HANS CHRISTIAN LUMBYE

HANS CHRISTIAN LUMBYE DRONNING LOUISE VALS QUEEN LOUISE WALTZ

HANS CHRISTIAN LUMBYE DRONNING LOUISE VALS QUEEN LOUISE WALTZ København 200 UDGIVET AF EDITED BY AXEL TEICH GEERTINGER MED FORORD AF WITH AN INTRODUCTION BY KNUD ARNE JÜRGENSEN

Cover design English translation DCM ISMN 200 Willeru & Dan A. Marmorstein 004 979-0-900824-3-2 Dansk Center or Musikudgivelse (DCM) Det Kongelige Bibliotek, København Danish Centre or Music Publication (DCM) The Royal Library, Coenhagen This edition was made available on htt://www.kb.dk/da/kb/nb/mta/dcm Aril 200 Revised June 200

HANS CHRISTIAN LUMBYE Hans Christian Lumbye blev ødt i København den 2. maj 80. Han lyttede allerede som barn til den danske rovins, idet hans ar, der var militær embedsmand, blev udstationeret ørst i Jylland og siden hen i Odense. I Odense ik Lumbye sin ørste egentlige musikundervisning og onåede som 4-årig at blive hornist i det lokale regimentsorkester. Året eter ik han svendebrev som udlært trometer, og som 9-årig vendte han tilbage til sin ødeby København, hvor han i 829 ik stilling som trometer i den kongelige hestgarde. Ved siden a dette arbejde var Lumbye i 830rne en littig musiker i Køben havns Stadsmusikantorkester, og ra disse år stammer hans tidligste bevarede dansekomositioner. I 839 samlede han sit eget orkester. Insirationen til dette skridt ik han eter at have overværet en række koncerter i København a et musikselskab ra Steiermark i Østrig, hvor Johann Strauss d.æ. og Joseh Lanners nye dansemelodier or ørste gang lød i Skandinavien. Med sin egen ørste Concert à la Strauss å det ashionable Raus Hotel (det senere Hôtel d Angleterre) i København den 4. ebruar 840 indledte Lumbye or alvor sit livslange virke som Danmarks og Skandinaviens ubestridt ørende dansekomonist. Da Tivoli tre år senere åbnede sine orte i København, ik Lumbye som leder a koncertsalens orkester det endelige og aste holdeunkt or sin lange karriere som komonist og dirigent. For dette orkester komonerede han gennem de næste tredive år omtrent 700 danse, ørst og remmest olkaer, valse, og galoer den sidste genre blev nærmest synonym med hans navn. Med disse enkle og oulære musikalske danseormer skabte Lumbye i Tivoli en særlig dansk version a dansemusikken, som er løtet over i symoniorkestrets verden. Samtidig komonerede han en mængde værker til ære or tidens nyeste tekniske oindelser og landvindinger, talrige orkesterantasier, mere end 25 ballet-divertissementer, sange og teatermusik. En lang række udenlandske tournéer til Hamburg, Berlin, Wien og Paris (844-46), Skt. Petersborg (850) og Stockholm (860) bragte Lumbye international anerkendelse og berømmelse. Dronning Louise Vals (868) Gennem sin lange karriere komonerede Lumbye en række marcher og valse secielt til det danske kongehus. Blandt hans senere værker i denne grue er valse-suiten ra 868, som ølger det traditionelle mønster med en Entré, der her er eterulgt a 4 valse og en coda, som gentager melodien ra vals nr.. Suiten blev komoneret til den tyskødte Dronning Louise (87-898). Hun havde i 842 ægtet den danske rins Christian (88-906) og blev Dronning a Danmark ved sin mands tronbestigelse som Kong Christian IX i 863. Dronning Louise Vals blev komoneret i emåret or tronbestigelsen og uroørt ved Tivolis sæsonåbningskoncert i koncertsalen den 7. maj 868. Koncerten, der samtidig reræsenterede Lumbyes 25-års jubilæum som havens musikalske leder, blev omtalt i Folkets Avis (8.5.868) med ordene: I Koncertsalen gav gamle Lumbye, hilset med bragende Velkomstkla, sine allernyeste og Ungdomsjublende Dandse. Dags-Telegraen (9.5.868) ulgte o med denne omtale: De ca.,500 Mennesker, som i Søndags med synlig Tilredshed atter vandrede om i Etablissementet, gjenhilste med et Biald, der aaskjønnede lang og tro Tjeneste, lere a deres gamle bekjendte, navnlig Krigsraad Lumbye, som ved sin Fremtræden modtoges med Stærke Haandkla og hele Atenen modtog levende Alaus or sit Orkesters Præstationer. I Robert Watts ugeblad Figaro (24.5.868) omtales koncerten endnu en gang: H.C. Lumbye blev modtaget med en sand Bialdsstorm, da han viste sig med Tactstokken aa sin Plads, som han nu i saa mange Aar har indtaget, og saavel hans nyeste Vals til Hendes Majestæt Dronningen, som hans bekjendte gamle Comositioner orlangtes stadigt da cao. Som det ses a disse omtaler blev Dronning Louise Vals nærmest omgående en a Lumbyes mest oulære royale valse-suiter og orblev gennem resten a århundredet et ast musikalsk indslag ved alle større oicielle hoballer i det danske kongehus, ligesom det har holdt sig å koncertreertoiret i Tivoli helt rem til vore dage. Værket trykkes her i en kritisk videnskabelig udgave or ørste gang. Det er sat i artitur ud ra det ældste bevarede komlette stemmesæt, der daterer sig ra begyndelsen a 900-tallet. Lumbyes autogra-artitur gik eter al sandsynlighed tabt under Schalburgtage-branden a Tivolis Koncertsal natten mellem den 24. og 25. juni 944. Knud Arne Jürgensen DCM 004

HANS CHRISTIAN LUMBYE Hans Christian Lumbye was born in Coenhagen on 2 May 80. Already as a child, he moved to the Danish rovinces because his ather, a military oicer, was stationed irst in Jutland and later on in Odense. In Odense, Lumbye took his irst genuine lessons in music. By the time he was 4, he had managed to land a job as the hornist in the local regiment orchestra. The ollowing year, he received a certiicate attesting to the comletion o his arenticeshi as a skilled trumeter. He returned to his native city as a 9-year-old. There, in Coenhagen in 829 he was entrusted with a osition as a trumeter in the Royal Horse Guards. Through the 830s, alongside this resonsibility, Lumbye was a hard-working member o Coenhagen s Town Musicians Ensemble; it is rom this decade that his earliest surviving dance comositions originate. In 839, he assembled his own orchestra. He was insired to take this ste ater having witnessed a series o concerts in Coenhagen resented by a music comany rom Steiermark in Austria, where Johann Strauss the Elder s and Joseh Lanner s latest dance melodies were layed or the very irst time in Scandinavia. With his irst Concert à la Strauss at the ashionable Raus Hotel (the resent Hôtel d Angleterre) in Coenhagen on 4 February 840, Lumbye seriously ushered in his lielong occuation as Denmark s and Scandinavia s uncontested leading comoser o dance music. Three years later, when Tivoli Gardens oened its gates in the centre o Coenhagen, Lumbye, as the music director o the concert hall s orchestra and Tivoli s resident comoser, obtained the steady and deinitive base or his long and illustrious career as comoser and conductor. For this orchestra, he comosed around 700 dances over the course o the next thirty years: rimarily olkas, waltzes, and gallos the latter genre became virtually synonymous with his name. With these simle and oular musical dance orms, Lumbye, through his work in Tivoli, created a secial Danish rendition o dance music that has come to be elevated and transerred into the domain o the symhony orchestra. At the same time, he comosed a great many works in honour o the day s latest technical inventions and advances, numerous orchestral antasies, more than 25 ballet divertissements, a good many songs and incidental music or theatrical erormances. An extensive series o oreign tours to Hamburg, Berlin, Vienna and Paris (844-46), St. Petersburg (850) and Stockholm (860) brought international recognition and ame to Lumbye. Queen Louise Waltz (868) During his extensive career, Lumbye comosed a number o marches and waltzes that were seciically dedicated to Denmark s house o royalty. Among his later works in this grou is the waltz suite rom 868, which ollows the traditional attern: an introductory Entré ollowed by our waltzes and a coda that reeats the melody rom Waltz no.. The suite was comosed or the German-born Queen Louise (87-898). In 842, she had married the Danish Prince Christian (88-906) and she subsequently became Queen o Denmark uon her husband s accession to the throne as King Christian IX in 863. Queen Louise Waltz was comosed or the ive-year anniversary o the King s accession to the throne and was remiered at Tivoli s season-oening concert in the concert hall on 7 May 868. The concert, which also reresented Lumbye s 25 th anniversary as the Garden s musical director, was reviewed in Folkets Avis (8 May 868) with these words: In the concert hall, good old Lumbye, who was hailed with thundering alause uon his entrance, resented his very latest and youthully jubilant dances. Dags-Telegraen (9 May 868) covered the event with this reort: The crowd o some,500 eole who on Sunday were ambling around the venue again with an obvious sense o satisaction and contentment revived their salutes, with bursts o alause in areciation o the long and aithul service, to some o their old acquaintances, and most esecially Council o War Lumbye who was greeted uon his aearance with the ublic s owerul hand-claing and continued or the rest o the evening to receive ardent admiration and lively alause or his orchestra s eats. In Robert Watt s weekly magazine Figaro (24 May 868) the concert was mentioned again: H.C. Lumbye was received with a veritable avalanche o alause when he aeared with his baton at the rostrum, a lace he has been occuying or so many years now. For both his latest waltz, comosed or Her Majesty the Queen, and his well-known comositions o yore, the ublic still clamoured: da cao. As is made evident rom these reviews, Queen Louise Waltz almost immediately became one o Lumbye s most oular royal waltz suites and remained throughout the rest o the century a steadast musical eature at all imortant oicial court balls given by the Danish royal amily. Similarly, it has retained its osition in the concert reertoire at Tivoli Gardens, all the way u to the resent time. The work has been rinted here in a critical scholarly edition or the irst time. It has been ieced together and written out on the basis o the oldest surviving comlete set o arts, which date rom the beginning o the twentieth century. Lumbye s autograh score was, in all robability, consumed by the Schalburgtage-incited ire that enguled Tivoli s Concert Hall on the night between the 24 th and the 25 th o June 944. Knud Arne Jürgensen 2 DCM 004

DRONNING LOUISE VALS QUEEN LOUISE WALTZ Flauto iccolo Flauto ENTRÉ Oboe 2 Clarinetto (A) 2 Fagotto 2 Corno (E) 2 Tromba (E) 2 Trombone 2 Trombone 3 Timani (A, D) Tamburo iccolo a2 3 3 3 3 Triangolo Piatti Gran cassa Camanelli Violino Violino 2 Viola Violoncello Contrabbasso DCM 004 3

8 Tamb.icc. Vl. 4 DCM 004

Cl. (A) 7 VALS NO. Tamb.icc. Vl. m DCM 004 5

Cl. (A) 24 Tamb.icc. Cmlli. Vl. 6 DCM 004

. 2. 33. a2 2. Tamb.icc. 2. Cmlli. Vl.. 2. DCM 004 7

37. 2. Tamb.icc. Cmlli. Vl. 8 DCM 004

44. 2.. 2. 2. Tamb.icc. Cmlli. Vl. cresc. DCM 004 9

5. 2. m 2. Tamb.icc. Cmlli. Vl. 0 DCM 004

58 crescendo. 2. Tamb.icc. Cmlli. Vl. cresc. DCM 004

65 VALS NO. 2 m m m m m m Tamb.icc. Vl. m m m m m 2 DCM 004

74. 2. Tamb.icc. Vl.. 2. DCM 004 3

8 a2. 2.. Tamb.icc. Trgl. Vl. 4 DCM 004

9. a2. a2 2. Tamb.icc. Trgl. Vl.. 2. DCM 004 5

97 VALS NO. 3 dolce. a2 Tim. Tamb.icc. Vl. dolce dolce 6 DCM 004

06. a2 a2 Tim. Tamb.icc. Trgl. Vl. DCM 004 7

5. a2 Tim. Tamb.icc. Trgl. Vl. 8 DCM 004

22 m a2. m m Tim. Tamb.icc. Trgl. Vl. m DCM 004 9

29 m m m m m m m Tim. Tamb.icc. Trgl. Vl. m m m m 20 DCM 004

38 m m m m Tim. Tamb.icc. Trgl. Vl. m DCM 004 2

45 m m m m m m Tim. Tamb.icc. Trgl. Vl. m m m m 22 DCM 004

53 Tim. Tamb.icc. Trgl. Vl. DCM 004 23

Tim. Tamb.icc. VALS NO. 4 6 a2 Cmlli. Vl. 24 DCM 004

69 dim. dim. dim. Tim. Tamb.icc. Cmlli. Vl. dim. DCM 004 25

77 dolce a2 Tim. Cmlli. Vl. dolce dolce 26 DCM 004

85 a2 a2 Tim. Cmlli. Vl. DCM 004 27

93 solo a2 Tim. Cmlli. Vl. 28 DCM 004

20 a2 a2 Tim. Cmlli. Vl. DCM 004 29

Cl. (A) 209 FINALE Tamb.icc. Cmlli. Vl. 30 DCM 004

28. Cl. (A) 2. Tamb.icc. Cmlli. Vl. DCM 004 3

227. cresc. 2. 2. Tamb.icc. Cmlli. Vl. 32 DCM 004

236. 2. a2 a2 Tamb.icc. Cmlli. Vl. cresc. DCM 004 33

Tamb.icc. Vl. 244 solo 34 DCM 004

CRITICAL COMMENTARY ABBREVIATIONS Paer tye: 2 staves (hand-ruled). Music coied by Julius Schilling; arts contain no additions, corrections or other traces o use. b. bar bb. bars brass brass instruments cb. contrabbasso cl. clarinetto cmlli. camanelli cor. corno div. divisi DK-Kk Det Kongelige Bibliotek, København (The Royal Library, Coenhagen) g. agotto l. lauto l.gr. lauto grande gr.c. gran cassa marc. marcato ob. oboe erc. ercussion instruments icc. lauto iccolo Pl. No. Plate Number tti. iatti stacc. staccato str. strings tamb.icc. tamburo iccolo tim. timani tr. tromba trb. trombone trem. tremolo trgl. triangolo va. viola vc. violoncello vl. violino woodw. woodwind instruments DESCRIPTION OF SOURCES A Manuscrit arts B Printed iano score C Manuscrit arts D Score, arrangement or military band A Manuscrit arts. DK-Kk, M. A 2506 (960-6.272a). Provenance: urchased by The Royal Library rom Dan Fog in 960. Title age on vl.: Violino I mo / Dronning Louise Vals / a / H: C: Lumbye. 34.8x26. cm, 22 orchestral arts (icc., l., 2 ob., 2 cl. (A), 2 g., 2 cor. (E), tr. (A [recte: E]), tr.2 (E), 3 trb., tamb.icc./ trgl./cmlli., gr.c./tti./tim., vl., vl.2, va., vc., cb.); written in ink. B Printed iano score. Title on irst age: MUSIKALSKE NYHEDER / redigeret a / H. C. LUMBYE og E. HORNEMAN. / Chr. E. Hornemans Forlag og Eiendom. / Store Kjøbmagergade N o 4. / DRONNING LOUISE VALS. To the right o the title: 8 de Aargang. / N o 3 ; to the let: Subscr. Priis 6 sk. / Laderiis 36 sk. This issue o the eriodical Musikalske Nyheder was ublished in March 868. 32.2x24.3 cm. Dimensions aly to the Royal Library coy, which has been croed in connection with the binding rocess. C Manuscrit arts. DK-K [Tivoli], 2020. End-datings: vl.: A.P. 98. ; cb.: 4-2-49 / H Kreiberg ; tim.: H. Fulling / 5/2-949 ; tim./cmlli./trgl./gr.c.: 8- / 58 / J. [?]. Title age (vl.): Violino mo / Dronning Louise Vals. / a / H. C. Lumbye. ; 2020 and Tivoli stamed at to. Parts written by Anton Petersen and Ferdinand Hemme stamed Restaurant Wivel / (Anton Petersen) below instrument name. 39 orchestral arts (icc., l., 2 ob., 2 cl. (A), 2 g., 2 cor. (E), 2 tr. (E), 3 trb., tamb.icc./trgl./cmlli., gr.c./tim., tim., 7 vl., 5 vl.2, 3 va., 3 vc., 3 cb.). a vl.: 34.8x26.0 cm, written in ink by A[nton] P[etersen]. Paer tye: 2 staves (hand-ruled). b icc., ob.2, cl.2, g., brass, erc.: 34.8x26. cm, written in ink by F[erdinand] Hemme; F Hemme stamed on title age. Paer tye: 2 staves (hand-ruled). c l., ob., cl., 3 vl., 4 vl.2, 2 va., 2 vc., cb.: 34.5x25.3 cm, written in ink and signed KGP. Paer tye: E&S/Engstrøm & Sødring Nr. 2. d vl., vl.2, va., vc.: 34.x26.8 cm, anonymous coies written in ink, robably c.945-50. Paer tye: W.H. Nr. 3 F. 2. e cb.: 34.3x26.9 cm, written in ink by H Kreiberg. Paer tye: W.H. Nr. 3 F. 2. tim.: 29.9x22.4 cm, written in ink by H[ans] Fulling. On the back: tim./cmlli./trgl./gr.c., written in blue ball en by J. [?].. Paer tye: robably W.H. Nr. 3 F. 2, croed. C diers signiicantly rom A in a number o instances, e.g. bb.33-45 (including reetition) have no staccato indication in C; in bb.6-67 vl.2 and va. aart rom a ew other dierences have been swaed; in C the lute solo in bb. 49-64 is layed by both lutes, and in the inale (bb. 225-238) the equivalent solo is layed by icc. instead o l. D Score, arrangement or military band, A b major. Den Kongelige Livgardes Musikkors nodearkiv. End-dating: 3/68. A: O: Dehn. DCM 004 35

Arranged by August Dehn. Title on irst music age: No 27 Dronning Louise Vals. a H: C: Lumbye. Scoring: Military band: icc. (E b ), ob., cl. (E b ), cl.,2 (B b ), cor.,2,3,4 (E b ), cnt.,2 (B b ), tr.,2,3 (E b ), trb.,2,3,4, tamb.icc., cmlli., trgl., tamb.mil., gr.c. 27x38 cm, olios, written in ink, odd ages aginated -2, even ages unnumbered. This arrangement is art o a volume with the title Arkiv Nr. 2. Paer tye: 20 staves (hand-ruled). EVALUATION OF SOURCES Neither orchestral arts or Dronning Louise Vals dating rom Lumbye s lietime nor scores, which are not based on art material, seem to have survived. Thus, the most reliable orchestral material is a number o sets o arts, aarently all 20 th -century coies. Some o the oldest arts rom Tivoli (in source C) may be coies o original arts already used by Lumbye himsel in Tivoli. This set o arts, however, is very disarate the earliest arts dating rom 98, the latest rom 958 and hence cannot give any clear icture o the work at any time in its recetion history. The set o arts coied by Julius Schilling, which is judged to be the oldest orchestral source, has thereore been chosen as main source or the resent edition. Schilling is known to have worked as a coyist in 95, but aer tye and the hand-ruled lines in A, however, could also indicate an earlier date o the source, i.e. between 900 and 95. As it contains no corrections or additions, it seems that A was never used or erormance. The oldest source is the iano score B, ublished in the eriodical Musikalske Nyheder a coule o months beore the irst orchestral erormance in Tivoli in May 868. As this series was edited by H.C. Lumbye himsel the iano score is deinitely an authorised source, though in connection with the rearation o an orchestral score it can only illuminate the overall structure o the work and certain general asects o articulation and dynamics. B has been used only as a guideline in order to eliminate some o the inconsistencies in the art material. The iano score is also available in a number o later editions. Furthermore The Royal Library holds two more recent manuscrit sets o arts rom Dansk Musiker Forbund (DK-Kk DMF 44 and DK-Kk DMF 300), both dating rom the middle o the 20th Century. The arrangement or military band (source D), dated as early as March 868, robably has no connection to Lumbye. LIST OF EMENDATIONS Some assages in the resent score are written out in ull, even i in the sources (arts) they are notated with reeat marks. For such assages comments in the List o Emendations are only seciied in connection with the irst aearance o the assage. Such revisions, however, also relate to the reetition o the assage in question. Variants rom other osthumous sets o arts are normally let out rom the resent List o Emendations. Variants in B are listed only in instances related to the overall structure o the work. Articulation, dynamics as well as ties and slurs in A and C are much more casual both vertically and horizontally than they would ossibly have been in Lumbye s own hand. In most cases, there seems to be no consistent lan behind such inconsistencies in the arts. In Lumbye s own scores such arameters are highly consistent, and only very rarely does he dierentiate articulation or dynamics within a grou o instruments or even within the entire orchestra. In the resent edition thereore, a rather drastic standardisation has been made. Sometimes articulation is only indicated in one o the arts, even i the same musical assage is resent in other arts. In these instances, the articulation markings have been omitted rom the resent edition, because they resumably are not in accordance with indications in Lumbye s own (now lost) score; they were robably added later to the arts rom which A was coied. In general, reetitions o dynamic markings which have already been notated are tacitly removed, while on the other hand, a ew such markings have been added when necessary at the beginning o a assage between reeat signs. Such imlicit additions are made tacitly. Ties rom grace notes to main notes occasionally missing in A are added without comment. Bar Part Comment tr. A: Instrument seciication: Tromba I mo i A (trumet in A); music notated or trumet in E + tr.2 emended to by analogy with tr. g.2 emended to by analogy with g. trb. added by analogy with trb.2,3 4-5 ob.2 cl.2 g. cor.2 b.4 note to b.5 note : tie added by analogy with ob., cl., cor. vl.2 # d Ω # emended to e Ω by analogy with cor.2 7 icc. l. ob. emended to by analogy with ob.2, cl., g. and as in B 7 g. marc. added by analogy with b.209, ob., cl.2, cor. 7 cor. tr. emended to by analogy with the other brass and as in B 7 tamb.icc. marc. added by analogy with b.209 7 vl.2 marc. added by analogy with vl., va., vc. 7 va. emended to by analogy with the other strings and as in B 7 cb. note : strong marc. emended to marc. by analogy with the other arts 8,9 g. cor. marc. added by analogy with ob., cl.2, cor.2 23-24 vl.2 added by analogy with va. 23 vc. end o slur emended rom b.22 note by analogy with b.25 24 icc. added by analogy with b.26 and l. and as in B 24 cl. vl. added by analogy with l. and as in B 25 icc. l. ob. cl.2 added by analogy with cl., trb.2, vl.2, va. 25 g. marc. added by analogy with b.27, ob., cl.2; added by analogy with cl., trb.2, vl.2, va. 25 cor. z emended to marc. by analogy with cor.2; added by analogy with cl., trb.2, vl.2, va. 25 cor.2 tr. trb.,3 added by analogy with cl., trb.2, vl.2, va. 36 DCM 004

25 vl. emended to by analogy with cl., trb.2, vl.2, va. 25 vl.2 chord : marc. added by analogy with b.7 25 vc. added by analogy with cl., trb.2, vl.2, va. 25 cb. strong marc. emended to marc. by analogy with vc.; added by analogy with cl., trb.2, vl.2, va. 26 cl.2 note : d ΩΩ emended to c ΩΩ by analogy with b.28 26,27 g. cor. marc. added by analogy with ob., cl.2, cor.2 28-3 g.2 slur added by analogy with g. 3 I cl. at note emended to at note 2 by analogy with cl.2, g., cor.2, tr.2, trb.,3 3 I -32 I g. trb. b.3 I note 2 to b.32 I note 3: stacc. added by analogy with the other arts 3 I trb.2 added by analogy with trb.,3 3 I vl. at note emended to at note 2 by analogy with cl.2, g., cor.2, tr.2, trb.,3, cb. (note ) 3 I vl.2 added by analogy with cl.2, g., cor.2, tr.2, trb.,3, cb. (note ) 3 I va. emended to by analogy with cl.2, g., cor.2, tr.2, trb.,3, cb. (note ) 3 I -32 I va. b.3 I note 2 to b.32 I note 3: stacc. added by analogy with the other arts 3 I vc. added by analogy with cl.2, g., cor.2, tr.2, trb.,3, cb. (note ) 3 I cb. emended rom note to note 2 by analogy with the other arts 32 I cl. notes -3: stacc. added by analogy with the other arts 32 II g. notes -3: stacc. omitted by analogy with ob., vl.; omitted by analogy with b.224; emended rom b.33 note by analogy with ob., vl. 33 cmlli. added by analogy with the dynamic level in the other arts 43-45 vl. b.43 note to b.45 note 2: stacc. added by analogy with icc., ob. 44 tr. beginning o emended rom b.45 note by analogy with trb.,2 44-45 tr.2 added by analogy with tr., trb.,2 44-45 trb.3 added by analogy with bb.236-237 and trb.,2 44 cb. cresc. added by analogy with b.236 45-46 ob. added by analogy with b.237-238 45-46 cl.2 g.2 cor. vl.2 added by analogy with cl., g., cor.2, va. 45-46 cb. added by analogy with bb.237-238 47 ob. emended to by analogy with icc., ob.2, cl., g. 47 cor. emended rom b.45 note by analogy with the other arts 47,48 cor. marc. omitted by analogy with cor.2 47 cor.2 tr.2 trb.3 emended to by analogy with cor., tr., trb.,2 47 cmlli. emended to by analogy with icc., ob.2, cl., g., cor., tr., trb.,2, str. 47 vl.2 chord 4: marc. omitted by analogy with vl., va. 48 icc. emended rom b.49 note by analogy with ob., vl. 48 ob. cl. note : e emended to q by analogy with icc., tr. 48 vl. note : e emended to q by analogy with icc., tr.; notes 2-3: slur added by analogy with icc.; added by analogy with b.32 II 48 vl.2 chord : e emended to q by analogy with va. 49-64 icc. ob. cl.2 g. brass erc. str. A: written as reetition o bb.33-48 55 l. note 3: A: aears to be b n ΩΩ or d ΩΩΩ ; emended to c ΩΩΩ by analogy with b.23 64 vl.2 chord : e emended to q by analogy with the other strings 65 g. emended to m by analogy with l., cl., g.2, vl. 65 vl. time signature 4 2 emended to 4 3 (coyist s error) 66 ob.2 marc. added by analogy with ob. 76 ob. marc. added by analogy with ob.2 76-77 trb.2 tie added by analogy with trb. 77 cl.2 note : marc. omitted by analogy with bb.73, 75 78 icc. marc. added by analogy with l., cl., vl. 78 ob. marc. added by analogy with cl.2, g.2 78 g. marc. added by analogy with l., cl., vl. 79 icc. note 5: a ΩΩ # emended to a ΩΩ by analogy with l., cl., g., vl. 79 g.2 marc. omitted by analogy with ob., cl.2 80 II ob. added by analogy with b.96 I and icc., l. 80 II ob.2 notes 2-3: emended to by analogy with icc., l. 80 II tr. added by analogy with b.96 I and icc., l. 80 II vl. added by analogy with icc., l. 8 trgl. added by analogy with the other arts 84 icc. marc. added by analogy with l., cl., tr.2, vc. 84 cl.2 omitted by analogy with icc., l., cl., tr.2, vl., vc. 84 vl. marc. added by analogy with l., cl., tr.2, vc. 85 g. added by analogy with g.2 88 vl. C: div. 9 vc. C: alla Dahl (like Dahl) and in the margin løt Buen, slaa den ned, og se storsnudet ud (raise the bow, whi it down, and look arrogant) 92 g. marc. added by analogy with the other woodw. 92 cor. added by analogy with cor.2 92 cor. trb.2,3 tti. gr.c. vl. marc. added by analogy with the other arts 93 va. omitted by analogy with the other arts 96 I icc. l. added by analogy with b.8 II and ob., tr. 96 I ob.2 added by analogy with ob., tr. 96 I,96 II g. a emended to b in accordance with C 96 I tr. note : marc. added by analogy with b.80 II 96 I vl. added by analogy with ob., tr. 97 cl.2 dolce added by analogy with cl. 97 cor.2 added by analogy with cor. 97 vc. dolce added by analogy with cl., vl. 3-28 icc. ob. cl. g. brass tim. str. A: written as reetition o bb.97-2 3 trgl. added by analogy with the general dynamic level 28 tr.2 emended to m added by analogy with icc., l., ob., vl. 29 g. m added by analogy with g.2 29 cor.2 m added by analogy with cor. 32 icc. l. note : marc. added by analogy with cl., tr., vl. 36 icc. ob. note : marc. added by analogy with cl., tr., vl. 36 ob.2 trb. marc. added by analogy with b.32 37 vc. beginning o slur added; A: bb.37-38: system break 39 icc. note 3: g # ΩΩ emended to g n ΩΩ by analogy with l., cl., tr., vl.; note 2: marc. added by analogy with l., cl., tr., vl.; note 2-3: slur added by analogy with l., cl., tr., vl. 40 icc. note : marc. added by analogy with l., cl., tr., vl. 40 trb.3 marc. added by analogy with trb.,2 4 g.2 Œ q q emended to q Œ q by analogy with g. 4 cor. added by analogy with cor.2 4 tr. emended to by analogy with tr.2 DCM 004 37

4 trb.3 added by analogy with trb.,2 4 vl.2 emended rom b.40 chord by analogy with the other arts 4 va. added by analogy with the other arts 4 vc. emended to by analogy with the other arts 44 l. tr.2 m added by analogy with b.28 45-60 icc. ob. cl. g. brass str. A: written as reetition o bb.29-44 48 l. note : marc. added by analogy with b.32 (cl., tr., vl.) 54-59 l. A: written as reetition o bb.38-43 65 ob. beginning o tie added by analogy with ob.2; A: bb.65-66: system break 68 ob. cl.2 g.2 cor.2 va. notes -3: stacc. added by analogy with g., cor., tr., trb., vl.,2, vc. 68 vc. emended to by analogy with the other arts 68 cb. notes -3: stacc. added by analogy with g., cor., tr., trb., vl.,2, vc.; emended to by analogy with the other arts 69 l. added by analogy with icc. 69-72 ob. g. slur added by analogy with ob.2 69 cor.2 m emended to by analogy with cor. 69 tr. trb. emended to by analogy with the other arts 69-7 vl.2 added by analogy with va. 69 va. added by analogy with the other strings 70-7 icc. l. cl. added by analogy with vl. 7-72 ob. added by analogy with g. 7 g.2 beginning o emended rom b.70 note by analogy with g., vc. 7 tr. added by analogy with tr.2 7-72 vc. slur added by analogy with cb. 7-72 cb. added by analogy with vc. 72 cl. added by analogy with cl.2 72 trb. emended to by analogy with the dynamic level in the other arts 72 trb.2 added by analogy with the dynamic level in the other arts 72 trb.3 marc. and z omitted by analogy with trb.,2; added by analogy with the dynamic level in the other arts 72 cor. vl.2 emended rom b.73 note by analogy with va. 74 cl.2 note 4: b b Ω emended to b n Ω by analogy with cl., vl. 75 icc. l. note 4: dim. added by analogy with vl. 75,76 l. note 3 to rest 2: q q emended to e e by analogy with icc., cl.2, tr., vl. 75,76 cl.2 notes 3-4: stacc. omitted by analogy with icc., l., tr., vl. 75 cl.2 note 4: dim. added by analogy with vl. 77 cl. vl. dolce added by analogy with vc. and as in B 77 cmlli. added by analogy with the other arts 8-84 cl.2 ties added by analogy with bb.77-80, 85-88 82 cl. note 3: e Ω emended to c ΩΩ by analogy with vl., vc. 87 g. notes -3: slur added by analogy with bb.77-86 and g.2 90 ob.2 added by analogy with ob. 90-9 ob.2 slur added by analogy with ob. 90-9 vl. b.90 note 3 to b.9 note : slur added by analogy with vc. 93-208 l. ob.2 cl. g. brass erc. str. A: written as reetition o bb.77-92 209 B: Coda instead o Finale 209 ob. cl.2 g. emended to by analogy with icc., l., cl., trb.3, vl.2, va., cb. and as in B 209 g.2 marc. added by analogy with g.; emended to by analogy with icc., l., cl., trb.3, vl.2, va., cb. 209 cor. tr. trb.,2 vl. emended to by analogy with icc., l., cl., trb.3, vl.2, va., cb. and as in B 209 vl.2 va. note : strong marc. emended to marc. by analogy with b.7 (va.) and woodw., brass, vl. 209 vc. emended to by analogy with icc., l., cl., trb.3, vl.2, va., cb. and as in B; strong marc. emended to marc by analogy with woodw., brass, vl. 209 cb. strong marc. emended to marc. by analogy with woodw., brass, vl. 20,2 g. marc. added by analogy with ob., cl.2 20,2 cor. marc. added by analogy with bb.8, 9 23-25 g. slur added by analogy with bb.2-23 and g.2 26 l. added by analogy with b.24, icc. and as in B 26 cl. vl. added by analogy with icc. and as in B 27 icc. note : marc. added by analogy with b.25 and l.; omitted by analogy with the other arts 27 cl.2 marc. added by analogy with bb.25 27 g.2 marc. added by analogy with g. 27 cor.2 marc. added by analogy with b.25 and cor. 27 trb.3 marc. added by analogy with b.25 and trb.,2 27 vl.2 va. vc. cb. note : strong marc. emended to marc. by analogy with woodw., brass, vl. 28 icc. notes 2-4: stacc. omitted by analogy with b.26 and l., vl. 28,29 cl.2 marc. added by analogy with bb.26, 27 28,29 g. marc. added by analogy with ob. 28,29 cor. marc. added by analogy with bb.26, 27 220 ob. note : marc. omitted by analogy with b.27 and ob.2 220 vc. marc. added by analogy with b. 28 223 g.2 end o slur emended rom b.222 note by analogy with g. 224 l. A: bar missing 224 g. notes -3: stacc. omitted by analogy with ob., vl.; note : emended rom b.225 note by analogy with ob., vl. 225-237 icc. stacc. added by analogy with bb.33-45 225 cmlli. added by analogy with the other arts 225-237 vl. stacc. added by analogy with bb.33-45 230-232 ob. stacc. added by analogy with bb.38-40 235 l. cresc. added by analogy with b.59 235-237 vc. added by analogy with bb.43-45 236 ob. stacc. added by analogy with b.44 236-237 tr. added by analogy with tr.2 236-238 tr. ties added by analogy with bb.44-46 237 l. beginning o emended rom note 4 by analogy with b.6 237-238 cl. g. cor. vl.2 va. added by analogy with bb.45-46 (cl., g., cor.2, va.) 237-238 trb. end o slur added; A: bb.236-237: system break 238 ob. notes -2: stacc. omitted by analogy with b.46 and icc., vl. 239 ob. notes -2: stacc. omitted by analogy with l., cl., vl. 239 cl. emended to by analogy with l., ob., cl.2 239 g. added by analogy with l., ob., cl.2 239 g.2 emended to by analogy with l., ob., cl.2 38 DCM 004

239 cor. added by analogy with trb.,3, vc., cb. 239 trb.2 note : e emended to q by analogy with trb.; added by analogy with trb.,3 239 trb.3 note : e emended to q by analogy with trb. 239 va. emended to by analogy with vl.,2 243 icc. added by analogy with the dynamic level in l., ob., cl., g. 243,244 tti. gr.c. written as chord c-e instead o unison c (notated on 5-line sta) 247-25 ob. tr.2 slur omitted by analogy with ob.2, cor., tr. 249 trb.3 emended to by analogy with g., trb.,2, vc., cb. 25 trb. note : stacc. omitted by analogy with trb.2,3, vc., cb. 252 icc. l. ob. cl. added by analogy with ob.2, cl.2 DCM 004 39