Originalverker for strykeorkester by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Originalverker for strykeorkester Original Works for String Orchestra

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-III/1

N.M.O. 14164A

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: Gunnhild Wiggen Sponsored by: Kulturrådet (Arts Council of Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14164A /ISMN 979-0-065-14714-7) For sale Parts (N.M.O. 14164B /ISMN 979-0-065-14715-4) For sale © 2018 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler

General preface Preface Facsimiles

I V XV

ORIGINALVERKER FOR STRYKEORKESTER I Fjol gjætt’e Gjeitinn To islandske melodier I. Maestoso II. Moderato To svenske folkemelodier «Allt under himmelens fäste» «Du gamla, du friska, du fjellhöga nord»

Forkortelser Kritisk rapport Addenda, første versjon av To svenske folkemelodier (1876)

1 9 11 17 20

24 25 33

I V XV

ORIGINAL WORKS FOR STRING ORCHESTRA I Fjol gjætt’e Gjeitinn (Last Year I was Tending the Goats) 1 Two Icelandic Melodies I. Maestoso 9 II. Moderato 11 Two Swedish Folk Melodies ‘Allt under himmelens fäste’ 17 ‘Du gamla, du friska, du fjellhöga nord’ 20

Abbreviations Critical report Addenda, first version of Two Swedish Folk Melodies (1876)

24 25 33

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

ohan Svendsen (1840–1911) was one of the pioneers of ‘music for large string orchestra’, and all of his first performances in the genre were part of the symphonic programmes he conducted in Christiania20 (Oslo) between 1872 and 1876. Svendsen’s good friend Edvard Grieg (1843–1907) was also staying in Christiania in the early part of these years, and in 1880, when Grieg wrote the first in a series of works for large string orchestra, Two Elegiac Melodies, Op. 34, he was probably inspired by Svendsen’s many contributions to the genre. Grieg followed the same basic pattern as Svendsen: presentation of a folk melody, followed by one or more variations. That same year, Pyotr Ilyich Tchaikovsky (1840–1893) composed his Serenade for Strings in C major, Op. 48, while Antonin Dvořák’s (1814–1894) Serenade for Strings, Op. 22, had been written five years earlier. Svendsen also made string orchestra arrangements of three works by other composers (see JSV edition NMA-JS-III/2). In their book on Svendsen,21 Finn Benestad and Dag Schjelderup-Ebbe list opus numbers for three of the works in the present edition: Two Swedish Folk Melodies is listed as Op. 27, Two Icelandic Melodies as Op. 30, and I Fjol gjætt’e Gjeitinn (Last Year I was Tending the Goats) as Op. 31. The authors probably based their information on the opus lists in Gurvin and Anker’s music lexicon,22 where we find the same numbering. In addition to several other sources, Svendsen’s own work list from 1911 assigns Op. 27 to the Wedding Cantata, Op. 30 to the Holberg Cantata, and Op. 31 to De forenede Sangforeningers Hilsen til det danske Kongepars Guldbryllup (Salute by the Joint Choral Societies on the Golden Wedding Anniversary of the Royal Danish Couple). Without any source evidence, Gurvin removed these three incidental works from the opus list and replaced them with the three pieces for string orchestra. However, in his work list for the 1965 edition of Musik in Geschichte und Gegenwart,23 he emends the incorrect numbering by placing the compositions under the heading ‘Bearbeitungen für Streichorchester’ and omitting the opus numbers. Notwithstanding these changes, Benestad and Schjelderup-Ebbe chose to maintain their original opus numbering. The Johan Svendsen’s Works edition does not assign opus numbers to these string orchestra works, only JSV numbers.

FORORD

ohan Svendsen (1840–1911) var en pioner innen «musikk for stort strykeorkester». Alle urfremføringene hans i denne genren var deler av symfoniske program som Svendsen dirigerte i Christiania1 (Oslo) i perioden 1872–1876. Svendsens gode venn Edvard Grieg (1843–1907) var også i Christiania i første del av dette tidsrommet. Da Grieg komponerte To elegiske melodier, op. 34 i 1880, som det første stykket i rekken av egne verker for stort strykeorkester, var han høyst sannsynlig inspirert av Svendsens mange bidrag til genren. Grieg gjorde som Svendsen: Først presenteres folkemelodien, og så følger én eller flere variasjoner. Samme år som Grieg kom med sitt op. 34 (1880), komponerte Peter Tsjaikovskij (1840–1893) sin Serenade for strykere i C-dur, op. 48. Antonin Dvořák (1814–1894) hadde komponert Serenade for strykere, op. 22 i 1875. Svendsen arrangerte også minst tre av andre komponisters verker for strykeorkester (se JSV-utgaven NMA-JS-III/2). I Johan Svendsen: Mennesket og kunstneren av Finn Benestad og Dag Schjelderup-Ebbe2 har de tre verkene i foreliggende utgave opusnummer: To svenske folkemelodier er op. 27, To islandske melodier er op. 30, og I Fjol gjætt’e Gjeitinn er op. 31. Forfatterne har trolig basert seg på opuslistene i Olav Gurvin og Øyvind Ankers musikkleksikon3 der vi finner samme nummerering. I Svendsens egen verkliste fra 1911 og i en rekke andre kilder er det Bryllupskantate som har opusnummer 27, mens Holbergkantate er op. 30, og De forenede Sangforeningers Hilsen til det danske Kongepars Guldbryllup er op. 31. Olav Gurvin fjernet disse tre leilighetsverkene fra opuslisten, uten grunnlag i kilder, og erstattet dem med de tre stykkene for strykeorkester. I verklisten for Die Musik in Geschichte und Gegenwart fra 19654 går riktignok Gurvin bort fra den feilaktige nummereringen og plasserer komposi sjonene under overskriften «Bearbeitungen für Streich orchester», uten opusnummer. Likevel har Finn Benestad og Dag Schjelderup-Ebbe valgt å beholde opusnumrene. I Johan Svendsens Verker har ikke strykeorkesterverkene opusnummer, bare JSV-nummer.

I Fjol gjætt’e Gjeitinn (Last Year I was Tending the Goats) Svendsen’s variations on the folk song I Fjol gjætt’e Gjeitinn were dedicated to his first wife, Bergljot (Sally) Svendsen (1843–1911?). The work was completed in Christiania in

I Fjol gjætt’e Gjeitinn Svendsens variasjoner over folketonen I Fjol gjætt’e Gjeitinn er tilegnet hans første kone, Bergljot (Sally) Svendsen

August 1874 and performed for the first time on 3 October that year at the military gymnasium of Akershus Fortress. Svendsen himself conducted an orchestra put together for the occasion. The programme also included the premiere of Two Icelandic Melodies. On 5 October, the Norwegian daily Aftenbladet described the two works as ‘most interesting things for string orchestra.’ In the following years, Svendsen often included his arrangement of the folk song in the symphonic concerts he conducted at home and abroad. In Norway, several critics mentioned that the audience responded positively to the Norwegian qualities of the work:

(1843–1911?). Verket ble fullført i Christiania i august 1874 og urfremført 3. oktober samme år i gymnastikksalen på Akers hus festning. Svendsen dirigerte selv orkesteret som var satt sammen for anledningen. Også To islandske melodier ble urfremført på konserten. 5. oktober omtalte Aftenbladet de to verkene som «særdeles interessante Ting for Strygeorchester». I årene som fulgte, hadde Svendsen ofte folketonen med på symfonikonserter han dirigerte i inn- og utland. I Norge nevnte flere kritikere at publikum responderte positivt på det norske i verket:

There is nothing by which an audience is more easily enthralled than the sound of national heritage, everyone knows it, everyone loves it, here one feels at home and one recognizes the character of the people reflected in the use of folk music. This was further proven by the enthusiasm wherewith Svendsen’s splendid adaptation of ‘ifjol gjætt e’ Gjeitinn’ [sic] was received.

Det er vist Intet, som river et Publikum lettere hen end Klangen af det nationale hjemlige, enhver kjender det, elsker det, man ser her sit eget for sig, og man mærker Folkekarakterens Afspeiling i Folkemusikken. Det beviste ogsaa den Enthusiasme, hvormed Svendsens glimrende Bearbeidelse af «ifjol gjætt e’ Gjeitinn» [sic] blev modtaget.

AFTENPOSTEN, 22 NOVEMBER 1875, FROM A REVIEW OF A CONCERT ON 20 NOVEMBER.

The work was also included in a concert Svendsen conducted for King Oscar II (1829–1907) on 12 February 1877 at the Royal Palace in Christiania. On that occasion, Svendsen was awarded the King Oscar II Reward Medal, and the event was featured in The New York World on 7 March under the headline ‘A King and a Composer’. On 1 December of the same year, the work was performed at Steinway Hall in New York under the direction of Walter Damrosch, and The New York Herald published the following review on 2 December 1877:24

AFTENPOSTEN, 22. NOVEMBER 1875, ETTER EN KONSERT 20. NOVEMBER.

Verket stod også på programmet da Svendsen dirigerte en konsert for Kong Oscar II (1829–1907) på Slottet i Christiania 12. februar 1877. Her fikk Svendsen utdelt «Oscar-ordenen» («Kong Oscar IIs belønningsmedalje»). Seansen ble omtalt i avisen The New York World 7. mars under overskriften «A King and a Composer». 1. desember samme år ble verket fremført i Steinway Hall i nettopp New York, dirigert av Walter Damrosch. Følgende kritikk fra denne konserten stod i New York Herald 2. desember 1877:5

The musical gems of the occasion, however – those which touched the heart most deeply – were the Icelandish and Norwegian melodies, by Svendsen, especially the latter, arranged for the string orchestra. There was a halo about it, a wealth of delicacy, a perfection of emphasis and a gentleness of expression that might have been used to describe a Northern sunset struggling with the clouds before it disappears in an Arctic night. An idea never was more beautifully represented by the poetry of sound than that which thrilled through the vast and almost spell-bound audience.

Men de musikalske perlene ved denne anledningen – de som rørte hjertet dypest – var de islandske og norske melodiene av Svendsen, spesielt den siste, arrangert for strykeorkester. Det lå en stråleglans over den, en delikat rikdom, en perfeksjon i vektleggingen og en inderlighet i uttrykket som kunne ha beskrevet en nordlig solnedgang i kamp med skyene før den forsvinner i en arktisk natt. En idé har aldri blitt vakrere gjengitt av klangpoesi enn denne, som grep det store og nesten trollbundne publikum.

On 25 September 1877, before embarking on a three-year journey abroad, Svendsen gave a farewell concert in the large hall of Logen in Christiania. The following day, Aftenposten wrote that ‘Svendsen’s arrangement of I Fjol gjætt’e Gjeitinn pleased the audience no end, and it seems to us that the

25. september 1877 gav Svendsen en avskjedskonsert i Logens Store Sal i Christiania, før en utenlandsreise som kom til å vare i tre år. Dagen etter skrev Aftenposten at «Svendsens Bearbeidelse af I Fjol gjætt’e Gjeitinn behagede Publikum i høi Grad, og Komponisten har her, som det synes os med Held, anslaaet blødere Strenge end sædvanligt». Morgenbladet og Aftenbladet fortalte at verket ble spilt da capo. På den første konserten

composer has here succeeded in striking a gentler chord than usual.’ Morgenbladet and Aftenbladet noted that the work was played da capo. Also in the first concert Svendsen conducted after his return to Christiania three years later, on 29 May 1880, he included the work on the programme, and once again the critics commented on Svendsen’s ‘masterful treatment’ of the Norwegian folk music material:

Svendsen dirigerte etter returen til Christiania tre år senere, 29. mai 1880, var stykket igjen med, og kritikerne nevnte på nytt det de mente var en god bruk av norsk folkemusikk:

All of these three works [Norwegian Rhapsody No. 3, Springdans and I Fjol gjætt’e Gjeitinn], whose musical material the composer has found in the treasure chest of our folk music, testified to the musical richness of the material itself and not least to the subtle and discrete way in which this was made use of in connection with such an intrinsically beautiful melody as ‘Ifjol gjet’ æ Gjeitin’ [sic].

Samtlige disse tre Numere [Norsk rapsodi nr. 3, Springdans og I Fjol gjætt’e Gjeitinn], hvortil Komponisten har hentet det musikalske Stof fra vor Folkemusiks Skatkammer, vidnede baade om Stoffets musikalske Rigdom i sig selv og ikke mindre om den fine, diskrete Maade, hvorpaa dette er benyttet i f. Ex. ligeoverfor en i sig selv saa skjøn Melodi som «Ifjol gjet’ æ Gjeitin» [sic].

AFTENBLADET, 31 MAY 1880.

The sparkling dance motive [Springdans] as well as the simple and moving song conjured up characteristic images of our traditional life, which, thanks to the masterful treatment and exquisitely beautiful harmonization, appears in the loveliest of lights.

AFTENBLADET, 31. MAI 1880.

Saavel det sprudlende Dandsemotiv [Springdans] som den rørende enkle Sang fremmane karakteristiske Billeder af vort Folkeliv, som gjennem den mesterlige Behandling, den fine og vidunderlig smukke Harmonisering stilles i det skjønneste Lys.

NORDISK MUSIK-TIDENDE, JUNE 1880.

In 1877, the work was published by E.W. Fritzsch in Leipzig. In the years that followed, I Fjol gjætt’e Gjeitinn was performed several times abroad under the baton of Svendsen as well as others. On 28 January 1878, it was scheduled for performance in Budapest as part of the series ‘Music Friends of Budapest’, directed by Giula Cáldi. On 2 March 1879, Svendsen himself conducted the work with the Orchestre Pasdeloup at Salle du Cirque (Concert Populaire), Paris, and later that month in Angers. In 1882, when Svendsen presented his music in two concerts in Copenhagen, the work was once again included. On 23 October 1882, Dagsavisen wrote:

NORDISK MUSIK-TIDENDE, JUNI 1880.

Forleggeren E. W. Fritzsch i Leipzig gav ut verket i 1877. I årene som fulgte, ble verket fremført flere ganger også internasjonalt, både med og uten Svendsen som dirigent. 28. januar 1878 stod det på programmet i Budapest, i serien «Budapests musikkvenner», dirigert av Giula Cáldi. 2. mars 1879 dirigerte Svendsen selv verket i Salle du Cirque (Concert Populaire) i Paris, med Orchestre Pasdeloup, og senere samme måned dirigerte han det i Angers. Da han i 1882 presenterte seg i København med to konserter, var verket med igjen. 23. oktober 1882 skrev Dagsavisen følgende:

Here, one immediately realizes what a fine and brilliant musician Svendsen is. How wonderfully these little pieces are made! Namely the variations on the touchingly simple folk tune, and especially the final three: one with canon-like imitation, the other with its quartet of violins, and finally the third and last with sustained notes in the violas and basses. The whole thing is a little masterpiece.

Her ser man ret, hvor fin og aandrig en Musiker Svendsen er. Hvor fint og skønt er ikke disse Smaating gjort. Navnlig Variationerne over den rørende simple Folkevise, især de tre sidste af disse: den ene med de kanonagtige Imitationer, den anden med sin Kvartet af Violiner og endelig den tredje og sidste med de liggende Toner i Bratscher og Bas. Det hele er et lille Mesterværk.

Shortly after, on 9 December 1882, Svendsen once again conducted the piece in Christiania, and four months later, on 7 April, in a farewell concert at the same venue. At this point, Svendsen had accepted the offer of a musical directorship at the Royal Theatre in Copenhagen and was in the process of moving. King Oscar II was in attendance. Morgenbladet of 9

Kort tid etter, 9. desember 1882, dirigerte Svendsen stykket om igjen i Christiania og likeledes ved en avskjedskonsert samme sted 7. april. På dette tidspunktet hadde Svendsen sagt ja tilbudet om kapellmesterstillingen ved Det Kongelige Teater i København og var på flyttefot. Kong Oscar II var til stede i salen. Morgenbladet la 9. april 1883 nok en gang vekt på komponistens prisverdige nasjonale innstilling:

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April 1883 once again praised the composer’s national spirit: [...] and in the string orchestra arrangements of ‘Sæterjentens Søndag’ – by Ole Bull – and the Norwegian folk tune ‘Ifjoll gjætt ‘e Gjeitin’ [sic], the concert holder presented some of his most beautiful instrumental compositions, whose evocative performance clearly showed how Svendsen has maintained interest in our folk music and our national composers.

[…] og i de for Strygeorchester behandlede «Sæterjentens Søndag» – af Ole Bull – og den norske Folkevise «Ifjoll gjætt ‘e Gjeitin» [sic] bragte Konsertgiveren frem nogle af sine smukkeste Instrumentalkomposistioner, som gjennem den stemningsfulde Udførelse gav det bedste Indtryk af, hvorledes Svendsen har bevaret Interessen for vor Folkemusik og vore nationale Komponister.

Dagen’s issue of 9 April referred to the arrangements as ‘masterpieces’: [...] small masterpieces as regards the use of the string instruments’ resources that cannot be listened to often enough when they are performed as splendidly as under the leadership of Mr Svendsen.

Avisen Dagen kalte arrangementene «mesterverk» 9. april 1883: [...] smaa Mesterverker i Henseende til Udnyttelsen af Strygeinstrumenternes Resourcer og som ikke kan høres ofte nok, naar de foredrages paa en saa udmærket Maade, som under Hr. Svendsens Ledelse.

When Svendsen conducted the work in St. Petersburg in February 1885, the string orchestra numbered 72 players.25 A year later, in April 1886, he took the piece along to Helsinki, and it was also included in a concert he conducted in Vienna on 5 August 1892. On August 18, he wrote a cheerful letter home to his father Gulbrand Svendsen, telling him about his great success. Also in Norway, the work was performed numerous times during the 1890s, first in Christiania on 28 November 1896, and on 29 and 30 June 1898 with the Concertgebouw orchestra in connection with Edvard Grieg’s musikkfest in Bergen.

Da Svendsen fremførte verket i St. Petersburg i februar 1885, ble det spilt av hele 72 strykere.6 Et år senere, i april 1886, tok han folketonen med til Helsinki, og den stod også på programmet ved konserten han dirigerte i Wien 5. august 1892. 18. august skrev han oppstemt hjem til faren Gulbrand Svendsen og fortalte om stor suksess. Også hjemme i Norge ble verket fremført flere ganger på 1890-tallet, først ved en konsert i Christiania 28. november 1896 og senere på to konserter ved Edvard Griegs musikkfest i Bergen med Concertgebouw-orkesteret 29. og 30. juni 1898.

To islandske melodier (Two Icelandic Melodies) To islandske melodier

Svendsen’s arrangement of the two Icelandic melodies was premiered on 3 October 1874 in the gymnasium of Akershus Fortress in Christiania. The extant manuscripts do not permit precise dating of the composition itself, but in all likelihood the work was completed not too long before the first performance that year. At the time, Svendsen typically premiered his works in Christiania as they were completed. In addition to these two well-known melodies, Bjørn Morten Christophersen’s study of Svendsen’s sketches26 identified fairly extensive sketch material to a third Icelandic melody, Breen (The Glacier), which Svendsen had probably intended to include in the composition. Svendsen had discovered these Icelandic melodies seven years earlier, in summer 1867, while traveling to Scotland, the Faroe Islands and Iceland together with Heinrich Brockhaus (1804–1874), a German bookseller and publisher. In Novem-

Johan Svendsens To islandske melodier ble urfremført 3. oktober 1874, i gymnastikksalen på Akershus festning i Christiania. Manuskriptene som er bevart, gir ikke noen klar pekepinn om tidspunktet for selve komponeringen, men det er sannsynlig at verket ble ferdig samme år og ikke så lenge før urfremføringen. På denne tiden urfremførte Svendsen verkene sine i Christiania etter hvert som de ble komponert. I tillegg til disse to kjente melodiene har Morten Christophersens skisse studier7 identifisert ganske omfattende skisser til en tredje islandsk melodi – Breen – som Svendsen trolig hadde tenkt å bruke i komposisjonen. Svendsen var blitt kjent med de islandske melodiene sju år tidligere på en reise han gjorde til Skottland, Færøyene og Island sommeren 1867, sammen med den tyske bokhandleren og forleggeren Heinrich Brockhaus (1804–1874). Nordisk Musik-Tidende slår i november 1885 fast at To islandske melodier er basert på folketoner Svendsen skrev ned på Island.

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ber 1885, the music monthly Nordisk Musik-Tidende reported that the two Icelandic melodies were based on folk tunes Svendsen had written down in Iceland. The article, signed ‘Adrean’, stated that ‘Johan Svendsen has notated them on the spot and later worked out the instrumentation.’27 Other sources, however, suggest that Svendsen may not have written down the melodies himself, but that notated versions were passed on to him at a later point. Svendsen kept a detailed diary of the journey, which today can be found in the manuscript collection of the National Library in Oslo.28 Heinrich Brockhaus, too, kept a travel diary, published in Germany under the title Reisetagebuch aus den Jahren 1867 und 1868, Leipzig, 1873. Benestad writes the following about the folk melodies:

Signaturen «Adrean» skriver: «Johan Svendsen har optegnet dem paa stedet og senere instrumenteret dem».8 Men andre kilder har formuleringer som kan tyde på at det ikke var Svendsen selv som noterte ned melodiene, men at han mottok nedskriftene i ettertid. Svendsen skrev en detaljert dagbok fra turen, i dag oppbevart i håndskriftsamlingen ved Nasjonalbiblioteket i Oslo, Dagbog paa Reisen fra Leipzig til Island.9 Heinrich Brockhaus skrev også en reisedagbok, utgitt i Tyskland som Reisetagebuch aus den Jahren 1867 und 1868, Leipzig, 1873. Benestad skriver dette om folketonene:

Naturally, Svendsen was interested in getting to know the music and musical life of Iceland. On 25 June, he visited the country’s leading organist, Pitur [sic] Gudjónson. At Svendsen’s request, Gudjónson wrote down three melodies from his native Iceland, which Svendsen placed between the pages of his diary. These, however, were not the melodies he used for his 1874 arrangement of ‘Two Icelandic Songs for String Orchestra’, Op. 30. According to information later published by Nordisk Musik-Tidende (October 1885), he used folk melodies he himself had written down during the journey.29

Svendsen var naturlig nok interessert i å stifte bekjentskap med Islands musikk og musikkliv og oppsøkte 25. juni landets fremste organist, Pitur [sic] Gudjónson. På oppfordring noterte islendingen ned tre melodier fra sitt hjemland, og Svendsen la dem inn i dagboken. Det var imidlertid ikke disse melodiene han brukte da han i 1874 arrangerte «To islandske melodier for strykeorkester» op. 30. Etter hva Nordisk Musik-Tidende senere har opplyst (oktober 1885), benyttet han derimot folkemelodier han selv hadde nedtegnet på turen.10

Svendsen’s own diary tells us that he visited the stiftamtmann (senior magistrate) Søren Hilmar Steindór Finsen (1824– 1886) on 25 June 1867.30 Here he made the acquaintance of organist Pétur Guðjónsson (1812–1877), who at the time was employed at Finsen’s office. Svendsen asked Guðjónsson to write down some Icelandic folk melodies for him, which the organist promised to do. Svendsen describes the meeting in his diary:

Fra Svendsens dagbok vet vi følgende: 25. juni 1867 besøkte Svendsen stiftamtmann Søren Hilmar Steindór Finsen (1824–1886)11, og der ble han presentert for organisten Pétur Guðjónsson (1812–1877), som på denne tiden arbeidet ved Finsens kontor. Svendsen bad Guðjónsson om å skrive ned noen islandske folkemelodier, og organisten var positiv. I dagboken skriver Svendsen dette om møtet:

June 25th Called on Iceland’s senior magistrate Finsen, who was kind enough to introduce me to organist Pétur Gudjonsson, an older man who had studied music in Copenhagen under Weyse. As he moreover holds a post at Finsen’s office, he has little time left for music. I asked him to write down some Icelandic melodies for me, which he was kind enough to promise. [...]

Juni 25te Gjort Visit hos Islands förste Embedsmand Stiftamtmand Finsen, han var saa god at presentere mig for Organist Pétur Gudjonsson, en ældere Mand som har gjort sine musikalske Studier i Kjöbenhavn under Weyse. Da han tilige er ansat paa Finsens Contor saa har han liden Tid til overs for Musiken. Jeg bad ham om at optegne nogle islandske Melodier for mig hvilket han var saa god at love mig. […]

Pétur Guðjónsson was choir master and organist at Reykjavik Cathedral and one of the contributors to a collection of folk songs from different countries published in 1860 by Andreas Peter Berggreen (1801–1880), a Danish organist, composer and pedagogue. It is uncertain whether Svendsen ever received the

Pétur Guðjónsson var kormester og organist i katedralen i Reykjavik. Han var en av kildene til danske Andreas Peter Berggreen (1801–1880) som gav ut en samling folketoner fra ulike land i 1860. Vi vet ikke sikkert om Svendsen noen gang fikk nedskrifter fra Guðjónsson, men ifølge dagboken traff de hverandre igjen iallfall én gang, 7. juli. I Svendsens dagbok

notated material from Guðjónsson, but according to his diary, they met at least once again, on 7 July. The diary includes two loose sheets of music paper with one complete melody, two fragments, and two melodic lines that may be fragments as well. There is nothing to link these two sheets of paper to Guðjónsson, and at least some of the material seems to be in Svendsen’s own handwriting. Neither do they include either of the two melodies arranged and published by Svendsen. However, both melodies appear in Bjarni Þorsteinsson’s (1861–1938) im portant folk music collection Íslenzk Þjóðlög, published between 1906 and 1909.31 Both of them reference the same text, ‘Keisari nokkur mætur mann’ (A certain emperor, a respected man), about the Germano-Roman Emperor Frederick I and his death. The first melody was given to Þorsteinsson by Sigurður L. Jónasson in Copenhagen, while the other came from organist Pétur Guðjónsson. Both melodies are included in Studier over islandsk Musik by Angul Hammerich (1848–1931)32 under the title ‘Barbarossakvædi’. Barbarossa (Red Beard) was the nickname of Frederick I, who ruled as emperor from 1155 to 1190. The question of how Svendsen came to know the two melodies may be answered by the following entry in Brockhaus’ diary, dated 25 June:

ligger det to noteark som inneholder én hel melodi, to fragmenter og to melodilinjer som kanskje også er fragmenter. Det er ikke noe som kan knytte disse arkene til Guðjónsson. I hvert fall en del av materialet ser ut til å være i Svendsens egen håndskrift. De to melodiene som Svendsen instrumenterte ferdig og gav ut, finnes ikke på disse arkene. Begge melodiene finnes derimot i den viktige folketonesamlingen «Íslenzk Þjóðlög» av Bjarni Þorsteinsson (1861–1938), som kom ut i 1906–09.12 Melodiene er knyttet til en og samme tekst, «Keisari nokkur mætur mann» («En viss keiser, en respektert mann»), og omhandler keiser Fredrik I av det tysk-romerske riket og hans død. Den første melodien fikk Þorsteinsson fra Sigurður L. Jónasson i København, mens den andre kom fra organisten Pétur Guðjónsson. Begge melodiene er inkludert i Studier over islandsk Musik av Angul Hammerich (1848– 1931)13, hvor de kalles Barbarossakvædi. Fredrik I hadde tilnavnet «Barbarossa» («rødskjegg») og regjerte som keiser fra 1155 til 1190. Spørsmålet om hvordan Svendsen ble kjent med disse to melodiene, blir kanskje besvart av noen linjer i Brockhaus’ dagbok fra datoen 25. juni:

In Munich, at the Bavarian Academy of Sciences, Maurer gave an account of an Icelandic song about Emperor Frederick the Read Beard. [...] The poem, which Miss Siemsen translated for me, has some truly lovely qualities; the melody, to which the ‘Barbarossahvaedr’ is evidently sung to this day, has something hymn-like about it.33

Maurer i München forteller i det Bayerske vitenskapsakademiet om en islandsk sang om keiser Fredrik Rødskjegg. [...] Diktet, som frøken Siemsen oversatte for meg, har noen riktig vakre trekk; Melodien som «Barbarossahvaedr» blir sunget til, er koralaktig.14

During their stay in Reykjavik, Svendsen and Brockhaus lived at the home of consul Carl Siemsen and his family, and Brockhaus’ interest in the Icelandic folk song with its thematic connection to Germany led him to ask Miss Siemsen to prepare a translation for him. The diary entry shows that Brockhaus, and in all probability Svendsen as well, came to hear at least one of the melodies to the poem during their stay in Iceland. Since Brockhaus described the tune as ‘hymn-like’, it is probably the first melody his diary refers to. The sketches for Two Icelandic Melodies can be found in one of Svendsen’s sketchbooks at the Royal Library in Copenhagen.34 Following a number of three-part exercises, the sketchbook contains 17 pages of drafts to the Icelandic melodies. Here we also find the sketches for a third melody, based on the Icelandic folk song Breen. Svendsen notated both the original melody itself (only the final note is omitted) and a nearly complete variation. A somewhat unusual staff system on the final page of sketches probably consists of alternative countermelodies. According to Christophersen, this middle system represents obligato voices, while systems one

Svendsen og Brockhaus bodde hos konsul Carl Siemsen og hans familie under oppholdet i Reykjavik, og Brockhaus var altså så interessert i den islandske folkesangen med tematisk tilknytning til Tyskland at han fikk frøken Siemsen til å oversette den for seg. Avsnittet i dagboken viser at Brockhaus, og sikkert også Svendsen, iallfall hørte den ene av melodiene til teksten under islandsoppholdet. Det er sannsynligvis den første melodien Brockhaus omtaler i dagboken sin, siden han bruker ordet «koralaktig». Skissene til To islandske melodier finnes ved Det Kongelige Bibliotek i København, i en av Svendsens skissebøker.15 Etter noen trestemmige øvinger finner vi 17 sider med utkast til de islandske melodiene i skisseboken. Her er også skissene til en tredje melodi, basert på den islandske folkesangen Breen. Svendsen har notert ned både melodipresentasjonen (bare sluttonen mangler) og en så godt som komplett variasjonsdel. Det er et litt underlig midtsystem på den siste siden av skissene, trolig alternative motstemmer. Morten Christophersen mener dette midtsystemet er et forsøk på obligatstemmer, mens

and three make up the main structural parts.35 The melody of Breen consists of only 8 bars (including the omitted final note), and may have been too short for Svendsen’s purposes. Christophersen offers a detailed discussion of these sketches in his thesis, Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises. The Danish composer and Svendsen pupil Hakon Børresen (1876–1954) later used the melody in the first movement of his Nordiske Folketoner fra Island og Færøerne (Nordic Folk Tunes from Iceland and the Faroe Islands) for string orchestra, which consists of three arrangements of Icelandic and Faroese folk tunes. The first movement is titled Bræen (Jökullinn / The Glacier), the other two Dans paa Tunet (Stóðum við tvö i Túni / Dance in the Yard) and Færøisk Ringdans (Faroese Ring Dance). The work was published in 1949. According to Børresen, all three movements were based on melodies Svendsen had brought home from his 1867 journey to Iceland. The printed edition of Børresen’s work includes the following statement: ‘The motives for the present composition were written down by Johan Svendsen on a journey to Iceland and the Faroe Islands in the summer of 1867. H.B.’ One of Børresen’s manuscripts, a set of orchestral parts,36 offers more specific information: ‘The motives were written down by Johan Svendsen at the home of Melsteð in Reykjavik, summer of 1867.’ From Svendsen’s two diaries we know that the composer on several occasions visited the home of Páll Melsteð (1812–1910), a historian, civil servant and member of the Althingi, Iceland’s parliament. At its premiere on 3 October 1874, the two melodies were paired with I Fjol gjætt’e Gjeitinn. The same pairing was used at a concert on 1 December 1877 at Steinway Hall in New York with Walter Damrosch conducting, and on 6 March 1878 as part of the concert series ‘Music Friends of Budapest’ under the direction of Giula Cáldi. In October 1882, when Svendsen presented his music in two concerts in Copenhagen, Iceland was part of the Danish kingdom. Perhaps this is why the work was discussed in such detail by the Danish critics. The performance took place on 14 October 1882 in the large hall of the Casino Theatre.

system én og tre utgjør hovedsatsen.16 Breen er en nokså kort melodi. Kanskje fant Svendsen at melodien var for kort til at den kunne brukes. Christophersen diskuterer skissene i detalj i avhandlingen sin Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises. Den danske komponisten og Svendsen-eleven Hakon Børresen (1876–1954) brukte senere melodien i første sats av verket Nordiske Folketoner fra Island og Færøerne for Strygeorkester, der tre islandske og færøyske folketoner er instrumentert, og kalte satsen Bræen (Jökullinn). Satsene videre var II. Dans paa Tunet (Stóðum við tvö i Túni) og III. Færøisk Ringdans. Verket ble utgitt i 1949. Alle de tre satsene i Børresens verk skal ifølge komponisten være basert på melodier Svendsen tok med seg hjem fra islandsreisen i 1867. I den trykte utgaven av Børresen-verket står det: «Motiverne til den foreliggende komposition er optegnet af Johan Svendsen på en rejse til Island og Færøerne i sommeren 1867. H.B.» I et av Börresens manuskripter, et sett med orkesterstemmer17, er det konkretisert hvor Svendsens noterte dem ned: «Motiverne er optegnet af Johan Svendsen hos Melsteð i Reykjavik Sommeren 1867.» Vi vet av Svendsens to dagbøker at han var på besøk i hjemmet til Páll Melsteð (1812–1910) flere ganger. Melsteð var historiker, tjenestemann og representant ved det islandske Alltinget. Ved urfremføringen 3. oktober 1874 ble de to melodiene spilt sammen med I Fjol gjætt’e Gjeitinn. Det ble det også ved en konsert 1. desember 1877 i Steinway Hall i New York hvor Walter Damrosch var dirigent, og 6. mars 1878 ved en konsert i serien «Budapests musikkvenner», dirigert av Giula Cáldi. Da Svendsen presenterte seg i København med to konserter i oktober 1882, var Island en del av det danske monarkiet. Kanskje var det grunnen til at verket ble nøye omtalt av de danske kritikerne. Fremføringen var 14. oktober 1882 i Casinos store sal. De islandske Melodier var det en stor Nydelse at gjøre Bekjendtskab med, eiendommelige, individuelle, som de ere, fulde af Naturens storslaaede Øde deroppe og dens uendelige Melankoli. Den fine og aandfulde Behandling for Strygeinstrumenterne var Svendsen fulkommen værdig, og det lagde her kun yderligere et Plus til, at Melodierne - der først traadte frem med Unisonoets Nøgenhed - baade straks vare lette at tilegne sig og senere under den videre Behandling ikke druknede under denne.

It was a great pleasure to become acquainted with the Icelandic melodies, quaint and individual as they are, filled with the magnificence of that barren northern landscape and its infinite melancholy. The fine and sensitive arrangement for string instruments was entirely worthy of Svendsen, and it was only a further plus that the melodies – which initially were presented in naked unisono – were at once easily grasped and later, during further development, did not drown amongst the latter. DAGSAVISEN, COPENHAGEN, 14 OCTOBER 1882.

The symphony was followed by two Icelandic melodies

DAGSAVISEN, KØBENHAVN, 14. OKTOBER.

Efter Symfonien fulgte to af Svendsen for Strygeorkester

arranged for string orchestra by Svendsen, truly dating back to a journey to Scotland, the Faroe Islands and Iceland which he, right after completing his studies at the Leipzig Conservatory, undertook together with the famous publisher Brockhaus. In all their utter monotony, these two peculiar and extremely characteristic melodies are strikingly reminiscent of their home in the ‘highest north’, where the island shines ‘bright through the ice and the mist’. The deep melancholy and naked simplicity that resonates through them is equally much a contribution to the characteristic of the people and the place as numerous chapters of a heroic saga. With great love and a superb, sensitive understanding thereof, Svendsen has arranged them for string orchestra.

arrangerede islandske Melodier, der sikkert skriver sig fra den Rejse til Skotland, Færøerne og Island, han straks efter sin Afgang fra Leipzigkonservatoriet foretog med den bekendte Forlægger Brockhaus. Det er to meget ejendommelige og særlig karakteristiske Melodier, der i al deres yderlige Jævnhed slaaende minder om deres Hjemsted «yderst mod Norden», hvor Øen lyser «klart gennem Isflag og Taage». Den dybe Melankoli og nøgne Simpelhed, der klinger igennem dem, giver lige saa stort et Bidrag til Folkets og Stedets Karakteristik, som ikke faa Kapitler af en Heltesaga. Med stor Kærlighed og en ypperlig, fintfølende Forstaaelse af dem, har Svendsen behandlet dem for Strygeorkesteret.

ANGUL HAMMERICH IN NATIONALTIDENDE, COPENHAGEN, 16 OCTOBER 1882.

Although dedicated to Svendsen’s friend and publisher Carl Warmuth (1844–1895) (‘Herrn Carl Warmuth in Christiania’), the work was published by E.W. Fritzsch in Leipzig, 1877.

ANGUL HAMMERICH I NATIONALTIDENDE, KØBENHAVN, 16. OKTOBER 1882.

To svenske folkemelodier (Two Swedish Folk Melodies)

Verket er tilegnet Svendsens venn og forlegger Carl Warmuth (1844–1895): Herrn Carl Warmuth in Christiania. Men det var forleggeren E.W. Fritzsch i Leipzig som gav det ut i 1877.

The two folk tunes Svendsen chose for Two Swedish Folk Melodies are not only well known, but also widely used in other musical arrangements and renditions. The premiere took place on 14 October 1876 in the large hall of Logen, Christiania, with Svendsen conducting an orchestra assembled for the occasion. The work was probably composed shortly before the premiere. The first of the two folk melodies, ‘Allt under himmelens fäste’ (All beneath the firmament), was recorded in the 1840s in Sanda on the island of Gotland, and later achieved worldwide popularity thanks to famous singers such as Jenny Lind (1820–1887) and Jussi Björling (1911–1960). The other melody is today known as the de facto national anthem of Sweden, opening with the words ‘Du gamla, du fria …’ (Thou ancient, thou free …). The lyrics were written by Richard Dybeck (1811–1877) in 1844, but the status of the melody as a national anthem only developed gradually, without official recognition or legislation by the Swedish government. In the final version of the title, Svendsen used Dybeck’s earliest variant, ‘Du gamla, du friska’ (Thou ancient, thou brisk). Dybeck changed the opening to ‘Du gamla, du fria’ in 1858, but it took many years for the new version to become established in practice. The original melody is a folk tune from Västmanland, beginning with the words ‘Så rider jag mig öfver tolvmilan skog’ (I’m riding through the deep, deep woods). In August 1862, when Svendsen visited Gothenburg

To svenske folkemelodier De to folketonene Svendsen brukte i To svenske folkemelodier, er begge godt kjent og mye brukt, også i andre arrangement og utsettinger. Urfremføringen var 14. oktober 1876, i Logens Store Sal i Christiania, med et sammensatt orkester dirigert av Svendsen selv. Verket ble trolig komponert i tiden like før urfremføringen. Den første av de to folkemelodiene, Allt under himmelens fäste, ble nedtegnet i Sanda på Gotland på 1840-tallet og ble senere brakt ut i verden av sangstjerner som Jenny Lind (1820–1887) og Jussi Björling (1911–1960). Den andre av de to blir i dag brukt som svensk nasjonalsang med teksten «Du gamla, du fria...». Denne teksten ble skrevet av Richard Dybeck (1811–1877) i 1844, men statusen som nasjonalsang kom gradvis, uten støtte i offisielle vedtak eller lovgivning. I sin endelige tittel bruker Svendsen den tidligste varianten av Dybecks tekst, «Du gamla, du friska...». Dybeck endret den første setningen til «Du gamla, du fria... » i 1858, men det tok mange år før endringen ble etablert i praksis. Opprinnelig er melodien en folketone fra Västmanland med teksten «Så rider jag mig öfver tolvmilan skog». Da Svendsen oppholdt seg i Göteborg i august 1862, på sin reise sørover mot kontinentet, arrangerte han begge melodiene for strykekvartett, som del av samlingen 62 arrangementer for strykekvartett, JSV 30. Her oppgav han Ludvig Normans

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on his way down south to the continent, he arranged both melodies for string quartet for inclusion in his collection 62 Arrangements for String Quartet, JSV 30. As his source, he cited Ludvig Norman’s 1857 sheet music editions of Swedish folk songs, and used the titles Värmlandsvisa and Du gamla, du friska, du fjellhöga nord. But when Svendsen arranged the melodies for string orchestra many years later, his source may well have been A.P. Berggreen’s collection Svenske folke-sange og melodier (Swedish folk songs and melodies), published in 1861 by C.A. Reitzels Forlag in Copenhagen. The reason for this assumption is that the second melody in Berggreen’s collection is titled ‘Den sörjande’ (The Mourner), while a set of parts in Svendsen’s handwriting in the orchestral library of the Royal Danish Theatre bears the identical title. It is this set of parts that may have been used for the first performance. Svendsen’s initial use of this title has created a number of misunderstandings about the work. In their book on Svendsen, Finn Benestad and Dag Schjelderup-Ebbe mistakenly categorize Den sörjande as a lost work under the heading WORK 307. Furthermore, the authors write that ‘the first of the string arrangements, Den sörjande, was later lost’,37 and that Du gamla, du friska ‘was given its premiere’ on 19 January 1881.38 Neither of these assertions is correct. In 1878, publisher Warmuth printed the two melodies under the title Zwei Schwedische Volksmelodien für Streich orchester bearbeitet. The publishing rights were later taken over by Wilhelm Hansen, who published a reprint from the same plates with new cover pages. The printed edition reversed the order of the two pieces compared with the first performance The work is dedicated to Svendsen’s US-American father in law, dentist Dr Morris Levett. On 17 October 1876, a few days after the premiere, Aftenbladet characterized the melodies as ‘beautifully harmonized’, and two days later, Morgenbladet wrote: ‘[…] two Swedish folk tunes arranged for string orchestra also met with much success, affording the opportunity to admire the master in a narrower field, namely in the treatment of string instruments.’ The following year, Svendsen left for a three-year stay abroad. Upon his final return to Christiania before leaving Norway for good, the two Swedish folk melodies were included in several of the programmes Svendsen conducted during this period. Following a concert on 29 January 1881, Morgenbladet wrote that the pieces were ‘treated with the kind of harmonic mastery that has made his compositions in this genre so striking’, and later that year, on 13 November, Aftenposten wrote: ‘thanks to Joh. Svendsen’s great harmonic and instrumental skill, their simple melodic beauty has acquired such a wealth of euphony as to fully captivate the listener, and all of it done in such a way that nothing is lost of their original freshness.’ The work was also performed at the first of two all-Svend-

hefter med svenske folkeviser fra 1857 som kilde og brukte titlene Värmlandsvisa og Du gamla, du friska, du fjellhöga nord. Men da Svendsen satte melodiene ut for strykeorkester mange år senere, kan han også ha tatt utgangspunkt i samlingen «Svenske folke-sange og melodier» av A.P. Berggreen, publisert av C.A. Reitzels Forlag i København i 1861. I denne samlingen har nemlig den andre melodien tittelen Den sörjande. Et orkestersett i Svendsens håndskrift i Det Kongelige Teaters orkesterbibliotek, har nettopp tittelen Den sörjande. Dette settet kan ha blitt brukt ved urfremføringen. At Svendsen først brukte denne tittelen, har skapt misforståelser om verket. I Johan Svendsen: Mennesket og kunstneren av Finn Benestad og Dag Schjelderup-Ebbe er Den sörjande feilaktig plassert i verklisten som et tapt verk, kalt VERK 307. Forfatterne skriver også at «[d]et første av strykearrangementene, Den sörjande, er senere forsvunnet»18, og at Du gamla, du friska «fikk sin uroppførelse»19 i januar 1881, noe som ikke stemmer. Forlaget Warmuth trykte de to melodiene i 1878 med tittelen Zwei schwedische Volksmelodien für Streichorchester bearbeitet. Senere tok forlaget Wilhelm Hansen over rettighetene til materialet og trykte opp platene på nytt med nye forsider. Rekkefølgen på de to stykkene var motsatt ved urfremføringen sammenlignet med den trykte versjonen. Verket er tilegnet Svendsens svigerfar i USA, tannlegen Dr. Morris Levett. Få dager etter urfremføringen, 17. oktober 1876, betegnet Aftenbladet melodiene som «vakkert harmoniserede», og Morgenbladet skrev 19. oktober at «[t]o svenske Folkeviser arrangerede for Strygeorkester gjorde ogsaa megen Lykke, og man havde her Anledning til paa et engere Felt at beundre Mesteren, nemlig i Strygeinstrumenternes Behandling». Året etter reiste Svendsen på et tre år langt utenlandsopphold. Da han kom tilbake til Christiania for sin siste periode i hjemlandet, stod de to svenske folketonene flere ganger på programmet ved Svendsens symfonikonserter. Etter en konsert 29. januar 1881 skrev Morgenbladet at de var «behandlet med det Mesterskab i harmonisk Henseene, der har gjort hans Kompositioner i dette Genre saa anslaaende». 13. november skrev Aftenposten at «[d]eres enkle melodiske Skjønhed har ved Joh. Svendsens harmoniske og instrumentale Kunst faaet en saadan Rigdom af Vellyd, at de fuldstændig tager Tilhøreren fangen, og det Hele er gjort saaledes, at de derved intet har tabt af sin oprindelige Friskhed». Svendsen hadde også verket med seg til Sverige og fremførte det ved den første av to konserter han holdt med egne verker i nabolandet, 3. mai 1883. Kongeparet var til stede, og

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sen concerts the composer conducted in neighbouring Sweden on 3 May 1883. The King and Queen were present, and the following day, Stockholms Dagblad wrote that the melodies were ‘brilliantly orchestrated’. Bjarte Engeset Translation: Thilo Reinhard

Stockholms Dagblad skrev dagen etter at folkemelodiene var «genialiskt instrumenterade». Bjarte Engeset

NOTES Christiania was the name of today’s Oslo from 1624 to 1924. In 1877, the spelling Kristiania was adopted in land registers and government documents, and from 1897 also by the city’s municipal agencies. On 1 January 1925, the official name was once again changed to Oslo. In Johan Svendsen’s Works, we use the spelling Christiania in connection with events that occurred during Svendsen’s lifetime. 20

NOTER Christiania var navnet på Oslo fra 1624. Fra 1877 ble navnet skrevet Kristiania i matrikkel og statskalender og fra 1897 også av byens kommunale etater. Oslo ble igjen offisielt navn 1. januar 1925. I Johan Svendsens Verker bruker vi skrivemåten Christiania i omtalen av hendelser som skjedde i løpet av Svendsens liv. 1

Finn Benestad and Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og Kunstneren, Oslo, 1990. 21

Finn Benestad og Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og kunstneren, Oslo, 1990. 2

Musik in Geschichte und Gegenwart, first edition (1949–1968, supplement 1973– 1986). 23

Olav Gurvin og Øyvind Anker: Musikkleksikon. Ny revidert utgave, Oslo, 1959.

A review of this concert appeared in The New York Herald on 2 December 1877, not on 18 November 1877, as stated in Benestad and Schjelderup-Ebbe, p. 144. 24

Musik in Geschichte und Gegenwart, first edition (1949–1968, supplement 1973–1986). 4

Kritikken fra denne konserten stod i New York Herald 2. desember 1877, ikke 18. november 1877, slik det står i Benestad og Schjelderup-Ebbe, s. 144. 5

Morten Christophersen: Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises, University of Oslo, Oslo, 2016. 27

Morten Christophersen: Panoramic Constrains - A Study of Johan Svendsen’s Musical Sketches and Exercises, Universitetet i Oslo, Oslo 2016. 7

Johan Svendsen: Dagbog paa Reisen fra Leipzig til Island, National Library of Norway, Oslo.

Nordisk Musik-Tidende, november 1885, s. 173.

Johan Svendsen: Dagbog paa Reisen fra Leipzig til Island, Nasjonalbiblioteket, Oslo:

This shows that Svendsen did not call on Guðjónsson, as Benestad and SchjelderupEbbe write, but that he was introduced to him. In Benestad and Schjelderup-Ebbe (p. 71), Finsen is identified as the lawyer Vilhjálmur Finsen. During this period (1860– 1868), Vilhjálmur Hlöðvér Finsen, an Icelandic lawyer and law historian, was an assessor in Viborg, Denmark, not a stiftamtmann on Iceland.

Benestad og Schjelderup-Ebbe, s. 72.

Svendsen oppsøkte altså ikke Guðjónsson, slik Benestad og SchjelderupEbbe skriver, men ble presentert for han. I Benestad og Schjelderup-Ebbe, s. 71, blir Finsen identifisert som juristen Vilhjálmur Finsen. Vilhjálmur Hlöðvér Finsen var en islandsk jurist og rettshistoriker, som i denne perioden, 1860–1868, var assessor i Viborg, ikke stiftamtmann på Island. Folketonesamlingen Íslenzk Þjóðlög av Bjarni Þorsteinsson, S. L. Møller, København 1906–1911, s. 497 ff. 12

Íslenzk Þjóðlög by Bjarni Þorsteinsson, S.L. Møller, Copenhagen 1906–1911, p. 497 ff.

Angul Hammerich: Studier over islandsk Musik, Reitzel, Copenhagen, 1900.

Heinrich Brockhaus: Reisetagebuch aus den Jahren 1867 und 1868, Leipzig, 1873, pp. 46–47: ‘Maurer in München hat in der bairischen Akademie der Wissenschaften einen Bericht gegeben über ein isländisches Lied auf Kaiser Friedrich den Rothbart. […] In dem Gedicht, das mir auch Fräulein Siemsen übersetzte, finden sich einige recht hübsche Züge; die Melodie, in der das “Barbarossahvaedr” wol noch gesungen wird, hat etwas Choralmäßiges.’

Angul Hammerich: Studier over islandsk Musik, Reitzel, København 1900.

Heinrich Brockhaus: Reisetagebuch aus den Jahren 1867 und 1868, Leipzig, 1873, s. 46-47: Maurer in München hat in der bayerischen Akademie der Wissenschaften einen Bericht gegeben über ein isländisches Lied auf Kaiser Friedrich den Rothbart. [...] In dem Gedicht, das mir auch Fräulein Siemsen übersetzte, finden sich einige recht hübsche Züge; die Melodie, in der das «Barbarossahvaedr» wohl noch gesungen wird, hat etwas Choralmäßiges. 14

The sketches for Two Icelandic Melodies are kept at the Royal Library in Copenhagen, Dk-Kk, MA ms 5276 mu 9705.2800. 34

Skissene til To islandske melodier finnes ved Det Kongelige Bibliotek i København: Dk-Kk, MA ms 5276 mu 9705.2800. 15

Benestad and Schjelderup-Ebbe, p. 72.

Nordisk Musik-Tidende, November 1885, p. 173.

Benestad and Schjelderup-Ebbe, p. 188.

Benestad og Schjelderup-Ebbe, s.188.

Olav Gurvin and Øyvind Anker: Musikleksikon, new revised edition, Oslo, 1959.

Christophersen, p. 283.

Hakon Børresen: Nordisk Suite, orchestral parts, Royal Library of Denmark, Copen-

hagen, Mf. A. 4640 mu0105.0800. Orchestral Library.

Christophersen, s. 283.

Hakon Børresen: Nordisk Suite, orkesterstemmer, Det Kongelige Bibliotek i København, Mf. A. 4640 mu0105.0800. Orkesterbiblioteket.

Benestad and Schjelderup-Ebbe, pp. 130–131.

Benestad and Schjelderup-Ebbe, p. 160.

Benestad og Schjelderup-Ebbe, s. 130–131.

Benestad og Schjelderup-Ebbe, s. 160.

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I FJOL GJÆTT’E GJEITINN, AUTOGRAPH SCORE, FIRST PAGE, SOURCE A. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7868 B.

I FJOL GJÆTT’E GJEITINN, AUTOGRAPH SCORE, FIRST PAGE, SOURCE B. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7868 A.

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I FJOL GJÆTT’E GJEITINN, COVER PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE E. PUBLISHED BY E.W. FRITZSCH, LEIPZIG (1877).

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I FJOL GJÆTT’E GJEITINN, FIRST PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE E. PUBLISHED BY E.W. FRITZSCH, LEIPZIG (1877).

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FRONT PAGE OF ‘DAGBOG PAA REISEN FRA LEIPZIG TIL ISLAND’ (SVENDSEN'S DIARY FROM HIS JOURNEY TO ICELAND IN 1867). THE DIARY IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MS.8° 1191.

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TWO SHEETS OF PAPER FROM “DAGBOG PAA REISEN FRA LEIPZIG TIL ISLAND” (SVENDSENS DIARY FROM THE JOURNEY TO ISLAND IN 1867). THE DIARY IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MS.8° 1191

TWO ICELANDIC MELODIES, SKETCHES IN MUSICAL NOTEBOOK 3, SOURCE S. THE NOTEBOOK IS KEPT AT THE ROYAL LIBRARY IN COPENHAGEN, MA MS. 5276 MU 9705.2800.

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“THE CLACIER”. SKETCHES IN MUSICAL NOTEBOOK 3, SOURCE S. THE NOTEBOOK IS KEPT AT THE ROYAL LIBRARY IN COPENHAGEN, MA MS. 5276 MU 9705.2800.

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TWO ICELANDIC MELODIES, AUTOGRAPH SCORE, COVER PAGE, SOURCE B. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7870.

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TWO ICELANDIC MELODIES, AUTOGRAPH SCORE, FIRST PAGE, SOURCE B. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7870.

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TWO ICELANDIC MELODIES, COVER PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE E. PUBLISHED BY E.W. FRITZSCH, LEIPZIG (1877).

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TWO ICELANDIC MELODIES, FIRST PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE E. PUBLISHED BY E.W. FRITZSCH, LEIPZIG (1877).

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TWO SWEDISH FOLK MELODIES, AUTOGRAPH SCORE, COVER PAGE, SOURCE B. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7869.

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TWO SWEDISH FOLK MELODIES, AUTOGRAPH SCORE, FIRST PAGE, SOURCE B. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS 7869..

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TWO SWEDISH FOLK MELODIES, COVER PAGE OF THE PRINTED FIRST EDITION SCORE, SOURCE C. PUBLISHED BY CARL WARMUTH (1878).

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TWO SWEDISH FOLK MELODIES. AUTOGRAPH PART FOR VIOLINO II, SOURCE APTS. THE PART IS KEPT IN THE ORCHESTRAL LIBRARY OF THE ROYAL DANISH OPERA AS NR. 15.

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TWO SWEDISH FOLK MELODIES,.COVER PAGE OF THE PRINTED WILHELM HANSEN EDITION SCORE, SOURCE D. (1899).

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TWO SWEDISH FOLK MELODIES, FIRST PAGE OF THE PRINTED WILHELM HANSEN EDITION SCORE, SOURCE D. (1899).

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I Fjol gjætt’e Gjeitinn JSV 59

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œ œ œ œ œœ œ œ œœ œœœ œ œ œ œ

œ œ

œœ œ œœ œ

œ œœ

œ œ œ



cresc.

#

cresc.

n

cresc.



cresc.

#

cresc.

n

nœ œ

œ nœ

nœ œ

œ nœ

cresc.

####

## & ##



I. Vln. II.

Vc.

Cb.

œ œ œ œ œ

œ nœ œ

#œ

œ œ œ œ œ

B # # # # n œœ

œœ

#œ

? ####

#œ

? ####

Vln. II.

Vle.

####

B #### œ œ > B ####   ? ####

Vc.

Cb.





? #### ? ####

 œ

 

œ œ œ



n





π Œ



n ƒ





œ œ



œ œ



œ œ

n

œ œ 



œ œ



œ œ



morendo



morendo



morendo



morendo

n



œ œ



œ œ



œ œ







œ œ



morendo



œ œ



n



morendo



morendo



œ œ



œ œ 















> π

œ œ



œ œ



> π



 œ



ƒ n



œ œ œ œ œœ





œ œ

œ œœ œ œœ



#œ

œ œ œ œ œœ œ œ œ œ œœ



œ œ œ

# ## œ œ œ œ & # œ œ ## & # # 

œ œ œ

œ œ œœ n œ # œœ

œ œ

œ œ œ nœ œ

# # nœ & ## B ####

Vle.

œ œ

morendo



∏ U



∏ U



∏ U



∏ U



∏ U



∏ U



∏ U



∏

To islandske melodier JSV 60

Two Icelandic Melodies

Zwei isländische Melodien [JSV 60] Maestoso q = 56

2 ≥ & 4 œ .. f 2 ≥ & 4 .. œ f ≥ B 42 œ .. f ≥ .. ? 42 œ f ? 42 ∑

I. Violini II.

Viole

Violoncelli

Contrabbassi 13 I.

Vln. II.

Vle.

Vc. Cb.

Vln.

II.

Vle. Vc. Cb.

œ.

p ≥

œ.

p ≥

A≥

& œ .. &  p ≥ &  p ≥ &  p B

∑

j bœ œ.

œ œ. ∑

bœ œ. J

 

œ.

∑ ∑ ∑

œ ∑ ∑ ∑

‰ bœ. π bœ. ‰ π

œ. œ .

‰

∑

œ. œ . J

∑

œ.

œ œ ∑ ∑ ∑

∑

œ. 



nœ #œ

œ œ

rit.

∑

∑ ∑

œ #œ ∑

∑ ∑

≤ ≥ j

f ≥

f ≥œ . f

œ≤ ≥œ .

J ∑

∑

œ. ‰

U œ.

œ œ



œ Œ

œ œ

œ.  J

∑

cresc.



cresc.



∑ ∑ ∑

b

cresc.

∑

∑ ∑

œ Œ



œ œ

∑

œ. ‰

‰ œ œ œ.

œ #œ œ œ œ. f

‰

∑

œ. 

œ. ‰ 

∑

œ.

œ. ‰ 

∑

‰



œ . ‰ œ . œJ. œ . œJ. œ œ œ

∑

a tempo

œ.

œ œ

œ. 

‰

œ.  j

∑

≥ ≤ ≤ j œ. œ œ œ ≥. ≤ ≤ œ œœœ J ≥. ≤ œ œ œ œ≤ J

≤ ≥

œ. œ .

≥ ≤ ≤ j œ. œ œ œ

œ. œ œ.

∑

j œ. œ .

j œ b

bœ

∑

j œ. œ .

œ. œ .

f ≥

œ. ‰

œ. œ .

j œ. œ .

≤ ≥ j

œ . ‰ œ . Jœ œ .

‰ œ œ. #œ U

œ. œ .

bœ. π

œ œ.

∑

œ. œ .

œ. ‰ 

œ. œ≤ . Jœ b  J

Johan S. Svendsen

œ. œ œ.

‰

œ.

j œ. œ . œ b 

≥

‰

œ.

j ≤

œ . œ. œ .

œ b

≤

œ. œ .

œ. ‰ œ.

œœœ

œ . œ. œ .

œ. ‰ œ. p U œ . ‰ ≥œ . p U ∑ ∑

œ. œ œ œ J œ

∑

bœ. π

‰

j bœ œ.

œ œ.

‰

≤

œ b

p ≥

∑

j bœ œ.

p ≥

‰

œ.

≤

∑

œ. œ .



≥

‰

œ.

œ œ œ≤ . œ≥ œ≤ œ œ≤ J

œ. œ .

∑

≤

≥ ≤

≤

œ œ.

œ. œ .

≥ ≤ j

≥

œ œ œ. œ œ œ œ J

≤

œ œ œ. œ œ œ œ

œ. œ .

œ œ œ.

p ≥

≤

œ œ.

≥ ≤ j

œ œ œ. œ œ œ œ

B œ. p ≥ ? œ. p ? ∑ 25

≥

≤

∑ ∑ ∑

‰

∑

Vln.

II.

Vle. Vc. Cb.

& œ. p

≤ &Œ œ p ≤ &Œ œ p ≤ &Œ

Vln. II.

Vle.

Vc.

Cb.

∑

Vln. II.

Vle.

Vc.

Cb.

j U b œ œ. œ.

œ. œ .

œ.

œ. #œ  j

œ.

∑



 ≤



≥

& œ. p &  p

unis.

≤ B Œ œ p unis. ≤ ? Œ bœ p ? ∑



f ≥ f

œ.



∑

∑ ≥

p ≥

œ œ 



rit.

œ.

j œ b



œ.

œ #œ

œ. œ . 

œ #œ œ œ ∑

œ #œ

≥ n

b œ≥ œ ∑

π ≤ U ‰ n œ. π U ≤ bœ. ‰  π U œ . ‰ b ≤ U

∑



b ≥



b

b ≥

 ∑

∑

#



≥œ

‰

f ≥

‰

∑

‰

œ œ œ

∑ ∑

≤

≥

≤



œ œ



œ nœ

π ≥

œ œ≤

π π ≥



π ≥ π

œ. ‰

‰

œ.

‰

œ.

U. œ œ œ œ œ ‰

≤



∑

U œ. ‰ œ œ œ œ



f ≥

∑

 

f ≥



∑

 ≤

∑

≤



∑

≥

≥ ≤ œ≤ ≥œ . œ. œ≤ œ œ J J

f ≥

#

≤

≤

a tempo



∑

œ œ

≤



≥

∑

œ. ‰ 



œ Œ

≤

∑

≤



n

∑

œ 

≥

œ Œ

œ . ‰  œ.

j U ≥ j j ≤ ≥ ≤ œ œ . b œ œ . ‰ b œ . œJ. œ . œ. j œ . œ. œ . œJ 



≥

œ #œ

bœ.



≤

œ. ‰ 

œ œ œ J

b œ .



œ. ‰ 

œ #œ

œ. œ .



∑

œ nœ



œ œ

∑

œ b

œ. œ .

p ≥



∑ j

œ. 

#

∑

œ.

≥ #œ nœ

∑

‰ b œ. p U ≥ ‰ œ. œ. p U ≥ ‰  œ. p U ≥ . œœ . ‰  u p ≥ U ‰  œ. p

∑

œ.

∑

œ. ‰ 

≤

∑

œ œ

b

‰

≤

#œ

∑

&  f ≥ &  f ≥ B  f ≥ B  f ≥ div.  ? 

≤

‰

∑

œ œ

œ.



∑

j œ.

j œ .

œ.

œ #œ

∑

œ œ œ . œ. œ œ œ J

f ≥

œ.

π ≥

∑

œ . b œj b œ .

≥ ‰ bœ. π ≥ ‰ n π ≥ ‰

j œ. #œ #

& œ ..

61 I.

j ≤

p ∑

49 I.

≥

≤ œ œ

œ œ≤

œ

œ œ œœ .. ‰

œ œ œ. ‰

u U

    



≥



II. & 68

I. Violini

6 &8

Viole

Violoncelli Contrabbassi

Vln. II.

Vle.

Vc. Cb.

≥

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

Vln. II.

Vle.

∑ j

≥

&œ . p B œ. p œ. ? p ?

& b œœ .. B œ.

Vc.

. ? œ

Cb.

œ. œ œj œ œ. j œ. œ. œ . œ œ . . . j

œ. J œ. J

œ. œ. œ. ∑

œ. J

œ. œ. œ œ. œ. œ. J

b œœ .. b œœ .. bœ. ∑

b œœ ..

œœ ..

b œœ .. bœ.

œœ .. bœ. ∑

œ. œ . J œ. œ . J

œ œ J

∑

. . . . b œ. œ. œ . & œ œJ œ œJ J div.

≥

≤

œ œ # œ .. n œ . œ œ œ # œ. j

œ œ œ œ œ .. œ. œ œ #œ J

# œœ ..

j j nœ œ œ œ œ. ∑

‰

œ.

∑

j Œ ‰ j j j j œ. œ. œ. œ. b œ. œ. œ . œ. œ. œ. œj œ. œ. œ . œj œ . . j . . œ. œ. œ. Jœ. b œ Jœ œ . œ. œ. œ. œj œ. œ. œ . œj œ . Œ ‰ J J . œ. œ. œ. Jœ. b œ. Jœ. œ . œ. œ. œ. œ. œ. œ. œ . œj œ . J J J J Œ ‰

∑

#œ.

œ.

∑

œ. Œ. ≥

 .. ≥

. . ≥

œ. œ. ∑

œ.

≤

œ.

≥. . œ œ œ. œ. j J π ≤ œ. œ. π ≤ œ. #œ. œ. #œ. π ≤ #œ. nœ. π ∑

p ≥ ≤ ‰ œ œjb œ . . . p div. ≤ ≥j ≤ ‰ œ œ œ œ œ bœ p

œ j

œ #œ ∑

∑

≤ ≥ ≤ œ. œ. œ œJ b œ . J

≤

∑

œ. . œ. œ œ. . œ. # œ œ. . œ. œ œ .

F ≤ ≥ ‰ œ. œ. œ F ≤ ≥ œ. œ ‰ œ. F œ≤ . œ ‰ . F ∑

œ. œ. œ œj œ. œ. œ . J . . J œ. #œ.

j Œ ‰ j j j j œ. œ. œ. œ. b œ. œ. œ . œ. œ. œ. œj œ. œ. œ . œj œ . .

∑

œ. œ. œ œ œ œ. œ œ. œ . œ œ œ . œ . . . p

18 I.

≥ ≤ j œ œj b œ . œ . œ œ. ≤ ≥ ≤ j œ œj b œ . œ . œ œ. ≤ j≥ ≤ œ œ. œ Jœ b œ . œ . œ≤ œ. œ≥ Jœ≤ b œ . œ . J

œ. . œ. œ œ. . œ. # œ œ . œ. œ œ .

œ. . œ. F B 68 œ . œ. . F . . ? 6 œ. œ 8 F ? 68

II.

≥

Moderato e = 126

œ ‰ b. p

œ.

≤j œ œ. œœ œ # œœ œ . J

.

∑

j . œ. œ. œ. œJ œ . œ œJ 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 œj # œ . œ .

œ. œ

∑

‰

Bœ œ‰œ œ ‰ & pizz.

Vln.

II.

Vle.

Vc.

Cb.

Vln.

II.

Cb.

‰

#œ

≤

œ bœ œ ‰

≥ œ. œ

&‰

œ #œ nœ œ #œ

. &œ

œ. . J œ

œ.

œ. œ .

œ.

œ. œ . J

œ #œ nœ œ #œ &‰ j

. ?œ ?‰

œ bœ œ œ #œ œ bœ œ œ #œ

‰

œ≤ b œ .

œ œ ‰ œ ‰ bœ œ #œ & ‰ œ œ ‰ œ œ ‰ œ ‰ #œ p ≥ ≥ ≤ ≤ j & j œ. œ. œ œ œ. . œ. œ œ. . œ. # œ œ . œ. œ œ . ppizz. œ œ œ œ #œ œ #œ œ bœ œ œ œ B ‰ ‰ ‰ ‰ ‰ ‰ p .œ . œ. œ œ. . œ. # œ œ. . œ. œ ≥œ . œ≤ œ. ≥œ œJ J B p œ pizz. œ œ bœ œ œ # œ ? ‰ œ ‰ œ œ ‰ œ ‰ #œ ‰ ‰ p . . . . . . ≥ œ≤ œ. ≥œ œJ ? œ. œ œ œ. œ #œ œ. œ œ œ. J p œ pizz. œ œ bœ œ # œ ? ‰ œ œ ‰ œ œ ‰ œ ‰ #œ ‰ ‰

?‰ Vc.

‰

ppizz.

B ‰ œ #œ nœ œ #œ Vle.

‰

œ #œ œ

. . & œ . œ œ œ . œ. # œ œ . œ œ œ .

œ #œ

‰

œ.

œœ

‰

œ.

œ #œ

bœ ‰ nœ

œ #œ ‰ œ ‰ #œ œ ‰ nœ ‰ œ

‰ œ #œ ‰ œ œ ‰ œ #œ ‰ bœ nœ

‰ œ

bœ.

œ.

œ. œ.

j œ. b œ.

bœ.

œ.

œ. œ.

œ. b œ.

œ œ œ bœ ‰ #œ ‰ œ ‰ #œ ‰ nœ

‰

bœ. ‰

œ #œ œ #œ

œ.

œ. œ.

œ. b œ.

œ ‰ œ ‰ œ #œ ‰ bœ nœ

‰ #œ

œ. œ .

œ.

‰ nœ #œ ‰

œ. œ .

œ.

‰

œ.

œ. J œ.

œ. œ.

j œ. œ.

œ. œ . J

œ. œ.

œ.

œ. œ. J

œ. J

œ. œ. J

œ. J

‰ œ œ ‰ #œ œ ‰ nœ #œ ‰ œ

œ.

‰

œ.

‰ œ œ ‰ #œ œ ‰ nœ #œ ‰ œ

œ œ œ œ œ œ œ œ ‰ bœ œ ‰ œ bœ œ #œ ‰ ‰ œ bœ ‰ œ œ ‰ cresc.

œ. . J œ

‰ œ œ ‰ #œ œ ‰ nœ #œ ‰ œ œ

œ œ bœ ‰ œ ‰ #œ ‰ nœ œ.

œ. œ . J

œ. b œ.

œ. œ.

f ‰ œ bœ œ #œ ‰ f

nœ #œ nœ œ ‰ π

‰

π ‰ nœ #œ nœ œ ‰ π Œ ‰ j ‰ j j j jœ œ œ œ . œ œ œ œ œ œ . . œ. œ. œ. . . œ. . . π f cresc. œ œ œ œ œ œ b œ œ b œ œ œ ‰ œ ‰ ‰ ‰ œ bœ œ #œ ‰ ‰ nœ #œ nœ ‰ œ œ ‰ œ π f cresc. . œ œ. œ. œ. œ œ. œ œ. œ. œ. œJ. œ. œJ œ . J J Œ ‰ ‰ J π f cresc. œ œ œ œ œ œ ‰ œ bœ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ bœ œ #œ ‰ ‰ nœ #œ nœ œ ‰ f cresc. π . . . . œ œ œ œ. œ œ. œ œ. œ. œ. œJ. œ œJ œ . J J Œ ‰ ‰ J π f cresc. œ œ œ œ œ œ ‰ œ bœ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ bœ œ #œ ‰ ‰ nœ #œ nœ œ ‰ π f cresc.

œ œ œ œ œ œ ‰ œ bœ ‰ œ œ ‰ œ œ ‰ bœ œ cresc. cresc.

Vln.

II.

f . & œ. . œ œ œ. . œ. # œ œ. . f arco ≥œ . ≥œ œ. & f ≥ ≥œ œ. & œ. B

Vle.

Vc.

Cb.

Vln.

II.

Vle.

Vc.

Cb.

œ.

arco

f arco . . ? œ. œ œ f ? œ. f arco ? œ. f 48

C. . œ . . . . œ œ. œ œ. œ #œ œ. œ œ.

arco

œ. œ

f

œ. . œ. # œ œ. . œ. œ.

œ œ

œ. œ œ .

œ œ. œ œ b œ .

œ.

œ œ. œ œJ b œ . J

œ.

œ. ≥œ œ≤ J J

œ.

p n ≤ .

# œ. # œœ≤ ‰ œ J p ≤ . # œ œ ‰ n œ≤ J p # œ # œ ‰ n ≤ . œ #œ J p ≤ # œœ œœ ‰ n œ J p œ. œ œ . œ p

œ œ ‰ b. J

cresc.

b œ≥ . ≥œ

œ≤ . ≤

bœ.

œ.

≥œ ≤ j ≥ . J œ œ. œ

≤

cresc.

œ. œ œJ b œ . J

œ.

cresc.

œ œ ‰ b. J

bœ

œ. œ œ.

bœ œ œ. J

œ. œ. œ. œ. b œ. œ. œ . J

œ œ. œ ‰ J

#œ J

œ J

f cresc. ƒ . . . œ. œ. œ. œJ b œ Jœ œ . J ƒ f cresc. . œ n œJ n œ . b œ n œ. œ . J ƒ f cresc. œ. œ. bœ. œ. ƒ f cresc. . n n œ . œ œ œœ .. b œœ n œœ œœ .. J J ƒ f cresc. j j œœ n œœ n œœ .. b b œœ n œœ. œœ .. . f cresc. ƒ .œ œ. œ. œ. b œ. œ. œ . J J J ƒ f cresc. bœ. œ. œ. œ. f cresc. ƒ bœ. œ. œ. œ. f cresc. ƒ

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

j . œ. œ . œ j . . & œ . œ ‰ œ Jœ œ. œ. œ. œ. œ J f ≥œ . œ . ≤ .  .. œ œ. œ & J f ≥ j ≤ œ œ œ œ. . œ. & . #. f . œ. œ œ œ. œ B  .. J f œ œj œ . B . œ. œ. #. f œ. œ. œ. œ. œ. œ. œ. Jœ. œ . œ ? œ. œ ‰ J J J f œ. œ. ? œ. nœ. œ . œ œj  . f œ. œ. ? œ. nœ. œ . œ œj  . f

∑ ∑

œ. œ œ. œ 13

œ. œ. œ. œj œ. œ. œ . . J J

œ.

≥ . ≥

œ.

∑

‰

∑

œ.

#œ.

œ.

#œ.

pizz.

œ.

#œ.

≤

œ≤ . ≤

œ ..

œ.

œ. œ.

œ.  . j

œ.  .

œ œ

#œ.

œ. œ.

‰ Œ ‰ ‰ Œ ‰

œ ‰Œ ‰ œ ‰Œ ‰

Œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ Œ ‰ p pizz. œ ‰ Œ ‰ œ ‰ œ ‰ œ ‰Œ ‰ p pizz. œ ‰ ∑ Œ ‰ œ ‰Œ ‰ p pizz.

œ.

Œ ‰ œ ‰ œ ‰ ‰ œ ‰ Œ ‰ p pizz. ‰ Œ ‰ Œ ‰ œœ ‰ œœ ‰ œ ‰ œ p

œ. . œ. œ œ . œ j . j . . œ œ. œ. œ. œ. 

‰

œ.

œ ..

œ. œ. œ. œ. œ. œ. œ . J J J

œ. . œ. œ œ . œ j . j . . œ œ. œ. œ. œ.  ∑

≤

≥ .

#œ

œ . œ œ≤. œ . œ. œ œ . J œ. œ œ œj œ . . . p ≤. œ . . # œ . œ J œ œ œ œ . œ. œ œ œj œ . . . p ≤ œ . œ œ. J p ≤ œ. #œ. œ J p œ. œ ‰

œ. œ. œ. œ. œ. œ. œ . J J J

To svenske folkemelodier JSV 67

Two Swedish Folk Melodies

Zwei schwedische Volksmelodien [JSV 67]

1. "Allt under himmelens fäste." # & c 

Adagio q = 58

I. Violini

# & c #

II.

& c

Viole

Œ œ œ . œ p



Contrabbassi

B# c w f B# c 

Vln. II.

Vle.

Vc.

Cb.

# j & œ. œ œ. # & 

B#w B#



?#  ?#

œ.

nœ.

œ. ∑

j j

j œ 

.

œ #œ œ

œ œ 



∑

π3

œ œ œ #œ œ œ

œ œœœ œ œ 

œ. ∑

j œ  j

π π

j œ nœ œ œ #œ ∑



#

∑

œ #œ œ. œ nœ œ œ œ  J

œ œ



œ œ 

∑

#

œ œ #

œ œ œ œ œ œ

œ œ

.



œœœœ

œ œ 



œ #œ

œ 

œ œ œ œ œ . J

œ 

œ.

.

. œ œœœ œ

œ.



œ œ œ.

œ 



œ œ nœ œ œ 



j œ. œ 

?# c œ Œ  f ?# c ∑

# & œ . œj œ œ œ œ 

j œ. œ 

œœ œœ 

. œ œ œ œ œ

j œœœœœ 



Violoncelli

Johan S. Svendsen

#œ

œ #œ

œ œ œ œ ∑

nw F

 œ 

#

.

F F F

∑

œ œœ  

∑

I. Vln. II.

# & . π # &



Vle.

Vc.

Cb.

B#  π B# . π ?# ?# ?#



œ œ 

œ 

Vln. II.

Vle.

&  # &  B#  B#  ?# 

Vc.

Cb.

?# ?#

 

.

œ œ œ œ

∑

œ œ œ œ œ œ œ œ



œ œ œ.



 

#



.

n

> w>

n

œ bœ 

œ.

œ œ œ.  

œ. œ.

œ œ-. œ. # œ w 

œ  J j

œ nœ  

œ œ. J œ # J

œ nœ  J œ # J

- -.

œ œ #œ

 



 #œ



œ œ œ J



n œ œ

œ œ #œ

œ œ

   

n  >

.

. Œ Œ

.

>



#w >

n  >

∑

œœ œœ 

œœ



∑

œ œ œ œ œ.

œ bœ œ.



∑

 

 #œ œ œ œ œ œ œ œ 

œ # w>

#œ œ .

# œ. œ œ œ œ œ  J & #

#œ

œ 

& œ œ œ œ œ œ #œ . π

∑

w >

 

. Œ  # >

. Œ  #

∑

œ œ œ œ œ. œ œ œ œ œ  J

.

 

 # >



œ nœ f

œ f

 #œ œ f

.

œ f

.

œ f

. 

œ f

œ œ œ œ



œ #œ œ œ œ



œ œ œ.

π π

#  π



# π





n



nœ



œ J

œ #œ œ œ œ œ œ

œ œ œ œ œ œ.

œ œ

œ œ œ

œ œ

œ J

I. Vln. II.

Vle.

& & &

œ. œ œ œ œ œ . # J # .

cresc.

# 

cresc.

B# 

. B# 

cresc.

?# Vc.

Cb.

?# ?#

I. Vln. II.

& & &

 

cresc.



 

?# Vc.

Cb.

?# ?#

. w w

# f # n  f



 œ

œ #œ œ œ œ œ œ œ 

 .. .



dim.



dim.



dim.



dim.

œ œ œ . n œJ # 

dim.

œœ

.

>œ >

.

#w > > n w

.

#w > n >



œ œ œ . n œJ # 

dim.

œœ # œœ 

œ œ. œ. # œ. w

.



œœ



 .. w



dim.

œ œ 



œ œ œ œ œ œ œ œ œ #œ .

œ #œ œ œ





œ œ œ nœ

B # #w





œ œ œ nœ #œ  œ

B # n ww Vle.

n 

œ œ # œ œœ



œ œ #

#œ 

cresc.

# ww #



cresc.

œ. œ nœ œ œ œ  J

œ #œ



 .. . . .

. 19

œ œ

> >œ

nœ œ. œ  J

dim.

# œ n œœ

œ #œ œ w #œ nœ

nœ nœ

œ œ

div.

 #

œ #œ 

dim.

œ #œ  

dim.



dim.

œ œ 

dim.

œ œ 

dim.

œ œ œ œ

œ #œ œ œ œ œ œ



dim.



œœ  .

œ #œ œ w

œ #œ 

dim.

 # w w

œ œ œ œ p

U w

∏ morendo U

∏ morendo

2. "Du gamla, du friska, du fjellhöga Nord."

I. Violini II.

Viole

Violoncelli

Contrabbassi

&c J F j &c œ F & c œœj F j Bc œ œ F B c œj F ? c œj F ? c œj F ?c ‰

I. Vln. II.

Vle.

& œ. œ œ. œ œ. & 

Cb.



    



∑



B 





B 

? ?

œ œ

 

∑

œ œ



j œ œœ œ œœœœ œ



 

∑

.

 ∑

j œ. œ œ œ. œ œ.

∑



œ.

bœ œ œ.



œ.

œ œ œ.



 



œ œ 



œ œ 



∑

j œ œ œ œ b œ œ œŒ œ œ œœ œ œ œ œ ‰  ‰ ‰ ‰

‰ J

‰ œ.

œ. œ

œ œ  œ œ œ œ œ ∑

‰

œ.

‰

∑

‰

∑



œ œ œ.

‰

∑



‰

∑



‰

‰ œj œ . .

‰

∑

‰

œ.

b œ œ œœ ..

œ œ œ.



œœ ..

div.

‰



œ œ 



œ œ 

.



œœ J

.

œ  

 



œ.

 



.





.





 







? Vc.

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

Moderato q = 72

∑

J F

‰ J F . œ. œ œ.

p . œ. œ œ. p

Vln.

II.

Vle.

& w F & w F

Cb.

Vln.

II.

Vle.

∑

? 

Cb.



œ œ œ œ œ œ



?  F

œ œ œ œ.

#



#

œ œ

n

#

∑



n

dim.

n n

œ œ œ œ œ œ .

& œ

œ œ œ.



.

œ œ œ.

& 



? œ ? œ

 

œ œ œ

‰

œ 



œ œ

œ œ nœ

nœ p nœ p





∑



∑



œ œ œ œ œ œ œ œ 

œ.

‰

∑



œ n œœ ..

œ 

bœ.

œ œ œ.

b œ

œ  œ œ œ œ œ œ œ œ  œ bœ œ bœ

œ œ

œ.

œ œ bœ œ œ. œ œ bœ œ œ. 21

‰

∑

p ‰ ‰ ‰



œ œ œ œ œ œ œ œ œ

j ?

œ œ. ‰ œ œ Œ

‰ œJ œ

œ J

œ bœ œ ‰ œJ

œ œ

Œ ‰ J p con sord. œ Œ ‰ J p con sord.

Œ ‰ J p con sord. œ Œ ‰ J p con sord. œ Œ ‰ J p œ œ. ‰ con sord.

#œ œ œ œ. J

œ œ 

œ œ



‰

bœ.



œ œ  p œ œ œ. œ œ.

œ.



œ. œ œ.

j œ p

∑

‰

œ œ n

# j

B œ. œ œ. œ œ.

œ.

bœ

dim.

.



bœ œ œ nœ

.

& 

œ.

dim.



œ œ 

∑



œ 

œ #œ 

œ œ œ œ œ œ dim.

œ #œ œ œ

dim.

? œ. œ œ. œ œ. Vc.



B œ œ œ œ œ œ

& w F & w F

œ œ œ œ œ œ ? Vc.

œ œ œ œ œ œ

œ.

œ œ œ.

‰ ‰ ‰

Vln.

II.

Vle.

Bœ œ œ œ œ œ œ

& B

Cb.

II.

Vle.

Vc.

Cb.

dim.

œ œ

œ œ œJ œ

œ. œ J

œ œ œ œ bœ œ œ œ bœ œ

π œ œ œ #œ œ nœ #œ nœ J J J œ #œ nœ œ Œ dim.

dim.

∑

nœ bœ œ œ œ œ bœ œ #œ

∑

œ œ œ œ œ œ œ œ



œ #œ

nœ œ

œ bœ œ œ.

n

œ.



bœ

œ œ



œ.

œ œ nœ

∑



∑



∑



∑

œ.

œ œ. J

œ œ.

∑

œœ

∑

π #œ nœ œ #œ œ œ nœ #œ &

œ œ.

∑

œ œ. J

œ.

B Œ

œ . J œ

dim.

∑

&  &

œ #œ œ œ œ œ nœ.

œ œ #œ œ nœ œ œ œ #œ œ œ œ œ œ œ.

Vln.

œ œ.

œ.

œ # œ œ nœ # œ œ nœ œ œ œ œ # œ œ# œ œ nœ œ œ œ œ œœ œ J œ œ œ. ∑ & J œœ J dim. œ œ œ œ œ œ œ #œ œ œ nœ œ œ #œ œ œ œ œ nœ œ œ #œ nœ œ œ œ œ œ #œ nœ #œ œ œ nœ œ &

Vc.

œ œ œœœ œ œœ  J

œ œ œ.

∑



‰

∑



senza sord.

‰

∑

‰

∑



senza sord.

‰

∑

Œ ‰ J f

‰

senza sord.

Œ ‰ Jœ f senza sord.  Œ ‰ œj f senza sord.  Œ ‰ œj f

Œ ‰ œj œ œ œ œ œ œ œ œ  p œ œ œ œ œ œ œ œ  œ Œ ‰ J p œ œ œ œ œ œ œ œ  œ Œ ‰ J p ∑ ∑ 

Œ ‰ œ J f j œ. œ f œ . œj f œ. j

œ f

j Œ ‰ œ f

Cœ œ œ œ œ œ œ œ œ œ .

Vln.

II.

Vle.

Vc.

Cb.

& &

&  &  B  B  ?  ?  ?  36

Vln.

II.

Vle.

Vc.

Cb.

œ œ œ œ œ œ 

œ œ œ.

.



.



#



œ. œ œ. œ œ.

#

œ œ 

œ œ

  

œ œ œ œ œ œ



œ œ œ. œ œ.

œ œ œ œ œ œ

œ.



œ.

j œ œ œ. œ œ.

œ #

#œ nœ



œ #

#œ nœ

.



œ œ œ

.

œ œ œ œ œ œ œ œ



œ 

nœ #œ œ

b œ œ œœ n œœ



nœ #œ œ œ

bœ œ œ nœ

p p

œ n

p p

œ 

œ œ. œ œ.

œ 

œ œ  œ œ œ p

œ. œ œ œ œ œ œ œ œ œ  rit.

J π f F œ j œ œ  œ . œj œ œ œ œ œ œ œ œ  œ œ œ œ œ œ & œ. œ œ. œ œ. π f F œ  œ œ œ œœ .. ‰ œ #   œ œ œ œ œ & π F f & œ œ. ‰ .  œ  œ œ œ œ  œ œ œœ π f F B œ  œ œ œ œ œ œ œ n  œœ .. ‰ œ #  # π f F j B œ. œ œ. œ œ. œ # œ œ œ œ œ œ. ‰ . œœ œ œ F f π  œ ? œ  . œ. ‰  œ    π F f  . œ  ?  œ bœ  ‰ œ œ œ . f F π  . œ  ?  œ bœ  ‰ œ œ œ . F π f &



œ J



œ œ

œ J

 œ.

‰

œ. ‰ œ. ‰ œ. ‰ œ. œ. ‰ œœ .. ‰ œ. ‰

œ. ‰ œ. ‰

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi DK-Kk The Royal Library, Copenhagen mvt. movement N-Onm The National Library, Oslo Pl. No. plate number stacc. staccato marking(s) str. strings ten. tenuto marking(s) Vle. Viole Vc. Violoncelli Vln. Violini

SOURCES

CRITICAL REPORT

I Fjol gjætt’e Gjeitinn A Score, autograph B Score, autograph CPTS Parts, autograph DPTS Parts, copy E Printed score, first edition EPTS Printed parts, first edition F Printed score, Siegel edition FPTS Printed parts, Siegel edition

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. The following conventions have been used:

Source A • ‘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.

Score, autograph N-Onm, Mus.ms. 7868 b 35x26 cm, 3 pages Two bars crossed out in blue crayon Title page: No title After the score: Christiania / i August 1874 / JSvendsen The earlier of the two autograph scores Written in ink (Johan Svendsen)

Source B Score, autograph N-Onm, Mus.ms. 7868 a 27x34 cm, 4 pages Unpaginated Title page: An / Frau Bergljot Svendsen / geb. Levett. / ‘I Fjol gjætt’e Gjeitinn’ / norwegische Volksmelodie / für Streich orchester bearbeitet / von / Johan S. Svendsen After the score: JSvendsen The later of the two autograph scores Written in ink (Johan Svendsen) Additions in blue crayon and pencil

Source CPTS Parts, autograph N-Onm, Mus.ms. 7868 c Title page: ‘I Fjol gjætt’e Gjeitinn’ / norsk Folkemelodi / ved / Johan S. Svendsen Folder with black hard cover: ‘I Fjol gjætt’e Gjeitinn’/stemmer vl. I (6x), vl. II (5x), va (5x), vc (6x), kb (2x) Written in ink (Johan Svendsen) Additions in blue crayon and pencil

Source DPTS

Two Icelandic Melodies

Parts, copy N-Onm, Mus.ms.a 3424 34.5x26 cm Content: Charles Gounod: ‘Judex, from Mors et vita’. Johan Svendsen: ‘Zwei isländische Melodien’, ‘I Fjol gjætt’e Gjeitinn’, ‘Sérénade venitienne’ Vln (x4), vla, vcl, cb, pf, fl. Stamp: Restaurant Wivel / Anton Petersen Written in ink (Adolf Hansen)

S Sketches, autograph APTS Parts, autograph B Score, autograph CPTS Parts, copy DPTS Parts, copy E Printed score, first edition EPTS Printed parts, first edition F Printed score, Siegel edition FPTS Printed parts, Siegel edition

Source E Source S Printed score, first edition E.W. Fritzsch, Leipzig 1877 Pl. No. E.W.F. 338 L. Title page: An Frau Bergljot Svendsen geb. Levett. ‘I Fjol gjætt’e Gjeitinn’ norwegische Volksmelodie für Streich orchester bearbeitet

Sketches DK-Kk, MA ms 5276 mu 9705.2800 Sketchbook 03: Hardcover. Cover: Motley brown, Back:Blue/ grey Hand-ruled music paper, 12 staves Following a number of three-part exercises, there are seventeen pages of sketches for Two Icelandic Melodies. Aside from the two later published versions, these pages also include sketches for an arrangement of the Icelandic folksong ‘Breen’ (The Glacier) Written in pencil (Johan Svendsen)

Source EPTS Printed parts, first edition E.W. Fritzsch, Leipzig 1877 Pl. No. 339 L. Title page: An Frau Bergljot Svendsen geb. Levett. ‘I Fjol gjætt’e Gjeitinn’ norwegische Volksmelodie für Streich orchester bearbeitet

Source APTS Parts, autograph Det Kongelige Teaters Musikkarkiv nr. 14 Title page: To islandske Melodier / bearbeidede for Stryge orchester / af / Johan S. Svendsen Hand-ruled music paper, 12 staves Violino 1mo (4x), Violino 2do (4x), Viola (3x), Violoncello (5x), Basso (1x) Written in ink (Johan Svendsen) Additions in blue crayon

Source F Printed score, Siegel edition Siegel, Leipzig 1903 Title page: An Frau Bergljot Svendsen geb. Levett. ‘I Fjol gjætt’e Gjeitinn’ norwegische Volksmelodie für Streich orchester bearbeitet

Source FPTS Source B Printed parts, Siegel edition Siegel, Leipzig 1903 Title page: An Frau Bergljot Svendsen geb. Levett. ‘I Fjol gjætt’e Gjeitinn’ norwegische Volksmelodie für Streich orchester bearbeitet

Score, autograph N-Onm, Mus.ms. 7870 5 pages, 35x27.5 cm Title page: Seinem Freunde / Carl Warmuth / in Christiania / Zwei isländische Melodien / für / Streichorchester bearbeitet / von / Johan S. Svendsen Hand-ruled music paper, 20 staves Unpaginated Above the score: Zwei isländische Melodien Written in ink (Johan Svendsen) Additions in violet crayon, pencil and red crayon

Source CPTS

Two Swedish Folk Melodies

Parts, copy N-Onm, Mus.ms.a 2892 Title page: To islandske melodier / Joh.S. Svendsen Imo (5x), IIo (5x), Viola (2x), Cello (2x), Bas. (2x) Provenance: In the protocol of the library: Kjøp Gurvins dødsbo 22.12.78.ØG. (Purchase Gurvin’s estate 22 .12. 78 ØG) Written in ink

S Sketches, autograph APTS Parts, autograph B Score, autograph C Printed score, first edition CPTS Printed parts, first edition D Printed score, Hansen edition DPTS Printed parts, Hansen edition Dstudy Printed study score, Hansen edition

Source DPTS Source S

Parts, copy N-Onm, Mus.ms.a 3424 34.5x26 cm Content: Charles Gounod: ‘Judex, from Mors et vita’. Johan Svendsen: ‘Zwei isländische Melodien’, ‘I Fjol gjætt’e Gjeitinn’, ‘Sérénade venitienne’ Violin I (x4), Viola, Cello, Basso, Piano, Flauto Stamp: Restaurant Wivel / Anton Petersen Written in ink (Adolf Hansen)

Sketches DK-Kk, MA ms 5276 mu 9705.2800 Sketchbook 05: Hardcover Cover: Chequered brown, back: Brown Hand-ruled music paper, 12 staves Among many other sketches, eight pages of sketches for Two Swedish Folk Melodies Written in pencil (Johan Svendsen)

Source E Source APTS Printed score, first edition E.W. Fritzsch, Leipzig 1877 Title page: Seinem Freunde / HERRN CARL WARMUTH / IN CHRISTIANIA / Zwei isländische Melodien / für / Streich orchester / bearbeitet / von / JOHAN S. SVENDSEN Pl. No. E.W.F. 336 L.

Parts, autograph Det Kongelige Teaters Musikarkiv nr. 15 Above the first melody: Den sörjande, (Så rider jag mig öfver tolvmilan skog) Above the second melody: ‘Allt under Himmelens fäste’ Violino 1mo (x3), Violino 2do (x2), Viola (x2), Violoncello (x3, Basso (x1) Written in ink (Johan Svendsen)

Source EPTS Printed parts, first edition E.W. Fritzsch, Leipzig 1877 Pl. No. E.W.F. 338 L.

Source B Score, autograph N-Onm, Mus.ms. 7869 6 pages, 34x27 cm Title page: An Herrn Dr M. Levett / Zwei schwedische Volksmelodien / für / Streichorchester / bearbeitet / von / Johan S. Svendsen / Rom marts 1878 / JSvendsen [Norwegian titles are crossed out] Hand-ruled music paper, 24 staves Pagination: 1–6 Above the first melody: I. ‘Allt under himmelens fäste’ Above the second melody: II. ‘Du gamla, du friska, du fjellhöga Nord’ After each melody: Rom marts 1878 / JSvendsen Written in ink (Johan Svendsen) Additions in pencil and blue crayon

Source F Printed score, Siegel edition Kistner und Siegel, Leipzig 1903 Title page: Seinem Freunde / HERRN CARL WARMUTH / IN CHRISTIANIA / Zwei isländische Melodien / für / Streich orchester / bearbeitet / von / JOHAN S. SVENDSEN Pl. No. 13600 Reprint of the Fritzsch edition, E.W.F. 336 L

Source FPTS Printed parts, Siegel edition Kistner und Siegel, Leipzig 1903 Pl. No. 13601 Reprint of the Fritszch edition, E.W.F. 336 L

Source C

Svendsen Pl. No. 12611b The score was reprinted from Warmuth’s original plates

Printed score, first edition Carl Warmuth, Christiania 1878 Title page: AN HERRN DR M. LEVETT. / Zwei / schwedishe Volksmelodien / für / Streichorchester / bearbeitet / von / JOHAN S. SVENDSEN. Pl. No. 334 In the protocol of the publisher: Sold to Wilhelm Hansen Reprinted 1898

Printed arrangements by others Piano Trio Wilhelm Hansen, København & Leipzig Pl. No. 3260 Ed. 14171a For violin, cello and piano

Source CPTS Printed parts, first edition Carl Warmuth, Christiania 1878. Title page: AN HERRN DR M. LEVETT. / Zwei / schwedische Volksmelodien / für / Streichorchester / bearbeitet / von / JOHAN S. SVENDSEN Pl. No. 334 In the protocol of the publisher: Sold to Wilhelm Hansen Reprints 1892, 1895, 1898, 1899

Source D Printed score, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Cover page: WILHELM HANSEN / EDITION / No 621. / SVENDSEN / Zwei schwedische Volksmelodien / für / Streichinstrumente. / PARTITUR Title page: AN HERRN DR M. LEVETT. / Zwei / schwedische Volksmelodien / für / Streichorchester / bearbeitet / von / JOHAN S. SVENDSEN Pl. No. 12611, Ed. nr. 621 The score was reprinted from Warmuth’s original plates

Source DPTS Printed parts, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Title page: AN HERRN DR M. LEVETT. / Zwei / schwedische Volksmelodien / für / Streichorchester / bearbeitet / von / JOHAN S. SVENDSEN Pl. No. 12611 The parts were reprinted from Warmuth’s original plates

Source DSTUDY Printed study score, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Cover page: WILHELM HANSEN / EDITION / NR. 621b / SVENDSEN / Zwei schwedische Volksmelodien / Taschen-Partitur Title page: Wilhelm Hansen Edition / Zwei schwedische Volksmelodien / für Streichorchester / Bearbeitet / Johan S.

EVALUATION OF THE SOURCES

these are copies made by others, and are both based on the printed version The only extant autograph score, Source B, is a fair copy Svendsen made in 1877. Compared with the first version, a number of dynamics and slurs have been changed. This score was used as the printing source for the first edition by E. W. Fritzsch, published in 1877 (Sources E and EPTS). Later, publisher Siegel used the same plates for a reprint with new cover pages, Sources F and FPTS. There are practically no differences between the printed edition and the printing source (B). The printed score, Source E, has been our primary source. The printed parts, Source EPTS, show some small differences compared with Sources B and E. Although they share a few variants with the earlier parts, Source APTS, they are not completely identical and may have been printed from a set of lost autograph parts. The parts for violins and violas notably contain bowings. These bowings closely match the bowings in blue crayon in the autograph orchestral parts (APTS), and were most likely added by Svendsen himself. Therefore we chose to include them in our edited score.

All the works in this edition originally existed in early versions used in connection with their first performances. Some years later, Svendsen produced new scores with various changes to prepare them for publication. In 2008, we were able to locate sets of early autograph parts for Two Icelandic Melodies, JSV 60, and Two Swedish Folk Melodies, JSV 67, at the orchestral library of the Royal Danish Opera. This allowed us to create detailed reconstructions of all three works in their early versions.

I Fjol gjætt’e Gjeitinn I Fjol gjætt’e Gjeitinn survives in two autograph scores, an earlier Source A and a later Source B. Source A is labelled ‘Christiania, August 1874’, while Source B, which is not dated, was probably prepared for the publication in 1877. Source A closely resembles the later fair copy, but some musical elements, such as slurs, are still missing, and some of the beaming differs. We also have a full set of autograph parts, Source CPTS. This set was copied from Source A, but Svendsen added a number of slurs not found in the score, probably by analogy with similar passages. Multiple part copies closely resemble each other. The National Library of Norway also houses an old set of parts produced by a copyist and stamped ‘Restaurant Wivel / Anton Petersen’ (Source DPTS), but this set stems from a later date and was not prepared by Svendsen himself. Leipzig publisher E.W. Fritzsch used Source B as the printing source for the first edition, published in 1877 (Sources E and EPTS). Later, Siegel printed the work from the same plates, but substituted new cover pages (Sources F and FPTS). We have used Source E as our primary source.

Two Swedish Folk Melodies One of Svendsen’s musical notebooks (book 5) contains eight pages of sketches for Two Swedish Folk Melodies, Source S, kept at the Royal Library in Copenhagen. Similar to Two Icelandic Melodies, the score used for the first performance is now lost. However, a full set of autograph parts at the orchestral library of the Royal Danish Opera, Source APTS, allowed us to reconstruct the original score with a great deal of accuracy. Most likely, these handwritten parts were copied from the now missing score, and may have been used at the first performance. Since the early version of Two Swedish Folk Melodies differs considerably from the printed score, far more so than in the case of Two Icelandic Melodies, we have included it in the Addenda. The only existing autograph score (Source B) was prepared by Svendsen during a stay in Rome in 1878, and provided the printing source for the publisher. Unlike the other two works in this volume, Two Swedish Folk Melodies was published by Carl Warmuth in 1878, Sources C and CPTS. Later, Wilhelm Hansen added new covers and published the work using the same plates, Sources D and DPTS. With only a few exceptions, the Warmuth score closely resembles the autograph score (Source B). Our primary source has been the edition published by Warmuth, Source C.

Two Icelandic Melodies One of Svendsen’s musical notebooks, book 3, Source S, kept at the Royal Library in Copenhagen, contains six pages of sketches for Two Icelandic Melodies, and includes sketches for a third melody, Breen (The Glacier). These sketches have not influenced our work at the editorial level. The score used at the first performance is now lost, but it seems to have provided the basis for a full set of autograph parts kept at the orchestral library of the Royal Danish Opera, Source APTS. This has allowed us to reconstruct the score with some accuracy. Unique variants found in this early version are included in our list of emendations and alternative readings. These autograph parts may well have been used at the first performance in 1874. They include many emendations in blue crayon, most likely made by Johan Svendsen himself. Most of the violin and viola parts also contain added bowings and slurs in blue. In addition, the National Library of Norway holds two other sets of handwritten parts, Sources CPTS and DPTS, but

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Particularly important and/or problematic remarks have bar numbers in bold type.

I Fjol gjætt’e Gjeitinn Primary source: E

Vln. I, lower part

A: slur across all four notes

Vle. upper part

A, CPTS: slur across all four notes

Vln. I

A: no slur; CPTS: slur only across notes 2–3

Vln. II

CPTS: one slur across all notes

Cb.

CPTS: slur across all notes in one of two parts

tutti

A: morendo starts here

Most of the score employs two staves for divisi parts. In Sources A and B, Svendsen placed all dynamic markings between these two staves. This is not commented in the table. Bar

Instr.

Comment

Vln.

Vc.

A: no slur

Cb.

A, CPTS: no slur

9–14

Vln. I

A: no slurs

Vle. upper part

A, CPTS: no slur

Vle. lower part

A, CPTS:  

Vle. upper part

A, CPTS:  

Vle. upper part

A: no slurs

Vln. I lower part

A: no slurs

Vln. II upper part

A: no slurs

Vle. upper part

A, CPTS: no slur

Vln. II lower part

EPTS: one beam across all notes

Vln. I, upper part, Vln. II upper part

A: beaming: 2+2

Vln. I, upper part

A: beaming: 2+2

Vln. II, lower part

A, CPTS, EPTS: beaming: 2+2

Vln. lower part

CPTS: no slur

35–36

Two Icelandic Melodies crossed out in ink

Primary source: E Most of the score employs two staves for divisi parts. In Sources A and B, Svendsen placed all dynamic markings between these two staves. This is not commented in the table. I. Maestoso

Vc.

tie added by analogy with the other parts

Vc.

tie added by analogy with the other parts

Vln. I

A, EPTS: notes 1–3: slur

Vln. II

A: slurs across all notes in both parts

Vc.

A: no p in parts 4–5; p added in blue crayon in parts 1–3

Vle., Vc.

A: no pp

Vln. II

cautionary accidental added

II. Moderato

Vln. I

notes 1, 4: stacc. added by analogy with the other parts

Vln. I

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

Vln. II

notes 3–4: slur added by analogy with the other parts

tutti

A: all parts have the following rhythm:

Vln. I/II

œ œ œ œ œ. 2

Œ ‰

j j œ œ œ œj œ œj œ œ œ . œ

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

Vln. I

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

Vle. upper part

A: note 1: c’

Vle. upper part

A: slur across all notes in blue crayon

Vln. II, Vle. A, EPTS: no

Vc.

A, EPTS: dim. (no

Vln. I

slur emended from one slur across all notes as in EPTS; A: no slur

Primary source: C Most of the score employs two staves for divisi parts. In Sources A and B, Svendsen placed all dynamic markings between these two staves. This is not commented in the table. Variants in source APTS are not listed in this table. They can be studied in the score included in the Addenda.

)

Vln., Vle., Vc. lower part

A: see b. 8

Vle.

A: notes 1–2: slurs added in blue crayon

42–43

tutti

A, EPTS:

44–45

Vln. , Vle.

EPTS:

Vln. I, Vc. upper part

A: see b. 8

tutti

A: fp emended to ffp in blue crayon

50 50

Two Swedish Folk Melodies

‘Allt under himmelens fäste’

Vln. II upper part

cautionary accidental added

Vln. I

cautionary accidental added

Vle. II

APTS, B: notes 2–3: 

Vle. I

cautionary accidental added

Vle. I, Vc. I

cautionary accidental added

27–28

Vle.

Vln. II, Vle. A: slur across all notes added in blue crayon

Vln. I

cautionary accidental added

Vln. II lower part

notes 1–3: slur added by analogy with Vle. lower part

Vc. II, Cb.

cautionary accidental added

Vln. I

cautionary accidental added

tutti

A: no

Vle.

CPTS : no >

tutti

Vln. I

CPTS : dim. begins here

tutti

Vln. I

p added by analogy with Vln. II, Vle.

Vc.

p added by analogy with Vln. II, Vle., and as in EPTS

Cb.

p added by analogy with Vln. II, Vle., and as in EPTS

and no cresc. and no cresc.

added by analogy with Vln.

‘Du gamla, du friska, du fjellhöga nord’

Vle. II

Vle. I

B: note 3: a

Vln. II

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

Vc. II, Cb.

cautionary accidental added

Vla. II

cautionary accidental added

Vln. II lower part

B: note 6: ten.

Vle. I

cautionary accidental added

Vln. I, Vle. II

CPTS: beaming 2+2

added by analogy with the other parts

Addenda

To svenske folkeviser FĂ¸rste versjon av To svenske folkemelodier (1876)

JSV 67a

Two Swedish Folk Songs First version of Two Swedish Folk Melodies (1876)

To svenske folkeviser First version of "Zwei schwedische Volksmelodien" – 1876

[JSV 67a]

1. Den sörjande (Så rider jag mig öfver tolvmilan skog)

œ œ œ œ œ œ œ œ œ œ œ. &c J F    &c ‰  F & c ‰     Moderato

I. Violini II.

Bc‰ Viole

Bc‰ ?c ‰

Violoncelli

Contrabbassi

?c ‰ ?c ‰

I. Vln. II.

Vle.

& œ. œ œ. œ œ.

Cb.

 



∑

j œ œœ œ œœœœ œ



B 





œ œ



B

œ œ

 

∑

 



œ.

bœ

œ œ.



œ.

œ œ

∑





‰ ‰

‰ J J

‰ œ



œ œœ ..

‰

∑

œ œ œ.

‰

∑

œ œ  œ œ œ œ œ

b œ

‰

œ œ

∑





∑

j œ œ œ œ œ œ œ œœ œ œœ œJ œ b œ œ

‰ Œ p ‰ 



div.

∑

œ œ 



∑

‰

œ œ œ.



œ œ 

œ œ œ.



œ œ 

.

œ ∑

∑





.

œ  

 



.

œ œ 

 .. 

j œ œ œ. œ œ.

œ.



 ..



.

 



œ œ œœœœœœ  J







&

? Vc.

 



Johan S. Svendsen



œœ ..

‰

œ.

‰

œ.

‰

‰ œj œ . p ∑

∑

‰ J p

. œ. œ. œ ‰ p

Vln. II.

Vle.

œ 

.



œ 

.



œ œ œ œ œ œ

œ œ œ œ.

∑

Vc.

Cb.

Vln.

II.

Vle.

Vc.

Cb.



œ œ œ œ.



#



œ J

n

#

n

#

.

bœ

.

bœ

.

& œ

œ œ œ.



.

œ œ œ.

&  & 

 

? œ. œ œ. œ œ.

B  ? œ ? œ



 

œ œ



‰

œ.

j œ œ

œ.

œ œ

œ 

œ œ nœ

‰





œ.

‰

∑



œ œ œ œ œ œ œ œ 

œ.

‰

∑



bœ.

œ 

œ œ œ .

b œ

œ œœ .. bœ. œ  œ œ œ œ œ œ œ œ  œ. b b

œ œ

œ œ.

œ œ bœ

œ œ bœ œ œ. 36

‰

∑



j œ œ œ œ œ œ œ œ œ œ ‰

œ œ. ‰ œ œ

‰

‰ œJ œ

œ J

œ œ œ

Œ ‰ J p con sord. œ Œ ‰ J p

Œ ‰ J con sord. p Œ ‰ Jœ p con sord. œ Œ ‰ J p œ œ. ‰

#œ œ œ œ. J

œ œ 

œ bœ œ ‰ œJ





∑



œ. œ œ.

∑



œ. œ œ.

œ œ n

#

B œ. œ œ. œ œ.

bœ

p 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.

‰ ‰ ‰

Bœ œ œ œ œ œ œ œ œ œ.

œ œ œœœ œ œœ  J

Vln.

II.

Vle.

Cb.

& B

œ œ

œ œ œJ œ .

Vln.

II.

Vle.

Cb.

∑

& &

∑

œ œ. J

œ.

? ?

œ œ

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

B Œ

œ œ. J

#œ

∑ ∑ ∑ ∑

œ œ. J

n



bœ

œ œ œ œ bœ œ œ œ bœ œ œ

∑

œ œ œ œ œ œ œ œ  œ

œœ

œ œ œ #œ œ nœ #œ nœ J œ J J #œ nœ œ Œ

∑

& 

? Vc.

∑ ∑

œ #œ œ #œ œ œ nœ.

œ œ #œ œ nœ œ œ œ #œ œ œ œ œ œ œ.

œ #œ œ nœ #œ œ nœ œ œ œ œ #œ œ #œ œ nœ œ œœ œ œ œ œ J œ œJ œ . ∑ & J œœ œ œ œ œ œ œ œ #œ œ. nœ œ œ #œ œ œ œ œ nœ œ œ #œ nœ œ œ œ œ œ #œ nœ #œ œ œ nœ œ J &

? Vc.

œ œ.

œ.

#œ

œ. œ

œ.

nœ œ œ bœ œ

œ œ

œ.

œ  J

œ.

œ œ œ

∑ ∑



∑



∑ 37

œ. œ œ. J

œ œ. ∑

∑

Œ ‰ J senza sord. f  Œ ‰ œJ

‰

∑

‰

∑

‰

∑

Œ ‰ œj senza sord. f  Œ ‰ j

‰

∑



‰

∑



œ œ œ œ œ œ œ œ  œ Œ ‰ J p œ œ œ œ œ œ œ œ  œ Œ ‰ J

∑



Œ ‰ œ J f Œ ‰ œj

senza sord.

œ. œ.

J f

j Œ ‰ œ f

Cœ œ œ œ œ œ œ œ 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. Vln. II.

Vle.

& 



.

B 

 

œ 

&  B 

Cb.

Vln.

II.

Vle.

Vc.

Cb.

.



? 



& œ. œ œ. œ œ.



& œ



B œ



B œ. œ œ. œ œ. ? œ

?  ? 



œ œ

œ bœ œ bœ

œ #

#œ

# F

œ # 

 



nœ

œ œ œ œ œ œ

  



œ œ

œ 

œ œ. œ œ. œ 



œ œ

œ J

 œ.

‰

œ. ‰

œ œ œ. ‰

‰ œ œœ œœ .. œ œ œ. ‰

. œ. ‰ .

œ œ

‰ œ œœ œœ ..  œ. ‰

‰

‰ œ œ œ.

œœ .. ‰ œ

œ œ œ. ‰

œ n

J π œ . œj œ œ œ œ œ œ œ œ  #

œ n

rit. œ. œ œ œ œ œ œ œ œ œ 



œ. œ œ.

œ. ‰ .

 f 

p j œ œ

œ œ  œ œ œ œ œ  œ œ œ



œ œ n 

bœ œ œ nœ

œ œ œœ .. ‰ œ f

œ.

œ œ œ. œ œ.

nœ #œ œ œ



œ.

b œ œ œœ n œœ



nœ #œ œ

.

œ œ œ œ œ œ œ œ



nœ

.



œ #

œ œ œ œ œ œ œ œ



#



#

œ. œ œ. œ œ.



œ 



? 



?  Vc.

œ.

œ. ‰

. .

#

‰ œ œ œ.

2. "Allt under himmelens fäste." #

Violini II.

Vln. II.

Vle.

Vc.

Cb.

# #

Contrabbassi

# & œ. #

& 

B#w B#



?#  ?#



Violoncelli

# & œ.



B# w f B#

Viole

Œ œ œ . œ p

& 

Adagio q = 58

œ.

nœ.

œ. ∑

j œ 

œ #œ œ

œ œ 



œ.



œ.

.

∑

. œœœœ œ j

œ. œ. ∑

j œ œ œ œ #œ j

œ œ 

j œ nœ œ œ #œ ∑



∑



œ œ

#

œ œ

. 

œ œ œ œ œ œ

#œ

œ #œ

œ œ œ œ ∑

œ œ #

œ #œ œ.

œœœœ

œ œ 

œ œ #œ œ œ

œ 

œ œ œ œ œ . J

œ 

∑

œ œ  œœœœ

œ œ œ.

œ 

.

œ œ œ œ. j



j œ. œ 

∑

œ 



∑

j œ. œ 



j œœœœœ  j œ œ.

œœ œœ 

. œ œ œ œ œ

j œœœ œœ 



#

∑

œ nœ œ œ œ  J

dim.

œ œœ



œ 

#

.

∑



œ ∑

I. Vln. II.

# & . π # &

œ œ



Vle.

B#  π B#

Vc.

Cb.

I. Vln. II.

Cb.

∑

œ  .

#œ

#



œ œ œ œ

& 



œ œ œ.

B# 

?# ?#

 

   

n

œ bœ  



œ œ œ. 

œ.



œ.

œ  J j

œ nœ  

œ.

œ nœ  J œ # J œ # J

#œ

n 



∑

œœ œœ  J



 #œ

n œ œ

œ œ œ J #œ

œ œ œ œ 40

     

.

. .

 # > .

∑



# 

 

œœ f

.

 #œ œ

w >

 

œ f

.

 

.

Œ  #

.

∑

œ œ œ œ œ. œ œ œ œ œ  J π



> Œ w

>



#w >



∑

œ œ œ œ œ.

œ bœ œ.



n

∑



œœ

n  >

œ œ

.

œ # w> œ

œœœœœ  J

œ œ-. œ-. # œ. w -

& 

?#  Vc.

œ œ



# œ.

œ 

œ #œ œ .



B#  Vle.



 #œ œ œ œ œ œ œ œ 

& œ œ œ œ œ œ #œ . π

œdiv. œ



œ f

œœœœ



œ #œ œ œ œ





œ œ œ.



  

œ œ œ



œ œ œ

œ J



œ #œ œ œ œ œ œ œ.

œ œ œ

œœ

œ œ œ

œœ

I. Vln. II.

& & &

œ œ œ œ œ .

œ.

# .

cresc.

# 

cresc.

Cb.

. B#

Vln. II.



cresc.



cresc.



?# 

Cb.



#œ 



n 

œ œ # œ œœ

#œ 

œ #œ œ œ



#



œ œ 

.



œœ # œœ 

œ œ œ nœ œ œ œ nœ

# n  f



# ww

 ..

B # #w ?# ?#

w w w

.  ..

œœ

.

. w w



>œ

.

œ œ

 ..

.

. 41



.

dim.

n >

dim.



.

> >œ >

# œ n œœ

œ œ. œ  J

œœ  .

#œ œ w #œ œ w

.

œ œ œ . n œJ # 



dim.

œ œ œ . n œJ # 

œœ

#w > n w

dim.



œ œ œ œ œ œ œ œ œ #œ .



œ œ. œ. # œ. w

?# Vc.

œ œ #

œ nœ œ œ œ  J

œ #œ œ œ œ œ œ œ 

B # n ww Vle.

œ.



cresc.

?# Vc.



B#  Vle.

œ #œ

#œ nœ

nœ nœ

œ œ œ œ

#œ œ œ œ œ œ p

œ œ

œ œ œ œ œ œ œ œ

U w

œ #œ 

 #

dim.

œ #œ 

dim.

œ #œ  w

dim.

œ œ  œ œ 

dim.

div.

π π

dim.

 #

w w

dim.

w w

dim.

 ∏



EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Primary source: APTS The set of parts contains the following parts in Svendsen’s handwriting: Violino 1mo (x3), Violino 2do (x2), Viola (x2), Violoncello (x3, Basso (x1). In the following table these parts have been labelled Vln. I-a, Vln. I-b etc. Particularly important and/or problematic remarks have bar numbers in bold type.

First version of Two Swedish Folk Melodies (1876)

Den sörjande (Så rider jag mig öfver tolvmilan skog)

Bar

Instr.

Comment

Vln. I-c

APTS: no p

Vc.-c

APTS: no

Vln. I-b

APTS: second slur not there

Vc.-c

APTS: no slur

Vln. I-b

APTS: no

Vc.-b

APTS: no slur

Vln. II lower part

note 4: emended from e’ by analogy with Vc. upper part

Vle.-a

APTS: no p

Vln. II-a/b

APTS: no rit.

‘Allt under himmelens fäste’

Vln. II-b

APTS: no slur

Vln. I-b

APTS: no slur