FIOLINKONSERT I A-DUR OP. 6 VIOLIN CONCERTO IN A-MAJOR OP. 6

Transkript

1 OHAN S SVENDSEN ( ) IOLINKONSERT I A-DUR OP 6 SV 92 VIOLIN CONCERTO IN A-MAOR OP 6 SV 92 (PRELIMINÆR UTGAVE) (PRELIMINARY EDITION) Editert av/edited by arte Engeset og ørn ossheim OHAN SVENDSENS VERKER

2 Orchestral arts available Grahic design: ohan Svendsens Verker Music set in: inale Text set in: Word Printed by: MIC ISN Sonsored by: Norsk Kulturråd Distribution: ohan Svendsens Verker Translation: Dan Marmorstein 2012 OHAN SVENDSENS VERKER All rights reserved 2012 Musikkarvrosektet

3 Innhold/Contents orord/preface esetning/orchestra i v Concert (A-dur) für Violine und Orchester O 6 Allegro moderato ben risoluto 1 I Andante 70 IV inale Allegro giusto 95 orkortelser/abbreviations 140 Kritisk kommentar/critical Commentary 141

4 Generelt forord ohan Svendsen ( ) er en av våre viktigste tallskomonister Han inntar en sentral lass i norsk og nordisk musikkhistorie, ikke minst å orkestermusikkens område Likevel har notematerialet vært vanskelig tilgengelig Eldre noteutgaver er ofte mangelfulle, mange er utgått fra forlaget, eller forlaget er nedlagt Mange verker er aldri utgitt og foreligger bare i manuskrit En ny, samlet utgave av ohans Svendsens musikk har derfor vært ettersurt i lang tid Den foreliggende noteutgaven, som sringer ut fra rosektet ohan Svendsens Verker skal imøtekomme dette ønsket ohan Svendsens Verker er et delrosekt under Musikkarvrosektet og er gennomført i et samarbeid mellom Institutt for musikkvitenska ved Universitetet i Oslo og Nasonalbiblioteket Prosektet ble etablert i 2011, hundre år etter komonistens død Arbeidet med utgaven har avdekket mange nye kilder til Svendsens musikk I arkivene har det dukket o manuskriter til verker vi trodde var tat, 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 å Svendsens tid Den nye samleutgaven gir ikke bare nye framføringsmuligheter for verker vi kenner, men også sansen til å bli kent med musikk som aldri ble utgitt og ikke har vært silt å mer enn hundre år Det gelder for eksemel mange av Svendsens ungdomsverker, danser og marser for orkester, skrevet for underholdningslivet i Christiania å og 1860-tallet Det gelder også Svendsens mesterlige orkestreringer av verker fra den store romantiske tradisonen ohan Svendsens Verker ohan Svendsens Verker er en samleutgave som er tilrettelagt både for framføring og studier Den foreligger både å Internett og i trykte utgaver, og den skal være en ressurs for alle med interesse for ohan Svendsens musikk ohan Svendsens Verker omfatter nye utgaver av alle Svendsens kente verker Også tidlige versoner av enkelte verker formidles som editerte noter Ufullstendige og fragmentariske verker, lengre variant-artier og skisser gengis i faksimile og/eller transkrison Tidligere utgitte klaveruttog til verker for solist og orkester blir gort tilgengelige til bruk i innstudering ohan Svendsens Verker omfatter også en vitenskaelig verkfortegnelse som beskriver kildesituasonen i detal Alle relevante kilder er gengitt i faksimile å Internettsidene Alle de nye utgavene er utstyrt med et forord som beskriver komosisonens tilblivelses- og resesonshistorie, samt dens lass i ohan Svendsens samlede rodukson Generelle editeringsrinsier ohan Svendsens Verker er basert å kritisk-vitenskaelige editeringsrinsier Det betyr at den bygger å et kritisk studium av alle tilgengelige kilder, både notemanuskriter og tidligere trykte utgaver, samt andre kilder av betydning for forståelsen av verket og editeringen av notebildet, som brever, dagbokotegnelser og annet Det viktigste rinsiet har vært å få fram de seneste dokumenterte intensonene til komonisten Samtidig skal også mangfoldet i kildesituasonen formidles Hvert verk er derfor utstyrt med en kildebeskrivelse hvor også forholdet mellom kildene blir grundig evaluert og vurdert Editeringen av hvert enkelt verk bygger også å en samlet analyse av ohan Svendsens notasonsstil Artikulason, dynamikk, buer, silletekniske anvisninger og foredragsbetegnelser har i mange tilfeller blitt synkronisert slik at det er samsvar mellom analoge artier Der det foreligger en sterk nok mulighet for at komonisten bevisst har gitt analoge artier ulik utforming, er synkronisering likevel unngått Her er forståelsen av komonistens notasonsstil en rettesnor i editeringsrosessen or hvert verk er det valgt en hovedkilde som er lagt til grunn for den nye utgaven or utgitte verker er dette normalt en trykt utgave Imidlertid leste Svendsen trolig ikke alltid grundig korrektur å de trykte utgavene De egenhendige manuskritene til Svendsen kan derfor inneholde varianter som må tillegges stor vekt Alle avvik fra hovedkilden i den nye utgaven dokumenteres og begrunnes takt for takt i en kommentarliste, der det også redegøres for alle varianter i de andre kildene Negative varianter («mangler») i andre kilder er som hovedregel ikke kommentert Selve notebildet gengis uten tyografisk markering av redaksonelle tilføyelser eller endringer ølgende generelle valg er ikke kommentert i de kritiske kommentarene til det enkelte verket: Tyografi, artiturosett og instrumentnavn er til en viss grad normalisert i samsvar med moderne raksis Når to stemmer deler notehals, gelder fraseringsbuer, artikulasonstegn og dynamikk begge stemmer Notasonen av kombinasoner mellom legatobuer og bindebuer er modernisert Markeringer som, «I», «a 2» kan være redaksonelle, men er i overensstemmelse med hovedkildens stemmefordeling så sant ikke annet er anmerket i den kritiske kommentaren Nøkler og orienteringsbokstaver er gengitt som i hovedkilden Når orienteringsbokstaver ikke finnes i hovedkilden, har vi lagt til slike Svendsens åminnelsesfortegn er beholdt, men i noen få tilfeller har vi funnet det hensiktsmessig å legge til slike fortegn Dette er i så fall omtalt i revisonskommentarene Svendsen knyttet så godt som alltid forslagsnoter til hovednoten(e) med en bue, og gav dem en gennomgående strek gennom halsen Når slike buer eller streker likevel mangler i hovedkilden, er de føyd til i de nye utgavene Svendsen brukte ganske ofte streksymboler ved gentakelse av takter eller notefigurer I de nye utgavene er slike artier skrevet fullt ut i noteskrift Abbreviaturer ved tonegentakelse som bare reresenterer to eller tre noter, er skrevet ut i de nye utgavene Abbreviaturer som reresenterer flere enn tre noter, er også skrevet ut i kortere assaser, normalt 1-3 takter I lengre assaser er abbreviaturer ved tonegentakelse beholdt I lengre assaser med trioler skrev Svendsen gerne siffer bare over den første triolen Svendsen-utgavene fra forlaget EW ritzsch har derimot som oftest siffer over de to første triolene De nye utgavene har siffer over alle triolene i hele første takt i slike assaser

5 Stilede liner i crescendo- og/eller diminuendoforlø som finnes i hovedkilden, er beholdt Slike liner er også noen ganger føyd til ut fra analogiargument, særlig i forlø over flere takter Dette gelder så lenge sluttunktet 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 eksemel crescendo ofte slik: cresc (uten unktum) I tidlige manuskriter skrev han cres I de nye utgavene er skrivemåten normalisert for disse og andre standarduttrykk Utgaven er disonert å følgende måte: SERIE I SERIE II ORKESTERVERKER 1 SYMONI NR 1 I D-DUR, OPUS 4 2 SYMONI NR 2 I -DUR, OPUS 15 3 NORSKE RAPSODIER 4 DANSER OG MARSER I 5 DANSER OG MARSER II 6 ORKESTERVERKER I 7 ORKESTERVERKER II 8 ORKESTERVERKER III KONSERTER OG SOLOVERKER KONSERTER OG SOLOVERKER SERIE III KAMMERMUSIKK OG VERKER OR STRYKEORKESTER KAMMERMUSIKK OG VERKER OR STRYKEORKESTER SERIE IV VOKALMUSIKK 1 SANGER OG KORVERKER 2 KANTATER SERIE V ALLETT «ORAARET KOMMER», OPUS 33 SERIE VI ARRANGMENT 1 ARRANGEMENT OR STRYKEKVARTETT 2 KLAVERVERSONER AV EGNE VERKER 3 ARRANGEMENT OR ORKESTER I 4 ARRANGEMENT OR ORKESTER II 5 ARRANGEMENT OR ORKESTER III SERIE VII SKISSER OG DIVERSE MINDRE VERKER SKISSER OG DIVERSE MINDRE VERKER

6 General Preface ohan Svendsen ( ) as a leading figure in late 19thcentury Scandinavian music, celebrated as comoser and conductor His orks hold a central osition in the music history of Noray and Scandinavia Still, rinted music is hard to obtain Old editions are often inadequate, many are out of rint, or the ublishing house has been discontinued Many orks ere never rinted and exist only in manuscrit A ne, collected edition of ohan Svendsen s music has therefore long been anticiated The resent edition, issuing from the roect ohan Svendsens Verker (SV), seeks to meet this demand ohan Svendsens Verker is a subroect of the Noregian Musical Heritage Proect and is carried out in a cooeration beteen The University of Oslo and the National Library of Noray The roect as launched in 2011, a hundred years after the death of the comoser The editing roect has uncovered many ne sources to Svendsen s music Manuscrits of orks e did not kno exited have surfaced in the archives Ne biograhical evidence have come to light The result is a richer icture of Svendsen s life and ork, as ell as of the musical life of his time The ne Svendsen edition rovides erformance material that greatly imroves the basis for ne interretations of ell-knon orks, but it also offers the oortunity to exerience ieces that have not been layed for more than a hundred years Of articular interest is not ust Svendsen s outut of chamber music, symhonies, symhonic oems and concertos in itself an imressive corus of orks in the great 19th-century Euroean tradition but other arts of his ork as ell, such as the unublished dances and marches for orchestra, ritten for the mid-century entertainment scene in Christiania (Oslo), the celebratory cantatas and marches commissioned for ublic events in Noray and Denmark, and not least his masterly orchestrations of iconic ieces from the international romantic reertory The ohan Svendsens Edition ohan Svendsens Verker is a collected edition otimized for erformance and study It is available on the Internet as ell as in rinted editions and is designed to meet the demands of anyone interested in ohan Svendsen s music ohan Svendsens Verker comrises ne editions of all knon orks by Svendsen Early versions of some orks are also resented in edited scores Incomlete and fragmentary orks, variant assages of some length and sketches aear in facsimile and/or transcrition acsimiles of earlier rinted iano versions of orks for soloist and orchestra have been rovided for use in rehearsal ohan Svendsens Verker also include a critical catalogue of Svendsen s orks, describing all sources in detail The sources themselves are reroduced in extenso as facsimiles on the Internet Each edition has a reface describing the genesis and recetion history of the ork in question, as ell as its osition in the context of Svendsen s total outut General rinciles ohan Svendsens Verker is based on critical editing rinciles This means that each edition is based on a critical examination of all available sources: music manuscrits as ell as early rinted editions and other sources of relevance for the understanding of the ork and the musical notation, such as letters, diaries etcetera The central editorial rincile has been the realization of the latest documented intentions of the comoser Hoever, it has also been an imortant aim to demonstrate the diversity of the source material Each edition is accomanied by a source descrition in hich the relations beteen sources are discussed A comrehensive analysis of Svendsen s style of musical notation has informed the editing rocess Thus, in many cases articulation, dynamics, laying instructions and erformance markings have been standardized across analogous assages Where sufficiently strong evidence indicates that the comoser consciously might have formulated analogous assages divergently standardizing has been avoided The understanding of the notational style has been the guideline for the editing rocess A rincile source suosed to be the one closest to the final intentions of the comoser has been chosen for each ork This source constitutes the starting oint for the editing rocess or ublished orks, the rimary source ill normally be a rinted edition Hoever, as Svendsen robably did not alays roof-read his editions very carefully, autograh manuscrits sometimes contain variants of great interest Deviations from the rimary source in the ne edition are documented and discussed measure by measure in a commentary section in the back of the edition Here, all variants from other sources are also resented As a rule, negative variants (elements in the rimary source not found in the other sources) are not discussed The musical notation is resented ithout any visible editorial additions or emendations The folloing general editorial choices are not mentioned in the critical commentaries: Tyograhy, score layout and instrument names are to a certain degree standardized according to modern ractice If to notes share the stems, slurs, articulation and dynamics aly to both arts The notation of combinations of slurs and ties have been modernized Markings such as, I, a 2 are sometimes editorial but comly ith the general distribution of arts in the rimary source unless otherise indicated in the commentary Clefs and rehearsal letters have been reroduced as in the rimary source If rehearsal letters are missing in the rimary source, they have been added Svendsen s cautionary accidentals have been reserved In a fe cases such accidentals have been added for the sake of convenience; such cases are indicated in the commentary section Svendsen almost alays marked grace notes ith a slash through the note stem and connected them to the main note ith a tie If such ties and slashes are lacking in the rimary source, they have been added in the ne edition

7 Svendsen quite often slant strokes to indicate reitition of measures or note figures Such assages have been comleted ith full notation in the ne editions In cases of measured tremolos consisting of no more than to or three notes, these have been ritten out in full notation Such abbreviations reresenting more than three notes have likeise been filled out in short assages of one to three measures Measured tremolos have been retained in lengthier assages In lengthier assages of trilets Svendsen often restricted the use of numerals above the grous to the first trilet Svendsen editions from the ublisher E W ritzsch normally have numerals over the first to triletgrous The ne editions all have numerals over all triletgrou throughout the first measure of the assage Dotted lines indicating the course of a crescendo or diminuendo in the main source have been retained Moreover, such lines have occasionally been added by analogy, esecially in assages of several measures This alies as long as the end oint of the dynamic change has been marked in the source ith a dynamic marking Svendsen emloyed several sellings of terms like div, cresc and rit In the ne editions the selling of such terms have been standardized ohan Svendsens Verker is organized in the folloing ay: SERIES I ORCHESTRAL WORKS 1 SYMPHONY NO 1 IN D-MAOR OP 4 2 SYMPHONY NO 2 IN -MAOR OP 15 3 NORWEGIAN RHAPSODIES 4 DANCES AND MARCHES I 5 DANCES AND MARCHES II 6 ORCHESTRAL WORKS I SERIES II SERIES III 7 ORCHESTRAL WORKS II 8 ORCHESTRAL WORKS III CONCERTOS AND WORKS WITH SOLOIST CONCERTOS AND WORKS WITH SOLOIST CHAMERMUSIC AND WORKS OR STRING ORCHESTRA CHAMER MUSIC AND WORKS OR STRING ORCHESTRA SERIES IV VOCAL WORKS 1 SONGS AND CHORAL WORKS 2 CANTATAS SERIES V ALLETT ORAARET KOMMER OPUS 33 SERIES VI ARRANGEMENTS 1 ARRANGEMENTS OR STRING QUARTET 2 PIANOVERSIONS O HIS OWN WORKS 3 ARRANGEMENTS OR ORCHESTRA I 4 ARRANGEMENTS OR ORCHESTRA II 5 ARRANGEMENTS OR STRINGS 6 ARRANGEMENTS AND ALTERNATIVE VERSIONS O OWN WORKS SERIES VII SKETCHES AND VARIA SKETCHES AND VARIA

8 esetning/orchestra 2 lauti 2 Oboi 2 Clarinetti (in A) 2 agotti 2 Corni (in E) 2 Trombe (in E) Timani Violini I Viole Violoncelli Contrabbassi Violino rinciale Durata: ca 9:00

9 2 lauti 2 Oboi 2 Clarinetti in A 2 agotti 2 Corni in E 2 Trombe in E Timani in A E Violino rinciale Allegro moderato ben risoluto (MM q = 144) Tutti a 2 c c c c c c c c a 2 a 2 a 2 Concert (A-dur) Ÿ~~~~~ für Violine und Orchester b Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ohan S Svendsen, O 6 Violini I Viole Violoncelli Contrabbassi Allegro moderato ben risoluto (MM q = 144) Tutti c c c c c

10 2 l 9 dim n cresc a 2 Ob Cl (A) g dim dim dim n cresc cresc cresc n n n n a 2 Cor (E) Tbe (E) Tim Ÿ rinc I Vle Vc Cb

11 3 l Ob Cl (A) g n b n n n Cor (E) ẇ - Tbe (E) Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ rinc I Vle Vc Cb

12 4 l 27 n n n n A Ob Cl (A) g n n b b n n b n b n n n n n b n b b n n b n Cor (E) bb bb Tbe (E) Tim rinc I A div n n n n n b b n n n n n n n n n n n b n n n n n n Vle n b n b b n b Vc n n n n n Cb n n n n n

13 5 l 35 n b - - n n - - n b - - n n - - Ob Cl (A) b b b b n b- - n n- b - n b- - n n- b - g n n n b b b Cor (E) b Tbe (E) Tim rinc n n n n n n b b n n n n n n b b n n n n n n I n n div n n b b- n n - n n- n n - b b- n n - n n- n n - Vle n b n n b n n b n Vc n n n n b n n b n Cb n n n n b n n b n

14 6 l Ob Cl (A) g 41 n - - cresc n- - cresc bb - - cresc bb- - cresc n - - n- - bb - - bb- - n n n n b a n 2 dim dim dim dim n b bb b n n b b b b n nn n b b nn dim dim dim n b Cor (E) bb - - cresc bb - - b b b b b b Tbe (E) b b Tim rinc I Vle Vc b - - b - n b - cresc - cresc - cresc b - - cresc b - - b - b n b - - n n n n dim dim dim dim n n b b n n b n n b b n n b n n dim n n dim n n dim n dim ẉ n n ẉ ẉ n n ẇ Cb b - - cresc b - - n dim b b n dim ẉ ẇ

15 l 51 n dim 7 Ob Cl (A) dim n g Cor (E) Tbe (E) Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ oco a oco cresc rinc I Vle Vc dim dim dim n dim oco a oco cresc oco a oco cresc oco a oco cresc Cb n dim oco a oco cresc

16 8 l 59 f cresc f cresc a 2 Ob Cl (A) g iù cresc iù cresc iù cresc f a 2 a 2 a 2 n Cor (E) a 2 Tbe (E) Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ iù cresc rinc I Vle iù cresc iù cresc iù cresc Vc iù cresc Cb iù cresc

17 9 l 65 Solo Ob Cl (A) g Cor (E) Tbe (E) Tim rinc I Solo izz izz Vle izz Vc izz Cb izz

18 10 l 71 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc I Vle Vc Cb div div arco arco arco arco div semre semre semre semre

19 11 rinc n n I Vle Vc Cb ª rinc 79 oco rit - - n dolce a temo I oco rit a temo cresc n cresc Vle cresc Vc cresc Cb

20 12 l 89 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc f - - con esress n I Vle Vc izz arco - Cb arco -

21 13 l Ob Cl (A) 97 Tutti a 2 a g a Cor (E) a 2 Tbe (E) a 2 Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc dim I Vle dim dim Vc dim - - Cb dim - -

22 14 l Ob Cl (A) g dim - dim dim dim Solo Cor (E) a 2 dim dim Tbe (E) Tim rinc a 2 dim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ dim dim n n I Vle - dim @ dim dim Solo n Vc dim dim n n Cb dim dim n n

23 15 l 113 Ob Cl (A) b b n g Cor (E) Tbe (E) Tim rinc n n n n n nnn n n n n n I n n Vle n n Vc n n n Cb n n n

24 16 l 118 C Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n dim n n - n n n n- n C b n n I n 3 n Vle n Vc n Cb n

25 17 l 124 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n - - n - - n - - n n - - n n n n I n Vle Vc n n Cb izz n n arco

26 18 l 128 n n Ob Cl (A) b b g Cor (E) Tbe (E) Tim rinc n n n n n n n I Vle Vc n n n Cb n n n

27 19 l 131 D Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - ten - izz D I izz Vle izz Vc izz Cb izz

28 20 rinc 135 un oco meno mosso IV n n I Vle un oco meno mosso arco arco n n arco n Vc arco Cb arco ª rinc 143 II I n I Vle Vc n dim dim dim dim Cb

29 21 l 150 un oco accelerando al n Ob Cl (A) g Cor (E) Tbe (E) Tim rinc dim dolce n n I trem trem un oco accelerando al div n n n Vle n trem n n div Vc trem Cb

30 22 l 157 E temo rimo Ob Cl (A) n n g Cor (E) Tbe (E) Tim rinc E temo rimo n n n n I n Vle Vc n Cb n

31 23 l 164 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n I Vle Vc n Cb n

32 24 l 169 n Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n n n I semre semre n Vle Vc Cb semre semre semre

33 25 l 172 Ob Cl (A) cresc g cresc Cor (E) Tbe (E) Tim rinc n iù cresc I cresc cresc Vle n cresc Vc cresc Cb cresc

34 26 l Ob Cl (A) g Tutti a n n n n n b b b b b n n b n b n n n n n b n n n n b a 2 n n n Cor (E) a 2 b n b b b b b n Tbe (E) b b n n b b b b b b Tim rinc ( ) I Vle Vc @ n n n b b b n b ten n b b bn b bn ten ten n n n n n n n n n n n n n ten n ten n ten n

35 27 l 183 dim Ob Cl (A) n dim dim b n g dim Cor (E) Tbe (E) Tim rinc I dim dim n n n n Vle Vc Cb n dim n dim n dim n n n

36 28 l 191 n Ob Cl (A) g b n n Cor (E) Tbe (E) Tim rinc I n n n Vle n n n Vc div Cb

37 29 l 199 Solo Ob n f Cl (A) b g Cor (E) b Tbe (E) b f Tim rinc n b f doloroso n I Vle Vc Cb n n n n n n n dim dim dim dim dim b n b n n Solo n b n n n cresc cresc cresc cresc cresc b n n n b n n dim dim dim dim dim n b n n n

38 30 rinc 209 b n n n n b n n b n - - n f I Vle b n b n b n b n b n b n b n n Vc n n n Cb n n n ª rinc 218 cresc n IV n n n n n n b n n n n - - b - n n I Vle n n b b n n n n n n b n b cresc n cresc n cresc b n n dim dim dim Vc b n n n b n b n cresc b dim Cb b n n n n n cresc b dim

39 31 l 230 G Ob Cl (A) b b b b g Cor (E) Tbe (E) Tim rinc n b n b n b n n n b n nbnn b I Vle b n b b G b semre n semre semre n n b n b b n n b Vc n n n n n semre n b n Cb n n n n n semre n b n

40 32 l 238 Ob Cl (A) b b b b b b g Cor (E) Tbe (E) Tim rinc b nb n nn- n- n b- n- n n I Vle b b n nb b b n n semre semre semre Vc b n b semre n Cb b n b semre n

41 33 l Ob Cl (A) g 243 dim dim Tutti n semre semre a 2 cresc I: - cresc cresc - cresc cresc I: - cresc - Cor (E) Tbe (E) cresc Tim rinc dim I Vle Vc Cb dim dim dim dim @ semre - semre cresc - cresc - cresc

42 34 l Ob Cl (A) g 250 a 2 a 2 a 2 a 2 cresc f f f f n n n b n Solo Cor (E) f b b Tbe (E) f Tim rinc I f f n n Solo Vle Vc Cb f f f n n n

43 35 l 256 Ob Cl (A) n b b g ẇ n ẇ Cor (E) Tbe (E) Tim rinc n I Vle Vc Cb

44 36 rinc 260 n I Vle Vc n n n Cb ª rinc 263 H n b n n b b n b b b n n b b n I H b n semre semre n b Vle Vc b b semre semre n n b b n Cb

45 37 l 266 Ob n Cl (A) g Cor (E) Tbe (E) Tim rinc b n n b n n n n n n n n n n n n n I n Vle n b Vc b n n n Cb izz

46 38 l 269 Ob n n Cl (A) g Cor (E) Tbe (E) Tim rinc n n n n n n n n n n n N I n Vle Vc Cb

47 39 l 272 Ob n Cl (A) g b n b b n b b n n b Cor (E) Tbe (E) Tim rinc n n 6 n n n n b n n n b n n n I izz n n n b n Vle izz n n n b n Vc n - n- n - Cb n n n

48 40 l 274 Ob Cl (A) b b b n g n b n Cor (E) Tbe (E) Tim rinc n n n 6 n n n 6 n b 6 n n n b 6 b 6 n I n n b Vle n n b Vc n - n- n - Cb n n n

49 41 l 276 I Ob Cl (A) b g Cor (E) Tbe (E) Tim rinc n n n n 3 3 n n n I n I Vle Vc n Cb n

50 42 rinc 280 n dolce n n n n n n b n n n n I Vle Vc Cb ª rinc 287 n n n - - n n n - - n n n n n n b n n b n b n b I Vle Vc Cb

51 43 rinc 294 n n - - n n - - IV n n sostenuto n n n I n n n n n n b n n n arco b n Vle Vc n n n n n Cb ª rinc 300 n n n n n n n n n n n n I n n b n b n n b n n n n n Vle Vc n arco n n n b n n b n n n b n n n n n Cb n n b arco n b n n b n n n n

52 44 l Ob Cl (A) g 306 n Tutti n n n n n n n n a 2 n n n n b n n n n Cor (E) a 2 b n b b n Tbe (E) Tim rinc n I N ten cresc Tutti n n n n n Vle Vc cresc ten n cresc n n Cb ten n cresc n n n b n n

53 45 l 315 a 2 Solo Ob n Cl (A) a 2 n g n Cor (E) Tbe (E) Tim rinc n Vc n Cb n

54 46 l 324 Ob Cl (A) g n Cor (E) Tbe (E) Tim rinc sostenuto dim dolce n n I Vle Vc div izz f div izz f dim div izz f div izz dim dim f dim n n n Cb izz f dim

55 47 Cl (A) 331 g rinc n I Vle Vc Cb ª rinc 334 I Vle Vc Cb

56 48 rinc I 0 0 Vle Vc Cb ª rinc I Vle Vc Cb

57 49 rinc 343 n n n n n n 0 0 n n 0 n 0 0 I Vle n n 0 0 n Vc Cb 0 ª rinc 346 n n n n n n n n n b 0 n n 0 n 0 0 n n b I Vle n 0 0 n 0 n n Vc Cb 0

58 50 rinc 349 n n n n n I n n dim n 0 dim n Vle n dim Vc dim 0 0 Cb ª rinc 352 n n I Vle n n Vc Cb

59 rinc I Vle dim dim dim Vc dim Cb ª rinc 358 I Vle Vc Cb

60 52 l Ob 361 K n Cl (A) g Cor (E) Tbe (E) Tim rinc K I n Vle Vc Cb

61 53 l 364 n semre n n n Ob n n semre Cl (A) g n n n semre Cor (E) Tbe (E) Tim rinc n n n I n n n Vle n Vc Cb

62 54 l 367 n n Ob n n Cl (A) g n Cor (E) Tbe (E) Tim rinc n n I arco n arco iù cresc n iù cresc Vle Vc n n arco n n arco iù cresc iù cresc Cb n arco iù cresc

63 55 l Ob Cl (A) g 370 f f f a 2 f Cor (E) Tbe (E) Tim rinc - - I Vle izz izz izz Vc izz Cb izz

64 56 rinc IV I Vle Vc Cb ª rinc 381 I Vle arco arco arco Vc arco Cb arco

65 57 l L 388 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc II I n I L Vle Vc Cb

66 58 l 395 Tutti a 2 Ob Cl (A) a g - Cor (E) a 2 Tbe (E) a 2 Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc dim II I Vle dim dim dim Vc dim - Cb dim -

67 59 l n n n n Ob n n n n n n n n Cl (A) - b b b b g - a 2 n n n n n n n n n n Cor (E) a 2 b b b Tbe (E) a 2 b b b Tim ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~ rinc - - n n n n I - n n n n@ @ n Vc - n n n n n Cb - n n n n n

68 60 l 411 a 2 dim Solo Ob a 2 n n dim Cl (A) g a 2 n b b b b dim b b dim n n Cor (E) bb bb dim bb dim Tbe (E) b dim Tim Ÿ~~~~ Ÿ~~~~ rinc n - n- - n - n - - b - n - dolce n n n - n n- n- 3 3 I n n n n n b dim dim n Solo n b dim dim b n n n @ dim dim n Vc b b dim n b dim n n n Cb b b dim n b dim

69 61 l 419 Ob Cl (A) b g Cor (E) Tbe (E) Tim rinc - n - n n n n 2 2 n n I n n n n n Vle Vc n n n n n Cb n izz n

70 62 l 423 M Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n- n I M trem semre trem semre Vle Vc trem semre trem semre Cb

71 63 l 427 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n cresc Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ dim n I Vle cresc n cresc cresc izz izz izz Vc Cb cresc cresc n izz

72 64 rinc 433 un oco meno mosso dolce n n dim I un oco meno mosso arco n arco Vle arco n Vc arco Cb ª rinc 440 n N n oco a oco cresc al n N I n n Vle n Vc Cb

73 65 l 447 temo rimo Ob Cl (A) g Cor (E) Tim rinc n temo rimo temo rimo I n Vle Vc Cb

74 66 l 455 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - - n n n I Vle Vc n Cb n

75 67 l Ob 459 n a 2 Cl (A) g Cor (E) b Tbe (E) Tim rinc n n I n Vle Vc Cb arco

76 68 l Ob Tutti 463 a 2 cresc a 2 Cl (A) cresc a 2 g cresc cresc a 2 Cor (E) a 2 cresc Tbe (E) Tim rinc cresc Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ cresc I Vle Tutti n cresc n cresc n n n n f cresc n Vc cresc Cb cresc

77 l Ob Cl (A) g n n 69 Cor (E) n Tbe (E) b Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc I Vle n n n Vc - Cb -

78 70 I 2 lauti Andante (M M q = 72) 4 3 Tutti 2 Oboi Clarinetti in A 2 agotti f f n nb 2 Corni in E 2 Trombe in E f Timani in E H 4 3 Violino rinciale 4 3 Violini I Viole Violoncelli Contrabbassi Andante (M M q = 72) 4 3 Tutti f f f f f n n n n n

79 71 l 11 Ob Cl (A) g b cresc n n dim cresc dim Cor (E) Tbe (E) cresc dim Tim rinc I Vle n cresc cresc n dim dim cresc dim Vc cresc dim Cb cresc dim

80 72 l 19 dim Solo Ob Cl (A) g dim I Cor (E) Tbe (E) Tim rinc - - sostenuto I Vle Vc sostenuto n n sostenuto sostenuto sostenuto n n n n n n Solo Cb sostenuto n n

81 73 l 27 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - - n n - - n I n n n Vle n Vc Cb

82 74 l 35 Ob Cl (A) I g Cor (E) Tbe (E) Tim rinc n n - n I n Vle n Vc Cb

83 l Ob Cl (A) g 43 b Tutti cresc cresc cresc f f f f dim dim dim dim 75 Cor (E) Tbe (E) f dim Tim rinc - - I Tutti cresc Vle n Vc cresc Cb izz

84 76 l 51 Solo n n rinc I f f dim dim Solo n Vle f dim Vc f dim div Cb arco f dim rinc ª 59 A un oco iù mosso I A dolce un oco iù mosso div Vle Vc izz Cb izz

85 77 l 65 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n I Vle n Vc Cb

86 78 l 71 Ob Cl (A) n n g Cor (E) Tbe (E) Tim rinc - - I n n Vle Vc Cb

87 79 l 77 n Ob n Cl (A) g n Cor (E) Tbe (E) Tim rinc n n n n n n n n n I n n n n n Vle n n n Vc n n Cb n n

88 80 l 83 n Ob Cl (A) g n Cor (E) Tbe (E) Tim rinc n - - n - n n - n - - n n n n n - n- n - n- - n n n - n izz n n n n n n n n I izz n Vle izz n n n n n Vc n n n n n n n Cb n n n n n n n

89 81 l 87 n n n n n n Ob Cl (A) g n n n n n n Cor (E) Tbe (E) Tim rinc n n n - - n - - n n - n - - n n n n n n I n n Vle n n n div n Vc n n Cb n n

90 82 l 91 n n n n oco rit al temo rimo g n n n n rinc n n- - - n - n - - n- - n IV n I Vle Vc n n n n oco rit al n temo rimo arco arco arco arco n Cb arco n ª rinc 96 n n n n n - - n - n - - n - I Vle n b n n n n n n n n n n n n n Vc Cb n n n n n n n n

91 l 103 Tutti a 2 tenuto nn 83 Ob Cl (A) tenuto tenuto n n n g tenuto n n n n Cor (E) Tbe (E) Tim b b Ÿ~~~~~~ b b Ÿ~~~~~~ b rinc I n Tutti tenuto tenuto Vle cresc n n n tenuto n n n n Vc cresc n n tenuto n n Cb cresc n n tenuto n n

92 84 l 111 Solo Ob Cl (A) g Cor (E) cresc dim Tbe (E) Tim rinc n dolce cresc dim - dolce I Solo n trem div trem div Vle n izz Vc 3 3 arco Cb 3 3 izz

93 85 l 117 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - I Vle Vc Cb

94 86 l 123 n n oco a oco cresc Ob n oco a oco cresc Cl (A) g b n b n oco a oco cresc oco a oco cresc Cor (E) oco a oco cresc Tbe (E) Tim rinc n oco a oco cresc I Vle n n trem div arco izz izz n n n n trem arco div trem div arco oco a oco cresc oco a oco cresc oco a oco cresc Vc oco a oco cresc Cb oco a oco cresc

95 87 l 129 Tutti Ob Cl (A) g ten dim ten dim Cor (E) Tbe (E) Tim rinc I Vle Vc - - n e largo - n- - - ten dim Tutti ten dim ten dim ten dim ten dim Cb arco

96 88 l Ob Cl (A) 135 cresc cresc g f a 2 Cor (E) f a 2 Tbe (E) Tim cresc Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ cresc Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~ rinc I Vle cresc cresc cresc n n n n Vc cresc n n Cb cresc n n

97 89 l Ob Cl (A) a n n g Cor (E) n Tbe (E) Tim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc I n ben tenuto n Vle ben tenuto Vc Cb

98 90 l C a Ob Cl (A) g Cor (E) a 2 Tbe (E) b b n n b b n n Tim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc C I Vle Vc Cb

99 91 l 153 un oco iù mosso Solo Ob Cl (A) g Cor (E) Tbe (E) Tim rinc ~~~~~~~~~~~~~~ n n I un oco iù mosso Solo Vle n n Vc izz Cb izz

100 92 l 159 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n I n n n Vle Vc Cb

101 93 l 165 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - - n n izz arco n izz I n izz arco izz Vle div izz arco izz Vc n n Cb n n

102 94 l 171 U Ob U Cl (A) U g U Cor (E) U Tbe (E) U Tim Ÿ~~~~~~~~~~~~~~~~~~~~~ U morendo rinc U I Vle arco div arco div arco div morendo morendo morendo U U U Vc Cb arco div arco morendo morendo U U

103 95 II inale 2 lauti Allegro giusto (MM q =120) Oboi Clarinetti in A agotti Corni in E a Trombe in E 8 6 Timani in A E Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 8 Violino rinciale 6 8 Violini I Viole Violoncelli Contrabbassi Allegro giusto (MM q =120)

104 96 l Ob Cl (A) g 7 dim dim dim dim Solo Cor (E) Tbe (E) Tim rinc a 2 b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ cresc dim dim o O O I Vle Vc Cb cresc cresc cresc cresc cresc Solo dim dim dim dim dim dim dim

105 97 l 15 Ob Cl (A) g n n Cor (E) Tbe (E) Tim rinc n I Vle Vc div izz div izz div izz izz f n f n f f div Cb

106 98 l 23 A Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - I Vle Vc Cb arco arco arco A div div div div arco izz n

107 99 l 31 Ob Cl (A) n g Cor (E) Tbe (E) Tim rinc n I izz izz n Vle izz Vc izz arco Cb

108 100 l 39 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n I Vle div arco div arco arco Vc Cb

109 101 l 45 Ob Cl (A) g Cor (E) Tbe (E) Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc 1 1 I Vle Vc Cb

110 102 l 49 a 2 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n n n n - I Vle izz izz izz arco arco arco Vc izz arco Cb izz arco

111 103 rinc 55 n n IV non tranquillo I Vle Vc Cb ª rinc n I Vle n Vc n n Cb

112 104 rinc I div dim n n Vle dim Vc Cb div dim dim ª l Cl (A) rinc cresc I Vle Vc Cb izz div

113 105 l 91 C Ob Cl (A) g n n Cor (E) Tbe (E) Tim rinc f dim I Vle Vc Cb div n arco C dim dim dim dim dim div n n n div n n n n n

114 106 l 99 calando a temo Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - n n I calando a temo izz izz n Vle Vc izz izz n Cb izz

115 107 l Ob Cl (A) g 105 n n n Cor (E) Tbe (E) Tim rinc 0 n n 1 n 3 n n I Vle 0 Vc Cb

116 108 l Ob Cl (A) 109 I: cresc cresc cresc Tutti nn n nn n b g Cor (E) cresc cresc b Tbe (E) Tim rinc n cresc 1 b Ÿ~~~~~~~~~~~~ bb I Vle Tutti arco n n arco n n arco n n n n n n n n n n n n n n Vc arco Cb arco

117 109 l 115 n n a 2 n n n Ob Cl (A) n b n b a 2 n b a 2 b n n b n b n b g n n n n n n n n Cor (E) a 2 b n b b b b Tbe (E) b b b b b b n n b b a 2 Tim Ÿ~~~~~~~~~~~~~~~~~~~~~ rinc n n n n n n n n n I n n n n n n n n n Vle n n n n n n n n n Vc n n n n Cb n n n n

118 110 l Ob Cl (A) 125 n n a 2 b n n n b n n n b b n b n n n b b n n b n b n n n b g n n n n n Cor (E) bb bb a 2 b b b Tbe (E) b b b b b b b b Tim Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~ rinc I n n n n n n n n n n n n n n n n Vle Vc n n n n n n n n n n n n n n Cb n n n

119 111 l Ob 133 n f Cl (A) g a 2 a 2 Cor (E) a 2 Tbe (E) Tim rinc I Vle Vc Cb n- n n- n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n

120 112 l 141 rit Solo oco iù lento n calando Ob Cl (A) g Cor (E) Tbe (E) Tim rinc - n - - n I Vle rit n n dim Solo oco iù lento izz n izz izz n n n n calando Vc Cb izz n n izz

121 113 l 149 D temo rimo Cl (A) n b rinc I Vle Vc Cb n D div n arco n n dolce div arco arco arco temo rimo cresc cresc cresc cresc div cresc ª rinc f I Vle dim dim dim cresc cresc cresc dim dim dim Vc Cb dim cresc dim

122 114 l 171 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc I n Vle Vc Cb arco

123 115 l 179 n dim Ob Cl (A) dim b g Cor (E) Tbe (E) Tim rinc dim - I Vle dim dim dim dim dim dim n Vc dim dim Cb dim dim

124 116 l E 187 Cl (A) rinc I Vle Vc Cb E - n - - n n n n n n n - n n n n n semre n semre n semre semre semre legato n n n n rinc ª 193 n n n n n n n n n n n n n I Vle n Vc Cb

125 117 rinc n n n n n n 9 n 8 n n n n 8 n 8 n n n n nn 8 n I n n n Vle n n n Vc n n Cb n n ª rinc 199 n n - n n I Vle n Vc n Cb n

126 118 l 203 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n n - siccato n div n n I div Vle b Vc n Cb n

127 119 l 207 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n I Vle n div izz div izz div izz Vc div div izz Cb

128 120 l 211 Ob Cl (A) g I n n Cor (E) Tbe (E) Tim rinc n I Vle Vc f n n f f f Cb f izz

129 121 l 215 Ob Cl (A) g n n n Cor (E) Tbe (E) Tim rinc n I Vle Vc Cb

130 122 l 219 Ob Cl (A) g Cor (E) Tbe (E) Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc n - - n iù cresc I Vle Vc Cb

131 l Ob Cl (A) g 223 Tutti n nn b a 2 n b n n n n n n n b b b n n n 123 Cor (E) b b b Tbe (E) a 2 b b Tim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc I Vle Vc cresc cresc cresc Tutti n arco arco cresc n cresc n n n n arco arco n n n n n n n n Cb arco n n

132 124 l Ob 227 n n n a 2 n n n n n n n b nb b nb Cl (A) b b b b b b b b g a 2 n n n n n Cor (E) n b b b n Tbe (E) a 2 b b b b b b b Tim rinc I n n n n n n n n n n Vle n n n n n n Vc n n n n n Cb n n n n n

133 125 l Ob Cl (A) n 231 n b b n n b n n b b n n b b nb b b G n nb n a 2 n n n n g Cor (E) n n b n b n a 2 Tbe (E) b b b b b b b n n n n Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc I n n n n n n G n n n n n n n n n n n n n n n n Vle n n n n Vc n n n Cb n n n

134 126 l 237 Solo rit al oco lento Ob Cl (A) g a 2 Cor (E) Tbe (E) Tim rinc n - - n - I Vle Vc Solo rit al div div oco lento Cb

135 127 l 243 Ob Cl (A) g Cor (E) Tbe (E) Tim rinc n n n I Vle Vc Cb

136 128 l 249 n n H accel al Ob Cl (A) g b b Cor (E) Tbe (E) Tim rinc n Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ - cresc - - H accel al I Vle Vc Cb izz

137 129 rinc temo rimo n dolce n I temo rimo legato legato Vle legato n Vc legato n Cb ª rinc 271 oco a oco cresc con molta assione I oco a oco cresc oco a oco cresc Vle Vc n n oco a oco cresc oco a oco cresc Cb

138 130 rinc I Vle Vc Cb 283 n n f f f f f - - dim dim dim dim dim - - n n div div calando calando div arco ª Cl (A) g rinc I Vle 295 I I a temo a temo div izz izz Vc Cb

139 131 l 301 Ob cresc cresc Cl (A) g rigoroso rigoroso cresc Cor (E) Tbe (E) Tim rinc rigoroso n 3 cresc I Vle Vc arco rigoroso arco rigoroso n rigoroso n cresc cresc cresc cresc Cb cresc

140 132 l Ob 305 f Cl (A) g f Cor (E) Tbe (E) Tim rinc dim I Vle Vc f f f f n Cb f

141 133 l 309 n n n Ob n n Cl (A) n n g n n n Cor (E) Tbe (E) Tim rinc 1 n 4 n n n n I Vle Vc Cb izz

142 134 l 313 n n n Ob Cl (A) b g n n n Cor (E) Tbe (E) Tim rinc n n n n n n 1 I Vle Vc Cb n

143 135 Cor (E) Tbe (E) rinc 317 n I n Vle Vc n Cb ª rinc 321 cresc n I Vle n Vc n Cb

144 136 l Ob Cl (A) g Cor (E) 325 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ cresc Ÿ~~~~~~~~~ I: f cresc Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ cresc Ÿ~~~ I: cresc cresc b n b b f cresc Tbe (E) Tim rinc semre cresc f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ cresc Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ cresc I Vle div div div n n n cresc cresc n n n b Vc Cb izz n cresc cresc n arco cresc b b

145 l Ob Cl (A) g Tutti 333 iù stretto 137 Cor (E) Tbe (E) Tim rinc b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I Vle Vc Cb Tutti iù stretto n n n

146 138 l Ob Cl (A) 339 a 2 a 2 a 2 g Cor (E) a 2 Tbe (E) a 2 Tim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rinc I Vle Vc Cb

147 139 l 345 Ob Cl (A) g Cor (E) Tbe (E) Tim Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~ rinc I Vle Vc Cb

148 140 Abbreviations arr arranged b bar bb Cb Cl Cnt Cor bars Contrabbassi Clarinetto Cornetto Corno DCM Dansk Center for Musikudgivelse / Danish Centre for Music Publication DK-Kk g l Harm S N-Oum Ob Org Pf Pl No stacc str ten Tim Tb Tba Tbe Tbn Vle Vc The Royal Library, Coenhagen agotto lauto Harmonium ohan Svendsen The National Library, Oslo Oboe Organo Pianoforte Plate Number staccato marking(s) strings tenuto marking(s) Timani Tuba Tromba Trombe Trombone Viole Violoncelli Violini oodinds

149 141 Critical Commentary A articular rimary source is defined for each ork in SV This rimary source is the oint of reference for the list titled Editorial emendations and alterative readings The remarks in this list refer to either revisions or variants Remarks about variants alays start ith a source letter; those remarks not starting ith a sourceletter are about revisions of the rimary source The folloing conventions have been used: y analogy ith alies hen something has been added, emended or omitted by analogy ith another assage in the rimary source The analogy may be vertical: hen something is added by analogy ith one or more instruments, it is understood that the analogy is ith the same lace in the same bar(s) Or it may be horizontal: When something is added by analogy ith one or more bars, it is understood that the analogy is ith a arallel lace in the same instrument(s) As in is used hen something is added, emended or omitted in order to corresond to the same lace in another source In accordance ith is used hen something is added, emended or omitted in order to corresond to a secondary source When S rites the ord ten, e format it in italics Tenuto markings are described as follos: ten Very small variations in the lacement of dynamic markings are not mentioned In the bar number column, the symbol + is used to indicate an ubeat to the bar in question Note 1 means main note 1 (Grace notes are not included in the numbering) Pitches of notes are described as ritten in the arts A ritten g in a transosing Clarinetto () art is thus described as g Middle c is defined as c Octave ositions over middle c are listed ith c, c etc Octave ositions under middle c are listed ith c, C, C 1, C 2, etc Sources Violin Concerto in A-maor, O 6 A SPT PTS C C SPT C PTS Score, autograh, fair coy, rinter s coy (comlete score for orchestra) Printed score, first edition (EW ritzsch) Printed soloart, first edition (EW ritzsch) Printed arts, first edition (EW ritzsch) Printed score (CW Siegel s Musikalienhandlung (R Linnemann)) Printed soloart (CW Siegel s Musikalienhandlung (R Linnemann)) Printed arts (CW Siegel s Musikalienhandlung (R Linnemann)) SOURCE A Sources SOURCE A Score, autograh, fair coy, rinter s coy N-Onm, Musms 549 Provenance: In the rotocol of the library: Kø fra Leo Liemannssohn, erlin ½-29 (ought from Leo Liemannssohn, erlin ½-29) No cover Title age: Concert/für/Violin/und/Orchester/von/ohan S Svendsen/O 6 After the score: Lezig uni 1870/ Svendsen 34x27 cm, ritten in ink (ohan Svendsen) 139 ages Allegro moderato ben risoluto: 71 ages Paginated 1 72 Andante: 22 ages Paginated 1 22

150 142 inale: 44 ages Paginated 1 44 Paer tye: 20 hand-ruled staves The score contains Volinconcerto O 6 The score has several additions in blue crayon, red crayon and encil Printed iano score, for violin and iano, arranged by Reckendorf r Kistner CW Siegel, Leizig Kistner Edition nr 62 (Klavierauszug und Solostimme), Same as EW 159 L SOURCE Printed score, first edition: EW ritzsch, Leizig 1870 Title age: An erdinand David Concert (A-dur) fürvioline und Orchester Plate no EW 157 L SOURCE SPT Printed soloart, first edition: EW ritzsch, Leizig 1870 Title age: Concert (A-dur) fürvioline und Orchester Plate no EW 158 L SOURCE PTS Printed arts, first edition: EW ritzsch, Leizig 1870 Title age: Concert (A-dur) fürvioline und Orchester Plate no EW 158 L SOURCE C Printed score, CW Siegel s Musikalienhandlung (R Linnemann), Leizig 1903 Title age: An erdinand David Concert (A-dur) fürvioline und Orchester Plate no SOURCE C SPT Printed soloart, CW Siegel s Musikalienhandlung (R Linnemann), Leizig 1903 Title age: Concert (A-dur) fürvioline und Orchester Plate no SOURCE C PTS Printed arts, CW Siegel s Musikalienhandlung (R Linnemann), Leizig 1903 Title age: Concert (A-dur) fürvioline und Orchester Plate no Printed arrangements by others Printed iano score, for violin and iano, arranged by Reckendorf Plate no CW Siegel s Musikalienhandlung (R Linnemann), Leizig 1903 Printed iano score, for violin and iano, arranged by Reckendorf Plate no EW 159 L EW ritzsch, Leizig 1870

151 143 Evaluation of the sources The score in autograh (Source A) of Svendsen s Violinconcerto is clear and detailed The soloart in the score even contains a fe fingerings and boings The ublisher s lanning of ages (lates) is clearly visible, so e can conclude that it as used as the rinting source There are several minor corrections and changes in the autograh score done ith blue crayon, red crayon and encil (The red crayon is mainly used in the second movement) All these changes are very likely done by ohan Svendsen himself before the rinting, and e have thus defined them as an integrated art the source There are only to instances, both of them in the first movement, here bars are crossed out (See the critical commentary): At bb the oodind-scoring is crossed out and changed At bar 28 four bars are totally taken aay The ritzsch editons (Sources ) and the Siegel editions (Sources C) are identical Siegel, after taking over the ritzsch comany in 1903, rerinted from the old lates, only changing the cover ages There are very fe unique variants in the rinted score Some minor details are added or emended, but these are all logical and can be categorized as common sence, maybe even done ithout Svendsen s influence The situation ith the soloart (Source C SPT ) is different It has been brought in correlation ith the autograh score (Source A) at several oints here the soloart in the rinted score differs There are at least seven maor unique details found both in the manuscrit and in the rinted soloart, but not in the rinted score These emendations are so unique and secial that there must have been a roofreading rocess using the manuscrit, or S himself might have asked for these emendations There might also have been a lost soloart in manuscrit giving these details The difference in correlation ith the rinted score might also suggest that Svendsen only roofread the soloart and not the score If he roofread both he seems to have been more exact in his corrections of the searate soloart The most difficult variants to assess are unique variants found in the rinted soloart (and some times also in the rinted score) but not in the manuscrit Some of these are common sense, but some of them are also so secial that they are result of creative ork In the first movement b 282 the to rinted sources in eg have dolce In the third movement, bb , there are unique emendations in itch in the rinted soloart not found elsehere, and similarly there are some unique articualtions, fingerings and dynamics only found in the rintes soloart Esecially the many unique articulations can oint toards a no lost soloart in manuscrit The rinted orchestral arts (Source C PTS ) are robably made using the manuscrit or the rinted score as source Also in these arts there are changes and emendations done by common sence There are a fe very unique variants in these arts found in the manuscrit and not in the rinted score, thus shoing influence directly from the manuscrit or from roofreading using the manuscrit These unique variants could also be based on a set of arts in manuscrit, no lost ut e kno that the first erformance as done to years after the music as rinted, robably using the rinted arts Thus there as no need of riting orchestral arts by hand We have used Source C as our main source for the editing of the score, being the latest source S might have influenced ut e have given the manuscrit significance hen the rinted score in our oinion robably contain mistakes or oversights In the editing of the soloart e have used the rinted soloart (Source C SPT ) as our main source, for reasons stated above All deviations from the main sources in our edition have been discussed in the Critical Commentary All significant variations differing from the rimary source in the other sources have also been dealt ith Since e have considered the emendations in Source A (S) as art of the source, they are not secified in the critical commentary When something is missing in the secondary sources this is normally not mentioned, ith the excetion of source A, the autograh score Some articular omissions here are in our oinion of secial interest, since the elements found in the rinted sources and not in A could be additions made by the ublisher In the Critical Commentary for the solo art e also have mentioned several negative variations (missing details), since e find it imortant to understand hat variants are unique for this main source

152 144 Editorial emendations and alternative readings Violin Concerto in A-maor, orchestral score Particularly imortant and/or roblematic remarks have bar numbers in bold tyes Primary source: C ar Part Comment irst Movement A: Allegro risoluto MM = 1 Tutti Tutti added as in C SPT 1 Cl II C PTS : notes 1 2: stacc 2 Vle slur added by analogy ith l II, Ob I 5 Vc added by analogy ith b 4 and ith the other str 9 I A, C PTS : notes 1 2: stacc missing 9 Vc A: notes 1 2: stacc missing 10 II C PTS : note 2: 14 Cl I C PTS : note 1: d 14 l, Ob I, Cl, g C PTS : instead of dim 15,16 g II C PTS : one slur er bar 17 Cl I C PTS : notes 1 2: stacc Ob II tie across bar line added as in C PTS 22 l I C PTS : note 4: stacc 23 l I, Cl II C PTS : notes 1 2: stacc 24 Cor A, C PTS : stacc missing 43 g a 2 inserted 44 Cor II C PTS : notes 1 2: stacc Vc, Cb C PTS : slur across the bar line 63 Cor, Vle, Vc, Cb note 1: stacc added by analogy ith II, Ob, Cl 67 II C PTS : stacc 71 I C PTS : note 1: stacc 74 Vle, Vc semre added by analogy ith 94 Cb arco added by analogy ith Vc 101 II C PTS : note 2: cautionary accidental 104,106 Ob II, Cl ten added by analogy ith g and as in C PTS (Cl I) 106 II ten added by analogy ith b I ten added by analogy ith b g I C PTS : note 2: ten (The one bar rest for g II in A might have been misinreted as ten) 110 Cl II, g II rests added 133 Cl II C PTS : stacc 137 Vc C PTS : note 2: cautionary accidental 167 Ob I C PTS : notes 1 2: stacc 168 Ob I C PTS : notes 2 3: stacc 171 II A: cautionary accidental missing 173 Ob I C PTS : notes 1 2: stacc 173 II C PTS : cresc one bar earlier than in A, C 176 II note 1: emended from c by analogy ith Ob II 180 Cl II A: note 4: cautionary accidental 182 Cl II C PTS : note 1: fz (instead of in b 181 note 2) 182 g II C PTS : note 2: cautionary accidental 182 Cor I cautionary accidental added 186 I cautionary accidental added 186 str dashed lines added Vle C PTS : 205 Tutti Solo emended from b 203 as in C SPT 207 Vc A, C PTS : missing 207 Cb A: missing I C PTS : tie 212 Vc, Cb A, C PTS : missing 236 Vle C PTS : missing 244 Tbe C PTS : 245 I A, C PTS : 246 Cl I C PTS : semre 250 g 2 added as in C PTS and by analogy ith Ob I (b 249) 253 Cor I C PTS : tie missing 259 Cl II tie added by analogy ith g II I tie added by analogy ith II II tie added 266 Vle C PTS : missing 268 Ob I C PTS : notes 1 2: stacc