JOHAN S. SVENDSEN: Romeo og Julie, op. 18 by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Romeo og Julie, op. 18 JSV 68

Romeo and Juliet, Op. 18

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/6A

N.M.O. 14811A

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle English translation and language consultant: Thilo Reinhard Norwegian language consultant: Gunnhild Wiggen Sponsored by: Kulturrådet (Arts Council of Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14811A /ISMN 979-0-065-16740-4) For sale Parts (N.M.O. 14811B /ISMN 979-0-065-16741-1) For hire © 2022 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

“ROMEO UND JULIA” OP. 18 Forkortelser Kritisk rapport Addenda: Første versjon (1876)

General preface Preface Facsimiles Scoring I V XIII XXVII

54 55 61

“ROMEO UND JULIA” OP. 18 Abbreviations Critical report Addenda: First version (1876)

I V XIII XXVII

54 55 61

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 never appeared in print and only survive in manuscript. A new complete edition of Johan Svendsen’s music has therefore been long anticipated, and the present edition, part of the Johan Svendsen’s Works project, wishes to meet this demand. Johan Svendsen’s Works is a subproject under the umbrella of the Norwegian Musical Heritage project and represents a collaboration between the University of Oslo, the Norwegian Academy of Music and the National Library of Norway. The project was launched in 2011, one hundred years after the composer’s death. In preparing these editions, many new sources of Svendsen’s music were uncovered. Manuscripts of entirely unknown works have surfaced among the archives, and new biographical knowledge has come to light as well. The result is a richer picture of Svendsen himself, as well as the musical life of his time. This new edition of Svendsen’s collected works not only provides performance material that greatly improves the basis for new interpretations of well-known works, but also offers the opportunity to become familiar with pieces that have not been played since the composer’s lifetime. Alongside Svendsen’s output of chamber music, symphonies, symphonic poems and concertos—in itself an impressive corpus in the great nineteenth-century European tradition—we find other, lesser-known works, including the unpublished dances and orchestra marches written for the mid-century concertgoers of Christiania (Oslo), the celebratory cantatas and marches commissioned for public events in both Norway and Denmark, and Svendsen’s masterful orchestrations of iconic pieces from the international Romantic repertoire

GENERELT FORORD

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

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

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

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

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

GENERAL EDITORIAL PRINCIPLES Johan Svendsen’s Works is based on a critical examination of all the available sources: music manuscripts, early printed editions and other sources relevant to a comprehensive understanding of each individual work and its musical notation, such as letters and diary entries. Throughout JSW, one of our key editorial principles has been to realize the composer’s last documented intentions while at the same time demonstrating the diversity of the source material. Each edition is therefore accompanied by a description of all the available the sources, including a review of the relationship between them. A comprehensive analysis of Svendsen’s style of musical notation has also informed the editing process. Articulation and dynamics, playing instructions and performance markings have been standardized across analogous passages except where the composer seemed to intend those passages to differ. For each work, a single primary source was chosen, i.e. the source believed to be closest to the composer’s final intentions. This source formed the starting point for the editing process. For works published during the composer’s lifetime, the primary source is generally the printed edition, but since Svendsen may not always have read the publisher’s proofs all that carefully, the autograph manuscripts often contain variants of particular interest. Deviations from the primary source as well as variants found in other sources are documented and discussed measure by measure at the end of the edition. As a rule, the editors do not discuss primary source elements missing in other sources (so-called negative variants). Editorial additions or revisions are not marked as such in the score.

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

The following general editorial choices are not included in the critical comments for each individual work: •

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

Typography, score layout, and instrument names have largely been standardized in keeping with modern practice. Where two notes share a stem, slurs, articulation markings and dynamics apply to both parts. The notation of slurs and ties in combination has been modernized. Markings such as ‘I.’, ‘II.’, and ‘a 2’ are sometimes editorial, but always comply with the general distribution of parts in the primary source, unless otherwise indicated in the critical comments. Clefs and rehearsal letters are generally reproduced as they appear in the primary source. Where rehearsal letters are missing in the primary source, they have been added in the new edition. Svendsen’s cautionary accidentals have been preserved. In a few cases, such accidentals have been added for the sake of convenience (specified in the critical comments). Svendsen nearly always marked grace notes with a slash through the note stem and a slur to the main note. In cases where such slurs and slashes are lacking in the primary source, they have been added in the new edition. Svendsen frequently used slanted strokes to indicate the repetition of measures or musical patterns. Such passages have been notated in full in the new edition. Measured tremolos consisting of no more than two or three notes have been written out in full, and those consisting of more than three notes have also been written out in short passages of one to three measures. In longer passages, measured tremolos of more than three notes have usually been retained. In longer triplet passages, the composer typically notated the triplet number above the first group of triplets only. Svendsen editions published by E.W. Fritzsch generally indicated numerals above the first two groups of triplets. The new edition includes numerals above all the triplet groups in the first measure of a given passage. Dotted lines indicating the continuation of a crescendo or diminuendo in the primary source have been retained. Moreover, such lines have occasionally been added by analogy, especially in passages lasting several measures, as long as the end point of the dynamic change has also been marked in the source. Svendsen employed several spellings of terms such as div., cresc. and rit. The spelling of these and similar terms has been standardized in the new edition.

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

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

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

SERIES III: Works for String Orchestra

SERIE II: Verker for soloinstrument og orkester

SERIES IV: Chamber Music

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

SERIE III: Verker for strykeorkester

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

SERIE IV: Kammermusikk

SERIES V: Piano Works

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

1. Cantatas and Choral Works 2. Songs

SERIE V: Klaververker

SERIES VII: Ballet

SERIES VI: Vocal Works

Spring Is Coming, Op. 33

SERIE VI: Vokalverker

SERIES VIII: Sketches and Varia

1. Kantater og korverker 2. Sanger

SERIE VII: Ballett Foraaret kommer, op. 33

SERIE VIII: Skisser og varia

PREFACE

ohan Svendsen (1840–1911) composed Romeo and Juliet, Op. 18, over a two-year period in Christiania12 (Oslo) between 1874 and 1876. After the premiere on 14 October 1876 in the large hall of the Old Masonic Lodge he revised the work extensively before Breitkopf & Härtel printed it in spring of 1880. The manuscript of the first version, subtitled ‘symphonische Einleitung zu Shakespeare’s Drama’ is kept at the Royal Danish Library in Copenhagen. It is signed ‘Hegdehaugen, Christiania 27th September 1876’, only a few weeks before the premiere. The subtitle of the final version is ‘Phantasie für Orchester’, perhaps to mitigate the programmatic reference to Shakespeare’s drama. Many contemporary as well as later critics have discussed whether the work ought to be considered programme music, and if so, how successfully it accomplishes that end. The earliest sketches for Romeo and Juliet can be found in a sketchbook13 kept at the Royal Danish Library in Copenhagen. In his doctoral thesis Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises,14 Morten Christophersen dates the sketchbook to 1874 and shows how these early sketches may be associated with the Prélude, JSV 95, the Symphony No. 2 in B-flat major, Op. 15, and perhaps even a possible attempt at a symphony in E major or minor. Presumably, Svendsen was not certain of where and how to use many of the ideas in his sketchbooks. About the same time as Svendsen reworked Romeo and Juliet, he also revised Zorahayda, Op. 11. Christophersen has shown that Svendsen took thirteen bars from the end of the first version of Zorahayda and moved them to Romeo and Juliet in transposed form (bb. 74–86 in Romeo and Juliet ). Svendsen’s reworking of Romeo and Juliet was so extensive that we are also including an edited score of the first version at the end of this edition. On pages 339–348 of his thesis, Christophersen discusses numerous differences between the first and the final version, concluding that the revisions lend the composition ‘a significant expansion of its emotional power’, and that ‘in summary the musical content of these two works is profoundly distinguished in the final version.’15 At the premiere, Romeo and Juliet was upstaged by the Second Symphony in B-flat major, which had its first performance on the same occasion. This was pointed out by the critic for the Norwegian daily Morgenbladet, who perceived the programmatic aspects of Romeo and Juliet to be of a rather general nature.

FORORD

ohan Svendsen (1840–1911) komponerte Romeo og Julie, op. 18 over en toårsperiode i Christiania1 (Oslo), fra 1874 til 1876. Etter førstefremføringen i Logens store Sal 14. oktober 1876 gav han verket en omfattende omarbeiding frem til Breitkopf & Härtel trykket det våren 1880. Manuskriptet til den første versjonen er oppbevart ved Det Kongelige Bibliotek i København. Det er signert «Hegdehaugen ved Christiania 27de september 1876», altså kun noen uker før førstefremføringen, og har undertittelen «symphonische Einleitung zu Shakespeare’s Drama». I den endelige versjonen er undertittelen «Phantasie für Orchester». Det kan se ut som om Svendsen med denne justeringen ville dempe den kon krete programmusikalske tilknytningen til Shakespeares drama. Mange kritikere, både i Svendsens samtid og senere, har diskutert om verket er å regne som programmusikk, og hvor godt det i så fall fungerer som det. De eldste skissene til Romeo og Julie, op. 18 finnes i en skissebok2 ved Det Kongelige Bibliotek i København og er tidfestet til 1874 av Morten Christophersen i doktoravhandlingen Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises.3 Christophersen viser hvordan disse tidlige skissene også kan sees i sammenheng med både Prélude, JSV 95, Symfoni nr. 2 i B-dur, op. 15 og kanskje også et mulig forsøk på en symfoni i E-dur eller i e-moll. Svendsen var sannsynligvis ikke sikker på hvor og hvordan han skulle bruke mange av ideene i skissebøkene. Omtrent samtidig med at Svendsen omarbeidet Romeo og Julie, skjedde det samme med verket Zorahayda, op. 11. Christophersen har påvist at tretten takter fra slutten av den første versjonen av Zorahayda ble flyttet til Romeo og Julie i transponert form (taktene 74–86 i Romeo og Julie). Omarbeidingen av Romeo og Julie, op. 18 var så omfattende at vi også gjengir et edert partitur av den første versjonen bakerst i dette heftet. Christophersen har på sidene 339– 348 i avhandlingen sin gjennomgått mange av forskjellene mellom den første og siste versjonen. Han konkluderer med at revisjonene gav komposisjonen «a significant expansion of its emotional power», og at «in summary the musical content of these two works is profoundly distinguished in the final version».4 Ved premieren havnet Romeo og Julie i skyggen av Symfoni nr. 2 i B-dur, op. 15, som ble urfremført samtidig. Kritikeren

Svendsen’s other new work, a symphonic prelude to ‘Romeo and Juliet’, did not seem to bear evidence of the same artistic idiosyncrasy as his symphony, even if the introduction with its longingly coloured brush strokes did allow us to sense a connection with the chosen material. On the whole, we believe that in this composition he has not depicted individual characters, but that by means of the constantly growing and receding crescendos and the vibrant and colourful orchestration he has portrayed the deep and glowing love that forms the basis for the shakspearian drama.

i Morgenbladet pekte på dette og oppfattet det programmusikalske i Romeo og Julie som ganske generelt. Svendsens andet nye Arbeide, symfonisk Forspil til «Romeo og Julie», forekom os ikke at bære det Præg af hans Kunstnereiendommelighed som Symfonien, ihvorvel Introduktionen med sin længselsfuldt malende Farve, dog lod os ane en Tilslutning til det valgte Stof. Vi tro idetheletaget, at han i denne Komposition ikke har tegnet enkelte Karakterer, men at han, ved de stadig op og tilbagegaaende Crescendoer, og ved den livfulde og farverige Instrumentation har skildret den dybe og glødende Kjærlighed, der danner Grundlaget for det shakpearske [sic!] Drama.

MORGENBLADET, 19 OCTOBER 1876.

The viewpoints of the critic for Ny Illustreret Tidende may have prompted Svendsen to remove Shakespeare’s name from the subtitle: Of these two [works], the symphony is unquestionably to be preferred. [...] We would rather have heard and judged ‘Romeo and Juliet’ without the reference in the title, since in and of itself the work has merits and beauty we indeed are willing to acknowledge, but we were missing the sultry eroticism that the plain reference to Shakespeare’s romantic drama leads one to expect. Svendsen’s gift for orchestration celebrated triumphs in both works, all the more as it did not seek to usurp them at the expense of orchestration as a means to an end.

MORGENBLADET, 19. OKTOBER 1876.

Synspunktene fra kritikeren i Ny Illustrerert Tidende kan ha vært respons som ledet Svendsen til å fjerne Shakespeares navn fra undertittelen: Af disse tvende maa man ubetinget give Symfonien Fortrinnet. [...] «Romeo og Julie» skulde vi helst villet hørt og bedømt uden det Fingerpeg som ligger i Titelen. I og for sig har nemlig Verket Fortrin og Skjønheder, som vi ganske vist er villige til at anerkjende, men vi savnede den svulmende Erotik, som den blotte Henvisning til det Shakespearske Elskovsdrama bringer En til at vente. I begge Verker feirede Svendsens Instrumentationsgave Triumfer, og dette saa meget mere, som den ikke søgte at tilrive sig dem paa Bekostning af Instrumentationens Egenskab som Middel.

NY ILLUSTRERET TIDENDE, 19 OCTOBER 1876.

Both Aftenposten and Aftenbladet allotted considerable space to the symphony in their reviews, while Romeo and Juliet was barely mentioned: Also Mr Svendsen’s symphonic introduction to ‘Romeo and Juliet’ reveals the same master throughout. AFTENPOSTEN, 16 OCTOBER 1876.

NY ILLUSTRERET TIDENDE, 19. OKTOBER 1876.

A similar, albeit less striking effect was produced by the introduction to ‘Romeo and Juliet’, a symphonic-dramatic depiction of eroticism and sentimental rapture, of struggle, suffering and death, […]

Både i Aftenposten og Aftenbladet fikk symfonien mye plass i omtalene, mens Romeo og Julie bare så vidt ble nevnt: Ogsaa Hr. Svendsens symfoniske Indledning til «Romeo og Julie» røber gjennomgaaende den samme Mester.

AFTENBLADET, 17 OCTOBER 1876.

In late 1876, the concert and several of the Norwegian reviews were discussed in two American newspapers: The Home Journal of 15 November and the American Art Journal of 30 December. It is not inconceivable that Svendsen may have set to revising the work immediately after its premiere. Whatever the case may be, Romeo and Juliet was neither included in any of Svendsen’s concerts until three years later, following a stay

AFTENPOSTEN, 16. OKTOBER 1876.

En lignende, omend mindre slaaende, Virkning frembragte Introduktionen til «Romeo og Julie», en symfonisk-dramatisk Skildring af Erotik og Sværmeri, af Kamp, Lidelse og Død, [...] AFTENBLADET, 17. OKTOBER 1876.

Konserten – og flere av kritikkene av den – ble senere omtalt i to amerikanske aviser: The Home Journal 15. november 1876 og American Art Journal 30. desember 1876.

in Germany, Italy, England and France, nor was it performed in connection with two concerts of his own works in Angers, possibly because he had early on decided to rework the entire composition. Appropriately enough, Svendsen visited the Capulet House in Verona when he stayed in the city for a few days in November 1877. Some weeks later, he wrote to his father about the visit:

Det er ikke utenkelig at Svendsen satte i gang med revisjonen umiddelbart etter premieren. I hvert fall satte han ikke verket opp igjen på noen av konsertene han dirigerte, før over tre år senere, etter utenlandsoppholdet i Tyskland, Italia, England og Frankrike. Heller ikke på de to konsertene med egne verker som han dirigerte i Angers, var Romeo og Julie med, kanskje fordi han tidlig hadde bestemt seg for å omarbeide stykket. Passende nok fikk Svendsen se familien Capulets hus i Verona da han oppholdt seg der noen dager i november 1877. Han fortalte om besøket til faren noen uker senere:

Brother Carl will be interested to hear that I also saw Cappuletti’s House, the very one in which Julia lived. LETTER FROM JOHAN SVENDSEN TO HIS FATHER GULBRAND SVENDSEN (1817–1900), ROME, 29 DECEMBER 1877. NATIONAL LIBRARY OF NORWAY.

It was on this trip to Italy that Svendsen met the man to whom he would dedicate the work: the composer and pianist Giovanni Sgambati (1841–1914). In January 1884, at a concert with an all-Italian programme in Copenhagen, Svendsen performed Sgambati’s first symphony in D major. On his way to Paris from Italy, Svendsen told his father about the new friendship:

Broder Carl vil det interesere at höre at jeg ogsaa saa Cappulettis Hus, netop det hvori Julia boede. BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN (1817– 1900), ROMA 29. DESEMBER 1877. NASJONALBIBLIOTEKET.

Among the musicians I got to know there, I fondly remember Sgambati, a pianist of the very first rank and an excellent composer. As a composer, he is heavily influenced by the newer German school but without thereby losing any of his originality, and his chamber music in particular is full of interesting details unique to him. His keyboard playing is among the most masterful I have heard. At his initiative, my quintet was rehearsed a few days before I left Rome, and I am pleased to be able to tell you that it was well executed and quite successfully received.

Det var på denne Italia-reisen at ble han kjent med mannen han dediserte verket til: komponisten og pianisten Giovanni Sgambati (1841–1914). På en konsert med italiensk program i København i januar 1884 fremførte Svendsen Sgambatis første symfoni i D-dur. På vei til Paris fra Italia fortalte Svendsen faren sin om det nye vennskapet: Af Musikre som jeg der lærte at kjende, tænker jeg med Glæde paa Sgambati, en Claverspiller af allerförste Rang og fortræffelig Componist. Som Componist er han stærkt paavirket af den nyere tydske Skole, dog uden at han derved har tabt noget af sin Originalitet, og ere især hans Kammermusiksager fulde af interesante, ham egne Enkeltheder. Hans Claverspil er noget af det mesterligste jeg har hört. Paa hans Foranstaltning blev min Quintett prövet et par Dage för jeg forlod Rom, og glæder det mig at kunne fortelle at den blev godt udfört og gjorde megen Lykke.

LETTER FROM JOHAN SVENDSEN TO HIS FATHER GULBRAND, FLORENCE, 24 MARCH 1878. NATIONAL LIBRARY OF NORWAY.

Svendsen finished revising the work in Paris and dated his new manuscript 5 May 1879. For a long time, the manuscript was thought to be lost, but has been kept at the Staatsarchiv Leipzig all along. It was used by Breitkopf & Härtel as the basis for the printed edition, published in May 1880. Norwegian musicologists Benestad and Schjelderup-Ebbe comment on Svendsen’s dialogue with the publisher:

BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN, FIRENZE 24. MARS 1878. NASJONALBIBLIOTEKET.

Svendsen avsluttet omarbeidelsen av verket med å datere sitt nye manuskript med 5. mai 1879, i Paris. Dette manuskriptet var ansett som tapt lenge, men nylig ble det klart at det har vært oppbevart i Staatsarchiv Leipzig. i Staatsarchiv Leipzig. Det ble brukt av Breitkopf & Härtel som trykkegrunnlag for utgaven de kom med i mai 1880. Benestad og Schjelderup-Ebbe forteller om dialogen med forlaget:

On May 11, 1879, Svendsen proposed to the Breitkopf & Härtel firm in Leipzig that they publish Romeo and Juliet. He requested an honorarium of 500 riksmarks and also specified that arrangements be made for a piano fourhands version of the piece to be published at the same time as the orchestral score. The firm accepted this proposal.16

11. mai 1879 tilbød Svendsen forlaget Breitkopf & Härtel i Leipzig å utgi «Romeo og Julie». Han ønsket et honorar på

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In May 1880, the German Allgemeine musikalische Zeitung reviewed the recently published edition: This composition did not seem to us as original as many other works by the gifted Swede [sic!]; at times it sounds somewhat Wagnerian as well. But it is always interesting and filled with spirit. […] One will, if one wishes, also find Romeo and Juliet in it.17

500 riksmark, samtidig som han forlangte at man sørget for å lage et firhendig klaverarrangement parallelt med orkesterpartituret. Forlaget aksepterte dette.5

ALLGEMEINE MUSIKALISCHE ZEITUNG, 5 MAY 1880.

Allgemeine musikalische Zeitung omtalte den nye utgaven i mai 1880:

In the spring of 1880, when Svendsen had returned to Norway after his stay in Paris, Romeo and Juliet was scheduled to be performed at the first concert he conducted in Christiania, on 29 May. The critic for the Norwegian daily Aftenbladet had done his homework, since he knew that three of the works on the programme had been revised:

Denne komposisjonen forekom oss ikke så original som mange andre verk av den begavede svensken [sic!]; den klinger noen steder også noe Wagnersk. Men den er alltid interessant og åndfull, [...] Man finner også, om man vil, Romeo og Julie i den.6

Contrasting with this national side in the line-up of compositions was a so-to-speak more cosmopolitan one in ‘Zorahayda’, the introduction to ‘Romeo and Juliet’ and finally ‘Carnival in Paris’, all three of them older but reworked compositions.

ALLGEMEINE MUSIKALISCHE ZEITUNG, 5. MAI 1880.

Våren 1880, da Svendsen var tilbake i Norge etter oppholdet i Paris, stod Romeo og Julie på programmet på den første konserten han dirigerte i Christiania, 29. mai. Kritikeren i Aftenbladet var godt informert, siden skribenten visste at tre av verkene på konserten var omarbeidet:

AFTENBLADET, 31 MAI 1880.

The same day Svendsen conducted Romeo and Juliet in Christiania, 29 May 1880, the work was also performed in London – using the new edition. Svendsen got word of the performance and mentioned it in a letter to his father:

Ligeoverfor denne nationale Side af Kompositionernes Række var stillet en saa at sige mere kosmopolitisk i «Zorahayda», Introduktionen til «Romeo og Julie» samt «Pariserkarnevalet», samtlige tre ældre, men omarbejdede Kompositioner.

By way of several English newspapers that have been sent to me I see that my orchestral fantasy ‘Romeo and Juliet’ was performed at a major concert in London the same day I gave my concert in Christiania.

AFTENBLADET, 31. MAI 1880.

Samme dag som Svendsen dirigerte Romeo og Julie i Christiania, 29. mai 1880, ble verket også fremført i London – fra den nye utgaven. Svendsen fikk det med seg og fortalte om det i et brev til faren:

LETTER FROM JOHAN SVENDSEN TO HIS FATHER GULBRAND, LARKOLLEN, 21 JUNE 1880. NATIONAL LIBRARY OF NORWAY.

Benestad and Schjelderup-Ebbe mention performances in Brno, Czechia, and Boston that year.18 On 31 July and 2 September 1886, the work was again performed in Boston under the direction of John C. Mullaly. Once again, the Norwegian critics had little to say about the work following its performance in Christiania in May of 1880, but at least this time the reviewer for the Scandinavian music journal Nordisk Musik-Tidende did not object to its programmatic aspects:

Af nogle tilsendte engelske Aviser ser jeg at min Orchesterfantasi «Romeo og Julia» er blevet opfört paa en större Concert i London samme Dag jeg gav min Concert i Christiania. BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN, LARKOLLEN, 21. JUNI 1880. NASJONALBIBLIOTEKET.

Benestad og Schjelderup-Ebbe nevner fremføringer i både Brno og Boston samme år.7 31. juli og 2. september 1886 ble verket igjen spilt i Boston, dirigert av John C. Mullaly. Heller ikke etter konserten i Christiania i mai 1880 hadde de norske kritikerne så mye å si om verket, men skribenten i Nordisk Musik-Tidende hadde i det minste ingen innvendinger til det programmusikalske:

While in his ‘Rhapsody No. 3’ he strikes a Norwegian folk tone, and in his fantasy on ‘Romeo and Juliet’, which has a more southern colouring, mostly highlights the erotic element, interwoven with the plaintive tones of the tragic love

Medens han i «Rapsodi No. 3» har anslaaet den norske

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story, he establishes a rather different, strangely glowing mood in ‘Zorahayda’ [...] NORDISK MUSIC-TIDENDE, JUNE 1880, P. 100.

Svendsen included the work in the first of his two Copenhagen appearances in autumn 1882 in the large hall of the Casino (14 October). It was these two highly successful concerts in the Danish capital that were decisive in securing Svendsen the post of music director at the Royal Danish Theatre the following year, a position he would hold for the remainder of his career. Following the concert, the Danish composer and music critic Charles Kjerulf discussed the work in detail and believed that Svendsen had hit the mark with the somewhat loose connection to Shakespeare’s drama:

Folketone, – i Fantasien «Romeo og Julia», der har en mere sydlandsk Farve, drager frem fortrinsvis det erotiske Element, hvor de klagende Toner fra den tragiske Kjærlighedshistorie klinge gjennem, lægger han i Legenden «Zorahayda» en ganske anden eiendommelig glødende Stemning [...] NORDISK MUSIK-TIDENDE, JUNI 1880, S. 100.

Svendsen satte verket opp på den første av sine to konserter i København høsten 1882, 14. oktober, i Casinos store Sal. Det var disse to suksessfulle konsertene i den danske hovedstaden som dannet grunnlaget for at han året etter fikk stillingen som kapellmester ved Det Kongelige Teater, en stilling han hadde resten av sitt yrkesliv. Kritikeren Charles Kjerulf skrev detaljert om verket etter konserten og mente Svendsen traff blink med den litt løsere tilknytningen til Shakespeares drama:

One may perhaps be able to detect Wagner’s influence in the orchestral fantasy ‘Romeo and Juliet’; that this does not diminish the value of a work by Svendsen, however, who everywhere and at all times is entirely himself, as independent as only few, is apparent. It is a colourful painting in broad brush strokes: against the blood-red background provided by the violent battle between the Montagues and the Capulets, Romeo and Juliet’s characters with their warm passion stand out in a glaring but gripping light. One would be hard put to follow Svendsen’s fantasy ‘auf Schritt und Tritt’ with an anxious commentary on Shakespeare, but then again, that was hardly his intention. Bearing in mind the tragedy, the fantasy provides an overall impression, a genuine and truthful illustration of what one encounters upon reading the Shakespeare’s work. The fact that the work is as rich and brilliant in detail as Svendsen’s other works be merely mentioned on the side.

I Orkesterfantasien «Romeo og Julie» kan man maaske spore en Paavirkning af Wagner; men at dette ikke kan forringe Værdien af et Arbejde af Svendsen, der overalt og alle Tider er sig selv helt og holdent, saa selvstendig som kun faa, er indlysende. Det er et farverigt, med bred Pensel gjort Maleri: den blodrøde Baggrund dannes af den vilde Strid mellem Montecchi og Capuletti, mod hvilken Romeo og Julies elskovsvarme Skikkelser tegner sig grelt men gribende. Man vilde vel vanskelig kunne følge Svendsens Fantasi «auf Schritt und Tritt» med en ængstelig Shakespearekommentar, men det har heller næppe været hans Mening. Med tragedien in mente faar man af Fantasien et Totalindtryk, der genialt og sandt illustrerer det, man modtager ved Læsningen af Shakespeares Værk. At Arbeidet i Enkelthederne er lige saa rigt og glimrende som Svendsens øvrige skal kun nævnes.

DAGSAVISEN, COPENHAGEN, 16 OCTOBER 1882.

In her article ‘Programmusikken og Johan Svendsen’ (Programme Music and Johan Svendsen),19 Anne Jorunn Kydland explains that the term ‘fantasy’ in the subtitle denotes that the work only makes marginal use of programmatic tendencies, and Kjerulf’s review uses the term ‘fantasy’ twice. Several other Danish critics also commented positively on the work, albeit more succinctly than Kjerulf:

DAGSAVISEN, KØBENHAVN, 16. OKTOBER 1882.

Anne Jorunn Kydland uttrykker i artikkelen «Programmusikken og Johan Svendsen»8 at ordet «fantasi» i undertittelen tilsier at verket bare i «mindre grad rommer programmatiske tendenser». Vi ser at Kjerulf i sin omtale nevnte nettopp begrepet “fantasi” to ganger. Flere andre danske kritikere var også positive til verket, om enn mer kortfattede enn Kjerulf;

[...] the magnificent Fantasy for Orchestra, which comprises a series of varied characteristic moods. DAGBLADET, COPENHAGEN, 16 OCTOBER 1882.

[…]there was the modern term Poëme symphonique in ‘Romeo and Juliet’.

[...] den prægtige Fantasi for Orkester, der indeholder en Række afvexlende karakteristiske Stemninger.

NATIONALTIDENDE, COPENHAGEN, 16 OCTOBER 1882.

DAGBLADET, KØBENHAVN, 16. OKTOBER 1882.

[...] der var det moderne begrep Poëme symphonique i Romeo og Julie.

With a touch of irony, Morgenbladet’s comments were among the most negative to appear in connection with Svendsen’s two highly successful concerts. [Svendsen’s] fantasy Romeo and Juliet included musical moments of great beauty, but programme music without a programme is a difficult thing. It is certainly not an unreasonable requirement for clarity to demand that if, for example, one thousand people had heard the piece and were to relate their thoughts about it, that one of them had happened to say: ‘Oh, this is just about how I imagined Romeo and Juliet.’ But this fantasy could hardly have counted on that one in a thousand with certainty.

NATIONALTIDENDE, KØBENHAVN, 16. OKTOBER 1882.

Morgenbladet kom på ironisk vis med noe av det mest negative som ble formulert i forbindelse med de to meget store konsertsuksessene. Fantasien Romeo og Julie inneholdt store Musikalske Skønheder, men Programmusik uden Program er en vanskelig Ting. Der er næppe nogen overdrevne Fordringer til Tydelighed at forlange, at naar f. Ex. tusind Mennesker havde hørt dette Stykke, og da skulde sige, hvad de havde tænkt sig, at saa én faldt paa at sige: «Aa, jeg har tænkt mig saadan noget som Romeo og Julie». Men denne En pro mille vilde denne Fantasi næppe kunne gjøre sikker Regning paa.

MORGENBLADET, COPENHAGEN, 17 OCTOBER 1882.

Svendsen was probably aware of this ironic tirade, since the review is glued into one of his scrapbooks.20 We do not know, however, whether comments of this type made any particular impression on him, and besides, the other reviews abounded with superlatives. All the same, after the Copenhagen concerts, Romeo and Juliet was less frequently included in Svendsen’s programmes, such as his two concerts in Stockholm, May of 1883. Svendsen’s contemporaries seem to have had certain expectations and requirements of programme music that Romeo and Juliet possibly may not have been able to meet. More recent reviews of the work reinforce this view:

MORGENBLADET, KØBENHAVN, 17. OKTOBER 1882.

Svendsen fikk trolig med seg denne ironiske tiraden, siden kritikken er limt inn i en av hans utklippsbøker.9 Men vi vet ikke om han ble særlig påvirket av slikt, og de øvrige kritkkene bugnet dessuten av superlativer. Etter konsertene i København ble verket likevel sjeldnere å finne på programmene han dirigerte. Det var for eksempel ikke med til Stockholm på de to konsertene han dirigerte der i mai 1883. Det ble trolig stilt visse programmusikalske forventinger og krav til verket i Svendsens samtid, som stykket kanskje ikke kunne innfri. Nyere omtaler av komposisjonen viser det samme:

There is some question as to how closely Svendsen has tried to follow Shakespeare’s tragedy, even with respect to its central significance as the symbol of unhappy love. To be sure, one can identify passages that seem to touch on certain aspects of the play: the slow introduction that provides the background, the strife between the rival Capulet and Montague families, the intense emotion of the young lovers where the music reaches great dramatic heights, and the quiet conclusion as the lovers are united in death. The composer has not attempted, however, to relate the details of the love story. He has attempted only to create a lyrical prelude that heightens expectations before the curtain goes up and the play begins.21

Det er et spørsmål hvor nær komponisten egentlig kommer Shakespeares udødelige tragedie, selve sinnbildet på ulykkelig kjærlighet. Man kan nok lete seg frem til avsnitt som synes å berøre visse aspekter i dramaet: den langsomme innledningen som gir oss bakgrunnen, striden mellom de to rivaliserende familiene Capulet og Montague, de to unges heftige elskov der musikken når store dramatiske høyder, og den stillferdige avslutningen der de elskende forenes i døden. Verket er likevel ikke noe forsøk fra komponistens side på å tolke kjærlighetshistorien i dens enkeltheter, men snarere et stemningsfullt forspill som spenner forventingene før teppet går opp for kjærlighetsdramaet.10

Svendsen’s work has also been compared to Tchaikovsky’s highly dramatic overture-fantasy Romeo and Juliet. Tchaikovsky’s original version dates from 1870, while the final version was completed in 1879. A comparison of the dramatic climate of the two works usually comes out in favour of Tchaikovsky:

Verket har også blitt sammenlignet med Tsjajkovskijs meget dramatiske orkesterverk, «fantasiouverturen» Romeo og Julie. Tsjajkovskij skrev en urversjon av dette verket i 1870 og den endelige versjonen i 1879. En sammenligning av dramatisk temperatur havner gjerne i favør av Tsjajkovskij:

Svendsen’s orchestral fantasia has not succeeded in winning a place in the international repertoire, however. The reason for this undoubtedly is to be found first and foremost in the weak thematic material, which lacks the driving appeal that characterizes Tchaikovsky’s scintillating composition based on the same literary material.22 Svendsens orkesterfantasi har imidlertid ikke klart å erobre seg en plass på det internasjonale repertoar. Årsaken ligger nok først og fremst i det svake tematiske materialet; det eier ikke den drivende appellen som kjennetegner Tsjaikovskijs evigunge komposisjon over samme emne.11

In retrospect, Svendsen’s distinctive concept of Romeo and Juliet with its rather classical and formal approach along with extensive use of imitation and dialogue may perhaps not have received a better response than Charles Kjerulf’s colourful and enthusiastic review of 1882, in which, upon hearing the work, he wrote that Svendsen ‘everywhere and at all times is entirely himself, as independent as only few.’

Svendsens egenartede konsept i Romeo og Julie, med en ganske klassisk og formell tilnærming, ved siden av utstrakt bruk av imitasjoner og dialoger, har kanskje ikke fått noen bedre respons i ettertiden enn Charles Kjerulfs fargerike og begeistrede kritikk i 1882, der han etter å ha hørt verket skrev at Svendsen «overalt og alle Tider er sig selv helt og holdent, saa selvstendig som kun faa».

Bjarte Engeset English translation: Thilo Reinhard

NOTES Christiania was the name of today’s Oslo from 1624 until 1924. In 1877, the spelling Kristiania was adopted in land registers and government documents, and from 1897 also by the city’s municipal agencies. On 1 January 1925, the official name was once again changed to Oslo. In Johan Svendsen’s Works, we use the spelling Christiania in connection with events that occurred during Svendsen’s lifetime. 12

Bjarte Engeset

NOTER

Johan Svendsen: Musical Notebook 3, Royal Library, Copenhagen, MA ms 5276 mu 9705.28002. 13

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

Morten Christophersen: Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises, University of Oslo, Oslo 2016. 14

Johan Svendsen: Musical Notebook 3, Det Kongelige Bibliotek, København, MA ms 5276 mu 9705.28002.

Ibid. p. 348.

Finn Benestad and Dag Schjelderup-Ebbe, William H. Halverson (transl.): Johan Svendsen: The Man, the Maestro, the Music, Peer Gynt Press, Columbus, Ohio 1995, p. 154. 16

Morten Christophersen: Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises, Universitet i Oslo, Oslo 2016. 3

So original wie manches andere Werk von dem begabten Schweden ist uns diese Composition nicht vorgekommen; sie klingt stellenweis auch etwas Wagnerisch. Doch ist sie immer interessant und geistvoll, […] Man wird, wenn man will, auch Romeo und Julie in ihr finden. 17

Ibid. s. 348.

Finn Benestad og Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og kunstneren, Oslo 1990, s. 131-132. 5

So original wie manches andere Werk von dem begabten Schweden ist uns diese Composition nicht vorgekommen; sie klingt stellenweis auch etwas Wagnerisch. Doch ist sie immer interessant und geistvoll, [...] Man wird, wenn man will, auch Romeo und Julie in ihr finden.

Benestad and Schjelderup-Ebbe, p. 191.

Anne Jorunn Kydland Lysdahl: ‘Programmusikken og Johan Svendsen.’ Studia Musicologica Norvegica 1999/25, Scandinavian University Press, Oslo 1999, pp. 273–283. 19

Johan Svendsen: Scrapbook 1861–1884, Danish Music Museum, Copenhagen, Svendsen-collection. 20

Ibid. s. 159.

Anne Jorunn Kydland Lysdahl: “Programmusikken og Johan Svendsen”. Studia Musicologica Norvegica 1999/25, Scandinavian University Press, Oslo 1999, s. 273–283. 8

Johan Svendsen: Scrapbog 1861–1884, Musikmuseet, København, Svendsensamlingen. 9

Benestad og Schjelderup-Ebbe, s. 131.

Ibid. s. 131-132.

Benestad and Schjelderup-Ebbe, p. 154.

Ibid. pp. 154–155.

ROMEO AND JULIET, OP. 18, AUTOGRAPH SCORE, FIRST VERSION,. COVER PAGE, SOURCE A1. THE SCORE IS KEPT AT THE DANISH MUSIC MUSEUM, COPENHAGEN, NODEMANUSKRIPTER.

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ROMEO AND JULIET, OP. 18, AUTOGRAPH SCORE, FIRST VERSION,. FIRST PAGE OF MUSIC, SOURCE A1. THE SCORE IS KEPT AT THE DANISH MUSIC MUSEUM, COPENHAGEN, NODEMANUSKRIPTER.

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ROMEO AND JULIET, OP. 18, AUTOGRAPH SCORE,. COVER, SOURCE A2. THE SCORE IS KEPT AT STAATSARCHIV LEIPZIG, 21081 BREITKOPF & HÄRTEL, NO. 6489

ROMEO AND JULIET, OP. 18, AUTOGRAPH SCORE, FIRST PAGE OF MUSIC, SOURCE A2. THE SCORE IS KEPT AT STAATSARCHIV LEIPZIG, 21081 BREITKOPF & HÄRTEL, NO. 6489

XVI

ROMEO AND JULIET, OP. 18, COVER OF FIRST EDITION SCORE, SOURCE B. BREITKOPF & HÄRTEL, LEIPZIG 1880.

XVII

ROMEO AND JULIET, OP. 18, FIRST PAGE OF MUSIC IN FIRST EDITION SCORE, SOURCE B. BREITKOPF & HÄRTEL, LEIPZIG 1880.

XVIII

ROMEO AND JULIET, OP. 18, COVER OF SECOND EDITION SCORE, SOURCE C. BREITKOPF & HÄRTEL, LEIPZIG 1895.

XIX

ROMEO AND JULIET, OP. 18, FIRST PAGE OF SECOND EDITION SCORE, SOURCE C. BREITKOPF & HÄRTEL, LEIPZIG 1895.

ROMEO AND JULIET, OP. 18, FRAGMENT OF AN AUTOGRAPH SCORE, FIRST PAGE OF MUSIC, SOURCE F. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 1901.

XXI

ROMEO AND JULIET, OP. 18, VIOLA PART FROM FIRST EDITION SET OF PARTS, SOURCE BPTS. BREITKOPF & HÄRTEL, LEIPZIG 1880.

XXII

ROMEO AND JULIET, OP. 18, SKETCHES, SOURCE S1. THE SKETCHES ARE KEPT AT THE ROYAL DANISH LIBRARY, COPENHAGEN, MA MS 5276 MU 9705.2800, MUSICAL NOTEBOOK 3.

XXIII

ROMEO AND JULIET, OP. 18, SKETCHES, SOURCE S1. THE SKETCHES ARE KEPT IAT THE ROYAL DANISH LIBRARY, COPENHAGEN, MA MS 5276 MU 9705.2800, MUSICAL NOTEBOOK 3.

XXIV

Romeo og Julie, op. 18 JSV 68

Romeo and Juliet, Op. 18

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B #### œ  ? #### ? ####

cresc.

œ œ  œ œ 

cresc.

w ∑

cresc.

∑

œ   œ œ œ œ F

dim.

œ w œ œ œ œ



w w

cresc.

∑

## & ## œ 

∑

œw  ‹ œ œ œ Œ 

dim.

Œ œ œ . œ œ   w œ œ œ



Œ π

 ..





dim.



dim.

 # dim.

dim.

œ œ 

œ #œ œ œ

‹w

π π π

œ Œ 

∑

# ## & #

∑

# ## & #

∑

21 Fl.

Ob.

Cl. (La)

.

nœ .

w . œ w œ . œ p

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

# ## & # œ n

œ n 

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.



œ œ 

œ #œ œ œ 

œ. œ œ

## & ## w



# B ## # # w

? #### n w

œ  œ

? ####

∑



w ∑

∑

œ œ œ nœ nœ n  

 n

∑

.

w ∑

œ  #œ. œ

w p

## & ##

31 Fl.

Ob.

Cl. (La)

## & ## &

∑

œ # œ



cresc.

Fg.

 

? # # # # # 

œw  # œ nw #

n

cresc.

I. II.

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

œ œ #œ ∑

∑

B ### #

∑

? #### ?

Œ œ ‹œ œ ∑

œ œ œ ‹œ Œ œ œ ‹œ

 #  œ #œ



 

# 

cresc.

n n

 # œ œ œ œ # œ # œ œ #œ

cresc.



# 

cresc.

 œ #œ



∑

w w f

w w

∑

œ 

π ∑



∑

œ Œ  œ

∑

œ Œ  œ

∑



∑

Ÿ~~~~~~~~~~~~~



#



B #### # 



œ #œ 



? #### 

nœ œ #

? #### 

nœ œ #

cresc.

œ Œ  œ

w w

dim.

œ Œ œ

∑



 

∑

## & ## 

n

 

∑

œ œ œ ‹œ



 

# œ . œj œ Œ  #œ. œ œ J

∑

‹œ œ

n

∑



cresc.

 

∑

œ  #œ

cresc.

Cb.

cresc.

∑

œ #œ

## & ## 

cresc.

Vc.

∑

cresc.

Vle.

∑

œ   #œ 

∑

 

 #

 f

dim.

œ Œ 

#œ. œ  J

dim.



‹

dim.

œ œ œ. œ J 

‹

dim.



n



dim.

#



n



#

dim.

œ 

‹w π #w π

nw π



w #w

. w

39 Fl.

Ob.

Cl. (La)

Fg.

I. II.

####

## & ## &

∑

? #### & &

∑

Tbe. (Mi)

∑

III. Tuba

Timp.

Vln.

II.

Vle.

Vc.

Cb.

> p

#œ  > p

B ### #

∑

œŒ  œ

∑ ‹œ œ Œ 

III. IV.

Tbn.

∑



Cor. (Mi)

I. II.

∑



w #œ  p>

∑

œœ

# œ œ Œ œ œ ∑

> # ww > p> ‹œ #

poco a poco animato

cresc.



œ #œ  ∑

œ n n

cresc.

∑

 

œ ∑

ww n  p cresc. n  œ œœ #  #



 . n n

∑

œ œ œ . œj w

nœ  nœ #



w 



# #

.

œ œ. œ 



.

œ œ. œ  J

œ œ œ . œJ 



œ œ œ . œJ 

w #œ #



∑

 

cresc.

w >

∑

p cresc. a2

p cresc.

n n

∑

? ####

∑

& &

####  . ####

## & ##

#œ 

‹œ w

       œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œ. œ . œ . ‹ œ . œ . œ . œ . œ . 3

    œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œœ .. œœ .. œœ .. œ . œ . œ . œ . 3

B # # # # œ œ œ œ œ œ œ œ œ œ œ œ œœ .. œœ .. œœ .. œœ ..     3 3 3 p3 3 3 3 3 B # # # # œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. p . œ ? ####  œ œ p

? #### w p

œœ .. œœ .. œœ .. œœ ..         œ. œ. œ. œ.



‹œ #

œ

œ #

poco a poco animato

œ #œ 

œ œ ‹

œ. œ J

     œ. œ. œ. œ. œ . œ . n œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œ . œ. œ. œ . ‹œ. œ. œ. œ.         œ. œ. œ. cresc.

cresc.

    œ. œ. œ. œ. œ. œ. œ. œ. œ. ‹ œ. œ. # œ. œ. œ. œ. œœ .. œœ .. œœ .. œœ .. œœ .. œ . # œ . œ . œ . 

. œœ .. œœ .. œœ .. œœ .. œœ .. # œœ .. œœ .. œœ .. œ . œ . n œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. # œœ .. œœ .. œœ .. œ                   cresc.

                   œœ .. ‹œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ.n œ. œ. œ. œ. œ. cresc.

œ œ B . w

œ œ. œ  J

cresc.

.

cresc.

n

cresc.



n



#

. œ œ œ œJ 

n



47 Fl.

Ob.

Cl. (La)

Fg.

####

## & # # w &

w

Vln.

II.

Vle.

Vc.

Cb.

w w

œ œ

 œ œ

œ . # 

∑

? ####

∑

####  f

Ÿ~~~~~~~



œ œ

# # # # œJ œ œ œ œJ & f # # œ. œ. œ. œ. & # # œ. œ. œ. œ.     f œœ œ œ œ B # # # # œJ œ œ œ œJ f B # # # # œœ .. œœ .. œœ .. œœ ..

œ Œ

f dim. p œ. œ  J fz

œ 

∑



œ œ

III.

Ÿ~~~~~~~

œ Œ

dim.

œ. œ 

œ œJ œ œ œ œJ œ 

#œ

œ 

ƒ a2 >œ b >œ >œ >œ

w w

œ  œ 

œ œ

œ  œ

œœ

>œ n >œ >œ b >œ

œ 

#w ƒ

> œ nœ #œ nœ #œ > > >

œ bœ œ bœ

#  .. f . f

# œ #  .

fz > >œ # >œ >œ

> > œ œ bœ nœ

> >

n œ fz

>œ n >œ  œ nœ 

fz >

œ b œ œ œ > > n œœ

œ  ..

∑

>œ n >œ >œ >œ

>œ n >œ >œ n >œ

œ œ nœ œ œ œ œ J

fz ƒ œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ œœ œœ œœ             J ƒ œ ‹  œ œœ œœ œœ œœ œœ œ ‹  œ œ œ n œ œ œ œ J J J J fz ƒ œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ œœ œœ œœ                 J f ƒ > œ œ  œ . ? œ B ### œ  œ  . # #w f ƒ fz ? #### w w #w w w fz ƒ fz f 6

> >

> ƒ > > > j jœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ J œ ‰œ œ œ œ œ > > > ƒ ∑ ∑ ∑

∑



œ 

œœ >œ b >œ >œ >œ

œ #

>œ n >œ >œ n >œ

∑

B ### #

∑

œ œ #

fz œ .  œj

œ 

w

Tbe. (Mi)

Timp.

fz j œ œ œœ .  œ  œ

œ œ

Z œ . œj œ ‹ œ

œœ œ 

III. Tuba

œ œ œœ .‹  œ  œ w

∑

œ œ .# 

III. IV.

Tbn.

a2 œœ .  œ  œ >œ n >œ >œ >œ

œ 

I. II.

Cor. (Mi)

? #### w &

I. II.

∑

œœ .  œ  œ

œ 

#œ

œ 

fz fz fz œ œ œ œ œ œ. #œ. œ. œ. œ. #œ. n. J J        3

œœ œœ œœ n œœ œœ œœ œœ n œœ œœ œ . œ . œ . # œ3. œœ .. œœ .. œœ ..    J 3 3 3

œœ .. 

œ œœ œœ œœ œœ œœ œœ .. œ . œ . œ . # œœ .. œœ .. n œœ .. œœ .. J J J         3 3 3 3 3 œœ œ œ n œ œ œ œ n œ œ œ. œ . n œ . œ . œ . œ . œ . œ . J 3       3 3

> > > > > œ nœ #œ nœ #œ œ #œ œ

> >

> > > > > œ nœ #œ nœ #œ œ #œ œ

œ nœ  > > > œ nœ  > > >

## & ##

55 Fl.

Ob.

Cl. (La)

Fg.

I. II.

B wa tempo

# # n ww & ## fz # b ww & fz nw ? #### n w fz

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vln.

II.

Vle.

Cb.

∑

dim.

œŒ  œ

bw ƒ B # # # n n ww # ƒ ? #### w nw ƒ ? ∑ &

∑

w w

∑

dim.

b ww

∑

####

œœ Œ 

œ œŒ 

œœ Œ 

∑

œœ Œ 

∑

œœ Œ  œŒ  œ

B a. tempo Œ

fz # # n. Œ & ## fz # # # # n  .. Œ & fz n. Œ B #### fz B # # # # n  .. Œ fz

Vc.

b b ww

Cor. (Mi) III. IV.

∑

? #### n  . Œ fz ? #### n  . Œ fz

∑ ∑ ∑ ∑

∑

pizz.

∑

.

bœ Œ b œ.

nœ w

bœ Œ b œ.

∑

œŒ œŒ

bœ œ bœ bœ Œ œ Œ bœ Œ  p arco  Œ ‰ œj œj ‰ ‰ œj œj‰‰ œj œj ‰ Œ  > > p> ∑

 Œ ‰ œj >p arco >  Œ ‰nœ J p arco >  Œ ‰nœ J p

arco

∑ ∑

j j j j j œ ‰ ‰ œ œ ‰‰>œ œ ‰ Œ 

œ ‰Œ 

> > J J J

œ ‰Œ 

œ ‰ ‰ n œ œ ‰‰ œ J

bœ Œ p bœ Œ p

> > J J J

œ ‰ ‰nœ œ ‰ ‰ œ

œ Œ œ Œ



nœ nœ Œ

Œ ‰ # œj œj ‰ ‰ œj > >

Œ ‰ # œj œj ‰ ‰ œj > > Œ ‰ œj œj ‰ ‰ œj > >

Œ ‰ œj œj ‰‰ œj > >

bœ Œ 



bœ Œ 



œ Œ œ.

∑

œŒ œŒ œŒ œŒ



∑

œŒ œŒ œŒ œŒ

œ Œ  œ.

∑

pizz.

∑

œ Œ œ.

∑

œŒ œŒ œŒ œŒ

∑

nœ Œ œ Œ nœ Œ œ Œ π

∑

œ Œ œ.



œ. œ

∑

œŒ œŒ π

pizz.

∑

Œ 

n œ. nœ

∑

œŒ œŒ œŒ œŒ

pizz.

n œ. nœ

∑

pizz.

∑

b œ. bœ

∑

n œœ Œ œœ Œ n œœ Œ œœ Œ π

pizz.

œ. œ

∑

div. pizz.

bw p

b œ. bœ

nœ Œ nœ Œ

nœ nœ Œ

œ œ Œ

j j j œ ‰ ‰ # >œ œ ‰ Œ j j j œ ‰ ‰# œ œ ‰ Œ

j j j œ ‰‰ œ œ ‰Œ

j j j œ ‰‰ œ œ ‰Œ nœ Œ nœ Œ

œ Œ œ Œ

####

∑

# ## & #

∑ ∑

64 Fl.

Ob.

Cl. (La)

Fg.

I. II.

? ####

∑

œ Œ 

Cor. (Mi)

Allegro q = 132

∑

.

π ∑

.

∑

.

∑

.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

I. II. Tbn. III. Tuba

Timp.

I. Vln.

####

## & ##

‹œ  π

œ  ‹

arco

∑

B ####

∑

Vc.

? ####

∑

Cb.

? ####

∑

II.

Vle.

Allegro q = 132

œ ‹œ œ #œ œ 

dolce ed espress.

‹œ  #œ œ œ  # @ π

@ œ@

@.

@

arco

@

œ Œ 

# @

@. @

@

œ Œ 

@ # œ@ œ@ œ@ œ@  .

œ@ # @

œ@ @

@

@.

@

œ Œ 

œ ‹œ œ #œ œ

#œ œ ‹œ  #œ œ œ 

œ Œ 

@ œ@ @

œ Œ 

# @

@

@.

œ Œ 

@.

œ@

œ œ œ@ # œ@ œ@ @ @ @

@

œ Œ 

73 Fl.

Ob.

Cl. (La)

Fg.

####



## & ##

∑

? ####

∑

III. IV.

∑

Tbe. (Mi)

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

∑

œ Œ  w p

œ. œ 

∑

œ œ  w

w

w ∑

œ . œj 

.

 œ #œ œ œ œ

œ œ #œ  nœ œ œ  ∑

∑

œ œ ww

w ∑

w ∑ > >œ

œ #œ œ œ

> > >



∑

w

w ∑

∑

œ œ w

j œ œ . n œ  œ.

œ œ

w ∑

.

œ œ

> > œ #œ œ œ œ

> > >

∑

B ### #

∑

? ####

∑

## & ## 

## & ## @ #

Vle.

B # # # # @

Vc.

? #### @ 

Cb.

∑

I. II.

œ #œ œ œ œ 

œ #œ  nœ œ œ  Œ I.

œ #œ œ œ œ 

œ œ #œ  nœ œ œ  @ @ @

? #### œ Œ 

@ n  p

@

@ n # œ  .  @ @ p nœ. œ  J p

arco

@

@. @

œœ@ œœ@ @..

œœ@ @ @  

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

œ. œ  J w

@

œ œ #œ  nœ œ œ 

.

>œ # >œ >œ >œ >œ



@

@. @

@

œ œ

 @

œœ œœ @ @

@  œ @

. œ . œJ œ œJ 

 œ #œ œ œ œ @ 

@ 

@ œ@ œ@œœ @ . @ @ @. . w

œœœ@ œœœ@ œ @ @

>œ # >œ >œ >œ >œ

Fl.

Ob.

Cl. (La)

Fg.

& &

####

cresc.

∑

p >

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.



cresc.



III.

œ 

j œ . œJ œ . œ  j œ . œJ œ . œ 

œ #œ œ œ œ f

j œ . œJ œ . œ 



œ #œ œ œ J

.

∑

œ. œ n

#œ

œ.

∑

œ #œ œ œ J

œ n œœ .. œ œ # œ œ œœ J

œ œ œ œ

œ #w

œ. œ n

#œ

nœ. œ 

. . œ œ #b œœ . œ œ œ œ œœ n wœ œ œ œ #b œœ . œ œ œ œ œœ J J

w

j œ . œJ œ . œ 

œ.

nœ. œ 



∑

œ n œœ .. œ œ # œ œ œœ # w. J

w.



∑

œ œ œ œ #œ. ∑

j œ œœœ

∑

B ### #

∑

? ####

∑

j œ œœœ

œ œ #œ.

∑

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

w p

cresc.

## @ @ & # #  

@ @ B # # # #   @

B #### 

? #### w

cresc.

@ > > @  @>

@

@ @

@  @

@ @   @ @

œ . œJ œ . œJ  w

>  @ > @

 @>

œ- # œ- œ- œ- œ-

nœ ‹œ  #œ œ œ 

#### ‹ œ  # œ œ # œ  &

cresc.

Cb.

cresc.

Vc.

cresc.

Vle.

∑

## # œ  n œ ‹ œ  # œ œ œw  & # # ‹œ  #œ œ w ∑ ∑ > > p cresc. > > # ww œ  & # œ  n œ ww > > cresc. p cresc. >w ∑ ∑ w> ? #### cresc.

I. II.

> nœ ‹œ  #œ œ œ 

# >œ   ‹ œ # œ œ ####

  @

 @

@   @



œ . œJ œ . œJ 

  @

œ. œ n   @

œ@ @ œ@ œ . œœœ @ @ @ @ ?



>œ >œ # œ .

#œ

  @

œ œ œ œ

œ. œ n

  @

. . @

œ œ # œ œ œ @ . ∑∑@ œ œœœ

  @

œ œ. @ @

œ œ œ œ #œ. w

#œ nœ

œ œ #œ œ œ ∑∑@ œ œœœ

Fl.

Ob.

Cl. (La)

####

& &

####

Fg.

I. II.

III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

#### œ  .

? ####

Cor. (Mi)

œ. œ œ J

œ œ . œJ œ Z œ .

Z Z Z > . > . . . . . > . . ... ... œ # œœ œ œœ œ œ œœ œ œœ œ œœ œœ œ œœ œ œœ œ œœ œœ œœ œ œ œœ œ . . fz . . fz . . fz > > > .œ. œ œ œœ . œ . œ œ œœ  . œ . œ œ  œ J J J fz fz fz #œ J ‰Œ  ∑ ∑ j a2 n œ ‰ Œ œ . œ  J fz œ. œ   J fz

œ . # œ >œ .. œ >œ

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

œ . # œ >œ .. œ >œ

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

œœ œ œœ œ œ œœ œ œœ .. a 2>œ .. >œ œœ #œ œ

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

∑

. . fz > œœ  .œ . œ œ J fz ∑

R R

œœ .. #aœ2 >œ .. œ >œ R

œ . # œ >œ .. œ >œ

œ . œ œ. ‰ r J J œ .. # œ œ

fz œ. œ J fz

∑

B ####

∑

? ####

∑

Z ƒ ... . > .

fz œ. œ  J fz

œ .

œ. œ  J

∑

œ œ. œ œ

III.

ƒ > > œ. ‰ œ .. # œr œ J ƒ > > >

> F > ww > F >

œ .# œ >œ .. œ >œ œ . n œ >œ .. œ >œ œ . œ n >œ .. œ >œ œ .# œ >œ .. œ >œ œ . n œ >œ .. œ >œ œ . œ n >œ .. œ >œ r r œ .# œ œ .. œr œ œ . b œ œ .. œ œ œ . œ b œ .. œ œ

# ww

‹ # ww

# ww

cresc.

r r œ .# œ œ .. œr œ œ . b œ œ .. œ œ œ . œ b œ .. œ œ

cresc.

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

# # # # œ œ . œJ œ & fz

œ œ . œJ œ fz

œ œ. œ œ fz

# # # # # œ œ @ œ œ œ œ œ @ œ œ œ œ œ œ ∑œ ∑œ œ œ œ œ œ ∑œ ∑œ œœœ ∑ ∑ œœ ∑ ∑ œ & ∑ ∑ ∑ ∑ fz ∑ ∑ ∑ ∑ fz ∑ ∑ ∑ ∑ @ fz ∑ ∑ ∑ ∑ @ fz

œ . # œ >œ .. œ >œ

 @

molto cresc.

œ . # œ >œ .. œ >œ œ . n œ >œ .. œ >œ œ . œ n >œ .. œ >œ R

# 

 @

# 

 @

    œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑œ œ œ œ    # # ‹ #  # B # @ ∑∑ @ @ ∑∑ @ @ ∑ ∑@ @ @ ∑ @ @ @ @ @ @ @ @ @ @ @ @ fz fz fz fz ƒ œ. œ  œ. œ œ . œ œ. >œ .. # œ >œ œ . # œ >œ .. œ >œ œ . n œ >œ .. œ >œ œ . œ n >œ .. œ >œ œ. œ   J ? ####  B J J ‰? R R R J R J fz ƒ fz fz fz ? #### w w w         w > > > > > > > > ƒ 11

98 Fl.

Ob.

Cl. (La)

Fg.

Molto allegro con fuoco h = 138

# œ. # ## #

Œ 

fz # # # # #aœ. 2 Œ  & fz a2 # # œ. Œ  & fz a2 # œ. # ? ## # Œ  fz

∑

n œ. Œ 

∑

III. IV.

∑

Tbe. (Mi)

n œ. Œ  fz

∑

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

œœ Œ  .

B # # # # œœ. Œ  ƒ III. ? # # # # œ. Œ  ƒ ?

œ. Œ 

# œ. #### ‰ jœ œ œ œ & œ fz p . # # # # œœ ‰ j & œ œœœœ fz p œœ. # # # B # Œ  fz # œ. ? #### Œ  fz

œ œ œœœ œœ œœœœœ œœœœœœ œ œ œ œœœœœ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œ

Molto allegro con fuoco h = 138

I. Vln. II.

Vle.

Vc.

Cb.

? #### œ Œ  . fz

cresc.

œ œ œœœ œœ œœœœœ œœœœœœ œ œ œ œœœœœ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œ cresc.

∑

# ## & #

106 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ. # œ. n œ. >œ . œ œ. œ . j œ #œ nœ œ. œ œ œ œ œ œ  . >œ . œ œ  J

# # # #  .. & &

 .. 

& &

>œ . œ œ. œ. > œ. œ œ  J J

œ. # œ. n œ. >œ . œj œ œ j . . œ. œ œ  > 

œœ Œ >œ . œJ œ. œ. >œ . œj œ 

>œ . . . > j œœ Œ œJ œ œ œ . œ œ 

w w

œ Œ  œ

B #### w w ƒ

dim.

? #### w ww ww w ƒ dim. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ ? œŒ  w w p dim. ƒ . œ. # œ. n œ. >œ . œ œ. œ. > . #### œ œ J & J ƒ ## & ##

B # # # #   ƒ ? #### 



Œ 



  

? #### œ œ œ œ ƒ

 

  

 

  

 



 



   

∑

> f

∑

p Œ >

∑

p> p cresc.

 ∑ 

∑



∑

 



∑





j

. œ wœ

cresc.

∑

> f

∑ ∑

œ . œJ 

fz # 

#

∑

œœ Œ 

∑

cresc.

 

œ œ œ œ 

dim.

   

 

dim.





 

dim.

 

 

   



œ œ œ œ œ œ œ œ œ œ œ œ   dim.

cresc.



cresc.



  cresc.

œ . œJ 

œ. # œ. n œ. œ . œj >

œ. ‹ œ. # œ. >œ . œ

œ. # œ. n œ. >œ . œ



œ. # œ. n œ. >œ . œ

œ Œ . ƒ

∑

œ  œ

> œ  #œ nœ  œ œ  œ œ  > >

dim.

∑

œ. ‹ œ. # œ. >œ . œ

#  œœ Œ  .. ƒ fz

œœ Œ 

. .

œœ  .. Œ ƒ fz

∑

cresc.

œ  œ Œ  ..

œ œ œ œ  Œ  Œ Œ 

œ. ‹ œ. # œ. >œ . œ

fz n  # œœ Œ fz

F ∑

∑

. ? ####  .

Cor. (Mi) III. IV.

Œ p Œ  œ. # œ. n œ. >œ . aœ2 œ. œ. > œ œ > œ œ Œ  œ  œœ  .. œ. œ œ  #œ nœ œ #œ nœ œ.  J J  Œ Œ Œ Œ  Œ

 ..

w w

œ Œ  œ

w w

ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ ƒ

dim.

.

n  # œœ Œ  fz ƒ

#  œœ Œ   fz ƒ # œ Œ   ƒ fz

œ. ‹ œ. # œ. >œ . œ J

 





 œŒ œœœœ œ œœœ

Œ f> œ Œ  p . œ œ # > œ.> 116 # # # # œ œ . œJ œ  ‹ œ # œ  œ # œ  Œ  & Œ Œ ∑ >p # # # # aœ. 2 œ. > . j œ œ œ Œ ∑ ∑ ∑ & a2

Fl.

Ob.

Cl. (La)

œ. œ. œ . œj œ  >

œ. œ. >œ . œ œ  # ? ## # J a2

Fg.

œ. œ. œ . œj œ  Œ #  ∑#  >

III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

œ. œ. œ . œj œ  Œ >

B #### w w

dim.

? #### w

I. Vln. II.

Vle.

Vc.

Cb.

œŒ

∑



∑

cresc.

 œœ Œ 

œ.

p I. . œ p

Z ‹  œœ

j

cresc.

Œ 

I. œ  œ Œ œ. Œ 

œ. œ

∑

œ. Œ 



œ.



œ. Œ



œ.



œ. Œ 

œ.

œ. Œ 

 œœ Œ

∑

Œ # œ fz ∑

∑

∑ œ . œJ  F ∑

œœ Œ 

∑

œŒ œ

∑

∑ p p

∑

# ## . . > j & # œ œ œ. œ œ  ‹œ #œ  œ p> dim. ##     & # #         p dim. #   #  #  B # # #        p dim.

œ  œ

> #œ  œ œ # >

cresc.

  cresc.



 #

cresc.

œ . œJ  ‹  œ Œ

? #### œ œ œ œ

œ œ œ œ  

   

 



   œ Œ œ # œœœ œœœ œ œ œœ œ œ œ œ œ œ # œœœ œœœœ œ œœ œ œ œ œ œ  ‹ œ

# 

dim.

œ . œj

 

 nœ œ

  # œœ œœ œ œ œœ  œœ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p

? # # # #  

dim.



Œ #

œ. Œ

∑

dim.

Timp.

cresc.

 #

Cor. (Mi)

Œ  Œ > œ œ # œ #œ   Œ> > ∑ f p # 

I. II.

p Œ>

 œœ

cresc.

  14

 œŒ

∑

œ Œ 

pizz.

∑

œ Œ 

# p



œ Œ 

 nœ œ œ Œ 

œ.

## & ## 

126 Fl.

Ob.

Cl. (La)

Fg.

I. II.

œ. Œ 

. ? # # # # œI. Œ 

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.



œ. Œ



œ. Œ  œ.

Œ 

œ.



œ. Œ



œ. Œ  œ. Œ 

œ.

œ. Œ

II.

∑

#

œ. Œ  œ.



Œ 



∑ nœ œ

cresc.

∑

∑ ∑

∑

B ### #

∑

? ####

∑



nœ œ

œ. >

œ



> # wœ . p>

∑



 



∑



œ

cresc.

∑

#

œ.

∑

####



∑

Cor. (Mi) III. IV.



œ. Œ 

## & ##  &

œ.

œ J

> j # œ w. œ  > p a2

#œ. p>

œ



#

cresc.



cresc.

∑

>

#



cresc.

nœ œ

>œ .

œ J



## & # # œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œœ œ #œœ œ œ œ œ œ œ œ œ œ œ cresc.

Vle.

Vc.

Cb.

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 œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ

> ? #### œ .

œ J

? #### œ Œ 



œ Œ 

#



œ Œ 



nœ œ

œ Œ 

cresc.

.

cresc.

arco

cresc.

œ .

œ ‹ >œ .

œ J



#œ œ



#

Fl.

Ob.

Cl. (La)

Fg.

I. II.

‹ 134 # # ‹ & ##

# > #

# #### ‹  & ‹w p cresc. &

∑

 

 #œ ‹œ w

> # ww >p

. ? #### w

‹ œ ‹ w

# ww

Cor. (Mi)

#œ ‹œ #œ ‹œ

cresc.



III. IV.

Tbe. (Mi)

∑

B ### #

∑

? #### ?

I. II. Tbn. III. Tuba

Timp.

#### ‹ 

####

Vln. II.

Vle.

Vc.

Cb.

>œ . œ  œ. œ  J >

 

œ . œj w

ww>

w> # œ . œJ  >

# œ . œJ  >



.

œ  œ 

œ œ

œ  œ 

œ œ

œ  œ 

œ œ

œ  œ 

œ œ

∑



.

∑

œ œ

œ  œ 

∑

.

∑

œ œ

œ  œ 

œ 

∑

œ œ

œ  œ 

∑



œ 

œ  œ 

∑

œ

∑

#œ ‹œ

.

œ 

∑

>œ .

∑



œ 

∑

# >

œ œ

œ  œ 

∑

œ œ

œ  œ 

œ œ

œ  œ 

∑

œ œ ∑

# ww

III.

œ œ

œ  œ 

ww p

p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p

Dœ f



.

œ 

.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ# œ œ œ œ œ œ œ œ œ œ œ œ # œ œ# œ œ œ œ œ œ œ ‹œ f

œ œ œ œ œœ œ œœœ œ œ nœœ œ œœœ œ œ #œœ œ œœœ œ œ nœœ œ œœœ 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 f > .    ‹ œ . œJ   n # n ‹œ ‹ ? ####  n # n f w w  n # n ? #### w  n # n w f 16

142 Fl.

Ob.

Cl. (La)

Fg.

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

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln.

II.

####

Vc.

Cb.



œ.

œ



œ.



œ  œ 

 

œ.

œ J





œ.



œ.



œ J



con fuoco

 



œ.



œ.



œ

œ.

œ



œ



œ.

œ



con fuoco



œ œ  œ œ 

ƒ B # # # n œœ Œ  #

Œ 

. .

œ J

con fuoco



Œ 

? ####

con fuoco

 

œ



 

œ.

? ####  &



con fuoco

## & ##  #



∑

œ œ  œ œ 

∑

j j

∑



œ œ  œ œ 

∑

œ œ  œ œ 

∑ ∑

œ œ  œ œ 

∑ ∑

∑

. .

œ œ  œ œ 

∑

œ J

j j

∑



œ œ. œ œ.

œ œ  œ œ 

∑

 œ œ J   œ œ

∑ ∑

œœœœœœ œœœ œ œ œ œœ œ œœœ œœœœœœ œœœœœœ œœœ œ œ œ œœ œ œœœ œœ œ œœœ 3

####

ƒ ƒ



œ.

œ J



œ.

œ J



#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & con fuoco

ƒ con fuoco n # # # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & 3

Vle.



œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ B #### œ œ œ œ œ œ œ œ œ œ 3 3 ƒ con fuoco œ œœ œ œ œ # # # B # œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ƒ

? ####  ƒ ? #### 

con fuoco



con fuoco



con fuoco

 

. .

œ  œ 

 

. .

œ œ. œ œ.

œ j

œ

œœ œœ œœ œœ

150 Fl.

Ob.

Cl. (La)

Fg.

I. II.

####

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vle.

Vc.

Cb.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 

? #### 

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ



œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

. .

∑

œ. n œ. œ. n >œ . œ nœ œ nœ.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ œ. #  œ œ Œ # J

œ œ

œ  œ 

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

. .

œ. n œ. œ. n >œ . œ nœ œ nœ.

œ œ J

œœœœœœ œœœœœœ Œœœœœœ œœ œœœ œ Œœœœœœ œœœœœœ Œœœœœœ œœ œœœ œ

œœœœœœ œœœœœœ Œœœœœœ œœ œœœ œ Œœœœœœ œœœœœœ Œœœœœœ œœ œœœ œ 3

œ Œ  œ

> B # # # ww # ƒ III. ? # # # # w> ƒ

w w>

∑

w w

œ Œ  œ

œ Œ 

œ Œ  œ

w w

####

.

 .. 

fz .

œ B # # # # œ œœ Œ  . fz ? # # # # œ. Œ  ? # # # # œ. Œ 

w> w

w w

∑

œ. n œ. œ. n >œ . œ œ. J

#

œ. n œ. œ. n >œ . œ œ. Œ #  J ∑ ∑ ∑

.

œ 

∑

œ Œ 

dim.

œ. n œ. œ. n >œ . œ œ.

.

œ. n œ. œ. n >œ . œ œ. Œ #  J

fz fz

œ. n œ. œ. n œ . >

j œ œ. Œ # 

.

j œ œ. Œ # 

∑

œ Œ 

œ. n œ. œ. n >œ .

œ. n œ. œ. n œ .

œ Œ  œ

w w

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

œ Œ 

w w>

∑

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

Vln. II.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

Œ  # # # # œœ œ œ œ œ œ II.œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ &

Cor. (Mi) III. IV.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ 

j œ œ. Œ # 

#

fz fz

œ 

œ. n œ. œ. n >œ .

.

œ. n œ. œ. n œ .

.

œ. n œ. œ. n œ .

.

fz fz

> >

j j j

E n œœ.

## & ##

158 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Œ 

∑

# # œ. Œ  & ##

∑

Œ 

∑

. ? #### # œ Œ  #œ

∑

b œœ.

b œ.

œ Œ 

Cor. (Mi)



III. IV.

œœ. Œ 

Tbe. (Mi)

œœ. Œ 

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

. B # # # # œœ Œ  ? # # # # n œ. Œ  #œ ƒ

œ. Œ 

E œ.

####

  ∑

dim.

∑



∑



∑

œ .

∑

œ ‹œ œ œ œ œ nœ œ œ j

∑

# # # # œœ. Œ  &

∑

B # # # # # œ. Œ 

∑

? ####

∑

# œ. Œ 

dolce

œ œ nœ œ œ #.

∑

? ####

∑

# œ. Œ 

.

∑

Œ 

tranquillo

∑

tranquillo

∑

œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

#œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ p ‹w p

div. pizz.

‹œ Œ  ‹œ p 19

.

œ Œ  œ

œ œ Œ 

œ œ œ Œ Œ œ ‹‹ œœ Œ 

œ ‹w

.

œ Œ Œ œ œ œ

# ## & #

168 Fl.

Ob.

Cl. (La)

Fg.

I. II.

& &

####

∑ #

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

œ 

cresc.

w w

p

II:

cresc.

∑

œ œ  œ ## ww œ  œ œ 

œ #w

∑

B ####

∑

? ####

∑

####

## & ## # B ## #

∑

œ  œ 

 œ œ œ œ œ œ œ œ 

trem.

 ‹œ œ #œ œ œ œ œ œ 

trem.

? #### w

? #### œ Œ 

œ œ Œ 

œ œ

div.

 

trem.

w w

cresc.

œ œ  œ ## ww œ 



#   cresc.

 

#  

 

   

 

œ Œ  œ

cresc.

    cresc.

   

∑



∑

n ww f

#

Cor. (Mi) III. IV.

∑

#œ œ 

œ ‹œ . ∑

? ####

∑ cresc.

∑

    ∑



# #w f #w #w f

 # w

w w

 # w

w nw

w w

b ww f

# f

b # w f

dim.

nw nw

. .

dim.

 ..



 #

#.



 # w

w w

#  . .

∑

#w f

∑

III.

dim.

∑ nw

dim.

∑

.

dim.

∑

# œœ Œ  . f

∑

pizz.

n œ. Œ  f

∑

pizz.

∑

pizz.

#œ Œ  f

∑

# œ. Œ  f

œ Œ 

∑

Œ 

∑

nœ Œ  f

∑

œ f

nœ Œ  f

∑

# # # ‹ œœ Œ  & # p

178 Fl.

Ob.

Cl. (La)

#### œ Œ  & ‹œ p # œŒ  & œ  p

Fg.

I. II.

Tbe. (Mi)

I. Vln. II.

Vle.

∑





∑

Timp.

∑





III. Tuba

∑

w 

III. IV.

Tbn.

∑

œ ? # # # # ‹  . # œ  .   p

Cor. (Mi)

I. II.



∑





 





.  

 







‹  œ # œ  



w 





 



un poco riten.

∑





∑





∑





∑



∑

B ### #

∑

? ####

∑

## œ œ nœ œ œ # . & ##  œ ‹œ . p # # # # Œ arco & ‹  œœ Œ  œœ Œ  œ Œ  # œ > > > p> arco B #### Œ #  œ Œ   œ > >p

Vc.

? ####

Cb.

? # # # # arco  

∑



∑

.

œœ

Œ ‹ œ Œ   œ  > >

œœ Œ ‹  œœ Œ  œœ > >

Œ # œ Œ   œ > >



.

arco

 

œ Œ  œ Œ  œ #  œ > >



 



œœ

œ . 

 

œœœ 3

œœ œœ  . .

> F >œ. œ. œœ # œ œ  F

œœ Œ ‹  œœ Œ  > >

œ œ nœ œ œ ? # œ ‹œ . 

œ 

œ œ nœ œ œ # œ ‹œ .

un poco riten.

œ œ n œ œ œ # œ pizz. Œ œ Œ 



π 

œ Œ

pizz.



#

œ. œ œ. œ

p ‹ œ. œ.



# œ œ  p 

œŒ



œŒ

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vle.

Vc.

Cb.

œ nœ œ #œ # œ ‹œ .

#œ

∑

## & ##

∑

. #w

? ####

∑

w w

 w 

∑

w w

∑

œœœ  3

œœ œœ  . .

œ. œ œ. œ



> p F >œ. œ. # ‹ œ. œ.  # # B # #œ œ  #œ œ F p ? ####  œ Œ  œŒ ? #### 

œ Œ



œŒ

#œ

div. trem.

@ @ #   F

> >

∑

   #

w w

> # w  >

dim.

w # 

dim.

∑

œœ Œ  p

# œœ Œ  p

∑

œ nœ œ #œ # œ ‹œ .

#œ

> .

#œ œ nœ œ #œ # œ ‹œ dim.

@ @ #   >

@ # @

n @ @

@ # @

@ @ n  # 

@ @ #  

@ @

@ # 

@

@ @ n  

 œ Œ F



@ @

œ Œ  œ Œ  œ Œ  œ Œ 

œ Œ  œ Œ 



œ Œ  œ Œ  œ Œ  œ Œ 

œ Œ  œ Œ 

 œ Œ F

@ > @

dim.

#œ

n @ @

dim.

∑

.

@

∑

#œ œ nœ œ #œ # œ #œ œ Œ  w w #œ p dim. ∑  # n   w œ Œ  w p dim.

# @

div. trem.

Œ 

∑

a tempo ma sempre tranquillo

# œ . œJ  . F

. #w w 

# ww

∑

? ####

#œ œ nœ œ #œ # œ ‹œ

   

∑

####

#œ

∑

B ### #

œ nœ œ #œ # œ . w w # œ # w w

∑

#œ

∑

#### 

∑

# ww F

> .

dim.

∑

Vln. II.

#œ

.

∑

Cor. (Mi) III. IV.

a tempo ma sempre tranquillo

####

188 Fl.

# @ p

@

œ #œ  œ. # œ. 

œŒ

# ## & #

∑

# ## & #

∑

198 Fl.

Ob.

Cl. (La)

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

# ## & # #

dim.

œ ‹œ .

dim.

# @

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

## & ## @ @   # B ## # #  n  # n dim.

Vc.

Cb.

? ####  ? #### 

œ Œ

dim.

œ Œ

dim.

@

#œ #. ∏

œ #œ  œ. # œ.  

œ Œ



œ Œ

#œ #.

Œ @ œœ

∏

#œ #.

Œ @ œœ

#œ #.

Œ @ œœ

# @ œ Œ # @ œ Œ n @ œ Œ # œ # œ n œ ∏  

#œ

Œ @ œœ # w

œ . œ .

@ œ Œ  œ

. .

œ œ

œ Œ



œ Œ



œ Œ



œ Œ



œ Œ  œ Œ  œ Œ  œ Œ

œ Œ



œ Œ



œ Œ



œ Œ



œ Œ  œ Œ  œ Œ  œ Œ

∏ ∏

# ## & #

208 Fl.

Ob.

Cl. (La)

& &

n.

Tempo I.

∑

####

∑

p ∑

∑

nœ œ nœ œ. œ œ J n œ n œ . Jœ ∑

b.

œ n Œ 

∑

œ n.

nœ œ bœ œ. œ œ bœ b œ . œj œ n  Œ J

∑

œ ∑

Fg.

? ####

∑

œ n Œ œ n

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

#### ####

Tempo I.

w #w

B ####  . .

 n n 

div.

‹œ . ‹œ .

sempre

n 

sempre

nœ nœ

? ####  œŒ  œŒ  œŒ  œŒ ? ####  œŒ  œŒ  œŒ  œŒ

pp pp

      n n   n n  



 

  n n  



 

œ n Œ œ n

pizz.

n n œœ Œ œœ Œ  n œœ Œ

Œ nœ Œ  nœ Œ pizz.

n œœ n œœ œœ œœ  n n 



 n n 



  n n  

Œ Œ  n n œœ Œ n n œœ n œœ

n 



n 



n  

nœ Œ 

∑

nœ Œ 

sempre

arco

sempre

nœ

pp pp

 

n  ∑

∑

pizz.

# ## & #

218 Fl.

Ob.

Cl. (La)

Fg.

& &

∑

#### n  . #

∑

n ? # # # # Œ œœ n 



nœ

œ n.



Œ bœ

n.

nœ œ nœ œ. œ œ J n œ n œ . œJ ∑

∑

b.

œ n Œ 

∑

œ #.

∑

œ .

nœ œ bœ œ. œ œ bœ b œ . œj œ n  Œ J

œ n Œ œ n

∑

œ .

∑

#œ  Œ #œ 

∑

#œ  Œ #œ 

œ . ∑

#œ  Œ #œ 

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

####

II.

####

Vle.

B # # # #  n n œœ Œ  n n œœ Œ n 

I. Vln.

 n œœ Œ  n œœ Œ n  

arco

 nœ Œ  nœ Œ  œ œ n n 

arco

 

n  

 

n n 



n n 



  n n  

n 



n 



n  

Vc.

? ####

nœ Œ 

Cb.

? ####

n  

nœ Œ 

nœ

arco

Œ 

 n 



∑



n    

 



n  

 n 



∑

  n  

∑

pizz. œ Œ #œ œ Œ 

# n œœ

œŒ  œ

œŒ œ

Œ nœ Œ  nœ Œ  nœ Œ  nœ Œ œ œ œ œ pizz.

œœ Œ # n œœœ Œ  n œœœ Œ  n œœœ Œ  n œœœ Œ œ œ

pizz.

Œ  Œ 

Œ 

pizz.

œ œ

Œ 

œ œ

Œ  Œ 

œ œ

Œ  Œ 

# ## & #

228 Fl.

∑

####  I.

Ob.

Cl. (La)



Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

arco ####  .

œ n œ œ n >œ . œ  #  J

# # # # arco n  &   π arco   # # B ##   π

n

  

n 

 

   

? ####

∑

? ####

œŒ

∑

    B

 . œ n œ œ n >œ . œ  #  J

∑ n

cresc.

 



cresc.

    cresc.

n 

n

n 

n

   

 

 . œ n œ œ n >œ . œ  #  J

  

arco

∑

cresc.

∑

 

.

∑

 



œ. n > œ. n  

œ. > œ.  

n œœ. > œœ. n ww fz f œ. > œ.  

. > . n œœ  œœ n ww fz

f œ n œ œ n >œ . œ œ. Œ  J f ∑

∑

œ. n > œ. n  

∑

∑ ∑

240 Fl.

Ob.

Cl. (La)

####

∑

n >

Fg.

I. II.



III. IV.



Tbe. (Mi)

∑

B ####

∑

Cor. (Mi)

Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

n n n # # # # Œ  œœ Œ  œœ Œ  œœ Œ  œœ & fz fz fz ƒ a2 # Œ b > œ Œ b  œ Œ b  œ Œ b  œ & fz fz ƒ fz ? ####

I. II.

∑









∑









fz fz









fz fz

∑



∑

.

∑

.

 ## & ## Œ ƒ B #### 

? ####  ƒ



div.

 

 .. Œ  fz 











fz fz

 .. Œ  fz 











fz fz

 .. Œ  fz

n 



n

    

n



   n 

 n





   

 





fz fz

.

    27

 

∑ ∑

œ. b œ. œ. b œ . œj  #  >

. ∑

∑

n 

  

  

n

 

    

  n 

 n

 

   

 

   



 

œ. n œ. œ. n >œ . œ

.

œ. n œ. œ. n >œ . œ

∑

 

∑

.

∑

n 

∑

 

∑

œ. b œ. œ. b œ . œj  #  >

.

 

∑

œ. n œ. œ. n >œ . œ  #  J

∑

œ. n œ. œ. b >œ . œ  #  J

∑

n n n # # # # Œ  œœ Œ  œœ Œ  œœ Œ  œœ n   &   ƒ > ..

œ. n œ. œ. n >œ . œ  #  J

III.

n >

.

œ. n œ. œ. n >œ . œ  #  J

∑



∑

? ####

∑

.

∑

n 

  

  

n

 

    

  n 

 n

 

   

 

   



 

    

 

   

.

œ. n œ. œ. n >œ . œ # œ. J œ Œ 

∑

# # # # a2.

œ. n œ. œ. n >œ . œ # œœ. Œ 

∑

.

œ. n œ. œ. b >œ . œ # œ. Œ  J œ

∑

## & ##

250 Fl.

Ob.

Cl. (La)

& &

.

Fg.

? ####

I. II.

III. IV.

Tbe. (Mi)

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

œ. n œ. œ. n >œ . œ # œ. J œ Œ 





œ. b œ. œ. b œ . œj n œœ. Œ 

∑



.

œ. b œ. œ. b œ . œj # n œœ Œ  . >

∑

 # fz

fz fz

∑

     

 n    n

  

 



#  B # # # n 

Vc.

? #### 

Cb.

? #### 

  

 

         

∑

œ.  # 

œ. n >

œ. n 

œœ. >

œœ. ww

n œœ. >

œœ. n ww

œ. n >

œ. n  

# œ. >

œ.  # 

œ. Œ  œ. Œ 

fz fz

∑



∑ ∑

∑

n n

#. fz

 #  fz

div.









fz fz

∑

Œ  .. fz

∑

œ n œ n œ n œ œ Œ n œ Œ n œ Œ n œ

div.

fz fz

 # fz

∑

III. ? ####  # 

##  & # # n

∑

 # fz





∑



 # fz

∑

# œ. >







∑

 





∑

n 



fz b œ # Œ .

∑

B ###  #  #

  





∑

# # # # n 



fz n  .

Œ  .. fz

∑

n  . œ

Œ  .. fz

∑

fz n  .

n  . œ

Œ  .. ƒ

∑

n  . œ

n  . œ n  . œ œ Œ Œ Œ fz fz ƒ b œ b œ b œ #  #  # . . Œ Œ Œ . fz fz ƒ

.

∑

n  . œ

#.

 #  fz









fz fz

#.

 #  fz









fz fz

#. fz

 #  fz









fz fz

Fl.

Ob.

Cl. (La)

Fg.

I. II.

& & &

# # # #  .. #

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

œ # œ n œ >œ . œ œ œ # œ . œj œ  J >

ƒ ƒ

Œ > p

cresc.

∑



∑

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

∑

∑

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # w  œœ Œ 

? #### w w ƒ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~

ƒ . ####  . & ƒ ####  . & ƒ

dim.

? ####   ƒ





 





 



j œ . œJ 

∑

œœ Œ 

∑

    



p p

#



 



    cresc.

   

cresc.

#

cresc.



    cresc.

œœœœ  

# 



 

œ . œJ 

 

œ n œ œ >œ . # œ

œœœœ œœœœ Œ œ œ œ œ œœ œ œ ƒ

∑

cresc.

   

œ n œ œ >œ . # œj

#  œœ Œ œœ œœ œœ œœ œœ œœ œœ œœ ƒ fz

# ww

∑

#  œ Œ œœ œœ œœ œœ œœ œœ œœ œœ fz ƒ

cresc.

∑

œŒ  p

 

fz #  œœ

œœ Œ 

œ # œ n œ >œ . œ œ œ # œ . œj œ  J >  

 œ . ‹ œ Œ . ƒ fz œ  œ Œ  .. 

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ  

w 

∑

dim.

cresc.

# p cresc.



I œ # œ n œ >œ . œ œ œ > . > œ # œ > œ œ # > # œ œ œ  # œ n œ J  J

# non div. B # # #  



dim.

cresc.

∑

p Œ 

p> cresc.

∑

∑

f œ . œ #  J 

Œ > œ œ # œ # œ Œ Œ   Œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

Œ >

Œ 

? ####

œ # œ n œ >œ . œ œ œ > #œ. œ œ  J J

 ..

B #### w w ƒ

œœœœ ? #### œ œ œ œ ƒ &

œ n œ œ >œ . # œ

Cor. (Mi) III. IV.

Ip fz cresc.  . œ # œ n œ >œ . œ œ œ > . Œ  œ Œ > œ œ Œ œ ‹  œœ . # œ # œ #  Œ œ œ  # œ n œ  J  J

. . 260 ####

 

 œ fz

œœ Œ 

ƒ ƒ ƒ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~

ƒ .

#  œœ Œ    fz ƒ # œ Œ  fz ƒ fz

œ n œ œ >œ . # œ J

 œ ‹  œ Œ  ..  ƒ fz

 œ

dim.

œ n œ œ >œ . # œj  

   



 

Œ œ œ œ œ œœ œ œ ƒ

p >œ . œ œ  Œ œ 270 #### # œ œ œ . œ œ  ‹ œ # œ # J & Œ Œ p> #### a 2 ∑ # œ œ œ . œj œ  Œ & > p > # #aœ2 j œ œ. œ œ  #œ nœ œ & #  > Œ ∑ a2

Fl.

Ob.

Cl. (La)

Fg.

I. II.

? # # # # œœ œœ œœ œœ

œœ œœ œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœ w #w

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

œœ œœ œœ œœ œœ œœ œœ œœ

∑

I. Vln. II.

Vle.

Vc.

Cb.

∑

w 

cresc.

∑

# p

∑



cresc.

w #

#

∑

œœ



œ.

p I.

œ.

Œ 

œ. Œ 



œ. Œ



œ.

Œ 

œ. Œ 

∑

œœ Œ

∑

#  œœ Œ

∑

∑ ‹ p



 #œ œ

# p



 nœ œ

œœ Œ 

∑

? #### w w

œœ Œ 

∑

‹ œ >

œ # œ ‹ >

dim.

~~~

œŒ 

∑

œ # # # # # œ œ >œ . œ œ  ‹ œ # œ # J & > p #### # œ œ œ . œj œ  Œ #   & >   p # B # # #     ‹ #     p ? ####   ? ####



 

 #

œ œ œ œ œ œ œ œ  p

 

cresc.

# 



cresc.



    cresc.

‹



cresc.

    cresc.

œ  œ 

‹ œœ œœ œœ œœ # 

 œœ Œ

# œ . Jœ 

 

  30

‹ œ fz

 œŒ



 #œ œ œ. œ  J



    

 ‹  œœ Œ 

 

‹

œ. Œ

œŒ

fz fz # œ Œ

F cresc. j # œ . œJ 

∑

B # # # # ww

dim.

Timp.

∑

cresc. Œ  œ fz Œ > ‹œ  œ #œ ‹ Œ  Œ > fz cresc. f Z ∑   œ . œ #‹   J  p cresc. fz Œ > œ  Œ  #œ  œ #œ # Œ > > fz p cresc. #  ‹  ∑  f fz

     œŒ 

œŒ 

pizz.

œ.

# ## & # 

280 Fl.

Ob.

Cl. (La)

Fg.

I. II.

∑

œ . œj 

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.



œ. Œ





œ.

œ. Œ 



#

∑

B ####

∑

? ####

∑

# B ## #

∑

w # 

∑

∑ ∑

 ‹ cresc.

œ œ # œ œ  œ ∑ ∑ ∑

 # w # 

cresc.

∑

 # p ∑

∑ ∑ #œ œ 

∑  ‹

cresc.

∑

w 

w #œ œ 

cresc.

> p cresc. ∑

. ∑ œ ∑ # 

œ a2 # œ œ > œ  .

cresc.

∑ œ



w 

∑ ∑

∑  #



w 

# w  p cresc. # w 

∑

 #œ œ œ. œ 

## & ##        

∑

 nœ œ œ Œ  w

∑

 #œ œ œ Œ 

∑



p Œ 

∑



‹

œ. Œ  ‹ 

#### ‹ 

∑

œ.

Œ 

∑

? # # # # œ . œj  &

Œ 

œ. Œ 

# ## & #  #

œ.



 œ  œœ œœ #  œ œ  œœ # œ œ div.

cresc.

         ‹  cresc.

                     ‹ div.

cresc.

Vc.

? #### œ Œ 

œ Œ 

Cb.

? #### œ Œ 

œ Œ 

 

arco

 

p cresc.

arco

p cresc. 31

œ  # œ œ > œœ  .. œ  #œ œ 

 

 ‹ 

 #œ œ 

   #   

   ‹   

  

    w

#



 

 

   # œœ œœ 

 ‹    ‹

   

# 

 

   

  #  

 #

   

 

 #  

œ œ

Fl.

Ob.

Cl. (La)

Fg.

I. II.

p Œ >

œ  œ  .. 290 # ## # & & &

cresc.

#### w ∑ #

> œ  œ . p

 #

Cor. (Mi)

bœ

 ‹

cresc.

œw œ 

œ # œ # 

w œ œ 

 # œ #  œ

III. IV.

Tbe. (Mi)

∑

B ### #

∑

? ####

∑

I. II. Tbn. III. Tuba

Timp.

> nœ . œ  #### œ  n œ  . &

Vln. II.

Vle.

Vc.

Cb.

#### 



 



 œ  # œ # B ##   ? # # # #  # ? ####  # 

 #  

 ‹

w 

œ # # w.

w.

œ 

#.

œ 

f f

#.

œ 

#.



Œ 



∑

 œ œ

œ  œ 

∑



∑

 œ œ

œ  œ 

∑



∑

œ # # w .

œ  œ 

∑

nœ nœ

œ œ

œ  œ 

œ œ

#œ œ œ



∑

œ œ

#. #.

œ œ

w 

#w ƒ

n 

#œ Œ 

∑

œ Œ 

∑

œ œ œ  œ œ œ #œ œ œ  œ œ #œ

œ œ nœ 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 #   f



n



n

#

n

#

n

#

n

n n

∑

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



 œ œ #w

n ww ƒ

œ  œ 

 œ œ n w 

∑

#. #.

#œ œ œ

 œ œ

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

 œ# œ#   

 ‹  

œ 

f Œ

 ∑# 

? ####  &

nœ

 

   

n 

 

#w #w

Fl.

Ob.

Cl. (La)

Fg.

I. II.

œœ œœ   298 # ## # & & &

# # # # w #



. .

Cor. (Mi)

∑

B ####

∑

? ####

∑

I. Vln. II.

Vle.

Vc.

Cb.

  

# . B # # #  ? #### w ? #### w

∑

# > >

‹ ww f

∑

 

     

w w

fz fz fz fz fz fz

#w f

III.

œ     

>

# ww f

œœ œ # # # # œ œ œ œœ     & ## œ œ  & ## œ œ 

∑

#œ Œ  # œ.

# œœ Œ .

Timp.

∑

a2 . > # > > œ #œ Œ

Tbe. (Mi)

III. Tuba

‹ œœ Œ  .

œ œ

Tbn.



# > > # 

œ. œ Œ 

III. IV.

I. II.



œœ œœ w w

? #### w

>

∑

>

# > >

∑

œœ

∑

Œ 

∑

œŒ  œ

∑

œŒ 

∑

œŒ 

∑

# œœ Œ  p

∑

œŒ 

∑

œœ Œ 

# œœ p

p p p

# œœ Œ  p p ∑



œ > œ Œ

# > >



>

# > >



‹œ Œ

.

fz fz fz

Œ 



  dim.

 #

 



∑



∑

n b π

b  π b  π b  π b  π

 n ∑ ∑ ∑ ∑

# ## & #

∑

# ## & #

∑

310 Fl.

Ob.

Cl. (La)

# ww >p n >w

 

b b 

n # ww > b w> nw





b b 

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

## & # # bw

Vln.

b b

####

∑

B ####

∑

Vc.

? ####

Cb.

? ####

II.

Vle.

b b

b  b œ . œj

b b

con espressione

n



∑

n b 



∑

b



∑

b



∑

bw >

@ @ 

b b 

b   @p @

b b 

b >  @ @ p bw p

b

 @  @

 

@ @ 

b b  >

n @ >

b >



b  b œ . b Jœ

> . b  b œ b œJ b w

div.

n n  p> n >



@ @ 

b b 

@

b @

@

 @

b

 @





# ## & #

∑

# ## & #

∑



∑



∑

320 Fl.

Ob.

Cl. (La)

Fg.

ww>

# 

b ww> n # ? ## #

b 

∑

nw F

∑

dim.

∑

bw p

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

# ## > & # bw

b b

n n

 n

# ## & # b @ @ n  >

b @ @

n b 

b b 

b n 

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# > B # # # n b  

@ @

b



 @ @

cresc.

@ @ 

cresc.

n b 

@ @ 

b n 

cresc.

@ @  @ @ 

? # # # # b > 

b

b n

? #### b w

 

b n

@ @

 @ @

cresc.

-

b -

n b

b n @ @ n @ b @ F

@ @ n b b   @ @

nw F

nw F 35

dim.

@ @ 

b b 

@ @  @ @

b b b 

b b 

dim.

b @ @ n b

b b b 

 b

b

@ @

dim.



@ @ 

@ @

@ @

n b

b p



b b   @ @ p

b n b b 

 @ @

@ @ @ b b nn   b b nn  @ @ @ p bw p bw p

w w

@  @

# ## & #

∑

####

∑

? #### b w ∑

w∑

∑

B ####

∑

? #### ?

330 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln.

ww p

cresc.

n b ww p

cresc.

III.

cresc.

n b nw

ww b n ww

@ @

? #### b  

b 

? #### b w

∑

# œœ Œ 

∑

b  bw f

n b w

n œœ Œ 

∑

#w f

œ Œ 

∑

b 

n b

∑

@ @ b b b  

∑

œ #œ Œ 

∑

@ @ # B # # # b b b  

n œœ Œ 

∑

Vle.

b ww

bw bw f

∑

@ @ b b  

∑

# ww

∑

# ## b w & #

∑

## @ @ & # # b b  

Cb.

b  bw p cresc.

∑

II.

Vc.

∑

cresc.

b n @ @ F cresc.

@ @ n b b   @ @

F cresc.

bw F cresc. nw F

cresc.

@ @ n  

b @ @ n 

@ @

bw f

@ @ b b   f

@ @ b b b   @ @ f

@ @ b b  

 b p

n b œœ Œ 

@ @ b b b   b nn œœœ Œ  @ @

b

b 

n b

nœ Œ

bw f

bœ Œ 

b b

j bœ

b  b œ . n œj cresc.

∑

b b

j bœ

b bœ. nœ J cresc.

∑

340 Fl.

Ob.

Cl. (La)

Fg.

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

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

####

∑

## > & # # n n ww > F > # w &  # F a2 ? #### b  b  F

> w #w

> F

# w #  > F ∑

& &

b b ww œ J j bœ

∑

b n w b 

j > œ . œ #w  #   >

b b >

b b

# w>

w # 

> j

∑



bœ J

b b w b  > œ J

j bœ

œ J

∑

b b w n  >

. j >  œ œ w # 

 

b b

w 

∑

b n nw >

w #  >

n w # 

nb w n 

nw nw

w # 

n ww

bœ

∑

œ# J

> >

b b w n

j bœ

> j œ  # #w

∑

# w #  > ∑

œ J

∑

nw nw

cresc.

w

cresc.

nw b b

bœ J

cresc.

b n ww

b

∑

b b f # œ œ # n w f n bœ bœ bw f

# ww

cresc.

∑

cresc.



b

j bœ

b w  f

∑

b - b b b



w # œ œ # b w 

∑

n w 

> ∫ b b



b w  > > j œ b  w

œ J

∑

B ### #

∑

? ####

∑

∑ b - b -

& & &

####

#### ####

bw F

b @ @

n @ @ >

n @ @ > F

B #### b  b  F # B ## # @ @ b  > F ? #### b w F ? # # # # b w> F

j bœ

b @ @

> b b

b @ @

n @ @ >

b b

b @ @

b n

b b >

b @ @

@ @

b 

@ @

b  b œ . b œJ b w

j bœ

b >  b b

b n

b  b œ . b œJ b w

. b  b œ b œJ b w

bœ

b n >

n @ @

b @ @

b 

b n b b > . b  b œ b œJ b w

j bœ

bœ

b - -

n 

n b

b @ @

@ b @ b œ b œ b b  @ @ f b n n

cresc.

@ @

cresc.

n 

@ @

@ @ cresc.

b n > b b

b @ @ b b

j bœ

b b

j bœ

cresc.

@ @ f

@

 @ @ f

b @ b œ@ b œ ∫@ b  @ f @ b bœ bœ bw f b bœ bœ bw f

j bœ

∫ b

@ @

@ @ b b   b b

j bœ

@ @

∫ b

@ @

b b b b

350 Fl.

Ob.

Cl. (La)

Fg.

I. II.

####

# ww fz # ww

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln.

II.

Vle.

Vc.

Cb.

∑

#### b w bw & fz # ww & fz ? # # # # ∫ b w b  > fz &

bw bw

∑

w   b ∫ b >

b b

∑

b - b b b



# n w  ∫ b bw

b w 

# b w 

n w 

∫ b  b

j bœ

b w  > > j nœ b w  œ J

∑

B ####

∑

? ####

∑

b -

-

f b b f

n - b -

b >w



n - b  n  b -

b w> bw >

bw bw

#### b w fz

# ## & # b

 @ @

fz # ## @ @ & # n b   fz b #   B ## # @ @ fz # B # # # b n  

@ @ fz ? # # # # ∫ > b  ? # # # # ∫ > b 

@ @ 

b

 @ @

b n 

 @ @ >

∫ b

> ∫ b

# ww fz # ww

@

j bœ

nw nw f

n ww

n ww f

 b  b

# ww

∑

 @ @

fz @ @ n b   fz b 

n b 

 @ @

b n 

fz > ∫ b

> ∫ b

∑

b @ @ f

∫ b

∑

 @ @

fz b n 

b w b 

∑

b



∑

b

∑

∫ b

b b

b -

# ww

# w 

# w 

@ @ 

bœ

b - b -

b b 

∑

∫ b

∫  b > fz

w ∫ b

∑

 @ @

∑

b

∑

@ @ 

b b 

∑

∫ b

n b 

∑

b b

∑

b -

bw bw

∑

bw bw

∑

@ @ 

b

 @

 @ @

> ∫ b > ∫ b

-

n - b -

> bw

@ @ 

@ @ n  b  b b 

b b 

b @ @ f n 

b @ @

b @ @ f

@ n @ b 

b @ @

nw f nw f

n @ @ nw

b @ @ b -

-

b @ @ b - b -

Fl.

Ob.

Cl. (La)

Fg.

I. II.

b 360 #### & # ## b  & # b &

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vln.

II.

Vc.

Cb.

 

b n b n

bw bw

w w

# ww



f cresc. b - b  cresc.

n - b n b n - b  n  b -

n ww

# ww

nw nw

bw bw

cresc.

b b

# w 

w 

# ww

# w 

w 

# ww

∑

B ####

∑

? ####

∑

? ## & # # b b b 

& &

∑

####

cresc.

∑

b ww F nw

cresc.

∑

bw f

# œœ Œ 

∑

n w b 

n œœ Œ 

∑

œ Œ 

∑

b @ @ ƒ

∑

b @ @

n n œœ

Œ 

b @ @ ƒ

b @ @

b n œœ Œ 

∑

b @ @ ƒ b 

b @ @

n b œœ Œ 

∑

bw ƒ

b @ @

# # œœ Œ 

b b œœ Œ 

b @ @

b b

b b 

b @ @



b b  ƒ

n 

b @ @

∑

@ @ 

b n  

B # # # # b @ @

œ Œ  œ

@ @ 

w w

w b b 

b @ @

∑

b w>

b b 

 @

# œœ Œ 

n - b -

b b 

b

∑

-

∑

 @  @

n b œœ Œ 

b -

∑

ƒ # ww > ƒ

∑

cresc.

∑

@ @ 

b b ww

œ œ Œ 



 @

ƒ b w> bw

b b w  f

n ww

bw bw

∑

III.

b w> bw

bw bw > ƒ

b n

? #### b w

b w b 

∑

@ b @ n 

? #### n 

b b w 

∑

b @ @

# B ## # b  Vle.

b b

? #### n   bw

Cor. (Mi) III. IV.



b n

b @ @

cresc.

@ @ cresc.

@ @

b @ @

n @ @

b @ @

b



b b

b



b b

cresc.

nw bw

@ @ 

∑

∑ bw

@ @ 

n b

 b p

b b

nœ Œ 

∑

bœ Œ 

∑

# ## & #

∑

# ## & #

∑

370 Fl.

Ob.

Cl. (La)

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

 n

n 

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

# ## & # b b π # ## & # n n   π B #### b   π

Vc.

? ####

Cb.

? ####

b  π b  π

b b

b n

b 



b 

n 

 

b n 

b 

n 

 

b 

n 

# 

 

n 

b 

n 

# 

 

n 

n n 



b n 



n n 



n n 



## & ##

∑

## & ##

∑



∑

n n  

∑

382 Fl.

Ob.

Cl. (La)

Fg.

b b ww π

b b w 

? #### n w nw π

n b ww

b w 

b b ww

n n ww

b b w  n b ww

b w 

b n 

∑

III. IV.

∑

Tbe. (Mi)

∑

B ### #

∑

? ####

∑

 n

n  ∏

 

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

## & # # n b  n π sempre #### & ww b n ww π sempre B #### n  b   n  π sempre

w ? #### n w nw w π sempre div.

Vc.

Cb.

? ####

w nw π sempre

 n

n

 n

n

nw nw

w w

n  n 

n n ww

n

n  n 

b

n

dim.

n

dim.

w  n

n ∏



n



n  ∏

n 

n  ∏

n 

n  ∏

n 

# ## & #

∑

# ## & #

∑

394 Fl.

Ob.

Cl. (La)



p∑

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

 



Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

####

∑

n 

#. Œ

∑

? #### n  

n 

n. Œ

? #### n  

n 

n. Œ

## & ##

n

# B ## # n  

n

#.

.

∑

. Œ

∑

n. Œ

∑

n. Œ

∑

. .

œ. œ ∑

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

. œ w

∏

 œ . œJ w

poco a poco cresc.

@ @ @ @

trem.

@ @ @ @

trem.

@ @ @ @

poco a poco cresc.

@ @ @ @

poco a poco cresc.

. œ w

 œ . œJ

@ @ @ @ @ @ @ @         @ @ @ @ @ @ @ @

@ @ @ @

poco a poco cresc.

@ @ @ @ @ @ @ @

trem.

poco a poco cresc.

# ## & #

∑

####

∑

408 Fl.

Ob.

Cl. (La)

Fg.

I. II.

& &

? ####

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

∑

j  œœ .. œœ ww J  p

∑

cresc.

∑

Cor. (Mi) III. IV.

∑

cresc.

ww œœ .. œœJ  œœ .. œœJ  œœ .. œœJ  œœ .. œœJ  œœ .. œœJ 

 œœ .. œœ  œœ .. œœ  œœ .. œœ  œœ .. œœ  œœ .. œœ ww J J J J J

w w

fz ∑

∑

p cresc.

∑

fz >

  f

 

f fz

 

w ∑

w> w>

f w>

w> f

∑

w> w>

∑

w> w>

∑

B ####

∑

? ####

∑

w ∑

∑

 

w ∑

∑

w> w>

ƒ ƒ

∑

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

#### w

## @ @ & # #  

  B ####   @ @

Vc.

? #### @ @  

Cb.

? #### w

 œ . œJ w @ @  

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

@ @ @ @    

  @ @

    @ @ @ @

@ @

@ @ @ @

  @ @ f

  @ @   @ @

@ @

     

 œŒ

     

 

ƒ fz

> ƒ

O n œœ



œœ

œœ n 

œœ

œœ n œœ œœ œœ

n œœ 

œœ

œœ n 

œœ

œœ n œœ œœ œœ

# # # # n œ n 

œœ

œœ n n 

œœ

œœ n n œœ œœ œœ n n œœ œœ œœ œœ n n œœ 

œœ

œœ n n 

œœ

œœ n n œœ œœ œœ n n œœ œœ œœ œœ

œ b 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

w w

 

nw nw

w w

 

# ## & #

420 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Vln. II.

Vle.

Vc.

Cb.

w w



œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

.

œ. b œ. œ. b œ . œj 

.

œ. b œ. œ. b œ . œj 

a2 B ####  . 

œ. n œ. œ. n >œ . œ >

.

œ. n œ. œ. n >œ . œ >



œœ b 

Tbe. (Mi)

Timp.

w w œœ

III. Tuba



n œœ œœ œœ œœ

œ b 

III. IV.

Tbn.



? #### n w nw 

Cor. (Mi)

I. II.



n œœ œœ œœ œœ



? #### n w nw 

w w

#





#





 



w w

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



O

#### n 





##  & # # n  

 B # # # # n   ? # # # # n  

? #### n w 

    

  

 

n n 





n



n

    

  

 

n n 





n

    

 



œ Œ

 

  

n n 





n

 

 

nw nw 

#





#





 



w w

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



 

n n 





n



nœ œ œ œ

n

œ nœ œ œ

nœ œ œ œ

    

  

 

n n 





n



n

    

  

 

n n 





n

    

 



œ Œ

 

  

n n 





n

 

 

nœ œ œ œ

œ nœ œ œ

nœ œ œ œ

## & ##

428 I. Fl. II.

Ob.

Cl. (La)

Fg.

I. II.

III. IV.

Tbe. (Mi)

Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

#### œ Œ  & F  # # # & ## w F w # & w F ? #### ∑



w  

nœ œ ∑

nœ œ

œ œ œ œ

w .

fz #. #. fz

w w> f

w

œ œ

B ####

∑

? ####

∑

œ œ # #  ..

∑

fz #. # . fz

#  .. > f > # w . > f III. w>

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

#



w 

nœ œ

∑

####

w

.

Cor. (Mi)

I. II.



#

 œ œ œ

# w

∑



w

nœ œ ∑

nœ œ

fz fz

w .

fz #. #.



œ œ

 w



w

œ œ

œ œ # #  ..



n ww

w

œœ





∑





∑





∑



∑

œ œ œ œ ∑

#

œ œ œ

w w



 .    



œ Œ p

nœ nœ Œ p

œ œ Œ

œ œ

 

œ œ # #  ..

œ œ

 . n œ Œ

#  .. fz

œœ



# w. fz

nœ œ

.

n œœ Œ p p 









œ Œ 

w 

fz Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



 

w w

sf ####       œ œ œ œ n   œ œ # œ œ           œ œ œ œ & F f F B ####         #   œ œ œ œ     n         F f F œ      #. n    ? ####  F sf ? #### w F

.

 

œ Œ  .





#

 



∑



n  œ œ #œ œ     f

#  œ œ œ œ     f œ  #. œ n œ sf



œ œ

#### œ Œ  & ∑

436 Fl.

Ob.

Cl. (La)

Fg.

I. II.

# ## & # &

∑

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vc.

Cb.

∑

B ####

∑

? #### ?

w p

cresc.

.

œ w   

∑ ∑

∑

# 

œ œ  nœ . nœ ∑ > cresc.

cresc.

œw œ n 

œ # œ # 

cresc.

∑

 #

w œ œ b

œ nœ 

∑



   #

 ‹ 

  cresc.

#  

cresc.

œ œ  nœ .

œ . œ œ œ œ œ  ‹ 

  œ œ   

   

 #   #

  

   # 

   

#  

 

 

‹  

‹ 



w.

#w #w

œœ 

  œ œ n   

 œ n  œ     #    #

.

‹w

cresc.

 

#.

∑

# B # # #  #    p

? ####

> F

∑

# ##  œ œ  œ & # œ p cresc. # # # # div. &  #   #  p cresc.

? ####   p

œœ

III.

∑

div.

Vle.

∑

? ####

Cor. (Mi) III. IV.

∑

∑ n œ  . ∑ n œ aœ2   Œ

œœ a>2

>œ

œ >

>œ

# œw 

I. > Œ  F

>œ

œ >

œw  f

œ œ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

nœ œ 

  œ# œ #   

# œ #  œ     ‹    ‹

#.

œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ f

 f



‹



‹

‹ ‹

446 Fl.

Ob.

Cl. (La)

Fg.

& & &

#### œ  # # # # ww #

.

œ œ

? #### w

.

‹w

# ww

 

b ww

# ww

Tbe. (Mi)

œ >

>œ

œ >

œ œ Œ 

∑

#w fz

∑

B ### #

∑

? ####

∑

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

#### œ 

####

Vln.

Cb.

œ >

œ œ Œ 

Vc.

w w

œ  #w

Vle.

w w

b ww

II.

 

Timp.

#w #w

 

œw 

III. Tuba

w w

nw nw fz

œ œ Œ 

III. IV.

Tbn.

∑

>œ

I. II.

∑

œ >

Cor. (Mi)

∑

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

I. II.

∑

œ œ Œ 

#w #w

œ 

Œ 

œ Œ 

œ Pœ  œ œ  œ œ  œ œ  œ œ œ  ‹œ œ  œ œ  ‹œ œ 

.

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

   

 

   

div.

œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ  # # œ # B # ? ####  ? #### 



‹



‹

‹ ‹



   

 

# 

#  

   

# 

#  

 

   

     

n  

div.

  

n  

 

  

 

œ  œ œ  œ œ  œ œ  œ œ  ‹œ œ  œ œ  ‹œ œ  œ w

w 47

456 Fl.

Ob.

Cl. (La)

Fg.

I. II.

& & &

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vle.

Vc.

Cb.

w w

w w a2

# ww

∑ n ww

cresc.

œ # œ

∑ n ww

œ  œ œ  œ

œ  œ

cresc.

w w

#w #w

- -

w w

w> w

‹w ‹w

w w

b ww

cresc.

∑

B ####

∑

? ####

∑

œ œ  nœ nœ  œ nœ  œ



#  B ## # 



? #### œ  ? #### w

   

œ œ  nœ nœ  œ nœ  œ w

œ # œ cresc.

# 



cresc.

# 



cresc.

   

œ # œ

œ  œ œ  œ  

 

n 

 

n 

 

   

œ  œ œ  œ

œ  œ n 



n 



‹w

cresc.

   

œ  œ

cresc.

∑

# # # # 

w w

∑

#### œ 

#w #w

∑

a2  #

w w

∑

- -

w w

∑

Vln. II.

w w

∑

œ  œ œ  nœ nœ  œ nœ  œ w

∑

? #### w &

∑

w w

Cor. (Mi) III. IV.

∑

#### w #

- -

####

ƒ f

w f

∑

Ÿ~~~~~~~~~~~~~~~~~~~~

w f

 

# 



# 



   

          w

#### w

# ## & # w fz

466 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vle.

Vc.

Cb.

- -

  w

 >

? ####

∑

? ####

∑

  w    

w w w

fz fz

∑

- - - -

w ww

∑

∑ ∑

n 

n œ œ

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

#### w &

# # # #  

 

  B ####     fz  > ? #### ? #### w fz

       

> >

          w

   

    fz

n 

n œ œ

w w

#w >

> >

#w >

w >

> >

w w>

    > >

w w

largamente

w w



largamente



largamente

w w

#w #w >

w w

∑

n 



largamente

n 

 

n 

 



largamente



largamente





n 

largamente



largamente

w w



 #

largamente

 #  

   

w w

nw fz



w w

 #  

   

 

n 

 #

 

largamente

w w

∑



w w>

∑

largamente

 w>

 



 

largamente

n 



 #

n œ œ n œ œ

∑

 #

n  n 

∑

w w

∑

B ####

Vln. II.

- -

> >

Cor. (Mi) III. IV.

- -

fz fz fz fz

Ÿ~~~~~~~~~~~~~~~~~~

∑

 

   

n  

      w

  fz

 

n    fz nw

 

   

n 

w w

a2 # ## # w & fz



rit.

w w



∑

w w

 



w w

 

? #### w

w w

478 Fl.

Ob.

Cl. (La)

Fg.

∑



∑

 



∑





∑





∑

w w

 



∑





∑

? #### w

w w





∑

œ Œ œ Œ œ Œ œ Œ

∑

## w & ## w fz &

III. IV.

Tbe. (Mi)

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

poco più lento

fz fz

B # # # ww # fz

fz Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ fz

#### w

##   & ##     fz   B ####

   

B ### w # fz

    fz

? #### w fz

     



w w w w

poco più lento

rit.



∑





∑

w w

 



∑





∑



∑



œ œ #œ nœ œ

.



dolce

œ œ .

œ #œ n

œ Œ 

nw p p p

pizz.

Fl.

œ.

## & ##

∑



####

∑



∑

488

Ob.

Cl. (La)

π I.

Œ 

œ. Œ 



œ. Œ 



œ. Œ 

œ. Œ

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ### #

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ #œ nœ œ 

####  .

# ##  & #

n >



# w B ## #

? ####

? #### œ Œ 



œ œ .

œ  dim.

œ œ .

œ #œ n

 n

œ #œ n

dim.

œ Œ 

dim.

œ Œ 

œ . π



œ .   

œ Œ 

  

œ .   

œ Œ 

n

 

œ .   

œ Œ 

n

 

œ   

œ Œ 

# ## & #

∑

# ## & #

∑

498 Fl.

Ob.

Cl. (La)

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# ##  & #



∑

## & ## 



∑

# B ## # 



? ####



? #### œ Œ 

    ∑

 



 



∑

  ∑

    ∑

 



 



∑



cresc.



cresc.

∑

    ∑

510 Fl.

Ob.

Cl. (La)

Fg.

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

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

& & &

Vle.

Vc.

Cb.

#### #

∑ F bw

∑

F ? #### n w

dim.

bw F

dim. dim.

∑

n ww

∑

B ####

∑

dim.

b ww

∑

 

∑





π p 

w

π 

w

 

∑

molto rit

∑

∑ ∑

 

∑

 

∑

? ####

∑

 

∑



∑

####

Vln. II.

####

∑ ∑

# B ## # n w F ? #### n w F ? ####

w w

∑

nw F

dim.

w w w w w

  π

molto rit







. nœ . nœ . nœ . nœ w





 

    ∑

.

. ∑

. . ∑

∑

π U

w u

π U ww u

π U

w u

π U

∑

III.

π U

∑

div.

w u

ww u

ABBREVIATIONS a. b. bb. bs. Cb. Cl. Cor. DK-Km Fg. Fl. JS mvt. N-Onm Ob. Pl. No. stacc. str. Tba. Tbn. ten. Timp. tn. Vle. Vc. Vln. ww.

alto bar bars basso Contrabbassi Clarinetto Corno The Danish Music Museum, Copenhagen Fagotto Flauto Johan Svendsen movement The National Library, Oslo Oboe plate number staccato marking(s) strings Tromba Trombone tenuto marking(s) Timpani tenore Viole Violoncelli Violini woodwinds

SOURCES

CRITICAL REPORT

Romeo and Juliet, Op. 18

or each individual work in JSV, a primary source is chosen and identified in the header of ‘editorial emendations and alternative readings’. The comments in this list refer to either revisions or variants. Comments about variants always start with a source letter. Any comments NOT starting with a source letter refer to revisions of the primary source.

S1 Sketches S2 Sketches F Fragment A1 Score, autograph, first version A2 Score, autograph B Printed score, first edition (Breitkopf ) BPTS Printed parts, first edition (Breitkopf ) C Printed score, second edition (Breitkopf ) CPTS Printed parts, second edition (Breitkopf )

The following conventions have been used:

Source S1 •

• • • • • • •

•

‘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.

Sketches DK-Kk, MA ms 5276 mu 9705.2800, musical notebook 3 A small, brown-chequered book, hardbound with a brown back. Ten of the pages in the sketchbook contain sketches for Romeo and Juliet Written in pencil (Johan Svendsen)

Source S2 Sketches DK-Kk, MA ms 5276 mu 9705.2800, musical notebook 4 A small, taupe-chequered book, hardbound with a brown back The book contains various sketches, including two bars from Romeo and Juliet (folio 70r) Written in pencil (Johan Svendsen)

Source F Fragment N-Onm, Mus.ms. 1901 5 pages, paginated 1–5 Hand-ruled music paper, 22 staves First five pages of the score only Part of a collection of scores and sketches with the same shelf mark, enclosed in a soft cover labelled Johan Svendsens Skizzer (Johan Svendsen’s Sketches) in blue crayon (not the composer’s handwriting). There is also a list of contents, written in pencil (not the composers handwriting): 1. Stradella (Sang m/Str. orch) 2. Rossini: O salutaris. (Begyndelse). 3. Halvéy: Arie af Jødinden. (instrumentert. Træbl. Hn. Strorch) 4. ‘Julia Vals’ (av Johanson) instr. 5. Hartmann: Sørgemarsch. (Påbegyndt instrumentation) 6. Symfoniskizze (5 Rader &lt;?&gt; Partitur) 7. Sangtekst ‘Hvad mig til dig så

mäktig drog’ Written in ink (Johan Svendsen) Provenance: In the protocol of the library: 25/1-41 Kjøp fra Domorganist N.O. Raasted, Kbh. Des. 1939. (Purchased from Cathedral Organist N.O. Raasted, Cph. Dec. 1939)

Source C Printed score, second edition Breitkopf & Härtel, Leipzig 1895 Title page: Seinem Freunde G. Sgambati in Rom. / Romeo und Julia. / PHANTASIE / für Orchester / von / JOHAN S. SVENDSEN. / Op.18 Pl. No. PB 358 Reprint of the first edition

Source A1 Score, autograph, first version DK-Mk, Nodemanuskripter 35 pages, 27.5x35 cm Title page: Romeo und Julia. / symphonische Einleitung / zu / Shakespeare’s Drama. / von / Johan S. Svendsen / Op. 18 / September 1876 / JSvendsen Hand-ruled music paper, 18 staves Pagination: 1–35 At the end of the score: Hegdehaugen ved Christiania / 27de september 1876. / JSvendsen This score is an early version of the work Written in ink (Johan Svendsen)

Source CPTS Printed parts, second edition Breitkopf & Härtel, Leipzig 1892 Title page: ROMEO und JULIA Pl. No. Orchester-Bibliothek (OB) 298 Reprint of the first edition, with added fingerings and bowings

Arrangements by others (published) Piano four hands Arranged by Friedrich Hermann Breitkopf & Härtel, Leipzig 1880 Pl. no. 15254, Ed. nr. 1441

Source A2 Score, autograph D-LEsa, Staatsarchiv Leipzig, 21081 Breitkopf & Härtel, No. 6489 36 pages Title page: Seinem Freunde / G. Sgambati / in Rom / “Romeo und Julia” / Phantasie für Orchester / von / Johan S. Svendsen / Op. 18. Hand-ruled music paper, 18 staves Pagination: 1–36 At the end of the score: Paris le 5 Mai 1899 / JSvendsen Printing source Written in ink (Johan Svendsen) Additions in pencil, blue crayon and red crayon

EVALUATION OF THE SOURCES The surviving sketches for Romeo and Juliet, Op. 18, can be found in two musical notebooks at the Royal Danish Library in Copenhagen. Book No. 3 includes ca. 10 pages of sketches (Source S1), while book No. 4 only contains a few bars (Source S2). In his thesis Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises, Morten Christophersen discusses these sketches in detail and shows links to other works such as Prélude, JSV 95, Symphony No. 2 in Bb major, Op. 15, and Zorahayda, Op. 11. The autograph score of the first version, premiered in Christiania on 14 October 1876 (Source A1), differs con siderably from the later printed editions. The distinct characteristics of this early version with regard to orchestration, voice leading, dynamics and articulation can be studied in the addendum of this new edition. Source A1 includes some of Svendsen’s early revisions in pencil, both in and below the score. Additionally, he revised some minor details in pencil directly in the autograph. We do not regard these revisions to be part of the first version, and have therefore not included them in the score in the addendum to this edition. Breitkopf & Härtel used Svendsen’s revised autograph score, Source A2, as the basis for the printed edition. Svendsen’s revisions primarily relate to instrumentation, artic-

Source B Printed score, first edition Breitkopf & Härtel, Leipzig 1880 Title page: Seinem Freunde G. Sgambati in Rom. / Romeo und Julia. / PHANTASIE / für Orchester / von / JOHAN S. SVENDSEN. / Op.18 Pl. No. 15252

Source BPTS Printed parts, first edition Breitkopf & Härtel, Leipzig 1880 Title page: ROMEO und JULIA Pl. no. 15253

ulation and dynamics, but several sections also introduce entirely different musical material. In A2 Svendsen made a few revisions in red crayon, blue crayon and pencil, all of them before the score was printed. The page layout was marked in blue crayon, probably by the publisher. Source F, a fragment consisting of five pages, originated at a later date than Source A1, since it includes some of the changes also found in A2. It probably represents an aborted attempt at producing a new score incorporating Svendsen’s extensive revisions. Sources B and BPTS make up the first edition printed by Breitkopf & Härtel. Some years later the publisher issued a new edition, but without making any changes to the score, Source C. The new parts, Source BPTS, included fingerings and bowings, but the same plate numbers were used. Breitkopf & Härtel also published a version for piano 4 hands arranged by Friedrich Hermann. Although Source A2 has been of importance in the editing process, we have chosen Source C as our primary source for this edition, since it is the most recent source published during Svendsen’s lifetime. Even though the publisher substituted all Svendsen’s fz with sf in the printed edition of this work, we have retained Svendsen’s fz. He never utilized sf in any manuscript.

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

Romeo and Juliet

Cor. IV

> added by analogy with. Fg. II

Fg. I

p added by analogy with. Fg. II and as in CPTS

Vln. II

cresc. added by analogy with the other parts

Ob. II

p added as in CPTS

Fl.

added by analogy with Ob., Cl.

Fl.

and fz added by analogy with Ob., Cl.

Ob.

added by analogy with b. 48

Cor. III

CPTS: note 1: >

Vln. II upper part

cautionary accidental added

Cl. I

slur added by analogy with Cor. II

Cor. IV

cautionary accidental added

Cor. I

CPTS: p

Cor. I

p added by analogy with Vc. and as in A2

Vln. II

CPTS: divisi

75–76

Fl. I

A2:

Cor. I

cautionary accidental added

Fl. II

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

Fl. II

cresc. added as in CPTS and by analogy with the other parts

Ob. I

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

83, 85

Cl. II

> added by analogy with Cl. I

Vln. I

CPTS: note 3: stacc.

Vln. I

note 3: fz added by analogy with b. 87

begins at the end of b. 75

Instr.

Comment

90–94

Ob. II

stacc. added by analogy with Ob I

Cor.

a Pistoni emended from à Piston

90–91

Timp.

Cor. II

pp added by analogy with Cor. I

incomplete slur across barline completed as in A2

Fl.

dim. moved from b. 15 and pp moved from beginning of b. 16 by analogy with the other ww. and as in A1, A2

Cb.

note 1: > added by analogy with bb. 95–97

97–98

Timp.

CPTS: tie across the bar line

Tbn. II

CPTS: fz

Timp.

stacc. added by analogy with the other parts and as in A1, CPTS

Bar

Vln. I

cautionary accidental added

Vln. I

cautionary accidental added

Vc.

cautionary accidental added

106

Vln. II

CPTS: note 2: non divisi

Cor. III/IV

p added by analogy with Cor. I/II

111

Fg. II

mf added by analogy with Cor. IV; CPTS: p

Ob. II

note 1: p added as in CPTS

112

Fl. I

39–42

Vln. II

stacc. removed by analogy with b. 121 and Cl. I, Vln. I

112

Vln. I

CPTS: note 1: stacc.

added by analogy with Vle.

113

Cor. I/III

fz added by analogy with Cor. II/IV

194–197

Cor. IV

ties and slurs added by analogy with Cor. II

118

Fl. I

> added by analogy with Cl. and as in A2

197

Vln. II

p added by analogy with Vln. I/Vle.

119

Fl. II

p added by analogy with Fl. I

216

Fg.

119

Fg. II

mf added by analogy with b. 111; CPTS: p

pp added by analogy with Ob. and as in A2, CPTS

120

Fl.

f added by analogy with Cl. I

223

Ob. I

CPTS: >

120

Cor. IV

added as in CPTS and by analogy with Cor. I/II.; mf added by analogy with Fg.

236

Vln. II

CPTS: non divisi

238

Vln. II

note 1: stacc. added by analogy with Vln. I and as in A2

238

Vln. II, Vle. note 3: stacc. added by analogy with Vln. I

240

Vln. I

CPTS: non divisi

248–249

Tbn. III

stacc. added by analogy with Tbn. I/II and as in A2

256

Ob. II

CPTS: fz

261

Ob. II

CPTS: notes 1, 3: stacc.

262

Vln. I

note 3: > added by analogy with Vln. II and as in A2, CPTS

263

Fl., Ob., Cl.

added by analogy with the other instruments

263

Vln. I

slur added by analogy with Vln. II and as in A2, CPTS

121

Cb.

CPTS: fz placed on note 2

128

Vln. I

> added by analogy with b. 124

136

Ob. II

CPTS: > added as in CPTS and by analogy with Fg.

136

Cor. II

> added by analogy with Cor. III/IV

136

Vln. I

> added by analogy with Fl., Ob.

138–141

Vln. I

added as in A and by analogy with bb. 292–295

152

Vln. II

fz added by analogy with b. 156 and with Vln. I

Vle. lower part

fz added by analogy with Vle. upper part

Vc., Cb.

note 2: stacc. added by analogy with Vle. and as in A2

265

Fl.

cresc. added by analogy with Cl.

Vle., Vc., Cb.

note 1: stacc. added by analogy with Fg.

266

Ob. I

f added by analogy with Fg.

266

Cor. I

157

Fg.

note 3: > added by analogy with b. 153

p cresc. added as in CPTS and by analogy with Cor. II

158

Cor. I

CPTS: Solo

268

Fl. I

A2: note 2: stacc.

158

Tuba

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

268

Vc.

CPTS: fff

Vln. II

CPTS: p

271

170

Fl. II, Ob., Vln. II

added by analogy with the other instruments

171

Ob. II

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

272

Vln. II

CPTS: divisi

Fl.

cresc. added by analogy with the other parts

Vle.

CPTS: cresc.

273

178

Vln. I

cresc. added by analogy with Vln. II

Vle.

CPTS: non divisi

273–274

178

274

Ob. I

Vc.

arco added as in A2, CPTS

f added by analogy with Fg.

180

274

Cl. II

> added by analogy w Cl. I

184–185

Vc.

slur emended from one slur across two bars as in A1, A2, CPTS and by analogy with bb. 182–183 (Vln. I)

274

Cor. III

mf cresc. added by analogy with Cor. IV (b. 111)

186

Cb.

p added for clarity by analogy with Vc.

286–291

Cl.

cresc. moved from b. 290 by analogy with Ob.

194

Fl. I

288

Cl. II

CPTS: note 1: stacc.

194

Fg. II, Cor. IV

289

Cor. I

p cresc. added by analogy with Cor. II

290

Fl. II

> added by analogy with Fl. I

152 152 154

removed by analogy with Cl. I, Vln. I note 1: > added by analogy with Cor. I/II

290

Fg. I

p cresc. added by analogy with Fg. II

354

Fg. II

> added by analogy with b. 350

290

Vln. I

note 2: > added by analogy with Fl., Cl.

354–355

Vc., Cb.

> added by analogy with bb. 350–351

300

Cor., stacc. added as in CPTS and by analogy with Vln. II, Vle. Ob., Cl. Fg.

356

Cor. II

cautionary accidental added

308–398

str.

CPTS: six flats

315

Vln. I

A2: note 3: emended from a’ to a’ in red crayon

316

Vle.

p added by analogy with Vln. II/Vc. and as in A2

318

Cl. II

322

358–359 Vc.

ten. added by analogy with Fg.

359

Fg. I

note 2: emended from g by analogy with Vc.

364

Fl. II

f added by analogy with Fl. I and as in A2

397, 399

tutti

CPTS: G.P.

400

Vle.

CPTS: non divisi

cautionary accidental added

409

Cl. II

p added by analogy with Cl. I and as in CPTS

Cb.

cresc. added by analogy with Vc.

416

Vln. I

CPTS: non divisi

332

winds

cresc. moved from b. 333 by analogy with str. and as in A2

420, 424

Tbn. III, Tuba

CPTS: ff

332

Vle. upper part

emended from e’ by analogy with Fg. I and as in A2

424

Timp.

fff added by analogy with b. 420 and as in A

426

Vln. I

332–333

Cb.

note 1: emended from g’ by analogy with Vc. and as in A2, CPTS

334–336

Cl.

CPTS: slur across alle thre bars

430

Tbn. II

> added as in CPTS and by analogy with

339

Vln. I, Vc.

A2: note 3: emended from a’ to a’ in red crayon

432–434 Timp.

slur added by analogy with bb. 428–430

432

Vle., Vc.

cautionary accidental added

434

Tbn. I/II

fz added by analogy with Tbn. III

441

Cl. II

p cresc. added by analogy with Ob.

442

Ob. I

> added by analogy with Fl. II

444

Cor. I/II

CPTS: note 1: >

444

Tba. I

note 2: > added by analogy with Cor. I/II/III

: cresc. placed in b. 333

PTS

341

Fg.

slur from appoggiatura to note 1 added as in A2

342

Vle.

> added by analogy with Vln. II

343

Ob. II, Cl. II, > added by analogy with Vln. II Fg. I

343

Fg. I

slur from appoggiatura to note 1 added

344

Cor. IV

CPTS: note 1: >

345

Ob. I, slur from appoggiatura to note 1 added Vln. II, Vle.

345

Cor. IV, Vle.

> added by analogy with Vln. II

347

Vc., Cb.

slur from appoggiatura to note 1 added

349

Cl. I, Fg. I, Cor. II/III

slur from appoggiatura to note 1 added

349

Fg.

> added by analogy with Cl.

350

Fg. I

CPTS: extra

350–351

Cl. II

CPTS:

351

Fg. I

CPTS: note 1: >

353

Cl. I, Fg. I

> added by analogy with Cor. II/III

353

Cl. I, Fg. I, Cor. II/III, Vle.

slur from appoggiatura to note 1 added

Tbn. I

444–447 Vc., Cb.

added by analogy with bb. 138–141

445–446 Tba. I

> added by analogy with Cor. I/II/III

451

Cor. I/II

fz added by analogy with Cor. III/IV and as in A2

460

Vc.

cautionary accidental added

465

Ob.

ten. added by analogy with Fl. and as in A2

465

Cor. III/IV

> added by analogy with Cor. I/II and as in A2

472

Timp.

CPTS: fff

477

Cor. II

CPTS: fz

482

Timp.

CPTS: note 2: solo

510

Vle.

emended from f by analogy with the other parts and as in A2

Addenda

“Romeo und Julia” Første versjon (1876) av Romeo og Julie, op. 18

JSV 68a

‘Romeo und Julia’ First version (1876) of Romeo and Juliet, Op. 18

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

Romeo und Julia [First version - 1876] [JSV 68a]

# ## & # C

Moderato ma non troppo q = 76

∑

? #### C

∑

III. IV.

∑

2 Trombe in Mi

∑

B #### C

∑

? #### C ?

2 Flauti

2 Oboi

2 Clarinetti in La

2 Fagotti

I. II. Corni in Mi (a Pistoni)

2 tenori Tromboni basso e Tuba

Timpani in Mi - Si

I. Violini II.

Viole

# ## & # C &

C ####

∑

Moderato ma non troppo q = 76

Cœ  p

# ## & # C

# B ## # C œ  p

Johan S. Svendsen, Op. 18

œ  

∑

œ  

œ  œ   ∑

∑

œ  œ  

j œ. œ ∑ j œ. œ

œ œ œ œ j œ. œ ∑

∑

œ œ œ œ j œ. œ

œ œ œ ‹œ ∑

œ œ œ ‹œ

Violoncelli

? #### C

∑

Contrabbassi

? #### C

∑

œ  œ œ # #œ

#w π

nw ∑

∑

# ## & #

∑

####

∑

11 Fl.

Ob.

Cl. (La)

Fg.

I. II.

& &

∑

? ####

∑

nw ∑

∑



Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

B ####

∑

? #### ?

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



w ∑

cresc.

Œ œ œ . œ œ œ

œ œ

cresc.

w 

 ..

 

 #

Œ π

dim.

w 

œw  ‹ œ

dim.

∑

œ Œ 

∑

# œœ Œ  π

∑

œ œ Œ 

∑

œœ Œ 

∑



Œ œ p I.

.

bœ .

∑

œ 

cresc.

œ  w

∑

cresc.

œ 

cresc.

∑

cresc.

∑

œ Œ  œ

w 

∑

# ## & # œ  # ## & #



cresc.

Cor. (Mi) III. IV.

∑

œ   œ œ œ œ 



dim.

œ w œ œ œ œ w w

œ  ‹œ



w w



 #

dim.

œ 



œ œ 

œ #œ œ œ

‹w

œ Œ 

∑

# ## & #

∑

# ## & #

∑

w . œ

∑

21 Fl.

Ob.

Cl. (La)

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑



Œ œ

.

bœ

.

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# ## & # œ n

œ n



œ œ 

œ œ œ œ 

# ## & # w



# B ## # # w

œ 

? #### n w

? ####

∑

œ. œ œ 

w œ



n

nw ∑

œ œ œ nœ nœ n



n

w ∑

∑



.

p p

∑

w p

# ## & #

30 Fl.

Ob.

Cl. (La)

Fg.

∑

#### #

∑

w

j œ . œ 

? # # # # ww

#

∑

 

∑

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

p Œ œ œ #œ ∑

∑

cresc.

nw #

 

n



 

  # œ œ # œ # œ œ œ

∑

B ####

∑

? ####

∑

# ## & # 

j œ. œ 

# ## & #

œ œ œ ‹œ Œ œ œ ‹œ

œw  # œ œ # œ # 

cresc.

I. II.

cresc.



# 

cresc.

#  n n

? #### w



#

n



nœ œ

∑

Ÿ~~~~~~~~~~~~~~

cresc.

œ œ œ ‹œ

cresc.



‹œ œ



œ Œ 

#



∑



n

Œ œ p

∑

œ #œ 

#



∑

cresc.

nœ œ



∑



∑



? #### w



∑

#

cresc.

∑



œ 

œ Œ  œ



∑

w w

∑

#

∑

 œ #œ

n

∑

# B ## # w

dim.

œ Œ œ

∑



 

œ Œ  œ

∑

 

∑

w w

∑



 

∑

œ #œ œ #œ  #

∑

cresc.

# œ . œj œ #œ. œ œ Œ 

∑

œ Œ  œ

∑

œ  #œ 

 

∑

w w

∑

œ #œ

∑

Œ œ ‹œ œ ∑

∑

œ # œ



∑

 f

#œ. œ  J

dim.



‹

dim.

œ œ œ. œ J 

‹

dim.



n



dim.

#



n



#

f f

dim.

œ 

‹w π #w π nw π nw π



w #w

. w

39 Fl.

Ob.

Cl. (La)

Fg.

I. II.

& & &

#### ####

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vln.

II.

Vle.

Cb.

∑

B ####

∑

? #### ?

#œ  p

∑

wŒ  œ

‹œ œ



w #œ  p

∑

Œ 

œ œ

# œ œ Œ n œ œ

> # ww

‹œ #

∑

w #œ #

∑

? #### w p

. w



 .

∑



n n

cresc.

 

cresc.

.



cresc.

n

n n

cresc.

n 

 

cresc.

# #

n n

n œ  nœ #



w 



œ. œ 



œ œ

œ. œ 

œ. œ  J



œ œ

œ. œ  J

∑

‹œ #

œ #œ 

œ 

cresc.

   

œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ ..

œ œB w w

œ. œ J

    . . œ . œ . œ . œ . œ . œ . œ . .  œ . œ . œ . œ . œ . œ œ n œ . œ . œ . œ . œ . œ . œ . œœ . œœ ..  

    œ. œ. œ. œ. œ. œ. œ. œ. œœ .. œœ .. œœ .. œœ .. œ . # œ . œ . œ .

   

œ #

œ ‹

cresc.

œœ .. œœ .. œœ .. œœ ..

œœ ## 

∑

    œ . œ . œ . œ . ‹ œ. œ. œ. œ.

œ 

œ œ œ . œj w

∑

    œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ . œ . œ . ‹ œ. œ. œ. œ.

? #### 

œ #œ 

∑

‹œ w

3 3 3 3 ## & # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œ. œ. œ. ‹ œ. p ## 3 3 3     & ## 3 œ œ œ œ œ œ œ œ œ œ œ œ œœ .. œœ .. œœ .. œœ .. p B # # # # œ œ œ œ œ œ œ œ œ œ œ œ œœ .. œœ .. œœ .. œœ ..     3 3 3 p3 3 3 3 3 . . . . B ####

cresc.

.

∑

#œ 

∑

####  .

Vc.

∑



∑

? ####

∑

Cor. (Mi) III. IV.

∑

    œ. œ . ‹ œ. œ. # œ. œ . œ . œ . œ .

œœ .. # œœ .. œœ .. œœ .. œ . œ . n œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. # œœ .. œœ .. œœ .. œ .                 cresc.

cresc.

               œ. œ . œ . œ . œ . œ . œ . œ . œ . # œ . œ . n œ . œ . œ . œ . œ . œ . cresc. œ œ. œ  .  œ œ œ. œ  J

cresc.

n

cresc.



n



#

n



# ## & #

47 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

Timp.

Vln.

II.

Vle.

Vc.

Cb.

œ œ

œ 

œ œ

œ. œ  œ ‹ œ œ .  œj  œ œ

œ  œ 

∑

w

œ œ

w

œ œ

w w

III. Tuba

w

III. IV.

Tbn.

œ œ

? #### w

Cor. (Mi)

I. II.

∑

# ## & # w f #

œ  œ 

wœ #  œ #

œ œ j

œ. œ  œ ‹ œ œ .  œj  œ œ w

œ 

wœ # 

œ 

œ #

∑

B ####

∑

? ####

∑

####  f



œ œ

# # œ œ œ œ œJ & ## J f # # œ. œ. œ. œ. & # # œ. œ. œ. œ.     f œœ œ œ œ B # # # # œJ œ œ œ œJ f B # # # # œœ .. œœ .. œœ .. œœ ..     f œ B #### œ  ? ####

w f

œ Œ

œ. œ 



œ 

œ œ

œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ ..

   

œ ‹

   

œœ œœ œœ œœ œœ J

œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ ..

   

w w

   

œ 

w w

œ  œ 

œ  .. œ

œœ

œ nœ œ bœ

œ 

#œ #.

n œ

œ bœ œ œ œ bœ œ œ

œ bœ bœ œ

œ bœ œ bœ

∑

œ ‹

J ƒ

∑

œ nœ œ nœ J

J ƒ

#w ƒ

Z 68

#œ

œ 

œ œ œ œ œ œ. #œ. œ. œ. œ. #œ. n. J       

J J

œœ .. œœ .. œœ .. œœ .. œœ œœ œœ œœ œœ

   

œ 

œœ œœ n œœ œœ œœ œœ n œœ œœ œ . œ . œ . 3 œœ .. œœ .. œœ .. œœ .. #œ.       

œ œ nœ œ œ œ œ J

œ b œ œ œ

œœ .. œœ .. œœ .. œœ .. œœ œœ œœ œœ œœ

   

œœ

. œ œ b œ n œ  .

∑

œ œ nœ œ œ œ œ

œ nœ  œ nœ 

∑

œ nœ œ œ

∑

œ. œ 

œ 



j jœ œ œ œ œ a 2 ‰ œœ œœ œœ œJ œJ œ œ œ œJ œ œ b œ œ ƒ

.

#œ

œ nœ #œ nœ #œ œ #œ œ

#  .. f

œ Œ

œœ œ œ œ œ  J J

œ 

∑

Ÿ~~~~~~~



∑

œ nœ œ nœ

#w ƒ

Ÿ~~~~~~

œ nœ œ œ

œœ œœ œœ œœ œœ œœ .. œ . œ . œ . # œœ .. œœ .. n œœ .. œœ .. J     3

   

3 œ œ n œ œ œ œ n œ œ œ. œ . n œ . œ . œ . œ . œ . œ .        3 3

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

œ nœ  œ nœ 

# ## & #

55 Fl.

Ob.

Cl. (La)

Fg.

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

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

# # # n ww & # &

b ww

∑

œœ Œ 

∑

œ œŒ 

∑

ww dim.

nw ? #### n w

w w

b ww

b b ww

b ww ƒ

œœ Œ 

B # # # # n n ww ƒ ? #### w nw ƒ ?

B .

dim.

œœ Œ 

∑

œœ Œ 

∑

dim.

∑

bœ Œ b œ.



∑



∑

bœ Œ b œ.

∑

œœ Œ 

∑

œŒ Œ Œ œ

∑

# # . & # # n. Œ

∑

pizz.

. B #### n  Œ

∑

pizz.

B # # # # n  .. Œ

∑

pizz.

Vc.

? #### n  . Œ

∑

pizz.

Cb.

? #### n  . Œ

∑

pizz.

Vle.





∑

II.



∑

œ Œ  œ.



∑

œ Œ œ Œ œ. œ.

Œ 

n œ. nœ

∑

#### n  .

n œ. nœ

∑

Vln.

b œ. bœ

∑

œ. œ

∑

####

bw p

b œ. bœ

n œœ Œ œœ Œ n œœ Œ œœ Œ π div. pizz.

pizz.

œŒ œŒ π

œŒ œŒ

œŒ œŒ π

œŒ œŒ

nœ Œ œ Œ nœ Œ œ Œ π

∑  Œ ‰ œj p

bœ bœ Œ 



nœ nœ Œ 

arco nœ Œ  Œ nœ ‹œ p

Œ ‰ # œj œj ‰ Œ Œ ‰ # œj œj ‰ Œ

∑

 Œ ‰ œj œj ‰ ‰ œj œj ‰ ‰ œj œj ‰ Œ  p

Œ ‰ # œj œj ‰ Œ Œ ‰ # œj œj ‰ Œ

∑

arco

Œ ‰ œj œj ‰ Œ Œ ‰ œj œj ‰ Œ

∑

œ ‰ ‰ nœ œ ‰ ‰ œ œ ‰ Œ 

Œ ‰ œj œj ‰ Œ Œ ‰ œj œj ‰ Œ

∑

bœ Œ p

bœ Œ 



nœ Œ 

nœ Œ

∑

bœ Œ 



nœ Œ 

nœ Œ

∑

 Œ ‰ nœ J p

œ ‰ ‰ nœ œ ‰ ‰ œ œ ‰ Œ 

arco

œŒ œŒ œŒ œŒ

∑

œŒ œŒ œŒ œŒ

∑

œ œ Œ

jj j j j œ ‰ ‰œ œ ‰‰œ œ ‰Œ 

arco

œ Œ œ Œ œ Œ œ Œ  Œ ‰ n Jœ π

bœ bœ Œ p

bœ Œ p 69

JJ JJ

œ Œ œ Œ

65 Fl.

Ob.

Cl. (La)

Fg.

I. II.

####

Allegro q = 126

# ## & # &

? ####

w p

∑

œ Œ 

∑



∑

Cor. (Mi) III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

####

# ## & # # B ## #

Allegro q = 126

œ  dolce

@ # π

@

@. π

Vc.

? ####

Cb.

? #### œ Œ  π

arco

œ ‹œ œ #œ œ 

#œ œ œ  @ #

œ@

@ @ @ @ @ #œ œ œ œ .

@

@.

œ Œ 

#œ œ

œ@

‹œ 

œ@ # w@

@.

œ Œ 

#œ œ œ 

œ Œ  70

œ Œ 

œ ‹œ œ #œ œ @.

# w@

œ@

@. w@

œ Œ 



œ@ # w@

œ œ@ # œ@ œ@ @

œ Œ 

œ œ

œ Œ 

73 Fl.

Ob.

Cl. (La)

Fg.

I. II.

#### # œ 

# ## & # &

∑

œ ? #### w Œ  p &

Cor. (Mi)

œ. œ 



œ œ #œ 

œ #œ œ œ œ

nœ œ œ 



œ œ

cresc.

∑

œ #œ œ œ œ

nœ œ œ 

ww w

∑

w

∑

œ œ

œ. œ 

w

∑

.

∑

œ œ ∑

cresc.

∑

cresc.

#œ œ œ œ

∑



œ.

∑

w ∑

.

œ œ. œ 

∑

œ œ ∑

w w

œ œ ∑

œ #œ œ œ œ

cresc.

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

# ## & # #œ  p # ## & # w@ nw p # B # # # # œ@  @ p ? #### œ . p ? #### w p

arco

Cb.

nœ œ œ 

@.  @

œ J

@ ww

ww@. @

œ. œ  J w

œ #œ œ œ œ

œ@



œœ@ œœ@

@..

w@ w

œ@ œ@

w@ w

. w

nœ œ œ 

cresc.

@ @

œ œ #œ 

œœ@

ww@

@ ww

cresc.

œ@ œ@ # œ@w @. w

#œ œ œ œ

cresc.



w 71

ww@. œ.

œ œ. œ  J J cresc.

cresc.

œ #œ œ œ œ



ww@ œ@

@  ..

.



œ@ œœ@ @

œ œ œœ œœ

@ @

@ 

œœœ@ œœ@ œ œ

œ #œ œ œ œ w

 #### ‹ œ &

# œ œ # œw 

81 Fl.

Ob.

Cl. (La)

# ##  & # ‹œ &

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

III.

# œ œ # œw 

nœ ‹œ 

#œ  ∑

nœ

w w

∑ ∑

ww ∑

œ  #œ œ w II.:

œ ∑ œ

œ 

w.

œ 

œ #œ œ œ œ

#œ œ w



j œ . œJ œ . œ 



j œ . œJ œ . œ 



j œ . œJ œ . œ 

cresc.

∑

B ####

∑

? ####

∑

. ∑ œ

œ. œ n

#œ

œ.

œ∑ # œ œ œ J

œ n œœ .. œ  œ # œ œ œœ J

œ œ œ œ

œ #w

œ. œ n

#œ

nœ. œ 

w

. . œ œ #b œœ . œ  œ œ œ œœ n wœ œ œ œ #b œœ . œ  œ œ œ œœ J J

œ œ #œ.

 f

j œ œœœ

œ œ œ œ #œ.

j œ œœœ

∑

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

## & # # ‹œ  ## @ & # # ww

w@ B # # # # www @ B ####  ? ####

œ∑ # œ œ œ J

nœ. œ 

j œ . œJ œ . œ 

w w

œ.

œ n œœ .. œ  œ # œ œ œœ # w. J



Cor. (Mi)

∑

II.:

cresc.

? #### w

III. IV.

∑

nœ ‹œ 

cresc.

#œ œ #œ 

w@w

nœ ‹œ 

œ . œJ œ . œJ 

ww@ w w  w

 #œ œ œ

œ #œ œ œ œ f

w w

ww@

w@w

ww@ w w

w@ w ww @

œ . œJ œ . œJ 

@ f œ@ @ œ œœ @ @ f

œ@ œ .

œ œ #œ.

#œ

w w



f 72

œ. œ n

œ œ œ œ

œ. œ n

w w

. .

nœ @

.

#œ

œ œ #œ œ œ

œ.

œ œ #œ œ œ

œ œœœ

œ œ œ œ #œ.

œ œœœ

∑∑@

Fl.

j #### œ œ . œ œ & Z

cresc.

Ob.

Cl. (La)

Fg.

I. II.

...

j j n œ ‰ Œ œ . œ  Z

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ. œ  J



ƒ 3

  



  

∑

B ####

∑

œ . œ n œ .. œ œ

3             œœ .. œœ .. œœ .. œœ .. # # œœ.. œœ.. œœ.. œœ.. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. œœ .. F cresc.

‹ # ww

# ww

∑

cresc.

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

cresc.

œ œ. œ œ

# # # # œ œ . œJ œ & Z

œ œ . œJ œ œ œ . œJ œ

œ œ B # # # # @ ∑œ∑œ œ @ @ Z

œ œœœ 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 ww œœœ ∑∑ œœ œ & ∑∑∑ ∑ @ @ ∑∑∑∑ @ ∑∑∑∑ ∑ ∑∑∑ Z ƒ Z Z Z

? ####  ? ####

œ . n œ œ .. œ œ

œ . œ b œ .. œr œ

∑

œ . œ n œ .. œ œ

r œ . b œ œ .. œ œ

∑

œ . n œ œ .. œ œ

œ . # œ œ .. œrœ

? ####

# œœ .. œœ .. œœ .. œœ .. # œœ .. œœ .. œœ .. œœ ..        

œ. œ œ ‰ r J J œ .. # œ œ

  

œ . œ b œ .. œr œ

œ. œ  J



r œ . b œ œ .. œ œ



  

œ . # œ œ .. œrœ



œ. œ œ ‰ r J J œ .. # œ œ

cresc.

Tbe. (Mi)

œ œ œ œ œ œœ œ œœ œ œ œ œœ œ œœ œ œœ œ œ œœ œ œœ .. œœ .. œœ .. œœ .. ‹ œœ .. œœ .. œœ .. œœ .. #### # œ œ œ œ œœ œ œœ œ œ œœ œœ œ œ œ œœ œœ &         3 Z Z Z Z cresc. ƒ # œ . œ œ œ œ . œ œ œ . # œ œ .. œ œ œ . # œ œ .. œ œ œ œ . œJ œ œ œ . œJ œ œ J & J R R Z Z Z Z ƒ cresc. #œ œ . # œ œ .. œ œ œ . # œ œ .. œ œ ? #### J ‰ Œ  ∑ ∑ ∑ R R ƒ

Cor. (Mi) III. IV.

œœ .. œœ .. œœ .. œœ .. ‹ œœ .. œœ .. œœ .. œœ .. # œœ .. œœ .. œœ .. œœ .. # œœ .. œœ .. œœ .. œœ ..

œ œ. œ œ

œ œ . œJ œ œ œ . œJ œ

w >

œ. œ  J

w >

œ. œ 

w >

œ. œ 

@ ƒ

œ. œ œ

.. J J ‰ œ # œR œ ƒ



ƒ 73



œ . # œ œ .. œ œ R

œ . n œ œ .. œ œ R

œ . œ n œ .. œ œ R

# ww @

‹ # ww @

œ . # œ œ .. œ œ

œ . n œ œ .. œ œ

œ . œ n œ .. œ œ



# ## & #

. # œœ

Molto allegro con fuoco h = 138



∑

. # # # # # œœ



∑

# œ.



∑

# œ. ? #### Œ



∑

n œ. Œ



∑

III. IV.

n œ. Œ fz



∑

Tbe. (Mi)

œ.œ Œ 

∑



∑



∑

œ. Œ 

∑

Fl.

Ob.

Cl. (La)

& &

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

B # # # # œœ. Œ ƒ

? # # # # œ. Œ œ ?

# œ. œ #### œœœœ œ œœœœœœ œœ œ œœœœœ œœœœœœœ œ œœœœœœ œ œ œœœœœ œ œ œ œ œ œ œ œ ‰ j œ œ œœœœœ & œ œœœœ p cresc. . # # # # œœ Œ  ∑ ∑ ∑ œ œœœ & œœ œ œœœœœ œœœœœœœ œœœœœœ œ œ œœœœœ p cresc. . œ œœ œœœœœ # œœ œœœœœ œ œ œ B ## # ‰ j œœ œœœœœœœœ œœœ œœœœ œœœœ œœœ œœ œ œœœœœ œœœœœœ œ œ œ œ œ œœ p cresc. . #œ ? #### Œ  ∑ ∑ ∑ ∑ ∑ ∑ ∑ Molto allegro con fuoco h = 138

I. Vln. II.

Vle.

Vc.

Cb.

? ####

œ. Œ 

∑

105 Fl.

Ob.

Cl. (La)

Fg.

I. II.

& & &

####

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# # # #  .. #

 .. 

œ. œ

a2 # œ. n œ. >œ . #œ nœ

œ œ. œ. >œ . J

œ. œ

# œ. n œ. >œ . #œ nœ œ.

œ.

# œ. n œ. >œ .

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

. ? ####  . œ 

œœ 



œ œ. >œ .

œœ

w w

B # # # ww # ƒ

Ÿ~~~~~~~~

œ Œ

####

.

œ.

œœ

B ####

? ####   ƒ

œœ œœ œœ 

∑

œ œ œ œ



cresc.

∑

Œ 





∑ ∑



œw.

> f

w 

œ.

cresc.

j œ

# 

œœ Œ

∑

# 

œœ Œ

#

œ Œ

∑

œ J

∑

w p

#œ nœ  p >

dim.

   

œ œ œ œ œ œ œ œ



œ œ œ œ dim.

∑

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

∑

dim.

œ Œ

∑





œ œ  Œ

∑



œ œ œ œ

œ œ 

œœ Œ 



∑

cresc.

# œœ

∑





∑

Œ >

n 

∑





∑

dim.



∑

> f

∑





∑



œœ Œ 





Œ 

∑





œ. > 

∑





Œ  >p

Œ cresc. œ. > œ

∑

dim.



? #### œ œ œ œ

œ œ œ œ



œ œ. œ. >œ . œ œ  J J





∑

# œ. n œ. >œ .



Œ > p

## œ     & # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ ƒ

œœ 

∑

dim.



œ  œ

dim.

? # # # # ww ƒ

œ œ. œ. >œ . œj œ  J œ œ

œœ 

# œ n œ Œ  œ

œ œ 

œ œ. œ. >œ . œ œ  J J

œ Œ  œ

>œ .

œ œ. œ. >œ . œj œ  œ œ œ œ. œ œ  J

Cor. (Mi) III. IV.

.

œ œ. 

œ œ. >

cresc.





p  p



w p

cresc.



œ œ œ œ 



cresc.







œ.

cresc.

w

cresc.



w

œ J



œ Œ



 n  # œœ Œ Z

#   Z # Z



œœ Œ œ

œ Œ

113 Fl.

Ob.

Cl. (La)

Fg.

I. II.

 .. ####  ƒ

. # # # #  . & ƒ #  .. & ƒ

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œ. ‹ œ. # œ. >œ .

œ. # œ. n œ. œ . >

œ. ‹ œ. # œ. >œ .

. ? ####  .

œ. # œ. n œ. >œ .

 ..

Cor. (Mi) III. IV.

œ. ‹ œ. # œ. >œ .

.

œ. # œ. n œ. >œ .

w w

œ Œ  œ

B # # # ww # ƒ

Ÿ~~~~~~~



ƒ ####

.

œ Œ

œ œ. œ. >œ . œ œ  J

## & # # w w ƒ  B #### w

œ œ. œ. œ . œj œ  J >

# p

>cresc.

# ∑

cresc.

∑ #

∑

cresc.



œœ Œ



œœ Œ



œ Œ

j œ

fz ‹ 

œœ Œ

∑



œœ Œ

#

nœ Œ

∑

œ # œw.



# 

f >



fz fz fz

∑

œœ Œ 

∑

œœ Œ 

∑

p ∑

∑

œ œ. œ. >œ . œj œ  J

dim.

w w

dim.

? # # # # w ƒ

w

œ œ œ œ

dim.



dim.



cresc.

 # p

 #



#



cresc.

ww

œ.

œ # œ.  >

‹ œ # œ.  p >

? #### œ œ œ œ ƒ

ww

Œ 

œ #œ  Œ



∑

w w



∑

> p

cresc.

∑

œ #

∑

dim.

 ww

Œ >

f >

∑

œ. ‹ œ. # œ. >œ .

œ œ. œ. œ . œ œ  >

dim.

‹œ #œ  Œ ∑ p

œ œ. œ. >œ . œj œ  j

œ # œ Œ  œ

dim.

? # # # # ww ƒ ?

œ œ. œ. >œ . œ œ  J J







cresc.

#

cresc.



cresc.



œ J

∑

Ÿ~~~~~

œ. # >



œ Œ



 œ # œ œ œ œ œ œ œœ œœ  fz   w ‹ fz

œ. 

œ J

∑

œœ Œ œ Œ œ

‹

œ Œ



œ Œ

fz fz

C #

# # & # 

121 Fl.

Ob.

Cl. (La)

#### #

 I.

œ.



œ. Œ



p I.

œ. Œ 

œ.



œ. Œ



œ.



œ. Œ



œ.



œ. Œ



œ.



œ. Œ



œ.



œ. Œ



œ.



œ. Œ



œ.

œ. Œ

œ. Œ 

Fg.

I. . ? #### œ Œ  p

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

####



# p



nœ œ

œ.

œ



#



nœ œ

œ.

œ



# ## & # œ œœœœœœœ œœœœœœœœ œ œœœ œœœœ œœœœœœœœ œ œœœœœœœ œœœœœœœœ œ œœœ œœœœ œœœœœœœœ p 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 œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p

Vc.

? ####

Cb.

? ####

∑

œ Œ 

pizz.

∑

Œ 



œ Œ 

# p

nœ œ

Œ 

œ.

œ



œ Œ 



Œ 



œ Œ 

#

nœ œ

Œ 

####

129 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.



∑

œ  J



∑

#œ. p

œ  J

 

cresc.

∑

œ.

∑

ww w

nœ œ



cresc.

∑

? ####

Cor. (Mi) III. IV.



#

II.

œj 

∑

cresc.

#œ.

∑

œ 

 

#œ ‹œ #œ ‹œ

‹ ‹w p

#

 w

#œ ‹œ



#

ww 



cresc.

∑

cresc. a2

# #

∑

cresc.

> # œw.

‹ ‹

# ww p

. w

‹ œ ‹ w

# ww

>œ .

œ



œ . œj  w

cresc.



#œ. > > #œ.

œ



∑

B ####

∑

? ####

∑

# ## #  & #



cresc.

nœ œ

œ.

œ  J



‹

#



#œ ‹œ

>œ .

œ



# ## & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ cresc.

Vle.

# 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 ‹ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ cresc.

Vc.

Cb.

? #### ? ####

.

cresc.

arco

p cresc.

œ .

œ ‹œ.

œ  J

œ #œ 

.



# 78

‹œ ‹



‹ >œ .

œ

 w



#### œ  & f # ## œ  & # œ  f

137 Fl.

Ob.

Cl. (La)

Fg.

I. II.

III. IV.

Tbe. (Mi)

Tbn. III. Tuba

Timp.

Vln.

II.

Vle.

Vc.

Cb.

œ 

.

œ œ

œ  œ 

œ œ

œ  œ 

œ œ

œ  œ 

œ œ

.

∑

œ œ

œ  œ  œ  œ 

.

∑

œ œ

∑

œ 

∑

œ œ

f f

∑

œ  œ  œ  œ 

.

œ 

? ####

Cor. (Mi)

I. II.

œ œ

∑

œ  œ  œ  œ 

œ œ œ œ

∑

œ  œ  œ  œ 

œ œ

∑

œ œ



œ.

œ



œ.





 

œ J



 

œ.

œ J



œ.



œ



œ.

œ



 

ƒ ƒ

 

Œ 

B # # # # ww

# ww

ƒ n œœ Œ 

? #### w p

œ Œ 

∑

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

#### œ 

D f

# ## œ œ œ œ œ œ œ & # œ f # ## œ œ œ œ œ œ œ & # œ f # B ## # œ œ œ œ œ œ œ œ f # B ## # œ œ œ œ œ œ œ œ f ? ####  f

? ####  f

. #œ œ

œ 

.

œ œ  œ œ 



∑

. .

œ œ  œ œ 

∑

j j

∑

œ  œ 

 



œ œ  œ œ 

∑

œ œ

∑

œœœœœœ œœœ œ œ œ œœ œ œœœ œœœœœœ 3



œ.

œ J



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

3 ƒ3 œ œ #œ œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

ƒ3

n œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œœœ 3 ƒ3 nœ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ



n



n

#

n

#



n



n

n n

œœœœœœ œœœ œ œ œ œœ œ œœœ œœœœœœ

ƒ3



ƒ ƒ

#

.

#

.

œ  œ 

 

## & ##

145 Fl.

Ob.

Cl. (La)

Fg.

I. II.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vln.

II.



# # # # a2 & &



 



œ.



œ.



œ.

œ J

œ J œ J

 



œ.



œ



œ.

œ

& B ### #

œ  œ 

? ####

∑ ∑

∑

œ œ

œ  œ 

∑

j j

∑

 



∑

 



Vc.

Cb.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

. .

∑

œ. n œ. œ. n >œ . œ nœ œ nœ.

œ œ J

œœœœœœ œœœœœœ Œ œœœœœ œ œ œ œ œ œ 3

œœœœœœ œœœœœœ Œ œœœœœ œ œ œ œ œ œ

œ Œ  œ

w w

∑

w w

∑

w w

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



œ.

œ J



.

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

œœœœœœ œœœ œ œ œ œœ œ œœœ œœ œ œœœ

## œœœœœœ œ œ œ œ œ œ œœ œ œœœ œœ œ œœ œ œ  & ## œœœœœœ œ œ œ œ œ œ œœ œ œœœ œœ œ œœ œ œ

œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœœ œ Œ  B #### œ œ œ œ œ œ œ œ œ Vle.

œ œ

∑

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ œ J 

œ œ  œ œ 





œ œ. œ œ.

œœœœœœ œœœœœœ Œ œœœœœ œ œ œ œ œ œ



œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ Œ  œ œ

∑

w w ∑

Œ  ∑

∑

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

? &

œ œ  œ œ 

. .

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ



? # # # # 

Cor. (Mi) III. IV.



dim.

∑

.



.

? #### 



œ œ.

œ Œ 

∑

œ Œ 

∑

œ 80

#

œ 

.

œ

œ. n œ. œ. n >œ . œ 



œ œ.

œ 

∑



#

œ. n œ. œ. n >œ . œ 

œ œ œ B # # # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ  

#

.

œ 

œ. n œ. œ. n >œ . œ 

fz .

? #### 

œ Œ 

œ j

œ. n œ. œ. n >œ .

œ. n œ. œ. n œ .

j j j

153 Fl.

Ob.

Cl. (La)

Fg.

####

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

# ## œ œ œ œ œ & # Œ &

? #### 



œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # #

œ œ

œ  œ 

œ œ œ œ œ œ

III. IV.

Œ œ œ œ œ œ

œ œ œ œ œ œ

Tbe. (Mi)

œ Œ  œ

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

w w

? #### w

∑

n œ. œ. n >œ .

# # . & ## fz

œ.

n œ. œ. n >œ .

#

œ 

#

œ 



#



œ 

#

œ 

B ####  ? ####

Cb.

? ####

œ œ œ

œ. Œ 

∑

Œ 

∑

œ. n >œ . œ nœ.

œ # œ. œ # Œ  J œ

∑

Œ œ œ œ œ œ

œ œ œ œ œ œ

w w

Œ  ∑

dim.

∑

œ œ œ œ œ œ

œ 

#

œ 

#

∑

Œ œ œ œ œ œ

∑

œ.

Vc.

n œ. nœ

œ Œ  œ

.

## & ##

œ. œ

.

œ.

n œ.

.

œ.

n œ.

.

œ.

n œ.

.

œ.

n œ.

fz fz fz

b œœ.

b œœ. Œ   F

œœ. Œ 



∑ ∑



w p

∑

dim.

∑

œœ. Œ 

∑

œœ. Œ 

∑

n œ. #œ Œ 

∑

œ Œ 

∑



 

∑

œ œ œ œ œ œ

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

B ####  Vle.

∑

B # # # # ww

En œ.

Œ 

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

Œ œ œ œ œ œ

Cor. (Mi)

Œ œ œ œ œ œ

. .

I. II.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

E œ.

Œ 

œœ. Œ 

œ. n œ .

j œ # œ. Œ 

∑

œ. n œ .

j œ # œ. Œ 

∑

œ. n œ .

j œ # œ. Œ 

∑

œ. n œ . >

j œ # œ. Œ 

## & ##

161 Fl.

Ob.

Cl. (La)

∑

# # # # I.  . #

Fg.

? ####

I. II.

Cor. (Mi)



∑

œ nœ œ œ #

∑

œ ‹œ

∑

.

∑

.

∑

œ nœ œ œ #

∑

œ ‹œ

#œ

.

∑



III. IV.

∑

Tbe. (Mi)

∑

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 .

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

## & ##

œ œ œ œ

B #### # œ œ œ p œ ? ####

‹w p

div. pizz.

Cb.

? #### ‹ œ Œ  ‹œ p

.

œ Œ  œ

œ œ Œ 

œ œ œ Œ Œ œ ‹‹ œœ Œ 

œ ‹w

œ Œ Œ œ œ œ

œ œ œ

œ œ œ œ



œ œ Œ 

œ Œ œ Œ



# ## & #

169 Fl.

Ob.

∑

# ##  & # œ

n ww f

∑

œ 

Fg.

I. II.

? ####

œ  p

cresc.

∑

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vle.

Vc.

Cb.

∑

ww w p

∑

cresc.

#

# ww

dim.

ww 

w

# ww

dim.

#

∑

nw dim.

∑

## & ##

∑ # ww

cresc.

ww

# ww

nw @ f

nw @

#w @

nw @



cresc.



cresc.

∑





w

# # w f

∑

? #### œ Œ



# ww

∑

trem. ? #### w 

# # w f

∑

trem. B #### w 

b ww

∑

#

∑

? ####



∑

dim.



∑

B ####

#

∑

trem.

#

∑

####  w



dim.

∑

cresc.

Vln. II.

∑

Cor. (Mi) III. IV.



#

cresc.

Cl. (La)

#w @ f



∑

#œ

∑



dim.

∑

nœ p



∑

# ## ‹ œ & # œ Œ  p

∑

Œ 

∑

177 Fl.

#### œ I.

Ob.

Cl. (La)

Fg.



? # # # # ‹  . p



# œœ Œ   p

III. IV.

œœ Œ 

Tbe. (Mi)

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.



œ Œ  #œ

.  

∑

 ∑



 œ

∑

w 

∑

. 













∑





∑

œ ‹  





œ #œ

. 





 ∑

∑

 ∑



 œ

∑

w 

∑



∑

 .













∑

B ####

∑

? ####

∑

# ## . & #  p

# ## & # ‹œ   p >

# B ## # œ #   p >

œ nœ œ œ #

œœ .

Œ   >

œœ .

? #### œ Œ  p ? # # # # arco 



Œ   > ∑





œ ‹œ

œ œ.

œœ .

Œ ‹  >

#  >



œœ .

Œ   >

.



.  >

.

œ nœ œ œ #

œœ .

Œ ‹  >

œœ .

Œ #  >

Œ   >

œœ .

œ nœ œ œ #

œ ‹œ







Œ   >



œ œ.

œœ .

Œ ‹  >

.



œ ‹œ #  >





.

œœ .



œœ .

Œ   >

œœ .

.

œ nœ œ œ 



∑

Ob.

# ## & #

∑

Cl. (La)

∑

. #w w w

#œ

.

####

185 Fl.

œ nœ œ #œ #

#œ

œ nœ œ #œ # w w

#œ

.

∑

œ ‹œ

∑ #œ

œ #œ . #w

>  # œ œ

? ####

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Fg.

I. II.

Tbn. III. Tuba

Timp.

#### 

####

Vln. II.

Vle.

œœœ 3

œœ œœ œœ  >. . 3

# >. . B # # # # œœ œœ œœ  3

Vc.

? #### 

Cb.

? #### 

 œ. œ œ. œ

# 

‹ œ. œ. # œ œ 



œœœ 3

œœ œœ œœ  >. . 3

>œ. œ. œ #œ œ œ  3



‹ œ. œ. # œ œ 



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ

pizz.

∑

#œ

# œ . œJ  .

œ. œ œ. œ

# ww P

œ Œ

pizz.

∑



Cor. (Mi)

I. II.

w ∑

œ nœ œ #œ #

∑

# ww

œ ‹œ

#œ

.

div.

@ # ww P

# ww@

n ww@

@ @ @ # wœ # œ 

w@w

@ # ww

@ n ww

wœ@ # œ 

div.

P 



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ

193 Fl.

Ob.

Cl. (La)

Fg.

####

# ## & # &

#œ

.

œ nœ œ #œ #

#œ

. #w

? #### w

œ nœ œ #œ # w w #

w ∑



∑



∑

n ∑

 w

œœ Œ 

∑

 ∑

∑

œ ‹œ

œ #œ  #  ∑

∑



III. IV.

# w

Tbe. (Mi)

∑

B ####

∑

? ####

∑

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.



# ## . & # 

#œ

# ## & # w@ #w # B # # # @ w @ ? #### 

? #### 

@ œ Œ œ Œ

w #w

œ nœ œ #œ # # w@ @ @ # w @



n @ n @

œ Œ œ Œ

w@ @





# 

œ ‹œ @

‹ w  @ @



#œ

. # ww@

œ #œ  œ. # œ. 

#

dim.

ww@

dim.

# #

dim.

œ ‹œ

n n

#œ

. # ww@

œ #œ  œ. œ. 

#

ww@

# #

œ ‹œ

n n

#œ

. # ww@

œ #œ  œ. œ. 



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ

dim.

# ## & #

∑

# ## & #

∑

201 Fl.

Ob.

Cl. (La)

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

# ## & # #. ∏

#œ

#.

@

œœ

#œ

#.

@

œœ

#œ

#.

#œ

@

œœ

# ## & # @  ∏

œœ

œ Œ œ

@ 

œ Œ œ

@ 

œ Œ œ

@ 

œ Œ œ

œ œ

. .

œ œ

. .

œ œ

. .

œ œ

Vc.

? #### 

. .

œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ

Cb.

? #### 

œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ



œ Œ

Vln. II.

Vle.

# B # # # n @ n ∏

∏ ∏

## & ##

209 Fl.

Ob.

∑

####

∑

n.

nœ

∑

œ nœ œ. œ J

œ nœ nœ. œ J

∑

∑ b.

nœ

∑

œ bœ œ. œ

œ n

Œ Œ



∑

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ### #

∑

? ####

∑

Cl. (La)

œ b œ b œ . œj œ n 

Tbn. III. Tuba

Timp.

I. Vln. II.

####

## & ##

n n ww

n w

w

n œœ n œœ œœ œœ 

 n n ww

 nw

Vle.

B ####  . .

Vc.

? #### 

Cb.

? #### 

div.

‹œ ‹œ

. .

‹œ ‹œ

. .

‹œ ‹œ

. .

nœ nœ

œ Œ



œ Œ



œ Œ



œ Œ

 nw

œ Œ



œ Œ



œ Œ



œ Œ

nœ

arco



∑

p Œ

Cor. (Mi)

I. II.

∑

G #### &

217 Fl.

Ob.

Cl. (La)

& &

∑

œ n.

#### n  . #

∑

œ n. ∑

œ n Œ œ n



œ n. ∑

Fg.

œ n ? #### Œ œ n  p

œ n Œ œ n

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

nœ

n.

Œ Œ bœ



nœ

œ nœ œ. œ J

œ n Œ œ n

∑

∑ b.

œ nœ nœ. œ

nœ

∑

œ bœ œ. œ J

œ n

Œ Œ



œ b œ b œ . œj œ n 

∑

? ####

∑

œ Œ Œ nœ

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

nœ n n œœ Œ Œ

####

II.

####

Vle.

# B ## # n œ Œ Œ œ n œ Œ Œ œ n œ Œ Œ œ n œ Œ  nœ

Vc.

? ####

Cb.

? ####

I. Vln.

pizz.

Œ Œ nœ

pizz.

œ Œ Œ nœ

œ Œ  œ Œ 

pizz.

arco div.

 nw

 n n ww

n w

arco div.

 n ww

nœ Œ 

pizz.

nœ Œ 

n w

nœ Œ 

nœ

 n ww

arco

Œ 

 n ww

∑

 n ww

∑

# ## & #

225 Fl.

∑

#### #  . I.

Ob.

Cl. (La)

Fg.

∑

.

∑

nœ  ? #### Œ n œ 

nœ  Œ nœ 

.

∑

.

∑



∑

nœ  Œ nœ 

∑

nœ  Œ nœ 



∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

œ Œ Œ nœ

œ Œ 

#

∑

œ Œ Œ

œ Œ 

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

####

#œ Œ Œ nœ

pizz.

pizz. # ## & # nœ Œ Œ nœ œ Œ Œ nœ #œ

Vle.

# B ## # œ Œ Œ œ œ

Vc.

? ####

Cb.

? ####

pizz.

œ œ

Œ  Œ 

nœ Œ Œ œ pizz.

œ œ

Œ  Œ 

nœ

nœ Œ Œ œ

œ œ

Œ  Œ 

nœ Œ 

œ œ

.

arco

nw  π

arco

 π

œ nœ œ nœ. œ  J

nw 



Œ 

œ Œ 

∑

Œ 

œ Œ 

∑



.

œ nœ œ nœ. œ

arco

∑

# ## & #

∑

## & ##

∑

233 Fl.

Ob.

Cl. (La)

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

####  .

œ nœ œ nœ. œ  # J

# ## & # n w # w B ## # 

cresc.

Vc.

Cb.

B #### 

#

? ####

∑







Œ œ

œ nœ œ œ œ. œ nœ œ œ œ. œ nœ œ œ œ. œ J



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



œ nœ œ nœ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. œ J

cresc.

∑

Œ œ

œœ œœ œœ œœ .. œœ œœ œœ œœ œœ .. œœ œœ œœ œœ œœ .. œœ œœ œœ œœ œœ .. œœ



.



œ

n. 

∑

Œ œ

nœ œ œ œ.

nw 



nœ

nw 

Œ œ f

Œ 

cresc.

Vle.



∑



pizz.

Œ œ f



Œ œ



Œ œ



Œ œ

####

241 Fl.

Ob.

Cl. (La)

III. IV.

∑

Tbe. (Mi)

∑

Cor. (Mi)

a2 B ####  . ƒ . ? ####

Vc.

œ œ

nœ œ nœ. œ J

∑

.

œ nœ œ bœ.

œ 

∑

.

#

œ nœ œ nœ.

œ 

#

∑

.

œ bœ œ bœ.

œ 

#

.

œ bœ œ bœ.

œ 

ƒ ƒ

∑

#

∑



dim.

n ww 

#  B # # # n ww ƒ

w nw

n ww 

j j

∑

 #

n œ œ n œ . œj 

# # # n ww & #  ƒ

œ Œ

n ww 

.

œ nœ œ nœ.

.

œ nœ œ nœ.

.

œ nœ œ bœ.

.

œ nœ œ nœ.

∑

.

œ bœ œ bœ.

#

∑

.

œ bœ œ bœ.

∑

.

œ nœ œ nœ. œ 

#

∑

.

œ n œ œ n œ . œj  #  w w

∑

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

n ww 



dim.

n ww 

# ## w & # nw  ƒ

nw 

B #### œ ? œ   ƒ  

w

? #### w  ƒ

arco

Cb.

#

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

Vle.

∑

II.

œ 

∑

Vln.

œ nœ œ nœ.

∑

.

I. II.

Timp.

#

∑

III. Tuba

œ 

∑

Fg.

Tbn.

œ nœ œ nœ.

∑

? ####

I. II.

.



w nw



w nw



w nw



w nw



w nw



œ Œ

J J

j j

249

####

œ Œ 

∑

. .

∑

Fl.

Ob.

# # # # # œ œ3 œ œ . œj # œ œ3 œ œ . œj # œ œ3 œ œ . œj # œ œ3 œ œ . œj  .. n œ œ œ œ. œ n œ œ œ œ. œ n œ œ œ œ. œ n œ œ œ œ. œ & ƒ

Cl. (La)

Fg.

I. II.

b œœ œœ œœ œœ .. œœ J

? ####

œ #œ œ œ. œ

œ œ œ œ. œ

3 j nœ œ œ œ. œ

œ œ œ œ. œ

∑

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.



? ####



∑

œ. Œ œ ƒ Œ .



Vle.

Vc.

Cb.

∑

Œ œ.

œœ œœ œœ œœ .. œœ

B ####

œ #œ œ œ. œ

? ####

œ #œ œ œ. œ

? ####

∑

œœ œœ œœ œœ .. œœ J

∑

Œ œ.



∑ ∑

Œ œ.

Ÿ~~~~~



ƒ Z

œ Œ

∑

œ œ œ œ

∑

œœ Œ 

p ∑

∑

œ #œ nœ œ. œ œ œ # œ . œj œ  J

œ #œ œ œ. œ œ   J œ 

∑

œ #œ nœ œ. œ œ œ . #œ œ œ  #œ J J

œ #œ œ œ. œ

œ œ œ œ

œ # œ œ œ . œj œ # œ œ œ . œj œ œœ    ƒ 3

œ œ œ œ œ œ œ œ

œœ œœ œœ œœ

œœ œœ œœ œœ .. œœ  ..

œœ œœ œœ œœ œœ œœ œœ œœ

nœ œ œ œ. œ nœ œ œ œ. œ . J J 3 3 ƒ

œœ œœ œœ œœ .. œœ

œœ œœ œœ œœ

œ Œ  œ

œœ œœ œœ œœ œœ œœ œœ œœ

w w

œ. Œ œ



∑

œ. Œ œ ∑

œ #œ nœ œ. œ œ œ #œ. œ œ  J J

œ œ œ œ. œ œ œ œ œ 3



nœ œ œ œ. œ J

œ #œ nœ œ. œ œ œ j #œ. œ œ  J

œ œ œ œ . œ œœ œœ œœ œœ J

œ œ œ œ. œ



####

œ # œ œ œ . œ œœ œœ œœ œœ

œ #œ œ œ. œ

∑

II.

œ. Œ œ



# # nœ œ œ œ. œ J & ##

Vln.

b œœ œœ œœ œœ .. œœ b œœ œœ œœ œœ .. œœ  .. J J 3 3 ƒ 3

∑

B ####

Cor. (Mi) III. IV.

œ #œ nœ œ. œ œ œ . #œ œ œ  #œ J J

w



œ œ œ œ œ œ œ œ



œ œ œ œ

Fl.

Ob.

Cl. (La)

Œ  œ

# ## n œ  & # Œ p

257

& &

####

Fg.

? ####

I. II.

Œ 

∑

 Œ

∑ ∑ ∑

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# w p

cresc.



Œ 



cresc.

# p

∑ p

Œ 

œ # œ. 

Cor. (Mi) III. IV.

Œ # œ.

œ # Œ

œ . cresc.

 œ

cresc.

œ #  J

œ # 

∑

nœ.



# ww

cresc.

w

œœ Œ

‹



œ œ Œ

 ..



œ Œ

 .. 

fz fz

# 

œœ

j nœ  J

#

nœ Œ

# 

œœ Œ

∑

B ####

∑

? ####

∑

I ##

# nœ  & # p # ## w & # w p # # B ## #  p ? ####  p

? #### w  p

œ #œ 

cresc.







cresc.







œœœœ







# ww 

#



œ.

cresc.

w 

cresc.

w 



œ J

∑



œ œ Œ

#   fz

œœ Œ

‹  fz

#



 fz

œ n œ œ œ . # œj # œ œ œ.

œ œ 

œ nœ œ œ. #œ #œ œ œ. J

œ œ 

Œ Œ

‹œ Œ

#œ Œ

œœ œœ œœ œœ

œœ Œ 

∑



œ œ  œ œ  J

œ Œ

œ n œ œ œ . # œ # œ œ œ .. œ J

Ÿ~~~~~~

œ #

.

 ‹



cresc.

∑

Ÿ~~~~~~



.

 .. 

œ Œ

∑

œœ Œ 

p ∑

∑

œ nœ œ œ. #œ #œ œ . œ J

œ œ  J

œ n œ œ œ . # œj # œ œ œ.

œ œ 

‹œ Œ

w w



œ œ œ œ

ƒ ƒ ƒ



Œ  #### # œ & ∑ p

265 Fl.

Ob.

Cl. (La)

Fg.

I. II.

& &

####

? ####

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

nœ # p ∑

Œ 



œ #œ #

∑



œœ



œ Œ

∑

œœ Œ

∑

fz fz



œ. Œ



p I.

œ.

# 

fz ‹ 



w #

#

# 

œœ Œ

∑



#œ.

j œJ n 

#

nœ Œ

∑



cresc.



œ. Œ



œ.



œ. Œ



∑

œ.

∑

‹



#œ œ

#



nœ œ

p p

∑

œ #œ ‹

œ ‹œ  cresc.

#  

cresc.

#  #



 œ ‹ œ œœ œœ œœ # 



cresc.

‹



#œ.

cresc.

w 

cresc.

Ÿ~~~~~

w 

œ 



œ Œ





œœ Œ

 ‹  fz

œœ Œ

‹



 fz

œ Œ

‹ p



#œ œ

œ. Œ

∑

# ## & # #œ # p

? #### w  p

œ.



∑

? ####

? ####  p

œ #‹ 

cresc.

∑

# p

cresc.

œ.



∑

B ####

# B # # # ‹ p



∑

# ## & # # ww p



œ #œ  Œ

cresc.

∑

œ #œ ‹

Œ 

w

∑ ∑

∑

# ww

œ. œ  J



       

œ Œ 

p p

pizz.

Fl.

Ob.

Cl. (La)

####



####



273

I. II.

? #### œ . I.



œ. Œ



œ.



œ. Œ



∑

∑ I.

Fg.

œ.

œ j

œ





œ. Œ





‹



#

œ.

œ. Œ ∑

∑



œ.

 

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

#œ œ

w

∑

B ####

∑

? ####

∑



#œ œ

œ.

∑ ‹

∑

∑ ‹



cresc.

a2 œ œ #œ œ. œ œ 

#

∑





cresc.

∑ #

w

#

w

cresc.

∑ #w

cresc.

Œ 

∑ # p

∑

œ œ #œ. œ J



cresc.

∑

#

∑ ‹ ∑



∑

œ J



œ œ #œ œ. œ œ  œ œ #œ œ. œ œ 

œ 

div.

   

# B ## #

   





cresc.

? #### œ Œ



œ Œ 

? #### œ Œ



œ Œ 

 ‹

arco

 p

cresc.

arco

cresc.

œ œ #œ. œ œ œ #œ. œ J



# 











 ‹

 #



# 



cresc.



œ œ

cresc.

# ## & #    

   

∑

œ Œ 

∑

Œ  p

œw

∑



nœ œ

#### ‹ 



∑

Cor. (Mi) III. IV.



w 





#

 









‹  ‹

# ## & #



281 Fl.

Ob.

Cl. (La)

& &

#### #

Œ p

∑ œ

.

∑

cresc.

œ œ 

œ  ..

nœ

#

œ  ∑

∑



.

∑

∑# 

œ .

œ œ  



bœ



∑ #



# w



wœ œ 

œ # œ # 



# w



wœ œ 

œ # œ # 

#.

œ 

#.

w 

# # w.

w .

# # w.

œ 

#.

œ 

#.

f Œ

cresc.

∑

œ 

? ####



III. IV.

w

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Fg.

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln.

∑

œ œ

#### œ  œ  &

. . 

II.

# ## & # 



Vle.

# B # # # 







Vc.

? ####  



Cb.

? #### w







#

œ œ  





 #





# 



#



 #



‹

œ . œ .

œ œ  œ œ  







# 







‹ 



‹



 

œ œ

∑

œ  œ  w nw

∑



∑

œ œ

œ  œ  w #w

∑



œ œ

∑

œ  œ  w nw

∑



∑

œ œ

∑

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

nœ nœ

œ #œ 

#w f

œ œ

œ  œ  f

#. #.

œ œ

œ œ    œ œ œ œ œ œ #

œ œ œ œ œ œ œ œ #   

 f



n



n

œ œ

œ  œ 

#. #.

œ œ

œ œ    œ œ œ œ œ œ #

   

n

#

n

#

#   



n



n

n n

Fl.

Ob.

Cl. (La)



####

# # # # a2

289

n



#

n



w # 

w w

œ œ Œ Œ

w # 

œœ Œ. Œ.

ten.

w w

œ Œ  œ

œ Œ 

∑

œ Œ 

∑

w w

œ Œ  œ

∑

w # 

œœ Œ 

∑

w w

œ Œ  œ

∑

œ Œ 

∑

œ > 

>œ

I. II.

? # # # # #ten. w ƒ



#

Cor. (Mi)

œ 

Tbe. (Mi)

œ Œ  œ

Tbn. III. Tuba

Timp.

ƒ >

B ### # ? #### ?

Vln.



> #### œ 



II.

Vle.

œ B ####  ƒ >

ten.

Vc.

? ####

ten.

Cb.

? ####



œ 

∑

>œ

w

œ œ

œ  w

Ÿ~~~~~~~~~~~~~~~~~~~~~



Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

w w

. .

œ œ

 

ww 

ten.

n

w w

 

œ > œ 

ƒ >

∑ n n

b

w w

∑

# #

w w

œ Œ  #### 

ten.

n

III. IV.

I. II.

ten.

œ >

w w

Fg.

#

n





œ Œ

 #

 ..  ..



œ œ œ

œ œ œ œ œ œ œ œ

œ œ

œ œ œ œ

Œ Œ œ .

œœ . œœ .

div.

œ œ œ œ .

div.

œ œ œœ. œ. œ œ. .

. . œ œ œ. œ

œ Œ 

ten.

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

. . œ. œ œ œ œ œ œ. œ . . œœ. œœ œ œœ œ . . œ. œ . œ œ. . . œ. œ B œ. œ ∑

œ. #### Œ  &

297 Fl.

Ob.

Cl. (La)

Z œ.



œ. œ nœ. œ 





∑

nœ. œ nœ. J

œ

∑







## œ Œ  & ## Z

∑

œœ. Œ 

∑

∑ 

∑

œ. œ nœ. œ  J J





∑

œ. nœ



Fg.

? ####

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ### #

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

w w

## w & ## @ 

w ww # # # # w@ @ &  œ. # # B ## Œ œ . œJ œ . œ  J p Z œ. pizz. # B ### Œ  ? œ Œ  p Z ? ####

∑

œ Œ 

pizz.

w w

n ww @



œ. œ nœ. œ  J



nœ. œ nœ. J



œ. nœ œ. J

w @

œ J

œ

œ Œ 

nœ Œ 

œ Œ 

nœ Œ 

œ Œ 

# ## & #

∑

## & ##

∑

305 Fl.

Ob.

Cl. (La)



œ. nœ nœ. œ  J J ∑

∑

œ. œ  J





∑

œ. nœ bœ. œ  J



bœ. nœ nœ. J

œ J

∑





n



Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ### #

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

w w

# # # # ww @ &

ww @

n ww @

Vle.

B #### 

œ . n œ œ . œj  J



œ . n œ n œ . œj  J



bœ. nœ nœ. J

Vc.

? #### œ Œ 

œ Œ 

bœ Œ 

œ Œ 

nœ Œ 

Cb.

? #### œ Œ 

œ Œ 

bœ Œ 

œ Œ 

nœ Œ 

I. Vln. II.

## w & ## @

w @

100

nw w @

w @

n n ww @

n ww @ j

œ



n ww @

nœ. nœ J

œ . œj n œ Œ nœ Œ nœ



# ## & #

∑

####

∑

313 Fl.

Ob.

Cl. (La)

∑

∑ 

nœ. p

nœ J



∑



n

nœ.

nœ J



nœ. nœ J



∑

n

 ∑

nœ. nœ J



Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

# # # # n  & @

n  @

Œ 

∑



Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

# # # # n  & @

n # # # B # @ π

n  @



n  @

@ n 

@ n n 

n  @

@

@ n 

n œœ

@ n n 

@

n ww@

 n œœ œœ œœ œœ n œœ œœ œœ œœ n 

 n 

  n  n 

 n 

@ n ww

 n n œœ œœ œœ œœ œœ œœ œœ œœ n n 



 n n 



 n n 





n



n

n @

@ n @

Vc.

? ####

∑



Cb.

? ####

∑



n œ . n œj π arco n œ . n œj π arco



n



n

101

n œ . n œj  n œ . n œj 

n œ . n œj n œ . n œj

####

321 Fl.

Ob.

Cl. (La)

n.

∑ I.

n.

∑ Œ

w ∑

bœ

? #### n  .

∑ I.

Fg.

nœ

nw ∑

w ∑

∑

w ∑

∑

III. IV.

∑

Tbe. (Mi)

∑

B ### #

∑

? ####

∑

nœ. nœ nœ. nœ J p

I. II. Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

div.

## & ##

∑

## & # # nœ œ œ œ n œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ sempre π B #### n œ œ œ œ nœ œ œ œ sempre π ? #### w

sempre

Cb.

∑

? #### w

sempre

π π

∑

# œœ œœ œœ œœ n œœ œœ œœ œœ n b œœ œœ œœ œœ n n œœ œœ œœ œœ n n œœ œœ œœ œœ morendo

n œœ œœ œœ œœ n n œœ œœ œœ œœ # n œœ œœ œœ œœ n œœ œœ œœ œœ b n œœ œœ œœ œœ n n œœ œœ œœ œœ morendo

w w



nw nw

div.

nœ Œ 

102

w w

morendo

∑

nw nw

n œœ œœ œœ œœ

w w ∑

∑

# ## n œ Œ  & #

∑



# ## & #

∑



w w

∑

bw bw

nw nw

nw #w

n ww

∑

n ww

∑

329 Fl.

Ob.

Cl. (La)

∑ bœ Œ 

? ####

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

Fg.

I. II.

bw bw F

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

nœ. nœ J

∑

? ####

∑

#### 



 

# ## & # nœ Œ  œ ∏ # B ## # n œ Œ  nœ ∏ ? #### n œ Œ  nœ ∏

? #### Œ n œ Œ œ nœ Œ œ Œ div. pizz.

Cb.

nœ. nœ J

n n

  ∑ ∑ ∑

Œ nœ Œ œ nœ Œ œ Œ

nw nw F

 

nœ. nœ.

œ  œ J 

n n

# #

 

bw bw

n n

nœ. nœ œ. nœ J

# ww F

n ww

∑

n ww

∑

Œ nœ Œ œ nœ Œ œ Œ

n ww F F

103

Œ nœ Œ œ Œ nœ Œ œ nœ Œ œ Œ nœ Œ œ Œ

I. ####  &

337 Fl.

Ob.

Cl. (La)

# # # I. & #  &



n



n

∑

  ∑

n ∑

#

∑

b b w

n

∑

b ww

∑

B ####

∑

? ####

∑

III. IV.

Tbe. (Mi)

n

#### 



 

n n

∑ ∑

 

∑

b ww

n œœ Œ 

b ww

n n œœ

bw bw

nœ nœ Œ 

II.

#

nœ Œ 

∑

b b w

n

bœ Œ  œ

∑

b ww

∑

 

nw nw

 

nœ. nœ.

œ  œ J 

n n

n

# #

∑



 

n n

# ## & # n w

 nw

Vle.

# B # # # w

 nw

w

nw 

w

Vc.

? #### n 

Cb.

? #### Œ n œ Œ œ Œ n œ Œ œ nœ Œ œ Œ nœ Œ œ Œ

n

#

n

#



Œ nœ Œ œ Œ nœ Œ œ nœ Œ œ Œ nœ Œ œ Œ 104

n



Œ nœ Œ œ Œ nœ Œ œ nœ Œ œ Œ nœ Œ œ Œ

b œœ Œ 

bw bw

II.



Œ 

n

# ∑

Cor. (Mi)

Vln.

w w

œ 

∑

bw bw

nœ. 

∑

I. II.

Timp.



#

∑

III. Tuba

n ww

II.

n ∑

#

? ####

Tbn.

n w

œ 

na2

Fg.

I. II.

n ww

nœ.

n

œ . œj œ. œ



w #

Œ nœ Œ œ nœ Œ œ Œ

nw Œ nœ Œ œ nœ Œ œ Œ

345 Fl.

Ob.

Cl. (La)

####

# ## & # &

∑

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

# ## b w & # bw

n n

œ . n œj b w œ. nœ bw

n n

œ . n œj #  œ. nœ #

# ## & #  bw

 nw

dim.

 bw

 nw



n w

n

# B # # # n w ? #### # w

? #### Œ n œ Œ œ nœ Œ œ Œ

dim.

n

dim.

n

∑

nœ Œ  dim.

Œ nœ Œ œ nœ Œ œ Œ

∏ ∏



n

∑

nœ Œ  105

∏ 



  

 

 

 

 

 

 













pizz.



nœ Œ



nœ Œ



nœ Œ



nœ Œ



nœ Œ



nœ Œ

nœ Œ π π

## & ##

∑

## & ##

∑

353 Fl.

Ob.

Cl. (La)



j œ. œ w ∑ ∑

 

j œœ .. œœJ

Fg.

? ####

∑

I. II.

∑

B ### #

∑

? ####

∑

Cor. (Mi) III. IV.

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Cb.

cresc.

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

∏ ####



œ w

.

œ w



œ . œJ w



.

## & # # w@

ww@

w@ w

B # # # # ww@

ww@

? # # # # w@

poco a poco cresc.

? # # # # arco w

poco a poco cresc.

œ. J

poco a poco cresc.

arco

Vc.

cresc.

106

œ . œJ

# ## & #

∑

####

∑

363 Fl.

Ob.

Cl. (La)

Fg.

I. II.

? ####

Cor. (Mi)



∑

III. IV.

Tbe. (Mi)

∑

B ####

∑

? ####

∑

I. II. Tbn. III. Tuba



œœ .. œœJ  ∑

cresc.

∑



œœ .. œœJ 

fz >





œœ .. œœJ 



œœ .. œœJ 



œœ .. œœJ 

œœ .. œœJ ww

w w



fz fz

w ∑

w> w

ƒ ƒ

∑

#### w



œ . œJ 

II.

# ## @ & # ww

w@ w

Vle.

# w B ## # w @

Vc.

? #### @ w

Cb.

? ####

Vln.

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

w ∑

Timp.

ww œœ .. œœJ

@ f

ww @

@ f f

107



œ . œJ ww

w w

 ƒ



@ ƒ

 ƒ

œ 

> ƒ



œ  w >



œ  w >

œ Œ



œ  w >

373 Fl.

Ob.

Cl. (La)

Fg.

I. II.

III. IV.

Tbe. (Mi)

Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œœ

œœ n 

œœ

œœ n œœ œœ œœ

n œœ 

œœ

œœ n 

œœ

œœ n œœ œœ œœ

# # # # n n œœ 

œœ

œœ n n 

œœ

œœ n n œœ œœ œœ n n œœ œœ œœ œœ n n œœ 

œœ

œœ n n 

œœ

œœ n n œœ œœ œœ n n œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

w w

 

nw nw

w w

n n



 

? #### n w nw 

Cor. (Mi)

I. II.

n œœ 

####

w w

n œœ œœ œœ œœ



w w

n œœ œœ œœ œœ



œ b 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ  

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ

b œœ 

œœ

œœ b 

œœ

œœ b œœ œœ œœ

b œœ œœ œœ œœ



.

œ. b œ. œ. b œ . œj 

#





.

œ. b œ. œ b œ . œj 

#





a2 B ####  . 

œ. n œ. œ. n >œ . œ 

#





.

œ. n œ. œ. n >œ . œ 

#





 



 



? #### n w nw  ?

w w

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



w w

dim.



# ## n w  & # 

nw 

# ## w & # n w@ 

#  B # # # n ww 

n ww @

w nw

n ww @

? # # # # n w 

n w

? #### n w 

œ Œ

nw nw 

w w

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



w w



nw 

n ww @

n w

w nw

108

w nw

œ Œ

381 Fl.

Ob.

Cl. (La)

Fg.

I. II.

N# 

#### œ

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Œ 



nœ œ ∑

# ## #  & # w F



w

nœ œ



 

œ œ œ œ

w

? ####

∑

w

Cor. (Mi) III. IV.



w

w

œ œ





œ œ

#



 

# w

 

w w

 



 w



w

œj  œJ 

 w



w

œ. w

œ





œ

 

œj 

n œœ .. fz

j # œœ  J

#œ. #œ. fz

#œ. # œ. fz #œ. # œ. fz

∑

B ####

∑

#œ.

? ####

∑

fz fz

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

N# 

####



# ## & #     F # B ## #     F

Vc.

? ####

Cb.

? ####



nœ œ

œ œ

∑

w w

∑



w 

œ ..

œj  œJ 

J ∑

œ Œ œ.



œ J



#œ œ œ œ  



#œ.



œ

∑

w

nœ œ

 

œ œ œ œ

∑



w

œ œ





œ œ

œ ..

œ

w



œœ 



œœ Œ

œ œ

 

‹ œ .. fz #œ. #œ. fz

œ

 .

œ



∑



nœ œ

∑

œ Œ œ.

 

œ J

œ Œ

œœ Œ

∑



      œ œ œ œ nœ œ œ #œ              

#œ œ œ œ  



#œ.

w 109



œ. w

∑

#

œ œ Œ



Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

œj  œJ 

 

 ∑



 

œj  œJ 

#œ. # œ. fz

#œ.



∑

 w

#œ. # œ. fz

∑

w w>



    

nœ œ

∑

  œ œ œ œ nœ œ œ #œ          



∑



∑



 w



œ J

     

œ œ œ œ

389 Fl.

Ob.

Cl. (La)

Fg.

I. II.

#### œ

# ## & # &

? ####

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vle.

Vc.

Cb.

∑



Œ  p p Œ 

œ œ œ

∑



∑

œ œ œ . œj œ  œ œ œ. œ œ  œ œ œ . œj œ 



∑

B ####

∑

? #### ?

####

? #### ? ####

œ œ œ . œj œ Œ  w



cresc.

∑



cresc.

# ‹

∑

cresc.

#

∑

cresc.

∑



nœ

œ 



œw œ n 



.

∑ nœ

cresc.

.

œ # œ # 

∑ #



∑ ‹



 

# #



œ nœ 

œ œ b

∑

œ œ 

œ œ œ . œj œ  œ œ œ. œ œ 

cresc.









 # 







‹ 

 

 

 



#  











 #

w

‹ 



#



# 

 

cresc.



#



w

cresc.

# 

cresc.

œ œ







. .



# 



œ œ

œ œ œ . œj œ  œ œ œ. œ œ 



div.



œ œ ‹



110



‹





nœ

∑

cresc.

œ œ œ. œ œ œ œ œ. œ œ  ∑

∑

nœ

œ 

∑

#

.

∑



# B # # #   p

∑

.

∑

III.

∑

œ  

Œ 

cresc.

∑

div.

œ œ

cresc. cresc.

∑

Vln. II.

Œ 

Cor. (Mi) III. IV.

∑

nœ nœ

œ  œ    œw œ n 

. .

nœ nœ

   œ œ #  



  

w œ n  œ 





#  #

 # œ #  œ 





‹  ‹

####  .

## & # # w .

397 Fl.

Ob.

Cl. (La)

? #### 

Fg.

I. II.

& &

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

Vle.

Vc.

Cb.

w w

#w #w

œ  #

.

bœ



‹

nœ

cresc.

œ 

bœ

cresc.

‹

#

œ >

>œ

œ >

œ 

œ >

>œ

œ >

>œ

œ >

>œ

œ >



# ww

∑ ‹

#

∑

∑ ‹

 w

∑

# ww

∑ ‹

 w

∑

œ œ

# # # #  ..  & f

œ  œ 

nœ nœ

∑

œ œ

. .

œ  œ 

œ #

nœ nœ

∑

 

cresc.

? ####  f

‹ 

# 

‹ 

‹

#

‹







‹ 

# 

‹ 

‹

#

‹

w 

cresc.

111

∑ ∑

#





n



w n 

w b 

w

w w



w n 

w w

ƒ ƒ ƒ ƒ

 





w w





   n

 ƒ



 



w





w



Ÿ~~~~~~~~

∑

 

∑

œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ   # # œ # B #   f cresc. ? ####   f



∑

œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ  f



œ 

œœ Œ 

∑ ‹

 

w w

‹

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

####

n n

cresc.

# #

a2 œ > œ œ

œ   #  œ n œ   œ

>œ

 

œ >

>œ

> œ  cresc.

#w #w

.

œ 

>œ

? #### w F

nœ

œ a>2 œ

B ####  F

Vln. II.

‹

Cor. (Mi) III. IV.

.

œ 





## w & ## w









Fg.

? #### w

 



I. II.



III. IV.

Tbe. (Mi)

405 Fl.

Ob.

Cl. (La)

Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.



∑



∑





∑





∑

B # # # ww #





∑

? #### w

 



∑

œ Œ 

∑

Cor. (Mi)

I. II.

####

Ÿ~~~~~~~~~~

O.



œ œ w



œ # œ. n 

œ Œ 

œ œ w

n >

> œ. œ. n 



œ Œ 





 



B # # # # ww

? #### w

Cb.



Vc.

œ œ .





œ œ #œ nœ œ 

## w & ##



.



? #### w

œ œ .



œ œ #œ nœ œ



#### w

pizz.

112



n

Fl.

Ob.

Cl. (La)

Fg.

I. II.

∑



# ## & #

∑



∑

? ####

I. Vln. II.

w p

dim.



œ Œ



p I.

∑

B ####

∑

? ####

∑



œ Œ



œ Œ



∑

œ Œ

∑

∑ 



∑

œ 

œ œ .

œ .

# ## & # w















# B ## # w















n

œ. # œ. n 



n

œ. # œ. n 

n

? #### œ Œ 

œ Œ 

dim.

∑

œ œ .

? #### 

# ##  & #

dim.

∑

dim.

Cb.

∑

dim.

Vc.

w ∑

dim.

Vle.

w ∑

Tbe. (Mi)

Timp.

∑

III. Tuba

∑

III. IV.

Tbn.

∑

Cor. (Mi)

I. II.

# ## & #

415

π π π

œ .



113

n

œ .



œ Œ 

n

œ .



œ Œ 

n

œ 



∑







∑







œ Œ 

∑

# ## & #

∑

# ## & #

∑

Fg.

? ####

∑

I. II.

∑

III. IV.

∑

Tbe. (Mi)

∑

B ####

∑

? ####

∑

####

∑

div.



∑

## & ##

∑

div.



∑

B #### 



? #### 



? ####

∑

425 Fl.

Ob.

Cl. (La)

nw p

∑



∑



nw p

∑



∑



Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

 

ww p

 

arco

  

 





114

∑

nw p

  



∑



∑





∑

####

∑

# ## & #

∑

435 Fl.

Ob.

Cl. (La)

Fg.

I. II.

F bw

F ? #### n w &

∑

Tbe. (Mi)

I. II. Tbn. III. Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

bw bw F

dim.

F F

n ww

∑



dim.

F F

w w

dim.

∑





∑





∑





∑

 



∑

B ####

∑

? ####

∑

# ## & #

∑

# ## & #

∑

? #### n w F ? ####

F F

# B ## # n w F

∑

dim.

∑

dim.



dim.

 

∑

Cor. (Mi) III. IV.

dim.

 



 



 



 















.

nœ

.

nœ

.

nœ

.

nœ

.

nœ

.

nœ

.

nœ

.

nœ

π π



dim.

115















# ## & #

∑

# ## & #

∑

443 Fl.

Ob.

Cl. (La)

∑

œ œ



∑

œœ



∑

œœ



∑

π π

∑

I. II.

∑



∑



Cor. (Mi)

I. II. Tbn. III. Tuba

Timp.

∑

B ####

∑

? ####

∑

#### 

####

Vln. II.

∑

w w

ww w

π π π

∑

ww w



∑





∑

div. in 3

Vc.

? ####

 

w 



  ∑

œœ

π π

dim.

œœ



∏



∑

œœ



∑



∑

ww w

œœ œ

div.

œœ

œ œ

116

 

œœ œ

∑

ww w



ww w

∏

dim.

œœ

œ œ

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



# B ## # w

? ####

w w

div. in 3

Vle.

Cb.

∑

w w

? ####

Tbe. (Mi)

∑

w w

Fg.

III. IV.

∑

Œ Œ

  

∑ Œ

∑ ∑ ∑ ∑

∑

U w

w w

π U

dim.



ww w

dim.



dim.



dim.



dim.



U U

div.

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

Romeo and Juliet, first version Bar

Instr.

Comment

Vln. I

cautionary accidental added

Ob., Vln. I

cautionary accidental added

39–42

Vln. II, Vle. hairpins added by analogy with the other str.

Cl., Fg.

p added by analogy with the other parts

Cb.

pp added by analogy with the other str.

Vle.

f added by analogy with the other str.

Fl. I

abbreviated notation with three repetition dots

119

Fl. I, Cl. I

> added by analogy with b. 111; f added by analogy with b. 111

119

Vln. I

> added by analogy with Fl.

119

Cor. IV

mf added by analogy with b. 110; cresc. added by analogy with the other parts

127–128

Vc.

slur added by analogy with bb. 123–124

135

Cor. II

> added by analogy with Cor. III/IV

149

Tbn.

ff added by analogy with the other parts and by analogy with b. 291

157

Cl.

stacc. added by analogy with the other ww.

157

Cor. I/II

stacc. added by analogy with Cor. III/IV

157

Timp.

ff added by analogy with the other parts

161

Ob.

p added by analogy with the str.

171

Cor. III

p added by analogy with Cor. I b. 170

175

Vle., Vc.

dim. added by analogy with the other str.

177

Vle., Vc.

p added by analogy with the other str. articulation added by analogy with Vln. II

Cor. III/IV

stacc. added by analogy with the other parts

177–179

Vle.

105

Vln. II

ff added by analogy with the other parts

182–184

106

Tbe.

pitches emended by analogy with b. 114 (source unclear)

Vln. II, Vle. articulation added by analogy with bb. 177–178

187–188

Vle.

articulation added by analogy with Vln. II

106–107

Fg.

articulation added by analogy with Cor. I/II

189

Vln. II

mp added by analogy with the other str.

107

Fl. II

stacc. added by analogy with Fl. I

197

Vln. II

dim. added by analogy with the other str.

108–109

Fl. I

slur added by analogy with b. 116 and as added in pencil

201

Vln. II

ppp added by analogy with the other str.

225

Fg.

variant of printed version added in pencil

108

Ob., Cl., Fg., Cor. I/II, Vln. I

slur added by analogy with b. 116 and as added in pencil

253

Timp.

trill extension added

256

Ob., Cl.

110

Cl. I

cresc. added by analogy with Fl. I

110, 111

Vln. I

> added by analogy with Fl.

111

Fl. II

> added by analogy with Fl. I

111

Cor. IV

cresc. added by analogy with the other parts

112, 113

Timp.

trill extension added

115

Cor. III/IV

stacc. added by analogy with I/II

117

Cl. I

> ???? added by analogy with Fl. II

117

Cl., Fg., Cor.

p added by analogy with str.

118

Fl. II, Cl. II

> added by analogy with b. 110 (Fl. I, Cl. I); cresc. added by analogy with b. 110 (Fl. I, Cl. I)

118

Cor. II

added by analogy with the other parts

257

Cl.

p added by analogy with Fl. II

258

Ob.

p added by analogy with Fl. b. 257

258

Ob. II, Cl. II

cresc. added by analogy with Fl.

258–259

Cor. IV

incomplete tie completed

260

Timp.

trill extension added

264

Ob., Vln. II

added by analogy with the other parts

cresc. added by analogy with the other parts

118

264

Cl. I

added by analogy with Fl. I

265

Cl. I

p added by analogy with the other parts

265–266

Cor. II

tie added by analogy with Cor. III (bb. 257–258)

266

Cor. IV

p added by analogy with the other parts

428

Cb.

266

Cl. II

cresc. added by analogy with the other parts

429

Cb.

268

Timp.

f and trill extension added by analogy with b. 260

432

Cb.

433

Cb.

285

Fg.

# added by analogy with Vc., Cb.

285

Timp.

mf added by analogy with Tbe., Tbn.,

289–290 Cor. III/IV, Vln. II, Vle.

> added by analogy with Cl.

295

Tbn. III, Tuba

incomplete tie completed

295–296

Vln. I

stacc. added by analogy with Vln. II

297

Vle.

stacc. added by analogy with Vc.

298

Fl.

I. added by analogy with Cl. b. 300

316

Vln. I upper part

 added by analogy with the other str.

329

Vc.

ppp added by analogy with Vln. II, Vle.

342

Fl., Ob., Vln. I

cautionary accidental added

344

Vln. I

cautionary accidental added

363

Cor. I

cresc. added by analogy with the other parts

373–374

Tbn. I/II

articulation added by analogy with Tbe.

377

Tbn. III, Tuba

fff added by analogy with b. 373

383–384

Ob.

388

Ob., Tbe., Tbn.

parts

388

Cl., Fg.

p added by analogy with Ob.

388

Cor. I/II

p added by analogy with Cor. III/IV

391–396

Cl., Fg.

dashed lines added by analogy with the other parts

391

Cor. III

p added by analogy with the other parts

392

Cor. III

cresc. added by analogy with the other parts

393

Fg. II, Cor. I

p added by analogy with the other parts

394

Ob., Cl., Fg., Cor I

cresc. added by analogy with the other parts

403

Tbn., Tuba

ff added by analogy with the other parts

404

timp.

trill extension added

415

Cb.

dim. added by analogy with the other parts

419

Cb.

pp added by analogy with the other parts

added by analogy with Fl., Cl. added by analogy with the other

119

added by analogy with Vln. I/II pp added by analogy with Vln. I/II added by analogy with Vln. I/II pp added by analogy with Vln. I/II