HANS CHRISTIAN LUMBYE

Transkript

1 HANS CHRISTIAN LUMBYE TELEGRAPH-GALOP TELEGRAPH GALLOP

2

3 HANS CHRISTIAN LUMBYE TELEGRAPH-GALOP TELEGRAPH GALLOP København 00 UDGIVET AF EDITED BY NIELS BO FOLTMANN MED FORORD AF WITH AN INTRODUCTION BY KNUD ARNE JÜRGENSEN

4 Cover design English translation DCM ISMN 00 Willeru & Dan A. Marmorstein Dansk Center or Musikudgivelse (DCM) Det Kongelige Bibliotek, København Danish Centre or Music Publication (DCM) The Royal Library, Coenhagen This edition was made available on htt:// Aril 00 Revised July 00

5 HANS CHRISTIAN LUMBYE Hans Christian Lumbye blev ødt i København den. maj 80. Han lyttede allerede som barn til den danske rovins, idet hans ar, der var militær embedsmand, blev udstationeret ørst i Jylland og siden hen i Odense. I Odense ik Lumbye sin ørste egentlige musikundervisning og onåede som 4-årig at blive hornist i det lokale regimentsorkester. Året eter ik han svendebrev som udlært trometer, og som 9-årig vendte han tilbage til sin ødeby København, hvor han i 89 ik stilling som trometer i den kongelige hestgarde. Ved siden a dette arbejde var Lumbye i 830rne en littig musiker i Køben havns Stadsmusikantorkester, og ra disse år stammer hans tidligste bevarede dansekomositioner. I 839 samlede han sit eget orkester. Insirationen til dette skridt ik han eter at have overværet en række koncerter i København a et musikselskab ra Steiermark i Østrig, hvor Johann Strauss d.æ. og Joseh Lanners nye dansemelodier or ørste gang lød i Skandinavien. Med sin egen ørste Concert à la Strauss å det ashionable Raus Hotel (det senere Hôtel d Angleterre) i København den 4. ebruar 840 indledte Lumbye or alvor sit livslange virke som Danmarks og Skandinaviens ubestridt ørende dansekomonist. Da Tivoli tre år senere åbnede sine orte i København, ik Lumbye som leder a koncertsalens orkester det endelige og aste holdeunkt or sin lange karriere som komonist og dirigent. For dette orkester komonerede han gennem de næste tredive år omtrent 700 danse, ørst og remmest olkaer, valse, og galoer den sidste genre blev nærmest synonym med hans navn. Med disse enkle og oulære musikalske danseormer skabte Lumbye i Tivoli en særlig dansk version a dansemusikken, som er løtet over i symoniorkestrets verden. Samtidig komonerede han en mængde værker til ære or tidens nyeste tekniske oindelser og landvindinger, talrige orkesterantasier, mere end 5 ballet-divertissementer, sange og teatermusik. En lang række udenlandske tournéer til Hamburg, Berlin, Wien og Paris (844-46), Skt. Petersborg (850) og Stockholm (860) bragte Lumbye international anerkendelse og berømmelse. Telegrah-Galo (844) I de ørste år a Tivolis historie var musiklivet i orlystelseshaven skart odelt mellem Lumbyes orkester (kaldet Det Lumbyeske Selskab) og den. brigades harmoniorkester under ledelse a regi mentsmusikeren Henrik Braunstein (kaldet Det Braunsteinske Harmoniorkester). Disse to ensembler otrådte tit med en vis orm or indbyrdes musikalsk konkurrence. Som en søgeuld kommentar til denne musikalske rivalisering komonerede Lumbye den 0. maj 844 sin Telegrah-Galo, der udørtes a begge orkestre samtidig, men ra hver sin ende a koncertsalen. Galoen er således meget raineret udtænkt med sine vekselvirkninger imellem de to orkestergruer, der i musikalsk orstand telegraerer orskellige melodier til hinanden. I begyndelsen er orbindelsen mellem de to orkestre noget utydelig, idet de ørst siller i orskellige tonearter, men langsomt inder de dog hinanden i en ælles toneart or til sidst at orenes i uldendt harmoni. Telegrah-Galo, der blev uroørt i Tivolis Koncertsal den. juni 844, er å den trykte klaverudgave tilegnet Tivolis grundlægger Agent George [sic] Carstensen med Höiagtelse. Den blev hurtigt et a hans oulæreste værker hos ublikum. I Tivoli-Avis (nr. 8, 3. juni 844) indes en længere usigneret artikel med titlen Tivolis Telegrah om Lumbyes nye værk: Tivoli har i den korte Tid, det har existeret, udviklet en saa orbausende Krat og Selvstændighed i alle mulige Retninger, at dets Anerkjendelse iblandt de civiliserede Staters Række ikke kan være jern. Under Tiltagelsen a denne Conlux og ved de talrige Forbindelser, Tivoli saaledes har knyttet til alle Sider og som stedse mere og mere ville orøges er det naturligt, at man har ølt Vigtigheden a Orettelsen a en Telegrah, or saaledes at kunne staae i en bestandig Corresondence selv med jerne Omgivelser. Nee var denne Idee ostaaet, ør den ogsaa med det samme er udørt, og som ved et Trylleslag er Telegrahen bleven ærdig. Men ligesom alle andre Institutioner i Tivoli bære deres eget charakteristiske Præg, saaledes er ogsaa denne Telegrah a en ganske eiendommelig Natur, Frugten a Herr Lumbyes sindrige Oindelse. I Tivoli dreier nemlig alt sig om een Gjenstand, alle Interesser ere concentrerede i en eneste. Medens man i alle andre Stater idelig og idelig søger at tabe sig i nye Oindelser, at tilveiebringe nye industrielle Foretagender og udvikle Productionskraten, har Tivoli alt et saa stort Forraad a det eneste Product, hvis Udvidelse og Forædling ligger det aa Hjerte, at det ikke har noget varmere Ønske, end at kunne dele det med Andre. Tivoli roducerer hverken Korn eller Steenkul eller Metaller skjøndt dog Mange ville aastaae, at der skjules DCM 003

6 en lille Guldmine i dets Skjød; det blomstrer hverken ved Manuakturer eller Fabriker, Tivoli roducerer kun én Ting: Glæden. For den lever og aander det, den er dets Alha og dets Omega ølgelig bliver det ogsaa Glæden, som skal telegraheres. Det er denne Ogave, Oinderen a Tivolis Telegrah har stillet sig, og som han har løst til almindelig Tilredshed. Glæden kan snarest og sikrest orlantes ved Toner det var den Theorie, Herr Lumbye gik ud ra, og Resultatet har godtgjort Theoriens Rigtighed. Tivoli har nu undet aa et Middel til at sætte sig i Corresondence med den hele Verden. Som en Budstikke vil det løbe Landet rundt, at Tivoli har uldt o a Glæden til Udørsel, og i galoerende [Temo] vil man ra alle Hjørner og Kanter strømme til, or at hente sig en Portion dera vi sige galoerende, thi Lumbyes Telegrah er naturligviis en Telegrah-Galo. Kun to måneder senere komonerede Lumbye en anden og meget lignende galo or dobbeltorkester, der ligesom Telegrah- Galo blev udørt a orlystelseshavens to orkestre i orening. Det skete ved den estkoncert, som markerede Tivolis ørste ødselsdagsest den 5. august 844, og hvor hans nye Tivoli Geburts dags Galo or to Orchestre blev uroørt. Som estkoncertens andet hoved nummer hørtes her også Telegrah-Galo. Hele Telegrah-Galo blev em år senere benyttet i et nyt arrangement or symoniorkester, arrangeret a Holger Simon Paulli med egne indlagte asnit og benyttet som inalenummer til August Bournonvilles ballet-vaudeville i to akter Conservatoriet, eller Et Avis rieri, der havde remiere å Det Kongelige Teater den 6. maj 849. Telegrah-Galo blev sammen med Lumbyes Chamagne Galo (845) og Kjøbenhavns Jernbane-Dam-Galo (847) i 006 otaget i Kul tur ministeriets Kulturkanon or musik i kategorien artiturmusik. Udgaven a Telegrah-Galo er baseret å Lumbyes to selvstændige autograe artiturer or henholdsvis symoni- og harmoniorkester, der her er sat i ét samlet artitur. Knud Arne Jürgensen DCM 003

7 HANS CHRISTIAN LUMBYE Hans Christian Lumbye was born in Coenhagen on May 80. Already as a child, he moved to the Danish rovinces because his ather, a military oicer, was stationed irst in Jutland and later on in Odense. In Odense, Lumbye took his irst genuine lessons in music. By the time he was 4, he had managed to land a job as the hornist in the local regiment orchestra. The ollowing year, he received a certiicate attesting to the comletion o his arenticeshi as a skilled trumeter. He returned to his native city as a 9-year-old. There, in Coenhagen in 89 he was entrusted with a osition as a trumeter in the Royal Horse Guards. Through the 830s, alongside this resonsibility, Lumbye was a hard-working member o Coenhagen s Town Musicians Ensemble; it is rom this decade that his earliest surviving dance comositions originate. In 839, he assembled his own orchestra. He was insired to take this ste ater having witnessed a series o concerts in Coenhagen resented by a music comany rom Steiermark in Austria, where Johann Strauss the Elder s and Joseh Lanner s latest dance melodies were layed or the very irst time in Scandinavia. With his irst Concert à la Strauss at the ashionable Raus Hotel (the resent Hôtel d Angleterre) in Coenhagen on 4 February 840, Lumbye seriously ushered in his lielong occuation as Denmark s and Scandinavia s uncontested leading comoser o dance music. Three years later, when Tivoli Gardens oened its gates in the centre o Coenhagen, Lumbye, as the music director o the concert hall s orchestra and Tivoli s resident comoser, obtained the steady and deinitive base or his long and illustrious career as comoser and conductor. For this orchestra, he comosed around 700 dances over the course o the next thirty years: rimarily olkas, waltzes, and gallos the latter genre became virtually synonymous with his name. With these simle and oular musical dance orms, Lumbye, through his work in Tivoli, created a secial Danish rendition o dance music that has come to be elevated and transerred into the domain o the symhony orchestra. At the same time, he comosed a great many works in honour o the day s latest technical inventions and advances, numerous orchestral antasies, more than 5 ballet divertissements, a good many songs and incidental music or theatrical erormances. An extensive series o oreign tours to Hamburg, Berlin, Vienna and Paris (844-46), St. Petersburg (850) and Stockholm (860) brought international recognition and ame to Lumbye. Telegrah Gallo (844) During the irst years o Tivoli Garden s history, allegiances in the music lie o the amusement ark were decidedly slit between Lumbye s orchestra (known as The Lumbye Society) and the First Brigade s Brass Band under the direction o the regimental bandleader Henrik Braunstein (known as The Braunstein Brass Band). These two ensembles oten aeared in the setting o a certain orm o recirocal musical rivalry. As a layul commentary on this musical cometition, Lumbye comosed his Telegrah Gal lo, end-dated 0 May 844, which was erormed by both ensembles, laying simultaneously, albeit at oosite ends o the concert hall. With its intricate interactions going on between the two orchestral grous which, in a musical resect, are telegrahing various melodies to each other, the gallo has been conceived in a most reined and sohisticated ashion. At the outset, the connection between the two ensembles is somewhat indistinct because at the start o the iece, they are laying in dierent keys, but gradually they manage to ind each other and converge in a common key; in the end, symhony orchestra and brass band are united in erect harmony. The Telegrah Gallo, which was remiered in Tivoli s Concert Hall on June 844, is dedicated, on the rinted iano edition o the work, to Tivoli s ounder, Agent George [sic] Carstensen, with the utmost resect. The gallo quickly became one o Lumbye s most oular works in the audience s estimation. In the Tivoli Avis (no. 8, 3 June 844) there is a rather lengthy and unsigned article entitled Tivoli s Telegrah that touches on Lumbye s new iece: In the short time it has existed, Tivoli has brought about such astonishing ower and indeendence along so many ossible avenues that its recognition as being one o the civilized nations o the world cannot be ar in the oing. Taking this rogressive conlux into account and with the abundance o interconnections that Tivoli is accordingly melding on all sides and which aear to be steadily increasing it is erectly DCM 003 3

8 natural that a need has been elt, a need related to the establishment o a telegrah so as to be able to carry on a continuous corresondence, even with distant laces. Scarcely had this idea come about beore it was carried into realisation, osthaste, and like a stroke o magic, the telegrah has been inished and made ready or use. However, just as all the other institutions in Tivoli bear their own salient and characteristic air, this telegrah is similarly o a truly distinctive nature, the ruit o Mr. Lumbye s ingenious aculty o invention. In Tivoli, you see, everything revolves around one sole matter; all o the interests are concentrated into one and only one subject. Whereas eole in all other nations are continually and constantly trying to lose themselves in an absortion with new inventions, with initiating new industrial ventures and with develoing the instruments o roduction, Tivoli already ossesses, such a vast storehouse o its sole roduct, the transormation and ennoblement o which is such a matter o vital concern, that it harbours no more ardent wish than to be able to share it with others. You see, Tivoli roduces neither grain nor coal nor metals in its la, it does not thrive and lourish via the manuacture o wares or by virtue o what its actories generate. No, Tivoli roduces but one commodity: Joy. For the Gardens are living and breathing joy. Joy is Tivoli s be-all and end-all. This being so, it is accordingly joy that has to be transmitted via the telegrah. This is the mission to which the inventor o Tivoli s telegrah has devoted his attention. He has tackled the task to everyone s satisaction. Joy can most raidly and most securely be conveyed through tones such was the guiding notion uon which Mr. Lumbye based his eorts and the results have given credence to the theory s correctness. Tivoli has now come u with a way o situating itsel in corresondence with the whole world. In the manner o a roclamation, word will sread all over the nation that Tivoli has joy galore to transmit and exort. And, at a galloing [Temo], eole rom all corners and regions will lock to the Gardens so as to artake in their air share o hainess and joy and we say galloing, or Lumbye s telegrah is naturally a Telegrah Gallo. Only two months later, Lumbye comosed a second and very similar gallo or double orchestra that, like Telegrah Gallo, was erormed by the amusement ark s two ensembles laying jointly. This took lace at the gala concert that commemorated Tivoli s irst birthday celebration on 5 August 844, an occasion where the comoser s newly comosed Tivoli Geburtsdags Galo or to Orchestre (Tivoli Birthday Gallo or Two Ensembles) was remiered. As the gala concert s other main attraction, the Telegrah Gallo was layed here as well. Five years later, the Telegrah Gallo was used in a new arrangement or symhony orchestra, arranged by Holger Simon Paulli (with added sections by Paulli himsel) as incidental music accomanying the inale or August Bournonville s ballet-vaudeville in two acts, Conservatoriet, eller Et Avisrieri (Le Conservatoire or A Marriage Proosal by Advertisement), a choreograhic work that had its remiere at The Royal Theatre on 6 May 849. In the year 006, along with Lumbye s Chamagne Gallo (845) and Kjøbenhavns Jernbane-Dam-Galo (Coenhagen Steam Railway Gallo) (847), Telegrah Gallo was oicially included in the Danish Ministry o Culture s cultural canon or music in the category o scored music. The resent edition o Telegrah Gallo is based on Lumbye s two searate autograh scores or, resectively, symhony orchestra and brass band, which have been suerimosed and written out here to orm one all-inclusive score. Knud Arne Jürgensen 4 DCM 003

9

10 Flauto iccolo Flauto grande Oboe Clarinetto (C) Clarinetto (C) Fagotto Corno (F) Tromba (F) (F) 3 Tromba (E) 4 Trombone Tuba Tamburo iccolo Triangolo Gran cassa Piatti Violino Violino Viola Violoncello Contrabbasso Flauto iccolo Oboe Clarinetto (C) Clarinetto (C) 3 Fagotto Corno (F) Tromba (F) Cornetto (A) Trombone alto Trombone tenore 3 Tuba Gran cassa Piatti TELEGRAPH-GALOP TELEGRAPH GALLOP Orchestra 3. Orchestra 6 DCM 003

11 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl. Orch Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. m DCM 003 7

12 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. 0.. Orch... 8 DCM 003

13 Orch. 7.. Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl... Orch. Cl. (C) Cor. (F) Tr. (F) a. t. 3 DCM 003 9

14 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 35 Orch. Tamb.icc. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. 0 DCM 003

15 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Orch Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch... DCM 003

16 Orch. 5 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Trgl. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. DCM 003

17 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Trgl. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t Orch Orch muta in E DCM 003 3

18 Cl. (C) Cl. (C) Tr. (F) 3 Tr. (E) 4 Tamb.icc. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. 67 m m m m m m m m m m m m Orch. m 4 DCM 003

19 Orch Cl. (C) Cl. (C) Tr. (F) 3 Tr. (E) 4 Tamb.icc. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch... DCM 003 5

20 Cl. (C) Cl. (C) Tr. (F) 3 Tr. (E) 4 Tamb.icc. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. 87 Orch. 6 DCM 003

21 Orch Cl. (C) Cl. (C) Tr. (F) 3 Tr. (E) 4 Tamb.icc. Vl. Vl. Cl. (C) Orch muta in F Cor. (F) Tr. (F) a. t. 3 DCM 003 7

22 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Vl. Vl. 03 Orch. Orch. Cl. (C) Cor. (F) Tr. (F) a. t. 3 8 DCM 003

23 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Vl. Vl. Orch.. Orch.. Cl. (C) Cor. (F) Tr. (F) a. t. 3 DCM 003 9

24 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl. FINALE Orch.. 9 Cl. (C) Cor. (F) Tr. (F) Cnt. (A) a. t. 3 Orch.. 0 DCM 003

25 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch Orch. m DCM 003

26 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Orch. 35 Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. DCM 003

27 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl. Orch. 43 Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. DCM 003 3

28 5 Orch. Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl. Orch. Cl. (C) Cor. (F) Tr. (F) a. t. 3 4 DCM 003

29 Cl. (C) Cl. (C) Cor. (F) Tr. (F) Tr. (F) 3 Tamb.icc. Vl. Vl. Cl. (C) Cor. (F) Tr. (F) a. t. 3 Orch. 59 Orch. DCM 003 5

30 CRITICAL COMMENTARY ABBREVIATIONS b. bar bb. bars brass brass instruments cb. contrabbasso cl. clarinetto cnt. cornetto cor. corno div. divisi DK-Kk Det Kongelige Bibliotek, København (The Royal Library, Coenhagen) g. agotto l. lauto l.gr. lauto grande gr.c. gran cassa marc. marcato ob. oboe erc. ercussion instruments icc. lauto iccolo Pl. No. Plate Number tti. iatti stacc. staccato str. strings tamb.icc. tamburo iccolo tb. tuba tim. timani tr. tromba trb. trombone trb.a. trombone alto trb.b. trombone basso trb.t. trombone tenore trem. tremolo trgl. triangolo va. viola vc. violoncello vl. violino woodw. woodwind instruments DESCRIPTION OF SOURCES A Score, autograh (Orchestra ) A Score, autograh (Orchestra ) B Printed iano score C Score, arrangement or symhony orchestra D Score, arrangement or military band, D b Major A Score, autograh (Orchestra ). DK-Kk, C II, 34 Tværol., Title on irst music age: Stryge-Orchester in encil and Telegra-Galo in ink. Dating: Com. d. 0. Mai x37 cm, 4 ols., 7 ages written in ink, numbered -7 in encil,. 8 blank. Paer tye: 6 staves (hand-ruled). The score has been restored. A Score, autograh (Orchestra ). DK-Kk, C II, 34 Tværol., Title on irst music age: Harmoni-Orcester Telegra. Dating: Com. d. 0. Mai x36.5 cm, 3 ols., 5 ages written in ink, numbered -5,. 6 blank. Paer tye: 6 staves (hand-ruled). Cornet and tenor horn arts added in oreign hand on the our bottom staves. The score has been restored. B Printed iano score. Title age: TELEGRAPH-GALOP / comoneret / og / Agent George Carstensen / med Höiagtelse tilegnet / AF / H.C. LUMBYE. / Musikdirecteur ved Tivoli. / Kjöbenhavn / hos C.C. Lose & Olsen. / Em. Bærentzen & C o lith. Inst. Pl. No. 08/83 (844). 34x7 cm, 5 ages. C Score, arrangement or symhony orchestra. DK-Kk, MA ms 550. Title on irst music age: Finale Temo di Galo N o. Arranger: Holger Simon Paulli. Scoring: icc., l.gr., ob.,, cl., (C), g.,, cor.,,3,4 (F), cnt. (A), tr., (F), trb.,,3, tim., gr.c., tamb.icc., vl.,, va., vc., cb. Dating: 9. Aril x37 cm, 0 olios written in ink, numbered 3-3 in encil. This movement is art o the comlete manuscrit score or Auguste Bournonville s ballet Conservatoriet. Paer tye: 6 staves (hand-ruled). Additions in blue crayon and encil. This arrangement diers somewhat rom Lumbye s original Gallo: Lumbye s Gallo: bb.-58 Inserted section: Polka (6 bars) Lumbye s Gallo: bb Inserted section: Allegretto, ¾ (5 bars) Lumbye s Gallo: bb.03-4 Lumbye s Gallo: bb Inserted transition ( bars) Lumbye s Gallo: bb Final section (57 bars) based on Lumbye s Gallo bb.87-0 D Score, arrangement or military band, D b Major. Den Kongelige Livgardes Musikkors nodearkiv. Dating: 875. Arranged by August Dehn. Title on irst music age: No. 8 Telegra-Galo a H.C. Lumbye. 6 DCM 003

31 Scoring: Military band: icc. (E b ), ob., cl. (E b ), cl., (B b ), cor.,,3,4 (E b ), cnt., (B b ), tr.,,3,4 (E b ), trb.a., trb.t.,, trb.b., tb., tamb.icc., gr.c., tti. 7x38 cm, 0 olios, written in ink, aginated 0-9, last age unnumbered. This arrangement is art o a volume with the title Arkiv Nr.. Paer tye: 0 staves (hand-ruled). EVALUATION OF SOURCES Telegrah Gallo has survived in three dierent contemorary handwritten scores: in the comoser s autograh double score or, resectively, symhony orchestra and brass band (A, A ); in The Royal Theatre s score or Bournonville s ballet Le Conservatoire, arranged or symhony orchestra by H.S. Paulli (C); and in the Archive o the Royal Lie Guard s Band, arranged or military band (D). Moreover, in Setember 844 the gallo was ublished in a iano arrangement by the music ublishing irm C.C. Lose & Olsen (B). The arts that were originally written out or Lumbye s double-ensemble version are no longer extant: as likely as not, they were lost as a result o the Schalburgtage rerisal at Tivoli Concert Hall in 944. There is thereore only one extant source or the work in its original orm, namely the double autograh score. These two scores serve as the main source or the resent edition inasmuch as here, they have been suerimosed into one comrehensive score. The our sta systems ound at the bottom o the ages o Lumbye s score or wind band contain a number o sulementary insertions made in another hand than that o the comoser. These are evidently a number o sulementary voices (cornets and tenor horns). This additional instrumentation has not been incororated into the resent edition o the work. Source A bb indicate that trumet arts 3 and 4 are to be layed by the hornists. VARIANT READINGS AND EDITORIAL EMENDATIONS Bar Orchestra Part Comment -6 orch. icc. l.gr. cl. A : Col Viol I mo -34 II orch. cb. A : Col Cello 7 orch. vl. va. marc. added by analogy with woodw., brass, erc., vl., vc., cb. 7-6 orch. icc. A : Col Clar mo 5 orch. tr. trb.a. trb.t. tb. stacc. added by analogy with icc., ob., cl., g. 6 II orch. trb. added by analogy with tr., 7-33 orch. icc. l.gr. A : Col Viol I mo 8 vo 8 orch. vl. stacc. added by analogy with b.3 33 orch. va. marc. added by analogy with woodw., brass, erc., vl.,, vc., cb orch. icc. ob. A : Col Clar I mo 38 orch. cl. marc. added by analogy with cl.,3 40 orch. cl.,3 marc. added by analogy with cl. 4 orch. cl.,3 g. trb.a. gr.c. tti. marc. added by analogy with cor., tr., trb.t., tb. 4 orch. tr., A : added in encil orch. icc. l.gr. A : Col Viol I mo 43 orch. vl. marc. added by analogy with cl orch. cb. A : Col Cello orch. cl. A : Col Viol I mo 5-58 orch. icc. A : Col Clar I mo 8 vo 5-58 orch. cl.,3 ob. A : Col Clar I mo 59-8 I orch. icc. l.gr. A : Col Viol I mo orch. cl. A : Col Viol I mo 59 orch. trb. tb. added by analogy with vc., cb orch. icc. ob. cl.,3 g. brass stacc. added by analogy with cl orch. icc. l.gr. cl. A : Col Viol I mo 94-8 orch. cb. A : Col Cello 95-0 orch. g. end o slur emended rom b.0 to b.0 by analogy with ob., cl orch. icc. A : Col Clar I mo -6 orch. A : notated as a reetition o bb orch. orch. A, A : designated Finale, with the ollowing remark: hier kömt das orsiel von Dal Segno. und erste Theil von galoen ohne Reetition mit mo ois / her komer orsillet ra Dal Segnoet, og örste Deel a galoen uden at Reiteres NB: med mo ois ( here lay the relude rom the dal segno sign, and the irst art o the gallo without reetition ) orch. vl. A : Col Viol I mo 8 vo Basso orch. tb. A : Tuba Col Contra Bass 8 vo Basso orch. icc. l.gr. A : Col Viol I mo orch. cl.. A : Col Viol I mo 8 vo Basso orch. ob. end o slur emended rom b.49 to b.50 by analogy with cl., g., cor orch. orch. A, A : notated 3 4 as a reetition o bb orch. added in all arts in consequence o a above the to sta DCM 003 7

32