JOHAN S. SVENDSEN: Romanse, op. 26 Piano

JOHAN S. SVENDSEN (1840–1911)

Romanse, op. 26 JSV 79

Romance, Op. 26 PIANO SCORE

Utgitt av/Edited by Bjarte Engeset and Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-II/1C-kl

N.M.O. 14602C

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle Norwegian language consultant: Gunnhild Wiggen English translation and language consultant: Thilo Reinhard Consultant solo part: Morten Carlsen Sponsored by: Kulturrådet (Arts Council Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14602A /ISMN 979-0-065-16481-6) For sale and hire Parts (N.M.O. NMO 14602B I/II /ISMN 979-0-065-16482-3 For hire Solo Violin & Piano Score (NMO 14602C/ISMN 979-0-065-16483-0) For sale © 2020 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Forord Faksimiler

ROMANZE FÜR VIOLINE MIT BEGLEITUNG DES ORCHESTERS

Preface Facsimiles

I XIII

1

Kritisk rapport

10

Addenda Sju «utøverutgaver» av solostemmen

17 19

ROMANZE FÜR VIOLINE MIT BEGLEITUNG DES ORCHESTERS

I XIII

1

Critical report

10

Addenda Seven annotated performer’s editions of the solo part

17

19

PREFACE

J

ohan Svendsen’s (1840–1911) Romance, Op. 26, is far and away his most frequently played work. Among those who performed the Romance with the composer conducting we find three famous international violin virtuosos whose acquaintance Svendsen had made in London and Paris in the years 1878–1880: Stanisław Barcewicz (1858–1921), Eugène Ysaÿe (1858– 1931) and Pablo de Sarasate (1844–1908). The Romance is dedicated to Halvard Emil Heyerdahl (1840–1917), a prominent Norwegian engineer who, among other things, founded the Holmenkollen metro line in Oslo. Svendsen had gotten to know Heyerdahl through Christiania’s10 Quartet Society, which often gathered at Heyerdahl’s home. The two men also regularly met in other social contexts. In an interview in connection with his 70th anniversary, Svendsen talked about the origins behind the Romance:

FORORD

J

ohan Svendsens (1840–1911) Romanse, op. 26 er hans absolutt mest spilte verk. Blant de som fremførte verket med komponisten selv som dirigent, var tre berømte internasjonale fiolinvirtuoser Svendsen hadde blitt kjent med under oppholdene i London og Paris i årene 1878–1880: Stanisław Barcewicz (1858–1921), Eugène Ysaÿe (1858–1931) og Pablo de Sarasate (1844–1908). Romansen var tilegnet Halvard Emil Heyerdahl (1840–1917), en ledende norsk ingeniør som blant annet var en av Holmenkollbanens grunnleggere. Svendsen kjente Heyerdahl gjennom Kvartetforeningen i Christiania1 (Oslo), som ofte hadde samlinger hjemme hos Heyerdahl. De to traff hverandre også jevnlig i andre sosiale sammenhenger. I et intervju i forbindelse med komponistens 70-årsdag fortalte Svendsen om hvordan fiolinromansen ble til:

It was some 27–28 years ago. I was in Christiania at the time and had students. One day, publisher Warmuth says to me: ‘Listen, you ought to try to write a romance for violin sometime!’ I told him that I would attempt to do so if I had the chance, but I certainly did not want to make any definite promises. Then I went on a little walk and thought about the matter. As luck would have it, my students cancelled that day. I began to think about the Romance, got out pen and paper, worked out a sketch, got it orchestrated, and presented the results to the publisher the next day. He gave me 200 kroner, and as I myself did not even have any particular faith in my work, I was very happy. After all, it meant earnings of 200 kroner in just two days’ work! Later, the Romance had to be reprinted 65 times.

– Det er en 27–28 Aar siden. Jeg gik oppe i Kristiania, og havde Elever. Saa en Dag siger Forelægger Warmuth til mig: «Hør, De burde dog en Gang prøve at skrive en Violin-Romance!» Jeg svarede, at jeg skulde forsøge ved Lejlighed, men noget bestemt vilde jeg ikke love ham. Saa gik jeg en lille Tur og tænkte over Sagen. Tilfælde vilde, at mine Elever den Dag sendte Afbud. Jeg begyndte atter at tænke paa Romancen, fik Pen og Papir frem, nedkastede Skitsen, fik den instrumenteret, og næste Dag overrakte jeg Resultatet til Forlæggeren. Han gav mig 200 Kr., og jeg der slet ikke selv havde videre Fidus til mit Værk, blev meget glad. Det var dog 200 Kr.s Fortjeneste ved blot 2 Dages Arbejde! Senere er Romancen udkommet i 65 Oplag.

DANNEBROG, 1 OCTOBER, 1910.

Carl Warmuth’s engraving records confirm the sum of 200 kroner.11 No autograph manuscript of the work has survived, only a few bars of sketches. These sketches show the recapitulation at the point where the main theme returns with a different orchestration. In his PhD thesis ‘Panoramic Constraints – A Study of Johan Svendsen’s

DANNEBROG, 1. OKTOBER 1910.

Carl Warmuths stikkerprotokoller bekrefter denne summen på 200 kroner.2 Det finnes ikke noe bevart manuskript til verket i Svend­sens hånd, bare noen få takter med skisser. Skissene viser reprisen, der hovedtemaet kommer tilbake igjen med en ny orkestrering. I doktoravhandlingen Panoramic Constraints – A Study of Johan Svendsen’s

I

Musical Sketches’, Morten Christophersen argues that the sketches show that Svendsen may have spent several days on the composition: Based on these observations, I believe the story of the genesis of this work must be altered. Svendsen might have composed most of this work during a single day, but he most likely derived it from ideas he had previously sketched.12

Musical Sketches argumenter Morten Christophersen for at skissene viser at Svendsen kanskje brukte noen flere dager på komposisjonen: Based on these observations, I believe the story of the genesis of this work must be altered. Svendsen might have composed most of this work during a single day, but he most likely derived it from ideas he had previously sketched.3

Warmuth’s engraving records show that the version for violin and piano was printed first, in September 1881, followed by the publication of the score and parts in October. Svendsen had prepared the piano part himself, according to the cover of the first edition and a posting in the Norwegian daily Dagbladet of 19 October 1881, which furthermore endorsed the work as follows:

Warmuths stikkerprotokoller viser at versjonen for fiolin og klaver ble trykket først, i september 1881. Partituret og stemmene ble så utgitt i oktober. Svendsen har også laget klaverstemmen, ifølge forsiden på førsteutgaven og ifølge et oppslag i Dagbladet 19. oktober 1881, der verket også ble anbefalt på følgende måte:

For now, we would like to encourage anyone who plays the violin reasonably well to get hold of this Romance, since its execution does not require witchcraft, […] one can imagine how brilliant the Romance must be with orchestra, which, after all, is Svendsen’s element.

Foreløpig vil vi kun tilraade enhver, der spiller nogenlunde Violin, at skaffe sig denne Romance, da den ikke kræver Hexekunster for at kunne udføres, [...] man kan tænke sig, hvor briljant Romancen maa være for Orkester, der jo er Svendsens Element.

In autumn 1878, Svendsen met three prominent Polish violinists in Paris: the brothers Józef (1837–1912) and Henryk Wieniawski (1835–1880), and Stanisław Barcewicz (1858– 1921). Barcewicz had studied the violin in Moscow with Czech teachers Ferdinand Laub (1832–1875) and Jan Hřímalý (1844–1915), and theory and harmony with Pyotr Ilyich Tchaikovsky (1840–1893). On 21 September 1878, he premiered Tchaikovsky’s Valse-Scherzo in C major, Op. 34, in a concert at the Palais du Trocadéro in Paris. Svendsen’s almanac for 187813 tells us that he ‘made the acquaintance’ of Barcewicz here. In all likelihood, they also met the following day at a breakfast hosted by Grand Duke Konstantin, whose guests included, among others, the conductor of the concert, Nikolai Rubinstein (1835–1881). When the Romance was published in autumn 1881, Stanisław Barcewicz was staying in Norway to play a series of concerts in Christiania. The young virtuoso, 23 years old at the time, had recently performed in both Leipzig and Dresden. In August, the music journal Nordisk Musiktidende published a longer article about him that referenced fresh reviews from Germany: ‘talent of the highest rank’, ‘innate genius and fiery temperament’,

Høsten 1878 traff Svendsen tre ledende polske fiolinister i Paris, brødrene Józef (1837–1912) og Henryk Wieniawski (1835–1880) og Stanisław Barcewicz (1858–1921). Barcewicz hadde studert fiolin i Moskva hos tsjekkerne Ferdinand Laub (1832–1875) og Jan Hřímalý (1844–1915) og teori og harmonilære hos Pjotr Tsjajkovskij (1840–1893). 21. september 1878 urfremførte fiolinisten Valse-Scherzo i C-dur, op. 34 av Tsjaj­ kovskij ved en konsert i Trocadero-palasset i Paris. I Svend­sens almanakk fra 18784 står det at han «gjorde bekjendskab» med Barcewicz her. De traff hverandre etter alt å dømme også neste dag til en frokost hos storfyrst Konstantin, hvor også konsertens dirigent Nicolaj Rubinstein (1835–1881) og flere andre var til stede. Da Romanse, op. 26 ble utgitt høsten 1881, var den samme Stanisław Barcewicz i Norge og spilte flere konserter i Christi­ania. Den da 23 år gamle virtuosen hadde nylig opptrådt i både Leipzig og Dresden. Nordisk Musiktidende brakte i august en lengre artikkel om ham, der de siterte fra ferske tyske omtaler: «Talent af første Rang», «medfødt Genialitet og ildfuldt Temperament», «glimrende Færdighed, en stor Tone, et dris-

II

‘remarkable dexterity, a big sound, a bold bow stroke’. A critic in Dresden thought that Barcewicz was capable of bringing a ‘spiritual dimension’ to the music, and that he radiated ‘a painstakingly subdued fire’.14 Both concerts took place in the large hall of the Old Masonic Lodge in Christiania, the first on 22 October, the second four days later on 26 October. Svendsen listed both of these concerts in his almanac for 1881,15 and on 30 October commented: ‘Barcewi[c]z’s public concert in the gymnasium of [Akershus] Fortress where my Violin Romance was performed for the first time.’ The news­ papers referred to it as ‘Barcewicz’s farewell concert’, but the violinist stayed in Christiania for another week. Although Barcewicz played the better part of the concert on 30 October with piano accompaniment, the Romance was performed with string orchestra. Svendsen was conducting. The work’s title in Warmuth’s edition was Romanze für Violine mit Begleitung des Orchesters (oder auch nur Streichorchester). By means of cue notes, the edi-

tigt Buestrøg». En kritiker i Dresden mente Barcewicz kunne tilføre musikkstykker «en åndelig betydning», og at han i langsomme satser utstrålte «en møiesommeligt dæmpet Ild».5 Den første konserten i Christiania var 22. oktober, i Logens store Sal, og den andre samme sted få dager senere, 26. oktober. I almanakken for 18816 listet Svendsen opp begge disse konsertene, og på datoen 30. oktober skrev han «Barcewi[c]z’s Folkeconcert i Fæstningens Gymnastiklokale hvorved min Violinromanze for første Gang opføres». Avisene betegnet dette som «Barcewicz’s Afskedskonsert», men han ble likevel i Christiania en uke til. Størstedelen av konserten 30. oktober spilte Barcewicz bare med pianoakkompagnement, men romansen ble likevel fremført med strykeorkester. Svendsen dirigerte. Tittelen på stykket i Warmuths utgave var Romanze für Violine mit Begleitung des Orchesters (oder auch nur Streichorchester). Ved hjelp av stikknoter gjorde utgaven det mulig å fremføre verket også uten blåsere. Det var altså i denne versjonen urfremføringen med orkester fant sted. Versjonen med fiolin og klaver var nok spilt av mange før dette, i hvert fall i private sammenhenger, i og med at den var lagt ut for salg en måned tidligere. Dag­bladet fortalte etter urfremføringen om da capo og stor suksess for Barcewicz og Svendsen:

tion allowed performing the work without winds, and it was this version that was used for the first performance with orchestra. The version for violin and piano had probably been played many times before, at least in private settings, since it had been put up for sale one month earlier. Following the premiere, Dagbladet reported on the work’s great success for both Barcewicz and Svendsen: Svendsen’s new Romance for Violin was performed for the first time with string orchestra under the leadership of the composer. It was a rousing success, and had to be played da capo after repeated requests. The Romance is a lovely, poetic work that was performed as beautifully as one could possibly imagine.

Svendsens nye Romance for Violin udførtes for første Gang, med Strygeorkester under Komponistens Ledelse. Den gjorde stormende Lykke, og den blev efter gjentagne Opfordringer givet da capo. Romancen er et fint, poetisk Arbejde, og den blev ogsaa udført saa smukt, som tænkes kan.

DAGBLADET, 31 OCTOBER 1881.

The most insistent applause and curtain calls followed Svendsen’s Romance for Violin, presented by the concert holder with string orchestra accompaniment, led by the composer. The Romance, which has recently been published, was presented to the public for the first time that evening and altogether made an exceptionally favourable impression; a repeat was demanded and given under great applause, whereupon a double curtain call attested to the audience’s appreciation of the two artists and their collaboration.

DAGBLADET, 31. OKTOBER 1881.

Stærkest var Applausen og Fremkaldelserne efter Svend­sens Romance for Violin, der foredrages af Koncertgiveren med Akkompagnement af Strygeorkester, ledet af Komponisten. Romancen, der nylig er udkommen, blev denne Aften første Gang præsentert for Publikum og gjorde i sin Helhed et særedeles fordelagtigt Indtryk; den forlangtes og blev under stort Bifald gjentaget, hvorpaa en dobbelt Fremkaldelse viste de tvende Kunstnere Publikums Tak for deres Samvirken.

AFTENPOSTEN, 31 OCTOBER 1881.

AFTENPOSTEN, 31. OKTOBER 1881.

III

On 3 November, Barcewicz was still in Norway and attended the first meeting of the Quartet Society’s winter season 1881–1882. After the meeting, Svendsen noted the following in his almanac: 3. november var Barcewicz fremdeles i Norge og deltok på Kvartetforeningens første møte for vintersesongen 1881–1882. Svendsen noterte følgende i almanakken etter møtet:

First meeting of the Quartet Society where Barcewicz, after having played my Octet and Romance, was awarded a diploma as an honorary member of the society. The same distinction was also bestowed upon me.

Første Møte i Kvartetforeningen hvor Barcewicz efter at have spillet min Octett og Romance overrækkes Diplom som Æresmedlem af Foreningen. Samme Udmærkelse blev ogsaa mig tildel.

On 5 November, the pianist Edmund Neupert (1842– 1888) was scheduled to be soloist in the first concert of the Christiania Music Society but had to cancel due to illness. Barcewicz stepped in and played Max Bruch’s Violin Concerto No. 1 in G minor and Svendsen’s Romance, this time presumably with winds as well.

5. november skulle pianisten Edmund Neupert (1842– 1888) være solist ved Musikforeningens første konsert, men måtte melde sykdomsforfall. Barcewicz steppet da inn og spilte Max Bruchs fiolinkonsert i g-moll og Svendsens fiolinromanse, denne gang trolig også med blåsere.

Thereafter followed Svendsen’s Romance, which by no means is heard often enough, but on the contrary becomes increasingly fetching the more frequently it is heard.

Derefter fulgte Svendsens Romance, der ingenlunde er hørt ofte nok, men tvertimod vinder mere og mere, jo oftere den høres.

AFTENPOSTEN, 7 NOVEMBER 1881.

Special interest was attached to Mr Barcewicz’s performance of Joh. Svendsen’s new Romance for Violin, accompanied by the orchestra under the composer’s leadership. This beautiful composition, which was performed with equal warmth and sincerity as it was written, was a major success with the audience thanks to its characteristic mood and noble sonority, and both the composer and the performer had to give curtain calls to thunderous applause.

AFTENPOSTEN, 7. NOVEMBER 1881.

En speciel Interesse knyttede sig til Hr. Barcewicz’s Gjengivelse af Joh. Svendsens nye Violinromance, akkompagneret af Orkesteret under Komponistens Ledelse. Den vakre Komposition, der blev ligesaa varmt og inderligt foredraget som den er skreven, slog ved sin stemningsfulde Kolorit og noble Vellyd an hos Publikum i høj Grad, og under stormende Bifald blev baade Komponist og Exekutør fremkaldte.

AFTENBLADET, 7 NOVEMBER 1881.

After this, Barcewicz took the Romance along on his tours. In September 1882 he played it in Dresden. The same year, violinist Henry Schradieck (1846–1918) performed it at the Gewandhaus in Leipzig. Svendsen had developed a particularly close friendship with violinist and composer Eugène Ysaÿe. According to Norwegian musicologist Harald Herresthal, it was Henry Vieuxtemps (1820–1881) who introduced his student Ysaÿe to Svendsen in Paris.16 From April to July 1882, Ysaÿe visited Norway as part of a Scandinavian tour. Accompanists were Karen Ølstad (1839–1913) and Erika Lie Nissen (1845–1903).17 Ysaÿe was in Christiania from 7 May onward, after having given concerts in

AFTENBLADET, 7. NOVEMBER 1881.

Barcewicz tok deretter med seg fiolinromansen videre. I september 1882 spilte han den i Dresden. Samme år ble den fremført i Gewandhaus, Leipzig, med Henry Schradieck (1846–1918) som solist. Svendsen knyttet særlig sterke vennskapsbånd med fioli­nisten og komponisten Eugène Ysaÿe. I følge Harald Herresthal var det Henry Vieuxtemps (1820– 1881) som introduserte sin elev Ysaÿe for Svendsen i Paris.7 Fra april til juli 1882 var Ysaÿe i Norge som en del av en skandinavisk turné. Akkompagnatører var Karen Ølstad (1839-1913) og Erika Lie Nissen (1845–1903).8 Ysaÿe var i Christiania fra 7. mai, etter å ha konsertert i Bergen. Svendsen nevnte fiolin­istens konserter med klaver i Christiania i almanakken sin

IV

Bergen. In his almanac for 1882, Svendsen mentioned the violinist’s recitals with piano in Christiania.18 On 14 May, at the second of these recitals, Ysaÿe played Svendsen’s Romance: ‘Ysaÿe’s second concert ([Akershus] Fortress), where, among other things, he played my Romance.’ Ysaÿe also played the Romance with orchestra on 18 May at Christiania Theatre, with Svendsen conducting. The final violin/piano recital in Christiania took place on 21 May. Ysaÿe visited Norway a number of times and was an important interpreter of Edvard Grieg’s music. When Ysaÿe played the Romance in Angers in 1884, the audience and the critics remembered Svendsen’s concerts there in 1879–1880. The French daily Phare de la Loire wrote:

for 1882.9 På den andre av disse, 14. mai, spilte Ysaÿe romansen: «Ysaÿes andre konsert (Fæstningen) hvor han blant Andet ogsaa spillede min Romance.» Ysaÿe spilte også romansen med orkester 18. mai, på Christi­ ania Theater, med Svendsen som dirigent. Siste konsert i Christiania, med klaver, var 21. mai. Ysaÿe besøkte Norge flere ganger og var også en viktig interpret av Edvard Griegs musikk. Da Ysaÿe spilte Svendsens romanse i Angers i 1884, mintes publikum og kritikere Svendsens konserter der i 1879–1880. I avisen Phare de la Loire sto det:

We were greatly moved by this work by the dear and reputable Johan Svendsen. We would once again like to express our tender affection for his art, even if we know that our greeting has little chance of reaching him where he lives in his country far to the north.

Vi ble meget beveget over dette verket av den kjære og aktværdige Johan Svendsen. Vi ønsker på nytt å gi uttrykk for vår ømme hengivenhet overfor hans kunst, selv om vi vet at vår hilsen har små muligheter for å nå ham der han bor i sitt land langt mot nord.

PHARE DE LA LOIRE, 28 APRIL 1884 (AS QUOTED BY HARALD HERRESTHAL AND LADISLAV REZNICEK IN RHAPSODIE NORVÉGIENNE. OSLO, 1994, P. 100).

PHARE DE LA LOIRE, 28. APRIL 1884 (SOM GJENGITT I HARALD

In autumn 1885, Svendsen invited Ysaÿe to Copenhagen where he performed the Romance on 24 October at the season’s first philharmonic concert. Two days later, the critic for Berlingske Tidende praised his ‘beautiful tone’, his ‘inspired playing’ and his ‘eminent technique’, writing that ‘the versatility of his musical development became particularly clear in Joh. Svendsen’s well-known Romance, a composition one should rather have thought would be more distant to his natural disposition.’ Ysaÿe later returned to Copenhagen on several occasions, and on 25 October 1901 and 3 March 1906 once again performed as a soloist with Svendsen as condcutor. At the last of these concerts, he played the Romance as an encore to ‘endless cheers’, according to the Danish newspaper Dannebrog of 4 March, which particularly noted Ysaÿe’s ‘incomprehensibly profound legato’. The great Norwegian writer and poet Bjørnstjerne Bjørnson (1832–1910) wrote about Ysaÿe in an article in Bergens­posten of 16 March 1887 in which vividly described his impressions from a concert at the Salle Pleyel in Paris. Among other things, the programme included a sonata by Grieg.

HERRESTHAL OG LADISLAV REZNICEK: RHAPSODIE NORVÉGIENNE. OSLO, 1994, S. 100).

Høsten 1885 inviterte Svendsen Ysaÿe til København, hvor han fremførte romansen ved sesongens første filharmoni­konsert, 24. oktober. Kritikeren i Berlingske Tidende berømmet 26. oktober hans «klangskjønne Tone», hans «sjælfulde Foredrag» og hans «eminente Technik» og skrev at «Alsidigheden i sin Musikalske Udvikling lagde han særlig for Dagen i Joh. Svendsens bekjendte Romance, en Composition, man snarere skulde troe laa hans Naturel mere fjernt». Ysaÿe kom tilbake til København ved flere senere anledninger. Både 25. oktober 1901 og 3. mars 1906 opptrådte han igjen som solist med Svendsen som dirigent. Ved den siste av disse konsertene spilte han romansen som ekstranummer, til «endeløs Jubel», ifølge Dannebrog 4. mars, som særlig bemerket Ysaÿes «ubegribelig inderlige legato». Bjørnstjerne Bjørnson (1832–1910) beskrev Ysaÿe i en artikkel i Bergensposten 16. mars 1887, der han fortalte levende om sine inntrykk fra en konsert i Salle Pleyel i Paris. Her stod blant annet en sonate av Grieg på programmet.

A stout fellow who came swimming in under an enor-

En tyk fyr, som kom svømmende ind under et uhyre sort Hår, Forlufferne blidt runde, og Øjnene store og like­gyldige. [...] Han hadde jo en Kraft, rund og bred-

V

mously black head of hair, his upper limbs gently rounded and his eyes big and indifferent. […] And he had a power, round and burly under the rocking pulse of his rowing motions, and a profoundness of feeling, utterly unperturbed by everything else in the world. […] For as to letting the violin sing with a rich and tender sound, he has no equal among living violin­ists.

laden under den gyngende Ro-Takt, og en Følelsens Inderlighed, så uforstyrret af alt andet i Verden. [...] For i at la Violinen synge rikt og ømt har han ikke sin Make blandt nulevende Violinister.

In 1901, when Svendsen conducted at the ‘Concerts Ysaÿe’ in Brussels, Ysaÿe came all the way from London to meet his friend, a gesture Svendsen greatly appreciated:

Da Svendsen dirigerte ved Concerts Ysaÿe i Brussel i 1901, kom Ysaÿe ens ærend fra London for å treffe vennen, noe Svendsen satte stor pris på:

Imagine, Ysaye came from London just to play as a regular member of the orchestra, and after the concert he gave a dinner in my honour, one of the most splendid experiences of its kind I have ever had.

Tænk Dig, Ysaye kom fra London blot for at spille med som almindeligt Orkestermedlem, og efter Konserten gav han en Middag til min Ære, som var noget af det herligste jeg har oplevt af den Slags.

LETTER FROM JOHAN SVENDSEN TO JULIE SVENDSEN, BRUS-

BREV FRA JOHAN SVENDSEN TIL JULIE SVENDSEN, BRÜSSEL 21.

SELS, 21 JANUARY 1901. DANISH MUSIC MUSEUM.

JANUAR 1901. MUSIKMUSEET.

On 16 June 1911, the Danish newspaper Dagbladet wrote:

Den danske avisen Dagbladet skrev 16. juni 1911 at Ysaÿe hadde uttalt følgende:

The famous master violinist Ysaye once stated that he had played under most of the great conductors and knew practically every musician of import throughout the world, but that he had never met such a sterling musical personality as Johan Svendsen.

Den bekjendte violinmester Ysaye ytret en gang, at han hadde spillet under snart sagt de fleste store dirigenter og kjendte saa godt som alle de mest betydende musikere verden over, men han hadde aldrig truffet en saa helstøpt musikpersonlighed som Johan Svendsen.

The third violinist after Barcewicz and Ysaÿe who performed the Romance with Svendsen conducting was the composer’s close friend Gudbrand Bøhn (1839–1906). Bøhn, who was the same age as Svendsen, had played the first Norwegian performances of the Caprice, JSV 29, and the Violin Concerto in A Major, Op. 6. When Svendsen left Norway in 1859 in search of a place to study in Europe, he wrote his violin fantasy Farewell, JSV 8, for Bøhn, who later became one of Norway’s leading violin teachers. His students included Christian Sinding (1856–1941), Sigurd Lie (1871–1904), Johan Halvorsen (1864–1935), Harald Heide (1876–1956), Ole Hjellemo (1873–1938) and William Farre (1867–1939), among others. On 10 December 1882, Bøhn played the solo part in the Romance at a matinée with the Christiania orchestra Musikforeningen in Drammen near Oslo. Two days later, the Norwegian daily Dagen wrote that ‘Mr G. Bøhn played the violin solo in “Zorahayda” as well as Svendsen’s “Romance”, thus earning well-deserved curtain calls and enthusiastic applause.’

Den tredje fiolinisten som spilte romansen med Svendsen som dirigent, etter Barcewicz og Ysaÿe, var Svendsens jevnaldrende og nære venn Gudbrand Bøhn (1839–1906), fiolinisten som hadde gitt både Caprice, JSV 29 og Fiolinkonsert i A-dur, op. 6 de første fremføringene i Norge. Da Svendsen forlot Norge i 1859 for å finne et studiested i Europa, skrev han verket Farvel, JSV 8 nettopp til Bøhn, som senere ble en ledende fiolinpedagog i Norge; han var lærer for blant andre Christian Sinding (1856–1941), Sigurd Lie (1871–1904), Johan Halvorsen (1864–1935), Harald Heide (1876–1956), Ole Hjellemo (1873–1938) og William Farre (1867–1939). Bøhn var solist i fiolinromansen ved en matinékonsert med Christiania-orkesteret Musikforeningen i Drammen 10. desember 1882. Avisen Dagen skrev 12. desember at «[H]r. G. Bøhn spillede Violinsoloen i «Zorahayda» samt Svendsens «Romance» og høstede derfor velfortjente Fremkaldelser og levende Applaus». Da Svendsen fremførte romansen for første gang i København, i Casinos Store Sal 14. oktober 1882, var

VI

When Svendsen performed the Romance for the first time in Copenhagen in the large hall of the Casino (14 October 1882), Christian Schiørring (1837–1893) performed the solo part. He had held the ‘soloist position’ with the Royal Danish Orchestra since 1870.

Christian Schiørring (1837–1893) solist. Han hadde hatt «solistplassen» i Det Kongelige Kapel siden 1870. I Romanzen for Violin, som fik en særdeles dygtig Udførelse af Hr. Schjørring, er der en meget fin og sjælfuld Poesi, og Poesi er overhodet noget som sjælden synest at fattes i Hr. Svendsens Musik.

There is an extremely fine and soulful poetry in the Romance for Violin, which was performed with particular skill by Mr Schjørring, and poetry is something that altogether rarely seems to be missing in Mr Svendsen’s music.

MORGENBLADET, 17. OKTOBER 1882.

MORGENBLADET, 17 OCTOBER 1882.

Den kjendte, smukke Violinromanse blev foredraget med kjendelig Omhu og kunstnerisk Foredrag af Hr. Schjørring og tog sig under den orkestrale Behandling dobbelt flatterende ud.

The famous, beautiful Romance for Violin was performed with considerable care and artistic execution by Mr Schjørring and made twice as favourable an impression due to the orchestral treatment.

NATIONALTIDENDE, 16. OKTOBER 1882.

NATIONALTIDENDE, 16 OCTOBER 1882.

Ogsaa Violin-Romancen er som Composition mindre fremtredende; dens Indhold lider under en vis Ensformighed, og Solospillerens Inspiration lammes derfor i ikke ringe Grad. Hr. Schjørring spillede meget sjønt, men særlig Virkning frembragdtes der ikke, skjøndt Romancen ledsagedes af Orchester.

The Romance for Violin, too, is less distinguished as a composition; its substance suffers from a certain monotony and therefore paralyzes the soloist’s inspiration to no small degree. Mr Schjørring played very beautifully, but a particular effect was not achieved, even though the Romance was accompanied by orchestra.

BERLINGSKE TIDENDE, 16. OKTOBER 1882.

BERLINGSKE TIDENDE, 16 OCTOBER 1882.

Aftenens eneste Solonummer var Svendsens Violin­ romanse fra i Fjor. Det prægtige, lille Stykke har gentagende Gange været omtalt her i Bladet, og jeg skal blot med et Par Ord berøre Hr. kgl. Kapelmusikus Schjørrings Udførelse. Jeg skal ærlig tilstaa, at jeg ikke mente, og endnu ikke mener, at Hr. Schjørring er særlig kvalifiseret til at spille Romancen; den er ham for moderne, – han er nu en Gang vor «klassiske» Violinspiller, og her er han Nr. 1. Men ikke desto mindre er det kun min Skyldig­ hed ad inrømme, at Hr. Schjørring over­raskede ved det meget, han fik frem i Romancen. Hans Spil var først og fremmest selvfølgelig, rent teknisk taget, udmærket, men det var tillige langt varm­ ere, be­vægeligere, end jeg nogensinde før har hørt hos ham, selv om han ikke naaede at komme helt i Højde med Kompositionen.

The only solo number of the evening was Svendsen’s Romance for Violin from last year. This magnificent little piece has repeatedly been discussed in this paper, and I shall only touch on the performance by Mr Schjørring, a member of the Royal Orchestra, with a few words. I must honestly admit that I never believed, and still do not believe, that Mr Schjørring is particularly qualified to play the Romance; it is too modern for him – it so happens that he is our ‘classical’ violinist, and in that respect he is No. 1. But nevertheless, I am duty-bound to admit that Mr Schjørring surprised through all he was able to bring forth in the Romance. From a purely technical point of view, his playing was excellent, of course, but it was also far warmer and more nimble than I have ever heard him play before, even if he did not succeed in being fully on a par with the composition. DAGSAVISEN, 16 OCTOBER 1882.

DAGSAVISEN, 16. OKTOBER 1882.

During his London and Paris period from 1878 to 1880, Svendsen also became well-acquainted with the Span-

I London- og Paris-perioden fra 1878 til 1880 ble Svendsen også godt kjent med den spanske fiolinvirtuosen og komponisten Pablo de Sarasate. Svendsen hørte Sarasate spille ved mange konserter i London i april og mai

VII

ish violin virtuoso and composer Pablo de Sarasate. In April and May 1878, Svendsen attended many of Sarasate’s concerts in London, and from 4 May, Svendsen’s almanac tells us that the two men also met in more informal contexts. Sarasate took part in private soirées and played both Svendsen’s String Quintet in C major, Op. 5, and his String Octet in A major, Op. 3 (26 May and 2 June 1878). Svendsen told Edvard Grieg about this new friendship in a letter from London:

1878. Fra 4. mai ser vi av Svendsens almanakk at de to også traff hverandre i mer uformelle sammenhenger. Ved private soireer var Sara­sate med og spilte både Strykekvintett i C-dur, op. 5 og Strykeoktett i A-dur, op. 3 av Svendsen (26. mai og 2. juni 1878). Svendsen fortalte om det nye vennskapet i et brev fra London til Edvard Grieg:

I have heard Sarasate many times as a violinist. He is a strange artist; he plays everything written for the violin, and all of it excellently; in addition, he is a thoroughly nice human being whose company is simply a pleasure. Just imagine! Last Sunday at a private party he played no less than 5 – five of Beethoven’s major quartets, Schubert’s D minor, and a new, long and difficult concerto by Bruch.

Violinisten Sarasate har jeg hørt mange Gange. Han er en mærkelig Kunstner; han spiller alt som er skrevet for Violin, og alt udmærket; dertil er han et gjennom hyggeligt Menneske som det er en Glæde at være sammen med. Tænk Dig! sist Søndag spillede han i et privat Selskab ikke mindre end 5 – fem af Beethovens store Quartetter, Schuberts D mol, og en ny, lang og svær Concert af Bruch.

LETTER FROM JOHAN SVENDSEN TO EDVARD GRIEG, LONDON, 15 JUNE 1878. BERGEN PUBLIC LIBRARY.

BREV FRA JOHAN SVENDSEN TIL EDVARD GRIEG, LONDON 15.

When Svendsen left London for Paris in August 1878, Sarasate generously loaned him his apartment. Ten years were to pass after the London/Paris years before the two men met again. In a letter of 14 January 1888 to his sister Alberthine, Svendsen tells her that he has invited Sarasate to Denmark: ‘My next concert will take place on 4th of February, and I have engaged Sarasate as the soloist.’ In addition to Bruch’s violin concerto, Ysaÿe’s Caprice d’après l’étude en forme de valse de Saint-Saëns, Op. 52, and a collection of Spanish dances, Sarasate played Svendsen’s Romance. Following the concert, Morgenbladet wrote that Svendsen’s ‘magnificent Romance for Violin’ was a ‘perfect delight’ and stressed Sarasate’s wonderful sound in particular. Dagens Nyheder, on the other hand, was a bit taken aback by Sara­sate’s interpretation:

JUNI 1878. BERGEN OFFENTLIGE BIBLIOTEK.

Sarasate lånte generøst ut leiligheten sin da Svendsen kom til Paris fra London i august 1878. Det skulle gå ti år etter London- og Paris-årene før de to møtte hverandre igjen. I et brev til søsteren Alberthine 14. januar 1888 fortalte Svendsen at han hadde invitert Sarasate til Danmark: «Min næste Concert finder Sted den 4de Februar, hvortil jeg har engageret Sarasate som Solist.» I tillegg til Bruchs fiolinkonsert, Ysaÿes Caprice d’après l’étude en forme de valse de Saint-Saëns, Op. 52, og noen spanske danser spilte Sarasate Svendsens fiolinromanse. Morgenbladet skrev etter konserten at Svendsens «prægtige Violin-Romance» var en «fuldendt Nydelse» og fremhevet særlig Sarasates vidunderlige klang. Dagens Nyheder var på sin side litt forbauset over interpretasjonen av romansen:

It was Saint-Saens’ elegant ‘Caprice’ and Johan Svendsen’s famous Romance, which seems to have found a firm place in the repertoire of violinists around the world, that allowed him to show his true artistic qualities, even if we are used to expecting a slightly more passionate expression in the performance of Svendsen’s Romance than, strangely enough, the performance of this Southern European offered.

Det var i Saint-Saens elegante «Caprice» og i Johan Svendsens berømte Romance, der synes at have fundet en fast Plads paa alle Nationers Violinspilleres Repertoire, at hans egenlige Kunstnereiendommeligheder rigtig fik Leilighed til at vise sig, om end vi ganske vist ere vante til at tænke os et lidt mere lidenskabeligt Udtryk i Gjen­givelsen af Svendsens Romance end, mærkelig nok, denne Syd­lændings Gjengivelse indeholdt.

DAGENS NYHEDER, 5 FEBRUARY 1888.

DAGENS NYHEDER, 5. FEBRUAR 1888.

VIII

In a letter of 15 February 1888 to Johan Selmer, Svendsen characterized Sarasate as ‘a magnificent artist and a pleasant companion’. On 22 February, he wrote in more detail about Sarasate’s visit in a letter to Grieg: I et brev til Johan Selmer 15. februar 1888 karakteriserte Svendsen Sarasate som «en prægtig Kunstner og en hyggelig Kammerat». 22. februar fortalte han mer detaljert om Sara­sates besøk i et brev til Grieg:

I have also had an enjoyable visit from Sarasate; no change in the 10 years in which I haven’t seen him, just as amiable and friendly as ever. Well: You can imagine we had a nice time together, especially when he played quart­ets at my home one evening with Neruda and a couple of other gentle­men.

Jeg har jo ogsaa havt et hyggeligt Besøg her af Sarasate; ingen Forandring i de 10 Aar jeg ikke har seet ham, lige elsk­værdig og hyggelig som før. Jo: Du kan tro vi havde det koselig sammen, især da han en Aften spillede Kvartetter hjemme hos mig sammen med Neruda og et Par andre Herrer.

LETTER FROM JOHAN SVENDSEN TO EDVARD GRIEG, 22 FEBRUARY 1888. BERGEN PUBLIC LIBRARY.

On 13 July 1893, the leading Norwegian violinist Arve Arvesen (1869–1951), who had studied with Ysaÿe, among others, played the solo part when the work was performed in Christiania. Svendsen also conducted the Romance on 10 April 1886 in Helsinki and in August 1892 at the International Music and Theatre Exhibition in Vienna . The Norwegian violinist, conductor and composer Johan Halvorsen (1864–1935) belongs to the generation after Svendsen, but the ties between the two men were many and strong. At Grieg’s music festival in Bergen in 1898, Halvorsen was soloist in the Romance in two concerts with the Concertgebouw Orchestra on 1 and 2 July. Svendsen was conducting. The following autumn, on 11 and 12 November 1899, Halvorsen repeated the success, also this time with Svendsen on the conductor’s podium at the newly inaugurated venue of the National Theatre in Christiania. Both Carl Warmuth and Wilhem Hansen had to reprint the Romance many times. Several of the editions from Svendsen’s time and the years right after his death include fingerings, articulations and bowings by famous violinists such as Fritz Kreisler (published by Wilhelm Hansen in 1912) and August Wilhelmj (published by Schott c1910). The enormous popularity of the work in its own day is captured by the following three texts, all of which try to take an in-depth look to convey the qualities of the work:

BREV FRA JOHAN SVENDSEN TIL EDVARD GRIEG, 22. FEBRUAR 1888. BERGEN OFFENTLIGE BIBLIOTEK.

13. juli 1893 var den ledende norske fiolinisten, Arve Arvesen (1869–1951), som blant annet hadde hatt Ysaÿe som lærer, solist da verket ble oppført i Christiania. Svendsen dirigerte også romansen 10. april 1886 i Helsinki og i august 1892 i Wien, ved Internationale Musikund Theater-Ausstellung det året. Fiolinisten, dirigenten og komponisten Johan Halvorsen (1864–1935) var en generasjon yngre enn Svendsen, men båndene mellom dem var mange og sterke. Ved Griegs musikk­fest i Bergen i 1898 var Halvorsen solist i romansen ved to konserter med Concertgebow-orkesteret, 1. og 2. juli 1898, med Svendsen som dirigent. Høsten etter, 11. og 12. november 1899, gjentok Halvorsen suksessen, også denne gangen med Svendsen på dirigentpodiet, nå i Nationaltheatrets nyinnvidde bygning i Christiania. Både Carl Warmuth og Wilhem Hansen måtte trykke romansen på nytt i mange opplag. Flere av utgavene fra Svendsens samtid og årene like etter hans død er tilført finger­ setninger, artikulasjon og strøk av kjente fiolinister som for eksempel Fritz Kreisler (utgitt av Wilhelm Hansen i 1912) og August Wilhelmj (utgitt av Schott ca. 1910). Verkets store popularitet i samtiden blir belyst gjennom følgende tre tekster, som alle forsøker å gå i dybden for å formidle verkets kvaliteter:

What is there to say about the Romance for Violin by this superb composer who may not have been adequately understood in Paris and whose admirable and touching inspirations from a heart filled with poetic thoughts fall upon the paper from the depths of his

Hva skal vi si om romansen for fiolin av den fortreffelige komponisten som kanskje ikke i tilstrekkelig grad er blitt forstått i Paris og som fra dypet av sitt poetiske fedreland lar beundringsverdige og rørende inspirasjoner fra et hjerte fylt av poetiske tanker

IX

poetic fatherland. All the impassioned dreams of the beautiful country in the north where the lakes, forests and mountains hold such lovely enchantment can be found in these few notes that Ysaye with his incomparable bow has translated for us so eloquently. This music is as clear, open and transparent as the sky that has witnessed its birth. This melody, which advances and grows, which evolves without ever coming to a halt, always simple, avoiding cadences, this melody seems in truth to be a little poem filled with love and mystery, one listens as if clinging to the lips of one’s beloved, it takes hold of you, captivates you, leads you to higher spheres to which only higher reasoning opens up our ears, tired of all the realistic exaggerations we otherwise hear these days.

falle ned på papiret. Alle de følelsesfylte drømmer i det vakre landet der nord hvor sjøene, skogene og fjellene har en sånn skjønn fortryllelse, lar seg finne i disse få notene som Ysaye med sin uforliknelige bue på en så veltalende måte har oversatt for oss. Denne musikken er likeså klar, åpen og gjennomsiktig som den himmel som har sett den bli til. Denne melodi som løper og vokser, som utvikler seg uten noen gang å stoppe opp, alltid enkel, som unngår kadensene, den synes å være et virkelig lite dikt fylt av kjærlighet og mystikk, man lytter som om man henger ved leppene til den elskede kvinne, det griper deg, fanger deg, fører deg til de høyere sfærer for hvem bare den høyere forstand åpner for våre ører, trette av alle de realist­iske overdrivelser vi ellers hører nå for tiden.

LOUIS DE ROMAIN: ESSAIS DE CRITIQUE MUSICALE, 1890 (AS QUOTED BY HARALD HERRESTHAL AND LADISLAV REZNICEK IN RHAPSODIE NORVÉGIENNE. OSLO, 1994, PP. 109–110).

NEKROLOG I BRITISKE «THE TIMES», SOM SITERT I MORGENBLA-

He was chiefly known to the English public as the composer of one piece of music – the Romance for violin and orchestra which every violinist plays. The piece is indeed typical of him. It is one of the things which seem to spring straight from the instrument for which they were written. Of course, it has been arranged – it has been played both on the organ and the concertina – but one cannot hear it in any conditions without feeling that it could only have been written by one to whom the violin was a natural means of expression. [...] In 1888 Svendsen was invited to conduct his Symphony in D, the most famous of his two symphonies, at a concert of the Philharmonic Society; and that Society has recognized his genius by playing other works of his and by electing him an honorary member. Other orchestral works, such as the delightful ‘Carnaval i Paris’ which has been played at the Promenade Concerts, are occasionally to be heard. But no one has taken so firm a hold as the Romance, probably because though all his work is of a high order it shows a certain mildness of temperament – a quality which is treated with impatience at the present day. Nevertheless, Svendsen’s music bears the stamp of sincerity. His list of compositions is a remarkably short one for a man who dies at the age of 70, and that alone is a symptom of the fact that he only wrote when he had something to say and never yielded to the temptation to write for the sake of writing which besets men of facile gifts.

DET, KØBENHAVN, 18. JUNI 1911.

OBITUARY IN THE TIMES, LONDON, 15 JUNE 1911.

LOUIS DE ROMAIN: ESSAIS DE CRITIQUE MUSICALE, 1890 (SOM GJENGITT I HARALD HERRESTHAL OG LADISLAV REZNICEK: RHAPSODIE NORVÉGIENNE. OSLO, 1994, S. 109-110).

Johan Svendsen er særlig kjendt av det engelske Publikum som den der har komponeret det ene Stykke «Violinromancen», som enhver Violinist spiller. Dette Stykke er typisk for ham. Det er en av disse Ting, som synes at springe like ut av det Instrument, for hvilket det er skrevet. Man kan ikke høre det uten at føle, at det er skrevet av en, for hvem Violinen var et naturlig Uttryksmiddel. Bladet nævner enkelte av Svendsens Verker, som er blit spillet i England, f. Eks. det herlige «Karneval i Paris», men hævder, at ingen av dem har faat et saa fast Tak i Publikum som Romancen, rimeligvis fordi den viser en viss Mildhet i Temperament, som er en Sjeldenhet i vore Dage. Svend­sens Musik bærer Oprigtighedtens Præg. Listen over hans Kompositioner er merkelig kort for en Mand, som dør i en Alder av 70, og dette er et Bevis paa, at han bare skrev, naar han hadde noget at si, og at han aldri gav efter for den Fristelse til at skrive bare for at skrive, som begavede Mennesker ofte ligger under for.

Eller et Par Ord om Romancen, Violinromancen. Den staar i Enkelttal, ikke blot i Johan Svendsens Produktion, men i hele Verdens Romance-litteratur. Siden Beethoven har det ikke været skrevet en

X

A few words about the Romance, the Romance for Violin. It stands alone, not only among Johan Svendsen’s works, but in the entire romance literature of the world. Since Beethoven, no such violin romance has been written, and none after Svendsen. It exists in every imaginable version, and there is not a violinist on the planet who does not take it along on his journeys. As a globetrotter, it is a companion piece to none other than Händel’s Largo, and in artistic perfection it is second to none. Some people call the violin the noblest of all instruments. And if there is any piece of music capable of rendering the very soul of the violin into sound, it is this little great miracle. Compositionally it is brilliant in its simplicity, spiritually in its plainness. There is a dogma saying that chromaticism is not really very refined – Johan Svendsen destroys this dogma and shows that in the proper hands it has a unique nobility. Here, the striding chromaticism forms – step by step – a downright magical backdrop, a peace and calm, and behind it trembles the troubled mind. It is a mind filled with sorrow. Beginning in melancholy, rising to pain, ebbing out into soothing major, yet not truly relieving the pain but merely gaining a broader perspective. The Romance for Violin is the price the optimist pays for his optimism, and it is a costly price. And to think some people have said there is no depth to Johan Svendsen!

saadan Violinromance, efter Svendsen ingen. Den findes i alle mulige Anretninger, og der er ikke den Violinspiller paa Kloden, som ikke har den paa Valsen. Som Globetrotter er den et Sidestykke til selve Händels Largo, og i kunstnerisk Fuldkommenhed viger den den ikke en Kende. Der er nogen, der kalder Violinen for det ædleste af alle Instrumenter. Og er der noget Musikstykke, der har kunnet bringe selve Violinens Sjæl til at tone, saa er det dette lille store Under. Kompositorisk er det en Enkelhedens Genialitet, sjælelig en Enfoldens. Det er et Dogme, at Kromatik ikke er noget rigtig fint noget, det Dogme tilintetgør Johan Svendsen og viser, at den i fornem Haand er et Unikum af Noblesse. Her giver Kromatiken med sin skridende Gang – Trin paa Trin – en rent ud forunderlig Baggrund, en Stilhed og Ro, bag hvilken dirrer det bespændte Sind. Det Sind er et Sorgens. Begynder i Melankoli, stiger til Smerte, toner ud i mildnende Dur, dog uden virkelig Lindring for Smerten, den faar blot større Perspektiv. Violinromancen er Lysseerens Pris for sit Lyssyn, og dyr Pris. Og saa var der altsaa nogen, der sagde, at der ikke var Dybde i Johan Svendsen!

HUGO SELIGMAN IN POLITIKEN, COPENHAGEN, 15 JUNE 1911.

HUGO SELIGMAN I POLITIKEN, KØBENHAVN, 15. JUNI 1911.

About this edition Om denne utgaven Ever since the first performances of Svendsen’s Romance Op. 26, soloists performing the work with orchestra have been using the violin part found in the first edition for solo violin and piano. This part is slightly older than that of the orchestral version, and differs in several ways from the latter. The creative variants in the score’s solo part have been incorporated into the solo part of this JSV edition. The two versions differ particularly in the use of dynamics. Some elements are of particular significance, since Svendsen may simply have ‘forgotten’ them: The staccatos in b. 63, the pp dolce in b. 93, the ff in b. 117 and the sempre ff e ben tenuto in b. 121. Such interesting details can be studied in the critical report at the end of this volume. In our score, some of the variants found in CSPT have been added in [brackets]. The printed orchestral material of the first edition differs in many ways from the first edition score, and many musical elements are missing in the parts. Therefore, the

Helt siden de aller første fremføringene av Romanse op. 26 har solister med orkester benyttet fiolinstemmen fra første­utgaven for fiolin og piano. Denne stemmen er litt eldre enn orkesterversjonens, og den skiller seg på flere punkter fra den som er integrert i orkesterpartituret. De kreative ideene fra partiturets solo­stemme er med i denne JSV-utgavens solostemme. De to versjonene er særlig ulike når det gjelder dynamikk. Noen elementer er det særlig viktig å merke seg, siden Svendsen rett og slett kan ha «glemt» dem: Rekken med staccati i takt 63, pp dolce i takt 93, ff i takt 117 og sempre ff e ben tenuto i takt 121. Slike interessante detaljer kan studeres nærmere i den kritiske rapporten bakerst i heftet. Det trykte orkestermaterialet til førsteutgaven skiller seg i mange detaljer fra førsteutgavens partitur, og stemmene mangler en hel del elementer. Denne nye utgaven tilbyr derfor en viktig oppdatering av orkestermaterialet til Svendsens mest fremførte verk. Førsteutgaven gjør det mulig å fremføre verket i en

XI

present edition offers an important update of the orchestral material to Svendsen’s most frequently performed work. The first edition was prepared to allow performance in a version for string orchestra and soloist, without winds, since some of the wind parts were inserted as cue notes in the string parts. In 1881, the work was premiered in just such a version. For the first time, this new edition makes the string orchestra version available as a printed score. In Svendsen’s day, and in the decade following his death, several leading violin virtuosos published solo parts of the Romance, including bowings, fingerings and other annotations. At the back of this edition, seven of these solo parts have been reproduced. They provide a fascinating insight into the wide range of musical practices and thinking around the turn of the century. We do not know of any recordings of the Romance with Svendsen conducting, but an excerpt of the work can be heard on Denmark’s oldest sound recording, a wax cylinder from the Gottfried Ruben collection (ca. 1892–1895), played by Svendsen’s friend and pupil Fini Henriques (1867–1940). Henriques recorded the work again in 1911, also this time with a cut, released as a 78 rpm record on the Gramophone Monarch Label, catalogue no. 0897900.

ver­sjon for strykeorkester og solist, uten blåsere, siden en del av blåsestemmene er satt inn som stikknoter i strykestemmene. Verket ble urfremført i 1881 i en slik versjon. Denne nye utgaven gjør strykeorkesterversjonen tilgjengelig som utskrevet partitur for første gang. I Svendsens samtid og i tiåret etter hans død utgav flere ledende fiolinvirtuoser solostemmer til romansen, med strøk, fingersetninger og andre annoteringer. Bakerst i denne utgaven er sju av disse solostemmene gjengitt. De gir et fascinerende innblikk i århundreskiftets varierte fremførings­praksis og artistiske tenkning. Innspillinger av romansen med Svendsen selv som dirigent er ikke kjent. Men et utdrag fra verket kan høres på en av Danmarks eldste lydinnspillinger, en voksrull produsert av Generalkonsul Gottfried Ruben i København i perioden 1892–95, spilt av Svendsens elev og venn Fini Henriques (1867–1940). Henriques spilte igjen inn verket i 1911, også denne gang i forkortet versjon, utgitt av Gramophone Monarch Record på en akustisk 78-plate, katalognr. 0897900. Bjarte Engeset

Bjarte Engeset English translation: Thilo Reinhard

NOTER

NOTES

Christiania var navnet på Oslo fra 1624. Fra 1877 ble navnet skrevet Kristiania i matrikkel og statskalender og fra 1897 også av byens kommunale etater. Oslo ble igjen offisielt navn 1. januar 1925. I Johan Svendsens Verker bruker vi skrivemåten Christiania i omtalen av hendelser som skjedde i løpet av Svendsens liv.

Christiania was the name of today’s Oslo from 1624 until 1924. In 1877, the spelling Kristiania was adopted in land registers and government documents, and from 1897 also by the city’s municipal agencies. On 1 January 1925, the official name was once again changed to Oslo. In Johan Svendsen’s Works, we use the spelling Christiania in connection with events that occurred during Svendsen’s lifetime.

1

2

10

Carl Warmuths stikkerprotokoller. Nasjonalbiblioteket, Oslo.

Carl Warmuth’s engraving records (stikkerprotokoller). National Library of Norway, Oslo. 11

Morten Christophersen: Panoramic Constraints - A Study of Johan Svendsen’s Musical Sketches and Exercises, Universitet i Oslo, Oslo, 2016, s. 409. 3

Morten Christophersen: ‘Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches and Exercises’, University of Oslo, Oslo, 2016, p. 409. 12

Johan Svendsen: Almanakk fra 1878. Notisbøker, almanakker, notehefter og dagbøker. Nasjonalbiblioteket, Oslo, Ms.8° 1191:12 4

5

Johan Svendsen: Almanac for 1878. Notisbøker, almanakker, notehefter og dagbøker. National Library of Norway, Oslo, Ms.8° 1191:12. 13

Nordisk Musiktidende august 1881, s. 116.

14

Johan Svendsen: Almanakk fra 1881. Notisbøker, almanakker, notehefter og dagbøker. Nasjonalbiblioteket, Oslo, Ms.8° 1191:14 6

Nordisk Musiktidende, August 1881, p. 116.

Johan Svendsen: Almanac for 1881. Notisbøker, almanakker, notehefter og dagbøker. National Library of Norway, Oslo, Ms.8° 1191:14. 15

Harald Herresthal og Ladislav Reznicek: Rhapsodie Norvégienne. Norsk musikk i Frankrike på Edvard Griegs tid. Oslo, 1994, s. 110. 7

Harald Herresthal and Ladislav Reznicek: Rhapsodie Norvégienne. Norsk musikk i Frankrike på Edvard Griegs tid. Oslo, 1994, p. 110. 16

Marie Cornaz: À la redécouverte d’Eugène Ysaÿe, Brussel, 2019., s. 30. Herresthal og Reznicek skriver i Rhapsodie Norvégienne at Ysaÿe turnerte sammen med Anton Rubinstein (1829–1894), men Rubinsteins navn er ikke nevnt i presseoppslagene om denne turneen. 8

Marie Cornaz: À la redécouverte d’Eugène Ysaÿe, Brussels, 2019, p. 30. In their book Rhapsodie Norvégienne Herresthal and Reznicek write that Anton Rubinstein (1829–1894) toured with Ysaÿe, but Rubinstein’s name never apperared in the press releases covering the tour. 17

Johan Svendsen: Almanakk fra 1882. Notisbøker, almanakker, notehefter og dagbøker. Nasjonalbiblioteket, Oslo, Ms.8° 1191:15. 9

Johan Svendsen: Almanac for 1882. Notisbøker, almanakker, notehefter og dagbøker. National Library of Norway, Oslo, Ms.8° 1191:15. 18

XII

ROMANCE, OP. 26, COVER OF THE FULL SCORE, FIRST EDITION. SOURCE A. CARL WARMUTH, CHRISTIANIA 1881.

XIII

ROMANCE, OP. 26, FIRST PAGE OF THE FULL SCORE, FIRST EDITION. SOURCE A. CARL WARMUTH, CHRISTIANIA 1881.

XIV

ROMANCE, OP. 26, VERSION FOR VIOLIN AND PIANO, FIRST EDITION, COVER PAGE, SOURCE B. CARL WARMUTH, CHRISTIANIA 1881..

XV

ROMANCE, OP. 26, VERSION FOR VIOLIN AND PIANO, FIRST EDITION, FIRST PAGE OF MUSIC, SOURCE B. CARL WARMUTH, CHRISTIANIA 1881..

XVI

Romanse, op. 6 JSV 79

Romance, Op. 6 PIANO SCORE

EDITORIAL NOTE: This score is based on the Warmuth edition (September 1881) of Svendsen’s version for violin and piano. We have made adjustments to the score, aligning it with the version for violin and orchestra printed one month later. Most of our emendations concern dynamic markings. The solo part in this new piano score corresponds to the solo part in the score of the orchestral version. A list of our emendations can be found after the score, along with a listing of alternative readings in the sources. The version for violin and piano as issued by Warmuth can be found in SERIES IV/ VOLUME 2a of the JSV edition, Works for Violin and Piano.

Romanze [Piano score of the version for violin and orchestra] [JSV 79a]

Andante q = 60 # 3 ∑ & 4

Violine

Pianoforte

6

&

&

#

&

∑

#

# & n  .

n  .

∑

Œ

∑

 .. b œ

F n.

# œœ

Œ

?# 3 4

# 

?#

13

# 3 & 4Œ f

#œ

Œ

fœ

 ..

∑

œ b  .

.  .. ? #  . œ Œ Œ Œ œ Œ

 ..



Œ œ Œ

 ..

 .

∑

 #.

∑

œ

∑

dim.

Œ Œ Œ œ Œ œ

Copyright © 2020 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo. N.M.O.14602 C

Œ Œ

œj  #.

œ

#  .. œ Œ Œ

œ

∑

..  ..

f

∑

œ . œ .  ..

œ

π #.

.

#  .. œ Œ Œ

œ ..  ..

Œ Œ b  ..

bœ

∑

∑

œ  .

∑

bœ

dim.

j n œ œ . œ . p  .. œ Œ Œ

b  ..

∑

n  ..

∑

#  . .

dim.

œ  .

∑

∑

 . .

∑

∑

Johan S. Svendsen, Op. 26

∑

Œ

p

œ

œœœ Œ Œ œ

 ... .

π œ Œ Œ Œ Œ

œ

œ

œ Œ Œ

21

&

œ œ. œ- œ- œ- œ

# 

œ œ. œ J œ.

3

# .  ... &  .  . π e sempre legato  .. ? #  .. . .

29

&

&

#

#



p

œ œ n œ œ œ p

&

&

#

# œœ

&

#

œ-

œ-

œ-

œ-

œœ

œ

- -

& n  .. . ? #  .. .

œ J

#œ

œ-

   

œ- œ- œ œ

- -

œ- œ- œ œ

œ

œ.

.

# œœ # œœ

œ œ

n 

œ- œ- œ-

œœ œœ

œ.

œ

œœ



2

π

œj œ- œ- œ-

J

œœ œ œ œ

f

 

F



 .. . œ- œ- œ 3

œ œ œ œ œ 

œœœ

 .

3

. œ œ œ

#œ J

. #  ...

œj  .  .. œ

 .. .

3

π

œ

œ œ #œ  J



J

 ..  ..

œ œ œ.

#  



J

3

sempre legato

 

 ..

œ . 

œ

œœ

œ œ. .



œ

œœ

œ. œ œ.

œ œ

œ œ œ œ œ œ  œ. . .

œ œ œ œœœ œ 

œ œ 

J

œœ #  .. œ .

 

œœ œœ

œ œ œ œ œ œ . œ œ œ

œ. œ œ.

#

- -

3

œ

œ



œ œ œ œ œ œ ? # . 39

œ-

œœ

3

 

 .. .

œ œ- œ- œ- œœ- œ- œ œ

œ

3

.  ..

 .. .

 .. .

œ œ. œ- œ- œ- œ



.  ..

 .. .

A poco animato

? #  . 34

œ œ œ  J

 .. . rit. œ œ- œ- œ . œ 

œ

bb

œœ œ

b œœ bœ

bb

œ œ

 

 ..

bb

più mosso q = 116

b & b œ p

45

œ

œ œ œ.

œ

œ

j bb ‰ œœj ‰ œœj ‰ œœj ‰ œœ ‰ & œ œ œ œ p œ. œ. ? b œ. œ. œ. b

50

&

bb œ

55

&

bb

j

œ. œ œ œ œ. œ œ œ

j

œ ‰ œj œœ œœ ? b œœ n œœ b œœ n b b

b & b

60

œ

3

œ bœ œ œ

b ‰ œj ‰ b & # œœ

? b œ bœ b œ bœ

œ.

j

3

j

j ‰ # œœ ‰ #œ

œ bœ œ bœ

p

Bœ

π b. bœ bœ . .

j

œ

j

j

œ

œ

j

[F ]

bœ

j

œ

œ. œ. œ.

œ

j

œ

j

bœ

j

œ œ œ.

j

œœœ

J

œ

j

j

œ.

œ œ œ œ

bœ

œ

j

j

j

œ œ bœ œ œ.

j

j

3

œ

j

j

œœ ‰ œœ ‰ b œœ ‰ # œœ ‰ œœ ‰ b œœ ‰ œœ ‰ œœ œ œ œ œ œ œ œ œ bœ œ œ œ b œ œœ œœ n œ b œ nœ bœ œ œ œ

œ œ

œ bœ bœ œ. œ nœ

j

j

3

œ

n œœ ‰ n œœ ‰ œœ ‰ œœ ‰ œœ ‰ b œœ ‰ œœ ‰ œœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ

j j n œœ ‰ n œœj ‰ œœ ‰ œ nœ œ

j œ œ ‰ œ ‰ n œœ n œœ n œœ ‰

œ œ

3

3

3

j

œ œ œ œ

œ

œ œ

j

œ œ œ œ

œœ ‰ œœ ‰ # œœ ‰ n œœ ‰ œ ‰ œœœ ‰ œœœ ‰ œ œ # œœ J J œ œ nœ

j

œ œ œ œ

œ

j

3

3

œ

œ #œ nœ

œœœ ‰ œœ ‰ œœ ‰ œœ ‰ # œœj ‰ œ œ œ #œ J œ œ nœ bœ œ bœ

œ

j bb ‰ œ ‰ & œœ

j

œ œ œ œ œ. œ

œœ ‰ œœ ‰ œœj ‰ œ œ œ

œ. œ œ œ œ. œ œ œ

œ œ œ œ

b ‰ œœ ‰ # œjœ ‰ b & œ œ J ? bœ b

j

œ œ.

œ.

j

œ J

[

. œ. b œ. b œ. œ. b œ œ. œ œ œ. n œ. œ. ] œ œ œ . 3

3

j

3

j

j

œ J

œœ ‰ œœ ‰ b œœj ‰ œœj ‰ œœj ‰ n œœ ‰ œœ ‰ œœ ‰ b œœj ‰ œœj ‰ œœj œ œ œ œ œ œ œ œ œ œ œ œ .

. bœ œ œ . . . 3

b. bœ bœ . .

œ .

. bœ œ œ . . .

65

&

C

bb œ

F

œ œ œ œ

bb ‰ b œœj ‰ & b œœ p ? b œ b œ .

b & b

69

nœ p

j

#œ.

j

b #œ & b F

cresc.

œ nœ œ œ. 3

&

œ f

#œ

#œ

# œ . œ #œ

# œ . nœ œ

œ

#œ.

œœ œ

J

œ

3

#œ #œ nœ #œ

j

œ.

j

cresc.

j

3

#œ

#œ

œ œ œ #œ œ œ œ #œ œ 3

‰ n n œœœ ‰ œœœ J J

j

j

‰

œ

nœ

#œ nœ nœ nœ œ

dim.

3

3

‰ # #n œœœ ‰ œœœ ‰ œœœ J J J J œ #œ #œ

œ

j

nœ #œ

j

nœ

œ # J

cresc.

œ . œ

molto animato ed appassionato

b & b b  ..  .. # b. . f Z Z ? b Œ Œ œ œ .  b . . .

œ œ.

b  . b  ..

œ

œ

œ . œ

œ #

œ

J

Z

œ Œ œ . .

œ œ. cresc.

. #  ..

#œ

Z

œ .  .

4

b  ... .

cresc.

 .. .

Z

œ J

œ #œ œ

b  ... .

b  .. b. Z

#œ œ.

œ J

‰ # #n œœœ ‰ œœœ ‰ œœœ J J J œ #œ #œ

nœ.

œ nœ

j

#œ

J

#œ

œ

nœ

œ .

œœ œ

œœ ‰ œœ ‰ n œœœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ œœ œœ œ œ œ # œœ œœ œœ

animato D molto œ.

bb

#œ #œ nœ nœ œ.

3

cresc.

œ

bb ‰ n œœj ‰ & # œœ p ? b #œ b n œ .

77

nœ.

#œ #œ #œ #œ

#œ

œœ ‰ œœ ‰ # # œœj ‰ œœj ‰ œœj ‰ # # œœj ‰ œœj ‰ œœj ‰ # œœj ‰ œœj ‰ œœj œœ œœ # # œœ œœ œœ # # œœ œœ œœ n # œœ œœ œœ

œ b nœ & b ‰ n œœ ‰ œœ ‰ J J p œ #œ ? b nœ b

73

#œ #œ #œ #œ œ

nœ œ bœ nœ œ

j

3

j

j

‰ n b œœœ ‰ œœœ ‰ œœœ œ œ œ b œ . œ œ.

œ

nœ

œ J

œ #œ œ

 ..  ..

b  ..  ..

 .. .

b  .. b. Z

Z

a tempo b & b

85



œ

ƒ

bœ

œ

poco a poco più lento œ œ œ bœ bœ #œ

dim.

b . & b  .. ƒ

 ...  .

dim.

? b b  .. .



bœ

b  .

n œ b  ..

Tempo I. ben tranquillo œ. b œ  bœ œ bb œ J & p [ π dolce ]

œ.

93

b & b b  .. . π ? b n. b Œ Œ œ œ œ #œ

b & b

100

&

bb

œ

œ nœ

n  ...

b œ & b

j

œ

œ

j

œ

œ.

j

œ œ.

j j j ‰ œ ‰ œ ‰ œ

? bb œ

œ

œ

rit.

œ

œ

n  .. .

œ.

œ

.

œ J

œ

3

‰ œj ‰ œ #œ

œ

œ

j

œ.

j

œ

œ

œ.

œ J

œ

œ

œ

.

più mosso

œ

p

œ

 .. .

.

œ Œ Œ

j

œ

j

œ

j

‰ œœ œ ‰ œœ œ ‰ œœ œ

π j j j ‰ œ ‰ œ ‰ œ

œ

œ

œ œ

œ

œ

œ

j j j œœ œ ‰ # œœ œ ‰ œ # œ ‰ œ n œ ‰ œ ‹œ #œ #œ œ

œj ‰ œj nœ 5

j



#.

n  ...

# œœœœ Œ Œ

œ œ œ œ

œ œ œ b & b ‰ œ œ ‰ œ œ ‰ œ œ ‰ œœ œ ‰

 b œ  ..  .

n. b. œ Œ Œ œ

.

j

n.

b  ...

 ... .

.

.

b  ..

œ

b  ...

 .. .

.

106



J

œ

œ

 .. .

? b #. b

œ

Œ Œ œœ

œ

bœ

n.

 ..

.

n. Œ Œ œœ



sempre legato

n b  ...

b  ...

œ

œ b œ . œ  . #œ #.

 .

*



œ

3

œj ‰ nœ bœ ‰

œj ‰ œj œ

b & b œ

œ

109

œ

b œ & b

E

œ œ œ œ

112

‰

œ

[F ]

b j & b ‰ # œœ # œ ‰ n œœ n œ ‰ # œœœ ‰ œœœ ‰ J J J œ ? bœ b

116

&

bb

œ.

bœ

œ

œ

&

bb

œ

œ

œ

ƒ e ben tenuto ]

b & b Œ b œœ Œ Œ b œœ Œ œ. œ. F ? b Œ œ Œ Œ œ Œ b œ. œ. [ sempre

3

j

œ

j

cresc.

œ

œ

œ ‰ œ ‰ #œ œ œ # >œ

œ

f largamente [ƒ]

 ..  ..

b.

Œ #œ Œ # œœ.

Œ œ Œ œ.

œœ œœ

π

dim.

. .

Lento

.

n.

bœ

œ œ œ œ

œ

j

œ



Œ #œ Œ Œ  # œœ. Z

œ œ

œ

rit. œ #œ œ

 ..

Œ œ Œ Œ œ #. œ n  bœ œ. Z 6

Œ

Œ

Œ

Œ œ #œ nœ

dim.

n  ..

dim.

. .

j

j

j

œ ‰ œ ‰ œ ‰ œ œ œ

œ. œ œ. œ œ. œ œ. œ œ . œ œ . œ œ- # œ- n œ-rit. n œ- b œ- œ-

3

.

nœ

j ‰ j ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj œœœ œœœ œœ œœ œœ œœ œœ œœ

b ‰ œj ‰ jœ ‰ jœ  . b & œœ œœ œœ  .. œ œ œ . F ? b œj ‰ œj ‰ # œ . b . œ œ # >œ

121

œ

œ œ œ œ œ

cresc.

j j j œ ‰ œ ‰ œ ‰

œ œ œ œ œ

œ.

œ œ œ œ

œ

3

œ

3

œj ‰œ œj ‰œ œj œ

‰ œj ‰ œj ‰ œj

œ œ œ œ œ.

œœj œ ‰ # œœj œ ‰ œœj œ ‰ œ œ ‰ œ œ ‰ # œ œ œJ Jœ Jœ

bb ‰ œœj œ ‰ œœj œ ‰ œœj œ ‰ & ? bb œ

œ.

œ

œ

œ

œ

œ

œ

œ- # œ- n œ- b œ- œ œ - -

∑ ∑

œ

j #œ

#  π

 

j nœ. œ

#

Œ

#

Œ

?

#

#

Tempo I.

?#

‰≈ &œ

129

&



π

œ

&

#

?#

3

r œJ ‰ ?

π ? #  ..  . 134

œ œ œ.

œ

œ

&

#

œ-

œ  ...  .

# œœ œ œ &

œœ

œ J

‰

œ. œ œ.

J

?

œœœ œ

œ- œ- œ œ

r œJ

‰≈ &œ

œ

‰ ≈ & Rœ J ‰

 ? #  139

œ œ œ.

œ- œ- œ-

œ

#  & [ p]

# &  ... . p ? #  .. .

œ- œ- œ-

œ  ...  . J

#œ ‰ ≈ & #œ J ‰ R

œ.

œ J



[

?

. œ œ œ

3

. #  ...  .. .

#œ J

œ-

-

 ...

3

œœ

F j

œ-

œ J

#œ

7

œ - - - œœ- œ- œ œ œ œ œ

p

3

œ-

- -

f

 

œJ

# œœ # œœ

œ œ



- -

œ- œ- œ œ œ

f

œ.

cresc.

n 

 

cresc.

œ J

œœ

]

]

œ œ . œj .

. 

œœ

œœœœœœ .

œ œ œ œœœ œ 

œ

œ œ œ œ œ- .

 

 .. .

 ..  .



3 œ œ œ œ œ œ œ œ œ .

œ. œ œ.

3



œ  ..  .

œ

œœ

œ- œ- œ-

œ œ ? r ‰≈ & œ J ‰ œ ‰ ≈ & œ J ‰ ? R

?

œ œ- œ- œ- œ-œ œ- œ- œ

[

 n  ...

‰

j

œ œœœ œ.

‰ ≈ & Rœ J ‰ œ œ œ œ  œ p 3 .  . œ œ œ

œ

œœœœœ 

œ . 

j

œ

œ œ œ # œ œ- .

 ... #  . œ

r œJ

‰≈ &œ

œ

œ œœœ œ œ  œ . œj  ? # . . . 145

?

œ. œ œ.

œ- œ- œ3

œœ œœ œ œ

œ

œ œ œ.

J

# 

œœ œ

 

œ œ



151

&

œ œ œ- œ- œ- œœ œ- œ- - -G œ œ œ # f

# &  .... F ?# . .

158

&

bœ

#

œ- œ- n œ-

œ

 

animato e cresc.

. .

œ

j

œ

œ œ œ

# n œ œ n œœ & n œ

riten.

 

œ œ n œ  œœ ?#

riten.



171

&

#

cresc.



#



p

& .  .. π ? # . .

Œ



œ œ œ . 3

 ...  . .

. œ

Œ 

 .. . . .

.



.

œ- # œ-

> œ nœ œ

>œ

œ

.

rit.

Œ

 

b œœ  .

# œ œ œ- œ- œ . œ œ œ œ- œ- œ œ &

. ? # œ #œ nœ

.

b œœ  .. œ .

165

# œ #œ nœ &  œ

œ

>œ

œ

ƒ

>œ œ n >œ œ # >œ œœ n œ œ œ # œœœ œœœ n # œœ œœœ # œœ œœ # # œœ œ œ n œ >

animato e cresc.

 ...  .

>œ

Œ

più Lento b œ- b œ- œ F 3

p

nœ

œ bœ

 ...

3

 ...  . .

&

∏

 ...

8

œ # œ n b œœ œ œ bœ

j

j

n 



cresc.

œœ œ

œ bœ œ

b  ...

f largamente œ # œœ œœ œ œ œ œ.

n 

œ

œœ

.

œ bœ œ

œ œ œ- œ- œ . œ  .

œ # œ n œ œ œ . # œ n œ

 ..  .

œ

.

.

œ

 ...  .

 ...  .

œœ œœ Œ Œ

 ..  ..

œœ Œ Œ œœ

morendo

morendo

b  ...

largamente

3

p nœ œ bœ

œ

cresc.

œ œ œ

π

p

œ œ œ.

poco rit.

.

œ œ œ .



œ

j

œ

b œ- b œ- œ-

Lento

∑

œœ n œœ œ # œ # œ œ œ

.

.

∑

œ. œ œ œ œ œ œ œ œœ

œ # œ n b œœ œ œ bœ

.

œ-

 ..  ..

?

œ

π

Œ

Œ

œ

∏

Œ

Œ

Œ

Œ

J

ABBREVIATIONS b. bar bb. bars JS Johan Svendsen Pl. No. plate number stacc. staccato marking(s) ten. tenuto marking(s)

10

SOURCES

CRITICAL REPORT

Romance, op. 26 A Printed score, first edition (Warmuth) B Printed piano score, version for violin and piano, first edition (Warmuth) CSPT Printed solo part, version for violin and piano, first edition (Warmuth)

F

or each individual work in JSV, a primary source is chosen and identified in the header of ‘editorial emendations and alternative readings’. The comments in this list refer to either revisions or variants. Comments about variants always start with a source letter. Any comments NOT starting with a source letter refer to revisions of the primary source.

Source A Printed score, first edition Carl Warmuth, Christiania 1881 Title page: Seinem Freunde / Halvard Emil Heyerdahl. / ROMANZE / für die / Violine / mit Begleitung des Orchesters / (oder auch nur Streichorchester) / von JOH.SVENDSEN. / Op. 26 Pl. No. 758

The following conventions have been used: • ‘By analogy with’ is used when something has been added, emended or omitted by analogy with another passage in the primary source. The analogy may be vertical: When something has been added ‘by analogy with’ one or more instruments, it is understood that the analogy involves the corresponding place within the same bar(s). Or it may be horizontal: When something is added ‘by analogy with’ one or more bars, it is understood that the analogy involves a parallel passage in the same instrument(s). • ‘As in’ is used when something is added, emended or omitted to correspond to the same place in another source. • ‘In accordance with’ is used when something is added, emended or omitted to correspond with a secondary source. • When JS uses the term ten., it is set in italics. Tenuto markings are written as ‘ten.’ • Very small variations in the placement of dynamics have been left uncommented. • In the ‘bar number’ column, the symbol ‘+’ is used to indicate an upbeat to the bar in question. • ‘Note 1’ means ‘main note 1’ (grace notes are not included in the numbering sequence). • Pitch is expressed as written in the parts. A written g’’ in a transposing clarinet (B) part is thus described as g” (sounding f ”). • Middle c is defined as c’. Octave positions above middle c are specified as c’’, c’’’, etc. Octave positions below middle c are specified as c, C, C1, C2, etc.

Source B Printed piano score, version for violin and piano, first edition Carl Warmuth, Christiania 1881 Title page: Klavier-Auszug / (Violine & Piano) / vom Componisten arrang. Pl. No. 759 Reprinted 1881, 1882, 1884, 1885, 1886, 1886, 188,7 1887, 1888, 1888, 1889, 1889, 1890, 1891, 1892, 1892, 1892, 1893, 1893, 1893, 1894, 1894, 1894, 1894, 1895, 1895, 1896, 1896, 1897, 1897, 1897, 1897, 1897, 1898, 1898, 1898, 1899

Source CSPT Printed solo part, version for violin and piano, first edition Carl Warmuth, Christiania 1881 Title page: Klavier-Auszug / (Violine & Piano) / vom Componisten arrang. Pl. No. 759

11

EVALUATION OF THE SOURCES

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

The first printed edition for violin and piano, Source B was published by Carl Warmuth in September 1881. According to the cover, this version was made by the composer. Our modern piano score is based on this old Warmuth edition of Svendsen’s version for violin and piano. But we have made adjustments to the score, aligning it with the version for violin and orchestra printed one month later, source A. Most of our emendations concern dynamic markings. The markings found only in B are listed in the table of editoral emendations and alternative readings. The most interesting and challenging editing issues are the result of differences between the solo part in the full score and the separately printed solo part, Source CSPT. The latter is older and in some cases deviates from the full score, especially in regard to dynamic markings. The dynamic markings in the printed solo part mostly correspond with those in the piano score, while the dynamics in the full score’s solo part not only agree more closely with the orchestral parts, but also include several independent creative elements. Since the two versions of the Romance (piano version/orchestra version) can be considered two different renditions of the work, we have chosen the full score, Source A (the most recent source), as our principal source for the solo part. But also the printed solo part, Source CSPT, includes some unique and significant variants that have been part of the work since the day it was written. These variants are noted in the table of emendations and alternative readings. Of particular interest are the staccatos in b. 63, the pp dolce in b. 93, the ff in b. 117 and the sempre ff e ben tenuto in b. 121. In our score, some of the variants found in CSPT have been added in [brackets]. The Wilhelm Hansen editions are reprints of the Warmuth plates with new covers. The addenda also include seven annotated performer’s editions of the solo part, published during Svendsen’s life time and in the decade after his death. These solo parts provide a valuable insight into the performance practices and artistic thinking of the time.

Particularly important and/or problematic comments have bar numbers in bold type. Primary source: A

PIANO SCORE Bar

Comment

9

B: pp

17

B: no dim.

19

B: no pp

21

B: p

35

upper staff

slur added in the lower part by analogy with b. 143

36

B: f ;

37

B: p

43

B: f

53

B: mf

65

B: mf

68

B: no dim.

69

B: pp

73

B: mf

76

12

Staff

lower staff

begins here

note 2: cautionary accidental added

81

B: ed accelerando

113

B: mf

117

B: ff

119

B: rit. at the beginning of the bar

128

B: no pp

129

B: ppp

139

B:

141–142

B:

143

B: f

144

B:

147

B:

151

B: ff

begins at the triplet

only across b. 147

151–152 155 156

upper staff upper staff

B:

71

Vln. pr.

chord 3, upper part: cautionary accidental added

slur from the appoggiatura added as in ASPT

74

Vln. pr.

chord 3, lower part: cautionary accidental added

note 4: cautionary accidental added

76

Vln. pr.

note 5: cautionary accidental added

81

Vln. pr.

CSPT: no cresc.

88

Vln. pr.

note 1:  added by analogy with Vln. II and as in CSPT

93

Vln. pr.

note 1:  added by analogy with Vln. I and as in CSPT

93

Vln. pr.

CSPT: pp dolce (this variant added in [brackets])

101

Vln. pr.

cautionary accidental added

113

Vln. pr.

CSPT: mf (this variant added in

157

B: ff

158

B: note 1: fz

162

B: no rit.

170

lower staff

B: note 2: missing

171

B: p

178, 179

B: no dynamic markings

SOLO VIOLIN PART

[brackets]) 117

Vln. pr.

notes 2–4: ten. added by analogy with b. 21 and as in CSPT

CSPT: ff (this variant added in [brackets]); no largamente

119

Vln. pr.

CPTS: note 1: rit.

121

Vln. pr.

CPTS: Lento molto; sempre ff e ben tenuto (this variant added in [brackets])

127

Vln. pr.

dim. moved from b. 128 by analogy with the orchestral parts and as in CSPT

Some variants from CSPT are added in brackets in our part 25

Vln. pr.

31

Vln. pr.

CSPT: note 1: no ten.

35

Vln. pr.

CSPT: notes 4–5: ten.; note 1: f

36

Vln. pr.

CSPT: in b. 35

37

Vln. pr.

CSPT: p

41

Vln. pr.

ten. added by analogy with b. 37 and as in CSPT

128

Vln. pr.

slur from the appoggiatura added

44

Vln. pr.

CSPT: poco rit.

129

Vln. pr.

53

Vln. pr.

CSPT: mf (this variant added in [brackets])

tie and ten. added by analogy with b. 21 and as in CSPT

129

Vln. pr.

C: p

begins here, not

63

Vln. pr.

CSPT: notes 1–9: stacc. (this variant added in [brackets])

132

Vln. pr.

notes 5–6: tie and ten. added by analogy with b. 148 and as in CSPT

63

Vln. pr.

slur from the appoggiatura added as in CSPT

133

Vln. pr.

ten. added by analogy with b. 25 and as in CSPT

64

Vln. pr.

CSPT: no

136

Vln. pr.

68

Vln. pr.

note 4: cautionary accidental added

notes 5–6: tie and ten. added by analogy with bb. 132, 148 (CSPT)

69

Vl. pr.

note 3: cautionary accidental added

140

Vln. pr.

CSPT:

141–142

Vln. pr.

CSPT: (this variant added in [brackets])

13

placed in b. 139

143

Vln. pr.

CSPT: f (this variant added in [brackets])

144

Vln. pr.

CSPT: (this variant added in [brackets])

145

Vln. pr.

CSPT: p (this variant is added in [ ])

147

Vln. pr.

CSPT: only in this bar and not in b. 148

148

Vln. pr.

note 5: ten. added according to Svendsen’s notational practice and as in CSPT

151

Vln. pr.

CSPT: ff

153

Vln. pr.

CSPT: no ten.

157

Vln. pr.

cautionary accidental added

157

Vln. pr.

CSPT: f ; no ten.

160

Vln. pr.

CSPT: no slur

166

Vln. pr.

CSPT:

14

ADDENDA SEVEN ANNOTATED PERFORMER’S EDITIONS About the editions and the editors

20

Neue Ausgabe von Fritz Kreisler

22

Revue et doigtée par August Wilhelmj

24

Revised and fingered by Gustav Saenger

26

Edited by Arthur Hartmann

28

Edited and fingered by Philipp Mittell

30

Bowing and fingering by Joseph Ivimey

32

Edited and fingered by Philipp Moffat

34

Romanse, op. 26 Sju «utøverutgaver» av solostemmen

JSV 79

Romance, Op. 26 Seven annotated performer’s editions of the solo part

AUGUST WILHELMJ (1845–1908)

ABOUT THE EDITIONS AND THE EDITORS

Revue et doigtée par August Wilhelmj Schott, London, c1910 Pl. No. 1668 S

All seven violin solo parts in this addendum, published between 1887 and 1916, are based on the solo part of Svendsen’s version for violin and piano, originally published by Carl Warmuth in November 1882 and later reprinted by Wilhelm Hansen. For the publication of the orchestral version, Svendsen adjusted several details in the solo part, most of them regarding dynamic markings. The table on page 12 shows all the variants specific to the version for violin and piano. The editors had widely varying backgrounds and schooling. Their teachers came from Austria, France, Holland, Germany, England and the US.

August Wilhelmj (1845–1908) was born in the Hessian town of Usingen, Germany. From 1861 until 1863 he studied violin with Ferdinand David (1810–1873) at the Leipzig Conservatory, shortly before Johan Svendsen became a student of David there. Wilhelmj also studied composition in Leipzig and later with Joseph Joachim Raff (1822–1882) in Wiesbaden. He toured extensively throughout Europe and in 1882 undertook tours of North and South America, Asia and Australia. Wilhelmj was known for his large and powerful violin sound. He published the ‘Air’ from J.S. Bach’s Suite in D major, BWV 1068, as ‘Air on the G String’. In 1894 he became professor at the Guildhall School of Music in London. Together with his colleagues there he edited and published A Modern School for the Violin in twelve volumes. He is particularly known for his large output of edited classical and romantic violin literature.

FRITZ KREISLER (1875–1962) Neue Ausgabe von Fritz Kreisler Wilhelm Hansen, København & Leipzig, 1912 Pl. No. 15254

GUSTAV SAENGER (1865–1935)

Fritz Kreisler (1875–1962) was a world-famous violinist and composer of Austrian descent. He had a long and remarkable career as a performer-composer, and is widely regarded one of the greatest violinists of all time. Kreisler was particularly renowned for his beautiful and unique tone and his musical and personal phrasing. Thanks to the reissue of Kreisler’s recordings on CD, his style of playing can be heard and studied also today. Kreisler was influenced by the Franco-Belgian violin school, but he was also rooted in the aesthetics of his birth town Vienna around the turn of the century. Among his most famous compositions are Liebeslied and Liebesfreud. He was admitted to the Konservatorium der Gesellschaft der Musikfreunde in Vienna at the early age of seven and continued his studies in Paris a few years later. As a 14 year-old he went on his first concert tour of the US together with the Polish pianist and Liszt-pupil Moriz Rosenthal (1862–1946). Among his teachers were Jakob Dont (1815–1888), Josef Hellmesberger Jr. (1855–1907), Anton Bruckner (1824–1896), Joseph Lambert Massart (1811–1892), Léo Delibes (1836–1891) and Jules Massenet (1842–1912). Kreisler left Europe at the outbreak of World War II and became a naturalized American citizen.

Revised and fingered by Gustav Saenger Fischer, New York, 1897 Pl. No. N.10704 American violinist, conductor and composer Gustav Saenger (1865–1935) was born in New York. He studied the violin with Carl Richter (a pupil of Ludwig Spohr, 1784–1859), Leopold von Meyer (1816–1883) and Leopold Damrosch (1832–1885). In 1909, after several years of working as a violinist in orchestras and as a conductor at the Empire Theater on Broadway in New York, he became an advisor and editor-in-chief for all Carl Fischer publications. Besides publishing a large amount of arrangements and editions, Saenger composed works of his own for violin and piano.

20

ARTHUR HARTMANN (1881–1956)

JOSEPH IVIMEY (1867–1948)

Arranged and edited by Arthur Hartmann Theodore Presser, 1916 Pl. No. 13753-10

Bowing and fingering by Joseph Ivimey Augener & Co., London, 1887? Pl. No. 7919

Arthur Hartmann (1881–1956) was an American violinist, composer, writer and teacher of Hungarian decent. A child prodigy, Hartmann began to study the violin with Martinus van Gelder (1854–1941) at the age of six and went on concert tours in America and Europe. He later studied with Eugène Ysaÿe, Henry Hahn and Charles Loeffler (1861–1935). Hartmann appeared as a soloist with the Berlin Philharmonic and other major orchestras. He is particularly known for his transcription of Debussy’s La fille aux cheveux de lin (The Girl with the Flaxen Hair) and his book Claude Debussy as I Knew Him. Hartmann was a founder and faculty member of the Eastman School of Music in Rochester, New York, during its first academic year, 1921–1922. He was very active in promoting new music for the violin and knew and corresponded with many composers and performers of his time.

Joseph Ivimey (1867–1948) was a British violinist, conductor and teacher, born in Stratford, Essex. He was a professor of violin at the Guildhall School of Music, where he himself had studied with Georg Alfred Gibson starting in 1882. For many years, Ivimey was the conductor of the Strolling Players Amateur Orchestral Society at Surbiton and Weybridge and the Monday Orchestra at the Guildhall School of Music. He also prepared bowings and fingerings for other Augener editons, such as Händel’s sonatas for violin and piano.

ALFRED EDWARD MOFFAT (1863–1950) Edited by Alfred Moffat Alfred Lengnick & Co. Ltd., London Alfred Edward Moffat (1863–1950), born in Edinburgh, Scotland, was a composer, editor and collector of music. After studying composition for five years under Ludwig Bussler in Berlin, he remained in the city for another five years writing for German music publishers. He was the editor of Schott’s Kammersonaten series and Simrock’s Meisterschule der alten Zeit. Having returned to the United Kingdom and London, he continued his work as a music editor and, among other things, launched Novello’s Old English Violin Music series. He also collected and arranged traditional music from the British Isles and published several editions of folksongs.

PHILIP MITTELL (1865–1943) Edited and fingered by Philipp Mittell G. Schirmer, New York, 1894 Pl. No. 13266 Philip Mittell (1865–1943), a violinist and teacher, was born in Mannheim, Germany. At the age of seventeen he joined the first violin section of the Mannheim Court Orchestra. In Mann­heim he studied with Jean Becker (1833–1884) and Jakob Dont (1815–1888). In 1884 he enrolled at the Leipzig Conservatory of Music. He also studied under Adolph Brodsky (1851–1929) and Friedrich Hermann (1828–1907). Mittell played chamber music with Edvard Grieg (1843–1907) and Johannes Brahms (1833–1897), among others. He died in New York in 1943, where he had lived since 1888. For many years Mittell was a member of the New York Symphony Orchestra. For a short period of time he was also second concertmaster of the Metropolitan Opera Orchestra and headed the violin department at the Grand Conservatory of Music in New York. Mittell was esteemed as both a performer and a pedagogue.

21

Romanze

Solo part edited by Fritz Kreisler

[JSV 79a]

16

Andante

# & 43

Ç.

17

Ç.

18

Ç.

19

Œ

œ

o œ- œ- œ- œ œ œ . œ œo *). œ . œ œ œ J œ Ç œ J Ç œ 3

Johan S. Svendsen, Op. 26

p

poco animato A sul A A sul D œ œ . œ œ . œ œ . œ œ # œ Ç -sul œ œ œ œ œ -œ œ- œ- œ œ œ œ œ J J œ œ œ œ œ œ. œ Ç œ J

# & Ç 25

3

p

A œ- œ- œ- œ sul o œ œ œ œ œ œ œ œ . œ Ç -œ œ- œ œ J p 3 f

# & Ç 33

D

œ œ . # œ œ . œ œ- œ œ J œ œ . œJ œ œ Ç 3

3

Più mosso D œ œ -œ œ poco rit. . 41 A œ œ œ œ . œ Ç œ b sul # Ç œ- œ- œ- œ œ œ œ œ . œ œ . œ œ œ œ- œ . œ. œ œ œ œ œ J œ œ œ b &

p

f

3

3

3

E . œ œ - œ . œ. œ œ œ B œsul œ œ œ œ œ œ b œ œ œ œ . œ œ . œ œ œ œ- œ . œ. bb œ œ œ œ œ œœ œœ &

49

F

œ œ . œ œ b œ œ œ . œ. œ œ b œ œ œ œ œ œ b œ b œ œœœœ œ œ œ &b 3

3

56

3

3

3

3

œ œ b œ b œ œ . œ

p

3

. . . . . . . b œ # œ. . . C œ œ œ œ # œ # œ . œ œ œ œ nœ œ œ # œ # œ n œ œ b œ œ # œ œ # œ œ b œ # œ # œ . . œ œ œ œ œ # œ b J J &b 3 3 3 3 F cresc. œ n œ . # œ. # œ n œ œ . œ. n œ œ œ . œ. 68 #œ œ œ œ #œ œ #œ . n œ œ œ œ # œ œ œ œ œ . # œ #œ œ œ b J J &b 3 3 3 3 p 3 - n œ . n œ. œ œ œDœ œ . œ # Ç œ œ œ . œ . n œ œ œ . 73 # œ # œ # œ n œ n œ œ n œ bœ œœ œ bb # œ # œ # œ J J & 3 3 cresc. f molto animato ed appassionato F

62

a tempo sul A œ. œ . Ç œ œ #œ œ œ œ œ #œ œ œ b œ œ œ œ œ b œ b œ œ Ç œ80 #Ç œ œ #œ b J J &b

ƒ

*) Sans glisser.

22

poco a poco più lento e dim. al

Ç bœ Ç. bb &

90

n Ç .

Tempo primo ben tranq.

b œ œ . œ Ç J dolce

œ- b œ œ . œJ Ç

œ- œ œ . œ Ç J

sul E

œ œ œ œ

rit. sul A œ bb # œ œ œ œ œ œ œ œ œ œ œ œ œj œ . œ œ œ œ œ œ œ œ . œ œ . œ œ œ œ œ . œ. & J

100

Più mosso

p

. œ œ œ . œ. œ œ œ Eœ œ œ œ- œ- œ . œ. œ œ œ œ 108 œ œ œ œ b œ œœœœ œ œ œ œ œ œœ œœ &b 3 3 3 F cresc. 3 - œ . œ. œ œ œ œ . œ œ sul G œ sul D 115 œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ . œ œrit. - # œ- n œ- - - - bb nœ bœ œ œ #œ nœ & 3 - - - b œ- œ- œƒ 121 Lento molto rit. # bb j j & œ œ œ œ # œ # œ # œ . nœ œ nœ œ Ç. Ç. bÇ. n Ç . œj Ç dim. sempre ƒ e ben tenuto G o œ œ . sul o j œ œ œ . & Ç œ œ- œJ œ œ . œ œ œ œ œ œ- . œ-j Ç 3

129

137

&

#

Tempo primo

F #

Ç

p

- œ- œ- œ- œ sul D œ . œ œ œ œ œ œ œ œ œ Ç œ- œ- œ J sul A

3

o j . œ œ œ # œ . œ œ œ œ œ œ œ œ . œ œ œ . œ- - œ J J sul D 3

- œ- œ- sul A œ o œ œ œ œ œ œ œ œ œ . œ -œ œ- œ- œ J

f œ œ œ- œ- - œ œ- - œ œ . œ œ œ œ . 145 #œ œ.œ œ œ œ - œ œ œ œ- œœ œ œ # Ç œ- œ- œ- œ J œ. J œ œ œ. œ Ç œ J & J 3 3 p ƒ cresc. A !œ œ !œ œ n œ œ œ œ œ b œ œ œ œ œsul !œ 153 G œ Ç œ œ o œ Ç # œ nœ œ Œ & ƒ e largamente ritenuto animato e cresc. Più lento Lento - - œ œ œ . sul D 162 œ b œ œ 1 Ç bœ œ œ œ œ- œ- œ . œ œ œ œ- œ œ œ. j # œ œ J œ Ç bœ bœ & œ 3 p F cresc. 3 sul E sul D Ç Ç œ . . 169 œ œ œ Ç . # o . . Ç Œ Œ œ œ œ Ç & œ œ œ œ- œ . œ Ç . Ç œ œ œ Ç poco rit. morendo p 3 3 3

23

3

Romanze

Solo part edited by August Wilhelmj

[JSV 79a]

16

Andante

# & 43 # Ç & 25

# & Ç 33

D

Ç.

17

Ç.

18

Ç.

. Œ œ œ œ œ œ œ œJ œ . œ . œ œ œ œ Ç œ J Ç œ œ 3 p

19

Johan S. Svendsen, Op. 26

poco animato II A œ œ . # œ II œ œ œ œ œ œ œ œ œ . . Ç œ œ œ œ œœœ œ œ œ œ . J J œ œ œ œ Ç œœœ J

3

p

œ œœœ œ œ œ œ œ œ œ. œ Ç œ œœœ œ J

p

f

3

œ œ. #œ œ. œ œ œ œ J œ œ . œJ œ œ Ç

3

3

œ œ Più mosso D poco rit. œ œ . 41 œ . œ œ œ œ œ Ç œ b œ œ œ œ œ œ œ . œ œ . œ œ œ œ . œ. œ œ œ œ # Ç œœœ J b œ œ &

II

p

f

3

3

3

. œ œ œ . œ. œ œ œ B œI œ œ b œ œ œ œ . œ œ . œ œ - œ . œ. œ œ œ œ b œ œ œœ œœ œœ &b œ œ œ 49

F

œ œ . œ œ b œ œ œ . œ. œ œ b œ œ œ œ œ b œ œ . œ. œ œ œ b œ bœ b œ œœœœ œ œ œ &b 3 3 3 p 3 f . œ. œ . . . œ . . b œ . 62 . C œ # œ #œ #œ œ . œ œ œ œ œ œ # œ # œ n œ œ b œ n œ œ # œ # œ œ b œ # œ # œ . . œ œ œ œ œ # œ bb J J & 3 3 3 3 F staccato cresc. n œ . # œ # œ n œ œ . œ. n œ œ œ . œ. . . œ. œ. œ. # œ. œ œ œ. # œ. œ. # œ 68 n œ œ œ # œ œ œ #œ. J œ #œ œ. œ b b J & 3 3 3 3 p 3 staccato 73 # œ œ . # œ n œ œ œ œ œ n œ # œ œ n œ n œ . n œ œ b œ œ œDœ œ . œ # Ç œ œ œ . œ n œ # œ # œ # œ b J J &b 3 3 F cresc. f molto animato ed appassionato a tempo 80 # Ç œ œ œ . œ œ # œ œ œ œ . œ œ # œ œ Ç œ b œ œ œ œ œ b œ b œ œ Ç œ #œ b J J &b ƒ poco a poco più lento e dim. al 3

56

3

I

24

3

Ç bœ Ç. bb &

90

Tempo I. ben tranquillo

bœ œ. œ Ç J dolce

n Ç .

œ- b œ œ . œJ Ç

œ- œ œ . œ Ç J

œ œ œ œ

Più mosso œ j . œ œ . œ œ œ œ n œ œ œ œ œ bb # œ œ œ œ œ œ . . œ. œ œ œ œ œ œ œ œ œ œ œ œ & J

100

p

. E œ œ œ . 108 œ œ œœœœ . bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ & 3 3 3 F cresc. 3 . 115 œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ . œ bb œ œ . œ œ- # œ- n œ- n œ- b œ- œ- & œ- # œ- n œ- b œ- œ œ 3 -ƒ rit. IV 121 Lento molto # bb j j & œ œ œ œ #œ #œ nœ œ #œ nœ. œ Ç. Ç. bÇ. n Ç . œj Ç rit. dim. sempre ƒ e ben tenuto

rit.

3

3 œ œ . . œ œ. œ œ j œ j œ œ œ œ #œ œ. œ œ œ . & Ç œ œ- œœ œ œ œ œ œ œ . J œ œ œ œ œ œ œ Ç J J . . o œ œ 137 F œ œ œ œ œ . œ œ œ II œ œ œ œ œ œ # œ œ œ œ œ œ œ . œ œ œ œ œ Ç œœœ & Ç œ nœ

129

#

Tempo I. III

p

IV

3

J

III

j

œ-

œ J

f

3

œ œ œ œ œ œ œ œ . œ œ œ œ . 145 #œ œ.œ œ œ œ - œ œ œ œ œ œœœ # Ç œ œ œ œ . J œ œ œ. œ Ç œ J œ J & J 3 3

153

&

Gœ

# #

169

#

&

ƒ

!œ œ !œ œ n !œ œ œ œ œ b œ œ œ œ œ œ ! œ Ç œ n œ œ œ cresc.

animato e cresc.

162

&

p

3

ƒ

ritenuto

œ Ç

Œ

œ œ. Più lento III œ œ b œ b œ Ç œ œ œ œ œ œ . œ IIœ œ œ œ œ - - œ- œ œ œ . j J œ Ç bœ bœ œ 3 p F cresc. 3 II III œ œ œ Ç. Ç. œ Ç . . . Ç Ç Œ Œ œ œ œ œ œ.œ Ç. Ç œ œ œ Ç œœœ poco rit. morendo p 3 3 1

Lento

25

e largamente

Romanze

Solo part edited by Gustav Saenger

[JSV 79a]

16

Andante

# & 43 # & Ç 25

33

#

& Ç

D

Ç.

17

Ç.

18

Ç.

. Œ œ- œ- œ- œ œ œ œJ œ . œ . œ œ œ œ Ç œ J Ç œ œ 3 p

19

œ œ. œ œ. œ œ œ #œ Ç œ- œ- œ- œ œ. J J 3

A poco animato - œ œ- œ- œ III œ œ œ œ œ œ œ œ œ. œ Ç œœœ J

p

œ- œ- œ- œ- - œ œ œ œ œ œ œ. œ Ç œ- œ- œ œ œ J p 3 f

Johan S. Svendsen, Op. 26

œ œ. #œ œ. -œ œ- œ- œ J œ œ . œJ œ œ Ç

3

3

poco rit. Più mosso D œ œ -œ œ . 41 œ . œ œ œ œ œ Ç œ b œ œ œ œ œ- œ- œ . œ œ . œ œ œ œ . œ- œ œ 3 œ œ # Ç œ- œ œ J b œ œ &

3

p

f

3

œ . œ œ œ œ . œ- œ œ œ œ B œ œ œ b œ œ œ œ . œ œ . œ œ œ- œ . œbb œ œ œ œ œ œ œ œ œ œ œ & 3 3 3 f œ œ . œ œ b œ œ œ . œ- œ œ b œ œ œ œ œ b œ œ . œ œ 56 œ œ b œ bœ b œ œœœœ œ œ œ &b 3 3 3 p 3 . . b œ. œ. b œ. œ. œ œ œ. n œ. œ. œ -C œ œ œ # œ . # œ # œ #œ 62 # œ œ # œ n œ œ œ # œ œ. J bœ œ œ. œ œ œ #œ #œ #œ bb J & 3 3 3 3 F cresc. n œ . # œ # œ n œ œ . œ- n œ œ œ . œ- n œ œ # œ œ œ œ # œ- œ- # œ . 68 œ œ œ # œ œ œ œ œ . # œ #œ œ œ b J J &b 3 3 3 3 p 3 œ . # œ n œ œ œ œ œ n œ # œ œ n œ n œ . n œ œ b3œ œ œDœ œ . œ # Ç œ œ œ . œ 73 # œ n œ # œ # œ b #œ J J &b 3 F cresc. f molto animato ed appassionato a tempo 80 # Ç œ œ œ . œ œ # œ œ œ œ . œ œ # œ œ Ç œ b œ œ œ œ œ b œ b œ œ Ç œ #œ b J J &b ƒ poco a poco più lento e dim. al 49

26

Ç bœ Ç. bb &

Tempo primo ben tranq.

b œ œ . œ Ç J dolce

nÇ.

90

œ b œ œ . œJ Ç

œ œ œ. œ Ç œ œ œ œ

J

Più mosso œ j - œ . œ œ . œ œ œ œ œ œ œ œ bb # œ œ œ œ œ œ . .œ œ œ œ œ œ œ œ œ œ œ œ œ & J 100

p

. œ œ œ œ- œ œ œ Eœ œ œ œ œ œ . œ œ œ3 œ œ œ œ œ œ œœ . œœ œ œ œ œ œ 3 3 F cresc. œ œ . œ œ œ3 œ œ œ . œ œ . . œ œ œ œ . œ œ . œ œ . œ œ- - - - - # œ n œ n œ b œ œ- œ # œ n œ - - - b œ- œ- œƒ rit. rit.

b œ œ œ œ œ b & 108

œ œ œ œ b &b

115

121

&

bb

3

Lento molto

Ç.

sempre

Ç.

bÇ.

ƒ e ben tenuto

Tempo primo

nÇ.

IV

j

œ

3

rit.

dim.

œ œ # œ œ œ # œ n œ œ # œj n œ .

Ç

j #

œ

œ œ . . œ œ œ j œ œ œ. œ œ. œ œ œ #œ œ. œ . œ œ . œ œ œ œ œ œ . œj Ç œ œ- œ- œ & Ç œ œ- œ- œ J J J -3 - -3 - 137 F œ œ- œ- œ- œ- œ œ œ- œ œ œ œ . - œ- œ- œ- œ III œ œ # œ œ œ œ œ . œ œ œ œ œ Ç œœœ & Ç œœ

129

#

p

III

J

j

œ-

œ J

f œ œ- œ- œ- - œ œ- - œ œ . œ œ œ œ. 145 # œ œ . œ œ œ œ - œ œ œ œ- œ# Ç œ- œ- œ- œ . J œ œ œ . œ Ç œ- œ- œ- œ J œ J & J 3 p 3 ƒ cresc. ! ! !œ œ œ œ n œ œ œ œ œ b œ œ œ œ œ- œ- ! 153 G Ç œ œ œ œ Ç # œ nœ œ Œ & ƒ e largamente ritenuto animato e cresc. Lento Più lento œ œ. II œ III 162 œ 1 Ç bœ bœ œ œ œ œ- œ- œ . œ œ œ œ- œ- œ œ œ. j # œ - bœ œ J œ œ b & Ç œ 3 p F 3 cresc. Ç Ç. œ . 169 œ œ œ Ç . # . . Ç Ç Œ Œ œœœ & œ œ œ œ- œ . œ Ç . Ç œ œ œ Ç p 3 poco rit. morendo 3 3

27

3

Romanze

Solo part edited by Arthur Hartmann

[JSV 79a]

16

Andante

# & 43

Ç.

17

Ç.

18

Ç.

19

. œ œ œ . Œ o J œ œ œ . œJ œ œ Ç œ Ç œœœ œ œ œ 3

Johan S. Svendsen, Op. 26

(poco rit.) a tempo

p

(with expression)A poco animato II !œ . * œ # œ œ œ œ œ œ œ- œ- Aœ œ . . * œ Ç œ œ œ œ œ œœ œ œ œ . J J œ œ œ œ Ç œœœ

# & Ç F 25

p

3

œ - œ- œ- œ -œ œ œ œ !œ . œ -œ œ- œ- œ œ œ- œ Ç J f p 3

*

# & Ç 33

D

J

œ œ . # œ œ . espressivo œ œ- œ œ J œ œ . œJ œ œ Ç 3

3

œ œ - - poco rit. Più mosso D œ œ . 41 œ œ . œ Ç b - - œ œ- œ- œ . œ œ . œ - . œ œ # Ç œ- œ- œ- œ J œ b œ œ œ œœœœ œ œ œœœœ &

3

p

f

œ . œ œ œ œ- . œ- œ œ œ œ B Eœ bb œ œ- œ- œ œ- œ- œ œ œ œ & 3 3 p F œ E 56 - œ- œ œ . œ œ b œ œ œ- . œ b œ œ œ œ œ œ œ œ b œ &b

49

3

3

A

3

3

œ- œ- b œ œ- œ œ . œ œ . œ œ œ œ œ- . œ3

œ- œ œ b œ œ œ œ œ b œ b œ œ- . œ3

p

3

. œ. œ . . . œ - . . bœ C . . œ # œ # œ . œ œ nœ œ # œ # œ # œ # œ œ # œ # œ # œ # œ œ œ . œ œ œ- œ œ bb n œ œ . œJ œ b œ b œ œ J & 3 3 3 3 F cresc. n œ . # œ # œ n œ œ- . œ- n œ œ œ- . œ- , . . œ. œ. œ. # œ. œ œ œ. # œ. œ. # œ - 68 n œ œ œ # œ œ œ #œ. J œ #œ œ. œ b b J & 3 3 3 3 frog p 3 D œ œ . œ # Ç œ œ œ . œ n œ . n œ n œ œ œ œ œ . 73 # œ # œ # œ œ n œ n œ œ n œ b œ œœ œ b #œ#œ #œ J J b & 3 3 cresc. f molto animato ed appassionato F

62

,

80 # Ç œ œ œ . œ œ # œ œ œ œ . œ œ # œ œ Ç œ b œ œ œ œ œ b œ b(rit.) Ç œ œ #œ œ bb J J &

a tempo

*

ƒ

rit.

At the same time vibrate slowly and heavily with the 2 nd finger on A, on the D string.

28

poco a poco più lento e dim.

Ç bœ Ç. bb & 90

. œ b œ œ œ Ç J

Tempo primo ben tranquillo

! bœ œ. œ Ç J dolce

n Ç- .

œ œ œ . œ Ç œ Aœ œ œ

A

J

(accel. poco)

rit.

bb œ # œ œ œ n œ œ œ œ œ œ œ œ œ œj œ . œ œ œ- œ- œ œ- œ- œ . œ œ . œ œ œ œ œ- . œ& J poco rit. p 3 E E œ 108 œ . œ œ œ œ- . œ- œ œ œ œ œ œ- œ- œ œ . œ œ œ œ œ œ - œ œ œ b œ œœœœ œ œ œ œ œ œ &b 3 3 3 cresc. F 3 . 115 œ- œ- œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ . - œ bb œ œ . œ œ # œ- n œ- n œ- b œ- œ- IV & œ- # œ- n œ- b œ œ œ 3 ƒ o - - rit. IV 121 Lento molto # bb j j & œ œ œ œ # œ # œ # œ nœ œ nœ. œ b !Ç . n Ç . œj Ç !Ç . ƒ !Ç . rit. dim. ! sempre e ben tenuto

al

100

Più mosso

A

œ œ . . œ œ œ j œ œ œ . œ œ . œ œ œ # œ œ- . œ . œ œ . œ œ œ œ œ œ . œj Ç œ œ- œ- œ & Ç œ œ- œ- œ J -3 - - - 3 o J J D II œ - œ- œ- - * 137 F œ œ œ œ. # * - œ- œ- œ œ œ- œ- œ- œ- œ œ œ- œ œ œ œ . - œ- œ- œ œ œ œ- œ- œ œ œ œ Ç & Ç J

129

# G

Tempo I.

p

sul G

j

œ

œ J

f - œ- - œ œ œ œ œ . œ œ #œ œ. œ œ- œ œ œ- œ- œ 145 - œ œ œ. œ œ # Ç œ- œ- œ- œ œ œ œ œ œ œ œ . . J œ J œ œ Ç J & J 3 3 p cresc. ƒ ! ! ! n œ G œ œ œ œ b œ œ- œ- œ œ- œ- Ç œ - - !œ œ œ œ œ œ 153 Ç # œ œ nœ œ Œ & ƒ e largamente ritenuto animato e cresc. Lento Più lento œ œ. II œ 162 œ D 3 ! b œ œ 1 Ç bœ œ œ œ œ- œ- œ . œ œ œ œ- œ œ œ. j # œ œ J œ Ç b œ- b œ- & œ 3 p cresc. F 169 3 3 œ DÇ . Ç . œ II œ D G œ Ç . # . Œ Œ œ œ œ Ç. & œ œ œ œ- œ . œ Ç . Ç œ œ œ Ç Ç o o o p poco rit. morendo 3

3

29

Romanze

Solo part edited by Philipp Mittell

[JSV 79a]

16

Andante

# & 43 # & Ç 25

# & Ç 33

D

Ç.

17

Ç.

18

Ç.

. œ œ œ . Œ J œ œ œ . œJ œ œ Ç œ Ç œ- œ- œ œ œ œ 3

19

Johan S. Svendsen, Op. 26

p

œ œ . œ œ . œ œ œ # œ Ç A poco animato - œ œ œ- œ- œ- œ- œ œ- œ- œ œ œ œ . œ- œ- œ- œ œ. J J œ œ œ Ç œ J 3

p

œ- œ- œ- œ- - œ œ œ œ œ œ œ . œ Ç œ- œ- œ œ œ J p 3 f

œ œ . # œ œ . œ œ- œ œ J œ œ . œJ œ œ Ç 3

3

œ œ -Più mosso D rit. œ œ . œ œ . œ poco œ œ Ç # Ç œ- œ- œ- œ b œ œ œ œ œ œ œ. œ œ.œ œ œ œ œ.œ œ œ œ œ œ J œ b &

41

3

p

f

3

3

œ . œ œ œ œ . œ œ œ œ œ Bœ œ œ b œ œ œ œ . œ œ . œ œ œ œ . œ bb œ œ œ œ œ œ œ œ œ œ œ & 3 3 3 F œ œ . œ œ b œ œ œ . œ œ œ b œ œ œ œ œ b œ œ . œ œ 56 œ œ b œ bœ b œ œœœœ œ œ œ &b 3 3 3 p 3 . . b œ. œ. b œ. œ. œ œ œ. n œ. œ. œ 62 C œ # œ . # œ # œ # œ # œ œ # œ # œ # œ # œ # œ œ œ n œ œ œ œ b œ . . œ œ œ œ œ b J J &b 3 3 3 3 F cresc. nœ. #œ #œ nœ œ. œ nœ œ œ #œ œ œ œ #œ œ #œ . 68 œ œ n œ œ . n œ œ # œ œ œ œ œ . # œ #œ œ œ b J J &b 3 3 3 3 p 3 n œ n œ . n œ œ b œ n œ œDœ œ . œ # Ç œ œ œ . œ œ œ . 73 # œ # œ # œ n œ n œ œ n œ # œ n œ œ nœ b #œ #œ J J b & 3 3 cresc. f molto animato ed appassionato F

49

a tempo œ œ . . Ç œ œ œ œ œ œ œ œ œ b œ œ œ œ œ b œ b œ œ Ç œ #Ç œ #œ #œ #œ bb J J &

80

ƒ

30

poco a poco più lento e dim. al

Ç bœ Ç. bb & 90

nÇ.

Tempo I ben tranquillo

bœ œ. œ Ç J dolce

œ b œ œ . œJ Ç

œ œ œ. œ Ç œ œ œ œ

J

Più mosso bb œ # œ œ œ œ œ œ œ œ œ œ œ œ œj œ . œ œ œ œ œ œ œ œ . œ œ . œ œ œ œ œ . œ & J rit. p 3 . œ 108 œ . œ œ œ œ . œ œ œ œ œ Eœ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œœœœ œ œ œ œ œ œ &b 3 3 3 F cresc. 3 . 115 œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ . rit. œ bb œ œ . œ œ- # œ- n œ- n œ- b œ- œ& œ- # œ- n œ- b œ- œ œ 3 -ƒ 100

121

&

bb

Lento molto sul G

Ç.

Ç.

sempre

ƒ e ben tenuto

bÇ.

nÇ.

j

œ

œ œ # œ œ œ # œ n œ œ # œj n œ .

Ç

rit.

dim.

j

œ

#

j œ œ . . œ œ œ j œ # œ . j œ œ œ œ œ œ œ œ œ . . & Ç œ œ- œ- œ œ œ œ œ œ œ œ - J œ. J œ . œ œ œ- . œ- Ç œ- -3 J -3

129

137

&

#

Tempo I

F #

Ç

p

- œ- œ- œ- œ œ . -œ œ- œ- œ œ œ- œ- œ- œ œ œ œ Ç J

- œ- œ- œ œ œ œ œ œ œ. œ -œ œ- œ- œ œ œ- œ J

f œ œ œ œ- œ- œ- œ- œ œ- œ- - . œ œ œ œ . 145 # œ œœ . œ # Ç œ- œ- œ- œ J œ œ œ . œJ œ œ œ œ œ- . œ- Ç œ- œ- œ œ J & J 3 p 3 ƒ cresc. !œ œ !œ œ n !œ œ œ # œ œ b œ œ œ œ œ œ !œ 153 G Ç œ Ç œ # œ œ nœ œ Œ & animato cresc. ƒ e largamente ritenuto . Lento - - œ œ œ 162 œ b œ œ - œ- Più lento œ œ . j 1 b œ Ç œ œ œ œ # œ œ .œ œ œ œ Ç b œ- b œ- œ- œ J œ & œ 3 p F cresc. 3 169 œ œ œ Ç. Ç. œ Ç . # . . Ç Ç Œ Œ œœœ & œ œ œ œ- œ . œ Ç . Ç œ œ œ Ç poco rit. morendo p 3 3 3

31

3

Romanze

Solo part edited by Joseph Ivimey

[JSV 79a]

16

Andante

# 3 & 4

D

Ç.

17

‡

Ç.

18

‡

Ç.

œ œ . œ œ . ‚ Œ œ- œ- œ- œ J œ œ . œJ œ œ Ç œ Ç œ œ 3

19

‡

Johan S. Svendsen, Op. 26

p

poco animato II A œ œ ƒ . 25 # œ - œ- III œ œ œ œ œ . œ Ç œ œ œ œ œ # Ç œ- œ œ œ œ œ œ œ . J . J œ œ œ œ œ œ œ Ç & J

p

3

# & Ç 33

- œ- œ- œ œ œ œ œ œ œ . œ ƒ œ œœ -œ œ- œ- œ Ç J p 3 f

œ œ . # œ œ . œ œ- œ œ J œ œ . œJ œ œ Ç 3

3

Più mosso D

œ œ -poco rit. œ œ . œ . œ œ œ œ Ç œ b ƒœ œ œ œ œ- œ- œ- . œ œ . œ œ œ œ- . œ- œ œ œ œ # Ç œ- œ œ J œ b œ œ &

41

3

p

f

- Å“- Å“- . Å“ Å“ Å“ Å“- . Å“- Å“ Å“ Å“ Å“BÅ“ Å“ Å“ b Å“ Å“- Å“- Å“- . Å“ Å“ . Å“ Å“ Å“ Å“- . Å“Å“ Å“ Å“ b Å“ Å“ Å“ Å“ &b Å“ Å“ Å“ 49

3

3 F 56 - Å“- Å“- Å“ Å“ . Å“ Å“ b Å“ Å“ Å“- . Å“- Å“ Å“ b Å“ Å“ Å“ Å“ b Å“ Å“ Å“ Å“ Å“ Å“ Å“ Å“ b Å“ &b 3 3

3

3

3

3

Å“ Å“ b Å“ b Å“ Å“- . Å“-

p

3

. . b œ. œ. b œ. œ. œ œ œ. n œ. œ. œ Cƒ - œ- œ œ # œ . # œ # œ #œ - #œ # œ œ n œ œ œ # œ œ. J bœ œ œ. œ œ œ #œ #œ #œ bb J & 3 3 3 3 F cresc. n œ . # œ # œ n œ œ- . œ- n œ œ œ- . œ. . œ. œ. œ. # œ. œ œ œ. # œ. œ. # œ - . 68 n œ n œ œ # œ œ nœ #œ. J œ #œ œ. œ b J &b 3 3 3 3 3 p ƒ œ . n œ . n œ œ b œ n œ D n œ œ œ œ œ œ #Ç œ œ œ. œ . 73 # œ # œ # œ n œ n œ œ n œ # œ n œ œ # œ n œ b #œ J J &b 3 3 cresc. f molto animato ed appassionato F

62

80 # Ç œ œ œ . œ œ # œ œ œ œ . œ œ # œ œ b Ç œ b œ n œ œ œ œ b œ b œ œ Ç œ #œ b J J &b

a tempo

Æ’

32

poco a poco più lento e dim.

Ç bœ Ç. bb &

bœ œ. œ Ç J dolce

nÇ.

90

œ b œ œ . œJ Ç

Tempo primo ben tranquillo

œ œ œ. œ Ç œ œ œ œ

J

œ œ # œ œ bb œ œ œ œ œ œ œ œ œj œ . œ œ œ œ œ œ- œ- œ . œ œ . œ œ œ œ œ- . œœ & J

100

Più mosso

p

œ œ . œ œ œ œ œ . E œ œ œ œ b œ œ n œ œ œ œ œ œ œ œ œ . b œ œ œœ œœ & b œ œœœœ œ œ œ 3 3 3 F cresc. 3 . 115 œ- œ- œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ . œ bb œ œ . œ œ- # œ- n œ- n œ- b œ- œ- & œ- # œ- n œ- b œ- œ œ 3 -ƒ rit. IV 121 Lento molto # bb j j & œ œ œ œ #œ #œ nœ œ #œ nœ. œ Ç. Ç. bÇ. n Ç . œj Ç rit. sempre ƒ e ben tenuto

108

#

rit.

Tempo primo

o œ œ . j œ œ. œ œ œ œ j & Ç œ œ- œ- œ J œ œ œ œ œ . . - - Ç 129

III

3

3

o œ œ . œ œ . œ œ œ œ œ # œ œ . œj œ œ - œ. J œ- œ- J 3

- - œ - œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ - - œ- œ œ œ œ- œ œ œ Ç œ- œ- œ œ œ & Ç œ nœ J J p 3 f 3 œ œ- œ- œ-o - œ œ- - œ œ . œ œ 145 #œ œ.œ œ œ œ - œ œ œ œ- œ- œ œ. # Ç œ- œ- œ- œ . J œ œ œ . œ Ç œ- œ- œ œ J œ J & J 3 p 3 ƒ cresc. ! !œ œ !œ œ !œ œ n œ œ œ œ œ b œ œ œ œ œ œ Ç œ 153 G # œ œ nœ œ œ b œ Ç œ ÇÇ Œ & ƒ e largamente ritenuto animato e cresc. Lento II Più lento œ III b œ- b œ- œ œ œ . 162 œ 1 Ç œ œ œ œ- œ œ . œ œ œ œ œ - - œ- œ œ œ . j # J œ Ç bœ bœ & œ 3 p F cresc. 3 II III 169 œ œ Ç. Ç. œ œ o Ç . # . . Ç Ç œœœ Ç Œ Œ & œ œ œ œ- œ . œ Ç . Ç œ œ œ poco rit. morendo p 3 3

137

F #

II

33

Romanze

Solo part edited by Alfred Moffat

[JSV 79a]

16

Andante

# & 43 # & Ç 25

33

#

& Ç

D

Ç.

17

Ç.

18

Ç.

. Œ œ- œ- œ- œ œ œ œJ œ . œ . œ œ œ œ Ç œ J Ç œ œ 3 p

19

Johan S. Svendsen, Op. 26

poco animato sul A A œ œ . œ œ. œ œ. œ œ #œ Ç œ œ- œ- œ sul D œ . œ œ -œ œ- œ- œ œ œ œ J J œ œ œ œ Ç œœœ J 3

p

œ- œ- œ- œ- - œ œ œ œ œ œ œ . œ Ç œ- œ- œ œ œ J p 3 f

œ œ. #œ œ. -œ œ- œ- œ J œ œ . œJ œ œ Ç 3

3

œ œ - - poco rit. Più mosso D œ œ . 41 œ œ œ œ.œ Ç œ b œ œ œ œ œ œ œ. œ œ.œ œ œ œ.œ œ œ œ œ # Ç œ- œ- œ- œ J b œ œ &

3

*N

p

f

3

3

œ . œ œ œ œ . œ œ œ œ œ Bœ œ œ b œ œ œ œ . œ œ . œ œ œ œ . œ bb œ œ œ œ œ œ œ œ œ œ œ &

49

N

N

F

œ œ . œ œ b œ œ œ . œN œ œ b œ œ œ œ œ œ b œ b œ œœœœ œ œ œ &b 3 3

3

56

3

3

3

œ œ bœ bœ œ. œ

p

3

. . b œ. œ. b œ. œ. œ œ œ. n œ. œ. œ C œ œ œ # œ . # œ # œ #œ #œ #œ œ n œ œ œ # œ œ b œ # œ # œ . . œ œ œ œ œ # œ b J J &b 3 3 3 3 F cresc. n œ . # œ # œ n œ œ . Nœ n œ œ œ #œ œ œ œ #œ œ #œ . 68 œ œ n œ œ . œ œ # œ œ œ œ œ . # œ #œ œ œ b J J &b 3 3 3 3 p 3 n œ n œ . n œ œ b œ n œ œDœ œ . œ # Ç œ œ œ . œ œ œ . 73 # œ # œ # œ n œ n œ œ n œ # œ œ œ œ b #œ#œ J J &b 3 3 cresc. f molto animato ed appassionato F a tempo œ œ . . Ç œ œ œ œ œ œ œ œ œ b œ œ œ œ œ b œ b œ œ Ç œ 80 #Ç œ #œ #œ #œ b J J &b ƒ poco a poco più lento e dim. al

62

* The notes marked N should be played with the nut, or heel, of the bow. To do this neatly the bow must be raised from the preceding note and quickly brought upwards in order that the semiquaver may be struck with the nut-end of the bow.

34

Ç bœ Ç. bb & 90

nÇ.

Tempo primo ben tranquillo

bœ œ. œ Ç J dolce

œ b œ œ . œJ Ç œ œ œ . œ Ç œ œ œ œ J

rit. mosso œ œ # œ œ bb œ œ œ œ œ œ œ œ œj œ . œ Più œ œ œ œ. œ œ. œ œ œ œ œ. œ œ œ œ œ & J

100

N

p

. œ œ œ . œN œ œ œ Eœ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ b œ œœœœ œ œ œ œ œ œœ œœ &b 3 3 3 F cresc. 3 . 115 œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ . rit. œ bb œ œ . œ œ- # œ- n œ- n œ- b œ- œ- & œ- # œ- n œ- b œ- œ œ 3 -ƒ sul G 121 Lento molto rit. # bb j j & œ œ œ œ # œ # œ # œ . nœ œ nœ œ Ç. Ç. bÇ. n Ç . œj Ç dim. sempre ƒ e ben tenuto

108

Tempo I

3

3 œ œ . . œ œ œ œ . œ œ œ œ œ # œ œ . œj œ œ . œ œj œ œ j œ & Ç œ œ- œ- œ œ œ J œ. J œ . œ œ œ- . œ- Ç œ- - J

129

#

sul D

3

- œ œ œ- œ œ - - œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ Ç Ç & J J p 3 f 3 œ œ œ œ œ- œ- œ- œ œ- œ- - . #œ . œ œ œ œ . 145 œœ œ # Ç œ- œ- œ œ J œ œ œ . œJ œ œ œ œ œ- . œ- Ç œ- œ- œ œ J & J 3 3 p ƒ cresc. !œ œ !œ œ !œ œ n !œ œ œ œ œ b œ œ œ œ œ œ Ç œ 153 G Ç # œ œ nœ œ Œ & ƒ e largamente riten. animato e cresc. Più lento sul A Lento - - œ œ œ . 162 1 Ç b œ- b œ œ œ œ œ œ- œ- œ . œ œ œ œ- œ- œ sul D - - œ- œ œ œ . j # J œ Ç bœ bœ & œ 3 p F cresc. 3 G D A 169 œ Ç. Ç. œ œ œ Ç . # Ç. Ç œ œ œ Ç. Œ Œ & œ œ œ œ- œ . œ Ç . Ç œ œ œ poco rit. morendo p 3 3

137

F #

sul A

35