Nielsen Clarinet Konzert Notes
Nielsen Clarinet Konzert Notes
Nielsen Clarinet Konzert Notes
K O N C E R T
O P U S 5 7
F O R K L A R I N E T O G O R K E S T E R
C O N C E R T O
O P U S 5 7
F O R C L A R I N E T A N D O R C H E S T R A
Udgivet af
Edited by
Elly Bruunshuus Petersen
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ISBN 87-598-1211-7
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CONCERTO FOR CL ARINET AND ORCHESTR A, OPUS 57 KONCERT FOR KL ARINET OG ORKESTER, OPUS 57
Abbreviations 56 Forkortelser
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K O N C E R T F O R K L A R I N E T
O G O R K E S T E R , O P U S 5 7
C
C O N C E R T O F O R C L A R I N E T arl Nielsens Koncert for Klarinet og Orkester op. 57 er
A N D O R C H E S T R A , O P U S 5 7 komponeret i løbet af månederne april til august 1928.
I det tidlige forår havde han forinden komponeret de
C
arl Nielsen’s Concerto for Clarinet and Orchestra op. 57 to første stykker af Tre Klaverstykker op. 59: Allegro fluente dateret
1
was composed during the months from April to August 15. januar 1928 og Molto adagio, dateret 1. marts 1928, og på
1928. In the early spring he had already composed the opfordring af Emil Telmányi Preludio e presto op. 52 for violin
first two of the Three Piano Pieces op. 59: the Allegro fluente dated solo.2
1
15th January 1928 and the Molto adagio, dated 1st March 1928; Det tidligste værk med klarinetten i centrum er et af
then, at the request of Emil Telmányi, the Preludio e presto op. 52 komponistens arbejder fra konservatorietiden med titlen
2
for solo violin. Fantasistykke for klarinet og klaver.3 Instrumentets særpræg
The earliest work with the clarinet at the centre is kom til udtryk i kvintetten Serenata in vano for klarinet, fagot,
one of the composer’s pieces from his time at the Royal Danish horn, cello og kontrabas, komponeret 1914, hvor blæse-
Academy of Music in Copenhagen, entitled Fantasy Piece for instrumenterne taler med hver sit sprog i et musikalsk humori-
3
clarinet and piano. The distinctiveness of the instrument came stisk forløb med de to strygere som akkompagnement, og i
to expression in the quintet Serenata in vano for clarinet, 1922 søgte han i sit sidste opus for kammerensemble, Blæser-
bassoon, French horn, cello and double bass, composed in 1914, kvintet op. 43, at udtrykke de forskellige instrumenters karakter
where each of the wind instruments speaks its own language – en kompositionsteknik, som Carl Nielsen videreførte i
in a musically humorous process with the two strings as Symfoni nr. 6.
accompaniment; and in 1922, in his last opus for chamber I koncerten for klarinet og orkester fremstillede Carl
ensemble, the Wind Quintet op. 43, he tried to express the Nielsen klarinettens væsen og udtryksmuligheder med et lille
character of the different instruments – a composition tech- orkester og en lilletromme som mod- og medspillere. I et
nique he extended in Symphony No. 6. interview i forbindelse med en opførelse i Stockholm beskrev
In the concerto for clarinet and orchestra Carl han klarinetten således:
Nielsen presented the essence and expressive potential of the
clarinet with a small orchestra and a snare drum playing with
1 DK-Kk, CNS 19g.
and against each other. In an interview in connection with a 2 Slutdateret 28.3.1928 (DK-Kk, CNS 21).
performance in Stockholm he described the clarinet as follows: 3 Ifølge Torben Meyer og Frede Schandorf Petersen, Carl
Nielsen. Kunstneren og Mennesket, København 1948, bd. 2,
s. 346, komponeret mellem 1883-1887.
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“Are you working on anything new? – Right now I am to travel Hvor langt Carl Nielsen kom med klarinetkoncerten i Norge og
to Norway. And up there I will keep an old promise to Axel i København i tiden umiddelbart derefter indtil medio april
11
Oxenvad and write a clarinet concerto.” vides ikke, men på Damgaard, hvortil han var rejst omkring
den 15. april, blev hans ideer om værket så vel konsoliderede, at
How far Carl Nielsen got with the clarinet concerto in Norway han den 20. april kunne sende forslag om en eventuel opførelse
and in Copenhagen in the time immediately afterwards and up af sin klarinetkoncert til Konsertföreningen i Stockholm i
to mid-April we do not know, but at Damgaard, where he had forbindelse med planlægningen af en kommende koncert den
12
gone around 15th April, his ideas about the work were so well 5. december. Godt og vel en uge senere måtte han rejse til
consolidated that on 20th April he could send a proposal for a København for at deltage som dommer i en konkurrence
possible performance of his clarinet concerto to udskrevet af Columbia Graphophone Company Ltd. i New York i
Konsertföreningen in Stockholm in connection with the anledning af 100-året for Franz Schuberts død 19. november
12 13
planning of an upcoming concert on 5th December. Just 1828. At han var lidt ærgerlig over afbrydelsen fremgår af brev
about a week later he had to go to Copenhagen to adjudicate in af 30. april til hustruen:14 “Kære, lille Marie! – – – Imorgen skal
a competition held by the Columbia Graphophone Company jeg til Kjøbenhavn, hvad jeg slet ikke er saa glad for, da jeg nu
15
Ltd. in New York on the occasion of the centenary of Franz har faaet Tag i min nye Klarinethistorie. – – – ”. Efter bedøm-
Schubert’s death on 19th November 1828.13 That he was a little melsen i konkurrencen rejste han tilbage til Damgaard, og den
irritated by the interruption is evident from a letter of 30th 28. maj skriver han til Emil Telmányi:
14
April to his wife: “Dear little Marie! – – – Tomorrow I have to
go to Copenhagen, which I am not too pleased about, as I have
10 DK-Kk, CNA, I.A.c.
got a grip on my new clarinet affair. – – – ”.15 After adjudicating 11 Citeret fra John Fellow, op. cit., s. 481; der burde have
in the competition he went back to Damgaard, and on 28th stået Aage i stedet for Axel.
12 Torben Schousboe (udg.), Carl Nielsen, Dagbøger og brevveks-
May he writes to Emil Telmányi: ling med Anne Marie Carl-Nielsen, København 1983, s. 541.
13 Torben Schousboe, op. cit., s. 542.
14 Anne Marie var taget til Carrara i forbindelse med
10 DK-Kk, CNA, I.A.c. arbejdet på sin marmorbuste af Carl Nielsen, Torben
11 Quoted from John Fellow, op. cit., p. 481; the name Schousboe, op. cit. 535.
should be Aage instead of Axel. 15 Torben Schousboe, op. cit., s. 543.
12 Torben Schousboe (ed.), Carl Nielsen, Dagbøger og brevveks-
ling med Anne Marie Carl-Nielsen, Copenhagen 1983, p. 541.
13 Torben Schousboe, op. cit., p. 542.
14 Anne Marie had gone to Carrara in connection with the
work on her marble bust of Carl Nielsen, Torben
Schousboe, op. cit. p. 535.
15 Torben Schousboe, op. cit., p. 543.
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In a letter to his daughter Irmelin he outlined some of his ideas “Min Klarinetkonsert er snart færdig. Instrumentet (Solo) og
on the relationship between solo and orchestra, which add a Orkesterstemmerne er behandlede som Individer (saavidt
new dimension to the above quotations: muligt) men henimod Slutningen finder Klarinetten paa et let
og næsten helt folkeligt – barnligt Motiv (ligesom tilfældigt) og
“My clarinet concerto will soon be finished. The instrument da de andre Instrumenter hører det, styrter de sig over det og
(solo) and the orchestral parts have been treated as individuals udtrykker i et heftigt men dog glad Tutti deres Glæde over det:
(as far as possible) but towards the end the clarinet finds a ‘det er noget vi forstaar’. Men det ender ikke (Konserten mener
light, almost wholly folk-like, childlike motif (as if by chance) jeg) i den Verden, det er kun en ‘social’ Episode.
and when the other instruments hear it they throng to it and En Komponist med Ideer, hvad ? Jeg skynder mig dog
express their pleasure over it in a powerful but happy tutti: at sige: saadanne Ideer nytter ikke det fjerneste, det er kun
34
‘that’s something we understand’. But it doesn’t end (the smaa Privatfornøjelser.”
concert, I mean) in that world, that’s only a ‘social’ episode.
A composer with imagination, eh? But I must hasten Carl Nielsens strenge kompositionsteknik og den begrænsede
to say: imaginings like that are of no use whatsoever, they’re skønhed og lyrik, som han selv havde fremhævet i korrespon-
34
only small private pleasures.” dancen med Emil Telmányi, blev de vigtigste punkter i anmel-
delserne efter den første offentlige fremførelse. Denne fandt
Carl Nielsen’s rigorous composition technique and the re- sted den 11. oktober 1928 i Odd Fellow Palæets store sal med
strained beauty and lyricism that he himself had emphasized medlemmer af Det Kongelige Kapel, Emil Telmányi som
35
in the correspondence with Emil Telmányi became the most dirigent og Aage Oxenvad som solist. Modtagelsen var blan-
important points in the reviews after the first public perform- det; ifølge flere anmeldelser var klarinetkoncerten for avance-
ance, which took place on 11th October 1928 in the large hall ret for størstedelen af publikum. Ekstrabladet spåede ikke
of the Odd Fellow Palæ with members of the Royal Orchestra, værket nogen fremtid på trods af “at det var et interessant
35
Emil Telmányi as conductor and Aage Oxenvad as soloist. The
reception was mixed; in several reviews the clarinet concerto
31 Ekstrabladet, 12.10.1928.
was considered too progressive for most of the audience. 32 Nationaltidende, 12.10.1928.
Ekstrabladet predicted that the work had no future, despite the 33 Brev af 27.7.1928 (DK-Kk, C II, 10).
34 Brev af 29.7.1928 (DK-Kk, CNA, III. A.a.).
35 På programmet stod endvidere Carl Philip Emmanuel
Bach, Koncert i d-mol for klaver og orkester samt W.A.
31 Ekstrabladet, 12.10.1928.
Mozart, Koncert i A-dur for klaver og orkester, K. 488
32 Nationaltidende, 12.10.1928.
med Christian Christiansen som solist.
33 Letter of 27.7.1928 (DK-Kk, C II, 10).
34 Letter of 29.7.1928 (DK-Kk, CNA, III. A.a.).
35 The programme also featured Carl Philip Emmanuel
Bach, Concerto in D minor for piano and orchestra and
W.A. Mozart, Concerto in A major for piano and
orchestra, K. 488, with Christian Christiansen as soloist.
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Hugo Seligman disagrees with him on this point and writes in “han har udløst Klarinettens Sjæl, ikke blot dens Vilddyr-
Politiken: Væsen, men ogsaa dens særlige Art af – barsk – Lyrik. Hans
Orkester er saare enkelt: Strygere, to Horn, to Fagotter og en –
“he has brought forth the soul of the clarinet, not only its wild- her meget betydende – lille Tromme. Men med disse faa Midler
animal essence, but also its special kind of – tough – lyricism. digter han en fantastisk Symfoni, der snart aabenbares i et
His orchestra is extremely simple: strings, two horns, two indtil det bestialske oppisket Rytmeorgie, til andre Tider i et
bassoons and a – here highly significant – snare drum. But lyrisk-melodisk Stof, der ikke ligger lige til Rede, men mere
38
with these few resources he creates a fantastic symphony which dulgt og ligesom Guldets Aare først maa søges.”
is now revealed in a rhythmic orgy whipped up to the bestial,
now in lyric-melodic material that does not just lie there for William Behrend fremhævede i sin anmeldelse værkets indre
the taking, but must first, more hidden and like the vein of logik og betragtede den manglende velklang som en følge af
38
gold, be sought out.” Carl Nielsens fastholden af de musikalske ideer.39 Koncerten
blev opført i hvert fald seks gange i Carl Nielsens levetid,
In his review William Behrend emphasized the inner logic of inklusive opførelsen i Højtofte, heraf to gange i Sverige: første
the work and regarded the lack of euphony as a result of Carl gang den 5. december 1928 med Konsertföreningen i Stock-
Nielsen’s insistence on the musical ideas.39 The concerto was at holm, således som Carl Nielsen havde foreslået allerede 20.
40
all events performed six times during Nielsen’s lifetime, april, og anden gang i Göteborgs Konsertförening den 7. april
including the performance in Højtofte, two of these in Sweden: 1929.41 Værket faldt ikke i god jord, hverken i Stockholm eller
the first on 5th December 1928 with Konsertföreningen in Göteborg, og en anmelder af koncerten i Stockholm fordømte
Stockholm, as Carl Nielsen had already suggested on 20th både værket og komponisten:
40
April, and the second in Göteborgs Konsertförening on 7th
41
April 1929. The work was not well received, either in Stock-
36 Ekstrabladet, 12.10.1928.
holm or in Gothenburg, and one reviewer of the concert in 37 Nationaltidende, 12.10.1928.
Stockholm condemned both the work and the composer: 38 Politiken, 12.10.1928.
39 Berlingske Tidende, 12.10.1928.
40 Jf. Torben Schousboe, op. cit., s. 541. På programmet stod
endvidere Saga-Drøm, Pan & Syrinx samt Suite af Aladdin,
36 Ekstrabladet, 12.10.1928.
op. 34.
37 Nationaltidende, 12.10.1928.
41 Carl Nielsen dirigerede yderligere W.A. Mozart, Symfoni
38 Politiken, 12.10.1928.
i g-mol og Rossini, Ouverture til Barberen i Sevilla.
39 Berlingske Tidende, 12.10.1928.
40 Cf. Torben Schousboe, op. cit., p. 541. Also on the
programme were Saga Dream, Pan & Syrinx and the Suite
from Aladdin, op. 34.
41 Carl Nielsen further conducted W.A. Mozart, Symphony
in G minor and Rossini, Overture to The Barber of Seville.
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Concerto for Clarinet and Orchestra, solo part (Source D), bb. 180- Koncert for Klarinet og Orkester, solo-stemme (kilde D), t. 180-242:
& &
242: autograph, pencil and ink. In bar 201 [ ] note 2 (g ) can be autograf, blyant og blæk. I takt 201 [ ] ses node 2 (g ) uændret.
seen unaltered.
* *
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2 fagotti
2 corni
tamburo piccolo
archi
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b. bar
bb. bars
brass brass instruments
cb. contrabbasso
cl. clarinetto
CN Carl Nielsen
CNA Carl Nielsen Arkivet (The Carl Nielsen Archives)
CNS Carl Nielsens Samling (The Carl Nielsen Collection)
cor. corno
div. divisi
DK-Kk Det Kongelige Bibliotek, København
(The Royal Library, Copenhagen)
DK-Km(m) Musikhistorisk Museum og Carl Claudius’ Samling
fg. fagotto
marc. marcato
NKS Ny Kongelig Samling (New Royal Collection)
Pl. No. Plate Number
spicc. spiccato
stacc. staccato
str. strings
SUDM Samfundet til Udgivelse af Dansk Musik
(The Society for the Publication of Danish Music)
tamb.picc. tamburo piccolo
ten. tenuto
va. viola
vc. violoncello
vl. violino
woodw. woodwind instruments
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In the Critical Commentary the following conventions A Score, partly autograph, printing manuscript.
are used: DK-Kk, CNS 70a.
Title page: “Aage Oxenvad tilegnet. / Konsert for Klarinet /
1
1 “by analogy with” is used when something has been og / Orkester / af / Carl Nielsen”.
“added”, “emended” or “omitted” by analogy with another End-date: “Damgaard den 15 August 28.”
passage in the main source. The analogy may be vertical. Acquired by the Royal Library, from Emil Telmányi in 1965.
When something is added “by analogy with” one or more 6 gatherings, 124 pages, written in ink and pencil, num-
instruments, it is understood that the analogy is with the bered 1-119 (first page unnumbered, then 1-52, 52-118
same place in the same bar(s). Or it may be horizontal. numbered in ink, 52-97 changed to 53-98 in ink, 98-118
When something is added “by analogy with” one or more changed to 99-119 in blue crayon, last 4 pages unnumbered).
bars, it is understood that the analogy is with a parallel The score in brown cardboard covers with a label printed
place in the same instrument(s). with “NODE-BOGBIND / Wilhelm Hansens Musikforlag /
2
Gothersgade 9-11 Frederiksberggade 36 / Mønsterbeskyttet”,
2 “as in” is used when something is “added”, “emended” or “Carl Nielsen Klarinet Koncert / Manuscript + Partitur”
“omitted” to correspond to the same place in another added in ink.
source. Gathering 1 bifolios 1-4: 34.2x26.7 cm Nr. 3. F. 12. 12 staves
Gathering 2 bifolios 1-6: 34.5x26.4 cm 12 staves
3 “in accordance with” is used in cases where there is no Gathering 3 bifolios 1-4: 34.5x26.4 cm 10 staves
authoritative source, only a guideline – for example Gathering 4 bifolios 1-6: 34x27 cm Nr. 2. F. 10 10 staves
printed part material. Gathering 5 bifolios 1-4: 34.7x26 cm 10 staves
Gathering 6 bifolios 1-7: 34.7x26 cm 10 staves
In the bar number column, the symbol “+” is used to indicate The score has additions and changes in ink and pencil in
an upbeat to the bar in question. Carl Nielsen’s and Emil Telmányi’s hands, as well as pencil
r
notes to the music engraver. Gathering 2 bifolio 5 folio 1 :
copy by Emil Telmányi (see b. 133). Rehearsal numbers are
S O U R C E S added in blue crayon. Written in ink on page 2 of the covers:
“Alles mit Bleistift geschriebenes / ist hoffentlich jetz
A Score, partly autograph, printing manuscript ausradiert, gilt jedenfals nicht” (CN?).3 Gathering 6 bifolio 1
4
folio 2 : 3 sketches in pencil: 6 bars notated on 4 staves, 4 ,
v
B Score, autograph, draft
2
C Score, autograph, fair copy for vl.1,2, va., vc., cb.; 4 bars notated on 2 staves, 4 , no
D Short score, solo part and reduced orchestral part. Partly indication of instrumentation; and 2 bars notated on 2
4
autograph staves, “adagio”, 4 , possibly for piano. Gathering 6 bifolio 2
E Parts, autograph and copies, printing manuscript folio 2: top and bottom staff cut out.
F Printed score
G Printed piano score 1 “Dedicated to Aage Oxenvad. / Concerto for clarinet /
Ga Printed solo part and / orchestra / by / Carl Nielsen”.
2 “MUSIC BOOKBINDING / Wilhelm Hansens Musikforlag
H Printed parts
/ Gothersgade 9-11 / Frederiksberggade 36 / Design
I Sketches patented”.
3 “Everything written in pencil / has hopefully been
erased, / at all events does not apply”.
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4 See note 2. 5 “Tests for organist exam 6th June 1928 / Chorale”.
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"
8 cb. A: vcll e added in pencil (Emil Telmányi) 28 vl.1 E (vl.1 No.2): stacc. added in pencil
9 fg.1 A: I added in pencil, added in pencil 28-30 va. stacc. added as in E (va. No.1) and by ana-
(Emil Telmányi) logy with b.27 and in accordance with F
#
"
9 vc. B: notes 1-3: a - g - f 28 va. B: note 4: end of slur open (change of
"
9 vc. cb. added as in E and by analogy with fg.1; system)
E (cb. No.1): note 1: added (?) 29-30 fg. stacc. and marc. added as in E (fg.2) and
9 cb. E (cb. No.1): note 4: stacc. in accordance with F
10 fg.1 stacc. and ten. added by analogy with va. 29-30 cl.solo D: between b.29 and b.30: breathing
11 fg.1 note 1: stacc. omitted by analogy with va., caesura
vc., cb.; notes 4-5: stacc. added as in E and by 30-31 vl.2 A: b.30 note 3 to b.31 note 1: slur added in
analogy with va. and in accordance with F pencil
12 fg.1 stacc. added by analogy with va. and in 31 cor. stacc. added as in E (bb.28-30, fg.2)
accordance with F; ten. added as in E 31-32 cl.solo b.31 note 1 to b.32 note 6: slur omitted as
13 fg.1 stacc. added by analogy with va. and in in D and in accordance with F, Ga Ga; slur
accordance with F; ten. added by analogy b.31 note 2 to b.32 note 6 emended to slur
with va. b.31 notes 2-7 as in D; D: slur b.31 note 2
14 fg.1 stacc. added as in E and by analogy with to b.32 note 6 changed to slur b.31 notes
va. and in accordance with F 2-7 in pencil
15 fg.1 stacc. added by analogy with va. and in 31 vl.1,2 stacc. added by analogy with b.27 (va.)
accordance with F 32 cl.solo A: notes 1-2, 3-4, 5-6: slurs added in pencil;
16 fg. A: I II and arrow pointing to b.17 added in D: notes 1-2, 3-4, 5-6: slurs added in pencil
#
pencil; B: ! (d ) $ and emphasized in ink
16 fg.1 stacc. added by analogy with va., vc., cb. 33 vl.1 A: pesante added in pencil (Emil Telmá-
and in accordance with F; nyi); E (vl.1 No.1): pesante added (CN);
added by analogy with va., vc., cb. B: notes 7-8: stacc. instead of marc.
A: &% added in pencil
'
16 fg.2 33 vc. pesante added as in E (vc. No.1) and by
" ""
17 cl.solo Ga
Ga: analogy with vl.1; E (vc. No.1): pesante
17 vl.1 E (vl.1 No.2): changed to (Emil added (CN)
Telmányi) 33 cb. pesante added as in E (cb. No.1) and by
"
17 va. note 1: stacc. added by analogy with vc., cb. analogy with vl.1; E (cb. No.1): pesante
17 va. cb. A: note 2: added in pencil (Emil Telmányi) added (CN)
21 cl.solo Ga
Ga: note 3: ten. 34 vl.1 B: notes 1-2: stacc. instead of marc.
22 cl.solo D: note 11: e'' 34-35 vl.1 A: added; E (vl.1 No.2):
22 vl.2 B: rest 1: ( (f' ) instead of ) added
23-26 cl.solo D: b.23 note 4 to b.26: end of slur open 34 vl.2 pesante added as in E (vl.2. No.1) and by
(change of system) analogy with vl.1
23 vl.1 E (vl.1 No.1): stacc. and marc.; E (vl.1 35 vl.2 B: notes 7-8: stacc. instead of marc.
No.2): stacc. and marc. added; E (vl.1 36 vl.2 B: notes 1-4: stacc. instead of marc.
No.4): marc. and stacc. 36-37 vl.2 A: b.36 note 7 to b.37: added
23 vl.2 E (vl.2 Nos.1,2): marc. added; E (vl.2 No.3): 36 va. pesante added as in E (va. No.1) and by
marc. and stacc. analogy with vl.1
ff
24 fg. marc. added as in E and by analogy with 37-38 vl.2 B: b.36 note 1 to b.38 note 2: slur
ff ff
vl.1,2 38 vl.1,2 A: note 3: added (Emil Telmányi); E (vl.1
ff
24 vl.1 A: marc. added in pencil; B: ; E (vl.1 No.2): note 3: added (Emil Telmányi); E
No.1): stacc. added in pencil; E (vl.1 No.3): (vl.2. No.1): added (Emil Telmányi)
only marc.; F: only stacc. 39 cl.solo notes 7, 9, 11, 13: marc. added as in D and
24 vl.2 marc. added as in E (vl.2 Nos.1,3) and by in accordance with F, Ga Ga; A: notes 1, 3, 4:
analogy with vl.1; E (vl.2 No.2): only marc. marc., note 7: segue added in pencil (Emil
27 fg.1 E: note 3: marc. and stacc. Telmányi)
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ff
40-41 cl.solo marc. added as in D and by analogy with 53 vl.1,2 détaché added as in E; E (vl.1 No.1): detaché
b.39 notes 1, 3, 5 and in accordance with added (CN); E (vl.1 No.2): detaché added
+ ff
F, Ga (Emil Telmányi); E (vl.1 No.4): détaché;
+
41 vl.1 A: added (Emil Telmányí) E (vl.2. Nos.1,2): détaché added (Emil
41 va. added as in E (va. No.2) and by analogy Telmányi)
ff
with vc. and in accordance with F; E (va. 53 va. E (va. Nos.1,2): (unis)
+
No.1): note 1: stacc. 54 cl.solo A: added in pencil (Emil Telmányi)
+
41 vc. A: added in pencil (Emil Telmányi); E 55-64 B: bb.55-64 have many erasures and
+
(vc. No.1): note 1: added (CN) crossings-out in all instruments. Added at
41 cb. added by analogy with vc. bottom of page: * Vildt forvirrit i det høje
42 cl.solo A: notes 1-2, 3-4, 5-6: slurs added in pencil, Leje og Lilletrommen driver det frem; derefter:
notes 1, 3, 5: marc. added in pencil (Emil ‘* Wild confusion at the high pitch and
Telmányi) the drum drives it forward; then:’
42-43 cl.solo D: b.42 note 1 to b.43 note 10: slur crossed
,
out in pencil
ff
43 fg.1 E: note 1: 55-56 fg.2 marc. added by analogy with fg.1 and in
ff
43 fg.2 E: note 1: accordance with F
43 cor. E: sempre 55 va. B: div
43 cl.solo marc. added by analogy with b.42; A: notes 56 va. B: unis
+
1-2, 3-4, 5-6, 7-8, 9-10: slurs added in pencil, 57 fg.1 B: notated in the same octave as fg.2
note 1: segue added in pencil (Emil 57 fg. cor. added as in E (fg.2) and by analogy with
+
Telmányi) va., vc., cb. and in accordance with F; E
s,
44 vl.2 E (vl.2. No.1): note 1: marc. (fg.2): note 1: added (Emil Telmányi?),
ffz
45 va. E (va. No.1): note 2: ; E (va. No.2): note 2: note 2: stacc.
57-60 fg. cor. stacc. added as in E (fg.2) and in accordance
45 vc. cb. note 1: stacc. added as in E and by with F
s,
analogy with va. and in accordance with 57 tamb.picc. B: notated in bass clef:
F; E (cb. No.1): note 2:
46 cl.solo A, D: notes 2-3, 4-5, 6-7: slurs added in
+ +
slur changed to b.47 note 3 in pencil accordance with F
-
47 cl.solo A, D: notes 1-2: slur added in pencil 57 va. cb. A: note 1: added (CN?); F:
48 vl.1,2 A: note 1: added in pencil 58-60 cor.1 E: note 1: marc. added in pencil
48 vl.1 notes 1-14: slur omitted as in B and in 58-60 cl.solo D: b.58 to b.59 note 12, b.60 notes 1-3: slurs
accordance with F; A: notes 1-6, 7-14: slurs 58 vl 1,2 stacc. added by analogy with va. and in
added in pencil; E (vl.1 Nos.1,4): notes 1-14: accordance with F
slur, notes 1-6 , 7-14: slurs added in pencil; 59-60 vl.1,2 va. vc. cb. stacc. added as in E (va. No.1) and by
E (vl.1 No.2): notes 1-14: slur changed to analogy with bb.57-58 (va.) and in
slurs notes 1-6, 7-14 in pencil; E (vl.1 No.3): accordance with F
,
notes 1-14: slur crossed out in pencil 60 cl.solo A: note 1: tr added in pencil (Emil
48 vl.2 notes 1-14: slur omitted as in B and in Telmányi); D: note 4: marc. instead of
accordance with F; A: notes 1-6, 7-14: 60 vc. A: notes as in cb. added in pencil
slurs added in pencil; E (vl.2. No.1): notes 61 cor. marc. added by analogy with vl.1,2 and in
1-14: slur changed to slurs notes 1-6, 7-14 accordance with F
in red crayon; E (vl.2 Nos.2,3): notes 1-14: 61 vl.1 stacc. added by analogy with b.60 and in
ffz
slur changed to slurs notes 1-6, 7-14 in accordance with F
pencil 62 fg. E:
50-53 cl.solo beginning of slur emended from b.52 62 cor. E: marc. added in pencil
ff ,
note 1 as in D and in accordance with F; 62 vl.1 A: third crotchet: NB added in pencil;
ffz
A: b.50 note 2 to b.51: end of slur open, E (vl.1 No.1): ; E (vl.1 No.2): ; E (vl.1
ffz
b.52 note 1 to b.53: slur; Ga
Ga: b.50 note 2 to No.3):
ff+z
b.51 note 5, b.52 note 1 to b.53: slurs 62 vl.2 E:
ff
50 vl.1,2 marc. added as in E (vl.1 Nos.1-4) and E 62 vl.1,2 vc. B: chord 1:
ff+
51 cl.solo 62 cb. E (cb. No.2):
ff
margin in pencil 63 tamb.picc. B: note 2:
51 vl.1 marc. added as in E (vl.1 No.4); E (vl.1 No.2): 63 cl.solo B, D : ; D: notes 9-14: added
+
segue in pencil
WH 30660 62
""
66 tamb.picc. in right margin outside staff omitted 78 cor. vl.1,2 B: rall: in b.78 instead of b.77
(page turn) 78 tamb.picc. in right margin outside staff omitted
D: note 1: / instead of 3 , notes 7, 13:
"
66 cl.solo (page turn)
marc. added in pencil 79 fg. B:
,
67 cl.solo marc. added as in B, D and by analogy 79-87 fg. B: b.79 note 1 to b.87 note 2: only one slur
with b.65; B: note 6: added in ink 79-87 fg.2 E: b.79 note 1 to b.87 note 2: slur changed
,
68 cl.solo marc. added as in B and by analogy with to slurs b.79 note 1 to b.81 note 2, b.82
b.65; B: note 1: added in ink note 1 to b.84 note 2 and b.85 note 1 to
68 cl.solo b.68 notes 3-10: end of slur emended from b.87 note 2
b.69 note 2 as in D; B: note 3: end of slur 79-85 cl.solo b.79 note 1 to b.85: slur omitted as in D;
open (change of system); D: end of slur A: b.79 note 1 to b.85: end of slur open
changed from b.69 note 1 to b.68 note 10 (page turn); B: b.79 to b.85 note 2: slur
in pencil 79-86 cl.solo 8va.. omitted and notes notated an octave
69 cl.solo slur added as in B, D and by analogy with higher in accordance with F; A: b.79 note
,
bb.70-73 1 to b.86 note 2: 8va - - - added (Emil
69-72 cl.solo D: note 1: marc. instead of Telmányi); B: 8- - - added in red crayon
69 vl.1 va. vc. cb. B: note 3: ten. instead of marc. (CN); D: b.79 note 1 to b.86 note 2: 8va
+
69 va. E (va. Nos.1,2): sonoro; E (va. No.2): note 1: added in pencil
+
added in pencil 84 cl.solo end of slur emended from note 1 as in D
69 vc. E (vc. Nos.1,2): sempre and by analogy with b.85; D: between
70 cor.2 E: note 2: e' (copying error) note 2 and note 3: breathing caesura
70 vl.1 va. vc. cb. B: note 3: ten. instead of marc. 85-87 fg. beginning of slur emended from b.86 note
70 vc. E (vc. No.1): note 3: dim added in blue 1 in accordance with F; A: b.85 note 1:
crayon (CN) and arrow pointing to b.73 in end of slur open (page turn), b.86 note 1
E: note 2: 0 added
pencil; E (vc. No.2): note 3: dim to b.87 note 2: slur
70 cb. E (cb. No.1): b.70 note 3: dim added in 86 fg.1
pencil (CN), crossed out and added b.73 86-87 fg.1 E: b.86 note 3 to b.87 note 2:
71 vl.1 B: note 3: ten. instead of marc. 86 cor. rests 2-3: 1 2 emended to 2 1 ; A: note 1 to
71-73 vl.1 sul G added as in E (vl.1 Nos.1,4) and E rest 3: 3 1 changed to / 1 2 in pencil;
E (cor.1): / 2 1 ; E (cor.2): 3 1 ; F: 3 1
s,
(vl.1 Nos.2-4, bb.72-73); E (vl.1 No.1): Sul
ffz
G added 86 tamb.picc. B: stacc.; E: , stacc. added in pencil
71 vl.2 E (vl.2. No.1): note 1: stacc 86 vl.1 E (vl.1 Nos.1-3): ; E (vl.1 No.4): notes 1-2:
71-73 vl.2 sul G added as in E marc.
71-74 vl.2 E (vl.2. No.1): Sul G 86 vl.1,2 va. cb. B: notes 1-2:
72 fg. cor. vl.1,2 86 va. E (va. No.1): notes 1-2: stacc.; E (va. No.2):
va. vc. cb. dim. added as in A and in accordance notes 1-2: stacc. added in pencil
with F; A: dim added as general dynamic 87 cl.solo B: calando added in ink (CN)
"""
marking below cor., above vl.1 and below 89 cl.solo A: espr. added (Emil Telmányi); B: note 1:
""
va. in pencil and emphasized in ink
""
(Emil Telmányi); B: dim added in red 91 B: added in red crayon (CN)
crayon (CN) 91 fg. B:
72 cl.solo Ga
Ga: dim. 91-93 fg. B: b.91 note 1 to b.93: end of slur open
""
72 vc. cb. B: note 3: ten. (change of system)
73 vl.1 E (vl.1 No.2): dim. added (Emil Telmányi) 91 vl.1 A: notes 1-2: added, note 3:
73 vl.2 E (vl.2. No.1): dim added (Emil Telmányi) added (Emil Telmányi); E (vl.1 No.3):
" ""
73 vc. E (vc. No.1): dim added in blue crayon (CN) added (Emil Telmányi); E (vl.1
" ""
74 va. marc. added as in E and by analogy with Nos.2,3): changed to (Emil Telmá-
vl.1,2, vc., cb. nyi); E (vl.1 No.4): changed to (CN)
""
75 cor. B: dim 91 vl.2 A: notes 1-2: added (Emil
" ""
75 cl.solo molto added as in B, D and by analogy Telmányi), note 3: added (Emil
"
note 3: marc. instead of ten. 91 va. vc. A: notes 1-2: added
" ""
75 vc. E (vc. Nos.1,2): note 3: marc. instead of ten. 91 vc. E (vc. No.1): note 1: ; E (vc. No.2): note 1:
76 fg.1 E: dim changed to in pencil
" ""
76 vl.1 E (vl.1 No.2): note 3: ten. 92 vl.1 E (vl.1 No.1): notes 6-7: ten. added in pencil
"
76 va. B: dim 92 va. E (va. No.1): changed to in pencil; E
""
76 vc. E (vc. Nos.1,2): note 3: ten. (va. No.2):
"" "" 4
76 cb. E (cb. No.2): note 3: ten. 92 va. vc. A: added (Emil Telmányi)
77 fg. B: dim instead of b.78 93-94 vl.1 A: b.93 note 3 to b.94 note 2:
77 fg.1 B: beginning of slur open (change of system) added (Emil Telmányi?); E (vl.1 No.1): b.93
77-78 fg.1 A: bb.77-78: tie added in pencil note 3: marc. added in pencil
WH 30660 63
" """
93-94 vl.2 A: b.93 note 3 to b.94 note 2: 101 tamb.picc. A: note 2: changed to in pencil;
4 ""
added (Emil Telmányi?); E (vl.2. Nos.1,2): B: note 1: ; E: added in pencil (?)
b.93 note 3: added 101 cl.solo B: note 7: ; D (autograph): note 4: /
94-95 fg. A: b.94 fourth quaver: rallen added (Emil instead of 3 , notes 5-6: e dis added in pencil,
Telmányi); F: b.95 note 1: rall. no 5 ; D (Oxenvad): notes 1-6: 3 , between
note 6 and note 7 breathing caesura, no 5
0
4 4 ""
because of the page turn beginning of slur open (page turn)
4 4 4 ""
94-95 vl.1 A: b.94 note 3 to b.95 note 2: 102 vl.1,2 va. vc. cb. A: changed to (Emil Telmányi); B:
4 4 ""
added (Emil Telmányi?); E (vl.1 No.1): ; E (vl.1. No.1): changed to ;E
4
added; E (vl.1 No.3): (vl.1 No.2): changed to in blue
4 "" 4
added (Emil Telmányi) crayon (Emil Telmányi); E (vl.1 No.3):
"" ""
94-95 vl.2 E (vl.2. No.1): note 3: added changed to (?); E (vl.2. Nos.1,2):
4
95 fg. E: a tempo added (Emil Telmányi) changed to (?); E (vc. No.1): added
"" ""
96-97 cor. E: instead of cresc. in blue crayon (CN?); E (cb. No.1):
96-98 cor. B: b.96 notes 1-2 and b.97 notes 1-2: slurs changed to in ink (?), note 1, 3:
4
instead of one slur added in pencil
"
1-5: slur added in pencil (CN) and emphasized in ink 0
""
96 cb. arco added; F: note 1: 109 fg.1 A: note 1: - flat erased [?]; B: B (blurred); F:
0
96-97 cb. B: b.96 note 1 to b.97 note 2: slur B ; E: added in pencil and emphasized
97 tamb.picc. B: emphasized in red crayon in ink (CN?)
ff
(CN) 109 cl.solo A: note 1: marc. added in pencil, note 3:
0 #
+ 4 "
97 cl.solo marc. added as in B, D; B: changed to b ' changed to b ' in pencil
4
in ink 110 cor.1 E: changed to in pencil
"
97-98 cl.solo B: b.97 note 3 to b.98 note 3: end of slur 110 vl.1,2 added as in E; B: notes 1-4, 5-8: slurs
changed to note 2, b.98 notes 3-8: slur; D: 110 vl.2 E (vl.2. No.1): note 1: added (Emil
"
b.97 note 3 to b.98 note 8: slur Telmányi)
"
97 vl.1 notes 1-4: superfluous slur omitted; notes 110 va. added as in E and by analogy with cor.;
"
1-5: slur added as in E; E (vl.1 No.1): notes E (va. Nos.1,2):
""
1-4: slur added in pencil; E (vl.1 No.2): notes 110 vc. cb. added as in E
1-5: slur added (Emil Telmányi?); E (vl.1 111 fg.2 E: sempre
No.3): notes 1-5: slur added (Emil Telmányi?) 111 cl.solo A: note 1: marc. added in pencil
97 vl.2 notes 1-4: superfluous slur omitted; notes 112 vl.1 E (vl.1 No.2): détaché added (Emil Telmányi)
1-5: slur added as in E; E (vl.2 No.2): notes 112 vl.2 E (vl.2. Nos.1,2): détaché added (Emil
1-5: slur added in pencil Telmányi); E (vl.2, No.3): détaché
+
98 va. E (va. Nos.1,2): stacc. added in pencil 113-115 cor.1 E: b.113 note 1 to b.115 note 1: stacc.
"
in ink cor.1
100 cl. solo B: note 5: ; D (autograph): molto dim.; D 113 vl.1,2 B: note 1: ( instead of 3
(Oxenvad): molto dim. 113 cb. marc. added by analogy with vc.
B: 5 added in red crayon (CN); quasi rall: B: notes 1, 2: ( instead of 3
A: chord 1 note 1:0 0 added0 in pencil
101 114 cor.
101 fg. tamb.picc. 114 va.
vl.2 va. vc. 5 added by analogy with cor., cl.solo, 115 fg. B (fg.1): note 1: b , (fg.2): B , between note 1
vl.1, cb. and note 2: a2
101 cor. cl.solo 115-117 fg.1 E: beginning of slur open (change of system)
vl.1 cb. A: 5 added in pencil (CN?) and emphasized 115 cor. B: note 1: (
in ink (Emil Telmányi?); E (fg.1): 5 added
.
115 va. B: note 1: c '
in pencil (CN); E (vl.1 No.2): 5 added in 116 cor.1 E: note 1: ( changed to 3 1 in pencil and ink
blue crayon (Emil Telmányi) 116 cor. vl.1,2 va. B: note 1: (
WH 30660 64
"" """
117 fg.2 E: stacc. 132 cl.solo Ga
Ga: note 5: morendo
117 cor.1 E: note 1: ( changed to 3 1 in pencil and ink 133 tamb.picc. A: changed to (Emil Telmányi)
117 cl.solo notes 3-6: slur added; A: rest 2: 1 corrected 133-142 cl.solo A: copy (Emil Telmányi)
to ) ; B, D: rest 2: 1 , notes 3-5: / (triplet)
" ""
133-150 cl.solo D: autograph
"" "
117 vc. F, E: note 1: stacc. 133 cl.solo A: staff 1 note 2: changed to in ink
118 tamb.picc. E: sempre (Emil Telmányi); B: staff 1 note 2: , ad lib.
B, D: notes 1-2: (6 6 /
staff 1 notes 20, 41: 0 omitted
118 cl.solo added in ink (CN?); D: ad lib.
119 cl.solo D: note 2: marc. added in pencil 133 cl.solo
120 cl.solo note 1: (6 6 corrected to (6 ; B, D: notes 1-3: 133 cl.solo D: staff 1 notes 20-28: cresc-endo
(6 6 / / 133 cl.solo B: staff 1 note 21: marc.
121 cl.solo marc. added as in D and by analogy with 133 cl.solo Ga: staff 1 notes 21-38: /
Ga
b.119 133 cl.solo staff 1 notes 29-39: cre-scen-do emended
122 cl.solo A: note 2: marc. added in pencil from cresc. (staff 1 note 29) as in D (staff 1
0
123 va. note 6: b emended to a as in B and by notes 20-38)
analogy with the other str. 133 cl.solo staff 1 notes 32-39: / emended to 7 as in
. .
"
123 va. B: notes 2-3: d -g B, D and by analogy with notes 21-28
.
"
124 va. B: note 7: d 133 cl.solo A: staff 2 note 1: added in pencil (Emil
125 cl.solo A: marc. added in pencil Telmányi); D: staff 2 note 1: added in
ffz
note 6: dim:, b.130 note 6 to b.132 note 6: Telmányi); D: staff 3 note 19: ten. added in
di-mi-nu-endo- - - pencil (CN); GaGa: staff 3 note 19:
128-132 va. di-mi-nu-en-do emended from dim. in bb. 133 cl.solo D: staff 3 note 9: 7 changed to 3 in
bb.128, 130 (page turn) and b.131 by Ga: note 9: / instead of 3
pencil, Ga
analogy with vl.1; E (va. No.1): b.128 note 133 cl.solo staff 3 notes 17-18: slur added as in D and
""
7 to b.129 note 8: dim - - -, b.130 note 1 to by analogy with staff 2 notes 40-41; D:
b.132 note 6: sempre dim e rall. - - - ;E staff 3 notes 17-18: slur added in pencil
(va. No.2): b.129 note 1 to note 8: dim- - - 133 cl.solo staff 3 note 19: / emended to ! as in B, D
""
b.130 note 1 to b.132 note 6: sempre dim e and in accordance with Ga Ga; F: staff 3 note
rall- - - 19: 3 instead of /
129-132 b.129: rall- - - emended to ral-len tan-do 133 cl.solo Ga
Ga: staff 3 between note 20 and note 21:
bb.129-132; b.131: rall (cl.solo vl.1,2 va.) breathing caesura
omitted (b.130: page turn); Ga Ga: beginning 133 cl.solo staff 3 notes 21-34: slur emended from
of rall. b.131 instead of b.129 slur notes 19-36 as in B, D; D: staff 3 notes
""
129 vl.2 E (vl.2. No.1): rall added in pencil (?) 21-34: end of slur changed from note 36 in
129 vc. B: note 1: pencil
WH 30660 65
ffz
added in pencil (CN): Ga Ga: staff 3 note 27: 156 vl.1,2 note 2: stacc. added by analogy with
bb.154-155 and in accordance with F ;
133 cl.solo Ga
Ga: staff 3 between note 37 and note 38: note 3: ten. and note 4: stacc. added as in
""
of 2 notes 159 tamb.picc.
"
133 cl.solo Ga
Ga: staff 5 between note 17 and note 18: vl.1 va. A: added in pencil (Emil Telmányi)
""
notes 42-43, 42-45: slurs added in pencil; stacc.
"
133 cl.solo in accordance with F ; E (vl.2. Nos.1,2,3):
""
133 cl.solo staff 6 note 13: di-mi-nu-en-do and ral-len- 159 va.
tan-do emended from dim. e rall. - - - staff 6 159 vc. cb. added by analogy with the other parts
note 12 to note 33 and in accordance with F
133 cl.solo D: staff 6 notes 1-13: slur crossed out in 160 cl.solo F: note 2: stacc.
note 1: 0 added
133 cl.solo changed to beam across bar line
133 cl.solo Ga
Ga: staff 6 between note 24 and note 25: 162 fg.1 va.
0
breathing caesura 162 fg.1 E: note 1: d
B: staff 6 notes 31-32: /
""" ""
133 cl.solo 162 cl.solo F: note 2: stacc.
"""
133 cl.solo staff 6 note 35: emended to 162-164 vl.1,2 b.162 note 2 to b.164 note 1: stacc. added
"""
as in D; D: staff 6 note 35: by analogy with bb.159-161
""
added (Aage Oxenvad); Ga Ga: staff 6 162-164 va. upper part: end of slur added b.164 note 1
"""
with F 163-164 vc. cb. stacc. added by analogy with bb.159-162
151 cl.solo B: 164 va. B, E (va. Nos.1,2) upper part note 3: stacc.
"" 4
151-156 cl.solo D: copy (Aage Oxenvad) 165 fg. cor. A: notes 1-7: marc. added, notes 3-7:
4
151 vc. cb. F: note 1: added; B:
0 added
153 vl.1 F: note 1: stacc. instead of ten. 165 cor.1 E: added, notes 1-7: marc.
+
154 cor.1 added (?)
154-155 vl.1 ten. added as in E (vl.1 Nos.2, 4) and by 166 fg. A: note 1: and marc. added (CN)
+
analogy with bb.151-152 166 cor. marc. added as in E (cor.1) and by analogy
+
154-155 vl.2 ten. added as in E (vl.2 Nos.1,3) and by with fg.; A: note 1: added (CN); E (cor.1):
analogy with bb.151-152 added (Emil Telmányi?)
WH 30660 66
note 7: 0 added
167 fg. cor. stacc. added as in E (fg.2) 178 cl.solo D: note 1: b '' (copying error)
167-172 tamb.picc. B: 178 va. vc. cb.
179 fg.2 marc. added as in E and by analogy with
fg.1
note 5: 0 added
168 vl.2 A: arco added in pencil (?) 179 cor.2 marc. added by analogy with cor.1
168 cb. B: note 7: marc. 179 vl.1,2
170 vl.1 A: arco added in pencil (?) 179 va. F: notes 1-4: single stem
171 vl.1 E (vl.1 No.2): notes 7-8: stacc. instead of 179 cb. notes 1-4, 9-12: square brackets omitted;
marc. A: notes 1-4, 9-12: square brackets below
171 vl.2 notes 4-5: stacc. added by analogy with the staff added in pencil (?)
va.; E (vl.2. Nos.1-3): notes 1-3: marc. 180 A: poco accel added in pencil (Emil
instead of stacc., notes 4-5: marc. Telmányi)
ff
172-173 A: Poco a poco added (Emil Telmányi?) 180-215 cl.solo D: autograph in pencil
172 fg.2 marc. added as in E and by analogy with 180 cl.solo D (autograph): ! = 144, note 1:
.
+
stacc. staff in pencil (?)
172 va. vc.cb. E (va. No.2, vc. Nos.1,2, cb. Nos.1,2): , 181 fg.1 E: note 2: marc. added in pencil
notes 1-3: stacc. 181 fg.2 marc. added as in E and by analogy with
172 vc. cb. stacc. added as in E and in accordance fg.1
with F 181 cor.2 marc. added by analogy with cor.1
173 fg.2 ten. added as in E and by analogy with 182 A: Piu Allegro added (Emil Telmányi), B: piu
fg.1 allegro ! =144.; B: arco notated above the
173 cor.2 ten. added as in E and by analogy with system
cor.1 182 str. B: rest 2: $ added
173-205 cl.solo D: copy (Aage Oxenvad) on pasted-in sheet 182 cl.solo D (copy): Piu Allegro ! = 126 added in red
0
173 cl.solo D: note 1: b '' (copying error) crayon (Emil Telmányi)
173-182 vl.1 marc. added as in E (b.173) and by analogy 183 fg.2 marc. and stacc. added as in E and by
with b.171; E (vl.1 No.2): note 5: segue analogy with fg.1 and in accordance
173-182 vl.2 marc. added as in E and by analogy with with F
b.171; E (vl.2. No.1): segue 183 cor. stacc. added as in B and by analogy
173-182 va. b.173 note 7 to b.182: marc. added as in E with fg. and in accordance with F;
#
and by analogy with b.172; E (va. Nos.1,2): B: note 4: e '
segue 183 cor.1 E: notes 3-4: slur added in blue crayon
"
173-182 vc. b.173 note 7 to b.182: marc. added as in E 183 cor.2 marc. added by analogy with cor.1
(bb.173-174) and by analogy with b.172 183 tamb.picc. B: note 1: ; E: note 3: stacc.
#
note 4 to b.173 note 6; E (vc. Nos.1,2): 183 cl.solo D: note 12: a' instead of a '
b.173 note 9: segue 184 fg. cor. marc. added as in B (b.187 fg.), E (cor.1)
173-178 cb. notes 1-6: square brackets omitted; A: and by analogy with b.185 (cor.1)
#
notes 1-6; square brackets added below 184 cor. B: e '
the staff in pencil 184 cor.1 E: marc. added
173-182 cb. b.173 note 7 to b.182: marc. added as in E 184 cl.solo A: notes 5-6 changed from ) to 3 (f' ) 3 (f' )
(bb.173-174, cb. No.1) and by analogy with in pencil, marc. added, notes 1-8: etc
b.172 note 4 to b.173 note 6; E (cb. No.2): notated on the staff below in pencil (CN);
b.173 note 9: segue B: third quaver: ) ; D (autograph): third
174 cl.solo D (copy): accel added in red crayon (Emil quaver: )
Telmányi) 185 fg. marc. added by analogy with cor.1
174 vl.1 E (vl.1 Nos.1,3): segue 185 fg.2 stacc. added as in E and by analogy with
174 vl.2 notes 7-12: 0, 2 (fingering) added as in E fg.1
note 1: 0 added
175 cor.2 marc. added by analogy with cor.1 185-187 cl.solo D (copy): end of slur b.186 note 8 instead
175 vl.1,2 of b.187 note 1
177 cl.solo D (copy): non troppo added (Aage Oxenvad), 186 fg.2 stacc. added as in E and by analogy with
! = 112 added in red crayon
ff
fg.1
note 4: 0 added
177 cor.1 E: note 2: sempre 186 cor. stacc. added by analogy with fg. and in
177 vl.1,2 accordance with F
178 fg.2 marc. added as in E and by analogy with 187 fg. cor. note 1: marc. added as in B (fg.), E (cor.1)
fg.1 187 fg. B: molto marcato
WH 30660 67
"
189-191 fg.1 E: beginning of slur note 2 instead of cor.1
,
note 3 197 tamb.picc. added as in B and by analogy
+
189 fg.2 marc. added as in E and by analogy with with b.196; added by analogy with
fg.1; E: note 1: stacc. b.196; B: 0
#
189-191 cor. B: b.189 note 3 to b.191 note 1: slur 197 cl.solo note 7: a ' emended to a ' in accordance
instead of stacc. with F
189 cor.2 marc. added as in E and by analogy with 198 (/ = 3 ) emended to (3 = / ) in accordance
ff
cor.1 with E (fg., cor., cb.)
190 cor.1 E: sempre 198 cl.solo D (copy): Tempo I added in red crayon
190-191 cor.2 marc. added as in E and by analogy with (Emil Telmányi); Ga Ga: between note 6 and
cor.1 note 7: breathing caesura
190-191 cl.solo D (copy): beginning of slur b.191 note 2 198 vl.2 E (vl.2. No.1): Tempo Imo added in blue
,
instead of b.190 note 4 crayon (CN?) and emphasized in ink (Emil
191 tamb.picc. B: note 2: Telmányi)
0 #
191 cl.solo D (copy): p.a p. accel added in red crayon 200 cl.solo note 6: b ' emended to b ' in accordance
(Emil Telmányi) with the motivic context in the phrase
14: 0 omitted
191-195 vl.1,2 marc. added as in E (bb.191-192) and by notes 1-4 and in accordance with F; note
+
bb.172-182 201-204 cl.solo D: bb.201-204: sketch, autograph, in
191 va. cb. B: note 1: pencil
.
192 fg. stacc. added as in E (fg.2); B: note 2: ten. 201 cl.solo A: rest 1: / changed to 2 ; B: rest 1: / (g )
.
instead of marc. instead of 2 ; D (autograph): rest 1: / (g )
192 fg.1 E: beginning of poco a poco accelerando al instead of 2 ; D (copy), F, Ga Ga: 2 ; D (sketch
b.201): rest 1: 1 ; see facsimile p. xxv
note 3: 0 omitted 0
mo
I b.192 note 2 instead of b.191
192 fg.2 marc. added as in E and by analogy with 201 cl.solo
fg.1 201 cl.solo D (copy): note 15: b '
4
D (sketch bb.201-204): 4 , 3 instead of /
note 14: 0 added; A: note 1: 0 added in
192 cor. stacc. added as in E (fg.2) 201-204 cl.solo
192 cor.1 E: note 2: ten. 202 cl.solo
+
194 fg.2 marc. added as in E and by analogy with fg.1
+
fg.1 205 cor. B:
194 cor.2 marc. added as in E and by analogy with 205 cor.1 E:
cor.1 205-206 cor.2 A: b.205 note 1 to b.206 note 1: 8 (c'' ) with
194 va. vc. cb. F: notes 7-10: single stems tie to 8 (c'' ) crossed out in pencil and a2
194 va. chords 2, 4: 4 (fingering) added by analogy added (Emil Telmányi); B: b.205 note 1 to
with chord 1 b.206 note 1: 8 (c'' ) with tie to 8 (c'' ); E: bars
I
194 vc. cb. chords 2, 4: 4, 0 (fingering) added by crossed out in pencil and col Cor added in
analogy with chord 1 pencil
195 fg.2 marc. added as in E and by analogy with 205 vl.1 détaché added as in E; E (vl.1 Nos.1,2,3):
fg.1 détaché added (Emil Telmányi); E (vl.l No.4):
195 cor.2 marc. added as in E and by analogy with detaché; E (vl.1 No.2): notes 1-8: marc.,
+
cor.1 note 6: segue
196 cor. B: end of tie open (change of system) 205 vl.2 B:
WH 30660 68
'
211 fg.1 E: note 1: marc. 240-243 vc. B: b.240 notes 1-5, b. 241 note 1 to b.242
B: (,
A: note 1: 0 added in pencil; B: note 10: (
211 tamb.picc. note 1: slurs, b.242 note 2: end of slur
211 vl.1 open (change of system)
stacc. instead of 3 241 cl.solo Ga
Ga: between note 6 and note 7: breathing
+
212 fg.l cor.1 A: ten. and stacc. added (Emil Telmányi) and note 10: breathing caesura
212 fg.2 cor.1 E: added (Emil Telmányi) 242-243 va. vc. B: beginning of tie open (change of system)
B: note 1: ) instead of (
note 1: 0 added
212 tamb.picc 243, 245 cor. A: Horn added (CN?)
""
212 vl.2 A: end of slur added in pencil 245 cl.solo
B: note 10: ( instead of 3
note 1: 0 omitted
213 vl.1 245 cl.solo B: note 1: ; D: between note 2 and note
213 va. vc. cb. 3: breathing caesura
213 vc. E (vc. Nos.1,2): dim 245-246 cl.solo A: beginning of slur b.246 note 1 changed
214 fg.l cor.1 A: ten. and stacc. added (Emil Telmányi) to b.245 note 4 in pencil; D: b.245 note 3
215-216 vl.1 dim b.216 note 1 omitted and added b.215 to b.246 note 2: slur
as in E (vl.1 Nos.1-3) by analogy with 245-253 cl.solo A: beginning of slur changed from b.245
"
tamb.picc., vc., cb.; B: b.215 note 3: dim note 1 to note 4 in pencil; B: b.245 note 3
""
216 tamb.picc. E: note 1: to b. 253: slur; D: b.246 note 3 to b.251
""
216-218 vc. E (vc. Nos.1,2): dim e rall- - - note 2, b.251 note 3 to b.253: slurs; GaGa:
" ""
217 tamb.picc. A: note 2: added in pencil (Emil b.245 note 4 to b.251 note 2, b.251 note 5
Telmányi); B: note 2: , poco rall; E: to b.253: slurs
note 1 instead of note 2 245 vl.2 A: II.V. added (Emil Telmányi ?)
4
217 vl.1 A: poco rall - - - changed to rall - - - 245-246 vl.2 va. cb. B: b.245 notes 1-2, b.246 notes 1-3: slurs
"
217 vl.2 va. cb. B: instead of one slur
note 1: 0 omitted
217 va. cb. B: poco rall 245 va. E (va. No.2):
"
217 vc. cb. 246 cl.solo Ga
Ga: between note 4 and note 5: breathing
218 tamb.picc. B: note 2: instead of dim caesura
""
218-423 cl.solo D: autograph 247 poch. accel. emended to pochettino accel. The
218 vl.2 E (vl.2. No.1): added (Emil Telmányi/CN) abbreviation poch. can also mean
218 vl.2 va. ten. added as in E and by analogy with pochissimo; A: poch. accel- - - added (Emil
"
bb.215-217 Telmányi)
""
218 va. B: 247 va. vc. E: molto in
218 vc. cb. added as in E and by analogy with 248 tutti F: appassionato above system
"
vl.2, va. 248 fg. A: appassionato added (CN); F: note 4: marc.
#
B: note 1: , rest 2: ! (d ) instead of $
4
218 cb. 248-249 fg.2 cor.1 E: added in pencil (?)
219 cor.1 E: added (Emil Telmányi), espr. added 248 cor.2 appassionato added by analogy with fg.,
(Emil Telmányi) cb.; F: note 4: marc.
219-226 cor.1 E: b.219 note 1 to b.222 note 2: slur, b.222 248-249 cor.2 B: b.248 note 1 to b.249 note 5: slur
"""
note 3 to b.227: slur 248 cl.solo Ga
Ga: between note 1 and note 2: breathing
219 tamb.picc. E: caesura
WH 30660 69
4
248 vl.2 va. ten. added as in E (vl.2 Nos.1-3); B: notes 257 fg.1 E: note 3: segue
1-2: ten. 257 tamb.picc. E: notes 1-3, 4-6, 7-9:
+ note 1: 0 added
248 vc. cb. F, E: note 5: marc. 257 vl.2 note 14: - natural added
248 cb. A: appass. added (CN), note 2: added 258 vl.1
(CN); E (cb. No.1): appass. added (CN); E (cb. 259-260 cl.solo note 1: end of tie added; A, F: b.259 note
notes 1, 5: 0 added
No.2) appass.: 1: end of tie open (page turn)
249 fg. E: notes 1-4: 259 vl.1
249 fg. cl.solo vl.2 va. A: dim added in pencil (CN) 260 cl.solo Ga
Ga: between note 1 and note 2: breathing
249 fg. vl.2 B: dim added in red crayon (CN) caesura
249 cor. va. cb. dim. added by analogy with fg., vl.2, va. 260-270 cl.solo b.260 note 2 to b.266 note 3, b.266 note 4
and in accordance with F to b.268 note 1, b.268 note 2 to b.270 note
249 cor.2 E: added in pencil 4: slurs emended from slur b.260 note 2 to
,
249 tamb.picc. A: Tamb. solo added (Emil Telmányi ?), b.270 note 4 as in D; D: b.260 note 2 to
3 (c'' ) 1 ) $ $ added, added in pencil b.261: end of slur open (change of system);
(Emil Telmányi?); E: bar added in pencil Ga
Ga: b.260 note 2 to b.268 note 3 and b.268
note 5: 0 added
250 cl.solo instead of d ''
"
breathing caesura, molto dim. tranquillo 263 vl.2
251 cl.solo added as in B; Ga Ga: between note 4 and of f''
note 8: 0 added
note 5: breathing caesura 264 cl.solo A: ten. added in pencil
notes 1, 5: 0 added
252-253 vl.2 B: b.252 notes 1-3, b.253 notes 1-2: slurs 264 vl.2
instead of one slur 264 va.
253 A: rehearsal number 14 added in blue 265 cl.solo Ga
Ga: between note 1 and note 2: breathing
crayon; B: un poco piu changed to Piu mosso caesura
# 0
"" '
in ink (CN) 265 vl.1 note 11: b ' emended to b ' as in B
253 tamb.picc. E: crossed out and changed to in 266 cl.solo Ga
Ga: between note 3 and note 4: breathing
notes 3, 6: 0 added
pencil (Emil Telmányi) caesura
253 vl.1 B: between note 1 and note 2: 2 266 vl.2
B: upper part note 1: !
4 "
253 va. 268 fg. note 3: stacc. added by analogy with notes
'
253 vc. E (vc. No.1): changed to in blue 1-2 and in accordance with F
"
crayon (CN?); E (vc. No.2): changed to 268 cl.solo Ga
Ga: between note 3 and note 4: breathing
4
254 vl.2 E (vl.2. No.1): changed to in blue 268 vl.2
crayon 269 tamb.picc. E: notes 1-3, 4-6, 7-9:
255 vl.1 added as in E (vl.1 Nos.2,3) 270 cl.solo Ga
Ga: between note 4 and note 5: breathing
255 vl.2 superfluous con sordino omitted (page caesura
#
turn); E (vl.2. No.1): Sordino added and 271 cl.solo A: note 11: a changed to a ; B: note 11: a
crossed out in red crayon. 271-272 cl.solo A: b.271 note 13 to b.272 note 1: tie added
note 8: 0 added
256 B: rehearsal number 14 b.256 instead of in pencil
b.253 271 vl.1 0
.
256 fg. cor. B: a2, pizzicato 272 vl.2 A: note 8: e ' changed to e ' in pencil (?),
. 0
4
256 fg.2 E: pizzicato note 14: d ' changed to d ' in pencil (?)
'
256 cor.1 E: pizz: 273-274 cor. stacc. added by analogy with bb.256-272
4 ,
256 cor.2 E: and in accordance with F
'
256 tamb.picc. E: notes 4-6, 7-9: 273 cl.solo D: note 2: marc. instead of
. 0
+
256 vl.2 added as in E (vl.2 No.1) and in accor- 273 vl.2 A: note 14: a ' changed to a ' in pencil
'
dance with F; A: note 1: crossed out and 274 A: rehearsal number 16 added in blue
+ + 4
( ?) added in pencil (music draughts- crayon
'
man?) B: ; E (vl.2. No.1): note 1: 274 tamb.picc. E: notes 1, 4, 7:
+
changed to in red and blue crayon; E 276 cor. stacc. added by analogy with b.275 and
""
crayon 277 fg. notes 1-3: beam added by analogy with
4
256 va. A: leggiero added in pencil (?); B: note 1: bb.255-276 and in accordance with F
256 cb. B: note 1: 277 fg. cor. vl.1,2 va. F: molto in ;
WH 30660 70
,
B: p. 19, A: p. 51]; F: note 4: marc. 303-304 cl.solo Ga
Ga: b.303 note 6 to b.304: beginning of
ff
277 cl.solo B: note 2: marc. instead of instead of b.304 note 1
+
277 vl.2 E (vl.2. No.1): note 18: 303 vl.1,2 B: end of slur note 4 instead of note 5
""
277 vc. cb. molto in omitted as in B [see 304 vl.1 A: changed to ; E (vl.1 No.1):
ff "
facsimile p. xxi ] changed to in pencil; E (vl.1 Nos.2,3,4):
ff
278 cor. A: added (CN?); B: d' instead of d''
ff
278 vl.1 omitted b.277 note 12 and added 305-306 cl.solo C: b.305 notes 1-2 and b.305 note 3 to
b.278 as in E; B: b.277 note 12 b.306 note 15: slurs instead of one slur
279 cl.solo Ga
Ga: between note 11 and note 12: b.305 note 1 to b.306 note 15
notes 1, 4: 0 added
breathing caesura 305 vl.1 notes 3, 5: stacc. added by analogy with
note 5: 0 added
280 cl.solo vl.2, va. and in accordance with F
B: notes 9, 11: 3 2 instead of 36
note 3: 0 added
284 tamb.picc. 0
305 vl.1
.
285 cl.solo A: note 17: d ''' changed to d ''' in pencil 305 vl.2
'
286-287 fg. cor. marc. added as in E (fg.2) and by analogy 305 vl.2 va. A: notes 3, 5: stacc. added in pencil
C: & % ; F:
ff '
with vc., cb. 306 tamb.picc.
286 tamb.picc. B: note 1: 306 cl.solo A: note 2: added in pencil (Emil
'
287-291 cl.solo D: b.287 note 2 to b.291 note 6: only one rit., note 16: tempo added in pencil (Emil
slur Telmányi?); GaGa: note 1: , note 6: rall.,
288 cl.solo D: between note 1 and note 2: breathing note 16: tempo
caesura 306-307 cl.solo C: b.306 note 8 to b.307 note 11: only one
291 cl.solo B: poco rall. slur
292 A: rehearsal number 18 added in blue 306 vl.1 B: rest 3: 5 added in ink (CN); C: note 2:
crayon; B: tempo un poc adagio. changed to a'' instead of a' ;
C: note 1: 3 instead of (
"
piu adagio. in pencil 306 vl.1,2 va.
B: rest 3: 5 added in ink (CN); C: note 2:
" 4 "" '
292 fg. B: 306 va.
292 cor.1 B: , espres:; E: , added in red crayon
" ""
300 cl.solo A: between note 1 and note 2: breathing slur
" "
caesura added in pencil 308-309 fg.1 added by analogy with
""
300-301 cl.solo Ga
Ga: b.300 note 2 to b.301 note 4: slur fg.2; C: b.308 note 1: dim; E:
" ""
300-303 cl.solo end of slur added b.303 note 3 as in D; A: added (Emil Telmányi?)
""
b.300 note 2 to b.303: end of slur open 308-309 fg.2 E: added (Emil Telmányi?);
(page turn) C: b.308 note 1:
""
300-304 cl.solo C: b.300 to b.304 note 10: beginning of 308-309 fg. cor. A: b.308 third crotchet to b.309 note 2:
""
308-309 cor.1 E: added in red crayon, b.309
301-302 cl.solo B: b.301 note 15 to b.302 note 9: slur; GaGa: note 2: added (Emil Telmányi)
""
b.301 note 5 to b.302 note 10: slur 308-309 cor.2 E: added in pencil and
"
302 cl.solo A: between note 1 and note 2: breathing emphasized in ink, b.309: added (Emil
caesura added in pencil; B: note 1: ; Ga Ga: Telmányi)
between note 1 and note 2: breathing 308-309 cl.solo b.308 note 1 to b.309 note 1: superfluous
caesura slur omitted
""
302-303 cl.solo B: b.302 note 10 to b.303 note 3: slur 309 fg.2 E: a tempo added (Emil Telmányi)
302 vl.1,2 B, C: notes 1-7: only one slur 309 cl.solo A: note 2: a piacere added (Emil
302-303 vl.1 E (vl.1 No.2): b.302 note 6 to b.303 note 5: Telmányi); C: rall:-
note 4: 0 added
only one slur 309-314 cl.solo C: only one slur; D: b.309 note 2 to b.312
302 vl.2 note 8, b.312 note 8 to b.314 note 1: slurs
WH 30660 71
+
note 8: breathing caesura slur
+ +
311-313 cl.solo C: 341 fg.1 A: note 2: added in pencil (?), B: note 3:
""
Telmányi) slur
. .
314 cl.solo C: 343 fg. C: note 3: 3 (c ) instead of ( (c ' )
C: ! instead of (, no stacc.
" ""
314 va. A: sempre sul una corda added in pencil 344-347 cor.
"
(Emil Telmányi); E (va. No.2): sempre una 344 cor.1 E: changed to in pencil (?)
corda added in pencil (Emil Telmányi) 344 cl.solo A: note 1: added in pencil (?); Ga Ga: note
315 cor.1 E: espress: 3: stacc., beginning of slur note 4 instead
"
326-327 fg. cor. cl.solo va. C: poco rall... of note 3
326 cor.1 E: rall added in pencil (?) 344 str. C: sempre
4
327 cb. B: rall 344-350 vl.2 C: phrase as vl.1 an octave lower
""
328 fg.1 C: 344-347 vl.2 E (vl.2. Nos.1,3): ten.
4
328 cor.1 omitted as in E 344-347 va. B, C :
328 vl.1,2 va. cb. C:
.
"
332-333 vl.2 C: b.332 to b.333: end of slur open (page
note 5: 0 added
turn) sempre added (Emil Telmányi); E (vl.1
333 vl.1 No.3): senz cresc. crossed out in pencil
"
334 cb. A: note 2: f added (?) notes 1-6: slurs
335 vl.1,2 A: notes 1-3: added (Emil 347 B: added in red crayon (CN)
Telmányi) 347 vl.1 E (vl.1 No.1): senza cresc.
335 vl.1 end of slur emended from b.336 note 1 as in 347-348 vl.1 E (vl.1 No.3): added in pencil
B, E; A: end of slur between b.335 note 4 348-350 vl.1 beginning of slur added b.348 note 1 by
and b.336 note 1; F: end of slur b.336 note 1 analogy with cl; A: b.348 note 1 to b.349
335 va. vc. cb. A: notes 1-3: added in pencil note 6: slur added in pencil, b.350
(CN) beginning of slur open (page turn)
335 vl.2 C: note 5: 3 1 instead of ( 348 vl.1 B: notes 1-6: slur
336-343 fg.1 C: end of slur b.342 note 1 instead of 348 vc. cb. A: e changed from [?, illegible] (CN);
#
"
b.343 note 3, b.342 note 2 to b.343 note 3: B, C , E , G: e
"
slur 348 cb. E (cb. Nos.1,2):
"
336 vl.1,2 A: note 1: added (Emil Telmányi) 349-350 vl.1 B: b.349 note 1 to b.350 note 1: slur
+
336 vl.2 E (vl.2. Nos.1-2): added (Emil Telmányi), 349 va. B, C: phrase as vl.2
"
spicc. added (Emil Telmányi) 350 B: added in red crayon (CN)
336 va. cb. A: note 1: added in pencil (CN) 350 cl.solo F, Ga
Ga: stacc.
337 vl.1,2 C: notes 5-6: stacc. instead of slur 350 va. E (va. No.2): stacc. changed to subito in
0 #
337 vl.2 A: note 4: b ' changed to b ' (Emil Telmányi?) pencil (CN)
339-341 fg. B: b.339 to b.341 note 1: added 350 va.cb. A: subito added (Emil Telmányi); B: marc.
in ink instead of stacc.
,
339-341 vl.1 va. cb. B: b.339 note 5 to b. 341 note 1: 350-351 va. cb. C: marc. instead of stacc.
added in blue crayon 351 cl.solo C:
.
339 vl.2 B: note 6: e' instead of f ' 351 va. cb. B: note 1: marc. instead of stacc.
339 va. beginning of emended from 352 cl.solo F, Ga
Ga: note 1: stacc.
"
b.340 note 1 by analogy with the other 352 vl.1 C: notes 2-4: slur instead of stacc.
parts 352 va. cb. B:
340-341 va. C: b.340 note 2 to b.341: end of slur open 354 vl.2 stacc. added by analogy with va., vc., cb.
(page turn) 356 cl.solo node 6: stacc. omitted as in D and by
+
340-342 va. E (va. No.2): b.340 note 3 to b.342 note 2: analogy with bb.357-359; A: note 6: stacc.
note 3: 0 added
(copying error) added in pencil; F, GaGa: note 6: stacc.
340 vc. cb. 356 vl.2 va. vc. B: note 5: ( instead of 3 1
WH 30660 72
+
357 vl.2 va. vc. beam broken between note 5 and note 6 373 cor. marc. omitted as in B
by analogy with b.356 notes 4-5 373 vl.2 B: note 5:
357 vl.2 vc. B: notes 1, 6: ( stacc. instead of 3 1 374-384 cl.solo D: b.374 note 1 to b.375 note 2, b.375
358 cor.2 E: note 1: marc. note 3 to b.377 note 2, b.377 note 3 to
+
358 cl.solo F, Ga
Ga: notes 1, 6: stacc. b.384: slurs
4
by analogy with b.356 notes 4-5 376 cl.solo
4
360 cl.solo B: note 1: 385 vl.1
" 4
360 str. beam broken between note 4 and note 5 386 cl.solo A: [?] espress added in pencil (CN/Emil
ff
360 va. B: empty bar 387 fg.1 va.
361-362 cl.solo B: b.361 notes 8-12: , b.362: ; 387 vc. B: end of tie open (page turn)
D: notes 9-12: 388-389 va. B: beginning of slur b.389 note 1 instead
note 2: 0 added; Ga
362 vl.1 E (vl.1 No.1): ved Froschen ‘near the frog’; E of b.388
(vl.1 Nos.2,3): ved Froschen added (Emil 389 cl.solo Ga: between note 3 and
"
Telmányi) note 4: breathing caesura
" ""
362-363 vl.2 cb. B: b.362 note 1 to b.363 note 3: only one 390 fg.2 A: note 1: added (Emil Telmányi)
slur 390 cor.1 E: changed to in pencil
"
363-369 fg.1 E: slur added in pencil (copying error) 390 cb. stacc. added by analogy with vc. and in
364-373 vl.1 marc. added by analogy with bb.362-363, accordance with F; A: note 1: added in
b.364: segue omitted in accordance pencil (CN?)
with F 391-392 fg.1,2 cor.1 E: b.391 note 4 to b.392 note 3:
364-365 vl.2 cb. B: b.364 note 1 to b.365 note 3: only one 391 cor.2 E: notes 1-3:
slur 391 va. vc. cb. B: end of slur b.392 note 1 instead of
note 2: 0 added
with F pencil
366-367 vl.2 cb. B: b.366 note 1 to b.367 note 3: only one 392 vl.1,2
slur 393 vl.1 B: beginning of poco rall: b.393 note 1
"
368-369 vl.2 B: b.368 note 1 to b.369 note 2: only one instead of b.392 note 2
note 2: 0 added
slur 393 vl.1 E (vl.1 Nos.1,3): note 2:
368-369 cb. B: b.368 note 1 to b.369 note 3: only one 393 vl.2
4
slur 394 cl.solo espressivo added by analogy with b.386 and
#
+
369 vl.2 B: note 5: b ' changed to f' in ink in accordance with F, Ga Ga; F:
369 vl.2 E (vl.2. No.1): note 3: , notes 3-5: stacc. 395-396 fg.2 E: b.395 note 1: end of slur open (change
and marc. of system), b.396 notes 1-3: slur
370-371 va. cb. B: b.370 note 1 to b.371 note 3: only one slur 396 fg.1 E: bass clef changed to alto clef
#
370-373 vl.2 marc. added by analogy with b.369 notes 396 cl.solo Ga
Ga: notes 3-4: a'-a '
3-5, b.370: segue omitted in accordance 398 cl.solo A: notes 1-10: slur changed to slur notes
with F 1-6 in pencil, notes 7-10: stacc. added in
371-373 fg. cor. pencil; D: notes 1-10: slur changed to slur
vl.1,2 va. vc. cb. A: cresc. relocated from b.372 to b.371 in notes 1-6, stacc. erased
'z
pencil; B: b.372: cresc 398 vl.1 B: NB added in red crayon (CN)
'z
371-372 fg.1 E: cresc. relocated from b.372 to b.371 by 399-401 tamb.picc. cb. A: added (Emil Telmányi/CN);
"
an arrow in pencil E (cb. No.1): added (Emil Telmányi)
"
371-373 cor.1 E: beginning of changed from 399 vl.1 added as in E (vl.1 Nos.1-3)
ff
b.372 note 1 to b.371 note 1 in red crayon, 399 vl.2 added as in E
ff
b.373: (CN) 400-401 tamb.picc. stacc. added by analogy with bb.398-399
371-373 cor.2 E: cresc. and in accordance with F
371 vl.1 E (vl.1 No.2): cresc. added in blue crayon 400 cl.solo A: notes 1-10: slur changed to slur notes 1-
(Emil Telmányi) 6 in pencil, notes 7-10: stacc. added in
371 vl.2 E (vl.2. No.1): cresc. added in pencil pencil; D: notes 1-10: slur changed to slur
371 vc. E (vc. No.1): added in pencil; E notes 1-6 in pencil, notes 7-10: stacc.
(vc. No.2): added in pencil
WH 30660 73
note 1: 0 added
system) note 1: beginning of
401 fg. 411 va. vc. cb. A: third quaver: added in pencil
401-405 fg. cor. B: b.401 note 1: end of slur open (page 411 vc. E (vc. Nos.1,2): added (Emil
turn), b.402 to b.405: slur Telmányi?), note 1: beginning of
401-405 fg.2 beginning of slur added by analogy with 411 cb. E (cb. No.1): added (Emil
fg.1; A: bb.403-405: beginning of slur open Telmányi); E (cb. No.2): note 1: beginning
(page turn) of
402 molto cantabile e ben tenuto added as tempo 411-412 cb. end of slur emended from b.412 note 4 to
marking above upper staff and above vl.1 note 3 as in B and by analogy with b.410
in accordance with F (vl.1,2)
402-405 fg. B: b.402 to b.405: slur 412 fg.2 E: notes 1, 4, 7: marc. added in pencil
402 vl.1 A: molto cantabile e ben tenuto added (Emil 412-414 cor. B: beginning of slur b.413 note 1 instead
Telmányi); of b.412 note 1
402 vl.1 E (vl.1 No.1): appass.; E (vl.1 No.2): 412 va. E (va. No.1): notes 1, 4, 7: marc. added ; E
appassioneto added (Emil Telmányi); E (vl.1 (va. No.2): notes 1, 4, 7: marc. added in
note 5: 0 added
No.3): appass. pencil
note 2: 0 added
402 vl.2 412 va. cb. A: notes 1, 4, 7: marc. added (Emil
note 3: 0 added
402 vc. cb. Telmányi?)
note 3: 0 added
403 cor. 412 vc. E (vc. No.1): notes 1, 4, 7: marc. added
notes 2, 5: 0 added
403 vl.1 (Emil Telmányi?)
note 3: 0 added
403 vl.2 412 cb. E (cb. No.1): notes 1, 4, 7: marc. added
note 1: 0 added
403 va. (Emil Telmányi?)
403 vc. cb. 413 fg. va. cb. A: added in pencil
"
404-405 va. B: end of slur b.404 note 3 instead of note 4 413 fg.2 E: added in pencil
"
405 va. vc. cb. B: dim 413 cl.solo Ga
Ga: between note 1 and note 2: breathing
406 cl.solo added as in D caesura
406-418 cl.solo b.406 to b.418: slur emended from slurs 413 va. E (va. No.1): added ; E (va. No.2):
b.406 to b.409, b.410 note 1 to b.412, b.412 added in pencil
to b.418 as in D; A: b.406 to b.409: end of 413 vc. E (vc. No.1): added (Emil
slur open (page turn); F, GaGa: b.406 to b.411 Telmányi)
"
note 9, b.412 to b.418: slurs 413 cb. E (cb. No.1): added (Emil
406 vl. B: added in red crayon (CN) Telmányi)
##
"
406 va. B: note 4: f '' 413-414 cl.solo A: b.413: fluente added (Emil Telmányi?)
406 va. vc. cb. A: espr. added (CN?); E (vc. Nos.1,2): espr. and pointer to b.414 in pencil
added in pencil (Emil Telmányi) 414 F: fluente noted as general expression
407-408 cl.solo D: between b.407 and b.408: breathing marking above fg. and vl.1
caesura added in pencil 417-418 cb. B: end of slur b.417 note 3 instead of b.418
# 0
408 cl.solo D: note 8: b '' changed to b ''; Ga
Ga: between note 1
"
note 2 and note 3: breathing caesura, note 418 A: a Tempo added (Emil Telmányi)
#
"
8: b '' 418 vl.1 E (vl.1 Nos.1,4): sempre ; E (vl.1 No.2):
B: notes 3-4: (6 /
" "
409 va. note 1: semp ; E (vl.1 No.3): note1: sempre
409 vl.1 E (vl.1 Nos.1-4): note 1: added in pencil and emphasized in ink
409-410 vl.1 A: note 3: added in pencil; E (Emil Telmányi)
' 'z
(vl.1 No.2): b.409 note 3 to b.410 note 1: 418 vl.1 va. A: espr. added in pencil (Emil Telmányi?)
added (Emil Telmányi); E 420 vc. cb. added by analogy with vl.2
'
(vl.1 No.3): b.409 note 3 to b.410 note 1: 421 cl.solo D: between note 1 and note 2: breathing
"
caesura added in pencil; Ga Ga: between
409 vl.2 E (vl.2. No.1): note 1: added (Emil note 1 and note 2: breathing caesura
Telmányi) 421 vl.2 A: arco crossed out in pencil
409-410 vl.2 A: note 3: added in pencil; E 422 cl.solo (fluente) emended to fluente; A: (fluente)
A: note 6: # added
(vl.2. No.1): b.409 note 3 to b.410 note 1: added (Emil Telmányi)
'
410 vl.1 E (vl.1 Nos.1-3): notes 1, 4, 7: marc. added 424 cl.solo D (autograph): notes 2-5: marc. and marc.
410 vl.2 E (vl.2. Nos.1,2): note 2: added (Emil 424-425 cl.solo Ga
Ga: no bar line between b.424 and b.425
Telmányi), notes 1, 4, 7: marc. added (Emil 426 molto espressivo e ben tenuto added as tempo
" + +
Telmányi?) marking in accordance with F
411 fg. A: note 1: added (Emil Telmányi), 426 cl.solo A: added in pencil (Emil Telmányi); B:
added in pencil 426 vl.1 A: molto espressivo e ben tenuto added (Emil
411 fg.2 E: added in pencil Telmányi); E (vl.1 No.2): molto espr. added
411 cl.solo A: notes 1, 4, 7: marc. added in pencil (Emil Telmányi); E (vl.1 No.3): molto
411 vl.1,2 A: added in pencil espressivo
WH 30660 74
note 3: 0 added
429 cor. A: notes 1-3: slur added in pencil; B: b.429 441 cl.solo
note 1: end of slur open (page turn) 441 vl.1,2
429-430 cor.2 E: b.429 note 1 to b.430 note 3: slur 441 vc. cb. B: note 1: ( changed to 3 1 in ink (CN)
430-431 fg. A: b.430 note 2 to b.431 note 1: tie added 442 str. F: beginning of note 2 instead
in pencil of note 5
. 0
430-431 cor. A: b.430 note 1 to b.431 note 4: slur added 442 vl. va. A: note 4: f changed to f in pencil
note 4: 0 added
in pencil 443-449 cl.solo D: b.449: end of slur added in blue
,
430 vl.1 va. crayon
+
431-434 cor.2 E: b.431 note 1 to b.434 note 1: slur 443 va. E (va. Nos.1,2): note 1:
431 vl.1 end of slur added as in B, E; A: b.431 note 443 vc. E (vc. Nos.1,2): note 1: added in pencil
+
1: end of slur open (page turn) 444-445 tamb.picc. emended from cresc.
0
431-433 vl.1 E (vl.1 Nos.1,2 ,3): b.431 note 3 to b.433 445 tamb.picc. B: note 2:
note 6: dim- - - 446 cl.solo A: note 4: added in pencil; D: note 5:
431-432 cb. B: end of slur b.432 note 2 instead of note 3 marc. added in pencil
ff
432-434 cor. beginning of slur added b.432 note 1 in 447 vl.1,2 va. cb. B: notes 1-2: stacc. instead of marc.
notes 1, 3: 0 added
accordance with F 449 fg. cor. F: stacc.
432
432
vl.2
va.
E (vl.2 Nos.1-3): div:
E (va. No.2): note 6:
: 454
455
va. vc. cb.
vl.1,2 notes 1-2: 0 added
432-433 cb. B: beginning of slur b.432 note 3 instead 457-458 fg. cor. B: end of slur b.457 note 4 instead of
" "
of note 4 b.458 note 1
433-434 str. F: b.434 instead of b.433
: 457 fg.1 E:
4
(change of system); Ga Ga: poco rubato, with the other parts
"
(printer’s error) 457 vl.1,2 B:
"
434 vl.1 A: Poco rubato added (Emil Telmányi); E 457 vl.1 E (vl.1 Nos.1-4): note 1:
(vl.1 No.4): poco rubato added in pencil (?) 457 vl.2 E (vl.2. No.1):
434 vl.2 poco rubato added by analogy with vl.1; E 457 va. E (va. Nos.1,2): molto in
"
(vl.2 No.3): poco rubato added in pencil (?) 457 va. cb. B: note 4: end of slur open (page turn)
437-439 cl.solo D: b.437 note 3 to b.439 note 1: slur 457 vc. E (vc. Nos.1,2):
438 fg. cl.solo 458 fg.1 B: note 1: c
vl.1 va. vc. cb. A: third quaver: added in pencil 458 fg. cor. B: note 1: beginning of slur open (page
A: 0 added in pencil
438 vl.2 added by analogy with vl.1 and bar
4
in accordance with F 458 cb.
4 '
439 fg. omitted by analogy with the other 459 vl.1 B: end of slur note 5 instead of note 6
parts and in accordance with F; A: 460 fg. cor. A: added in pencil (music draughts-
'
added in pencil man?)
'
439-440 fg. cor. 460 vl.1,2 A: added in pencil and emphasized in
'
vl.1,2 va. vc. A: b.439 to b.440: added in blue ink (Emil Telmányi); E (vl.1 No.2):
4 +
pencil added (Emil Telmányi); E (vl.2. No.1):
+
439-441 cor.2 E: 460 va. E (va. No.2): espress, note 3: 3
+
439 cl.solo Ga
Ga: between note 1 and note 2: breathing 460 va. cb. A: espr. added (Emil Telmányi)
caesura 460 vc. E (vc. No.1): espr. added (Emil Telmányi)
+
439-441 cl.solo A: b.439 note 1 to b.441 note 9: 461-465 fg. B: beginning of slur b.461 note 2 instead
added in pencil (Emil Telmányi); D: of note 1
note 3: 0 omitted
b.439 note 2 to b.441 note 9: slur 461-464 cl.solo D: (copy, Emil Telmányi): phrase written
439 vl.1,2 out both in original notation and
439-440 cb. added by analogy with the enharmonic equivalent
note 1: 0 omitted
other parts 461 vl.1 slur emended from slurs notes 1-2, 3-4 as
+
440 cor.1 in B, E; E (vl.1 No.2): slurs notes 1-2, 3-4
440 cor. B: semper changed to slur notes 1-4
WH 30660 75
'
462 tamb.picc. B: notes 1-4: marc.; E: added (Emil crayon (?); E (vl.2 No.2): note 1: added
""
Telmányi); F: note 1: (Emil Telmányi)
""
462-466 cl.solo D: (copy, Aage Oxenvad): enharmonic 483 va. E (va. Nos.1,2): note 1:
""
equivalent 483 vc. E (vc. No.1): note 2: added (Emil
463 fg. A: [?] erased and poco a poco accel. added Telmányi); E (vc. No.2):
(Emil Telmányi) 485 va. B: note 4: ( instead of 3 1 , notes 2-3: slur
463 fg.2 E: p. a p. accel- - - added (Emil Telmányi) 485 cb. B: note 4: ( instead of 3 1
4
463 cl.solo A: poco a poco accel. added (Emil Telmányi) 486 tamb.picc. E: note 1: stacc.
464-465 fg. emended from cresc. ; 488-489 vl.1 E (vl.1 Nos.2-3): added (Emil
4
A: b.464: cresc., b.464 note 2 to b.465 note 5: Telmányi)
added in pencil; F: cresc. 488-489 vl.1 va. cb. A: b.488 note 1 to b.489 note 2:
4
464-465 cor. added by analogy with fg.; F: added (Emil Telmányi);
4
cresc. (b.464) F: b.488 to b.489 note 4:
466 A: Poco piu mosso added (Emil Telmányi) 488-489 vl.2 E (vl.2. Nos.1,2): added (Emil
rest 1: 1 emended to 2 ; F: notes 1-3:
4
466 cl.solo Telmányi)
demisemiquaver triplets, rest 1: 2
,
488 va. E (va. No.1); added (Emil
ff 4
466 cl.solo D (autograph): ; Ga Ga: Un poco più mosso Telmányi)
466 vl.2 E (vl.2 Nos.1-3): 488 vc. E (vc. No.1): added (Emil
""
466-519 cb. cb. omitted as in E and in accordance Telmányi)
""
with F; A: senza Basso! added in pencil 489 va. E (va. No.1): added (Emil Telmányi;
""
(Emil Telmányi); E (cb. No.1): bb.466-519: * E (va. No.2):
Pausen bis*, added in pencil (CN), the bars 489 vc. E ( vc. No.2): note 1:
""
crossed out in pencil and red crayon; 489-490 fg.1 E: tie added in pencil
added at bottom of page (CN): *also Pausen: 490 tamb.picc. B:
30 cello 32
491 fg.1 cresc. omitted by analogy with the other
un poco meno parts; A: cresc. added in pencil (?); E: cresc.
; added in pencil
'"
rall.
491-493 vl.1 F: b.491 note 2 to b.493 note 4:
""
E (cb. No.2): bb.466-519: crossed out in 491-495 vl.1 E (vl.1 Nos.1,3):
" 4
469-471 vl.2 E (vl.2. No.1): dim- - - added (Emil Telmányi) 492-493 vl.1 beginning of emended from
" 4
471 fg.1 A: changed to espr. in pencil (Emil b.491 note 3 as in E; E (vl.1 No.2):
Telmányi/CN); E: changed to espr. in added
pencil (Emil Telmányi/CN) 492-493 vl.2 added by analogy with vl.1; E
"" +"
472 vl.1 va. vc. A: added (Emil Telmányi); E (vl.1 No.2): 493-495 vl.1 E (vl.1 No.4):
"" +"
note 1: added in blue crayon (Emil 494 fg.1 A: added in pencil (Emil Telmányi);
Telmányi); E (vl.2. No.1): added in E: added in pencil (?)
""
476 vl.1 va. vc. 494 vl.1 A: note 1: added and changed to
"
477-478 fg.1 B: b.478 note 1: beginning of slur open in pencil (Emil Telmányi), note 2:
'
(page turn) added and changed to (Emil Telmányi);
rest 1: 1 emended to 2 ; B: rest 1: 1
"
477 tamb.picc. E (vl.1 No.2): note 1: added (Emil
478-483 fg.1 B: b.478 to b.483 note 1: beginning of slur Telmányi), note 2: added
open (page turn) (Emil Telmányi)
4 ""
482-483 fg.1 B: b.482 note 1 to b.483 note 1: slur 494-495 vl.1 A: b. 494 note 3 to b.495 note 4:
+"
482-483 vl.1 E (vl.1 Nos.2,3): added (Emil added (Emil Telmányi)
4
Telmányi) 494 vl.2 , added as in E (vl.2 No.3)
' +
482-483 vl.1 va. cb. A: b.482 note 1 to b.483 and by analogy with vl.1; E (vl.2. No.1): note
4 "
added (Emil Telmányi) 1: added and changed to in pencil,
482-483 vl.2 E (vl.2. No.1): added (Emil note 2: added (?); E (vl.2 No.2):
4
Telmányi) b.494 note 3 to b.495 note 1:
482 va. E (va. No.1): added (Emil 494 va. end of emended from b.495
4
Telmányi) note 4 as in E; F: b.494 note 2 to b.495
note 3: 0 added
482 vc. E (vc. No.1): added (Emil note 3:
Telmányi) 494 va. vc.
WH 30660 76
""
494-495 va. vc. cb. A: b.494 note 2 to b.495 note 4: 523 fg.1 B: note 4: end of tie open (page turn)
added (Emil Telmányi) 523 tamb.picc. F: segue
494 vc. end of emended from b.495 524-525 fg.1 B: b.524 to b.525 note 1: beginning of slur
""
added (Emil Telmányi) 527 fg.1 A, E: notes 1-3: added in pencil
"" ""
495 vl.1 emended from note 4 as in E; F: note 4: 528 tamb.picc. B: empty bar
; E (vl.1 No.2): note 2: added (Emil 528 cl.solo B: staff 1 note 2: ad lib
A: staff 1 between note 12 and note 13: /
""
Telmányi) 528 cl.solo
. .
""
495 vl.2 added as in E ( vl.2 Nos.1,3); E (vl.2. (b ' ) crossed out , note 2: c'' changed to c ''
""
No.1): note 1: added (Emil Telmányi); in pencil; D (copy, Emil Telmányi): staff 1
""
495 va. added as in E 528 cl.solo
A: staff 2 note 16: 5 added in pencil (CN),
notes 1, 2: 0 added
495 vc. emended from note 4 as in E 528 cl.solo
498 fg.1 between note 16 and note 17: breathing
499-511 cl.solo D: (copy, Emil Telmányi): enharmonic caesura added in pencil (CN); F: staff 2
equivalent between note 16 and note 17: breathing
502 cl.solo Ga
Ga: between note 1 and note 2: breathing caesura, no 5 ; Ga Ga: no 5 , no breathing
' '
506 vl.1 E (vl.1 No.1): notes 2-4: stacc. 528 cl.solo
'
507 fg.1 omitted as in E; A: note 2: added 528-531 cl.solo D: staff 2 note 27 to b.531: copy, Aage
note 1: 0 omitted
510 va. vc. A: arco added in pencil 528 cl.solo D (copy, Emil Telmányi): staff 4 between
511 fg.1 note 2 and note 3: breathing caesura
511-512 tamb.picc. stacc. added as in E and by analogy with 528 cl.solo staff 5 note 10: marc. added by analogy
b.510 0
with staff 5 notes 1-2, 5, 6, 9
#
511, 512 vl.1 A: upper part note 1: b '' changed to b '' 528 cl.solo staff 5 notes 27, 28, staff 6 notes 3-6: stacc.
513-520 cl.solo Ga
Ga: b.513 note 2 to b.517 note 1 and b.517 omitted as in D (copy, Emil Telmányi;
note 2 to b.519: slurs copy, Aage Oxenvad) and in accordance
516 fg.1 E: note 2: marc. added in blue crayon (CN?) with Ga Ga; A: staff 5 notes 27, 28, staff 6.
4
516 va. vc. cb. B: unis notes 3-6: marc. added in pencil; B: staff 5
4 "
516 vc. A: added (Emil Telmányi); E (vc. No.1): notes 27, 28, staff 6 notes 3-6: stacc.
4
changed to in blue crayon (?) 528 cl.solo Ga
Ga: staff 6 between note 6 and note 7:
516 cb. A: added (Emil Telmányi), pizz crossed breathing caesura
out, see commentary b. 466-519 528-529 cl.solo Ga
Ga: staff 5 note 5: diminuendo- - - e - - - rall.,
517-520 tamb.picc. B: notes written in ink (CN) staff 6 note 12: - - - molto ---
0 #
517-527 va. vc. cb. B: unis 528 cl.solo staff 6 notes 12, 16: b emended to b by
517-519 cb. F: empty bars analogy with staff 6 note 8
518-519 vl.1 E (vl.1 No.1): rall.- - - ; E (vl.1 Nos.2,3): rall.. 528 cl.solo B: staff 6 note 13: rall - - -
added (Emil Telmányi) 528 cl.solo B: staff 6 note 17: molto rall:
518 vl.2 E (vl.2. No.1): note 4: rit. added in pencil 528 cl.solo A, D (copy, Emil Telmányi): staff 6
"
and emphasized in ink (Emil Telmányi) between note 25 and note 26: breathing
519 fg.1 A: note 1: added in pencil (CN) caesura added in pencil
0 #
520 B: tempo tranq. 528 cl.solo staff 6 notes 20, 24: b emended to b by
9
" 4 "
note 2: e 529 adagio emended to Adagio; B: poco adagio
"
520 vl.1 added as in E and by analogy with va.; 529 vl.1,2 va. A: changed to
"
E (vl.1 Nos.2,3): added (Emil Telmányi) 530 cl.solo D (copy, Aage Oxenvad): note 3: marc.
"
520 vl.2 added as in E and by analogy with va.; instead of ten.
.
E (vl.2. No.1): note 1: added (Emil 531 cl.solo D (copy, Emil Telmányi): notes 17-18: g '',
"
520 va. A: note 1: added in pencil (CN?);
.
"
520 vc. added as in E and by analogy with va. 17-18: g '', notes 19-20: e'', notes 21-22: a''
#
+ +
520 cb. added by analogy with va. instead of a ''
521 fg.1 A: note 1: added in pencil (CN); E: 533 adagio emended to Adagio; B: poco adagio
+
added in pencil (Emil Telmányi) 533 va. molto espressivo added as in E and by analogy
521-528 tamb.picc. segue omitted and marc. added by analogy with vl.1; E (va. No.2): espr. molto added
with b.520 in pencil (Emil Telmányi); E (va. No.1): espr
WH 30660 77
+
535 vc. notes 2-3: slur omitted by analogy with cb. 555-560 cor. E:
536 cl.solo B: segue
ff + ff
with vc., cb. the slip of paper’ added in pencil
ff + ff
538 cl.solo D (copy, Emil Telmányi): notes 5-6, 7-8: 555 vl.1 emended to as in E; F: ; E (vl.1
. . . . 0
+
c ''' - d ''', notes 9-12: e''' - d ''' - c ''' - b '' No.1): changed to ; E (vl.1 No.2):
ff +
538 va. ten. added as in B and by analogy with changed to in blue crayon; E (vl.1 No.3):
ff + ff
vl.1,2, vc. changed to
ff +
538 cb. ten. added as in B (va.) and by analogy 555 vl.2 emended to as in E; F: ; E (vl.2.
ff +
with vc. No.1): changed to in blue crayon; E
. . . .
ff +
539 cl.solo D (copy, Emil Telmányi): a'' - f '' -f '' -f ''-g '' - (vl.2 No.2) changed to
. .
f '' - g '' ; Ga
Ga: between note 4 and note 5: 555 va. emended to as in E and in accor-
breathing caesura dance with F
note 3: 0 added
539 vc. A: marc. added (CN) 556 vc. cb. E (vc. No.2), E (cb. Nos.1,2): segue
539 cb. marcato added by analogy with vc.; B: note 557 fg. cor.
3: stacc.; E (cb. Nos.1,2): note 4: marc. 557 vc. E (vc. No.1): segue
540 cl.solo Ga
Ga: between note 4 and note 5: breathing 558 vc. cb. note 3: marc. added as in E and by
caesura analogy with fg. and in accordance
,
540 vl.1 A: dim. added in pencil (CN) with F
540 vl.1,2 va. B: (dim) 559 tamb.picc. B: ; E: stacc.
540 cb. E (cb. No.1): note 2: marc. added (Emil 560 fg. vc. cb. added by analogy with cor.
""
Telmányi?); E (cb. No.2): note 2: marc. 560 cor. A: added in pencil
"" +
542 vc. A: notes 1-2: added in pencil 560 vl.1 B: notes added in ink
" +
542 vc. cb. B: notes 1-2: dim 561 fg. added by analogy with cor.
""
542 cb. E (cb. Nos.1,2): note 1: 561 cor. A: note 1: added in pencil (Emil
+
543 fg.1 B: Imo; E: Telmányi)
ff ff
543-546 fg.1 B: end of slur b.545 note 1 instead of 561 cor.2 E: added (CN?)
b.546 note 1 561 vl.1 , martelé added as in E; E (vl.1 No.2):
ff
543 va. B: beginning of slur note 1 instead of martélé added and blue crayon (CN?)
ff
note 2, note 2: no marc. 561 vl.2 , martelé added as in E; E (vl.2. Nos.1,2):
544 cl.solo D (copy, Emil Telmányi): martelé added (Emil Telmányi)
crossed out 561 cb. B: slur and marc. added in ink
544-546 cl.solo Ga
Ga: beginning of slur b.545 note 2 instead 563 fg. E: segue
note 1: 0 omitted
of b.544 note 4 563 cb. B: slur added in ink
544 va. marc. added as in E (va. No.1) and by 564 fg.2 cor.2
analogy with b.543 and in accordance 564-565 tamb.picc. B: marcato b.564 instead of b.565
'
with F 566 vl.1,2 A: notes 1, 3: marc. added in pencil
544 vc. cb. A: added (Emil Telmányi) 567 fg. E: notes 1-4:
544-545 cb. b.544 note 1 to b.545 note 1: stacc. added 567 fg.1 E: note 2: marc. instead of stacc.
by analogy with vc. 567 fg.2 E: note 1: stacc.
""" 4
545 fg.1 E: note 1: dim. added in pencil (CN) 567 cor. marc. and stacc. added by analogy with
" "
545 cor. B: fg.; B:
4
545 vc. E (vc. Nos.1,2): note 2: 567 cor.1 E: added (Emil Telmányi)
""
546 cl.solo D (copy, Emil Telmányi): end of slur note 8 567 tamb.picc. F: note 3 instead of note 4
""
546 str. added as in E (vl.1, va., vc.) 567-568 cl.solo end of slur emended from b.568 note 8 in
"
546 vc. E (vc. No.1): notes 1-2: dim added (Emil accordance with F
""
Telmányi); E (vc. No.2): notes 1-2: 568 tamb.picc. F: b.567 note 5 instead of b.568 note 1
567-569 cl.solo F: b.567 to b.569 note 1: slur; D: b.567 to
" "" 4
547-548 tamb.picc. B:b.547 note 1 to b.548 note 4: b.568: end of slur open (change of system)
" ""
549 fg.1 cor.1 A: changed to in pencil (Emil 567 vl.1 E (vl.1 No.1): added in pencil;
+
Telmányi); E: changed to in blue E (vl.1 Nos.2,3,4): notes 2-4:
crayon (Emil Telmányi?) 567 vl.2 E (vl.2. Nos.1,2,3): notes 1-4:
WH 30660 78
4 "
567 va. E (va. Nos.1,2): notes 1-4: 602-603 fg. B: no tie
567 vc. E (vc. No.1): note 2: changed to in 602 fg. cor. B: note l: beginning of tie open (change of
4
blue crayon (Emil Telmányi?) system)
"
568 fg. E: note 1: 604-610 fg. B: b.604 note 1 to b.610: end of slur open
4
568 tamb.picc. A: note 1: added (CN?) (page turn)
4
568 vl.1 E (vl.1 No.1): crossed out in pencil; E 604 fg.2 marc. added by analogy with fg.1
4 note 5: 0 added
(vl.1 Nos.2,3,4): b.568 instead of b.567 604 cor.2 marc. added by analogy with cor.1
568 vl.2 E (vl.2. Nos.1,2,3): b.568 note 1 instead 604 vl.1,2 va. vc.
4
of b.567 606 fg.2 marc. added by analogy with fg.1
568 va. E (va. Nos.1,2): b.568 note 1 instead of 606 cor.2 marc. added by analogy with cor.1
0
b.567 607 vl.1 E (vl.1 Nos.1,2,3,4): poco a poco dim.; E (vl.1.
ff
572 cl.solo D: E:
+" ff"
576 tamb.picc. B: 608-610 vl.1 B: b.608 notes 1-6, b.609 note 1 to b.610
,
577 tamb.picc. B: ; F: note 2: slurs
580 cl.solo added as in B, D 608-609 va. E (va. Nos.1,2): b.608 note 2 to b.609 note 6:
580-585 cl.solo beginning of slur emended from b.584 dim- - -
note 1 609 va. vc. added by analogy with vl.1,2
""
580-586 vl.1,2 marc. added as in E (vl.1); E (vl.1 Nos.1-4): and in accordance with F
4
segue 610 cor.1 E: note 2: added in blue crayon (CN)
580-586 va. marc. added as in E (b.580 notes 1-4); E (va. 610 vl.1 B:
Nos.1,2): b.580 notes 1-4: marc., note 5: segue 610-615 calando poco a poco emended to poco a poco
580-586 vc. marc. added as in E (vl.1, va.) calando; A: calando poco a poco added (Emil
+ 4
585-586 cb. marc. added as in E (vl.1, va.) Telmányi); F: bb.611-614: calando poco a poco
'
586 cl.solo A: notes 1-4: added in pencil 610 tamb.picc. B: (?)
" ""
(Emil Telmányi) 610 cb. B:
587 cor. stacc. emended to marc. as in E 611 tamb.picc. A: changed to ; B:
.
588 fg.1 F: note 6: g instead of g
.
+ + +
noted in the margin (Emil Telmányi); E pencil (CN); Ga
Ga: poco a poco calando
'
(va. Nos.1,2): note 1: 611 vl.1 (poco ) emended to poco ; B: note 1:
+ +
590 va. E (va. No.2): notes 1-3: marc ( ) crossed out and (f) added
591-592 fg. notes 1-3: vertical lines removed and 611 vl.2 (poco ) emended to poco
marc. added 0
as in E 612 cl.solo D: dim in the end of bar
.
ff
591 fg.1 B: note 3: d ' changed to d ' in ink 613-614 vl.2 E (vl.2. No.1): rallen... added (Emil Telmányi)
591 fg.2 cor. E: note 1: 615 vl.1 E (vl.1 No.2): dim.
591-592 cor. notes 1-3: vertical lines removed and 615-617 va. E (va. No.2): b.615 note 3 to b.617 note 3:
marc. added as in E dim- - -
0 .
591 cor.1 B: note 3: a ' changed to a ' in ink 616 cl.solo dim. added as in D and by analogy with the
591 str. B: pizz added in ink (CN) other parts.; D: b.616 note 1 to b.617 note
595 vl.1 E (vl.1 No.4): notes 1-4: marc. 2: added in blue crayon (CN)
""
595 va. E (va. Nos.1,2): notes 1-4: marc. 616 va. cb. A: dim added (CN?)
596
598
va.
va. E (va. No.2): notes 2, 4:
:
E (va. No.2): note 1: segue added in pencil 617
617
cor.
va.
A:
:
added (Emil Telmányi)
B: note 3: ; E (va. No.2): note 3: rall:
600 va. E (va. No.2): note 5: pesante 618 A: un poco tranquillo changed to molto
601 fg.2 marc. added by analogy with fg.1 tranquillo (CN); B: poco tranq:
601 cor.2 marc. added by analogy with cor.1 618 fg.1 E: un poco tranq: changed to molto tranq: in
601 vl.1 A: Pesante added (Emil Telmányi); F: pencil (CN)
pesante noted as general expressive 618 fg.2 cor.1 E: tranquillo
marking; E (vl.1 No.2): pesante added in 618 cor.2 E: un poco tranq.
blue crayon (Emil Telmányi/CN); E (vl.1 618 tamb.picc.
'
601 vl.2 E (vl.2. Nos.1,2): Pesante added in pencil 618 cl.solo emended to as in D; A: espr added
and emphasized in ink (Emil Telmányi?); in pencil (Emil Telmányi); D: added
E (vl.2. No.3): Pesante (CN), espress: added in blue crayon (CN)
601 va. pesante added as in E and by analogy with 618 cl.solo D: poco tranquillo
vl.1,2 618-623 cl.solo B: beginning of slur b.619 note 2 instead of
601 vc. pesante added as in E and by analogy with b.618; D: slur b.618 note 1 to b.623 note 2
vl.1,2; E (vc. No.1): pesante added in pencil changed to slur b.618 note 1 to b.622 note
and ink (Emil Telmányi) 1 and slur b.622 note 2 to b.623 note 2
WH 30660 79
ff
618 va. cb. A: note 1: added (Emil Telmányi) 648 fg. cor. tamb.picc.
ff
618 va. E (va. Nos.1,2): Un poco tranquillo vl.1,2 va. cb. B:
618 vc. E (vc. Nos.1,2): un poco tranquillo 648 cb. E (cb. Nos.1,2): note 1:
619 fg.1 E: espr. underlined in blue crayon 649-667 cl.solo D (autograph): bars crossed out in pencil
.
619 fg. marc. omitted as in E, B and by analogy 650 cl.solo note 8: f '' emended to d'' as in D (auto-
with bb.623-624; A: espr. added in pencil graph and copy, Aage Oxenvad); A: note 8:
621-622 cl.solo A: b.621 note 3 to b.622 note 2: note head (d'' ) added in pencil; D (auto-
.
added in pencil; D: b.622 notes 2-3: graph): note 8: f '' changed to d'' ; D (copy,
.
added in pencil Aage Oxenvad): note 8: f '' changed to d'', d
ffz ,
622-623 cl.solo A: b.622 note 2 to b.623 note 2: added below the staff
added in pencil; F, Ga Ga: b.622 notes 1-2: 651 tamb.picc. B: note 1: ; E: no
and b.622 note 3 to b.623 note 652 vl.1 E (vl.1 No.2): notes 1-4: ten. added in blue
ff
2: ; D: b.622 note 3 to b.623 note crayon
2: added in pencil 654 cl.solo added as in D (autograph and copy,
623 fg. A: espr. added in pencil (Emil Telmányi?) Aage Oxenvad)
625-626 cl.solo A: b.625 note 1 to b.626 note 1: 654-660 cl.solo beginning of slur emended from b.656
added in pencil, b.626 note 1 to note 4: note 2 as in D (autograph and copy, Aage
added in pencil; F, GaGa: b.625: Oxenvad)
, b.626: ; D: b.625 note 655-656 cl.solo A: molto espressivo added in pencil (CN?)
2 to b.626 note 1: added in 656 fg.2 marc. added by analogy with fg.1
pencil, b.626 note 1 to note 4: 656 cor.2 marc. added by analogy with cor.1
added in pencil 659-662 vl.1 marc. added as in E (b.659 note 5 to b.662
628-629 cl.solo A: b.628 note 4 to b.629 note 3: note 3, vl.1 No.1) and as in E (b.659 note 5
added in pencil to b.660, vl.1 Nos.3,4)
629 cl.solo F, Ga
Ga: ; D: added in 659-662 vl.2 marc. added as in E
note 1: 0 added
(Emil Telmányi) 661 vl.1 E (vl.1 No.3): segue
#
633 va. vc. cb. 661 vc. B: notes 1-3: d - e -f
634-643 F: bb.634-643: Poco a poco accelerando - fin al 662-663 vl.1 ten. added as in E (vl.1 No.2); E (vl.1 No.2):
- Tempo I- - - b.662 note 4 to b.663: ten.
note 2: 0 added
634-643 cl.solo beginning of slur emended from b.636 662 vl.2 ten. added as in E (vl.1)
637 va. 662-664 va. ten. added as in E (va. No.1); E (va. No.2):
note 3: 0 added
637 va. vc. cb. espressivo added as in E b.662 note 4 to b.663: ten.
637 vc.cb. 662-663 vc. ten. added as in E (vc. Nos.1,2)
638-639 cl.solo D: b.638 note 2 to b.639 note 2: 663 fg.2 marc. added by analogy with fg.1
added in pencil 663 cor.2 marc. added by analogy with cor.1
639 cl.solo Ga
Ga: notes 2-4: 663 cor. vl.1 B: second crotchet: dim
639-640 cl.solo D: b.639 note 3 to b.640: 663-664 vl.1 ten. added as in E (vl.1 Nos.1,2,4)
added in pencil 663-664 vl.2 ten. added as in E (vl.2 Nos.1-3)
640 cl.solo Ga
Ga: notes 1-2: 664 B: below the system: senza rall:
641 A: accel added (Emil Telmányi) and crossed 664 vc. ten. added as in E (vc. No.2)
out 665 vl.2 E (vl.2. No.1): dim
641 cl.solo D: accel added in pencil (Aage Oxenvad) 665-666 va. E (va. No.2): marc. instead of ten.
641-642 cl.solo Ga
Ga: b.641 notes 1-3: , b.641 note 3 667-673 vl.2 E (vl.2. No.1): rall- - - added (Emil Telmányi)
" ""
slur 669 vl.1,2 A: rall- - - added (Emil Telmányi)
"
641 vc. E (vc. Nos.1,2): accell 670 cor. A: changed to (Emil Telmányi);
641 cb. E (cb. Nos.1,2): accel- - - E (cor.2):
642 cl.solo B: molto in 671 tamb.picc. B: dim b.672 instead of 671
642 va. E (va. No.2): accel- - - 671-674 va. B: b.671 note 2: beginning of slur open
643 A: Tempo I added (Emil Telmányi) (page turn), slur b.672 notes 1-2 instead of
643 fg. cor.2 E: Tempo I added (Emil Telmányi) slur b.671 note 2 to b.674 note 1
643 cor.1 E: Tempo Imo added (Emil Telmányi) 672-673 vl.1 superfluous rall. omitted (page turn); A:
ff ""
643 cl.solo Ga
Ga: Tempo I (Allegro vivace) rall- - - added (Emil Telmányi)
643 vl.1 F: note 1 instead of note 2 673 tamb.picc. A : added (Emil Telmányi); B: the bar
' "
643-646 vl.2 sul G added as in B, E (vl. 2 No.1) circled in red crayon
645 vl.2 B: note 3: crossed out 673 vl.1 B: note 1: dim.
646 cor. marc. added as in E and by analogy with 674 ( = quasi ! emended to ! = quasi ( ;
bb.643-644 in accordance with F B: adagio
WH 30660 80
" "
674 cl.solo A: changed to (Emil Telmányi),
above the staff: ma espressivo; F, Ga Ga: 682 fg.2 E: Tempo I (Allegro) poco a poco added (Emil
"
674-686 cl.solo slurs emended from slur b.674 note 3 to Telmányi)
b.686 note 1 as in D 682 cor. B: , may also belong to tamb.picc.
675-676 fg.1 A: b.675 note 3: tie crossed out, b.676 note 682 cor.1 E: Allegro vivace
0 # 0
" "
1: b changed to b ; E: tie, b.676 note 1: b 682 cor.2 E: Tempo I (Allegro)
# 0
4
changed to b ; E: b.676 note 1: b changed 682 tamb.picc. B: , may also belong to cor.; E: crossed
#
to b out and changed to in pencil (Emil
675 cl.solo Ga
Ga: between note 3 and note 4: breathing Telmányi)
A: Allegro (! = quasi (); D: Tempo I (Allegro);
"" 4
caesura 682 cl.solo
4 '
676 vl.1,2 A: changed to (Emil Telmányi) Ga
Ga: between note 1 and note 2: breathing
" '
676 vl.1 spicc. added as in E, emended to as caesura
" '
in E; E (vl.1 No.2): changed to in blue 682-685 cl.solo Ga
Ga: b.682 to b.685 note 2: poco a poco in- - -
4 ' "
crayon (?), E (vl.1 No.3): changed to Tempo I Allo vivace
" '
676 vl.2 spicc. added as in E, emended to as 682 str. A: note 1: added in pencil (Emil Telmányi)
"
in E; E (vl.2. Nos.1,2): changed to CN?) 682-687 vl.1 A: poco a poco in Tempo Imo (Allegro vivace)
676 cb. A: added in pencil (Emil Telmányi) added (Emil Telmányi)
.
677 cor.1 B, E: note 5: f ' 682 vl.2 E (vl.2. No.1): Allegro crossed out in pencil,
677-678 cl.solo Ga
Ga: between b.677 and b.678: breathing Allegro (! =() added in pencil (?)
caesura 682-686 vl.2 E (vl.2. No.1): poco a poco à Tempo (Allegro
677 vl.1 added as in E vivace)
677 vl.2 added as in E; E (vl.2. No.1): 682-685 va. E (va. No.2): poco a poco - - -a Tempo I
notes 8-11: added 682-684 vc. E (vc. No.1): poco a poco - - - crossed out in
677 vc. B: lower part: 8 6 pencil and Allegro added in pencil; E (vc.
. . . 0
'
678 cor.1 B, E: notes 1-4: e ' - b ' - c ' - e ' No.2): Allegro added in pencil
'
678 vl.1 added as in E; E (vl.1 Nos.2,3): note 1: 685-687 va. A: Tempo Imo (Alleo vivace) added in pencil
'
added (Emil Telmányi) (Emil Telmányi?)
678 va.
:
added (Emil Telmányi)
B: note 4: ; E (va. No.2): note 4:
: 686
686-687
vl.1,2
vl.1 A: (Allegro vivace) added in pencil (Emil
4
679 vl.1,2 added as in E; E (vl.1 No.2): Telmányi)
notes 8-11: added ; E (vl.1 No.3): 687 cl.solo D:
notes 8-11: added 688 tamb.picc. B: cresc.
note 2: 0 added
679-680 vl.2 E (vl.2. No.1): beginning of poco espress 688-689 tamb.picc. B: b.689 note 1: beginning of
'
b.680 instead of b.679 note 8 688 str.
"
680-681 fg. cor. A: added in pencil; E: 688 str. B: note 1:
"
added in pencil 688 va. E (va. No.2): note 1:
' +
680 vl.1 added as in E (vl.1 Nos.1,3); E 688 vc. E (vc. Nos.1,2): note 1:
' +
(vl.1 Nos.1,3): note 1: ; E (vl.1 689 va. E (va. Nos.1,2): note 4 instead of note 1
+
No.4): note 1: added 689 vc. E (vc. Nos.1,2): note 4 instead of note 1
680 vl.1 added as in E; E (vl.1 Nos.1,2): 689 cb. E (cb. Nos.1,2): note 4 instead of note 1
notes 4-7: ; E (vl.1 No.3): notes 5-7: 691 cl.solo Ga
Ga: between note 1 and note 2: breathing
,
added (Emil Telmányi) caesura
+
680 vl.2 added as in E (vl.2 Nos.1,2) 693 cl.solo
680 va. vc. cb. added as in E (vl.1,2) and by 693 vl.1,2 B: note 1:
analogy with fg., cor.; F: notes 1-3: 694 cl.solo Ga
Ga: between note 1 and note 2: breathing
WH 30660 81
4
nok”! ‘Dear O.!C.N. ‘How can you manage a poco; E (vl.1 Nos.2,3,4): calando poco a poco
""
the breathing? Lord!’ A.O. ‘I’ll manage; added (Emil Telmányi); E (vl.1 No.2):
I’ll think of something’C.N. ‘Thanks! I changed to in pencil(?)
thought you would!’ added in blue 718 vl.2 E (vl.2. No.1): calando added (Emil
note 3: 0 omitted
crayon (CN) – see facsimile p. xxiii; Ga Ga: Telmányi)
"
between b.697 and b.698: breathing 720 vl.1,2
+
700 cl.solo note 2: breathing caesura
706 fg. A: added (Emil Telmányi) 721-724 cl.solo D: b.721 note 2 to b.724 note 1: slur
706-709 fg. B: b.706 note to b.707: end of slur open changed to slurs b.721 note 2 to b.723
,
(page turn) note 1, b.723 note 2 to b.724 note 1 in
706 cl.solo D: note 2: instead of marc. pencil
707-709 fg.1 A: end of slur changed from b.709 note 2 722 cl.solo A: note 1: dim added in pencil (Emil
'
707 vl.1,2 (CN)
707 vl.1 E (vl.1 No.2): calando added (Emil Telmányi) 722 vl.2 E (vl.2. No.1): crossed out in pencil
708 rallen emended to rall. 722-728 va. B:
,
708 cl.solo A: rallen added (Emil Telmányi?); D: note 2: pizz.
instead of marc.
708-709 vl.2 E (vl.2. No.1): rall- - - added (Emil Telmányi);
E (vl.2. No.1): end of slur b.708 note 4 722 va. E (va. No.2): poco c poco dim
" "
instead of note 3 723 cl.solo Ga
Ga: between note 1 and note 2: breathing
709 fg.1 A: note 2: added (Emil Telmányi?); E: caesura
"
b.710 instead of b.709 723-725 cl.solo D: b.723 note 2 to b.725: slur added in
709 fg.2 rest 1: omitted and added note 1 as in E pencil
709 cl.solo A: added in pencil 724 cl.solo D: added in pencil
709-710 vl.2 E (vl.2. No.1): beginning of slur b.710 note 724-725 cl.solo F, Ga
Ga: b.724 last quaver to b.725 first
1 instead of b.709 note 4 crotchet: poco
710 Poco meno emended to poco meno; A: Poco 724-726 cl.solo di-minu-en-do added as in D
"
meno added (Emil Telmányi) 724 vl.1 va. vc. Flag. omitted
710 fg.1 omitted b.709 note 2 and added b.710 725 vl.2 va. vc. dim. added by analogy with vl.1, cb. and in
""
710 cl.solo A: note 2: added in pencil (Emil 726 tamb.picc. A: added in ink and changed to
in pencil (Emil Telmányi); B: ! ; E:
"""
Telmányi?); D: between note 1 and note 2:
breathing caesura changed to in pencil (CN?)
710-718 cl.solo D: beginning of slur b.708 note 2 instead 726 cl.solo D: and added in
""
of b.710 note 2 pencil
4 ""
710 vl.1 A: note 1: added (Emil Telmányi); E 726-727 cl.solo F, Ga
Ga: b.726 last quaver to b.727 first
""
(vl.1 No.2): changed to in pencil crotchet: poco
(Emil Telmányi), Poco meno added (Emil 727 cl.solo added as in D; D: second crotchet:
"
Telmányi) added in pencil
710 vl.2 added as in E; E (vl.2 Nos.1,2): Poco meno 727 va.1 upper part: chord 1: ten. added by
added (Emil Telmányi); E (vl.2 No.3): Poco analogy with va.2
E: 5 added (Emil Telmányi?)
"
meno 728 fg.2
"""
710 vc. cb. A: added in pencil (Emil Telmányi); E 728 cl.solo added as in D; A: longa changed
""
(vc. No.1): Poco meno added (Emil Telmányi); to lunga in pencil (CN); Ga
Ga:
"
E (cb. No.1): Poco meno added (Emil 728 vc. E (vc. No.1):
note 4: 0 added
Telmányi), note 1:
711 va.
712 cl.solo D: between note 1 and note 2: breathing
caesura
712-716 cl.solo di-mi-nu-en-do added as in D; D: dim - - -
note 4: 0 added
712 va. E (va. No.2): calando
713 vl.1
713 vl.1 A: end of slur open (page turn)
718 calando poco a poco emended to poco a poco
" ""
calando
" ""
718 tamb.picc. A: changed to (Emil Telmányi);
E: changed to in pencil (Emil
Telmányi)
718-724 tamb.picc. B: note 2: !
718 cl.solo dim added as in D; Ga Ga: between note 1
and note 2: breathing caesura; Ga Ga: calando
- poco a - poco dim.
WH 30660 82