La Isla de Las Calmas by Musikkforlagene

FARTEIN VALEN La Isla de las Calmas for orkester, op. 21 La Isla de las Calmas for Orchestra, Op. 21 CRITICAL EDITION

Prosjektet Fartein Valen The Fartein Valen Project Utgave ved / Edition by Norsk musikkarv Utgitt av / Published by Norsk Musikforlag A/S HovedredaktÃ¸r/Editor in Chief Bjarte Engeset

LA ISLA DE LAS CALMAS FOR ORKESTER, OP. 21 LA ISLA DE LAS CALMAS FOR ORCHESTRA, OP. 21

FARTEIN VALEN (1887â&#x20AC;&#x201C;1952)

La Isla de las Calmas for orkester, op. 21 La Isla de las Calmas for Orchestra, Op. 18 Utgitt av/Edited by Bjarte Engeset

NMA-FV-003

N.M.O. 14112A

Editor in Chief, Norsk Musikkarv: Bjarte Engeset Orchestral score/parts by: Espen Ramsli Fredriksen, Thomas Erma Møller and Bjarte Engeset Graphic design: Tank design AS Music set in: Sibelius 7 Text set in: Calibre and Chronicle English translation and language consultant: Thilo Reinhard Language consultant: Gunnhild Wiggen Other contributors: Thomas Erma Møller, Jørn Fossheim Sponsored by: Kulturrådet (Arts Council of Norway) Edition by: Norsk Musikkarv (www.musikkarven.no) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14112A /ISMN 979-0-065-14640-9) For sale Parts (N.M.O. 14112B /ISMN 979-0-065-14641-6) On hire © 1950 Lyche Musikforlag Denne utgave / This edition: © 2017 NORSK MUSIKFORLAG A/S All rights reserved

CONTENTS INNHOLD Forord Faksimiler Besetning

Preface Facsimiles Scoring

VIII XVI XVIII

La Isla de las Calmas for Orchestra, Op. 21 Abbreviations Critical Report

La Isla de las Calmas for orkester, op. 21 Forkortelser Kritisk rapport

24 25

VIII XVI XVIII

24 25

PREFACE

artein Valen (1887–1952) came to Mallorca, ‘la isla de la calma’, on 15 November 1932 and stayed for over half a year until 24 May 1933. He immediately fell in love with the capital Palma de Mallorca. On 18 November 1932, three days after his arrival, he wrote a postcard to Agnes Hiorth: ‘An adorable and enchanting city, warm and lovely.’ A few days later, on 22 November, he wrote to Unni Langaard: ‘No, you can’t possibly imagine what a lovely city Palma is; it is one of the most charming cities I have ever seen; I am com pletely in love with it.’

FØREORD

artein Valen (1887–1952) kom til Mallorca, «la isla de la calma», 15. november 1932. Opphaldet skulle vare heilt til 24. mai 1933, i over eit halvt år. Han vart straks begeistra for hovudstaden Palma de Mallorca. Etter tre dagar skreiv han eit postkort til Agnes Hiorth (18. november 1932): «Henrrivende og fortryllende by, varmt og deilig.» Til Unni Langaard skreiv han nokre dagar seinare (22. november 1932): «Nei De kan ikke tænke Dem hvilken yndig by Palma er; det er en av de mest charmerende byer jeg noensinde har set; jeg er helt forelsket i den.»

The epithet ‘la isla de la calma’ (the isle of tranquility) is the title of a poetic book about Mallorca written in 1922 by the radical painter Santiago Rusiñol (1861–1931). Since then, it has been a frequent moniker for the island. Valen first used it in a letter to Hugo Lous Mohr in February 1933, in which he gives a more detailed account of what he liked so much about Mallorca: Omgrepet «la isla de la calma» (stillhetens øy) er tittelen på ei poetisk bok om Mallorca skriven i 1922 av den radikale målaren Santiago Rusiñol (1861–1931). Omgrepet vart etter dette mykje brukt om øya.Valen brukte omgrepet første gong i eit brev til Hugo Lous Mohr i februar 1933. I det brevet for

VIII

And Mallorca is the right place. You will be enchanted when you come. First of all, it is so wonderfully pictur esque, everything looks so beautiful in this mild, humid air. But this is not something you would have to concern your self with but simply enjoy the mysterious poetry about the whole place – that which is impossible to explain and which is made to rest and forget and dream. [...] It lies so beauti fully, as if carried there by the angels and put in its place and every evening as the sun goes down it glows golden like the houses in the new Jerusalem. – It is only a pity that you are not here, because you see: Palma de Mallorca is the place. It is so lovely here that I would never be able to finish were I to list all of Palma’s delights. [...] You feel that time almost stands still; you are on la ‘Isla de las Calmas’, you are on the Island of Bliss.

klarar Valen også litt djupare kva det er han likar så godt ved Mallorca: Og Mallorca er det rette sted. Du vil bli henrykt naar du kommer. Først er det saa vidunderlig malerisk, alt tar sig saa skjønt ut i denne milde fugtige luft. Men det behøvde du ikke at bry dig om men bare nyde den hemmelighets fulde poesi som er over det hele – det som man umulig kan forklare og som er skapt til at hvile og glemme og drømme. [...] Den ligger så skønt som om den var baaret dit av eng lene og sat paa sin plass og hver aften naar solen gaar ned gløder den gylden som husene i det nye Jerusalem. – Det er bare synd du ikke er her, for du skjønner: Palma de Mal lorca er stedet. Det er saa yndig her, at jeg kunde aldrig bli færdig skulde jeg regne op alle Palma’s lyksaligheter. [...] Man føler tiden næsten staar stille; man er paa la «Isla de las Calmas», man er paa Lykksalighedens Ø. –

LETTER FROM FARTEIN VALEN TO HUGO LOUS MOHR, 24 FEBRUARY 1933

But the idea for an orchestral work came the day Valen left the island in May 1933. Twenty years later he gave a detailed account of the event in a letter to sixth form teacher Erling Thomson: It is true that The Tranquil Isle owes its origins to a par ticular event I experienced the day I left Mallorca. As we were pulling out of the harbour, I saw that the entire deck was filled with boxes full of carrier pigeons and once we were a bit out to sea, all of them were released. At first they continued circling around and then suddenly they all at once rushed toward the cathedral that was jutting out through the fog. Their wings shone like silver in the setting sun. The musical motifs came to me immediately and I began to work them out when I returned to Vale vaag in spring of 1932 and I finished in late summer of the same year. If only the young people aren’t disappointed in me and think I have made them a promise I haven’t kept. In my defence I must say that, like a painter, I have only been able to give a picture of the situation, not its actual spiritual content, and I have not pretended to have painted the only possible picture, but simply that it was real. ‘Alles Vergängliche ist nur ein Gleichnis’, says Goethe.

BREV FRÅ FARTEIN VALEN TIL TIL HUGO LOUS MOHR, 24. FEBRUAR 1933

Men ideen til orkesterverket skal ha kome den dagen Valen reiste frå øya, i mai 1933. Tjue år seinare fortalde han i detalj om dette i eit brev til lektor Erling Thomson: Det er sandt at Den stille øy skyldes sin tilblivelse en bestemt begivenhet jeg oplevet den dag jeg reiste fra Mal lorca. Da vi drog ut av havnen saa jeg at hele dekket var fyldt med kasser fulde av brevduer og da vi var kommet et stykke ut paa sjøen, blev de alle sluppet løs. Først kretset de stadig rundt og saa skjøt de plutselig alle som én mot cathe dralen som stakk frem av taaken. Alle vingene skinnet som sølv i den nedgaaende sol. De musikalske motiver fikk jeg med en gang og begynte aa utarbeide dem da jeg kom hjem til Valevaag vaaren 1932 og jeg var ferdig utpaa sommeren samme aar. Bare nu ikke de unge blir skuffet over mig og synes jeg har forespeilet dem noe jeg ikke har holdt. Til mit forsvar maa jeg sige at likesom en maler har jeg bare kunnet gi et billede av situasjonen ikke selve dens aandelig innhold og jeg har ikke utgit mig for aa ha malet det eneste mulige billede, bare at det var ekte. «Alles Vergängliche ist nur ein Gleichnis», siger Goethe.

DRAFT FOR A LETTER FROM FARTEIN VALEN TO ERLING THOMSON, VALEVAAG, 14 FEBRUARY 1952

In his biography of Valen, Olav Gurvin (1893–1974) adds the following detail: ‘When Valen saw the flock of pigeons, the refrain from Keats’ poem “To Hope” suddenly and vividly appeared to him: “And wave thy silver pinions o’er my head.”’ 3

KLADD TIL BREV FRÅ FARTEIN VALEN TIL ERLING THOMSON, VALEVAAG 14. FEBRUAR 1952

Olav Gurvin (1893–1974) har fleire detaljar kring dette i Valen biografien sin: «Da Valen så dueflokken, stod plutselig om kvedet i Keats dikt «To Hope»: «Lyft din sylvveng yver panna mi» så levende for ham.»1

Valen remembered the poetic image of the pigeons in the port of Palma de Mallorca in great detail. As far as the composition itself was concerned, however, he was not as precise, since the work was not written in summer of 1933, but one year later. In May 1934 he is anxious to get started, but first has to write out the score to Le cimetière marin, Op. 20, a work that, as the title implies, is also connected with the sea.

Valen hugsa det poetiske biletet med duene i hamna til Palma de Mallorca svært konkret og detaljert. Han var ikkje like presis i det han skreiv om komponeringa. For han skreiv ikkje verket den sommaren i 1933, men eitt år seinare. I mai 1934 er han utålmodig etter å kome i gang, men må først skrive ut par tituret til Le cimetière marin, op. 20, eit verk som, slik tittelen seier, også er knytt til havet.

I am working on the instrumentation of ‘cemetery’, but now that it has become so hot and summery I would much rather occupy myself with ‘La Isla de las Calmas’ (Ma llorca) instead of sad cemeteries. LETTER FROM FARTEIN VALEN TO AGNES HIORTH, OSLO, 1 MAY 1934

Jeg holder paa med at instrumentere «kirkegaarden», men nu da det er blit saa varmt og sommerlig vilde jeg meget heller beskjæftige mig med «La Isla de las Calmas» (Mal lorca) istedet for triste kirkegaarder.

The first sketches to La Isla de las Calmas are dated Valevaag, 25 June 1934. But five days later, in a letter to Agnes Hiorth, he expresses self-criticism: Unfortunately, I have not been very diligent this summer; despite all my efforts, I have practically made no progress on ‘La isla de las calmas’, only the very opening may per haps not be so bad.

BREV FRÅ FARTEIN VALEN TIL AGNES HIORTH, OSLO 1. MAI 1934

Dei første skissene til La Isla de las Calmas er datert Valevaag 25. juni 1934. Men han er sjølvkritisk fem dagar seinare, i eit brev til Agnes Hiorth:

LETTER FROM FARTEIN VALEN TO AGNES HIORTH, VALEVAAG, 30 JULY 1934

Jeg har desværre været saa litet flink isommer; det har næsten ikke gaatt fremover med «La isla de las calmas» tiltrods for alt mit stræv, bare anslaget er kanske ikke saa værst.

But Valen certainly worked systematically. For two months, from 25 June to 25 August, the sketches include dates for every single day except Sundays. In parallel with this, Valen worked on the short score from 7 July onward, sketching out approximately ten bars every week. During the last three days, however, his work accelerated and he was able to sketch the final 20 bars. It is possible that he worked extra long sessions during these last three days to finish the work before leaving for Oslo. In a letter to Olav Valen-Sendstad he described the pressure he felt toward the end.

BREV FRÅ FARTEIN VALEN TIL AGNES HIORTH, VALEVAAG 30. JULI 1934

Han arbeidde i alle fall systematisk. Skissene er datert med kvar einaste dag (utanom søndagar) i to månader, frå 25. juni til 25. august. Arbeidet med particellet gjekk samstundes, frå 7. juli. Valen skisserte omtrent ti takter kvar veke. Men dei siste tre dagane skreiv han mykje. Skissa til dei siste 20 takt ene vart til då. Det kan godt hende han arbeidde ekstra lange økter dei siste tre dagane for å bli ferdig før avreisa til Oslo. Til Olav Valen-Sendstad fortalde han om arbeidspresset på slut ten.

Well, now the beautiful days in Aranjuez are soon coming to an end, and I do not know whether I will manage to finish my latest orchestral work ‘La isla de las calmas’ (‘the tran quil isle’, i.e. Mallorca) before I leave, but at least there is not a great deal left.

Ja nu er de skjønne dage i Aranjuez snart til ende, og jeg vet ikke om jeg greier at faa avsluttet mit sidste orkesterverk «La isla de las calmas» («den stille ø» d.v.s. Mallorca) før jeg reiser, men det er ialdfald ikke meget igjen.

LETTER FROM FARTEIN VALEN TO OLAV VALEN-SENDSTAD, VALEVAAG, 23 AUGUST 1934

Valen completed both the sketches and the short score on 25 August, his birthday. The orchestra score was probably writ ten the same autumn in Oslo. In the short score, Valen jotted down a quote from one of the most famous poems by English

BREV FRÅ FARTEIN VALEN TIL OLAV VALEN-SENDSTAD, VALEVAAG 23. AUGUST 1934

Valen sette sluttstrek i skisser og particell på fødselsdagen sin, den 25. august. Orkesterpartituret skreiv han truleg i Oslo same haust. I particellet har Valen notert eit sitat frå eit av dei mest kjende dikta til den engelske poeten Edmund Spenser (1552–1559), The Faerie Queene: «Sleep after toyle, port after stormie seas, Ease after warre, death after life, does greatly

poet Edmund Spenser (1552–1559), The Faerie Queene: ‘Sleep after toyle, port after stormie seas, Ease after warre, death after life, does greatly please.’ The year before, Valen had com posed Epithalamion, Op. 19, inspired by a Spenser poem of the same name. The top of the short score shows Valen’s dedica tion to one of his friends, Ellen Sandvik. An earlier composi tion, Hvad est du dog skiøn, Op. 12 for a capella choir, had been dedicated to her husband, Einar Sandvik. Many years were to pass before the work was published and performed. The contract with publisher Lyche & Co. was not signed until 1948, and the work was premiered the follow ing year on 6 March 1949 in Oslo. The Filharmonisk Selskaps Orkester (today’s Oslo Philharmonic) played under the direc tion of Odd Grüner-Hegge (1899–1973), 15 years after the work’s completion. The other two works on the programme that night were Symphonie romantique by Harald Heide (1876–1956) and Piano Concerto in D major by Eyvind Alnæs (1872–1932). During the interwar years, a number of critics were quite negative to Valen’s music. Nearly one generation later, with a war in between, the critics were unanimously positive on many counts. They considered Valen’s work to be the most interesting on the programme, and one of the critics called the other two works passé. They greatly appreciated the com poser’s atonal and poetic polyphony, and most of them felt that the work deserved a better performance, thereby endors ing Valen and his musical style in favour of more traditional styles.

please.» Valen hadde året før komponert verket Epithalamion, op. 19, med inspirasjon i diktet Epithalamion av den same Edmund Spenser. Øverst i particellet står dedikasjonen til ein av Valen sine vener, Ellen Sandvik. Han hadde tidlegare dedi kert Hvad est du dog skiøn, op. 12 for kor a capella til mannen hennar, Einar Sandvik. Det skulle gå lenge til verket vart utgjeve og framført. Kon trakten med forlaget Lyche & Co, kom først i 1948. Urframfø ringa var året etter, 6. mars 1949 i Oslo. Filharmonisk Selskaps Orkester (Oslo-Filharmonien) spela, dirigert av Odd GrünerHegge (1899–1973), heile 15 år etter verket var ferdig. Dei to andre verka på programmet den kvelden var Symphonie romantique av Harald Heide (1876–1956) og Klaverkonsert i D-dur av Eyvind Alnæs (1872–1932). I mellomkrigstida var fleire kritikarar nokså negative til Valens musikk. Nesten ein generasjon seinare, med ein verdskrig i mellom, var kritikarane denne gongen unisont svært positive på mange punkt. Dei såg på verket til Valen som det mest interessante på programmet, og ein av kritikar ane kalte dei to andre verka passé. Dei sette stor pris på den atonale og poetiske stemmeveven til Valen, og dei fleste av dei meinte verket fortente ei betre framføring. Dei heva altså Valen og stilen hans opp framfor meir tradisjonelle stilartar.

The intriguing part of the Philharmonic Society’s con cert this year was ‘La Isla de las Calmas’, Fartein Valen’s orchestra piece from 1934, the same year he wrote ‘Le cimetière marin’, two works that seem to have a certain kinship both in terms of their formal design and source of inspiration (Mallorca). ‘La Isla de las Calmas’ is written with Valen’s clear and articulate pen. It also reflects his ability to focus intensely on specific musical material that is worked out organically with simple motivic means, and not least one experiences yet again Valen’s stimulating art, this curious ability – extending across all sense of sonor ity – to give impulses to our inner ear. Although clear in his pen, Valen’s polyphonic web of voices demands metic ulous preparation by way of abundant orchestral rehears als, and yesterday’s performance under Odd Grüner-Hegge confirmed frequent earlier impressions that Valen’s work rarely gets quite the full rehearsal time needed. It is pos sible that the reason may also lie in the treatment of the orchestra, with Valen it takes so very little before exertion

Den interessevekkende del av Filharmonisk Selskaps konsert i år var «La Isla de las Calmas», Fartein Valens orkesterstykke fra 1934, samme år som han skrev «Kir kegården ved havet», to verk som synes å ha et visst slekt skap både i spørsmål om utforming og inspirasjonskilde (Mallorca). «La Isla de las Calmas» er skrevet med Valens klare og sikkert formede penn. Det bærer også preg av hans evne til intens konsentrasjon om et bestemt musikalsk stoff som gjennomarbeides organisk med enkle motiviske midler og ikke minst opplever man atter en gang Valens fantasi vekkende kunst, denne forunderlige evne til – tvers gjen nom tonefølelsen – å gi vårt indre øre impulser. Skjønt klart i pennen krever imidlertid Valens polyfone stemmevev et nitid forarbeid ved tallrike orkesterprøver, og oppførelsen igår under Odd Grüner-Hegge bekreftet hyppige tidlig ere inntrykk at Valens verk sjelden får den helt tilstrek kelige prøvetid. Det er mulig at grunnen også kan ligge i orkestersatsen, hos Valen skal det så uhyre lite til før belastning føles som overbelastning. Men ingen avkortning kan iallfall gjøres ved de foreskrevne pp; verket springer ut av den tidløse stillhet og løper også ut i den. HANS JØRGEN HURUM I AFTENPOSTEN 7. MARS 1949

feels like overexertion. But in any case, no shortcut can be taken around the prescribed pp; the work emerges from timeless silence and also lapses back into it. HANS JØRGEN HURUM IN AFTENPOSTEN, 7 MARCH 1949

Between these two robust works came Fartein Valen’s vision ‘La Isla de las Calmas’ (The Tranquil Isle). One suddenly had to think of Garborg – ‘Det stig av hav eit alveland’ (a fairy land rose up from the sea), and in the vehemently intense build-up – the lines: ‘og luft glør i glans av vin, sylv og smaragd’ (and the air glows in the sheen of wine, silver and emerald). Strangely, by means of a rather simple and peculiar motif that spreads through the orchestra like rings in water, and a rocking rhythm that increases in intensity, Valen evokes for us the tranquil isle, his dream of it, until it dies away in ‘dusk blue calm’. Here, nothing is left to chance, everything is carefully calculated, sonority, voice leading and rhythmic design – and yet this orchestral painting captivates through the strength of its inspiration because the composer is at all times so intensely present in everything that happens.

Mellom disse to robuste verkene kom Fartein Valens visjon «La Isla de las Calmas» (Den stille øy). En måtte plutse lig minnes Garborg-«Det stig av hav eit alveland», og i den voldsomt intense stigningen – linjene: «og luft glør i glans av vin, sylv og smaragd». På forunderlig vis, gjennom et ganske enkelt og eiendommelig motiv som spiller seg videre rundt i orkesteret som ringer i vannet, og en vuggende rytme som øker i intensitet maner Valen fram for oss den stille øya, sin drøm om den, til den dør bort i «kveldsblå ro». Her er intet tilfeldig, alt er fint beregnet, klang, linjeføring og rytmisk utforming - men likevel virker dette orkester bilde med inspirasjonens styrke fordi komponisten hele tiden er så intenst nærværende i alt som skjer. PAULINE HALL I DAGBLADET 7 MARS 1949

Ved dette høve hadde man igjen den glede å få overvære en uroppførelse av Fartein Valen. Hans orkesterkomposi sjon «La Isla de las Calmas» (Den stille Ø) har i omlag 15 år ventet på denne anledning, så det var sannelig ikke for tidlig. Komponisten behandler det sarte lille tema på en helt genial måte. Han forsøker ikke på noen måte å bril jere eller imponere med sin kunst, men har man lært å lytte, merker man at det stråler varme av denne stille innad vendte musikk. Utførelsen virket litt tilstivnet omkring forte-stedet mot slutten.

PAULINE HALL IN DAGBLADET, 7 MARCH 1949

On this occasion one had the pleasure once again of attend ing a premiere by Fartein Valen. His orchestral composi tion ‘La Isla de las Calmas’ (The Tranquil Isle) has been waiting for this opportunity for about 15 years, so it was certainly not premature. The composer treats the delicate little theme in an altogether ingenious way. In no way does he attempt to grandstand or impress with his art, but if one has learned to listen, one will notice the warmth that radi ates from this quiet, introspective music. The performance seemed a bit stiff around the forte passage toward the end.

MORGENPOSTEN 8. MARS 1949

Til ganske andre tonesfærer fører Fartein Valen sine til hørere. I hans korte orkesterstykke «La Isla de las Calmas» (Den stille Ø) er det ingen akkordvirkning og tonespråket er løst fra vanlig tonalitetsfølelse. Også tematikken er oppløst i små motiv-brokker, det blir et rytmisk og tema tisk spinn som bare kan oppfattes og eventuelt nytes når linjespillet følges i sine horisontale baner. Som alle Valens verker er også dette lavmælt, men det eier sterk indre musikalsk spenning. Mange vil kalle det «stygt», men den som legger sitt øre til kildens bredd vil lytte seg til noe verdifullt.

MORGENPOSTEN, 8 MARCH 1949

Fartein Valen leads his listeners into altogether differ ent spheres of sound. In his short orchestra piece ‘La Isla de las Calmas’ (The Tranquil Isle) there are no harmonic effects and the musical language is dissociated from a con ventional sense of tonality. The thematic material, too, is dissolved into small motivic fragments, a rhythmic and thematic weave that only can be perceived and possibly enjoyed by following the play of lines in their horizontal paths. Like all of Valen’s works, this, too, is subdued, but it possesses strong inner musical tension. Many would call it ‘ugly’, but he who puts his ear to the ground will discover something precious.

STEINAR KOLSTAD I MORGENBLADET 7. MARS 1949

Under Odd Grüner-Hegge oppførte Filharmonien for første gang Harald Heides «Symphonie romantique». Kveldens hovednummer var Eyvind Alnæs’ klaverkonsert i D-dur. Imellom disse to nokså passé verkene fikk vi uroppførelsen av Fartein Valens lille orkesterstykke «La Isla de las Calmas» (Den stille Ø) komponert i 1934. Grüner-Hegge som gjorde en innsats for Valen ved oppførelsen av hans

STEINAR KOLSTAD IN MORGENBLADET, 7 MARCH 1949

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Under Odd Grüner-Hegge’s direction, the Philharmonic performed Harald Heide’s ‘Symphonie romantique’ for the first time. The main work of the evening was Eyvind Alnæs’ piano concerto in D major. Between these two rather passé works, we were presented with the premiere of Far tein Valen’s small orchestra piece ‘La Isla de las Calmas’ (The Tranquil Isle), composed in 1934. Grüner-Hegge, who had engaged himself on behalf of Valen in the premiere of his violin concerto, was not very fortunate this time. This atonal and altogether polyphonic but nonetheless fine and poetic composition was given a far too quick and metro nomically almost stiff tempo, and notwithstanding good playing by the orchestra, the performance had a rigid and angular quality, causing the work to lose much of its atmos phere and poetry.

fiolinkonsert, var ikke særlig heldig denne gangen. Denne atonale og gjennomført polyfone, men likevel fine og poet iske komposisjon fikk et altfor hurtig og nesten metronom isk stivt tempo, og trass orkesterets gode spill, kom det noe strammende og kantet over framførelsen så verket mistet ikke så lite av stemningen og poesien. OLAV GURVIN I VERDENS GANG 7. MARS 1949

Dernest fikk vi en uroppførelse av Fartein Valens orkester stykke «La Isla de las Calmas» Stillhetens Ø. (Utkommet på Harald Lyche & Cos Musikkforlag). Dette verket er skrevet på Mallorca 1934 og har altså ventet i 15 år på å bli framført. Et vidunderlig flettverk av tindrende klare linjer klinger mykt og levende ut fra dette partituret, men igår ble det, takket være et oppjaget tempo, stivt og unyansert. Det står «allegretto» som tempo, men det ble spilt nærmest «allegro». Følgen var at de sarte og lyriske linjene mistet sin frasering og den levende toneføringen ble hemmet i sin frie utfoldelse.

OLAV GURVIN IN VERDENS GANG, 7 MARCH 1949

This was followed by the premiere of Fartein Valen’s orchestra piece ‘La Isla de las Calmas’ The Island of Tran quility. (Published by Harald Lyche & Co). The work was written in Mallorca in 1934 and has thus been waiting 15 years to be performed. A wondrous latticework of strikingly clear lines rings out softly and spryly from this score, but yesterday, thanks to a rushed tempo, the result was stiff and lacking in nuance. The tempo indication is ‘allegretto’, but it was played almost ‘allegro’. Consequently, the delicate and lyrical lines lost their phrasing and the spry voice lead ing was prevented from freely unfolding.

KLAUS EGGE I ARBEIDERBLADET 7. MARS 1949

Den første framføringa utanfor Noreg kom to år seinare, ved ISCM-festivalen i Frankfurt am Main, sommaren 1951. Dette var den einaste norske komposisjonen på festivalen det året. Omtalen som Pauline Hall (1890–1969) skreiv i Dagbladet 7. juli 1951 var ikkje særleg oppløftande: «Jeg må bedrøve Fartein Valen i hans rosenhage med at fremførelsen her var meget slett.» Astrid Kvalbein omtalar denne hendinga i ein artikkel om Fartein Valen og Pauline Hall i ISCM (The Inter national Society for Contemporary Music):

KLAUS EGGE IN ARBEIDERBLADET, 7 MARCH 1949

The first performance outside of Norway was given two years later at the ISCM festival in Frankfurt am Main, summer of 1951. It was the only Norwegian composition at the festival that year. Pauline Hall’s (1890–1969) review in Dagbladet, 7 July 1951, was not particularly encouraging: ‘I must aggrieve Fartein Valen in his rose garden that the performance on this occasion was very poor.’ Astrid Kvalbein describes the event in an article about Fartein Valen and Pauline Hall at the ISCM (International Society for Contemporary Music):

Den tyske seksjonen hadde insistert på å bruke berre dei faste dirigentane til orkestra på staden og ikkje sleppe til nokon frå dei andre medlemslanda, slik dei brukte. Hans Müller-Kray, som dirigerte Valens verk, skal ha vist svært liten interesse for å forme det med nokon sensitivitet eller plastisitet og sette eit rekordhøgt tempo, og Hall er skarp i tonen, både i avisa og i brev i etterkant. Samtidig under strekar ho at dette ikkje er uttrykk for skepsis mot alt tysk: Stuckenschmidt skal ha stått ved sidan av og støtta klagen hennar under dei altfor korte prøvene.2

The German representatives had insisted on using only the orchestra’s regular conductors and not allow anyone from the other member countries, as they used to. Hans MüllerKray, who conducted Valen’s work, apparently showed very little interest in shaping it with any sensitivity or plasticity and set a record-breaking tempo, and [Pauline] Hall has a sharp tongue, both in the paper and in her subsequent let

Seinare har La Isla de las Calmas vorte eit av dei mest fram førte av Valen sine einsatsige orkesterverk både i inn- og utland. Den første innspelinga kom i 1972 med Oslo-Filhar monien dirigert av Miltiades Caridis (1923–1998). Lyche & Co. brukte ikkje manuskriptet til Valen som tryk

XIII

ters. At the same time, she emphasizes that this is not an expression of scepticism against all things German: Stuck enschmidt reportedly stood next to her and supported her complaint during the all-too-short rehearsals.4 Since then, La Isla de las Calmas has become one of Valen’s most frequently performed single-movement orchestral works, both in Norway and abroad. The first recording was made in 1972 with the Oslo Philharmonic conducted by Milti ades Caridis (1923–1998). Lyche & Co. did not use Valen’s manuscript as a basis for their 1948 edition, but a manuscript copy signed ‘H.S.’ that contained a number of copying errors. The edition itself introduced further discrepancies compared with Valen’s manuscript. This new edition uses Valen’s autograph man uscript as the main source. Additionally, we have taken into account a number of comments Valen pencilled into the pub lisher’s copy of the score. In some few instances we have used variants from the short score where it is fairly clear that Valen had overlooked something in writing out the score. All assess ments of such issues are detailed in the Critical Report.

kegrunnlag for utgåva si frå 1948, men ein kopi signert H. S. I dette partituret var det ein del kopieringsfeil, og i utgåva kom det også inn nokre nye avvik i høve til Valens manuskript. Denne nye utgåva har derimot det eigenhendige manuskriptet til Valen som hovudkjelde. Vi har også teke omsyn til ein del innskrifter som Valen gjorde med blyant i kopien av partituret som forlaget brukte. Nokre få gongar har vi brukt variantar frå particellet, i tilfelle der det er nokså klart at Valen har oversett noko då han skreiv ut partituret. Alle vurderingar som er gjort kring slike spørsmål, er omtala i den kritiske rapporten. Bjarte Engeset

Bjarte Engeset English translation: Thilo Reinhard

Notar Olav Gurvin, Fartein Valen. En banebryter i nyere norsk musikk (Lyche, 1962), s. 114. 1

Astrid Kvalbein: «Frå «den sorte gryte» og ut i verda: - Fartein Valen og Pauline Hall i ISCM», Studia Musicologica Norvegica 01 / 2016 (Volum 40), s. 27-51. 2

Notes Olav Gurvin, Fartein Valen. En banebryter i nyere norsk musikk (Lyche, 1962), p. 114. 3

Brevsitata er henta frå Database over Fartein Valens brever (red. Arvid O. Vollsnes), Institutt for musikvitenskap, Universitetet i Oslo, 2004. Breva er opp bevart ved Nasjonalbiblioteket.

Astrid Kvalbein: Frå ‘den sorte gryte’ og ut i verda: – Fartein Valen og Pauline Hall i ISCM, Studia Musicologica Norvegica 01 / 2016 (Vol. 40), pp. 27–51. 4

Letter excerpts from Database of Fartein Valen’s Letters (ed. Arvid O. Vollsnes), Department of Musicology, University of Oslo, 2004. The letters are kept at the National Library in Oslo.

XIV

LA ISLA DE LAS CALMAS FOR ORCHESTRA, OP. 21, AUTOGRAPH, SKETCHES. SOURCE S. THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 4521E.

XVI

LA ISLA DE LAS CALMAS FOR ORCHESTRA, OP. 21, AUTOGRAPH, SHORT SCORE. SOURCE A. THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 4521C.

XVII

LA ISLA DE LAS CALMAS FOR ORCHESTRA, OP. 21, AUTOGRAPH, SCORE. SOURCE B. THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 4521A.

XVIII

LA ISLA DE LAS CALMAS FOR ORCHESTRA, OP. 21, COPY, SOURCE C. THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 4521B.

XIX

La Isla de las Calmas for orkester, op. 18 La Isla de las Calmas for Orchestra, Op. 18

BESETNING/ORCHESTRA 2 Flauti 2 Oboi 2 Clarinetti (in Bb) 2 Fagotti Corno (in Fa) Violini I. II. Viole Violoncelli Contrabbassi

La Isla de las Calmas Fartein Valen, Op. 21

-j Œ ‰ Œ nœ ∑ œ œ œ œ œ J #œ #œ J nœ J J pp

Allegretto

2 Flauti

° 6 &8

∑

6 &8

∑

6 &8

∑

? 68

∑

6 &8

∑

2 Oboi

2 Clarinetti in Bb

2 Fagotti

Corni in F

∑

° 6 &8

∑

B 68

Viole

? 68

Violoncelli

? 68

j j œ œ j œ œ j ™ œ #œ #œ nœ nœ

∑ ˙™

Contrabbassi

∑

Œ ‰ Œ bœj œ ™ bœ#œ nœ

nœ n˙ ™ J

œ™

‰

pp espr.

6 & 8 Œ ‰ œ™

Violini II

∑

Allegretto

Violini I

∑

∑ ˙™

∑

œ œ bœ ∑

˙™ ∑

˙™

˙™ ∑

∑ œ™

∑

œ œJ ∑

Fl.

n œ™ 7 ‰ b œ #œ œ ∑ ° œ œ œ œ n œ œ™ # œ # œ ™ & I.

& Œ

Ob.

Cl. (Bb)

Fg.

Cor. (F)

Vln. I

‰ Œ

∑

‰ Œ

-œ b œ bœnœ bœ J

œ œbœ

∑

#œ œ bœ bœ œ J J

œœœ

‰

∑

nœ

nœ ‰

Vc.

j œœ

j œ œ

j œ œ™

∑

j œœ

œœ œ

œ œ œbœ

œ™

nœ œ J

j nœ

j œœ

j œ

j œ ˙™

∑

#œ œ j J nœ œ œbœ

Cb.

œ™ œ#œ œ

? œ

œ- œ # œ œ n œ œ #œ J #œ ™

& œ ™

Vle.

-œ n-œ ™ J bœ#œ œ ™

∑ ‰ Œ™

° &

Vln. II

∑

Fl.

Cl. (Bb)

Cor. (F)

Vln. I

nœ œ J

‰ ‰ #œ œ I.

∑

Cb.

∑

œ ‰ ‰ J

∑

Vc.

∑

nœ œ J nœ nœ œbœ J

∑

#œ #œ J

∑

B nœ

∑

& œ œ bœ

Vle.

∑

° #œ ™ &

Vln. II

∑

Ob.

Fg.

∑

° &

œ™

bœ

œ nœ nœ œbœ

œœ œ nœ œ J

j œ

j œœ

j œ

∑

œ œ bœ

œ œ bœ œ œ œ œ œ bœ œ

#œ œ J

˙™

œ œ bœ

j bœ b˙ ™

œ œ bœ œ œ bœ œ™

j œ #œJ œ bœ œ nœ bœ œ™

œ #œ œ œ #œ œ ˙ ™ ∑

∑

œ œ bœ

œ ∑

j œœ

∑

j #œ

Fl.

° &

∑

Ob.

bœ & nœ nœ##œœ# œœ ™ ™ ™ œ œ œ œ œ # Œ J b œJ b œ n œ œ œ œ œœ œ # ˙˙™™

Cl. (Bb)

Fg.

∑

Œ bœ nœ œ bœJ

∑

n˙ ™ n œ ‰ ‰ œ ™bœ#œ œ J nœ œ bœ I.

∑

Cor. (F)

∑

cresc.

∑

p cresc.

Œ ‰ Œ nœnœ p cresc.

Vln. I

∑

° &

∑

nœ œ #œ œ™ ‰ Œ J J p

cresc.

& œ ™

Œ™

∑

B œ

‰ Œ™

∑

Vc.

œ œ j J n œ nœ ™

œ œ bœ

∑

Cb.

∑

Vln. II

Vle.

#œ

j‰ œ œ bœ œ ∑

‰

° &

∑

Ob.

∑

Cl. (Bb)

Fl.

œ nœ œ #œ œ nœ nœ #œ # œ ™ J f

Fg.

Cor. (F)

œ nœ œ ? J

‰

j b œ œ & œ

j nœ œ™

∑

œ #œ nœ nœ œ #œ #œ ™

Vln. I

œ™

j nœ nœ ™

#œ #˙ ™ œ œ ° œ J J &

˙™

œ ∑

nœnœbœ

œ™

nœ œ J

j œ œ

œ J

‰ Œ

nœJ

œ nœ

‰ Œ™

œ nœ nœ nœ ™

œ™

œ œbœ

Vln. II

Vle.

∑

b œ œ -œ b œ œ n œ œ # œ n œ n œ n œ #œ J J #œ ™ f

œ ™ bœ# œ nœ

? Œ ‰ Œ

j ™ bœ nœ bœ œ #œ

nœ- nœ- ™ J bœ#œ œ

j nœ n˙ ™

œ™

nœ n ˙ ™ J

œ™

œ n œ n -œ ™ bœ J #œ œ

Vc.

œ™ nœ#œ œ œ™

Cb.

∑

‰ -œ J

nœ

a2 27

Fl.

° & ‰

Cl. (Bb)

œ J ‰ ‰ Œ

nœ ™

‰

∑

nœ

nœ œ œ b œ

∑

Ob.

nœ œ œbœ

∑ j #œ

∑

nœ œ J

#œ

j #œ œ ™

∑

œ œ bœ

nœ œ bœ

œ nœ œ

I. Fg.

? nœ- ™ bœ#œ œ ¢

‰

∑

Vln. I

∑

Cor. (F)

œ™

& <#>œ ™

Vln. II

# œ œ n œ œ #œ nœ nœ bœ ‰

∑

° &

œ™

bœ

#œ œ œ œ nœ

œ™

bœ œ œ nœ

Vle.

‰ Œ

? n-œ ™ bœ#œ œ

Vc.

bœ nœ bœbœ nœ b-œ

bœ- œ J b œ- œ J

nœ œ #œ œ nœ nœ #œ J n œ- œ # œ œ n œ n œ #œ J

∑

bœ J

#œ ™

œ™

œœœ

#œ ™

œ™

œœœ

Cb.

nœ œ J

B Œ

‰ Œ™

∑

° œ #œ œnœ œ bœ &

rit.

Fl.

∑

a tempo

∑

Ob.

œ œ ‰ #œ nœ bœ I.

#œ ‰ Œ bœj nœ ™ bœ bœ œ J

∑

n˙ ™

˙™

& œ nœ bœ œ œ œ

Cl. (Bb)

œ nœbœ œ nœ œ nœ nœ bœ œ ™

∑

Fg.

Cor. (F)

Vln. I

∑

nœ œ œb œ

œ #œ œnœ œbœ

° & ‰

Vln. II

Vle.

Vc.

bœ

nœ

rit.

∑

a tempo

∑

nœ œ J

#œ ™

œ™

? #œ ™

œ™

nœ J bœ bœ

œ œbœ œ

‰

∑

nœ nœJ œ #œj #œ nœJ œ #œj pp

œnœ #œ ™

œ nœ #œ ™

∑

‰

∑

n -œ ‰Œ J pp

∑

‰

j œœ j ™ œ ˙

˙™

j œ œ œj ˙ ™

˙™

Cb.

-œ n œ- ™ Œ ‰ Œ J bœ#œ œ ‰

∑

Fl.

∑

° & I.

œ™

∑ œ bœnœ bœ

∑

b -œ œ -œ œ # œ œ n œ œ bœ #œ J J #œ ™ œ #œ œ œ ™ œ œ #œ ™ bœnœbœ bœJ œ™

II.

bœnœ bœ

b -œ œ J

& &

∑

° &

∑

Cor. (F)

& nœnœ bœ

Vln. II

Vle.

Vc.

Cb.

‰

nœ œ #œ œnœ œ#œ J

∑

Cl. (Bb)

Vln. I

Ob.

Fg.

∑

n œ- ™

œ œ

œnœbœ

œ œ bœ

∑

œœœ

bœbœ œ™ j nœ œ j nœ œ

j #œ j #œ

œ™

œ bœJ œ

#œ

œ œ j œ bœ J n œ nœ

#œ

œ œ j œ bœ J n œ nœ

nœnœ -œ

œ™ œ™

b -œ J

‰

œ œ bœ

j œ œ nœj

œ œ

n-œ œ™ J j œ œ j œ œ

œ™

j n œ œ œ bœ œ™ j n œ œ œ bœ œ™

‰

Fl.

° &

∑

nœ nœ J

nœ #œ ™ bœ œ J bœ ™

˙™

∑

Ob.

& #œ ™ p

Cl. (Bb)

Fg.

Cor. (F)

Vln. I

bœ j nœ œ œ œ™ #œ œ #œ ™

≈ ‰ Œ™

∑

‰™

nœ#œ œ#œ ™

œ™

& œ œ bœ

Vle.

Vc.

Cb.

nœ nœ j J nœ # œ ™bœ œ pp

° &

Vln. II

œœ œ

œ pp

œ bœ œ œ œ bœ ™

∑ œ œ

∑

bœ

#œ œ #œ ™

‰ Œ

œn œ b œ

œ n œ œ #œ J J

j nœ nœ bœj œ ™

j œ j n œ œ œ

∑

nœ œ J

j bœ nœnœ bœ

œ œ bœ

œ™

∑

nœ œ J

j bœ nœnœ bœ

œ œ bœ

œ™

∑

Fl.

° &

∑

Ob.

n œ. n œ. . nœ #œ ™ bœ œ. ‰ bœ ™

∑

I. Cl. (Bb)

nœ j n œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ œ ‰ Œ bœ

∑

b˙™

∑ nœ. nœ. nœ. # œ ™bœ œ . bœ pp

∑

‰ Œ™

∑ #œ œ J

I. Fg.

∑

° #œ &

∑

Vle.

∑

bœ œ bœ œ ™ J nœJ nœ œ

& œ œ bœ œ œ œ œ

Vln. II

∑

bœ J

Cor. (F)

Vln. I

∑

œ™

œ œ j œ œ bœ J #œ ∑

∑

. ‰ nœnœ. nœ. bœ ‰ # œ ™ œ. b œj pp

œ™

Œ™

∑

‰

Œ™

∑

nœ. nœ. œbœ bœ. œ

œ™

Vc.

∑

‰ Œ

nœ ™ j nœ ™ bœ bœ œ #œJ bœ

∑

Cb.

∑

j bœ

∑

n˙ ™ œ n˙ ™ ° nœ œbœbœ œ œ œ œnœn œ & ‰ . . 52

Fl.

∑

œ™

‰

∑

Ob.

∑ Œ

∑

Cl. (Bb)

∑

‰

3 3 ∑ n œ™ nœnœ nœ œ bœbœ œ œ œ b œ œ œ b œ œ œ n œ œ b œ œ b œ œ œ œ ‰ b œJ 3 3 3 3 3

II.

Fg.

‰

n œ.

‰ ‰

‰ œ œ bœ

#œ œ J

Vle.

Vc.

Cb.

∑

nœ.

‰

œ.

nœ.

#œ ™

bœ nœ

& Œ B

∑

° &

Vln. II

‰

œ œbœ

∑

Cor. (F)

Vln. I

œbœ œ ?

nœ ™

‰ Œ™

bœ J

nœ œ bœ

∑ #œ J

bœ œ œ

nœ ™

œ™

∑

bœ bœ

nœ ™

#œ J

∑

‰

° &

∑

Ob.

∑

∑ ∑

Cl. (Bb)

nœ ™ nœ ™ # œ # œ & bœ bœ œ œ œ œ œ nœ nœ bœ bœ œ œ œ œ nœ Œ ‰ 3 3 3

Fl.

‰

p Fg.

Cor. (F)

Vln. I

∑

‰

& Œ

‰

nœ

#œ nœ bœ bœ œ œ œ œ nœ p

Vln. II

‰

œ bœ bœ œ œ œ

∑

° & œ œ bœ

œ bœ

nœ ™

bœ

j œ

‰

œ œ bœ

‰

Vle.

∑

Vc.

Cb.

j œ

∑

˙™ Œ

‰

nœ J p

a2 57

° &

∑

Ob.

∑

Cl. (Bb)

∑

œ™ nœ ™ n œ œ ? bœbœ œ œ œ œ œnœ nœ bœbœ œ œ œ œnœ ¢ Œ ‰ 3 3 3

∑

Fl.

Cor. (F)

∑

Vln. II

° &

œ™

∑

#œ J

‰

nœ

j nœ œ

#œ

bœ œ J

n -œ n -œ ™ bœ#-œ œ J

j #œ #œ

j nœ œ

n -œ n -œ ™ bœ#-œ œ™ J

œ nœ œ nœ œb œ

œ œ bœ

∑

œ œ bœ œ œ bœ œ œ œ œ

Vle.

Vc.

œ bœ

∑

œbœ

n-œ n-œ ™ J bœ #œ œ -

n-œ n-œ ™ J bœ#œ ˙ ™ -

n -œ n -œ ™ J bœ #-œ œ

n -œ n -œ ™ J bœ#-œ

Cb.

j nœ

& B

bœ œ

∑

Vln. I

‰ Œ

Fg.

∑

? œ ¢

j œ

œ™

‰ Œ™

∑

nœnœ bœ

œ œ bœ

nœnœ bœ

œ œ bœ

b -œ œ J

° bœ & 61

Fl.

-œ œ n œ œ œ œ œ J

œ œbœ œ œbœ

‰

œb œ œ #œ œ nœ nœ#œ #œ ™ œ œ œ

cresc.

œ œbœ

œ™

∑

Ob.

œ œbœ

j n œ œ œ f

b -œ

b œ- œ J

‰ Œ

& B ?

∑

cresc.

˙ ™ cresc.

? ˙ ™ p

n œ n œ -œ

j nœ œ ™

j #œ #œ b -œ J

-œ œ n œ œ œ n œ œ J

œ œb œ

‰

œ œ™

œ #œ œ nœ œ #œ

œ nœ œ œ ™

œ™

œœ œ

-œ œ # œ œ œ n œ b œ œ #œ œ nœ nœ#œ #œ ™nœ œ œ J

cresc.

œnœb œ œ œb œ

œn œ b œ

œ™

œ œ bœ

œœ œ

nœ

nœ ‰

œ™

‰

b œ œ J œ

œ#œ œ

-œ œ J

#œ œ ™ J

œ bœJ œ

œ#œ œ

œœ J

#œ œ ™ J

<#>œ nœ #œ œ œ œ #œ ™

Cb.

‰

œ œ™

p cresc.

Vc.

‰Œ

Vle.

œ ‰

∑

° <#>œ &

Vln. II

œ™

∑

p cresc.

Vln. I

œ œb œ

œ#œ œ œ œ #œ ™

& n œ œbœ

Cor. (F)

‰

p cresc. Fg.

∑

œœ œ

& ‰

Cl. (Bb)

∑

œ œ bœ

œ œ™

‰

œ nœ ™

œ œb œ

œ #œ nœ nœ œ #œ

‰

∑

° #œ ™ &

œ™

Fl.

bœ

bœ œ œ #œ ™ nœ n œ# œ ™ b#œ œ bnœ œ b œ bœ œœ n œ b œœ œ œœ œ œ J J J Œ

-j bbœœ n œ œœ œb œ b œ œ

cresc.

œ nœ œ bœ ™ &

Ob.

& œ œ bœ

Cl. (Bb)

œ™

‰

Œ™

∑ ‰ nœ n œ œ nœ nœJ n œ™ I.

œ œ bœ II.

cresc.

Fg.

? ¢ #œ ™

bœ œ™ #œ œ œ™

œ#œ œ œ™

∑

œ #œ œ œ œ nœ

œJ œœ ™ œ bœ

œj œ œJ œ

œ œJ

œ œ

j nœ nœ

j œ œ™

œ œ

b œ œ -œ

b œJ

j #œ #œ #œ #œ

cresc.

& œ

Cor. (F)

j œ

œ œ œ

j œ œ™

j nœ œ

œ cresc.

Vln. I

° #œ ™ &

œ™

bœ B œœ

Vle.

œ œ #œ ™

œ™

bœ

œn œ b œ

œ œ nœ œ b œ cresc.

œ n œ nœ bœ ™ &

Vln. II

bœ

œ™

œ œ™

nœ œ J

bœ J

œ œ bœ

bœ œ J

bœ

œ bœ œ

œ œb œ

œ bœ

cresc.

‰

nœ

nœ nœ ™

œ œ bœ

œ #œ œ

cresc.

? #œ ™

Vc.

nœ#œ œ œ™

bœ œ™ #œ œ#œ ™

œ œ J

j #œ #œ

nœ J

j nœ

œ œ J

j #œ #œ

nœ J

j nœ

cresc.

Cb.

∑

cresc.

Fl.

-j œ 70 n œ œ ° œ œb œ œ &

j n œj œ œ œ j œ # œ b œ n œ b œ b œ œ bœ œ nœ nœ

j n œ j œ™ œ n œbœ œ œ œ œœ œ bb œœ œ œœ b œ n œ

∑

Ob.

Cl. (Bb)

∑

Cor. (F)

∑

œ œ œ œ œœ nœ œ œ œ J # œJ œ™

œ œ œ œ œ œ #œ œ

ff Fg.

bœ œ œ™

nœ ™ nœ ™

œ œ bœ œ œbœ j nœ œ

œ œ

nœj n-œ

œ #œ œ #œ

œ #œ œ

œ œ bœ

b-œ œ bœJ œ

j # œ œ™

œj œ

jœ j # œ œœ œ bœ n œ œ˙™ œ™ œ nœ œ #œ œ nœ œ # œ #œ ™

nœnœ

unis.

œ™

œ™ œ œ œ

˙™

Vln. I

° &

Vln. II

œ

nœ œ J

n œ- œ J

œ J

#œ œ J

nœ œ ™ J

œ œ bœ

nœ J

œ œ b œ œ

œ bœ œbœnœ

nœ n œ b œ

œ bœ œ œ œ œ

bœ œ œ bœ nœ

Vle.

œnœnœ

œ nœ œ œ nœ œ œ

œ œ

#œ œ J

Vc.

nœ ™

œ œ bœ

nœ œ J

œ œ J

nœnœ

b-œ œ J

n-œ J

œ #œ

œ nœ œ

#œ #œ ™

œ™ œ œ œ

b-œ œ J

n-œ J

œ #œ

œ nœ œ #œ #œ ™

œ™ œ œ œ

Cb.

nœ ™

œ œ bœ

œ ff

Fl.

° & &

Ob.

-œ J

#œ ™

œ™

œ ° &

Vln. II

Vle.

Vc.

Cb.

bœ œbœ

bœ œ J

bœ œ œ œ n œ œœ ™œ J œ

œ nœ nœ œ œ œ

œ™

œ J

œ nœ bœ

nœ

j b-œ œ ™

œ œ œnœ

# œ œ™ J

n œ n œ #œ #œ ™

œ œ œ œ™

j œ œ™

œ œbœ

œ œ nœ œbœ œ œ bœ ™

œ #œ œ nœ œ #œ

œ b œ œ œb œ œ

nœ œ ™ J

#œ ™

œ™

œ œ œ #œ ™ œ œ œ œ™ œ œ œ #œ ™

œ œ œ œ™

#œ ™

œ™

œ œ œ #œ ™ œ œ œ œ™ œ œ œ #œ ™

œ œ œ œ™

œ #œ œ nœ œ nœ bœ

bœ

j œ- œ # œ œ n œ œ# œ #œ nœ nœ

b -œ œ J

œ™

œ J

-œ

n -œ J

œ #œ œ nœ œ n œ b œ œ œb œ# œœ

œ #œ œ nœ œ nœ bœj bœ ™ œ œ bœ b œ bœJ œ ™ œ œJ œ # œ œ n œ œ# œ #œ nœ nœ

œ œ œ #œ ™ œ œ œ œ™ œ œ œ #œ ™

& œ nœ bœ nœ œ œ b œ n œ b œ-

Cor. (F)

Vln. I

b -œ œ J

œ n œ œ ## œœj œ™ #œ ™

-j -j b œ œ nœ œ™ œ & œ nœ bœ nœ nœ bœ bœ nœ bœ -

Cl. (Bb)

Fg.

j nœ œ j b œ œ b œ b œ œœ n œ b œ

bœ bœ ™ J bœ

bœ

œ bœ bœ

œ œ nœ œbœ œ œ bœ ™ œ œ nœ œbœ œ œ bœ ™

bœ #œ œ nœ œ n ° b œ n œ n œ œ œ # ‰œ & 78

Fl.

& œ™

Ob.

Cl. (Bb)

Fg.

œ™ a2

œnœbœ

j œ‰ ‰ n œj œ™ Œ

‰

œ™

œ œ bœ f

Cor. (F)

Vln. I

° &

œ™

‰ nœ #œ

& ?

Vc.

bœ

œnœbœ

n œ œ™ J

∑

œ™

œnœbœ

œ™

œ œ bœ

dim.

‰

∑

‰ ‰ ™bœ#œ œ #œ

j œ #œ ™

œ œb œ nœ œ bœ #œnœnœ œ #œ # œ ™ p

œ™

œœœœ™

∑

œ™

œ œ bœ

dim.

œ œ bœ

œ™

dim.

œ™

œ œ nœ nœ #œ œ ˙ ™

∑

œ œ bœ

dim.

Cb.

∑

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

Vle.

∑

œ #œ nœ

bœ nœnœ œ œ œ nœ ™ n œ &

Vln. II

∑

dim.

œ™ f

∑

œ™ p

n œ œ bœ

∑

œ œ bœ

œ œœ ∑

œ™

œ bœj

œ™

œ bœj

œ œ bœ

œ œ bœ pp

Fl.

° &

∑

Ob.

Cl. (Bb)

n-œ ™ pp

Fg.

Cor. (F)

Vln. I

Vln. II

∑

° j & œ ‰ ‰ Œ™

‰ Œ

n œ- œ™ b œ #œ œ J p

& œj ‰ ‰ Œ ™

∑

œb œ ‰ œ

œ œ bœ

œœœ

Vc.

œ nœ b œ œ œ œ œ ™

? ˙™ ¢

˙™

œœ J p

‰ Œ

j bœ pp

œœœ

œ œ bœ

œœœ

œ œbœ œ ™

œ nœb œ

j œœ

Cb.

œ œ bœ

n˙ ™ n œ ? œ ™ bœ#œ nœ J

-œ n-œ ™ J bœ #œ œ pp

Vle.

bœ#œ œ™

œ ˙™ J

œ pp

‰ Œ

j œ œ ‰

j œœ

∑

j œ

Fl.

Œ œ™ -

∑

° &

-j œ

œœ ™

#œ J-

∑

Ob.

Œ #œ ™

-j œ

œ™ œ

∑

#œ J∑

Fg.

Cor. (F)

Vln. I

œ™ bœ œ

& #œ ™

Cl. (Bb)

œ™

bœ #œ

œ™

∑

bœ #œ nœ

nœ J

& ˙™

Vle.

Vc.

Cb.

bœ #œ

œ™

° œ™ &

Vln. II

œ™

b œ nœ

n˙ ™

˙™

œ œ bœ

œ™ œ

œ™

j œ

œ™

j œ

œ™ ‰

˙™

œ œ bœ ∑

˙™

∑

Fl.

91 ° #˙˙™™ &

Cl. (Bb)

& ˙™

Cor. (F)

Vln. I

∑

˙™

Vc.

˙™

˙™ ppp

& ˙™

∑

Vle.

Cb.

˙™ ˙™

° &

Vln. II

˙™ ˙™

ppp

∑

Ob.

Fg.

˙™ ˙™

œ œ bœ ∑

j œ œ

∑

œ™

œ œ bœ

∑ j œ

œ™

œ œ bœ

ppp

∑

j œ œ

j œ

∑

˙™

∑

˙™

ppp

∑

œ™

∑

ABBREVIATIONS b. bar bb. bars br. brass Cb. Contrabbassi Cl. Clarinetto Cor. Corno espr. espressivo Fg. Fagotto Fl. Flauto Instr. Instrument(s) Ob. Oboe N-Onm National Library of Norway, Oslo stacc. staccato marking(s) str. strings ten. tenuto marking(s) Tba. Tromba Vln. Violini Vle. Viole Vc. Violoncelli ww. woodwinds

SOURCES

CRITICAL REPORT

La Isla de las Calmas, Op. 21 s Sketches, autograph A Short score, autograph B Score, autograph C Score, copy D Printed score, first edition (Lyche) DPTS Printed parts, first edition (Lyche)

he principles for a critical edition of Fartein Valen’s works as part of Norwegian Musical Heritage were established by the Fartein Valen Project at the Uni versity of Oslo and largely correspond to the editorial guidelines for Johan Svendsens Verker. In addition, general discussions among the Nordic Musical Heritage Network have furnished important contributions. For a full account of these editing prin ciples, please visit the Norwegian Musical Heritage web page: www.musikkarven.no. For each edition of a work by Valen, a primary source is chosen as a point of reference for the list of editorial emendations and alternative readings. For practical and philological reasons, all sources are listed in what is believed to be their chronological order and attributed a capital letter in bold type (A, B, C, D, etc.). Text sources (t) and sketches (s) are treated separately since they tend to impact the critical edition less directly. The list of emendations and alternative readings provides information about the critical editing of the work. It accounts for all changes made by the editor to the primary source. It also lists all variant readings from other sources considered relevant by the editor. Negative variants are only included when they are directly relevant to the work and its critical editing. All com ments regarding variant readings begin with a letter in bold type identifying the source in which the variant occurs. All other com ments refer to emendations. Most of Valen’s sources are housed at the National Library of Norway and are available in high-resolution digital scans on the library’s web page: www.nb.no.

Source s Sketches, autograph N-Onm Mus.ms. 4521: e 12 pages, 33x25 cm Printed music paper Pages 1–40: 16 staves, marked SKALA Nr. 4 Pages 41–52: 12 staves, marked SKALA Nr. 2 52 pages containing music; pagination: 1–52 Groups of two staves connected, sometimes groups of three staves Top of the first score page: La isla de las calmas / Fartein Valen op. 21 Many different date entries. First date: 25 juni 1934. Final date: 25 aug. 1934 A number of instrumentation markings Written in pencil (Fartein Valen)

Source A Short score, autograph N-Onm Mus.ms. 4521: c 12 pages, 25.2x34.5 cm Title page: La Isla de las Calmas. / Den stille ø / for orkester / Fartein Valen op. 21 Printed music paper, 12 staves, marked SKALA Nr. 2 (cover marked SKALA Nr. 1) 7 pages containing music; pagination: 1–7 Groups of three staves connected Above the first page of music: Til Ellen Sandvik / La Isla de las Calmas. / Den stille ø / Fartein Valen op. 21 On the page before the first page of music: Sleep after toile, port after stormie seas, / Ease after warre, death after life, does greatly please / Spenser Upper left corner of the first score page: 7 juli 1934 Written in pencil (Fartein Valen) and ink (Fartein Valen)

The following conventions have been used: • ‘By analogy with’ is used when something has been added, emended or omitted by analogy with a passage in the pri mary source. • ‘As in’ is used when something has been added, emended or omitted to correspond to the same place in another source. • ‘In accordance with’ is used when something has been added, emended or omitted to correspond with a secondary source. • ‘Note 1’ refers to the first main note in a bar. Grace notes are not included. • Pitch is expressed as written in the parts, including transpos ing instruments. • 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 B

EVALUATION OF THE SOURCES

Score, autograph N-Onm Mus.ms. 4521: a 36 pages, 35x25.5 cm Title page: La Isla de las Calmas. / Den stille ø / for orkester / Fartein Valen op. 21 / Partitur Printed music paper, 10 staves, marked SKALA Nr. 1 32 pages containing music; pagination: 1–32 Top of the first page of music: Til Ellen Sandvik / La Isla de las Calmas. / Den stille ø / Fartein Valen op. 21 Written in pencil (Fartein Valen) and ink (Fartein Valen)

Fartein Valen worked on the sketches (Source s) to La Isla de las Calmas from 25 June to 25 August 1934 in Valevaag, Norway. The sketches do not include any articulation, but some slurs, especially on the final pages. In addition, there are 15 instrumentation markings (Fl., Cl., etc.) that Valen fol lowed almost to the letter in his final instrumentation. While working on the sketches, Valen began the parallel process of preparing a three-stave short score (Source A) on 7 July. During the final three days he worked particularly hard in order to finish the work before leaving for Oslo. The short score has the same final date as the sketches. This is typical for Valen’s compositional process at the time. Even though a full score had not yet been prepared, one can say that the compo sition was finished on 25 August with the completion of the short score. The latter contains nearly all details regarding voicing, instrumentation, dynamics and articulation. Thus, the process of preparing a full score (Source B) based on the short score largely consisted of copying. In a dozen places or so, general dynamic markings in the short score had to be distributed throughout the full score due to the differences in notational format. Nonetheless, in the process of writing out the full score, Valen made some minor adjustments. Seeing the orchestration laid out in front of him, he was able to reach a more thorough understanding of the score and make small but necessary adjust ments. He added or changed several slurs, adjusted some dynam ics and added a few tenutos, but a number of slurs and ties in the short score are not included in the full score. Some of these may have been left out by oversight. Additionally, five or six tenutos were not copied into the score, deliberately or by accident. Such discrepancies are challenging for the editor. The most unusual and noteworthy among them can be found in the horn part in bb. 25–27. In the short score, the horn part is written as follows:

Source C Score, copy N-Onm Mus.ms. 4521: b 36 pages, 25x33,2 cm. Title page: La Isla de las Calmas. / Op 21 Printed music paper, 10 staves, marked SKALA Nr. 1 (cover marked SKALA Nr. 2) 32 pages containing music, paginated 1–32 Over the first page of music: Til Ellen Sandvik / La Isla de las Calmas. / Den stille ø / Fartein Valen op. 21 After the last page of music (in pencil): 6 min Written in ink (H. S.)

Source D Printed score, first edition Harald Lyche & Co. Musikkforlag, Drammen, Copyright 1948 Title page: FARTEIN / VALEN / La Isla de las Calmas / Op. 21 / Den stille ø – The silent Island / For orchestra / Full score Pl. no. EDITION Lyche Nr. 120 Top of the first score page: To Ellen Sandvik / La Isla de las Calmas / Den stille ø / The silent Island

It is conceivable that the page turn at this point in the score may have caused Valen to make a copying error and finish the horn part ‘too soon’. But it is also possible that he felt it neces sary to thin out the texture beginning in bar 26 and therefore shortened the phrase in the horn part on purpose. In 1934, a copyist only known as H. S. copied four of Valen’s manuscript scores, from Op. 17 to Op. 20. His copy of La Isla de

las Calmas (Source C) contains a considerable number of over sights. Publisher Harald Lyche & Co nonetheless used this copy as the printing source for the 1948 edition (Source D), probably given to the publisher by Valen himself. He had made numer ous additions and emendations in pencil, suggesting that the copy was intended as a proof. One example of this is a phrase for oboe (added in pencil by Valen) not included in the manuscript score (bb. 66–67). Although Lyche included these proofs in the edition, Valen had not corrected all of the copyist’s omissions. Unfortunately, further errors were introduced in the printing process, although it must be said that the publisher added some fairly self-evident dynamic markings by analogy and corrected a number of incomplete ties and slurs. All the same, numerous dynamic markings are missing or misplaced in comparison with the composer’s manuscript, in addition to missing slurs and articulation markings and several overextended slurs. This is due to Valen’s habit of starting slurs a bit to the left of the note, paving the way for misunderstandings. A typical example is the cello part in b. 70:

the printing source into this new edition. The copyist’s score and the first edition do not offer any variants of particular interest. Independent of Lyche’s origi nal additions based on analogy, and thus not founded on the authority of these two sources, we made the same emenda tions in this new edition. For the benefit of the interested reader we have included several variants from source D in our list, since they represent familiar variants from the only edition of the work for many years. Many other Valen works share the same history as the present one: a copyist’s score was used as the printing source, including oversights and omissions, and the publisher introduced further errors. Our edition therefore offers a long overdue new reading closer to the composer’s intentions.

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

Source B: Comments considered to be of particular importance by the editor have bar numbers in bold type. Primary source: B

Source C:

Source D:

Here, the beginning of the slur is increasingly shifted to the left, even if this particular case is not among the more extreme examples of Valen’s tendency to overextend the beginning of slurs. As the principal source for this new edition we have used Valen’s manuscript score (Source B), since it is closer to the composer’s intentions than the printed Lyche edition. After a meticulous study of the relationship between the short score and the manuscript score, it seemed natural to use a few var iants from the short score where it is clear that Valen over looked details in transferring the work to full score. Similarly, we have incorporated all of Valen’s pencilled additions from

Bar

Instr.

Comment

Fl. 1

pp added by analogy with Fl. 2

Ob.

I. added

Ob.

D: no pp

Vl. 1

slur from last note removed as marked in pencil in C (FV)

Cl.

slurs from last note removed as marked in pencil in C (FV)

21–23

Cor.

long slur from b. 21 to b. 23 (note 1) divided into two slurs as marked in pencil in C (FV)

Vl. 2

tie added as in A

Vle., Vc.

A: note 3: ten.

Cor.

Fl.

a 2 added

Vle., Vc.

A: note 3: ten.

28–29

Vc.

note 4: tie completed as in A

31–32

Cl.

tie across bar line completed as in A

Vl. 2

D: no

Vl. 1

A: note 3: ten.

Vle.

pp added by analogy with Vl. 1/2

Vle.

A: note 3: ten.

Ob.

A: note 1: ten.

added as marked in pencil in C (FV)

41, 43

Vc., Cb.

D: slurs unclear (too long)

Vl. 1

note 6: stacc. added by analogy with Fl., Cl. (b. 49)

Fg.

a 2 added by analogy with Fl.

Vln. I

note added as in A

Fg. 2

p added by analogy with Fg. 1

Vc.

slur from last note removed

Vle., Vc. Cb.

Cb.

f added by analogy with Vc.

Cor.

f added by analogy with the other parts

Vl. 2

D: slur begins at note 6

Cb.

note 4: ten. added by analogy with Vc.

66–67

Ob.

part added as marked in pencil in C (FV)

Vc.

D: slur begins at note 2

68–69

Vc., Cb.

D: slur across bar line (unclear)

69–70

Cl. 2

D: slur across bar line missing

Vl. 2

D: notes 4–6: slur

Cor.

D: note 2: slur begins here

Vc., Cb.

D: slur unclear

71–72

Cor.

D: slur across bar line

Fl. 2

D: no tie

Cl. 2

D: no slur

74–75

Cl., Cor.

D: slur across bar line

74, 75

Vc., Cb.

D: slur across bar line

Cl.

note 4: emended from b as marked in pencil in C (FV)

Vl. 1

D: continuous slurs

77–78

Ob.

tie across bar line completed as marked in pencil in C (FV)

77–78

Cor.

slur across bar line completed

Vc., Cb.

D: slurs unclear

89–90

Vl. 2

slur across bar line completed as marked in pencil in C (FV); D: slurs unclear

begins at note 4