HANS CHRISTIAN LUMBYE

Transkript

1 HANS CHRISTIAN LUMBYE MARITANA DIVERTISSEMENT I FORM AF EN CARNEVALS-SCENE MARITANA DIVERTISSEMENT IN THE FORM OF A CARNIVAL SCENE

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3 HANS CHRISTIAN LUMBYE MARITANA DIVERTISSEMENT I FORM AF EN CARNEVALS-SCENE MARITANA DIVERTISSEMENT IN THE FORM OF A CARNIVAL SCENE København 200 UDGIVET AF EDITED BY NIELS BO FOLTMANN AXEL TEICH GEERTINGER MED FORORD AF WITH AN INTRODUCTION BY KNUD ARNE JÜRGENSEN

4 Cover design English translation DCM ISMN 200 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 200 Revised June 200

5 HANS CHRISTIAN LUMBYE Hans Christian Lumbye blev ødt i København den 2. 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 829 ik stilling som trometer i den kongelige hestgarde. Ved siden a dette arbejde var Lumbye i 80rne en littig musiker i Køben havns Stadsmusikantorkester, og ra disse år stammer hans tidligste bevarede dansekomositioner. I 89 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 25 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. Maritana, Divertissement i Form a en Carnevals-Scene (847) Til en balletorestilling å Helsingør Theater den 6. december 846 koreograerede August Bournonville en sansk dansescene, der å orestillingens lakat bærer titlen Maritana (Sansk Sigøjner-Dands), comoneret i denne Anledning a Bournonville. Dansen, der blev udørt a Bournonvilles elev, kgl. danserinde Augusta Nielsen, bestod a to sanske dansesatser i orm a en indledende Bolero og en asluttende Jaleo, der begge blev komoneret a Lumbye den. december 846. De var som genre betragtet et udtryk or den umådelige oularitet sanske olkedanse havde onået hos datidens balletublikum, eter at tidens mest berømte sanske dansere Mariano Cambrubì og Dolores Serral havde gæstet Det Kongelige Teater i 840 og skabt urore med deres æggende og livulde orestillinger. Succesen i Helsingør omuntrede Bournonville til hurtigt at genbruge Lumbyes musik i det udvidede divertissement, han kun å måneder senere iscenesatte å Hoteatret i København den 5. aril 847 med titlen Maritana, Divertissement i Form a en Carnevals-Scene. Denne version, der blev udørt a jorten solister ra Den Kongelige Ballet anørt a Augusta Nielsen og Bournonville selv, indeholdt udover den orindelige Bolero og Jaleo en indledende Vals og en Finale Galo. Valsen bestod a udvalgte asnit (Indledning samt Vals nr. 2 og 5 og Coda) hentet ra en a Lumbyes tidligere valsesuiter Les Souvenirs de Paris (uroørt i Tivoli den 2. maj 845). Finalegaloen er derimod et direkte genbrug a Lumbyes berømte musikalske visitkort, hans oulære Chamagne Galo ra 845. Den var orindelig komoneret til Tivolis ødselsdag den 5. august 845, men da esten måtte udsættes å grund a dårligt vejr, kom galoen ørst å rogrammet den 22. august og bar da titlen Chamagner Galo. Den holdt sig næsten dagligt å havens koncertrogram hele resten a koncertsæsonen. Om galoens tilblivelse eksisterer der ølgende historie, som er overleveret a Lumbyes barnebarn, dirigenten Tie Lumbye: En aten var Lumbye blevet indbudt til en ornem est i det engelske gesandtskab i København, men asserede å vejen derhen sin DCM 005

6 stamkro og oretrak at tilbringe atenen i dette velkendte miljø. Ved hjemkomsten til sin amilie sent om atenen måtte han nu berette om, hvorledes han i gesandtskabet, som han altså slet ikke havde besøgt, havde svælget i chamagne og estrus. For at illustrere dette or den orventningsulde amilie satte han sig til klaveret og imroviserede sig nu rem til, hvad der senere blev den verdenskendte Chamagne Galo. Lumbye skrev senere tre andre chamagnegaloer, hvor han ligesom i sin Chamagne Galo lader klokkesillet og især xyloonen å en remtrædende lads i symoniorkestret langt ør end det ellers skete i udlandet. Ingen a disse værker kom dog i oularitet nogensinde å højde med hans ørste i denne genre. En a samtidens bedste beskrivelser a Chamagne Galo stammer således ra neto balletmester Bournonville, der blandt sine Biograhiske Skizzer i sidste bind a memoireværket Mit Theaterliv (878, s ) udtaler om værket: [ ] endskjøndt jeg langtra indbeatter Lumbyes hele Berømmelse i hans Chamagne-Galo, maa jeg dvæle et Øieblik ved den utaalmodige Gjæring, der bruser i ste Deel, Proen sringer a med et Knald og Glassene yldes i 2den Deel, Skaalen udbringes, den skummende Nectar tømmes i die Deel og den svimlende Glædesruus oylder den hele 4de Deel indtil det velkomne «Da Cao» bringer en ny Flaske aa Bordet og Alt rives med i en stormende Bacchanale! I Bournonvilles ballet-divertissement Maritana å Hoteatret silledes galoen hele to gange i orestillingen. Divertissementet blev som ølge a den store ublikumssucces senere overørt til Det Kongelige Teaters store scene, hvor det oørtes ørste gang den 9. maj 847. Udgaven a Maritana er baseret å Lumbyes autograe artiturer ra 846 til Bolero og Jaleo satserne samt de orindelige orkesterstemmer til balletdivertissementet Maritana ra 847. Stemmerne til secielt Chamagne Galo reræsenterer en a de ældste bevarede kilder til denne berømte komosition, idet Lumbyes orindelige artitur og stemmer ra uroørelsen i Tivoli i 845 eter al sandsynlighed gik tabt under Schalburgtage-branden a Tivolis Koncertsal natten mellem den 24. og 25. juni 944. Den mest markante orskel ra de hidtil kendte kilder er, at orkester besætningen i Chamagne Galo i Maritana inkluderer en cornetstemme, hvilket ikke ses i nogen andre samtidige kilder. Knud Arne Jürgensen 2 DCM 005

7 HANS CHRISTIAN LUMBYE Hans Christian Lumbye was born in Coenhagen on 2 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 829 he was entrusted with a osition as a trumeter in the Royal Horse Guards. Through the 80s, 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 89, 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 25 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. Maritana, Divertissement in the Form o a Carnival Scene (847) For a ballet erormance at Elsinore Theatre on 6 December 846, August Bournonville choreograhed a Sanish-lavoured dance scene which, on the oster announcing the erormance, was entitled Maritana (Sanish Gysy dance) choreo grahed on this occasion by Bournonville. The dance iece, which was erormed by Bournonville s uil, Augusta Nielsen, danseuse in the comany o The Royal Theatre, consisted o two Sanish dance eisodes in the orm o an initial Bolero and a concluding Jaleo, both o which were comosed by Lumbye and end-dated December 846. The genre is considered a relection o the tremendous oularity that Sanish olk dance had attained among the contemorary ballet audience, esecially ater two o the most renowned Sanish dancers o the day, Mariano Cambrubì and Dolores Serral, had visited The Royal Theatre in 840 and created quite a sensation with their rovocatively seductive and vivacious erormances. The success in Elsinore encouraged Bournonville straightaway to make use o Lumbye s music once again in the exanded divertissement which, only a ew months later, on 5 Aril 847, the renowned dancer, choreograher and ballet master mounted at The Court Theatre in Coenhagen with the new title Maritana, Divertissement in the Form o a Carnival Scene. This version, which was executed by ourteen ists rom The Royal Ballet, headed by Augusta Nielsen and Bournonville himsel, contained an introductory Waltz and a Finale Gallo in addition to the original Bolero and Jaleo. The music accomanying the waltz eisode was comrised o selected excerts (the introduction and waltzes nos. 2 and 5 as well as the coda) borrowed rom one o Lumbye s earlier waltz suites, Les Souvenirs de Paris (remiered in Tivoli on 2 May 845). The inale s gallo, on the other hand, is a direct quotation rom Lumbye s amous musical business card, his oular Chamagne Gallo. This iece was originally comosed or Tivoli s second birthday on 5 August 845. However, because the celebration had to be ostoned on account o inclement weather, the gallo did not aear on the rogram until 22 August. At that time, the work bore the title, Chamagner Galo. The iece remained, more or less, as daily are on the amusement ark s concert rogram throughout the rest o the concert season. As ar as the gallo s genesis goes, there is the ollowing anecdote, which was handed down by Lumbye s grandson, the conduc- DCM 005

8 tor and comoser, Tie Lumbye: One evening, H.C. Lumbye had been invited to a ashionable arty being held at the British embassy in Coenhagen. On his way to the celebration, though, Lumbye haened to ass by the tavern that was his amiliar haunt. He then surrendered to his sudden urge to send the evening in these more amiliar surroundings. But when he got home later that evening and was conronted with his own amily s excitement, the comoser elt comelled to oer an account telling o how, when visiting the arty at the embassy a lace in which he had not so much as set his oot, as matters would have it he had swilled down chamagne and revelled in jubilation. In order or him to illustrate and enliven the story or the exectant amily, he lunked himsel down on the iano bench and summarily imrovised his way orward into what later became the world amous Chamagne Gallo. Subsequently, Lumbye comosed three more chamagne gallos where he assigned, much like he does in his irst Chamagne Gallo, rominent roles within the symhony orchestra s arsenal to the glockensiel and even more esecially, to the xylohone, eaturing these ercussion instruments in a way that re-dates what other comosers working on oreign soil did only much later on. None o these three ieces, however, ever came to attain anywhere near the level o oularity that his irst stab in the genre garnered. One o Lumbye s own day s most cogent descritions o Chamagne Gallo stems, as a matter o act, rom the ballet master, Bournonville, who, among the biograhical sketches ound in the last volume o his memoirs, Mit Theaterliv (My Theatre Lie) (878, ), says o the work: [...] although it is ar rom the case that I attribute the whole basis o Lumbye s ame to his Chamagne Gallo, I simly must dwell or a moment on the bubbling viniication that eervesces in the st art o the iece: the cork os o with a resounding bang and the glasses are illed u in the 2 nd art. The glass is raised, a toast is roosed, the sarkling nectar is imbibed to the last dro in the rd art and giddy transorts o delight ill u the whole 4 th art until the welcome da cao brings a new bottle onto the table and everyone joins in a tumultuous bacchanal! In Bournonville s ballet divertissement, Maritana, resented at the Court Theatre, the gallo was layed in its entirety twice during the erormance. As a consequence o its resounding aeal beore the ublic, the divertissement was subsequently transerred to The Royal Theatre s main stage, where it was resented or the irst time on 9 May 847. The resent edition o Maritana is based on Lumbye s autograh scores rom 846 or the Bolero and the Jaleo movements as well as on the original orchestral arts or the ballet divertissement Maritana rom 847. The arts or the Chamagne Gallo reresent one o the oldest surviving sources o this amous comosition, seeing that Lumbye s original score and the individual arts used or the work s remiere in Tivoli in 845 were, in all robability, lost or destroyed in the conlagration that broke out in 944 on the night between June 24th and 25th, as a direct result o counter-resistance sabotage rerisals eretrated by the Peter grou, whose members were also members o the Schalburg Cors. The most noticeable dierence rom the reviously known sources is that the orchestration o Chamagne Gallo in Maritana includes a cornet art, which does not aear in any o the other contemorary sources. Knud Arne Jürgensen 4 DCM 005

9 MARITANA Divertissement i Form a en Carnevals-Scene MARITANA Divertissement in the Form o a Carnival Scene Flauto iccolo Flauto grande Oboe Clarinetto (A) Clarinetto (A) 2 Fagotto Temo di Valse Corno (E) 2 Cornetto (A) 2 Tromba (E) 2 Trombone basso Tuba Timani (B, E) a2 a2 a2 a2 a2 Gran cassa Violino Violino 2 Viola Violoncello Contrabbasso Temo di Valse DCM 005 5

10 Fl. gr. Cl. (A) 9 Tim. a2 a2 Vl. 6 DCM 005

11 Fl. gr. Cl. (A) 7 WALZER m m m m m a2 m a2 Tim. Vl. m m m m m m m m m m DCM 005 7

12 Fl. gr. Cl. (A) 29 a2 a2 Tim. Vl. 8 DCM 005

13 Fl. gr. Cl. (A) 40 Tim. Vl. DCM 005 9

14 Fl. gr. Cl. (A) 49 m m m m m m m m m a2 a2 Tim. Vl. m m m m m m 0 DCM 005

15 6 Fl. gr. Cl. (A) Tim. a2 a2 a2 a2 Vl. DCM 005

16 Fl. gr. 72 Cl. (A) Tim. Vl. 2 DCM 005

17 Fl. gr. Cl. (A) 8 m m m m m a2 m a2 Tim. Vl. m m m m m m m m m DCM 005

18 Fl. gr. 9 Cl. (A) a2 a2 Tim. Vl. 4 DCM 005

19 Fl. gr. Cl. (A) 0 Tim. Vl. DCM 005 5

20 2 Fl. gr. Cl. (A) Tim. Vl. 6 DCM 005

21 9 Fl. gr. Cl. (A) Tim. Vl. DCM 005 7

22 Flauto iccolo Flauto grande Oboe Clarinetto (A) Clarinetto (A) 2 Fagotto BOLERO Corno (E) 2 Cornetto (A) 2 Tromba (E) 2 Trombone basso Tuba. Tamburo iccolo Gran cassa Violino Violino 2 Viola Violoncello Contrabbasso siccato siccato siccato siccato siccato 8 DCM 005

23 7. Fl. gr. Cl. (A). Tamb.icc. Vl.. DCM 005 9

24 Fl. gr. Cl. (A) 2. Tamb.icc. Vl DCM 005

25 Fl. gr. Cl. (A) 7 dolce. 2. dolce Tamb.icc. Trgl. Vl.. 2. dolce DCM 005 2

26 Fl. gr. 2 Cl. (A) Tamb.icc. Vl. 22 DCM 005

27 Fl. gr. 27 Cl. (A) Tamb.icc. Vl. DCM 005 2

28 Fl. gr. Cl. (A) Tamb.icc. Vl. 24 DCM 005

29 Fl. gr. 9 Cl. (A) Tamb.icc. Vl. DCM

30 Fl. gr. 45 TRIO cre cre scen scen Cl. (A) cre scen cre scen cre scen cre scen cre scen cre scen Tamb.icc. cre Vl. cre scen cre scen cre scen cre scen cre scen 26 DCM 005

31 Fl. gr. Cl. (A) 5 do do dolce do dolce do do do do do Tamb.icc. scen do Vl. do do do izz. do izz. do DCM

32 Fl. gr. Cl. (A) 57 a2 Tamb.icc. Vl. arco arco 28 DCM 005

33 Fl. gr. 6 m Cl. (A) m m m. m m Tamb.icc. m Vl. m m m m m DCM

34 Fl. gr. 67 rit. Cl. (A) Tamb.icc. Vl. rit. 0 DCM 005

35 Fl. gr. 72 Temo I Cl. (A). Tamb.icc. Vl. Temo I siccato siccato siccato siccato siccato DCM 005

36 Fl. gr. Cl. (A) 78 Tamb.icc. Vl. 2 DCM 005

37 8 dolce Fl. gr. Cl. (A) dolce Tamb.icc. Trgl. Vl. dolce DCM 005

38 Fl. gr. 88 iu lento dolce Cl. (A) dolce Tamb.icc. Trgl. Vl. iu lento dolce 4 DCM 005

39 Flauto iccolo Flauto grande Oboe Clarinetto (A) Clarinetto (A) 2 Fagotto JALEO dolce dolce dolce Corno (E) 2 Cornetto (A) 2 Tromba (E) 2 Trombone basso Tuba Tamburo iccolo Triangolo Gran cassa Violino Violino 2 Viola Violoncello Contrabbasso dolce DCM 005 5

40 Fl.gr. Cl. (A) 9. m m m m Trgl. Vl. m. m m m m 6 DCM 005

41 Fl.gr. Cl. (A) 7 2. Trgl. Vl. 2. div. DCM 005 7

42 Fl.gr. Cl. (A) 24. Trgl. Vl. div.. 8 DCM 005

43 Fl.gr. 2.. dolce Cl. (A) dolce Tamb.icc. Trgl. Vl. 2.. dolce DCM 005 9

44 Fl.gr. 9 Cl. (A) Tamb.icc. Vl. 40 DCM 005

45 Fl.gr. 46 Cl. (A) Tamb.icc. Vl. DCM 005 4

46 Fl.gr. Cl. (A) 54 G. P. dolce dolce dolce Tamb.icc. Vl. G. P. dolce 42 DCM 005

47 62 Fl.gr. m Cl. (A) m m m Tamb.icc. Vl. m m m m m DCM 005 4

48 69 Fl.gr. Cl. (A) Trgl. Vl. div. 44 DCM 005

49 76 Fl.gr. Cl. (A) Trgl. Vl. div. DCM

50 Fl.gr. Cl. (A) 8 a2 Tamb.icc. Trgl. Vl. 46 DCM 005

51 Fl.gr. 90 Cl. (A) Tamb.icc. a2 Vl. DCM

52 Flauto iccolo Flauto grande Oboe Clarinetto (A) Clarinetto (A) 2 Fagotto Cornetto (A) Tromba (E) 2 Tromba (E) 4 Trombone basso Tuba CHAMPAGNE GALOP Tamburo iccolo Gran cassa Chamagner-Knall Camanelli Xiloono Violino Violino 2 Viola Violoncello Contrabbasso 48 DCM 005

53 Fl.gr. Cl. (A) Cnt. (A) 0 Tr. (E) 4 Tamb.icc. Chm.-Kn. Cmlli. Xil. Vl. DCM

54 Fl.gr. Cl. (A) 2 Cnt. (A) Tr. (E) 4 Cmlli. Vl. 50 DCM 005

55 Fl.gr. Cl. (A) Cnt. (A) Tr. (E) 4 Tamb.icc. Cmlli. Vl.. 2. DCM 005 5

56 Cmlli. Xil. Vl. 7 Picc. Fl.gr. Cl. (A) Cmlli. Xil. 46 Vl. 52 DCM 005

57 55 Fl.gr. Cl. (A) Cmlli. Xil. Vl. DCM 005 5

58 Fl.gr. Cl. (A) 64 Cnt. (A) Tr. (E) 4 Tamb.icc. Cmlli. Xil. Vl. 54 DCM 005

59 7 2.. Fl.gr. Cl. (A) Cnt. (A) Tr. (E) 4 Tamb.icc. Vl.. 2. DCM

60 Fl.gr. Cl. (A) 77 Cnt. (A) Tr. (E) Tr. (E) 4 Tamb.icc. Vl. 56 DCM 005

61 Fl.gr. Cl. (A) Cnt. (A) Tr. (E) Tr. (E) 4 Tamb.icc. Vl.. 2. DCM

62 Fl.gr. Cl. (A) 9 CODA Cnt. (A) Tr. (E) 4 Tamb.icc. Cmlli. Vl. 58 DCM 005

63 Fl.gr. 00 Cl. (A) Cnt. (A) Tr. (E) 4 Tamb.icc. Cmlli. Vl. DCM

64 Fl.gr. Cl. (A) 07 Cnt. (A) Tr. (E) 4 Tamb.icc. Cmlli. Xil. Vl. 60 DCM 005

65 CRITICAL COMMENTARY ABBREVIATIONS b. bar bb. bars brass brass instruments cb. contrabbasso Chm.-Kn. Chamagner-Knall cl. clarinetto cmlli. camanelli 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.b. trombone basso trem. tremolo trgl. triangolo va. viola vc. violoncello vl. violino woodw. woodwind instruments xil. xiloono The main source or the Bolero and the Jaleo movements is the autograh score (A). The main source or the concluding Chamagne Gallo is in conormity with the introductory waltz the incomlete set o handwritten arts (B). The missing arts here have been reroduced ater the rinted arts (D), which can be dated sometime between 845 and more likely It aears lausible to assume that both sets o arts were coied rom the same source, as can be seen esecially cogently in the accordance between the inconsistent beam lacements as well as in the soradically missing dynamics and articulation markings. Presumably, the original set o arts (now lost) used in Tivoli or the gallo s irst erormance in 845 served as model or both B and D. There are a ew dierences, though, like the iccolo lute s auses (and also, we might assume, in the lauto grande, which haens to be missing in B) in bb. 5-8 and the use o a cornet in source B. Because the source material or the outer movements the waltz and the gallo is constituted by instrumental arts, the articulation, the dynamics and the slurs are somewhat less consistent than what we might resume to have been in Lumbye s (now lost) score. Usually, there seems to be no clear and unambiguous rincile behind such inconsistencies in the arts. Lumbye s autograh score or the inner movements, on the other hand, is characterized by a very high degree o consistency, and he generally does not dierentiate articulation or dynamics, neither within one instrumental grou nor across dierent grous o instruments. For this reason, a relatively consistent standardisation o these matters has been carried out in the outer movements as well. In addition to the aorementioned sources, there is a rinted iano arrangement (E) rom Setember 847, o, resectively, Bolero and Jaleo, although the latter movement in this source is designated: Vals (Waltz). DESCRIPTION OF SOURCES A Autograh score (Bolero, Jaleo) B Manuscrit arts C Printed arts (Les Souvenirs de Paris) D Printed arts (Chamagne Galo) E Printed iano score (Bolero,Vals [=Jaleo]) EVALUATION OF SOURCES As is made evident in the source descrition, no comlete source or the ballet divertissement Maritana has survived. This edition has thereore been reconstructed according to the ollowing lan: The main source or the introductory waltz is the incomlete set o handwritten arts (B). The missing voices (l.gr., va., vc. and cb.) have been reroduced ater the relevant assages in the rinted arts or the waltz suite Les Souvenirs de Paris (C), which was the comoser s own model or this waltz. However, the inal 7 bars (bb. 0-26) which are not ound in Les Souvenirs de Paris have been added by the editor (reroduced in the score in reduced tyeace). A Autograh score (Bolero, Jaleo). DK-Kk, MA ms Title on irst music age: Maritana. Dating: com. d.. December x4 cm, 7 olios, ages written in ink, ol. v -7 v numbered in blue crayon, ol. r -7 r numbered -8 in encil. Otto Erich Deutsch dates Schuberth s Pl.No. 650 to 84 and Pl.No. 22 to 849. On the basis o simle interolation, Pl.No. 882 may be deemed to have been ublished in 845 or 846, but it seems most likely that they were roduced as late as February 847, when Lumbye was in Hamburg. See Deutsch, Otto Erich: Musikverlags-Nummern, Berlin 96,. 24. DCM 005 6

66 B Paer tye: 7 staves, the bottom sta has been added in handwriting. At ol. r an oval urle stam with the wording Chr. Jensen. Manuscrit arts. DK-Kk, C II, 05, Eterslæt. Title on irst music ages: Ballet Carneval[s]-Scene. c..5x28 cm, 20 arts: icc., ob., cl. (A), cl.2 (A), g., cor. (E), cor.2 (E), cnt. (A), cnt.2 (A), tr. (E), tr.2 (E), trb.b., tb., tim., gr.c., tamb.icc., xil., 2 vl., vl.2. Cor. and cor.2 are laying tr. and tr.4 in the Chamagne Gallo. The set o arts is incomlete: l.gr., va., vc. and cb. are missing. Paer tye: 2 staves (hand-ruled). Two dierent tyes o music aer and handwriting indicate that the Bolero and Jaleo were written beore the Temo di Valse and Chamagne Gallo. C Printed arts (Les Souvenirs de Paris). Title age: H.C. LUMBYE S / TAENZE / FÜR ORCHESTER. / N o. Les Souvenirs de Paris. Polka, Walzer, und Galo. Pr. Rth. 2. / [... ] / Eigenthum der Verleger. / Leizig, bei Breitko & Härtel. / Paris, bei J. Meissonnier. / Coenhagen, bei Lose & Olsen. / London, bei Ewer & Com. / Eingetragen in das Vereins-Archiv. Pl. No (845) 4.5x27 cm, 8 arts: l.gr., icc., ob., cl. (A), cl.2 (A), g., cor. (E), cor.2 (E), cnt. (A), cnt.2 (A), trb.b., tb., tim., gr.c./iatti/ trgl., vl., vl.2, va., vc./cb. D Printed arts (Chamagne Galo). Title at to o each art: CHAMPAGNER GALOPP. To the right o the title: H. C. Lumbye. O. 4. Schuberth, Pl. No. 882 (c. 847). 4x27 cm, 8 arts rinted on 4 olios: vl., vl.2, va., vc./cb., icc., l.gr., cl. (A), cl.2 (A), ob. and g., tr. (E) and tr.2 (E), tr. (E) and tr.4 (E), trb.b. and tb., gr.c./tamb.icc. and Chm.-Kn./ cmlli./xil. E Printed iano score (Bolero, Vals [= Jaleo]). Titel age: MARITANA / BOLERO OG VALS / or Pianoorte / comoneret og / FRUE H.C. SCHÜTTE / FÖDT AMMITZBÖL / med Höiagtelse tilegnet / a / H.C. LUMBYE. / Forlæggerens Eiendom. / KJÖBENHAVN / aa Horneman & Erslev s Forlag. / Pr. 2 Sk. x26 cm, 5 ages Dating: 847. Further a number o contemorary rinted iano reductions o the Chamagne Gallo are extant. VARIANT READINGS AND EDITORIAL EMENDATIONS Temo di Valse Bar Part Comment 6 tr. marc. added by analogy with woodw., cor., cnt., tr.2, trb.b., tb., gr.c., str. tr. vl.2 marc. added by analogy with woodw., cor., cnt., tr.2, trb.b., tb., tim., vl., va., vc., cb. l.gr. added by analogy with icc., ob., cl., g., brass., erc., str. tr.2 trb.b. vl. marc. added by analogy with woodw., cor., cnt., tr., trb.b., tb., erc., vl.2, va., vc., cb. g. added by analogy with ob., cl.2, cnt., tr., vc. 8 cor.2 Ω emended to # Ω by analogy with cnt.2, tr ob. end o slur emended rom b.45 to b.46 by analogy with g. 4 trb.b. emended to by analogy with tb., erc., vc., cb. 4 l.gr. note : a ΩΩ emended to c #ΩΩΩ by analogy with icc., cl., vl. 50 icc. cl. stacc. added by analogy with l.gr., vl. 52 cl. stacc. added by analogy with icc., l.gr., cl.2, vl. 5 cl.2 stacc. added by analogy with icc., l.gr., cl., vl. 54 cl.2 slur and stacc. added by analogy with icc., l.gr., cl., vl trb.b. tb. stacc. added by analogy with g., cnt., tr. 57 l.gr. cl. m added by analogy with icc., vl. 57 ob. tr.2 stacc. omitted by analogy with g., cnt., trb.b., tb., vc., cb. 59 icc. marc. added by analogy with l.gr., cl., vl. 6 ob. added by analogy with g., cnt., tr., trb.b., tb trb.b. tb. stacc. added by analogy with g., cnt., tr. 65 ob. tr.2 stacc. omitted by analogy with g., cnt., trb.b., tb., vc., cb ob. cnt.2 trb.b. tb. stacc. added by analogy with g., cnt. 7 cnt. added by analogy with cnt.2 78 g. trb.b. notes 2-: stacc. omitted by analogy with ob., cor., cnt., tr., tb., vl.2, va. 86 trb.b. emended to by analogy with woodw., cnt., tr., tb., vl., vc. 97 g. added by analogy with ob., cl.2, cnt., tr., vc. 02 cor.2 Ω emended to # Ω by analogy with cnt.2, tr.2 05 tr.2 added by analogy with cnt., tr. 05 tb. added by analogy with trb.b., vc., cb g. beginning o slur emended rom b.05 to b.07 by analogy with ob l.gr. va. vc. cb. added by the editor (see above: Evaluation o Sources) 0 cnt.2 Ω emended to # Ω by analogy with ob., tr.2 0 tb. marc. added by analogy with trb.b. 4 cnt.2 Ω emended to # Ω by analogy with ob., tr.2 4 tr. tb. marc. added by analogy with cnt., tr.2, trb.b. 5-8 ob. end o slur emended rom b.9 note to b.8 by analogy with g. 8 cnt.2 Ω emended to # Ω by analogy with ob., tr.2 9 ob. cl. g. note : marc. added by analogy with icc., vl., cor.2 trb.b. tb. tim. marc. added by analogy with woodw., cor., vl.,2 9 tr.2 q iz q emended to q. iiz by analogy with cnt., tr. Bolero Bar Part Comment -2 B: crossed out in encil excet or cl.2, cnt l.gr. A: Col Viol I mo 8 vo 62 DCM 005

67 5-2 I cb. A: Col Cello 9- ob. end o slur emended rom b.2 note to b. note 2 2 I B: crossed out in encil excet or cl.2 2 I cl. vl. added by analogy with cnt. 2 I-II vl. B: note : marc. (instead o note 2) 2 II cnt. added by analogy with tr. 2 II vl.2 marc. added as in B and by analogy with l.gr., cl., ob., g., cor., cnt., trb.b., tb., tamb.icc., vl., va., vc., cb. -8 l.gr. A: Col Viol I mo -6 ob. A: Col Flauto I mo -5 cb. A: Col Cello 7 cl. dolce added by analogy with vl. 7 vl. B: not dolce 9 l.gr. cl. note : stacc. added by analogy with vl. 20 I B: crossed out in encil excet or cl.2 20 I vl. B: not marc l.gr. A: Col Viol I mo 8 vo 2 cl. slur notes -6 emended to slur notes - by analogy with l.gr., vl. 2-5 cl.2 A: Col Clar I 8 vo basso 22 vl. B: not slur 28 icc. slur added by analogy with cl., vl A: Come Sora, excet or vl cb. A: Col Cello ob. A: Col Flauto 8 vo Basso l.gr. A: Col Viol I 8 vo ob. A: Col Viol I 52 cor.2 B: c ΩΩ instead o a Ω 52 vl. B: instead o 59 cnt. trb.b. tb. marc. added by analogy with ob., cl.2, g., cor., tr. 60 cor.2 tb. B: notes -: marc. 6 A, B: rest : U added in encil l.gr. A: Col Viol I mo 8 vo 62-7 cl.2 A: Col Clar. I mo 8 vo Basso 65 cl. marc. added by analogy with vl l.gr. A: Col Viol I mo 8 vo A: Come Sora excet or vl. 90, 9 l.gr. note 6: stacc. omitted by analogy with vl., cl. 90 cl. dolce added by analogy with l.gr., vl. 90 cl.2 g. cor. trb.b. added by analogy with vl.2, va., vc., cb. 90 cor.2 B: dolce 92 tb. added by analogy with the dynamic level in cl.2, g., cor., trb.b. Jaleo Bar Part Comment D: % added in encil cl.2 B: not dolce -97 cb. A: Col Cello 4-6 I cl.2 A: Col Clar: I mo 8 vo 5 cl. B: note 2: not marc. 6 cl.2 B: notes -6: slur 7- l.gr. A: Col Viol I mo 8 vo 2 cl.2 B: notes -6: slur cnt. tr. B: not marc. 7 trb.b. tb. emended to by analogy with the other arts 24 l.gr. rest : Œ Œ emended to Œ 25 vl. div. added by analogy with b.7 29 icc. B: not 29 ob. g. cor. cnt. trb.b. tb. added by analogy with the other arts 0 g. B: not marc. 2 I ob. note 2: beginning o tie added by analogy with b.6 II 2 III D: D: C: % or similar added in encil l.gr. added by analogy with the other arts tr.2 B: note : c ΩΩΩ 4 tr. trb.b. tb. note 2: marc. added by analogy with the other arts 6 l.gr. note 2: d ΩΩΩ emended to d # ΩΩΩ by analogy with the other arts 6 cl.2 note 2: ΩΩ emended to # ΩΩ by analogy with l.gr., tr.2, vl., va. 6 cor. B: not marc. 6 cnt. B: note 2: d ΩΩ 40 icc. B: not 42 cl.2 B: not 4-47 l.gr. A: Col Viol I mo 8 vo 50-5 l.gr. A: Col Viol I mo 8 vo 50 ob. B: note : e Ω (robably mistaken with cl.2) ob. B: slur ends at b.52 note cl.2 B: two slurs (rom b.50 note to b.52 note and rom b.5 note to b.54 note ) cnt. B: slurs ends at b.52 note cnt.2 B: slurs ends at b.55 note 52-5 cl.2 B: no tie 5-54 icc. ob. tr. trb.b. tb. added by analogy with cl., g., cnt. and as in B (ob., tr., trb.b.) 54 l.gr. end o added by analogy with vl., cl. 55 tamb.icc. added by analogy with the other arts and as in B A: only vl. written out; all other arts: Come Sora 57 cl. B: not dolce 57 cl.2 vl. B: not dolce 57 vl.2 B: not 6 cl. B: note 2: not marc. 69 cnt. tr. tb. B: not marc. 7 trb.b. tb. emended to by analogy with the other arts vl. B: b.79 note 2 to, 4 to 5 and b. 80 note to 2: no slur 8 tb. B: bar missing, added in encil 85 g. cor.2 cnt. trb.b. tb. vl. B: not 86 g. B: not marc. 87 vl. notes -2: slur added by analogy with b. and as in B 88 cnt. B: note : d ; Ω not marc. 88 tr.2 B: not marc. 88 vl. B: note : not marc. 89 vl. B: not 94 trb.b. B: note : marc. 95 tr. trb.b. B: not marc. 96 g. cnt.2 trb.b. B: not marc. 96 va. chord : marc. added by analogy with b.95 and the other arts Chamagne Galo Bar Part Comment cnt. B: key signature # + icc. ob. g. tamb.icc. vl.2 B: Gallo instead o Chamagner-Galo + cnt. tr. trb.b. gr.c. B: Temo di Galo instead o Chamagner-Galo DCM 005 6

68 + tr.,2, emended to by analogy with tr.4, cnt. and as in D + trb.b. tb. B: % added in encil +- gr.c. D: no bar line + vl.,2 B: % added in encil 4 icc. D: no 4 l.gr. added by analogy with icc., cl., vl. 4 ob. D: not marc. 4 cl. D: no slur 4 g. D: not marc. 4 tr.2 trb.b. note : marc. added by analogy with cnt., tr.,,4, tb. 4 gr.c. added as in D; D: not marc. 5-8 icc. D: icc. doubles cl. an octave higher 5-8 l.gr. notes (rom D; art missing in B) emended to bar rests by analogy with icc.; D: l.gr. doubles cl. an octave higher 5 cl. D: not 5-6 cl. D: b.5 note to b.6 note : no tie 5 vc. cb. added by analogy with the other arts 7 tr.2 added by analogy with tr.,,4 7 tr. D: not 7 trb.b. tb. emended to by analogy with cnt., tr. 9 icc. D: notes -: not stacc. 9 l.gr. notes -: stacc. added by analogy with icc., ob., cl., trb.b. (notes -2), vl. 9 ob. cl. D: notes -: not stacc. 9 g. cnt. tr. notes -: stacc. added by analogy with icc., ob., cl., trb.b. (notes -2), vl. 9 tr.2 emended to by analogy with cnt., tr.,,4, tb. 9 tr. note : marc. omitted by analogy with tr.,2,4 and as in D 9 trb.b. emended to by analogy with cnt., tr.,,4, tb.; note : stacc. added by analogy with icc., ob., cl., vl.; D: notes -: not stacc. 9 tb. notes -: stacc. added by analogy with icc., ob., cl., trb.b. (notes -2), vl. 9 tamb.icc. added as in D; note 2: marc. added by analogy with gr.c. and as in D 9 gr.c. emended to by analogy with the other arts and as in D; D: note 2 to rest 2: q 9 vl.,2 emended to by analogy with va., vc., cb. and as in D 9 vl.2 va. vc. cb. notes -: stacc. added by analogy with icc., ob., cl., trb.b. (notes -2), vl. 9 va. vc. cb. note : marc. omitted by analogy with the other arts 20 icc. D: note : g # ΩΩΩ 20 l.gr. note : marc. added by analogy with icc., ob., cl., g., tr., trb.b, tb., vl., va., vc., cb. 20 ob. g. D: note : not marc. 20 cnt. note : marc. added by analogy with icc., ob., cl., g., tr., trb.b, tb., vl., va., vc., cb. 20 tr.,4 trb.b. D: note : not marc. 20 tamb.icc. D: notes -: ji 20 vl.2 note : marc. added by analogy with icc., ob., cl., g., tr., trb.b, tb., vl., va., vc., cb. and as in D 2 l.gr. added by analogy with the other arts 2 cmlli. added by analogy with b.9 and as in D 2-24 cl.2 one slur emended to two slurs by analogy with bb and cl.; end o second slur emended rom b.24 note 4 to note 5 by analogy with b.96 (cl.) and as in D 2 tr. D: 2 tr.2 added by analogy with b.95 and tr.,,4 2 tr. D: 2 tr.4 added by analogy with tr.,2,; D: 24 cl. end o slur emended rom note 4 to note 5 by analogy with b.96 and as in D 24 trb.b. added as in D; D: ; note 2: not marc. 24 tb. added as in D 27 tr. D: 27 tr.2 emended to by analogy with b.99 and tr.,,4; D: 27 tr.,4 D: 28 cl. end o slur emended rom note 4 to note 5 by analogy with b.00 and as in D 28 tr.2 note : marc. added by analogy with b.00 and tr.,,4 28 trb.b. added by analogy with b.24; D: 28 tb. added by analogy with b.24; D: not -4 ob. slur added by analogy with g. and as in D cl.2 n D: note 2: ΩΩ -4 g. D: no slur trb.b. D: note 2: marc. (robably mislaced rom b.24) 2 cl.2 notes -, 4-6: slur added by analogy with b.04, cl. and as in D 2 tr.2 note 2: b n emended to d Ω as in D icc. D: notes -: no slur l.gr. notes -: slur added by analogy with icc., cl., vl. cl. D: notes -: no slur -4 cl.2 D: b. note 4 to b.4 note : no tie vl. D: notes -: stacc.; no slur 6 I tr.2 added by analogy with tr.,,4 6 I tamb.icc. gr.c. note to rest : q emended to e by analogy with the other arts and as in D 7-52 icc. D: like bb.5-68 (written in reeat signs) 7-52 l.gr. notes (rom D; art missing in B) emended to rests by analogy with icc.; D: like bb.5-68 (written in reeat signs) 7-52 cl. D: like bb.5-68 (written in reeat signs) 49 g. note : d # n emended to d by analogy with vl., vc., cb g. two slurs (b.49 note to b.50 note and b.5 note to b.52 note ) emended to one slur ending at b.5 note by analogy with ob. and as in D 5 ob. D: slur ends at b.52 note 5 icc. Flauto Grand (muta in l.gr.) omitted as in D; emended to by analogy with l.gr., cl ob. g. emendations regarding bb also aly to bb.65-80; B: reeating o bb icc. Picolo (muta in iccolo) omitted as in D I l.gr. cresc emended to by analogy with the other arts I cl.2 D: no dynamic markings I g. one slur emended to two slurs by analogy with the hrasing in the brass arts I cnt. added by analogy with tb. 69 tr. beginning o emended rom b. 7 I note by analogy with tb. and as in D I tr.2, added by analogy with tb.; D: b.69 note to b.76 I note : slur; no tr.,4 slur added by analogy with tr.2, tb. 69 tr.4 added by analogy with cnt., tr.,2,, tb.; beginning o emended rom b. 7 I note by analogy with tb I tr.4 added by analogy with tb.; D: b.69 note to b.76 I note : slur; no dynamic markings 69 trb.b. added by analogy with cnt., tr.,2,, tb. and as in D trb.b. slur added by analogy with tb. 64 DCM 005

69 69-76 I trb.b. added by analogy with tb.; D: bb.69-70: cresc I tb. D: b.69 note to b.76 I note : slur 69 gr.c. added by analogy with tamb.icc. and as in D II gr.c. D: not trem. 69 vl. D: not I vl. in b.69 and bb.7 I -76 I emended to one by analogy with the other arts and in accordance with cresc in D 69 vl.2 va. emended to by analogy with the other arts and as in D I vl.2 vc. cb. cresc emended to by analogy with the other arts 70-7 tr. tie added by analogy with cnt. and as in D 72-7 tr. b.72 note to b.7 note : tie omitted by analogy with the hrasing in the other brass arts 7 I -74 I tr. tie added by analogy with cnt., tr.2,,4, trb.b., tb. and as in D 7 I -76 I tr.,2 slur added by analogy with cnt., tb., tr.4 and as in D (tr.) 7 I tr. beginning o slur emended rom b.7 note by analogy with cnt., tb., tr.4 7 I -76 I trb.b. slur added by analogy with cnt., tb., tr.4 and as in D 75 I -76 I tr. trb.b. tie added by analogy with cnt., tr.2,,4, tb. and as in D 7 II -74 II woodw. end o added by analogy with vl. 7 II, 74 II g. note : h. emended to h 7 II -74 II brass end o added by analogy with vl. 7 II -74 II tr. tie added by analogy with g., cnt., tr.2, tb. 7 II -74 II tr. slur added by analogy with tr.4 7 II -74 II trb.b. tie added by analogy with g., cnt., tr.2, tb. 7 II -74 II gr.c. added by analogy with bb.7 I -74 I and tamb.icc. 7 II -74 II vl.2 va. vc. cb. end o added by analogy with vl. 74 II tb. beginning o slur omitted by analogy with g., trb.b. and as in D; B: bb.74 II -75 II : system break 75 II cnt. B: Solo added in encil 75 II -76 II tr. D: iji iji iji iz 75 II tamb.icc. gr.c. D: note : marc. 77 tr.2 emended to by analogy with the other arts and as in D 77 tamb.icc. emended to as in D (gr.c.) 77 gr.c. emended to as in D 77 vl.2 emended to by analogy with the other arts and as in D 80 icc. notes -4: slur omitted by analogy with b.88 and l.gr., cl., cnt., tr., vl. 80 l.gr. notes -2: slur added by analogy with b.88 and icc., ob., cl., cnt., vl. 80 ob. notes -4: slur omitted by analogy with b.88 and l.gr., cl., cnt., tr., vl.; D: notes -2: no slur 80 cl. D: notes -2: no slur 80 tr. notes -2: slur added by analogy with icc., ob., cl., cnt., vl l.gr. b.8 note 4 to b.84 note : slur added by analogy with icc., ob., cl., cnt., tr., vl cl. vl. D: b.8 note 4 to b.84 note : no slur 84 tr. note : end o slur added; B: bb.8-84: system break 86 trb.b. D: note : # 88 ob. cl. D: notes -2: no slur 88 tr. notes -2: slur added by analogy with icc., l.gr., ob., cl., cnt., vl. 89 icc. ob. cl. tr. vl. notes 2-4: slur added by analogy with l.gr., cnt. and as in D 90 icc. note : end o slur emended rom b.9 note by analogy with l.gr., cl., cnt., tr. and as in D 90 l.gr. note : marc. added by analogy with icc., ob., cl., cnt., tr. 90 ob. notes 2-: slur added by analogy with l.gr., cl., cnt., tr., vl. 90 cl. D: note : # ΩΩΩ 90 cl.2 notes 2-: slur added by analogy with l.gr., cl., cnt., tr., vl. 90 vl. note : marc. added by analogy with icc., ob., cl., cnt., tr. and as in D; note : end o slur emended rom b.9 note by analogy with l.gr., cl., cnt., tr. and as in D 92 I tr.2 notes -: ijji emended to iji by analogy with tr.,4 and as in D; D: note : Solo 92 I gr.c. note to rest : q emended to e by analogy with the other arts and as in D 92 II B: Gallo Da Cao, % Galo D: C:, D: C: % or similar added in encil 92 II tamb.icc. note : e emended to q by analogy with the other arts and as in D 9 cmlli. vl.2 D: not 9 vc. added by analogy with the other arts cl.2 one slur emended to two slurs by analogy with cl. and as in D 95 cnt. added by analogy with b. 2 and tr.,2, 95 tr. D: 95 tr.4 added by analogy with tr.,2, 96 tr. note : marc. added by analogy with b.24 and tr.2,,4 96 trb.b. added as in D; D: 96 tb. added as in D; emended to by analogy with b.24 and trb.b. 99 tr. D: 00 trb.b. added by analogy with b.96; emended to by analogy with b tb. added by analogy with b.96; emended to by analogy with b.28 0 icc. l.gr. note 5: b # ΩΩ emended to b n ΩΩ by analogy with b. and as in D (icc.) 04 cl.2 D: notes -, 4-6: no slur 05 gr.c. added by analogy with tamb.icc. 09 cmlli. and added by analogy with xil. 09, 0,, 2 vl.2 D: chord 2: uer note g # Ω tr.,4 emended to by analogy with the other arts tb. D: xil. notes -4: stacc. omitted by analogy with b.2 and cmlli.,4 tr.2 D: not marc. gr.c. bar added as in D; added by analogy with tamb.icc.; B: art changes rom cmlli. to gr.c. in b.4 cmlli. vl.2 marc. added by analogy with the other arts 4 trb.b. tb. marc. added by analogy with the other arts 4-5 cmlli. bars added by analogy with xil. and as in D; B: art changes rom cmlli. to gr.c. in b.4 5 tr. D: note : leger line missing 5 gr.c. rest : U added by analogy with the other arts DCM

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