Johan Svendsens Verker Johan Svendsen’s Works Hovedredaktør / Editor in Chief Bjarte Engeset
SERIE I: ORKESTERVERKER BIND 6E: PRÉLUDE SERIES I: ORCHESTRAL WORKS VOLUME 6E: PRÉLUDE
JOHAN S. SVENDSEN (1840–1911)
Prélude JSV 95
Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim
JOHAN SVENDSENS VERKER
NMA-JS-I/6E
N.M.O. 14396A
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. 14396A /ISMN 979-0-065-16023-8) For sale Parts (N.M.O. 14396B /ISMN 979-0-065-16024-5) For sale © 2019 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved
CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning
General preface Preface Facsimiles Scoring I V
PRÉLUDE
Forkortelser Kritisk rapport
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XI XIX Abbreviations Critical report
PRÉLUDE
I V XI XIX
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14 15
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GENERAL PREFACE
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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
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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
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sen. Early versions of some of the works are also available in edited scores. Incomplete and fragmentary works, sketches and variant passages of a certain length are presented as facsimiles and/or transcriptions. Piano scores of works for soloist and orchestra are provided for use in rehearsal. 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.
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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.
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The editon is organized as follows: SERIES I: Orchestral Works 1. Symphony no. 1 in D major, Op. 4 2. Symphony no. 2 in B-flat major, Op. 15 3. Norwegian Rhapsodies 4. Orchestral Works I 5. Orchestral Works II 6. Orchestral Works III 7. Early Dances and Marches I 8. Early Dances and Marches II 9. Arrangements for Orchestra I 10. Arrangements for Orchestra II 11. Arrangements for Orchestra III
Utgaven er disponert på følgende måte: SERIE I: Orkesterverker 1. Symfoni nr. 1 i D-dur, op. 4 2. Symfoni nr. 2 i B-dur, op. 15 3. Norske rapsodier 4. Orkesterverker I 5. Orkesterverker II 6. Orkesterverker III 7. Tidlige danser og marsjer I 8. Tidlige danser og marsjer II 9. Arrangementer for orkester I 10. Arrangementer for orkester II 11. Arrangementer for orkester III
SERIES II: Works for Soloist and Orchestra 1. Works for Violin and Orchestra 2. Cello Concerto in D major, Op. 7
SERIES III: Works for String Orchestra
SERIE II: Verker for soloinstrument og orkester
SERIES IV: Chamber Music
1. Verker for fiolin og orkester 2. Cellokonsert i D-dur, op. 7
SERIE III: Verker for strykeorkester
1. String Quartet, String Octet and String Quintet 2. Miscellaneous Chamber Works 3. 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
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PREFACE
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ohan Svendsen’s (1840–1911) final orchestral work, Prélude, JSV 95, never appeared in print, and the lack of published musical material has prevented the work from being performed in the concert hall. Svendsen signed the manuscript ‘Copenhagen 10 December 1898’ and titled the work Fest-Præludium (Festival Prelude). The premiere was given eight days later, on 18 December 1898, at a gala concert celebrating the 150th anniversary of the Royal Danish Theatre. Most of the critics felt that the piece was out of character with the occasion. At this point, Svendsen had held the post of music director at Copenhagen’s Royal Danish Theatre for fifteen years, since autumn 1883. The position required much work and responsibility, and Svendsen had composed little throughout this time. Additionally, his creative powers were probably not always at their height, even when he did have time to sit down in front of his manuscript paper. In his PhD thesis ‘Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises’,5 Morten Christophersen has shown that Svendsen revisited sketches dating back to 1875–1876 in connection with composing Prélude. According to Christophersen, a similar situation had arisen in 1894 when Svendsen composed his Andante funèbre, JSV 92. Prélude is in ABA form with a 12-bar introduction and a coda. While the basic structure of the A section is fully outlined in the original sketches, the B section includes merely the theme itself. Therefore, the B section, the introduction and the coda were probably composed in 1898. Christophersen writes:
FORORD
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ohan Svendsens (1840–1911) siste orkesterverk, Prélude, JSV 95 ble aldri utgitt, og mangelen på notemateriale har holdt verket borte fra konsertsalene. Svendsen signerte manuskriptet «Kjöbenhavn 10 December 1898» og gav verket tittelen Fest-Præludium. Premieren var åtte dager senere, 18. desember 1898, ved en festkonsert for Det Kongelige Teaters 150-års jubileum. De fleste kritikerne syntes etterpå at stykket ikke passet i karakter for anledningen. I 1898 hadde Svendsen vært kapellmester ved Det Kongelige Teater i København i femten år, siden høsten 1883. Arbeidsbyrden i stillingen var stor, og Svendsen komponerte derfor lite i denne perioden. Han hadde trolig også problemer med kreativiteten, selv når han fikk tid til å sette seg ved notepapiret. Morten Christophersen har i sin doktoravhandling Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises1 vist at Svendsen gikk tilbake til gamle skisser fra 1875–1876 da han skulle komponere Prélude. Christophersen hevder at noe lignende også skjedde i 1894, da Svendsen komponerte Andante funèbre, JSV 92. Prélude har ABA-form, med en 12 takters introduksjon og en coda. Forløpet i A-delen er fullstendig skissert i de gamle skissene, men for B-delen finnes bare selve temaet. Utarbeidingen av B-delen, introduksjonen og codaen har han trolig gjort i 1898. Christophersen mener disse delene av verket var mye lettere å utarbeide for en komponist «ute av form» enn A-delen:
The introduction is very straightforward, and the B section is made up of a two-bar theme that is repeated and moved around in different keys. In my opinion, these sections are much easier to compose than the A section, which probably depended on a ‘composer in shape’ to materialise.
The introduction is very straightforward, and the B section is made up of a two-bar theme that is repeated and moved around in different keys. In my opinion, these sections are much easier to compose than the A section, which probably depended on a «composer in shape» to materialise.
How Svendsen was planning to use these sketches in 1876 is difficult to say. Given that they are in E major, it seems natural to link them to his orchestral fantasy Romeo and Juliet, Op. 18, or possibly plans for a symphony in E major or minor. At that time, Svendsen himself most likely was not entirely clear on how and where to use the different ideas in his sketches. As late as 1908, we see another case of creative drought. Together with his student Joachim Bruun de Neergaard (1877–1920), Svendsen had promised to compose music to
Hva Svendsen hadde planlagt for disse skissene i 1876, er vanskelig å si. Siden de er i E-dur, kan det være naturlig å se skissene i sammenheng med verket Romeo og Julie, op. 18, eller med planer om en symfoni i E-dur eller e-moll. Mest sannsynlig visste heller ikke Svendsen selv i 1876 helt hva de ulike ideene i skissene skulle brukes til. Et annet tilfelle av komposisjonstørke ser vi så sent som i 1908. Svendsen hadde lovet å komponere musikk til Charlotte Marie von Scholtens (1855–1931) historiske drama Attila, sammen med sin elev Joachim Bruun de Neergaard (1877–
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Charlotte Marie von Scholten’s (1855–1931) historical drama Attila. Instead of producing new material, Svendsen pulled out his Polonaise, Op. 28, written for a citizens’ ball in January 1882, and an old orchestral march from 1863, Struggle Leads to Victory. March, JSV 28. The pieces were renamed Dans paa Attilas Kongeborg i 2den Akt (Dance at Attila’s Royal Castle in the 2nd Act) and Bryllupsmarsche (Wedding March), but the play was never performed. The critics’ reactions to the premiere of the new work were fairly negative and some of them outright nasty. The gala opened with Prélude, followed by Ludvig Holberg’s (1684–1754) comedy The Political Tinker. In conclusion, Professor Peter Hansen (1840–1905), a Danish journalist, critic and literary historian, performed an epilogue to music by the theatre’s associate conductor Frederik Rung (1854–1914). The theatre critic for the Danish daily Politiken (E.B.) poked fun at the fact that a composer from Norway had written music for such an occasion: ‘First, there was music by the Norwegian musical director – a charming idea for the anniversary celebration of the Royal Danish Theatre. I wonder whether the Norwegians will inaugurate their new National Theatre with music by a Danish orchestra conductor?’ William Behrend, a music critic for the same paper, wrote with more than just a hint of irony: ‘Meanwhile, seeing that Mr Svendsen in his Festival Prelude went so far as to succumb to a dull, mournful tone that almost sounded like hymn singing with reminiscences of Lohengrin, a music of this type would have been better suited for “The Funeral of Danish Comedy”.’ On 21 December, another Danish newspaper, Hejmdal, wrote that the work ‘left no impression and was otherwise as sad and solemn as a funeral march.’ It must have been a particular blow to Svendsen that many Danish newspapers outside the capital published the following, written by ‘our correspondent’: ‘The gala performance […] did not have much lustre. To begin with, music director Johan Svendsen had been rather unfortunate with his Festival Prelude, which notably lacked a festive sound.’ Adresse-Avisen of 19 December was not particularly positive, either: ‘Following a more elegiac than festive sounding “Festival Prelude” by Johan Svendsen, who himself conducted, the curtain went up for “The Political Tinker”.’ Even the few critics who at least were partially positive commented on the lack of a festive mood. On 20 December, the Danish daily Sjællands-Posten wrote: ‘Johan Svendsen had composed a short “Festival Prelude” that, although not of distinctively festive character, did put the audience into a pleasant mood thanks to its magnificent sound and appealing motives.’ Similarly, Holstebro Avis commented on 21 December: ‘It is a highly compact, beautifully orchestrated composition that was well executed but does not seem particularly suited to engendering a festive mood.’
1920). Istedenfor å skrive noe nytt, fant Svendsen frem Polonaise, op. 28 fra borgerballet i januar 1882 og en gammel marsj fra 1863, Kamp fører til Seier. Marsj, JSV 28. Stykkene fikk nye navn – Dans paa Attilas Kongeborg i 2den Akt og Bryllupsmarsche – men dramaet ble aldri fremført. Reaksjonene i pressen etter premieren på Prélude var ganske negative og til dels infame. Verket innledet festforestillingen, og deretter ble Ludvig Holbergs (1684–1754) komedie Den politiske Kandestøber vist. Til slutt ble en epilog av professor Peter Hansen (1840–1905) fremført, til musikk av teaterets andre dirigent Frederik Rung (1854–1914). Hansen var en dansk journalist, kritiker og litteraturhistoriker. Teateranmelderen i Politiken (E.B.) harselerte med at nordmannen Svendsens musikk ble brukt ved en slik anledning: «Først var der Musik av den norske Kapelmester – en charmant Idé ved Festen for den danke Skueplads’ Indvielse. Mon man i Norge vil indvie det ny Nationalteater med Musik af en dansk Orkesterdirigent?» Musikkritikeren i samme avis, William Behrend, skrev også meget ironisk: «Naar Hr. Svendsen imidlertid gik saavidt, at han i sit Fest-Præludium henfaldt til en mat, sørgmodig Tone, der næsten lød som Salmesang og som klang ud i Lohengrin-Mindelser, da kunde slig Musik have passet godt nok ved ‘Den danske Komediens Ligbegængelse’.» Avisen Hejmdal mente 21. desember at verket «efterlod intet Indtryk og var forøvrigt saa trist og højtideligt som en Sørgemarch». Særlig ille føltes det nok for Svendsen at følgende ble trykt i svært mange av Danmarks aviser utenom København, skrevet av «vor Meddeler»: «Den festlige Forestilling [...] havde ikke megen Glands over sig. For det første havde Kapelmester Johan Svendsen været ret uheldig med sit Fest-Præludium, der i merkelig Grad savnede højtidsfuld Klang.» Adresse-Avisen var 19. desember heller ikke positiv: «Efter et mere elegisk end festlig klingende ‘Festpræludium’ af Johan Svendsen, som selv dirigerede, rullede Teppet op for ‘Den politiske Kandestøber’.» I de få tilfellene der kritikerne i det minste var delvis positive, ble likevel mangelen på feststemning nevnt. Sjællands-Posten skrev 20. desember: «Johan Svendsen havde komponeret et kort ‘Fest Præludium’, der, skønt det just ikke var af udpræget festlig Karakter, dog ved sin prægtige Klang og sine tiltalende Motiver satte Publikum i en behagelig Stemning.» Holstebro Avis formulerte noe lignende 21. desember: «Det er en meget sammentrængt, smukt instrumenteret Komposition, der blev godt udført, men ikke synes særlig egnet til at fremkalde nogen Feststemning.» Det finnes en kopi av partituret, stemplet «Det Kgl. Theaters Musikarkiv».- Kopien oppbevares ved Nasjonalbiblioteket i Oslo. Tittelen på forsiden er endret med blyant fra
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A preserved copy of the score with the stamp ‘Music Archive of the Royal Music Theatre’ is kept at the National Library of Norway in Oslo. The front-page title has been changed in pencil from Fest-Præludium to Prélude, and also on the first page of the score the title Fest-Præludium has been crossed out and substituted with Prélude. Norwegian musicologists Finn Benestad and Dag Schjelderup-Ebbe believe that these changes were made by the composer:
Fest-Præludium til Prélude. Også på kopiens første partiturside er tittelen Fest-Præludium overstrøket, og Prélude er satt inn. Benestad og Schjelderup-Ebbe mener det er Svendsen selv som har gjort dette:
Indeed, Svendsen himself realized that the title did not fit the character of the music. That is undoubtedly why, in the hand-written score, he crossed out the word ‘Festival’ in the title. Since its initial performance the piece has been known simply as Prelude.6
Svendsen innså også selv at tittelen ikke stemte overens med innholdet, og det er utvilsomt grunnen til at han i det håndskrevne partituret har strøket over første del av ordet «Festpreludium». I ettertid er komposisjonen utelukkende kjent som «Prélude».2
It is worth noting that these changes were made in a copy rather than in Svendsen’s own manuscript. It is not inconceivable that Svendsen himself made them or asked someone else to do so, but there is no concrete evidence to support such a claim. The first time we see the title Prélude is after Svendsen’s death in 1911 when Wilhelm Hansen published a piano arrangement by Eyvind Alnæs (1872–1932) titled ‘Prélude (Oeuvre posthume)’. Nicolaj Hansen’s (1855–1932) version for salon orchestra from 1913 was also released under the title Prélude. At a concert in the large hall of the Odd Fellows Mansion in Copenhagen, a so-called Palæ-konsert, directed by Frederik Schnedler-Petersen (1867–1938) on 21 January 1912, the work was presented under precisely this title –Prélude. The extant set of orchestral parts used at the concert had been written by a music copyist and may also have been used at the first performance. One of the trombone parts (Trombone 2) is signed ‘Olaf Jensen 21/1 1912’. The first work on the programme was Carl Nielsen’s (1865–1931) Symphony No. 1 in G minor, Op. 7, a work Svendsen himself had premiered in 1894. Several newspapers reported that Svendsen’s student, the Danish composer Hakon Børresen (1876–1954), had orchestrated two works by Svendsen for the occasion, and that the first performance of a polonaise was presented that evening. This is not the case. The two works in question were Prélude and Polonaise, Op. 28, compositions that Svendsen himself had completed and that moreover had been previously performed. Following the concert, the Danish daily Berlingske Tidende wrote:
Det er verdt å merke seg at endringen er gjort i en kopi, ikke i Svendsens eget manuskript. Det er ikke utelukket at Svendsen har gjort det selv, eller har bedt noen om å gjøre det, men det finnes ikke noe konkret som beviser det. Første gang vi ser tittelen Prélude brukt, er etter Svendsens død i 1911, da Wilhelm Hansen gav ut et klaverarrangement av Eyvind Alnæs (1872–1932) med tittelen Prélude (Oeuvre posthume). Nicolaj Hansens (1855–1932) salongorkesterversjon fra 1913 har også tittelen Prélude. Ved en konsert i Odd Fellow Palæets store sal – en såkalt Palæ-konsert – dirigert av Frederik Schnedler-Petersen (1867–1938) i København 21. januar 1912 ble verket annonsert som nettopp Prélude. Det er bevart et orkestersett fra denne konserten, skrevet av en kopist, et sett som også kan ha blitt brukt ved premieren. En trombonestemme (Trombone 2) er signert med «Olaf Jensen 21/1 1912». Det første stykket på konserten var Symfoni nr. 1 i g-moll, op. 7 av Carl Nielsen (1865– 1931), et verk Svendsen hadde urfremført i 1894. I flere aviser ble det nevnt at Svendsens elev, komponisten Hakon Børresen (1876–1954), hadde ferdig-instrumentert to ukjente Svendsen-verker for anledningen, og at en polonese fikk sin førstefremføring denne kvelden. Det stemmer ikke. De to verkene var Prélude og Polonaise, op. 28, komposisjoner Svendsen hadde gjort helt ferdige på egen hånd, og som dessuten var fremført tidligere. Berlingske Tidende skrev etter konserten: 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-Koncerterne.
A few smaller posthumous orchestral works by Johan Svendsen, 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 considering its content, but otherwise it was a well-sounding and graceful work whose acquaint-
BERLINGSKE TIDENDE, 22. JANUAR 1912.
VII
ance the audience seemed greatly pleased to be making. On exceptionally fertile ground fell the lovely ‘Polonaise’, which fulfils every requirement for becoming a favourite orchestral number at the Tivoli Concerts. BERLINGSKE TIDENDE, 22 JANUAR 1912.
Dagbladet skrev samme dag:
The same day Dagbladet wrote:
«Prelude» er et svagt Arbejde og burde maaske have forblevet i Bordskuffen; «Polonaise» derimod, et overordentlig «flot» Stykke, skridende frem med samme spænstige Gang og samme ranke Holdning som den berømte store Fest-Polonæse, men ikke af dennes uimodstaaelige Blanding 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.
‘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 favourite on many orchestral concerts of a lighter nature. Yesterday’s reception was heartfelt and sincere.
DAGBLADET, 22. JANUAR 1912.
DAGBLADET, 22 JANUARY 1912.
Anmelderen i Social-Demokraten visste nok at polonesen ikke ble spilt for første gang, og formidlet det på en finurlig måte:
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:
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.
Finally, the orchestra played two numbers by Johan Svendsen. 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.
SOCIAL-DEMOKRATEN, 22. JANUAR 1915.
Prélude er etter alt å dømme Svendsens siste fullførte verk. Benestad og Schjelderup-Ebbe kaller det derfor et «postludium».3 De mener at verkets skjebne som nesten glemt ikke er rettferdig:
SOCIAL-DEMOKRATEN, 22 JANUARY 1915.
As far as we know, Prélude is the last work Svendsen completed. This is why Benestad and Schjelderup-Ebbe refer to it as a ‘postlude’,7 regarding its fate as an all but forgotten work to be undeserved:
Etter vårt skjønn er «Prélude» Svendsens beste komposisjon fra København-tiden, og det er vemodig at denne hans vakre svanesang ikke har fått en bedre skjebne.4
In our opinion, Prélude is the best composition Svendsen produced during his years in Copenhagen. It is sad that this, his beautiful swan song, has been so sorely neglected.8
Den unisone og ironiske kritikken gjorde nok inntrykk på Svendsen, og vi kjenner ikke til at han dirigerte verket flere ganger etter premieren. Verket er heller ikke nevnt i de håndskrevne opuslistene hans. Denne utgaven gjør Svendsens siste komposisjon tilgjengelig igjen for fremføring og studium.
Most likely, the unanimously negative and ironic reviews made an impression on Svendsen, and we know of no other occasions on which he conducted Prélude after its premiere. His handwritten opus lists do not mention the work, either. This edition once again makes Svendsen’s final composition available for performance and study.
Bjarte Engeset
Bjarte Engeset English translation: Thilo Reinhard
VIII
NOTES Morten Christophersen: ‘Panoramic Constrains – A Study of Johan Svendsen’s Musical Sketches and Exercises’, University of Oslo, Oslo 2016, p. 352. 5
Finn Benestad and Dag Schjelderup-Ebbe, William H. Halverson (transl.): Johan Svendsen: The Man, the Maestro, the Music, Columbus, Ohio 1995, p. 301. 6
NOTER Morten Christophesren: Panoramic Constrains - A Study of Johan Svendsen’s Musical Sketches and Exercises, Universitet i Oslo, Oslo 2016, s. 352. 1
Finn Benestad og Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og kunstneren, Oslo 1990, s 243. 2
3
Ibid. s. 245.
4
Ibid. s. 243.
IX
7
Ibid. p. 304.
8
Ibid. p. 302.
PRÉLUDE, JSV, 95, AUTOGRAPH SCORE, COVER, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7873A.
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PRÉLUDE, JSV, 95, AUTOGRAPH SCORE, FIRST PAGE OF MUSIC, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7873A.
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PRÉLUDE, JSV, 95, COPY SCORE, COVER, SOURCE B. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 2894.
XIII
PRÉLUDE, JSV, 95, COPY SCORE, FIRST PAGE OF MUSIC, SOURCE B. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 2894.
XIV
PRÉLUDE, JSV, 95, COPY VIOLIN I PART, SOURCE B PTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7873A.
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PRÉLUDE, JSV, 95, SKETCHES, SOURCE S. THE SKETCHBOOK IS KEPT AT THE ROYAL DANISH LIBRARY, MA MS 5276 MU 9705.2800. MUSICAL NOTEBOOK 4.
XVI
Prélude JSV 95
BESETNING / SCORING 3 Flauti 2 Oboi 2 Clarinetti (in La) 2 Fagotti 4 Corni (in Mi) 2 Trombe (in Mi) 3 Tromboni Tuba Timpani Violini I. II. Viole Violoncelli Contrabbassi
Prélude [JSV 95] I. II. 3 Flauti III.
2 Oboi
2 Clarinetti in La
2 Fagotti
I. II. Corni in Mi
# # # # cAndante ∑ &
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Timpani in Re - La
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I. Violini II.
Viole
Johan S. Svendsen
## & ## c
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F
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Copyright © 2019 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O.14396 A
π
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11 I. II. Fl. III.
Ob.
Cl. (La)
Fg.
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Cor. (Mi)
I. II. Tbn.
III. Tb.
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div.
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21 I. II. Fl. III.
Ob.
Cl. (La)
Fg.
I. II.
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31 I. II. Fl. III.
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p
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poco a poco cresc.
4
w # w
n
n
39 I. II.
&
Fl. III.
Ob.
Cl. (La)
&
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&
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∑
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III. IV.
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n
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∑
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III. Tb.
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47 I. II. Fl. III.
Ob.
Cl. (La)
Fg.
& &
a2 œ œ œ #### œ œ œ œ œ
####
∑
## & # # wœ &
#
œ œ œ wœ œ œ œ
œ œ œ œ œ œ œ œ
a2
w
w
w
w
œ œ œ
#w
III. IV.
&
a2
Tbe. (Mi)
&
∑
B ### #
III. Tb.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
œ
∑
∑
œ œ œ . œj . œ ‹œ
œ n
# #
Œ
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
? ####
w
..
Œ
∑
∑
..
Œ
∑
∑
∑
∑
F F ∑
∑ Œ
nw
œ œ n
œ ‹œ
..
Œ
n
w
.
Œ
div.
Œ
div.
#
#
6
p
∑
∑
œ- œ- œ . œ œ- . œ- œ œ œ- œœ. œ . J J J
nw
.. œ nœ œ œ œ œ œ œ œ œ œ œ
.
∑
#w
p
w
∑
I.
n
∑
w
I.
∑
? ####
w
. œ bœ œ. œ œ œ œ œ œ œ œ œ
Œ
∑
# B ## # w
∑
Œ
∑
w
∑
..
∑
w
∑
œ #œ
∑
# ## & # w
∑
œ œ b
∑
Œ
∑
Œ
∑
? ####
∑
∑
..
∑
&
piu mosso
∑
#### œ œ œ œ œ œ œ œ
Œ
œ œ œ. œ œ. œ œ œ œ œ . j . œ œ . J J nw nw
Cor. (Mi)
Tbn.
n œ
w w
a2
I. II.
# ww
∑
? #### w &
I. II.
∑
œ œ œ. œ œ. œ œ œ œ œ œ. œ . J J J
. . . .
Œ
piu mosso
œ ..
r œ
j œ œ. œ. ‰
n œ .. π
r œ
œ œ. œ.
œ R
œ œ œ. ‰ . J
π
œ ..
π
œ ..
π
w
π
r
œ
j‰
j œ ‹ œ. œ. ‰
œ œ œ. ‰ . J
∑
∑
## & ##
∑
∑
Ob.
&
∑
∑
Cl. (La)
&
I. II. Fl. III.
Fg.
I. II.
#### #
œ .. b œ .. p
œ ..
œ
I.
p
Cor. (Mi)
r
œ œ
? # # # # œœ .... p &
œ. . nœ. . œ nœ œ œ œ œ œ nœ œ œ
I.
#### &
55
∑
∑
. œ. . nœ œ nœ. œ œ œ œ œ nœ œ œ
I.
j
∑
∑
∑
∑
œœ b œ.œ œœ. ‰
b b
œœ œœ. œ. œ ‰
∑
œœ œ. œœ. ‰ œJ
b ww
∑
∑
n ww
œ . œ œ. ‰ J
∑
∑
b ww
∑
∑
∑
∑
∑
∑
R
n
œ œœ ‰ œ œ. œ.
p
∑
∑
œœ R
b
p
∑
J
œœ n œœ. œœ. ‰ J j
III. IV.
&
Tbe. (Mi)
&
∑
∑
∑
∑
∑
∑
B ### #
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
I. II. Tbn.
III. Tb.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
&
####
# ## & #
. œ nœ œ. œ œ œ œ œ œ nœ œ œ
# B ## # ? #### ? ####
∑
∑
∑
∑
w ∑
œ n œ . œ. œ œ œ œ n œ œ œ . œ. j n œ ‰ œ n œ. œ.
nw
nw
n n
œœ œœ. œ. œ
nw
j‰
∑
∑
j œ n œ. œ. ‰
∑
∑
.
œ œ œ. ‰ .J
n
œ n œ œ. ‰
∑
n
œ n œ œ. ‰
7
.
J J
∑
n
. œ n œ œ. ‰ J
∑
61 I. II.
&
Fl. III.
&
Ob.
&
Cl. (La)
&
####
. nœ nœ œ. œ œ.
œ n œ n œ œ . œ. œ .
I.
####
J
∑
∑
# # # # n œ n œ œ . œ. œ .
œ n œ n œ œ . œ. œ . J
I.
œ œ. J
œ œ. J
nœ nœ. J ∑
nœ nœ. J
œ nœ. J
œ nœ. J
C
nœ œ. J
œ aw2 J p
œ ww J
nœ œ. J
p
#
∑
∑
∑
∑
b ww
? ####
∑
∑
∑
∑
&
∑
∑
∑
∑
III. IV.
&
∑
∑
∑
∑
Tbe. (Mi)
&
∑
∑
∑
∑
B ####
∑
∑
∑
∑
? ####
∑
∑
∑
∑
?
∑
∑
∑
∑
Fg.
I. II. Cor. (Mi)
I. II. Tbn.
III. Tb.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
# ## & # &
####
n
# B # # # nn ? #### n ? #### n
œ n œ. œ. ‰ J j‰
œ œ. œ. œ œ
n
œ. œ. ‰ n œ œ n J
œ n œ. œ. ‰ n J œ n œ. œ. ‰ n J
œ.
nœ
œ
n œ œ œ nn œœ œ œ nœ œ œ œ œ
w
.
bw p
œ
a2
p
a2
bœ
œ œ
∑
∑
n ww
œ . œ œ œ
w
.
p
III.
p
∑
œ. n œ.
‰
œ ∑
. œ œ œ œ œ. œ œ . œ n œ œ
œ
œ œ œ. œ
œ
.
œ nœ œ. œ œ œ
.. œ. ‰ ‰ œ. œ. ‰ œ n œ œ œ œ œ
œ n œ. œ. ‰ ‰ # œ. œ. ‰ ‰ œ. n œ. ‰ ‰ œ. n œ. ‰ ‰ # œ. œ. ‰ J
œ œ œ. œ
. œ. œ œ œ œ œ . œ œ n œ œ
œ n œ. œ. ‰ ‰ # œ. œ. ‰ ‰ œ. n œ. ‰ ‰ œ. n œ. ‰ ‰ # œ. œ. ‰ J 8
n n
p
C
‰‰
..
œ
œ . œ œ œ
p
œ n œ. œ. ‰ ‰ œ. œ. ‰ ‰ œ. n œ ‰ ‰ n œ n œ ‰ ‰ œ œ ‰ J . . . . . j‰ ‰ œ œ ‰ ‰ ‰ ‰ œ œ. œ. n œ. œ. n œ. . . œ œ. œ. ‰ ‰ n œ. n œ. ‰ ‰ œ œ ‰ ‰ b œ œ œœ . . . J
œ
œ œ œ œ œ. œ
∑
.
n n
œ
œ
n œ œ œ nn œœ œ œ nœ œ œ œ œ
67 I. II. Fl. III.
Ob.
Cl. (La)
Fg.
#### w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ p ∑
∑
∑
∑
B # # # # n ww
œ . œ œ œ
œ Œ
∑
∑
∑
∑
∑
? #### w
.
œ nœ Œ
∑
∑
∑
∑
∑
∑
∑
∑
n
nœ œ
nœ œ
∑
∑
n
ten.
ten.
∑
∑
ten.
ten.
∑
∑
œ Œ
∑
∑
œ Œ
∑
∑
# ## & #
#### n œ w & &
#
Vle.
Vc.
Cb.
&
..
n œœ
œ
. œ
œ œ
∑ #### ####
œ œ œ. . œ œ nœ œ. œ œ œ
œ œ œ. # œ B # # # œ n œ œ . œ. œ œ . œ. œ œ œ œ œ . œ œ n œ ? #### œ
n n
∑
∑
œ . n œJ
œ . n œJ
I.
p
œ Œ
p
bœ bœ Œ p
p p
∑
. œ œ œ œ œ. œ œ . œ n œ œ
? ####
p
nœ nœ œ œ nœ œ œ nœ Œ nœ œ œ œ œ nœ p
∑
?
Vln. II.
n n
&
œ
œ
œ . œ œ œ
? ####
&
I.
b ww
Tbe. (Mi)
Timp.
œ œ œ œ œ. œ
&
III. Tb.
œ . n œJ
∑
bw
Tbn.
œ . n œJ
∑
III. IV.
I. II.
I.
∑
bœ
Cor. (Mi)
œ
∑
&
&
I. II.
.
œ œ
div.
p
div.
p
œ nw nw
∑ n
n
nw nw
div.
œ
p
n p n œ œ œ nn œœ œ œ n nœ œ œ œ œ p
n
n
n
n
9
n
n
n
n
œ Œ n œ Œ n
Πp
œ œ
œ
œ œ
œ
a2
Œ
a2
p
∑
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~
w
w
p
#### &
75 I. II. Fl. III.
Ob.
Cl. (La)
Fg.
I. II.
## & ## & &
####
w
#
Tbe. (Mi)
I. II. Tbn.
III. Tb.
Timp.
I.
Vle.
Vc.
Cb.
∑
∑
∑
∑
∑
∑
∑
j œ . œ œ œ œœ . œ œœ œœ # œœ wœ n ‹ # J # #
f
&
a2
&
a2
f
f
n n
#
œ. œ.
œ.
j œ œ
œ J
w w
n
œ.
j œ œ #œ w ∑
∑
B ### #
∑
∑
∑
? ####
∑
∑
œ Œ
∑
& &
f
# # # # ten. f
# ten. B ## # f ? #### w f ? #### w f
∑
w #
œ . œJ œ
n
Z
.
#œ
w
bœ œ
Z Z
cresc.
∑
œ œ
∑
œœ ..
cresc.
∑
j œ œJ œ # œ œ ‹ œ # œœ Œ
œ œ #œ #œ œ œ #
cresc.
œ.
œ œ œ J
cresc.
œ.
n
cresc.
œ.
cresc.
œ œ œ Œ
œ œ #œ œ œ œ œ J j
œ
œ #œ #œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ n œ œ œœœ
œ . œJ œ
Z
œ œ #œ #œ œ œ
œ. œ œ J
. n œ # œœ
Z
œ
∑
####
œ
#
∑
?
f
a2
œ œ b œ œ œœœ
œ . œJ œ
w
&
Vln. II.
w w
? # # # # aw2 f
Cor. (Mi) III. IV.
f
∑
a2
‹
#
œ.
j œ œ #œ
#
n
œ
œ.
œ
j
œ.
œ
#
œ.
œ
J J
#
10
Z
œ œ #œ #œ œ œ
œ. œ œ J
cresc.
nœ œ
#
œ #œ
Z Z n Z n Z
œ.
cresc.
œ.
cresc.
#
œ.
#
œ.
cresc.
cresc.
œ J
œ
œ œ
œ ‹œ œ Œ
œ œ #œ œ #œ #œ Œ J œ œ œ J œ œ œ J
œ
œ
œ Œ
I. II.
& &
####
Fl. III.
Ob.
Cl. (La)
Fg.
I. II. Cor. (Mi)
& &
&
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
ƒ
# # # # a2 ƒ
#
ƒ
&
Tbe. (Mi)
III. Tb.
ƒ
&
Tbn.
ƒ
? ####
III. IV.
I. II.
D œ . œ œ #
## #
83
ƒ
ƒ
œ. œ œ
œ œ
œœ œ
œ
œ œ
œ n.
œ . œJ œ
œœ œ
œ œ
J J
œ . œJ œ
œ #œ
n
B # # # # ƒ ? ####
?
&
œ # œ
w
∑
w
w
w
ƒ
#### & ƒ # B # # # ƒ ? ####
ƒ
? ####
ƒ
œ œ œ œ
œ. œ œ
J
œ #œ
œ
œ Œ
n
n
œœ œ
J
œ œ
#œ
œ nœ œ. #œ . n.
J
.
œ n œ œ . # œ wœ n œ œ nœ œ. #œ J
..
œ . b œ œ . œ n œ w . J
œ n
œ œ
b. b.
# œœ
n n ..
n ..
# œœ
n n ..
œ œ œœ œœ
∑
w .
n.
n.
œ
œ
œ n œ œ- . œJ
#œ
n.
œ
œ
Œ
œ .
Œ
œ ..
Œ
œ
œ ..
Œ
..
Œ
..
Œ
Ÿ~~~~~~~~~~~~~~~~~~
# œw n œ
w
dim.
œ .
Œ
..
Œ
# œ. n œ œ ..
Œ
œ .
Œ
œ nœ œ. #œ . J n.
Œ
..
œ nœ œ. #œ . J
J
Œ
Œ
# œ n œ
Œ
œ ..
ww
œ n œ œ- . œ-
. 11
œ
œ b œ œ . n œ w . J
n ..
n.
œ
. œ b œ œ . œj œ b œ œ . n œj
b. b.
œ .
#œ nœ
∑
œ
J
n.
œ bœ œ. œ
∑
œ œ
œ nœ œ. œ œ nœ œ. œ
.
œ œ
œœ œ
J
n
œ
œ
J
. œ n œ b œ œ . œ œ J
œ œ
Ÿ~~~~~~~~~~~~~~~~~~~~
ƒ
œœ œ
D œ . œ œ #
## #
œ
œ œ
œœ œ
œ . œJ œ
ƒ
œœ œ
œ . œJ œ
ƒ
œ nœ œ. œ
œœ œ
.
Œ
#### Πa 2 &
91 I. II. Fl. III.
Ob.
Cl. (La)
Fg.
## & ## Œ ## & ## Œ
>
p > p > p
Œ
III. IV.
&
Tbe. (Mi)
&
Πb p>
Cor. (Mi)
I. II. Tbn.
III. Tb.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
> p >
B ### # ? ####
œ
w
œœ
>
&
I. II.
œ >
œ
w
œœ
n œœ
> >
œœ n
œœ n
œœ
w
œœ
œ œ
œœ b
Œ ∑
∑
∑
œ Œ
œœ
> >
∑
p
w
∑
w
œ
>
> œ
œœ
~~~~~~~~~~~~~~~~~~~~~
?
n œœ
n > Π& p n > ? #### Πp #
œ
p
>
œœ
w
>
œ Œ œ
>
w
w
w
œœ
w
w
Œ
∑
∑
∑
∑
Ÿ~~~~~~~~~~~~~~~~~~~
œ
Œ
œ œ
œ Œ Œ œ ∑
? ####
w p
pizz.
œ
p
w Œ
œ
w Œ
œ
w Œ
œ
Ÿ~~~~~~~~~
12
œ Œ Œ œ ∑
œ
∑ Ÿ~~~~~~~~
œ Œ
œœœœœ
œ œ œ œ œ œ.
œœœœœ
J
J
J
J
œ œ œ œ œ œ. J
œœœœœ J
w Œ
œ œ
œ œ œ œ œ œ.
w Œ
œ œ
∑
. œ. nœ œ œ œ œ #œ œ œ œ œ. œ . # œ œ œ œ J . . nœ œ œ œ #œ œ œ & œ œ œ # œ. œ J œ p . œ. nœ œ œ œ œ #œ œ œ œ œ. œ . # œ œ œ #### œ J . . nœ œ œ œ #œ œ œ & œ œ œ # œ. œ J œ p . # œ. œ . n œ œ œ œ œ # œ œ œ œ œ . œ œ # œ # œ J B # # œ œ . # œ œ . n œJ œ œ œ œ # œ œ œ œ . ? ####
####
p
w
w
w
w
>
w
œœ
>
œ œ
œ
Œ
97 I. II. Fl. III.
Ob.
Cl. (La)
Fg.
I. II. Cor. (Mi) III. IV.
Tbe. (Mi)
I. II. Tbn.
III. Tb.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
&
#### w
w w
#
&
ww
dim.
&
w w
w w
& B ### #
œ Œ œ
? #### ?
œœ- Œ œœ- Œ œœ- Œ ww
œœ Œ
∑
∑
œœ Œ œœ Œ œœ Œ ww - -
œœ Œ
∑
∑
∑
œœ Œ
∑
∑
∑
œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ Œ
∑
∑
∑
œœ Œ
π
dim.
dim.
∑
Œ
π
dim.
ww
œ
œ œŒ
ww
ww
œ- Œ œ- Œ œ- Œ w
∑
π
dim.
? # # # # ww
∑
π
ww
ww
œ
∑
œ
dim.
## w & ## w
w
Œ
π
dim.
## w & ##
&
œ
π
∑
π
? ####
-
-
œœ- Œ œœ- Œ œœ- Œ ww
œœ Œ
œœ- Œ œœ- Œ œœ- Œ ww
œœ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
dim.
π
Œ
w œ
Œ
œ œ
I.
w p
ww p
œ
ww
œœ Œ
w
œ Œ
p Ÿ~~~~~~~ p
√
w
w
w
œ
w
w
w
œ
∑
∑
∑
∑
Œ
∑
∑
∑
Œ
œœ Œ
Œ
13
Œ
-
∑
œŒ
Œ
œœ Œ
∑
w
Œ
œ Œ œœ Œ œœ Œ ww -
∑
w
œ
Œ
œ-
∑
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
w
-
Œ
œ-
∑
œ œœœœœœ #### œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ & œ œ œœœœœœ #### œ œœ œ œ œ œœ œ œ œ œ œ œ œ & œ œ œœœœœœœœ # # œœ œ œ ∑ B ## œ œœ œ œ œ œ œ œ Œ ? ####
œ-
Œ Œ
œ Œ œœ Œ œœœ Œ www w œ
œœœ œ Œ
œ Œ œ Œ œ Œ w
œ
div.
œ Œ œ Œ œ Œ w
œ
Œ Œ
ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno DK-Kk Royal Danish Library, Copenhagen Fg. Fagotto Fl. Flauto JS Johan Svendsen N-Onm 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
14
SOURCES
CRITICAL REPORT
Prélude, JSV 95 S Sketches A Score, autograph B Score, copy BPTS Parts, copy
F
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 S Sketches DK-Kk, MA ms 5276 mu 9705.2800. Musical notebook 4 The source contains nine pages of sketches for this work Written in pencil (Johan Svendsen)
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.
Source A Score, autograph N-Onm, Mus.ms. 7873a 19 pages, 35.5x27 cm Title page: Fest-Præludium Softcover Hand-ruled music paper, 16 staves, marked B. & H. Nr. 3.C. Pagination: 1–19 At the end of the score: Kjöbenhavn 10 December 1898. / JSvendsen. Written in ink (Johan Svendsen) A few additions in pencil (Johan Svendsen)
Source APTS Parts, copy N-Onm, Mus.ms. 7873 b 34.6x26 cm Title page: Fest-Præludium (In one of the Vln. I parts this has been changed in pencil to ‘Prélude’) Written in ink by two different copyists One copyist wrote out the following parts, numbering each string part: Flauto 1mo, Flauto 2do, Flauto 3die, Oboi 1mo, Oboi 2do, Clarinetti 2do in A, Fagotti 1mo, Fagotti 2do, Corno 1 2do in E, Corno 3die in E, Corno 4de in E, Tromba 1mo in E, Tromb 2do in E, Tromba 3 i E, Tromboni 1mo, Tromboni 2do, Tromboni 3die, Tuba, Timpani, Violino 1mo (4x), Violino 2do (4x), Viola (2x), Violoncello e Basso (4x) The other copyist wrote out the following additional string parts (unnumbered): Violino 1mo (2x), Violino 2do (2x), Viola (2x), Violoncello e Basso (2x) The Clarinet I and Corno I parts are no longer extant Additions in blue crayon and pencil
15
Source B
EVALUATION OF THE SOURCES
Score, copy N-Onm, Mus.ms.a 2894 19 pages, 35x26 cm Title page: Joh. Svendsen: / Fest-Præludium / Ved det kgl. Theater’s 150 Aars Jubilæum The number ‘150’ has been added in pencil ‘Fest-Præludium’ crossed out in pencil, the word ‘Fest’ more heavily than the rest. ‘Prélude (‘Se ovenstaanede’ added in pencil. In the upper left corner, three dates written in ink: 4/12 11, 18/12 11, 23/12. Also in the upper left corner, the following comment in pencil: ‘er indpri[k]et / til udskrivning. / G.C.B.’. In the upper right corner, an illegible name in pencil. First page of music: ‘Fest-Præludium’ crossed out in pencil and ‘Prélude’ added in pencil Hand-ruled music paper, 16 staves Pagination: 1–19 At the end of the score: Kjøbenhavn 10de December 1898 / JSvendsen Provenance: In the protocol of the library: Kjøp Gurvins dødsbo, 22.12.78.ØG [Purchase Gurvin’s estate, 22.12.78.ØG] Written in ink (copyist) Additions and emendations in pencil and blue/red crayon Cue notes added in pencil by Georg Carl Bohlmann (1838– 1920)
Svendsen’s surviving sketches for Prélude can be found in one of the sketchbooks at the Royal Danish Library in Copenhagen, Source S. In his thesis Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises, Morten Christophersen has dated these sketches to 1875–1876. The first part of the work is quite thoroughly sketched out, while the section beginning at b. 53 only contains a single statement of the main theme. Source A, a complete score in Svendsen’s own hand, has served as the primary source for this edition. Signed Kjöbenhavn 10 December 1898, it contains a few additions in pencil probably by Svendsen himself, such as a small adjustment in the first horn entrance, and the addition of piu mosso in b. 53. Source APTS, a set of parts, was prepared by two copyists. One of them copied out all the wind parts, the timpani, and a numbered set of string parts, using A as the source. The other copyist produced eight additional string parts, using the previously copied parts as the source. The Clarinet I and Corno I parts are missing today. The Trombone II part is signed ‘Olaf Jensen 21/1 1912’, showing that these parts were used at a concert conducted by Frederik Schnedler-Petersen (1867–1938) in Copenhagen on that date. The same set of parts may have been used at the work’s premiere on 18 December 1898 at the Royal Danish Theatre in Copenhagen, conducted by Svendsen himself. The parts contain extensive annotations by musicians, mostly in pencil. We cannot be certain when these were added, or by whom, but they are included in our list of variants and emendations. Instrumental fingerings are not included. Source B is a copy of A, prepared by a different copyist than the ones who produced the parts. We do not believe that Svendsen had any direct influence on this source, which may well have originated after his death, such as in connection with the above-mentioned performance in January 1912. It is here the work’s title was changed from Fest-Præludium to Prélude. The score is filled with additional cue notes in pencil and also contains some performance-related annotations in pencil and blue/red crayon. The cue notes were added by Georg Carl Bohlmann (1838–1920), who similarly annotated the autograph score of Persian Dance, JSV 83, in December 1911. Bohlmann, a composer, worked as an arranger and proofreader for Svendsen’s publisher in Copenhagen, Wilhelm Hansen Musikforlag. Perhaps his annotations were made in preparation for an edition that was never brought to completion. We have not included Bohlmann’s annotations in the list of variants and emendations. All performance-related annotations are included, however.
Arrangements by others (published) Piano solo Arranged by Eyvind Alnæs Wilhelm Hansen, København & Leipzig 1911 Title page: PRÉLUDE. / (Oeuvre posthume) / POUR PIANO / PAR / JOHAN SVENDSEN / EDITION PAR EYVIND ALNÆS Pl. No. 15056 Above the score: Prélude. / (Oeuvre posthume.) Piano solo (Svendsen-album) Arranged by Eyvind Alnæs Wilhelm Hansen, København & Leipzig 1911 Pl. No. 15058 Score and parts for salon orchestra Arranged by Nikolaj Hansen Wilhelm Hansen, København & Leipzig 1913 Pl. No. 15472 Heimdal, Nordische Salon-Orchester-Sammlung Nr. 8, Prélude
16
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
27
Vln. I
APTS (Vln. I PTS 12345, Vln. II PTS 2): added in pencil; B: added in red crayon
Comments considered to be of particular importance by the editors have bar numbers in bold type. Primary source: A
27
Vln. I upper part
APTS 3: notes 1–2: tie and ten.
27
Vln. II lower part
emended from (bar overcompleted)
28
Vln. I
B: p added in pencil
28
Vln. II
APTS 13:
28
Vle.
B: solo added in pencil
29
Vc.
B: solo added in pencil
30
Vln. I/II, Vle., Vc.
APTS (Vln. I PTS 12345, Vln. II PTS 123, Vle. PTS 34 , Vc. PTS 13), B: from note 2 added in pencil
31
Cor. II
p added by analogy with Cor. I b. 29, and as in APTS, B
32
Vln. I/II, Vle., Vc.
APTS (Vln. I PTS 12345, Vln. II PTS 12, Vle. PTS4, Vc. PTS 1 ), B: from note 2 added in pencil
32
Fg. II
p added by analogy with Fg. I b. 31 and as in B
34
Vln. II
notes 4–6: slur added by analogy with Vln. I
37
Ob. I
p and poco a poco cresc. added by analogy with Cor. III and as in APTS
41
Fl.
a 2 added as in APTS
41
Cl. II
slur added by analogy with Cl. I and as in APTS, B
42
Cl.
slur added by analogy with Ob. II and as in APTS (Cl. II), B (added in pencil )
42
Cb.
B: note 2: o above note (open string) added in pencil
45
Fl. I/II
emended from two slurs by analogy with b. 47 and Ob. II, Cl.
47–52
Fl. III
A, APTS, B: in source A, b. 46 is followed by a page turn, so Svendsen may have forgotten to fill in a part for Fl. III here
Prélude Bar
Instr.
Comment
1–2
Cor. I
A: emended in pencil from
B:
added in pencil: +) Komponistens egen Ændring [revised by the composer himself] 4–5
Cor. I
emended from
by analogy with bb. 1–2 and as in APTS, B 9
Cor. I
B: Solo added in pencil
16
Vln. I/II
APTS (Vln. I PTS 125, Vln. II PTS 123), B: added in pencil
17
Vln. I
APTS 1245, B: p added in pencil
17
Vln. II
B: p added in pencil
19
Vln. II lower part
notes 3–4: slur added by analogy with upper part
20
Vln. I/II
A (Vln. I , Vln. II: added in pencil; B: added in red crayon PTS
PTS 12345
):
PTS 123
21
Vln. II
APTS 12: mf added in pencil
21
Vln. II
slur added by analogy with b. 83 and as in APTS 1234, B
23–24
Vln. I
APTS (Vln. I PTS 12345, Vln. II PTS 123): added in pencil; B: added in red crayon
25–26
Vln. I
APTS (Vln. I PTS 12345, Vln. II PTS 123): added in pencil; B: added in red crayon
A: poco piu mosso added in pencil and poco crossed out; APTS: most parts have poco piu mosso, un poco piu mosso or piu mosso added in pencil; B: poco piu mosso added in pencil
53
53
17
added in pencil
Cl. I, Fg. I
B: solo added in pencil
53
Vln. I/II, Vc.
APTS (Vln. I PTS 1234, Vln. II PTS 1234): notes 1–2: slur added in pencil; APTS (Vln. I PTS 56, Vln. II PTS 56): notes 1–2: slur ; APTS (Vc. PTS 3): notes 1–3: slur added in pencil
54
Fg. I
APTS: notes 1–4: slur
54
Vln. I
note 4: stacc. added by analogy with b. 58
54
Vln. I/II, Vle., Vc., Cb.
APTS (Vln. I PTS 1234, Vln. II PTS 1234, Vle. PTS 1, Vc. PTS 1): notes 1–4: slur added in pencil; APTS (Vln. I PTS 56, Vln. II PTS 56, Vle. PTS 4): notes 1–4: slur; APTS (Vle. PTS 23, Vc., Cb.): notes 3–4: slur
54
Cb.
stacc. added by analogy with the other str. and b. 58
55
Cl. I
APTS: slur across entire bar added in pencil
55
Vln. I
B: p added in blue crayon
56
Cl. II
APTS: notes 3–4: tie
56
Fg. I, Vc.
APTS: notes 3–4: slur
56,
Fg. II
APTS: notes 3–4: slur, no stacc.
57
Fl.I, Ob. I
57
61, 62
Vln. I/II, Vle., Vc., Cb.
APTS (Vln. I PTS 1234, Vln. II PTS 1234, Vle. PTS 34, Vc., Cb. PTS 134): notes 1–4: slur added in pencil; APTS (Vln. I PTS 56, Vln. II PTS 56, Vle. PTS 2): notes 1–4: slur; APTS (Vln. II PTS 56, Vle PTS 2, Vc., Cb. PTS 256): notes 3–4: slur
63–64
Vln. I
APTS (Vln. I PTS 1234, Vln. II PTS 1234, Vle. PTS 123, Vc., Cb PTS 1234): each group of two notes slurred in pencil; APTS (Vln. I PTS 56, Vln. II PTS 56, Vle. PTS 4, Vc., Cb. PTS 56): each group of two notes slurred
65–66
Fl. I/II, Ob., Cl. Vle., Cb.
added by analogy with the other parts and as in APTS 123, B
65
Fl.
a 2 added as in APTS
65–68
Fl. II
B: I. added in pencil
66
Fg. II
APTS:
67
Ob., Cl., Vle., Cb.
added by analogy with the other parts and as in APTS, B
67
Trb. III
emended from by analogy PTS with Trb. I/II and as in A , B
p added by analogy with b. 53 (Cl., Fg.) and as in APTS, B
68
Cl.,
added by analogy with the other parts and as in APTS, B
Fl.I, Ob. I
B: solo added in pencil
68–69
Fg.
APTS: one long slur
57
Ob. I
I. added by analogy with Fl. I and as in APTS, B
68
Fg. II
APTS:
58
Fl. I
B:
58
Ob. I
A
58
Vln. I/II, Vle., Vc., Cb.
APTS (Vln. I PTS 12, Vln. II PTS 1234, Vle. PTS 13, Vc. PTS 1): notes 1–4: slur added in pencil; APTS (Vln. I PTS 56, Vln. II PTS 56, Vle. PTS 2): notes 1–4: slur; APTS (Vle PTS 2, Vc., Cb.): notes 3–4: slur
59
Cl., Fg., Cor.
B: p added in pencil
60
Fg. I, Vc.
APTS: notes 3–4: slur
60
Fg. II
APTS: notes 3–4: slur, no stacc.
60
Vln. I
APTS 1245:
60
Vln. I
A, A
60
Vc.
note 4: stacc. added by analogy with b. 58
:
added in pencil
PTS
69
Fl.
I. added by analogy with Ob. I (APTS) and as in B; APTS: a 2
69
Ob.
I. added as in APTS, B
69
Vln. I/II, Vc., Cb.
APTS (Vln. I PTS 1234, Vln. II PTS 1234, Vc., Cb. PTS 123 ): pp added in pencil; APTS (Vln. I PTS 56, Vln. II PTS 5, Vc., Cb. PTS 56): pp B: Tempo primo added in pencil
71
added in pencil
: added in pencil; B: note 1: d#’
PTS
18
crossed out in pencil
B: rit. added in pencil
69–70
added in blue crayon
crossed out in pencil
71
Vln. I
APTS 1: rallent. added in pencil; APTS 2: rall added in pencil
71
Vle.
APTS 2: rit added in pencil
71, 72
Vc., Cb.
APTS 2:
73
Cor. II
APTS: pp added in pencil
73–74
Cor. II
APTS: all pitches transposed one octave, except last note in b. 74
73
Cor. III
APTS: ppp added in pencil
73
Cor. IV
APTS: pp
added in pencil
73
Cor. IV
APTS: Soli added in pencil
74
Cor. IV
APTS: cresc. added in pencil
74
Timp.
APTS: cresc.
75
Timp.
APTS: mf
75
Cor. III/IV
f added by analogy with Cor. I/II and as in B
75
Vln. I
APTS 12: Tempo 1mo. added in pencil; APTS 56: Tempo 1mo
75
Vle.
A
75
Vle.
APTS 12: unis.
78
Vc., Cb.
APTS: slur
79
Fl. I
a 2 added by analogy with Cl. and as in APTS; B: I. added in pencil
83
Fl. I/II
B: a 2 added in pencil
84–85
Tuba
slurs added by analogy with Fg.
84
Vc.
notes 1–2: slur added by analogy with Vln. I and as in B
87
Cl. II
APTS: note 1–2: slur
87
Vc.
notes 3, 4: ten. added by analogy with Vln. I
89–90
Cor. II
APTS: same part as Cor. I
89–90
Cor. I, Tbn. I/II
slur added by analogy with Cl. II, Tba. II
89
Vln. II
APTS: div.
Fl.
slur across the barline completed; B: I. added in pencil
91
Vln. I
APTS 3: piu mosso added in pencil; APTS 56: piu mosso
91
Vle.
note 4: stacc. added by analogy with Vln. I/II
91
Vc., Cb.
APTS 2: 2 Bas col cello; 2 cello col bassi added in pencil
93
Vln., Vle.
stacc. added by analogy with b. 91
95, 96
Vln., Vle.
B: note 2: stacc. added in pencil B: poco rit. added in pencil
97
Vln. I
APTS 1: dim. from note 4
98
Vln. I/II, Vle., Vc.
APTS (Vln. I PTS 12, Vln. II PTS 123 , Vle. PTS 4), B:
99
Vln. I/II
B: pp added in pencil
99
Vln. I/II
APTS (Vln. I PTS 12, Vln. II PTS 1): pp added in pencil
103–104
Vle.
APTS 3: ; B: ten. on every note added in pencil
103–104
Vc., Cb.
APTS 1234, B: ten. on every note added in pencil; APTS 56: ten. on every note
103–104
Fl., Ob., Cl. II, Fg., Cor. II/III/IV
APTS 12: changed to in pencil
103
Cb.
APTS 1234, B: arco added in pencil
: Andante. added in pencil
91
96
Vln. I/II, Vle.
PTS 2
B: poco piu mosso added in pencil
91
99
added in pencil; APTS (Vc. PTS 3): dim. A: note 1 unclear, marked with ? in pencil, could be read as d#’; APTS 1234: d#’ emended to e’ in pencil
19