Svendsen_Festmarsj av Fredrik_Due

JOHAN S. SVENDSEN (1840–1911)

Festmarsj av Frederik Due JSV 80

Festival March by Frederik Due

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/11A

N.M.O. 14567A

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 English translation and language consultant: Thilo Reinhard Norwegian language consultant: Gunnhild Wiggen Sponsored by: Kulturrådet (Arts Council of Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14567A /ISMN 979-0-065-16437-3) For sale and hire Parts (N.M.O. 14567B /ISMN 979-0-065-16438-0) For hire © 2020 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

“FESTMARSCH” AF F DUE ORCHESTRERET AF JOHAN SVENDSEN Forkortelser Kritisk rapport

General preface Preface Facsimiles Scoring I V IX XVII

“FESTMARSCH” AF F DUE ORCHESTRERET AF JOHAN SVENDSEN Abbreviations Critical report

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22 23

I V IX XVII

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GENERAL PREFACE

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ohan Svendsen (1840–1911) was a leading figure in late nineteenth-century Scandinavian music, celebrated as both a composer and a conductor. His works occupy a central position in the musical history of Norway and Scandinavia in general, yet his printed music has become notoriously difficult to obtain. Older editions are often inadequate, and many are out of print or abandoned by defunct publishing houses. More than half of his works never appeared in print and only survive in manuscript. A new complete edition of Johan Svendsen’s music has therefore been long anticipated, and the present edition, part of the Johan Svendsen’s Works project, wishes to meet this demand.

Johan Svendsen’s Works is a subproject under the umbrella of the Norwegian Musical Heritage project and represents a collaboration between the University of Oslo, the Norwegian Academy of Music and the National Library of Norway. The project was launched in 2011, one hundred years after the composer’s death.

In preparing these editions, many new sources of Svendsen’s music were uncovered. Manuscripts of entirely unknown works have surfaced among the archives, and new biographical knowledge has come to light as well. The result is a richer picture of Svendsen himself, as well as the musical life of his time.

This new edition of Svendsen’s collected works not only provides performance material that greatly improves the basis for new interpretations of well-known works, but also offers the opportunity to become familiar with pieces that have not been played since the composer’s lifetime. Alongside Svendsen’s output of chamber music, symphonies, symphonic poems and concertos—in itself an impressive corpus in the great nineteenth-century European tradition—we find other, lesser-known works, including the unpublished dances and orchestra marches written for the mid-century concertgoers of Christiania (Oslo), the celebratory cantatas and marches commissioned for public events in both Norway and Denmark, and Svendsen’s masterful orchestrations of iconic pieces from the international Romantic repertoire

GENERELT FORORD

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ohan Svendsen (1840–1911) er en av våre viktigste 1800-tallskomponister. Han inntar en sentral plass i norsk og nordisk musikkhistorie, ikke minst på orkestermusikkens område. Likevel har notematerialet vært vanskelig tilgjengelig. Eldre noteutgaver er ofte mangelfulle, mange er utgått fra forlaget, eller forlaget er nedlagt. Mange verker er aldri utgitt og foreligger bare i manuskript. En ny, samlet utgave av Johan Svendsens musikk har derfor vært etterspurt i lang tid. Den foreliggende noteutgaven, som springer ut fra prosjektet Johan Svendsens Verker, skal imøtekomme dette ønsket.

Johan Svendsens Verker er et delprosjekt under Norsk musikkarv og er gjennomført i et samarbeid mellom Institutt for musikkvitenskap ved Universitetet i Oslo, Norges musikkhøgskole og Nasjonalbiblioteket. Prosjektet ble etablert i 2011, hundre år etter komponistens død.

Arbeidet med utgaven har avdekket mange nye kilder til Svendsens musikk. I arkivene har det dukket opp manuskripter til verker vi trodde var tapt, og verker vi ikke visste eksisterte. Mange nye biografiske dokumenter har også kommet for en dag. Resultatet er et mye rikere bilde av Svendsens liv og verk, og også et rikere bilde av musikklivet på Svendsens tid.

Den nye utgaven av Johan Svendsens samlede verker gir ikke bare nye fremføringsmuligheter for verker vi kjenner, men også sjansen til å bli kjent med musikk som aldri ble utgitt, og som ikke har vært spilt på mer enn hundre år. Det gjelder for eksempel mange av Svendsens ungdomsverker, danser og marsjer for orkester, skrevet for underholdnings­ livet i Christiania på 1850- og 1860-tallet. Det gjelder også kantater og marsjer komponert for offisielle begivenheter i både Norge og Danmark, og det gjelder Svendsens mesterlige orkestreringer av verker fra den romantiske tradisjonen.

JOHAN SVENDSEN’S WORKS JOHAN SVENDSENS VERKER Johan Svendsen’s Works is a comprehensive edition optimized for performance and study. It is available online as well as in print, designed to meet the needs of anyone interested in any aspect of Svendsen’s music.

JSW features new editions of all known works by Svend-

Johan Svendsens Verker er en utgave som er tilrettelagt både for fremføring og studier. Den formidles både på internett og i trykte utgaver, og den skal være en ressurs for alle med interesse for Johan Svendsens musikk.

Johan Svendsens Verker omfatter nye utgaver av alle

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sen. Early versions of some of the works are also available in edited scores. Incomplete and fragmentary works, sketches and variant passages of a certain length are presented as facsimiles and/or transcriptions. Piano scores of works for soloist and orchestra are provided for use in rehearsal.

Additionally, Johan Svendsen’s Works includes a critical catalogue of the composer’s oeuvre with detailed descriptions of all the sources and a unique JSW number assigned to each work. The sources themselves are reproduced in their entirety and available as online facsimiles.

Each edition offers a preface describing the genesis and reception history of the work in question, as well as its position in the context of Svendsen’s total output.

Svendsens kjente verker. Også tidlige versjoner av enkelte verker er inkludert. Ufullstendige og fragmentariske verker, lengre variantpartier og skisser gjengis i faksimile og/eller transkripsjon. Klaveruttog til verker for solist og orkester blir gjort tilgjengelige til bruk i innstudering.

Johan Svendsens Verker omfatter også en vitenskapelig verkfortegnelse som beskriver kildesituasjonen i detalj. Her har alle verker fått et unikt JSV-nummer. Alle relevante kilder er gjengitt i faksimile på internettsidene.

Alle de nye utgavene er utstyrt med et forord som beskriver komposisjonens tilblivelses- og resepsjonshistorie samt dens plass i Johan Svendsens samlede produksjon.

GENERAL EDITORIAL PRINCIPLES Johan Svendsen’s Works is based on a critical examination of all the available sources: music manuscripts, early printed editions and other sources relevant to a comprehensive understanding of each individual work and its musical notation, such as letters and diary entries.

Throughout JSW, one of our key editorial principles has been to realize the composer’s last documented intentions while at the same time demonstrating the diversity of the source material. Each edition is therefore accompanied by a description of all the available the sources, including a review of the relationship between them.

A comprehensive analysis of Svendsen’s style of musical notation has also informed the editing process. Articulation and dynamics, playing instructions and performance markings have been standardized across analogous passages except where the composer seemed to intend those passages to differ.

For each work, a single primary source was chosen, i.e. the source believed to be closest to the composer’s final intentions. This source formed the starting point for the editing process. For works published during the composer’s lifetime, the primary source is generally the printed edition, but since Svendsen may not always have read the publisher’s proofs all that carefully, the autograph manuscripts often contain variants of particular interest.

Deviations from the primary source as well as variants found in other sources are documented and discussed measure by measure at the end of the edition. As a rule, the editors do not discuss primary source elements missing in other sources (so-called negative variants).

Editorial additions or revisions are not marked as such in the score.

GENERELLE EDISJONSPRINSIPPER Johan Svendsens Verker er basert på kritiske edisjonsprinsipper. Det betyr at den bygger på et vitenskapelig studium av alle tilgjengelige kilder, både notemanuskripter og tidligere trykte utgaver samt andre kilder av betydning for forståelsen av verket og for edisjonen av notebildet, for eksempel brev og dagbokopptegnelser.

Det er et viktig prinsipp å få frem de seneste dokumenterte intensjonene til komponisten. Samtidig skal også mangfoldet i kildesituasjonen formidles. Utgavene er utstyrt med en kildebeskrivelse hvor også forholdet mellom kildene blir grundig evaluert og vurdert.

Utgavene av hvert enkelt verk bygger også på en samlet analyse av Johan Svendsens notasjonsstil. Artikulasjon, dynamikk, buer, spilletekniske anvisninger og foredragsbetegnelser har i mange tilfeller blitt tilpasset slik at det er samsvar mellom analoge partier. Der det foreligger en sterk nok mulighet for at komponisten bevisst har gitt analoge partier ulik utforming, er tilpasning likevel unngått.

For hvert verk er det valgt en hovedkilde som er lagt til grunn for den nye utgaven. For utgitte verker er dette normalt en trykt utgave. Imidlertid leste Svendsen trolig ikke alltid grundig korrektur på de trykte utgavene. De egenhendige manuskriptene er derfor også blitt tillagt stor vekt.

Alle avvik fra hovedkilden i den nye utgaven dokumenteres og begrunnes takt for takt i en kommentarliste, der det også redegjøres for alle varianter i de andre kildene.

Med vesentlige varianter menes varianter som vil kunne ha innflytelse på fremføringsmåten. Negative varianter («mangler») i andre kilder er som hovedregel ikke kommentert.

Selve notebildet gjengis uten typografisk markering av redaksjonelle tilføyelser eller endringer.

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The following general editorial choices are not included in the critical comments for each individual work: • Typography, score layout, and instrument names have largely been standardized in keeping with modern practice.

• Where two notes share a stem, slurs, articulation markings and dynamics apply to both parts.

• The notation of slurs and ties in combination has been modernized.

• Markings such as ‘I.’, ‘II.’, and ‘a 2’ are sometimes editorial, but always comply with the general distribution of parts in the primary source, unless otherwise indicated in the critical comments.

• Clefs and rehearsal letters are generally reproduced as they appear in the primary source. Where rehearsal letters are missing in the primary source, they have been added in the new edition.

• Svendsen’s cautionary accidentals have been preserved.

In a few cases, such accidentals have been added for the sake of convenience (specified in the critical comments).

• Svendsen nearly always marked grace notes with a slash through the note stem and a slur to the main note. In cases where such slurs and slashes are lacking in the primary source, they have been added in the new edition.

• Svendsen frequently used slanted strokes to indicate the repetition of measures or musical patterns. Such passages have been notated in full in the new edition.

• Measured tremolos consisting of no more than two or three notes have been written out in full, and those consisting of more than three notes have also been written out in short passages of one to three measures. In longer passages, measured tremolos of more than three notes have usually been retained.

• In longer triplet passages, the composer typically notated the triplet number above the first group of triplets only.

Svendsen editions published by E.W. Fritzsch generally indicated numerals above the first two groups of triplets.

The new edition includes numerals above all the triplet groups in the first measure of a given passage.

• Dotted lines indicating the continuation of a crescendo or diminuendo in the primary source have been retained.

Moreover, such lines have occasionally been added by analogy, especially in passages lasting several measures, as long as the end point of the dynamic change has also been marked in the source.

• Svendsen employed several spellings of terms such as div., cresc. and rit. The spelling of these and similar terms has been standardized in the new edition.

Følgende generelle valg er ikke omtalt i de kritiske kommentarene til det enkelte verket: • Typografi, partituroppsett og instrumentnavn er til en viss grad normalisert i samsvar med moderne praksis.

• Når to stemmer deler notehals, gjelder fraseringsbuer, artikulasjonstegn og dynamikk begge stemmer.

• Notasjonen av kombinasjoner mellom legatobuer og bindebuer er modernisert.

• Markeringer som «I.», «II.», «a 2» kan være redaksjonelle, men er i overensstemmelse med hovedkildens stemmefordeling så sant ikke annet er anmerket i den kritiske kommentaren.

• Nøkler og orienteringsbokstaver er gjengitt som i hovedkilden. Når orienteringsbokstaver ikke finnes i hovedkilden, har vi lagt til slike.

• Svendsens påminnelsesfortegn er beholdt, men i noen få tilfeller har vi funnet det hensiktsmessig å legge til slike fortegn. Dette er det i så fall redegjort for.

• Svendsen knyttet så godt som alltid forslagsnoter til hovednoten(e) med en bue og gav dem en gjennomgående strek gjennom halsen. Når slike buer eller streker likevel mangler i hovedkilden, er de føyd til i de nye utgavene.

• Svendsen brukte ganske ofte streksymboler ved gjentakelse av takter eller notefigurer. I de nye utgavene er slike partier skrevet fullt ut i noteskrift.

• Abbreviaturer ved tonegjentakelse som bare representerer to eller tre noter, er skrevet ut i de nye utgavene.

Abbreviaturer som representerer flere enn tre noter, er også skrevet ut i kortere passasjer, normalt 1–3 takter. I lengre passasjer er slike abbreviaturer beholdt.

• I lengre passasjer med trioler skrev Svendsen gjerne siffer bare over den første triolen. Svendsen-utgavene fra forlaget E.W. Fritzsch har derimot som oftest siffer over de to første triolene. De nye utgavene har siffer over alle triolene i hele første takt i slike passasjer.

• Stiplede linjer i crescendo- og/eller diminuendoforløp som finnes i hovedkilden, er beholdt. Slike linjer er også noen ganger føyd til ut fra analogiargument, særlig i forløp over flere takter. Dette gjelder så lenge sluttpunktet for den dynamiske endringen likevel er angitt med et dynamisk tegn.

• Svendsen brukte flere skrivemåter i termer som div., cresc., og rit. Han noterte for eksempel crescendo ofte slik: cresc (uten punktum). I tidlige manuskripter skrev han cres. I de nye utgavene er skrivemåten normalisert for disse og andre standarduttrykk.

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The editon is organized as follows: SERIES I: Orchestral Works 1. Symphony no. 1 in D major, Op. 4 2. Symphony no. 2 in B-flat major, Op. 15 3. Norwegian Rhapsodies 4. Orchestral Works I 5. Orchestral Works II 6. Orchestral Works III 7. Early Dances and Marches I 8. Early Dances and Marches II 9. Arrangements for Orchestra I 10. Arrangements for Orchestra II 11. Arrangements for Orchestra III

Utgaven er disponert på følgende måte: SERIE I: Orkesterverker 1. Symfoni nr. 1 i D-dur, op. 4 2. Symfoni nr. 2 i B-dur, op. 15 3. Norske rapsodier 4. Orkesterverker I 5. Orkesterverker II 6. Orkesterverker III 7. Tidlige danser og marsjer I 8. Tidlige danser og marsjer II 9. Arrangementer for orkester I 10. Arrangementer for orkester II 11. Arrangementer for orkester III

SERIES II: Works for Soloist and Orchestra 1. Works for Violin and Orchestra 2. Cello Concerto in D major, Op. 7

SERIES III: Works for String Orchestra

SERIE II: Verker for soloinstrument og orkester

SERIES IV: Chamber Music

1. Verker for fiolin og orkester 2. Cellokonsert i D-dur, op. 7

SERIE III: Verker for strykeorkester

1. String Quartet, String Octet and String Quintet 2. Miscellaneous Chamber Works 3. Arrangements for String Quartet I 4. Arrangements for String Quartet II

SERIE IV: Kammermusikk

SERIES V: Piano Works

1. Strykekvartett, strykeoktett og strykekvintett 2. Annen kammermusikk 3. Arrangementer for strykekvartett I 4. Arrangementer for strykekvartett II

1. Cantatas and Choral Works 2. Songs

SERIE V: Klaververker

SERIES VII: Ballet

SERIES VI: Vocal Works

Spring Is Coming, Op. 33

SERIE VI: Vokalverker

SERIES VIII: Sketches and Varia

1. Kantater og korverker 2. Sanger

SERIE VII: Ballett Foraaret kommer, op. 33

SERIE VIII: Skisser og varia

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PREFACE

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n January 1882, Johan Svendsen (1840–1911) orchestrated a march written by the Norwegian-Swedish diplomat and composer Frederik Georg Knut Due (1833–1906). The orchestration is mentioned in a correspondence between Svendsen and Due and its existence has therefore been known for a long time. The music itself, however, was considered lost until 2010, when research librarian Øyvind Norheim discovered two scores and two sets of parts among Due’s posthumous papers at the National Library of Norway in Oslo. One of the scores is in Svendsen’s handwriting, the other is written by a copyist. The title in both manuscripts is Festmarsch af F Due. We have no knowledge of specific performances, but the parts contain vari­ ous annotations by musicians, suggesting that the parts must have been used at least once. Among other things, the third horn part includes the name H. Beyendorff.

There is another Frederik Due who can be mistaken for Frederik Georg Knut – his father Frederik Gottschalk Haxthausen Due (1796–1873), Norwegian prime minister, diplomat, army officer and artist. As prime minister of Norway, Frederik Gottschalk is more often referenced and better known than his diplomat son. Frederik Gottschalk was married to singer and composer Alette Wilhelmine Georgine Due, née Sibbern (1812–1887), Frederik Georg Knut’s mother.

From 1873, Alette Due was chief court mistress at the Royal Palace in Norway. Her brother, Georg Christian Sibbern (1816–1901), served as Norway’s prime minister in Stockholm for a number of years. Svendsen’s song The Violet, written in London in 1879 to a poem by Georg Sibbern, is dedicated to Alette Due. Frederik Due thus had important contacts within the royal family as well as various political environments. This enabled him to help Johan Svendsen more than once by ‘pressing the right buttons’.

The two men probably met for the first time while Svendsen stayed in Paris between 1868 and 1869. Aimar Grønvold (1846–1926) writes that Due, who was envoy to the embassy in Paris at the time, helped Svendsen establish contacts within the cultural life of the city.5 In October 1869, Due was transferred to Berlin. When Svendsen attended the music festival in Weimar in May 1870, they met once again, and Svendsen referred to the meeting in a letter to his father Gulbrand:

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ohan Svendsen (1840–1911) orkestrerte i januar 1882 en marsj som diplomaten og komponisten Frederik Georg Knut Due (1833–1906) hadde skrevet. Orkestreringen er nevnt i en brevveksling mellom Svendsen og Due, så det har lenge vært kjent at den har eksistert. Men selve notene var regnet som tapt helt frem til 2010, da forskningsbibliotekar Øyvind Norheim fant to partiturer og to stemmesett i Dues etterlatte papirer ved Nasjonalbiblioteket i Oslo. Det ene partituret er i Svendsens håndskrift, det andre er skrevet av en kopist. Tittelen er Festmarsch af F Due i begge partiturene. Vi kjenner ikke til konkrete fremføringer av marsjen, men stemmematerialet har flere notater fra musikere, noe som tyder på at stemmene må ha blitt brukt iallfall én gang. Blant annet står navnet H. Beyendorff i stemmen for 3. horn.

Det finnes en annen Frederik Due som kan forveksles med Frederik Georg Knut, nemlig hans far, Frederik Gottschalk Haxthausen Due (1796–1873), norsk statsminister, diplomat, offiser og kunstner. Som norsk statsminister er nok Frederik Gottschalk mer omtalt og kjent enn sin diplomatsønn. Frederik Gottschalk var gift med sangerinnen og komponisten Alette Wilhelmine Georgine Due, f. Sibbern (1812–1887) – Frederik Georg Knuts mor. Fra 1873 var Alette Due overhofmesterinde ved Slottet i Norge. Hennes bror Georg Christian Sibbern (1816–1901) var i en årrekke norsk statsminister i Stockholm.

Da Svendsen skrev sangen Violen i London i 1879, til tekst av Georg Sibbern, tilegnet han sangen Alette Due. Frederik Due hadde med andre ord viktige kontakter både i kongehuset og i ulike politiske miljøer. Han kunne derfor flere ganger hjelpe Johan Svendsen ved å «trykke på de rette knappene».

De to møttes trolig for første gang under Svendsens Paris­ opphold i perioden 1868–1869. Aimar Grønvold (1846–1926) skriver at Svendsen fikk hjelp av Due, som på denne tiden var legasjonssekretær i Paris, til å knytte kontakter i kulturlivet.1 I oktober 1869 ble Due overflyttet til Berlin. Da Svendsen besøkte musikkfesten i Weimar i mai 1870, traff de hverandre igjen der. Svendsen fortalte om møtet i et brev til faren Gulbrand:

At the Music Festival in Weimar, which took place at the end of May, I had the honour of having my Octet played by eight of Germany’s most famous virtuosi, among them

Ved Tonekunstnerfesten i Weimar som stedfand i Slutningen af Mai, nöd min Octett den Ære at blive spillet af otte af Tysklands berömteste Virtuoser, hvorunder David, Prof. Helmes-

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David, Prof. Helmesberger from Vienna, Grützmacher, Heckmann, and so on. On this occasion, I was also pleased to see that a number of highly regarded persons had come from far away mainly to hear my work, such as the Swedish-Norwegian Minister Due in Berlin and Rudorf, Professor at the Academy there. I also made the acquaintance of Liszt.

berger fra Wien, Grützmacher, Heckmann o.s.v. Jeg havde ved denne Leilighed ogsaa den Tilfredsstillelse at nogle anseede Personligheder hovedsaglig for at höre mit Wærk vare komne langveis fra, f.e.x den svensk-norske Minister Due i Berlin og Rudorf, Professor ved Akademiet samme­ steds. Jeg gjorde ogsaa Bekjendtskab med Liszt.

LETTER FROM JOHAN SVENDSEN TO HIS FATHER GULBRAND, LEIPZIG, 26 SEPTEMBER 1870. NATIONAL LIBRARY OF NORWAY, OSLO.

The following year, Svendsen wrote to Due from New York, thanking him for the help he had received in connection with a passport and telling him about his marriage and his experiences in the United States.6 It was Due who had arranged for Svendsen to meet the new king, Oscar II (1829–1907), in autumn of 1872, shortly after the death of King Carl XV (1859–1872). In a letter of 19 November, Svendsen thanked Due for having apprised the new king of his situation:

BREV FRA JOHAN SVENDSEN TIL FAREN GULBRAND SVENDSEN, LEIPZIG, 26. SEPTEMBER 1870. NASJONALBIBLIOTEKET, OSLO..

Året etter skrev Svendsen til Due fra New York, takket for hjelpen han hadde fått med et pass, og fortalte om sitt giftermål og sine opplevelser i USA.2 Det var Due som ordnet det slik at Svendsen fikk møte den nye kongen, Oscar II (1829–1907), høsten 1872, like etter at Kong Carl XV (1859–1872) hadde dødd. I et brev fra 19. november takket Svendsen Due for at han hadde informert den nye kongen så godt:

Throughout my conversation with the king, I noted that he was very well informed about my affairs, and that it was namely you who had drawn his attention to me.

LETTER FROM JOHAN SVENDSEN TO FREDERIK DUE, 19 NOVEMBER 1872.

Under hele min Samtale med Kongen mærkede jeg at han var meget nöie underettet om mine Forholde, og at det fornemlig var Dem som havde henledet hans Opmærksomhed paa mig.

NATIONAL LIBRARY OF NORWAY, OSLO.

In 1873, Due moved to St. Petersburg, but the correspondence with Svendsen continued. When Svendsen and Edvard Grieg (1843–1907) were awarded artists’ salaries by the Norwegian Parliament in 1874, Frederik Due had acted as a political advocate in the matter. In a letter to Due dated New Year’s Eve of the same year, Svendsen thanked him for his efforts.7 When Svendsen wanted to visit Italy, Germany, England and France in 1877 to broaden his horizons, Oscar II made a significant financial contribution. Eventually, Svendsen’s money ran out, and since he was determined to extend his stay in London or Paris, he wrote to Due from London on 30 June 1878, asking him to get in touch with ‘HM the King and the Chief Court Mistress’. He explained that it would be of ‘major significance, both for my further artistic development and perhaps my entire future, to be able to continue my studies in Paris for 8 to 9 months beginning in September.’8 And the king did provide the funding. That same year in London, Due tried to help Svendsen by introducing him to Count Otto Steenbock (1838–1915) and other individuals with an influence on the music that was performed in the British capital.

Music was also a topic of discussion in the correspondence between Svendsen and Due. From a letter written on

BREV FRA JOHAN SVENDSEN TIL FREDERIK DUE, 19. NOVEMBER 1872.

NASJONALBIBLIOTEKET, OSLO.

I 1873 flyttet Frederik Due til St. Petersburg, men brev­ vekslingen med Svendsen fortsatte. Da Svendsen og Edvard Grieg (1843–1907) fikk tildelt kunstnerlønn fra Stortinget i 1874, var Frederik Due en av dem som hadde kjempet politisk for saken. I et brev til Due datert nyttårsaften samme år takket Svendsen for innsatsen.3 Da Svendsen i 1877 ville til Italia, Tyskland, England og Frankrike for å utvikle seg videre, gav Oscar II ham et meget viktig økonomisk bidrag til reisen. Da pengene tok slutt, og Svendsen svært gjerne ville forlenge oppholdet i London eller Paris, skrev han til Due fra London 30. juni 1878 og bad ham ta kontakt med «H.M. Kongen og Fru Overhofmesterinden».

Han forklarte Due at det ville ha «stor Betydning, baade for min videre kunstneriske Udvikling, som for maaske hele min Fremtid, at kunne faa fortsætte mine Studier i Paris i 8 a 9 Maaneder fra September regnet».4 Og pengene fra Kongen kom. Due prøvde også å hjelpe Svendsen i London 1878 ved å introdusere ham for grev Otto Steenbock (1838–1915) og andre personer som hadde innflytelse over hvilken musikk som ble oppført i den britiske hovedstaden.

Svendsen og Due diskuterte også musikk i brevene de utvekslet. I et brev fra nyttårsaften 1874 ser vi at Due har ment

VI

New Year’s Eve 1874 we can infer that Due must have voiced an opinion about Zorahayda, Op. 11, which Svendsen was revising at the time: The more I consider your remark regarding Zoraidée, the more I must agree with you. I also want to rework the entire story. Shouldn’t you collect and publish your songs? I think they would make for a magnificent opus. –

noe om Svendsens Zorahayda, op. 11 som Svendsen omarbeidet på denne tiden:

LETTER FROM JOHAN SVENDSEN TO FREDERIK DUE, 31 DECEMBER 1874.

Jo mer jeg tænker over Deres Bemærkning angaaende Zoraidée, jo mere maa jeg give Dem Ret. Jeg vil ogsaa omarbeide hele Historien. Burde De ikke samle og udgive Deres Sange? Jeg tror de skulde kunne danne et prægtigt Opus. –

NATIONAL LIBRARY OF NORWAY, OSLO.

On 4 May 1875, Svendsen once again encouraged Due to publish his songs: Some time ago, the Chief Court Mistress was kind enough to sing a number of your songs for me, and on this occasion I became even more convinced that you ought to publish them, or at least a selection thereof. It would be a shame if songs such as ‘Es war ein alter König’ were to remain unknown. To be sure, you do risk that your songs, once published, will not always be sung with the kind of poetic understanding that is so unique to the Chief Court Mistress’ interpretations, but I don’t think that concerns of this type ought to discourage you.

BREV FRA JOHAN SVENDSEN TIL FREDERIK DUE, 31. DESEMBER 1874. NASJONALBIBLIOTEKET, OSLO.

4. mai 1875 gjentok Svendsen ideen om at Dues sanger burde utgis: For nogen Tid siden var Overhofmesterinden saa venlig at synge flere af Deres Sange for mig, og blev jeg ved denne Leilighed endnu mere overbevist om at De bör udgive, i alle Tilfælde et Udvalg af dem. Det vilde være Synd dersom Sager som f.Ex. «Es war ein alter König» skulde forblive ubekjendte. Rigtignok risikerer De, at Deres Sange engang publiserede ikke altid synges med den poetiske Forstaaelse som er saa eiendommelig i Overhofmesterindens Foredrag, men jeg tror ikke at Betæ[n]keligheder af den Art bör afholde Dem.

LETTER FROM JOHAN SVENDSEN TO FREDERIK DUE, 4 MAY 1875.

NATIONAL LIBRARY OF NORWAY, OSLO.

In a letter of 19 July 1871 from New York, Svendsen mentioned several sheet music publications he called ‘Bric-à-Brac’. The French noun bric-à-brac denotes a random collection of trifles. As far as we know, Svendsen was referring to sheet music editions with short compositions by Frederik Due. These editions are also mentioned in two letters from 4 June 1874 and 6 June 1878, and a letter of 31 December 1878 provides further insight into Svendsen’s role as Due’s adviser on compositional issues:

BREV FRA JOHAN SVENDSEN TIL FREDERIK DUE, 4. MAI 1875. NASJONALBIBLIOTEKET, OSLO.

I et brev fra New York 19. juli 1871 omtalte Svendsen noen hefter som han kalte Bric-à-brac. Det franske substantivet bric-à-brac betegner en tilfeldig samling av mer eller mindre verdiløse småting. Etter alt å dømme viste Svendsen til hefter med små komposisjoner av Frederik Due. Heftene ble også nevnt i to brev fra 4. juni 1874 og 6. juni 1878. Et brev fra 31. desember 1878 gir oss innblikk i Svendsens rolle som rådgiver for Due når det gjaldt komponering:

Thank you for sending me your 3rd volume of Bric à Brac, which I have attentively perused several times. The content of this 3rd album greatly appealed to me. All of the pieces possess a certain clarity of thought and form that many a renowned composer might envy you. I particularly like Nos. 2, 6 and 9. This time, you have also succeeded in stretching yourself a little further, at least in a few of the pieces.

Examples of this are No. 9 & 10.

Takk for det tilsendte 3die Hefte Bric à Brac som jeg med Operksomhed har gjennomlæst flere Gange. I[n]dholdet af dette 3die Album har tiltalt mig meget. Alle Stykker besidder en vis Klarhed i Tanke og Form som mangen renomeret Componist kunde misunde Dem. Især synes jeg godt om No 2, 6 og 9. Denne Gang har De ogsaa vidst at strække Dem lidt længer, i alle Fald for et Par Stykkers Vedkommende.

Jeg nævner f.Ex No 9 & 10.

LETTER FROM JOHAN SVENDSEN TO FREDERIK DUE, 31 DECEMBER 1878.

NATIONAL LIBRARY OF NORWAY, OSLO.

BREV FRA JOHAN SVENDSEN TIL FREDERIK DUE, 31. DESEMBER 1878. NASJONALBIBLIOTEKET, OSLO.

VII

The same letter tells us that Due encouraged Svendsen to compose an opera. Although Svendsen ‘wished for nothing more’, he was unable to finance such a project.

Svendsen and Due’s collaboration on the march began in 1881: I have indeed received the march. I understood the enclosed letter such that you were soon to come here, and therefore I did not write. Naturally, I would be delighted to orchestrate it, but first have to talk to you about some small changes that I consider to be of advantage. Furthermore, I need to know what sort of orchestra you have in mind.

I will read through the march a few more times, so that when you arrive here I shall be entirely clear with regard to what I intend to propose; once we agree on that, the orchestration should be done before long.

I det samme brevet ser vi dessuten at Due oppfordret Svendsen til å komponere en opera. Svendsen «vil intet hellere», men kunne ikke finansiere et slikt arbeid.

Samarbeidet omkring marsjen begynte i 1881: Marschen har jeg gandske rigtig modtaget. Brevet, som fulgte med forstod jeg saaledes, at De strax vilde komme hid, og derfor skrev jeg ikke. Jeg vil naturligvis gjerne instrumentere den, men maa först tale med Dem om nogle smaa Forandringer, som jeg anser for heldige. Desuden maa jeg vide hva Slags Orchester De har tænkt Dem. Jeg vil endnu nogle Gange gjennemlæse Marschen, saa at jeg, naar De kommer hid, er fuldsteændig paa det Rene med Hensyn til hvad jeg tænker at foreslaa; naar saa Vi ere enige derom, skal Instrumenteringen snart være gjort.

LETTER FROM JOHAN SVENDSEN TO FREDERIK DUE, CHRISTIANIA, 5 SEPTEMBER 1881. NATIONAL LIBRARY OF NORWAY, OSLO.

One of the flute parts to the march contains a curious note pencilled in German: ‘componiert vom König von Schweden, instrum. v. Svendsen’ – composed by the King of Sweden, orchestrated by Svendsen. Presumably, this was intended in jest by one of the musicians, just like another part in the orchestral set in which someone has added the suffix ‘-abel’ to every rehearsal letter – Abel, Babel, Cabel, and so on. But theoretically it is possible, of course, that King Oscar II is the actual composer. We know that he was extremely interested in music and that he was an amateur singer. Had he wished to compose a march anonymously and have it orchestrated, Frederik Due and Johan Svendsen would have been natural collaborators.

BREV FRA JOHAN SVENDSEN TIL FREDERIK DUE, CHRISTIANIA, 5. SEPTEMBER 1881. NASJONALBIBLIOTEKET, OSLO.

I en av fløytestemmene til marsjen finnes det et kuriøst notat på tysk, skrevet med blyant: «componiert vom König von Schweden, instrum. v. Svendsen.» Dette er sannsynligvis et humoristisk innfall fra en musiker, slik som i en annen stemme i dette orkestersettet, der noen har lagt til endingen «-abel» etter alle prøvebokstavene. Slik har de blitt til Abel, Babel, Cabel og så videre. Men det er naturligvis også en teoretisk mulighet for at Oscar II virkelig er komponisten. Vi vet at Oscar II var meget musikkinteressert, og at han var sanger. Dersom han i anonymitet ville komponere en marsj og få den orkestrert, ville Frederik Due og Johan Svendsen vært naturlige samarbeids­partnere.

Bjarte Engeset

English translation: Thilo Reinhard

Bjarte Engeset

Notes Aimar Grønvold: Norske Musikere. 1: (Halfdan Kjerulf, Joh. Svendsen, Ole Bull, Edv. Grieg), Aschehoug, Kristiania 1883.

NOTER

5

1

Aimar Grønvold: Norske Musikere. 1: (Halfdan Kjerulf, Joh. Svendsen, Ole Bull, Edv. Grieg), Aschehoug, Kristiania 1883.

6

2

Brev fra Johan Svendsen til Frederik Due, New York, 19. juli 1871, Nasjonalbiblioteket, Oslo.

7

Brev fra Johan Svendsen til Frederik Due, 31. desember 1874. Nasjonalbiblioteket, Oslo.

8

Letter from Johan Svendsen to Frederik Due, New York, 19 July 1871, National Library of Norway, Oslo.

Letter from Johan Svendsen to Frederik Due, 31 December 1874. National Library of Norway, Oslo.

Letter from Johan Svendsen to Frederik Due, 30 June 1878. National Library of Norway, Oslo.

3

Brev fra Johan Svendsen til Frederik Due, 30. juni 1878. Nasjonalbiblioteket, Oslo.

4

VIII

FESTIVAL MARCH BY FREDERIK DUE, JSV 80, AUTOGRAPH SCORE, COVER, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 5266

IX

FESTIVAL MARCH BY FREDERIK DUE, JSV 80, AUTOGRAPH SCORE, FIRST PAGE OF MUSIC, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 5266

X

FESTIVAL MARCH BY FREDERIK DUE, JSV 80, COPY SCORE, COVER, SOURCE B. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 5266

XI

FESTIVAL MARCH BY FREDERIK DUE, JSV 80, COPY SCORE, FIRST PAGE OF MUSIC, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 5266

XII

FESTIVAL MARCH BY FREDERIK DUE, JSV 80, COPY PART, FLAUTO 1MO, SOURCE A. THE SET OF PARTS IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS.A 5266

XIII

Festmarsj av Frederik Due JSV 80

Festival March by Frederik Due

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Copyright © 2020 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo.

N.M.O. 14567 A

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33 Fl.

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Pt. T. p.

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I. II. Cor. (Fa)

&

Pt. T. p.

G. C. Timp.

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Vle.

Vc.

Cb.

cresc.

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bœ œ œ Œ a2

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49 Fl.

Ob.

Cl. (La)

Fg.

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F

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T. p.

G. C. Timp.

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Vle.

Vc.

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a2 j > Œ œœ ‰ #  œ Œ #  ƒ > ∑ ∑ # 

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ƒ œœ œ œ Œ # œ .. R ƒ œ Œ #  ƒ

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# œ .. Rœ œ œ œ œ œ   #

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57

#

∑

∑

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b &b

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III. IV.

&

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Tbe. (Fa)

&

Fl.

&

Ob.

&

Cl. (La)

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

B

#

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dim.

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Œ ‰ . œr œj ‰ Œ

Œ ‰ . œr œj ‰ Œ

Œ ‰ . r j‰ Œ

∑

Œ ‰ . œr œj ‰ Œ Œ ‰ . œr œj ‰ Œ Œ ‰ . Rœ œJ ‰ Œ Œ ‰ . Rœ œJ ‰ Œ

∑

Œ ‰ . œr œj ‰ Œ Œ ‰ . œr œj ‰ Œ Œ ‰ . Rœ œJ ‰ Œ Œ ‰ . Rœ œJ ‰ Œ

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dim.

∑ ∑ ∑

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F dim. ## . Œ ‰. r . œ. œ. œ.  F dim. Œ ‰ . œr œ œ # # ..  . . .

F dim. œ. .œ œ. œ. # # .. Œ ‰. R F dim. œ. . œ. œ. œ # . . Œ ‰ R # .

F dim.

8

∑

b ..  F

Œ

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j œ #œ œ. œ œ. J

œ  œ 

 œ Œ

j œ . œ  œœ Œ



œ œ œ œ œœ œ œ J œ œ œ œ œ œ œ œ œœ œ œ J œ œ œ œ

. .

Œ

 ..

Œ

.

Œ

# & #

65 Fl.

Ob.

Cl. (La)

# & #



&b 

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

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 

 .. 

nœ #œ

&





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III. IV.

&





.

# œœ # 

Tbe. (Fa)

&

∑

∑

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∑

B # #

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∑

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#  & #

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

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

.

œ

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

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.



∑

? ##

# & #  B ## 

∑



œ . œ œ # œ J 

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nœ

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

∑

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œ . œJ œ # œ œ . œJ œ # œ

  

# a2



∑

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œ œœœ œ œ œœœ œ

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∑

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œ . œj œ œ œ. œ œ œ J

9

œ

 ..

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j œ œ.

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f

j # œœ # œœ .  # œ  œ

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j œ œ.

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.

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j œ  œœ Œ

. .

Œ

 ..

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Œ

# & #

73 Fl.

Ob.

Cl. (La)

# & # 

∑



&b

f

 

œ œœ  œ œ 

f

∑

œ # œœ œ œ

? ## œ œ œ œ œ œ # œ œ a2

Fg.

I. II. Cor. (Fa) III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

f

& &

f





a2



#

Π..

∑

∑

Œ n p

a2

Œ

n p

∑

∑

.. b b

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

.. .. ..

  

∑ ∑ ∑

∑

∑

∑

œ œ

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œ #œ

œ nœ œ œ



? ## œ œ œ œ œ œ # œ œ

j

œ œ  œ œœ œ œœ

..

∑

œ œ 

? ## œ œ œ œ œ œ # œ œ f f

#.

∑

∑

∑



Π..

∑

∑

? ##



Π.. b b

. #.

#œ œ 

p

.. b b

∑

f

 ..

. .  .. .

Π.. b b Π.. b b Π.. b b Π.. b b Π.. b b

10

∑

œ œ. œ œ œ bœ œ #

∑

∑

∑

Π.. b b b b b

œ œ œ . œj  .

J œ œœ

I.

∑

B # #

#  & # f # & #  f B ## 

œœ n œ œ . œ œ  .

Π.. b b

∑

..

∑

? ##

j

.. b b

∑

∑

&

∑

œ œ  # œ # œ n œ n  #  # œ œ  #œ

#  f

∑

∑

œœ

p

p



n

œ b





∑

p

œ

p

Œ Œ

∑ ∑

cresc.

cresc.

cresc.

∑

œ n œ œ œ 

Z





Z

œ nœ œ œ  









Z

b  Z



Z

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

œ n œ . œ. œ œ

œ nœ œ œ

œ œœ œ . œ. œ œ



∑

∑

Œ œ œ





Œ œœ Œ œœ b œ œ #  p

œ

cresc.

œ œ. œ œ œ

œ œ . œ. œ œ b œ œ # Œ

œ nœ. œ œ œ

œ b

∑

p

∑

œ œ

Œ





Œ





cresc.

cresc.

œ n œ . œ. œ œ

∑

Z



Z

œ nœ œ œ

cresc.

Z

cresc.

Z

cresc.

Z

œ œ œ œ bœ œ  œ œ œ œ bœ œ 

81 Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Fa) III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

&b &

b

bb

∑ I.

bb &bbb

∑

œ œ. œ œ œ bœ œ #

p

∑

? bb

∑

Œ

& &

a2



p

B bb

∑

.

œœ b œ . n œ  œ

cresc.

p

cresc.

p

cresc.

∑

.

œ œ . n œ 

p

œ œ . œ nn œ œ w.

œ œ œ œn  n œ œ . œ

.

œ .œœ œ nœ . œ 

œ œ. nœ  œ œ . n œ. 

a2



p

.

.

œ œ œ œ n œ œ . œ.

p p

∑

w

. œ œ. œ nœ œ .

. œ b b œœ. n œ œ n œ b œœ œ . n œ  b œ B I.œ n œ . œ œ œ 

∑

a2

∑

œ bœ. nœ  œ b œ . n œ. 

∑

Œ  p

&

∑

I.

œ b



œ b



#œ 

.

cresc.

œœ b b œ . n œ  œ cresc.

∑

#œ #œ œ

∑



p



.

œ n œ œ œ œ œ . œ.  œ n œ œ œ œ œ . œ. 

 

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

.

œ œ . # œ 

∑

∑

∑

∑

∑

∑

∑

∑

? b b

∑

∑

∑

∑

∑

∑

∑

∑

  

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

? ## &

bb

&b

b

B bb ? b b ? b b

∑

∑

∑

œ œ . œ. œ œ b œ œ #

p Œ

œœ

p

Œ œ œ





Œ œœ Œ œœ b œ œ #  p

œ

p

œ

p

Œ Œ

œ œ

Œ





Œ





∑

∑

œ b œ . n œ. 

œ œ . n œ. 

œ n œœ œ . œ. œ



cresc.

cresc.

. œ œ. œ œ #œ #œ œ cresc.

œ bœ cresc.

œ bœ cresc.

œ nœ bœ  œ nœ bœ 

∑ .

œ nœ. œ œ œ 

p

Œ œœ Œ œœ Œ œœ p

   bœ bœ

11

Œ œœ Œ œœ Œ œœ p

œ Œ œŒ œ Œ

p

œ Œ œŒ œ Œ

p

∑



?

∑

œ n œ œ œ œ œ . œ. 



Œ œœ Œ œœ Œ œœ

Œ œœ Œ

œ Œ œ Œ œ Œ

œ Œ œ Œ

Œ n œœ Œ œœ Œ œœ

œ Œ œ Œ œ Œ

œœ

Œ œœ Œ n œœ

œ Œ œ Œ

89 Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Fa) III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

&b

b

b &b

œ

I.

Œ



∑

œ œ œ . œ œœ  œ  œ Œ F

Œ

> bb &bbb Œ  F ? b b aœ2 > F

Œ

œœ Œ œœ Œ œœ œ œ Œ œ Œ

Œ  > F

& &

œœ p

w

p

B bb

œœ Œ œœ Œ œœ

∑

∑

∑

∑

∑

∑

∑

∑

œ bœ œ œ

œ b œ . œ œ œœ  œ  œ  Œ Œ Œ p F >

&

∑

∑

∑ ∑



w

∑

 b

∑

∑

∑

∑



∑

∑

∑

∑

 ? ##

∑

∑

∑

∑

&b &b

b b

B bb ? bb ? bb

∑

∑

F

œ œ. . œ. œ œ 

F



F



œ n œ. . œ. œ œ . œ.  . p  n œ œ bœ œ



œ 

n

w





n

w



p p

p

 

∑ a2

a2



p

∑

p

p

∑

∑

 

12

. . œ nœ. œ œ œ cresc.

cresc.

Z



 

  ∑

cresc.

cresc.

∑

œ œ

w p cresc. ∑

∑ ∑

∑

cresc.

p

œ

p

Œ

Œ œœ



Œ





Œ





œ



œ n œ . œ. œ œ . œœ œœ .. œœ œ œ

œ œ

cresc.

cresc.

œ œ

cresc.





Z



b Z



Z

 

Z  F œ Œ f ∑

∑

œ n œ . œ. œ œ

p

œ œ . œ. œ œ b œ œ #



b  Z

œ œ bœ œ   ∑ 

cresc.

cresc.

Œ

.

cresc.

∑

∑

œ

.

œœ œ . œœ. œ œ

p

œ

œ œ bœ œ  œ œ bœ œ 

nœ œ. œ œ œ .



Z

Z



 



œ nœ œ œ

œ b

∑

Z

cresc.

œ œ œ œ

Dœ œ. . œ œ œ bœ œ #

Œ œœ p

 



∑



œ œ œœ .. œ œ œ



œ.  nœ œ.

∑

∑

.

cresc.

œ n œ œ œ



Œ

∑

œ œ . œ. œ œ

œ b

œ œŒ œ œŒ





∑

Œ  p

Œ

n  b 

p œœ Œ œœ Œ œœ œ n œ. . œ. œ œ œ. . .  p

> Œ b  F >

F



∑

p

Œ œœ Œ œœ

∑

∑

∑

œ œ. . œ. œ œ 

œ

∑

œ œ

œ œ . œ. œ œ b œ œ n

a2

Œ

∑

∑

∑

Œ 

∑

? b b



p

 n

∑

∑

Dœ œ. . œ œ œ bœ œ #

œ nœ œ œ Z

œ n œ œ œ  

Z



Z

œ œ bœ œ 

Z

œ œ bœ œ 

Z

97 Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Fa) III. IV.

Tbe. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

&

bb

&b

b

.

œ œ. œ œ œ bœ œ #

p

Œ 

∑

œ  œ 

p

∑



b œ œ . œ. œ œ b œ œ n  & b bbb p ? b b

∑

Œ  p a2 Œ  p a2

& & &

B bb ? b b 

Œ œœ p Œ œ œ Œ p

 ? ## bb

b &b B bb ? b b ? b b

∑



œ b



œ  

∑



Œ œ Œ œ œ Œ

 

 

∑

∑

∑

∑

cresc.

n œ 

cresc.

œ b œ . n œ.  cresc.

œ bœ

a2

cresc.

∑

cresc.

œ 

cresc.

œœ b œ

cresc.

cresc.

p

œ

p

Œ Œ

œ œ

#œ #œ œ



œ  œ nœ bœ  w

Œ





Œ





œ bœ

cresc.

œ bœ

cresc.

F

œ nœ bœ 

œ œ Œ œ Œ œ

∑

p

œ Œ  bœ œ p  p œ Œ p

∑ ∑

 ∑ ∑

œ nœ

F

 

F



. œ. œ

œ 

.

Œ œœ Œ œœ Œ œœ F

bœ œ Œ F bœ œ Œ F

13

œ œ Œ œ Œ nœ

Œ n œœ Œ œœ Œ œœ

Œ œœ Œ

œœ

Œ œ Œ œœ Œ œ œ œ

Œ œ Œ œ

œœ

œ n œ œ œ œ œ . œ. 

∑ 

∑ Ÿ~~~~~~~~

œ nœ. œ œ œ 

F

œ œ Œ n œ Œ œœ Œ œ

∑

F

œŒ œ Œ œŒ œ Œ



n

Œ œœ Œ

∑





∑

n œ. nœ œ. œ œ .

F .

I. œ œ. œ nœ œ .

I.

œœ Œ 

. œ œ œ n œ œ œ. œ 

Œ œœ Œ œœ Œ œœ



Œ œœ Œ œœ Œ œœ F Œ œœ Œ œœ Œ œ œ F

œ œ . n œ. 

œ nœ bœ 

.

œ nœ. œ œ œ 

b œ Œ œœ F

œ œ . n œ. 

n œœ œ . œ. œ # œ # œ œ



n

œœ œœ Œ œœ Œ œœ

∑

œ b œ . n œ.  cresc.



œ n œ . œ œ œ  F ∑

F

∑

œ b œ . n œ. 

p

œ



 n œœ b œ . n œ  # œ # œœ œœ . n œ  . . cresc.

cresc.

 



œ 

∑

œ œ . œ. œ œ b œ œ #

∑

œ œ . n œ. 

∑

p

Œ œœ

œ œ. nœ 

œ nœ bœ 

#œ b

.

.

# œœ # œ œ

w p cresc. ∑

œ œ . œ. œ œ b œ œ #

Œ œœ p

∑

∑

∑

∑

œ bœ. nœ 

p

œ b

∑



&

∑

.

œ Œ

Œ Œ



nœ œ œ œ. œ nœ œ .

œ œ œ œ n œ œ . œ.

∑

∑



∑

∑

∑ Ÿ~~~~~~

∑ ∑

œœ

∑





œ n œ œ œ œ œ . œ. 



œ n œ œ œ œ œ . œ. 

œ Œ  

Œ n œœ Œ œœ Œ œœ

Œ œœ Œ n œœ

œ Œ œ Œ œ Œ

œŒ œ Œ

œ Œ œ Œ œ Œ

œŒ œ Œ

&b

b

&b

b

105 Fl.

Ob.

. f nœ. œ # œ #  . œ n œ .. œœ ##  œ nœ f

b & b b b b œ n œ . œ. n  f # ? b  b  # f a2

Cl. (La)

Fg.



&

a2

III. IV.

&

a2

Tbe. (Fa)

&

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

f





f



B bb ? b b   



# # 



#

f f

w f

bb

&b

b

B bb

Vc.

? b b

Cb.

? b b

# # 

 f

? ## &



∑

.  #œ. œ # n  n œ n œ . # œ #œ ∑ . # œ # œ . nn œœ  #œ #œ. . nœ #œ. nœ

∑

. nœ # œ . Z . nœ n .

Z œ.  #œ  Z

n œœ n #  n œœ

 

n n



 # œ. #  œœ .





# n 

n 

 

n n

∑

nœ

œ

Z

 # œ #  # # œœ

# # 

w

∑

Z

.

∑

. Z .  .œ # œ #  # # œœ . Z . œ n œ  # n œœ . Z . Z #œ  œ #œ Œ  . ∑

œ Œ  ∑

∑

∑

. #œ #œ. nœ 

n œ.

œ n œ . œ. # 

# œ # œ . n œ. 

œ. n  # œ # œ

f f



 f



f



f

.

n 

#  #















n  n



n n 



# 



# # 

#

n #

 

# # 

n 

# #

n 

Z

œ. n#  # n œœ Z

# œ.  œ Z

# œ.  œ Z

∑

∑

∑

#

∑

∑

∑

∑

I. j j j j b b œ .. œr œ ‰ œ ‰ œ .. œr œ ‰ œ ‰ œ œ . œ œ œ . œ œ œ . œ œ Œ p I. # œ .. œ œJ ‰ œ ‰ œ .. œ œJ ‰ œ ‰ œ œ . œ œ œ . œ œ œ . œ œ Œ J J R R p

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

#

∑

∑

∑

∑

#

∑

∑

∑

∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑ Œ œ œ Œ ∑

∑

∑

 #œ. œ # n

Z

∑

#

n #

∑

œ nœ. œ #

∑

#

# #  # n 

#

n 

#

n 

#

#

n

#

n

14

œ ..

p



p



p

#   p

pizz. # œŒ p

∑

r œj ‰ j ‰ œ œ Œ

j‰

œ ..

œœ 

Œ œœj ‰  Œ œ ‰  J Œ œ

∑

r œj ‰ j ‰ œ œ Œ

j‰

Ÿ~~ Œ œ p

œ Œ œ œ. œ œ. œ œ œ. œ œ

œœ 

Œ œœj ‰  Œ œ ‰  J

œŒ Œ œ



Œ

#œ

Œ œ Œ œ

œŒ Œ œ

œ #œ nœ

Œ

œ œ œŒ

œ œ Œ œ œ œ œ œ

113 Fl.

Ob.

Cl. (La)

Fg.

& & &

#

∑

∑

∑

∑

#

∑

∑

∑

∑

bb

r œj ‰ j ‰ r œj ‰ j ‰ œ œJ ‰ œœ ‰ n  œ œ œ œ œ œ J œ .. œ .. œ

>

œ > ? # œ .. œ œJ ‰ œ ‰ œ .. œ œJ ‰ œ ‰ œ œ œ œ J ‰ œœ ‰   J J J R R &

III. IV.

&

∑

∑

∑

∑

Tbe. (Fa)

&

∑

∑

∑

∑

B

#

∑

∑

∑

∑

?#

∑

∑

∑

∑

 

∑ ∑

∑ ∑

∑ ∑

∑ ∑

œ Œ 

∑

∑

∑

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln.



? ## &

# #

∑

œ ..

II.

&

Vle.

B# 

Vc.

Cb.



?#  

?# œ Œ

∑

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r œj ‰ j ‰ œ œ Œ

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Cor. (Fa)



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15

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r # # œœ .... œ œ œ # œ . œ œ R œœ .... œr œ œ œ. œ œ R r œ œ œ .. œ œ . œ œ  #

r œ œ œ œ . œ œ  R



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

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j > Œ œœ ‰ # 

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ƒ

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∑

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

œ #

Œ œ > Œ œ œ >

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121 Fl.

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Ob.

&

#E #

&b

b

∑

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a2

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Tbe. (Fa)

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Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln.

B

a2

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Œ ‰. r Œ #œ œ a2

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?#

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r œ œ Œ . Œ ‰

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&

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∑

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16

∑

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129 Fl.

Ob.

Cl. (La)

Fg.

& &

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&

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&

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I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

B

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137 Fl.

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& &

# n

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n 

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n 

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II.

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∑

∑

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b & b b 

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&

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Cl. (La)

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

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& &

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ƒ

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18

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∑

∑

ƒ

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Z

j œ œ œ œ œ #œ œ Œ ƒ

j œœ œœ œ œ œ Œ

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ƒ

œ œ bœ œ œ Œ ƒ

œ bœ œ œ bœ œ œ Œ ‰ ƒ

œ bœ œ œ bœ œ œ Œ ‰ ƒ

145 Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Fa)

& &

Tbe. (Fa)

&

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

r j j œ .. œ œ ‰ œ ‰ œ .. Œ Jœ

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& &

III. Tb.

#

∑

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j j œr œ ‰ œ ‰ œ œ . œ œ œ . œ œœ œ . œ œ Œ  Œ œ œ œ Œ Jœ

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III. IV.

I. II. Tbn.

#

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Œ

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J œ œ ..  ƒ

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19

Œ # œœ

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Œ ƒ

.

œœ # œœ n œ œ Œ 

∑

 F

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 œ Œœ œ œ .. R J ‰

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#

∑ r j œ .. œ œ ‰# œœ Œ

F

Œ œ œ ‰ œ œ . œ œ n œœ . œ œ n œœ . œb œœ Œ ‰J

∑

B

j

rœ œ .. œ ‰ œ

    

153 Fl.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Fa)

& &

&

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

Cb.

œœ œœ ww



b 

b 

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ww

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&

Tbe. (Fa)

III. Tb.



?#

&

Tbn.

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b &b

III. IV.

I. II.

 # 

B

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b b 

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20

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.

 

Œ Œ Œ Œ Œ Œ Œ

 ..

Œ

 ..

Œ

∑  œ Œ

∑ Ÿ~~~

œ ‰ œJ œ ‰ Jœ  œ Œ w w

 œ  œŒ









ww

 œœ Œ

œœ ‰ j œ ‰ j  œœ Œ œ œ œ  œ ‰ œJ ‰ Jœ œŒ œ  œ ‰ œJ ‰ Jœ œŒ

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Fg. Fagotto G. C. Gran Cassa Fl. Flauto N-Onm The National Library, Oslo Ob. Oboe stacc. staccato marking(s) str. strings Tba. Tromba Tbn. Trombone ten. tenuto marking(s) Tamb. picc.

Tamburo piccolo Timp. Timpani Vle. Viole Vc. Violoncelli Vln. Violini

22

SOURCES

CRITICAL REPORT

Festival March by Frederik Due A Score, autograph B Score, copy CPTS Parts, copy

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 Score, autograph N-Onm, Mus.ms.a 5266 23 pages, 35x27 cm Title page: Festmarsch af Due / Instrumenteret af Johan Svendsen / 1882 Hand-ruled music paper, 18 staves Pagination: 1–23 At the end of the score: Januar 1882 Written in ink (Johan Svendsen)

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 Score, copy N-Onm, Mus.ms.a 5266 22 pages, 35x27 cm Title page: ‘Festmarsch’ / Partitur.

Added in ink: af F Due / orchestreret af Johan Svendsen Hand-ruled music paper, 18 staves Pagination: 1–22 Between pages 20 and 21: Some bars in piano score Written in ink (copyist) Two markings in red crayon

Source CPTS Parts, copy N-Onm, Mus.ms.a 5266 35x27 cm Two sets of parts in a copyist’s handwriting and four extra parts written by another copyist (Violino 1mo (1x), Cello (2x), Basso (1x)) The parts written by the first copyist: hand-ruled music paper, 12 staves (the earliest set is written on slightly darker music paper than the later one) The parts written by the second copyist: hand-ruled music paper, 11 staves The two sets were probably written at different times, but the string parts were later numbered in blue crayon and thus combined into one set

23

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

Flauto 1mo (2x), Flauto 2do (2x), Oboe 1mo (2x), Oboe 2do (2x), Clarinetto 1mo (2x), Clarinetto 2do (2x), Fagotto 1mo (2x), Fagotto 2do (2x), Corno 1mo (2x), Corno 2do (2x), Corno 3zio (2x), Corno 4to (2x), Tromba 1mo (2x), Tromba 2do (2x), Trombone 1mo (2x), Trombone 2do (2x), Trombone 3zio (2x), Tuba (2x), Tambouro (2x), Piatti e Gran Cassa (2x), Timpani (2x), Violino 1mo (5x), Violino 2do (4x), Viola (4x), Violoncello(3x), Bassi (3x) Written in ink (two different copyists) Some additions in pencil Above the music on the first page of one of the two Flauto I parts, the following is written in pencil: componiert vom König von Schweden, instrum. v. Svendsen.

Part 1 for Corno 3zio is signed M. Feyendorff The autograph score of Instrumental Piece in D major, JSV 87b, is also included in the set of parts

Comments considered to be of particular importance by the editors have bar numbers in bold type.

Primary source: A

EVALUATION OF THE SOURCES Source A is the only autograph source of Svendsen’s arrangement of the Festmarsch by Frederik Due. This has been our primary source, which contains no additional markings in pencil or crayon.

Source B is a copy, almost a duplicate of A, but with a few omitted markings and slightly different placement of some hairpins. One particular rhythm in the brass parts was changed in red crayon in bars 18, 20, 118 and 120 of Source B. This rhythm was also emended in pencil in one of the sets of parts, Source CPTS. We have chosen to regard this change as made by or approved by Svendsen.

The set of parts, Source CPTS, originally consisted of two different sets. For unknown reasons, two copies of each wind part were prepared. Interestingly, the string parts include many staccatos in ink that are neither found in the scores, nor does their placement seem logical in accordance with the principle of analogy.

The earliest set of wind parts contains nine pencilled additions made by musicians, while the later set contains none.

These additions mostly consist of courtesy accidentals and dynamic markings, along with rhythmic changes in bars 18, 20, 118 and 120. This supports the assumption that the work was performed, or at least rehearsed. The third horn part is signed M. Feyendorff. The string parts, too, were originally organized in two sets, but were later numbered in blue crayon and combined. Both sets include pencilled additions made by musicians.

Four of the string parts were prepared by a second copyist. One of these has a cautionary accidental written in pencil, suggesting that these parts, too, were probably used in rehearsal and/ or performance.

The emendations in our new edition are mostly based on the principle of analogy, in many cases supported by variants in the parts, Source CPTS.

24

Bar

Instr.

Comment

1–2

Vln. I

CPTS123: note 4: stacc.

1–2

Vln. II

CPTS1: note 4: stacc.

1

Vle.

CPTS4: note 4: stacc.

1–2

Vle.

CPTS1: note 4: stacc.

5

Vln. I

CPTS12: note 4: stacc.

5–6

Vln. II

CPTS: note 4: stacc.

6

Vln. I

CPTS1: note 4: stacc

8

Cl. II

CPTS1: note 2:

9

Vln. I

CPTS12: note 4: stacc.

13

Vln. I

CPTS1: note 4: stacc.

13

Vln. II

CPTS4: note 4: stacc.

15

Vle.

CPTS: note 2:

16

Fl. II

mf added by analogy with Fl. I and b. 52

18, 20

Tbe., Tbn.

notes 1–3: rhythm emended from    to .  as inserted in red crayon in B and in pencil in CPTS1

30

Tbe., Tbn.

slur added by analogy with b. 130

33, 34

Ob. II

slur added by analogy with Cor. II, bb. 133, 134, 135 and as in CPTS

35

Fl. II, Cl. II

slur added by analogy with Fg. I, Cor. I and as in CPTS (Fl. II)

35

Ob. II

slur added by analogy with Cor. II, bb. 133, 134, 135 and as in CPTS

39

Fl. I

slur added by analogy with Ob., b. 139 and as in CPTS

46

Vln. I

CPTS1: note 4: stacc.

49

Vln. II

CPTS4: note 4: stacc.

54

G. C.

ff added by analogy with the other parts and as in CPTS

60

Cb.

notes 2–3; stacc. added by analogy with the other strings and as in CPTS

61

Cb.

notes 1–3: slur added by analogy with Vc. and as in CPTS

61

Cb.

mf added by analogy with the other parts and as in CPTS

 



62

tutti

B: begins later in the bar; CPTS (Cl. I): begins in b. 63

70

tutti

B:

74

Ob. I

75

99

Fl. I

note 3: stacc. added by analogy with Cl.

99

Fg., Tamb. picc.

p added by analogy with the other parts and as in CPTS

CPTS1: notes 1–3: slur

99–101

Vln. I

CPTS123: note 2: stacc.

Vln. II

note 2: cautionary accidental added

99–101

Vln. II

CPTS1234: note 2: stacc.

77

Ob. I

CPTS1: note 3: stacc.

99

Vle.

CPTS1234: note 2: stacc.

77

Vln. I

CPTS123: note 2: stacc.

100

Cl. I

note 3: stacc. added by analogy with Fl.

79

Ob. I

CPTS1: note 3: stacc.

101

Fl. I

note 3: stacc. added by analogy with Cl.

79

Fg.

p added by analogywith the other parts

103

Fl. I

79

Vln. I

CPTS123: note 2: stacc.

note 7: stacc. added by analogy with Cl. and as in CPTS

79

Vln. II, Vle. CPTS1234: note 2: stacc.

103

Vln. I

CPTS13: note 6: stacc.

81

Ob. I

CPTS1: note 3: stacc.

103

Vln. II

CPTS123: note 6: stacc.

81

Cor.

a 2 added by analogy with b. 77 and as in CPTS

105

Ob. I

81

Vln. I

CPTS123: note 2: stacc.

note 3: stacc. added by analogy with Fl. I and as in CPTS1

Vln. I

83

Cl., Fg.

p added by analogywith the other parts

105

CPTS24: note 2: stacc.

Vln. II

83

Vln. I

C

105

CPTS234: note 2: stacc.

Fl., Cl.

Vln. II

CPTS123: note 2: stacc.

106

83

note 3: stacc. added by analogy with Ob. and as in CPTS1

83

Vle.

CPTS1234: note 2: stacc.

106

Vln. I

CPTS14: note 2: stacc.

84

Vln. I

CPTS123: note 2: stacc.

106

Vln. II

CPTS234: note 2: stacc.

85

Vln. I

CPTS123: note 2: stacc.

107

Tbn., Tuba

85

Cb.

CPTS: mf

note 1: stacc. added by analogy with the other parts

86

Fl. I

note 3: stacc. added by analogy with Ob.

107

Vln. II

87

Vln. I

CPTS23: note 6: stacc

fz added by analogy with the other str. and as in CPTS

89

Fg. II

CPTS1: fz (not >)

109–110

Vln. I

CPTS1: note 4: stacc.

93

Fl. I

note 3: stacc. added by analogy with Cl.

112

Timp.

p added by analogy with b. 4 and as in CPTS

93

Cor. III/IV

a 2 added by analogy with Cor. I/II

115

Vln. I

CPTS1: note 6: stacc.

93

Vln. I

CPTS123: note 2: stacc.

118, 120

Tbe., Tbn.

notes 1–3: rhythm emended from    to .  as inserted in red crayon in B and in pencil in CPTS1

93

Vln. II

CPTS123: note 2: stacc.

120

Cor. I/II

a 2 added by analogy with b. 20, Cor. III/IV

94

Vle.

C

95

Fl. I

note 3: stacc. added by analogy with Cl.

120

Tamb. picc.

tie added by analogy with b. 20 and as in CPTS

95

Cor. III/IV

note 3: stacc. added by analogy with Ob. II

121

Tbe.

a 2 added by analogy with Tbn. I/II and as in CPTS

95

Vln. I

CPTS23: note 2: stacc.

137

Cl. II

95

Vln. II

CPTS1234: note 2: stacc.

a’ emended to a’ by analogy with b. 37, Ob. II and as in CPTS

95

Vle.

CPTS124: note 2: stacc.

142

Timp.

stacc. added by analogy with b. 42

96

Cor. III/IV

note 1: emended from g’ by analogy with b. 80

144

Timp.

slur added by analogy with b. 44 and as in CPTS

97

Vln. I

C

145–146

Ob. I

CPTS1: note 4: stacc.

97

Vln. II

CPTS1234: note 2: stacc.

152

Timp.

f added as in CPTS

begins later in the bar

: note 2: stacc.

PTS123

and as in CPTS

: note 2: stacc.

PTS1

: note 2: stacc.

PTS13

25