Halvorsen fiolinkonsertp by Musikkforlagene

JOHAN HALVORSEN (1864–1935)

Fiolinkonsert, op. 28 Violin Concerto, Op. 28 PIANO SCORE BY HELGE EVJU Utgitt av/Edited by Bjarte Engeset and Jørn Fossheim

NMA-JH-001A

N.M.O. 13928

Editor in Chief, Norsk Musikkarv: Bjarte Engeset Graphic design: Tank design AS Text set in: Calibre and Chronicle Norwegian language consultant: Gunnhild Wiggen English translation and language consultant: Thilo Reinhard Consultant, solo part: Henning Kraggerud Sponsored by: Kulturrådet (Arts Council Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (NMO 13836A /ISMN 979-0-065-14269-2) For sale and hire Parts (NMO 13836B /ISMN 979-0-065-14270-8) For hire Piano Score (NMO 13928 /ISMN 979-0-065-14371-2) For sale © 2016 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Forord Kilder til interpretasjon

Preface Sources regardng interpretation

I XVII

Concert für Violine mit Begleitung des Orchesters, Op. 28 I. Moderato assai, quasi una fantasia II. Andante sostenuto III. Finale – Allegro moderato

1 12 20

Critical report

Concert für Violine mit Begleitung des Orchesters, Op. 28 I. Moderato assai, quasi una fantasia II. Andante sostenuto III. Finale - Allegro moderato

1 12 20

Kritisk rapport

PREFACE

t is with great pleasure and pride we present this printed edition of Johan Halvorsen’s violin concerto. Dedicated to the Canadian violinist Kathleen Parlow (1890–1963), most of the work was composed in 1907. Parlow was world-famous at the time and at the age of 18–19 performed the solo part in four performances of the concerto in Norway and the Netherlands in 1909 and 1910. Subsequently, all traces of the work disappear for over a hundred years, and there is good reason to believe that the concerto – like various other works by Halvorsen – was destroyed by the composer himself. Nevertheless, the undersigned and other Halvorsen enthusiasts continued to cling to one last hope: could Parlow have owned a copy of the concerto and preserved it? Her surviving collection of sheet music, documents and clippings was bequeathed to the music library of the University of Toronto in 1963, and a number of librarians and musicologists have unsuccessfully attempted to locate the musical material to the concerto among this voluminous but rather disorganized collection. Only in connection with the library’s comprehensive digitization project in 2015, did the score and part material turn up as if out of the blue, and in Halvorsen’s own handwriting to boot.

FORORD

et er med stor glede og ærbødighet vi presenterer en noteutgave av Johan Halvorsens fiolinkonsert. Verket ble hovedsakelig komponert i 1907 og er tilegnet den i sin tid verdensberømte, kanadiske fiolinisten Kathleen Parlow (1890–1963), som i 18–19-årsalderen var solist ved fire oppførelser av konserten i Norge og Nederland 1909–10. Deretter forsvinner alle spor etter fiolinkonserten i over hundre år, og det har vært god grunn til å anta at den – i likhet med en del annen musikk av Halvorsen – ble tilintetgjort av komponisten selv. Et halmstrå har undertegnede og andre Halvorsen-entusiaster likevel klynget seg til: Kunne Parlow ha hatt et eget eksemplar og tatt vare på det? Hennes etterlatte samling av noter, papirer og utklipp ble i 1963 overlatt til musikkbiblioteket ved University of Toronto, og flere bibliotekarer og musikkforskere har uten hell søkt etter notemateriale til fiolinkonserten i denne omfangsrike, men lite oversiktlige samlingen. Først i forbindelse med bibliotekets gjennomgripende digitaliseringsprosjekt i 2015 dukket partitur og stemmemateriale opp som troll av eske, endatil i Halvorsens egen håndskrift.

Johan Halvorsen, conductor, composer and violinist

Dirigenten, komponisten og fiolinisten Johan Halvorsen

Johan Halvorsen (1864–1935) was one of the most prominent personalities in Norway’s musical life in the generation after Grieg and Svendsen. From 1893, and for 36 years to come, he was musical director and ‘house composer’ at Norway’s most renowned theatres: first for six years at Den Nationale Scene in Bergen, followed by 30 years at the National Theatre in Kristiania/ Oslo. Here, from 1899 to 1919, he was chief conductor of Norway’s largest professional symphony orchestra, which consisted of 43 musicians. Six nights a week, Halvorsen and the orchestra were engaged to play incidental music for theatre performances. In addition, they played regular symphony concerts with or without soloist, popular concerts and matinees, totalling about 300 concerts in the course of 20 years. Additionally, the National Theatre served as Norway’s most important opera stage, and Halvorsen had the sole responsibility

Johan Halvorsen (1864–1935) var en av de mest markante personlighetene i norsk musikkliv i genera sjonen etter Grieg og Svendsen. Fra 1893 og hele 36 år framover var han kapellmester og «huskomponist» ved Norges viktigste teatre, først seks år ved Den Nationale Scene i Bergen, deretter 30 år ved Nationaltheatret i Kristiania/Oslo. Her ledet han i perioden 1899–1919 Norges største profesjonelle symfoni‑ orkester, som bestod av 43 musikere. Seks kvelder i uka var han og orkesteret engasjert til å spille mellomaktsog scenemusikk ved teaterforestillingene. I tillegg gav de jevnlig symfonikonserter, solistkonserter, folkekonserter og matineer, til sammen rundt 300 konserter i løpet av 20 år. Dessuten fungerte Nationaltheatret som Norges viktigste operascene, og Halvorsen var eneansvarlig for innstudering og ledelse av alle operaog operetteoppsetninger. I sin samtid ble Halvorsen regnet som Norges største dirigent etter Johan Svensen, og han hadde stor suksess med å dirigere norsk

for rehearsing and directing all of the theatre’s opera and operetta productions. In his day, Halvorsen was

considered Norway’s greatest conductor after Johan Svendsen, with major successes conducting Norwegian music abroad, such as a 1903 ‘Union Concert’ in Stockholm, a 1908 memorial concert for Grieg in Paris, and a number of Nordic music festivals. Many of Halvorsen’s more than 170 compositions consist of music for the theatre. As musical director, he was responsible for music to accompany nearly all performances and frequently composed the music himself, ranging from short trumpet calls to extensive choral and orchestral numbers. During his 36 years as music director in Bergen and Kristiania, he completed at least 32 major and numerous minor musical works for the stage. Among the most famous of these is the music to Vasantasena (1896), Gurre (1900), Tordenskjold (1901), Fossegrimen (1904–1905), Barselstuen (The Lying-in Room) / Suite ancienne (1911) and Reisen til julestjernen (Journey to the Christmas Star, 1924). A lesser-known side of Halvorsen’s life is his distinction as one of Norway’s most talented violinists in his younger years. Already while growing up in Drammen, he learned to play the violin, and from the age of 15 supported himself as a violinist in theatre orchestras, first in Kristiania and later in Stockholm, where he was a student at the Conservatory of Music from 1884 to 1885. In autumn 1885, Halvorsen was appointed concertmaster of the Harmonien Orchestra in Bergen. As a violinist, he made an indelible impression on the city’s musicians and audiences, and less than a year later received a private loan from two local businessmen to travel to Leipzig for further study. Here he remained for two years, studying with the famous Russian violinist Adolf Brodsky. In the following years, Halvorsen often appeared as a soloist in violin concertos by composers such as Beethoven, Mendelssohn, Paganini, Vieuxtemps, Wieniawski and Bruch. Bruch’s first violin concerto in particular was to become an important role model for composing his own violin concerto some 20 years later. After his studies in Leipzig, Halvorsen worked partly as a violinist, partly as a violin teacher, first for one year in Aberdeen (1888–1889), followed by three years in Helsinki (1889–92). He became an important figure in the musical life of the Finnish capital, which he described as ‘the most musical city in the North.’ Every fortnight he participated in the concerts at the Music Institute as a soloist and as first violinist in various string quartets, piano trios and other chamber music.

musikk også i utlandet, blant annet ved en «unions konsert» i Stockholm i 1903, ved en minnekonsert for Grieg i Paris i 1908 og ved flere nordiske musikkfester. En stor del av Halvorsens over 170 komposisjoner er teatermusikk. Som kapellmester hadde han an svaret for ledsagende musikk til nesten alle forestilling er, og han komponerte ofte selv musikken, enten det dreide seg om et kort trompetsignal eller stort anlagte kor- eller orkesternummer. I løpet av sine i alt 36 år som kapellmester i Bergen og Kristiania fullførte han minst 32 større og et utall mindre scene‑ musikalske arbeider. Blant de mest kjente er musikken til Vasantasena (1896), Gurre (1900), Tordenskjold (1901), Fossegrimen (1904–05), Barselstuen (Suite ancienne, 1911) og Reisen til julestjernen (1924). En mindre kjent side av Halvorsens virke er at han i yngre år var en av Norges mest talentfulle fiolinister. Allerede under oppveksten i Drammen lærte han å traktere fiolinen, og fra 15-årsalderen forsørget han seg som fiolinist i teaterorkestre, først i Kristiania, deretter i Stockholm, der han var elev ved musikkonserva toriet i perioden 1884–85. Høsten 1885 ble Halvorsen ansatt som konsertmester i Harmoniens orkester i Bergen. Som fiolinist gjorde han et uutslettelig inntrykk på byens musikere og publikum, og mindre enn ett år senere fikk han et privat lån fra to av byens forretningsmenn for å kunne reise til Leipzig for videre studier. Her ble han i to år og var elev av den berømte russiske fiolinisten Adolf Brodsky. I årene som fulgte, opptrådte Halvorsen ofte som solist i fiolinkonserter av komponister som Beethoven, Mendelssohn, Paganini, Vieuxtemps, Wieniawski og Bruch. Nettopp Bruchs første fiolinkonsert skulle bli et viktig forbilde da han rundt 20 år senere komponerte sin egen fiolinkonsert. Etter studiene i Leipzig arbeidet Halvorsen dels som fiolinist, dels som fiolinlærer, først ett år i Aberdeen (1888–89), deretter tre år i Helsingfors (1889–92), som han beskrev som «den mest musikalske by i Norden». Han ble en viktig figur i den finske hovedstadens musikkliv. Hver 14. dag medvirket han ved musikkinstituttets konserter både som solist og som primarius i en rekke strykekvartetter, pianotrioer og annen kammermusikk. Det var først rundt 1890 at Halvorsen for alvor begynte å komponere. Mange av de første verkene er skrevet for hans eget instrument, fiolinen, blant annet en Suite for fiolin og piano (1890), Stemnings-

It was not until about 1890 that Halvorsen began composing in earnest. Many of the earliest works were written for his own instrument, the violin, including a Suite for violin and piano (1890), Stemningsbilder (Moods, 1891), a partially preserved string quartet (1891–92), Passacaglia and Sarabande (for violin and viola) on themes by Händel (1893/1898), Air Norvégien and the first Norwegian Dances (1896), and the Suite Mosaique (1898). Having assumed his demanding work as musical director for the National Theatre in Kristiania, Halvorsen continued to compose music for violin, including Liten Dansesuite (Little Suite of Dances, published 1907), Five Miniatures (for two violins and piano, 1909) and Four Intermezzi (1910).

bilder (1891), en i dag bare delvis bevart strykekvartett (1891–92), Passacaglia og Sarabande (for ﬁolin og bratsj) over temaer av Händel (1893/1898), Air norvégien og de to første norske dansene (1896) og suiten Mosaique (1898). Også etter å ha tiltrådt i den arbeids krevende kapellmesterstillingen ved Nationaltheatret i Kristiania komponerte Halvorsen musikk for fiolin, bl.a. Liten dansesuite (utgitt 1907), 5 Miniatyrer (for to ﬁoliner og piano, 1909) og 4 Intermezzi (1910).

Komposisjonsprosessen Compositional process En av de mest omdiskuterte begivenhetene ved Nationaltheatret, av mange kritikere kalt «skandalen», var oppsetningen av Franz Lehárs operette Den glade enke, som hadde premiere i romjula 1906. Teateret hadde ingen offentlig støtte, og operetten, som i alt fikk 147 oppførelser under Halvorsens taktstokk, ble satt opp ene og alene av økonomiske hensyn. Edvard Grieg noterte i dagboka at Halvorsen ble rent «fortumlet af ‘Enke-Stemning’» denne vinteren. Den glade enke skjøv nesten all annen virksomhet ved Nationaltheatret til side i 1907. Teaterstykker med behov for ny, originalskrevet scenemusikk ble ikke satt opp. Dermed fikk Halvorsen tid «til overs» og kunne vie seg til å komponere musikk i andre sjangere. Den 27. mars 1907 holdt Halvorsen en stor jubileumskonsert for å markere at det var gått 25 år siden han debuterte som fiolinist. I den forbindelse fortalte han i flere avisinter‑ vjuer at han «for Tiden holder … paa med en Violinkoncert» (VG og Mbl 24/3 1907). Da Christian Haslerud 15. april samme år brakte et portrett av Halvorsen i sitt nye musikkblad Norsk Tonekunst og ville vite om det var lenge til fiolinkonserten var ferdig, svarte han optimistisk: «Nei, det varer ikke længe.» I virkeligheten stod han litt fast med komposisjonsarbeidet, og knappe to måneder senere skrev han, 9. juni 1907, til søsteren Marie Nedberg, som sammen med sin mann drev gården Nedberg i Nedre Eiker:

One of the most controversial events at the National Theatre, dubbed ‘the scandal’ by many critics, was the staging of Franz Lehár’s operetta The Merry Widow, which had its premiere between Christmas and New Year’s 1906. The theatre received no public funding, and the operetta, performed 147 times under Halvor sen’s baton, was set up solely due to economic reasons. Edvard Grieg noted in his diary that Halvorsen was simply ‘bedazzled by widow mood’ that winter. In 1907, The Merry Widow took precedence over most other activities at the National Theatre. Plays that needed new and original incidental music were not being set up, leaving Halvorsen with time ‘to spare’ and the opportunity to compose music in other genres. On 27 March 1907, Halvorsen gave a large concert to mark the 25th anniversary of his debut as a violinist. In this connection, he told several newspapers that he ‘at the time was working ... on a violin concerto’ (VG and Morgenbladet 24 March 1907). When Christian Haslerud on 15 April of the same year published a portrait of Halvorsen in his new music magazine Norsk Tonekunst (Norwegian Musical Art) and inquired whether it would be long before the violin concerto was finished, Halvorsen replied optimistically: ‘No, it won’t be long.’ Actually, the composer was slightly stuck in his work on the composition, and barely two months later, on 9 June 1907, wrote to his sister Marie Nedberg, who together with her husband ran a farm at Nedre Eiker, some 50 km southwest of Kristiania:

Theatret slutter den 7de juni, og den 15de reiser vi til Åsgårdsstrand, og da jeg gjerne vil være lidt for mig selv dagene imellem den 7de og 15de så havde jeg tænkt mig op til Dig. Sagen er at jeg arbeider på en violinconcert, den er forresten snart færdig. Men jeg

III

The theatre closes on June 7th, and on the 15th we will travel to Åsgårdsstrand, and since I would like to be a bit on my own between the 7th and the 15th, I thought of coming to visit you. The fact is that I am working on a violin concerto, which, by the way, will be finished soon. At the moment I am stuck, but convinced that I will find the remainder in your lovely home. What do you say to this? Will you, and are you able to, accommodate me for a few days? (You know how well attuned we two are to one another.)

står nu fast, men tror sikkert at jeg finder det resterende i Dine hyggelige stuer. Hvad siger Du til dette? Vil Du og kan Du have mig et par Dage? (Du ved vi to harmonerer så godt sammen.) Halvorsen mistet begge foreldrene sine tidlig, faren da han var fire, moren da han var 16 år, og det var hans ni år eldre søster Marie og hennes mann Christian som fungerte «som forældre for mig i alle disse år». Halvorsens yngste sønn, Stein, har fortalt at faren titt og ofte reiste opp til dem for å komponere. I sitt neste brev til Marie 6. oktober 1907 skrev Johan Halvorsen: «Jeg skulde like at komme op og skrive noder hos Dig igjen. Det er så velsignet rolig og koselig.» Hvor langt han var kommet på fiolinkonserten sommeren/høsten 1907, vet vi ikke sikkert, men mye tyder på at han i den videre framdriften av fiolinkonserten lenge stod bom fast. Til sin tidligere lærer i Leipzig, Adolf Brodsky, som han møtte i Edvards Griegs bisettelse 9. september 1907, skrev han 23. september samme høst: «Fiolinkonserten må jeg fortsatt reparere litt på, men så går den til England og banker på døra til huset ditt.»1 Det norske musikkmiljøet ventet naturligvis med spenning på at Halvorsen skulle få ferdig fiolinkonserten. Hans kollega Iver Holter, som dirigerte Musikforeningen i Kristiania, forsøkte å få fortgang i sakene ved å innby ham til selv å uroppføre konserten som solist med Musikforeningen. 12. mars 1908 skrev Halvorsen unnskyldende tilbake:

Halvorsen lost both of his parents early on. His father died when Johan was four years old, his mother when he was sixteen, and his nine-year older sister Marie and her husband Christian filled the role of ‘parents to me throughout all these years.’ Halvorsen’s youngest son, Stein, recounted that his father visited them many a time to compose. In his next letter to Marie, dated 6 October 1907, Halvorsen wrote: ‘I should like to come visit and write music at your home again. It is so wonderfully quiet and cosy.’ We do not know for certain how far Halvorsen had come with his work on the violin concerto in summer/ autumn 1907, but there is much to indicate that progress on the concerto had come to a complete halt. On September 23 that same autumn, he wrote to his former teacher in Leipzig, Adolf Brodsky, whom he had met at Edward Grieg’s funeral on September 9, only two weeks earlier: ‘The violin concerto I shall have to repair a bit more, then it, too, goes to England, and knocks on the door to your house.’1 Naturally, the Norwegian musical scene was anxiously awaiting the completion of the violin concerto. Halvorsen’s colleague Iver Holter, who conducted the Musikforeningen (Music Society) in Kristiania, tried to expedite matters by inviting him to premiere the concerto himself as soloist with the Music Society. On 12 March 1908, Halvorsen responds apologetically:

For det elskværdige og ærefulde tilbud om at spille min violinconcert i Musikforeningen, min hjærteligste tak. Desværre må jeg nok sige nei, da jeg simpelthen ikke har råd at spille concerten hværken her eller i Musikforeningen på grund af de lokale forholde. Jeg vil mest mulig for eftertiden undrage mig Hr. Borgstrøms, Winther Hj. og Hårklous behandling af mine musikalske frembringelser. Du kan godt forstå at man nødig vil have et så vidt stort arbeide slagtet med engang i det kjære hjemland. Nei da er det bedre at få overhalingen i Tyskland. Da er man iallefald i godt selskab. Altså, tak kjære Holter. Brænd dette uoficielle brev.

My most sincere thanks for your kind and gracious offer to play my violin concerto with the Music Society. Unfortunately, I must decline, as I simply can’t afford to play the concerto either here or at the Music Society due to the local circumstances. As far as possible, I should like to evade any future treatment of my musical fabrications by Messrs. Borgstrøm, Winther Hj. and Hårklou. You may well understand that

one is reluctant to see a work of this scope instantly slaughtered in one’s beloved homeland. No, if so, it is better to be taken to task in Germany. Here, at least, one is in good company. Well then, thank you, dear Holter. Burn this unofficial letter.

Kunne Halvorsens fiolinkonsert blitt oppført i mars 1908 hvis Halvorsen selv hadde ønsket det? Vi har bare hans egne utsagn til å underbygge at den var på det nærmeste ferdig sommeren 1907 og kun trengte å «repa reres» samme høst. Brevet til Holter kan med andre ord ha vært et forsøk på å vri seg unna at han stod fast med fullføringen av verket. I likhet med Holter var alle de fryktede personene komponistkolleger av Halvorsen, men de var også virksomme som skarpe og kritiske musikkanmeldere i hovedstadspressen, Hjalmar Borgstrøm i Verdens Gang, Otto Winter-Hjelm i Aftenposten og Johannes Haarklou i Dagbladet. Halvorsen, som var selvlært som komponist, kunne produsere scene musikk, småstykker og arrangementer i et nesten utrolig tempo, men ble åpenbart plaget av prestasjons angst når det var snakk om å stå fram som komponist av mer prestisjefylte verk i større format. Dette viste seg også da han rundt midten av 1890-tallet tilintetgjorde sin strykekvartett, et verk som var blitt oppført både i St. Petersburg, Berlin, Kristiania og Bergen, alltid med positiv respons.

Could the violin concerto have been performed in March 1908, had Halvorsen assented? We only have the composer’s own statements to corroborate that the work was close to finished in summer 1907, and only needed to be ‘repaired’ that autumn. The letter to Holter may, in other words, have been an attempt to gloss over the fact that he was at an impasse with the completion of the work. Like Holter, all the dreaded individuals mentioned in the letter were not only composer colleagues, but were also active as keen and exacting music critics for the Kristiania press – Hjalmar Borgstrøm for Verdens Gang, Otto Winter-Hjelm for Aftenposten and Johannes Haarklou for Dagbladet. As a self-taught composer, Halvorsen was able to produce incidental music, small pieces and arrangements at an almost unbelievable pace, but was clearly troubled by fear of being judged when it came to standing forth as a composer of more prestigious and larger works. This showed itself, among other things, in the mid-1890s when he destroyed his string quartet, a work that had been performed in St. Petersburg, Berlin, Oslo and Bergen, and in each case had received a positive response.

Kathleen Parlow Når Halvorsen i det hele tatt fullførte fiolinkonserten, som var hans til da mest omfattende verk, var det i stor grad takket være den unge, kanadiske fiolinisten Kathleen Parlow. Etter å ha vært elev av Leopold Auer i St. Petersburg reiste hun på store konsertturneer i Europa og gjorde furore over alt. Som 17-åring gav hun sin første Kristiania-konsert i Brødrene Hals’ Sal 9. januar 1908, og folk skal ha strømmet over gata «fra Nationaltheatret i pausene for å høre det nye vidunder». Ti dager senere framførte hun Tsjaikovskijs fiolinkonsert med Nationaltheatrets orkester. Hun ble også innbudt til slottet for å spille for kong Haakon og dronning Maud. Parlow var i denne perioden nært knyttet til Norge gjennom forretningsmannen Einar Bjørnson, sønn av forfatteren Bjørnstjerne Bjørnson og bror av Halvorsens første sjef ved Nationaltheatret, Bjørn Bjørnson. Einar Bjørnson var blitt fullstendig bergtatt av Parlow og hennes spill, og han tok med henne og moren, som alltid fulgte henne på konsertturneene, på middager, teaterbesøk og sportsbegivenheter. Ikke minst var han opptatt av at hun trengte et bedre instrument, og allerede i februar 1908 gav han henne penger til å kjøpe en berømt Guarneri del Gesù-fiolin, et instrument hun skulle

Kathleen Parlow The fact that Halvorsen completed the violin concerto, his most extensive work up to this point, at all, was largely thanks to the young Canadian violinist Kathleen Parlow. After studies with Leopold Auer in St. Petersburg, she went on major concert tours throughout Europe and caused a sensation wherever she appeared. At the age of 17 she gave her first Kristiania performance in Brødrene Hals’ Hall on 9 January 1908, and people are said to have flooded across the street ‘from the National Theatre during intermissions to hear the new prodigy.’ Ten days later, she performed Tchaikovsky’s violin concerto with the National The atre Orchestra. She was also invited to the Royal Palace to play for King Haakon and Queen Maud. During this period, Parlow had close ties to Norway thanks to businessman Einar Bjørnson, son of author

Bjørnstjerne Bjørnson and brother of Halvorsen’s first employer at the National Theatre, director Bjørn Bjørnson. Einar Bjørnson was completely mesmerized by Parlow and her playing, and took her and her mother, who always accompanied Kathleen on her concert tours, to dinners, theatres and sporting events. One of his foremost concerns was the fact that she needed a better instrument, and as early as February 1908 he gave her the money to buy a famous Guarneri del Gesù violin, an instrument she would play for the rest of her life. The price was a staggering 2000 British pounds, corresponding to somewhere between 250 000 and 500 000 British pounds in today’s currency. Part of the story is that Einar Bjørnson at the time was on the brink of bankruptcy and certainly had no money of his own. In addition to using up the capital his wife had brought into the marriage, he borrowed 100 000 Norwegian kroner from his father, over two-thirds of the money the latter had received for the Nobel Prize in

komme til å spille på livet ut. Prisen var svimlende, 2000 pund, som avhengig av beregningsmetode tilsvarer et sted mellom 2,5 og 5 millioner kroner i dagens verdi. Det hører med til historien at Einar Bjørnson på denne tida var på konkursens rand og slett ikke hadde egne penger. I tillegg til å bruke opp den formuen kona hadde brakt inn i ekteskapet, lånte han 100 000 kroner av faren, over to tredeler av pengene han fikk for Nobelprisen i littera tur i 1903. Parlow forstod etter hvert hvordan det hang sammen, og hun oppgav senere «The Björnson Family», ikke bare Einar, som giver av fiolinen. Einar betalte aldri pengene tilbake, og 44 år gammel skapte han bestyrtelse i familien da han – for en periode – forlot kone og barn til fordel for den 26 år yngre Parlow. Selv om han vendte tilbake til familien etter tre-fire år, opprettholdt han kontakten med Parlow helt fram til han gikk konkurs i 1920 og ikke lenger kunne møte henne på forretningsreiser utenlands. Den 19. september 1908 var Parlow tilbake i Norge og spilte – ved siden av Brahms’ fiolinkonsert – med stor entusiasme Halvorsens to norske danser og Veslemøys sang ved en symfonikonsert i Nationaltheatret. Disse småstykkene framførte hun også utenlands, ikke bare ved konserter, men i 1909 også for The Gramophone Company i London, det tidligst kjente lydopptaket som eksisterer av Halvorsens musikk. Halvorsen var svært begeistret for Parlows spill og satte henne høyere enn nesten alle andre berømte solister som gjestet Kristiania. Parlow var på sin side en varm beundrer av Halvorsens musikk, og da hun fikk høre at han holdt på å komponere en fiolinkonsert, ble hun en sterk pådriver for at han skulle få den ferdig. En bedre tolker av fiolinkonserten kunne Halvorsen ikke tenke seg, og han innrømmet villig at «det for en stor del [skyldtes] miss Parlows glimrende spil, at konserten blev færdig udarbeidet». I ukene etter Parlows besøk i september 1908 kastet Halvorsen seg over arbeidet med å få fullført fiolin konserten. Av et brev han sendte henne 12. november samme høst (gjengitt i faksimile side XXV), går det fram at han da var ferdig med solostemmen. I samme brev skriver han en del om hvordan han hadde tenkt seg tempo og uttrykk i de tre satsene, men presiserer at hans beste råd er: «Just play it as you like (and only as Miss Parlow can do it). Then I will be quite happy.» I de følgende ukene sendte Halvorsen kopier av både klaveruttog, fullt orkesterpartitur og orkester-

Literature in 1903. Parlow gradually realized the situation, and later credited not only Einar, but ‘the Björnson family’ as the donors of the violin. Einar never paid back the money, and created consternation among the family at the age of 44, when for a period he left his wife and children in favour of Parlow, 26 years his junior. Even though he returned to his family three or four years later, Einar maintained contact with Parlow until bankruptcy in 1920 prevented him from meeting her on business trips abroad. On 19 September 1908, Parlow was back in Norway to play. In addition to Brahms’ violin concerto, she performed Halvorsen’s two Norwegian Dances and ‘Veslemøy’s Song’ with great enthusiasm in an orchestra concert at the National Theatre. Not only did she present these small gems in concerts overseas, but in 1909 recorded them for The Gramophone Company in London, the earliest existing sound recording of Halvorsen’s music. Halvorsen was extremely enthusiastic about Parlow’s playing and placed her above practically all other famous soloists who visited Kristiania. Parlow, in turn, was a warm admirer of Halvorsen’s music, and, learning that he was working on a violin concerto, became a driving force in motivating the work’s completion. Halvorsen could hardly have wished for a better suited interpreter of his concerto, and willingly admitted that it was ‘largely [due to] Miss Parlow’s brilliant playing that work on the concerto was completed.’

In the weeks following Parlow’s visit in September 1908, Halvorsen threw himself into completing the violin concerto. Based on a letter he sent to her on 12 November the same autumn (reproduced in facsimile, page XXV), we know that he by then had finished the solo part. In the same letter, Halvorsen writes at some length about his ideas on tempo and expression in the three movements, but emphasizes that his best advice is to ‘Just play it as you like (and only as Miss Parlow can do it). Then I will be quite happy.’ In the following weeks, Halvorsen sent Parlow copies of the piano reduction as well as the full orchestral score and parts. In two letters dated 5 December 1908 and 28 January 1909, he accounts for a number of minor corrections after having found some small mistakes in his own score, which had served as the basis for her copy. Since these changes were of little relevance to Parlow’s own part, it is clear that he primarily wished to ensure the musical material would be in order once she decided to perform the concerto as a soloist with an orchestra. In the letter of December, he added: ‘It is of course possible that the conduktor will find som more small faults but that will easily be put in order.’2 The January letter suggests that he felt the need to both consult and ‘reassure’ her (and himself ) with regard to the work’s orchestration:

stemmer til Parlow. I to brev fra 5. desember 1908 og 28. januar 1909 gjør han rede for mindre rettelser etter at han hadde funnet noen småfeil i sitt partitur, som hennes var kopiert etter. For Parlows innstudering av verket er forandringene uvesentlige, så det er tydelig at han først og fremst ville sørge for at note materialet var i orden når hun bestemte seg for å oppføre konserten som solist med et eller annet orkester. I desemberbrevet la han til: «Det er selvfølgelig mulig at dirigenten vil finne noen flere småfeil, men det lar seg enkelt rette opp.»2 I januarbrevet kommer det fram at han følte behov for både å konsultere og «berolige» henne (og seg selv) med hensyn til orkestrer‑ ingen av verket: Ved bokstav N må du ikke være redd om orkesteret virker litt sterkt i forhold til solostemmen. Bratsjen og oboene spiller melodien sammen med den. … Vær snill å skrive til meg hvis du finner noe som bør endres i konserten.3

Den ukjente uroppførelsen av Halvorsens fiolinkonsert i Scheveningen

By letter N you must not be afraid if the orchestra seems a little strong to the solopart. The viola and the oboi are playing the melodie with the solo… If you find that some thing in the concerto ought to be altered, please wright me.

Av Halvorsens neste bevarte brev til Kathleen Parlow, som er datert 1. juni 1909, går det fram at hun da hadde lagt konkrete planer for å oppføre konserten i Nederland denne sommeren: Jeg ble veldig glad for å høre av hr. [Einar] Bjørnson at Du kommer til å spille Konserten i Holland denne sommeren. Jeg gir Deg min velsignelse til det og håper Du vil sende meg noen ord når Du har spilt den.4 Sommeren 1909 var Parlow og hennes mor gjester på det mondene strandhotellet Kurhaus i Scheveningen ved Haag. Hotellet hadde en berømt «Kurzaal» (i dag ombygd til restaurant), der ingen ringere enn Berliner Philharmoniker gav to konserter daglig fra juni til september i perioden 1885–1910. Dirigent sommeren 1909 var orkesterets andrekapellmester Ernst Kunwald. Kathleen Parlow ble engasjert som solist ved to av disse konsertene. Ved den første, som fant sted 11. august, spilte hun blant annet Tsjaikovskijs fiolin konsert og Sarasates fantasi over temaer fra Bizets Carmen. Det svært fulltallige publikum var nærmest i

The unknown premiere of Halvorsen’s violin concerto in Scheveningen The next preserved letter from Halvorsen to Kathleen Parlow, dated 1 June 1909, reveals that she by then had made concrete plans to perform the concerto in the Netherlands that summer: From Mr. [Einar] Bjørnson I was very glad to hear that You are going to play the Concerto in Holland this summer. I give You my blessing and hope You will send me a few words when You have played it. In the summer of 1909, Parlow and her mother were

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guests at the fashionable beach hotel Kurhaus in Scheveningen near The Hague. The hotel had a famous ‘Kurzaal’ (today converted into a restaurant) where none other than the Berlin Philharmonic Orchestra gave two concerts a day from June to September in the period 1885–1910. That summer, the orchestra was led by its assistant conductor, Ernst Kunwald. Kathleen Parlow was engaged as a soloist for two of these concerts. The first concert took place on 11 August and included Tchaikovsky’s violin concerto and Sarasate’s Fantasy on Themes from Bizet’s Carmen. The large audience was virtually in ecstasy, and ‘countless bouquets were showered on the remarkable young lady.’3 Based on the reviews, it is difficult to get an impression of Parlow’s playing. Many reviewers, such as the critic for De Tijd, mainly focused on 18-year-old Parlow’s age and looks:

ekstase, og «den beundringsverdige jenta ble overøst med blomster».5 Ut fra kritikkene kan det være vanskelig å bedømme Parlows spill. Mange, for eksempel kritikeren i De Tijd, var først og fremst opptatt av å skildre den da 18-årige Parlows alder og utseende: En sympatisk framtoning, denne 18 år gamle kunst neren: slank, med det mørke håret i enkel midtskill, og med et artistisk uttrykk i sine dype øyne. På tross av sin unge alder bærer hennes trekk preg av seriøsitet, og hun har blitt atskillig mer moden i den seneste perioden. Mye kreves av et vidunderbarn som henne, hvis studier ikke må undervurderes. […] Lørdag spiller den talentfulle englenderinnen [sic] i Kurzaal igjen. 6

An agreeable appearance, this 18-year-old artist: slim, dark hair simply arranged with a parting, an artistic expression in her deep eyes. Despite her young age, her features have an air of earnestness, and she has grown more mature of late. Much, indeed, is expected of such a prodigy, whose [time spent] practicing should not be underestimated. [...] On Saturday, the talented Englishwoman [!] will hold another performance at the Kurzaal

Det var ved Parlows andre Scheveningen-konsert, lørdag 14. august 1909, at hun og Berlin-filharmonikerne uroppførte Halvorsens fiolinkonsert under Kunwalds taktstokk: «Min sjel er hos deg disse dagene», skrev Halvorsen til Parlow fem dager før og la til: «Jeg er lei for at mine ører ikke kan høre deg den 14. august. Hvis det kommer noen gode ord om konserten vår, vær snill og send dem til din gode venn og beundrer, Johan Halvorsen.»7 Etter de nederlandske avisene å dømme var det ikke uroppførelsen av en helt ny fiolinkonsert, men Parlows opptreden i seg selv som var ventet å lokke feriegjestene i strandbyen inn i konsertsalen denne lørdagskvelden. Den eneste avisa som syntes å dvele også ved det faktum at hun uroppførte en helt ny fiolinkonsert, var Het Vaderland, som 16. august brakte en lengre, usignert kritikk av verket. Forfatteren var etter alt å dømme Josef Daniel De Jong, som hadde gjort seg kjent med mye norsk musikk da han var korrespondent for samme avis ved musikkfesten i Bergen i 1898. Den gangen sammenliknet han Halvorsens Vasantasena-suite med de beste tilsvarende ting av Bizet, Saint Saëns og Massenet, og han hadde positive forventninger til et nytt, større verk av nordmannen: «Det er åpenbart at nyheten om en splitter ny fiolinkonsert vil vekke interesse, og Halvor sens navn har allerede en god klang hos oss.»8 Dessverre ble han desto mer skuffet denne gangen:

(DE TIJD 18 AUGUST). 4

On Saturday, 14 August 1909, Halvorsen’s violin concerto received its premiere at Parlow’s second concert in Scheveningen with the Berlin Philharmonic under Kunwald’s baton. ‘My soul is with You these days,’ Halvorsen had written to Parlow five days earlier, adding: ‘I am sory my ears not can hear You the 14th of August. If some good words about our Concert, please, send them to your good Freind and admirer, Johan Halvorsen.’ Judging by the Dutch newspapers, it was not the premiere of a brand new violin concerto, but Parlow’s appearance itself that was expected to draw the holiday guests to the concert hall that Saturday evening. The only newspaper that seemed to pay attention to the fact that she was premiering a new violin concerto was Het Vaderland, which on 16 August published a long, unsigned review of the work. The author, presumably Josef Daniel De Jong, had become familiar with many Norwegian works as a correspondent for the

Jeg er lei for å måtte si at denne første framføringen skuffet. Konserten består av tre deler, hvorav de to første, Moderato assai, quasi una fantasia og

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same newspaper at the Bergen Music Festival in 1898. At the time, he had compared Halvorsen’s Vasantasena Suite with the finest pieces in the genre by Bizet, SaintSaëns and Massenet, and had positive expectations for a major new work by the Norwegian composer: ‘it goes without saying that the announcement of a brand new violin concerto would arouse interest, and the name Halvorsen already had a favourable ring to it.’5 Unfortunately, he was to be all the more disappointed this time:

Andante sostenuto, går direkte over i hverandre uten pause. Allerede i den innledende kadensen avsløres verkets norske preg, og dette er tydelig til stede også videre i verket, ikke minst i finalen, en ekte norsk springdans [sic]. Dette ville vært en anbefaling, hvis komponisten hadde latt lengre og viktigere motiver komme for dagen, og hvis han hadde kunnet konsentrere seg bedre. Det blir ofte bare små tilløp til noe, og hele verket etterlater et oppstykket og ensformig inntrykk. Konserten var vanskelig å spille, og første del ble kanskje ikke fullt ut behersket av solisten ennå. At Kathleen Parlow gjorde sitt beste for å vise fram den umiskjennelige skjønnheten i mellomsatsen, kan en derimot være sikker på. Og Halvorsen visste definitivt hva han gjorde da han overlot uroppførelsen av dette nyeste barn av hans muse til henne. Det spiller ingen rolle hva hun spiller; hennes suksess hos oss er alltid sikker.9

I am sorry to have to say that this first encounter was a disappointment. The concerto consists of three parts, the first two of which – Moderato assai quasi una fantasia and Andante sostenuto – are joined together without a pause. The introductory cadenza soon betrays the work’s Northern origins, which continue to make themselves felt, not least in the Finale, an authentic Norwegian spring dance. This would be a recommendation, had the composer employed more pertinent themes with longer lines, thus concentrating [the musical material]. Often, however, this remains a mere attempt, and the entire work gives the impression of being fragmented and rather monotonous. It is a difficult concerto, and the soloist seemed not to be in full command of the first part, but one can be assured that Kathleen Parlow did her best to do justice to the many undeniably beautiful places in the middle movement. And surely Halvorsen knew what he was doing when he entrusted this latest child of his muse to be baptized by Miss Parlow. Whatever she may play, her success will always be assured, at least in this reviewer’s eyes

De innvendingene som kom fram i De Jongs kritikk, særlig de som gjaldt mangelen på lengre musikalske linjer i den tematiske utviklingen, stemmer – som vi snart skal se – svært godt overens med tilsvarende kritikk som skulle komme etter den norske førsteoppførelsen fire uker senere. Allerede 15. august 1909, dagen etter oppførelsen og dagen før de Jongs kritikk stod på trykk, fikk Halvorsen telegrafisk underretning fra Einar Bjørnson om at fiolinkonserten ikke var blitt den suksessen de hadde håpet på. Det er uklart om den kritikken han refererte til, var framkommet muntlig eller på trykk, men samme dag skrev Halvorsen i alle fall til Parlow:

(HET VATERLAND 16 AUGUST 1909). 6

As we shall see, the objections voiced by De Jong’s review, particularly in regard to Parlow’s lack of longer musical lines in the thematic development, correspond well with similar criticisms following the Norwegian premiere four weeks later. Already on 15 August 1909, the day after the premiere and one day before the publication of De Jong’s review, Halvorsen received a telegram from Einar Bjørnson, informing him that the concerto had not achieved the success they had hoped for. Although it is unclear whether the criticism he referred to had been conveyed by word of mouth or in print, Halvorsen wrote to Parlow the same day:

I dette øyeblikk mottok jeg et telegram fra hr. Bjørnson, der han forteller meg at Du har spilt min konsert fortreffelig, [men] at orkestreringen ikke var tilpasset solofiolinen. Jeg har også forstått at avisene ikke var særlig begeistret for konserten som komposisjon. Selvfølgelig er jeg litt lei meg over dette faktum, og hvis Du ville være snill og sende meg partituret og avmerke de taktene som ikke var gode, skal jeg om arbeide det og ikke gå fra det før jeg har hørt det selv. Kjære miss Parlow! Jeg må nå sende Deg min hjerteligste takk for den varme interessen Du har vist for konserten og for alt det arbeidet Du har gjort med å bringe den ut.

Just in this moment I received a telegram from Mr. [Einar] Bjørnson in which he tells me that You have played my concerto splendidly, that the orchestra tion did not suit the soloviolin, and I have also understand that the papers were not very fond of the concerto as a composition. Of course, I am a little sory to that fact and if you will be kind enough to send me the score and mark out the bars who were not good, I will work it over again and not leave it before I have heard it myself. Dear miss Parlow! I have now to send You my heartiest thanks for the warm interest You have taken in the concerto and for all the work You have done to bring it out. Your admirer and most sincerely friend Johan Halvorsen (Excuse my English.)

Din beundrer og mest oppriktige venn Johan Halvorsen (beklager min engelsk).10 Halvorsen var tydelig skuffet, men ville ikke desto mindre gjøre alt han kunne for å fortsette med sine stadige forbedringer av fiolinkonserten. Det er vanskelig å bedømme hvor god uroppførelsen av fiolinkonserten egentlig kan ha vært. I utgangpunktet var Berlin-filharmonikerne – da som nå – et av verdens beste symfoniorkestre. Kommentarene om Halvorsens orkestrering må likevel ses i lys av at orkesteret i Scheveningen bestod av feriestemte musikere som spilte for et feriestemt publikum under det anonymiserte navnet «het Philharmonisch Orkest» (annonse med sesongprogram i De Kunst, 22. mai 1909). Orkesteret stilte som nevnt heller ikke med sin hoveddirigent, Arthur Nikisch, men ble ledet av den langt mer ordinære Ernst Kunwald. Ut fra at sommerkonsertene ble gitt to ganger daglig i over tre måneder, kan det ikke ha vært mye tid til å innstudere nye verk som Halvor sens fiolinkonsert.

Although Halvorsen was clearly disappointed, he nonetheless continued to do everything in his power to make constant improvements to the violin concerto. It is difficult to judge how well the violin concerto was performed at its premiere. The Berlin Philharmonic was – then as now – one of the world’s finest symphony orchestras. However, the comments about Halvorsen’s orchestration must be seen in light of the fact that the orchestra in Scheveningen consisted of musicians on holiday who played for a holiday audience under the moniker of ‘het Philharmonisch Orkest’ (advert with the season’s programme in De Kunst, 22 May 1909). Neither did the orchestra play under its principal conductor, Arthur Nikisch, but under the far more commonplace leadership of Ernst Kunwald. Considering that summer concerts were given twice a day for over three months, there could hardly have been much time to rehearse new works like Halvorsen’s violin concerto.

Den offisielle uroppførelsen av Halvorsens fiolinkonsert i Nationaltheatret Allerede før uroppførelsen i Nederland var det planlagt at Halvorsen fire uker senere, 11. og 12. september, skulle dirigere verket hjemme i Kristiania med Parlow som solist. Som vi har sett over, fryktet han dommen fra hjemlige kritikere aller mest, og en utenlandsk suksess for verket ville øyensynlig ha hjulpet det til å få en mildere «behandling» i norsk presse. Nå gjaldt det i stedet å holde den lunkne mottakelsen i Nederland hemmelig, en strategi som synes å ha vært vellykket. Norske aviser nevnte den ikke med et ord, og Nationaltheatrets eget konsertprogram brakte følgende, feilaktige opplysninger om det nye verket som skulle oppføres «for første gang»:

The official premiere of Halvorsen’s violin concerto at the National Theatre Even before the Dutch premiere, plans had been made for Halvorsen to conduct the work with Parlow as the soloist four weeks later in Kristiania, on 11 and 12 September. As previously mentioned, Halvorsen’s greatest fear was the verdict of domestic critics, and a successful performance abroad would undoubtedly have led to a milder ‘treatment’ by the Norwegian press. Instead, the lukewarm reception in the Netherlands had to be

Den violinkonsert, som miss Parlow idag spiller på Natio‑ naltheatret, opføres ved denne leilighed for første gang… Den står nu på programmet ved en række af de koncerter, miss Parlow i den kommende tid skal give i England, Holland, Amerika o. s. v.; men hun har selv villet spille den her først, og under kompo nistens personlige ledelse.

kept secret, a strategy that seems to have succeeded. Not a single Norwegian newspaper made mention of it, and the National Theatre’s own concert programme printed the following erroneous information about the new work that was to be performed ‘for the first time’: På den første konsertdagen stod et lengre intervju med Kathleen Parlow på trykk i Verdens Gang. Hun gav uttrykk for at hun var svært fornøyd med «sitt» verk og så fram til å slå et slag for Halvorsen på hans hjemmebane:

The violin concerto Miss Parlow will play today at the National Theatre is performed for the first time on this occasion … It is now on the programme in a series of concerts Miss Parlow shall be giving in the near future in England, Holland, America, etc.; but it was her wish to play it here for the first time, under the composer’s personal leadership.

Jeg beundrer Grieg og Sinding og Halvorsen. De hører til de store paa mit omraade. Jeg er denne gang kommen herop ene og alene for at spille Halvorsens nye konsert… Det er et mærkelig værk, yderst interessant at spille, og saa er den saa forfærdelig vakker, – ja … tremendously beautiful. Jeg tror den vil slaa an. Skjønt det er det aldrig mulig sikkert at vite paa forhaand. Man vet simpelthen aldrig, hvor publikum er. Det er saa lunete, bestandig omskiftelig. Her er forresten et prægtig publikum. Jeg bare glæder mig til igjen at skulle spille for Dere, og jeg kommer igjen næste aar for at gi egen konsert. Dennegang er jeg bare gjæst hos Halvorsen. Men ogsaa det morer mig, og jeg haaber jo, vi skal slaa et slag sammen, at det blir en virkelig sukces, – altsaa især for ham. Jeg skal forsøke at spille, saa godt jeg kan. 11

On the first concert day, a lengthy interview with Kathleen Parlow was published in the Norwegian daily Verdens Gang. Stating that she was extremely pleased with ‘her’ work, she looked forward to striking a blow for Halvorsen on his home ground: I admire Grieg and Sinding and Halvorsen. They are among the greats in my field. This time, I have come up here solely to play Halvorsen’s new concerto … It is a peculiar work, exceptionally interesting to play, and of such tremendous beauty – yes … tremendously beautiful. I think it will catch on. Of course, it is never possible to be entirely certain in advance. One simply doesn’t always know where the audience is. It is so capricious, constantly changing. The local audience is splendid, by the way. I just look forward to be playing for you once again, and I shall visit again next year to give a separate concert. This time, I’m only Halvorsen’s guest. But that, too, is delightful, and I do hope that together we shall strike a blow, that it will be a real success, – that is, especially for him. I shall try to play to the best of my ability.7

Til tross for sterk konkurranse fra den kjente fiolinisten Fritz Kreisler, som holdt konsert i Kristiania samme kveld, var det utsolgt hus i Nationaltheatret ved oppførelsen av Halvorsens fiolinkonsert. Verken solist eller komponist hadde grunn til å frykte publikum: «Begge fremkaldtes 8–10 Gange, og Halvorsen takket Frk. Parlow med et chevaleresk Kys paa Haanden», skrev signaturen «P.» i Landsbladet. I avis‑ omtalene, som alle stod på trykk 12. september, inntok kritikerne en ærbødig holdning til fiolinkonserten og framholdt at den var «et fremragende Arbeide» (Landsbladet), «utarbeidet med megen flid» (Krist iania Dagsavis). De fleste var likevel noe forbeholdne, særlig overfor første sats, som «med sine Solistimprovisationer og svære Belæg af vanskelig og indviklet Figuration» ble ansett som «noget sprød i Formen» (Morgenbladet). Signaturen «C.p.–» i Dagsavisen påpekte dessuten «at hovedtemaet i første sats undertiden tvinges ind i systemiske forhold, som ikke er det helt naturlige», og at satsen, «der er fuld av vakre sidemotiver, … derfor ikke [virker] saa flytende, som en konsert bør utvikle sig». Som Halvorsen hadde forutsett i

Despite considerable competition from renowned violinist Fritz Kreisler, who held a concert in Kristiania that evening, the National Theatre was sold out for the performance of Halvorsen’s violin concerto. Neither soloist nor composer had any reason to fear the audience: ‘Both had to make eight to ten curtain calls, and Halvorsen thanked Miss Parlow with a chivalrous kiss to the hand,’ the undersigned ‘P.’ wrote in Landsbladet. The critics behind the newspaper reviews, all published on 12 September, adopted an extremely respectful atti-

tude towards the violin concerto, calling it ‘an outstanding work’ (Landsbladet), ‘prepared with great diligence’ (Kristiania Dagsavis). Most of the critics were nonetheless slightly reserved, particularly regarding the first movement, which ‘with its solo improvisations and dense lining of difficult and intricate figurations’ was deemed ‘somewhat delicate in form’ (Morgenbladet). Dagsavisen’s reviewer ‘C.p.–’ furthermore pointed out that ‘at times the main theme of the first movement is forced into systemic contexts that are not entirely natural,’ and that the movement, ‘filled with beautiful secondary themes, … therefore does not [seem] quite as fluid in its development as a concerto should.’ As Halvorsen had predicted in his letter to Holter (cited above), Aftenposten’s conservative critic Otto Winter-Hjelm was not altogether positive either:

brevet til Holter (sitert over), var heller ikke Aften postens konservative kritiker Otto Winter-Hjelm udelt positiv: Det er utrygt efter en Førsteopførelse at udtale sig bestemt om et Verk, der ikke er anlagt efter tilvante Forutsætninger. De store, klare Linjer hersker ikke saaledes, at det mangesteds tiltalende thematiske Stof faar gjort sig gjeldende som Motiver for den hele Udfoldelse, medens den rhapsodiske Form, særlig i de to … første Satser efterlader et temmelig uklart Indtryk, saa meget mere som Instrumentationen af Orkestret ikke kastede det flatterende Lys over Verkets Idé og Solopartiet, som man efter Hr. Halvor sens Musik til forskjellige Skuespil havde kunnet gjøre sig Forventninger om.

One must be heedful in resolutely commenting a work not fashioned according to familiar premises. The broad, clear lines do not reign to such an extent as to allow the frequently appealing thematic material to assert itself as motifs for the [work’s] development as a whole, while the rhapsodic form, especially in the two … first movements, leaves a rather unclear impression, all the more as the instrumentation of the orchestra did not shed the most flattering light on the work’s idea and solo part, which, based on Mr. Halvorsen’s music to various plays, one should have been able to expect.

At det i første rekke synes å ha vært utformingen av åpningssatsen som voldte problemer for Halvorsen, rimer godt når vi nå har notene foran oss. Kritikerne forventet åpenbart en sats i sonatesatsform og stilte seg derfor uforstående til at Halvorsen – trolig etter mønster av Max Bruchs første fiolinkonsert – i stedet har bygd opp satsen som en bueform som innrammes av solokadenser først og sist. Derimot fikk de andre to mye ros, andanten for å romme «en betydelig Sum af finstemt, varmhjertet og fængslende Musik [som] med sine mange vakre Episoder [er] stærk nok til alene at bære Konserten» (Morgenbladet), finalen for sitt «sprættende Thema» (Ørebladet) med «be stikkende norskhetskolorit» (Verdens Gang). Alt i alt og medregnet publikums begeistring må en derfor trygt kunne si at den hjemlige responsen på Halvor‑ sens fiolinkonsert var overveiende positiv.

The fact that the structural design of the opening movement in particular seems to have been the cause of Halvorsen’s problems agrees well with the score we now have in front of us. The critics, apparently expecting a movement in sonata form, seemed baffled that Halvorsen – probably along the lines of Max Bruch’s first violin concerto – instead constructed the movement as an arch form, framed by a solo cadenza at each end. The other movements, however, received much praise – the Andante for its ‘significant amount of subtle, warm-hearted and captivating music [that] with its many beautiful episodes [is] sufficiently solid to sustain the concerto on its own’ (Morgenbladet), the Finale for its ‘bouncy themes’ (Ørebladet) with enticing hues of Norwegianness’ (Verdens Gang). All in all, and considering the audience’s enthusiasm, one can safely say that the Norwegian response to Halvorsen’s violin concerto was predominantly positive.

Ble fiolinkonserten trukket tilbake, eller gikk den bare i glemmeboka? Av Parlows planlagte oppførelser i «England, Holland, Amerika o.s.v.» har vi bare kunnet dokumentere én, som fant sted i Utrecht i Nederland 28. februar 1910. I byens Tivolisal var hun under ledelse av dirigenten Wouter Hutschenruyter solist i både Brahms’ og Halvor sens fiolinkonserter med Utrechts Stedelijk Orkest. Kritikken som stod på trykk i Utrechts Nieuwsblad 1. mars, var ikke lang, men hadde en positiv tone:

XII

Was the violin concerto withdrawn or simply forgotten? Among Parlow’s scheduled performances in ‘England, Holland, America, etc.’, we have only been able to document a single performance in Utrecht, the Nether lands, on 28 February 1910. Both Brahms’ and Halvorsen’s violin concertos were on the programme in the city’s Tivoli Hall, where Parlow played under the direction of conductor Wouter Hutschenruyter with Utrecht’s Stedelijk Orkest. The review, published in Utrechts Nieuwsblad on 1 March, was not long, but took a positive view:

Frk. Parlow lot oss også bli kjent med den interessante fiolinkonserten i g (op. 28) av Joh. Halvorsen, et pittoresk og fantasifullt verk som komponisten har tilegnet henne. Det gjorde han rett i, for han kunne ikke ha ønsket seg en mer fargerik og morsom tolkning av sitt verk. Da publikum ikke stoppet å applaudere henne, spilte hun [Schumanns] Abendlied som ekstranummer.12 Ingen ting tyder på at fiolinkonserten noen gang er oppført etter dette. Skyldtes det rett og slett at Parlow selv prioriterte annen musikk i sesongene som fulgte, eller kan det tenkes at Halvorsen stoppet henne, kanskje under påskudd av å skulle forbedre verket ytterligere? Det er ikke bevart noen korrespondanse dem imellom etter 1909, og Parlow kom ikke tilbake til Kristiania før fem år senere, da hun midt under første verdenskrig la ut på den farefulle sjø reisen over Nordsjøen og gav konserter i flere norske byer. I Nationaltheatret var hun 2. oktober 1915 solist i Saint-Saëns’ tredje fiolinkonsert under Halvorsens taktstokk. Hun gav også konserter i den norske hovedstaden i 1924 og 1925, men da uten Halvorsens medvirkning. Deretter trappet hun kraftig ned på sine verdensomspennende turneer og viet seg til undervisning og kammermusikk, fra 1941 med base i Toronto. Lite tyder på at Halvorsen arbeidet videre med fiolinkonserten etter oppførelsene i 1909. Han hadde et svært travelt tiår som kapellmester fram til 1919, da teateret mistet det store orkesteret til det nystartede Filharmoniske selskap (nåværende Oslo filharmoniske orkester). Etter et år som andredirigent der vendte Halvorsen tilbake til Nationaltheatret som leder av et orkester på bare 15 musikere. Det var helt slutt på operaforestillinger og symfonikonserter, så på 1920tallet fikk han bedre tid til å komponere musikk utover den han leverte i embets medfør. Han skrev ingen flere konserter, men komponerte tre symfonier. Den første av dem, som ble fullført i 1923, er svært interessant i forhold til fiolinkonserten. Som viktigste tema i symfoniens andre sats benyttet han nemlig hovedtemaet fra mellomsatsen i fiolinkonserten:

Miss Parlow furthermore acquainted us with the interesting violin concerto in g (op. 28) by Joh. Halvorsen, a picturesque, imaginative work dedicated to her, something the composer was quite right in doing, for he could hardly have wished for a more colourful and lively rendition of his work. Since the audience would not stop applauding, Miss Parlow played the [Schumann] Abendlied as an encore.8 Nothing points to any subsequent performances of the concerto. Could it simply be that Parlow herself prioritized other music in the following seasons, or is it possible that Halvorsen stopped her, perhaps under the pretext of having to make further improvements to the work? No correspondence between them survives after 1909, and Parlow did not return to Kristiania until five years later when she embarked on a perilous voyage across the North Sea in the middle of World War I to hold concerts in a number of Norwegian cities. On 2 October 1915, she was soloist at the National Theatre in Saint-Saëns’s third violin concerto under Halvorsen’s baton. She also gave concerts in the Norwegian capital in 1924 and 1925, but without Halvorsen’s participation. Subsequently, she cut back considerably on her tours around the world and devoted herself to teaching and chamber music, settling permanently in Toronto in 1941. There is little evidence that Halvorsen continued work on the violin concerto following the performances in 1909. The next ten years he was extremely busy filling his post as musical director until 1919, when the theatre lost the large orchestra to the newly established Filharmoniske selskap (Philharmonic Society, now Oslo Philharmonic Orchestra). After a year there as second

XIII

Andante

I. Violini II.

Viole

? b b 38 œ . b œ. p ? b 3 bb 8

div.

Violoncelli

Contrabbassi

Vln. II.

Vle.

Vc.

Cb.

∑

œœ ..

œ œ œ œ œ j

œ ∑

œ œ. œ œ œ. œ œ œ œ. j

œ œœ ..

œœ ..

œ- œ- œ . j

#œ

∑

nœ

ten. > b œ & b b œ œ œ œ œj œ . œ œ . œ œ œ > > > œ œ F F b & b b œ. œ nœ bœ > >œ F F B bbb œ . œ œ œ œ nœ . > >œ F F j ? bb œ œ. b œ œ œ œ >œ . F F j ? bb ∑ Œ œ b >œ . p F

e = 60

b & b b 38 œ œ œ . œ œ . p cantabile b 3 &bb 8 œ. œ. p B b b b 38 œ . œ p

nœ

œ.

œ œ œ

œ œ

∑

œ nœ œ. j

#œ œ

∑

œ œ œ œ œ œ œ œ œ nœ. œ œ œ j

œ œ

œ œ œ œ œ œ œ œ

conductor, Halvorsen returned to the National Theatre to lead an orchestra of only 15 musicians. Since opera performances and symphony concerts were now a thing of the past, the 1920s saw Halvorsen devote more time to composing beyond the music he delivered in his official capacity. He wrote no other concertos, but composed three symphonies. The first of these, completed in 1923, is of great interest in relation to the violin concerto, as the main theme of the concerto’s middle movement acts as the central theme of the symphony’s second movement:

j nœ j nœ

œ œ

œœ

œœœ

œœœ-

œ- # œ-

œ-

œ- # œ-

œ-

p p

#œ >

>œ œ J

œ >œ >œ

œ œ œœ

(See the score in the Norwegian text opposite)

This ‘recycling’ of musical material strongly suggests that Halvorsen by 1923 regarded the violin concerto to be a retracted work, but – for good reasons – wished to let this particular theme live on in a different context. Whether the score to the concerto at this

œ J

point was still at his disposal, or whether he simply wrote it down from memory, is not known. Six years later, upon his retirement in 1929, one of the theatre’s musicians was ordered to burn a large number of manuscripts in the National Theatre’s furnace – in the presence of the composer himself. In 1951, Halvorsen’s widow, Annie, related the following in a radio interview with Øivind Bergh:

En slik «gjenbruk» av materiale tyder sterkt på at Halvorsen i 1923 anså fiolinkonserten som trukket tilbake, men – med god grunn – ville la akkurat dette temaet leve videre i en annen sammenheng. Hvorvidt han på dette tidspunktet fortsatt hadde notene til konserten å bruke som forelegg, eller rett og slett skrev det ned etter hukommelsen, vites ikke. Seks år senere, da Halvorsen gikk av med pensjon i 1929, ble en av teatermusikerne befalt å brenne opp en mengde manuskripter i Nationaltheatrets fyr – under komponistens personlige påsyn. I 1951 fortalte Halvorsens enke, Annie, i et NRK-intervju med Øivind Bergh:

He [Halvorsen] was extremely enthusiastic about Kathleen Parlow as a violinist, and he wrote a violin concerto and dedicated it to her. And she played it, but – like so many of Johan Halvorsen’s things that he was not happy with – it was destroyed, and that has been the case with many [works]. And, of course, posterity has to respect it when a composer destroys his own works, and this is how they disappeared. In some ways it is a shame, of course.9

Han [Halvorsen] var veldig begeistret for Kathleen Parlow som fiolinist, og han skrev en fiolinkonsert og dediserte den til henne. Og hun spilte den, men – som så mange ting av Johan Halvorsen som han ikke var fornøyet med – den ble ødelagt, og det er det blitt atskillig av. Og eftertiden må jo respektere det, når en komponist selv ødelegger sine verker, og dermed er de blitt borte. Til dels er det jo beklagelig. 13

There is no reason to believe that Annie Halvorsen remembered incorrectly. No copies of Halvorsen’s violin concerto have been preserved among his sur viving manuscripts, and the musical material to the concerto may well have been among the works that were burned in 1929. It is therefore Kathleen Parlow we have to thank for preserving her copy of the score and the parts. With this critical edition of Halvorsen’s violin concerto, we hope to contribute to the work’s popularity

Det er ingen grunn til å tro at Annie Halvorsen husket feil. Det er ikke bevart noe eksemplar av fiolinkonserten blant Halvorsens etterlatte manuskripter, og notematerialet til fiolinkonserten kan godt ha befunnet seg blant det som ble brent i 1929. Det er derfor Kathleen Parlow vi kan takke for at hun tok vare på sitt eksemplar av partitur og stemmemateriale. Vi håper med denne kritiske utgaven av Halvorsens

XIV

and ensure its place as one of the major violin concertos of the Romantic period in Norwegian musical history. Øyvin Dybsand Translated by Thilo Reinhard

fiolinkonsert å kunne bidra til at verket blir så kjent at det omsider kan få sjansen til å innta sin plass som en av de viktigste fiolinkonsertene fra den romantiske perioden i norsk musikkhistorie. Øyvin Dybsand

NOTES ‘Das Geigenconcert muss ich noch etwas reparieren, dan geth das auch nach England und klopft an der Thür deiner Haus.’ 1

Halvorsen’s letter to Kathleen Parlow is owned by the Toronto University Music Library. All grammatical and spelling errors in this and the following quotations are reproduced as Halvorsen wrote them in his somewhat less than perfect English. 2

NOTER «Das Geigenconcert muss ich noch etwas reparieren, dan geth das auch nach England und klopft an der Thür deiner Haus.» 1

‘Bij haar eerste optreden, gisteravond, werd zij door het overtalrijke publiek met geestdrift gehuldigd. Tal van bloemstukken werden het bewonderenswaardige meisje geschonken.’ (Het Nieuws van den Dag, 12 Aug. 1909). 3

«It is of course possible that the conduktor will find som more small faults but that will easily be put in order.» Halvorsens brev til Kathleen Parlow eies av Toronto University Music Library. Alle språkfeil i dette og følgende sitater er gjengitt slik Halvorsen skrev dem på sin ikke helt perfekte engelsk. 2

Een sympathieke verschijning, deze 18-jarige artiste: slank, het donkere haar eenvoudig med een scheiding opgemaakt, een artiste-uitdrukking in de diepe oogen. Hoewel jeugdig, dragen haar trekken toch een ernstigen stempel en is ze den laatsten tijd wel wat ouder geworden. Er wordt dan ook veel gevergd van zulk een wonderkind, welks studien niet te onderschatten zullen zijn. […] Zatertag treedt de begaafde Engelsche weer in de Kurzaal op (De Tĳd,1 8 Aug.). 4

«By letter N you must not be afraid if the orchestra seems a little strong to the solopart. The viola and the oboi are playing the melodie with the solo… If you find that some thing [!] in the concerto ought to be altered, please wright [!] me.» 3

«From Mr. [Einar] Bjørnson I was very glad to hear that You are going to play the Concerto in Holland this summer. I give You my blessing and hope You will send me a few words when You have played it.» 4

[…] ligt het voor de hand, dat de aankondiging van een splinternieuw vioolconcert belangstelling moest wekken en de naam Halvorsen had al hij on seen goeden klank. 5

«Bij haar eerste optreden, gisteravond, werd zij door het overtalrijke publiek met geestdrift gehuldigd. Tal van bloemstukken werden het bewonderenswaardige meisje geschonken.» (Het Nieuws van den Dag, 12/8 1909). Norsk oversetting i dette og andre nederlandske sitater bygger på oversetting til engelsk av Rob de Meester. 5

Het spijt me te moeten zeggen, dat deze eerste kennismaking heeft teleurgesteld. Het concert bestaat uit drie deelen, waarvan de twee eerste: Moderato assai quasi una fantasia en Andante sostenuto zonder pauze in elkaar overgaan. Al dadelijk verraadt de inleidende cadence de Noorsche afkomst van het werk en deze doet zich ook verder duidelijk kennen, niet het minst in de Finale, een echten Noorschen springdans. Dat zou een aanbeveling zijn indien de componist met belangrijker motieven van langer adem ware voor den dag gekomen en zich meer had kunnen concentreeren. Het blijft echter vaak bij aanloopjes en ’t geheel maakt den indruk van verbrokkeld en vrij eentonig te zijn. Het concert is moeilijk en werd misschien in het eerste gedeelte door de soliste nog niet volkomen beheerscht, maar dat Kathleen Parlow haar best deed om aan de onmiskenbare schoonheden in het middengedeelte recht te laten wedervaren, daarvan kan men zich verzekerd houden. En Halvorsen wist wel wat hij deed, toen hij het miss Parlow overliet het jongste kind zijner Muze ten doop te houden. Om het even wat zij speelt, haar succes is althans bij ons verzekerd (Het Vaderland, 16 Aug. 1909). 6

My soul is with You in these days. I am sory my ears not can hear You the 14th of August. If some good words about our Concert, please, send them to your good Freind and admirer, Johan Halvorsen.» 7

[…] ligt het voor de hand, dat de aankondiging van een splinternieuw vioolconcert belangstelling moest wekken en de naam Halvorsen had al hij on seen goeden klank. 8

Verdens Gang, 11 Sept. 1909.

Mej. Parlow deed ons tevens kennis maken met het interessante vioolconcert in g (op. 28) van Joh. Halvorsen, welk schilderachtig, fantasierijk werk de componist aan haar opdroeg, iets waarin deze toondichter groot gelijk heeft, want een kleurrijker, geestiger vertolking kan hij voor zijn werk moeilijk wenschen. Daar het publiek niet ophield met haar toe te juichen, speelde mej. Parlow ten slotte nog het Abendlied. 8

27 November 1951.

SOURCES Dybsand, Øyvin: Johan Halvorsen (1864–1935). En undersøkelse av hans kunstneriske virke og en stilistisk gjennomgang av hans komposisjoner med en tematisk verkoversikt og en kronologisk fortegnelse over Halvorsens konsertvirksomhet. Thesis submitted for PhD in musicology, University of Oslo 2015.

houden. Om het even wat zij speelt, haar succes is althans bij ons verzekerd (Het Vaderland, 16/8 1909).

French, Maida Parlow: Kathleen Parlow. A Portrait, The Ryerson Press, Toronto, 1967.

Halvorsen, Johan: Six unpublished letters to Kathleen Parlow, dated 12 Nov. 1908, 5 Dec. 1908, 28 Jan. 1909, 1 June 1909, 9 Aug. 1909 and 15 Aug. 1909. Music Library, University of Toronto, Canada. Hoem, Edvard: De evige forår. Bjørnstjerne Bjørnson 1899–1910, Forlaget Oktober, Oslo 2013..

Dear miss Parlow ! I have now to send You my heartiest thanks for the warm interest You have taken in the concerto and for all the work You have done to bring it out.

The Musical Times, London, May 1908, page 334 (note regarding purchase of Kathleen Parlow’s new violin).

Your admirer and most sincerely friend Johan Halvorsen (Excuse my English.)

Ågotnes, Jacob: ‘Einar Bjørnson’, excerpt from an unpublished manuscript about Bjørnstjerne Bjørnson.

Verdens Gang, 11/9 1909.

27/11 1951.

KILDER Dybsand, Øyvin: «Johan Halvorsen (1864–1935). En undersøkelse av hans kunstneriske virke og en stilistisk gjennomgang av hans komposisjoner med en tematisk verkoversikt og en kronologisk fortegnelse over Halvorsens konsertvirksomhet», Avhandling levert for ph.d.graden i musikkvitenskap, Universitetet i Oslo 2015. French, Maida Parlow: Kathleen Parlow. A Portrait, The Ryerson Press, [Toronto] 1967. Halvorsen, Johan: Seks upubliserte brev til Kathleen Parlow, datert 12/11 1908, 5/12 1908, 28/1 1909, 1/6 1909, 9/8 1909 og 15/8 1909. Music Library, University of Toronto, Canada. Hoem, Edvard: Det evige forår. Bjørnstjerne Bjørnson 1899–1910, Forlaget Oktober, Oslo 2013.. The Musical Times, London, mai 1908, side 334 (notis vedrørende kjøpet av Kathleen Parlows nye fiolin). Ågotnes, Jakob: «Einar Bjørnson», utdrag fra et upublisert manuskript om Bjørnstjerne Bjørnson.

XVI

SOURCES REGARDING INTERPRETATION One of the most important sources of information on Kathleen Parlow’s interpretation is now lost: the solo part sent to her by the composer. In all likelihood, Parlow marked and changed this part extensively while working with the concerto. However, in addition to the orchestral parts and a score with an extremely detailed solo part, the composer himself has left us some unusually specific ideas regarding the interpretation of the concerto in three of his letters to Miss Parlow, all written in the year before the first performance. The comments in the letter dated Kristiania 12.11.1908 are the most extensive (see facsimile pages XXIII and XIV in the orchestral score):

KILDER FOR INTERPRETASJON En av de viktigste kildene til informasjon om Kathleen Parlows tolkning av fiolinkonserten er tapt: solostemmen som Johan Halvorsen sendte til henne. Sannsynligvis skrev hun både notater og endringer i notene mens hun innstuderte konserten. Men til akkurat denne fiolinkonserten har vi, i tillegg til de enkelte stemmene og et partitur med svært detaljert solostemme, flere skriftlige kilder hvor komponisten utførlig beskriver hvordan han ønsket at konserten skulle tolkes. I tre brev til Kathleen Parlow, skrevet i løpet av året før urframføringen, formulerte Halvorsen noen av disse ideene. Kommentarene i brevet datert Kristiania 12.11.1908 er de mest omfattende (se faksi mile, sidene XXIII og XIV i orkesterpartituret):

(…) And now something about the concerto. I Movement – quit free, as a fantasia (in the beginning). The Allegro moderato – broad and energetic, the second theme like an ‘Elegie’ and rather slower (and just like Miss Parlow). By ‘poco animato’ faster. The following ‘Tutti’ still faster. The following cadenza is to be played in a other manner as the first time (milder). II Movement. (Andante sost) is to be played very slowly – in the beginning, with full Ton and much expression. Later is the Tempo going on a little. At the end of this movement you must allow the orchestra to play very strong for a few bars. (The 1stviolins are her playing with the solo in octaves). III Movement. Allegro moderato – not to fast, with rytmic and humor. The second thema broad and pathetic. At the end of this movement the orchestra also must play ff. The soloviolin is only to be seen, not heard. But also only for a few bars. And now I give You the best advice: Just play it as you like (and only as Miss Parlow can do it). Then I will be quite happy. (…)

(…) And now something about the concerto. I Movement – quit free, as a fantasia (in the beginning). The Allegro moderato – broad and energetic, the second theme like an “Elegie” and rather slower (and just like Miss Parlow). By “poco animato” faster. The following “Tutti” still faster. The following cadenza is to be played in a other manner as the first time (milder). II Movement. (Andante sost) is to be played very slowly – in the beginning, with full Ton and much expression. Later is the Tempo going on a little. At the end of this movement you must allow the orchestra to play very strong for a few bars. (The 1st violins are her playing with the solo in octaves). III Movement Al legro moderato – not to fast, with rytmic and humor. The second thema broad and pathetic. At the end of this movement the orchestra also must play ff. The soloviolin is only to be seen, not heard. But also only for a few bars. And now I give You the best advice: “Just play it as you like (and only as Miss Parlow can do it). Then I will be quite happy. (…)

The second theme of the first movement mentioned above starts at b. 42. The ‘poco animato’ starts at b. 89, the following tutti at b. 98 and the cadenza at b. 127. The bars at the end of the second movement Halvorsen refers to begin at b. 109. The second theme of the last movement enters in b. 87 (with upbeat), and the ff at the end of the last movement starts at b. 306. In a letter dated Kristiania 5.12.1908, Halvorsen begins by noting five necessary corrections and revisions, adding a few words on interpretation here as well:

Sidetemaet han omtaler i den første satsen, starter ved takt 42. Poco animato begynner i takt 89, og det på følgende tutti begynner i takt 98. Kadensen som det er referert til, starter i takt 127. Taktene i slutten av andre sats, som Halvorsen viser til, starter i takt 109. Side

XVII

(…) The tempo in 1st Movement quite fri. The beginning i the orchestra very heavy, the fermates very long. The pizzicatos in first and last movement is to be ‘soft and easy’. At the end of the second and last movement the orchestra must play so strong as possible. The soloist is there more to be seen, as heard. (…)

temaet i sistesatsen finner vi fra takt 87 (med opptakt), og stedet han refererer til ved slutten av satsen, er fra takt 306. I et brev datert Kristiania 05.12.1908 skriver Halvorsen først om fem nødvendige korrekturer og revi sjoner. Men etter det formidler han igjen noen ord om interpretasjon:

In a third letter, dated Kristiania 28. Januar 1909, Halvorsen once again comments on his intentionally strong tutti orchestration:

(…) The tempo in 1st Movement quite fri. The beginning i the orchestra very heavy, the fermates very long. The pizzicatos in first and last movement is to be “soft and easy”. At the end of the second and last movement the orchestra must play so strong as possible. The soloist is there more to be seen, as heard (…)

By letter N You must not be afraid if the orchestra seems a little strong to the solopart. The viola and the Oboi are playing the melodie with the solo. This particular comment refers to the second movement, starting at bar 104. The many conductor markings in the score (in red and blue crayon and in pencil) indicate subdivisions of beats and provide a number of clues about passages in which Kathleen Parlow and/or the conductor may have decided to slow down. The red markings were most likely added by Halvorsen himself. The first movement contains three such subdivisions in bars 63, 68 and 131. Bar 4 of the first movement appears to show a marking of ‘a t’ in red crayon, but since it is quite unclear, we have not included it in our edition. The parts show no evidence of such an ‘a tempo’ marking. The markings in blue crayon may have been made by Ernst Kunwald or by Wouter Hutschenruyter, and can be found in bars 64, 65 and 97 of the first movement. Bar 65 additionally includes a rather unclear marking in pencil or blue underneath the solo part, possibly indicating a sostenuto on the third beat. In the second movement, two blue lines mark subdivisions at the end of b. 68. Six blue lines were added in the following bar (69), but were later erased in pencil and substituted by only three lines in pencil. Bars 87 and 105 of this movement show three blue lines indicating a beat ‘in three’. Additionally, a number of blue markings imply tempo alterations made by Miss Parlow: In b. 28 of the first movement, the violin solo part is marked ten. In b. 67 of the solo part, largo has been added in blue crayon. In bar 114 of the second movement, a fermata has been added in blue crayon on the last beat of the solo part, and, finally, b. 159 of the Finale is marked sostenuto in blue crayon in the solo part. We regard these blue markings to be related to specific performance issues, and have therefore not included them in our edition. None

I et tredje brev, datert Kristiania 28.01.1909, nevner han nok en gang ideen om et særlig kraftig tutti: By letter N You must not be afraid if the orchestra seems a little strong to the solopart. The viola and the Oboi are playing the melodie with the solo. Denne kommentaren gjelder partiet fra takt 104 i den andre satsen. De mange dirigentmarkeringene i partituret (med rød og blå fargeblyant og med blyant) som berører underdelinger i dirigentens slagmønster, gir signaler om steder der solisten og/eller dirigenten trolig bestemte seg for å sette ned tempoet. De røde markeringene er sannsynligvis gjort av Halvorsen selv. Han markerte slike underdelinger tre ganger i den første satsen, i taktene 63, 68 og 131. I den første satsen, ved takt 4, er det en nesten usynlig markering med rød fargeblyant: “a t”. Dette er så uklart at vi ikke har inkludert det i den nye utgaven vår. Det er ingen spor i stemmene av et slikt a tempo. Innskriftene med blå fargeblyant kan godt være utført av Ernst Kunwald eller Wouter Hutschenruyter. Det er slike blå markeringer av underdelinger i den første satsen ved taktene 64, 65 og 97. I takt 65 er det også en ganske uklar markering med blyant eller blå fargeblyant under solostemmen, som kanskje kan bety en sostenuto på tredje taktenhet. I takt 68 i den andre satsen er det to blå linjer som markerer underdeling i slutten av takten. I takten etter (takt 69) er det seks blå

XVIII

of the sostenuto or subdivision markings tell us anything about how much the performers slowed down or paused. Although we were able to conclude that Kathleen Parlow slowed down more in a number of places than Halvorsen asked for in his score, we do not know how he felt about this. Neither do we know whether the various sostenuto markings actually enhanced the interpretation of the work. Revisions and markings in the parts in pencil or red were most likely made by the performing musicians. In most cases we have therefore not included variants of these markings in our edition, unless there were strong arguments for analogy as well. But since the part markings are not without some interest, and may even have been entered at Halvorsen’s request during rehearsals, we have included all of them in the list of alternative readings (See the orchestral score).

streker for underdeling. Interessant nok er disse senere overstrøket og erstattet med bare tre blyantstreker. I taktene 87 og 105 i denne satsen er det tre blå streker som viser at man skal dirigere “tre slag i takten”. Det er også noen andre blå markeringer som antyder Kathleen Parlows tempojusteringer . Ved takt 28 i den første satsen er ten skrevet ved solostemmen. Ved takt 67 er largo lagt til med blå fargeblyant ved solo stemmen. I den andre satsen er det lagt til en fermata i blått i takt 114, på siste taktenhet i solostemmen. Den siste markeringen i blått er i takt 159 i finalen, der ordet sostenuto er skrevet inn ved solostemmen. Vi har sett på disse blå markeringene som spor av tolkningsideer, og de har derfor ikke påvirket utgaven vår. Alle disse sostenuti og underdelinger forteller oss ikke hvor mye utøverne senket tempoet eller ventet. Selv om vi trolig kan konkludere med at Kathleen Parlow noen steder satte ned tempoet mer enn Halvorsen ba om i partituret, vet vi ikke hva han mente om det hun gjorde. Vi vet heller ikke om slike sostenuti virkelig var til nytte i formidlingen av verket. Revisjoner og markeringer i orkesterstemmene i rødt eller med blyant er mest sannsynlig gjort av ulike utøvere. Vi har derfor i de fleste tilfellene ikke tatt med slike varianter eller innskrifter i utgaven vår, så sant det ikke samtidig er andre sterke argument for å ta dem med, som for eksempel analogi. Men slike markeringer er likevel ikke uinteressante: De kan være basert på ønsker formidlet fra Halvorsens dirigentpult. Vi nevner derfor alle disse innskriftene i tabellen over revisjoner og varianter (Se orkesterpartituret).

XIX

Fiolinkonsert, op. 28 Violin Concerto, Op. 28

Concert für Violine mit Begleitung des Orchesters

Johan Halvorsen, Op. 28 Moderato assai, quasi una fantasia rit. molto

Violino solo

b & b c

Piano

b &b c > f ? b b c >

∑

Moderato assai, quasi una fantasia >rit. molto

 .. b  ..

# > n > n  >

ƒ > #  n   b   jœ n œ œ œ œ . > > >œ lunga

bœ b U & b  œ b œj n œ- œb j & b œœ ‰ Œ 

bb > > &  #   

  f

? bb   > >

∑

#œ J

b >œ n œ f

vivo

j ‰ Œ j ‰ Œ ∑

w œ ‰œ œ œ œ ‰œ œ œ œ œ

Timp.

J . . J. . . . > >

n >œ œ n œ0 vivo U œ œ #œ nœ œ #œ œ #œ œ #œ nœ #œ œ 

U 

.j > . . . > . . . > >>> ... ... .. . œ œ b œ U œjb œ # œ œ œ U b 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 ‰ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œœ œœ œ nœ œ œ œ œ œœœ œ œ œ œ œœœ œ œœœ œ œœ

vigoroso e rubato

rit. molto

∑

> > > œœ œœ nn b n  b  ... œ œb œ œ   . ƒ b. œ b   b œ .. œ œ n œ œœ œ b >  J > >

œœ œ

dim.

lunga

œ œ #œ bœ U U #œ œœ #œ ‰ bœ œ b œ œ

rit. molto

ten. > string. # œ œ n œ œ œ # œUœ œ # œ œ œ œ œ œœ œ

œœœ œœ w œ b œ œ # n ww

rit. bb œ # œ œ œ œ œ œ œ œ œ b œ œ œ œ œ nU œ œ œ œ œ & p

nUœ .

∑

(ad lib.)

œœœœ

3 > # >œ >œ n >œ >œ œ n œ4 œ # œ

œ œ f œ

∑

w n n ww p dim.

œœœœ œ

œnœœ œ œ œ > #œœœ œœœ œœœ

∑

string.

∑

ww œœ ‰ Œ œœ œ œ œ ‰ œ œ œ œ œ . > . . J. > . . .

∑

o n œ # œ œ n œ œvivo œ # œ n œ U #œ œ nœ #œ b œœ œ nœ œ œ #œ œ nœ & b œ #œ œ œ œ œ œ œ œ bœ œ œ œ œ #œ œ n  nœ #œ œ nœ œ  p p p U U

lunga lunga

rit.

b &b

nœ bœ nœ nœ œnœ bœœ œ œ œœ œ  œ b œj - œU

U >

3 b U œ.

bœ

3 2

string.

œ n >œ œ. b œ. œ >œ # œ. œ. œ. >œ n >œ n >œ b œ √ . . . . n œ. # œ. n œ. nloco >> >> œ œœ œ œœ œ # œ œ œ œ œ # œ œ b œ n œ. nb œœ #n œœ b œœ #n œœ n œ # œ # œ # œœ œœ bn œœ œœ nb >œœ >œœ n >œœ nœ ‰œ ≈ nœ œœ œœ œœ œ J œ œœœ œ œ œ œ œ œ J f

rit.

>œ

Allegro moderato

>œ . œ.

b œ & b œœ œ

f >

> . . .

(nicht zu langsam)

œ. œ œ œ œ œ œ œœœ J œ œ

>œ

œœ

p > >> > bb ‰ # œ œ œ œj œ œ Œ œ & œ # œ œ œ œ #œ ≈ > .> ..  . . . ? b œ. œ ‰ œœ ‰ . œœ ‰ Œ J œ b œ Allegro moderato

œ #œ

b & b

œ. œ . œ

œ >œ >œ > >œ # œ # œj

nœ

b œ. ‰ b & œ J Z . ? b œœ ‰ b J 19

A >œ j œ œ œ

œ œ

>œ

>. . œ# œ œ œ J j œ œœ ‰ œ J

>œ . œ.

œ. œ J

≈ œ œn œ œ .>. . . .œ œœœ ‰ œ

œ œ

œ œ. J

nœ œ

>œ œ. œ. œ. œ œ œ œ

œœ

œœ œ ‰

œ œ

œ. J

Œ Œ >œ

>. . œ œ n œ œ

‰ j œ‰ œ J ‰

œ œ œ

>œ

œ Œ œ

œ #œ. J

nœ œ

 # b œ œ

œœ

>œ. . . >œ. . . œ œ ‰ œ #œ œ ‰ ‰ œ #œ œ ‰ J J Œ

f> .j œœ ‰ œ œ œ œ. œ. œ œ œ œ nœ œ. > > f > . . . Ÿ~~~~~~~~~~

œœ

œœ œ œ > . œ. œ. œ. œ. œ.

- -. œ œ. m>œ > >œ > >œ >œ >œ. œ. >œœ. >œœ. >œœ. >œœ. >œœ. >œœ. n œœ. œ-. œœ. œœ nœ œ œ œ œ

p >œ œ. œ. œ œ œ ‰ Œ J

œœ

œœ Œ œ



œ b œ œ œ œj ‰ Œ >œ œ. œ. œ. œ.

œ >œ >œ n >œ j œ. œ. œ. œ. nœ

A > bb ‰ # >œ >œ bb œœ # œj œ & #œ œ > p. . œ œ. œ. œœ ? bb j J J ‰ œœ .

bœ J

- -. œ œ œœ œœ >œœ. >œœ. >œœ. n >œœ. # œœ. œ-. œœ. œœ œ nœ > >œ >. >.

œ œœ

>œ n œ. . . œ. # œœ. ‰ œ n # œ ‰ œœ œœ œœ œœ œœ #œ J J f f > . . . . # œœ œœ œœ œœ œœ n œœ. œ œ œ œ œ ‰ œ ‰ J J

√ > œ j

. . œ j‰

œœ œœ œœ ‰ Œ >. . .

> . .j ‰ œœn œœ œœ ‰ b œ‰ . p œJ π . . #œ œ ‰ ‰

#   ? b ‰ b &

>. . . œ nœ œ œ œœ p

(nicht zu langsam)

>œ . # œ. >œ >œ >œ >œ > > #œ œ.

. .

œ >œ >œ > œ œ œ # œ > >œ > >

œœ œœ œœ œ

Œ Œ

œœ œ Œ œœ œ Œ

b & b

œ nœ

>œ2 . # œ. >œ2 >œ3 >œ2 >œ3 >1 >2 nœ œ. 3

> . .j

> 0 j œ n œ. œ œ

bœ J

bœ . J œ

œ J

> .‰ > .œœœ œœ œœ œœœ ‰ b œ . œ n œ œ œ œ n œ œ œ œ p J J . π j œ. j œ. .œ œ. ‰ ‰ œœ Jœ ‰ ‰ œœ œJ ‰ . .

b & b n 

 p ? b b n œœ œ œ. œ œ. . Jp

>œ >œ >2 1 > > 3 1 3 > 25 o 0 >œ - - œ- œ- n œ- # œ- œœ n >œ œ >œ œ # >œ1 >œ > m> > > > > > œ œ nœ œ œ œ œ bœ bb œ œ œ n œœ œœ œ œ œ œ œ & #œ œ œ œ œ > 3 1

b  b &

sempre

? b ww b

animato 4

≥1 >œ

œ

œ œ œ



bœ œ b œœ n œ œœ n œ œœ # œ œœ ‰ >. >. j œ. j œ œ œ ‰ œ J ‰ ‰ œ . . . >. œ. œ. œ œœ œœ . œœœ

>œ >œ1 >œ2 2

J f

F. . œ. . œ. œ œœ œ œ œ J‰Œ bœ ‰ œ œ J

œ œ j œœ nœ œ œ œ œ n œ . . . œJ . . .

p w>

? b b œ J. 31 bœ & b œœ >

‰ n # œj ‰ b n œj ‰ # œj  . œ. œ. œ. #  . f . . ‰ Œ  >œ > >œ . > œœ œœ œœ .. œ J

# œœœ

œœ œ œœ œ n œ œ œ œ œ œ ? b n œœ œœ œœ œœ œœ œœ b n

n œœ

œœ # œœ. œœ. œ. n >œœ œ œ nœ

b >œ b œœ

œ # >œœ ... œœ . b œœ # œ n œœ œœ b n œœ œœ # œœ œœ n œ œ œ b &

. . . . . œ œ œ œ œ # œœ ? b b œ n œ # œ . . . .

œœ . œ.

œœ œœ

œ œœ

J ƒ j œ œœ œ œœ œ œœ œ# œœœ œœ œ œœ œ œœ œ

. . .

œœ # œœ œœ œ œ œ

œ. n œ. œ. # œ. œ nœ œ #œ n œœœ.

œ œ. œ. œ. œ œœ œ œ œ œ œ ‰ J . œ. n œ >œ œ # >œ œ . œ n œ œ œ ‰ J œœ œ œ # œ œ œ œ >œ

œ # œ œ œ œœ œ œ œ # œ. œ. œ. > .

œ œ>

ten.

œ . œ. œœ. œœ. œœ. œ œœ ‰ œ œ œ œ ‰ Œ J

œœ œ

œœ.

œœ. J ‰

ten. ten.

risoluto .

2 U più mosso 3 molto rit. 32 œ n œ . œ œ . œ œ œ1 œ1 3 1 0 . 28 > > > > œ. œ- œ œ œ œ . œ œ . œœ b ‰  œ n # œœ œœ œ. œ. b n œœ œœ œ. œ. # œœ œœ œ. œ. n œ œ œœ. œœ. # œœ. œœ. œ œ œ œ & b # œ. œ. > . . . . . . >> più mosso > >œ >œ .. animato molto rit. U

b &b ‰

bœ J

œ nœ.

>œ n0œ œ

œ bœ

>œœ .. œœ ..

œ œ.

n >œœ

. >œ œ n >œ œ œ . œœ. œ. >œœ œœ. b œ œ œ œ œ œ œ b n œ. ‰ J n œœ œ œ œ n bœœœ œœœ œœ œ œœ œœ ‰ œœ &b J >œ >œ .. >œ œ #œ œ œ nœ œ œœœ .. ? bb œ nœ œ #œ œ œ œ . # œ œ œ œ # œ. œ. n œ . n œ. œ. # œ. œ œ œ> œ J # œ . . > . >œ . . # œ. œ. œ. poco . œ. œ.rit.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ 37 # œ œ b œœœ n # œœ b n œœ # œœ # n œœ œ œœœ œœ .. œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b & œ. # œ. œ. œ. dim. > œ j œ n œ œ œ œ # œœ b n œœ n œœ # b œœ n n œœ n b œœ b œœ ? b b œ # œ. œ. œ œ J œ #œ œ >œ n œ. œ. œ. œJ œ. tranquillo œœ. # œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. rit. molto 39 bb # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ # œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œj Vle. ‰ & # œœ. œœ. œ. œ. œœ. œœ. œ. œ. œœ. œœ. œ. œ. œœ. œœ. œ. # œœ # œ œ œ œ œ œ -> -> p dim. p dim. #œ œ œ j . œ ? b b # œœ ‰ œ ? #œ œ #œ  œ œ n . &œ œ J . œ J #  . œ n 35

mosso Bsulmeno G



sul D

B meno mosso > > b ‰ b ‰ ‰ ‰ & œœœ .. œ n œœœ ... n œ œœ .. œ œ b œœœ .. œ b œ œ n œ- œ œ œ- œ b œ π j n œ- œ œ ? b œ .. . ‰ b œ n œ ‰ Œ ‰ b jœ œ. œ œ. &



œ.

œ œœœœ . J œ

œ œ œ œŒ œœ  .

? b b 

‰ œ.





œ2 J

sul A

œ œ œ œ œ

œ œ 

n

œ œ

œ œ. J

sost.

œ J

jœ j j œ œ œ œ œ ‰ œœ œ œ œ œœ .œ ‰ œ œ œ . ‰ . Œ ‰J sost. œœ œœ. j œ ‰ œœ .. ‰ œœ .. œ. œ  ‰ j ‰ œ. J œ

Ob.

œ œ œ œ œ nœ œ. œ . f

U rit. molto

Œ Œ



‰ . œr œ . œ F

U rit. molto

j œ œ œ . œ œ . œ n œ # œœ œ œœ n œœ- œœ œœ œ b œ œ bb œ œ œ œ œ œ œ œ  u

π ‰ œœ ..

 œœ # œœ œ nœ 4



œ œ nUœ œ œ b œ  



espressivo

a tempo (meno mosso)

b & b ‰ œœ n œœ œœ œœ ‰ ‰ # œœ œœ œœ b œœ ‰ ‰ œœœ œœœ œœœ œœœ ‰ ‰ œœœœ ## œœœœ œœœœ œœœœ ‰ œ. œ. œ. œ. œ. œ. œ. œ. Archi pizz. simile π dolciss. ? b b œj ‰3 ‰ ‰ 3‰ j œj ‰3 ‰ ‰ 3‰ j œj3‰ ‰ ‰ 3‰ j j ‰3 ‰ ‰ 3‰ œ J œœ . œ. œ. œ. 3

œ œ

œ œ.

lentando

bb J



cresc.

œœ œœ 3œœ œœ 3œœ œœ œœœ3 œœœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œ œ

œ 

œ œ J



in tempo

œ œ

œ œ œ œ œ

œ œ 

n

a tempo (meno mosso)

bb ‰ œ3 œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œ œ œœ ‰ ‰ b œœ œ œ œœ ‰ ‰ b œœ œ œ œœ ‰ ‰ œœ n œœ œœ œœ ‰ & œ œ œ œ n œ œ œ œ œœ # œœœ œœœ œœ œœ n œœœ œœœ œœ œœ œœœ œœœ œœ œœ n œœ œœ œœ 3

? b œ bœ œ bœ b œ bœ œ bœ 57

œ œ bœ

œ œ

dim.

b & b ‰b b œœœ œœœ ‰ b œœœœ œœœœ ‰ œœœœ œœœœ ‰ œœœœ œœœœ F bœ œ œ ? bb b œ œ œ œ 3

œœ

b ‰ œ b & nœ œ . 3

? b b 



œ œ œ œ œ> œ œ. œ œ œ œ > 3

 

j ‰ ‰ ‰ ‰ j œJ ‰ ‰ ‰ ‰ j b œJ ‰ ‰ ‰ ‰ œ œ ‰ ‰ ‰ ‰ œ JJ œ œ J bœ 3

œ mœ .

bœ œ p

poco cresc.

nœ œ.

poco rit.

tranquillo



nœ J 1

œ.



tranquillo poco rit. (arco)3

nœ.

‰ œ œ œ œ3 œ ‰ œœ b œœ ‰ œœ œœ ‰ œœ œ ‰ œ œ œ œ œ œœœ n œœ b œœ n œœ œœ œœ n œœœ œœœ b œœœ œ n œ œ π π legato œ nœ bœ  bœ œ œ nœ 3

3 4 4 1 œ œ œ œ œ. œ

‰

œ œ œ

3 ‰ œœ œœ œ œ œ œ

œœ

œ nœ œ œ œ nœ œ œ

œ œ. œ œ nœ œ

œ ‰ b œœ œœ œœ œœ œœ œœ œ œ œ œ œ ‰ œ ‰3 p œ œ œ œ œ œ œ œ œ œ  œ. œ œ œ œ œ œ œ œ . > > π œœ ‰ œ  œ œ œ œ  3

 

œ œ œ œ 



œ œ œ œ nœ

poco agitato

b & b

œ œ œ- œ

poco rit.

œ œ œ œ

œ œ œ- œ- œ œ œ- œ- œ n œ œ- œ- œ œ œ #œ

poco rit.

allargando

poco rit. allargando

poco agitato poco rit. in tempo

F bb

œ œ œ- œ

œ œ œ- œ- œ œ œ- œ- œ n œ

in tempo

 

œœœœ œ œ œ

œ œ œ œ œ œœ nœ œ œ œ . œ. œœ ..

J > > > > > . > . F p >>>> > .≈ > . ≈ ≈ œœ œœ œœ œœ œœ œœ œ # œœ œœ ≈ œœ œœ œœ œœ ≈ œœ œœ ≈œ# œœ œœ œ œ ? bb n œ œ œ nœ nœ œ # œ- >œ . œ >œ

a tempo

b & b

poco animato



bb œ . œ œ  & a tempo

œ - > . ? b b  n œ œ . œ œ 3

rit. molto

>œ

sost.

>œ

j j ‰ œ ‰ œ ‰ œ œ‰ œ ≈ n œ œœ œ ≈ œ œœ # œ ≈ œ œœ ≈ . > . > . . > ‰ j œ œ œ ‰ ‰ œ œ œœ ‰ œ œ œ J J œ J

œ œ3 œ-2 œ-1 œ3 œ2 œ2 œ2 b & b

>œ

poco animato

œ3 .

a tempo

‰

dim. e rit. molto

j j j bb œ n œ œ œ . œ œœ & œ. œ #œ p dim. j F j . œ b œ œ . ? b œ w b #w  > >œœ > > œ œ œ 72 œ œœ . b œ œ œ œ b œ œ. &b ƒ 3 >œ >œ œ œ >œ n œ œ œ ? b œ œ œ œ œ œ nœ œ b œ œ J rit. molto



a tempo

>œ

œ J

# œœ œ

>œ . œ.

sost.

∑

≈ .> ≈ .> ≈ .> ≈ .> C > œ œ œ œ œ œ bœ #œ œ. œ œ œ œ œ # œ n œ œ œ œœœ œ j# œ œ . œ œ f

>œœ >œ >œ > > > œœ œœ œœ œœœ œœœ œœœ J j

>œ

j j ‰ œ œ œ œ . œœœ b œ ≈ œ œ œ n œ b œ œ # œœ n œ J > F j œ œ œ œ œ œ œ nœ œ œœ ‰ œ J

œ. œ œ

œœ  œ

> j >œ n >œ b >œœ œ œ œ œ œ œ pesante

œ n >œ >œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ n >œœ œ>œœ œ>œœ nœ œ œ

œœœ œ

Allegro moderato .

œœ œœ ‰  .. J

Z f j ‰ >œ >œ . œ. Fg.

.

œ.

b & b

>œ

œ œ

>œ . œ.

molto energico

bb Œ

2 3 4

œ.

0 1 1 2 1 2 31 3 3 3 4 3 4

>œ n œ0. œ. œ. > œœ œœ œœ œœ œ

œ J

. . .

œ œ n œ œœ œ œœ œ œœ œœ π œœ # œ œ œœ œ œ

>œ. . œ nœ œ œ œ œJ. ‰ ‰ Œ p

œœ. J

. . . .. .... .. . j ? bb b >œ œ. œ. œ.  . œ ‰ Œ bw p n >œ

b & b

>œ >œ >œ >œ >œ > O > > n œ 0 b œ n œ o œœ œœ nœ nœ œ œ œ Œ œœ œ œ n œ œ œ œ œ œ œ

bb j‰ n œœœ. & œœ œ n œ. J f n œœ. ? b b j‰ œ œ J œ.

sul G

2 3 4

‰

≈œ . p . ≈œ

‰ 1

b n œœ. b & J

? b j b œ

(√)

? b b

# >œ

ten.

‰ ‰

f .œ œ. œ. œ. œ. . œ œ > 1 3

> b n œœœ # œœœ œœœ œœœ œ b & nœ >

œ. œ. œ. œ. œ. œ ww .

2 1

2 4

1 3

2 4

1 3

2 4

œ œ œ œœ. n œœ. œœ. œœ. >œœ. >œ. > > > >

œ. # œ. œ œ . œ œ œJ

p Œ

D G

‰

1 3

œœ .

‰ ‰

≈ œ. œ. œ . p . œ. œ. œ ≈

nœ

>œ

bw n >œ . œ.

œ. œ. œ. n œ. œ. œ. œ. n œ. 7

œ3. œ J

√ ten. Ÿ ten. ten. ten. n œ >œ œ œ >œ n >œ >œ 1 > œ . n œœ n œ. œ- œ 2 4

n ww π

o > œ Oœ œ œ b >œ n >œ ## œœ œ n œ œ #œ # œ bœ nœ œ œ œ nœ n œœ œ nœ#œ œ œ risoluto

j ‰ # n œœœ. œ œ # n œœ. J . # n œœœ j œ ‰ J œ.

œ œ

>œ

j ‰ n œ œ n œ œœ œ œ w n œœœ π œœ # œ œ œœ œœ # œ œ œœ .œ . . œ. . .. .. .. . >œ >œ . j œ. œ œ. œ. œ.  . > p



sul G



ten.

>œ - œ œœœ

œ œ œ œœ œœ œœ œœ. œ œœ. œ. œ. >. >. >. > > >>

œ0

1 > > Ÿ> œ- œ- >œ >œ œ œ - œ œ-

2 4

ten.ten. ten.ten. 2 3 3

1 3

. > œ. n œ. œ. œœ œœ .. œ nœ œ

√

nœ

j #œ

#œ

p F. n œ. œ. œœ. œœ. j œ œ œ ‰ # œœ œ œ. ‰ J œ f  nœ .œ ‰ J p sost.

(√)

j bœ

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

bœ

> bb b œ & ‰ b œœJ .

œ œ œ œ œ ‰ Jœ ‰ œJ ‰ . . . b œ œ œ œ nœ œ œ œ œ œ ? b b œœ œœ n œœ b œœ .

I >œ # œ. œ. œ. Ÿ> b bœ & b n # œœ

( )

œœ

>œ # œ. œ. œ. œ. > œ œ œ œœ n bb p œ & nœ œ ≈ J œ π ? bb #  . #. π D poco animato >œ j œœ œ b bœ & b œ # œœ. œœ. œ. œ

œ œ

n >œ # œ

œ œ nœ

‰

>œ # œ. œ. œ. Ÿ> œ œ

œœ œœ œ J œ nœ . .

>œ # œ. œ. œ. œœ œ œ œ≈ π

œ. > œœœœœœœ œ œ> œ .

œœ.

‰

#œ œ œ. >

p n œœœ œ >

œœ ≈ œ > œ

3 œ. œ. # œ. œ. œ. œ. # œ. œ. n œ. œ. n œ. œ. n œ. œ.1 2. . œ. #œ œ œ #œ nœ nœ bœ œ #œ nœ

p >œ n œ b >œ œ # œ ≈n œ n œœ ≈b b >œœ n œœ ≈# n œœ n b œœ ≈ >

w w

3 3 œ. œ. œ. œ. œ. œ # œ # œ. œ. n œ. œ. œ. # œ. n œ. œ. œ. œ. . œ . œ œ œ # œ œ # œ. n œ œ. œ. œ œ. . œœœœœ œ . . 3 3 3 3 3 3

> D>poco animato > . . > .j Cl.. . . . # œœœ œ > n bb œ œ ≈ œ n œ œ œ b œj œ œ œ & œ œ œ œ ≈ # œœ œ ≈ ‰ b Jœ ‰ Jœ ‰ Jœ ‰ œJ # œœ # œ œ‰ œ n œœ œ ≈ Ob. . . . . J Fg. . . . j œ œ œ . . . ? b œ ‰ œ œ œ w b œ w π b & b

> >œ # œ. œ. œ. œœ j bœ œ œ œ

œ œ

≈

œœ

. .

œœœ

œœœœ œ œ nœ œ œ

j œ b œœœ œ n œ œœœ œ b œ œœœ ‰ J ‰ J ‰ .

. ? b b # œj œ. œ œ. π

. œ.

œ.

> 3 3 . . n œ œ # >œ >œ n œ >œ >œ # >œ n œ. œ. œ. œ. . œœ œ # œ. n œ œ. œ. œ œ œ. # œ. œ. n œ. # œ. œ œ . . . 3 3 3 3 3 p3

.j π. . . . > # œœœ œ > n œœ œœ # œ # œ œ œ n œœœ œ ≈ ≈ # œ œ ‰ J. J Vle. .œ

w w

œ≈

- - # œ- œ- n œ # œ bb # œ- # œ œ- œ- n œ- œ- # œ- œ n œ

b Œ b & #œ ? b b

Timp.

cresc.

n # œœœ

œ. 4

3 1 1 œ3 1 œ3 œ n œ œ œœ œ 95 1 #œ œœœ œ œ œ o œ œ œ b n œ bœ #œ œ œ œ œ & b œ 3 3 3 3 3 1 1 3 1

ten.

? bb b & b

bœ

>œ

b >œ

>œ

n >œ

b >œ

poco rit.

>œ

œ3 œ3 2 œ #œ 2

œ3

100

? b b

œœ

nœ

bœ œ

nœ 3

œœ

bœ œ

bœ 3

œœ

#œ

nœ

b >œ # >œ œ

œ œœ



>œ

>œ . œ.

Allegro con brio

>œ

b j œ œ & b b n œœ # œœ b n œœ n œ # œ n œ . . œ. n œ. b œ. # œœ. b n œœ. œ fj œ œ œ  œ œœ œœ œœ  ? bb w œ

∑

. œ. >œ œ. œ. œ. œj œ œ œ œ œ œ œ# œ œ œ œ œ J

>œ >œ . . > œ œ œ. œ œ . œ œœ # œ œ . œ œ # œ œ .  œ œ œ œœ J > . . . f b. . . . . . .  > > .  œ œ œ œ œ œ œ œ  .  œ œ œ œ œ œ œ œ >œ œ. œ. œ. b œœ  . œ œ œ œ b œœ >

Allegro con brio

poco rit.

nœ #œ n œ nœ # œ n œ #œ n œ œ œ

œœ. œ œœ # œœ b n œœ n œœ b b œœ n œ # œ J œ. œ nœ 

œ n œœ œ # œ # œœ œ œ ≈ œœ œ œ bb # œœœ & œ ≈ nœ ≈ œ #œ ≈ >

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

n œœ > # n # œœœ œ > # nn œœ œ œ > œ œ n œœ n œœ n œœ œ # # œ ≈ œ ≈# œ ≈ ≈ #œ ≈ ≈ œ œ≈

cresc.

nœ #œ

4 2 œ œ œœ. œ. œ. œœ. œ œ #œ 1

>œ . œœ ..

œœ. œœ œœ

>œ n œ. œ. œ. .j ‰ ‰ . r œœœ œ œœ nœ œ

www

104

? bb 107

? b b

> . œœ œ. œ. œ œœ œ œ . œ #œ œ. œ œ . n œ nœ œ . œœ œ œ œ œ œœ n œ œ œ   bœ œ > . . > . . . > . . . > .> . .  œœ œœ œœ œœ œœ . . œ.  >j b œœœ œœœ n œœœ # n œœœ œœœ bœ œ œ œ œbœ œbœ bœ . R > nœ >

> . . . > b œœ œ œ œ n œ œ œ

>œœ .. b b œ.

œ œ œ 

œœœ. œœœ- n bn >œœœ œœ. #œ

œœ. œ

œ œœ. œ

n œœ # œœ œœ œœ >œ n œ. >œ œ.

Eœ n œ .  # œ œ œ b    # œ b œ nœ.  #œ œ b &

b # b n  œ b n> &

113

? b b

>œ . r œ. œ œ J œ œ >

œœ œ.

.j œ œ œ œ œ. J

œ . œ.

œœ .j

œ J

œœ œœœ nn œœœ # œœ œœ œœœ b n œœœ œœœ œœœ œœœ ? >œ . > n œ. >œ . > . > . œ n œ # œ œ œ œ œ #œ œ

>œ . r n œ 3 3 œ œ # œ œ œ œ œ œ œ. œ œ J œ œ œ œ œ œ œ œ œ œ œ J œ >œ œœœœœ 3

œœ n œœ œœ œœ œœ # œœ œœ b œœ œ nœ œ œ œ #œ œ bœ

œœ .. œ œ œ œ œ œ œ. œ œ œ œ œ œ J 3

bœ b >œœ

.j œ œ œ œ œ. J

œ nœ œ bœ œ œ œ n œ n œ œ b œ œ

>œ . r œ. œ œ J œ œ >

œ # œ œ n œ œ œ> > œ # œ œ n œ

.j œ œ œ œ œ. J

œœœ œ.

110

ƒ 3 3 n >œœ .. r nœ>œœ œ . ? bb n œ . œ œ n œ œ œ œ œ œ J nœ œ J œ œ œ œ œ >

cresc.

œœ. œœ

>œ . œœ ..

œ œ œ >œ

>œœ œ b œ œ n œ œ œ b œ œ # œ œ b œ & b œ bœ œ #œ œ œ œ œ œ œ œ œ nœ œ  >œ b œ  œ b œœ ? b b œj. œ œ R œ.

115

œ œ œ œ œ œ œ œ œ œ œ œ 3

œœ œœ œœ œ>œ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ >œœ œœ œœ œœ œ œ œ œ œ œ œ

>œ œ n >œ œ >œ œ >œœ œœ b œ œ œ œ œ œ œ œ & b œ œ œ œ œnœ œ œ œ œ œ œ œ œ

œœ œ œ œœ œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ œœ œ œ œœ œœ œ œ œ œ œ

œœ œœ œ œ œ œ œ œ œ J 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 œœœœœœœœ œœ

117

œœ ? b œ œ œ œ œ œ œ œ b J œ œ œ œ œ œ œ

Tempo I. (Moderato assai)

b j & b œœœ œ œ œ œ œ œ œ j‰ Œ ? œ œ œœ œ œ ‰ œj‰  œ œ œ

121

rit. molto

dim. ? b b œœ œ œœ œ œœ œ œœ œ œœœœ

b & b

∑

ritard.

b & b .  b œœ  ? bb

n

F 

b &b 

# 

œœœ œ b œœœ œ ww

# 

 n n 

œœ

œœ ‰ U



ritard.

∑

j‰ 



dim.

wœ œ œ .# œ 

œ.

#œ

 

? b b 

œœ 3

œ n œ Uœ



œ #mœ œ

œœ œ J

œœ

n œ œ #mœ œ

‰ ‰

sul G

∑

b  .. .

 b n 

ritard.

nœ œ œ œ 3



∑

sul G

p dim.

dolciss.

rit. molto

#œ œ. œ 

‰

œœœ œœ w œ b œ œ wœ œ œ . n œ 

#œ œ nœ

(recit.)



(col 8va ad lib.)

b & b



n n 

2 4 U # œ œ n œ # œ œ œ œ # œ œ œ #mœ #œ œ. œ ‰ œ #œ nœ œ œ œ œ œ œ . # œ œ dolce >

b. ? b œ. œ. œ. œ. œ. œ. œ. œ. b œ. n œ. œ. b œ. œ œ œ œ b . n œ. œ. . b œ œ œ œ œ œ 133



# n 

solo (recit.)



œ. œ. œ. n œ. œ. n œ. œ.

F b œ b &

129



œ œ œ. œ. œ. œ. œ. œ. œ. b œ. n 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 Vc. pizz.

ritard.

126

Cor. Cl.

#œ.

nœ

rit. molto

# w‰ n œ œ . œ œ . 

Cor.

π nœ

####

3 8

#### 3 8 ‰

Vle.

#### 3 8

[attacca]

II. Andante sostenuto

####

3 8

œ œ œ . œ œ . œ œ œj œ œ œ œ . œ œ P

sostenuto # # # # Andante 38 ‰ & œœ. . œœ . œ. œ π Archi con sord. j ? # # # # 38 . œ . œœ . œœ . 8

####

sul G

œ.

œœ

œ 3

œ œ œ œœ 3 3 3 2

∑

œ #œ œ.

j # œœ . œ‹ œ œ œœ œœ œœ

œ œ

j œ œœ œ ‹ # œœ œœ œ œ œ œ œj œ œœ . œœ . œ œ œ œ . . J 1

poco rit.

œ œ œ œ

3 2 3

∑

œ.

œ œ. œ œ œ œ.

œ œ œ œ œ œ. œ

a1 tempo

œ œœœ œ œ

œ œ œ œ œ œ

j 4 1 2 œ œ # œ œ œ œ œ œ œ ‹ œ3 œ œ œ œœ

dolce 2

sul A

a tempo

.. . . . . . . . . . . œ .n œ œ . j œr œœ œœœ œœ œœ œœ œœœ œœ œœœœ œœœœ œ & œ œ # œ œ œ œ œ œ œ œ œ . œ .# œ œ J œœ . œœœ œœ œ œ œ œ > 3 nœ }œ œ œj ‰ ‰ j œœ ? #### œ ∑ œ œ. œ œ œ # œ n œ œ J œ ####

####

? ####

j ‹œ

œ œ

. . . . . .

nœ nœ œ œ #œ œ œ#œ#œ œ j

. .

# œœœ œœ œœ œœ œœ œœ n n œœœ œœ . . ∑ --

mosso sempre >œ . œ.Gœ poco n œ . œ œ œ #œ J

‰

G poco mosso sempre> . . . . œ œ œœ n œœ # œ œœ .. œœ œœ œœ œœ œœ œœ œ œ # œ n œ # œ œ. œ œ œ œ œ # œ œ œ . œ. œ p

>. . . n œ œ œœœ œ œ œ œ # œ ≈

∑

#### œ œ œ œ œ n œ œ #œ œ #œ œ œ & œ.nœœ œ. œ F> œ nœ œ œ ? #### œ n œ œ #œ. œ œ. nœœ

poco rit.

œ œ œ # œ œ œœ . œ p --

Œ p

> j‹ œ

œ ..

œœ

poco rit.

ten.

œœ œ œœ œ œœ # œ œœ . œ œœ œ # œœ œ œ œ J œ œ # œœ. ‹ œ œ p dolce

r j œœ œ # œ œ œœ œœ œ œ . œ n œœ œ J 12

œœ # œœ

nœ œ #œ J

## & ##

poco animato

œ.

œ>.

œ # œ- œ- # œ œ

œœ œ œ œ

Vln. I. animato ∑ # # # # poco œ. j ‰ ‰ #œ œ œ œ & œ œ œ œ . œ Œ Fl. J 3 3 3 . . . . . . . . . . . . . .. . . . . . . . . . ≈ ? # # # # # œœœ .œœ œœ œœ œœ œœ œœ œœ œœ n œ .# œœ œœ œœ œœ œœ œœ œœ œœ ≈œ .œœ œœ œœ œœ œœ œœ œœ œœ

####

œœ

poco rit.

œ # œ # œ- œ ‹ œ œ

in tempo

####

>œ #Ÿ>œ

>œ >œ

j ‹œ

#œ

>œ n >œ

# # # # # œœ

œ.

œœ œœ œœ œœ œœ

sost. . . . . . . ≈ . . # œœ œœ œœ œœ œœ œœ n œ œœ œœ œ

œ œ f

. . . . . . . .

œ-

œ.

œ œ œ œ

≈ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ. œ .œ Ÿ> œ

>œ

n n >œœ # œœ # œœ nœ œ œ

œ-

sost.

œ . œ œ œ œ œœ œ œ #œ J

‰ #### œ j j ‰ œ #œ nœ œ & œ. œ . . . . . . j . . . . . . . . œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ ? # # # # # œœ . œ œ œ œ œ n œ # œœœ .œœ œœ œœ œœ œœ œœ œœ œœ 32

œœ œ œ œ

œ œ-

j ‹œ

œ >œ >œ >œ

n n >œœ œœ œœ nœ œ œ

>œ >œ œ œ œ # œ œ œ

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

sost.

#œ œ œ #œ œ œ nœ œ œ. œ œ œ œ œ œ # œ n œ œ œ # œ n œ œ œ œ œ œ. J œ ? #### œ œ œ œ œ œ œ œ œ œ R R. œ R. œ œ . R. R R R Cb. pizz.

# ## & #

œanimato

‰

animato

poco rit.

∑

poco rit.

tranquillo

∑

tranquillo

∑

j œœ œœ œ œ œ œ œ œ n œ œ œ # œ ≈ # œ œ œ # œœ œ# œœ œ n œœ œ œ ≈ # œ œ n œœ# œ .œœœ œ œ œ # œœ ≈ œœ ≈ œR ≈ œR ≈ œ ≈ Rœ ≈ œ≈ R R R R F r R p π F œ n œœ # # . . ? ## # œ œ œ œ œ J œ. J œ. œ œ. œ œ. œ œ œ #œ. œ nœ. œ œ #œ. œ # # # # œœ œ œ œ œ œ# œ &

Ob.

####

accel.

∑

#### œ œœ & # n œ ≈ R

rit.

∑

accel.

cresc.

####

n >œ b >œ n >œ œ

# # # # b œ . n œ œ# œœ n œ n œœ n œ n œ b n œœ œ &

####

bœ

n n œœœ

œ nœ #œ œ nœ nœ œ œ œ #œ ≈

#### œ & Jœ F . ? # # # # n œr n œœ nœ

œ. œ. œ. œ

‰

nœ.

œ.

# œœœ ...

? # # # # b œœ b J

œœ

nœ œ. œ

nœ œ.

nœ. n n œœœ ...

nœ J

œ œ‹ œ œ b >œ 2

b >œ

n >œ .

œ œ . œOb.b œ n œ n œ b œ n œ n œ œ . œn œœ # œ # œœ œ >œ . œ œ œ . œœ œœ œ

2 n œ- n œ- n œ b œ 1

>œ .

nœ

Vl. Ob.

# œ.

nœ bœ 1

œ bœ nœ œ bœ nœ

œ # œ œ # œ- œ- œ

œ #œ #œ #œ œ œ

π ? # # # # # œœ .. 51

>œ .

œ nœ #œ œ

muovere un poco

œ n œœ œ # œ ≈ # œr œ œ œ n œ n œ # œ œ œ œœ # œ n œœ .. ≈ œœ ≈ œœ # œœ œœ n œœ n œœ n œ œ n œ . œ . R R >œ

>œ

∑

rit.

r≈ r r ? #### ≈ # œ œ ≈ œ œ œ nœ nœ. œ nœ 46

muovere un poco

∑

π b œ nœ bœ œ bœ J

œœ œ œ n œ œ œ œ. œ nœ J

œ.

poco cresc.

‰

nœ ≤ #œ n œ # œ . œ. J

‰

œ . b œ # n œœ #. œ œ œ œ œ œ œ œ œ œ œ

. . . . . . . . . . . .  poco cresc. r b œ. œ. œ. œ. œ. j nœ œ. œ b œ n œœ. œœ. œœ. œœ. œœ. #œ bœ #œ ‰

> nœ j

nœ n œ nœ

nœ œ . œ. J

œ nœ œ œ œœœ

œ n œœ J  .œœ œ. œœ. œ. œœ. œ. j nœ nœ

œœ . œ œ œ œœœœ

œ nœ œ.

nœ

. . . . . . . . F nœ nœ n œœ. œ. œœ. œ. œœ. œ. œœ. n œ. œœ. œ. œ œ r nœ 14

####

>œ .

œ >œ . œ >œ . > œ œ . œ œ- œ- œ œ œ n œ n œ Ÿœ >œ >œ >œ >œ >œ >œ >œ n >œ

r # # # # œ # œ œ œ n œœ .. & # œœ R F trem. œ œ r ? # # # # œ œœ œœ

## & ##

. œ œ. œ œ

œ. . . p

o. 0 o. œo. 1. œ. œ œ. œ œ œ œ œ. 0

# # # # œœ .. œœ .. &

####

## & ##

#### œ œ &

? # # # # œœ

nœ nœ nœ

. œ bœ nœ bœ nœ. œ

rit.

n œœ œ. œ Vle.

‰



b >œ n >œ n >œ F

>œad lib.œ. n . > b œ > > > . bœ nœ nœ œ œ

‰

j nœ

‰ n œ ≈ n œœ ≈ b b œœ .. bœ . >

œ. œ œ.

rit.

p ‰

œœ œ œ

# œœœ ... œ. p dim. #œ. œœ ..

nœ nœ. œ . œ œ n œ œ n œ œ n b >œœ ..

œœ ..

nœ

œ. œ. œ. œœ œ

Ÿi .œ . b œ. œ n œ. œ J

œ œj n œ Ÿ œ œœ œ œ n œ b œ  œj œ n œ n œ œ œ n œ b œ b œj p

? #### . œ œ. 68

nœ nœ

œ œœ

n >œ nœ

j n œ œœ n œ œœ œ œœœ J

œœœ œ

. ? # # # # œœ . œ. 64

œœ n œœ n œœ n œœj œ œ œœ œœ n œœ œ

0 œ. œ œ. œ œ. 0 œ œ. œ œ. œ œ. œ

Fg.

‰

nœ #œ œ #œ nœ #œ

# œ . œ # œ‰ . n œ. ≈ p . ‰ ‰ # œœ ≈

Cl.

dim.

œœ œœ œ œ

p sempre r j œ #œ œ #œ

œœ. R

≈

œ ≈ 15

œœœ œœ.

≈

bœ nœ

nœ .œ ≈ b n œœ ...

œœ. ≈ b b œœ ..

j œ. # œ. œ. œ œ. >œ œ. œ œ >. œ. r >. œœr >œœ. œ œ œœœ œ . œ . #œ œœ œ œ œ

P scherzando

œ œœ

œœ. ≈ R

œ #œ

bœ nœ bœ nœ nœ

b œ n œ . œ.

dim.

. . . œ œ. œ. œ œ. œ . œ. œ œ. œ œ ‹ œ œ œ. p. .

≈ .r ≈ .r

œ œœ œ œ œœ .. œœ Vln.

œœ. œœœ. # œœ. œ ≈ R ≈ R ≈ R

## & ##

œo . œ. œ > > j >. > œ œœ œ œ œ œ œ # œ. œ. œ œ œ. œ. œ œ >. œ. > r >. œœr >œœ. n œ œ œ œ. . . . n œ. # œ. œ. # œ. œ. ‹ œ. œ. n œ. # œ œ œ œœœ œ . œ œ #œ œ nœ#œ œœœ œ 3 3 œ. 3 3

#### œ . & œ

œ œ œœ œ œ œ œ n œ œ

. . œ . œ # œ ? # # # ≈ œ ≈ œ ≈ n œœœ R R R œ

œ #œ

# # # #K

# ## & #

####

4 0

####

R. œ.

R. r

r ≈ œ ≈ œ ≈ œœ . œ. R > > œœ

- œ- # œ œ- >œ œ œ  #œ œ #œ œ p j

œœ

œ≈ œœ œ≈ R.

≈

. . œ. œ . œ œ >œ œ.

ten.

œœ .

? #### ≈

≈

œ. œ

œœ

1 4

≈

R. r

œ œ.

≈ œœ ≈ .



œ œ.

œœœ œ œ ≈

œœ œ

≈

œ œ.

3 spicc.

œ œœ

œ œ.

œ≈

≈ œ œ.

Vln. I.

œ.

œ ‰ R. r

œ ≈ œ ≈ œ œ . œ. œ.

œ œ.

œ.

‰

≈

œœ œœ œœ œœ œœ .. œœ ≈ œ ≈ œ ≈ nœ R

>œ # >œ

# œœ R. .

œ œ R

r r œ ≈ œ ≈ œœ ≈ n œ. œ. œ.

œœ. R ‰

n œœ œ n œ œ œ ≈ J

Vln. I.

‹ >œ

4 1

œ œœ œœ

œ. œ

>œ œ. . . œ œ. œ ‰ œ.

œ Vle.

≈

2 3 1 œo œ3. œ. œ. . . . œ. 01 30 œœ. œ. 3 . œ 3 2 œ œ œ. œ. œ. . . œ œ œ œ . œœ œ. ten. œœ  œ œœ œ œœ œ. œ > œœ œ œ œœ œ œ œ nœ 3 3 >œ >œ n >œ œ> œ p 3 3

R. Vln. II. .œ œ ≈ R

œœœ

≈ œ ≈ œ.

œ. # œœ . œ œ œ œ œ œœ

≈

œ œ- œ- œ- œ- œ- √ - - œ- œo > > > > >. >. >. œ- œ- # œ- œœœ- œ- œ- œ œ . . œœœ œ‹ œ œœ. œœ. œœ œœ œœ œ œ

r œ ≈ œ.

≈

####

? # # # # ≈ œ. œ R

œ nœ

#œ ≈

œœœ ... œœ œœ œœœ œ œ œ

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

? #### 77

nœ

4 3 3 4 2 œ 2 œ œ1 œ œ œ œœ œœ n œœ œ - œ ‹ œ- œ œ œ 2 4

K #### &

>œ œ . # >œ œ # œ œ. # >œ œ  # œ œ n >œ œ >

#œ ≈ ≈

œœ R. œ.

œ R

‹ œœ ‰

>œ

œ œ

####

2 1 2 1 3 o Em œ >œ > > > >œ œ. . . 3 œ œ œ 3 œ ≤ œ  œœœ œ œ œ. . n œ œ œ   œ œ œ  œ œ œ  œ nœ œ œ œ œ œ œ. œ. œ œ œœ œ 3 f > 3 3

sul G

#### œ . œœ & œ #œ #œ ? # # # # ≈ œ. ≈ œ R # ## & #

####

? #### 89

####

œœ ≈

≈

œ. R

œœ œ . œ. œ. œ . n œ œ œ œ œ. œ œ

œ #œ

œ. .

œœ œ œ nœ ≈

œ. œ. ≈ œ≈ œ R

œœ œœ œœ n œœ œœœ ...

œœœ œ

R œ.

œ R

œœœ. n œœœ. œœ. œ œ ≈ R ≈ R ≈ n œœ R

œœ œ

œ #œ

# ## & #

####

più mosso

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

n œ. n œ.

œ. n œ n œ

M a tempo o œ œ œ. œ. œ œ . . œ # œ # œ. œ œ œ œœ œ œœ œ œ œ œ. ≈ œ. œ œ œ œ œ œ œ œ œ 9

? #### œ . œ.

œ œ. œ œ.

‰

π >œ . œ œ.

Cor. Fg.

œœ œ œ n >œœ # œœ œ nœ # œ.

œ. # n œœ. ≈ œœ ≈ œœ ≈ Rœ R R

L più mosso n œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ nœ œ œ J .r F n œœ. ≈ œ ‰ ‰ œœ œ j ≈ œ œœ J . œ ‰ j œ œ œ R J œ œ.

dim. e rit.

‰

string.

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

#œ # œ œœ >

. . œ. œ œ. Ÿœ œ œ. œ. œ. œ . .Ÿ . 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. > >

string. . .œ œ œ. œ œ .

œ n œ œœœ nœ œœœ n œ. œ œ œ œ œ œ œ

‰ œ œœ n œ œœ n # œœ œ n œ n œ # œ œ # œ n œ n œ œ œ œ > # >œ > n œ œ> # œ> n œ # œ> n œ n œ> # œ dim. e rit. # ? ## # œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ. œ œ. œ 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 1 4

‰

œ ‰ œ

nœ nœ œ œ  œ nœ œ nœ œ œ 1

M a tempo > r r ‰ ≈ nœ ≈ œ n n # œœœ .. œ.

dolce

3 2

bœ

œ œ nœ œ œ.  œ.  n œ.  œœ  œœ  n œ  n œ ≈ ‰ . . n œ. nœ

‰

p r

j œ n œ œ œ œ œ œ #mœ œ œ

####

#### n œ & n n n œœœ π ? ####

œœœ œ-

j œ n œ œ n œ œ œ œ #mœ œ œ

# ## & #

####

n œ≤ J

104

####

œœ-

‰

n œœ œ œ œ # œ œ . œ ≈ 3 œ . œ n œ. n œ. nœ œ . œ œ. n œ n œ J ‰

≈ nœ

œ #œ œ nœ œ.

n n œœ n œ

œ.

œœ-

‰

cresc. poco a poco

n œ œ œ œ b œJ n œ œ n œ nœ

>. r

≈

# >œ

bœ

‰

>. r

≈

n œœ .. œœ n œ œœœ n œ œ œœœ œ œ œ œ J r cresc. poco a poco ≈ œœ œ nœ. nœ. œ nœ

œ œ œœœ œ œ J œ nœ.

poco rit. n >œ b >œ n >œ >œ b >œ >œ >œ n >œ

nœ

≥ nœ œ œ œ nœ nœ œ nœ

‰

string.

#œ n œœ .. p œ. œ. n œ. n œj œ œ nœ nœ

œstring.

#œ œ

>œ

largamente

>œ

>œ .

œœ œ

> > b >œ n >œ >œ b >œ b >œ n >œ b œ b œ

>. r

≈ b œ œ œ œ b n œœ n œ œ œ œœ œ œ J bœ nœ. œ bœ

œœ

Ÿ # >œ

‰

œ nœ

 nœ #œ œ nœ œ œ nœ

. ≈

‰

∑

œœ œ

? #### n œ

‰

œœ œœ n nn œœœœ

# # # # b n n œœ& n œœ π ? #### 102

nœ. m

œœœ œ-

∑

œ.

œ >œ

œœ

œ >œ >œ >œ >œ >œ 3

N largamente 3 œ # # # # n œ b œ n œ œ b œœ œ œœ n œ # # >œœ # >œ >œœ ‹ >œ œ œœ œœ œ œœ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ & bœ n œ œ œ #œ œ . œ œ n œ œ œ œ œ œ ≈ œœ œ R poco rit.

? # # # # bb œœ

bœ bœ bœ bœ bœ bœ

nœ nœ

nœ

r œœ œj œœ j œœ œœ œ œœ œ col  18

œ œœ J

œ. œ ≈ œ R

## & ##

107

œ œ œ œ

œ>.

>œ >œ >œ > > œ œ

œ.œ œ #### œ œœ œ . œ œ & œ œ œ ‹œ j

r œ j œ ? # # # # œœ œ œ œ

111

####

√ œ >œ

>œ >œ n œ

>œ

? #### 116

####

## & ##

####

> f >œ œ œ œ œ œ≈ ≈ œR p 3

≈

j œ œœ

œ J

œœ œ œœ

œ œ

œœ

rit. molto

œ œ nœ nœ œ #œ œ nœ #œ œ œ œ

‰

rit. molto

œ.

œ œ

1 œ œ œ 1 œ œ 2 # œ j œ œœ œ œ œ . # œ œ œj œ œ œ œ # œ œ D E A G rit. j œ 1

œœ

? #### œ

J π j

œ œ

œœ œœ

2 4 3

œ œ J

j œ œ

œœ

#œ œ

œ œ

tranq.

‰

œœ

p 3j 3 # œœœ œ œ œ œ œ œ œj ‰

œ. œ œ.

œ- œ œ

Vle.

>œ . œ

œœ n œœœ . œ œ ‹ œ œ œ œœ. œ œ œ # œ . ‹ œ J

n œœ

π # œ œ œ œ œ œ œ œj n œ nœ p

∑

sul G

rit. molto œ n œ œ œ O tranq. œ œœ œ

rit. molto

œœœ œœœ œœœ

Vc. 3

>œ .

œ œ. œ œœ n œ œœ . n œ J ƒp œ n œdim. .. # œœœ œ œ œ. œ

œœ œ œœ

œ œ œ

>œ . œ

3 . œ œ œ œ œ œ œœ œ # œœ œ œ œ œœ œ n œœ œ j œ œ œ œ œ J

œ œ. œ œ. œ #œ

>œ

œ œ œ œ œ. œœœ œ œ ≈ Rœ œ œ . œR ≈ œœR

j #œ œ œ œ œ œ œ ‹œ œ œ œ

? ####

con tutta forza

#### œ n œœ & p

121

>> >>

# œ >œ n œ >œ œ

# # # # œ œœ œ . œ œ œ. & œœ ƒ

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

>œ

rit.

œ J

œ &œ

‰

œœ ‰ ?

œ. œ.

molto lento .

œ. œ. œ.

U œ

dim.

U œ

œœ ‰ œ œœ œœ œ œœœ J π œ ‰ œœ œœ . œ œ J œ œ

molto lento

‰

œœ ...

U œ.

dim.

III. Finale # 2 & 4

Allegro moderato

∑

>œ . œ > . œ > œ # œ œ . >œ . . œœœ

Allegro moderato

#2 & 4

Vln. I.

œ #œ

∑

p. . . . . > . . # jf > & ‹ ‹ œœœ œ œ œ # œœ œj œ œ n œœœ ‰œ œ œœ œ œ œ J . . . J œ œ ?# 11

œ.

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

∑

œœ

œ . œ mœ- œ- œ- œ-

‰ j‰ j œ œ œ œ #œ œ

œœ œ .

∑

œœœ œ œ . œ œ. .

pOb.. . . . .

≈

∑

.. . ... ..

œ œœ œ œ œ ‰ J . . .œ œ. œ

œœ œ œ ‰ Jœ . . œ. œ œ.

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

œ. œ. œ. >œ #mœ œ. œ.

>œ

j œ # œ ‰ œœ ‰ œœ J

j œ n œ ‰ œœ ‰ œœœ œ

con spirito

œœ. ‰ Œ œ J

œ œ. œ œ ‰ Œ

∑

.j . . > . . œœœ œ‰ œ œœœ œ œœ œ Jp

œœ œ œ œ œ œ œ œ œ. # œ. œ œ. j œ œ ‰ Jœœ œ ‰ Jœœ œ J . . cresc. . œ œ. œ. œ. . œ . œ œ œ œ. œ. j œ. œ p œ. œ. >œ # œ. œ. p

>œ # œ. œ. f

. .. # œ œ b œ œœ & ‰ œ œ J. . . .> . bœ œ œ œ œ ?# œ ‰ J ‰ 16

œ.

j f>

∑

œ #œ

f # 2 œ # œ >œ . œ # >œ . œ >. œ œ œ œœœ ? & 4 > . . Vc. Vln. II.

∑

π stacc. (pizz.) j œ jœ ‰ œ ‰ #œ œ J

œœ #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 ‰

j œ # œ & œ œ œ œ J ‰ Œ# œ ? # # œj œj ‰ œj ‰ j œj ‰ œœ ‰ #œ œ œ J œ

j j ‰ œœ ‰ # œœ œ #œ

#œ

j ‰ œœ ‰ œœ J 20

j j ‰ œœ ‰ n œœ œœ # # œœ

#œ

j ‰ œœ ‰ œœ J

œ œ. . œ0. œ. œ. œ. œ

œœ #œ œ ‰ J ‰ œ j

œ #œ

œ>œ ..

œ œ- # œ- œ- œ-

‰ œj ‰ œj œœ n œœ Z œ j‰ œ j j #œ œ œ J bb œœ

# œœ œ & #œ Z

œ. œ œ. œœ œ # œœ # œ. œœ .

# Fl. & œœ # œJ ‰ ‰ # œœœ J. . p Z ?# œ # œ. œ. Œ >œ

œœ

œ.

f œ ? # œj œœ œj œ J &

œ.

# # >œœ .. # # œœ. # œœ. œ. œ. œ. œ & #œ. ? # ‹ œj# >œœ # œj œœ J #œ J ‹œ

œ.

œ. 

∑

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

# œœœ œj œœœ j J œ J bœ œ bœ

∑

# œ j œ j œ j œ # œj # œ œ œ œ j œ j œ j œ

#œ

. # œ. œ . . œ œ j œœ. œœ œœœ œœ # œœœ . . œ. œ. œ. œ. # œ. j œ j ‰ œ ‰ œ ‰ œœ ‰ œœ ‰ œ œ R œ œœœ œœ. œ œ. œ J . cresc. ed accel. j Œ ‰ œj ‰ œj ‰ œj ‰ œj  œ ‰

j‰

j ‰ j # œœ œœ. œ. p ‰ .j # œœœ œ # œ. œ. J >œ

∑

œo

# œ. œ œ œ œ œ. . > .

cresc. ed accel.

œœœ œ.

più mosso

œ # œ. œ. Œ >œ

‰

œJ ‰ Œ .

. Z

. . > # œœ # œœœ œ. œ # œ œœ. œ. &

œœ

œœ ‰ ‰ # # œœœ J J

∑

più mosso

œœ

œJ ‰ Œ .

j # œœœ œ. j ?# œ # œ. œ. ‰ œ œ. >œ j

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

œœ m> >œ œ œ. œ 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. œœ. œœ. œœ œœ œ œ (stacc. ad lib.)

# œœœ J

œœ

œ œ

∑

œœ

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

œœ # # œœ j # œ œœ œ œœ œœ # œ œ J # œ #œ . # œ. œ >

∑

>œ œ. œ. œ. >œ # œ œ. . œ. . >œ œ . >œ # # œœ # œœ # œ # # œœ # œ œ œ œ œ œ# œ œ # # œœœ # œ # œœœ # # œœœ ... #œ 21

∑

1 3

# œœ

# œ. œ.

1 2

œ œœ # œœ œ œœ

œ # œ. œ. œ. œ. œ. œ. œ. œ ‰ Œ œ# œ œ œ œ œ œ œ 

œ # œœ .. œ n n  œ œ

2 1 2 1 4 3

 # # œœ J ‰ Œ Z

poco rit.

2 4

# nœ nœ &

& &

∑



∑ œ>.

# œ # >œ .

# # >œ œ

> # œœœ

œ#œ

meno Allegro 1 4 # œ # >œ .

>œ2 .

>2 #œ.

œ 2

dolce

œ #œ

p ≈ #œ œ œ œ œ .> .>

# >œ .

n œ. œ.

# >œ

œ œ . œ. # >œ ‹ œ . œ. # >œ . #œ #œ

œ #mœ ‹ œ œ .

‰ n œœ >œ

?# ‰ œ >œ

# œœ œœ ‰ # œ. œ.

œœ œœ ‰ . .

. . ‹ œ œ # œ œ ‰ œ ‰ œ J J

# # >œœ

œ # >œ . œ.

# >œ

. # œ œ. œ. œ. œ. œ. œ. œ

poco animato

œœ >œ œœ >

>œ œ. œ. . > ≥ >œ n œ. œ. # œ œ. œ # œ œ œ œ œ. œ. œ

≈ œ # œ ≈ œ œj œ n œœ > . œœ. œ p # œœ œ J ‰ J ‰ œ œ

poco animato

> # >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 Cl. # œ ‰ # œœ œJ ‰ # œj ‰ # œœj œ œ n œ. J . p f œœ. j ? # >œœ . œœ. j j j #œ ‰ J œ # œ. >œ œ œ. >œ ‰ œ. ‰ œ. ‰ œ. ‰ œœ. Fg.

n n >œœ

# Archi ≈ œ ≈ # œ œ j j ‰ # œj # œ & #œ œœ œ n # œœ. . . . nœ œ ? # ‰ œœ ‰ # œœ œœ œœ ‰ œj ‰ J ># œ. . J . &

2 >3 1 3 # >œ ‹ œ # œ. œ. # œ . # œ # œ ‹ œ œ .

# œ. œ.

# # œœ ‹ œ œ . .œ # œ # œ œ ‰ œ ‰ # # œœ ‰ #œ ‹ # œœ # œœ J J > > > p f >œ # œ. >œ œ œ. >œ œ # œ. >œ œ œ. >œ œ œ. œ. œ. j J J # œ ‰ & # œœ ‰ ‰ >

> . >. 51 # # œ # œ œ. œ. œ. œ. œ. œ # œœ . œ &

œ #œ

poco rit. B meno Allegro

?# 46

# œ. œ. œ. œ. œ. œ. œ. 1 2

. . œ. œ. œœ œ œ œ œ œ œ œœ œœ œœ. œœ. œ. œ. œœ. œœ. œ. œ œ œ œœ . . f . .

j # œœ œœ œœ ‰ Œ # œ. œ. œ f

œœ œœ œœ   . . J ‰ Œ p 22

∑

 

# œœ œœ ‰ œœ # œ. œ. >œ

œœ œœ ‰ œœ . . > 3

œ œ œ #œ œ # œ œ œ. œJ œ. œ. . œ J œ J

fj # œœ ‰ Œ # œœ

>

# œœ # œ.



œœ œ.

œœ œœ . .

œ œ œ # œœ œ œ. ≤ J œ. > # œ. œ.

∑

j œ œ œ‰

C a tempo > n œ >œ . bœ nœ œ.

> nœ.

C a>tempo > n nb œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ . . . . . . . .

. # œ. œ. # œ. œ. œ. # œ. œ. # . . . œ œ # œ . œ & œ #œ œ #œ b œ. n œ. œ. # œ. œ. # œ. œ. n œ. # œ. . . . poco rit.

dim.

∑

?# 67

poco rit.

∑

Ÿ> . # œ. œ. n œ. œ n œ œ. œ. œ. b œ œ. b œ. œ. n œ. œ. œ.

∑ bœ nœ

œ.

b œ >œ .

> bœ.

∑

b œ b œ. . œ. b œ. bœ

?# 78

nœ #œ

>œ .

# œ >œ .

# # >œœ # F œ. # œ. >œ

# œœ >œ

œ œ. >œ

# >œ .

œ # >œ

# n # œœœ >

# œ # œ. œ.

> j ‰ ? # œœœ # œœ. p

œ # œ. >œ œ

J ‰

più mosso # >œ # œ œ. œ. >œ œ œ. œ. n œ # J ‰ Œ

# ‰ #œ œ œ #œ # # œœ n œœ & œ. œ. j ? # n œ œ œœ ‰ ‰

œ #œ

#œ œ. >

# >œœ

# œ

œ. # œ. œ œ œ. œ > >

#œ. >

> # n # œœœ

> .

œœ

#œ œ > # œ. .

Ÿ~~~ b œ b œœ # œ n œ # œ > >> n # œœœ Œ œ

f > œœ. œœ. œ # œ œœ œ > œœ. œœ. œ # œ œœ œ > œœ. œœ. œ œ œ

> œ. # œ. # œ œ œ. œ.

cresc.

nœ #œ œ œ ‰ J ‰ J

Fg.

∑

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

. # œœ ‰ & ‰ # œœ ‰ œœ J # œ. œ.

œœœ œœ œ œœ # œ œœ œ œ œ œ più mosso

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

j œ # œ. œ œ ‰ >

∑

œ. œ.

n b œœœ œœœ œœœ œœœ œœœ ‰ . . . . ∑

# ‰ b œ œ ‰ œj ‰ b œ œ ‰ œj b >œ œ œ œ >œ œ œ œ b >œ œ œ œ >œj ‰ ‰ b œ œ ‰ œj & # œœ œœ n œœ b œœ œœ n œœ b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ b œœ œœ b œœ n . . . . . . . . . . . . . . >. >. >. . π ?# ∑ ∑ ∑ ∑ ∑ 73

b œ n œ.

∑

>œ œ œ œ œ œ œœœ

>œ. >œ. œ œ œ œ œ œ

‰ œœ œœ J

(nicht ritardieren)

∑

>œ œ

(nicht ritardieren)

& œœœœœ > œœœ ? # >œ œ œ

œ œœ œ œ

>

j‰

œœ.

b & bb  >

œ. œ œ œ1 œ œ1 >œ > œ œ > > >>

∑

œœ.

. . 3. . . F ? b ‰ œ œ œœ œ œ bbŒ œ ‰ J. 3

b & bb

b &bb ? b bb

j‰

∑

>œ .

œ œ

. œ ‰

> ‰. >



œœœ

∑ œ

bbb Œ

molto energico

j œ ‰ Œ n œj ‰ œ. œ. fj

j b b b Œ œœ ‰ Œ œœ ‰ . . 3

> œ œ œ. œ 

œ œ œ 3

>œ .

>

œ.



nœ œ. nœ œ œ œ n œ1 œ œ1 > f 6



œ ‰ œ J

 n œœ ..

œ n œ œ œ . œ. 3

œ n œ #

œ. œ œ f

poco animato

‰

Œ π

œœ

œœœ œœ œ œ œ œ J

œ. œ. œ. œ œ. œ. . œ. œ. >

poco animato

n  œ œ . œ œ. œ # œ‰ . œœ n œœ œ œ œœ ≈ œœ ‰ R ‰. R > π p 33 œœœœ œ #œ n ‰ . œ œ . œ ‰ . Rœ ‰ . œR œJ ‰ Jœ ‰ > œ

n >

> j ‰ Œ Œ j‰ Œ j ‰ œ œ œ œ œœ. œ.œ œ . œ b ‰. œ œ .. œ œ œ J f > . . ‰. > b œ j‰ Œ Œ œœœ ‰ Œ œœœ ‰ œ . œ > œ œ . œ Jœ J J

m. 3. . . 3 œœ œœ œœ œœj ‰ n œ œ n œœ œœ n œ œœ ≈ œ. œ œ Œ n π . œ. œ bœ œ. œ. Œ œ. œ . b œ. œ. œ. p

> . œ ≈œ

œ‰Œ

œ œ œ œ . œ. œ 3

œœœ

n œ œ.œ ‰. p> ‰.> n œ œ.œ

œ œ œ œ >œ >œ 3

b &bb Œ

104

œ œ œ œ œ œ œ œ œ œŒ& œ œ >œ œ>œ œ >œ

molto energico

sul G

rit.

. F 3. . . 3. . œj ‰ Œ ? b ‰ œ œ œœ œ œ bb Œ œ ‰ ∑ J.

b œ bb  > œ œ. f

rit.

‰

>œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ >œ œ>œ œ >œ

b &bb Œ

∑

>œ

nœ

# n œœœ n œœ œœ œœ ≈ œ. J 3

œ.

œ. n œ . œ.

poco più animato 110

n œ# œ œ œ n œ# œ œ n œ

> bœ.

œ œ œ œ. œ

œœ

œ nœ

più animato mœ. . . poco . p 3 n œ œ bb b # n œ n œ œœ œJ Œ ‰ œ & œœ œ‰œ œ 3 J F 3 . œ. n œ œœ ? bb œ Œ œ . b œ> œ. 3

115

nœ

& b ? bb

b >œ .

# >

3 E a tempo j œ. œ bœ & œœ ‰ œœ œ œ œ b œœ œ . . J p F > . . . ? ‰ œ œœœ. ‰ b œœœ œœœ œœ J 3 >

>œ .

œ. œ

. . . .. . . œ 3

œœ œ & b œ œ œ œ œ 3 . p 3> œœ œœ œœj ‰ b ? œ œ œ œ J



#

œ œ œ

œœ œ. œ. œœ. œœ. œœ 3

œ œ.

. F j > . œ. œ œ œ # œ. n œœ ‰ J. ‰ J. ‰ R .

>

œœ œœ œœ b œœ œœ F œ œ œ œ œ œ œ ‰ œœ > 3 3 3

nœ œ œ

‰

nnn

‰

œœ œ.

‰

nnn

J f

œ >œ >œ œ œ >œ >œ œ>

œ œ

‰ # œ # œœ œ. . F . . ‰ # œœ # œœ 3

œœ œœ. œœ. œœ ≈ œœ œœj ‰ . . . f œœ. œœ. œœ. œœ œ. œ. ≈œ œ ‰ 3

>> œ >œ >œ >œ œ œ



> > œ œ. b œ. œ. œ. œ. Œ n œœ œœ œœ œœ ‰ Œ J bœ œ œ œ œ nœ œ œ œ ‰

p 3œ bœ 3

J J œœ œœ œœ œœ 3 . . œ. œ. œ œ œ œ ‰ œ œœ J ‰ Œ œ. . 3 3 3

nnn

œ. œ n œœ

œ œ

œœœ. œ J ‰ 25

>

>œ . œ . . œ . . œ œ j b œœ. œœ œœ œ œ œœ 3

j ‰

œ œ.

nœ œ œ nœ œ nœ nœ œ œ

œ œ nœ #œ œ

œ. ≈ œ. # œ ‰ œj ‰ œ œ n œ. œ.

rubato > > >œ . œ >œ >œ >œ œ œ

>

nœ œ œ nœ nœ œ œ

œ Œ nœ œ œ œ ‰ Œ œ. n œœ œœ œœ œœ > > œœ. 3 œ. . œ . œ ‰ œ œ. œ J ‰ Œ p œ. . 3

œœœ œ œ

œ œ nœ #œ œ nœ

œ . œ œœj #  œ œ œ œœj ‰ ‰ œ ‰ œ ‰ . œR œ ≈ œ œJ J J

n

p j > j . b œ œ œ . . . ≈ Œ œ n  œ b œœ œ œ œJ ‰ ‰ Jœ ‰ œJ ‰ . œœ œœ œœ œœ. œ . . F > j 3 b œ œ œ b œ . œœ œœœ n  œ œ œ œj n œ n œ. œ. . 3 ‰ J. ‰ J. ‰ . œ. œ. ≈ œ. œ. >

125

œ œ œ

E a> tempo n 119 &

œ œ bœ œ.

œ nœ

j nœ

131

>œ .

> œ >œ >œ œ .

œ œ

œ # œ3 œ œ œ F poco mosso œ # œ œ0 # œ œ œ œ - œ # œ œj ‰ ‰ œœœœ œ œ œ 3 4

& ‰ ## œœ . F ? ‰ œ. 3

œœœ. # œœœ.

œ. . œ. œ. # œœœ ...... . œ œ œ œ # ‰ œ ‰ œ .. œ œ œ œ œ. J J  3 Z . .  œœ œ. # œ. œ. œ Jœ # œœœœ. # ‰ J ‰ œœ ≈ œ œ J 3 f

‰

F >poco mosso œ. œ œ œ 

Cor.

œ. œ. œ . œ.

o . œ 11 œ 3 œ #œ œ œ #œ œ œ œ > œ . . n œ œ œ . œœ œ # œ # œ # œœ. œ œ œ œ œ œœœ œ œ œ .œ œ # œ œœ # œœ. œœ œœ œœ. # œ .. . & # œ n œ # œ # œ œ . œ œ #œ œ œ 3 6 6 3 3

136

π j œ . # œ œ œ ‰ # œœ .. œœ  œ # œ J p # œ. œ. œ. # œ. j ‰ œ # œ. œ.

j‰

& œj ‰ œ . œ  œœ œ œ #œ. œ  J # œ. . . ? œ. œ. œ. . œ œ œ. œ œ. œ>. œj >.

‰

2 4 3 13 > > 7 > #œ œ nœ œœœ œ # œ # œœ. # œœ. œ. œ # œ œ # # >œœ .. œ œ œ # œ œ œ # œ œ. œœ & #œ #œ œ #œ . #œ #œ œ #œ nœ œ > œ n œ 3 3 f p

141

& # # œ œ Fl.



# œ. . . ? . #œ œ

145

œœ ‰ œœ J

œ. # œ

œ. 

œ Œ

œ œ. F œ. >

‰

j œ. >

& # ## 

? œœ # œ.

œ.

œ œœ

œ œ

p œ. œ. # œ. œ. œ. œ. 3

n œ. n œ .

œ.

œœ œ œ œœœ . œ 3

œ. ≈ œr #  œ œ # J

2 œ3 œ n œ œ 6 œ œ œ 1 # œ œ œ œ #œ œœ j #œ œ œ #œ #œ #œ #œ œ #œ #œ œ œ œ nœ œ 3 6 #œ œ #œ #œ 1 1 2 3

#œ œ œ œ œ œ œ œ œ œ #œ œ

œ nœ œ nœ

œ œ œ1 œ œ 1 œ œ œ œœœœ 4

œ œ œœœœ œœ œ. œœ œœ œ. . . J . 3

œ. # œ n Ÿ~~~~~~~~~~~~~~~~~  ≈ R

#œ

149

# œœœ .. & # œ .. F

œ #œ œ

≥

3 4

∑

b œœ

largamente

1 3 1 3

œœœ  œ ‰ b b  J

rit. molto G largamente

œ bœ

∑

b œ≥ b œ b œ b œ œj b œj bœ ten.

bœ b b b œœœ J ƒp

ƒp

œ j bœ j bœ j bœ

bœ

‰

b

b >œ b >œ b >œ >œ œ bœ J

& b Œ f ? Œ

H a tempo & 

165

‰  œ ‰ n œ b n œœ Œ œœ J. J. j œœ ‰ Œ b œj ‰ œ. b œ.

H a tempo

œ.

œ. œ

 >

b > o

>œ3

j b œ b b b œœœ ‰ Œ ƒ j b œ b b œœ ‰ Œ 6

j bœ ‰ bœ

b

o dim.

? b b œœ ≈ œ œ ≈ œ b œj ‰ b œ. œ. œ. œ. b œ.

œœ œ.

œ bœ bœ 3

œ bœ bœ

1 3 4

œœ œ.

≈ œœ œ.

œ bœ

œ bœ bœ b b b œœœ b œœœ œœ œœ œœ 1 1 3

∑ ∑

rit.

sul G

œ œ> b œ> œ> b œ b œ b œ . œ œ œ 3

rit.

œœ b b œœ

bœ bœ

b œœ b œœ

œ œ

b œœ

. . r

œ bœ œ

œœœ

4 . # œ. . œ . . œ œ . œ . 0. . œ. œ. œ. # œ. œ. œ. œ œ œœœ

j‰ Œ  œ b œœ ≈ œœ œœ ≈ œœ b œœ œ b œ. œ. œ. œ. b œ. œ. ‰ . n œœœ œœœ ≈ œœœ œœœ . . . . . . J R π ‰.

rubato

j b œ b b œœœ ‰ Œ ƒ j b œ bbœ ‰ Œ œ

œ œ œ œ bœ œ 6

j œ ‰

œœ



>œ b >œ b œ

>œ b >œ œ

b

rubato

œ œ œ bœ œ

>œ

b b œœœœ ‰ Œ ƒp b bb 

b

b >œ

4 >œ > > >œ >œ >œ b >œ b >œ >œ >œ >œ >œ b >œ b >œ n >œ bœ 159 œœ œ œ bœ j nœ b œ & œ 3 3 3 3 3 œ œ nœ œ

Tba.



b nn  ƒp bb 

b b  

ten.

œ bœ j œ œ b œ ‰ œ ‰ bb  J bœ œ 

≥œ b ≥œ ≥œ

>œ >œ b >œ >œ >œ J

œ G œ > >œ >œ b >œ >œ œ œ bœ

rit. molto

œœœœ œœœ œ

œ œ b œ1 œœ œœ œœ œ

154

œ. b œ œ b œ b œ œ .. bœ œ

#œ.

? œœ œ p œ ≥ b œœ

œœ œ 4

. j

œœ ‰ Œ œ.

∑

Tempo I.

170

œ ‰. œœ

‰ . œœ œ Œ

. # œœ

œœ

œœ. œ

‰ œœ ..

œœ

. . œ. # œ. œ œ

œœ

‰

œ. œ. >œ # œ # œ. œ. œ œ œ

œœ .. œ.

> œœ. > f

œœ >.

œœ

‰ œœ ..

œœ. # œœ. ‰ . œœ œœ. œ#œ œ œ >

œœ. œœ. œœ. >œœ. >

œ #œ

>œ . œ.

œœ.



œ √ œ #œ œ œ œ œ #œ œœ

œ. # œ. œ œœœ ‰ ‰ œ # œ J j‰ Œ

più mosso

œ œ ‰ J

œœ. œ

œœ. œ. >œœ # œ œ. œ. œ œ #œ œ

œœ .. œ.

œ. œ. >œ œ # œ. œ. œ . œ œ œœ. œœ

. œœ. œœ. n œœ. œœ

œœ. ‰ ‰ œj œ ≈ œ œœ œ œj ‰ # œ œ J . . #œ . π f

∑

> >œ œ . œ. >œ œ œ. œ. œ œ œ. œ. œ œ. œ. œ œ œ œ. œ œ. œ. œ > . Ÿ

cresc. ed accel.

œœ ‰

j ‰ œj ‰ j ‰ œjœ ‰ œœ œœ œœœ œœ

œœ œœ œ # œ . œ. œ.

j œ b ‰ œ #œœ Œ bœ œ >

più mosso

œœ. ‰ . œœ œ œœœ. # œœœ. œ

#œ

œ. œ. œ. œ. œœ.

œ. œ.

œ j œœœ ‰ œœœœ ‰ œœœ œ J J

cresc. ed accel.

j j # œ œ œœ ‰ ‰ œ œœ œ œœ œ œœ œ

œœ. œ

œ œ œ œ œ œ œ ~~~~

œ # ‰ œœ œœœ œœœ œ &

3 4

‰

>œ # œ

~~~~

œo œ1 œ2 œœ

œœ

œ. œ. œ œ œ œ. œ. p > .

mœ- - œ- œ- œ-≤ œ. œ. œ

. ‰ . œœ œ # œœœ

œœ >

‰

>œ . œ

~~~~

186

>œ œ >œ œ √ >œ œ >œ œ #

œ œ

. œ . ‰ . œ œ œœ œœ

œœœ. œ

# œj ‰ ‰ # œj œ ≈ œ # œ œ ‰ ‰ j ‰ & œœ œ # œœ œœ J œœ #œ . . œ π > π fj ?# œ ‰ Œ ∑ #œ œ œ œ

. œ. œ. œ œ.

. . . œœœ ‰ . œœ œn œœœ œœœœ

>œ m . > œ . # œ œ. œ # œ œ œ.

œ. œ. œ.

? # œœ .. œ. >

180

œœ. œœ. œ œ ‰ . œœ œ

Tempo I.

π Œ ? # œœ .. > 175

œ #mœ œ. œ. œ. œ. œ. œ.

>œ œ . œ. œ. œ. . œ œ

œ œ. œ.

4 grazioso œ #œ

∑

œœ. œ. >œœ #(mœ  )œ. œ. œ. œ. œ. . . . œ. . œ œ #œ œ œ œ n œœœ œ œ

œœ œœ œ # œ . b œ. œ. > >

œœœ. œ œ j

n >œœ

œ œj œ

191

∑

. # œ œ >œœ .. œ >œœœ # œ. >œœ & œ. œ

> > # œœ # œ. œœ #œ & ?# 199

∑

. œ. . . œ > . . . . . œ # 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

# >œœ ..

∑

œ>.

œ œ. >œ œ œ œ

> œ. # œœœ ... œ # œ # >œ .

meno Allegro

œ #œ

poco rit.

∑

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

poco rit.

œ. n n  œ > #œ

# >œ .

œ >œ . œ. #œ

# œ. œ.

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

# >œœ

j # œœ # # œœ #œ #œ

œ #œ

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

œ. œ ‰ Œ

∑

J Z # œj

# œ ‰ Œ



∑

dim.

>œ .

# œ # >œ .

œœ. ‰ œœ. ‰ # # œœ. ‰ >œœ ‹ œ œ # >œœ J J

# >œœ

# >œ ‹ œ # œ. œ. >œ . œ # >œ ‹ œ œ .

. >œ # œ œ . . # œ # œ œ # œœ œœ # œ œ ‰ J ‰J ‰ J‰ & f .> > . œ. ? # œ . . œ œ œ œ œ œ œ ‰ œ ‰ ‰œ #œ œ & J J J # ‹ # >œœ

# œœ

I meno Allegro >œœ # # >œ # œ>œ # >œœ # ‹ œœ. n # œ & . p >œ >œ #œ .> .> .> œ ?# J œ# œ œ œ œ œ œ & œ#œ œ ‰ Œ 204

∑

œœ # œœ j j # # œœ œœ j j # œ œ œ œ œ œ ‹œ œ #œ œ œ #œ œ ‹œ >œ œ. œ. œ. œ>

?# 195

∑

œ œ #œ

œ. ‰ œ. ‰ œ. ‰ œ. J

# >œ . œ.

J J

p > .> .> œ# œ œ œ œ œ >

œ # >œ . œ j # œ> # œ œ. œ. œ. œ. œ. œ. œœ .. œ. œ

œ # >œ . œ œ.

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

> . # j # œ œ n œ. œ. œ. œ. œ. œ & œ œ

210

œ. œ #œ. œ > > œœ. œœ. j ?# œœ œJ ‰ Jœ &

>œ. > > >œ. >œ. >œ. >œ. >œ. 216 # œ œ. œ. œ œ œ œ œ œ œ &

∑



>m > >m > .œ n œ≥. œ. >œ # œ œ. œ. # >œ mœ 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. œœ. œ œ œœœœ œœ cresc. F ƒ

j n œ œœœ > p ‰ œœ > >

œ œ œ J

# œœ # œ.

œ.

œ œœ œ œ. J

œœœœ ‰ Œ J f



cresc.

œœ œœ ‰ œœ . . > 3



œœ. œœ. ‰ >œœ œœ œ

œœ ‰ œœ # œœ œœ ‰ n >œœœ œ. >œ # œ. œ. 0

œ.

œ œœ œ œ. J



√

≤

œ œœ œ.

œ.

#œ

∑

#œ œ

j‰

J p .œ œ. œf œœ œ œ. J œ.

œœ. œœ. ‰ œœ >

œœ œœ ‰ œ . . œ >

0 2

œœ. œœ. œœ ‰ Œ œœ œ

#œ

œ nœ

nœ

#œ

∑

œ #œ œ #œ œ #œ œ #œ

∑

K ten. √ œ bœ 220 œ #œ œ #œ œ #œ œ # œ œ # œ œ œ œ # œ # œ œ œ b œj # œ œ œ #œ œ #œ œ #œ œ & œ #œ œ #œ œ

?# 223

226

# bœ #

dim.

(rit. ad lib.)

∑

f œ

K œ. b œœ ‰ J pj

bœ ‰ b œ.

bœ

bœ œ

dim.

œœ 3

œœ

a tempo b œ. . œ œ . œ. œ. œ. . œ. b œ. b œ. . œ. œ. œ. . œ. œ bœ b œ œ œ œ œ . . . . . . . . œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ

ten. >œ . . . . . . b œ. . . œ. œ. . . œ. b œ. . œ œ œ . œ b œ. œ. . œ. œ b œ. . œ b œ. œ. . œ. bœ . . œ œ. .œ b œ . . œ. œ. . . œ. b œ. œ œ œ œ œœ œœ œœ œœ œ. œ. œ. œ. # œ. œ. # œ. œ.

# b œ œ >œ ≈ œ. >œ ≈ œ. >œ & π ?# ∑ Œ

. ≈ b œ b œ. œ œ. J . . b œ. œ ‰ π

œ. œ.

œ. œ. œ. œ.

. œ . . œ œ b œ œ œ. œ. b œ œ. œ. œ b œ > . π >œ b œ . œ. œ. b œ. œ. . œ b œ œ œ & œ. b œ. π

230

& &

# #

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

. ≈ # œ # œ. ≈ œ. # œ.

n œ # œ œ. nœ #œ

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

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 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.

L ≤ œ # œ œ œ œ # 4œ œ œ œ œ œ # œ œ # œ œ œ œ œ œ œ œ œ4 234 #œ # œ œ0 œ # œ œ œ œ # œ œ0 œ œ œ œ # œ & œ 1

f R

& &

# #

L > œ #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 . > >

#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 nœ œ œ œ œ #œ œ œ œ œ nœ œ œ œ œ #œ œœ œ œ Z 6 Z 5

237

# # >œ . & ?#

241

# >œ .

œ œ. œ. . .

œœ # œ œ. œ. œ ≈ # œ n œ ≈ œ # œ. . > . œ >œ . . # œ œ œ œ. ≈ # œ n œ. ≈ œ # œ.

œ. œ

œ œ

≈œ n œ. ≈ œ n œ.

≈ œ j‰ œ ≈œ 

rit. œ. œ œ œ #œ œ œ œ œ . . # œ . œ œ œ œ # œ œ œ œ œ œ. œ œ 3 6

& # œœ .. n # œœ .. # œ # n œœ .. œ > > > ?#  



rit.

œ n œ œœ

œ   



# œœ .. p>

M a>tempo j  œ œ œ

M a tempo #œ n œœ  œœ œœ œœ œœ œœ œœ . . . . . . . f π. . . . . . n œœ.  œœ œœ œœ œœ œœ œœ

œ œ. œœ.

# # > &

245

# & ≈.

œ œ



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

π π . . . . . . . .. . . ? # . œœ œœ œœ œœ œœ œœ œœ .  œœ œœ œœ œœ œœ. œœ. œœ. œœœ œ œ f f

250

œ nœ œ

œ>

≈ œ œ

255

> > > >. >. >. œ. œ  >œœ. >œœ. n œœ. œœ. œœ œœ œœ œ Z

# œœ. & œ ‰ Œ J ?#

p



œ 2

œ >

≤ > > >. >. >. œ œ  >œ. >œ. œœ. œœ. œœ œœ œœ œ

œœ

j œœ ‰ Œ œ

> p

π . . . . . . œœ. œ j œœ œœ œœ œœ œœ œœ œ. œ. œ. œœ ‰ œœœ J . p f > 2 1

# >œ . &



#œ œ

œ œ

œœ.

j œ ‰ Œ

œœ œœ. œœ. œœœ œœ . . .

œ œ.

. . . . . .j

3 1

1 4 3 2

ten.

j #œ

œ œ œj œ œ

>

œ. œj œ.

j œœ ‰ # œœ ‰ . J j œ ‰ œœœ. ‰ œ. J

. . . . . . œ. . j œœ œœ œœ œœ œœ œœ œ œ œ. œ. œ. œ œ œ. œ. f f œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ

. . . . . r

‰ . .r œ œ œœ œœ ≈ ‰ œ œ #  œœ œ . œ ‰ J . j œœ œ œœ œœ ‰ J -

# œœ œ. œ. œ. œ  œ œ # œ œ œœ œœ œœ # œœ .. . . . Z Z



π #



~~~~

? # j œ.

#œ

>>> > > œ œ. œ. œ. œ. >œ. >œ. œ. œ j œ œ

>œ

j ‰ pœ ≈. œœ œ œ # œœ œœ # œœ. œœ. œœ. œœ. œ. œœ J. ‰ . . . F. π .j j ‰ œ ‰ ≈. œ œ œ œ œ œ œ œ œ œ  # œœ. œœ. # œ. œ. . . . œ ‰ œ J p

. œ œ. >œ >œ œœ .. œ œ œœœœ œ #œ

œ4 œ œ

>œ œ œ œ œ 260 œ œœ œ. # œ œ œœ œœ œ œ œ œ œ œ œ œ œ ‰ œ & . œ œœœ 6 3 2 0

poco mosso

Ÿ> 

œœ œ œ œ œœ œœ œ œ œ ‰ œœ  œ

poco mosso

œ œ

j . . œ. œœ. œœœ ‰ n œœœ. ‰ ≈ . œ œ œ . . . œ œ œ œ œ œ . . . œ. œ. œ. œœœ œ œ œ ≈ œ. œ. œœ. œœ. œ. œ. œ. ≈ œœ. œœ. œœ. œœ œ œ œ œ J. J

≈.#œ œ œœ p. . .. ≈.#œ œ

∑

4 2

1 0

œ Z œ œ

œœ ‰ Œ œ.

~~~~~

> # n œ œ œ œ œ œ œ & ≈. œ œ œ œ œ œ œ ....... p ....... ≈ . œœ œœ œœ œœ œœ œœ œœ ?# œ Œ

œ œ.

œœ ‰ j

œ ‰ œœ

œ. œ≈

≈ # œ œj Z

Ÿ~~~

Œ p

#œ œ

#œ #œ œ œ #œ œ   œ œ œ œ

œ œ #œ

ŸI~~~~~~~~~~~~ 11

œ Œ

# œ œ# œ

264

nœ

# . & œ

#œ

# >œœ

? # œœ J

œ. ≈ œ œœœ ‰

œœ œ

œ œ

j #œ ‰ œ

> > œ> # >œ # >œ œ œ >œ œ œ œ œ #œ #œ

œ œ

œ œ



bœ bœ nœ œ. nœ œ. poco rit.

>œ

œœ

>œ >œ b >œ >œ œ J 3

N largamente > j n b > œœœ ‰  b nn  œ 



b



b

>œ≤

# œ. # # œœ J . # œœœ J

# œœ p

œ>

#œ

‰

# >œ

#œ

rubato.

œ j ‰ œœœ œœ J ‰ œ œ

>œ >œ n >œ >œ 3

nœ b n œœœ ‰ Œ J f j‰ Œ bœ

#œ

œ #œ œ

# œœœ ... #œ . p

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 3

# >œ

#œ œ p

rubato

b

Ÿ~~~~~~~~~~

j‰

j œ œ ‰ # œœ œœ

J f j n Ÿ~~~ œ jœ

œ #œ

poco rit.

# b œœ b œœ f ? # n œ n œ œj ‰ nœ œ

‰

œ - œ- # œ- œ- œ- œ- œ- œ- œ- # œ- œœ

largamente œN œ > >œ >œ b >œ >œ œ j œ nœ nœ bœ

œ œ

# œ≥

‰

J f. œ

‰

F> nœ. n 

#œ

œ. œœ

‰

œ. # œ ≈ œ #œ

? # œ œ #œ œ œ œ 275

‰

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

271

- # œ- œ-œ≤ # œ- # œ- œ- # œ- # œ

# œ. œ. 3. .  # œ œ # œœ œœ # œœ. œœ. œœ. # œœ 1

œœ

# œœ4

œ . # œ n œ # œj œœ # ‰ ‰ #  # œ J œ ‰ J J

? # œjVc.œ œ ‰ &

œœ.

# œ.



268

œ #œ œ œ œ ## œœ œœ œ # œ œœœ

œ œ œ #œ 1 œœ œ #œ œ œ œœ 3

œ.

œ œœœ

# œ . œ.

œœœ œœœ œ œ œ.

3 2

œ.

. > n œœ≤. . œœ. . œœ. . b œœ. . œœ . œ- n œ- œ b œ œ œ œ œ p

∑ ∑

280

n œ > > >œ b >œ b >œ bœ bœ j nœ

bœ bœ

n > b # b n 

b œ≥ # bn œœ &

284

œ œ nœ nœ

288



b nœ bœ

b

b œ >œ >œ nœ œ nœ

>œ

b n bb œœœœ ‰ Œ J f j ‰ Œ bœ

b

œ œ œ nœ bœ œ 3

œ > œ n œ. . œ œ œ. œ. œ. œ

œ # n œœœ & J Z ? # n œœœ j œ J 294



?#   f>

n >œ >œ b >œ >œ

>œ J

> b n 

b

larg.



n >œ b >œ b >œ >œ

œœ. n b œœœ. ‰ Œ œœ ‰ bœ J J Z .j Z. n œœ ‰ Œ œj ‰ n  œœ n ≤

rit. molto

œ #œ œ.

. n œ. ≤ b œ. . b œ. . œ. . b œ . n œ œ b œ. n œ. . . œ b œ n œ b œ œœ œ œœ œ œœ œ œœ b b œœ. 6

∑ ∑

œ bœ œ #œ œ œ bœ nœ nœ #œ #œ œ œ œ œ œ bœ œ #œ œ œ bœ

b œœœ. ‰ œ J Z œœ. bœ ‰ j J bœ

∑

Allegro molto

œ n œ œ. œ. >œ œ # œ. œ. n >œ œ. œ. >œ œ # œ. œ. n œ œ Z (am Frosch)

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SOURCES

CRITICAL REPORT

Violin Concerto, Op. 28 A Score, autograph APTS Parts, autograph

specific primary source is defined for each work in Norwegian Musical Heritage. This primary source is the point of reference in the list with the header ‘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.

Source A Score, autograph Kathleen Parlow Collection, Toronto University Library No. 145 On the cover: ‘Concert für Violine / mit Begleitung des Orchesters / von /Johan Halvorsen. Op. 28’. In the upper right hand corner: Signature ‘Kathleen Parlow’ and a stamp with the name ‘Kathleen Parlow’. Title page: ‘Miss Kathleen Parlow zugeeignet. / Concert für Violine / mit begleitung des Orchesters / von / Johan Halvorsen. Op. 28’/ 26.1 x 33,5 cm. 100 pages of music. Paginated 1–100. Hardcover in brown colour. Paper type: 14 machineruled staves. Several markings and revisions in pencil, blue crayon, red crayon and brownish ink.

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 the composer 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 APTS Parts, autograph Kathleen Parlow Collection, Toronto University Library No. 145 11 wind/percussion parts, marked 1–11, and 19 string parts, numbered within the groups. All parts stamped with the name ‘Kathleen Parlow’ and the number 145. Title: Concert für Violine. / Johan Halvorsen. Op. 28. All string parts except Violin1 (1): 35.3 x 27.1 cm. All other parts including Violin 1 (1): 33.8 x 25.7 cm. Paper type: 12 machine-ruled staves. Several markings and revisions made with different writing tools. Flauto 1 (6 pages), Flauto 2 & Piccolo (5 pages) Oboi (11 pages) Clarinetti 1 & 2 (10 pages) Fagotto 1 (8 pages), Fagotto 2 (6 pages) Corno 1 in F (6 pages), Corno 2 in F (4 pages) Tromba 1 in F (4 pages), Tromba 2 in F (4 pages) Timpani & Triangel (6 pages) Violin 1 (1) (2) (3)(4) (10 pages each) Violin 2 (1) (2) (3) (4) (10 pages each) Viola (1) (2) (3) (10 pages each) Violoncello (1) (2) (3) (4) (9 pages each) Contra Basso (1) (2) (3) (4) (8 pages each)

EVALUATION OF THE SOURCES

Parlow a set of orchestral parts. These parts were pro bably used at the first performance in Scheveningen with the Berlin Philharmonic, even though none of the parts in the existing set were signed by members of the orchestra. Similar to the surviving score, the set of parts has been extensively revised from its original state. We can clearly see, for example, that one of the corrections Halvorsen asked for in his letters was made by scraping and revising (second movement, bb. 96–97, Fl. II). We therefore conclude that no new set of parts was produced prior to the concerts in Kristiania, and that the set Halvorsen had sent to Miss Parlow was used for the performances. Thus, JH never produced more than one set of parts.

The Toronto Music Library holds a number of letters from Johan Halvorsen to the dedicatee of the Violin Concerto, Kathleen Parlow, concerning the scores and parts. Based on these letters, we know that the majority of musical sources for this work are now lost. But there is no doubt that the two surviving sources kept in the Parlow Collection at the University of Toronto Music Library are of major importance. Signature notes written in the parts by musicians tell us that the surviving orchestral set, Source APTS, was used for the two performances in Kristiania (Oslo) on 11 and 12 September 1909, and for the performance in Utrecht on 28 February 1910. The existing score, Source A, was revised in very much the same way as these parts and contains several conductor markings. Therefore, it is most likely the score used by Halvorsen for the performances in Kristiania. Since the score ended up in Parlow’s collection, it is plausible to assume that she brought the score to conductor Wouter Hutschenruyter in Utrecht, or that it was sent there. Thus, the two surviving sources very likely indicate Johan Halvorsen’s most up-to-date intentions regarding the Concerto as well as information about choices made in connection with the first performances.

The Solo Part On 12 November 1908, a solo part was sent to Miss Parlow via Bjørnson. This part is now lost. We do not know whether the composer prepared any other solo parts.

The Piano Scores From Halvorsen’s letters we also know of two or three piano scores, all of them now lost. One of these was sent to Miss Parlow in November 1908. On 1 June 1909, Halvorsen sent her another piano score, asking her to send back the first one. Some months earlier, on 28 January 1909, Halvorsen had written to Miss Parlow about a piano score under preparation for Leopold Auer (1845– 1930), her mentor: ‘I am now writing out the concerto for Leopold Auer (Klavierauszug) because Mr. Bjørnson told me he wants it!’ But from a letter of 14 August 1909 from Auer to Parlow we understand that Auer probably had not received such a piano score: ‘I am longing for description of the Halvorsen Concerto and the Tchaikovsky pieces.’ Thus, it is possible that only two piano scores were prepared, and that the score sent to Miss Parlow in June 1909 was the score originally intended for Auer.

The Scores From Halvorsen’s letter to Miss Parlow, dated 12 November 1908, we know that he had finished a full score sometime in the autumn of that year. Some weeks after writing the letter, the composer himself made a copy of this score and sent it to Miss Parlow via Mr. Einar Bjørnson. (Mr. Bjørnson had earlier that year bought a Guarneri del Gesù Violin, the ‘Viotti’, for Miss Parlow to play on.) Further copies of the score may have been made, but no remaining traces exist. Based on the letters, we know that Halvorsen’s own score was to some degree revised during the following year. As early as 5 December, he wrote to Miss Parlow concerning a number of errors he had found in his own score, asking her to ‘look after them’ in her score as well. On 28 January 1909, he sent further revisions. In all probability, Halvorsen’s score stayed in his own possession, at least until the concerts in Kristiania. One of these two known scores are now lost.

Which Score Survived? It is reasonable to assume that many of the sources were gathered just before the performances in Norway in September 1909. In all likelihood, Miss Parlow brought with her the parts and a score, and our two surviving sources were probably revised in the days or weeks prior to the performance in Kristiania. Mostly, the same revisions were made in the orchestral parts

The Orchestral Parts In late autumn of 1908, Halvorsen also sent Miss

and the score, using the same techniques. One group of revisions consists of places that have been scraped and modified in black ink. Another group of revisions was made in brownish ink, or ink that today, after many years, has turned brown. The question is, whether JH revised the music in his own score or in the score he had given to Miss Parlow. Our surviving revised score bears no traces of earlier compositional processes. In its original state, it seems to have been neatly written, as a fair copy, indicating that it may be the copy sent to Parlow. Alternatively, Halvorsen’s original score may have been neatly copied from a very detailed draft, now lost. Some of the corrections mentioned in the letters were undoubtedly added to ‘our source’ by Halvorsen himself, a strong argument for defining our score as ‘his score’. The most likely scenario is that Halvorsen made his final revisions in his own score (and in the parts brought by Miss Parlow) just before the concerts in Kristiania, for why should he have used Miss Parlow’s score? He had started to revise his own score several months earlier and could simply have sent the revised version with Miss Parlow to secure a good performance in Utrecht. After that, she may have taken the score with her for possible future performances. Perhaps the score originally sent to her was left behind in Norway. If this theory is correct, it is her copy of the score that now is lost.

and are intended as an aid for the conductor. Similarly, Halvorsen marked beat subdivisions (for conducting) in three places in the first movement, bars 63, 68 and 131. We have not included these. We have, however, included Halvorsen’s markings in red crayon concerning bowings, fingerings, accents, divisi, sost., slurs, a tempo, added notes, etc. At the same time, our inclusion of these variants in red has been determined by how the source situation as a whole can enlighten these particular details. Bar 4 of the first movement, for example, seems to show a marking of ‘a t’ in red crayon, but since it is not very clear, we have not included it. The parts show no signs of such an a tempo. Although the many revisions and score markings in pencil were probably made by Halvorsen as well, we cannot be entirely sure of this. Most of them are mentioned in our comments, and our edition general ly adopts these variants. We have, however, chosen to evaluate each of them as part of a larger picture, such as in the case of contradictory information in ink in the parts. Naturally, such places are difficult to evaluate where more than one person marked the score in pencil (or other writing utensils). The score also contains many conductor markings in blue crayon. These markings may well have been made by Ernst Kunwald, Wouter Hutschenruyter, or JH himself. Most of these markings (41) merely repeat information already present in the score to aid the conductor. Several conductor subdivision markings are probably related to choices made in one or more performances. More detailed information about these can be found in the article Sources regarding interpretation on page XVII of this edition. Since we regard these blue markings as evidence of performance-related ideas, they have not influenced our edition. In two places, pitches have been distinctly corrected in blue, perhaps by someone other than JH. These revisions have been included in our edition, based on the following argumentation: in the finale, Violin I, bar 1, note 3 has been emended to the correct c, and in b. 24, note 4 of the solo part, a sharp ( has been added. The second movement also includes a pitch correction in blue in b. 54 of the oboe part ( note 3). Additionally, these corrections have later been highlighted in pencil. Bar 72 of the first movement contains a bowing indication in blue. Since the same bowing was added in ink by JH in four of the five Vln. I parts, we have included it here. Another bowing indication in Vln. II, first movement, b. 105, has also been marked in blue. We have included it in our edition by analogy with the bowings in Vln. I.

Choice of Main Source for the Modern Edition For this new edition, we have used the score as our main source, Source A. All score revisions made by Halvorsen in ink have been considered ‘part of the score’ and directly incorporated into the new score. They are not mentioned in the list of alternative readings.

Dealing with Markings and Revisions in the Score All score markings in red crayon were probably made by Johan Halvorsen. Six of these red markings provide information to his fellow conductors in German. In some instances, such information has also been entered in pencil by JH. All of the markings represent important information by the composer, and have therefore been included in our edition. This is a procedure Halvorsen used in other works as well. Approximately half of the markings in red crayon (about thirty) consist of conductor markings made by Halvorsen, and have no bearing on our edited score. They are practical indications that encircle or highlight existing score elements

What the Orchestral Parts Tell Us

ers. Here, we have generally not incorporated these variants into our edition, unless strong arguments of analogy spoke in favour of doing so. Since these part markings are not without interest, and could even have been entered at Halvorsen’s request during rehearsals, we note them all in the list of alternative readings. Elements missing in the parts but not the principal source, so-called ‘negative variants’, are not listed.

Halvorsen’s own orchestral parts to his works always provide extremely valuable information. In preparing the parts, Halvorsen seems to have been careful to copy the score in all its detail, including pitch, dynamics, slurs, expressive markings, etc. But in regard to staccati (and to a certain degree also tenuto and marcato markings), his approach was more ‘creative’ and not always exact. Scattered staccati in the score are sometimes incomplete and not always logical. The parts do not always include all the staccati present in the score, and, more importantly, the composer added many such markings not found in the score. In most cases, we have regarded staccato markings in ink to be intended by JH, regardless of whether they occur in the score or in the parts. Usually, the staccato markings we have chosen to include in our edition can be justified by analogy as well. With a few exceptions, fingerings and bowings were written into the parts in ink by Johan Halvorsen himself, and can usually be found in all copies of the string parts. Since they are consistent throughout, we have included them in our edition. When copying the parts, Halvorsen first copied one of the Violin I parts from the score. After that, he copied the other parts based on this first part, most of the time with the corresponding bars on each line and page. Thus, the parts usually show consistent differences from the score in regard to articulation, etc. The other string parts were produced in a similar way, but are not as consistent in terms of graphic layout. Some of the parts have rehearsal numbers in blue, others in red. The part revisions in ink correspond quite well to the revisions in the score. Based on Halvorsen’s choice of writing utensils, etc., we can deduce that he revised the score and parts at the same time, with both in front of him at his desk. In a few cases, the revisions in the score and parts do not coincide. It is also clear that JH at times forgot to revise the parts, although other times he seems to have forgotten to update the score – in some rare cases, for example, we can see that articulation existing in both sources has been removed by scraping the part, but not the score. Occasionally, the parts show revisions in ink (by Halvorsen) that are missing from the score. In these cases we have, after careful study, incorporated a number of these part revisions into our new edition with a comment. If the variant is only found in one or two of several orchestral parts, we have been less inclined to include it. The most problematic cases are part revisions and markings in pencil or red, most likely made by perform-

Revisions Mentioned in Letters In a letter dated Kristiania 5.12.1908, Johan Halvorsen notes four corrections/revisions in the orchestral score/parts:

BBBB The key change in the Violas, first movement, six bars before letter E, was corrected in the surviving score and parts by gluing in two new complete bars of music for the Violas. The correction in Corno I, three bars before letter F, was made in pencil and ink in the score, and with pencil in the part. The  in Clarinet I in the second movement (b. 38) was marked in pencil and ink in the score, and in ink in the part. The added  in Violin II, second movement, two before letter K, is marked in ink in the score, perhaps also in pencil, and in ink in the part. In the same letter, JH mentions a small revision in the second movement of the solo part, b. 94:

The revision in the score was made in ink. In a letter of 28 January 1909, Halvorsen also mentions a correction in the orchestral score (and the piano

score) in bb. 96â&#x20AC;&#x201C;97 of the second movement:

This was changed in both sources by scraping and revision in ink, presumably by Johan Halvorsen himself in a way typical of him.

SOLO VIOLIN PART Halvorsen is quite inconsistent in his notation of tuplet numbers in the solo part. In the free cadenzas of the first movement we have chosen to maintain the composer’s notation in every detail, with very few of the tuplet numbers included. In the rest of the work, we have placed numbers above tuplets according to modern notation practice. Please consult the manuscript for further details. Particularly important and/or problematic remarks have bar num bers in bold type. Primary source: A

note 6:  added by analogy with the harmony in the other instruments;  is a possible alternative interpretation

cautionary accidental added

note 11: unusual notation with stacc. at the begin ning of a slur; a possible explanation may be that the slurs were entered later, and that the stacc. subsequently failed to be removed; ricochet is an alternative option

note 3: unusual notation with stacc. at the begin ning of a slur; a possible explanation may be that the slurs were entered later, and that the stacc. subsequently failed to be removed; ricochet is an alternative option; compare also with the notation in b. 86

First Movement Bar

Comment

at vivo, fifth 16th note: cautionary accidental ad ded

grace note: could be emended to a’’ by analogy with the harmony in the other instruments

chord 3 after last fermata, top note: cautionary accidental added.

grace note 1: could be emended to a’ by analogy with the harmony in the other instruments

chord 5 after last fermata, lowest note: cautionary accidental added; chord 12 after last fermata, mid dle note: cautionary accidental added

note 2:  added as marked in pencil

chord 4: cautionary accidental added

chord 12: emended from e’ according to the use of e’’ earlier in the bar

last chord, lower note: cautionary accidental ad ded

the source is unclear on whether the 8va sign also includes the grace note

last chord, lower note: cautionary accidental ad ded

dot after fingering is removed

chord 1, lower note: cautionary accidentals added

chord 8, upper note: cautionary accidental added

notes 6, 7: cautionary accidentals added

note 12: 0 emended from o

note 3: cautionary accidental added

note 13: cautionary accidental added

note 1: > added by analogy with b. 76

chord 8, upper note: cautionary accidental added

note 4: the dot may imply that the slur starting at note 3 was added later; perhaps JH subsequent ly failed to remove it, a revision that would have made it analoguos with b. 92; ricochet is an alter native option

chord 11, upper note: could alternatively be emended to b’ by analogy with b. 76

note 8: cautionary accidental added

notes 3,5: unusual notation with stacc. at the beginning of slurs; a possible explanation may be that the slurs were entered later, and that the stacc. subsequently failed to be removed; ricochet is an alternative option

notes 9, 12: cautionary accidentals added

104

grace note 1:  added;  is another possible reading

notes 7, 11: cautionary accidentals removed

111–112

> added as marked in pencil

129

note 2: cautionary accidental added

115

A: fermata marked in blue (conductor marking)

Second Movement 11

A: an earlier cond replaced by the

close to the se is probably meant to be

Third Movement

247

A: r written in pencil below the solo part

notes 6–7: stacc. added by analogy with b. 171 and bb. 17, 175

248

slur added from the grace note to note 5 by ana logy with b. 249

note 7: cautionary accidental removed

248

upper grace note: cautionary accidental added

chord 5, upper note: # added in keeping with Hal vorsen’s harmonic language

253

> added as marked in pencil

254

> added by analogy with Ob.

268

note 3: cautionary accidental added

272

chord 1 and grace note: cautionary accidental ad ded; note 5: cautionary accidental added

284

notes 7, 10: cautionary accidentals added

288

note 3: this reverse marcato accent is the only one found in the entire work; we have chosen to repro duce it as written in the manuscript

291

A: note 1: unclear dot may be read as a staccato marking

292

note 5: cautionary accidental added

294

note 5: cautionary accidental added

299

note 1: cautionary accidental added

304

note 1: cautionary accidental added

304

A: four tenuto lines added in pencil

305

note 7: may be interpreted as c’’’’ or as c#’’’’

313

chord 3: cautionary accidental removed

chord 4, upper note: # added as in A (blue crayon)

cresc. ed accel added by analogy with the str.

chord 3: # added by analogy with the harmony in the other instruments

note 3: cautionary accidental added

grace note 2: cautionary accidental added

note 3: cautionary accidental added

111

note 1 and grace note: cautionary accidentals ad ded

114

note 7: cautionary accidental added

139

notes 1,3: cautionary accidental added

143

notes 1–3, 6: cautionary accidentals added

155

grace note 1: cautionary accidental removed

159

grace note, upper note: cautionary accidental ad ded

160

note 4:  added by analogy with the harmony in the other instruments

160

A: sostenuto in blue crayon (conductor marking)

171

note 5: cautionary accidental removed

173

note 5: emended from e’’’ following the shape of the beaming in the manuscript

179

chord 6: cautionary accidental added

181

A: note 1: unclear may be read as a staccato mark ing

233

note 1: cautionary accidental added

239

note 3: cautionary accidental added

242

note 3: cautionary accidental added