Irgens Jensen - Japanischer Frühling by Musikkforlagene

LUDVIG IRGENS-JENSEN (1894–1969)

Japanischer Frühling Nachdichtung japanischer Lyrik von Hans Bethge

Japanese Spring Adaptations of Japanese Poetry by Hans Bethge

Utgitt av / Edited by Jørn Fossheim

N.M.O. 13990A

Editor in Chief, Norsk Musikkarv: Bjarte Engeset Graphic design: Tank design AS Norwegian language consultant: Gunnhild Wiggen English translation and language consultant: Thilo Reinhard Sponsored by: Norsk kulturrĂĽd (Arts Council Norway) This work is published in the following editions: Score (N.M.O. 13990A /ISMN 979-0-065-14454-2) For sale and hire Parts (N.M.O. 13990B /ISMN 979-0-065-14455-9) For hire 2019 NORSK MUSIKKARV (www.musikkarven.no) ÂŠ 2019 NORSK MUSIKFORLAG A/S (www.musikkforlagene.no) All rights reserved 1. printing

CONTENTS General preface Preface Facsimiles Original lyrics Scoring

INNHOLD Generelt forord Forord Faksimiler Originaltekster Besetning

I III XV XL XLI

JAPANISCHER FRÜHLING I. Heute! II. Der Blütenzweig III. Die Weide im Wind IV. An einen Freund V. Der Liebeslaut VI. Betrachtung VII. Nichts leichter [Leichtes Spiel] VIII. Einsam IX. Dauer im Wechsel

1 12 16 27 34 39 47 59 67

Abbreviations

Critical report

Addenda I. IV.

Heute! [tidlig versjon] An einen Freund [tidlig versjon]

97 109

I III XV XL XLI

1 12 16 27 34 39 47 59 67

Abbreviations Critical report

72 73

Addenda I. Heute! [early version] IV. An einen Freund [early version]

97 109

GENERAL PREFACE GENERELT FORORD

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

orsk musikkarv er en nasjonal satsing for å bevare og formidle den store kulturarven av musikk etter nor ske komponister. Satsingen er et samarbeid mellom en rekke institusjoner. Den omfatter vern og digitalisering av kildematerialet, forskning, edisjon og ikke minst formidling av kvalitetsnoter og innsikt til musikklivet. Målet er at musikkarven tas vare på og gjøres tilgjengelig slik at den kan framføres av musikere og orkestre og nå et større publikum, nasjonalt og internasjonalt. De fleste noteutgavene fra Norsk musikkarv er kritiske utgaver. Disse er basert på vitenskapelige edisjonsprinsipper. Det betyr at de bygger på et kritisk studium av alle til gjengelige kilder, både notemanuskripter og tidligere trykte utgaver, samt andre kilder av betydning for forståelsen av verket og for edisjonen av notebildet, for eksempel brev og dagbokopptegnelser. Enkelte utgaver er basert på en enklere edisjonsprosess enn den som gjelder kritiske utgaver. Slike utgaver kalles gjerne «praktiske» utgaver, fordi de tjener et umiddelbart praktisk behov i en situasjon hvor det verken er tid eller ressurser til å gjennom føre et kildekritisk studium og framstille en kritisk utgave.

GENERAL PRINCIPLES The central editorial principle has been to realize the composer’s last documented intentions, but it has also been a priority to demonstrate the diversity of the source material. Each edition is therefore accompanied by a description of the sources, including a review of the relationship between the sources in question. A comprehensive analysis of the composer’s style of musical notation has also informed the editing process. Articulation and dynamics, playing instructions and performance markings have been standardized across analogous passages, except where the composer seemed to intend those passages to differ. The editors chose a single primary source for each work – i.e. the source believed to be closest to the composer’s final intentions. This source formed the starting point for the editing process. Deviations from the primary source as well as variants from other sources are documented and discussed measure by measure at the end of the edition. As a rule, the editors do not discuss primary source elements missing in other sources

GENERELLE EDISJONSPRINSIPPER Det er et viktig prinsipp å få fram de seneste dokumenterte intensjonene til komponisten. Samtidig skal også mang foldet i kildesituasjonen formidles. Utgavene er utstyrt med en kildebeskrivelse hvor også forholdet mellom kildene blir grundig evaluert og vurdert. Utgavene av hvert enkelt verk bygger også på en samlet analyse av komponistens notasjonsstil. Artikulasjon, dynamikk, buer, spilletekniske anvisninger og 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. 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 framføringsmåten. Negative varianter («mangler») i andre kilder er som hovedregel ikke kommentert. Selve notebildet gjengis uten typografisk markering av redaksjonelle tilføyelser eller endringer.

(so-called negative variants). The musical notation is presented without any explicit editorial additions or revisions.

The following general editorial choices are not listed in the critical commentaries:

• Typography, score layout and instrument names are to a cer tain degree standardized in keeping with modern practice. • Where two notes share a stem, slurs, articulation markings and dynamics should be read as applying to both parts. • The notation of slurs and ties in combination has been modernized. • Markings such as ‘I.’, ‘II.’, and ‘a 2’ are sometimes editorial, but always comply with the general distribution of parts in the primary source, unless otherwise indicated in the commentary. • Clefs and rehearsal letters are generally reproduced as they appear in the primary source. Where rehearsal letters are missing in the primary source, they have been added in the new edition. • In longer triplet passages, the new editions include numerals above all 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. • The spelling of terms such as cresc. and dim. has been standardized in the new edition.

Følgende generelle valg er ikke kommentert i de kritiske kommentarene til det enkelte verket:

• Typografi, partituroppsett og instrumentnavn er til en viss grad normalisert i samsvar med moderne praksis. • Når to stemmer deler notehals, gjelder fraseringsbuer, artikulasjonstegn og dynamikk begge stemmer. • Notasjonen av kombinasjoner mellom legatobuer og bindebuer er modernisert. • Markeringer som «I.», «II.», «a 2» kan være redaksjonelle, men er i overensstemmelse med hovedkildens stemmefordeling så sant ikke annet er anmerket i den kritiske kommentaren. • Nøkler og orienteringsbokstaver er gjengitt som i hovedkilden. Når orienteringsbokstaver ikke finnes i hovedkilden, har vi lagt til slike. • I lengre passasjer med trioler har de nye utgavene siffer over alle triolene i hele første takt. • 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. • I de nye utgavene er skrivemåten normalisert for uttrykk som cresc. og dim.

PREFACE

hen Ludvig Irgens-Jensen, after many years of experimentation, decided to make his debut as a composer at the age of 26, he already had a formidable number of more or less completed works stored away in his desk drawer. His friend, the conductor and composer Odd Grüner-Hegge, stated the following in an interview in 1972:

FORORD

a Ludvig Irgens-Jensen som 26-åring bestemte seg for å debutere som komponist, hadde han allerede en formidabel mengde mer eller mindre ferdige verker liggende i skrivebordsskuffen, etter mange års eksperimentering med komposisjon. Hans venn, dirigenten og komponisten Odd Grüner-Hegge, hevdet følgende i et intervju i 1972:

I think he had something like 500 songs at the time. He was constantly producing, – he’d write at night and come to me the next day: ‘Listen to this!’ It was truly a prolific time.1 Thus, it seems that the young composer making his debut was able to present more than enough material of different type and scoring. But a selection had to be made, albeit not in all modesty: the choice fell on no less than 38 songs: settings of poems by Arnulf Øverland (Opp. 1 and 5) and Heinrich Heine (Op. 3), five Slavic texts rendered into Danish by Thor Lange (Op. 6), and 12 poetic adaptations of Japanese texts into German by Hans Bethge (Opp. 2 and 4). This massive collection of songs was published under the composer’s own imprint in December 1920 and placed on consignment with Oluf By’s Musikforlag in Kristiania. The publication of these works is often considered to be Irgens-Jensen’s actual debut as a composer.

Jeg tror han hadde noe sånn som 500 sanger den gangen. Han produserte i ett trekk, – skrev om natten, og kom neste dag til meg: «Hør på dette!» Det var virkelig en blomstrende tid.1 Den unge debutanten hadde altså nok av materiale han kunne presentere, av forskjellig art og besetning. Men et utvalg måtte gjøres, om enn ikke i all beskjedenhet: Valget falt på hele 38 sanger – til dikt av Arnulf Øverland (op. 1 og 5) og Heinrich Heine (op. 3), fem slaviske tekster gjendiktet til dansk av Thor Lange (op. 6) og 12 japanske tekster gjendiktet til tysk av Hans Bethge (op. 2 og 4). Denne omfangsrike samlingen av sanger ble trykt og utgitt på eget forlag i desember 1920 og plassert i kommisjon hos Oluf By’s Musikforlag, Kristiania. Utgivelsen av disse verkene blir gjerne regnet som IrgensJensens komponistdebut.

But already a few months earlier, on 9 June 1920, several of his early works had been performed at a pupils’ recital evening arranged by vocal pedagogue and singer Elisabeth Munthe-Kaas (1883–1959). It was held at the premises of Hjemmenes Vel (Voldgaten 20, Kristiania), one of Norway’s earliest housewives’ associations. On this occasion, Margit Aarberg Rom (1888–1962; later married surname Nergaard) sang eight of his songs, including five songs from Op. 2,

Men allerede noen måneder tidligere, 9. juni 1920, hadde han fått flere av de tidlige verkene fremført på en elevaften som pedagogen og sangerinnen Elisabeth Munthe-Kaas (18831959) arrangerte for sine studenter i lokalene til Hjemmenes Vel (Voldgt. 20, Kristiania). Margit Aarberg Rom (senere gift Nergaard) (1888-1962) sang der åtte av sangene hans, deriblant fem fra op. 2, Japanischer Frühling. Dette var første gang musikk av Irgens-Jensen ble fremført offentlig. Imidlertid var konserten først og fremst et internt arrangement – den var sparsomt annonsert, og ingen kritikere var til stede.2 Det er derfor naturlig å regne sangerinnen Hildur Øverlands debutkonsert 4. oktober 1920 i Logens store sal, Kristiania, som Irgens-Jensens egentlige konsertdebut som komponist. Med Pauline Hall på klaver fremførte forfatteren Arnulf Øverlands kone her fem av komponistens tidlige sanger. For første gang kunne kritikere vurdere Irgens-Jensens musikk – men foreløpig kun ut fra det de hørte. Verkene var ennå ikke publisert.

Japanischer Frühling. Although this was the first time IrgensJensen’s music was performed in public, the concert was largely an internal event that had scarcely been advertised, and no critics were present.2 Therefore, it seems more fitting to consider Hildur Øverland’s singing debut on 4 October 1920 in the large hall of the Old Masonic Lodge, Kristiania, to be Irgens-Jensen’s actual concert debut as a composer. Accompanied by Pauline Hall at the piano, the wife of author Arnulf Øverland performed five of the composer’s early songs. For the first time, the critics were able to judge Irgens-

III

Jensen’s music – but for the time being only based on what they heard. The works had not yet been published. The critics were not particularly positive about these new songs. They objected to the structure of the accompaniment and the monotony of the music, and it was noted that the voice part was not especially idiomatically. Nonetheless, several of the reviewers pointed out Irgens-Jensen’s talent and felt confident that he would continue to develop as a composer.

Kritikerne tok ikke særlig godt imot de nye sangene. Det kom innvendinger mot strukturen i akkompagnementet, mot monotoni, og det ble bemerket at sangene var lite idiomatisk skrevet for sangstemmen. Likevel fremhevet flere av anmelderne Irgens-Jensens talent og uttrykte tiltro til at han ville utvikle seg videre som komponist.

But why choose a whole set of five such monochromatic songs as those by Ludvig Irgens Jensen? The accompaniment was far too ambiguous and weakly conceived, and its connection with the vocal part was often quite problematic.

Men hvorfor vælge en hel avdeling paa fem sange av en saa ensfarvet type som Ludvig Irgens Jensens? De var saa altfor famlende og svakt utformet med et akkompagnement, hvis forbindelse med sangstemmen ofte var ganske problematisk.

T. B. [TØNNES BIRKNES], SOCIAL-DEMOKRATEN, 8 OCTOBER 1920

Neither were the five romances by Ludvig Irgens-Jensen entirely flattering to the voice, all the more so as the heavy, gnarly accompaniment did not accentuate the beauty of the melody. This is not to say that the composer is without talent – to the contrary, it is something he most likely does have; but he certainly does lack experience.

T. B. [TØNNES BIRKNES], SOCIAL-DEMOKRATEN, 8. OKTOBER 1920

De fem romancer af Ludvig Irgens Jensen var heller ikke absolut flatterende for stemmen, saa meget mere som det tunge, knudrete akkompagnement ikke fremhævede melodiens skjønheder. Det er ikke hermed sagt, at komponisten savner talent – det er endogsaa høist sandsynlig, at han har det; men erfaring mangler han ihvertfald.

HJALMAR BORGSTRØM, AFTENPOSTEN, 5 OCTOBER 1920

These peculiar, lovely songs by Mr Ludvig Irgens-Jensen, although too uniform in their selection, bore witness to a distinctively lyrical talent, of whom one ought to expect a rich development.

HJALMAR BORGSTRØM, AFTENPOSTEN, 5. OKTOBER 1920

JENS ARBO, NATIONEN, 9 OCTOBER 1920

De eiendommelige, fine sange av Hr. Ludvig Irgens Jensen, var nok for ensartet i udvalget, men vidnet dog om et utpræget lyrisk talent, hvorav man maa kunne vente sig en rik utvikling.

Following the publication of the songs in December of the same year, further reviews appeared: Ludvig Irgens Jensen is making his debut with no less than 38 songs (sold on commission by Oluf By). The journey through them is long and cumbersome. The style is gnarly throughout, the vocal part extremely difficult and little melodious, in addition to an accompaniment overburdened by passing notes and non-harmonic tones that often tend to interfere with the impression. Nonetheless, there is much that points far ahead in these works, no matter how much they may be burdened with the beginner’s tendency to exaggerate. Irgens Jensen strikes me as an artist with a serious pursuit who seeks the truth. This is because he seems to be a genuine artist by nature who does not compromise his conscience. And he has learned a great deal. His compositional technique is quite advanced – in the new German style. It is simply that he seems to be uncertain about the proper application of his undeniable gift and technique. [...] But this is a composer who will be going places. I have little

JENS ARBO, NATIONEN, 9. OKTOBER 1920

Etter at sangene ble trykt i desember samme år, kom det flere anmeldelser: Ludvig I r g e n s J e n s e n debuterer med ikke mindre end 38 sange (Oluf By i kommision). Vandringen gjennem disse er lang og besværlig. Stilen er gjennemgaaende knudret, sangstemmen meget vanskelig og lidet melodiøs, hvortil kommer et akkompagnement med en overlæsselse af gjennemgangsnoter og harmonifremmede toner, som ofte kan være skikket til at forstyrre indtrykket. Alligevel er der mangt og meget, som peger langt fremover i disse arbeider, hvor meget de end kan være belastet med begynderens hang til overdrivelser. Irgens Jensen staar for mig som en alvorlig stræbende og ærlig søgende kunstner. Han synes nemlig at være en egte kunstnernatur, som ikke gaar paa akkord med sin samvittighed. Og han har lært en god del. Komposisjonsteknikken er langt fremskredet – i nytysk skikkelse. Han lader bare ikke til at være klar over den rette

doubt that one fine day he will present us with sterling art. HJALMAR BORGSTRØM, AFTENPOSTEN, 22 DECEMBER 1920

[Irgens-Jensen’s songs] do not lie all that favourably for the voice, but upon closer scrutiny, they testify to a talent who wants something, and whose further development one shall follow with interest. His extensive collection includes music to Norwegian, German, French, Slavic and Japanese poetry. A number of them are quite appealing. But once Jensen matures a little as a composer, he will become more frugal in displaying all his musical ideas in public: he will understand that multum is better than multa.

anvendelse af sin ubestridelige begavelse og sin teknik. […] Men denne komponist skal betydelig videre frem. En vakker dag vil han nok skjænke os fuldlødig kunst. HJALMAR BORGSTRØM, AFTENPOSTEN, 22. DESEMBER 1920

ULRIK MØRK, ØREBLADET, 22 DECEMBER 1920

[Irgens Jensens sanger] ligger ikke netop saa svært gunstig for Stemmen, men naar man gaar dem nøiere igjennem bærer de bud om et Talent som v i l noget, og hvis videre Utvikling man vil følge med Interesse. I den omfattende Samling findes der Musik til norsk, tysk, fransk, slavisk og japansk Poesi. Flere av dem er meget tiltalende. Men naar Jensen blir lit ældre som Komponist, vil han bli mere karrig med at stille alle sine musikalske Tanker til offentlig Beskuelse: han vil forstaa at multum er bedre enn multa.

The composer by no means makes it easy for us. One has to manoeuvre one’s way through a maze of ‘sharps and flats’, rhythmically intricate figurations and an awkward and clumsy piano part. Also musically, the journey becomes a little monotonous – and when finally it has been brought to a finish, one is left with an industrial aftertaste in one’s mouth. ‘So viel Wollen aber bis jetzt so wenig Können!’ And yet, Irgens Jensen is certainly not devoid of talent. In fact, he has talent to spare. But for the time being, this talent manifests itself in an intellectual way, i.e. there is more theory in him than living music.

ULRIK MØRK, ØREBLADET, 22. DESEMBER 1920

Komponisten gjør det ingenlunde let for en. Man maa bakse sig gjennem krat av “kryds og beer”, rytmisk indviklede figurationer og en vrien og ugraciøs klaversats. Vandringen blir ogsaa musikalsk noget ensformig – og da den endelig er tilendebragt sætter man sig ned med en industriel bismag i munden. “So viel Wollen aber bis jetzt so wenig Können!” Og dog Irgens Jensen er slet ikke blottet for talent. Han har endog talent i overflod. Foreløpig ytrer dette talent sig dog nærmest ad intellektuel vei d.v.s. der er mere teori i ham endnu end levende musik.

TRYGVE TORJUSSEN, VERDENS GANG 3 [UNDATED CLIPPING, PROBABLY DECEMBER 1920 OR JANUARY 1921]

In these early years, Elisabeth Munthe-Kaas was an avid supporter of the composer and performed his songs on numerous occasions. On 2 April 1924, she arranged her own musical soirée in the large hall of the Old Masonic Lodge, Kristiania, in a programme consisting solely of works by Irgens-Jensen. The composer himself took on the role of accompanist. One week later, on 9 April, the earliermentioned soprano Margit Aarberg Nergaard (née Rom) once again performed songs by Irgens-Jensen in a concert at the same venue, and also this time the composer sat at the piano. The programme included a complete performance of Japanischer Frühling – the first and probably only time in the work’s history. Critics were in attendance at both concerts, and this time the reviews were slightly more positive. But the general tone still suggested that the composer’s gift promised more than he was currently able to deliver in his compositions.

TRYGVE TORJUSSEN, VERDENS GANG 3 [UDATERT UTKLIPP, TROLIG FRA DESEMBER 1920 ELLER JANUAR 1921]

Elisabeth Munthe-Kaas var en ivrig støttespiller for Irgens-Jensen i disse tidlige årene og fremførte sangene hans ved flere anledninger. 2. april 1924 arrangerte hun en egen romanseaften i Logens store sal, Kristiania, som utelukkende bestod av Irgens-Jensens verker. Han opptrådte selv som akkompagnatør. En uke senere, 9. april, fremførte dessuten Margit Aarberg Nergaard (tidl.: Rom) igjen sanger av Irgens-Jensen på en konsert samme sted, og komponisten satt også denne gangen ved klaveret. Her ble blant annet hele Japanischer Frühling fremført – for første og trolig eneste gang i sin helhet. Det var kritikere til stede på begge konsertene, og anmeldelsene var denne gangen noe mer positive. Men gjennomgangstonen var fremdeles den at komponistens begavelse nok lovet mer enn han foreløpig maktet å frembringe i komposisjonene sine.

With great assurance, the female vocalist carried her voice through the snags found in Irgens Jensen’s songs. She did not allow herself to be led astray when the piano part went its own knotty ways. HJALMAR BORGSTRØM, AFTENPOSTEN, 10 APRIL 1924, FOLLOWING THE CONCERT BY M. AARBERG NERGAARD ON 9 APRIL

This unique and highly gifted composer, the enfant terrible of our most recent musical art, occupied no less than two parts of Margit Aarberg Nergaard’s programme. Never mind that his strange and dissonance-flavoured, somewhat fragile songs, whose melody and accompaniment rarely follow one another and often only have rhythms in common, every once in a while, such as in ‘Leichtes Spiel’, can seem rather highly experimental. No one can shut their ears to the fact that there is a poet inside the composer! And amidst all this lax, severed, abrupt form in which Irgens Jensen is fond of writing, à la Mahler in ‘Des Knaben Wunderhorn’, it is easy to notice and follow the musical inspiration and the deliberate plan in the design. There are plenty such lovely and enjoyable things in the cycle ‘Japanischer Frühling’, for example the light and graceful little song ‘Der Liebes laut’.

Meget sikkert førte sangerinden sin stemme gjennem de skjær, som findes i sangene av Irgens Jensen. Hun lot sig ikke vildlede, om klaverpartiet gikk sine egne, knudrete veier. HJALMAR BORGSTRØM, AFTENPOSTEN, 10. APRIL 1924, ETTER M. AARBERG NERGAARDS KONSERT 9. APRIL

Av denne eiendommelige og høit begavede komponist, vaar yngste tonekunsts enfant terrible, hadde Margit Aarberg Nergaard hele to avdelinger i programmet. La være at de rare, dissonanskrydrede, litt sprøde sangene hans, hvor melodi og akkompagnement sjelden følges ad og ofte bare har rytmer felles, en og annen gang, som i «Leichtes Spiel», kan virke lovlig meget eksperimentert. Ingen kan lukke ørene for, at der stikker en p o e t i komponisten! Og midt i all den løse, søndrede, abrupte form, Irgens Jensen ynder aa skrive i, a la Mahler i “Des Knaben Wunderhorn”, er det lett aa merke og følge den musikalske inspirasjon og den bevisste plan i utarbeidelsen. Der finnes fullt op av slike skjønne og morsomme ting i cyklusen “Japanisher Frühling”, som f. eks. den lette og grasiøse lille sang “Der Liebeslaut”.

R. M. [REIDAR MJØEN], DAGBLADET, 11 APRIL 1924

As we can see, nearly all the critics had reservations about the new songs that were presented in these early years, but at the same time they were not unwilling to credit the young composer with significant talent and thus await his future development with interest. Only one of the critics was consistently negative about Irgens-Jensen and his music: Per Reidarson (1879–1954), a composer who at the time worked as a critic for the daily Social-Demokraten (from April 1923: Arbeiderbladet).

R. M. [REIDAR MJØEN], DAGBLADET, 11. APRIL 1924

Three songs by a young debutant, Ludvig Irgens Jensen, were no more than sung declamation to sounds from the piano. It is something any halfway musical person is able to do, and has nothing to do with musical composition.

Som vi ser, var nær sagt alle kritikerne forbeholdne til de nye sangene som ble presentert disse første årene, men likevel ikke uvillige til å tillegge den unge komponisten et betydelig talent og dermed avvente med interesse hans videre utvikling. Bare én kritiker var gjennomgående negativt innstilt til IrgensJensen og musikken hans: kom ponisten Per Reidarson (1879-1954), som på denne tiden virket som anmelder i SocialDemokraten (fra april 1923: Arbeiderbladet)

PER REIDARSON, SOCIAL-DEMOKRATEN, 8 SEPTEMBER 1921 4

Three songs by Ludvig Irgens Jensen were properly crafty and fully decked out as far as the vocal part and the accompaniment were concerned, but without a shred of poetic life.

Tre sange av en ung debutant Ludvig Irgens Jensen var bare sunget deklamation til pianoklang. Det er noget alle nogenlunde musikalske mennesker kan lage, og det har intet med tonedigtning at gjøre.

P. R. [PER REIDARSON], SOCIAL-DEMOKRATEN, 9 DECEMBER 1922 5

PER REIDARSON, SOCIAL-DEMOKRATEN, 8. SEPTEMBER 1921 4

P. R. [PER REIDARSON], ARBEIDERBLADET, 28 APRIL 1923 6

Tre sange av Ludvig Irgens Jensen var flot utspekulerte og tilrigget baade hva sang og akkompagnement angaar, men uten fnugg av poetisk liv.

Yesterday, Ludvig Irgens Jensen held a composer’s evening at the Old Masonic Lodge together with Elisabeth MuntheKaas who interpreted 20 songs with the composer himself at the piano. Commenting on these songs is not so easy, or perhaps it is too easy. Once, I was at a party here in town where a pianist and a singer had agreed to improvise songs

New were a couple of contorted assemblages of notes by Ludwig [sic] Irgens Jensen [...]

P. R. [PER REIDARSON], SOCIAL-DEMOKRATEN, 9. DESEMBER 1922 5

Nye var et par forskruede tonesamlinger av Ludwig [sic] Irgens Jensen[…] P. R. [PER REIDARSON], ARBEIDERBLADET, 28. APRIL 1923 6

together and pretend they were all the rage from Germany and France. They had gotten hold of some suitable texts and carried on in full earnest. Their aim was to parody as much as possible without falling out of character. They kept it up properly and together produced a load of hogwash that otherwise can only be heard in the concert hall. It turned out as expected. People took it seriously and were enchanted. That is also how it turned out yesterday, even though all evening it sounded as if both the singer and the pianist were simply grinding the same song over and over again. The audience was enchanted.

Igår gav Ludvig Irgens Jensen komponistaften i Logen med Elisabeth Munthe-Kaas som tolker av 20 romanser og komponisten selv ved flyglet. Om disse sanger er det ikke så lett å uttale sig, eller det er kanskje for lett. Jeg var en gang i et selskap her i byen, hvor en pianist og en sanger var blitt enig om sammen å improvisere romanser, og late som var det det nyeste fra Tyskland og Frankrike. De hadde fått fatt i noen egnede tekster og duret ivei meget alvorlige. Formålet var så vidt mulig å parodiere uten å falle ut av rollen. De holdt sig riktig godt og lavet sammen et pølsevev, som man må helt til konsertsalen for å høre maken til. Det gikk som ventet. Folk tok det for alvor og var henrykt. Slik gikk det også i går, enn skjønt det hele aftenen hørtes ut som både sangerinne og pianist bare gnol på samme sangen om og om igjen. Publikum var henrykt.

P. R. [PER REIDARSON], ARBEIDERBLADET, 3 APRIL 1924

[...] a cycle, Japanischer Frühling, seems to me more like a game with notes, sharps and flats than compositions. Irgens Jensen, who is technically well versed in harmony and modulation, should use some real vocal compositions as a model, rather than regularly writing according to everyman’s international music recipe. There are plenty of enjoyable sounds; it is melody and form that are missing.

P. R. [PER REIDARSON], ARBEIDERBLADET, 3. APRIL 1924

[…] en syklus, Japanischer Frühling, synes meg mere å ligne en lek med noter, kryds og be-er enn komposisjoner. Irgens Jensen, som har en god teknikk i harmonilære og modulasjon, burde ta noen virkelige sangkomposisjoner til mønster, istedenfor som nu jevnlig å skrive efter allemanns internasjonal noteresept. Morsomme klanger har han nok av; det er melodi og form som mangler.

P. R. [PER REIDARSON], ARBEIDERBLADET, 11 APRIL 1924 7

All the same, Irgens-Jensen does not seem to have taken such reviews particularly to heart. He tirelessly continued on in his own direction. After reading the reviews of the recently published songs that were released in December 1920, he wrote to his father from Paris:

P. R. {PER REIDARSON], ARBEIDERBLADET, 11. APRIL 1924 7

I suppose you don’t think that the reviews were peculiar, but I had not expected them to be so friendly. It’s not an enjoyable task to review three books of songs while poor man’s cakes are sizzling in the pan.

Likevel later det ikke til at Irgens-Jensen tok seg særlig nær av slike omtaler. Han fortsatte ufortrødent videre i sin egen retning. Etter å ha lest anmeldelsene av de nyutgitte sangene som kom i desember 1920, skrev han til sin far, fra Paris:

IRGENS-JENSEN IN A LETTER TO HIS FATHER, JANUARY 1921 8

Dere synes vel ikke at kritikkene var rare, men jeg hadde ikke ventet dem saa venlige. Det er ingen morsom opgave at skulde anmelde tre hefter sange, mens fattigmandsbakkelsen fræser i panden.

In one of the exceedingly rare interviews Irgens-Jensen gave in the course of his life – in connection with Elisabeth Munthe-Kaas’ Irgens-Jensen concert in 1924 – he was asked about the songs to be performed that evening:

IRGENS-JENSEN I BREV TIL FAREN, JANUAR 1921 8

‘Are the songs modern?’ ‘I myself don’t think they are modern. But here at home people seem to think so.’

I et av de ytterst få intervjuene han gav i sitt liv, i forbindelse med Elisabeth Munthe-Kaas’ Irgens-Jensen-aften i 1924, ble han spurt om sangene som skulle fremføres samme kveld:

LUDVIG IRGENS-JENSEN IN AN INTERVIEW FOR AFTENPOSTEN,

- Er sangene moderne? - Selv syns jeg ikke, de er moderne. Men her hjemme syns man det vist.

1 APRIL 1924

LUDVIG IRGENS-JENSEN INTERVJUET I AFTENPOSTEN, 1. APRIL 1924

VII

New version for soprano solo with orchestra

or reasons we cannot fully ascertain, Irgens-Jensen withdrew the entire first edition of printed songs not long after their publication, and after 1924 there is no evidence that Japanischer Frühling, Op. 2, was performed again in its entirety during the composer’s lifetime. At this point, Irgens-Jensen was undergoing rapid development as a composer, and he himself expressed that it was not long before he began to see weaknesses in these early works. Nor, as we have seen, did the critics particularly embrace the songs when they first came out . Along with a certain frustration over how the agent handled the distribution of the editions, all these are likely reasons why the composer chose to withdraw the entire large collection of songs and keep all the printed copies himself.9

Ny versjon for sopransolo med orkester

v grunner vi ikke med sikkerhet kan fastslå, trakk Irgens-Jensen tilbake hele opplaget av de første trykte sangene ikke lenge etter publiseringen, og etter 1924 kjenner vi ikke til at Japanischer Frühling, op. 2 ble fremført igjen i sin helhet så lenge komponisten levde. Irgens-Jensen var i hurtig utvikling som komponist på denne tiden og gav selv uttrykk for at han ganske snart begynte å se svakheter i disse tidlige verkene. Som vi har sett, tok heller ikke kritikerne spesielt godt imot sangene da de kom ut. Dette, sammen med en viss misnøye med hvordan kommisjonæren håndterte distribusjonen av utgavene, er sannsynlige årsaker til at han valgte å trekke tilbake hele den store samlingen av sanger og selv beholde alle de trykte eksemplarene.9

But the songs were not shelved for all eternity. Several preserved copies show that Irgens-Jensen made adjustments, suggesting that he was not quite done with them. In this regard, Japanischer Frühling assumes a unique position among his works. We know that in the 1930s he was encouraged to orchestrate the songs, and a number of drafts survive from that time. Based on statements and sketches, we also know that he worked on them in the early 1950s. Finally, in 1956, a completely reworked and orchestrated version of the entire cycle was on hand, and a new premiere was scheduled for January the following year.

Imidlertid la han ikke sangene bort for alltid. I flere av de bevarte eksemplarene har han foretatt justeringer. Han så seg åpenbart ikke helt ferdig med dem. Syklusen Japanischer Frühling kom til å stå i en særstilling i så måte. Vi vet at han på 1930-tallet ble oppmuntret til å orkestrere sangene, og det finnes noen utkast fra denne tiden. Ut fra utsagn og skisser kjenner vi også til at han arbeidet med dem på begynnelsen av 1950-tallet. I 1956 forelå endelig en ferdig, omarbeidet og orkestrert utgave av hele syklusen, og en ny urfremføring ble planlagt til januar følgende år.

Although it is easy to recognize the songs from the early version, much has changed in the later one. The accompaniment in particular has been thoroughly revised. The structure of the orchestral texture is significantly lighter and more transparent than in the piano version. The introductions to several of the songs have been extended and in one case completely rewritten. The interludes have also been lengthened and are more embellished. In many places, the harmony has been changed and generally simplified. It is the vocal solo part that has retained most of its original features, but here, too, many adjustments were made, both rhythmically and melodically.

Selv om man lett kjenner igjen sangene fra den tidlige versjonen, er mye endret i den senere. Særlig akkom pagnementet har blitt kraftig omarbeidet. Strukturen i orkestersatsen er vesentlig lettere og mer transparent enn i klaverversjonen. Introduksjonene til flere av sangene er for lenget og i ett tilfelle helt nykomponert. Mellomspill har også blitt lengre og mer utbroderte. Harmonikken er mange steder endret, som oftest forenklet. Solostemmen er den som har beholdt mest fra den tidlige versjonen, men også i denne har det skjedd en hel del justeringer, både rytmisk og melodisk.

In connection with the first performance of the revised work, the composer agreed to an interview with the Oslo daily Verdens Gang:

I forbindelse med at det omarbeidede verket skulle fremføres for første gang, lot komponisten seg intervjue i Verdens Gang:

When I was young, I had a burning interest in poetry from many countries, among them Japan. I read Hans Bethge’s free adaptations of ancient Japanese poems, which affected me strongly, and I wrote 9 songs as a cycle for voice and

Som ung var jeg glødende interessert i lyrikk fra mange land, blant dem Japan. Jeg leste Hans Bethges gjendiktninger av gammel japansk lyrikk, de grep meg sterkt, og jeg skrev 9 sanger som en syklus for sang og klaver. Fremført i konsertsalen ble de også, men siden har de

VIII

piano. They were even performed in concert, but since then they have just been lying there. Maybe not so strange, by the way. They are both difficult to sing and to play. So I took a fresh look at them, thinking that the piano should perhaps be replaced by the orchestra, while at the same time some changes should be made in the overall design, and that the work ought to have a broader and simpler character. Now the work appears in a new, revised version – for the first time.

ligget. Kanskje ikke så merkverdig forresten. De er svære både å synge og å spille. Så jeg tok dem for meg på ny, og tenkte at klaveret kanskje burde erstattes av orkesteret, samtidig med at visse endringer burde skje i utformingen, og at verket fikk et bredere og enklere preg. I ny, revidert versjon fremstår verket nå – for første gang.

LUDVIG IRGENS-JENSEN INTERVIEWED BY ‘ARCO’, VERDENS GANG, 11 JANUARY 1957

The ‘new premiere’ took place the same evening, on 11 January 1957 at the University Aula in Oslo. The Norwegian soprano Eva Prytz (1917–1987) was soloist with the Oslo Philharmonic Orchestra, conducted by Odd GrünerHegge (1899–1973). Thirty-three years had passed since the last performance of the cycle’s first version, and in the meantime Irgens-Jensen had gone from a young radical to belonging to the older guard of Norwegian composers. The music that was performed no longer represented anything new to the public, and the critics, too, had an entirely different view of the music this time around. The reception was unequivocally positive, even if some of the reviews may have intimated that this was music from a bygone era:

LUDVIG IRGENS-JENSEN INTERVJUET AV “ARCO”, VERDENS GANG, 11. JANUAR 1957

«Ny-urfremføringen» fant sted i Universitetets Aula i Oslo samme kveld, 11. januar 1957. Den norske sangerinnen Eva Prytz (1917-1987) var solist med Oslo Filharmoniske Orkester, dirigert av Odd Grüner-Hegge (1899-1973). Det var hele 33 år siden siste fremføring av syklusens første versjon, og Irgens-Jensen hadde i mellomtiden gått fra å være en ung radikaler til å tilhøre den eldre garde blant Norges kompo nister. Musikken som ble fremført, representerte ikke lenger noe nytt for publikum. Også kritikerne var helt annerledes innstilt til musikken denne gangen. Mottakelsen var utelukkende positiv, selv om man kanskje noen steder i kritikkene kan skimte antydninger om at dette ble sett på som musikk fra en svunnen tid:

In the second part of the concert, Eva Prytz was soloist in Ludvig Irgens Jensen’s ‘Japanischer Frühling’, which had its first performance. It is [based on] small verses freely adapted to German from ancient Japanese poems. The vocalist’s experiences from her successes in Puccini’s operas now came to great advantage. Irgens Jensen has let the work lie since 1918, when he wrote it for voice and piano. Later, he draped it in an orchestral garb that did not significantly differ from what we already know of ‘Japanese’ music. – However, there was a special ‘nerve’ all his own. His instrumental means are simple, but he does not for one second succumb to the temptation of slipping into banalities. Eva Prytz must have had great pleasure in singing this work, and technically she had no difficulties. It was evident that she had managed to capture the composer’s deeper meaning with his work.

I konsertens annen del var Eva Prytz solist i Ludvig Irgens Jensens “Japanischer Frühling” som var en uroppførelse. Det er små vers i tysk gjendiktning fra gammel-japansk lyrikk. Sangerinnens erfaringer fra hennes suksesser i Puccinis operaer, kom henne nå til stor nytte. Irgens Jensen har latt dette verk ligge siden 1918 da han skrev det for sang og piano. Senere har han iført det en orkestral drakt som ikke skilte seg vesentlig ut fra det vi tidligere kjenner av “japansk” musikk. – Imidlertid var det en spesiell “nerve” som var hans egen. Hans instrumentale virkemidler er enkle, men han faller ikke et sekund for fristelsen til å gli ut i banaliteter. Eva Prytz hadde sikkert stor glede av å synge dette verk, og teknisk sett hadde hun ingen vanskeligheter. Hun hadde åpenbart klart å fange komponistens dypere mening med sitt verk.

CLAUS THS. PETERSEN, MORGENPOSTEN, 12 JANUARY 1957

A special treat was the fact that Ludvig Irgens Jensen presented a new work – that is to say, the song cycle ‘Japanischer Frühling’ to Hans Bethge’s German adaptations of ancient Japanese poetry has actually been performed previously for voice and piano, but that was long ago, and now the composer has revised the songs, softened them up, one perhaps might say, and formed them

CLAUS THS. PETERSEN, MORGENPOSTEN, 12. JANUAR 1957

En spesiell glede var det at Ludvig Irgens Jensen møtte med et nytt arbeid – det vil si sang-cyklusen “Japanischer Frühling” til Hans Bethges tyske gjendiktninger av gammel- japansk lyrikk har nok vært oppført tidligere for sang og klaver, men det er lenge siden, og nå har komponisten bearbeidet sangene, myknet dem opp – kan en kanskje si, og formet dem for sopran og et orkester som

for soprano and an orchestra that plays a major role as an augmentor of the poems’ atmosphere .

Ludvig Irgens Jensen makes no serious attempt at

creating an exotic sound atmosphere around the lyrics. Instead, it has been a far more pressing task for him to produce a resonance of the sensitive, fragile and often gently melancholic tone of the poems, something he has

spiller en stor rolle som utdyper av diktenes stemning. Ludvig Irgens Jensen gjør ikke noe alvorlig forsøk på å lage noen eksotisk klang-atmosfære omkring tekstene, det har vært ham atskillig mer maktpåliggende å skape gjenklang av diktenes følsomme, skjøre, ofte blidt melan kolske tone, noe som i særlig grad er lykkes ham i “Die Weide im Wind”, “An einen Freund” og “Dauer im Wechsel” som alle tre har fått en særdels karakterfull orkestral innramming og hvor selve deklamasjonen av teksten eier en mykere rytme enn enkelte av de andre sangene i cyklusen. Ludvig Irgens Jensen hadde den lykke å få sitt arbeid presentert av E v a P r y t z som gjennomførte sin tolkning med en rikdom av nyanser og i det hele tatt med overlegen beherskelse av det musikalske uttrykk. Også på dirigent podiet ledet kveldens dirigent Odd G r ü n e r – H e g g e denne førsteoppførelsen med hengivelse.

particularly succeeded with in ‘Die Weiden im Wind’, ‘An

PAULINE HALL, DAGBLADET, 12. JANUAR 1957

Jensen titled ‘Japanischer Frühling’, composed to ancient

einen Freund’ and ‘Dauer im Wechsel’, all three of which have received an exceptionally characteristic orchestral setting and where the declamation of the text itself possesses a softer rhythm than some of the other songs in the cycle.

Ludvig Irgens Jensen had the good luck to have

his work presented by Eva Prytz, who delivered her interpretation with a wealth of nuances and with an altogether superior mastery of musical expression. Also on the conductor’s podium, the evening’s conductor Odd Grüner-Hegge led this first performance with dedication. PAULINE HALL, DAGBLADET, 12 JANUARY 1957

Yet another challenging task was facing the vocalist in the course of the evening as she sang a cycle by Ludvig Irgens Japanese poetry freely adapted by Hans Bethge. The

Enda en krevende oppgave hadde sangerinnen i kveldens løp idet hun sang en syklus av Ludvig I r g e n s J e n s e n med titel “Japanischer Frühling”, komponert over gammel-japansk lyrikk gjendiktet av Hans Bethge. Den er symfonisk utarbeidet og er orkestralt velklingende; de forskjellige stemninger i sangene er heldig truffet og anskueliggjort. Man fester seg ved den vakkert klingende “An einen Freund” og bl. a. den henrivende “Dauer im Wechsel”. Eva Prytz sang med et sterkt levende og inntagende foredrag til dirigentens i[n]spirerende orkesterledsagelse, og denne første gangs oppførelse ble meget vellykt, med fremkallelser også av den tilstedeværende komponist.

cycle is symphonically worked out and orchestrally well-

ANDREAS HAARKLOU, NATIONEN, 12. JANUAR 1957

commitment in the new work by Irgens Jensen. As such,

sounding; the various moods of the songs are successfully captured and characterized. One takes particular note of the beautiful sounding ‘An einen Freund’ and, among others, the captivating ‘Dauer im Wechsel’. Eva Prytz sang with a most vivid and engaging delivery to the conductor’s i[n] spiring orchestra accompaniment, making this first performance a great success, including curtain calls for the composer, who was present. ANDREAS HAARKLOU, NATIONEN, 12 JANUARY 1957

Eva Prytz sang exquisitely and with deep personal the work does not offer anything new. For that, it is too

Eva Prytz sang herlig og med stor innforlivelse det nye verk av Irgens Jensen. Verket byr i og for seg ikke på noe nytt. Dertil minner det for mye om hva komponister som Hugo Wolf og Mahler har ydet på området.

reminiscent of what composers such as Hugo Wolf and Mahler have achieved in this area. [UNSIGNED] 10, FRIHETEN, 17 JANUARY 1957

The same performers repeated the work in a concert at the

[USIGNERT]10, FRIHETEN, 17. JANUAR 1957

same venue on the occasion of the Norwegian Society of Com

De samme utøverne gjentok verket på en konsert samme sted i anledning Norsk Komponistforenings 40-årsjubileum ti måneder senere, 24. oktober 1957. Kritikerne var denne gangen mer helhjertet begeistret for verket:

posers’ 40th anniversary ten months later, on 24 October 1957. This time, the critics were more genuinely enthusiastic about the work:

Irgens Jensens «Japanischer Frühling» – gammel-japansk lyrikk gjendiktet av Hans Bethge [–] griper ved en dyp og inngående musikalsk utarbeidelse. Irgens Jensen bruker orkesteret med kresen smak, og bygger de forskjellige

Irgens Jensen’s ‘Japanischer Frühling’ – ancient Japanese poetry freely adapted by Hans Bethge [–] captures [the listener] through its deep and profound musical design. Irgens Jensen uses the orchestra with discerning taste and builds the various moods with a sense for the relationship between music and text. Eva Prytz interpreted the music and poetry with a warm and sensitive voice and lent an excellent and richly varied expression to all the distinctive moods this work comprises.

stemninger med sans for musikkens og tekstens forhold til hverandre. Eva Prytz tolket musikk og dikt med varm og følsom stemme og gav et utmerket og rikt variert uttrykk for alle de særpregede stemninger som dette verket inneholder.

ERLING WESTHER, ARBEIDERBLADET, 25 OCTOBER 1957

With Ludvig Irgens Jensen’s ‘Japanischer Frühling’, ancient Japanese poetry freely adapted by Hans Bethge, we entered into an entirely different atmosphere. The musical material seems balanced and well-founded, – but at the same time artistic and alive. Here, form and content are in complete agreement with each other – there is nothing here that grates on one’s nerves. Absolutely nothing. It was, in other words, a sharp contrast to the deep abyss into which [Klaus Egge’s piano concerto no. 2] hurled us. [...] Eva Prytz was soloist in ‘Japanischer Frühling’ and interpreted the rich and evocative songs with a lovely and genuine personal commitment.

ERLING WESTHER, ARBEIDERBLADET, 25. OKTOBER 1957

Med Ludvig Irgens Jensens “Japanischer Frühling”, gammeljapansk lyrikk gjendiktet av Hans Bethge, kom vi over i en helt annen atmosfære. Tonestoffet virker avveid og vel fundert, – men samtidig artistisk og levende. Her er form og innhold i fullstendig overensstemmelse med hverandre – her er i n t e t som går på nervene løs. Absolutt intet. Det ble med andre ord en skarp kontrast til de tusen favners dyp som [Klaus Egges klaverkonsert nr. 2] hev oss ut i. […]Eva Prytz var solist i “Japanischer Frühling”, og hun tolket de rike og stemningsfulle sangene med fin og ekte innforlivelse.

ØISTEIN SOMMERFELDT, DAGBLADET, 25 OCTOBER 1957

It is not that long ago [previous time] Eva Prytz sang Irgens Jensen’s ‘Japanischer Frühling’ (Hans Bethge’s German adaptation) in the University Aula. The composer is adept at characterizations and his orchestration is superb, and some of the songs surely are among his very finest things. Eva Prytz was wholeheartedly engaged in the songs and presented us with what must have been the most solid artistic performance of the evening.

ØISTEIN SOMMERFELDT, DAGBLADET, 25. OKTOBER 1957

Det er ikke så lenge siden [ forrige gang] Eva P r y t z sang Irgens Jensens “Japanischer Frühling” (Hans Bethges tyske gjendiktning) i Aulaen. Komponisten karakteriserer godt og instrumenterer glimrende, og noen av sangene hører sikkert til hans aller beste ting. Eva Prytz gikk helhjertet inn for sangene og ga oss nok kveldens mest helstøpte kunstneriske prestasjon.

FINN BENESTAD, VERDENS GANG, 25 OCTOBER 1957

FINN BENESTAD, VERDENS GANG, 25. OKTOBER 1957

The intermission was followed by Ludvig Irgens Jensen’s ‘Japanischer Frühling’ to ancient Japanese lyrical poems. Naturally, the musical language here does not have the composer’s usual Norwegian colouring, but is kept in a more general European, late-Romantic style. As always in Irgens Jensen’s music, here, too, one is facing a work that radiates the most refined intellectual culture. Once again, it was a treat to listen to Eva Prytz’ delightful soprano – her inspired interpretations left a deep impression.

Etter pausen fulgte Ludvig Irgens Jensens “Japanischer Frühling” til gammeljapanske lyriske dikt. Tonespråket har her av naturlige grunner ikke komponistens vanlige norske koloritt, men er holdt i en noe mer almeneuropeisk, senromantisk stil. Som alltid hos Irgens Jensen står en også her overfor et verk som utstråler den mest forfinede åndskultur. Igjen var det en opplevelse å lytte til Eva Prytz’ herlige sopran, hennes beåndede tolkninger etterlot et dypt inntrykk.

INGAR FR. NILSEN, MORGENPOSTEN, 26 OCTOBER 1957

INGAR FR. NILSEN, MORGENPOSTEN, 26. OKTOBER 1957

Vocal soloist Eva Prytz interpreted Ludvig Irgens Jensen’s ‘Japanischer Frühling’ with fervour and warmth, and also the conductor did full justice to this enlivened music with fitting characterizations.

Sangerinnen Eva P r y t z tolket med inderlighet og varme Ludvig Irgens Jensens: “Japanischer Frühling”, og den levende musikk ble også av dirigenten vederfaret full rettferdighet og med heldig karakteristikk.

ANDREAS HAARKLOU, NATIONEN, 26 OCTOBER 1957

ANDREAS HAARKLOU, NATIONEN, 26. OKTOBER 1957

Irgens Jensen’s ‘Japanischer Frühling’, too, was given a very gentle and deeply felt performance by vocalist Eva Prytz. She sang the solo passages in the above-mentioned work with a warm and musical approach to detail, and the work received the most favourable attitude [sic!] in this second performance.

Irgens Jensens “Japanischer Frühling” fikk også en meget nensom og følt framføring av sangerinnen Eva Prytz. Hun sang solopartiene i nevnte verk med varm og musikalsk behandling av detaljene, og verket fikk den mest fordelaktige holdning [sic!] ved d[e]nne andre gangs oppførelse.

T. K. [TORBJØRN KNUTSEN], FRIHETEN, 26 OCTOBER 1957

In the last decade of his life, no new, extensive work flowed from Irgens-Jensen’s pen. This reworking of his youthful Op. 2 would thus be the last major work he completed before his death in 1969.

T. K. {TORBJØRN KNUTSEN], FRIHETEN, 26. OKTOBER 1957

Det siste tiåret av hans liv kom det ikke noe nytt, omfattende verk fra Irgens-Jensens hånd. Denne omarbeidelsen av ungdommens op. 2 ble dermed det siste større arbeidet han fullførte før sin død i 1969

cd In 1971, two years after the composer’s passing, the first commercial recording of Japanischer Frühling was released with Karin Langebo and the Oslo Philharmonic Orchestra, conducted by Øivin Fjeldstad.11

cd I 1971, to år etter komponistens bortgang, utkom den første kommersielle innspillingen av Japanischer Frühling, med Karin Langebo og Oslo Filharmoniske Orkester, dirigert av Øivin Fjeldstad.11

The orchestral version of Japanischer Frühling never appeared in print during the composer’s lifetime. As late as 1980, the Norwegian music publisher Norsk Musikforlag released a score of the work (N.M.O. 9159). Unfortunately, both the published score and the accompanying parts material are encumbered with a number of errors and inaccuracies, and a new edition has therefore long been anticipated. Moreover, the earlier edition is not based on the composer’s manuscript itself, but on one of the copies made in connection with the first performance. This new edition, published in collaboration with the Norwegian Musical Heritage project, includes a comprehensive account of the work’s complex source history. Earlier errors in the musical material have been corrected.

Orkesterversjonen av Japanischer Frühling ble aldri trykt og utgitt i komponistens levetid. Først i 1980 utgav Norsk Musikforlag et partitur av verket (N.M.O. 9159). Både dette partituret og det tilhørende stemmematerialet er dessverre belemret med en del feil og unøyaktigheter, og en ny utgave av verket har derfor lenge vært etterspurt. Førsteutgaven baserer seg dessuten ikke på selve manuskriptet, men på en av kopiene som ble laget i forbindelse med urfremføringen. Denne nye utgaven, utgitt i samarbeid med Norsk Musikkarv, inneholder en omfattende redegjørelse for verkets komplekse kildesituasjon, og tidligere feil i notematerialet er rettet.

About the texts

ans Bethge’s (1876–1946) adaptations, or renderings, of oriental poetry into German were hugely popular at the time Irgens-Jensen wrote his first songs. The poems were published in large editions, and a significant number of composers used Bethge’s texts in their compositions. Presumably the most famous of these works is Gustav Mahler’s Lied von der Erde, but also composers such as Richard Strauss, Arnold Schönberg, Anton Webern, Karol Szymanowski and Franz Lehár composed music to these texts. In Norway, both Fartein Valen and David Monrad Johansen set Bethge’s adaptations to music, in addition to Irgens-Jensen.

Om tekstene

ans Bethges (1876–1946) gjendiktninger av orientalsk lyrikk til tysk var enormt populære på den tiden da Irgens-Jensen skrev sine første sanger. Diktene kom ut i store opplag, og et betydelig antall komponister benyttet seg av Bethges tekster i sine komposisjoner. Det mest kjente av disse verkene er nok Gustav Mahlers Das Lied von der Erde, men også komponister som Richard Strauss, Arnold Schönberg, Anton Webern, Karol Szymanowski og Franz Lehár komponerte musikk til tekstene. I Norge satte både Fartein Valen og David Monrad Johansen musikk til Bethges gjendiktninger, i tillegg til Irgens-Jensen.

XII

Hans Bethge had studied modern languages and philosophy , but had no command of any Asian or Semitic languages, suggesting that his renderings were based on existing translations. In hindsight, he has often been criticized for lacking an understanding of the stylistic and cultural features of the original texts, and for the resulting textual choices in his adaptations. But clearly this had no bearing on the popularity of his collections. After the first volume of Die Chinesische Flöte was published in 1907, another ten collections followed with adaptations from Arabic, Armenian, Persian, Turkish, Japanese, Chinese and Indian poetry. Additionally, Bethge published anthologies by German authors as well as his owns works.

Hans Bethge var utdannet filolog, men behersket ingen asiatiske eller semittiske språk, så gjendiktningene hans måtte baseres på allerede eksisterende oversettelser. I ettertid har han ofte blitt kritisert for manglende forståelse for stilistiske og kulturelle trekk i originaltekstene, og for tekstlige valg som dermed ble gjort i gjendiktningene. Men dette hadde åpenbart ikke noe å si for samlingenes popularitet. Etter at det første bindet Die Chinesische Flöte kom ut i 1907, fulgte enda ti samlinger med gjendiktninger av arabisk, armensk, persisk, tyrkisk, japansk, kinesisk og indisk lyrikk – i tillegg til at han gav ut antologier av tyske forfattere. Han forfattet også egne verker.

Jørn Fossheim, 2019 Translation: Thilo Reinhard

Notes

Jørn Fossheim, 2019

Odd Grüner-Hegge in an interview with Øistein Gaukstad in 1972, preserved on audiotape. Today, the tape is kept at the National Library in Oslo (Lyd b 287/289). Quoted by Arvid O. Vollsnes: Modernisme på Norsk, Oslo 1996, p. 39

Noter Odd Grüner-Hegge i et intervju med Øistein Gaukstad fra 1972, bevart på lydbånd. Båndet befinner seg i dag ved Nasjonalbiblioteket i Oslo (Lyd b 287/289). Sitert etter Arvid O. Vollsnes: Modernisme på norsk, Oslo 1996, s. 39

Vollsnes, Arvid O.: Komponisten Ludvig Irgens-Jensen. Oslo 2000, s. 60-61

Sitert etter Vollsnes, 2000, s. 65

Vollsnes, Arvid O.: Komponisten Ludvig Irgens-Jensen. Oslo 2000, pp. 60–61

Quoted by Vollsnes, 2000, p. 65

Following a song recital by E. Munthe-Kaas at the Old Masonic Lodge in Kristiania, 7 September 1921. The concert was exclusively devoted to songs by younger Norwegian composers.

Following a concert on 8 December 1922 at the University Aula in Kristiania, where Dagny Constance Knutsen sang three of Irgens Jensen’s songs.

Etter en konsert 8. desember 1922 i Universitetets Aula, Kristiania, hvor Dagny Constance Knutsen sang tre av Irgens-Jensens sanger

6 Following a concert arranged by vocal teacher Mimi Hviid in the large hall of the Old Masonic Lodge in Kristiania, 26 April 1923. On this occasion, one of Hviid’s students, Dikka Bothne, sang two of Irgens Jensen’s songs with orchestra.

Etter en romanseaften av E. Munthe-Kaas i Logens gamle sal, Kristiania, 7. september 1921. Konserten var utelukkende viet sanger av yngre norske komponister

6 Etter en konsert sangpedagogen Mimi Hviid arrangerte i Logens store sal, Kristiania, 26. april 1923. En av elevene, Dikka Bothne, sang der to av Irgens-Jensens sanger med orkester 7

Etter M. Aarberg Nergaards tidligere omtalte konsert den 9. april 1924

Sitert etter Vollsnes, 2000, side 65.

Following M. Aarberg Nergaard’s earlier mentioned concert on 9 April 1924

Quoted by Vollsnes, 2000, p. 65

Vollsnes, 2000, p. 61

10 Probably written by Torbjørn Knutsen, the regular music critic for the daily Friheten at the time.

Vollsnes, 2000, s. 61

Trolig skrevet av Torbjørn Knutsen, som var fast musikkanmelder i Friheten på denne tiden. 10

LP: Philips 6507. 005; gjenutgitt på CD i 1993: Simax PSC 3118

XIII

LP: Philips 6507.005; reissued on CD in 1993: Simax PSC 3118

XIV

SOURCE A - JAPANISCHER FRÃœHLING, COVER PAGE. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767A

SOURCE A - JAPANISCHER FRÃœHLING, SECOND COVER PAGE (LIST OF INSTRUMENTS). KEPT AT THE NATIONAL LIBRARY OF NORWAY, OSLO. MUS.MS A5767A

XVI

SOURCE A - JAPANISCHER FRÃœHLING, PAGE 1. KEPT AT THE NATIONAL LIBRARY OF NORWAY, OSLO. MUS.MS A5767A

XVII

SOURCE A - JAPANISCHER FRÃœHLING, PAGE 33. KEPT AT THE NATIONAL LIBRARY OF NORWAY, OSLO. MUS.MS A5767A

XVIII

SOURCE B - JAPANISCHER FRÃœHLING., PAGE 11. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767C

XIX

SOURCE B - JAPANISCHER FRÃœHLING., PAGE 33. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767C

SOURCE C - JAPANISCHER FRÃœHLING, PAGE 33 - MOVEMENT IV, SHORT VERSION. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767K

XXI

SOURCE D - JAPANISCHER FRÃœHLING, PAGE 1. TRANSPARENT SHEETS USED FOR DUPLICATION OF THE SCORE. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767B

XXII

SOURCE D - JAPANISCHER FRÃœHLING, PAGE 1. TRANSPARENT SHEETS USED FOR DUPLICATION OF THE SCORE. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767B

XXIII

SOURCE E - JAPANISCHER FRÃœHLING. SECOND COVER PAGE. KEPT AT ARCHIVES OF NORSK MUSIKFORLAG, OSLO

XXIV

SOURCE F - JAPANISCHER FRÃœHLING, PAGE 61. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767C

XXV

SOURCE G - JAPANISCHER FRÃœHLING, PAGE 13. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767F

XXVI

SOURCE H - JAPANISCHER FRÜHLING, FRONT COVER. ARVID FLADMOE’S COPY. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767D

XXVII

SOURCE I - JAPANISCHER FRÜHLING, COVER PAGE. ODD GRÜNER-HEGGE’S COPY. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767E

XXVIII

SOURCE J - JAPANISCHER FRÃœHLING, PAGE 1. EARLY VERSION OF MVT. I. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767C

XXIX

SOURCE K - JAPANISCHER FRÃœHLING, PAGE 33. EARLY VERSION OF MVT. IV. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767F

XXX

SOURCE L - JAPANISCHER FRÃœHLING, ORCHESTRAL PARTS, VIOLINO 1, PAGE 1. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767J

XXXI

SOURCE L - JAPANISCHER FRÃœHLING. ORCHESTRAL PARTS, BATTERIA, PAGE 1. KEPT AT TNE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS A5767J

XXXII

SOURCE M - THE FIRST OF 12 HANDWRITTEN PAGES WITH CORRECTIONS FOR THE SCORE. KEPT IN THE NATIONAL LIBRARY OF NORWAY, OSLO, MUS.MS. A5767I

XXXIII

SOURCE N - HANS BETHGE: JAPANISCHER FRÃœHLING. COVER PAGE. DIE DRITTE AUFLAGE, 5. BIS 9. TAUSEND. LEIPZIG, IM INSELVERLAG, MDCCCCXVIII [1913]

XXXIV

SOURCE N - HANS BETHGE: JAPANISCHER FRÃœHLING, PAGE 51. DIE DRITTE AUFLAGE, 5. BIS 9. TAUSEND. LEIPZIG, IM INSELVERLAG, MDCCCCXVIII [1913]

XXXV

XXXVI

Japanischer FrĂźhling Japanese Spring

XXXIX

ORIGINALTEKSTER - ORIGINAL LYRICS Fra/from: Hans Bethge: Japanischer Frühling - Nachdichtungen japanischer Lyrik. Leipzig 1911.

HEUTE!

BETRACHTUNG

MITSUNE (859-907)

FRAU ISE (um 900)

Bald wird der Sturmwind durch die Fluren heulen Und Laub und Früchte von den Bäumen schütteln Und Blüten knicken, wo er immer weht. Drum, willst du Blüten pflücken, — tu es heute! Vielleicht, vielleicht ists morgen schon zu spät.

Am Ufer von Naniwas Seebucht seh ich Rohr Mit kleinen Spannen schwanken in dem feinen Windhauch.

DER BLÜTENZWEIG

Die allerkleinste Spanne Zeit von dir entfernt Zu weilen zwänge, mein zu sehr geliebter!

Gelehnt an deine liebe Schulter, muss ich denken, Ob ich wohl leben könnte, wenn mich das Geschick

FUJIWARA NO HIROTSUGU

Nimm diesen Blütenzweig! In jedem Blatte Der zarten Blüten schlummert hundertfach Ein Liebeswort aus unruhvoller Brust.

LEICHTES SPIEL* UNBEKANNTER DICHTER (18. Jahrhundert)

Nichts leichter, als ein Mädchenherz Beim milden Duft der Pfaumenblüten Bis in die Tiefen zu betoren Durch Liebessang und Flötenspiel!

O weise meine Liebe nicht zurück!

DIE WEIDE IM WIND UNBEKANNTER DICHTER (18. Jahrhundert)

Die Sommerweide Zeigt ihren schlanken Stamm, Wenn der wehende Wind Durch ihre feinen Zweige fährt.

EINSAM FRAU KOMACHI (gestorben etwa 870)

Der Blüten holde Schönheit ist entwichen, Der rauhe Regen hat sie ganz zerstört, Indessen ich, zwecklos in diesem Dasein, Einsam den Blick ins Leere schweifen liess.

Diese schlanken Füsse, meine Weide, Sah ich heute, Da der verliebte Wind Kosend durch deine Kleider fuhr.

AN EINEN FREUND DAUER IM WECHSEL

MITSUNE (859-907)

TOMONORI (845-905)

Du kommst nur, um die Blumen blühn zu sehen Bei meinem Hause. Sind sie erst verwelkt So weiss ich wohl, dass ich mich Tag für Tag Umsonst nach deinem Kommen sehnen werde.

Der Kirschbaum stand in Blüten. Schwarz und jung Fiel mir das Haar vom Haupt, indes ich tanzte. Der Kirchbaum stand in Blüten. Frisch und jung Erglänzten sie, — mein Haar war grau geworden,

DER LIEBESLAUT

Heut wieder blüht der Kirschbaum. Himmlich jung wie immer lächeln seine Blüten nieder, —

KURTISANE SEGAWA (18. Jahrhundert)

Da traf ein Laut, ein zarter Liebeslaut, Der aus dem ersten Stockwerk kam, mein Ohr: Und das war süss und lieblich wie das Säuseln Der Frühlingsblumen, die um Mitternacht Am More-Flusse ihren Duft verstreun.

Mein Haar ward weiss, ich stehe sinnend da.

* Irgens-Jensen har brukt “Nichts leichter” som tittel. Irgens-Jensen used “Nichts leichter” as title.

BESETNING / SCORING 2 Flauti (II. anche Flauto piccolo) 1 Oboe (anche Corno inglese) 2 Clarinetti in Si@ (nella partitura: in Do) 1 Fagotto 2 Corni in Fa (nella partitura: in Do) 2 Trombe in Si@ (nella partitura: in Do) Percussione (1 suonatore): Triangolo Tamburino Piatti Tam-tam Campanelli Silofono

Arpa Celesta 8 Violini I. 8 Violini II. 6 Viole 4 Violoncelli 2 Contrabbassi

Durata: ca. 24â€™

It is clear from the sources that Irgens-Jensen wanted a specific number of string players for this work, not a string group of undefined size. Whenever specified, the distribution of the divisi sections has been kept as the composer requested.

Japanischer Frühling

Partitura in Do

I. Heute! (Mitsune)

Allegretto

Flauto piccolo

& 68

∑

Flauto

& 68

∑

Oboe

2 Clarinetti

Fagotto

& 68 & 68 ?6 8

Ludvig Irgens-Jensen

∑

œ. F œ.

œ œ œ

F œ. œ.

œ œ œ œ œ œ

.

& 68 Œ . Œ œœj  . . π ∑ & 68  68 & 68

∑

∑ ∑

∑

Celesta

& 68

∑ ∑

∑

Voce

& 68

∑

2 Corni

2 Trombe

Triangolo Silofono

Arpa

& 68

Allegretto

6 &8

∑

II. (8)

6 &8

∑

6 Viole

B 68 . π

I. (8) 16 Violini

4 Violoncelli

2 Contrabbassi

? 68  . π ? 68  . π

≤ Œ. ‰. œ œ œ. œ p ∑

.

œœ œ .. œ

.

∑

œœ œ .. œ

≤

∑

≤

œœ œ ≈ œœ œ œ œ œ œ

œ ≈ œ œ œ. œ F

 ..

Œ.

‰.

. p

F ≤

œœœœ

j . œœ ‰ ‰ Œ f

ƒœ

œœ œ

∑

Bald

œ. . 

œ.



œ œ œ J J J

wird der

‰

œœ œœœœœœ œ œ œ œ œ œ œ œœœ œ œœ  F œ œœœœœœ œ œœœœœœœœœœ

. p . p

∑

œ œ œ

  ..   œ ‰ J f

‰

Œ.

œœœœœœ œœœœœœ

Œ.

7 Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

∑

œ œ.

œ œ. J

œ J ‰ ‰ Œ.

œ œ. J

& œ ? .

J ‰ ‰ Œ.

J ‰ ‰ Œ. j œ ‰ ‰ Œ.

œ J ‰ ‰ Œ.

9 8

6 8

∑

9 8

∑

6 8

∑

9 8

∑

6 8

∑

œ ‰ ‰ 68 J

∑

98 Œ 9 Œ 8

‰ œ œ œ F jœ œ ‰ œ F

j‰ ‰

Œ.

bœ. > F

2 Cor.

∑

2 Tbe.

∑

9 8

∑

6 8

∑

Arpa

Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.

& &

œ œ. J

œ Sturm

wind

∑

‰ œJ œJ œ . œ œj 98 œ durch die Flu - ren

Œ.

œ œœ œ œ œ œœœ œ œ œ œ

œ œ. J

heu - len

œœ ‰ ‰ 98 œ œ œ

j œ œ 68 œ . œ œ œ

und

‰ Œ.

Œ.

J ‰ ‰ j ‰ ‰ 98 ≤ œ œœœœœœœœœœœœœœœœœœ œ p F dim. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ 9 œœ 8 ‰ B œ œ œ ‰ œ œ ‰ œ F p  .. œœ œ œ jœ ? J ‰ ‰ œJ ‰ ‰ 98 Œ  œ ‰ œ J ‰ ‰ &

∑

Œ.

œ ‰ ‰ 9 . 8 œ

Laub

‰

68 Œ

f œ œ ‰ œR œR œ J J

undFrüch - te

œ J

von den Bäu - men

≤j

œ . œ œ. œ œ œ

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bœ.

‰

68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ 68 ‰ j ‰ œJ œ œ œ 68 Œ . 68

∑

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J p

Œ.

‰ ∑

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∑

9 8

∑

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Fl.

∑

‰.

Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe.

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j & œ ‰ ‰ Œ. &

∑

∑ ∑

∑

9 Œ. 8

& &

Vle.

Vc.

Cb.

bœ.

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∑

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schüt - teln

98 98 98 j œ ‰ ‰

Œ.

∑

& œJ

Œ.

∑

∑ j

∑

& 2

Cel.

II.

98 Œ . 98 Œ .

∑

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9 Œ. 8

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6 8

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∑

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≤

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∑

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∑

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& Œ.

& œ.

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Fg.

solo

9 8

∑

9 8

∑

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& œ ‰ Œ. ? œ ‰ Œ.

98 œ 9 8

œ œ. J ‰ . F

98 98 Œ .

2 Tbe.

∑

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& œ.

I. Vln. II.

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Vc.

Cb.

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6 8

∑

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solo

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∑

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Œ J π

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98 Œ . 98

98 Œ .

bœ. œ. >p

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≥

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o .

∑

‰

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j œ . œ œ. œ œ œ

j œ . œ œ. œ œ œ p 4

68 œ ‰ ‰ Œ . J 68 œ ‰ ‰ Œ . J

Œ.

j œœ 68 œœ œjœ œœœ ... œ œ œ p 68 Œ .

∑

o .

98 œœ œœ œœ œœ œœ œœ œ sim.

Œ.

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œ œ œ J

j >œ .

men, Blu - men

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‰

Œ.

‰

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pizz.

p espr.

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knick - en,

≤ Œ œj # œ . œ œ œ p ≤ Œ j # œj œ œ p œ Œ. Œ J p espr.

œ ‰ Œ. œ

‰ Œ.

∑

Œ.

‰

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knick - en,

≤

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∑

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∑

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∑

.

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œ.

‰

.

arco

œ ‰

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Ob.

2 Cl.

Fg.

& &

. & œ

∑

#œ œ œ nœ J

& #œ.

‰

nœ.

9 Œ. 8

∑

9 8

∑

9 8

œ. œ.

∑

∑ ∑

2 Cor.

∑

2 Tbe.

∑

‰ Œ.

∑

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Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.

& œ.

∑

‰

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œ f

& ?

#œ.

#œ œ œ nœ J

nœ.

? œJ ‰ ‰ Œ .

Œ.

. œœ œ œ



∑

‰

∑

6 ‰. œ œ œ œ. œ œ 8 f œ. 68 Œ . f I. + 68 Œ . œ. F 68

‰ Œ. Œ.

œ. œ.



8 f . 98  f



.

∑

œ‰ ‰ p J œ.

œ.

er im - mer

.

∑

b œ œ œ œ œ œ 98 œ ‰ œ. œ. œ f F œ. bœ. 9 . 3

∑

œ œ œ œ œ 6 œ œ œ. J 8 J

œ œ œœ œ œ œ œ œ œ œ b œ 9 . œ œ 8 . & #œ œ œ œ œ œ œ œ œ nœ œ œ œ cresc.

∑

ƒ 98 œ .

rit.

‰

6 ‰. œ œ œ œ. œ œ 8 f 6 ‰. œ œ œ œ. œ œ 8

∑

. 68 œ

∑

& œ

. 6 œ 8

9 œj ‰ ‰ Œ . Œ . 8 f

‰ bœ.

∑

98 Œ .

œ. œ.

weht,

68 Œ .

‰.

68  .  68  œ. 68 œ . 

œœ

œ œ. œ

im - mer

œ œ . œ. œ œ œ œ œ . œ œ œ . b . dim. molto

œ.

œ.



j œ ‰ ‰ B .

œ ‰ Œ. ‰ 68

2 j œj

rit.

dim. molto

œ‰‰ J

j2 j œ

dim. molto

∑

π œ.

. π .  π .  π

œ.

.

.

.



.



E a tempo ∑

∑

Œ.

∑

Œ.

Fl. picc.

Fl.

Ob.

2 Cl.

& Œ j bœ œ. p ∑ &

œ.

∑

‰

∑

nœ p

F j

œ œ

F j

œ œ

∑

2 Cor.

∑

2 Tbe.

∑

Pt.



∑

Fg.

∑

Sil.

Arpa

Cel.

Voce

& .

II.

Vle.

Vc.

Cb.

∑

œ.

J J

Œ.

‰

j œ.

œ œ œ

.

Œ.

‰.

∑

Œ.

‰.

œ œ. J œ œ. J

 .. f œœ ..

œœ œœ œ œ

f œ ‰ J P

‰

∑

Œ.

ƒ   j ‰ ‰ ‰ . œ œ œ

.

 ..

.

œœ

.

œœ œ . J œ. ∑ ∑

 ..

Œ.

∑

‰. œ œ œ

∑

œ.

‰

œ œ œ œ œ œ

œ œ œ œ

f  œ œ œ

ƒ œ ‰ ‰ ‰ . œ œ œ J ƒ    œ j . œ ‰ ‰ ‰ œœ

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≤ œ œ œ . œ. œ ≥ œ œ œ œ Œ j œœ J ≈œ &  œ œ œ œ œ n œ œ .œ . f p ƒ ord. sul pont. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ≤ œ œ œ . œ. œ œ œ ≈œ . . & . f ƒ œ. . . œ œœ ≥ ≤ . œ j  j œ ‰ ‰ Œ. œ œ œ  . .  Œ ‰ B Œ j @ @ œ œ œ . œ J œ œ œ. œ œ œ  f p ƒ œ œ . œ. œ œ ≤ ≤ ? œ @Jœ œ @Jœ œœ ‰ ‰ Œ . Œ œ œ. ∑ Œ. ‰. œ Œ. J J   ƒ . f p .  œ ‰ ‰ Œ. ?   ∑ J  . . f f

E a tempo

Vln.

∑

weht.

.  π

∑

 œ œ œ

36 Fl. picc.

Fl.

Ob.

& &

œ . œ œ œ œ. œ. œ. œ.F œ . œ œœ 9 œ . œ œ œ œ. œ. œ. œ.

8 98

œ. œ œ œ.

‰ Œ.

œ . œ œ œ œ. œ. œ. œ. 9 œ . œ . œœ & 8 œ . œ œ œ œ. œ. œ. œ. 9 œ . œ . œœ & 8 a2

2 Cl.

Fg.

2 Cor.

2 Tbe.

? œJ ‰ ‰ Œ .

Œ.

œ ‰ Œ.

Œ.

#œ Œ œ 68 # œ n œJ # œ ‰ ƒ

‰

œ ‰

‰ œ.

œ ‰ Œ

‰ œ. œ.

œœ ‰

B Œ ? Œ

‰

œ≥

98 b œ œ ≥ 98 œœ bœ

‰

œ≥ 98 b œ œ

‰

? J ‰ ‰ Œ.

œ≥œ

≥ 98 œ

≥ ≤ ‰ œ jœ ‰ ≥œ ≥ ≤ ‰ œ œj œ ‰

≥œ ‰ œœ ‰ Œ ≥œ

œ‰ ‰

∑

6 8

∑

6 8 68

œœ œ #œ

div.

Œ.

œ œ

∑

≥œ

J‰ ‰

∑

& Œ

∑

J f œ. œ J f

∑

Voce

& Œ

6 8

∑

≥œ J f ≥œ J f ≥œ J f ≥œ J f

j ‰ Œ. #œ œ f

œ. œ

∑

#œ nœ #œ J 68 ‰

∑

œ. œ œ œ œ œ œ 9 œ. œ ‰ œ œ ‰ Œ. 8

œ #œ

∑

Cel.

œ ‰ œ

∑

9 8

Cb.

∑

Arpa

Vc.

Œ.

∑

Vle.

# œ n œ # œ poco animando . 6 J ‰ œ œ. ‰ Œ . 8

Œ.

98 œ . œ œ œ . bœ. œ œ œ. f 98 ∑

Sil.

II.

œ & œ ‰ ‰ Œ. J 

Vln.

98 œ

& œj ‰ ‰ Œ .

Pt.

9 8 œ ƒ

œ #œ

‰ Œ J F ≥ Œ. Œ œJ œ . F  œ≥ # œ . # œ #œ. œ œ œ J  F > # œ . œ œ # œ  . f

‰ œ ‰ Œ œJ ƒ pizz. ≥ œ ‰ œ ‰ Œ. Œ # œJ ‰ Œ. ƒ 7

∑

œ #œ #œ œ nœ # œœ ‰ œ œ #œ #œ œ nœ # œœ # œœ ‰ œ J f    #  .. # œœ .. n œœ .. F f

poco animando

#œ. ≥ 68 # œ . # # œœ # œ  # œJ p 68 # œ ‰ ‰ Œ . J f ≥ 68 # œ . # œ≤ œj  ƒ  œ ≥œ 68 œ . J‰J ƒ 68

∑

œ # œj # œ œ n œ œ. œ #œ #œ œ nœ #œ. J 

∑

nœ. 

œ.

 ∑

42 Fl. picc.

Fl.

& Œ.

‰.

& Œ.

‰.

Ob.

& Œ.

‰.

2 Cl.

& Œ.

‰.

Fg.

2 Cor.

?‰

>œ

& ‰ # œœ > p

œ.

G  œ œ œ œ . œ œ

Œ.

f   œ. œ œ œ œ œ

Œ.

ƒ   œ. œ œ œ œ œ ƒ   œ. œ œ œ œ œ ƒ

n œœ ..

>œ >œ

 .. >

‰ ‰

œ œœ ‰

œ œ œ. œ œ œ ‰ Œ.

[ad lib. ]

Œ.

∑

‰

Œ.

∑

‰

>œ > œ

∑

œ.

œ ‰ Œ.

∑

œœ ≈ ‰ ‰ œ . œ.

œœ ‰ Œ .

œ œ œ. œ ‰ Œ. œ. œ œ œ

‰

H ∑

∑

œ œ œ. ‰ Œ. œœ œ

[ad lib. ]

 ..

f >œ >

œ œ œ. œ œ œ ‰ Œ.

[ad lib. ]

∑

Œ.

‰

∑

calando poco a poco œ œ œ. œ œ œ ‰ Œ. ∑

*) [ad lib. ]

I. solo

œ.

œ œ œ. œ œ 2

∑

Œ.

∑

& Œ.

∑

‰. œ œ œ œ. œ œ Œ. f ∑ ∑

∑

Cel.

∑

Voce

∑

2 Tbe.

Sil.

Arpa

unis.

I. Vln. II.

Vle.

Vc.

Cb.

&‰

œ #œ œ œ nœ Gœ œ

œ #œ œ œ nœ ‰ & f

œ B ‰ #œ  f œ

?‰ f ?

œ. nœ.  œ.



∑

J ƒ

œ.



≤

œœ ≈ œ œ œœ .. œœ. œœ J œ ƒ œœ œ≤ œ œ œ . œ. œ J ≈ ƒ œœ œœ ≤ œœ ‰ ‰. œ ƒ œœ

arco

‰

Œ.

[ad lib. ]

H ≤ poco a poco œ œ- œ- œ- . œ calando . œ œœ . œœ ≈ R ≈ . J œ œ œ œ œ- œ œ œ œ œ . œ œ œ .

.



œœ ≈ œ-≤ œ- . œ- œ œ R  œ œ . œ. œ Œ . Œ . œœ ‰  ..

œ . œ. œ

Œ.

≤ œ œ œ . œ. œ œ . ‰ Œ.

‰

œ œ œ. œ. œ

Œ.



.



.



œœ ‰ Œ .

. ‰  

p . π

.

. ∑

.



. π .  π .  π

b . π .

. .



.



*) De små notene er tilført i manuskriptet med blyant av komponisten, med påskriften: "umulig å få plass". Kommentaren refererer trolig til de da allerede eksisterende orkesterstemmene. The small notes are added in the manuscript by the author, in pencil, with the comment: "impossible to fit". The comment probably refers to the already existing orchestral parts.

50 Fl. picc.

∑

Fl.

∑

Ob.

∑

2 Cl.

& œ. œ. .

. œ. Œ

∑ ∑

∑

2 Cor.

∑

2 Tbe.

∑

Sil.

∑

Fg.

I. Vln. II.

Vle.

Vc.

Cb.

∑

Œ ‰ Œ.

∑ ∑

∑

? . 

∑

? . 

Œ ‰ Œ.

∑

B  .

U Œ œj œj ‰ Œ . œ œœ œ œœ π

∑

& .

Œ ‰ Œ.

con sord.

& . 

Œ ‰ Œ.

U p r Œ j ≈

J . . .

. 

. . .

. 

Œ œj œ ‰ Œ œj œ ‰ pizz.

.

morendo

.

morendo

. 

‰ Œ.

morendo

∑

œœ

œœ .. œ.

∑

sola

œœ ..

∑

œ. œ. œ .. œ

‰ Œ.

∑

œ ‰ Œ.

∑

Œ ‰ Œ.

∑

‰ Œ.

∑

Œ ‰ Œ.

∑

U œ

Œ œœ œ œœ ‰ œœ œ J p ∑ Œœ senza sord. J π

œœ ..

œ. œ.

Œ.

∑

œ œ

∑

Blü - ten pflück-en,

 ..

div.

∏

œœ ..

Œ.

div.

∏

∑ ∑

Œ œJ p

pizz.

œ œ J

∑

œ ‰

F ∑

38 œ ‰ f 38 ∑

∑

68 68

f 38 Œ œ œ 68 R R tu es

≥ œ œ 38 œJ≤ ‰ ‰

≤ œ œ 38 Jœ ‰ ‰

F ≥ Œ œJ F

∑

œ.

∏

6 8

Œ.

∑

Œ.

œ.

3 8

– tu es heu-te;

œœ ..

div.

3 œ‰œ œ 6 8 œ œ 8 F 38 ∑ 68

∑

F œ œJ œ œ œ œ œJ ‰ œ . œ œ œj œj‰ Œ œR œR œJ œJ ‰ J J J œ

Drum, willst du Blü - ten pflück- en,

6 8

∑

Œ œ œ œ ‰ œ œ 38 œ ‰ œ œ 68 p F 3 ∑ 6 ∑ 8 8

œ .. œ

∑

3 8

∑

œœ ..

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

Voce

Œ ‰ Œ.

~~~

Cel.

∑

~~~~

Arpa

∑

F ≥

œ≤ ‰ ‰

œ œJ 38 œ œJ ∑

68 68

. . . . œ. œ œ. # œ. œ. # œ. œ. œ. œ # œ. œ. # œ. œ. œ. œ œ K 6 ‰ &8

59 Fl. picc. Fl.

Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe. Tgl.

Arpa

Cel.

Voce

solo

6 œ &8 J ‰ ‰ 6 &8

6   8 . p

œ & 68 œ œ F ? 68  .

Vln. II.

& 68 Œ

Vle.

B 68

Vc.

Cb.

? 68 œ ? 68

pizz.

J F ‰



œ œ ‰

∑

œ.

œ œ

∑ ∑

œ.

≈‰

‰

œ œ œ œ œ ‰ ∑

œ #œ œ œ œ œ œ #œ œ #œ œ œ ‰

œ.

œ ‰ œ œ ‰ œ

œ ‰ œ œ Œ.

Œ.

œ œ ‰ J J te!

œ ‰ œ œ œ ‰

∑

Œ Œ ∑

∑

≥j

J p

j #œ #œ ‰ œ π ∑

∑

‰ Œ.

∑

j œœ œœ ‰ œœ œ œ . ‰ ‰ Œ . J

∑

∑ #œ. #œ. p

∑ j

œ œ œ #œ

Viel -leicht ists

∑

arco

œ œ œ œj œ œ

œ œ œ. J

∑

p ≥œ œ J œ J P

arco

a tempo

∑

Œ œ

arco

.

∑

œ #œ œ œ œ œ œ ‰ #œ œ œ #œ œ œ -

pizz.

.

∑

œ œ œ

œ œ œ #œ 6 œ &8 F œ 6 & 8 œœ œ # œ

6 &8 Œ

∑

p senza sord. 68  . & œ ‰ ‰ Œ. J p 6 ∑ &8

6 . &8

œ.

Œ.

? 68

∑

Œ.

∑

 6 . &8 œ ‰ ‰ J

heu

Œ.

∑

(poco rall.)

∑

œ œ.

mor - gen schon

#div. . #. ∏

∑

œ œ

j # œœ # œœ

œ œ

œœ œ

œ. ≈ j J #œ #œ

∑

zu spät,

.

Œ ∑

j ∏

œ œ

j œ œ ∏ ∑

œ œœ

‰ Œ. ‰ Œ. ∑

.

spät.

a tempo

∑ ∑

j œ. œ. ‰ œ.

solo

∑

(poco rall.)

. π .

π j

œ.

∑

div. sul pont.

..

π j j‰ ‰ Œ.

j ‰ œj œœ ‰ œ œ pœ œ div. pizz. Œ p œj œ ‰ œ ∑ div. pizz.

∑

Fl. picc.

Fl.

Ob.

& œj ‰ I.

2 Cl.

Fg.

‰ Œ

solo

‰

œ œ œ œ

? œ. œ. œ. # œ. œ. œ œJ p

œ. œ. œ .

œ‰œ œ ‰œ .

j œ. ‰ ‰ Œ .

∑

2 Tbe.

∑

Tgl.



∑

2 Cor.

Arpa

Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.

∑

. œ. œ. ‰ . œ. œ J ‰ ‰ Œ . p ∑ j‰ ‰

Œ. ‰

. œ. œ. œ . . J ‰ ‰ Œ. ‰ œ

Œ.

con sord.

œœ œ .. œ

œ.

∑

& œj ‰

‰ Œ.

∑

? œ œ ? œ

∑

‰ Œ œj œ ‰ œ π arco j ‰ Œ œ œ‰ œ ∑ π arco

∑ j œ ‰‰ j œ ‰‰

∑

 ..

œ p œ

pizz.

 π

Œ pj œ Œ . arco œ . π pizz.

‰ ‰

. 11

œ.

Œ.

∑

œ.

∑

..

j . œœ ‰ ‰ Œ ∑

œ ‰. œ p

morendo

∑

œ.

morendo

∑

.

∑

∑ 

∑

Œ.

 ..

∑

Œ.

∑



..

 ..

∑

 ..

sul pont.

∑

Œ.

∑

..

œœ œ .. œ ∑

∑

..

∑ Œ

∑

. . .œ œ. œ œJ ‰. ‰ ‰ π

. ‰ . œ œ. œ. œJ ‰ ‰ p.

Œ.

∑

..

∑

& . .

∑

div.

∑

œ ‰ ‰ Œ. J

∑

œ œ

∑ ‰ Œ. ∑ ∑

œœ ‰ ‰ Œ . J

j . œœ ‰ ‰ Œ ∑

∑ ∑

II. Der Blütenzweig (Fujiwara no Hirotsugu)

Oboe

Clarinetto

Fagotto

Corno

Arpa

Voce

Œ Œ

‰ œJ œ œJ n œ

∑

# 2 & # 4

∑

# 2 & # 4

∑

? # # 42

∑

2 4

∑

# 2 & # 4

∑

? # # 42

∑

# 2 & # 4

∑

Andante

Flauto

. ‰ œJ œ

# 2 & # 4

∑

sola

#œ œ pœ 3

16 Violini II. (8)

6 Viole

con sord.

# π

4 Violoncelli

2 Contrabbassi

? # # 42

∑

? # # 42 ≤ j œ œ. p ? # # 42 ≤ p ? # # 42  p

π ≤œ œ œ. Œ p π

œ œœ 

œ œœ  p ≤

Œ œ œ (  p π

J ‰ Œ

∑

œ #œ œ 3

∑

∑ ∑

∑

‰

o  



∑

j œ‰ Œ

∑

j œ ‰ Œ



∑

solo

∑

œ ‰ Œ J

∑

œo J ‰ Œ  o

)



p œ≥

p œ≥ p

œ œ œ œ œœ

#œ

œ œ œ

p œ # ‰ œ

∑

œ # œ3 œ n 

œ œ œ

∑

∑ ∑

≈

œ œ œ œ œ .. p

≤

œ œ œ œ œj 3

œ . ≈ œ .. J



pizz.

≈

œœ

∑

œœ

∑

Blü - ten -zweig!



∑

nœ p



∑

j j . . # œ œ œJ œJ

p ≤

∑



p ≤

∑

≤

∑

solo

‰

∑

Nimm die-sen

∑

3 3 ‰ œj œ j j j ‰ Œ nœ œ bœ œ p

œ nœ

-. -. # 2 ≤ & # 4 œ œœ œœœ  p espr. π ≤ # ∑ & # 42 œ œ œ œ . œ œ - -. p ≤ ≥ B # # 42

œ œœ œ œ

 œ # œ œ

j œ ‰ Œ

œ 

solo

Andante

I. (8)

∑

‰

Cl.

∑

Fg.

? ##

∑

‰ # œj œ œ π

∑

Fl.

Ob.

Cor.

Arpa

Voce

? # # n œœ

œœ

n œœ œ œ

nœ

# & # ‰ œ œ œJ n œJ

In je-dem

Vln. II.

Vle.

Vc.

Cb.

Blat - te

p π

n π

nœ p

arco B ##  π

? ## n œ œ œ π ? ##

œœœ

œ œ nœ

œ- . π

œœ

∑

p Œ

≈ nœ œ œ #œœ œ œ œ

‰ œ œ œ ‰ n œ œ œJ .

œ œ R

der zar - ten Blü

œœ œ

‰

j #œ œ π 13

π dolce

bœ bœ P

œ ‰ bœ

‰bœ nœ bœ p j

bœ p

b

∑

n bb œœœ

bœ bœ

‰

(con sord.)

∏ ≤ 3 3 ‰œœ œ œ œ ∏



π arco

# π

bœnœ 3 4 F 3 4

43 bœ bœ 3

‰ b œ b œ 43 3

b b œœ b œ

bœ

n œ b œ œ b œj b œj J bœ

bœ

3 4

∑

schlum

arco

bœ J ‰

nœ bœ &

‰

œ nœ bœ bœ J

∑

œ ‰ J

bœ nœ bœ

3 3 j nœ œ ≈ œ nœ œ #œ œ œ œ bœ œ R p π P

œ n œ n œj ‰ Œ

bœ nœ œ bœ bœ bœ bœ nœ bœ bœ

ten

œ œ # œ œ ≈ pizz.j R #œ œ œ n œ n œj p P

pizz.

œœ œ ‰ J

p ‰ n œj b œ n œ

j œ‰

solo r ≈ n œ œ # œ œr ≈ n œj ≤ œ nœ œ œ p P

œ ‰. ‰ œj œ R œœ P

‰

~~~

n œœ p

∑

j bœ

~~~

solo

mert

hun - dert - fach,

∑

∑ ≤3

nœ œ œ bœ œ œ

‰ b œ b œ b œ œ œ 43

bœ œ œ ‰ œ œ

bœ œ œ ‰ œ œ 3 4

j ‰

nœ

∑

j ‰ nœ

∑

Aœ ## 3 J ‰ Œ & 4

2 4

∑

# bœ & # 43 J ‰ Œ

∑

# & # 43A œJ ‰ Œ

2 4 œ œj œ n œ # œ p

17 Fl.

Ob.

Cl.

Fg.

Cor.

Arpa

Voce

? ## 3 4

∑

3 4 A œj ‰ Œ

II.

Vle.

Vc.

Cb.

2 nœ 4 π

œ œ

#œ nœ

bœ

œ bœ

2 4

∑

dim.

œ ‰ J

dim.

∑

œ œ #œ nœ œ j

œ œj ‰

j‰ Œ

œ œj

‰

∑

Œ œ p

∑

œ ‰ Œ J

∑

? ## 3 4

∑

2 4

∑

# # 3 b œ b œ n œ œ. œ. œ œ ≈ j 2 j n œ & 4 R R J R nœ 4 nœ J # & # 43

tutti

Vln.

nœ

∑

# & # 43

hun

dert- fach

? ##

œ ‰ 2 J 4 π

b œ≤ n œ œ n œ œ œ J ‰ 43 π espr. p b œ≤ bœ œ J ‰ 34 π p

? # # 43

Lie - bes - wort

bœ œ J ‰ 42 π

b œ≤ n œ n œ

≤ ## 3 b œ b œ n œ & 4 p B ##

ein

∑

œ œ œ n œj œj œj œj  J

42 œ œ π 42  π 42

aus

un - ruh - vol - ler

Brust.

∑

œnœ œ

œ œ

≈

œ .. ∑

∑

≤ ‰ œ œ œ p espr. ≥ ‰ jœ

p espr.

œœœ

œ œ œ #œ œ #œ œ



œ ∑

p espr. Œ

∑

≤ 3 3 # œ œ n œj œ ‰ # œ

j œ œ. ∏ π

œ œ œ #œ œ

#œ ‰ nœ 3

∑

œo

œ≤ œ

p espr.

o J ‰&œ

D œ œ #œ œ œ œ nœ œ # œ œ n œ œJ œ . ‰ J ‰

# & # Œ

col canto

24 Fl.

Ob.

‰

bœ n œ J ‰ π

# & #

∑



∑

œ œ œ œ œ nœ

œœ 

solo

π3

Cl.

∑

Fg.

? ##

∑

Cor.

∑

& Arpa

Voce

? ##

∑

II.

Vle.

B ## œ

Vln.

Vc.

Cb.

wei - se mei - ne

≤

J ‰

œ œ nœ

‰

Lie

œ≤ œ # œ

œœœ œ œ œ ? ## n œ œ.

œœ

∑

œ œ œ nœ œ

## o

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

# & # Œ

# # œ≥ œ œ

œœ œ

œ n œœ # œœœ

sola

∑

œ œ

#œ

 œ

œ ∑

p ‰ nœ



nicht zu - rück,

nicht

œ≥ œ J

bœ J



zu - rück!

≤

∑

n œ≤ œ œ œ œJ 3 3 p espr.

œ nœ œ œ œ

∑



p 15

œ≤

( )

p espr. ( ) n œ≤ p espr.

≥

o



∑

p 3espr.

#œ œ nœ #œ œ œ 3

o



o morendo

#œ

nœ

bœ



∑



morendo

III. Die Weide im Wind (Unbekannter Dichter)

## # 6 & 8

∑

## # 6 & 8

∑

## # 6 & 8

∑

## # 6 & 8

Fagotto

2 Corni

Poco vivace, grazioso

Flauto piccolo

Flauto

Oboe

Clarinetto

Arpa

Celesta

Œ.

16 Violini

II. (8)

6 Viole

dolciss.

∑

? # # # 68

∑

## # 6 & 8

∑

? # # # 68

∑

œœ .. œ.

# # # 6 œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ & 8 œ π Poco vivace, grazioso ## # 6 ∑ ∑ & 8

I. (8)

œ nœ nœ œ œ œ œ œ œ œ œ œ ‰ Œ. J

√o ## # 6  . & 8 π

o .

2. solo

## 6 & # 8 # B # # 68

o .

∑

œ œ œ œ œ œ œœ

∑ Œ.

‰

œœ .. œ.

o .

p o .

o .

Œ. ∑

œœœœ œ œ

n œ œ. œ œ œ œ œ œ œ œ . n œ œ Œ J sul A 1. solo

Œ.

∑

œ œœ œœ œ

Œ.

œ œ œ œ œ nœ

∑

4 Violoncelli

? # # # 68

∑

2 Contrabbassi

? # # # 68

∑

7 Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

& &

Cel.

Vln.

II.

Vle.

Vc.

Cb.

∑

? ###

∑

. p

? ###

∑

## œ & # œ œœ π

œ œ œ

nœ nœ œ œ œ œ œ

œ.

∑

n nn œœœ ...

Œ.

∑

œ.

œ œ J

œ.

p p

∑ ∑

‰ œ. p

œ. ‰ n œœœ ... f

Œ. ‰

∑

Œ. solo

∑

B ###

∑

? ###

∑

? ###

∑

œ œj œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ . π

∑ ∑

.

π Œ.

∑

œœœ œ œ œ œ

F √o solo œ . F F ∑

p o .

J ‰ ‰ π

n œ œ œJ ‰ ‰ Œ. p

∑

∑ œ ‰ ‰ Œ. J

∑

œ nœ œ œ œ œ œ œ œ œ

∑

œ ‰ ‰ J

œ ‰ Œ.

œ.

∑

œ œ. nœ œ. solo ≤ nœ œ œ œ œ nœ œ œ # œ œ œ œ ‰ ‰

###

∑

con sord.

∑

œo

œ ‰ nœ œ ‰

œ. Œ.

∑

###

## œ & # œœ ‰ π (√) # # # œo . &

‰ Œ.

∑

## & #

∑

. œ. œ. n œ œ œ œ œ œ n œ œ n œ œ . œ # ##

## & #

& Arpa

###

œ.

Œ. ∑

œ œœ œ œ œ

#œ œ≤ . œ. œ. œ. n œ œ œ œ œ

p œo J ‰ ‰ Œ

∑

‰

12 Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

Arpa

Cel.

II.

Vle.

Vc.

Cb.

∑

# # nœ & # J p

œ œ J

p ∑

? ###

∑

###

? ###

nœ œ F

œ ### œ n œ

###

B ###

n œœ F

‰

# œœ

œ œœ œ œœ œ

###

‰ Œ.

∑

‰ Œ.

œœ Œ.

‰

œ≤ œ .

Œ.

œ. ‰ œ.

≈

∑

? ###

∑

? ###

∑

. . . nœ. œ œ nœ. œ œ œ. œ œ

‰

‰ œ nœœ œ p

œœ

‰

œœ œ

 ..

π ‰

∑

œ ‰ œ f

pizz.

∑

‰ œœ ..

∑

œ. ‰ n œœ .. p ≥ œ.

n œ- œ J ‰ ‰ Œ. p

œœ

œœ œ . œ œ œ œ ‰ œ ‰

f ≥œ œœœ œ œ œ a4 ≤ n œ œ J ‰ ‰ Œ. ‰ ‰ œœœœœ œ œœœ F p F p ≥ ≥ œ≤ Ÿ~~~~~~~~~~ a4 œ n œ n . œ J ‰ ‰ œ. ∑ œ œ n œ œ œ œ F P p F ∑

∑

dim.

∑ ∑ ∑

∑

‰ # # œœ .. > P s glis

F ∑

œ œ.

∑

‰ >œ . Œ. p

‰ Œ.

. . . nœ. œ ‰ œ. œ œ œ ‰ Œ. p f F . . œ. n œ œ œ. œ. œ. œ œ œ . œ solo œ . œ ‰ Œ. Jœ pF p f

nœ.

œœ œ

J‰ ‰ p p

F œ.

∑

con sord.

. .

œ.

Œ.

∑

. nœ œ œ

## & #

Vln.

###

## & # Œ.

œ œ. œ œ

solo

‰

Œ.

p œ≥ .

Œ.

dim.

 ..

dim.

œœ ..

dim.

∑

œœ ..

œœ œ œœ œ nœ œ ‰ œ œ ‰ œ œ . n œ. œ œ . œ.

dim.

.

dim.

≤ . . . œ. ≈ œ≤. œ. œ. n œ . œ œ n œ . œ œ œ . œ œ J

π Œ

dim.

œœ œœ œœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ p dim. ∑

∑

Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

∑

6 8

∑

# # œ ‰ Œ. & #

3 8

∑

Œ.

## & #

∑

œ.

∑

œœ .. œœ ‰

∑

3 8

∑

6 8

∑

38 œœ

j nœ

68 œ . œ.

Cel.

Voce

I. Vln.

II.

Vle.

Vc.

Cb.

###

? ### &

morendo

## & #  .. π ? ### ∑

# œœ ..

œœ .. œ.

œ.

## œ œ & # œœ œ œ œ

∑

## & # Œ . Œ œ œ œ n œ œj œ œ œJ # œ &

Die

B .

###

œ. œ ### ‰ & # # œ. œ ‰ & #

œ B ### œ ‰ Œ . ? ### ? ###

∑ ∑

Wei - de, die Wei-de

œ J

‰ ‰ Œ. ∑

tutti pizz.

œ œ

38 œ .

zeigt ih - ren

38 38

∑

‰ 38 œœ œ œ

‰

68 Œ

∑

œ œ ‰ œ œ ‰ 3 œ œ nœ 8 œ œ

pizz.

œ ‰ œ œ ‰ 38 ∑

œ J ∑

68 œ

œ.

68 œ 68 œ 68

J ‰ ‰

œœ ... œœ .

œ.

œ œ

œœœ

∑

Som - mer - wei - de

œ œ

œ ‰ J F nœ œ pizz.

œ œ œœ F

œœ œ œ F

zeigt ih-ren schlan-ken

arco

∑

arco

∑

œ.

œ œ œJ œJ œ œj

∑

arco div.

Œ.

‰

∑

‰ œ # œ œ œ œ œ œ œ œJ œj ‰

œ ‰ J F

‰

∑

pizz.

Œ.

∑

F œœ .. œ.

∑

œ œ J

∑

œ ‰

œ œ

j œ ‰ ‰

schlan - ken Stamm, die

68 Œ

œ ‰ ‰ J

œ.

∑

38 ‰ œ œ r œ 68 œ nœ R J

œ œ œœ . . œ#œ œ ‰ ‰ J

œœ ‰

68 œ . 68

∑

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

Arpa

###

∑

œœ

‰

œ œ œj J j #œ œ ∑ ∑

∑

###

Fl.

###

Ob.

# # œ. & # p

23 Fl. picc.

Cl.

Fg.

2 Cor.

Arpa

Voce

. œ #œ œ œ œ œ œ œ œ.

∑ ∑ ∑ ∑ ∑ ∑

## & # ? ### &

Vln. II.

Vle.

Vc.

Cb.

‰ œ n œ œ œ œ n œ œj ‰ ‰ ∑ ∑∑ ∑∑ ∑ . p P ‰

I. con sord.

#œ. p

## & # œ. ? ###

‰

unis. # # # > . &  π

# # # arco #œ. &  p œ. B ###  p

? ###

∑

? ###

∑

‰

J ‰

‰

∑ Œ.

∑

œ. œ.

œ œ œ

‰

Œ.

‰ ‰

‰

œ œ ‰ œ ‰ œ

pizz.

∑

Œ.

œ œ ‰

pizz.

œ œ

nœ œ

‰ ‰

œ œ ‰

wenn der Wind,

œ œ nœ œ œ œ

Œ.

∑

3 8

∑

3 8

∑

38 38 38

∑

œ œ œ.

der weh

œ œ. œ œ œ n œ œ. œ

arco

‰

œ œ ‰

‰

F œœ ..

œ œ

∑

œœ .. œ.

‰

3 8

Œ.

>. >. > œ œ œ.

pizz.

∑

Œ.

œœ .. ∑

‰

nœ œ ‰ p

∑

‰

∑

∑ pizz.

Œ.

∑

‰

∑

œœ .. ∑

∑

j œ ‰‰

‰  nœ. π . œ ‰ nœ π

‰ ∑

. œ. œ . œ . œ . œ œ œ nœ

∑

 ∏

œ. p

solo

∑

## & # .

∑

Œ.

# # # # œœœ ... & œ. f

Œ. ∑

∑

Œ.

∑

Stamm,

∑

~~~~

Cel.

∑

œ œ ‰

œ œ

Œ.

‰

œœ œœ œ œ 38 arco

œœ œœ ‰ 38

œ œ ‰ 38

## & # 38

∑

6 8

## & # 38

∑

68 Œ

## & # 38

∑

6 8

∑

6 Œ 8

? # # # 38

∑

28 Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

## & # 38

Arpa

Cel.

Voce

? ### 3 œ . 8 ### 3 & 8

Vln. II.

Vle.

Vc.

Cb.

∑

Œ.

œ.

œ ‰ J

‰

∑

Œ.

j œ ‰

‰

∑

J ‰

‰

∑

œ.

∑

Œ.

∑

Œ.

∑

## œ. & # 38 œJ œ œ n œ œ 68 en - de

‰

œ.

∑

6 œ. 8

œ ‰ J

‰

B # # # 38 œ œ ‰

der

weh

68 œ n œ œj œ œ œ œ œ # œ œ J arco

pizz.

68 œ

œ œ œœœ œ

arco

? # # # 3 œœ œœ ‰ 8

œ œœ 68 œ œ œ Œ

? # # # 38

∑

#œ. p

# œœœ ... œ. f

en - de Wind

durch ih - re

fei

div.

arco

pizz.

‰

Œ.

‰

œ ‰ ‰

‰

∑

j π

‰

F ∑

œ #œ œ œ œ œœœ

nen Zwei - ge

œ.

‰

œ ‰ j J œ

fährt,

der

j ‰ œ. # œ. œ p

r œ ≈ œ.

j œ œ ≈ œ. œ œr ≈ œ ‰ ‰ Œ . π ∑

Œ.

∑

œ.

œœœ œ œ

œ œ œ. # œ. . . j # œ. œ . œ œ œ ‰ J œ œ‰

sola

∑

≥. # œ. >œ œ . . œ œ œ œ. œ. œ . # # # 3 œ œ œ 6 œ. œ œ œ . ≈ J ≈ œ œ œ œ # œ œ. œ. œ & 8 J œ nœ 8 . . . π ## & # 38 n œ œ œ ‰

I. senza sord.

œ ‰ œ # œ œ œ œ œ r r œ ≈ r œr œ œ # œ œ œ œ j J œ œ J œ œ J R

Wind,

. . . ‰ ≈#œ œ œ p

œ.

∑

œ œ

n œ 68 œœ .. œ

∑

J F

‰

∑

~~~~

## & # 38 ‰

œ œ

∑

33 Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

& &

###

∑

n œ œ œ œ. œ. œ. œ ### œ œ œ œ œ

## . & # œ

‰

## & # Œ.

? ### œ œ π

œ.

Cel.

Voce

Vln. II.

Vle.

Vc.

Cb.

œ. ‰

œ.

J π

œœ

## & #

œ. œ. # œ. œ. ‰ ‰ J

‰

j œ œJ

der

# œœœ œ & # . œ. œ œ F ## & # Œ. B ### Œ .

? ###

∑

? ###

∑

j œ ‰

œ.

∑

#œ. π

j ‰

œ.

‰

œ #œ œ œ œ œ #œ œ œ

‰

œ #œ

Œ.

‰

∑

œ. .

‰ ‰

œ ≈‰ ≈‰

œ ≈‰

pizz.

J ‰

der Wind!

Œ.

pizz.

‰

œ.

œ≈‰

#œ f ∑

∑

≈‰

œ≈‰

∑

j œ. œ.

‰

∑

Wind!

œ œ #œ œ œ œ œ #œ œ

‰

Wind,

D #

∑

œ # œ n œ. œ œ . .

∑

## & # œJ

Œ.

∑

Œ.

œœ œ

? ### Œ .

Wind,

∑

& ## & # Œ.

Arpa

∑

‰

≈‰

‰

. œ. n œ. œ œ œ. œ. œ. . . œ . # œ œ . œ arco . . . œ. . . . œ œ. # œ œ œ ≈ #œ œ œ œ œ œJ ≈ # œ œ œ ≈ f p π ≤ œ. œ. n œ. œ . j # œ ≈ œJ œ #œ œ œ œ # œ œ ≈ œ. œ. œ. œ ≈ ‰ j œ #œ œ p F f P p arco . œ œ ‰ œ # œ œ ‰ œ œ œ œ # œ. œ œ ‰ œ œ ≈ ‰ p F f

œ œ ‰

œ œ

pizz.

∑

‰

Œ.

arco

∑

≈‰

## & #

∑

###

∑

### œ .

###

37 Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

Arpa

Cel.

Voce

Vle.

Vc.

Cb.

Œ.

∑

? ###

∑

Œ.

∑ Œ.

∑

## & #

∑

## & #

∑

## & # &

œ. œ. # œ. œ dim.

# # # œ # œ n œ.

B ### pizz. ? ### œ p

? ###

dim.

œ. œ. œ.

œ. œ # œ n œ. ∑

œ #œ œ

dim.

∑

œ.

#œ

. . . ≈ œ. œ. œ. œ # œ n œJ ‰ ‰ π P

#œ œ π

Œ.

‰

œœ œ œ ‰ ‰ œœ ‰ ‰ J J

‰

J ‰ ‰ ∏

œ. œ. ‰ ‰ J ∏

‰

∑

.

>œ

.

Œ.

con sord.

. .

‰

œ œ œ œ.

∑

#œ > P

∑

pizz.

J ‰ ‰ J ‰ ‰ p F

poco rit.

∑

œœ œ œœ œ

∑

‰

∑

‰

pizz.

œ #œ œ

‰

‰ #œ > p

‰

∑ ∑

j œ œ ‰‰

Œ.

∑

Œ.

œ.

œ. œ. # œ. œ.

œ # œ n œ.

∑

œ ‰ ‰ Œ. J

? ###

#œ

Œ.

œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ # œ œ œ # œ ‰ ≈

. œ. . solo . . # œ œ œ œ œ. ≈ œ. œ œ F

∑

###

Vln. II.

∑

poco rit.

F F

‰

∑

‰

∑

œœ œœ ‰ ‰

∑

Fl.

Ob.

Cl.

Fg.

2 Cor.

Arpa

Cel.

Voce

I. Vln. II.

###

a tempo

∑

## & # b. π ## & # b œJ ‰ ‰ Œ .

j œ ‰ ‰ Œ.

∑

j ‰ ‰ Œ.

∑

‰ Œ.

∑

‰ n œœœ f ∑

∑

42 Fl. picc.

∑

## & # . π

? ### J ‰ ‰ Œ . & ## & #

œ. nœ. π p

œ œ ∑

? ### œ n œ œ œ œ œ ###

∑

## & #

∑

###

Œ.

arco sul pont.

##  & # b  .. ∏

B # # # n . . ∏

Vc.

Cb.

? ###

∑

? ###

∑

œœ

Œ.

a tempo

arco sul pont.

Vle.

‰

Dei-ne schlan-ken Füs - se, mei-ne Wei-de,

..

j œ ‰ ‰ ‰

œœ..

œ. œ. n œ. n œ. œ.

ord.

œ œ œ œ œ œ

pizz.

‰ œ

‰

œ œ œ # œ œ œ œ œ œ.

∑

senza sord.

 ..

> p

‰ œ

 ... 

œ œ œ

œœ ÿ

j œ œ n œ œ. œ. ÿ ‰

‰ Œ.

‰

‰ Œ.

r nœ nœ œ ≈‰ ‰ ‰

ord.

œ œ œ

nœ

œ œ

œ ≈‰ ‰ ‰ nœ œ œ R

Œ.

‰ ∑

œ œ

arco

∑ ‰ œ F

œ œ œ ∑

sah ich heu - te,

∑

œ n œ. # œ. œ .œ œ œ . j œ n œ œ ≈ ‰ ‰ ‰ J ‰ ‰ R œ. n œ œ. œ. ≤j

œ œ œ # œ œ œ œ œ œ. œ.

œ nœ r r n œr œ œj œj n œ Rœ œJ œ ‰ Jœ J # œ œ R œ œ J R

œ œ œ n œ n œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ.

Œ.

∑

#œ ‰ J

Œ.

‰

Œ.

‰

Œ.

Ÿ~~~~~~~~~~~~~~~~~~~~~~ .

J ‰

∑

& &

47 Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

Arpa

Cel.

Voce

###

∑

. >œ œ. . n œ . . . œ . ## œ. œ n œ œ # œ œ œ ‰ Œ. & # ‰. p π ## ∑ ∑ & # ###

∑

? ###

∑

## & # Œ. ? ### Œ ## & #

>œ œ.

œ.

œ J

Vln.

II.

Vle.

Vc.

Cb.

œœ .. Œ

∑

π ###  . &

π œ # B # # œJ ‰ &

### o

.

p # # # arco o . & p

Œ.

‰

œ œ. J

∑ I.

œ œ

.

Œ. Œ

Wind,

≤ .

.

Œ.

.

œ ‰ ‰ Œ.

Œ.

.

œ ‰ ‰ Œ. J

œ.

œ œ

∑

œ œ

r r œr œ œ œ œ œ

da der ver - lieb

28 3 œ œ ≈ 8 # œœ .. p 2 œ 8 œ

3 8

∑

38 œ .œ

∑

œ œ 28 œ œ

Œ.

∑

≈ ‰

Œ.

∑

.

28 œ œ

Œ.

o .

œœ œ œ

o 28 œ

œœ

6 8 6 8 68

œœ œ œ 6 8 -

68 68 68

38 œ .  F 38 œœ ..  F 38 œ .  F

38 œ .  F

∑

6 8

œ -

6 8

œ. 38  F œ. 38  F

28 œ œ

o 28 œ

œœ 6

∑

38 œ

Wind

≈ ‰

‰

.

œ œ œ ≤ ‰. œ œ œ œ œ ≈ œ F o o . . œo ‰ ‰ Œ . J

‰

‰.

π ≤ .

. ‰

∑

3 ∑ ∑ ∑ ∑ ∑ ∑ 8 π p 28 œ œ ≈ 38 œ . p Ÿ~~~~~~~~~~~~~~~~~~~~ 2 œ œ. 3 œ . 8 8 p œ. 2 ∑ 3 8 8 p

∑

‰ Œ.

r r ## œ & # ‰ . œ n œ œr œ œ n œ œ  .

F œ ### œ ≈ ‰ & p ### œ œ ≈ ‰ & p ## & # .

F π

∑

da der ver - lieb

œ œ

3 8

∑

. œ œ œ. œ. œ. œ ‹ œ œ. œ. œ. œ. œ œ œ. 2 8

∑ ‰

2 8

∑

68 68 68 ∑

## & # 68

52 Fl. picc.

Fl.

Ob.

Cl.

Fg.

2 Cor.

Arpa

Cel.

Voce

∑

# # œ. & # 68

Œ.

### 6 & 8 œ.

. ? ### 6 n  8 &

## & # 68

∑

? # # # 68

∑

## & # 68

# # œ. & # 68 @ P # # # 6 2.œsolo . & 8 @ P # # œ & # 68  P œ. B # # # 68 œ .  P

II.

Vle.

Vc.

Cb.

? ### 6  . 8  P ? ### 6 8

œ œ œ œ œ nœ œ

∑∑∑

∑∑ ∑

∑∑∑

∑

œ œ œ

œœ

n œ œ@ @J

‰

œœ œ nœ

fuhr!

durch dei - ne Klei - der

@ @

≥ ≤ j œ œ p

œo J F ≥ œ.

‰

œ œ

œo

œœ œ ‰ ‰ Œ.

nœ œ p ∑

∑

 . .

. œ . ‰ Œ

œ ‰ ‰ Œ. J

1. 2. 3. 4.

1. 3. 5.

J π

œœ ‰ ‰ Œ .

J π

∑

‰ nœ œ. π ∏ U

mor.

∑

.

morendo

n œ n n œœ œ J π

o j Uo

sola

œ œ

∑

√ n œ œ œj U ‰ nœ œ. p sola

.

∑

U . n œ œ œ œ n œ. n œ. œ. œ n œ œ n œ . œo . Œ ≈ p π mor. Uo o . . più rit.

molto

1. solo

π o .

œ ‰ ‰ Œ.

∑

I. con sord.

nœ. π

‰

∑

œ ‰ Œ.

œœ ..

Œ.

quasi a tempo

#œ.

œ.

ÿ ÿ

fuhr!

rit.

r≈‰

∑

œ œ ‰ Œ.

Œ.

œœ ‰ ‰ Œ .

œ œ œR # œR R œR œ œ

œœ œ

∑∑ ∑∑∑∑

∑

œ œ œ œ œ œ œ #œ œ. ∑∑∑

œ œ œ œ œ nœ œ

ÿ Pÿ

∑

∑ ‰.

œœ ‰

∑

Œ.

œ.

send

Œ.

∑

molto

∑

Œ n œJ # œ ‰ n œ # œ ‰ n œ œ p π nœ œ œ œ œ œ Œ ‰ J ‰ ‰ Œ. p

∑ ‰

più rit.

∑

### 6 n œ œ œ & 8

quasi a tempo

∑

68  ..

gli altri

Vln.

rit.

nœ # # # 6 ∑ ∑œ œ ‰ Œ . & 8

1. 2.

j U Œ nœ œ ‰ ∑ π ∑ 5.6.7.8. mettono i sordini j pizz. U Œ nœ œ ‰ ∑ π ∑ 2.4.6. mettono i sordini j pizz. bœ œ nœ nœ U Œ œ ‰ Œ. ∏ ∑ ∑ u

morendo

pizz.

∑

3.4. mettono i sordini

∑

IV. An einen Freund (Mitsune)

Voce

### #

Lento serioso

### #

1. 2. 3. 4. senza sord.

& I. (8)

∑

### #

a4 ### # ≤

B ### #

œ.

B ### #

3. 5. senza sord.

œ.

∑

œ œ œ œ #œ œ #œ

‰ Œ.

∑

Œ.

∑

Œ ∑

œ œ œ œ ‹œ œ.

∑

? ### #

∑

? ### # Œ .

œ.

Œ.

œ.

Œ.

œ.

3. con sord.

? ### # Œ . 4. con sord.

p p

œ œ œ œ œ- œ- œ œ œ J

sola

œ.

‰ Œ.

œ.

œ. ∑ nœ.

‰

∑

∑ ∑

œ. π ∑

∑

# œ œ≤ . n œ œ œ œ

œ.

∑

j nœ œ

œ œ n œ- œ . œ œ œ- # œ œ œ œ œ

∑

œ.

œ ‰

∑

nœ. π

œ.

.

œ.

.

∑

.

œ.

.

∑

π π

‰ Œ.

∑

‰ Œ.

∑

œ œ ‰ œ œ ‰

œœ‰ œ œ‰

∑

œœ‰ œ œ‰

∑

π π

∑

pizz.

? ### #

∑

pizz.

œ.

espr.

? ### # 1.

‰ Œ.

œ.

? ### #

2. senza sord.

œ.

#œ.

a3 ≤ B ### # œ œ œ œ π p 1. senza sord.

∑

œ.

2. 4. 6. con sord.

2 Contrabbassi

1. 2.

3 œ . œ œ œ . œ œ œ œ œ œœœ œ œ. œ œ œ

1. senza sord.

4 Violoncelli

∑

5. 6. 7. 8. con sord.

6 Viole

∑

1. 2. 3. 4. senza sord.

& II. (8)

∑

5. 6. 7. 8. con sord.

& Violini

### #

∑

œ œ ‰ œ œ ‰

P P

œ œ œ œ.

. π ∑ Œ

‰

œœ

‰

Voce

∑

####

∑

####

∑

####

∑

####

∑

Vln.

II.

Vle.

# ## & #

# 1. 3. 5. B ## # ‰ œ p

Œ.

Vc.

Cb.

‰

œ.

œ œ ‰ œ

pizz.

‰

œ.

? #### Œ

‰ œ œ ‰ F

? #### Œ

‰ œ œ ‰ F

? # # # # arco œ. π ? #### Œ

pizz.

F ‰

œ œ

œ ‰

∑

œ œ ‰

nœ f

‰ œ ‰

∑

‰

≥ j

pizz.

F j

œ œ

nœ œ.

‰

pizz.

œ œ

œ.

‰

espr.

‰

œ≥ œ # œ .

œ≥ œ œ œ œ œ- œ- œ . n œ œ œ ‰

œ œ ‰

œ≥ œ # œ .

‰

‰ ‰

≥

#œ œ

œ nœ œ œ œ J œ

‰

#œ

œ œ ‰ œ œ ‰

œœœ ‰ Œ.

‰ œ ‰

nœ. F

nœ ‰

.

œ. #œ.

nœ.

nœ ‰

.

œ. #œ.

‰ œ

‰

‰ # œœ œœ ‰ F

n n œœ

‰ n # œœ ‰

œœ

‰

‰ #œ œ ‰ F

nœ

‰ nœ ‰

F f f

‰

œ œ

‰ Œ. ‰ Œ.

‰

œ ‰ Œ. œ ‰ Œ.

‰

pizz.

‰ œ œ ‰

∑

‰

‰ œ œ ‰ p

∑

‰

‰ Œ.

nœ f

œ œ

œ.

‰

#œ.

œœœ œ œ

‰

œ.

#œ.

‰

∑

nœ. F

œ œ

∑

œ- œ- . œ- œ- œ . J

œ.

? ####

≥ j

∑

≤ ? # # # # œ œ œ œ œ- œ- œ P

∑

2. 4. 6. B #### Œ ‰

∑

I. Vln. II.

Vle.

B #

# ## & # Œ. 2. 3. 4.

####

1. 2. 3. 4.

Cb.

œ nœ œ œ

≈

espr.

œ nœœœ œ.

espr.

pizz.

# a3 B ## # . œ œ œ œ n œ œ œ P espr. 3 1. 2. # ? ## # ∑

3. 5.

arco

œœ

pizz.

? #### œ œ n œ œ . p 4. arco # ? ## # . p 1. ? # # # # arco . p arco

≥ n œ œ≤ œ œ # œ œ œ œnœ

‰

œœ ‰ ≥ ≈#œ œ nœ nœ

œ œ œ b >œ

‰

œ.

≤ œ- œ œ n œ œ # œ œ ≥ œ ≈œnœ Œ.

∑

arco

∑

‰

≈

‰

≈ #œ. p

nœ ≈ # œ œ ‰ œœ ≈ n œ œ n œ œ n œ œ ‰ p arco pizz. ≤ . a3 nœ 1. œ. œ ‰ # œœ œœ ‰ ≈

∑

# a3 B ## # œ .

Vc.

≥œ

solo

œ nœœœ œ.

n œ≤ J p arco ≤ Œ n Jœ p

# # & # Œ.

13 1.

œ n œ œ # >œ .

≥

œ œ

∑

œ œ.

≈

∑

‰

#œ ∑

arco

œ≥

∑

‰

∑

18 Voce

& &

Vln.

II.

Vle.

& & & &

# # # #C # # # # # œ-

œ œ œ œ- œ .

# # # # # œ-

œ œ œ œ- œ .

####

1. 2. 3. 4.

####

Cb.

∑

Œ.

5. 6. 7. 8.

∑

≤ B #### ‹ œ . 1. 3. 5.

? #### ? ####

œ œ œ œ ‹œ œ œ œœ

œœ œ

≈ F

pizz.

‰

∑

‰.

œ. ≈

œœœ

pizz.

œœ

#œ œ œ

‰

nœ ‰ J

œ n >œ

F ‰

∑

‰

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 ≈ solo

∑

œ≥ # œ # œ

arco

≤

∑ ∑

∑

œ # œ n œ œ ‹ œ- . J œ.

arco

‰

∑

Œ.

∑

≈ ≈ F F 3 œ œ œ œ ‹ œ œ œ œ ‹œ œ œ ≥œœ ≤œœ œœ œ œ œ Œ. ≈ ≈ ≈ F

5. 6. 7. 8.

∑

≥

2. 3. 4.

1. 2.

Vc.

∑

œ œ ∑

œœ

∑

J π

œ nœ. ≈ œ.

> P

œ. #œ nœ J

∑

œ œ. ≈ œ.

P p > . #œ œ ≈ nœ. P p ∑

mor.

œ ≥ J ‰ ‰ # œj # œ π

Œ.

‰

mor.

arco

p ≥ j œ ‰ ‰ œj œ π mor. Œ. Œ œj p œ ‰ ‰ œ. J π

œ ‰ ‰ Œ. J ∑

mor.

23 Voce

####

Vln. II.

r #œ œ. nœ œ œ œ

œ œ œ œ œœ œ - -

#œ œ. nœ œ œ œ

kommst nur, um die Blu - men

## & ## œ

5. 6. 7. 8.

œ œj œr œr œ œ œ

## & ## œ 5. 6. 7. 8.

B #### œ . p 3. 4. ? ####  . p

œ œ œ- œ œ . -

œœ

#œ.

œœ

2. 4. 6.

Vle.

Vc.

pizz. œ # ? ## #

Cb.

? #### œ p

pizz.

blühn

‰

œ ‰

zu seh'n

œ ‰

‰

œ œ n œ- œ .

Œ.

bei mei - nem Hau - se.

Sind sie

œ œ

œ.

œ œ ‰

‰

Œ.

œ œ œ

œ œ #œ œ #œ œ œ #œ œ

arco

œ.

‰

œ. ∑

œ œ ‰ œ œ ‰

erst ver - welkt,

œ #œ

.

œ. nœ œ œ œ œ œ #œ œ œ œ œ nœ -

œ.

r œ œ œ œ œ œr œ

œ œ œ œ œ œ nœ. œ œ œ nœ œ œ - œ.

œœœ

j œ œj n œj œj œj ‰

∑

#### œ œ œ œ œ œ . J &

27 Voce

weiss

& I. Vln.

####

ich wohl,

≈ nœ nœ œ œ

Œ.

## œ. œ & ## œ œ œœ 5. 6. 7. 8.

## j & # # nœ œ

B #### œ n œ œ œ ? #### œ 3. 4.

Vc.

Cb.

nœ J

? #### œ ‰ ‰ J 1.

n œ œ- œ-

œ. œ Œ.

œ nœ œ œ J Tag

≈

für Tag

œ≤ n œ n œ œ œ œ n œ

œ n œ œ- œ œ œ J

#œ.

2. 4. 6.

Vle.

dass ich mich

solo

5. 6. 7. 8.

II.

nœ œ œ R R R

nœ

nœ J

um - sonst

nœ J

nœ.

œ #œ.

‰ Œ.

nœ œ œ

nach dei

∑

nem

Kom

≈

j œ nœ. p

bœ ‰

≈ #œ œ nœ œ

≈ œ nœ œ ‰

œ.

‰

œ bœ J

œ œ œ -

men

≥ nœ œ œ œ #œ œ œ œ nœ

espr.

œ.

∑

nœ.

∑

pizz.

œ nœ nœ œ #œ

œ œJ

nœ ‰

œ nœ œ œ. Œ.

‰ ∑ ∑

## & # # œ.

31 Voce

seh

œœ -

j œj œj ‰ Œ .

nen

wer - de,

nœ œ #œ œ # # # # ≈ œ≤ n œ œ œ ≈ & 1.

Vln.

& & &

II.

####

2. 3. 4.

####

5. 6. 7. 8.

####

## & ## ‰ 5. 6. 7. 8.

B ####

∑

? ####

∑

? ####

∑

? ####

∑

3. 4.

? #### ? ####

∑ ∑

≥

∑

Œ.

∑

Œ.

‰ Œ.

Œ.

∑

Œ.

‰ Œ.

Œ.

sola

∑

B #### 1.

Cb.

œ œ # œj n œ

∑

2. 4. 6.

∑

B #### 3. 5.

Vc.

œ.

#œ.

1. 2. 3. 4.

Vle.

∑

œ œ. œ œ œ œ œ. œ

senza sord.

≥

œ. π

F ∑

œ œ œ œ

π senza sord.

œ œ œ œ

œ œ #œ œ œ #œ

œ œœœ œ œ œœœ J

# œ≥

œ. nœ œ œ œ

œ œœœ œ œ œœœ J

# œ≥

œ. nœ œ œ œ

œ #œ J

œ œ

œ #œ J

senza sord.

J f

≥ œ œ œ œ œ œ œ nœ. œ œ ≥ œ œ œ œ œ œ œ nœ. œ œ

≥ œ- œ œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ n œ . œ œ J ≥

‰ œ f

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 œ œ œ n œ . œ œ J ≤ œ

œ œ œ. œ œ

œ.

œ œ ‹œ œ #œ #œ œ

œ œ œ. œ œ

œ.

œ œ ‹œ œ #œ #œ œ

œ œœ .. J

‰

œ . œ œ œ œ . ? # œJ

solo

œ.

œ. nœ œ œ œ

œ≤ œ œ œ œ œ

œ. œ œ œ œ.

œ.

# œ≥

senza sord.

œœ œ œ

œ.

œ œœœ œ œ œœœ J

∑

(con gli altri)

œœ œ œ

œ. ∑

∑

. .

J ‰ f

œ œ. J

j œ ‰‰ f

Œ.

Œ. Œ.

œ œ œ

pizz.

œ.

‰

36 Voce

####

∑

# # # œ œ n œ- œ . & # unis.

I. Vln. II.

∑

# # # # unis. n œ œ œ- . & œ

Œ.

# œ œ œ- # œ œ œ œ B ## # œ œ p 2. 4. 6. œ œ œ- # œ œ œ œ B #### œ œ ? #### 1. 2.

Vc.

Cb.

œ.

? ####

∑

? ####

∑

3. 4.

arco

## & ##

Voce

I. Vln. II.

œ≤

#### œ

∑

œ.

F (≤) j # # # # n œ n œ œ œ œ œ œ n œ- n œ- œ≤ œ & f

n œ œ n œ œ œ œ œ- œ# #œ # B # # nœ ? # # # # œJ

Vc.

Cb.

nœ ? #### J

‰

? #### œ œ

‰

≤j

#œ

œ œ

f n œ≥

n œ-

nœ œ

œ n œ œ œ œ- œ- œ .

nœ œ

≥  ≈ œ nœ œ œ œ œ œ f ≥ ≈ œ. œ n œ œ œ œ œ n œ@ f ≥ ‰ œ nœ œ œ œ œ nœ @

n œ œ- œ- n œ≥

≥ œ n œ≤ œ œ œ≥- œ-≤ œ .

j œ œ œ œ œ nœ œ œ. F

œ-

∑

œ œ

‰

‰ œ.

#œ.

nœ

œ- œ- # œ

nœ

Œ.

unis.

n œ≥ f

nœ @J

œ

arco



œ œ #œ œ

œ nœ

œ œ

nœ #œ nœ #œ

n œ- œ- œ

nœ œ œ œ œ œ œ œ nœ

œ >≥ > > ≈ œ nœ œ œ œ nœ œ œ œ œ

>≥ > > > > > ≈ œ nœ œ œ œ nœ œ œ #œ œ œ

#œ

œ.

#œ

∑

œ œ œ œj œ n œ n œ œ œj œ œ œ

œ #œ œ nœ œ nœ œ nœ œ nœ œ

œ@

œ #œ œ nœ œ nœ œ nœ œ nœ œ

œ nœ

œ@

œ. œ.

n œ- œ- # œ

div.

nœ J

∑

≥> œ J

≤j

œ . n œ- œ œ f espr.

j œ œ œ œ œ nœ œ F p ≥ ≥ >œ≤ œ œ œ n œ œ ≈ œ œ- œR œ f F pizz. ≥ ≤ œ œ > œ œ ≈ œ n œ œ œ œ- œR f F ≤ nœ œ œ œ. œ F f

n œ œ n œ œ œ œ œ- œ# n #œ # B ## œ Vle.

Œ.

sul G

1. 3. 5.

Vle.

∑

œ.

≥ œ œ œ nœ # œ ≈

‰

≤ œ œ œ œ # œ ≈

‰

43 Voce

I. Vln. II.

####

∑

œ≥ # œ # œ ≥ œ œ œ œ # œ # ## n œ ≥ n œ & # R œ nœ ƒ ≤ # œ œ œ œ œ n # # œ J J & # nœ œ≥ # œ # œ œ œ œ œ # œ nœ # J B ## # ≈ œ n œ ≥

Vle.

Vc.

Cb.

# ≥ B ## # b œ

nœ J

# ## & # nœ. ? ####

bœ

? #### ‰ ª

## . & # # nœ

nœ

nœ J

‰

œ.

œ œ œ

Voce

œ nœ œ nœ

poco ritenuto

‰

œ.

Œ.

œ œ

œ œ #œ œ.

men

seh

## & # # bœ

2. 3. 4.

Vln.

II.

Vle.

####

5. 6. 7. 8.

Cb.

∑

## & # # ‰ nœ 1. 2. 3. 4.

## & ##

5. 6. 7. 8.

bœ B #### J B ####

‰

∑

œ nœ œ

∑

œ.

∑

œ. Œ.

‰

#œ.

‰

arco

∑

? ####

∑

? ####

∑

3. 4.

Vc.

j #œ nœ

nen

wer - de.

Œ.

sonst

nach dei

œ J

nem

œ.

n œ∑

‰

#œ. π

‰

a tempo

pizz. œ ≈ #œ œ nœ œ

Œ.

œ.

π π

∑

‰ ‰ ∑

∑

‰ #œ #œ œ ‰ ∑ ∑ π sul G , con sord. ≤ Œ. ≈ œœ œ œœœ œ œ œ n œ- œ . œ . π espr. ≥ ‰ œ ‰ ∑ ∑ # œ œπ sul G , con sord. ≤ Œ. ≈œœ œ œ œ. nœ. œ. œ. π ∑ ‰ œ œ ‰ ∑ π , con sord. ≤ Œ. ‰ œ #œ. nœ œ œ œ. œ. π , 3. 4. con sord. j ∑ œ. œ œ π œ. œ. ∑

nœ œ œ

a tempo

Fj , pj œ n œ œ≤ œ solo ‰ n œ b œœ œ œ . n œ n œœ œ ‰ J ‰ ≈ œ . ≈ 2. 3. 4. π p ≥ 1. 2. 3. 4. n œ- œ- b œ œJ ‰ ‰ ∑ ƒ ≥œ œ nœ œ ∑ J ‰ ‰ ƒ b œ- n œ- # œ- œ nœ œ œ œ ‰ ‰ ∑ J ƒ o ≥ œo . ≈ œo œo . ≈ ? b œ- n œ- # œ œJ ‰ ‰ n œ P p ƒ nn œœ œœ J ‰ ‰ ∑ ƒ ∑ ∑ 3

3 œ nœ œ #œ œ œ # # # # solo≈ ≥ n œ œ œ œ # œ œ n œ ≈ œ≤ n œ œ œœœ # œ œ & œ nœ

Kom

p nœ J

∑

‰ œ Œ. p

pizz.

V. Der Liebeslaut (Kurtisane Segawa)

Vivace e leggiero

Flauto piccolo Flauto

2 Clarinetti

Arpa

Celesta

Voce

∑

3 4 . 

∑

3 4 Œ Œ

∑

U .

. &c  F

& c #  .. > F U  .. c & f

& c #  .. &c

∑

con sord.

2 Corni

3 4

∑

‰ Jœ œJ œ 43 œ . J

&c 

Da traf ein

Vivace e leggiero

I. (8)

16 Violini

II. (8)

&c &c &c &c

2 Contrabbassi

œ U

Œ 

œ UŒ 

∑

U B c #œ Œ  f

∑

con sord. pizz.

?c 4 Violoncelli

∑

con sord. pizz.

Bc 6 Viole

con sord. pizz.

œ U

∑

Œ 

∑

œœ #œ p

∑

œ œJ œJ c œJ œj œ ‰ œ œJ œJ J J

œo

arco

∑

43 Œ Œ

∑

43 Œ Œ

c Œ

 .. #.

arco

∑

π #œ

arco

∑

c c

o .

con sord.

c œJ ‰  c

œ c J ‰ #

∑

Œ ∑

∑

con sord.

∑

œœ œ

#. . p>



#. . p

∑

œ œ œ b œ œ ‰ œj U J J J J #

ers - ten Stock- werk kam, mein Ohr:

œœ



b

pizz.

con sord. pizz.

∑

Lie - bes - laut, der aus dem

.

∑

Laut, ein zar - ter

43 Œ Œ

con sord. pizz.

43  . f 3 4

pizz.

œœ

pizz.

nœ

pizz.



Und das war

∑

Œ ∑

∑

#U  p

U 

pizz. con sord.

Œ ∑

∑

#U 

U 

‰ j œj œj #œ



∑

≥o

   

∑

Fl. picc.

Fl.

∑

2 4

∑

3 4

c w



2 Cl.

∑

2 4

2 Cor.

∑

2 4

Cel.

Voce

& w

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

Arpa

42 # 

? w w

2 4

Vln.

II.

Vle.

Cb.

und

∑ ∑

∑

lieb-lich wie das

42 42

∑

œ 43 π

∑

arco B Œ œ œj ‰ œ 42 œj ‰ # œ π

? ?

∑

42 Œ

arco

∑

42 Œ

arco

42 

∑ ∑

∏

∑

. 3 . 4 3 4

bœ œ œ bœ ∏

∑

 .. .

∑



b œœ b 

∑

œ 

b

c Œ 



‰ œœ

c ‰J F

Mit-ter-nacht am

Mo - re-Flus-se

arco

∑

o .

arco

∑

∑ ∑

‰ œ p

∑

c c

π wo

ih - ren Duft ver-

o

œo

o

œo

J ‰Œ J ‰Œ

bœ œ

c bœ Œ 

∑

bœ

œ bœ

c œ Œ 

∑

‰ Œ

Œ Œ

c 



∑

‰ Œ

bœ ∏

œ J‰ c 



∑

43 œj ‰ Œ

c œJ ‰ # œ Jœ ‰ œ 43 œJ

œ œ œ œ c J ‰ œ J ‰ 43 J œ œ œ œ c J ‰ œ J ‰ 43 J

œ œ œj œ œ b œJ œJ œ . n œ c œ . œ b œ b œ b œjb œ  J J J œ J J J J

Früh-lings-blu-men, die um

o 34  . π

œœ

∑

œ 

c œœ œ b œ b œœ b œœ b œœ π

∑

œ j c œ ‰ œ œ ‰ œ 43 J J

c w

∑

œ. œ œ. œ. œ. b œ œ œ . ‰ c œ b œ b œ œ b œ

3 Œ 4

Säu - seln der

arco j & Œ œ œ ‰ œ 42 # œj ‰ œ π

? Vc.

w c w

∑

3 4

j j 2 œ . # œJ œ ‰ œ œ 3 œJ j œ J & œ . œ œ . œ 4 œJ # œ # œJ J c 4 süss

2 4

∑



~~~~~~~~~~~

pizz.

‰ œ p

pizz.

b ∏

pizz.

∑

13 Fl. picc.

Fl.

∑

œ. n œ. ‰ œ. ‰ Œ j œ ‰ . & œ œ. œ J J P

2 Cl.

& 

2 Cor.

∑ ‰ œ bœ bœ . . . π ∑

∑

Arpa

? w

Cel.

Voce

& œ.

j bœ œ.

j‰

& nœ œ œ π j & nœ œ ‰ œ π

II.

Vle.

Vc.

∑



∑



∑

œ œ œ. œ. œ œ œ œ ‰ ≈ œ ≈ œ. J p F œ ‰ œœ J œ

B œ b œj ‰ œ b œJ ‰ π pizz. œ b œ b œ ?  ‰ π pizz. œ b œ b œ ?  ‰ π ? w

∑

solo

œ œ œ

œ œ π arco B œ b œj ‰ œ b œJ ‰ n œœ arco

∑

œ œ

div.

Cb.

nœ  J

j & n œ œ ‰ œ n œJ ‰ π arco j ‰ œ œj ‰ & arco

Vln.

. .

∑

j‰ œ œ bœ n œJ ‰ Œ # œœ n # œœ J

∑

streun.

∑

nœ

œ nœ



œ.



œ.



J ‰ Œ

nœ J ‰ Œ j œ‰ Œ

   ∑

j œ- œ œ #œ œ . j œ œ. j œ œ. j

œ. bœ bœ. 

œ.



œ.

‰ w π ‰ ‰



œ J # œ n Jœ œJ œ ‰  p arco œ #œ nœ œ ‰ J J Jœ  p arco



∑

pizz.

∑









∑

und lieb - lich wie das

∑



Und das war süss





œ.

p œ œj œ œJ œj J J



 

œœ œ Œ œ œ



∑

 #œ œ n

‰ Jœ œ n œJ J

ww w



b

‰ w π

‰





(con gli altri)

≤o



œœ Œ

pizz.



 o



(

œ œ .



pizz.

b Oœ )

π 



œœ



pizz.

∑ ∑

o



o

arco



pizz.

π 

19 Fl. picc.

∑

Fl.

∑

2 Cl.

2 Cor.

Arpa

& &

w & ww ? 

Cel.

&

Voce

II.

Vle.

Vc.

Cb.

3 4

∑

3 4

∑

3 4 #œ

∑

(con sord.)



 

3 4

‰

# # œœ ..

3 4 3 4

seln der

≥o

& Vln.

∑

≥o

&

œ & œ Œ  o B O ( œ) B œ œ . ?

?œ &

?œ



o



c #

#œ 43 p ≤ 34 œœ p 43 # œ p

div. arco

sola

43 œ p 43 43 œ p 43

arco

43 œ p

arco

#œ.

‰ ∑

œ. œ.

‰ ∑ ‰

2 4

. c # œ œJ 

2  4

w #

# ≥

 ∑

j œ‰Œ

col canto (ad lib.)

n œ œ.

 42 ∏ 42

Œ #œ

œ œ œ œ #œ #œ œ nœ

∑

#

n

∑

c 

Œ Jœ œJ

c w

œ  .œ Duft

ver -

∑

c  π

b



c  π

b



∑

≥ c n  π

# # 

∑

œ œ # œ # œ œ n œœ

∑

j‰ Œ

œ œ



ih-ren

∑

Mit - ter - nacht

‰

‰ c

∑

#œ.

œ. c œ œ 

c # œœœ # œœœ # # œœ œ 42 œ # œœ p F

∑

# # œœ ..

#

∑

‰

œ. c 

∑

‰

2 4 œ.

2 4

#œ.



Früh -lings - blu - men, die um

arco

o

. . . C # œ œ # œ # œ 42 ∑ c . ∏ 2 c ∑ 4 ‰ œ. œ. p I. solo 2 ‰ # œ. # œ. c ∑ 4 p

∑

œ . # œJ œ œ œ 3 # œJ œ # œ # œj œj œ 4 J J J

Säu

3 4

j œ‰ Œ j œ‰ Œ

25 Fl. picc.

Fl.

∑

& & # 

j œ ‰ Œ

2 Cl.

2 Cor.

Arpa

Cel.

Voce

∑ j œ ‰ Œ

∑

Vle.

Vc.

Cb.

molto

∑



∑



∑

œ

p ? #œ #œ #œ

∑

œ Œ  mor.

streun.

œ≤ 

& # π

∑

≤

∑



w #

∑

n

unis.

∑

œ #

unis.

π #

n

arco

∑

œ. œ. œ Œ J‰J‰ p p 

∑

 

√o o o œ-o œ œ œ . molto

p √o o- o o œ- œ œ œ .

∏

#

j œ‰ Œ



œ‰ Œ J



# œ. n œ œ‰Œ J‰ J

∑

rit.

∏

∑



#

‰ œ. œ. n œ Œ  œ. π



# 

œ œ. œ. œ. . œ. œ œ œJ‰ Œ ‰J J‰Œ  a tempo

p ≥o

œo .

 wo

J ‰ Œ

a tempo

‰  ‰ 

œ 



œ.

J‰Œ 

muta in Fl. II.

∑

#œ Œ π

∑

œ Œ

∑

Œ  .. . f

∑

œ œ

pizz.

#œ nœ

‰

œœœœ

Œ 

(via sord.)

∑

(via sord.)

∑

(via sord.)

∑

J‰Œ 

∑

J‰Œ 

∑

œ nœ œ œ

pizz.

‰ 

œo ∑

œ. J‰Œ 

I. (con sord.)

div.

(via sord.)

∑

œ œ. œ. œ. œ.

pizz.

œo

solo

sola # œœ # œœ œ œ œ  n œ œ œ # œ œ # œ n œ œ  # #œ œ œ ‰ 

&  &

 . ‰ # œ # œ. œ. 

∑

II.

rit.

Vln.

∑

VI. Betrachtung (Frau Ise)

# 3 & 4

∑

# 3 & 4

∑

Andante con tenerezza

2 Flauti

Oboe

œ.

œ œ J

I. solo

œœ

œœœœ œ œ œ œ œ œj  . J 3

∑



∑

Œ p

# 3 & 4

∑

Fagotto

? # 43

∑

2 Corni

3 & 4

∑

2 Clarinetti

# 3 & 4Œ Arpa

Voce

? # 43



# 3 & 4

∑

# 3 & 4



∑ ∑

I. (8) 16 Violini II. (8)

# senza sord. & 43 Œ œ œ π B # 43 Œ

œ œ

senza sord.

6 Viole

4 Violoncelli

2 Contrabbassi

π senza sord. 1. ? # 43 Œsolo o & ∏ ? # 43 Œ 2. 3. 4.



senza sord.

? # 43  . π



∑



∑

Andante con tenerezza

∑

 ..

∑

j œ ‰ œ

œ ‰ œ œ J

œ ‰ œ J

œ J ‰ Œ



(con gli altri)

œ ‰  J

.

œ ‰  J œ ‰  J .

∑

Œ Œ

j œ ‰ œ

.

Œ 

senza sord.

j œ ‰ œ œ

œ ‰ Œ J

Œ ∑

∑

.

∑

Fl. II.

solo

Aœ

espr.

∑

. .

œ œ

p espr. ∑

∏

.

∏

∑ &

∏



∑ ∑

∑

8 2 Fl.

Ob.

2 Cl.

Fg.

2 Cor.

# & Œ &

œœœ œ Œ

‰

# œ.

∑ #

‰ Œ

Vle.

Vc.

Cb.



∑

>œ

#œ

∑

# >œ p

∑

œ ∑



. .

senza sord.

# œœ

∑

# & #œ ?# Œ ?#

∑

p Œ Œ ‰œ J



∑

œ nœ

œ 



tutti

∑

œ œ

#œ

. Œ

.

Œ œ œ

œ œ

.

espr.

∑

œ  J‰

∑



∑

œ.

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ J J œ

œœœ

# Œ



œ.

∑

n œœ n œœ Œ

j bœ œ

espr.

∑

#

∑

‰ nœ #œ œ nœ œ p3

∑

Vln. II.

œœ

∑

solo

∑ ∑

 Œ 

. .

œ J



œ œ œj œ œJ œj J J J

U - fer von Na - ni - was

∑

 ∑

. .

sola

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

Voce

‰ Œ

& Arpa

# œœ ..

Œ ∑

∑ ∑

15 2 Fl.

Ob.

2 Cl.

Fg.

2 Cor.

Voce

∑

& Arpa

 ..

∏

Œ ∑

‰ Œ

∑

.

 .. .

? # . .

∑ ∑

œ œ œ œJ œ J 3

j j j j j œ œ œ œœ œ œ œ

∑

Vc.

∑

Cb.

∑

Vle.

 .. .

‰ œj œ œJ œ œ œ J J



∑

II.

 .. .

∑ ∑ ∑ ∑

j j j j 3 j œ œ œ œœœ œœ œ œ œ œœ œ J 3

mit klei -nen Span- nen schwan

tutti div. senza sord.

 ..

.

∏ ∏

 ..

∑ ∑

∏ ∑

∑

œœ

.

 ...  . j

∑

.

œœ ∑

∑

Vln.

∑

.

 ..

∑

See-bucht seh ich Rohr mit klei-nen Span-nen schwan - ken,

∑

œœ . œ œ œ œ  . J

,œ

II.

# . .

# & œ

‰ œ œj  p I.

ken

∑

.

∑

 ..

∑

in dem fei - nen Wind-hauch,

∑

21 2 Fl.

Ob.

2 Cl.

Fg.

2 Cor.

Voce

œ œ œœ œ œ œ ‰ J

∑

C # 1. #

gli altri

Vle.

B # #œ  p ?#

solo

œ œ œœ

dolce espr.

?#  p ? # . p gli altri

, œ #œ œ œ #œ œ œ œ

∑

π ≤

∑

π ≤

π &

œœœ œ

#œ

œ ∑ ∑ ∑

#œ p

œ #œ #œ

∑ ∑ ∑

sola

 ..

∑

.

‰ œ œj œ œJ œj œ J J mit klei-nen Span-nen

∑



j œ ‰ .

n

j‰ U œ . ∏

∏

œ œ

œ ‰ J



œ ‰

 ..

div.

∏

∑

j‰



schwanken...

#œ

.

∑

II.

 

∑

‰ j œ #œ œ œ #œ œ F

I. solo

œ sola ‰ œj # œ # œ œ œ œ œ 3 3 F

 ..

‰ Jœ

Œ ∑

∑

U U

∑

‰ Jœ

I. solo

solo

∑

espr.

∑

II.

Cb.

∑

Vc.

∑

Vln.

∑

& Arpa

Œ ∑

œ # œ≤ # œ œ œ œ œ œ J (con gli altri)

#œ

œœ

espr.

≤ ‰ #œ #œ œ œœ œ œ p espr. ∑ ∑

.

∑

.

∑

π π

∑

. . œ # œ œ 27 # œ œ œ # œ # œœ # œœ # œœ # . . & Œ Œ p 3

2 Fl.

Ob.

& &

2 Cl.

& Fg.

2 Cor.

# #

j ‰ Œ

∑

& &

# ‰ #

Vln. II.

Vle.

.

# & #. p

∑

‰ j œ # œ œ œœœ # œ #œ F ‰ j# #œ p Œ

# F

#. f

∑

#œ ‰ # œj œ #œ f

#. #.

∑

œ œ

 .. # #  .

#œ œ œ œ œ #œ #œ #. f

∑

Œ Œ

tutti

Vc.

∑

Œ Œ

pizz.

Cb.

#œ F #œ

#.

#. f

#

# f

‰ j # #œ

 .. # #  .

∑

#œ #œ œ œ œ œ #œ p

#.

#. p

#

#œ #œ œ œ œ œ #œ p 3

# p

arco

#œ

lie - be Schul - ter

∑ 3

∑

j‰

Ge -lehnt an dei - ne

.

#. f

#œ #œ œ œ œ π 3

∑

‰ j #œ #œ p #œ # . #.

∑

#. f

3 j j j j ‰ j # œ œ # œ n œ # œ œ œj œ #œ

∑

œ # œ œ œœœ # œ 3

∑

∑ ∑

‰ j#œ #œ #œ œ

∑

Œ Œ

#œ #œ œ œ œ #. π F 3

∑

#. π

b œœ b b œœ œœ œœ œœ œœ b œ b b  .. œ F

∑

Œ Œ

∑

I. ‰ j # #œ p

∑ 3

∑

F .

∑

œ œ

∑

# #œ & #œ œ œ œ œ

unis. B # #. p

#œ #œ F

j #œ œ # >œ > > # >œ f ∑

tutti

∑ ∑

Arpa

.

∑

Voce

œœ

#. Œ ∑

∑

#.

∑

Œ #œ f

#.

∑

Œ #œ f

œ.

‰ œ

∑

Œ #œ # œ F

œ ..

j #œ #œ

œœ

Ob.

& &

2 Cl.

& Arpa

Voce

Vle.

# # #

? # # # œœ &

Vln. II.

#.

2 Cor.

#œ

∑

2 Fl.

Fg.

Vc.

Cb.

œ Œ

œ.

#œ

Œ Œ

∑

##

∑

#œ œ #œ œ

œ œ #œ #œ P

B # #œ

Œ #œ f

3 j œ # # œ œ # œ # œ œ #œ J J ‰ œ J J J

#

# P

# # œ

#

div.

P P

espr.

ich

Œ Œ

wohl le

œ. -

œ #œ#œ œ  J J -

≥ œ #œ œ #œ #œ œ #œ ‰ œJ f

∑

‰

∑

Œ #œ f #œ Œ f

unis.

œ. œ.

be konn

≤ #œ j #œ #œ œ #œ f #œ f

‰ œ ‰ Œ

# œœ p

j ‰ # œ≤

#œ

Œ ∑

œ

te,



∑ nœ

œ nœ

F F

∑ nœ

j œœ ‰ Œ

∑

E ≤ œ œ n œ # œ œ ‰ Jœ

‰Œ

∑



#œ

#

muss ich den - ken, ob

œ bœ J J

wenn mich das Ge -

j œ. ≈Œ

œ # œ œ œ # œ n œJ . ≈ Œ

j œ. ≈Œ

œ. ≈ Œ J

œ œ J ‰



œ ‰ œj # œ œ œ Œ

pizz.

∑

j‰ Œ Œ

∑

j‰ Œ Œ

∑

œ Œ Œ

∑

2 Cl.

Fg.

2 Cor.

Voce

Vle.

Vc.

œ 

# .

.

∑

? # .

∑

sola

œœ œ

∑

#œ F



∑

Zeit

von dir ent - fernt

j œ ‰ Œ

Œ œ œ œJ ‰ œ œ π

œ ‰ Œ J

.

j œ ‰ Œ

zwän -ge, mein zu

‰ Œ

œ≤

œ.

‰ Œ

œ≤

bœ.

‰ Œ

p Œ ∑

zu wei -len

œ.

j œ‰ Œ

‰

j œ œ j j œ J J œ œ ‰ b œJ b œJ œ œj œj ‰ œœ œœ

Œ œ œ œj ‰ œ œ π

‰ jœ œ œ œ œ

∑

œ.

j œ ‰ Œ

solo

∑

bœ

∑

Œ ‰ j j j œJ œ œj œj œ . œ œ œ J

Œ nœ œ œ ≈ œ œ œ œ p

∑

œ bœ

∑

die al - ler- klein- ste Span - ne

∑

π . .

schick

arco

Cb.

Vln. II.

? # œ bœ

& Arpa

π3

~~~

Ob.

3 # bœ œ œœœœ œ &

‰

œ œœœ œ

∑

~~~

∑

~~~

2 Fl.

∑ ∑

≤ ‰ œœœ π espr. ≤ ‰ œ. π espr.

tutti

≤ ‰ œ n œj ∑

. π

π espr.

Ob.

2 Cl.

Fg.

2 Cor.

Arpa

Voce

& & &

Vle.

Vc.

Cb.

œ.

j # & ‰ œ

∑

? # . . # & 

& &

# #

œ Ge -

œ.

‰ Œ

œ.

‰ Œ

B # . p

solo ≤ j œ œ Œ ‰ œ ? # . p

.

‰ j nœ œ π I.

∑ ∑

j œ œ œ œ bœ œ œ. -

∑

œ‰ Œ Œ J

∑

‰ Œ

∑

Fl. II. muta in Fl. picc.

∑

p espr.

#œ œ œ œ œ œ bœ p

.

solo

∑

n œœ

œœ œœ œ œ

sola Œ œ œ

∑

Œ œ œ

. .

∑

ter!

∑

œ. .

∑

‰ jœ œ œ œ p

œ œ œ ‰soloj œ œ œ ‰ œJ # œ . œ œ œ

œ.

∑

‰ n œj œ b œ

∑

Œ b œœ

lieb

∑

‰ Œ

∑

?# œ π

Vln. II.

# ‰ jœ œ œ œ œ p espr.

sehr

∑

œœœ œ ‰ j ‰ œ  ‰ œ œ #œ J 3

~~~~

2 Fl.

~~~~

∑

∑ ‰ jœ œ π ‰ œj œ π

tutti

j œ œ‰

≤

œ œœœ

.



.

espr.

.

espr.

≤

espr.

œ œ‰ ≤ J œ nœ

.

j œ‰ 

.

j œ‰ 

.

tutti

π π

VII. Nichts leichter [Leichtes Spiel] Con anima Flauto piccolo

bb 6 & b b bb 8

Flauto

bb 6 & b b bb 8

Oboe

b & b b b b b 68

2 Clarinetti

bb 6 & b b bb 8

Fagotto

2 Corni

2 Trombe Triangolo Tamburino Campanelli Silofono Arpa

Celesta

Voce

>œ.

f >œ. œ.

&  

‰ Œ.

œ œ. œ. ‰ Œ.

‰ Œ.

œ œ. œ.

∑

6 8

. ‰ fb œ œ con sord. con sord. 6 ‰ b b œœ œœ .. 8 F 68 ∑ 68 ∑ >œ b 68 b œ ‰ Œ . bœ f

b & b b b b b 68 b & b b b b b 68

∑

b & b b b b b 68

>œ

‰

œ R

œœ R

I. (8) 16 Violini II. (8)

6 Viole

4 Violoncelli 2 Contrabbassi

b & b bbbb b & b bbbb ? bb b b bb ? bb b b bb

. . . . œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

∑

‰ Œ.

ƒ > pizz. œ œ 68 ‰ Œ. ƒ pizz. > 68 œ œ ‰ Œ . ƒ

68 ‰ J ‰ Œ . ƒ 68 ∑ pizz.

œ.

œœ ..

∏

∑ ∑

œœ œœ œœ œ œ ‰ Œ.

∑

√o œ

œo .

arco

‰

œ œ ‰

œo .

‰ Œ.

Œ.

œ ‰ Œ.

Œ.

J ‰ Œ.

Œ.

senza sord.

∑ bœ. F ∑ ∑ ∑ ∑

∑

∏

Œ Œ

∑

o .

œo . j œ p

Bœ

J p

œ œ

œo ‰ œ ‰ œ ∑ ∑

œ.

∑F ∑

∑

∑ ∑

‰

œ.

∑

∑ ∑

J p

Œ.

∑

Œ.

œ œ

‰

∑

Œ.

∑

solo

∑

Con anima

pizz.

F bœ œ. ≈ ‰ ‰ Œ. bœ œ. ≈ b œ œ. p ∑ ∑

con sord.

∑

> œœ œ œœ b & b b b b b 68 œ ‰ Œ. > b & b b b b b 68

∑

J f p >œ. Ÿ~~~~~~~~~~ œ œ. œ. J œ œ. ‰ Œ. ∑ f . . >. Ÿ~~~~~~~~~~ j œ œ. œ œ œ ‰ Œ. œ œ œ. œ œ œ œ. œ œ ≈ Œ∑. J. R > Ÿ~~~~~~~~~~~ . Ÿ~~~~~~~~~~~~~~~~~~~ f ∏ ∑ ∑ ∑

? bb b b 6 bb 8 &

œ.

(Unbekannter Dichter)

‰ Œ. arco j

œ nœ

œ œ ‰

‰ œ

œ œ ‰

œ.

F œ.

arco

Œ.

F œ.

arco

F ∑

2 Cl.

Fg.

b & b bbbb

? bb b b bb &

2 Tbe.

Camp.

II.

Vle.

Vc.

Cb.

Œ. œ.

.

bb & b b bb ? bb b b bb

‰

œ.

b & b b b b b œœœ p b & b bbbb

‰

œ ∑

œ.

œœœ œœœ J

‰

œ.

œœœ J

? bb b b J bb ? bb b b bb

œ œ ‰ œ ‰ J pizz.

œ œ ‰ œ

pizz.

‰ J p

∑

œ œ

œ ∑

J p

‰

bœ J f ‰

J ƒ

j nœ

J Œ. J Œ

œ. J Œ.

j nœ

∑

b œ. œ. J J ‰ ‰ Œ. π ∑

‰ bœ bœ

‰

∑

π nœ nœ nœ. nœ ‰ Œ.

solo

∑

Œ.

∑

bœ Œ. J

∑

œ œ

‰ œœ

œœ œœ Œ œ

œ ‰ j

‰ ‰

œ œœ œœ œ

œ œ

J p

∑ ‰ Œ.

pizz.

œ œ ‰ ‰

. œ. n œ. . œ n œ ≈œœ J nœ p π ∑

∑

œ ‰ œ œ œ ‰

∑

j Œ. j ‰ œ œj ‰ œ œ œ œ œ Œ . œœ J œ œ œ œ œ ‰ œœœœ œ ‰ J J J J p ∑ ∑

∑

j nœ

œœ ‰ œ J œ ‰ œœ π arco œ n œ œ. ‰ œ œ œ. œj œ œ œ œ œ œ π f arco œ ‰ œJ . ≈ œj œ œ œ œ œ π J f

œ ‰ œ œ œ ‰

œ œ œ œ pizz. œ

bœ bœ f

œ Œ œœœ œ œœœ œœ œ œœœ œ œ œ Œ.

œ œ œ œ œ. œ œ œ≤

b b b b œJ ‰ pizz. œ œ ‰ œ b & b J

œ B bbbbbb J

b b œœ b b œœ F ∑

senza sord.

Œ.

∑

j nœ

∑

Vln.

∑

Aœ œ œ.

∑

j nœ

J Œ f œ. J Œ. Œ f   j œ œ œ œ œ œ œ œ œJ Œ. Œ f Œ.

∑

~~~

Cel.

j ‰ ‰

b & b bbbb œ p

2 Cor.

Arpa

~~~

Ob.

b b b b œJ ‰ ‰ Œ . b & b

~~~

Fl.

Œ.

∑

~~~

Fl. picc.

bb & b b bb

arco

J Œ

arco

. ‰ œJ ≈ œ  . J π ‰ œ

‰

∑

œœ ..

Œ.

œœ

œ π œ

n n œœ .. ∑ n n œœ n œ . p n œ. œ

œ œ ≈ ‰ Œ.

œ œ œ

‰ nœ p

pizz.

‰

‰ nœ nœ ‰ p pizz. nœ nœ ‰ ‰ p pizz.

∑

b & b bbbb

11 Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe. Tamb. Camp.

Arpa

Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.

j b & b bbbb œ b & b bbbb b & b bbbb

‰

‰ ∑

nœ.

Œ.

œ J

b & b bbbb ? bbb bbb

∑

‰

∑ j

œœ

∑ ‰

‰

Œ.

∑

con sord.

b >œ

F > bœ F

œ.

∑

Œ.

∑

Œ.

bœ nœ J j

bœ

∑

‰ ‰

œ œ

‰

b >œ

F b >œ

œ.

Œ.

bœ J

bœ

. ‰ œ. œ œ F . n œ  œ œ œ œ. œ. œ. œ . œ nœ œ nœ œ Œ.

3 F  . . . .  n œ. œ n œ œ n œ œ œ œ œ œ œ œ n œ

3 F  . n œ. œ n œ œ n œ œ œ œ œ nœ ‰ J 3 F  . n œ. œ n œ œ n œ œ œ œ œ j nœ ‰ 3 F ∑ ∑

∑ ∑

∑

œ ‰ ‰

J f Œ

Œ.

∑

b & b bbbb

∑

? bbb bbb

b & b b b b b n n œœ b & b bbbb

∑

∑ ‰ ∑

∑ Œ.

œ J

∑

. n œ. œ. b œ œ œ. œ n œ n œ œ œ. n œ. œ. . n œ œ n œ œ nœ #œ p π F arco ≤  bbb b œ . Œ œ ≈ nœ. b & b nœ nœ nœ nœ  R nœ p arco œ œ n œ ≈ ‰ œ b œR≤ ≈ œ . ‰ B b b b b b b n Jœ J  π p arco bœ œ . n œ œ. J J ‰ ‰ nœ ? bbb J ‰ bbb π p ? bbb ∑ ∑ bbb b & b bbbb Œ

∑

≥

b œ œ œ. n œ b œ œ n œJ ‰ 3 f bœ bœ nœ ‰  @J F bœ œ n œ œ œ.  @J F f nœ. œ J ‰ F ∑

œ. œ. œ. œ

b œœ J p œ œ œ Œ



œ J F

œ. œ. œ. n œ

(con sord.)

∑

pizz.

#œ

œ≈ ‰

œ. œ. n œ. œ J ‰ ‰

œ ‰

pizz.

n œ œ œ n œJ n œ œ ‰ J ‰

œ œ ∑

b œ≤ œ ƒ

pizz.

‰

b & b bbbb

15 Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

b & b bbbb b & b bbbb

b & b bbbb

2 Tbe.

Arpa

Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.

f œ b œ

œ n œ œ b œ

œ œ

? bbb bbb &

Camp.

œ œ

‰

∑

œ œ J

∑ Œ.

∑



∑

F œ ‰ J f ∑

œ. 

b & b bbbb b & b bbbb Œ .

b & b bbbb

œ nœ

∑

Œ.

œ œ b & b bbbb

‰

? bb b b bb

œ œ

ƒ Œ

∑

pizz.

J F

. F n œ. . œœ œ œ œ œ b œ.

≤

cresc.

≤ œ œ œ œ œ œ œ ≈ n œ. b œ œ ≈ œJ

p cresc.

œ œ

arco

œ œ œ n œ ≈ œ. n œ œ b œ ≈

J p cresc. œ œ œ ‰ nœ œ p cresc. ∑

œ œ ‰ œ œ

arco

œ œ≈ œ

arco

œ œ œJ ≈ ‰ ≈

pizz.

∑ ∑

j œ ‰ ‰

∑

bœ.

∑

œœ ..

 ..

Œ.

œœ œœ ‰

œœ œœ œ œ

J ‰ f

∑ ‰

œ œ

pizz.

œ œ

‰

J ‰ ‰ ‰ f ƒ Ÿ~~~~~~~~~~~ œ. œ J ‰ ‰ f. f

œ J

‰

Œ.

‰

pizz.

j œ ‰ ‰

bœ. p

Œ.

∑

œ œ œ œ œ n œj œ

‰

? b b b Œ. bbb

œœ ..

∑

b b b b œ œ œ œ œ œ. œ. œ b & b 3

bœ. f

Œ.

∑

I. (senza sord.)

∑

œœ ..

arco

‰

≈

∑

‰

∑

œ bœ

œ œ ‰ Œ.

∑

. œ œ œ. . œ œ . œ œ ≈œœ ‰ f . œ. œ. œ. œ. œ œ. œ.

∑

π ∑

∑

f ∑

b & b bbbb b & b bbbb

‰

∑

Œ.

∑

‰

≈

. .œ œ. œ. œ. œ. œ œ œ

f Ÿ~~~~~~~~~~~ . solo . œ œ œ ≈ œ. œ. œ œ ‰ Œ . œ œ œ. J F f œ. œ. Œ. ‰ ∑ f ∑ ∑

p œ œ œ œ œ œ œj ‰ ‰ Œ . p ∑ ∑

   b œœ b œœ œœ b œœ

∑

  œ œ œ œ œ œ nœ bœ œ b J ‰ ‰ Œ. & b bbbb

2 Cor.

Tamb.

œ œ

œ œ

‰ ‰

∑ ∑

Œ. Œ Œ Œ. Œ.

Nichts

j œ œœœœœ

j œœ

Œ Œ ∑

‰

pizz.

J p

pizz.

J p

bb & b b bb

20 Fl. picc.

Fl.

Ob.

2 Cl.

∑

b & b bbbb bb & b b bb bb & b b bb bb & b b bb

∑

Œ.

∑

Œ.

‰ Œ

∑ ‰ Œ.

∑

Œ.

∑

Œ.

∑

2 Cor.

∑

2 Tbe.

∑

Camp.

∑

Arpa

Cel.

Voce

bb & b b bb Œ bb & b b bb Œ . bb & b b bb Œ

J F

œ œ œ Œ

œ œ

J f

œ œ œ

œ.

œ. œ. œ.

œ.

Vln. II.

Vle.

Vc.

Cb.

.

œ.

bb & b b bb œ B bbbbbb œ ? bb b b bb

? bb b b Œ . bb

œ œ œœ œ œ œ œ j

œ œ œ

œ J

‰

Œ Œ

F nœ J F

œœ

J F

œœ œœ œœ œœ œ

∑ ∑

b. π (con sord.) ∑ ∑

‰ œ œ . œ œ œ p

Œ. Œ.

∑

Œ.

leich-ter,nichts leich - ter als ein Mäd-chen-herz

œ œ

‰ Œ. ‰œœ‰ ‰œœ‰

J F œ. J F

J f

œ œ œ œ œ

‰

Œ.

œœ œ

F Œ

Pflau - men-blü-ten, nichts

œ≥ œ œ. œ œ œ œ œ. œ œ œ≤ œ œ J

∑

‰ œœ œœ ‰

∑

‰ Œ.

∑

œ J

œ œ œ œ œ≤ J F

J f

œ œ œ œ œ. œ. œ œ œJ arco

œ.

∑

œ. J

j nœ

Œ.

bœ J p

œ j j œ ‰ J œ ‰ Jœ j ‰ Jœ

∑ ‰

F j ‰ œj

bœ

‰

œœ œ

‰

bœ

∑

fœ j j œ œ œ œ œ œ œ. œ œ œ œ J œ J

arco

bœ bœ f

j nœ

senza sord.

∑

beim mil - den Duft der arco

∑

j nœ

∑

p bb b b b œ œ œ j j j œ œR œ . œ œ Œ œ œ œ œ R œ œ & b J J R J bb œ & b b bb œ œ

∑

? bb b b bb

Fg.

∑

pizz.

œ œ ‰

œ œœ

ƒ Œ

‰

œœ Œ œ ∑

J p

œ œ œJ œ œ œ œ J J J J R R

leich-ter, nichts leich-ter als ein

≤. ≤ œ n œ œ. œ œ œ œ. ‰ Œ

∑

arco

∑

(pizz.)

œ Œ.

J ‰

œ . ≈ œj J p

‰

œ. ≈ œ J

‰

J p

bb & b b bb

25 Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

∑

œ ‰ ‰ Œ.

∑

. œ œ œ œ œ œ œ œ œj ‰ ‰ Œ

∑

bb & b b bb Œ bb & b b bb

bb œ & b b bb œ œ bb & b b bb œ œ ? bb b b bb

œ œ

J π

‰

∑

j œ œ œ œ

∑

2 Cor.

∑

2 Tbe.

∑

œœ .. œ.

n n œœ ... nœ

∑

Œ.

sola

nœ.

‰ œ œj n œ . J

Arpa

Cel.

Voce

bb & b b bb ? bb b b bb

∑

bb & b b bb Œ

œ œœ œ ‰

Mäd - chen-herz

I. Vln. II.

Vle.

Vc.

Cb.

bb & b b bb bb & b b bb

B bbbbbb œ œ J

bis in die Tie

n œ.

arco

œ.

∑

œ. œ.

œ.

œ.

 π Œ.

∑

Œ.

œ. œ.

œ œ œj n œ . J J

œ. π

∑

‰

∑

? bb b b œ . bb ? bb b b bb

∑

sola

bb œ œœ œ œ & b b bb J J bb & b b bb

Œ.

n œ. n œ.

n œ.

œ.

œ. œ.

fen

∑

nœ nœ nœ. p

zu be - tö

œ œ œ nœ. j ‰ ‰ ≈ œ. n œ. œ. œ. n œ. œ œ œ π √o nœ. Œ. j ‰ ‰ Œ. œ π

pizz.

œ œ œ nœ nœ œ.

œ.



œ nœ œ Œ.

(pizz.)

‰

n œ. n œ.

œ nœ œ

œ œ œ n n œœ j ‰ ‰ n n œœ .. œ 

nœ

nœ nœ -

∑

Œ.

‰

nœ nœ œ œ

œo .

π nœ j ‰ œJ n œ nœ œ π pizz.

nœ

‰

∑

j œ œ

≥

ren,

‰ nœ #œ nœ nœ œ œ nœ œ

œo J

‰

nœ

œ œ nœ œ ‰

nœ

‰ œ

n n œœ J

‰ Jœ n œ .

∑

‰

Fl. picc.

b & b bbbb

Fl.

b & b bbbb

Ob.

2 Cl.

Fg.

2 Cor.

II.

Vle.

Vc. Cb.

∑

Œ.

∑

b & b bbbb ? bbb bbb &

∑

con sord.

œ.

∑

b & b bbbb b & b bbbb

∑

‰ ‰

∑

œ.

∑

j b & b b b b b ‰ b œ Jœ

Œ.

œ ‰ ‰

tö

nœ J -

≤ 3 . bb b b b b œ œ œ œ n œ b œ n œ b œ œ. n œ. œ. & b p π ≤. . . œ œ n œ bb b b b œ œ ‰ Œ & b p b arco œ œ n œ œ œ œ œ. ‰ & b bbbb  @J p π arco œ œ œ œ œ œ œ. ‰ B bbbbbb  J@ p π arco nœ. œ. ? bb b b   bb p π ? bbb ∑ bbb

œ. -

J p

‰

ren,

F 3 . œ œ œ n œ b œ œ n œJ

bœ @J

F n œ≤

‰

nichts

‰ œJ

pizz.

‰ ‰

pizz.

J F œ≥

#œ

leich - ter,

œ R ≈ ‰

F n œ œ œ. œ. œ. n œ. œ. J ‰ F pizz. œ ‰ œ J ‰ ‰ F F ∑

œ. œ. œ

œ œ

b œœ J p

con sord.

œ @J F

  b œœ b œœ œ. 

œ œ

nichts leich - ter

‰

œ ∑

œœ b œœ-

∑

œ œ

‰

Œ.

œœ .. Œ

œ œ

∑

‰

œ‰ ‰ J f

Œ.

&J f

J p

∑

Eœ nœ œ bœ n œ nœ bœ œ J ƒ f b œ nœ œ œ n œ b œ œ n œJ ƒ f 3  ≤  . b œ œ œ œ œ œ œ œ œ. œ ‰ Œ pizz.

f œ œ œœ œ œ f ∑

Œ. J J

‰

œ œ . b œ œ b œ

œ œ

nœ J

J p

F œ b œ

œ n œ

∑

#œ J

‰

nœ J p œ. œ. œ. n œ

∑ nœ J

œ œ

œ œ

œ b œ

Œ œ

œ œ œ n œ

‰

Œ. p

 P bœ  P nœ.  P

œ. œ. œ. œ

∑

œ œ œ. n œ b3œ œ n œJ

J p

∑ nœ

∑

J F ∑

∑

zu be

Vln.

∑



b & b bbbb

Tamb.

Voce

Œ.

∑

 . n œ. œ n œ œ n œ œ œ œ œ

solo

∑

Cel.

Œ.

∑

b & b bbbb

2 Tbe.

Arpa

∑

bœ J

durch

‰ ‰ ‰ ‰

J p

9 8

∑

6 ≈ 8

Fl.

b & b bbbb

∑

Ob.

b & b bbbb

∑

9 8

∑

6 ≈ 8

2 Cl.

Fg.

2 Cor.

b b b œ ‰ ‰ Œ. b & bb œ J

? bbb bbb &

∑

9 8

∑

9 8

∑

Tgl.



∑

Cel.

Voce

Vln. II.

Vle.

Vc.

Cb.

98 Œ .

b & b bbbb

∑

b & b bbbb

Œ. ∑

98 Œ .

∑

j Œ œ œ π

6 8

Œ.

œœ ..

6 Œ. 8 68 œœ 68 Œ .

p Œ œj

68 œ œ

‰ Œ.

∑

œ. ‰ Œ .

∑

œœ œœ ‰ . .

œœ œ œœ . ‰Œ

∑

‰

‰ Œ.

œ œ œ.

Œ œ œ p

∑

f .œ œ. œ. œ. œ. œ. œ.

6 8

∑

f œ. œ.

68 Œ .

∑

Lie - bes - sang

und

Flö

ten - spiel,

. . œ 98 œ œ n œ œ œ œ ‰ Œ .

nichts

b ‰ & b bbbb œ œ œ œ F p ≥ ≥ bbb b Œ . œ œ 9 œ œ ≈ n œ≤. b œ œ ‰ Œ . œ œ œ œ b œ & b 8 p F arco œ œ œ Œ œ œ 98 n œ ≈ œ. n œ œ ‰ Œ . B bbbbbb Œ p F œ nœ pizz. œ œ . œ 9 arco ? bb b b œ œ œ ‰ ≈ ‰Œ 8 bb R F pizz. 98 œ ? bb b b œ ‰ Œ. ‰ Œ. Œ. bb p F arco

p œ.

‰

. œ.

senza sord.

∑

Ÿ~~~~ œ œ J f

œœ œœ œœ œ œ

œ. J

œ.

‰

‰ œœ œœ œœ ‰

68 Œ . ∑ ∑

senza sord.

‰ Œ

68 Œ .

‰

∑

68 Œ .

œ œ œ.

∑

leich - ter!

‰

senza sord.

œ œ œ œœœ œ œ œ œ 9 œ œ œ œœœ œ œ œ œ 6 œJ œJ ‰ Œ . ‰ Œ 8 8

unis.

∑

b & b bbbb

Œ.

∑

2 Tbe.

Arpa

9 Œ. 8

œ.

∑

Fl. picc.

. .œ œ. œ. œ. œ. œ œ œ

gli s

b & b bbbb

œ.

ƒ bœ. bœ. f

Ÿ~~~~~~~~~~~ œ œ.

œ bœ bœ œ ∑

Œ.

∑

œ œ.

  p

œ œ.

  p

J ‰ ‰

∑

≥ Ÿ~~~~~~~ œ œ≤ ‰ J f ≥ ≤ Ÿ~~~~~~~ œ œ ‰ J f œ œ ‰  J f

œ œ œ J

∑

œ. œ.

 f

œ œ ‰ ‰

œ . œ. œ œj ‰ ‰

œ œ  J ≈ œ œ œ œ. p ƒ œ œ œ. Œ. ‰. œ ƒ œ. arco œ œ Œ. ‰. œ ƒ

œ. œ œ œ œ œ. œ œ œ œ œœ œ œ œ

Fl. picc.

bb & b b bb Œ .

Fl.

bb & b b bb Œ .

Ob.

b & b bbbb Œ .

2 Cl.

bb & b b bb Œ .

Fg.

? bb b b b b œ.

2 Cor.

b b œœ ..

œ œ œ œ œ œ œ œ œ œ œ œ œ œFœ J ‰ ‰ Œ. ≈ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ . ≈

œ œ œ œ œ œ œ œ œ . ≈œœ œœ œ œ



∑

bb & b b bb

∑

bb & b b bb

Vln. II.

Vle.

Vc.

Cb.

‰

.

œ J

.

b b œœ ..

Tgl.

nœ J

Voce

f f

2 Tbe.

Cel.

œ œ œ œ œ œ œ œ œ . ≈œœ œœ œ

∑

Arpa

∑ b b  .. F

∑

œœ ..

con sord.

œœ

‰

œ.



œœœœœ

∑



œœœœœ

 ≈ œ bœ œ œ œ ‰

 ∫œ œ œ œ œ ≈ œ œ ‰ œ œ œ ÿ F

# œœ .. f

∑

bb & b b bb

∑

bb & b b b b œœ..

œ œœ œ

b & b bbbb

@ @ @ Sp b & b b b b b œ . œ œ œœ.. . Sp B bbbbbb œ . œ. œ œ . ? b b b b œ . œ. œ œ . bb ? bb b b œ . bb

∑

œ œ œ œ œ œ @ @ @ @

@ @

œ œ n œ n œ œ œ œ œ œ œ œ ≈œœ≈œœ

F p

œ @ @ @ œœ œ œ œ@ œ@ œ@ œ œ œ œ@ œ œ œ œ œ . F p j œ œ œ œ œ ‰ ‰ Œ. œ @J & œ œ œ p œ ‰ ‰ Œ. J

‰

∑

œ œ œ œ œ f

 ≈ œ œœœœ ‰

# # œœ

‰

œ œ œ œ œ ‰ bœ  p

œ.

‰

# œ # œ # œ n œ œ œ œ # œ # œ

nœ.  f

œ.

‰

œ œ

œ@ ‰

b & b bbbb Œ

b œ. n œ. b œ. œ .

43 Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

b & b bbbb ‰ b & b bbbb ‰

 nœnœ œ œ œ

b & b bbbb ‰

 nœnœ œ œ œ

? b b b œ. bbb &

2 Tbe.

Sil.

Arpa

Cel. Voce

I. Vln. II.

Vle.

Vc.

Cb.

b & b bbbb

∑

? bbb bbb b & b bbbb

b & b bbbb b & b bbbb

‰

Œ.

≈

‰

Œ.

≈

œ œ bœ

> >œ b >œ œ .

œ œ œ œ œ

≈bœ ƒ > . œ œ > >œ œ œ bœ ≈ b œ J ƒ Ÿ~~~~~~~~~~~~ bœ œ œ. bœ bœ J ƒ . œ. B ≈‰ J ƒ f j ≈ ‰ b. b œœ .. ƒ senza sord. œ b œ b œ œ .. b b œœ b œœ ‰. bœ J

Œ.

œ. œ

n n œœ .. f

b & b bbbb

 nœnœ œ œ œ

b & b bbbb ‰

2 Cor.

Camp.

f  n œ œ nœ œ œ

. b b œœ .

n œ n œ œ œ œ

nœ. b & b bbbb  f b & b b b b b bœ . f b & b bbbb œ .

.

œ.

.

‰ œ

œœ œœ b œ bœ

Œ.

∑

. . . b ≥œ b œ œ b œ œ œ œ œ œ n œ œ. œ œ œ

p ≤ b œ b œ œ œ œ b ≥œ b œ œ b œ œ. œ. œ œ œ n œ œ. œ. œ œ

œ œ œ œ œ ‰ j

œ.

≈‰

‰ ‰

œ.

 p



œ.

 p

∑

 ..  .. ∑

œœœ œ œ œ œ œ œ œ œ œ œœ ≈ ƒ

∑

‰

b œœ .. bœ. f b b œœ .. b œ b œ b œœ ..

∑

œ. œ œ œ.

∑

# œ n œ # œ # œ

œœœ œ œ œ œ œ œ œ œ œ œœ .

∑

‰

∑

œ. œ œ œ.

œ.

∑

n œ # œ œ œ œ

œ œ œ

œœœ œ œ œ œ œ œ œ œ œ œœ



œ@

‰? ?

∑ ∑

∑

. œ œ œ. œ œ œ œ

∑ ≤j ≥œ

≤j œ

f . œ œ œ. œ œ œ œ . œ œ œ . œ œ œ . œ œ œ œ œ f ≥j ≥ ‰ œœ .. œ œ œ œ . œ œ œ œ . œ œ œ œœ S ≥œ ≥œ œ ‰ ∑ ‰ œ S œ≥ ≥œ ‰ ∑ ‰ S

Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

œ b & b bbbb J ‰ ‰ Œ . œ b & b bbbb J ‰ ‰ Œ . œ b & b bbbb J ‰ ‰ Œ . b & b b b b b œJ ‰ ‰ Œ . ? bbb bbb

I. Vln. II.

Vle.

Vc.

Cb.

∑

œ Œ J œ. Œ.

Œ œ œ. J p ∑

j‰ ‰ Œ.

J π

Œ. ∑

œ ‰ Œ. ∑

nœ. nœ

‰

> .

. . n œ œ œ œ œ œ. œ. œ œ œ

solo

∑

∑ ‰

∑

b & b bbbb

∑

Camp.

Voce

∑

2 Tbe.

Cel.

∑

œœ œœ ‰ ‰ Œ .

Arpa

∑

2 Cor.

Sil.

œ b & b bbbb J ‰ ‰ Œ .

∑

con sord.

.

∑

.

∑ ∑

∑

∑ ∑

∑

? bbb bbb

∑

b & b bbbb

∑

b & b bbbb

G

b & b bbbb



b & b bbbb  .  b & b b b b b œJ ‰ ‰ Œ . ? bbb Œ bbb ? bbb bbb

∑

.

œ ‰ ≈

œ.

œ . œ œ. œ œ œ

J f espr. ∑

∑

œ ‰ ∑

∑

&œœ

∑

> . ≤ œ. n œ. œ. œ. œ. œ œ œ œ. n œ. n œ œ œ.

>œ

‰

p n >œ

∑

j nœ bœ œ.

œ.

∑

œ.

nœ J

.

‰

∑

‰

œ J

∑

nœ

œ œ J

‰

∑

œ.

‰

∑

œ.

œ œ n œj œ œ b œ

π π

∑

F espr.

∑

B ?

Fl. picc.

b & b bbbb

∑

Fl.

b & b bbbb

∑

Ob.

b & b bbbb ≈

2 Cl.

b & b bbbb Œ .

Fg.

? bbb bbb

2 Cor.

2 Tbe.

Sil.

Arpa

Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.

œ œ œœ

∑

ritard.

∑

muta in Cor. ingl.

∑

≈

Œ.

œ œ œœ

œœœ œ œ

≈ F

j ‰ ‰ Œ. & œ . con sord. π ∑ &

.

‰

∑

I. senza sord. solo

(II. con sord.)

∑

j b œœ . œ b b œœ .œ œ b œ . œ . b. F ∑ ∑ espr.

 ..

morendo

 ..

∑

morendo

∑

b & b bbbb

∑

b & b bbbb

∑

? bb b b bb

∑

b & b bbbb

∑

b & b bbbb

∑

Ho .

b & b bbbb

π b ≤ . & b bbbb π B b b b b b b . p ? b b b . bbb p . ? bb b b bb p

.

≈

sola

∑

o .

.

. .

.

morendo

.

morendo

œ.

 .. ‰ œ 

œ.

div.

œ nœ. ‰  ‰

bœ. 



∑

.

∑

o .

. . .



.

∑

. . .



.

morendo

.



∑

morendo

.



.

∑

o .

ritard.

o o

œ œ œ œ œ œ œ .

∑

o . .

oo ooo

œ œ œ œ œ œ œ. œ œ. œ.

o . .

≈

sola

.

∑

VIII. Einsam (Frau Komachi)

Poco lento

b & b b b 43

∑

b & b b b 43

∑

b & b b b 43

∑

b & b b b 43

∑

Fagotto

? bb b 3 b 4

∑

2 Corni

∑

2 Trombe

∑

Tam-tam



∑

2 Flauti

Corno inglese (poi Oboe)

2 Clarinetti

Arpa

Voce

43 43

b & b b b 43

π ? bb b 3 Œ œ b 4 . œ .  b & b b b 43

∑

b & b b b 43

∑

16 Violini II. (8)

6 Viole

4 Violoncelli

2 Contrabbassi

b & b b b 43  . ∏

∑

Œ œ œ. p espr. ∑

œ œ œ œj œ n œj œ b œ . œ

solo

(C. i. solo)

espr.

œ.

∑

œ œ œ

Poco lento

I. (8)

∑

.

∑ j

∑

œ œ œ

∑

j œ œ nœ œ œ bœ.

∑

œ œ œ

∑

∑ j‰ Œ

≤ j B b b b b 43 ‰ œj œ . œj œ œ œ . œj œ œ œ . œ œœ p ≤ ? bb 3  œ  œ  œ  bb 4 π . . . ? b b 3 . bb 4 π 59

∑

œ nœ

.

∑

œ nœ

 

∑

œ œ

∑



∑

.

∑

 

A Œ

 

∑ Œ

Œ œ 

∑

Œ œ  π Œ œ œ. π

∑



œœœ



∑

unis.

div.

∑

œœ 

Der Blü



œœ œ œ œ œ

ten hol

œ œ œ œ -

j œ œ .

≤ Œ œ œ œ œ. π

œ œ œ œ . π

∑

j œœœ

.

∑

nœ b & b bb Œ p

9 2 Fl.

C. i.

I. solo

œ œ ≈‰ œ œ R

solo b œœœ & b bb Œ p

2 Cl.

b & b bb

Fg.

? bb b b

∑

œ œ œ

œ ≈‰ Œ Œ R œ

∑

R ≈ ‰ Œ

∑

.

∑

nœ P

œœ œ J

Œ Œ

n p

œ nœ œ œ. J

œ œ ‰ Œ J

∑



n p

∑

œ J

‰ Œ

∑

nœ  P

bœ œ. ‰ J F espr.

I. solo

∑

∑ ∑

2 Cor.

∑

2 Tbe.

∑

T.-t.



∑

b & b bb Arpa

Voce

? bb bb b & b bb 

œ Œ

Schön - heit

b & b bb  .

Vln.

bbbb

œ œœ œ œ Œ

ist

ent - wi - chen,

r œ ‰. Œ Œ

œ Œ

œ≤

≥ Œ œœœ p espr.

.

Vle.

B bbbb  .

r œ ‰. 

Vc.

? b b . bb

œ ‰. 



Cb.

? bb b b



R ∑

π π

œ œ œ œ n œ-



p espr.

II.



œ 

Œ œœœ p espr. Œ  p

∑



nœ

nœ.

œœ

. ∑

œ œ

n

≥



œ œ œJ ‰ Œ J

nœ.

≤

œ œ œ œ œ œ

#œ 

.

nœ œ œ

œ œ œ ∑

∑

 .

div.

nœ ∑

2 Fl.

bb &bb

C. i.

bb &bb Œ

∑

2 Cl.

bb &bb

Fg.

? bb b Œ b

∑

solo

œ œ n p ∑

œ bœ

n

∑



œ œ œ

∑

2 Tbe.

∑

T.-t.



∑

b & b bb

∑

? bb bb

∑

b & b bb

∑

I. Vln. II.

Vle.

Vc.

Cb.

bbbb

∑

b j & b bb œ ‰ n  π

Œ Œ

∑

? b b b œœ b

Œ Œ

∑

? bb b Œ b

bœ œ π

œ œ

pizz.

. œ

∑

II. senza sord.

j œ‰ 

p # œ .

# # œ . F

. .

rau

œœœ Œ

arco

#œ.

nœ

‰ ∑

. bœ

‹œ #œ nœ he

b

#œ

Re - gen

∑

unis.

∑

bœ 

#

Der

Œ œœœ p

‰

#œ.

Œ #œ

j‰

. π

∑

Œ Œ



∑

B bbbb œ

I. con sord.

∑



∑

Voce

∑

muta in Ob.

∑

Arpa

∑

2 Cor.

j # œ # œJ

hat sie

≥

nœ #œ #œ F

≥

#œ #œ #œ F

#œ

j ‰ # œ # œ œ œ Œ pizz. F arco

∑ ‰

#œ.

∑

#œ

nœ J

nœ

œ œ nœ J J

bœ.

zer - stört,

in - des- sen

n

#œ

bœ

nœ

j œ ‰ n n œ . #œ Œ

œ n œ œ œ œ n œ- f ≤  . nœ ≤ ≤ . p

#œ

#œ #œ œ

ganz

‰ œ F ∑

≤ nœ nœ #œ #œ œ #œ nœ P F

∑

nœ

j œ ‰ Œ

nœ #œ

nœ

pizz.

nœ

#œ

arco arco

nœ

b b . &bb

2 Fl.



∑

Ob.

b & b bb

∑

2 Cl.

b & b bb

∑

Fg.

? bb bb

∑

2 Cor.

∑

2 Tbe.

∑

b & b bb

∑

? bb bb

∑

Arpa

Voce

I. Vln. II.

Vle.

Vc.

. bbbb 

≥ bbbb

ich,

œ. f

b ≥ & b bb œ . f

œ.

zweck - los

œ- œ œ œ .  n œ- œ œ

≥ B bbbb nœ œ œ œ œ œ œ œ ≥ ? b b b n œ œ œ œ œ œ œ n œœ b œ œ œ œ œ œ nœ f

Cb.

? bb b b œ œ œ œ œ œ nœ nœ f

j 

n œ- œ œ

die

œ -

sem

œ œ bœ

œ œ b fœ 

œ œ œ 

œ 

Da- sein,

ein

sam den

b F

. œ  œ 

n œ Jœ J



œ œ nœ

bœ œ F

œ œ b œœ .. j œ œ n œ œ œ œ . n œ- œ œ œ . n œ œ F unis.

œ œ b œ . n œ- œ œ œ . n œ- œ œ œ . F 62

jœ

nœ

œ œ œ # Blick

ins

#œ œ œ n

#œ œ œ bœ œ œb œ œ œ-

Lee

œ n -

œ œ œ n

œ œ œ

. . œ œ œ

.

œ œ œ

.

j œ‰Œ Œ

, , , , ,

nœ

bb &bb

∑

bb &bb

∑

bb &bb

∑

bb &bb

∑

bb &bb

∑

? bb b b

∑

2 Cor.

∑

2 Tbe.

∑

bb &bb

∑

? bb b b

∑

2 Fl.

Ob.

2 Cl.

Fg.

Arpa

Voce

I. Vln. II.

Vle.

& &

bbbb bbbb

bb &bb

œ n

schwei -

.

#. p

.

nœ.

F nœ nœ. F nœ nœ. F

n.

nœ œ nœ J nœ œ nœ J



j œœ j œœ

∑

‰ œ p

∑

II. con sord.

.

j œœ

nœ œ nœ J



n.

nœ nœ œ b J f nœ nœ œ b J f nœ nœ œ b J f nœ nœ œ b J f

∑



bœ

œ. ‰

bœ



bœ



∑ ∑

? bb b b n œ. œ Œ ppizz.

œ. œ Œ nn  .. arco p

? bb b b nœ œ Œ nœ œ Œ p

‰ jœ. nœ p

‰ # œj n œ p arco

p f

p p

∑

Œ Œ

∑

Œ Œ œ F

∑ ∑

‰ ‰ # œj n œ . p

j œ ‰ ‰ # œj n œ p

‰

I. con sord.

.

∑

‰ ‰ ‰ Œ

j œ ‰ ‰ # œj n œ

∑

‰ j #œ nœ. p

 

.

∑

‰ n œj œ . p

j nœ œ. p

. .

∑

j‰ Œ

∑

‰ n œj œ . p

∑

. ∑

∑

J ‰ Œ

∑

bœ

- fen liess.

.

div. (arco)

Cb.

B bbbb  . p

pizz.

Vc.



∑

Œ Œ

Œ œœœ œœœ

bœ œ œ- n œ- œ œ œ œ Œ

‰

œ.

F F

b F

œ ‰ b œ J

œ n

unis.

∑

œœ ‰ # œj œ f

œ œ J

œ ‰ # Jœ œ n œ f ‰ œj œ Œ f

b & b bb Œ

2 Fl.

Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe.

Arpa

Voce

I. Vln. II.

Vle.

Vc.

Cb.

b & b bb



J ‰

b & b bb ? bb bb

œ.

‰ J f

∑

b  & b bb

œ œ

œ.

∑

‰

. ∑

b & b bb

∑

b & b bb

? bb bb

B bbbb ‰

con sord.

∑

‰

nœ œ J

∑

‰

 ..

nœ œ œ bœ. f

nœ œ œ bœ.

œ ‰ Œ J Œ

bœ

bœ.

nœ

f ‰ Œ

œœ ..

#œ

‰ Œ

∑

‰ Œ

∑

‰ Œ

∑

‰ Œ

∑

‰ Œ

∑

#œ ∑

#.

∑

#

‰ œ œ J

‰ n Jœ œ

n œœ œœ J

nœ œ ? b b ‰ œJ œ bb

œ nœ œ ? b b ‰ œJ bb ? b b ‰ nœ œ bb J

poco a poco più appassionato

nœ œ œ bœ.

j œœ b œœ ..

nœ

œ œ

nœ œ J

> F

b & b bb Œ

nœ œ J

∑

b & b bb

œ.

‰ J f

b & b bb Œ

≥ œ œ œ œ n œ ‰ J

œ ‰ Jœ F œ ‰ Jœ F

‰ œJ ‰ œJ

∑

œ.

‰

≤

# >œ f ≤ ≥ ‰ n œJ œ # >œ f œ #œ œ ≥ >œ f œ ≤ Œ & #œ f ≥ œ Œ œ f ≥ Œ Œ œ f 64

poco a poco più appassionato

‹œ #œ

# >

#œ #œ œ nœ œ #œ #œ œ nœ œ # >

‹œ #œ

nœ

#œ

nœ

#œ

≥ nœ

≤j #œ.

nœ #œ #œ #œ

≥ nœ

#

#. #.

#œ #œ ≤j #œ.

≈ #œ #œ

œœ ≈ #œ #œ #œ

bb &bb

∑

2 Fl.

Ob.

bbbb

bb & b b nœ F

2 Cl.

bb &bb

Fg.

? bb b b

2 Cor.

2 Tbe.

T.-t.

Arpa

Voce

#œ

nœ ∑

n.

. #. F

bœ

nœ

ƒ nœ.

œ œ

nœ nœ

œ œ

œœ ..



b & b bb ? bb b b

- - ‰ b œJ œ œ

œ.

.

œ œ

œ œ œ

.

œ.

nœ œ œ

œ- b œœ- œœ œœ .. nœ œ- œ- œ œ .

n œœ œœ œœ J

∑

nœ œ œ

.

b œ-

.

œ- .

œ œ bœ

œ 

. bœ œ

œ  .

œ œ œ

œ-



b œœ b b œœ b œ œ ƒ . b.

.

b  ..

 ..

∑

∑ ∑

∑

nœ

œœ

nœ

? bb b # œ # œ œ # œ n œ # œ b ? b b b nn  .. b

∑

Vle.

#œ

œn œ- œ-

œ œ bœ

∑

B bbbb œ # œ œ # œ n œ # œ # bb & b b nœ

œ- b œ- œ 

œ.

nœ œ œ

F ∑

œœ

div.

I. senza sord.

∑

bb &bb

œ- b œ- œ œ .

œ.

∑

II.

Cb.

 ..

bb & b b n # œœ

Vc.

nœ

n.

#œ

Vln.

b & b bb n œ

nœ

senza sord.

∑

œ- œ- n œJ

bœ.

-j - œ b œ . n œ # œ œ n œœ n œœ nœ

œ n œ n œ # œ œ n n œœ œ

bœ

nœ

n ≤ .

 

∑

œ ‰B œ J

≥ .

ƒ ≥ ..

ƒ n œ≥ œ œ ƒ œ≥ œ œ ƒ

II. senza sord.

∑

ƒ œ≥ œ nœ œ ƒ œ≥ œ œ

œœ

œ. unis.

œ nœ œ œ œ

œ œ

œ œ œ œ œ œ œ

œ nœ nœ



œ.

œ œ œ nœ nœ



œ 

œ   .. 

œ . n œ- œ œ œ . n œ- œ œ

œ œ œ œ

∑

. .

œ œ

. F

œ . n œ- œ œ œ . n œ- œ œ

ƒ bœ. ƒ

n œ- œ œ

œ.

n œ- œ œ

2 Fl.

G calando

bb &bb 

meno

bb &bb 

meno

Ob.

bb & b b b

meno

2 Cl.

Fg.

bb & b b b 

#œ œ œ n

. ∑

nœ n π

œ .

∑

sempre dim.

nœ

? bb b . j b œ nœ œ meno f ? bb b œ . j œ b nœ meno

? bb b b œ . j œ b nœ meno f ? bb b . j b bœ nœ œ meno

sempre dim.

bœ œ œ

sempre dim.

bœ œ œ

sempre dim.

.

∑

œ n œ n

œ .



œ #.



π π



œ œ œ nœ Œ Œ

.

œ Œ Œ nœ œ Œ nœ œ Œ

bœ œ (œ ) . œ

œ 

∑

.

∑

œ œ œ œ œ œ œ œ œ .

bœ œ œ

b

.

∑

B bbbb 

.

bœ 

∑

sempre dim.

.

∑

b & b bb

.

∑

œ œ œ #

∑

nœ œ

∑

? bb b b

b  & b bb

∑

sempre dim.

∑

meno

∑

œ œ œ #

∑

nœ

∑

b  & b bb

∑

G calandoœ

n. π n.

∑

bb &bb

∑

n.

∑



∑



∑

meno

Cb.

n # œ œ œœ n œ œ œ œ

∑

n.

∑

meno

Vc.

œ œ œ

∑



Vle.

œ #œ œ

∑

T.-t.

II.

œ œ œ œ 



∑

Vln.

n

œ n

∑

2 Tbe.

f nœ

œ œ œ œ 

∑

Voce

n

n œœ meno f ? bb b b  œ b meno f

2 Cor.

Arpa

nœ

∑

œ . n œ n œ n œ œ . n œj nœ œ b bœ œ  J œ p espr.

sola

pizz.

œ œ œ n.

.

œ Œ Œ nœ œ Œ nœ œ Œ pizz.

Œ Œ œ . p ∑ ∑

∑

n.

n

Œ nœ Œ

Œ nœ



nœ  π

pizz.

nœ œ p

nœ 

.

œ œ œ nœ œ Œ

.

∑

IX. Dauer im Wechsel (Tomonori)

Lento 2 Flauti

&b c

Oboe

&b c

I. solo



 ∑

œ & b c  nœ π p I.

2 Clarinetti

 ..

‰ 43

Andante grazioso

∑

3 4

∑

‰ 43

∑

 ..

? c b

∑

3 4

∑

2 Corni

& c

∑

3 4

∑

œ . œ œ  .... œ œ 

∑

c   F c 

∑

&b c 

sola

Celesta

Voce

∑

&b c

I. (8) 16 Violini II. (8)

&b c



 ..

œ J



 ..



π π

∑

4 Violoncelli

? c b

∑

2 Contrabbassi

?b c

∑

Andante grazioso

j œ 43 œœ œœ ‰

1. solo

Bb c

6 Viole

j 43 ‰ œ œJ

∑

2. solo

œœ

‰ 43

43  . p 43 œ p 43

œœ

∑



j œ œj œ œ . ‰ c œ

Der Kirsch-baum stand in

Lento

&b c



∑

Blü - ten.

∑

œ œ œ .. ≈ c œ œ

n œ œ .. ∑

∑

≈ c œ F > c  .. F

# œ Jœ œJ œ n œ

fiel mir das Haar vom

≤ œ œ œ  ‰ œ œj

tutti

pizz.

b

œ 

œœ œœ œœ œœ .... ≈ c  . .

 

   

∑

Schwarz und jung

. .

 

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

? c b



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

Arpa

∑

&b c

~~~~~~~~~~~

Fagotto

#œ œ bœ .

œ bœ œ

œ œ bœ œ œ œ œ œ œ œ œ nœ œ œœ arco

f F œœ .. ‰ 

‰ 

œ‰Œ J

7 2 Fl.

∑

Ob.

∑

2 Cl.

∑



∑



Fg.

2 Cor.



∑

 Œ psolo bœ

∑



∑

 



Cel.

∑

Voce

& b œ.

Arpa

~~~~~

œ œ œ J

Haupt, in - des ich

I. Vln.

&b œ

∑

Œ 

œ n >œ œ .

 .. p  ..

Vc.

?b œ

j ≈ œ œ  œ-

Cb.



œ.

∑

Œ  œ Œ œ . œj œ espr.

bœ bœ

œ.

œ Œ œ Œ

Œ bœ œ Œ

pizz.

‰

 

∑

π 68

œ. œ.

œ .. ≈

‰ 43

∑

‰ 43

∑

Der Kirsch- baum stand im

œ nœ.

œ . ≈ # œ œJ . ≈ n 

œ.

∑

j 43 ‰ œ

B b œ ..

∑

Vle.

∑

‰ 43

∑

œ # œ .. ≈

∑

œ œœ 

≈ œ œJ . ≈  .

œ.

∑

≈

œ.

3 4

∑

tanz - te.

œ ∑

∑

I. j Œ ‰ œ 43 œ œ p

n œœ n œœ œœ ..

> œ b œ >

? bœ

j œ . ≈ # œ œj œj. ≈ œ n œ œ- 

∑

œ b œ 

3 4œ œ p

œœ œœ œœ 

& b œ ..

II.

œ. ‰

Blü - ten.

∑

œ # œ .. ≈

43 œ p 43 œ p

arco

‰ 43

espr.



œ # œ œ .. ≈

b

nœ ∑

œ .. ≈ ∑

13 2 Fl.

Ob.

2 Cl.

&b Œ

2 Cor.

Arpa

π ∑

&b &b œ nœ π π nœ

(Cl. II.)

Fg.

œ œ nœ b œœ n œ b œœ n œ œ bœ

nœ bœ nœ

∑

b œ

Cel.

∑

Voce

bœ & b œj J

œ.

∑

II.

∑

Vle.

∑

Vln.

Cb.

œ b œœ

~~~~~~~

Vc.

? ?

Œ ∑

∑

œ œ bœ bœ œ bœ Œ Œ bœ

π bœ

b π

bœ b œ bœ

œ œ

nœ J

Frisch und jung

∑

nœ œ œ bœ ‰ J p

bœ œ

∑

bœ œ bœ p

bœ.

∑

‰ Œ

bœ

b b œœ

solo

∑

∫œ bœ œ bœ

b œ ..

≈Œ

∑

j bœ bœ

œ . b œj b œ b œ 

j bœ bœ

œ . b œj b œ b œ 

sie,

Œ ∑ ∑ ∑ ∑

œ.

– mein Haar

≥

arco

col canto

œ.

( )

b

bœ. ≈ Œ J

p p

b. p

war

grau

b. ∑

bœ

‰

bœ ‰ J π

Œ.

solo

‰ ‰ ‰ ‰ ‰ ‰ ‰

ge - wor - den.

œ.

≥ j≈ bœ œ œ . nœ

bœ œ œ.

bœ

b œ ..

b.

Œ. Œ

∑

‰ bœ J

bœ œ

œ œ bœ bœ œ pizz.

J ‰ π

- œœ b œœ œ bœ - -

er - glänz - ten

‰ bœ

pizz.

espr.

nœ ≈ Œ

bœ

U U

bœ bœ

arco div.

‰

œ.

‰

b œ bUœ .

‰

solo

bœ

‰

œ œ.

‰

19 2 Fl.

Ob.

&b &b

Fg.

2 Cor.

&b œ π

Cel.

Voce

bœ

Vln.



bœ



nœ

∑

b

∑

c w p

bœ

Vle.

B b bœ π

Vc.

Cb.

∑

b . π

∑

≈ c œ

Kirsch-baum.

‰

œ.

jung

wie

œ œJ œ -

mer lä

cheln

‰ œ œJ œ

sei - ne Blü - ten

#œ œ nœ c œ œ œ nœ œ œ œ œ

œ œ œ



c œ



œ bœ

nœ π

b

œ #œ œ

bœ nœ œ nœ nœ œ bœ

œ œ œ œ # œ œj œ J J J J

∑

œ.

œ #œ œ œ



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JF 2017

ABBREVIATIONS b. bar bb. bars Cb. Contrabbassi Cl. Clarinetto Cor. Corno Fg. Fagotto Fl. Flauto MS manuscript(s) mvt. movement(s) n. note(s) N-Onm The National Library, Oslo NMO Norsk Musikforlag, Oslo NRK Norwegian Broadcasting Corporation, Oslo Ob. Oboe stacc. staccato marking(s) str. strings Tba. Tromba Tbn. Trombone ten. tenuto marking(s) Timp. Timpani Vle. Viole Vc. Violoncelli Vln. Violini ww. woodwinds

SOURCES

CRITICAL REPORT

Japanischer Frühling A Score, autograph B Score, autograph, mvts. I & IV C Score, autograph, mvts. IV, shortened version D Score, revised photocopy of A. Master copy E Score, revised photocopy of A F Score, revised photocopy of A, except mvts. I & IV G Score, revised photocopy of A, except mvts. I & IV H Score, revised photocopy of A I Score, revised photocopy of A J Score, older versions of mvts. I & IV. Photocopy of a now lost autograph source K Score, older versions of mvts. I & IV. Photocopy of a now lost autograph source L Printed parts. Only strings, percussion and bassoon M 12 handwritten pages of text with corrections N Hans Bethge: Japanischer Frühling. Inselverlag 1918 O Printed score, first edition. Norsk Musikforlag, 1980 R Audio recording of the first performance, 11 January 1957

specific primary source is defined for this work. This primary source is the point of reference in the lists with the headers ‘Editorial emendations’ and ‘Vari ant readings’. 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 Irgens-Jensen 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 indi cate 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 score. 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 A Full score, autograph N-Onm, Mus.ms. a5767a 28 x 35 cm. 90 pages Pagination: 1–87. Page 1 is the first page of the score. On the cover, in blue ballpoint pen: ‘Ludvig Irgens Jensen / Japanischer Frühling / Nachdichtung japanischer Lyrik / von / Hans Bethge / Sopransolo mit Orchester’ On page 2: list of orchestral instruments with the number of strings specified; ‘Durata: 24 minuti (circa).’ The cover is a folio of music paper, twice the size of the page format, folded around the inner pages and stitched. A has many emendations and corrections by the composer. It also contains several annotations in blue crayon, evidently added by a conductor who used the score in performance.

Source B Full score, autograph. Mvts. I and IV only N-Onm, Mus.ms. a5767c Pagination: 1–12 and 33–44 These autograph pages of movements I and IV were loosely placed into the sewn volume of photocopies (F), probably meant to replace the earlier versions of these movements. The latter are still present in this score, and are also included

under the same catalogue signature (for more details, see Sources F and J)

Pagination: 1–87. Page 1 is the first page of the score Photocopy of A, produced from the master copy (Source D), but with later emendations in ink, presumably by the com poser. At the top of the cover page: ‘OK 8-64’ written in pencil. At the bottom of the inside cover page: the specific number of strings added in pencil.

Source C Full score, autograph. Mvt. IV only. Shortened version N-Onm, Mus.ms. a5767k 27 x 34 cm, 4 pages Pagination: 33–36 This MS is bundled together with various other manuscript pages, collected under the same catalogue signature

Source F Full score, photocopy N-Onm, Mus.ms. a5767c Ca. 27 x 35 cm. Pagination: 13–32; 43–85 All movements except I and IV are photocopies of A from an earlier stage, with later emendations and corrections by the composer. Most of these were later reincorporated into A. The catalogue signature includes two different versions of mvts. I and IV. One of them is an autograph manuscript, here listed separately as Source B. The other is a photocopy of an early version from a no longer extant source, here listed sepa rately as Source J. Source F has an extra folio of music paper wrapped around the original cover (as in D and E). On the new front page, in pencil: ‘Ludvig Irgens Jensen / Japanischer Frühling / Sopransolo mit Orchester / Text Hans Bethge’. At the bottom of the page: ‘Hjertelig hilsen! [Sincere greetings!]/ Kastellveien 20 / Nordstrand st. / Oslo / Telefon 688898’. At the top of the origi nal front page (p. 3), in blue crayon: ‘1. opførelse [performance] 17/1 1957’. At the bottom of the page, in pencil: ‘Tirsdag [Tuesday] 13/11 kl ½ 12 / Eva Prytz’ From mvt. V and onward (p. 43) the page numbering has been emended in pencil until the end of the work (43 changed to 45, etc.), presumably because the inserted mvt. IV is two pages longer than the original movement (Source J).

Source D Full score, copy of A on transparent sheets with later emen dations in ink Single, loose sheets, held together with transparent tape (the tape now more or less in a state of dissolution) N-Onm, Mus.ms. a5767b ca. 26 x 34 cm. 90 pages Pagination: 1–87. Page 1 is the first page of the score

Master copy, used as a source for later duplicates. There is a considerable difference in colour between mvts. I and IV (darker) and the remaining movements (lighter), indicating that they were produced at different times. Photocopy of A, but still with numerous later emendations in ink, presumably by the composer. The cover and inside cover page (list of instruments) were copied from a different source than A. The original cover, which served as the master for this copy, is currently wrapped around a collection of sketches under catalogue signature Mus.Ms.a5767m in N-Onm. In all likelihood, this was the original cover folio of A. It was later replaced, possibly because of somewhat unclear handwrit ing. While the wording on the front page of this older cover is identical to the new version in A, the second page (list of instruments) shows a few discrepancies compared with the latter. The old cover reads: ‘2 Trombe in Do’, whereas A has: ‘2 Trombe in Si (notazione della partitura in Do)’. The old list does not specify the number of strings. The duration is given as ‘23 min. circa’ (A: ‘ca. 24 min’)

Source G Full score, photocopy N-Onm, Mus.ms. a5767f 28.5 x 35 cm. 90 pages Pagination: 13–32; 43–85 Mvts. I and IV under this catalogue signature are early ver sions, here separately listed as Source K. The other pages are photocopies of A from an early stage. G contains numerous emendations and corrections by the composer, many of which were later reincorporated into A.

Source E Source H Full score, photocopy NMO’s archive ca. 27 x 34 cm. 90 pages

Full score, photocopy N-Onm, Mus.ms. a5767h

Source L

28 x 35 cm Pagination: 1–87 Personal copy of conductor Arvid Fladmoe Photocopy of A, produced from the master copy (Source D) but with later annotations, presumably by Fladmoe. Addi tional corrections in black ink, very similar to the ones found in D. These were probably made by the composer himself. Hardbound in grey marbled paper with black spine and black corners. On a white label in the centre of the front cover, in blue pen: ‘Ludvig Irgens Jensen / Japanischer Frühling / Sopransolo mit Orchester / ca. 22. m.’ Vertically, on the left side: ‘Forkortet utgave’ [shortened edition]. Added in pencil: ‘(Kan forkortes til ca. 18 m.)’ [can be shortened to ca. 18 m.] However, this version is identical to Source A, and no cuts are marked in the score.

Printed orchestral parts N-Onm, Mus.ms. a5767j Probably a private printing, most likely commissioned by the composer. No copyright notices or any other identifying fea tures The parts contain the revised versions of mvts. I and IV Only the parts for strings, percussion and bassoon are pre served. The bassoon part is missing mvts. I–III and ends at b. 48 in mvt. VIII

Source M 12 handwritten pages with corrections for the score N-Onm, Mus.ms. a5767i ‘Rettelser siden partituret blev {copieret} mangfoldiggjort,’ [Corrections since the score was {copied} duplicated.] Origi nally written in ink, with numerous additions in pencil con cerning alternate versions, as well as some sketches.

Source I Full score, photocopy N-Onm, Mus.ms. a5767e 28 x 35 cm Personal copy of conductor Odd Grüner-Hegge Photocopy of A, produced from master copy D, but with numerous later annotations, presumably by Grüner-Hegge himself. Additional corrections in black ink, very similar to the ones found in D. These were probably made by the com poser himself. Grüner-Hegge’s signature in pencil on the front cover.

Source N Hans Bethge: Japanischer Frühling. Nachdichtungen japa nischer Lyrik. Die dritte Auflage. 5. bis 9. Tausend. Leipzig, im Inselverlag. MDCCCCXVIII [Japanese Spring. Adaptations of Japanese poetry. Third Edition. 5–9 thousand. 1918]

Source O Source J Full score, printed. First edition. Norsk Musikforlag, Oslo, 1980 N.M.O. 9159 21,0 x 29,7 cm. (A4)

Full score, photocopy N-Onm, Mus.ms. a5767c Early versions of mvts. I and IV, copied from a no longer extant source. Stitched together with Source F. Source J contains numerous emendations and corrections by the composer.

Source R Source K

Audio recording of the first performance, 11 January 1957 University Aula, Oslo Eva Prytz, soprano; Oslo Philharmonic Orchestra; Odd Grüner-Hegge, conductor NRK, radio archive Archive No. 50359 Duration: 22’25’’

Full score, photocopy N-Onm, Mus.ms. a5767f Early versions of mvts. I and IV, copied from a no longer extant manuscript source. Stitched together with Source G. Source K contains numerous emendations and corrections by the composer.

EVALUATION OF THE SOURCES

using this revised version of D to produce copies E, H and I. In principle, this means there are two different ‘vintages’ of the score, which was constantly undergoing revision, as well as two distinctly different versions of mvts. I and IV, each version associated with its corresponding ‘vintage’. Additionally, there is a shortened manuscript version of mvt. IV (Source C) in which the orchestra introduction is reduced to a mere two bars. Otherwise, the score is almost identical to B. This MS may possibly have been used at a performance in Stockholm on 8 October 1960, mentioned in Source B. The shortened version in Source C corresponds to a cut also described there, indicating that B provided the source for C.

The source situation of Japanischer Frühling is arguably more complex than might seem at first glance. Except for movements I and IV, which survive in two versions, there is actually only one manuscript source from which all later copies were made. At two different points in the compositional process, the author duplicated the score by photocopying. The same manuscript – our Source A – provided the source both times, but the first time the score was duplicated, mvts. I and IV were different (see Appendix I and II). Mvt. I was originally written in g minor – a whole tone lower – with an orchestral introduction that was 25 bars longer. Mvt. IV was scored for full orchestra with winds, as opposed to the later version scored for strings only. The early variants of mvts. I and IV were originally part of A, but were later replaced by the new versions. Subsequently, the autograph pages of these early versions were probably destroyed, and we know of their existence only through photocopies (J and K). Similarly, the early versions of the remaining movements in Source A are today preserved only in photocopy sources F and G. The work was copied by photographically transferring A to transparent sheets which were then used as masters for subsequent copies. These sheets still exist – our Source D. The same sheets were used for both duplication runs, except for the two rewritten movements I and IV, for which new transparencies were made prior to the second run. The remaining transparencies were used a second time, although many details were altered and retouched in ink.

One of the main editorial challenges posed by Japanischer Frühling lies in the fact that the composer continually revised the work. In the years between the second ‘vintage’, on which our edition is based, and the composer’s death in 1969, IrgensJensen made numerous corrections and alterations in source manuscript A and master copy D, as well as in the other copies and orchestra parts – apparently without much concern to keeping the various scores and parts uniform in every detail. The result is a handful of sources that look very similar at first, but reveal numerous discrepancies on second glance. It is often difficult to ascertain the most recent variant, especially when something has been changed in one or more of the sources and ignored in others. The same applies to dissimilar details added at a later time. Cases in which something has been removed are usually less problematic, since traces of the old variants are usually still visible, indicating the chronological order of these revisions. It appears that the composer intended to maintain Source A as a ‘master’, even if the duplication process always made use of the updated transparency D. Because of this, we have chosen manuscript A as our primary source, rather than D. It was probably Irgens-Jensen’s intention to keep all the copies – and especially D – synchronized with A as he made small changes to the music over the years. As we know, however, this task was never fully completed. The different sources disagree in many details.

The first duplication used an early version of transparency master D and resulted in Sources F and G, which were later emended and revised in pencil by the author. Many of these changes were subsequently incorporated back into A and D. As mentioned above, the largest number of changes were made to mvts. I and IV: the former was transposed, the latter completely rearranged, and a new autograph score was made of these two movements – Source B. Around the same time, the composer prepared yet another score of these movements, based on B. This new score was inserted into A, replacing the corresponding original movements. The new pages were stitched into place and the old versions probably discarded. It is to be assumed that B was produced before the corresponding pages currently found in A, since the staff order of mvt. IV differs in B. This staff order was abandoned in A (and hence in D and all later copies). Apart from this, B and A are almost identical. A new transparent master copy of mvts. I and IV was then produced from the updated version of A, and these pages were inserted into source D. The remaining movements, which had been retouched to some extent since the last duplication, were retained. The old transparencies of mvts. I and IV were probably discarded. Finally, the score was replicated again,

Fortunately, a recording of the 1957 premiere has been preserved in the archives of NRK, the Norwegian Broadcasting Corporation (Source R). From this recording we can conclude that the early versions of mvts. I and IV were not performed at the premiere. They had probably already been discarded by the composer, or, however unlikely, may have been rejected and rewritten during the rehearsal process prior to the concert, in which the final versions of these two movements were performed. The changes that led to the second ‘vintage’ were probably made during the end of the 1950s or the beginning of the 60s. The copyright notice on the first page of D indicates that

the second – and as far as we know last – duplication took place before 1962. The annotation must have been inserted after the last duplication, because none of the photocopies include such a notice. Another annotation on the cover page of D suggests that the score may have been proofread once again two years later, in August 1964. However, it is difficult to ascertain which of the emendations in D, but not in the copies, were made during these two years. Some of them may stem from an even later time, and possibly earlier as well. The composer continued to make small changes in several of the sources throughout his life, and it is often nearly impossible to tell which of the different variants represent his ‘last will’ – if indeed there was such an intent in every case. Occasionally he expresses doubt by placing variants in brackets or adding ‘ ? ’ to his emendations. For this edition, we have therefore decided to include nearly all variants found in the main sources, since the various sources often seem equally valid and important, and it is likely that the composer worked on several of them simultaneously. These variants can be found in the list of ‘Variant readings’.

EDITORIAL EMENDATIONS Primary source: A

Fl.

notes 5–8: slur added by analogy with Cl. I and as in B

24–25

Vle.

b. 24 note 1 to b. 25 note 1; b. 24 notes 3–7: both slurs added as in A (pencil)

Voce

notes 3–4: slur added y analogy with similar instances throughout the work

Vle.

Vc.

Vln. II

Vle.

notes 1–2 and 4–5: slurs added as in A (red crayon)

Vc.

notes 1–2: slur added by analogy with Vle. and as in I; note 2: stacc added by analogy with Vle. and as in I

Vln., Vle.

note 1:

Vc.

note 1: f added as in A (red crayon)

45–46

ww., Cor.

all the small notes added as in A (pencil) with the comment umulig å få plass [impossible to fit]. This comment in the author’s hand probably refers to the already existing orchestra parts, which allowed no easy way of fitting the extra notes into the layout. The comment seems to imply that the author wshed to include these notes, if possible. We have therefore made this version available in small print.

Vc.

note 3 changed from ± à to ±. as in A (red crayon)

note 1: ² added as in A (red crayon)

note 1: ² added by analogy with Vle. and as in I note 2: ² added as in A (red crayon); notes 5–6: slur added as in A (red crayon)

note 1: ² added by analogy with Vln., Vle. and as in I

I. Heute! Bar

Instrument

Comment

Heute! exclamation mark added as in Hans Bethge’s original text, Source N

note 1: ² added as in A (red crayon), and as in D, I

Vln. I

Vln. II

Vln. I

notes 11–12: written at sounding pitch, without 8va line as in L

6-8

Fl.

all notes written at sounding pitch, without 8va line as in Vln. I.

Vln. II, Vle.

Vln. I

note 1: written at sounding pitch, without 8va line, as in L

Voce

note 3: ² added as in A (red crayon), and as in D, I note 3: ² added as in A (red crayon), and as in D, I

(poco rall.) and a tempo added as in A (red crayon)

63–64

note 1: ² added as in A (red crayon), and as in D, I

³ added as in A (red crayon)

Vln. II

added by analogy with Vln. I

II. Der Blütenzweig

note 1: ² added by analogy with Vln. I and as in D, E, H (ink) notes 1–3: slur and stacc. added as in A, the solo part at the bottom of the page.

Voce

notes 1–2: slur added by analogy with similar instances throughout the work

Voce

notes 1–3: slur added by analogy with similar instances throughout the work

V. Der Liebeslaut

III. Die Weide im Wind 7 15

note 1: pp added by analogy with Fl. picc. (b. 2), Vln. I and as in D

Fl.

note 1: p emended to pp. Originally, b. 14 note 2 had mf with to p after the

Fl.

next note. Later, mf was changed to p and the necessary adjustment of the following dynamic was apparently overlooked 33

Ob.

Arpa, Vln. II, Vle

mf added by analogy with Ob., Fg., Vln. I

Cor.

f added by analogy with the other instruments

added by analogy with Fl. and Fg.

Vc.

f and arco added by analogy with Vle.

Cb.

pizz. added by analogy with Vc.

Cb.

arco added by analogy with Vc.

added above note 1 as in A (pencil). (Strings: added above note 2 where note 1 has pizz.)

Vln. I/2, Vln. II/2, Vle./2, Vc./2

con sord. added as in L. All other sources have con sord. only above div. 1.

Arpa/2

f added by analogy with b. 2

Arpa

p added by analogy with the other parts

Vln. I/3

Cb./1

Vln. I/2

Vln. II

Cb./2

Vln. II

² added as in A (red crayon) and as in I

arco added by analogy with the other strings

³ added as in A (red crayon) and as in I

note 1: ² added as in A (red crayon)

arco added by analogy with the other strings

note 1: ³ added by analogy with Vln. I and as in H (ink)

Vln. I/2

Vle.

note 1: ² added as in A (red crayon) pp added by analogy with Vc.

VI. Betrachtung IV. An einen Freund 9

Vc./3, 4

mf added by analogy with Vln. I/2, Vln. II/2 and as in B

9–11

Vc./3

the small notes added as an alternative reading, as in A (pencil)

4–5

Fl. I

Vln. I/2

with the solo voice

Vle./2

arco added by analogy with Vc./3 and as in B

Voce

notes 6–7: slur added by analogy with similar instances throughout the work

24 32, 34

Voce

notes 1–3: slur added by analogy with similar instances throughout the work

Vln. II

note 1–2: slur added as in A (pencil) and as in D, E, H; note 2: ten. added as in A (pencil) and as in D, E, H

Vln. II

notes 5–6: ten. added by analogy with Vln. I.

Voce

note 4: changed from ± à to ±. as in A

note 1: ² added by analogy with Vln. II

U added in all instruments in accordance

b. 4 notes 1–4, b. 4 note 5 to b. 5 note 1: slurs added as in A (pencil)

Vle.

ª added in accordance with the harmony in this and the following bars, and with Arpa/1

Voce

notes 1–2: slur added by analogy with similar instances throughout the work

VII. Nichts leichter 2

Vln. I

arco added in accordance with the notation in the following bars and as in L

Fl.

note 4:  added by analogy with Cl. I

Ob..

p added by analogy with Fl. picc. and Cl.

Vln. I

note 1: p added by analogy with Vc. and as in D, L

(pencil)

Cb.

arco added by analogy with Vle. and Vc.

Vle., Vc.

p added by analogy with Vln. and as in A (pencil)

Vln. II

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

Cb.

sf added by analogy with Vle. and Vc.

Vln. II

Fl. picc.

VARIANT READINGS In A, D and all the photocopies based on D, the solo voice part is duplicated at the bottom of the score. Presumably, the author intended to render a piano reduction below the full score, but for some reason abandoned this. Some pages show a few bars of piano reduction, but the staves reserved for the piano part are mostly empty. The vocal part is nearly identical to the main voice part above Vln. I. The few discrepancies between these two parts are all listed in the critical comments

note 1: ² added as in A (red crayon)

notes 1–2: slur added as in A (pencil)

VIII. Einsam

Voce

alternative version added in small notes. A: these notes were removed in the main voice part above Vln. I but left as a variant in the duplicate voice part at the bottom of the page

9–10

Cl. II

cue notes for C. i. added as in the previous and following bars

14–15

Cl. II

cue notes for C. i. added as in the previous and following bars

19 40

L: 3/8 rests consistently written £ à instead of £. as in the other sources

Poco lento added as in A (pencil) and as in L

Vle., Vc., Cb.

notes 1–2: slur added as in A (pencil) and in I (red crayon)

Vle.

alternative version in small notes added as in A (pencil)

I. Heute! 2

IX. Dauer im Wechsel

Vln. I

Vln. II

A: note 1: ² added (red crayon) D, I: note 1: ² added (ink)

L: note 1: no ²

A: note 3: ² added (red crayon) D, I: note 3: ² added (ink)

L: note 3: no ²

A: note 3: ² added (red crayon) D, I: note 3: ² added (ink)

L: note 3: no ²

A: note 1: ² added (red crayon) D, I: note 1: ² added (ink)

L: note 1: no ²

Cl.

I. added in accordance with Fl. and the general structure of the music in this bar

Vln. I

Cl.

I. added in accordance with Fl. and the general structure of the music in this and the following bars

L: notes 11–12: written at sounding pitch, without 8va line

Vle.

B: note 1: mf written above the cresc. hairpin that starts in the previous bar

Fl.

note 1: p added by analogy with Cl. and as in G

Vln. I

B: note 1: f

Fg.

the small notes were probably added by the author to be played when this movement is played separately, with only one clarinet available. (No substitute for Cl. II in the other movements which employ two clarinets)

Vln. I

L: note 1: written at sounding pitch, without 8va line.

Vln. II

œœ œ œ œ œœœ œ œ œ œ Vln. II

B: &

J ‰ ‰ œœ

≤ ‰ 98 œœœœœœœœœœœœœœœœœœ

later changed to the version found in A (pencil)

note 4: ³ added as in A (red crayon)

Vle.

B: notes 1–2, 3–4, 5–6: slurs

œœœœœ œ œœ

˙˙ ..

œ ? œJ ‰ ‰ œ œ

Vc.

∑

Œ.

later changed to the version found in A (pencil)

Cb.

L: p

Vln. I

Vln. II

Vle.

H, L: note 1: no ²

Cb.

L: mf

9–10

Vln. I

œœ ‰ ‰ œ

œ jœ ‰ œ J ‰ ‰

‰ 98 Œ

œ œ

‰ Œ.

after note 1 to the following rest

Vln. I

Voce

Vln. I

Cor. I

Vln. I

L: notes 1–2: no slur, no stacc.

Vle.

≤j

œ . œ œ. œ œ œ

B: notes 2, 3: >

Vln. II, Vle.

B: notes 3–4: secondary beam broken

Vc.

B: notes 4–5: secondary beam broken

Fl.

B: notes 5–8: slur

Ob.

H: no solo

Vln. I

17–18

Cl. I

Vln. II

I: note 1:

Cb.

L: arco

Vln. I

Cor.

Vc.

B: espr. at the beginning of the bar

19–20

Vc., Cb.

Vln. I

L: note 2: no

Vln. II

I: note 1:

Vle.

20–24

Voce

≥ œ ‰ J œ B contains sketches for an alternative ver≥œ sion of the solo part œ ‰ Œ J

L: note 1: no ²

from the middle of b. 17 to b. 18

L: no ³

L: all notes, including note 1, b. 35 written

Vln. I

‰

A: note 1: ² added (red crayon)

Vle.

I: note 1: ² added (ink) L: note 1: no ²

I: note 1: ² added (ink)

Vc.

Vln. I

Vln. II

Vle.

A: notes 1–2, 4–5: slur; notes 2, 5: stacc. added (red crayon) I: same as above, added in ink L: none of these additions

Vc.

I: notes 1–2: slur; note 2: stacc

Fl. picc., Fl., Ob.

A: notes 1–2: stacc. wedges crossed out, probably not by the author (blue crayon)

Fl. picc., Fl., Ob., Cl..

B: rest instead of note 4; note 3: stacc.

Fl. picc., Fl., Ob., Cl.

D, E, H, I: note 3: stacc. wedge and tie to note 4

Vln. II, Vle.

A: note 1:

Vc.

I: note 1:

38–40

Vln. I, II, Vle. B, L:

A: note 1: no ²

A: note 2: ²: notes 5–6: slur: note 6: stacc. L: none of these additions

H: no p

L: no pp

from b. 19 note 6 to b. 20 note 1

starting immediately after note 1

L: no rit., no a tempo

B, L: slurs only on notes 1–2; 3–4

‰

A: note 3–7: slurs added (pencil); b. 24, note 1 to b. 25, note 1: slur added (pencil) L: all these slurs missing

at sounding pitch without 8va line

L: note 1: no ²

B: note 1

Œ.

j œ 68 œ

L: note 1: no ³

33–35

Vln. II

œ œ

B: notes 1–2: broken beam

B: note 6:

Œ.

Vln. I

29–30

the first two notes later placed in parentheses and rests added (pencil)

≥œ œ J

‰

A: note 2: ² ; note 5–6: slur; note 6: stacc. added (red crayon) I: same as above, added in ink L: none of these additions

³ added (red crayon) ³ I: note 1: added (ink) L: note 1: no ³

Œ.

œœ œ #œ

div.

J F

# # œœ # œ ‰ 68 Œ J # œ ‰ # # œœ # œœ ‰ # œ # œœ ‰ œœ

œ œ ‰ œ 68 # œ ‰ # œ œ J

œ # œ ‰ œ 6 # œ ‰# œ # œ 8 #œ.œ œ#œ œ J f

B: notes 7–8; 9–10; 11–12: secondary beams broken

‰ # ˙˙æ.. ≥j F

œ œ ƒ

j #œ #œ œ nœ

Source B includes a pencil sketch identical to the later version found in A.

œ# œ# œ œ n œ œ# œ# œ œ n œ J

æ æ # œœ .. n œœ ..

œæ. n œ . æ

I: note 3: two slashes (tremolo); no slur to

Vln. I

next note; no Vln. I

Vln. I, II

I: note 1:

Vc.

A: note 1: f (red crayon)

6 œ &8 œ Ḟ ? 68 .

Vln. II, Vle.

Vc., Cb.

43–46

Cor.

L: note 2: ² missing; notes 5–6: no slur; note 6: no stacc.

>j> œœ œœ œ .. ˙ .∑ ‰Œ >> ƒ

Vle., Vc., Cb.

Vln. I

r≈ ‰ ‰ Œ.

Vln. II

Vc.

∑

œ ∑

B, L:

Vln. I

Vln. II, Vle.

∑Vc.

∑ L: no arco∑

H, I, L: last note: no

∑

H: no p

D, E, I: notes 1–2: slur; note 2: stacc.

62–63

Voce

B, I:

œ œ‰ Œ J J

te!

leicht

p # œ Jœ œ . Œ # œj œj #œ ˙.

œ œ

Viel

ists

mor - gen schon

zu spät, zu

spät.

A: later emended to the current version (ink). Commented in the page margin (red crayon)

B, D, E, H, L: chord 3: ± à A: emended to ±. (red crayon). In the page margin: Ikke rettet ennu? [not corrected yet?] (pencil)

A: (poco rall.) (red crayon)

63 64

A: ±.¯Ä à à added above the note (pencil), with ‘ ?’ in the page margin

Voce

Vc.

A: notes 1–3: ten. added (blue crayon), possibly not in the composer’s hand

Vln. I

L: notes 1–2: slur missing; note 2: no ten.

Voce

B, I: _°. instead of _Ä

Cb.

B: note 1: p

65–67

Cl. I

Cb.

B: note 1: pp

B: pencil sketch, identical to the later version found in A

Vle., Vc., Cb.

Vle.

L: mf on b. 58 after the other sources

65–67

57–58

Fl. picc.

B: mf

59–60

Ob., Cl.

B: Ob.

I. Cl. II.

& 68 Œ .

A: a. t. [a tempo] (red crayon)

, not before as in Vle.

B Œ. ?œ œ

div.

Vc.

œ œ œ. ‰ ‰ œ œ œ. ‰ ‰ œ .

F Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ´ 6 œ. œ œ ‰ & 8 ˙. Í œ́ œ́ œ́ ‰ œ́ œ́ ‰ œ́ & 68 œ ‰ œ́ ‰ F

#˙ #˙

∑

H: no pp

Vln. II

Vle.

H, L: note 3: no ² I. L: notes 2–4: no ten.

∑

#œ œ ‰ œ #œ œ œ‰ œ ‰ 6 J Œ &8 F

˙. 4 œ. I: ten. only on note L: note 2: no ²; notes 2–4: no ten.

∑

pizz.

these bars are underlined (red crayon)

heu

59–60

D, E, H: note 3: ²

n œœ ..

#œ œ œ #œ œ œ J œœ ‰

Additionally, these bars contain emendations in pencil, identical to the later version found in A

B: rehearsal letter G added (red crayon)

‰ # œœ >

Arpa

L: all notes written out at sounding pitch, without 8va line.

59–60

Cb.

˙.

65 67

?œ

˙.

à à £.

Œ œj œ ‰ œ œ ‰ j‰ ‰ œ œ. œ . œ P pizz. arco ‰ Œ œj œ ‰ œ œj ‰ œj œ ‰ œ ‰ p œ π pizz. div. Œ p j œ ‰ ‰ Œ. ∑ Œ . arco œ . π∑ ∑

∑

the notes in the viola part are placed in parentheses out (pencil) j ∑ Œ and crossed

∑

Vc.

L: note 2: arco

Cb./1

L: no p

œœ œœ ‰‰ œœ œ ˙œ . ‰ ‰ Œ . J ∑

∑

˙.

∑

˙.

∑

II. Der Blütenzweig

E: Langsomt [slowly] added (pencil) above Andante, probably by a conductor

1 1 1–2

Vln. I, Vle, Vc./2

F: note 1: p added (red crayon)

Cb./2

A: these two bars placed in brackets (red and blue crayon). Marked ‘|| ?’ in the page margin I: crossed out and marked ‘?’ (pencil)

Vc./1

F: note 1: p added (red crayon)

Fl.

G: p added to the existing pp, (pencil, unknown hand)

Vc./1

D, E: after pp (a remnant of the earlier version found in F and G, probably meant to be removed, like all similar instances in this bar)

Vln. II

G, L: note 1: no

Fl.

A: note 1: p added (pencil, unknown hand)

Fl.

E, F, G, I: rhythm:  Ö µ ; slur between these two notes only. Later emended to à ± Ä in A, D and H

29–30

Fl.

A, E, F, G: whole-bar rests below the notes, perhaps indicating that these notes can be played ad libitum together with the solo voice. G has voce added before note 1

Voce

E, F, G, I: rhythm:  Ä Ä ; E; à ± Ä written above (red crayon). Later also changed in A, H G: has voce here, indicating unison with the solo part

III. Die Weide im Wind

Vln. I, Vle., Vc., Cb.

F: , later crossed out and inserted one bar earlier as in A (red crayon)

1–11

Vln. I

L: all notes written out at sounding pitch, without 8va line.

Vln. I, Vle., Vc., Cb.

F: note 1: pp, later (partly) crossed out and inserted one bar earlier as in A (red crayon)

2–4

Fl. picc.

Vln. II, Vle.

Vle.

E, F, G, H: this passage given to Fl. A: this passage later changed to Fl. picc.; ‘dolciss.’ added after pp (ink); ‘rettes i Odds partitur’ [to be corrected in Odd’s {Grüner-Hegge’s} score] written at the top of the page (blue crayon) I: Piccolo (red crayon)

Vln. I

Arpa/1

F, G:

Vle.

Cb.

Arpa/1

Vln. II

Vle.

Vln. II

Fl.

Arpa

D, E, H: note 1: ²

G, H: note 1: no cautionary $ F, G, H, L: note 1: no ten. F, G, L: notes 1–3: no slur.

∑

D, E: note 1: ²

∑

F: note 4: e’’-b’, but the lower note later crossed out (red crayon). In A scraped out 3–4

F, G, L: note 1; ² ; A: scraped out L: note 1: no ²

6–10

F: notes 1, 2: arpeggio lines added (red crayon) A: ppp repeated below note 2

Voce

A: notes 1–3 stacc. and slur in the copy of the solo part at the bottom of the page

Vln. II

Vle.

I, L: note 1: no ²

Vle.

D, E: note 1:

F, G:

Cel.

œ ‰œœœœœ œ

œœ .. œ.

œœœœ œ œ

Œ.

‰

Œ.

F: later emended to match the version in A (red crayon)

D, E, F, G, H: no dolce E, F, G, H: note 1: p

Vln. II

œœœœœœ œœœœœœ œ ‰ Œ. œ

œ œ œ œ œ

œœ .. Œ . œ.

F: crossed out (red crayon) A: scraped out

F, H: note 1: no p

D, E, H: note 2:

œœœœœœ

Arpa

Cel.

Arpa, Cel.

## & # œœ .. .

Œ.

F, G:

œ nœ. ‰ œ œ œ œ n n œœœ ...

p ## œ œ & # ‰ œ œ œ œœ ‰ Œ . p π

Œ.

œ. ‰ n œœœ ...

f n n œœ œ œ œ œ œ œœ ‰ Œ . p

œœ .. p

j œ œ.

‰œœœœœ œ œ œ œ œ F

later emended to match the version in A (red crayon)

D, E, H: note 4: ²

Œ.

nœ

n œœ

œ œœ ‰

F, G:

Fl.

‰ ≈

n œ œn œ

œ.

‰ Œ.

20–22 ²³

œ. œœ .. œ.

A: the rests scraped out, and a’’ Ä. inserted at the beginning of the bar. Later copied into D, H 7

˙˙ ..

Arpa/1

E, H, I: note 1: only c’’, no lower note

Vln. I

G, L: note 1: no

Vln. I

Vln. I/1

Vln. I

Vln. I/2

12–18

Vln. I/1

F, G, L: notes 3–5: no slur; note 5: no ten.

Vln. I/2

G: note 2: no

Vln. II

13–15

Vln. I

Vln. II

Vln. I/2

H, I: note 1: no ²

Arpa

D, E, F, G, H, I:

∑

œœ .. œ.

j 6 # œœ .. œ . œJ œœ‰ n‰œ 8 œœ .. ∑œœ ‰ œ œ 6 œ œ œ œ. œ. 8

G, L: note 1: no ²; notes 1–2: no slur

F, G: note 1: Tutti F: Tutti crossed out and overwritten ‘a 4’ (red crayon) G: note 1: no ²

A: notes 1–4: slur added (pencil); notes 5–6: stacc. added (pencil)

Cl.

F, G: note 2: a’ F: note 2: a’ emended to g#’, as in A (red crayon)

Fg.

F, G: note 2: f#’. F: note 2: f#’ later emended to c#’, as in A (red crayon)

Vln. I

G: this bar empty

25–28

Arpa

F, G:

∑ ∑

D, E, H, I: note 9: ² A: below the instrument name in the page margin: Mezza parte / Die Hälfte G, L: no bowing marks H, I: note 1: no ²

38 œœ 38 œ

nœ

œ J

68 œ . œ. 68 œ .

œœ œ

‰ ‰

Œ.

∑

Œ . œ . Œ . œ . Œ . œœ .. œ. œ. œ. F p œ. Œ . œœ .. Œ . œœ .. Œ . œœ ..

38 ‰ n œœ œ 38 ‰ œ

68 œ . Œ ‰ œ.

∑

68 œ . Œ ‰

∑

F: later emended to match A (red crayon and pencil)

G, L: note 1: no ²

# œœ .. œ.

∑

Fl.

L: b. 12 note 3 and further: all notes written out at sounding pitch, without 8va line

œœ .. œ œœœ œœjœœ œj œ . #œ œ œ p œœ

F, G: note 1: Tutti F: Tutti crossed out and overwritten a 4 (red crayon)

G, L: no

œœ ... œœ . F œœ .. œ.

F: later emended to match the version in A (red crayon)

D, H: note 1: pp A: pp scraped out from note 2, possibly with the intention of moving it to the newly inserted note 1, but then forgotten

Fl.

F, G:

Arpa

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

∑

œ. œ. œ. n œ œ œ œ œ œ

œœ ... œœ . œœ .. œ.

Vln. II

G: no pizz.

Vln. I

G, L: notes 1–2: no stacc., no slur;

Vln. I

H: note 6: ²

Vle.

Vln. I

D, E, H: note 2: ²

Cor.

D, E, F, G, I: no senza sord.

Vln. I

G, L: notes 3-4: no slur, no stacc.

Vln. II

34–35

Voce

œ ‰ Œ. œ ‰ œ œj œœ œ ‰ ‰ J œ J œ Wind, der Wind, ∑

A: this bar emended to the current version by scraping

note 5: no ³ ; notes 5–6: slur H, L: notes 5–6: no stacc.

F, G, L: notes 7–8: slur across the rest. Possibly a remnant from an earlier version

G, L: notes 3–4: no slur

G, L: note 1: no ² A, D, E, H, I:

jœ .

der Wind!

œ.

J‰ ‰

emended from the older version found in F and G (see below) - A, D, E: emended in red crayon - A: has ‘?’ in the margin, but this later crossed out - H: has no traces of the older version - I: emended in pencil, with ‘?’

∑

34–36

œ# œœœ œ ‰ œœœ

Voce

Vln. I

F, G:

œ. Œ œj

∑

˙.

œ.

J ‰‰

der Wind!

G, L: notes 7–8: no slur

Œ. Œ

œ œœ3–4: G, ‰L: œnotes . ‰noœslur Œ . .

Voce

Vln. I/1, 2

51–56

Arpa

∑

‰ œ œ

œ œ

L: all notes written out at sounding pitch, œ . 8va line œ . œ œ. œwithout Œ œ Œ J

47; 49

G: notes 2–4, 6–8: no stacc.

∑

E, F, G, I: note 1 has the word ‘als’, later emended to ‘da’ in A, D and H

∑

L: note 1: no ²

œ. 38 œœœ ... 68 n ˙˙ .. Œ . œj. œ œ. ˙. fœ . p f. œ. 3 œœ .. 6 ∑ Œ . œœ .. œ 8 8

F, G:

sola U n œ nn œœ o j o œ œ œ J J π p œœ bœ œn œ n œ . Œ. œ ‰ ‰ Œ. Œ. J

œœ ‰ ‰ Œ . Œ . œ . nœ. œ

Vln. I

Vln. II

G: notes 3–4, 7–8: no slurs

Vln. I

G: notes 2–4: no stacc. G, L : notes 4–5: no slur

Fl.

G: no pp

Vln. II

G: notes 2–3: no slur

Arpa

D: f

Vln. I

L : note 2: no p

Vln. II

Arpa

F, G:

G, H, L: no bowing marks I: note 2, 3: no bowing marks

Vle.

œœ œœ œ œ́ ‰ ‰ œ́ ‰ ‰ # œœ J J ∑

œœ

∑

œœ œœ ..

∑

œœ œœ .. π

F: later emended to match the version in A (red crayon)

∑

œn œœœœœ œœ

∑

‰ Œ.

F: this version later emended to match A (red crayon) 42 43

Vln. I Vln. I

Vln. I

Vln. II

Vle.

Voce

A: note 1: f added (pencil, unknown hand)

Vln. I

G, L: notes 4–5: no stacc., no slur

Vc.

G: note 1: no f , no arco

Cor.

D, E, F, G, H, I: no senza sord.

Vln. I

Vc., Cb.

D, H: note 6: ² G: notes 1–2, 7–8: no stacc. G, L: notes 5–6: no slur L: note 6: no stacc. D, H: chord 3:

∑

IV. An ∑einen Freund ∑

Vl. I – a 4 – senza sordini Vl. I – a 4 – con sordini Vl. II – a 4 – senza sordini Vl. II – a 4 – con sordini Vle. – solo [sic!] Vle. – a 2 – senza sordini Vle. – a 3 – con sordini Voce Vc. – a 2 – senza sordini Vc. – a 2 – con sordini Cb. – a 2

G: no stacc.

œœ ˙˙‰ ..œ œ œ œ œ Œ . F, G,‰ nH, œ I: no˙quasi . a tempo

A and the photocopies D, E, H, I have the following score layout, with the solo voice part between the violas and cellos:

G: no stacc. G, L: notes 3–4, 9–10: no slurs

Vle.

∑

In the following table, the staff systems are numbered from above as they appear in the present edition, not in the sources, since the staff order varies among the different sources

D, F, G, L: notes 1–2: slur, A: notes 1–2: slur removed

D, E, H: note 1: ² ; note 2: cautionary 

G: note 2: no ² , no stacc. wedge L: note 2: no ²

D, H: note 7: ³ G: notes 2–3: no stacc.; note 6: no stacc. wedge

B has the layout shown below. Instruments without sordines are placed above the solo part, those with sordines below. In cases requiring additional systems (divisi), the same principle is followed Vl. I – a 4 – [senza sordini] Vl. II – a 4 – [senza sordini] Vle. solo [sic!] Vle. – a 2 – [senza sordini] Vc. – a 2 – [senza sordini] Cb. – a 2 Voce Vl. I – a 4 – con sordini Vl. II – a 4 – con sordini Vle. – a 3 – con sordini Vc. – a 2 – con sordini

G: note 1: no ² F, G: no p

I: after Lento serioso: Ä ca. 72 added (pencil), probably by Odd Grüner-Hegge

Vln. I/2

B, L: note 1:

Vln. I/2

B: notes 1–3: slur

Vln. I/2

D, E, H, I: notes 1–2: ³ ²

Vln. I/2

D: notes 1–3: no slur; notes 4–7: slur

Cb.

L: arco

Vln. I/1

B: note 1: ten.

Vle./1

A: notes 3–4: stacc. removed. In pencil: “? ? stacc.tegnene {uleselig} strøket av G [O.?]”[stacc. signs {illegible} erased by G. {O.?}]; “før” [before] {here the original version with stacc. is added in pencil}. In the lower page margin (blue crayon): ‘legato ¯’ I: notes 3–4: slur, overwriting the stacc. dots, and with the text ‘legato’ (red crayon) B, L: notes 3–4: stacc. with slur

16, 17

Vln. II

B, L: both bars note 1: no ³

16, 17

Vle.

L: note 1: no >

Vln. I/1

B: notes 1–3: slur; note 3: no ten. This bar also has some bowing marks (pencil) that correspond to the version in A

Vln. II

B: note 1–2: slur. L: note 3: ±. instead of ± 

B: notes 4–7: slur

B: at the top of the score (pencil): “ ˇ forkortelse til D. Dette sprang blev benyttet ved De nordiske Musikdager i Stockholm med Erna Skaug.” [8.10.1960] [ˇ shortening to D . This cut was used at The Nordic Music Days in Stockholm with Erna Skaug.] The score used on that occasion may also have been our source C, which lacks the bars referred to here

I: only b. 17 note 1: no ³

Vc./1, 2

D, H:

Vc./1

Vle./2

B: note 1: p

Vln. I/1, 2

B: note 1:

Vln. I, II

E: a 4 missing in all systems

Vln. I/1, 2

L: note 1: no ten.

Vle.

B: the 3 systems are marked ‘solo’, ‘2. 3.’, ‘4. 5. 6.’

Vln. I/1, 2

B: note 6:

Vle./3

Vle.

D, E, H: note 1:

Vc./3

B: Solo Vcl.

Vc./1

B: Solo

Vc./1

B: mp espr.

Vln. II/1

A: notes 3–5: stacc. crossed out, but still visible (blue crayon). On the system beneath, a version of notes 2–5 without stacc. added in brackets (pencil). In the bottom page margin (blue crayon): ∑ þ þ þ ‰ Œ. ∑ ∑ ‘legato ’ I: notes 3–5: slur, overwriting the stacc. dots, and with the text ‘legato?’ (red crayon) B: notes 3–5: stacc. ; notes 4–5: slur L: notes 3–5: stacc. ; notes 3–5: slur

Vle./1

Vc./3

∑

L: no ³

B: notes 9–10: ten.

A: notes 1–2: g# (a minor third higher) added (pencil), with upward stems, beams connected B: note 1: mf

Vc./3, 4

Vle./1

10-11

Vc./3

A: notes identical with those of Vle./2 added on top of the existing notes (pencil)

Vln. II/1

B: notes 1–2: slur.

B: note 1: ³ L: note 2: no $

B, L: note 1: no 13

Vle./2

B, E, H: arco added (ink) L: arco D, H: note 1: ² added (ink)

 followed by 

D, I: note 2: ³ added (ink); in A added in brackets, with ‘ ?’ (pencil)

Vln. II/2

Vln. I/1, 2

L: all notes written at sounding pitch without 8va line

Vle.

L: note 1: no >

Vln. I/1, 2

B: note 3: ten.

Vle.

A: note 1: ten. added (pencil) I: added (ink)

Vln. I/1

A: notes 1–3: ’( ³ ) ( ² ?) ( ² )’ (pencil)

21, 22

Vln. II/1

L: no bowing marks

Vln. I./1

B, L: notes 1–4: slur, in addition to slurs between notes 1–2 and 3–4

B, L: note 7–9: slur, in addition to a slur between notes 7–8

∑

r #œ œ. nœ œ œ œ blühn

zu seh'n

Vln. I/1

B, I: note 2: no

Vc.

D, E, H:

Voce

œ œ nœ œ

bei mei nem Hau

j ‰

se.

r r œ œ œœœœ œ

Sind sie erst ver - welkt,

œ J

œ œ œ œ œ Jœ . weiss

ich wohl,

B: note 2–3: slur and ten. removed L: note 2–3: no slur, no ten.

Vln. I

L: notes 1–5 written at sounding pitch, without 8va line

nœ œ œ R R Vc./2 R

B: note 1:

dass ich mich

H: note 2: no $

Voce

A: note 4: emended from ± à to ±. (pencil) and commented in the page margin ‘ikke rettet ennu’ [not corrected yet] I: the last rest crossed out, and a dot added to the note (red crayon)

Vln. I/2

L: note 1: no pp, no

Vln. I/3

L: no sul G

B: note 1: ² ; notes 1–3 and 4–8: slurs

Vln. II/1

Vln. II/2

Vle./2

Vln. I/1

A: a version with a slur above notes 1–4 instead of 1–3 added in brackets (pencil)

Vln. I

L: all notes written at sounding pitch, without 8va line

31–32

Vln. II/2

L: no

Vle./1

Vle./3

B, L, I: note 1:

Vln. I, Vle./1, 2

B: notes 4–5: ten.

Vle./1, 3

B, L: notes 9–10: slur; removed in A

Cb.

L: no f

35–38

Cb.

L: notes in the upper system only, pauses in the lower. In the only preserved copy of this part, the pauses have been crossed out, and ‘unis’ added (pencil)

L, I: note 1: no ³ ; note 3: no ten. L, I: note 1: no ²; I: sul G added (ink) H, L, I: no ²

V. Der Liebeslaut A: At the top of page 1: “De første 7 takter omigj da capo!” [the first 7 bars again da capo!] in an unknown hand. The meaning of this comment is not clear, since a repetition of the first 7 bars makes little sense

B: ‘(eller: [or:] ² ³ ² ³ )’ (pencil)

Vln.

Vln. II

Cb.

L: note 1: arco

Vln. I

B, L:

Vln. II

D, E, H: notes 1–2: slur; note 2: ten. (both ink). This version also appears in A, added in brackets, with ‘eller ?’ [or ?] (pencil) L: no slur, no ten.

Vln. II

A: note 1: ² added (pencil)

ß ß

A: At the top of page 1: " står ikke i stemmene og partituret” [ not in the parts and the score], in the author’s hand (pencil). In the page margin: “x “ (red crayon)

L: b. 38 note 1 to b. 39 note 4: slur

Vln. I

Vln. II

H, L, I: note 2: no ²

Vc./2

L: note 1: arco

Vle./2

L: chord 1: same as Vle./1. In all other sources, the lower note lies a third below – d’

ß ß

I: note 1: in all parts; for the string instruments playing pizz. on note 1: placed on the rest after the note

A: note 5 ‘(³)’ added (pencil), on top of ² (ink)

38–39

Vln. I

added in brackets (pencil), with the comment ‘Prytz foretrakk dette’ [{the singer Eva}Prytz preferred this]

A: all bowing marks from Vln. I. added in brackets, with ‘?’ (pencil)

B, L: note 2–3: slur, with ten. on both notes. This slur later removed in A

F, H: no arco

Vln. I/2

Vle., Vc., Cb.

L: no ³

Vln. II, Vle.

D, E, H: note 1:

Vle./2

L: no p

6–7

Vle.

F: no slur across the bar line

6–7

Vc. U̇

F, G:

G: mf F: mf later emended to p (red crayon)

arco œ œ œ œ Œ œ œ ‰ œ 42 œ ‰ c J ‰ œ J ‰ J J π

F: later emended to match A (red crayon)

J ‰ Œ Œ bœ

Œ Œ

11–13

F, G:

Arpa, Cel. Arpa

Cel.

& c b œœœ œœœ b œœ œœ b b œœ œœ ˙ œ b œ œ b œ b ˙˙ ? c ww ∑

œœ

& c ‰J F

‰œœ

w w w

∑

∑ ∑

Vln. solo

Arpa/2

D, E, I:

Vln. I, II, Vle.

A: pizz. added, most likely not in the composer¨s hand (pencil) E, F, G, H, L: no pizz.

Vln. II, Vle., Vc.

G: note 1: p added (pencil)

Vln. solo

L: notes 1–2: no slur

Vln. II

L: no cautionary $

Vln. I/2 Vln. I/1

Vln. I/2

L: no ³

Vln. I

D, E, H: note 1:

Vln. II

Arpa

L: note 1: no ²

L: no

Vln. II

D, E, H, I: note 1:

23–25

Cl.

A, E, F, G, I: have the version printed in small types in the present edition A: these notes were later placed in brackets and corresponding rests added (red crayon). In the top page margin ‘Clar. ’ (red crayon) H: these notes crossed out (pencil) I: these notes left without comment, but col canto crossed out (pencil), possibly meaning that Grüner-Hegge let the clarinet play these notes, whereas the soloist used the ossia version (see below, b. 24)

∑

#œ œ#œ ˙

#œ6

w ∑

E, F: no col canto; note 4: no $

L, I: note 1: no ²

Vln. I/1

Vln. I/2

Vc.

G: note 1: no pp

26-27

Vln. I/2

L: b. 26 note 2 to b. 27 note 2: slur. Later removed in A

D, H: note 1: ² ; A: added (red crayon)

A: above the Rit - - - - - - molto: ‘poco rit. (ß)’ (pencil), possibly in the composer’s hand

Vln I/1

G: solo F: solo later crossed out (red crayon) The whole bar was originally notated an octave higher, and an 8va line was further added by mistake. This 8va line was later crossed out in F (red crayon). (Scraped out in A) A, F: this passage marked x) (red crayon). In the bottom margin of the page the same notes as in Vln I./2. added (pencil). In A commented: “skrives likt”, [written the same way] D, E, H, I: Vln I/1 identical with Vln I/2

Vln. I

F: notes 1–2: no slur, no ten.

Vln. II

Vln I/1

Fl.

G, H, L, I: note 1: no ³

F: tutti later crossed out (red crayon)

D, E, F, H: note 5: p

# ˙˙

H: note 1: ² added (ink)

Vln. I

# ˙˙

The version in A is an even later variant of the above

A: note 1: ² added (red crayon)

& # # ˙˙˙ ˙ # ˙˙ Ó # ˙ p #˙ ? # # ˙˙ ∑

? #œ#œ

L: no arco

F, G:

³ added (red crayon) I: ³ added (ink)

Vle./2

Cl.

∑

all sources have two variants of this bar, printed systems. The upper ww ∑ on two separate system (rhythm: °. ± ) is marked ossia. In A and I,∑the lowerw wwsystem (version with quavers) is crossed out, most likely indicating that the was by the œœ preferred ∑ ossia version Ó Œ œ œœ composer

∑

F: the notes above later placed in brackets (red crayon) and a second variant added in the bottom page margin (pencil):

∑ ∑

 (c’)

Voce

∑ 25-6

I: ² added (ink) A: added (red crayon)

∑ ∑

∑

F: later emended to match A (red crayon) 12

∑

∑ ∑

VI. Betrachtung 1–2

A, D, H: two solo bars added in a separate staff below the Cb. E, F, G, L: no solo bars, only one Vc. part from the beginning H: cogli altri added after bar 2 I: 3 solo bars added in the lower page margin (pencil). Identical to the two solo bars in A, D, H but an extra bar _ | °._ | inserted between them, moving the to b. 3.

Vc. solo

4–5

Fl.

A: b. 4 notes 1–4; b. 4 note 5 to b. 6 note 1: slurs added below the longer slur (pencil)

Cor.

D, E, F, H, I: no senza sord.

Vln. I

L: notes 5–8: slur, in addition to the slur across notes 5–7 A: the slur across notes 5–8 later removed

Vln. I/1

L: all notes written at sounding pitch, without 8va line

Vln. I/2

I: note 1:

Vln. II

25–27

Arpa

Vln. I/2

Cl.

Fg.

Vln. II

Vln. I

Vln. II

Ob., Cl. I, Fg.

Voce 3

42 43 45

3 Arpa 33 3 33

Arpa

I: after the last bar: Vent på omstemming i harpen [Wait for retuning of the harp] (pencil) I: after the last bar: attacca

VII. Nichts leichter The original title of the poem is Leichtes Spiel (see Source S). Instead, Irgens-Jensen chose to use the first two words of the poem as the title.

D, E, F, G, H, L: note 1: no ² F, G:

∑ ∑

Ob., Cl.

Cor. II

A: II. con sord.

Cor. II, Tbe.

A: note 1: > added (pencil, unknown hand)

Vc.

L: ff

# œCl. ‰ # œj œ œ #œ œ

# ˙. # ˙.

A: note 2: p added immediately after (pencil, unknown hand)

‰ j # œimmediately ‰ j# œnote j‰ after the # œ # œ 3: œ p added #œ œ (pencil, unknown hand) ˙ .. #œ ˙ # . # # ˙˙ . # ˙ . (red crayon) I: note 1: arco

A: note 1: f added (pencil, unknown hand);

Vln. I

F: later emended to match A (red crayon)

Vln. II

A: note 1: mf added (pencil, unknown hand)

D, E, F, H: no Solo

2–5

Vln. I

L: all notes written at sounding pitch, without 8va line

Vln. I

D, I: note 3–5: no slur (but slurs on note 1–2 and 4–5) L: note 8: no stacc.

6–10

Arpa, Cel.

F, G:

F, G, L: note 1: no ²

D, E, F: note 1: no mf

D, E, F: no dynamic markings

D, E, F, G, H, L: note 1: no ² F, G, L: note 1: no ²

Arpa

D, E, F, G, H, I, L: note 2: no ²

Cel.

D, E, F, G, H: notes 1–3: ten. A: ten. later scraped out I: ten. crossed out (red crayon) F: emended from unknown hand

_°. to _Ä

b b œœ œœ œœ œœ œœ œœœ œœœ œ & b b b b œ œœ œœ œœ œœ œJ œ œ ‰ J J f ˙. ? bb b b ∑ bb ~~~ ~~~

Arpa

A: p crossed out (red crayon) D, E, F, G, H, L: p

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

Vln. I, II

f # #œœ œ œ œ œ Œ Œ ‰ j# œ & # œœ œ # œ œ 3 # >œ > > # >œ 3 F p ? # ˙˙ œ Œ Œ ? # # ˙˙ .. & œ # œ #œ # ˙.

G: no solo I: a circle drawn around the bar, with the comment Fl. vekk [Fl. away] (red crayon)

Vln. II

L: p instead of pp

∑

Œ.

œœ œœ œ

f J

œœ Œ œœœ Œ Jœ J

∑

Œ . n œœ n n œ . n n œœ p n œ. œ

F: later emended to match A (pencil)

à   (pencil,

Fl.

bb & b b bb

Solo œ ‰ œœ ‰ Œ œœ œ œœ œœ œœ œœ ‰ Œ . œ œ J œ ‰ œ ‰ Œ Jœ œ . ∑

Vln. I

Vln. II

Vln. II, Vle.

F, G, H, I: note 1: no ²

F, G: note 1–2 and 4–5: slur. F: later crossed out and marked buer vekk [slurs away] (red crayon). Scraped out in A

F, G: the last two notes have F: the hairpin later crossed out (red crayon)

∑ ∑ ‰

Œ.

j nœ

J Œ

G: bar is empty; no note

Fl. j nœ

b œ. œ. Fl. J J ‰‰

Œ.

from previous

F, G:

. œ. n œ ≈ œ œ n œ. œ n œ ‰ p

œœ

‰Œ.

∑

F, G: Vln. I,. II . œ œ œœ œ œ œ

23–24

œ œJ œ œJ

‰œ œ ‰

œœ

œ œ

G: no pp, no

Vln. I

Vln. II, Vle.

12–13

Cl.

F, G, L: note 1: no ³; notes 5–6: no slur L: notes 4–5 and 6–7: semiquaver beam not broken

L: notes 4–5: stacc. instead of stacc. wedges

F, G, H, I, L: note 2: no ²

G: b. 12 is empty, in b. 13 notes 1–3 are missing (rests instead of notes)

Vln. I

15–16

Cl.

œ 4–6: L: notes œ . stacc. instead of stacc. wedges

Œ.

œ.

Œ.

∑

J added from b. 15 note 7 to b. 16 note A: slur 1 (pencil), in addition to the existing slur b. 15 notes 7–8.

F, G, L: note 4: no ²

Vln. I

Vln. II

Vln. I

Cl. II

F, H: note 1: no f

Camp.

G, H: no ff

20–21

Arpa

F, G: upper octave added on all notes F: these notes later crossed out to match A (red crayon)

20–21

Cel./1

F, G: lower octave missing on both notes in these bars. Cel./2 empty. F: these bars later emended to match A (pencil)

Cor. II

D, H: senza sord. (repeated in bar 24) I: senza sord. added (ink) A: (senza sord) in pencil, but later crossed out

22, 24

Cor. II

E, F, G: no senza sord.

Vln. I

22–23

Arpa/1

œ œ J œ œ

œ.

œ œ œœ F, G,Œ H, L:Jnote 1: no ² œ .

Vln. I

arco

Fl.

G: note 1: p

œœ œ

Cel.

I: notes 1, 4: no ²; notes 1–2: no slur

œœ Œ œ J œ

Arpa/1

œ œœ

‰ œœ

‰

F, G:

j œœ œœ ‰

∑

F: later emended to match A (red crayon and pencil) F, G:

œ œœ . œœ œ œ œœ œœœ ‰ Œ π

F: later emended to match A (red crayon and pencil)

F, G:

œ œœ

H: note 1: no ²

25–26

F: later emended to match A (red crayon and pencil)

Œ.

F, G, I: note 1: no ³ ; notes 3–5: no slur

j j j œœ œœœ œœ œœœ œœ œœœ œœœ œœ ‰ œ˙ . œ œœ . œ

pizz. arco pizz. œ œ œ œ œ. œ. œ œ œJ œ n œ œ œJ œ œ œ ‰

Vln. I

F, G, L: notes 3–4: slur (later scraped out in A); notes 7–8: no slur; note 8: no stacc. L: notes 1–3: no

Œ.

j j j œœ œœœ œœ œœœ œœ œœœ œœœ œœ ‰ œ ˙œ . œ œœ .

Œ.

F: later all slurs in b. 24 crossed out and stacc. added on notes 3, 7 L: Vln. I.: b. 23, note 1: ²; b. 23 notes 2–3, 4–5: semiquaver beams broken L: both systems: same version as the example, but no slurs in b. 24; b. 24 notes 3, 7: stacc.; b. 24 notes 1, 5: ² A: an even later version (used in the present edition), emended in ink after the previous notes were scraped out

F: later emended in to match A (red crayon and pencil) 10

arco arco pizz. œ œ œ œ pizz. œ œ n œ œ œJ œ œ œ ‰ J J

‰

œœ œ

F, H, I: note 1: no ²

L: all notes written at sounding pitch, without 8va line

28–29

Vln. I/2

Vle.

F, G, H, I: note 2: arco (obviously a mistake - probably the remnants from an earlier version) A: arco scraped out

Vln. I

D, H, I: note 10:

Vln. I

F: no ²

L: notes 4–6: stacc., not wedges F, G, L: slur and stacc. missing on the two last notes. No bowing marks in this bar.

Voce

F, G: note 2: no $

Vln. I

L: notes 4–6: stacc., not wedges

‰

∑

F, G, L: note 2: no ³ L: notes 5–6; 7–8: no broken semiquaver beam

A: ² only on note 4, sys. 2. (faint remains in sys. 1 as well, in red crayon)

∑ ∑

œæ.

∑

n œæ.

Vln. II

D, E, F, G, H: note 2: $ However, “ces” [c flat] written above the note; notes 3–4: no bowing marks A, L: note 2: @ L: no bowing marks

Vc.

F, G: no p

Vln. I

D, L: note 1: p A: no p

Cb.

F: no p

34–35

Vln. II

G, H, L: no bowing marks

Fl.

F, G:

∑

œ œ

œ. œ. 6 œ . 98 Œ . Œ . Œ 8 π

A: these notes scraped out 35

Vln. II, Vle., Vc., Cb.

F, G, L: note 1: no mf

35–36

Arpa

G: chords with upper octaves d@’’; g@’’. F: these two upper notes crossed out (red crayon)

35–36

Cel.

G: these two bars empty F: notes added to match the version in A (pencil)

Cel./1

E, F, H, I: written an octave lower, without 8va marking (surely a mistake, since the two systems would overlap)

œ.

Cl.

A, D: note 7: 

Vln. I, II

F, G, L: no bowing marks

Vln. II

Vln. I, II

F, G, L: notes 3–4, 9–10: no slurs, no stacc.

Picc., Fl.

D, F. G, H: notes 1–2 and 3–4: slurs A: notes 1–2 and 3–4: slurs crossed out (red crayon) I: notes 1–2 and 3–4: no slurs

Vln. I

F, G, L: notes 3–4: no slur, no stacc.; note

œœ

46‰

œ.

Vln. I‰

A: note 6: ² added with ‘ ?’ (red crayon) I: added (ink)

8: no ²

Œ.

F, G, H, I,∑ L: no bowing marks

D, I: note 1: ²; note 2–4: slur, in addition to stacc. A: slur later crossed out (pencil)

Vln. I

Cb.

F: note 1: no mf

Vc.

I: notes 2–3: duplet bracket with ’2 ’ added above these two notesa and the instruction ‘gjør duol’ [make duplet] (pencil). Presumably written by Odd Grüner-Hegge

Vln. II

Picc.

F: note 1–2: slur added (pencil)

Vle.

E, H: div. added (ink). A: div. added (red crayon)

A: note 1: ² added (red crayon) I: note 1: ² added (ink)

Vln. I, II

F, G, I, L: no ³

Vle.

L: note 1: stacc. instead of stacc. wedge

VIII. Einsam

Vln. I

F, G, H, I: note 1: no trem.

Cb.

I: notes 1–2: slur; note 2: stacc. added (red crayon)

A: ‘? Poco lento’ added (pencil) All the other sources have Poco lento printed

38–39

Vln. I, II, Vle. ∑

F, G, L: notes 1–2: no slur; note 2: no stacc.

Vln. I, II, Vle.

F, G, L: the 6 last notes are have slasheds (to be played twice). These slashes later scraped out in A and I

Ob.

A: notes 2–6: slur added (pencil); note 6: stacc. wedge added (pencil)

Fl., Ob., Cl.

F, G: note 2: mf missing

Voce

Vln. I

A: over notes 7–8: $ # written (faint writing, red crayon). This may indicate that note 7 should have $ (it has # in all other sources)

Vln. II

F, G, H, I, L: note 1: no ²

∑

42–43

Vln. I, II, Vle

L: all notes with stacc. wedges notated as stacc.

Picc.

A: note 1: f added in pencil

Ob.

A, D: notes 7, 9: 

∑

Voce

Œ œ

F, G, I:

Der Blü

œœ œ œ ten

hol

F, I: notes 2–3 later crossed out, and emended in pencil to match A (pencil). However, in the duplicated vocal part at the bottom of the score, both versions are present in the same system, in all sources

I: note 1 shifted a half tone down, to b$ (red crayon) F, G, L: note 1: no ²

16–18

Fg.

∑

F, G, L:

Œ Œ nœ œ œ bœ œ œ œ p

∑

Vc.

Vle, Vc, Cb

L: note 2: cautionary  A: added (red crayon); ‘tilsatt i st.’ [added to the parts] annotated in the margin (red crayon) A: notes 1–2: slur (pencil) I: notes 1–2: slur (faintly written, red cray∑ ‰ Œ. on). At the bottom ∑of the page with the comment ‘bue?’ [slur?] þþ

20–21

Vle.

G: no slurs or bowing marks

Vln. II

G: no slurs or bowing marks

Vln. I

22–25

Vln. II, Vle.

22–27

Vc. Cb

G: no slurs, bowing marks or articulation

Vc., Cb.

F, H, I: no bowing marks

23–27

Fl.

F, G: these bars empty

Vln. I

24–26

Vln. I

Vln. II

Cb.

L: no ³

Voce

E, H, I: note 1: ³

A: note 1: f added (pencil, unknown hand)

Voce

A: mf

30–31

Voce

Vln. I

H, I: note 2-3: no slur

Vle.

str.

Vln. II

∑

F, G, H, I: note 1: no ²

‰ nœ ‰ #F:œ .note 1: no ³

∑

œ47 ˙

Vln.œIj

Vln. I, II, Vle., Vc./2

H, I: note 1: no

str.

G: note 1: no

Ob.

G: note 3: no cautionary @

49, 50

Vc., Cb.

G: no slurs, no ten.

Cb.

D, F, G, H, I: note 3 marked div.; upper note without brackets

A: notes 1–2 scraped out; p moved to note 3 L: notes 1–2 crossed out and replaced with rests (pencil) 17

Vc./2

j‰

∑

D, F, H, I: no tie to next note

53–54

Vc./2

Cl.

F, G, H, I: no I.

Vle.

L: note 1: no cautionary @

G: note 1: no ²

IX. Dauer im Wechsel

G: no slurs, bowing marks or articulation

I: note 1: no ³

G: no slurs, bowing marks or articulation

D, E, F, G, I: f

Arpa

Vln. I

Voce

Vln. I

L: no

Cel.

F: notes as in A added (pencil) G: no notes in this bar

8–10

Arpa

F, G:

F, G, L: note 3: no ² G: note 5: no $

& b œœ œœ œœ Ó F ? b ˙˙ Ó ˙ ~~~~~

added (pencil, unknown hand) added (pencil, unknown hand)

∑ ∑

p œœ œ œ Ó ˙ .. ˙ ..

Cor. II

G: p

Arpa/1

D, E, F: l.v. tie after the note

Arpa

H, I: note 2: no cautionary $

Fl., Cl.

G: p

Cl.

G: I.

G: notes 3–4: no slur

Vc.

L: note 1: arco

Cl.

G: lower voice marked ‘2. pp’

G: last note has no bowing marks

G: note 1: no ² E: note 1: ³ H, I: note 1: ²

Vln. II

Vln. I., Vc.

G: notes 1–2; 3–4: slurs. No bowing marks in this bar

Vln. II

G: no slurs, no ten.

Vln. I, II

G: notes 1–2 (Vln. II, upper voice): no slur

Vln. II

G: notes 1–2 (lower voice): no slur

43 43

F: later emended to match A (red crayon and pencil)

G: note 1: no ³

∑

∑ ∑

13–15

A, F, G:

Arpa

œ œœ Œ Œ

>> > ˙b ˙ . b œ b œ œœ bbœœœ ..b œœ ≈ Œb œœb œb œŒbUœ . ‰ ˙ . œ b ˙ b˙ Œ bb ˙˙ Œ

&b ˙ b. œ F ? b ˙˙ .. ˙.

∑

A, F: this version crossed out(pencil/red crayon), and the current version added (ink/pencil) I: this version removed, only traces remain 17

Vln. II

H: note 4:

Vln. I

I: ³ (ink)

Vln. I

Arpa

A: ³ (red crayon)20

F, G: note 2: (²)

Vc.

∑

˙.

∑

∑ Œ Œ

∑

˙ o œ oœ # œ o œ

ŒŒ

œ bœ

˙.

Uπ Œ Œ 2 added∑ in pencil). Note ∑ 1 marked (note with two lines and ‘?’ (red crayon), and at the page margin written ‘? glemt’ [? forgotten]

Vle.

D, E: notes 2–3: slur G: note 3: cautionary @ missing

Fl.

E, F, G, H, I:

∑

A: (²) scraped out

F, G, L: note 1: no ² L: notes 5–6: no slur A, F, G:

œ n˙ & b b œœ˙ . ˙ p ?b ∑

F: U˙

∑

24 ∑

∑

œœ œ œ œ œœ œ Arpa ∑

A, F: this version crossed out in pencil/red crayon, and the current version added in ink/pencil I: this version removed, only faint traces left

√ œ- - œ œœ œœœ

∑

E, F, H: later crossed out. Removed in D and A I: marked Fl. (red crayon), and a circle added around pp (pencil) indicating that this flute bar was played when Odd Grüner-Hegge conducted the work F, G: ∑

∑

œ œ œ œ œœ œ œ & b œœ ?

∑

F: later emended to match A (red crayon and pencil)

Vln. II

F, G: note 1: no pp

Cel.

F, G: no solo

Vln. I

F, G: note 5: no $

Vln. I.

L: notes 3–4: no slur

21–22

Cor.

F, G: no notes n these bars I: the notes found in A added (pencil)

Vln. I/2

G, L: notes 5–6: no slur

Cor.

I: 1. Cor missing; senza sord. added (pencil)

Cel.

G, I: no notes in this bar

Voce

Vln. Vle. Vc.

G: note 1: p added faintly in pencil. (also “espr.” in vln. I.) In the page margin: “?”

21–22

Vc.

G,:

F: before note 4, also in the duplicate voice part at the bottom of the score. A: barely visible in the main part, perhaps attempted removed. (A has no duplicate part on the last page)

˙.

œ œ #œ

œb œ œ . b œ b œ œ n œ ² œ œœ œ 27 œ œCel. J œ œ I: no p

(only a minim in b. 22, the rest of the bar empty) œ œ œœ œis complete, ∑L: b. 21 identical ∑ to G,œbutœb.œ 22 ∑ œ as in the next exampleœ ww out and re∑A, I: the note∑in b. 21 scratched ∑ placed with a semibreve rest; b. 22 like the next example (see b. 22; Vc.), except that the first note is scratched out and replaced by a minim rest

Vln. I.

D, E, I:

28–29

Arpa

F, G:

∑ ∑

œ. œ.

˙.

œœ œœ œœ œ œœ ˙˙ .. œ 43 Œ p ∑ ∑ 43

F: later crossed out (red crayon) and substituted with the version from A (pencil) 29

Arpa

D, E, F, G: note 2 is a dotted [sic!] minim

Addenda Early versions of mvts. I and IV Transcription of Source J

BESETNING / SCORING 2 Flauti (II. anche Flauto piccolo) 1 Oboe 2 Clarinetti in Si@ (nella partitura: in Do) 1 Fagotto 2 Corni in Fa (nella partitura: in Do) 2 Trombe in Si@ (nella partitura: in Do) Percussione (1 suonatore): Triangolo Piatti Tam-tam

Arpa Celesta Violini I. Violini II. Viole Violoncelli Contrabbassi

I. Heute! (Mitsune)

[early version]

Ludvig Irgens-Jensen

b 6 &b 8

∑

Oboe

b 6 &b 8

∑

2 Clarinetti

b 6 &b 8

∑

Fagotto

? b b 68

∑

2 Corni

œœ b b œœ œœ ..

2 Flauti (II. anche Fl. picc.)

2 Trombe

Triangolo Piatti Tam-tam Arpa

6 Œ. Œ j 8 b b œœ  .. p 6 ∑ 8

∑



∑

 

68 68 68

b & b 68

œ.

œ œ œ

œ.

œ œ œ

œ ..

œ œ œ

Allegretto

∑

 ..

∑ ∑

∑

f f

.

. b. f

∑

Celesta

b & b 68

∑

Voce

b & b 68

∑

b & b 68

∑

Œ. ‰ ≈

b & b 68

∑

Œ. ‰ ≈

Allegretto

Violini II.

Viole

Violoncelli

Contrabbassi

B b b 68 . p ? b b 68 . . p ? b b 68  .  p

. . .

.



œœ

œ œ. œ œ. .

. .

.



œ ≈ œ œ œ. œ œ ≈ œ œ œ. œ

. . .

œ ≈ œœ œœœœ œ F

œœœœœœ

œ œ œ.

œ œ ≈ œœ œœœœœœœœœœ œ F j œ œ@ œ J œ @ 

.



œ. œ.

.



œ.



œ œ œ

œ œœœœœœœœœœœœ ƒ

œœœœœœœœœœœœ

.

 ƒ

œ ‰ ‰ Œ. J

Fl.

Ob.

2 Cl.

Fg.

2 Cor.

b œ

bb œ . &

œ B bb

2 Tbe.

Pt.



T.-t.

.

œœ

 b

Cel.

Voce

Vln. II.

Vle.

œ œ. J œ œ. J œ œ. J

b b œœ J

œœ ..

>œ >œ

œ œ œ œ. J

œ >œ

œ œ œ œ œ. J œ

b &b

‰ ‰ Œ.

J ‰ ‰? œ f

>> œœ ‰

A>œ >œ

∑

.

. Œ œ œ œ œ œ f œJ J J jœ

œ œ

œ ‰ Œ.

. F

j œ

 ..

jœ

œ J

œ œ J

‰ Œ.

œœ œœ J

J p

œ ‰ œj œ œ œ œJ œ

œœ

[Fl. II. muta in Fl. picc.]

‰ Œ.

∑

j œœ ‰ ‰ Œ .

∑

∑  ‰ ‰ J

∑

.

∑

‰ Œ.

J F j

œ œ J

œœ

∑

œ œ œ œ.

.

? bb

‰ Œ.



œœ œœ

Aœ

œ ‰ Œ. œ œ ‰ Œ.

œ œ œ œ œ B b b œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ

Cb.

bœ

∑

œ œ œ œ œ œ œ. bb œ œ œ œ œ œ œ œ œ &

Vc.

∑

.

? bb 

‰ Œ.

  .. 

j œ ‰ ‰ œ. œ. f œœ ‰ ‰ b œ . œ. J

∑

Arpa

œ œ œ œ.

.

[a 2]

∑

J ‰ ‰ œ œ f Œ.

œ f

∑

j ‰ ‰ ‰ œ œ œœ œ œœ œ œ œ F

‰ ‰

œ œœ

.



pizz.

∑

‰ Œ.

≤

j œ œ œ. œ œ

j ‰ œ œj ‰ arcoj œœ œ œ p P

œ J ‰ œj œ P

pizz.

arco

pizz.

espr.

œ ‰ œ œ ‰ b œj œ œœ ‰ œ J p P

j arco œ œ œ  . œ œœ œ ‰ œœ œ ‰ œJ œ . œ œ F espr. jœ

∑

j j

œ J

13 Fl. picc.

Fl.

b &b Œ

Ob.

b &b Œ

2 Cl.

Fg.

2 Cor.

b Œ b & ? bb

∑

œ œ. œ œ œ œ

solo

J f

œ œ

J F Fj œ bœ ∑

œ J

∑ ∑

∑

œ œ œ œ œ. œ œ œ ‰. ‰ solo

Œ.

œ ‰ Œ. Aœ Œ Œ

‰ Œ. ∑ j

œ œ.

f ∑

œ œ.

J f ∑

∑

œ. con sord.

b œœ ..

∑

Voce

∑

Vc.

Cb.

? bb b  . F ? bb

œ bœ ‰ œ

J p

∑

œœ ... œ

arco

∑

œ.

∑

bœ.

‰ p

œ ‰ œ œ ‰ œ

[pizz.]

Œ . b œœ .. œ. ∑

∑

œœ .. œ.

∑

j j ≥ œ ‰ Jœ œ œ œ œ b œ œ œj œ . p espr. ∑

∑

‰

∑

‰

∑

nœ.

pizz.

œœœ ...

∑

œ≥ œ œ œ œ œj œ . J f

b œ œ≥ œ J‰ œ. f œ b œ≥ œ # œ . f

∑

Vle.

∑

pizz.

∑

B bb œ F

∑

arco

œ‰ ‰ p J

œ.

∑

Cel.

J p

œ. bœ.

Œ.

Arpa

∑

b j &b œ F

∑

II.

∑

bœ ≥ J ‰ bœ œ #œ . f

F Œ. œ. F

œ.

j‰ ‰

∑

b &b

œ bœ ‰ œ

œœ ‰ Œ . b œ . œ.

∑

pizz.

espr.

∑

Vln.

∑

œ œj œ œ œ

∑



b & b . F

∑

Pt.

∑

con sord.

∑

œ œ jœ œ J œ œ b œ œ œj œj ‰ ‰

π n œœ .. ‰

∑

∑ ∑

œ.

∑

b œœ ..

& 

∑

2 Tbe.

T.-t.

∑

∑ Œ.

‰

j œ œ@ œ@ œ@ œ@

j œ œ ‰ b œ .

j œ ‰

∑ ∑

œ ‰ b œ. p

Œ.

∑

œ.

[arco]

 p

20 Fl. picc.

Fl.

∑

b &b œ

Ob.

b & b Œ.

2 Cl.

b &b

Fg.

? bb œ

2 Cor.

Œ.

œ.

∑

Pt.



∑

Arpa

∑

Voce

Vln. II.

Vle.

Vc.

Cb.

B b b œ.

 ..

C j œ@ œ@ œ@ œ@

œ.

? b ‰ œ œ œ b œ œ ? b œ. b 

pizz.

œ.



∑

‰ Œ.

∑ j

œœ œ . œ.

Œ.

œ.

Œ.

J ‰

∑

∑ ≥ ‰

œ ‰ Jœ œ ‰ ‰ J J pizz.

œœ ..



œœ ‰ ‰ J

œ ‰ ‰ Œ. J

œ œœ f

œ œ

arco

œœ ... œœ .

œ œ

arco

Œ.

≥œ

‰ œ ‰ ≥

œ œ #œ nœ œ J

œ œ #œ nœ œ J ‰

œ ..

‰

∑

F 100

.

∑

œœ œ J œ

‰

œ‰ œ œ‰ œ Œ.

œ.

‰ ‰

œ ‰ ‰ J

∑

‰ œœ œ œ ‰ œ ‰ J œ œ p F ‰ œ ‰ ∑

œ.

∑

div.

‰

∑

‰ œ œ ‰ œ œ œj œ ‰ œ œ ‰ œ œ ≥œ

œ œ #œ nœ œ J

∑

‰ œ

∑

œœ ... œœ .

Œ. ∑

p j j ‰ Jœ œ ‰ œ f f

∑

pizz.

∑

j œ ‰ ‰ œœ..

arco

∑

œ ‰ ‰ Œ. J

∑

b & b . b &b  œ

.

œ œ œ. œ œ œ.

.

∑

? b b &b

œ œ œ. œ œ œ.

I. con sord.

∑

Cel.

∑

P p ‰ . P œ œ œ .. œ œ œ œ œ œ œ œ . œ  œ ≈ œ œ œ ‰ Œ a 2j œ œ œ œ. œ . ‰ ‰ œ œ F J f j ∑ ∑ œ œ œ œ j ‰ ‰ Œ.



∑

œ œ œ. œ œ œ œ œ œ . ‰ ‰ f œ œ œ. œ œ œ œ œ œ ‰.

2 Tbe.

T.-t.

@J p ‰

n œœ œœ J

‰

œ ‰ nœ œ ‰ #œ nœ ‰ œ #œ ‰ œ

œ.

 F

œ ‰

∑

espr.

b & b œ œ ‰ Œ. f b œJ œ œ . b & f b & b œJ œ œ . f b œœ œ œ . b & J œ œ. f ? b ∑ b

26 Fl. picc. Fl.

Ob.

2 Cl.

Fg.

∑

J ‰ ‰ Œ. p j œ ‰ ‰ bœ. p f

œ . œ ‰ ‰ b œœ .

J p Œ.

œ.

‰

œ œ œ œ bœ

J f p œ J ‰ ‰ œ. p f Œ.

∑

2 Tbe.

∑

Pt.



∑

T.-t.

Arpa

Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.



∑

? b b

b œ. &b  π

Œ.

∑

‰ Œ.

∑

 .. p

‰ Œ.

œœ

∑ j b b œœ œœ

œœ

œœ ..

p ƒ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . . π ∏ ∑ ∑

∑

œœ

 ..

F œ J p

‰

Œ.

‰

∑

œ.

.



≥

 F

œ œ œ bœ œ. J

f espr.

œ ‰ œ œ. bœ. œ œ ‰ b Bb   F f œ nœ œ œ bœ œ œ. J ? bb ‰ ∑

∑



œ œ Œ.

b œœ .. 

œ≥ . b ‰ œ.  œ. ‰ œ.

œ.

ƒ >œ≥ >œ≥

œ œ ‰ ‰.

101

‰ Œ.

œ.

œ œœœœ

œ œ œ.

œ œ œœœœœœœœœœ œ œ

ƒ p >œ≥ >œ≥ œ . œ œ œ. J  >œ >œ p œ œ ‰ Œ. >œ >œ

Bald

œœ

molto

. .



œ. p .  p

‰ p

∑

œœœœœœ

∑

œ≤ œ œ œ b œD >œ≥ >≥ œ . œ≈ ‰‰ R

∑

 ..

œ œ ‰ Œ.

∑

œœ bœ œ

b œœ ..

 ..

œ œ ‰ Œ.

∑

.

b œœ ..

con sord.

∑

œ b &b œ ‰ œ ‰ œ

? bb

œœ

∑

œ j ‰ ‰ œ bœ œ œ ‰ Œ. œ f ƒ p bœ. œœ œœ . j ‰ ‰ œ. ‰Œ œ

2 Cor.

œ œ œ J J J

wird der

œ œ œ

œ œœœœœœœœœœœœ œœœœœœœœœœœœ

molto



œ.

 f



œ ‰ ‰ Œ. J

32 Fl. picc.

b .

Fl.

Ob.

2 Cl.

b & b œœ

Fg.

2 Tbe.

Pt.



T.-t.

Arpa

Cel.

Voce

∑

Vln. II.

>œ œ J

∑

œœ ..

œœ ‰ ‰ Œ . J

Œ.

∑

œœ



b b œœ J F

œ ∑

∑

œœ .. ∑

∑

b &b œ

œ œ. J

? b b &

.

wind

Vc.

Cb.

œ œ œ œ œ œ œ B bb œ œ œ œ œ œ J ‰ ‰ œœ f . 

? b  b ? b b

∑

J ‰ ‰ œ œ f Œ. œ. f

∑

 .. p

durch die Flu - ren

œ œ b œ œ œ œ œ œ œ œ œ œ œJ ‰ ‰ b & œ œ

∑

. f

‰ ‰ ‰ ‰

heu

œœ

∑ ∑

∑

œ œ œ

œ œ.

∑

‰ Œ.

∑

‰ Œ.

∑

len

Œ.

≤

dim.

œ œ

œ œ ‰

dim.

j œ

œ œ

dim.

.

dim.

102

∑

espr.

P Œ œ œ J

p ≥j

‰

p ≥ j ‰ b œj œ œ p œ ‰ œj œ J p ‰ Œ. œ p

œ J

und Laub und

≤j œ œ œ . œ œ œ œJ œ .

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ



‰

œ ‰ ‰ Œ. J

J ‰

‰ Œ.

‰ Œ



∑

Vle.

‰

 ..  ...  .

œœ

∑

. F

J ‰ ‰ œ

∑

œ œJ œ œ . œ j >œ J œ J œ

∑

.

∑

œœ ‰ ‰ Œ .

∑

Sturm

∑

J ‰ ‰ Œ.

? bb

2 Cor.

∑

œ œ J

œ J

œ œj œ .

œ œ œ.

F bœ. F

œ. ∑

Fl.

Ob.

37 Fl. picc.

∑

Œ.

œ œ œ œ œ. œ œ œ ‰. J ‰ ‰

∑

œ.

∑

bœ. p œ.

2 Cl.

Fg.

? b b

∑

2 Tbe.

∑

Pt.



∑

2 Cor.

T.-t.

Arpa

∑



∑

? bb

∑

Cel.

Voce

b & b œ.

œ.

Früch - te

I. Vln. II.

Vle.

Vc.

Cb.

∑

œ.

‰ ‰ ‰

∑ Œ

Œ.

∑

œ J

œ ‰ ‰ J

œ œ J 2

schüt - teln,

sola

J f

j

j œ ‰ ‰

œ ‰ j œj ‰ ‰ œ. J œ œ. F #œ.

œ ‰ ‰ Œ. J

∑

œ.

œ bœ J

∑

p Œ œJ

und

∑

Blu

. . œ.

 π

∑

œ œ œ œ bœ Œ.

∑



‰

‰ Œ. ∑

bœ

∑

j‰ ‰ œ œ gg œœ .

‰

∑

103

∑

Œ.

∑

F #œ. nœ. ∑

Œ.

. .

π bœ ‰ ‰ Œ. J F F

∑

œ œ œ œ bœ

∑

œœ ‰ ‰ œj ‰ ‰ œ

∑

œ ‰ ‰ gg œœœ œ

pizz.

∑

π .

∑

von den Bäu - men

∑

œ.

∑

Œ œR œR œ

? b b Œ œ œ n œJ b œ œJ  @ J p ? bb ∑

‰

∑

b & b Œ œj œ . œ œ œ œ . p F j œ j b œ & b Œ œj œ œ p . B bb Œ . œ . p 

solo

∑

men

œ œ J

knick - ken,

œ ‰ ‰ J

. œ. b œ. œ . b œ. œ œ œ œ œ œ b œ . ‰ p arco

∑

#œ. nœ.   ∑

j œ ‰ Jœ œ œ p Fœ œ bœ. @J  F



‰ Œ. ∑

‰

43 Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

& &

b & b œ. F

∑

2 Tbe.

Œ.

∑

œ.

F ∑

Cb.

∑

œ.

∑

œ‰ ‰ J

∑

‰

Œ.

∑

Œ.

∑

œ ‰‰ J

∑

   bœbœ. œ œ œ ‰ œœ f   . Œ. ‰. œ œ bœ bœ bœ œ ‰.

∑

b.

∑

œ œ Œ. J ∑

∑

? b b

∑

fœ . Blu -

œ. œ œ bœ -

- men

œ≥ b œ œ œ œ b œ b œ. œ œ œ J J &b

Vc.

∑

œ mor.

œ‰ ‰

∑

Voce

Vle.

∑

œ.

∑

b & b Œ.

II.

.

∑

Vln.

∑

Cel.

∑

√   bœ. bœ. bœ. b œ b œ œ  œ œ œ œ œ œ ∑ Œ. ‰. bœ p f   bœ. bœ œ œ œ œ œ œ . bœ bœ. œ ‰ Œ . ‰ . b œ œ b œ p f f a 2  b œ b œ . b œ  œ œ œ œ œ œ œ bœ ‰ ‰ Œ. b œ . . ‰ Œ ‰ œ J f f

b & b bœ. F ? bb œ ‰ œ ‰ f

2 Cor.

Arpa

f b Sœ . b &  f S bœ. B bb  f ? bb ? bb

(

)

œ ‰ Œ. œ ‰ Œ. œ.

.

‰ ‰

 ‰

b >œ .  ƒ >œ .  ƒ

∑

œ 2 œ Œ. J J

knick - en,

bœ œ œ œ œ bœ œ J J 2

wo er im - mer

œ.

œ ‰ ‰ bœ.  J  bœ.

J ‰ ‰ b œ @j  œ œ. F



bœ. 

J‰ ‰

œ.

J‰ ‰



∑

œ.

œ. b œ . F  .

 F

∑

104

œ.

weht,

≈ œ œ œ bœbœ. œ œ f

œ.

 



.

sul pont.

.

sul pont.



‰

. .

Œ.

p bœ.

j2 j œ

œ@ b œ@ œ@ b œ@ œ@ @ œ. p bœ .

 π

. π

sul pont. . ‰ . œ œ b œ b œ b œ œ œ œ œ b . π F sul pont. . ∑ ∑  π

2 j b œj

œ œ. œ

im - mer

sul pont.

b . π

.



.

b. 

.



∑

? bb

∑

51 Fl. picc.

Fl.

Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe.

Arpa

&b &b

b b b

∑

con sord. Œ b œj œ œj b œ bœ œ π ∑

∑

? b b

∑

Cel.

b &b

∑

Voce

b & b bœ. œ.

œ. Œ.

∑

weht.

I. Vln.

b & b b .

II.

b & b b .

Vle.

B b b .

Vc.

Cb.

? b b  . ? b b  .

mor.

. b .

b .

.

. œ ‰ Œ



. Œ bœ œ. J p pizz.

. Œ bœ œ. J π

Œ ‰ Œ.

∑

Œ ‰ Œ.

∑

Œ ‰ Œ.

∑

Œ ‰ Œ.

∑

Œ ‰ Œ.

∑

Œ ‰ Œ.

∑

U U U U U

œ ‰ Œ.

bœ

Œ ‰ Œ.

b .

. ggg œœœ ..

Œ ‰ Œ.

sola

Œ ‰ Œ.

U pj r Œœ œ ≈

bœ

‰ Œ.

bœ ‰ Œ.

mor.

.

U œ

mor.

∑

ggg œœ ..

∑

bœ. œ.

Blü - ten pflück-en,

mor.

œ. bœ.

œ b œ œ b œ œ œ œJ ‰ J J J J

Drum, willst du

mor.

Œ ‰ Œ.

∑

Œ bœ πJ

œ. œ. bœ. bœ.

Œ. ?

Blü - ten pflück-en,

. b  .

div.

bœ Œ J

∑ ∑

œ œ J

bœ. bœ. bœ

3 8 38 38

œ 3 8

∑

– tu es heu -te;

b œœ ..

œ.

Œ.

œ.

. b œœ .

Œ.

∏ ∏

≥ Œ b œ œ 38 F

Œ.

∏

div.

∑

Œ œ œ b œ ‰ œ œ 38 p Œ b œj œ ‰ œ 38 p 38 ∑

F œ . b œ œ œ œj œ Œ b Rœ Rœ œJ œJ ‰ 38

∑

Œ ‰ Œ.

œ ‰ œœ 3 Œ bœ œ 8 p 38 ∑

œœ ..

∑

105

b œœ ..

div.

‰ Œ.

ggg b ggg ggg ggg ggg g

3 8

∑

∑ ∑

bœ Œ J π

pizz.

≥ œ œ 38

bœ

œ J 38 F

F ≥ Œ b œJ 38 F

∑

b 3 &b 8

59 Fl. picc. Fl. Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe. Tgl.

Arpa

Cel.

Voce

. . . œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ œ 6 ‰ 8 solo

∑

F bb 3 œ ‰ b œ œ 6 œ. ‰ ‰ Œ . ∑ & 8 8 J F œ œ œ. ‰ ‰ œ œ œ. ‰ ‰ œ . bb 3 6 Œ. ∑ & 8 8 F b 3 b œ ‰ œ œ 6 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. œ b & 8 8 . F    œ ‰ œ  bb 3 ‰ 6 ‰ œ œ ‰ œ œ & 8 œ bœ 8 œ F F ? b 3 6 ∑ ∑ ∑ b 8 8 & & 

3 8 3 8 3 8

∑

b 3 bb œœ . b & 8 .

∑

? b 38 b œ b Jœ b b & b 38 ? b b 38

6 8

tu es

I. Vln. II.

Vle.

Vc.

Cb.

f bb 3 Œ b œ œ 6  . & 8 R R 8 b & b 38 b & b 38

œ≤ ‰ ‰ J f b œ≤ ‰ ‰ J f

≤ B b b 38 œJ ‰ ‰ f ? b b 38 b œ b Jœ ? b b 38

∑

œ ‰

∑

œ œ œ

heu

68 Œ 68 Œ 68 68 68

œ œ ‰ œ J

pizz.

œ œ ‰ œ

pizz.

J p

œ. -

te!

œ ‰œ œ Œ.

∑

Œ.

∑

œ. œ. p

. .

œ œœ œ œ

bœ bœ bœ J J P

œ œ

œ œ œ œ.

arco

J p

∑

106

∑

œ.

j Œ œœj œœ œœ œ œ œ p Œ Jœ œ œJ

œœ ‰ Œ ‰ œ ‰Œ ‰

∑

œ. Œ j j nœ nœ œ .

∑

zu spät, zu

div. [arco]

∑

∑ j

œ ‰ Œ.

Œ œj œ ‰ œ œ  . π Œ j ‰‰ Œ . œ œ ‰ œ œj π solo . j ∑ Œ œ. œ ‰ œ. F

Viel- leicht ists mor-gen schon

arco

∑

Œ b œj b œ œ œ œ œJ

œ œ œ œ ‰ ‰

∑

œ œ ‰ J J

∑

j Œ œ œ‰œ π ∑

∑

œ œ œ ‰ œ œ œ

.

∑

œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 68 ‰

∑ ∑

.

œ ‰

∑

p ≈‰ 6 b. . œ œ œ 8 ‰ ‰ Œ. ∑ bœ J 6 ∑ ∑ 8 6 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. œ œ ‰ 8 .

œ bœ ∑

∑

∑ ∑

.

spät.

∑

..

div.

 ∏ pizz. Œ œj œ œj œj ‰ j ‰ œœ œ π p

. . ∑

Œ j j œ œ œ ∏ ∑

j‰ j ‰ œ œœ œ p ∑ pizz.

∑

66 Fl. picc. Fl.

Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe.

Arpa

Cel.

Voce

I. Vln. II.

Vle.

Vc.

Cb.

b b

b j ‰ ‰ Œ solo b & œ j j bœ bœ bœ œ p bb ∑ ∑ & ? b œ. . œ. œ. œ. œ œ b œ J π

. b œ. b œ. œ . J ‰ ‰ Œ. . ‰ œ p ∑ ∑

Œ.

. b œ. b œ. œ . J ‰ ‰ Œ. ‰. œ

Œ.

œ œ œ.

p j‰ ‰

∑

œ œJ œ œj œj ‰ ‰ Œ .

∑ Œ.

con sord.

∑ ∑

∑

. ‰ . œ œ. b œ. œJ ‰ ‰ p.

Œ.

∑

∑ Œ b œj œ . b œ bœ. p ∑

. b œ. œ. J‰ ‰

.œ ‰. œ π

∑

j œœ ‰ ‰ Œ .

∑

? bb &

&b &b &

b b

b & b . .  ∏ B bb ? bb ? bb ? bb

..  ∏ sul pont. ..  div.

œ œ

∑

..



‰ Œ. ‰ Œ œj π

arco

∑

..



∑

j j j œ œ œ ‰œ

pizz.

∑ ∑

∑

œ ‰œ œ Œ

Œ.

œœ J

pizz.

œ.

arco

∑

 ..

∑

œœ b b œœ b œœ .. ∑

Œ.

j œ b b œœ@ œ. œ œ.  @J 



..

∑

..

∑

œ œ . ‰ p

mor. -

..

mor. -

∑

bœ œ J ‰ ‰ Œ. ∑

∑

œœ ‰ ‰ Œ . J

j œœ ‰ ‰ Œ . J

∑

‰

∑

‰

∑

. 107

.

j œ‰ ‰

Œ.

∑

BESETNING / SCORING 2 Flauti 1 Oboe 2 Clarinetti in Si@ (nella partitura: in Do) 1 Fagotto 2 Corni in Fa (nella partitura: in Do) 2 Trombe in Si@ (nella partitura: in Do)

Arpa Celesta Violini I. Violini II. Viole Violoncelli Contrabbassi

IV. An einen Freund (Mitsune)

[early version]

## & # # 68

∑

## & # # 68

∑

Lento serioso

2 Flauti

Oboe

2 Clarinetti

## & # # 68 ## & # # 68

Fagotto

? #### 6 8

2 Corni

2 Trombe

Voce

68 6 8

## & # # 68

Œ.

Violini

II.

Viole

Violoncelli

Contrabbassi

senza sord.

solo

∑

œ œ œ œ #œ #œ ∑

B # # # # 68 œ œ œ œ π p senza sord. ? #### 6 ∑ 8

œ œ œ œ ‹œ œ.

con sord.

? # # # # 68

œ.

Œ.

∑

œ.

∑

œ.

∑

œ œ nœ œ. -

∑

# # # # 6 con sord. & 8 œ. œ. π p senza sord. ∑ B # # # # 68

con sord.

espr.

#œ œ. nœ œ œ œ

∑

3 # # # # 6 con sord. 3 œ . œ œ œ œœœœ & 8 œ. œ œ œ œ œ œ. œ π p senza sord. # # ∑ ∑ & # # 68

? # # # # 68 Œ .

œœœ œœœœœ

∑

Lento serioso

#### 6 & 8

œ. œ œ nœ. œ œ nœ œ œ œ.

‰ Œ.

œ.

. π

∑ #œ. ∑

œ œ ‰ œ œ ‰

pizz.

∑

œ. œ œ œ. #œ œ

œ.

∑

œ œ œ #œ œ œ œ œ ∑

œ.

œ œ ‰ œ œ ‰

.

Œ.

pizz.

œ œ ‰ œ œ

6 Fl.

Ob.

2 Cl.

# ## & #

2 Tbe.

II.

œ.

Vc.

Cb.

‰

œœœœœœœ ∑

####

B #### ? #### ? ####

Œ.

π j

j œ œ œ œ œ œ œ œ. nœ œ œ nœ œ œ œ

œ. œ

j nœ œ. p

œ œ #œ.

nœ.

œ.

nœ.

∑

p con sord. œ. #œ. ‰ œ. œ p con sord. ∑

∑

Œ.

∑

Œ.

∑

Œ ‰

œ.

œ œ

‰

arco

œ.

‰ #œ π

pizz.

œ œ

∑

‰ ‰

‰

œ. pizz.

110

∑

‰

‰ œ œ ‰

pizz.

œ œ

‰ œ

‰

œ œ ‰

nœ

‰ œ

‰

nœ. p

œ.

œ œ. œ #œ. J

∑

‰

nœ

∑

œ œ ‰

‰ π

‰

œ.

pizz.

œ œ.

‰

j nœ œ. π ∑

∑

œ.

‰

∑

.

? #### Œ .

œ. œ œ œ.

∑

∑ nœ.

solo

espr.

∑

## & ##

∑

œ #œ #œ œ.

Œ.

solo

∑

B #### Vle.

∑

I. con sord.

####

Vln.

∑

? ####

2 Cor.

Voce

####

∑

# ## & #

& Fg.

####

[pizz.]

œ.

∑

‰ nœ nœ. ∑

‰

11 Fl.

Ob.

2 Cl.

Fg.

# ## & # œ # ## & # # ## & #

2 Tbe.

Vln.

II.

Vle.

Vc.

Cb.

œœœ œ œ

∑

# ## & # &

####

# ## & # # ## & # &

####

#œ.

‰

œ œ ∑

#œ.

‰

œ.

? ####

∑

? ####

#œ œ

∑

‰

#œ.

œ ∑

‰

œ œ

‰ ∑

Œ.

‰

#œ ∑

F espr.

[arco]

œ.

arco

œ œ nœ œ

∑

‰

p espr.

∑

.

arco

111

∑

F espr.

œ.

œ œ #œ

nœ . œ. œ œ œ œ œ 3

∑ Œ.

œ œ œ nœ œ nœ

∑

[arco]

∑

œ.

œ. œ nœ œ. nœ.

∑

∑ ∑

∑

#œ

∑

? ####

∑

œ.

# B ## # œ œ ‰ œ œ ‰ # B ## #

∑

œ œ œ .

∑ #œ œ

∑

œ.

π œ.

∑

œ.

∑ #œ.

∑

? ####  .

2 Cor.

Voce

####

π ‰

nœ œ nœ bœ œ bœ π F espr.

J ‰ ‰ Œ.

œ.

Œ ∑

‰

∑

bœ bœ p

‰

div.

bœ ‰ nœ. bœ œ nœ n œ bœ p F Œ

j bœ p

‰ bœ œ p ‰ nœ p

nœ nœ ‰ F

∑

bœ nœ ‰ F

#### Œ . &

16 Fl.

Ob.

2 Cl.

Fg.

2 Cor.

2 Tbe.

Voce

Vln.

II.

Vle.

## & # # Œ. ## & # # Œ. ## & ##

Cb.

∑ ∑

∑

## & ##

J F

senza sord.

####

espr.

## & # # œ@ @ œ@ œ œ p ## ∑ & ##

espr.

‰ nœ œ F Œ

œ.

œ nœ

œ.

j j œ@ œ . ≈ ‰ F

‰ nœ œ p

? ####

@ @ œ@ œ@ # œ@ œ@ œ # œ ∑

@ @œ # œ@ œ@ œ@ # œ@ œ p

œ.

J F ‰

nœ

œ œ.

œ.

f f

‰

œ œ ‰

œ œ.

‰

nœ

F ‰ p ‰ œœ .

∑

≈ nœ nœ œ œ f Œ. ≈ nœ nœ œ œ f nœ nœ œ œ ≈ F

≈‰ @ p

œ nœ œ

p œ ‰ ‰ J

Œ.

j nœ

Œ.

nœ

œ # œœ ..

œ.

j B # # # # # œ@ @ @ # œ@ œ@ # œ@ œ . ≈ ‰ #œ p #œ F ∑ ‰ œ œ œ . B #### p ? ####

nœ œ œ

œ œ œ œ œ œ.

j œ. œ@ œ@ œ@ n œ . ≈ ‰ 

∑

nœ œ œ

œ œ œ œ œ œ.

‰ senza sord.

nœ œ œ

œ œ œ œ œ œ. ∑

∑

## & # # Œ. &

Œ Œ

? ####

? #### Vc.

∑

@J F ≈

nœ @

nœ @ F nœ @ F

Œ.

œ J

 œ nœ nœ œ

nœ œ. @ 

œ œ

R ≈ ‰ nœ J F

R F

#œ f

œ ≈ R

R ≈‰ ‰

r œ ≈‰ ‰ œ

œ ≈ R

ƒ nœ œ #œ ƒ

œ œœ œ ≈ R

[ƒ]

œ œœ œ R ≈

nœ nœ ≈ œ R f ƒ

nœ ≈ œ R f ƒ ‰

∑

ƒ nœ œ #œ

ƒ œ œ n œ >œ .

solo

œ ≈‰ ‰ R

r œ ≈ œœ œ f

R ≈‰ ‰

œ œ œ œ nœ œ.

nœ ‰ @

œ R ≈ œ f ƒ nœ nœ ≈ R f ƒ

J F

≈

R ≈‰ ‰

œ ≈ nœ œ #œ R

œ œ nœ

nœ nœ @ @

nœ @

œ œ

œ R ≈

œ.

∑

112

≈

œ œ nœ

 œ nœ nœ œ

œ œ œ œ nœ œ.

œ ≈‰ ‰ R

œ œ J

‰ ‰

R ≈‰ ‰

>œ œ R ≈‰ ‰

R ≈‰ ‰

œ œ ≈‰ ‰ R œ œ ≈‰ ‰ R œ œ

R ≈‰ ‰

Fl.

Ob.

2 Cl.

Fg.

∑

## & ##

∑

#### œ & #### & ? ####

2 Cor.

2 Tbe.

Voce

Vln. solo

Vln.

II.

Vle.

####

#œ. p

Cb.

œ nœ œ œ

.

####

∏

## & # # Œ. ## & ## B ####

? #### ≈ œ n œ œ ‰ p ? #### ? ####

bœ

∑

≈ œ nœ p

œ œ œ nœ œ #œ œ

Œ.

‰

∑ ∑

∑

≈ œ nœ œ ‰ [p] pizz.

∑ ‰.

nœ œ nœ Œ. p

‰ ∑

∑

≈

Œ.

∑

pizz.

œ nœ # œ ≈

≈ #œ œ nœ œ

œ œ

arco

bœ p ‰ nœ p

Œ. nœ œ π

arco

∑

J P

‰

#œ

‰

solo

∑

‰ œ œ

∑

113

Œ ∑

œ nœ œ #œ. nœ.

‰

∑

B ####

‰

nœ œ œ œ #œ œ œ

∑

‰

∑

## & ##

.

II. con sord.

nœ ≈œ

‰

#œ.

pizz.

Vc.

œ nœ œ œ œ ≈ ‰

## & ## &

solo

24 Fl.

Ob.

2 Cl.

Fg.

& & &

####

p. . .

Œ.

#### ####

? ####

∑ ≈

Œ.

œ œ œ Œ. œ π

∑

2 Cor.

∑

2 Tbe.

& # ## & #

Voce

Vln. solo

Vln.

II.

#### œ

Vc.

Cb.

≈ . . . . . Fl.

# ## & # # ## & #

F ‰

‰

∑

œ #œ

#œ nœ œ

œ.

∑

‰

œ.

œ œœœŒ

œ nœ

#œ nœ J

#œ. p

∑

≈ ‰ ‰

≈

∑

# B ## # ≈ œ n œ œ ‰

œ ≈ #œ œ œ œ

∑

œ œ œ œ ‹œ œ œ D œ Œ. ≈œœ ≥

œ œ.

> π

œ nœ.

> π

#œ œ. π

œ œ J

≈ ∑

≈ œ. ∑ ≈n œ .

# B ## #

∑

? ####

∑

? #### ? ####

114

œ.

∑

‰

solo

nœ.

∑

œ œ œ œ ‹œ œ œ œœ

œ.

∑

œ.

Ob.

∑ ‹œ. P

œœ

∑

œœœœ

# ## & # ‹œ. p # ## & #

œ œ nœ œ œ #œ

‰

∑ œ

∑

pizz.

Vle.

‰ ≈ œ œ œ œ nœ J ≈ #œ œ œ œ p. . . . .

J p

#### œ . œ œ œ œ # œ ‰ #œ & Œ. J II. π # # œ. œ œ œ œ ‰ & ## π ## ‰ j & ## œ œ œ π œ ? #### ‰ Œ.

28 Fl.

Ob.

2 Cl.

Fg.

∑

2 Cor.

∑

2 Tbe.

∑

Voce

Vln. solo

Vln.

II.

Vle.

Vc.

Cb.

# ## & # Œ. &

####

# ## & # œ #### Œ . & ## & ## œ

œ œ

kommst nur,

um die Blu - men

#œ

œ. nœ œ œ œ

blühn

zu seh - en

œ œj n œj œj

bei

∑

‰ Œ.

∑

Œ ‰ Œ.

‰ Œ.

B #### Œ .

œ.

∑ ∑ ∑

œ œ

œ œ œœ œ

#œ

œ œ

œ œ œ.

‰

#œ.

œœ

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