JOHAN S. SVENDSEN (1840–1911)
Andante sostenuto av Franz Schubert JSV 50
Andante sostenuto by Franz Schubert Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim
JOHAN SVENDSENS VERKER
NMA-JS-I/9C
N.M.O. 14546A
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 German language consultant: Martina Gaux 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. 14546A /ISMN 979-0-065-16411-3) For sale Parts (N.M.O. 14546B /ISMN 979-0-065-16412-0) For hire © 2020 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved
CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning
ANDANTE SOSTENUTO AF F. SCHUBERT INSTRUMENTERET AF JOHAN S. SVENDSEN Forkortelser Kritisk rapport
General preface Preface Facsimiles Scoring I V VII XV
ANDANTE SOSTENUTO AF F. SCHUBERT INSTRUMENTERET AF JOHAN S. SVENDSEN Abbreviations Critical report
1
28 29
I V VII XV
1
28 29
GENERAL PREFACE
J
ohan Svendsen (1840–1911) was a leading figure in late nineteenth-century Scandinavian music, celebrated as both a composer and a conductor. His works occupy a central position in the musical history of Norway and Scandinavia in general, yet his printed music has become notoriously difficult to obtain. Older editions are often 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
J
ohan Svendsen (1840–1911) er en av våre viktigste 1800-tallskomponister. Han inntar en sentral plass i norsk og nordisk musikkhistorie, ikke minst på orkestermusikkens område. Likevel har notematerialet vært vanskelig tilgjengelig. Eldre noteutgaver er ofte mangelfulle, mange er utgått fra forlaget, eller forlaget er nedlagt. Mange verker er aldri utgitt og foreligger bare i manuskript. En ny, samlet utgave av Johan Svendsens musikk har derfor vært etterspurt i lang tid. Den foreliggende noteutgaven, som springer ut fra prosjektet Johan Svendsens Verker, skal imøtekomme dette ønsket. Johan Svendsens Verker er et delprosjekt under Norsk musikkarv og er gjennomført i et samarbeid mellom Institutt for musikkvitenskap ved Universitetet i Oslo, Norges musikkhøgskole og Nasjonalbiblioteket. Prosjektet ble etablert i 2011, hundre år etter komponistens død. Arbeidet med utgaven har avdekket mange nye kilder til Svendsens musikk. I arkivene har det dukket opp manuskripter til verker vi trodde var tapt, og verker vi ikke visste eksisterte. Mange nye biografiske dokumenter har også kommet for en dag. Resultatet er et mye rikere bilde av Svendsens liv og verk, og også et rikere bilde av musikklivet på Svendsens tid. Den nye utgaven av Johan Svendsens samlede verker gir ikke bare nye fremføringsmuligheter for verker vi kjenner, men også sjansen til å bli kjent med musikk som aldri ble utgitt, og som ikke har vært spilt på mer enn hundre år. Det gjelder for eksempel mange av Svendsens ungdomsverker, danser og marsjer for orkester, skrevet for underholdnings livet i Christiania på 1850- og 1860-tallet. Det gjelder også kantater og marsjer komponert for offisielle begivenheter i både Norge og Danmark, og det gjelder Svendsens mesterlige orkestreringer av verker fra den romantiske tradisjonen.
JOHAN SVENDSEN’S WORKS JOHAN SVENDSENS VERKER Johan Svendsen’s Works is a comprehensive edition optimized for performance and study. It is available online as well as in 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
I
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.
II
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
IV
PREFACE
J
ohan Svendsen (1840–1911) completed his orchestration of Franz Schubert’s (1797–1828) Andante Sostenuto on 31 May 1872 in Donndorf near Bayreuth. The Svendsens were vacationing there the entire summer and became well acquainted with Richard Wagner (1813–1883), Cosima Wagner (1837–1930) and their family. A complete set of parts has been preserved in Svendsen’s handwriting, but we know of no performances of the work. The parts contain a number of pencilled annotations that may have been added by other musicians, but they may just as well be Svendsen’s own revisions. Schubert’s original Andante sostenuto is the second movement of his Piano Sonata in B-flat major, D. 960 (1828). The three piano sonatas, Deutsch-Verzeichnis 958, 959 and 960, were composed in 1828, and are the last works Schubert wrote. They remained unpublished until Anton Diabelli (Vienna) released them in 1838–1839. This was not the first time Svendsen had arranged a work by Schubert. During a longer stay in Paris in 1869, he had orchestrated Schubert’s Divertissement à la Hongroise, D. 818, originally for piano four-hands. On several occasions, Svendsen included such orchestrations in the concerts he conducted. In the summer of 1866, before his final year of study in Leipzig and while working on the Symphony No. 1 in D major, Op. 4, he produced his first major orchestrations: Faschingsschwank aus Wien by Robert Schumann, JSV 36, and Hungarian Rhapsody No. 2 by Franz Liszt, JSV 37. The Liszt rhapsody formed the concluding highlight of a concert in Christiania1 (Oslo) on 12 October 1867. While staying in New York in the summer of 1871, Svendsen orchestrated another Liszt rhapsody, No. 6, which he performed as the final number in a concert on 26 October 1872 in Christiania.
FORORD
J
ohan Svendsen (1840–1911) fullførte sin orkestrering av Franz Schuberts (1797–1828) Andante sostenuto 31. mai 1872, i Donndorf ved Bayreuth. Familien Svendsen opphold seg der hele denne sommeren og ble godt kjent med Richard Wagner (1813–1883), Cosima Wagner (1837– 1930) og deres familie. Et komplett stemmesett i Svendsens håndskrift er bevart, men vi kjenner ikke til fremføringer av verket. Det finnes noen blyantinnskrifter i stemmene som kanskje kan stamme fra musikere, men innskriftene kan like gjerne være korrekturer Svendsen selv har gjort. Schuberts original, Andante sostenuto, er den andre satsen i hans Klaviersonate B-Dur, D. 960 (1828). De tre klaversonatene, Deutsch-Verzeichnis 958, 959 og 960, ble til i 1828 og er de siste verkene han skrev, men de ble ikke publisert før i 1838–1839 av Anton Diabelli (Wien). Svendsen hadde også tidligere brukt Schuberts musikk som utgangspunkt for egne verker. Under et opphold i Paris i 1869 orkestrerte han Schuberts Divertissement à la Hongroise D. 818, opprinnelig for firhendig klaver, og han fremførte flere ganger slike arrangement ved konserter han dirigerte. Sommeren 1866, før det siste studieåret hans i Leipzig, fullførte han sine første store orkestreringer, samtidig som han arbeidet med Symfoni nr. 1 i D-dur, op. 4: Faschingsschwank aus Wien av Robert Schumann, JSV 36 og Ungarsk rapsodi nr. 2 av Franz Liszt, JSV 37. Liszt-rapsodien framførte han som den store finalen ved en konsert i Christiania1 (Oslo) 12. oktober 1867. I New York sommeren 1871 orkestrerte han også en annen Liszt-rapsodi, nr. 6, som var finalenummeret ved en konsert i Christiania 26. oktober 1872.
Bjarte Engeset English translation: Thilo Reinhard
Bjarte Engeset
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. 1
NOTER 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
V
ANDANTE SOSTENUTO BY FRANZ SCHUBERT, JSV 50, AUTOGRAPH SCORE, COVER, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7886.
VII
ANDANTE SOSTENUTO BY FRANZ SCHUBERT, JSV 50, AUTOGRAPH SCORE, FIRST PAGE OF SCORE, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7886.
VIII
FRANZ SCHUBERT (1797–1828): KLAVIERSONATE B-DUR, D-960 (1828), COVER OF A PRINT OF THE DIABELLI FIRST EDITION (1839), PL. NO. D.& C. 3849. SOURCE B. THIS COPY IS OWNED BY MUSIKSAMMLUNG DER ÖSTERREICHISCHEN NATIONALBIBLIOTHEK, WIEN.
IX
FRANZ SCHUBERT (1797–1828): KLAVIERSONATE B-DUR, D-960 (1828), II. ANDANTE SOSTENUTO. FIRST PAGE OF A PRINT OF THE DIABELLI FIRST EDITION (1839), PL. NO. D.& C. 3849. SOURCE B. THIS COPY IS OWNED BY MUSIKSAMMLUNG DER ÖSTERREICHISCHEN NATIONALBIBLIOTHEK, WIEN.
X
ANDANTE SOSTENUTO BY FRANZ SCHUBERT, JSV 50, COVER OF VIOLIN I PART, SOURCE APTS. THE PART IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 2898.
XI
ANDANTE SOSTENUTO BY FRANZ SCHUBERT, JSV 50, FIRST PAGE OF VIOLIN I PART, SOURCE APTS. THE PART IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 2898.
XII
Andante sostenuto av Franz Schubert JSV 50
Andante sostenuto by Franz Schubert
BESETNING / SCORING 2 Flauti 2 Oboi 2 Clarinetti (in La) 2 Fagotti 4 Corni (in Mi) 2 Trombe (in Mi) 3 Tromboni Timpani Violini I. II. Viole Violoncelli Contrabbassi
Andante sostenuto af
F. Schubert [JSV 50] 2 Flauti
2 Oboi
2 Clarinetti in La
2 Fagotti
I. II. 4 Corni in Mi
## & # # 43 ## & # # 43
I. Violini II.
Viole
Violoncelli
∑
∑
∑
∑
∑
œœ .. œœ
. .
œœ
. .
œœ œœ œœ
. .
œœ #
. .
∑
œ # œ œ œœ œœ œœ ..
∑
. .
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
? #### 3 4
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
43 3 4
? #### 3 4
3 4
## & # # 43 Π# ## 3 & # 4
‰ Jœ Œ π
Œ
∑
div. B # # # # 43 π
? # # # # 43 œj ‰ π
Œ
Œ
‰ œJ Œ
Œ
∑
œœ .. œœ
? # # # # 43 ‰ ≈ œr œJ ‰ Œ π pizz.
Contrabbassi
∑
∑
&
Timpani in Si - Sol #
∑
∑
2 Trombe in Mi
III.
∑
∑
&
3 Tromboni
43
∑
∑
&
III. IV.
I. II.
#
3 4 π . ? # # # # 3 . 4 π &
∑
Johan S. Svendsen
‰ Jœ Œ
Œ
∑
œœ
rœ ‰ ≈œ J ‰ Œ
‰ œJ Œ
Œ
∑
œœ œœ œœ
‰ Jœ Œ
Œ
∑
œœ #
œœ œœ œœ
‰ œJ Œ ∑
œ # œ œ œœ œœ œœ ..
œœ œœ œœ
rœ ‰ ≈œ J ‰ Œ
rœ ‰ ≈œ J ‰ Œ
rœ ‰ ≈œ J ‰ Œ
rœ ‰ ≈œ J ‰ Œ
j j œ‰ Œ Œ œ‰ Œ Œ
j œ‰ Œ Œ
j œ‰ Œ Œ
j œ‰ Œ Œ
Copyright © 2020 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O. 14546 A
7 Fl.
Ob.
Cl. (La)
Fg.
I. II.
& & &
#### #### #
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I.
Vle.
Vc.
Cb.
∑
∑
∑
j Œ ‰ # œœ p ∑ œ . œ œ . œJ Œ
œœ .. œœ .. n
. ? # # # # .
. .
∑
&
∑
∑
&
∑
∑
&
∑
∑
? ####
∑
∑
Πa2
. p
∑
∑
?
∑
∑
# ## & # Œ
‰ œJ Œ
Œ
‰ œJ Œ
&
∑
Œ
Œ ‰ œj p
####
# # # B #
∑
∑
∑
œœ .. # œœ œœ .. cresc.
Œ
œœ œœ .. # œœ J
œœ œœ .. œœ œœ .. J
Œ ‰ j # œ . œ œ . œ œ .. œ J ∑œ J ‰ ≈ œR ‰ Œ cresc.
‰ ≈ œR F
f j œ œ. œ œ œ . œJ œ . # œ œ Œ f ∑œ ∑œ J R ≈‰ Œ ‰ ≈ œR ‰ Œ f
Œ ‰ œj # œ . œ œ . j œ. œ œ. œ #œ œ. œ œ. ∑ Œ Œ ‰ J p cresc.
.
œœ œœ .. # œœ J f
cresc.
∑
∑
∑
∑
∑
œœ .. œœ n
∑
rœ ‰ ≈œ J ‰ Œ
? # # # # œj ‰ Œ Œ
j œ‰ Œ Œ
dim.
..
. .
f
∑
π
dim.
dim.
∑
.
Œ # π ∑œ J ‰ ≈ œR ‰ Œ
Œ
π
∑
dim.
∑
Œ ∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #. . . #. . p f dim. cresc. Œ
œ
‰JŒ p
œ. œ œ.
œœ œœ œ . # œ œ . & œ. œ œ.
œ ? # # # # ‰ ≈ œr J ‰ Œ
dim.
.
∑
∑
..
‰ œœ œœ .. # œœ J f
cresc.
? ####
Vln. II.
∑
Cor. (Mi) III. IV.
∑
p
‰ ≈ r œJ ‰ Œ œ p
œ
Πj
cresc.
‰JŒ
cresc.
J
‰ ≈ r œJ ‰ Œ œ cresc.
j‰ Œ Œ
œ
cresc.
‰ ≈ r œJ ‰ Œ œ
œ
œ
‰JŒ f
f
œœ œœ .. œœ œœ ..
j‰ Œ
Œ
j œ . œ ten. œ
j
cresc.
j œœ œœ .. # œœ œœ ..
2
‰ JŒ
œ œ. œ œ.
œ ‹œ. œ œ.
j œ‰ Œ Œ p
œ
Œ
Œ
ten. œœ œœ .. # œœ J
f
‰ ≈ r œJ ‰ Œ œ f j œ‰ Œ Œ
arco
f
Œ
.
œ
‰JŒ F
dim.
. #.
dim.
‰ ≈ r œJ ‰ Œ œ dim.
j œ‰ Œ Œ
dim.
#### &
14 Fl.
Ob.
Cl. (La)
Fg.
I. II.
A
## & ## &
#
∑
∑
∑
∑
∑
∑
Œ
Œ
∑
∑
∑
∑
∑
∑
∑
Œ
Œ
‰ jŒ
Œ
‰ jŒ
œ œ œ . œ œ . œj œ . œ œ œ œ œ œ . œ œ . œj œ œ œ. œ œ . J
n
? #### . . π
&
Cor. (Mi)
. .
. .
..
∑
∑
∑
∑
Œ
‰ jŒ
œ
∑ j
‰ ≈ rœ ‰ Œ œ∑
Œ
‰ jŒ Œ
∑
œ
œ
∑ j j ‰ ≈ r œ ‰ Œ ‰ ≈ rœ ‰ Œ œ∑ œ ∑
œœ .. œœ
œœ
œœ œ œœ œœ ..
. .
. .
. .
. .
&
∑
∑
∑
∑
Tbe. (Mi)
&
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
∑
∑
œ
Œ Œ
∑
∑
∑
∑
∑
∑
∑
A
‰JŒ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Tbn. III.
Timp.
I.
?
## & ## Œ
Vln. II.
Vle.
Vc.
Cb.
∏
&
####
π
œ
π
œœ œ
œœ # # # # n œœ & π ? # # # # ‰ ≈ œr œJ ‰ Œ π ? #### j ‰ Œ Œ œ
π
Œ
œ
œ
π
Œ
‰JŒ Œ
‰ œJ Œ
œ . œj œ
œ . œj œ
‰JŒ
∑
œ. . œ . œ œ . œj B œ . œœ œœ . œœ œœ ∑ œ œ . œJ J œ rœ ‰ ≈ œ J ‰ Œ ‰ ≈ œr J ‰ Œ ‰ ≈ œr œ ‰ Œ J . j œ‰ Œ Œ
pizz. j œ ‰ Œ Œ Jœ ‰ Œ Œ œJ ‰ Œ Œ
3
.
∑
œ‰ Œ J
.
Œ œ‰ Œ J
∑
Œ
π
œœ
œ
π
j ‰ ≈ rœ ‰ Œ œ∑
π
∑
III. IV.
I. II.
œœ
∑
.
∑
œ‰ Œ Œ J
# # # # &
Fl.
Ob.
Cl. (La)
Fg.
I. II. Cor. (Mi)
& &
####
n
∑
? #### .
œ. œ œ. .
∑
& b
œ œ œ
œœ .. œ œ . ∑
œ œ œ # .
∑
œ. œ œ.
∑
œœ œœ œœ .. œœ
œœ .. œœ
j œœ .. œœ œœ . œœj œœ .. œœ œ . . œ œ œ . J œœ œœ œ . œ œ . œ
Œ
œ. œ .
∑
œ œ œ n
œ .. œ œœ .. œœ œœ .. aœ2 œ . œ œ œ J
œœ .. œœ
cresc.
#
œ œ œ
œœ .. œ œ ..
22
Œ
œ. œ .
J
f
cresc.
∑ ∑œ œ Œœ œ . J œ Œ ‰J p cresc. Œ . ∑ . cresc.
Œ ‰ œœj œœ . œ œœ .. p cresc. Œ Œ Œ ‰ œJ œ . œ œ . p cresc. ∑ ∑
‰
œ
Œ
dim.
. .
Œ
f
dim.
dim.
dim.
a2
Œ
dim.
j œœ œœ .. œœ œœ .. œœJ œœ .. œœ J j œJ œ
œ . œj
Œ
fj Œ ‰ œ œœ .. œœ œ. œ J f
∑
Œ Œ
Œ
œ. œ
Œ
Œ ‰ j œ. œ œœ œ . œ f . . ∑ f
Œ
cresc.
f
j œ. œ
III. IV.
&
Tbe. (Mi)
&
∑
? ####
∑
∑
∑
∑
? ####
∑
∑
∑
∑
?
∑
∑
∑
∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . . π f dim. p cresc.
∑
∑
∑
∑
Œ
‰ Jœ Œ
Œ
I. II. Tbn. III.
Timp.
I.
&
Vln.
#### ####
Œ
∑
‰ œJ Œ
II.
&
Vle.
# B # # # ‰ ≈ r œJ ‰ Œ œ
Vc.
Cb.
? ####
.
? #### œ ‰ Œ Œ J
∑ ∑
Œ
‰ œJ Œ
∑
Œ
∑
Œ
‰ Jœ Œ
Œ
‰ ≈ r œJ ‰ Œ œ
‰ ≈ r œJ ‰ Œ œ
‰ ≈ r œJ ‰ Œ œ
.
.
.
œ‰ Œ Œ J
œ‰ Œ Œ J
œ‰ Œ Œ J 4
.
Œ
.
∑
p cresc. ∑
f
∑
œ
‰JŒ Œ p cresc.
‰œŒ Œ J p cresc.
rœ ‰ ≈œ J ‰ Œ p cresc.
œ
‰JŒ
Œ
‰ œŒ J
Œ
rœ ‰ ≈œ J ‰ Œ
j j œ‰ Œ Œ œ‰ Œ Œ
p cresc.
dim.
∑
œ œ ‰ ≈ œr J ‰ Œ ‰ ≈ œr J ‰ Œ p cresc.
arco
dim.
œ
‰JŒ Œ f
Œ ∑
œ
‰JŒ
dim.
‰œŒ Œ ‰œŒ J J f dim. œ œ r r ‰ ≈œ J ‰ Œ ‰ ≈œ J ‰ Œ f
œ œ ‰ ≈ œr J ‰ Œ ‰ ≈ œr J ‰ Œ f
j j œ‰ Œ Œ œ‰ Œ Œ f
30 Fl.
Ob.
Cl. (La)
Fg.
I. II.
&
####
π # ## # & &
#
I.
Vle.
Vc.
.
π
∑
..
. .
œ
œ. œ
œ . œj œ ∑ ∑
#œ
œ.
∑
∑
∑
∑
∑
∑
∑
∑
..
..
#
œœ œœ
Œ
‹.
#.
.
œ
œ œ œ . œ œ . œJ œ . œ œ . œJ œ . œ œ œ œ
Œ
. ∑
π
.. #œ
J
‰
∑
I.
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
∑
& &
# # # # BΠ####
π
‰ Jœ Œ π
œ
B #### . π œ ? # # # # ‰ ≈ œr J ‰ Œ π
? # # # # œj‰ Œ Œ π pizz.
Cb.
.
∑
∑
∑
∑
Vln. II.
œ œ œ . œ œ . œj œ
∑
∑
Tbe. (Mi)
Timp.
∑
∑
∑
&
III.
.
∑
I.
&
III. IV.
Tbn.
π
. ? # # # # . π
Cor. (Mi)
I. II.
B
œ
‰JŒ
Œ
œ
Œ
‰JŒ
j
Œ
œ œ
œ. œ
œœ œ
.
.
.
‰ ≈ r œJ ‰ Œ œ j‰ Œ Œ
œ
‰ ≈ r œJ ‰ Œ œ j‰ Œ Œ
œ
œ
Œ
œ œ. œ œ œ. œ #
rœ ‰ ≈œ J ‰ Œ j œ‰ Œ Œ
5
œ
‰ œJ Œ
‹œ
œ Œ ∏
Œ
œ Œ
Œ œ
j
j
j
j
œ. œ #œ œ. œ
.
.
j œ ‰Œ Œ
j œ ‰Œ Œ
œ
Œ
œ
œ
œŒ
œ œ .
œ œ . .
. j‰Œ
Œ
Œ
j œ ‰Œ Œ
œ
####
∑
∑
∑
∑
∑
###
∑
## & ##
∑
∑
∑
∑
∑
###
∑
#
∑
∑
∑
∑
∑
n
∑
38 Fl.
Ob.
Cl. (La)
&
&
œ œ œ #œ .
œ. œ œ.
œ œ. œ œ.
&
∑
∑
∑
∑
∑
III. IV.
&
∑
∑
∑
∑
∑
Tbe. (Mi)
&
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
###
∑
? ####
∑
∑
∑
∑
∑
###
∑
?
∑
∑
∑
∑
∑
Fg.
I. II.
? ####
I.
Cor. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
# ## & # Œ
# ## & # œ ∏ # B ## # ‹œ ∏ ? ####
? ####
œ
œŒ
∏
Πj
œ
J
œŒ
Œ
œ
j
œ Œ
Œ
œ
.
œŒ
Œ
œ.
œ œ
œ.
œ #
œ œ .
.
œ.
œ #œ
œ.
œ
œ œ .
.
.
.
.
j
.
∏
œ œ.
J
j œ ‰ Œ ∏
j
. Œ
j œ ‰ Œ
Œ
j‰ Œ
œ
Œ
6
j œ‰Œ
Œ
###
œ
j œ‰Œ
œ
Œ
Œ
œ
œ
œœ
œœ
œœ
bœ
p p
∑
∑
œŒ
###
∑
###
∑
###
œ
Œ
Œ
### ≈ œœœ≈œœœ≈œœœ p pizz.
‰ j # # # œj ‰ œj ‰ œj ‰ œ p arco
pizz.
###
∑
∑
∑
∑
∑
## & #
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
? ###
∑
∑
∑
∑
∑
44 Fl.
Ob.
Cl. (La)
Fg.
I. II.
&
œœ . œ œ .
&
Cor. (Mi) III. IV.
&
Tbe. (Mi)
&
I. II. Tbn. III.
Timp.
I.
Vle.
Vc.
Cb.
b œœ .. œœ œœ œœ œœ œ œ
J
j
œ. œ bœ œ œ œ
a2
∑
œ
∑
œœ .. œ.
∑
œœ œœ œœ
œ
œ
œ œ bœ
œœ
œœ
∑
œœ
œœ . œ œ .
j # œœ J
bœ
œ .. b œ œœ ..
œœ
j
∑
? ###
∑
∑
∑
∑
∑
? ###
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
## & #
∑
∑
∑
∑
∑
&
###
∑
∑
∑
∑
∑
# B ##
∑
∑
∑
∑
∑
Vln. II.
œ .. b œ œœ ..
j
œœ
? ### ≈ œœœ œœœœ≈œœœ ? ### j ‰ Œ œ
j œ ‰
≈œœœ œœ≈œ≈ œ ≈œ ≈œœœœœ≈œ≈œ≈œ j œ ‰ ‰ œ œ œ
œ ‰ ‰ œ œ œ J 7
≈œœœ≈œœœ≈œœœ ≈œœœ œœ≈œ≈ nœ ≈ œ j j j œ ‰ œ ‰ œ ‰
j œ ‰ ‰ œ nœ œ
### &
∑
∑
&
∑
∑
&
∑
∑
? ###
∑
49 Fl.
Ob.
Cl. (La)
Fg.
I. II. Cor. (Mi)
&
Tbe. (Mi)
&
Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
∑
œœ
b œœ .. œœ œ œœ œ œ œœ b œœ ∑
j œ ‰ Œ J
F 3
œ≈
œœœœ
F 3 œ ‰ œJ F
‰
œœ J
‰
œœ
J
‰
œœ
J
‰
œœ J
‰
œœ
‰
œœ
‰
œœ J
‰
œœ
‰
œœ
‰
œœ
‰
œœ
œœ
‰
œœ
‰
j b œœ
‰
j b œœ ‰
œœ
‰
œœ
‰
‰
œœ
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≈ œ≈ œ ≈ ≈
œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œ œœ œ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œ œœ œœ œœ œ œœ ≈ ≈ œ≈ œ ≈ œ œ œœ ≈ œ≈ œ 3
∑
œœ
J
? ###
B ###
œœœœ
‰
∑
## & #
≈
I.
3
j‰ Œ
∑
&
3
J F j
? ###
###
F
3
b œœ .. # œœ œ œœ n œœ œœ
&
III. IV.
I. II.
###
œœ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œ œœ œ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œ œœ œœ œœ œ œœ œ≈ œ ≈ œ œ œœ ≈ œ≈ œ ≈ ≈
F J p
j
œœ J
p
J
‰
œœ
b œœ J
.
J
‰
œœ ..
b œœ J
J
j
œœ
‰
J
œœ
J J
j
œœ
‰
J
.
p
∑
∑
œ
œ
œ
œ.
œ œ.
œ
œ
œ
œ
œ.
œ œ.
œ
œ
œ
œ
œ.
œ œ.
œ
F F F
? # # # ≈ œœ œ œ œ ≈ œ ≈ œ ≈ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œJ
‰
arco
? ### œ œ œ œ œ œ œ
‰
œ
≈ œ œ œ œ œ œ œ œ œ œ œ œJ F
F
j
8
œ.
œ
œ
‰
j
œ
‰
j
œ
J J J
œ
œ œ. ‰
j
œ
J ‰
j
œ
‰
53 Fl.
Ob.
Cl. (La)
& &
###
œœ œœ œœ œ œœ œœ œœ œœ œ œœ œ œœ œœ œœ œœ œœ œ œœ œœ œ œ œ œœ œ œœ œœ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
###
≈
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ≈ œ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
œœœœ œœ œœ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ ≈ œ œ œ œ œœ ≈ œ œ ≈ œ œ ≈ œœ œ ≈ œœ œ ≈ œ œ œ œ œœ œ œ œœ ≈ œ œ ≈ œ œœ ≈ œ œ ≈ œ œœ œ œœ œœ ≈ œ œœ œ œœ œœ ≈ œ œ œ œ œœ
&
œœ
? ### ‰
J
&
‰
b œœ
III. IV.
&
‰
Tbe. (Mi)
&
‰
Fg.
I. II. Cor. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
? ### .
J
j
‰ ‰
j
‰
j b œœ J
‰
œœ J
‰
œ
œ
œ
œ
‰
œœ
J
‰
œœ J
‰
œœ
œœ . œ J
‰
œœ
œœ
œœ
œœ
‰
œœ
‰
œœ
‰
œœ
œ
‰
œœ
œœ
œœ b œœ
‰
œœ
‰
œœ
‰
b œœ J
œ
‰
œœ
œœ
œœ b œœ
‰
‰
œœ
œ œ
.
œœ
‰
œ œ
œœ
b œœ J
œ
œ
œ
.
œ
a2
j b œœ .
j b œœ .
? ### ?
œ
œ
œ
œœ ..
œ
œ.
∑
J J J
J J J
∑
J J
œ
∑
œ.
œ œ
œ
œ
œ
œ.
œ
œ
œ
œ
œ
œ
# # œ. & #
œ œ
œ
œ
œ
œ.
œ
œ
œ
œ
œ
œ
B ### œ .
œ œ
œ
œ
œ
œ
œ.
œ
œ
œ
œ
œ
œ
œ œ
œ œ
œ.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
&
###
? ###
œ.
? ### j
œ
‰
‰
9
j
‰
j
œ
‰
j
œ
‰
œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ # œœ œ œœ œœ œœ # œœ œ œœ œœ œœ œœ œœ œœ œœ œœ # œ œœ ## œ ≈ œ≈ ≈ ≈ ≈ œ≈ ≈ ≈ &
56 Fl.
Ob.
&
Cl. (La)
&
Fg.
I. II. Cor. (Mi) III. IV.
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
###
œ #œ œ œœ œœ œ œ œ œ œ œ œ #œ ≈ œ œ œ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ ≈ ≈ ≈ I.
œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ # œœ œ œœ œœ œœ # œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ ≈ ≈ œ ≈ œ≈ ≈ ≈ ≈ œ≈ œ
? ### ‰
œœ J
‰
&
‰
œœ
‰
œœ ..
‰
&
‰
b œœ J
‰
œœ ..
‰
&
‰
‰
œœ .
J
j b œœ J
a2
œœ œœ .
. ? # # # œœ .
? ### . ?
nœ
œ
#œ J nœ
j # œœ
œœœœ œœ R ≈‰ Œ
œœ
œœ ‰ Œ
b œœ
œœ ‰ Œ
œ œœ œ œœ œœ œœ œ ≈ œ R ≈‰ Œ j
œ
œ
œœ
œœ
œ
œ
œœ
œœ
œœ
bœ
œ
œœ
œœ
b œœ
j œœ ‰ Œ
#œ
œ
œ
œœ
œœ
œœ
œœ J ‰ Œ
J
j
#œ J
j
œ
≈
œ œœ
œœ .
R ≈‰ Œ
œ
œ.
‰
≈
œœ œœ œœ œœ œœ œœ
œ
bœ
œ
∑
œ
J
j
œœ ‰ 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
j œ ‰ Œ
B ### 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 J
œ
‰
œ
œ
œ
œ
&
? ### j
œ
‰
‰
J J J
œ
J nœ
j
‰
10
j
J ‰ Œ
‰
≈ œœœœœ
œœ
59
###
C
∑
∑
∑
∑
∑
## & #
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
? ###
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
III. IV.
&
∑
∑
∑
∑
∑
Tbe. (Mi)
&
∑
∑
∑
∑
∑
? ###
∑
∑
∑
∑
∑
? ###
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
Fl.
Ob.
Cl. (La)
Fg.
I. II.
&
Cor. (Mi)
I. II. Tbn. III.
Timp.
I.
&
Vln. II.
Vle.
Vc.
Cb.
&
### ###
# B ##
C
œ
œ
œ. œ œ.
œ
œ
#œ
œ. œ œ.
œ
œ
œ
œ
p p p
j œ œ. nœ œ œ œ œ
œ œ.
j
œœ œ œ œ
œ
œ
œ œ œ œ n œœ n œ.
œ œ œ.
? # # # ≈pizz. œ œ œ ≈ 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 œ œ œ œ œ p cresc. dim. œ nœ œ œ œ œ ? # # # j ‰ œ ‰ œj ‰ œj ‰ œj ‰ œ œ œ œ œ œ œJ ‰ Œ J œ p cresc. dim. 11
bœ π
œ
nœ π
œ
∑
œ
œ
≈œœœ≈œœœ≈œœœ π
œ ‰ œ ‰ œ ‰
J π
J
J
64 Fl.
Ob.
Cl. (La)
Fg.
& &
###
∑
∑
∑
∑
###
∑
∑
∑
∑
I.
∑
∑
∑
∑
a2
∑
a2
& ? ###
∑
∑
∑
∑
.
p
œ
œ
œ
œ
œ
œ
p p
&
∑
∑
∑
∑
a2
œ
œ
bœ
&
∑
∑
∑
∑
a2
III. IV.
œ
œ
Tbe. (Mi)
&
∑
∑
∑
∑
? ###
∑
∑
∑
∑
∑
? ###
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
I. II. Cor. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
## & #
bœ.
### Π& B
###
nœ.
œ œ nœ œ nœ
? # # # ≈ b œ œœ ? ### b œ ‰ J
nœ nœ bœ
‰ bœ
π
nœ nœ b
œ- œ- œ- n
bœ. nœ n.
#œ œœ œ
œ.
ten.
œ
#.
œ
bœ
.
œ
cresc. ten.
cresc.
p
œ
p
∑
œœœœœœœœœœœœ
p
œœœœœœœœœœœœ
p
œ
p
œœœœœœœœœœœ
≈ œ ≈ n œ ≈ œ ≈ œ ≈ n œ œœ ≈ œœœ ≈ œœœ ≈ n œ œœ ≈ œœœ ≈ œ œœ ≈ n œ œœ ≈ œœ œ ≈ œ œœ ≈ œ œ œ œ œ œ œ œ œ œ œ p arco
b œ n œ œ œ n œ ‰ Jœ ‰ Jœ ‰ J
nœ ‰ œ ‰ œ ‰ nœ ‰ œ ‰ œ ‰ J J J J J J
12
arco
p
Œ
### &
69 Fl.
Ob.
Cl. (La)
Fg.
∑
∑
## & # .
œ.
&
? ### œ .
. œ œ.
œ
œ œ.
œ
J J
cresc.
œ.
cresc.
nœ.
cresc.
œ bœ œ œ œ
F
cresc.
f
cresc.
f
cresc.
n œ n œœ œœ n œœ œ
œ
œ.
œ nœ œ
œ.
bœ
Tbe. (Mi)
&
∑
∑
∑
? ###
∑
∑
∑
? ###
∑
∑
∑
?
∑
∑
∑
III.
Timp.
I.
& &
###
B
###
Vln. II.
Vle.
Vc.
Cb.
###
? ### ? ###
j
cresc.
bœ.
cresc.
œœ œ œ œ
œ.
œ
œ œ
f
œ œ
œ bœ bœ
œ
f
bœ f
œ
F Œ
Œ
œ
œ cresc.
œ.
J
œ
f
&
Tbn.
œ
œœ œ œ œ
œ.
‰
D
cresc.
III. IV.
I. II.
œ œ.
bœ.
œœ œ œ œ
Œ
œ œ
F
œ.
Cor. (Mi)
œ
œ.
‰
&
I. II.
bœ œ.
Œ
œ
a2
œœ
n œœ
œ
œ nœ
cresc.
œ
nœ
œ
bœ
œ ∑
œ
cresc.
cresc.
cresc.
œœ
n œœ
nœ F
œ
F cresc. cresc.
∑
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 œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ cresc.
f
cresc.
f
cresc.
f
cresc.
f
cresc.
f
cresc.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ cresc.
œœœœœœœœœœœœ œœœœœœœœœœ cresc.
œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ cresc.
Œ
cresc.
œ œ 13
œ.
œ nœ œ
nœ
a2 n # ## œ &
73 Fl.
Ob.
Cl. (La)
Fg.
I. II. Cor. (Mi)
&
Tbe. (Mi)
&
III.
Timp.
I.
Vle.
Vc.
Cb.
œ.
n
baœ2.
?
œ nœ
œ œ.
###
B ### ? ### ? ###
ƒ
œ
ƒ
œ nœ J œ J
œ.
œ œœ .. nœ œ. ∑
## & #
œ
œœ n œœ . œ n œœ . œ œ œ œœ œœ J
œ. bœ œ.
bœ Œ
œ. œ #œ œ œ œ œ
ƒ p œœ # œœ . œ œ . œ œ œj œ #œ œ œ œ J p ƒ
a2
? ### œ .
&
J
a2
? # # # n n œœ .
Vln. II.
baœ2
& &
Tbn.
n œœ œœ ..
? ###
III. IV.
I. II.
# # # n œœ ..
&
œ
œ.
ƒ
œ
ƒ j j b œ œJ ‰ J ƒ j œj œœ œ J J ‰ ƒ œ #œ ‰ J J ƒ
p j ‰ Œ
J
#œ p
œ œ ‰ Œ J
œœ J ‰ ‰ ‰
I.
œ
œ
œ
œ
œ
œ
F
I.
F
3
3
F 3
p
œ nœ œ bœ bœ Œ
J ‰ Œ
≈ œœ œœ œœ œœ œ ≈ œœ œœ œœ œœ œ ≈ # œœ œœ œœ œœ œ œ œ #œ F 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 œœj œœ p
œ
œœ ‰ Œ J j œ ‰ Œ
3
œ
œ
F
∑
F
Œ
∑
Œ
Œ
∑
∑
Œ
Œ
∑
∑
∑
∑
∑
j‰ nœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ #œ œ œ œ œ p ƒ j ‰ Œ n œ œ # œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ p ƒ
∑ ∑
≈ œ œr ≈ ‰ Œ n 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 π p ƒ . . œ. œ . n œ œ # œ œ œ œ œ œ œ œ œ œ œ œR ≈‰ Œ ≈ œ œ nœ œ œ œ œ œ œ œ œ œ p π ƒ . . œ. œ . n œ # œ œ œ œ œR ≈‰ Œ ≈ œ n œ π p ƒ 14
œ
F ‰
‰ ‰
∑
j
œœ œœ
œ
j
‰
œœ œœ
œœ œ œ
pizz. div.
J F pizz. div. j J F
pizz.
J F pizz. œ ‰ J F
œ # œœ
œ
j
‰
œ # œœœ
‰
œœ œ
‰
# œœœ
‰
œ
‰
œ
‰
œ
œ J
J J J
j
J J
j
‰
j j
œ ..
œ œ.
œ
œ ..
nœ œ
œ
œ
œ
œ
# # œ .. & #
œ œ.
œ
œ ..
nœ œ
œ
œ
œ
œ
### &
77 Fl.
Ob.
J J
&
œ œ œ œ œ œ œ œ œ ≈ œœ œœ œœ œœ œ ≈ œ œœ œ œœ œœ ≈ œ œœ œ œœ œœ ≈ œ œœ œ œœ b œœ ≈ œœ œ ≈ b œœ œ ≈ œœ œ ≈ œœ œœ ≈ b œœ œœ œœ œœ ≈ œœ œœ œœ œœ œ ≈ œœ œœ œœ œœ œ œœ œ œ œ
&
b œ ..
œ œ.
III. IV.
&
œ
Tbe. (Mi)
&
∑
∑
∑
? ###
∑
∑
∑
? ###
∑
∑
∑
?
∑
∑
∑
Cl. (La)
Fg.
I. II.
œ œ 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 œ nœ ≈ œ œ œ œ œ ≈ œ œ œ œ œ ? ### ≈ œ œ œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Cor. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
## & # œ .. ### ‰ & # B ## ‰ ? ### ‰ ? # # # œj
j
œœœ œ
œ œ.
j
œ
∑
bœ
j
j
œ
j
‰
œœœ œ
‰
œœœ œ
œœ œ
‰
œœ œ
‰
œ
‰
œ
‰
‰
œ
‰
œ
J J
j j
J J
j
j j
bœ œ
b œ ..
bœ œ
œ .. ‰
œœ œœ
œœœ
‰
œœ œ
œ
‰
œ
J J
j
œ ..
‰
j j
j
œ
‰
nœ œ
∑
œ
œ
œ
œ
b
œ
œœ
œ
œ .
b
œ
œœ œœ
n œœ n œœ
œœ œ
œ n œœ
œ œ
15
nœ nœ
œ
œ
œœ œœ œœ œœ
œ ‰
œœ n œœœ œ
‰
œ
‰
œ
œ
œ œ
J
j n œœ
∑
j
j
‰
œœ œœ
‰
œœ œœ
n œœœ
‰
œœ œ
‰
œœ œ
J
‰
œ
‰
n œœ J J
j
œ ‰
œ
J
J J
J ‰
j
œ
J
J J
j
œ J
‰
### &
80 Fl.
Ob.
&
Cl. (La)
&
Fg.
I. II.
###
? ###
III. IV.
&
Tbe. (Mi)
&
Tbn. III.
Timp.
I.
Vle.
Vc.
Cb.
œ
bœ
nœ
bœ
œ
œ
bœ
nœ
π
I.
π
nœ
nœ
bœ
b œ ..
nœ
nœ
nœ
bœ
b œ ..
nœ
≈ b œœ œ œœ œ œœ ≈ œœ œ œœ œ œœ ≈ œœ œ œœ œ œœ ≈ b b œœ œ œœ œ œœ ≈ œ ≈ b œœ œœ ≈ n œœ œœ ≈ b œœ œœ ≈ b b œœ œœ œœ œœ œ ≈ œœ œœ œœ œœ œ ≈ œœ œœ œœ œœ b œ bœ œ b œ œ œ b œœ bœ œ œ œ œ œ b œ π ∑ ∑ ∑ n b . œ nœ nœ π ∑
b b .. π
∑
∑
b .
nœ
bœ
b b .
œ
∑
∑
∑
? ###
∑
∑
∑
? ###
∑
∑
∑
?
∑
∑
∑
&
###
&
###
Vln. II.
œ
&
Cor. (Mi)
I. II.
E I.b œ
E
bœ π ‰
# B ##
‰
? ###
‰
? ###
œ
J π
œ
j nb œœ ‰ n œœ J π j bn œœœ ‰ J π œ ‰ J π ‰
j
œœœ ‰ œ
œœœ œ
œœ ‰ œ
œœ œ
J
J
j
œ ‰ J
œ ‰
J
j
œ
J J
j
bœ ‰ ‰
œ
‰
œ ‰
bœ J
J
J
nœ
j n œœ b b n œœ ‰ J j b n b œœœ ‰ J bœ J ‰
nœ
nœ
œœ œœ
œ n œœœ
œœ œ
n œœœ
‰
bœ
œ
œ
16
œ œ
bœ
œ n œœœ
‰
n œœœ
‰
nœ
‰
nœ
nœ J
j nb œœ n œœ J
j
b œ ..
‰
œœœ œ
‰
‰
‰
nœ J
œœ œ
‰
J
œ
‰
‰
J
‰
œ J
j bn œœœ J
œ
J
J
j
j b œœ œ J j
œœœ J
œ
J ‰
nœ
### n .
œ
œ ..
œ
## & # n.
œ
œ ..
œ
83 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 ≈ n œœ œ œœ œ ≈ œœ œ œœ œ ≈ œœ œ œœ œ n œ œ n œœ œ œ œœ œ œ œœ n œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ
? # # # # ..
..
œ ...
∑
&
Cor. (Mi)
Œ
Œ
œ
∑
∑
∑
∑
III. IV.
&
Tbe. (Mi)
&
∑
∑
∑
? ###
∑
∑
∑
? ###
∑
∑
∑
?
∑
∑
∑
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
## & #
n œœ
n.
## & # ‰ # B ## ‰ ? ### ‰
? ### n œ J
j
# œœ J
j œ œ n #œ J nœ J ‰
‰ ‰
j
‰
œœ
œœœ
‰
J
J
j
‰
œ
‰
œ
J
‰
J
J
j
œœ
œ
j
j
œœœ
œœ
‰
œ
‰
‰
œ
œœœ
‰
œœœ
œœœ
‰
‰
œ
œœ
J
‰
‰
J
‰
#œ J
#œ J
J
j
J
J
j
œ
‰
J
17
j
‰
‰
J
œ
J
J
j
J
œ ..
j
‰
œœ œ
œœ
‰
œ J
‰
‰
œ J
J J
j
œ
j
j
‰
œœœ
‰
œœœ
œœ œ
‰
‰
œ
œœœ
J
‰
œ
œœœ
J
‰
‰
J
‰
œ J
J J
j
œ
J J
j
J J
j
œ J
‰
86 Fl.
&
Ob.
&
Cl. (La)
&
I. ###
# # # I.
œ
œ ..
œ
œ
œ
œ ..
œ
œ
≈ œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œœ ≈ œœ œœ œ ≈ œ œ œ ≈ œ œ œ ≈ # œ œ œ ≈ œ œ œ ≈ œ œj œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ # œ œœ œ
. œ .. œ
∑
####
∑
####
∑
#
∑
####
Fg.
? # # # ..
I. II.
&
∑
∑
∑
∑
III. IV.
&
∑
∑
∑
∑
Tbe. (Mi)
&
∑
∑
∑
∑
? ###
∑
∑
∑
∑
####
? ###
∑
∑
∑
∑
####
?
∑
∑
∑
∑
Cor. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
## & #
## & # ‰ # B ## ‰ ? ### ‰
j
‰
œœœ
œœœ
‰
œœœ
J J
j
J J
j ‰
œ
? ### j ‰
œ
j
œœœ
j
‰
œœœ
‰
œœœ
J J
j ‰
œ
j ‰
œ
j
œ
j
œ
j ‰
œ
j
œ ..
j
‰
œœœ
‰
œœœ
J J
‰
j
œ
j ‰
œ
j
œ
# .
j
j
‰
œœ œ
‰
œœ œ
‰
œ œ
‰
œ œ
‰
œ
‰
‰
J J
j
j ‰
œ
j œ ‰
J J
j œ ‰
18
j j
‰
#œ
j
œ # œœ J
j
œ #œ J
j
œ
j
j
œœ œ
‰
J
j
œ œ
‰
J
œ
‰
‰
œ
j
j
œ ‰ ‰
œ
‰
‰
œ
j
∑
####
j # œœ œ J
∑
####
j #œ œ J
∑
####
œ
j
∑
####
‰
∑
####
####
∑
∑
∑
∑
∑
∑
## & ##
∑
∑
∑
∑
∑
∑
90 Fl.
Ob.
Cl. (La)
&
&
#
? ####
Œ ‰ Jœ Œ π
Œ ‰ Jœ Œ
I.
Œ ‰ Jœ Œ
Œ ‰ Jœ Œ
Œ ‰ Jœ Œ
Œ ‰ Jœ Œ
∑
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
III. IV.
&
∑
∑
∑
∑
∑
∑
Tbe. (Mi)
&
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
Fg.
I. II. Cor. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
# ## & # π dolce # # # # arco & π dolce # arco B ## # ‰ œ ‰
Œ
? # # # # arco
≈
œ
π
? ####
π
∑
œ.
œ
œ
œ œ œ
œ
œ œ œ œ.
œœ 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. # œ.
œ
œ‰ Œ
≈ ∑
‰
œ œ #œ
19
œ
≈ ∑
œ œ #œ
œ
œ‰ Œ ≈ ∑
‰
œ œ #œ
œ
œ‰ Œ ≈ ∑
œ œ #œ
∑
œ Œ Œ ‰ œJ
∑
∑
Œ ‰ Jœ Œ
Œ ‰ Jœ Œ
#### &
96 Fl.
Ob.
Cl. (La)
Fg.
I. II.
## & ## &
#
I.
? ####
∑
&
∑
&
∑
&
∑
Cor. (Mi) III. IV.
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
? ####
Œ Œ ‰ ∑ ∑
∑
?
∑
∑
œ. œ.
? #### ? ####
œ
≈ ∑
œ œ n
‰œ œ ‰ Œ p cresc.
œ. œ œ.
∑
p
p
œ œ
p
∑
∑
J
Œ ‰ # œœ J
œ
‰œŒ J
cresc.
#œ. œ œ. ∑
œœ .. œœ œœ ..
j
∑
cresc.
∑
∑
œœ
œ
‰œ Œ J
‰œ œ ‰ Œ
œ. œ œ. Œ Œ
∑ Œ
J ƒ
œœ .. œœ œœ .. Œ
œ
œœ
J ƒ
j
œœ
Œ ‰ J ƒ
Œ ‰ œœ J ƒ ∑
Œ
∑
∑
Œ
œ .. œ œ #œ
Z œ. œ œ .# œ Z Œ
dim.
..
œ
‰œ Œ J ƒ
‰œ œ ‰ Œ ƒ
œ. œ
a2
Z
œ
Œ ‰œ Œ J f
‰œ œ ‰ Œ f
Œ
Œ
dim.
∑
∑
. .
ƒ
Œ
Œ
dim.
.
∑
dim.
dim.
œœ .. # œœ
Z
Œ
ƒ dim. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ j #. . . #. œ‰ ƒ dim. π p cresc.
‰ œ ‰ ‰ Jœ œ p
œ œ #œ
j
œ
œœ
‰œ œ ‰ Œ
∑
ten.
œ œ
≈
œ
∑
∑
∑
B #### ‰ œ ‰ Œ
p
Œ
‰œ Œ Œ J p cresc.
∑
? ####
## & ##
j
J
∑
a2
œ
œœ .. # œœ œœ ..
œœ
cresc.
Œ
∑
∑
# ## & #
p
œœ .. # œœ œœ ..
œ .# œ œ .
œ J
cresc.
cresc.
œ. œ œ.
cresc.
p cresc.
≈
J
j
œ
œ .# œ œ .
J ≈
œ
‹œ. œ œ.
œ
cresc.
arco
j
œ
œ. œ œ.
œœœ
œ. œ œ.
œœ ‹ œ œœ ‹ œ 20
œ J ≈ ≈
œ. œ œ.
œ
J ƒ j
œ. œ œ.
œ
ƒ
œ. œ œ.
œœ ‹ œ œœ ‹ œ
œ
≈ ≈
J ƒ
œ. œ
. .
div.
Z
dim.
œ. œ
. .
div.
Z
dim.
œ .# œ
Z
œœ ‹ œ
ƒ
œœ ‹ œ
ƒ
#. #. div.
dim.
≈ ≈
œœ ‹ œ
dim.
œœ ‹ œ
dim.
Œ Œ
#### &
103 Fl.
Ob.
Cl. (La)
F
nœ Œ ‰ JŒ π I.
Œ
# # nœ & ## nœ Œ Œ &
#
? ####
‰bœ bœ ‰ Œ π I.
nœ ‰JŒ
bœ
Œ
∑
nœ ‰ JŒ
bœ
nœ Œ ‰ JŒ ∑
∑
‰ bœ ‰ Œ bœ
‰bœ ‰ Œ
‰bœ ‰ Œ
nœ ‰n œ ‰ Œ
I. nœ Œ ‰ JŒ π
∑
nœ n œ ‰ ‰Œ π
I.
nœ ‰nœ ‰ Œ
nœ Œ ‰ JŒ ∑
nœ n œ ‰ ‰Œ
nœ ‰nœ ‰ Œ
nœ Œ ‰ JŒ ∑
nœ n œ ‰ ‰Œ
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
∑
∑
III. IV.
&
∑
∑
∑
∑
∑
∑
∑
Tbe. (Mi)
&
∑
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
∑
∑
œ Œ Œ œ
∑
∑
œ Œ Œ œ
∑
∑
Fg.
I. II. Cor. (Mi)
I. II. Tbn. III.
Timp.
F
I. Vln. II.
Vle.
Vc.
Cb.
# ## n & # n π &
####
π # n. B ## # n . π ? #### ∑ ? #### n π
œ nn œœ œ
œ. œ œ. œ. œ œ.
œ nœ nœ œ. œ nœ nœ œ. nœ nœ
œ. œ. ∑
≈ œnœ œ n
œ œ. nœ œ. nœ œ œ. nœ œ. nœ J J
j
œ n œ n
œ . n œj n œ n œ. nœ nœ n œ nœ. œ œ. œ nœ œ nœ. œ œ. œ nœ J J œ œ œ œ
∑
≈nœ œ œ n
≈ œ œ n nœ
21
n ∑
π
≈œ œ nœ n
œ. œ
œ
œ nœ nœ œ
≈œ œ nœ n
≈ œ œnœ n
≈ œ œ nœ
œ. nœ n
œ
n
œ œnœ
# # # # I. n œ ‰nœ ‰ Œ &
110 Fl.
Ob.
Cl. (La)
& &
####
Œ
#
? #### ‰ n œ I.
Fg.
I. II.
Œ
&
Cor. (Mi) III. IV.
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I.
Vle.
Vc.
Cb.
nœ
∑
∑
∑
∑
∑
. .
∑
. .
‰Œ
‰ b œœ œœ # œœ π
œ. œ Œ Œ œ.
∑
π
. .
∑
œ
∑
œ
∑
∑
œ œ
p
∑
. .
∑
∑
&
∑
∑
∑
œ œœ
F
œœœœ
F
∑
? ####
∑
∑
∑
∑
∑
? ####
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
# ## & #
∑
∑
∑
∑
&
∑
∑
∑
∑
Œ Œ ‰ œ J p
œ
Œ ‰JŒ
? ####
Œ
‰œ ‰ Œ
? #### n
≈ œ œ nœ
œ
œ
Œ ‰ JŒ
œ
‰œ ‰ Œ
≈œ œ #œ
∑
œ
Œ ‰ JŒ
œ
‰œ ‰ Œ
≈œœœ
22
œ
‰œŒ J F
œ Œ ‰ œJ
‰œ
‰Œ
œ
cresc.
‰œ f
‰Œ
J
Œ
œœ
J ƒ
œœ
J ƒ
J ƒ j œœ J
ƒ Œ ‰ j
œœ
ƒ
∑ Œ
J ƒ
œœ
j œœ œœ . œ œœ ..
∑ p
œ
J
∑
œ
j œœ œœ .. œœ œœ ..
cresc.
cresc.
F
œœ
‰œ‰ J f œœ .. œœ œœ .. Œ
œ œ
œ œ œ œ. Œ Œ ‰ œJ œ . œ œ .
∑
Œ
J
œ œ œ. œ œ. œ œ œ. Œ Œ ‰ J
∑
# B ## # n
Œ
F
∑
####
cresc.
a2
&
Vln. II.
nœ ‰ JŒ
I.
∑
œ œœ .. œœ œœ .. œ
œœ œœ .. œœ œœ .. Œ Œ ‰ J
Œ
F
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . p cresc.
œ. œ œ.
œ œ. œ œ.
œ
Œ Œ ‰ œj œ œ . p cresc. œ œ. œ œ. Œ ‰ J ‰ Jœ p cresc.
œ œ. œ œ.
œ
J
J
œ
J
œ œ
œ.
J J
œ
≈œœœ
≈œ œœ
≈œœœ
≈œœœ
≈œ œœ
‰œ ‰ Œ
≈œœœ
cresc.
J
cresc.
cresc.
. #### œ œ & a2
117 Fl.
Ob.
Cl. (La)
Fg.
I. II.
œ. # # # # œ . œœ & &
#
Z œœ .. œœ
Cor. (Mi) III. IV.
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
&
Z
œ .. œ œ œ
&
? # # # # .. ƒ
Œ
dim.
? #### ‰ œ ‰ Œ œ ƒ &
œœ œ
dim.
œœ .. œœ
œœ .. œœ
dim.
‰œ
f
dim.
Œ
œ
‰Œ Œ
Œ
Œ
dim.
π
& &
œ. œ
ƒ
#### œ . œ
B #### ? ####
dim.
? ####
dim.
.
dim.
ƒ
dim.
ƒ
ƒ
∑
∑
∑
∑
∑
∑
œœ œœ
π
œœ . œ œœ ..
j
œœ J
..
..
œœ . œ œœ ..
.
j œœ œ œ . # œ œ J J
œ
œ
π
III.
π
j
œ.
#### ## #
œ œ . œ œœj œ œ
..
π
#### ## #
œ #œ œ
œ œ
#### #### ## #
..
œœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
dim.
ƒ
œ. œ
∑
Œ
? #### . Œ dim. ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ? . œ‰ π ƒ dim. ####
Œ Œ
≈œœœ
dim.
≈œœœ
dim.
Œ
Œ Œ Œ
œ
œ
œ ‰œŒ J
Œ
‰JŒ
Œ ‰JŒ
œ‰Œ
‰
œ œ ‰Œ
‰œ œ‰ Œ
π ‰
œ
π
π
π
≈
œœœ
≈œ œ œ
23
≈
œ #œ œ
≈ œ #œ œ
#### ## # #### ## #
#### # ##
Œ ‰ Jœ Œ
#### # ##
œ‰Œ
#### # ##
‰
≈
œ ‹œ œ
≈
œ ‹œ œ
œ
≈ œ œ # œ ####### pizz.
≈ œ œ # œ ####### pizz.
#### ## & # Œ
I.
Fl.
Ob.
Cl. (La)
#### ## & # &
####
Œ
œ ‰ Œ œ
‰
I. II.
‰
? #### ## . # π
I.
π
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
‰ J Œ
œ
Œ
‰ J Œ
∑
.
œ
Œ
œ
∑
œ ‰ Œ
‰
.
œ
G
J ‰ Œ
œ ‰ œj
∑
œ ‰ Œ
‰
‰
. .
.
&
∑
∑
∑
&
∑
∑
∑
∑
Œ
cresc.
∑
œ ‰ Œ œ
∑
Cor. (Mi) III. IV.
œ
∑
I.
Fg.
œ
‰ J Œ π
123
# œ .. π
j œ
Œ
œ
cresc.
cresc.
œ œ.
#. π
j
∑
&
∑
∑
∑
∑
? #### ## #
∑
∑
∑
∑
∑
? #### ## #
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
# ## # & # ## π
#### # & ## π B ####### . π ? # # # # # œj ‰ Œ ## π ? # # # # # œj ‰ Œ ## π
j
œ œ
œ
œ.
œ
œ œ
œ
œ.
œ
œ
œ.
œ
≈ œ œ œ œJ ‰ Œ ≈ œ œ œ œJ ‰ Œ
j
J
œ
œ.
œ
œ.
≈ œ œ œ œJ ‰ Œ ≈ œ œ œ œJ ‰ Œ
24
j
œ
œ
œ œ
œ
œ
œ
j
j
œ.
œ
œ. œ.
≈ œ œ œj ‰ Œ œ ≈ œ œ œj ‰ Œ œ
G
∑
œ
cresc.
cresc.
j
œ. œ œ.
cresc.
œ
œ
œ
œ.
cresc.
œ
œ
‹œ
œ.
œ
j j
cresc.
j j
≈ œ œ œ œj ‰ Œ
≈œœœ
≈ œ œ œ œj ‰ Œ
≈œœœ
cresc.
cresc.
#### ## j nœ ‰ # n œ &
128 Fl.
Ob.
Cl. (La)
Fg.
I. II. Cor. (Mi) III. IV.
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
# ## # & # ## &
####
jœ
Œ
‰ œ
∑ ‰
? #### ## n . # n.
j nœ
‰
. .
&
n œ .. œ œ .
&
n.
∑
&
∑
? #### ## #
Œ
œ
∑
Œ
nœ
dim.
‰ Jœ
j
œ
jœ
œ
# .
..
Œ
‰ jœ
Œ
Œ
œ
dim.
..
dim.
œ #œ dim.
œ
Œ
Œ
nœ
Œ
‰ j Œ œ ∏
Œ
‰ j Œ nœ
Œ
Œ
∑
I.
∏
.
∏
# .. # ..
dim.
∑
∑
∑
n.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
? #### ## #
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
# ## # & # # # nœ. œ œ. #### # & ##
œ
# B ## #### #œ
j
œ
j
œ.
œ.
œ
.
œ.
œ
.
? #### ## j ‰ Œ # nœ ? #### ## j ‰ Œ # nœ
j
≈ œ œ œ œj ‰ Œ ≈ œ œ œ œj ‰ Œ
#œ œ œ ‹œ
dim.
dim.
.
dim.
œ
≈
dim.
≈ dim.
œ œ
j‰ Œ œ œ ‹œ œ j‰ Œ œ œ ‹œ œ 25
œ. œ œ.
∏
j
œ
nœ. œ œ.
.
.
‹. ∏
#.
∏
≈ œ œ œ œj ‰ Œ ∏ ≈ œ œ œ œj ‰ Œ ∏
j
œ
≈ œ œ œ n œj ‰ Œ
≈œœœ
≈ œ œ œ n œj ‰ Œ
≈œœœ
#### ## & #
133 Fl.
Ob.
Cl. (La)
Fg.
I. II.
∑
# ## # & # ## Π&
####
‰
? #### # # # .
I.
I.
œ
Œ
jŒ
‰
œ
Tbe. (Mi)
I. II. Tbn. III.
Timp.
I. Vln. II.
Vle.
Vc.
Cb.
∑
œ Œ
π
∑ # ..
∑
.
Œ
œ Œ
U
∑
∑
∑
∑
j
n œœ .. ∏
œ Œ
Œ
. œ. œ j . ‰ œ œ J ‰ .
. .
∑
.
œœ
∑
.
œœ
œœ œœ
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
&
∑
∑
∑
∑
∑
? #### ## #
∑
∑
∑
∑
∑
? #### ## #
∑
∑
∑
∑
∑
?
∑
∑
∑
∑
∑
# ## # & # # # œ. #### # & ##
#œ œ œ
œ
.
B ####### .
? #### # j ‰ Œ ## œ ? #### # j ‰ Œ ## œ
. Œ
œ Œ
pizz.
‰ œ Œ J pizz.
≈ ≈
j œ œ ‹œ œ ‰ Œ
œ ‹œ œ
j œ ‰ Œ
Œ
. Œ
œ Œ
‰ œ Œ J
j ≈œœœ œ ‰ Œ ≈ œ œ œ œj ‰ Œ
26
Œ
. Œ
œ Œ
‰ œ Œ J
j ≈œœœ œ ‰ Œ ≈ œ œ œ œj ‰ Œ
Œ
œ Œ
œ
U .
.
U
..
∏ U
# .. ∏
U
∑
U
∑
U
∑
U
∑
U
œ
.
U
‰ œj œ
‰ œj œ
j ≈œœœ œ ‰ Œ ≈ œ œ œ œj ‰ Œ
U
..
œœ
∑
∑
U
œœ
&
Cor. (Mi) III. IV.
Œ
I.
arco
.
U
arco
Œ
.
arco U ‰ j . œ. .
U
‰ j . œ. arco
ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Fg. Fagotto Fl. Flauto 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
28
SOURCES
CRITICAL REPORT
Andante sostenuto by Franz Schubert A Score, autograph APTS Parts, autograph B Printed first edition of Schubert’s original
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 A Score, autograph N-Onm, Mus.ms. 7886 21 pages, 27x34 cm Pagination: 1–21 Title page: Instrumenteret / af / Johan S. Svendsen / Donndorf bei Bayreuth / -mai 1872. At the end of the score: Donndorf bei Bayreuth / den 31 Mai 1872 / JSvendsen Written in ink (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 APTS Parts, copyist N-Onm, Mus.ms.a 2898 35x26 cm Title page: Andante sostenuto / af / F. Schubert / instrumenteret / af / Johan S. Svendsen Complete set of parts: 2222 4230 timpani; Strings: Vln. I (4x), Vln. II (4x), Vle. (2x), Vc. (2x), Cb. (2x) Written in ink
Source B Printed first edition of Schubert’s original Title page: FRANZ SCHUBERT. / SONATEN / Für das PIANO allein. Anton Diabelli, Wien, 1838 or 1839 Pl. No. D.& C. 3849
29
EVALUATION OF THE SOURCES
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Svendsen’s orchestration of Schubert’s Andante sostenuto was completed in Donndorf near Bayreuth in May 1872. Although the autograph score, Source A, is clear and readable, the dynamic markings are unusually incomplete in this particular source. One of Svendsen’s notational principles was to consistently associate all the parts with a specific dynamic level, and he frequently used different dynamic markings at the same time. Therefore, we have made extensive and careful use of the principle of analogy to establish a complete dynamic framework. We have also used Schubert’s original version, Source B, to determine some of the dynamics. The first edition of Schubert’s work, Piano Sonata in B-flat major, D-960 (1828), II. Andante sostenuto, was published by Anton Diabelli in 1838 or 1839. An extant set of parts, Source APTS, was prepared by a copyist. Since the parts contain a number of additions in pencil, probably made by musicians, they were probably used at a performance or a rehearsal reading. When Svendsen prepared his own parts, he usually added some articulations and/or dynamic markings. These particular parts were copied without any such ‘creative’ additions. Compared with the score, they contain no additional information, but a substantial number of articulations and dynamic markings in the score are absent in the parts.
Comments considered to be of particular importance by the editors have bar numbers in bold type. Primary source: A
30
Bar
Instr.
Comment
5
Cl. I, Vle. upper part
B: note 1: c’’ (B has h’ in the anlogue b. 94); a draft in Schubert’s handwriting at Wienbibliothek im Rathaus (MH 172)has h’
5
Cl. II
notes 2–5: slur added by analogy with b. 94 (Vln. II) and as in APTS
5
Vle.
notes 2–5: slur added by analogy with b. 94 (Vln. I/II)
9
Ob.
emended from pp by analogy with the other parts and as in APTS, B
10
Ob., Cl., Cor.
cresc. added by analogy with the other parts and as in B
10
Cl. II, Cor. I, Vln. II
B: f’
10
Cor. II
APTS: no
12
Cl.
slur added by analogy with Ob.
12
Cor.
f added by analogy with the other parts and as in B
13
Cb.
dim. added by analogy with Vc.
20
Cor. II
notes 2–5: slur added by analogy with b. 94 (Vln. II)
21
Fl., Ob.
pp added by analogy with the other parts
26
Fl., Ob., Cl.
cresc. added by analogy with the other parts
26
Cl. II, Cor. IV, Tbn. I
p added by analogy with Cor. I/II
29
Vln. II
p added by analogy with Vln. I
43
Cor., Vc., Cb.
p added as in B
56
Fg.
a 2 added
57
Tbn. I/II
slurs added by analogy with the Cor., Tbe.
59
Vc.
p added by analogy with the other str.
64
Vln. II
p added by analogy with the other str.
71
Ob.
cresc. added by analogy with Fl.
and p added by analogy with Fl., Cl.
74
Ob., Cor. III/IV
75
Fg.
notes 1–3: stacc. added by analogy with Vle., Vc., Cb.
76
tutti
mf added as in B
79
Cl.
APTS: no
80
Fg., Cor.
pp added by analogy with the other parts
81
Vln. I
APTS234: added in pencil
90
Cl.
pp added by analogy with the other parts
99
Cor. I, Vln. II
B: f’
99–101
Cor. I
APTS: Fg. part (not Cor. I part)
101–102
Timp.
tie added by analogy with bb. 117–118
103
Fl.
pp added by analogy with the other parts
107
Ob., Fg., Vc. pp added by analogy with the other parts
108
Vc.
added as in B
110
Cor.
pp added by analogy with the other parts
111
Cor.
pp added by analogy with the other parts
115
Fl.
cresc. added by analogy with the other parts
118
Vln. II
dim. added by analogy with the other str.
118
Fg.
f added by analogy with b. 102
123
Fl., Cl., Fg., Vc., Cb.
pp added by analogy with the other parts
127
Fl., Cl., Fg.
cresc. added by analogy with the other parts
127
Cor. I
added by analogy with Vln. I and as in APTS (added in pencil)
128
Cor. I
cautionary accidental added; APTS: note 1:
129
Fl., Cl., Fg.
dim. added by analogy with the other parts
130
Cl.
note 2: emended from c#’’ by analogy with Fl. and as in B
131
Ob.
emended from pp by analogy with the other parts
131
Cl.
ppp added by analogy with the other parts
138
Cor.
ppp added by analogy with the other parts
31