PAUL VON KLENAU KONCERT FOR KLAVER OG ORKESTER PIANO CONCERTO UDGIVET AF EDITED BY. København 2019 CHRISTINE CANALS-FRAU PETER HAUGE NIELS KRABBE

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1 PAUL VON KLENAU KONCERT FOR KLAVER OG ORKESTER PIANO CONCERTO København 209 UDGIVET AF EDITED BY CHRISTINE CANALS-FRAU PETER HAUGE NIELS KRABBE MED INDLEDNING AF WITH AN INTRODUCTION BY EVA HVIDT

2 Cover design Layout Music tyeset with Sibelius by ISMN DCM 209 Willeru & Hans Mathiasen DCM Danish Centre or Music Editing (DCM) Royal Danish Library, Coenhagen

3 INDHOLD CONTENTS Forord v Preace v Indledning vii Introduction ix Faksimiler xi Facsimiles xi Besætning xiv Orchestra xiv I Allegro II Andante 6 III Lebhat, und mit Humor 8 Abbreviations 24 Critical Commentary 25 DCM 02 iii

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5 FORORD Paul von Klenaus klaverkoncert er et a de hidtil ukendte værker, som havde skjult sig i den store samling a komonistens eterladte airer, som Det Kgl. Bibliotek erhvervede i Dansk Center or Musikudgivelse (DCM) har eterølgende udgivet lere a disse værker i kritisk edition, herunder Klenaus 8. og 9. symoni. Klaverkoncerten hører til i kategorien a rojekter igangsat a DCM selv uden en særskilt bevilling. Projektet har deror måttet vige or andre rojekter i kortere eller længere erioder. Så meget desto større er glæden over, at det ærdige artitur nu oreligger. En række medarbejdere i og uden or centeret har været involveret i rojektet. Peter Hauge, Christine Canals-Frau og Niels Krabbe har åtaget sig det store arbejde med den kritiske revision a værket. Eva Hvidt har bidraget med den historiske indledning, og Unni Tra Lund har stået or den sidste korrektur. En stor tak skal lyde or deres indsats. Tak også til Søren Rastogi, som har ulgt rojektet undervejs. Det er håbet, at udgivelsen kan medvirke til, at værket kan blive uroørt eter 75 år i glemsel. Axel Teich Geertinger, setember 209 Dansk Center or Musikudgivelse (DCM) blev etableret i 2009 som en orskningsenhed under Det Kgl. Bibliotek. Centeret har til ormål at tilgængeliggøre musikalske værker og musikhistoriske kilder a interesse or musikorskningen og det raktiske musikliv og i denne orbindelse at videreøre, udvikle og udbygge kometencer inden or musikilologi samt at udvikle metoder og værktøjer til digital musikedition. Noder udgivet a DCM er såkaldt raktisk-videnskabelige ud gaver. Det vil sige, at de er tilrettelagt med henblik å raktisk brug, men at der også nøje bliver gjort rede or redaktionelle indgreb og or de avigel ser (varianter), der måtte være mellem orskellige kilder til værket, så læseren eller musikeren kan å et indtryk a værkets tilblivelse og varians. DCMs nodeudgivelser er desuden orsynet med en indledende tekst, som introducerer til værkets historie og recetion. De leste a DCMs ublikationer kan både downloades rit og købes trykt. PREFACE Paul von Klenau s Piano Concerto is one o the hitherto unknown works ound in a substantial collection o aers ket in Vienna ater the comoser s death and acq uired by the Royal Danish Library in The Danish Centre or Music Editing (DCM) has reviously ublished critical editions o some o these works, including Klenau s Symhonies nos. 8 and 9. The Piano Concerto is among a number o rojects launched by DCM on the centre s own initiative with no searate unding. The concerto thereore had to be ut aside or other rojects more than once. We are all the more leased to inally resent the edited score. A number o eole rom inside and outside the centre have been involved in the rocess. Peter Hauge, Christine Canals-Frau and Niels Krabbe took resonsibility or the ainstaking critical editing o the work. Eva Hvidt contributed with the historical introduction, and Unni Tra Lund did the inal rooreading o the score. A sincere thanks is due to all o them. I also want to thank ianist Søren Rastogi or his engagement in the roject. We are hoing that the ublication o the score may be a irst ste on the way to a irst erormance o the concerto ater 75 years in silence. Axel Teich Geertinger, Setember 209 The Danish Centre or Music Editing (DCM) was established in 2009 as a research unit under the Royal Danish Library. The Centre s rimary aim is to make musical works and musical sources related to Danish history available or scholars and erormers; the aim is also to develo and to exand hilological cometences and to develo methods and tools or digital editions o music. Musical works ublished by DCM are ractical scholarly editions; that is, they have been edited or ractical use, but they also exlain careully any editorial intervention as well as discreancies (variants) that there might be between the work s various sources. Thus the reader or erormer can get an imression o its genesis and variance. DCM s music ublications include a reace introducing the reader to the history o the work and its recetion. The majority o DCM s ublications may be downloaded ree o charge, or a rinted aerback coy may be urchased. DCM 02 v

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7 INDLEDNING I 99, eter kna ire årtiers ohold i Tyskland og Østrig, vendte Paul von Klenau (88-946) tilbage til Danmark både a helbredsmæssige grunde og som ølge a de olitiske orhold i Euroa. De sidste seks år a sit liv var han aktiv som komonist, skribent og oredragsholder i København, og en række større værker så dagens lys, heriblandt klaverkoncerten ra 944. På det tidsunkt var Verdenskrigen og den tyske besættelse a Danmark gået ind i den sidste ase, og han ølte sig mere og mere isoleret i sine sidste år i Danmark. 944 var også året, hvor Klenau med hjæl ra en ung sekretær nedældede sine erindringer. Her omtalte han sin klaverkoncert å ølgende måde: Samtidig med at jeg nedskrev disse Erindringer og Betragtninger har jeg uldørt og gjort Udkast til lere musikalske Arbejder, blandt andet en Klaverkoncert, en Cellosonate, Nietzschesangene og Oeraen Faarekyllingen ved Arnen. I slutningen a besættelsesårene havde Klenau ået kontakt til den unge danske ianist Boris Linderud (95-995), som i 944 var blevet ansat ved Statsradioonien. I et brev til sin hustru Margarethe Klimt skrev han: I går sillede en ung højt begavet ianist ved navn Linderud min nye klaversonate or mig. Jeg er tilreds med værket. Kun synes den alvorlige kunst hjemløs. 2 Senere (ormodentlig den. ebruar 944) sillede Linderud sonaten i -mol og et uddrag a Sechs Präludien und Fugen ra 94 ved en radiotransmission. Der er dog ikke noget vidnesbyrd om, at Linderud også kom til at sille klaverkoncerten, men det var sandsynligvis det tætte samarbejde med Linderud, som insirerede Klenau til at komonere en koncert or klaver og orkester. Partituret til klaverkoncerten indgik i den store samling a Paul von Klenaus eterladte airer, som siden hans død i 946 havde været obevaret i Østrig a hans hustru og eterkommere, og som Klaverkoncerten i blækautogra er slutdateret De øvrige nævnte værker er Sonate or viola da gamba eller cello og klaver (eter 940), 9 Lieder zu Friedrich Nietzsche s Das Nachtlied ra Also srach Zarathustra (944) og oeraen Faarekyllingen ved Arnen (944/45). Disse værker er dog ikke Klenaus sidste; året eter uldørte han.eks. sin niende symoni. 2 Gestern sielte mir ein junger hoch begabter Pianist Namens Linderud meine neue Klaviersonate vor. Ich bin mit dem Werk zurieden. Nur scheint mir die ernste Kunst heimatlos.- Brev til Margarethe Klimt, DK-Kk, Klenausamlingen A26. Det omtalte værk er Klenaus sonate i -mol ra 94. Sonaten blev udgivet i 200 a Dansk Center or Musikudgivelse, redigeret a Lisbeth Ahlgren Jensen å baggrund a et lystryk ra 944. Brev til Margarethe Klimt, DK-Kk, Klenausamlingen A257. Det Kongelige Bibliotek erhvervede i Heri andtes mere end 50 komositioner oruden en række artikler, orarbejder, talrige breve samt lere gennemskrivninger a hans erindringer. Fundet gav grundlag or en gennemgående revurdering a komonisten Paul von Klenaus liv og værk, og det medørte bl.a., at hans stort anlagte, requiem-lignende symoni nr. 9 ra blev udgivet a Dansk Center or Musikudgivelse og uroørt ved en torsdagskoncert i oråret 204, 4 ligesom en kommenteret udgave a hans erindringer er under udgivelse. 5 Med sine tyske og danske tilknytninger beandt Klenau sig som nævnt i en isoleret osition i sine sidste år i Danmark, og ensomheden voksede, eterhånden som modstanden mod besættelsesmagten tiltog eter august 94. Dertil kom, at Klenau led a en alvorlig hjertesygdom, samtidig med at han var meget bekymret or sine slægtninge og venner i Tyskland, Wien og England. 6 De traumatiske livsomstændigheder ik til gengæld komonisten og skribenten Klenau til at være ekstra roduktiv i sine sidste leveår. Jeg arbejder igen og det er det bedste middel mod bekymringerne, skrev han i et a sine mange breve til hustruen, Margarethe Klimt. 7 Klenaus blækrenskrit (kilde A) a artituret til koncerten or klaver og orkester er dateret maj 944. Dertil kommer en blækkoi a solostemmen (kilde D), ormentlig udarbejdet a en roessionel nodeskriver, samt kladden (kilde B) og nogle skitser i Klenaus hånd (kilde C). Der er til gengæld intet klaverartitur i det eterladte materiale, hvilket kunne tyde å, at der ikke har været laner om en udørelse a værket i Klenaus levetid; værket venter således ved nærværende udgivelse endnu å sin ørsteoørelse. Klaverkoncerten består å klassisk vis a tre satser:. Allegro 2. Andante. Lebhat, und mit Humor Tonematerialet er konstrueret ud ra Klenaus tolvtonerincier, og i skitserne er den tilgrundliggende tolvtonerække med omvending og elleve transositioner noteret. Man kan hævde, at han her i lighed med Schönberg ulgte den række, han havde astlagt, og i øvrigt komonerede, som man ørhen havde 4 Paul von Klenau: Symoni nr. 9, udgivet a Niels Bo Foltmann, Axel Teich Geertinger, Peter Hauge, Niels Krabbe og Bjarke Moe. Dansk Center or Musikudgivelse, København 204. Uroørelsen andt sted i DR Koncerthuset under ledelse a Michael Schønwandt. 5 Paul von Klenau: En Musiker Olever den Euroæiske Kultur , med indledning, kommentarer og registre a Eva Hvidt, København, Andre levede som landlygtige i Sverige og USA. 7 Ich arbeite wieder und das ist das beste Mittel gegen die Sorgen. Brev til Margarethe Klimt, DK-Kk, Klenausamlingen A257. DCM 02 vii

8 gjort. 8 Men da tone materialet er deineret og anvendt ud ra komonistens ideer om det, som han selv kaldte tonearts bestemt tolvtoneteknik, klinger værket ikke som den mere traditionelle, atonale dodekaoni, selvom klaverkoncerten hører til blandt de a Klenaus værker, der kan betegnes som gennem gående dodekaone. Med sine orholdsvis små intervaller er grund rækken nemlig ganske melodiøs, og den adskiller sig strukturelt ra de tonerækker, som Arnold Schönberg og Alban Berg brugte i deres tidlige dodekaone værker ra , og som indeholdt en del større intervaller (.eks. Schönbergs Suite ür Klavier og Bergs Lyrische Suite). Til gengæld bestod grundrækken i Bergs senere oera Lulu a stort set de samme små intervaller som rækken i Klenaus klaverkoncert. Det samme kan siges om Klenaus violinkoncert og hans senere 9. symoni. I denne sidste symoni er der tre orskellige tonerækker i brug; de anvendes dog kun i den ørste halvdel a værket og å en betydelig mindre stringent måde end i klaverkoncerten. I klaverkoncerten gør tonerækkens obygning a sekunder, tertser og kvarter det umiddelbart muligt at skabe tonale sekvenser eller ledetonevirkninger. Tonerækken, dens omvending og krebsvending bliver ote delt i celler a tre-ire toner, som enten orbereder remørelsen a et tema eller anvendes senere i satsen til udviklingen a det musikalske sto. I klaverkoncerten anvendes tolvtonerækken således både melodisk og tonalt-harmonisk samtidig med, at komonisten omhyggeligt ølger rækken. 9 Biograi Paul von Klenau var ødt i København, men levede den største del a sit voksne liv i Tyskland og Østrig. Som ung studerede han violin og musikteori i København, og i 90 rejste han til Berlin, hvor han studerede komosition hos Max Bruch og violin hos Karel Halíř. Fra 904 ortsatte han komositionsstudierne i München hos Ludwig Thuille, og ra 908 tog han undervisning hos Max von Schillings. I 908 debuterede han som komonist med sin ørste symoni, som blev uroørt ved Tonkünstlerest des allgemeinen Deutschen Musikvereins i München. I årene bestred han orskellige oster som kaelmester og reetitør ved teatre i Tyskland, og i 9 ansattes han som ørste kaelmester i Freiburg. Under Første Verdenskrig oholdt Klenau sig i længere tid i Danmark, hvor han ivrigt deltog i den hjemlige musikdebat og arbejdede å at arrangere koncerter. I 920 var han således medstiter a Dansk Filharmonisk Selskab, som han ledede rem til 926. Her oørtes et bredt sektrum a dansk og især udenlandsk moderne musik, og det lykkedes endda Klenau at å Arnold Schönberg til København, hvor denne i 92 dirigerede en koncert med egne værker. I mellemtiden var Klenau blevet engageret som kordirigent ved Konzerthausgesellschat i Wien med senere titel a Konzertdirektor, en stilling, som han bestred indtil 90, hvor han måtte trække sig som ølge a en høreskade. I 929 udnævntes han til roessor i Wien, og i 90 erne levede han som komonist og reelance-dirigent med Frankurt am Main og Wien som aste holdeunkter. Klenau havde som komonist udviklet en højt dierentieret senromantisk orkesterstil, som oruden a hans lærere også var åvirket a Richard Strauss, Beethoven, Bruckner, Wagner og til dels Mahler. I 90 erne begyndte Klenau intensivt at studere dodekaoniens komositionsteknikker under insiration a Jose Matthias Hauer, Arnold Schönberg og ikke mindst Alban Berg, som han lærte at kende i Wien og havde et nært venskab med. Mens musik a Hauer, Schönberg og Berg blev erklæret or entartet eter nazisternes magtovertagelse i 9, lykkedes det Klenau at å sin stort anlagte, grumme oera Michael Kohlhaas (eter roman a Heinrich von Kleist) oørt å de store oerascener i Tyskland i 9. Først eter remieren asløredes det, at musikken til oeraen var bygget over tolvtonerincier eller, som Klenau selv benævnte sin metode, toneartsbestemt tolvtoneteknik. Oørelsen skaede ham å den ene side en stor kunstnerisk succes; å den anden side stemlede den ham også i oentligheden som temmelig nazivenlig, ikke mindst eter at han i en artikel i Zeitschrit ür Musik havde konkluderet, at hans teorier om dode kaonien let kunne indasses i et nationalsocialistisk værdigrundlag. 0 Ikke desto mindre blev Klenau også akrævet en grundig redegørelse or sine tolvtone-teorier a den nazistiske sammenslutning NS-Kulturgemeinde. Hereter ik han endnu to store oeraer Rembrandt van Rijn og Die Königin (om Dronning Elizabeth I a England) oørt å de tyske oerascener, inden han i vinteren vendte hjem til Danmark, hvor han døde i august 946. Klenaus kunstneriske roduktion omatter musik i næsten alle genrer: oeraer, symonier, instrumentalkoncerter, kammermusik, klavermusik og sange. Dertil kommer, at han skrev libretto til lere a sine oeraer, udkast til store romaner og skuesil, memoirer samt en række musiklitterære artikler og oredrag. Eva Hvidt 8 J. Schönbergs ote citerede orklaring: Man olgt der Reihe, komoniert aber im übrigen wie vorher. Citatet danner motto or Jan Maegaards disutats Studien zur Entwicklung des dodekahonen Satzes bei Arnold Schönberg, København 972; se bd. s. 9 og bd. 2 s Se aksimile a tolvtonerækkerne s. xiii. 0 Paul von Klenau, Zu Paul von Klenaus Michael Kohlhaas, Zeitschrit ür Musik, 0 (94), s viii DCM 02

9 INTRODUCTION In 99, ater a career o almost orty years in Germany and Austria, Paul von Klenau (88 946) returned to Denmark, both on medical grounds and because o the olitical situation in Euroe. During the inal six years o his lie, he was active as a comoser, writer and seaker in Coenhagen, as well as comosing several large-scale musical works, o which the Piano Concerto o 944 is one. By that time, World War II and the German occuation o Denmark had entered its inal stage, and Klenau himsel elt more and more marginalized in Denmark. The year 944 was also when Klenau, with the assistance o a young secretary, comosed his memoirs in which he briely mentions his Piano Concerto in the ollowing words: While I was writing these memoirs and relections, I inished and sketched a number o musical works, among others a Piano Concerto, a Cello Sonata, the Nietzsche songs and the oera, Faarekyllingen ved Arnen (The Cricket by the Fire Place). During the inal years o the occuation, Klenau established contact with the young Danish ianist Boris Linderud (95 95), who in 944 had been engaged by the Danish Broadcasting Cororation. In a letter to his wie, Margarethe Klimt, he writes that Yesterday a young, highly gited ianist, by the name Linderud erormed my new Piano Sonata or me. I am satisied with the work. The roblem, however, seems to be that serious art is homeless. 2 The encil autograh o the Piano Concerto is end-dated The other works mentioned are Sonate or viola da gamba eller cello og klaver (ater 940), 9 Lieder zu Friedrich Nietzsche s Das Nachtlied rom Also srach Zarathustra (944), and the oera Faarekyllingen ved Arnen (944/45). These works, however, are not Klenau s last works but were ollowed by his longest instrumental work, the Ninth Symhony. 2 Gestern sielte mir ein junger hoch begabter Pianist Namens Linderud meine neue Klaviersonate vor. Ich bin mit dem Werk zurieden. Nur scheint mir die ernste Kunst heimatlos. Letter to Margarethe Klimt, DK-Kk, Klenausamlingen A26. The work in question is Klenau s Sonata in F minor rom 94, ublished in 200 by Danish Centre or Music Editing, ed. Lisbeth Ahlgren Jensen (the edition is based on a collotye o 944). Letter to Margarethe Klimt, DK-Kk, Klenausamlingen A257. Later (aarently on February 944) Linderud s erormances o the Sonata in F minor and extracts rom Sechs Präludien und Fugen o 94 were broadcasted by the Radio. Nothing indicates that Linderud ever layed the Piano Concerto, though it was robably the close collaboration with Linderud that romted Klenau to comose his Concerto or Piano and Orchestra. The score o the Piano Concerto was art o a large collection o Klenau s aers which had been ket by his wie and descendants in Austria ater his death in 946 and which the Royal Danish Library acquired in The collection consisted o more than ity musical works besides articles, numerous letters and various versions o Klenau s memoirs. The discovery initiated a thorough revaluation o his lie and work, and among other things occasioned the irst erormance ever o his large, requiem-style Ninth Symhony (945 46). This symhony or orchestra, choir, and soloists was erormed at a concert by the Danish Radio Symhony Orchestra in sring 204, based on a revised edition by the Danish Centre or Music Editing. 4 Furthermore, Klenau s memoirs will be ublished in an annotated edition. 5 Due to his Danish and German relations, Klenau as mentioned above lived in a rather secluded osition during his last years in Denmark. His isolation grew as the oosition towards the occuying ower increased ater August 94. Klenau also suered rom a severe heart condition, and at the same time he was worried about his riends and relatives in Germany, Vienna and England. 6 These traumatic circumstances made the comoser and writer Klenau markedly roliic during his inal years: I am working again, and this is the best remedy against my worries, he wrote in one o his many letters to his wie, Margarethe Klimt. 7 The air coy o the Piano Concerto (Source A) is end-dated May 944. The iano art (Source D), a air coy in ink, was robably carried out by a roessional coyist. In addition to these sources, we have Klenau s drat (Source B) and a number o sketches (Source C). There is no iano score among the surviving material suggesting that no erormance o the work was lanned during Klenau s lietime. Thus, the work is still awaiting its irst erormance, based on the resent revised edition. As its classic models, the resent concerto consists o three movements:. Allegro 2. Andante. Lebhat, und mit Humor The work is based on Klenau s twelve-note rinciles, and among the sketches or the work is a chart resenting the underlying twelve-note series including inversion and eleven transositions. 4 Paul von Klenau, Symhony No. 9, ed. Niels Bo Foltmann, Axel Teich Geertinger, Peter Hauge, Niels Krabbe, and Bjarke Moe (Danish Centre or Music Editing, Coenhagen 204). The remiere took lace at the Concert Hall o the Danish Broadcasting Cororation, , conducted by Michael Schønwandt. 5 Paul von Klenau, En Musiker Olever den Euroæiske Kultur (A Musician Exeriences Euroean Culture ), with an introduction, annotations and indexes by Eva Hvidt. 6 Some o whom were living in exile in Sweden and USA. 7 Ich arbeite wieder und das ist das beste Mittel gegen die Sorgen. Letter to Margarethe Klimt, DK-Kk, Klenausamlingen A257. DCM 02 ix

10 One might argue that similar to Schönberg, Klenau adhered to the redetermined series, though at the same time emloying comositional techniques as in the ast. 8 However, since the redetermined material is deined and used according to the comoser s idea o what he called key deined twelve-tone music (tonartsbestimmte Zwöl-Ton-Musik), the work does not sound like most other atonal, traditionally dodecahonic music, even i it is one o the works by Klenau which is dodecahonic throughout. With its comaratively small intervals, the series is quite melodic, and structurally it is very dierent rom those used by Arnold Schonberg and Alban Berg in their early dodecahonic works rom which emloy larger intervals (e.g. Schönberg s Suite ür Klavier and Berg s Lyrische Suite). On the other hand, the series in Klenau s Piano Concerto has an interval structure very much like Berg s later oera Lulu. The same holds true o Klenau s Violin Concerto and his Ninth Symhony; in the latter, three series are in use, although only in the irst art o the work and markedly less rigidly than in the Piano Concerto. In the Piano Concerto the series seconds, thirds and ourths makes it ossible to create tonal sections or leading-note eects. Oten the series, the inversion or the retrograde are groued in cells o three or our notes, which either introduce a moti or later take art in the develoment o the musical rogression. Thus, the dodecahonic material o the Piano Concerto is used both melodically and tonal-harmonically, even i the comoser meticulously ollows the series. 9 Biograhy Klenau was born in Coenhagen in 88, but he sent most o his adult lie years in Germany and Austria. As a youngster, he studied violin and music theory in Coenhagen, and in 90 he travelled to Berlin to study comosition with Max Bruch and Karel Halíř. From 904, he continued to study comosition in Munich with Ludwig Thuille, and rom 908 he took lessons with Max von Shilling. That same year he made his début as a comoser with the erormance o his First Symhony at the Tonkünstlerest des allgemeinen Deutsc hen Musikvereins in Munich. Between 907 and 94, he held various ositions in Germany as conductor and theatre rehearser, and in 9 he was emloyed as kaellmeister in Freiburg. During World War I Klenau stayed in Denmark or several years eagerly taking art in the Danish music debates and was active in organizing concerts. Thus in 920 he became coounder o Danish Philharmonic Society, acting as its head until 926. In the society a broad reertoire o Danish and oreign modern music was erormed, and Klenau even ersuaded Schönberg to come to Coenhagen as conductor o his own works. By that time, Klenau was oered the job as choral conductor, later named Concert Director, at the Konzertgesellschat in Vienna a job that he held until 90 when he had to retire due to a hearing disorder. In 929, he was aointed roessor in Vienna, and in the 90s he lived as comoser and reelance conductor with Vienna and Frankurt am Main as his bases. As a comoser, Klenau develoed a highly dierentiated late Romantic orchestral style, which was inluenced both by his teachers and by Richard Strauss, Beethoven, Bruckner, Wagner, and to a certain degree by Mahler. During the 90s, he started on an intensive study o dode cahonic techniques insired by Jose Matthias Hauer, Arnold Schönberg and, not least, Alban Berg, whom he had met in Vienna and with whom he develoed a close riendshi. While their music was labelled entartet ater the Nazis seizure o ower in 9, Klenau succeeded in having his large-scale and gruesome oera, Michael Kohlhaas (based on a novel by Heinrich von Kleist), erormed at the leading oera stages in Germany that same year. Not until ater the remiere, was it revealed that the oera was built on twelve-note rinciles, or as Klenau himsel would call it key related twelve-note technique. On the one hand, the erormance was a great artistic success; on the other, it branded him as Nazi riendly not least ater he had stated in an article in Zeitschrit ür Musik that his theories about twelve-note music could easily it into the core values o National Socialism. 0 Never theless, the Nazi organization NS-Kulturgemeinde demanded a statement rom Klenau about his twelve-note theories. Subsequently he had two large-scale oeras Rembrandt van Rijn and Die Königin (about Queen Elizabeth I o England) staged at the German oera houses, beore he during winter returned to Denmark, where he died in August 946. Klenau s roduction comrises music o almost all genres: oeras, symhonies, instrumental concertos, chamber music, iano music, and songs. In addition, he wrote librettos to several o his oeras, drats or amle novels and lays, memoirs, and a great number o articles and lectures on musical subjects. Eva Hvidt 8 C. Schönberg s oten cited statement: Man olgt der Reihe, komoniert aber im übrigen wie vorher. The sentence is used as a motto or Jan Maegaard s thesis Studien zur Entwicklung des dodekahonen Satzes bei Arnold Schönberg (Coenhagen, 972; Habilitationsschrit), vol.,. 9, vol. 2, See acs.,. xiii. 0 Paul von Klenau, Zu Paul von Klenaus Michael Kohlhaas, Zeitschrit ür Musik, 0 (94),. 50. x DCM 02

11 Kilde A, autogra, renskrit, ørste sats, t : i. er tiløjet 6-dels noder med blyant som en orm or udyldning a akkorderne; noget lignende gælder t.58 i.2. Disse tiløjede noder er ikke medtaget i nærværende udgave. Source A, autograh, air coy, first movement, bb : in. several semiquavers are added in encil as a kind o filling in o the chords; the same goes or.2, b.58. The added notes in encil are not included in the resent edition. DCM 02 DCM_02_Klenau_Klaverkoncert_indmad.indd xi xi 26/09/

12 Kilde B, autogra, kladde, articel, ørste sats, t.04-8: orkestersatsen (i klavernotation) med blæk, mens antydninger a solostemmen eterølgende er tiløjet med blyant oven over orkestersatsen. xii DCM_02_Klenau_Klaverkoncert_indmad.indd xii Source B, short score, ink and encil drat, autograh, first movement, bb.04 8: the orchestral art in ink (with ew encil additions), with the solo art in encil added above. DCM 02 26/09/

13 Kilde E, skema med 2-tonerækken i retvending, sejlvending og transositioner. Source E, list o 2-tone row and its inversion ollowed by transositions. DCM 02 DCM_02_Klenau_Klaverkoncert_indmad.indd xiii xiii 26/09/

14 BESÆTNING ORCHESTRA 2 lauti 2 oboi 2 clarinetti (Bb) 2 agotti 4 corni (F) 2 trombe (C) 2 tromboni tenori trombone basso tuba timani archi xiv DCM 02

15 K L A V I E R K O N Z E R T Flauto 2 Oboe 2 Clarinetto (Bb) 2 Fagotto 2 Corno (F) 2 Corno (F) 4 Tromba (C) 2 Trombone tenore 2 Trombone basso Tuba Timani Pianoorte Allegro (q = 96) I 6 6 P I A N O C O N C E R T O 6 a 2. a 2 Violino Violino 2 Viola Violoncello Contrabbasso Allegro (q = 96) DCM 02

16 Tr. (C) 2 7 a 2 a 2 Trb.t. 2 Trb.b. Tb. P. Vl. 2 DCM 02

17 Tr. (C) 2 Trb.t. 2 P. Vl. izz. izz. izz. izz. izz. DCM 02

18 9 leidenschatlich esressivo Tr. (C) 2 Trb.t. 2 P. Vl. m leidenschatlich esressivo esressivo 4 DCM 02

19 24 Tr. (C) 2 Trb.t. 2 P. Vl. DCM 02 5

20 27.. Tr. (C) 2 Trb.t. 2 P. Vl. 6 DCM 02

21 P. 0 Vl. P. Vl. DCM 02 7

22 P. 6 cresc. cresc. cresc. 9 cresc. P. P. m m m 42 8 DCM 02

23 P etwas ruhig anangen und steigern bis martellato m m P. Vl. etwas ruhig anangen und steigern bis martellato izz. m m m m m m izz. izz. izz. m izz. m DCM 02 9

24 P. Vl. 5 P. Vl. m izz. m izz. m izz. izz. m m m cresc. cresc. cresc. cresc. m m 54 m m m m m m m m m 0 DCM 02

25 P. Vl. P. Vl izz. m m m m m m izz. izz. izz. izz. cresc. cresc. cresc. cresc. izz. izz. m izz. m izz. DCM 02

26 P. Vl. 6 m m m m P. Vl. martellato (Temo I ma vivace) 65 a 2 a 2 a 2 martellato (Temo I ma vivace) 2 DCM 02

27 68 oco rall. a 2 a 2 a 2. P. Vl. oco rall. dim. dim. dim. m m m dim. dim. DCM 02

28 72 etwas ruhiger P. esressivo 76 P. 8 P. 4 DCM 02

29 85 P. P. Vl. 88. oco animato oco animato DCM 02 5

30 9.. P. Vl. 6 DCM 02

31 98 beleben. cresc.. cresc. esressivo cresc. P. cresc. Vl. beleben cresc. cresc. esressivo cresc. cresc. DCM 02 7

32 0. m. m. m P. m Vl. m m m m 8 DCM 02

33 07 Temo I. P. Vl. Temo I DCM 02 9

34 0 lebhat a 2. P. Vl. lebhat 20 DCM 02

35 4 P. Vl. izz. izz. izz. izz. DCM 02 2

36 7. m P. Vl. 22 DCM 02

37 20. P. Vl. DCM 02 2

38 2. P. Vl. izz. izz. izz. 24 DCM 02

39 26 Temo energico a 2.. P. Vl. Temo energico DCM 02 25

40 Vl. Vl. 2 a 2 6 a DCM 02

41 40 a 2.. Trb.t. 2 Trb.b. Tb. P. Vl. DCM 02 27

42 Trb.t. 2 Trb.b. Tb. 44 a 2.. P. Vl. 28 DCM 02

43 Trb.t. 2 Trb.b. Tb. P. Vl. 49 a 2 m DCM 02 29

44 Trb.t. 2 Trb.b. 5 a 2 Tb. P. Vl. m 0 DCM 02

45 56 Temo I P. Vl. Temo I 59 P. Vl. DCM 02

46 P. 62 Vl. 65 P. Vl. 2 DCM 02

47 68 P. Vl. 70 P. Vl. DCM 02

48 72 P. Vl. izz. izz. 4 DCM 02

49 75 m m P. Vl. m izz. m izz. izz. izz. m m m izz. izz. m m izz. m m izz. DCM 02 5

50 78 P. Vl. 6 DCM 02

51 8 P. Vl. izz. DCM 02 7

52 P. P. P Solo (mit großer Krat) 9 P. P. P. P cresc. 8 DCM 02

53 204 a 2. P. Vl. DCM 02 9

54 207 a 2. P. Vl. 40 DCM 02

55 2 a 2. P. Vl. DCM 02 4

56 etwas ruhiger 24. solo esressivo. Vl. Vl. 28 etwas ruhiger izz. izz DCM 02

57 222 P. esressivo Vl. esressivo esressivo DCM 02 4

58 226. P. Vl. 44 DCM 02

59 20. cresc. m. esressivo m cresc. P. m cresc. Vl. cresc. m m cresc. esressivo m cresc. m cresc. DCM 02 45

60 26 a 2. P. cresc. Vl DCM 02

61 29 a 2. P. Vl. DCM 02 47

62 242.. P. Vl. 48 DCM 02

63 245.. P. Vl. izz. izz. izz. izz. DCM 02 49

64 248. P. Vl. 50 DCM 02

65 25. P. Vl. DCM 02 5

66 254. P. Vl. izz. izz. izz. 52 DCM 02

67 257.. m P. Vl. DCM 02 5

68 260. m P. Vl. 54 DCM 02

69 264 cresc. cresc.. cresc.. cresc. Tr. (C) 2 m P. z z z z Vl. cresc. cresc. DCM 02 55

70 Tr. (C) 2 Trb.t Trb.b. Tb. P. Vl. 56 DCM 02

71 Tr. (C) 2 Trb.t a 2 a 2 Trb.b. Tb. P. Vl. DCM 02 57

72 278 m P. Vl. 58 DCM 02

73 28 P. Vl DCM 02 59

74 a Tr. (C) 2.. Trb.t. 2 Trb.b. Tb. P. Vl. 60 DCM 02

75 289 a 2 Tr. (C) 2 Trb.t. 2 Trb.b. Tb... P. Vl. DCM 02 6

76 Tr. (C) 2 Trb.t. 2 Trb.b. Tb. P. Vl DCM 02

77 Tr. (C) 2 Andante (q = 60) II. solo esressivo Trb.t. 2 Trb.b. Tb. P. Vl. Andante (q = 60) izz. izz. izz. izz. izz. izz. izz. izz. izz. DCM 02 6

78 9 a 2 m Vl. 64 DCM 02

79 7. solo esressivo m. m m Vl. crescendo m crescendo crescendo m m crescendo m crescendo m DCM 02 65

80 Vl. Vl. 25 oco a oco cresc... m m m m tutti tutti m oco a oco cresc. m m 66 DCM 02

81 7.. Tr. (C) 2 a 2 Trb.t. 2 Trb.b. Tb. Vl. DCM 02 67

82 40. Tr. (C) 2 a 2 Trb.t. 2 Trb.b. Tb. Vl. 68 DCM 02

83 Andante, ließend 44 P. P P. Vl. esressivo DCM 02 69

84 60 un oco P. Vl. 70 DCM 02

85 64. un oco P. Vl. DCM 02 7

86 P. Vl. 67 P. Vl. 70 izz. a 2 a 2 izz. izz. izz. 72 DCM 02

87 74 a 2 a 2 Tr. (C) 2 Trb.b. Tb. P. Vl. DCM 02 7

88 78 Tr. (C) 2 Trb.b. Tb... m P. Vl. 74 DCM 02

89 Tr. (C) 2 Trb.b. Tb. P. Vl. 8.. m DCM 02 75

90 Tr. (C) 2 Trb.b. Tb. P. Vl DCM 02

91 P. Vl. P. P. Vl. 9 Temo I Temo I... esressivo. cresc. m solo cresc. cresc. [ ] DCM 02 77

92 P. P. P. P. P m m m m m m m m m m m m m m a 2 a 2 a 2 cresc. a 2 78 DCM 02

93 Vl. ließend ließend izz. izz. 9 Vl. izz. P. 45 Temo I oco cresc.. DCM 02 79

94 52. rall. P. Vl. rall. 80 DCM 02

95 III Lebhat, und mit Humor (qh Tr. (C) 2 Trb.t. 2 Trb.b. Tb. P. Vl. Lebhat, und mit Humor (qh DCM 02 8

96 8 m P. Vl. izz. m izz. m 82 DCM 02

97 5 m P. a 2. m m m m m m m Vl. m m m m m DCM 02 8

98 22 a 2. m P. Vl. 84 DCM 02

99 29 energico P. Vl. energico izz. izz. izz. izz. DCM 02 85

100 7 m m P. m m Vl. izz. m m m izz. m m m izz. m m m izz. m m m P. Vl. 4 m m m 86 DCM 02

101 5 Temo I P. Vl. Temo I izz. izz. DCM 02 87

102 P. 58 Vl. 65 grazioso P. m m 7 P. 88 DCM 02

103 P. 80 cresc. lustig P. 87 cresc. cresc. P. Vl. 95 cresc. cresc. P. Vl. martellato 02 martellato DCM 02 89

104 Tr. (C) 2 P. Vl. Temo I 0 a 2. m m a 2 m m m m m m m m Temo I izz. m m m m 90 DCM 02

105 Tr. (C) 2 P. 7 a 2 m. a 2 Vl. DCM 02 9

106 P. oco animato 24 a 2.. oco animato 2 a 2.. P. 92 DCM 02

107 40 a 2 a 2 P. P. 48 a 2 a 2 DCM 02 9

108 P. Vl. P. Vl. 56 a 2 a 2 a DCM 02

109 72 cresc. cresc. cresc. cresc.. cresc. Tr. (C) 2. cresc. P. cresc. Vl. cresc. cresc. cresc. cresc. cresc. DCM 02 95

110 80 P. Temo I P solo grazioso m m. solo P. m Vl. izz. m izz. m izz. m izz. izz. 96 DCM 02

111 99 m m. P. Vl. m m m DCM 02 97

112 206. solo. P. Vl. izz. m izz. m 98 DCM 02

113 24.. P. Vl. DCM 02 99

114 P. 222 Vl. P. 20 Vl. 00 DCM 02

115 28. Tr. (C) 2. Trb.t. 2 P. Vl. DCM 02 0

116 246.. Tr. (C) 2 Trb.t. 2 P. Vl. 02 DCM 02

117 P. Vl. P. P. Vl m 270 energico cresc. energico cresc. cresc. cresc. DCM 02 0

118 P. 278 Vl. izz. izz. izz. izz. P. Vl DCM 02

119 P. Temo. solo P. P. 08 Vl. DCM 02 05

120 P. Vl. P. Vl m m izz. m m a 2 izz. m izz. m 06 DCM 02

121 0 a 2 a 2 a 2 P. Vl.. P. Vl. 8 DCM 02 07

122 44. Tr. (C) 2 Trb.t. 2 P. Vl. 08 DCM 02

123 Tr. (C) 2 Trb.t. 2 Temo I 50 a 2 a 2 a 2 m m P. Vl. Temo I m m m m izz. m DCM 02 09

124 Tr. (C) 2 Trb.t a 2 a 2 a 2 m P. Vl. 0 DCM 02

125 P. 64 oco animato cresc. 70 lo stesso temo (ganze Takte) ma mosso a 2 Trb.t. 2. P. lo stesso temo (ganze Takte) ma mosso DCM 02

126 78 Trb.t. 2 P. Trb.t. 2 P. 8 a 2. a 2. 2 DCM 02

127 90 Trb.t. 2 P. a 2. Trb.t. 2 P. 96 a 2. DCM 02

128 von hier ab nach und nach lebhater werden 402 Tr. (C) 2 Trb.t. 2. cresc. cresc. cresc. P. Vl. von hier ab nach und nach lebhater werden cresc. cresc. cresc. cresc. cresc. cresc. 4 DCM 02

129 409 Tr. (C) cresc. cresc. cresc. cresc. Trb.t. 2 cresc. P. cresc. Vl. cresc. cresc. DCM 02 5

130 45 cresc. molto cresc. molto cresc. molto Tr. (C) 2 4. cresc. molto Trb.t. 2 cresc. molto P. cresc. molto Vl. cresc. molto cresc. molto cresc. molto cresc. molto cresc. molto 6 DCM 02

131 Tr. (C) 2 Trb.t sehr lebhat. P. Vl. sehr lebhat DCM 02 7

132 427 a 2 Tr. (C) 2. Trb.t. 2 P. Vl. 8 DCM 02

133 44 Tr. (C) 2.. Trb.t. 2 P. Vl. DCM 02 9

134 440. Tr. (C) 2. Trb.t. 2 P. cresc. Vl. 20 DCM 02

135 446 m. m Tr. (C) 2 Trb.t. 2 P. Vl. m m DCM 02 2

136 45 mit Bravour Tr. (C) 2 Trb.t. 2 P. Vl. mit Bravour izz. izz. izz. izz. 22 DCM 02

137 Tr. (C) 2 Trb.t rall. 0 P. Vl. 0 izz. rall. DCM 02 2

138 ABBREVIATIONS b. bar cb. contrabbasso cl. clarinetto cor. corno DK-Kk Det Kgl. Bibliotek, København Royal Danish Library, Coenhagen g. agotto l. lauto ol. olio ob. oboe. age str. strings tb. tuba tim. timani tr. trombe trb.t. trombone tenore trb.b. trombone basso va. viola vc. violoncello vl. violin ww. woodwind 24 DCM 02

139 CRITICAL COMMENTARY DESCRIPTION OF SOURCES Paer tye: 24 staves ( Beethoven Paier Nr. 7 (24 Linien) / 942 ). Sketches in encil though hal a age is in ink. A Score, autograh, air coy B Short score, autograh, ink and encil drat C Sketches D Solo iano art, air coy E Series o dodecahonic tone rows, ink air coy, autograh A B Score, autograh, air coy. DK-Kk, Paul v. Klenaus Samling 0, mu Title age: Konzert / ür / Klavier und Orchester / Mai 944 Title on irst music age: Klavier Konzert / Paul v. Klenau / 944 End-dating on. 4: 28 Mai 44. Paer tye: 24 staves ( Beethoven Paier Nr. 7 (24 Linien) / 942 ). 4x27 cm.; 4 biolios in gatherings: : 9 biolios, aginated 2 76 (irst age unnumbered) 2: biolios, aginated : biolios, aginated 2 2 All gatherings in a older (biolio): ol. r (title age), ol. v (blank), ol. 2 (. 4). Source written in ink with ew encil and ink corrections and additions in Klenau s hand. Small numbers in encil rom 0 (2 is missing) have been added below the iano art at certain intervals throughout the score; the signiicance o these igures is not evident, though it may be an indication o the duration o the music given in minutes. Short score, autograh, ink and encil drat. DK-Kk, Paul v. Klenaus Samling 0, mu Title on irst music age: ENTWURF FÜR KLAVIER- KONZERT / 944, added in encil. 4x27 cm; 48 ages consisting o gatherings: : 20 ages, aginated 20 (movement ) 2: 2 ages, aginated 2 2, irst age unnumbered (movement 2 and arts o movement ) : 6 ages, aginated 25, last ages unnumbered (art o movement ) Drat in encil and ink; written on 4 staves, 2 in ink and 2 in encil. Some assages on the ink staves sketch the orchestra while some sketch the iano. Movements and 2 are untitled and movement has Rondo. Paer tye: 24 staves ( Beethoven Paier Nr. 7 (24 Linien) / 942 ). C Sketches. DK-Kk, Paul v. Klenaus Samling 0, mu Title on irst music age: Klavier Konzert. Title o third movement: Rondo 4x27 cm; one gathering with 6 biolios, various systems o agination, in all 22 ages with music and 2 blank ages. D Solo iano art, transcrit, ink air coy. DK-Kk, Paul v. Klenaus Samling 0, mu Title on ront age: Konzert / ür / Klavier und Orchester. / Paul v. Klenau. 4.5x27 cm; title age, blank age, numbered ages notated with music, 7 blank ages, in all 0 biolios. Paer tye: 2 staves W.H. Nr. F.2. Source contains only ew corrections and additions in encil, some o which are in Klenau s hand. E Series o dodecahonic tone rows, ink air coy, autograh. DK-Kk, Paul v. Klenaus Samling 0, mu Title (ol. r): Reihen ür Klavier Konzert. 944, in ink. 4x27 cm; one biolio, o which ols. v 2v are blank. Paer tye: 24 staves ( Beethoven Paier Nr. 7 (24 Linien) / 942 ). Source lists the series o dodecahonic tone rows and its inversion as well as in transositions o each emloyed in the b work: tone row: E E Ab Bb Db gb F A D C B G; inversion: E F C B b G D D # B F # G # A C #. The missing accidentals are added in encil. See acsimile. xiii. EVALUATION OF SOURCES The main source the only source in ull score is the autograh in air coy, source A. The score contains a ew corrections in Klenau s hand but has also a number o deiciencies and errors in terms o articulation, dynamics and erormance instructions in articular indications o rimo, secondo and a due in woodwinds and horns. Revisions are mainly based on internal readings with consultations o the iano score B. Only in very ew cases has the dodecahonic tone row been used as argument or a revision, as Klenau would oten deviate rom a given row by changing or omitting a note, or by using only an extract o a given row. The source material indicates that a erormance may have been lanned while the sources were being roduced. No such evidence o a erormance, however, is extant. EDITORIAL STRATEGY Incomlete notation has been emended without comment unless the reading is ambiguous. Missing rests in emty bars and other missing rests have been added tacitly, excet in cases where there may be doubt as to whether a note or note s might have been intended. Klenau s notation o two instruments on a single stave is articularly challenging. Frequently he alternates between one- and two-art notation without indicating whether hrases should be interreted as a2 or., or examle. Each instance has been determined in view o internal contexts such as the notation o the revious section or by comarable instrumental arts as well as the section s general dynamic level. A hrase, interreted by the DCM 02 25

140 editor as only valid or the irst o two instruments, is listed in the Commentary as. added. In that case, the addition is alicable or the whole hrase including the reeated.-designations ollowing age turns. In two-art notation, such changes are ormulated as rests added or second art added. Klenau is also inconsistent in the use o single and double stems on one stave in the strings. Double stems do not always indicate divisi, just as chords notated with single stems do not always mean that Klenau wanted the assage to be layed with double-stoing. The use o double stos and divisi is a question o musical interretation; the edition thereore reroduces Klenau s notation, leaving interretation to the erormer. Generally, the edition reroduces Klenau s original beaming ractice, also when it seems to be inconsistent. Dynamic markings above and/or below grous o staves which may be assumed to aly to all instruments o the grou have been added tacitly in each instrumental art in question. In two-art notation, Klenau usually only notates articulation such as accents or staccatos in the uer art. Articulation has tacitly been coied to the lower art whenever the arts have identical rhythms. In assages containing octave doublings in the same instrument, accidentals written in one art have tacitly been added to the other art i missing. VARIANT READINGS AND EDITORIAL EMENDATIONS FIRST MOVEMENT Bar Part Comment 2 cor. added by analogy with cor.,2;. added 2 vc. note : double stems emended to single stem by analogy with va. ww. cor. str. ten. added by analogy with trb.,2, trb.b., tb. and b vc. A: added in encil at the bottom margin 5 vl.2 va. vc. cb. marc. added by analogy with vl. 6 ob.2 note 2: marc. added by analogy with l., ob., cl., g., cor. 7 g. emended to w to it the metre 7 cor.,4? emended to & 8 ob.2 cl. g.2 9 l.2 ob. cl. g. ten. added by analogy with l., ob., g.2 ten. added by analogy with l. 0 vl.,2 va. chord 2, note 2: n added as in B and by analogy with ob.2, cor; inal semiquaver: # added as in B g.2 A: note 2: F n corrected to F # in encil. 2 (l.h.) chords -2: ten. added by analogy with. (r.h.) 5. chord 2, note : # added by analogy with ten. added by analogy with. 22 tim. note : stacc. omitted 22. D: note added in encil in the margin: x / Partitur overskrit ( x, heading in the score, reerring to the character designation Leidenschatlich in A) 22 vc. added by analogy with all other arts 24.2 notes 9-0: F #, # n n emended to F, by analogy with g.2, vc., ob. incomlete beginning o slur in b.27 emended to b.24 by analogy with cl., g. 25. note 2: n added by analogy with b.24 and b note 4: n added by analogy with b.24 and b A: note 0: a corrected in encil to g n n ; D: note 0: g g.,2 end o incomlete slur o b.26 emended to b.27; A: age turn; A: b.27: irst crotchet to ourth quaver: slur 27 cb. added because o izz. in bb. 5-2; added by analogy with b.22 (vc.) 27.2 note : n added 28.2 note 2: n added l.2 slur added by analogy with l. va. added -4. A: ) added in encil below the sta 4. A: seventh semiquaver: a n # corrected in encil to a 7. thirteenth semiquaver: e b b, e emended to e n n, e by analogy with l., cl. b 8. chord : a emended to a n because o the harmonic structure o b.8; chord 4: d b n emended to d because o the harmonic structure o b tenth semiquaver: e b b, e emended to e n n, e because o the harmonic structure o b tutti b.8, ourth crotchet: end o cresc.--- emended to b second art o the bar emended to g-major as indicated in B 4. chord, note : C n # emended to C by analogy with vc., cb n chord 5, note : d emended to d # by analogy with n.; eleventh semiquaver: d emended to d # by analogy with. 46. chord as in D; A: chord : g #, c #, e #, g #, the second note (e # ) being crossed out in ink A: second crotchet: minim d corrected in encil to c n A: chord, note : d n corrected to c n in ink chord : notes, 2: n added by analogy with. 50. A: chord : minim corrected in encil to crotchet 52. note 0: g # emended to g n by analogy with the irst hal o the bar 52.2 note 0: g # emended to g n by analogy with the irst hal # n o the bar; note 4: c emended to c by analogy with 5. the irst hal o the bar right hand, chords,2: n added; chord 5: n added by analogy with b.79; let hand, chord : n added by analogy with b.79 5 A: 2 added in encil in the right margin 54 ob. ten. added by analogy with l., cl. 54 vl.() note 6: b added by analogy with vl.(2) 55 l. ob. cl. ten. added by analogy with bb l.2 ob.2 note : ten. added by analogy with l., ob. 56. notes 6, 9: cautionary n added by analogy with l., cl. 57 l.,2 added by analogy with b chord 2, note 2: g # emended to g n by analogy with.2 59 l.,2 notes 8, : g # emended to g n by analogy with., vc. 59. last chord: n (D and G) added by analogy with str third crotchet, note 2: # added by analogy with.; D: # added in encil 6 cl.2 note 4: cautionary n added by analogy with ob. 62 cl. tone 4: cautionary n added by analogy with l vl.,2 ten. added by analogy with. (chord 2) note 6: n added by analogy with.; note 6: b added by analogy with. and b.64; B: note 6: d b added in encil 6 vl.,2 added because o izz. in b DCM 02

141 6 vl.2 notes 7-8: slur added by analogy with vl. 64. ourth crotchet: n added by analogy with vl.,2 and b.6 (.) 64.2 ten. added by analogy with. 65. tim. 4/4 emended to 2/8 by analogy with all other arts 65 va. vc. cb. added 67 cl. note 0: n added by analogy with l., ob., vl. 67 vl.2 note 8: n added by analogy with l., ob., vl. 69 g. note 6: c n emended to B # by analogy with va., vc., cb. 69 vc. ten. added by analogy with va., cb cor.2 ten. added by analogy with cor tim. A: oco rall added in encil on emty stave between. and tim. 7 tim. A: notes 2, 4: marc. added in encil 7. 2/8 emended to 4/4 by analogy with all other arts 72.2 to art, note 4: q emended to e to it the metre and as in D 8 cl. notes 9-0: n added by analogy with l., ob. 8.2 A: ) added in encil in the margin 82.,2 lower art: irst to second minim: slur added by analogy with.2 (uer art) 85 cl. note 6: b added by analogy with note and g.,2 85 cl.2 rest added 85 g. a due added by analogy with bb note : b added by analogy with g. 89 l. note 7: b added by analogy with b.9;. added 9 l. rest : emended to to it the metre 94.2 uer art, irst crotchet: missing Πadded;? added at the end o the bar end o slur emended rom b.95, note 7 to b.96, note because o the other slurs o bb.95 and note : # added 00-0 va. lower art: slur added by analogy with uer art 02 cl.. added 04 cor.,4. added 05. A, B: 4 th semiquaver: # /a changed to d / # : D: 4 th semiquaver: # /a 07 tutti Temo emended to Temo I 07 vc. note 6: ten. added by analogy with va., cb. 08. A: 4 added in encil in the right margin 09 g.,2 note 2: ten. added by analogy with b cor.,2, slur added by analogy with b cor.? emended to & 0 cor.,2 a2 added.2 notes 7-8: F #, # emended to D #, d # by analogy with., str th semiquaver: n added by analogy with l.2,., vl.2; D: th semiquaver: b added in encil 5.2 D: 0th and th semiquaver: b added in encil 6-8. B: added in encil below the three bars: A Dur (b.6), D-dur (b.7), B-dur (b.8); later Klenau aarently changed the major keys to minor by lowering the thirds o the chords a semitone in encil; A: the change is relected in A 7 cl.2 slur added by analogy with l., cl., g. 7. chord 4: n added by analogy with.2; chord 5: natural b added because o a in chord chord 5: n added by analogy with. and because o b a in chord 6 8. note 4: n added because o change o key rom the irst to the second hal o the bar 8.2 notes 2, 5: n added because o change o key rom the irst to the second hal o the bar 9. chord, note : # added by analogy with.2 and as in D 9.2 chord 2, note 2: # added by analogy with chord and. 22. chord 4, note : e emended to e b by analogy with.2 26 l.2 ob.2 cl.2 g. stacc. added by analogy with l., ob., cl. 26 cor., arts given to cor.,; A: no indication excet cor. 26 va. vc. cb. added 27. A: tacet; 5 added in encil below the word tacet vl.2 ten. added by analogy with vl. 29 g. C emended to D by analogy with va., vc., cb. g. A: a2, with no indication o length o section; here interreted as bb l.2 note : # added by analogy with l., ob., vl.,2 ob.2 note : # added by analogy with l., ob., g., str. 4 vl.2 note 8: # added by analogy with l., ob., vl. 5 l. ob. vl.,2 note 8: n added 6 vl. notes -4: beaming in one grou o our quavers emended to beaming in two grous o two quavers by analogy with l., ob., vl.2 42 vl.2 note : # added by analogy with vl cl. second art added 46 trb.t.2 note : b added by analogy with l.2, ob., cl.2, cor.2 46 tim. note 2: stacc. added by analogy with b cor.,,4 trb.b. ten. added by analogy with l., ob., cl., g. 47 cor.4 note 2: as correction in A; A: note 2: E b crossed out in encil and C added in encil 5 ww. added by analogy with str. 5 str. ten. added by analogy with all other arts l. cl. second art added 55 l.2 note 4: n added by analogy with g., cor.,, trb.t.2, tb., vc., cb. 55 va. note 2: n added by analogy with g., cor.,, trb.t.2, tb., vc., cb note 2: # added by analogy with ob., cor.2, trb.b.,. 55 va. vc. note : marc. and ten. emended to marc. by analogy with ww. and brass; A: may be interreted as ollows: Klenau accidentally wrote ten. and changed it immediately to marc., though not deleting ten. 56 tutti Temo emended to Temo I 56. D: siehe Partitur added in encil (Klenau), robably reerring to the details mentioned above related to bb , 57, 58.2 D: notes, 9: added in encil as in A in ink; A: additions in encil ill out the chords 57.2 and add a middle voice or relace the chords (see acsimile. xi) note : n # added because o the ollowing note (a identical with b b ); note 5: b added by analogy with note and D: note 4: g 60 va. ten. added by analogy with vl., vc., cb note : n moved rom note 4 to note 64 g.,2 A: irst minim: e b, g changed to - ; added by analogy with b.0- (l.,2) g. added by analogy with b.2- (l.) 67 cb. doubling vl., va., vc. by analogy with b.; A: cb.-bar missing 68. seventh semiquaver: # added as in B; 2 th semiquaver: n added by analogy with irst hal o the bar; last note o the bar: n added as in B DCM 02 27

142 69 l.,2 added by analogy with b.68 (cl.,.) 69. ourth semiquaver: lower note d b removed by analogy o the structure o bb.68-69; A, D: ourth semiquaver: d b, 7 l.,2 note 4: n added by analogy with. 7 g. A: 6) added in the margin in encil 7.,2 note 6: n added by analogy with note 4 (the structure o the second art o the bar being a arallel o the structure o the irst bar) 72 l. cl. g. stacc. added by analogy with b chord, note 2: n added by analogy with chord ; chord 4, note : n added by analogy with chord 2 (the structure o the second art o the bar being a arallel o the structure o the irst art) 72.2 ninth and tenth semiquaver: n added by analogy with. 74.,2 second crotchet: stacc. added by analogy with b third crotchet, lower art: ten. added by analogy with uer art 74.2 third chord: ten. added by analogy with.; A: irst chord: n added in encil; D: irst chord: no n ; encil addition in the margin questions whether the g o the second chord should be g or g b 74 vc. added tim. as b.48-49; A: - - n 75.2 A: ourth crotchet, lower art: d corrected in encil to d # 76 l.2 note : n added by analogy with., vc. and b vl.,2 va. vc. added by analogy with b chord 4, note 2: n added by analogy with chord 77.2 slurs and stacc. added by analogy with bb.75-76; chord, note : b added as in D and by analogy with.; chord 2, note : n added by analogy. 78.,2 note 0: n added by analogy with l., ob.2 and as in B 79. right hand, chords,2: n added; let hand, chord 5: n added by analogy with b notes 6, 9: n added by analogy with l., cl. 82 vc.2 note 2: ten. added by analogy with vc. 8. chord 2, note 2: n added by analogy with l.,2, notes 2-: n added 86. A: 7) added in encil in the margin 88.2 notes 5-6: F #, # emended to G, g because o the structure o the whole bar; B: F #, # in ink, whereas G, g is added in encil; B: notes -6: D, d added in encil next to C, c a change eectuated in A, D 95. A: in the beginning o the bar and in the margin added in encil in Klenau s hand 98.2 notes 9-0: n added by analogy with. 99. lower art: ten. added by analogy with th -6 th semiquaver: # added as in B th -6 th semiquaver: n added 20.2 notes -6: courtesy accidentals added in encil in Klenau s hand (?) 204. D: chord 2, note 2: e A: 8) added in encil in the margin 207 vl.,2 note 9: n added by analogy with l., ob.2, g., cor. 207 va. chord 9: n added by analogy with ob.2, g., cor.,., vc., cb. 208 g. note : ten. added by analogy with vc., cb chord, note : # added by analogy with chords chord 2, note : d # # emended to c by analogy with all other notes in the chord which clearly indicate A major; B, C, D also has the erroneous d # chord, note 2: # added by analogy with chords -2; chords -4: slur added by analogy with chords -2 and. 209, 2-22 vc. cb. ten. added by analogy with bb.20, 2 and ww., cor. 2 tim. stacc. added by analogy with b chord 2, note : b added by analogy with the overall harmony; chords -4: slur added by analogy with chords -2 and. 2 cor.? emended to &; A: age turn bb ourth crotchet: ten. added by analogy with chord 2.2 ties and articulation added by analogy with. 24 cl.. added 24 vl. note 4: q emended to e to it the metre cor.,2 A: Horn Pedal added in encil under the two bars: 25 va. izz. added by analogy with vl. (b.24) 26 vc. cb. A: B corrected to d in ink 29 cl. one slur emended to two slurs because o the second rest 222 g.2 rest added by analogy with bb lower art: slur added by analogy with.2, lower art 22.2 uer art, notes 0-2: slur added by analogy with b.225, 2 nd minim: b b emended to b by analogy with g., cb. and in accordance with encil correction in B 226 vc. A: note 2: n added in encil (Klenau) 226 vc. cb. added by analogy with vl.,2, va & added as in D 20 cor. esressivo added by analogy with b cor.,2. added 2 l. tim. added by analogy with b cor. added by analogy with b.00 2 l. tim. added by analogy with b A: 9) added in encil in the margin 26. cresc. added as in D 28. chord, note 2: n added by analogy with cl.2, vl.2 28 cb. bar cancelled and arrow reerring to stave below with corrected notes in ink (Klenau) 28 tutti B: dierent chord rogression: { &? nn œ bœ # ## bœ bœ# œ œ# œ œ g. tie added by analogy with va., vc., cb. 240 cor. A: note : a changed to b # in ink (Klenau) and the word eis added g. vc. cb. ten. added by analogy with bb.08-09, cor.,4. added; A: rests in cor.4 bb cor.,2. added third quaver: rest added cor. end o incomlete slur emended rom last note o.24 to irst note o b. 244 by analogy with cor.; A: (bb ): age turn 28 DCM 02

143 244 cor. n added by analogy with l., str. and b cor. slur added by analogy with cl. 245 cor. b added by analogy with l.,., str cl.2 two slurs emended to one slur by analogy with l l.2 note 2: e # emended to e n by analogy with b th semiquaver: n added as in B, D 248. second crotchet: e. x emended to e x by analogy with bb.249, 252; eighth semiquaver: n added as in B 248 vc. cb. A: note : # added in encil (Klenau) 249 g. # added by analogy with l., cl., th semiquaver: b emended to n by analogy with.2 and b.248; D: as in A and with a cross in encil beneath the 2 th semiquaver reerring to an addition in the margin: b? Partitur 250 tim. added by analogy with the other arts 250. note 2: n added uer art: note 0: n added 25 cl.2 b added by analogy with. 25. lower art, chord, note : b added by analogy with uer art, chord 252 str. added A: 0) added in encil below the sta th crotchet, bottom note: b added by analogy with to note and ? emended to & 259 cor.2 note : b added as in B and by analogy with l notes 4-5: n added as in D 259.,2 note 2: b added as in B and by analogy with l.2; notes 2, : n added 26 g.2 end o slur moved rom note 2 to note by analogy with cor. 262 vl.,2 A: note : cautionary n added in encil (Klenau) 26.,2 D: the bar (a reetition o b.262) is missing 264 l. g. cor. vl.,2 A: corrected in encil to (Klenau) 264 cor. emended to by analogy with cor l. g. vl.2 A: crescendo added in encil (Klenau) D: chord : x 265 vl.2 marc. added by analogy with vl l. g. cor., beginning o tie added; A: age turn 266 l. g. cor., vl.,2 A: note : added in encil (Klenau) 266 tr.,2 A: added in encil (Klenau) chords 2-: e e emended to x x to it the metre A: ) added in encil in the margin 270 str. marc. added by analogy with b. 272 tim. added by analogy with ww. and b. 272 va. uer art, note : a added by analogy with b. 27 ww. trb. tb. ten. added by analogy with b l. cor., note 2: n moved rom note 4 as in B; A: note 4: n added in encil (Klenau) 276 vl.,2 chord, note : d emended to e by analogy with vc., cb. and in accordance with B ob. tie added by analogy with bb vl.2 va. vc. cb. chords -2: ten. added by analogy with vl ten. added by analogy with chord 6: n added 279 vl. chord 2: n added by analogy with vc., cb. 279 va. vc. cb. ten. added by analogy with vl.,2 28 cor. added by analogy with ww note 6: # added 28 cb. uer art, note : missing b and tie added by analogy with b.282, second chord 284. note 8: # added 285 cor. added by analogy with ww. and because o in b chord 2, note 2: # added by analogy with. and as in D 285 vl.2(2) note 6: # added by analogy with., vl.(2) note 4: # added by analogy with b cl. ten. and marc. added by analogy with l., ob. 289 ob.,2 note 2: # added by analogy with note 289 vl. note : double stems emended to single stem by analogy with b ww. ten. added by analogy with bb cor. tr. articulation added by analogy with bb vl.(2) vl.2(2) va.2 vc.2 marc. added by analogy with bb tr. added by analogy with all other arts A, D: added in encil (Klenau) A: ) added in the margin SECOND MOVEMENT va. vc. cb. notes -: stacc. added by analogy with bb., 7 5 cor.2 d emended to g by analogy with vl., va. and according to almost illegible encil correction in A; A: g added in encil and d added in encil above the tone d 0- vc. g.2 lower art: tie added by analogy with cor. -4 cl.2 g.2 rests added 5 g. va. vc. note : cautionary n added by analogy with cl. 5 vc. lower art, note 2:. emended to to it the metre 6 va. lower art: slur added by analogy with vc. 7 cb. added by analogy with vl.,2, va., vc tim. b.24: and the whole o b.25 added in encil (Klenau) va. cb. b.24: end o slur emended to b.25, note by analogy with cor. 25 cor. added by analogy with all other arts 0 vl.2 end o emended rom note 2 to note by analogy with va. 0 va. m added because o and by analogy with cl. 4 cl.2 note 2: as encil correction in A; A: note changed rom c til b b in encil 8 tr. a2 added 8-9 trb. added by analogy with ob., cl., g., tb., vl.2, va. 8-9 trb.t.2 slur added by analogy with ob., cl., g., trb.b. 8-4 l. second art added 9 cor. added by analogy with cor., tr., tb., tim., vl. 40 tim. vl.,2 va. added by analogy with all other arts 40-4 ob.,2 slur added by analogy with l., cl., g. 4 vl.2 note : # added by analogy with ob.2, trb.b., vc., cb. 4 vc. notes 6-8, 9-2: two slurs emended to one slur by analogy with bb.42, 4 4 cb. note 6:? added by analogy with g. and va cl.2 rests added 5. chord 2: emended to. to it the metre 56. esressivo added as in D; D: esr. added in encil (Klenau) DCM 02 29

144 60 cl. note : n added to it the harmonic rogression o the second art o the bar and as in B 60. chord, note : n added to it the harmonic rogression o the second art o the bar and as in B 6.2 lower art, chord 2, note : n emended to # by analogy with g. and as in B 64 l.2 added by analogy with l., vl.,2 65 cl.2 added by analogy with cl., g., cor.,2, 65 cor.,4. added 66 cl.2 added by analogy with l., cl., cor.,2, 67 l.2 note : # added by analogy with l. n 67. A, D: chords -2: d corrected to d # in encil (Klenau) 67. cautionary n (b n ) added as in D 67. A: 4) added in encil below the sta ten. added by analogy with. 70 l. added by analogy with b.67 and vl.,2 70. D: chord : 7. chord : ten. added by analogy with bb.67-72, D: chord 2: b added in encil (Klenau?) 76 cor. added by analogy with l., ob., cl., g. 77 ob. note : n added by analogy with l., cl.,. 77 cl. ##w # w cancelled in encil and ## w added (Klenau) 78. second minim, chord: g emended to g # by analogy with l., ob.2, cor.; D: the chord has g #, b, e, g # ; B: g #, d #, e, g # 78.2 second minim chord: g emended to g # by analogy with l., ob.2, cor. 79 g. added by analogy with l., ob., cl., cor.,2,, tr., tim tr. beginning o slur emended rom b.80 (note ) to b.79 by analogy with bb D: chord 2: added in encil (Klenau) 82. A: 5) added in encil below the sta (Klenau?) added because o the structure o bb tim. added by analogy with bb.8, tr. added by analogy with the dynamic level o the other arts 84 tim. added by analogy with b ? emended to & by analogy with revious bar (turn o age) 85. added by analogy with ww., cor., str. and as in D; D: added in encil (Klenau?) 86 tim. added by analogy with b ten. added by analogy with.2, vl.,2, vc., cb. 88 vc.2 cb.2 slur added by analogy with ob.2, g.2, cor.2,., vl.,2 89 l. emended to. by analogy with ob., cl., g., tr., trb.b. 89 va. vc.2 cb.2 ten added by analogy with vl.,2, vc., cb notes -: stacc. added by analogy with. 0.2? emended to? 4 chord : w ww w as in B 04. second minim: e b / e b emended to e n / e n as in B 04.2 to art, note : b emended to b b by analogy with. and as in D; D: to art, note : b changed to b b 05.2 lower art, note 2:. emended to by analogy with revious bar; D: to art, chord 2: b added in encil 05. A: 6) added in encil in the margin (Klenau?) 06 cb. added by analogy with tim., vl.,2, va., vc A:? # # # # ww œ# # n # changed to? # # w w # œ n # # # # n # œ 07.2 D: chord 2, notes,2: F, c; a encil asterisk above the chord reers to a encil addition in the margin: is cis 0 vc.,2 A: g # corrected to e vc.,2 A: g n corrected to e b. 2 to note: the square brackets in A and D robably indicate that it is technically diicult to make the note rom the revious bar continue audibly into b ten. added by analogy with. 2. to art, notes -2: slur added by analogy with b to art, notes -2: slur added by analogy with b.20; to art, note -5: beginning o slur emended rom note to note by analogy with bb.20, 2; D: to art, note 4: g corrected in encil to 24.2 A, D: ourth crotchet, chord, note : n added in encil (Klenau) end o cresc emended rom b.24, 2th quaver to b.27 as in D 27 cl. notes 6-0: added by analogy with l., notes -5 and bb.28, l. notes 6-0: added by analogy with cl. notes -5 and bb.27, chord 5, note 2: # added as in D and by analogy with l., vl chord 5, note : # added by analogy with l., cl.; A, D: second quaver: # added in encil (Klenau?) 0 l.,2 note 5: # added by analogy with cl.,2 0 l. notes -5: added by analogy with cl. and bb l. added by analogy with cl. 4 vl. uer art and lower art: notes 7-8: slur added by analogy with notes -4 5 cl.. added 54 cl. note : # added by analogy with vl., va. 56. chord, note 2: # added by analogy with A: 7) added in encil in the margin (Klenau) THIRD MOVEMENT B, C: Rondo note : stacc. added by analogy with bb stacc. added by analogy with. and b chord 2: stacc. added by analogy with bb., D: third quaver: a, d, the lower note being crossed out and the letter d added above the chord in encil 2.2 chord : stacc. added by analogy with.; chord 2: stacc. added by analogy with b. (.) and b chord : ten. added by analogy with b cl. g. ten. added by analogy with l., cor., va., vc. and b.0 5 cl. stacc. added by analogy with l., g., cor., va., vc. and b.0 6 cl.2 ten. added by analogy with g.2, cor.,2,, vl.,2, va., vc.2, cb. and b.50 6 cor., vl.,2 va. ten. added by analogy with cor.2, vc.2 and b. 7 g.2 cor. articulation added by analogy with cor.,2 nœ œ 0 DCM 02

145 7 vl.2 slur added by analogy with vl.; notes 2-5: stacc. added by analogy with vl. and b.2 8 g.2 cor. vc.2 articulation added by analogy with cor.,2, va. 8 vc.2 stacc. added by analogy with cor.,2, va. 9 cb. n added by analogy with ob., g.2, vl., cb. stacc. added by analogy with bb cb. A: a corrected in encil to 2-24 ob. one slur notes -6 emended to two slurs notes -4 and 5-6 by analogy with vl.,2 and bb.6. and cor. ten. added by analogy with g., cor.,2, va., vc. 2 l.2 note : cautionary n added by analogy with cl.2, cor., va.2 25 cor.2 stacc. added by analogy with ww., cor., l. cl. second art added 26 cl. note : stacc. added by analogy with l., vl. 26 g. note : ten. added by analogy with cor., va. 26 cor. note 2: stacc. added by analogy with g., cor.,2, va., vc.2 26, 27 cb. note : stacc. added by analogy with b.2 and receding bars 27 g. cor.2, va.2 articulation added by analogy with vc. 27 cl. slur, stacc. and added by analogy with l., ob.2, vl.,2 27 cor.2, ten. added by analogy with g., vc. cl.,2 g emended to a by analogy with g.,2 as in B 6-7. added by analogy with b note : stacc. added by analogy with b chord, note : n added by analogy with b chord 2, note 2: n added by analogy with b chord : stacc. added as in D; D: stacc. only in A: 8 added in encil below the sta (Klenau) 5 Temo emended to Temo I 5 cl.2 Πadded to it the metre 55 l.2 g. stacc. added by analogy with ob., cl.2 55 cl. note : # added ob. added by analogy with l., cl., g. 57 vc. izz. added by analogy with cb. and because o izz. in b ww. note : stacc. added by analogy with bb.26, 2 62 l.2 ob. note 2: stacc. added by analogy with cl.2, g. 62 cl. note : stacc. added by analogy with l. 6 ob. cl. g. note 2: stacc. added by analogy with l., cl. (note 4) 69.2 slur added by analogy with bb.67-68, 7-72; D: note b 5: c corrected to B n in encil with a reerence to the margin where the ollowing is added in encil: NB Partitur ces-ges? 77. chord 2: ten. added by analogy with b chord : ten. added by analogy with b D: chord, note : a n # in site o a in chord : ten. added by analogy with b.8 and.; # n D: chord, note : a in site o a in. 8, 85.2 to art: emended to. by analogy with., lower art 87.2 D: illegible notes added in encil to the let hand tremolo 92.2 D: illegible notes added in encil to the let hand tremolo 94. third crotchet: stacc. added by analogy with bb.89, 90, A: 9) added in encil below the sta 96.2 D: illegible notes added in encil to the let hand tremolo stacc. added by analogy with. 0 ob. tr. a2 added 0 vc.2 articulation added by analogy with va., vc. 0 cb. cautionary izz. added vc.2 ten. added by analogy with vl.,2, va. 2 vc.2 articulation added by analogy with g.2, va. vc.2 articulation added by analogy with g.2, va. 4 ob. notes 5-6: added by analogy with vl. 4 vl.2 slur and added by analogy with vl. 5 vl.2 va. ten. added by analogy with vl. 6 ww. cor.,2, m added by analogy with tim., str. and b.2 8 l.2 note : n added by analogy with cl.2, cor., va., vc. 9 cb. stacc. added by analogy with bb l. cl. second art added 2 va.2 vc.2 added by analogy with ob., g. and b.26 2 cl. vl.,2 va. vc. third crotchet: stacc. added by analogy with l., ob., g., cor.,2 2 cb. note 2: stacc. added by analogy with b.22 (note 2) 22 cb. note : stacc. added by analogy with b.2 (note ) and note 2 22 ob.2 added by analogy with l., cl., vl.,2 22 va.2 vc. articulation added by analogy with g., cor. 2 ob. va.2 vc.2 stacc. added by analogy with all other arts 24 cb. added cb. slur added by analogy with bb and va., vc. 25 g. cor., cb. added by analogy with bb omitted by analogy with b. 25 vc. emended to by analogy with bb note : b added by analogy with. 0 cor., added by analogy with g. cor., b added by analogy with g.,., va., vc., cb.; marc. added by analogy with g., va., vc., cb. 2. A: 20) added in encil in the margin (Klenau) 4-5 cor., and added by analogy with g.,. 5 cor., cb. marc. added by analogy with g., va., vc. 8-9 cor., one-art notation emended to two-art 4 g. marc. added by analogy with cl., va., vc., cb note 4: b added by analogy with g.,., va., vc., cb. 47 va. vc. cb. marc. added by analogy with bb va. vc. cb. and added by analogy with cl., g. and bb cl. va. emended to. to it the metre va. vc. cb. and added by analogy with bb.26-5 and cl., g. 55 g. marc. added by analogy with cl., va., vc., cb. 56 l. a2 added 57 vl. ten. added by analogy with va., vc. 59, 69-7 va. emended to. to it the metre 60 vl. note :. emended to to it the metre 6 vl. va. vc. ten. added by analogy bb.66, 57, 59, 6 6 vc. emended to. to it the metre 64, 66, 72, 74 vl.,2 va. note 2: ten. added by analogy with bb.56, 58, 60, vc.2 ten. added by analogy with vc. 67. A: 2) added in encil in the margin DCM 02

146 70.2 note 6: c emended to d # by analogy with.; B: 76 cl.2 # added by analogy with l.2,. 76 cor.,4. added 8.2 D: chord : D, d 88.2 cautionary n added; D: NB? added in encil 9. slurs emended rom one slur (notes -6) by analogy with b As correction in A (Klenau) and as in D; A: 9. chord 2: stacc. added by analogy with.2 94 ob. added by analogy with cl.,2 and b.9 95 ob. and Πadded by analogy with b cl. added by analogy with bb.98, A: 22) added in the margin (Klenau) 97 vc. cb. izz. added by analogy with b.94 (vl.,2, va.) 98 g. added by analogy with b.97 (str.) 98, 99 g.2 # added by analogy with., va. 20. missing rests added 20 vl.2 va. stacc. added by analogy with bb vl.2 va. added by analogy with vc., cb va. b.20: incomlete ending o slur emended to b.204, note ; A: (bb ): age turn g.2 va.2 b.20: incomlete ending o slur emended to b.205, note by analogy with g.; A: (bb ): age turn vc.2 b.20, note : end o slur emended to b.205, note by analogy with vc vc. incomlete beginning o tie removed by analogy with g. 204, 205 cl. # added by analogy with., va cor. A: a cancelled in ink and changed to a 205 g.2 emended to. to it the metre 206 cl. d emended to d # by analogy with va. 206 g. added by analogy with cl.,2, va., vc. 208 g.2 A: b added in encil 208 vc.2 b added by analogy with g.2,.2; 209.,2 stacc. added by analogy with g.,2 209 va. vc. stacc. added by analogy with g.,2 209 cb. stacc. added by analogy with vl.2 stacc. added by analogy with bb.20-2 and vl. 24 l.. added; A: no indication o., 2., or a2 24. & added because o? in b cb. added g.,2 incomlete beginning o tie added; A: bb.26-27: age turn 226. D: chord : cautionary b added in encil (Klenau?) 20.2 chord 2: B, b emended to G, g by analogy with ten. added by analogy with bb A: 2) added below the sta 28 g. added by analogy with va., vc., cb.; emended to. to it the metre 28 ob.. added 28 cor.,4. added vl.2 vc. cautionary n added 24 vc.,2 emended to. to it the metre note : cautionary n added 245 B: added in encil: Wiederholung von A bis B (Klenau), thus calling or a reetition o bb note 5: # added by analogy with ww. assage emended by analogy with bb.28-24; A: notation o ob. and cl. on the wrong systems (cl. and g. resectively), thus erroneously omitting g.; a encil arrow in the score indicates the necessary move o the two wrong arts 247 va. ten. added by analogy with vl vc. cb. added by analogy with ob., cl., g., cor.,2,, vl., va note 6: # added by analogy with.2, va vc.2 ten. added by analogy with vc., cb to and lower art, note 4: # added by analogy with b vl. emended to. to it the metre 250 vc. emended to. to it the metre 252 cb. ten. added by analogy with vl.,2, va., vc va. tie added by analogy with vl.,2, vc., cb note 6: b added by analogy with., va., vc. 25 vl. emended to. to it the metre 255 g.2 added by analogy with b.254 (cl., g.) 26.2 chord, uer note: stacc. added by analogy with.; sixth quaver: g emended to by analogy with b.5 (vc.2); A: sixth quaver: ambiguous notation as either g or 26.2 chord : stacc. added by analogy with b.262, 264 and by analogy with bb stacc. added by analogy with b.262, 264 and by analogy with bb.7-4: A: second crotchet: e notated in? and the necessary ollowing change to & omitted; chord, note : n omitted by analogy with b.20 (A major chord) 267. D: chord, note 2: cautionary n added in encil (Klenau?) A: 24) added in encil below the sta (Klenau) 274 cl. g n emended to a n by analogy with b notes -4: stacc. added by analogy with str. and as in D 28 cl. added by analogy with l. 28 va. added by analogy with vl.,2, vc lower art, chord, notes,2: b added as in D and by analogy with b uer art, chord, note : b added by analogy with. and as in D 290. chord : cautionary n added by analogy with chord 2, note : n added by analogy with., vl.,2 and b vl.,2 va. stacc. added by analogy with b chord : stacc. added by analogy with b vl.,2 va. stacc. added by analogy with b lower art, note 4: b added by analogy with uer art A: 25) added in encil below the sta (Klenau) 07. lower art, note 2: cautionary n added 2 DCM 02