Svendsen andante funebre by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Andante funèbre JSV 92

Andante funèbre Utgitt av / Edited by Elly Bruunshuus Petersen Published in cooperation with Danish Centre for Music Publication (DCM)

JOHAN SVENDSENS VERKER

NMA-JS-I/6D

N.M.O. 13812A

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle Translation: Dan Marmorstein Sponsored by: Norsk kulturråd (Arts Council Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (NMO 113812A /ISMN 979-0-065-14226-5) For sale and hire Parts (NMO 113812B /ISMN 979-0-065-14227-2) For hire © 2015 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

Andante funĂ¨bre Forkortelser Kritisk rapport Addenda Avsnitt i kilde A med annen instrumentasjon

General preface Preface Facsimile Scoring I V IX XVII

1 10 11 17

Andante funĂ¨bre Abbreviations Critical report Addenda Section in source A with different scoring

I V IX XVII

1 10 11 17

GENERAL PREFACE

ohan Svendsen (1840–1911) was a leading figure in late-nineteenth-century Scandinavian music, celebrated as both a composer and a conductor. His works occupy a central position in the musical history of Norway and Scandinavia in general, yet his printed music has become notoriously difficult to obtain. Older editions are often inadequate, and many are out of print or abandoned by defunct publishing houses. More than half of his works 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 musikk‑høgskole 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 edition is organized in the following way: 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 SERIES IV: Chamber Music

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

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 III: Verker for strykeorkester

SERIES V: Piano Works

SERIE IV: Kammermusikk

SERIES VI: Vocal 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 II: Verker for soloinstrument og orkester

SERIES VII: Ballet Spring is coming, Op. 33

SERIE V: Klaververker SERIES VIII: Sketches and Varia

SERIE VI: Vokalverker 1. Kantater og korverker 2. Sanger

SERIE VII: Ballett Foraaret kommer, op. 33

SERIE VIII: Skisser og varia

PREFACE

ohan Svendsen (1840-1911) composed the Andante funèbre in 1894 as a memorial to mark the passing of the 23-year old Georg Hindenburg, who died of tuberculosis in Lofthus, Norway. The deceased was the son of Georg Theodor Hindenburg, assessor (Puisne Justice) in both Copenhagen’s Criminal- and Police-Court, during the period 1881-1906 and the Court of Law [Hof- og Stadsretten], during the period 1891-95, a man who also had an avid interest in music. Hindenburg the younger was similarly musically inclined and Svendsen had expected a lot from him. Urged on to do so by his friends, Svendsen composed a piece of music for the funeral service (previous to the cremation) that was held on Saturday 30 June 1894 in The Church of Our Lady.11 On that occasion, Svendsen’s piece had another title, as evidenced by an announcement in Dagbladet on 1 July 1894:

FORORD

ohan Svendsen (1840–1911) komponerede Andante funèbre i 1894 i anledning af den 23 årige Georg Hinden burgs død af tuberkulose i Lofthus i Norge. Afdøde var søn af Georg Theodor Hindenburg, assesor i Københavns Kriminal- og Politiret 1881–1906, i Hof- og Stadsretten 1891– 95, som desuden havde en stor interesse for musik. Hindenburg d. y. var ligeledes meget musikalsk, og Svendsen havde ventet sig meget af ham; opfordret af sine venner komponerede Svendsen et stykke musik til brug for bisættelsen lørdag den 30. juni 1894 i Vor Frue Kirke.1 Stykket havde ved den lejlighed en anden titel, hvilket fremgår af en notis i Dagbladet 1. juli 1894, hvori der står:

Conductor Johan Svendsen, during these days, has composed an Andante religioso. This poetic work, which is scored for organ, violin and cello, was played yesterday afternoon in The Church of Our Lady at the High Court assessor Th. Hindenburg’s son, student Georg Hindenburg’s funeral.

Kapelmester Johan Svendsen har i de Dage komponeret en Andante religioso. Det stemningsfulde Værk, der er skrevet for Orgel, Violin og Violoncel, blev opført i Middags i Frue Kirke ved Overretsassessor Th. Hindenburgs Søns, Student Georg Hindenburgs Jordefærd.

The same title is mentioned in Dannebrog, together with the names of the musicians:

Den samme titel angives i Dannebrog, og her oplyses endvidere, hvem der spillede:

Conductor Johan Svendsen has composed an Andante religioso for violin, cello and organ, which was played yesterday for the very first time at student Hindenburg’s funeral in The Church of Our Lady. The piece was performed by Messrs. Anton Bloch, Ejler Jensen and Thorvald Hansen. On Friday, the composer attended the rehearsal of his new composition.12

Kapelmester Johan Svendsen har komponeret en Andante religioso for Violin, Violoncel og Orgel, som i Gaar spilledes for første Gang ved Student Hindenburgs Begravelse i Fru Kirke. Stykket blev udført af d’Herr. Anton Bloch, Ejler Jensen, og Thorvald Hansen. Komponisten overværede i Fredags Prøven paa sin nye Komposition.2

There can be no doubt, however, that what is being spoken about here is the very same work that later came to bear the title Andante funèbre. Shortly after the funeral service was held, ‘Mathia Hindenburg’s and her son, Georg Hindenburg’s A Memorial Pamphlet’ was published, in which a printed a version of the work for piano appears under the heading: “Andante funèbre./ (Performed in The Church of Our Lady on the occasion of Georg Hindenburg’s funeral on 30 June 1894.)” In the same year, Wilhelm Hansen published the ver-

Der er imidlertid ingen tvivl om, at det drejer sig om det værk, som siden bærer titlen Andante funèbre. Kort efter bisættelsen udkom ”Mathia Hindenburg og hendes Søn Georg Hindenburg, Et Mindeblad”, hvori der bagerst er trykt en udgave for klaver med overskriften: ”Andante funebre. / (Udført i vor Frue Kirke ved Georg Hindenburgs Jordefærd den 30 Juni 1894.)” Samme år udkom på Wilhelm Hansen Musikforlag udgaven for violin, cello og orgel. På baggrund af denne udgivelseshistorik med den nære tilknyting til opførelsen i kirken, må man formode, at denne version samt versionen i Mindebladet er udarbejdet af Johan Svendsen selv. Det kan ikke på basis af de forhåndenværende kilder afgøres, hvornår Svendsen skrev de forskellige versioner.3

sion for violin, cello and organ. On the basis of what we can observe in the historical sequence of published items that are closely connected to the aforementioned performance in the church, it seems safe to assume that this trio version and the version in the Memorial Pamphlet were both prepared by Johan Svendsen himself. What cannot be determined, however, on the basis of the available sources is precisely when Svendsen wrote the different versions.13 However, the full orchestra score was published by Wilhelm Hansen in 1895 and it was played by the Royal Theatre Orchestra the following year, on 21 November 1896, on the occasion of the fall season’s first symphonic concert. It was performed on the same bill as several other Svendsen works. In the reviews of the concert,15 Andante funèbre was mentioned without further comments but the concert, as a whole, received a great deal of recognition. For example, Charles Kjerulf wrote:

Orkesterpartituret udkom hos Wilhelm Hansen i 1895 og stykket opførtes året efter ved sæsonens første symfonikoncert med Det Kongelige Kapel den 21. november 1896. Det blev opført sammen med flere andre Svendsen-værker4; i anmeldelserne i dagbladene5 blev Andante funèbre nævnt uden yderligere kommentarer, men koncerten som helhed fik megen anerkendelse, fx skrev Charles Kjerulf: Der var overhovedet en Festivitas over Kapellets ypperlige Spil, Johan Svendsen selv og over Publikum som i de allerførste filharmoniske Dage […] Man glemmer hans store og smaa Opera-Synder gennem Aarene, glemmer, han saa bedrøvelig tidlig har mældt sig fra den skabende Kunst – overgiver sig på Nåde og Unaade. 6

There was an altogether festive ambience about the Royal Theatre Orchestra’s superb playing, about Johan Svendsen himself and about the audience, as, in the very first of the philharmonic ‘days’ [...] One forgets the terrible and also the minor opera sins he has committed through the years; one forgets that he has, and so deplorably early on, backed away from the creative arts – surrendering oneself unconditionally.16

Der havde været en del skriverier i bladene, hvori han blev bebrejdet denne mangel på nyskaben.7 Koncerten var muligvis en reaktion på denne polemik;8 ganske vist var der ikke nye kompositioner på programmet, men så dog to værker i en ikke tidligere hørt orkesterverson, Andante funèbre samt hans instrumentation av Edmund Neupert’s Før Slaget. Andante funèbre blev spillet ved Svendsens egen bisættelse, som fandt sted fra Vor Frue Kirke i København 19. juni 1911, hvor strygere fra Det Kongelige Kapel ledsaget af orgelet spillede den som afslutning på højtideligheden i kirken; den blev spillet blandt andre sørgemarcher – Chopins og Hartmanns – under sørgetoget fra kirken til Bispebjerg Krematorium af et korps på 70 mand, og endelig Skt. Hans Aften af Nationaltheatrets orkester ved en sørgehøjtidelighed i Trefoldighedskirken i Oslo efter mindetalen i forbindelsen med overførslen af urnen fra Danmark til Norge.9 Wilhelm Hansen udgav ikke mindre end 12 arrangementer af Svendsens værk udarbejdet af andre komponister i årene 1895–1928, og der foreligger ligeledes flere manuskripter med udgaver for salonorkester, strygeorkester og brass-band.10 Foreliggende reviderede udgave er blevet til på basis af en kollationering af Johan Svendsens renskrift af partituret med førstetrykket; revisionsarbejdet har for størstedelen bestået af normalisering af buer og typografi samt rettelser af et par stikkerfejl. Hvad udgaven for violin, cello og orgel samt klaver- eller orgelversionen i Mindebladet angår, findes der ingen andre kilder, hvorfor arbejdet har bestået en modernisering af nodetrykket og rettelser af eventuelle stikkerfejl.

There had been a number of written articles appearing in the newspapers, wherein Svendsen was reproached for this lack of innovation.17 The mounting of this concert was quite possibly a reaction to this controversy;18 indeed, there were no new compositions on the programme but after all, there were two newly scored works, including the Andante funèbre and Svendsen’s instrumentation of Edmund Neupert’s Før Slaget [Before the Battle]. Andante funèbre was played again at the service that took place in Copenhagen on 19 June 1911, at The Church of Our Lady, previous to the cremation of the composer’s remains, where members of the string sections from the Royal Theatre Orchestra with organ accompaniment played the piece as the conclusion of the ceremony in the church; it was played one more time, among other funeral marches, including Chopin’s and Hartmann’s, by a corps of 70 men during the funeral procession that moved from the church to Bispebjerg Crematorium. And once again, it was played on St. John’s Eve (23 June – ‘midsummer’ evening) by the National Theatre’s Orchestra at a mourning ceremony in Trefoldighedskirken [The Church of the Holy Trinity] in Oslo, following the eulogy that was spoken in connection with the transfer of the cinerary urn from Denmark to Norway.19

Elly Bruunshuus Petersen

Wilhelm Hansen published no fewer than 12 arrangements – worked out by other composers – of Svendsen’s piece during the years 1895-1928. Similarly, there are a number of extant manuscripts with versions for salon orchestra, string orchestra and brass band.20 The present revised version has come into being on the basis of a process of collating Johan Svendsen’s fair copy of the score with the first edition; the work of editing and revising this piece has consisted, for the most part, of normalising the bowings and introducing emendations in the typography as well as making corrections of a few engraving errors. When it comes to both the version for violin, cello and organ and the version for piano appearing in the Memorial Pamphlet, there are no other sources to be found; accordingly, the revision has consisted solely of modernising the printed edition and correcting whatever engraving errors needed to be adjusted.

Noter 1 Jf. Finn Benestad og Dag Schjelderup-Ebbe, Johan Svendsen. Kunstneren og Mennesket, Oslo 1990, s. 229. 2

Dannebrog, 1.7.1894.

Se Evaluation of the Sources s. 14.

Programmet bestod yderligere af Johan Svendsen, Symphoni nr. 1 i D-dur op. 4, Sigurd Slembe op. 8, Karneval i Paris op. 9; Edvard Grieg, Den Bergtekne op. 32; Edmund Neupert, Før Slaget op. 24, instrumenteret for stort orkester af Svendsen; Otto Malling, Knud den Hellige. 4

Politiken, 22.11.1896, Dannebrog, 22.11.1896.

Politiken, 22.11.1896.

Elly Bruunshuus Petersen

Jf. Niels Friis, Det Kongelige Kapel, København 1948, s. 212–213, og Berlingske Tidende, 1.9.1896 7

Jf. Ibid., s. 212., se også Victor Gandrup, Johan Severin Svendsen, En biografisk skisse, (Musikmuseet, Johan Svendsens papirer, kasse 8, s. 57-59). 8

Notes

For yderligere oplysninger om Johan Svendsens bisættelse og urnenedsættelse se Finn Benestad og Dag Schjelderup-Ebbe, op. cit., s. 286–291, Victor Gandrup, op. cit. s. 64. 9

Cf. Finn Benestad and Dag Schjelderup-Ebbe, Johan Svendsen / Kunstneren og Mennesket [Johan Svendsen / The Artist and the Man], Oslo 1990, p. 229. 11

Se kildebeskrivelse.

Dannebrog, 1 July 1894.

See ‘Evaluation of Sources’ p. 14.

The rest of the program was filled out by three more of Johan Svendsen’s works, Symphony No. 1 in D major, Op. 4, Sigurd Slembe [Symphonic Prelude, Op. 8], Karneval i Paris [Carnival in Paris, Op. 9] and by Edvard Grieg’s Den Bergtekne [The Mountain Thrall, Op. 32], Edmund Neupert’s Før Slaget – Nordisk Tonebillede [Before the Battle – Nordic Tone Painting, Op. 24] (arranged for large orchestra by Svendsen) and Otto Malling’s Knud den Hellige [Canute the Holy]. 14

Politiken, 22 November 1896; Dannebrog, 22 November 1896.

Politiken, 22 November 1896.

Cf. Niels Friis, Det Kongelige Kapel [The Royal Theatre Orchestra], Copenhagen 1948, pp. 212-213, and Berlingske Tidende, 1 September 1896. 17

Cf. Friis, op.cit., p. 212, see also Victor Gandrup, Johan Severin Svendsen, En biografisk skisse (Musikmuseet, Johan Svendsens papirer, kasse 8, pp. 57-59). 18

For further information about Johan Svendsen’s funeral and the lowering of the cinerary urn, see Finn Benestad and Dag Schjelderup-Ebbe, op. cit., pp. 286291, Victor Gandrup, op. cit. p. 64. 19

VII

See the ‘Description of Sources’.

VIII

ANDANTE FUNÉBRE, ORCHESTRAL SCORE, AUTOGRAPH, FIRST MUSIC PAGE, SOURCE B, THE ROYAL LIBRARY, COPENHAGEN, C II, 39. FOL. 1923–23, 196.

ANDANTE FUNÉBRE, ORCHESTRAL SCORE, AUTOGRAPH, SOURCE B, MIDDLE SECTION BB. 64–69 WITH SVENDSEN’S CHANGES IN BB. 66–69.

ANDANTE FUNÉBRE, INCOMPLETE SCORE, AUTOGRAPH, SOURCE A. MIDDLE SECTION POCO MENO LENTO BB. 38–47 WITH THE ORIGINAL MOTIVES. THE ROYAL LIBRARY, COPENHAGEN, C II, 39. FOL. 1923–23, 196..

XII

ANDANTE FUNÃ&#x2030;BRE, PRINTED SCORE, FIRST EDITION, WILHELM HANSEN, 1895, SOURCE C, THE ROYAL LIBRARY, COPENHAGEN, ORKESTERBIBLIOTEKET..

XIII

XIV

Andante funèbre JSV 92

Andante funèbre

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

XVII

Andante funèbre [JSV 92] 2 Flauti

2 Oboi

2 Clarinetti in La

2 Fagotti

Andante lento

∑

b b c a 2 œ œ . œj œ j b . œ & #œ œ. p a2 ? c #œ œ. œ œ. œ œ. œ  J J p &

∑

III. e Tuba

∑

Timpani in La - Mi

∑

I. II. 4 Corni in Mi III. IV.

2 Trombe in Mi

I. II. 3 Tromboni

Andante lento

II.

Viole

I. Violini

Violoncelli

Contrabbassi

? ?

b ww p

∑

# ww p

∑ ∑

ww p

Ÿ~~~~~~~



œ Œ

j j #œ œ. œ œ. œ œ. œ  p

j . j #œ œ. œ œ œ œ. œ  p œ œ. œ œ. œ  c #œ œ. J J p c

∑

w p

∑

j œœ .. b œ 

œ

# œœ .. # œ  Jœ  j

œ . œœ  J

Ÿ~~~~~~~



œ Œ

j j #œ œ. œ œ. #œ #œ. #œ  j j #œ œ. œ œ. #œ #œ. #œ  j . j #œ œ. œ œ #œ #œ. #œ  . # œ œ . œ œ # œJ # œ . # Jœ  ∑

j . # œ œ . œ œ b œJ b œ . œ  p ∑

n w

œ . œJ 

∑

œ Œ  j

œ . b œ  ..

j œœ j # œ œ . . b œ b œ . œ#  ∑

 ..

∑ Œ

∑

j . j œ œ .b œ œ b œ b œ . œ 

œ Œ 

∑

b œ . œj 

œ Œ 

∑

II.

∑

. # œ œ . œ œ # œJ # œ . # Jœ 

∑

j œœ j #œ œ. . #œ #œ. nœ 

∑

Johan S. Svendsen

∑

III.

∑

b œ . œj 

∑

#

∑



#

œ 

∑



#

œ  j

œ. nœ  

œ œ œ  

 #

œ œ œ w

9 Fl.

Ob.

Cl. (La)

Fg.

I. II.

∑

œ œ. b & b b œw œ . p a2 œ œ. ? œ œ. p

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tb.

Timp.

& &

Vle.

Vc.

Cb.

B ? ?

bœ. bœ.

œ

#œ

œ œ

œ œw.

. œ. œ œ

œ b œ b

œ œ. J

œ œ

bœ. bœ.

bœ  j

nœ  j

bœ  bœ 

∑

œ œ.

œ œ. n œw œ .

∑

œ œ. œ œ. œ œ.

∑

‰ j‰ j ‰ j‰ j œ œ œ œ p- - - div. - - - ‰ œj ‰ œj ‰ œj ‰ œj œ Jœ œJ Jœ J- - - p œ- ‰ œ- ‰ œ- ‰ œ- ‰ J J J J p œ- ‰ œ- ‰ œ- ‰ œ- ‰ J J J J p

∑

œ

#œ

œ œ.

j nœ 

‰ j ‰ j ‰ j‰ j ‰ j‰ j ‰ j‰ j ‰ j ‰ j ‰ j‰ j œ- œ- œ- œœ- œ- œ- œœ- œ- œ- œ- - - - - - ‰ œj ‰ œj ‰ œj ‰ œj ‰ j ‰ j ‰ j ‰ j ‰ -j ‰ -j ‰ -j ‰ -j œ œ œ œ # œœ œœ œœ œœ œœ œœ œœ œœ J- J J J J- J J J J- J- J- J- - - - œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ J J J J J J J J J J J J

œ- œJ ‰ J‰

œ- ‰ J

œ- ‰ œ- ‰ J J

œ- ‰ J

œ- ‰ œ- ‰ œ- ‰ œ- ‰ J J J J

œ œ b œ - œ- œ- œ- œ- œ 

∑ cresc.

œ #œ  #œ Œ

Œ p

œ œ  # œœ

cresc.

œ œ b œ - œ- œ- œ- œ- œ n 

œ œ # nœ

cresc.

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

cresc.

œ œ b œ

œ n

cresc.

∑

œw b  .



œœ # 

cresc.

œœ # 

∑

œ. œ œ.



j j j j ‰ b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œj ‰ œj ‰ œj ‰ œj ‰ j ‰ j ‰ j ‰ j b œ- œ- œ- œ- b œœ- œœ- œœ- œœ- b b ww - - - - b- - - p

œ

œ œ

Vln. II.

œ b œ b

œ œw.

∑

cresc.

∑

bœ nœ b nœ p cresc.

œœ œœ  # œœ œœ œ  œ œ # nœ

Ÿ~~~~~~~~~~~~~~~~~~~~~~

w p

cresc.

œ œ b œ - œ- œ- œ- œ- œ n 

cresc.

œ #œ  #œ

œ œ b œ - œ- œ- œ- œ- œ 

cresc.

œ œ  œ

œ #

œ œ n #œ

cresc.

œ œ # nœ

cresc.

œ œ # nœ

cresc.

œ œ b œ - œ- œ- œ- œ- œ n  w

œ n

16 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

ww f

b &bb w w f ? f

œ œ . œ œ . œJ œ . œ  J

f f

∑

Cor. (Mi) III. IV.

∑

dim.

w w

w p

∑

dim.

∑

w # 

∑

w w

? ? & & B ? ?

Ÿ~~~~~~ f f

 # f

w f

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

n ww p

∑

œ œ Œ 

∑

œ Œ 

∑

œœ Œ 

∑

 w

∑



b 

‰ b œœ J

œœ Œ



∑

w w



œ Œ œ



∑

w w

p p

wœ . w

∑ - ‰ œœ ‰ œœ J J

œ J

∑

w . œ

 w

œ.

œ J

∑

œ- - ‰ œ ‰ b œœ ‰ œœ J J J

Œ 

∑

. . . . œ œ. œ œ. œ œ œœ œ œ œ œ œœ œ œ œ œ J

œ

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

œ

# ww

div.



 ∑

‰ œœ J

III. - - - ‰ œ- ‰ b œJ ‰ œJ ‰ œJ ‰ b œJ ‰ œ- ‰ œ- ‰ œJ J J J

∑

‰ œœ J



# 



 ∑

œœ- œœ- œœ- œœ-

œœ- œœ- œœ- œœ‰ J ‰ J ‰J ‰J ‰ J ‰J ‰J ‰J œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ J J J J J J J

œ- œ- œJ ‰ J ‰ J‰ p

œ- ‰ œ- ‰ œ- ‰ œ- ‰ J J J J

œ- ‰ J

25 Fl.

Ob.

Cl. (La)

Fg.

I. II.

∑

? &

Tbe. (Mi)

I. II. Tbn. III. Tb.

Timp.

& &

Vle.

Vc.

Cb.

dim.

wœ  #œ .

œ # œ # 

bœ œ .

j ‰œ ‰ œ-

j œ bb wœ # œ  . œ-



bœ œ .

#œ

. œ. œ œ

#œ

œ. œ œ.

œ- œ- œ‰ Jœ ‰ œJ ‰ Jœ

∑

∑ J

œ œ.

∑

nœ œ œ œ J j nœ œ œ œ

œ- - - ‰ Jœ ‰ Jœœ ‰ œœJ ‰ Jœœ

∑

œ œ.

n ww

dim.

œ # œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ # œ œ . n œj  #  w w   w

∑ j

dim.

œw # œ œ œ œ œ œ œ b œw œ œ œ œ œ œ œ œ # œ œ . n œj  #   # w

bœ  J

œ œ-

∑

j j

œ ‰ œ ‰ œ ‰ œj ‰ œ- œ- œ- b œ-

∑

n  f

œ # œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ aœ2 # œ œ . n œ  #  J

j j ‰ œ- ‰ b œ- ‰ œ- ‰ œ- ‰ b œ- ‰ b œ-j ‰ œ-j ‰ œ- b œ # œ œ b œ œ b œ œ œ b œ œ œ b œ œ b œ b œ œ œ # œ n  J J J J F f ∑ ∑ ∑ ∑ ∑

Vln. II.

wœ . ∑

j b œ ‰œ‰ -

œ œ œœ ∑

b & b b n wœ  .

Cor. (Mi) III. IV.

œ.

œ‰ Jœ

œ- œ- œ- œ- - - - J ‰ J ‰ J ‰ J ‰ œJ ‰ Jœ ‰ œJ ‰ œJ ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ œ- ‰ J J J J J J J J

œ # œ n # 



∑

#  f

dim.

b ww

dim.

∑

n w

#

∑

dim.

wœ  . #œ

b wœ œ  .

 # # 

n www



F F F

f f

 ..

. .

ŒB

 ..

.

p p p p

dim.

∑

 ..

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

dim.

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

 ..

w w

dim.

∑

.

Ÿ~~~~~~~~~

w p

.

Œ Œ

 ..

.

32 Fl.

∑

Ob.

∑

Cl. (La)

Fg.

I. II.

b & b b œ œ . œœ œœ .. œ œ. π œ œ . œœ œœ .. B œ œ. π

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tb.

Timp.

∑

II.

Vle.

Cb.

? ?

~~~~

œ Œ π

.



w w

œ œ . œ œ . œJ œ . œ 

∑

###

∑

nnn

∑

###

∑

œ Œ œ Œ

.

∑

œ Œ œ Œ

.

∑

ten.

. .

ten.

∑

œ Œ œ Œ .

# ##

∑

œ Œ œ Œ

. .

###

∑



œ Œ

∑

ten.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

dim.

ten.

.

###

poco meno lento



.

###

œ Œ œ Œ

.

œ Œ œ Œ

.

###  p

ten.

œ Œ œ Œ

ten.

###

ten.

∏

ten.

œ œ . œ œ . œJ œ . œ  w

∑

ten.

j j œ œ. œ œ. œ œ. œ 

.

poco meno lento

.

ten.

 ..



###

œ Œ œ Œ

ten.

.

. .

œ Œ

∑

π Ÿ~~~~~~~~~~~~~~~~

ten.

b œ . œj  bœ. œ 

∑

j j œ œ. œ œ. œ œ. œ 

b ww

 ..

ten.

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

œ œ. œ  œ œ. œ  J

b œ . œj  bœ. œ  π

∑

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

∑

Vln.

Vc.

b ww π

œ œ . œj  œ œ. œ 

ten.

.

###



œœ

œ. œ .



div.

 ∑

div.

œ n œ œ œ  ..

œœœ



œ œ

div.

∑

### &

40 Fl.

Ob.

Cl. (La)

Fg.

∑

## & #

∑

? ###

∑

Tbe. (Mi)

∑

B ###

∑

? ###

∑

Tbn. III. Tb.

Timp.

I. Vln. II.

# #  #œ & # œœ œ  cresc.

## & # œ # œ œ œ cresc.

Vle.

Vc.

Cb.

# B # # œ œ   ? ### ? ###

cresc.

 . œ œ œ  f

∑

œ œ 

 . œ œ  . f

œ œ œ œ  ..

cresc.

œ 

 ..

œ œ 

œ 

∑

œ  œ œ  ∑

∑

œ   dim.



.



.

dim.

∑

dim.

∑



∑

cresc.

 j

œ 

∑

∑ ∑

w 



cresc.

∑

œœ    n

 œ œ 

∑

œ œ # œ . œ w Œ œ œ ∑ ∑ cresc. F ∑

∑

œ  # p Œ



œ  # p

Œ  ∑

n

 n

w # 



œ œ bœ. œ .

∑

.

œ œ  

∑

œ œ nœ. œ . œ œ n œ . œJ  .

∑

œ .

dim.

∑

œ œ œ #œ. œ .

cresc.

∑

III. IV.

I. II.

∑

j œ œ bœ. œ .

∑

.

œ  #

∑ p

∑

Cor. (Mi)

∑

I. II.

∑



.

cresc.

œ œ œ #œ. œ .

 œ œ  cresc.

.

cresc.

.

cresc.

.

cresc.

w #  div.

 j

œ œ œ #œ. œ . #œ 

n

#œ 

n

###  &

50 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tb.

Timp.

Vle.

Vc.

Cb.

∑

cresc.

? # # # n œ œ n œ .. œj  .. J &

b

j b œ œ b œ . œ  .. 

B ###

###

# B ## ? ### ? ###

 n

cresc.

∑

œ . œ  J .

f f

œ  Œ



w 

 n

  w

œ  œ  cresc.

.

cresc.

∑ ∑

ww  

∑ ∑



.

cresc.



b

.

cresc.

œ 

n



b

.

œ 

n

 

cresc.

div.

  f

œ œ œ œ œ

cresc.

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



œ œ œ œ œ œ . œ .

cresc.

∑

œ . œJ  .   

œ œ œ œ

cresc.

œ œ œ œ

œ . œ œ œ œ 

j  œ . œ . œ œ . b œ œ œœ œœ œ œ œ  .

∑



œ b œœ œ n œ b œ

œ œ œ nœ œ

 œ œ  œ n œœ  ..

œ œ œ œ

œ 

œ œ œ œ œ œ . œ .

b 

œ œ œ œ œ œ œ n œœ œ œ œ œ .

cresc.

 

œ 

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

 .





cresc.

b œ b œ œ œ œ œ n 

œ n œ œ œ œ œ #  



Ÿ~~~~~~~~

div.



œ œ œ # œ n œœ

. œ œ œ œ œ # œœ  .



Œ œ  F

w 



œ œ œ œ œ œ œ œ

∑

œ œ œ # œ . Jœ w

cresc.

œ œ œ # œ . Jœ  .

 œ œ  cresc.

b 

œ . œ  cresc.

cresc.

∑



∑





œ 

œ œ œ b œ n œ . œ w 

∑

∑ ###

œ  œ 

∑

cresc.

b

∑

? ###



∑

Vln. II.

.

### F œ œ œ #œ. & n œ œ n œ . œj  .  Œ œ œ œ #œ. ∑ F cresc. œ   & n œ œ b œ . œ  .. J

Cor. (Mi) III. IV.

∑



j œ œ œ #œ. œ .

∑

œ œ 

f Ÿ~~~~~~~



ƒ dim. #œ .

cresc.

œ œ

œ œœ œœ n œœ œœ

œ Œ œ œ 

∑

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

cresc.



cresc.



cresc.

œ  œ œ œœ œ œ œ . œ œ œ  . ƒ

œ œ œ œ œ œ .  ƒ

œ œ œ nœ œ œ œ œ nœ œ

59 Fl.

Ob.

Cl. (La)

Fg.

œ  œ œ œ   .  œ  .. # ##

# # # œœ œ œ  & & ? ###

 .  œ  .

œœ œ œœ œ w 

 ..

œ œ n œ œ w 

nn  œ œ  œ Œ n Œ p I.

n I. n n Œ Œ  œ œ œ p ∑

∑

 ..

Œ nnn

∑

 

.

w b 

œ 

III. IV.

œ œ 

 ..

Tbe. (Mi)

œ œ œ b œ  .  œ  .

Cor. (Mi)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

bœ

B ##  . œ œ œ # œ ? ### œ œ œ œ œ œ nœ œ ?

∑

œœ Œ 

∑

œœ Œ 

∑

œœ Œ 

∑

œœ Œ 

∑

n ww F

∑

j œ œ œ b œ b œw. œ 

b ww

∑

 .  œ  ..

Œ nnn

∑

w w

 ..

Œ nnn

∑

œŒ

∑

œ  

### œ œ  &

.

B ### œ œ œ œ

 

? ###

∑

Ÿ~~~~~~~~ Ÿ~~~~~~~~~~~~~~

∑

? ###

œœ Œ 

∑

### œ 

Œ  œ œ œ p

poco rit.

j œ œ œ œ # œw. œ 

Œ bbb

I. II.

j œ œ œ œ œw. œ 

. œ .  ..

œ œ nœ œ w

.

œ œ nœ œ w

.

dim.

nnn

 

n Œ nn   π Œ nnn

 

Œ nnn   π Œ nnn   π

∑

poco rit.

 

œ  œ œ  œ œ  œ œ  #œ

 

œ  œ œ  œ œ  œ œ  #œ

 

œ  œ œ  œ œ  œ œ  #œ

   

π π π

 œ œ  œ œ  œ œ  #œ

Œ 

∑

∑ Da Capo al

ABBREVIATIONS arr. arranged b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cnt. Cornetto Cor. Corno DCM Dansk Center for Musikudgivelse / Danish Centre for Music Publication Dk.Kk The Royal Library, Copenhagen Fg. Fagotto Fl. Flauto Harm. Harmonium JS Johan Svendsen N-Oum The National Library, Oslo Ob. Oboe Org. Organo Pf. Pianoforte Pl. No. Plate Number stacc. staccato marking(s) str. strings ten. tenuto marking(s) Tb. Tuba Timp. Timpani Tba. Tromba Tbn. Trombone Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

SOURCES

CRITICAL REPORT

Andante funèbre, JSV 92

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.

A Score, autograph B Score, autograph C Printed score, first edition (Edition Wilhem Hansen) CPTS Printed parts, first edition (Edition Wilhelm Hansen) D Printed score for violin, violoncello and organ (Edition Wilhem Hansen) DPTS Printed parts for violin, violoncello and organ (Edition Wilhem Hansen) E Piano score (in Mindebladet) (Edition Wilhem Hansen)

Source A

The following conventions have been used: • ‘By analogy with’ is used when something has been added, emended or omitted by analogy with another passage in the primary source. The analogy may be vertical: When something has been added ‘by analogy with’ one or more instruments, it is understood that the analogy involves the corresponding place within the same bar(s). Or it may be horizontal: When something is added ‘by analogy with’ one or more bars, it is understood that the analogy involves a parallel passage in the same instrument(s). • ‘As in’ is used when something is added, emended or omitted to correspond to the same place in another source. • ‘In accordance with’ is used when something is added, emended or omitted to correspond with a secondary source. • When JS uses the term ten., it is set in italics. Tenuto markings are written as ‘ten.’ • Very small variations in the placement of dynamics have been left uncommented. • In the ‘bar number’ column, the symbol ‘+’ is used to indicate an upbeat to the bar in question. • ‘Note 1’ means ‘main note 1’ (grace notes are not included in the numbering sequence). • Pitch is expressed as written in the parts. A written g’’ in a transposing Clarinet (B) part is thus described as g” (sounding f ”). • Middle c is defined as c’. Octave positions above middle c are specified as c’’, c’’’, etc. Octave positions below middle c are specified as c, C, C1, C2, etc.

Score, autograph, fair copy. Incomplete score for orchestra DK-Kk, C II, 39. Fol. 1923–23, 196. No cover, no title. 35 x 27 cm, 1 gathering of 2 bifolios and 1 folio, written in ink, unpaginated. Paper type: 18 hand-ruled staves. The score contains ‘Andante funèbre’ for orchestra, instrumentation incomplete in some bars, and eight bars shorter than Source C at the end.

Source B Score, autograph, fair copy. Complete score for orchestra DK-Kk, C II, 39. Fol. 1923–23, 196. Title page: ‘Andante funèbre / Johan Svendsen.’ Title on first music page: ‘Andante funèbre’. 35 x 26,8 cm, 1 gathering of 3 bifolios written in ink, paginated 1–11, last page blank. Paper type: 20 hand-ruled staves, at top left corner of page pressed in paper ‘LARD-ESNAULT / PARIS / 25, RUE FEYDEAU’. The score contains ‘Andante funèbre’ for orchestra. The score has a few corrections in ink and pencil.

Source C Printed score, first edition: Edition Wilhelm Hansen, Leipzig 1895. Title page: ‘A MONSIEUR T. HINDENBURG, / CONSEILLER A LA COUR D’APPEL DE COPENHAGUE. / ANDANTE FUNÈBRE / POUR / ORCHESTRE / PAR / JOHAN S. SVENDSEN. / Partition d’Orchestre. / Parties d’Orchestre. /Orgue, Violon et Violoncelle. / Orgue seul par G. MATTHISON-HANSEN. / PROPRIÉTÉ DE L’EDITER POUR TOUS PAYS / COPENHAGUE & LEIPZIG / WILHELM HANSEN, ÉDITEUR. / Copyright 1895 by Wilhelm Hansen, Leipzig.’ Pl. No. 11565

Printed arrangements by others

Source CPTS Printed parts, first edition: Edition Wilhelm Hansen, Leipzig 1895. Title: Andante funèbre Pl. No. 11565

Score for organ, arranged by G. Mathisson-Hansen. Pl. No. 11566 Copyright 1895 by Wilhelm Hansen, Leipzig. Score for harmonium, arranged by Aug. Reinhard. Pl. No. 11688 Copyright 1895 by Wilhelm Hansen, Leipzig.

Source D Printed score for violin and violoncello and organ, first edition: Edition Wilhelm Hansen, Leipzig 1895. Title page: ‘A MONSIEUR T. HINDENBURG, / CONSEILLER A LA COUR D’APPEL DE COPENHAGUE. / ANDANTE FUNÈBRE / POUR / ORCHESTRE / PAR / JOHAN S. SVENDSEN. / Partition d’Orchestre. / Parties d’Orchestre. / Orgue, Violon et Violoncelle. / Orgue seul par G. MATTHISON-HANSEN. / Harmonium et Violon par AUG. REINHARD. / Harmonium et Violoncel par AUG. REINHARD. / Harmonium et Piano par RICH. LANGE. / Harmonium seul par AUG. REINHARD / Viola et Piano par HERMANN RITTER. / Violon et Piano par FINI HENRIQUES. / Flûte et Piano par JOACHIM ANDERSEN / Piano seul par FINI HENRIQUES / Piano à quatre mains par RICH. LANGE. / PROPRIÉTÉ DE L’EDITEUR POUR TOUS PAYS / COPENHAGUE & LEIPZIG / WILHELM HANSEN, ÉDITEUR. / Aufführungsrecht vorbehalten. / Copyright 1895 by Wilhelm Hansen, Leipzig.’ Pl. No. 11483 At the bottom of first music page: ‘Copyright 1894 by Wilhelm Hansen, Leipzig’.

Score and parts for harmonium and violin or violoncello, arranged by Aug. Reinhard. Pl. No. 11689a b Copyright 1895 by Wilhelm Hansen, Leipzig. Score and part for viola and piano, arranged by Hermann Ritter. Pl. No. 11755 Copyright 1895 by Wilhelm Hansen, Leipzig. Score and part for violin and piano, arranged by Fini Henriques. Pl. No. 11901 Copyright 1895–96 by Wilhelm Hansen, Leipzig. At the bottom of first music page: ‘Copyright 1896 by Wilhelm Hansen, Leipzig’. Score and part for flute and piano, arranged by Joachim Andersen. Pl. No. 11909 Copyright 1895–96 by Wilhelm Hansen, Leipzig. At the bottom of first music page: ‘Copyright 1896 by Wilhelm Hansen, Leipzig’.

Source DPTS Printed parts for violin and violoncello and organ (original version), first edition: Edition Wilhelm Hansen, Leipzig 1895. Title: ‘Andante funèbre’ Pl. No. 11483 At the bottom of first music page: ‘Copyright 1894 by Wilhelm Hansen, Leipzig’.

Piano score, arranged by Fini Henriques. Pl. No. 12015 Copyright 1895–97 by Wilhelm Hansen, Leipzig. At the bottom of first music page: ‘Copyright 1896 by Wilhelm Hansen, Leipzig’.

Source E

Score and parts for harmonium and piano, arranged by Richard Lange. Pl. No. 12251a b Copyright 1895–98 by Wilhelm Hansen, Leipzig. At the bottom of first music page: ‘Copyright 1898 by Wilhelm Hansen, Leipzig’.

Printed piano score. Title page: ‘MATHIA HINDENBURG / OG HENDES SØN / GEORG HINDENBURG / ET MINDEBLAD / 1894 / KjØBENHAVN.’ 18 pages text, plus 3 pages piano score without Pl. No. First page of score: ‘Andante funebre. (Udført i vor Frue Kirke ved Georg Hindenburgs Jordefærd den 30 Juni 1894.)’1 At the bottom of first music page: ‘Copyright 1894 by Wilhelm Hansen, Leipzig’. Four bars shorter than Source C at the end. 1

Score and part for piano 4 hands, arranged by Richard Lange. Pl. No. 12253 Copyright 1895–98 by Wilhelm Hansen, Leipzig. At the bottom of first music page: ‘Copyright 1898 by Wilhelm Hansen, Leipzig’.

Performed in Vor Frue Kirke at the funeral of G. Hindenburg on 30 June 1894.

Pf.), arranged by Poul Kroman. N-Onm, Mus.ms.a 5272. Date; ‘1913’. Score for wind orchestra, arranged by Peter O. Jøsvold. N-Onm, Mus.ms. 761. Date: ‘17. Juni 1920’.

Score for harmonium, arranged by Eyvind Alnes, in Harmonium-album I, No. 44. Pl. No. 15053 Copyright 1895 by Wilhelm Hansen, Leipzig.

Parts for wind orchestra (Fl. in Eb, Fl. in C, Cl. l/II/III, Tbe. I/ II, Tenor I/II/III, Althorn. I/II, Basso I/II, Perc.) arranged. by Peter O. Jøsvold. N-Onm, Mus.ms. 984.

Score and parts for salon orchestra (Pf., Harm., Fl., Ob., Cl. (A), Cnt. (A), Tbn., Timp., Vln. obligato, Vln., Vle., Vc., Cb.), arranged by Nicolai Hansen, in Heimdal, Nordische Salon-Orchester-Sammlung, nr. 118. Pl. No. 19413 Copyright 1928 by Wilhelm Hansen, Copenhagen. Manuscripts by others Score for violin and organ, copy manuscript. N-Onm, Mus.ms. 7874. 3 pages written in ink. Paper type: 15 hand-ruled staves. Several additions for the organ registration added in pencil. The score is written in G minor. Date: unknown. Parts for brass band (Cnt. (E), 2 Cnt. (B), 4 Cor., 3 Tbe., 3 Tbn., 2 Tube, Timp), arranged by Emil Reesen [?]. DK-Kk, Mf. A. 2575. Date: unknown. Score for salon orchestra (Fl., Ob., 2 Cl., Fg., 2 Cor., 2 Tbe., Tbn., Timp), arranged by Alfred Telling. DK-Kk, DMF 0449 B, ork. Date: 1906 Score and parts for strings, arranged by N. Nielsen. DK-Kk, Marquard 01–25–07. Date: unknown. Score for salon orchestra (Fl., Ob., Cl. (A), Tba. (A), Tbn., Harm., Pf., Timp., Vln. I/II, Vle., Vc., Cb.) Title page: ‘Andante funèbre / Johan S. Svendsen / arr. af Oluf Ring’. DK-Kk, MA ms 5123. Date: ‘26 Juni 28 Oluf Ring’. This arrangement is listed in the ‘stikkerbog’ (Engravers Registry) of Wilhelm Hansen: ‘20838. Johan S. Svendsen arr af O. Ring Andante funèbre f Ork’. The entry is later crossed out. Written in ink by Oluf Ring. Score and parts for orchestra (Fl., Cl., Vln. I/II, Vc., Cb., Harm.,

EVALUATION OF THE SOURCES

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

There are two extant ink manuscripts of the score in Svendsen’s hand: Source A: instrumentation incomplete; middle section deviating from – and 8 bars shorter than – the printed version from 1895. (Source C) Source B: identical with the printed version from 1895. Manuscripts – drafts, sketches or fair copies – preparatory to the printed versions for organ, violin and violoncello (Source D) and piano (Source E) are not extant.

Primary source: C

Andante funèbre, JSV 92

The printed and unprinted sources can be divided into two groups: 1: The incomplete score (Source A) and the piano version printed in the Memorial Pamphlet (Source E), in which the middle section’s ending is four bars longer than what is found in source A, though there is otherwise a considerable degree of commonality between the two versions. 2: The complete handwritten score (Source B), the printed score (Source C) and the printed version for organ, violin and violoncello (Source D). On the basis of the changes and additions in the middle section in source B that have been transferred into the printed versions, sources A and E must be regarded as the oldest of the sources. There are too many points of uncertainty to establish a stemma for the various sources for Andante funèbre. The absence of any printing manuscripts or rough drafts with corrections or additions makes the establishment of an accurate hierarchy of the sources problematic. We do know that the trio version was the first version to be performed. We are certain that the first of the printed versions was the one for piano. We cannot determine, however, whether the orchestral score, the piano version or the trio version was created first in the sequence. Source C has been chosen as the main source and has been collated with the complete fair copy (Source B). The printed score has been supplemented with numerous dynamic markings by the engraver; these are not commented upon in the critical apparatus. The version for violin, cello and organ from 1894 (Source D) has, in one specific case, been consulted for purposes of examining one particular chord’s structure but has otherwise not been collated with the printed score (Source C). The work of editing and revising this piece has consisted, for the most part, of normalising the bowings and the typography as well as correcting a few engraving errors. Variants in the incomplete fair copy (Source A) are mentioned and listed in the critical apparatus; moreover, the middle section of this version is published here as an appendix.

Bar

Instr.

Comment

Cor. II

A, B: note 1: e’

6–7

Cl. II, Fg. I

A: no ties or slurs across the barline

Ob., Cor. II/III

Cl., Fg.

A: 

7–8

Vle.

 instead of     instead of . 

B˙

˙ #˙

Cl. I

B: note 5: e’ changed to a’ in ink

10–12

Cor. III/ IV, Vln. II, Vle., Vc., Cb.

ten. added by analogy with b. 9

Cor. III/IV, A: same pitches as in B and C, Vle., Cb. but        

Cor. I

A: note 3: b’ instead of b’

19–21

Fl. II

A: notes added in ink and out

Fl. I

CPTS: c’’’ (engraver’s error)

21–22

Fg.

A: bars empty

23, 25

Cl. II

A: 

24–26

Cor., Vle., Vc., Cb.

ten. added by analogy with b.23

Cl. II

Vln.

cautionary accidental added

Cor. III/IV

note 7: cautionary accidental removed

Cor. III/IV

B: note 1:  added in ink; A, B: note 7: a’

27–28

Cor. III/IV

B: note 4: d ’’ instead of d’’

ww., Cor.

Fl.

mf omitted by analogy with the other parts

29–30

Cl. I

b. 29 note 3 to b. 30 note 1: superfluous tie omitted

Cor. III/IV

note 3: cautionary accidental added

 in b. 19 crossed

  instead of  .

from middle of bar

Tbn. II

note 3: b emended to a as in A, B; CPTS: note 3: b

30–31

Fg.

? ˙w # ˙ dim.

˙˙ ..

57–58

Fl. I

slur from b. 57 note 2 to b. 58 note 3 emended to slur b.58 notes 1–3 by analogy with the other parts and as in B

58–59

Fl. II

slur added by analogy with Fl. I

58–59

Fg. II

slur added by analogy with Fg. I

58–59

Cor. IV

slur added by analogy with Cor. III

Cor. I

B: note 2: b’ instead of g’

Tbn., Tb.

A: bar incomplete,  missing

Timp.

pp added as in B and by analogy with the over all dynamic level

62–69

Tbe., Tbn.

A: bar empty

62–64

Timp.

B: pp

A: between bb. 35 and 36: two empty bars (except Vln.I), crossed out in ink

B: only mf in Cl.

66–67

35–36 35–36

Vl. I

& #˙

œ. œ ˙.

between bb. 35 and 36, crossed out in ink 35–37

Timp.

Vln. II

cautionary accidental added

str.

B: dim. crossed out in ink

Cor. III

mf added by analogy with Fl. I, Vln. I, Vle., and in accordance with Cor. IV

Vln. II

div. added as in B and by analogy with b. 53

Ob. I

note 1: cautionary accidental added

Fg. II

slur added by analogy with Fg. I

Cor. II

slur added by analogy with Cor. I

Cor. I

B: notes 2–3: b’- b’

54–55

Tuba

slur added by analogy with Tbn. III

55–56

Fl. II

slur added by analogy with Fl. I

55–56

Fg. II

slur added by analogy with Fg.I

Vle.

upper part: slur added by analogy with Vln. I; lower part: slur added by analogy with Cor. IV

Ob. I, Cor. II/III

cautionary accidentals added

Cl. II

slur added by analogy with Ob.II

56–57

Cor. I

B: b. 56 note 2 to b. 57 note 1: no tie; B: no tie, only slur; A: no tie, no slur

56–57

Cor. I

B: a 2 continued from b. 58; C, D: I. [Cor. I] B: last bar line changed from double bar line to single bar line in ink

Cor. I

note 1: emended from a’ to a’ as in B

&œ ˙ π &œ ˙ π B

dashed line added as in B A: different scoring; see Appendix

38–61

A: bars empty, b. 61 followed by key change from A major to A minor

? ?

œ ˙ œ œ

π Œ Ó

œ œ ˙ #œ œ ˙

œ œ ˙ #œ œ ˙ œ œ ˙ #œ œ ˙

œ œ ˙ #œ œ ˙

∑

œ œ ∑

between bb. 66 and 67 one bar, double right bar line after extra bar, crossed out in ink; this bar followed by D.C. al Fine, crossed out (see facsimile p. ix) 67–69

B: b. 56 note 2 to b. 57: tie with an open end (page turn); b. 56 notes 1-4: slur

B: bb. 67–69 added by JS and D.C. al Fine added by JS in right margin

ADDENDA

A SECTION FROM SOURCE A WITH DIFFERENT SCORING. The score of the Addenda follows the graphical principles used by Svendsen in the source with no editorial emendations.

There are some obvious mistakes made by JS: b. 55 Clar. note 2: should be flat not natural b. 59 Clar. I note 3: should be f ’’ b. 61 Cor. rest missing

APPENDIX bb. 38–61

Appendix 38

Fl.

Ob.

Cl. (La)

Fg.

I. II.

###

poco meno lento

## & # & ? ### &

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tb.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

B ## # ? ### ? &

###

poco meno lento

œ  #œ  œ  œ  . œ œœ œ  # œ w  div.

# # div. & #   w div. B # # # w .

? ###  ? ###

 ∑

 œ œ œœ œ œ œ  

œ œ  . œœ œœ œ œ œ    œ œ œ œ  œ   œ  ∑

∑

œ œ œ œ    œœ   .

.

∑

Source A: bb. 38-61 In this early source, these bars have a different scoring than in the later sources.

œ  #

nœ œ nœ. œ J

j œ . œ . œ œ œ nœ. œ .

œ  #

j nœ œ nœ. œ

.

Œ  #  # div.

œ  œœ  

 œœ  

œ œ œ n œ . Jœ  . œ  .

∑

.

 n . Œ ∑

 n

 . œ œ œœ ## œœ .. œœ ww . œ œ J

 

. #œ  n

 b

. #œ  n

 b

Fl.

Ob.

Cl. (La)

& &

### ###

œ 

 ..

œœ œ n œ œ œœ œœ œœ œ œ œw œ œ œ œ . œ # œ n œ œ œ  œ . œ w.

 ..

. œ œ œ  #œ 

œœ œ n œ œ œ œ œ œ œ w.

? ###

œ œ œ œ 

 .

œ œ bœ 

III. IV.

 .

œœ b  . œ œœ œœ œ œ œ wœ œ 

Tbe. (Mi)

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. Tb.

Timp.

Vle.

Vc.

Cb.

œ œ . 

œ œ 

œ  

 œ w

œ œœ  œ  œ œ  .  œ w

œ œ œnœ œ œ  œ n œ œ w

œ .œ  œ œw œ œ œ œ 

œ œ  b œ w b 



œ b œ œ b œ œ œ œ b œ  b   

nnn nnn bbb nnn

B ###

n nn

? ###

nnn

? &

Vln. II.

œ œ œ œ œ œ  .. 

œ œ 

###  . ###

.

# . B ##  .

œ . œ .

œ   œ  

œ œ œ # œ . œœ ww œ œ œ #œ. J

? ###

.

? ###

œ  n

.

œ  n

w w

œ  œ . 

div.

 

œ .

œ œ  #œ .

œ œ 

œ  

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

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

œ œ œ œ  œ œ œ œ 

œ œ œ œ œ œ .  œ œ œ œ œ œ . 

œ œ œ œ œ  

œ œ œ nœ œ œ œ nœ œ w œ œ œ nœ œ œ œ nœ œ w

nnn nnn nnn nnn nnn