PAUL VON KLENAU SYMFONI NR. 8 SYMPHONY NO. 8 UDGIVET AF EDITED BY. København 2017 NIELS KRABBE

Transkript

1 PAUL VON KLENAU SYMFONI NR. 8 SYMPHONY NO. 8 København 207 UDGIVET AF EDITED BY NIELS KRABBE

2 Paul von Klenau: Symhony 8. Edited by Niels Krabbe English translation o the introduction Cover design Layout Music tyeset with Sibelius by Distribution ISMN DCM 207 Colin Roth Willeru & Hans Mathiasen DCM Dansk Center or Musikudgivelse (DCM), København Danish Centre or Music Editing (DCM) Royal Danish Library, Coenhagen

3 INDHOLD CONTENTS Generelt orord v General Preace v Indledning vii Introduction ix Faksimiler xi Facsimiles xi Besætning xvi Orchestra xvi I Allegro vivace II Andante grazioso 8 III Menuet 24 IV Rondo. Allegro molto vivace 28 Abbreviations 52 Critical Commentary 53 DCM 027 iii

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5 GENERELT FORORD 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 musik historiske 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 musik edition. Noder udgivet a DCM er såkaldt raktisk-videnskabelige udgaver. 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 avigelser (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. GENERAL PREFACE 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, urthermore, 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 bought. DCM 027 v

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7 INDLEDNING Paul von Klenaus ni symonier er koncentreret omkring to erioder i hans liv som aktiv komonist: de tidlige år i Tyskland, hvor de tre ørste symonier blev til (i årene ) og de sidste år a hans liv ra 938 til 945, hvorra de sidste seks symonier stammer, hera de sidste em eter Klenaus hjemkomst til København ved udbruddet a 2. verdenskrig eter næsten ire årtiers ast ohold i Tyskland og Østrig med kun å abrydelser. Neto disse to erioder er bl.a. karakteriseret ved, at Klenaus muligheder or at beskætige sig med dramatisk musik, som i de mange år uden or landets grænser stod han hjerte nærmest, ikke var til stede i samme grad som i den mellemliggende eriode. Navnlig de sidste år i København, hvor Klenaus ølte sig stærkt isoleret i det danske musikliv både a helbredsmæssige men navnlig a ideologiske grunde, kastede han sig over en omattende roduktion a instrumentalmusik, som udover de nævnte em symonier omattede en klaver koncert, en violinkoncert, to concerti grossi og en lang række kammermusikalske værker og sange or størstedelens vedkommende værker or skrivebordsskuen, som var ukendte indtil de i 2005 blev overdraget til Det Kgl. Bibliotek sammen med en omattende samling a breve og otegnelser eter Klenau. Denne store interesse or de klassiske instrumentale ormer under Klenaus eksil i sit hjemland de sidste seks år a hans liv kulminerede i den stort anlagte niende symoni or kor, soli og orkester til en latinsk tekst med citater ra den katolske requiems liturgi. 2 Klenau skrev sin ottende symoni i København i 942. I modsætning til de tre oregående symonier ra årene 940 og 94 har den ottende symoni aldrig været oørt, hverken i hans levetid eller eterølgende 3. Værket oreligger i komonistens nedskrit som artitur, men uden tilhørende stemmesæt. Gentagelser a assager i artituret er enten anørt ved henvisninger med bogstaver til tidligere assager, ved tomme takter, eller ved takter, hvor kun en enkelt stemme er anørt. Med mindre der har oreligget en nu orsvundet egentlig renskrit, tyder dette å, at materialet ikke har været tænkt anvendt til en oørelse. Der er dog ikke tale om et uuldendt værk, men kun om et ikke uldstændigt nedskrevet værk. Som det også gælder or niende symoni er der ingen omtale a værket i Klenaus overleverede breve eller andre airer. På titelbladet til den ottende symoni anører Klenau betegnelsen Im alten Stil med en tydelig henvisning til værkets traditionelle stil og orm. Symonien udviser således en åaldende stilistisk kontrast til både den oregående syvende og den eterølgende niende symoni, begge med visse dodekaone assager. Ottende symoni knytter an til den barokke og wienerklassiske ormverden: ørste sats med sonateormsmæssige træk, anden sats med regelmæssige 8- og 6-taktserioder i en symmetrisk bueorm, tredje sats som traditionel wienerklassisk menuet og endelig jerde sats i en utraditionel rondoorm. En detalje i overleveringen tyder å, at Klenau, da han tre år senere åbegyndte sit magnum ous i orm a den niende symoni, enten havde glemt eller bevidst havde raskrevet sig den ottende symoni. To a kilderne til den niende symoni bærer nemlig åskriten VIII Symhonie (å et tidsunkt, da nærværende ottende symoni som nævnt allerede orelå), og i en note blandt kildematerialet til niende symoni, skrevet eter hans død a Klenaus hustru Margarethe Klimt hedder det: Dette arbejde ostod som Symoni nr. 9. Først i sommeren 946, da jeg ordnede manuskriterne i maer, mente Klenau a ærerygt or Beethoven (og i håbet om at kunne skabe det manglende værk) at ændre nummereringen. Jeg har eter hans død genindørt nummereret. Marg.v. Klenau 4 Denne hidtil ukendte samling blev kendt a oentligheden i 200 og som nævnt eterølgende indlemmet i Det Kgl. Bibliotek i 2005 (se Niels Krabbe: Paul von Klenau og hans niende symoni, Fund og Forskning (53), København 204, s ). 2 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, 204. I indledningen, s. x., indes en oversigt over Klenaus symoniske roduktion. 3 Femte, sjette og syvende symoni blev alle oørt ved torsdagkoncerter i København i begyndelsen a 940erne. I indledningen til DCMs udgave a niende symoni (se note 2) er datoen or ørsteoørelsen a den syvende symoni ejlagtigt angivet til 9. ebruar 942; den korrekte dato er 5. november Diese Arbeit entstand als Sinonie 9. Erst 946 im Sommer als ich Manuskrite in die Umschläge ordnete, meinte Klenau, aus Ehrurcht vor Beethoven (u. in der Honung noch das ehlende Werk zu schaen) die Nummerierung zu ändern. Ich habe sie [i.e. nummereringen ] nach seinem Tode wiederhergestellt. Marg.v.Klenau. DCM 027 vii

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9 INTRODUCTION Paul von Klenau s nine symhonies were written in just two eriods o his comosing lie, the irst three during his early years in Germany, , and the rest in his inal years, between 938 and 945. O this late grou o six, the irst was written while he was still living in Germany and the rest ater he returned home to Coenhagen on the outbreak o the Second World War. By then he had lived in Germany and Austria or nearly our decades, only returning to Coenhagen or occasional visits. For most o his career, he was most interested in writing music or the stage, and the symhonies were comosed at times when the ossibilities or doing this were constrained. Klenau elt himsel very isolated rom Danish musical lie during his last years in Coen hagen, artly because o his health but mostly on ideological grounds. He occuied himsel with an extensive roduction o instrumental music, including a iano concerto, a violin concerto, two concerti grossi and a substantial number o chamber works and songs as well as the last ive symhonies. For the most art, these works stayed in his desk drawer, unerormed, and they remained unknown until they were assed to the Royal Danish Library in 2005, along with a large collection o letters and other writings by Klenau. His great interest in the classical instrumental orms during his exile in his homeland or the last years o his lie culminated in the ambitious Symhony No. 9, or choir, soli and orchestra, to a Latin text containing quotations rom the Catholic requiem mass. 2 Klenau wrote his Eighth Symhony in Coenhagen in 942. Unlike the three symhonies rom 940 and 94 which receded it, the Eighth has not yet been erormed, either in Klenau s lietime or since. 3 The work is reserved as a score in the comoser s handwriting, but there are no instrumental arts. Reetitions o sections o the score are either indicated by letters reerring to their earlier aearance, with emty bars, or by bars containing a single art. Unless a air coy once existed which has now disaeared, this material seems to indicate that a erormance was never intended. As with the Ninth Symhony, there is no mention o the work in the surviving corresondence or other aers. Klenau laced the words, In olden style 4 on the title age o the Eighth Symhony, a reerence to the work s traditional style and orm. In this resect, the work maniests a strong stylistic contrast to both the receding seventh and the later ninth symhonies, both o which include dodecahonic assages. The Eighth combines the musical orms o the Baroque and Viennese classical eriods: its irst movement is in sonata orm, and the second movement maintains symmetrical eight and sixteen bar hrases. The third movement is a traditional Viennese minuet and the inale is in an unconventional rondo orm. A detail in the surviving material suggests that Klenau had either orgotten that he had written this symhony when he began work on his magnum ous, the Ninth, or deliberately disregarded it, as two o the sources or the Ninth are inscribed, VIII Symhonie when the resent Eighth Symhony already existed. Ater his death, Klenau s wie, Margarethe Klimt added the ollowing note to the manuscrit o the Ninth Symhony, This work was written as Symhony No. 9. In the summer o 946, when I ut the manuscrits into olders, Klenau thought he would honour Beethoven s memory (and hoed that he might comose the missing work) by changing the numbering. I changed the number ater his death. Marg.v. Klenau. 5 This hitherto unknown collection was brought to ublic attention in 200, and came into the ossession o the Royal Danish Library in 2005 (see Niels Krabbe: Paul von Klenau og hans niende symoni, Fund og Forskning (53), Coenhagen 204, ). 2 Paul von Klenau, Symoni Nr. 9, edited by Niels Bo Foltmann, Axel Teich Geertinger, Peter Hauge, Niels Krabbe and Bjarke Moe, Danish Centre or Music Editing, 204. There is an overview o Klenau s symhonic roduction in the introduction,. x. 3 The Fith, Sixth and Seventh Symhonies were all erormed at the Thursday concert series in Coenhagen at the beginning o the 940s. The introduction to DCM s edition o the Ninth Symhony (note 2) mistakenly gives the date o the irst erormance o the Seventh Symhony as 9 February 942; the correct date is 5 November Im alten Stil. 5 Diese Arbeit entstand als Sinonie 9. Erst 946 im Sommer als ich Manuskrite in die Umschläge ordnete, meinte Klenau, aus Ehrurcht vor Beethoven (u. in der Honung noch das ehlende Werk zu schaen) die Nummerierung zu ändern. Ich habe sie [i.e. die Nummerierung ] nach seinem Tode wiederhergestellt. Marg.v.Klenau. DCM 027 ix

10 x DCM 027

11 Kilde A, ørste side a Klenaus autograe artitur. Autograh, score, Source A,., bb. 8 DCM 027 xi

12 Kilde A, Klenaus artitur, s. 28 jerde sats t Som det remgår a listen over Variant Readings and Editorial Emendations (s. 55) har Klenau ormentlig ved en skriveejl byttet om å ortegnene i g. og vc. i t (se også eterølgende aksimile a skitserne til disse takter). Autograh, score, Source A,. 28 ourth movement bb As mentioned in the Variant Readings and Editorial Emendations (. 55) there seems to be a mistake on Klenau s art when it comes to g. and vc. o bb (see also acsimile o the biolio o the sketches below). xii DCM 027

13 Kilde A, Klenaus artitur, s. 3 jerde sats t Tonen c # i en række stemmer i t. 75 må bero å en ejlskrivning a Klenau. c # er i nærværende udgave rettet til c n. Autograh score, Source A,. 3, ourth movement bb The note c # in b.75 in a number o arts must be a sli o the en on Klenau s art and has been emended in the resent edition to c n. DCM 027 xiii

14 Kilde A, Klenaus artitur, s. 28 jerde sats t De ågældende takter udviser en noget tilældig anvendelse a ortegn. De tre tomme takter øverst å siden er aslutningen å et længere asnit (t. 5-60) med tomme takter, som reræsenterer en gentagelse a et tidligere asnit i satsen (se revisionsberetningen). Autograh score, Source A,. 37, ourth movement, bb.58 75, showing Klenau s somewhat casual use o accidentals. The three emty bars at the to o the age is the end o the long section bb.5 60 with emty bars reerring to a reetition o an earlier section (see Variant Readings and Editorial Emendations). xiv DCM 027

15 Kilde B, kladde, ørste side. De to nederste nodesystemer viser skitser til t i jerde sats. Ligesom det er tilældet i Klenaus renskrevne artitur er der også her tale om en tilsyneladende ejlagtig ombytning a tonerne c # og c n. At der virkelig er tale om en ejl understreges a blyantstiløjelsen 2 og 6 under akkorderne i t. 4 og 42. I orbindelse med renskrivningen må Klenau således uden at have tænkt nærmere over det have overørt nodeteksten ra skitsen til renskriten (se aksimile a det tilsvarende sted i artituret ovenor). Sketch, Source B, irst age. The two bottom staves on the age show sketches or bb o the ourth movement. As it is the case in the autograh score, Klenau already here has erroneously swaed c # and c n in g. and vc. o bb. 40 4; the mistake is urthermore obvious because o the addition in encil o the igures 2 and 6 below the chords o bb. 4 and 42. When making the score, Klenau must have checked his sketch and coied the mistake rom the sketch to the score. DCM 027 xv

16 BESÆTNING ORCHESTRA 2 lauti 2 oboi 2 clarinetti 2 agotti 2 corni 2 trombe Timani Archi xvi DCM 027

17 S Y M P H O N I E N O. 8 I M A L T E N S T I L S Y M P H O N Y N O. 8 I N O L D E N S T Y L E Flauto 2 Oboe 2 I Allegro vivace (q. = 96) a2 Clarinetto (Bb) 2 a2 Fagotto 2 Corno (F) 2 Tromba (C) 2 Timani solo solo solo Violino Allegro vivace (q. = 96) Violino 2 Viola Violoncello Contrabbasso DCM 027

18 9 a2 a2. solo Tim. Vl. 2 DCM 027

19 7. solo esressivo. Tim. Vl. esressivo izz. izz. izz. DCM 027 3

20 27 Tim. Vl. izz. izz. 4 DCM 027

21 37 Tim. Vl. DCM 027 5

22 45 Tim. Vl. izz. izz. 6 DCM 027

23 53 Tim. Vl. izz. izz. DCM 027 7

24 6. Tim. Vl. 8 DCM 027

25 7 a2 Tim. solo Vl. DCM 027 9

26 8 a2 Tim. Vl. 0 DCM 027

27 9. esressivo a2 Tim. m Vl. izz. izz. izz. izz. izz. m DCM 027

28 0 Tim. Vl. izz. izz. 2 DCM 027

29 09 Tim. Vl. DCM 027 3

30 7 Tim. Vl. 4 DCM 027

31 25 Tim. Vl. m m m m m m m m m m m m DCM 027 5

32 33 Tim. Vl. 6 DCM 027

33 Tim. 3 3 Vl. DCM 027 7

34 II Flauto 2 Oboe 2 Clarinetto (Bb) 2 Andante grazioso (q = 00) Fagotto 2 Corno (F) Violino Violino 2 Viola Violoncello Cor. (F) Vl. 7 Andante grazioso (q = 00) izz. izz. 8 DCM 027

35 Cor. (F) Vl. Cor. (F) Vl solo izz izz. izz.. solo DCM 027 9

36 27 rit. Cor. (F) Vl. rit. m m izz. m Cor. (F) Vl. Temo 33 Temo 20 DCM 027

37 Cor. (F) Vl. 4 izz. 49. solo solo Cor. (F) Vl. izz. DCM 027 2

38 55 Cor. (F) Vl. izz. izz. 60 rit. Cor. (F) Vl. m m rit. izz. m 22 DCM 027

39 65 Temo Cor. (F) Vl. Cor. (F) Vl. Coda 7 Temo izz. Coda DCM

40 Flauto 2 MENUETT (q = 96) a2. III Oboe 2 a2 Clarinetto (Bb) 2 a2 Fagotto 2 a2 Corno (F) 2 Tromba (C) Timani Violino MENUETT (q = 96). izz. Violino 2 izz. Viola izz. Violoncello izz. Contrabbasso izz. 24 DCM 027

41 8 2. a2 a2 Tr. (C) Tim. m Vl. 2. DCM

42 Tr. (C) Tim. Vl. Vl. 7 a2 rit. rit. izz. Finis izz. izz. 25 Finis a2 a2. solo esr. izz. izz. izz. 26 DCM 027

43 32 D.C. al Fine esressivo Tr. (C) Tim. Vl. esressivo esressivo D.C. al Fine DCM

44 Flauto 2 IV RONDO Allegro molto vivace (q = 00) a2 Oboe 2 a2 Clarinetto (Bb) 2 Fagotto 2 Corno (F) 2 Tromba (C) 2 Timani Violino Allegro molto vivace (q = 00) Violino 2 Viola Violoncello Contrabbasso 28 DCM 027

45 9 a2 a2 Tim. m Vl. izz. DCM

46 Tim. Vl. 7 a DCM 027

47 33 a2. Tim. Vl. DCM 027 3

48 40 * a2.. Tim. Vl. * b. 40: Possibly A minor as in A (see critical commentary and acsimile. xii) 32 DCM 027

49 47. solo ad libitum Tim. Vl. izz. izz. DCM

50 55 a2 a2 Tim. m Vl. izz. 34 DCM 027

51 63 Tim. Vl. izz. dim. izz. dim. izz. DCM

52 72 Tim. Vl. 36 DCM 027

53 80 Tim. Vl. DCM

54 87 a2 a2 Tim. Vl. 38 DCM 027

55 95 a2 Tim. Vl. DCM

56 05 Tim. Vl. 40 DCM 027

57 5 a2 Tim. Vl. DCM 027 4

58 23... Vl. 3 a2 42 DCM 027

59 38 * a2 Tim. Vl. * see b. 40 DCM

60 45. solo ad libitum Tim. Vl. izz. izz. 44 DCM 027

61 53 a2 a2 Tim. m Vl. izz. DCM

62 6 a2 Tim. Vl. 46 DCM 027

63 68 Tim. Vl. DCM

64 75 a2 Tim. Vl. 48 DCM 027

65 82 Tim. Vl. DCM

66 89 Tim. Vl. 50 DCM 027

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68 ABBREVIATIONS b. bar bb. bars 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. ages str. strings tim. timani tr. trombe va. viola vc. violoncello vl. violin ww. woodwind 52 DCM 027

69 CRITICAL COMMENTARY DESCRIPTION OF SOURCES A B A Score, autograh Sketches, autograh Score, ink air coy, autograh. DK-Kk, Paul v. Klenaus Samling 86, mu Title on cover: Symhonie No 8 / im alten Stil / März 942. / Paul v. Klenau 34x26 cm; 0 olded biolios written in ink; irst movement aginated 6, second movement 7 20, third movement 7 20, and ourth movement A biolio (music aer) emloyed as cover with shel marks Paul v. Klenau Samling and mu added in oreign hand. Paer tye: 24 staves ( Nr. 0 R. Hinrichs Frankurt/Main. Schillerstr. 20 ). The source is an ink air coy with only ew corrections. For the reetition o certain assages, Klenau has used alhanumeric reerences rather than writing out the sections again in ull. The manuscrit like all the other manuscrits rom the Vienna collection mentioned above includes an oblong sli in Margarethe Klimt s hand: März / 942 / Inhalt: / Sinonie / N 0 VIII / im alten Stil / ) Partitur - / Manuskrit / Seite -39 / 2) Skizzen / 4 Seiten / Januar / 947 / MK. Provenance: The manuscrit was art o the Klenau collection in rivate ownershi ket in Vienna and Tyrol during the years The manuscrit was acquired by The Royal Danish Library in B Sketches, ragments, autograh. DK-Kk Paul v. Klenaus Samling 86, mu x26 cm; two olded biolios written in encil with a ew additions and corrections in ink. On to o the irst age o both biolios, Sinonie N o added in Margarethe Klimt s hand in encil. Paer tye: 24 staves ( Nr. 0 R. Hinrichs Frankurt/Main. Schillerstr. 20 ). Source consists o eight ages with scattered ragments, motis and chord rogressions (see acsimile. xv). VARIANT READINGS AND EDITORIAL EMENDATIONS FIRST MOVEMENT Bar Part Comment 8 l. cl. a due added by analogy with ob., g. and because o double stems in bb.9. 3, 7 8 ob. a due added by analogy with bb. 2, ob note 2: q. emended to q to it the metre 9 cor added by analogy with all other arts 9 tim. stacc. added by analogy with b.6 9 cb. notes 6: ten. added by analogy with vc. 0 cl. cor. quaver 4 6: missing rests added to it the metre vl. # note 6: c emended to d by analogy with l. 6 l. ob. g. missing rest added to it the metre 7 vc. note 2: q emended to q. to it the metre 8 cor.2 added by analogy with cor. (b.7) 2 vc. note 2: q emended to q. to it the metre 29 vl. beginning o slur emended rom note 3 to note by analogy with b cb. ten. added by analogy with vl., va., vc. 3 tim. emended to. to it the metre ob. a due added by analogy with l., cl., g cor.2 ten. added by analogy with cor. 35 g.,2 q emended to q. to it the metre 35 tim. stacc. added by analogy with b cl.,2 slur added by analogy with l., g. ten. added by analogy with cor., va., vc., cb. 37, 38 va. # lower art: c n emended to c by analogy with cor.2 39 tr.,2 note 2: q emended to q. to it the metre 40 l.,2 ten. added by analogy with ob., cl., g. 42 l. # n emended to by analogy with cl. 42 va. ten. omitted by analogy with vc., cb. 43 va. vc. slur omitted because o ten. and by analogy with cb. 47 cl. note : d # n emended to d by analogy with l., vl.,2 49 vl.,2 added by analogy with b.6 49 vl.2 # n emended to by analogy with vl. 49 va. # n emended to by analogy with vl.,2 50 va. # n emended to by analogy with b.49 5 ob. n d emended to d # by analogy with l. 53 l. missing rests added ob. missing rests added 55 cor. n note : emended to # by analogy with g. 55 cor. note 3: # emended to g # by analogy with g., va., vc., cb. 57 cl.2 note : b n emended to b # by analogy with l.2, vl.,2 65 vl.2 n chord illegible; interreted as, d, a 65 va. chord : # n emended to by analogy with vl.,2, cb. 70 va. second quaver: missing a added by analogy with vl. 73 vl.2 middle note emended orm to q by analogy with vl., va tr. a due added by analogy with bb vl.2 middle note emended rom to q by analogy with vl. 77 vl. notes 4 6: slur added by analogy with notes cl.,2 slurs added by analogy with l.,2 and bb l. cl. a due added by analogy with ob., g. 78 vl.2 va. ten. omitted by analogy with vc., cb. 80 cor. added by analogy with tr. 8 tim. stacc. added by analogy with b.77 8 vc. cb. note 3: stacc. added by analogy with vl.2, va. 82 tim. n # notes 2: F emended to F by analogy with cor.2, vl.2 82 vl.2 va. ten. omitted by analogy with vc., cb. 84 tim. stacc. added by analogy with bb va. vc. ten. added by analogy with vl.2 and bb.89, cl. a due added by analogy with l., ob., g. DCM

70 0 cor. added by analogy with tr. 0 va. lower art: # n emended to by analogy with vl.,2 0 vc. lower art: g n emended to g # by analogy with cb. 03 g.,2 added by analogy with va., vc, cb. 04 g.,2 added by analogy with l., cl cor. a due added by analogy with bb tim. added by analogy with bb tim. stacc. added by analogy with b cl.2 note 2: a n # emended to a by analogy with l.2, vl.,2 vl.,2 added because o izz. in b.07, and by analogy with b.6 2 cor. notes 3; c n # emended to c by analogy with b. # 2 cor.2 note 4 6: G emended to G by analogy with l., vl.,2 2 tim. notes,2: q emended to q. to it the metre 3 ob. n d emended to d # by analogy with l. 3 4 tim. as ink correction in A; A: iq iiq iiq iiq (same rhythm as tr.,2) crossed out in ink 5 cor.2 n # emended to by analogy with b.6 5 tim. added by analogy with all other arts 7 va. lower arts: q emended to q. Œ. by analogy with vl.,2 9 vl.,2 chord : q emended to q. to it the metre 23 vc. inner art: # n emended to by analogy with ob. and cl.2 25 cor.2 note : c n # emended to c by analogy with cor. 28 tim. stacc. added by analogy with b va. notes 3 5: slur added by analogy with vl.,2 29, 30 cor. n # emended to because o the harmonic context 29 cor.2 n # emended to because o the harmonic context 30 vl.2 va. added by analogy with vl l.2 cl.2 slur added by analogy with ob., g. 39, 4, 43, 44 tr. n note 4: emended to # by analogy with cor. 39, 4, 43, 44 tr.2 n note : emended to # by analogy with cor.2 40 tr.2 n note : emended to # by analogy with cor l. tie added by analogy with ob.2, cl ob.2 cl. slur added by analogy with l l.2 ob.2 cl.2 g.,2 slur added by analogy with l., ob., cl cor. tr. tim. 6 8 emended to 4 8 and tulets emended accordingly by analogy with ww. and str.; A: notated as 6 8 : iiq iq 43, 44 tr. 44 cor. n note 4: emended to # by analogy with cor. note 4: c n # emended to c by analogy with b l.,2 ten. omitted by analogy with ob., cl., g., str. 47 vl. lower note: emended to q by analogy with vl.2, va., vc va. vc. ties added by analogy with vl.,2, cb. SECOND MOVEMENT Bar Part Comment time signature added vc. added by analogy with cl., g., cor. 4 vc. added by analogy with cl., g. 5 6 g.2 tie added by analogy with bb. 2, cor. added by analogy with cl., g., vc. 6 vc. note 3: q Œ emended to q. by analogy with all other arts 7 cl.2 # note : c emended to c n by analogy with cl. 7 g.2 vc. note : # n emended to by analogy with cl. 9 va. vc. added by analogy with vl.,2 9 va. izz. added by analogy with vc. (b.) 9 vc. added because o izz. in b. 0 g. vl.2 added by analogy with all other arts 0 cor added by analogy with b.9 (all other arts) 4 cl. end o slur moved rom irst note o b.5 to last note o b.4 by analogy with b.6 5 l.2 notes 4 5: ten. and slur added by analogy with cl.2, vl. (lower art), vl. 2 (lower art) 5 va. note : # n emended to by analogy with g.2, vc.2 5 vc. 6 l. cl. g. note : # n emended to by analogy with g.2 Œ added to it the metre 7 cor. added because o solo in l. (b.7) and ob. (b.20) 20 cl.,2 Œ added to it the metre 2 ob. note 5: # n emended to by analogy with cl. 2 cl.,2 added by analogy with ob. (b.20) 2 vc. 22 l. note : # n emended to by analogy with cor. note 4: e n b emended to e by analogy with ob.; note 7: b n emended to b b by analogy with cl., cor.; note 0: # n emended to by analogy with cl.2 22 ob. note 7: b n emended to b b by analogy with cl., cor.; note 0: # n emended to by analogy with cl.2 22 cl. second chord: g #, c # emended to g n n, c by analogy with l., ob. 24 g.2 # n emended to by analogy with cl l.2 tie added by analogy with ob.2 27 va. vc. added by analogy with vl.,2 29 vl. added by analogy with all other arts; added because o izz. in b vl.2 added because o izz. in b.25; slurs added by analogy with vl. 32 vc. stacc. added by analogy with vl.,2 39 cl. note : g # emended to g n by analogy with g.2, vc. 39 g.2 # n emended to by analogy with vc. 4 vc. added because o izz. in b va. chord 2: # n emended to by analogy with vl. 45 vc. added because o izz. in b str. A: both two as indicated in the resent edition and one covering the whole bar 48 A: ater b.48 added: Wiederholung von A bis B dann Wiederholung von C bis D. Dann Coda. (reerring to bb.7 32 and bb.9 4,), ollowed by the our-bar Coda (letters A, B, C, D added above bb.8, 33, 9 and 5 resectively) 54 cl. second chord: g #, c # emended to g n n, c by analogy with l., ob. 7 l.2 vl. note 5: # emended to n because o the harmonic context 7 cl.,2 # note 2: c emended to c n by analogy with l., vl. 7, 72 vl.,2 added by analogy with l.,2, cl.,2 72 vl.2 uer art, notes 2 4: slur added by analogy with vl. THIRD MOVEMENT Bar Part Comment ob. a due added by analogy with l., cl., g. str. suerluous omitted 2 cl. missing double stems added by analogy with bb cor. n note 2: emended to # by analogy with l., vl.,2 3 cor.2 A: note 2: d corrected to b 4 cor.,2 note 2: c n # emended to c by analogy with all other arts 8 ii vl. note 2: added because o izz. on note ; added by analogy with l. 9 vl. l.,2 moved rom b.9 to b.8 ii (age turn) # 9 g. note 2: e emended to e by analogy with vc., cb. 54 DCM 027

71 9 cor.,2 added by analogy with all other arts 9 va. vc. cb. added because o izz. in b.7 0 cl.,2 added by analogy with l., g. 0 vl.2 added by analogy with vl. (b.8 ii ); added because o izz. in b.7; 0 g.,2 added by analogy with all other arts 6 A: double barline with reetition and D.C al % crossed out 6 l.,2 cor.,2 vl. third crotchet: ten. added by analogy with bb.+, 8, 20 6 cor. moved rom beginning o b.7 to end o b.6 by analogy with l., vl. 6 va. ten. added by analogy with other str l. ob. cl. a due added by analogy with g. 9 g.2 n note : d emended to d # by analogy with vc., cb. 9 tr. as encil correction in A; A: h. # corrected to h q #, g # 9 20 vl. end o slur emended rom last note o b.9 to irst note o b.20 by analogy with l. 23 vl.2 va. vc. cb. izz. added by analogy with vl. and b.7 24 cl. solo esr. moved rom b.25; added by analogy with str. (b.25) 25 va. vc.2 cb. added because o izz. in b vc.2 slurs added by analogy with vc. # 27 vc. notes 3, 4: c emended to c n by analogy with cl., va. 32 cl. Πadded to it the metre 32 vc. end o izz. because o no stacc. in bb (contrary to bb.25 30) 33 vl. added because o izz. in b l.,2 cresc--- added by analogy with str. FOURTH MOVEMENT Bar Part Comment 2 vl.2 va. vc notes 3 4: stacc. added by analogy with b. 3 vc. note : q emended to q. to it the metre 5 l. a due added by analogy with cl. 7 cl.2 g.,2 note : ten. added by analogy with cl. 8 vl.2 note 2: added by analogy with b.4 8 vl.2 va. vc. notes 2 3: slur added by analogy with ww., vl. 9 ob.,2 note : stacc. added by analogy with l.,2 9,0 cl.,2 added by analogy with all other arts 0 vc. uer art: e emended to d by analogy with cl.,2, va. l. ob. note : stacc. added by analogy with b A: added in encil on a blank age with only vl. being notated: Wiederholung von a bis b (corresonding to bb. 8) 29 cor. added because o g.2 ten. added by analogy with g. 36 vl. notes 4: redundant slur omitted by analogy with vl.2, va., vc.; omitted by analogy with vl.2, va., vc. 37 l. note 3: g n emended to g # by analogy with vl. 40 g.2 vc. c n # emended to c because o the harmonic context # n 4 g.2 vc. c emended to c because o the harmonic context As can be seen rom the sketch (se acsimile.xv) the wrong notation in bb.40 and 4 (the switch o c n and # c in the minim chords o the two bars) may be due to a mistake already in the sketch 43 l.,2 # c emended to c n by analogy with vl. 44 vl.2 lower art: tie added by analogy with bb vc. note : stacc. added by analogy with b vl.,2 ten. added by analogy with b vl.2 lower art: stacc. added by analogy with uer art A: only vl.2 is notated (all other arts have emty staves); added in encil below the bottom stave: Wieder holung Seite 26 (reerring to bb.9 6) 63 vc. added by analogy with g., cor. 7 cl. d # n emended to d by analogy with b.69 (g.), b.72 (vl.2) 72 vl.2 added because o izz in b l. a due added by analogy with ob.and b vl. added because o izz. in b tim. added by analogy with all other arts and because o in b vc. note : b n emended to b b by analogy with vl.,2 74 tr.,2 note : g # #, g emended to #, a by analogy with va. 75 l. tr. # n vl.,2 va. c emended to c because o the harmonic context (see acsimile.xiii) 75 cl. d # n emended to d because o the harmonic context (see acsimile.xiii) 75 tim. note 5: q emended to e to it the metre 76 vl. b n emended to b b by analogy with l., vl.2, va., vc. 78 cor.2 b n emended to b b by analogy with tr. 78 vl.2 va. chord 2: # n emended to by analogy with vl. 8 g. cor.2. vl. added by analogy with cl., va., vc. 83 cor. vl.2 added by analogy with other arts (b.8) 87 l. a due added by analogy with ob., cl., g., cor. 87 cl.2 note : d # n emended to d by analogy with ob., vl.,2 # n 87 g.2 c emended to c by analogy with vc., cb. 87 tim. added by analogy with all other arts 87 ww. tim. stacc. added by analogy with str. 87 va. # chords 2, 3: c emended to c n by analogy with vl.,2, vc., cb. 90 ob.2 b n emended to b b by analogy with b cl. g # emended to g n by analogy with b cor.2 n emended to # by analogy with cl., g. 97 cl. # c, a emended to b, g # to it the harmonic context 97 cl.2 note : a emended to g # to it the harmonic context tim. marc. added by analogy with bb l. ob. a due added by analogy with bb.95 98, 4 00 cl. d # n emended to d by analogy with cor. and b cl.2 d # n emended to d by analogy with cor. and b va. # uer art c emended to c n by analogy with cl., cor. and b cl.,2 # c #, c emended to c, c by analogy with cor cl.,2 slur added by analogy with l.,2 05, 06 cor. n emended to # by analogy with l., vl.,2 0 cl.,2 # c #, c emended to c, c by analogy with cor. 0 va. uer art: b n emended to b b by analogy with b.02 cl. a due added by analogy with l., ob.,2 va. chord : ten. added by analogy with vc., cb. 2 cb. ten. added by analogy with b. 3 cor.2 n emended to # by analogy with l., ob.2, cl ater b.4 added in encil: Wiederholung a bis b dann C-D, ollowed by two blank ages only with bar lines, reerring to bb. 8 and tr. # n emended to by analogy with l., ob. 6 vl. note : # n emended to because o the harmonic context see acsimile o the whole assage in A,.xiv 67 cl. d # n emended to d because o the harmonic context 67 tr. a due added by analogy with cor. DCM

72 67 70 cl. d # n emended to d because o the tonal context l. ob. g. tr. va. vc. cb. # n c emended to c because o the harmonic context 69, 70 ob.2 # n emended to because o the harmonic context 69, 70 g.,2 F # and # n n emended to F and because o the harmonic context 69 va. vc. cb. # n emended to because o the harmonic context and because o the exlicit indication o # in b.7 72 (g.,2, va., vc., cb.) 73 vl. note 6: b n emended to b b by analogy with l.2, cl.2 73 vl.2 note 3: b n emended to b b by analogy with l.2, cl.2 74 vl. note 6: b n emended to b b by analogy with l.2, cl.2 74 vl.2 note 6: b n emended to b b by analogy with l.2, cl.2 77 g.,2 added by analogy with tim. 85 ob.2 va.2 # n emended to because o the harmonic context 87 ob. va. # n emended to because o the harmonic context 9 va. missing B added cor. c n # emended to c by analogy with tr va. stacc. added by analogy with vl.,2 97 cb. added by analogy with other str. 56 DCM 027