Svendsen-Hartmann

JOHAN S. SVENDSEN (1840–1911)

Sørgemarsj av J.P.E. Hartmann JSV 94

Funeral March by J.P.E. Hartmann

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/11C

N.M.O. 14297A

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. 14297A /ISMN 979-0-065-14886-1) For sale Parts (N.M.O. 14297B /ISMN 979-0-065-14887-8) For sale © 2018 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimiles Scoring I V VII XV

TRAUERMARSCH ZU THORWALDSENS BEISETZUNG VON J.P.E. HARTMANN 1 Forkortelser Kritisk rapport

10 11

I V VII XV

TRAUERMARSCH ZU THORWALDSENS BEISETZUNG VON J.P.E. HARTMANN 1 Abbreviations Critical report

10 11

GENERAL PREFACE

J

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

J

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

I

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

J

ohan Svendsen’s (1840–1911) orchestration of Johan Peter Emilius Hartmann’s (1805–1900) Sörgemarsch ved Thorvaldsens Bisættelse i Frue Kirke4 was published

by Wilhelm Hansen in 1895. Although Svendsen’s autograph manuscript is not dated, the writing and the music paper suggest that it was written shortly before publication. There is also a rough draft containing only a few bars, probably from the same time.

Hartmann’s original work was composed for the funeral on 30 March 1844 of sculptor Bertel Thorvaldsen (1770– 1844). It is scored for ‘Cornet in B-flat, Trombone alto e tenore, Trombone basso e Tuba, Organo, Gongon’ and was published in Copenhagen by C.C. Lose & Olsen Forlag in April 1844. In connection with the funeral ceremony, Hartmann had also written music to a poem by Thorvaldsen’s friend, the famous author Hans Christian Andersen (1805–1875): ‘Træd hen til Kisten her! kom fattig Mand, …’ (Step up to this coffin here! Come, poor man) In a letter of 11 April 1844 to his sister Henriette Wulff (1804–1858), Andersen referred to the funeral and noted the scoring of the funeral march:

FORORD

J

ohan Svendsens (1840–1911) orkestrering av Sörgemarsch ved Thorvaldsens Bisættelse i Frue Kirke av Johan Peter Emilius Hartmann (1805–1900) ble utgitt av forlaget Wilhelm Hansen i 1895. Svendsens manuskript er bevart, men det er ikke datert. Skriften og notepapirets karakter tyder på at det er skrevet kort tid før utgivelsen. Det finnes også en partiturkladd med bare noen få takter, trolig fra samme tid.

Originalen var komponert til billedhuggeren Bertel Thorvaldsens (1770–1844) begravelse 30. mars 1844. Hartmann skrev stykket for besetningen «Cornet i B., Trombone alto e tenore, Trombone basso e Tuba, Organo, Gongon», og verket ble utgitt i København av C.C. Lose & Olsen Forlag i april 1844. Til begravelsen hadde Hartmann også skrevet musikk til en sang av Thorvaldsens venn, den kjente forfatteren Hans Christian Andersen (1805–1875): «Træd hen til Kisten her! kom fattig Mand, ...». H.C. Andersen refererte fra begravelsen i et brev til sin søster Henriette Wulff (1804–1858), 11. april 1844, og nevnte besetningen i sørgemarsjen:

Our Lady’s Church was draped in black, and here the king, the queen and the princesses were waiting; as soon as the coffin arrived at the church door, the king went toward it, let it pass him by and joined the train of mourners whilst an astonishingly lovely funeral march by Hartmann sounded from the organ accompanied by tam-tam and trombones.5

Frue Kirke var behængt med sort og her ventede Kongen, Dronningen og Prindsesserne; saasnart Kisten kom til Kirkedøren, gik Kongen den imøde, lod den passere sig forbi og sluttede sig nu til Sørgerækken, medens en forbausende deilig Sørgemarsch af Hartmann lød fra Orgelet ledsaget af Gongong og Basuner.1

For his version of the funeral march, Svendsen chose to use a large symphony orchestra and titled the work Trauermarsch zu Thorwaldsens Besetzung von J.P.E. Hartmann. Für Orchester bearbeitet von Johan S. Svendsen. In their book about Svendsen6, musicologists Benestad and Schjelderup-Ebbe incorrectly list Svendsen’s version with Hartmann’s scoring in their work list, and the cover of Wilhelm Hansen’s edition oddly states ‘für Streichorchester’.

Hartmann, who reached the age of 95, was for many years a central figure in Denmark’s musical life. As early as 1849 he became a professor at the University of Copenhagen, and from 1890 he was director of the Music Conservatory in the Danish capital. In October 1883, Svendsen conducted two extremely successful concerts in Copenhagen and Hartmann gave the introductory speech at the celebration afterwards. Hartmann, who had been seated between Johan and

Svendsen valgte å bruke et stort symfoniorkester i sin versjon og gav verket tittelen Trauermarsch zu Thorwaldsens Besetzung von J.P.E. Hartmann Für Orchester bearbeitet von Johan S. Svendsen. I Benestad og Schjelderup-Ebbes bok om Svendsen2 er Svendsens versjon feilaktig ført opp i verklisten med Hartmanns besetning, og på omslaget til Wilhelm Hansens utgave står det merkelig nok «für Streichorchester».

Hartmann, som ble 95 år, var gjennom lang tid en sentral skikkelse i Danmarks musikkliv. Allerede fra 1849 var han professor ved Københavns Universitet, og fra 1890 var han direktør for Musikkonservatoriet i den danske hovedstaden.

Svendsen dirigerte to meget godt mottatte konserter i København i oktober 1883, og Hartmann holdt den første talen på festen etterpå. Hartmann, som var plassert mellom Johan Svendsen og Bergljot (Sarah) Svendsen (f. Levett) (1843–1911?)

V

his wife Bergljot (Sarah) Svendsen (née Levett, 1843–1911?) at the gathering, ‘partly dwelled on his brilliant compositional talent, partly on his eminent ability as a conductor’, according to the Danish daily Dags-Avisen of 25 October. In a letter of 20 October 1882 to Carl Warmuth (1844–1895), Svendsen wrote that ‘all the outstanding musicians here, with Gade and Hartmann in the forefront, veritably compete to show me attention.’7 While living and working in Copenhagen, Svendsen conducted many of Hartmann’s works at the opera and in symphony concerts. In 1895, the year he orchestrated the funeral march, he conducted Hartmann’s Vølvens Spådom at the Odense song festival with a choir of 700 and an orchestra of 70. It was also Svendsen who conducted the commemorative concert for Hartmann at the Royal Danish Theatre on 20 March 1900.

At his own funeral in 1911, Svendsen’s coffin was carried out of Our Lady’s Church in Copenhagen to the strains of Hartmann’s funeral march.

ved sammen­komsten, «dvælede dels ved hans geniale Kompositionstalent, dels ved hans eminente Evner som Dirigent», ifølge Dags-Avisen 25. oktober. I et brev til Carl Warmuth (1844–1895) 20. oktober 1882 fortalte Svendsen at «alle herværende fremragende Musici med Gade og Hartmann i Spidsen, formelig kappes om at vise mig Opmærksomhed».3 Svendsen dirigerte flere av Hartmanns verker ved operaen og ved symfonikonserter mens han bodde og virket i København. I 1895, året han orkestrerte sørgemarsjen, dirigerte han Hartmanns Vølvens Spådom ved sangerfesten i Odense med et kor på 700 og et orkester på 70. Det var også Svendsen som dirigerte minneforestillingen for Hartmann 20. mars 1900 på Det Kongelige Theater.

Svendsens kiste ble båret ut av Vår Frues Kirke i København til tonene fra Hartmanns sørgemarsj, etter bisettelsen hans der i 1911.

Bjarte Engeset

English translation: Thilo Reinhard

Bjarte Engeset

NOTES 4

NOTER

Funeral March for Thorvaldsen’s Burial in Our Lady’s Church.

Helge Gottlieb Topsøe-Jensen (ed.): H.C. Andersen og Henriette Wulff. En Brevveksling, Flensteds forlag, Copenhagen 1959.

5

Tekst fra: H. C. Andersen og Henriette Wulff. En Brevveksling (Ed. Helge Gottlieb Topsøe-Jensen), Flensteds forlag, København 1959.

1

Finn Benestad and Dag Schjelderup-Ebbe, William H. Halverson (transl.): Johan Svendsen: The Man, the Maestro, the Music, Columbus, Ohio 1995.

6

Finn Benestad og Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og kunstneren, Oslo 1990.

2

Letter from Johan Svendsen to Carl Warmuth, 20 oktober 1882. National Library of Norway, Oslo.

7

Brev fra Johan Svendsen til Carl Warmuth 20. oktober 1882. Nasjonalbiblioteket, Oslo.

3

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FUNERAL MARCH BY J.P.E. HARTMANN, JSV 94, AUTOGRAPH SCORE, COVER, SOURCE B. THE SCORE IS KEPT AT THE ROYAL DANISH LIBRARY, MA MS 4479 MU 9705.2800.

VII

FUNERAL MARCH BY J.P.E. HARTMANN, JSV 94, AUTOGRAPH SCORE, FIRST PAGE OF THE SCORE, SOURCE B. THE SCORE IS KEPT AT THE ROYAL DANISH LIBRARY, MA MS 4479 MU 9705.2800.

VIII

FUNERAL MARCH BY J.P.E. HARTMANN, JSV 94, FIRST EDITION SCORE, COVER, SOURCE B. WILHELM HANSEN, KØBENHAVN & LEIPZIG 1895.

IX

FUNERAL MARCH BY J.P.E. HARTMANN, JSV 94, FIRST EDITION SCORE, FIRST PAGE, SOURCE B. WILHELM HANSEN, KØBENHAVN & LEIPZIG 1895.

X

JOHAN PETER EMILIUS HARTMANN: SÖRGEMARSCH VED THORVALDSENS BISÆTTELSE I FRUE KIRKE. FIRST EDITON SCORE, FIRST PAGE. LOSE & OLSEN, KJØBENHAVN (1844).

XI

JOHAN PETER EMILIUS HARTMANN: SÖRGEMARSCH VED THORVALDSENS BISÆTTELSE I FRUE KIRKE. FIRST EDITON SCORE, SECOND PAGE. LOSE & OLSEN, KJØBENHAVN (1844).

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Sørgemarsj av J.P.E. Hartmann JSV 94

Funeral March by J.P.E. Hartmann

BESETNING / SCORING 2 Flauti 2 Oboi 2 Clarinetti (in Siď €) 2 Fagotti 4 Corni (in Fa) 2 Trombe (in Fa) 3 Tromboni Tuba Tam tam Tamburo piccolo Gran Cassa Timpani Violini I. II. Viole Violoncelli Contrabbassi

Trauermarsch zu Thorwaldsens Beisetzung von

J. P. E. Hartmann

2 Flauti

Oboe

2 Clarinetti in Si b 2 Fagotti

I. II.

4 Corni in Fa III. IV. 2 Trombe in Fa

I. II. 3 Tromboni III. e Tuba Timpani in Do - Si b - Fa Tam tam Tamburo piccolo Gran Cassa

I. Violini II.

Viole

Violoncelli

Contrabbassi

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

 

Œ



Œ



Œ



Œ



ƒ œ Œ

bb &bb c Œ  B bbbb c Œ  ? bb b c Œ  b

? bb b c Œ  b

div.

œœ œ Œ

div.

ƒ

div.

ƒ

œœ œœ Œ œœ œœ Œ

ƒ

œ

ƒ

œ

ƒ

Œ

œœ Œ

ƒ c Œ Œ œ œ Œ ƒ œ Œ c Œ  ƒ

bb &bb c Œ 



œœ Œ 

œ

c Œ 

Œ

œœ



ƒ c Œ  b œœ Œ  & ƒ œœ Œ c Œ   & ƒ a2 c œ . bœ. œ b. & ƒ et marcato a2 œ. œ .

B bbbb c œ  . ƒ et marcato ? b b b c aœ2  . œ. œ . b ƒ et marcato ? Œ  c Œ  

œ

[JSV 94]

Œ Œ



œœ œ

œœ Œ 

b œœ Œ

œ .

Œ

œ Œ

  







œœ œœ Œ  œœ œ œŒ  œ œ

Œ Œ





∑

∑

Œ



Œ

∑

Œ



Œ

∑

œœ Œ



b œœ Œ

∑

∑

∑

∑

∑

j‰ Œ

∑

j œ‰Œ

∑

œœ œ

b œœ Œ



œ. #œ  œ. nœ  œ. nœ 

œ

Œ

œ Œ

Œ œ œ Œ   œ Œ

œœ œœ Œ 

∑

œœ Œ

œ . œ

Œ

Johan S. Svendsen



œ .

Œ œ œ Œ   œ Œ 





œœ

œœ œœ Œ œœ œœ Œ œœ œ œŒ œ œ

Œ Œ

Copyright © 2018 by Norsk musikkarv. Published by Norsk Musikforlag A/S, Oslo.

N.M.O.14297 A



œœ œ

œœ 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

œœ œ œŒ œœ œœŒ œœ œœŒ œ œ

Œ Œ

∑

p I.

∑

œ. œ œ œ œ œ

p

∑

j‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑



Œ

∑



Œ

∑



Œ

∑



Œ

∑

œ. œ œ œ œ œ

I.

œ

∑



Œ

Œ bœ. œ bœ bœ œ œ 

Œ







Œ

∑ j œ ‰ Œ > p

j‰ p j œ‰ p j œ‰ p j œ‰ p

œ

Œ

nœ

œ œ œ

>

Œ  > > Œ  > Œ 

œ œ œ

&

bbbb

&

bbbb

8 Fl.

Ob.

Cl. (Si b)

b &b

I.



∑

∑

j œ‰Œ

∑



∑

∑



∑

Œ # œœ F

œ‰Œ J

∑



I. II.

&

∑

∑



III. IV.

&

∑

∑



Tbe. (Fa)

&

∑

∑

∑

∑

∑

∑

I. II. Tbn. III. Tb.

Timp.

T.-t.

T. p.

G. C.

I. Vln. II.

Vle.

Vc.

Cb.

B bbbb ? bb b b

∑

?

∑

 

∑ ∑ ∑

 &

bbbb



bb & b b n B bbbb  ? bb b b n ? bb b b n

 . # œ a 2œ . # œ œ œ œ œ ƒ

œœ

Œ

 . n œ œ . œ œ œ . n œ œ œ œœ œœ œ ƒ

F

Œ b œœ . œ b  .

F

œ . œ b  F

Œ

∑ Ÿ j Ÿ Œ œ œ‰œ p

ƒ

∑ j‰

Ÿ

j

œ œ œ‰Œ ∑ ∑

∑ ∑ ∑

∑

œ œ. #œ œ bœ œ œ ƒ

∑

∑

∑ ∑

∑ ∑

∑

œ. nœ œ



Œ

œœ Œ n œœ Œ

 ..

Œ



.

Œ



.

Œ



.

Œ



Œ œ. nœ ƒ Œ œ. nœ ƒ œ. nœ Œ ƒ œ. nœ Œ ƒ

j œ ‰ œ. œ œ Œ œ Œ j œ‰Œ j œ‰Œ

œ Œ œ Œ œ Œ œ Œ

2

 

œ n œœ œ œ

   



œ œ œ œ

b b œœ œ

ƒ

œ œ œ œ



œ œ œ



œ œ œ œ œ œ

ƒ

∑

 

  

j œ‰Œ J

j œ‰Œ



j œœ ‰ Œ



j œ‰Œ



J

j‰ Œ

œ J

j‰ Œ

œ

j œ‰Œ j œœ ‰ Œ

Ÿ~~~~~~ œ b œ b  œj ‰ Œ ƒ   ƒ  ƒ

∑

œ œ œ

œ œ œ

œ œ

∑ ∑

∑

Œ

j‰ Œ



# œœ œ . # œ œ bœ œ œ b b œœ œœ   ƒ a2  Œ bœ. œ bœ bœ œ ∑ œ b ƒ a 2. ∑  Œ œ nœ œ œ œ œ  ƒ ∑ ∑  œ œ  a2

.

œ



a2

œ œ. œ œ Œ œ Œ

j‰

œ œ œ

ƒ

F

? bb  bb

Cor. (Fa)

Œ

œ. nœ œ  œ œ œ œ n œ œ œ œ . . œ Œ #œ n .  œ œ œ

Fg.

I.



œ. nœ œ

a2

∑ œ

Œ



œ n œœ



j œœ ‰ œ p

œ œ



œ n pœ

œœ œœ œ œ œ œ

  

j‰

j œœ ‰ œœ p

j‰ œ pœ

œ‰ J œ p

b & b bb 

15

Œ .. Œ



Œ .. Œ



b 

Œ .. Œ



? bb  bb

Œ .. Œ



&



Œ .. Œ



III. IV.

&



Œ .. Œ



Tbe. (Fa)

&



Œ .. œ ƒ

b.



Œ .. œ ƒ Ÿ~~~~~  œ .. Œ p  Œ .. Œ





Fl.

Ob.

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

I. II. Tbn. III. Tb.

Timp.

T.-t.

T. p.

G. C.

I. Vln.

b & b bb  &b

B bbbb  ? bb  bb ?





&

bbbb

Œ .. Œ Œ .. Œ

Vle.

B bbbb   ? bb b  b ? bb b  b

œ œ Œ

ƒ

œ Œ œ

ƒ

œœ Œ

ƒ b œœ Œ ƒ

 

œœ Œ

b œœ

 

Œ



œ Œ œ







Œ



œ Œ œ



b œœ





b œœ Œ



b œœ Œ



Œ



Œ

n œœ

b œœ Œ









.

Œ

Œ

b œœ Œ

œ. œ bœ œ Œ œ b.

bœ ƒ œ  ƒ Œ œ œ ƒ  œ ƒ

b œœ



œ. œ œ œ Œ œ

œœ .. Œ œ .. Œ

ƒ



Œ

.



œ .. Œ

œ œ Œ



.

.. Œ

œ

Œ

b œœ

œ. œ œ œ Œ œ





ƒ

.

.. Œ

œ

II.

Cb.

a2



b & b bb

Vc.

Œ .. œ ƒ

œœ





bœ Œ

œ Œ





œœ œœ Œ



Œ



b œœ œœ



ƒ

œœ œ œŒ

ƒ

œœ Œ

ƒ

œ

ƒ

Œ

  

b œœ œœ

b œœœœ Œ bœ Œ œ

œ

Œ



3

œ Œ œ

Œ

∑

Œ œ. nœ œ œ p

nœ bœ ∑ a2 œ œ nœ Œ p

œœ Œ Œ I.  . b œœ Œ

p

p

I.

.

œ



.

p Œ



œ œ

∑

∑

∑

œ. œ œ œ 

∑

∑



bœ Œ

∑

∑

Œ œ œ Œ   œ Œ

∑ ∑

∑

∑

∑

n œœ œ



œŒ



Œ



b n œœœœ Œ



bœ Œ œ

œ

∑

∑

Œ œ œ Œ   œ Œ



Œ

œ. nœ œ œ

∑

œ Œ

œœ œœ Œ



œœ p œ 

I.

∑

bœ Œ

Œ

œœ œ œŒ

œ œ Œ

œ. œ œ œ 

Œ œ œ Œ   œ Œ

ƒ

Œ

bœ. œ œ œ 

Œ



œœ

Œ

 

œ Œ

œœ œœ œ  p

œ œ œœ Œ Œ . œœ œ œ  œ p

œœ Œ Œ œ

Œ

p

nœ bœ

nœ bœ

œ œ nœ

p

∑

∑

.

Œ



nœ Œ

.

Œ

.

Œ ∑

nœ

b œ Œ & b bb

22 Fl.

Ob.

Cl. (Si b)

n œœ

b nœœ Œ nœœ Œ & b bb p &

bb

œœ Œ # œœ Œ

Fg.

? bb b œ Œ œ b œ œ

I. II.

&

Cor. (Fa) III. IV.

Tbe. (Fa)

Œ

&

n   ..

 ..

Œ



Œ



Œ



Œ



 ..

œœ Œ œœ Œ

 ..

Œ



œœ Œ # œœ Œ

 ..

Œ



œ

.

p

∑



Œ

a2

ƒ

œ

B bbbb

∑



Œ

a2

? bb b b

∑



Œ

a2

?

∑

∑

∑ Œ œ œ‰œ p J  ∑

∑

œ‰œ œ‰Œ J  J ∑

bbbb

∑

∑



II.

bb &bb

∑

∑



Vle.

B bbbb

∑

∑



∑

∑



∑

∑



I. II. Tbn. III. Tb.

Timp.

T.-t.

T. p.

G. C.

I. Vln.

Vc.

Cb.

   &

? bb b b ? bb b b

œ

a2

Œ

p

&

 ..

ƒ

œ

ƒ

ƒ



Œ



Œ

∑

œœ Œ



œœ Œ



œœ Œ

Œ



Œ



Œ



Œ

∑

Œ



Œ



Œ



Œ

∑



œœ Œ



œœ Œ



b œœ Œ

∑



b œœ Œ



b œœ Œ



œœ Œ

∑

œœ

ƒ

a2

œ

ƒ

b œœ Œ ƒ œœ Œ ƒ

œœ œ

bœ. œ bœ œ Œ œ

œ. œ œ œ Œ œ œ. œ œ œ Œ œ

. œ

ƒ

Œ

œœ



ƒ





œœ

œœ Œ

.



Œ

œ

Œ

ƒ œ Œ

Œ œ œ Œ ƒ œ Œ  ƒ

œœ œ Œ

ƒ

œœ œœ Œ

ƒ

œœ œœ Œ

ƒ

œ

ƒ

œ

ƒ





œ

Œ

œ Œ

Œ œ œ Œ  œ Œ  

 

Œ



Œ



4

œœ œœ Œ œœ œœ Œ œœ œ œŒ œ œ

œœ œ

œ. nœ œ œ Œ œ. œ œ œ œ œ

.

œ. nœ 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 bœ. œ bœ bœ œ œ

.



œœ

∑

œœ œœ Œ œœ œœ Œ œœœ œ Œ œ œ





œ

Œ

œ Œ

Œ œ œ Œ  œ Œ  

 

Œ



Œ



œœ œ œŒ œœ œœ Œ œœ œœ Œ œ œ

∑ ∑ ∑ ∑ ∑ ∑ ∑

Œ

∑

Œ

∑

b & b bb

∑

∑

&

∑

∑

29 Fl.

Ob.

bbbb

b &b 

Œ

Fg.

? bb b  b

Œ

I. II.

&



Œ

III. IV.

&



Tbe. (Fa)

&



Œ bœ ‰ œ p

I. II. Tbn. III. Tb.

Timp.

T.-t.

T. p.

G. C.

I. Vln.

B bbbb  ? bb b b 

p j

∑

œ. œ œ Œ œ Œ œ œ. œ œ

p j‰ Œ œ

œ

œœ # œœ Œ Œ

j   œ œJ ‰ œ . œ œœ Œ œœ Œ Œ

œ b  œ

Œ 



 

Œ

∑

œ b  œ

j œœ ‰ Œ j œœ ‰ Œ ∑



Œ



Œ

œ Œ œ Œ b

Œ

a2

∑



∑

∑

∑



j‰ Œ

∑

∑

∑



œ

∑

∑



∑



∑

∑

Œ

II.

Œ

Vle.

B bbbb 

Œ

Vc.

? bb  bb

∑

œ. œ œ œ œ œ

p j œ‰ p

Œ 

Œ

Œ 

Œ

œ

Œ 

œ

p j‰ p

∑

∑

∑

Œ

Œ

œ œ

 

 

 ..

ƒ

œ. œ b

ƒ

œ. œ b

ƒ

œ œ

ƒ

nœ n

œ

∑



Œ

j œ ‰Œ

∑



j œ ‰Œ

∑



∑



ƒ

œ. œ œ. œ

ƒ

œ. œ

ƒ

Œ n œœ ƒ Œ Œ

  

Πbbb

Œ bbbbb Œ

U

Œ



n 

 .. 

b Πb bbb

 

 

 ..

Πbbbb b

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~ U Œ w  œ ƒ   . Œ

œ‰œ œ‰œ J  J  ƒ   ƒ

 œ Œ  . Œ

 

 



. .



 ..

n 

œ





œ





ƒ

 ..

Πbbbbb

. b.



ƒ

b. .

U

Πbbbbb



b 

ƒ

.  p cresc. ∑

j‰ Œ

5

.

∑



j œ ‰Œ

# 

j j œ‰œ œ‰Œ

Œ

œ n

œ. œ



 ..

ƒ

Ÿ



œ n



Œ n œœ

∑





Œ b # œœ ƒ

j œ ‰Œ

œ. œ œ œ œ œ

p j‰

∑ ∑

∑

Ÿ

j Œ œ œ‰œ p ∑

∑

∑

Ÿ

.

ƒ

Œ

 

œœ Œ œœ Œ

n 

ƒ Œ n œœ . œ

 

j œ‰Œ



? bb  bb

j

œ‰ Œ  œ 

j‰ Œ

b & b bb 

Cb.

J p

œ

?

b & b bb 



œ. œ œ œ œ œ œ. œ œ œ œ œ p œ . œ œ œ œ œœ œ‰ Œ 

Cl. (Si b)

Cor. (Fa)

∑



œ. œ

Œ

 

 .. . .

U

Πbbbbb Πbbbbb Πbbbbb Πbbbbb Πbbbbb

Fine

b & b bbb

36 Fl.

Ob.

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

&

b &bb

Tbe. (Fa)

&

III. Tb.

Timp.

T.-t.

T. p.

G. C.

I. Vln.

b 

& &

Tbn.

p

  p  ? bb b  bb

III. IV.

I. II.

bbbb

b b  p

Œ

∑

œ

Œ œ

œ œ Œ œ

 

   

Œ œœ b 

b b  p ∑

Œ œ œ



∑

Œ œ p

œœ œœ œ œœ œ

œ Œ œ

œœ œœ œœ œœ

Œ œœ

œ œœ œœ œ

∑

j œœ .. œœ œ Œ J œ

∑

∑

∑



Œ

Œ

∑

∑

∑



Œ

Œ

j ∑ œ . œœ œœ Œ J I. œ .. œ œ œ œ œ Œ w J ∑

Œ œœ b œœ b œœ œœ œœ b b œ . œ œœ Œ J Œ bœ bœ

∑

.

∑

œœ b œœ b œ b œœ

b œ . b œ b œœ Œ J

∑

∑

∑

∑



Œ œ ∑ ∑

œ



w 

∑ 



bw

∑ bœ b Œ 

 b b 

∑

∑

.

œ. œ œ. œ

π

.

.

œœ

π

b  .. b. .

Œ



b œœ π Œ Œ

B bbbbb

∑

∑

∑

∑

∑

∑

∑



Œ

Œ

? bb b bb

∑

∑

∑

∑

∑

∑

∑



Œ

Œ

?

∑

∑

∑

∑

∑

∑

∑



Œ



∑

∑

∑

∑

∑

∑

∑



Œ



∑

∑

∑

∑

∑

∑

∑

 

Œ

Œ



b & b bbb 

II.

Vle.

B bbbbb 

Cb.

∑

p

b & b bbb 

Vc.

∑

∑

∑

œ Œ p

Œ œ 

Œ

∑



Œ œ

ten.

œ Œ

∑

∑

ten.

∑

∑

∑

∑



ten.

œ Œ p

 

œ Œ



p

ten.

? b b b  div. œ Œ œ bb pœ ? bb b  bb



Œ

œ

ten.

pizz.

p

∑

∑

ten.

ten.

∑

œ Œ



ten.

∑

œ

œœ Œ œ œ Œ

∑



.

Œ

 

.

Œ

 

w

arco

w

6

∑

.

Œ

.

Œ

.

Œ

Œ Œ

Œ Œ

œ. nœ œ. œ œ. œ œ. œ .

œ. œ π

œ. nœ œ. œ œ. œ œ. œ .

π

œ. nœ œ. œ œ. œ œ. œ .

nœ π

œ. nœ œ. œ œ. œ œ. œ . œ. nœ œ. œ œ. œ œ. œ .

œœ

œ. œ π

nœ π

b & b bbb

44 Fl.

Ob.

Cl. (Si b)

b & b bbb b &bb

 

Fg.

? b b  bbb

I. II.

&

Cor. (Fa) III. IV.

&

Tbe. (Fa)

&

I. II. Tbn. III. Tb.

Timp.

T.-t.

T. p.

G. C.

I. Vln. II.

Vle.

Vc.

Cb.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ œ. œ  œ. œ  Œ œœ



Œ œœ œ œ n œœ œœ œ

Œ

∑

∑

∑

∑

∑



Œ b œœ b œœ œ b œœ œœ b  . œ Œ p

∑

∑

∑

∑

∑

∑

∑

∑

Œ

b 

∑

œœ

b 

Œ n œœ

Œ œ œ

∑

œœ œœ œœ œœ

œœ œœ œœ b œœ ∑

B bbbbb

∑

∑

∑

? bb bbb

∑

∑

∑

?  



 b & b bbb  b & b b b b  B bbbbb  ? bb b b b n ? bb b b b n

∑ π



∑



∑

∑



 b œœ Œ . .

 . b œ Œ  

∑

Œ œ ∑ F ∑







∑

∑

 

 



∑

∑



∑

∑

n 

 

F



Ÿ

j



Ÿ

∑

∑

∑

∑

Œ œ œ‰œ F ∑

∑

∑

∑

∑

∑

Œ œ ∑ F b 

∑

j‰

Ÿ

∑

∑

∑ ∑

œ Œ

∑



Œ

Œ œ œ

Œ œ œ

œœ œœ œœ œœ



œœ Œ

∑



Œ

∑



Œ

Œ œ

n

Œ œ

Œ œ

n

Œ œ

œ œ nœ œ œ œ œ œ œ œ œ œ

 bœ Œ 

œ Œ

∑



Œ



œ Œ

∑



Œ

7

π

œ

∑

∑

∑



Œ œ

Ÿ

∑

œ œ œ œ

Œ œ. œ 

Ÿ

∑

Œ œ



j

j œ œ œ ‰ Œ Œ œ œ ‰ œ œ ‰ œ œj ‰ Œ p

Œ œ. œ 

div.

Ÿ

j

∑



n

.

Œ

n œœ  p

n 

 ..

Œ



p

œ 

p

œ 

p

œ 

p

  

. .

Œ

.

Œ

.

Œ

b & b bbb

52 Fl.

Ob.

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

p Œ bbb b & b  ∑ œ b &bb

& &

Tbe. (Fa)

&

Tbn. III. Tb.

Timp.

T.-t.

T. p.

G. C.

I. Vln.

b b  p

∑

 

   

Œ œœ b 

b b  p ∑

Œ œ œ



∑

Œ œ Œ p

œœ œœ œ œœ œ

œ

œœ œœ œœ œœ

Œ œœ Œ œ

œ œœ œœ œ

∑

j œœ .. œœ œ Œ J œ j œ . œœ œœ Œ J œ .. œ œ œ œ œ Œ J

∑

∑

∑

∑

∑

∑

∑

∑

∑

wI.

Œ œœ b œœ b œœ œœ œœ b b œ . œ œœ Œ J Œ bœ bœ

∑

Œ œ

œ

. ∑

œœ b œœ b œ b œœ

b œ . b œ b œœ Œ J

∑

∑

∑

∑



bw

∑ bœ b Œ 

Œ



.



 . Œ

b

b  ..

w 

∑ 



b 

∑

∑

b. .

.

Œ Œ ∑

B bbbbb

∑

∑

∑

∑

∑

∑

∑

∑

? bb bbb

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑



∑

∑

∑

∑

∑

∑

∑

∑



∑

∑

∑

∑

∑

∑

∑

∑



b & b bbb 

II.

Vle.

B bbbbb 

Cb.

œ œ Œ œ

p

b & b bbb 

Vc.

Œ œ

  p  ? bb  bbb

III. IV.

I. II.

∑

? bb  bbb ? bb  bbb

∑

∑

Œ œ

Œ

∑



Œ œ

ten.

œ Œ

∑

∑

ten.

∑

∑

∑

∑

Œ



ten.

œ Œ

 

ten.

ten.

div.



ten.

œ

œœ Œ œ œ Œ

pizz.



∑

∑



ten.

∑

œ Œ

œ Œ

ten.

∑

œ

œœ Œ œ œ Œ

∑





.

Œ





.

Œ



.

 w w

arco

8

∑

Œ

.

Œ

.

Œ

∑

œ. nœ œ. œ œ. œ œ. œ . œ. nœ œ. œ œ. œ œ. œ .

Œ Œ

œ. nœ œ. œ œ. œ œ. œ .

Œ

œ. nœ œ. œ œ. œ œ. œ .

Œ

œ. nœ œ. œ œ. œ œ. œ .

Œ

D. C. al Fine

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Dk-Kk The Royal Library, Copenhagen Fg. Fagotto Fl. Flauto G. C. Gran Cassa N-Onm The National Library, Oslo Ob. Oboe Pl. No. plate number stacc. staccato marking(s) str. strings Tamb. picc.

Tamburo piccolo Tba. Tromba Tbn. Trombone ten. tenuto marking(s) Timp. Timpani Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

10

SOURCES

CRITICAL REPORT

Funeral March by J.P.E. Hartmann F Fragment A Score, autograph B Printed score, first edition (Wilhelm Hansen) BPTS Printed parts, first edition (Wilhelm Hansen) C Printed first edition of Hartmann’s original

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 F Fragment N-Onm, Mus ms 1901 4 pages, 34x27 cm Pagination: 1–4 The instrument labels on the opening page includes harp and three of each woodwind family Only one of the four pages contains music Part of a collection of scores and sketches On the cover of this collection, Johan Svendsens Skizzer in blue crayon, not in the composer’s handwriting The cover includes a table of contents written in pencil, not in the composer’s handwriting:

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.

1. Stradella (Sang m/Str. orch) 2. Rossini: O salutaris. (Begyndelse) 3. Halvéy: Arie af Jødinden. (instrumentert. Træbl. Hn. Strorch) 4. ‘Julia Vals’ (av Johanson) instr.

5. Hartmann: Sørgemarsch.

(Påbegyndt instrumentation) 6. Symfoniskizze (5 Rader(?) Partitur) 7. Sangtekst ‘Hvad mig til dig så mäktig drog’

Provenance: In the protocol of the library: 25/1-41 Kjøp fra Domorganist N.O. Raasted, Kbh. Des. 1939. [Bought from cathedral organist N.O. Raasted, Copenhagen Dec. 1939].

Written in ink (Johan Svendsen)

Source A Score, autograph Dk-Kk, MA ms 4479 mu 9705.2800 10 pages 20 machine-ruled staves Title page, in pencil: Hartmann, J. P. E. Arr Svendsen, Johan S.: Sørgemarsch over Thorvaldsen / instr. af Joh. Svendsen Written in ink (Johan Svendsen) A few emendations in pencil (Johan Svendsen)

11

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

Source B Printed score, first edition Wilhelm Hansen, København & Leipzig 1895 Title page: J.P.E. Hartmann: Trauermarsch zu Thorwaldsens Beisetzung von J.P.E. Hartmann für Streichorchester [sic!] bearbeitet von Johan S. Svendsen Pl. No. 11731

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

Primary source: B

Source BPTS Printed parts, first edition Wilhelm Hansen, København & Leipzig 1895 Title page: J.P.E. Hartmann: Trauermarsch zu Thorwaldsens Beisetzung von J.P.E. Hartmann für Streichorchester [sic!] bearbeitet von Johan S. Svendsen Pl. No. 11731

Source C Printed first edition of Hartmann’s original At the top of the score: SÖRGEMARSCH / Thorvaldsens Bisættelse i Frue Kirke. / af / I. P. E. HARTMANN. Lose & Olsen, København, 1844 Pl. No. 2068

EVALUATION OF THE SOURCES We do not know for sure whether the fragment, Source F, dates before or after the autograph score, Source A. Source F is a full score consisting mainly of empty bars, but its instrument labels on the opening page includes more wind instruments than the final version: triple woodwinds, four horns, three trumpets, three trombones, tuba and harp. Svendsen never used this large an orchestra for his own works, neither did he ever write for harp. Source F may have been an early but later abandoned draft using these instrumental forces, or alternatively Svendsen may have started to revise the work after having completed the autograph score, Source A, planning to use a larger orchestra.

In all likelihood, Source A provided the printing source for the first edition, Source B. The manuscript is written in ink, but in one bar Svendsen used pencil to add a 2 to the trombone and tuba parts and crossed out several slurs. A number of dynamics and articulation marks were added by analogy in the printed score, as well as various ten. marks that were not present in Source A. The printed parts, Source BPTS, correspond to the printed score, Source B, in every detail.

Hartmann’s original score, Source C, is scored for brass instruments and tam-tam. Svendsen kept most of Hartmann’s dynamic markings and some of the articulation, but added further articulation markings of his own.

We have used the printed score, Source B, as our primary source.

12

Bar

Instr.

Comment

1

Fl., Fg.

A: no a 2

1–4

Tamb. picc.

A: no ties

1

Cb.

A: no ff

1

Vle.

A: no div.

11

Vc., Cb.

A: no ff

14

Tamb. picc.

ff added by analogy with the other parts

14

Timp.

A: no tie

16–19

Tamb. picc.

A: no ties

23

Tbn., Tuba

A: a 2 added in pencil

24

Fl., Fg.

A: no a 2

25–27

Tamb. picc.

A: no ties

34

G. C.

A: no ff

36, 37

str.

A: no ten.

43

Cl. I, Vln. I, Vle.

A: notes 2–3: slur crossed out in pencil

44

Cl. I, Vln. I, Vle.

A: notes 2–3: slur

46, 47

Fg.

A: no

52, 53

str.

A: no ten.

52

Vc.

div. added by analogy with b. 36