JOHAN S. SVENDSEN (1840–1911)
Arrangementer for strykeorkester Arrangements for String Orchestra
Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim
JOHAN SVENDSENS VERKER
NMA-JS-III/2
N.M.O. 14165A
Editorial Commitee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle English translation and language consultant: Thilo Reinhard Language consultant: Gunnhild Wiggen Sponsored by: Kulturrådet (Arts Council of Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14165A /ISMN 979-0-065-14716-1) For sale Parts (N.M.O. 14165B /ISMN 979-0-065-14717-8) For sale © 2018 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved
CONTENTS INNHOLD Generelt forord Forord Faksimler
General preface Preface Facsimiles
I V XV
ARRANGEMENTER FOR STRYKEORKESTER Abendlied av Robert Schumann Träumerei av Robert Schumann Sæterjentens Søndag av Ole Bull (Versjon for strykeorkester) Andantino quasi Allegretto
10 14
Forkortelser Kritisk rapport
18 19
I V XV
ARRANGEMENTS FOR STRING ORCHESTRA Abendlied by Robert Schumann Träumerei by Robert Schumann The Herd-Girl’s Sunday by Ole Bull (Version for String Orchestra) Andantino quasi Allegretto
10 14
Abbreviations Critical report
18 19
1 7
1 7
GENERAL PREFACE
J
ohan Svendsen (1840–1911) was a leading figure in late-nineteenth-century Scandinavian music, celebrated as both a composer and a conductor. His works occupy a central position in the musical history of Norway and Scandinavia in general, yet his printed music has become notoriously difficult to obtain. Older editions are often inade quate, and many are out of print or abandoned by defunct publishing houses. More than half of his works were never printed at all and exist only in manuscript. A new comprehensive edition of Johan Svendsen’s music has therefore been long anticipated, and the present edition, part of the Johan Svendsen’s Works project, wishes to meet this demand. Johan Svendsen’s Works is a subproject under the umbrella of the Norwegian Musical Heritage project, and represents a collaboration between the University of Oslo, the Norwegian Academy of Music and the National Library of Norway. The project was launched in 2011, one hundred years after the composer’s death. In preparing these editions, many new sources of Svendsen’s music were uncovered. Manuscripts of entirely unknown works have surfaced among the archives, and new biographical knowledge has come to light as well. The result is a richer picture of Svendsen himself, as well as the musical life of his time. The new Svendsen edition not only provides performance material that greatly improves the basis for new interpretations of well-known works, but also offers the opportunity to experience pieces that have not been played since the composer’s lifetime. Alongside Svendsen’s output of chamber music, symphonies, symphonic poems and concertos—in itself an impressive corpus in the great nineteenth-century European tradition—we find other, lesser-known works, including the unpublished dances and marches for orchestra, written for the mid-century concertgoers of Christiania (Oslo); the celebratory cantatas and marches commissioned for public events in both Norway and Denmark; and his masterful orchestrations of iconic pieces from the international Romantic repertoire.
GENERELT FORORD
J
ohan Svendsen (1840–1911) er en av våre viktigste 1800-tallskomponister. Han inntar en sentral plass i norsk og nordisk musikkhistorie, ikke minst på orkestermusikkens område. Likevel har notematerialet vært vanskelig tilgjengelig. Eldre noteutgaver er ofte mangelfulle, mange er utgått fra forlaget, eller forlaget er nedlagt. Mange verker er aldri utgitt og foreligger bare i manuskript. En ny, samlet utgave av Johan Svendsens musikk har derfor vært etterspurt i lang tid. Den foreliggende noteutgaven, som springer ut fra prosjektet Johan Svendsens Verker, skal imøtekomme dette ønsket. Johan Svendsens Verker er et delprosjekt under Norsk musikkarv og er gjennomført i et samarbeid mellom Institutt for musikkvitenskap ved Universitetet i Oslo, Norges musikkhøgskole og Nasjonalbiblioteket. Prosjektet ble etablert i 2011, hundre år etter komponistens død. Arbeidet med utgaven har avdekket mange nye kilder til Svendsens musikk. I arkivene har det dukket opp manuskripter til verker vi trodde var tapt, og verker vi ikke visste eksisterte. Mange nye biografiske dokumenter har også kommet for en dag. Resultatet er et mye rikere bilde av Svendsens liv og verk, og også et rikere bilde av musikklivet på Svendsens tid. Den nye utgaven av Johan Svendsens samlede verker gir ikke bare nye fremføringsmuligheter for verker vi kjenner, men også sjansen til å bli kjent med musikk som aldri ble utgitt, og som ikke har vært spilt på mer enn hundre år. Det gjelder for eksempel mange av Svendsens ungdomsverker, danser og marsjer for orkester, skrevet for underholdnings livet i Christiania på 1850- og 1860-tallet. Det gjelder også kantater og marsjer komponert for offisielle begivenheter i både Norge og Danmark, og det gjelder Svendsens mesterlige orkestreringer av verker fra den romantiske tradisjonen.
JOHAN SVENDSEN’S WORKS JOHAN SVENDSENS VERKER Johan Svendsen’s Works is a comprehensive edition optimized for performance and study. It is available online as well as in printed form, designed to meet the needs of anyone interested in any aspect of Svendsen’s music. JSV features new editions of all known works by Svend-
Johan Svendsens Verker er en utgave som er tilrettelagt både for fremføring og studier. Den formidles både på internett og i trykte utgaver, og den skal være en ressurs for alle med interesse for Johan Svendsens musikk. Johan Svendsens Verker omfatter nye utgaver av alle
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sen. Early versions of some of the works are also available in edited scores. Incomplete and fragmentary works, sketches, and variant passages of a certain length are presented as facsimiles and/or transcriptions. Piano scores of works for soloist and orchestra are provided for use in rehearsal. Johan Svendsen’s Works also includes a critical catalogue of Svendsen’s works, with detailed descriptions of all the sources. In this catalogue each work has been given a unique JSV-number. The sources themselves are reproduced in their entirety and available as online facsimiles. Each edition offers a preface describing the genesis and reception history of the work in question, as well as its position in the context of Svendsen’s total output.
Svendsens kjente verker. Også tidlige versjoner av enkelte verker er inkludert. Ufullstendige og fragmentariske verker, lengre variantpartier og skisser gjengis i faksimile og/eller transkripsjon. Klaveruttog til verker for solist og orkester blir gjort tilgjengelige til bruk i innstudering. Johan Svendsens Verker omfatter også en vitenskapelig verkfortegnelse som beskriver kildesituasjonen i detalj. Her har alle verker fått et unikt JSV-nummer. Alle relevante kilder er gjengitt i faksimile på internettsidene. Alle de nye utgavene er utstyrt med et forord som beskriver komposisjonens tilblivelses- og resepsjonshistorie samt dens plass i Johan Svendsens samlede produksjon.
GENERAL PRINCIPLES Each edition in Johan Svendsen’s Works is based on a critical examination of all available sources: music manuscripts, early printed editions, as well as other sources relevant to a comprehensive understanding of the work and its musical notation such as letters and diary entries. Throughout JSV, the central editorial principle has been to realize the composer’s last documented intentions, but it has also been a priority to demonstrate the diversity of the source material. Each edition is therefore accompanied by a description of the sources, including a review of the relationship between the sources in question. A comprehensive analysis of Svendsen’s style of musical notation has also informed the editing process. Articulation and dynamics, playing instructions and performance markings have been standardized across analogous passages, except where the composer seemed to intend those passages to differ. The editors chose a single primary source for each work— i.e. the source believed to be closest to the composer’s final intentions. This source constituted the starting point for the editing process. For published works, the primary source is generally the printed edition. Yet, it is possible that Svendsen did not always proofread his editions all that carefully, and in some cases the autograph manuscript contains variants of particular interest. Deviations from the primary source as well as variants from other sources are documented and discussed measure by measure at the end of the edition. As a rule, the editors do not discuss primary source elements that are missing in other sources (so-called negative variants). The musical notation is presented without any visible editorial additions or revisions.
GENERELLE EDISJONSPRINSIPPER Johan Svendsens Verker er basert på kritiske edisjonsprinsipper. Det betyr at den bygger på et vitenskapelig studium av alle tilgjengelige kilder, både notemanuskripter og tidligere trykte utgaver samt andre kilder av betydning for forståelsen av verket og for edisjonen av notebildet, for eksempel brev og dagbokopptegnelser. Det er et viktig prinsipp å få frem de seneste dokumenterte intensjonene til komponisten. Samtidig skal også mangfoldet i kildesituasjonen formidles. Utgavene er utstyrt med en kildebeskrivelse hvor også forholdet mellom kildene blir grundig evaluert og vurdert. Utgavene av hvert enkelt verk bygger også på en samlet analyse av Johan Svendsens notasjonsstil. Artikulasjon, dynamikk, buer, spilletekniske anvisninger og foredragsbetegnelser har i mange tilfeller blitt tilpasset slik at det er samsvar mellom analoge partier. Der det foreligger en sterk nok mulighet for at komponisten bevisst har gitt analoge partier ulik utforming, er tilpasning likevel unngått. For hvert verk er det valgt en hovedkilde som er lagt til grunn for den nye utgaven. For utgitte verker er dette normalt en trykt utgave. Imidlertid leste Svendsen trolig ikke alltid grundig korrektur på de trykte utgavene. De egenhendige manuskriptene er derfor også blitt tillagt stor vekt. Alle avvik fra hovedkilden i den nye utgaven dokumenteres og begrunnes takt for takt i en kommentarliste, der det også redegjøres for alle varianter i de andre kildene. Med vesentlige varianter menes varianter som vil kunne ha innflytelse på fremføringsmåten. Negative varianter («mangler») i andre kilder er som hovedregel ikke kommentert. Selve notebildet gjengis uten typografisk markering av redaksjonelle tilføyelser eller endringer.
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The following general editorial choices are not mentioned in the critical commentaries: • Typography, score layout, and instrument names are to a certain degree standardized in keeping with modern practice. • Where two notes share a stem, slurs, articulation markings and dynamics should be read as applying to both parts. • The notation of combinations of slurs and ties has been modernized. • Markings such as ‘I.’, ‘II.’, and ‘a 2’ are sometimes editorial, but always comply with the general distribution of parts in the primary source, unless otherwise indicated in the commentary. • Clefs and rehearsal letters have generally been reproduced as they appear in the primary source. Where rehearsal letters are missing in the primary source, they have been added in the new edition. • Svendsen’s cautionary accidentals have been preserved. In a few cases, such accidentals have been added for the sake of convenience (specified in the commentary). • Svendsen almost always marked grace notes with a slash through the note stem and connected to the main note with a slur. In cases where such slurs and slashes are lacking in the primary source, they have been added in the new edition. • Svendsen quite often used slanted strokes to indicate the repetition of measures or musical patterns. Such passages have been notated in full in the new edition. • Measured tremolos consisting of no more than two or three notes have been written out in full, and those consisting of more than three notes have also been written out in short passages of one to three measures. In longer passages, measured tremolos of more than three notes have usually been retained. • In longer triplet passages, the composer typically notated the triplet number above the first group of triplets only. Svendsen editions published by E. W. Fritzsch generally indicated numerals above the first two groups of triplets. The new edition includes numerals above all the triplet groups in the first measure of a given passage. • Dotted lines indicating the continuation of a crescendo or diminuendo in the primary source have been retained. Moreover, such lines have occasionally been added by analogy, especially in passages lasting several measures, as long as the end point of the dynamic change has also been marked in the source. • Svendsen employed several spellings of terms like div., cresc. and rit. The spelling of such terms has been standardized in the new edition.
Følgende generelle valg er ikke omtalt i de kritiske kommentarene til det enkelte verket: • Typografi, partituroppsett og instrumentnavn er til en viss grad normalisert i samsvar med moderne praksis. • Når to stemmer deler notehals, gjelder fraseringsbuer, artikulasjonstegn og dynamikk begge stemmer. • Notasjonen av kombinasjoner mellom legatobuer og bindebuer er modernisert. • Markeringer som «I.», «II.», «a 2» kan være redaksjonelle, men er i overensstemmelse med hovedkildens stemmefordeling så sant ikke annet er anmerket i den kritiske kommentaren. • Nøkler og orienteringsbokstaver er gjengitt som i hovedkilden. Når orienteringsbokstaver ikke finnes i hovedkilden, har vi lagt til slike. • Svendsens påminnelsesfortegn er beholdt, men i noen få tilfeller har vi funnet det hensiktsmessig å legge til slike fortegn. Dette er det i så fall redegjort for. • Svendsen knyttet så godt som alltid forslagsnoter til hovednoten(e) med en bue og gav dem en gjennomgående strek gjennom halsen. Når slike buer eller streker likevel mangler i hovedkilden, er de føyd til i de nye utgavene. • Svendsen brukte ganske ofte streksymboler ved gjentakelse av takter eller notefigurer. I de nye utgavene er slike partier skrevet fullt ut i noteskrift. • Abbreviaturer ved tonegjentakelse som bare representerer to eller tre noter, er skrevet ut i de nye utgavene. Abbreviaturer som representerer flere enn tre noter, er også skrevet ut i kortere passasjer, normalt 1–3 takter. I lengre passasjer er slike abbreviaturer beholdt. • I lengre passasjer med trioler skrev Svendsen gjerne siffer bare over den første triolen. Svendsen-utgavene fra forlaget E.W. Fritzsch har derimot som oftest siffer over de to første triolene. De nye utgavene har siffer over alle triolene i hele første takt i slike passasjer. • Stiplede linjer i crescendo- og/eller diminuendoforløp som finnes i hovedkilden, er beholdt. Slike linjer er også noen ganger føyd til ut fra analogiargument, særlig i forløp over flere takter. Dette gjelder så lenge sluttpunktet for den dynamiske endringen likevel er angitt med et dynamisk tegn. • Svendsen brukte flere skrivemåter i termer som div., cresc., og rit. Han noterte for eksempel crescendo ofte slik: cresc (uten punktum). I tidlige manuskripter skrev han cres. I de nye utgavene er skrivemåten normalisert for disse og andre standarduttrykk.
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The editon is organized as follows: SERIES I: Orchestral Works 1. Symphony no. 1 in D major, Op. 4 2. Symphony no. 2 in B-flat major, Op. 15 3. Norwegian Rhapsodies 4. Orchestral Works I 5. Orchestral Works II 6. Orchestral Works III 7. Early Dances and Marches I 8. Early Dances and Marches II 9. Arrangements for Orchestra I 10. Arrangements for Orchestra II 11. Arrangements for Orchestra III
Utgaven er disponert på følgende måte: SERIE I: Orkesterverker 1. Symfoni nr. 1 i D-dur, op. 4 2. Symfoni nr. 2 i B-dur, op. 15 3. Norske rapsodier 4. Orkesterverker I 5. Orkesterverker II 6. Orkesterverker III 7. Tidlige danser og marsjer I 8. Tidlige danser og marsjer II 9. Arrangementer for orkester I 10. Arrangementer for orkester II 11. Arrangementer for orkester III
SERIES II: Works for Soloist and Orchestra 1. Works for Violin and Orchestra 2. Cello Concerto in D major, Op. 7
SERIES III: Works for String Orchestra
SERIE II: Verker for soloinstrument og orkester
SERIES IV: Chamber Music
1. Verker for fiolin og orkester 2. Cellokonsert i D-dur, op. 7
SERIE III: Verker for strykeorkester
1. String Quartet, String Octet and String Quintet 2. Miscellaneous Chamber Works 3. Arrangementes for String Quartet I 4. Arrangementes for String Quartet II
SERIE IV: Kammermusikk
SERIES V: Piano Works
1. Strykekvartett, strykeoktett og strykekvintett 2. Annen kammermusikk 3. Arrangementer for strykekvartett I 4. Arrangementer for strykekvartett II
1. Cantatas and Choral Works 2. Songs
SERIE V: Klaververker
SERIES VII: Ballet
SERIES VI: Vocal Works
Spring is coming, Op. 33
SERIE VI: Vokalverker
SERIES VIII: Sketches and Varia
1. Kantater og korverker 2. Sanger
SERIE VII: Ballett Foraaret kommer, op. 33
SERIE VIII: Skisser og varia
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PREFACE
B
etween 1872 and 1876, Johan Svendsen (1840–1911) wrote numerous works for large string orchestra, and a number of these received their first performance under his direction in the orchestral concerts he conducted in Christiania8 (Oslo). Thus, Svendsen was one of the pioneers of the genre and probably a inspiration to his good friend Edvard Grieg (1843–1907), who later wrote many works for string orchestra, including a number of his best-known pieces. Some of Svendsen’s works in the genre were original compositions based on folk tunes whose melody is presented and followed by a number of variations (see JSV edition NMA-JS-III/1). Additionally, Svendsen made string orchestra arrangements of the three works included in this edition – two of them written by Robert Schumann (1810–1856) and one by Ole Bull (1810–1880). Unlike the folk music arrangements, these are not variations. Finally, there is an Andantino quasi allegretto in Svendsen’s hand, but it is uncertain whether this is an original composition or an arrangement. The work is included in the present edition. Olav Gurvin and Øyvind Anker’s music lexicon9 assigns opus 29 to Svendsen’s arrangement of Sæterjentens Søndag (The Herd-Girl’s Sunday), but in 1965, in connection with compiling a work list of Svendsen’s music for Musik in Geschichte und Gegenwart, Gurvin deleted it from the opus sequence10 and placed it under the heading ‘Bearbeitungen für Streichorchester’. The source material on Svendsen provides no evidence for assigning opus number 29.
FORORD
J
ohan Svendsen (1840–1911) skrev en hel rekke verker for stort strykeorkester i perioden 1872–1876 og dirigerte selv ved urfremføringen av flere av dem i den samme perioden, som innslag i symfoniske konsertprogram i Christiania1 (Oslo). Slik var han en av pionerene i genren og trolig til inspirasjon for sin gode venn Edvard Grieg (1843–1907), som senere skrev mange og velkjente verk for besetningen. Noen av Svendsens verker for strykeorkester var originalkomposi sjoner basert på folkemelodier, der melodien presenteres og så varieres (se JSV-utgaven NMA-JS-III/1). I tillegg finnes det tre verker av andre komponister arrangert for strykeorkester av Svendsen – to av stykkene er skrevet av Robert Schumann (1810–1856) og ett av Ole Bull (1810–1880). Disse er ikke variasjonsverker. Det finnes dessuten et manuskript til en Andantino quasi allegretto, men det er usikkert om dette er en originalkomposisjon eller et arrangement. Dette verket er også med i foreliggende hefte. Arrangementet av Sæterjentens Søndag har fått opus nummer 29 i Olav Gurvin og Øyvind Ankers musikkleksikon.2 Men Gurvin tok verket ut igjen av opusnummereringen da han laget Svendsen-verklisten for Die Musik in Geschichte und Gegenwart3 i 1965, og plasserte det under overskriften «Be arbeitungen für Streichorchester». Det finnes ingen holde punkter i Svendsen-kilder for å gi det opusnummer 29.
Robert Schumann: Abendlied and Träumerei The two Schumann arrangements in this edition probably originated in the 1870s. We know that ‘Abendlied’, from 12 vierhändige Klavierstücke für kleine und grosse Kinder, Op. 85, was arranged in Darmstadt in 1872. The final score is dated 18 April of that year. It was published by Carl Warmuth in 1887 under the title Abendlied von Rob. Schumann für Streich orchester eingerichtet von Johan S. Svendsen. The final date of Svendsen’s string orchestra arrangement of ‘Träumerei’ from Kinderszenen, Op. 15, is less certain. Svendsen’s version was never published, and we have no knowledge of any performances during the composer’s lifetime. In their work list, Benestad and Schjelderup-Ebbe list 1872 as the year of completion, albeit with a question mark.11 The arrangement is written on the same sheets of manuscript paper as Andantino quasi allegretto, JSV 49. Based on an analysis of the paper and
Robert Schumann: Abendlied og Träumerei Begge de to Schumann-arrangementene i dette heftet har trolig blitt til på 1870-tallet. Vi vet at Abendlied, fra 12 vier händige Klavierstücke für kleine und grosse Kinder, op. 85, ble arrangert av Svendsen i Darmstadt i 1872. Partituret er slutt datert 18. april dette året. Arrangementet ble utgitt av Carl Warmuth i 1887, med tittelen Abendlied von Rob. Schumann für Streichorchester eingerichtet von Johan S. Svendsen. Dateringen av Svendsens arrangement for strykeorkester av Träumerei fra Kinderszenen, op. 15, er mer usikker. Svend sens versjon ble aldri utgitt, og vi kjenner ikke til fremføringer i komponistens levetid. Men Träumerei kan ha blitt arrangert i 1872, omtrent samtidig med Abendlied. Det er dette årstallet Finn Benestad og Dag Schjelderup-Ebbe fører opp – riktignok med spørsmålstegn – i verklisten sin.4 Manuskriptet til Träumerei finnes på de samme notebladene som Andantino
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the handwriting, it may date to 1872, around the same time as Abendlied, but we have no reliable sources to determine the time of composition with certainty or to establish the occasion for which it was written. This was not the first time Svendsen had arranged a piece by Schumann. Träumerei also exists in an earlier version for string quartet as part of the collection 62 Arrangements for String Quar tet, JSV 30, written between 1861 and 1862. This collection of arrangements includes nine different piano pieces by Schumann set for string quartet by Svendsen. In addition to ‘Träumerei’ from Kinderszenen, Op. 15, the fourth movement of Nachtstücke, Op. 23, and ‘Fughette’ from Klavierstücke, Op. 32, we find ‘Kleine Fuge’, ‘Frühlingsgesang’ and ‘Fremder Mann’ from Album für die Jugend, Op. 68, and ‘Turniermarsch’, ‘Gespenstermärchen’ and ‘Geburtstagsmarsch’ from 12 vierhändige Klavierstücke für kleine und grosse Kinder, Op. 85. Svendsen’s most extensive Schumann arrangement dates from the summer of 1866, when he orchestrated Faschingsschwank aus Wien, Op. 26, for large orchestra. The manuscript consists of 79 pages. Abendlied was premiered on 26 October 1872 in Christiania. Svendsen, his wife Sally (Bergljot) and her son Lucien had just returned to Norway after spending the summer in Donndorf near Bayreuth together with Richard and Cosima Wagner and their family. The performance took place in the large hall of Logen, with Svendsen conducting an orchestra assembled for the occasion. The piece was greeted with sustained applause and had to be played a second time:
quasi allegretto, JSV 49. På grunnlag av analysen som er foretatt av notepapiret og håndskriften, er året 1872 en mulig datering, men vi har ingen sikre kilder verken for når stykket ble arrangert, eller til hvilken anledning Svendsen skrev det. Svendsen hadde arrangert flere Schumann-stykker tidligere. Träumerei satte han også ut for strykekvartett, i samling en 62 arrangement for strykekvartett, JSV 30, fra årene 1861 og 1862. I denne samlingen arrangementer finner vi hele ni ulike klaverstykker av Schumann instrumentert for strykekvartett av Svendsen. Träumerei fra Kinderszenen, op. 15, den fjerde satsen fra Nachtstücke, op. 23 og Fughette fra Klavierstücke, op. 32 er med, ved siden av Kleine Fuge, Frühlingsgesang og Frem der Mann fra Album für die Jugend, op. 68 og Turniermarsch, Gespenstermärchen og Geburtstagsmarsch fra 12 vierhändige Klavierstücke für kleine und grosse Kinder, op. 85. Sommeren 1866 ble Svendsens mest omfattende Schumann-arrangement til da han orkestrete verket Faschingsschwank aus Wien, op. 26 for stor orkesterbesetning i et 79 siders manuskript. Førstefremføringen av Abendlied fant sted 26. oktober 1872 i Christiania. Svendsen, kona Sally (Bergljot) og hennes sønn Lucien hadde nettopp kommet tilbake til Norge etter sommerens opphold i Donndorf nær Bayreuth med Richard og Cosima Wagner og deres familie. Fremføringen var i Logens Store Sal, med et sammensatt orkester, og Svendsen dirigerte. Stykket ble spilt om igjen etter mye applaus:
Of great interest were Svendsen’s orchestral arrange ments of the 6th Rhapsody, Wagner’s study for ‘Tristan and Isolde’, and Schumann’s ‘Evening Song’, whereby the con cert holder had introduced a pleasant variety into the rich programme; the latter, scored for string orchestra and bril liantly performed, had to be played da capo upon demand.
Højst interessante vare Svendsens Bearbejdelser for Orkester af 6te Rhapsodi, Wagners Studie til «Tristan og Isolde» samt Schumanns «Aftensang», hvormed Koncertgiveren havde bragt en behagelig Afvexling i det rige Program; den sidste udsat for Strygeorkester og glimrende udført, blev forlanget og givet da capo.
AFTENBLADET, CHRISTIANIA, 28 OCTOBER 1872.
During the next few years, Svendsen’s arrangement of Abend lied was performed as part of several programmes he conducted in Christiania, including a concert on 18 February 1873, as well as the first concert of the Music Society on 30 January 1875. At a concert in Christiania on 9 March 1882, King Oscar II insisted that the work be played da capo:
AFTENBLADET, CHRISTIANIA, 28. OKTOBER 1872.
Arrangementet av Abendlied var med på flere av Svendsens programmer i Christiania i de neste årene, både 18. februar 1873 og ved Musikforeningens første konsert i 1875, 30. januar. Ved en konsert i Christiania 9. mars 1882 forlangte Kong Oscar II verket spilt da capo:
In the form in which it appeared yesterday, this evocative compo sition, further proof of Mr Johan Svendsen’s magnificent talent, was received with enthusiastic expressions of approval, and on special request by HM the King, who attended the concert, played da capo.
Denne stemningsfulde Komposition, der i den Form, hvori den igaar forelaa, er et nyt Bevis paa Hr. Johan Svendsens storslagne Begavelse, blev modtagen med enthousiastiske Bifaldsytringer og paa spesiel Anmodning fra Hs. Maj. Kongen, der overvar Konserten, givet da capo.
DAGEN, 11 MARCH 1882.
DAGEN, 11. MARS 1882.
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Shortly after assuming the post of music director at the Royal Theatre in Copenhagen, Svendsen used the opportunity to present the work in connection with a concert in the Danish capital on 1 March 1884.
Ole Bull: Sæterjentens Søndag (The Herd-girl’s Sunday)
Kort tid etter at Svendsen hadde blitt ansatt som kapellmester ved Det Kongelige Teater i København, benyttet han an ledningen til å fremføre verket også der, ved en konsert i den danske hovedstaden 1. mars 1884.
Sæterjentens Søndag was originally part of Ole Bull’s composition Et Sæterbesøg (A Visit to the Mountain Pasture), a potpourri of melodies without lyrics or title written in 1849. Shortly after, Johan Diederich Behrens (1820–1890) equipped Bull’s melody with a text by Jørgen Moe (1813–1882), ‘Paa solen jeg ser’ (I look at the sun), and called it Sætergjentens Søndag. Friedrich August Reissiger (1809–1883) arranged the song for men’s choir and piano in 1851. Several versions of Et Sæterbesøg are preserved in Bull’s own handwriting, but the work remained unpublished during his lifetime and had consequently not appeared in print when Svendsen orchestrated Sæterjentens Søndag for string orchestra in 1872 or 1873. Svendsen may have gotten to know the melody through his teacher Fredrik Ursin (1825–1890), who owned a manuscript version for violin and piano.12 Svendsen’s diary tells us that in 1867, during his journey to Scotland, the Faroe Islands and Iceland, he played Et Sæterbesøg on his violin for a group of French naval officers stationed on the frigate Pandore during a public audience with Iceland’s senior magistrate on 28 June 1867:
Ole Bull: Sæterjentens Søndag Sæterjentens Søndag var opprinnelig en av flere melodier uten tekst eller tittel i Ole Bulls komposisjon Et Sæterbesøg, skrevet i 1849. Ikke lenge etterpå brukte Johan Diederich Behrens (1820–1890) en tekst av Jørgen Moe (1813–1882), “Paa solen jeg ser”, sammen med Bulls melodi og gav sangen navnet Sætergjentens Søndag. Friedrich August Reissiger (1809–1883) arrangerte sangen for mannskor og piano i 1851. Det er bevart flere ulike versjoner fra Bulls hånd av verket Et Sæterbesøg, men det ble ikke publisert i Bulls levetid. Det var altså ikke publisert da Svendsen orkestrerte Sæterjentens søndag for strykeorkester i 1872 eller 1873. Svendsen kan ha lært melodien å kjenne gjennom læreren Fredrik Ursins (1825–1890) manuskriptversjon for fiolin og piano.5 Vi vet fra dagboken Svendsen skrev under sin reise til Skottland, Færøyene og Island i 1867, at han spilte Et Sæterbesøg på solo fiolin for en gruppe franske marineoffiserer fra fregatten Pan dore ved en offentlig audiens hos stiftamtmannen på Island 28. juni 1867:
Then I was asked to play a solo, a request with which I complied by serving up Ole Bull’s Sæterbesög. It pleased me no end to see what an impression these melodies made on the Frenchmen.13
Siden blev jeg opfordret til at spille noget alene, hvilken Opfordring jeg, idet jeg opdiskede med Ole Bulls Sæter besög, ogsaa efterkom. Det morede mig meget at see hvor stor Magt disse Melodier har udøvet paa Franskmændene.6
Svendsen later contributed to the melody’s popularity by arranging it in three versions: for string orchestra, for solo violin and string orchestra, and for violin and piano. Norwegian musicologists and Svendsen scholars Finn Benestad and Dag Schjelderup-Ebbe find Svendsen’s harmonization far richer than Bull’s original version.
Svendsen bidro senere til å gjøre melodien berømt ved å arrangere den i tre versjoner, for strykeorkester, for solo fiolin og strykeorkester og for fiolin og klaver. Finn Benestad og Dag Schjelderup-Ebbe mener Svendsens harmonisering er mye rikere enn i Bulls original.
This ingenious melody, only supported by makeshift harmonies in Bull’s original version, was given a distinctive lift in Svendsen’s colourful harmonization.14
Denne geniale melodien, som i Bulls originalversjon bare har et nødtørftig akkordunderlag, fikk i Svendsens farge rike harmonisering en egenartet løftning.7
Ole Bull, ‘the Nordic Paganini’, was a great inspiration to Svendsen, as he was to Edvard Grieg. As a young man, Svendsen met the world-famous violin virtuoso on several occasions in Norway and Germany. Twenty years old at the time, Svendsen wrote to his mother from Christiania:
Ole Bull, «Den nordiske Paganini», var en stor inspirator for Svendsen, slik han også var det for Edvard Grieg. Som ung mann møtte Svendsen den verdensberømte fiolinvirtuosen ved flere anledninger, både i Norge og Tyskland. Som 20-åring skrev Svendsen følgende til moren sin fra Christiania:
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You would not believe how many good acquaintances I have made lately. I have even talked to Ole Bull. What an honour for me, a poor and insignificant musician, to be able to say that I have shaken the hand of this great man. LETTER FROM JOHAN SVENDSEN TO HIS MOTHER, PERNILLE SVENDSEN
Du kan tro at jeg i den sidste Tid har gjort mange gode Be kjendskaber. Jeg har endog talt med Ole Bull. Hvilken Ære for mig, den fattige og ubetydelige Musikus at kunne sige at jeg har trykket denne store Mands Haand.
(1815–1890), 4 JANUARY 1860. NATIONAL LIBRARY OF NORWAY.
Five years later, Svendsen wrote to his father about a meeting with Bull in Dessau:
BREV FRA JOHAN SVENDSEN TIL MOREN PERNILLE SVENDSEN (1815-
Last week I was in Dessau to participate in the composers’ music festival there. […] In Dessau I also spoke with Ole Bull, he looks very well, and was very kind to me.
1890), 4. JANUAR 1860. NASJONALBIBLIOTEKET.
Fem år senere skrev Svendsen til faren og fortalte om et møte med Bull i Dessau:
LETTER FROM JOHN SVENDSEN TO HIS FATHER GULBRAND SVENDSEN (1817–1900), LEIPZIG, 6 JUNE 1865. NATIONAL LIBRARY OF NORWAY.
Jeg var i forrige Uge i Dessau for der at deltage i Tone kunstnernes der foranstaltede Musikfest. [...] I Dessau talte jeg ogsaa med Ole Bull, han seer meget godt ud, og var meget venlig imod mig.
In 1901, looking back on his life in a letter to the Norwegian music teacher, organist and composer Catharinus Elling (1858–1942), Svendsen wrote:
BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN (1817-
Ole Bull’s playing, and namely his treatment of Norwegian melodies and dances, also affected me strongly and aroused me, […]
1900), LEIPZIG, 6 JUNI 1865. NASJONALBIBLIOTEKET.
Med tilbakeblikk på livet omtalte Svendsen Ole Bull på denne måten til Catharinus Elling (1858–1942) i 1901:
LETTER FROM JOHN SVENDSEN TO CATHARINUS ELLING, 12 MAY 1901. NATIONAL LIBRARY OF NORWAY.
Ole Bulls Spil, og navnlig hans Behandling af norske Melodier og Danse virkede ogsaa stærkt betagende og vækkende paa mig, [...]
But the most important source of insight into Svendsen’s relationship with Ole Bull is an interview with Charles Kjerulf (1858–1919), published in the Copenhagen daily Politiken on 30 December 1910:
BREV FRA JOHAN SVENDSEN TIL CATHARINUS ELLING, 12. MAI 1901. NASJONALBIBLIOTEKET.
‘But the violin was your favourite instrument, Kapelmester?’ ‘Absolutely – I was a fully trained violinist when I began composing, and I have performed as both soloist and concert musician. My ideal was – and is at this very moment – Ole Bull. ‘ He was a wonderful man and a wonderful artist. Never have I been so exhilarated as when I was about to meet him for the first time, my God! How handsome and charm ing he was, in his tight-sitting clothes and that characteristic toss of his head – of course, we talked about violin playing, and I already knew enough at the time to take the liberty of talking with – well, to differ with him on certain points … he became animated … picked up his violin – and the bow (that enormous, heavy, heavy bow, which hardly anyone else would have been able to use) – and then he played … (Johan Svendsen’s eyes radiate) … so you thought you were going out of your mind … double harmonics or a simple, sustained melody amidst a confusion of pizzicato … mind-bogglingly
Det er likevel i et intervju med Charles Kjerulf (1858–1919) i København-avisen Politiken 30. desember 1910 at vi virkelig får innblikk i Svendsens forhold til Ole Bull: «Violinen var dog Deres kæreste Instrument, Kapelmester?» «Ubetinget – jeg var fuldt uddannet som Violinist da jeg begyndte at komponere, og er optraadt baade som Soloog Koncertspiller. Mit Ideal var – og er det i dette Øjeblik – O le B u ll. Det var en vidunderlig Mand og en vidunderlig Kun stner. Aldrig har jeg været saa betaget, som da jeg første Gang skulde op til ham, min Gud! Hvor var han ikke smuk og Indtagende, i sine stramtsiddende Klæder og dette Kast med Hovedet – vi talte selvfølgelig om Violinspil, og jeg kunde allerede da saa mæget, at jeg havde Lov at snakke med – ja, jeg sagde ham paa enkelte Punkter imod ... han blev ivrig ... greb Violinen –og Buen (denne store, tunge, tunge Bue, som næppe nogen anden kunde bruge) – og saa spillede han ... (Johan Svendsens Øjne straaler) ... saa man holdt paa at blive galen ... dobbelte Flageoletter eller en enkelt, baaret Melodi midt i et Virvar af pizzicato ... rent
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difficult, but like child’s play – and so beautiful! ‘ As a composer, too, he was a genius – self-taught as he was, without any proper theoretical knowledge. But what a musical poet! He played something he called “A Night in Seville” … it was strangely beautiful. He also had an orchestral composition, “Niagara”, which began with a single note in the viola, then others joined, the rest of the strings … a mighty crescendo, until the torrent came plunging down with all its might … and suddenly you hear a Norwegian standing by the waterfall, singing a song from his homeland (a Norwegian always had to be part of the picture, as it were) … indeed, one can smile, but the song, the melody was ravishing. Just think of “The Herd-Girl’s Sunday” … so simple and yet so strong. Only a genius can write such a – bagatelle. ‘ What a shame – there was a plan that never came to anything. It was proposed by Ole Bull’s widow, his second wife, an American lady, daughter of a senator. She corresponded with me about a considerable number of Ole Bull’s compositions that he had left in manuscript … I was familiar with his manuscripts and his notation, which were barely readable. The intention was for me to review, revise and publish them. I believe I would have been able to go through it all and get somewhere with it. Unfortunately, it ran into the sand. ‘ It certainly would not have been an easy task, as little as it was easy for orchestra and conductor to follow him in his own pieces. For right in the middle of the evening, he could suddenly get the idea of improvising all kinds of things, not even a hint of which was to be found in the score – that’s when you had to have presence of mind. ‘ And what an imagination he had! Not so rarely, it ran away with him, both when he built the wildest castles in the air, or – to put it bluntly – told lies. He was just as much a virtuoso at lying – but mostly for fun and in all inno cence. Even when there was no apparent reason. Thus, he firmly and categorically insisted to me that he had never heard Paganini play … his great, international “Brother in Spirit”. Of course I believed him. Later, thanks to let ters Bull himself had written, a lady of our common acquaintance was able to prove beyond any doubt that he had heard Paganini in Paris and was in seventh heaven over his playing. ‘ I also remember an evening when Bull attended a gathering at the home of a major Norwegian magnate and – contrary to habit – had brought his violin. Bull displayed and explained the instrument … and began to talk about the history and construction of the violin … that is to say, he lied, like never before … lied with the pleasure of a Till Eulenspiegel behind a mask of utter seriousness. When he
sindsvagt vanskeligt, men som Barneleg – og saa skønt! Ogsaa som Komponist var han et Geni – Avtodidakt, som han var, uden virkelige teoretiske Kundskaber. Men hvilken Tonedigter! Han spillede noget, han kaldte «En Nat i Sevilla» ... der var forunderlig smukt. Han havde ogsaa en Orkester-Komposition, «Niagara», der begynte med en enkelt Tone i Bratschen, saa kom flere til, de andre Strygere ... et mægtigt cre s c e n d o, indtil Vandfaldet styrtede ned i al sin Vælde ... da hører man med ét en Nordmand, der staar ved «Fossen», synger en Hjemlands-Sang (en Nord mand maatte han nu altid have med paa Billedet) ... man kan jo smile, men Sangen, Melodien var henrivende. Tag blot «Sæterjentens Søndag»... saa enkel og dog saa stærk. Kun Geniet skriver en saadan – Bagatel. Skade, der aldrig blev noget af en Plan, som udgik fra Ole Bulls efterlevende anden Hustru, en amerikansk Dame, Datter af en Senator. Hun korresponderede med mig om en hel Del af Ole Bulls Kompositioner, som han havde efterladt i Manuskript ... jeg kendte hans Manuskript og hans Noder, der knapt var til at læse. Meningen var, jeg skulde gennem set, revideret og udgivet dem. Jeg skulde nok være kommet igennem det og have faaet noget ud af det. Desverre løb det i Sandet. Noget let Arbejde var det nu ikke blevet, saa lidt som det var let for Orkester og Dirigent at følge ham til hans egne Ting. For midt i kunde det om Aftenen godt falde ham ind at improvisere en hel Mængde, som der ikke stod et Muk om i Noderne – saa gjaldt det om at have Konduite. Og hvilken Fantasi, han havde! Den løb ikke saa sjældent løbsk med ham, baade naar han byggede de vildeste Luftkasteller eller rent ud sagt – løj. Han var ligefrem Virtuos i at lyve – som oftest for Løjer og i al Uskyldighed. Ogsa uden paaviselig Grund. Saaledes paastod han bestemt og kategorisk overfor mig, at han aldrig nogensinde havde hørt Pa g a n i n i spille ... hans store, Internationale «Broder i Aanden». Naturligvis troede jeg det. Senere kunde en Dame af vort fælles Bekendtskab af Bulls egne Breve abso lut b e vi s e, at han ha vd e hørt Paganini i Paris og var i den syvende Himmel over hans Spill. Jeg mindes ogsaa en Aften, da Bull var i Selskab hos en stor, norsk Magnat og –imod Sædvane – havde sin Violin med. Instrumentet blev af Bull forevist og forklaret ... og Bull begyndte at fortælle om Violinens Historie og Byg ning ... det vil sige, han løj, som aldrig før ... løj med en Till Uglespils Lystighed under gravalvorlig Maske. Da han kom til Violinens Hoved, tabte han ganske Traaden, kunde ikke hitte rede i sine egne Løgne ... blinkede saa polisk og for
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got to the head of the violin, he fairly lost his thread and was unable to find his way among his own lies … then he slyly and with a certain understanding glanced over at me (who by that time had already made a name for myself ); of course I had to try to come to his aid … to the best of my ability. ‘ But his playing …’
staaende hen til mig (der allerede da havde faaet Navn); saa maatte jeg jo se at komme ham til Hjælp ... etter fattig Evne. Men som han spillede ...»
Although Benestad and Schjelderup-Ebbe date the work to 1872, there is no substantial source to corroborate this, since the first manuscript is no longer extant. Therefore, the work may have been completed in 1873, perhaps not too long before Svendsen conducted the premiere on 18 February in the large hall of Logen in Christiania. The critic for the Norwegian daily Aftenposten called attention to Svendsen’s ‘brilliant harmonization’:
Benestad og Schjelderup-Ebbe daterer verket til 1872, men vi har ingen konkrete kilder å bygge på, siden det første manuskriptet er tapt. Det er derfor også mulig at verket først ble ferdig året etter, i 1873, kanskje ikke så lenge før urfremføringen 18. februar. Den fant sted ved en konsert i Logens Store Sal i Christiania, dirigert av Johan Svendsen selv. Kritikeren i Aftenposten pekte på en «genial harmoni sering»:
For the occasion, Mr Svendsen had also prepared a characteristically brilliant harmonization of ‘Sæter jentens Søndag’ by Ole Bull, a work that earned the unanimous approval of the audience, as did ‘Aftensang’ by Schumann, arranged for orchestra by Mr Svendsen.
Hr. Svendsen havde for Aftenen ogsaa paa sin eien dommelige geniale Maade harmoniseret «Sæterjen tens Søndag» af Ole Bull, et Arbeide der vant Publikums udelte Bifald, ligesom ogsaa «Aftensang» af Schumann, der var arrangeret for Orkester af Hr. Svendsen.
AFTENPOSTEN, 19 FEBRUARY 1873.
Svendsen subsequently included the arrangement in many of the programmes he conducted. Following the first concert of the Norwegian Music Society’s 1880/1881 season on 6 November 1880, the monthly music journal Nordisk Musik-Tidende wrote:
AFTENPOSTEN, 19. FEBRUAR 1873.
Svendsen fant også senere plass til arrangementet på mange av konsertene han dirigerte. Etter Musikforeningens første konsert i sesongen 1880–1881, 6. november 1880, skrev Nordisk Musik-tidende dette:
With great refinement, the string orchestra performed Svendsen’s enticingly beautiful arrangement of Ole Bull’s ‘Sæterjentens Søndag’ and an ‘Andante cantabile’ by Tchai kovsky – an interesting and appealing composition, – both of which were received with applause.
Af Strygeorkestret foredrogs med megen smag Svendsens ind smigrende skjønne Bearbeidelse af Ole Bulls «Sæterjentens Søndag» og en «Andante cantabile» af Tshaikowsky – en interessant og anslaaende Komposition, – der begge modtoges med Bifald.
Aftenposten’s review of 9 November commented on the morendo effect:
Aftenposten anmeldte konserten 9. november og la merke til morendo-virkningen:
Mr Svendsen’s arrangement of ‘Sæterjentens Søndag’ and an ‘Andante cantabile’ by P. Tchaikovsky played con sor dino; the way in which Mr Svendsen understands to draw a morendo and a piano pianissimo from the orchestra is worthy of general admiration.
Hr. Svendsens Arrangement af «Sæterjentens Søndag» og en «Andante cantabile» med Sordiner af P. Tschaikowsky; den Maade hvorpaa Hr. Svendsen forstaar at faa Orkesteret til at frembringe et morendo og et piano pianissimo maa vække almindelig Beundring.
In 1882, when Svendsen presented his music in Copenhagen, the work was scheduled for the second of two concerts Svendsen gave that autumn. The critics wrote:
Da Svendsen skulle presentere seg i København i 1882, ble arrangementet fremført på den andre av to konserter som Svendsen holdt denne høsten. Kritikerne mottok stykket med følgende omtaler:
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Here, one immediately realizes what a fine and brilliant musician Svendsen is. How wonderfully these little pieces are made! DAGSAVISEN, 23 OCTOBER 1882.
Among Johan Svendsen’s specialties are his beautifully crafted arrangements of folk songs and other small melo dies; Sæterjentens Søndag and Norwegian Folk Dance were given a superb performance by the string orchestra;
Der ser man ret, hvor fin og aandring en Musiker Svendsen er. Hvor fint og skønt er ikke disse Smaating gjort. DAGSAVISEN, 28. OKTOBER 1882.
DAGBLADET, 23 OCTOBER 1882.
En Specialitet har Johan Svendsen i sine fint anlagte Bear bejdelser af Folkesange og andre smaa Melodier; Sæter jentens Søndag og Norsk Folkedans udførtes fortrinlig af Srygeorkesteret;
Thus, the reviews were extremely positive, and in the spring of 1883, Svendsen was offered the post of music director at the Royal Theatre in Copenhagen. That spring, Svendsen held a farewell concert in Christiania which included Sæterjen tens Søndag and I Fjol gjætt’e Gjeitinn. The critic for the Nor wegian daily Dagen wrote:
DAGBLADET, 23. OKTOBER 1882.
Mottakelsen var med andre ord svært god, og våren 1883 fikk Svendsen tilbud om å bli kapellmester ved Det Kongelige Teater i København. Ved en avskjedskonsert i Christiania samme vår ble Sæterjentens søndag og I Fjol gjætt’e Gjeitinn mottatt slik av avisen Dagens kritiker:
[…] these arrangements are small masterpieces as regards the use of the string instruments’ resources and cannot be listened to often enough when they are performed as splendidly as under the leadership of Mr Svendsen.
[...] hvilke Bearbeidelser ere smaa Mesterverker i Henseende til Udnyttelsen af Strygeinstrumenternes Resourcer og som ikke kan høres ofte nok, naar de foredrages paa en saa udmærket Maade, som under Hr. Svendsens Ledelse.
DAGEN, 9 APRIL 1883.
The arrangement of Bull’s melody met with the same enthusiasm when Svendsen presented his music in Stockholm the following year, also this time with two concerts dedicated to his own compositions.
DAGEN, 9. APRIL 1883.
Like godt ble arrangementet av Bulls melodi mottatt da Svendsen presenterte seg i Stockholm året etter, også der med to hele konserter med egen musikk.
The string arrangements of the Norwegian melodies ‘Sæterjentens Søndag’ and ‘I fjol gjette gjeitin’ revealed the composer’s exceptional ability to craft profound and at the same time easily intelligible harmonizations. The former of these led to rousing cheers, not least thanks to a superb per formance, and had to be repeated on account of bravo calls and storming applause.
Utomordentlig förmåga i på samma gång djupsinnig och lättfattlig harmonisering ådagalade tonsättaren i de för stråkinstrument arrangerade norska melodierna «Sæter jentens Söndag» og «I fjol gjette gjeitin». Den förra af dessa visor, som väckte stormande jubel, hvilket vel äfven gälde det förträffliga utförandet, måste i följd af bravoropen och de starka aplåderna omtagas.
STOCKHOLMS DAGBLAD, 9 MAY 1883.
‘Sæterjentens Söndag’ by Bull emerged as if transfigured, its sombre Sunday mood emanating ever so clearly.
STOCKHOLMS DAGBLAD, 9. MAI 1883.
NY ILLUSTRERAD TIDNING, 12 MAY 1883.
«Sæterjentens Söndag» af Bull framstod här liksom förklarad, hela den allvarliga helgdagsstämningen framträdde så klart.
The only surviving score is a fair copy Svendsen made while staying in Rome in March 1878, five years after the premiere. This fair copy provided the basis for publisher Carl Warmuth, who later that year printed the work under the title Sæterjen tens Søndag Melodie von Ole Bull; für Streichorchester har monisiert von Johan S. Svendsen (Solitude sur la montagne). Today, the manuscript is kept at the Royal Library in Copenhagen, which also holds a version for violin and piano in
NY ILLUSTRERAD TIDNING, 12. MAI 1883.
Vi har i dag bare en renskrift av et partitur som Svendsen lagde i Roma fem år etter urfremføringen, i mars 1878. Dette manuskriptet oppbevares i samlingene ved Det Kongelige Bibliotek i København. Partituret ble brukt da forleggeren Carl Warmuth trykte verket i 1878 med tittelen Sæterjentens Søndag Melodie von Ole Bull; für Streichorchester harmoni sirt von Johan S. Svendsen (Solitude sur la montagne). Ved
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Svendsen’s handwriting; the latter is not included in Benestad and Schjelderup-Ebbe’s work list. It was published in 1900 by Wilhelm Hansen, with Svendsen’s manuscript serving as the basis for the piano part. Hansen’s edition for solo violin and string orchestra, published the same year, was probably also prepared or approved by Svendsen. Here, the original top divisi part of the second violins was moved to the first violins, since the melody was assigned to the soloist. A letter from Svendsen to Alfred Wilhelm Hansen (1854–1923) shows that the ageing composer corresponded with his publisher about the publication of the two versions:
Det Kongelige Bibliotek finner vi også en versjon for fiolin og klaver i Svendsens håndskrift. Denne versjonen er ikke med i Benestad og Schjelderup-Ebbes verkliste. Wilhelm Hansen utgav versjonen i 1900, med Svendsens manuskript som utgangspunkt for klaverstemmen. Trolig er versjonen som Wilhelm Hansen trykte samme år for solo fiolin og strykeorkester, også tilrettelagt eller godkjent av Svendsen selv. Her er den stemmen som var øverste divisi i andrefiolin i strykeorkesterversjonen, lagt i førstefiolin, siden melodien er lagt til solisten. Et brev fra Svendsen til Alfred Wilhelm Hansen (1854–1923) viser at det var kontakt mellom den aldrende Svendsen og forlaget ved utgivelsen av de to versjonene:
Here you have the new score to Bull’s melody. I would like to talk to you regarding the front cover and other things, but I dare not and must not go out, and would therefore be grateful if you could come to see me in the course of the day. LETTER FROM JOHAN SVENDSEN TO ALFRED WILHELM HANSEN, 13 MARCH 1900. ROYAL DANISH LIBRARY.
Her har Du det nye Partitur til Bulls Melodi. Angaaende Titelbladet og andre Ting vilde jeg gjerne tale med Dig, men jeg tör og maa ikke gaa ud, og vil derfor være glad dersom Du kunde se til mig i Löbet af Dagen.
Svendsen dedicated the work to one of his good friends in Christiania, Alexius Ræder, who had supported the composer throughout his career. In 1864, Ræder tried to obtain a study grant for Svendsen, and in 1907 he engaged himself in the reinstatement of Svendsen’s composer’s salary from the Norwegian government. Ræder was also central in the organization and funding of Christiania’s Music Society and Quartet Society.
BREV FRA JOHAN SVENDSEN TIL ALFRED WILHELM HANSEN, 13 MARS 1900. DET KONGELIGE BIBLIOTEK.
Svendsen dediserte verket til en god venn i Christiania, Alexius Ræder. Ræder var en støtte for Svendsen gjennom hele karrieren. I 1864 prøvde Ræder å skaffe studiestipend til Svendsen, og i 1907 kjempet han for at Svendsen skulle få tilbake sin norske komponistgasje. Ræder var også en av de sentrale personene bak organiseringen og finansieringen av Musikforeningen og Kvartetforeningen i Christiania.
Andantino quasi Allegretto A number of unanswered questions surround Svendsen’s Andantino quasi Allegretto, JSV 49. A manuscript with this title can be found on the same sheet of music paper as Svendsen’s arrangement of Schumann’s ‘Träumerei’ from Kinderszenen, Op. 15, kept at the National Library in Oslo (Mus.ms. 7888). It is uncertain whether Andantino quasi Allegretto represents an original composition or whether it, too, is an arrangement. The fact that it contains few of Svendsen’s otherwise typical stylistic features seems relevant in this regard. The thematic material gives the impression of an earlier, almost classical Viennese style. We know of a few other pieces with the same title. So far, however, it has not been possible to identify an original by another composer. The manuscript is scored for violin 1, violin 2, viola, two cello parts and bass – to all appearances written for string orchestra, even if the term ‘Basso’ is used in its singular form – and Svendsen’s instrument designations correspond to those of other works definitely intended for string orchestra. Additionally, violin 2 and viola are marked divisi in a number of places, and there are two cello parts throughout. The score
Andantino quasi Allegretto Det er flere ubesvarte spørsmål omkring stykket Andantino quasi Allegretto, JSV 49. Manuskriptet med denne tittelen er plassert i det samme manuskriptet som arrangement Svendsen har gjort av Träumerei fra Kinderszenen, op. 15 av Robert Schumann. Dette manuskriptet er oppbevart ved Nasjonalbiblioteket i Oslo som Mus.ms. 7888. Vi vet ikke sikkert om Andantino quasi Allegretto er en originalkomposisjon, eller om også dette stykket er et arrangement. Det er et relevant synspunkt at stykket ikke inneholder så mange av Svendsens typiske stiltrekk. Det tematiske kan nesten virke eldre.Det finnes mange stykker med denne tittelen, men det har likevel ikke vært mulig så langt å identifisere en original av en annen komponist. Besetningen i manuskriptet er fiolin 1, fiolin 2, bratsj, to cellostemmer og bass – etter alt å dømme et stryke orkester, selv om termen «Basso» er brukt i entall. Svendsen har notert besetningen på samme måte i andre partiturer
XII
does not include a date. Benestad and Schjelderup-Ebbe have dated the arrangement of Träumerei to 1872, probably since Svendsen’s other Schumann arrangement for string orchestra, ‘Abendlied’ from 12 vierhändige Klavierstücke für kleine und grosse Kinder, Op. 85, was written that year. In Andantino quasi Allegretto, both cres and cresc occur in the same bar (b. 10). In 1866, while studying in Leipzig, Svendsen changed his spelling of the term from cres to cresc, and both spellings coexist in a number of manuscripts from that year. Nonetheless, the one cres in this particular manuscript may be sporadic, even if the score originated at a later date. The shape of the bass clef is the most important clue to dating the score to the 70s or later, since Svendsen’s bass clef did not assume the shape we find in the manuscript before that time. The penmanship behind the instrument names points to the 1870s as well.
der det definitivt er snakk om strykeorkester. Dessuten er det divisi noen steder i andrefiolin og bratsj, i tillegg til at det gjennomgående er to cellostemmer. Svendsen har ikke datert partituret. Finn Benestad og Dag SchjelderupEbbe har datert Träumerei-arrangementet til 1872, trolig siden Svendsens andre arrangement for strykeorkester av et Schumann-stykke, Abendlied, er fra det året. I Andantino quasi Allegretto opptrer både termen cres og cresc i samme takt (takt 10). Det var i 1866, under studietiden, at Svendsen endret skrivemåte på denne termen, fra cres til cresc, og begge skrivemåtene finnes samtidig i noen manuskript fra akkurat det året. Den ene cres akkurat i dette manuskriptet kan likevel være tilfeldig, også om partituret skulle være yngre. F-nøkkelens utforming er det viktigste tegnet på at partituret er fra 70-tallet eller senere, siden Svendsens F-nøkkel ikke fikk den ut formingen vi ser i manuskriptet, før da. Også måten instrumentnavnene er skrevet på, peker mot 1870-tallet.
Bjarte Engeset Translation: Thilo Reinhard
NOTES Bjarte Engeset
Christiania was the name of today’s Oslo from 1624 to 1924. In 1877, the spelling Kristiania was adopted in land registers and government documents, and from 1897 also by the city’s municipal agencies. On 1 January 1925, the official name was once again changed to Oslo. In Johan Svendsen’s Works, we use the spelling Christiania in connection with events that occurred during Svendsen’s lifetime. 8
NOTER
Olav Gurvin and Øyvind Anker: Musikkleksikon. New revised edition, Oslo, 1959. 9
Christiania var navnet på Oslo fra 1624. Fra 1877 ble navnet skrevet Kristiania i matrikkel og statskalender og fra 1897 også av byens kommunale etater. Oslo ble igjen offisielt navn 1. januar 1925. I Johan Svendsens Verker bruker vi skrivemåten Christiania i omtalen av hendelser som skjedde i løpet av Svendsens liv. 1
2
Musik in Geschichte und Gegenwart, first edition (1949–1968, supplement 1973–1986). 10
Finn Benestad and Dag Schjelderup-Ebbe (1990): Johan Svendsen: Mennesket og kunstneren, Oslo, p. 314. 11
Olav Gurvin og Øyvind Anker: Musikkleksikon. Ny revidert utgave, Oslo, 1959.
Fredrik Ursin’s (1825–1890) manuscript version of Et Sæterbesøg for violin and piano is kept at the National Library of Norway, Oslo, Mus.ms. 186.
3
Musik in Geschichte und Gegenwart, first edition (1949–1968, supplement 1973–1986).
12
4
Finn Benestad og Dag Schjelderup-Ebbe (1990): Johan Svendsen: Mennesket og kunstneren, Oslo, s. 314.
13
Fredrik Ursins (1825–1890) manuskriptversjon av Et Sæterbesøg for fiolin og piano er oppbevart ved Nasjonalbiblioteket i Oslo, Mus.ms. 186.
14
Benestad and Schjelderup-Ebbe, p. 73. The date specified here, 20 June, is incorrect.
5
6
Benestad og Schjelderup-Ebbe, s. 73. Her er datoen 20. juni feilaktig oppgitt.
7
Benestad og Schjelderup-Ebbe, s. 112.
XIII
Benestad and Schjelderup-Ebbe, p. 112.
XIV
ABENDLIED BY ROBERT SCHUMANN, ARRANGED BY JOHAN SVENDSEN, AUTOGRAPH SCORE, FIRST PAGE, SOURCE A. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7890
XV
ABENDLIED BY ROBERT SCHUMANN, ARRANGED BY JOHAN SVENDSEN, AUTOGRAPH SCORE, FIRST PAGE, SOURCE B. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7893
XVI
ABENDLIED BY ROBERT SCHUMANN, ARRANGED BY JOHAN SVENDSEN, COVER PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE C. PUBLISHED BY CARL WARMUTH (1887).
XVII
ABENDLIED BY ROBERT SCHUMANN, ARRANGED BY JOHAN SVENDSEN, FIRST PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE C, PUBLISHED BY CARL WARMUTH (1887).
XVIII
TRAÃœMEREI BY ROBERT SCHUMANN, ARRANGED BY JOHAN SVENDSEN, AUTOGRAPH SCORE, SOURCE A. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7888.
XIX
THE HERD-GIRL’S SUNDAY BY OLE BULL, ARRANGED BY JOHAN SVENDSEN, AUTOGRAPH SCORE, COVER PAGE, SOURCE A. THE SCORE IS KEPT IN MUSIKMUSEET IN COPENHAGEN, NODEMANUSKRIPTER, MS. 177.
XX
THE HERD-GIRL’S SUNDAY BY OLE BULL, ARRANGED BY JOHAN SVENDSEN, AUTOGRAPH SCORE, FIRST PAGE, SOURCE A. THE SCORE IS KEPT IN MUSIKMUSEET IN COPENHAGEN, NODEMANUSKRIPTER, MS. 177.
XXI
THE HERD-GIRL’S SUNDAY BY OLE BULL, ARRANGED BY JOHAN SVENDSEN, SOURCE B: COVER PAGE OF THE PRINTED FIRST EDITION SCORE PUBLISHED BY CARL WARMUTH (1878).
XXII
THE HERD-GIRL’S SUNDAY BY OLE BULL, ARRANGED BY JOHAN SVENDSEN, FIRST PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE B, PUBLISHED BY CARL WARMUTH (1878).
XXIII
ANDANTE QUASI ALLEGRETTO, FIRST PAGE OF THE AUTOGRAPH SCORE, SOURCE A. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7888.
XXIV
Abendlied av Robert Schumann JSV 47
Abendlied by Robert Schumann
Abendlied (Robert Schumann) [JSV 47]
.œœ œ œ nœ œ
Ausdrucksvoll und sehr gehalten
I. Violini con sordini
II.
Viole con sordini
Violoncelli con sordini
Contrabbassi
j Œ ‰ œ œ . œJ œ œ π
bb &bbb c b & b bbb c bb &bbb c
∑
w
π
w
π
B bbbbb c œ œ π B bbbbb c œœ π ? bb b c bb w π ? bb b c bb π
w
? bb b c bb π
Vln. II.
cresc.
b & b bbb .
cresc.
Vle.
œ B bbbbb n cresc.
B bbbbb .
? bb b . bb
cresc.
Vc.
cresc.
? bb b n bb
cresc.
Cb.
? bb b n bb
cresc.
œ
œ
dim.
n
œ
b
b
n
œ œ
3
b . & b bbb
œ œ œ œ œ nœ bb b b œ n œ . nœ œ œ œ œ bœ ‰ & b J cresc.
w
8
I.
n
dim.
dim.
dim.
n
w
n π
dim.
π
n
n
dim.
dim.
π
œ nœ
π
œ.
œ œ
œ .
nœ nœ
œ œ
π π
∑
∑
œ J
œ bœ œ.
œ
j b œ . œ- œ- œ-
∑
Copyright © 2018 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O.14165 A
œ . œ- œ- œJ
j
n
F
œ b œ œ . œj œ nœ
cresc.
dim.
Œ œ œ œ œ Œ F cresc. dim. Œ bœ œ bœ œ bœ F cresc. dim. œ œ œ œ bœ Œ F cresc.
dim.
π
œ . œ- œ- œ-
ΠF
∑
n œ . œj œ
∑
∑
Œ œ bœ œ œ nœ œ bœ F cresc. dim. π
.
œ . œj œ n œ
∑
j
j
œ . œ- œ- œ-
J
n
p
J
œ.
œ . œ- œ- œ-
œ . œJ œ œ
œ
œ. œ œ nœ œ œ
j
∑
œ .
œ bœ
œ œ
∑
π π
∑
œ bœ
π
œ œ
œ. œ œ œ J
w
dim.
π
Œ œ
Œ œ p
œ. œ J
π
œ œ œ j Œ ‰ œ œ . œJ œJ œ œ œ œ œ J
œ nœ
π
œœœœ œ Œ
Johan S. Svendsen
œ nœ. j œœ œ œ
œ œ œ œ nœ
cresc.
Œ bœ F cresc.
π œ œ œ bœ π dim. dim.
Œ œ bœ œ œ nœ œ Œ F cresc. dim. π
b & b bbb . π
15
I. Vln. II.
Vle.
Vc.
Cb.
œ
b & b bbb
∑
b & b bbb
∑
Vln. II.
Vle.
Vc.
Cb.
j
nœ
b œ . œ- œ- œJ π
B b b b b b œ . œj œ œ - - -
J
œ . œ- œ- œJ
œ. bœ œ œ J
? b b œ . œ- œ- œ- n œ . Jœ œ œ bbb J ? b b œ . œj œ bbb œ ? bb bbb
b œ. & b bbb F
∑
b & b bbb n > F b & b bbb > F > B bbbbb F > B bbbbb œ œ F ? b b b n > bb F ? b b b > bb F ? bb b bb
œ œ- œJ
œ œ œ œ
œ œ œ œ
∑
Ÿ Ÿ Ÿ~~~~~~~~ œ. œ nœ œ œ
œ . œ- œ- œ-
π
B bbbbb œ . œ œ œ J
23
I.
œ. œ œ œ J
œ bœ œ œ œ. œ . œ œœ Œ J
œœ
cresc.
∫
œ œ
b
œ œ
n
b
œ œ
n
cresc.
cresc.
cresc.
b
cresc.
∑
∑
∑
∑
∑
∑
∑
∑
.
œœ œ œ œ œ œ œ œ œ
p
cresc.
œ œ œ bœ œ œ nœ œ œ œ ∫œ œ w
p
cresc.
œ œ œ.
p
j œ œ ∫œ œ nœ bœ œ œ w cresc.
œ œ œ bœ œ œ
Œ
Œ
p p
œ.
.
j œ. ∫œ . p
œ œ J
œœ w
p
œ
dim.
F
dim.
w
nœ œ w
w
cresc.
∑
dim.
dim.
∑
3
w
π
f
π
f
π
f
π
œ
bw
œ nœ œ Œ œ œ
∑
∑
∑
π
π
p
π
p
π
p
π
p
π
p
π
∑
w
π
morendo
w
œ
morendo
morendo
morendo
morendo
w
morendo
π
morendo
∑
∑
p
œ œ œ Œ œ ∫œ
f
dim.
dim.
w
œ œ œ Œ œ œ
f
œ nœ œ Œ
J
p
dim.
œ. œ œ œ œ œ
œ œ œ Œ œ bœ
≥ œ œ œ œ œ œ Œ œ œ -
F
cresc.
∑
f
cresc.
Œ œ p
∏
∑
U
.
U
.
U
. U
Œ Œ Œ
.
Œ
.
Œ
U
U
.
Œ
.
Œ
.
Œ
U
U
Träumerei av Robert Schumann JSV 48
Träumerei by Robert Schumann
Träumerei
(Robert Schumann) [JSV 48]
&b c
I.
p & b c Œ .. Œ
Violini II.
Violoncelli
II.
Vle.
Vc.
Cb.
&b &b Œ
œ bœ
.
F
?b
w
‰ œ#œ œ F ‰ j ∑
17
I. Vln. II.
Vle.
Vc.
Cb.
œ ..
œœœœ
&b p &b Œ
.
p
B b Π. . p ?b w p ?b w p
œœ œœ œœ
œ
œ Œ
∑
œœ
∑
.
œ œ
œ ..
œ Œ
Œ
Œ
Π. .
œ œ œ œœœœœœ w ∑
.
F
p
F œ ..
p
œ œ
œ.
j
#œ œ.
∑
p
∑
œœ œœ œœœ œœ œ œœ
œ
œœ œ œœ
Œ
œœ œ œœœ œœ œ
Œ
œ dim.
dim.
œ dim.
œœ ∑
p
∑
w p
π
∑
.
œ
π
Œ . . π
œ œœœœ œœ w
π
œ . œJ œ . œJ
p
∑
œ œ b œ œ .. ..
∑
œ œ œ œ œ œ œ. œ œ. j œœ œœ œ . œ J œ . œjœ œ œ œ . œ
j #œ œ œ
œ # œ œ . œ œ . œJ
œœ œ
œ
œ.
œ # œ œ . œJ œ œ œ œ œ J J
∑
∑
œ
∑
œ Uœ . rit. œœœ œœ œœ œ œ œ U œ œ œ œ œ œœœ œœ ∏ dim. π f
Œ
p
F
F
‰ œJ F
. œ Œ .
œœ .. œ œ . œ n œ œ œ œ œ Œ .. J J
#œ œ œ ‰ œ #œ œ
Π.
œ # œ œ . œj œ . b œJ œ . œ œ œ œ œ w J
j œœ .. b œ œ œ œ # œ n
..
œ #. F ∑
p
j œ œœœœ œœŒ
dim.
œ
Œ
œ œ. œ œ œ œ œ œœ œ. bœ œ nœ. œ œ . j .. J œ
œ œ œ œ œ œ œ œ . œj œ . j ‰ j œ œ œ œ œ œ œ œ F p œ j œ Œ Œ j . œ . bœ œ œ œ œ. œ œ œ . F
œ#œ œ
œ
F
œ
œ œ œ œœœ
œ œ œ œ œœœ œ œ œ œ
F
B b Π. . ?b
p
bœ œœœœ œ
9
.
œ
? b c Π.. w p
Contrabbassi
Vln.
.
B b c Π.. Π. . p ? b c Π.. w p
Viole
I.
œ
œ œ œ œœ œœ œ œ œ œ œœ œœœœ œ
..
Johan S. Svendsen rit.
U
. . f
π
f
π
U .
œ n. œ U
∑
Copyright © 2018 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O.14165 A
œ
œ n. f U Œ . f
œ #œ œ
U
œ
U
dim.
œ b œ œ œ œœ œ œœ œ œ œ œ
π
œ Œ
π
bœ œ
∏
dim.
∏
dim.
∏
U
U
Œ œ
dim.
∏
Sæterjentens Søndag av Ole Bull (Versjon for strykeorkester) JSV 54
The Herd-Girl’s Sunday by Ole Bull (Version for String Orchestra)
Säterjentens Söndag (Ole Bull) [JSV 54]
œ œ œ . œ œ . j œ œ . œ œ . œJ œ œ . œ œ œ . œ œ Œ œ ≥
Adagio e = 92
# & # c
I. Violini
∑
# & # c # & # c
II.
Viole
Violoncelli
Contrabbassi
B ## c B ## c
∑
∑
∑
∑
∑
∑
w
w
p
? ## c w p ? ## c w p ? ## c
Vln. II.
Vle.
Vc.
Cb.
w
p p
w
p p
w
p
w
∑
∑
? ## w ? ##
œ #œ
œ #œ
nœ œ
nœ œ
π
π π
π
π
w
π
p
w
f œ-
f œ-
f œ-
f œ-
π bœ ‰ J π j‰
œ
π bœ ‰ J π
n
w
w
w
#œ œ
#
n
w
#œ œ
#œ œ
w
w
œœ œœ . œ œ- œ # œ œ œ J œ n œ œ œ . œ œ œ
B B
f œ-
f œf
Œ
œ œ œ ten. œ œœ
ten.
œ #œ œ œ œ œ œ œ œ #œ œ œ œœ œ œ œ œœ œ ∑
Copyright © 2018 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O.14165 A
œ œ . œ œ . œj
#
π
p
Johan S. Svendsen
w
π
p
# # œ œ . œ œ . œJ œ œ . œ œ œ . œ j ‰ œ & π j # œ #œ . # œ n œœ ‰ & # π # j‰ & # w w œ π j B ## w . œ ‰ #œ π # j B # œ #œ nœ ‰ ? ##
w
w
8 I.
p
ϲ
J
cresc.
œ œ œ œ cresc.
œ œ œ œ œ œ #œ œ cresc.
œ œ #œ œ cresc.
œ œ #œ œ nœ cresc.
œ œ #œ œ nœ cresc.
cresc.
∑
ƒ
#
ƒ ƒ
ƒ
ƒ
#
ƒ
ƒ
∑
w
#œ œ
> œ‰
œ
J
œœ ..
‰ π n œœ .. ‰ π œ . nœ . ‰ n π œœ .. ‰ π œ. ‰ ?
œ.
π
‰ ? π
π
π
œ ## œ œ . œ œ . j œ œ . œ œ . J œ œ . œ œ œ . œ œ œ. &
15 I.
sempre
Vln. II.
Vle.
Vc.
Cb.
# & # w
Vln.
B ## ? ## ? ## ? ##
&
B ##
? ## ? ##
w
π π
sempre π
sempre
sempre
? ##
Cb.
w
w
B ##
Vc.
# & # &
sempre
w
sempre
sempre
.
œ œ
.
œ œ
.
π
œ œ
π
œ œ œœ #œ nœ
π
.
Œ
∑
∑
∑
.
Œ
∑
∑
∑
w
.
Œ
∑
∑
∑
w
.
Œ
∑
∑
∑
π π π
œ œ
.
œ .
w
.
π
π
œ
œ œ
.
œ
œ œ
œ œ
.
œ
œ nœ œ œ
œ nœ œ œ
∑
π
œ œ œ œ
n sempre π
w
π
n
#œ œ #œ œ
π
∑
œ
sempre
∑
œ
π
#
œ
π
Œ
n π
sempre
œ œ nœ
œ œ œ . œ œ . j œ œ . œ œ . œJ œ œ . œ œ œ . œ œ œ
## œ
##
w
B ##
II.
Vle.
sempre
# & #
22 I.
π
j œ j . œ œœœ œœ œ œ œ œ # œ œ œ œœ œ œ œ . œ œ œ div.
œ œ
b
w
b
œ
œ œ
œ œ œ œ 11
π
∑
Œ
w
Πrit.
w
w
w
w
w
w
w
π π π π
w
w ∑
w
π
U
w
∏ morendo U
w
π
π
œ
w
∏ morendo
U
w
∏ morendo U
w
∏ morendo U
w
∏ morendo U
w
∏ morendo U
w
∏ morendo U
w
∏ morendo
Andantino quasi Allegretto JSV 49
Andantino quasi Allegretto
Andantino quasi Allegretto [JSV 49]
Johan S. Svendsen
Andantino quasi Allegretto
I. Violini II.
Viole
Violoncelli
Contrabbassi
Vln. II.
Vle.
Vc.
Cb.
# œ
&
# & œ
15
I. Vln. II.
Vle.
#
Cb.
#œ
nœ
œ
B # œ #œ
?# ?#
œ
œ nœ
œ œœœ
œ œ #œ œ œ œ œ
œ
œ ∑
œ #œ
#œ
œ œ œ.
& œ œ #œ œ œ œ œ œ
?# Vc.
œ
œœœœœ œ œœœ
∑
Œ
œ
œ #œ #œ #œ #œ œ #œ œ œ œ œ œ cresc. F p # ≈ œ ≈ œ #œ ≈ œ œ ≈ œ #œ ≈ #œ ≈ nœ œ ≈ œ ≈ ≈ œ œ ≈ œ œ #œ ≈ œ œ œ ≈ œ œ #œ & œ œ œ œ œ œœ œ œœ œ œ #œ œ F cresc. p œ œ œ œ œ œ œ œ B# œ #œ œ #œ œ #œ #œ œ œ F cresc. p arco œ œ œ #œ #œ œ œ œ œ œ œ œ #œ ?# œ #œ nœ cresc. F p œ œ œ œ œ #œ #œ œ ?# œ œ œ œ #œ œ #œ nœ F cresc. p ?# ∑ ∑ ∑ ∑ ∑ ∑
9
I.
# 2 œ œ œ œ œ œ œœœœœœœ œ œ œ œ œ œ œ œ & 4 œ œ œ p # œ & 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œœœ œ p # 2 B 4 œ œ œ œ œ œ œ œ p pizz. œ œ œ œ ? # 2 œœ Œ ∑ Œ ∑ œœ Œ œœ œœ Œ œœ Œ 4 œ p ?# 2 4 p ? # 42 pizz. Œ Œ Œ œ œ Œ œ Œ œ œ Œ œ Œ œ p
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p
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pizz.
p
p
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p
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Copyright © 2018 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O.14165 A
œ
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23
I. Vln. II.
Vle.
&
#
B# ?#
Vc.
Cb.
?# ?#
œ œ
œ œœœ œ
∑
œ
# & œ
Vln. II.
Vle.
Vc.
Cb.
# & ‰ B# ‰ ?# ‰ ?#
?# œ 34
I. Vln. II.
Vle.
œ
&
Cb.
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J
J
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J
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J
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j
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J
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‰
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j œ ‰
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j
j œ ‰
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œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
∑
R
j
œ
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J
‰
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∑
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œ
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œ
œ
‰ œJ ‰
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# œ œ œ œ #œ œ œ œ nœ œ œ œ œ œœœ
?# Vc.
j
œ
J
œ
œ
‰ œj ‰ ‰ œœ ‰ J
J
pizz. ‰ Jœ ‰
œ œœœœœœ œ j œ ‰
œœ
pizz.
Œ
œ
œ
‰ œœ ‰ J
∑
Œ
29
I.
j
pizz. ‰ œj ‰
œ œœœ
œ œ œœœœ œ œœœ œ œ œœ œ œ œ œœœœœœ
œ œ œj œ . œ œ
œ
œœœœœ
œ
‰
J
j ‰
œ
œ J
‰
J
‰
œ
j ‰
œ
œ
œ
j ‰
œ
œ
J
œ
J
œ
œ
œ
œ œ œ œ œœœœœœœœ œ
œ
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œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœ œ œ œ œ œ œ œ œ
p
œ
p
œ œœ
pizz.
p
p
pizz.
œ
p
Œ
Œ
œ œœ
œ
Œ
Œ
15
œ
∑
Œ
œ œœ
Œ
œ
Œ
œ œ œœ
œ
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œ
œ Œ
Œ
# & œ œ
42
I. Vln. II.
Vle.
&
#
œ œœœ œ
B#
?# Vc.
Cb.
Vln. II.
Vle.
?#
?#
Cb.
Œ
œ
b &b œ
∑ Œ
œ
œœœ
œ œœœ
œ œ œ œ
Vln. II.
Vle.
Vc.
Cb.
œ
œ œ œ
œ
œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
#
œ
dim.
œ œ œ
B bb b œ œ œ ? b œ b ? bb
œœ œ œ œ œ
œ
œ
œ
∑
? bb
∑
?# ?#
œ
p
p
pizz.
œ
p
Œ
Œ
nœ œ œ œ
∑
œ œœ
Œ
œ
Œ
œ
Œ
œœœ
Œ
œ
Œ
œ œœ
œ 16
œ Œ
Œ
œ
œ
œ
œ œ œœ
œ
œ
# #
∑
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œ œ
Œ
Œ
#
∑
∑
œ
œ
dim.
œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ
œ œœ
œ
œ
œ
dim.
∑
∑
œœœœœœœ œ œ œ
œ nœ #œ
∑
∑
∑
œ œ œ œ
∑
# œ œ œ œ œ œ & œ œ p # & œ œ œ œ œ œ œ œ œ œ œ œ p B# œ œ œ œ p pizz. ? # œœ
≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ nœ ≈ nœ ≈ bœ ≈ œ ≈ œ #
∑
54
I.
œ œ œ œ
# b œ œ ≈œ≈œ≈œ≈œ ≈ ≈œ≈œ≈œ ≈ ≈ ≈ œ≈ œ ≈ œ ≈ ≈ ≈ &b ≈ œ œ œ ≈ œ œ ≈ œœœ≈ œœ œ œ œ #œ #œ œ dim.
unis.
Vc.
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œ
f bb ≈ œ œ œ œ œ ≈ œ œ ≈ œ œ œ ≈ œ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ #œ f œœ œœ ≈œ≈œ≈œ≈œ œ œ œ ≈ ≈ œœ ≈ œœ ≈ œœ bb œ œ œ œ œ œ f arco œ œ œ œ œ œ #œ nœ #œ œ bb œ œ f œ œ œ œ œ œ œ #œ nœ #œ œ bb œ f ∑ ∑ ∑ ∑ bb
œœœ
œ
œœœ
bb œ
œœœœœ
∑
48
I.
œ œ
œœœœœ œ
∑
œ
œœœ ∑
Œ
œ
Œ
I. Vln. II.
œ œœœ œ œ œ
#
& œ œ œœœ œ œ œ
62
j
j j j œj j j œ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ œ & œ œ œ nœ œ ‰ œ #
div.
œ B # ‰ Jœœ ‰ œœ ‰ Jœœ ‰ n œœ ‰ n œœ ‰ œJ J J J div.
Vle.
Vc.
Cb.
?# œ ?# ?#
70
I. Vln. II.
Vle.
&
Cb.
œ
œ nœ
∑
# œ
œ
∑
∑
œ
∑
#œ
œ
œ
œ
Vln. II.
Vle.
Vc.
Cb.
œ
∑
∑
∑
œ
œ nœ
∑
œ
∑
∑
∑
j
œ
j
œ
‰
œ
‰ ‰
œ
∑
j œ ≈ œ #œ œ
œ Œ J
∑
œ
∑ ∑
#œ
nœ #œ nœ œ
œœœœœ œ
œ œ #œ nœ
œœœœœ
œ œ
œ œ
B# œ
œ
#œ œ œ nœ
pizz. œ œœ Œ
∑
?#
∑
∑
?#
∑
∑
∑
∑
#
B#
?#
∑
∑
∑
poco a poco ritardando e diminuendo
œ
œ
œ
œ œ œ œ œœœœœ œ
œ
œ
Œ
Œ
∑
∑
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Œ
Œ
œ œœ
∑
∑
œ 17
Œ
Œ
∑ ∑
œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ
? # œœ œ ?#
∑
∑
∑
# & œ œ œ œ œ œ œ œ œœœ œ &
∑
∑
78
I.
œ œ œ ‰ Jœ ‰ œ ‰ Jœ ‰ n œœ ‰ œ J J J
œœ œœ n œœ
∑
j j j j ‰ œ ‰ œ ‰ œ ‰ n œœ ‰ n œj ‰ œ œ œ
œœ œœ n œœ
‰
œ œ œ #œ œ #œ œ œ œ œ œ œ
# œ œ & ≈ œ œ ≈ #œ œ #œ ≈ œ œ ≈ œ œ #œ ≈ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ ?#
Vc.
œ œ œ nœ œ œ œ œ œ œ œœœ œ œ œ
∑
∑
œ Œ
∑
∑
pizz.
œ œ
œ œ
U
œ œ
œœ œœ
morendo
œ œ œ œœ Œ œ
œ
œ Œ
œ œ œ œœ Œ
œ œ œ Œ
U
∑
morendo
U
morendo arco
U
U
morendo
morendo arco
U
morendo
ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi DK-Km Musikmuseet, Copenhagen mvt. movement N-Onm The National Library, Oslo Pl. No. plate number stacc. staccato marking(s) str. strings ten. tenuto marking(s) Vle. Viole Vc. Violoncelli Vln. Violini
18
SOURCES
CRITICAL REPORT
Abendlied by Robert Schumann A Score, autograph B Score, autograph C Printed score, first edition CPTS Printed parts, first edition D Printed score, Hansen edition DPTS Printed parts, Hansen edition E Printed score, first edition of Schumann’s work
A
specific primary source is defined for each work in JSV. 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
The following conventions have been used:
Score, autograph N-Onm, Mus.ms. 7890 2 pages, 26x35 cm Hand-ruled music paper, 16 staves Pagination: 9–10 After the score: Darmstadt 18/4-72. / JSvendsen The score is placed after one of the manuscript scores for Svendsen’s orchestration of Wagner’s ‘Träume’ Written in ink (Johan Svendsen) Additions in blue crayon (Johan Svendsen)
• ‘By analogy with’ is used when something has been added, emended or omitted by analogy with another passage in the primary source. The analogy may be vertical: When something has been added ‘by analogy with’ one or more instruments, it is understood that the analogy involves the corresponding place within the same bar(s). Or it may be horizontal: When something is added ‘by analogy with’ one or more bars, it is understood that the analogy involves a parallel passage in the same instrument(s). • ‘As in’ is used when something is added, emended or omitted to correspond to the same place in another source. • ‘In accordance with’ is used when something is added, emended or omitted to correspond with a secondary source. • When JS uses the term ten., it is set in italics. Tenuto markings are written as ‘ten.’ • Very small variations in the placement of dynamics have been left uncommented. • In the ‘bar number’ column, the symbol ‘+’ is used to indicate an upbeat to the bar in question. • ‘Note 1’ means ‘main note 1’ (grace notes are not included in the numbering sequence). • Pitch is expressed as written in the parts. A written g’’ in a transposing Clarinet (B) part is thus described as g” (sounding f ”). • Middle c is defined as c’. Octave positions above middle c are specified as c’’, c’’’, etc. Octave positions below middle c are specified as c, C, C1, C2, etc.
Source B Score, autograph N-Onm, Mus.ms. 7893 4 pages, 34x26 cm Title page: Abendlied / von / Robert Schumann / für Streichorchester eingerichtet / von / Johan S. Svendsen Hand-ruled music paper, 20 staves Pagination: 1–4 Above the score: Abendlied Provenance: On the index card in the library archive: Gave Norsk Musikforlag 10.1.1968. [Gift from Norsk Musikforlag 1 Jan. 1968.] Written in ink (Johan Svendsen) Additions in red crayon and blue crayon
Source C Printed score, first edition Carl Warmuth, Christiania 1887 Title page: Abendlied / von / ROBERT SCHUMANN / für Streichorchester eingerichtet / von / Johan S. Svendsen Pl. No. 1321
19
Source CPTS
The Herd-Girl’s Sunday by Ole Bull (Version for String Orchestra)
Printed parts, first edition Carl Warmuth, Christiania 1887 Pl. No. 1321 Above each part: Abendlied / von / R. Schumann
A Score, autograph B Printed score, first edition BPTS Printed parts, first edition C Printed score, Hansen edition CPTS Printed parts, Hansen edition
Source D Printed score, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12612A Printed using Warmuth’s plates
Source A Score, autograph DK-Km Nodemanuskripter, Ms. 177 3 pages, 34.5x27.6 cm Title page: Seinem Freunde / Herrn Kapitän Alexius Räder / ‘Säterjentens Söndag’ / Melodie von Ole Bull / für / Streichorchester harmonisiert / von / Johan S. Svendsen Hand-ruled music paper, 24 staves On the cover and after the score: Rome Marts 1878 / JSvendsen This date has been crossed out on the cover, probably since it was not supposed to appear in the printed edition The score has the same format and similar date markings as the autograph scores of Two Swedish Folkmelodies, JSV 67, and I Fjol gjætt’e Gjeitinn, JSV 59 All of these works were composed before Svendsen’s stay in Rome in 1878, and the scores were prepared to serve as printer’s copies Written in ink (Johan Svendsen)
Source DPTS Printed parts, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12612A Printed using Warmuth’s plates
Source E Printed score, first edition of Schumann’s work J. Schubert & Co., Leipzig und New York, 1850 12 / vierhändige / Clavier-Stücke / für / kleine und grosse Kinder / von / Robert Schumann Pl. No. 1400
Träumerei by Robert Schumann Source B A Score, autograph B Printed score, first edition of Schumann’s work
C: Printed score, first edition Carl Warmuth, Christiania 1878 Pl. No. 335 Reprinted in 1898
Source A Score, autograph N-Onm, Mus.ms. 7888 1 page, 27x34,2 cm Hand-ruled music paper, 18 staves No title There are two manuscripts under this shelf mark. The second manuscript is an autograph score of Andantino quasi alle gretto, JSV 49 Written in ink (Johan Svendsen)
Source BPTS Printed parts, first edition Carl Warmuth, Christiania 1878 Pl. No. 335 Reprinted in 1890, 1895, 1896, 1898
Source C
Source B
Printed score, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12613, Ed. nr. 657 Reprint of the Warmuth edition
Printed score, first edition of Schumann’s work Breitkopf & Härtel, Leipzig, 1839 Kinderscenen / Leichte Stücke / für das / Pianoforte / componirt / von / Robert Schumann. / Op. 15 Pl. No. 6016
20
Source CPTS
Pl. no. 12744 Two violins and harmonium Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12745
Printed parts, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. no. 12613 Reprint of the Warmuth edition
Published arrangements by others
Two violins and cello Arranged by August Reinhard Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12746
Violin and piano Arranged by Saenger Wilhelm Hansen, København & Leipzig 1902 Pl. no. 13149
Violin, viola and cello Arranged by August Reinhard Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12747
Cello and piano Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12736
Solo piano Arranged by Ludvig Schytte Wilhelm Hansen, København & Leipzig 1902 Pl. no. 13035
Flute and piano Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12737
Salon orchestra Arranged by Nicolaj Hansen Wilhelm Hansen, København & Leipzig 1920 Pl. no. Heimdal 83, 17418
Cello and harmonium Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12738 Violin and harmonium Arranged byAugust Reinhard Wilhelm Hansen, København & Leipzig 1900. Pl. no. 12739.
Andantino quasi Allegretto A Score, autograph
Flute and harmonium Arranged by August Reinhard Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12740
Source A Score, autograph N-Onm, Mus.ms. 7888. 27x34 cm, 3 pages Hand-ruled music paper, 18 staves Pagination: 2–4 No title There are two manuscripts under this shelf mark The second manuscript is an autograph score of Svendsen’s string orchestra arrangement of Träumerei by Robert Schumann Written in ink (Johan Svendsen)
Piano four hands Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12741 Violin, cello and piano four hands Arranged by August Reinhard Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12742 String quartet Arranged by August Reinhard Wilhelm Hansen, København & Leipzig 1900 Pl. no. 12743 Two violins and piano Wilhelm Hansen, København & Leipzig 1900
21
EVALUATION OF THE SOURCES
mance in 1873 is now lost, we do have an autograph score Svendsen prepared for his publisher while staying in Rome in 1878 (Source A). Warmuth printed the first edition of The Herd-Girl’s Sunday, JSV 54, sources B and BPTS. Wilhelm Hansen later republished the work using the same plates and substituting new covers, sources C and CPTS. There are few differences between the autograph score (B) and the printed score (C). Our primary source has been C.
Abendlied Svendsen’s arrangement of Robert Schumann’s Abendlied survives in two autograph scores. The earlier score (Source A), signed ‘Darmstadt, 18 April 1872’, is notated on the same sheet of manuscript paper as an autograph score of Svendsen’s arrangement of Richard Wagner’s Träume. It contains a number of added dynamic markings in blue crayon. These additions were incorporated into the later autograph score, Source B, probably prepared just before the publication in 1887 and intended as a printing source for the first edition published by Carl Warmuth (Sources C and CPTS). While Svendsen used Italian instrument names in Source A, he used German names in source B. Source B also includes a few additions in red and blue crayon that may have been made in connection with the publishing process. The published score is very similar to its printing source, and has served as the primary source for our edition. In bar two of Source B, Svendsen made an alteration to the dynamic markings that seems to have caused a misunderstanding in the printed score. The printed parts are also extremely accurate. In 1899, Wilhelm Hansen added new covers and republished the work using the same plates (Sources D and DPTS). Although we have included a number of interesting variants from Schumann’s original score (Source E) in our list of emendations and alternative readings, this source has in no way affected our editing of Svendsen’s version.
Andantino quasi Allegretto We have not been able to ascertain whether Andantino quasi Allegretto is an arrangement or an original composition. The music is written on the same sheet of manuscript paper as the arrangement of Träumerei. The score is clear and quite un ambiguous, and may be a copy Svendsen made of an earlier score.
Träumerei Svendsen’s arrangement of Träumerei by Robert Schumann was never published. The only existing source is an autograph score, Source A, written on the same sheet of manuscript paper as Andantino quasi allegretto, JSV 49. This work required few editorial choices, since Svendsen’s autograph is quite exact and clear. There are, however, some interesting differences between Schumann’s original version, Source B, and Svendsen’s setting. These have been included in the list of emendations and alternative readings.
The Herd-Girl’s Sunday Ole Bull’s Et Sæterbesøk, which includes The Herd-Girl’s Sunday, did not significantly figure into our editorial work, due to two main reasons: Bull was mainly an improviser and performer, rather than a composer in the traditional sense, and wrote down many different versions of the work, none of which were particularly detailed or consistent. In addition, Svendsen gave the melody an entirely new harmonic setting. Although the autograph score used at the first perfor-
22
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
17
Particularly important and/or problematic remarks have bar numbers in bold type.
18
Vln. I
A: note 6: no slur to the appoggiatura
18
Vc. I
B: note 1: added in red crayon
19
Vln. I
B note 2: added in red crayon; DPTS: note 6: cautionary accidental
20
Vln. I
E: all notes slurred
22
Vln. I
DPTS: note 3:
22
Vle. I
B: cautionary accidental added in blue crayon
22
Vc.
A: pp added in blue crayon
23
Vln. I
A: notes 3–4 : no slur and ten.
23
Vc. I
A: no >
24
Vle. I
A: slur similar to Vla. II upper part
Vln. I
A: cresc. ... f pp added in blue crayon
18
Abendlied by Robert Schumann Primary source: D Bar
Instr.
Comment
A: no Ausdrucksvoll und sehr gehalten
1
E:
1
Vln. I
A: p dolce
1
Vln. II, Vle., Vc.
A: p
1
Cb.
A: no dynamics
26
Vle.
A, DPTS:
2–3
Vln. I
B: slurs emended in red crayon from notes 4–5 in b. 2 and from notes 1–4 in b. 2
27
Vln. I
A: no
2
Vln. II upper part
pp emended in pencil from p by analogy with the other parts; in the source, every p in the first two bars was changed to pp, except in this part
38
Cb.
A:
4
A: no pp
5
A: all
begins here
pp
Träumerei by Robert Schumann Primary source: A
begin in the middle of the bar
5
Vc. I
B: note 1: cautionary added in red crayon
5
Vc. II
A: notes 2–3: slur
6
Vle. II
B, DPTS: no slur
7
Vln. I
B: no p
9
Vln. I
A: notes 6–7:
10
Vln. I
A: no p
10
Vle. I
A:
11
Vln. II
A: note 1: ten.
12
Vln. II upper part, Vle. II
A: note 1: ten.
13
Vln. I
A, DPTS: note 1: cautionary accidental
15
Vc. I
A: note 1: ten.
16
Vln. II, Vle. I
A: note 1: ten.
16
Vle. II
A: note 2: cautionary accidental
13
Vle.
B: the note f is also part of this chord B: ritardando written across all three bars
22–24
The Herd-Girl’s Sunday by Ole Bull (Version for String Orchestra) Primary source: C Most of the score employs two staves for divisi parts. Svendsen and his publisher placed all dynamic markings between these two staves. We have placed them below each staff, uncommented.
23
12
Vle., Vc.
CPTS:
18
Vln. I
A: note 1: no stacc.
26
Vln. I
CPTS: note 1: stacc.
Andantino quasi Allegretto Primary source: A 1
Vc. I
p added by analogy with the other parts
9
Vc. I
mf added by analogy with the other parts
10
Vln. I
A:
10
Vln. II
cresc. added by analogy with the other parts
11–12
Vle.
12
Vle.
note 1: emended from c’ by analogy with Vln. II
17
Vc. I
p added by analogy with the other parts
36
Vc. I
p added by analogy with the other parts
52–53
Vle.
53
Vc. I
dim. added by analogy with the other parts
54
Vc. I
p added by analogy with the other parts
86
probably removed in ink
added by analogy with the other parts
added by analogy with the other parts
A: morendo is written only below the score
24