Sigurd slembe pdf by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Sigurd Slembe, op. 8 JSV 45

Sigurd Slembe, Op. 8

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/4A

N.M.O. 14144A

Editorial Commitee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle English translation and language consultant: Thilo Reinhard Language consultant, norwegian: Gunnhild Wiggen 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. 14144A /ISMN 979-0-065-14684-3) For sale Parts (N.M.O. 14144B /ISMN 979-0-065-14685-0) For sale © 2018 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimiles Scoring I V XX XXIX

SIGURD SLEMBE, OP. 8 Abbreviations Critical report

SIGURD SLEMBE, OP. 8 Forkortelser Kritisk rapport

44 45

I V XX XXIX

44 45

GENERAL PREFACE

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

GENERELT FORORD

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

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

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

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

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

GENERAL PRINCIPLES Each edition in Johan Svendsen’s Works is based on a critical examination of all available sources: music manuscripts, early printed editions, as well as other sources relevant to a comprehensive understanding of the work and its musical notation such as letters and diary entries. Throughout JSV, the central editorial principle has been to realize the composer’s last documented intentions, but it has also been a priority to demonstrate the diversity of the source material. Each edition is therefore accompanied by a description of the sources, including a review of the relationship between the sources in question. A comprehensive analysis of Svendsen’s style of musical notation has also informed the editing process. Articulation and dynamics, playing instructions and performance markings have been standardized across analogous passages, except where the composer seemed to intend those passages to differ. The editors chose a single primary source for each work— i.e. the source believed to be closest to the composer’s final intentions. This source constituted the starting point for the editing process. For published works, the primary source is generally the printed edition. Yet, it is possible that Svendsen did not always proofread his editions all that carefully, and in some cases the autograph manuscript contains variants of particular interest. Deviations from the primary source as well as variants from other sources are documented and discussed measure by measure at the end of the edition. As a rule, the editors do not discuss primary source elements that are missing in other sources (so-called negative variants). The musical notation is presented without any visible editorial additions or revisions.

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

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

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

III

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

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

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

SERIES III: Works for String Orchestra

SERIE II: Verker for soloinstrument og orkester

SERIES IV: Chamber Music

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

SERIE III: Verker for strykeorkester

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

SERIE IV: Kammermusikk

SERIES V: Piano Works

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

1. Cantatas and Choral Works 2. Songs

SERIE V: Klaververker

SERIES VII: Ballet

SERIES VI: Vocal Works

Spring is coming, Op. 33

SERIE VI: Vokalverker

SERIES VIII: Sketches and Varia

1. Kantater og korverker 2. Sanger

SERIE VII: Ballett Foraaret kommer, op. 33

SERIE VIII: Skisser og varia

PREFACE

igurd Slembe, Op. 8, was Johan Svendsen’s (1840–1911) first work with a ‘programme’, although the title alone betrays its programmatic roots. This was to be the work that firmly identified him as a modernist in the eyes of his contemporaries. One critic wrote that Svendsen was ‘still in the midst of rawest fermentation’.28 The first ideas for the work probably materialized during a stay in Paris from February 1868 to March 1870. The French capital provided Svendsen with radical impulses in many areas and may have inspired him to abandon classical forms such as symphony, chamber music and concerto in Op. 8. In autumn 1870, immediately following his stay in Paris, he wrote to Edvard Grieg (1843–1907) about his plans:

FORORD

igurd Slembe, op. 8 er det første verket av Johan Svendsen (1840–1911) som har et «program», riktig nok ikke mer konkret beskrevet enn gjennom tittelen. Dette ble også verket som definitivt plasserte ham som modernist i samtidens oppfattelse. En kritiker skrev at Svendsen sto midt i «den villeste gjæringsprosess».1 De første ideene til verket vokste trolig frem under opp holdet i Paris fra februar 1868 til mars 1870. I den franske hovedstaden ble Svendsen møtt av radikale impulser på mange områder, som kan ha inspirert han til å forlate de klassiske formene som symfoni, kammermusikk og konsert i op. 8. Høsten 1870, like etter Paris-oppholdet, skrev han til Edvard Grieg (1843–1907) om planene sine:

For a long time I have seriously been thinking about writing music to Bjørnson’s Halte-Hulda as well as to Sigurd Slembe. However, I would be loathe to cross your path in such an endeavour, and therefore wish to enquire whether you perhaps have similar plans. In that case, I would attempt to dedicate myself to other tasks.

I lang Tid har jeg tænkt meget paa at skrive Musik til Bjørnsons Halte-Hulda og ligeledes til Sigurd Slembe. Dog vilde jeg nødig krydse Dig i et saadant Foretagende, og ønsker jeg derfor at erfare om Du maaskee har lignende Planer. Jeg vil da forsøge paa at løse andre Opgaver.

LETTER FROM JOHAN SVENDSEN TO EDVARD GRIEG, LEIPZIG, 22 SEPTEMBER 1870. NATIONAL LIBRARY OF NORWAY.

On 12 August 1871, the journal The Musical World (London) reported that Sigurd Slembe was composed during Svendsen’s stay in Paris.29 This is not entirely correct, however, since the work was not completed there. The Allgemeine Moden-Zeitung of January 1872 was somewhat more correct in writing that the sketch to the work originated during the Paris period.30 However, in their book Johan Svendsen, authors Finn Benestad and Dag Schjelderup-Ebbe claim that Svendsen began working on the composition in the United States.31 Whatever the case may be, there is no doubt that Sigurd Slembe was in progress when Johan Svendsen and Sarah Levett (1843–1911) visited the US to get married in the summer of 1871. On 12 August 1871, Watson’s Art Journal reported that Svendsen was working on at least three works:

BREV FRA JOHAN SVENDSEN TIL EDVARD GRIEG, LEIPZIG, 22. SEPTEMBER 1870. NASJONALBIBLIOTEKET.

I tidsskriftet The Musical World (London) stod det 12. august 1871 at Sigurd Slembe ble komponert i Paris-perioden2, noe som ikke er helt korrekt. I alle fall ble ikke verket fullført der. Allgemeine Moden-Zeitung var nok litt mer nøyaktig da tidsskriftet i januar 1872 hevdet at skissen til verket oppsto i Paris-perioden.3 Finn Benestad og Dag Schjelderup-Ebbe hevder derimot i boken Johan Svendsen at Svendsen begynte på verket i USA.4 Det er i alle fall hevet over tvil at verket var under arbeid da Johan Svendsen og Sarah Levett (1843– 1911?) var i USA for å gifte seg sommeren 1871. 12. august 1871 opplyste Watson’s Art Journal at Svendsen arbeidet med minst tre verker:

Besides instrumenting one of Liszt’s Rhapsodies for grand orchestra, he is at work upon two large concert overtures, – one a Jubilee, and the other illustrating a legendary poem.

Ved siden av å instrumentere en av Liszts rapsodier for stort orkester arbeider han med to omfattende konsert ouverturer, – den ene en jubileumsouverture og den andre som illustrasjon til et sagadikt.

WATSON'S ART JOURNAL, NEW YORK, 12 AUGUST 1871.

A few years after Svendsen’s stay in the United States, the American Art Journal published a detailed account of the

WATSON’S ART JOURNAL, NEW YORK, 12. AUGUST 1871.

Noen år etter Svendsens USA-opphold skildret American Art

composer’s inspiration for the work while attending an art exhibition at the National Academy of Design in New York: An incident, illustrative of the working of the mind and soul of a true artist, and of the source from whence the “language of emotions” often springs, occurred in this city at the art gallery of the National Academy of Design. On his first visit there, when coming up the stairs, Svendsen’s attention was arrested by a composition which proved to be “The Battle on Hafursfjord”, 32 by H. Balling. The savage Viking hand-to-hand fight on board the ship of King Olaf, the Fairhaired, so illustrative of Norseman valor, and so wrought with romance, completely enraptured his attention, making him almost forgetful of his surroundings and the present. The painting sought expression in Svendsen’s mind, and the genius of his fancy had already whispered its story. There, in strains of music, was told to him the story of the vowing by King Olaf, the Fairhaired, of Gyda’s freaks and beauty, of the snow-clad mountains, the smiling valleys, the sky, the air, the foaming sea, the Viking’s ship, his manly resolution and strength, the clash of arms in battle for the lady’s heart and hand and for the recovery of his kingdom, and of his final triumph. Svendsen left the gallery forthwith and hastened home, where he wrote the introduction to his famous symphony “Sigurd Slembe”. He soon found H. Balling, and was agreeably surprised to find him a countryman born on the same spot almost as that where Svendsen was born (Christi ania, Norway). These artists, whose genius and patriotism have resurrected from the moldering past the story of the Norseman’s love of liberty, of his noble strength, of the Viking’s hands of steel and hearts of gold, became warm friends.

Journal utførlig hvordan Svendsen fikk inspirasjon til verket ved en kunstutstilling i National Academy of Design i New York: En hendelse som illustrerer hvordan tanken og sjelen til en sann kunstner arbeider, og som identifiserer kilden som «følelsenes språk» ofte springer ut av, fant sted i vår by, i kunstgalleriet ved National Academy of Design. Da han ved sitt første besøk kom opp trappene, ble Svend sens oppmerksomhet fanget av et verk som viste seg å være «Slaget ved Hafursfjord» 5 av H. Balling. Han ble full stendig grepet av vikingenes brutale nevekamp om bord på Kong Olaf Hårfagres skip, så illustrerende for nordmannens tapperhet og så fylt av romantikk, og han glemte nesten fullstendig nåtiden og de faktiske omgivelsene sine. Maleriet søkte sitt uttrykk i Svendsens sinn, og hans fantasis genialitet hadde allerede hvisket dets historie. Der og da, i musikalske linjer, ble en saga fortalt ham. En saga om Kong Olav den hårfagres løfte, om Gydas nykker og skjønnhet, om de snødekte fjellene, de smilende dalene, himmelen, luften, den skummende sjøen og vikingens skip. Om hans mannlige besluttsomhet og styrke, våpenkampen om kvinnens hjerte og hånd, kampen for gjen opprettelsen av hans kongerike samt om hans endelige triumf. Svendsen forlot galleriet straks og hastet hjem, der han skrev introduksjonen til sin berømte symfoni «Sigurd Slembe». Han fant snart H. Balling og ble gledelig overrasket over å finne ut at Balling var en landsmann født på nesten samme sted som han selv (Christiania, Norge). En forvitret historie om nordmannens kjærlighet til friheten, om hans noble styrke, og om vikingenes hender av stål og hjerter av gull, ble gitt nytt liv gjennom kunstnernes genialitet og patriotisme. De to ble straks nære venner.

AMERICAN ART JOURNAL, NEW YORK, 8 MAY 1880.

This flowery account was not entirely accurate in claiming that Svendsen hastened home to write the work. The manuscript bears the final signature date 4 November 1871, a few months after Svendsen’s return to Leipzig from the United States, and its full title was Sigurd Slembe – Symphonische Einleitung zu Bjørnstjerne Bjørnsons gleichnamigem Drama von Johan S. Svendsen Op. 8. The work was dedicated to Legationsrat Domherr Dr. Adolph Keil, one of the directors in charge of the music conservatory in Leipzig. Both Bjørnstjerne Bjørnson’s (1832–1910) ideas behind Sigurd Slembe and the actual text to the drama must have been a great inspiration to Svendsen. Writing to Edvard Grieg from Paris in 1869, he asserted that Henrik Wergeland (1808–1845) and Bjørnstjerne Bjørnson had been ‘the most decisive factors in our spiritual development.’33 Twelve years later, it was precisely these two authors who played a pivotal role when Svendsen’s Wergeland Cantata, Op. 25, had its premiere in

AMERICAN ART JOURNAL, NEW YORK, 8. MAI 1880.

Den blomstrende fortellingen var nok ikke helt presis når den hevdet at Svendsen gikk rett hjem og skrev verket. Manuskriptet ble ikke sluttsignert før i Leipzig 4. november 1871, noen måneder etter returen fra USA, med den lange tittelen Sigurd Slembe – Symphonische Einleitung zu Bjørnstjerne Bjørnsons gleichnamigem Drama von Johan S. Svendsen Op. 8. Verket ble tilegnet Legationsrat Domherr Dr. Adolph Keil, som satt i ledelsen for musikkonservatoriet nettopp i Leipzig. Både Bjørnstjerne Bjørnsons (1832–1910) ideer og den konkrete teksten i dramaet Sigurd Slembe må ha vært en sterk inspirasjon for Svendsen. Fra Paris hadde han i 1869 skrevet

Christiania on 17 May 1881. Sixty-thousand people attended the politically controversial unveiling of sculptor Brynjulf Bergslien’s (1830–1898) Wergeland statue, and Bjørnstjerne Bjørnson held a speech between the two parts of the cantata. In an exchange of letters in 1872, Svendsen and Grieg discussed, among other things, two works by Bjørnstjerne Bjørnson – Arnljot Gjelline and Sigurd Jorsalfar. About the former, Svendsen wrote: ‘I know of no poem that contains so much musical inspiration as this brilliant work by Bjørnson.’34 On several occasions, Svendsen also asked for news about Bjørnson and Grieg’s collaboration on Sigurd Jorsalfar.35 We do not know for certain whether Svendsen at an earlier stage was planning to write music to Bjørnson’s entire play. In an article of 23 February 1908, John Paulsen, writing for the Norwegian daily Verdens Gang, reported that Svendsen was deeply fascinated by the drama: ‘It seemed to him among the finest things he had ever read’, and the Finn girl seemed to be ‘bearing the mystical and compelling beauty of the entire Northern country in her person and her speech.’ The actual historic Sigurd Slembe (1100–1139) was one of King Magnus Barefoot’s sons and one of several heirs to the throne in a time of civil war. Bjørnson’s play Sigurd Slembe was published in 1862, inspired by Snorri Sturluson (1178–1241) and the work of historian Peter Andreas Munch (1810–1863). It is a dramatic trilogy consisting of Sigurd’s First Flight, Sigurd’s Second Flight and Sigurd’s Homecoming. The first part takes place in a family chapel in Stavanger, Norway. Sigurd’s mother, Thora, reluctantly and anxiously tells the young Sigurd that he is the son of a king. He reacts with a mixture of exuberance and fear, and decides to become a crusader and ‘chieftain’ before seeking the throne. Part two takes place in Scotland and on the Orkney Islands, where Sigurd is left stranded on his way to Palestine. Here he gets drawn into battles and feuds, even though he himself seeks peace and reconciliation, and falls in love with Audhild, [the daughter of a powerful family]. But finding no peace, Sigurd continues on his crusade before finally returning to Norway, where the third part of the trilogy takes place. Sigurd kills his half-brother, the sottish king Harald Gille, and proclaims himself king. But having committed fratricide, he gains little support and is driven away. While keeping hidden in a cave, he meets a ‘Finn girl’ who wants him to settle down with her and her family. But Sigurd feels compelled to leave and continue his hopeless fight, because he has ‘a longing for all I have not achieved in life’. The Finn girl answers: ‘No place in the world can any longer give you peace, and there is not a living thing you care about!’ At the end of the drama, Sigurd is reconciled with his mother before heading out for his final battle. Following a performance of Sigurd Slembe, Op. 8, in Christiania in October 1872, Aftenbladet’s reviewer interpreted the work from a programmatic point of view:

til Edvard Grieg at Henrik Wergeland (1808–1845) og Bjørnstjerne Bjørnson var «de væsentligste Faktorer i vor aandelige Udviklingsproces».6 Tolv år senere var nettopp disse to helt sentrale da Svendsens Wergelandkantate, op. 25 ble urfremført i Christiania 17. mai 1881. Da var 60 000 mennesker til stede i en politisk kontroversiell avduking av Wergeland-statuen som Brynjulf Bergslien (1830–1898) hadde laget. Bjørnstjerne Bjørnson talte mellom kantatens to deler. I 1872 vekslet Svendsen og Grieg brev og diskuterte blant annet to verker av Bjørnstjerne Bjørnson, Arnljot Gjelline og Sigurd Jorsalfar. Om Arnljot Gjelline skrev Svendsen: «Jeg ved intet Digt der har saa meget musik-inspirerende som dette Bjørnsons geniale Værk».7 Svendsen ville også flere ganger gjerne høre nytt om samarbeidet mellom Bjørnson og Grieg om Sigurd Jorsalfar.8 Vi vet ikke sikkert om Svendsen på et tidlig stadium tenkte å skrive musikk til hele skuespillet av Bjørnson. I en artikkel i Verdens Gang 23. februar 1908 fortalte John Paulsen at Svendsen var dypt fascinert av dramaet: «Det stod for ham som noget af det fineste han hadde læst», og finnejenta «førte i sin skikkelse og tale ligesom hele Nordlandets mysthiske og dragende skjønhed med sig.» Den virkelige Sigurd Slembe (1100–1139), var en av kong Magnus Berrføtts sønner og en av flere tronarvinger i en tid med borgerkrig. Skuespillet Sigurd Slembe ble utgitt i 1862 og er inspirert av både Snorre Sturlason (1178–1241) og arbeidene til historikeren Peter Andreas Munch (1810–1863). Det er tredelt: «Sigurds første flukt», «Sigurds anden flukt» og «Sigurds hjemkomst». Første del foregår i et familiekapell i Stavanger. Sigurds mor, Thora, forteller motvillig og angstfull til den unge Sigurd at han er kongesønn. Han reagerer med en blanding av overmot og redsel og bestemmer seg for å bli korsfarer og «høvding» før han vil søke kongetronen. Del to av skuespillet foregår i Skott land og på Orknøyene. På vei til Palestina strander Sigurd der og blir trukket inn i feider og kamper, selv om han ønsker fred og forsoning. Der finner han også kjærligheten i Audhild. Men han får ikke ro og drar videre på korstog før han omsider vender tilbake til Norge. Tredje del foregår i Norge. Der dreper Sigurd sin halvbror, den fordrukne kong Harald Gille, og lar seg utrope til konge. Men som «brodermorder» får han får lite støtte og blir fordrevet. Mens han lever i skjul i en hule, møter han en «finnejente» som ønsker at han skal slå seg til ro med henne og familien hennes. Men Sigurd må ut og kjempe sin håpløse kamp, for han har en «Længsel efter Alt, jeg i Livet ikke har naaet». Finnejenta svarer: «Intet Sted i Verden kan mere give dig Ro, - og der er ikke det levende Væsen, du bryder dig om!». Ved slutten av dramaet forsones Sigurd med sin mor før han drar ut til sitt siste slag.

VII

As early as the first bars, the mother’s gentle speech, which one’s ear yearns to dwell on for longer, must quickly give way to the pale, nervous and restless figure of Sigurd, who is unable to find peace throughout the entire composition, but is stirred up again and again, even after the Finn girl’s enticing speech toward the end, and one cannot help but remember the Finn girl’s words to Sigurd: ‘No place in the world can any longer give you peace.’

Etter en fremførelse av Sigurd Slembe, op. 8 i Christiania i oktober 1872 ga anmelderen i Aftenbladet en programmatisk tolkning:

AFTENBLADET, 28 OCTOBER 1872.

Allerede moderens milde tale i de første takter, som øret så gjerne vilde dvæle længre ved, må strax vige for Sigurds blege, nervøse, urolige skikkelse, der ikke får fred den hele komposition igjennem, men jages op og atter op, selv fra finnepigens lokkende tale mot slutningen, og man må uvilkårlig mindes finnepigens ord til Sigurd: «Intet sted i verden kan mere give dig ro».

We do not know whether this interpretation is based on ideas conveyed by Svendsen himself. The only other time Svendsen made use of a text by Bjørnson is in ‘Længsel’ (Longing) from Four Songs, Op. 24 (1879). In Bjørnstjerne Bjørnson’s Digte og Sange from 1870, the poem is titled ‘Stevnemødet’ (Rendezvous) and begins with the words ‘Aftnen er stille, tonerne trille’ (The evening is still, the music flows by). But a major collaboration between Svendsen and Bjørnson nearly came about in the spring of 1886, when Bjørnson asked Svendsen to compose the music to a cantata, Lyset (The Light). Svendsen, however, declined due to his busy schedule at the Opera in Copenhagen.36 Sigurd Slembe was premiered in Leipzig on 12 December 1871 at the fourth subscription concert of the musical society Euterpe, a gala concert in honour of the 70th birthday of King Johann of Saxony. On the last day of the year, Svendsen happily wrote to his father:

AFTENBLADET, 28. OKTOBER 1872.

Vi vet ikke om denne tolkingen på noen måte er bygd på ideer Svendsen selv har formidlet. Svendsen kom bare til å bruke Bjørnsons tekster en gang til, i sangen «Længsel» i Fire sanger, op. 24 fra 1879. I Bjørnstjerne Bjørnsons Digte og Sange fra 1870 heter diktet «Stevne mødet» og starter med ordene «Aftnen er stille, tonerne trille». Et samarbeid mellom Svendsen og Bjørnson om et større verk var nær ved å komme i stand: Våren 1886 ba Bjørnson Svendsen om å komponere musikken til en kantate, «Lyset», men Svendsen takket nei, fordi han hadde for mye å gjøre ved operaen i København.9 Sigurd Slembe ble urfremført ved den fjerde abonnements konserten i Musikkforeningen Euterpe, Leipzig, 12. desember 1871, en stor festkonsert på kong Johann av Sachsens 70-årsdag. På årets siste dag skrev en fornøyd Svendsen hjem til faren om konserten:

Euterpe has now already given half its concerts for the current winter season, and everyone is convinced that these in all respects have been better than ever before. At our nextto-last concert before Christmas, my latest composition ‘Sigurd Slembe’ – (symphonic introduction to Björnson’s drama of the same name) – was performed. It was played with fire and power and was very well received. LETTER FROM JOHAN SVENDSEN TO HIS FATHER GULBRAND SVENDSEN

Euterpe har nu allerede givet Halvdelen af sine Concerter for indeværende Vinter, og er det alles Dom at disse i alle Henseender har været bedre end nogensinde forud. Paa vor næstsiste Concert för Jul blev min nyeste Composition «Sigurd Slembe» – (symphonisk Indledning til Björnsons Drama af samme Navn) – opfört. Den blev spillet med Ild og Kraft og gjorde Lykke.

(1817–1900),LEIPZIG, 31 DECEMBER 1871. NATIONAL LIBRARY OF NORWAY.

The critics were nonetheless divided in their judgement of the work. The review in the Allgemeine musikalische Zeitung of 20 December 1871 was quite negative: The new orchestral piece by Svendsen has but confirmed our earlier judgement about this composer. It is a programme piece, arranged with all manner of virtuosity in the treatment of the orchestra, that only bears the title ‘Sigurd Slembe’ to compensate for its lack of substance by an exotic title; only the composer’s talented direction earned our admiration, as he succeeded in drilling the mediocre orchestra to execute the flashy effects.37

BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN (1817– 1900), LEIPZIG, 31. DESEMBER 1871. NASJONALBIBLIOTEKET.

Stykket fikk like fullt varierende mottakelse av kritikerne. Ganske negativ var Allgemeine musikalische Zeitung 20. desember 1871: Svendsens nye orkesterstykke bekrefter vår tidligere bedømmelse av denne komponisten, […] det er et programstykke, utbrodert med all mulig virtuositet i orkesteret, og

VIII

The review in Leipziger Nachrichten, on the other hand, was extremely favourable. In January 1872, Watson’s Art Journal published the review in an English version: The form of the piece is not the ordinary form for overtures. There is nothing ordinary in or about it, and this accounts for its touching the listener at once as something near and something strange, and thus finds a favorable judgment. […] His power of originality is unquestionable; and this new orchestra-piece gives us a new proof of that. It foams, it bubbles, it froths, it ferments, and outfolds a warmth – even a heat – that one may beware of it lest it should not always prove to be comfortable in its vicinity.

det bærer den eksotiske tittelen «Sigurd Slembe» ene og alene for å veie opp for manglende innhold. Kun komponistens dirigenttalent fortjener vår beundring. Han klarte å drille det middelmådige orkesteret til knalleffektene.10 Kritikken i Leipziger Nachrichten var derimot svært positiv. I januar 1872 gjenga Watson Art Journal teksten fra Leipziger Nachrichten, oversatt til engelsk:

Also this time, Svendsen’s conducting earned major praise. But the review was penned by a critic who appreciated the work’s modern and radical features. Also subsequent reactions to the work were polarized between those who supported its modern and radical elements, and more conservative responses that found such modernistic tendencies to be superficial and excessive. Not long after the premiere in February 1872, Op. 8 was published by Fritzsch.38 The work received particular attention when Svendsen himself conducted it at a music festival in Kassel a few months later in summer 1872, following an invitation by Professor Carl Riedel (1827–1888), president of the Allgemeiner Deutscher Musikverein. Soon after, Svendsen reported about the performance in a letter to Edvard Grieg.

Stykket har ikke den formen man vanligvis finner i ouverturer. Det er ikke noe vanlig i eller omkring den, og det er dette som sørger for at verket øyeblikkelig slår lytteren som noe nært og underlig. Derfor får det også en positiv bedømmelse. […] Han har utvilsomt en original kraft, og dette nye orkesterstykket gir oss nytt bevis på nettopp det. Det skummer, det bobler, det fråder, det gjærer, og det gir fra seg en varme – endatil en hete – som man bør se opp for, siden det ikke alltid er behagelig å være i dens nærhet. Også her ble dirigeringen omtalt i rosende ordelag. Responsen er altså positiv, men ble ført i pennen av en kritiker som satte pris på det som fremstår som moderne og radikalt. Senere reaksjoner på verket var også preget av slike mot setninger mellom dem som støttet det moderne og radikale, og de mer konservative som fant tidens modernisme overflatisk og outrert. Ikke lenge etter premieren, i februar 1872, ble verket utgitt av forlaget Fritzsch.11 Særlig stor oppmerksomhet fikk verket da Svendsen selv dirigerte det ved musikkfesten i Kassel noen måneder senere, sommeren 1872. Han ble invitert dit av presidenten for Allgemeiner Deutscher Musikverein, professor Carl Riedel (1827–1888). Svendsen rapporterte ganske umiddelbart til Edvard Grieg om fremførelsen.

In Cassel, from whence I returned yesterday, I renewed my acquaintance with Liszt. He spoke with great interest about the piece you had dedicated to him, and promised to write to you. There, I had the opportunity to lead an orchestra of over one hundred of the most excellent instrumentalists in a performance of Sigurd Slembe. It all went with vim and vigour and was enthusiastically received. LETTER FROM JOHAN SVENDSEN TO EDVARD GRIEG, 5 JULY 1872. MUSIKMUSEET.

A few years later, Svendsen also told Kristian Anastas Winter hjelm (1843–1915) about his experience in Kassel and the meeting with Franz Liszt:

I Cassel hvorfra jeg hjemkom igaar fornyede jeg Bekjend skabet med Liszt. Han talte med megen Interesse om Dit ham tilegnede Stykke og lovede at skrive til Dig. Jeg havde der Anledning til i Spidsen for et af fortræflige Instrumentalister, over 100 Mand stærkt Orchester at fremføre Sigurd Slembe. Det gik med Fynd og Klem og blev modtaget med Begeistring. BREV FRA JOHAN SVENDSEN TIL EDVARD GRIEG, 5. JULI 1872. MUSIKMU-

At the music festival in Cassel in summer of 1872 I conducted my Sigurd Slembe. Liszt was there and said very flattering things about my composition and my way of conducting.

SEET.

LETTER FROM JOHAN SVENDSEN TO KRISTIAN ANASTAS WINTERHJELM, 27 MAY 1875. NATIONAL LIBRARY OF NORWAY.

Noen år senere fortalte han også Kristian Anastas Winter hjelm (1843–1915) om opplevelsen i Kassel og om møtet med Franz Liszt:

That summer, the Svendsens were staying in Bayreuth, where they became well-acquainted with Richard and Cosima Wagner and their children. In her diary, Cosima – Liszt’s daughter – has written about the friendship that developed between the two families.39 On Monday, 10 June 1872, they took their first walk together and spent much time together after that. Cosima referred to the Svendsens as ‘rather wonderful people’.40 On 21 June, Cosima wrote that the Svendsens were to meet Liszt in Kassel: ‘In the evening the Svendsens, who are going to Kassel, where they will see father.’41 Franz Liszt was visiting Kassel in connection with the first performance of his oratorio Die Legende der Heiligen Elisabeth. When the Svendsens had returned from Kassel, Cosima wrote: ‘Afternoon visit to the Svendsens, who tell all sorts of nice things about Kassel.’42 In his book Erindringer, siste samling (Reminiscences, final collection), Svendsen’s friend John Paulsen (1851–1924) elaborates on what the good news from Kassel may have been:

Ved Musikkfesten i Cassel Sommeren 1872 dirigerede jeg min Sigurd Slembe. Liszt var der og udtalte sig meget smigrende baade om min Composition og min Maade at dirigere paa. BREV FRA JOHAN SVENDSEN TIL KRISTIAN ANASTAS WINTERHJELM, 27. MAI 1875. NASJONALBIBLIOTEKET.

Familien Svendsen oppholdt seg egentlig i Bayreuth denne sommeren, der de ble godt kjent med Richard og Cosima Wagner og barna deres. Cosima, Liszts datter, har i sin dagbok skrevet om vennskapet som oppstod mellom de to familiene.12 Mandag 10. juni 1872 hadde de sin første spasertur sammen. Etter dette var de mye sammen. Cosima kalte Svendsens «riktig så storartete mennesker».13 21. juni skrev hun at Svendsens skulle treffe Liszt i Kassel: «I kveld Svendsens, som skal dra til Kassel, hvor de skal treffe far.»14 Franz Liszt var i Kassel i forbindelse med uroppføringen av oratoriet «Die Legende der Heiligen Elisabeth». Da Svendsens kom tilbake igjen fra Kassel, skrev Cosima: «Ettermiddags-besøk hos Svendsens, som fortalte all slags pent om Kassel.»15 I boken Erindringer, siste samling, forfattet av Svendsens venn John Paulsen (1851–1924), får vi vite mer om hva de gode nyhetene fra Kassel kan ha vært:

In order to please Wagner, Mrs Cosima had converted to Protestantism (I suspect that the good Wagner also had a hand in Mrs Svendsen’s sudden conversion), something that was met with considerable disapproval by her father, who was a fanatic Catholic. [...] In the end, this led to a downright breach between the parties. When Svendsen in connection with music-related affairs travelled to Kassel, where Liszt was staying at the time, he carried with him a letter from Wagner to the irate father-in-law. During a favourable moment, Svendsen handed over the letter, which touched Liszt and brought on full reconciliation.43

Fru Cosima var, for at behage Wagner, gået over til protestantismen ( jeg har en anelse om at den gode Wagner også har havt sin andél i fru Svendsens pludselige om vendelse), hvad der i høieste grad mishagede hendes fader, der var en fanatisk katholik. [...] Tilslut blev der et formeligt brudd mellem partene. Da Svendsen så i musikkanliggender reiste til Kassel, hvor Liszt dengang opholdt sig, havde han med fra Wagner et brev til den vrede svigerpapa. I et gunstig øieblik overrakte Svendsen brevet, der rørte Liszt og brakte fuld forsoning tilveie.16

Thus, Richard and Cosima used Svendsen as a messenger to deliver a letter of reconciliation. Wagner had invited Liszt to Bayreuth, but had been refused. Svendsen must have handled his assignment well: In September, the Wagner family went to visit Liszt. In a diary entry of 22 July, Cosima commented on Wagner’s reaction to the modern style of a work by Svendsen. It is possible that her description referred to Sigurd Slembe, but it may also have been a reference to Carnival in Paris, Op. 9, which Svendsen was either working on or had completed at the time:

Richard og Cosima brukte altså Svendsen som budbærer av et forsoningsbrev. Wagner hadde invitert Liszt til Bayreuth, men fått avslag. Svendsen må ha utført oppdraget sitt godt: I september reiste Wagner-familien på besøk til Liszt. 22. juli skrev Cosima noen setninger i dagboken om Wagners reaksjon på den moderne stilen i et verk av Svendsen. Det er mulig skildringen gjaldt verket Sigurd Slembe, men det,kan også ha vært snakk om Karneval i Paris, op. 9, som Svendsen arbeidet med eller hadde fullført, på denne tiden:

A work by Mr Svendsen gives R. occasion to go all out and take up the monstrosities of these new types of musicians; grimaces, grotesque sneers, no calm human countenance any longer, by way of strange rhythms a forceful motive emerges whose melody does not impress itself upon one’s mind all the same. Besides, it all goes beyond the bounds of instrumental music, for one can’t help but wonder about the subject and situation to comprehend all the murder and slaughter.44

Et verk av herr Svendsen gir R. anledning til å ta opp det monstrøse i den nye typen komponisters retning; grimaser, forvrengte tryner, ikke noe rolig menneskeansikt lenger.

A few days later, Wagner took up the problem with Svendsen: Yesterday, R. strongly advised Mr Svendsen to choose preferably serene themes and moods for his instrumental music; otherwise one would search too much for the subject and overlook the music; eccentricities were to be explained by the drama. – 45

Gjennom underlige rytmer trer et drastisk motiv frem, hvis melodi ikke etterlater et varig inntrykk. Dessuten går alt utover instrumentalmusikkens grenser, siden man må spørre seg om sujett og situasjon for å kunne begripe all mord og vold.17

According to Benestad, Svendsen had related a comment by Wagner about Carnival in Paris to his pupil Hakon Børresen (1876–1954): ‘It looks [quite] amusing.’46 As far as Cosima’s diary entry is concerned, however, we cannot be certain which work she was referring to. A few days later, when Svendsen’s Jewish-American wife Sally converted to be baptized a Christian, Cosima and Richard served as godparents. The two families took leave on Friday, 16 August: ‘Final evening with the Svendsens; warm farewell from these splendid, well educated and lovely people, who are leaving for Christiania now.’47 On 13 August 1872, the Norwegian daily Aftenbladet wrote about the music festival in Kassel (‘reported to Aftenbladet by a participant’). Once again, the issue of modernism was raised: ‘The piece attracted particular interest and vivid applause even among those friends of the arts who are less positively disposed toward the new direction in music, which also Svendsen has adopted as his own.’ The article continues to report about a dinner speech given by B.F. Siebold at the festival’s closing celebration in honour of Svendsen, after the composer himself had returned to Bayreuth. According to the report, the assembled guests gave a three-fold ‘hurrah’ for Norway and for Svendsen at the end of the speech. The critics who reviewed the concert in Kassel noted the enthusiasm among the audience, praised Svendsen’s conducting and found the work to be original:

Noen dager senere tok Wagner problematikken opp med Svendsen: R. anbefalte i går herr Svendsen innstendig å velge så muntre temaer og lyse stemninger som mulig til sin instrumental-musikk, ellers ville man lete for mye etter program og overhøre musikken; det eksentriske måtte forklares gjennom det litterære dramaet. – 18 Ifølge Benestad fortalte Svendsen til sin elev Hakon Børresen (1876–1954) at Wagner hadde sagt om Karneval i Paris at«det ser morsomt ut».19 Men vi kan ikke være sikre på hvilket verk Cosima nevner i dagboken sin. Få dager senere ble Sally døpt, med Cosima og Richard som faddere. De to familiene tok avskjed fredag 16. august: «Siste kveld med Svendsens; varm farvel med disse fortreffelige, dannete folkene, som reiser til Kristiania nå.»20 I Norge skrev Aftenbladet 13. august 1872 om musikkfesten i Kassel («Meddelt Aftenbladet af en Deltager»). Også her ble modernismen nevnt: «Stykket vakte en særdeles Interesse og levende Bifald selv hos de Kunstvenner, der stille sig mindre velvillig ligeoverfor den nye Retning i Musiken, som Svendsen ogsaa har gjort til sin.» Artikkelen fortalte også om en skåltale som B.F. Siebold holdt ved festivalens avslutningsfest til ære for Svendsen, etter at Svendsen selv var reist tilbake til Bayreuth. Forsamlingen skal ha ropt et trefoldig hurra for Norge og for Svendsen etter talen. Kritikkene fra konserten i Kassel fortalte om begeistring blant tilhørerne, roste Svendsens dirigering og vurderte stykket som originalt:

Particular interest was aroused from the outset by concertmaster Svendsen by virtue of his winning personality, confirming the good reputation he generally enjoyed due to his conducting style, which pairs great determination with grace, and finally by the composition itself, whose peculiar harmonic colouring captivated all, albeit not everyone may have felt altogether sympathetically disposed toward the musical introduction to the ‘fabulous Sigurd’. We would by no means describe this as a mistake, however. Closer acquaintance with this peculiar Norwegian personality will elicit greater support for his outstanding and mature creations, a closer acquaintance that is all the more to be hoped for with regard to ‘Sigurd Slembe’, as the technical execution does not pose any appreciable difficulties for the orchestra and the effectiveness of its sound is entirely

Det fantes på forhånd en særlig interesse for konsertmester Svendsen på grunn av hans vinnende vesen. Vi fikk bekreftet det gode inntrykket vi hadde dannet oss av ham, gjennom hans direksjon, som forener det bestemte med det elegante, og sist men ikke minst gjennom hans komposi sjon. Verket trollbandt alle med sin eiendommelige harmoniske koloritt, selv om ikke alle nødvendigvis hadde følt bare sympati overfor den musikalske innledningen til «flotte Sigurd». Men dette vil vi for all del ikke betegne som en mangel ved verket. Hvis man først blir nærmere

beyond question.48 NEUE ZEITSCHRIFT FÜR MUSIK, LEIPZIG, 12 JULY 1872.

The reviewer for the Neue Freie Presse described Svendsen as an ‘energetic natural talent’: kjent med denne spesielle norske personligheten, vil man også føle sterkere sympati for hans fremragende og modne verk. Et slikt nærmere bekjentskap er spesielt ønskelig med tanke på «Sigurd Slembe», siden stykket ikke byr på noen nevneverdige tekniske vanskeligheter for orkesteret, og den klangmessige virkningen er helt udiskutabel.21

[...] while the symphonic introduction by the Norwegian Svendsen, a man still in the prime of his youth, revealed – at least as it appears to me – a genuine, at any rate fullblooded, energetic natural talent, admittedly still in the midst of rawest fermentatio.49 NEUE FREIE PRESSE, ABENDBLATT, VIENNA, 3 JULY 1872.

NEUE ZEITSCHRIFT FÜR MUSIK, LEIPZIG, 12. JULI 1872.

The culture section Didaskalia of one of Germany’s oldest newspapers, Das Frankfurter Journal, characterized Svendsen’s conducting as well as his composition as ‘beguiling’:

Anmelderen i Neue Freie Presse mente Svendsen var en «energisk naturbegavelse»: […] den symfoniske innledningen til nordmannen Svendsen, en mann i sin tidlige ungdom – røpte – i hvertfall slik det virker for meg – en ekte, på alle måter blodrik, energisk naturbegavelse, som åpenbart står midt i den villeste gjæringsprosess. 22

A point of interest was to make the acquaintance of Johan Svendsen, who conducted his composition himself, in both capacities, as conductor as well as composer. There is something beguiling about his person, which indeed explains the appeal exerted by his personality as well as by his music. To what extent the latter is characteristic can only be judged if one knows the subject with which it deals; the decidedly national colouring, if one may so call it, emerged unmistakably.50

NEUE FREIE PRESSE, ABENDBLATT, WIEN, 3. JULI 1872.

Das Frankfurter Journal var en av de eldste tyske avisene. Denne avisens kulturbilag, Didaskalia, karakteriserte både dirigeringen og komposisjonen hans som «medrivende»:

DIDASKALIA, FRANKFURT, 2 JULY 1872.

Det var interessant å oppleve Johan Svendsen, som dirigerte sin komposisjon selv, både i komponist- og dirigentrollen. Det er noe medrivende ved hans vesen som forklarer hvorfor hans personlighet så vel som hans musikk har en så stor tiltrekningskraft. I hvilken grad den sistnevnte [musikken] er karakteristisk, kan man bare bedømme hvis man kjenner emnet den handler om; den utpreget nasjonale koloritten, hvis man får kalle den det, kom umiskjennelig frem.23

It was Edvard Grieg who conducted the work’s first performance in Norway on 4 May 1872 at a concert of Musikforeningen. It was the first time Grieg had conducted a work by Svendsen. In a letter of 29 April 1881 to Gottfred Matthison-Hansen, Grieg described the work as follows: ‘It is an ingeniously powerful piece, but I am trying to find the Nordic element.’ It is not entirely clear whether Grieg means that he himself is trying to find the Nordic element, or whether he believes Svendsen should do so. Aftenposten’s critic, at any rate, felt that the work was lacking the ‘Norwegian or Nordic […] fragrance’:

DIDASKALIA, FRANKFURT, 2. JULI 1872.

It can be said at any rate that the spirit of the composition is not congruent with the spirit that rests over Bjørnson’s ‘Sigurd Slembe’, just as the music bore no traces of the Norwegian or Nordic – one use whatever term one prefers – fragrance, which has been such a hallmark of other works by Svendsen.

Det var Edvard Grieg som dirigerte verket første gang det ble fremført i Norge, på Musikforeningens konsert 4. mai 1872. Dette var også den første gangen Grieg dirigerte et verk av Svendsen. I et brev til Gottfred Matthison-Hansen 29. april 1881 omtalte Grieg stykket slik: «Det er et genialt kraftfuldt Stykke, men jeg søger efter det nordiske.» Det er ikke helt klart om Grieg her mener at han søker etter det nordiske, eller om han mener Svendsen burde søke etter det. Aftenpostens kritiker savnet i alle tilfeller det «norske og nordiske»:

AFTENPOSTEN, CHRISTIANIA, 6 MAY 1872.

But the review also offered much praise: What everyone, however, would most likely agree on is that

I ethvert fald kan det siges, at Kompositiones Aand ikke er kongruent med den Aand, der hviler over Bjørnsons «Sigurd Slembe», ligesom der heller ikke i Musikken var

XII

‘Sigurd Slembe’ is a composition that testifies to an independent and powerful creative ability. AFTENPOSTEN, CHRISTIANIA, 6 MAY 1872.

A few months later, on 26 October 1872, Svendsen himself conducted in Christiania for the first time in five years. A full-sized orchestra was assembled in the large hall of Logen, which was filled to capacity. Many new works had been scheduled on the programme, and also this time, Sigurd Slembe was among them.

Spor af den norske eller nordiske – man bruge hvilken benevnelse man vil – Duft, der netop er fremhævet som et Særkjende ved andre af Svendsens Arbeider. AFTENPOSTEN, CHRISTIANIA, 6. MAI 1872.

Svendsen’s compositions attest to spirit and talent, no matter how different the impression may be that his music has left on different listeners, and however the direction may be judged that manifests itself in Svendsen’s works. It cannot be denied that Svendsen represents a modern and in these parts less familiar direction in music, and it is therefore only natural that he should fare the same as anyone who emancipates himself from tradition and habit to assert new ideas in the area of artistic production, namely that he initially meets just as much condemnation and misunderstanding among some as he finds warm approval and acknowledgement among others, while large numbers remain doubtful and suspicious; and to the same degree as the artist in question owns talent and originality, to the same degree the division between the various perceptions, too, will show itself to be large.

Men kritikken hadde også mange anerkjennende ord: Hvad imidlertid Alle rimeligvis ville være enige om er, at «Sigurd Slembe» er en Komposition, som vidner om en selvstendig og kraftig Skaber-Evne. AFTENPOSTEN, CHRISTIANIA, 6. MAI 1872.

Noen måneder senere, 26. oktober 1872, dirigerte Svendsen selv i Christiania, for første gang på fem år. Orkesteret var fulltallig, og arenaen var en fullsatt Logens Store Sal. Mange nyheter stod på programmet, og Sigurd Slembe var med også denne gangen. Svendsens kompositioner vidne om Aand og Talent, hvor forskjelligt end det Indtryk forresten kan være, som hans Musik har efterladt paa de Forskjellige, og hvorledes end den Retning bedømmes, som aabenbarer sig gjennem de Svendsenske Arbeider. Det lader sig ikke nægte, at Svendsen representerer en moderne og her mindre kjendt Retning i Musiken, og det er derfor naturligt, at det gaar ham, som det gaar Enhver, der paa den kunstneriske Produktions Omraade emanciperer sig fra det Nedarvende og Tilvante og gjør gjældende nye Ideer, at han nemlig i Begyndelsen møder en ligesaa afgjort fordømmelse og Miskjendelse hos Nogle, som han finder varmt Bifald og Anerkjendelse hos Andre, medens en stor Mængde forholder sig tvivlende og mistroisk, og i samme Grad, som vedkommende Kunstner eier Talent og Originalitet, i samme Grad vil ogsaa Splittelsen mellem de forskjellige Opfatninger vise sig stor.

AFTENPOSTEN, CHRISTIANIA, 28 OCTOBER 1872.

Aftenbladet of 28 October 1872 used the labels ‘reckless fantasy’ and ‘future music’: [...] not merely a triumph for the artist, but a joy for his countrymen. All the while, one heard the most varied and striking harmonies and rhythms, which both the symphonic introduction to ‘Sigurd Slembe’ and the Carnival were teeming with, the deep undertone of our national voice, notwithstanding that the artist’s independence was not for a moment bound by the echo of domestic sounds. This quality of bold, reckless fantasy can particularly be found in the introduction to ‘Sigurd Slembe’. [...] and if one were to ask whether his music is the frequently discussed and maligned future music, one might answer that if Beethoven’s most tempestuous symphonies are future music, then Svendsen’s [music] is the same. It is the powerful breakthrough of a bold artistic individuality and the struggle of a potent inner life that overwhelm us in both.

AFTENPOSTEN, CHRISTIANIA, 28 OKTOBER 1872.

Aftenbladet brukte 28. oktober 1872 begrepene «hensynsløs Fantasi» og «Fremtidsmusik»: [...] ikke blot en Triumf for kunstneren, men en Glæde for hans Landsmæn. Man hørte gjennem de forskjellige og mest slaaende Harmonier og Rhytmer, voraf baade den symfoniske Indledning til «Sigurd Slembe» og Karnevalet vrimlede, den dybe Grundtone fra vore nationale Strenge, uden at dog Kunstnerens Selvstændighed et Øjeblik lade sig binde af Gjenlyden fra de hjemlige Toner. Dette preg av djerv, hensynsløs Fantasi har især Introduktionen til

Morgenbladet believed Svendsen to be a consummate virtuoso as a conductor, but also felt it was not all that easy ‘to

XIII

unravel the ideas behind the futuristic tangles of sound.’51 Theodore Thomas (1835–1905) conducted Sigurd Slembe twice within a short period in New York. None of the US critics had any misgivings about the work’s modernistic tendencies. The first performance was part of the New York Symphony Concerts series with the New York Philharmonic Society on 22 November 1873.

«Sigurd Slembe». [...] og vil man spørge, om hans Musik er den tidt om- og bagtalte Fremtidsmusik, da kan hertil svares, at hvis Beethovens stærkeste Uvejrssymfonier er Fremtidsmusik, da er Svendsens det ligesaa. Det er en djerv Kunstnerejendommeligheds stærke Gjennembrud og et kraftigt Sjælelivs Brydninger, der ere overvældende i dem Begge.

The concluding wonder of the programme was the overture of Svendsen, ‘Sigurd Slembe’. […] His is the novelty which ‘consents to shine with new gracefulness through old forms’, and accomplishes some of the unexhausted effects of music, instead of straining after effects which, whatever else they are, are not musical effects. […] His technical mastery of the resources of the modern orchestra is as complete as that of Liszt or Berlioz. But unlike these composers, that mastery is with him a means, and not as with them, it seems to us, an end.

Morgenbladet mente Svendsen var en fullkommen virtuos som dirigent, men mente også at det ikke var så enkelt «at rede tanken ud af de fremtids-musikalske tonefloker».24 Theodore Thomas (1835–1905) dirigerte Sigurd Slembe to ganger i løpet av kort tid i New York. I USA var det ingen kritikere som følte ubehag ved det moderne i verket. Den første fremførelsen var i serien New York Symphony Concerts med New York Phiharmonic Society, 22. november 1873.

THE NEW YORK WORLD, NEW YORK, 24 NOVEMBER 1873.

It has all the strength of the original thoughts of a bold, intrepid character, combined with episodes of exquisite melodic grace and tenderness, and its treatment of the orchestra is an extraordinary example of richness, grace, and, apparently, the ultimate of power. Without too frequent blatant noise of Liszt and Wagner, he produces effects of power which are simply grand and astonishing. [...] It is a remarkable work of a man destined to be a leader among the leaders in his art, [...]

Det avsluttende underverk i programmet var ouverturen av Svendsen, «Sigurd Slembe». […] Dette er nyheten som “tillater seg å skinne med ny gratie gjennom gamle former”, og som virkeliggjør musikalske effekter som enda ikke er utslitt, i stedet for å streve etter effekter som, hva de ellers måtte være, ikke er musikalske effekter. […] Hans tekniske mestring av det moderne orkesterets ressurser er like komplett som hos Liszt og Berlioz. Men ulikt disse komponistene er dette hos ham et middel og ikke som hos dem, slik det ser ut for oss, et mål.

WATSON'S ART JOURNAL, NEW YORK, 29 NOVEMBER 1873.

The Symphonic Introduction of Svendsen’s is entirely new in this country, and indeed we had no practical acquaintance with any of the works of this young and promising Norwegian composer until Mr. Thomas gave us a specimen of his quality last summer. This Introduction is short, vigorous, and richly scored, and will doubtless often find a place upon our concert programmes.

THE NEW YORK WORLD, NEW YORK, 24. NOVEMBER 1873.

Verket har all den styrken som finnes i en dristig og uredd karakters originale tanker, kombinert med episoder av utsøkt melodisk ynde og ømhet. Behandlingen av orkesteret er et ekstraordinært eksempel på fylde, gratie og, åpenbart, den ultimate kraft. Uten hyppig blatant støy, slik som hos Liszt og Wagner, produserer han effekter av kraft som rett og slett er storartede og forbløffende. […] Dette er et bemerkelsesverdig verk av en mann som er forutbestemt til å være en leder blant lederne i sin kunst.

THE TRIBUNE, NEW YORK, NOVEMBER 1873.

On 7 February 1874, Thomas conducted a performance of the work with the Brooklyn Philharmonic Society. To our taste this vigorous and richly coloured composition of the young Norwegian violinist improves steadily on a more familiar acquaintance.

WATSON’S ART JOURNAL, NEW YORK, 29. NOVEMBER 1873.

Den symfoniske introduksjonen av Svendsen er helt ny og ukjent i dette landet. Vi hadde virkelig ingen kjennskap til noen verker av denne unge og lovende norske komponisten før Mr. Thomas gav oss et bevis på hans kvalitet sist sommer. Denne introduksjonen er kort, energisk og rikt instrumentert. Den vil uten tvil ofte få plass på våre konsertprogram.

NEW YORK DAILY TRIBUNE, NEW YORK, 9 FEBRUARY 1874.

THE TRIBUNE, NEW YORK, NOVEMBER 1873.

XIV

The Swedish composer’s symphonic work was played at the first symphony soiree of Mr. Thomas in New York, and charms alike by its freshness and simplicity of treatment as by its melodic beauty. NEW YORK HERALD, NEW YORK, 8 FEBRUARY 1874.

7. februar 1874 dirigerte Thomas verket med Brooklyn Philharmonic Society.

In February 1874, Sigurd Slembe was performed in Berlin as well under the direction of Professor Julius Stern (1820–1883). The music journal Echo considered it a positive trait that Svendsen’s music was not based on ‘the Nordic element’.

Etter vår smak blir denne energiske og fargerike komposisjonen av den unge norske fiolinisten stadig bedre ved nærmere bekjentskap.

Svendsen’s music distinguishes itself quite favourably through bold strokes, a warm palette and originality; moreover through a negative merit: namely inasmuch as it successfully avoids the so-called Nordic element, [...] 52

NEW YORK DAILY TRIBUNE, NEW YORK, 9. FEBRUAR 1874.

Den svenske komponistens symfoniske verk ble spilt på Mr. Thomas’ første symfoniske soare i New York. Det sjarmerer ved sin friskhet og enkelhet i behandlingen så vel som ved sin melodiske skjønnhet.

ECHO, BERLIN, 26 FEBRUARY 1874.

Also the critic for the Berliner Fremden felt that Svendsen's originality was a positive trait:

NEW YORK HERALD, NEW YORK, 8. FEBRUAR 1874.

Også i Berlin ble Sigurd Slembe fremført i februar 1874, med professor Julius Stern (1820–1883) som dirigent. Musikk tidsskriftet Echo mente det var positivt at Svendsen ikke tok utgangspunkt i «det nordiske elementet».

By comparison with the compositions previously known to us by this highly talented composer, the present work is a major advance. Svendsen has worked his way out of an all-encompassing overgrowth of counterpoint into free, imaginative creativity, which to us seems especially important as it proves to be altogether unique, but without stepping beyond the boundaries of beauty or availing itself of outlandish invention to achieve a forced originality. The thematically interesting work is most effectively illustrated by the masterful treatment of the orchestra.53

Svendsens musikk utmerker seg positivt gjennom en kraftig strek, varm koloritt og originalitet, og dessuten gjennom et "negativt fortrinn": nemlig ved at den med stort hell unngår det såkalte nordiske elementet, […] 25 ECHO, BERLIN, 26. FEBRUAR 1874.

BERLINER FREMDEN, BERLIN, 20 FEBRUARY 1874.

Også kritikeren i Berliner Fremden mente Svendsens originalitet var et positivt trekk:

In 1882, Svendsen took Copenhagen by storm with two concerts that laid the foundation for his later position as leader of The Royal Chapel and the Opera. One might say that it all started in April 1881 when the Royal Chapel performed Sigurd Slembe, directed by Niels Wilhelm Gade (1817–1890). Immediately after, Charles Kjerulf (1858–1919) pulled out all the stops in praise of Svendsen in the Danish daily Dags-Avisen:

Sammenlignet med komposisjoner vi kjente fra før av denne høyt begavede komponisten, er dette verket et stort fremskritt. Svendsen har klart å frigjøre seg fra kontrapunktets dominans og skaper med rik fantasi. Dette er spesielt viktig fordi det fremstår som helt egenartet, uten å tre utover skjønnhetens grenser og uten å strebe etter en forsert originalitet ved hjelp av kuriositeter. Det tematisk interessante verket blir meget effektivt illustrert gjennom en mesterlig behandling av orkesteret.26

Finally! – Finally Johan Svendsen has succeeded in being included in the programme of ‘Musikforeningen’. It was nearly a rarity that our foremost musical association, our musical ‘Supreme Court’, had not yet found Svendsen worthy of being introduced by one of the works of his that make their way all across the world to great success. Admittedly, Svendsen belongs to the progressive camp, and is indeed one of their more distinct representatives, – but surely this could not have represented an obstacle to his being admitted among the chosen, one should think!

BERLINER FREMDEN, BERLIN, 20. FEBRUAR 1874.

Svendsen tok København med storm i 1882, med to konserter som la grunnlaget for at han senere fikk stillingen som sjef for Det Kongelige Kapel og for operaen. Man kan kanskje si at det hele startet 2. april 1881 da Det Kongelige Kapel fremførte Sigurd Slembe, dirigert av Niels Wilhelm Gade (1817– 1890). Charles Kjerulf (1858–1919) slo straks på stortrommen i Svendsens favør i Dags-Avisen:

DAGS-AVISEN, COPENHAGEN, 12 APRIL 1881.

Kjerulf called Svendsen a ‘self-made man who dares to stand on his own feet’, commenting that the treatment of the orchestra was impressive and ‘truly brilliant’. The work itself he described as ‘a broadly conceived, but nonetheless unusually solid and unified piece of work’. During his time as principal conductor at the Opera, Svendsen conducted the work in Copenhagen on several occasions, such as a chapel concert on 3 March 1906 in which Eugène Ysaÿe (1858–1931) was soloist. On 7 February 1907, Edvard Grieg attended a performance of Sigurd Slembe led by Johan Halvorsen (1864–1935) at a symphony concert at the National Theatre in Christiania, but Halvorsen’s interpretation was not to his liking. Grieg had conducted the work himself and probably discussed it with Svendsen.

Endelig! – Endelig opnaaede Johan Svendsen at komme paa «Musikforeningen»s Program. Det var næsten et Særsyn, at vor første musikalske Forening, vor musikalske «Højesteret», endnu ikke havde fundet Svendsen verdig til at introduceres ved et af de af hans Værker, der gjør Rejsen rundt hele Verden over og overalt gjør stor Lykke. Ganske vist hører Svendsen til Fremskridtspartiet, ja, er endog en temmelig udprøget Represæntant for det, – men deri kunde jo ingen Hindring ligge for hans Optagelse blant de Udvalgte, skulde man synes!

Svendsen’s Introduction to ‘Sigurd Slembe’, on the other hand, was not handled with the right touch. A hasty tempo and all the uncertainty that thereby follows. All the beauty remains unnoticed because it drowns in the tussle. This is a weak point, to which Halvorsen unfortunately seems blind. When I called his attention to it, he simply replied: ‘I have kept to the metronome.’ This is something I clearly have not studied, I only know that Svendsen performed his work at a different basic tempo and with richer nuances. It would be unfortunate if H’s tempo indication should become a standard here.

DAGS-AVISEN, KØBENHAVN, 12. APRIL 1881.

Kjerulf kalte Svendsen en «selfmade man, der tør staa paa sine egne Ben» og mente orkesterbehandlingen var imponerende og «virkelig genial». Selve verket beskrev han som «et stort anlagt, men ikke desto mindre usædvanlig helstøbt Arbeide». Svendsen dirigerte verket selv i København flere ganger under sin tid som kapellmester ved operaen, for eksempel ved en Kapellkonsert 3. mars 1906 der også Eugène Ysaÿe (1858–1931) var solist. 7. februar 1907 hørte Edvard Grieg Johan Halvorsen (1864–1935) dirigere Sigurd Slembe ved en symfonikonsert ved Nasjonalteateret i Christiania. Han var ikke fornøyd med Halvorsens tolkning. Grieg hadde jo dirigert verket selv og sannsynligvis diskutert det med Svendsen.

EDVARD GRIEG: DIARY ENTRY FOR 7 FEBRUARY 1907. PRINTED IN EDVARD GRIEG: DAGBØKER 1865, 1866, 1905, 1906 AND 1907. ED.: FINN BENESTAD. BERGEN, BERGEN PUBLIC LIBRARY, 1993.

There is no doubt as to where Edvard Grieg stood in the discussion about modernity that was repeatedly incited by Sigurd Slembe. In a letter to August Winding following the concert in October 1872 in Christiania, where Svendsen himself directed the work, Grieg wrote: ‘But as mentioned, there are forces at work here, and rather something demonic when these forces keep a tight rein, than the German sickliness that entirely lacks the ability for powerful progress.54 Bjarte Engeset Translation: Thilo Reinhard

Svendsens Forspil til «Sigurd Slembe» blev derimod ikke taget Fat paa med den rette Haand. Forhastet Tempo og al den Usikkerhed, som dermed følger. Skjønnhederne blir ubemærket fordi de drukner i Jaget. Her er et svagt Punkt, som Halvorsen desværre synes blind for. Da jeg gjorde ham opmærksom, svarede han blot: «Jeg har holdt mig til Metronomen.» Denne har jeg ganske vist ikke studeret, kun ved jeg at Svendsen foredrog sit Værk i et andet Grundtempo og rigere på Nuancer. Beklageligt, om H’s Tempoangivelse skulde blive Norm hos os. EDVARD GRIEG: NOTAT I DAGBOK FOR 7. FEBRUAR 1907. TRYKT I EDVARD GRIEG: DAGBØKER 1865, 1866, 1905, 1906 OG 1907. UTG.: FINN BENESTAD. BERGEN, BERGEN OFFENTLIGE BIBLIOTEK, 1993.

Det er ingen tvil om hvilken side Edvard Grieg stod på i disku sjonen om modernitet som Sigurd Slembe gang på gang frembrakte. I et brev til August Winding etter konserten i Christiania i oktober 1872, der Svendsen selv dirigerte verket, skrev Grieg: «Dog som sagt, her er Kræfter oppe, og heller noget demonisk, når Kraften holder det i tømme, end den tyske Sygelighed, som ingen ævne til kraftig Fremskridt eier.»27 Bjarte Engeset

XVI

NOTES […] eine – wie mir wenigstens scheinen will – echte, jedenfalls blutvolle, energische Naturbegabung verrieth, die freilich noch mitten im wildesten Gährungsprocesse steckt. ([…] revealed – at least as it appears to me – a genuine, at any rate full-blooded, assertive natural talent, admittedly still in the midst of rawest fermentation.) Neue Freie Presse, Abendblatt, Vienna, 3 July 1872. 28

NOTER

[…] .eine – wie mir wenigstens scheinen will – echte, jedenfalls blutvolle, energische Natrubegabung verrieth, die freilich noch mitten im wildesten Gährungsprocesse steckt. Neue Freie Presse, Abendblatt, Wien, 3. juli 1872 1

At Christmas he returned to Leipsic, and in March he went to Paris, where he remained for two years. While there he produced some very interesting works, namely, orchestral transcriptions of the compositions of Liszt, Schumann and Schubert. He also composed a violin concerto, his symphony called «Sigurd», and also a symphony on the «Marseillaise», both for grand orchestra. (Ved juletider returnerte han til Leipzig, og i mars dro han til Paris, der han ble værende i to år. Mens han var der, produserte han noen meget interessante verk, nemlig orkestertranskripsjoner av komposisjonene til Liszt, Schumann og Schubert. Han komponerte også en fiolinkonsert, hans symfoni kalt «Sigurd» og dessuten en symfoni over Marseillaisen, begge for stort orkester.) The Musical World, London, 12. august 1871. 2

Op. 8 (unter der Presse) „Sigurd Slembe“, symphonische Einleitung zu Björnstjerne Björnson’s gleichnamigem Drama. – Die Skizze der letztgenannten Tondichtung war bereits unter dem Eindruck seines Pariser Aufenthaltes entstanden. (Op. 8 (in press) ‘Sigurd Slembe’, symphonic introduction to Bjørnstjerne Bjørnson’s drama of the same name. – The sketch to the aforementioned tone poem dates back to earlier impressions from his stay in Paris.) Allgemeine Moden-Zeitung, Leipzig, January 1872. 30

Benestad, Finn and Schjeldrup-Ebbe, Dag: Johan Svendsen: Mennesket og kunstneren, Oslo 1990, p. 96.

Hansen Balling, Ole Peter (1823–1906): Harald hårfagre i slaget ved Hafrsfjord (1870). The National Gallery of Norway. 32

Op. 8 (unter der Presse) «Sigurd Slembe», symphonische Einleitung zu Björnstjerne Björnson’s gleichnamigem Drama. – Die Skizze der letztgenannten Tondichtung war bereits unter dem Eindruck seines Pariser Aufenthaltes entstanden. (Op. 8 (under trykking) «Sigurd Slembe», symfonisk innledning til Bjørnstjerne Bjørnsons drama med samme navn. – Skissen til sistnevnte tonediktning ble tidligere til som resultat av inntrykkene han fikk under sitt opphold i Paris.) Allgemeine Moden-Zeitung, Leipzig, januar 1872: 3

Letter from Johan Svendsen to Edvard Grieg, 2 February 1869. The Danish Music Museum, Copenhagen, Denmark. 33

Letter from Johan Svendsen to Edvard Grieg, 9 May 1869. The Danish Music Museum, Copenhagen, Denmark. 34

Benestad, Finn og Schjeldrup-Ebbe, Dag: Johan Svendsen: Mennesket og kunstneren, Oslo 1990, s. 96.

Hansen Balling, Ole Peter (1823–1906): Harald hårfagre i slaget ved Hafrsfjord (1870). Nasjonalgalleriet.

Brev fra Johan Svendsen til Edvard Grieg 2. februar 1869. Musikmuseet, København, Danmark.

Letters from Johan Svendsen to Edvard Grieg, 9 May and 5 July 1869. The Danish Music Museum, Copenhagen, Denmark.

Letters from Johan Svendsen to Bjørnstjerne Bjørnson, 4 September 1900 and 14 September 1904. National Library of Norway.

Das neue Orchesterstück von Svendsen hat uns unser früheres Urtheil über diesen Componisten nur bestätigen lehren. Es ist ein mit aller Virtuosität in der Behandlung des Orchesters zusammen arrangirtes Programmstück, das den Titel »Sigurd Slembe« nur trägt, um den ihm fehlenden Inhalt wenigstens durch einen fremdländischen Titel darzustellen; wir bewunderten nur das Directions talent des Componisten, der das mittelmässige Orchester auf die Knalleffecte noch so gut zudrillen konnte.

Brev fra Johan Svendsen til Edvard Grieg 9. mai 1869. Musikmuseet, København, Danmark. 7

Brev fra Johan Svendsen til Edvard Grieg 9. mai og 5. juli 1869. Musikmuseet, København, Danmark. 8

Letter from Johan Svendsen to Alberthine (Thina) Johnsen (née Svendsen), 28 January 1872. National Library of Norway.

Brev fra Johan Svendsen til Bjørnstjerne Bjørnson 4. september 1900 og 14. september 1904. Nasjonalbiblioteket.

Das neue Orchesterstück von Svendsen hat uns unser früheres Urtheil über diesen Componisten nur bestätigen lehren, [...] es ist ein mit aller Virtuosität in der Behandlung des Orchesters zusammen arrangirtes Programmstück, Das den Titel »Sigurd Slembe« nur trägt, um den ihm fehlensen Inhalt wenigstens durch einen fremdländischen Title darzustellen; wir bewunderten nur das Directionstalent des Componisten, der das mittelmässige Orchester auf die Knalleffecte noch so gut zudrillen konnte.

Cosima Wagner et al.: Die Tagebücher. Band I 1869–1877. Edited and commented by Martin Gregor-Dellin and Dietrich Mack, Munich 1976, pp. 533–562.

Brev fra Johan Svendsen til Alberthine (Thina) Johnsen (født Svendsen) 28. januar 1872. Nasjonalbiblioteket.

recht großartige Leute.

Abends Svendsens, die nach Kassel gehen, wo sie den Vater sehen werden.

Nachmittag-Besuch bei Svendsens, die allerlei Hübsches von Kassel erzählen.

Paulsen, John: Erindringer, siste samling, Copenhagen 1903, p. 67.

Ein Werk des Herrn Svendsen gibt R. Veranlassung, über die neue Art der Musiker gleich in’s Ungeheuerliche zu gehen; Grimassen, Fratzen, kein ruhiges Menschenantlitz mehr, durch seltsame Rhythmen wird ein drastisch aus sehendes Motiv hervorgebracht, dessen Melodie sich einem aber doch nicht einprägt. Auch geht alles über die Instrumental-Musik hinaus, denn man frägt sich doch nach Sujet und Situation, um all den Mord und Totschlag zu ver stehen. 44

Cosima Wagner et al.: Die Tagebücher. Band I 1869–1877. Ediert und kommentiert von Martin Gregor-Dellin und Dietrich Mack, München 1976. s. 533– 562. 12

recht großartige Leute.

Abends Svendsens, die nach Kassel gehen, wo sie den Vater sehen werden.

Nachmittag-Besuch bei Svendsens, die allerlei Hübsches von Kassel erzählen.

Paulsen, John: Erindringer, siste samling, København 1903, s. 67.

R. riet gestern eingehend dem Herrn Svendsen, in Bezug auf Instrumental-Musik möglichst heitre Themen und Stimmung sich zu wählen; sonst suche man zu sehr nach dem Gegenstand und überhöre die Musik; das Exzentrische 45

Ein Werk des Herrn Svendsen gibt R. Veranlassung über die neue Art der Musiker gleich in’s Ungeheuerliche zu gehen; Grimassen, Fratzen, kein ruhiges Menschenantlitz mehr, durch seltsame Rhythmen wird ein drastisch aussehendes Motiv hervorgebracht, dessen Melodie sich einem aber doch 17

XVII

nicht einprägt. Auch geht alles über die Instrumental-Musik hinaus, denn man frägt sich doch nach Sujet und Situation, um all den Mord und Totschlag zu verstehen.

müsse durch das Drama erklärt werden. –

R. riet gestern eingehend Herrn Svendsen, in Bezug auf Instrumental-Musik möglichst heitre Themen und Stimmung sich zu wählen; sonst suche man zu sehr nach dem Gegenstand undüberhöre die Musik; das Exzentrische müsse durch das Drama erklärt werden. –

Letzter Abend mit Svendsens; herzlicher Abschied von den vortrefflichen, sehr gut gebildeten Leutchen, die nun nach Christiania wandern.

[…] wie endlich durch seine Composition selbst, die durch ihr eigenthümliches harmonisches Colorit Alle fesselte, wenn auch nicht Jedermann von der musikalischen Einleitung zum „tollen Sigurd“ sich durchweg sym pathisch berührt gefühlt haben mag. Dies wollen wir jedoch keinesweg als ein Fehler bezeichnen. Nähere Bekanntschaft mit dieser eigenthümlichen nor wegischen Individualität wird auch vermehrte Sympathie mit dessen hervorragenden und ausgereiften Schöpfungen herbeiführen und diese nähere Bekanntschaft ist in Bezug auf „Sigurd Slembe“ um so eher zu hoffen, als die technische Ausführung dem Orchester keine nennenswerthen Schwierig keiten darbietet und die klangliche Wirksamkeit gar nicht in Frage steht. 48

Benestad og Schjeldrup-Ebbe, s. 101.

Letzter Abend mit Svendsens; herzlicher Abschied von den vortrefflichen, sehr gut gebildeten Leutchen, die nun nach Christiania wandern. 20

Besonderes Interesse erregte von vornherein Concertmeister Svendsen durch seine gewinnende Persönlichkeit und bestätigte das gute Vorurtheil, welches man allgemein für ihn faßte, durch seine mit großer Bestimmtheit und Anmuth paarende Directionsweise, wie endlich durch seine Composition selbst, die durch ihr eigenthümliches harmonisches Colorit Alle fesselte, wenn auch nicht Jedermann von der musikalischen Einleitung zum „tollen Sigurd“ sich durchweg sympathisch berührt gefühlt haben mag. Dies wollen wir jedoch keinesweg als ein Fehler bezeichnen. Nähere Bekanntschaft mit dieser eigenthümlichen norwegischen Individualität wird auch vermehrte Sympathie mit dessen hervorragenden und ausgereiften Schöpfungen herbeiführen und diese nähere Bekanntschaft ist in Bezug auf „Sigurd Slembe“ um so eher zu hoffen, als die technische Ausführung dem Orchester keine nennenswerthen Schwierigkeiten darbietet und die klangliche Wirksamkeit gar nicht in Frage steht. 21

[...] während die symphonische Einleitung des Norwegers Svendsen, eines noch in der ersten Jugend stehenden Mannes, eine – wie mir wenigstens scheinen will – echte, jedenfalls blutvolle, energische Naturbegabung verrieth, die freilich noch mitten im wildesten Gährungsprocesse steckt. 49

Interessant war es, Johan Svendsen, der seine Composition selbst dirigirte, in beiden Eigenschaften, als Dirigent wie als Componisten, kennen zu lernen. Es ist etwas hinreißendes in seinem Wesen, welches den Reiz, den seine Persönlichkeit wie seine Musik ausübt, wohl begreifen läßt. Wie weit die letztere charakteristisch ist, kann nur beurtheilt werden, wenn man den Gegenstand kennt, den sie behandelt; die entschieden nationale Färbung, wenn man es so nennen darf, trat unverkennbar hervor. 50

Benestad and Schjeldrup-Ebbe, p. 110.

Svendsen’s Musik zeichnet sich durch kräftige Striche, warmes Colorit und Originalität sehr vorteilhaft aus; auch noch durch einen negativen Vorzug: insofern sie nämlich glücklich das sogenannte nordische Element vermeidet, [...] 52

Benestad and Schjeldrup-Ebbe, p. 101.

Gegen die uns früher bekannt gewordenen Arbeiten des hochbegabten Komponisten ist dieses Werk ein großer Fortschritt. Svendsen hat sich aus der Alles überwuchernden Kontrapunktik herausgearbeitet zu freiem, phantasiereichem Schaffen, welches für uns besonders deshalb so bedeutsam erscheint, weil es durchaus eigenartig sich beweist, ohne jedoch aus den Grenzen des Schönen herauszutreten oder durch Absonderlichkeiten eine forcirte Originalität anzu streben. Das thematisch interessante Werk wird durch eine meisterhafte Behandlung des Orchesters auf’s Wirksamste illustrirt.. 53

Benestad og Schjeldrup-Ebbe, s. 110.

Letter from Edvard Grieg to August Winding, 26 October 1872. In Edvard Grieg: Brev i utvalg: 1862–1907. B. 2: Til utenlandske mottagere, p. 246, Aschehoug, Oslo 1998. 54

Gegen die uns früher bekannt gewordenen Arbeiten des hochbegabten Komponisten ist dieses Werk ein grosser Fortschritt. Svendsen hat sich aus der Alles übervuchernden Kontrapunktik herausgearbeitet zu freiem, phantasiereichem Schaffen, welches für uns besonders deshalb so bedeutsam erscheint, weil es durchaus eigenartig sich beweist, ohne jedoch aus den Grenzen des Schönen herauszutreten oder durch Absonderlichkeiten eine forcirte Originalität anzu streben. Das thematisch interessante Werk wird durch eine meisterhafte Behandlung des Orchesters auf’s Wirksamste illustrirt. 26

Brev fra Edvard Grieg til August Winding 26. oktober 1872. I Edvard Grieg: Brev i utvalg: 1862–1907. B. 2: Til utenlandske mottagere, s. 246, Aschehoug, Oslo 1998. 27

XVIII

XIX

OLE PETER HANSEN BALLING (1823–1906): «HARALD HÅRFAGRE I SLAGET VED HAFRSFJORD» (1870). THE NATIONAL GALLERY OF NORWAY.

SIGURD SLEMBE, OPUS 8, AUTOGRAPH, COVER, SOURCE A. THIS SCORE WAS USED AS THE PRINTING SOURCE FOR THE FIRST EDITION. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 551

XXI

SIGURD SLEMBE, OPUS 8, AUTOGRAPH, FIRST PAGE OF THE SCORE, SOURCE A. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 551

XXII

SOURCE B: COVER PAGE OF THE PRINTED FIRST EDITION SCORE PUBLISHED BY E.W. FRITZSCH , LEIPZIG (1872). THIS PARTICULAR SCORE WAS GIVEN TO CARL WARMUTH (1844–1895) BY JOHAN SVENDSEN HIMSELF.

XXIII

SOURCE B: FIRST PAGE OF MUSIC FROM THE PRINTED FIRST EDITION SCORE PUBLISHED BY E.W. FRITZSCH , LEIPZIG (1872).

XXIV

SOURCE BPTS: FIRST PAGE OF THE VIOLINO I. PART FROM THE FIRST EDITION SET OF PARTS PUBLISHED BY E.W. FRITZSCH , LEIPZIG (1872).

XXV

XXVI

Sigurd Slembe, op. 8 JSV 45

Sigurd Slembe, Op. 8

BESETNING / SCORING 2 Flauti 2 Oboi 2 Clarinetti (in Siď &#x20AC;) 2 Fagotti 4 Corni (in Fa) 2 Trombe (in Fa) 3 Tromboni (2 Tenori, Basso) Tuba Timpani Violini I. II. Viole Violoncelli Contrabbassi

Sigurd Slembe [JSV 45] Allegro moderato q = 104

Johan S. Svendsen, Op. 8

c Œ

∑

c Œ

∑

# & # c Œ

∑

c Œ

∑

c Œ

∑

III. IV.

c Œ

∑

2 Trombe in Fa

c Œ

∑

c Œ

∑

Basso e Tuba

c Œ

∑

Timpani in Do - Sol

c Œ

∑

2 Flauti

2 Oboi

2 Clarinetti in Si b

2 Fagotti

I. II. 4 Corni in Fa

2 Tenori Tromboni

Violini II.

Viole

Violoncelli

Contrabbassi

& B ? ?

≥ ≤ . ten. n œ. œ. # œ. œ. œ. # œ. n œ. . œ œ œ œ # œ # œ # j Œ j Œ j œ œ bœ. œ nœ. œ œ. œ œ œ œ ƒ ≥ ≥ ≤ . ten. . . . œ. . c œ . j # œ œ Œ b œ . j # œ œ Œ n œ . j# œ. œ œ œ n œ. œ # œ œ # œ. n œ

Allegro moderato q = 104

≥

ƒ ≥

∑

œ. œ. œ. # œ. œ n œ œ œ œ œ œ œ œ # >œ œ n œ œ œ œ œ œ œ œ 3

ten. ≥ ≤ > . . . . œ. # œ. œ n œ œ œ œ . . œ œ œ œ œ œ œ # œ œ n œ œ œœ œ œœ œ c œ œ . j # œ Œ œ b œ . j # œ Œ œ n œ . j# œ œ œ n œ. œ. # œ. œ œ # œ. n œ. œ œ œ œ œ > 3 3 ƒ . ten. . # œ. œ. œ. # œ. n œ. œ. œ. œ. # œ. œ n œ œ œ œ œ œ œ œ # >œ œ n œ œ œ > œ œ . . œ œ œ œ # œ # œ # œ n œ œ œ . . œœ œ Œ œ bœ œ Œ œ nœ œ c œ œ. œ

. ten. . # œ. œ. œ. # œ. n œ. œ. œ. œ. # œ. œ n œ œ œ œ œ œ œ œ # >œ œ n œ œ œ > œ œ . . œ œ œ œ # œ # œ # œ n œ œ œ . . œœ œ Œ œ bœ œ Œ œ nœ œ c œ œ. œ J J J 3 3 ƒ

Fl.

∑

Ob.

∑

# & #

∑

III. IV.

∑

Tbe. (Fa)

∑

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

Œ bœ. j œ b bœ bœ n bœ bœ bœ π ≤

œ> œ œ œ œ œ œ œ œ

II.

>œ œ œ œ œ œ œ œ œ

Vle.

œ œ œ œ œ œ œ œ œ œ œ œ œ. œ b b w b > > > > >.

I. Vln.

Vc.

Cb.

? ?

> >

> œ œ œ œ. œ. >>

> œ œ œ œ. œ.  b  >> π div.

π >œ œ œ > œ œ œœ œœ œ œ œ œ >   >. >œ. bπ >œ œ œ > œ œ œœ œœ œ œ œ ∑ > œ >. >œ.

III. 3 4

≤ o

bœ b bœ Œ œ. j nœ  œ bœ # œ bœ  nœ œ œ

b b ww

b ww

b b w 

b b ww

b ww

b b œ b   œ w

b

div.

∑

III.

 ∑

# ww

b  # 



# ww

w 

 n

 

w 

n

∑

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

& ? &

 

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

∑

? &

Vln. II.

Vle.

Vc.

Cb.

∑

& B ? ?

∑

 #

#. ‹w ∑

∑ ∑

∑

∑ ∑

# w> F

#. F a2

#. F

 

#œ œ œ #œ F ∑



 

f F

F ten. #œ #œ # nœ  Œ f

∑



∑

#œ œ #œ F

#œ #œ #

nœ œ nœ F

ten.

#œ #œ # f #.

nœ œ nœ F

f F

ten.

cresc.

ten.

Œ Œ œ-

cresc.

œ-

cresc.

œœ- œ- a2 Œ œ Œ œœ Œ œ- Œ ∑

cresc.

∑

œœ- œœ- œœœ œ œ œ Œ Œ Œ Œ Œ f

Œ œ f III.

cresc.

œ- Œ œ- Œ œ- Œ œ Œ cresc.

∑

ten. #œ œ 

œ  œ œ œ

#œ œ 

 œ œ œ  œ œ  œœ

ten.

.

f f

œ œ f

#œ #œ nœ œ œ nœ œ #œ œ #œ #œ nœ #œ #œ œ œ#œ #œ f f F F ten. # œ n œ œ œ nœ œ #œ œ #œ #œ nœ # œ # œ # œ œ œ # œ #œ f f F F ten.

œœ-

œ œ- Œ œ- Œ œ- Œ œ- Œ

∑

œ-

ten.

∑

œ œnœ œ œ

ten.

F #œ œ#nœ  Œ f

∑

ten.

.

∑

#.



∑

œ œ œ œœ

ten.

Œ Œ

#œnœ œ nœ œ #œ œ #œ f F

∑

 

∑

f F

œ-

œœ œœ œœ- œŒ Œ œœ Œ œ Œ

.

∑

œ .

ten.

- œœ œ Œ œ Œ œœ Œ œœ Œ Œ œ œ

. 

∑

 

nœ

ten.

.

nœ



∑

œ œ # œ œ œ œ œ œ œ œ  œ œ œ œ #œ œ #œ #œ

f F

ten.

∑

œ .

∑

 #

.

ten.

Œ #œ œ œ#œ #œ #œ #œ nœ f F

œ œ # œ œ œ #œ œ œ œ œ œ œ  œ œ œ œ #œ

∑

 #

∑

# w> F

∑

∑ Œ

 #

w p

F #. #w

∑

Cor. (Fa) III. IV.

∑

∑ ∑

nœ

cresc.

div.

cresc.

 œ œ œ

cresc.

œ  œ œ &  œ cresc.

œ- Œ œ- Œ œ- Œ œ Œ

ten.

cresc.

Fl.

Ob.

Cl. (Si b)

& &

œœœœ

# œœ& # -



Œ Œ



 Œ  ƒ

œ Œ 

III. IV.

Tbe. (Fa)

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

 ..

rit. Andante

œ- Œ 

œ- Œ  ∑

 . Œ p dolce œ. œ œ œ œ J Œ

 ..

Vln. II.

Vle.

Vc.

Cb.

œœœœœ œ œ # œ œ œ . œ# œ œ J

∑

œ nœ œ #œ œ œ œ #œ œ nœ. #œ œ œ œ # œ œ J

∑

. .

∑

.

∑

.

∑

œ- Œ 

.

∑

œ Œ

∑

ƒ ƒ

Ÿ Ÿ~~~~~



œ  œ 



# w

n



w b 

n 

 wœ œ # œ œ ww

π ben legato

div.

ben legato

 œ  π ben legato ?  w œ ƒ

œ Œ ten.   ƒ

œ . œ # #  J

 



œw œ # œ œ ww

 ww

œ  œ 

j œw. œ # 

# n 

œ  œ  œ  œ 

 b 

div.



ben legato

w w

cresc.

∑



∑

. .

III.

∑

œœ Œ 

∑

I. solo

rit. Andante

# w



 œ . # œj w w nw

cresc.

. œj w œ  œ. #œ w J

w w

cresc.

w œ . œj n ww

cresc.



cresc.



#



#



cresc.

Fl.

Ob.

Cl. (Si b)

∑

nœ œ #œ œ

& &

∑

œ n œ œ  bœ

dim.

∑

 

dim.

∑

III. IV.

∑

Tbe. (Fa)

∑

∑ ∑

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

& & B

Vc.

Cb.

n

dim.

∑

∏ cresc.

∑



 



 

# n ww ∏

∏

cresc.

  

 cresc.

j #œ. œ  F cresc.



#œ#œ ∑

∑

œ . œj œ œ œ œ œ œ œ . œ # œ œ œ œ J

n œœ Œ  n www

cresc.

ww w w  w w

cresc.

∑

ww w w  w w

∑

ww w w  . .

œ œ œ- œ œ œ . œ  #œ

cresc.

∏

#œ œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

w  cresc. w

∏

  

w p

∑

poco accel.

b 

cresc.

∑

# ww ∏

∑

n ww ∏

œ . œj 

w w

∑

# œw œ # œ œ n w 

cresc.

∑

w b 

dim.

∏

∑

# n w 

n

∑

œŒ 

∑

dim.

œŒ 

∑

dim.

cresc.

∑

b w 

dim.

∑

wœ œ # œ œ #   # ww

∑

Fg.

poco accel. I.

∑

œ. œ

≤ œ. #œ œ œ  Œ œ J F cresc. œœ œ. œ#œ œ Œ Œ œ œ J œ

œ . œ # œ œ ten. . œ J œ . œ # œ œ ten. . œ J

œ œ

Fl.

Ob.

Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

& & & ? & & &

∑

œ . n œj 

.

 

## w

j #œ. nœ  a2

j #œ. œ  ∑ ∑

 

.

cresc.

∑

>œ . j # œ œ œ b œ

>œ . a 2 œ n œ œ #œ œ Œ œ œ. œ œ J ƒ a2 œ bœ Œ œ . œj# œ œ > œ

>œ .

Œ œ Œ

>œ .

>œ . Œ œ œ.

# œ œ œ b œ œ.  œ œ J‰ J Z ZZ bœ bœ j # œ œ œ # œœ. ‰  œ œ J Z ZZ œ #aœ2 œ œ n œ œœ.  b œœ œJ J‰ Z ZZ

œ . œj# œ œ



#œ œ

 #œ œ



#œ œ

œ Œ

#œ œ

 #œ œ



#œ œ

. 

Œœ ƒ



Œ œ ƒ

.

∑

C Tempo>. I. # œ œ œ b œ œ



#œ œ  ƒ

r œ .. œ # œ œ 



#œ œ  ƒ

∑ ∑

∑

& & B ? ?

C Tempo I. >œ . # œ œ œ b œ œ  œ . #œ œ œ. œ # œ- œ- œ œ œ. œ œ œ œ J

.

ten.

œ. œ œ œ œ J

.

ten.

œ . œ # œ œ ten. . J

ƒ œ- b œ-

>œ . j# œ œ œ b œ Œ œ

>. j# œ- œ- œ- b œœ œ Œ j# œ- œ-

œ. > œ

-œ . œj# œ œ >

œ- b œ-

>. j# œ œ œ

œ . œj# œ œ œ >

œ- b œ- Œ œ œ . œj# œ œ >

 b ww

œœ

# ww

œœ

Œ

œbœ Œ j j œ œ ‰  œ œ  œ ‰ w œ œ. Z œ œ  œ. w Z Z

œ Œ œ

Œ

j j  # œ œ œ. ‰  œ œ  œ. ‰ w

œ Œ

œœ Œ 

œœ  Z

 

Z  j œ. w  # œ œ œ. ‰  œ œ  J ‰ Z ZZ Z Z  Z

Z ZZ

∑

Œœ

Z œœ n 

J‰ Z b œœ. J‰ Z # œœ. J‰ Z

Œ

Z ZZ œj  b œ ‰ œ. Z œ Z Z

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j‰ Œ  ? ~~~~~~~~~~~~~~~~~~~~~ œ w w w w œ w . . ƒ

œ- œ

.

∑

Œ

œ œj‰  b œœ  Œ œ œ. Z Z ƒ Z b œœ.  b œœ œ .. œR # œ œ  J‰



œ  œ.

bœ . >œ . # œ œ # œ  œ J‰ J Z ZZ . >œ . j# œ œ œJ  b œ ‰ œ Z ZZ œbœ j Œ œ œ ‰ œ œ œ. Z Zœ Z œbœ Œ j‰  œ œ œ. Z Z Z œbœ Œ j œ œ. ‰  œ Z ZZ

Z Z j œœ #  # b œœ. ‰ Z Z œœ  # œœ. J‰ Z Z j œ n bœ ‰ œ  œ. Z Z ∑

œ n  œ. Z

œ 

œœ 

œ 

J‰ Z # œ. J‰ Z j œ‰ œ. Z j‰ œ. Z j œ. ‰ Z



b ww  #w

 bw

œ œ Œ œ œ

Œ

C C

 Ÿ~~~~~~~~~~~~~~~~~~~~ C w w 

 #w

#œ

@ @

bœ œ œ C bœ œ œ div.

œœœ

œ œ œ œ œ nœ œ œ 



@ w w



ten.



œ œœœ C œ œœœ div.

œ nœ œ œ C

molto crescendo ed accelerando

Allegro assai

h = 160

∑



∑



∑



III. IV.

∑

Tbe. (Fa)

∑

 # œœ œœ # œœ œœ   . . . . > > f

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ C w w w w œŒ ∏

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

II.

Vle.

Vc.

Cb.

molto crescendo ed accelerando

b œ œ nw C b œ œ nw b œ œ nw b œ œ nw π cresc. C w b œ œ nw w π cresc.

w w

w w  #œ œ

b œ œ nw

 #œ œ

∑

b œ œ nw

a2 œ. œ. œ. œ. > > >œ . œ > œœ. œœ. > œ. œ.

∑

π cresc.

. œ. > > > j > . . > . œ. œ œ œ   œœ .. œJ  œ œ  œ œ . . . . . > > > > . > . . f

∑

π cresc.

. œ.

∑

œ. œ. œ. œ.   œ . œ  œ. œ.  œ. œ. > > > > > f

∑

w w

∑

œœ. > > >œœ .. œœ > œ. œœ. > # œœ. œœ. J

∑

w w

π cresc.

. . .  # œœ œœ # œœ f

∑

w w

C w

∑

 œœ œœœœ  œœ œœœœ w

∑

> œœ .. œœj  œœ # œœ.  # œœ. œœ. > > . > ∑

∑

 œ œ. .

> > >œ . > œ  œ. # œ œ œ œ # œ œ # œ. œ. # œ. œ. J œ œ œ #œ œ #œ f . . . . > > œ . œ > œ nw  œœ œœ . > J f non div. b  œ œ œ œ > > >œ . œ > œ. w b  œ. œ. œ. œ.   J œ w f > >. œ > œ. œ J œ œ  b œ œ n œ . œ . . . > f > >. œ > œ. œ J œ œ  b œ œ n œ . œ . . . > f

œ. > # œ. œ.



œ. œ. œ. œ.  f

Allegro assai

unis.

h = 160

œœ  œœ œœ . . . >

œ.  œ œ œ > œ. œ. œ.  œ > œ. . œ.  œ > œ. .

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

> # œœ. œœ. 

& & ? &

Cor. (Fa) III. IV.

∑

& &

œ. œ.

>

. œ. >

œœ

. . >

∑

ten. > >œ . > >œ . œ > œ . œœ  œ . œJ  # œœ œœ # œœ œœ  J . . . .  Z ten. > >œ . > >œ . œ > a 2 œ  œ. œ  n  J J œ. œ. œ. œ. Z > > j > >œ . œj > a 2  œ . œœ  . œ  b œ. œ. b œ. œ. ten.  œ J J > > > > > Z

∑

 œ. œ. a2

. .  bœ œ

∑

n ww

b ww

b œ œ nw

> >. œ > œ J # >

 œœ .. œ  > > œ > >

b ww

# n ww

œ  J

> >œ . œ > > # J

∑

cresc.

∑

œ. œ. 

∑

# œ. œ.

œœ œœ . .

B ? ?

œ œ.

> >

œ. œ. > œ. œ. >

> >œ . œ > >œ . œ > ten. . œ. > # >œ . œJ   J # œ J œ œ # œ. . # œ. . Z > >œ . > >œ . œ > ten. . . b > n >œœ .. œœ œ  J b J œ. œ. œ. œ.   b œ œ J Z ten. > >œ . œ > >œ . œ > b >œ . . . J J œ. œ. œ. œ.   œ œ > œJ Z > >œ . œ > >. œ > b œ. œ. b œ. œ. ten. > œ J   b œ. œ.  œ . œJ J > Z > >œ . œ > >. œ > b œ. œ. b œ. œ. ten. œ J   b œ. œ. J Z

∑



> # >

cresc.

>

∑

b ww

> n >œ .

∑ n ww

 b # œœ. œœ. b > n >œœ .. œœ > n # > J 

> >œ . œ > >œ . œ > œ. œ. œ. œ. ten.   # œ. œ. J J Z a2 ten. œ œœ   >œ . œj  œ . œj  œ œ œ œ   # œ. . > # > > > > . . . .   œœ. œœ. Z

œ. œ. >

∑

>

> > > # > 



> n >  > >

> > œ . œJ  

D

cresc.

# n ww

∑

# n ww

 œœ

∑

w œ œ #ten.

 # œ œ #ten. w

cresc.

ten.   œ œ #w cresc.

  œ œ #ten. w cresc.

ten. cresc.

 # œ œ #ten. w  #œ œ #w

ten.

w b  œ œ nten.

 œœ

b  œ œ nten. w

 œœ

Fl.

Ob.

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

& &

w w

∑

n  .. π

Œ n. .

b. π

œ w #  #  #. ƒ Z  

  b w. n œ ww Z b. nœ w #. œ w

∑

 

  b. nœ w



pizz.

n 



pizz.

& &

Vle.

B ? ?

ƒ ƒ ƒ

ƒ n  ƒ

Z b. nœ w Z Z

Z Z

∑



F F

∑

> b b ww >

b ww

# n ww

> b b ww > >

b ww

# n ww

> bw

bw >

bw bw

b > .. n œœ ww F # w . œ ww F

 

. œ w

∑

w w

∑

 

 œŒ

w w

∑

w w

#. œ w

∑

Ÿ~~~~~~~~~~~

∑

#. œ w

∑

III.

b n  .. n œœ ww

∑

b.

∑

II.

Cb.

w w

b b  .. Œ b b  .. Œ π

∑

Vln.

Vc.

w . œ ww

œ w #  #  #.

Timp.

#  # 

Tbe. (Fa)

III. Tb.

ƒ b   b  

. œ w

Tbn.

 

Z ƒ # # n   n   #  .. œ w & Z ƒ

III. IV.

I. II.

 

w w

#w #w

# ww

∑

b. bœ w b F ≥  b. bœ w b F ≥ w  b . bœ F arco w .  b b bœ F

#  # œ œ #  -



ten.

≥

ten.

#  # œ œ #  #w

Fl.

Ob. Cl. (Si b)

Fg.

∑

& & & ?

∑

# ww

cresc.

# ww

cresc.

I. II.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# ww #w #w

Cor. (Fa) III. IV.

# ww

& ? ?

cresc.

∑

# # ww

cresc.

III.

∑



#

cresc.

#

cresc.

#

cresc.

#

cresc.

∑

# # ww f

# ww

dim.

‹ # ww f

# ww #w #w

#w #w f

∑

∑

∑



∑

‹w ‹w

#w #w

#w  n #w ‹  p dim.

dim.

bw f

 

dim.

#w f



dim.

p dim.



∑

p dolce

#w π π

  bw

∑

w #w

∑

 œ nœ w

∑

 bœ bœ

∑



∑



∑

#  f

∑

# f

∑

 # - # - #   # # #

 # # # # n

f dim. p dim.  # - # - #   # # #  # #w w f dim. p dim.  # # #  #w # #w nw #w f dim. p dim.  #  # ? #   #  # w w #w ‹w dim. f p dim.



∑



b

wœ Œ  # w

dim.

∑

#w f

‹w

dim.

#w ‹w p dim.

nœ bœ œ œ œbœ œ œ œ bœ œ œ œ bœ œ œ

#w π

nœ bœ œ œ œbœ œ œ œ bœ œ œ œ bœ œ œ

#w π #w

#w π

∑

109

Fl.

Ob.

Cl. (Si b)

∑ b

∑





b



 nœ œ b 

∑

 b π I.

b

 bw ∑

 bœ œ bw ∑

∑

 bœ bœ b 



 bw

 nœ œ nw



 bw

 bœ œ bw

∑

 nœ œ b b

 bœ bœ b   bœ bœ b 

∑



 ∑

∑

 #œ œ b b

 

 nœ œ b b

 

∑

III. IV.

∑

Tbe. (Fa)

∑

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

& bw

Vle.

Vc.

Cb.

œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ bœ œ

II.



bœ bœ œ œ œ bœ œ œ bœ bœ œ œ œ bœ œ œ bœ bœ œ œ œ bœ œ œ bœ bœ œ œ bœ b œ œ. œ. F bw bw

div.

bw bw

w w

bw bw

w w

bw bw

div.

b  œœ b œœ . . F

bœ œ bœ œ bœ œ bœ œ œ b œ œ œ œ b œ œ œ œ b œ œ œ œ b œ b œ œ b œ œ œ b œ œ œ b œ œ œ b œ œ œ b œ œ œ b œ œ œ b œ œ b œ b œ œ. n œ. F

∑

. bœ  œ



F . œ. b œ F

121

∑

# & #

∑

III. IV.

∑

Tbe. (Fa)

∑

Fl.

Ob.

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & B ? ?

j b j b j b . . > b   b œ œ . b   b œ b  œ b œ œ. b œ. b   œ .. b œ b  b œœ .. b œ b  n œ œ œ b œ b   œ . b œ b  bb œœ .. œœ b  n œ. b œ œ. b œ bœ n œ. . œ. . > f cresc. >œ div.

j b b   n œ . œj  bb œœ .. b bœjœ b  n œ œ œ œ #  œ b œ œ œ œ . b œ œœ. b b œœ.   >œ . b œ b  b œ . œ b  œ. œ. b œ. œ. . . . . > > f cresc. j . . . . . j j œ. œ. b   n œ . b œj b  b œ . œ b  œ. œ. œ. b œ.   b >œ . œ  b œ . b œ b  # œ œ # œ œ # œ>. œ > f cresc. . > œ. b œ b   b >œ . œJ b  b œ . b œ b  b œ. œ. b œ. b œ. b   b œ . œJ b  b œ . b œ b  n œ. # œ. œ. # œ. > J J f cresc. . > œ. b œ b   b >œ . œJ b  b œ . b œ b  b œ. œ. b œ. b œ. b   b œ . œJ b  b œ . b œ b   ∑ J J j

> # > ‹ œ. œ. ‹ œ. # œ. > œ. œ. œ. œ. # 

# >

> . œ. # œ. œ. ‹ œ. # œ. # œ . # œ. œ > . . > œ # œ. œ # œ. B > ∑

∑

#



œ #œ w

&  ##  ƒ a2 # # & #  ƒ

w w

132

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

Vln. II.

Vle.

Vc.

Cb.

 #œ #œ # ‹ #w

 # ƒ



œ #œ w

 #œ #œ # ‹

 # ƒ



œ #œ w

 #œ #œ # ‹

# ƒ ∑

∑

& & B B ?



II.

# > n > # > # > ‹ >œ. # œ.

>

∑

> . n

n œ. # œ. ‹ œ. # œ

n # > n œ. # œ. ‹ œ. # œ. > ƒ

# œ. œ. œ. # œ. n  > ƒ # > n > ? # œ. œ. œ. # œ. ƒ >  #œ œ œ#œn . . . . ƒ

# >

∑

# >

 ‹ œ. ‹ œ. #  # 

 #



∑

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

>

#  #   n  p cresc. I. #  n  p cresc. I.

∑

>

# > ‹ œ. # œ. ‹ œ. # œ. >

# > # œ. œ. # œ. œ. >



# ‹œ #œ ‹œ #œ  > . . . .>

# #œ œ #œ œ  > . . . .>

#œ 

#w ƒ

 œ #œ

 œ #œ ∑

∑

> #  ‹ œ. # œ. ‹ œ. # œ. n  > # ‹œ#œ ‹œ#œn > . . . . n >

# >

#œ 

# œ. # œ. ‹ œ. . >

# > ‹ œ # œ # œ > . . . .

# > # œ œ œ # œ . . . .

# >

. > # œ # œ ‹ œ # œ. . .

# > ‹ œ # œ. # œ. # œ. > .

> # > # œ. œ. œ. # œ. n 

# >

. > # œ # œ ‹ œ # œ. . .

w w

 ‹ œ. ‹ œ. #  # 

∑

 #

#w #w

∑

 œ #œ w

 #

∑

# > # œ. # œ. # œ. # œ. >

w #w

 ‹ œ. ‹ œ. #  # 

∑

>

 n w

∑

# œ. # œ. # œ. # œ.

# #

∑

. # > n œ. # œ. # œ. # œ > # >

#  ##  #

œ #œ w

Tbe. (Fa)

Timp.



 ‹ œ. # œ. #  #  w w

III. Tb.

#w #w

w w

 #

III. IV.

Tbn.

Cor. (Fa)

I. II.



 #œ #œ # #

# > ‹ œ # œ. # œ. # œ. > .

> # > # œ. œ. œ. # œ. n 

> # # > # >

n œ. # œ. n œ. # œ. n œ. # œ.

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

w w

 #œ #œ # # w w w w

w w

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# # ww

# #

. . w ‹ œ # œ # #  #  #

w w

# # # #



#

# #

#

 #œ #œ # #

Cor. (Fa) III. IV.

143

w w w

 #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. n œ œ. œ 

. . . . . .  # œ # œ # # œœ. # œœ.  œœ nn œœ œœ œœ œœ 

œ. # œœ. œ. # œœ. œ.  œ #œ #œ

. .  ‹ œ # œ # ‹ œœ. œœ.  œœ n œ. œ. œ. œ. œ. # œœ. œœ. # œœ. œœ.  œ œ œ œ #œ 



#

# œ.

Œ 

∑

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

# œ. # œ. # œ. # œ. 

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

œ Œ



 # # œœ. # œœ. # # œœ. # œœ.  œœ Œ 



# œ. ‹ œ. 

 ‹ 

. . #œ #œ 

 ƒ#  ∑

#w ƒ

∑

œ œ

Œ  ∑



œ. # œ. œ. # œ.  œœ. # œœ. œœ. # œœ. 

. . . . #œ œ #œ œ 



∑

> ƒ

∑

# > ‹ œ. # œ. ‹ œ. # œ. >

# > # œ. œ. # œ. œ. >

# œ. œ. 

. . œ œ. œ. # œ. # œ. œ. œ. n œ œ. œ 

# >

# œ. œ. 

. . œ œ. œ. œ. œ. # œ. œ. n œ œ. œ 

# œ. # œ. 

1 œ œ. œ. # œ. # œ. œ. œ. œ. œ. # œ. 

. # œ. # œ 

. . . . œ. œ. œ.  œ # œ œ n œ œ œ. œ.

# œ. # œ. ‹ œ. # œ.

‹ œ. # œ. ‹ œ. # œ.

>

> # œ. # œ. ‹ œ. # œ. > . . . # œ . # œ ‹ œ #œ

>

# œ. œ. # œ. œ.

# ‹œ #œ #œ œ . . . . 0

>

# > ‹ œ. # œ. # œ. œ. > # > ‹ œ. # œ. # œ. œ. >

>

> # >

#

# >

# œ. œ.

# >

# œ. œ.

. # œ. # œ 

. . . . œ. œ. œ.  œ # œ œ n œ œ œ. œ.

153

Fl.

Ob.

Cl. (Si b)

Fg.

& &

. œ œ. œ. # œ. # œ. œ. œ. b œ # œ œ b  Z . . . bœ œœ œ. œ. œ. œ. œœ œœ b œ 

œœ œ œ



a2 # # œœ œœ. œœ. œœ. œœ. œœ. œœ. n œœ.  #  &

∑



#œ œ b Z

 

n #

œœ 



#œ œ b Z

 



n



œœ 

III. IV.

œ œœ œ œ œ œ œ . . . . . . . #



#



# #

Tbe. (Fa)

œŒ

∑



Œ

∑

b b

  #

b b

 n n

Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œœ

œŒ œ

∑

& & & ? ?

 





œ œ. œ. œ. œ. œ. œ. # œ. n  b 

 b

œ bœ 

I. II.

#œ œ b

 n



#œ œ n Z

 

 ## 



 b

 



 



 



 

∑





∑



















œ b œ. œ. œ. œ. œ. œ. # œ.  œ b œ. œ. œ. œ. œ. œ. # œ. 

#œ œ b Z

œœ 

 b



. œ œ. œ. # œ. # œ. œ. œ. b œ # œ œ b 

 b

 



n  b



 b



b 



#





 



œ œ. œ. œ. œ. œ. œ. œ. 



#



 









#

b 

#œ œ b

 



 



. œ œ. œ. # œ. # œ. œ. œ. b œ # œ œ b 





 

#



œ œ 

 

#œ œ n

# #

  #

œ œ 

#œ œ n

œ bœ  #œ nœ  #œ œ  #œ œ  #œ œ



#œ œ n

œ bœ  



b 



b 



b 

Z  Z  Z  Z œ bœ  #œ nœ  #œ œ  #œ œ  #œ œ      













#œ œ n

#œ œ 

#œ œ n

 b

n b

 b

#œ œ 

1 #œ œ n

#œ œ n Z

œœ 

œ bœ 

#œ œ n Z

œ bœ  #œ nœ  #œ œ  #œ œ  #œ œ

œœ 

œ bœ 

œ bœ  #œ nœ  #œ œ  #œ œ  #œ œ

 

# 

 

n 

 

# 

 

n 

H . œ.  #œ

 # œ. œ. # œ. œ. 

 # œ. œ.

 

#  

 

n  # 

 

 

  ##  

  # 

 

#  

n  

n  # 

 

  # 

a2 # œ. œ. 

. . . .  #œ œ #œ œ 

. .  #œ œ

 

n  

#aœ.2 œ. 

. . . .  #œ œ #œ œ 

. .  #œ œ

  ? # 

163

Fl.

Ob.

Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & &

  

#a2 

  # 

# 

n 

# 

  #    # 

# 

n 

a2 # 

#  # 

# 

n 

# 

n 

# 

& & ?



 

#   

#  

 III. √ad lib. ? #  ?

& & & ? ?



#  

b  #  b  n 

  # 

#  # 

#  

 #      # 

# 

n 

  n 

b  

 

∑

 

# 

 

 # 

n 

 

# 

 

n 

# 

b n

 

# 

 

n 3 

 

# 

 



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 > > > > > > > . a2 # œ. œ. # œ. œ.  # œ. œ. # œ. œ.    a2

. . . . . . . . œ œ # œ # œ # œ    œ #œ œ  #  #  #  #   Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ loco



H . œ.

#œ 

. . . .  #œ œ #œ œ 

. .  #œ œ

b 

# œ. œ. 

. . . .  #œ œ #œ œ 

. .  #œ œ

n 

# œ. œ. 

. . . .  #œ œ #œ œ 

. .  #œ œ

Œ œ. Œ œ. Œ œ. Œ œ Œ œ Œ œ. Œ œ Œ œ. Œ œ Œ œ. Œ œ Œ œ. Œ b œ Œ œ. # > > . . . . . .

# 

# > >

175

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

# œœ. œœ. b Œ Œ

# # œ. # œ.  &

n 

. n # œœ. œœ Œ Œ



. . Œ œ #œ Œ

œ. œ. 

 

a.2 . Œ #œ œ Œ

œ. œ. 



ten.



a.2 . Œ #œ œ Œ



ten.



ten.



ten.

. . ? bœ nœ 

& ?

œ. œ.  œ. œ.



. . b œ nœ ? bœ nœ  . . ? &

œ. œ.  œ. # œ.

ten.

 

ten.



 



∑

G. P.

∑

G. P.

∑

G. P.

∑

G. P.

∑

G. P.

∑

G. P.

∑

G. P.

∑

b œœ. œœ.

 

Œ œ #œ Œ œ. # œ.



Œ œ. œ. Œ

G. P.

 

œ. # œ. 



b œ. n œ. 



ten.



b œ. n œ. 



ten.

∑



Vle.

∑

G. P.

ten.



G. P.

Œ b œœ œœ Œ . .

œ. # œ. 

Cb.



b œ. œ.

  n

II.

Vc.



nten. 

œ. # œ. 

Cor. (Fa) III. IV.

œ. # œ.

ten.

B 

ten.



# œ. œ.

œ. œ.

. . Œ b œœ œœ Œ

∑ ∑ ∑

G. P.

œ. # œ.

G. P.

∑

œ. # œ.

G. P.

∑

 div.



div.

b.

œ w

.

Œ w

b ww

 ..

Œ w w

w .

œ .

div.

œ w

ww ww

π dolce

 

.

w ∑

∑

 ..

Œ w w Œ w ∑

∑

187

& w

  . œ w

II.

& ww

ww.

b ww



∑

Vle.

ww .



B w w

ww .

w 

w∑

w. w

I. Vln.

Vc.

Cb.

w  w . œ ww

? w

w w

∑

ww .

w ∑

ww.

∑

bw bw π

w w

∑

 

∑

203

Fl.

Ob.

Cl. (Si b)

Fg.

∑

& # w & # p

I. solo

∑

∑ ∑

∑

w w

 œ œ  #  #œ #œ

bw I.

bw bw

w w

∑

bw bw

 œœ w

 œ œ  #   ‹ œ # œ    . Œ # ww

 œœ w

∑

II.

Vle.

nw #w

    π

 

I. Vln.

Vc.

Cb.

pizz.

  0

π dolce   0

 œœ w   0

 œ œ  #  #œ #œ

  0

bw bw

217

Fl.

Cl. (Si b)

# ww & #

I. Vln.

II.

Vle.

Vc.

Cb.

# ww

# # ww

  w

# # ww

# ww

ww ww

# ww

 

∑



∑

 w

   n w

 

  0

 

∑

. Œ

∑

# w 

# # w 

#  # 

cresc.

# # ww

n ww

# ww

# w # 

 #

# #

 #

#  ≤ .  # # œ p>

 -

cresc.

# ww π div.

# ww π

  w

   

 

 #

∑

#  ..

#  .. Œ

#  ..

# ww

   n w

Fg.

Ob.

w w

div.

arco

cresc.

231

I. Vln. II.

Vle.

Vc.

Cb.

 #œ #œ # #

& # ww f

# ww

? #w

B # ww f f

? #w f

# ww

 # ‹ # # #

 #

# 

 #

w w w # ‹ # # #

w  #  # # w 

nw #

w w

dim.

#w w w # ‹ # #w

dim.

w w

nw nw

#w #w

#w # w



dim.

nw nw

n n ww

# ww

n ww

dim.

w w



∏> #w

∏

#.

 

∏ ∏ ∏

245

∑

 b p

n

∑

III. IV.

∑

Tbe. (Fa)

∑

Cl. (Si b)

Fg.

I. II.

Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.



. bœ bw

. Œ



cresc.

∑

I. bw .  n n bœ p cresc.

∑

n 

∑ 

∑

 

  >

∑



∑

> > > > F cresc. I. . œ. b œ œ. œ. œ. b œ. œ. œ. œ. b œ. œ. œ. œ. b œ. œ. œ.

cresc.





> F

cresc.

 b  b n            œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ

? ?



∑

bœ

∑

Ob.

∑

b.

Fl.

∑

b   b

poco a poco cresc.

#. œ w

poco a poco cresc.

3  b  b n            œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ

b   b

poco a poco cresc.

ten.

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

259

∑

# . . . . & # b œœ œœ œœ œœ f a2 . . n œ œ. œ. # œ ? f

Cor. (Fa) III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑ ∑

∑

# œœ œ œœ œ  # œœ. œœ. œ œ œ œ . œ. . œ. . . . . cresc. ƒ f a2 b œœ. œœ. œœ. œœ. b œœ. œœ. œœ. œœ.  œ. œ. ƒ cresc. . # œ. œ. œ. œ. # œ. œ. œ. œ.  œ. œ œ  . . ƒ cresc.

∑

# œœ. œœ. >

∑

> >œœ .. œœ > œ. œ. > # œ. œœ. # œ. œ œ œ J .

> > > > œ. œ.   œ . œJ  œ. œ.  > . œ. > > > j > . . > œ   œœ .. œJ  œ œ  . . . . > > > > >

∑

œœ. 

œ. œ. œ. œ. . œ.

> >

. œ. >

œœ œœ . .

. . >

a2 . œ. œ. œ. > > >œ . œ > œœ. œœ. > aœ.2 œ. œ. œ. > œ 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

cresc.

∑

> >œ . > >œ . œ > œ . œœ  œ . œJ  # œœ œœ J . . > >œ . > >œ . œ > a 2 œ  œ. œ  J J œ. œ. > > j > >œ . œj > . .  œ . œœ  . œ  b œ œ œ J J > > > > > . . > >œ . œ > >œ . œ > œ. œ. J J

a2 > œœ œœ j œ œ œ œ   œ .. œ  œ # œœ  # œ œ # œ œ  #  >œ . œj  œ . œj  œ. œ.  œ œ # # œ œ b œ. œ. œ. œ. b œ. œ. œ. œ. b œ. œ. œ. œ. . . . . > > >œ œ > œ. . > . . . . > > > > > ƒ cresc. f a2

∑

& & B ? ?

 œ œ. œ œ.  . . ƒ

> # œ n œ œ œ # œ œ œ œ # œ œ œ œ  # œ. œ. # œ. œ. ƒ f cresc. > n œ œ œ œ œ œ œ œ œ œ œ œ  œœ œœ œœ œœ  . . . . ƒ f cresc. œ œ œ œ œ œ œ œ œ œ œ œ  œ œ œ œ > œ. œ. œ. œ.  f ƒ cresc. #œ nœ œ œ #œ œ œ œ #œ œ œ œ >  œ. œ . œ. œ. f cresc. ƒ > bœ œ œ œ bœ œ œ œ bœ œ œ œ  œ œ . . œ. œ. f cresc. ƒ

 œ œ. œ œ.  . .

> >œ . œ > . . > . œ. . œ. > œ œ #œ #œ J >

> > œ  œ œ œ œ œ œ. œ. œ.  œ. œ. œ. œ. > J >

>  >œ . œ > œœ. œ.  œ œ œ œ œ > œ. œ. œ. œ. > J > œ > œ. œ.  œ. J  œ œ > > œ. . œ. . > > œ > œ. œ.  œ. J  œ œ > > œ. . œ. . >

> >œ . œ > >œ . œ > J J # œ. œ. > >œ . œ > >œ . œ > J J  œ. œ. > >œ . œ > >œ . œ > J J œ. œ. > >œ . œ > >. œ > b œ. œ. œ J J > >œ . œ > >. œ > b œ. œ. œ J J

Fl.

∑

. œ. b > n >œœ .. œœ > # > ww   # œ œ œ b œ & # œœ. œ.   J ten.

Ob.

Cl. (Si b)

Fg.

I. II.

& ? &

Cor. (Fa) III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

Vle.

Vc.

Cb.

œ. œ.

n 

ten.

 œ. œ. a2

. . a2 b œ. œ. ten.   bœ œ Z

ten. œ. œ.   # œ. œ.

. . ten.

œ œ   œœ œœ . . . . ∑

∑

> n >œ .



cresc.

> # > w œ   w J

> >œ . œ > > # J > >. œ > œ J # > j

cresc.

w w

cresc.

 œœ .. œ  > > œ > > w ∑

∑

cresc.

∑

& &

. . # œ. œ.   # œ œ Z ten.

œ.

ten. . . b œ.   b œ œ Z ten. . . œ.   œ œ

œ.

b œ. œ. ten.

b œ. œ.

  œœ



 b œ. œ.

  b œ. œ.

ten.

∑ b ww

# n ww

n ww

b ww

# n ww

b  œ. œ. n w

# 

#. œ w Z

b ww

# n ww



 



w w

  b w. n œ ww Z b. nœ w #. œ w

∑

 

  b. nœ w

cresc.

 ten.  œ œ #w

> > ten. w œ . œJ  

Z #  .. œ w

#. œ w

ten.  œ # w œ 

>

w . œ ww

# 

 # œ œ #ten. w

cresc.

> > ten. w œ œ. J

n  

# 

nw #w

cresc.

b  

. œ w

# 

b > n >œœ .. œœ > # > J

 n  

 

  œ. œ. #  

w f

 b  



 œ œ #ten. w

>

∑

n ww

> # >œ . œ > > J

> b >œ . œ > n >  J

∑

cresc.

Vln. II.

 

271

cresc.

 #œ œ #w

ten.

 #œ œ #w

ten.

  

∑

b œ œ nw

 œœ  

b œ œ nw

 œœ  

ten.

cresc.

∑

ten.

cresc.

 



w w

 œŒ

 Ÿ~~~~~~~~~~~~  . œ w Z b. nœ w Z Z

Z Z

283

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

# > .. & # π > .. ? π &

I. Vln.

∑

>. Œ  .

> ..

Œ . > .

∑

 nœ œ  #

∑

 #œ #œ  

∑

 #

∑

 œ #œ w

∑

> ..

Œ . > .

∑

Vle.

∑

Cb.

∑

II.

Vc.

∑

Tbe. (Fa)

Timp.

∑

. Œ . > . > .

∑

III. Tb.

∑

III. IV.

Tbn.

∑ ∑

Cor. (Fa)

I. II.

? ?

 #œ œ  #œ œ  #œ œ  #œ œ p pizz.

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

#w π

 œœ w

w ∑

∑



295

Fl.

Ob.

Cl. (Si b)

& &



w w p

p   ## & w p

 #œ #œ #w w w

 nœ œ  #

w w

 #œ ‹œ #w . ‹œ #w

w w

 #œ œ  # w w

 #œ #œ   w w

w w

w ‹ œ # œ w 

  w

w # œ œ ww

∑

III. IV.

∑

Tbe. (Fa)

∑

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

II.

Vle.

Vc.

Cb.

? ?

 #œ œ w

cresc.

∑

. #œ w

cresc.

>w.



∑

 œ. # œ. w

cresc.

∑

ww>

# œ ww

cresc.

> p

 n œ. œ.

∑

. . . . . . . . . . . . . œ. . œ. œ œ . . . . . . # œ # œ œ. œ. # œ # œ œ. œ. # œ œ œ. œ # œ œ œ. œ # œ œ œ œ # œ œ œ œ # œ # œ œ œ # œ # œ œ œ # œ # œ œ œ # œ # œ œ œ # œ œ # œ œ p cresc.

w  

#œ #w

.



∑



∑



∑

nw  œ. # œ. w  n œ. œ . p cresc. # œ. # œ. œ. œ. # œ. # œ. œ. œ. # œ. œ. œ. œ. # œ œ œ œ p

cresc.

œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ  œ0 Œ

pizz.

∑

307

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

Vln. II.

Vle.

Vc.

Cb.

∑

     ‹œ#œ

∑

> >

∑

> >

∑

> >

  œ # œœ œ œ œœ # œœ œ œ œœ œw  œ œ  œ œœ #œ . . . ... .. . . f . œ œ œ  #aœ.2 œ. # œ. œ. œ. œ. # œ. œ. œ. œ œ œ œ œ œ

 # œ. # œ.  

œ ∑ œ # œ œ∑ œ œ # œ œ I. # œ œ > > >

œ  œ # œ œ œ œ # œ œ œ  ‹œ #œ #œ

œ œ œ œ œ œ œ œ # # œœ œœ œœ œœ # # œœ œœ œœ œœ

 

p cresc.

∑

& & B ? ?

> f

  >

  

#œ œ œ œ #œ œ œ œ

∑

#œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ nœ œ w

 #

 # œ. œ.

∑ Œ œ > > > > œ  œ #

∑

œ > >œ œ > >œ œ > >œ œ > >œ œ # 

 #œ#œ  

Tbe. (Fa)

Timp.

 >

 #

III. Tb.

 >

III. IV.

Tbn.

 >

 

> ##   &  #

Cor. (Fa)

I. II.

 >

 #œ#œ  

 œ #œ w

 #œ œ #œ œ œ œ #œ œ œ œ f

#œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ nœ œ w f

 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 w

 nœ œ  #

 #œ #œ  

 #œ œ

 œ#œ w cresc.

 nœ œ  #

 #œ #œ  

 œ#œ w

 # 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 œ œ œ # œ œ œ œ

arco

cresc.

f f

319 Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

Ma 2

 #

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.



n



ten.

 #



 #œ œ #œ œ œ bœ œ bœ nœ #œ #œ #œ œ œ #œ #œ # œ # œ œ # œ # œ # œ œ # œ œ œ # œ # œ #œ ∑ ‹œ ∑  ∑ ƒ molto cresc. a2 ten. ten.    #  # ##   #  n      &  # ?

#aœ2 œ #ten. 



# œ. œ. # œ. œ. nten. 

. # œ. . # œ. ten.  ## œœ # œ ## œœ # œ #   # œ. œ. # œ. œ.  a2

molto cresc.

ten.

 #

œ œ n



ten.

molto cresc.

 #

ten. # œ. # œ. # œ. # œ. # 



ten.



 #

molto cresc.

# œ. œ. # œ. œ. ten. n 

molto cresc.



∑

? ?



 #



ten.



n



ten.

 #





 ƒ

œ œ œ bœ œ bœ nœ #œ #œ #œ œ œ #œ #œ  #œ œ œ #œ ‹œ #œ #œ #œ #œ #œ œ œ #œ #œ #œ #œ molto cresc. ƒ ten. ten. ten. œ œ œ œ nten.  0 1   #œ #œ #œ #œ  œ œ n  #œ #œ #œ #œ #  #œ #œ molto cresc. ƒ ten. ten.  ten. ten.   #œ #œ #œ #œ #  #œ œ #œ œ  #   œ œ #œ #œ #œ #œ #œ œ ƒ molto cresc. ten. ten.  ten. #ten.   #œ œ #œ œ    #   # œ # œ #œ #œ #œ œ #œ œ #œ #œ #œ œ ƒ molto cresc. molto cresc.

.

#œ

.

#œ

.

‹œ

∑



∑ 



∑

Vle.

∑

 #œ #œ #œ #œ . . . . 



∑





∑



 #

Cb.



II.

Vc.



ten.

molto cresc.

Cor. (Fa) III. IV.



∑

 #œ #œ

∑



#œ #œ #œ #œ

 0

∑

#œ #œ #œ #œ #œ #œ

#œ #œ #œ #œ 2

  



  0

#œ #œ

 #œ #œ  #œ #œ

329

Fl.

Ob.

Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

& & &

& & & ?

#  # œ. œ. # œ. œ. œ. # œ. w

 #œ œ w w

∑

 nœ œ  #



 #œ #œ 



∑

Vle.

? ?



∑

w w

∑



w w

 #œ œ w w

# # #  # œ. œ. # œ. œ. œ. # œ. w

Cb.

 # œ œ  # œ. # œ. # œ. # œ.

II.

Vc.

#  # œ. œ. # œ. œ. œ. # œ. w



> ƒ

>  ƒ ∑ ∑

# œ. # œ. # œ. # œ. 



w w

 a2 # œ. # œ. # œ. # œ. ƒ

 # 

∑

 œ œ # œ # œ 

#œ #œ #œ  # œ 

  #œ œ #œ œ

#œ #œ   #œ #œ

. . .   # œ. # œ # œ œ

. .  #œ œ

# œ #  # œ œ. # œ œ. œ. # œ. . .

.

# œ #  # œ œ. # œ œ. œ. # œ. . .

.

 #œ #œ #w

 nœ œ

 œ #œ w .

. 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

. .

w w



# œ. œ. # œ. œ. 

∑

#œ #œ  #œ #œ #œ #œ  #œ #œ

∑ ∑

∑



  #œ œ #œ œ



  #œ œ #œ œ

 #œ œ



 #œ œ #œ œ

 #œ œ #œ #œ 

 #œ #œ #œ #œ 

 œ # œ # œ # œ 

 #œ œ

  #œ œ #œ œ

#œ   #œ œ #œ

#œ #œ  #œ #œ



  #œ #œ #œ œ

 #œ œ

  #œ œ #œ œ

#œ   #œ œ #œ

#œ #œ  #œ #œ



  #œ #œ #œ œ

 #œ œ

339

Fl.

Ob.

Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &



#aœ.2 œ. # œ. œ. 

w w

w ## w & ?

a2 # œ. œ. 

 œ œ # œ. œ. # œ. œ.  œ œ  #œ œ #œ œ    œ œ a2  œ œ  # œ. œ. # œ. œ. 

n n œ bœ  # n œ nœ 



#.

#. dim.

œ œ œ b œ œ œ œ b œ œ œ œ b œ œ œ #  ..

#  ..

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

Œ  ..

dim.

#.

#  ..

Œ  ..

 #œ œ w

 #œ #œ  

 #œ œ

 # w

 # ∑

∑

 . # œ # œ   Œ

∑

∑ ∑



∑

 œ œ # œ # œ 

œ #œ œ  # œ 

#œ œ 

œ  #œ œ #œ œ  #œ œ #œ

 





#

 . # œ œ #  Œ 

œ  #œ œ #œ

# 



œ œ  #œ #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 b œ œ œ œ b œ œ œ œ b œ œ œ œ b œ œ œ . œ. . œ. . œ. # œ   #œ  #œ  #œ  dim.





. œ. # œ. œ.  # œ 



# œ. œ. # œ. œ.

œ  #œ œ  #œ œ  #œ











.

dim.



#



#



#



n.

 

b

 

b

 

 .. Œ  .. Œ  .. Œ





#

 

#

 



 

#



 

#





 

#





 

#



 



b



b





œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ

.

III.

  .

dim.

#  ..

œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ .



.

#  ..

.

dim.

Œ Œ

.

 

.

dim.

#  ..

dim.

.

dim.

Œ Œ

.

Œ Œ

 #œ œ  #œ œ  #œ œ . . . . . . dim.



 #œ œ  #œ œ  #œ œ . . . . . .





 

dim.

  # œ. œ. # œ. œ. # œ. œ. dim.

350

Fl.

Ob.

Cl. (Si b)

& &

#. #  ..

# . & # .

n.

n. Œ n .

.

Œ bw

. Œ . p

∑

Œ b  .. Œ b  ..

w ∑

Œ w

. . .  # œ œ b  .

b. Œ .

a2 Œ w

.

Œ b  ..

Œ b ww

III. IV.

.

 .. Œ  ..

∑

Tbe. (Fa)

 .. Œ

. Œ .

∑

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

? ? ?

#  ..

.

∑

  . .

Œ Œ

Vle.

 #œ œ . .

Cb.

II.

Vc.

 #œ œ . .

∑

nw p

Fg.

  ww π

∑

 

 

p p

  ∑

∑



 

∑

 

# ww π

∑

 

∑

π π

∑

œŒ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



 

 # œ œ.  # œ œ. b w . .

  ww

 

b.

F dim. Œ Œ

  ∑

b. œ w  p dolce

∑

.

∑

.

∑



p p p

 

 # œ œ  # œ œ  œ œ.  œ œ.  # œ. œ. # œ. œ.  . . . . . . p  # œ œ  # œ œ  œ œ.  œ œ.  # œ. œ. # œ. œ.  . . . . . . p

π π





 # œ. œ. # œ. œ.  π  # œ. œ. # œ. œ.  π

∑

363

Fl.

Ob.

∑

& &

∑

. œ w

∑

b 

∑

 b bw

∑

.

∑

n ww π

# & #

∑

III. IV.

∑

Tbe. (Fa)

∑

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

Vle.

∑

Vc.

Cb.

? ?

w ∑

∑

ww ∑

∑

II.

∑

  p

 

b ww

trem.

b. œ w

  . œ w

b. œ w F

  . œ w

b ww

ww@

trem.

ww@

w @

ww@

w w @

bw @ F F F

w @

w w @

  @ @  

379

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

∑

& ? &

Cor. (Fa) III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# # b ww

cresc.

∑

bw f

b ww

cresc.

∑

cresc.

∑

& & B ? ?

∑

cresc.

w bw @

bw bw

cresc.

w @

cresc.

b w@

cresc.

w f

b ww

∑

cresc.

∑

cresc.

n ww bw

∑

cresc.

ww f

cresc.

∑

w ww

ww b ww

dim.

# ww

b ww

dim.

b ww

dim.

w w

bw bw

dim.

b ww

b ww ƒ a2 soli bw  b . bœ f cresc. ƒ

∑

Ÿ~~~~~~~~~~~~~~~~~~~

F cresc.

bw f

cresc.

w w w w

bw bw @ @ f cresc. bw bw @ @ f cresc. bw f

cresc.

bw ƒ

dim.

# ww

  . œ bw 

. Œ .

dim.

   

∑

dim.

∑

w w

dim.

w dim.

∑

w w

w @

bw bw

b ww

@ b @  w

b w@

  w

ƒ ƒ ƒ

dim.

 

∑

 .. Œ

∑

 .. Œ

∑

p p

>

I. solo

∑



 

. œ w

>   p

∑

I. solo

. œ w





 

 .. Œ

∑

. Œ

∑

. Œ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 . Œ b w@

b w@

 . Œ n w@ .

ww @

∏

trem.

∏

trem.

∏

 .. Œ wtrem. w  @ . Œ w . Œ w

395

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

∑

& &

∑

Tbe. (Fa)

∑

III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑ ∑



∑



 

  p I.

. œ w

 

∑

 

∑

. œ w

 

∑

    p cresc. ∑



∑

b w@

 

cresc.

 w    p cresc. F a2

∑

. œ w ∑

∑

cresc.

w w

cresc.

w w

. œ w

∑

  w

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

∑

  p

    p cresc.



 a2

∑



. œ w

∑

I. solo

. œ w

  π

∑

III. IV.

Tbn.

∑

# #  I.   & π I. . œ w ?

Cor. (Fa)

I. II.

n w@

ww @

poco a poco cresc.

cresc.

≥

œŒ

œŒ

ww @

cresc.

≥



cresc.

. œ #  Z

≤ . œ # 

ww @ F cresc. . œ #    F

 

.

ww @

. œ

. œ . œ

ww @ # 

cresc.

# 

. œ # 

409

Fl.

Ob.

Cl. (Si b)

Fg.

& &

œ > œ>œ œœ > œ>œ œœ > œ.œ œ>.œ œ.œ œ>.œ œ.œ > >œ

œ  œ

œ > >œ œ  œ

III. IV.

Tbe. (Fa)

Tbn. III. Tb.

Timp.

I. Vln.

∑

œ  œ œ > >œ

Œ #  œœ œœ #  œœ > > > > f cresc.

a2 œ  œ. >œ. œ. >œ. œ. œ >

œœ #  > œ. >œ. œ. >œ. œ. a2



∑

? & &

Vle.

Cb.

∑

œ  œ œ œ œ œ

∑

II.

Vc.

∑

ƒ > > . >. . >. . > > > # # œ  œœ œœ  œœ œœ  œœ œœ œœ œœ œœ & ƒ > >œ œ > >œ œ > a.2 >. . >. . œ #œ œ œ œ ? œ  œ œ  œ œ 

Cor. (Fa)

I. II.

∑

ƒ œ. >œ. œ. >œ. œ.

œ >

cresc.

I. II.

∑

? ?

Œ#œ #œ œ œ œ œ. œ. œ. œ. œ. ƒ > >

œ Œ Œ œ. œ. œ. œ. œ. > >

#œ œ œ #œ œ œ #œ œ œ œ œ œ # œ. œ. œ. œ. # œ. Z Z Z Z Z ƒ #œ œ œ #œ œ œ #œ œ œ œ œ œ # œ. œ. œ. œ. # œ. Z Z Z Z Z ƒ ≥ ww ww œœ Œ # œ. œ. # œ. œ. œ. œ. # œ. @ @ Z Z Z ƒ . . . . . . #œ œ #œ œ # œ œ # œ œ œ œ # œ.

œ œ

œ œ#œ œ Z

œ œ

œ œ#œ œ Z

œ œ œ œ

. . n œ. œ. œ. œ. # œ. œ n3œ œ œ 3œ . . . œ œ . œ. ten. œ # œ #œ œ œ œ œ #œ œ nœ  œ nœ ten.

œ.  œ. 

ten.

œ #œ œ nœ œ œ œ œ œ œ #œ œ nœ œ n œ. œ. # œ. œ. œ. # œ. n œ. œ. œ. . . œ Z 3

. œ. . n œ. œ. œ. œ. # œ. œ n3œ œ œ 3œ . . . œ œ # œ n œ #œ œ œ œ œ #œ œ nœ œ Z . . . . œ n œ. œ. # œ. œ. œ # œ. œ. œ. œ œ # œ n œ œ œ œ œ œ œ # œ œ n œ

œ. ten.  œ

3 3 Z ƒ . . . . œ. # œ. œ n œ œ œ œ œ œ œ # œ œ n œ # œ. œ. # œ. œ. œ. œ. # œ. œ. ten.  œ œ. œ. # œ. œ œ # œ. œ. œ œ œ

419

œœœ œ

œœœœ œ œ œ œ œœ

œ # 

n



∑



∑



∑

#



n



III. IV.

∑

#



n



Tbe. (Fa)

∑

b  #  ƒ

∑

III.

∑

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln.

II.

Vle.

Vc.

Cb.

? ?



∑

œ. œ.

  œ œ œ b   œ œœ œœœœœ

œ œ œ. . . œ. œ. œ. œ. œ.



#

a .2 Œ œ œ. œ. œ. œ œ . . œ. #  n  ƒ a2

 

b



ƒ ∑

  n

 b

     

œœœœ œ œ œ œ œœ

œ # 

n

œœœœœ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ > > > œ œ œ. œ. œ. # œ. . œ. œ. œ. œ œ œ œ œ

œ # ≥ 

n

≥

≤3

œ œ œ œœœœ œœœœ œœœ œœœ œ > > >œ >œ œ œ œ œ. œ. œ. # œ. œ. œ. œ. œ. 3 3

≥

≤3

œ œ œ œœœœ œœœœ œœœ œ. œ. œ œ œ œ œ œ . . > > >œ >œ œ œ . . œ. # œ. œ. . 3

œ œ œ >œ œ œ œ >œ œ œ œ > œ œ œ . œ. œ. œ. œ. œ . . œ œœœœœ œ > œ. œ. # œ . 3 œ œ œ >œ œ œ œ >œ œ œ œ > œ œ œ . œ. œ. œ. œ. œ . . œ œœœœœ œ > œ. œ. # œ . 3

3 3

≥

œ. œ. œ. œ œ œ. œ. œ. #  n  . . œ. œ. œ. œ. œ . œ. œ. œ. #  n  œ. œ. œ. œ. œ n . œ. œ. œ. # 



∑

 

 b  b  b

428

Fl.

Ob.

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

& & &

? &

   

##  

 #  

III. IV.

 #

Tbe. (Fa)

 # 

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? ? ?

& & B ? ?

  # 

 n

b  

  # 

∑

Z Z

# 

n  

Z Z

 #  Z

∑

     #  #  #

# 

# w . œ ww Z

w w   #. œ w

#  Z

∑

#  Z

 

∑

  # ≤ 

 

  # ≤ 

≤ 

≥

≤ ≥ # n

≤ # 

# n

Z Z

# n

w w

#. œ w Z b  .. Z b. #.

n œœ ww

 œŒ

nœ w

œ w

 b 

# 

n



   n

# n

 b

 

# 

n 

b  Z

 

# 

n 

 

b  # 

  #  n 

 

  b

b 

III.

. œ w

Z b. nœ w

∑ #  # 

. œ w

 

∑

Z Ÿ~~~~~~~~~~~~~~

 

Z #. œ w

# n

Z Z

n



 b  

  #  #  #. œ w

  #  

. œ w

 

Z b ww

∑

. . # œ. œ.   #œ œ F cresc. a2 . . œ . œ.  #œ #œ  F cresc. I. . . # œ œ # œ. œ.   cresc. F

nw Z

 

w n 

∑

cresc.

∑

 b bw   b 

∑

 

∑



n  n 

 b  b  b

         

Z ∑

Ÿ~~~~~~~~~~~~~~~~~~~~~

w p

  # œ≤. œ. 

 

b  Z b  Z b  Z

cresc.

. .  #œ œ cresc.

w w 

 #

n #

 #

n #

cresc.

≥ . .  # œ. œ # œ. œ  cresc. F

F F

cresc.

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

& &

# œ. œ. # œ. œ. 

440

∑ I. # œ. œ. 



cresc.

. . . .  #œ œ #œ œ 

# # a2 # œ. œ. # œ. œ.  & ?

. . . . I.  #œ œ #œ œ 

Cor. (Fa)

. .  # œ. œ. # œ œ 

.  # œ. œ. # œ. œ a2

ƒ .  # œ. œ. # œ. œ a2

 # œ. œ. # œ. œ. 

. . . .  #œ œ #œ œ 

 #œ œ #œ œ 



. .

∑

. .  # œ. œ. # œ œ 

. .

∑



∑

a2 . .  # œ. œ # œ. œ  f cresc.

III. IV.

Tbe. (Fa)

∑

I. II. Tbn. III. Tb.

Timp.

I. Vln.

? &

II.

Vle.

Vc.

Cb.

? ?

III.

# œ. œ. 

w w 

. . . .  #œ œ #œ œ 

. .  # œ. œ. # œ œ 

w w 

. . . .  #œ œ #œ œ 

w w 

. .  # œ. œ # œ. œ 

w w 

. . . .  #œ #œ #œ #œ 

n #

 b

n b

 b

n #

 b

n b

 b

. . . .  #œ œ #œ œ 

. .  #œ œ



. . . .  #œ œ #œ œ 

 

ƒ ƒ

 

. . . .  #œ œ #œ œ 

a2 . . . .  #œ œ #œ œ  ƒ

w w

w ∑



w ∑ 



œŒ œŒ  ƒ

.  # œ. œ. # œ. œ 

w w 

. .  #œ œ



F cresc. ƒ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

. . . .  #œ œ #œ œ 

 

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

w w

w ∑ 

. .  #œ œ



œŒ 

w ∑ 



œŒ 

. . . .  #œ œ #œ œ 

 œŒ

. .  #œ œ

œ Œ # œ. œ. # œ. œ. 

. . . .  #œ œ #œ œ 

ƒ ƒ

n ƒ n ƒ



450

Fl.

Ob.

Cl. (Si b)

& &

# œ. œ. . . # œœ œœ

 

# œ. œ. . . # œœ œœ

 

# œ. œ. . . # œœ œœ

 

# œ. œ. . . # œœ œœ

Q 

 



 

   

œ. œ. œ. œ. œ. œ. œ. œ.  ## # œ œ  # œ œ  # œ œ  # œ œ    &

 

∑

a2 œ # œ  œ. # œ.  œ. # œ.  œ. # œ.    œ. # œ.

 

∑

# œ. œ.  # œ. œ.  # œ. œ.  # œ. œ.   n 

 

∑

III. IV.

# œ. œ.  # œ. œ.  # œ. œ.  # œ. œ.   

 

∑

Tbe. (Fa)

b œœ œœ  b œœ œœ  b œœ œœ  b œœ œœ   #  . . . . . . . .

#  

∑

Fg.

I. II.

Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

œœ # œœ  œœ # œœ  œœ # œœ  œœ # œœ    . . . . . . . .

œ. œ.  œ. œ.  œ. œ.  œ. œ.   œ Œ œ Œ œ Œ

II.

Vle.

Cb.

 

Vln.

Vc.

 b œ. œ. b œ. œ. b œ. œ. b œ. œ. œ #œ  œ #œ  œ #œ  œ #œ   

? ?

# œ. œ.

# œ≥. œ.

 

Q ≤

≥ ≤

≤

≥ ≤

# œ. œ.  # œ. œ.  # œ. œ.  # œ. œ.   ≤ 

≥ ≤  

  

 

  

 

b œ. œ.

œ. # œ. œ. # œ.

 

b œ. œ.

n œ. # œ. n œ. # œ.

 

b œ. œ.

n œ. # œ. n œ. # œ.

 

b œ. œ.

n œ. # œ. n œ. # œ.

 

≥

≤ ≥

     b  n    #      b b n    #  >  > π div.

≥ ≤ ≥    

 b > b   n  >   b π > ≥ ≤ ≥ >         # n        π

>    b      b  b     > div.

   

∑

> > > b n  b n  > > >

> >   b    > > > >   

>  b  b    > b  b    b > > ∑

∑

> > 

  

> > ∑

464

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

∑

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

 b #  p >    >

 

 >

 b  n   > >   ##  nn   

 #

bœ nœ bœ nœ  b >œ n œ  b >œ n œ  # >œ œ n  # >œ œ ## œœ œœ b œ n œ ## œœ œœ b œ n œ

œ bœ nœ œ bœ nœ > >  #  b  b >œœ n œœ b  b >œœ n œœ b  # œœ œœ b n  # œœ œœ # œ œ œ # œ œ œ   cresc.

   

 >œ œ  >œ œ b  # >œœ œœ b n  # >œœ œœ n # œ œ n œœ # œœ n # œ œ n œœ # œœ  œ œ  œ œ cresc.

> > > bœ œ b œ œ b  œ b œ b  n >œ b œ   nœ bœ  œ bœ ∑ ∑ II.: F p cresc. cresc.

∑

Cor. (Fa) III. IV.

∑

 # >

∑

∑ ∑

 b >œ œ  >

>œ œ œ œ



>œ œ œ œ



>œ œ œ œ



>œ œ œ œ

F F

∑

>œ. œ. b  ∑

∑

> >

 

& & B ? ?

# # > >

  >

> >    

  p

 >           p > >

> >

> > > >   

  

> > ∑

 

> > ∑

  

  >

 n  >       >   # n

 b  b   p > >  b

  

 

 #  #          

    b > b   >  b

 

> bœ nœ bœ nœ >  cresc. b  >

 

cresc.

 >  

cresc.

> bœ nœ bœ nœ >  b  >

  

 

 >  

cresc.

> > # œ œ n  # œ œ # œ œ bb œœ nn œœ # œ œ n  # œ œ # œ œ   # œ œ bœ nœ  >   >        b  > b  >

  

b  >

 

b  >

 

> >  b œ œ  b œ œ b  œ b œ b  n œ b œ  >  >     cresc. > >  b œ œ  b œ œ b  >œ b œ b  n >œ b œ cresc.

cresc.

∑

  

cresc.

∑

>œ. œ. b  F



≥ >   #    # # >  >  p >  b > b 

 b >œ œ 



Z n



 

Z Z

 bœ œ >  bœ œ >



Z n



 

 bœ œ >  bœ œ >

476

Fl.

Ob.

Cl. (Si b)

Fg.

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

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & &

a2 #œ œ bœ nœ #œ œ bœ nœ w #œ œ bœ nœ #œ œ bœ nœ

b



stretto



 b

con impeto

w w

nœ #œ nœ #œ # # n # œ œ œ œ # œ œ œ œ n ww

# ww

 #  #

   

  nœ  œ œ  œ   nœ  œ œ  œ

ƒ ƒ

 b >œ œ  b >œ œ   bœ œ #  #  > ƒ

>œ œ aœ2  œ œ œ ƒ a >œ œ 2 œ œ bœ  œ

>œ œ  œ œ  >œ œ  œ œ  ∑

∑

w w



w w

# œ œ b œœ n œœ # œ œ b œœ n œœ b ww







. . . . . . . .  con impeto 

con impeto



con impeto



con impeto

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

. . . . . . . .  con impeto b œœ n œ œ œœ œœ nb œ œ œœ

œ  œ œ  œ œ  œ œ  œ œ  œ œ  œ œ  œ bœ  œ œ b œ

∑

soli

   

œ  œ œ  œ œ bœ œ œ œ bœ œ œ

∑

  b. œ w

∑

 

. œ w w

. ƒ

w w

œ b ww



w w



.

œ w w

w w

# œ œ b œ n œ # œ œ b œ n œ b ww        ƒ     w     

w bw 

w nw 

w w 

>. . >. .  bœ œ  bœ œ #w ƒ III.

∑

Z Z

   

Z Z

Z  Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~

∑

    Z

w w 

bœ  w Œ #  # w  ƒ

w w 

# ww



w w 

# ww



ww  w w 

ƒZ

œ. b œ. œ. œ. œ. b œ. œ. œ.

stretto

 con impeto œ. b œ. œ. œ. œ. b œ. œ. œ. 

con impeto



con impeto

œ. b œ. œ. œ. œ. b œ. œ. œ.

 bœ œ  bœ œ > > #œ  œ œ # œ #œ  œ œ # œ œ  œ œ  œ œ  œ œ  œ n  ƒ

 bœ œ  bœ œ  > > #w ƒ

# w

w



 con impeto

n w 

w

con impeto



488

 b

œ  œ œ  œ œ. œ. œ. œ. œ. œ. œ bœ œ œ œ bœ œ œ bœ nœ #œ œ #œ œ 

Fl.

Ob.

Cl. (Si b)

Fg.

. . . .



Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& & B ? ?

∑

w w

~~~~~~~~~~~~~~~~~~~~~~~~~

œ. œ.

 # # œœ œœ # # œœ œœ  . . . .

∑



∑



∑



œ. œ.

# œ. œ. # œ. œ. 

 œ. œ

œœ. œœ. # œœ. œœ. n œœ. œœ. œœ. œœ.  #  

 œœ .. œœ

# œœ. œ. # œœ. œ 

. . . . . . . œ. .œ b œ. œ. œ. œ. b œ. œ. œ. œ œ œ œ œ œ œ

 w



 



œ. œ. œ. œ. œ. œ.

 

œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ.

 œœ .. # œœ J



œ. œ.

œ. œ. 



œ. œ.

œ. œ. 

 œ. œ

œ. œ.



œ. œ.

œ. œ. 

 œ . œJ

œ. œ.



. . œ. œ œ. œ 



III.

œ. œ.

. .

. œ œ.  œ

 œ . œJ

. .

 # # œœ œœ # # œœ œœ  . . . .

# œœ. œœ. # œœ. œœ.



. . œ. œ œ. œ 



œ. œ. 



œ. œ.

 

œ. œ. 

R . . . . œ. b œ. œ. œ. œ. b œ. œ. œ. b œ. n œ. # œ. œ. # œ. œ. œ. œ. # œ. œ. # œ. œ # œ. œ # œ. œ. # œ. œ. # œ. œ # œ. œ # œ. œ. # œ. œ.  . . . . . . œ. œ. œ. b œ. œ. œ. œ. b œ. œ. œ. œ # œ œ œ œ # œ

∑



œ. n œœ. œœ. œœ. œœ.  œ

. œ œ. œ

 # # œœ œœ # # œœ œœ  . . . .

# œœ. œœ. # œœ. œœ.

œ. œ. 



∑



œ. œ. œ. œ. œœ œ œ 

# œœ. œ. # œœ. œ. œ œ  

œ. b œ. œ. œ. œ. b œ. œ. œ. # œ. œ. œ. œ. # œ. œ. œ œ . .

Tbe. (Fa)

III. Tb.

œ. œ. œ. # œ. œœ œ œ 



. . . . # œœ œœ # œœ œœ  



Tbn.



œ. œ. # œ. œ. # œ. œ.

œ. œ. 

œ. œ.

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

III. IV.

I. II.

. . . .

œ  œ

Cor. (Fa)

∑

. . # # œœ nb œ œ œœ œœ nb œ œ œœ n œœ # œœ & . . . . . . . . œ  œ œ. œ. ? œ  œ œ  œ œ œ a2

I. II.

 b R

 # œœ .. # œœj  œœ . œ . #œ J

 œ . œJ ∑

 œ. œ J

. . œ. œ. # œ. œ # œ. œ œ. œ.

œ. œ. 

 œ. #œ

œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ œ œ. œ.

œœ œ. œ. 

 œœ .. œœ  J

œ. œ œ. œ. œ. œ. œ. œ. .

 œ. œ.

 œ . œJ

œ. œ œ. œ. œ. œ. œ. . œ. œ. œ œ. œ. œ. œ. œ. . œ.

œ. œ œ. œ. œ. œ. œ. œ. .

 œ. œ.

 œ . œJ

498

Fl.

Ob.

Cl. (Si b)

Fg.

& &

 œ. œ.  # œ. œ. # œ. œ.  . .

 œ œ  œœ. œœ. œœ. œœ.   .

. . . # # #  œ n œ  œœ. œœ. & . . . . . . œ n œ œ ?   œ œ . . . .

œœ. œœ. 

 œ. œ

 œ. n œ. 

œ. œ. 

œ. œ. œ.

 œœ .. œœ

 œœ. œœ. 

œœ. œœ. 

 œœ .. # œœ #  aœ.2 n œ. 

œ. œ. 

œœ. œœ. œœ. b b  Œ

J J J

. œ œ. a2 œ

 œ . œJ

.  œ œ. 

œ. œ. 

. .



Z œ. œ. œ. Œ n b  Z œ. œ. b œ. Œ Z



 n   n  



. . œ. œ œ Œ b 



 

.  œ. œ 

œ. œ.

œ. œ. 

 œ. œ

.  œ. œ 

. œ. œ 

III. IV.

.  œ. œ 

œ. œ.

œ. œ. 

 œ . œJ

.  œ. œ 

. œ. œ 

. . œ. œ œ Œ b 



Tbe. (Fa)

 # œœ .. # œœj # #  œœ. œœ. 

œœ. # œœ. 

œœ. # œœ. œœ. Œ 

 # 



I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

 œ œ # #  œœ. œœ.  # # œœ. œ. # # œœ. œ. 

. #  œœ n œœ. 

.  œ n œ. 

? & & B ? ?



 Œ œ œ. Œ œ œ. . .

 

œ. œ. 

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

œ. œ.

œ. œ. 

 œ. œ  n œ. 

œ œ œ. œ.

œœ  œ. œ. 

.  œ n œ.  .  œ n œ. 

œ. œ. œ. œ.

 œ. œ.  œ. œ.

 œœ . œ  . #œ #  J  œ . œJ ∑

 œ. œ

n 

.   œ n œ. 

. .



œ œ   

. .



œ œ   

Z Z

. .

œ œ 

 Œ œ œ Œ Œ œ œ Œ Œ œ œ Œ Œ œ .

Z œœ. b b    Œ Z . œ Œ b    b   Z Ÿ~~~~~ œŒ  œ Œ œ Œ Z œ.    Œ Z œ.    Œ Z œ. Œ b    Z

 œ. œ. 

œ. œ. 

œ. œ.

 œ. # œ #  œ. œ. 

œ. œ. 

œ. œ.

œ. œ. 

œ. œ.

.  œ n œ. 

œ. œ. 

œ. œ. œ. Œ b 

J J

 œœ .. œœ  J  œ . œJ  œ . œJ



.  œ n œ. 

œ. œ. 

œ. œ. œ. Œ b 



 

.

n ww

 

 ..

# # # ww

 

 ..

 

.

 

.

Œ .

 

.

Œ .

  

. .

Œ  ..

508

Fl.

Ob.

Cl. (Si b)

Fg.

I. II.

& ? &

Cor. (Fa)

III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

n ww

    

.

∑

Œ  ..

∑

.

w Œ w

 ..

Œ w

.

Œ w

.

Œ .

Œ ww

 ..

Œ w

. .

 .. . Œ

∑

 ..

∑

 ..

∑

 ..

∑

 ..

 

.



.

   

. .

 .. Œ

 

.

 

.

Œ Œ

.

. ∑

Œ .

.

Œ w

.

Œ ww

. .

Œ w

.

Œ  ..

 .. Œ

Œ .

.

∑

.

∑

ww >





ww> >



ww> >





 

 

ww>

ww> >

≥

≤

 





ww> >

∑

 

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

 ..

.

∑

.

    

 

Ÿ~~~~~~~~~~~~~~~~~





 

ww >

ww > ww > w

ww w

≥ ≥

ww >

w >

≤ ≤

≥ ≥



  

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

SOURCES

CRITICAL REPORT

Sigurd Slembe, Op. 8 A Score, autograph, printing source B Printed score, first edition (E.W. Fritzsch) BPTS Printed parts, first edition (E.W. Fritzsch) C Printed score (C.F.W. Siegel) CPTS Printed parts (C.F.W. Siegel)

specific primary source is defined for each work in JSV. This primary source is the point of reference in the list with the header ‘Editorial emendations and alternative readings’. The comments in this list refer to either revisions or variants. Comments about variants always start with a source letter. Any comments NOT starting with a source letter refer to revisions of the primary source.

Source A Score, autograph N-Onm, Mus.ms. 551 Title page: Sigurd Slembe / Symphonische Einleitung zu Bjørnstjerne Bjørnsons / gleichnamigem Drama / von / Johan S. Svendsen / Op. 8. / Leipzig / November 1871 Completion date at the end of the score: Leipzig den / 4de november / 1871 / JSvendsen In the protocol of the library: Kjøp fra Leo Liepmannssohn, Berlin. 2/2-29 [Purchased from Leo Liepmannssohn, Berlin. 2/2-29] Also a small sheet of paper inside the score, typed: Op. 8 Sigurd Slembe. Symphonische Einleitung (Kjøpt fra Liepmannssohn) 26.5x34.5 cm. 34 pages, 18 hand-ruled staves Pagination: 1–34 Written in ink (Johan Svendsen) Additions in pencil and in blue and red crayon

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 B Printed score, first edition: E. W. Fritzsch, Leipzig 1872 Title page: Herrn Legationsrath Domherr / Dr. A. Keil. / Sigurd Slembe. / Symphonische Einleitung zu Bjørnstjerne Bjørnson’s / gleichnamigem Drama / von / Johan S. Svendsen. / Op. 8 Pl. no. E. W. F. 195 L

Source BPTS Printed parts, first edition: E. W. Fritzsch, Leipzig 1872 Title page: Sigurd Slembe. / Symphonische Einleitung zu Bjørnstjerne Bjørnson's / gleichnamigem Drama Pl. no. E. W. F. 196 L

Source C Printed score: C.F.W. Siegel’s Musikalienhandlung (R. Linnemann), Leipzig 1903 Title page: Sigurd Slembe. / Symphonische Einleitung zu Bjørnstjerne Bjørnson's / gleichnamigem Drama Pl. no. 13455 Reprint of the Fritzsch edition

Source CPTS

EVALUATION OF THE SOURCES

Printed parts: C.F.W. Siegel’s Musikalienhandlung (R. Linnemann), Leipzig 1903 Title page: Sigurd Slembe. / Symphonische Einleitung zu Bjørnstjerne Bjørnson’s / gleichnamigem Drama Pl. no. 13456 Reprint of the Fritzsch edition

Johan Svendsen’s autograph score, Source A, provided the printing source for the first edition and has proof marks in pencil and in red and blue crayon by Svendsen himself. The majority of the markings are in blue crayon. Similar to many other autograph scores, Svendsen has added many dynamic markings, tempo indications, articulations, slurs, ties and pitch corrections in blue. All these markings were incorporated into the first edition. A few proof marks in red crayon concern minor details such as the addition of cautionary accidentals. It is likely that these were added at a late stage, but before the actual printing. Some of them are quite significant, however, such as a number of pitch emendations. All of them were taken into account in the first edition. One of the markings in red indicates 8va ad libitum in Trombone III. from b. 163. Since this type of marking represents a more creative kind of revision, the red markings were probably also added by Svendsen. The few pencil markings made by the composer mainly consist of additional staccatos and marcatos, such as the marcatos in bb. 7–8, 462–465 and 516–517. These additions were not merely based on analogy, but concern creative nuances. All these markings were included in the first edition. Additionally, the autograph score contains publisher’s markings in pencil and in red and blue crayon concerning page distribution, optimization of staves, etc. The pencil markings are quite extensive. An empty stave for Piccolo is crossed out in pencil throughout the score. An empty stave above the strings has been similarly marked as deleted. The first edition of the score, Source B, was very carefully prepared, with few misprints. The most significant deviations from the printing source are a number of added articulations and dynamics based on analogy, probably approved by Johan Svendsen. Sources B and C are identical. When publisher Siegel took over the Fritzsch company, Fritzsch’s plates were reprinted with new covers. We have used Source C, the Siegel score, as our principal source. The parts, Sources BPTS and CPTS, are also identical, printed from the same plates. Although some articulations and dynamic markings found in the printed score are missing in these parts, they were probably based on the printed score as a source. It is possible that the wind parts were prepared before the final adjustments to the score had been made. While the printed score has accents in all the wind instruments in bb. 516–517, they are lacking in all the wind parts. These accents were added in pencil in the manuscript score, perhaps a last-minute addition or proof before the score went to print. Interestingly, a few added fingerings and bowings in the printed parts are found neither in the manuscript nor in the printed score. We have considered these markings as additions sanctioned by Svendsen, and have included them in this new edition. All these additions are documented in the list of editorial emendations and alternative readings.

Printed arrangements by others: Score for piano four hands, arranged by Aloys Reckendorf Copyright 1872 by E. W. Fritzsch, Leipzig Pl. no. E. W. F. 197 L Score for piano four hands, arranged by Aloys Reckendorf Copyright 1903 by C.F.W. Siegel’s Musikalienhandlung (R. Linnemann) Pl. no. 13457 Reprint of the Fritzsch edition

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Comments considered to be of particular importance by the editors have bar numbers in bold type. Primary source: E

Vc.

A: tie marked in red crayon

112–113

Vc.

A, CPTS: tie

113

Cb.

pp added by analogy with Vc. and as in A

136–137

Vle.

fingerings added as in CPTS

137–138

Fl.

CPTS: slur from b. 137 note 2 to b. 138 note 3

146

Vle.

fingering added as in CPTS

Vln., Vle.

added as in CPTS

149

Tba. I

A: note 2: #? in blue crayon, CPTS: #

Vln., Vle.

added as in CPTS

150

Vle.

fingering added as in CPTS

Vln., Vle.

added as in CPTS

155

Timp.

Vln. I, Cb.

CPTS: note 6: stacc.

ff added by analogy with b. 83, the other parts, and as in CPTS

9–16

Vln. I

fingerings, string indications and bowings added as in CPTS

159

Fg.

note 3: cautionary accidental added

159

Vle.

fingering added as in CPTS

Vln. I

o emended from 0

163

Cor. III

CPTS: ff

Fg.

CPTS: slur ends at note 4; note 4: ten.

166

Vle.

fingering added as in CPTS

Vle.

CPTS: note 2: ten.

177

Cor.

a 2 added

Vc.

CPTS: note 4: ten.

206

Cl. I

CPTS: slur begins at note 1

Cor. III

222

Fl. II

CPTS: end of slur on this note

Cor. IV

ten. added by analogy with b. 22

227

Vln. I

A: slur begins here, not in b. 40

281

Ob. I

fz added by analogy with Ob. II

Fg. I

CPTS: mf

281

Tba. I

fz added by analogy with Tba. II

Vln. II

297–298

Vln. I

stacc. added

Fg. I

CPTS: slur ends at note 1; A: unclear

297–302 Vc.

56–57

Timp.

tie added as marked in red crayon in A and as in CPTS

o added by analogy with bb. 295–296 and as in A, CPTS

303

CPTS: >

tutti

A: molto crescendo e accelerando

304–306 Vc.

o added by analogy with b. 303 and as in CPTS

Vln. II

CPTS: notes 2–3: stacc.

305

Vln. I

stacc. added by analogy with Vle.

Timp.

stacc. added by analogy with b. 69 and as in A

307

Cl. II

CPTS: mf

Vle.

note 1: > added by analogy with the other str.

310

Fg.

stacc. added by analogy with Cl. II

Ob. I

fz added by analogy with Ob. II

312

Fg.

stacc. added by analogy with Cl. II

Tba. I

fz added by analogy with Tba. II

315

Ob. II

Vln. II

added by analogy with Vln. I and as in CPTS

f added by analogy with the other parts and as in CPTS

316

Cl. I

CPTS: note 3: stacc.

Vle.

added by analogy with Vln. I and as in CPTS

318

Ob. I

f added by analogy with the other parts and as in CPTS

91–92

Cor. I/II

CPTS: no slur across this barline (marked in red in A)

322–323

Cor. I/II

incomplete tie completed

325

Vc., Cb.

ten. added by analogy with Vle.

dim. added by analogy with the other str. and as in A

326–331

Vle.

fingerings added as in CPTS

336–337

Cl., Fg.

incomplete slur completed as in A

Vln. I

added by analogy with b. 22

added as in CPTS

Vln. II

Instr.

Bar

Comment

111–112

added as in CPTS

343

Cl. I

cautionary accidental added

343

Cor. I

CPTS: ff

397

Cor. I/II

CPTS: Solo

398

Ob.

p added by analogy with the other parts and as in CPTS

399

Fl.

p added as in A, CPTS

402

Ob. II

CPTS: mf

405–406

Vln.

bowings added as in CPTS

411

Vle.

418

Vln. I

CPTS: note 6: stacc.

423

Vln.

bowings added as in CPTS

426

Vln. II, Vle.

429–431

Vln., Vle.

bowings added as in CPTS

431

Tbe.

fz added by analogy with Cor.

432–433

Timp.

tr and trill extention added as in A

437

Fl. I

CPTS: f (not fz)

438

Vln. I, Vle.

bowings added as in CPTS

441

Fl.

cresc. added by analogy with the other parts

451–453

Vln. I

bowings added as in CPTS

454–457

Vln., Vle.

bowings added as in CPTS

466

Vln. I

468

Cb.

> added by analogy with the other str. and as in A

472

Fg. II

mf added as in CPTS

476–477

Fg.

> added by analogy with bb. 474–475

478

Tbn. I/II

soli emended from solo

486–489

Ob. II, Cl. II

stacc. added by analogy with Cor. III/IV

506

Vln. I

note 1: stacc. added by analogy with the other str.

516

Ob.

a 2 added

516–517

Winds

CPTS: no >

516–518

Vln., Vle.

bowings added as in CPTS

added as in CPTS