NO14543A Sørgemarsj

JOHAN S. SVENDSEN (1840–1911)

Sørgemarsj, op. 10 JSV 52

Funeral March, Op. 10

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-I/4C

N.M.O. 14543A

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle Norwegian language consultant: Gunnhild Wiggen English translation and language consultant: Thilo Reinhard 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. 14543A /ISMN 979-0-065-16405-2) For sale nad hire Parts (N.M.O. 14543B /ISMN 979-0-065-16406-9) For hire © 2020 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

SÖRGEMARSCH I ANLEDNING AF KONG CARL DEN 15DES DÖD Forkortelser Kritisk rapport

General preface Preface Facsimiles Scoring I V IX XIX

SÖRGEMARSCH I ANLEDNING AF KONG CARL DEN 15DES DÖD Abbreviations Critical report

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18 19

I V IX XIX

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18 19

GENERAL PREFACE

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

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

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

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

GENERELT FORORD

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

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

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

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

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

JSW features new editions of all known works by Svend-

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

Johan Svendsens Verker omfatter nye utgaver av alle

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Svendsen’s cautionary accidentals have been preserved.

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

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

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

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

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

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

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

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

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

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

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

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

• Notasjonen av kombinasjoner mellom legatobuer og bindebuer er modernisert.

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

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

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

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

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

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

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

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

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

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

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

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

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

SERIES III: Works for String Orchestra

SERIE II: Verker for soloinstrument og orkester

SERIES IV: Chamber Music

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

SERIE III: Verker for strykeorkester

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

SERIE IV: Kammermusikk

SERIES V: Piano Works

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

1. Cantatas and Choral Works 2. Songs

SERIE V: Klaververker

SERIES VII: Ballet

SERIES VI: Vocal Works

Spring Is Coming, Op. 33

SERIE VI: Vokalverker

SERIES VIII: Sketches and Varia

1. Kantater og korverker 2. Sanger

SERIE VII: Ballett Foraaret kommer, op. 33

SERIE VIII: Skisser og varia

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PREFACE

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ohan Svendsen’s (1840–1911) Funeral March, Op. 10, is one of the composer’s ‘forgotten’ compositions, mainly because it was never published. It was written in connection with the sudden death of Carl XV (1826–1872), king of Sweden and Norway, on 20 September 1872 in Malmö; the king was only 46 years old. Dated ‘Christiania October 1872’, the work bears the title Sørgemarsch (Funeral March) on its cover, while the title page reads Sörgemarsch i Anledning af Kong Carl den 15des Död (Funeral March on the Occasion of the Death of King Carl XV). Svendsen employs large symphonic forces, including three flutes, tuba and percussion in addition to the more normal scoring for double woodwinds, four horns, two trumpets, three trombones, timpani and strings.

To Svendsen, the composition was more than merely a formal bow to distant royalty. Ten years earlier, King Carl XV had personally helped secure a grant for Svendsen at a crucial time in the composer’s life and career. Having been refused by both the grant committee and the Ministry, a direct grant from the king had enabled the 23-year-old Svendsen to start his studies at the Leipzig Conservatory on 5 December 1863.

The first performance of the Funeral March took place on 26 October 1872 in the large hall of the Masonic Lodge in Christiania3 (Oslo). The march was followed by one of the two songs for male choir Svendsen had composed back in his Leipzig days as a sign of gratitude to Carl XV, set to lyrics written by the king himself: ‘To Sweden’ from Two Songs for Male Choir, Op. 2. In 1859, Carl XV succeeded his father, Oscar I (1799– 1859), as king of Sweden and Norway. As a military musician, Svendsen had travelled to Trondheim to play at the coronation in 1860, and on the same occasion had played violin in a coronation cantata composed by Carl Arnold (1794–1893). It was in connection with this journey Svendsen is said to have conducted publicly for the first time, substituting for Paolo Sperati (1821–1884) at a concert given in Bergen by the brigade band.

The king was a keen lover of art and supported many artists with royal grants. He himself published a number of books, including A Collection of Poems by C (1863),4 which includes the lyrics Svendsen used in his opus 2. In November 1871, Carl XV awarded the Gold Medal for Science and Art (‘Litteris et Artibus’) to Svendsen. The medal was presented in Lübeck around Christmas time by Svendsen’s friend and supporter Consul Carl F. Leche (1801–1878).5 Carl XV was

FORORD

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ohan Svendsens (1840–1911) Sørgemarsj, op. 10 er en av hans «glemte» komposisjoner, først og fremst fordi den aldri ble utgitt. Verket ble til i forbindelse med at Sveriges og Norges konge, kong Carl XV (1826–1872), døde brått bare 46 år gammel, 20. september 1872, i Malmø. Svendsen komponerte marsjen ganske umiddelbart etter kongens død og sluttdaterte den med «Christiania oktober 1872». Forsiden på manuskriptet har tittelen Sørgemarsch, mens det på den indre tittelsiden står Sörgemarsch i Anledning af Kong Carl den 15des Död. Svendsen bruker en stor symfonisk besetning i marsjen, med tre fløyter, tuba og slagverk i tillegg til den mer normale besetningen med par av alle andre treblåsere enn fløyter, fire horn, to trompeter, tre tromboner, pauker og strykere.

For Svendsen var ikke komposisjonen en formell gest til en fjern majestet. Kong Carl XV hadde personlig hjulpet Svendsen med et stipend ti år tidligere, på et avgjørende tids­ punkt i Svendsens liv og karriere. Både stipendkomitéen og departementet hadde gitt ham avslag, men et direkte stipend fra kongen gjorde det mulig for den da 23 år gamle kompo­ nisten å studere ved konservatoriet i Leipzig, fra 5. desember 1863. Ved urfremføringen av sørgemarsjen 26. oktober 1872 i Logens store Sal, Christiania1 (Oslo), ble marsjen etterfulgt av en av de to sangene for mannskor som Svendsen hadde kompo­nert som takk den gangen i Leipzig, til tekst av kongen selv: «Till Sverige» fra To sanger for mannskor, op. 2.

Carl XV var Sveriges og Norges konge fra 1859, etter sin far, Oscar I (1799–1859). Svendsen hadde i 1860 reist som militær­musiker til Trondheim for å spille ved kroningen.

Svendsen spilte også fiolin i en kroningskantate komponert av Carl Arnold (1794–1893) ved samme anledning. Det skal ha vært i forbindelse med denne reisen at Svendsen dirigerte offentlig for første gang, som vikar for Paolo Sperati (1821– 1884), ved en konsert brigademusikken holdt i Bergen.

Kongen var meget kunstinteressert og støttet mange kunstnere med kongelig stipend. Han utgav selv flere bøker, blant annet En samling dikter af C (1863), der man finner de tekstene Svendsen brukte i sitt opus 2. I november 1871 gav Carl XV Svendsen medaljen for vitenskap og kunst («Litteris et Artibus») i gull. Svendsen fikk utmerkelsen overrakt ved juletider i Lübeck av sin venn og hjelper konsul Carl F. Leche (1801–1878).2 Carl XV var også landskapsmaler, og flere av maleriene hans henger i norske samlinger. I residensen til

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also a landscape painter, and several of his paintings can be found in Norwegian collections. His ‘Landscape from Trøndelag’, for example, hangs in the residence of the Swedish Embassy in Oslo. In 1850, Carl XV married Princess Louise of the Netherlands (1828–1871) who gave birth to their son Carl Oscar, but the boy died before the age of two, leaving Carl XV’s younger brother, Oscar II, as the natural heir to the throne after the king’s death. Carl and Louise also had a daughter, Princess Louise, who married Crown Prince Frederick of Denmark, and they in turn parented two kings – Christian X of Denmark and Haakon VII, King of Norway after the country gained independence from Sweden in 1905. Carl XV was a charming and highly regarded man, and his popularity was not diminished by his many political failures.

That day on 26 October 1872, Svendsen himself conducted the orchestra, and the concert opened with the premiere of the Funeral March. Initially, the event had been set for an earlier date, but had to be postponed because of the king’s death. Also Carnival in Paris, Op. 9, had its premiere that evening, and in a review published two days later, the critic for the Norwegian daily Aftenposten highlighted these two works in particular:

den svenske ambassaden i Oslo henger for eksempel kongens «Landskap fra Trøndelagen». Carl XV var gift med prinsesse Louise av Nederland (1828–1871), og sammen hadde de sønnen Carl Oscar, som døde før han ble to år gammel. Derfor overtok kong Carl XVs yngre bror, Oscar II, tronen da Carl døde. Men Carls og Louises datter, Louise, ble gift med Danmarks kronprins Frederik, og disse to ble i sin tur foreldre til to konger – Christian X av Danmark og Haakon VII, det selvstendige Norges konge fra 1905. Carl XV var sjarmerende og godt likt, og populariteten lot seg ikke svekke av kongens mange politiske nederlag.

26. oktober 1872 dirigerte Svendsen selv, og urfremføringen av sørgemarsjen innledet konserten. Konserten skulle egentlig vært holdt tidligere, men ble utsatt på grunn av kongens død. Også Karneval i Paris, op. 9 hadde sin premiere denne kvelden, og kritikeren i Aftenposten fremhevet to dager etter disse to verkene spesielt:

In Saturday’s programme, we would call attention to the Funeral March, which was exceptionally stately and impressive, as well as the Carnival, which was brimming with life and cheer.

Af Programmet for i Lørdags skulle vi fremheve Sørge­ marschen som i høi Grad pompøs og virkningsfuld, samt Karnevalet, der sprudlede af Liv og Lystighed.

The enthusiasm of another critic, writing for the daily Aften­ bladet, had national overtones:

I Aftenbladet samme dag hadde begeistringen et nasjonalt preg:

Joh. Svendsen’s concert in the large hall of the Masonic Lodge on Saturday was not merely a triumph for the artist, but a joy for his countrymen. As early as the first bars of the Funeral March, one could not help but feel that here one was encountering something magnificent of one’s own flesh and blood.

Joh. Svendsens Koncert i Logens store Sal i Lørdags var ikke blot en Triumf for Kunstneren, men en Glæde for hans Landsmæn. Man følte uvilkaarligt allerede ved de første Takter af Sørgemarschen, at man her stod overfor noget stort af sit eget Kjød og Blod.

Ikke alle kritikerne ser ut til å ha lagt merke til at fremføringen av mannskorkomposisjonen «Till Sverige» rett etter sørgemarsjen var motivert av at det var kongen selv som hadde skrevet teksten til stykket. Skribenten i Dagbladet 28. oktober var fokusert på at Svendsens «moderne» stil passet bedre til orkestermusikk enn til vokalmusikk. Reaksjonen på manns­ korsangen med tekst av kongen var derfor ikke særlig positiv.

Not all the critics seem to have been aware that the performance of the piece for male choir right after the Funeral March, ‘To Sweden’, was prompted by the fact that the king himself had written the text. The critic for Dagbladet of 28 October focused on observing that Svendsen’s ‘modern’ style was more suitable to orchestral than to vocal music. Accordingly, his reaction to the work for male choir with lyrics by the king was not particularly flattering.

Hvor velvillig upartisk man end kan stille sig ligeover­ for Fremtidsmusikkens Program, har man derfor vanske­ ligt for at forsone sig med Sangkompositioner som den til Digtet «Till Sverige». Det Springende i Tanken og det noget Forcerende i Udtrykket, hvoraf allerede Texten lider, fremtraadte gjennem den musikalske Indlædning end stærkere og gjorde det hele til et fuldstændigt Kaleidoskop af lidet harmoniske Motiver. Det bør dog ikke forbigaaes,

No matter how well-meaning and impartial a view one holds of the music of the future and its agenda, o, one finds it difficult to reconcile oneself with vocal compositions such as the setting of the poem ‘To Sweden’. The incoherent train

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of thought and the somewhat forced expression, already a shortcoming of the text itself, made themselves all the more felt in the musical introduction and rendered it all into an utter kaleidoscope of motives with little harmonic sub­ stance. It must be said, however, that the performance of this composition largely seemed exemplary. at den Udførelse, som denne Komposition fik, langtfra synes mønsterværdig.

The same critic had nothing but praise for the orchestral works, however:

Men orkesterkomposisjonene hadde kritikeren bare godt å si om:

But all the more unmitigated was the undersigned’s enjoy­ ment of the two large orchestral compositions: ‘Funeral March on the Occasion of the Death of King Carl’ and ‘Car­ nival in Paris’. All the above-mentioned characteristics of of the music of the future, which form such a rich and mag­ nificent union in Johan Svendsen, here came into their own and found their proper place.

Men saa meget mere ubetinget kan man udtale sin Glæde over de to store Orkesterkompositioner: «Sørgemarsch i Anledning af Kong Karls Død» og «Pariser-Karnevalet».

Alt det, der ovenfor er betegnet som karakteristisk for Fremtidsmusiken, og som hos Johan Svendsen er saa stort og rigt forenet, kom her til at virke og var her paa sin rette Plads.

We know of no further performances of the march in Svendsen’s lifetime. At one of the funeral ceremonies for Svendsen himself, however, a version for wind orchestra was performed at Bispebjerg Cemetery in Copenhagen. This particular arrangement has so far not been found in the archives of the Royal Life Guards or other wind orchestras in Copenhagen.

Svendsen’s handwritten opus list from 1911 contains conflicting information about the publishing rights to the Funeral March. On the one hand, we read, ‘Peters, but not yet printed’, on the other, ‘Sold to W-H. 300 kr 010’. In an overview of manuscripts at the offices of Wilhelm Hansen in Copenhagen, the work is indeed listed as one whose rights the publisher had acquired. Page numbers from 3 to 14 were added to the manuscript in preparation for its release, but the work was never printed.

Two handwritten sets of parts for the Funeral March have been preserved. One of these is in Svendsen’s own hand and was probably used for the first performance. Markings in regular and blue-coloured pencil show that the parts were used on one or more occasions, and the names of four members of Christiania Music Society (Musikforeningen) are written on the set of parts: Violin I: Weinholdt, Viola: Røsholm and Monrad, Contrabass: Olsen.

A few months after Svendsen’s death, when the work was scheduled to be played at a memorial ‘Palace Concert’ in Copenhagen on 29 October 1911, Svendsen’s own set of parts seems to have been unavailable, and a copyist prepared a new set. Today, this set is kept at the Royal Danish Library in Copenhagen. Two trombone parts (2nd and 3rd) are signed ‘Jensen’ and ‘Hornung Jensen’, respectively – both musicians at the Royal Danish Orchestra at the time – and correspondingly dated ‘Oct 1911’ and ‘29 Oct 1911’. One of the first-violin

Vi kjenner ikke til flere fremføringer av marsjen i Svendsens levetid. Men ved en av begravelsesseremoniene for Svendsen selv, ved krematoriet Bispebjærg i København, ble den fremført i en versjon for blåseorkester. Dette arrange­mentet har det så langt ikke vært mulig å finne i arkivene til Den Kongelige Livgarde eller andre blåseorkestre i København.

Svendsens håndskrevne opusliste fra 1911 har «dobbelt» informasjon om forlagsrettighetene til sørgemarsjen. Det står «Peters, men endnu ikke trykt», men det står også «Solgt til W-H. 300 kr 010». I en oversikt over manuskripter ved kontor­ ene til Wilhelm Hansen i København er den da også listet opp som et verk de hadde kjøpt rettighetene til. I manuskriptet er det satt inn sidenummer fra 3 til 14, som forberedelse for utgivelsen, men verket ble altså aldri trykt.

Det finnes to bevarte håndskrevne stemmesett til marsjen, ett av dem i Svendsen egen penn, ganske sikkert brukt ved urfremføringen. Inntegninger i blyant og blå fargeblyant viser at dette settet er brukt ved én eller flere anledninger. På stemmesettet er det innskrevet fire navn på musikere i Musikforeningen i Christi­ ania: Violin I: Weinholdt, Viola: Røsholm og Monrad, Kontrabass: Olsen.

Da verket skulle spilles ved en «Palækoncert» til minne om Johan Svendsen i København, 29. oktober 1911, noen måneder etter at han var død, var åpenbart ikke Svendsens eget stemme­sett tilgjengelig, så en kopist laget et nytt.

Dette settet er i dag oppbevart ved Det Kongelige Bibliotek i København. To trombonestemmer (andre og tredje) er signert med henholdsvis Jensen og Hornung Jensen, musikere i Det Kongelige Kapel på denne tiden, og datert tilsvarende med «okt 1911» og «29. okt 1911». I dette notesettet er en av førstefiolinstemmene klargjort for trykking som dirigentstemme. Det er notert med blyant i stemmen at tittelen skal være både på dansk og tysk, og en fotnote opplyser om at de

VII

parts in the set has been prepared for printing as a conductor’s part. Entries made in pencil note that the title should be in Danish as well as in German, and a footnote states that the many cue notes are intended to allow performing the march with smaller forces.

The conductor for the memorial concert was Frederik Schnedler-Petersen (1867–1938), and all the seats were sold out. The following day, Berlingske Tidende wrote the following about the Funeral March:

mange stikknotene skal gjøre det mulig å fremføre marsjen med en mindre besetning.

Dirigent ved minnekonserten var Frederik Schnedler­ Petersen (1867–1938), og alle plassene var utsolgt. Om sørgemarsjen skrev Berlingske Tidende følgende dagen etter konserten:

Despite its broad scope, the funeral music conveys a grip­ ping and profound earnestness, and being moreover orches­ trated with truly masterful technique, the work appeared to make a deep impression on the listeners.

Trods sin store Bredde indeholder Sørgemusiken meget gribende og dyb Alvor, og da Stykket tilmed er instrumenteret med en aldeles blændende Teknik, virkede dette Arbejde øjen­ synlig i høj Grad betagende paa Tilhørerne.

Bjarte Engeset

English translation: Thilo Reinhard

Bjarte Engeset

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

3

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

1

4

Finn Benestad og Dag Schjelderup-Ebbe: Johan Svendsen: Mennesket og kunstneren, Oslo 1990, s. 98.

En samling dikter af C (1863).

2

Finn Benestad and Dag Schjelderup-Ebbe, William H. Halverson (transl.): Johan Svendsen: The Man, the Maestro, the Music, Peer Gynt Press, Columbus, Ohio 1995, p. 110.

5

VIII

FUNERAL MARCH, OP.10, AUTOGRAPH SCORE, COVER, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7864A.

IX

FUNERAL MARCH, OP.10, AUTOGRAPH SCORE, TITLE PAGE, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7864A.

X

FUNERAL MARCH, OP.10, AUTOGRAPH SCORE, FIRST PAGE OF THE SCORE, SOURCE A. THE SCORE IS KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7864A.

XI

FUNERAL MARCH, OP.10, , AUTOGRAPH PARTS, COVER, SOURCE APTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, NORWAY, MUS.MS. 7864C.

XII

FUNERAL MARCH, OP.10, AUTOGRAPH FLUTE PART, TITLE PAGE, SOURCE APTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7864C.

XIII

FUNERAL MARCH, OP.10, AUTOGRAPH FLUTE PART, FIRST PAGE, SOURCE APTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7864C.

XIV

FUNERAL MARCH, OP.10, COPY PART, VIOLIN I, FIRST PAGE, SOURCE BPTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7864B.

XV

FUNERAL MARCH, OP.10, COPY PART, VIOLIN I, FIRST PAGE, SOURCE BPTS. THE PARTS ARE KEPT AT THE NATIONAL LIBRARY OF NORWAY, MUS.MS. 7864B.

XVI

Sørgemarsj, op. 10 JSV 52

Funeral March, Op. 10

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

Sörgemarsch Flauto piccolo

2 Flauti

2 Oboi

b & b bb c

∑

∑

∑

b & b bb c

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b & b bb c

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2 Clarinetti

b &b c

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2 Fagotti

? bb c bb

∑

∑

∑

c

∑

∑

∑

in Si b

I. II. 4 Corni in Fa III. IV.

2 Trombe in Fa

I. II. 3 Tromboni tenori

III. e Tuba Tam tam Piatti Tamburo piccolo Gran Cassa Timpani in Fa - Sol

& &

c

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c

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[JSV 52]

%

ten.

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bœ  œ. œ b. π

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‰ œ #œ œ œ œ œ œ π molto cresc. œ nœ œ œ œ œ œ ‰ œ nœ œ œ œ œ œ π molto cresc. a2

∑

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Viole

B bbbb c

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

N.M.O. 14543 A

∑ Œ œ nœ œ f Œ œ nœ œ f

w

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F Œ œ nœ œ œ nœ œ p f

b & b bb c

I.

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Johan S. Svendsen, Op. 10

∑

‰ œ nœ œ œ œ œ œ π molto cresc. œ œ nœ œ œ œ œ œ π molto cresc.

 

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Fl.

Ob. Cl. (Si b)

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

Tbe. (Fa) I. II. Tbn. III. Tb. T.-t.

Pt. T. p.

G. C. Timp.

I. Vln. II.

Vle.

Vc.

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∑

b & b bb œ &b

b

a2

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

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∑ ∑

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a2

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r

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# œœ .... n œ .. n œ ..

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bœ

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R

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nœ nœ

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π ∑

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∑ ∑

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

dim.

.

dim.

J



nœ

. 

w



w



dim.

dim.

π

π

∑

b

∑

∑

∑

œ œ œ œ œ. œ .

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w

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n

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n π

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b & b bb

25

∑

∑

∑

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III. IV.

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&

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j b & b bb œ n œ b œ . œ  I.

Ob.

Cl. (Si b)

Fg.

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I. II. Tbn.

&b

b

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œ œ . œ œ n œ b œ . œj 

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∑

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∑

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∑

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∑

III. Tb.

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∑

∑

∑

∑

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T.-t.



∑

∑

∑

∑

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∑

∑

∑



∑

∑

∑

∑

∑

∑

∑

∑

Pt. T. p.

G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

 

? b & b bb

b & b bb œ 

∑ ∑

? bb  bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ

B bbbb œ  ? bb  bb

∑

œ Œ 

œ 

œ

œ 

œ

œ  œ 

œ. œ œ nœ bœ. œ  J ∑

œ

œ 

œ

n  ..

nœ

w

œ œ. œ œ nœ bœ. œ  bœ œ J

.

œ

∑

œ 

œ

∑



œ œ

∑

4

w



∑ ∑

œœ

∑ ∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

w

π

∑  

w

poco cresc.

∑

œ. œ œ nœ bœ. bœ

J π cresc. . œ œ œ nœ bœ. bœ Œ J π cresc. Œ

œ . œ œ n œ b œ . b œj  π

Œ œ. œ œ nœ bœ. π

j bœ 

cresc.

cresc.

œ œ. œ œ œ. œ

b & b bb

33 Fl. picc.

Fl.

Ob. Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn.

b & b bb

∑

œœ 

b & b b b œœ  &b

b

œœ œ œ œœ

œœ 

œœ œ œ œœ



∑

& & &

nœ. œ bœ. œ œ j nœ. œ bœ. œ œ p cresc.∑ ∑

? bb bb

œœ

  

œ œ œœ

? b b œ n œ b œ . b œJ  bb j

B

œ

œ. œ bœ. bœ 

œ

∑ 

Œ

b  . f  n  .. f

œ

∑

b n  .. f 

∑

∑



∑

∑



ƒ

bœ ƒ

Œ œœ ƒ Œ

∑

∑

∑



∑

∑

∑

T. p.

G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.



? b & b bb

∑



œ œ. œ œ

nœ

B bbbb 

œ œ. œ œ

nœ

? bb œ bb nœ bœ. ? bb œ bb nœ bœ.

j bœ  j bœ 

Œ

f

Bb

bœ. bœ J bœ. bœ J

œ œ f

œ œ f

.

p

w

n b

b w b 

Œ b b p

II.: ten.

œœ b n w 

ƒ

II.: ten.

ƒ

II.: ten.

Œ œ

œ

n w 

∑

œ



ten.

∑

∑ ∑ n

∑ ∑ n



∑

f ∑

∑

∑

∑

∑

∑

∑

œ œ

∑

œ b œ b

∑

p

œ œ

œ b œ b

∑

œ b  œ b 

R

p

 

trem.

f

ƒ

ten.

p

ƒ

ten.

œ b   œ

w

w

trem.

w

b p

b  p

n n 

 

w

b  b



Z



b Z

œ œ

Z

 #  #

Z Z  ‹ #  f  # # f ∑ ∑ ∑ ∑

∑

∑

œ .. œ œ n œ b œ . b œ b  # 

 n  n





∑

∑ J

Z 



∑

∑

Z

Z

∑

∑

∑



cresc.

∑

∑

Z  # 

cresc.

∑

ƒ

5

b

cresc.

 Z

∑

œ b œ b  œ .. œ œ n œ b œ . b œ 

ƒ



∑ ∑ n

∑ ∑

œ

cresc.

∑

∑

∑

œ

œ . œj œ n œ b œ . b œj  # ‹ 

∑

ten.

.

∑

∑

 p

ten.

∑

∑

ƒ

.

∑

∑

f

ten.

∑

∑

trem.

.

∑

∑

div.

ten.

∑

∑

∑

∑ ∑ ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w œ Œ  f



b & b bb

ten.

ten. œ bw



∑

p

œ b ww œ

a2

∑

œ n œ b œ . b œj 

a2

T.-t.

∑

f

œ

? bb bb 



ww œœ bten.

ƒ

III. Tb.

Pt.

ƒ

b

ƒ

n  .. f

œ.. œ b œ . b œ  ‰

a2

.

f

bœ

∑



R

J

cresc.

 

n n   cresc.

w

cresc.

 

b 

cresc.

b

cresc.

 

Z Z b # b # Z Z ‹



Z Z #



Z Z  #

Z

Z

C

b & b bb

41 Fl. picc.

Fl.

Ob.

Cl. (Si b)

Fg.

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

Tbe. (Fa) I. II. Tbn. III. Tb. T.-t.

Pt. T. p.

G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

b & b bb

b & b bb  &

bb



? b b a2 b b #w p &

∑

∑

∑

∑

∑

∑

∑ #œ. p #œ. #œ. p

 . j œ # œ n œ # # œ n œ n  J

œ #œ nœ # œ #œ nœ # J

cresc.



∑

&

∑

a2 ? b b #œ nœ #œ. bb p ? bb ∑ bb

cresc.

j #œ. nœ  F a2



∑ nœ # J

#œ. #œ.

j #œ. #œ nw

∑

∑

&

cresc.

 

 nœ.

cresc.

∑

∑

∑ ∑ ∑

∑ ∑ ∑

?

∑

∑

∑

∑

a2

œ.

∑



∑

nœ œ œ nœ. #œ  b b b # œ . # Jœ . œ .

J b & cresc. p # œ œ # œ nœ # . b J & b bb  p cresc. #œ. #œ nœ. œ œ. œ nœ. #œ  J J B bbbb p cresc. ? b b # œ . # Jœ n œ . œ œ . œ n œ . # œJ  bb p cresc. ? bb j b b #œ  œ # œ. #œ p cresc.

J

∑

nœ. œ nœ #œ nœ.

J

∑

œ œ



∑ ∑ ∑ ∑

J



   

œ

nœ. œ nœ #œ nœ. bœ n J  Œ ƒ naœ2. n œ J ∑ ∑ ƒ a2  # œ . n œj œ . n œ œ . œ n  nœ. nœ nœ bœ n  J œ. nœ œ. œ n ƒ #œ nœ n  a2 nœ. #œ #œ nœ n   J ƒ ten. Œ nœ. œ nœ #œ  j n  # œ nœ. ƒ

nœ # J



ƒ

#œ. nœ œ.

J f cresc. ƒ

œ œ. œ œ J

œ œ. œ œ J

nœ. œ nœ #œ nœ. bœ J Œ œ. œ œ œ.nœ œ. œ n

œ. œ œ

œ.nœ œ. œ n

œ. œ œ

œ .# œ œ . œ n 

nœ.

j bœ n

œ. œ œ. œ 

œ.

œ. œ œ. œ 

œ.

Œ nœ. œ

œ œ.œ œ J

œ œ.œ œ J

Œ œ . œ œ # œ n œ . œj  Œ œ . œ œ # œ n œ . œj ƒ nœ œ. nœ œ. œ n Œ nœ. nœ œ. œ œ nœ. nœ œ.œ œ J J ƒ ∑  Œ n œ . œ n œ # œ n œ . œj n  Œ nœ. œ nœ. œ nœ #œ nœ. œ n nœ. œ ƒ  œ Œ ∑ ∑ ∑ ƒ ∑ ∑ ∑ ∑       Œ œ  œ œ  œ œ  œ œ p cresc. ƒ p cresc. ƒ p cresc. ƒ p cresc.   œ Œ œ Œ ∑ ∑ ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w ∑ ƒ a2

C

nœ. œ n œ . # œ n œ . œ œ . œ n œ . # œ œ œ . œ n œ # œ n œ . b œ nten.

J J  J Œ ƒ n œ œ n œ b œ . n  # œ. nœ œ. œ n nœ. nœ œ. œ œ J J ƒ nœ. œ n œ . # Jœ n œ . œ œ . œ n œ . # Jœ œ œ . œ n œ # œ n œ . b œ nten.  J Œ ƒ n œ œ œ n œ œ . . . #œ nœ. #œ œ J J Œ Œ n œ . œ n œ # œ n œ . b œj  ƒ j nten. Œ œ . œ n œ # œ n œ . b œj nœ  œ n œ. #œ  ƒ 6

nœ #œ nœ. bœ J

œ.nœ œ. œ n

nœ #œ nœ. bœ J n n

Œ nœ. œ Œ nœ. œ

b n & b bb

48 Fl. picc.

Fl.

Ob. Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

T.-t.

Pt. T. p.

G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

b & b bb

nœ.

b nœ. & b bb b nœ. &b



nœ œ. œ œ J

#

# j

? b b nœ #œ nœ. bb

œ n

œ. œ œ. œ 



& &

œ. œ œ. œ 

&







   

?







∑



œ

Œ

œ ƒ

Œ

 F

w

b nœ. & b bb n B bbbb

Z

bœ œ #

bœ œ

∑

Œ

J

∑

œ bœ #œ œ

∑ ∑

∑

cresc.

œ Œ 

#

∑

∑

n

Z 

#  n n  #

bœ œ

œ bœ #œ œ



#

œ

œ Œ œ b œ

nœ œ

 w

∑ ∑

œ Œ œ Œ

  

 F

 

Ÿ~~~~~~~~~~~~~~~~~~

w

bœ œ

#  n #  ∑

∑

Œ

œ

∑ ∑ ∑

cresc.

œ Œ 

nœ

œ œ #œ nœ œ. œ nœ œ #œ nœ œ #œ œ

nœ œ. œ œ J

œ b œ # œ n œ œ . œJ n œ œ # œ n œ œ # œ œ

Œ

Z



#

? b b nœ #œ nœ. bb

œ nœ

? b b nœ #œ nœ. bb

j j

œ n

n

J

Z

œ. œ nœ œ #œ # J

Z

n

œ #œ nœ œ. œ nœ œ #œ nœ œ #œ œ J bœ œ

Z

.

œ

n

7

J

∑

Œ

œ

∑

∑

∑

∑

∑

œ bœ nœ œ

œ œ nœ œ

∑

p

œ œ #œ œ

n

n

.

∑

œ. œ nœ œ

œ œ #œ œ

œ œ œ b œ # n œœ œ

j œ nœ Œ  œ nœ

∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~

bbb n  b &

œ. bœ nœ œ

n

#  n # 

? b b œ. nœ œ. œ n bb

? b b nœ #œ nœ. bb nœ #œ nœ.

n

#  n n 

nœ œ. œ œ J

#œ œ. œ œ J

∑

∑

D

bœ œ

∑

 

∑

Œ œ ∑ p Œ œ

œ

Œ  ∑

œ œ #œ œ ∑

œ œ nœ œ

œ œ #œ œ

∑

œ bœ #œ œ

∑

∑

∑

∑

p

∑

w

∑ ∑

∑

∑

œ œ # n œœ œœ

∑

∑

∑

nœ œ

∑

∑

∑



∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

∑

∑

∑

∑

œ Œ œ b œ

 w œ Œ

∑ ∑

œ Œ



Ÿ~~~~~~~~~~~~

w

∑

œ Œ 

J

œ. œ nœ œ J

∑

n  b b  p Z œ. œ nœ œ n b  b J p Z œ. œ nœ œ b n J Z

w

div.

p b

p

n

∑

∑

π

œ. œ nœ œ D

Z

∑

n  n 

 

∑

b n 

n ww

b

.

n b 

b

n ww

w

œ

b & b bb

56 Fl. picc.

Fl.

Ob.

Cl. (Si b)

b & b bb b & b bb b &b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑ j

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ . œj œ n œ  œ. œ œ bœ 

 

b. b.

∑

œ œ

Fg.

? bb bb

I. II.

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

III. IV.

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

Tbe. (Fa)

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Cor. (Fa)

I. II. Tbn.

? bb bb

∑

III. Tb.

? bb bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

T.-t.



∑

∑

∑

∑

∑

∑

∑

∑

∑



∑

∑

∑

∑

∑

∑

∑

∑

Pt. T. p.

G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

∑



∑



? &

∑ ∑

∑ bbbb

b & b bb 



∑

œ œ  n œ œ

? b b œ bœ nœ œ bb

w w



∑ bw nw

∑

∑

∑

∑



∑

∑

∑

B bbbb œ b œ n œ œ

? bb bb w

∑

∑

∑

 

div.

π



div.

π

 

div.

π

œ œ n œ œ bdiv.  b π œ œ nœ œ b π

∑

∑

∑

∑

∑

∑

n  n b 

n

b



n 

b n



n 



 b

.



n 

 

n 



8

n 

b 

 .

œ 



nw

b 

œw 

 œ n œ n

∑

œ

n ww

b b

∑  Œ . π cresc. ∑

∑

∑





∑

œ

∑

. bw

œ 



n w .

œ 



b n ww

 

 

 











b & b bb

65 Fl. picc.

Fl.

Ob. Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

T.-t.

Pt. T. p.

G. C. Timp.

bb &bb

.

a2

ƒ

&b

ƒ

ww

b

? bb bb & & &



?

Vln. II.

Vle.

Vc.

Cb.

∑ 

 

ten.





ƒ

ten.



ten.





w

ƒ a2 . ƒ

ten. œ b 



ten.

a2

œ b

.

ƒ

œ œ b œ . b œj 

ten.

a2

ƒ

w

ƒ

 

ten.

a2

œ nœ bœ. ? b b œ nœ bœ. bb ƒ ? b b œ nœ bœ. bb 



œ œ œ

b . & b bb  .

∑



œ ten.  œ   J j

œ  



ten.

∑

∑



∑

œ Œ   π cresc. ƒ ∑ ∑ Ÿ~~~~~~~~~~~~~~~ w œ Œ  ƒ

w

b w & b bb  ƒ div.

I.

∑

div. w bb w b & b  ƒ  div. w w b w B b bb  ƒ ? b b w bb ƒ ? bb bb w ƒ

 

ten.



ten.

 

ten.







ten.

∑

∑

∑



∑

∑



∑

∑



∑

∑



∑

∑



∑

∑



∑

∑



∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

 

ten.



ten.

ten.



w

œ b

.

ten.

ten.

œ b

.

œ œ b œ . b œj 

ten.

œ n œ b œ . œ ten. œ n œ b œ . œ   J ten. œ n œ b œ . œj     w

∑ ∑

œ Œ  ƒ ∑ Ÿ~~~~~~~~~~~~~~

w

ƒ

w w 



ten.



ww





œ œ œ

. .

ww

ten.



.

∑





∑

œ Œ   

ten.



ten.

 

ww

ten.

w

ten.

w

ten.







∑

w 

∑



Œ œ  π Œ Œ Œ Œ

œ Œ π ∑

∑ 

ten.



ten.

ten.



ten.

œ 

œ Œ

∑

  



π

ten.

ten.

π





ten.

ten.

π





ten.



ten.



œ  œ  œ 

π

9

  

nw

œ

 n ww

œœ

 n ww

œœ

 naw2 

w



ww



ww



w

#w 

n ww  nw

w

 div. n ww  

n wdiv.w  

∑

nnnn

Œ 

∑

nnnn

Œ 

∑

œ Œ  œ Œ  p

œœ 

Œ 

œœ Œ  œœ Œ 

œœ Œ  œ Œ  œ

 œ Œ   œ Œ    œ  ∑ Ÿ~~~~~~~~~~~~~~~

w

Œ 

n œœ

nnnn

∑

∑

œ

∑ ∑ ∑ ∑

∑

nnnn nnnn

∑ ∑ ∑

Œ 

∑

nnnn

Œ 

∑

nnnn

Œ 

∑

nnnn

w

œ Œ 

œ œ œ œ

œ



∑

Œ 

∑

œ

 

##

∑

w

 

∑

∑

œ Œ 

n œœ

œ œ 

nnnn

Œ 

∑ ∑

nnnn nnnn

74 Fl. picc.

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

Fl.

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ob.

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

∑



∑

∑

∑

∑

∑

∑

∑

∑

∑



∑

∑

∑

∑

∑

∑

∑

∑

∑

Cl. (Si b)

Fg.

I. II. Cor. (Fa)

# & # ? &

III. IV.

&

Tbe. (Fa)

&

I. II. Tbn. III. Tb.

T.-t.

Pt. T. p.

G. C.

Timp.

œ

Œ  ∑

∑



∑

∑



?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Vln. II.

Vle.

Vc.

Cb.

& & B ? ?

∑

∑

∑

∑

∑

∑

w

w

p

w p



# #

œ nw œ  n.

∑

∑

∑

∑

∑

∑



# 

ww







œ 

œ œ

div.

p

ww

∑

 ∑

10

w

#

 .

 #œ

ww





œ œ

w



#

∑



œ œ

∑

ww



∑

∑ ∑

œ œ œ #œ œ œ œ #œ . œ bœ  #œ ww

œ bœ 

œ œ œ œ 

p

∑ ∑

∑

∑

ww

div.

p

∑

œ # œ œ n œ œ # œ œ œ . œj w   œ œ w 

p



∑

œj œ œ œ œ œ œ œ œ œ # œ œ . œj œ œ œ .  # œ œ œ œ wœ # œ œ . w

div.

I.

∑

œ œ #

p



83 Fl. picc.

Fl.

Ob.

Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb. T.-t.

Pt. T. p.

G. C.

Timp.

I.

&

∑

∑

∑

&

∑

∑

∑

&

∑

# & # œ # œ œ # œ w . ∑ p cresc. ∑ ? 

w

Vle.

Vc.

Cb.

∑

cresc.

&

∑

∑

&

∑

∑

w



∑

∑

w

∑

∑

∑

?

∑

∑

?

∑

   

&

? & & B ? ?



cresc.

n ww

cresc.

w

cresc.

∑

∑

œ œ œ bœ

œ #œ nœ œ

œ œ œ œ œ œ œ œ

œ # œ œœ b œœ n œ œ œ b œ

œœ n # œœ n œœ b œœ

œ œ œœ œœ

a2

f f

œ # œ n œ œ œ n œ # 

f

œ  œ b œœ n  .

f

.

œ

a2

f

#  f

n

 œ b œœ œ œ b œœ

.

#œ

œ n œ # 

nœ



œ

dim.

∑

œ œ œ # œœ a2.

n  .

∑ Œ

dim.

.

œ .

Œ

dim.

œ # œ n œ # œ œ n œ # 

œœ œœ ww

dim.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑

∑

∑

∑

∑

∑

∑

∑



w.

bœ

 wœ # œ

 œ #œ œ œ œ

cresc.

∑

∑

œ œ œ œ œ # œ œ nn œœ œœ ## œœ œ œ œ œ œ œ œ œ œ #œ œ cresc.

œ #œ œ œ

∑

n  # œ œ n œ #  w œ # œ nœ œ #œ œ

p cresc. ∑

Vln. II.

nœ œ #œ œ œ w œ # œ ∑œ p cresc.

∑





bœ

œw # œ œ # œ

wœ # œ œ # œ œ #œ œ #œ w

œ # œ œ œœ œ #œ œ

œ œ œ bœ œ œ œ bœ

œ   œ

œ  œ # œ n œ   œ

f

f

œ # œ œ œœ œ #œ œ

œ  œ b œœ n œ   # œ n œœ œ œ b œœ

f

œ

f

 f

œ œ #œ œ #œ

11

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ dim.

œ   # œ 

dim.

n œ  œ # œœ 

dim.

œ bœ œ œ bœ œ œ #œ œ bœ œ œ bœ œ œ #œ

∑

œ bœ œ œ 

dim.

œ bœ œ œ 

dim.

   

91 Fl. picc.

&

Fl.

&

Ob.

&

Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

T.-t.

Pt. T. p.

G. C.

Timp.

I.

&

Vle.

Vc.

Cb.



##

& & &

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

a2

?



∑

∑

∑

∑

œœ Œ  p ∑

π

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

   

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑

∑

∑

?

E . . & & B ? ?

œw b  .

bœ bœ

œ # œ œ œ  .. œ #œ œ œ

π n  .

œw b  .

π n  .

 #

w

 #

π

π

w

π

# w  π a2

#  π

œ œ b œ . œj b  

a2

?

Vln. II.

E

 œ ww  œ ww

œœ Œ  œ Œ 

œœ Œ 

# ww π

œ

œ Œ  ∑ ∑

#  π ∑

π

∑

nœ

Œ  ∑ ∑ ∑ ∑ ∑

œ Œ 

œ #  œ œœ  .. œ # œ ww ww

œ œ b œ . œj b   œ œ b œ . œj b  

# 

œŒ  

œœ Œ 

# ww

œ

œŒ  ∑ ∑

#  ∑

nœ

∑ ∑ ∑ ∑ Ÿ~~~~~~~~~~~

w

ww

w w

ww

œ œ b œ . œj b   œ œ b œ . œj b  

12

∑

molto cresc.

œ 

œ

a2

molto cresc.



Œ  p Œ  p

œœ

cresc.

œœ

cresc.

∑

∑ ∑ ∑ ∑

œŒ 

∑

    

    

œ

œ  œ 

œ œ

cresc.



cresc.



cresc.

ƒ

 œ . œj  ƒ

 œœ .. aœ2  .

J

œ œ

#œ œ

œ

ƒ

a2  # œœ .. œj 

œ œ

ƒ

 # œ . œj œ . # œ  n œ ƒ  œœ .. œœj œ . # œ  n œ   #œ œ J ƒ

cresc.

cresc.

 œ. œ  J

 œ . œj  œ . œJ 

œ  œ  œœ 

J

ƒ

ƒ

∑

∑ ∑ ∑ ∑

 œ . œj œ . # œ  n œ  œ. œ  bœ œ

a2

∑

∑

ƒ

a2

molto cresc.

Œ 

 

 œ. œ œ. #œ  nœ J

œ œ



Œ

ƒ

Œ n 

∑

œ #  œ œœ  œ # œ 

w w



w #w

∑

∑ ∑ ∑ ∑ Ÿ~~~~~~~~~~~~

w

œœ Œ 

œ œ b œ . œj b  

w #w

π

# w 

 œ. œ œ. #œ  J

 

œ œ

bœ œ

#œ œ

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

∑

∑

 œ. œ œ. #œ  nœ J

ƒ

 œœ .. œœ 

ƒ

J

œ œ

 œ. œ 

bœ œ

œ  œ. J 

#œ œ

ƒ ƒ

J

œ  œ. J 

ƒ

#œ œ

101 Fl. picc.

Fl.

Ob.

Cl. (Si b)

Fg.

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

Tbe. (Fa)

I. II. Tbn. III. Tb.

T.-t.

Pt. T. p.

G. C.

Timp.

I. Vln.

& & &

? & & & ? ? 

   

     

n  

    ∑



? &

Vle.

B ? ?

∑

∑

∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

∑

∑

∑

∑

ten.

. Œ .

∑

∑

∑

∑

∑

∑

∑

∑

bbbb

ten.

∑

∑

∑

∑

∑

∑

∑

∑

bb

.

∑

ten.

. Œ

. .

∑

π

. Œ

. .

ten.

π

. Œ

ten.

∑

œ œ

œ œ œ œ

œ œ

œ œ

œ œ œ œ

œ œ

∑

∑

œ œ

œ œ

œ œ

œ œ

∑

œ œ

œ œ

œ œ

œ œ

∑

œ œ

œ œ

œ œ

œ œ

∑

œ œ

œ œ

œ œ

œ œ

∑

œ œ

œ œ

œ œ

œ œ

∑

∑

∑

∑

∑

∑

∑

∑

 . . Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

 ..

ten.

. Œ .

ten.

∑

∑ ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

bbbb

œ œ bbbb œ œ

∑

Œ

ten.

∑



bbbb

∑

 



&

Cb.

 

#   & #

II.

Vc.

∑

F

bbbb bbbb

∑

∑

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~   w w w w w w w w w ƒ dim. ∏

F

 

.

 

 .. Œ

    

 

j

œ œ œ bœ. œ b π 

.  . œ w π

Œ

pizz.

œ

p

Œ

w

 . œ œ œ b œ . œj b  π

 . œ œ œ b œ . œj b  π

j œ . œ œ œ b œ . œj b  Œ

œ œ



w

Œ

Œ

œ

w

j œ . œ œ œ b œ . œj b  j œ . œ œ œ b œ . œj b 

13

œ

œ . n œj b œ œ b œ . œj b œ œ b œ . œj b  Œ

œ



w

Œ

œ



w

Œ

œ

Œ

w

œ . n œj b œ œ b œ . œj b œ œ b œ . œj b  œ . n œj b œ œ b œ . œj b œ œ b œ . œj b 

œ

 Œ

œ

b Œ

w

œ

 Œ



b





b



œ

bbbb bbbb bbbb bbbb bbbb

b & b bb

∑

bb &bb

∑

111 Fl. picc.

Fl.

Ob. Cl. (Si b)

Fg.

dal % al





∑

∑

∑

∑

∑

∑



∑

∑

∑



∑

∑

∑





∑

∑

∑





∑

∑

∑





∑

∑

∑



 

∑

∑

∑



∑

∑

∑

∑

 

∑

∑

∑

∑

∑

∑ ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑



a2

∑

∑

Cor. (Fa) III. IV.

Tbe. (Fa)

b & b bb b &b



  

∑

ten.

∑

ten.

 

? b b œœ Œ  bb

a2

ten.



I. II. Tbn.

I.

π

a2

bœ  π

∑

? bb bb

∑

T.-t.



∑



∑

T. p.

G. C.

Timp.

I. Vln. II.

Vle.

Vc.

Cb.

 

?

ten.

œ. œ

  

ten.

ten.

∑ ∑

∑

~~~~~~~~~~~~~~~~

w

b & b bb

∑

b & b bb

∑

B bbbb

b

w

III. Tb.

Pt.

a2

ten.

a2

&

? bb bb

b

ten.

œ Œ  œ

&

&

∑

∑

ten.

a2

I. II.

∑

œ

∑

œŒ

∑

∑

∑

  Œ œœ  .. Œ  .. Œ  .. Œ  .. ten.  π Œ œ . Œ . Œ . Œ . . œ . . . ten. π   Œ œ . Œ .  .. Œ  . œ . . .

Œ 

ten.



ten.





dal % al







π



ten.



ten.



π



π 14

 

 





 





w

.

Œ

Œ





ww

 ..

Œ

 ..

Œ

Œ œ  bœ b π



b ww

 ..

Œ



b ww

 ..



w ww

.  ..

ww

 ..

Œ œ π a2

œœ

π

Œ œ œ π



 







Œ œ  bœ b π Œ

a2

œ

π



∑

 œŒ  œŒ  œŒ  π

ten.

? bb bb œ Œ  ? bb bb w

∑

Œ œ π

œ Œ



ww

π π

∑

∑



∑

∑

Œ ∑

∑

∑

∑

 œŒ π





w

.

œ





w

.





w

.



Œ

Ÿ~~~~~~~~~~~~~~~

œŒ œŒ w



Œ

∑

œ

œ

Œ

∑ ∑

∑

Œ

.

w

 

w w

. .

Œ Œ Œ Œ Œ

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Fg. Fagotto Fl. Flauto N-Onm The National Library, Oslo Ob. Oboe Pt. Piatti Picc. Piccolo Pl. No. plate number stacc. staccato marking(s) str. strings Tam Tam tam Tamb. picc.

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

16

SOURCES

CRITICAL REPORT

Funeral March, Op. 10 A Score, autograph APTS1 Parts, autograph BPTS Parts, copy

F

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

Source A Score, autograph N-Onm, Mus.ms. 7864a 11 pages, 27x34 cm Title page: Sörgemarsch / i Anledning af / Kong Carl den 15des / Død / af / JSvendsen / Christiania / October 1872 Hand-ruled music paper, 18 staves Pagination: 1–11 Grey softbound cover On the cover: Sørgemarsch / af / Johan S. Svendsen At the end of the score: Christiania October / 1872 / JSvendsen Written in ink (Johan Svendsen) Additions in pencil and blue crayon (Johan Svendsen)

The following conventions have been used: • ‘By analogy with’ is used when something has been added, emended or omitted by analogy with another passage in the primary source. The analogy may be vertical: When something has been added ‘by analogy with’ one or more instruments, it is understood that the analogy involves the corresponding place within the same bar(s). Or it may be horizontal: When something is added ‘by analogy with’ one or more bars, it is understood that the analogy involves a parallel passage in the same instrument(s).

• ‘As in’ is used when something is added, emended or omitted to correspond to the same place in another source.

• ‘In accordance with’ is used when something is added, emended or omitted to correspond with a secondary source.

• When JS uses the term ten., it is set in italics. Tenuto markings are written as ‘ten.’

• Very small variations in the placement of dynamics have been left uncommented.

• In the ‘bar number’ column, the symbol ‘+’ is used to indicate an upbeat to the bar in question.

• ‘Note 1’ means ‘main note 1’ (grace notes are not included in the numbering sequence).

• Pitch is expressed as written in the parts. A written g’’ in a transposing clarinet (B) part is thus described as g” (sounding f ”).

• Middle c is defined as c’. Octave positions above middle c are specified as c’’, c’’’, etc. Octave positions below middle c are specified as c, C, C1, C2, etc.

Source APTS1 Parts, autograph N-Onm, Mus.ms. 7864c 36x27 cm Title page: Sörgemarsch / i Anledning af / Kong Carl den 15des- / Död / af / Johan Svendsen Orchestral parts inside a black hardbound cover On the cover: Orchester-stemmer / Johan S. Svendsen / Sörge­ marsch i Anledning / af / Kong Carl den 15des Död / J:Svendsen Flaute 1mo, Flaute 2do, Piccolo, Oboe 1mo, Oboe 2do, Clar 1mo, Clar 2do, Fagot 1mo, Fagot 2do, Corni 1, Corni 2, Corni 3, Corni 4, Trompet 1, Trompet 2, Trombone 1, Trombone 2, Trombone 3, Tuba, Timpani, Lilletromme, Stortromme-Becken-Gongon, Violin 1mo (5x),Violin 2do (5x), Viola (4x), Cello (3x), Basso (4x) Written in ink (Johan Svendsen) Additions in blue crayon and pencil

Source BPTS Parts, copy N-Onm, Mus.ms. 7864b 35x28 cm Title page: Sörgemarsch Johan S. Svendsen In Violino I (Direction*): *Ausführbar für Streichquintett, Fl.1, Clar I+II, Corno I+II,

17

EVALUATION OF THE SOURCES

Tromba I+II, Trombone III, Timpani. Bei kleinerer Besetzung werden die kleinen mitgespielt (May be performed by string quintet, …. If a smaller ensemble is used, the small [notes] should be played) These parts contain many cue notes Brown softbound cover On the cover: JOHAN SVENDSEN: SØRGEMARSCH F: ORK. / (Stemmer) Violino I (3x),Violino 2 (3x),Viola (2x), Violoncello (2x), Basso (2x), Flauto I&II, Flauto piccolo, Oboe I, Oboe II, Clarinet I, Clarinet II, Fagotto I, Fagotto II, Corno I, Corno II, Corno III, Corno IV, Tromba I, Tromba II, Trombone I, Trombone II (Last page: Olaf Jensen 29-10-1911), Trombone III (Last page: Hornung Jensen Okt 1911), Tuba, Timpani, Tamburo militare, Gong-Gong, Gran Cassa e Piatti Written in ink Additions in blue crayon and pencil

The autograph score, Source A, was signed by Johan Svendsen in October 1872, the month of the first performance in Christiania, Norway. In all likelihood, Svendsen used this manuscript to conduct the premiere, and a number of additions in pencil were probably made by Svendsen himself. These are all noted in the list of emendations and alternative readings. Additionally, the page layout of the score was marked out in pencil pending a printed edition that was never published.

Even though the parts set, Source APTS, was probably copied from Source A, the two sources show some unusual differences. In several places where Svendsen employed the term cresc. in the score, he used a hairpin in the part. Usually Svendsen did not use these two ways of indicating dynamics interchangeably in his works. The pencilled additions in the score can also be found in the parts, written in ink. This supports the notion that most of these additions were added to the score before the parts were written.

Four of the parts are marked in pencil with the names of members of the Christiania Music Society, the orchestra that gave the premiere: Violin I: Weinholdt, Viola: Røsholm and Monrad, Contrabass: Olsen. Since we do not know of any other performances lead by Svendsen, the markings in pencil and blue crayon in these parts are particularly interesting.

Many of them were probably added according to Svendsen’s instructions. All these markings are included in the list of emendations and alternative readings.

The copied set of parts, Source B, was used at a memorial concert for Svendsen in Copenhagen on 29 October 1911, following the composer’s death earlier that year. Svendsen’s own set of parts may not have been available, so a new set was prepared by a copyist using Svendsen’s score. Two trombone parts (Trombone II & III), dated Oct. 1911 and 29 Oct. 1911, were signed by Jensen and Hornung Jensen, two members of the Royal Danish Orchestra at the time. The first violin part of this set was modified into a ‘conductor’s part’. To allow the march to be played by a smaller orchestra, the parts include many cue notes. Since this set originated after Svendsen’s death, we have not used it as a source for this edition.

Source A has been the primary source for our edition, with numerous elements added by analogy. In most cases, these additions are also warranted by the fact that the elements in question can be found in the parts prepared by Svendsen himself.

18

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Comments considered to be of particular importance by the editors have bar numbers in bold type.

Primary source: A

Funeral March, Op. 10 Bar

Instr.

Comment

1

Cb.

A: pp added in pencil

7

Ob.

pp emended from p (p is marked in pencil in A) by analogy with Cor. III/IV, Tba. II and as in APTS (Ob. I)

7

Ob. II

APTS: p

7

Ob., Cl., Fg., APTS: cresc. (Vln. II: PTS1245) Cor. I/III/ IV, Tba. II, Vln. II, Vle., Vc. Ob., Cor. I/II, Tba. II

molto cresc. added by analogy with Cor. III/IV

7

Cl.

molto cresc. added by analogy with Fg.

7

Cor. I

pp emended from p by analogy with Cor. III/IV, Tba. II and as in APTS

7

7–8

Tbn. III, APTS: Tamb. picc., Cb.

8

Picc.

f added by analogy with Tba. I, Tbn. I; APTS:

8

Fl., Vln. I

APTS:

8

Picc., Tba. I, > added by analogy with Cl., Fg., Vln., Vle., and Vc. Tbn. I

8

Ob. II

(Vln. I: PTS1245)

p emended from mf (mf is marked in pencil in A) by analogy with Fl. I, Vln. I and as in APTS; APTS p p added by analogy with Fl. I, Vln. I and as in APTS; APTS p

12

Tbn. I

dim. added by analogy with Tbn. III, Tuba and as in APTS

13–14

Ob. II

slur added by analogy with bb. 15–16 and as in APTS

15

Cb.

slur added by analogy with Vc. and as in APTS 123

17

Ob. I

notes 3–4: slur added by analogy with Vln. I

17

Fg.

slur added by analogy with Cl., Cor. II/II/IV

17

Cor. IV

APTS: p

18

Cor. I, Tba. I, Tbn. I, Tamb. picc.

APTS:

19

Tbn. II

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

20

Fl. II

APTS:

20

Pt.

ff added by analogy with the other parts

21

Tamb. picc.

APTS: p

24

Ob. I

APTS: Solo added in blue crayon

26, 28

Vc.

APTS: notes 1–2: stacc added in blue crayon

29

Ob. II, Fg. I

p added by analogy with Cl. I and as in APTS

31

Fg., Vc., Cb.

APTS: notes 1–2: stacc added in blue crayon

31

Vle.

APTS 2: notes 1–2: stacc added in blue crayon

32

Timp.

APTS: poco cresc.

32

Vln. II, Vle. APTS: notes 1–2: stacc added in blue crayon

33

Fg., Vc., Cb.

APTS: notes 1–2: stacc added in blue crayon

33–34

Cor. I/II

A: tie added in pencil

33

Cor. III/IV

III. added as in APTS

34

Cor. IV

APTS:

34

Vln. II, Vle. APTS: notes 1–2: stacc added in blue crayon

35

Vle.

ten. added by analogy with Vln. II, Vc., Cb. and as in APTS123

36

Ob., Cl., Fg., Cor. I/II, Vle.

A: ten. added in pencil

36

Tba. II, Tbn. II, Tuba

ten. added by analogy with Ob., Cl., Fg., Cor. I/II and as in APTS

added in pencil

8

Cor. II

9

Vln. II, Vle. A: fz added in pencil

10

Cl.

fz added by analogy with Fl. and as in APTS (Cl. I)

10

Tba. II

fz added by analogy with Tbn. II/III

10

Vln. II

A: fz added in pencil

37

Vln. I

A: slur added in pencil

12

Ob. I

APTS: ten.

37

Vc., Cb.

APTS: p changed to pp in blue crayon (Vc. PTS1 , Cb. PTS 34)

19

37

Cb.

APTS2: pp added in blue crayon

38

Cl.

A:  added in pencil

39

Ob. I, Cl. II, APTS: Fg. I, Tbe., Vln. I/II, Vle., Vc., Cb.

39

Vln. I

A: slur added in pencil

40

Ob. I, Cl., Cor.

note 1: emended from f to fz by analogy with Tbe., Vln. I/II, Vc., Cb. and as in APTS

40

Tbe.

note 2: fz added by analogy with the other parts and as in APTS

40

Vln. I/II

APTS: note 1: f (Vln. I PTS 45 , Vln. II PTS 2)

40

Vle.

note 1: emended from f to fz by analogy with the other str. and as in APTS34

43

Tbn. I/II

A: note 1:  added in pencil

44

Cl. II

A: note 1:  added in pencil

44

Cor. III/IV

APTS:

44–51

Tamb. picc.

APTS:

45

Vle.

note 1:  added by analogy with Vln. I

46

Pt.

ff added by analogy with the other parts

46–47

Timp.

incomplete tie completed by analogy with bb. 45–46

47–49

Timp.

A: part added in pencil

47–48

Timp.

tie added by analogy with bb. 45–46

49

Fl.

added by analogy with str. and as in APTS

49–52 49

Cl., Fg., Cor., Cb.

A:

added in pencil

Tbe.

50 51

Fl.

added by analogy with Cor. and as

Tbe., Tbn., Tuba

fz in APTS in A

PTS

Fl.

Fl.

Cl., Fg.

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

58

Vln. II

A: slur crossed out in pencil

58

Cb.

A: slur added in pencil

59

Vln. II, Vle., Vc.

div. added by analogy with Vln. I and as in APTS

64, 66

Tamb. picc.

APTS:

68

ww., brass, str.

ten. added by analogy with b. 66 and as in APTS: Fl. II, Ob., Cl., Fg., Cor., Tbe., Tbn., Tuba, Vln. I (PTS 2345), Vln. II (PTS 1245), Vle. (PTS 234), Vc., Cb.

72

Cor. I

APTS: Solo added in pencil

76

Vln. II

A: slur added in pencil

77

Vln. II

slur added by analogy with b. 75 and as in APTS125

81

Vln. II upper part

A: slur added in pencil

81

Vle. lower part

A: slur added in pencil

83

Vln. II lower part

slur added by analogy with the upper part and as in APTS1345

84

Ob.

A: note 4:  added in pencil

84

Cl. II

p added as in APTS

84

Vln. I

A: chord 4:  added in pencil

85

Cor. III, Vln. II

APTS:

86–89

Cl.

(Vln. II PTS 1) added by analogy with the

APTS: notes 1–3: slur

86

Vln. II

APTS1:

87

APTS: notes 1–2: slur; APTS:

added by analogy with Cor. and as (Tbe., Tbn. I/III, Tuba)

Cl. II, Cor. IV

87

Vln. II

APTS1:

added by analogy with str. and as

89

Fl.

APTS: notes 1–4: slur

89

Fg. I

slur added by analogy with Cor. IV and as in APTS

90

Fl.

dim. added by analogy with the other parts

90

Vln. II lower part

slur added by analogy with the upper part and as in APTS

added by analogy with str. and as

added by analogy with Cor. and as in APTS

52

54

Cor. IV

in A Tbe.

added by analogy with Cor. and as in APTS (Tbe., Tbn. I/III, Tuba)

86

PTS

51

Tbe., Tbn., Tuba

other parts

in APTS 50

52

fz added by analogy with str. and PTS as in A

20

92

Vln. II upper part

A: slur added in pencil

93

Fg.

a 2 added as in APTS

98

Ob., Cl., Fg., Cor., Vln. I/II, Vle., Vc., Cb.

APTS: (Vln. I PTS 1345, Vln. II PTS 2345, PTS 123 Vle. ); APTS: added in pencil PTS 4 (Vle. )

99

Fg.

a 2 added as in APTS

99

Tbn., Tb.

A: ff added in pencil

99

Vle.

APTS4: ff added in pencil

103

Vln. II

APTS12: pp

103

Cb.

APTS: note 1: stacc. added in blue crayon

105, 107, 108

Vc., Cb.

APTS: notes 1–2: stacc. added in blue crayon (Vc. PTS 1)

112

ww., brass, str.

ten. added by analogy with b. 66 and as in APTS: Fl. II, Ob., Cl., Fg., Cor., Tbe., Tbn., Tuba, Vln. I (PTS 2345), Vln. II (PTS 1245), Vle. (PTS 234), Vc., Cb.

112

Timp.

A: part added in pencil

114

Vc., Cb.

APTS: ten. (Vc. PTS 2, Cb. PTS 24)

115

Cb.

APTS4: ten.

117

Vc.

APTS1: the bar is not there

21