Edition·S’s virksomhed støttes af Statens Kunstfond / Edition·S is supported by The Danish Arts Foundation.
DCM 048
ISBN 978-87-970723-3-2
ISMN 979-0-706839-15-8
Varighed / Duration: 9 min.
Desuden foreligger / Also available: Course des athlètes du Nord pour trombone avec orchestra (Score and parts)
Indhold / Contents
Danish Classical Music iv Biografi / Biography vi Forord / Preface vii
Faksimiler / Facsimiles ix
Course des athlètes du Nord 11
Critical Commentary 26
Danish Classical Music
Udgivelsesserien Danish Classical Music (DCM) har til formål at tilgængeliggøre dansk musikalsk kulturarv i pålidelige og gennemarbejdede praktisk – videnskabelige nodeeditioner for musikere og forskere i ind – og udland. Således er ambitionen at overtage stafetten fra Dansk Center for Musikudgivelse, som opererede som et forskningscenter under Det Kgl. Bibliotek, 2009 – 2019. Centeret udgav praktisk – videnskabelige editioner af høj filologisk kvalitet, og siden lukningen af centeret er denne opgave ikke blevet varetaget – men behovet er ikke blevet mindre.
Mens Dansk Center for Musikudgivelse fungerede som et center med ansatte medarbejdere er forholdene for det nye DCM anderledes: Her er tale om selvstændige og individuelt finansierede projekter under DCM – paraplyen. Derfor er der ikke blevet udarbejdet et nyt sæt redaktionelle retningslinjer – i stedet videreføres de retningslinjer, som blev formuleret af Dansk Center for Musikudgivelse. De eneste ændringer fra retningslinjerne er layoutmæssige, og så er der i DCM – udgivelserne tilføjet en kort biografisk introduktion til komponisten.
De redaktionelle retningslinjer sikrer udgivelsernes høje og konsistente editionsfilologiske niveau og grundindstillingen til udgivelsesarbejdet kan sammenfattes i nogle få, centrale punkter.
Om “praktisk – videnskabelige editioner”
Med begrebet “praktisk – videnskabelige editioner” sigtes der til, at udgivelserne skal være praktisk anvendelige for musikere, uden at musikerne nødvendigvis skal forholde sig til redaktørens arbejde og filologiske overvejelser. Derfor er selve nodesiden “ren” og uden fodnoter eller lignende. Samtidig er udgivelserne videnskabelige, idet interesserede læsere kan finde den nødvendige information om det editionsfilologiske arbejde i tekstdele placeret før og efter nodedelen: Før nodedelen bringes en introduktion til værket, dets tilblivelses – og receptionshistorie samt generelle kommentarer til det filologiske arbejde (eksempelvis nogle særlige udfordringer eller valg); efter nodedelen følger en grundig kildebeskrivelse og en oversigt over redaktionelle ændringer, deres begrundelse i kilderne samt information om varianter.
Om redaktørens rolle
Som James Grier skriver i bogen The Critical Editing of Music fra 1996, så er al editionsfilologisk arbejde også et fortolkningsarbejde, ideelt set baseret på grundige, kritiske og historisk forankrede studier af kildematerialet. Idéen om at den videnskabelige edition videregiver den “eneste rigtige” version af værket er en fiktion: Ofte vil redaktører komme frem til varierende udlægninger af et værk, og ofte kan der argumenteres lige godt for den ene læsning som den anden. Det er derfor vigtigt at bevæggrunden for de enkelte valg er tydeliggjort i
Danish Classical Music
The publication series Danish Classical Music (DCM) aims to make Danish musical heritage accessible for musicians and researchers in Denmark and abroad by providing reliable and meticulous practical – scholarly music editions. The ambition is thus to take over the baton from the Danish Centre for Music Publication which operated as a research centre under the Royal Library from 2009 to 2019. The centre published practical – scholarly editions of high philological quality, and since the closure of the centre, this task has not been undertaken – but the need has not diminished.
While the Danish Centre for Music Publication functioned as a centre with dedicated employees, the conditions for the new DCM are different: it comprises of independent projects funded individually under the DCM framework. Therefore, a new set of editorial guidelines has not been developed – instead, the guidelines formulated by the Danish Centre for Music Publication are being sustained. The only changes to the guidelines relate to layout, and in DCM publications a brief biographical introduction of the composer is added.
The editorial guidelines ensure a high and consistent level of philological quality in the publications, and the fundamental editorial approach can be summarized in a few key points.
On “Practical – Scholarly Editions”
The term “practical – scholarly editions” refers to the aim of making the publications practically useful for musicians without requiring them to engage directly with the editor’s work and philological considerations. The sheet music is therefore “clean”, without footnotes or similar additions. At the same time, the publications are scholarly in nature, as interested readers can find the necessary information about the philological work in sections placed before and after the sheet music: Prior to the sheet music, there is an introduction to the work, its genesis and reception history, as well as general comments on the philological work (such as specific challenges or choices). After the sheet music, a thorough description of sources and an overview of editorial changes, their justification based on the sources, and information about variants are presented.
On the Role of the Editor
As James Grier writes in his book The Critical Editing of Music from 1996, all philological work is also an act of interpretation, ideally based on thorough, critical, and historically grounded studies of the source material. The notion that the scholarly edition presents the “only correct” version of a work is a fiction: Editors often arrive at varying interpretations of a piece, and equally compelling arguments can often be made for different readings. Therefore, it is important to clarify the rationale behind each choice in the overview of editorial revisions.
oversigten over redaktionelle rettelser.
I serien undgås såkaldte “eklektiske” editioner, en sammenblanding af forskellige kilder, der kan resultere i en version af værket, der aldrig har eksisteret fra komponistens hånd. Der bestemmes derfor altid en hovedkilde, som editionen er baseret på, mens varianter kan bruges som hjemmel ved rettelser af klare fejl.
Thomas Husted Kirkegaard, ph.d.
The series avoids so – called “eclectic” editions, which involve a mixture of different sources and may result in a version of the work that never existed in the composer’s hand. Therefore, a primary source is always determined as the basis for the edition, while variants can be used as evidence for correcting clear errors.
Thomas Husted Kirkegaard, Ph.D
Biografi
Hilda Sehested blev den 27. april 1858 født ind i en adelig familie på herregården Broholm på Fyn og døde 15. april 1936 i København.
Som del af den almene dannelse, som kvinder fra Sehesteds socialklasse var pålagt, blev hun som barn undervist i klaver og musikteori. Sehested gik ikke på konservatoriet, men hun begyndte at modtage privatundervisning i klaver hos komponisten C.F.E. Horneman som 15-årig i 1873. Fra 1886 studerede hun komposition privat hos Orla Rosenhoff.
Sehested udtrykte en trang til at frigøre sig fra sin hjemegn og sine selskabelige pligter på Broholm og flyttede i 1892 til København. Der var hun tættere på musiklivet i hovedstaden og ligesindede, aspirerende musikere og komponister.
Sehested blev forlovet med arkæologen Henry Petersen, som dog døde kort før deres planlagte bryllup i 1896. Efter dette stoppede hun både med undervisningen hos Rosenhoff og med at komponere. I de efterfølgende år forsøgte hun at finde en ny vej i livet og uddannede sig som organist. Hun fik sit afgangsbevis i 1899, men vides ikke at have haft embede som organist efterfølgende.
Først i 1900 vendte hun tilbage til sin gamle musikalske omgangskreds og begyndte igen at komponere og udgive musik. I 1903 udgav hun værkerne Klaversonate i As-dur og Intermezzi for violin, cello og klaver, og året efter begyndte hun at komponere for blæseinstrumenter. I 1905 skrev hun Suite für Cornet in B und Klavier, der i 1915 blev bearbejdet til Suite for Kornet og Orkester. Klaversonatens kompositionsstil blev af hendes læremester Orla Rosenhoff beskrevet som “hyper-romantisk,” og han mente, at den bar præg af hendes kærlighed til Wagner og Schumann.
I 1913–1914 skrev hun sin første og eneste opera Agnete og Havmanden, der havde tekst af forfatteren Sophus Michaëlis, og som blev antaget til opførelse på Det Kongelige Teater. Grundet 1. verdenskrig og den materialemangel, krigen medførte, måtte opsætningen aflyses.
I 1910’erne havde hun opnået anerkendelse som komponist, og hendes værker blev opført af flere solister og ensembler. Orkesterstykkerne Lygtemænd og Mosekonen Brygger blev begge opført ved en kompositionskoncert i 1915, hvor Politikens anmelder skrev, at Sehested viste sig som en “virkelig dygtig Dame.” 1
Sehesteds forkærlighed for at komponere musik for blæseinstrumenter fortsatte, og hun skrev i midten af 1920’erne de to større værker for basun Morceau pathétique pour trombone avec accompagnement de piano i 1924 og Course des athlètes du Nord. Morceau symphonique pour trombone avec orchestra ou piano i 1925.
I de sidste ti år frem til sin død i 1936 indstillede Hilda Sehested komponistkarrieren.
Maria Claustad
Biography
Hilda Sehested was born on 27 April 1858 into a noble family at the Broholm manor on Funen and died on 15 April 1936 in Copenhagen.
As part of the general education that was required of women of Sehested’s social class, she was taught piano and music theory as a child. Sehested did not attend the conservatory, but began receiving private piano lessons from the composer C.F.E. Horneman as a 15-year-old in 1873. From 1886 she studied composition privately with Orla Rosenhoff.
Sehested expressed a desire to free herself from her home environment and her social duties at Broholm and in 1892 moved to Copenhagen. There she was closer to the musical life of the capital and like-minded, aspiring musicians and composers.
Sehested became engaged to the archaeologist Henry Petersen, who, however, died shortly before their planned wedding in 1896. Following this, she stopped both her lessons with Rosenhoff and composing. In the following years, she tried to find a new path in life and trained as an organist. She obtained her graduation certificate in 1899, but is not known to have held office as an organist afterwards.
It was not until 1900 that she returned to her old musical circle and began to compose and publish music again. In 1903 she published the works Piano Sonata in A Major and Intermezzi for Violin, Cello and Piano, and the following year began composing for wind instruments. In 1905 she wrote Suite for Cornet in Bb und Piano, which in 1915 was adapted into the Suite for Cornet and Orchestra. The compositional style of the piano sonata was described by her teacher Orla Rosenhoff as “hyper-romantic,” believing that it was influenced by her love of Wagner and Schumann.
In 1913 – 1914 she wrote her first and only opera Agnete og Havmanden, to a text by the author Sophus Michaëlis, and which was accepted for performance at the Royal Theatre. Due to the 1st World War and the shortage of materials caused by the war, the staging had to be cancelled.
By the 1910s, she had achieved recognition as a composer, and her works were performed by several soloists and ensembles. The orchestral pieces Lygtemænd and Mosekonen Brygger were both performed at a composition concert in 1915, where Politiken’s reviewer wrote that Sehested proved to be a “really talented lady.” 1
Sehested’s penchant for composing music for wind instruments continued, and in the mid-1920s she wrote the two major works for trombone Morceau pathétique pour trombone avec accompaniment de piano in 1924 and Course des athlètes du Nord. Morceau symphonique pour trombone avec orchestra ou piano in 1925.
In the last ten years before her death in 1936, Hilda Sehested suspended her career as a composer.
Maria Claustad
1 “Gusch”, Politiken 26.3.1915.
Forord
I sin bog om komponisterne Hilda Sehested og Nancy Dalberg skriver Lisbeth Ahlgren Jensen, at Sehested omkring 1904 fik interesse for messingblæsere. 1 Det første værk var Suite for Cornet i B og Klaver (1904), som blev udgivet på Wilhelm Hansens Musikforlag i 1906 med en tilegnelse til solotrompetist i Det Kongelige Kapel, Thorvald Hansen (1847-1915). Hendes første kærlighed gjaldt trompeten og kornetten, men i 1921 blev hun ved mødet med solobasunist i Det Kongelige Kapel, Anton Hansen (1877-1947), opmærksom på basunens muligheder. Det blev til tre værker, Morceau pathétique for basun og klaver, som blev publiceret i 1923 med tilegnelse til Anton Hansen, Pièce de concert samt nærværende Course des athlètes du Nord med undertitlen Morceau symphonique pour trombone et orchestra ou piano. Værket blev således af komponisten udarbejdet i to ligestillede versioner, dels med orkester og dels med klaver. Sehesteds autografmanuskripter er uden datering. Sehested opgiver selv kompositionsåret 1925, og det blev gentaget i en værkliste publiceret i 1932. 2 I denne kaldes værket blot Morceau symphonique, og samme hovedtitel står på en afskrift udført af Anton Hansen i 1925. Men med autografmanuskripternes titel, Course des athlètes du Nord, oprindeligt: Course de Vikings (!), er det dog overvejende sandsynligt, at 1925 er en fejlhuskning, og at Sehested skrev værket i 1924 med henblik på kunstkonkurrencen ved de olympiske lege i Paris i sommeren 1924. En international kunstkonkurrence med discipliner som billedkunst, musik og arkitektur var i en årrække knyttet til de olympiske lege. I aprilmaj 1924 bringer flere aviser oplysninger fra den danske olympiske komité om, at en række danske kunstnere deltager i de kommende leges kunstkonkurrence. Hilda Sehesteds navn nævnes, men hvilket værk, hun deltager med, fremgår ikke. Lisbeth Ahlgren Jensen oplyser, at der i 1924 slet ikke blev uddelt en pris inden for kunstkonkurrencens musikkategori. 3 At Sehested ikke havde heldet med sig her, kunne være grunden til, at Anton Hansen i sin afskrift udført året efter har benyttet den neutrale titel Morceau symphonique. Der er næppe tvivl om, at Hilda Sehested har spillet stykket i klaverversionen sammen med Anton Hansen, men næppe ved en offentlig koncert. Autografmanuskriptet er forsynet med fingersætninger, en del klavertekniske forenklinger og visse tilføjelser. Basunstemmen er i denne version langt mindre udarbejdet end i orkesterversionen, hvor stemmen er forsynet med utallige artikulationsmæssige detaljer (staccato, marcato og frasering). Da de to versioner må betragtes som selvstændige hver især, har udgiverne valgt i nærværende klaverudgave dels at opregne alle varianter i orkestermanuskriptets solostemme i noteappara-
1 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4 (København: Multivers, 2019), 45-46.
2 Jürgen Balzer, Bibliographie des compositeurs Danoise (København: Dansk Komponist-Forening, 1932).
3 Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, 90-91.
Preface
In her book about the composers Hilda Sehested and Nancy Dalberg, Lisbeth Ahlgren Jensen writes that around 1904 Sehested became interested in brass instruments. 1 The first work was Suite for Cornet in Bb and Piano (1904), which was published by Wilhelm Hansens Musikforlag in 1906 with a dedication to Thorvald Hansen (1847 – 1915), the solo trumpeter in the Royal Orchestra. Her first love was the trumpet and the cornet, but in 1921 she met the solo trombonist in the Royal Orchestra, Anton Hansen (1877 – 1947), through whom she became aware of the trombone’s possibilities. This resulted in three works, Morceau pathétique for trombone and piano, which was published in 1923 with a dedication to Anton Hansen, Pièce de concert and the present Course des athlètes du Nord with the subtitle Morceau symphonique pour trombone et orchestra ou piano The work was prepared by the composer in two equal versions, one with orchestra and one with piano. Sehested’s autograph manuscripts are undated. Sehested herself dates the year of composition to 1925, and this was repeated in a list of works published in 1932. 2 In this the work is simply called Morceau symphonique, and the same main title appears on a copy made by Anton Hansen in 1925. But with the title of the autograph manuscripts, Course des athlètes du Nord, originally: Course de Vikings (!), however, it is highly likely that 1925 is a misremembering and that Sehested wrote the work in 1924 for the art competition at the Olympic Games in Paris in the summer of 1924. An international art competition with disciplines such as visual arts, music and architecture were for a number of years linked to the Olympic Games. In April–May 1924, several newspapers published information from the Danish Olympic Committee that a number of Danish artists were participating in the art competition of the upcoming Games. Hilda Sehested’s name is among those mentioned, but it is not clear which work she participated with. Lisbeth Ahlgren Jensen states that in 1924 no prize was awarded in the music category of the art competition. 3 The fact that Sehested did not have luck with her in this case could be the reason why Anton Hansen used the neutral title Morceau symphonique in his transcription made the following year.
There is little doubt that Hilda Sehested played the piano version of the piece together with Anton Hansen, though most likely not at a public concert. Fingerings have been added to the autograph manuscript, along with some piano-technical simplifications and certain additions. The trombone part in this version is far less elaborate than in the orchestral version, where the part is provided with countless articulatory details (staccato, marcato and phrasing). Since the two versions must
1 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, vol. 4 (Copenhagen: Multivers, 2019), 45 – 46.
2 Jürgen Balzer, Bibliographie des compositeurs Danoise (Copenhagen: Dansk Komponist-Forening, 1932).
tet, dels at præsentere begge versioner parallelt i den vedlagte trombone-solostemme, således at solisten kan få et samlet overblik over de fortolkningsmuligheder, komponisten åbner op for i de to versioner.
Bendt Viinholt Nielsen / Ole Ugilt Jensen
be considered independent, the publishers have chosen in this piano edition to list all variants in the solo part of the orchestral version manuscript in the critical apparatus, and to present both versions in parallel in the enclosed trombone solo part, so that the soloist can get a comprehensive overview of the interpretative possibilities that the composer opens up in the two versions.
Bendt Viinholt Nielsen / Ole Ugilt Jensen
Faksimiler Facsimiles
Faksimile 1
Autografpartitur, s. 1, t. 1-14 (kilde A).
Værkets tidligere titel Course des Vikings er overklæbet med en lap papir med den nye titel, Course des athlètes du Nord. Fingersætninger og en del skitseprægede rettelser tyder på, at Hilda Sehested har gennemspillet værket, utvivlsomt sammen med basunisten Anton Hansen, og i den forbindelse foretaget visse korrektioner. En offentlig opførelse af stykket i Sehesteds tid kendes ikke.
Facsimile 1
Autograph score, p. 1, bars 1 – 14 (source A).
The work’s previous title Course des Vikings is overlaid with a piece of paper with the new title, Course des athlètes du Nord. Fingerings and a number of sketchlike corrections indicate that Hilda Sehested played through the work, undoubtedly together with the trombonist Anton Hansen, and in doing so made certain corrections. A public performance of the piece in Sehesteds time is not known.
Faksimile 2
Autografpartitur, s. 14, t. 207-221 (kilde A).
Skønt rettelserne i manuskriptet er skitseprægede, som det ses her i takterne 215-218, er de meningsfulde og læselige, og udgiverne har valgt at respektere dem i udgaven.
Facsimile 2
Autograph score, p. 14, bars 207 – 221 (source A). Although the corrections in the manuscript are sketchlike in character, as seen here in bars 215 – 218, they are meaningful and legible, and the publishers have chosen to respect them in this edition.
Course des athlètes du Nord
Morceau symphonique pour trombone avec orchestre ou piano
Andantino con moto
Hilda Sehested: Course des athlètes du Nord - 11
Hilda Sehested (1858-1936)
? & ?
b
B & ?
B & ?
Hilda
Hilda
B & ?
B & ?
Hilda Sehested:
Hilda Sehested: Course des athlètes du Nord - 22
Hilda
Hilda Sehested: Course des athlètes du Nord - 25
Critical Commentary
Description of Sources
A Autograph trombone and piano version
B Autograph score of version for trombone and orchestra
C Transcript of piano version by Anton Hansen including solo part
A Autograph trombone and piano version
DK - Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling 04, (mu 1949 – 50. 1035).
No title page. Heading on the first page of music (p. 1): “Course des athlètes du Nord / Morceau symphonique / pour trombone avec orchestre ou piano”
Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm.
34.5 × 27 cm. 15 numbered pages. 2 blank pages at end. Fair copy in ink.
The main title p. 1 is written on a glued - on scrap of paper covering the original title: “Course des Vikings”.
Paper type: [Wilhelm Hansen Musik - Forlag] Nr. 3. F 12. (12 staves).
B Autograph score of version for trombone and orchestra
DK - Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling 04, (mu 1949 – 50. 1035).
Title page: “Hilda Sehested / Course des athlètes du Nord. / Morceau symphonique / pour / Trombone avec Orchestre / ou / Piano”
Heading p. 1: “Course des athlètes du Nord / Morceau symphonique pour trombone et orchestre”
Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm.
34.5 × 27 cm. Title page, blank page, 51 numbered pages. 2 blank pages at end. Fair copy in ink.
The main title on both title page and p. 1 is written on a glued -on scrap of paper covering the original title: “Cource des Vikings”.
Paper type: [Wilhelm Hansen Musik - Forlag] Nr. 6. F 18. (18 staves).
C Transcript of piano version by Anton Hansen including solo part
DK - Kk, Royal Danish Library (Musiksamlingen), MAms 7671. [Basunnoder fra Anton Hansen og Thorkild Graae Jørgensen]
Title page: “Hilda Sehested / Morceau symphonique / pour / Trombone / […] / avec accompagment d’orchestre ou de piano / Anton Hansen. / 1925.”
35 × 26 cm. 13 leaves comprising title page, blank page, page numbered 1 with AH’s stamp, pp. 2 – 17 (score), 2 blank unnumbered pages, 4 partly numbered pages comprising the solo part. Signed at the end: “Anton Hansen. / 1925.”
Paper type: 12 staves (without manufacturer’s name).
Commentary on the Edition
The version for trombone and piano (A) is the original version of the work, while the score (B) was prepared afterwards. The present edition is based on the autograph score, source A. The composer’s revision in ink and pencil is respected in the edition.
The trombone and piano version is an independent work, but can be used as a piano reduction when preparing an orchestral performance. However, when it comes to phrasing and articulation the solo part is notated differently in the two autograph manuscripts. In connection with the orchestration, Sehested
added many details in the solo part in the score (slurs, staccato and marcato indications). In an overview below, all the variants found in the orchestral version are listed. (The present edition’s separate trombone part includes both versions of the solo part as it appears in the published scores).
The work’s ending from b. 211 onwards is obviously deficient in terms of dynamics. One f placed in the trombone part in b. 223 is the only extant indication. The composer’s intention, however, appears more clearly in the orchestral version (B), and the editors have supplemented the edition with dynamic indications corresponding to those found in the score.
Anton Hansen’s transcription of the piano version (C) is of no importance to the edition. The transcript was made before Hilda Sehested revised her manuscript (A), and the transcript is a faithfully executed copy of the autograph without editorial additions or corrections.
Alternative Readings in the Orchestral Version Trombone Solo Part (Source B)
Below, the addition “supplied by analogy in the edition of B” refers to emendations made by the editors in the orchestral version of the work published in the Danish Classical Music series.
Bar Comment
13 cresc. at note 1 and dim. at notes 4 – 5
15 notes 2 – 4: stacc.
20 slurs notes 1 – 2, notes 5 – 6
24, 25 no slurs [supplied by analogy in the edition of B]
28 notes 5 – 6: no stacc.
note 5: f followed by a c at note 6 (no f at b. 29, note 1)
29 no m [supplied by analogy in the edition of B]
33 note 1: f
34 notes 4 – 5: no stacc. [supplied by analogy in the edition of B]
35 notes 4 – 5: stacc.
36 stacc. only at notes 3 – 4 [the others supplied by analogy in the edition of B]
37 notes 1 – 5: stacc.
48 notes 3 – 6: stacc.
48 – 52 cresc. begins in b. 50
50 notes 3 – 4: stacc.
52 note 1: no f notes 3 – 8: stacc.
53 note 2: no stacc. [supplied by analogy in the edition of B]
54 note 2: no marc.
56 notes 3 – 8: stacc.
57 note 1: stacc.
63 notes 1 – 3: slur
64 notes 2 – 8: slur
65 note 1: s
66 note 1: m
67 note 5: marc.
notes 5 – 6: slur
68 notes 1 – 2: slur
69 note 4: marc. and s
70 note 1: no m [supplied by analogy in the edition of B]
71 notes 1 – 3: stacc.
notes 4 – 5: no d
72 notes 4 – 5: slur
74 notes 5 – 6: stacc.
77 notes 1 – 3: slur
78 notes 1 – 2: slur notes 3 – 4: slur
79 notes 1 – 3: slur cresc. is found in this bar (no cresc. in b. 78)
82 – 83 no hairpins
83 – 84 b. 83: w tied to q in b. 84
88 – 89 slur from b. 88 note 1 to b. 89 note 2
90 notes 1 – 3: slur
108 – 109 no slurs
111 note 1: marc.
113 – 114 no c and d
116 note 2: marc.
116 – 117 slur from b. 116 note 2 to b. 117 note 2
117 note 4: stacc.
118 notes 1 – 3: no c
119 note 1: no marc.
121 note 2, 4: stacc.
125 note 1: stacc.
127 notes 2 – 5: c notes 5 – 7: slur (no stacc.)
128 notes 1 – 2: d
129 note 1: stacc.
130 note 3: c
131 notes 5 – 8: d
139 a tempo begins b. 140
144 note 1: c notes 3 – 5: d
144 – 145 slur from b. 144 note 1 to b. 145 note 1
145 notes 2 – 4: stacc.
146 notes 1 – 4: stacc.
147 note 1: no stacc.
148 note 1: no espress.
153 note 1: p
159 note 1: f (the orchestra also has f here)
160 note 1: stacc.
168 note 1: m marc.
175 no f
176 f
177 note 2: marc.
178 note 1: marc.
179 no slur, no stacc. [supplied by analogy in the edition of B]
185 note 1: p espress.
186 notes 1 – 3: slur (no stacc.)
187 notes 1 – 2: no slur
188 note 1: f
189 p
190 – 191 slur b. 190 note 1 to b. 191 note 2
192 notes 2 – 3: no stacc.
193 note 1: f sempre (no f sempre in b. 195)
notes 3 – 4: no stacc.
194 note 1: marc.
notes 2 – 3: no slur to b. 195 note 1
195 note 1: stacc.
196 notes 7 – 8: marc. (no stacc.)
195 – 196 slur from b. 195 note 7 to b. 196 note 1 (no stacc.)
197 note 1: marc. (no stacc.)
notes 3 – 4: marc. (no slur to b. 198)
198 note 1: marc.
199 notes 1 – 2: stacc. (and marc.)
200 notes 1 – 2: marc. (and stacc.)
201 note 1: f
201 – 202 slur and c from b. 201 note 11 to b. 202 note 1
202 note 2: marc.
209 notes 1 – 6: slur
210 notes 1 – 4: slur
211 note 1: p
213 notes 2 – 4: c
214 notes 2 – 3: d
215, 216 notes 5 – 6: stacc.
218, 219 note 2: marc. and f
222 notes 5 – 6: marc.
223 f [in source A: f; emended to f]
225 notes 1 – 4: slur
227 – 230 marc. all notes from b. 227 note 2 to b. 230 note 1
Editorial Emendations
Bar Part Comment
9 pf.2 rests added by analogy with b. 140 (partly missing in b. 9)
10 pf.2 lower part, note 3: stacc. added by analogy with b. 141
11 pf.2 lower part, note 1: stacc. added by analogy with b. 142
27 pf.2 slurs added by analogy with b. 26
29 trb. m added by analogy with b. 8
30 pf. m added by analogy with b. 9
47, 48, 49 pf.2 notes 4 – 5: stacc. added by analogy with bb. 170 – 173
55 trb. last note: stacc. added by analogy with bb. 53, 54
56 pf.1 top part: 2 slurs added by analogy with bb. 179, 53 – 55
86 pf.2 slur added by analogy with pf.1
121 trb. note 2: n added by analogy with pf.1
126 pf.2 top part, note 1: n added by analogy with pf.2, lower part
127 pf.1 last harmony: n before b1 added by analogy with the tonality of the bar
133 pf.1 chord 4, top note: n added by analogy with pf.2
143 pf.1 lower part: slurs added by analogy with b. 12
147 pf.1 top part, harmony 3: n added by analogy with b. 16
148 – 149 trb. p espress. moved from b. 149 to beginning of phrase in b. 148 by analogy with b. 17
162, 164 pf.2
note 6: n added by analogy with the tonality of the bar
175 pf.2 slur added by analogy with b. 52
177 pf.1 top part: slur added by analogy with bb. 176, 178
179 trb. notes 1 – 2: slur added by analogy with bb. 56, 173, 175
182, 183 pf.1 top part: slur added by analogy with b. 181
183 pf.1 top part, note 3: missing ledger line added (notational error)
186 pf.2 lower part, notes 1 – 3: slur added by analogy with b. 63
193 pf.1 note 2: n added by analogy with the tonality of the bar
199, 200 trb. notes 3 – 4: stacc. added by analogy with b. 198 (stacc. is also found in B)
216 pf. c added by analogy with trb. solo (and as in B)
217 pf. f added as in B (indication missing in A)
222 pf.1
chord 4: n before the lowest note (d2) added by analogy with pf.2
223 trb. f emended to f to match f in pf. (in B: f)
pf. f added as in B (indication missing in A)
228 pf.1
chord 2: n before lowest note (d1) added by analogy with d2 in the same chord and pf. 2
