Traume by Musikkforlagene

JOHAN S. SVENDSEN (1840–1911)

Träume av Richard Wagner JSV 46

Träume by Richard Wagner

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/9B

N.M.O. 14545A

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 German language consultant: Martina Gaux Sponsored by: Kulturrådet (Arts Council of Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14545A /ISMN 979-0-065-16409-0) For sale Parts (N.M.O. 14545B /ISMN 979-0-065-16410-6) For hire © 2020 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimiles Scoring I V XIII XXIII

TRÄUME. STUDIE ZU TRISTAN UND ISOLDE VON RICHARD WAGNER FÜR ORCHESTER BEARBEITET VON JOHAN S. SVENDSEN 1 Forkortelser Kritisk rapport

14 15

I V XIII XXIII

TRÄUME. STUDIE ZU TRISTAN UND ISOLDE VON RICHARD WAGNER FÜR ORCHESTER BEARBEIT ET VON JOHAN S. SVENDSEN 1 Abbreviations Critical report

14 15

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: • 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.

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

III

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

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

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

SERIES III: Works for String Orchestra

SERIE II: Verker for soloinstrument og orkester

SERIES IV: Chamber Music

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

SERIE III: Verker for strykeorkester

1. String Quartet, String Octet and String Quintet 2. Miscellaneous Chamber Works 3. 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) completed his orchestration of Richard Wagner’s (1813–1883) ‘Träume’ in Darmstadt on 16 April 1872. The manuscript bears the title Träume (Studie zu Tristan und Isolde). Only a few weeks later, Svendsen met Wagner in Donndorf near Bayreuth, where the two men and their families spent much time together that summer and became well acquainted. Wagner’s original ‘Träume’ is the fifth and final song in a cycle for female voice and piano, Fünf Gedichte für eine Frauenstimme und Klavierbegleitung, better known as the Wesendonck-Lieder, composed in Zurich between 1857 and 1858. The song, titled ‘Träume, Studie zu Tristan und Isolde’, is a setting of a poem by Mathilde Wesendonck (1828–1902) who was married to the wealthy silk merchant Otto Wesendonck (1815–1896), one of Wagner’s patrons at the time.

FORORD

ohan Svendsen (1840–1911) avsluttet arbeidet med sin orkestrering av Richard Wagners (1813-1883) Träume i Darmstadt, 16. april 1872. Manuskriptet har tittelen Träume (Studie zu Tristan und Isolde). Få uker senere møtte Svendsen Wagner i Donndorf nær Bayreuth. De to og familiene deres tilbrakte mye tid sammen sommeren 1872 og ble godt kjent. Wagners original er den femte og siste sangen i en syklus for kvinnestemme og klaver, Fünf Gedichte für eine Frauenstimme und Klavierbegleitung, de såkalte Wesendonck-Lieder, kompo nert i Zürich i 1857 og 1858. Sangen har tittelen Träume, Studie zu Tristan und Isolde. Teksten er av Mathilde Wesendonck (1828–1902), som var gift med den rike silkehandleren Otto Wesendonck (1815–1896), en mesen for Wagner på denne tiden.

Sag, welch wunderbare Träume Halten meinen Sinn umfangen, Daß sie nicht wie leere Schäume Sind in ödes Nichts vergangen? Träume, die in jeder Stunde, Jedem Tage schöner blühn, Und mit ihrer Himmelskunde Selig durchs Gemüte ziehn!

Sag, welch wunderbare Träume Halten meinen Sinn umfangen, Daß sie nicht wie leere Schäume Sind in ödes Nichts vergangen?

Träume, die wie hehre Strahlen In die Seele sich versenken, Dort ein ewig Bild zu malen: Allvergessen, Eingedenken!

Träume, die in jeder Stunde, Jedem Tage schöner blühn, Und mit ihrer Himmelskunde Selig durchs Gemüte ziehn!

Träume, wie wenn Frühlingssonne Aus dem Schnee die Blüten küßt, Daß zu nie geahnter Wonne Sie der neue Tag begrüßt,

Träume, die wie hehre Strahlen In die Seele sich versenken, Dort ein ewig Bild zu malen: Allvergessen, Eingedenken!

Daß sie wachsen, daß sie blühen, Träumend spenden ihren Duft, Sanft an deiner Brust verglühen, Und dann sinken in die Gruft.19

Träume, wie wenn Frühlingssonne Aus dem Schnee die Blüten küßt, Daß zu nie geahnter Wonne Sie der neue Tag begrüßt, Daß sie wachsen, daß sie blühen, Träumend spenden ihren Duft, Sanft an deiner Brust verglühen, Und dann sinken in die Gruft.1

Two of the songs in Wagner’s cycle – ‘Im Treibhaus’ and ‘Träume’ – are labelled ‘studies’ for his opera Tristan und Isolde. The songs are also an expression of Wagner’s close, complex and much-discussed relationship with Mathilde Wesendonck. ‘Träume’ was completed on 4 December 1857, and for Mathilde’s birthday on 23 December, Wagner had arranged the song for solo violin and chamber orchestra. On 9 October 1858, he commented in a letter to Mathilde: ‘I have never done anything better than these songs, and only very few of my works will bear comparison with them.’ 20 The final version of the songs was completed in 1862. They were premiered the same year and published by Schott & Söhne. The orchestration most closely associated with the Wesendonck-Lieder today is not Wagner’s own but that of Felix Mottl (1856–1911) who orchestrated the songs in 1893, twenty years after Svendsen’s version. In the case of ‘Träume’, however, he used Wagner’s orchestration from the solo-violin version. Svendsen’s orchestration, on the other hand, is for orchestra alone, without vocal or instrumental soloist. We do not know whether Svendsen orchestrated ‘Träume’ as a gift for Wagner the summer they spent together, but it is not out of the question. Three weeks after completing the work, Svendsen wrote to his father from Leipzig, informing him about his plans for the summer: he hoped to make the acquaintance of Wagner.

Wagner definerte to av sangene i syklusen, Im Treibhaus og Träume, som forstudier til operaen Tristan und Isolde. Sangene er dessuten et uttrykk for Wagners nære, kompliserte og mye omtalte relasjon til Mathilde Wesendonck. Sangen Träume var ferdig 4. desember 1857. Til Mathildes bursdag 23. desember instrumenterte Wagner den for solofiolin og kammerorkester. 9. oktober 1858 bemerket Wagner i et brev til Mathilde: «Jeg har aldri laget noe bedre enn disse sangene, og bare ytterst få av mine verker vil kunne bli sidestilt med dem.»2 Sangene fikk sin endelige form i 1862. De ble urfremført samme år og utgitt av forlaget Schott & Söhne. Orkestreringen som Wesendonck-Lieder er mest kjent gjennom i dag, er ikke utført av Wagner selv, men av Felix Mottl (1856–1911), i 1893, tjue år etter Svendsens orkestrering. For Träumes del brukte riktignok Mottl Wagners orkestrering fra versjonen med solofiolin. Svendsens orkestrering er derimot kun for orkester, uten sang- eller instrumentalsolist. Vi vet ikke om Svendsen orkestrerte Träume for å ha noe å overrekke til Wagner den sommeren de tilbrakte sammen, men det er ikke utenkelig. Tre uker etter at Svendsen var ferdig med verket, skrev han til faren fra Leipzig om sine planer for sommeren: Han håpet å bli kjent med Wagner.

On 22 May the foundation stone for Wagner’s theatre in Baireuth will be laid, and on this occasion, Beethoven’s 9th Symphony will be performed under Wagner’s direction. The orchestra, which is composed of instrumentalists from the most distinguished musical venues in Germany, will be 100 to 130 men strong. I am going there to join the orchestra, and hope to make Wagner’s acquaintance. – The president of the German Music Society, Prof. Liedel, has invited me to come to Cassel for the Music Festival that takes place there in June and to conduct Sigurd Slembe. The rest of the summer I plan to spend in peace and quiet some place in Bavaria.

Den 22 Mai lægges Grundstenen til Wagners Theater i Baireuth, og skal ved denne Leilighed Beethovens 9de Symphonie opföres under Wagners Anförsel. Orchesteret som sammensættes af udsögte Instrumentalister fra Tysklands fornemste Musiksteder bliver 100 a 130 Mand stærkt. Jeg reiser did for at spille med, og haaber at gjöre Wagners Bekjendskab. – Presidenten for den tydske Musik foreningen Prof. Liedel har indbydt mig til at komme til Cassel til Musikfesten som der finder Sted i Juni, for at dirigere Sigurd Slembe. Resten af Sommeren tænker jeg at tilbringe i Ro noget Sted i Bayern.

LETTER FROM JOHAN SVENDSEN TO HIS FATHER GULBRAND, LEIPZIG, 9 MAY 1872. NATIONAL LIBRARY OF NORWAY, OSLO.

BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN, LEIPZIG,

Writing from Bayreuth on 25 May 1872 to his sister Alberthine (1844–1921), Svendsen commented on the concert and described the ‘enlivening and inspired direction of Meister Wagner.’ The same day, he wrote to his friend Edvard Grieg (1843–1907) that he had heard ‘Beethoven’s Ninth under Wagner’s flawless direction.’ 21 That summer, while waiting for the completion of Villa Wahnfried, Richard and Cosima Wagner (1837–1930) had taken lodgings in Donndorf on the outskirts of Bayreuth. This

9. MAI 1872. NASJONALBIBLIOTEKET, OSLO.

I et brev til søsteren Alberthine Svendsen (1844–1921) fra Bayreuth, 25. mai 1872, omtalte Svendsen konserten og skildret «Mester Wagners alt belivende og beaandende Anförsel». Til vennen Edvard Grieg (1843–1907) skrev Svendsen fra Bayreuth 25. mai 1872 at han hadde hørt «Beethovens Niende under Wagners mageløse Direktion».3 Richard og Cosima Wagner (1837–1930) med familie bodde i Donndorf denne sommeren, mens de ventet på at «Villa Wahnfried» skulle bli ferdig. Det var også her familien Svendsen slo seg ned. Svendsen fortalte om dette sammen

is also where the Svendsens decided to spend their holidays. On 5 July 1872, Svendsen wrote to Edvard Grieg: You ask if one can get near Wagner. Making his acquaintance is practically impossible, and only an unexpected concurrence of various fortunate circumstances led him not to reject me like so many others. He is kindness itself and has utterly captivated me.

treffet i et brev til Edvard Grieg fra Bayreuth, 5. juli 1872. Du spørger om Wagner er at komme nær. At gjøre hans Bekjendskab er næsten en Umulighed og kun en uventet Sammenvirken af forskjellige heldige Omstændigheder gjorde at han ikke afviste mig som saa mange andere. Han er Hygeligheden selv og har aldeles erobret mig.

LETTER FROM JOHAN SVENDSEN TO EDVARD GRIEG FROM HOTEL FANTASIE NEAR BAYREUTH, 5 JULY 1872. BERGEN PUBLIC LIBRARY.

In her diary, Cosima Wagner – Franz Liszt’s (1811–1886) daughter – commented on the friendship that arose between the two families.22 On Monday, 10 June 1872, they took their first walk together. After this she referred to the Svendsens as ‘rather wonderful people’,23 and they frequently met until the middle of August. On 21 June, Cosima noted that Svendsen was to meet Liszt in Kassel: ‘In the evening the Svendsens, who are going to Kassel, where they will meet father.’ 24 Franz Liszt was visiting Kassel in connection with the first performance of his oratorio Die Legende der Heiligen Elisabeth, while Svendsen was there to conduct his own Sigurd Slembe, Op. 8. When the Svendsens had returned from Kassel, Cosima commented: ‘Afternoon visit to the Svendsens, who tell all sorts of nice things about Kassel.’ 25 In his book Erindringer, siste samling (Reminiscences, final collection), Svendsen’s friend John Paulsen (1851–1924) elaborates on what the good news from Kassel may have been:

BREV FRA JOHAN SVENDSEN TIL EDVARD GRIEG FRA HOTELLET FANTASIE BEI BAYREUTH, 5. JULI 1872. BERGEN OFFENTLIGE BIBLIOTEK.

Cosima Wagner (1837–1930), Franz Liszts (1811–1886) datter, skrev om vennskapet som oppstod mellom de to familiene, i dagboken sin.4 Mandag 10. juni 1872 hadde de den første spaserturen sammen. Etter dette kalte hun familien Svendsen for «riktig så storartete mennesker»5, og de møttes hyppig helt frem til midten av august. 21. juni skrev hun at Svendsen skulle treffe Liszt i Kassel: «I kveld Svendsens, som skal dra til Kassel, hvor de skal treffe far.»6 Franz Liszt var i Kassel i forbindelse med uroppføringen av oratoriet Die Legende der Heiligen Elisabeth. Svendsen var der for å dirigere Sigurd Slembe, op. 8. Da Svendsens kom tilbake igjen fra Kassel, skrev Cosima: «Ettermiddags-besøk hos Svendsens, som fortalte all slags pent om Kassel.»7 I boken Erindringer, siste samling, forfattet av Svendsens venn John Paulsen (1851–1924), får vi vite mer om hva de gode nyhetene fra Kassel kan ha vært:

In order to please Wagner, his wife Cosima had converted to Protestantism (I suspect that good old Wagner also had a hand in Mrs Svendsen’s sudden conversion), something that was met with considerable disapproval by her father, who was a fanatic Catholic. [...] In the end, this led to a downright breach between the parties. When Svendsen in connection with music-related affairs travelled to Kassel, where Liszt was staying at the time, he carried with him a letter from Wagner to the irate father-in-law. At a propitious moment, Svendsen handed over the letter, which touched Liszt and brought on full reconciliation.26

Fru Cosima var, for at behage Wagner, gået over til protestantismen ( jeg har en anelse om at den gode Wagner også har havt sin andél i fru Svendsens pludselige omvendelse), hvad der i høieste grad mishagede hendes fader, der var en fanatisk katholik. [...] Tilslut blev der et formeligt brudd mellem partene. Da Svendsen så i musikkanliggender reiste til Kassel, hvor Liszt dengang opholdt sig, havde han med fra Wagner et brev til den vrede svigerpapa. I et gunstig øieblik overrakte Svendsen brevet, der rørte Liszt og brakte fuld forsoning tilveie.8

Thus, Svendsen acted as a messenger for Richard and Cosima to deliver a letter of reconciliation. Wagner had invited Liszt to Bayreuth on an earlier occasion, but had been refused. Svendsen must have handled his assignment well: in September, the Wagner family went to visit Liszt. In the excerpt above, Paulsen refers to ‘Mrs Svendsen’s sudden conversion.’ Sarah (Bergljot) Svendsen (née Levett, 1843–1911?) and her son Lucien Jean-Baptiste (1870–1920) were baptized only a few days after Svendsen’s return from

Richard og Cosima brukte altså Svendsen som budbærer av et forsoningsbrev. Wagner hadde tidligere invitert Liszt til Bayreuth, men fått avslag. Svendsen må ha utført oppdraget sitt godt: I september reiste Wagner-familien på besøk til Liszt. Paulsen nevner i sitatet ovenfor «fru Svendsens pludselige omvendelse». Sarah (Bergljot) Svendsen (f. Levett) (1843– 1911?) og hennes sønn Lucien Jean-Baptiste (1870–1920) ble døpt få dager etter at Svendsen kom tilbake fra Kassel, med Cosima og Richard som faddere. Cosima fortalte om dette i et

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Kassel, with Cosima and Richard as godparents. In a letter of 22 August 1872 to the philosopher Friedrich Nietzsche (1844– 1900), Cosima mentions the event: In addition to all these practical issues, I must not forget [to mention] yet another baptism in Bayreuth, whereby we brought a very charming American Jewish woman and her son to Christianity; we were godparents, and our incomparable dean carried out the ceremony with the fire of Christian love.27

brev til filosofen Friedrich Nietzsche (1844–1900), 22. august 1872: Ved siden av alt arbeid må jeg ikke glemme [å nevne] nok en dåp i Bayreuth, der vi førte en dannet amerikansk jødinne og hennes gutt inn i kristendommen; vi var faddere, og vår uforlignelige dekan gjennomførte handlingen med den kristne kjærlighetens ild.9

NIETZCHE BRIEFWECHSEL: KRITISCHE GESAMTAUSGABE, VOL. II.4, NIETZSCHE, F., ET AL., BERLIN 1975, DE GRUYTER, P. 67.

On Thursday, 15 August, Cosima mentions the baptism in her diary:

NIETZSCHE BRIEFWECHSEL: KRITISCHE GESAMTAUSGABE, BIND II.4, NIETZSCHE, F., ET AL. BERLIN 1975, DE GRUYTER, S. 67.

To the city early with the three oldest, at 10 o’clock the baptism of Mrs Svendsen and her boy, R. and I (godparents) very moved. – Weeping, R. noted that every time the words this is my body, etc. are uttered, our heart is veritably torn apart. The dean was very moved and moving. Then a visit to the apartment and the house, home around 2 o’clock.28

I dagboken står dåpen omtalt torsdag 15. august: Tidlig til byen med de tre eldste, klokken 10 dåpen til fru Svendsen og hennes gutt, R. og jeg ( faddere) meget rørt. – gråtende bemerket R. at hver gang ordene «dette er mitt legeme osv.» ble uttalt, ble hjertet vårt formelig revet i stykker. Dekanen var veldig rørt og rørende. Så besøkte vi leiligheten og huset, hjem i 2 tiden.10

The following day, Friday 16 August, the two families took leave of each other: ‘Final evening with the Svendsens; warm farewell from these splendid, well educated and lovely people, who are leaving for Christiania now.’ 29 There is little documentation about further contact between Svendsen and Wagner, but seven years later, on 22 September 1879, Svendsen wrote to his father from Paris: ‘Last week I was pleasantly surprised by a friendly greeting from Richard Wagner.’ 30 In autumn 1872, shortly after Svendsen had returned from Bayreuth to Christiania 31 (Oslo), he presented his latest works, including Träume, in a concert on 26 October. In his review the following day, the critic for the Norwegian daily Dagbladet took a rather unfavourable view of the work:

De to familiene tok avskjed dagen etter, fredag 16. august: «Siste kveld med Svendsens; varmt farvel med disse fortreffelige, dannede folkene, som reiser til Christiania nå.»11 Det finnes ikke så mange vitnesbyrd om videre kontakt mellom Svendsen og Wagner, men Svendsen skrev til sin far fra Paris sju år senere, 22. september 1879, om en hilsen fra Wagner: «Forrige Uge overraskedes jeg behageligt ved en venlig Hilsen fra Richard Wagner».12 Like etter at Svendsen kom til Christiania13 (Oslo) fra Bayreuth høsten 1872, satte han opp sine nykomponerte stykker, deriblant Träume, på en konsert han dirigerte 26. oktober 1872. Dagbladets anmelder var negativ til verket:

The concert concluded with a few older works – a study on Richard Wagner, Abendlied by Schumann and Liszt’s Hungarian Rhapsody – arranged for orchestra by the concert holder. The study on Wagner is a rather insignificant work, but the remaining two furnished Svendsen with excellent material to demonstrate his superior orchestration skills.

Koncerten afsluttedes med et Par ældre Arbeider – en Studie af Richard Wagner, Aftensang af Schumann og Liszt’s ungarske Rhapsodi – udsatte for Orkester af Koncertgiveren. Den Wagnerske Studie er et temmelig ubetydeligt Arbeide; men i de tvende andre havde Svendsen fundet et fortræffeligt Materiale til at vise sin overlegne Dygtighed i Instrumentationen.

DAGBLADET, 27 OCTOBER 1872.

Many years were to pass before the orchestra version of Träume was published, but on 6 April 1894, Svendsen conducted the work in Copenhagen at a two-hour long charity concert in the large hall of Koncertpalæet. The Danish daily

DAGBLADET, 27. OKTOBER 1872.

Det skulle gå mange år før Svendsens orkesterversjon av Träume ble utgitt. 6. april 1894 dirigerte Svendsen likevel stykket i København, på en to timer lang veledighetskonsert i Koncertpalæets store Sal. Berlingske Tidende var dagen etter meget begeistret:

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Berlingske Tidende was exceptionally enthusiastic the next day: [Wagner’s] song ‘Träume’, so effectively transcribed for orchestra by Svendsen, was quite excellently played and with its strangely intoxicating piano and decaying whisper had an almost hypnotic effect. Den av Svendsen saa virkningsfullt for Orchester transcriberede Romance «Träume» blev ganske udmærket spillet og gjorde ved sit underligt berusende Piano og den hendøende Hvisken en næsten hypnotiserende Virkning.

BERLINGSKE TIDENDE, 7 APRIL 1894.

The critic for Dannebrog wrote that the piece sounded ‘ravishingly beautiful’ under Svendsen’s ‘elegant leadership’.32 Another Danish newspaper, Aftenbladet, wrote that it was ‘a consummate pleasure to hear Mr Johan Svendsen’s superb arrangement of Wagner’s study to ‘Tristan and Isolde’, titled ‘Träume’.33 In June 1894, Svendsen prepared a new copy of the score and made only a few changes. This new score provided the basis for the edition that was released by Wagner’s own publisher, Schott & Söhne. Svendsen hoped that the printed edition would quickly come into demand and wrote to his friend Iver Holter (1850–1941) on 20 October 1894:

BERLINGSKE TIDENDE, 7. APRIL 1894.

Kritkeren i Dannebrog skrev at stykket klang «betagende skjønt» under Svendsens «stilfulde Førerskab».14 Aftenbladet skrev at det var «En fulendt Nydelse at høre Hr. Johan Svendsens fortræffelige Bearbejdelse af Wagners Studie til «Tristan og Isolde», betitlet «Träume»».15 I juni 1894 skrev Svendsen en ny kopi av partituret uten å gjøre særlig mange endringer. Dette nye partituret ble utgangspunkt for utgaven som «Wagners forlag», Schott & Söhne, stod for. Svendsen ønsket rask etterspørsel etter notene og skrev derfor til sin venn Iver Holter (1850–1941) 20. oktober 1894:

In the near future, Wagner’s main publisher Schotts Söhne in Mainz will publish my orchestral arrangement of Wagner’s ‘Träume’ (Study zu ‘Tristan und Isolde’), and I would be particularly appreciative if you could and would set up this piece on one of the Music Society’s programmes this winter. As you probably know, it is entirely against my views and usual practice to ask anyone whatsoever to perform things that bear my name. When I for once allow myself to deviate in this regard, it is because I for many reasons wish that the publisher have the satisfaction of seeing the piece – which incidentally is quite playable and not long – promptly adopted. I have already dropped a few words about it in a letter to Warmuth, now it is up to you to do as you see fit. – –

Hos Wagners Hovedforlægger Schotts Söhne i Mainz udkommer i disse Dage min Orkesterbearbeidelse af Wagners «Träume». (Studie zu «Tristan und Isolde») og vilde det være mig særdeles kjært, om Du kunde og vilde sætte dette Stykke op paa et af Musikforeningens Programmer for denne Vinter. Som Du nok ved, strider det fuldstændig mod mine Anskuelser og Sedvaner at anmode nogensomhelst om at opföre Sager, som bærer mit Navn. Naar jeg denne Gang tillader mig en Afvigelse i saa Henseende, er det fordi jeg af mange Grunde önsker at Forlæggeren skal have den Tilfredsstillelse at se Stykket – som forresten er let spilleligt og ikke langt – adopteret strax. I et Brev til Warmuth lod jeg allerede falde et Par Ord derom, nu faar Du gjöre, hvad Du best synes. – –

LETTER FROM JOHAN SVENDSEN TO IVER HOLTER, COPENHAGEN, 20 OCTOBER 1894. NATIONAL LIBRARY OF NORWAY.

Following its publication, the arrangement was performed on numerous occasions. Svendsen himself conducted it at a charity concert for ‘North Sea Fishermen’ on 27 February 1900, and later it was performed in various concerts at Copenhagen’s Koncertpalæet, also by other conductors: on 5 February 1905 and 22 December 1907 under the direction of Joachim Andersen (1847–1909), and on 1 January 1910 under Frederik Schnedler-Petersen (1867–1938). As early as 1869, Svendsen had expressed his enthusiasm for Wagner to his father Gulbrand: The Mastersingers of Nuremberg, Wagner’s latest opera

BREV FRA JOHAN SVENDSEN TIL IVER HOLTER, KØBENHAVN, 20. OKTOBER 1894. NASJONALBIBLIOTEKET.

Etter utgivelsen ble arrangementet fremført ved flere anledninger. På en veledighetskonsert for «Vesterhavsfiskere» 27. februar 1900 dirigerte Svendsen selv verket, og det ble senere fremført på flere Palækoncerter, også med andre dirigenter: 5. februar 1905 og 22. desember 1907 dirigerte Joachim Andersen (1847–1909) stykket, og 1. januar 1910 ble verket fremført under Frederik Schnedler-Petersens (1867– 1938) ledelse. Allerede i 1869 fortalte Svendsen om sin begeistring for Wagner til faren Gulbrand: Mestersangerne i Nürnberg, Wagners nyeste Opera som i Sommer opförtes i München med et næsten uhört Bifald

which was performed in Munich this summer to nearly unprecedented applause, has now also been set up in Dresden, where it has been received with rousing cheers as well. I have been so fortunate as to get hold of the piano score, which I am studying with the utmost effort. True to his principles and with his usual stringency, Wagner has remained ever so close to the action, but so successfully that even those who only judge an opera from a one-sided musical perspective will find plenty of beautiful melodies and splendid harmonies in it. The German reviews I have read describe the Mastersingers as the finest work Wagner has written. I dare claim that nothing, with the possible exception of Mozart’s Don Giovanni, can stand side by side with the latest brilliant work by the author of Tannhäuser. But unforgivably difficult, it is.

er nu ogsaa kommet til Opförelse i Dresden, og ogsaa der blevet modtaget med stormende Jubel. Jeg har været saa heldig at faa fat i Claverudtaget og studerer dette af alle Kræfter. Sit Prinzip tro har Wagner ogsaa i dette Wærk med den ham egne Strænghed holdt sig ganske og aldeles til Handlingen, men paa en saa heldig Maade at selv de som kun bedömme en Opera fra et ensidigt musikalskt Standpunkt skal kunne finde nok af skjönne Melodier og herlige Harmonier deri. De tydske Critiker som jeg har læst betegner Mestersangerne som det bedste Wagner har skrevet. Jeg vover at paastaa at der, maaske med Undtagelse af Mozarts Don Juan, ikke er skrevet noget som tor sættes ved Siden af Tanhäuserforfatterens seneste geniale Arbeide. Men utilladeligt svært er det.

LETTER FROM JOHAN SVENDSEN TO HIS FATHER GULBRAND, 2 FEBRUARY 1869. THE NATIONAL LIBRARY OF NORWAY.

Norwegian musicologist Finn Benestad points out that ‘With respect to the use of the strings, Mendelssohn’s gossamer world of sound appears to have influenced him more than the luxuriant outpourings of Schumann and Wagner. Indeed, even when the groups of instruments are divided, the sound retains its clear and transparent character.’ 34 According to Victor Gandrup, Svendsen told his physician Dr August Øigaard that Wagner’s operas were so long that one, ‘tastefully and with care, [had to] make appropriate and adequate cuts.’ 35 As musical director of the Royal Theatre in Copenhagen, Svendsen conducted many of Wagner’s operas, some of them more than only once. For his debut as musical director he set up Lohengrin, which was premiered on 3 September 1883 (repeated 1886). In autumn of 1884, Der fliegende Holländer received its premiere after 27 rehearsals (repeated 1891 and 1899), and Tannhäuser in 1886 (repeated 1892). In spring of 1891, Svendsen conducted Die Walküre for the first time (repeated 1892, 1902 and 1905). In a letter from 1891 to Frants Beyer (1851–1918), Grieg referred to it as an ‘event of the highest order’.36 This was followed in 1897 by Die Meistersinger von Nürnberg, Siegfried in the spring of 1903 (repeated in 1905), and Götterdämmerung in the spring of 1905. Svendsen’s final performances in Copenhagen also centred on Wagner’s music: his farewell concert on 14 March 1908 included Beethoven and Wagner, and at his farewell performance on 31 May of the same year, Act III of Die Walküre was performed.

BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN, 2. FEBRUAR 1869. NASJONALBIBLIOTEKET.

Benestad påpeker at «når det gjelder bruken av strykerne, synes Mendelssohns luftige klangverden å ha betydd mer for ham [Svendsen] enn Schumanns og Wagners svulmende tonemasser, ja selv når gruppene deles opp, beholder klangen sitt klare og gjennomsiktige preg».16 Svendsen skal ifølge Victor Gandrup ha sagt til sin lege Dr. August Øigaard at Wagners operaer var så lange at man «med smag og varsomhed [må] foretage hensigtsmessige og fyldestgjørende beskæringer».17 I sitt virke ved Det Kongelige Theater i København dirigerte Svendsen mange av Wagners operaer, noen av dem flere ganger. I debuten som kapellmester satte han opp Lohengrin, med premiere 3. september 1883 (gjentatt 1886). Høsten 1884 var det premiere på Der fliegende Holländer, etter 27 prøver (gjentatt 1891 og 1899). I 1886 kom Tannhäuser (gjentatt 1892). Våren 1891 dirigerte han Die Walküre for første gang (gjentatt 1892, 1902 og 1905). Grieg kalte dette en «begivenhet av første rang» i et brev til Frants Beyer (1851– 1918) i 1891.18 I 1897 kom Die Meistersinger von Nürnberg. Siegfried ble fremført våren 1903 (gjentatt i 1905), og våren 1905 kom Götterdämmerung. Også Svendsens siste forestillinger i København fokuserte på Wagners musikk: På avskjedskonserten 14. mars 1908 stod Beethoven og Wagner på programmet, og ved avskjedsforestillingen 31. mai samme år ble tredje akt fra Die Walküre fremført.

Bjarte Engeset English translation: Thilo Reinhard

Bjarte Engeset

NOTES 19

DREAMS What wondrous dreams are these Holding my mind in thrall, That they, like insubstantial foam, Don’t barren emptiness recall.

NOTER 1

English version of ‘Träume’:

Dreams that flower with greater beauty With every hour of every day, And blissful intimations of heaven Throughout my inner self convey.

Norsk versjon av ‘Träume’:

DRAUMAR Sei, kva var det for herlege draumar som heldt sinnet mitt fast og som ikkje, lik bobler, har forsvunne i den mørke natt?

Dreams that like the rays of glory Run through me to the very core, Creating a picture there, effacing All but one, for evermore.

Draumar, som i kvar ein time, kvar ein dag blømar herleg og med himmelske imitasjonar salig flyt igjennom hjartet mitt?

Dreams as when the spring-time sun Frees snowbound flowers with a kiss So that the new day welcomes them With unimaginable bliss,

Draumar, som med vakre strålar gjennomborar sjela og for der å legge att eit evig avtrykk: Alt-gløymande, påhugsande!

So they may grow and bloom, Dreaming exude their scent, Their glow gently fading on your breast Until their life is spent.

Draumar, som når vårsola kysser blomar opp av snøen og i uventa lukke blir dei helsa av den nye dagen.

Translated by Uri Liebrecht

Så dei veks, og dei blømer i draume gir frå seg si duft. og sakte falme på ditt bryst og søkke ned i grava.

Besseres als diese Lieder habe ich nie gemacht, und nur sehr weniges von meinen Werken wird ihnen zur Seite gestellt werden können. 20

Letter from Johan Svendsen to Edvard Grieg, 25 May 1872. Bergen Public Library. 21

Til norsk ved Are Frode Søholt

Cosima Wagner, et al.: Die Tagebücher. Band I 1869–1877, ediert und kommentiert von Martin Gregor-Dellin und Dietrich Mack. Piper, Munich 1976. 22

Besseres als diese Lieder habe ich nie gemacht, und nur sehr weniges von meinen Werken wird ihnen zur Seite gestellt werden können. 2

recht großartige Leute.

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

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

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

Brev fra Johan Svendsen til Edvard Grieg, 25. mai 1872. Bergen offentlige bibliotek.

Cosima Wagner, et al.: Die Tagebücher. Band I 1869–1877, Ediert und kommentiert von Martin Gregor-Dellin und Dietrich Mack. Piper, München 1976. 4

recht großartige Leute.

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

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

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

Ich darf aber bei dem Wirken eine zweite Taufe in Bayreuth nicht vergessen, durch welche wir eine sehr artige amerikanische Jüdin und ihren Knaben dem Christenthum zuführten; wir waren Pathe, und unser unvergleichlicher Dekan übernahm mit dem Feuer der christlichen Liebe die Handlung. 27

Früh in die Stadt mit den drei ältesten, um 10 Uhr die Taufe von Frau Svendsen und ihren Knaben, R. und ich (Pate) sehr ergriffen. – Weinend bemerkt R., daß jedesmal, daß die Worte ausgesprochen werden, das ist mein Fleisch u.s.w., unser Herz förmlich zerrissen wird. Der Dekan sehr gerührt und rührend. Dann Wohnung und Haus besucht, gegen 2 Uhr heim. 28

Letzter Abend mit Svendsens; herzlicher Abschied von den vortrefflichen, sehr gut gebildeten Leutchen, die nun nach Christiania wandern. 29

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. 31

Letzter Abend mit Svendsens; herzlicher Abschied von den vortrefflichen, sehr gut gebildeten Leutchen, die nun nach Christiania wandern. 11

Letter from Johan Svendsen to his father Gulbrand, 22 September 1879.

Brev fra Johan Svendsen til faren Gulbrand Svendsen, 22. september 1879.

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

Dannebrog, 7 April 1894.

Aftenbladet, 7 April 1894.

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. 373. 34

Victor Gandrup: Notater. The Danish Music Museum, Copenhagen (Svendsen collection). 35

Letter from Edvard Grieg to Frants Beyer, 26 March 1891, The National Archives of Norway, Oslo. 36

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. 14

Dannebrog, 7. april 1894.

Aftenbladet, 7. april 1894.

Finn Benestad og Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og kunstneren, Oslo 1990, s. 301 16

Victor Gandrup: Notater. I Musikmuseet, København (Svendsensamlingen).

Brev fra Edvard Grieg til Frants Beyer 26. mars 1891, Riksarkivet, Oslo.

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TRÃ&#x201E;UME BY RICHARD WAGNER, JSV 46, AUTOGRAPH, FIRST PAGE OF THE SCORE, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7890

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TRÃ&#x201E;UME BY RICHARD WAGNER, JSV 46, AUTOGRAPH, FIRST PAGE OF THE SCORE, SOURCE B. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. MUS.MS. 7890

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RICHARD WAGNER: FÜNF GEDICHTE FÜR EINE FRAUENSTIMME UND KLAVIERBEGLEITUNG, SCHOTT & SÖHNE, MAINZ 1862. SOURCE D.

XVI

TRÄUME BY RICHARD WAGNER, JSV 46, SCORE, FIRST EDITION, COVER, SOURCE C. SCHOTT & SÖHNE, MAINZ 1894.

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TRÄUME BY RICHARD WAGNER, JSV 46, SCORE, FIRST EDITION, FIRST PAGE, SOURCE C. SCHOTT & SÖHNE, MAINZ 1894.

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TRÄUME BY RICHARD WAGNER, JSV 46, HORN PART, FIRST EDITION, SOURCE C PTS. SCHOTT & SÖHNE, MAINZ 1894.

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Träume av Richard Wagner JSV 46

Träume by Richard Wagner

BESETNING / SCORING 2 Flauti 2 Oboi 2 Clarinetti (in Siď &#x20AC;) 2 Fagotti 2 Corni (in Fa) Timpani Violini I. II. Viole Violoncelli Contrabbassi

Träume Studie zu "Tristan und Isolde" von Richard Wagner [JSV 46] Sehr mässig bewegt aber nie schleppend

2 Flauti

2 Oboi

2 Clarinetti in Si b

2 Fagotti

2 Corni in Fa

Timpani in La b - Mi b

bb 3 &bb 4

∑

bb 3 &bb 4

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b 3 &b 4

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Sehr mässig bewegt aber nie schleppend

I. Violini II.

Viole

bb 3 &bb 4 bb 3 &bb 4

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Contrabbassi

dim.

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

con sord. div.

. .. . .. π con sord. div. . . . . . . . . . . . . ... ... . . . . b b B b b 43 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ n œœ. œœ. b œœœ œœœ œœœ œœœ œœœ œœœ b œœœ œœœ œœœ œœœ œœœ œœœ π con sord. div.

Violoncelli

.

Johan S. Svendsen

? b b b 43 œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ n œ œ b œ œ œ œ œ œ b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.  . π pizz. ? b b b 43 ∑ ∑ ∑ ∑ b œ Œ Œ π Copyright © 2020 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O. 14545 A

œ . œ œ œ œ œ ∑

Fl.

bb &bb

∑

b b . &bb p I.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln.

.

dim.

∑



p Œ

∑

 dim.

∑ I.



p Œ

dim.

∑

.

∑

.

∑



dim.

∑

? bb bb

∑

? bb &bb

Ÿ~~~~~~~~~~~~~ b. œ Œ Œ π dim. ∑

Ÿ~~~~~~~~~~~~~~~~~~~ b. œ π dim. ∑

∑

Œ ∑

∑ ∑

.

∑

Ÿ~~~~~~~~~~~ b. œ Œ Œ π dim. ∑

∑ ∑

∑

II.

bb œœœœœœ œœœœœœ & b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œ œœœ œœ œ œœ œ œœœ œœ œ b œœ œ œœœ œœ œ œœ œ œœœ œœ œ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

Vle.

B bbbb

Vc.

? b b œœœœœœ œœœœœœ b b . .

œ . œ œ œ œ œ

Cb.

? bb bb œ Œ Œ

∑

b œœœ œœœ œœœ œœœ œœœ œœœ b œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ 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 œ œ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ π

∑

œ . œ œ œ œ œ œ .œ œ œ œ œ œ .œ œ œ œ œ œ .œ œ œ œ œ

∑

œ Œ Œ

∑

bb &bb

∑

bb &bb

∑

14 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? bb bb

.

∑



∑

Œ n p

.



∑

bb &bb

∑

bb &bb

∑

j Œ œ. œ œ. œ œ. p

.

œ Œ Œ

Œ œ.

œ J

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

B b b b b œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ p

œœœœœœ œœœœœœ œœœœœœ

? bb bb

nœ Œ Œ F

? b 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 nœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ b b . . . œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ p ∑

∑

bb &bb

∑

b & b bb

∑

22 Fl.

Ob.

Cl. (Si b)

.

? b b Œ b bb I.

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

b bœ. œ œ. & b bb

n ∑ ∑

œ .

∑

 ..

 .

nœ

 ..

œœ Œ Œ

.

œ. œ n  œ

b. .

œ Œ Œ œ

.

bœ π

Œ Œ



π Œ

∑

∑ nœ Œ Œ

∑

Œ œ.

œ œ. œ nœ.

cresc.

dim.

Ÿ~~~~~~~~~~~~~~ b. œ Œ Œ π p dim. j œ b. F

dim.

bb & b b bœ œ œ œ œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ cresc. F dim. B bbbb œ œ œ œ 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 œ œ œ œ œ œ œ œ œ œ œ œ dim. F cresc. ? b b b œ œ œ œ œ œ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bb œœ œœœœ œœœœœœ œ œ œœ œ œ cresc. F dim. ? bb bb

∑

œ Œ Œ

∑

bb &bb

∑

b & b bb

∑

b &b

∑

29 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? bb bb

∑

bb &bb œ Œ Œ π

B bbbb œ Œ œ π ? b b œ Œ bœ b b œ nœ π ∑

œ nœ

p∑

Œ nœ

∑ p



n  .. F . .



œ nœ œ œ ‰

∑

œ. œ œ. œ œ. œ œ. œ œ. œ œ.

F Œ Œ

 

∑ j

 ..

∑

b & b bb b œ œ . π

? bb bb

∑

Œ ∑

∑



œ bœ

œ. œ 

bœ bœ F

œ. œ 

œ. œ œ. œ œ. œ œ. œ œ. œ œ.

∑

.



œ bœ j

œ œ

œœ œœ œœ œœ œœ œœ non œœ œœdiv.œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ arco

∑

non div. œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ n œ œ n œœœœ nœ œ F

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b. .

n œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œ œ F non div.

∑

.



œ J

œ œœ œœ œœ œœ œœ j œ œ œ œ œ œœ œœ

œ œ



nœ



nœ

bb &bb

35 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

œ œ. J

œ- œ- œ-  a2

& &

. Œ

? bb bb



œ nœ

.



#œ

.



œ.

cresc.

b

œ.

cresc.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . .

bb &bb œ

- - . œ œ- œ n œ œ œ b œ .

∑ b. π ∑



∑

œ- œ- œ- 

∑

b f f

œ- œ- b œ- b  f

∑

œ- œ- œ  f

cresc.

bb & b b œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœj ‰ œ œ œ œœ œ œ œœ œœ œœœœœœ f cresc. j B b b b b œœ œœ œœ œœ œœ œœ ‰ œœ œœ œœ n œœ œœ œ œ œ œ œ œ œ œ œ œ œ ‰ œœœœœœ œ œ œ œ œ f cresc. bœ

ten.

Vc.

? bb  bb

.



bœ

ten.

Cb.

? bb  bb



.

∑

œ œ.



cresc.

 f

cresc.

I. bbbb

œ œ- œ- n œ- œ . œ b œ .

cresc.



œœ œœ œœ œœ œœ œœ

div.

.

∏ n œœœœ

div.

∏

œœ œœ œœ œœ œœ œœ n œœœ œœœ œœœ œœœ œœœ œœœ

j nœ œ œ œ œ œ œ ‰ nœ œ œ œ œ œ . p j œ ‰

œœœ œœœ œœœ œœœ œœœ œœœœœ

div.

∑

∏

∑

bb &bb

41 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

∑

bb & b b Œ b &b

Vc.

Cb.

∑

nœ nœ œ.nœ nœ. œ œ. œ nœ. œ. œ œ. nœ nœ. œ œ. œ œ. œ  .  bœ n œ œ nœ œ  Œ nœ

cresc.

∑

œ #œ

œ œ

œœ

n

? b b . bb  Œ π cresc.

F F

cresc.

œ b œJ œ nœ

‰œ

œ b œJ



nœ

nœ Œ

dim.

 ..

∑

bœ. œ  π ∑ ∑

dim.



∑

dim.

∑

bb &bb

nœ nœ œ. nœ nœ. œ œ. œ nœ. œ. œ œ. nœ nœ. œ œ. œ œ. œ  œ

 cresc.

bb & b b n œœœ œœœ œœœ œœœ œœœœ cresc.

Vle.

∑

rit.

œœœ œ

œœœ n œ œ

cresc.

œ bœ bœ

cresc.

nœ nœ

œ œ

œœ œœ J

nœ

dim.

œ œ

œ b œœ œœ œœ œœ œœ œœ n  . n   .. œ J dim.

j œ œ b œj ‰ œ œ b œ b œœ œœ œœ œœ œœ œœ B bbbb œ œ œ œ œ œ n œ œ œ œ # œ œ # œ J n œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ dim. cresc. cresc. F nœ nœ œ. nœ nœ. œ œ. œ nœ. œ œ. œ œ. nœ nœ. œ œ. œ œ. œ  B bbbb  nœ F cresc. dim. cresc. ? bb b b

∑

n

cresc.

œ nœ



bœ. œ œ. nœ J π rit.

nœ

.

dim.

n n  .. . π

bœ. œ œ. j nœ π



bb &bb

47 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

cresc. ed accel.

∑

b b nœ. & b b Œ œ œ .

cresc.

 ..



. .

 

n œJ

∑



∑

 ..

? bb bb

∑

 ..



∑

b  .. f

b 

∑

bb &bb

nœ. œ œ.

f f

Ÿ~~~~~~~~~~~~~~~~~~~~~~ b. œ

cresc. ed accel.

nœ J

.



œ œ œ. œ bœ. œ œ. œ œ. œ œ.

p j

cresc.

b b œ. nœ œ œ bœ œ œ œ œ œ œ œ œ œ œ & b b œ . œ . œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ ‰ b œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ J p f π cresc. j n œœ œœ œœ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ ‰ B b b b b œœ .. b œœœ œœœ œœœ œœœ œœœ œœœ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œJ f p π cresc. B bbbb n œ . œ œ . ? n œ  .  Œ œ œ œ œ œ œ J π cresc. f ? bb  bb

œ ‰ J

. f



∑

œ J

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œœ œ ∑

bb & b b b. p

52 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

bb &bb b &b

. ∑

 ..

b. p

I. ? b b . bb p

& ?

∑

. ∑

∑

‰ j

∑

‰ j œ p I. j ‰œ p

‰ œj 

∑

b b œ - œ- œ . œ œ . œ b œ . œ œ . œ b nœ. œ. nœ œ. & b bb & b b b œ œœ œ œ œœ œ œ œ œ œ œœœœ œœ

dim.

b œœœœ

œœœ œ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ b. . π

œ. nœ bœ j œ œ nœ œ. œ œ. œ œ œ. œ J π

œœœ œ œ œ œ œ œ œ œ œ n œœ œœ b œœ œœ œœ œœ œœ œœ œ ..

dim.

B b b b b b œ œ œ œ œ œ b œœ œœ œœ œœ œœ œœ b œœ n œœ œœ œœ b œ œ œ œ n œ œ œ œ œ . œ œ œ œ œ œ œ œ œ. œœœœ œœ œ œ œ œ œ œ π dim. ? bb . bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœœœœœ π dim. ? bb b b

∑

.

œ œ .. œœ œœ œ œ œœ

œœ œœ œœ

œ œ. œ œ œ . .

bb &bb

∑

bb &bb

∑

b &b

∑

? bb bb

∑

‰ j œ p

‰ jb  bœ

58 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

& ?

I. solo

.

∑

œ Œ Œ

∑

.

∑

‰ œj b 

dim.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j j j j j j j j j j j j j . . . bœ œ ‰ œ ‰ œ ‰bœ ‰ œ ‰ œ ‰bœ ‰ œ ‰ œ ‰bœ ‰ œ ‰ œ ‰bœ ‰ œ ‰ œ ∏

bb &bb 

œ œ.

œ œ. œ .

II.

bb & b b  ..

. .



œ 

Vle.

B b b b b  ..

 .. 

.

Vc.

? b b . bb

.

Cb.

? b b . bb

.

I. Vln.

∑



nœ



nœ



bœ

.



nœ



nœ



nœ

b.

œ b

n.

. .

nœ

div.

œ œ

con sord.

bb &bb

∑

bb &bb

∑

66 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

.



∑

? bb bb

∑

.

bb & b b ∫.



div.

B bbbb  .

.

? b b b. bb

b

? b b . b b .

. .

œ œ



dim.

∑

dim.

Ÿ~~~~~~~~~~~~~~~ ‰ b œj ‰ œj ‰ œj ‰ b œj ‰ œj ‰ œj b  . œ Œ Œ ∏ p

bb & b b Œ ∫œ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~ b. œ p ∏

œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ div.

œœ œœ œœ œœ œœ œœ

œœ b œ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ

dim.

div.

b œ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœœœœ œœœœœœ p π

b œœœ œœœ œœœ œœœ œœœ œœœ p

œ .œ œ œ œ œ œ .œ œ œ œ œ œ . œ œ œ œ œ

œ Œ Œ œ

∏

∑

œ œ

pizz.

b œœœ œœœ œœœ œœœ œœœ œœœ π

œ . œ œ œ œ œ

∑

bb &bb

72 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

bbbb

? bb bb

∑ ∑

.



.



dim.

∑

& ?

∑

Ÿ~~~~~~~~~~~~~~~~~~ b. œ Œ p ∏

∑

Ÿ~~~~~~~~~~~~~~~ b. œ Œ p ∏

.

b

dim.

∑

œœœœœœ œœœœœœ œœœœœœ œœœœœœ

∑

bb œœœœœœ œœœœœœ & b b b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ n œ œ œ œ œ œ œ œ œ œ œ œ π p π dim. ∏ p

∑

bb &bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ π p

dim.

∏

j B b b b b b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ π π π p p ? bb œ œ œ œ œ œ œ œ œ œ œ œ b b . . π p ? bb œ bb 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

∑

b & b bb

∑

bb &bb

∑

78 Fl.

Ob.

Cl. (Si b)

Fg.

Cor. (Fa)

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

? bb bb

.



.

dim.



dim.

∑

.

morendo



∑

bb &bb

∑

bb &bb

∑

œœœœœœ œ œœ œ œ‰ J π j B b b b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ ? b b œ œ œ œ œ œ œ œ œ œ œj ‰ b b . . ? bb b b

∑

œœ œœ œœ œœ œœ œœ œœ Œ Œ œœœœœœ œ

3 sole

.

∑

œ Œ Œ

1 solo

∑

œœ œœ œœ œœ œœ œœ œœ Œ Œ œœœœœœ œ .

∑ ∑

∑

œ Œ Œ ∑

pizz.

∏ pizz.

∏

Œ Œ Œ Œ

œ Œ Œ

pizz.

∏

œ Œ Œ

pizz.

∏

œ Œ Œ

pizz.

∏

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

SOURCES

CRITICAL REPORT

Träume by Richard Wagner A Score, autograph B Score, autograph C Printed score, first edition (Schott & Söhne) CPTS Printed parts, first edition (Schott & Söhne) D Printed first edition of Wagner’s original

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.

Source A Score, autograph N-Onm, Mus.ms. 7890 8 pages, 26x35 cm Pagination: 1–8 At the end of the score: Darmstadt / den 16de April 1872 / JSvendsen In addition to the score of ‘Träume’, the source contains an instrumentation of Robert Schumann’s Abendlied, JSV 47, for string orchestra (two pages, autograph) Written in ink (Johan Svendsen)

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

Source B Score, autograph N-Onm, Mus.ms. 7889 14 pages, 35.5x27 cm Unpaginated Title page: Träume / Studie zu Tristan und Isolde / von / Richard Wagner / bearbeitet von / Johan Svendsen At the end of the score: Kjøbenhavn Juni 1894 This score probably provided the printing source for the first edition (Source C) published by Schott Written in ink (Johan Svendsen)

Source C Printed score, first edition: Schott & Söhne, Mainz 1894 Title page: Träume Studie zu Tristan und Isolde von Richard Wagner für Orchester bearbeitet von Johan Svendsen Pl. No. BSS 25758

Source CPTS Printed parts, first edition: Schott & Söhne, Mainz 1894 Title page: Träume Studie zu Tristan und Isolde von Richard Wagner für Orchester bearbeitet von Johan Svendsen Pl. No. 25758

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

Source D Printed first edition of Wagner’s original Title page: Fünf Gedichte / für / eine Frauenstimme / in Musik gesetzt von / Richard Wagner Schott & Söhne, Mainz 1862 Pl. No. 17049

Comments considered to be of particular importance by the editors have bar numbers in bold type. Primary source: C Bar

Instr.

Comment

Vc.

con sord. added by analogy with Vle. and as in A

Vle. lower part

CPTS: no 

Vln. I

A: solo; CPTS: con sord.

17–20

Fg. I

21–24

Fg. I

Cl., Fg.

pp added as in A, B

25, 26

str.

Cl., Fg.

Vln. II, Vle., Vc.

29–30

Vln. II

Fg.

note 1:  added by analogy with Vln. II and as in A, B

31–32

Vln. II, Vle., Vc.

Vln. II

note 5: mf removed by analogy with Vle.; A, B, CPTS: mf

Vle.

A, B: mf

Cor. I, Timp.

mf added by analogy with the other parts

33, 34

Timp., str.

Vln. II

A: notes 1–3: slur

Fl.

A: no slur; notes 2–5: ten.

Cl.

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

EVALUATION OF THE SOURCES The earliest autograph score, Source A, originated in Darmstadt in April 1872. Twenty-two years later, in June 1894, Svendsen prepared a new manuscript in Copenhagen, Source B, making minor changes to some of the dynamics and adjusting a number of articulations. This later autograph score most likely provided the printing source for the edition published in 1894 by Schott & Söhne, Mainz, Sources C and CPTS. Wagner’s original, too, had been published by Schott & Söhne, Mainz, in 1862. Source C, our primary source, is quite similar to Svendsen’s second autograph score, Source B, and the proofreading process was probably done in cooperation with Svendsen. In a few instances we have used variants not found in the primary source, but supported by analogous passages and by the fact that these variants are found in both autograph scores.

Fg.

CPTS:

Fl., Vln.I

cautionary accidental added

str.

Fl. II

A: empty bar

Vc.

div. added by analogy with Vln. II, Vle. and as in A

Vln. I

A: cresc.

Ob. I

A: beaming: 4+2

Vln. II upper part

A: notes 1–3: slur

Ob., Cl., Fg.

A: cresc. here (not in b. 42)

Vln. II

A: notes 1–3: slur

Timp.

p added by analogy with Vln. I/II, Vle and as in B; A:   

Vln. I

A: beaming: 4+2

str.

A: cresc. here (not in b. 50)

Cl., Fg.

A: solo

Vln. I/II, Vle.

begins on note 2

Timp.

here (not in b. 69)

Vln. II, Vle. A: pp

Timp.

A: pp

Vln. I

A:  

Vln. I/II, Vle.

A, B

str.

A: pp

Timp.

A: sempre ppp

Cl.

A: solo

Timp.

dim. removed and added by analogy with str. and as in A; B, CPTS: dim.

Vln. I/II, Vle.

added by analogy with b. 72 ,Vc. and as in A, B

Cor.

A: solo

Vln. II

A: die Hälfte v. den 2ten Geiger

Vln. II, Vle., Vc.

A: alle

added by analogy with Vc. and as in