JOHANNES FREDERIK FRØHLICH

JOHANNES FREDERIK FRØHLICH SYMFONI I ES-DUR, OPUS SYMPHONY IN E FLAT MAJOR, OPUS

JOHANNES FREDERIK FRØHLICH SYMFONI I ES-DUR, OPUS SYMPHONY IN E FLAT MAJOR, OPUS København 20 UDGIVET AF EDITED BY LISBETH AHLGREN JENSEN

Cover design English translation DCM ISMN 20 Willeru & Dan A. Marmorstein 00 979-0-900824-9-4 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://www.kb.dk/da/kb/nb/mta/dcm March 20

JOHANNES FREDERIK FRØHLICH, SYMFONI I ES-DUR, OPUS Komonisten Johannes Frederik Frøhlich (806-860) indtager en lidt tilbagetrukken rolle i dansk musikhistorie, til trods or at han som ung tegnede til at ville å en glimrende karriere. Han var søn a en militærmusiker og otrådte allerede som 8-årigt vidunder barn å løjte, violin og klaver. En ældre bror a ham, Joseh Frøhlich (796-840), var cellist, og søsteren Anthonette Frøhlich var git med musikeren Gottlob Friedrich (Frederik) Kittler (780-89), der ligeledes var med til at sikre den unge Frøhlich en ovækst med masser a musikalske udoldelsesmuligheder. Svogeren var således en a hans ørste lærere, og yderligere imulser til at dygtiggøre sig som instrumentalist ik Frøhlich, eter at han med succes i 85 og 86 havde otrådt i Det Harmoniske Selskab og Det Venskabelige Selskab i København 2. Kammerråd Claus Christian Bang (778-855) åtog sig at sørge or Frøhlichs skoleuddannelse, mens kaelmester Claus Schall (757-85) å en anbealing ra komonisten C.E.F. Weyse (774-842) ik til ogave at undervise ham å violin. Komositionsundervisning modtog Frøhlich a såvel Weyse som a Fr. D. Kuhlau (786-82), og a en bevaret stambog indeholdende en mængde kanoner kan man se, at navnlig undervisning i kontraunkt må have otaget ham meget. Det blev imidlertid som udøvende musiker å violin, Frøhlich ørst gjorde sig bemærket. I 82 blev han elev i Det Konge lige Kael, og han rykkede snart rem i geledderne, så han ra 827 til 86 virkede som korsyngemester og ra 86 til 844 side om side med Peter Ferdinand Funck og Ivar Bredal som kaelmester. I de sidste 6 år a sit liv levede han uden ast arbejde. Sideløbende med sin ansættelse i kaellet otrådte Frøhlich som solist ved en række koncerter, og ote stod komositioner a ham selv å rogrammet. Også til orestillinger å Det Kongelige Teater, tyisk til vaudeviller og balletter, komonerede han musik. En a de å komositioner, der har holdt hans navn i hævd, er neto komoneret til en ballet. Det drejer sig om Riberhus-March, der indgår i August Bournon villes (805-879) ballet Erik Menveds Barndom (84). Foruden musik or sit eget instrument, violinen, komonerede han adskilligt or løjte og ikke mindst or valdhorn, hvorimod vokal musik er så godt som raværende ra hans roduktion. I årene 829 til 8 oretog han med støtte ra Fonden ad Usos Publicos en studierejse, der havde som ormål at gøre ham bekendt med de bedste Syngemethoder og desuden udvide hans indsigt i komosition. 4 Formålet med hans rejse var altså Angående stavemåden inder man også komonistens navn stavet Frølich; her er valgt navneormen, som er anvendt å hans autograe manuskrit til symonien. 2 Lis H. Sander, J. F. Frøhlichs orkestermusik, belyst ved en gennemgang a symoniske værker og violinkoncerter. Utrykt seciale i Musikvidenskab, Københavns Universitet, (979), s.. Frølich, Johan Frederik: Musik-Stambog. Manuskrit, autogra. Musik historisk Museums Bibliotek. DK-Km. 4 Sander, o. cit., s. 5. ortrinsvis, at han skulle dygtiggøre sig med henblik å embedet som korsynge mester; men vokalmusik lader, som tidligere nævnt, dog ikke til at have interesseret ham i nær så høj grad som instrumental musik. Det var under rejsen, der bragte ham til Hamburg, Hannover, Kassel og Frankurt am Main, Paris, Firenze, Rom og Naoli, han komonerede symonien i Es-dur, der ik ousnummeret. Et andet større værk, der blev til under denne rejse, er hans violin koncert i Es-dur, ous 0, der er komoneret i Paris og ærdig instrumenteret i Rom. Ikke uventet asejler disse værker noget a det musikalske tonesrog, han stitede bekendtskab med i udlandet: Komonister som Heinrich Sohr, Luigi Cheru bini og Jaques Halévy må have overbevist ham om eekten a en storladen instrumentation, mens violinisterne Pierre Rode og Rodolhe Kreutzer åbnede hans ører or den virtuose violinmusik. I Rom kom Frøhlich til at indgå i den selskabelige kreds a navnlig billed kunsterne, der omgav Bertel Thorvaldsen, og insirationen til de mange olkelivsskildringer, der ræger Frøhlichs musik til Bournonvilles balletter, blev grundlagt her. Frøhlichs eneste andet orsøg med symoni-genren er en inalesats i C-dur, der er dateret 826, og som så vidt vides aldrig har været oørt. 5 Hans symoni i Es-dur o., der bærer titlen Symhonie à grand Orchestre, blev ørsteoørt ved en atenunderholdning å Det Kongelige Teater 8. aril 8 under ledelse a violinist og reetitør ved Det Kongelige Teater Frederik Wexschall (798-845). Programmet ved den ågældende atenunderholdning, der kendes ra omtaler i to aviser, 6 var særdeles blandet og omattede oruden Frøhlichs symoni en concertino a den bøhmiske komonist Johannes Kalliwoda (80-866), en dobbeltkoncert or to violiner a den tyske violinist og komonist Ludwig Maurer (789-878) og et variationsværk or violin a den østrigske violinist og komonist Franz Pecháček (79-840). De medvirkende i musiknumrene var musikere ra Det Kongelige Kael, og som noget karakteristisk or atenunderholdninger å den tid var også en række a teatrets sangere og skuesillere involveret i rogrammet med sangnumre eller deklamation. For at illustrere nogle a de mere tilældige omstændigheder ved en sådan begivenhed kan nævnes, at der i det orindelige rogram var annonceret asyngelsen a en nykomoneret Dansk Soldatersang a J.P.E. Hartmann (805-900). 7 Men å grund a ludseligt ostået sygdom hos hele tre a de medvirkende sangere blev sangen erstattet a en recitation a Hartmanns melodrama Guldhornene, 8 ligesom en lanlagt 5 Sander, o. cit., s. 8. Symonisatsen er bevaret i autogra, omatter 24 aginerede sider i tværolio og er bevaret i Det Kongelige Bibliotek. DK-Kk. 6 Kjøbenhavnsosten 6. Aril 8 og 9. Aril 8. Avisen Dagen bragte 0. Aril 8 en omtale a atenunderholdningen, der var næsten enslydende med Kjøbenhavnsostens ra den oregående dag. 7 Kjøbenhavnsosten 6. Aril 8. 8 Kjøbenhavnsosten 9. Aril 8 DCM 00

remørelse a den svenske digter Anna Maria Lenngrens (755-87) satire Et Genies Levnetsløb i sidste øjeblik måtte erstattes a Johann Hermann Wessels (742-785) Contrasterne, ordi teatercensuren ikke havde acceteret stykket. 9 Frøhlichs symoni omatter ire satser, som blev sillet arvis som indledning til hver a atenunderholdningens to adelinger. Satserne var arret sammen i en tung og en let sats: den tunge og stærkt kontraunktiske allegro sammen med den dansante og lystige menuet og den alvorlige andante sammen med den traditionelt lette rondo. Der var således ikke mulighed or at høre symonien som en helhed, og å baggrund a de omattende orberedelser, det blandede rogram må have krævet, ik den næe otimale oørelsesbetingelser. I Kjøbenhavnsosten 9. aril 8 og i Dagen 0. aril blev den remhævet som en aanduld og ortræeligt instrumenteret Comosition, og selv om en unavngiven skribent i januar 84 i Kjøbenhavnsosten oordrede til at lade symonien oøre igen, skete det tilsyneladende ikke. Argumenterne var, at det store ublikum, som converserer under saadanne Musikstykker, vil vist intet have derimod, og Kjendere ville have Lejlighed til, ved Gjentagelsen at gøre nøjere Bekjendtskab med et Værk, der ligesaavel ortjener det, som ordrer det, or ret at blive orstaaet. 0 Symonien blev senere omtalt i Allgemeine musikalische Zeitung i sammenhæng med en beretning om sæsonens københavnske musikbegivenheder, og her bedømtes den til at være skrevet in einem gelehrten und künstlichen style, som kun kendere ormodedes at interessere sig or. Set i lyset a at Frøhlich blot et ar år eter udegedes til at være ormand or den nystitede Musikoreningen i København, kan det undre, at der ikke kan dokumenteres en oørelse a hans symoni ved en a Musikoreningens koncerter. 2 En mulig orklaring kan være, at ersonlige orhold som en langvarig sygdomseriode, bortrejse eller slet og ret beskedenhed orhindrede ham i at romovere symonien. En anden orklaring kan være, at der som antydet i Kjøbenhavnsosten endnu ikke var grobund or den slags symonisk musik i København. Symonien ik eterølgende en ulykkelig skæbne og gjaldt i mange år or at være gået tabt. Den blev oregnet å en ortegnelse over Frøhlichs komositioner, som Musikoreningens daværende ormand Christian Barnekow (87-9) i 887 tilstillede musikhistorikeren S.A.E. Hagen. 4 Men det viste sig senere, at symonien sammen med Musikoreningens øvrige bestand a Frøhlichs komositioner ikke var til at lokalisere. Imidlertid blev musikhistorikeren Sven Lunn, der gennem en årrække var leder a Det Kongelige Biblioteks musikadeling, gjort omærksom å, at Musikaliska Akademien i Stockholm var i besiddelse a Frøhlichs symoni (å titelbladet ganske vist angivet F. Fröhlich). 5 Partituret og de tilhørende stemmer viste sig ved nærmere granskning at være askrevet a en koist ved navn Lanzky, 6 der askrev lere artiturer or Det Kongelige Teater i 80erne, og med sulerende undersøgelser a musikkens stilistiske træk mente Lunn hereter at kunne astslå, at det med sikkerhed drejede sig om den danske Johannes Frederik Frøhlichs symoni. En otograisk koi a artituret blev hereter erhvervet a Det Kongelige Bibliotek og indlemmet i bibliotekets samling a manuskriter. Men det skulle blive bedre. En gennemgang a Det Kongelige Danske Musikkonservatoriums bestand a noder, som Knud Jeesen i 944 oranstaltede, bragte nemlig det originale artitur og stemmerne til Frøhlichs symoni or dagen. 7 Materialet andtes i et lille alukke under lotet og var dækket a årtiers støv, hvilket orklarer, at ingen reagerede å de eterlysninger, der ved lere lejligheder havde været a symonien. 8 På baggrund a den i 940 odukkede askrit i Stockholm lod Lunn symonien askrive a arbejdsløse musikere, der herved bidrog til at øge eller bevare Det Kongelige Biblioteks bestand a noder, samtidig med at artituret blev askrevet med en moderne ostilling a instrumenterne. 9 Flere koncertoørelser og en cdindsilning er blevet realiseret å basis a det nævnte materiale, mens en trykt udgave a oørelsesmaterialet hidtil ikke har oreligget. Til grund or nærværende udgave a Frøhlichs symoni i Esdur, o. er her lagt det autograe artitur, A, mens B har agivet varianter. Lisbeth Ahlgren Jensen 9 Ibid. 0 Citeret eter Sander, o. cit., s. 8 Allgemeine Musikalische Zeitung, 84. Januar. No. 2. Salte 29. 2 V.C. Ravn hævder i Koncerter og musikalske Selskaber i ældre Tid (Festskrit i Anledning a Musikoreningens Halvhundredaarsdag), Bd., København, 886, s. 8, at genoørelsen a Frøhlichs symoni var en a de Ogaver, or hvis Løsning Stitelsen a Musikoreningen blev a den allerstørste Betydning. I 88 rejste Frøhlich å rekreation til Rom med regatten Rota, der skulle hjembringe Bertel Thorvaldsens værker til Danmark. 4 Fortegnelsen er bevaret i Hagens Samling, 20, 4 0, Materiale til Musikerbiograier C-F-, Det Kongelige Bibliotek. DK-Kk. 5 Sven Lunn, Frøhlichs Symoni i Es-dur, Dansk Musiktidsskrit, 940, s. 56-6. 6 Johan Traugott Lanzkys virkede som agottist i Det Kongelige Kael 88 til sin død i 858 og ungerede desuden i 80erne som koist or kaellet. 7 Knud Jeesen, Et Nodeund aa Konservatoriet, Dansk Musiktidsskrit, 945, s. 4-46 og s. 67-70. 8 Richard Hove havde således eterlyst den i en kronik i Nationaltidende 0. marts 929, og Sven Lunn havde både eterlyst den i Dansk Musiktidsskrit og i en radioudsendelse (j. Sven Lunn, Lumbye, Frøhlich, Grieg, Dansk Musiktidsskrit, 944, s. 46). 9 Partitur og 6 instrumentalstemmer indes i Egne Askriter, Orkesterbiblioteket. Dk-Kk. 2 DCM 00

JOHANNES FREDERIK FRØHLICH, SYMPHONY IN E FLAT MAJOR, OPUS The comoser Johannes Frederik Frøhlich (806-860) occuies a somewhat humble osition in Danish music history, desite the act that when he was a young man, it looked like he had a brilliant career ahead o him. Johannes Frederik Frøhlich was the son o a military musician and was already erorming as a rodigy on lute, violin and iano at the age o eight. His older brother, Joseh Frøhlich (796-840), was a cellist. His sister, Anthonette Frøhlich, was married to the musician, Gottlob Friedrich (Frederik) Kittler (780-89), who, as one o Johannes Frederik s irst teachers, also contributed to ensuring that the young Frøhlich was being raised with amle oortunities or unurling his musical talents. Frøhlich was stimulated even urther to erect his skills as an instrumentalist ater a successul aearance in 85 and 86, at Det Harmoniske Selskab [The Harmonious Society] and Det Venskabelige Selskab [The Friendly Society] in Coenhagen. 2 Counsellor Claus Christian Bang (778-855) took on the resonsibility o making sure Frøhlich was being roerly schooled, while the conductor Claus Schall (757-85), acting on a recommendation rom the comoser C.E.F. Weyse (774-842), was entrusted with the task o being his violin teacher. When it came to being instructed in comosition, Frøhlich was taught by Weyse as well as by Fr. D. Kuhlau (786-82) and an examination o an extant album containing several canons serves to substantiate that, in articular, the lessons in counteroint must have absorbed his attention. However, it was as a violinist that Frøhlich irst distinguished himsel. In 82, he became an arentice in Det Kongelige Kael [The Royal Danish Orchestra] and he quickly moved u the ranks with the result that already by 827, he was romoted to the ost o choirmaster. He continued with this task until 86, when he was asked to work alongside both Peter Ferdinand Funck and Ivar Bredal as Kaellmeister, which he did until 844. For the last 6 years o his lie, Frøhlich lived without having any steady job. Concurrently with his aointment in the orchestra, he aeared as a soloist at a number o concerts and oten, his comositions were art o the rogram. He also comosed music or The Royal Theatre, tyically or vaudevilles and ballets. One o the ew comositions that has ket his name alive is, in act, a iece that was actually comosed or a ballet, namely the Riberhus March, which orms art o August Bournonville s (805-879) ballet, As ar as the way o selling the surname is concerned, we also see instances o the comoser s name being selled Frølich ; here, however, we have chosen to use the orm o the surname that is used on his autograh manuscrit o the symhony. 2 Lis H. Sander, J. F. Frøhlichs orkestermusik, belyst ved en gennemgang a symoniske værker og violinkoncerter. Unublished thesis in musicology, University o Coenhagen, (979),.. Frølich, Johan Frederik: Musik-Stambog. Manuscrit, autograh. The library at The Danish Music Museum. DK-Km. Erik Menveds Barndom [The Childhood o King Erik Menved] (84). In addition to music or his own main instrument, the violin, Frøhlich comosed a number o works or lute and French horn, while vocal music is virtually absent rom his outut. In the years 829 to 8, he made with the suort o the Fonden ad Usos Publicos a study tri, the urose o which was to make him amiliar with the inest methods o singing and also to extend his knowledge o comosition. 4 What the tri was evidently suosed to accomlish, then, was to qualiy him urther with resect to having taken on the osition o choirmaster, although as has been mentioned it does not aear that he was as interested in vocal music anywhere near as much as he was in instrumental music. It was during this tri, which led him through Hamburg, Hanover, Kassel and Frankurt am Main, as well as through Paris, Florence, Rome and Nales, that he comosed the symhony in E lat major, which was given the ous number. Another major work that was created during this tri is his Violin Concerto in E lat major, ous 0, comosed in Paris the orchestration being comleted in Rome. It does not come as a surrise that these works relect something o the musical idiom with which Frøhlich became acquainted while travelling abroad: comosers like Heinrich Sohr, Luigi Cherubini and Jacques Halévy must have convinced him o the eect o grandiose orchestration, while violinists Pierre Rode and Rodolhe Kreutzer oened his ears to virtuoso violin music. In Rome, Frøhlich came to orm art o the convivial social circle, consisting mainly o visual artists, that surrounded Bertel Thorvaldsen, and the insiration or the many ortrayals o olksy lie that characterize Frøhlich s music or Bournonville s ballets was generated here. Frøhlich s only other attemt with the symhony genre is a inale movement in C major, dated 826. As ar as we know, the iece has never been erormed. 5 His Symhony in E lat major, O., was remiered with the title Symhonie à grand Orchestre at an evening entertainment held at The Royal Theatre on 8 Aril 8, eaturing music conducted by the violinist and réétiteur at The Royal Theatre, Frederik Wexschall (798-845). The rogram o the evening entertainment in question, known to us rom reerences in two dierent newsaers, 6 was articularly variegated and included, in addition to Frøhlich s symhony, a concertino by the Bohemian comoser, Johannes Kalliwoda (80-866), a double concerto or two violins by the German violinist and com- 4 Sander, o. cit.,. 5 5 Sander, o. cit.,. 8. The symhonic movement has been reserved in the autograh, including 24 numbered ages in oblong olio and is reserved in the archives o The Royal Library. DK-Kk. 6 Kjøbenhavnsosten, 6 Aril 8 and 9 Aril 8. On 0 Aril 8, another newsaer, Dagen, ublished a review o the evening entertainment, which was virtually identical with the one that Kjøbenhavnsosten ran on the receding day. DCM 00

7 Kjøbenhavnsosten, 6 Aril 8. 8 Kjøbenhavnsosten, 9 Aril 8 9 Ibid. 0 Quoted rom Sander, o. cit.,. 8 Allgemeine Musikalische Zeitung, 84. January. No. 2. Column 29. oser, Ludwig Maurer (789-878), and a variation work or violin by the Austrian violinist and comoser, Franz Pecháček (79-840). The erormers in the musical selections were members o Det Kongelige Kael [The Royal Danish Orchestra] and, as something that was tyical at the time or evening entertainments o this kind, a ew o The Royal Theatre s singers and actors were also involved in the rogram, in connection with ieces that contained songs or recitation. In order to illustrate some o the more unusual circumstances surrounding such an event, it can be mentioned that in the original rogram, the singing o a newly comosed Dansk Soldatersang [Danish Soldier s Song] by J.P.E. Hartmann (805-900) 7 was announced. However, due to a sudden onslaught o illness, allegedly bealling all three o the scheduled singers, the song was relaced with a recitation o Hartmann s melo drama, Guldhornene [The Gold Horns] 8 and similarly, a lanned resentation o the Swedish oet Anna Maria Lenngren s (755-87) satire, Et Genies Levnetsløb [A Genius s Career] had to be relaced, at the last minute, by Johan Hermann Wessel s (742-785) Contrasterne [The Contrasts] because the censor o lays had not aroved Lenngren s lay. 9 Frøhlich s symhony contains our movements, which were layed two by two, as curtain-oeners, beore each o the soiree entertainment s two sections. The movements were aired together so as to make one heavy and one light movement: the heavy and dynamically contrauntal allegro movement together with the dance-like and cheerul minuet; and the grave andante movement together with the traditional light rondo. Thus there was no chance to hear the symhony as a whole and we can saely surmise that, as a consequence o the extensive rearations such a variegated rogram would have demanded, the work could hardly have enjoyed otimal conditions or being roerly reared and erormed. In Kjøbenhavnsosten on 9 Aril 8 and again in Dagen on 0 Aril, attention was drawn to the symhony as a brilliant and admirably orchestrated comosition and even though in January 84, an unnamed writer in Kjøbenhavnsosten requested urgently that the symhony be erormed again, it aears that this did not come to ass. The arguments were that the general ublic, who converse while such ieces o music are layed, would certainly have nothing against it, while those who really want to hear the iece would have the chance, uon the work s reetition, to make a closer acquaintance with a iece that, in order to be understood, both deserves and calls or a erormance. 0 The symhony was mentioned the ollowing year in Allgemeine musikalische Zeitung in connection with a reort on the season s music events in Coenhagen. Here, an assessment was made that the work had been written in an erudite and ingenious style, in which only connoisseurs were suosed to be interested. Taking into consideration that only a ew years ater this time, Frøhlich was aointed chairman o the newly ounded Musikorening [Music Society], one wonders why no erormance o his symhony at any o Musikoreningen s concerts can be documented. 2 A ossible exlanation can be that ersonal circumstances, such as a rolonged bout o illness, eriods o being away rom Coen hagen or ure and simle modesty, revented Frøhlich rom romoting his own symhony. Another exlanation may be that, as was suggested in Kjøbenhavnsosten, there was not yet ertile soil or areciating this kind o symhonic music in Coenhagen. Subsequently, the symhony came to lead an ill-starred ate and or many years it was considered lost. In 887, it was mentioned on the list o Frøhlich s comositions that Musikoreningen s chairman at the time, Christian Barnekow (87-9) orwarded to the music historian, S.A.E. Hagen. 4 However, it later came to light that the symhony, along with the rest o Musikoreningen s stock o Frøhlich s comositions, could simly not be located. However, sometime around 940, Sven Lunn, the music historian who served as the head o The Royal Library s music deartment or many years, called attention to the act that the Musikaliska Akademien in Stockholm ossessed a coy o Frøhlich s symhony (although, on its title age, the work is attributed to one F. Fröhlich ). 5 Uon closer scrutiny, the score and the aurtenant arts turned out to have been transcribed by a coyist named Lanzky, 6 who is known to have coied out several scores or The Royal Theatre in the 80s. Uon sulemental examination o the music s stylistic eatures, Lunn accordingly elt he was justiied in drawing the conclusion that this certainly was a coy o the Danish comoser Johannes Frederick Frøhlich s symhony. A hotograhic coy o the score was acquired thereater by The Royal Library and was incororated into the library s collection o manuscrits. But better things were still in store. A systematic review o The Royal Danish Academy o Music s collection o sheet music, which Knud Jeesen organized in 944, eectively brought the original score and the arts or Frøhlich s symhony to light. 7 The material was ound in a small cubicle under the ceiling and was caked in decades o dust, a act that exlains why nobody ever reacted to the inquiries or the symhony that had been issued on several occasions. 8 2 V.C. Ravn argues, in Koncerter og musikalske Selskaber i ældre Tid (Festskrit i Anledning a Musikoreningens Halvhundredaarsdag), Vol., Coenhagen, 886,. 8, that the re-erormance o Frøhlich s symhony was one o the tasks or which the solution was o utmost imortance to the very establishment o The Music Society. In 88, Frøhlich embarked on a recreational tri to Rome, travelling on the rigate, Rota, which would later carry Bertel Thorvaldsen s scultures home to Denmark. 4 The list is reserved in Hagens Samling, 20, 4 0, Materiale til Musikerbiograier C-F-, The Royal Library. DK-Kk. 5 Sven Lunn, Frøhlichs Symoni i Es-dur, in Dansk Musiktidsskrit, 940,. 56-6. 6 Johan Traugott Lanzky worked as a bassoonist in Det Kongelige Kael rom 88 until the time o his death in 858 and was also active, during the 80s, as a coyist or the orchestra. 7 Knud Jeesen, Et Nodeund aa Konservatoriet, in Dansk Musiktidsskrit, 945,. 4-46 and. 67-70. 8 Richard Hove, or examle, had made inquiries or the symhony in a eature article ublished in Nationaltidende on 0 March 929, and Sven Lunn had also been sending out inquiries or the symhony, both in the Danish music magazine, Dansk Musiktidsskrit, and during a radio broadcast (c. Sven Lunn, Lumbye, Frøhlich, Grieg, in Dansk Musiktidsskrit, 944,. 46). 4 DCM 00

On the background o the transcrit that turned u in Stockholm in 940, Lunn requested that the symhony be coied out by a grou o unemloyed musicians, who, in doing so, contributed to enhancing and reserving The Royal Library s stock o sheet music. On this occasion, the score was coied out with a modern disosition o the instruments. 9 A number o concert erormances and one CD recording have been made on the basis o this material, even though no rinted version o the erormance material has ever existed. The main source or the resent edition o Frøhlich s Symhony in E lat major, O., is the autograh score, A, with source B contributing relevant variants. Lisbeth Ahlgren Jensen 9 The score and 6 instrumental arts can be ound in Egne Askriter, Orkesterbiblioteket. Dk-Kk. DCM 00 5

BESÆTNING / ORCHESTRA 2 lauti 2 oboe 2 clarinetti in B b 2 agotti 2 corni in Eb 2 corni in Bb basso 2 trombe in Eb trombone timani archi 6 DCM 00

Flauto 2 SYMFONI I ES-DUR SYMPHONY IN E FLAT MAJOR I Andante Ous Oboe 2 Clarinetto (Bb) 2 Fagotto 2 Corno (Eb) 2. m Corno (Bb basso) 4 Tromba (Eb) 2 Trombone Timani (Bb, Eb) Violino Andante Violino 2 Viola Violoncello Contrabbasso DCM 00 7

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9 Tim. Vl. DCM 00

2 Tim. Vl. 2 DCM 00

Vl. Vl. 29 Allegro Allegro. 7 m.. m m m m. DCM 00

45 Tim. Vl. 4 DCM 00

52 A Tim. Vl. DCM 00 5

62 Tim. Vl. DCM 00 7

67 a2 s s s s s s s s Tim. Vl. s s s s s s 8 DCM 00

7 z z z z z z a2 z z z z z z z z z z Tim. Vl. z z z z z z z z DCM 00 9

Vl. 78 82 B s s s. s s s s s Vl. 20 DCM 00

89. m s m s m s s s m s s s m m s s s s m s s Tim. m s Vl. DCM 00 2

C 96 s s s s s s s s Tim. s Vl. 22 DCM 00

2 s z s z s s z z s z s z z s z Tim. z Vl. 24 DCM 00

6 Tim. Vl. Vl. 22. 2. DCM 00 25

27. Vl.. Vl. 26 DCM 00

Vl. Vl. 9 m m 45 0 DCM 00 27

52 D Tim. Vl. 28 DCM 00

Vl. 59 67 Vl. DCM 00 29

72 Tim. Vl. 0 0 DCM 00

77 Tim. Vl. DCM 00

8 E z z z z m m m m z z m a2 z z z m z z m z z z z Tim. z z Vl. z z z z z z z 2 DCM 00

89 a2 a2 Tim. Vl. DCM 00

96 F. Tim. Vl. 4 DCM 00

20... Tim. Vl. DCM 00 5

209. m m m. m m Tim. Vl. 6 DCM 00

222 G Tim. Vl. 8 DCM 00

227 Tim. Vl. DCM 00 9

26 z z z z z z z z Tim. z z Vl. z z z z z z DCM 00 4

242 z z z z z z z z z z z z z z z z Tim. z z Vl. z z z z z z 42 DCM 00

Vl. 247 25 H s s s s s s Vl. DCM 00 4

258 m s s m s s m s s s s m s s s s m s Tim. m s Vl. 44 DCM 00

265 s s s s s s s s Tim. s Vl. DCM 00 45

274 Tim. Vl. 46 DCM 00

28 z z z z z z z z Tim. z Vl. z z z z DCM 00 47

I 285 Tim. Vl. 48 DCM 00

29.. Tim. Vl. DCM 00 49

297 Tim. Vl. 50 DCM 00

0 Tim. Vl. DCM 00 5

09 z z z z z z z z Tim. z Vl. z z z z 52 DCM 00

6 Tim. Vl. DCM 00 5

Flauto 2 Oboe 2 MENUETTO Allegro assai II Clarinetto (Bb) 2 Fagotto 2 Corno (Eb) 2 Corno (Bb basso) 4 Tromba (Eb) 2 Trombone Timani (Bb, Eb) Violino Allegro assai Violino 2 Viola Violoncello Contrabbasso 54 DCM 00

9 Tim. Vl. 0 DCM 00 55

27. 2. Vl.. 2. 5.. Vl. 0 DCM 00 57

. 4. Vl.. 5. Vl. 58 DCM 00

00 Vl. Tim. Vl. 0. 2. rall. oco a oco. 2. rall. oco a oco DCM 00 6

9. TRIO iù lento m. m Tim. Vl. Vl.. 27. iù lento 64 DCM 00

Vl. Vl..... 8.. 2. m 2. m m m m Vl.. 46. DCM 00 65

Vl. Vl.. 5.. 2. 2.. 60 Temo I Temo I. 66 DCM 00

68 Tim. Vl. DCM 00 67

74 Tim. Vl. 68 DCM 00

88 Tim. Vl. 70 DCM 00

205 Tim. Vl. 0 72 DCM 00

Vl. Vl. 2 22. 229... Vl. 0 DCM 00 7

28.. Vl.. 247. Vl. 74 DCM 00

256 Tim. Vl. DCM 00 75

264 Tim. Vl. 76 DCM 00

27 Tim. Vl. DCM 00 77

Tim. Vl. 282 29 Vl. 78 DCM 00

CODA 0 Tim. Vl. DCM 00 79

Tim. Vl. Vl. 9 80 DCM 00

6 accelerando Tim. Vl. accelerando 82 DCM 00

44 rall. Tim. Vl. rall. DCM 00 8

Flauto 2 Andante III Oboe 2 Clarinetto (Bb) 2 Fagotto 2 Corno (Eb) 2 Corno (Bb basso) 4 Tromba (C) 2 Trombone Timani (G, C) Violino Andante Violino 2 Viola Violoncello Contrabbasso 84 DCM 00

8 m m Tim. Vl. m m m m m 6.. Vl. DCM 00 85

22 Tr. (C) 2 Tim. Vl. izz. izz. arco 86 DCM 00

27 A Tr. (C) 2 Tim. Vl. arco DCM 00 87

2 Tr. (C) 2 Tim. Vl. 88 DCM 00

7 Vl. 4.. Vl. DCM 00 89

48.... Vl.. 5 Vl.. 90 DCM 00

Vl. Vl. 58 m B 64.. m m m m m m m m DCM 00 9

Vl. Tr. (C) 2 Tim. 69.. 74 Vl. 92 DCM 00

80 m m Tr. (C) 2 Tim. Vl. m m m m m DCM 00 9

C 88 Tr. (C) 2 Tim. Vl. 94 DCM 00

Vl. 9 Vl. 96 DCM 00 95

00 Tr. (C) 2 Tim. Vl. izz. 96 DCM 00

04 Tr. (C) 2 Tim. Vl. arco izz. arco DCM 00 97

09 Tr. (C) 2 Tim. Vl. 98 DCM 00

D. 2. Tr. (C) 2 Tim. Vl. DCM 00 99

8.. 2.. Tim. Vl. 24.. Vl. 00 DCM 00

29.... Vl. 5... Vl. DCM 00 0

42.. Tr. (C) 2 Tim. Vl. 02 DCM 00

48.. Tr. (C) 2 Tim. Vl. DCM 00 0

54 morendo morendo morendo morendo morendo morendo Tr. (C) 2 morendo morendo Tim. morendo Vl. morendo morendo morendo morendo 04 DCM 00

Flauto 2 Oboe 2 Clarinetto (Bb) 2 Fagotto 2 RONDO Allegro IV Corno (Eb) 2 Corno (Bb basso) 4 Tromba (Eb) 2 Trombone Timani (Bb, Eb) Violino Allegro Violino 2 Viola Violoncello Contrabbasso DCM 00 05

Vl. 9 2 Vl. 27 6.. Vl. z z z z DCM 00 07

Vl.. 42. m m m m m m m m m. m 49.. Vl. 08 DCM 00

57.. Tim. Vl. 65... 2. Vl.. 2. DCM 00 09

7 Tim. Vl. 0 DCM 00

79 Tim. Vl. DCM 00

86 Tim. Vl. z z z z z z z z 2 DCM 00

95 Tim. Vl. 4 2 z z z z DCM 00

04 Tim. Vl. z z z z 4 DCM 00

A z z z z z z z z z z z z z z Tim. Vl. z z z z z z z z DCM 00 5

2. con esressione. con esressione Vl. 4.. s. s. Vl. s s s s 6 DCM 00

4.. m.. Vl. 52... Vl. m m m m DCM 00 7

B 60 m m m m m m m m Tim. m Vl. z z z z 8 DCM 00

69 Tim. Vl. z z z z DCM 00 9

78.. Vl. Vl. 86.. 20 DCM 00

Vl. Tim. Vl. 94 C 20.. m m DCM 00 2

209 Tim. Vl. 22 DCM 00

25 D.. Tim. Vl. DCM 00 2

Vl. Tim. Vl. 22... s s s 2 s s s s s s 24 DCM 00

24 Tim. Vl. DCM 00 25

25 Tim. Vl. Vl. 26 26 DCM 00

Vl. 27 Vl. 279 z z z z 285.. Vl. DCM 00 27

Vl. 29 m m m m m m m m m. m. 298.. Vl. 28 DCM 00

Tim. Vl. 06...... DCM 00 29

2 E Tim. Vl. 0 DCM 00

Vl. 4 m m m m m m Vl. DCM 00

Tim. Vl. 5 m m m m m m Vl. 6 2 DCM 00

Vl. Tim. Vl. 70 79 F z z z z z z z z. DCM 00

97 Tim. Vl. z z z z DCM 00 5

406 z G z z z. z z z z z. z z z z z z z Tim. z z Vl. z z z z z z z z 6 DCM 00

46. con esressione. con esressione Vl. 426. s m. Vl. DCM 00 7

45.. Vl. 444.. Vl. m m m m 8 DCM 00

H 45 m m m m m m m m Tim. m Vl. z z z z DCM 00 9

. 470.. Tim. Vl. 479.. Vl. DCM 00 4

488. m I. m Tim. Vl. 42 DCM 00

496 Tim. Vl. DCM 00 4

50 oco a oco oco a oco a oco oco a oco oco Tim. Vl. oco a oco oco a oco oco a oco oco a oco 44 DCM 00

Vl. 59 rallentando. rallentando 526 iù stretto. Vl. iù stretto 46 DCM 00

540 Tim. Vl. z z 48 DCM 00

546 Tim. Vl. DCM 00 49

554 Tim. Vl. 50 DCM 00

568 z z z z z z z z z z z z z z z z Tim. z z Vl. z z z z z z z z 52 DCM 00

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 trem. tremolo va. viola vc. violoncello vl. violino woodw. woodwind instruments DESCRIPTION OF SOURCES A Score, autograh, manuscrit B Xerox coy o score, transcrit, manuscrit C Orchestral arts, autograh, manuscrit D Orchestral arts, transcrit Fröhlich. / o.. / Partitur. Stamed: K. S. M. A. [Kungliga Musikaliska Akademi Stockholm]. Addition in to right corner: Orkester. Xerox coy o the original in Musikaliske Akademien, Stockholm (now in Statens Musikbibliotek, Stockholm, shel mark: S-Skma, Mazer H:S: 62), coied by The Royal Library in 940 4. 24x cm, 49 aginated ages. Library binding. Paer tye: 4 staves (hand-ruled). See original in Stockholm: C Orchestral arts, autograh, manuscrit. DK-Kk, J. F. Frøhlichs Samling. C II, 5. Bought by the Royal Library in 944. 27 arts, written in black and brown ink, in various ormats; some nested; some restored. Paer tye: 5 staves (hand-ruled). Content: () vl., () vl.2, (2) va., () vc./cb., l.,2, ob.,2, cl. (Bb),2, g.,2, cor. (Eb),2, cor. (Bb basso),2, tr. (Eb),2, trb., tim. D Orchestral arts, transcrit. Xerox coy o the original in Musikaliske Akademien, Stockholm (now in Statens Musikbibliotek, Stockholm, shel mark: S-Skma, Mazer H:S: 62, see B above). 27 arts. EVALUATION OF SOURCES Frøhlich s symhony has survived in two manuscrit scores with matching orchestral arts o which the score A and the arts C are autograh. The transcrit B is based on A. B is somewhat imerect, esecially in terms o dynamics. A lausible exlanation is that A has been notated in a very small scrit on tightly comact staves; it is thereore unlikely that the discreancies between A and B are a revision o the work but are rather due to lack o sace. The main source or the resent edition is A, while C, which is more detailed in terms o dynamics and articulation, has been emloyed as a corrective authority. Variants between the main source and B have been listed. A B Score, autograh, manuscrit. DK-Kk, J. F. Frøhlichs Samling. C II, 5. Title on irst music age: Symhonie á grand Orchestre / comosé ar JF Frøhlich. / o.. End dating: Fine / Roma 9 de Setember 80 / JF Frøhlich. Bought by The Royal Library in 944. 22x28.7 cm, 00 aginated ages, written in ink; library binding. The source has been restored. Paer tye: 6 staves (hand-ruled). Digital version: htt://img.kb.dk/ma/danmus/roehlich_sym-m.d Xerox coy o score, transcrit, manuscrit. DK-Kk, CII, 27. Title age: Symhonie á grand Orchestre / comosé / ar / F: VARIANT READINGS AND EDITORIAL EMENDATIONS I Andante Allegro Bar Part Comment cor. B: Solo 2, 4 cb. stacc. added by analogy with vc. 8 cl. g. B: Solo 9 l. ob. cor. B: Solo va. note 2: omitted because o in b.2 2 trb. note : omitted because o in b.9 22 vc. cb. notes 8-9: b emended to b b by analogy with vl.,2, g., cor.,4, trb., tim. and as in C 2 vc. cb. marc. added by analogy with vl., 2, va. 4 vl.2 added by analogy with vl., va., vc., cb. b 4 l. B: note : e ΩΩΩ, note 5: c ΩΩΩ b, note 6: b ΩΩ 46 vl.,2 notes 5-2: stacc. added by analogy with notes -4 and b.25 DCM 00 5

5 cor.,2 B: note : 5 va. note : stacc. added by analogy with vc., cb. 56 vl.,2 note : stacc. added by analogy with b.55 58 vl.,2 notes 7-0: stacc. added by analogy with notes -6 66 vc. cb. notes 5-2: stacc. added by analogy with notes 2-4 68 vl. b note 6: a ΩΩ emended to a n ΩΩ by analogy with the overall harmonic context and as in C; notes 9-2: stacc. added by analogy with notes 2-8 74-75 ob. b.74 note to b.75 note : slur added by analogy with bb.72-7, 24-42, 24-244 74 vl. notes -6: stacc. added by analogy with vl.2 and bb.72, 74 78, 79 vl. notes -4, 7-8, -2: stacc. added by analogy with b.77 85 cl.2 note : n added 89 vc. cb. added by analogy with vl.,2, va. 90-9 cor., 2 added by analogy with cor. -4 90-9 tim. A: Ÿm in bb.90, 9 9 cl.2 note : n added by analogy with l. 85 cl.2 note : n added 00-0 va. emended rom by analogy with vl.,2, vc., cb. 02 va. vc. cb. emended rom note 2 to note by analogy with vl.,2 and b.27 g.2 b B: note 2: a 25-26 II vl.2 va. vc. cb. slur emended rom oen slur; A: b.25 II : slur oen -4 cl. tie emended rom oen tie: A: b.4: tie oen (age turn) -4 cl.2 g. slur emended rom oen slur: A: b.4: slur oen (age turn) 4 g.2 added in accordance with the general dynamic level 5 ob.2 cl.2 g. marc. added by analogy with l., ob., cl., g.2 4 g.2 added in accordance with the general dynamic level 45 l.2 ob.2 cl.2 marc. added by analogy with l., ob., cl. 49 vl.2 second quaver: martellato added by analogy with vl., va. 6 cl. B: notes, 6: e n ΩΩ 64 cl. B: a n ΩΩ 67 vl.2 notes -6: martellato added by analogy with vl. 67 vc. cb. martellato added by analogy with b.7 7 vl. notes: 4-6: martellato added by analogy with b.67 7 vl.2 notes -4: martellato added by analogy with vl. 72 vl. B: notes 0-: slur 78 vl. note : martellato added by analogy with vl.2, va. 8 vl. b notes, : e Ω emended to e n by Ω analogy with the overall harmonic context and as in C 82 vl. note : martellato omitted by analogy with vl.2, va. 89 cl. note 2: stacc. added by analogy with b.87 227 vl. notes 7-0: stacc. added by analogy with notes -6; B: stacc. 2 vc. cb. notes 5-2: stacc. added by analogy with notes 2-4 2 vl. notes 5-2: stacc. added by analogy with notes 2-4 25 vc. cb. notes 5-2: stacc. added by analogy with notes 2-4 27 vl. notes 5-2: stacc. added by analogy with notes 2-4 24 vl. notes -, 4-5: stacc. added by analogy with b.24 24 vl.2 notes -6: stacc. added by analogy with b.24 248 vl. notes -4, 7-8, -2: stacc. added by analogy with b.247 255 ob.2 C: 259-260 cl. added by analogy with l.,2, ob., cor. 262 cor.,2 added by analogy with woodw. 264, 265 tim. C: note 2: s 275 vl. note : stacc. added by analogy with b.27 and as in C 294-95 l. B: b.295: end o slur 296 trb. B: note : B b 0 g.2 B: G # 05 tim. added in accordance with the overall dynamic level; B: 9-22 g.,2 martellato added by analogy with l., ob., cl., brass, str. 2 tim. Ÿm added as in C II MENUETTO. Allegro assai Bar Part Comment 7-8 vl. stacc. added by analogy with bb.6, 98 28-0 str. stacc. added by analogy with bb.26-27 2- str. stacc. added by analogy with bb.26-27 57 str. moved rom b.56 rest 2 66 cl.2 note : n added 86 vl. stacc. added by analogy with b.85 06-08 str. stacc. added by analogy with bb.05, 296-298 0- str. stacc. added by analogy with bb.05-06 20 cl. B: mo 29 l. note : stacc. added by analogy with b.5 (cl.) 0 cl. note : stacc. added by analogy with b.5 cl. notes 4-5: stacc. added by analogy with b.5 I-II 5 II cl. str. dynamics added by analogy with b.5 I 8-9 va. added by analogy with vl.,2, vc., cb. 47 vl. B: g n Ω 50 l. note : stacc. added by analogy with b.5 (cl.) 50 vl. note : stacc. added by analogy with b.29 50-5 cb. moved rom b.5 by analogy with b.29 58 l.,2 B: 68-7 vl.2 va. vc. cb. martellato added by analogy with bb.64-67 78 tr.,2 added by analogy with cor., trb. 78-79 tim. b.78 note to b.79: tie omitted by analogy with bb.82-8 84, 86 vl. notes -6: stacc. added by analogy with b.82 and as in C 98 vl. stacc. added by analogy with b.97 b 205 trb. B: a 208 vl. B: note 6: g Ω 28-220 str. stacc. added by analogy with bb.26-27 222-22 str. stacc. added by analogy with bb.26-27 246 cl.,2 moved rom b. 245 note by analogy with l.,2 246 vl.,2 va. vc. cb. moved rom b.245 rest 2 25 vl. b note : a Ω emended to a n Ω 275-276 vl. stacc. added by analogy with b.274 notes -6 296-298 str. stacc. added by analogy with bb.294-295 00-0 str. stacc. added by analogy with bb.294-295 9-22 str. stacc. added by analogy with bb.5-6 4 vl. B: b 5 l. B: note : e ΩΩΩ III Andante Bar Part Comment 7 vc. cb. notes 2-: slur added by analogy with b. 20 str. added by analogy with b.6 25 cb. added by analogy with vl.2, va., vc. and as in C 26 vc. cb. omitted because o in b.25 cor.,2 B: note 2: b Ω 8-9 ob.,2 added by analogy with l., cl., g. 44, 46 ob. cor. notes -2: slur added by analogy with b.54 (l.); B: note 5 missing 54 DCM 00

45 cor. notes 4-5: slur and stacc. added by analogy with ob. 46 vc. cb. added by analogy with vl.,2, va. 50-5 vc. cb. end o slur added 52 l. notes -2: slur added by analogy with cl. 52 cl. B: note : d ΩΩ 52, 54 cl. B: note 5: omitted 54 cl. notes -2: slur added by analogy with l. 6 ob. notes 2-: tie added by analogy with the other arts 6-64 l.2 b.6 note 4 to b.64 note : slur added by analogy with l. and as in C 64 trb. added by analogy with the overall dynamic level and as in C 70 vc. cb. note 5: moved to note 6 by analogy with vl.,2, va. 85-86 g. begging o slur added 94-95 va. tie added 08 cor.,4 B: d ΩΩ # vc. cb. B: note : E 7 l. B: note 2: c ΩΩΩ 7 cl.2 note 2: e emended to e. by analogy with cl. and b.7 24, 26 ob. g. B: note 5: omitted 5-6 g.2 B: b.6 note : end o 5-6 cl.,2 added by analogy with l.,2, ob.,2, g.2 7 g.,2 added by analogy with l., ob.,2 and as in C 9 g.2 C: note : 40-4 ob. B: b. 40 notes -2: slur, notes 2-: slur; b.40 note to b.4 note 2: slur 44 vc. cb. added by analogy with vl.,2, va. 48 vc. cb. notes 2-: slur added by analogy with b.44 and as in C 52 vc. cb. B: notes -2: slur, notes 2-: slur 59 vc. cb. U added by analogy with all other instruments IV RONDO. Allegro Bar Part Comment 48 vc. cb. added by analogy with vl.,2, va. and as in C 66-67 va. B: b.66 note : beginning o slur 72 vl.2 va. note : stacc. added by analogy with vl. 72 vc. cb. B, C: 8 vl.2 notes 2-5: stacc. added by analogy with vl. 84-86 vl.,2 stacc. added by analogy with b.8 (vl.) 94 vl.,2 note 4: stacc. added by analogy with b.96 06 vl.2 note : z added by analogy with vl. 06 vl.2 va. note : stacc. added by analogy with vl. 07 vl.2 added by analogy with vl. 07 vl.2 note : stacc. added by analogy with vl. 2-22 vl.2 b.2 note 2 to b.22 note 2: slur added as in C 45-46 cl. tie added by analogy with with the overall slur and as in C 52 vc. cb. note : d emended to d b by analogy with vl.2 64-65 tr.,2 added by analogy with cor., trb. 20 l.2 ob.,2 cl.2 g.,2 brass tim. martellato added by analogy with b.205, 494 (ww., brass) and as in C 205 va. vc. cb. note 2: martellato added by analogy with vl.,2 209 vl.,2 note 2: martellato added by analogy with b.205 and by analogy with va., vc., cb. 20 vl.,2 stacc. added by analogy with b.204 20 vc. cb. notes 5-8: stacc. added by analogy with notes - 22 vl.,2 notes -4, 7-8: stacc. added by analogy with b.2 (vl.) 24 vl.,2 notes -4, 7-8: stacc. added by analogy with b.2 (vl.) 24 va. lower art: beginning o slur emended rom note 4 to note 2 by analogy with b.2 282-28 vc. cb. b.282 note 2 to b.28 note : slur emended rom oen slur; A: age turn 28 vl.2 notes 2-: stacc. added by analogy with vl. 284 va. vc. cb. added by analogy with vl.,2 285 cl. added by analogy with l. (b.286) and as in C 288 vl.2 note : stacc. added by analogy with b.42 and as in C 05 g.,2 added in accordance with the general dynamic level and as in C 07 g.,2 added by analogy with cl. 22 ww., cor.,4, trb., str. martellato added by analogy with cor.,2 2-29 ww. cor. trb. str. b.2 to b.29 note : martellato added by analogy with bb.9-2 55-56 va. b.55 note 2 to b.56 note: tie emended rom oen tie; A, B: tie oen (age turn) 7 vl.2 va. note : stacc. and marc., notes 2-: stacc. added by analogy with b.75 72 vl.2 notes -: stacc. added by analogy with b.62 72 va. notes -4: stacc. added by analogy with the other strings 78 vc. cb. note : stacc. and note 2: added by analogy with vl.,2 va. 94 trb. added by analogy with cor. 97 vl.,2 va. note : stacc. added by analogy with b.75 98 l. ob. cl. g. trb. added by analogy with cor.,2 and as in C 98 cor.,4 added by analogy with cor.,2 40 va. b note 2: e Ω emended to e n Ω by analogy with vc., cb. 406 va. added by analogy with vl.,2, vc., cb. 42-4 cor.4 tie added by analogy with bb.408-409 46-47 ob. tie added by analogy with bb.45-46 (ob.2) and as in C 48 l.,2 added by analogy with ob.,2 45-452 cor. hrase added by analogy with cor.4 494, 496 str. note 2: martellato added by analogy with b.20 and by analogy with ww., brass 497 vl.,2 notes 5-8: stacc. added by analogy with notes -4 498 vl. a n b emended to a as in C 50 str. notes 5-8: stacc. added by analogy with notes -4 525-526 g. slur added by analogy with cl. 527-5 va. vc. cb. stacc. added by analogy with b.526 50 b n va. vc. cb. note 6: a emended to a as in C 52-5 vc. cb. stacc. added by analogy with notes -4 (vl.) 5 vl. notes 5-8: stacc. added by analogy with notes -4; B: notes -8: stacc. 542 vc. cb. note : martellato added by analogy with va. 558-560 cor.,4 trb. slur added by analogy with cor.,2 and as in C DCM 00 55