Norsk springdanspw by Musikkforlagene

Johan Svendsens Verker Johan Svendsen’s Works Hovedredaktør / Editor in Chief Bjarte Engeset

SERIE I: ORKESTERVERKER BIND 6B: NORSK SPRINGDANS SERIES I: ORCHESTRAL WORKS VOLUME 6B: NORWEGIAN FOLK DANCE

JOHAN S. SVENDSEN (1840–1911)

Norsk springdans JSV 73

Norwegian Folk Dance

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/6B

N.M.O. 13980A

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle Translation: Thilo Reinhard Language consultant: Gunnhild Wiggen Sponsored by: Norsk kulturråd (Arts Council Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 13980A /ISMN 979-0-065-14438-2) For sale and hire Parts (N.M.O. 13980B /ISMN 979-0-065-14439-9) For hire © 2016 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimiles Scoring I V IX XIII

NORSK SPRINGDANS Abbreviations Critical report

NORSK SPRINGDANS Forkortelser Kritisk rapport

26 27

I V IX XIII

26 27

GENERAL PREFACE

ohan Svendsen (1840–1911) was a leading figure in late-nineteenth-century Scandinavian music, celebrated as both a composer and a conductor. His works occupy a central position in the musical history of Norway and Scandinavia in general, yet his printed music has become notoriously difficult to obtain. Older editions are often inadequate, and many are out of print or abandoned by defunct publishing houses. More than half of his works 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

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

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 it is plausible that the composer intended such 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.

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.

III

The editon is organized in the following way: 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

PREFACE

e know from Johan Svendsen’s Almanac of 1878 that a ‘Springdans’ was completed in London on 20 July that year, in London: ‘Springdands (no 1) færdig’ [‘Springdands (number 1) finished’]. Almost two years later, on 25 May 1880, Svendsen conducted a ‘Springdans’ in an orchestral concert in Logens Store Sal in Christiania (Oslo). The review that appeared in Nordisk Musiktidende in June of 1880 is unclear about the scoring of the work:

FORORD

ra Johan Svendsens almanakk for 1878 vet vi at han hadde fullført en «Springdans» i London 20. juli det året: «Springdands (no 1) færdig». Nesten to år senere, 25. mai 1880, dirigerte Svendsen en «Springdans» ved en orkesterkonsert i Logens Store Sal i Christiania (Oslo). Kritikken som ble trykket i Nordisk Musiktidende i juni 1880, er uklar når det gjelder besetningen i komposisjonen:

Between these various sentiments of passion, eroticism and burlesque humour, for which he availed himself of the rich and colourful palette of the entire orchestra, native sounds prevailed in his ‘Springdans’ and ‘I fjol gjætt’ e gjeitinn’, set for string orchestra. Both the sparkling dance motif and the simple and moving song conjured up characteristic images of our traditional everyday life, which by virtue of the masterly treatment and the sensitive and delightfully beautiful harmonization appeared in the loveliest of lights.1

Mellem disse forskjellige Stemninger af Lidenskab, Erotik, burlesk Humor, hvortil han har benyttet Orkesterets hele Rigdom af Farvepragt, klinge de hjemlige Toner i hans «Springdans» og «I fjol gjætt’ e gjeitinn», behandlede for Strygeorkesteret. Saavel det sprudlende Dandsemotiv som den rørende enkle Sang fremmane karakteristiske Billeder af vort Folkeliv, som gjennem den mesterlige Behandling, den fine og vidunderlig smukke Harmonisering stilles i det skjønneste Lys.

Could this be a ‘Springdans’ orchestrated for strings only? There are no other traces of such a work for strings, so the ‘Springdans’ mentioned in the Alamanc and the work performed in 1880 quite probably correspond to the work found in a manuscript in Svendsen’s handwriting at the National Library in Oslo titled ‘Norsk Springdans’, scored for full symphony orchestra. The designation ‘number 1’ in the Almanac implies that Svendsen planned to write additional dances. In their biography Johan Svendsen (1990), Benestad and Schjelderup-Ebbe maintain that the music of this score does not build on folk tune material such as Svendsen’s earlier Norwegian Rhapsodies, but was probably composed by Svendsen himself: ‘Den bygger ikke som de norske rapsodiene på folketonestoff, men på stoff Svendsen sannsynligvis selv hadde laget’. [‘Unlike the Norwegian rhapsodies, it does not build on folk tune material, but on material Svendsen had probably composed himself.’] Nonetheless, the melodic material of the dance can be found in Svendsen’s notebook, which includes a large number of folk tunes:

Kan dette ha vært en «Springdans» orkestrert for bare strykere? Det finnes ikke andre spor etter et slikt verk for strykere, så springdansen som er nevnt i almanakken, og verket som ble framført i 1880, er sannsynligvis den samme komposisjonen som er oppbevart ved Nasjonalbiblioteket i Oslo i Svendsens håndskrift med tittelen «Norsk Springdans», instrumentert for stort symfoniorkester. Betegnelsen «no 1» i almanakken antyder at Svendsen hadde tenkt å skrive flere slike danser. I biografien Johan Svendsen (1990) hevder Benestad og Schjelderup-Ebbe at musikken i dette verket ikke bygger på folketonemateriale slik som musikken i Svendsens tidligere Norske rapsodier gjorde: «Den bygger ikke som de norske rapsodiene på folketonestoff, men på stoff Svendsen sannsynligvis selv hadde laget». Men det melodiske materialet finnes faktisk i en av Svendsens notatbøker, som er full av folketonenedskrifter. (Se note-eksempelet til høyre, i den engelske teksten). Denne «No. 19 Springdands (optegnet av Johan Svendsen)» inneholder det melodiske materialet til Norsk springdans, JSV 73. Verket er altså basert på en folketone Svendsen selv har nedtegnet. Også her er tittelen «Springdands» og ikke «Norsk Springdans». Nesten tre år etter komponistens død ble to norske danser

The ‘No. 19 Springdands (optegnet av Johan Svendsen)’ [written down by Johan Svendsen] contains the melodic material to Norsk Springdans (Norwegian Folk Dance), JSV 73. Thus, the work is indeed based on the theme of a folk tune written down by Johan Svendsen. Here, too, the title is ‘Springdands’, rather than ‘Norsk Springdans’. Nearly three years after the composer’s death, two Norwegian dances by Svendsen were performed on 22 February 1914 at the 15th ‘Palæ-Koncert’ in Copenhagen: A ‘Norwegian Dance’ (revised and orchestrated by Hakon Børresen) and a ‘Springdans’. The printed program lists the works as follows:

av Svendsen framført i København ved den 15. «Palæ-Koncert», 22. februar 1914: En «Norsk dans» (revidert og orkestrert av Hakon Børresen) og en «Springdans». Programheftet fører opp verkene slik: Johan Svendsen: a) Norsk Dans (efterladt Værk, 1ste Gang) bearbejdet og instrumenteret af Hakon Børresen. b) Springdans.

Johan Svendsen: a) Norsk Dans (efterladt Værk, 1ste Gang) bearbejdet og instrumenteret af Hakon Børresen. [Norwegian Dance (posthumous work, 1st performance) edited and arranged by Hakon Børresen.] b)Springdans.

Det andre verket kan godt ha vært springdansen i denne utgaven. I kontorene til forlaget Wilhelm Hansen finnes det en liste oppbevart med overskriften «Manuskripter, hvortil Udgivelsesret er erhvervet». Den har med både et orkesterverk arrangert av Børresen og en «Norsk Springdans». Kanskje var planen å publisere disse to verkene som dans nummer en og to? Manuskriptet til Norsk springdans kom til Nasjonalbiblioteket nettopp fra forleggeren Wilhelm Hansen. Det er mulig at tittelen på side to i manuskriptet ikke er skrevet av Svendsen selv. Håndskriften er derimot ganske lik den vi finner i et tilsvarende notat i manuskriptet til Persisk dans. Det er dessuten interessant at «No. II» er skrevet med blyant på tittelbladet i manuskriptet til Norsk springdans, sannsynligvis av samme person som skrev tittelen.

The second piece might very well have been the Norwegian Folk Dance in the present edition. Under the heading ‘Manuskripter, hvortil Udgivelsesret er erhvervet’ [‘Manuscripts for which publishing rights have been obtained], a record kept in the offices of publisher Wilhelm Hansen lists both an orchestral work arranged by Börresen, and ‘Norsk Springdans’. Perhaps these two works were planned to be published as dances number one and two? The autograph score of Norwegian Folk Dance was acquired by the National Library in Oslo from publisher Wilhelm Hansen. The title on the second page may not have been written by Svendsen himself. The handwriting is quite similar to a corresponding note in the manuscript of Persian Dance. It is also interesting that ‘No. II’ is written in pencil on the same page, perhaps by the same person:

Det er derfor uklart hvilke forskjellige norske danser Svendsen arbeidet med, særlig siden flere brev viser at han så sent som i 1890-årene hadde en ide om å komponere flere norske danser for orkester. Slike danser er blant annet nevnt i et brev datert 22. desember 1891 til faren Gulbrand. Jeg har ogsaa paabegynt en Række norske Dandse for stort

Therefore, we are left with some uncertainty as to the different Norwegian dances Svendsen worked on, especially since several letters show that as late as the 1890s, Svendsen was entertaining the idea of composing Norwegian dances for orchestra. Such dances are mentioned by Svendsen in a letter of 22 December 1891 to his father, Gulbrand:

Orkester som jeg tror vil blive meget morsomme, gid jeg maa faa nok Tid og Lyst til at faa dem færdige.

I have also begun on a series of Norwegian Dances for large orchestra that I believe will be quite enjoyable, if only I can find enough time and inclination to get them completed.2

Syv år senere nevner Svendsen en norsk dans i et brev datert 15. januar 1898 til Alfred Wilhelm Hansen: Du maa være saa elskværdig at give mig nogle Dages Henstand med den norske Dans. Skitsen, som er blevet noget længre, og som paa Grund af nogle under Udarbejdelsen opstaaede Tvivl har kostet mig betydelig mer Tid end jeg oprindelig havde tænkt, er nu omtrent færdig, og haaber jeg allerede i morgen at kunne tage fat paa Instrumentationen, og den skal gaa som en Dans.

Seven years later, Svendsen mentions a Norwegian Dance in a letter of 15 January 1898 to Alfred Wilhelm Hansen: You must be so kind as to allow me a few days’ deferment on the Norwegian Dance. The sketch, which has turned out somewhat more lengthy, and which, due to some doubts that arose during its preparation, has cost me considerably more time than I originally had intended, is now just about finished, and I hope to be able to set to work on the instrumentation as early as tomorrow, it should be [easy as] a dance.3

De fleste kildene som nevner en «Springdans» inkluderer ikke ordet «Norsk». Vi kan ikke være sikre på hvem som la til dette ordet, og når det skjedde. Kanskje ble det lagt til av forlaget Wilhem Hansen. Men tittelen «Norsk Springdans» skrevet med blekk på omslaget av partituret kan absolutt være i Svendsens håndskrift:

Most of the sources making mention of the ‘Springdans’ do not include the term ‘Norsk’ (‘Norwegian’). We cannot be completely sure who added the term, and when. Perhaps it was added by publisher Wilhem Hansen. The title ‘Norsk Springdans’, written in ink on the cover of the manuscript, may well have been penned by Svendsen, however:

Partituret i Svendsens håndskrift ved Nasjonalbiblioteket i Oslo inneholder den eneste norske dansen av Svendsen som er bevart i dag. Siden den aldri ble trykket, er denne JSV-utgaven den første, og verket er igjen tilgjengelig for framføring og studier.

The manuscript score at the National Library in Oslo remains the only Norwegian Dance by Svendsen extant today. Since it was never printed, the new JSV-edition makes the work available for performance and study for the first time.

Bjarte Engeset

Bjarte Engeset Translated by Thilo Reinhard

VII

NOTES Mellem disse forskjellige Stemninger af Lidenskab, Erotik, burlesk Humor, hvortil han har benyttet Orkesterets hele Rigdom af Farvepragt, klinge de hjemlige Toner i hans «Springdans» og «I fjol gjætt’ e gjeitinn», behandlede for Strygeorkesteret. Saavel det sprudlende Dandsemotiv som den rørende enkle Sang fremmane karakteristiske Billeder af vort Folkeliv, som gjennem den mesterlige Behandling, den fine og vidunderlig smukke Harmonisering stilles i det skjønneste Lys. 1

Jeg har ogsaa paabegynt en Række norske Dandse for stort Orkester som jeg tror vil blive meget morsomme, gid jeg maa faa nok Tid og Lyst til at faa dem færdige. - - - 2

Du maa være saa elskværdig at give mig nogle Dages Henstand med den norske Dans. Skitsen, som er blevet noget længre, og som paa Grund af nogle under Udarbejdelsen opstaaede Tvivl har kostet mig betydelig mer Tid end jeg oprindelig havde tænkt, er nu omtrent færdig, og haaber jeg allerede i morgen at kunne tage fat paa Instrumentationen, og den skal gaa som en Dans. 3

VIII

NORWEGIAN FOLK DANCE, JSV 73, SOURCE A: COVER PAGE OF THE SCORE. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MA.18

NORWEGIAN FOLK DANCE, JSV 73, SOURCE A: FIRST PAGE OF THE SCORE. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MA.18

Norsk springdans JSV 73

Norwegian Folk Dance

BESETNING / SCORING Flauto piccolo Flauto 2 Oboi 2 Clarinetti (in La) 2 Fagotti 4 Corni (in Mi) 2 Trombe (in Mi) 3 Tromboni (tenore, tenore, basso) Tuba Timpani Violini I. II. Viole Violoncelli Contrabbassi

Norsk springdans [JSV 73]

# 3 & # 4

Allegro

Flauto piccolo

Flauto

2 Oboi

2 Clarinetti in La

2 Fagotti

I. II. 4 Corni in Mi

# 3 & # 4

I. Violini II.

Viole

Violoncelli

Contrabbassi

∑

œ- œ œ œ œ œ . œ . œ œ œ. œ œ. œ

œœ

∑

œ . œ œ . œ œ . œ œj œ œj œ œ. J ‰

∑

? # # 43

∑



∑

b

œœ

∑



œœ

∑

? # # 43

∑

# 3 & # 4 3 &b 4

Timpani in Re - La

∑

2 Trombe in Mi

basso e Tuba

∑

Tromboni

∑

III. IV.

2 tenori

∑

Johan S. Svendsen

43 43

B # # 43

# # Allegro 3 & 4 ∑ # 3 & # 4

∑

B # # 43   f ? # # 43  ? # # 43

 f

œœ  ∑

œœ 

œœ  ∑

œœ 

œœ  ∑

œœ 

∑

 f f

œœ

b

œœ



œœ



œœ

∑

 

∑

œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œœ f

 œœ

∑

œœ

   f



œœ



œœ

œœ œ

 

œœ œ

 

œœ

œ œ

∑

j œœ œœ œœ ‰ .

œ œ œ. bœ œ œ ‰ J j œœ b œœ œœ ‰ . ∑

œ . œ œ . œ œ . œ œj œ œj œ œj ‰ . j‰



œœ

œ œ œ.



œœ

j œœ œœ œœ ‰ .



j œœ œœ œœ ‰ .

œ œ œ. ‰ J

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

& & &

j œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ ## œ ##

? ##

∑

 

III. IV.



Tbe. (Mi)

Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

Vle.

Vc.

Cb.

Z Z

∑

œœ



œœ

b



∑

œœ

   

œœ

∑

œœ ‰  . > œœ.

b œœ

> ‰ J

j b œœ ‰  . >

œœ ∑

∑

? ##

∑

B ## ? ## ? ##

œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œœ 





œ œœ œœ œ

   

œ œœ œœ œ

B ##

Vln. II.

œœ



∑

œ œ. > œ œ œ. œ œ. œ œ œ J‰

∑

œœ

∑

b

I. II.

∑

œ œJ. ‰ > œ œ œ. œ œ. œ œ œ 3



œœ



œ œ

 

œœ ‰  . > j

œ œ.

‰  > j œœ ‰  . > œ. ‰  J

œœ œ 2

œœ 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 œ. œ . 

ƒ ƒ

œœ

. 

 

œ œ

 



œœ



œœ

b 

œœ

b 

œœ

b 

œœ



œœ



œœ

ƒ ƒ

ƒ b  ƒ

  

ƒ Ÿ

b

œœ



œ œ

 

œ œ

 

œ œ ‰ Œ



œœ

œ œ œ œ œ œ. œ œ œ. œ œ. œ œ. œœ

œœ œ œ

œ œ‰ Œ

œ œ



œ œ‰ Œ

œ œ œ œ œ œ. œ . œ œ œ. œ œ. œ œœ

 

bœ

œœ

œ œ

œœ

œ. œ œ. œ œ. œ

œœ

œ. œ œ. œ œ. œ



œœœ



œœœ



œœœœ



œœ



œœ



œœ

div.

ƒ ƒ



# # œ œ œj œ œ. & J‰ j œ œ œj œ œ. j

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

Tbe. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

J‰

. # # œj œœ œj œœ œj & J. ‰ &b

? ##

œœ œj œ œ. j œ J‰ . œ œ œ. œ œ œ‰ J

œœ J

œ- œ œ œ œ œ . œ . œ œ œ. œ œ. œ

.

# # œ œ œj œ œ. & J‰ # # œ œ œj œ œ. & J‰ j

B ## ? ## ? ##

.j œœ œœœ œœœ. œ J‰ . j œœ œœ œœ ‰ .

œ œ œ. ‰ J

œ œ

œ . œ œ œ œ . œ. œ   

œ œ œœ

b 

œœ

b 

œœ



œœ

bœ

b

œœ



œ œ

 

œ œ



œ œ

œœ

 

œœ





œœœ



œœ



œœ



œœ

j bœ ‰  œ. > j œœ ‰  . >

œœ. ‰ >

œ ‰œ Œ

‰



œœœ œ œœ œ

.j > œœœ  œ ‰ J. > j œœ ‰  . > > œ. ‰  J

Aœj œ-

∑ j

J‰Œ

∑

œ œ œœ

J‰

Œ Œ

 ..

non div.

∑ ∑

 ..

∑

a2 > b œ. ‰  J

. > œ œ œ œ œ. œ œ. œ J‰



 ..

>  ‰ J

œœ

Œ Œ

œœ.

. > œ . œ œ . œ œ œ œ Jœ 



>

∑

> ‰

œ. > œ ‰

œ œ. œ œ. œ

œœœ

œœ

‰

 J‰

j œ œ‰ Œ

œ œ‰ Œ

œœ. J œœ.

œ œ

œ bœ

œœ







œ œ

œœ

œ œ œ œ œ œ. œ œ. œœ

. > œ œ œ œ Jœ 

 

‰

œ œ

œ. œ œ.

 

œ œ œ œ œ œ. œ . œ œ œ. œ œ. œ œœ

. > œ . œ œ . œ œ œ œ œJ 

 

Z . œœ b œœ œœ ‰  & J Z . j b œœ œœ œ ‰ b  & .J Z j‰ b  & œ œ œ  œ bœ œ . Z B # # œ œœ œœj ‰  . Z .j ? ## œ œ œ ‰  œ œ J.  Z Ÿ ? œ œ œ. ‰ œ œ ‰ J J Z j

.

œœ  œ. œ œ œ œ œ. œ . J  Z j

œœ

œ- œ œ œ œ ‰ J

œ‰Œ J

 ..

∑ ∑

# & #

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

& &

∑

œ. œ 

## ##

 ..

? ##

œ œ

œ œj œ

∑ œ

∑

 ..

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ## ?

Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

## ##

B ## ? ## ? ##

J ‰

Œ Œ I.

œ ..

b. b . Z

∑

J‰Œ

œœ‰ ∑

Z r œ j‰

œ ..

∑

J‰Œ Œ

∑

Œ Œ

∑

Œ Œ

j‰

Œ Œ

œ œ . œ œ œ œ œ. > 3

 ..

∑

œ. œ   .. ∑ ∑

œœ

œ œj œ  ..

œ‰ œ

∑

Œ Œ j

∑

J‰

œ ..

œœ

RJ‰

 ..

non div.

œ œœœ œ J ‰ œ

J‰Œ

œ ..

œœ‰ R J

 ..

∑

œ j œ œ. œ œ œ œ ‰  œ J j œœ ‰ 

J ‰  Z

œ œ . œ œ œ œ œJ ‰   ..

∑

 ..

∑

j œ‰

j b œœ ‰

b œœ œœ f

j œ‰

œ œ

∑ ∑

Bj œ œ

œœœœ 3

œ-

bœ œ f

∑

œœ

œ‰

∑

œ œ

b

∑

œ œœœ œ

œ-

∑

œœ ‰

∑

œ-



 ..

Œ Œ

∑

J‰Œ Œ

∑

 b  ..

∑

œ œ. œ œ œ œ œ œ œ œ œ ‰ J

∑

I. II.

Œ Œ j

∑

J ‰

œ œ œ œ œj ‰ œ œœœœ 3

 

J ‰ j

œœ ‰ j œ‰

Fl. picc.

Fl.

Ob.

œœœœ 3

Fg.

I. II. Cor. (Mi)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

j‰

## ##

B ## ? ## ? ##

∑

 

∑

J‰

œ œ œ œj ‰ 3

œ‰ œ

œ œ œ œ œj ‰ 3

œ‰ œ

 



œœ ‰

J j



j‰

∑

j‰

∑

œ œ œ œ ‰ Œ œœ. Œ J 3

j‰

œœ

œ‰ J

œ œ Œ p

pizz.

b  ƒ

j‰

∑

œœ Œ .

œœ .

ƒ ƒ ƒ



arco



∑

ƒ 5

J‰

œ œ œ œ œj ‰ 

∑

œ œ œ œœ

n œœ. Œ œœ. Œ œ

j œœ ‰

œ‰ J

œ‰ J œ‰ J

œ œ

J œ œ . œ œ œ œ œ. > J‰ 3 3

œ œ. œ œ œ œ œ œ. œ œ œ œ

 



j œ ‰ b 



œœ

j‰

∑

b 



Œ Œ

œ œœœœ J‰

œ œ œ œ œj ‰ 3

  

œ‰ J j œ‰ j œ‰

j œ ‰ J

‰  >

j‰

œœ .

 >

œœ ‰ b œœ. ‰ > J J

a2 œœ ‰ b œ. ‰ > J J

j œœ ‰ b œœ ‰  . > j

œœ ‰

œœ ‰  .

œ ‰ œ j œ ‰

œœ. ‰ > œ ‰œ Œ J

œ œ . œ œ œ œ œ. ‰ > 3

œ œ.

j œ œ . œ œ œ œ œ. ‰  3 3

œ œ . œ œ œ œ œ. ‰ >

b œ ‰ b  J



œœ

b 

œ œ œ œj ‰ Œ œ. œ Œ 3

j œ‰

œ œ œ œ ‰ œj œ œ . œ œ œ œ œ œ œ œ œ ‰ J J 3 p

b

œœ ‰

∑

‰

∑



ƒ j œ

j‰



j‰ Œ Œ œ p

b œœ

∑

b œœ

J ‰Œ Œ p j œ ‰Œ Œ J p

∑

j‰

œœ

œ ‰Œ Œ

œ œœœœ J‰ J‰ 3 3 ƒ j - œ œ œ œ œ œ œ j œ œ œ œœ J j

∑

œ- œ œ œ œ

∑

œœ

bœ

? ##



B ##



Tbe. (Mi)

III. e Tuba

? ##

Tbn.

œ œ œ œ ‰ œj œ

III. IV.

I. II.

J ‰

œ # # œ œ œ œ œj œ œ œ œ ‰œ œ & 3

Cl. (La)

J ‰

œ œ . œ œ œ œ œ. j ‰  > 3

. > œ œ . œ œ œ œ œœJ ‰  3

 

j œ ‰ j œ ‰

œ. ‰  J

# & #

∑

# & #

∑

? ##

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

# & #

.  # # œ. . ‰ œ œ œ. ‰  œ œ ‰ ‰ œ œ œ œ œ # œ. œ. œ œ. # œ œ # œ. & J . .J J . . J . . . . p div. ## Œ Œ Œ Œ Œ Œ & œœ # œœ œœ œœ œœ # œœ œœ œœ œœ œ. œ . . . . . . . . p . B ## Œ

Cb.

œœ œœ . .

p ? ## œ Œ Œ p pizz. ? ## œ Œ Œ p pizz.

Vc.

div.

œœ # œœ Œ œœ œœ . . . .

œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ

œœ # œœ Œ . .

œ Œ Œ œ œ Œ Œ œ 6

œœ # œœ . . Œ

œ œ

œ. œ œ- œj ‰ # œ. œ # œj ‰  . . . . ‰ j‰ j‰

j œœ # # œœ œ œœ . -

nœ

œ n œ œœ

j j j œœ # œœ œœ ‰ # œœ ‰ œœ ‰ œ œ # œ . Œ Œ

#œ #œ

j ‰ j ‰ œj ‰ œ ‰ # œ ‰ œ ‰ œ œ J J J j ‰ j ‰ œj ‰ œ ‰ # œ ‰ œ ‰ œ œ J J J

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

& &

∑

œœ. œœ. Œ & p œ. œœ. b Œ & œ p ? ## ∑ ##

. . . . Œ œœ œœ Œ œœ œœ . œ. . . Œ œœ œ Œ œœ œœ

œ.

. . Œ œœ œœ

J ‰Œ π œ. J ‰Œ π

. œ. Œ œœ œ

∑

Œ Œ

œ.

J ‰Œ

∑

J ‰Œ

∑

œ.

∑

œ. # œ. œ. œ. œ. # œ. œ. # œ. œ. œ. œ-

j œ. ‰ # œ. œ. # œ. j ‰

j œ. ‰ Œ

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

œ Œ Œ

∑

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? &

œ Œ Œ

# & #

œ Œ Œ œ Œ Œ

∑

B # # œ. ‰ œ œ. œ. ‰  J . J ? ## œ Œ Œ p ? ## ∑

∑

œ Œ Œ œ Œ Œ ∑

∑

π Œ

∑

. . œ œJ ‰ œ. œ. œJ ‰ 

œ œ Œ Œ

pizz. div.

œ Œ Œ

pizz. div.

œœ # # œœ

œ œ œ œ

pizz. div.

∑

∑ 7

œ œ Œ Œ Œ Œ

œœ # # œœ

œ œ

# œœ

#œ # œ

œ œ œ #œ

#œ # œ

œ #œ #œ

œœ # œœ œ #œ

œ œ nœ œ œ nœ div. œœ ∑ ∑

œ # # œœ œ

π π

# œœ # œœ

œ œ œ œ œ #œ œ œ œ œ #œ

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

#C #

œ # # œJ œ œ J  ‰ ‰ & p &

∑

I. œ  œ b & J‰œœJ‰ p

? ##

∑

III. IV.

Tbe. (Mi)

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

œœ b œœ . .

œœ œœ . .

∑

œ œJ œ œ œJ  ‰ ‰ ∑

œ œJ ‰ œ œ œJ ‰  ∑

∑

Œ œœ # œœ Œ . .

Œ œ bœ œ. œ.

œœ b œœ . . œœ œœ . . ∑

∑

œ. # œ. œ. œ. œ. # œ. œ. # œ. œ. œ. œ. œ. ‰ # œ. œ. # œ. ‰  J J

nœ

∑

Œ œœ # œœ . .

∑

Œ œ bœ œ. œ.

∑

B ##

∑

? ##

∑

## œ p

# & # Œ

B ## Œ

œ Œ Œ

œœ œœ

Œ œ œ œ œ

Œ p

œ # œœ œ

p ? ## œ Œ Œ œ p ? ## ∑

Œ œ œ œ #œ

œ Œ Œ œ ∑

œœ œœ œ # œœ œ

œ Œ Œ œ ∑

Œ œ œ œ #œ

œ Œ Œ œ ∑

Œ # œœ # œœ π

Œ # œœ # œœ π Œ # œœ # # œœ

#œ #œ π

div.

π Œ

Œ # œœ # œœ

œœ # n œœ

œœ

œœ n œœ # œœ

Œ # œœ # # œœ

œ #œ œ œ

œœ

œœ # œœ # œœ

œ œ

Œ # œœ # œœ

#œ #œ

œ n œ # œœ

œ n # œœ n œœ œ

œ #œ œ

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

∑

# & #

∑

∑ n >œ

∑

∑ >œ

∑

∑ >œ

>œ œ œ œ œ Jœ ‰ Œ œ œ ‰ Œ œ Jœœ ‰ Œ œ œ ‰ Œ J J p cresc. molto > œ > œ >œ j >œ j œœ œ œœ œ œ œ œ J‰ Œ J‰ Œ œ J‰ Œ J‰ Œ &b Œ # & # Œ

? ## &

cresc. molto

∑

œœ

Tbe. (Mi)

∑

> f ∑

? ##

∑

Timp.

B ##

∑

œ  œ ## J ‰ œ œ J ‰ & arco

I. Vln. II.

Vle.

Vc.

Cb.

> # # Œ n >œ œœ ‰ Œ œ œ J œ & p cresc. molto arco # # Œ >œœ œœ ‰ Œ >œœ & J p cresc. molto arco > > B # # Œ œœ œœ ‰ Œ œœ J p cresc. molto >œ arco > œ œ B ## Œ œ œ ‰ Œ œ J p cresc. molto arco  ? ## œ‰  J p cresc. molto arco ? ##  œ‰  J p cresc. molto arco

cresc. molto

∑

œ œœœœ  J‰

œ‰ Œ œ J

œœ ‰ Œ J œ‰ Œ J

J‰ 

>œ

J ‰

∑

J ‰

∑

œ # œœ ‰ # œœ ‰ œœ ‰ # œœ ‰  J J

∑

œ œ‰Œ J

œœ # œœ ‰ Œ

> f



J j

œœ # œœ ‰

Œ Œ

œœ

∑

œ. ‰ # œ. œ. # œ. ‰  J J

j œ. ‰ # œ. œ. # œ. j ‰ # 

œœ



œœ

j‰ œ. œ œ. # œ œ # œ. œ. œ œœ . . . . . # œ. œœ> # œœ ‰ Œ >œœ # œœ ‰ # œœ ‰ œœ J j

œœ ∑

œ. œ œ. # œ œ # œ. œ. œ œ. . . .

œœ

∑

œœ œœ

∑

f œ. # œ. œ. œ. œ. # œ. œ. # œ. œ. œ. œ-

J‰  9

> Œ œœ n œœ ‰ # œœJ ‰ n œœ ‰ n œœ ‰ #  J J J >œ œ j œ # œj œ #  Œ œœ ‰ œ ‰ # œ ‰ œ ‰ J J > j Œ b œœ # œœ ‰ # œœ ‰ œœ ‰ # œœ ‰  J J J j j b œœ ‰ Œ œœ b œœ ‰ # œœj ‰ œj ‰ n œj ‰ #  œ œ  >

œ œ‰Œ

f >œ >œ œ œ œ Jœ ‰ Œ œ œ ‰ œ # œ. J . f > >œ œœ œ J ‰ Œ œœ œœJ ‰ œ # œ . . f > >œ œœ œ J ‰ Œ œœ œJ ‰ Œ

œ‰ 

∑

œ ‰ Œ >œ œœ ‰ Œ >œ œ ‰ Œ œ œ J œ œ J J œ  œ J‰ œ‰  J‰  J œ

J ‰ Œ fœ

J ‰ >œ f œ # œœ ‰ J f > œœ n œœ ‰ J f> œœ j œœ ‰ f >œ j b œ # œœ ‰ Œ

III. IV.

I. II. Tbn. III. e Tuba

œ. # œ. j ‰ # 

‰ # œœ ‰ J J

j j œ ‰ # œj ‰ œ ‰ #  œ 

œ ‰ # œj ‰ œj ‰   J œ ‰ # œj ‰ œj ‰ J 

œœ

œ œ œœ œ

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

# & #

Tbe. (Mi)

III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

Tbn.

∑

œ- # œ œ œ # œ œ . œ . #œ

∑



œœ



? &

#œ

# # #  & B ## ? ## ? ##

œœ



# œœ



fZ fZ fZ

#œ #œ

∑

œ.œ #œ.œ œ.œ œ  J‰

œ J

‹.

#

#œ

 ..

# #  ..



#.

.

#

∑

.

#œ.#œ œ.œ œ.œ #  .. Z

 ..

#œ #œ

#  .. #.



.

œœ

.

#  ..

.

. ∑

œœ

Z Z

#œ

∑

# 

#œ



# œœ



#œ

.

‹.

#

#œ

∑ #  ..

#  ..

.

∑

œ- # œ œ œ # œ œ . œ

. . .

#  #

#œ

‹.

∑

#œ œ. œ .

#

.

Z a2 œ- # œ œ œ

# œœ

# 

J‰ Œ Œ

œ # œ œ œ œ . œ # œ . #aœ2œ . œ œ . œ # œ # œ œ . œ # œ . œ œ . œ #œ œ. œ #œ.



∑

œ.œ #œ.œ œ.œ œ  J‰

# ∑

∑

œ- # œ œ œ # œ œ . œ . #œ



œœ

# 

‹. ∑

∑

#  ..

∑

#

∑

Dj œ- # œ œ œ # œ œ . œ

∑

œœ

∑

.

∑

B # # #  ƒ ? # # III.

∑

J‰ Œ Œ

a2 œ. # # œ # œ œ œ # œ œ . œ # œ . # œ œ . œ œ . œ œ #œ. & œJ ƒ a2 œ- # œ œ œ # œ œ . œ  . j &b œ ƒ Z a2 ? ##  œ .  Z ƒ

III. IV.

I. II.

.

∑ # œ.# œ œ.œ œ. œ

∑ #œ #œ

œ.œ #œ.œœ.œ

 ..

# œœ

#. .

#  ..



#œ

.



#œ

.

Z Z Z Z

#  ..

Fl. picc.

Fl.

# & # Œ

# >œ # >œ

œ- # œ œ œ # œ # œ . œ

Z ƒ >œ # >œ # 

#œ.#œ œ. œ œ. œ

œ. œ #œ.#œ œ. œ œ. œ

ƒ > œ- # œ œ œ # œ # œ . œ #œ.#œ œ œ œ. œ # # œ # >œœ # # œœ . & Z >œ >œ #  #aœ2 n  . œ #œ œ  &b > > Z œ a2 # ? # # œ œ # # œœ #  œ #. > Z a2

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

III. IV.

Tbe. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

#œ #œ #œ#œ

#œ #œ

œ. œ #œ. œ œ. œ œ ‰  J

œ. œ #œ. œ œ. œ œ  J‰

œ. œ #œ. œ œ. œ œ ‰  J .

#

‹.

#

#œ

#.

.

#

> > œ œ œ #

.

#.



# œœ

#  ..

 ..

# 

∑

B # # # œ Œ Œ #  œ. Z

# œœ

? ## œ Œ Œ #  .

œœ



∑

> > ## œ # œ # œ

>œœ >œœ # #œ

. #.

∑

œ- # œ œ œ # œ # œ . œ

#œ.#œ œ. œ œ. œ

Z œ- # œ œ œ Z

> > B # # œœ # œœ œœ #  Z ? # # œ # >œ # >œ  Z ? # # œ # >œ # >œ  Z

#œ #œ. œ #œ. #œ œ. œ œ. œ

#œ #œ #œ #œ

œ. œ #œ. œ œ. œ œ ‰  J œ. œ #œ. œ œ. œ œ ‰  J

.

#.

‹.

#

#œ

#.

‹.

#

#œ

 nœ

#œ

#.



#  ..



.

# œœ

#  ..

œ #œ

#. # .



# œœ

Z #



Z œ- # œ œ œ

Z # Z

∑

œ #œ



#œ

# œ .# œ œ . œ œ . œ

#œ #œ. œ #œ. #œ œ. œ œ. œ



#  ..

∑

œ- # œ œ œ # œ # œ . œ

# œ # œ . œ # œ .# œ œ œ . œ. œ



∑

# œ . œ # œ .# œ œ . œ œ . œ

n.

# œœ

# œ .# œ œ . œ œ . œ

#œ

œ  # #œ

. ‹ #  .

#  ..

#

 # œœ #

#  ..

Z œ- # œ œ œ

Z # 

Z #

œ >œ >œ 

œ- # œ œ œ # œ # œ . œ

#  ..

#. #.

# . . # œ . # œ œ . œ œ . œ # œ . œ # œ . œ œ . œ j‰ Œ Œ & # #œ œ #œ. œ œ œ œ p dim. #œ. œ #œ. œ œ. œ #œ. #œ œ. œ œ. œ #œ. œ #œ. œ œ. œ œ ## J‰ Œ Œ & p dim. a2 # . . # œ . # œ œ . œ œ . œ # œ . œ # œ . œ œ . œ j‰ Œ Œ & # #œ œ #œ. œ œ œ œ p na2. n. n. n  .. &b

Fl. picc.

Fl.

Ob.

Cl. (La)

? ## #  .

#.

 ..

#  ..

 ..

#  ..

.

#  ..

Fg.

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

Tbe. (Mi)

I. II. Tbn. III. e Tuba

Timp.

 ..

#  ..

#. # .

∑

#   ..

. # #  .

dim.

.

∑

#œ Œ Œ .

 ..

dim.

∑

n  ..

dim.

# #  ..

dim.

? ## #  . # .

#. œ . Œ Œ

 ..

dim.

B # # # #  ..

dim.

∑

n  ..

œœ

∑

Œ Œ

∑

. œ

. Œ Œ ∑

. .

∑

I. Vln. II.

Vle.

Vc.

Cb.

∑

# . . #œ. #œ œ. œ œ. œ #œ. œ #œ. œ œ. œ nœ. #œ œ. œ œ. œ #œ. œ #œ. œ œ. œ œ. #œ œ. œ œ. œ #œ. œ #œ. œ œ. œ & # #œ œ #œ. œ œ œ dim.

# . . #œ. #œ œ. œ œ. œ #œ. œ #œ. œ œ. œ & # #œ œ #œ. œ œ œ #. B # # #  ..

? ## #  . ? ## #  .

#  ..

#. #.

#.

dim.

#  ..

n  ..

dim.

#.

dim.

#.

dim.

#  ..

 ..

#  ..

# & #

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

# & # # & # & b n œœ Œ p

∑

∑ Œ

∑

B ##

∑

? ##

∑

Timp.

∑

Tbe. (Mi)

III. e Tuba

∑

Tbn.

∑

? ##

III. IV.

I. II.

∑

F tranquillo

œ. Œ

 p

Fj  # # œj >œ # œ œ œ œ jœ j j œ œ œ œ œ #œ œ œ #œ #œ œ œ #œ #œ œ œ #œ œ œ œ œ . #œ & p π dim. div. ## j j j j ‰ ‰ ‰ ‰ Œ j j j 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 # œœ . > p π dim. arco div. pizz. # œ œœ. B # œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ #œ #œ #œ π dim. p pizz. ? ## Œ Œ Œ Œ Œ œ Œ #œ Œ #œ Œ #œ Œ #œ Œ p π dim.

tranquillo

I. Vln. II.

Vle.

Vc.

Cb.

? ##

#œ Œ p

∑

pizz.

Œ œ Œ π

. Œ Œ #œ œ.

. Œ Œ œœ Œ œ Œ Œ œ Œ

∑

# & #

∑

# & #

∑

? ##

∑

III. IV.

Tbe. (Mi)

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

rit.

∑

B ##

∑

? ##

∑

# # œj  .

.

#œ

.

#œ

.

n.

.

#.

rit.

j #œ

#.

j #œ

#.

j #œ

#.

# & # Œ Œ # œœ .

Œ Œ #œ œ. . Œ Œ œœ

Œ Œ # œœ.

. Œ Œ œœ

. Œ Œ # œœ

Vc.

? ## Œ œ Œ

Œ œŒ

Œœ Œ

Cb.

? ## Œ œ Œ

Œ œŒ

Œœ Œ

Vln. II.

Vle.

. B # # Œ Œ œœ

Œ Œ œœ .

Œ Œ # œœ .

106

Fl. picc.

Fl.

Ob.

Cl. (La)

## œ œ # œ œ œ œ œ . œ p

# & # &

quasi Moderato

œJ ‰ Œ

∑

œ #œ œ œ œ œ.œ

œJ ‰ Œ ∑

œ œJ ‰ Œ

œ #œ œ œ œ œ.œ ∑

∑

œ œ œ œ œ #œ œ. œ œ J ‰ Œ

Tempo primo

rit.

∑

œ œJ ‰ Œ

# # œj œ # œ œ œ œ œ . œ

∑

œ œ œ œ #œ œ J‰

∑

Fg.

? # # I. œ J ‰ Œ p

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

j #œ

quasi Moderato

#  .. p

 #

div.

# & # . #. p œ ‰ Œ B ## œ J p ? ## Œ œ #œ p ? ## Œ œ #œ p

n #  j

#œ

œ œ œ œ #œ œ. œ œ Œ œ Œ œ

rit.

œœ ‰ #  ..

j œ ‰ #  .. œ

œ œ

j #œ

 #

œ ‰ Œ J

Œ œ

#œ #œ 15

n #  j

#œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . . π Tempo primo

œœ ‰ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ- œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. π

j œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ- œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœ π

. . œ. . . œ. œ. . œ- œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ j œ ‰ œ œ œœ œ œ œ œ œ #œ œ π Œ œ

Œ œ

œ œ

Œ œ œ Œ œ œ Œ œ œ Œ œ œ π

œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ

114

Fl. picc.

Fl.

Ob.

∑

œœ œœ

∑

? ##

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

I. II.

∑

Fg.

# & #

∑

Cl. (La)

~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ? . . œ‰Œ & &

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

. œ. œ. œ- œ. œ. œ. œ. œ. œ œ B ## ? ## Œ œ œ Œ ? ##

. . œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ

œ- œ œ œ œ œ . œ

.

œ . œ œ œ œ œ . œ

œ . œ œ œ œ œ. œ

 

œ œ



œœ

b 

œœ

ƒ ƒ

ƒ b  ƒ



œœ

 

ƒ Ÿ

œ œ

œ œ ‰ Œ J

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

. . . . . . . . . . . . . . . . . . . . . . . . n b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ # n œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ cresc. molto

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

cresc. molto

œ œœœœ œ. œ



∑

arco

œ Œ Œ œ Œ Œ

∑



bœ



ƒ ƒ

œœœ

div.

œœ œ

## œ . œ œ . œ œ . œ

121

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

##  . & 

Tbe. (Mi)

Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ . 

œ œ



œœ

b 

œœ

b 

œœ



œœ





? ## 

œ œ

 

B # # 

œœ



 

b

. 

 ? ##  &

œ œ

. &b 

III. IV.

I. II.

.

œœ

œ œ. œ œ. œ

œœ

œ. œ œ. œ œ. œ

œœ



œœ



J‰

œœ œj œ œ.j œ J‰

œœ J

œ œ œ œ œ œ. œ . œ œ œ. œ œ. œ

.

œ . œ œ œ œ . œ. œ  -

œœ



œœ

b 

œœ

b 

œœ



œœ



œ bœ



œ œ

bœ

b

œœ

œ œ

 

œ œ

œœ

 

œœ

œ œ œ. ‰ J

œœœ



œœ



œœ

Z 17

œ œ. œ œ. œ





œœ

œœ.

J‰

> >

œ. > œ ‰

œ œ

œœ.

>  ‰ J

a2 > b œ. ‰  J

j bœ ‰  œ. > j œœ ‰  . >

œœ

œœ. ‰ > J

œ ‰œ Œ J

. > œ . œ œ . œ œ œ œ Jœ  3

œœ

œœ.

‰

 J‰

j œ œ‰ Œ

œœœ



œ œ‰ Œ



 

œœ



œ œ œ œ œ œ. œ œ. œœ

j œœ œœ œœ ‰ .

œ œ

 

œ œ

. > œ œ œ œ œJ 

œ œ

œœ œœœ œœœ œ J‰

 

œ œ œ œ œ œ. œ . œ œ œ. œ œ. œ œœ

œ. œ œ.

‰

 

œ œj œ œ. J‰

. > œ . œ œ . œ œ œ œ œJ 

 

œœ œ œ

œ . œ œ œ œ . œ. œ  -

œ œj œ œ. J‰ .

.

.j b œœ œœ œ ‰ b  J. Z j‰ b  œ œ œ  b œ œ œ. Z j œ œœ œœ ‰  . Z .j œ œ œ‰  œ œ J.  Z Ÿ œ œ œ. ‰ œ œ ‰ J J Z

? ##

œ œj œ œ.

œœ b œœ œœ. ‰ J

œ. œ œ. œ œ. œ

œœœœ

œ œj œ œ. J‰

. . j j œ j œ œ œ œ œ œ‰ J . œ œ œ. œ œ œ‰ J



œ œ

œœœ

? ## 

œœ

 B # #  

œ œ‰ Œ

## œ . œ œ . œ œ . œ

# & # œ.

œœ



œ œ‰ Œ

‰

. > œ . œ œ . œ œ œ œ œJ  3



œœœœ





œœ

‰

.j > œœœ..  ‰ J. > j œœ ‰  . > > œ. ‰  J

128

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

# & # # & # &b ? ##

∑ j

Œ Œ

J‰Œ

∑

 ..

∑

∑ œ

∑

 ..

∑

œ. œ 

∑

œ œj œ j œ œ

J‰

∑

 .. Z

Œ Œ

∑

œ œ

∑

 ..

∑

Œ Œ I.

œ ..  ..

∑

J‰Œ

œœ‰

J‰Œ

œ œ

∑

J‰Œ Œ

J‰Œ Œ ∑

œ œ. œ œ œ œ 3

 ..

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

Gœj œ-

## ##

B ## ? ## ? ##

œ œ œœ

J‰

Œ Œ

 ..

non div.

∑ ∑

∑

Z r œ j‰

œ ..  ..

œ- œ œ œ œ j œ œ . œ œ œ œ œ œ œ œ œj œ œ œ œ œ œJ ‰ J‰ J‰ œ 3 3

œ‰Œ J

 ..

∑ ∑

œ. œ 

œ œj œ j œ ‰ Œ Œ œ

œœ

 ..

∑ ∑

œ ..

RJ‰

 .. Z

œœ

non div.

∑

œ œ œ œ œ j œ œ. œ œ œ œ J‰ œ œ

J‰Œ j

∑

œ ..

J ‰  Z

œ œ ‰ œ œ. œ œ œ œ R J

 ..

∑

# & #

135

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

& &

∑

& b œ. j ‰  > ? ## &

œ- œ œ œ œ

p I. j œ œ

∑

J ‰

œ œœœ ‰ J

> j

 Œ # # œœ  p

œ œ œ œœ ‰ 3

œ œ œœœ ‰ > Œ # n œœj 

∑

œ œœœœ 3

œ œ

∑

J‰

∑

œ œœœœ J‰ 3

œœ œ œœ œ œ œ œœ ‰ œœj œœ œœ œœ œœ œj ‰ œ J 3

3 œœ œœ œœ œœ œœJ ‰ œœj œ œœ œ œœ œœ ‰ œ œ J p I. j œ œ j œ œ œ œ J œ œ œ œ œ œJ ‰ ‰

œœ

∑

 ..

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

œ. œ œ œ œ œ

œœœœ ‰ J

∑

I. II. Tbn. III. e Tuba

Timp.

# & # œJ ‰ 

∑

II.

## j

Vle.

B ## œ ‰  J

Vln.

Vc.

Cb.

? ## ? ##

œœ ‰ 

 ..

œœœ

∑

j œ‰Œ

œœœ œ ‰ Œ J

œ œ

∑ 3

pizz.

∑

œ œ

œœ œœ œœ œœ œœj ‰ œ œ œ . . . . . 3

œœ œœ œœ œœ œ. j ‰ . . . .

. . . . . œ œ œ œœ œœ œœ œœ œœJ ‰ n œœ. œœ. œœ. œœ. œœ. ‰

∑

Œ ∑

œœ

pizz.

œ œ

œœ ∑

œ œ œ œ

œ ∑

Fl. picc.

Fl.

Ob.

Cl. (La)

# & # Œ

142

# & # Œ &b

œœ

∑

œ. ‰ Œ J

œ. J‰Œ

œœ. ‰ Œ

œœ

œ. ‰ Œ J

œ. J‰Œ

œœ. ‰ Œ

œœ

∑

œ. ‰ Œ J

œ. J‰Œ

œœ. ‰ Œ

œœ

œ. ‰ Œ J

∑

J‰Œ

œ Œ Œ œ

œœ. ‰ Œ

Œ Œ

œ.

∑

œ . œ œ ‰ Œ œœ J

œ œ œœ œœ œ œj‰ Œ œœ œœ œ œ.

cresc.

Œ Œ

∑

œœ œœ œœ œj‰ Œ œœ œœ œœ œ.

cresc.

? ##

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

I. Vln. II.

. > œ . œ œ œ œ œJ ‰ 

## œ œ

Hj œ œ

œ œœ œ ‰ 3

# œ j & # œ. œœ. œœ. œœ. œœ. œœ. œ œ. œœ. œ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ. œœ. œœ. œœ. œœ. œœ. œ œ. œœ. œ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œ œ œ œ ‰ cresc.

arco Ÿ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . # B # œœ œœ œœ œœ œ œ œ œ œœœœœœœœœœœœ œœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœœœœœ œœ œœ œœ & œ œ œ œJ ‰

cresc.

Vle.

. ? # # œJ ‰

>

arco

Vc.

Cb.

? ##

∑

. œ . œ œ œ œ œJ ‰

>

∑

∑ 20

œ . œœœœ œ Œ Œ cresc.

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . p cresc.

. > œ . œ œ œ œ œJ ‰ 

cresc.

œ Œ Œ

pizz.

cresc.

œ œ œœ œ J‰ 3

œ œ œ œ œj ‰ 3

Ÿ Œ œ œ œ œJ ‰

œ Œ Œ

pizz.

œ Œ Œ

148

Fl. picc.

Fl.

Ob.

Cl. (La)

∑

# # œ. J‰Œ & &

∑

œœ

œ. ‰ Œ œ J

œœ

? ##

∑

III. IV.

∑

Tbe. (Mi)

∑

B ## ? ##

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

Vln. II.

Vc.

Cb.

œœ œœ œœ

œœ œœ œœ œj ‰ Œ œ.

∑

# # œ œ œœ œ & J‰ 3

# œ j & # œ œœ œ ‰ ##

Ÿ Œ # œ œ œ œJ ‰

? ## œ Œ ? ## œ Œ

Œ Œ

œ œ œ œœ J‰

œ Œ Œ

œœ œœ œœ œœ

œ œœ œ œj ‰

œ Œ Œ

œœœœ

Ÿ Œ # œ œ œ œJ ‰

J ‰

œ œ œ œJ ‰ 3

œœœœ 3

œœ œœ œœ œœ

œœ ‰ J

œ f

J ‰

œœ œœ œœ œœ

U ? Œ

∑

œœœœ 3

œœ ‰ J

œ œ œ œJ ‰

j œœ ‰ Œ .

∑

œœ .

œœ œœ œœ

j‰ Œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . . . œ f

œœ œœ œœ œj ‰ Œ œ.

œœ œœ j ‰ Œ œœ .

œœ œœ œœ œj ‰ Œ œ.

∑

Vle.

œ. ‰ Œ J

œœœ

œœ œœ œœ œj ‰ Œ œ.

∑

B œœ

∑

œœ

œ. ‰ Œ J

œ œ œ œ. J‰ Œ 3

œœ œœ œœ œj ‰ Œ œ.

œ j œ j œœ ‰ Œ œœ œœ œ œœ ‰ Œ œœ œœ œ œœj ‰ Œ . . . 3

j œ œœ j œ œœ œœ ‰ Œ œœ œ œœ ‰ Œ œœ œ œœj ‰ Œ . . .

œœ

œ. ‰ Œ J

œ œ œ œ. J‰ Œ 3

œ. ‰ Œ J

J ‰

œ œ œ œJ ‰ 3

œœœœ U

œœ œœ œœ œœ

œœ ‰ J

J ‰

œœ U‰ J

œ œ œ œJ U‰ B 3

154

Fl. picc.

Fl.

Presto

∑

. I.

∑

.

∑

Z .

.

∑

.

Z  ..

∑

 ..

.

∑

? ##

∑

III. IV.

∑

Tbe. (Mi)

∑

B ##

∑

? ##

∑

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. e Tuba

Timp.

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & Presto

I. Vln. II.

Vle.

Vc.

B ##

.

∑

.

∑

 ..

cresc.

œ œ œœœœœœ œœ œœ œœœœœœ œœ œœ

œ œ œœœœœœ œœ œœ œœœœœœ œœ œœ p cresc. arco ? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

.

cresc.

∑

œœœœœ

? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

.

œœœœœ

.

∑

œœœœœ œœœœœ

œœœœœ

œœœœœ œ.

J‰Œ Œ

∑

 ..

arco

Cb.

œœœœœ

œœœœœ œœœœœ ∑

# & #

∑

∑ ∑

∑

162

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

∑

& b  .. Z ? ## &

∑

. b  . Z

∑

 ..

∑

. 



∑

b  .. Z

∑

B ##

∑

? ##

∑

Vln. II.

Vle.

Vc.

Cb.

œœœœœ

. B ##  . Z ? ##

∑

? ##

∑

œœœœœ œœœœœ

 ..

∑ ∑



Z .

œ œ

œ bœ œ

œ œ

œ bœ œ

œ œ

œ bœ œ

bœ

œ œ bœ œ œ bœ œ œ bœ œ œ

bœ

œ œ bœ œ œ bœ œ œ bœ œ œ

∑

accelerando

œœœœœ

œ bœ œ

œœœœœ Z  ..

œ œ

∑

œœœœœ

 ..

œ œ

∑

# & # œœœœœ ƒ # & #

œ œ

∑

œ œ œ

Timp.

œ œ œ

œ bœ œ

Tbe. (Mi)

III. e Tuba

œ œ œ

Tbn.

œ œ œ

III. IV.

I. II.

œ œ œ

∑

.

œ œ œ

œ œ

. Z  .. Z

Z  ..

œ œ œ

 ..

∑

œ œ œ

accelerando

œœœœœ œœœœœ ∑

 ..

Z .

# & #

170

Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

Tbe. (Mi)

I. II. Tbn. III. e Tuba

Timp.

# & #

œ œ œ

œ œ œ œ

nœ œ œ

nœ œ œ #œ

Prestissimo molto

I. Vln. II.

Vle.

Vc.

Cb.

∑

œ Œ Œ

∑

œ œ œ œ Œ Œ bœ Œ Œ

∑

b œ. Œ Œ

∑

œ Œ Œ

∑

Œ Œ

bœ œ œ

b b œœ œœ œœ b b œœ œœ œœ b b œœ œœ œœ b b œœ œœ œœ b œœ Œ Œ

bœ œ œ nœ Œ Œ bœ Œ Œ

B # # n # œœ œœ œœ n # œœ œœ œœ n # œœ œœ œœ n # œœ œœ œœ # œœ Œ Œ ? ## b œ œ œ

bœ œ œ

œ œ œ

œ œ œ œ Œ Œ

bœ œ œ

ndiv. œœ œœ

n œœ œœ œœ

n œœ œœ œœ # œœ

bœ œ œ

#œ œ œ #œ œ œ #œ œ œ #œ œ œ B ## b œ œ œ b œ œ œ b œ œ œ b œ œ œ

Œ Œ Œ Œ

œ œ Œ Œ

bœ œ œ

? ##

œ œ œ

œ œ œ œ Œ Œ

œ œ œ

œ œ œ œœ Œ Œ

Z. œ Z. œ

œ Œ Œ

Z œ.

œ Œ Œ

∑

œ. œ

Œ Œ

.

 ..  ..

œœ œœ Œ Œ

 ..

œœ Œ Œ

b.

.

 ..

œœ Œ Œ

.

 ..

Œ Œ

œœ Œ Œ Œ Œ

œœ Œ Œ

Ÿ~~~~~~~~~~~~~~~ . . œ Œ Œ

div.

? # # b œœ œœ œœ

œ œ œ

∑

# & #

∑

bœ œ œ

# & #

∑

œ œ œ

Prestissimo molto

Œ Œ

∑

œ œ œ

III.

∑

Œ Œ

œ œ œ

∑

? # # # # œœ œœ œœ # # œœ œœ œœ # # œœ œœ œœ # # œœ œœ œœ œœ Œ Œ &

∑

b b œœ œœ œœ b b œœ œœ œœ b b œœ œœ œœ b b œœ œœ œœ n œœ

Œ Œ

# # n b œœ œœ œœ n b œœ œœ œœ n b œœ œœ œœ n b œœ œœ œœ # œœ Œ Œ & &b

œ.

Œ Œ

∑

Œ Œ

∑

œ Œ Œ

∑

œ Œ Œ

∑

Œ Œ

∑

Z œ.

Œ Œ

œ Œ Œ

Z œ. Z

Œ Œ ∑ ∑

Œ Œ Œ Œ

.

œ Œ Œ

. .

œ Œ Œ œ Œ Œ

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Fg. Fagotto Fl. Flauto Fl. picc. Flauto piccolo JS Johan Svendsen mvt. movement N-Oum The National Library, Oslo Ob. Oboe Pl. No. plate number stacc. staccato marking(s) str. strings Tba. Tromba Tbn. Trombone ten. tenuto marking(s) Timp. Timpani Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

SOURCES

CRITICAL REPORT

Norwegian Folk Dance, JSV 73 A Score, autograph

Source 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.

Score, autograph N-Onm Mus.ms. 18. 17 pages, 27.5x35.5 cm. Front page: Svendsen Johan / Norsk Springdans. The title is written in ink, probably by the composer, while the name of the composer is written in pencil, probably not by the composer. Title page: Entered in pencil (not by Svendsen, probably) in the upper right hand corner: “Hr organist Spielmann” [?]. In pencil (probably not Svendsen’s handwriting): Johan Svendsen / Norsk Springdans / No. II Brown cover. Hand-ruled music paper, 18 staves. Pagination: 1–17. Few additional markings. The score is identical with the printer’s copy, since the page disposition for the printing process was incorporated into the score. Nonetheless, the work was never printed. Written in ink (Johan Svendsen). Additions in pencil, red crayon and blue crayon. Provenance: In the protocol of the Library: *Wilhelm Hansens musikforlag v O.M. Sandvik. Den økonomiske utnyttelse (utgivelse) forbeholdt giveren. [The donor retains the publishing rights].

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

EVALUATION OF THE SOURCES There is only a single source: the autograph score, Source A. The notation of pitch, dynamics and slurs is quite consistent and complete. Articulation represents the most ambiguous notational element, but in many cases the addition of articulations offers itself based on analogy. However, the sporadic notation of articulations most likely suggests that Svendsen considered this element to be partly up to the performers. The performance of articulation was probably expected to be varied and guided by the performers’ musical sense. Some additions have been made in pencil. These may have been added by the publisher, since the planned page disposition is numbered in pencil as well. We have nonetheless chosen to regard these additions in pencil as part of the manuscript. All of the additions are quite logical. Red crayon is used exclusively to correct rehearsal letters, and blue crayon is used only twice to clarify two indications of ‘rit.’.

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Primary source: A

Norsk Springdans

Fl., Ob. I

ten. added by analogy with Vln.

120

Ob. II, Cl. II

ten. added by analogy with Fl. picc.

123

Ob., Cl.

note 3: stacc. added by analogy with the other instruments

127

Cor. III/IV

note 1: added by analogy with the other instruments

128–129

Vln. I

ten. added by analogy with bb. 21–22

129

Vln. II

fz added by analogy with Fl. I

132, 133

Vle.

slur added from appagiatura by analogy with bb. 25, 26

138

Vle.

stacc. added by analogy with Vln. II

Bar

Instr.

Comment

Vln. II, Vle., Vc., Cb.

articulation added by analogy with winds and Vln. I (>)

Ob. II, Cl. II

ten. added by analogy with Fl. picc.

Tbn., Tuba

stacc. added by analogy with the other instruments

142

Vle.

notes 5–8: stacc. added by analogy with Vln. II

Timp.

stacc. added by analogy with b. 123

166

Ob., Cor.

a 2 added by analogy with Cl., Fg.

Ob. II, Cl. II

ten. added by analogy with Fl. picc.

177

Cl.

stacc. added by analogy with the other instruments

str.

articulation added by analogy with b. 127 and winds

Vln. I

unclear stacc. removed

Vln. II

note 2: fz added by analogy with Fl.

25–26

Fl., Fl. picc. fz added by analogy with bb. 128–129 Vln. II

Cl.

articulation added by analogy with b. 135

Cor.

a 2 added

Fl. picc.

ten. added by analogy with Fl., Ob.

Tutti

articulation added by analogy with Fl. I

Vln. I

articulation added by analogy with Ob. b. 59

Fg.

articulation added by analogy with Ob. b. 59

Cl.

I. added by analogy with Fl.

Ob.

articulation added by analogy with Vln. I b. 42 and Fg. b. 50

Ob. II

tie added by analogy with Vln. II bb. 61, 63

Ob. II

tie added by analogy with Vln. II bb. 61, 63

Vln. II

articulation added by analogy with Vln. I

Ob. II, Cl.

ten. added by analogy with Fl.,Vln. I

Cl.

a 2 added by analogy with Ob. b. 77

Fl.

stacc. added by analogy with b. 74

Fg.

fz added by analogy with Cl.

Ob. II, Cl.

ten. added by analogy with Fl., Vln. I