Danish Classical Music
Udgivelsesserien Danish Classical Music (DCM) har til formål at tilgængeliggøre dansk musikalsk kulturarv i pålidelige og gennemarbejdede praktisk-videnskabelige nodeeditioner for musikere og forskere i ind- og udland. Således er ambitionen at overtage stafeten fra Dansk Center for Musikudgivelse, som opererede som et forskningscenter under Det Kgl. Bibliotek, 2009-2019. Centeret udgav praktisk-videnskabelige editioner af høj filologisk kvalitet, og siden lukningen af centeret er denne opgave ikke blevet varetaget – men behovet er ikke blevet mindre.
Mens Dansk Center for Musikudgivelse fungerede som et center med ansatte medarbejdere er forholdene for det nye DCM anderledes: Her er tale om selvstændige og individuelt finansierede projekter under DCM-paraplyen. Derfor er der ikke blevet udarbejdet et nyt sæt redaktionelle retningslinjer – i stedet videreføres de retningslinjer, som blev formuleret af Dansk Center for Musikudgivelse. De eneste ændringer fra retningslinjerne er layoutmæssige, og så er der i DCM-udgivelserne tilføjet en kort biografisk introduktion til komponisten.
De redaktionelle retningslinjer sikrer udgivelsernes høje og konsistente editionsfilologiske niveau og grundindstillingen til udgivelsesarbejdet kan sammenfattes i nogle få, centrale punkter.
Om “praktisk-videnskabelige editioner”
Med begrebet “praktisk-videnskabelige editioner” sigtes der til, at udgivelserne skal være praktisk anvendelige for musikere, uden at musikerne nødvendigvis skal forholde sig til redaktørens arbejde og filologiske overvejelser. Derfor er selve nodesiden “ren” og uden fodnoter eller lignende. Samtidig er udgivelserne videnskabelige, idet interesserede læsere kan finde den nødvendige information om det editionsfilologiske arbejde i tekstdele placeret før og efter nodedelen: Før nodedelen bringes en introduktion til værket, dets tilblivelses- og receptionshistorie samt generelle kommentarer til det filologiske arbejde (eksempelvis nogle særlige udfordringer eller valg); efter nodedelen følger en grundig kildebeskrivelse og en oversigt over redaktionelle ændringer, deres begrundelse i kilderne samt information om varianter.
Om redaktørens rolle
Som James Grier skriver i bogen The Critical Editing of Music fra 1996, så er al editionsfilologisk arbejde også et fortolkningsarbejde, ideelt set baseret på grundige, kritiske og historisk forankrede studier af kildematerialet. Idéen om at den videnskabelige edition videregiver den “eneste rigtige” version af værket er en fiktion: Ofte vil redaktører komme frem til varierende udlægninger af et værk, og ofte kan der argumenteres lige godt for den ene læsning som den anden. Det er derfor vigtigt at bevæggrunden for de enkelte valg er tydeliggjort i oversigten over redaktionelle rettelser.
Danish Classical Music
The publication series Danish Classical Music (DCM) aims to make Danish musical heritage accessible for musicians and researchers in Denmark and abroad by providing reliable and meticulous practical-scholarly music editions. The ambition is thus to take over the baton from the Danish Centre for Music Publication which operated as a research centre under the Royal Library from 2009 to 2019. The centre published practical-scholarly editions of high philological quality, and since the closure of the centre, this task has not been undertaken – but the need has not diminished.
While the Danish Centre for Music Publication functioned as a centre with dedicated employees, the conditions for the new DCM are different: it comprises of independent projects funded individually under the DCM framework. Therefore, a new set of editorial guidelines has not been developed – instead, the guidelines formulated by the Danish Centre for Music Publication are being sustained. The only changes to the guidelines relate to layout, and in DCM publications a brief biographical introduction of the composer is added.
The editorial guidelines ensure a high and consistent level of philological quality in the publications, and the fundamental editorial approach can be summarized in a few key points.
On “Practical-Scholarly Editions”
The term “practical-scholarly editions” refers to the aim of making the publications practically useful for musicians without requiring them to engage directly with the editor’s work and philological considerations. The sheet music is therefore “clean”, without footnotes or similar additions. At the same time, the publications are scholarly in nature, as interested readers can find the necessary information about the philological work in sections placed before and after the sheet music: Prior to the sheet music, there is an introduction to the work, its genesis and reception history, as well as general comments on the philological work (such as specific challenges or choices). After the sheet music, a thorough description of sources and an overview of editorial changes, their justification based on the sources, and information about variants are presented.
On the Role of the Editor
As James Grier writes in his book The Critical Editing of Music from 1996, all philological work is also an act of interpretation, ideally based on thorough, critical, and historically grounded studies of the source material. The notion that the scholarly edition presents the “only correct” version of a work is a fiction: Editors often arrive at varying interpretations of a piece, and equally compelling arguments can often be made for different readings. Therefore, it is important to clarify the rationale behind each choice in the overview of editorial revisions.
I serien undgås såkaldte “eklektiske” editioner, en sammenblanding af forskellige kilder, der kan resultere i en version af værket, der aldrig har eksisteret fra komponistens hånd. Der bestemmes derfor altid en hovedkilde, som editionen er baseret på, mens varianter kan bruges som hjemmel ved rettelser af klare fejl.
Om denne udgivelse
Nærværende udgivelse er en del af et indledende projekt på DCM, som fokuserer særligt på danske kvindelige komponister – en gruppe af komponister, hvor behovet for kritisk-videnskabelige og praktisk anvendelige editioner er særlig mærkbart al den stund at meget af deres musik ikke blev udgivet i deres egen levetid og kun sjældent er blevet opført. Det er håbet, at udgivelsen kan være med til at udbrede et overset men vigtigt repertoire i dansk musikkulturarv – både blandt musikere, forskere og andre interesserede.
Udgivelsen er venligt støttet af Augustinus Fonden, hvortil der rettes en stor tak.
Thomas Husted Kirkegaard, ph.d.
The series avoids so-called “eclectic” editions, which involve a mixture of different sources and may result in a version of the work that never existed in the composer’s hand. Therefore, a primary source is always determined as the basis for the edition, while variants can be used as evidence for correcting clear errors.
On This Publication
The present publication is part of an introductory project within DCM that specifically focuses on Danish women composers – a group of composers for whom the need for scholarly-critical and practically useful editions is particularly pronounced, given that much of their music was not published during their lifetime and has rarely been performed. The hope is that this publication can help disseminate an overlooked yet important repertoire in Danish musical heritage among musicians, researchers, and other interested parties.
The publication is generously supported by the Augustinus Foundation, to whom heartfelt thanks are directed.
Thomas Husted Kirkegaard, Ph.D
Biografi
Nancy Dalberg (1881-1949) blev født Nancy Hansen i 1881 på godset Bødstrup i nærheden af Slagelse. Hendes far, Christian D.A. Hansen (1843-1916), var en særdeles succesfuld forretningsmand, der udviklede produkter til mejeribranchen, og Dalberg voksede derfor op i en familie, hvor der ikke manglede økonomiske ressourcer. I 1882 flytede familien ind på det nyerhvervede gods Mullerup på Sydfyn, hvor Dalberg voksede op.
I 1901, da hun var 17 år gammel, blev hun gift med ingeniørofficeren og portrætmaleren Erik Dalberg (1875-1945). Hun modtog klaverundervisning af én af tidens mest anerkendte klaverlærere, Ove Christiansen (1856-1909), og i 1909-11 studerede hun komposition hos den norske komponist Johan Svendsen (1840-1911). Hun var formentlig også elev af komponisten Fini Henriques (1867-1940) før hun i 1913 blev elev af tidens helt store musiknavn, Carl Nielsen (1865-1931). Igennem tiden udviklede Dalberg og Nielsen et tættere professionelt forhold, og Nielsen dirigerede eller medvirkede som violinist i opførelsen af adskillige af hendes værker. Han bad hende også hjælpe med at instrumentere sine værker Alladin og Fynsk Foraar
Dalberg fik opført en række sange i 1911, og hendes første strygekvartet blev opført i hendes hjem – med Carl Nielsen på violin – i 1914, men hendes egentlige offentlige debut som komponist kom i 1915, hvor hun holdt en såkaldt kompositionskoncert i Odd Fellow Palæet, kun med hendes værker på programmet. Hun holdt endnu en kompositionskoncert i 1918 og en tredje i 1922. Ved disse koncerter blev blandt andet hendes strygekvartetter, sange og flere orkesterværker –ikke mindst symfonien – opført. Generelt blev Dalbergs musik modtaget godt, men anmelderne undlod sjældent at kommentere på hendes køn, ofte fordi de var overraskede over, at en kvinde kunne komponere så godt.
I vinterhalvåret 1922-23 havde hun et ophold i Algeriet, fordi hun var plaget af helbredsproblemer, blandt andet gigtsmerter. Her blev hun inspireret af nomadefolkets musik og nedskrev melodier, der siden blev til værket Arabisk Musik fra Sahara. Efter hjemkomsten begyndte hun at komponere en opera over Selma Lägerlöfs (1858-1940) Gösta Berlings Saga, men da Lägerlöf allerede havde givet italienske Riccardo Zandonai (1883-1944) tilladelse til at komponere en opera over denne historie, måtte Dalberg opgive det – dog efterlod hun sig sangen Marianna Sinclairs Sang fra dette arbejde.
I 1929 afholdt Dalberg sin fjerde og i 1937 sin sidste kompositionskoncert. Stilmæssigt bevægede Dalberg sig fra det senromantiske og ind i det moderne. I hendes musik findes både svungne, romantiske melodier og korte, repetitive motiver. Sidstnævnte træk
Biography
Nancy Dalberg (1881 – 1949) was born Nancy Hansen in 1881 at the estate of Bødstrup near Slagelse. Her father, Christian D.A. Hansen (1843 – 1916), was a highly successful businessman who developed products for the dairy industry, meaning that Dalberg grew up in a family with no lack of financial resources. In 1882, the family moved to the newly acquired estate of Mullerup in South Funen, where Dalberg grew up.
In 1901, at the age of 17, she married the engineering officer and portrait painter Erik Dalberg (1875 – 1945). She received piano lessons from one of the most renowned piano teachers of the time, Ove Christiansen (1856 – 1909), and from 1909 to 1911 studied composition with the Norwegian composer Johan Svendsen (1840 – 1911). She was presumably also a student of the composer Fini Henriques (1867 – 1940) before, in 1913, becoming a student of the most prominent Danish musician of the time, Carl Nielsen (1865 – 1931). Over time, Dalberg and Nielsen developed a closer professional relationship, and Nielsen conducted or participated as a violinist in the performance of several of her works. He also asked her to help orchestrate his works Aladdin and Fynsk Foraar (Springtime on Funen).
Dalberg had several of her songs performed in 1911, and her first string quartet was performed at her home – with Carl Nielsen on violin – in 1914, but her true public debut as a composer came in 1915 when she held a so-called composition concert at the Odd Fellow Palace in Copenhagen, with only her works on the programme. She held another composition concert in 1918 and a third in 1922. At these concerts, her string quartets, songs, and several orchestral works – most notably the symphony – were performed. Generally, Dalberg’s music was well received, but critics rarely failed to comment on her gender, often surprised that a woman was able to compose so well.
During the winter of 1922 – 23, she took up residence in Algeria due to health problems, amongst them arthritis. Here, she was inspired by the music of the nomadic people and wrote down melodies, which later became the work Arabisk Musik fra Sahara. Upon her return, she began composing an opera based on Selma Lagerlöf’s (1858 – 1940) Gösta Berling’s Saga, but since Lagerlöf had already granted the Italian composer Riccardo Zandonai (1883 – 1944) permission to compose an opera on this story, Dalberg had to give it up –however the song Marianna Sinclair’s Song remains from this work.
In 1929, Dalberg held her fourth composition concert, and in 1937, her last. Stylistically, Dalberg moved from the late romantic and into the modern. In her music, one finds both sweeping, romantic melodies and short, repetitive motifs. The latter feature was often
blev af samtidens anmeldere ofte kritiseret men kan også høres som en moderne kvalitet i Dalbergs musik.
Thomas Husted Kirkegaard
criticized by contemporary critics but can also be heard as a modern quality in Dalberg’s music.
Thomas Husted Kirkegaard
Forord
Arabisk musik fra Sahara, “samlet og arrangeret af Nancy Dalberg”, blev uropført 25. januar 1929 i Odd Fellow Palæets Mindre Sal ved Nancy Dalbergs koncert med “Egne Kompositioner samt orig. arabiske Melodier fra Sahara”. I programmet anfører Dalberg følgende note:
Under ½ Aars Ophold i Sahara optegnede jeg der paa Stedet en Del arabiske Melodier, som jeg hørte –dels Fløjte-Musik, dels Sange til Dans. Melodierne siges at være flere Aarhundreder gamle og skriver sig fra de forskellige Nomadestammer og fra forskellige Oaser i Ørkenen, efter hvilke de har Navn. 1
Dalberg opholdt sig i Algeriet, dengang en fransk koloni, fra september 1922 og frem til foråret 1923 og var ledsaget af sin mand, Erik Dalberg, og sin mor. Opholdsstedet var Biskra, en oaseby i den nordlige ende af Sahara. Nancy Dalberg led af vedvarende dårligt helbred og søgte lindring dette vinterhalvår i det varme, tørre klima. Biskra og dens faciliteter tiltrak europæere i stort tal. 2 De nærmere omstændigheder omkring indsamlingen og nedskrivningen af de arabiske melodier kendes ikke. Arrangementet er dateret 1928, og man må tro, det har en udpræget selvstændig, kompositorisk form og karakter. Blandt andet har Dalberg valgt en obo, selv om der angiveligt var tale om fløjtemusik, og i en bevaret førsterenskrift er slagtøjsinstrumentet betegnet tam-tam (hvad der rimeligvis er en misforståelse). De arabiske melodier rummer kvarttoner, hvilket Dalberg har søgt at gengive ved at foreskrive triller i obostemmen. Man bemærker også, at hun få steder benytter tostemmighed i de utvivlsomt enstemmige arabiske melodier.
Der foreligger to partiturer i autograf samt et sæt stemmer. Det tidligste partitur dannede grundlag for de instrumentalstemmer, Dalberg selv udskrev, og som blev benyttet ved opførelsen i 1929. En revision af første og tredje sats blev imidlertid foretaget, efter alt at dømme inden opførelsen, i både partitur og stemmer. Dalberg udfærdigede efterfølgende en ny renskrift af partituret, som således repræsenterer værkets endelige version. Udgaven trækker dog også på det oprindelige partitur og stemmesættet, hvori der findes supplerende detaljer og varianter.
Ved opførelsen i 1929 medvirkede Henry Munck (som erstattede den annoncerede, men sygdomsramte oboist Svend Christian Felumb), bratschisten Aksel Jørgensen og slagtøjsspilleren Georg Hansen i “de Melodier og Dansestykker, som Fru Dalberg har opnoteret i Sahara – en sikkert ikke let Opgave, da denne arabiske Musik er saa ukongruent med vor europæiske”, skrev Berlingske Tidende og fortsatte: “Præsentationen var trods Ensformigheden underholdende, men naturlig-
1 Koncertprogram 25.1. 1929, Det Kgl. Bibliotek, Danske Afdeling (Småtryk).
2 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4 (København: Multivers, 2019), 133-134.
Preface
Arabisk musik fra Sahara (Arabic Music from the Sahara), “collected and arranged by Nancy Dalberg”, was first performed on 25 January 1929 in the Odd Fellow Palace’s Small Hall at Nancy Dalberg’s concert with “own compositions and original Arabic melodies from the Sahara”. In the program, Dalberg makes the following note:
During a half-year stay in the Sahara, I notated some Arabic melodies that I heard there – some flute music, some songs for dancing. The melodies are said to be several centuries old and originate from the various nomadic tribes and from various oases in the desert, after which they are named. 1
Dalberg stayed in Algeria, then a French colony, from September 1922 until the spring of 1923 and was accompanied by her husband, Erik Dalberg, and her mother. The place of residence was Biskra, an oasis town at the northern end of the Sahara. Nancy Dalberg suffered from persistent ill health and sought relief from the winter in the warm, dry climate. Biskra and its facilities attracted Europeans in large numbers. 2 The details of the collection and recording of the Arabic melodies are not known. The arrangement is dated 1928 and seems to have a distinctly independent compositional form and character. Among other things, Dalberg has chosen an oboe, even though it supposedly was flute music in question, and in a preserved first manuscript the percussion instrument is designated as tam-tam (which is probably a misunderstanding). The Arabic melodies contain quarter notes, which Dalberg has tried to reproduce by prescribing trills in the oboe part. It is also noted that she uses two-part writing in a few places in the undoubtedly monophonic Arabic melodies.
Two autograph scores and a set of parts are available. The earliest score formed the basis for the instrumental parts that Dalberg herself wrote out, and which were used in the 1929 performance. However, a revision of the first and third movements was made, apparently before the performance, in both the score and parts. Dalberg subsequently prepared a new fair-copy of the score, which thus represents the final version of the work. However, the edition also draws on the original score and set of parts, which contain supplementary details and variants.
At the 1929 performance, Henry Munck (who replaced the announced oboist Svend Christian Felumb, who had fallen ill), violist Aksel Jørgensen and percussionist Georg Hansen participated in “the melodies and dance pieces that Mrs. Dalberg has written down in the Sahara – certainly not an easy task, since this Arabic music is so incongruous with our European one”, wrote
1 Concert programme 25 Jan. 1929, The Royal Danish Library, Danske Afdeling (Småtryk).
2 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, vol. 4 (Copenhagen: Multivers, 2019), 133 – 134.
vis nærmest af etnografisk Interesse”. 3 Andre anmeldere af koncerten nævner ikke specifikt dette værk. Arabiske melodier synes ikke at have været opført senere i Dalbergs tid. De to partiturer og stemmesættet kom efter hendes død til Det Kgl. Bibliotek, men værket blev først katalogiseret i 2000. En opførelse i 2010 på godset Fuglsang må anses for at være den første siden uropførelsen i 1929. 4 Nærværende kritiske udgave erstatter en førsteudgave produceret af Edition·S i 2019.
Berlingske Tidende and continued: “The presentation was entertaining despite its monotony, but of course more of ethnographic interest”. 3 Other reviewers of the concert do not specifically mention this work. Arabiske melodier does not seem to have been performed at a later point in Dalberg’s time. The two scores and the set of parts were bequeathed to the Royal Danish Library after her death, but the work was first catalogued in 2000. A performance in 2010 at the Fuglsang estate must be considered the first since the premiere in 1929. 4 The present critical edition replaces a first edition produced by Edition·S in 2019.
Bendt Viinholt Nielsen
3 “B”, Berlingske Tidende 26.1.1929.
4 Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, 148.
Bendt Viinholt Nielsen
3 “B”, Berlingske Tidende 26 Jan. 1929.
4 Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, 148.
Critical Commentary
Description of Sources
A Score (autograph fair copy)
B Preliminary score (autograph with corrections)
C Parts in autograph with corrections
A Score (autograph fair copy)
DK-Kk, Royal Danish Library (Music Collection). Nancy Dalbergs samling (MAms 6189; mu 0108.2000).
Title: “Arabisk Musik fra Sahara. / I. Melodier. II. Dansemusik. III Melodier. / arrangeret for / Obo, Viola, Tromme / af / Nancy Dalberg. / 1928.”
34.5 × 26 cm. 8 leaves with 13 pages of writing numbered: [title page], 2 – 13 (2 blank pages numbered 14 – 15; 1 blank page at the end).
Autograph fair copy in ink. A few additions in pencil.
Paper type: 16 staves (without manufacturer’s name).
On the title page added in pencil: “Partitur og Stemmer.”
B Preliminary score (autograph with corrections)
DK-Kk, Royal Danish Library (Music Collection). Nancy Dalbergs samling (MAms 6190; mu 0108.2000).
Title: “Arabiske Melodier fra Sahara. / For Obo, Viola, Tam-tam. / Samlet og arrangeret af / Nancy Dalberg”
Undated.
34.5 × 26 cm. 8 leaves with 13 pages of writing numbered: [title page], 2 – 13 (3 blank pages at the end).
Fair copy in ink with corrections in pencil.
Paper type: 14 staves (without manufacturer’s name).
C Parts in autograph with corrections
DK-Kk, Royal Danish Library (Music Collection). Nancy Dalbergs samling (MAms 6189; mu 0108.2000).
Title: “[…] / Arabiske Melodier fra Sahara / samlet og arrangeret af / Nancy Dalberg.”
Undated.
a Obo
4 leaves in autograph with 7 pages of writing numbered: [title page], 2 – 7 (1 blank page at the end).
Paper type: 34.5 × 26 cm. 10 staves (without manufacturer’s name).
b Viola
4 leaves in autograph with 5 pages of writing numbered: [title page], 2 – 5 (1 blank page at the end) + 1 leaf with 1 page of writing in a copyist’s hand; numbered 5 and replacing p. 5 in the autograph.
Paper type: 34.5 × 26 cm. 12 staves (without manufacturer’s name). The replacement leaf has the manufacturer’s name: K.U.V. Beethoven Papier Nr. 31. (12 Linien)
c Tromme og Obo
4 leaves in autograph with 8 pages of writing numbered: [title page], 2 – 8.
Paper type: 34.5 × 26 cm. 12 staves (without manufacturer’s name).
Drum and oboe are combined, the oboe music serving as cues for the drum player. On the first page of the part, the drum is designated “Tamtam” (the cover has “Tromme”, however).
All parts have corrections and additions in pencil originating from either musicians (cue notes, etc.) or the composer (revision).
Commentary on the Edition
The edition is based on the final score (A) which represents a revised version of the work. Both the score (B) and the parts (C) contain an earlier version, which, with revisions, was used for the performance in 1929. Dalberg used the revised score (B) as a source when preparing the new score (A). She was not aware that a few supplementary details were added only in the parts (C). Sources B and C have been consulted in cases of doubt and in order to identify oversights, which have occurred in the preparation of the new score, source A Emendations and variants are listed in the notes below.
Editorial Emendations and Alternative Readings
I. Melodies
Bar Part
14 ob.
Comment
note 10: emended from e to e r by analogy with notes 1, 4, 7 and in accordance with B
23 ob. notes 1, 4, 7, 10: emended from e to e r by analogy with b. 14 and in accordance with Ca
31 vla.
31 – 74 vla.
34, 36, 37 vla.
B, Cb: m (instead of f)
B: no arpeggios
Cb: arpeggio
36 ob. d added by analogy with b. 52 and in accordance with B and Ca
37 ob. f added by analogy with b. 29, 53 and in accordance with B and Ca
53 ob.
54 ob.
Ca: note 1: p
note 1 (grace note): slur added by analogy with b. 38 and in accordance with Ca
54 – 55 ob. c d added by analogy with bb. 38 – 39 and in accordance with Ca
71 tamb. note 2: e on the second beat omitted by analogy with b. 72 and in accordance with B and Cc
80 vla.
85 vla.
II. Dance Music
Bar
Part
6 ob.
ob.
6 – 13, 15, 20 – 31 tamb.
Cb: dolce leggiero (A has espress.)
Cb: cantabile
Comment
note 3: marc. emended to ten. by analogy with vla. and in accordance with B and Cb
B, Cb: note 6: fz (no fz in vla.)
Cc: all quavers from b. 20 through b. 31 are notated e r
10 vla. Cb: marcato molto (also marc. in b. 11)
17 vla. note 4: marc. added by analogy with ob. and b. 19 and in accordance with B (Cb has fz at note 4)
17, 19 ob. vla. note 3: guiding n added
23 vla.
24 ob.
26, 27, 29, 30, 31 ob.
27 ob. vla.
note 4: marc. added by analogy with ob. (bb. 23, 24, 25)
end point of slur emended from last note to penultimate note by analogy with bb. 25, 26, 29, 30
Ca: note 4: marc. (added in pencil; not in B and not in vla. (Cb))
B, Ca, Cb: last note: fz (as in b. 31)
31 ob. vla. beginning of slur emended from b. 30 last note to b. 31 note 1 by analogy with bb. 25, 26, 27, 29, 30 and in accordance with Ca and Cb
III. Melodies
Bar Part
3 ob.
6 ob.
Comment
Ca: slæbende
Ca: hurtigere
16 vla last harmony: marc. added by analogy with b. 17 and in accordance with B
22 vla.
harmony 1: # × 2 added by analogy with b. 21 and in accordance with B
23 vla. arco added by analogy with b. 18
24 vla. Cb: notes 1 – 4: ten.
26 vla. Cb: note 1: ten.
39 vla. Cb: note 1: ten.
40 ob. b in connection with tr added in accordance with B and Ca vla. m added by analogy with ob. and in accordance with B and Cb tamb. m added by analogy with ob. and in accordance with Cc
40 – 45 vla. Cb: second time (arco): leggiero
45 ob. p added in accordance with Ca vla. (arco) added in accordance with Cb
p added in accordance with B
46 tamb. p added by analogy with ob. and vla.
54, 55 ob.
c d added by analogy with bb. 50, 51 and in accordance with B and Ca
57 ob. m added in accordance with Cb (in A and B m is at the beginning of b. 58)
58 ob.
B, Ca: molto espressivo
note 6: stacc. added in accordance with Ca tamb. m added in accordance with Cc
59, 60 ob.
b in connection with tr added in accordance with B and Ca
60 ob. notes 3 – 4: slur added by analogy with b. 59 and in accordance with B and Ca
vla. notes 2 – 4: stacc. added by analogy with bb. 58, 59, 61, 62
61 ob. note 3: stacc. added in accordance with B and Ca
63 ob.
65 ob.
68 ob.
69 ob.
B: espressivo
Ca: molto espress.
p added in accordance with Ca
c d added by analogy with b. 64 and in accordance with B and Ca
c d added by analogy with b. 64 and in accordance with Ca
A, B, Ca: no c d
72 ob. notes 1 – 2: slur added by analogy with movement I, notes 1 – 2 tamb. p added by analogy with ob. and vla. and in accordance with B
72 – 75 ob. slur added by analogy with movement I, bb. 2 – 5 and in accordance with B and Ca
