SON 641 – Sibelius, Complete Works Series 1, Volume 6a, Symphony No. 5

JEAN SIBELIUS

Complete Works

Sämtliche Werke

JEAN SIBELIUS Complete Works Published by The National Library of Finland and The Sibelius Society of Finland

Series I Orchestral Works Volume 6a

Sämtliche Werke Herausgegeben von der Finnischen Nationalbibliothek und der Sibelius-Gesellschaft Finnland

Serie I Orchesterwerke Band 6a

JEAN SIBELIUS

Symphony No. 5

Symphony Nr. 5

in Ej major

Es-dur

Op. 82

1915 Version

Fassung von 1915

edited by / herausgegeben von

Timo Virtanen

2025

Editorial Committee

Redaktionskomitee

Gustav Djupsjöbacka Chair / Vorsitz

Kalevi Aho · Jaakko Ilves · Lauri Suurpää Eero Tarasti · Erik T. Tawaststjerna Editorial Board

Editionsleitung

Timo Virtanen

Editor-in-Chief / Editionsleiter

Folke Gräsbeck · Pekka Helasvuo · Kari Kilpeläinen

The edition was made possible with the financial support of the Finnish Ministry of Education and Culture and of the following foundations:

Die Ausgabe wurde durch die Unterstützung des Finnischen Ministeriums für Unterricht und Kultur und der folgenden Stiftungen ermöglicht:

Föreningen Konstsamfundet r. f., Jenny ja Antti Wihurin rahasto, Ella och Georg Ehrnrooths stiftelse, Suomen Kulttuurirahasto, Svenska kulturfonden, Svenska litteratursällskapet (Fredrik Pacius minnesfond), The Legal Successors of Jean Sibelius

Bestellnummer: SON 641 ISMN 979-0-004-80396-7 Notengraphik: ARION, Baden-Baden Textsatz: Ansgar Krause, Krefeld Druck: Memminger MedienCentrum, Memmingen © 2025 by Breitkopf & Härtel, Wiesbaden Printed in Germany

Contents / Inhalt Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

VI Vorwort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VII Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VIII Einleitung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XII Facsimiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XVI Symphony No . 5 Op . 82 (1915) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I Tempo moderato assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

II Allegro commodo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

III Andante mosso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IV Allegro commodo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

3 27 55 74

Facsimiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

121

Critical Commentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

129

List of Sketches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

143

VI

Preface In the critical edition Jean Sibelius Works (JSW) all the surviving works of Jean Sibelius, including early versions and his own arrangements, are published for the first time. Some of the earlier editions have run out of print, some works – even some of the central ones – have never been published, and many of the published editions are not entirely unquestionable or reliable. Thus, the aim of the present edition is to provide an overview of Sibelius’s œuvre in its entirety, through musical texts based on a thorough study of all known sources, and prepared in accordance with modern editorial and text-critical principles. The edition serves to illuminate various aspects of the works’ sources and history, as well as Sibelius’s notational practices. It is intended for both scholarly use and performances.

The Jean Sibelius Works is divided into nine series: Series I Orchestral Works Series II Works for Violin (Cello) and Orchestra Series III Works for String Orchestra and Wind Orchestra Series IV Chamber Music Series V Works for Piano Series VI Works for the Stage and Melodramas Series VII Choral Works Series VIII Works for Solo Voice Series IX Varia Each volume includes an introduction, which sheds light on the genesis, first performances, early reception, publication process and possible revisions of each work; it also offers other information on the works in their historical context. Significant references to the compositions in the biographical sources and the literature, such as those concerning dates of composition and revisions, as well as Sibelius’s statements concerning his works and performance issues, are examined and discussed on the basis of the original sources and in their original context.

In the Critical Commentary, all relevant sources are described and evaluated, and specific editorial principles and problems of the volume in relation to the source situation of each work are explained. The Critical Remarks illustrate the different readings between the sources and contain explanations of and justifications for editorial decisions and emendations.

A large body of Sibelius’s autograph musical manuscripts has survived. Because of the high number of sketches and drafts for certain works, however, it would not be possible to include all the materials in the JSW volumes. Those musical manuscripts – sketches, drafts, and composition fragments, as well as passages crossed out or otherwise deleted in autograph scores – which are relevant from the point of view of the edition, illustrate central features in the compositional process or open up new perspectives on the work, are included as facsimiles or appendices.

Sibelius’s published works typically were a result of a goal-oriented process, where the printed score basically was intended as Fassung letzter Hand. However, the composer sometimes made, suggested, or planned alterations to his works after publication, and occasionally minor revisions were also included in the later printings. What also makes the question about Sibelius’s “final intention” vis-à-vis the printed editions complicated is that he obviously was not always a very willing, scrupulous or systematic proofreader of his works. As a result, the first editions, even though basically prepared under his supervision, very often contain

copyists’ and engravers’ errors, misinterpretations, inaccuracies and misleading generalizations, as well as changes made according to the standards of the publishing houses. In comparison with the autograph sources, the first editions may also include changes which the composer made during the publication process. The contemporary editions of Sibelius’s works normally correspond to the composer’s intentions in the main features, such as pitches, rhythms, and tempo indications, but they are far less reliable in details concerning dynamics, articulation, and the like. Thus, if several sources for a work have survived, a single source alone can seldom be regarded as reliable or decisive in every respect.

JSW aims to publish Sibelius’s works as thoroughly re-examined musical texts, and to decipher ambiguous, questionable and controversial readings in the primary sources. Those specifics which are regarded as copyists’ and engravers’ mistakes, as well as other unauthorized additions, omissions and changes, are amended.

The musical texts are edited to conform to Sibelius’s – sometimes idiosyncratic – notation and intentions, which are best illustrated in his autographs. Although retaining the composer’s notational practice is the basic guideline in the JSW edition, some standardization of, for instance, stem directions and vertical placement of articulation marks is carried out in the JSW scores. If any standardization is judged as compromising or risking the intentions manifested in Sibelius’s autograph sources, the composer’s original notation is followed as closely as possible in the edition.

In the JSW the following principles are applied: – Opus numbers and JS numbers of works without opus number, as well as work titles, basically conform to those given in Fabian Dahlström’s Jean Sibelius. Thematisch-bibliographisches Verzeichnis seiner Werke (Wiesbaden: Breitkopf & Härtel, 2003).

– Instruments and vocal parts are designated by their Italian names.

– Repetitions indicated with the symbol [ and passages annotated with instructions such as col Violino I are written out.

– Unpitched percussion instruments are notated on a single line each.

– As a rule, only the text to which Sibelius composed or arranged a vocal work is printed in the score. Modern Swedish (as well as German) orthography was established during Sibelius’s lifetime, in the early twentieth century. Therefore, the general orthography of the texts is modernized, a decision that most profoundly affects the Swedish language (resulting in spellings such as vem, säv, or havet instead of hvem, säf, hafvet), but to some degree also texts in Finnish and German.

Other types of notational features and emendations are specified case by case in the Critical Commentary of each volume.

Editorial additions and emendations not directly based on primary sources are shown in the scores by square brackets, broken lines (in the case of ties and slurs), and/or footnotes. Since the editorial procedures are dependent on the source situation of each work, the specific editorial principles and questions are discussed in each volume.

Possible additions and corrections to the volumes will be reported on the JSW website.

Helsinki, Spring 2008

Timo Virtanen Editorial Board

VII

Vorwort In der textkritischen Ausgabe Jean Sibelius Werke (JSW) werden erstmals alle überlieferten Kompositionen von Jean Sibelius, einschließlich der Frühfassungen und eigener Bearbeitungen, veröffentlicht. Da einige ältere Ausgaben vergriffen sind, einige, darunter auch zentrale Werke, nie gedruckt wurden und viele Editionen nicht ganz unumstritten und zuverlässig sind, verfolgt die Ausgabe das Ziel, Sibelius’ Œuvre in seiner Gesamtheit vorzulegen – und dies mit einem Notentext, der auf einer sorg­ fältigen Auswertung aller bekannten Quellen basiert und auf der Grundlage moderner textkritischer Editionsprinzipien entstanden ist. Die Ausgabe geht dabei auf verschiedene Fragen zu Quellenlage, Werkgeschichte und zu Sibelius’ Notationspraxis ein. Sie soll gleich­ zeitig der Forschung wie der Musikpraxis dienen.

Die Ausgabe Jean Sibelius Werke gliedert sich in neun Serien: Serie I Orchesterwerke Serie II Werke für Violine (Violoncello) und Orchester Serie III Werke für Streichorchester und Blasorchester Serie IV Kammermusik Serie V Klavierwerke Serie VI Szenische Werke und Melodramen Serie VII Chorwerke Serie VIII Werke für Singstimme Serie IX Varia Jeder Band enthält eine Einleitung, die zu jedem Werk über Entstehung, erste Aufführungen und frühe Rezeption, Veröffent­ lichungsgeschichte und eventuelle Überarbeitungen berichtet.

Darüber hinaus stellt die Einleitung die Werke in ihren historischen Kontext. Biographisches Material und weitere Literatur, die z. B. für die Datierung der Komposition und späterer Revisionen wesentlich ist, sowie Sibelius’ eigene Aussagen zu seinen Werken und zu den jeweiligen Aufführungen werden in der Einleitung auf der Grundlage der Originalquellen und in ihrem ursprünglichen Kontext geprüft und bewertet.

Der Critical Commentary beschreibt und bewertet alle wesentlichen Quellen. Er erläutert darüber hinaus besondere Editionsprinzipien und Fragestellungen des jeweiligen Bandes in Bezug auf die Quellen­ lage jedes Werks. Die Critical Remarks stellen die unterschiedlichen Lesarten der Quellen dar; sie enthalten Erklärungen und Begrün­ dungen der editorischen Entscheidungen und Eingriffe.

Sibelius’ Notenhandschriften sind in großem Umfang erhalten. Weil die Zahl an Skizzen und Entwürfen für einige Werke hoch ist, ist die vollständige Aufnahme des gesamten Materials in die JSW­Bände nicht möglich. Soweit es aus editorischer Sicht relevant erscheint, den Kompositionsprozess erläutert oder neue Einsichten in ein Werk vermittelt, werden Skizzen, Entwürfe, Fragmente sowie im Autograph gestrichene oder anderweitig verworfene Passagen als Faksimiles oder in den Anhang aufgenommen.

Sibelius’ veröffentlichte Werke waren üblicherweise das Ergebnis eines zielgerichteten Prozesses, bei dem die gedruckte Partitur grundsätzlich als Fassung letzter Hand gelten sollte. Dennoch änderte der Komponist bisweilen seine Werke nach der Drucklegung, regte Retuschen an oder plante diese, und gelegentlich wurden in späteren Auflagen auch kleinere Revisionen berücksichtigt. Die Frage, inwie­ weit die gedruckten Ausgaben Sibelius’ „endgültige Intention“ wie­ dergeben, ist nicht eindeutig zu klären, da Sibelius offensichtlich nicht immer ein bereitwilliger, gewissenhafter oder systematischer Korrekturleser seiner eigenen Werke war. Infolgedessen enthalten die Erstausgaben, wenngleich sie im Wesentlichen unter seiner Aufsicht entstanden, sehr oft Fehler, Missverständnisse, Ungenauigkeiten und

irreführende Vereinheitlichungen, die auf Kopisten und Stecher zurückgehen, sowie Abweichungen aufgrund der jeweiligen Verlags­ gepflogenheiten. Im Vergleich mit den Autographen können die Erstausgaben auch Änderungen enthalten, die der Komponist erst während der Druckvorbereitungen vornahm. Die Editionen zu Sibelius’ Lebzeiten folgen in der Regel der Absicht des Komponisten, was Hauptmerkmale wie Tonhöhe, Rhythmus und Tempoangaben betrifft, bei Dynamik, Artikulation etc. sind sie jedoch in Details weitaus weniger zuverlässig. Folglich kann eine einzige Quelle selten als unter jedem Aspekt verlässlich oder ausschlaggebend gelten, wenn für ein Werk mehrere Quellen überliefert sind.

Die JSW zielt darauf ab, Sibelius’ Werke in gründlich geprüften Notentexten zu veröffentlichen und vieldeutige, fragliche und wider­ sprüchliche Lesarten der Primärquellen zu entschlüsseln. Fehler von Kopisten und Stechern, sowie andere nicht autorisierte Zusätze, Auslassungen und Änderungen werden berichtigt. Die Edition der Notentexte folgt der – manchmal eigentümlichen – Notation und Intention des Komponisten, so wie sie am unmittelbarsten aus sei­ nen Autographen hervorgehen. Wenngleich die Notationspraxis des Komponisten die grundlegende Richtschnur der JSW ist, wird diese in einigen Punkten, zum Beispiel bei der Ausrichtung der Notenhälse und der Platzierung der Artikulationszeichen, verein­ heitlicht. Wenn eine solche Standardisierung jedoch Sibelius’ Absicht zu widersprechen scheint, dann hält sich die Edition so eng wie mög­ lich an die Notation des Komponisten.

Für die Jean Sibelius Werke gelten folgende Richtlinien: – Die Opuszahlen und die JS­Nummerierungen der Werke ohne Opuszahl sowie Werktitel entsprechen grundsätzlich den Angaben in Fabian Dahlströms Jean Sibelius. Thematisch-bibliographisches Verzeichnis seiner Werke (Wiesbaden: Breitkopf & Härtel, 2003).

– Instrumente und Vokalstimmen sind mit italienischen Namen bezeichnet.

– Abbreviaturen mit dem Zeichen [ und Stellen mit Anweisungen wie col Violino I sind ausgeschrieben.

– Schlaginstrumente ohne bestimmte Tonhöhe sind auf einer Notenlinie notiert.

– In der Regel ist bei Vokalwerken nur der Text wiedergegeben, den Sibelius vertont bzw. bearbeitet hat. Die neue schwedische (ebenso wie die neuere deutsche) Orthographie wurde im frühen 20. Jahrhundert, also zu Sibelius’ Lebzeiten, eingeführt. Die Orthographie der Texte ist daher modernisiert. Diese Entscheidung betrifft vor allem die schwedische Sprache (Schreibweisen wie vem, säv oder havet statt hvem, säf, hafvet), sie wirkt sich aber zuweilen auch auf finnische oder deutsche Texte aus.

Andere Notationseigenheiten und Eingriffe sind von Fall zu Fall im Critical Commentary beschrieben.

Editorische Ergänzungen und Korrekturen, die nicht direkt auf Primärquellen zurückgehen, werden in den Partituren durch eckige Klammern, Strichelung (im Falle von Halte­ und Binde­ bögen) und/oder Fußnoten gekennzeichnet. Da das editorische Prozedere von der Quellensituation jedes einzelnen Werks abhängt, werden spezielle Editionsprinzipien und ­fragen in jedem Band eigens erörtert.

Mögliche Ergänzungen und Korrekturen der Bände werden auf der Website der JSW aufgeführt.

Helsinki, Frühling 2008

Timo Virtanen Editionsleitung

VIII

Introduction Sibelius completed his Fifth Symphony (Op. 82) for the concert arranged to celebrate the 50th anniversary of his birth on 8 December 1915. Thereafter he revised the work twice: first, for a concert arranged in Turku exactly one year later, and eventually in 1918–1919. The present volume contains the 1915 version, published for the first time. The autograph score of the version is lost.1 The orchestral parts survive, however, and the score in this volume has been reconstructed from the parts.

Composition history The earliest mentions of plans for the Fifth Symphony appear in Sibelius’s diary and, on the whole, one can follow the composition history of the work most comprehensively through his diary entries. He dated the very first mention in March 1912: “I [have] forged new ideas.

– A symphony V. A symphony VI: ‘Luonnotar!’ It remains to be seen whether these plans hold.”2 He referred to the plan for the symphony repeatedly until the beginning of June 1912, but there are no mentions of it in his diary, his correspondence, or in other literary documents from the latter half of the year, nor from the following year 1913.

The “new ideas” probably matured in the meantime, so that Sibelius dared to tell his friend and patron Axel Carpelan (1858–1919) about the symphony in a letter written in January 1914: “Right now I am working on a new symphonic poem and shall soon get on with the long planned new symphony, the Fifth.” Carpelan responded to Sibelius’s news very soon: “And so the new symphony No. 5! Bravo!”3 Sibelius’s work on the tone poem Aallottaret (“The Oceanides,” Op. 73; originally entitled Rondeau der Wellen, see JSW I/16) and his travel to the USA in May-June 1914 caused a break in his working on his Fifth Symphony. After his return, from 1 August 1914 onwards, the symphony plan again appeared repeatedly in his diary, but not without occasional reflection about the order of priority. In September he wrote: “Unsure if I should begin with Symphony V because earning money is nowadays the most important thing […]”4 At the same time, he was painting visions of the music, as he wrote in his letter to Carpelan: “God opens his door for a moment and his orchestra is playing Symphony V.” Above the sentence, he notated six bars of music.5 Sibelius seems to have become convinced about proceeding with the work in October 1914: “[I have] begun seriously with Symphony V (!). […] In a festive wonderful spirit because the forging of the themes etc. proceeds.”6 However, the work did not progress without hesitation after that point, either.

In December, he mentioned that everything was “still at the outset.”7 He also seems to have been occupied by the concepts symphony and “symphonic fantasy,” as his diary entries from December imply. He had been working on “Fantasia I for orchestra,” and “the symphonic fantasy,” seemingly with special affection: “how close to my heart is this form!”8 What precisely Sibelius meant by (symphonic) fantasy remains uncertain. He had pondered on the questions of symphony and symphonic fantasy in the early 1900s, and in April 1912 he wrote in his diary: “The symphonic fantasy is my territory! Either with or rather without a program. But – the musical ideas, that is the motive, should create the form and determine my way.”9 Sibelius seems to have been occupied primarily with the Fifth Symphony at the time, and it is possible that his thoughts were oscillating between the ideas of symphony and “symphonic fantasy” in connection with its planning.10 Sibelius’s expressions of hesitation in the diary ceased after 10 April 1915, then after 18 April mentions of the symphony appeared daily during the following ten days. One of the entries includes the oftencited lines about the voices of swans and cranes: “Today at ten to eleven

[I] saw 16 Swans. One of the greatest experiences of my life! […] The voice [is] of the same woodwind type as that of the cranes but without tremolo. That of the swans gets closer to the trumpet, although the sarrusophone sound is clear. A low refrain that resembles a little child’s cry.”11 Below, Sibelius notated the “finale theme of the V Symphony” (“V sinfonins finaltema”) and a short excerpt from the “swinging” thematic idea appearing in the last movement, annotated Tromba, was thus to be played on a trumpet, followed by the words “legato in the trumpet!!”12 Sibelius’s diary contains monthly mentions of working on the symphony, extending from May to November but with the exception of August, when there are no references to the work. Exactly when he decided to premiere the symphony at his 50th anniversary concert on 8 December 1915 remains uncertain. He mentioned the forthcoming anniversary in his diary for the first time in September: “Will I get the symphony completed by 8 December? It looks bleak! Ma[is] nous verrons.”13 Sibelius completed movements I and II of the four-movement symphony at the beginning of November and sent them to the copyist.

Movement III followed in mid-November.14 The date of completion of movement IV is undocumented.15 Sketches In comparison with those for almost all of Sibelius’s other symphonies, the surviving collection of sketches for the Fifth is rather narrow.

Furthermore, and exceptionally, the most revealing sketches are not included in the extensive collection of Sibelius manuscripts in the National Library of Finland but appear in a single sketchbook in the National Archives of Finland (NA, SFA, file box 39).16 This sketchbook is unique in many ways. The folios are very large, the paper is unruled, and the staves are drawn by hand. The folios are paginated and, highly exceptionally, many of the sketches are dated.

In the sketchbook, Sibelius notated musical ideas that eventually materialized in the Fifth, Sixth, and Seventh Symphonies in very close connection. The sketchbook also includes ideas for several other works completed in 1915–1926, the latest being Tapiola (Op. 112). Page 1 gives the date, 17 January 1915, and a brief “index” indicating that sketches for the Fifth Symphony appear on pp. 24 and 25, and for the Sixth on pp. 22 and 28. In January 1915 Sibelius obviously did not have a clear idea of which musical materials would finally find their way into the Fifth or the Sixth Symphony. Thus, the “index” does not tell the whole truth about what is on the pages that include sketches with musical material related to the two symphonies. Sketches with thematic ideas that ended up in the Fifth Symphony appear on pp. 5–8, 10, 12–13, 20–26, 30–31, 35, and 37.17 The Fifth is the only one of the three symphonies to which Sibelius referred verbally on the specific sketch pages (pp. 12, 26, 31, and 37).

On p. 31, which he dated 30 March and 18 April 1915, he wrote both the work’s title and the opus number, still with a question mark: Sinf V op 82 (?). The most recent date Sibelius recorded for a sketch related to the Fifth Symphony was 14 June 1915, on p. 37. The last dated sketches appear on pp. 38 and 39: 17 June and 19 August 1916, with sketches for thematic ideas that ended up in the Sixth Symphony, movement I. An idea that materializes in Tapiola (bb. 208ff.) appears on p. 5 of the sketchbook (see Facsimile A), staff 2, then, on staff 3, the “swinging” thematic idea of the Fifth Symphony’s last movement (all in Aj major).

On the last four staves on the page, Sibelius notated an idea (in Dj major) that transformed into the “trombone theme” of the Seventh Symphony (bb. 60ff.).18 The musical ideas appearing in the Sixth Symphony, movements I and IV, seem to have been related to the plan for the second violin concerto

Symphony No. 5 in E major

I

Tempo moderato assai Flauto

I II

Oboe

I II

Op. 82 (1915)

Clarinetto I in B II Clarinetto basso in B I II

Fagotto

I

I II Corno in F

III

III IV

Tromba in B

I II

III

I II Trombone III

Timpani

Tempo moderato assai I Violino II

Viola

Violoncello

Contrabbasso

© 2025 by Breitkopf & Härtel, Wiesbaden

4 5

I Fl. II

I Ob. II

Cl. (B ) I II Cl. b.

(B ) I II

Fg.

(I)

I II Cor. (F)

(III)

III IV

*

A

9

I Fl.

poco

3

[

]

poco

3

[

]

II

I Ob. II

Cl. (B ) I II Cl. b.

(B ) I

Fg.

I II

I II Cor. (F) III IV

(III)

* See the Critical Remarks. .

5 12

I Fl.

meno

3

dim.

meno

3

dim.

II I Ob.

3

II 3

Cl. (B ) I II Cl. b.

(B ) (I)

I II

Fg.

Leseprobe dim.

I II Cor. (F) III IV

15

I 3

Fl. II

3

I Ob.

3

3

dim.

II 3

3

dim.

Sample page

I Cl. (B )

dim.

II

dim.

Cl. b.

(B )

[ ]

dim.

I II

Fg.

(I) dim.

I II Cor. (F)

cresc.

III IV cresc.

Timp. cresc.

.

poco

Dies ist eine Leseprobe.

Nicht alle Seiten werden angezeigt.

This is an excerpt.

Not all pages are displayed.

27

II Allegro commodo ( ) Flauto I (Piccolo) II

I II

Oboe

Clarinetto I II in B Clarinetto basso in B

I II

Fagotto

I II Corno in F III IV

Leseprobe

I II Tromba in B III

I II Trombone III

Timpani

Sample page Allegro commodo ( )

Violino I

grazioso

con sord.

Violino II

Viola

Violoncello

Contrabbasso

.

grazioso

senza sord.

28 11

I II Cor. (F)

dim.

molto

dim.

molto

III IV

Vl. I

Vl. II

22

Leseprobe

Vl. I

Vl. II

33

Cl. (B ) I II Cl. b.

(B ) I II Cor. (F) III IV

Vl. I

Vl. II

Va. Vc. Cb.

.

Sample page

29

A

44

Cl. (B ) I II

Cl. b.

(B ) I II Cor. (F) III IV

[

]

dolce

Leseprobe

Vl. I

dolce

Vl. II

Va.

Vc.

Cb.

54

Vl. I

Sample page dim.

3 3

dim.

Va.

.

Dies ist eine Leseprobe.

Nicht alle Seiten werden angezeigt.

This is an excerpt.

Not all pages are displayed.

55

III Andante mosso Flauto I (Piccolo) II

I II

Oboe

sotto voce

sotto voce

Clarinetto I II in B

Clarinetto basso in B

I II

Fagotto

I

I II Corno in F III IV

Leseprobe

III

I II Tromba in B III

I II Trombone III

Timpani

Sample page Andante mosso

I

pizz.

sonore

pizz.

sonore

pizz.

sonore

Violino

II

Viola

Violoncello

Contrabbasso

.

56 8

Fl.

I II

Ob.

I II (I)

I II Cor. (F)

(III)

III IV più dolce

Leseprobe

I Vl.

più dolce

II

più dolce

Va.

Vc.

Cb.

A 15

Fl.

I II

Ob.

I II (I)

I II Cor. (F) III IV

I Vl. II

Va.

Vc.

Cb.

.

(III)

Sample page

57 22

I II

Fl.

cresc.

I II

Ob.

Cl. (B ) I II

Cl. b.

(B )

I II

Fg.

(I)

I II Cor. (F) III IV

dim.

(III)

Leseprobe

dim.

I II Tr. (B ) III

I II Tbn. III

Timp.

I Vl. II

Va.

Vc.

Cb.

.

Sample page

Dies ist eine Leseprobe.

Nicht alle Seiten werden angezeigt.

This is an excerpt.

Not all pages are displayed.

74

IV Allegro commodo I II

Flauto

dim.

I II

Oboe

Clarinetto I in B II Clarinetto basso in B

I II

Fagotto

Corno in F

Tromba in B

I II III IV

Leseprobe dim.

I II III

Trombone

I II III

Timpani

Allegro commodo Violino I

Sample page dim.

Violino II

dim.

dim.

dim.

Viola

Violoncello

Contrabbasso

.

75 14

Vl. I

Vl. II

div.

Leseprobe

Va. Vc. Cb.

26

A

grazioso

Vl. I

Vl. II

unis.

Va. Vc. Cb.

38

Timp.

Sample page div.

Vl. I

Vl. II

Va.

marc.

Vc. Cb.

.

76

B

marc.

50

Fl.

Ob.

I II

I II

poco dim.

poco marc.

dim.

poco dim.

poco

dim.

marc.

Cl. (B ) I II poco dim.

Fg.

poco

dim.

poco

dim.

[marc.]

I II

Leseprobe

Timp.

unis.

Vl. I

Vl. II

Va.

62

Fl.

I II

Ob.

I II

Cl. (B ) I II Fg. Timp.

I II

Sample page

Vl. I

Vl. II

unis.

Va. div.

Vc.

.

unis.

marc.

Dies ist eine Leseprobe.

Nicht alle Seiten werden angezeigt.

Haben wir Ihr Interesse geweckt?

Bestellungen nehmen wir gern über den Musikalien- und Buchhandel oder unseren Webshop unter www.breitkopf.com entgegen.

This is an excerpt.

Not all pages are displayed.

Have we sparked your interest?

We gladly accept orders via music and book stores or through our webshop at www.breitkopf.com.