Svendsen cellokonsert by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Cellokonsert i D-dur, op. 7 JSV 43

Cello Concerto in D major, Op. 7

Utgitt av / Edited by Bjarte Engeset & Jørn Fosshiem

JOHAN SVENDSENS VERKER

NMA-JS-II/2

N.M.O. 13936A

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: Thilo Reinhard Language consultant: Gunnhild Wiggen Consultants: Morten Carlsen Jan ClemensCarlsen 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 (N.M.O. 13936A /ISMN 979-0-065-14382-8) For sale and hire Parts (N.M.O. 13936B /ISMN 979-0-065-14383-5) For hire Piano Score (NMO 13937/ISMN 979-0-065-14384-2) For sale © 2016 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimile Scoring I V XI XXI

I V XI XXI

CONCERT D-DUR FÜR VIOLINCELL UND ORCHESTER OP. 7 Allegro Andante Tempo primo

1 26 41

Abbreviations Critical report Addenda

58 59 65

CONCERT D-DUR FÜR VIOLINCELL UND ORCHESTER OP. 7 Allegro Andante Tempo primo

1 26 41

Forkortelser Kritisk rapport Addenda

58 59 65

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 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 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

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

he sketches to Johan Svendsen’s two concertos probably originated around the same time. It is generally agreed that he wrote his Cello Concerto in D major, Op. 7, in the second half of 1870, after having finished the Violin Concerto in A major, Op. 6, in Leipzig in June that year. But an essay in The Cincinnati Commercial of 22 September 1878, ‘Svendsen in Paris’, written by one of Svendsen’s friends, provides the following information on the compositions Svendsen had worked on in addition to the Violin Concerto during his first stay in Paris in 1868–1870: ‘(…) and for several others – a fantasia for orchestra, the ‘Carnival in Paris’, an overture, ‘Sigurd Slembe’, and a concerto for violoncello – he had prepared the sketches.’ Thus, Svendsen most likely began the process of writing the Cello Concerto in Paris before leaving for Leipzig in March 1870, but most of the creative work probably took place in Germany. The manuscript score is marked ‘Leipzig, November 1870’. Svendsen had returned to the city of his student days after having been offered the post of concertmaster for the musical society Euterpe. In July 1871, however, war broke out between France and Germany, and the winter season of Euterpe had to be cancelled. In his letters to his father Gulbrand and his sister Alberthine, Svendsen expresses his anger about the war. According to various biographies and encyclopedias, the concerto was premiered in Leipzig at the 19th Gewandhauskonzert on 16 March 1871. But as early as 10 March 1871, the Musikalisches Wochenblatt wrote, under the heading ‘Aufgeführte Novitäten’ (performances of new works), that the concerto had recently been performed at a ‘Musikabend des Tonkünstlervereins’ (musical evening of the Composers’ Society). This is once again confirmed by Musikalisches Wochenblatt of 17 March 1871:

FORORD

ohan Svendsen skisserte trolig til en viss grad sine to instrumentalkonserter samtidig. Det har vært en utbredt oppfatning at Svendsen skrev Cellokonsert i D-dur, op. 7 i siste halvdel av 1870, etter at han i juni det året hadde gjort ferdig Fiolinkonsert i A-dur, op. 6 i Leipzig. Men en artikkel i The Cincinnati Commercial 22. september 1878, «Svendsen in Paris», skrevet av en venn av Svendsen, gir følgende informasjon om hvilke verker Svendsen arbeidet med under sitt første Paris-opphold 1868– 1870 i tillegg til fiolinkonserten: «…and for several others, a fantasia for orchestra, «the Carnival of Paris», an overture, «Sigurd Slembe», and a concerto for violoncello, he had prepared the sketches». Prosessen med cellokonserten hadde altså trolig begynt i Paris, før Svendsen reiste til Leipzig i mars 1870. Mesteparten av arbeidet ble nok likevel gjort i Tyskland. Svendsens egenhendige manuskript er datert «Leipzig, november 1870». Komponisten hadde reist tilbake til sin studieby fordi han hadde fått tilbud om jobben som konsertmester i konsertinstitusjonen Euterpe. Men i juli 1870 brøt det ut krig mellom Frankrike og Tyskland. På grunn av krigsutbruddet ble arbeidet i Euterpe denne vinteren avlyst. Svendsen skrev om hvor opprørt han var over krigen i brev både til faren Gulbrand og til søsteren Alberthine. I oppslagsverk og biografier står det at cellokonserten ble urframført i Leipzig på den nittende Gewandhaus-konserten, 16. mars 1871. Men alt 10. mars 1871 står det i Musikalisches Wochenblatt, under overskriften «Aufgeführte Novitäten» (Fremføring av nye verker), at cellokonserten nylig er framført på en «Musikabend des Tonkünstlervereins». Den 17. mars 1871 er dette igjen bekreftet i Musikalisches Wochenblatt:

Joh. S. Svendsen’s newly composed Concerto for Violoncello, which recently earned general acclaim at a musical evening of the Leipzig Composers’ Society, has also been placed on the programme of the 19th Gewandhaus concert 1

Johan S. Svendsen nyskrevne cellokonsert vant for kort tid siden allment bifall ved en musikkaften i Leipzigs komponistforening og er også på programmet for den 19. Gewandhauskonserten.1

The soloist for these performances, and the dedicatee of the concerto, was Svendsen’s friend from his student years at the Leipzig Conservatory, Emil Hegar (1843–1921) from Switzerland. The conductor on this occasion, Ferdinand David (1810–1873),

Solist ved disse framføringene var Svendsens studievenn, sveitseren Emil Hegar (1843–1921). Svendsen hadde også tilegnet verket til ham. Dirigent ved framførelsen i Gewandhaus var Ferdinand David (1810–1873), Johan Svendsens fiolinlærer ved konservatoriet i Leipzig noen år tidligere. Emil Hegar hadde vært elev av legendariske Friedrich Grützmacher (1832–1903) ved konservatoriet. Allerede som 23-åring ble

had been Svendsen’s violin professor during the composer’s conservatory years. Emil Hegar had studied with the legendary Friedrich Grützmacher (1832–1903) at the same conservatory. At the early age of 23, Hegar had been engaged as solo cellist at the Gewandhaus and shortly after as a cello teacher at the conservatory. The best known among his students was cellist and composer Julius Klengel (1859–1933). At an early stage in his career, Hegar developed neurological problems with his left hand, stopped playing the cello, and became a singer and voice teacher. None of the three reviews of the Gewandhaus performance were particularly encouraging, even though they all complimented Hegar’s playing. The review in the Allgemeine Musikalische Zeitung of 5 April 1871 must be described as rather malicious, designed as a political pamphlet against Svendsen and his compatriots. Here, Svendsen is denied to have either brain, heart or soul:

Hegar solocellist i Gewandhaus-orkestert og cellolærer ved konservatoriet. Han fikk nokså tidlig problem med nervene i venstre hånd og sluttet å spille cello. Istedenfor ble han sanger og sangpedagog. Den mest kjente av Hegars elever er cellisten og komponisten Julius Klengel (1859–1933). Ingen av de tre kritikkene etter Gewandhaus-konserten var særlig overstrømmende, selv om alle roste Hegars spill. Den som ble trykt i Allgemeine Musikalische Zeitung 5. april 1871, kan nærmest beskrives som direkte ondsinnet, og som en politisk pamflett mot Svendsen og hans likesinnede. Kritikken fratar Svendsen både hjerne, hjerte og sjel: Det andre stykket, som heller ikke hørte hjemme på programmet til en Gewandhauskonsert, var et nyskrevet verk, en cellokonsert av Svendsen. Den unge komponisten har studert komposisjon ved det lokale musikkonservatoriet. Det har lyktes han å samle om seg en krets av unge sinn som anser han for å være det nye lys; en skinnende stjerne på horisonten av vår fremtids musikalske himmel. De flokker seg om han som om han var deres helt og fører, som skal lede dem til områder av kunsten som ennå ikke er oppdaget. Oktetten hans, som ble fremført her tidligere, viser absolutt et visst skapertalent, og stykket vakte særlig interesse gjennom den raffinerte bruken av fremmedartede norske klanger, lik de som ga liv og originalitet til Gades komposisjoner. Like fullt viste allerede fremføringen av en symfoni av den samme komponisten tidligere i vinter en merkbar tilbakegang. Cellokonserten forkynte i enda større grad at det nok likevel ikke skjuler seg så mye bak dette talentet som tilhengerne hans finner så beundringsverdig. Det var partivesen som satte denne ganske uferdige komposisjonen på [konsert]programmet, et partivesen som ødelegger musikklivet vårt og kveler ethvert spirende talent. Vi undrer oss sterkt over at verket ikke ble stoppet av programkomiteens ledelse allerede etter prøven, som jo åpenbarte verkets utilstrekkelighet før det ble fremført. Hvis meningen med Preciosa-overtyren var å glede publikum, ble deres tålmodighet stilt på en enda hardere prøve av denne kjedelige og intetsigende komposisjonen. Herr Hegar framstod som en inderlig og virtuos kunstner gjennom sin tolkning av verket, som ligger vanskelig til for instrumentet hans. Likevel er vi betenkte over at han tok parti med en gruppering som han som kunstner umulig kunne identifisere seg med. Det burde være mulig å finne andre komposisjoner mer verdt å fremføre enn de vi hørte her, selv om utvalget av vellykkede konsertkomposisjoner for cello er lite. Vi har latt

The second number, which did not belong on the programme of a Gewandhaus concert either, was a newly written work, the Violoncello Concerto by Svendsen. This young composer has studied composition at the local conservatory, and has succeeded in captivating a circle of youthful minds who regard him as the new shining light, a star of the first magnitude on the horizon of our future musical heaven, gathering around him as their hero and commander, who will lead them to new, hitherto unknown realms of art. His Octet, which has previously been performed here, did indeed show a certain conceptual talent and attracted much interest particularly by virtue of its artful use of exotic Nordic sounds, such as have ignited Gade’s compositions by their originality. However, a symphony of the selfsame composer, performed this winter, already showed a noticeable decline, and the above Violoncello Concerto further evinced that the admired talent is not all his party fellows make him out to be. Indeed, it was partisanship that brought this rather unfinished composition on the programme, a partisanship that disrupts our state of music, and that suffocates any budding talent at the very roots. We are quite astonished at the fact that the concert management, following the rehearsal, which already then fully revealed the inadequacy of the work, did not choose to refrain from performing selfsame in the concert. If the Preciosa Overture was intended to delight the audience, the latter’s patience was put to the test with this dull and nonsensical composition. Herr Hegar, who in the performance of this moreover rather ungrateful composition for his instrument proved himself to be a deeply genuine artist and proficient virtuoso, must be blamed for the fact that he sided with a party he could not possible har-

monize with inwardly. One ought to have been able to find compositions worth rendering other than the ones heard on this recent occasion, albeit the selection of rewarding concert compositions for the violoncello may be a small one. As it has come to our notice that the composer intends to revise his work before publication, we shall refrain from more detailed discussions of selfsame. In general, however, we can say that the work is not the product of an intrinsic creative drive, but rather one of great [intellectual] refinement; it is wanting in reflection, heart, and spirit, and thus lethal in its monotony.2

oss fortelle at komponisten vil omarbeide verket sitt før det trykkes, så vi avstår derfor fra å omtale det nærmere. Vi vil likevel kommentere at verket ikke synes å ha oppstått av indre skapertrang, men heller som et uttrykk for påfunn: Det mangler tanker, hjerte og ånd og er derfor drepende monotont.2

Although the review in Zeitschrift für Musik of 31 March 1871 was somewhat more favourable, the author objected to the fact that the orchestra was given more expressive melodies than the soloist:

Kritikken i Zeitschrift für Musik 31. mars 1871 var litt mer positiv, men hevdet at det var et problem i verket at solostemmen hadde mindre sangbart innhold enn orkesterpartiet: Fru Jauner-Krall fra Dresden og herr Emil Hegar var solister. Sistnevnte fremførte for første gang på mesterlig vis en ny cellokonsert av Svendsen, men for verkets del ble det likevel en tvilsom suksess. Verket fortjener på ingen måte å bli omtalt med misnøye, for det har mange vakre øyeblikk. I de fleste andre konsertstykker får solostemmen presentere de viktigste og mest verdifulle tankene, mens orkesteret gjerne ikke får mer enn noen svake tråder med overgang til neste solo. Her er det motsatt. Orkesteret har vakre, syngende og nærmest symfoniske partier, mens celloen står igjen med et minimum av cantilener og ofte ganske intetsigende fraser. Siste sats fremstår som den svakeste, med fattige og upassende passasjer.3

The soloists were Frau Jauner-Krall of Dresden and Herr Emil Hegar. With his renowned mastery, the latter presented a new violoncello concerto by Svendsen for the first time, but, as far as the work was concerned, merely achieved a questionable success. In no way did the work deserve suggestions of disapproval, as it offers many beautiful moments. However, while the solo part in the majority of concert pieces is given to perform the most important and precious ideas, and the tutti frequently do not form much more than a fine transitional thread to the following solo, the opposite is the case here – the orchestra has the most beautiful cantabile passages, and is at times treated in an altogether symphonic manner, while the violoncello is confined to a minimum of cantilenas, and often indulges in rather vacuous phrases. Weakest appears the final movement with its all too insubstantial and untimely passagework.3

Kritikken i Musikalisches Wochenblatt 24. mars 1871 var ganske positiv, men refererte likevel til tendenser til piping fra publikum. Det er da heller ikke så unaturlig at dette ukebladet sto på en annen linje enn Allgemeine Musikalische Zeitung, siden det ble utgitt av Fritzsch, Svendsens forlegger i Leipzig.

Musikalisches Wochenblatt of 24 March 1871 had the most favourable review, despite making mention of the audience’s tendency to whistle. Since this weekly publication was printed by Svendsen’s publisher Fritzsch, one would not necessarily expect its views to be in agreement with those of Allgemeine Musikalische Zeitung.

[…] (så) viste herr Hegar gjennom sitt valg av konsert at selve verket og ikke hans egen person er det viktigste. Denne livlige komposisjonen, Svendsens nye konsert, vant ikke alles begeistring, for ved slutten av framførelsen kunne man faktisk ane begynnende piping, noe som tydeligvis er på vei til å bli mote i Gewandhaus. Gumberts kunstneriske bestrebelser fikk mer anerkjennelse enn Svendsens, til tross for at symfonien hans ble svært entusiastisk mottatt for bare kort tid siden. For oss endrer likevel ikke dette det positive inntrykket vi har fått av Svendsens nyeste komposisjon. Vi er overbevist om at konsertens iboende originalitet og genialitet vil gjøre den til fast repertoar for alle gode cellister, med enkelte endringer av slutten for økt effekt. Hvis vi avslutningsvis skal kommentere herr Hegars fremføring, kan det bare skje gjennom å anerkjenne han som en av de beste og edleste utøvende

(...) thus, Herr Hegar’s very choice [to perform] a new concerto for his instrument showed that for him the work, and not his own person, is the most important thing. His choice of this spirited composition, the new concerto by Svendsen, did not meet with the approval of certain persons, for at the end of the work one could even discern the whistling currently in the course of becoming the fashion at the Gewandhaus. On the whole, Gumbert’s artistic endeavours were

VII

met with more appreciation than those of the artist, whose symphony only recently was so enthusiastically received. We are not mislead by this fact in our good opinion of this latest composition by Svendsen, and we are convinced that this concerto by virtue of its originality and geniality and following a number of alterations to increase its effect, shall in the end find its way into the repertoire of all fine violoncellists. If, in conclusion, we are to comment on Herr Hegar’s execution, we can only do so by recognizing him as belonging among the finest and most distinguished of performing artists, for his performance on this evening was truly one of consummate artistry.4

kunstnere, for hans prestasjon denne kvelden var uten tvil det høyeste uttrykk for fullendt kunst.4 Det finnes spor i manuskriptet (trykkegrunnlaget) av endringer Svendsen gjorde før verket ble utgitt. Endringene finnes bare mot slutten, der de opprinnelige siste sidene er delvis overstrøket, delvis fjernet. Deretter er en ny slutt på 34 takter komponert fra der overstrykningene begynner. Den første delen av den opprinnelige slutten er altså bevart under overstrykningene. Nederst i manuskriptet har G.W. Witte utformet et klaveruttog. Dette er identisk med det uttoget Fritzsch trykte som «bearbeitet von G.H. Witte». Det finnes også klaveruttog på de taktene som er overstrøket, så det er sannsynlig at Svendsen reviderte slutten etter at Witte hadde utformet den første versjonen av klaveruttoget. 5. juni 1871 skrev Svendsen til faren Gulbrand fra Leipzig: «Om kort Tid vil formodenlig min Concert for Violincello og Orchester ukomme [sic]». I juli annonserte forlaget Fritzsch for utgaven. (Senere overtok forlaget Siegel rettighetene). Etter utgivelsen, nærmere bestemt 5. januar 1872, publiserte Musikalisches Wochenblatt en omfattende omtale av verket, skrevet av Alfred Maczewski under overskriften «Kritik». Maczewskis konklusjon er positiv:

The manuscript (printing source) bears traces of revisions made before publication, all of them involving the end of the work. Here, the original pages were partly crossed out, partly removed. A new ending of 34 bars in length was composed, beginning at the start of the crossed-out section. Thus, only the first part of the original ending is preserved, albeit crossed out. At the bottom of each manuscript page, G.W. Witte added a piano score, identical with the one printed by Fritzsch as ‘bearbeitet von G.H. Witte’. Since the piano score continues on the pages that were crossed out, one can conclude that the revisions were made after Witte produced his first version of this piano score. On 5 June 1871, Svendsen wrote to his father Gulbrand from Leipzig: ‘Om kort Tid vil formodenlig min Concert for Violincello og Orchester ukomme.’ [sic] (My concerto for violoncello and Orchestra will probably be published soon.) Shortly after, in July, Fritzsch advertised the edition. (Publisher Siegel took over the copyright at a later point.) Some months later, on 5 January 1872, an extensive review of the concerto appeared in Musikalisches Wochenblatt under the heading ‘Kritik’. The conclusion of its author, Alfred Maczewski, is positive:

Avslutningsvis vil vi på det sterkeste anbefale alle cellister å ta fatt på arbeidet med stykket. Til tross for at verket, som nevnt, ikke byr på virkelige muligheter for å briljere teknisk, ligger det desto mer til rette for en stor, følsom og gjennomgripende tone. Musikere som evner å utvikle en slik inderlig og innholdsmettet teknisk tilnærming, vil finne en takknemlig oppgave i dette verket og med det også sikre seg suksess ved offentlige fremføringer.5

In conclusion, we thus most urgently advise all violoncellists to set to work on the piece. Notwithstanding the fact that, as mentioned earlier, it provides no particular opportunity for brilliant virtuoso display, it is all the more suited to a broad, sensitive and resonant tone. The player who understands to exploit this inner, substantial side of his technique will here find a gratifying task and thus be assured success in public performance.5

Cellokonserten ble aldri et verk Svendsen selv valgte å ta med i programmene han dirigerte. Han satte ikke opp verket i Norge, og vi har heller ikke funnet noen framføringer internasjonalt i årene like etter urframføringen. I boken «Johan Svendsen» (1990) nevner forfatterne Finn Benestad og Odd Schjelderup-Ebbe bare én slik framføring, i Würtzburg i 1882. På 25-årsjubileumet for Svendsens introduksjonskonserter i København, 16. november 1907, er cellokonserten likevel plassert på programmet, med den internasjonale virtuosen Herman Sandby (1881–1965) som solist. Denne jubileumskonserten var i Koncertpalæet, med påfølgende fest for 300 gjester. Avisene hadde bare positive ord om cellokonserten:

Svendsen himself made no special attempt to promote his concerto by including it in the concerts he conducted. He never performed the work in Norway, and we were unable

VIII

to find references to international performances in the years immediately following the premiere. In their book Johan Svendsen (1990), authors Finn Benestad and Dag SchjelderupEbbe only mention one such performance in Würzburg in 1882. Late in the composer’s career, on the 25th anniversary of Svendsen’s introductory concerts at Koncertpalæet in Copenhagen, 16 November 1907, the concerto was finally performed. The internationally renowned soloist Herman Sandby (1881– 1965) played the cello part, and a party for 300 guests was held following the concert. The Danish newspapers had only favourable comments about the work:

«Saa fulgte den udmærkede Violoncel-Koncert (Op. 7 i D), ualmindelig fint og forstaaende spillet af Herman Sabndby». (CHARLES KJERULF)

«et Værk, der ved sin blide Ynde og alt Effektjageri flyende rene Melodi gjorde et fredeligt og harmonisk indtryk.»

This was followed by the superb Cello Concerto (Op. 7 in D major), played with extraordinary beauty and deep insight by Herman Sandby.) 6

(LEOPOLD ROSENFELDT)

Litt kuriøst er det at Svendsen skrev ned noter til temaer fra cellokonserten på to visittkort, ett til Alma Robert Hansen i mai 1892 og ett til Frans Neruda i juni 1878. Kildesituasjonen til verket er ikke særlig kompleks. Det finnes bare ett manuskript, og dette er også trykkegrunnlaget. Det er en del fingersetninger i de ulike kildene, ikke alltid samsvarende og sjelden med særlig innflytelse på klangfarge eller musikalsk uttrykk. Utøvere av i dag bør vite at det er uklart hvem som står bak disse fingersetningene, og like uklart hva som har motivert dem. I det trykte partituret er det noen nye kreative ideer som ikke finnes i manuskriptet, så det er sannsynlig at Svendsen var involvert i korrekturarbeidet og utgivelsesprosessen. Kanskje har også Emil Hegar påvirket arbeidet med komposisjonen eller selve utgivelsen. Både han og Svendsen var jo i Leipzig samtidig i 1870–1871. Bjarte Engeset

(CHARLES KJERULF)

… a work that by virtue of its graceful charm and pure melody, eschewing any superficial effects, made a peaceful and harmonious impression. 7 (LEOPOLD ROSENFELDT)

Curiously, Svendsen notated themes from the concerto on two visiting cards, one for Alma Robert Hansen in May 1892, and one for Franz Neruda in June 1878. The source situation is not very complex. There is a single manuscript score, which also provides the printing source. The different sources include various fingerings that do not always coincide with each other and only rarely affect sonority or musical expression. The authors behind these fingerings and the reasons for including them are uncertain. The printed score contains a number of musical ideas not found in the manuscript, suggesting that Svendsen was involved in the process of proofing and publishing. Perhaps Emil Hegar, too, influenced the compositional process and/or the edition, as we know that Svendsen and Hegar were in Leipzig at the same time in 1870– 1871. Bjarte Engeset Translated by Thilo Reinhard

Notes Joh. S. Svendsen’s eben beendetes Violoncelloconcert, welches kürzlich an einem Musikabend des Leipziger Tonkünstlervereins allgemeinen Beifall fand, ist auch auf das Programm des 19. Gewandhausconcertes gesetzt worden. 1

Die zweite Nummer, die auch noch nicht in das Programm eines Gewandhaus-Concertes gehörte, war die Novität, das Violoncello-Concert von Svendsen. Dieser junge Componist hat auf dem hiesigen Conservatorium Compositions-studien getrieben und einen Kreis jugendlicher Köpfe an sich zu fesseln gewusst, die ihn als neuen Lumen, als einen Stern erster Grösse am Horizont unseres zukünftigen Musikhimmels anstaunen und sich um ihn als ihren Helden und Führer schaaren, der sie zu neuen noch ungekannten Gefilden der Kunst führen werde. Sein Octett, das hier vorgeführt wurde, zeigte auch ein gewisses Talent der Conception und zog besonders durch das raffinerte Verwenden fremdländischer nordischer Klänge, die in Gade’s Compositionen durch ihre Originalität so zündeten, das Interesse sehr an. Eine in diesem Winter aufgeführte Symphonie desselben Componisten liess aber schon merklich nach und das obige Violoncello-Concert bekundete noch mehr, dass hinter dem angestaunten Talente doch nicht so viel steckt, als seine Partei in ihm ersieht. Parteiwesen war es denn auch, das die ganz unfertige Composition in das Programm hineinbrachte, ein Parteiwesen, welches unsere musikalischen Zustände zerrüttet und im Keime schon jedes aufstrebende Talent erstickt. Wir wundern uns sehr über die Concertdirection, dass sie nach der Probe, die doch vollends schon die Unzulänglichkeit des Werkes zu erkennen gab, nicht noch von der Vorführung desselben im Concerte abgestanden hat. Wollte man mit der Preciosa-Ouvertüre das Publikum amüsiren, so stellte man mit dieser langweiligen und nichtssagenden Composition die Geduld desselben auf harte Probe. Herrn Hegar, der sich auch im Vortrage dieser für sein Instrument sogar ganz undankbaren Composition als einen tief innerlichen Künstler und tüchtigen Virtuosen bewährte, müssen wir es auch sehr verdenken, dass es hier mit einer Partei ging, mit der er innerlich unmöglich harmonieren kann. Es hätten sich doch auch andere Compositionen, ausser den zuletzt hier gehörten finden lassen, die eher einer Wiedergabe werth gewesen wären, wenn auch die Auswahl dankbarer Concert-compositionen für Violoncello eine geringe ist. Wie wir hören, will der Componist sein Werk vor der Herausgabe durch den Druck umarbeiten, und somit enthalten wir uns einer eingehenderen Besprechung desselben. Im Allgemeinen können wir aber sagen, dass das Werk nicht aus innerem Schaffenstriebe entstanden, sondern eher ein Erzeugniss grossen Raffinements ist; es fehlen ihm Gedanken, Herz und Geist, daher die ertödtende Monotonie desselben. 2

Noter Joh. S. Svendsen’s eben beendetes Violoncelloconcert, welches kürzlich an einem Musikabend des Leipziger Tonkünstlervereins allgemeinen Beifall fand, ist auch auf das Programm des 19. Gewandhausconcertes gesetzt worden. 1

Als Solisten erschienen Frau Jauner-Krall aus Dresden und Herr Emil Hegar. Letzterer trug ein neues Violoncellconcert von Svendsen zum ersten Male mit seiner bekannten Meisterschaft vor, erlangte aber, was das Werk betrifft, nur einen zweifelhaften Erfolg. Keinenfalls hatte das Werk Zeichen des Missfallens verdient, denn es bietet viele schöne Momente. Während aber in der Mehrzahl der Concertstücke die Solostimme die wichtigsten und werthvollsten Gedanken vorzutragen hat und die Tutti oft nicht viel mehr als einen schwachen Ueberleitungsfaden zum folgenden Solo bilden, ist es hier umgekehrt, das Orchester hat die schönsten Gesangstellen und ist zuweilen ganz symphonisch behandelt, während das Violoncell auf ein Minimum von Cantilenen beschränkt ist und sich öfters in ziemlich nichtsagenden Phrasen ergeht. Am Schwächsten erscheint der letzte Satz mit seinem gar zu dürftigen und unzeitgemässen Passagenwerk. 3

(…) so zeigte Hr. Hegar schon mit der Wahl eines neuen Concertes für sein Instrument, dass bei ihm das Werk und nicht die eigene Person die Hauptsache ist. Mit der Wahl der beregten Composition, des neuen Concertes von Svendsen, hatte er die Sympathien gewisser Leute nicht getroffen, denn am Schluss des Stückes vernahm man sogar das jetzt im Gewandhaus Mode zu werden beginnende Pfeifen. Gumbert’s künstlerische Bestrebungen fanden im Ganzen mehr Anerkennung, als die des Künstlers, dessen Symphonie man erst neulich noch so enthusiastisch begrüsste. Uns kann dieses Factum nicht irre machen in der guten Meinung, die wir von dieser neuesten Composition Svendsen’s gewonnen haben, und wir sind überzeugt, dass dieses Concert kraft der ihm innewohnenden Originalität und Genialität und nach einigen die Wirkung steigernden Aenderungen am Schluss ein Repertoirestück aller guten Violoncellisten werden wird. Wollen wir schliesslich noch auf die Ausführung durch Hrn. Hegar zu sprechen kommen, so kann es nur mit der Anerkennung geschehen, die man für die Besten und Edelsten unter den reproducirenden Künstlern hat, denn seine Leistung stand an diesem Abend wirklich auf der Höhe vollendet4

ster Künstlerschaft. So wollen wir denn schliesslich den Violoncellisten angelegentlichst empfehlen. sich an das Stück zu machen. Wenn es auch, wie schon bemerkt, keine besondere Gelegenheit zur Entfaltung einer glänzenden virtuosen Technik bietet, so ist es dafür um so mehr auf einen grossen, empfindungsvollen, durchgreifenden Ton angelegt. Der Spieler, der diese innerliche gehaltvolle Seite der Technik auszubeuten versteht, wird hier eine dankbare Aufgabe finden und damit auch des Erfolges beim öffentlichen Vortrage sicher sein. 5

cellisten werden wird. Wollen wir schliesslich noch auf die Ausführung durch Hrn. Hegar zu sprechen kommen, so kann es nur mit der Anerkennung geschehen, die man für die Besten und Edelsten unter den reproducirenden Künstlern hat, denn seine Leistung stand an diesem Abend wirklich auf der Höhe vollendetster Künstlerschaft.

“Saa fulgte den udmærkede Violoncel-Koncert (Op. 7 i D), ualmindelig fint og forstaaende spillet af Herman Sandby.” 6

“…et Værk, der ved sin blide Ynde og alt Effektjageri flyende rene Melodi gjorde et fredeligt og harmonisk indtryk.” 7

So wollen wir denn schliesslich den Violoncellisten angelegentlichst empfehlen. sich an das Stück zu machen. Wenn es auch, wie schon bemerkt, keine besondere Gelegenheit zur Entfaltung einer glänzenden virtuosen Technik bietet, so ist es dafür um so mehr auf einen grossen, empfindungsvollen, durchgreifenden Ton angelegt. Der Spieler, der diese innerliche gehaltvolle Seite der Technik auszubeuten versteht, wird hier eine dankbare Aufgabe finden und damit auch des Erfolges beim öffentlichen Vortrage sicher sein. 5

XII

CELLO CONCERTO IN D MAJOR,OP. 7, AUTOGRAPH, COVER, SOURCE A. THIS AUTOGRAPH SCORE WAS USED AS THE PRINTING SOURCE FOR THE FIRST EDITION. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 550

XIII

CELLO CONCERTO IN D MAJOR,OP. 7, AUTOGRAPH, FIRST PAGE OF THE SCORE, SOURCE A. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 550

XIV

CELLO CONCERTO IN D MAJOR,OP. 7, AUTOGRAPH, PAGE 26, SOURCE A. THE SCORE IS KEPT IN THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 550

SOURCE B: COVER PAGE OF THE PRINTED FIRST EDITION SCORE PUBLISHED BY E.W. FRITZSCH , LEIPZIG (1871).

XVI

SOURCE B: FIRST PAGE OF THE PRINTED FIRST EDITION SCORE PUBLISHED BY E.W. FRITZSCH , LEIPZIG (1871).

XVII

SOURCE B SPT: FIRST PAGE OF THE PRINTED FIRST EDITION SOLO PART PUBLISHED BY E.W. FRITZSCH , LEIPZIG (1871).

XVIII

SOURCE BPSC: FIRST PAGE OF THE PRINTED FIRST EDITION PIANO SCORE PUBLISHED BY E.W. FRITZSCH , LEIPZIG (1871).

XIX

Cellokonsert i D-dur, op. 7 JSV 43

Cello Concerto in D major, Op. 7

BESETNING / SCORING 2 Flauti 2 Oboi 2 Clarinetti (in La) 2 Fagotti 2 Corni (in Re) 2 Trombe (in Re) Timpani Violini I. II. Viole Violoncelli Contrabbassi Violoncello principale

XVII

Concert (D-dur)

für Violoncell und Orchester [JSV 43]

2 Flauti

2 Oboi

2 Clarinetti in La

2 Fagotti

2 Corni in Re 2 Trombe in Re

Timpani in Re - La - Sol

Violoncello principale

I. Violini II.

Viole

Violoncelli



#  & # c p & b c  p

 ? ## c  p

& & ?

c w w p c

> œœ œœ œœ œœ .. œœ  J J

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∑

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Johan S. Svendsen, Op. 7

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pizz.

Contrabbassi

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Allegro q = 144

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9 Fl.

Ob.

Cl. (La)

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Timp.

Vc. princ.

I. Vln. II.

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19 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

Vle.

Vc.

Cb.

∑

œ  # ∑

∑

& b b w 

#  

? # # n w 

nw n n

n ww

w 

 # 

∑

# ww

cresc.

∑

? ##

∑

 

n.

œ œ  nœ .

œ  #

 



B # # w 

n ww

#  

 

# ww

? ## 



nœ œ œ œ #w

 

# 



nœ œ œ œ #w

 

# 

j a2 œ. œ œ  œ  œ. œ œ  œ J J

. œ # nœ F ∑

cresc.

.

#œ

œ œ. b - œ #  .

œ. - œ  n œ œ cresc.  Œ

ten.

j j .  œ œ œ œ . œ œ œ œ  œ Œ ∑ ∑  Œ cresc. F ∑ ∑ ∑ œœ Œ  œœ nœ œ  œ  .  œ # nœ . F cresc. a2

œ. - œ

ten.

.

cresc.

∑

œ 

cresc.

? ## 

œ 

∑

.

 ŒF

Vln. II.

œ œ  nœ .

n.

cresc.

#

cresc.

  cresc.

œ. œ œ  œ  œ. œ œ  œ J J

œ. # - n œ

œ. - œ F

cresc.

œ.  nœ œ  œ cresc.

ten.

.

ten.

ten. œ œ. n - œ #  .

#œ

cresc.

œ. - œ #  n œ n œ œ. - œ cresc.

F œ. - œ #  n œ n œ œ. - œ F cresc.

 

œœ œœ

29 Fl.



# & # œ. # - n œ a2

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

Vle.

Vc.

Cb.

Œ  ? ## œ  . -

# & # &

. -



cresc.

dim.

cresc.

dim.

cresc.

w w

dim.

. .

#œ  n #œ  n

w w

. .

œ  #œ w 

w .

# œ w n 

dim.

Œ œ œ  œ œ  œ b w  ww œ œ. - œ œ. - œ dim. ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑ Œ ∑ . w w ƒ ∑

œ 

œ. œ œ  J



∑

. ## œ #  n œ

œ. œ œ

. B ## œ 

? ## œ  . -

œ # nœ

? ## œ  . -

. -

œœ œœ. - œœ œœ. - œœ b w

. 

dim.

œw  œ wœ  œ œ  œ  œ œ  œ w w œ. b

ten.

∑



œ œ   œ œ   œ

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

∑

? ##

. -

ten.

∑

. -

œw  œ œw  œ œ  œ  . œ œ   œ w w œ

œ   œ   œ  œ œ  œ œ  œ  œ œ  œ œ œ œ n  œ .  w  . œ  #œ n  n . . -

œ. œ œ  J

œ. - œ



Vln. II.



œ œ   œ œ   œ

œ. œ œ 

.

ten.



∑



cresc.

b 



ƒ Ÿ~~~~~~~~~~~~~ cresc.

∑

n n Z

 

cresc.

∑

# # ƒ

w p

Z Ÿ~~~

œ Œ 

cresc.

∑

œ  œ œ  œ œ  œ  . œ œ  œ

œ œ. -

œ n œ  œ œ  œ 

œ œ. - œ œ. - œ # w œ œ  œ œ  œ w



dim.

cresc.

.

dim.

#œ  n



cresc.

dim.

 . # œœ  n  .

dim.

.

#œ  n

dim.

.

#œ  n

œ œ. - œ œ. - œ # w

œ œ. - œ œ. - œ # w œ # nœ



œ 

w w

n 

# ƒ

n Z

cresc.

#

 

n

38 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

Vle.

Vc.

Cb.

œ œ Œ 

p dim. π

Z dim.

∑



∑

   π

œw  œ œ  œ w w w &b

œ œ Œ 

∑

? ## w w

œœ Œ 

∑

b ww

œœ Œ 

∑

w 

w∑

Œ  ∑

∑

> w

œ Œ 

∑

Z dim.

p dim. π p dim. π p dim. π

∑

p dim. π Z dim. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

? ## &

dim.

∑

Z dim.

dim.

  f

œ œ œ œ w



Solo

## œ  œ œ  œ w œœ Œ  bw w & w p dim. π Z dim.

Œ 

∑

œœ Œ 

∑

  π

œœ Œ 

∑



œ Œ  œ

∑

  π

œœ Œ 

∑

  π

∑

Ÿ~~~~~   œ Œ  π

∑ ∑

œ # œ œ œ œ œ œ œ œ œ# œ œn œ# œ œn œ

œ #œœœ œ #œ œ œ w œ œ œ œ œ# œ œ# œ œ œ #œœ œ

œœ

Solo

p dim. π

Œ 

∑

## w

Œ 

∑

B ## w w Z dim.

œœ Œ 

∑

œ Œ 

∑

œ Œ 

∑

Vln. II.

œw  œ œ  œ w w ## w

? ## ? ##

Z dim.

Z dim. Z dim.

p dim. π p dim. π p dim. π p dim. π

# & #

∑

# & #

∑

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

47 Fl.

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

? ##

Vle.

Vc.

Cb.

Œ œœ  p-

œ  œ œ œ œ. œ 

œ- # œ œ # œ  .

# & #

∑

Œ œ 

∑

B ##

∑

Œ œ  œ

Vln. II.

Œ œœ  p-

pizz.



pizz.

œœ

pizz.

? ##

∑

Œ œœ 

? ##

∑

Œ œ 

pizz.

œ œ œ œ œ. œ

œ #  œ œ  œ œ œ- œ œ œ œ . œ  w w

w w

div. arco

w w

div. arco

w w

arco

w w w 

div.

 

π arco

w w

. .

w w



 

#œ #œ

# & #

∑

# & #

∑

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

57 Fl.

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

œ œ ? # #  œJ œJ œ . J

 œ J

cresc.

I. Vln. II.

# # . #  &  # .

. . . .

.

B # #   . .

 #    . . . .

 .

? # # .

.

. .  .

 .

.

. .  .

# . . & #  

poco cresc.

Vc.

poco cresc.

Cb.

œ . 

poco cresc.

Vle.

œ œ. . 

poco cresc.

? # # .

poco cresc.

. #  . #   # .  # .

& #œ

. .

œ  œ- œ- œ- œ # œ œ œ . œj œ œ . 

dim.

w> w >

w w

dim.

ww> > F

 n

dim.

. # w>

dim.

. # w>

w w

dim.

ww> >

#w #w p p

p p

w p

dim.

 n dim.

œ œ œ p

w w

∏

œœœœ # #

 #

w # 

#

∏ ∏

w 

∏ ∏

 

67 Fl.

Ob.

Cl. (La)

Tutti

∑

œœ œ œ œœ # œœ.

œœ # œœ œœ œœ # œœ. ‰ Œ  J

ƒ ƒ

J ‰Œ 

? ##

∑

j >œ j  œ œ œ. œ  œ  ‰œœ œ œ œ. œ. œ.  œ œ œ . J

Cor. (Re)

∑



Tbe. (Re)

∑

Fg.

Timp.

Vc. princ.

I. Vln.

? ##  . # & # nn  ##

 

n w 

II.

Vle.

B ## n w  

Vc.

Cb.

? ## ? ##

a2 . ‰ œ. œ. œ œ 

œ .

div.

. .

a2 œ # œ œ # œ œJ. ‰ ‰ Œ n  œ. >œ . œ # œ œ # œ œ. ‰ œ # œ œ # œ Jœ œ œ # œ œ ## œœ  œ œ œ > # œ. . .

>  œ œ œ œ . œJ  J J

œw 

Œ Tutti

œ œ 

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

œ œw 

j œ œœ # œœ œœ # œœ # œœ ‰ Œ  .

œw 

∑

œ # œ œ # œ œ.

J‰

. œ # œ œ # œ Jœœ ‰

j  œœ œ œ  œj œ œj œ . œ  œ. . . >

 œ œ. œ. œ. 

œ 

∑

n œw 

∑

j  œœ œ œ  œj œ œj œ . œ  œ. . . >

j j œ #œ œ œ. #œ  œ #œ œ œ. #œ  >

∑

 œ œ. œ. œ. 

∑

>  œ œ œ œ . œJ  J J

> œ œ œ n œ . Jœ 

. œ # œ œ # œ œJ ‰

. >œ

‰Œ

#

œ œ œ #œ  > # œ. . .

> œ œ œ œ . œJ  J J

j j œ # >œ œ œ . # œ  j

œ œ # œ. œ. # œ.  >

j j œ # >œ œ œ . # œ 

œ # œ œ # œ œJ. ‰ œ œ # œ. œ. # œ.  >

> œ # œ œ œ . # œJ  J J

œ # œ œ # œ œJ. ‰ œ œ # œ. œ. # œ.  >

> œ œ œ œ . œJ  J J

> œ œ œ # œ . Jœ 

> œ # œ œ œ . # œJ  J J

Fl.

Ob.

Cl. (La)

Fg.

.j # œ œ œ œ œ # œœ π 75 ## œ œ œ J. ‰ Œ &  .j # œ # # œ œœ œ œ # œœ π & œ œ J. ‰ Œ 

œ # œœ. ‰ Œ  œ œ # œ b & J

. ? # # œ ‹ œ # œ # œ œœ ‰ Œ  œ ‹œ#œ #œ J π

Cor. (Re)

œ œ œ œ # œœ. ‰ Œ  J

Tbe. (Re)

j‰ Œ  œœ œœ œœ # œœ # œœ.

Timp.

Vc. princ.

I. Vln. II.

∑

? ##

∑

# œ. œ œ œ # œ # J‰ & #

> .

# œœ # œœ. ## œ & œ #œ J ‰ >.

dim.

Vle.

Vc.

Cb.

Solo

w w w w

∑ ∑

∑

w w

∑ ∑

w w

∑

œ bœ bœ

∑



∑



∑ ∑



w œ Œ

w w



∑

œ œ œ œ . œJ  J J

œ

&œ

.

œ œ

Œ 

∑

Œ 

∑

œ œ.



∑

B # # œ # œ # œ œ. j ‰  n œ n œ Œ  ‹œ > π dim. . > ? # # œ ‹ œ # œ # œ Jœ ‰  n œ n w π dim. . > ? # # œ ‹ œ # œ # œ Jœ ‰  n œ n w π dim.

∑

Solo

∑

w w

∑

w w



-œ n -œ -œ œ n œ 



Œ n œ π dolce

n œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œb œ œ œ œ œ œ π 3

nw nw

w w

∑

# & #

∑

83 Fl.

Ob.

Cl. (La)

Fg.

I. ? ## w

Aœ

œ Œ

∑



Cor. (Re)

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

# & # &

## œ

œ œ. n

-œ n -œ -œ œ n œ 



bœ.

œ.

œ

nœ nœ  J

nœ

œ œ nœ

bœ.

.

œ n

œ œ

# & # nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ nœ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B ##

nœ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? ## w

# & #

∑

# & #

∑

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

88 Fl.

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

I. Vln.

# & #

# & # 

?œ

œ nœ

œ œ nœ nœ



œ nœ



b



b

II.

# & # nœ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vle.

B ## n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ

Vc.

Cb.

œ œ œ œ œ œ

œnœ œ œ œ œ œ œ œ œ œ œ

? ## w

# & #

93 Fl.

Ob.

∑

œ œ

# # I.n 

œ 

œ nœ.

∑

œ nœ



∑

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Cl. (La)

Fg.

Timp.

Vc. princ.

I. Vln. II.

? ##

œ #œ œ œ nœ œ nœ 3

# & # nw

sempre

# & # w

sempre

Vle.

B ## w

sempre

Vc.

? ## n w

sempre

Cb.

? ## n œ



œ œ #œ œ œ

nœ œ nœ œ œ œ œ œ œ œ- œ. œ. œ. œ. . # œ n œ œ œ œ œ # œ œ nœ n œ n œ œ # œ œ n œ œ œ- œ. œ œ œ . nœ . . .

pizz.



97 Fl.

Ob.

œ œ

# # I.

# & #

œ 

œ.

nœ

∑

œ 

œ.

∑ j œ œ

&b  p

∑ I.

Cl. (La)

∑

bœ

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Fg.

Timp.

Vc. princ.

I. Vln. II.

? ##

œ n œ. n œ. œ. œ. # œ . . nœ œ œ nœ œ œ œ nœ œ nœ œ œ œ œ . œ œ œ œ œ # œ œ œ. œ œ œ œ. œ n œ œ. œœ œ œ œ # œ œ # œ œ œ # œ nœ

# & # w

# & #

Vle.

B ## w

Vc.

? ## n w

Cb.

? ## n œ



nœ



101 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

& &

∑

# # ww

∑

w w

∑

? ##

∑

? ## œ # œ œ # œ œ œ œ œ œ # œ œ œ œ &

# & #

∑

p p

∑

œ #œ œ

∑

? œ> # œ œ œ >œ œ œ 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 

B ## # 

j œ œ

? ##



j œ #œ

? ##  π

œ #œ

arco

Cb.

∑

œ œ nœ #œ

#

j œ œ



j œ #œ



œ #œ

# & #

∑

# & #

∑

? ##

∑

104 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

p p

∑

? ## œ # œ # œ œ n œ # œ œ œ œ # & # #œ.

œ 

œ.

j #œ 

# & #

B ##  . ? ## ? ##

. œ. # œ. œ. œ. œ œ œ œ œ œ œ œ œ œ # œ. œ. œ. œ. œ. œ œ œ # œ œ œ œ œ œ œ œ œ œ œ # œ œ œœœœ

#œ

# œ.

-

œ.

# -

# œ.

-

œ.

-

nœ

# œ.

œ.

-

# -

œ.

# -



œ.

-

œ.

-

 #œ #œ

∑

107 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

 ∑ ∑

∑

? ##

∑

? ## &

# & # B ##

Œ œ F



w 

ƒ con impeto . -

œ  œ w



œ. - œ n œ . œ  œ n p cresc. ƒ con impeto

n œ.

- œ

#œ. œ  œ

œ. # - œ

ƒ Œ œ F



#

cresc.

œ œ

con impeto

> 

con impeto

∑

? ## # 



? ## # 



cresc.

ten. cresc.

ten.

cresc.

#œ. #œ  œ



#

#œ. #œ  œ



∑

#w Œ  œ

#

w ∑

∑

Œ 

∑

Tutti

œ. - œ

con impeto

œœœœœ

#œ. œ  œ j

# œ. j

œœ œœœ #œ. #œ  œ

ƒ con impeto œ. # - œ # œ . # œ  œ ƒ con impeto œ. # - œ # œ . # œ  œ ƒ con impeto

n œ. # -

> 



∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ . œ œ. # - œ 3



#œ. œ  œ

molto cresc.



 œ

#w # 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 3

w #œ. œ  œ

∑

p cresc.

Tutti

- œ

#œ. œ  œ

j œ # œ œ œ œj œj # œ œ œ œj n œ. # n œ. # n œ. # -

#œ. #œ  œ

Solo

#œ Œ 

∑

a tempo

Fl.

poco rit.

∑

Ob.

# & # #œ Œ 

∑

œœ Œ œœ Œ

∑

œ Œ # # œœ Œ # # œœ Œ œœ Œ # n œœ Œ œœ Œ œœ Œ œœ Œ

∑

113

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

&b ? ## &

#œ

Œ œŒ

œŒœŒ œ œ

œ Œ œ Œ bœ Œ œ Œ œ œ bœ œ

dim.

Œ # # œœ Œ # # œœ Œ œœ Œ n n œœ Œ œœ Œ #œ p dim. p

dim.

Œ 

œ ∑

∑

? ## Œ #  F &

# & # B ## ? ## ? ##

& #œ

Solo

#œ #œ

Œ Œ

#œ 

a tempo (non tranquillo)

œ  # œ œ # œ œ œ œ- #  œ  .

poco rit.

poco dim e rit.

#œ #œ

dim.

p e dolce

a tempo

œ  

 . œ œ-  œ  .

 #

œ Œ œ Œ nœ Œ œ Œ  

. œ œ .

nœ #œ

œ œ

. œ œ . w

.

 # #œ  

œŒ

œŒœŒ

#œ Œ œ Œ p

#œ Œ œ Œ

nœ Œ œ Œ

œ Œ œŒ  

 n

 b

#œ Œ œ Œ

nœ Œ œ Œ

œ Œ œŒ  

. œ œ  œ  #

 n

 b

. œ œ  œ  #

#œ

#œ Œ œ Œ p

dim.

p p

 

123 Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

# & # B ## ? ## ? ##

 # w

. #.

 # #w

. .

 #  #

#  ..



œ œ-  œ #  . f

Œ  Œ

œ œ œ # œ œ # œ œ œ œ # œ  œ œ . œj  p

 



œ œ-  œ #  . 

 

D w

dim.

 

.

œ 

Œ œ # œ F

.

œ œ # œ  #

Œ œ # œ F

. Œ

dim.

œ œ # œ  #

.

∑

dim.

π π π π

∑

œ- n 

œ .

œ  

 

 œ œ .

œ .

 œ œ œ .

∑

# & # œ #œ œ #œ œ  #œ #w

133 Vc. princ.

I. Vln.

# & #

œ œ- #  œ  . œ w

.

œ .

w w

w 

œ  œ

œ b 

# n

 œ œ œ  œ  n

œ 

œ b 

# n

 œ œ œ  œ  n

# & # nw

Vle.

B ## w

Vc.

div. ? ## > # ww

? ##

.

w >

II.

Cb.

∑

 

Œ 

#œ

œ  #œ w w

143 Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

# & # B ##

 

E-

œ œ  œ #œ  œ œ  œ #œ  œ œ  œ œ  œ w

.

 n

 



? ##  b 

.

? ##  b 

poco rit.

dim.

con passione



poco cresc.

œ œ



œ  œ w

poco cresc.

∑

n #

 #

∑

n

∑

 

∑

# n

poco cresc.

∑

dim.

œ -œ #  œ # œ  œ œ  # œ ‹ œ #  œ   ∑



dim.

œ w

. ∑

# n

poco rit.

 #

∑

 n

 

dim.

∑

 œ‰ Œ J π

∑

pizz.

ª 153 Vc. princ.

I. Vln. II.

a tempo

œ ? œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ nœ œ œ œ œ œ#œ #œ œ œ œ#œnœnœ œ #œ œ œ nœ œ #œ œ

tranquillo

a tempo

œ j ‰ œœJ ‰ œœJ ‰ œJ ‰ & œ π div. pizz. j j j ## ‰ ‰ œ b œ j #œ & n œ ‰ œœ ‰ ##

div. pizz.

π j

Vc.

Cb.

‰

j n œœ ‰

B # # œ ‰ œœ ‰ J œ π

œœ ‰ œœ ‰ n œœ ‰ J J J

? ## j ‰ Œ œ

pizz. div.

Vle.

n œœ J

pizz. ? # # Jœ ‰ œJ ‰ b œJ ‰ œJ ‰ π

j œ ‰

nœ J

‰

j œ ‰

œœ # œœ ‰ n # œœ ‰ ‰ J J J

œœ J

‰ # œœJ

œœ ‰

œœ

‰

œœ

‰ # œœ J

‰

j ‰

œœ ‰

œœ ‰ J

œœ ‰ # # œœ ‰ n n œœ ‰ J J J

œ ‰ J

œ ‰ #œ ‰ J J

j œ ‰

œ œ

‰

œœ ‰

n œœ J

‰ œœJ ‰

œœ ‰ # œœ ‰ n œœ J

‰ œœ ‰ J

‰ J ‰

j œ ‰ Œ

# & #

∑

# & # 

∑

? ##

Cor. (Re)

Tbe. (Re)

156 Fl.

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

∑

∑ I.



∑

œ œ nœ œ #œ nœ œ #œ #œ œ œ œ œ œ nœ nœ #œ œ œ œ œ œ #œ #œ œ œ œ œ œ nœ nœ #œ œ œ œ œ ? ## n œ œ œ œ œ œ œ œ b œ œ œ œ œœ n œœ # # œœ ‰ ‰ & J J J

‰

n œœ J

j j # j j & # œœ ‰ œœ ‰ n b œœ ‰ # n œœ j B # # œœ ‰ œ ‰ œœ J J J ? # # Jœ ‰ œJ ‰ n œJ ? ##

j œ ‰ Œ



‰ n œœ J

‰ # Jœ

‰

œœ

‰

œœ

‰

#œ #œ ‰ # Jœ ‰ n Jœ

#œ œ ‰ # œJ ‰ n Jœ

‰ Jœ ‰

œœ

j j j ‰ œœ ‰ n œœ ‰ œ ‰ œ

j j j ‰ # œœ ‰ n œœ ‰ œ ‰ œ

‰ # # œœ ‰ n # œœ J J

œœ

‰ œ ‰ J

œœ J

‰ # œœ ‰ n # œœ J J

‰ Jœ ‰ n Jœ

‰ œ ‰ J

‰ # œJ ‰ n Jœ

‰ œ ‰ J

‰ œj ‰

œ J

‰ Œ

‰ œJ ‰

159 Fl.

Ob.

n

∑

# & # œ

FI.

 b I.

∑

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln.

œ nœ ? # # œ # œ # œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. # œ œ œ # œ œ œ j j j j œ œ # œ œ # œ œ œ œ & # œJ ‰ Jœ ‰ œJ ‰ Jœ ‰ ##

j j j j # œœ ‰ œœ ‰ œœ ‰ œœ ‰

j #œ ‰

arco

Vle.

B # # œœ J

‰ œœ ‰ œœ ‰ œœ ‰ J

Vc.

? ## œ J

‰ œ ‰ œ ‰ œ ‰ J J J

œ ‰ J

Cb.

? ## œ J

‰ œj ‰ œ ‰ œj ‰ J

œ ‰ J

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

œœ ‰

∑

spicc.

j # œœœ J ‰

II.

& œ #œ

> œ œ

∑

Fg.

Cl. (La)

> œ œ

œ œ

arco

bœ J π

j bœ π j nœ π j nœ

n n

 

‰



‰



‰

n

‰

nœ J

‰

‰ Œ

j nœ ‰ Œ

162 Fl.

Ob.

I. ## œ .

# & # & b œ. I.

Cl. (La)

nœ  J

∑



œ œ

n

œ œ

bœ  J

bœ J



#œ.

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Fg.

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

n œ. œ. œ. œ. œ. œ œ. œ. œ. œ œ. œ. œ n œ œ b œ . . . . . .

π n n

 

# #



n



n



n



? ## 

n



j nœ ‰ Œ



? ## œ ‰ Œ J

n



# & # n B ##

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

 

# & # 

nœ.

n

arco

π 22

∑

165 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

&b ? ##

œ œ



Vle.

Vc.

Cb.

Œ 

∑

Œ Œ

cresc.

> œ Œ .  > π

f œœ. œœ J



œœ

∑

# & # w &

# ww

œ Œ  œ œœ

Œ 

B # # # ww

œœ Œ 

? ## w

œ Œ 

? ## w

œ Œ 

∑ Œ

œ œ œ >

cresc.

 

∑

œ

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

π cresc.

∑

div.



∑

> œ œ œ œ. œ œ œ œ.

œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ n œœ n # œœ œœ # œœ œœ # œ œ œœ ∑ ∑ ∑ ∑

div.

∑

∑ ∑ ∑ ∑ ∑ ∑ ∑

∑

∑ ∑ ∑

nœ œ œ œ œ œ # œ œ # œ œ nœ n œ œ n œ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œ ∑ ∑ ∑ ∑

> Œ œ œ œ #w π



# œœ œœ J

Tutti

œ

œœ œ œ œ . J> J

molto cresc.

# œœ

œ >œ œ œ . J

n œœ n # œœ J

œ

œœ œœ œœ



cresc.

> œ œ œ œ.



-œ œ . œ  # -œ -œ -œ -œ -œ œ nœ # œ -œ -œ ? ## œ # œ -œ -œ œ -œ 

Vln. II.

cresc.

œ Œ 

> œ # œ œ œ œ œ #œ > π cresc. > œw  . œ #œ œ > π cresc. > œ n œ œ ww > cresc. π > œ œ œ # œ œ œ œ >

Tutti

f cresc.

cresc.

div.

∑ ∑ ∑ ∑



f f

171 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

> œ œ œ

## 

∑

œ #œ œ œ

œ œ œ #œ

cresc.



cresc.

œ nœ œ . >

nœ. #œ  J

œ J

cresc.

∑

œ.

œ

œ.



œ œ œ #œ

œ.

∑

œ œ œ œ

œœ n œœ œ œœ œ œ n - œ #œ J nœ

œœ

nœ. #œ  J

∑

cresc.

œ

œ >œ œ b œ . J J



#œ. #œ  J

cresc.

œ >œ œ b œ . J J



? ## &

nœ  J

œœ n # œœ # n œœ œœ œœ œœ # œœ - # J J J

# # n œœ n b œœ œœ b œœ & J &b

œ.

œœ # œœ œ œœ œ œ œ J

œœ

œ œ œ œ

œ J

œ # >œ œ  .

œ

œ œ œ œ

∑

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

? ##

∑

# #  &

> œ œ œ œ œ œ

cresc.

∑

œ. œ.

∑

nœ  nœ  J

∑

œ œ

œ œ œ œ œ œ œ œ

#œ. #œ  # œ . # Jœ 

œ #œ œ œ œ #œ œ œ

œ. œ.

∑ ∑∑∑∑ ∑∑∑

∑ ∑∑∑∑∑∑∑

∑ ∑∑∑∑ ∑∑∑ ∑ ∑∑∑∑∑∑∑

∑ ∑∑∑∑ ∑∑∑

∑ ∑∑∑∑∑∑∑

∑ ∑∑∑∑ ∑∑∑ ∑ ∑∑∑∑∑∑∑

cresc.

œ œ œ n œ œ œ # œ œ œœ n œœ œ œ œœ œœ œ œ œœ # œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œ œ # # n œœ n b œœ œœ œœ œœb œ œ œœ n # œœ # n œœ œœ œ œ œœ œœ œ œ n œœ œœ œ œ œœ œœ nœ œ œ œ #œ œ œœ œœ ∑ ∑ ∑∑ ∑ ∑∑∑∑∑∑∑ & ∑ ∑∑∑

œœ œœ œœ œœ œœ n œœ œ œ œœ œœ # œ œ œœ n œœ œ œ œœ œœ œ œ œœ # œœ œ œ œœ œœ n œ œ œœ œœ œ œ œœ œœ œ œ œœ œ œ b œ œ b œ œ œ n œ œ n # n œ œ œ # œ œ œ œ œ œ B # # ∑œ ∑ ∑ ∑œ∑œ ∑ ∑ ∑ n œ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ n œ œ œœ œœ nœ œ œ œ #œ œ œœ œœ cresc.

cresc.

? ##



? ##



cresc.

œ nœ œ 

cresc.

œ nœ œ œ œ œ œ



œ #œ œ 



œ #œ œ œ œ œ œ



Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

n  œœ

w ## w

n ww

n  œœ

ww b &

b ww

w w

# & # &

Vle.

Vc.

Cb.

 

? ##



n ww 

Z Z Z



jœ j

 œ œ œ. œ  

œ œ  

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



? ##

∑

. ##  .

B ##

@   .. @   .. @ 

∑

> œ  œ

∑

# 3 4

∑

# 3 4

 œœ Œ b > œœ Œ # > œœ Œ # > œœ Œ

∑

b b 43

∑

# 43

Œ Œ

> n b  œœ

Œ Œ

# > œœ

Œ Œ

# > œœ

#  œœ Œ n  œœ Œ  œœ Œ  œœ Œ > > > Z Œ . Z

ten.

Œ .

ten.

. Z

ten.

.

ten.

.

ten.

.

œ. Œ 

∑

œ œ œ œ  œ @ @ n @ @ @ @ @œ   w n @

@ œœ

# @ œ

@ œ # > œ

@ b  œœ

œœ œœ  œ @ @ @ @ @œ w @ n @ @ @ Œ @  # œ n @  > > œœ œœ  œ@ @ @ @ œ @ @ @ @ n @ œ Œ n @ > >

? ## n œ  œ  ? # # nten. w 

> œ  œ

∑

n > œœ

 œ œ œ œ . œJ  œ  œ   J J

Vln. II.

177

Œ Œ

  œ b œ  b   π I.

∑

∏

w bdiv. Œ @ œ b w > ∏

@ Œ nw # > œ ∏

œ Œ # @ œœ Œ # >@ œ Œ n w > ∏

 œŒ  œŒ w > > ∏

ten.

# œ Z

n œ

∑

@ œ Œ > œ

ten.

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

œ n  œ œ  œ œ  œ # @ œœ Œ n @ œœ Œ > >

ten.

∑

@ œœ Œ w > ∏

∑

3 4 43 3 4 # 3 4

w w

# 3 4

# 3 4 # 43 # 43

# 3 & 4

∑

# 3 4

∑

189 Fl.

Ob.

Cl. (La)

Fg.

Andante q = 76

3 4 

Tbe. (Re)

3 4 œ Œ Œ

Timp.

Vc. princ.

Œ ∑

Vln. II.

Vle.

∑

œœœœœœ œ Œ Œ œœœœœœ œ

∑

œ œ œ œ œ œ œœ Œ Œ

∑

Œ b

œ Œ Œ œ

∑

? # 43

∑

> Œ 

œœœœœœ 

Œ  >p

œ œ œ œ œ œ  œ œ .

∑



Vc.

? # 43 

Cb.

? # 43 

œ . œ  œ- œ œ œ œ œ œ  œ. œ  . œ œ J Œ Œ œ-

∑

B # 43

 >p

∑

# 3 & 4  # 3 4 

Œp>

∑

Andante q = 76

∑

b 3 œœœœœ œœœœœœ & b 4 ‰œœœœœ œœœœœœ J p ∑ ∑ ? # 43 œ œ œ œ œ œ œ œ œ œ œ ‰J p

Cor. (Re)

Solo

p dolce

Solo



> Œ  p

œ œ œ œ œ œ . π



œœ  œœ  



œœ  

œœ

 œ œ œ œ œ œ  # œ œ  # œ œ œ œ œ œ n œ œ

 œœ 



#œ œ  nœ œ   



#œ œ . 

.



œ œ bœ œ œ œ

œ nœ œ 

bœ

œ Œ Œ .

 œ .



œ nœ œ 

bœ

œ Œ Œ .

 œ .



p p

π π

199 Fl.

∑

œ #œ #œ. œ # œ

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

? # .

-œ œ- œ- œ . œ  œ

.

# œ œ bœ œ œ œ  #œ œ &  #œ œ div.

I. Vln. II.

# 



.

Vle.

B # . 

Vc.

?# 

œ  œ

?# 

œ  œ

Cb.

∏

n . n.

∏



 œœ œœ ..   œœ div.

∏ ∏

œŒ Œ

∏

. .

. œ œ n ..

œŒ Œ 

-œ œ- œ- œ . œ  œ -œ œ- œ- œ . œ œ . œ œ œ  . Jœ J

 œ

cresc.

dolce

. .

∑

 œ ∑

. œ œ ..



∑



nœ ∑

∑

 

œ œ #  œ œ œ # œ œ

œ œ œœ œœ œœ œœ #  œ œ .. #œ œ

cresc.

∑

 œ  ∑

G

. .

∑

œ ∑

#œ œ #œ #œ œ #œ div.

∑

Œ Œ œ œ  œ œ #œ œ π cresc. div.

. .

Œ Œ

.

cresc.

.

cresc.

209 Fl.

Ob.

Cl. (La)

Fg.

#  .. #

 . ∑

n  ..

∑

b  .. &b p  .. ?# p

 .

 ..

œ b  ..

 ..

 .

n  ..

 ..

 Tutti

∑

œ  n œ

œ œ b œœ

  Œ

 

  Œ

∑

œ œ n œ



 ..

#œ

#œ 

b  ..

œ 

œ œ

∑ ∑ ∑

.

Cor. (Re)

∑

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

- œ- œ- œ . œ  ?# œ F

# œœ & . œ 

#  . . p

B # . . p ?#  p ?#  p

-œ œ- œ- œ . œ 

----



 n. nœ œ .

.  n.

 n  ..



œ .œ œ . œ œ b œ n œ J J

œ  Œ J

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

. œ œ œ œ œ œ nœ œ œ n. .  

.

-œ n -œ b -œ - œœ



.

 b. œ œ .

..

 b  ..



Tutti

œ . œ œj œj# œ œ n œj œœ ..

j j  j œœ œœ œœ œœ œ œ  b œ œ n œ œœ œ œ . œ œ œ œ œ œ œœ œ œ œ. 



œ 

bœ

œ 

bœ

œ œ  # œ œ # œ œ 

nœ



nœ



∑



œ œ œ œœ œ œ œ œœ .. œ œJ œJ # œ n œJ non div.



.



.

218 Fl.

Ob.

Cl. (La)

Fg.

# #

b &b

∑

? # œJ œ œJ œ

.

œ # #œ a2 œ œ œ œ œ œ J Œ ‰œ œ œ J J J J p cresc.

f cresc. p cresc. -j -j ‰ œ œ œ œ œœ œ œj #  .. ∑ œ  ‰ ∑ J p cresc. f cresc. j j œ œ -œ -œ œ œ œj # n  . . Œ ‰ œœ œœ œœ œ œ œ œ J J J p f cresc. cresc. > œ bœ œ œ . J J . . . cresc.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

∑

Vln. II.

Vle.

Vc.

Cb.

# #

œ. œ #œ

œ. œ œ

j œ œ œ œJ b œ . n œ Jœ j

j j œ - œ . œ œ œ œ œ œJ œJ œ œ J cresc.

B # œœ .. œœ # œœ J

œ - œœ œ œ œ # œœ .. œ œ œ œœ œœ œœJ œœJ œ œ J J J J J

?#  .

.

cresc.

.

?#  .

.

cresc.

Œ œ . œJ f ∑ a2

Œ œ . œJ f

œ #. œ œ œ -œJ -œJ œœ œ œ #  . J J @

cresc.

œ œ œ.

.

@ f

œ   ..  .. .

. f

œ # # œœ n # œœ

œ œ œ . œJ  cresc.

∑

œ œ œ . œJ  cresc.

∑

∑ #. # . @

.

J œ œJ  . œ @ f cresc.

.

œ # œ # œœ # # œœ ƒ # œœ # œœ # œ nœ ƒ

cresc.

.

cresc.

.

œ #œ nœ œ n œ# œ

j j œ œ n œ # œ œj # œ œ # ‹ œ œ #œ ‹œ #œ œ nœ #œ œ ƒ

∑

cresc.

œ #œ œ

∑

cresc.

#œ



œ œ

 

∑

œ #œ #œ œ

œ #œ #œ

œ #œ

œ #œ nœ

#œ

j j œ # œ ‹ œ # œJ Jœ n œ # œ œ

j j œ # œ ‹ œ # œJ œJ n œ # œ œ

227 Fl.

Ob.

Cl. (La)

Fg.

& & &

# #

nœ #œ œ ‹œ #œ nœ #œ. #œ #œ œ. #œ J

.



#œ

œ # œ n œ # œj œj n œ œ n œj  . œ #œ J J  a2

Cor. (Re)

.

œ.

œœ œ

Tbe. (Re)

.

œ. .

œœ œ

Vc. princ.

I. Vln. II.

∑

Vc.

? # œj # œ n œ # œj œj n œ œ

Cb.

œ œ œ #œ J

#



#œ

œ. #œ œ



#œ

#



 ∑

∑

œ #œ nœ #œ

@ 

nœ

œ nœ œ nœ

j œ . # œ œ 

nœ nœ

∑

œ. #œ œ  . 

nœ Œ

∑

# @



œ œ œ

#œ œ œ œ #œ

œ #œ #œ œ # J J



# @. # .

œœœ œ œ œœ

œ #œ œ œ #. @

# @. .

œœ œ œ



∑

j # @. nœ .  j

∑



.





j j œ œ #œ œ Œ

œ #œ nœ œ n œ . . .

j œ œ j # œ œ Œ

œ nœ #œ nœ #

œ œ

Vle.

#.

œ. #œ œ



j B # œ # œ n œ # œj œj n œ œ

.

œ #œ œ ‹œ #œ œ #œ. #œ #œ œ. #œ

#œ # œ #œ

# & #œ

 œœ n # œœ # œœ n # œœ n n œ n œ # œ . n œ n œ œ .œ # œj œj. n œ œ œj n œ n n 

Timp.

#œ # œ #œ #œ J J

œœ n # œœ # œœ n ‹ œœ # # œ n œ # œ . # œ # œ œ œ. # œj œj # œ œ œj œj # œ j # œ #  n  . # œ œ # #  . œ #.

œ # œœ # œœ

œ b b # œœ n œ œœ

œ #œ œ œ

œœ

#  @

œœ j

œ #œ œ œ #œ

œ œ

- # œ . œ@ œ #  J @

# œ . œ œ #  @ @ J

œ œ #œ

. .

Œ Œ

ten.

 

235 Fl.

Ob.

Cl. (La)

Fg.

Vln. II.

Vle.

Vc.

Cb.

Œ Œ

Solo

#  ..

 ..

#.

n  ..

b  ..

n  ..

b #  .

n œ .

n  ..

#  ..

 ..

#.

n #  .. π π

j j bb # œ . n œ œ . # œ œ # # œœ . n œ n œ # œ œ b #  .. & Z π

Tbe. (Re)



Vc. princ.

# # œ . # œ œ . œj # œj# œ . #œ #  & 

Cor. (Re)

Timp.

#  .

.



# # Z

#  . Z

? ?#

œ œ

 



∑

n  .. π

Œ ∑

∑ ∑

∑

B #  . Z

#œ

#œ.

#œ

œ. #œ.

œ œ #œ œ #œ #œ

? # . Z



.



∑

∑ b  ..

b  ..

b n  ..

n  . œ

.

œ #

∑

n  . œ

. ∑

n œ .

∑

∑ Œ

.

∑

œ # ∑

∑

ten. œ. nœ œ œ.bœ œ. œ œ. œ œ œ.œ œ. œ œ œ œ J #œ œ œ œ #œ œ œ œ œ #. J J J

#œ #œ œ. œ #œ #œ #œ # œ œ J J & Z # 

∑

.

Solo

#œ Œ Œ π

∑

nœ Œ Œ π

∑

Œ Œ

∑

nœ

.



.



p p

244 Fl.

Ob.

Cl. (La)

Fg.

& &

# œœ ..

‰ Œ

œ.

∑

œ œ. œ œ. J

œ J

œ.

œ. œœ.

b & b œœ ..

‰ Œ

∑

‰ Œ ∑

∑

œ.

Cor. (Re)

Tbe. (Re)

∑

Timp.

Vc. princ.

Vln. II.

Vle.

Vc.

Cb.

œ# œ œ # œ œ

#œ#œ œœ œ œ œ œ œ n œ # œ # œ # œ œ œ œ #œ ∑

∑

œ.

‰ Œ

œ.

‰ Œ

œ œ œ œ œ # œ # œ œ œ œ œ œ œ n œ2 0 œ# œ œ œ œ œ œ œ # œ œ œ œ #œ œ# œ œ œœœ œ œœœ œ cresc.

. .

. 

. π

.

#. π

. 

#œ

.



pizz.

bœ

div.

.

#œ

nœ

#œ #œ

. .

#œ

. n. #.

. . .

249 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

∑

œ œj 

œ. b

∑

# œ . œ œJ œ . # œ œ . dim.

∑

.

∑ #œ

poco cresc.

∑

#œ.

œ œj n  .

#œ.

poco cresc.

dim.

∑

œ J

#œ ‰ J π

j nœ ‰ π

∑

Œ ∑

∑

œ. b œ. œ. # œ. n œ3. œ. b œ. œ. n œ. # œ. œ. œ. b œ. œ. b œ. . . . . n œ. . œ œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ # œ. œ œ œ ?# œ ? ≈ ≈ & œ # œ -œ œ # œ - - # -œ π 4

Vc. princ.

Vln. II.

# #

trem.

.

trem.

.

Vle.

trem. B # .

Vc.

? # # . #.

molto cresc.

# .

poco cresc.

# .

poco cresc.

trem.

Cb.

poco cresc.

arco

#.

.

. . .

poco cresc.

# . n .

. . . .

# .

dim.

 #.

dim.

.

dim.

# . #.

dim.

#. dim.

j ‰

pizz.

j ‰

pizz.

j ‰ œ. π œ. ‰ œ J π j œ. ‰

pizz.

# œ. π n œ. π

j ‰ Œ

j œ ‰ Œ

œ œ

4 # œ. n œ. # œ. n œ. œ. b œ. œ. # -œ -œ n -œ -œ -œ # -œ n -œ # -œ n -œ -œ b -œ -œ # -œ n -œ ?# ≈ œ -œ 

255 Vc. princ.

dolce

I. Vln. II.

Vle.

Vc.

Cb.

‰

? # # œj

‰

& #œ &

B# ?#

œ œ #œ

‰

arco

‰

arco

‰

arco

#œ

‰

arco

j #œ

‰

œ œ œ

œ-œ # œ . œ œ . œJ- œ œ œ -œ # -œ n 

n. π

.

#.

n.

.

. π

.

#œ œ œ

.

#.

n.

œ œ #œ

∑

? # œJ

261 Vc. princ.

œ #œ œ #œ #œ

cresc.

Vln. II.

# #

œ œ #œ cresc.

œ #

cresc.

Vle.

. œ #œ

.

? # .

#œ

#œ #œ



∑

.

#œ œ œ nœ ∑

div.



.

œ 

#œ

cresc.

Cb.

#œ œ #œ

#.

B# . 

cresc.

Vc.

œ # œ œ œ œ œ œ -œI œ œ # -œ œ œ œ œ œ œ œ- œ- œ- . J B #œ œ œ #œ J #œ #œ # ? œ J J J #œ J J J

œ #œ #œ ∑

# F



#.

œ .



#œ

dim.

œ .



#œ

.

#œ ∑

œœ  ..



#œ ∑

. #.

dim.

#.

.

dim.

 ..

dim.

∑

 #œ

II.

#. #. π

.

arco

.

270

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Fl.

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

Vle.

Vc.

Cb.

∑

& &

# #

B# ?# ?#

#. #.

.

œœ J-

#. #.

.

n. n.

 

.

div.

.

#.



#œ .



#œ .

#.

-j

-j -j -j -j -j -j œ œ œ œœ œœ œ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ n œJ - - - - p

œ-IV. . # œ œ . œ œ œ œ œ n œ . œ # œ œ œ œ œ œ- œ- # œ œ ‹ œ J J J j ?# J œ œ œ œœ #œ œ œ œ œ œ œj  J f poco cresc. 0 3

Vln. II.

-j -j -j -j -j œ œ ‰ œJ ‰ Jœ ‰ œJ ‰ J- ‰ J- ‰ - - p

. . . .

div.

. .

œ œ

. .

œ œ bœ  œ œ bœ 

 

. . œ œ

œ œ œ œ . œ œ œ œœ .. œœ  .. œ.

œ #œ #œ œ #œ #œ

. .

j œ. œ œ œ. œ œ

.

œ Œ Œ

F F

.

œ #œ.œ œ. nœ

 .



 .

.

#œ

.

œ‰œ‰œ‰ œ‰ œ‰ œ ‰

pizz.

J J J

œ # ‰ œ & J

j œj œj œj œ œ ‰ Jœ ‰ J ‰ J ‰ J ‰

∑

279 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

j œj j b œ œ œ &b ‰ J ‰ J ‰ J ?#

j œœ J‰

∑

& &

∑



j j œœ n œœ  J ‰ J b

.

B# œ

œ œ

œœ

b  ..

cresc.

∑

œœ

#  .. . #  .

dim.

œœ ‰ a 2 J œ. > dim. a2 > j œ ‰ œ.

b. b. ƒ

b. ƒ

π π

œ œ

nœ

cresc.



n n

œ.



œ.

Tutti cresc.

#œ

cresc.

.

n 

? # .

.

œ nœ œ

?# œ‰ œ ‰ œ‰ J J J

œ ‰ œ ‰ œ ‰ œ nœ œ J J J

cresc.

œ.

cresc. arco

cresc.

œ 

ten.

b. ƒ

ten.

b. ƒ 36

œ œ



œ œœ n œœ œ .

∑

œœ

Œ Œ

∑

Œ Œ

∑

Œ œ.

œ œ œ œ. œ 

π Œ

Solo

dim.

n. Z dim. j‰

œ œ. œ. œ. ....œ œ @ @ π

bœ

dim.

bœ



œ œ œ

@ @ @

œ. œ. œ. ....œ@ œ@

@

œ@

@.

œ œ. œ. œ. œ. ....œ œ



bœ @

œ œ @ nœ @ @

œ >œ . J π dim.



bœ

∑

n.



 

Œ Œ

∑

dim.

∑

bœ

n n œ . 

œ 

Œ Œ

dim.

∑

Œ Œ

ƒ π dim. Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ . . . œ

∑

Œ Œ

œ œ J

Œ Œ

dim.

n

b b  ..

Solo

π n œœ

dim.

∑

#œ. œ œ.



n œœ n œœ

ƒ n b  ..

œ œ œ œ œ œ

∑

n  ..

cresc.

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

∑

n œœ

j œœ 

cresc.

∑

Tutti

@ @

Œ Œ

.



Œ Œ

.



π π

287 Fl.

Ob.

Cl. (La)

Fg.

# #

∑

b & b .

 œ  œ  bœ  #œ . œ  #œ  #œ

?# 

Œ Œ

. . .

œ œ nœ œ œ.#œ .

œ .

∑

 œ œ b œ n œœ  # œœ œœ Œ Œ œ bœ œ

∑

Œ Œ

∑

œ œ nœ .

∑

. ..

œ œ bœ œ nœ.œ

∏

.

∏

Cor. (Re)

∑

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln.

œ œ . œ  œ- œ œ œ . œ  ?# J  œ 

# & . @

II.

# & @

Vle.

B #  #œ . @ @ @

Vc.

Cb.

?# ?#

. .

œ@

@ @

@ # œ@ @ # œ@  nœ

 œ .  œ .



œ .

-œ œ- œ- œ . œ 

.

π dolce

div. œ œ trem. . œ b œ œ @ @ œ œ œ œ . @ @

@ @

œ@ œ@ n œ@  . @

œ œ@ œ@ @ œ #œ div.

œ bœ œ  #œ œ œ ‰ Œ @ @ @ @ @ @ J  

. .

 ∏



∏



..

 .

trem.

œ

-œ œ- œ- œ . œ  n. n. 

. .

..

. 



œ

pizz. ‰ œ œ ‰ œj ‰ ‰ œj ‰ ‰ œj ‰ ‰ œj œ œ n œ œ œ œ œœ œ œ

œ 

œ œ Œ œ

∏

œ pizz.

∏



œ Œ œ

 œ Œ

nœ



nœ

œ Œ œ

297 Fl.

Ob.

Cl. (La)

Fg.

& & &

# . #

∑

∑ π

œ Œ œ

#œ

∑

Tbe. (Re)

∑

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

..

B# ‰

bœ œ œ

?# 

?# œ Œ œ

∑



œœ



# œœ

 #

n # œœ 



œ #  œ 

œ #œ



 # œœ



arco trem.

œ Œ œ

 . œ

œ Œ

. œ

ten.

arco

œ.

œœ J

. . .

œ œ bœ œ bœ. œ

n

œ.

œœ J

∑

n . .

..

 n

..

 p



∑

 .. 

œœ

nœ.



n

∑

j œ #œ œ œ œ ‰ œ ‰ œ œ œ # œ J ‰ Œ n œœ div.

div.

-œ -œ -œ œ . œ 



. . .

> j œ œ œ œ > J

œœ

nœ.

. . .

œ œ bœ œ nœ. œ

œ œ bœ œ œ. nœ .

> I. # œœ .. n œ>œ œœ 



‰ œj ‰

∑

cresc.

. . . œ œ œ # œ b œ . œ I. . œ. #œ œ J

- - œ. œ œ œ œ œ œ œ . ? # -œ œ œ # b . & b.

œ #œ œ.œ #œ. œ. ∑

Cor. (Re)

Timp.

. . .

œ œ n œ œ œ.# œ .

>œ œ 

œ #œ #œ.œ #œ.

∑

œ #œ #œ œ œ

œ. œ. œ. œ œ

. . . K œ œ œ # œ n œ . œ I. . œ œ Œ ‰ J > p

œœ

-œ -œ -œ œ . œ 

. n.

.. 

..

 

n ..

..



œœ

nœ



nœ



305 Fl.

Ob.

Cl. (La)

.

 ∑

œ œ œ

∑

b .



œ Œ Œ

∑

œ œ œ

∑

Œ Œ

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Fg.

Timp.

Vc. princ.

. œœœ œ œ œ œ œ j J ?# J J & œj œ œ œ . œ œ . œ œ œ  cresc.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ

œ #œ œ. œ  œ #œ œ. œ 

œ œ

 

B#  

œœ # œ œ œœ

n.



œ #œ œ œ

œ #œ œ

œ #œ œ œ

œ #œ œ

# &  ..  &



 

cresc.

œœ



cresc.

œ œ

œ  œ 

œ œ. œ

dim.

 

dim.

j œ # œ . œ œœ   œ #œ. œ

 .

 . œ œ œ œ œ  .. œ #œ J nœ œ œ

œ œ œ œ

dim.

 #œ 

dim.

 #œ 

? œ.

œ œ. œ œ œ œ œ œ. œ . J



œ . . œ bπ œ . π

b œœ Œ Œ π

nœ #. π

nœ #œ Œ Œ π

. n.

#œ œ #œ . œ  .

.

# œ . ∑

. ∑

∑

 ∑

 ..

∑

.

œ Œ Œ

pizz.

315 Fl.

Ob.

Cl. (La)

& &

∑

I. Œ Œ œ π

Tbe. (Re)

Timp.

Vc. princ.

I. Vln.

∑

.

∑

œ œ #œ

# . &  . #

 .

Vle.

B#  . ?# ?#

∑

IV.

Cb.

œ œ #œ

∑

Œ Œ

∑

## c

∑

b c

Œ Œ

∑

## c

j j j j j j j j j j j j > ‰œ ‰œ ‰œ ‰œ ‰œ ‰œ ‰œ ‰œ ‰œ ‰œ ‰œ ‰œ Œ  œ œ œ œ œ œ œ œ œ œ œ œ π

II.

Vc.

∑

œ œ œ

∑

.

? # . π

Cor. (Re)

œ œ #œ

∑

Fg.

∑

œ . œ œ .œ œ œ # œ . .

. .

#œ

 ..

 .

#œ

 ..

 .

œ.

>

Œ 

∑

œŒ Œ ŒŒœ œ œ ∑

∑

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

∑

>

Œ

.

#œ

 .

#œ

 ..

.

b.

.

j . œ. bœ œ 

.

. .

œ œ#œ . . .

. .

n.

.

b.

.

 ..

b  ..

 ..

œ .. b œ œ  ..

 ..

arco

.

## c

arco

.

## c

j j j j œ ‰ œ ‰ œj ‰ œj‰ œj‰ œj‰ œ ‰ œ ‰ œj‰ œj‰ œj‰ œj‰

pizz.

j j j j œ ‰ œ ‰ Jœ ‰ Jœ ‰ œJ ‰ Jœ ‰ œ ‰ œ ‰ Jœ ‰ œJ ‰ œJ ‰ œJ ‰

.

œ œ.œ . œ

.

ten.

 .

.

∏ j

. œ

Œ Œ

ŒŒ

Œ Œ

.

## c ## c ## c ## c

325 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

Tutti Tempo primo

∑

# & # c

∑

&b c

∑

? ## c

∑

c w

   

w ∑

Vln. II.

Vle.

Vc.

Cb.

>   π

 b  π

∑

œœ Œ 

∑

œœ Œ 

∑

œœ Œ 

œ œ œ œ œ œ

∑

œ w œ w ∑

    ∑

  n

> >  

>   >

>  n 

œœ Œ 

c w

? ## c

œŒŒ

# & # c œŒ

∑

Tutti

∑

Œ

∑

B ## c œ Œ  œ

∑

# & # c

œ œ

∑

œ œ

 œ bœ œ  œ. J J J

œœ Œ 

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

∑

Œ

∑

œ œ œ  œ. J Œ 

∑

jb œ j

 œ

∑

? ## c

œŒ

j j  œ œœ w

? ## c

œŒ

j j  œ œœ w

∑

œŒ

∑

M œ 

 œ nœ œ  œ. J J J jn œ j

 œ

∑

œ  œ.

∑

œ.

cresc.

œ ww J @

cresc.

Œ

j j  œ œœ w

w

Œ

j j  œ œœ w

 œ. œ œŒ

cresc.

œ œ œ œ œ œ

∑

j j  œœœ œŒ

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

Tempo primo

  b > π

>    II. > I. π

Mcresc.

cresc.

œ J

## 

335 Fl.

Ob.

Cl. (La)

Fg.

∑

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.



∑

œ  

∑

 

 b 

∑

 bœ. œ œ  J

bw w @

Vc.

? ##  w

œ wœ 

∑

B # # œj œ œj œj œ œj w@

? ##

p cresc.

∑

Vle.

Cb.

w

∑

# # ww & @

 b 

∑

œ 

∑

? ##

  b 

j b >œ j j>œ j  n  œ œ œ œ  n ‰ >JJ>J

j j  œœœ   œœœ 

 

∑

# & #

II.:



 b œ . œJ œ 

cresc. > > j jj j ? ## œ œ œ œ œ œ w cresc.

Cor. (Re)

j j  œœœ  J J II.: p cresc.

bw w @

œ œ  w w @

b j jj j œ b>œ œ œ >œ œ @ n @



 w



 w



# n



 

ƒ n n ƒ

 

œ œ  œ œ  œ      

œœ .. J

n n

 

n n

 





∑

œ 

@ @ @



>  b  >



cresc.

∑

œ 

œ.

œ œ 

œ 

œ.

@

cresc.

n @

@

œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ œ œ

 n



n



∑

œ œ  @ @ @

@



w

b 

w



# n ∑ F cresc. ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~ Ÿ~~~~

œ œ 



œ 

# n # n ƒ

∑





∑

œ J

œ 

œœ w @ ƒ

@ # @ n  ƒ

#œ œ nœ œ ƒ #

n

œw  œ œœ  œ w

Solo

# & #

343 Fl.

Ob.

Cl. (La)

Fg.

Tbe. (Re)

I. Vln. II.

Vle.

Vc.

Cb.

Z dim.

? ## &

Vc. princ.

# # ww

dim.

b ww

p ∑dim. π

b ww

> w

? ## ##

dim.

∑

dim.

? ##  

 

? ##

dim.

∑

œŒ

>  œ Œ   p>

∑



œœ Œ 

∑

œŒ

∑

dim.

π π



b w@

 

> œ  œ Œ 



## œ  œ œ  œ w & @ @ @ @ @ @ p Z dim. B # # w@

∑

dim.

∑

p p

w p

p p

dim.

∑

> œ  œ Œ  p

∑

2 œ # œ œ œ# œ œ œ œ œ œ # œ œ &œ # œ œ œ 4

œ œ #œ œ œ w œ œ # œ œ œ œ  œ # œ œ œ# œ œ œ # œ œ

œ  œ œ  œ Solo w

Œ 

œœ Œ 

dim.

p Z dim. Ÿ~~~~~~~~~~~~~~~~~~~~~ ƒ



∑

 

Z dim.

∑

> œ  œ

> œ   œ Œ 

Z dim.

Œ 

œœ Œ 

œ œ œ œ ww &b

Cor. (Re)

Timp.

Œ 

div. pizz.

Œ 

∑

Œœ

∑

œ Œ 

∑

π π



pizz.

div. pizz.

œœ Œ 

∑

Œœ œ

∑

œœ Œ 

∑

Œœ pizz.

∑

œ Œ  π

∑

Œœ

∑

π π

pizz.

# & # œ- 

352 Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

œ .



# & # 

Œ Œ Œ Œ

jœ j

œ  œ œ œ. œ  p

œ œ

 

B ## 

œŒ Œ œ

? ## 

œŒ Œ œ

? ## 

œŒ Œ œ

œ œ œ œ œ. j œ

j œ #  œ œ  œ œ œ- œ œ œ œ . œ 

w w

. .

w w

w 



w w

div. arco

w w

div. arco

w w

arco

div.

 



 



π arco

#œ #œ

ª 362 Vc. princ.

jœ j

 œ œ œ. œ   œ cresc.

I. Vln. II.

Vle.

N # # . #  &  # .

. 

. . . .

.

B # #   . .

 #    . . . .

.

? # # .

.

. .  .

 .

.

. .  .

poco cresc.

# # . .  

poco cresc.

Vc.

poco cresc.

Cb.

œ œ œ.

j# œ j

? # # .

poco cresc.

. #  . #   # .  # .

. .

œ  -œ œ- œ- œ # œ œ œ . œj œ œ .  œ œ  œ œœœœ

dim.

w> w

w w

ww>

 n

F F

ww>

dim.

. # w>

F F 44

dim.

#w #w p p

p p

w p

w w

dim.

 n dim.

w w

∏

#  # 

 #

w # 

w # 

∏ ∏

372 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln.

Tutti

∑

œœ œ œ œœ # œœ.

œœ # œœ œœ œœ # œœ. ‰ Œ  J

J ‰Œ 

∑

? ##

∑

j >œ j œ  ‰ œ œ œ  œ œ œ œ. œ  œ. œ. œ.  œ œ œ . J

∑



∑

? ##  . # & # nn 

 

Vle.

B ## n w   ? ## ? ##

. .

a2 œ # œ œ # œ œJ. ‰ ‰ Œ n  œ. >œ . œ # œ œ # œ œ. ‰ œ # œ œ # œ Jœ œ œ # œ œ ## œœ  œ œ œ > # œ. . .

>  œ œ œ œ . œJ  J J

a2 . ‰ œ. œ. œ œ 

œ œ 

œw 

œ .

# div. & # n w 

Cb.

∑

II.

Vc.

Œ Tutti

œ œw  ∑

∑

.j œ œœ # œœ œœ # œœ # œœ ‰ Œ  J.

j  œœ œ œ  œj œ œj œ . œ  œ. . . >

 œ œ. œ. œ. 

> œ œ œ œ . œJ  J J

ƒ ƒ

∑

. œ # œ œ # œ Jœœ ‰

∑

J‰

j  œœ œ œ  œj œ œj œ . œ  œ. . . >

> œ œ œ œ . œJ  J J

∑

œ # œ œ # œ œ.

 œ œ. œ. œ. 

. œ # œ œ # œ œJ ‰

. >œ

n œw 

œ 

œw 

∑ ∑

‰Œ

#

œ œ # œ. œ. # œ.  >

∑ ∑

> œ œ œ # œ . Jœ 

j j œ # >œ œ œ . # œ  j

œ œ # œ. œ. # œ.  >

j j œ # >œ œ œ . # œ 

œ # œ œ # œ œJ. ‰ œ œ # œ. œ. # œ.  >

> œ # œ œ œ . # œJ  J J

œ # œ œ # œ œJ. ‰ œ œ # œ. œ. # œ.  >

j j# œ j 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 . œJ  J J

> œ œ œ n œ . Jœ 

> œ # œ œ œ . # œJ  J J

380 Fl.

Ob.

Cl. (La)

Fg.

# œ œ œ # œœ & # œ œ œ

. ? # # œ ‹ œ # œ # œ œœ ‰ Œ  œ ‹œ#œ#œ J π &

Tbe. (Re)

Vc. princ.

Vle.

Vc.

Cb.

w w



∑



∑

bœ bœ



∑

w œ Œ



∑

j‰ Œ  œœ œœ œœ # œœ # œœ.

∑

? ##

∑

# œ. œ œ œ # œ # J‰ & # ##

w w

œ œ œ œ # œœ. ‰ Œ  J

∑

Solo

Vln. II.

. # œœ I. J ‰Œ π

. I. # œœ ‰ Œ  J π a2 œ # œœ. ‰ Œ  œ œ # œ b & J

Cor. (Re)

Timp.

œœ œœ œœ # œœ ##



œ œ œ œ . œJ  J J

Solo

 œ >.dim. π

Œ 

# œœ # œœ. œ Œ  œ #œ J ‰ œ >.dim. π

B # # œ # œ # œ œ. j ‰  n œ n œ Œ  ‹œ > dim. π . > ? # # œ ‹ œ # œ # œ œJ ‰  n œ n w dim. π . > ? # # œ ‹ œ # œ # œ œJ ‰  n œ n w dim. π

œ

&œ

.

œ œ

∑

œ œ.

-œ n -œ -œ œ n œ 



Œ n œ π dolce

nœ œ œ œ œ œ œ œ œ œ œ œ œn œœ œœ œ bœ œœ œ œœ π 3

nw nw

# & #

∑

# & #

∑

388 Fl.

Ob.

Cl. (La)

? ## w

Fg.



Cor. (Re)

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln.

# & #

œ œ.

# & # œ n

-œ n -œ -œ œ n œ 



œ.

? œ #œ œ œ œ œ œ œ n -œ -œ -œ # œ # œ - - -œ -œ œ # œ -œ n œ -

œ œ. œ nœ J

#

œ 

nœ

II.

# & # nœ œ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œbœ œœ œ œ œ nœ œ œ œ œ œ œ œ œnœ œ œ œœ œ œ œ#œ œœ œœœ œœ œœ œ    

Vle.

B ## n œ œ œ œ œ œ œ n œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ     œ œ œ œ œ œ œ œ œ œ œ

Vc.

Cb.

? ## w ? ## w

n.

nœ



#

nœ



#

 

393 Fl.



œœ



œœ œ œ

œœ 



.

∑

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

? ## œ œ œ œ œ #œ œ œ nœ &

## w

Vln. II.

Vle.

Vc.

Cb.

  # 

B ##  #    ? ## w ? ## w

1 nœ œ œ œ #œ œ nœ œ œ œ œ # œ œ œ œ œ œ œ œ # œ1 œ œ n œ œ œ œ # œ œ œ œ œœ œœ 3

w

trem.

sempre trem.

w

sempre trem.

w

sempre

w

trem.

sempre



π π π π



n w

w

n w



w



œ #œ nœ œ œ œ œ œ œ œ œ œ œ > > > >

w

pizz.



w



# w

w Œ



## 

n

# & # n

∑

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

398 Fl.

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

I. Vln. II.

? ##

œ #œ #œ œ œœœ œ œ

# & #  nw

B # # w

Vc.

? ##  w ? ##

œ œ J

nœ œ œ # œ œ # œ œ œ œ

# & # w

Vle.

Cb.

œ œ





œ nœ .



#œ

œœ # œ œ n œ n œ œ œ n œ œ # œ œ œ œ œ œ œ œ œ nœ œ œ # œ œ 1

#

œ nœ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

w

n w

w

n w

w

n 



w



# 

w

n 





nœ

## œ



∑

## œ



∑

402 I. Fl.

Ob.

Cl. (La)

∑



cresc.





 



œ œ

cresc.

Bœ

? ##

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Fg.

Timp.

Vc. princ.

Vln. II.

Vle.

# & # #œ # œ.

Vc.

Cb.

# & # #œ .

B ##  ? ## ? ##

cresc.

molto cresc.

div.

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

0“

œ. arco

œ.

œ œ

œ œ œ œ

œ œ

œ œ.

 -

œ œ

-

œ.

-

nœ



# œ.

-

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ. œ

œ.

-



ten.

œ.

-



ten.

 -

#œ

-

#œ

# #

œ œ

 -

cresc.



cresc.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

œ - œ

& & ?

 

w w

  >

con impeto

∑

# & # œ Œ  ƒ Tutti

I. Vln. II.

Vle.

Vc.

Cb.

œ. œ  œ

# & # J‰ ƒ con impeto # # œ.  œ œ. & œ ‰ œ œ. J ƒ. con impeto j a2 œ b & œ ‰  œ #œ. J. ƒ con impeto a.2 B # œJ ‰  œ œ. # ƒ con impeto

406 Fl.

Tutti .

J ‰

œ œ œ œ œ œ œ œ

 

w w

œ.

  >

- œ

#œ. œ  œ #œ

Solo

j a2 œ ‰ - œ œ.

#œ. œ  œ

j‰ n œ. n - œ

#œ. nœ  œ

œ.

- œ

 

>  >

J ‰

∑

#œ Œ 

∑

Œ 

∑

#œ Œ 

∑

œŒ 

∑

Œ 

∑

#œ

#œ. œ  œ

>  >



Œ 

∑

Œ  F

# # œ. ‰  œ œ. œ  & œ  œ œ. œ  J ƒ con impeto

œ œ

œ‰ œ œ. - œ

# j & # œj œ œ œ œj œj œ œ œ œj œj œ œœœ ƒ con impeto j B # # œ. ‰ - œ # œ . œ  œ ƒ con impeto ? # # œ. ‰  œ œ J - œ #œ. ƒ con impeto ? # # œ. ‰  œ œ J - œ #œ. ƒ con impeto

œ œ

œ

œ œœœœ

poco dim

Solo

#œ. œ  œ #œ. œ  œ j

rit.

# œ Œ # œœ Œ # œœ Œ œœ Œ n œœ Œ œœ Œ œœ Œ œœ Œ #œ π (div.)

div.

œ œ œ œ œ œ # œœ

# œœ

œœ

n œœ

œœ

j n œ. ‰ # - œ

#œ. #œ  œ

#œ

j n œ. ‰ # - œ

#œ. #œ  œ

j n œ. ‰ # - œ

Œ #œ Œ #œ Œ œ Œ nœ Œ œ Œ œ Œ œ Œ #œ π

#œ. #œ  œ

Œ #œ Œ #œ Œ œ Œ nœ Œ œ Œ œ Œ œ Œ #œ π

a tempo

Fl.

Ob.

Cl. (La)

Fg.

  414 ## w & &

∏

# # I.w

  &b w ∏

I. ? ##   ∏

w .

ww w

.

œ œ .

w w

w œ

. œ  .

 n

 b

.

œ œ œ  

∏

œ œ .  . œ  

# w 

 # œ w  œ

œ . œj  œ. œ  J

n

 n 

 # n

   #

  

 

  



F F F



œ #œ œ nœ . œ

j œ .. œ  œ œ J

. .

œ. œ.

œ .# œ œ œœ

œ  œ J

œ œ

œ  œ 

œ . œ .

œ œ

œœ 

œœ w .

Cor. (Re)

∑

Tbe. (Re)

∑

Timp.

œ-  œ  . ? ##

non tranquillo

Vc. princ.

p e dolce

Vle.

Vc.

Cb.

œ œ-  œ  .

.

œ  #

& &

∑



B ##

∑



a tempo

∑



pizz. ? ## œ Œ œ Œ œ Œ n œ Œ œ Œ b œ Œ œ Œ Œ œ œ œ Œ œ œ Œ œ Œ π pizz. ? ## œ Œ œ Œ œ Œ n œ Œ œ Œ b œ Œ œ Œ Œ œ œ œ Œ œ œ Œ œ Œ π

œ œ- 

.

Vln. II.

œ  



Œ œ œ œ Œ ŒŒ œ œ œ F pizz.

pizz.

œ œ #œ

œ œ

ŒŒ

Œ nœ œ œ Œ œ œ Œ Œ œ F pizz.

> arco œ Œ œŒ w œŒœŒ

œŒœŒ

œ .

arco œ Œ >œ Œ w

.

œ Œ

Fl.

Ob.

Cl. (La)

Fg.

. œj  œ 424 # # œ . œJ  & j œ œ . # & # œ . œJ 

œ. b & œ.

œ  œ J

∑

? ## &

Vln.

Vc.

Cb.

w w

œ œ Œ

w œ #œ 

w w

œw œ œ œ w w

w w

œ Œ  œ

w w

œœ Œ 

w w

œ Œ œ

œœ œœ Œ  ∑

Vle.

œœ 

II.

œ  # œ  #

Tbe. (Re)

œ

Vc. princ.

œœ # œœ œ œ n ww

? ## œ 

Cor. (Re)

Timp.

œ- 

œœ

œ œ

? ##

∑

œ  œ œ œ œ œ œ œ-  œ œ . œ  J p

Œ

B ## œ œ Œ œ œ Œ  ? ##

∑

œœ Œœ œ Œ Œ

∑

œ .

 #

dim.

œ Œ

œŒ π œ

Œ

œŒ

œŒ π

pizz.

œŒ

œŒ 

Œ

Œ 

#œ

œŒ

œŒ 

œŒ

œŒ 

œŒ

œŒ 

pizz.

œ #œ œ œ œ  œ #w œ Œ Z nœ Z

Œ

œ Œ

Œ

œ œ

Œ Œ

Œ

#œ Œ 

œŒ

Œ

œ Œ

Œ

œŒ

œ 

œ- n  œ

Œ

arco

Œ

arco

Œ

arco

œŒ 

arco

.

œ .

.

œ  œ

   œ Œ

arco

œ œ-  œ  . œ   ? ##  . œ    .

435 Vc. princ.

Vln. II.

Vle.

Vc.

Cb.

B ## ? ##

œ œ œ œ œ œ w

 œ n œ nœ  œ  œ nœ œ # œ  nw

œ .

? ##

∑

.

 #w 

œ b  #   œ œ  œ  n

 b ∑

∑

œ œ-  f

 #

cresc. con molta passione



cresc.



cresc.



œ œ

.

∑

œ œ  œ #œ 

œ œ 

cresc.

œ œ œ  œ



œœ

œ 



œœ



œ 

œ œ œ  œ

œ œ. 3

œ  #œ. œ # œ. 3

œ œ  œ #œ  #œ

œ #œ 

∑

&œ

∑

# & # œ 

446 Vc. princ.

Vln. II.

Vle.

Vc.

Cb.

#œ #œ 

œ œ 

œ œ œ nœ #œ 

#œ #œ 

sempre cresc. e passionato

œ œ œ nœ #œ 

3 3 3          œ.     œ. œ.          œ.      œ. œ. œ. œ. œ. œ. œ. œ. #œ. #œ. nœ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. #œ. nœ. œ. #œ. œ. œ. 3

              œ. œ.                œ. œ. œ. œ. œ. œ. #œ. œ. nœ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 3

3 3 3 3 B # #  œ. œ. n œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ.

? ## # œ  ? ##

œ ∑

œ 

œ ∑

œ œ œ œ ∑

œ œ œ 

 ∑

œ ∑

œ 

œ ∑

œ œ œ œ ∑

. ∑

454 Fl.

Ob.

Cl. (La)

∑

œ Œ œ œJ œJ  .

∑

. . . b n œœ b œœ œœ œœ. n œ. Œ ‰ J ‰ J ‰ J ‰ J ‰ Jœ Œ J J F œœ. œœ. œœ. œ. œ. ∑  Œ ‰ J ‰ J ‰ J ‰# œ ‰ œ J J F I. . #œ j Œ œ œJ œJ  Œ n œœj ‰ œœj‰ œœ ‰ œœj‰ œj‰ . . . J . F . b œœ. b œœ. œœ. # œœ. n œœ. ∑  Œ J ‰ J ‰J ‰ J‰ J ‰ F

œ œ #œ œ 

œœ. # œœ. œ. œ. n œœ. œœ. nœ ‰ J ‰ J ‰ J ‰ Jœ ‰ J ‰ J ‰

j‰ j ‰ j ‰ j‰ œj ‰ œj‰ n œj ‰ # œœ. # œœ. n œœ. œœ. # œ. œ. # œ. n œœ. # # œœ. œœ. n œœ. J‰ J‰J ‰J‰

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Vc. princ.

I. Vln.

# & # œœ œ œ

œ œ œ œ #œ #œ œ œ œ œ œ œ

œ œ œ

œ œ

> b œ . œ. œ. œ. 

> œ. # œ. n œ. œ. n œ . œ . œ . œ.    >

œ. œ. œ. œ. >

    œ>. # œ. n œ. œ. >œ . n œ . # œ . œ .

# & # œ. œ. œ.  > œ.

    œ. œ. # œ. œ.     n œ . œ. œ.œ.œ. œ. œ. œ. >

Vle.

B # # # œ. œ. œ. œ. >

. œ. œ. œ. # œ. œ . œ . # œ. # œ. œ. œ. œ . œ >   

? ## 

œ œ œŒ 

Cb.

œ œ

#     & # œ . œ. œ.n œœ . n œœ . œ. œ. œ. œ . # œ . œ . # œ. œ. œ. œ.b œ . >  . . œ. œ. >

II.

Vc.

œ œ

œœ. ‰

œœ. # œœ. J ‰J‰

n œœ. n œœ. J‰J‰

∑

Timp.

‰J

. # œ. . . œœ. n œœ. # # œœ. œœ. œ n œ # œ œ ‰# œ ‰ J ‰# œ ‰ œ ‰ J ‰ J ‰ J ‰ J J J J

? ##

Fg.

œœ. # œœ. J

> ? ## # œ œ œ œ Œ œ

pizz.

œ # >œ œ œ # œ # œ œ œ œ œ œ œ œ Œ œ œœœ

> . œ .    .   # >œ . œ . # œ . œ . œ #œ. œ. #œ. œ #œ. œ.     >   

œ œ #œ œ #œ

œ #œ œ #œ œ #œ

œ œ #œ œ #œ

œ #œ œ #œ œ #œ

œœ. œœ. n œœ. n œ. b œ # & # ‰ J‰J ‰ J ‰ J

461 Fl.

Ob.

Cl. (La)

Fg.

# # ‰n œœ. ‰ œœ. ‰ # œœ. ‰ œœ. & J J J J

∑

j . . œ. & b n b œœ. ‰ œœ ‰ œœ ‰ Jœ ‰ w J J w

dim. .œ œœ. n œœ. n œ. b œ ? # # J ‰ J ‰ J ‰ Jœ ‰ w w dim.

∑

œœ œœœ œ w

∑

œœ œœœ œ

J JJ J

poco cresc.

Œ

∑

œœ Œ 

∑

œœ

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

# œ œ nœ œ & # # # b >œ .    œ. œ. œ. & 

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

œ #œ œ œ œ nœ œ œ œ œ œ œ œ #œ œ œ w

w

poco cresc.

w

trem.

w

poco cresc.

w

dim.

molto cresc.

œ Œ

∑

Œ 

∑

> B ## œ . œ . # œ . œ . n œ Œ     

∑

œ Œ

∑

œ Œ

∑

  n œ . œ. œ. œ . >

œ #œ œ ? ## œ œ #œ œ ? ## œ

trem.

∏ ∏

trem.

∏

poco cresc.

 œ œ bw

jœ j

ten.

 œ œ bw

jœ j

ten.

∏

jœ j

ten. poco cresc.

 œ œ bw

∏

ten. poco cresc.

 œ œ bw

Tutti

. . œ .. œ .. œ .. œ .. œ .. œ .. œ .. œ ..  œ œ œ œ . œ  # # œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ . œœ . œ œ œ œ œ œ œ œ J J J     &     a2

470 Fl.

3 3 π cresc. 3

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

# & #

∑

œ. œ. & b œœ .. œœ ..œ .œ . ? ##

 3 3 3 3 π cresc. Œ

∑

cresc.

œœ ..œœ ..œœ ..œœ .. œœ ..œœ ..œœ ..œœ .. a2 œ œ œ œ . œ  J         J J p 3

ZZZ Z Z

ww .... œœ U œ œ œ œ  œ œ œ  œœ R ZZZ Z Z

œ œ œ œ  œ .. œ Uw R

œ œœ œ 

œœœ   œ

∑

r U Œ œœ œœ œœ  œ .. œ w œ .. œ w ZZZ Z Z

cresc.



∑



j j  œ œ œ œ. œ  Z

3 .  . 3 .  .  .  .  .  . Œ  œœ .œœ .œœ .œœ . œœ .œœ .œœ .œœ . œœ p cresc. ƒ 3

ZZZ Z Z

 Œ œœ œœ œœ   ZZZ Z Z Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

∑

poco a poco cresc.

? œ œœœ

∑

Œ 

∑

œœœ B ## œ p cresc. ? ## ? ##

w p

cresc.

∑



œœœ  œ 

œœ œœ œœ

 

Œ

U w

œœœœ  

ZZZ Z Z

∑

œœ  œ œ œ œ . œ  œ œ œ œœ œ J J J

œ œ œ œ  œ .. œ Uw

œœ œœ  œ œ œ œ . œJ  œ œ œ œ J J

r U œ œœ œœ œœ  œ œ .. œ .. œ ww

molto cresc.



Tutti

Œ œ œœ œœ œ p molto cresc. div.

∑

div.

œ œœ œ 

∑

œ œœ œ 

# & # œ Œ  p &

œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. a2 œ œ œ œ . œJ  J J            

∑

œœœ

∑

œ œ œ œ  œ .. œ Uw

  

jœ j

 œ

œ œ. œ  Z

ZZZ Z Z

œœ œœ  œ .. œr Uw œ œ .. œ w œ ZZZ Z Z

j j j  œ œ œ œ. œ  ƒ Z Z Z

œœœœ  

ZZZ Z Z

 œ œ œ œ . œJ  J J

ZZZ Z Z

œœœœ  

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

SOURCES

CRITICAL REPORT

Cello Concerto in D-major, Op. 7

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, printing source B Printed score, first edition (E.W. Fritzsch) BPTS Printed parts, first edition (E.W. Fritzsch) SPT B Printed solo part, first edition (E.W. Fritzsch) PSC B Printed piano score, first edition (E.W. Fritzsch) C Printed score (C.F.W. Siegel) CPTS Printed parts (C.F.W. Siegel) CSPT Printed solopart (C.F.W. Siegel) CPSC Printed piano score (C.F.W. Siegel)

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, printing source N-Onm, Mus.ms. 550 Title page: Seinem / Freunde / Emil Hegar. / Concert / für / Violoncell und Orchester / von / Johan S: Svendsen / Op. 7. / E.W.F. 175 L / Leipzig November / 1870. In the protocol of the library: Kjøp fra Leo Liepmannssohn, Berlin. ½-29 (Bought from Leo Liepmannssohn, Berlin. ½-29). 27x35 cm. 45 pages. Pagination: 1–45. Paper type: Hand-ruled music paper, 16 staves Additions in blue crayon and pencil. Below the score, a piano score has been added, probably not in Johan Svendsen’s hand. It may have been notated later than the score itself. This piano score is very similar to the one published under the heading “bearbeitet von Witte” [arranged by Witte]. Since many sections have been modified and revised, the piano score is not a copy.

Source B Printed score, first edition: E.W. Fritzsch, Leipzig July 1871 Title page: EMIL HEGAR / gewidmet / CONCERT / (D-dur) / für / Violincell und Orchester / componirt / von / JOHAN S. SVENDSEN. / OP. 7. Plate no. E.W.F. 175. L

Source BPTS Printed parts, first edition: E.W. Fritzsch, Leipzig July 1871 Title page: Concert / (D-dur) / für / Violincell und Orchester Plate no. E.W.F. 176. L

Printed arrangements by others

Source BSPT Printed solo part, first edition: E.W. Fritzsch, Leipzig July 1871 Title page: Concert / (D-dur) / für / Violincell und Orchester Plate no. E.W.F. 176. L 177. L

Printed viola part, arranged by August Gentz Title page: Concert / (D-dur) / für / Violincell und Orchester / für Viola übertragen von August Gentz Plate no. 14272 Copyright by C.F.W. Siegel’s Musikalienhandlung (R. Linnemann), Leipzig

Source BPSC Printed piano score, first edition: E.W. Fritzsch, Leipzig July 1871 Arranged by: G.H. Witte Title page: EMIL HEGAR / gewidmet / CONCERT / (D-dur) / für / Violincell und Orchester / componirt / von / JOHAN S. SVENDSEN. / OP. 7. / Clavierauszug, bearbeitet von G.H. Witte. Plate no. E.W.F. 177 L

EVALUATION OF THE SOURCES Source A, the autograph score, is written in ink but contains many additions and emendations in blue crayon. There are also some minor emendations and additions in red crayon and in pencil. On pages 42–44 of the source, 22 bars have been crossed out. This revision must have been made at a fairly late stage, perhaps even after the first performance, since the crossed-out bars included emendations and additions in all three writing tools. Blue crayon was used for many different types of revisions, and their number is quite extensive. Blue crayon was also used to map out the disposition of pages for the printed edition, showing that this score clearly provided a printing source. Johan Svendsen commonly used blue crayon in revisions of other works, and the blue handwriting in this manuscript is largely similar to the composer’s own. The page disposition and a number of other blue markings could nonetheless have been made by someone else, such as the printer, using a different blue crayon. Red crayon was only used for six additions, quite probably in JS’s handwriting. All of these are included in the Fritzsch edition. Pencil was used more frequently than red crayon, and most of these additions, too, were probably made by JS himself. In some instances, pencil was also used to map out the page disposition, most likely by someone other than JS. The two editions by Fritzsch and Siegel (Sources B and C) are identical. After having taken over the Fritzsch publishing house, Siegel used the Fritzsch plates in the printing process. The printed score of the first edition is clearly based on the autograph score. Some elements found in the manuscript were not included in the printed score, but these are few. Many additions of a creative character were made to the printed score. Thus, JS probably had some part in the process of preparing the printed score. The two editions of the printed instrumental parts (Sources BPTS and CPTS are also similar, and seem to be based on the printed score. The parts, too, include some further additions. These are usually based on common sense, and mainly consist of dynamics or articulations added by analogy. Some of these additions seem to have been taken from the piano score notated below the orchestral score. The solo part (Source BSPT and CSPT is not based on the printed score alone. Some fingerings in the solo part derive

Source C Printed score, C.F.W. Siegel’s Musikalienhandlung (R. Linnemann), Leipzig 1903 Reprint of Fritzsch score, E.W.F. 175. L Title page: EMIL HEGAR / gewidmet / CONCERT / (D-dur) / für / Violincell und Orchester / componirt / von / JOHAN S. SVENDSEN. / OP. 7. Plate no. 13431

Source CPTS Printed parts, C.F.W. Siegel’s Musikalienhandlung (R. Linnemann), Leipzig 1903 Reprint of Fritzsch parts E.W.F. 176. L Title page: Concert / (D-dur) / für / Violincell und Orchester Plate no. 13433

Source CSPT Printed solo part, C.F.W. Siegel’s Musikalienhandlung (R. Linnemann), Leipzig 1903 Reprint of Fritzsch part, E.W.F. 176. L 177. L Title page: Concert / (D-dur) / für / Violincell und Orchester Plate no. 13432

Source CPSC Piano score, C.F.W. Siegel’s Musikalienhandlung (R. Linnemann), Leipzig 1903 Arranged by: G.H. Witte Reprint of Fritzsch edition, E.W.F. 177. L Title page: Concert / (D-dur) / für / Violincell und Orchester. Clavierauszug, bearbeitet von G.H. Witte Plate no. 13434

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

from the manuscript score and are missing in the printed score. The solo part also includes many fingerings and details not found elsewhere (but usually in the solo part of the piano score as well). Many of these are creative in nature, such as the addition of the term “spicc.”. JS and/or the soloist, Hegar, were probably involved in working out the solo part. Moreover, there is the possibility of a missing source, such as a manuscript solo part. The piano score (Source BPSC) was published under the heading ‘bearbeitet von G.H. Witte’. It is very similar to the piano score written in ink at the bottom of each page of the manuscript score. This handwritten piano score was probably not prepared by JS, and its changes and revisions in ink suggest that it was especially arranged rather than copied. The solo staff of the piano score contains most of the details included in the printed solo part. It is most likely that this staff was based on the printed solo part. As our principal source for the score, we have chosen the Siegel score (Source C), since JS probably was involved in its preparation. Our principal source for the solo part is Source CSPT, due to a number of creative variants not found in the score but very possibly influenced by JS (or, for example, the soloist Emil Hegar). Since we know so little about the printing process, the autograph score has also been an extremely valuable source.

Primary source, score: C Primary source, solo part: CSPT

Cello Concerto in D major, Op. 7

Bar

Instr.

Comment

Timp.

trillextention added as in A

Cl. II

CPTS: f

Fg. I

CPTS: f

Vle.

slur added by analogy with the other strings

Timp.

note 2: trillextention added as in A, CPTS

Timp.

trillextention added as in A

str.

CPTS: notes 2–4: stacc.

str.

CPTS: notes 2–4: stacc.

Vln. I

CPTS: espress.

82, 83, 84

Vln. I

CPTS:

107

Vln. I

CPTS: note 2: cresc. starts here and not in the next bar

108

Vle.

A: notes 1–6: slur

109, 111

Vln. I, Vle., Vc., Cb., Ob. I, Cl., Fg.

CPTS: note 1:

111

Ob. II

ten. added by analogy with Ob. I

111

Ob. II

CPTS: note 1:

139

Vc., Cb.

note 2: cautionary accidental added as in CPTS

162–163

Cl.

uncomplete tie completed as in A, CPTS

167

Fl. II, Ob.II, Cl. II, Fg. II, Cor. II

> added by analogy with the other winds

168

Fg. I

CPTS: note 2: .

169

Vln. II, Vle. CPTS: notes 2–14: stacc.

171

Vle. upper part

CPTS: note 6: cautionary accidental

174

Ob.

A: last note:  (bar overcompleted)

176

Ob. I

note 2: cautionary accidental added as in CPTS

179

Vln. I

CPTS: notated as

 



183

Vle. lower part

cautionary accidental added

184

Vle.

cautionary accidental added

189

Cor. I, str.

CPTS: notated as

191

Fg. I

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



342

Timp.

note 2: trilllextention added as in A

376

str.

CPTS: notes 2–4: stacc.

380

str.

CPTS: notes 2–4: stacc.

387,388, 389

Vln. I

CPTS:

392

Vc., Cb.

note 1: cautionary accidental added as in CPTS

393– 402

Cl. I

A: part written one octave below flute has been crossed out

Cb.

CPTS: all notes have 0 (open string)

192

Vln. I/II, Vle.

CPTS: notes 2–6: stacc.

201

Vle.

A: ppp missing

213

Vln. I

A: note 3:  (g’); notes 1–3: slur

395– 398

214

Fg. I

note 1: cautionary accidental added as in CPTS

400

Vle.

CPTS: cautionary accidental

215

Vln. II lower part

CPTS: beaming:      

408

Fl. I

note 1: stacc. added by analogy with Fl. II and as in CPTS

220–221 Fg. II

CPTS: slur from b. 220 (note 4) to b. 221 (note 1)

412

str.

CPTS: poco rit.

228

Fl.

note 1: cautionary accidental added as in CPTS

425

Ob. I

CPTS: cautionary accidental

229

Fl.

note 2: cautionary accidental added as in CPTS

448

Vln. II

CPTS: note 2: cautionary accidental

229

Ob. I, Cl. I

note 2: cautionary accidental added as in CPTS

458

Fl. I

note 4: cautionary accidental added

234

Vln. II

ten. added as in A and by analogy with Vle.

472

Cor.

CPTS: notes 1–12: stacc.

238

Cor. II

CPTS: cautionary accidental

476

Timp.

trill extention added as in A

239

Ob. I

cautionary accidental added as in CPTS

240

Fl. I

CPTS: cautionary accidental

245

Ob. I

CPTS: note 2: cautionary accidental

246

Vln. I lower CPTS: note 2: written as a part

247

Vle.

note 1: cautionary accidental added as in CPTS

276

Vln. I

CPTS: note 2: pp espress

277

Vln. II, Vle., Vc.

CPTS: pp

282

Cor. I/II

a 2 added as in CPTS

284

Vln. II

CPTS: notes 9–12: stacc.

298

Vln. I

CPTS: lower part note 2: cautionary accidental

300

Cor. II

pp added as in CPTS

302

Vln. I upper part

cautionary accidental added as in CPTS

302

Vln. II lower part

cautionary accidental added as in CPTS

321-322

Vln. II

A: slur missing

341

Cl. II

A: note 3: maybe notated as a’’

342

Tba. II

> added as in CPTS and by analogy with Tba. I

269-270 A, B, C: II (2a corda) missing

SOLO PART

270

A, B, C, CPSC: fingering missing

270-272

A, B, C: I (1a corda) missing

A, B, C: p missing

277

missing

A: f missing

279

missing

A, B, C: ff missing

286

A: slur missing

B, C: mf

290

A: slur missing

note 4: cautionary accidental added

293

A: dolce missing

A, B, C: note 10: cautionary accidental missing

293

A, B, C, CPSC: note 1: ten. missing

A, B, C: note 4: cautionary accidental missing

295

A, B, C, CPSC: note 1: ten. missing

100

A, B, C, CPSC: all stacc. are ten.

297

A, B, C, CPSC: note 1: ten. missing

102

A, B, C: notes 5, 9, 13: > missing

301

A, B, C, CPSC: note 1: ten. missing

117

A: p missing

303

A, B, C, CPSC: note 1: ten. missing

126

A, B, C:

309

A: mf missing

127

A, B, C: f missing

A, B, C:

128

A, B, C: dim.

324– 325

153

A, B, C: mf missing

345

A, B, C: f missing

154

last note changed to  according to the composer’s harmonic style

351

note 1: 4 (fingering) added as in A; B, C, CPSC: note 5: 2 (fingering) missing

161

A, B, C, CPSC: spicc. missing

352– 353

A, B, C:

163

A, B, C: p

354

A, B, C: p missing

164

A, B, C:

360

A: note 4: II added in blue crayon

201

A, B, C, CPSC: note 1: ten. missing

373

A: stacc. missing

203

A, B, C, CPSC: note 1: ten. missing

382

note 3: cautionary accidental removed

205

A, B, C, CPSC: note 1: ten. missing

395

note 1: 1 (fingering) added as in A

209

A, B, C, CPSC: note 1: ten. missing

396

B, C, CPSC: note 3: 1 (fingering) missing

211

A, B, C, CPSC: note 1: ten. missing

397

B, C, CPSC: note 1: 4 (fingering) missing

237

note 1: cautionary accidental removed

397

A, B, C: notes 1, 4, 7, 10: > missing

238

note 1: cautionary accidental removed

399

A, B, C: note 11: 1 (fingering) missing

244

B, C, CPSC: note 11: fingering: 0 (open string) missing

402

B, C, CPSC: note 4: fingering 1 missing

247

note 1: 2 (fingering) added as in A; B, C, CPSC: note 4: 0 (open string) missing

403

A, B, C, CPSC: notes 3, 9: thumb sign (fingering) missing

252

A, B, C: notes 3–6: ten. missing

404

A: molto cresc. missing

253

A, B, C, CPSC: note 1: 4 (fingering); note 5: 3 (fingering) missing

414

A, B, C, CPSC: e dolce missing

414

A, B, C, CPSC: (non tranquillo) missing

256

A, B, C, CPSC: note 1: 4 (fingering) missing

414

CPSC: dolce

260

A, B, C, CPSC: note 1: cautionary accidental missing

420

A: slur from note 2 to appogiatura missing

268

A, B, C, CPSC: dim.

422

A, B, C: ff

A, B, C: f missing

A, B, C:

missing

423

A, B, C:

424

A, B, C: f missing

442

A: cresc. molto passione

461

A: note 3: ď&#x20AC;¤ missing

missing

469-470 A: tie missing (incomplete) 474

A: ff missing

ADDENDA

SECTION FROM SOURCE A CROSSED OUT AND OMITTED IN LATER SOURCES (The scores in the addenda do not include editorial emendations based on analogy or variants from other sources, and follow some of the notational principles used by Svendsen in the source)

Cello Concerto in D major, Op. 7 APPENDIX

b. 441â&#x20AC;&#x201C;66

(22 additional bars, originally placed after bar 441 in source A, but later crossed out).

Appendix [22 additional bars, originally placed after bar 444 in source A, but later crossed out] 442 Fl.

Ob.

Cl. (La)

Fg.

∑

# & # c

∑

&b c

∑

? ## c

∑

445a

Tutti

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

? ## c &

œ-  f

c 

# & # c 

B ## c 

? ## c

œ 

#œ 

œ .

∑

cresc. con molta passione



œ œ



œ 



cresc.



œ 



cresc.



œ œ



œ 



cresc.

∑

#œ 

∑

œ 

∑

œ œ #œ œ œ œ œ œ œ Tutti

cresc.

#œ  ∑

œ.  # œ œ >œ >œ >œ œ œ œ Z

n œ. #  œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

.



cresc.

? ## c œ  F

œ 

œ. 

œ œ >œœ >œœ >œœ œ œ >œ >œ >œ

ƒ Z .  # œ œ >œ >œ >œ œ # œ œ œ #œ œ œ œ œ œ ƒ Z Z f cresc. f

cresc.

∑

# ww

# # # n ww

# ww

œœ

# ww &b ƒ

œœ

450a Fl.

Ob.

Cl. (La)

Fg.

Cor. (Re)

Tbe. (Re)

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

Solo

& &

? ## & &



n > ƒ

# ww ƒ

# b ww ƒ

? ? ##

# # # >œ Œ & # # >œ Œ & #

> B ## # œ Œ ? ## ? ##



cresc.

n ww

∑

>œ

ww ww

∑

œ w

œ # nœ n. >

cresc.

∑

œ w

n

œ # nœ n. > >

n

œ # nœ n. > >

n

œ # nœ n. >

ww p

ten. cresc.

œ #w

ten. cresc.

ten.

œ w

cresc.

œ ten. w

cresc.



œœ Œ



poco rit.

∑

Œ 

∑

Œ 

∑

œœ Œ 

∑

œœ Œ 

∑

  

f cresc. 

œ # nœ n. > >

n

Œ 

œœ

œ. Œ 

œ w

Œ 

Ÿ~~~~~~~~

œ # nœ n.

n

œœ

- œ œ œ- - œ- œ- œ œ œ œ œ- œœ 1 2 1 œ œ œ œ œ- œ œœ œ & œ œ œ b œ- œ # œ œ œ œ # œ œ -

Solo

œ. Œ 





œ Œ



div.

œ Œ



div.

œ Œ



œ Œ 

œ Œ



œ Œ 

œœ Œ  .



pizz.

Œ 



pizz.

œ.



œ. Œ 



œ Œ  œ





poco rit.

œ. Œ 



div.

pizz.

p p p

∑

pizz.

œ Œ  œ œœ Œ 

458a Fl.

Ob.

Cl. (La)

Fg.

R tranquillo

∑



∑

j ‰ Œ



∑

? # # œj ‰ Œ œ



∑



∑

# j & # œœ ‰ Œ &b

œœ

œœ ‰ Œ

Cor. (Re)

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

# œ œœ œœ œ œœ œœ œ œ œ #œ bœ nœ & # œ œ œ nœ œ œ œ œ bœ œ nœ œ œ œ #œ Nœ œ #œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ

R tranquillo œ œ œ œ # # œœ œ ‰ œ œ œ n œ œ ‰ ‰ ‰ b ‰ ‰ œ #œ & J J J J J J π

œœ b œœ œœ # # œœ ‰ ‰ ‰ J J & J J ‰ π œ œœ B # # Jœ ‰ J ‰ π

œ œ J ‰ Jœ ‰

? ## œ ‰ Œ J π

bœ œ ? ## J ‰ J ‰ J ‰ J ‰ π

œ ‰

n œœ J

‰ œJ ‰ œœ J

œœ ‰ œœ ‰ œ œ J J J

nœ J

‰ n œœ

‰

‰ b œœ J

‰

‰ œœ J

œ J

bœ ‰ J

œ ‰ Œ

‰ Œ

‰ J ‰

œ bœ œœ œ ‰ œ ‰ œœ ‰ ‰ J J J J

œœ ‰ œœ ‰ œœ ‰ œœ ‰ J J J J

‰

œœ ‰ œœ ‰ œœ ‰ œœ ‰ J J J J

‰

œ ‰ n œJ ‰ b Jœ ‰ œ ‰ J œ ‰ Œ J

œ ‰ Œ J

# & #

∑

# & #

∑

&b 

? ##

∑

Cor. (Re)

Tbe. (Re)

461a Fl.

Ob.

Cl. (La)

Fg.

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ

 

œ œ

 

∑

œ nœ œ œ œ œ œ œ œ œ #œ œ œ œ #œ bœ

œ # # n œœ œ ‰ ‰ & J J

œ ‰ b œœ ‰ œ J J

œœ n # œœ # # œœ ‰ & J J ‰ J B # # œœJ ‰ œœJ ‰ # Jœœ

‰ # Jœœ ‰

‰ œœ ‰ J

? # # œJ ‰ œ ‰ J

bœ œ J ‰ J ‰

? ## œ ‰ Œ J



œ œ

œ #œ œ œ œ œ œ œ nœ bœ œ œ œ œ œ nœ œ #œ œ œ œ œ œ œ nœ bœ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ ‰ œJ ‰ œJ ‰ J

œ œ œ œ œ ‰ Jœ ‰ œJ ‰ œJ ‰ J

œœ # œœ n œœ œ J ‰ J ‰ J ‰ œJ ‰

œœ ‰ œœ ‰ b œœ ‰ œœ ‰ J J J J

œ ‰ œJ ‰ b œJ ‰ œ ‰ J J œ ‰ Œ J

œ ‰ œ ‰ J J

œœ ‰ œœ ‰ b œœ ‰ œœ ‰ J J J J

J ‰ Jœ ‰ b œJ ‰ œJ ‰

J ‰ Œ

œ ‰ œ ‰ J J

# & #

464a Fl.

Ob.

Cl. (La)

∑

œ œ

n

∑

œ œ

∑

œ œ

∑

n

∑

Cor. (Re)

∑

Tbe. (Re)

∑

Timp.

Vc. princ.

I. Vln. II.

Vle.

Vc.

Cb.

? ##

> œ œ

? ##

Fg.



> œ œ

. œ. œ œ. . n œ n œ b œ. œ. œ œ œ. œ. . . b œ. . . . . . . . . . . . . œ œ . . . # œ œ œ œ n œ œ œ b œ œ œ œ œ œ œ œ œ. œ œ . . . . . œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j

j œ œj œ œ # œ œ œ œ & # œJ ‰ J ‰ œJ ‰ J ‰

œ œœ

‰ Œ

Œ

‰ Œ

œœœœ ‰ Œ

Œ

œ J

‰ Œ

# # œJœ ‰ œœ ‰ œœJ ‰ œœ ‰ œœJ J J & j

œœ œ œœ B # # œœ ‰ Jœœ ‰ œœ ‰ J J

œœœ J ‰

? # # Jœ ‰ œ ‰ œJ ‰ œ ‰ J J ? # # Jœ ‰ œ ‰ œJ ‰ œ ‰ J J

œ œ ‰

arco

J π arco bœ ‰ J π bœ ‰ J π

arco

nœ ‰ J π

arco

nœ ‰ J

b b

 



n



n

b

n

bœ J

‰ Œ

nœ ‰ Œ J