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EIVIND GROVEN (1901-1977)

Hjalarljod Ouverture

Hjalarljod Overture Utgitt av / Edited by Peter Szilvay and Bjarte Engeset

NMA GROVEN 001

N.M.O. 14570A

Editor in Chief Norsk Musikkarv: Bjarte Engeset Score: Jørn Fossheim Graphic design: Tank design AS Text set in: Calibre and Chronicle Norwegian language consultant: Gunnhild Wiggen English translation and language consultant: Thilo Reinhard 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 (NMO 14570A /ISMN 979-0-065-16444-1) For sale and hire Parts (NMO 14570B /ISMN 979-0-065-16445-8) For hire © 1967 Lyche Musikkforlag Denne utgave / This edition: © 2020 NORSK MUSIKFORLAG A/S All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

General preface Preface Facsimile Scoring I III XI XIX

HJALARLJOD Overture Abbreviations Critical report

HJALARLJOD Ouverture

Forkortelser Kritisk rapport

32 33

I III XI XIX

32 33

GENERAL PREFACE

orwegian Musical Heritage is a major national endeavour to secure the works of Norwegian composers through philological research, critical editing and publication, and convey them to a wide audience. Of equal importance is the preservation of musical sources through digitization. Most of the published scores are critical editions. These are based on a scholarly examination of all available sources: music manuscripts and early printed editions and other sources relevant to a comprehensive understanding of the work and its musical notation, such as letters and diary entries. However, some publications have gone through a less thorough editing process. These are often called ‘practical editions’, since they serve a utilitarian function to produce performance material in situations that do not allow enough time or resources to prepare a critical edition.

GENERELT FORORD

orsk musikkarv er en nasjonal satsing for å bevare og formidle den store kulturarven av musikk etter norske komponister. Satsingen er et samarbeid mellom en rekke institusjoner. Den omfatter vern og digitalisering av kildematerialet, forskning, edisjon og ikke minst formidling av kvalitetsnoter og innsikt til musikklivet. Målet er at musikkarven tas vare på og gjøres tilgjengelig slik at den kan framføres av musikere og orkestre og nå et større publikum, nasjonalt og internasjonalt. De fleste noteutgavene fra Norsk musikkarv er kritiske utgaver. Disse er basert på vitenskapelige edisjonsprinsipper. Det betyr at de bygger på et kritisk studium av alle til‑ gjengelige 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. Enkelte utgaver er basert på en enklere edisjonsprosess enn den som gjelder kritiske utgaver. Slike utgaver kalles gjerne «praktiske» utgaver, fordi de tjener et umiddelbart praktisk behov i en situasjon hvor det verken er tid eller ressurser til å gjennomføre et kildekritisk studium og framstille en kritisk utgave.

GENERAL PRINCIPLES The central editorial principle has been to realize the composer’s last documented intentions, but it has also been a priority to demonstrate the diversity of the source material. Each edition is therefore accompanied by a description of the sources, including a review of the relationship between the sources in question. A comprehensive analysis of the composer’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 it is plausible that the composer intended such passages to differ. The editors chose a single primary source for each work – i.e. the source believed to be closest to the composer’s final intentions. This source formed the starting point for the editing process. Deviations from the primary source as well as variants from 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). The musical notation is presented without any explicit editorial additions or revisions.

GENERELLE EDISJONSPRINSIPPER Det er et viktig prinsipp å få fram 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 komponistens notasjonsstil. Artikulasjon, dynamikk, buer, spilletekniske anvisninger og foredragsbetegn‑ elser 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. 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

The following general editorial choices are not listed in the critical commentaries: • Typography, score layout and instrument names are to a certain degree standardized in keeping with modern practice. • Where two notes share a stem, slurs, articulation markings and dynamics should be read as applying 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 commentary. • 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. • The composer’s cautionary accidentals have been preserved. In a few cases, such accidentals have been added for the sake of convenience (specified in the commentary). • 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.

som vil kunne ha innflytelse på framføringsmåten. Negative varianter («mangler») i andre kilder er som hovedregel ikke kommentert. Selve notebildet gjengis uten typografisk markering av redaksjonelle tilføyelser eller endringer.

Følgende generelle valg er ikke kommentert 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. • Komponistens 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. • 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.

SPECIAL ISSUES IN EIVIND GROVEN’S HJALARLJOD In this work, Groven frequently omits the number “3” usually found above triplets. We have chosen to follow the composer’s notational principles in this respect. We have also maintained Groven’s style of notation in connection with the placement of instruments among systems, such as the varied positioning of the second trombone part in the upper or lower staff of the trombone system.

SPESIELLE FORHOLD I HJALARLJOD AV EIVIND GROVEN I dette verket sløyfer Groven mange av tretallene som normalt står over trioler. Vi har valgt å følge komponistens notasjons prinsipper på dette punktet. Vi har også beholdt Grovens notasjonsstil når det gjelder plasseringen av instrumentene på systemer. Han varierer for eksempel mellom å plassere andre trombone på det øverste eller det nederste av de to trombonesystemene.

PREFACE Music for a City Anniversary

FORORD

n 1950, the city of Oslo celebrated its 900th anniversary. The year before, the anniversary committee had voted to sponsor a composition competition for an instrumental work to inaugurate Oslo City Hall during the anniversary.1 As early as 1938, the Norwegian Society of Composers and its chairman Arne Eggen had suggested commissioning a cantata to mark the completion of the capital’s new city hall. In 1947, the society’s board of directors once again approached the authorities with a request to announce a composition competition, including proposals for guidelines and implementation of the competition. When the competition was announced on 14 July 1949, however, it became clear that the anniversary committee had not opted for a cantata but instead favoured festive instrumental music to mark the occasion. The committee planned to invite composers born or residing in Oslo to enter the competition, especially those who had documented the ability to write for orchestra, but the Norwegian Society of Composers objected: As a matter of principle, the society stressed that competitions be open to absolutely everyone. Nonetheless, due to the short deadline, the society agreed to select five composers from Oslo: Karl Andersen, Bjarne Brustad, Klaus Egge, Pauline Hall and Ludvig Irgens-Jensen. Following a number of critical comments in the press, the committee increased the number to eight and invited Arne Eggen, Knut Nystedt and Eivind Groven as well. The decision caused a stir among the members of the society and increased opposition in the press. In spite of this, the society ultimately chose to accept the terms of the competition on the condition that all Oslo composers with orchestral works performed by the Philharmonic Society Orchestra (today’s Oslo Philharmonic) in the last ten years be given the opportunity to participate in the anniversary competition. In October 1949, four additional composers were invited. Brustad and Eggen declined, and Irgens-Jensen was unsure whether he had the opportunity or inspiration to participate. Since only a short time was left until the anniversary, and the composers probably would have to put aside their other work, the society required that each participant receive a 2,000 kroner work allowance. The winner would be awarded 10,000 kroner. The anniversary

Rådhusmusikk og byjubileum

slo bys 900-årsjubileum ble markert i 1950, og året før vedtok hovedstadens utnevnte komité for by jubileet å lyse ut en komposisjonskonkurranse for å skaffe et instrumentalverk til bruk ved innvielsen av Oslo rådhus i jubileumsåret.1 Allerede i 1938 hadde Norsk komponistforening med daværende formann Arne Eggen foreslått at en kantate burde markere et ferdigstilt rådhus i Oslo. I 1947 rettet styret i foreningen en ny henvendelse til myndighetene med oppfordring om å utlyse en komposisjonskonkurranse og med forslag til retningslinjer og gjennomføringsplan for konkurransen. Da byjubileumskomitéen åpnet konkurransen 14. juli 1949, kom det imidlertid klart frem at den ikke gikk inn for en kantate, men foretrakk instrumental festmusikk for orkester til markeringen. Komitéen ønsket å invitere komponister født eller bosatt i Oslo til konkurransen, især dem som hadde dokumentert evne til å skrive orkestralt. Norsk komponistforening hadde en innvending: Prinsipielt la foreningen vekt på at konkurranser skulle være åpne for absolutt alle. Likevel – på grunn av den korte fristen – fant den seg i å foreta et utvalg og landet på fem komponister fra Oslo: Karl Andersen, Bjarne Brustad, Klaus Egge, Pauline Hall og Ludvig IrgensJensen. Etter en del aviskritikk utvidet komitéen tallet til åtte og besluttet at også Arne Eggen, Knut Nystedt og Eivind Groven skulle inviteres. Beslutningen ble møtt med uro i Norsk komponistforening og ytterligere motstand i pressen. Til slutt valgte komponistforeningen likevel å akseptere vilkårene for konkurransen under forutsetning av at samtlige Oslo-komponister som hadde hatt orkesterverk på programmene i Filharmonisk Selskaps Orkester de siste ti årene, skulle få anledning til å delta i jubileumskonkurransen. I oktober 1949 ble således ytterligere fire komponister invitert. Brustad og Eggen takket nei, og Irgens-Jensen var usikker på om han fikk anledning eller inspirasjon til å delta. Fordi det var kort tid igjen til jubileet, og komponistene antagelig var nødt til å legge annet arbeid til side, forlangte komponistforeningen at hver deltager skulle få 2 000 kroner i arbeidspenger. Vinneren skulle premieres med 10 000 kroner. I invitasjonen fra by jubileumskomitéen til komponistene lå ingen andre føringer

III

committee issued no other guidelines than that the composition be a festive work suitable to the occasion with a length of ten to no more than fifteen minutes. The competition deadline was 15 February 1950. The jury consisted of Odd Grüner-Hegge, artistic director of the Philharmonic, and two selected conductors, Olav Kielland and Øivin Fjeldstad. Ten composers participated in the competition, which was anonymous, each with a unique motto associated with the title and the work. Three compositions were nominated, and Ludvig Irgens-Jensen’s Canto d’omaggio (under the motto ‘Our own city’) was chosen as the winning composition and awarded 10,000 Norwegian kroner. The jury was divided in their judgement. The terms of the competition had emphasized that the work ‘suit the occasion’, and two of the jury members, Grüner-Hegge and Fjeldstad, found that Irgens-Jensen’s composition best met that requirement. Olav Kielland, on the other hand, opted for Eivind Groven’s contribution (under the motto ‘Out of the fog of history’), ‘a highly original work that reveals Groven at his best’, Aftenposten’s reporter wrote. Eivind Groven and Karl Andersen, who submitted Allegro festivo e canto solenne norvegese (under the motto ‘Østlandstone’), received 5,000 kroner in prize money each. None of the works were distinctly ‘modern’. They were chosen so everyone would be ‘able to understand them’.2 A number of the submitted works are said to have been of high quality. When the Norwegian daily Verdens Gang of 1 April 1950 reported on the winning works following the jury’s decision, the mottos of the compositions were used as titles. At the ceremonial opening of Oslo City Hall on 15 May 1950, Irgens-Jensen’s and Andersen’s works were performed by the Philharmonic Society Orchestra, conducted by Odd Grüner-Hegge. The title of the winning work was listed in the programme as ‘Vår egen by’ (Our own city – variations on a song for Oslo).3 Groven’s work was not played at the opening, but performed the same evening as an overture in a gala performance at the National Theatre. Many prominent guests attended, among them the entire royal family, foreign dignitaries, as well as representatives for the city council, government, parliament, university, military, cultural life, etc. The front page of the Norwegian daily Morgenbladet referred to Groven’s work as a ‘festival overture’: ‘Following the royal anthem, the concert opened with the first performance of Eivind Groven’s pompous festival overture, vibrantly interpreted by the Philharmonic under Odd Grüner-Hegge’s commanding baton.’4

enn at bestillingen gjaldt egnet festmusikk for anledningen, og at verket ikke skulle vare mer enn ti, maksimalt femten minutter. Konkurransen hadde frist til 15. februar 1950. Juryen bestod av Filharmoniens kunstneriske leder, Odd GrünerHegge, og to utvalgte dirigenter, Olav Kielland og Øivin Fjeldstad. Ti komponister deltok i konkurransen, anonymt med hvert sitt motto knyttet til navn og verk. Tre komposisjoner ble premiert. Ludvig Irgens-Jensens Canto d’omaggio (med mottoet «Vår egen by») ble kåret som vinner og mottok 10 000 kroner. I bedømmelsen av verkene var juryen delt. To av medlemmene, Grüner-Hegge og Fjeldstad, holdt Irgens-Jensens komposisjon for å være den «best egnede». Utlysningen hadde lagt vekt på at verket «skulle passe for anledningen», og de to mente Irgens-Jensens verk innfridde kravet. Olav Kielland, der imot, gikk inn for Eivind Grovens verk (med mottoet «Ut av historiens tåke»), «et meget originalt arbeid som røper det beste hos Groven», refererte Aftenpostens journalist. Eivind Groven og Karl Andersen, som leverte inn verket Allegro festivo e canto solenne norvegese (med mottoet «Østlandstone»), mottok 5 000 kroner hver i premie. Ingen av verkene var utpreget «moderne». De var valgt med henblikk på at alle skulle «kunne forstå dem».2 En rekke av de innkomne verkene skal ha vært av høy kvalitet. Da Verdens Gang 1. april 1950 omtalte de premierte verkene etter juryens av gjørelse, ble komposisjonenes mottoer brukt som titler. Under den høytidelige åpningen av Oslo rådhus 15. mai 1950 ble Irgens-Jensens og Andersens verk fremført av Filharmonisk Selskaps Orkester, ledet av Odd Grüner-Hegge. I festprogrammet stod vinnerverket oppført med tittelen Vår egen by (variasjoner over en sang til Oslo).3 Grovens verk stod ikke på programmet ved åpningen, men ble spilt som ouverture ved festforestillingen Nationaltheatret holdt samme kveld med prominente gjester i salen: hele kongefamilien, utenlandske inviterte, representanter for bystyre, regjering og storting, universitet, forsvar, kulturliv m.m. På første side titulerte Morgenbladets reporter Grovens verk som «fest ouverture»: «Etter Kongesangen ble forestillingen åpnet med førstegangsfremførelse av Eivind Grovens pompøse festouverture, klangfullt tolket av Filharmoniske under Odd Grüner-Hegges myndige taktstokk.»4

Reception and Early Performances Resepsjon og tidlige fremførelser The first concert-hall performance of Groven’s overture did not take place in Oslo but in Bergen. The Bergen Philhar-

Første konsertsalfremførelse av Grovens ouverture fant ikke sted i Oslo, men i Bergen under Harmoniens konsert torsdag 5. oktober 1950, ledet av Olav Kielland. Kielland viste sin begeistring for verket ikke bare ved å dirigere det, men ved å

monic Orchestra was led by Olav Kielland in a concert on Thursday, 5 October 1950. Kielland expressed his enthusiasm for the work not only by conducting it, but by proposing a more compelling title than ‘festival overture’. In a letter to Groven dated 20 June 1950, Kielland suggested two suitable names: Hamingje (from Norse ‘hamingja’, meaning luck) or Alvròdul (from Norse ‘alfrǫđull’, meaning sun).5 After the concert in Bergen, however, a newspaper review by Nils Aam in Bergens Arbeiderblad of 6 October 1950 noted that Groven had chosen to call the work Hjalar-ljod. At first, the title was hyphenated, but since the end of the 1950s, the unhyphenated name has come into common use. The title Hjalarljod means ‘sound’ (ljod) of ‘calling out’/‘singing’ (from hjale). ‘Hjaling’ is a combination of calling and singing in order to make oneself heard over long distances, often in the mountains where the sound resonates. Traditional Norwegian mountain farms frequently used this practice.6 On 12 January 1951, the Philharmonic gave an extra concert as part of its concert series, and on this occasion Hjalarljod [sic] had its first public performance in Oslo, once again conducted by Kielland. The work opened the concert and was reviewed in a number of newspapers. Despite some reservations, the reception in the press was generally positive, at times almost euphoric. Tønnes Birknes, reviewing the work for the daily Nationen of 15 January 1951, believed that it must have been difficult for the jury not to choose Groven’s composition as the first-prize winner of the anniversary competition because ‘Groven’s music is as festive as one could wish for. Norwegian in every note, fresh and gleeful. The composition was met with thunderous applause, which was well deserved.’ Also the critic for Verdens Gang of 13 January 1951, R.R. (Reimar Riefling), thought that the work sounded good and liked the rhythmically distinct themes. He found the use of modality interesting and noted that the folk-dance character asserted itself. In terms of form, he criticized the overture for cutting off the rising passages too abruptly, resulting in a restless line, but thought it was an advantage that the composition ended while ‘still ahead’. The only predominantly negative review seems to have come from Pauline Hall in Dagbladet of 13 January 1951: ‘The overture begins festively, with good and bold material, but gradually loses itself. The musical structure itself has a fumbling quality. Groven never really gets to the point and can’t seem to get going. It is possible that the concise format specified impeded him and prevented him from bringing his characteristic mode of expression to the task. The work cannot be said to be worthy of its creator. Hall’s composer colleagues were not of the same opinion. Finn Ludt wrote enthusiastically about the work in Morgenbladet of 13 January 1951: ‘In the opinion of the undersigned, among the prizewinning works, this composition is the one

foreslå en mer pregnant tittel enn «festouverture». I et brev til Groven datert 20. juni 1950 skrev Kielland at han hadde to egnede navneforslag: Hamingje (av norrønt ‘hamingja’, som betyr lykke) eller Alvròdul (av norrønt ‘alfrǫđull’, som betyr sol).5 Etter konserten i Bergen gikk det imidlertid frem av avisomtalen til Nils Aam i Bergens Arbeiderblad 6. oktober 1950 at Groven hadde valgt å kalle verket Hjalar-ljod. I starten ble navnet skrevet med bindestrek, men fra slutten av 1950tallet synes det å ha blitt vanlig å sløyfe bindestreken. Tittelen Hjalarljod betyr ‘lyd’/’klang’ (‘ljod’) av ‘hjaling’ (av ‘hjale’). ‘Hjaling’ (‘laling’) er en blanding av rop og sang når man vil gi seg til kjenne over lang avstand, gjerne til fjells, slik at ropet gir gjenklang. I norsk seterdrift var slik sang praksis vanlig.6 På nyåret 1951 – 12. januar – holdt Filharmonien en ekstrakonsert innenfor sin konsertserie, og ved denne an ledningen ble Hjalar-ljod [sic] fremført offentlig for første gang i Oslo, også denne gangen med Kielland som dirigent. Ouverturen innledet konserten og ble omtalt i en rekke aviser etterpå. Til tross for noen innvendinger var mottagelsen i pressen gjennomgående positiv, ja, nærmest henrykt. Tønnes Birknes anmeldte verket i avisen Nationen 15. januar 1951 og mente det måtte ha vært vanskelig for juryen ikke å kåre Grovens komposisjon til vinner av førstepremien i jubileumskonkurransen, «for Grovens musikk er så veltruffen festmusikk som man kan forlange. Norsk i hver tone og frisk og festlig. Komposisjonen fikk stormende bifall, og det var vel fortjent». Verdens Gangs anmelder R.R. (Reimar Riefling) syntes 13. januar 1951 også at verket klang godt og likte at temaene var rytmisk markante. Han fant det kirketonale preget interessant og konstaterte at slåttekarakteren gjorde seg gjeldende. Formelt klandret han ouverturen for at stigningene ble klippet for brått av, slik at linjen ble urolig, men mente det var en fordel at komposi sjonen sluttet mens «leken er god». Den eneste overveiende negative omtalen syntes å komme fra Pauline Hall i Dag bladet 13. januar 1951: «Ouverturen begynner festlig, den har et djervt og godt oppslag, men taper seg etter hvert. Det er noe famlende ved selve den musikalske oppbyggingen. Groven kommer liksom aldri til saken, han får ikke tatt sats. Det er mulig at den foreskrevne korte formen har hemmet ham så han ikke har kunnet tilpasse sin særegne uttrykksmåte til denne oppgaven. Verket kan ikke sis [sic] å være sin opphavsmann verdig.» Komponistkolleger av Hall var ikke av samme oppfatning. Finn Ludt skrev begeistret om verket i Morgenbladet 13. januar 1951: «Denne komposisjonen er etter undertegnedes mening

with most of the right festive spirit. It stands out favourably among Groven’s production, fresh, well-sounding and varied in the use of the orchestra as it is. Harmonically it may seem a bit monotone, but this does not prevent it from being a poignant and effective work. The performance was excellent and the composer was called to the stage.’ In the years that followed, a number of critics continued to suggest that the work may have deserved a different placement in the competition. T.K. (Torbjørn Knutsen), the reviewer for the Norwegian Communist Party paper Friheten, clearly believed that in the long run the work’s inherent qualities would be decisive when on 23 February 1954 he wrote: ‘But, of course, it is not monetary value and award ranking that are of importance when it comes to assessing an artistic work.’ Norwegian composer and music critic Klaus Egge positively waxed poetic following a performance of Hjalar-ljod with the Philharmonic in 1952, writing in Arbeiderbladet of 14 March: ‘The title is spot on: the trumpet fanfares call out [‘hjaller’] as if across the far distant mountains, and the music streams forth from a human mind enraptured by nature, greeting the fresh, dewy morning with ringing sounds. One is uplifted by the work’s inner unity and resoluteness of thought. Genuine festive Norwegian music, concise and balanced in form.’ Through the years, the work continued to earn praise and was frequently programmed by Norwegian orchestras, often as an opening work, such as at the Bergen International Festival on 25 May 1956, when the Bergen Philharmonic was conducted by Carl von Garaguly, and not least when Olav Kielland stood on the podium.7 His interpretation was always inspired, and he knew the score by heart.8 Øyvin Fjeldstad and Karsten Andersen frequently conducted the work as well, and it was often broadcast on radio, for example with the Norwegian Radio Orchestra led by Øivind Bergh. The newspapers documented the many performances of the overture in the years 1960–90. It did not take long before the work was also performed abroad, as early as 1951 in Iceland, judging by a pencil mark in the 2nd flute part, – ‘Reykjavik. 30.11.51’.9 In the summer of 1959, the Cæcilia Society, Norway’s oldest oratorio choir, and Guldberg’s Academic Choir were on tour in Italy with conductor Øyvin Fjeldstad, performing Norwegian works with orchestras in Rome and Naples, as well as in Catania, Sicily, the Cæcilia Society’s friendship town.10 According to a review in Morgenposten of 11 March 1959, Eivind Groven was also included in the programme, and the parts material suggests that he must have been represented with Hjalarljod: a note in the parts for the 1st clarinet in A and the 1st trumpet in B-flat reads ‘Catania 1-6-59’.11 The score and parts to Groven’s overture were printed and published in 1967 by Lyche’s publishing house with the opus number

det av de premierte verkene som har mest av den riktige festivitas over seg. Det hever seg godt opp i Grovens produksjon, friskt og velklingende og godt variert i orkesterbruket [sic] som det er. Harmonisk kan det vel virke litt enstonig, men det forhindrer ikke at det er et anslående og virkningsfullt verk. Det fikk en utmerket fremførelse og komponisten ble fremkalt.» I årene som fulgte, ble det fremdeles antydet av enkelte anmeldere at verket kanskje hadde fortjent en annen plassering i jubileumskonkurransen. Frihetens anmelder T.K. (Torbjørn Knutsen) mente åpenbart at det var verkets kvaliteter som på sikt var avgjørende da han skrev følgende 23. februar 1954: «Men det er jo ikke pengeverdi og premieplassering som teller når det gjelder vurderingen av et åndsverk.» Klaus Egge ble rent naturlyrisk etter en konsert med Filharmonien i 1952 og skrev om Hjalar-ljod i Arbeiderbladet 14. mars: «Tittelen er midt i blinken: Trompetfanfarene hjaller likesom bortover blånene og musikken yrer fra et naturbegeistret menneskesinn, som hilser den duggfriske morgen med ljomtoner. Det er en indre enhet og fastholdt tanke i dette verket, som løfter en. En ekte norsk festmusikk, kort og avbalansert i formen.» Verket fortsatte gjennom årene å høste godord og stod stadig på programmet til de norske orkestrene, gjerne som introduksjonsverk, for eksempel under Festspillene i Bergen 25. mai 1956, da Harmonien ble dirigert av Carl von Garaguly, og ikke minst når Olav Kielland stod ved dirigentpulten.7 Hans tolkning var alltid inspirert, og han kunne verket utenat.8 Øyvin Fjeldstad og Karsten Andersen dirigerte også verket ofte, og det ble overført i radio mange ganger, for eksempel med Kringkastingsorkesteret under Øivind Berghs ledelse. Avisene dokumenterte de hyppige fremførelsene av ouverturen især i årene 1960–90. Verket ble raskt spilt i utlandet, allerede i 1951 på Island, etter en blyantinskripsjon på en 2.-fløytestemme å dømme – «Reykjavik. 30.11.51».9 Sommeren 1959 var Cæciliaforeningen og Guldbergs Akademiske Kor på konserttur til Italia. Øyvin Fjeldstad var med og dirigerte norske verk med orkestre i både Roma og Napoli, og også i Catania på Sicilia, Cæcilia foreningens vennskapsby.10 Eivind Groven stod også på programmet, ifølge en omtale i Morgenposten 11. mars 1959, og stemmematerialet indikerer at han må ha vært representert med verket Hjalarljod: På notene til 1. klarinett i A og 1. trompet i B er «Catania 1-6-59» notert.11 Grovens ouverture (partitur og stemmer) ble trykt og utgitt på Lyches forlag i 1967 med opusnummer 38. Som kommersielt lydopptak har den blitt utgitt flere ganger, for eksempel med Filharmonien i Oslo (dirigent Øyvin Fjeldstad, 1975), Royal Philharmonic Orchestra, London (dirigent Per

38. The work has been released in numerous commercial recordings, such as with the Oslo Philharmonic (conductor Øyvin Fjeldstad, 1975), the Royal Philharmonic Orchestra, London (conductor Per Dreier, 1982 & 1988), the Iceland Symphony, Reykjavik (conductor Bjarte Engeset, 2002), the Stavanger Symphony Orchestra (conductor Eivind Aadland, 2006) and the Staff Band of the Norwegian Armed Forces, Oslo (conductor Andreas Hanson, 2018). The work’s continuing popularity among military bands and brass ensembles has contributed to its further spread. Arrangements for this scoring have been made by, among others, Knut Aasvik,12 Kjell Kipperberg,13 Henrik Ødegaard, Magne Pettersen and Nils Eivind Nikolaisen. Hjalarljod has proven to be one of the most frequently played Norwegian works of the 20th century, performed both nationally and abroad by orchestras as well as symphonic bands.

Dreier, 1982 og 1988), Sinfóníuhljómsveit Íslands, Reykjavik (dirigent Bjarte Engeset, 2002), Stavanger symfoniorkester (dirigent Eivind Aadland, 2006) og Forsvarets stabsmusik korps, Oslo (dirigent Andreas Hanson, 2018). At verket ble populært i korps og rene messingensembler – og fortsatt er det – har bidratt til ytterligere spredning. Arrangement for denne besetningen er laget av blant andre Knut Aasvik12, Kjell Kipperberg13, Henrik Ødegaard, Magne Pettersen og Nils Eivind Nikolaisen. Hjalarljod har vist seg å være et av de hyppigst spilte norske verk fra det 20. århundre, fremført både utenlands og innenlands av så vel orkester som korps.

Hjalarljod – Musical Elements Eivind Groven began writing his overture in December 1949 and completed it in February 1950.14 At the time, Groven worked extensively with different solutions to sound and timbre, and was partial to the use of parallel triads and modal scale material.15 A mixolydian scale with a lowered sixth degree forms the core of Hjalarljod, and Groven chose the rhythm of the Norwegian gangar, a folk dance in 2/4 or 6/8 metre, to create a festive opening. Groven was inspired by the folk tune Pål Løytnantsdreng, which had been in the repertoire of legendary Norwegian folk fiddler Knut Dahle (1834–1921), who passed it on to his grandsons Gunnar and Johannes. It is a traditional slått – a folk tune or melody – from Tinn in Telemark county, with roots in the eastern Norwegian district of Numedal. The gangar permeates the entire work. In addition, Groven wanted to incorporate a cantabile motive and chose a shepherd’s call from Gudbrandsdalen. This call is used as a cantus against the gangar’s melodic material and rhythmic accompaniment in the percussion. The first time the call motive is presented, it suggests the major mode, while the original call is in minor. The motive wanders between different instruments in imitation, and with the gangar in the background, Groven gave the work a contrapuntal melodic element as well as a continuous rhythmic pulse. As far as the structure is concerned, the composer himself said that no particular formal scheme served as a basis: ‘It all develops in keeping with the logic of a slått, in which one motive hooks into the next and onward in long chains, while constantly maintaining motivic unity.’16

Musikalske elementer i Hjalarljod Eivind Groven begynte å skrive sin ouverture i desember 1949 og ble ferdig i februar 1950.14 På denne tiden arbeidet Groven mye med ulike klanglige løsninger, og han hadde en forkjærlighet for parallelle treklanger og modalt skala materiale.15 En miksolydisk skala med senket sekst danner kjernen i Hjalarljod, og han syntes rytmen fra den norske gangaren egnet seg til å skape en festlig åpning. Groven lot seg inspirere av slåtten Pål Løytnantsdreng som Knut Dahle (1834–1921) hadde på repertoaret og gav videre til sønnesønnene Gunnar og Johannes, en tradisjonell slått fra Tinn, med røtter i Numedal. Gangaren kom til å gjennomsyre hele verket. I tillegg ville Groven innlemme et sangbart motiv og valgte en gjeterlokk fra Gudbrandsdalen. Denne lokken ønsket han å bruke som en cantus mot gangarens melodikk og rytmiske akkompagnement i slagverket. Første gang lokke motivet presenteres, har det et durpreg, mens den opprinnelige lokken er i moll. Motivet pendler imitert mellom ulike instrumenter, og med gangaren i bakgrunnen gav Groven verket slik et kontrapunktisk innslag melodisk og en kon tinuerlig puls rytmisk. Om oppbygningen i verket sa han selv at noe slags formskjema ikke lå til grunn for det: «Det hele bygger seg opp i stil med logikken i en slått der det ene motivet hekter seg på det andre framover i lange kjeder, mens det stadig danner en motivisk enhet.»16 Anne Jorunn Kydland, Nasjonalbiblioteket

Anne Jorunn Kydland, National Library of Norway English translation: Thilo Reinhard

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Manuscripts and Part Sets at the National Library of Norway The sketches, drafts and fair copies of this work show that Groven used different titles before finally choosing Hjalarljod:17

Manuskripter og stemmesett på Nasjonalbiblioteket 1. Not signed: Minne-fest. Motto: ‘Out of the fog of history’. Sketch. Mus.ms.a 6582:1.

Skisser, utkast og renskrifter av verket viser at Groven brukte ulike navn på verket sitt før han endte opp med tittelen Hjalarljod:17

2. Oslo-Ouverturen. Sketch. Mus.ms.a 6582:7.

1. Ikke signert: Minne-fest. Motto: «Ut av historiens tåke». Skisse. Mus.ms.a 6582:1.

3. Fest-Ouverture. Motto: ‘Out of the fog of history’ written in blue ink on the title sheet / first score page. Whiteprint copy. Blue cardboard cover inscribed: ‘Eivind Groven. “Hjalarljod”. Fest Ouverture’. Mus.ms.a 6582:2.

2. Oslo-Ouverturen. Skisse. Mus.ms.a 6582:7. 3. Fest-Ouverture. Motto: «Ut av historiens tåke» skrevet med blått blekk på tittelarket / første partiturside. Lyskopi. Blått pappomslag påskrevet: «Eivind Groven. ‘Hjalar-ljod’. Fest Ouverture». Mus.ms.a 6582:2.

4. Fest-ouverture [crossed out] Hjalarljod. Ouverture. Whiteprint copy. Mus.ms.a 6582:5. 5. Fest-ouverture. Parts. Title changed (later?) to ‘Hjalar-ljod’ [in pencil]. Fest [crossed out in pencil]-ouverture. Probably not in the composer’s hand. Presumably from the premiere on 15 May 1950, since the 1st horn part in F includes the following note in pencil: ‘Date 14.5.50’. Later dates entered in different parts.

4. Fest-ouverture [overstrøket] Hjalarljod. Ouverture. Lyskopi. Mus.ms.a 6582:5. 5. Fest-ouverture. Stemmer. Tittel endret (i ettertid?) til «Hjalar-ljod» [med blyant]. Fest[overstrøket av blyant]-ouverture. Trolig ikke egenhendig. Antagelig opprinnelig fra uroppførelsen 15. mai 1950; på 1. hornstemme i F står nemlig notert med blyant: «Dato 14.5.50». Senere datoer innskrevet i ulike stemmer.

6. Hjalar-ljod. Ouverture. Whiteprint copy. Mus.ms.a 6582:3. 7. Hjalar-ljod. Ouverture (1950). Whiteprint copy. Mus.ms.a 6582:4.

6. Hjalar-ljod. Ouverture. Lyskopi. Mus.ms.a 6582:3.

Literature 7. Hjalar-ljod. Ouverture (1950). Lyskopi. Mus.ms.a 6582:4.

Litteratur

Newspapers (Aftenposten, Arbeiderbladet, Bergens Arbeiderblad, Dagbladet, Fremover, Friheten, Morgenbladet, Morgenposten, Nationen, Sunnmørsposten, Verdens Gang)

Aviser (Aftenposten, Arbeiderbladet, Bergens Arbeiderblad, Dagbladet, Fremover, Friheten, Morgenbladet, Morgenposten, Nationen, Sunnmørsposten, Verdens Gang)

Dalaker, Ingrid Loe, Anne Jorunn Kydland & Dagmara Lopatowska-Romsvik, eds. ‘East Of Noise.’ Eivind Groven: composer, ethnomusicologist, researcher. Akademika, Oslo 2013

Dalaker, Ingrid Loe, Anne Jorunn Kydland & Dagmara Lopatowska-Romsvik red. 2013. “East of noise”. Eivind Groven – composer, ethnomusicologist, researcher. Oslo, Akademika

Daliot, Laban Yisrael 1969/1970/1971. Samtaler med Eivind Groven. Transcribed from audio tape in the 1970s by A. J. Kydland. Copy: The National Library of Norway, Music Section, Norwegian Collection of Folk Music

Daliot, Yisrael 1969/1970/1971. Samtaler med Eivind Groven. Ved L.Y. Daliot. Nedskrevet på 1970-tallet fra lydbånd av A.J. Kydland. Kopi: Nasjonalbiblioteket, seksjon for musikk, folkemusikk

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Forberg, Monica Kielland, ‘Olav Kielland’. Norsk biografisk leksikon, 2009. https://nbl.snl.no/Olav_Kielland. Accessed 13 March 2019 Lange, Kristian. Norsk komponistforening gjennom 50 år. Norwegian Society of Composers, Oslo 1967 Forberg, Monica Kielland 2009, 13. februar. «Olav Kielland». Norsk biografisk leksikon. Hentet 13. mars 2019 fra https:// nbl.snl.no/Olav_Kielland

Norsk Musikkliv 1948:8, 1–2 Thingsrud, Leif. ‘Musikk til et rådhus’. Tobias. Information pamphlet from Oslo City Archive, 2000:1, pp. 14–15

Lange, Kristian 1967. Norsk komponistforening gjennom 50 år. Oslo, Norsk komponistforening

Vollsnes, Arvid. Komponisten Ludvig Irgens-Jensen. Aschehoug, Oslo 2000.

Norsk Musikkliv 1948:8, 1–2 Thingsrud, Leif 2000. «Musikk til et rådhus». Tobias. Informasjonsblad fra Oslo byarkiv, 2000:1, 14–15 Vollsnes, Arvid 2000. Komponisten Ludvig Irgens-Jensen. Oslo, Aschehoug

NOTES: Sources on the music for the city anniversary in 1950: Various newspapers; Norsk Musikkliv 1948; Lange (1967), pp. 70–71; Vollsnes (2000), pp. 362–365; Thingsrud (2000). Thingsrud’s source is the archive (including scrapbooks) of the Committee for the 1950 City Anniversary, Oslo City Archives. Relevant information can also be found in documents at the National Archives of Norway. 1

The quotations in this paragraph are taken from the Norwegian daily Aftenposten, Saturday, 1 April 1950.

NOTER

Kilder for historien om jubileumsmusikken 1950: Ulike aviser; Norsk Musikkliv 1948; Lange 1967, 70–71; Vollsnes 2000, 362–65; Thingsrud 2000. Thingsruds kilde er arkiv (inkludert utklippsbøker) fra Komitéen for Byjubileet 1950, Oslo byarkiv. Relevante opplysninger kan også ligge i dokumenter i Riksarkivet.

The work consisted of variations on a song written by Irgens-Jensen in the 1920s to a text by Nils Collett Vogt, ‘Vår egen by’ (Our own city), also known as ‘Til Oslo’ (For Oslo), and was originally conceived as programme music (Vollsnes 2000, p. 362). A signed manuscript of the work titled Canto d’omaggio (National Library, Mus.ms. 5817:a) concludes with ‘Kor (Coro) a libito’ (pp. 34–42). The manuscript includes choir parts with lyrics, and in a footnote Irgens-Jensen notes that ‘the words are taken from Nils Collett Vogt’s “Kristiania song”.’ The manuscript is part of the music collection of conductor and composer Odd Grüner-Hegge. In accordance with this manuscript, one could thus choose whether to include or leave out the text and the choir part. The performance at the opening of Oslo City Hall consisted of a purely instrumental version, a fact documented by the printed programme.

Sitatene i avsnittet er fra Aftenposten, lørdag 1. april 1950.

Verket bestod av variasjoner over en sang Irgens-Jensen skrev i 1920-årene til tekst av Nils Collett Vogt, «Vår egen by», også kalt «Til Oslo», og hadde opprinnelig et programmatisk tilsnitt (Vollsnes 2000, 362). I et signert manuskript med tittelen Canto d’omaggio (Nasjonalbiblioteket, Mus.ms.a 5817:a) avsluttes verket med «Kor (Coro) a libito» (s. 34–42): Korstemmene er notert inn med tekst, og Irgens-Jensen informerer i en fotnote om at «[o]rdene er hentet fra Nils Collett Vogts ‘Kristiania-sang’». Manuskriptet stammer fra Odd Grüner-Hegges notesamling. Ut fra dette manuskriptet kunne man altså velge om tekst og kor skulle med eller utelukkes. Uroppførelsen i Oslo rådhus var rent instrumental, noe det trykte programmet fra åpningen dokumenterer. 3

This letter can be found in the archives of Eivind Groven’s Institute for Just Intonation. 5

Morgenbladet, 16. mai 1950.

Brevet er arkivert ved Eivind Grovens institutt.

Wikipedia, hentet 12. mars 2019: https://no.wikipedia.org/wiki/Hjalarljod

Dato, by og orkesternavn er noen ganger notert inn i det stemmematerialet som er arkivert på Nasjonalbiblioteket, Mus.ms. 6582:6, trolig utarbeidet til uroppførelsen.

The National Library of Norway, Mus.ms.a 6582:6. The conductor for this performance was probably Olav Kielland. In 1952 he was asked to help build up the Iceland Symphony Orchestra in Reykjavík, and lived in the Icelandic capital for three years (Forberg 2009).

Nasjonabiblioteket, Mus.ms.a 6582:6. Olav Kielland var trolig dirigent ved denne fremførelsen. Han ble bedt om å bygge opp symfoniorkesteret i Reykjavik i 1952 og bodde der i tre år (Forberg 2009). 9

Jf. Verdens Gang, 11. februar 1959.

Nasjonalbiblioteket, Mus.ms.a 6582:6

Nevnt i Fremover, 3. november 1999.

Nevnt i Sunnmørsposten, 23. oktober 1998.

See Kristian Lange in Dagbladet, 22 February 1954.

Jf. Kristian Lange i Dagbladet, 22. februar 1954.

Wikipedia, https://no.wikipedia.org/wiki/Halom, accessed 12 March 2019.

In some cases, the date, city and orchestra name are recorded in the parts material archived at the National Library of Norway, Mus.ms. 6582:6, probably in preparation for the first performance.

Morgenbladet, 16 May 1950.

See Verdens Gang, 11 February 1959.

The National Library of Norway, Mus.ms.a 6582:6

Mentioned in Fremover, 3 November 1999.

Kilde for det følgende: Daliot 1969/1970/1971.

Dalaker, Kydland & Lopatowska-Romsvik red. 2013, 91–92 og 234–36.

Daliot 1969/1970/1971, 48.

Nasjonalbiblioteket, Mus.ms.a 6582:1–7.

Mentioned in Sunnmørsposten, 23 October 1998.

Source for the following: Daliot 1969/1970/1971.

Dalaker, Kydland & Lopatowska-Romsvik, eds., 2013, pp. 91–92 and 234–36.

Daliot 1969/1970/1971, p. 48.

The National Library of Norway, Mus.ms.a 6582:1–7.

HJALARLJOD, AUTOGRAPH SCORE (TRANSPARENCIES), SOURCE C. THE TRANSPARENCIES ARE KEPT IN THE ARCHIVES OF LYCHE MUSIKFORLAG

HJALARLJOD, PRINTED SCORE PUBLISHED BY LYCHE MUSIKFORLAG IN 1967, SOURCE E

XII

HJALARLJOD, SKETCHES, AUTOGRAPH, SOURCE S. THE SKETCHES ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS A 6582: 7

XIII

HJALARLJOD, DRAFT, AUTOGRAPH, SOURCE A. THE DRAFT IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS A 6582: 1

XIV

HJALARLJOD, SCORE (PRINTED FROM TRANSPARENCIES IN AUTOGRAPH), SOURCE C2. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS A 6582: 1

HJALARLJOD, PART (PRINTED FROM TRANSPARENCIES IN AUTOGRAPH), SOURCE BPTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS A 6582: 6

XVI

Hjalarljod Ouverture

Hjalarljod Overture

BESETNING / SCORING 3 Flauti (III. anche Fl. Picc.) 2 Oboi Corno inglese 2 Clarinetti (in La) 2 Fagotti 4 Corni (in Fa) 3 Trombe (in Do) 3 Tromboni Tuba Timpani Triangolo Tamburo piccolo Piatti Tom-tom* Gran Cassa Violini I. II. Viole Violoncelli Contrabbassi

* Eivind Groven defines Tom-tom as a ‘chinese drum’ (kinesisk tromme) in Daliot, Laban Yisrael 1969/1970/1971. Samtaler med Eivind Groven. Audio tape. Copy: The National Library of Norway, Music Section, Norwegian Collection of Folk Music

Hjalarljod Ouverture q = 114 (112) I. 3 Flauti II. III. (III. anche Fl. picc.)

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I. 3 Trombe in Do II. III.

I. II. 3 Tromboni III. Tuba

Timpani Triangolo Tamburo piccolo Piatti Tom-tom Gran Cassa

I. Violini II. Viole Violoncelli Contrabbassi

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œ œ œ #œ œ œ œ J J œ œœ

∑

 w ?c w œ ƒ ?c  w w œ f j j j 3j 3j j ?c œ Œ œ ‰ œ œ œ œ œ œ œ œœœ œ œ œ œ ‰ œ f c ∑ ∑ ∑  ∑ ∑ ∑  c c ∑ ∑ ∑  ∑ ∑ ∑  c c  ∑ ∑ ∑

œœ # œœ b 

3 3 > ^ œ . œj œw œj œ œj œ œj œ œ œ œ œj œ œj œœ œ œ # œj œ ww

œœ^ .. œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ >œœ ww J J J J J J J

œ^ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ >œ w J J J J J J 3

^ & c # 

œœ



œ œ 

œ œ œ #œ œ w

Eivind Groven

∑

Œ œ œ œ œj œ Œ

∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

∑



∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 Œ œj

> œ >œJ œ # œJ œ Œ &

I. Fl. II. III.

Ob.

Cl. (La)

œœ œœ> &

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& œœ œœ >

œœ > >œ

& œ b œœ > ? œ

Fg.

œ>

>

>œ

∑

œœ J

.

F a2 .

œœ J

œ œ

∑

j 3 j œ œ œ bœ œ œ bœ œ œ œ F œ œ œ œJ # œ œ œ œ œ J œ 3 3 F

w w

> > & œ œJ œ # œJ œ œ >j >j & œœ œœ œ # œœ œ œŒ > > B œ œœ # 



? œ >œ ?

∑

? œ Œ

œœ J

 

j œ œ œ œ #œ œ œ œ œ J œ 3

bœ bœ œ œJ œ œ œ œ œ J œ

∑

w w

#w ƒ ƒ

w w w

∑

∑ j œ œ œ œ #œ œ œ œ œ J œ

w ∑

j œ3 œ œ œ œ œ œ J œ œ #œ F 3

∑

œ . œ œ . œ œ œ # œ- # œ- œ œ œ J J



nœ œ #œ œ œ œ œ œ

œ . œ œ . œ œ œ # œ- # œ- œ œ œ J J



ƒ 2

∑ nœ œ #œ œ œ œ œ œ

œ . œ œ . œ œ œ # œ- # œ- œ œ œ J J 3 ƒ œ . œ œ . œ œ œ # œ- # œ- œ œ œ J J ƒ



∑

w w

∑

? 

∑

F ≥œ

w w

∑



∑

œ≤

w w



∑

? 

ƒ # œ œ ww J ƒ

∑

#œ œ J a2

#œ œ J

13 I. Fl. II. III.

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

& &

# ww

w & w

B ww

& 

Œ œ I.

& 



w w

. ƒ #  .. ƒ

 .

∑

? ?

#œ

∑

Fl. III. muta in Fl. picc.

œœ

∑

.

∑

#  ..

œœ

∑

ƒ ƒ

w w

∑

∑ ∑

∑

œ ≥ . & J‰ ≥ B œJ ‰  .

∑

œ ≥ . & J‰

? w

œ œ # œ. œ. œ œ œ. œ. œ ‰  . J

∑

ƒ . .

? w

w w

œ œ #œ œ œ #œ œ œ œ J J J f œ œ #œ œ œ #œ œ œ œ J J J

w≤

#

w≤

.

π π π π

w≤

j œ œj # œ œ œ j j j œ œ nœ œ œ œ œ #œ œ œ œ œ œ #œ j œ œj # œ œ œ j œ j j n œ œ œ œ œ œ #œ œ œ œ œ œ #œ

œ #œ œ œ # J J



œ f

. .

j œ # œ œj œ w

œ œ

.

molto

.

molto

f f

œ- œ.

19 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

& w

# œœ F

œœ

∑

poco allargando

œœ

 ..

#œ

 ..

∑

œœ

∑

# œœ

 œ

bœ

# œœ

œœ

∑

œœœœœ J œ œ œ

œ œ bœ œ œ œ J

œ œ œ œ œ œ œJ œ J

ww ∑

œ œ bœ œ œ œ J

f √a 2 bœ

œ œ

b b œœ

 ..

#.

∑

b  ..

∑

b œœ

œ œ œ

œœ

œ œ

Œ 

∑

> ‰ œœ >œ

> b œœ ..

# œœ

> b œœ ..

b >œ .

> bœ.

> ‰ n œœ

∑

‰

> n œœ >œ

∑

œ œ # œ œ œJ œ œ œ œ œJ

œ nœ bœ œ œ œ œ œ œ #œ J

œ œ bœ œ œ nœ J

œœœœœœœ & œ œJ # œ œ œœœœœœœ & œ œJ # œ œ B 



? # œj œ œ > ? # œj œ œ >

œ œ

œ œ œ œœ œœJ œœ

œœ œœJ

œœ

# œœ

bœ

œ #œ

œ œ # œ œ œJ œ œ œ œ œJ

œ nœ bœ œ œ œ œ œ œ #œ J

cresc.

. .

> ‰ œ

œ œ bœ œ œ nœ J f

œ bœ œ bœ

Œ Œ Œ Œ

‰

œ œj b œ œ j œ nœ

‰ œ

∑

poco allargando

∑

Œ 

œœ b b œœ .. > F œ b >œœ .. Œ œœ

œ œ

3 >œ œ œj œ ‰ œ

œ œ œ

>œ œ œ ‰ œ œ œ J 3 3 ƒ >œ ‰ œ œœ œœ J 3 3 ƒ ∑ ‰

∑ b >œ.

œ œ œœ

œ œœ œœ œœ J

ƒ >œ. œ œ œ J ‰ 3

>. 3 j ‰ œ œ œ œ 3 ƒ 3 3 j ‰ œ œ œ œ f ƒ

œœœœœ J œ œ œ ƒ

œ œ œ œj œ j œ œ- œ ƒ

œœœœœ J œ œ œ œ œ

œ œ



24 Fl. picc.

∑

Fl.

œ bœ œ œ

Ob.

&  F

b œœ

œœ

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

œ bœ œ œ



b 

>œ a2 3 j & b œ œ œ b œ b œ œ b œJ œ œ œ b œ œ œ b œ b œ œ b œJ œ 3 F B

∑

& w p

∑



∑



∑



∑

? ? & & B

bœ f

∑ ∑



# ww f

 

œœ

b œœ

# œœ

# ww



n œœ

# œœ

ww f

II.



IV.

œœ

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ 3

# œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ J J J J J J 3



œœ

w w ww

∑

> > œ # œ œ œJ œ œ n œ œ œ œ J

∑

œ bœ œ œ œ œ œ J œ œJ œ



∑

? œ œ œ œ œ œ b œJ œ œ œ J F ? ∑

œ bœ œœœ œ œ Jœ œ œ bœ œ œ œ œ œ J œ bœ



∑

œœ >œœ œœ

œœ >œœ

œœ

œœ >œœ œœ

œœ >œœ

w œ

# œœ

# œœ f

pizz.

œœ >œœ œœ J 3

‰ œ œ 3

œœ >œœ ‰ œ 3

29 Fl. picc.

∑

Fl.

∑

Ob.

∑

III. IV.

∑



∑

Fg.

I. II. Cor. (Fa)

Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

G. C.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ >œ œ #œ #œ #œ  J J

& œœ # œœ b œœ B œœ

œœ b œœ

#œ œ ? œœ œ b œ

> ‰ œœ b  .. >œ

‰ œ  .. >œ b  . ‰ œ . 3

? œJ ‰ œJ ‰ b œJ ‰ ‰ œ 3

œ‰ Œ Œ J

j œ œ œ œ # œ œ œ œ œ œJ

> > œ œ # œJ œ  J F Œ j‰ j‰

> ‰ # œœ n œœ œ nœ œ œ 3 F >œ ‰ # œ n œœ # œ œj ‰ œj ‰ # œ F 3 >œ œ œ œ ‰ œJ ‰ œ ‰ œ J 3 F ‰ œ 3

∑

. œ b œ b œ œ œ œ œ œ. œ. œJ >œ

Cl. (La)

∑

Œ Œ

œ ‰ œJ ‰ œ ‰ œ ‰ œJ ‰ Œ J J J F

> œœ J

j‰ j ‰ nœ œ j j œ‰œ ‰

œ ‰ œJ ‰ J

œ œ J ‰ J ‰

œ œ œ œJ # œ œ œ œ œ œJ

> #œ œ  J

#œ

œ œ

Œ Œ Œ Œ

∑

#w π

III.

∑

j‰ j‰ nœ œ j j œ‰ œ‰

œ œ J ‰ J ‰ œ œ J ‰ J ‰

∑ ∑ j j j œ ‰ œ œ ‰œœœœ

pizz.

∑ ∑

35 Fl. picc.

Fl.

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

G. C.

∑

b œ b œ œ œ œ œ œ. . œ. > bœ J œ J & B

b œ œ œ œ. b >œ œ œ œ œ. >œ J J

w & w

& w

∑



∑

II.

∑

Vle.

B œ ‰ œ J

œ ‰ œ œœœ

Vln.

Vc.

Cb.

? ?

∑ ∑

∑

# œœ

#  ..

pizz.

.

>œ

œœ # œœ > >

>œ

# œœ > # œœ >

∑

∑ ∑



# œœ

∑

œ Œ œ

œœ # œœ

∑



# œœ

∑

œ Œ f

pizz.

∑



∑

œ œ ‰ œ œ œ ‰ œ #œ Œ J J ∑

œœ œœ œœœœ œœœœ œ œ J J Œ J a2

∑



arco



#œ

œ œ

œœ

∑

.

pizz.

# œœ

∑

# œœ

∑

. j # œj > # œ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ J J ƒ j j œœ œœ œœ œœ # œœ # œœ œ œœ œœ œœ J œ J. ƒ > j j # œ œ œ œ # œœ #œ œ œ œ . . ƒ

# œœ

∑



œœ œœ œœ # œœ J

∑

# œœ



#  ..

∑

œ œ œ œ œ œ # œJ œ # Jœ œ œ œ œ J œ # œ œ # œJ œ # œ œ œ œ J œ œ œ J J

ƒ 3 # œœ œœ œœ œœ # œœ J ƒ ∑

∑

œœ

# œœ > # œœ >

≥œ œ #œ #œ œ #œ œ œ œ œ œ J œ J œ J œ Œ 3 ƒ



œ # >œ

#œ >

> >

#œ >

œ > œ >

> >

œ œ

40 Fl. picc.

Fl.

∑

muta in Fl. III.

II.

j & œ œ œJ œ œ œJ œ 3 3 3 p I.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Fa)

Tbn. III.

Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

bœ

∑

j œœ 

 ..

œ ∑

∑

I. II.

#œ

∑

II. III.

n. p

. & .

III. IV.

Tbe. (Do)

∑

œ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œ œ œ b œœ œœ œœ œœ œ œ J œ J J œ J

∑

œ œ œ œ œ b œ b œ œ œ b œ œ œ b œ œ œ œ. œ> J J œ

b.

b ww

œ œ

∑

ww p



bœ ∑

ww ∑

∑

& œ Œ p



∑

& œ Œ π



∑

B nœ Œ π



∑



∑



∑

nœ π nœ π

45 I.

∑

œ œœ œœœœ œ œ J J

∑

œ œœ œœœœ œ œ J J

œ œœ œœœœœœ

∑

Fl.

œ œœ œœœœœœ

II. III.

∑

Ob.

∑

Cl. (La)

∑

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

&  f



B 

œœ

&  f f

?  f ?  f ? œ ƒ

Vc.

Cb.

∑



∑

œ œ- œ œ- œ œ œ œ œ œ œ- œ œ œ œ œ œ œ J J J J J

œ œœ œœœœ œ œ J J

œ œœ œœœœœœ

œ œ- œ œ- œ œ œ œ œ œ œ- œ œ œ œ œ œj œ J J J J J

œ œ œ œ œ œ œ jœ œ J J

œ œJ œ œJ œ œ œ œ œ J

j j j j j œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œj œ J

 

œ œ- œ œ- œ œ œ œ œ œ œ- œ œ œ œ œ œ œ J J J J J

 

œ.

œ œ



œ.

j œ œ



œ œ- œ œ- œ œ œ œ œ œ œ- œ œ œ œ œ œ œ J J J J J



œ œ- œ œ- œ œ œ œ œ œ œ- œ œ œ œ œ œ œ J J J J J

arco

œ œ



∑

? œ œ œ œ œ œJ œ œJ œ J ƒ

œ.

∑

œ œ B œ œJ œ œ œ J œ J œ

œ œ

j jœ œ œ œ œ œ œ œ J œ ƒ

œ.

∑

arco

∑

arco

w w

∑

arco

Vle.

w w

∑

œœ

4 œ œ œ œJ œ œJ œ œ œ & J &

œœ



œ.

œ. œ J

. . .

50 I. Fl. II. III.

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. Tbn. II. III.

Tuba

Timp.

T.-t.

I. Vln. II.

Vle.

Vc.

Cb.

& &

œ œœ œ œœ œ œœœœœ œœœ œœ œ œœœœœœœ œœ œ œœœœœœœ œœ œ œœœœœœœ œœ

œœœ œ œœœ œ œ J

œ œœ œ œœ œ œœœœœ œœœ œœ œ œœœœœœœ œœ œ œœœœœœœ œœ œ œœœœœœœ œœ

œœœ œ œœœ œ œ

. .

œœ

 ..

œœ

 ..

œ œ

∑

& &

∑

bœ œ œ œ œbœ œ œ a2

j & œ. œ œ.

 .. f

œ .

j & œ. œ œ.

œ .

 ..

œœ

 ..

œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ bœ bœ bœ J

F  .. F

 .. . .

.

œ œ

 ..

∑



∑

œœœ j & J œJ œ œ œ œ œ B œ



œ ?  œ ? 

œ œ œ-

.

. F

.

j j œ œ œ œ 

œ œ

.

j j œ œ œ œ 

.

j j œ œ œ œ 

∑

j j œ œ œ œ 

œœ

∑

œœœ œ œœœ œ œ

∑

œ œ

∑

∑ ∑

55 I. Fl.

II. III.

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. Tbn. II. III.

Tuba

Timp.

T.-t.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ œ ww

.  ..

œœ

b. & b .

œ œ œ œ

?  ..

. & . &

œœœ œœ œœ 5 œ œ J œ J

œœœ w

.

œœ ∑

∑

bœ œ œ œ œ œ œ œ J bœ J œ

∑ j

œ œ . #œ œ .

∑

œœ œœ  ..

∑

III.

& œ œœœœ œ œ œ œ f

∑



œ & œ œ & œ B œ œ ? . ? .

∑

j œ œœ p 3

∑

œ œ œ œ œ œ œ œ

j œœ

œ œ œ œ œ œ œ œ. œ. œ œ >œ œ  . œ œ œ œ œ œ œ œ. œ œj œ œj œ  . . w w



œ œ œ

Œ # œœ p

œ œ #œ

∑



œ œ œ

dolce

œœ

œœ œœ

dolce



œœ

 

∑

j j j j j j j j j j 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 œ œ œ œ œ œ. œ. œ œ >œ œ  . J



œ œ œ

œ œ

pizz.

œ œ

pizz.

∑

œ œ

œ Œ œ Œ

œ ‰œœ 3

œ ‰ œ œ 3

∑

‰

j‰

œœœ 3

‰ œ œ œJ ‰ œ 3

∑

œ œœœœ œ œœœœœ #œ œœ œ œ  J J

61 I. Fl.

& 

Tbe. (Do) II. III.

I. Tbn. II. III.

J œ

∑

j & œ œ œ #œ œ ‰ œ I.

∑

Cl. (La)

III. IV.

œ œ œ œœ œ #œ œ œ

∑

Ob.

Cor. (Fa)

∑

I. II.

∑

II. III.

Fg.



III. j & œ œ œ #œ œ ‰ œ



œ œ œ

j œ œ œ #œ œ œ œ #œ œ ‰ œ



œ œ œ

j œ œ œ #œ œ œ œ #œ œ ‰ œ

∑

w w

∑



œ œ

? #  ?

∑

œ œ œ



∑

w w

œ œ œ œ

  

# 



œ œ œ

# 

œ œ œ



œ œ # œ œ  

∑

II.

∑

Vle.

∑

Tuba

Timp.

T.-t.

I. Vln.

Vc.

Cb.

j j j j j j j j j j j j  œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰œ œ œ œ œ œ œ œ œ œ ‰œœ œ œ œ œ œ œ ‰ œ œ

œ œ

œ ∑

3 œ ‰ œ œ # œ ‰ œ œ œJ ‰ œ œ Œ œ ‰ œ œ # œ ‰ œ œ œJ ‰ œ

œ Œ

∑

j j j j j j œ œ œ œ œ œ ‰œ œ œ œ œ œ ‰ œ œ œ œ

∑

œ Œ

∑

œ œ ∑

‰ œ#œ 3

œ œœœœ #œ œ œ œ

∑

II. III.

∑

Ob.

∑

Cl. (La)

∑

I. Fl.

Fg.

I. II. Cor. (Fa)

#

œ œ œ #œ œ œ œ #œ 

#

œ œ #œ œ œ œ

œ œ œ #œ œ œ œ #œ 

œ œ #œ œ œ œ



œ œ # œ œ œ œ œ œj ‰ œ #œ



œ œ # œ œ œ œ œ œj ‰ œ #œ

∑

w w

III. IV.

∑

Tbe. (Do) II. III.

B 



? 

# 



∑

II.

∑

Vle.

Tbn. II. III.

Tuba

Timp.

T.-t.

I. Vln.

Vc.



‰ Œ œ œœ œ 3

? œ ‰œœ œ Œ ?



œ œ

œw œ

# 

œ œ

 œ œ



œ œ



#.

œ œ œ

œ œ



œw œ

 ∑

j j j j j j j j j j j j j j j j j j œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ

Cb.

œ œ

œ #œ



∑

œ ‰ œj œ œ

œ œ

‰ J

œ œ

œ œ #œ œ œ 3

œ œ

œ œ #œ œ œ

œ ‰œ #œ œ Œ 3

∑

œ ‰œ #œ œ Œ

∑

#œ Œ

œ Œ

∑

œœ

œœ œ œ

œœ œ

œ œ ∑

Œ Œ

I. Fl. II. III.

Ob.

Cl. (La)

Fg.

Tgl.

6 w

#œ œ œ #œ œ œ œ J ∏ p3 III. II. III.ww & II. ww # ww ∏ j œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œ œœ œ # œœ œ œœ œœ œœ & J J J J J J J J p j j j j j j j j œ œ & b œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ p

p œ p





espress.



∏

j œ œ œ œœ œœ œœ œœ œœ œœ œœ J

I. Fl. II. III.

Ob.

Cl. (La)

Fg.

Cor. (Fa) Tgl.

Fl. II. III. Ob.

Cl. (La)

Fg.

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

w & w

œ œœ œœ œ œœœ & œ œJ œ œJ œ œJ œ œ œ



∑





3 j 3 œ œ ‰ œ

∑



œ œ œ œ # œ œ œ œ œ œ œ œ œ # œ. œ œ # œ œ J J J J J

∑

.

∑

j œ œj j j j œ œ & # œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ B

& &

∑

œ œœ

# ww p

IV.

3 j 3 œ œ ‰ œ

œ œ #œ œ #œ œ œ œ œ J J J

# 

œ œœ œ œ œœœœ œ œ J

#





# # 

∏



P dolce j œ œ œ œ œ # œ. œ œ œ # œ œ œ œ œ œ # œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ # œœ œ J J J J & J J J



# 

π espr.

# w

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ #  J J J J J J ∏

∑

œ œ œ œ œ œJ œ œ œ # œœ œœ œ œj œœ œœ œœ œœ œœ J J J J J

∑

#œ œ œ œ #œ œ œ œ œ J J J

∑

œ œ bœ œ œ œ w & œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ b  J J J J J J   œ œ œœ B w J bœ œ œ œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ

œ œœ œœ œ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œ œ œ œ œ œ œ œ œ J J J w w j



œ œ .

œ œJ œj œ œJ œ œ œ 



#

# 

∑

∑ ∑



∑

œ œ œ œ œ œ œ œ œ œ J



#œ

∑

œ œ œ #œ œ œ œ œ œ œ J J I. œ #œ œ Œ #  #

espress.



#

7 87 I. Fl. II. III.

& &

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

#

œ œ #œ œ #œ œ œ œ œ œ

#

œ œ #œ œ # œ œ œ œ œJ ‰ œ

J‰

∑

#œ œ . J

∑



∑

B #

œ œ #œ œ # œ œ œ œ œJ ‰ œ

# & # 



& #

Œ Œ

#œ œ #œ œ #œ œ œ #œ œ œ #œ œ  œ

.

#œ œ #œ œ #œ œ œ #œ œ œ #œ œ  œ

.

œ # œ œ œ. # œ. œ . . œ  #œ #œ œ J

∑



#œ œ #œ œ #œ œ œ #œ œ œ #œ œ  œ

Œ Œ

œ # œ œ œ. # œ.

F ∑

.

∑

≤ Œ œ #œ œ F ≤ & Œ œ œ #œ F arco ≤ B Œ #œ #œ œ F arco ≤ ? Œ œ #œ œ F ? ∑ &



≤ Œ #œ œ œ

#

j‰

≤ Œ #œ œ œ

#œ œ

œ œ J‰

œ œ œ #œ #œ œ œ #œ œ ‰ œ J 3

#



œ #œ



œ #œ # ∑

# #



œ œ

#œ ‰ œ J ∑

∑

œ≤ # œ œ

# œ≤ # œ œ ∑

#

œ œœ #œ #œ œ œ #œ œ ‰ œ J 

#



#œ

 ∑

#

j œ‰œ

œ #œ J‰

#œ ‰ #œ J ∑

94 I. Fl.

II. III.

Ob.

Cl. (La)

Fg.

I. II. Cor. (Fa)

#

#œ œ œ #œ #œ œ œ #œ#

œ.

#a2

#œ œ œ #œ #œ œ œ #œ#

œ.

œ# œ# œ œ œ  J

I. B #

∑

#œ œ œ #œ #œ œ #œ J #œ œ #œ #œ œ #œ J œ

#œ

œ #œ

œ œ #œ #

#œ

œ #œ

œ œ #œ #

∑ ∑

∑

#œ œ #œ #œ œ #œ œ J

œ.

#œ œ œ #œ #œ œ œ #œ#

œ #œ

#œ

œ œ #œ #

#



∑

III. IV.

∑

Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

Tgl. Pt. G. C.

I. Vln.



II.

& œ

Vle.

B #œ

Vc.

Cb.

?  ?

j Œœœ F

≤

-

œ-

≤

-

œ-

œ# œ œ  3

∑

∑ ∑

#

# ƒ # ƒ



pizz. Œ œJ œ 3 f

Œ # Jœ œ Œ # œœ œœ J

œœ

Œ œœ J 3 F

∑

  & œ

#œ œ Œ J 3 p j Œ #œ œ J 3 p

∑ ∑

#œ œ Œ Jœ œ

j Œœœ

Œ # œJ œ

Œ # # œœ œœ J

#œ œ Œ œJ œ

Œ # œœjœœ

j Œ œœ

# œ œ œ# œ # œ



#

 œœ

ŒJ

Œ # œœ œœ J

∑

∑ ∑

j Œœœ

œ œ# œ# 

# Œ # œJ œ

Œ œJ œ

j Œ # œj# œœ Œ # # œœ # œœ J

Œ # œœ œœ J

œ #œ Œ # œJ œ ∑

j Œœ œ

Œ œ œ Œ # Jœ œ J

∑ ∑

 œ œ Œ # œœ œœ Œ J J

j Œœ œ

œ #

œ œ# œ# œ œ

#



œ #œ

#

œœ

ŒJ

#œ œ ŒJ

j Œ œ œ

œ #œ

#œ

œ # œ œ

ŒJ

#œ

Œ Jœ œ

Œ œœ J

 #œ œ Œ J

∑ # œ œ #œ ‰ œ Œ J J

Œ # œj œ # œœ

∑

∑ ∑

œ Œ Jœ

Œ # œjœ # œj ‰ œ # œœ œ œ

∑

j Œ œœ

∑ ∑ ∑

œ#œ#œ œ

œœ#œ œ ‰ œ



#œ #œ

#

œ‰œ

# #œ œ Œ J

# # Œ # Jœ œ

œ œ

#œ œ #œ œ

> #œ #œ œ œ œ #œ œ œ œ #œ œ J J & f ƒ > #œ œ #œ œ œ œ œ #œ œ œ # œ J J & ƒ f a2 > #œ #œ œ œ œ # œj œ œ œ # œ œ & J ƒ f

100 I. Fl. II. III.

Ob.



∑



∑



∑

œœ œœ œ # œ >œ Œ œ œ œ œ & J J ƒ f >œ B # œ Œ ∑ a2

Cl. (La)

Fg.

I. II. Cor. (Fa)

∑

II. III.

I. Tbn. II. III.

Tuba

Timp. Tgl. Pt. G. C.

I. Vln. II.

Vle.

Vc.

Cb.

∑

  

ƒ ƒ

B #œ #œ ? w

œ œ.

œ ƒ œ ƒ

8 ≥ œ ƒ ≥œ

ƒ ≥œ

∑

#w #w

# #

# # ww

# n 

J J

œ œ #œ #œ œ

∑

j ‰ œ œ

j ‰œ

#œ œ œ #œ œ #œ œ œ œ J J #œ œ œ #œ œ #œ œ œ œ J J #œ œ œ #œ œ #œ œ œ œ J J ‰ œ œ J ‰ œJ œ

∑

‰œ J ‰ œJ

∑ ∑

‰ œ œœ 3

# œ œ œ # œ œ œ # œ mœ œ J J J # œ œ œ # œ œ œ # œ mœ œ J J J # œ œ œ # œ œ œ # œ mœ œ J J J Œ Œ

‰ #œ #œ œ ‰ #œ #œ œ

œ œ

∑

# 

w

#



#

# 



œ œ



œ #œ #œ œ

j ‰ œ

‰ œ œœ

œ J

œ # œ # œ œ œ # œ œ œ œ œJ œ ‰ # Jœ

∑

#

œ # œ # œ œ œ # œ œ œ œ œJ œ

#œ



∑ ∑ j ‰ œ œ

‰ # Jœ



œ # œ # œ œ œ # œ œ œ œ œJ œ

#œ

w

 w

#œ œ. J

#œ.

# 

#œ œ. J

#œ.

ƒ #

#

 

n n

œ.

pizz.

∑

#  F



#w #w

#

∑

œ œ.

œ-

∑

œ.

-



# 

∑

& œ #œ

∑ ∑

∑

F # F

w

∑

# 

# ƒ

∑

& œ



∑

III. IV.

Tbe. (Do)





#

‰ œ J ‰ Jœ

∑

∑ ∑

#œ œ œ œ œ #œ œ œ #œ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ œ Œ Œ

‰ #œ #œ œ ‰ #œ #œ œ

œ œ

105 I. Fl. II. III.

Ob.

C. i.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. Tbn. II. III. Tuba

Timp.

T. p. Pt. G. C.

I. Vln. II.

Vle.

Vc.

Cb.

& ‰ & ‰

#œ œ œ #œ #œ œ œ œ œ #œ œ #œ œ œ #œ #œ œ œ œ œ #œ œ

a2 # œ œ œ #œ #œ œ œ œ œ #œ œ ‰ &

a2 #œ œ œ œ œ œ œ œ œ œ œ ‰ &

#w & #w

.

œ œ œ œ

∑



∑

& &

∑

œ #œ œ œ #œ #œ œ œ œ œ #œ #œ

œœ

#œ #œ molto

Œ Œ

. # .

#

.

Œ Œ

œ œ

. .

∑



∑



∑



∑

Œ #œ

#œ

. ƒ . ƒ œ

# œœ

œ œ

. œœ



œ J

j #œ œ j #œ œ

#œ œ J

# œ # Jœ

  ∑



∑



∑



∑

j j œ œ œ œ Œ

∑ 

j œ 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 fr. # œ œ œ #œ #œ #œ œ œ œ œ œ œ œ #œ œ #œ œ #œ œ #œ œ œ œ œ fr.

# œ # Jœ

#œ #œ J

∑



œ F œ

∑



∑

#œ

# œœ

molto

 F

œ #œ œ œ #œ #œ œ œ œ œ #œ #œ B ?

#. .

œ œ œ œ #œ œ œ œ œ œ œ œ

œ #œ œ œ #œ #œ œ œ œ œ #œ #œ

? œ

‰

#  ..

? . f molto



∑

?  ..



#œ œ œ #œ #œ #œ œ œ œ œ #œ

# #  .

& # ww B

‰

#œ œ œ #œ #œ #œ œ œ œ œ #œ

# #  .

& # # ww &

‰

∑

& B

‰

#œ œ œ #œ #œ œ œ œ #œ œ #œ

j œ œ

j j œ ‰ œ œ œ œ ∑

∑

#œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ œ

#œ œ #œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ œ #œ #œ #œ œ œ œ œ œ œ # œ œ œ œ œ & #œ œ

fr.

œ œ

Œ Œ

œ œ 18

œ œ

Œ Œ

 

∑ ∑

109 I.

∑

œ œ #œ œ œ #œ œ œ J J J #œ

œ œ #œ œ œ #œ œ œ #œ J J J

Fl. II. III.

Ob. C. i.

Cl. (La)

Fg.

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

I. II. Tbn. III.

Tuba

Timp.

T. p. Pt. G. C.

I. Vln. II. Vle.

Vc.

Cb.

∑

& &

œœ-

& . & . -



? ? ?  œ   & &

j œ œ

∑



œ œ

œ #œ œ J œ #œ œ J

∑

j œ ‰ œ œ

∑

#œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ

∑ ∑

# œ # œJ # œ # œJ



∑

œ œ œ #œ œ œ œ & œ #œ œ œ œ ?



∑

j œ œ

∑

œ œ #œ œ œ #œ œ œ J J J #œ

∑



j œ œ

∑

œ œ œœœ œœ œ œ J J J ƒ ww ƒ

œ œJ œ œ j œ œ

# ww

∑

œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ ∑

œ œ œ œ

 ..

∑

œJ œ # œ œ # œ œ œ j

œ œ #œ œ #œ œ œ œœ

.

œ œ

. ∑

∑



j œ œ

j j œ ‰ œ œ œ œ œ

∑ j j œ ‰ œ œ œ œ

œ œ #œ œ œ œ #œ J J

œ œ #œ œ œ #œ œ œ #œ œ œj # œ œ œ j œ J J J #œ arco  œ œ œ œ œ œ- œ œ- œ 

 ..

œ œ œ œ œœ œ œ œ

œ œ #œ œ œ #œ œ œ #œ J J J œ œ #œ œ œ #œ œ œ J J J #œ

arco

∑

œ œ œ œJ œ œ œJ

œJ œ œJ œ œ œ œ œJ œ

œ Œ f j œ œ œ f

∑

#œ œ #œ œ œ œ œJ œ œ # œJ

∑

j j œ ‰ œ œ œ œ

#œ œ #œ œ œ œ œJ œ œ # œJ

∑

w f

#œ œ #œ œ œ œ œJ œ œ # œJ

J œ œ œ œ œ- œ J

J œ- œ J

œ œ J

j œ œ œ

113 I.

Fl. II. III.

Ob. C. i.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III. Tuba

Timp.

Tgl. T.-t. G. C.

I. Vln. II.

Vle.

Vc.

Cb.

& & & &

œ #œ œ œ nœ œ œ

J ‰ Œ

œ #œ œ œ nœ œ œ

# ww

poco ten. œ # œ œ œ n œ œ œ œ œ œJ

poco ten. œ œ œ œ bœ œ œ œ œ œ

J ‰ Œ

∑

B n n ww

w & w & ww &



poco ten.

B n n  .. ? .



j œ œ

∑



∑

œ œ

∑

j j œ ‰ œ œ œ

∑

w w

sempre dim.

∑



∑

w w

∏

∏ 20

∑ J

∑ ∑ ∑

∑ œ Œ  p j j j œ œœ œ œ œ ‰œœ ∏ ∑



# 



∑

con sord.

div.

∑

con sord.

div.

∑

w w

œ #œ œ

∑

quasi comodo

∑

∏

∑

∑ ∑

w w

∑

w w

œ œ œ œ œ # œ Jœ œ œ œ

œ.

π espress.

∑

poco ten.

∑

Z f

j poco ten. & œ # œ œ œ n œ œ œ œ œ œJ ?

quasi comodo

œ œœ œœ œ‰ œœ œ œœ œ ‰ œœœœ œ œœ œœ œ ‰œœ œ œœ œ ‰œœœœ

poco ten. œ # œ œ œ n œ œ œ œ œ œJ J & poco ten. œ #œ œ œ nœ œ œ œ œ œ

∑ ∑

# ww

∑



# ww

#w ƒ

? n.

∑

# ww

j & œ # œ œ œ n œ œ œ œ œ œJ



∑ ∑ ∑

119 I. Fl.

II. III.

Ob.

C. i.

# œ œ œ œ # œJ œ œ œ # œ œ œ œ œ œ œ J J J J p ∑

∑

& œ œ œ # œ œJ ‰ œ



œ œ œ œ œ œ œ œ œ œ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ J J J J J J

∏ ∑

∑

œ œ



∑

III. IV.

∑

& &

œ #œ œ œ

œ œ # œ œJ ‰ œ

∑ ∑

∑

Tgl.



∑



∑

T.-t.



œ p



w





 



# 



 



Cl. (La)

Fg.

I. II. Cor. (Fa)

Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

j œ œœ

j j j j j j j j j j j œ œ œ ‰œ œ œ œœ œœ œ‰œœ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ

# 

#



# 

II.

&  &

Vle.

∑



∑

I. Vln.

Vc.

Cb.

∑



∑ ∑ ∑

∑ ∑

∑

j œ œœ

j j j j j œ œ œ ‰œ œ œ œœ œœ œ ‰ œœ

∑ ∑ ∑

125 I. Fl.



# œ œ œ œ œ œJ œ J J ∏ ∑

œ #œ œ J J p ∑

∑

Ob.

C. i.

Cl. (La)

∑

Fg.

I. II. Cor. (Fa)

II. III.

Tuba

Timp.

Tgl.

T.-t. G. C.

I. Vln. II.

Vle.

Vc.

Cb.

∑

nœ

œ #œ œ œ



#œ œ œ #œ œ

∑

 pœ Œ j  œ œœ 



j j j œœ œ ‰œ œ œ œ œ

œ Œ  p j j j j j j j j j j j j œ œ œ ‰œ œ œ œ œ œ œ œ ‰ œ œ œ œœ œœ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ

 & 

# 

&  

∑

# 

# w

∑









n 

#

# 

∑



 

∑

 



# 



# 

∑

œœ

j j œ œ œ ‰œ œ ∑



 

# 

∑

‰

œ #œ #œ 

∑

œ œ œ œJ ‰  .

∑

Tbn.

∑

œ #œ #œ 

J J

∑

II. III.

#œ œ œ #œ œ

œ #œ œ

∑

III. IV.

Tbe. (Do)



∑

# œ œ œ œ œ œJ œ J J

œ œ œ œJ œ œJ œ œ œ œ œ œ œ œ œ # œ œ  J

∑

II. III.

∑

‰

#

œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ œ 10 J J œœ J J J & J J J J J J

quasi animato

131 I. Fl. II. III.

Ob.

C. i.

& nœ

∑

œ #œ œ œ



œ œ #œ œ œ œ œ #œ œ ‰ œ J

∑

III. IV.

∑

Fg.

I. II. Cor. (Fa)

Tbe. (Do) II. III.

I. Tbn. II. III. Tuba

Timp.

Tgl. T.-t. G. C.

& B

? ?

∑



j  œ œ œ 

∑

II.

& n w

Vle.

Vln.

Vc.

Cb.

? ?

∑



# 





n

∑



 



∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ J J J J J

j j j j j œ œ œ œ œ œ œœœ œ œ œ œ œœœ œ œ w w

œ œ œ œ œ œ ‰œœ œ œ œ œ ‰œœ œ œ J J J J J J



∑

j j j j j œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ

f œ f

∑

# w

IV.

j j œ œ ‰œœ œ œ Œ

#

∑

j j j j j œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ

∑

# 

II.

∑

∑ ∑ ∑ j j j j j j j œ œ œ ‰ œ œ œ œœ œ œ œ ‰ œœ œ œ ‰œ œ œ ‰ œ

#œ

∑

w

∑

Cl. (La)

∑

œ f

w f w f w f

Œ Œ

∑



∑ Œ

quasi animato

∑

w w w

‰œ ‰ œ

137 I.

∑

Fl. II. III.

Ob.

Cl. (La) Fg.

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

I. Tbe. (Do) II. III.

I. Tbn. II. III. Tuba

Timp.

Tgl. G. C.

Vln. II.

Vle.

Vc.

Cb.

∑



∑



? ww

w w

j j j j j j w œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ Œ j

j# œ

j j j j j & œ œ œ œ œ œ œœœ œ œ œ œ œœœ f B œ œJ œ œJ œ œJ œ œ œ œ œJ œ œJ # œ œ œ

w w

ƒ w f Œ

? œ œj œ œj œ œj ‰ œ œ œ œj œ œj ‰ œ œ œj œ 

 œ

&  w f

senza sord.

&  w f B 

∑

w w

w

w ? w

w w



∑

‰œ

‰ œ

f >œ f

>œ

œ œ

-œ œ œJ œ

.

>œ

.

œ œ

j j œ œ ‰œ œ œ ‰œ 3

∑



œj œ œ œ œ œj œ œj œ œ œ œj œ œ œœœ œ œœ œ œœœœœ

∑ ∑

œ œ. . œ œ œ œ. . œJ œœ œ J

œ. . œ œ œ œ. J œ œ œ. œ œ J

œ œ œ œ œ œ œ œ œ œ œ œJ œ œ . . œ œ . . J J J œ œ J œ œ œ œ œj & w w

-œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ œJ œ œ œ œ œJ œ œJ œ œ œ œJ œ

œ œj œ œj œ œ œ- œ œ- œ ƒ œ -œ œ -œ œ J J

> >

œ œœ œœ œ ‰œœ œ œœ œ ‰ œœœœ J J J J J J œ ƒ

.

>œ

# œw

œ

œœ J Œ

b œœ

w .

j œœ Œ

> f >

œ

# œw

œœ

w.

Œ ƒ

œœ

? ww ?

w w

œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œJ œ w & J J J J J a2

∑

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ

senza sord.

∑

w w

142 I. Fl. II. III.

Ob.

Cl. (La)

& & & &

œœ

b œœ

? w

I. II.

& # wœ

III. IV.

I. Tbe. (Do) II. III.

I. Tbn. II. III.

& # œw &

& œ B œ ? œ

Tuba

? w

Timp.

? œ

Tgl. G. C.

I. Vln. II.

 

 ..

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ J J J J J

b  ..

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ

n ww

w ∑

œ ‰  J

> Œ bœ f

j œ ‰ 

œ ‰  J

∑ ∑

œ ‰  J

j œ œ ‰œ

œ œ # œ œ œ -œ œ œ. . œ œ œ œJ & œ œ # œ œ œ -œ œ œ. . œ œ œJ œ &

>œ

∑ >

b.

# ww f

∑

nœ



∑

∑ ∑

∑

# œœ f

œ œ



œ œ



∑

∑ ∑

œœ  ..

∑

œ œ #œ

∑

∑ ∑

-œ œ -œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J J J J J

œ .

∑ ∑

œ œ. œ. # œ œ œ œ. œ. œ œ œ # œ œ œ # œj œ œ œ œ œ œj œ J J J J

-œ œ -œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ n œ œ -œ œ œ œ œ -œ œ œ J J J J J J J J

jj j œ # œ œ œJ # œ œ œ œ œ œ œ œ

œ œ # œ œ œ -œ œ œ. . œ œ b œ -œ œ -œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ # œ œ -œ œ œ œ œ -œ œ œ œ œ œ # œj œ œ œ œ œj œj œ œJ #œ J J J J J J J J J

Vle.

Vc.

? w

Cb.

œœœœœœ œœœ œœœœœœ œ œœ

Fg.

Cor. (Fa)

11 œœœœœœ œœœ œœœœœœ œ œœ

? w

œ -œ œ -œ œ œ œ œ œ œ œJ œ œJ œ œ œ œJ œ œ œ -œ œJ œ œ œ -œ œJ œ  J J J ∑

∑

œ œ



?œ

œ œ #œ œ œ #œ

147 I. Fl. II. III.

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

∑

#œ f

# œœ f

œ œ # œJ  J

œœ œœ # œœ  J J

∑



#

& œœ B

? œ ?

3 3

#œ

œ . J

œœ  ..

∑

œ œ # œ œJ ‰ œ

j ‰ œ œ œ # œ œ

∑

Vle.

& #œ œ œ œ ? œ ? œ

œœ œœ # œœ  3

# œœ

#

∑

# #

j œ œ œ # œ œj œ

œ œ # œ œJ ‰ œ œ œ # œ œJ ‰ œ

œ œ œ



3 3

j œœ œœ # œœ  J 3

œœ œœ œœ

œ # œ œ œ œ œ œ # œ œ œj œ œ # œ œ œ œ œ œ # œ œ œj œ w w

œœ œœ J

œœ J

∑

œ œ œ

∑

∑œ



œ #œ œ œ J œ #œ œ œ J œ #œ œ œ J

œ œ

# œœ

œœ

œœ œœ œœ

∑

œ #œ œ œ œ œ œ #œ œ œ œ

œ œ œ  J 3



œ 

∑

j œ œ œ # œ œj œ

# œœ

œ œ

#œ œ œ J

∑

& ww

œœ b œœ œœ œœ  J J

œœ 



œœ

# œœ

œœ œœ # œœ  J J

# œœ

œœ œœ œœ

œ œ œJ  J

#œ

w

& #œ œ œ œ

Cb.

#œ œ œ J

œ œ #œ 

II.

Vc.

œ 

& #w

œ œ œ #œ œ œ J

Vln.

œœ b œœ œœ J

#œ œ œ œ

œ œ

œ œ œ # œJ œ 3

j œ # œ œ œ œ

œœ J

œœ œœ J

œ œ

∑

#œ œ œ œ œ œ œ #œ œ œ J J

œ œ œ œ œ #œ œ œ œ #œ œ J

# œ œ œ œ œj œ œ B œJ œ #œ

œ j œ œ œ œ #œ œ œ œ #œ œ

# œ œ œ œ œj œ œ # œ œj œ #

#

œ #œ œ œ J œ #œ œ œ J

œ œ œ œ œ #œ œ œ œ #œ œ J

œ œ

œ œ œ # œJ œ œ œ œ # œJ œ

œ œ

#œ œ œ J &

151 I. Fl.

œœ œœ œœ J

II. III.

Ob.

#œ œ œ J

Cl. (La)

Fg.

œ œ œ

œ œœ # œœ

œœ œœ

# 

œ œœ



∑

III. IV.

∑

Cor. (Fa)

Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

œ œ œ J

j & œœ œœ œœ B œœ œœ œœ J

œœ œœ œœ J

? œ

œ œ œ # œJ œ # œ

j œ # œ œ œ #œ œ

∑

Vln. II.

Vle.

Vc.

Cb.

#œ œ œ œ & œ œJ œ œ œ œ #œ œ #œ œ œ œ & œ œJ œ œ œ #œ

œ B œ œj œ œ # œ œ œ œ œ # œ ? œ ? œ

œ œ œ # œJ œ # œ œ œ œ # œJ œ # œ



∑

#œ

∑

œœ

∑

œœ

∑

œ # œœ

∑

fZ fZ #œ œ

fZ fZ

œœ



œœ



#œ

œ #œ

#œ F

II.

∑

#œ



œœ œœ

∑

œœ

molto f

∑

œ œ



molto f



œ # œœ

# 

œ œœ # œœ

quasi poco più mosso

 

œ œœ

I. II.



B 

12 

œ J

∑

quasi poco più mosso

#œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ j œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ F

œ œj œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ # œ œ œ œ œ #œ œ F œ œ œ œ œ .   œ œ #œ œ œ œ F œ œ œ œ œ .  # œ œ œ  œ œ œ F

156 I. Fl. II. III.

Ob.

Cl. (La)

Fg.

I. II.

∑

bœ

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑

Cor. (Fa) III. IV.

∑

& œœ

#œ

œœ

# œœ

∑

#œ

# œœ

œœ

œ œ

∑

œœ

∑

œ œ

œœ

∑

œœ

∑

#œ

œœ

# # œœ

IV.

œœ

#œ

II.

#œ

b 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 œ #œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ & f

œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ

œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ & f

œ œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ B œ œ #œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ & f œ œ œ œ œ #œ œ œ œ œ œ ? . #œ œ ? .

œ f

#œ

160 I. Fl. II. III.

Ob.

Cl. (La)

Fg.

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

I. Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

I. Vln. II.

& & & &



13 œ #œ #œ œ œ #w



# 

#

w

w ƒ ƒ

? w ƒ



œ œ

œ œ #œ œ ‰ . J

œ #œ

.



#



# œœ œ

#



# œœ œ



 .

œ œ œ

 .

œ # œœ

. 

œ œ œ

j #œ œ œ

œ.

#œ.

#œ œ J #œ œ J

? w ƒ ?

# 

.  #œ

œ.

#œ

œ.

œ œœ œœ œ œœ œ œ œ œ œ œ œ œœ œ & # œ Jœ œ œJ œ œJ œ œ œ # œ œJ œ œJ œ œ œ œJ œ ƒ a2  œ œ œ #œ œ ‰ . B  J

#

# 

#œ.

œ œ #œ œ ‰ . J

œ #œ

# 

œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ #w J J J J J

# 

j #œ œ œ

 # 



Vc.

?  ƒ

? w ƒ

œ œ

j #œ œ œ j #œ œ œ

œ.

œ #œ

#

# œœ œ

# 

œ #œ

# œœ œ ∑

∑

œ œ- œ œ- œ œ œ œ œ œ œ œ œ œ # œ # œ œ œ 13# œ #œ œ #œ œ œ #œ #œ œ œ # œ œ œ œ œ. # œ. œ œ J J J J J J J & J ƒ #œ #œ œ #œ œ œ #œ #œ œ œ œ- œ œ- œ œ œ œ œ œ œ œ œ œ # œ # œ œ œ . # œ. œ œ J œ œ J J J J J # œ œ œ œ & J B

œ # œœ

∑

j j j j j j œ œœ œœ œ ‰ œ œ œ œ œ œ ‰ œ œœ œ

Vle.

Cb.

w w

&  ƒ



œ œ #œ œ ‰ . J œ œ #œ œ

J ‰

.

#œ.



#œ œ œ œ œ œ #œ J



#

œ œ œ. # œ œ

. .

œ œ œ œ #œ œ J

œ œ. # œ œ



œ #œ



œ #œ



œ #œ



œ #œ

165 I.

Fl. II. III.

Ob.

œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ J œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ J cresc.

# œœ

 & #

œœ # œœ>

cresc.

# œœ

 #

œœ # >œœ J

# œœ

œœ # >œœ

œœ

œœ >œœ

# œœ

> œœ œ J œ

œœ

> œœ œ J œ

œ >œ œ #œ

œ œ œ œ

œœ # >œœ

œœ

œœ >œœ

# œœ

> œœ œ J œ

œœ

> œœ œ J œ

œ >œ œœ

#œ #œ

œ >œ œ #œ

œ œ

œ >œ œœ

#œ

œ œ

œœ œ >œ

œœœ œ œ œ œ œœ œœ œœœœ œ œ œ œ œœ œœ œ œ œœ œ œœœœœœœ œ œ œœ œ œœ œ œœœ œ J & cresc.

Cl. (La)

Fg.

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

I. Tbe. (Do)

œ œœ œ #œ #œ œ J J

# & 

œ œ

& # 

# œœ

cresc.

œ #œ J

I. II.

#

œœ œ J >œ

# 

& œ # œJ œ œ œ œ # œ # œ œj œ >

œ & œ # œJ œ œ œ # œ # œ œj œ >

Tbn. III.

Tuba

Timp.

Vle.

Vc.

Cb.

∑

œ œ

 cresc.

# œœ

cresc.

∑

& &

œ œ J

œ ‰3œ J >

œ # œ œ œ œ œ # œ # œ œ œ> J J

œ # œ œ œ œ œ # œ # œ œ œ> J

B œ

j œ œ œ # œ # œj œ

œ œœ œ #œ #œ œ ? J J œ œœ œ #œ #œ œ ? J J

œ #œ > œ #œ J

œ #œ J

œœ œ J >œ 3

∑

? J

œ >œ œ #œ J

œ # œJ œ œ œ œ # œ # œ œj œ > ∑

œœ

cresc.

∑

? œ

œ #œ J

œ # œJ œ œ œ œ # œ # œ œj œ >

Vln. II.

cresc.

œ >œ œ #œ J

II. III.

œ œœ œ #œ #œ œ J J

œ œœ J

œ œ J

œ ‰3œ J >

cresc.

œ # œ œ œ œ œ # œ # œ œ œ> J

œ œœ œ #œ #œ œ J J cresc.

cresc.

# œœ

#œ #œ

#œ

œ œ œ >œ

œ # œ # œ œj œ > œ # œ # œ œj œ >

œœ œ >œ

œ œ œ œj œ > ∑

œ œ œ œj œ >

œ œ œ >œ

œ # œ # œ œj œ > œ # œ # œ œj œ >

∑

œ # œ œ œ œ œ # œ # œ œ œ> J

œ œj œ œ # œ # œj œ

œ #œ >

‰ œ >

œ‰ œ J >

œ # œ # œ œ œ>

œ œ œ œj œ > ∑

œ œ œ œj œ >

∑

‰ œ >

œ œ‰ œ J > 3

‰ œ >

œœœœœ ‰ œ œ œœœœœ ‰ œœœ œ # œ # œ œ œ>

œ œ œ œ œ>

œ # œ # œ œ œ>

œ œ œ œ œ>

œ œJ # œ> # œ œ œ œJ œ> œ #œ

# œ œ œ œ # œ> J

œ œ œ œ œ> J

œ # œ # œ œ œ> J

œ #œ J

œ œ œ œ œ>

cresc. molto

œ #œ J

œ œ J > 3

J J

œ œ

œœ J > 3

J J

œ œ

œ œ J > œ œ J >

J J

œ œ

œœ J > œœ J >

169 I. Fl. II. III.

Ob.

Cl. (La)

Fg.

B &

III. IV.

I. II. Cor. (Fa)

Tbe. (Do) II. III.

I. II. Tbn. III.

Tuba

Timp.

14 I. Vln. II.

Vle.

Vc.

Cb.

B ? ?

#  ..

œœ

œ #œ œ



œ œ œ



∑

œ #œ #œ  a2

.

# w.

œ #œ œ



∑ Œ

.

∑

œ #œ œ

a tempo poco pesante

œ #œ œ



œ #œ œ  œ #œ œ



œ œ œ



 ..

œœ

∑ ∑

œ œ. J

œœ

œ œj # œ œ œ # œ œ # œ œ   .. œœ œ œ

œ.

œ œ. J

# œœ ..

œœ œœ ..

œœ

w w

# œ œ œ # œJ œ # œJ œ # œ œ œ # œJ œ # œJ œ

Ÿ~~~~~~~~~~~~~~~~~~~~~ . œ

J J

j nœ b œ œ œ # œœ œ > > >œœ # œœ> b œ>

œ>

bœ >

œ>



œ œ.

 ..

œœ

œ. #œ.

œ œ. œ œ.

œ œ

wœ

. #.

œ œ



#œ # œ œ œ # œJ œ J œ

œœ

œœ ..

J J

œœ œœ .. J

J J

œœ J

bœ

≥ b >œ

>≥œ

>≥ b œœ

≥ # >œœ

> # œœ J ‰ Œ 

œ œ

w w

œœ

> # œœ ‰ Œ  J

œ #œ

œ œ

w w

œœ

œ> #œ ‰ Œ  J

œ œ

œœ

œœ œ n œ œœj œ

œ>

Ÿ~~~~~~~~~~~~~~~~~~ f

> ≥ ≥> œ

≥ n >œœ

>≥œ

w w

≥œ

≥

≥œ

œœ ‰ Œ  > œ> ‰ Œ  J

œ> ‰ Œ  J

œœ

œ> œ‰ Œ  J

> # œœ ‰ Œ  J

> œ>

œœ> J ‰ Œ 



#œ > ≥ ≥> œ

J ‰ Œ 

œœ



> ≥ >≥œ

œ>

œœ

nœ œ œ #œ œ œ œ œ œ œ J J

œ.

# œ œ œ # œJ œ # œJ œ

œ Œ

œ œ

#œ

. 

œœ

# œœ

œ œ

œ œ # œ œ œ # œJ œ # œJ œ J

œ B œœ J

œ #œ œ



b œœ

œ≤ # œ œ

.



œ œ œ # œ œ œ œ œ œ œœ

.

a tempo poco pesante

 ≤

œ.

œ œj # œ œ œ # œJ œ # œJ œ

œ œ

w w



# œœ> ‰ Œ  J

j œ> ‰ Œ 

j œ> ‰ Œ  >≥œ

J ‰ Œ 

>≥œ

#œ ‰ Œ  J

>≥œ œ‰ Œ  J ≥> # œœ J ‰ Œ  >≥œ J ‰ Œ 

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Fg. Fagotto Fl. Flauto G. C. Gran Cassa Ob. Oboe N-Onm The National Library of Norway Pl. No. Plate Number Pt. Piatti stacc. staccato marking(s) str. strings ten. tenuto marking(s) Tamb. picc Tamburo piccolo. Timp. Timpani Tba. Tromba Tbn. Trombone Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

SOURCES

CRITICAL COMMENTARY

HJALARLJOD

specific primary source is defined for each edition in Norwegian Musical Heritage. This primary source is the point of reference in the list with the header “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. EPTS

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 place 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 the composer uses the abbreviation 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 over middle c are specified as c’’, c’’’ etc. Octave positions below middle c are specified as c, C, C1, C2, etc.

S Sketches A Score, autograph, draft BPTS Parts, autograph C Score, autograph, transparencies C1 Score, copy from transparencies C2 Score, copy from transparencies C3 Score, copy from transparencies C4 Score, copy from transparencies C5 Score, copy from transparencies DPTS Parts, copy & autograph, transparencies E Printed score (Lyche) Printed parts (Lyche), copies from transparencies

Source S Sketches, autograph N-Onm, Mus.ms.a 6582: 7 24 pages of sketches, approximately half of them in piano score, along with some pages of full score. Two variants of the first score page titled Oslo-ouverture and one first score page without a title.

Source A Score, autograph, draft N-Onm, Mus.ms.a 6582: 1 A complete early version, 24 pages, paginated 1–24. Title at the top of the first score page: Minne-fest.

Source BPTS Parts, autograph. N-Onm, Mus.ms.a 6582: 6 Handwritten wind parts and some copies of string parts from transparencies. Each part was originally titled Fest-ouverture, but changed to Hjalar-ljod (changed in pencil, not Groven’s handwriting). The first horn part is dated Oslo 14/5-50.

EVALUATION OF THE SOURCES

Source C1

Some of Eivind Groven’s sketches for Hjalarljod (Source S) have been preserved. These consist of some thematic fragments, a few sketches in piano score and several different orchestrations of the first couple of pages. Additionally, there is an early draft of the entire work titled Minne-fest (Source A). At some point, Groven decided to prepare a score on transparencies, Source C. These transparencies, which show traces of extensive revision, are now kept at the offices of music publisher Lyche (Norsk Musikforlag AS). Originally, the score was titled Fest-ouverture, later changed to Hjalarljod. We have been able to examine five different prints made from these transparencies, showing different stages of the score. Further copies probably exist, but the final transparency score represents the last stage of these revisions. A thorough study of all the revision stages in the transparencies and a comparison of all the prints would be extremely time-consuming. Furthermore, it is impossible to trace the exact order of changes made in the transparencies. Source C2, one of the early prints, may have been used for the first performance. Source BPTS consist of handwritten wind, timpani and percussion parts. Since the first part is signed 14/5 1950, we know that these parts were used for the premiere. Additionally, a number of string parts were printed from transparencies. In all probability, Groven only prepared transparencies of the string parts at this stage. Source DPTS, the set of parts on transparencies, is kept at the offices of Lyche. The wind parts were written out by a copyist, perhaps as late as 1967 when the score was published. The string parts written by Groven include some very interesting creative variants, particularly the Vc. and Cb. parts. The variants in these parts can be studied in the table on the following pages. Our edition incorporates all the markings for Vc. and Cb in bb. 18–21. The string parts were originally titled Fest-ouverture, the wind parts had no title. When Lyche published the work in 1967, the parts, EPTS, were printed from the complete set of parts on transparencies. The printing source for the published score (Source E) was probably one of the copies from transparencies. We do not know whether Groven was involved in the preparation or proofreading of this edition. It was produced during his lifetime, but at a late stage when he was quite ill. There are numerous differences between the transparencies and the printed edition, many of which appear to be oversights by the publisher. This is one of the reasons for this new edition. Compared with the score, even greater differences can be found in the wind, timpani and percussion parts, both in the transparencies and in the printed score, another issue that has led to a long-standing need for a new edition. The inaccuracies in the parts are so extensive that performances have been difficult to prepare for decades. The main source for this edition is the composer’s beautiful and precise transparency of the score (Source C).

Score, copy from transparencies N-Onm, Mus.ms.a 6582: 5 An early print titled Fest-ouverture.

Source C2 Score, copy from transparencies N-Onm, Mus.ms.a 6582: 2 An early print titled Fest-ouverture. Extensive revisions in pencil, traces of conductor markings. Written in pencil on the cover page: ‘Motto: Ut av historiens tåke’ (From the fog of history)

Source C3 Score, copy from transparencies N-Onm, Mus.ms.a 6582: 3 A later print with the title Hjalarljod. Several conductor markings.

Source C4 Score, copy from transparencies N-Onm, Mus.ms.a 6582: 4 A later print with the title Hjalarljod.

Source C5 Score, copy from transparencies Lyche A later print with the title Hjalarljod.

Source DPTS Parts, copy & autograph, transparencies Lyche The wind parts, written by a copyist, are titled Hjalar-ljod. The autograph string parts were originally titled Fest-ouverture, later changed to Hjalarljod.

Source EPTS Printed parts (Lyche) Printing source: DPTS (transparencies)

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Particularly important and/or problematic remarks have bar numbers in bold types. Primary source: C

HJALARLJOD Bar

Instr.

Comment

Tbe. II/III

notes 1–2: ^ added by analogy with Tba. I; ff added by analogy with Tba. I

Tbn. III

ff added by analogy with Tbn. I/II

Timp.

E: empty bar

Tbe. II/III, note 9: > added by analogy with Tba. I Tbn. I

Timp.

E: note 4:  (no rest before); C1:

Vc.

slur added by analogy with Cb.

Cb.

DPTS: note 3: ten.

22–23

Cb.

Fl. II/III

E: no slur

Fg.

E: no ff

Cor. III/IV

E: no >

Tbn.

E: note 1: no >

Vln., Vle.

DPTS: notes 2–3: stacc. and slur

Vc.

ff emended from f by analogy with the other parts and as in DPTS

Cb.

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

Cb.

DPTS: note 2: ten.

Cl.

notes 1–6: slur emeneded from notes 1–7 by analogy with Vle., Vc.

Cl.

notes 7–8, 9–10: slur added by analogy with

added by analogy with the other str.

Vle., Vc. 5

Tbn. III

ff added by analogy with Tbn. I/II

Cl.

Tba. III

notes 2–3: > added by analogy with Fl. II/III, Ob., Cl.

notes 1–6: slur emeneded from notes 1–7 by analogy with Vle., Vc.

Cl.

notes 7–8: slur added by analogy with Vle., Vc.

Fg.

mf added by analogy with Cl.

Vc.

DPTS: note 9: ten. and >

Fg.

E: no slur

Vle., Vc.

E: note 6: no >

8–9

Cb.

DPTS:

Vle.

note 6: > added by analogy with Vln., Vc.

Vln. II

DPTS: notes 5–6:   (triplet)

Vc.

DPTS: note 3: pizz.

Cor. II

E: no

Cb.

Cor. III/IV

Ob., Cl.

a 2 added as in DPTS

Cb.

f added by analogy with the other str.

Vle.

notes 2–3: slur added by analogy with Vln. I/II and as in DPTS

Cor.

18–21

and mf added by analogy with the other str.

added by analogy with Cor. I/II 32–33

Cb.

Cl. I

E: notes 8–9: no stacc.

Cor. III

marked III. as in DPTS

Cl. I

E: note 5: no >

II added as in DPTS

Vle.

E: note 5: missing

Vc., Cb.

dynamic markings, slurs and articualtions as in DPTS

Tba. III

Vle.

DPTS: slur

Fg.

mf added by analogy with the other ww.

note 6: > removed by analogy with Tba. I (the source shows that a earlier version had articulation marks on notes 5–6, later erased and emended, without the > in Tba. III being fully removed)

22–23

Picc.

Tbn. III

ff added by analogy with Tbn. I/II

Fg.

mf added by analogy with Tbn.

Tba. III

E: note 1: no stacc.

Cor. III/IV

E: no

Vln. I

DPTS: no slur; E: notes 2–5: slur

22–23

Vle.

E: no

Vln. I

DPTS: notes 5–6, 7–8, 9–10: no slur

and ff added by analogy with Fl. I/II

added by analogy with the other str.

Vle.

E: note 4: no >

Fl. II/III

slur added by analogy with Fl. I, Fg.

Vc., Cb.

DPTS: notes 1–2: e, d

Cb.

Ob. II

p added by analogy with Ob. I

note 3: emendeed from f to f # by analogy with Vc.

Cl.

E: note 10: no stacc.

100

Ob., Cl.

a 2 added as in DPTS

Vln. I

DPTS: first slur placed above notes 3–4

101

Fl., Ob., Cl.

ff added by aanlogy with Fg.

Vc.

arco added by analogy with the other str.

101

Vln. II

E: notes 6–10: a second lower

Cb.

arco added by analogy with the other str.

105

Fg.

Vln., Vle., Vc.

notes 1–2: bowing added by analogy with Cb.

ff added by analogy with the other ww.; a 2 added as in DPTS

106

Vln., Vle.

DPTS: fr; E: no fr

Cb.

E: notes 1–2: tie; notes 2–3: no slur, no stacc.

107

Tbn. I

E: ff

Vle., Vc.

E: notes 2–3: slur

111

ff added by analogy with Fl. I

Cl.

ff added by analogy with Fl.

Fl. II, Ob., Cl., Fg.

Fg.

f added by analogy with Ob.

111

Pt., G.C.

f added by analogy with Tbn., Tuba

Cl.

note 10: emended from a’’ by analogy with Fl.

112

Cb.

bowings added by analogy with Vc.

Cb.

113

tutti

DPTS: notes 1–2: slur; note 1:

Fl. I

E: notes 6–7: no slur

E: ten. and poco are separated, above and below the staves; C: poco not written in Ob.

Cl.

I. added by analogy with Fl. and as in DPTS

113

G. C.

Tom-Tom

DPTS, EPTS: the part is marked TAM-TAM

poco ten. added by analogy with Ob., Cl., Tbe., Vln., Vle.

Vc.

113

Vln., Vle.

DPTS: un poco tenuto

Cor. III

mf added by analogy with Cor. I

113

Vc., Cb.

DPTS:

Tbn. II/III

dolce added by analogy with Tbn. I

114

Tuba

E: no >

Cor.

E: notes 4–5: no slur

114

Timp.

E: no fz

Vc.

E: note 5: C

116

tutti

E: quasi comodo missing

Fl. I

mf added

123

Fl. I

E: no

Cor. I

E: no slur

128

Fl. I

E: notes 1–2: no slur

Cor. III

133

Tom-Tom

E: note 6: missing

Cor., Tbn.

E: no

Fg.

E: no mp

Fl. II

stacc. added by analogy with Fl. I

Ob.

E: no slur

Vle., Vc.

arco added by analogy with the other str.

Fl. II/III

E: note 5: quarter note

92–93

Vc.

E: tenor clef (wrong clef)

93–94

Vc.

DPTS: slur across the barline

Vc.

Fl.

; note 2: ten.

: espr.

PTS

added by analogy with Cor. I

 

DPTS: part erased

138

Vle.

DPTS:

139

Fg.

E: no ff

139

Tbn. II/III

a 2 added as in DPTS

139

Tbn. III

f added by analogy with Tbn. I/II

139

Vln. II

ff added by analogy with the other str.

139

Timp., G. C. E: no ff

135–138 Cb.

tie completed

139–142 Cb.

DPTS: ties removed and part written one octave higher

E: no slur

140

Ob., Cl.

ff added by analogy with the str.

E: no slur

140

Vc.

DPTS:

139–140 Vc., Cb.

: note 2:

PTS

Fl.

ff added by analogy with the str.

166

141

Fl. II/III, Fg.

a 2 added as in DPTS

167–168 Tbe. Tuba, str.

> added by analogy with the pattern in bb. 165–166

141

Cl. I

note 2: emended from e’’’ by analogy with Ob. I

166

DPTS: notes 6–7, 8–9: slur

141

Cl. II

note 1: emended from b’’ by analogy with Ob. II

Vle., Vc., Cb.

142

Cl. I

note 2: emended from e’’’ by analogy with Ob. I

167

Timp.

> added by analogy with the pattern in b. 165

142

Cl. II

note 1: emended from b’’ by analogy with Ob. II

167

Vle.

E: notes 1–2: slur (not across notes 2-3)

142

Vln. I

DPTS: notes 8–9: no stacc.

168

Ob.

a 2 added as in DPTS

142

Vc.

DPTS:

169

Cor.

a 2 added as in DPTS

169

Tbn. I/II

E: note 4: >

170

Fg.

a 2 added as in DPTS

170

Cb.

E: no fff

171

Fl. II

172

Fl. II/III

a 2 added as in DPTS

172

Tba. III

note 4: > removed by analogy with the other parts

172

Tbn. I/II

E: note 4: >

172

Vc.

DPTS: note 2:

174

Cb.

141

143–145 Tba. II

DPTS: doubles Tba. I

148

Vc., Cb.

DPTS:

150

Ob., Cl.

a 2 added as in DPTS

150, 151

Vle.

E: notes 2–3: no tie

151

Vc., Cb.

DPTS: notes 5–6: slur

152

Cor. I/II

E: f molto; sff sff

152

Cor. III/IV

E: no dynamic markings

152

Vc., Cb.

DPTS: notes 2–3: ten. and slur

153

Vc.

DPTS: note 1:

. 

155–156 Cb.

  ; DPTS: note 2:

Tbe., Timp. > added by analogy with b. 165

added by analogy with Vc.

Cb.

f added by analogy with Vc.

158

Fl. II/III

a 2 added as in DPTS

159

Cb.

added by analogy with Vc.

160

Cb.

ff added by analogy with the other parts.

161

Vc.

DPTS:

162

Ob.

a 2 added as in DPTS

163

Fl. I

E: note 1: dotted half note

163

Fl. II/III

a 2 added as in DPTS

163

Vle.

E: notes 3–4: no stacc., no slur

165

Cl., Fg.

a 2 added as in DPTS

165

Fg.

note 9: > added by analogy with the str.

165

Cor. I

E: note 1:  missing

165

Cor. II

E: note 4: no >

165

Vle., Vc., Cb.

DPTS: notes 6–7, 8–9: slur

166

tutti

E: cresc. only in Tbe.

166

Tba. I

E: note 10: g’

166

str.

note 9: > added by analogy with b. 165

157

    ; DPTS: note 2: , note 3:

added by analogy with the other str.