JOHAN S. SVENDSEN: Romanse, op. 26

JOHAN S. SVENDSEN (1840–1911)

Romanse, op. 26 JSV 79

Romance, Op. 26

Utgitt av / Edited by Bjarte Engeset & Jørn Fossheim

JOHAN SVENDSENS VERKER

NMA-JS-II/1C

N.M.O. 14602A

Editorial Committee: Morten Christophersen, Bjarte Engeset, Jørn Fossheim, Audun Sannes Jonassen, Jørgen Langdalen, Øyvind Norheim Graphic design: Tank design AS Text set in: Calibre and Chronicle Norwegian language consultant: Gunnhild Wiggen English translation and language consultant: Thilo Reinhard Consultant solo part: Morten Carlsen Sponsored by: Kulturrådet (Arts Council Norway) Published by: NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) This work is published in the following editions: Score (N.M.O. 14602A /ISMN 979-0-065-16481-6) For sale and hire Parts (N.M.O. NMO 14602B I/II /ISMN 979-0-065-16482-3 For hire Solo Violin & Piano Score (NMO 14602C/ISMN 979-0065-16483-0) For sale © 2020 NORSK MUSIKKARV (www.musikkarven.no) All rights reserved

CONTENTS INNHOLD Generelt forord Forord Faksimiler Besetning

ROMANZE FÜR VIOLINE MIT BEGLEITUNG DES ORCHESTERS

General preface Preface Facsimile Scoring I V XVII XXIII

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Abbreviations Critical report

20 21

Addenda Version for Violin and String Orchestra, JSV 79c Seven annotated performer’s editions of the solo part

29 31 49

1

Forkortelser Kritisk rapport

20 21

Addenda

29

Versjon for fiolin og strykeorkester, JSV 79c Sju «utøverutgaver» av solostemmen

ROMANZE FÜR VIOLINE MIT BEGLEITUNG DES ORCHESTERS

I V XVII XXIII

31 49

GENERAL PREFACE

J

ohan Svendsen (1840–1911) was a leading figure in late nineteenth-century Scandinavian music, celebrated as both a composer and a conductor. His works occupy a central position in the musical history of Norway and Scandinavia in general, yet his printed music has become notoriously difficult to obtain. Older editions are often inadequate, and many are out of print or abandoned by defunct publishing houses. More than half of his works never appeared in print and only survive in manuscript. A new complete edition of Johan Svendsen’s music has therefore been long anticipated, and the present edition, part of the Johan Svendsen’s Works project, wishes to meet this demand. Johan Svendsen’s Works is a subproject under the umbrella of the Norwegian Musical Heritage project and represents a collaboration between the University of Oslo, the Norwegian Academy of Music and the National Library of Norway. The project was launched in 2011, one hundred years after the composer’s death. In preparing these editions, many new sources of Svendsen’s music were uncovered. Manuscripts of entirely unknown works have surfaced among the archives, and new biographical knowledge has come to light as well. The result is a richer picture of Svendsen himself, as well as the musical life of his time. This new edition of Svendsen’s collected works not only provides performance material that greatly improves the basis for new interpretations of well-known works, but also offers the opportunity to become familiar with pieces that have not been played since the composer’s lifetime. Alongside Svendsen’s output of chamber music, symphonies, symphonic poems and concertos—in itself an impressive corpus in the great nineteenth-century European tradition—we find other, lesser-known works, including the unpublished dances and orchestra marches written for the mid-century concertgoers of Christiania (Oslo), the celebratory cantatas and marches commissioned for public events in both Norway and Denmark, and Svendsen’s masterful orchestrations of iconic pieces from the international Romantic repertoire

GENERELT FORORD

J

ohan Svendsen (1840–1911) er en av våre viktigste 1800-tallskomponister. Han inntar en sentral plass i norsk og nordisk musikkhistorie, ikke minst på orkestermusikkens område. Likevel har notematerialet vært vanskelig tilgjengelig. Eldre noteutgaver er ofte mangelfulle, mange er utgått fra forlaget, eller forlaget er nedlagt. Mange verker er aldri utgitt og foreligger bare i manuskript. En ny, samlet utgave av Johan Svendsens musikk har derfor vært etterspurt i lang tid. Den foreliggende noteutgaven, som springer ut fra prosjektet Johan Svendsens Verker, skal imøtekomme dette ønsket. Johan Svendsens Verker er et delprosjekt under Norsk musikkarv og er gjennomført i et samarbeid mellom Institutt for musikkvitenskap ved Universitetet i Oslo, Norges musikkhøgskole og Nasjonalbiblioteket. Prosjektet ble etablert i 2011, hundre år etter komponistens død. Arbeidet med utgaven har avdekket mange nye kilder til Svendsens musikk. I arkivene har det dukket opp manuskripter til verker vi trodde var tapt, og verker vi ikke visste eksisterte. Mange nye biografiske dokumenter har også kommet for en dag. Resultatet er et mye rikere bilde av Svendsens liv og verk, og også et rikere bilde av musikklivet på Svendsens tid. Den nye utgaven av Johan Svendsens samlede verker gir ikke bare nye fremføringsmuligheter for verker vi kjenner, men også sjansen til å bli kjent med musikk som aldri ble utgitt, og som ikke har vært spilt på mer enn hundre år. Det gjelder for eksempel mange av Svendsens ungdomsverker, danser og marsjer for orkester, skrevet for underholdnings­ livet i Christiania på 1850- og 1860-tallet. Det gjelder også kantater og marsjer komponert for offisielle begivenheter i både Norge og Danmark, og det gjelder Svendsens mesterlige orkestreringer av verker fra den romantiske tradisjonen.

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

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

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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

J

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

FORORD

J

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

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

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

DANNEBROG, 1 OCTOBER, 1910.

Carl Warmuth’s engraving records confirm the sum of 200 kroner.11 No autograph manuscript of the work has survived, only a few bars of sketches. These sketches show the recapitulation at the point where the main theme returns with a different orchestration. In his PhD thesis ‘Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches’, Morten Christophersen argues that the sketches show that Svendsen may have spent several days on the composition:

DANNEBROG, 1. OKTOBER 1910.

Carl Warmuths stikkerprotokoller bekrefter denne summen på 200 kroner.2 Det finnes ikke noe bevart manuskript til verket i Svend­ sens hånd, bare noen få takter med skisser. Skissene viser reprisen, der hovedtemaet kommer tilbake igjen med en ny orkestrering. I doktoravhandlingen Panoramic Constraints – A Study of Johan Svendsen’s Musical Sketches argumenter Morten Christophersen for at skissene viser at Svendsen kanskje brukte noen flere dager på komposisjonen:

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Based on these observations, I believe the story of the genesis of this work must be altered. Svendsen might have composed most of this work during a single day, but he most likely derived it from ideas he had previously sketched.12 Warmuth’s engraving records show that the version for violin and piano was printed first, in September 1881, followed by the publication of the score and parts in October. Svendsen had prepared the piano part himself, according to the cover of the first edition and a posting in the Norwegian daily Dagbladet of 19 October 1881, which furthermore endorsed the work as follows:

Based on these observations, I believe the story of the genesis of this work must be altered. Svendsen might have composed most of this work during a single day, but he most likely derived it from ideas he had previously sketched.3 Warmuths stikkerprotokoller viser at versjonen for fiolin og klaver ble trykket først, i september 1881. Partituret og stemmene ble så utgitt i oktober. Svendsen har også laget klaverstemmen, ifølge forsiden på førsteutgaven og ifølge et oppslag i Dagbladet 19. oktober 1881, der verket også ble anbefalt på følgende måte:

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

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

In autumn 1878, Svendsen met three prominent Polish violinists in Paris: the brothers Józef (1837–1912) and Henryk Wieniawski (1835–1880), and Stanisław Barcewicz (1858–1921). Barcewicz had studied the violin in Moscow with Czech teachers Ferdinand Laub (1832–1875) and Jan Hřímalý (1844–1915), and theory and harmony with Pyotr Ilyich Tchaikovsky (1840– 1893). On 21 September 1878, he premiered Tchaikovsky’s Valse-Scherzo in C major, Op. 34, in a concert at the Palais du Trocadéro in Paris. Svendsen’s almanac for 187813 tells us that he ‘made the acquaintance’ of Barcewicz here. In all likelihood, they also met the following day at a breakfast hosted by Grand Duke Konstantin, whose guests included, among others, the conductor of the concert, Nikolai Rubinstein (1835–1881). When the Romance was published in autumn 1881, Stanisław Barcewicz was staying in Norway to play a series of concerts in Christiania. The young virtuoso, 23 years old at the time, had recently performed in both Leipzig and Dresden. In August, the music journal Nordisk Musiktidende published a longer article about him that referenced fresh reviews from Germany: ‘talent of the highest rank’, ‘innate genius and fiery temperament’, ‘remarkable dexterity, a big sound, a bold bow stroke’. A critic in Dresden thought that Barcewicz was capable of bringing a ‘spiritual dimension’ to the music, and that he radiated ‘a painstakingly subdued fire’.14 Both concerts took place in the large hall of the Old Masonic Lodge in Christiania, the first on 22 October, the second four days later on 26 October. Svendsen listed both of these concerts in his almanac for 1881,15 and on 30 October commented: ‘Barcewi[c]z’s public concert in the gymnasium of [Akershus] Fortress where my Violin Romance was performed for the first time.’ The newspapers referred to it

Høsten 1878 traff Svendsen tre ledende polske fiolinister i Paris, brødrene Józef (1837–1912) og Henryk Wieniawski (1835–1880) og Stanisław Barcewicz (1858–1921). Barcewicz hadde studert fiolin i Moskva hos tsjekkerne Ferdinand Laub (1832–1875) og Jan Hřímalý (1844–1915) og teori og harmonilære hos Pjotr Tsjajkovskij (1840–1893). 21. september 1878 urfremførte fiolinisten Valse-Scherzo i C-dur, op. 34 av Tsjaj­kovskij ved en konsert i Trocadero-palasset i Paris. I Svend­sens almanakk fra 18784 står det at han «gjorde be­­ kjendskab» med Barcewicz her. De traff hverandre etter alt å dømme også neste dag til en frokost hos storfyrst Konstantin, hvor også konsertens dirigent Nicolaj Rubinstein (1835–1881) og flere andre var til stede. Da Romanse, op. 26 ble utgitt høsten 1881, var den samme Stanisław Barcewicz i Norge og spilte flere konserter i Christi­ ania. Den da 23 år gamle virtuosen hadde nylig opptrådt i både Leipzig og Dresden. Nordisk Musiktidende brakte i august en lengre artikkel om ham, der de siterte fra ferske tyske omtaler: «Talent af første Rang», «medfødt Genialitet og ildfuldt Temperament», «glimrende Færdighed, en stor Tone, et dristigt Buestrøg». En kritiker i Dresden mente Barcewicz kunne tilføre musikkstykker «en åndelig betydning», og at han i langsomme satser utstrålte «en møiesommeligt dæmpet Ild».5 Den første konserten i Christiania var 22. oktober, i Logens store Sal, og den andre samme sted få dager senere, 26. oktober. I almanakken for 18816 listet Svendsen opp begge disse konsertene, og på datoen 30. oktober skrev han «Barcewi[c]z’s Folkeconcert i Fæstningens Gymnastiklokale hvorved min Violinromanze for første Gang opføres». Avisene betegnet dette som «Barce-

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as ‘Barcewicz’s farewell concert’, but the violinist stayed in Christiania for another week. Although Barcewicz played the better part of the concert on 30 October with piano accompaniment, the Romance was performed with string orchestra. Svendsen was conducting. The work’s title in Warmuth’s edition was Romanze für Violine mit Begleitung des Orchesters (oder auch nur Streichorchester). By means of cue notes, the edition allowed performing the work without winds, and it was this version that was used for the first performance with orchestra. The version for violin and piano had probably been played many times before, at least in private settings, since it had been put up for sale one month earlier. Following the premiere, Dagbladet reported on the work’s great success for both Barcewicz and Svendsen:

wicz’s Afskedskonsert», men han ble likevel i Christiania en uke til. Størstedelen av konserten 30. oktober spilte Barcewicz bare med pianoakkompagnement, men romansen ble likevel fremført med strykeorkester. Svendsen dirigerte. Tittelen på stykket i Warmuths utgave var Romanze für Violine mit Begleitung des Orchesters (oder auch nur Streichorchester). Ved hjelp av stikknoter gjorde utgaven det mulig å fremføre verket også uten blåsere. Det var altså i denne versjonen urfremføringen med orkester fant sted. Versjonen med fiolin og klaver var nok spilt av mange før dette, i hvert fall i private sammenhenger, i og med at den var lagt ut for salg en måned tidligere. Dag­bladet fortalte etter urfremføringen om da capo og stor suksess for Barcewicz og Svendsen:

Svendsen’s new Romance for Violin was performed for the first time with string orchestra under the leadership of the composer. It was a rousing success, and had to be played da capo after repeated requests. The Romance is a lovely, poetic work that was performed as beautifully as one could possibly imagine.

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

DAGBLADET, 31 OCTOBER 1881.

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

DAGBLADET, 31. OKTOBER 1881.

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

AFTENPOSTEN, 31 OCTOBER 1881.

On 3 November, Barcewicz was still in Norway and attended the first meeting of the Quartet Society’s winter season 1881– 1882. After the meeting, Svendsen noted the following in his almanac:

AFTENPOSTEN, 31. OKTOBER 1881.

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

3. november var Barcewicz fremdeles i Norge og deltok på Kvartetforeningens første møte for vintersesongen 1881– 1882. Svendsen noterte følgende i almanakken etter møtet: Første Møte i Kvartetforeningen hvor Barcewicz efter at have spillet min Octett og Romance overrækkes Diplom som Æresmedlem af Foreningen. Samme Udmærkelse blev ogsaa mig tildel.

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

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

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Thereafter followed Svendsen’s Romance, which by no means is heard often enough, but on the contrary becomes increasingly fetching the more frequently it is heard. AFTENPOSTEN, 7 NOVEMBER 1881.

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

Derefter fulgte Svendsens Romance, der ingenlunde er hørt ofte nok, men tvertimod vinder mere og mere, jo oftere den høres. AFTENPOSTEN, 7. NOVEMBER 1881.

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

AFTENBLADET, 7 NOVEMBER 1881.

After this, Barcewicz took the Romance along on his tours. In September 1882 he played it in Dresden. The same year, violinist Henry Schradieck (1846–1918) performed it at the Gewandhaus in Leipzig. Svendsen had developed a particularly close friendship with violinist and composer Eugène Ysaÿe. According to Norwegian musicologist Harald Herresthal, it was Henry Vieuxtemps (1820–1881) who introduced his student Ysaÿe to Svendsen in Paris.16 From April to July 1882, Ysaÿe visited Norway as part of a Scandinavian tour. Accompanists were Karen Ølstad (1839– 1913) and Erika Lie Nissen (1845–1903).17 Ysaÿe was in Christiania from 7 May onward, after having given concerts in Bergen. In his almanac for 1882, Svendsen mentioned the violinist’s recitals with piano in Christiania.18 On 14 May, at the second of these recitals, Ysaÿe played Svendsen’s Romance: ‘Ysaÿe’s second concert ([Akershus] Fortress), where, among other things, he played my Romance.’ Ysaÿe also played the Romance with orchestra on 18 May at Christiania Theatre, with Svendsen conducting. The final violin/piano recital in Christiania took place on 21 May. Ysaÿe visited Norway a number of times and was an important interpreter of Edvard Grieg’s music. When Ysaÿe played the Romance in Angers in 1884, the audience and the critics remembered Svendsen’s concerts there in 1879–1880. The French daily Phare de la Loire wrote:

AFTENBLADET, 7. NOVEMBER 1881.

Barcewicz tok deretter med seg fiolinromansen videre. I september 1882 spilte han den i Dresden. Samme år ble den fremført i Gewandhaus, Leipzig, med Henry Schradieck (1846–1918) som solist. Svendsen knyttet særlig sterke vennskapsbånd med fioli­ nisten og komponisten Eugène Ysaÿe. I følge Harald Herresthal var det Henry Vieuxtemps (1820–1881) som introduserte sin elev Ysaÿe for Svendsen i Paris.7 Fra april til juli 1882 var Ysaÿe i Norge som en del av en skandinavisk turné. Akkompagnatører var Karen Ølstad (1839-1913) og Erika Lie Nissen (1845-1903).8 Ysaÿe var i Christiania fra 7. mai, etter å ha konsertert i Bergen. Svendsen nevnte fiolinistens konserter med klaver i Christiania i almanakken sin for 1882.9 På den andre av disse, 14. mai, spilte Ysaÿe romansen: «Ysaÿes andre konsert (Fæstningen) hvor han blant Andet ogsaa spillede min Romance.» Ysaÿe spilte også romansen med orkester 18. mai, på Christiania Theater, med Svendsen som dirigent. Siste konsert i Christiania, med klaver, var 21. mai. Ysaÿe besøkte Norge flere ganger og var også en viktig interpret av Edvard Griegs musikk. Da Ysaÿe spilte Svendsens romanse i Angers i 1884, mintes publikum og kritikere Svendsens konserter der i 1879–1880. I avisen Phare de la Loire sto det:

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

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

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

PHARE DE LA LOIRE, 28. APRIL 1884 (SOM GJENGITT I HARALD HERRESTHAL OG LADISLAV REZNICEK: RHAPSODIE NORVÉGIENNE. OSLO, 1994, S. 100).

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

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

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

En tyk fyr, som kom svømmende ind under et uhyre sort Hår, Forlufferne blidt runde, og Øjnene store og like­ gyldige. [...] Han hadde jo en Kraft, rund og bredladen under den gyngende Ro-Takt, og en Følelsens Inderlighed, så uforstyrret af alt andet i Verden. [...]For i at la Violinen synge rikt og ømt har han ikke sin Make blandt nulevende Violinister.

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

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

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

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

LETTER FROM JOHAN SVENDSEN TO JULIE SVENDSEN, BRUSSELS, 21 JANUARY 1901. DANISH MUSIC MUSEUM.

On 16 June 1911, the Danish newspaper Dagbladet wrote:

BREV FRA JOHAN SVENDSEN TIL JULIE SVENDSEN, BRÜSSEL 21. JANUAR 1901. MUSIKMUSEET.

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

Den danske avisen Dagbladet skrev 16. juni 1911 at Ysaÿe hadde uttalt følgende: Den bekjendte violinmester Ysaye ytret en gang, at han hadde spillet under snart sagt de fleste store dirigenter og kjendte saa godt som alle de mest betydende musikere verden over, men han hadde aldrig truffet en saa helstøpt musikpersonlighed som Johan Svendsen.

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The third violinist after Barcewicz and Ysaÿe who performed the Romance with Svendsen conducting was the composer’s close friend Gudbrand Bøhn (1839–1906). Bøhn, who was the same age as Svendsen, had played the first Norwegian performances of the Caprice, JSV 29, and the Violin Concerto in A Major, Op. 6. When Svendsen left Norway in 1859 in search of a place to study in Europe, he wrote his violin fantasy Farewell, JSV 8, for Bøhn, who later became one of Norway’s leading violin teachers. His students included Christian Sinding (1856–1941), Sigurd Lie (1871–1904), Johan Halvorsen (1864–1935), Harald Heide (1876–1956), Ole Hjellemo (1873– 1938) and William Farre (1867–1939), among others. On 10 December 1882, Bøhn played the solo part in the Romance at a matinée with the Christiania orchestra Musikforeningen in Drammen near Oslo. Two days later, the Norwegian daily Dagen wrote that ‘Mr G. Bøhn played the violin solo in “Zorahayda” as well as Svendsen’s “Romance”, thus earning well-deserved curtain calls and enthusiastic applause.’ When Svendsen performed the Romance for the first time in Copenhagen in the large hall of the Casino (14 October 1882), Christian Schiørring (1837–1893) performed the solo part. He had held the ‘soloist position’ with the Royal Danish Orchestra since 1870.

Den tredje fiolinisten som spilte romansen med Svendsen som dirigent, etter Barcewicz og Ysaÿe, var Svendsens jevnaldrende og nære venn Gudbrand Bøhn (1839–1906), fiolinisten som hadde gitt både Caprice, JSV 29 og Fiolinkonsert i A-dur, op. 6 de første fremføringene i Norge. Da Svendsen forlot Norge i 1859 for å finne et studiested i Europa, skrev han verket Farvel, JSV 8 nettopp til Bøhn, som senere ble en ledende fiolinpedagog i Norge; han var lærer for blant andre Christian Sinding (1856–1941), Sigurd Lie (1871–1904), Johan Halvorsen (1864–1935), Harald Heide (1876–1956), Ole Hjellemo (1873–1938) og William Farre (1867–1939). Bøhn var solist i fiolinromansen ved en matinékonsert med Christiania-orkesteret Musikforeningen i Drammen 10. desember 1882. Avisen Dagen skrev 12. desember at «[H]r. G. Bøhn spillede Violinsoloen i «Zorahayda» samt Svendsens «Romance» og høstede derfor velfortjente Fremkaldelser og levende Applaus». Da Svendsen fremførte romansen for første gang i København, i Casinos Store Sal 14. oktober 1882, var Christian Schiørring (1837–1893) solist. Han hadde hatt «solistplassen» i Det Kongelige Kapel siden 1870.

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

I Romanzen for Violin, som fik en særdeles dygtig Udførelse af Hr. Schjørring, er der en meget fin og sjælfuld Poesi, og Poesi er overhodet noget som sjælden synest at fattes i Hr. Svendsens Musik.

MORGENBLADET, 17 OCTOBER 1882.

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

MORGENBLADET, 17. OKTOBER 1882.

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

NATIONALTIDENDE, 16 OCTOBER 1882.

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

NATIONALTIDENDE, 16. OKTOBER 1882.

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

BERLINGSKE TIDENDE, 16 OCTOBER 1882.

The only solo number of the evening was Svendsen’s Romance for Violin from last year. This magnificent little piece has repeatedly been discussed in this paper, and I shall only touch on the performance by Mr Schjørring, a member of the Royal Orchestra, with a few words. I must honestly admit that I never believed, and still do not believe, that Mr

BERLINGSKE TIDENDE, 16. OKTOBER 1882.

Aftenens eneste Solonummer var Svendsens Violin­romanse fra i Fjor. Det prægtige, lille Stykke har gentagende Gange været omtalt her i Bladet, og jeg skal blot med et Par Ord berøre Hr. kgl. Kapelmusikus Schjørrings Udførelse. Jeg skal ærlig tilstaa, at jeg ikke mente, og endnu ikke mener,

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Schjørring is particularly qualified to play the Romance; it is too modern for him – it so happens that he is our ‘classical’ violinist, and in that respect he is No. 1. But nevertheless, I am duty-bound to admit that Mr Schjørring surprised through all he was able to bring forth in the Romance. From a purely technical point of view, his playing was excellent, of course, but it was also far warmer and more nimble than I have ever heard him play before, even if he did not succeed in being fully on a par with the composition.

at Hr. Schjørring er særlig kvalifiseret til at spille Romancen; den er ham for moderne, – han er nu en Gang vor «klassiske» Violinspiller, og her er han Nr. 1. Men ikke desto mindre er det kun min Skyldighed ad inrømme, at Hr. Schjørring overraskede ved det meget, han fik frem i Romancen. Hans Spil var først og fremmest selvfølgelig, rent teknisk taget, udmærket, men det var tillige langt varm­ere, bevægeligere, end jeg nogensinde før har hørt hos ham, selv om han ikke naaede at komme helt i Højde med Kompositionen.

DAGSAVISEN, 16 OCTOBER 1882.

During his London and Paris period from 1878 to 1880, Svendsen also became well-acquainted with the Spanish violin virtuoso and composer Pablo de Sarasate. In April and May 1878, Svendsen attended many of Sarasate’s concerts in London, and from 4 May, Svendsen’s almanac tells us that the two men also met in more informal contexts. Sarasate took part in private soirées and played both Svendsen’s String Quintet in C major, Op. 5, and his String Octet in A major, Op. 3 (26 May and 2 June 1878). Svendsen told Edvard Grieg about this new friendship in a letter from London:

DAGSAVISEN, 16. OKTOBER 1882.

I London- og Paris-perioden fra 1878 til 1880 ble Svendsen også godt kjent med den spanske fiolinvirtuosen og komponisten Pablo de Sarasate. Svendsen hørte Sarasate spille ved mange konserter i London i april og mai 1878. Fra 4. mai ser vi av Svendsens almanakk at de to også traff hverandre i mer uformelle sammenhenger. Ved private soireer var Sara­ sate med og spilte både Strykekvintett i C-dur, op. 5 og Strykeoktett i A-dur, op. 3 av Svendsen (26. mai og 2. juni 1878). Svendsen fortalte om det nye vennskapet i et brev fra London til Edvard Grieg:

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

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

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

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

BREV FRA JOHAN SVENDSEN TIL EDVARD GRIEG, LONDON 15. JUNI 1878. BERGEN OFFENTLIGE BIBLIOTEK.

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

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

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

DAGENS NYHEDER, 5 FEBRUARY 1888.

In a letter of 15 February 1888 to Johan Selmer, Svendsen characterized Sarasate as ‘a magnificent artist and a pleasant companion’. On 22 February, he wrote in more detail about Sarasate’s visit in a letter to Grieg: I have also had an enjoyable visit from Sarasate; no change in the 10 years in which I haven’t seen him, just as amiable and friendly as ever. Well: You can imagine we had a nice time together, especially when he played quart­ ets at my home one evening with Neruda and a couple of other gentle­men.

DAGENS NYHEDER, 5. FEBRUAR 1888.

I et brev til Johan Selmer 15. februar 1888 karakteriserte Svendsen Sarasate som «en prægtig Kunstner og en hyggelig Kammerat». 22. februar fortalte han mer detaljert om Sara­ sates besøk i et brev til Grieg:

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

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

BERGEN PUBLIC LIBRARY.

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

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

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

XII

What is there to say about the Romance for Violin by this superb composer who may not have been adequately understood in Paris and whose admirable and touching inspirations from a heart filled with poetic thoughts fall upon the paper from the depths of his poetic fatherland. All the impassioned dreams of the beautiful country in the north where the lakes, forests and mountains hold such lovely enchantment can be found in these few notes that Ysaye with his incomparable bow has translated for us so eloquently. This music is as clear, open and transparent as the sky that has witnessed its birth. This melody, which advances and grows, which evolves without ever coming to a halt, always simple, avoiding cadences, this melody seems in truth to be a little poem filled with love and mystery, one listens as if clinging to the lips of one’s beloved, it takes hold of you, captivates you, leads you to higher spheres to which only higher reasoning opens up our ears, tired of all the realistic exaggerations we otherwise hear these days.

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

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

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

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

Johan Svendsen er særlig kjendt av det engelske Publikum som den der har komponeret det ene Stykke «Violinromancen», som enhver Violinist spiller. Dette Stykke er typisk for ham. Det er en av disse Ting, som synes at springe like ut av det Instrument, for hvilket det er skrevet. Man kan ikke høre det uten at føle, at det er skrevet av en, for hvem Violinen var et naturlig Uttryksmiddel. Bladet nævner enkelte av Svendsens Verker, som er blit spillet i England, f. Eks. det herlige «Karneval i Paris», men hævder, at ingen av dem har faat et saa fast Tak i Publikum som Romancen, rimeligvis fordi den viser en viss Mildhet i Temperament, som er en Sjeldenhet i vore Dage. Svend­ sens Musik bærer Oprigtighedtens Præg. Listen over hans Kompositioner er merkelig kort for en Mand, som dør i en Alder av 70, og dette er et Bevis paa, at han bare skrev, naar han hadde noget at si, og at han aldri gav efter for den Fristelse til at skrive bare for at skrive, som begavede Mennesker ofte ligger under for. NEKROLOG I BRITISKE «THE TIMES», SOM SITERT I MORGENBLADET, KØBENHAVN, 18. JUNI 1911.

OBITUARY IN THE TIMES, LONDON, 15 JUNE 1911.

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

XIII

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

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

HUGO SELIGMAN IN POLITIKEN, COPENHAGEN, 15 JUNE 1911.

About this edition

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

Ever since the first performances of Svendsen’s Romance Op. 26, soloists performing the work with orchestra have been using the violin part found in the first edition for solo violin and piano. This part is slightly older than that of the orchestral version, and differs in several ways from the latter. The creative variants in the full score’s solo part have been incorporated into the solo part of this JSV edition. The two versions differ particularly in the use of dynamics. Some elements are of particular significance, since Svendsen may simply have ‘forgotten’ them: The staccatos in b. 63, the pp dolce in b. 93, the ff in b. 117 and the sempre ff e ben tenuto in b. 121. Such interesting details can be studied in the critical report at the end of this volume. In our score, some of the variants found in CSPT have been added in [brackets]. The printed orchestral material of the first edition differs in many ways from the first edition score, and many musical elements are missing in the parts. Therefore, the present edition offers an important update of the orchestral material to Svendsen’s most frequently performed work. The first edition was prepared to allow performance in a version for string orchestra and soloist, without winds, since some of the wind parts were inserted as cue notes in the string

Om denne utgaven Helt siden de aller første fremføringene av Romanse op. 26 har solister med orkester benyttet fiolinstemmen fra første­ utgaven for fiolin og piano. Denne stemmen er litt eldre enn orkesterversjonens, og den skiller seg på flere punkter fra den som er integrert i orkesterpartituret. De kreative ideene fra partiturets solo­stemme er med i denne JSV-utgavens solostemme. De to versjonene er særlig ulike når det gjelder dynamikk. Noen elementer er det særlig viktig å merke seg, siden Svendsen rett og slett kan ha «glemt» dem: Rekken med staccati i takt 63, pp dolce i takt 93, ff i takt 117 og sempre ff e ben tenuto i takt 121. Slike interessante detaljer kan studeres nærmere i den kritiske rapporten bakerst i heftet. En del slike varianter fra solostemmen i utgaven for fiolin og piano er tatt med i klammeparenteser i vår utgave Det trykte orkestermaterialet til førsteutgaven skiller seg i mange detaljer fra førsteutgavens partitur, og stemmene mangler en hel del elementer. Denne nye utgaven tilbyr derfor en viktig oppdatering av orkestermaterialet til Svend­ sens mest fremførte verk. Førsteutgaven gjør det mulig å fremføre verket i en ver­ sjon for strykeorkester og solist, uten blåsere, siden en del av blåsestemmene er satt inn som stikknoter i strykestemmene. Verket ble urfremført i 1881 i en slik versjon. Denne

XIV

parts. In 1881, the work was premiered in just such a version. For the first time, this new edition makes the string orchestra version available as a printed score. In Svendsen’s day, and in the decade following his death, several leading violin virtuosos published solo parts of the Romance, including bowings, fingerings and other annotations. At the back of this edition, seven of these solo parts have been reproduced. They provide a fascinating insight into the wide range of musical practices and thinking around the turn of the century. We do not know of any recordings of the Romance with Svendsen conducting, but an excerpt of the work can be heard on one of Denmark’s oldest sound recordings, a wax cylinder from the Gottfried Ruben collection (ca. 1892–1895), played by Svendsen’s friend and pupil Fini Henriques (1867–1940). Henriques recorded the work again in 1911, also this time with a cut, released as a 78 rpm record on the Gramophone Monarch Label, catalogue no. 0897900.

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

Bjarte Engeset English translation: Thilo Reinhard

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. 10

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

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

2

Carl Warmuths stikkerprotokoller. Nasjonalbiblioteket, Oslo.

3

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

12

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

13

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

4

5

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

Nordisk Musiktidende august 1881, s. 116.

14

6

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

15

7

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

16

8

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

17

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

18

Nordisk Musiktidende, August 1881, p. 116.

Johan Svendsen: Almanac for 1881. Notisbøker, almanakker, notehefter og dagbøker. National Library of Norway, Oslo, Ms.8° 1191:14. Harald Herresthal and Ladislav Reznicek: Rhapsodie Norvégienne. Norsk musikk i Frankrike på Edvard Griegs tid. Oslo, 1994, p. 110. Marie Cornaz: À la redécouverte d’Eugène Ysaÿe, Brussels, 2019, p. 30. In their book Rhapsodie Norvégienne Herresthal and Reznicek write that Anton Rubinstein (1829–1894) toured with Ysaÿe, but Rubinstein’s name never apperared in the press releases covering the tour.

9

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

XV

ROMANCE, OP. 26, SKETCHES, SOURCE S. THE DANISH MUSIC MUSEUM, COPENHAGEN, NODEMANUSKRIPTER.

XVII

ROMANCE, OP. 26, PRINTED SOLO PART, FIRST EDITION, SOURCE C SPT. CARL WARMUTH, CHRISTIANIA 1881.

XVIII

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

XIX

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

XX

ROMANCE, OP. 26, COVER OF THE FULL SCORE. SOURCE B. WILHELM HANSEN, KØBENHAVN & LEIPZIG 1899.

XXI

ROMANCE, OP. 26, VIOLA PART, FIRST EDITION. SOURCE APTS. CARL WARMUTH, CHRISTIANIA 1881.

XXII

Romanse, op. 26 JSV 79

Romance, Op. 26

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?# Œ Œ œ

Œ Œ œ

Œ œ Œ Œ œ Œ

Œ œ Œ Œ œ Œ Œ Œ œ

2

œ œ

Œ Œ Œ Œ

Œ Œ œ Œ Œ œ

Œ

œ œ

œ

p

œ

Œ Œ Œ Œ

21 Vln. pr.

&

# 

œ œ. œ œ. -œ œ- œ- œ œ œ. œ œ œ  J J 3

# &  .. π # div. & . . π # B . π div.

I. Vln. II.

Vle.

arco div.

? # . . π

Vc.

Cb.

? # arco . π

ª

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

œ œ. œ œ. œ œ œ #œ  œ. J œ- œ- œ- œ J 3

 ..

 ..

. .

. .

 .

œ

#  ..

. .

.

.

 ..

 ..

 .

#  ..

 ..

.

.

.

.

œ



œ

.

.

 .. 

 ..

 ..

 ..

œ œ

 ..

 ..

.

.

.

.

.

 

.



- œ- œ- œ- œ œ . -œ œ- œ- œ œ œ- œ- œ- œ œ œ œ  J 3

# & œœœœœ p # & n œ p B#

?#



œ

œ œ œ

œ

œ œ œ

3

œœœœœ

œ  .

œ





3

. ∑

. ∑

. ∑

∑

3



œ



œ

œ œ œ



œ



œ

.

.

3

. ∑

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 . j œ œ œ œ œ œ- œ- œ 

p

? # . p



œ

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

A poco animato

# &  p

29



∑

. ∑

∑

37 Vln. pr.

&

#  π

div.

Vln. II.

 #œ .

 

œ œ

n 

œœ



n 

œœ

 .

œ

3

# . &  . π # & . π

I.



œ œ - œ œ . œ œ . œ rit. œ œ œ -œ œ œ J œ 3 f

œ œ. #œ œ. -œ œ- œ- œ œ œ. œ œ œ  J J  ..

 .

#.

#œ

n.

div.

#œ

Vle.

B # . π

.

.



œ n  . œ

 .

œ

Vc.

? # . . π

 .. 

 ..

 .

œ

 .

œ



œ œ

.

.



œ



œ

div.

?#

Cb.

ª

π

I. Vln. II.

Vle.

Vc.

Cb.



œ

œ œ œ œ. œ œ. œ œ œ œ œ. œ œ œ œ œ œ

più mosso q = 116

b &b œ œ œ p

45 Vln. pr.

.

div.

3

b & b ‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ ‰ p b & b ‰ œj‰ œj‰ œj ‰ œj ‰ œj ‰ p

œ œ œ

 .

œ

F

bb

 . b œ b b bb

 .

œ

 . b œ



œœ

 ..

bb



œœ

 ..

bb

œ

.

bb

F F F



F

œ. œ œ œ œ œ œ œ œ œ œ. œ 3

3

œ ‰ œ ‰ œ ‰ œj ‰ # œj ‰ n œj ‰ # œj ‰ œ ‰ œ ‰ œ ‰ œ ‰ # œJ ‰ œJ ‰ Jœ ‰ Jœ ‰ Jœ J J J J J J J

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

B b b ‰ œj‰ œj‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ # œj ‰ n œj ‰ œj ‰ œj‰ œj‰ œj ‰ œj ‰ œJ ‰ œJ ‰ Jœ ‰ Jœ ‰ œ J p pizz. ? bb œ œ œ p

? bb

∑

œ œ œ ∑

œ #œ nœ

nœ bœ

∑

œ

∑

4

œ œ œ ∑

œ

œ œ ∑

œ nœ bœ ∑

b œ œœœœ &b

52 Vln. pr.

3

Bœ œ œ

bœ

[F ]

œ œ œ. œ œ. œ œ œ œ œ. œ œ œ œ œ œ 3

œœœœ

bœ

œ œ œ

3

b œ œ œ œ œ œ œ œ œ & b ‰ # Jœ ‰ n œJ ‰ n Jœ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ # Jœ ‰ n œJ ‰ n Jœ ‰ Jœ ‰ œJ ‰ œJ ‰ Jœ ‰ Jœ ‰ œJ

I.

j j j j j j j j j j j j j j j b j j j j j j & b ‰ œ ‰ œ ‰ œ ‰œ ‰ œ ‰œ ‰ bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰bœ ‰#œ ‰ œ

Vln. II.

B b b ‰ # œ ‰ n œ ‰ n œj ‰ œJ ‰ œJ ‰ œJ ‰ Jœ ‰ œJ ‰ Jœ ‰ Jœ ‰ œJ ‰ œ ‰ # œ ‰ n œ ‰ œ ‰ Jœ ‰ œJ ‰ œJ ‰ Jœ ‰ Jœ ‰ œJ J J J J J J

Vle.

? bb œ b œ

Vc.

? bb

Cb.

œ

œ œ œ

œ œ œ

œ nœ bœ

œ œ œ

œ œ œ

œ nœ bœ

pizz.

∑

p

œ bœ

œ

œ bœ

œ

œ œ œ

œ

œ œ œ

œ

bœ

œ

bœ

œ

ª

? bb

59 Fg.

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

∑

∑

œ. œ œ œ œ. œ œ œ œ œ bœ bœ b b & 3 3

b. π

b.

.

I.

.

œ œ b œ b œ œ . œ n œ œ . œ [œ. b œ. b œ. œ. b œ. œ. œ œ œ. n œ. œ. ] œ œ œ . œ J

p

bb ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰pizz. œ‰ & J J J J J J J π b ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ pizz.j‰ b bœ œ œ #œ nœ nœ nœ & π div. j j j j j npizz. j b B b ‰ b œœ ‰ œœ ‰ œœ ‰# œœ ‰ n œœ ‰ œ ‰ œœ ‰ nœ J π ? bb œ n œ b œ œ b œ œ bœ bœ π ? bb œ n œ b œ œ b œ œ bœ bœ π

3

3

3

J

3

œ ‰ œ ‰ œj ‰ œj ‰ œj ‰ œ ‰ œ J J J J

j j j ‰ œ ‰ œ ‰œ ‰œ J

œœ ‰ œœ ‰ b œœ ‰ œœ ‰ œœ ‰ n œœ ‰ œœ J J J J J J J

‰ œœ ‰ b œœ J J

j j j j j j j j j j j œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ nœ ‰ œ ‰ œ ‰bœ ‰œ ‰œ

œ œ

5

œ œ

bœ œ bœ œ

bœ bœ

bœ bœ

œ œ

œ œ

‰ œœ J

‰ œœ J

bœ œ bœ œ

65

bb

Fl.

&

Ob.

&b

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

C

b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

b b n. & b b b # . p

 ..

n  ..

 ..

∑

∑

? b # #  .. b p

#  ..

# #  ..

n n  ..

∑

∑

#  ..

#  ..

#  ..

n  ..

&

p

? &b &

b &b B bb ? b b ? b b

∑

∑

. œ œ œ œ œ #œ #œ #œ #œ#œ œ

b

bb

∑

C

F

3

cresc.

‰ b Jœ ‰ œJ ‰ Jœ ‰ # Jœ ‰ œJ ‰ œJ p cresc. arco

.

.

I.

∑

p

∑

∑

#œ nœ.#œ #œ nœ nœ œ. œ nœ œ œ œ. œ #œ #œ #œ #œ #œ nœ # œ . Jœ 3 3 p ‰ # Jœ ‰ Jœ ‰ Jœ

‰ # œJ ‰ Jœ ‰ Jœ ‰ n Jœ ‰ Jœ ‰ œJ ‰ n œJ ‰ Jœ ‰ Jœ p dim. pizz.

arco j j j j pizz. j j j j j ‰ œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ # œj ‰ œj ‰ œj ‰ n œ ‰ œ ‰ œ ‰ n œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ J J J J J J cresc. p p dim. arco ‰ b œœ ‰ œœ ‰ œœ ‰# # œœ ‰ œœ ‰ œœ J J J J J J p cresc.

œ œ œ œ

œ œ

‰# # œœ ‰ œœ ‰ œœ J J J

#œ

œ

œ

#œ

œ

œ

#œ

œ

œ

#œ

œ

œ

cresc.

cresc.

6

pizz. ‰# n œœ ‰ œœ ‰ œœ ‰ Jœ ‰ œJ ‰ œJ ‰ # œJ ‰ œJ ‰ Jœ J J J p dim. œ #œ œ #œ # œ œ œ œ nœ p dim. œ #œ œ #œ #œ nœ œ œ œ p dim.

Fl.

&b

b

∑

∑

∑

∑

∑

∑

Ob.

&b

b

∑

∑

∑

∑

∑

∑

b & b bbb

∑

∑

n  ..

 ..

 ..

b  ..

? b b

∑

∑

# n  .. p

 ..

#  ..

nb  ..

 ..

#  ..

n  ..

71

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

.

&

∑

cresc.

cresc.

#  ..

.

?

p

∑

p

cresc.

∑

&

b &b B bb

‰ n Jœ ‰ Jœ ‰ nœ ‰ œ J J

œ

œ

‰ J ‰ J

? b nœ b ? b nœ b

œ œ

dim.

cresc.

∑

nœ. nœ œ bœ nœ œ œ nœ #œ œnœ 3

j j j j j j j œ n œ œ œ œ œ œ œ œ œ œ ‰ J ‰ J ‰ J ‰ J ‰ # œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰# œ ‰ arco div.

p

dim.

∑

∑

n œ œ œ œ œ # œ œ œ œ # œ œ # œ # œ œ . œ # œ # œ# œ n œ # œ œ . # œ n œ n œn œ œ bb J & 3 3 3 3 cresc. F bb

dim.

j j

œ‰œ œ œ

j

j

j

‰ n œœ ‰ œœ ‰ œœ

arco div.

j j j j j j j j j j j j j j j ‰ œ ‰ # œ ‰œ ‰œ ‰ n œ ‰ œ ‰ œ ‰ n œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ b œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ J p cresc.

œ ‰ # œ ‰ œ ‰ œ ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j‰ j ‰ j ‰ j ‰ j œœ œœ # œœ œœ œœ n b œœ œœ œœ J J J # n œœ œœ œœ n œœ arco div.

‰ J #œ #œ

p

#œ

œ #œ nœ œ œ

#œ

œ #œ nœ œ œ

cresc.

œ

œ

œ

œ œ œ

bœ

œ

œ

œ

œ

œ

œ œ œ

bœ

œ

œ

p

cresc.

p

cresc.

7

77 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

&b

molto animato D b

∑

∑

∑

∑

∑

∑

∑

∑

>œ

œ >



>œ

œ >

œ

Œ Œ

∑

∑

∑

I. bb b b œœ Œ >œ & b p

œ >



>œ

œ >

œ Œ Œ

∑

∑

∑

p>

œ 

>



œ

>

œ 

>

œ Œ Œ

∑

∑

∑

œ 



œ>

œ 

>

œ Œ Œ

∑

∑

∑

∑

∑

∑

∑

∑

&

bb

Œ Œ

p

? bb

I. œœ Œ œ

&

œœ Œ œ > I.

? &b

∑ b

b &b &b

b

B bb ? b b ? b b

>

p

∑

œ œ. œ #

f

J

∑

œ

œ œ. œ #

œ

J

cresc.

molto animato ed appassionato

D molto animato

œ œ. œ œ #œ œ œ œ. œ œ #œ œ J

J

b. f

.

b.

.

b. >

b. >

>.



b > .

.

#.

.

#.

. > .

cresc.

> .

> .

> .

.

b.

.

cresc.

.

.

b > .

> .

b > .

.

.

b.

.

b.

f

b. f

.

.

. f

.

arco

f

arco

cresc.

> . > .

cresc.

.

cresc.

8

> .

> .

> .

 œ bœ œ œ œ bœ bœ 85  œ  bœ . œ #œ œ bb & a tempo

Vln. pr.

ƒ

Vln. II.

Vle.

.



b & b .

.

b.

B bb  .

.

.

dim.

dim.

dim.

.

bœ œ. œ  J p [ π dolce]

n.

 bœ .

n.

œ #œ œ #.

n.

.

.

.

.

.

.

.

.

b.

.

#.

dim.

? bb  Œ

Cb.

œ b.

 bœ  nœ b.

? bb  .

Vc.

Tempo I. ben tranquillo

dim.

b .

&b

I.

poco a poco più lento

∑

∑

∑

∑

∑

∑

œ b œ œ . œJ

b. π

.

b.

. π

b.

n.

.

.

.

n. π

n.

.

π

Œ Œ œ Œ Œ œ π

∑

Œ Œ œ

pizz.

ª

b &b

96 Vln. pr.



œ

b & b .

œ œ. œ 

œ œ œ œ

J

œ #œ œ nœ œ œ œ œ œ œ œ œ rit.

œ œ œ. œ j

J

b & b b.

.

.

.

.

.

.

 ..

n.

.

n.

.

.

.

œ

Vle.

B bb  .

b.

Vc.

? bb n  .

b.

.

.

#.

.

.

.

œ Œ Œ

Cb.

? bb Œ Œ œ

I. Vln. II.

.

.

∑

.

∑

.

∑

.

∑

9

.

.

∑

# œœ Œ Œ

∑

œ Œ Œ

∑

∑

b &b

105 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I.

&b

Vle.

‰

b

π

‰

bb &bbb ? b b

‰

‰

œœ œœ œœ ‰

‰

‰

œ œ œ œ #œ œ ‰

‰

œœ œœ œœ #œ nœ ‰ ‹œ ‰ #œ ‰ #œ œ ‰ ‰ ‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

.

.

I.

π

œ

#œ

nœ

nœ

bœ

œ

.

&

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

b &b &

bb

Vln. II.

œœ œœ œœ

più mosso

&b

b

B bb

Vc.

? bb

Cb.

? b b

œ

p

œ

œ

œ

œ œ œ. œ œ. œ œ œ œ œ. œ œ 3

œœ œ œ

œ

œ

œ

3

‰ œJ ‰ Jœ ‰ œJ π

‰ œJ ‰ Jœ ‰ Jœ

‰œ ‰œ ‰œ J J J π

‰ œJ ‰ Jœ ‰ Jœ

‰œ ‰ œ ‰ œ J J J

‰ œ ‰ œ ‰ œ ‰œ ‰œ ‰œ J J J J J J

œ

œ

nœ

più mosso

‰ Jœ ‰ œJ ‰ Jœ

‰ œJ ‰ Jœ ‰ œJ ‰ œJ ‰ Jœ ‰ œJ

‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ #œ œ ‰ ‹œ #œ ‰ #œ nœ ‰ #œ œ ‰ œ œ ‰ œ œ ‰ œ œ π

œ

pizz.

p

œ

œ

∑

œ

œ

#œ

∑

nœ ∑

10

bœ

œ ∑

œ

œ

œ ∑

110 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

&

bb

‰

œœ œœ œœ ‰

‰

‰

œ œ œ œ # œ œ # œ # œ n œ n œ # œ œE ‰

‰

‰

‰

‰

∑

b &b

∑

∑

∑

∑

bb &bbb

∑

∑

∑

∑

? b b

œ

œ

œ

œ

nœ

bœ

œ

bœ

œ

∑

n > . p

> .

p

> . . p

∑

&

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

&b

b

b &b b &b

œ

œœ œœ

‰ œJ ‰ # Jœ ‰ Jœ

œ. œ œ œ œ. œ œ œ 3

3

œ

[F ]

E

. œ œ œ œ œ œœœœœ

‰ œ œ ‰ œ œ ‰ # œ œ ‰ # œ # œ ‰ n œ n œ ‰ # œ œ ‰ œœ ‰ œœ ‰ œœ J J J div.

3

cresc.

‰ œœ ‰ œœ ‰ œœ J J J cresc.

j j j j j j ‰ œ œ ‰ œ œ ‰ œ œ ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ div.

B bb

‰ œJ ‰ Jœ ‰ Jœ

‰ Jœ ‰ œJ ‰ Jœ

? bb

œ

œ

? b b

œœ œ œ

œ

œ

∑

nœ

bœ

‰ œJ ‰ œJ ‰ œ J

œ

bœ

œ ∑

∑

11

cresc.

j j j j j j ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ div.

cresc.

j j œ ‰ œ ‰ œ ‰ j

arco

œ ‰ œ ‰ # >œ J J cresc.

> j j j œ ‰ œ ‰ œ ‰ œJ ‰ Jœ ‰ # œ

arco

p

cresc.

b &b

115 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

&

bb

œ

Œ

œ

Œ

Œ

bb œ &bbb

Œ

Œ

Œ

> .

œ

> .

œ

> . .

œœ

Œ

Œ

∑

rit.

∑

∑

Œ

Œ

∑

∑

∑

Œ

Œ

∑

∑

∑

? b b

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

Ÿ~~~~~~~~~~~~~~~~~~

.

F

. œ œ œ œ œ œœœœœ

œ

dim.

œ Œ Œ

π

œ. œ œ. œ œ. œ œ. . œ œ œ œ . œ œ- # œ- n œ- n œ- b œ- œ œ- # œ- n œ- b œ œ - - œf largamente

&

bb

&

bb

‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ  ..

 ..

b &b

j j j j j j ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ  . . > F ‰ œj ‰ œj ‰ œœj ‰ œœj ‰ œœj ‰ œœj  .. J J > F

. .

B bb ? bb ? b b

3

[ƒ]

J

J

J

J

J

J

> F

dim.

dim.

 ..

dim.

œ ‰ œ ‰ œ ‰ œj ‰ œj ‰ # œ J J J

.

.

j j œ œ œ J ‰ J ‰ J ‰ œ ‰ œ ‰ #œ > F

.

.

> F

dim.

dim.

12

œœ

rit.

Œ

Œ

∑

œ œ

Œ

Œ

∑

œœ

Œ

Œ

∑

œ

Œ

Œ

∑

œ

Œ

Œ

∑

π π π π π

121 Fl.

Ob.

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I.

&b

b &b

Vle.

œ.

œ.

œ.

Œ J‰Œ

Œ J‰Œ

Œ J‰Œ

∑

. Œ Jœ ‰ Œ F

. Œ Jœ ‰ Œ

. Œ Jœ ‰ Œ

. Œ œJ ‰ Œ

∑

œ.

Œ

œ.

Œ

Œ

Œ J‰Œ F

b & b bbb Œ

I.

j‰ Œ

j‰ Œ

j‰ Œ

n œ.

j‰ Œ

Œ

n œ.

∑

∑

∑

#

∑

∑

∑

#

rit.



.

.

bb

Œ

n π

∑

∑

∑

∑

> F ∑

&

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

œ #œ œ

œ #œ nœ

œ #œ nœ. œ

∑

∑

? bb

&b

b

&

bb

&

bb

Vln. II.

b

œ.

Lento

B bb

Vc.

? b b

Cb.

? b b

F

.

[sempre

Lento

ƒ

Œ b œœ Œ F pizz. div.

pizz. div.

Œ œ Œ bœ F pizz. div.

Œ b œœ Œ F

Œ œ Œ F pizz.

Œ œ Œ F pizz.

.

e ben tenuto ]

b.

n.

j

œ

∑

œ



Œ # œœ Œ

Œ # œœ Œ

Œ œ Œ bœ

Œ #œ Œ œ

Œ #œ Œ œ

Œ

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 n > F

Œ œ Œ

Œ œ Œ

Œ œ Œ

13

arco

> F

arco



> F

dim.

∑

.

n.

dim.

.

#.

dim.

arco

∑

∑

rit.

Œ b œœ Œ

∑

dim.

bœ ∑

.

dim.

∑

#

∑

j #

j

Œ



π π π

# #

. .

#

# ∑

#

129 Fl.

&

Ob.

&

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I.

œ Œ ‰. R J ‰ Œ

#

p

#

Vc.

Cb.

œ œJ ‰. R ‰ Œ

œ

œ œ ‰. R J ‰ Œ ‰. œ J ‰ Œ R

œ œ ‰. R J ‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

?#

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

œ œ. œ- œ- œ- œ

œ œ. œ J œ.

&b

&

& &

#

# #

b

3



π

Tempo I.

Œ Œ

div.

œ œ

pizz.

π

div. sul ponticello

..

sempre

Vle.

œ œJ ‰. R ‰ Œ

∑

Vln. II.

œ

Tempo I.

π

sul ponticello B # . . sempre π

?# ?#

Œ

Œ

œ œ

œ œ

Œ Œ

..

..

..

..

Œ

Œ

Œ

Œ

π

Œ

..

Œ

œ

Œ

..

œ Œ

pizz.

œ œ

œ- 

..

Œ

π

Œ

j

œ œ œ œ œ œ- .

..

œ Œ

pizz.

Œ

j

œ

œ

Œ

Œ

œ

Œ

Œ

14

œ œ. œ- œ- œ- œ

œ

3

œ œ

Œ

Œ

J

œ œ



œœ œ œœ  

œ

Œ

Œ

œ Œ

Œ

œœ  œ

Œ

œ

œ

Œ

Œ

œ Œ

Œ

œ Œ

œ

# & Œ

Fl.

Ob.

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

?#

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

?

∑

&

#

&b

& &

# # #

b

Œ

&

Vle.

B # . . ?# ?#

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . .

∑ j

œ œ œ œ # œ œ- .

œ. œ œ.

II.

Cb.

œ F

∑

Vln.

Vc.

#œ ‰. #œ J ‰ Œ R

‰ . Rœ J ‰

135

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



p

F

3

œœœœœ



œ



arco

p

ord.

..

# ..

π

n p

Œ

œ

Œ

Œ

p

. œ

Œ

p

15

œ

œ œ œ

.

.

arco

p

œ 

- œ- œ- œ- œ- œ- œ- œ œ œ . œ œ œ œ œ œ- œ- -



Œ

œ œ œ

3

ord.

œ

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 œ œ œ œ œ œ œ . œ œ œ  # œœ œ- œ- œ œ J &  3 3 f ] [ p] [ div.  # œ œ œ œ  œ  ..  .. & œ œ œ œ œ f ] p [ #  œ œ œ œ  œ & œ .  #. [ ] p f œ œ œ œ œ œ 3 œ œ- œ- œ- œœ. œ . œ B# œ . œ- œ-  J f [ ] p

141 Timp.

Vln. pr.

I. Vln. II.

Vle.

? # .

Vc.

?# œ

Cb.

.

Œ

œ

Œ

.

Œ

œ Œ

Œ

ª

# œ. œ œ. &

œ œ œ œ œ œ- . J

147 Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

&

# #

 .

#œ

 .

œ-

J #œ



.



œ

? # . .

 .

œ

.



B#

?#

  

œ œ

n



œœ

n  .

œ

cresc.

cresc.

#œ

œ

cresc.

div.

cresc.

 . 

cresc.

cresc.

3

 .. 

arco

.

. p

œ œ œ œ- œ- œ- œœ œ- œ- - œ œ œ J

n 

œœ

 .

œ

 .

œ

œ



œ œ

œ



œ

16

 ..

p

œ Œ Œ

Œ

œ œ. œ- œ- œ- œ

div.

& n.

.

div.

#œ J

f

 ..

 ..

 ..

 ..

.

.

F F F

 ..

F

.

F

 .. .

153

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

?#

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ob.

&

Cor. (Mi)

Timp.

Vln. pr.

I.

Vle.

#

&b

& & &

b

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . . . œ Œ Œ

?

Vln. II.

F

# œ- œ- n œ- œ

>œ

œ

>œ œ >œ œ n >œ œ

animato e cresc.

# #

B#

G

œ . 

œ

>œ

>œ >œ œ # >œ œ n œ œ

animato e cresc.

 #œ œ #œ œ  > œ



? # .

.

? # .

.

.

.

animato e cresc.

Cb.

animato e cresc.

œ- # œ- œ- b œ œ œ œ œ œ  œ 

ƒ

largamente

œ #œ nœ œ œ nœ  bœ . f

riten.

largamente

.

.

f

largamente

f

largamente

#.

17

Œ

rit.

∑



Œ

∑

œ .

.



Œ

∑

œ n

œ .

œ. œ œ œ œ œ œ œ œœ

riten.

∑

B

∑

.

riten.

∑



∑

œ .

riten.



œ Œ Œ

Œ

riten.

> œ # >œ œ >œ œ #  . n œ f largamente > œ # >œ œ >œ œ #  . n

> œ nœ œ #œ

animato e cresc.

animato e cresc.

Vc.

rit.

∑

&

Fg.

G

∑

Fl.

Cl. (La)

#

∑

∑

∑

163 Fl.

&

Ob.

&

Cl. (La)

#

Lento

∑

# 

∑

Cor. (Mi)

Timp.

Vln. pr.

I.

Vle.

Vc.

Cb.

∑

∑

∑ ∑

n

œ

œ #œ nœ



Œ

∑

∑

b œœ n œœ b b œœ &b p

 .

œ

 .

œ



Œ

∑

∑

œ #œ nœ



Œ

∑

p

B # nœ œ bœ p

œ bœ œ

Œ

&

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

& & &

#  p

# #

B# ?# ?#

3

œ œ œ œ- œ- œ . œ œ œ œ- œ- œ J œ 

F

cresc.

Lento

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ Œ Œ ∑

∑ ∑

∑

∑

∑

∑

18

3

bœ

con sord.

œ

F

.

I.



F

œ œ. b œ- b œ- œ- œ

più Lento





I.

∑

œ œ. b œ- b œ- œ- œ

I.

Œ ?œ F

∑

Vln. II.

∑

bœ

I.

Fg.

∑

più Lento

#œ ∑

j

œ œ œ œ- œ- œ . œ

cresc.

n

cresc.

œ

œ #œ nœ

œ #œ nœ



œ

œ #œ nœ

œ œ bœ

cresc.

p

con sord.

p

con sord.

p

nœ œ bœ p nœ œ bœ con sord.

p

cresc.

.

.

œ bœ œ

œ bœ œ

cresc.

œ bœ œ cresc.

œ bœ œ

170

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

? # .

∑

∑

&

∑ ∑

Fl.

&

Ob.

&

Cl. (La)

Fg.

Cor. (Mi)

Timp.

Vln. pr.

I.

Vle.

Vc.

Cb.

#

&b

b

.

.

? & &

Vln. II.

#

&

∑ # # #

B# ?#



.

p

.

.

π

. . 

?# 

.

π

.

œ œ

π

.

π

.

π

œ œ œ . 3

.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

 .

œ œ œ . 3

.

.

.

.

.

.

.

.

.

.

.

.

.

poco rit.

19

œ œ œ .

.

π

.

œ

morendo

Œ Œ

 ..

b  ..

 ..

 ..

œœ Œ Œ

 ..

 ..

 ..

morendo

 ..

œœ Œ Œ

 ..

b  ..

 ..

 ..

œœ Œ Œ

.

.

œŒ Œ

œ Œ Œ

œŒ Œ

poco rit.

div.

∏ div.

∏ div.

∏ .

∏

∑

morendo

morendo

.

morendo

∑

∑

pizz.

π

∏

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Dk-Km Musikmuseet, Copenhagen Fg. Fagotto Fl. Flauto JS Johan Svendsen Ob. Oboe Pl. No. plate number stacc. staccato marking(s) str. strings ten. tenuto marking(s) Timp. Timpani Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

20

SOURCES

CRITICAL REPORT

Romance, Op. 26 S Sketches A Printed score, first edition (Warmuth) APTS Printed parts, first edition (Warmuth) B Printed score, Wilhelm Hansen edition BPTS Printed parts, Wilhelm Hansen edition C Printed piano score, version for violin and piano, first edition (Warmuth) CSPT Printed solo part, version for violin and piano, first edition (Warmuth) D Printed score, version for violin and piano, Wilhelm Hansen edition SPT D Printed solo part, version for violin and piano, Wilhelm Hansen edition

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. 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 S Sketches DK-Km, Nodemanuskripter 1 page, 27x17 cm 16 bars Written in pencil (Johan Svendsen)

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

Source APTS Printed parts, first edition Carl Warmuth, Christiania 1881 Title page: ROMANZE Pl. No. 758

Source B Printed score, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12600, Ed. nr. 603 Reprint of the Warmuth edition

21

A selection of published editons of the Svendsen’s arrangement for violin and piano

Source BPTS Printed parts, Hansen edition Wilhelm Hansen, København & Leipzig 1899 Pl. No. 12600, Ed. nr. 603 Reprint of the Warmuth edition

Violin and piano Neue Ausgabe von Fritz Kreisler Cover: SVENDSEN / ROMANZE FÜR VIOLINE / Op. 26 / Neue Ausgabe von FRITZ KREISLER Wilhelm Hansen, København & Leipzig, 1912 Pl. No. 15254

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

Violin and piano Revue et doigtée par August Wilhelmj Cover: August Wilhelmj / ‘Newly revised Editions of / VIOLIN MUSIC WITH PIANO Schott & Co., London, c1910 Pl. No. 1668 S & Co. Violin and piano Revised and fingered by Gustav Saenger Cover: Masterpieces / for / Violin and Piano Carl Fischer, New York, 1897 Pl. No. 1838-10

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

Violin and piano Edited by Arthur Hartmann Cover: MASTER PIECES / FOR THE / VIOLIN / WITH PIANO ACCOMPANIMENT / ARRANGED AND EDITED/ BY / ARTHUR HARTMANN Theodore Presser Co., Philadelphia, 1916 Pl. No. 13753-10

Source D Printed piano score, version for violin and piano Wilhelm Hansen, København & Leipzig 1899. Pl. No. 12600, Ed. nr. 604 Reprint of the Warmuth edition

Violin and piano Edited and fingered by Philipp Mittell Cover: VIOLIN- / CLASSICS / A COLLEC- /TION OF ORIG- / INAL PIECES / AND ARRANGE- / MENTS FOR VIO- / LIN WITH AC- / COMPANIEMENT / OF PIANO REVIS- / ED AND FINGERED / BY / PHILIPP MITTELL G. Schirmer, New York, 1894 Pl. No. 13266

Source DSPT Printed solo part, version for violin and piano Wilhelm Hansen, København & Leipzig 1899. Pl. No. 12600, Ed. nr. 604 Reprint of the Warmuth edition

Violin and piano Bowing and fingering by Joseph Ivimey Cover: Augener’s Edition, / No. 7587. / Romance / pour Violon / avec accompagnement de Piano / PAR / J.S. SVENDSEN / OP. 26. Also a solo part without Ivimey’s bowings and fingerings Augener & Co., London, c1887 Pl. No. 7919 Violin and piano Edited by Alfred Moffat Cover: J. SVENDSEN / CELEBRATED / ROMANCE / Op. 26 / FOR / VIOLIN & PIANOFORTE / EDITED BY / ALFRED MOFFAT Alfred Lengnick & Co. Ltd., London

22

Arrangements published by Carl Warmuth and Wilhelm Hansen. (All Warmuth editions listed here were later republished by Wilhelm Hansen).

Pl. No. A.107 L. Violin and piano Edited by Rene Ortmans Album-Virtuose: violon et piano – Edition Laudy Laudy & Co., London & Paris, c1890

Piano solo Arranged by Eyvind Alnæs Title page: Arr. for Piano solo af Eyvind Alnæs Carl Warmuth, Christiania, 1896 Pl. No. 2193

Violin and piano Cover: EDITION GUTHEIL / COMPOSITIONS / POUR LE / VIOLON / AVEC ACCOMPAGNEMENT DE PIANO A. Gutheil, Moscou Pl. No. 4901

Piano four hands Arranged by Jaques Durand Carl Warmuth, Christiania, 1885 Pl. No. 999

Violin and piano Edited by Basil Althaus E. Donajowski, London, c1895

Viola and piano Arranged byHeinrich Dessauer Title page: Für Viola u. Piano, arr v. Heinrich Dessauer Carl Warmuth, Christiania, 1894 Pl. No. 2025

Violin and piano Edited by Stanley Lucas Weber & Co, London, 1886 Violin and piano Edited, revised & fingered by Henry Tolhurst Cover: Library of Classics / for the / VIOLIN / with Pianoforte accompaniment / Edited, revised & fingered by / Henry Tolhurst Joseph Williams, Ltd., London, 1894 Pl. No. N.10704

Cello and piano Arranged by Popper Title page: Für Cello & Piano, arr af Popper Carl Warmuth, Christiania, 1882 Pl. No. 807

Violin and piano Arranged and fingered by Spencer Dyke Cover: LIBRARY OF CLASSICS / FOR THE VIOLIN / with Pianoforte accompaniment. / ARRANGED AND FINGERED BY / . SPENCER DYKE . / Series 1 Joseph Williams, London, 1921 Pl. No. N.10704

Harmonium solo Arranged by Richard Lange Title page: Arr. for Harmonium solo af Richard Lange Carl Warmuth, Christiania, 1899 Pl. No. 2255 Violin and harmonium solo Arranged by Richard Lange Title page: Arr. for Violin & Harmonium af Richard Lange Carl Warmuth, Christiania, 1899 Pl. No. 2256

Violin and piano Cover: Classics for violin : with piano accompaniment, Vol. I. Romance in G, op. 26 / Johan Svendsen Boston : Oliver Ditson; New York : Chas. H. Ditson, 1903

Harmonium and piano Arranged by Richard Lange Title page: Arr. for Harmonium & Piano af Richard Lange Carl Warmuth, Christiania, 1897 Pl. No. 2257

Violin and piano Cover: No. 51. SELECTED GEMS / ROMANCE / BY / JOHAN S. SVENDSEN / FOR VIOLIN AND PIANO / WITH SEPARATE Ist VIOLIN PART W.H. Paling & Co., [19--?] Sydney Pl. No.: W.H.P. & Co. 1541

Salon orchestra with violin solo Arranged by Nicolaj Hansen Title page: Salonorkester med soloviolin, Heimdal 53, (Nicolaj Hansen) Wilhelm Hansen, København & Leipzig, 1917 Pl. No. 16669

Violin and piano Cover: MODERN / MASTERS / FOR THE VIOLIN No. 43 Romance (Svendsen) Allan & Co., [19--?], Melbourne Pl. No.: B. 1348

23

Violin and piano Erleichterte Ausgabe von Gustav Holländer Wilhelm Hansen, København & Leipzig, 1912 Cover: SVENDSEN / ROMANZE FÜR VIOLINE / Op. 26 / Erleichterte Ausgabe von GUSTAV HOLLÄNDER Pl. No. 15255 Flute and piano Arranged by W. Barge Title page: Flöte und Klavier (W. Barge) Wilhelm Hansen, København & Leipzig, 1907 Pl. No. 13960 String quartet Arranged by Nicolaj Hansen Title page: Strykekvartett (arr. Nic. Hansen) Wilhelm Hansen, København & Leipzig, 1904 Pl. No. 13395 Violin, harmonium and piano Arranged by Nicolaj Hansen Title page: Violin, harmonium og piano (arr. Nic. Hansen) Wilhelm Hansen, København & Leipzig Violin, harp and organ Arranged by Nicolaj Hansen Title page: Violin, harpe og orgel (arr. Nic. Hansen) Wilhelm Hansen, København & Leipzig. 1904 Pl. No. 13394 Two violins Nach der erleichterten Ausgave von Gustav Holländer Wilhelm Hansen, København & Leipzig, 1914 Pl. No. 15641a Three violins Wilhelm Hansen, København & Leipzig, 1914 Nach der erleichterten Ausgabe von Gustav Holländer Cover: NORDEN / Album /für/ 3 / Violinen Band 1. Pl. No. 15643

24

EVALUATION OF THE SOURCES

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS

Aside from a few bars of sketches (b. 129 ff, Source S), no autograph manuscript of the Romance survives. The first printed edition, Source C, for violin and piano, was published by Carl Warmuth in September 1881. According to the cover, this version was made by the composer. The full score and orchestral parts were published one month later. We have chosen the first edition of the full score, Source A, as the principal source for our new score. The source is clear and coherent and only required minor adjustments. The printed parts, Source APTS, are not always in agreement with the printed score, and a number of elements found in the score are missing. All these discrepancies are listed in the table below. The most interesting and challenging editing issues are the result of differences between the solo part in the full score and the separately printed solo part, Source CSPT. The latter is older and in some cases deviates from the full score, especially in regard to dynamic markings. The dynamic markings in the printed solo part mostly correspond with those in the piano score, while the dynamics in the full score’s solo part not only agree more closely with the orchestral parts, but also include several independent creative elements. Since the two versions of the Romance (piano version/orchestra version) can be considered two different renditions of the work, we have chosen the full score, Source A (the most recent source), as our principal source for the solo part. But also the printed solo part, Source CSPT, includes some unique and significant variants that have been part of the work since the day it was written. These variants are noted in the table of emendations and alternative readings. Of particular interest are the staccatos in b. 63, the pp dolce in b. 93, the ff in b. 117 and the sempre ff e ben tenuto in b. 121. In our score, some of the variants found in CSPT have been added in [brackets]. The Wilhelm Hansen editions, Sources B, BPTS and D, SPT D , are reprints of the Warmuth plates with new covers. A version for violin and string orchestra was produced by including cue notes with material from the winds in the printed string parts, Source APTS. For the first time, this version is available, printed in the addendum on p. 33 ff. The addenda also include seven annotated performer’s editions of the solo part, published during Svendsen’s life time and in the decade after his death. These solo parts provide a valuable insight into the performance practices and artistic thinking of the time.

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

Romance, Op. 26

25

Bar

Instr.

Comment

21

Cb.

APTS: no pp; cresc.

41

Vle.

div. added by analogy with b. 149 and as in APTS

42

Vln. I

APTS:

begins here

35

Vln. I

APTS:

only this bar, not b. 36

36

Vln. I

APTS: dim.

36

Vln. II

APTS: no

42

Cb.

APTS:

begins here

43

Vle., Vc.

APTS:

begins here

61

Vln. I

APTS: p

68

Vln. II

cautionary accidental added

76

Cor.

APTS: dim. from beginning of bar

77

Ob., Cl., Fg.

> added by analogy with bb. 78, 79, 80 (C has fz on the corrersponding notes of bb. 77, 78, 79, 80)

77

Cl., Fg., Cor. I/II

APTS: note 1: p

77

Vc.

arco added as in APTS

81

Vln. II

APTS: no >

85

Vln. II

APTS: dim. placed here, not in 86

113

Vln. I

div. added by analogy with the other parts

113

Cb.

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

114

Fl.

cautionary accidental added

117

Cb.

APTS: >

129

Vln. II

div. added by analogy with Vle. and as in APTS

129

Vle.

APTS: no div.

137

Vln. II, Vle. l’arco nel modo ordinario emended to ord.

137

Vle.

notes 2–4: slur and ten. added by analogy with b. 29 and as in APTS

139

Vln. II

APTS:

here and not in b. 140

141–142

Vln. I/II, Vle.

added in [brackets] as in CSPT (Vln. pr.) f added in [brackets] as in C

143

Vln. I/II, Vle.

144

Vln. I/ II, Vle.

pr.)

145

Cb.

APTS: no p

149

Vln. II, Vle. APTS: no div.

150

Vln. I

cautionary accidental added

153

Vc., Cb.

animato e cresc. added by analogy with the other parts and as in APTS

157

Vln. I

cautionary accidental added

158

Vln. I

note 1: cautionary accidental added

158

Vln. II

cautionary accidental added

159

Vc.

cautionary accidental added

162

Vln. I, Vle.

APTS: no rit.

168

Vle.

APTS: no cresc.

SPT

(Vln. pr.)

added in [brackets] as in CSPT (Vln.

SOLO VIOLIN PART Some variants from CSPT are added in brackets in our part 25

Vln. pr.

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

31

Vln. pr.

CSPT: note 1: no ten.

35

Vln. pr.

CSPT: notes 4–5: ten.; note 1: f

36

Vln. pr.

C

:

37

Vln. pr.

C

:p

41

Vln. pr.

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

44

Vln. pr.

C

53

Vln. pr.

mf added in [brackets] as in C

63

Vln. pr.

notes 1–9: stacc. added in [brackets] as in CSPT

63

Vln. pr.

slur from the appoggiatura added as in CSPT

64

Vln. pr.

C

68

Vln. pr.

note 4: cautionary accidental added

69

Vl. pr.

note 3: cautionary accidental added

71

Vln. pr.

slur from the appoggiatura added as in A

74

Vln. pr.

note 4: cautionary accidental added

SPT

begins here, not in b. 35

SPT

SPT

: poco rit.

SPT

SPT

: no

SPT

SPT

26

76

Vln. pr.

note 5: cautionary accidental added

81

Vln. pr.

CSPT: no cresc.

88

Vln. pr.

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

93

Vln. pr.

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

93

Vln. pr.

pp dolce added in [brackets] as in CSPT

101

Vln. pr.

cautionary accidental added

113

Vln. pr.

mf added in [brackets] as in CSPT

117

Vln. pr.

ff added in [brackets] as in CSPT

117

Vln. pr.

CSPT: no largamente

119

Vln. pr.

CPTS: note 1: rit.

121

Vln. pr.

Lento molto; sempre ff e ben tenuto added in [brackets] as in CSPT

127

Vln. pr.

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

128

Vln. pr.

slur from the appoggiatura added

129

Vln. pr.

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

129

Vln. pr.

C: p

132

Vln. pr.

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

133

Vln. pr.

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

136

Vln. pr.

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

140

Vln. pr.

CSPT:

141–142

Vln. pr.

143

Vln. pr.

144

Vln. pr.

145

Vln. pr.

p added in [brackets] as in CSPT

147

Vln. pr.

CSPT:

148

Vln. pr.

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

151

Vln. pr.

CSPT: ff

153

Vln. pr.

CSPT: no ten.

157

Vln. pr.

cautionary accidental added

157

Vln. pr.

CSPT: f ; no ten.

160

Vln. pr.

CSPT: no slur

166

Vln. pr.

CSPT:

placed in b. 139 added in [brackets] as in CSPT

f added in [brackets] as in CSPT added in [brackets] as in CSPT

only in this bar and not in b. 148

ADDENDA

VERSION FOR VIOLIN AND STRING ORCHESTRA Johan Svendsen: Romance, Op.26, Version for Violin and String Orchestra, JSV 79c

31

SEVEN ANNOTATED PERFORMER’S EDITIONS OF THE SOLO PART About the editions and the editors

50

Neue Ausgabe von Fritz Kreisler

52

Revue et doigtée par August Wilhelmj

54

Revised and fingered by Gustav Saenger

56

Edited by Arthur Hartmann

58

Edited and fingered by Philipp Mittell

60

Bowing and fingering by Joseph Ivimey

62

Edited by Alfred Moffat

64

29

Romanse, op. 26 Versjon for fiolin og strykeorkester

JSV 79c

Romance, Op. 26 Version for Violin and String Orchestra

BESETNING / SCORING Violino principale Violini I. II. Viole Violoncelli Contrabbassi

With the exception of the double basses, the string parts of the 1881 edition of the Romance, Op. 26, include cue notes with wind instrument phrases. Their purpose is to make performances with the accompaniment of a string orchestra possible.

(bb. 3–7 in the Violin I part of the Warmuth edition)

Each of the wind instrument phrases in the cue notes is identified and marked with an asterisk and the following comment at the bottom of the page: *) Im Falle das in den Stichnoten bezeichnete Instrumente fehlt, wird diese Stimme von einer Violine (einer Bratsche) gespielt. (See also facsimile of the Viola part, page XXII). This comment is missing in the cello part but here, too, cue notes from the bassoon part can be found in bars 77–81. We have notated each string part (except the double basses) on two separate staves and added annotations such as gli altri, con gli altri, tutti, solo and due soli. Naturally, the instruments playing the solo parts are expected to join the tutti section most of the time when not playing solos. It is also possible to split the strings into divisi parts instead of solo/tutti.

Romanze Violino principale

Violini

Violoncelli

Contrabbassi

#

∑

∑

1. (con gli altri)

∑

∑

∑

Œ Œ œ f ∑

∑

∑

le altre B # 43 ∑

Viole

&

# 3 & 4

∑

∑

.

dim.

∑

# 3 gliŒ altri & 4 Œ œ  #œ n. f dim. 1. (con le altre) B # 43 ∑ ∑ ∑

II.

Vln. pr.

Andante q = 60

# 3 & 4

# 3 gli altri #œ n. & 4 f # 3 1. 2. (con gli altri) ∑ & 4 ∑

I.

11

[JSV 79b]

? # 43 ?# 3 4

∑

∑

∑

∑

∑

∑

.

∑

∑

.

∑

dim.

∑

∑

∑

∑

∑

solo (Ob.)

π

#. π

∑ ∑ ∑

∑

.

∑

Vle.

Vc.

Cb.

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

.

∑ ∑

.

∑ ∑

∑

dim.

.

dim.

∑

Œ œ Œ Œ œ Œ Œ Œ œ

Œ œ Œ Œ œ Œ Œ Œ œ

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

b.

∑

∑ ∑

∑

.

∑

 . . œ œ

∑ ∑

Œ Œ Œ Œ

∑

nœ œ. œ  œ J p ∑ œŒ Œ π

due soli (Cl. I., Corno)

 ..

p

œ

π

Œ Œ

.

sola (Fg.)

p

œŒ Œ

#  ..

∑

#.

∑

π pizz. Œ Œ œ Œ Œ œ π pizz. Œ Œ œ Œ Œ œ π

∑

∑

B # .

&

#

∑

∑

II.

Vln.

∑

dim.

∑

∑

∑

dim.

∑

n. F

.

 œ .

.

F

#.

∑

# œ. œ  œ  œ  œ  œ  œ . & œ J dim. # ∑ ∑ ∑ ∑ ∑ ∑ ∑ & # &  .. #  .. n  ..  .. b  ..  ..  .

I.

∑

Œ Œ œ  bœ . f dim.  bœ b. . . π F dim. ∑

 bœ .

∑

∑

Johan S. Svendsen, Op. 26

∑

.

π

∑

Œ

œ

œ

p œ Œ Œ ∑

Œ Œ

 .

œœ

.

œ Œ Œ

π π

∑ ∑

Œ Œ œ Œ Œ œ

œ œ

∑ ∑

Œ Œ Œ Œ

# & 

21 Vln. pr.

œ œ. œ œ. -œ œ- œ- œ œ œ. œ œ œ  J J 3

tutti div.

I. Vln. II.

Vle.

# &  .. π tutti # div. & . . π tutte B # . π arco div.

Vc.

Cb.

? # . . π

? # arco . π

Vln. pr.

I. Vln.

#

 .

œ

#  ..

. .

.

.

 ..

 ..

 .

œ

#  ..

 ..

.

.

.

.



œ

.

.

 .. 

 ..

 ..

 ..

 

œ œ

 ..

 ..

.

.

.

.

.

3

œ



#

Vle.

B#  p

Cb.

. .



&

Vc.

. .

& œœœœœ

II.

n p

? # . p ?#

3

 ..

œ- œ- œ œ œ œ œ

p

œ œ. œ œ. œ œ œ #œ  œ- œ- œ- œ œ. J J

 ..

A poco animato - œ - - - œ-

# &  p

29



.



- 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  J

œ

œ œ œ

œ

œ œ œ

œ  .

3

œœœœœ

œ œ œ



œ



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- œœ œ œ œ œ œ œ œ . œj  œ œ œ- œ- œ3

. ∑

. ∑

. ∑

3

. ∑

34

œ

∑

∑

. ∑

∑

37 Vln. pr.

&

#  π

œ- œ- œ- œ 3

# &  .. π # & . π

div.

I. Vln. II.

Vle.

 ..

Cb.

I. Vln. II.

Vle.

Vc.

Cb.

 .

#œ

n.



#œ

  

œ œ



œœ

œœ

 .

œ

3

n

div.

#œ

œ œ - rit. œ œ œ œ. œ  œ b b

œ œ. œ- œ- œ- œ J



B # . π

.

.



œ n  . œ

 .

œ

? # . . π

 .. 

 ..

 .

œ

 .

œ



œ œ

.

.



œ



œ



œ

?#

π

.

div.

œ œ œ œ. œ œ. œ œ œ œ œ. œ œ œ œ œ œ

più mosso q = 116

b &b œ œ œ p

45 Vln. pr.

 .

#.

div.

Vc.

œ œ. #œ œ. œ œ. œ œ œ  J J

3

œ œ œ

f

 .

œ

F

 . b œ b b bb

 .

œ

 . b œ



œœ

 ..

bb



œœ

 ..

bb



œ

.

bb

F F F F

œ. œ œ œ œ œ œ œ œ œ œ. œ 3

3

j j j b œ œ & b ‰ Jœ ‰ Jœ ‰ Jœ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œ ‰ # œ ‰ n œ ‰ # œj ‰ œJ ‰ œJ ‰ Jœ ‰ Jœ ‰ # œJ ‰ œJ ‰ J ‰ J ‰ Jœ p

b j j j & b ‰ œj‰ œj‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj‰ œj‰ œj ‰ œj‰ œJ ‰ œJ ‰ œ ‰ œ ‰ œ p j j j j j j j j j j j j œ œ B b b ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œj ‰ # œj ‰ n œj ‰ œj ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ J ‰ Jœ ‰ Jœ ‰ Jœ p pizz. ? bb œ œ œ p

? b b

∑

œ œ œ ∑

œ #œ nœ

nœ bœ

∑

œ

∑

35

œ œ œ ∑

œ

œ œ ∑

œ nœ bœ ∑

b œ œœœœ &b

52 Vln. pr.

Bœ

[F ]

3

I. Vln.

œ œ

bœ

œ œ œ. œ œ. œ œ œ œ œ. œ œ œ œ œ œ 3

œœœœ

bœ

œ œ œ

3

œ œ œ œ œ œ œ œ œ b & b ‰ # Jœ ‰ n Jœ ‰ n œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ # Jœ ‰ n Jœ ‰ n Jœ ‰ œJ ‰ Jœ ‰ Jœ ‰ œJ ‰ Jœ ‰ œJ

II.

j j j j j j j j j j j j j j b j j j j j j & b ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ b œ ‰ # œj ‰ œ

Vle.

B b b ‰ # œ ‰ n œ ‰ n œj ‰ œJ ‰ œJ ‰ œJ ‰ Jœ ‰ Jœ ‰ œJ ‰ Jœ ‰ Jœ ‰ œ ‰ # œ ‰ n œ ‰ œ ‰ œJ ‰ Jœ ‰ Jœ ‰ œJ ‰ Jœ ‰ œJ J J J J J J

Vc.

Cb.

? b œ bœ b ? b b

œ

œ œ œ

œ œ œ

œ nœ bœ

œ bœ

œ

œ œ œ

œ œ œ

œ nœ bœ

œ œ œ

œ

œ bœ

œ

œ œ œ

œ

pizz.

∑

p

œ. œ œ œ œ. œ œ œ œ œ bœ bœ b b & 3 3

59 Vln. pr.

I. Vln. II.

Vc.

Cb.

œ

bœ

œ

œ œ b œ b œ œ . œ n œ œ . œ [ œ. b œ. b œ. œ. b œ. œ. œ œ œ. n œ. œ. ] œ œ œ . œ J

p

3

3

3

J

3

b ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ pizz. b œ ‰ œ ‰ œ ‰ œj ‰ œj ‰ œj ‰ œ ‰ œ & J J J J J J J J J J J π

‰ œ ‰ œj ‰ œj ‰ œj J

j j j j j j npizz. b B b ‰ b œœ ‰ œœ ‰ œœ ‰# œœ ‰ n œœ ‰ œ ‰ œœ ‰ œœ ‰ œœ ‰ b œœ ‰ œœ nœ J J J J J π

b ‰ j ‰ j ‰ j ‰ j‰ j ‰ j ‰ pizz. b bœ œ œ # œ n œ n œ n œj ‰ œj ‰ œj ‰ b œj ‰ œj ‰ œj ‰ n œj ‰ œj & π

‰

? bb œ n œ

bœ

‰ œœ ‰ b œœ J J

‰ œœ J

œ bœ

œ

bœ

œ

bœ œ

? bb œ n œ

bœ

œ

œ bœ

œ

bœ

œ

œ

div.

Vle.

bœ

bœ π

bœ π

bœ

œ

œ

bœ

œ

œ

36

‰ œœ ‰ n œœ ‰ œœ J J J

bœ œ

bœ

bœ œ

bœ

j j j j œ ‰bœ ‰œ ‰œ ‰ œœ J

bœ œ

Vln. pr.

Cœ

b &b

65

F

œ œ œ œ # œ .# œ # œ # œ # œ œ 3

cresc.

b bœ œ œ & b ‰ J ‰ J ‰ J ‰ # Jœ ‰ Jœ ‰ Jœ p cresc. arco

I. Vln. II.

#œ nœ.#œ #œ nœ nœ œ. œ nœ œ œ œ. œ #œ #œ #œ#œ#œ nœ #œ. 3

‰ # œJ ‰ Jœ ‰ Jœ ‰ # Jœ ‰ Jœ ‰ Jœ dim.

p

3

‰ n œJ ‰ Jœ ‰ Jœ p pizz.

j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ npizz. b ‰ arco œ ‰ œ ‰ œ ‰ b # œ œ œ nœ œ œ œJ ‰ Jœ ‰ Jœ & #œ œ œ J J J p cresc. p dim. B b b ‰ b œœ J p

œ

J

‰ n Jœ ‰ œJ ‰ Jœ ‰ # œj‰ œj‰ œj

pizz. œ œ œ œ œ # œ œ œ # œ œ œ n œ œ œ œ œ ‰ J ‰ J ‰ # œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ # œ ‰ œ ‰ œ ‰ J ‰ J ‰ J ‰ # Jœ ‰ œJ ‰ Jœ J J J J J J J J J

arco

Vle.

Vc.

Cb.

? b b ? b b

œ œ œ œ

œ œ

dim.

cresc.

#œ

œ

œ

#œ

œ

œ

cresc.

cresc.

#œ

œ

#œ

œ

œ œ

œ œ

œ

œ

dim.

œ

œ

dim.

nœ œ œ #œ œ œ œ #œ œ #œ #œ œ. œ #œ #œ#œ nœ#œ œ.#œ nœ nœnœ œ bb œ œ J & 3 3 3 3 F cresc.

71 Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

b nœ œ &b ‰ J ‰ J b & b ‰ n Jœ ‰ œJ

œ œ B bb ‰ J ‰ J ? b nœ b ? bb n œ

œ œ

nœ p

p

nœ p

‰ œ J

#œ

cresc.

#œ

œ #œ

œ

#œ

#œ

œ #œ

3

j j

j

j

j

œ ‰ œ ‰ œ ‰ œ ‰œ œ œ nœ œ œ

j j j j j j j j j j j j j j j ‰ # œ ‰ œ ‰œ ‰ n œ ‰ œ ‰ œ ‰ n œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ b œ ‰ œ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ p cresc. arco div.

œ ‰ # œ ‰ œ ‰ œ ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j‰ j‰ j ‰ j ‰ j ‰ j œœ œœ # œœ œœ œœ n b œœ œœ œœ J J J # n œœ œœ œœ n œœ

‰ J #œ

p

#œ

nœ. œ nœ #œ œ nœ nœ œ bœ nœ œ

j j j j j j j œ n œ œ œ œ œ œ œ œ œ œ ‰ J ‰ J ‰ J ‰ J ‰ # œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰# œ ‰ arco div.

œ

arco div.

#œ #œ

œ #œ œ #œ

nœ p

nœ p

p

œ œ œ œ

cresc.

œ

œ

œ

œ œ œ

œ

œ

œ

bœ

œ

œ

œ œ œ

bœ

œ

œ

cresc.

cresc.

37

77 Vln. pr.

&b

animato Dœ molto œ. œ

b

f

Vln.

II.

Vle.

Vc.

Cb.

J

I. Vln. II.

Vle.

Vc.

Cb.

œ œ. œ #

œ >



b & b b. . f > b 1.Œ(Cl.) Œ >œ œ  b & p bb gli altri & . #. f 1. (Cor.) B bb Œ Œ œ œ  >p > le altre B bb b  . . f arco 1. (Fg.) ? bb Œ Œ œ œ  > > p gli altri arco ? bb  . . f arco ? bb  . . f

b.

>œ

b &b ΠΠgli altri

p

>œ

J

>



œ

. 

œ

>

b.



œ

>

.

œ œ. œ œ #œ œ

œ

œ >

œ

.

b. >

cresc.

>

œ Œ Œ

. > .

#.

cresc.

œ 

œ Œ Œ

>

> .

cresc.

œ Œ Œ > .

œ  .

>

cresc.

.

.

Œ Œ

cresc.

œ 

.

J

.

&b

ƒ

poco a poco più lento

b .

b & b . B bb  . ? bb  .

? b  Œ b

dim.

.



.

b.

dim.

dim.

.

œ b.

.

œ #œ œ #.

.

.

.

 bœ  nœ b. dim.

dim.

∑

∑

J

(con gli altri)

b. >

>.



∑

> .

∑

(con le altre)

> .

> . > .

∑

(con gli altri)

b > .

> .

b.

∑

b > .

∑

(con gli altri)

n.

n.

.

. .

b.

. ∑

∑

38

n.

 bœ . .

. ∑

∑

œ œ. œ œ #œ œ

∑

> .

∑

∑

.

∑

> . b > .

∑

∑

b.

cresc.

 œ bœ œ œ œ bœ bœ 85 œ #œ œ  œ  bœ . bb & a tempo

Vln. pr.

œ

molto animato ed appassionato

1. (Ob.)

I.

#

∑

. #.

∑

Tempo I. ben tranquillo

bœ œ. œ  J p π [ dolce ] b. . π

.

π

.

π

œ b œ œ . œJ

b.

.

n. n. π pizz. Œ Œ œ Œ Œ œ π

b. n.

. . Œ Œ œ

b &b

96 Vln. pr.



œ œ. œ 

œ

œ œ œ œ

J

œ #œ œ nœ œ œ œ œ œ œ œ œ rit.

œ œ œ. œ j

J

b & b .

.

.

.

.

.

.

 ..

II.

b & b b.

b.

n.

.

n.

.

.

.

œ

Vle.

B bb  .

.

.

.

.

.

.

.

œ Œ Œ

Vc.

? bb n  .

b.

.

.

#.

.

.

.

œ Œ Œ

Cb.

? bb Œ Œ œ

I. Vln.

b &b œ p

105 Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

œ

più mosso

∑

∑

œ

œ

∑

∑

∑

œ œ œ. œ œ. œ œ œ œ œ. œ œ 3

# œœ Œ Œ

∑

∑

œœ œ œ

œ

Œ Œ

∑

œ

œ

3

œ œ œ b œ œ œ &b ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J π

‰ Jœ ‰ Jœ ‰ Jœ

B b b ‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ π

‰ Jœ ‰ Jœ ‰ Jœ

‰ Jœ ‰ Jœ ‰ œJ

‰ Jœ ‰ Jœ ‰ Jœ

œ

nœ

œ

‰ Jœ ‰ Jœ ‰ œJ

‰ Jœ ‰ Jœ ‰ Jœ

b & b ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ #œ œ ‰ ‹œ #œ ‰ #œ nœ ‰ #œ œ ‰ œ œ ‰ œ œ ‰ œ œ π

pizz. ? bb œ œ p

? b b

œ

∑

œ

œ

œ

#œ

nœ ∑

∑

39

bœ

œ ∑

œ

œ ∑

110 Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

&b

b œ & b ‰ J ‰ # Jœ ‰ Jœ

I. Vln. II.

Vle.

Vc.

Cb.

œ. œ œ œ œ. œ œ œ

œœ œ œ

3

3

œ œ œ B bb ‰ J ‰ J ‰ J ? bb œ ? bb

œ bb &

œ

œ

E

. œ œ œ œ œ œœœœœ

œ

[F ]

cresc.

3

‰ œ œ ‰ œ œ ‰ # œ œ ‰ # œ # œ ‰ n œ n œ ‰ # œ œ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ J J J J J J div.

cresc.

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

115 Vln. pr.

b œ

œ œ œœ

œ œ œ ‰ J ‰ J ‰ J œ

nœ

bœ

œ œ ‰ J ‰ J ‰ Jœ œ

bœ

œ

j j j j j j ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ div.

cresc.

j j j j j j ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ div.

cresc.

> j j j œ ‰ œ ‰ œ ‰ œJ ‰ œJ ‰ # œ

arco

cresc.

∑

∑

∑

. œ œ œ œ œ œœœœœ 3

> j j j œ ‰ œ ‰ œ ‰ œJ ‰ œJ ‰ # œ

arco

p

cresc.

œ. œ œ. œ œ. œ œ. . rit. œ œ œ œ . œ œ- # œ- n œ- n œ- b œ- œ œ- # œ- n œ- b œ œ - - œf largamente

[ƒ]

b œ œ œ œ œ œ & b ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ  .. J J J J J J > F b ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj  . b & œ œ œ œ œ œ . > F j j j B b b ‰ œ ‰ œ ‰ œœ ‰ œœj ‰ œjœ ‰ œœj  .. J J > F ? b b œJ ‰ Jœ ‰ Jœ ‰ œj ‰ œj ‰ # œ . > F ? b b Jœ ‰ Jœ ‰ Jœ ‰ œj ‰ œj ‰ # œ . > F

 ..

dim.

. .

dim.

 ..

dim.

.

dim.

.

dim.

40

œœ

Œ

Œ

∑

œ œ

Œ

Œ

∑

œœ

Œ

Œ

∑

œ

Œ

Œ

∑

œ

Œ

Œ

∑

π π π π π

121 Vln. pr.

I. Vln. II.

&

bb

Lento

.

[ sempre

pizz. div.

Œ b œœ Œ

b & b Œ b œœ Œ F pizz. div.

B bb Œ b œ Œ F pizz. le altre div.

B b b Œ b œœ Œ F

Œ b œœ Œ

? b Œ œ Œ b F ? b Œ pizz. œ Œ b F

Œ œ Œ

Cb.

129 Vln. pr.

I. Vln. II.

#

œ œ. œ œ œ- œ- -

Tempo I.

&  π pizz. div. œ # & Œ Œ œ π &

#

div. sul ponticello

..

sempre

B # . .

π

tutte div. sul ponticello

Vle.

Vc.

Cb.

?# ?#

sempre

œ Œ

pizz.

π

œ Œ

pizz.

π

π

Œ Œ

3

Œ

Œ

œ œ

Œ

Œ

dim.

œ #œ nœ.

∑

∑

∑

.

n.

Œ  F>

.

.



#.

> F

arco

> F

Œ œ œ > F ∑ arco

Œ œ Œ

œ œ. œ J œ.

œ #œ nœ



Œ

Œ œ Œ

Œ œ Œ

arco

arco (Cl.)

Œ # œœ 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

œ

Œ # œœ Œ

Œ #œ Œ œ

Œ bœ Œ

pizz.

n.

Œ # œœ Œ

Œ œ Œ bœ

pizz.

Vc.

b.

ƒ e ben tenuto ]

b bœ &b Œ œ Œ F

1.

Vle.

.

rit.

∑

œ œ

Œ

Œ

œ œ

œ- 

Œ Œ

# #

π

.

π

dim.

j

#

.

dim.

.

#

Œ

# π

.

j

œ œ œ œ œ œ- .

π

dim.

bœ

œ

Œ



dim.

n

j #

j

∑

# #

∑

œ œ. œ- œ- œ- œ

œ

3

œ œ

Œ

Œ

œ œ

..

..

..

..



..

..

..

..

Œ

œœ œ œœ    œ Œ œ

Œ

œ Œ

œ Œ œ Œ

Œ Œ

œ œ

Œ

Œ

Œ

Œ

œ œ 41

Œ

Œ

Œ

Œ

œ Œ œ Œ

œœ

œ

J

135 Vln. pr.

I.

&

#

# & Œ

Vln.

#

II.

&

Vle.

B # . .

Vc.

Cb.

?# ?#

141 Vln. pr.

I. Vln. II.

Vle.

œ œ œ œ # œ œ- .

œ. œ œ. Œ

Œ

Œ

œ

Œ

œ

Œ

Œ

œ

Œ

Œ

3

& œ œ œ œ œ

œ

œ

[

Vc.

? # .

Cb.

?# œ

œ œ

œ œ

.

Œ

œ



p

Œ

œ

. œ

Œ

p

f



œ

f



Œ

œ

Œ

œ

œ œ œ

.

 

Œ

Œ

œ  J œ œ

.

42

œ 

.

œ Œ

œ- œ- œ œ œ œ.

œ Œ

œ œ œ

.

arco

p

œ

- œ- œ- œ- œ- œ- œ- œ œ œ . œ œ œ œ œ œ- œ- -

.

Œ

J

j

œ

3

p

f 3 - œ- œ- œ- œœ œ œ- œ- œ- œ f [

B# 



œ- œ- œ- œ œ œ œ œ œ œ. œ œ œ- œ- œ œ œ

[

œœœœœ



Œ

œ

3

ord.

œ



p

n p

Œ

#



ord.

Œ

[

- œ- œ- œ- œ œ -œ œ- œ- œ œ œ- œ- œ- œ œ. œ

arco

..

#

#

œ œ

..

# ..

& 

&

œ-

J #œ #œ

F

j

œ Œ Œ

] [ p]

.

œ Œ

œ Œ Œ

Œ

œ œ. -œ œ- œ- œ 3

]

. .

 ..

]

.

#.

œ . J

.

 ..

 .. 

arco

.

div.

]

p

p

p

div.

p

. p

#œ J

# œ. œ œ. &

Vln. pr.

I.

&

Vln. II.

Vle.

Vc.

Cb.

I. Vln. II.

Vle.

Vc.

 .

 .

#œ

#

#œ

 

œ œ

n 

œœ

n 

œœ

 .

œ

J

3

cresc.

cresc.

div.



#œ

B # .



œ

n  .

œ

 .

œ

? # . .

 .

œ

 .

œ



œ œ



œ

œ



œ

?#

&

.

Gœ#

> œ- n œ- œ œ œ

animato e cresc.

# & œ . 

œ

>œ

cresc.

div.

cresc.

cresc.



cresc.

>œ œ >œ œ n >œ œ

>œ >œ œ # >œ œ n œ œ

animato e cresc.

? # .

.

? # .

.

animato e cresc.

. .

. .

f

 ..

 ..

 ..

 ..

.

.

 ..

 ..

.

.

F F F F F

œ- œ- œ- b œ œ œ œ œ œ  œ 

ƒ

largamente

f

largamente

œ #œ nœ œ œ nœ  bœ . riten.

f

largamente

43

Œ

∑

.



Œ

∑

œ .

.



Œ

∑

riten.

œ n

œ .

œ. œ œ œ œ œ œ œ œœ

riten.

largamente

œ Œ Œ



∑

∑

œ .

riten.



#.

Œ

rit.

riten.

> œ # >œ œ >œ œ #  . n &  #œ œ #œ œ œ  > f largamente animato e cresc. >œ œ # >œ œ >œ œ #  . >œ n # n #  œ œ B œ f largamente animato e cresc. #

animato e cresc.

Cb.



œ-

& n.

153 Vln. pr.

#

œ œ œ œ- œ- œ- œœ œ- œ- - œ œ œ J

œ œ. œ- œ- œ- œ

œ œ œ œ œ œ- . J

147

∑

∑

∑

∑

163 Vln. pr.

&

# 

Lento

p

œ œ. œ œ b œ bœ 3

bœ #  & p gli altri # ∑ &

n

solo (Ob.)

I.

Vln.

II.

# œ & œ # œœ b n œœ p # gli altri ∑ & due soli (Cl.)

Vc.

Cb.

?# ?# 170

Vln. pr.

I. Vln. II.

Vle.

Vc.

Cb.

& & &

# # #

œ bœ œ

.



.

.

B # . B# . ?#

∑

∑



?# 

.

π

œ

π

.

π œ . π

œ #œ nœ



∑

∑

∑

∑



. . . .

∑

.

.

.

.

. . .

∑

.

44

œ #œ nœ

œ #œ nœ



œ

œ #œ nœ

œ œ bœ

.

∑

(con gli altri)

p

p

cresc.

∑

 ..

 ..

∏

∑

∏ .

∏ ∑



sola (Cl. e Cor.)

#œ

.

cresc.

œ bœ œ

œ bœ œ

œ bœ œ cresc.

œ œ œ .

b  ..

 ..

∑

∑

œ bœ œ

cresc.

 ..

div.

∑

.

œ

 ..

 ..

œœ Œ Œ

 ..

 ..

œœ Œ Œ

poco rit.

div.

.

cresc.

con sord.

∏

.

n

∑

œ

p

nœ œ bœ p nœ œ bœ

div.

∑

bœ

p

π

3



con sord.

.

œ œ œ .

∑

con sord.

Œ

∑

∑

(con gli altri)

con sord.

Œ

∑

(con le altre)

.

∑

∑

∑

.

∑



œ

Œ

∑

3

π

 .

3

∑

œ œ œ .

p

.

œ ∑

œ Œ Œ



∑

 .

B # nœ œ bœ p le altre B# ∑

cresc.

œ #œ nœ

∑

sola (Fg.)

Vle.

œ

più Lento œ œ œ œ- œ- œ . œ œ œ œ- œ- œ œ œ. j J œ  b œ- b œ- œ- œ œ œ œ œ- œ- œ . œ F cresc.

b  ..

morendo

morendo

morendo

∑

.

 ..

∑

morendo

. ∑

morendo

∑

 .. .

∑

Œ Œ

∑

œœ Œ Œ œ Œ Œ

œ Œ Œ œ Œ Œ

pizz.

π

∏

EVALUATION OF THE SOURCES The violin and string orchestra version of Svendsen’s Romance, Op. 26, is integrated into the string parts of the 1881 Warmuth edition , Source APTS (see page 21).

EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS Particularly important and/or problematic comments have bar numbers in bold type. Primary source: APTS

Romance, Op. 26 (Version for Violin and String Orchestra, JSV 79c) Bar

Instr.

Comment

9

Vln. II

p emended from pp by analogy with

due soli

Vln. I solo, Vla. sola

21

Cb.

pp added by analogy with the other parts and as in A; cresc. removed by analogy with the other parts and as in A

36

Vln. I

dim. emended to other parts and as in A

36

Vln. II

extended to this bar from b. 35 by analogy with the other parts and as in A

41

Vln. I, Cb.

moved from b. 42 by analogy with the other parts and as in A

44

Vle., Vc.

moved from b. 43 by analogy with the other parts and as in A

61

Vln. I

pp emended from p by analogy with the other parts and as in A

68

Vln. II

cautionary accidental added

77

Vln. I/II, Vle., Vc

> added by analogy with bb. 78, 79, 80 (C has fz on the corrersponding notes of bb. 77, 78, 79, 80)

80

Vln. I

> added by analogy with Vln. II solo, Vc. solo

81

Vln. II

> added by analogy with the other parts and as in A

86

Vln. II

dim. moved from b. 85 by analogy with the other parts and as in A

117

Cb.

> removed by analogy with Vc. and as in A

137

Vln. II, Vle. l’arco nel modo ordinario emended to ord.

by analogy with the

46

140

Vln. II

141–142

Vln. I/II, Vle.

143

Vln. I/II, Vle.

144

Vln. I/ II, Vle.

moved from b. 139 by analogy with the other parts and as in A added in [brackets] as in CSPT (Vln. pr.) f added in [brackets] as in CSPT (Vln. pr.) added in [brackets] as in CSPT (Vln. pr.) p added by analogy with the other parts and as in A

145

Cb.

149

Vln. II, Vle. div. added as in A

150

Vln. I

cautionary accidental added

157

Vln. I

cautionary accidental added

158

Vln. I

note 1: cautionary accidental added

159

Vc.

cautionary accidental added

162

Vln. I, Vle.

rit. added by analogy with the other parts and as in A

168

Vle.

cresc. added by analogy with the other parts and as in A

Romanse, op. 26 Sju «utøverutgaver» av solostemmen

JSV 79

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

AUGUST WILHELMJ (1845–1908)

ABOUT THE EDITIONS AND THE EDITORS

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

All seven violin solo parts in this addendum, published between 1887 and 1916, are based on the solo part of Svendsen’s version for violin and piano, originally published by Carl Warmuth in November 1882 and later reprinted by Wilhelm Hansen. For the publication of the orchestral version, Svendsen adjusted several details in the solo part, most of them regarding dynamic markings. The table on page 25 shows all the variants specific to the version for violin and piano. The editors had widely varying backgrounds and schooling. Their teachers came from Austria, France, Holland, Germany, England and the US.

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

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

GUSTAV SAENGER (1865–1935)

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

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

50

ARTHUR HARTMANN (1881–1956)

JOSEPH IVIMEY (1867–1948)

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

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

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

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

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

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

51

Romanze

Solo part edited by Fritz Kreisler

[JSV 79a]

16

Andante

# 3 & 4 25

& 33

Ç.

17

Ç.

18

Ç.

. œ o *) œ œ . o Œ J œ œ œ . œJ œ œ Ç œ Ç œ- œ- œ œ œ œ 3

19

Johan S. Svendsen, Op. 26

p

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

# Ç #

D

3

p

A o œ œ- - œ- œ- œ- œ- œ- œ œ œsul œ œ . œ Ç -œ œ- œ- œ J

& Ç

p

f

3

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

3

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

p

f

3

3

3

sul E B . 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 bb œ œ œ œ œ œ œ &

49

F

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

3

56

3

3

3

3

œ œ b œ b œ œ . œ

p

3

. . - # œ. . . . . # œ - œ b œ . . . C œ œ œ œ # œ # œ . œ œ œ œ œ œ # œ # œ n œ œ b œ n œ œ # œ œ b œ # œ # œ œ. J œ œ. œ œ #œ b J &b

62

3

3

F

3

3

œ n œ . # œ. # œ œ n œ œ . œ. n œ œ œ œ . œ. # œ # œ œ œ œ # œ œ # œ # œ œ . œ n œ œ œ œ œ œ . # œ b J J &b 3 3 3 3 3 p . œ œ. œ. D n œ . . n œ n œ œ œ œ œ œ œ œ . 73 #œ #œ nœ œ œ œ œ nœ #œ œ #Ç œ n œ b œ # œ # œ # œ b J J &b 3 3 cresc. f molto animato ed appassionato F a tempo sul A œ. œ. Ç œ œ œ œ œ œ œ œ œ b œ 80 #Ç œ #œ #œ Ç œœ œ œ b œ b œ œ œ # œ b J J &b ƒ poco a poco più lento e dim. al *) Sans glisser.

68

52

cresc.

Ç b œ Ç . b &b

90

Tempo primo ben tranq.

sul E . . œ œ œ Ç œ . bœ œ Ç œ bœ œ Ç œ œ œ œ œ œ J J

nÇ.

dolce

J

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

100

Più mosso

p

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

129

137

&

# #

Tempo primo

F

Ç

p

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

3

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

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

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

53

3

Romanze

Solo part edited by August Wilhelmj

[JSV 79a]

16

Andante

# 3 & 4 25

& 33

# Ç #

& Ç

D

Ç.

17

Ç.

18

Ç.

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

19

Johan S. Svendsen, Op. 26

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

3

p

œ œœœ œ œ œ œ œ œ œ. œ Ç œ œœœ œ J

p

f

3

. # œ . œ œ œœœ œ J œ œ œ . œJ œ œ Ç

3

3

œ œ Più mosso D poco rit. œ œ . 41 œ . œ œ œ œ œ œ Ç # Ç œœ bb œ œ œ œ œ œ œ . œ œ . œ œ œ œ œ . œ. œ œ œ œ œ J œ &

II

p

f

3

3

3

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

F

œ œ . œ œ b œ œ œ . œ. œ œ b œ œ œ œ œ b œ œ . œ. œ œ œ b œ bœ b œ œœœœ œ œ œ b & 3 3 3 p 3 f . œ. œ . . . œ . . b œ . 62 . C œ # œ #œ #œ œ . œ œ œ œ œ œ # œ # œ n œ œ b œ n œ œ # œ # œ œ b œ # œ # œ . . œ œ œ œ œ # œ b J J &b 3 3 3 3 F staccato cresc. n œ . # œ # œ œ n œ œ . œ. n œ œ œ œ . œ. # œ œ n œ. . œ. œ. œ. # œ. œ œ œ. # œ. œ. # œ 68 œ #œ. J œ #œ œ. œ b b J & 3 3 3 3 3 p staccato 3

56

I

3

3

n œ n œ . n œ œ b œ œ œDœ œ . œ # Ç œ œ œ . œ œ œ . # œ # œ # œ n œ n œ œ n œ # œ œ œ œ b #œ#œ J J b & 3 3 F cresc. f molto animato ed appassionato

73

a tempo œ œ . . Ç œ œ #œ œ œ œ œ #œ œ œ b œ œ œ œ œ b œ b œ œ Ç œ 80 #Ç œ œ #œ b J J b &

ƒ

54

poco a poco più lento e dim. al

Ç bœ Ç. bb &

90

Tempo I. ben tranquillo

. . œ œ œ Ç œ . bœ œ Ç œ bœ œ Ç œ œ œ œ œ œ J J

nÇ.

J

dolce

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

100

p

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

rit.

3

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

129

#

Tempo I. III

3

p

IV

J

3

3

III

f

j

œ-

œ J

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

55

Romanze

Solo part edited by Gustav Saenger

[JSV 79a]

16

Andante

# 3 & 4 25

& 33

Ç.

17

Ç.

18

Ç.

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

19

œœ -œ œ- œ- œ . œJ œ . œ œ . œJ œ # œ Ç

# Ç #

D

3

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

p

& Ç

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

Johan S. Svendsen, Op. 26

œ œ. #œ œ. œ œ- œ œ J œ œ . œJ œ œ Ç

3

3

poco rit. Più mosso D œ œ -œ œ . 41 œ . . œ œ œ œ œ Ç œ œ œ . # Ç œ- œ- œ œ œ œ b œ œ œ œ . œ œ œ œ3 œ œ J œ œ œ œ b œ &

p

f

3

3

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

f

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

56

3

3

. . b œ. œ. b œ. œ. œ œ œ. n œ. œ. œ œ n œ œ . œ J bœ œ œ. b b & 62

3

3

3

3

œ œ b œ b œ œ . œ-

p

3

#œ . œ-Cœ œ œ œ œ # œ # œ # œ # œ # œ œ # œ # œ # œ # œ J

F

3

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

56

cresc.

Ç bœ Ç. bb & 90

Tempo primo ben tranq.

. . œ œ œ Ç œ . bœ œ Ç œ bœ œ Ç œ œ œ œ œ œ J J

nÇ.

J

dolce

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

p

E œ . œ œ œ3 œ œ œ . 108 œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ b œ œœœœ œ œ œ œ œ œ b & 3 3 F cresc. 3 œ . œ œ œ3 œ œ œ . œ œ œ 115 œ œ œ œ . . œ œ œ œ . œ œ . œ œ . œ œ- # œ- n œ- - - - bb nœ bœ œ œ #œ nœ & - - - b œ- œ- œƒ rit.

121

&

bb

Lento molto

Ç.

sempre

Ç.

bÇ.

ƒ e ben tenuto

Tempo primo

nÇ.

IV

œ

rit.

œ œ #œ œ œ #œ nœ œ #œ nœ.

Ç

j

3

dim.

rit.

j

j #

œ

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

129

#

p

III

j

œ-

œ J

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

3

57

Romanze

Solo part edited by Arthur Hartmann

[JSV 79a]

16

Andante

# 3 & 4 # Ç & F #

Ç.

17

Ç.

18

Ç.

. œ . œ œ J œ œ œ . œJ œ œ Ç œ Ç œœœ œ œ 3

Πo

19

(poco rit.) a tempo

œ

Johan S. Svendsen, Op. 26

p

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

25

33

D

3

p

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

*

& Ç

f

3

p

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

3

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

3

p

f

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

49

3

3

A

3

3

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

œ- œ œ b œ œ œ œ œ b œ b œ œ- . œ3

p

3

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

62

,

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

a tempo

80

*

ƒ

rit.

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

58

poco a poco più lento e dim.

Ç bœ Ç. bb & 90

n Ç- .

A A . œ œ Ç œ . œ Ç œ œ œ bœ œ œ œ œ J

Tempo primo ben tranquillo

! bœ œ. œ Ç J dolce

J

(accel. poco)

rit.

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

al

100

Più mosso

A

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

129

# G

Tempo I.

p

sul G

J

j

œ

œ J

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

59

3

Romanze

Solo part edited by Philipp Mittell

[JSV 79a]

16

Andante

# 3 & 4 25

& 33

# Ç #

& Ç

D

Ç.

17

Ç.

18

Ç.

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

19

Johan S. Svendsen, Op. 26

p

œœ -œ œ- œ- œ . œJ œ . œ œ . œJ œ # œ Ç 3

A poco animato - œ- œ- œ- œ œ- œ- œ œ œ . œ œ œ œ œ œ Ç œœ J p

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

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

3

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

41

3

p

f

3

3

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

49

F

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

3

56

3

3

3

3

œ œ bœ bœ œ. œ

p

3

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

62

a tempo œ œ . . Ç œ œ #œ œ œ œ œ #œ œ œ b œ œ œ œ œ b œ b œ œ Ç œ 80 #Ç œ œ #œ bb J J &

ƒ

60

poco a poco più lento e dim. al

Ç bœ Ç. bb & 90

nÇ.

Tempo I ben tranquillo

. . œ œ œ Ç œ . bœ œ Ç œ bœ œ Ç œ œ œ œ œ œ J J

J

dolce

Più mosso œ j 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 b & J 100

p

. œ œ œ œ œ œ œ Eœ œ œ œ œ œ . œ œ œ œ œ 108 œ œ œ œ b œ œœœœ œ œ œ œ œ œœ . œœ b & 3 3 3 F cresc. 3 œ . œ œ œ œ œ œ . œ œ œ 115 œ œ œ œ . . œ œ œ œ . œ œ . œ œ . œ œrit. - # œ- n œ- - bb n œ b œ œ- œ # œ n œ & 3 - - - b œ- œ- œƒ

rit.

121

&

bb

Lento molto sul G

Ç.

Ç.

sempre

ƒ e ben tenuto

bÇ.

nÇ.

j

œ

3

œ œ #œ œ œ #œ nœ œ #œ nœ.

Ç

rit.

dim.

j

j #

œ

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

129

#

Tempo I

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

137

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

61

Romanze

Solo part edited by Joseph Ivimey

[JSV 79a]

16

Andante

# & 43 # & Ç 25

33

#

& Ç

D

Ç.

17

‡

Ç.

18

‡

Ç.

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

19

‡

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

Johan S. Svendsen, Op. 26

A ƒpoco animato

II III œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ Ç œ J 3 p 3 œ œ œ . # œ œ . œ œ ƒ œ œ œ œ œ œ œ œ œ . œ Ç œ- œ œ J œ œ . œJ œ œ Ç œ- œ- œ œ œ J 3 p 3 f

Più mosso D

œ œ poco rit. œ œ . 41 œ œ œ . œ Ç œ b ƒœ œ œ œ œ- œ- œ- . œ œ . œ œ œ- . œ- œ œ œ # Ç œ- œ- œ- œ J œ b œœ œœ & 3

p

f

- œ- . œ œ œ- œ- œ œ œBœ œ œ b œ œ- œ- œ- . œ œ . œ œ œ- œœ œ œ b œ œ œ œ œ œœ . œœ œœ . b & 3 3 3 F - œ- œ- œ- . œ œ b œ œ œ- . œ- œ œ b œ œ œ œ œ b œ œ- . œ 56 œ œ b œ bœ b œ œœœœ œ œ œ b & 3 3 3 p 3 . œ. œ . . . œ C - œ # œ . . . b œ #œ 62 . # œ . œ œ œ œ nœ œ œ # œ # œ ƒ n œ œ b œ œ # œ œ # œ b œ œ # œ # œ . . œ œ œ œ œ # œ b J J &b 3 3 3 3 F cresc. n œ . # œ # œ n œ n œ œ- . œ- n œ œ œ œ- . œ- # œ œ n œ. . œ. œ. œ. # œ. œ œ œ. # œ. œ. # œ 68 nœ #œ. J œ # œ œ- . œ. bb J & 3 3 3 3 3 p ƒ œ . D n œ . n œ n œ œ œ œ œ œ œ #Ç œ œ œ. œ . 73 # œ # œ # œ n œ n œ n œ œ n œ b œ # œ n œ œ # œ n œ b #œ J J &b 3 3 cresc. f molto animato ed appassionato F 49

3

3

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

a tempo

Æ’

62

poco a poco più lento e dim.

Ç bœ Ç. bb &

. . œ œ œ Ç œ . bœ œ Ç œ bœ œ Ç œ œ œ œ œ œ J J

Tempo primo ben tranquillo

nÇ.

90

dolce

J

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

100

b & b œ œœœœ 108

œ- œ- œ œ b &b

3

115

121

&

bb

sempre

#

p

œ . E œ œ œ œ b œ œ n œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ 3 3 F . œ œ œ œ œ œ œ œ . œ œ . . œ œ œ œ . œ œ . œ œ . œ œ- - - - - # œ n œ n œ b œ œ3 ƒ

Lento molto

Ç.

Più mosso

Ç.

bÇ.

ƒ e ben tenuto

Tempo primo

rit.

nÇ.

j

œ

IV

3

III

Ç

3

cresc.

œ- # œ- n œ- b œ- œ œ

rit.

rit.

3

œ œ # œ œ œ # œ n œ œ # œj n œ .

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

129

œ . œ œ œ œ œ

--

j #

œ

o j . œ œ. œ œ œ # œ œ œ œ œ œ œ . - œ- œ- œJ œ œ. J 3

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

137

II

63

Romanze

Solo part edited by Alfred Moffat

[JSV 79a]

16

Andante

# 3 & 4 25

& 33

# Ç #

& Ç

D

Ç.

17

Ç.

18

Ç.

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

19

Johan S. Svendsen, Op. 26

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

p

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

p

f

3

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

3

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

3

*N

p

f

3

3

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

49

N

N

F

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

3

56

3

3

3

œ œ bœ bœ œ. œ

p

3

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

62

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

64

Ç bœ Ç. bb & 90

Tempo primo ben tranquillo

bœ œ. œ Ç J dolce

nÇ.

œ b œ œ . œJ Ç œ œ œ . œ Ç œ œ œ œ J

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

100

N

p

œ . œ œ œ œ œ œ . 108 E œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ b œ œœœœ œ œ œ œ œ œ b & 3 3 3 F cresc. 3 . 115 œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . œ œ . rit. œ bb œ œ . œ œ- # œ- n œ- n œ- b œ- œ- & œ- # œ- n œ- b œ- œ œ 3 -ƒ

b &b 121

N

sul G rit.

Lento molto

Ç.

sempre

Ç.

ƒ e ben tenuto

Tempo I

bÇ.

nÇ.

j

œ

3

œ œ # œ œ œ # œ n œ œ # œj n œ .

Ç

dim.

j

œ

#

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

129

#

sul D

3

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

137

F #

sul A

3

3

65