œ œ‹ œ œ# œ‹ œ œ# œ‹ œ œ œ‹ œ œ# œ‹ œ œ# œ ƒ . cresc. . . œ . œ œ #### œ ? ### ‰ œ. # œ. œ. œ. œ. œ. œ. . cresc. ƒ œ. œ. œ. #### œ. ? ### ‰ œ. # œ. œ. œ. œ. œ. œ. . cresc. ƒ 40

dal

œœ œœ œœ œœ œœ œœ

œ.

∑

œ œ œ œ œ. œ

œ œ œ œ œ. œ œ œ œ œ œ. œ œœ œ œ œ œ . œ œ œ œ. œ œœ

dal

%   a l 

 œ.

## & ##

223 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi) III. IV. I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Tgl. Pt. T. p. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. # ## # a2

. . . # # # # œœ. œœ œœ. œœ œœ. œœ

œœ. œœ. œœ. œœ. œœ. œœ.

? #### œ œ œ . . a2 . œ. œœ &

œ œœ œ œœ . . œœ. œ.

. . œœ. œ.

œ. œ œ œ œ œ . . . . .

œ.

œ. œ. œ. œ. œ. œ.

œ.

œœ. œœ. œœ. œœ. œœ. œœ.

œœ.

œœ. œœ. œœ. œœ. œœ. œœ. .

œ œœ œ œœ œ œœ . . œœ. œ.

. . œœ. œ.

œ. œ. œ. œ. œ. œ.

œœ.

& ? ####

œ. œœ.

œ. œ. œ. œ. œœ. œœ. œœ. œœ.

œ. œœ.

? # # # # œ œœ œ œœ œ œœ œ. . œ. . œ. . ∑

 

∑



œ ‰ Œ J

œ. œ œ. œ œ. œ . . .



# ## & #

∑

œ. œ. œ. œ. œ. œ.

. . . # # # # œœ. œœ œœ. œœ œœ. œœ

. . . . . . # œ œ œ œ œ œ B ## # ? # # # # œ. œ. œ. œ. œ. œ. ? # # # # œ. œ. œ. œ. œ. œ.



œ. œ. œ. œ. œœ. œœ. œœ. œœ.

œœ.

Œ Œ

œœ .

œ.

œœ.

œ. œœ.

œ œ œ œ œ œ œ. œ. œ. œ. œ. œ.

œ œ.

∑

œ.

œ. œœ.

œ.

œœ œ. œ œœ œ. œ œœ œ. œ œœ œ. œ œœ œ. œ œœ œ. œ œœ . . . . . . .

œ. œ. œ. œ. œ. œ.

œ.

œœ .

œ. œœ. œ œ.

œ. œ. œ. œ. œ. œ.

œ.

œœ. œœ. œœ. œœ. œœ. œœ.

œœ.

œ.

œ. œ. œ. œ. œ. œ. œ. œ œ. œ œ. œ . . . œ. œ œ. œ œ. œ . . .

œ. œ.

œ œ. œœ. œ. œœ . œ. œœ. .

œ. œ Œ œ. œ

œ.

œœ. Œ œ. Œ œœ Œ . Œ

œ. œœ.

∑

œ.

œœ.

∑

œ.

œ. œ

œ Œ

∑

œ. œ œ. œ œ. œ . . .

œœ.

œ.

∑ ∑

œ.

œ. œ.

Œ Œ Œ Œ Œ Œ

œ.

œ. œ.

∑

> .

>

> . >

>

> > >

>

> .

.

> .

. . >

.

. . >

∑

. .

∑

∑ ∑

∑

>

U .

> .

Œ ∑

> .

∑

U ∑ U Ÿ~~~~~~

.

U Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . .

∑ Œ Œ Œ Œ Œ

>

. > > . > >

. .

>

. > > . > >

. .

.

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Fg. Fagotto Fl. Flauto G.C. Gran Cassa JS Johan Svendsen N-Onm The National Library, Oslo Ob. Oboe Picc. Flauto piccolo Pl. No. plate number stacc. staccato marking(s) str. strings T. p. Tamburo piccolo Tba. Tromba Tbn. Trombone ten. tenuto marking(s) Timp. Timpani Tgl. Triangle Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

SOURCES

CRITICAL REPORT

Festival Polonaise, Op. 12 A Score, autograph APTS Parts, autograph B Score, copy C Printed score, first edition (Warmuth) C1 Printed score, first edition, proofs (Warmuth) CPTS Printed parts, first edition (Warmuth) CPTS1 Printed parts, first edition, proofs (Warmuth) D Printed score (Hansen) DPTS Printed parts (Hansen) DSTUDY Printed study score (Hansen)

or each individual work in JSV, a primary source is chosen and identified in the header of ‘editorial emendations and alternative readings’. The comments in this list refer to either revisions or variants. Comments about variants always start with a source letter. Any comments NOT starting with a source letter refer to revisions of the primary source. The following conventions have been used:

• ‘By analogy with’ is used when something has been added, emended or omitted by analogy with another passage in the primary source. The analogy may be vertical: When something has been added ‘by analogy with’ one or more instruments, it is understood that the analogy involves the corresponding place within the same bar(s). Or it may be horizontal: When something is added ‘by analogy with’ one or more bars, it is understood that the analogy involves a parallel passage in the same instrument(s). • ‘As in’ is used when something is added, emended or omitted to correspond to the same place in another source. • ‘In accordance with’ is used when something is added, emended or omitted to correspond with a secondary source. • When JS uses the term ten., it is set in italics. Tenuto markings are written as ‘ten.’ • Very small variations in the placement of dynamics have been left uncommented. • In the ‘bar number’ column, the symbol ‘+’ is used to indicate an upbeat to the bar in question. • ‘Note 1’ means ‘main note 1’ (grace notes are not included in the numbering sequence). • Pitch is expressed as written in the parts. A written g’’ in a transposing clarinet (B) part is thus described as g” (sounding f ”). • Middle c is defined as c’. Octave positions above middle c are specified as c’’, c’’’, etc. Octave positions below middle c are specified as c, C, C1, C2, etc.

Source A Score, autograph N-Onm Mus.ms. 232 24 pages, 27.5x34.5 cm Title page 1: Fest-Polonaise / af / Johan S. Svendsen Title page 2: Fest-Polonaise / for / stort Orchester / componeret til Borgerballet den 6te August 1873, / af / Johan S. Svendsen Greybrown cover, hard bound On the cover: Partitur / Fest-Polonaise / af / Johan S. Svendsen / J.S. Hand-ruled music paper, 18 and 20 staves Pagination: 1–24 At the end of the score: Hegdehaugen ved Christiania / i Juli 1873. / JSvendsen Several manuscripts are indexed under this shelf mark Provenance: In the protocol of the library: *Wilhelm Hansens musikforlag v N.O.M. Sandvik. Den økonomiske utnyttelse (utgivelse) forbeholdt giveren. [The donor owns the publishing rights] Written in ink (Johan Svendsen) Additions in blue crayon, red crayon and pencil

Source APTS Parts, autograph N-Onm, Mus.ms. 232 35x29.5 cm Title page: Fest-Polonaise / til Borgerballet den 6. August 1873. / af / Johan S. Svendsen Violino 1mo (3x), Violino 2do (3x), Viola (2x), Cello (1x), Basso (1x) Written in ink (Johan Svendsen) Additions in red crayon and blue crayon

Source B

Many corrections in pencil and blue crayon Stamp on first page: C.G.Röder / 14 JUL 86 / LEIPZIG

Score, copy N-Onm, Mus.ms. 232 71 pages, 34.5x27 cm Hand-ruled music paper, 24 staves Pagination: 1–71 Above the score: Fest-Polonaise / Johan Svendsen op. 12 Da capo is written out Several manuscripts are indexed under this shelf mark Provenance: In the protocol of the library: *Wilhelm Hansens musikforlag v N.O.M. Sandvik. Den økonomiske utnyttelse (utgivelse) forbeholdt giveren. [The donor owns the publishing rights] Written in ink (Johan Hennum) Additions in pencil and red crayon

Source D Printed score, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12597, Ed. nr. 586 Reprint of the Warmuth edition

Source DPTS Printed parts, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12597A Reprint of the Warmuth edition

Source C Source DSTUDY Printed score, first edition Carl Warmuth, Christiania 1886 Title page: Fest-Polonaise für Orchester (Componirt zum Bürgerball in Christiania am 6. August 1873) Pl. No. Partitur, 1132 Reprint: 1886

Printed study score, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12597B Reprint of the Warmuth edition

Arrangements by others (published)

Source C1 Printed score, first edition (proof ) N-Onm, Mus.ms. 232 Carl Warmuth, Christiania 1886 Title page: Fest-Polonaise für Orchester (Componirt zum Bürgerball in Christiania am 6. August 1873) Pl. No. Partitur, 1132 Individual leafs printed on one side only Many corrections, mostly in pencil but also in red and blue crayon) Stamp on first page: C.G.Röder / 02 JUN 86 / LEIPZIG

Piano solo (Warmuth) Arranged by Edmund Neupert Carl Warmuth, Christiania 1873 Pl. No. 98 Also printed 1881, 1883 Piano four hands (Warmuth) Arranged by Friedrich August Reissiger Carl Warmuth, Christiania 1874 Pl. No. 99 Reprints 1882, 1889

Source CPTS Piano four hands (Warmuth, proof ) N-Onm, Mus.ms.a 3505 Arranged by Friedrich August Reissiger Carl Warmuth, Christiania 1874 Pl. No. 99 On cover page in pencil: Correctur-Exemplar Corrections in ink and pencil

Printed parts, first edition Carl Warmuth, Christiania 1886 Title page: Fest-Polonaise für Orchester (Componirt zum Bürgerball in Christiania am 6. August 1873) Pl. no. 1133

Source CPTS1 Piano solo (Hansen) Arranged by Edmund Neupert Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12599, Ed. nr. 588 Reprint of the Warmuth edition

Printed parts, first edition (proof ) N-Onm, Mus.ms.a 3506 Carl Warmuth, Christiania 1886 Title page: ‘Fest-Polonaise’, op. 12 Pl. No. 1133 Individual leafs printed on one side only

EVALUATION OF THE SOURCES

Piano four hands (Hansen) Arranged by Friedrich August Reissiger Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12598, Ed. nr. 587 Reprint of the Warmuth edition

No other work by Svendsen offers a richer selection of sources than the Festival Polonaise, Op. 12. Even Svendsen’s proofs of the printed score and parts have survived. Furthermore, it is the only published work by Svendsen based on a copy of the score, a unique situation resulting in greater discrepancies than usual between Svendsen’s intentions and the printed sources. This complex source situation provides considerable insight while at the same time making the editing process quite challenging . One of the most important sources is the original autograph score, dated July 1873 (Source A). Svendsen used it on 6 August that year at the premiere in Christiania, Norway. Emendations in pencil and red/blue crayon were probably entered as late as 13 years later while Svendsen prepared the work for print. For the premiere, Svendsen himself wrote out a full set of orchestral parts, Source APTS. Today, only the string parts survive. Although clearly based on A, they must have been produced before A had been emended in pencil and crayon. The parts, too, have markings in pencil and red/blue crayon. Some of these may be by Svendsen, while others were probably added by orchestral musicians: numerous adjustments of dynamics, articulation and pitch, a dal segno sign in blue crayon and a few bowings in pencil. These adjustments, however, do not substantially add to the information found in the autograph score. Compared with the published version, the autograph score, Source A, originally included two additional bars before the final four. These two bars have been crossed out in pencil in the score (see Facsimile XIII), but not in the parts. We can therefore conclude that these bars were played at the premiere and crossed out by Svendsen later. Source CPTS1, a proof of the orchestral parts published by Warmuth, also contains these two bars. Thus, Svendsen had to cross them out here as well so the parts would match the printed score. This and other evidence allows us to deduce that the printed parts, source CPTS, are based on Source APTS. Presumably within a short time of the first performance, Svendsen made fairly substantial revisions to the autograph score (Source A). The section between bar 208 and the da capo originally consisted of only five bars rather than thirteen as in the published version (see Facsimile XIV). These five bars are clearly crossed out in ink or blue crayon in all the parts, and thirteen new bars were inserted in ink. The fact that this change was made in every single part supports our assumption that the version with thirteen transitional bars was performed at the premiere. The five omitted bars were carefully hidden by stapling the score. We generally know little about Svendsen’s correspondence with his publishers about the printing process, but the Festival Polonaise is an exception. An interesting letter from

Piano four hands Arranged by Richard Lange Wilhelm Hansen, København & Leipzig 1900 Pl. No. 12801 Piano solo Arranged by Edmund Parlow Wilhelm Hansen, København & Leipzig 1920 Pl. No. 17417, Ed. nr. 2013 Piano six hands (Hansen) Arranged by Nicolaj Hansen Wilhelm Hansen, København & Leipzig Two pianos four hands (Hansen) Wilhelm Hansen, København & Leipzig Violin, cello, piano, harmonium Arranged by Nicolaj Hansen Wilhelm Hansen, København & Leipzig 1904 Pl. No. 13552 Salon orchestra Arranged by Nicolaj Hansen Wilhelm Hansen, København & Leipzig 1918 Pl. No. 16918 (17641?), Musica 64, Heimdal 77

Arrangements by others (autograph) Wind orchestra Arranged by Joakim Andersen 24.4.1905 Livgardens musikkorps nodearkiv (Kommunes Nodearkiv 283), København

Svendsen to Carl Warmuth, written in Copenhagen on 16 March 1886, is kept at the National Library of Norway (see Facsimiles XVII and XVIII). Svendsen wrote that he would send the handwritten score and parts the following day. Since he did not want the original autograph score to be handed to the printer, he asked Warmuth to have a copyist prepare a new printing source. He warmly recommended his friend Johan Hennum (1836–1894) as the best person for the task, since Hennum, according to Svendsen, was highly trustworthy in such matters. Svendsen also provided various instructions regarding the disposition of the staves and requested that all instrument names be written in Italian. By this time Svendsen had added numerous emendations in pencil and red/blue crayon to his score – additional dynamics and articulation, pitch adjustments and some minor changes in instrumentation. Although Hennum prepared a clearly legible copy of the score (Source B), he introduced a number of errors that naturally found their way into the printed version as well. The proofs of the printed score (source C1) tell us that Svendsen focused mainly on correcting pitch errors and apparently did not pay attention to other notational deviations. Practically none of the discrepancies between Source A and Hennum’s copy were corrected in the proofs. In some instances the publisher failed to include notational details found in both A, APTS and B, and few of these inconsistencies were corrected in the proofing process. In his letter to Warmuth, Svendsen requested that the parts be revised using the new score by Hennum. For some reason, this was not done. Instead, the printed parts were based on the handwritten set from the premiere. Therefore, they lie somewhat closer to Svendsen’s intentions than the printed score, since they were produced without a copyist as an ‘in-between’. At the same time, the autograph parts are problematic as a source because many elements are missing in comparison with the autograph score. This can clearly be seen in the surviving handwritten string parts, and we have reason to believe that the wind and percussion parts were similarly lacking in detail. Since these handwritten parts were probably prepared in a hurry before the first performance, many articulation markings and dynamics were overlooked. During the proofing process, Svendsen had to make extensive revisions to the printed parts, partly due to the shortcomings of the handwritten sources, partly because the printer had introduced new errors. Source APTS1 provides insight into Svendsen’s proofing process, showing that the changes he made were somewhat limited. Interestingly, we can also see traces of specific variants in the no longer extant wind and percussion parts by studying the printed set. The horn and trumpet parts, for example, include a ten. in bar 136 not found in any other sources. This expressive detail must therefore have been present in the original autograph parts (Source APTS). In spite of these ‘filters’ between Svendsen’s autograph and the printed score, we have chosen the latter, Source C, as

our primary source, the final result of the process of composing, revising and proofreading. Various details that are missing or unclear in Svendsen’s autograph have been clarified in the printed edition. Source B, Hennum’s copy, has not been assigned any weight in our editing process. Where omissions in the copy have led to differences between A and C, it is usually fairly clear that these do not derive from Svendsen’s hand. In many instances, the printed orchestral parts CPTS furthermore support the accuracy of specific details in A as opposed to errors or omissions introduced by Hennum. When it is clear that such deviations were either caused by Hennum or the printer, we have given considerable weight to Svendsen’s revised version of the original score, source A, and the parts as they appear in sources APTS and CPTS. The notation of timpani and gran cassa in the final bar (b. 229) varies among the sources. In the autograph score and the printed parts, both instruments have trill markings and extensions:

Here, Hennum’s notation could be misunderstood:

This is probably why these markings are missing in the final bar of the printed score:

Since the proofs provide no evidence that Svendsen requested the markings to be omitted, our new edition includes tremolos in keeping with Svendsen’s original score and the printed parts.

A challenging issue in editing this particular work has been the use of repeated dots as a form of abbreviated notation. In some cases, such dots stand for staccato, in others we have concluded that they specify the number of repetitions of a particular note. Here is an example from the viola part:

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Comments considered to be of particular importance by the editors have bar numbers in bold type. Primary source: C

Festival Poloniase, Op. 12 Svendsen used this type of notation in several places. In his copy of the score, Hennum wrote out the music in full and added a dot to each note. Although these dots appear to be staccatos, they were originally not intended as such. In his letter to Warmuth, Svendsen specifically requested that all abbreviations be rendered in full: ‘(No abbreviations! Everything must be written out! Things such as «Colla Violin», «./.» should not be used)’. This explains why Hennum wrote out Svendsen’s shorthand notation. In our edition we have not used dots where we are quite convinced that Svendsen simply intended to indicate the number of repeated pitches. We also refer the reader to the list of emendations and alternative readings in the critical report on this interesting matter. In bars 43 and 96, both Svendsen’s score and Hennum’s copy show a ‘+’ symbol on two of the cymbal notes:

Although these symbols are missing in the printed version, we have included them in our edition, since the two handwritten sources are quite clear. Each of the notes in question marks the ending of a tutti phrase with a short tutti staccato. Perhaps the ‘+’ indicates a secco execution as described by Hector Berlioz (1803–1869) in his Grand traité d’instrumentation et d’orchestration modernes (Henry Lemoine, Paris 1844): [...] in the opposite case he should write a quaver or a semiquaver with the words: dampen the sound. The player does this by bringing the cymbals close to his chest immediately after striking them. In his Symphony No. 1 in D major, Op. 4, Svendsen used the ‘+’ symbol to designate a damped pizzicato, marked with a footnote. Warmuth and Hennum may have misunderstood Svendsen to some extent when he requested ‘no abbreviations’: a da capo indicated by symbols in Svendsen’s handwritten score is fully written out in Hennum’s copy and the printed score, rendering these scores considerably longer. Although Svendsen made no changes here at a later point, such as in the proofs, we have nonetheless chosen not to replicate the da capo in full, following Svendsen’s original.

Bar

Instr.

Comment

Tbe.

notes 3–6: stacc. omitted as in A, CPTS; these dots were introduced into the primary source from source B, which uses abbrevi ated notation with repetition dots

T. p.

notes 4–7: stacc. omitted as in A, CPTS; these dots were introduced into the primary source from source B, which uses abbrevi ated notation with repetition dots

Vln. I/II, Vle.

APTS: bar

starts at the beginning of the

Fl. II, Ob. I, Fg., Cor. II/III/IV, Tba. II., Vln. I, Vle.

CPTS: bar

starts at the beginning of the

Timp.

CPTS:

starts at note 4

Fg.

slur added as in A, CPTS

Vc., Cb.

ff added by analogy with b. 21 and as in A, APTS(Cb.), B, CPTS

Picc., Fl., Vln. I/II, Vle.

note 7: cautionary accidental added

Cl. I/II

note 4: cautionary accidental added

14, 16

Tba. I

CPTS: notes 4–7: stacc. (probably note repe tition dots)

Tba. III

A: notes 4–7: stacc. (probably note repeti tion dots)

Tbe.

A, CPTS(Tba. I): notes 1–4: stacc. (probably note repetition dots)

Tbe.

notes 1–4: stacc. omitted as in A, CPTS (the dots in B, C are probably repetition dots)

Fl. II, Fg. II, Cor. I/ IV, Tba. II., Vln. I/II, Vle.

CPTS:

starts from note 1

Ob.

Fg., Cor. I/II Ob.

notes 4–7: stacc. omitted since abbreviated notation with note repetition dots was used in the sources notes 3–6: stacc. omitted as in A, CPTS since abbreviated notation with repetition dots was used in the primary source notes 3–6: stacc. omitted since abbreviated notation with repetition dots was used in the sources

Vln. I

note 2: cautionary accidental added by ana logy with Vln. II

Cor. III/IV

ten. added by analogy with Cor. I/II; A: un clear whether or not ten. has been erased

Ob., Cl., Cor. I/II

stacc. removed as in A, CPTS(Cl., Cor.)

Ob. I

CPTS: stacc.

Cor. I/II

stacc. removed as in A, CPTS

47–52

Ob. II

CPTS: stacc.

Picc., Fl.

CPTS: stacc.

Fg.

stacc. added by analogy with b. 49

Fg. II

note 5: emended from f# by analogy with b. 49 and as in A, B, CPTS

Vln. I/II

A, APTS, CPTS: beaming:    

Cor. III

CPTS: stacc.

Cl.

A, CPTS(Cl. II): beaming:      

Fg. I

CPTS: stacc.

Picc.

CPTS: notes 7–10: stacc.

Vc., Cb.

APTS, CPTS: notes 1–6: stacc.

Tbn. I

note 2: cautionary accidental added

Tba. I

CPTS: ff

Timp.

A, B: trill extension ends in b. 23

Fg.

notes 1–6: stacc. removed as in A, B, CPTS

Tgl.

A, CPTS: no stacc.

Vc.

A, CPTS: beaming      

Vle.

APTS, CPTS:

Cb.

Vln. II

 added by analogy with Vln. I and as in A

note 4: # added by analogy with Vc. and as in A, B, C, CPTS

Cor. I/IV

cautionary accidental added as in CPTS

Fg. Tbn. III A, CPTS: beaming:   

Vln. II

notes 5–8: stacc. added by analogy with Vln. I and as in A, APTS, CPTS

Vln. I/II

A, APTS (Vln. II), B, CPTS: notes 5–8: no stacc.

Fg., Cor., note 1: stacc. added by analogy with the other parts Tbe. I/II, Tbn. II/III, Tuba

Vle.

notes 1–6: stacc. added by analogy with Vc., Cb. and as in A, APTS, B

T. p.

CPTS: note 1:

33–36

Cl., Fg. Cor. A, CPTS(Cl. I, Fg., Cor.): no stacc.

Vc., Cb.

mf added by analogy with the other str.

Vle. middle part

cautionary accidental added

62, 64

Vln. II lower part, Vle.

notes 1–2: stacc. added by analogy with Vln. I

35–36

Cor.

stacc. added by analogy with Cl., Fg. (b. 34)

Cl.

stacc. added by analogy with b. 35

Vln. I, Vle., Vc., Cb.

Tbe. I/II

solo added as in A, B, CPTS

beginning of emended from note 1 as PTS PTS in A, A , C (Vln., Vc., Cb.) and by analogy with Vln. II

Tba. III

stacc. added by analogy with the other winds

Cl.

A, CPTS (Cl. II): notes 2–5: stacc. (probably abbreviated notation with repetition dots)

Cb.

note 4: stacc. added by analogy with the winds

69–72

Cl., Fg.

A, CPTS (Cl. II): beaming:     

Cb.

notes 2–3: stacc. added by analogy with the winds

69–81

Cl. I

CPTS: beaming:     

Piatti

+ added as in A, B

Fg. 1

CPTS: stacc.

Tgl., T. p., Piatti

ff added by analogy with the other parts

Vln. I

APTS23, CPTS: ten.

72–81

Cl. I

Cb.

p added as in A, APTS, B, CPTS

CPTS: notes 2–5: stacc. (probably abbreviated notation with repetition dots)

Ob. II

p added by analogy with Cor.

starts at note 1



Cor. I

CPTS: f

Fl., Ob. I, Vln. I

(Vln. I), B, C

Vln. I

APTS23, CPTS: ten.

Cl. II

CPTS: beaming:     

Vln. I

APTS23, CPTS: ten.

Vln. I

APTS23, CPTS: ten.

Cb.

notes 1–2: slur added as in A, APTS, CPTS

Cb.

notes 1–3: slur added as in A, APTS, CPTS

Cor. III

note 2: cautionary accidental added

Fl. I

CPTS: notes 1–4: slur

83–84

Fg. II

CPTS: no p in b. 83 but placed in b. 84; dim. also in b. 83

Cl., Fg.

note 1: stacc. added by analogy with Fl. and as in CPTS (Fg. II)

97–98

Vln. I

stacc. added as in CPTS and by analogy with Fl. (bb. 97–98); APTS: stacc. added in blue crayon

Vln. II

note 2: p added by analogy with Vln. I and as in A, CPTS; APTS12: p on note 2 in blue crayon; APTS3: note 2: p

97–98

Vln. II

stacc. added as added in blue crayon inAPTS and by analogy with Fl. (bb. 97–98)

98–100

Cl.

stacc. added by analogy with Fl. (bb. 97–98)

Vle.

p added by analogy with the other str.

98–100

Vle.

stacc. added as in APTS2 and by analogy with Fl. (bb. 97–98); APTS1: stacc. added in blue crayon

98–100

Vc.

stacc. added as in CPTS and by analogy with Fl. (bb. 97–98)

Fl.

stacc. added by analogy with bb. 97–98

99–100

Fg.

stacc. added as in CPTS (Fg. II) and by analogy

emended from <> as in A, APTS PTS

Vln. II

divisi emended from two notes in lower part as in A, APTS, B, CPTS

Cl. I

A, CPTS: no stacc.

Timp.

A: no trill extension

Ob. I, Cl. I

notes 2–4: stacc. added by analogy with Fl., Fg. and as in A, APTS, B, CPTS

Vln. I/II, Vle.

notes 2–5: stacc. added by analogy with b. 85 and as in CPTS(Vln. II, Vle.)

Cor. III/IV

> added by analogy with b. 85

Ob., Cl., Fg.

with Fl. (bb. 97–98) 99

Cb.

p added by analogy with the other str.

Cb.

stacc. added as in CPTS and by analogy with Fl. (bb. 97–98)

100

Cb.

stacc. added as in APTS, CPTS and by analogy with Fl. (bb. 97–98)

stacc. added by analogy with Fl.

105

Tbn. III

CPTS: notes 4–5: d

Picc.

notes 1–5: stacc. added by analogy with Vln. I and as in CPTS

108

Cb.

note 2: cautionary accidental added as in A, CPTS

Fl. II

CPTS: note 1: g’’’

111

Ob. I, Cl.

CPTS: note 3: stacc.

Cl. I

CPTS: note 1: stacc.

112

Ob. II

CPTS: notes 2–3: slur

Tbn. III

CPTS: note 1: 

112

Cl.

Cor. III/IV

A, CPTS: note 6: 

note 3: emended from a’’ by analogy with Fl., Ob. and as in A, B, CPTS

93–94

Vln. II

CPTS: tie incomplete

113

Vle.

APTS: notes 1–3: slur

94–95

T. p.

stacc. added by analogy with b. 93

119

Fg. 1

CPTS: grace notes notated as  

Ob., Cb.

stacc. added by analogy with brass and as in A, CPTS(Ob. I, Cb.)

119

Vln. I

APTS: slur across grace notes only

120

Fl.

notes 2–3: Vln. I

120

Cl., Fg. II, Tbe., Tbn. II

CPTS:

120

Vle.

CPTS: note 2: mf

added by analogy with

Tuba

stacc. added by analogy with Tbn. III

Piatti

+ added as in A, B

Picc., Ob., Vln. I

p emended from note 1 as in A, B, CPTS; APTS2: p moved from note 3 to note 2 in blue crayon; APTS3: p on note 3

Ob.

CPTS: beaming      

122

Vle.

CPTS: beaming:     

97–98

Picc., Ob.

stacc. added as in CPTS and by analogy with Fl.

123

Vln. I

note 3: cautionary accidental added

covers the whole bar

125

Tgl.

p added by analogy with the other parts

128

Ob.

A: incomplete slur

132

Fl. I

CPTS: note 4: stacc.

133–134

Ob., Cl., Fg., notes 1–6: stacc. added by analogy with Picc., brass, str. Fl. and as in APTS(Cb.), CPTS(Ob., Cl., Fg., Cor., Tbe., Vln. I)

150

Ob.

note 3: stacc. added by analogy with Fl. and as in A

150

Tba. III

tie added by analogy with Tbn. II and as in A, B, CPTS

150

Tbn. I

fz added by analogy with b. 149

150

Vle.

APTS: note 3: 8va higher

135

Vln. I

CPTS: f (not fz)

151

Tba. III

A: beaming:    

135

Vln. II

CPTS: ff (not fz)

151–152

Tba. III

135–136

Fg., Tbn. I/II/III, Tuba

CPTS: stacc.

stacc. added by analogy with Picc., Fl., Cl. and as in CPTS

152

Picc., Cl.

note 5: > added by analogy with Fl.

152

A, CPTS (Vln. II): beaming:      

135–136

Vle.

Cl., Vln. I/II

135–136

Cb.

APTS: stacc.

152

Vln. I

136

Picc., Fl., Ob., Cl.

notes 1–12: stacc. removed (probably abbre viated notation with repetition dots)

note 5: > added by analogy with Picc., Fl. and as in A, APTS, CPTS

152

Vln. II

note 5: > added by analogy with Picc., Fl.

136

Cor., Tbe.

ten. added as in CPTS(Cor., Tba. I/III)

155

Cl. I

136–137

T. p.

A, B, CPTS: tie

notes 1–6: beaming emended from    by analogy with Vln. II, Vle. and as in CPTS

136

Timp.

ff added by analogy with the other parts and as in CPTS

155–156

Timp.

slur and tie added as in A, B, CPTS

156, 158

Cor. I/II

slur added by analogy with Tbe. I/II

157

Cl. II

CPTS: beaming      

157–158

Timp.

slur and tie added as in A, B, CPTS

164

Ob. II

CPTS: 

165

Vln., Vle.

p added by analogy with b. 183 and Tbe. I/II

165

Vle.

APTS: div.

167

Fl., Cl.

p added by analogy with b. 183(Tbe.) and as in A, B, CPTS(Cl.)

167

Vc., Cb.

p added by analogy with b. 184

172

Vln. II

A, B:

175–176

Fg. II

CPTS: notes 1–3: slur

176

Vln. II

note 1: stacc. added by analogy with Vln. I

176

Vln. II

note 1: stacc. added by analogy with Vln. I

177

Ob. I

note 3: # added by analogy with Vle.

177

Fg. I

slur added by analogy with b. 176 and as in CPTS

177

Fg. II

CPTS: notes 1–2: slur

179

Tba. I

CPTS: pf

138

Tbe.

: stacc. ; A

PTS2

: stacc. added in blue crayon

PTS1

A, B: notes 3–6: stacc. (probably abbreviated notation with repetition dots)

140

Vln. I

note 2: emended from c#’’ by analogy with Fl., Cl., Vln. II, Vle. and as in A, B, CPTS

142

Ob. I

CPTS: notes 4–7: stacc. (probably abbreviated notation with repetition dots)

142

Picc., Fl., Ob. I, Cl. I, Fg., Cor., Tbe., Vln. I/II, Vle.

CPTS:

starts at note 1; A: beginning of unclear; APTS (Vln. I): starts at note 1

142–144

Cor. I

CPTS: notes 3–6: stacc. (probably abbreviated notation with repetition dots)

144

T. p.

note 2: added by analogy with b. 20 and as in A, B, CPTS

144–145

T. p.

tie across barline added by analogy with bb. 20–21 and as in A, B, CPTS

145

Cor. I

CPTS: f

147, 148

Tbe. I/II

note 5: fz added by analogy with Tbn. I

148

Tba. III, Tuba

note 1: fz added by analogy with Cor. I/II and as in CPTS

148

Vln. I

CPTS: note 1: f

149, 150

Tbe. I/II

fz added by analogy with Tbn. I

Tba. III, Tbn. III

CPTS: p

180

Fg.

added by analogy with Ob. and as in CPTS(Fg. II)

180

Cor. III/IV

cresc. emended to

180

Fg.

A, CPTS (Fg. I): cresc.

181

Tbe. I/II, Cb.

CPTS: note 2:

starts here

181

Tba. III

CPTS: note 1:

starts here

182

Cor. I/II

182

Vln. II

APTS: grace notes notated as  

182–183

Vln. II

APTS: slur does not cross the bar line

183

Fl., Cl.

p added by analogy with b. 167 and str.

183

Vln. II

APTS: note 1: p

183

Vle.

CPTS: note 1: p

185

Vle.

notes 1–3: lower part added as in A, APTS, CPTS

188, 189

Cl.

note 1: stacc. added by analogy with Fl.

189

Vln. II

APTS: note 1: p

189, 190

Vc., Cb

A, B: note 2: stacc.

190–191

Vc., Cb.

APTS: note 2: stacc.

190–192

CPTS: note 2: stacc.

198

Fl., Cor.

A, CPTS (Cor III/IV): stacc. (probably abbre viatednotation with repetition dots)

201

Picc., Fl. II, A (Picc., Ob.), CPTS: beaming:       Ob., Cl. II

202

Vln. II

cautionary accidental added by analogy with Vln. I

203–204

Ob. II

CPTS: beaming:      

204

Cor. I

cautionary accidental added

206

Tbn. II

CPTS: note 1: cautionary accidental

207–208

Ob. II

CPTS: beaming :      

209

Vln. II

note 2: p added as in A, APTS, B, CPTS

209

Vle.

note 2: p added as in A

209

Vle.

APTS, CPTS: note 1: p

210

Ob.

p added by analogy with the other parts

210

Ob.

A: uncertain whether this reads a 2 or not

210

Vle.

APTS: notes 1–6: stacc. (probably abbreviated notation with repetition dots)

217

Cor. I

CPTS: note 1: stacc.

179

by analogy with Ob.

ff added by analogy with Tbe., Tbn.

218

Cor. I

CPTS: note 3: stacc.

218

Vln. I

CPTS: note 6: f

218

Vc. Cb

note 4: stacc. added by analogy with winds and as in A, APTS, B (Vc.), CPTS

220

ww.

cresc. added by analogy with the other parts

220

Ob. I

CPTS: notes 1–4: stacc.

220–221

Cl.

stacc. added by analogy with Picc., Fl.

221

Ob.

stacc. added by analogy with Picc., Fl.

221

Tbn. III

cresc. added by analogy with Vc., Cb, Cor. III/ IV

223–224

Fl. I., Vln. I, Vle.

CPTS: no stacc.

223–224

Timp.

stacc. added by analogy with the other parts and as in CPTS

223, 224

Vc., Cb

stacc. added by analogy with the other instru ments

226–227

Tutti

A, APTS: Two extra bars, crossed out in A (see Facsimile p. XIII)

226

Tgl.

ff removed as in A, CPTS

229

G.C.

tr. and trill extension added as in A, B, CPTS

229

Timp.

trill extension added as in A, B, CPTS

229

Cb.

CPTS: >