polonaise_op_28 by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Polonese, op. 28 JSV 81

Polonaise, Op. 28

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/6C

N.M.O. 14544A

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle English translation and language consultant: Thilo Reinhard Norwegian language consultant: Gunnhild Wiggen Sponsored by: Kulturrådet (Arts Council of Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14544A /ISMN 979-0-065-16407-6) For sale Parts (N.M.O. 14544B /ISMN 979-0-065-16408-3) For hire © 2020 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimiles Scoring I V IX XVII

POLONAISE, OP. 28 Abbreviations Critical report

POLONAISE, OP. 28 Forkortelser Kritisk rapport

20 21

I V IX XVII

20 21

GENERAL PREFACE

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

GENERELT FORORD

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

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

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

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

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

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

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

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

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

III

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

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

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

SERIES III: Works for String Orchestra

SERIE II: Verker for soloinstrument og orkester

SERIES IV: Chamber Music

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

SERIE III: Verker for strykeorkester

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

SERIE IV: Kammermusikk

SERIES V: Piano Works

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

1. Cantatas and Choral Works 2. Songs

SERIE V: Klaververker

SERIES VII: Ballet

SERIES VI: Vocal Works

Spring Is Coming, Op. 33

SERIE VI: Vokalverker

SERIES VIII: Sketches and Varia

1. Kantater og korverker 2. Sanger

SERIE VII: Ballett Foraaret kommer, op. 33

SERIE VIII: Skisser og varia

PREFACE

ohan Svendsen’s (1840–1911) Polonaise, Op. 28, was composed for a citizen’s ball on 16 February 1882 in the large hall of the Old Masonic Lodge in Christiania8 (Oslo). The manuscript is dated ‘January 1882’, but in his almanac for 1882, under the date 7 January, Svendsen has written: ‘Completed the Polonaise for the citizen’s ball.’9 The extensive coverage of the ball in the Norwegian dailies Morgen bladet and Aftenposten only marginally dealt with the music itself and merely noted that a polonaise had been played. The first performance was conducted by Svendsen’s friend Johan Hennum (1836–1894) rather than by Svendsen himself. At the time, Hennum was musical director at Christiania Theatre, and, among other things, had conducted the premiere of Edvard Grieg’s (1843–1907) music to Henrik Ibsen’s (1828– 1906) Peer Gynt on 24 February 1876. In his PhD thesis Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises,10 Morten Christophersen shows that Svendsen sketched out a ‘continuity draft’ for the entire polonaise in one continuous and quick compositional process without major interruptions or revisions. The Polonaise, Op. 28, was never published in its original orchestral form, but when Svendsen died in 1911, Wilhelm Hansen released a piano version titled Polonaise (Oeuvre posthume), arranged by the Danish composer Hakon Børresen (1876–1954), who had studied with Svendsen. That year, the arrangement was also published as part of an album with piano music by Svendsen. In 1919, Wilhelm Hansen published the work in a version for salon orchestra, arranged by Nicolaj Hansen (1855–1932) and released as part of the Heimdal series. In 1873, Svendsen had written his better-known Festival Polonaise, Op. 12, for a similar citizen’s ball in Christiania on 6 August that year, a few weeks after the coronation of King Oscar II and Queen Sophie in Trondheim. This is why Op. 28 is sometimes referred to as Polonaise No. 2, such as in Sohlmans Musiklexikon (Øystein Gaukstad, 1952)11 or in the posthumous papers of Olav Gurvin.12 Svendsen himself labelled the polonaise merely ‘Op. 28’, rather than ‘No. 2’. For reasons unknown to us, Olav Gurvin and Øyvind Anker’s Musikklek sikon lists Svendsen’s string orchestra arrangement of Schumann’s Abendlied as Op. 28.13 The same is true of another major Norwegian musical lexicon, Musikkens Verden.14 The rationale behind this is unclear.

FORORD

ohan Svendsen (1840–1911) komponerte Polonaise, op. 28 til et borgerball som ble avholdt 16. februar 1882 i Logens store Sal i Christiania1 (Oslo). Manuskriptet er bare datert med januar 1882, men i sin almanakk for 1882 har Svendsen skrevet følgende på datoen 7. januar: «Fullføret den til Borgerballet komponerede Polonaise».2 Morgenbladets og Aftenpos tens omfattende referat fra borgerballet handlet i svært liten grad om musikkinnslagene og nevnte bare så vidt at en polonese ble spilt. Det var Svendsens venn Johan Hennum (1836– 1894) som dirigerte førstefremføringen, ikke Svendsen selv. På denne tiden var Hennum kapellmester ved Christiania Theater, og det var også han som dirigerte ved uroppføringen av Edvard Griegs (1843–1907) musikk til Henrik Ibsens (1828–1906) Peer Gynt, 24. februar 1876. Morten Christophersen viser i sin avhandling Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises3 at skissene til hele polonesens forløp ble til i én sammenhengende og rask kreativ prosess, uten store avbrudd eller revisjoner. Polonaise, op. 28 ble aldri utgitt i originalversjonen, som et orkesterverk, men da Svendsen døde i 1911, gav Wilhelm Hansen ut et arrangement for klaver av Svendsens elev, komponisten Hakon Børresen (1876–1954), med tittelen Polonaise (Oeuvre posthume). Dette arrangementet ble også trykket samme år som en del av et album med klavermusikk av Svendsen. I 1919 utgav Wilhelm Hansen så verket for salongorkester, i et arrangement av Nicolaj Hansen (1855–1932), som en del av Heimdal-serien. I 1873 hadde Svendsen komponert sin mer kjente Fest polonaise, op. 12 til et tilsvarende borgerball i Christiania, 6. august det året, noen uker etter kong Oscar II og dronning Sophies kroning i Trondheim. På bakgrunn av dette blir Polo naise, op. 28 noen ganger referert til som Polonaise nr. 2. Øystein Gaukstad gjør dette i Sohlmans Musiklexikon (1952)4, og vi ser det samme i Olav Gurvins etterlatte papirer.5 Selv nummererte Svendsen polonesen kun som op. 28, ikke som nummer to. I Olav Gurvin og Øyvind Ankers Musikkleksikon har Svendsens strykeorkesterarrangement av Schumanns Abendlied av ukjente grunner fått opusnummer 28.6 Slik er det også i Musikkens Verden.7 Det er vanskelig å forstå hvorfor. 27 år etter borgerballet, i 1908, planla Svendsen å bruke Polonaise, op. 28 som teatermusikk i andre akt av Charlotte

In 1908, 27 years after the citizen’s ball, Svendsen planned to use the Polonaise, Op. 28, as incidental music for the second act of Charlotte Marie von Scholten’s (1855–1931) historical drama Attila, albeit under a different title. Svendsen’s autograph score of the work from 1882 bears the title Polonaise, while a facsimile copy is titled Dans paa Attilas Kongeborg i 2den Akt (Dance at Attila’s Royal Castle in the 2nd Act). The Royal Danish Library also holds a set of parts with the identical title. Svendsen had agreed to write music for Scholten’s play in collaboration with his student Joachim Bruun de Neergaard (1877–1920), who composed an overture, several songs and a melodrama. Svendsen probably did not compose any original music, but, in addition to the polonaise, once again planned to reuse an earlier work under a different title: Bryllups marsche (Wedding March), one of the marches he had composed in Lübeck in his early years in the spring of 1863 – Kamp fører til Seier. Marsj (Battle leads to Victory. March), JSV 28. Nine years after Svendsen’s death, on Monday 6 December 1920, a work by Johan Svendsen titled Bryllupsmarsche was performed at a concert in Copenhagen. The title in the programme booklet is followed by ‘(1st Performance)’, and the origins of the work are described as follows:

Marie von Scholtens (1855–1931) historiske drama Attila, riktignok med ny tittel. Svendsens håndskrevne partitur til verket fra 1882 har tittelen Polonaise, mens en kopi av partituret har tittelen Dans paa Attilas Kongeborg i 2den Akt. Ved Det Kongelige Bibliotek finnes det også et sett med stemmer med denne samme tittelen. Svendsen hadde tatt på seg å samarbeide med sin elev Joachim Bruun de Neergaard (1877–1920) om å lage musikk til Scholtens teaterstykke. Bruun de Neergaard komponerte en ouverture, noen sanger og et melodrama. Svendsen komponerte trolig ikke noe ny musikk, men planla å gjenbruke et annet gammelt verk i tillegg til polonesen, også det med ny tittel: Bryllupsmarsche. Dette var egentlig en av marsjene han komponerte i Lübeck i sin ungdom, våren 1863, Kamp fører til Seier. Marsj, JSV 28. Ved en konsert i København ni år etter Svendsens død, mandag 6. desember 1920, ble det oppført et verk av Johan Svendsen med tittelen Bryllupsmarsche. Det står «(1ste Opførelse)» bak tittelen i programheftet, og i verk omtalen står følgende:

Having retired from his position as musical director of the Royal Danish Theatre in 1908, Johan Svendsen (1840– 1911), upon the request of authoress Ms C.M. v. Scholten and at his own leisure, wrote incidental music to her never performed historical drama ‘Atila’, albeit conditional on the assistance and collaboration of his student, the com poser J. Bruun de Neergaard, who recently passed away. While the latter composed an overture, a few songs and the melodrama performed here, Svendsen, both according to the authoress’ account as well as according to written testimony by Mr Bruun de Neergaard, agreed to compose as well as to orchestrate the ‘Bryllupsmarsche’ that has now come to light and been performed for the first time, its entire character and brilliance proving that the master in his advanced years yet once again has succeeded in paint ing with his colours of old.

Til Forfatteinden Frøken C.M. v. Scholtens uopførte his toriske Drama «Atila» skrev Johan Svendsen (1840–1911) efter Forfatterindens Opfordring i sit Otium, da han 1908 havde kvitteret Kapelmesterposten ved det kgl. Teater, Scenemusik, idet Svendsen dog betingede sig Bistand og Medarbejderskab af sin nys afdøde Elev, Komponisten J. Bruun de Neergaard. Medens sidstnævnte komponerede en Ouverture, et Par Sange og det nu spillede Melodrama, har Svendsen baade ifølge Forfatterindens Udsagn og ifølge skriftlig Vidnesbyrd fra Hr. Bruun de Neergaard været ene saavel om Komposition som Instrumentation af den nu fremdragne og for første Gang spillede «Bryllupsmarsche», hvis hele Karakter og Glans viser, at Mesteren i sin Alder dom endnu en Gang har evnet at male med sine gamle Farver.

Since von Scholten’s Attila was never performed, the title Dance at Attila’s Royal Castle in the 2nd Act for the Polonaise, Op. 28, seems somewhat of a misnomer today. The Polonaise was listed under its original title in a concert held in Copenhagen on 21 January 1912. Frederik Schnedler-Petersen (1867–1938) was conducting and the performance was incorrectly billed as a premiere. Several newspapers noted that Svendsen’s student, the composer Hakon Børresen (1876–1954), had completed orchestrating two

Teaterstykket Attila ble aldri oppført, så det er ikke naturlig i dag å bruke tittelen Dans paa Attilas Kongeborg i 2den Akt på Polonaise, op. 28. Polonesen stod på programmet med sin opprinnelige tittel ved en konsert i København 21. januar 1912. Frederik Schnedler-Petersen (1867–1938) dirigerte, og fremføringen ble feilaktig annonsert som en premiere. I flere aviser ble det nevnt at Svendsens elev, komponisten Hakon Børresen (1876–1954), hadde ferdiginstrumentert to ukjente Svendsen-verker for anledningen, og at en polonese nå fikk sin førstefremføring. Kritikerne hadde stor tro på at også denne

unknown Svendsen works for the occasion, and that a polonaise would be performed for the first time. The critics were convinced that, just like the Festival Polonaise, the new polonaise by Svendsen would achieve great popularity as well. The Danish daily Berlingske Tidende wrote: Two smaller posthumous orchestral works by Johan Svend sen, whose orchestration allegedly was completed by Mr Hakon Børresen. The first of these pieces, ‘Prelude’, quite clearly suffered from the somewhat prominent flaw of being rather broad in relation to its content, but otherwise it was a well-sounding and graceful work whose acquaintance the audience seemed greatly pleased to be making. On excep tionally fertile ground fell the lovely ‘Polonaise’, which ful fils every requirement for becoming an orchestral favourite at the Tivoli Concerts.

polonesen av Svendsen ville bli populær, slik festpolonaisen allerede var. Berlingske Tidende skrev: Et par mindre efterladte Orkesterarbeider af Johan Svendsen der etter Sigende var færdig-instrumenterede af Hr. Hakon Børresen. Det første af Stykkerne «Prelude» led ganske visst af den noget fremtrædende Fejl at være lovlig bredt i forhold til Indholdet, men iøvrigt var det et fintklingende og yndefuldt Arbejde, som Tilhørerne lod til at være særdeles glade ved at stifte Bekendskab med. I ualmindelig taknemlig Jordbund faldt den flotte «Polonaise», der har alle mulige Betingelser for at kunne blive et yndet Orkesternummer ved Tivoli-Kon certerne.

BERLINGSKE TIDENDE, 22 JANUARY 1912.

The same day, Dagbladet commented:

BERLINGSKE TIDENDE, 22. JANUAR 1912.

‘Prelude’ is a weak composition and perhaps ought to have remained in the desk drawer; ‘Polonaise’, on the other hand, [is] an exceedingly ‘dashing’ piece that strides forward with the same resilience and self-assurance as the famous grand Festival Polonaise, even though its physiognomy does not share the irresistible mixture of freshness and nobility of the latter. This Polonaise, too, will surely become a favour ite at many orchestral concerts of a lighter nature. Yester day’s reception was heartfelt and sincere.

Dagbladet skrev samme dag: «Prelude» er et svagt Arbejde og burde maaske have for blevet i Bordskuffen; «Polonaise» derimod, et overorden tlig «flot» Stykke, skridende frem med samme spænstige Gang og samme ranke Holdning som den berømte store Fest-Polonæse, men ikke af dennes uimodstaaelige Bland ing av Friskhed og Noblesse i Fysiognomiet. Ogsaa denne Polonæse vil sikkert blive et Yndlingsnummer paa mange Orkesterkoncerter af lettere Genre. Modtagelsen i Gaar var saare hjertelig.

DAGBLADET, 22 JANUARY 1912.

The critic for Social-Demokraten was clearly aware that this was not the first time the polonaise had been performed and conveyed the fact in a clever and witty way:

DAGBLADET, 22. JANUAR 1912.

Anmelderen i Social-Demokraten visste nok at polonesen ikke ble spilt for første gang og fikk formidlet det på en finurlig måte:

Finally, the orchestra played two numbers by Johan Svend sen. The lovely ‘Prelude’ and the ‘Polonaise’, which was listed on the programme as ‘first time’. I suppose this must be correct when it says so right there, but it ought to be wrong.

Tilsidst spillede Orkesteret to Numre af Johan Svendsen. Den dejlige «Prelude» og «Polonaisen», der stod anført paa Programmet med «første Gang». Det maa vel være rigtigt, naar det staar der, men det burde være forkert.

SOCIAL-DEMOKRATEN, 22 JANUARY 1915.

The Polonaise, Op. 28, was never published and is therefore rarely performed. This first edition finally makes the work available for study and performance.

SOCIAL-DEMOKRATEN, 22. JANUAR 1915.

Polonaise, op. 28 har aldri blitt utgitt og er derfor sjelden fremført. Dette er altså en førsteutgave som gjør verket tilgjengelig for studium og fremføring.

Bjarte Engeset English translation: Thilo Reinhard

Bjarte Engeset

VII

NOTES Christiania was the name of today’s Oslo from 1624 until 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

Johan Svendsen: Almanac for 1882. Notebooks, almanacs, music books and diaries. National Library of Norway, Ms.8 ° 1191:15. 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

Morten Christophersen: Panoramic Constrains – A Study of Johan Svendsen’s Musical Sketches and Exercises, University of Oslo, Oslo 2016, pp. 409–410. 10

Sohlmans Musiklexikon. First edition, Stockholm, 1952 (Vol. 4), Sohlmans Förlag. Chief editor: Gösta Morin. 11

Johan Svendsen: Almanakk fra 1882. Notisbøker, almanakker, notehefter og dagbøker. Nasjonalbiblioteket, Ms.8° 1191:15. 2

Olav Gurvin: Liste over Johan Svendsen’s verker. National Library of Norway, manuscript collection, Ms.fol 4102 G, Gurvins etterlatte papirer. 12

Morten Christophesren: Panoramic Constrains – A Study of Johan Svendsen’s Musical Sketches and Exercises, Universitet i Oslo, Oslo 2016, s. 409–410. 3

Sohlmans Musiklexikon. Første utgave, Stockholm, 1952 (Bind 4), Sohlmans Förlag. Hovedredaktør: Gösta Morin.

Olav Gurvin and Øyvind Anker: Musikkleksikon, Oslo 1949.

Sverre Hagerup Bull (ed.): Musikkens Verden, Oslo 1951.

Olav Gurvin: Liste over Johan Svendsen’s verker. Nasjonalbiblioteket, Håndskriftsamlingen, Ms.fol 4102 G, Gurvins etterlatte papirer. 5

Olav Gurvin og Øyvind Anker: Musikkleksikon, Oslo 1949.

Sverre Hagerup Bull (red.): Musikkens Verden, Oslo 1951.

VIII

POLONAISE, OP. 28, SKETCHES, SOURCE S1. THE SKETCHBOOK IS KEPT AT THE ROYAL DANISH LIBRARY, MA MS 5276 MU 9705.2800. MUSICAL NOTEBOOK 5.

POLONAISE, OP. 28, AUTOGRAPH SCORE, FIRST PAGE, SOURCE A. THE SCORE IS KEPT AT THE ROYAL DANISH LIBRARY, C II, 39 FOL.

POLONAISE, OP. 28, COPY SCORE, COVER, SOURCE B. THE SCORE IS KEPT AT THE ROYAL DANISH LIBRARY, C II, 121E FOL. 1922-23.354.

XII

POLONAISE, OP. 28, AUTOGRAPH PART, VIOLINO I, FIRST PAGE, SOURCE APTS. THE PART IS KEPT AT THE ROYAL DANISH LIBRARY, MF.A 4146, MU 7908.2661, ORKESTERBIBLIOTEKET.

XIII

POLONAISE, OP. 28, AUTOGRAPH PART, VIOLINO I, FIRST PAGE, SOURCE BPTS. THE PART IS KEPT AT THE ROYAL DANISH LIBRARY, C II, 39 FOL. 1920-21.510.

XIV

Polonese, op. 28 JSV 81

Polonaise, Op. 28

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

Polonaise [JSV 81] Flauto piccolo 2 Flauti

2 Oboi

2 Clarinetti in La

2 Fagotti

I. II. 4 Corni in Mi

# 3 & # 4 # 3 & # 4

3 &b 4 ? # # 43 & &

I. II.

III. I. II. 3 Tromboni III. e Tuba

Piatti Tamburo Gran Cassa Timpani in Re - La

I. Violini II.

Viole

Violoncelli

Contrabbassi

∑

# 3 & # 4

III. IV.

3 Trombe in Mi

∑

34 aœ2. b œ œ . ƒ a2 3 4 bœ. œ œ. ƒ

3 4 b œœ .. œœ œœ .. ƒ 3 & 4 œ. œ. bœ ƒ B # 43 ∑ #

œ œ bœ œ œ œ. œ J J œ bœ J

œœ

œ. œ J

j œ œ bœ œ œ œ. ∑

œœ .. œœ aœ2. # œ œ . œ œ. J ∑

? # # 43

∑

 ƒ . ƒ

œ p

∑

œ J

∑

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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 œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ Œ J J

œ œ

‰ b œœ œœ œœ ‰ œœ ‰ b œœ œœ œœ ‰ œœ J J F ‰ b œœ œœ œœ ‰ œœj ‰ b œœ œœ œœ ‰ œœj F

∑

∑ ∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ## 3  . . . œ. œ œ Œ 4 ƒ

∑

œ # œ œ œ. œ. œ . J

∑

j œ œ œ œ œ œ.

œ # œ œ œ. œ. œ . œ #œ œ œ œ œ. J

∑

# . . & # 43 œ œ œ ƒ ## 3 & 4 œ. œ œ. ƒ # B # 43 œ . œ œ . ƒ ? # # 43 ∑

∑

 

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bœ. œ œ Œ œ bœ œ œ œ œ œ œ œ œ œ œ ∑

∑

j j œ œœ .. œœ œœ Œ œœ b œœ œœ b œœ œœ œœ .. œœ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ

∑

43 43

∑

œ bœ œ œ œ œ œ œ œ œ œ œ bœ. œ œ Œ

∑



∑

œ bœ œ œ œ œ œ œ œ œ œ œ œ. œ œ Œ

? # # 43 3 4

∑

Johan S. Svendsen, Op. 28

‰ œœ œœ œœ F ‰ œœ œœ œœ F œ- Œ F œ- Œ F

∑

œ # œ œ œ. œ. œ . J

œ J

j j ‰ œœ ‰ œœ œœ œœ ‰ œœ ‰ œœJ

‰ œœ œœ œœ ‰ œJœ

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œ-

Œ Œ

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7 Fl. picc.

Fl.

Ob.

& &

∑

œ. œ. # # œ . # œ œ . œœ n œ . œ # œ #œ nœ. œ #œ & œ. #œ œ. œ nœ. œ #œ &b a2

Cl. (La)

Fg.

? ##

I. II.

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

I. II. Tbn. III. Tb.

Pt. Tamb. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

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‰ J f

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‰ b œœ ‰ œœ ‰ œœ J J J

‰ b # œœ œœ œœ ‰ n œœ J

∑

B # #

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‰ œ œ œ ‰ œJ f

‰

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∑

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 

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‰

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‰

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∑

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∑

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j‰

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Z Œ œ ∑ ƒ j j j j ‰ œ ‰ œ ‰ œ Œ œ œ ‰ ƒ ∑ ∑ Ÿ Ÿ~~~~~~~~~~~ œ œ ‰ œ ‰ œ ‰ Œ œ œj ‰ J J J ƒ œ œ. œ œ. œ œ. œ  œ

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j œ. ‰ j œ. ‰

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ƒ ‰ Jœœ ‰ Jœœ ƒ j j œ ‰ œ ‰ ƒ j‰ j‰

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.. .. .. .. .. .. .. .. .. .. .. .. .. .. ..

œœ

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13 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

Pt. Tamb. G. C.

Timp.

I. Vln. II.

œ œ œ œ œ. œ œ

## œ . œ œ

# & #

# & # & b ‰ œœ F œ ? ## ‰ œ F

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J ‰ Œ

∑

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j œœœ ‰ œœ œœ œœ ‰ # œœ ‰ œ œœ œ œ ‰ J ‰

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‰

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∑

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∑

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Vle.

Vc.

Cb.

∑

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∑

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∑ ∑ ∑

∑ ∑ ∑ ∑

∑



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∑

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‰

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# œœ

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∑

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∑

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‰ œœ œœ œœ ‰ # œœ J F œ Œ œj ‰ F œ Œ œj ‰ F

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‰ œœ œœ œœ ‰ # œœ J

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Œ Œ

j ‰

# # œJ ‰ Œ &

19 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II.

‰

I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Pt. Tamb. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

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# I. œœ œ & # ‰œœ

Z ‰

∑

baœ2.

∑

bœ.

∑ ∑

B #  #

b œœ

? # #  .. ∑ ∑ ∑

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œ

∑ ∑ Œ Œ

œ J

œ œœ B # # ‰ œ œ œ ‰ œœ ‰ œœ œœ œœ œ J ? ## œ

cresc.

œ J ‰ f œ ‰ J f

 

 .

b  ..

œ nœ. nœ

∑

nœ œ œ œ. œ œ.

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 ..

∑

‰

∑

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∑ ∑ ∑

∑

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∑

j œ ‰ œœ œœ œœ ‰ b œœ ‰ œœ œœ œœ œœ œ

? ## œ

œ œ nœ œ. nœ œ.

∑ ∑ ∑

œ œ œ œ. œ œ. œ œ œ ## ##

cresc.

∑

f. . . . . œœ œœ œœ œœ œœ

f œœ. œœ. œœ. œœ. œœ. ‰ ‰ f

œ. ‰ œ f a.2 ‰ œ f

œœ. œœ. œœ. œœ. œ. œ. œ. œ.

‰ œ œ œ œ œ ‰ bœ œ œ œ œ ‰ bœ œ œ œ œ ‰ bœ œ œ œ œ ‰ œ œ œ œ b œ. œ. œ. œ. F cresc. f ‰ œ œ œ œ œ ‰ b b œœ œœ œœ n œœ œœ ‰ b œœ œœ œœ œœ œœ ‰ œœ œœ œœ # œœ œœ ‰ œœ œœ œœ n b œœ bœ œ œ œ œ . . . . F F cresc. ‰ ‰ ‰ ‰ ‰ œ œ œ œ œ b œ œ œ œ œ n œ œ œ œ œ b œ. œ. œ. œ. bœ œ œ œ œ F cresc. F  . n œœ #  . b  . Œ n œœ ‰ Œ n  .. n  . J F cresc. Z dim. π III. j n. . . Œ n. œ ‰ Œ π Z dim. F cresc.

∑ ∑ ∑

∑

œ.

∑

‰ b b œœ œœ œœ œœ œœ ‰ b œœ œœ œœ œœ œœ ‰ b œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ œœ. œœ. œœ. b œœ. œœ. F cresc. f

œ

 

   ? ## &



œ œœ œœ œœ œœ œ

œœ œ œ ‰ œ œ œ œ ‰ œ œœ b & ‰ J œœ œ œ œ œ nœ ? # # ‰ œ œ œ ‰ b œJ ‰ œœ œœ œœ

Cor. (Mi) III. IV.

A . . . œ. œ. œ œ œ

Œ Œ

œ. cresc.

œ.

cresc.

∑ ∑ ∑

œ nœ.

nœ œ œ œ. œ œ.

œ nœ.

nœ œ œ œ. œ œ.

A œ œ . œ œ. . J

∑ ∑ ∑

∑

œ œ nœ œ. nœ œ. œ œ nœ œ. nœ œ.

∑ J J

∑

œœ . œ.

∑

œ œ . œ œ. . J f

. ‰ n œœ œœ œœ œœ œœ ‰ n œœ œœ œœ œœ œœ ‰ n n œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ œ . œ œ . F cresc. f œ . œ œ. . . n  . . n. f cresc. œ . n  . . Œ n. f cresc. 4

œœ .

œ.

œ. J œ ‰ J

. . . . . . . . . . ## ‰ œ œ œ œ œ ‰ œ œ œ œ œ &

œ. œ. œ. œ. œ. œ . œ œ ‰

# & # ‰

‰

26 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

Pt. Tamb. G. C.

Timp.

I. Vln. II.

œœ. œœ. œœ. œœ. œœ.

. . . . . . . . . . # # ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ &

F œœ. œœ. œœ. œœ. œœ.

œœ. œœ. œœ. œœ. œœ. ‰

œœœœ œ

J ‰ Œ

∑

œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. ‰ ‰ ‰ œœ œœ œœ ‰ œœ &b ‰ J F

œœ œœ œœ œœ ‰ J

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

. . . ‰ œœ. œœ. œœ œœ b œœ

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

‰ œœ œœ œœ œœ œœ . . . . .

∑

∑ ∑ ∑

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

& & &

B # #

‰

œ. œ. œ. œ. b œ.

‰

∑

b œ. œ. œ. œ. œ.

∑

  

∑ ∑ ∑

? ##

Ÿ~~~~~~~~~~~~~~~~~~~~ . œ f

œ. œ œ. ##

œ œ.

## œ .

B ## œ . œ œ .

Vc.

? ## ? ##

œ œ . œ œ. . J œ œ. œ J

œ. .

œ œ . œ œ. . J œ œ . œ œ. . J

œ. œ œ. 

‰

œ. œ . œ œ . J œ. J

œ. œ œ.

‰ ‰

œ. œ . œ œ . J 

œ œ. œ œ J

œ. œ . œ œ . J œ ‰ J

‰

∑

œ. œ. œ. œ. b œ.

∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~ œ . p

I. ‰ œ œ œ œ œ F

œ œ œ œ

‰ œ œœ œ ‰

‰

F F

∑ ∑ ∑ ∑



 .

∑ ∑ ∑

∑

œ œ œ œ œ. œ œ

Œ Œ

j œ ‰ j œ ‰

œ œ

Œ Œ

# œœ nœ

∑

œ œœœœ œ œ œ œ œ

div. ‰ œœ œœ œœ ‰ œj ‰ œœ œœ œœ ‰ œj ‰ œœ œœ œœ #œ #œ F div. j j ‰ œœ œœ œœ ‰ œœ ‰ œœ œœ œœ ‰ œœ ‰ œœ œœ œœ F

∑

‰ J

œœ œœ œœ # œœ ‰ J

‰ b œœ œœ œœ ‰ œœj ‰ b œœ œœ œœ ‰ œœj F ‰ œ œ œ œ b œœ ∑ ∑ œ. œ. œ. œ. .

∑

? ##

‰

œ œ œ œ œ ‰

œœ œœ œœ œœ ‰ J

. . . ‰ œ. œ. œ œ œ

‰ œœ œœ œœ ‰ œœ J

? # # ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ.

Vle.

Cb.

‰

œœ. œœ. œœ. œœ. œœ.

œ œ œ œ œ. œ œ

j œ ‰ j œ ‰

œ œ

Œ Œ

‰ # œœj ‰ # œœ J

j nœ ‰ f j nœ ‰ f

32 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II.

# & # &

I. II. Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Pt. Tamb. G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ. œ œ.

‰

∑

‰ œ œœ œœ # œœ # œœ #œ

‰

∑

& & &

>œ .

f >œ .

B # # n #  ? ##    ? ## # & #

‰ œœ œœ œœ ‰ F

œ

? ## ? ##

‰ œœ œœ œœ ‰

œœ

∑

 ..

∑

 .

∑ ∑ ∑

∑

œ. œ œ.

œ œœ # œœ ‰ # œœ # œœ œ Œ Œ

‰ œœ œœ œœ ‰ F œ Œ œj F œ Œ œj F

œœ ‰ œœ œœ œœ ‰ # œœ J ‰ ‰

#œ ‰ # œ # œœ œœ # œœ # œ # œ

œ. œ  œ. œ 

# 

∑ ∑

# 

œœ

œ œ. œ œ.

œœ

œ œ. œ œ.

œ #œ. œ œ.

œ Œ œ‰  J

œ Œ œ‰  J f

Œ Œ

∑

.

∑

œ. f

œ.



#

J J

∑ ∑ ∑

œœ

nœ



III.

∑ ∑ ∑

œ.

 .

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

Œ œj ‰

∑

‰ œ œ œ ‰ b œ ‰ b œ œ œ ‰ œj J f

j j # œ œœ œœ ‰ œœ œœ œœ ‰ œœ ‰ # œœ œœ # œœ # œ

Œ œj ‰

œ.

∑

‰ œ œ œ ‰ œJ ‰ œœ œœ œœ ‰ b œœ J f

∑

‰ œœ œœ œœ ‰ # œœ J

∑ ∑ ∑

∑

œ œ. œ œ œ nœ œ œ œ. œ œ œ nœ œ œ œ œ œ œ œ J

∑ ∑

∑ ∑ ∑



# œœ J

œ #aœ2. œ œ .

∑

œœœ œ œœ ‰ œ œœ œ œ ‰ # œœ # n œœ n œœ œ ‰ œ œ œ œ œ ‰ n œœ œœ œœ b œ œ œ J œ ‰ f # œ œœ œœ œœ œœ # œ œ # a2 œ œœ œ  ‰ ‰ J ‰ # # œœ # œ œ  œ f

∑





œœ

‰

œœ œœ

‰œœœœ

‰ œœ œœ œœ ‰ œœ J

œœ œœ œœ

∑

œ

## # œœ # œœ œœ ‰ œ œ œ ‰ ‰ œ n œ œ & œ œœ œ B ##

‰

∑

œœ œœ œœ ‰ œœ œœ œœ ‰ œJœ # œ # œ œ œ

‰Œ

∑

œœ œœ œœ # œœ # œ # œœ ? # # ‰ # œœ œœ œœ œ ‰ ‰ J

Cor. (Mi) III. IV.

œ œ. œ œ œ nœ œ œ œ. œ œ œ nœ œ œ œ J

‰ J

∑ ∑ ∑

∑

œœ

œ œ. œ œ.

œœ

œ œ. œ œ.

J J

‰ œœ œœ œœ ‰ œœ ‰ œœ œœ œœ ‰ œœ J J f



œ œ

 

œ œ

## œ .

39 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

I. II. Tbn. III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# & #

œ.

∑

œœ

∑

œ œ. œ œ.

œ œ.

œ œ. œ œ.

œ œ. J

∑

œ œ

œ œ œ œ. œ œ.

œ nœ #œ

œ œ œœ œœ J

œœ # œœ œœ

œ œ œœ œœ ‰ b œ œ œœ œœ œœ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ ‰ ‰ n œ œ œ b b & ? ##  & & & &

B # # ? ##



∑



∑

 ? ##

. .

œ œ

œœ # œœ œœ œ œ œ œ œ œ

∑

. f cresc.

∑

∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . œ Œ Œ f

∑

.

∑ ∑

∑

œ.

œœ

œ œ. œ œ.

œ œ.

œ œ œ œ. œ œ.

œ œ

œ #œ

œ nœ #œ

## œ .

œœ

œ œ. œ œ.

œ œ. J

œ œ œ œ. œ œ.

œ œ œ œ J

œ œ œ œ œ

ƒ œ œ œ

 



a2 a2 ‰ œ œ œ ‰ œJ ‰ œœ œœ œœ ‰ b œœJ ‰ b œœ œœ œœ œœ œœ ‰ b b œœ œœ œœ œœ œœ Œ œ œ b œ œ œ  ƒ j ‰bœ œ œ ‰ œ ‰ bœ œ œ ‰ œ ‰ bœ œ œ œ œ ‰ œ œ œ œ œ Œ bœ œ bœ nœ œ b. J ƒ Œ f ∑ ∑ ∑ ∑ œ # œ œ b œ∑ n œ b  . ∑ ƒ ∑ ∑ ∑ ∑ ∑ ∑  ƒ  .. . œœ n œ .. œœ Œ Œ ∑ #  nœ œ  .. J ƒ nœ .  . . œ Œ Œ ∑ 



 

.

∑

œ #œ

œ œ œ œ. œ œ.

∑

B .

B # # ‰ œœ œœ œœ ‰ œœ ‰ œœ œœ œœ ‰ œœ J J ? ##  ? ## 

œ œ

 

œ œ

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

. .



. .

œ # œœ œœ œ œ œ œ œ œ



.

œ œ nœ #œ œ #œ

œ nœ œ bœ œ nœ œ bœ

œ # œ #

œ œ bœ nœ œ #œ

œ œ #œ

bœ

œ bœ bœ nœ œ #œ .

œ œ bœ Z

.

œ b œ. œ b œ œ .  > >> > Z bœ œ bœ bœ nœ nœ #œ œ n œ . œ b œ œ œ

œ œ #œ œ œ #œ

œ . # 

œ œ bœ œ œ bœ

Z ƒ œ Œ Œ œ Œ Œ ∑ ƒ . . . ƒ  Œ  Œ ∑ ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . ƒ

B .

. @ @ ƒ œ œ @ @œ n@œ @œ b@œ œ ƒ œœ œœ œ œ œ n œ @ @ @ @ @ @ ƒ  œ œ œ #œ ƒ



œ œ #œ

.

œ # @ @ Z #œ œ #œ @ @ @ Z œ œ bœ Z

œ œ bœ Z

48 Fl. picc.

Fl.

Ob.

Cl. (La)



.



## 

œ œ

 

œ nœ œ bœ œ nœ œ bœ

# & # &



? ## 

Fg.

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

I. II. Tbn. III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.



& A

& A  . &



B #  . # ? ##     

œ œ

bœ

œœ œ bœ

œ œ

œ Œ œ . 



œ.

œ œ nœ #œ œ #œ 

.

Z œ # œ # Z

 

œ œ bœ nœ œ #œ 



œ œ #œ



bœ

œ bœ bœ nœ œ #œ 



b  ..

 ..

b.

œ b œ. œ b œ



bœ

.  

œ Œ Œ . 

œ œ bœ  Z

 ..



œ . 

 .

œ bœ bœ nœ nœ #œ 

œ n œ . œ b œ œ œ

œ œ #œ œ œ #œ .

∑ ∑

œ . # 

 .

œ œ bœ  œ œ bœ  Z

œ Œ Œ . 

œ œ œ œ

bœ

œœ œ bœ

œ œ

œ Œ œ . 



##  . @

B # # @ ? ##  ? ## 

œ œ

.



@ @ @

@ @ Z

œ œ œ nœ œ bœ 

 

œ œ

œ #

.

œ œ nœ #œ œ #œ  @ @ @

œ œ #œ œ œ #œ

@ @ @ @ Z œ œ bœ  Z

œ œ bœ  Z

œ œœ œ œœ œœ œœ œœ œ œ

œœ œœ œœ œœ œ œœ œœ œœ œ œ

œœœœœ

œœ

œ. ‰ Œ J

b œ. ‰ Œ J j b œœ ‰ Œ . a2

bœ

Z bœ Z

œœ

j‰ Œ

œ.

œœ. ‰ Œ J

œœ

œ œ

œ ‰ Œ œ.

j œ ‰ Œ j œ ‰ Œ j œ ‰ Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ? # # ~~~~~~~~  œj ‰  . . .  œ‰ œ ‰ Œ J # & #@

J ‰ Œ

œ œ

œ œ

œœ œœœœ œœœœ

J ‰ Œ

œ œ œ

œœ œœ œœ œ œœ œœ œœ œ œœœœœ

œœ

œ œ

œ ‰ Œ œ Œ

œ œ

œ œ

œœ œœœœ œœœœ

œ. ‰ Œ

œ ‰ Œ

J J

œ ‰ Œ

œ œ œ

œœ œœ œœ œ œœ œœ œœ œ œ œœœœœ

œ ‰ Œ J

œ J ‰ Œ j bœ ‰ Œ J

œœ

œ œ

œ œ Œ

œ ‰ Œ

œ œ

œ œœœœ œœœœœ

œœ œœœœ

œ ‰ Œ

Z bœ

œ ‰ Œ œ

œ ‰ Œ

bœ

œ œ

œœ ‰ Œ J

j œ ‰ Œ

œœ œ œœ œ œœ œœ œœ œœ œ œ

œœœ

œœœœœ

J ‰ Œ

j œ ‰ Œ j œ ‰ Œ

œ ‰ Œ

œœ

œœ ‰ Œ

œ. ‰ Œ

Z bœ

j œ ‰ Œ

œ œ œœœœœ œ

bœ

œ J ‰ Œ j bœ ‰ Œ J

Z Z

œ ‰ Œ J

œœœ

œœ œ

œ ‰ Œ

œœ œ œœ œ œœ œœ œœ œœ œ œ

j œ ‰ Œ j œ ‰ Œ

œœ

œ œœœœœ

œ œ œ œ œ œ œ

œœ œ œœ œ œœ œœ œœ œœ œ œ ##

œœ aœ2 œ œ œ œ

œ œœœœœ œ

œ b œœ œ œœ œ œœ œ œ œ

œœ b œœ œœ œœ œœ œœ œœ

# & # J ‰ Œ

56 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

& &

I. II.

I. II. Tbn. III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œœ œœ œœ œ œœ œœ œœ œ œ œœœœœ

œ ‰ Œ J

& &

III.

? ## œ ‰ Œ J

III. IV.

Tbe. (Mi)

œ ## œ

œ ‰ Œ J j

œœ

œ œ

? ## œ ‰ Œ  

? ## œ ‰ Œ J & &

Z œ

j œ ‰ Œ j œ ‰ Œ



## œ

B ##

œ

œœœœœ

? ## œ ‰ Œ J ? ## œ ‰ Œ J

œ b œœ œœ œœ œœ œœ

œœ b œœ œœ œœ œœ œœ œœ

œ œœœœœ

œ œœœœœ œ

œ bœ œ œ œ œ

œ bœ œ œ œ œ œ

œ bœ œ œ œ œ bœ œ œ œ œ œ bœ

œœ œœ œœ œœ œœ œœ œ œœœœœ œ œœœœœ j j j œ ‰ œ ‰ œ ‰

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

œ œ œ œ œ œ œ j j j œ ‰ œ ‰ œ ‰ œ

œ œœœœœ

œ œœœœœ œ

œœ

∑

œ œœœœœ œœ b œœ œœ œœ œœ œœ œ œœœœœ œ œœœœœ . . . œ. œ œ. œ œ. œ

œ œœœœœ

œ œœœœœ œ œœ b œœ œœ œœ œœ œœ œœ œ œœœœœ œ œ œœœœœ œ œ œœœœœ œ œ œœœœœ œ



∑

j b œ œ œœ œ œœ œ b œœ œ œœ œ œœ œ b œœ .. œ œ . œ œ . œ b œ . œ œ . œ œ ‰ bœ œ œ J bœ œ œ bœ œ. œ œ. œ bœ. œ œ. œ œ j ∑ œ bœ œ œ œ œ œ bœ œ œ œ œ œ ‰ Œ Œ

œ œ œ œ œ œ j j j œ ‰ œ ‰ œ ‰

œœ œœœœ œ œœœœ

Z bœ

B # œœ ‰ Œ # J

bœ

j œ ‰ Œ

bœ ‰ Œ J

∑

∑ # #

∑

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

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ p. . . . .

# ‰ div. œœ œœ œœ . . . p # pizz. Œ œ p # pizz. Œ œ p

œœ œœ œœ œœ œœ œœ œœ œœ . .

∑

63 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# I.œ p

œ œ œ œ œ œ œ œ œ œ œ œ œ.

œ œ J

œ œ œ œ œ œ œ œ œ. #œ œ.

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ.

œ œ. œ. œ. œ. œ. œ. œ. œ . # œ œ .

œ œ J

œ œ œ œ œ œ œ œ œ. #œ œ.

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ.

œ œ. œ. œ. œ. œ. œ. œ. œ . n œ œ .

œ œ œ œ œ œ œ œ œ. #œ œ.

œ œ œ œ œ œ œ œ œ œ œ œ œ.

∑ ∑ œ œ. œ. œ. œ. œ. œ. œ. œ . # œ œ .

∑

J J J

∑

  

∑ ∑ ∑

& B

? ##

∑ ∑

∑

# & ‰ œœ œœ œœ # œœ œœ

‰ œ œ œ œ œ ‰ n œœ œœ œœ # œœ œœ œ œ œ œ œ

B # ‰ œœ œœ œœ œœ œœ œ œ œ #œ œ

‰ œœœ œœœ œœœ œœœ œ œ œ œ

# ‰ œ œ œ œ œ

?# ?#

arco



arco



Œ Œ

‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ

 

Œ Œ

∑

Tbn.

∑

I. II.

# œ I.

œ œ œ œ œ œ œ œ œ. #œ œ.

œ œ. œ. œ. œ. œ. œ. œ. œ . # œ œ .

∑

III.

b &b œ

III. IV.

Tbe. (Mi)

# œ

œ J œ J

∑

∑ j

‰ n œœ œœ œœ # œœ œœ ‰ œ œ œ ‰ œ œœ œ œ

j ‰ œ œ œ‰ œ

œ œœ

j j ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ ‰ œœ œœ œœ ‰ œœ

œœ ‰ b œœœ œœœ œœœ œœœ œœœ ‰ œ œ œ œ œ ‰ œ œ œ ‰ œj ‰ œ œ œ ‰ œœ nœ œ œ #œ œ n œœ œœ œœ œœ œœ œ œœ œ œ œ œ œJ œ œ œ œœ œ b > b >

œ œ

 

j œ ‰ j œ ‰

œœ œJ

j œ ‰ j œ ‰

69 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

# #

œ œ œ œ œ œ œ œ œ œ œ œ œ.

œ. œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ.

œ. œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œœœœœœ œ J ‰ Œ

∑

# œ

œ œ œ œ œ œ œ œ œ œ œ œ œ.

b &b

∑

œ J œ J

∑

C #œ œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Œ ∑

œ. œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ Œ œ. œ œ œ œ œ œ œ œ œ

∑

nœ œ œ œ œ œ œ œ œ œ œ œ œj ‰ Œ ∑

∑

œ. # œ. n œ. b œ. œ. œ. . . . . œ n œ b œ œ œ. ‰ a2

∑

cresc.

∑

III. IV.

∑

I. II.

∑

  

∑ ∑ ∑

∑

I. II. Cor. (Mi)

Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

? ##

∑

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

B # ‰ œ œœ œ œ œ ‰ œ œ ‰ œ œ œ œœ œ‰ œœ œ œJ œ œœ

Vc.

?# œ

Cb.

?# œ

j œ ‰ j œ ‰

. .

# œœ ‰ Œ

j œœ ‰ Œ

 ..

j #œœœ ‰ Œ J

j œ œ  ... œJ

j‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ j . œ ‰ Œ F

j œ ‰

j œ ‰ Œ

.

j œ ‰ Œ

.

‰ bœ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ p poco cresc. ∑ ∑

Œ Œ

∑

œ. # œ. n œ. b œ. œ. œ. . . . . œ n œ b œ œ œ. ‰ p cresc. œ. # œ. n œ. b œ. œ. œ. . . . . œ n œ b œ œ œ. ‰ p cresc.

75 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

& & &

Tbn. III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

‰ b b œœ F ‰ b b œœ F

I. II.

Vc.

Cb.

∑

œœ œœ n œœ œœ œœ œœ œœ œœ ∑

‰

#œ œ

F ‰ #œ œ F I.

œ œ œ œ œ œ

œœ œ œ œ œ œ œ

‰ œ œ

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

F bœ œ œ œ œ #. ‰n œ œ œ œ œ b 

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

‰ b b œœ œœ œœ œœ œœ

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

∑

‰ bœ œ

∑

‰

œ œ œ œœ

‰ œ œ œ œ œ

œ œ œ œœ

‰ œ œ œ œ œ

n

bœ

.

œ œ œ

‰ œ œ œ bœ œ

‰ b b œœ œœ œœ œœ b œœ

∑

‰ b b œœ œœ œœ b œœ œœ

∑

  

∑ ∑ ∑

& B

? ##

∑

# œ & F # œ & F

∑

œ bœ J

œ bœ œ œ bœ œ œ œ œ. nœ œ.

œ bœ J

œ bœ œ œ bœ œ œ œ œ. nœ œ.

B # ‰ b n œœ œœ œœ F ?# b F ? # b F non div.

Vle.

∑

? # ‰ n b œœ œœ œœ # œœ œœ F

III.

∑

b &b

III. IV.

Tbe. (Mi)

œ œ

‰ b œœ œœ œœ œœ œœ ‰

b

#œ œ

b

Œ Œ

b b

∑

œ nœ 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

b

∑

bœ J

> œ n œ œ # œ œ b œ œ œ œ œ œ œ œ. œ

bœ J

j bœ

œ n œ œ # œ œ b œ œ œ œ œ œ œ œj œ .

bœ J

bœ œ œ œ œ ‰ bœ œ œ œ œ

b

∑

‰ #œ œ

b

œ œ œ œ œ

‰ n œœ œœ œœ b œœ œœ

 

œ œ

81 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

& & &

Tbn. III. Tb. Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

‰

#œ œ œ œ

‰ #œ œ œ œ

#.

œ œ œ œ œ œ

  

? ##

# #

∑

‰

‰ œ œ œ œ

œ œ œ œ

‰ œ œ œ œ

n

œ œ

b

œœ

J ‰ Œ

. œ  . Z œ . œ . Z  ..

œœ J ‰ Œ œ œ ‰ Œ J

‰

∑

cresc.

œœœœœ

∑

‰

∑

‰œœœœœ f cresc. a2

a2 ‰œœœœœ f cresc.

œ nœ œ œ œ œœœœœ œ

œœ ‰ Œ J

b œœ ‰ Œ J

∑

j œœ ‰ Œ

∑

œ œ œ œ œ

‰

cresc.

∑

∑ ∑ ∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j . œ ‰ Œ FZ

∑

> œ œ œ œ œ b œ œ œ œ œ œ œ œ. œ J

œ œ

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

bœ œ œ #œ nœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœœ J œ œœ œ cresc.

>œ

#œ œ œ œ œ œ œ œ œ œ œ bœ œ œ #œ nœ œ œ œ œ œ œ œ œ œœ œœœœ œœœœœœ J œ . cresc. œ n œ œ j œ œ œ œ œ œ œ œ œ #œ œ œ œ œœœœ ‰ n œœ œœ œœ b œœ œœ n œœ ‰ œ œœœœœœœœ œœ œ

œ œ œ œ œ b œ œ œ œ œ œ œ œj

‰ #œ œ œ œ

bœ

∑

‰ œ œ œ b œ œ b  .. Z ‰ b b œœ œœ œœ b œœ œœ b  .. Z ∑

∑

œ œ œ œ œ  ..

.

∑

& B

‰ œ œ œ œ

‰ bœ œ œ œ

I. II.

∑

?# b 

III.

b &b

III. IV.

Tbe. (Mi)

 



œ œ

œ #œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ cresc.

#œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œœœœœ cresc.

cresc.

87 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

I. II. Tbn. III. Tb. Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

D

∑

#œ

œ œ œ œ œ œ œ œ œ.

∑

#œ œ.

#œ

œ œ œ œ œ œ œ œ œ. #œ œ.

# 

#œ

a2 b  b & ƒ a2 ?#

#œ

œ œ œ œ œ œ œ œ œ. #œ œ.

& &



∑

‰ œ œ bœ œ ƒ & ‰ bœ œ ƒ B # ‰ œœ œœ ƒ ‰ ?# œ œ

œœ œœ œœ

‰ bœ œ bœ œ



∑



 ƒ

 

? ## œ ƒ & &

œ nœ œ œœ œœ œœ œ #œ œ

∑

nœ

bœ

œ œ œ œ œ œ œ œ œ. #œ œ.

J J

∑

œœ œœ œœ

‰ œ œ œ œ bœ œ œ œ œ œ ‰

bœ œ œ œ œ

‰ œœ œœ œœ œœ œœ ‰

 n œ œ œ œŒ œ ∑



∑ ∑

∑

Ÿ~~~~~~~~~~~~~~~~~ j  œ ‰

#œ œ.

bœ J

œ.

bœ J

œ.

bœ œ œ œ œ

‰ œœ œœ œœ œœ œœ ‰

 œ œ œ œŒ œ ∑

j œ ‰

∑

œ J



∑ ‰ bœ œ œ ‰ bœ œ œ ‰

‰

œ œ œ œ œ œ Œ J ‰ ∑

∑

œ ‰ J

œœ

œ œ œ œ ‰ œœ œœ œœ ‰ œœ



∑ ∑

∑

Ÿ~~~~~~~~~~~~~~~~~

∑

‰ bœ œ œ œ œ bœ œ œ œ œ

‰

œ œ œ œ œ œ œ œ œ. #œ œ. ∑

œ J

∑

œ œ œ œ œ

j œ ‰

nœ

∑

œ œ œ œ œ ‰ œœ œœ œœ œœ œœ 

œ œ œ œ œ œ œ œ œ. #œ œ.

œ J

‰

∑

œ. œ.

œ œ œ œ œ œ œ œ œ.

œ œ œ nœ œ œ œ œ œ. nœ œ.

nœ

j œ ‰

∑

D # œ

œ œ œ œ œ œ œ œ œ. #œ œ.

œœœœœœœœ

œ œ œ œ œ œ œ œ œ. #œ œ.

œ J

œœœœœœœœ

B# œ ƒ ?# ?#



J J

œ œ œ œ œ œ œ œ œ œ. #œ œ. Œ Œ

 

J Œ Œ

œ œ œ œ œ œ œ œ œ. #œ œ. Œ



 14

 

J Œ Œ

œœœœœœœœ

j œ ‰ j œ ‰

92 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II.

# œ

œ #œ œ #œ œ œ #œ œ

∑

# œ

. . œ #œ œ #œ œ œ #œ œ œ #œ œ

œ #œ œ #œ œ œ #œ œ œ. #œ œ.

b &b œ ?#

œ. œ. b œ .

∑

œ. œ. b œ .

I. II.

‰ bœ œ œ œ

œœ

bœ œ

Tbe. (Mi) III.

I. II. Tbn. III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

‰

& B

# ‰

œœ œœ

? # ‰œ œ œ Œ 

? ## 

bœ J

œœ œ ∑

‰

b œœ

‰

œ œœ

‰

œ ‰

œ œ œ œ œ.

?# œ

Œ Œ

nœ J

œ # œ œ # œ œ œ œ n œ œ œ œ œ œ œ œ œ b œJ

nœ J

œ # œ œ # œ œ œ œ n œ œ œ œ œ œ œ œ œ b œJ ‰ œ œ œ œ œ œ œ œ n œJ ‰

∑

œ. œ. b œ .

‰ b œ œ œ ‰ œj ‰ b œ œ bœ œ œ œ œ œ ‰

œ œ œ

‰

j ‰

‰ œœ œœ œœ ‰ œœ J ‰

‰

∑

‰

j œ ‰

‰

bœ œ

œœ œœ

j ‰

œ œ œ œ œ œ Œ J ‰ ∑

œ œ œ Œ



∑

œ œ œ œ œ œ œ œ œ œ œ œ œ.

j ‰

j œ ‰ j œ ‰

bœ J

œœ œ

‰ ‰

j b œœ j

∑

‰

œ œ œ œ œ œ œ œ n œJ

‰ ‰

‰ bœ œ œ bœ œ œ ‰

‰ b œœ œœ œœ

œ œ‰

‰ œ œ œ

∑

#

.

∑

œ J

œ œ. bœ œ. J

œ J

œœ œœ ‰ b n œœ œœ œœ œœ œœ

œ œ œ œœ

œœ

‰

œ œ. bœ œ. J

œ. œ œ.

‰

∑

œ. œ œ.

œœ

∑ Ÿ~~~~~~~~~~~~~~~~~~~

œ J

bœ J

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ.

∑

œ. œ. b œ .

‰

œ n œ œ # œ œ œ œ n œ œ œ œ œ œ œ œ œ b œJ ‰ œ œ œ œ œ œ œ œ n œJ ‰

œ œ œ œ œ.

?# œ

œ #œ œ #œ œ œ œ nœ

bœ J

bœ ‰ Œ J

œ œ œ œ œ œ œ œ n œJ

# œ œ œ œ œ.

bœ ‰ Œ J



∑ Ÿ~~~~~~~~~~~~~~~~~~~



bœ J

∑



∑

œ œ œ œ œ œ œ œ b œJ

œ J

œ nœ œ #œ œ œ nœ œ œ. #œ œ.

III. IV.

Cor. (Mi)

œ. #œ œ.

‰

bœ œ œ

œœ

œœ œœ ‰ n œœ œœ œœ œœ œœ œœ ‰ œ œ œ œœ Œ 

.

∑

œ ‰

∑

œ. œ œ.

œ œ. œ œ.

œ. œ œ.

œ œ. œ œ. J

J J

œ J j œ ‰ j œ ‰

œ. œ œ.

J J

œ œ. œ œ.

#



#



97 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Mi)

bœ ‰ ‰

n.

#œ

b œœ œœ œœ œœ œœ

III.

I. II.

B # ‰ œœ œœ œœ œœ œœ

Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ œ #œ œ œ œ œ #œ œ œ œ

œ œ œ # œ œ œ œ œ # œ œ œ œ œ œ œ # œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œJ ‰ œ œ œ œ œ œ œ œ n œJ ‰ œ œ œ # œ œ œ œ œ # œ œ œ œ

bœ

Pt.

‰

I. II.

III. Tb.

œ œ œ œ œ œ œ œ n œJ

a2 #œ œ œ œ œ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ 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 J‰ J‰

?# Œ

Tbn.

‰

b a2œ œ œ nœ œ œ œ œ œ œ nœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ ‰ œ œ œ œ œ œ œ œ nœ ‰ œ œ œ nœ œ œ œ œ nœ œ œ œ & b œ œ nœ œ œ J J

III. IV.

Tbe. (Mi)

œ œ œ #œ nœ 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 œ œ J

bœ

?# ‰ œ





œ œ

œ œ bœ œ bœ ∑

.

 

∑

? ## & &

#œ

# œ

#œ

?#  ?# 

#œ

œ ‰ ‰

bœ bœ

b œœ

œœ œœ œœ œœ

bœ

œ œ œ œ

‰ œœ ‰ œ .

œœ œœ œœ œœ œ œ œ œ

 ƒ .

∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ .

∑

œ œ

bœ

œ œ œ bœ bœ

œ. œ œ. œ. œ œ. ‰ bœ œ œ bœ œ œ ‰

‰ nœ œ œ

.

œ œ. bœ œ. J

œ bœ J

œ œ. bœ œ. J

∑

œ bœ J

‰

bœ œ œ

œœ

‰

bœ

œ œ ‰ œ œ œ œ œ ‰ œ œ œ bœ œ Œ  Œ  bœ .

∑

.

∑

œ. œ œ.

œ œ. œ œ.

œ œ

#œ

œ. œ œ.

œ œ. œ œ. J

œ œ J

#œ

. .

œ. œ œ. # #

œ œ

œœ œœ ‰ n œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ

œ œ

#œ

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

œ œ œ œœ

‰ b œœ œœ œœ #

∑

œ œ. œ œ.

œ œ

J Œ Œ

 

J Œ Œ

 

#œ

œ œ œ bœ bœ

102 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

J ‰ Œ

œ œ œ # œ n œ œ œ œ œ œ œ œ œ. # œœœœ & &

# œ œ œ #œ nœ œ œ œ œ œ œ œ œ. œ œ œ œ

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

‰

I. II.

B# ‰

III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

?# ‰

.



œ œœœ

œ œ œœ

bœ

b œœ œœ œœ œœ

œœ

bœ

œœ œœ œœ œœ

œœ œ

.j ‰ bœ J. j ‰ œ. .j œ ‰ J. .j œœ ‰ J.

œœ

Œ j œ ‰ Œ

∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ##  . œ ‰ Œ J 

& &

# œ

? # . ? # .

E œ

œœ œ

œœœœ œœœœ

œœœœ

bœ ‰ Œ J

Z œ œ

J ‰ Œ

œ œ ‰ Œ

Z bœ Z b b œœ Z

œ œ

b œ. ‰ Œ J b œ. ‰ Œ J

bœ

 .



nœ J ‰ Œ

III.

Tbn.

œ œ œ # œ n œ œ œ œ œ œ œ œE œ.

œ œœœ

œ œ œœ

œ ‰ Œ J

œœ ‰ Œ

j bœ ‰ Œ J J

œœ

Z œ œ

Œ j œ ‰ Œ œ

œœœœ

bœ ‰ J

œœ

œœœœ

œœ ‰ Œ

œ ‰ Œ J

œœ ‰ Œ

j bœ ‰ J J Œ

j œ ‰

œ œœœœœ œ

œœœ

j œ ‰ Œ j œ ‰ Œ

œ œœ

œœœ

œ ‰ Œ J œ ‰ Œ J

œ œœ

œ œ œœ

œœœœ

bœ ‰ J

œœ

œ ‰ Œ J

Z œ œ Ÿ~~~~~~

œœ ‰ Œ

j bœ ‰

j œ ‰ œ

œ œœœœœ œ

Z #œ Z

b b œœ Z

œ œ

œ ‰ Œ

œœœ

œœ ‰ Œ J

Z Z

œœ

œ œ œœ

œœ ‰ Œ

œœ œœœœ

œ œ œœ

œ œœ

œœ œœœœ

œ œ ‰ Œ

Z bœ Z b b œœ Z

œ œ

œ ‰ Œ J

œœ

œ ‰ Œ J

œœ ‰ Œ

J ‰

œ œ œœ

Ÿ~~~~~~~ œ œ ‰ J

œœ œœœœ

œ œœœ

œœ ‰ Œ

Ÿ~~~~~~~ œ œ ‰ Œ J

œœ œœœœ

œ œ ‰ Œ

Z bœ Z b b œœ Z

J ‰

œ œ

œœ ‰ Œ

œœ œœœœ

œœ

Z œ œ Œ

Ÿ~~~~~

œ œ

œ œœ œ œœœ Z œ œ œœœœœ œ œ ‰ Œ J œ ‰ Œ J

107 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

I. II. Tbn. III. Tb.

Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & &

# # #

b &b

œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ

œœ œœ

œœ œœ œœ œœ œœ œœ

œœ œœ

œœ b œœ œœ œœ œœ œœ

œ œ

œœ œœ

# œœ œœ

œœ b œœ œœ œœ œœ œœ n œœ œœ Œ

œœ œœ

œœ œœ Œ

bœ œ #œ œ œ œ #œ œ œ œ œ œ

œ œ Œ

bœ œ Œ

œ œ Œ

A œœ n œœ # œœ œœ œœ œœ b œœ n œœ # œœ œœ œœ œœ

& &

B# ?# 

œœ Œ Œ

œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑

# œœ œœ Œ

œ œ Œ

œœ œœ Œ

œ œ Œ

œ œ œ œ œ œ

? ## œ ‰ œ ‰ œ ‰ J J J

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 œ œ

œ œ Œ

œ œ œ œ œ œ



& &

œ œ œ œ œ œ

œ œ Œ

œ #œ œ œ œ œ

b œœ œœ œœ œœ œœ œœ

œ bœ œ œ œ œ

œ œ œ œ œ œ ## œ b œ œ œ œ œ # # œœ # œ œœ œ œœ œ b œ œ œ j j j œ ‰ œ ‰ œ ‰

œ œ Œ œ œ Œ

œ œ œ œ œ œ 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 bœ œ œ œ œ

œœ œœ Œ

œ œ Œ

œ œ œ œ œ œ

# # œœ # œœ œœ œœ œœ œœ

œ œ œ œ Œ

œ bœ œ œ œ #œ nœ œ Œ

œ œ œ œ œ œ

## œ b œ œ œ œ œ

∑

œœ œœ Œ

œ œ œ œ œ œ



œœ # n œœ œœ œœ œœ œœ

∑

bœ œ œ œ œ œ bœ œ œ œ œ œ bœ Œ Œ

œœ # œœ œœ œœ œœ œœ

œœ œœ Œ

œ œ œ œ œ

# # œœ # # œœ œœ œœ œœ œœ

œœ œ œœ œ œœ œ

œ œ #œ œ œ œ #œ œ œ œ œ œ

œ

œœ œ œœ œ œœ œ



da capo al

## œ bœ œ œ œ œ da capo al



## œ bœ œ œ œ œ



112 Fl. picc.

Fl.

Ob.

Cl. (La)

œ œ œ œ œ œ 

Tbe. (Mi) III.

I. II. Tbn. III. Tb. Pt. Tamb. G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œœ 

œ n

œ 

Z b œœ œ œœ œ œœ œ b  œ œ œ Z



œ bœ œ œ œ œ 

B # # œœ b œœ œœ œœ œœ œœ ? # # œœ # œ œœ œ œœ œ b œ œ œ j j j œ ‰ œ ‰ œ ‰

œ œ œ œ œ œ j j j œ ‰ œ ‰ œ ‰



œœ

œ #œ œ œ œ œ 



œœ 

œ #œ œ œ œ œ 

œœ

œœ œ œ œœ œ œ a2 œ œ œ œœ

I. II.

œœ 

I. II.

œœ

? ## œ b œ œ œ œ œ

III. IV.

œœ # n œœ œœ œœ œœ œœ 

Fg.

Cor. (Mi)

œ 

œœ # œœ œœ œœ œœ œœ 

# # œœ # # œœ œœ œœ œœ œœ 

 

œ œœ

œ œœ œœ

Z Z œ Œ Œ

Z Z Z Z Z Z

œ 

Z œœ b  Z

œ n

œœ n 

Z ∑

J ‰ Œ

œœ a 2 œ œ œ œ œœ œ œ œ œ œ œœ a 2 œ œ œœ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ

b.

œ bœ

Z b. b  .. Z

Z  ..

∑

œ 

œ œ

œ  œ

œœ b œœ

.

. .

œ bœ

 .

œ Œ Œ

œ œ œ œ ‰ œ

œ œ

œœ

œœ œ

œœ

.

œœ

∑

œœ

     b b b 

Œ Œ Œ Œ

  

.

œ Œ Œ

.

 ..

œœ

.

œ Œ Œ

.

b.

 ..

œœ Œ Œ

Œ Œ

b

Œ Œ

  .



b 

Œ Œ





 .



œ Œ Œ



.

 



. .

b.

 .

Œ Œ

œ Œ Œ œ

 ..

Œ Œ

Œ Œ Œ Œ Œ Œ

œœ Œ Œ ∑ œ Œ Œ

 Œ  Œ  Œ . œ Œ Œ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ## œ œ œ œ œ œ  . . . . . . . œ 

œ Œ Œ

œ œ œ œ œ œ 

# œ# œ œ œ œ œ & # œ œ œœ œœ B # # œœ b œœ œœ œœ œœ œœ ? ## œ bœ œ œ œ œ ? ## œ b œ œ œ œ œ



Z Z

œœ

 

œ œ

Z Z

œœ  n

œ n

œœ œ œ œ œ œ œ œ œœ

∑ ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ œ œœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œœ œ œ œ œ œ œ œœœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

.

 



 



.

Œ Œ Œ Œ

.

œ Œ Œ

.

œ Œ Œ

.

œ Œ Œ

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno DK-Kk The Royal Danish Library, Copenhagen Fg. Fagotto Fl. Flauto Ob. Oboe Pl. No. plate number stacc. staccato marking(s) str. strings Tamb. Tamburo Tba. Tromba Tbn. Trombone ten. tenuto marking(s) Timp. Timpani Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

SOURCES

CRITICAL REPORT

Polonaise, Op. 28 S1 Sketches S2 Sketches A Score, autograph APTS Parts, autograph B Score, copy BPTS Parts, copy

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

Source S1

The following conventions have been used:

Sketches DK-Kk, MA ms 5276 mu 9705.2800. Musical notebook 5 13 pages of sketches for the Polonaise, Op. 28 Written in pencil (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 S2 Sketches DK-Kk, MA ms 5276 mu 9705.2800. Musical notebook 4 One page of sketches for the Polonaise, Op. 28 Written in pencil (Johan Svendsen)

Source A Score, autograph DK-Kk, C II, 39 Fol. 21 pages, 26.5x34.5 cm Title page: Polonaise / Johan S. Svendsen / Op. 28 Hand-ruled music paper, 18 staves Pagination: 1–21 At the end of the score: Christiania i Januar 1882. / JSvendsen Written in ink (Johan Svendsen) Two pitch emendations in blue crayon (Johan Svendsen)

Source APTS Parts, autograph DK-Kk, Mf.A 4146, mu 7908.2661, Orchestra Library Piccolo., Flauto 1mo, Flauto 2do, Fagotto 2do, Oboe 1mo, Oboe 2do, Clarintto 1mo, Clarinetto 2do, Fagotto 1mo, Corno 1mo i E, Corno 2do i E, Corno 3zio i E, Corno 4to i E, Tromba 1mo i E, Tromba 2do i E, Tromba 3zio i E, Trombone 1mo, Violino 1mo (4x), Violino 2do (4x), Viola (3x), Cello (3x), CnotraBasso (2x) The Corno 1mo part is signed in pencil: Chr. d. 16/2 82. (Til Borgerballet) / Chr. Olsen The Corno 2do part i signed in pencil: Chr. d. 16/2 82. (Til Bor gerballet) / Alfred m Johansen.

EVALUATION OF THE SOURCES

The parts for Tbn. II/III, Tuba, Timp. and Perc. are missing Written in ink (Johan Svendsen) Markings in pencil

The autograph score, Source A, was completed on 7 January 1882, five weeks before the premiere at the citizens’ ball on 16 February. The opus number 28 is written both on the title page and above the first page of the score. The score includes some minor alterations in ink, but in general it is very clear and detailed. Apart from the above, there are only two minor pitch emendations in blue crayon and no conductor markings. Both sketches, Sources S1 and S2, as well as the autograph score give the impression that the compositional process proceeded swiftly and without much hesitation or doubt. At two points Svendsen doubled some of the melodic material with cue notes in the woodwinds, providing the performers/conductor with the option of reinforcing the melody with additional instruments. Svendsen did the same in his Symphony No. 2 in B-flat major, Op. 15. The set of autograph parts, Source APTS, was used at the premiere, copied from the autograph score, Source A. Apart from a number of expected omissions and variants in articulation and dynamics, there are no notable deviations. Svendsen himself prepared the extra copies for the strings. The set is incomplete, missing two of the trombone parts and the parts for tuba, timpani and percussion. Two of the horn parts are signed with the date of the premiere and the names of the players. There are also a few pencil markings made by performers, such as a diminuendo in both trumpet parts at bb. 59–60. Since Svendsen did not conduct the premiere himself, and since the same set of parts was probably used after Svendsen’s death at a concert in Copenhagen on 21 January 1912, we have not included these or other performer markings in our edition. In 1908 Svendsen was planning to use the Polonaise, Op. 28, in the historical play Attila by Charlotte Marie von Scholten (1855–1931) under the new title Dans paa Attilas Kongeborg i 2den Akt. Source B is a copy of Svendsen’s autograph with this new title, kept at the Royal Danish Library in Copenhagen and written by a copyist. The Royal Danish Library is also in possession of a parts set with this title, Source BPTS, produced by a different copyist. The play was never performed, and presumably the copies of the score and parts were never used. Our primary source has been Source A.

Source B Score, copy DK-Kk, C II, 121e Fol. 1922-23.354 25 pages, 26.5x35 cm Hand-ruled music paper, 18 staves Pagination: 1–25 Above the score: Dans paa Attilas Kongeborg i 2den Akt (Dance at Attila’s Royal Castle in Act II) A few markings in pencil, e.g. above the score: 2den akt nr. II. Written in ink

Source BPTS Parts, copy DK-Kk, C II, 39 Fol. 1920-21.510 26.5x34.5 cm Title page: Dans paa Attilas Kongeborg (Dance at Attila’s Royal Castle) Gr. Flauto Imo, Gr. Flauto 2do, Flauto piccolo, Oboe Imo, Oboe 2do, Clar. 1mo i A, Clar. 2do i A, Fagotto Imo, Fagotto 2do, Corno 1 i E, Corno 2 i E, Corno 3 i E, Corno 4 i E, Tromba 1 i E, Tromba 2 i E, Tromba 3 i E, Trombone 1, Trombone 2, Trombone 3, Tuba, Timpani, Gr. Cassa et Piatti, Tamburo piccolo, Violin 1mo (6x),Violin 2do (5x), Viola (4x), Cello (3x), Basso (2x) Written in ink

Arrangements by others (published) Piano solo Arranged by Hakon Børresen Wilhelm Hansen, København & Leipzig 1911 Pl. No. 15041 Above the score: Polonaise, / (Oeuvre posthume.) Piano solo (Svendsen-album) Wilhelm Hansen, København & Leipzig 1911 Pl. No. 15058 Svendsen-album Salon orchestra Arranged by Nicolaj Hansen Title page: Polonaise: Op. 28 / Johan S. Svendsen, arrangement for salongorkester av Nicolai Hansen Wilhelm Hansen, København & Leipzig 1919 Pl. No. Heimdal 55, pl. nr. 16918

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

Timp.

trill extension added

Fg. II

APTS: beaming: 1+4

Comments considered to be of particular importance by the editors have bar numbers in bold type. Primary source: A

Vln. I

stacc. added by analogy with Vle. and as in APTS34; APTS12: note 3: ten.

Vln. II

stacc. added by analogy with Vle. and as in APTS34; APTS12: note 3: ten.

Vle.

APTS13: note 3: ten.

Vc.

tie and stacc. added by analogy with Vle. and as in APTS

Picc.

APTS: beaming: 1+4

Timp.

trill and trill extension added

Polonaise, Op. 28 Bar

Instr.

Comment

Cor. III/IV

a 2 added by analogy with Cor. I/II

Ob., Cl.

added by analogy with Vln. I and as in APTS (Ob. I)

10–11

Timp.

incomplete tie completed

Fl. I

APTS: notes 1–5: stacc.

Fg.

beaming emended from one beam by analogy with Cor., Tbe. and as in APTS

Fl.

fz added by analogy with Vln. I and as in APTS

Vle. II

Vln. II

APTS: double note stems

Vc.

Vc., Cb.

stacc. added by analogy with b. 10 and as in APTS

APTS3: note 2: stacc.

Cor. I/II

a 2 added by analogy with Cor. III/IV

Cor. I

APTS: notated as 

Vln. II

APTS: double note stems

Fl.

fz and

Vle.

APTS3: double note stems

Vln. II

APTS: double note stems

Vle.

17, 18

Cb.

APTS: note 2: stacc.

f added by analogy with Cl., Cor. and as in APTS

Vle.

Fl.

fz and added by analogy with Vln. I PTS and as in A (Fl. II)

APTS12: beaming: 1+4 and dots above every note

41–42

Vle.

Vln. II

APTS 123: double note stems

APTS3: beaming: 1+4 and dots above every note

Vln. II

APTS1 :

Vle.

APTS2: beaming: 1+4

Vle.

mf added by analogy with Cor., Tbe. and as in APTS12

43–44

Vln. I

APTS1:

Cl.

a 2 added by analogy with Cor. I/II

Cor. IV

Fg.

Tba. III

cautionary accidental added

fz added by analogy with b. 47

52–53

Tba. I

APTS: slur from b. 52 note 3 to b. 53

Picc., Tbe., Tbn. III, Tuba

stacc. added by analogy with Fg., Cor., Tbn. I/II and as in APTS (Picc., Fg. I, Cor. I/II/ III, Tbn. I)

Timp.

trill extension removed by analogy with bb. 54–56

56–57

Fl. II

APTS: slur incomplete

Tbe. I/II

APTS: dim. added in pencil from note 2

Tba. I

APTS: note 2: p

Vln. I, Vle.

APTS: dots above every note

Vln. II

APTS12: dots above every note

(Vln. II c): for.

PTS

added by analogy with Vln. I

followed by cresc.

: cresc. begins here

PTS

22, 23, 24 Vle.

APTS 12: beaming: 1+4; dots above every note

23, 24

Vle.

APTS3: beaming: 1+4; dots above every note

Vln. I

stacc. added by analogy with Vln. II and as in APTS124; APTS3: note 3: ten.

Vln. II

APTS2: note 3: ten.

Vle.

note 3: ten. emended to stacc. by analogy with Vln. II and as in APTS2; APTS13: ten.

Vc.

tie and stacc. added by analogy with Vln. II and as in APTS12

Cl. II, Tba. I

: beaming: 1+4

PTS

from note 2 b. 43

Fl., Ob.

p added by analogy with the other parts

63–66

Vln. II

APTS13: dots above every note

Vln. I

APTS1: dots above every note; beaming: 1+4

Vle.

APTS: dots above every note; beaming: 1+4

64–66

Vln. II

APTS2: dots above every note; beaming: 1+4

Vle.

APTS: dots above every note; beaming: 1+4

Fl.

p added by analogy with the str.

Ob.

103

Ob.

note 1: emended from g’’ as in APTS (Presumably Svendsen realized that this was logical while writing out the parts)

103

Vln. I, Cb.

APTS1: note 1: stacc.

103

Vle.

APTS2: note 1: stacc.

104

G. C.

ff added by analogy with the other percussion parts

105

Fl.

fz added by analogy with the other parts and as in APTS (Fl. I)

p added by analogy with the str.; stacc. added by analogy with Fl.

106

Timp.

trill extension added by analogy with bb. 103, 104, 105

Vc.

note 4: APTS cresc. starts here

108

Ob. I

APTS: dots above every note

Fg.

stacc. added by analogy with b. 73 and Vc., Cb.

108

Tamb.

notes added by analogy with b. 107

74–78

Vln. II

Fg. I

: all notes stacc.

109

cautionary accidental added as in APTS

Picc., Fl. II

76–78

Fg. I

112

: beaming: 1+4

APTS: dots above every note

Ob., Cl.

76–79

Vle.

115

: dots above every note; beaming: 1+4

a 2 added as in APTS

mf added by analogy with the other parts

Tbn. I

Fl., Ob., Cl.

115

APTS: fz

Vln. I

Vle.

115

APTS1: notes 1–4: double dots above every note added in pencil; APTS4: beaming: 4+2

Fg. I

APTS: f

116

Vln. I

APTS23: beaming: 4+2

Vle.

cautionary accidental added

116

Vln. II

APTS: beaming: 4+2

Vln. I

APTS23: dots above every note; beaming: 1+4

119

Ob.

a 2 added as in APTS

Vc.

APTS2: dots above every note from note 2

Fl., Ob., Cl.

cresc. added by analogy with Fg., Timp., str. and as in APTS (Fl. I: )

Fl. II

APTS: ff

Fg. I

APTS:

Vln. I

APTS123:

Vc.

APTS12:

Cb.

APTS1:

Fg.

ff added by analogy with the other parts and as in APTS (Fg. I)

Tbe. I/II

APTS: emended to f in pencil

Ob.

APTS: notes 3–5: stacc.

Vle.

tie added by analogy with Vln.

Cb.

APTS1: note 2: stacc.

Tba. I

APTS: dots above every note; beaming: 1+4

103

ww., brass.

stacc. added as in APTS (Picc., Fl. II, Ob., Cor. III)

PTS PTS PTS

: dots above every note; beaming: 1+4

PTS