Hilda Sehested: Suite (Septet)

Danish Classical Music

Edition·S music¬sound¬art

HILDA SEHESTED

Suite (Septet)

for kornet i B, strygekvartet, kontrabas og klaver / for cornet in Bb, string quartet, double bass and piano (1906)

Partitur / Score

Redigeret af / Edited by Bendt Viinholt Nielsen

Ole Ugilt Jensen

Copenhagen 2024

Suite (Septet)

Kritisk udgave ved / Critical edition by Bendt Viinholt Nielsen og / and Ole Ugilt Jensen

DCM Editor-in-chief: Thomas Husted Kirkegaard © 2024 Edition·S

Cover design: Tobias Røder

Music engraving: Ole Ugilt Jensen

Layout: Rudiger Meyer

Udarbejdet og udgivet med støtte fra Augustinus Fonden

Prepared and published with support from The Augustinus Foundation

Edition·S | music¬sound¬art

Worsaaesvej 19, 5th floor

DK-1972 Frederiksberg

Denmark

https://edition-s.dk/

Edition·S’s virksomhed støttes af Statens Kunstfond / Edition·S is supported by The Danish Arts Foundation.

DCM 034

ISBN 978-87-93750-78-4

ISMN 979-0-706839-01-1

Varighed / Duration: 24 min

Indhold / Contents

Danish Classical Music iv Biografi / Biography v Forord / Preface vi Faksimiler / Facsimiles viii

Suite (Septet) for kornet i B, strygekvartet, kontrabas og klaver / Suite (Septet) for cornet in Bb, string quartet, double bass and piano

1. Allegro 11

2. Intermezzo 38

3. Finale (Humoreske) 53

Critical Commentary 80

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 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.

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.

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”,

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). Sehesteds begejstring for trompeten (kornetten) kommer tydeligt til udtryk i et brev fra 1906 til musikhistorikeren Angul Hammerich, hvori hun omtaler

[…] det herlige Instrument, Trompeten, som trækker en saa lynklar Kontur op […] Og saa aabner dette stolte Instrument ved sin særlige Karakter nye Egne paa Følelsernes Omraade. Trompetens særlige Klang er lige langt fra den Smægten, Valdhornet let henfalder til og de forfinede, kælne Nuancer, Strygerne raader over. Stolt er altid dens Klang i sin blændende Kraft og Varme – og hvor rørende kan den ikke være, naar den er “god” i en cantabil Strofe, som den altid faar til ligesom at lyse. Og saa dens rhytmiske Disposition som ligefrem ægger til Liv og Humør. Den gode, herlige Trompet.

“De kan nok mærke, at jeg holder af den”, erkender hun. Og hun slutter brevet med en fodnote: “Et større Kammermusikstykke, en Septet med Saint Saëns Besætning: 2 Viol. Br. Cello, Ctrb., Kornet og Klaver, fuldender jeg netop nu. Kornetten kan faa En til alting”! 2 Værket blev således til i 1906 og fik titlen Suite, skønt det ville have været mere oplagt at bruge betegnelsen septet som i brevet til Hammerich og svarende til Saint-Saëns’ berømte komposition i Es-dur op. 65 (1880). Udgiverne har valgt at anvende Septet som undertitel.

Uropførelsen fandt sted i Kammermusikforeningen af 1887 i København den 16. oktober 1908. På kornet var det Thorvald Hansen, og strygekvintetten bestod af Ludvig Holm, Johannes Schiørring, Louis Witzansky, Ernst Høeberg og Louis Hegner, som alle var medlemmer af Det Kgl. Kapel. Ved klaveret sad Agnes Adler. Foreningens koncerter blev ikke anmeldt, og værket blev formodentlig kun opført denne ene gang i komponistens levetid. Som en pendant til Saint-Saëns’ septet er værket imidlertid inden for de seneste 25 år kommet på det internationale kammermusikrepertoire. Det skyldes en praktisk anlagt førsteudgave redigeret af trompetisten Edward H. Tarr og publiceret på et tysk forlag i 2000 under titlen Septett. 3 Den her foreliggende udgivelse er den første kritiske og videnskabeligt dokumenterede udgave.

Skønt kildematerialet blot omfatter partitur i autograf og et sæt stemmer i afskrift, byder det på en del vanskeligheder i forbindelse med en kritisk udgivelse. Komponisten foretog en ret omfattende revision, som forløb i flere faser fra det tidspunkt, hvor renskrivningen af partituret blev afsluttet og formodentlig lige indtil kort før uropførelsen i 1908. Det billede, der tegner sig, er at partituret i en førstefase blev grundigt revideret ved hjælp af udraderinger, tilføjelser med blæk og til dels blyant, overklæbede takter med rettelser osv. På dette grundlag blev stemmematerialet udskrevet af en professionel nodeskriver. I en følgende fase fortsatte Sehested revisionen. Nodeændringer blev stedvis skitseagtigt indføjet i partituret, men primært gik den fortsatte revision ud på at komplettere værket med ‘manglende’ detaljer i form af artikulation, frasering og dynamik. Til en begyndelse blev partitur og stemmer ajourført

1   Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4 (København: Multivers, 2019), 45-46.

2 Brev af 24.4.1906 til Angul Hammerich, Det Kgl. Bibliotek, NKS 4980, 4o

3  Hilda Sehested: Septett für Kornett, Klavier, Streichquartet und Kontrabass, Brass Collection 50303, redigeret af Edward H. Tarr (Nagold: Spaeth / Schmid Blechbläsernoten [2000]).

Preface

In her book about the composers Hilda Sehested and Nancy Dalberg, Lisbeth Ahlgren Jensen writes that Sehested became interested in brass instruments around 1904. 1 The first work was Suite for Cornet in B b 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 Chapel. Sehested’s enthusiasm for the trumpet (cornet) is clearly expressed in a letter from 1906 to the music historian Angul Hammerich, in which she mentions

[…] the glorious instrument, the trumpet, which cuts such a clear line, inspires one both in energy and mood. And so this proud instrument, with its special character, opens up new areas in the domain of emotions. The trumpet’s special sound is just as far from the languor that the French horn easily succumbs to, and the refined, tender nuances that the strings possess. Its sound is always proud in its dazzling power and warmth – and how touching it can be when it is “good” in a cantabile stanza, which it always seems to make shine. And then its rhythmic disposition that directly incites to life and humour. The good, glorious trumpet!

“You can probably tell that I love it”, she admits, and ends the letter with a footnote: “Right now I am completing a larger piece of chamber music, a septet with Saint Saëns’s instrumentation: 2 violins, viola, cello, double bass, cornet and piano. The cornet can get one to do anything”! 2 The work was thus created in 1906 and was given the title Suite, although it would have been more obvious to use the term septet as in the letter to Hammerich and corresponding to Saint-Saëns’ famous composition in E-flat major, op. 65 (1880). The editors have chosen to use Septet as a subtitle.

The premiere took place at the Chamber Music Society of 1887 in Copenhagen on 16 October 1908. Thorvald Hansen played the cornet, and the string quintet consisted of Ludvig Holm, Johannes Schiørring, Louis Witzansky, Ernst Høeberg and Louis Hegner, all of whom were members of the Royal Danish Orchestra. Agnes Adler was at the piano. The society’s concerts were not reviewed, and the work was probably only performed this once during the composer’s lifetime. However, as a counterpart to Saint-Saëns’ Septet, the work has within the past 25 years entered the international chamber music repertoire. This is due to a practical first edition edited by the trumpeter Edward H. Tarr and published by a German publisher in 2000 under the title Septett. 3 The publication presented here is the first critical and musicologically documented edition.

Although the source material only includes the autograph score and a set of parts in transcription, it presents a number of difficulties in connection with a critical publication. The composer carried out a fairly extensive revision, which took place in several phases from the time at which the fair copy of the score was completed and presumably until shortly before the premiere in 1908. The picture that emerges is that in a first phase the score was thoroughly revised by means of erasures, additions in ink and partly in pencil, pasted over bars with corrections, etc. On this basis, the part material was written out by a professional music copyist. In a subsequent phase, Sehested continued the revision. Changes to the notation were inserted

1   Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, vol. 4 (Copenhagen: Multivers, 2019), 45 – 46.

2 Letter dated 24 Apr. 1906 to Angul Hammerich, The Royal Danish Library, NKS 4980, 4o

3  Hilda Sehested: Septett für Kornett, Klavier, Streichquartet und Kontrabass, Brass Collection 50303, edited by Edward H. Tarr (Nagold: Spaeth / Schmid Blechbläsernoten [2000]).

parallelt, men i den sidste fase blev revisionen kun gennemført i stemmematerialet. Partituret blev således efterladt i en kun delvis ajourført form. Stemmematerialet rummer derfor den mest komplette version af værket. Men nodeskriverens tekst kan ikke tillægges autoritativ kildeværdi, da den er belastet af forglemmelser, misforståelser og selvstændige tolkninger (i forhold til autografpartituret). Kun komponistens komplettering og revision af stemmematerialet er derfor af interesse i forbindelse med en kritisk udgave. Dertil kommer, at Sehested også har foretaget korrektioner i autografpartituret, som ikke er overført til stemmerne. Udgiverne har derfor valgt autografpartituret som hovedkilde og i udgaven ajourført denne kildes version af værket med de supplerende og korrigerende detaljer, som findes i stemmerne og som kan tillægges Sehested. Trods disse mange supplerende detaljer og udgivernes analogitilføjelser fremstår værket i passager med en uklar eller mangelfuldt noteret dynamik, og partituret efterlader ikke mindst mange spørgsmål om komponistens intention, når det gælder den styrkemæssige balance mellem instrumenterne. Kun en musikermæssig fortolkning vil kunne afklare sådanne uklarheder og spørgsmål.

Bendt Viinholt Nielsen / Ole Ugilt Jensen

in the score in a sketchy manner in places, but the primary purpose of the continued revision was to complete the work with ‘missing’ details in the form of articulation, phrasing and dynamics. At first, the score and parts were updated in parallel, but in the final phase, the revision was only carried out in the part material. The score was thus left in an only partially updated form. The part material therefore contains the most complete version of the work. But the copyist’s text cannot be attributed authoritative source value, as it is burdened by oversights, misunderstandings and independent interpretations (in relation to the autograph score). Only the composer’s completion and revision of the part material is therefore of interest in connection with a critical edition. In addition, Sehested has also made corrections to the autograph score, which have not been transferred to the parts. The publishers have thus chosen the autograph score as the main source and in the edition have updated this source’s version of the work with the supplementary and corrective details found in the parts and which can be attributed to Sehested. Despite these many supplementary details and the publishers’ analogical additions, the work appears in passages with unclear or incompletely notated dynamics, and the score leaves many questions, not least about the composer’s intention when it comes to the dynamic balance between the instruments. Only the musicians’ interpretation will be able to clarify such ambiguities and questions.

Bendt Viinholt Nielsen / Ole Ugilt Jensen

Faksimiler

Facsimiles

Faksimile 1.

Autografpartitur (kilde A), s. 9 (sats I, t. 54-62).

Revisionen af partituret er på denne side synlig i form af udraderinger i strygerne og påklæbet rettelse i klaverstemmen i første takt. De to takter i hhv. volte 1 og 2 blev revideret på et løst, separat nodeark (kilde B).

Facsimile 1.

Autograph score (source A), p. 9 (movement I, bars 54 – 62).

The revision of the score is visible on this page in the form of erasures in the strings and a pasted correction in the piano part in the first bar. The two bars in volta 1 and 2 respectively were revised on a loose, separate sheet of music (source B).

Faksimile 2.

Klaverstemme i afskrift (kilde Cb), s. 1 (sats I, t. 1-15).

Klaverstemmen er forsynet med orienterende stiknoder på et separat system. Hilda Sehesteds egenhændige tilføjelser ses tydeligt; i t. 1 er tilføjet et # samt mf og p, og i t. 2, 11 og 14-15 er der dynamiktilføjelser. I t. 3 har Sehested tilføjet bindebuer, som var overset af nodeskriveren, i akkorden i højre hånd.

Facsimile 2.

Piano part in copy (source Cb), p. 1 (movement I, bars 1 – 15).

The piano part is provided with orienting cue notes on a separate system. Hilda Sehested’s own additions are clearly visible; in bar 1 a # as well as mf and p are added, and in bars 2, 11 and 14 – 15 dynamics are added. In bar 3 Sehested has added ties, which were overlooked by the copyist, in the chord in the right hand.

Faksimile 3

Bratschstemme i afskrift (kilde Cc), s. 13 (sats III, t. 106-143).

I de to første nodelinjer har Sehested tilføjet dynamiske angivelser. Afsnittet fra cfr. G er omarbejdet på et påklæbet stykke nodepapir med komponistens skrift. I næstsidste akkord (t. 137) har hun et f  # som dybeste tone, hvilket er en fejlnotation: det skal være et g # (sådan som det også fremgår af kilde A).

Facsimile 3.

Viola part in copy (source Cc), p. 13 (movement III, bars 106– 143).

In the first two lines of music, Sehested has added dynamic indications. The section from letter G is reworked on a glued-on piece of music paper with the composer’s handwriting. In the penultimate chord (bar 137) she has an f  # as the lowest note, which is an incorrect notation: it should be a g # (as also appears from source A).

Suite (Septet)

III

Finale (Humoreske)

g g g g g g g g g g g g g g g g œ œ œ g g g g g g g g g g g g g

g g g g g g g g g g g g g g

espress. espress. espress. espress.

Critical Commentary

Description of Sources

A Autograph score

B Correction sheet to the score, movement I, bb. 54 – 56

C Parts (transcript, revised by the composer)

A Autograph score

DK-Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling, 18. Without title page; heading in pencil on first page of music: “Suite for Cornet og Strygere.”

Undated and unsigned.

Donated to the Royal Danish Library by J. Sehested, Broholm (DK-Kk 1949 – 50.1035).

34.5 × 26 cm. Allegro: pp. 1 – 32; Intermezzo: title page, blank page, pp. 33 – 48, 2 blank pages; Finale (Humoreske): title page, blank page, pp. 49 – 74, blank page.

Autograph fair copy in ink with many autograph additions and corrections in ink and pencil, pieces of music paper containing revised bars are glued on in several places. Some additions in blue crayon seem to stem from the copyist who made the set of parts. After b. 142 p. 21 it is stated that the following section (bb. 143 – 178) is a repetition of bb. 4  –  39.

Paper type: 16 staves without manufacturer’s name; the cover of Intermezzo (2 leaves) marked Heimdal 1652

B Correction sheet to the score, movement I, bb. 54 – 56

DK-Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling, 18. Undesignated, undated and unsigned.

Donated to the Royal Danish Library by J. Sehested, Broholm (DK-Kk 1949 – 50.1035).

34.5 × 26 cm. 1 unnumbered leaf, recto containing score for a revised version of movement I, bb. 54 – 58.

Autograph fair copy in ink. On the verso is an autograph list in pencil of corrections to be implemented in score and parts. All of these details seem to be transferred as pencil corrections to the score (A) and parts (C).

Paper type: Heimdal 1652 (12 staves).

C Parts (transcript, revised by the composer)

a Cornet

Movements I–II

DK-Kk, Royal Danish Library (Musiksamlingen), Mf. A. 1596.

34.5 × 26 cm. 6 pp.: 2 unnumbered pp., pp. 3 – 6.

Designated “Cornet in B” (no title, heading or composer’s name).

Movement III

DK-Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling, 23. Heading: “Finale. Humoreske”

34.5 × 26 cm. 4 pp. numbered 7 – 10. One correction pasted on at p. 5. All three movements: Transcript (unsigned) with autograph additions and corrections in ink.

Paper type: 12 staves without manufacturer’s name.

b Piano part with cues on a separate stave

DK-Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling, 18. Heading in pencil on the first page of music (autograph): “Suite for Cornet og Strygere”

Donated to the Royal Danish Library by J. Sehested, Broholm (DK-Kk 1949 – 50.1035).

34.5 × 26 cm. 1 blank, unnumbered page, pp. 2 – 43, blank page. Transcript (unsigned) with many autograph additions of dynamic marks, especially hairpins, in ink.

Paper type: 12 staves without manufacturer’s name.

c Strings

Movements I–II

DK-Kk, Royal Danish Library (Music Collection), Mf. A. 1596. No, title, heading or composer’s name.

34.5 × 26 cm. Violin I: 1 unnumbered p. + pp. 2 – 9. – Violin II: 1 unnumbered p. + pp. 2–9. – Viola: 1 unnumbered p. + pp. 2–10. – Cello: 1 unnumbered p. + pp. 2 – 9. –

Double bass: 1 unnumbered p. + pp. 2 – 8.

DK-Kk, Musiksamlingen, C II, 12. Hilda Sehesteds samling, 23.

Heading: “Finale. Humoreske”

34.5 × 26 cm. Violin I: 5 pp. numbered 10 – 14. – Violin II: 5 pp. numbered 10 – 14. –Viola: 5 pp. numbered 11 – 15. – Cello: 4 pp. numbered 11, 13 – 15 (no p. “12”). –Double bass: 5 pp. numbered 9 – 13.

All three movements: Transcript in ink (unsigned) with autograph additions and corrections in ink.

The section bb. 143 – 178 is written out as a repetition of bb. 4 – 39. Paper type: 12 staves without manufacturer’s name.

Evaluation of Sources

The score (A) is supplemented by the loose and undesignated correction sheet (B) with 5 changed bars. There is no reference to B in A, and no reference to A in B, but the validity of the correction sheet appears from the part material (C), which contains the version in B. When it comes to articulation and dynamic indications, the score manuscript is characterised by incompleteness and inconsistencies. Furthermore, the phrasing can seem ambiguous due to unclear beginning and end points of the slurs. The set of parts (source C, a, b and c) was prepared by a professional copyist from the score (A+B). Here and there, the copyist has overseen slurs and staccato marks, there are also misread notes, and in general, the copyist reproduced the dynamic hairpins quite freely in comparison with the composer’s version in the score.

After the parts were produced, the composer began a revision. The set of parts were supplemented with dynamic indications and other details, and a number of minor musical alterations were made and can be seen as erasures, corrections and additions. The composer’s contribution to the separate parts, done carefully in ink, are evident due to her handwriting, the pen she used, and the nature of the additions and alterations. In the first phase, the revision was done in parallel in parts (C) and score (A). But some of the corrections made in the score were not transferred to the parts. On the other hand, a great number of additions and adjustments found in the parts are not found in the score. Some of the corrections in the score have an incomplete, sketchy character, whereas such corrections are fully worked out in the parts. It appears that at a certain point Sehested continued the revision in the separate parts, leaving the score at an earlier stage of revision. It also seems that she went through the parts one by one (and not quite systematically); at least this would explain the inconsistencies and ambiguities found in the material.

Commentary on the Edition

The basis of the edition is the autograph score, source A. The revision of movement I, bb. 54 – 58 found in source B is incorporated in the edition. The set of parts, C (a, b, c), is an essential, supplementary and in some cases corrective source. Corrections and additions in the parts originating from the composer and not found in the score (A+B) are almost completely adopted by the editors and included in the edition. In the few cases where, due to errors or omissions in the copyist’s text, Sehested made additions contrary to the autograph score, the originally composed version in the score is considered the authoritative one.

With the details from C added, the score still exhibits obvious deficiencies, which is sought to be remedied by editorial additions by analogy. In many places, the editors also have had to consider the composer’s intention regarding the beginning and ending of slurs. In the edition, the section bb. 143 – 178 of movement III is presented as a copy of bb. 4 – 39 as stated in the score. However, in the parts, the copyist copied out the repeated section in full, and during her subsequent revision, Sehested in some places added supplementary or alternative details in the repeated section compared with first presentation in bb. 4 – 39. Variants of this kind are listed in the comments to bb. 143 – 178 below.

The score layout (order of instruments) follows the score manuscript (A).

In the apparatus below, variants in C caused by the copyist’s oversights, misreading or individual interpretation, are not documented. The same applies to typical musicians’ annotations of no editorial significance.

A few guiding accidentals and naturals have been added tacitly. Adjustments of unequally placed indications of expression and dynamics are undertaken without comment. Sehested’s dynamic mark pf is normalised to poco f.

Editorial Emendations and Alternative Readings

MOVEMENT I

Bar

3

4

5

5 – 7

6

6 – 7

11

12

Part

Comment

vla. p added in accordance with Cc

vl.2 cresc added in accordance with Cc

vla. mf at note 2 added in accordance with Cc

vl.2 mf added by analogy with vl.1, vla. and vcl. bb. 4 – 5

cb. mf cresc f added in accordance with Cc

vla. cresc added in accordance with Cc

vl.2

cresc and mf added in accordance with Cc

vl.2 mf added in accordance with Cc

pf. mp added in accordance with Cb

pf.1

vl.2

chord 2: b before g2 added by analogy with pf.2

note 1: ending point of slur at b. 11 note 2 emended to b. 12 note 1 in accordance with Cc

13 vla. mf added by analogy with vl.2 and vcl.

14

cb. mf cresc added in accordance with Cc

vla.

note 1: starting point of slur at b. 13 emended to b. 14 note 1 in accordance with Cc

vla. cresc added in accordance with Cc

14 vl.2 cresc added in accordance with Cc

14 – 15 pf. cresc f added in accordance with Cb

16 pf. cresc added in accordance with Cb

16 – 17

17

cb. dec added in accordance with Cc

pf. slurs added in accordance with Cb

vl.1,2 p added by analogy with vla.

vla. bar in A incomplete: stacc. at note 2 and the last crotchet added by analogy with b. 177 (in Cc the copyist has rr at the end of b. 17)

18 cb. p added by analogy with vcl.

19 vl.1,2 notes 1 – 2: stacc. added in accordance with Cc

20 vla. note 2: marc. added by analogy with vl.2

cb. A: notes 2 – 3 corrected in pencil from b – c 1 to B – c; not implemented in Cc, not corrected in A b. 180; correction suppressed pf.2 chord (harmony) 2: stacc. added by analogy with b. 180 and bb. 21 – 22

20 – 21 pf. cresc mf added in accordance with Cb

21 vla. note 2: stacc. added in accordance with Cc

22 vla. end point of slur at note 2 emended to note 3 in accordance with Cc vla. note 4: marc. added in accordance with Cc vcl. cb. A: slur beginning at note 4 suppressed (unmotivated, no continuation in b. 23; not in Cc) pf.2 f added in accordance with Cb

23 cnt. f added by analogy with vl.2, pf., etc. vla. note 4: marc. added in accordance with Cc

24 vl.1

notes 6 – 7: slur added by analogy with b. 23 note 8: slur to b. 25 note 1 added by analogy with bb. 23 – 24

25 pf.1 harmony 5: e rrrrr emended to e. rrrrr (notational error in A)

27 vl.2 p added by analogy with vl.1

28 pf. cresc added in accordance with Cb

29 cb. cresc and slur notes 1 – 2 added in accordance with Cc

29, 30, 31 vcl. four slurs added in accordance with Cc

30 cb. dec added in accordance with Cc

30 – 31 cb. slur b. 30 note 2 to b. 31 note 2 added in accordance with Cc

31 vl.2 cresc added in accordance with Cc

32 vcl. notes 1 – 2: slur added by analogy with vl.1, vl.2 and cb.

cb. note 2: end point of slur emended from note 3 to note 2 in accordance with Cc pf.1

33 pf.1

35 – 36

chord 4: n before e 2 added by analogy with vl.1

chord 1, 3: marc. added in accordance with Cb

pf. cresc adjusted to the right in accordance with Cb

vl.2

cresc dec added in accordance with Cc

pf. cresc dec added in accordance with Cb

35 vcl. mf added by analogy with cb. (cf. comment below)

cb. mf added in accordance with Cc

36 vcl. slur notes 2 – 3 added by analogy with cb. (cf. comment below)

cb. slur notes 2 – 3 added in accordance with Cc cresc added by analogy with vcl.

pf.2 missing F clef added (not in Cb)

37 vl.2 mf added in accordance with Cc

vla. mf added by analogy with vl.1 and vcl.

cresc added in accordance with Cc cb. mf added by analogy with vcl.

37 – 38 cb. cresc and dec added by analogy with vcl. cb. slur added by analogy with vcl.

38 – 41 pf. six hairpins added in accordance with Cb

39 cb. mf added by analogy with vcl.

39, 40 vla. slurs added in accordance with Cc vcl. one slur from b. 39 note 1 to b. 40 note 2 emended to two slurs by analogy with vla. and cb.

40 cb. cresc added in accordance with Cc

41 vl.2 notes 1 – 2: slur added in accordance with Cc

42 vl.2 cresc dec added in accordance with Cc cb. cresc dec added by analogy with vcl. pf. dec added in accordance with Cb

43 cnt. p added in accordance with Ca vl.2 cb. p added by analogy with vl.1, vla., vcl. pf. p added in accordance with Cb

43 – 44 vl.2 cresc dec added in accordance with Cc

46 vl.1 slur added by analogy with vl.2 and vla. vcl. cresc dec added in accordance with Cc

47 pf.1 two triplet marks omitted in accordance with Cb (notational error in A) pf.1 Cb: harmony 2, top note: b before e 2 has been added by mistake (cf. identical intervals in bb. 48, 49)

48 pf.1 harmony 2: # before f   1 and # before d 2 added by analogy with b. 47 (notational error in A)

52 vla. rrr emended to rrrr (notational error in A)

54 vl.1 vl.2 vla. vcl. cresc dec adjusted and supplemented as in B (dynamics incomplete in A)

54 – 58 pf. the pf. part follows source B

55, 57  –  a tempo added in accordance with C (in A, the rit. in b. 54 is followed by a dashed line to the end of the bar, no a tempo is indicated)

55 vl.2 vcl. p added by analogy with vl.1 and vcl.

58 vl.2 note 1: marc. and notes 1 – 2 supplied with dec in accordance with Cc

59 pf.2 note 4: b before d 1 added by analogy with pf.1

62 vl.1 cresc added in accordance with Cc vl.2 cresc added by analogy with vl.1 (cf. dec bb. 65 – 66) pf.2 notes 1 – 2: slur added by analogy with r.h. pf.1 pf.2 three missing triplet signs added (partly corrected in Cb) pf. cresc added in accordance with Cb

63 pf.2 notes 2, 6: n before f and f   1 added by analogy with pf.1

63 – 64 pf. cresc dec added in accordance with Cb

65 – 66 pf. cresc mf added in accordance with Cb

66 vl.1,2 ending of slur at note 2 and new slur notes 3 – 4 emended to one continuing slur in accordance with Cc

67 vcl. mp added by analogy with cb. and in accordance with Cc cb. mp added in accordance with Cc

69 cb. slur added by analogy with vcl. and in accordance with Cc pf. mp added by analogy with vl.1 and vl.2 (b. 68)

69, 70 vcl. slurs added in accordance with Cc

70 cb. notes 1 – 2: stacc. added in accordance with Cc

71 vla. mp added by analogy with vl.1, vl.2 and cb. pf.2 top part, notes 1 – 2: slur added by analogy with pf.1

71 – 72 vcl. dec mp added in accordance with Cc

73 – 74 vcl. cresc added in accordance with Cc

74 pf.2 last note: n before c 1 added by analogy with pf.1

75 vl.1 one slur from b. 73 note 2 to b. 77 note 1 divided in two in accordance with Cc vl.2 slur from b. 73 note 2 to b. 77 note 1 divided in two by analogy with vl.1

76 cb. notes 1 – 2: slur b. 74 note 3 to b. 76 note 2 emended to slur b. 76 notes 1 – 2 in accordance with Cc

77 pf. chord 1: arpeggio added in accordance with Cb pf.1 pf.2 e.s supplied with stacc. in accordance with Cb

78 pf.1 last note: stacc. added in accordance with Cb pf.2 last note: stacc. added by analogy with pf.1

79 pf.2 top part, notes 1 – 3: slur added in accordance with Cb

80 vl.1 cresc dec added in accordance with Cc

82 vl.1 slur notes 1 – 4 emended to slur notes 1 – 3 by analogy with vl.2 pf. ten. added in accordance with Cb

83 vcl.

note 4: stacc. added in accordance with Cc

83 – 84 pf. mf cresc f added in accordance with Cb

84 – 85

vl.1

note 2: slur to b. 85 note 1 added by analogy with vla.

85 vcl. crescendo added in accordance with Cc

86 vl.1 cresc added in accordance with Cc

vl.2 notes 1 – 2: cresc added by analogy with vl.1

87 vcl. f added in accordance with Cc

88 vl.1

89

note 3: sfz added in accordance with Cc vcl. last note: stacc. added by analogy with b. 87

vl.1 vl.2 vla. vcl. end of slur at note 1 suppressed (the slur has no beginning; there is a page turn in A between bb. 88 and 89)

vcl. note 6: slur to b. 90 note 1 emended to slur notes 6 – 8 by analogy with vla. and a slur correction in cb. in Cc

cb. note 2: slur to b. 90 note 1 emended to slur notes 2 – 3 in accordance with Cc

90 vla. note 1: stacc. added in accordance with Cc cb. C: note 1: sfz added in accordance with Cc

91 vla.

note 1: beginning of slur emended to b. 91 note 1 in accordance with Cc

92 – 93 vl.2 vla. b. 92 last note and b. 93 notes 1 – 2: portamento added in accordance with Cc

94 vl.1 note 2: stacc. added in accordance with Cc vcl. note 2: stacc. added by analogy with vl.2

96 vcl. note 3: ending of slur emended from note 4 to note 3 by analogy with vl.1, vl.2 and vla.

97 pf. harmonies 1 – 2: stacc. added by analogy with bb. 96 and 98

98 vl.2 cb. cresc. added by analogy with vl.1, vla. and vcl. vl.2 last note: n before d1 added by analogy with vl.1

99 pf.2 last chord: n before e 1 added by analogy with pf.1

99 – 101 vl.2 portamento b. 99 note 2 to b. 101 note 1 emended to 2 × portamento: b. 99 notes 2 – 4 and b. 100 notes 1 – 4 by analogy with vla.

100 – 101 vl.1 vcl. dec added in accordance with Cc

101 vl.1 p added by analogy with vcl. vcl. p added in accordance with Cc

102 vl.2 dec added in accordance with Cc pf.2 top part, notes 1 – 2: slur added in accordance with Cb

102 – 103 vla. slur added from b. 102 note 3 to b. 103 note 1 in accordance with Cc

103 vl.2 notes 2 – 4: portamento added and notes 2 – 3 supplied with cresc in accordance with Cc

105 vl.2 note 3: stacc. added in accordance with Cc

105 – 106 vcl. cresc dec added in accordance with Cc

106 – 107 vla. slur added by analogy with vl.1 and vl.2

107 cb. arco added by analogy with vcl.

110 vcl. notes 1 – 2, 5 – 7: slurs added by analogy with cb.

111 pf. mf added in accordance with Cb

113 vl.2 cb. cresc added by analogy with vl.1, vla. and vcl.

113, 114 pf. cresc added in accordance with Cb

115 cnt. vla. pf. cresc. added by analogy with vl.1, vl.2 and vcl. cnt. note 4: slur to b. 116 note 1 added by analogy with notes 2 – 3 and b. 116 notes 2 – 3

116 pf. ff added in accordance with Cb

117 vcl. f added by analogy with vla. cb. f added in accordance with Cc

118 cnt. last note: b before g 2 suppressed by analogy with vl.2 (notational error in A, corrected in C)

119 cnt. note 4: b before g 2 suppressed by analogy with vl.2 (notational error in A, corrected in C) cnt. notes 1 – 4: slur added by analogy with notes 5 – 8, etc. vla. slur notes 2 – 3 and slur notes 4 – 7 emended to one slur by analogy with vcl. and cb.

122 vla. last note: tie to b. 123 note 1 added by analogy with vl.1 pf.2 notes 4 – 6: slur added by analogy with notes 1 – 3

123 pf.1 note 2: starting point of slur emended from note 1 to note 2, and slur beginning in b. 122 extended to b. 123 note 1 by analogy with bb. 122, 124, etc.

124 – 125 vla. note 3: slur to b. 125 note 4 added by analogy with vl.1

126 – 129 pf.1 3 slurs added by analogy with bb. 124 – 125

129 vl.1,2 f sempre normalised to sempre f

vcl. note 2: f marc. added in accordance with Cc cb. note 2: f added in accordance with Cc pf. marcato added in accordance with Cb

130 vla. f sempre normalised to sempre f

131 pf.2 harmony 1: b before a added by analogy with vla.

132 vl.2 notes 4 – 6: stacc. added by analogy with vl.1, vla. and vcl. pf.1 chord 1: b before d 2 added by analogy with pf.2

133 – 134 pf.

cresc added in accordance with Cb

134 cnt. f sempre normalised to sempre f vl.2 vcl.

note 1: stacc. added by analogy with vla. vcl. cb. C: f (suppressed; deleted in vl.1, vl.2 and vla. in A and C)

135 – 136 pf.

cresc added in accordance with Cb

137 cnt. note 1: unmotivated end of tie suppressed (page turn in A between bb. 136 and 137)

137 – 138 pf.

cresc added in accordance with Cb

138 pf.1 last chords: marc. added in accordance with Cb

139 vcl. note 1: stacc. added by analogy with vla. and cb. vla. vcl. cb. pf. ff added by analogy with vl.1 and in accordance with vl.2 in C pf.1

chords 1 – 3: stacc. added in accordance with Cb pf.1 last chord: stacc. added in accordance with Cb pf.2

140 vl.1

pf.1

harmony (chord) 3: b before d 1 added by analogy with pf.1 last chord: stacc. added by analogy with pf.1

Cc: note 2: f (suppressed; not in Cc vl.2 and vla.)

chord 1: marc. added in accordance with Cb pf.2 chord 1: marc. added by analogy with pf.1

140 – 141 pf. sempre f added in accordance with Cb

141 – 145 pf.1 slurs bb. 141, 142, 143 – 144, 145 added in accordance with Cb

145 vl.2 Cc: note 1: marc. (suppressed; not in Cc vl.1)

pf.1 slur added by analogy with pf.2

146, 147 pf.1 harmony 2: q emended to e by analogy with similar figure in b. 148

148 pf.1 note 1: marc. added in accordance with Cb pf.2 note 1: marc. added in accordance with Cb pf.2 notes 1 – 2: slur added by analogy with pf.1 notes 1 – 2 (also in C)

149  –  a tempo added (rit. in b. 148 is followed by a dashed line ending at the end of the bar)

154 vl.2 dec added in accordance with Cc

154, 156 – 160 cb. slurs added in accordance with Cc

157 – 158 pf. cresc added in accordance with Cc

158 – 159 vcl. cresc mf dec added in accordance with Cc

159 vla. slur note 2 to b. 160 note 1 emended to slur notes 2 – 5 + slur note 6 to b. 160 note 1 in accordance with Cc

160 cnt. p cresc. added in accordance with Ca pf.1 harmony 2 supplied with marc. in accordance with Cb

160 – 161 vcl. cresc emended (shortened) from bb. 160 – 161 to b. 160 in accordance with Cc and by analogy with cb.

161 vcl. cresc. molto added by analogy with cb.

161 – 162 vla. vcl. cresc emended to cresc. molto by analogy with vl.1, vl.2 and cb.

162 cnt. cresc added in accordance with Ca

163 cnt. f emended to ff in accordance with Ca cnt. note 1: unmotivated tie suppressed (no ending in b. 164 after page turn) vl.1 rest 1: rrrr emended to rrr (notational error in A) vcl. note 1: marc. added in accordance with Cc

164 vl.2 Cc: note 2: f (not in other parts, not in A; suppressed) pf.1 note (chord) 5: tie bb2 –  bb2 added by analogy with tie c#2 –c#2

166 vl.1,2 last note: beginning of slur to the following bar omitted by analogy with vcl., vl.1 b. 168, etc. (when stacc. no slur)

cb. cresc added in accordance with Cc

167 vl.1 last note: stacc. added by analogy with b. 166, 168 pf. cresc added in accordance with Cb

168 cb. dec added in accordance with Cc

169 vcl. cresc dec added in accordance with Cc

170 cb. mf added in accordance with Cc

170 – 171

vcl. cresc added in accordance with Cc

pf. cresc mf added in accordance with Cb

172 cb. slur added in accordance with Cc

172 – 173

vcl. cresc added in accordance with Cc

173 vl.2 più f added in accordance with Cc

173 – 175 cb. slur added in accordance with Cc

175 vcl. note 2: cresc and marc. added in accordance with Cc pf. f added in accordance with Cb

176 vcl. note 1: marc. added in accordance with Cc

176 – 177

177

vl.2 vcl. pf. dec added in accordance with Cc and Cb

vl.1, 2 note 2: p added in accordance with Cc

vla. note 2: p added by analogy with vl.1 and vl.2

178 cnt. notes 2 – 3: stacc. added by analogy with b. 18

cb. p added by analogy with vcl.

180 vl.2 note 1: dot added by analogy with vl.1 pf.1 chord 3: stacc. emended to ten. by analogy with b. 20 and in accordance with Cb

181 pf.1 chord 1: stacc. emended to ten. by analogy with b. 21 and in accordance with Cb pf.2 chord (harmony) 1: stacc. added by analogy with b. 21, b. 180 and b. 181 (harmony 3) pf.1 chord 2: n before f   2 added by analogy with vl.1 and b. 21 top part, note 2 (tied and slurred): stacc. omitted by analogy with b. 21

182 vla. notes 2 – 3: slur added in accordance with Cc vcl. cresc f added in accordance with Cc vcl. cb. note 4: arco added in accordance with Cc pf.1 note 3: stacc. added by analogy with bb. 180 – 181 pf. f added in accordance with Cb

182 – 184 vla. slur from b. 182 note 4 to b. 184 note 1 emended to slur b. 183 note 4 to b. 184 note 1 (the passage was supplied with marc. marks as in vcl. and cb., the slur, however, was not deleted in vla.)

183 pf. f added in accordance with Cb

184 pf.1 harmonies 1 – 5: stacc. added in accordance with Cb

185 pf.2 rest 1: emended from rrrr to rrrrr by analogy with pf.1 (corrected in Cb)

186 pf.2 rest 2: missing dot added by analogy with pf.1 (corrected in Cb) pf.2 last 3 notes: stacc. added in accordance with Cb

186 – 187 vcl. cb. slur from b. 186 last note to b. 187 note 4 omitted by analogy with bb. 182 – 184 (the passage was supplied with marc. marks, the slur, however, was not deleted)

187 cnt. note 1: ten. added in accordance with Ca cnt. f added by analogy with dynamic level in the other instruments (cf. note below to bb. 187 – 189)

187 – 188 vl.1 b. 187 last note to b. 188 note 5: 3 slurs added in accordance with Cc vla. slur from b. 187 last note to b. 188 note 1 added by analogy with vl.2 and vcl.

187 – 189 cnt. Ca: notes one octave deeper added with pencil and f supplied at the first note (probably musician’s suggestion; suppressed)

188 – 189 vl.1 b. 188 last note + b. 189 notes 1 – 3: ten. emended to marc. in accordance with Cc

189 pf.2 last figure: slur added by analogy with pf.1 (slur is in Cb)

190 vl.1 last note: marc. deleted, p and tie to b. 191 note 1 added in accordance with Cc pf.2 note 1: stacc. and slur at notes 2 – 3 emended to slur from note 1 to note 3 by analogy with pf.1 and b. 189 pf.2 lower part, notes 1 – 2: slur added in accordance with Cb pf.1 pf.2 last note: stacc. added in accordance with Cb

191 pf. p added by analogy with cnt., vla., etc.

192 pf. cresc added in accordance with Cb

193 vcl. cresc added in accordance with Cc pf. cresc added in accordance with Cc

193 – 194 vl.1 one slur covering both bars emended to two slurs in accordance with Cc

194 pf. dec added in accordance with Cb

194 – 196 cb. cresc dec added in accordance with Cc

195 vl.1 slurs notes 1 – 2 and 3 – 4 emended to one slur in accordance with Cc

195 – 196 vl.2 vla. cresc dec added in accordance with Cc vcl. cresc dec added in accordance with Cc

197 pf. cresc dec added in accordance with Cb

197 – 199 pf.1 1 slur bb. 197 – 199 emended to 2 slurs: b. 197 chords 3 – 4 and bb. 198 – 199 by analogy with b. 33 – 35

199 – 200 vl.2 cresc and dec added by analogy with vl.1 vcl. mp cresc dec added in accordance with Cc pf.1 slurs b. 199 chord 2 to b. 200 chord 1, and b. 200 chords 2 – 4 emended to slurs b. 199 chords 2 – 3, b. 200 chords 1 – 2 and chords 3 – 4 in accordance with Cb

202 vl.2 vcl. cresc. molto added by analogy with vl.1 and vla.

203 vla. cresc dec added in accordance with Cc

204 vla.

notes 1 – 3: slur added in accordance with Cc

205 vcl. f emended to ff by analogy with vl.1, 2 and vla. and in accordance with cb. in Cc

cb. f emended to ff in accordance with Cc

206 pf.1

note 4: # before f   1 added by analogy with pf.2

vcl. cb. A: last note originally had n before e (leading to the D major in b. 207); however, n is crossed out in A and not present in C; the editors find the original notation to be the correct one

vcl. cresc added in accordance with Cc

207 vl.2 slur from b. 205 note 1 ending at b. 207 note 2 emended to slur b. 207 notes 1 – 2 in accordance with Cc

209 cnt. cresc added in accordance with Cc

vcl. cresc added in accordance with Cc

211 vla. note 3: starting point of slur emended from note 2 in accordance with Cc

213 – 218

vcl. cresc × 3 added in accordance with Cc

214 pf.1 top part, note 4: # before c 3 added by analogy with note 1 and pf.2 chord 1

216 pf.1 lower part, harmonies 2 – 4: slur added in accordance with Cc

218 pf.1 top part, note 4: # before f   2 added by analogy with note 1 and pf.2 chord 1

pf.1 slur added by analogy with b. 214

219 pf.1 lower part, notes 2 – 3: slur added by analogy with b. 217

221 vl.2 vla. ff added by analogy with vl.1, vcl., cb. and pf. (C: vl.2 has unmotivated f)

224 cnt. slur added in accordance with Ca

225 pf. ff added in accordance with Cb

226 vcl. cresc added in accordance with Cc pf. two last chords: stacc. added in accordance with Cb

227 pf. dim. added in accordance with Cb pf. chord 1: marc. added in pf.1 in accordance with Cb (and in pf.2 added by analogy with pf.1)

228 pf. three slurs added by analogy with b. 227 and similar places

229 vl.1 note 1: stacc. added in accordance with Cc vl.2 note 1: stacc. added by analogy with vl.1 note 2: stacc. added by analogy with vl.1 cb. p added in accordance with Cc

232 pf.1 notes (harmonies) 1 – 2: stacc. added by analogy note 2 and cnt.

233 cnt. notes 1 – 3: slur added by analogy with b. 235 pf.2 note 1: stacc. added by analogy with b. 234

233 – 235 vla. one slur from b. 233 note 1 to b. 235 note 1 emended to slur b. 233 notes 1 – 2 + slur b. 234 notes 1 – 2 in accordance with Cc

234 pf.1 harmony 2: n before b 1 added by analogy with the top tone of the harmony

236 vcl. notes 1 – 4: slur added by analogy with vla.

237 vl.1,2 p added by analogy with dynamic level in the passage (cf. b. 229)

237 – 238 vl.2 stacc. added by analogy with vl.1

239 pf.2 harmony 1: stacc. added by analogy with bb. 236 – 237

241 – 244 vla. one slur from b. 241 note 1 to b. 244 note 1 emended to slurs notes 1 – 2 in bb. 241, 242, 243 in accordance with Cc

247 – 248 vl.2 stacc. added by analogy with vl.1 pf.2 4 × stacc. added in accordance with Cb

250 vla. f added in accordance with Cc pf. mf added in accordance with Cc pf.1 harmonies 1 – 3: stacc. added in accordance with Cc

251 – 252 vla. one slur from b. 251 note 1 to b. 252 note 3 emended to slur b. 251 notes 1 – 2 + slur note 252 notes 1 – 3 in accordance with Cc

252 pf. crescendo added in accordance with Cb

253 vl.1,2 note 1: stacc. added by analogy with b. 251, etc.

255 pf. f added in accordance with Cb

257 vla. cb. b before g  1 and g added by analogy with vcl. and pf.

258 cnt. note 1: stacc. added in accordance with Ca vl.1,2 notes 3 – 4: slur added by analogy with b. 259 vcl. note 3: ff added in accordance with Cc

259 vcl. notes 1 – 2: stacc. added in accordance with Cc pf. chord 1: stacc. added in pf.1 in accordance with Cb (and in pf.2 by analogy with pf.1)

260 vla. ff added in accordance with Cc

261 pf.2 notes (harmonies) 3 – 4: slur added by analogy with pf.1

261 – 262 vla. cb. slur from b. 261 last note to b. 262 note 1 added by analogy with vcl.

262 vla. notes 2 – 3: slur added by analogy with vcl. and cb. vcl. cb. notes 4 – 5: slur added by analogy with b. 261 vcl. notes 2 – 3: slur emended from notes 2 – 4 and stacc. at note 4 added by analogy with cb.

264 vcl. cb. cresc added in accordance with Cc

265 vla. cb. sfz added in accordance with Cc

265 – 266 cnt. slur added in accordance with Ca

265, 266 pf.1 pf.2 chord 1: stacc. added in accordance with Cb

266 vl.2 vcl. cb. chord 1: sfz added in accordance with Cc

MOVEMENT II

1 vcl. cb. mp added by analogy with vl.1, vl.2

2 vla. mp added by analogy with vl.1, vl.2 (b. 1) and in accordance with Cc

4 vla. cresc added in accordance with Cc

5 vla. pf. dec added in accordance with Cc cb. p added in accordance with Cc

6

pf. p added in accordance with Cb

vl.1 vla.

cresc dec added in accordance with Cc vl.2

cresc dec added by analogy with vl.1 and vla. pf. dec added in accordance with Cb

7 vl.2

9 vl.2

notes 4 – 5: slur added by analogy with vl.1

cresc dec added by analogy with vl.1, vla. and b. 35 pf.1 top part, note 2: marc. added in accordance with Cb

pf.2 top part, last note: slur to b. 10 note 1 added in accordance with Cb

10 vl.2

notes 2 – 3: tie added by analogy with b. 9 and b. 36

cresc dec added by analogy with vl.1, vla. and b. 36 vcl. dec added in accordance with Cc cb. dec added by analogy with vcl.

pf.1 top part, note 2: marc. added in accordance with Cb

11, 12 vl.1 vl.2 vla. slur beginning at note 6 and continuing to b. 12 note 3 emended to slur bb. 6 – 7 and new slur b. 12 notes 1 – 3 by analogy with b. 37

12 cnt. note 1: f   #1 emended to f    1 by analogy with pf.1 vcl. node 3: marc. added in accordance with Cc cb. note 3: stacc. added by analogy with vcl. pf.1 chord 1: marc. added in accordance with Cb

14 vla. note 4: n before b added by analogy with pf.1 pf.1 chord 1: dots added in accordance with Cb

14 – 15 vla. cresc dec added in accordance with Cc

15 vl.1 p added in accordance with Cc vl.2 p added by analogy with vl.1 vla. notes 3 – 6: slur added by analogy with b. 41 vcl. dec p added by analogy with cb. cb. dec p added in accordance with Cc pf. p added in accordance with Cb

17 vl.2 cresc dec added in accordance with Cc vcl. cb. mf added in accordance with Cc

pf. p and cresc dec added in accordance with Cc pf.1 lower part, last note: n before e 2 added by analogy with e n in pf.2

18 vl.2

cresc dec added in accordance with Cc pf. cresc added in accordance with Cb dec added by analogy with b. 17 and vl.2

19, 20 vl.2 cresc dec added in accordance with Cc (replaces a long cresc like that in vl.1)

20 vcl. cresc added by analogy with vla.

21 vcl. note 2: slur to b. 22 note 1 added by analogy with vla.

22 vcl. note 2: slur to b. 23 note 1 added by analogy with vla.

23 cb. notes 2 – 3: slur added by analogy with b. 20

24 cnt. note 4: emended from c2 to c1 by analogy with bb. 25 – 26 (where a correction was made in A; also corrected to c 1 in Ca)

vl.2 dec added in accordance with Cc

vla. notes 5 – 6: cresc added by analogy with vl.1 and vl.2 and in accordance with Cc vcl. notes 5 – 6: cresc added by analogy with vla., vl.1 and vl.2

vcl. note 6: C# emended to c# by analogy with vla. where unplayable A# was transposed one octave up and written as bb

cb. notes 1 – 2: slur added in accordance with Cc

pf. sfz added in accordance with Cb

26

vl.2 smorz. added by analogy with vl.1 and vla.

vla. notes 3 – 4: slur added by analogy with vl.1 and vl.2 dec added by analogy with vl.1 and vl.2

vcl. Cc: notes 1 – 3: dec (the copyist has overseen cresc marked in A and the composer has subsequently by mistake added dec instead of cresc)

note 4: ending of slur emended from b. 27 note 1 to b. 26 note 4 in accordance with Cc

vcl. cb. smorz. added by analogy with vl.1, vla. and pf. cb. unclear slur in A adjusted by analogy with Cc

27 vcl. cb. mp added by analogy with b. 1

28 vl.1 cresc dec added in accordance with Cc

30 vla. cresc added by analogy with vl.1 and vl.2

30 vla. slur b. 30 note 2 to b. 31 note 1 added in accordance with Cc

31 cnt. mp added by analogy with b. 5 (no indication in Ca)

vla. note 3: slur ending b. 32 note 1 added in accordance with Cc cresc dec added by analogy with vl.1 and vl.2

cb. pf. p added in accordance with Cc and Cb

31, 32 pf.1 lower part, notes 1 – 2: slur added by analogy with b. 5

32 vl.1 vla. cresc dec added in accordance with Cc vl.2 cresc dec added by analogy with vl.1 and vla.

33 pf.1 lower part, last note emended from e to q (notational error in A)

34 vl.2 note 6: marc. added by analogy with vl.1

34 – 35 pf.2 slur b. 34 note 1 (continues from b. 33) to b. 35 chord 1 added by analogy with bb. 8 – 9

35 vl.2 note 4: slur to b. 36 note 1 added by analogy with bb. 9 – 10 pf.2 top part, last note: slur to b. 36 note 1 added by analogy with bb. 9 – 10

35, 36 pf. cresc dec added in accordance with Cb pf.1 top part, antepenultimate note: marc. added in accordance with Cb

36 cnt. notes 4 – 5: slur added by analogy with b. 10 vl.2 dec added by analogy with vla. and b. 10

37 pf.2 lower part: slurs notes 1 – 4 and notes 5 – 6 emended to 1 slur in accordance with Cb

37, 38 cnt. slurs added by analogy with bb. 11, 12 (in bb. 37, 38 the slurs are partly hidden under a glued – on scrap of paper with correction to pf. bb. 34 – 35)

40 cnt. notes 1 – 3: slur added by analogy with b. 14 pf.1 last chord: marc. added in accordance with Cb pf. dec added in accordance with Cb

40 – 41

vl.1 dec p added in accordance with Cc

vl.2 f dec p added in accordance with Cc vcl. cresc dec p added by analogy with cb. cb. cresc dec added in accordance with Cc

41 cnt. pp added in accordance with Ca vla. dim. added in accordance with Cc pf.1 chord 3: marc. added in accordance with Cb pf. pp emended to p added in accordance with Cc

42 vl.1 w. emended to h. in accordance with Cc (notational error in A) p added in accordance with Cc vl.2 pp added in accordance with Cc vla. p added in accordance with Cc

43 vl.1 dec dec emended to cresc dec cresc dec in accordance with Cc vcl. p added by analogy with vl.1, vl.2 and vla.

44 vcl. cresc added by analogy with vla. and in accordance with Cc

47 vl.2 p added by analogy with vl.1

49 pf.1 chord 1: stacc. added by analogy with pf.2

54 cb. mf and slur notes 1 – 2 added in accordance with Cc

57 pf.2 rrrr added by analogy with pf.1

57 – 59 vl.1 slurs added by analogy with vl.2

59 vcl. cb. notes 3 – 4: slur added by analogy with notes 1 – 2 and vl.1 and vl.2 (b. 60)

60 vl.1 Cc: cresc corrected to cresc dec; this correction not adopted as it is not found in vl.2 and vla. in Cc

vcl. revision of the bar in Cc adopted; in A, vcl. follows cb.

61 – 62 cb. rests added in accordance with revision made in Cc (in A, cb. follows vcl.)

62 pf. mf added in accordance with Cb

63 cb. mf added in accordance with Cc

62, 63 vla. slur added by analogy with vl.1

63, 64 vl.1 vl.2 vcl. penultimate note: marc. added in accordance with Cc vla. cresc added by analogy with vl.1, vl.2 and vcl.

64 vl.1 vl.2 vla. slur added by analogy with b. 63 and vl.1 b.62

64 – 65 vcl. stacc. added in accordance with Cc

65 pf.1

rest 1: rrrr emended to rrrr. (notational error in A) pf.2 rest 1: rrrrr emended to rrrr (notational error in A)

66 pf.1 note 1: e emended to s in accordance with Cb (the bar is revised; Cb has the final version) pf.2 last three notes: slur added in accordance with Cb

67 vcl. mp added in accordance with Cc cb. p added in accordance with Cc

67 – 69

vcl. cb. slur added in accordance with Cc

70 vcl. cb. mf added in accordance with Cc

72 vcl. cresc. added by analogy with cb.

cb. cresc. added in accordance with Cc

75 vla. cresc. added in accordance with Cc

pf. cresc. added in accordance with Cb

77 vl.2

chord 1: stacc. added by analogy with b. 78

vla. rest 1 added by analogy with vcl. (vla. chord 1 changed from q. to q)

pf. one arpeggio divided into two by analogy with bb. 78 – 79 pf.1

79 vl.2

80 vl.2

chord 2: n before b added by analogy with n before b 1 (notational error in A)

chord 1: stacc. added by analogy with vl.1

note 2: n before e 2 added by analogy with pf.

cb. note 1: D emended to d (D not playable on four -stringed cb.) rrrr added at the end of the bar by analogy with b. 79

82 cb. notes 3 – 4: stacc. added by analogy with vl.2 and vla.

83 cb. notes 1 – 4: stacc. added by analogy with vl.2 and vla.

85 vcl. cb. p added by analogy with vla. and pf.

87 vl.2 p added by analogy with vl.1

88 vl.2 notes 4 – 5: slur added by analogy with b. 75, etc. vcl. cb.

note 1: g emended to g b by analogy with pf.2 (notational error in A)

92 – 98 pf. all chords: stacc. added in accordance with Cb

92 – 94, 97 – 98 cb. vcl. and cb. notated in the same staff; as in Cc, the chord is to be played by vcl., while the lowest note is doubled in cb.

97 vl.1 Cc: dec (covering the whole bar); not adopted as it is not found in any other part

99 vl.1 vl.2 vcl. mp added by analogy with b. 1

100 vla. arco added in accordance with Cc mp added by analogy with vl.1, vl.2, vcl. (b. 1, b. 99)

100 – 122 tutti copy of bb. 2 – 24 (not written out in A)

123 vla. dim. added by analogy with vl.1 and vl.2 and in accordance with Cc (in A, mp was added at the beginning of the bar in pencil but subsequently erased) vcl. cb dim. added by analogy with vl.1 and vl.2 (and vla.)

124 pf.2 note 2: stacc. added by analogy with pf.1

125 – 126 pf. cresc dec added in accordance with Cb

128 vcl. f added by analogy with cb.

cb. f added in accordance with Cc

129 vcl. slur added in accordance with Cc

129, 130 vla. f added in accordance with Cc

130 pf.1

chord 2: b before b added by analogy with b before b 1

131 pf.1 chords 1 – 2: tie f   2  – f   2 added by analogy with b. 130

132 vcl. dec added in accordance with Cc

cb. sfz added in accordance with Cc

133 pf.1 lower part, notes 2 – 4: slur added by analogy with pf.2

134 vl.1 vl.2 vla. vcl. cb. dim. added by analogy with cnt. and pf. and in accordance with Cc pf.2 last note: n before c1 added by analogy with n before c (note 8)

135 vla. note 3: marc. added in accordance with Cc vcl. note 4: marc. added in accordance with Cc vcl. slur added by analogy with vla. and in accordance with Cc

136 cb. p added in accordance with Cc

138 – 139 vla. p cresc mp dim. added in accordance with Cc

139 cb. p dec added by analogy with vcl.

MOVEMENT III

2 cb. mf added in accordance with Cc

3 cb. fp added by analogy with vcl. and in accordance with Cc

4 pf. Cb: p

6 vl.1 f added in accordance with Cc vcl. note 4: stacc. added in accordance with Cc cb. note 4: stacc. added by analogy with vcl.

7 cnt. last note: ten. emended to marc. in accordance with Ca cb. last note: f added by analogy with vl.1, vl.2, vla. and vcl. notes 3 – 5: cresc (and no f)

7 – 8 vl.1 Cc: slur b. 7 last note to b. 8 note 1 and stacc. notes 2 – 3 (alteration made in Cc in vl.1 but not in vla., vcl. and cb.; suppressed)

10 vcl. cresc added in accordance with Cc notes 4 – 5: stacc. added by analogy with vla. and in accordance with Cc note 6: ten. added by analogy with vla. and cb.

Cc: note 6: stacc.

11 vl.2 f added by analogy with vl.1 and vla. and b. 150 Cc: mf

vcl. f added by analogy with vl.1 and vla. and b. 150 notes 4 – 6: slur emended to slur notes 4 – 6 and stacc. at note 6 by analogy with cb. and in accordance with Cc

12

vcl. slur ending at b. 13 note 2 added in accordance with Cc cb. slur ending at b. 13 note 2 added by analogy with vcl.

13 vcl. notes 3 – 5; in A, the rhythm has been altered from e e q to q e e (this revision not implemented in Cc)

pf. cresc added in accordance with Cb

14 cnt. note 1: stacc. added by analogy with b. 153

pf.1 pf.2

last note: marc. added in accordance with Cb

15 vla. note 3: stacc. added in accordance with Cc

cb. pf.1 pf.2

2 last notes: stacc. added in accordance with Cc and Cb

16 cb. f added by analogy with vla. and vcl. pf.2 penultimate note (harmony): n added by analogy with pf.1

17 vla. cresc added in accordance with Cc

18

vl.2 p added by analogy with cb. and pf.

vcl. p added by analogy with cb. and pf. cb. p added in accordance with Cc pf. p added in accordance with Cb

20 vl.2 mf added by analogy with vl.1 (b.18) and vcl. (b. 19)

vla. A: note 1: arco; no pizz in the previous bars

21 vl.1 cresc added in accordance with Cc vcl. cresc dec added by analogy with vla. and b. 160

Cc: notes 6 – 7: dec

pf. cresc mf dec added in accordance with Cb pf.1 slur notes 1 – 11 emended to two slurs in accordance with Cb

22 vl.2 mf added in accordance with Cc vcl. p added in accordance with Cc cb. pp added in accordance with Cc

pf. cresc dec added in accordance with Cb

23 vla. p added in accordance with Cc

pf. cresc dec added in accordance with Cb pf.1 top part, note 4: marc. added in accordance with Cb

24 vcl. notes 5 – 6: dec added by analogy with vla.

pf. cresc f added in accordance with Cb pf.1 one slur from note 1 to b. 25 chord 1 emended to two slurs by analogy with b. 28 and b. 163 top part, note 1: marc. added in accordance with Cb

25 vl.1 note 1: n added in accordance with Cc

vcl. dec added in accordance with Cc pf. f added in accordance with Cb

26 cnt. notes 3 – 4: stacc. added in accordance with Ca vl.1 mp cresc dec added in accordance with Cc

vl.2 note 1: beginning of slur emended from b. 25 note 2 to b. 26 note 1 in accordance with Cc cresc dec added in accordance with Cc (cf. comment to bb. 164 – 165)

pf. mf added in accordance with Cb

27 vl.1 vl.2 vcl. cb. p added by analogy with vla. and pf. and in accordance with Cc pf.1 top part, note 1: marc. added in accordance with Cb

27 – 28

cnt. b. 27 notes 5 – 6 and b. 28 notes 1 – 4 altered in A from b to b 1 and supplied with pp (this revision not implemented in Ca)

28 pf. cresc f added by analogy with b. 167 and in accordance with Cb pf.1 top part, note 1 marc. added by analogy with bb. 23, 24 and 27

29 vl.2 mf added by analogy with vl.1 cresc added by analogy with vl.1 and in accordance with Cc vla. mf added in accordance with Cc vcl. cb. cresc added in accordance with Cc pf. f added in accordance with Cb pf.1 chord 1: stacc. added in accordance with Cb pf.1 two slurs added in accordance with Cb

30 cnt. dim. added in accordance with Ca

vcl. cb. dec added in accordance with Cc

pf. cresc and mf added in accordance with Cb

pf.1 top part: slur notes 1 – 6 added in accordance with Cb

pf.2 top part, 2 last notes: slur added in accordance with Cb

30 – 31 pf. dec added in accordance with Cb

31 cnt. note 1: stacc. added in accordance with Ca

vcl. mf added by analogy with vl.1 and vl.2 and b. 170 pf. mf added in accordance with Cb

32 cnt. mf cresc dec added in accordance with Ca

vl.1,2 note 4: stacc added and beginning of slur emended to b. 33 note 1 in accordance with Cc

vcl. cb. notes 1 – 2: slur added and stacc. at note 2 omitted in accordance with Cc

pf. cresc added in accordance with Cb

pf.1 two slurs notes 1 – 3 and notes 4 – 8 emended to one slur in accordance with Cb

pf.1 lower part, notes 8 – 10: slur added in accordance with Cb

pf.1 penultimate note: n before c 1 added by analogy with the fourth last note and vla.

pf.2 top part, notes 1 – 3: stacc. added in accordance with Cb

33 vcl. note 3: p added in accordance with Cc

pf. dec added in accordance with Cb

34 pf. mp added in accordance with Cb

35 vl.2 cresc added in accordance with Cc

36 vcl. cb. mf added in accordance with Cc notes 4 – 8: slur notes 4 – 8 emended to slur notes 4 – 6 and stacc. at notes 7 – 8 in accordance with Cc

pf. cresc dec added in accordance with Cb pf.1 slurs added by analogy with bb. 35 and 37 pf.2 3 last notes: slur added in accordance with Cb

37 vl.2 cresc added in accordance with Cc

pf. cresc dec added in accordance with Cb

pf.1 slurs added in accordance with Cb pf.2 3 last notes: slur added in accordance with Cb

38 vl.2 p added by analogy with vl.1 and vla.

39 vcl. one slur notes 4 – 9 emended to two slurs notes 4 – 5 and note 6 to b. 40 note 1 in accordance with Cc

42 – 44 pf.1 pf.2

Cb: three slurs in the bars (no stacc.): 1. slur from b. 42 note 1 to b. 43 note 9, 2. slur notes 10 – 12, 3. slur from note 13 to b. 44 note 1 (in A, slur 1 is crossed over, all other notes have stacc.)

44 vcl. cb. pf. f added by analogy with vla. and in accordance with Cc and Cb

46 pf. f added in accordance with Cb

47 vl.1,2 note 3: sfz added in accordance with Cc vl.2 pf. cresc added in accordance with Cc and Cb

48 cb. mf added by analogy with vla. and vcl. and in accordance with Cc pf. mf added by analogy with vcl. and cb.

cresc added in accordance with Cb

pf.1 notes 3 – 7: slur added in accordance with Cb note (harmony) 7: b before a2 added by analogy with note 6 last chord: slur to b. 49 chord 1 added in accordance with Cb pf.2 note 2: slur to b. 49 note 1 added in accordance with Cb

49 vcl. notes 2 – 5: stacc. added in accordance with Cc note 6: ten. added by analogy with vla.

cb. notes 2 – 4: stacc. and ten. added by analogy with vla. and in accordance with Cc

50 vl.2 f added by analogy with vl.1, vla, etc.

cb. notes 3 – 4: stacc. added in accordance with Cc

pf.1 lower part: slur at the end of the bar added in accordance with Cb pf.2 lower part: note 3: slur to b.51 note 1 added in accordance with Cb

51 pf.2 2 last notes (harmonies): slur emended to stacc. in accordance with Cb

52 vl.2 note 5: emended from g 1 to a1 by analogy with b. 152 and in accordance with Cc notes 3 – 5: slur emended from slur notes 5 – 6 in accordance with Cc (cf. the above comment)

vla. dec added in accordance with Cc vcl. cb. notes 3 – 6: slur notes 3 – 4 and stacc. notes 5 – 6 added in accordance with Cc

53 cb. f added by analogy with vcl.

54 pf.1 pf.2 Cb: note 2: stacc. and no slur from last note b. 53

54 – 55 pf.2 two last notes (harmonies) b.54 to b. 55 chord 10: stacc. added by analogy with pf.1

56 cnt. f added by analogy with vl.1, vl.2, etc.

63 pf. mf added in accordance with Cb

64 pf.2 chord 3: ten. added in accordance with Cb

65 pf. f sempre added in accordance with Cb

73 – 74 pf. cresc added in accordance with Cb

76

77

–  poco rit. added in accordance with Cb pf. dec added in accordance with Cb

–  a tempo added as a consequence of poco rit. in b. 76 cnt. mp added in accordance with Ca

vl.1 vl.2 vla. cb. mf added in accordance with Cc vcl. mf added by analogy with the other strings pf. p added in accordance with Cb

78 vl.1 vl.2 vla. cresc added in accordance with Cc vcl. cresc added by analogy with vl.1, vl.2 and vla. pf.2 lower part, harmony 1: slur to b. 79, harmony 1 added by analogy with b. 82 and in accordance with Cb

80 vl.1 vl.2 vcl cresc added by analogy with b. 60 and in accordance with vla.

80 – 81

82

83 – 84

vla. cresc added in accordance with Cc

pf.2 lower part, harmony 1: slur to b. 81, harmony 1 added by analogy with b. 82 (and in accordance with Cb b. 78)

cnt.

vl.1,2

cresc dec added in accordance with Ca

cresc added in accordance with Cc vla. vcl. cresc added by analogy with vl.1, vl.2 and b. 62

cnt. cresc dec added in accordance with Ca

84 pf.1 notes 1 – 3: slur added in accordance with Cb pf.2 top part, notes 1 – 3: slur added in accordance with Cb

86

vl.1 vcl. cresc added by analogy with vl.2, vla. and b. 80

vl.2 vla. cresc added in accordance with Cc

88 vl.1 vla. vcl. cresc added by analogy with vl.2 and bb. 78

vl.2 cresc added in accordance with Cc

90 cnt. mf added in accordance with Ca

vl.1 vl.2 vla. cresc added in accordance with Cc vcl. cresc added by analogy with vl.1 vl.2 and vla.

92 vl.1 vla. vcl. cresc added by analogy with bb. 78, 80, etc.

vl.2 cresc added in accordance with Cc

93 vl.1,2 f added in accordance with Cc vla. vcl. cb. f added by analogy with vl.1 and vl.2 (in Cc f is placed in b. 94 in cb.)

93 – 95 pf.2 slur from note (harmony 2) to b. 95 note 1 added in accordance with Cb

95 vl.1 vcl. cresc added by analogy with vl.2 vla. and cb.

vl.2 vla. cb. cresc added in accordance with Cc (in Cc the vla. hairpin begins in b. 94)

pf.2 slur from note (harmony) 2 to note (harmony) 7 added in accordance with Cb

96  –  poco rit.  –   –   –  added in accordance with Cb pf.2 notes 1 – 5: slur added in accordance with Cb top part, notes 1 – 2: added in accordance with Cb lower part, last harmony: arpeggio added in accordance with Cb

97 pf. poco f added in accordance with Cb pf.2 slur added in accordance with Cb

99 pf. two arpeggios added in accordance with Cb

101 cb. mp added by analogy with the other strings pf. p added in accordance with Cb

101 – 102 vl.1 cresc dec added in accordance with Cc

102 vl.1 last note: end point of slur emended from b. 103 note 1 by analogy with bb. 109, 117 pf.1 Cb: slurs (and no stacc.) chords 3 – 4, 5 – 6 (the same b. 117, but stacc. as in A in b. 109)

102, 109, 117 vl.1 in A, the last part of the bar is revised in pencil; the original version e f   # 1  – s g  1 is altered to s f   # 1  –  s g 1 –  s a1 (in Cc, due to a misreading, the bar is revised in blue crayon in another hand: note 6 is changed from e to s and the final part of the bar has the four-note figure f  # 1  –

1)

103 vla. note 2: marc. added in accordance with Cc

104 vl.1 vla. cresc added in accordance with Cc

105 vl.1 dec added in accordance with Cc pf.2 2 last notes: stacc. added in accordance with Cb

105 – 106 pf. cresc dec added in accordance with Cb

106 vl.1,2 slur notes 1 – 8 emended to slur notes 1 – 9 and stacc. notes 10 – 15 added in accordance with Cc

106, 107 cnt. notes 5 – 10: stacc. added in accordance with Ca

107 vl.1,2 slur notes 3 – 10 omitted and stacc. notes 5 – 10 added in accordance with Cc vl.2 marc. added by analogy with vl.1 and in accordance with Cc

108 vl.1 cresc added in accordance with Cc

cb. pf. mp added by analogy with vl.1, vla. and vcl.

109 vl.2 mf added by analogy with vla.

110 cnt. note 1: stacc. added in accordance with Ca

vcl. p added by analogy with vl.1, vl.2 and vla.

cb. slur note 2 to b. 111 note 1 emended to slur notes 2 – 4; notes 5 – 6: stacc. added in accordance with Cc

111 cnt. mf added in accordance with Cc slurs notes 1 – 2 and note 4 to b. 112 note 2 omitted and stacc. and ten. added in accordance with Ca

cb. note 1: stacc. added in accordance with Cc

vl.2 vla. cb. cresc. added by analogy with vl.1, vcl. and pf.

pf.2 slurs notes 2 – 5 and note 5 to b. 112 note 1 added in accordance with Cb

111 – 112 vl.1 2 rests (rrrrr) added and slurs adjusted in accordance with Cc

112 cnt. note 2: stacc. added in accordance with Ca

112 – 114

pf.2

top part: four slurs added in accordance with Cb

115 vl.1

116

117

120

121

poco f emended to mf in accordance with Cc

cresc added by analogy with vl.2

vl.2 mf added by analogy with vl.1

cresc added in accordance with Cc

–  a tempo added in accordance with Cc (vl.2 and vla.)

vl.1 cresc added in accordance with Cc

vl.1 vcl. dec added in accordance with Cc

cb. notes 3 – 5: stacc. added by analogy with bb. 102 and 109

vl.1 vl.2 pf. mf added by analogy with cb.

vla. Cc: mf (instead of poco f)

cb. mf added in accordance with Cc

vl.1

vl.2

cresc added in accordance with Cc

cresc added by analogy with vl.1

vcl. Cc: slur from b. 120 note 1 ends at note 2

121, 123 pf.2 lower part, harmony 1: slur to the following bar added by analogy with b. 125 (cf. bb. 78, 80, 82)

121 – 122 cnt. p cresc dec added in accordance with Ca

123 vla. Cc: slur notes 1 – 4

123 – 124 cnt. cresc dec added in accordance with Ca

125 vl.1 cresc added in accordance with Cc vl.2 cresc added by analogy with vl.1

vla. Cc: slur notes 1 – 4

125 – 126 cnt. mp cresc dec added in accordance with Ca

126 – 127 cb. cresc added in accordance with Cc

127 vla. vcl. dec added in accordance with Cc pf.1 notes 1 – 3: slur added in accordance with Cb

129 cnt. p cresc dec added in accordance with Ca vla. Cc: slur notes 1 – 4

vla. vcl. pf. cresc dec added in accordance with Cc and Cb

130 pf. mf added in accordance with Cb

131 vla. Cc: slur notes 1 – 4

cb. cresc added in accordance with Cc pf. cresc added in accordance with Cb

132 pf. f added in accordance with Cb

133 cnt. mf added in accordance with Ca

vl.1 cresc added in accordance with Cc

vl.2 cresc added by analogy with vl.1

vla. Cc: slur notes 1 – 4

134 – 135 vla. vcl. cresc dec added in accordance with Cc

136 vcl. mf added in accordance with Cc

137 vl.1 f added in accordance with Cc

vl.2 vla. f added by analogy with vl.1

vla. Cc: chord 1, lowest note: f   # (notational error, although the bar is in the composer’s handwriting)

vcl. note 4: end point of slur emended from b. 138 note 1 (cf. marc.)

139, 140, 141 vcl. last note: stacc. added by analogy with b. 138

140 cnt. mp added in accordance with Ca

140, 141 vcl. note 1: ten. added by analogy with b. 139

142 pf. f cresc added in accordance with Cb

143 – 178 tutti in C, the section bb. 143 – 178 is written out as a repetition of A bb. 4 – 39; however, the composer’s additions in bb. 143 – 178 include some supplementary or alternative details compared with bb. 4 – 39 (listed below)

148 vla. Cc: mf

150 vl.2 f added in accordance with Cc vcl. f added in accordance with Cc

152 pf. sfz added in accordance with Cb

153 cnt. note 1: stacc. added in accordance with Ca

154 vl.1 cresc added in accordance with Cc

160 vcl. cresc dec added in accordance with Cc

161 vcl. Cc: p cresc dec pp

163 vcl. Cc: note 1: p

164 – 165 vl.2 cresc dec added in accordance with Cc

166 – 167 vcl. ten. b. 166 notes 2 – 3 and b. 167 note 1 added in accordance with Cc

167 vcl. note 3: slur to b. 168 note 1 added in accordance with Cc cb. note 3: slur to b. 168 note 1 added by analogy with vcl.

167 – 168 cb. cresc added by analogy with vcl.

167 – 169

vcl. cresc f added in accordance with Cc

170 vcl. mf added in accordance with Cc pf.2

Cc: harmony 2: f

172 vcl. Cc: notes 1 – 3: slur

173, 174 vcl. Cc: notes 1 – 2: slur

184 – 185 vl.2

Cc: b. 184 notes 2 – 4: cresc and b. 185 note 1: dec (not in the other strings)

186 – 189 vl.1 vl.2 vla. vcl. cb. cresc dec added in accordance with Cc

187 pf.2 top part: notes 1 – 2: slur ending b. 188 note 1 added in accordance with Cb

188 pf. dec added in accordance with Cb pf.2 last note: stacc. added in accordance with Cb

189  –  A: rit. is marked in vl.2 and vla.; in Cc and Cb it is found in vcl., cb. and pf. but crossed over pf.2 note 1: stacc. added in accordance with Cb

189 – 193 cb. slur added by analogy with vcl.

190 – 191 vl.1 Cc: cresc (not found in the other strings)

191 – 192 vl.1,2 slur added in accordance with Cc

193 pf.1 pf.2 chord 3: stacc. added in accordance with Cb

194 vl.1 vl.2 vcl. cb. notes 1 – 8: stacc. added by analogy with vla. and b. 197 pf.1 pf2 chord 1: stacc. added in accordance with Cb pf.2 notes (harmonies) 2 – 6: stacc. added in accordance with Cb

195 cnt. note 1: stacc. added in accordance with Ca vl.1 vl.2 vcl. note 1: stacc. added by analogy with vla. and in accordance with Cc cb. note 1; stacc. added by analogy with the other strings pf. f added in accordance with Cb

196 cnt. note 1, 2, 4: stacc. added in accordance with Ca vla. vcl. cb. note 1: stacc. added by analogy with vl.1 and vl.2

197 cnt. note 3: stacc. added in accordance with Ca

198 cnt. notes 1, 2: stacc. added in accordance with Ca vl.1,2 notes 1 – 8: slurs emended and stacc. added in accordance with Cc vla. notes 1 – 8: slurs emended and stacc. added by analogy with vl.1 vcl. note 1: added in accordance with Cb (A has a rest on the first beat) pf.2 note (harmony) 7: n added by analogy with pf.1

198 – 199 vcl. all semiquaver notes: stacc. added by analogy with cb. cb. all semiquaver notes: stacc. added in accordance with Cc

199 vl.2

cresc dec added by analogy with vl.1

vcl. cb. notes 9 – 11: slur added by analogy with vla. and in accordance with Cc

vcl. cresc added by analogy with cb.

cb. cresc added in accordance with Cc

pf.1 note (harmony) 2: marc. added in accordance with Cb

pf.2 note (harmony) 2: stacc. added and slur from b. 198 omitted in accordance with Cb

200 cnt. note 1: stacc. added in accordance with Ca

vl.1

vl.2

cresc added by analogy with vl.2

cresc added in accordance with Cc

cb. Cc: note 4: stacc. (not in vla. and vcl.) last note: tie to b. 201 note 1 added by analogy with vcl.

201 vl.1,2 cresc added in accordance with Cc

vl.2 last note: a2 emended to a1 in accordance with Cc

202 vl.2 notes 1 – 6: transposed one octave down in accordance with Cc cb. note 1: stacc. added by analogy with vcl.

203 vla. notes 2, 3, 5: ten. added, and note 6: stacc. added in accordance with Cc

204 vla. note 1: ten. added by analogy with vl.1

cresc added in accordance with Cc

205 vl.1 vcl. ff sempre added by analogy with vl.2, vla. and cb. vl.2. cb. ff sempre added in accordance with Cc cb. last note: ten. added by analogy with vcl. Cc: last note: slur to b. 206 note 1 (not in vcl.)

206 vcl. notes 1 – 2: stacc. added in accordance with Cc cb. notes 1 – 2: stacc. added by analogy with vcl. pf. ff sempre added in accordance with Cb