PETER HEISE OUVERTURE TIL MARSK STIG MARSHAL STIG OVERTURE

Transkript

1 PETER HEISE OUVERTURE TIL MARSK STIG MARSHAL STIG OVERTURE

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3 PETER HEISE OUVERTURE TIL MARSK STIG MARSHAL STIG OVERTURE København 200 UDGIVET AF EDITED BY AXEL TEICH GEERTINGER

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:// December 200 Revised March 202

5 PETER HEISE: OUVERTURE TIL MARSK STIG Peter Heises beskætigelse med historien om Marsk Stig og mordet å Kong Erik Gliing i Finderu Lade i 286 er bedst kendt ra oeraen Drot og Marsk, men begyndte allerede næsten et kvart århundrede tidligere. Da Carsten Hauchs skuesil Marsk Stig blev sat o å Det Kongelige Teater i 850, var det ganske vist med musik a Henrik Rung, men stoet insirerede også Peter Heise, som i 855 komonerede en sang med klaverledsagelse over sangen Det dæmred alt i Skoven ra ørste akt a Hauchs skuesil. Sangen indes bevaret som autogra med titlen Dands a Marsk Stig i en samling Heise-sange, som har tilhørt Pauline Holm. 2 Temo di menuetto. Det dæm - red alt i Sko- ven, jeg treen i Hal - len ind, de Jom - ru -er jeg sku - ed ved Fak - ler - nes Skin. Den Før - ste lig-ned Vaa- ren, der snart i Kno-er staar, den ing An-den gik i Dand - sen med ud -slag-ne Haar; men - gen det veed, hvor - dan sig Lyk-ken ven - der. I eteråret og vinteren komonerede Heise en koncertouverture over det samme emne med udgangsunkt i denne sang. I et brev til Jacob Voltelen skriver Heise: [...] Hin Ouverture til Marsk Stig er bygget aa en Melodi som jeg i den Anledning har comoneret til Sangen i Tragedien: Det dæmred alt i Skoven, denne Sang synes Folk især om, og jeg troer ogsaa, den siger mere end Rungs, skjøndt hans egentlig ikke var saa gal endd Ligesom hin Sang i Tragedien DK-Kk C II, 44 (mu ). Sangen bærer nummeret mu Publiceret som nr. 84 i Niels Martin Jensen, Peter Heise. Sange med klaver, bd. IV. København 990, s Pauline Frederikke Marie Holm (826-94), datter a konerensråd, deartementsche i inansministeriet Christian Frederik Holm og Marie Elisabeth Holm. Engelbreth. Pauline Holm karakteriseres a Gustav Hetsch som en Romancesangerinde med en meget smuk Stemme. Gustav Hetsch, Peter Heise. København 926, s. 29. Jacob Emil Voltelen ( ), oratter. Peter Heise: Dands a Marsk Stig, sangstemme. siller en betydelig Rolle, bør den ogsaa gjøre det i en Ouverture dertil. 4 I slutningen a januar 856 nærmer arbejdet med ouverturen sig sin aslutning, som det remgår a et brev ra Peter Heise til sin bror Frederik: Nu har jeg atter et større Værk or, nemlig en Ouverture à grand orchestre til Hauchs Tragedie Marsk Stig, som Gade er meget ornøiet med og meget animerer mig til. Nu har den rigtignok hvilet ra Julen Det var nemlig den 27de Januar Mozarts hundredaarige Fødselsdag; Theatret gjorde mærkværdig nok Intet i den Anledning, men ude hos Holms havde jeg arrangeret en musikalsk Aten, hvor Damer og Herrer, lutter gode Stemmer, udørte Mozartske Sager, og det løb meget godt Tillige havde Studenterne havt en Askedsest or Hostru, hvortil jeg havde comoneret Noget, som ligeledes ordrede Prøver, derved er jeg blevet noget orstyrret i hiin Ouverture, som ellers er comoneret ærdig og instrumenteret halvt, men nu skal jeg have at aa den igjen. 5 Den ørste oørelse a koncertouverturen, som omatter tre temi (Andante Allegro molto Prestissimo), andt ørst sted to år senere i Musikoreningen. Ved den lejlighed benyttedes en askrit (kilde C), som blev udærdiget til ormålet eter Heises egen autogra (kilde A). Askriten bærer Heises signatur og er dateret ebruar 858. Ouverturen indledte koncerten den 27. e bru ar 858, dirigeret a Niels W. Gade. På rogrammet i øvrigt var Julius Rietz Altdeutscher Schlachtgesang or mandskor og orkester, Beethovens 7. symoni og ørste akt a Glucks oera Alceste. Tidsskrit or Musik vurderede eterølgende ouverturen som ølger: Med Ouverturen til Marsk Stig er P. H e i s e, hvem vi hidtil kun have kjendt som Sangcomonist, or ørste Gang traadt ind aa et Gebeet a mere omattende musikalsk Betydning, og det glæder os, at den unge Comonist ved dette vellykkede Arbeide uldkomment har lagt sin Berettigelse hertil or Dagen. Ouverturen er anlagt med en dristig og sikker Haand; den er smukt ormet, tiltalende i melodisk henseende, og eterlader navnlig ved sin eectulde Slutning et varigere Indtryk. Et Par grelle eller søgte Modulationer havde vi helst ønsket orandrede. 6 4 Brev dateret Privateje. Citeret eter Niels Martin Jensen, Peter Heise. Sange med klaver, bd. IV, s Brev dateret Citeret eter Gustav Hetsch, Breve ra Peter Heise. København 90, s Tidsskrit or Musik, 2. årg. (858) nr., s. 6. DCM 007

6 Også Dagbladet hætede sig ved, at især Slutningen gjør [...] en storartet Virkning, og havde også hørt Mænd a Faget udtale en meget gunstig Dom om dette Arbeide. 7 Ouverturen oørtes to gange i Musikoreningen, anden gang ved abonnementskoncerten den 9. december 865, men har ikke i Heises levetid været sillet i orbindelse med Hauchs skuesil. I 875 tog Heise atter at å Marsk Stig-stoet, denne gang med komositionen a en hel oera or øje. Oeraen Drot og Marsk var ikke direkte baseret å Hauchs skuesil, men å en libretto a Christian Richardt. Heise valgte at genbruge den 20 år gamle koncertouverture, men orkortede den med omkring en jerdedel ra de orindelige 659 takter til 485 takter. Seks steder i Marsk Stigouverturen har Heise helt strøget længere assager eller erstattet dem med kortere. Sringene er markeret i det autograe Marsk Stig-artitur (kilde A) med bemærkningen vi-[ ]-de, indørt med blyant å ølgende steder: Fra tre takter ør E (t. 86) til tre takter ør F (til og med t. 2). Bemærkning nederst s. 9: NB / med orandret / Ogang til Pag.. Fra t. 57 til og med t. 66. Fra I (t. 225) til og med t. 26. Fra t. 4 (orindeligt ra 50) til og med t. 7. De sidste ire takter ør sringet er ændret med blyant å s. 29, et eter ølgende indskud å otte takter noteret å s.. Fra t. 82 til og med t. 97. Fra O (t. 468) til P (til og med t. 506). Partituret sammenatter hele ouverturens tilblivelseshistorie: Det indeholder den ørste otegnelse a ouverturen med blæk, tidlige ændringer især i orm a klangorstærkende tiløjelser, indørt med rød arveblyant (inkluderet i Musikoreningens artitur og stemmer, kilde B og C ra 858), delvis komlettering a dynamik og buer med blyant (indørt eterølgende i kilde B med blæk, ormodentlig i orbindelse med en a oørelserne i Musik oreningen) og endelig igen med blyant mindre rettelser og de nævnte sring i orbindelse med udarbejdelsen a oeraouverturen omkring år 877. I oeraartituret, 8 der med hensyn til ouverturen altså er en renskrit a de seneste ændringer i kilde A, har Heise desuden tiløjet en mængde detaljer, der ikke ørst er blevet skitseret i kilde A, og altså ørst er indørt i orbindelse med renskriten. Det drejer sig især om yderligere komlettering og orinelse a dynamik og rasering. Ved samme lejlighed blev de dybe messingblæsere orindeligt alt-, tenor- og bastrombone erstattet a den mere moderne besætning med to tenortromboner og tub Også eter uroørelsen a oeraen å Det Kongelige Teater den 25. setember 878 ik ouverturen ositiv omtale. Nationaltidende asluttede en udørlig anmeldelse a oeraen med den bemærkning, at Vi skulle endnu kun remhæve Ouverturen, et større symonisk Arbeide, der ormentlig har været udørt i Musikoreningen or adskillige Aar siden, men som i hvert Fald nu remtræder med Nyhedens Interesse, og som er baade indholdsrig og smukt ormet, væsenlig i den ældre Ouverture-Stil; at den iates ikke blev alauderet, synes meget besynderligt. Hvad ydre Udstyrelse angaar, er der anvendt meget men dog ikke or meget aa Drot og Marsk. 9 I 899 udkom ouverturen i orm a Axel Grandjeans klaverudtog or 4 hænder med titlen OUVERTURE / til / Marsk Stig / Tragedie a C. Hauch / komoneret / a / P. HEISE, men trods titlen var der ikke tale om et arrangement a den orindelige Marsk Stig-ouverture, men derimod a oeraversionen ra uroørelsen a Drot og Marsk i 878, altså den noget kortere version. Det er sandsynligvis neto dette klaverudtog, der har været årsag til den i etertiden udbredte oattelse, at Heise genanvendte sin tyve år gamle komosition i sin ulde udstrækning. At ouverturen også i oeraversionen ligesom oeraen som helhed angiveligt orekom kritikken or lang, var iølge Gustav Hetsch grunden til at Heise orkortede den yderligere umiddelbart eter uroørelsen: Ligesom den ørste Oørelse modtoges ogsaa den anden, der andt Sted 4 Dage senere, med stærkt Biald a det udsolgte Hus. Der var anden Aten oretaget Forkortelser i Ouverturen. Men Kritiken astslog, at der skulde oretages endnu lere Beskæringer. 0 De trykte anmeldelser eter uroørelsen udtrykker ganske vist ingen sådan kritik, men det er muligt, at Hetsch reererer mundtlige tilkendegivelser. Det står i hvert ald ast, at Heise valgte at orkorte ouverturen radikalt, indtil den i sin endelige orm kun bibeholdt den langsomme indledning. Den ene blanke side i artituret mellem ouverturen og ørste akt udnyttede Heise til at komonere en ny slutning en ganske kort overgang å 4 takter, der attacca leder over i ørste akt. Denne korte version er å kun 54 takter i alt. Oeraartituret og nogle a orkesterstemmerne ra Det Kongelige Teater indeholder dog også tegn å, at en lidt mindre radikal orkortelse, der kun udelod den lange midterdel, har været arøvet å et tidsunkt. Axel Grandjeans klaverudtog a ouverturen or 4 hænder bemærker overensstemmende nederst å ørste side, at ouverturen Benyttedes i sin Helhed ved den ørste Oørelse a Drot og Marsk, siden udelodes Allegroen. Medmindre Grandjean regner det asluttende Prestissimo som en del a Allegroen, beskriver han neto den orm, der kun udelader den lange midterdel. På den anden side er denne orm ikke dokumenteret å anden måde end gennem blyantsanmærkninger i Heises autograe artitur og nogle a de tilhørende stemmer, og den overlevede i hvert ald ikke oeraens ørste sæson, som Heises tiløjede overledning ra den langsomme indledning 7 Dagbladet, Se beskrivelse a kilderne til Drot og Marsk i DCMs kommende udgave a oeraen, som ventes udgivet i Nationaltidende, Gustav Hetsch, Peter Heise. København 926, s DCM 007

7 til ørste akt bevidner. Grandjeans eget klaverudtog a hele oeraen (879 og senere genudgivelser) indeholder også kun ouverturen i den helt korte orm, der udelader både Allegro- og Prestissimo-delen. Ouverturen kendes altså i alt i ire orskellige versioner: Andante Allegro molto Prestissimo; 659 takter (den orindelige Marsk Stig-ouverture ra 856) Andante Allegro molto Prestissimo; 485 takter (ra uroørelsen a Drot og Marsk, 878) Andante Prestissimo; 52 takter (c 878, muligvis aldrig oørt) Andante; 54 takter (den endelige version med ny overgang til ørste akt) Den oreliggende ublikation reræsenterer den ørste version. De øvrige tre kan umiddelbart alæses eller genskabes a DCM s udgave a Drot og Marsk (j. orordet til samme). Ouverturen er et stykke rogrammusik, der musikalsk iscenesætter handlingen og de centrale ersoner i Carsten Hauchs skue- sil. Ret beset er der altså ikke tale om en ouverture til skuesillet Marsk Stig, sådan som den også a Heise selv benævnes i kilderne, men over det. Musikkens rogrammatiske karakter er særlig tydelig i den oreliggende koncertouverture, hvor de orskellige (erson-)motiver dels udoldes over længere assager, dels konronteres med hinanden i mere dialogagtig orm. Det var især de sidstnævnte, dialogiske asnit og en række overledende assager, som Heise valgte at skære væk i oeraouverturen. Et a de gennemgående motiver er det, der som nævnt tager udgangsunkt i sangen Det dæmred alt i Skoven. Det antydes ørste gang i den langsomme indledning (bogstav B) og udoldes uldt to gange i Allegro-delen (bogstav H og N). Selv om der musikalsk således kan trækkes en linje direkte ra Det dæmred alt i Skoven til Drot og Marsk-ouverturen godt tyve år senere, gik Heise dog ikke så vidt som til at indarbejde substantielt materiale ra ouverturen i selve oeraens akter. Ouverturen remstår deror også i Drot og Marsk som en selvstændig helhed, der med eget musikalsk materiale resumerer Heises ortolkning a historien om Marsk Stig. Axel Teich Geertinger Heise nåede kun at oleve en enkelt sæson med Drot og Marsk. DCM 007

8 PETER HEISE: MARSHAL STIG OVERTURE Peter Heise s absortion with the legend about Marsk Stig and the murder o King Erik Gliing in Finderu in 286 is best known rom the oera Drot og Marsk (King and Marshal) but it had already started to ique the interest o the comoser almost a quarter o a century earlier. When Carsten Hauch s lay Marsk Stig was mounted at The Royal Theatre in 850, it did eature music comosed by Henrik Rung but the substance o the iece also served to insire Peter Heise, who in 855 comosed a song with iano accomaniment based on the song Det dæmred alt i Skoven (Twilight was Already Falling in the Woods) rom the irst act o Hauch s lay. The song is extant as an autograh score bearing the title Dands a Marsk Stig (Dance rom Marsk Stig ) in a collection o Heise-songs 2 that once belonged to Pauline Holm. Temo di menuetto. Det dæm - red alt i Sko- ven, jeg treen i Hal - len ind, de Jom - ru -er jeg sku - ed ved Fak - ler - nes Skin. Den Før - ste lig-ned Vaa- ren, der snart i Kno-er staar, den ing An-den gik i Dand - sen med ud -slag-ne Haar; men - gen det veed, hvor - dan sig Lyk-ken ven - der. Peter Heise: Dands a Marsk Stig, vocal art. In the autumn and the winter o , Heise comosed a concert overture that was built over the same subject, taking his oint o dearture rom this song. In a letter to Jacob Voltelen, 4 Heise writes: Stig Andersen Hvide, Danish nobleman, magnate, leading general and minister o war. 2 DK-Kk C II, 44 (mu ). The song bears the number mu Published as no. 84 in Niels Martin Jensen, Peter Heise. Sange med klaver, vol. IV. Coenhagen 990,. 24. Pauline Frederikke Marie Holm (826 94), daughter o konerensråd and head o deartment in the Ministry o Finance, Christian Frederik Holm, and Marie Elisabeth Holm, née Engelbreth. Pauline Holm was characterised by Gustav Hetsch as a Romance songstress with a very beautiul voice. Gustav Hetsch, Peter Heise. Coenhagen 926, Jacob Emil Voltelen ( ), author. [...] This Overture to Marsk Stig is built on a melody that I, or the occasion, have comosed to the song in the tragedy: Det dæmred alt i Skoven, a song o which eole seem to be esecially ond, and I actually eel that it does say more than Rung s, even though his was actually quite a ine iece o work, ater all. Just as the song lays an imortant role in the tragedy, it ought to do so in the overture to the lay, also. 5 At the end o January 856, his work on the overture was drawing to its close, as is made evident in a letter rom Peter Heise to his brother, Frederik: Now, once again, I am working on a large-scale work, namely an Ouverture à grand orchestre or Hauch s tragedy, Marsk Stig, with which Gade is very leased and to which he very much encourages me. Now, I must say, it has been ut aside since Christmastime. In act, on the 27th o January, it was the hundredth anniversary o Mozart s birthday: curiously enough, the Theatre did nothing to commemorate the occasion. But out at Holm s lace, I had arranged a musical evening, where a number o ladies and gentlemen, all with ine voices, erormed Mozartian ieces and did so quite well. Moreover, the students were throwing a arewell arty or Hostru, or which I had comosed something, which similarly called or rehearsals. For these reasons, I have been intermittently disturbed in my work on creating this overture, which is otherwise inished, comositionally, and now stands hal orchestrated. But now I am going to have to take hold o the roject again. 6 The irst erormance o the concert overture, which comrises three dierent temi (Andante Allegro molto Prestissimo), did not take lace until two years later at Musikoreningen (The Music Society). On this occasion, a transcrit (source C) was used, which was coied out or the urose ater Heise s own autograh (source A). The transcrit bears Heise s signature and is dated February 858. The overture was the oening iece o a concert on 27 February 858 that was conducted by Niels W. Gade. Also on the rogram were Julius Rietz s Altdeutscher Schlachtgesang or men s choir and orchestra, Beethoven s Seventh Symhony and the irst act o Gluck s oera Alceste. The eriodical Tidsskrit or Musik evaluated the overture in the ollowing way: With the Overture to Marsk Stig, P. Heise, whom we have known hitherto only as a comoser o songs, has steed or- 5 Letter dated Private collection. Quoted rom Niels Martin Jensen, Peter Heise. Sange med klaver, vol. IV, Letter dated Quoted rom Gustav Hetsch, Breve ra Peter Heise. Coenhagen 90, DCM 007

9 ward into a domain o more wide-ranging musical imlications, or the irst time, and we are leased that this young comoser, with this iece, has so consummately roved his atitude in this ield. The overture has been outlined with a daring and steady hand: its ormal scheme is highly exquisite, it is reossessing in a melodic sense and esecially with its eective closing it leaves a lasting imression. There are, however, a ew glaring or contrived modulations that we would have liked to see altered. 7 The Dagbladet also noticed that esecially the closing made [...] a slendid eect, and also reorted that men in the roession had been heard assing a very avourable judgment on this iece. 8 The overture was layed twice at Musikoreningen, the second time at a subscrition concert on 9 December 865, but was not layed in conjunction with Hauch s lay during Heise s lietime. In 875, Heise grabbed hold o the Marsk Stig subject once again, this time with the comosition o an entire whole oera in mind. The oera King and Marshal was not based directly on Hauch s lay but rather on a libretto enned by Christian Richardt. Heise chose to use the twenty year old concert overture again but he shortened it, in the irst instance, by about one quarter o its length, rom the original 659 bars to 485 bars. There are six instances in the Marsk Stig Overture o Heise simly having deleted longer assages or relacing them with shorter ones. These cuts are indicated in the autograh o the Marsk Stig score (source A) with the remark vi-[ ]-de, added in encil in the ollowing laces: From three bars beore E (b. 86) to three bars beore F (u to and including b. 2). Comment at the bottom o. 9: NB / med orandret / Ogang til Pag. (nota bene / with altered / transition to age ). From b. 57 u to and including b. 66. From I (b. 225) u to and including b. 26. From b. 4 (originally rom bar 50) u to and including b. 7. The last our bars beore the cut are changed in encil on. 29 and a subsequent insertion o eight bars is noted on.. From b. 82 u to and including b. 97. From O (b. 468) to P (u to and including b. 506). The score relects the history o the whole overture s genesis: it contains the irst sketch o the overture, made in ink; early exansions o the instrumentation, entered in red crayon (changes included in Musikoreningen s score and arts, sources B and C rom 858); occasional comletion o dynamics and slurs, made in encil (added subsequently in source B in ink, resumably in connection with one o the erormances at Musikoreningen); and lastly, and again, entered in encil, a number o minor corrections and the marking o the aorementioned cuts eected in connection with the rearation o the oera overture, emended sometime around 877. In the oera score, 9 which, in the case o the overture, is thus a air coy o the most recent changes in source A, Heise has also added a great many details that were not outlined beorehand in source A and were accordingly irst introduced in connection with the air coy. These emendations chiely have to do with the urther sulementation and reinement o the dynamics and the hrasings. On the same occasion, the lower brass arts originally alto-, tenor- and bass-trombones were relaced by the more modern ensemble set-u, consisting o two tenor-trombones and tub Also ater the remiere o the oera at The Royal Theatre on 25 Setember 878, ositive resonse to the overture aeared in the ress. The Nationaltidende concluded its detailed review o the oera with the comment that Finally, we want to call attention to the overture, a major symhonic work, which was suosedly layed at Musikoreningen a good many years ago but which, in any event, now makes its aearance with all the charm o novelty and which is both ull o lie and well ormed, essentially in the ormer overture style; that it did not receive any alause last night is most eculiar. As ar as external accoutrements go, there is much albeit not too much being used on Drot og Marsk. 0 In 899, the overture was ublished in Axel Grandjean s iano arrangement or 4 hands, with the title OUVERTURE / til / Marsk Stig / Tragedie a C. Hauch / komoneret / a / P. HEISE (OVERTURE / to / Marsk Stig / Tragedy by C. Hauch / comosed / by / P. HEISE). In site o the title, this was not an arrangement o the original Marshal Stig Overture but rather o the oera version resented in connection with the remiere o King and Marshal in 878, that is to say, the somewhat abbreviated version. Presumably, this iano arrangement has been the cause o the widesread oinion in osterity that Heise simly re-used his twenty year old comosition in its ull extent. According to Gustav Hetsch, Heise s reason or shortening the overture even urther immediately ater the remiere erormance was that it much like the oera on the whole seemed to be too long in the critics estimation: As did the irst erormance, the second, which was resented 4 days later, was also received with a great deal o alause by the audience in the sold-out house. On the second evening, certain abbreviations were made in the overture. Nonetheless, the critics maintained that even more cuts should be carried out. Actually, the rinted reviews aearing ater the remiere do not voice any such critique. It is ossible that what Hetsch is reerring to were soken evaluation. In any event, it is certain that Heise chose to abbreviate the overture in a radical way un- 7 Tidsskrit or Musik, vol. 2 (858) no., Dagbladet, See the descrition o the sources or Drot og Marsk in DCM s coming edition o the oera, scheduled or ublication in Nationaltidende, Gustav Hetsch, Peter Heise. Coenhagen 926,. 77. DCM 007 5

10 til, in its inal orm, it retained only the slow introduction. Heise made use o the single blank age in the score ositioned between the overture and the irst act to comose a new ending a concise transition o 4 bars, which attacca leads over into the irst act. This shortened version o the overture is only 54 bars in its length. The ull score o the oera and some o the orchestral arts rom The Royal Theatre, however, also seem to indicate that a somewhat less sweeing abbreviation was tested out at a certain time, omitting only the extensive middle section. Axel Grandjean s iano arrangement o the overture or iano duet remarks at the bottom o the irst age that the overture was used in its entirety at the irst erormance o Drot og Marsk, ater which the Allegro section was omitted. Unless Grandjean considered the concluding Prestissimo to be art o the Allegro, what he aears to be describing here is, quite recisely, the orm o the overture that omits only the extensive middle section. On the other hand, this orm is not documented in any way other than through encil annotations in Heise s autograh score and in some o the aurtenant arts and, in any event, it did not survive the oera s irst season, as Heise s inserted transition rom the slow introduction to the irst act testiies. 2 Grandjean s own iano arrangement o the whole oera (879, and subsequent rerints) also contains only the overture in the very short orm that omits both the Allegro molto and the Prestissimo sections. Consequently, the overture is known in our dierent versions: Andante Allegro molto Prestissimo; 659 bars (the original Marshal Stig Overture rom 856) Andante Allegro molto Prestissimo; 485 bars (rom the irst erormance o King and Marshal, 878) Andante Prestissimo; 52 bars (c. 878, ossibly never erormed) Andante; 54 bars (the inal version, with the new transition to the First Act o the oera) The resent edition reresents the irst version listed above. The other three can be read directly or can be reconstructed rom DCM s edition o King and Marshal (c. the reace to this work). The overture is a iece o rogram music that musically sets the scene or the lot and or the central rotagonists in Carsten Hauch s lay. All things considered, then, what we have here is not an overture to Marshal Stig, the lay, as it was called in the sources, but rather an overture about Marshal Stig. The music s rogrammatic character is esecially distinct in the resent concert overture, where the motis reresenting the dierent ersons are in some laces unolded in longer assages and in others conronted by each other in a more dialogue-like orm. It was esecially some o the latter-mentioned dialogue-like sections and a number o bridge assages that Heise chose to cancel in the oera overture. One o the recurring motis is that which, as has been mentioned, takes its oint o dearture in the song Det dæmred alt i Skoven. There is already an initial reerence in the slow introduction (letter B) and it is unurled in its ull extent twice in the Allegro section (letters H and N). Even though, in a musical sense, a line can accordingly be drawn directly rom Det dæmred alt i Skoven to the King and Marshal overture, shaed more than twenty years later, Heise did not go as ar as to substantially work material rom the overture into the oera s various acts. Thus, the overture maniests itsel also in King and Marshal as an indeendent totality, which, with its very own musical material, sets orth a resume o Heise s interretation o the legend about Marshal Stig. Axel Teich Geertinger 2 Heise lived long enough to exerience one single season o King and Marshal only. 6 DCM 007

11 DCM Peter Heises autograe artitur (kilde A), s.. Peter Heise s autograh score (source A),..

12 Musikoreningens askrit a artituret (kilde C), s Musikoreningen s (The Music Society s) coy o the score (source C),. 2. DCM 007

13

14 BESÆTNING / ORCHESTRA 2 lauti 2 oboe 2 clarinetti in B b 2 agotti 2 corni in F 2 corni in D 2 trombe in D trombone alto trombone tenore trombone basso timani archi 0 DCM 007

15 OUVERTURE TIL MARSK STIG MARSHAL STIG OVERTURE Flauto 2 Andante Oboe 2 m m Clarinetto (Bb) 2 m m Fagotto 2 m m Corno (F) 2 Corno (D) 4 Tromba (D) 2 Trombone alto Trombone tenore Trombone basso Timani (A, D) cre scen do Violino Andante semre Violino 2 Viola Violoncello m m m m 5 Contrabbasso m m 5 DCM 007

16 8 m m m m m m Tim. Vl. m m m m m 2 DCM 007

17 4 A.. Tim. Vl. DCM 007

18 7. dim. dim. Tim. cresc. Vl. dim. dim. dim. dim. dim. 4 DCM 007

19 22.. Tim. Vl. DCM 007 5

20 25 Tim. Vl. crescendo crescendo crescendo crescendo crescendo trem. trem. trem. trem. crescendo 6 DCM 007

21 29 B. solo. Tim. Vl. 5 DCM 007 7

22 4.... Tim. Vl. div. 8 DCM 007

23 40 semre cresc. semre cresc. semre cresc.. semre cresc.. semre cresc.. semre cresc. Tim. cre scen do Vl. semre cresc. semre cresc. semre cresc. semre cresc. semre cresc. unis. DCM 007 9

24 C 45 rit. Tim. Vl. rit. div. 20 DCM 007

25 5 D Allegro molto s s dim. Tim. Vl. Allegro molto s s unis. s s DCM 007 2

26 s 57 s s s Tim. Vl. s s s s s s s s s s s s 22 DCM 007

27 6.. Tim. Vl. m m m m m DCM 007 2

28 69... Tim. Vl. 24 DCM 007

29 75 cresc. cresc. cresc. cresc.. Tim. Vl. semre cresc. semre cresc. semre cresc. semre cresc. semre cresc. DCM

30 8 Tim. Vl. 26 DCM 007

31 E 87.. Tim. Vl. DCM

32 9.... Tim. Vl. 28 DCM 007

33 00. solo solo Tim. Vl. div. DCM

34 07 dim. Tim. Vl. dim. dim. unis. dim. izz. arco cresc. 0 DCM 007

35 4 cresc. Tim. Vl. cresc. s cresc. cresc. cresc. s DCM 007

36 20. Tim. Vl. s s s s s s 2 DCM 007

37 26 F Tim. Vl. DCM 007

38 Tim. Vl. 4 DCM 007

39 40 Tim. Vl. DCM 007 5

40 47 G Tim. Vl. 6 DCM 007

41 54 Tim. cresc. Vl. div. unis. DCM 007 7

42 60 cresc. cresc. cresc. cresc. cresc. cresc. cresc. cresc. cresc. Tim. Vl. cresc. cresc. cresc. 8 DCM 007

43 66 dim.. Tim. Vl. dim. dim. dim. dim. dim. DCM 007 9

44 75 H. Vl. simile simile 8. Vl. 40 DCM 007

45 Vl. Vl. 87 izz. 9. m.... DCM 007 4

46 99.. z Tim. Vl. 42 DCM 007

47 206. s. Tim. Vl. s arco DCM 007 4

48 2 Tim. cresc. Vl. 44 DCM 007

49 220 I Tim. Vl. DCM

50 226 Tim. Vl. div. unis. div. unis. simile simile 46 DCM 007

51 22 m m m m Tim. Vl. m div. unis. div. m m DCM

52 28 Tim. Vl. unis. 48 DCM 007

53 Vl. Vl s s s s s cresc. cresc. cresc. cresc. s s s s s DCM

54 257 Tim. Vl. 50 DCM 007

55 26 Tim. Vl. DCM 007 5

56 Vl. 270 solo solo solo tutti 278 Vl. solo tutti 52 DCM 007

57 286 solo K solo solo Tim. Vl. DCM 007 5

58 29 Tim. Vl. 54 DCM 007

59 0 Tim. Vl. DCM

60 08 Tim. Vl. 56 DCM 007

61 5 Tim. Vl. DCM

62 22 Tim. Vl. izz. 58 DCM 007

63 29 Tim. Vl. arco DCM

64 6 cresc.. cresc. cresc.. cresc. cresc. Tim. Vl. cresc. cresc. cresc. cresc. cresc. 60 DCM 007

65 Vl. 4.. Tim. Vl izz. izz. div. izz. DCM 007 6

66 56. cresc. cresc.. cresc. cresc. Tim. Vl. arco cresc. arco cresc. cresc. s s s unis. arco 62 DCM 007

67 6 Tim. Vl. semre cresc. DCM 007 6

68 L 70 Tim. Vl. izz. 64 DCM 007

69 76 Tim. Vl. arco DCM

70 82. Tim. Vl. 66 DCM 007

71 88 Tim. Vl. DCM

72 94 M Tim. Vl. 68 DCM 007

73 400 Tim. Vl. DCM

74 406 Tim. Vl. 70 DCM 007

75 44 N. Vl. dim. dim. simile dim. simile dim. dim. 42. Vl. DCM 007 7

76 428 Vl. izz. 44 Vl. 72 DCM 007

77 440.. Vl Tim... Vl. cresc. cresc. cresc. cresc. cresc. DCM 007 7

78 452. Tim. Vl. arco 74 DCM 007

79 458 Tim. Vl. DCM

80 464 O Tim. Vl. m m m 76 DCM 007

81 469 m m m m m m m Tim. Vl. m m DCM

82 474 m m m m. Tim. Vl. m m m m m 78 DCM 007

83 480 Tim. Vl. DCM

84 486 Tim. Vl. s s s s s s s s s s 80 DCM 007

85 492 Tim. Vl. cresc. cresc. cresc. cresc. cresc. DCM 007 8

86 498 Tim. Vl. 82 DCM 007

87 504 P solo Tim. Vl. DCM 007 8

88 5. solo solo Tim. Vl. solo 84 DCM 007

89 57. solo solo Tim. Vl. tutti solo DCM

90 525 Vl. s s tutti Tim. Vl. 55 s s s s s s s 86 DCM 007

91 Tim. Vl. 54 simile simile o co a semre cresc. o co a simile simile simile Tim. Vl. 547 o co ac cel le ran - o co ac cel le ran - DCM

92 do e cre scen do Tim. Vl do e cre scen do 88 DCM 007

93 Q Prestissimo 558 Tim. Vl. Prestissimo al ine al ine al ine al ine al ine DCM

94 565 Tim. Vl. 90 DCM 007

95 572 Tim. Vl. DCM 007 9

96 578 R. Cor. (F) 4 Tim. Vl. trem. trem. 92 DCM 007

97 585. Tim. Vl. DCM 007 9

98 59. Tim. Vl. 94 DCM 007

99 60 S. Tim. Vl. DCM

100 608 Tim. Vl. 96 DCM 007

101 65 Tim. Vl. DCM

102 622 Tim. Vl. 98 DCM 007

103 629 Tim. Vl. DCM

104 66 Tim. Vl. 00 DCM 007

105 64 Tim. Vl. DCM 007 0

106 65 Tim. Vl. 02 DCM 007

107 CRITICAL COMMENTARY ABBREVIATIONS b. bar bb. bars brass brass instruments cb. contrabbasso cl. clarinetto cor. corno div. divisi DK-Kk Det Kongelige Bibliotek, København (The Royal Library, Coenhagen) g. agotto l. lauto ol. olio ols. olios marc. marcato ob. oboe. age. ages stacc. staccato str. strings tim. timani tr. tromba trb. trombone alto trb.b. trombone basso trb.t. trombone tenore trem. tremolo v viola vc. violoncello vl. violino woodw. woodwind instruments DESCRIPTION OF SOURCES A Score, drat, autograh B Instrumental arts, transcrit C Score, air coy, transcrit A Score, drat, autograh. DK-Kk, C II, 7k, mu Title on irst age: Ouverture til Marsk Stig, with autograh signature P[eter]H[eise] in encil at to right corner. Bequest rom Vilhelmine Heise, x.9 cm, 28 olios, ol. r unaginated, ols. v 28 r aginated 2 55 in encil, ol. 28 v blank; written in ink; in quarter cloth binding with marbled sides. Paer tye: 20 staves (hand-ruled). Numerous changes and additions (resumably all by PH) which all can be divided into our distinct stages: ) changes in same ink as original music made in connection with, or just ater, the irst notation; 2) additions in red crayon, dealing in articular with reinorcement o the sound in the brass instruments; ) B early changes and additions in encil, esecially comletion o hrasing and dynamics; 4) later changes and additions in encil, esecially cancellations o sections with new transitions added. The two irst sets o changes are nearly all to be ound in Musikoreningen s score (Source C) and thus made between 855 and February 858. The early changes in encil are in most cases added in ink in Musikoreningen s arts (Source B), robably in 858 or 865. Since the latest markings in encil (that is, cuts) agree with the autograh score o the oera overture in Drot og Marsk, Source A has clearly been used as a oint o dearture or the revision o the overture in connection with the arrangement o the air coy o the oera in 877/78 (see introduction). The source includes two sets o disosition markings (agination) which agree with Musikoreningen s score (C) and the later air coy o the oera, resectively. Instrumental arts, transcrit. DK-Kk, M 592. Title on cover o vl.(): Violino mo / N o. / Heise / Marsk Stig Ouverture. Transerred to The Royal Library rom Musikoreningen, 97. x24.7 cm, 5 instrumental arts (2 l., 2 ob., 2 cl., 2 g., 4 cor., 2 tr., trb., trb.t., trb.b., tim., 5 vl., 4 vl.2, v, 5 vc./ cb.); written in ink in the same hand as Source C; additions in ink, encil, and crayon; each art consists o one gathering, sewn and asted together in a cover o blue aer. Covers are stamed 592. at to let corner. Paer tye: 2 staves (hand-ruled). Source B contains a air amount o additions and corrections in ink o the same colour as the original text, and hence in some instances it is diicult to distinguish between them. Some o the additions are added in a oreign hand. Furthermore, a ew additions are made in encil and red and blue crayon. As Source C, Source B has robably been emloyed at the overture s irst erormance at Musikoreningen 27 February, 858. C Score, air coy, transcrit. DK-Kk, C II, 4. Title on cover: Heise P. / Ouverture til Marsk Stig / Partitur ; label on ront cover: Musikoreningens Archiv. Partitur. / Heise P. / Ouverture: Marsk Stig / A. No Title age: Ouverture / til / Marsk Stig / comoneret / a / P. Heise ; autograh dedication Til / Musikoreningen / ra / P. Heise added at to right corner. Date on title age: Febr Transerred to The Royal Library rom Musikoreningen, 97. Paer tye: 6 staves (hand-ruled)..x25.6 cm, 50 olios written in ink; in hal leather binding with marbled sides. ol. r title age (unaginated) ol. v unaginated ols. 2 r 50 r. 99 ol. 50 v blank DCM 007 0

108 The source contains ew additions in encil, esecially comletion o dynamic markings and cuts corresonding to the later oera overture o Drot og Marsk. The cuts are aarently later than the other encil markings as dynamic markings added in encil on are cancelled by the cuts. EVALUATION OF SOURCES Source A, which is the only source to the Marsk Stig overture in Heise s hand, has been elected as coy text or the resent edition. However, the source contains at least our dierent layers o changes, artly rom beore or between the erormances o the overture in the Musikoreningen and artly rom a later revision made in connection with the comosing o the oera Drot og Marsk in It is thereore extremely diicult to reroduce the work reresenting a articular time using only A as basis. Sources B and C are thereore emloyed as indicators o which changes in A were valid beore the revision in the 870s. Additions and changes in red crayon in A, as well as some o the additions in encil, are also ound in B and C and are thus earlier, that is beore February 858 when the coies or the irst erormance were made. Musikoreningen s orchestral material (Source B) and score (Source C) were made by the same coyist. The orchestral arts were aarently not reared emloying Musikoreningen s score, but just as Source C they were coied directly rom Heise s holograh score (Source A); this is evident rom a number o coying errors in Source C (e.g. vc. bb , l.2 bb. 9 92) which are not ound in the orchestral arts. Most o the additions in encil in A have also been included in ink in B and must thereore date rom the time beore or around the erormances in Musikoreningen (i.e. not later than 865), even i they have not been included in C. Thus the orchestral material reresents one o the comoser s revised versions o the overture and is thereore given more imortance in the evaluation o variants than Source C. The edition aims at reresenting the overture as it was intended by Heise in connection with the last erormance in Musikoreningen in 865. The additions in encil in A, which are not ound in Musikoreningen s coies, have thereore not been taken into consideration since they are interreted as changes made during the work on Drot og Marsk. Heise has notated analogous assages in varying degrees o comleteness and with numerous, oten contradictory deviations not least in terms o slurring and dynamics; a consistent notation has in general thereore not been attemted in these instances. Similarly, vertical comletions across dierent instrument grous have only been made in assages where Heise seems to imly that an exact agreement is intended. The interretation o Heise s notation o slurs is at times diicult as he oten starts a slur rather beore the irst note and ends it somewhat ater the last note; thus the length o slurs may be hard to determine. In connection with the transition rom one system to another as well as at age turns, it might be diicult to establish whether slurs should be interreted as one single or two searate slurs. In these instances, the resent edition bases as ar as ossible its interretation on both vertical and horizontal analogies. On staves with two instruments, Heise urthermore oten notates only one single slur, even in assages notated with double stems. In assages which could have been notated with single stems or a due, it is resumed that the slur alies to both instruments; the emendation is made without comment. Oten Heise notates short crescendo and diminuendo wedges with beginning and ending laced rather inconsistently. The length and the lacement o these wedges has in general been normalized tacitly. Heise requently notates dynamic markings between staves only where they in most cases with certainty aly to both staves. This ertains in articular to vl.,2 and vc./cb., but may also be seen in the woodwind and brass instruments. As a main rule, such markings are interreted as alying to both staves and are edited accordingly without comment. In some instances, Heise only notates dynamics at vl. and cb. which the editor has interreted as alying or the whole grou o strings. When the marking is added in the resent edition, it has been noted in the commentary as made by analogy with vl., cb. VARIANT READINGS AND EDITORIAL EMENDATIONS The extensive additions and corrections in Source A are so numerous that a comlete listing is not meaningul; the interested reader is thereore encouraged to consult the acsimile edition o the manuscrit at which enables the reader to study the details regarding the work s early comositional history. Additions and corrections are only described when they are considered to be o secial interest or to have a relation to variants and changes in the other sources and hence serve to illustrate the basis or editorial emendations o the musical text. Changes and additions which, on the basis o a comarison with the other sources, seem to have been introduced in connection with the later revision o the overture to the oera, Drot og Marsk, are marked with the comment later revision. Bar Part Comment l. C: lutes and 2 written on searate staves tr. B: trumets in F instead o trumets in D 24 cl. A: originally written or clarinets in A, cancelled in ink and written or clarinets in B b below system vc. vc. cb. C: col Basso A, B: rest to note 4: œ œ œ œ changed to œ œ œ œ in encil (A) and ink (B); C: rest to note 4: œ œ œ œ ob. cl. g. m added by analogy with b. and v 4 vc. cb. A, B: rest to note 5: œ œ œ œ œ changed to œ œ œ œ œ in encil (A) and ink (B); C: rest to note 5: œ œ œ œ œ 7 tim. C: Ÿ~~~ continues to b.8 note 7 vl.,2 B: note : ; notes 4: ; A, B: rest to note 4: œ œ œ œ changed to œ œ œ œ in encil (A) and ink (B); C: rest to note 4: œ œ œ œ 7 v A, B: rest 2 to note 5: œ œ œ œ changed to œ œ œ œ in encil (A) and ink (B); C: rest 2 to note 5: œ œ œ œ 7 vc. A, B: rest to note 4: œ œ œ œ changed to œ œ œ œ in encil (A) and ink (B); B: note : ; notes 4: ; C: rest to note 4: œ œ œ œ 7 0 vc. B: one slur instead o two 8 vl. emended to by analogy with vl.2, v, vc. 04 DCM 007

109 8 v vc. A: added in red crayon; B: added in ink; C: added in encil 8 cb. emended to by analogy with vl.2, v, vc.; C: added in encil cl. m added by analogy with the other arts v m added by analogy with the other arts; added by analogy with vc. vc. m added by analogy with the other arts 2 vl.,2 notes 2: slur added by analogy with b. and l., ob.; C: slur added in encil l. notes : slur added by analogy with b.22 l.2 ob. notes 2: slur added by analogy with b.22 and as in B (l.2) vl. notes : slur added by analogy with b.22 vl.2 notes 2: slur added by analogy with b.22 4 l. cl. note 6, 2: stacc. added by analogy with b. 22 (l.) and vl.; note 8: stacc. added by analogy with vl.; A: added in encil; B: added in ink; C: no dynamic markings 4 cor. A: m changed to in encil; B: ; C: m 4 cor.2,,4 A: m changed to in encil; B: m changed to in encil; C: m 4 vl. A: added in encil; B: added in ink 4 vl.2 v vc. added by analogy with b. 5 and cb.; A: added in encil; B: added in ink 4 cb. A: added in encil; B: added in ink 5 l. note : added by analogy with the other arts; note 6, 2: stacc. added by analogy with b. 2 (l.) and vl.; note 8: stacc. added by analogy with vl.; B: note : added in ink 5 vl. note : added by analogy with the other arts; A, B: notes 9 2: œ œœœœ changed to œ œ œ œ œ in encil (A) and ink (B); C: notes 9 2: œ œœœœ 5 vl.2 A: added in encil; B: added in ink; A, B: last hal: œ œ œ œ œ changed to œ œ œ œ œ in encil (A) and ink (B); C: last hal: œ œ œ œ œ œ 5 v note : added by analogy with the other arts; B: added in ink; A, B: notes 4 8: œ œœœœ changed to œ œ œ œ œ in encil (A) and ink (B); C: notes 4 8: œ œœœœ 5 vc. note : added by analogy with the other arts; B: added in ink 5 cb. A: added in encil; B: added in ink 6 l. B: ; C: added in encil 6 8 vl. B: slur begins at b.6 note instead o b.6 note 2 and ends at b.8 note 2 instead o b.8 note 6 vc. notes 5 7: œ œ œ emended to œ œ œ by analogy with l., vl., v and as in B, C 7 l. dim. added by analogy with vl.; B: dim. added in ink; B, C: notes 8, 2: b b 7 ob. dim. added by analogy with vl.2; B: dim. added in ink 7 str. A: dim. added in encil; B: dim. added in ink 8 l. added by analogy with vl.; B: notes 4: added in ink 8 ob. added by analogy with vl.2; B: notes : added in ink 8 vl. end o slur emended rom note 2 to note 4 by analogy with b. 0; A: notes 5: added in encil; B: notes 4: ; C: no 8 vl.2 A: notes 2 4: added in encil; B: notes 2 : added in ink ; C: no 8 v vc. end o slur emended rom note 2 to note 4 by analogy with b. 0 9 cl. g. cor.,4 added by analogy with the other arts 9 vl. B: notes 2: slur added irst in encil, then in ink 22 l. note 8: stacc. added by analogy with vl.; A: m changed to in encil; B: m changed to in ink; C: m 22 cl. added by analogy with l., vl.; added by analogy with b.4 and l., vl.; notes 6, 2: stacc. added by analogy with l., vl.; note 8: stacc. added by analogy with vl. 22 cor. vl. A: m changed to in encil; B: m changed to in ink; C: m 22 vl.2 added by analogy with b.4 and the other arts; B: added in ink 22 v A: added in encil; B: added in ink 22 vc. A: added in encil; B: m changed to in ink 22 cb. A: m changed to in encil; B: m changed to in ink 2 l. A: added in encil; B: m changed to in ink; note 8: stacc. added by analogy with b.5 (vl.) 2 ob. A: added in encil; B: added in ink 2 cl. added by analogy with l.; added by analogy with b.5 and l., vl.; notes 6, 2: stacc. added by analogy with l., vl.; note 8: stacc. added by analogy with b.5 (vl.) 2 g. added by analogy with ob. 2 vl. added by analogy with l.; note 8: stacc. added by analogy with b.5; A, B: notes 9 2: œ œœœœ changed to œ œ œ œ œ in encil (A) and ink (B); C: notes 9 2: œ œœœœ 2 vl.2 A: added in encil; B: added in ink; A, B: last hal: œ œ œ œ œ changed to œ œ œ œ œ in encil (A) and ink (B); C: last hal: œ œ œ œ œ œ 2 v slur added by analogy with b. 5, vc. and as in B, C; A: added in encil; B: added in ink 2 vc. cb. A: added in encil; B: added in ink 24 l. slur and added by analogy with original notation in A and as in B, C; A: cancelled in encil, change added in encil below system; B: notes changed in ink 24 cl. slur added by analogy with l. and as in B, C; added by analogy with original notation in A and as in B, C; A: cancelled in encil, change added in encil below system; B: notes changed in ink 24 vl. B: notes 5: slur beginning at note instead o note 2 24 vc. C: notes 5: slur beginning at note instead o note vc. B: lower art missing 25 ob. slur and added by analogy with original notation in A and as in B, C; rest 2: - emended to Œ as in B, C (ob.); A: cancelled in encil, change added in encil below system; B: notes changed in ink DCM

110 25 ob.2 C: - 25 cl. slur added by analogy with l. and as in C; added by analogy with l., g. and as in C; B: slur and added in ink 25 g. notes 2 5: slur added by analogy with ob. and as in B, C 25 cor.,4 tr. emended rom b.26 note as in B, C; A: rests changed to notes in red crayon, but retaining in b tim. added by analogy with cor.,4, tr. 25 vl.2 v vc. cresc. added by analogy with vl., cb. and as in B, C 26 ob. emended rom b.28 note to b.26 by analogy with l., g. and as in B, C 26 cl. added by analogy with l., g. and as in B, C 26 vl. trem. added 26 vl.2 v added by analogy with vl., vc., cb. and as in B, C; trem. added 26 vc. trem. added 27 vl.2 B: cresc 28 tim. C: tim. B: instead o crescendo 28 vl. B: cresc vl.2 v C: slur ends b.29 note 7 0 cl. A: -, changed in encil; B: -, changed in ink; C: - 2 ob. A: notes 2: slur added in encil (later revision) 2 vl. added by analogy with the dynamic level in ob. 2 cb. added by analogy with the dynamic level in vl.2, v, vc. ob. end o emended rom note 2 to note 4 by analogy with vl., v vl. beginning o emended rom note 2 to note by analogy with ob., v vl.2 added by analogy with v and as in B, C 4 vl.2 and added by analogy with v and as in B, C 4 vc. added by analogy with g., cor.,2 and as in C 5 vc. div. added 6 ob. added by analogy with vl. b 6 g. note 2: e emended to e by analogy with vc. 6 cor. added by analogy with the dynamic level in the other arts 7 ob. added by analogy with vl. 7, 8 g. added by analogy with b.6 and vc. and as in C (b.7) 7 vc.2 C: note : n added in encil 8 4 g.2 cor.4 C: rests missing n 40 l.2 C: note : d 40 ob. added by analogy with l., cl. 40 cl. semre cresc. added by analogy with l., ob., vl., vc. and as in C 40 g. cresc. at note 4 emended to semre cresc. at note by analogy with l., ob., vl., vc. 40 cor. cresc. in 2 nd hal o bar emended to semre cresc. at note by analogy with l., ob., vl., vc. 40 vl.2 v cb. semre cresc. added by analogy with l., ob., vl., vc. and as in C 4 ob. added by analogy with l., cl cl.2 B, C: tie/slur 42 ob. added by analogy with l., cl l. b.4 note 2 to b.46 rest 2: reconstructed rom B; A: aer damaged 4 45 ob. b.4 note 4 to b.45 note 2: reconstructed rom B; A: aer damaged 4 ob. added by analogy with l., cl. 44 tr. beginning o tie added as in B, C; A: bb.44 45: age turn 44 tim. added by analogy with the other arts and as in B, C 44 vc. unis. added ob. slur added by analogy with cl.2 and as in C 45 cl. added by analogy with the dynamic level in the other arts vl. B, C: b.45 note 2 to b.46 note : marc. instead o strong marc. 46 trb.b. added by analogy with the dynamic level in the other arts cl. slur added by analogy with bb (cl.2) and as in B, C vl. strong marc. added by analogy with bb ob.2 B, C: note : e 48 vc. cb. notes 2 4: strong marc. added by analogy with b cl. slur added by analogy with bb (cl.2) and as in B, C 50 A: ritenuto at beginning o bar changed to rit. at 2 nd in encil 50 ob. cl. g. brass vl.2 added by analogy with l., vl.., vc. and as in B, C (ob., cl., cor., tr., trb., trb.b.) 50 v div. added as in B; added by analogy with l., vl.., vc. and as in B, C 50 vc. notes 2 4: strong marc. added by analogy with b cb. notes 2 4: strong marc. added by analogy with b.46; added by analogy with l., vl.., vc. and as in B, C 5 B: c changed to C in encil, blue crayon (cor.) and red crayon (cor.2, trb.b) 5 vl.2 A: added in encil; B: changed to in ink; C: 5 v unis. added; A: added in encil; B: changed to in ink; C: 5 vc. B: c changed to C in blue crayon; A: added in encil; B: changed to in ink; C: 5 cb. B: c changed to C in blue crayon 52 g. A: added in encil; B: changed to in ink; C: 52 vl. A: changed to in encil; B: changed to in ink; C: 52 5 v vc. b.52 note to b.5 note : slur added by analogy with bb cb. b.52 note 2 to b.5 note : slur added by analogy with bb vl.2 A: cancelled in encil; B: cancelled in ink; C: 5 v vc. A: cancelled in encil; B: changed to in ink; C: 54 vl.2 v vc. cb. added by analogy with b ob. A: changed to s in encil; as similar changes are made in B (though in other arts than ob., see below) this change in A is not regarded as art o a later revision; B, C: 55 cor. A: changed to s in encil (resumably on the same occasion as the changes in the other arts), changed to in encil (later revision) 55 vl.,2 v A: changed to s in encil; B: changed to s in ink; C: 55 vc. cb. A: changed to s in encil; B: changed to in ink; C: 56 ob.2 note : added by analogy with the dynamic level in the other arts ob.2 b.56 note to b.57 note : slur added by analogy with ob. and as in B ob.2 b.57 note 2 to b.58 note : slur added by analogy with ob. and as in B 57, 58 vl.,2 v vc. A: changed to s in encil; B: changed to s in ink; C: 06 DCM 007