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16 16 C A R L N I E L S E N 16
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25 25 V R K E R 25
26 26 26
27 27 W O R K S 27
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22 C A R L N I E L S E N 22
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24 1 8 6 5 - 1 9 3 1 24
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27 V R K E R 27
28 28
29 W O R K S 29
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32 Udgivet af Carl Nielsen Udgaven 32
33 Det Kongelige Bibliotek 33
34 34
35 Serie II. Instrumentalmusik. Bind 5 35
36 36
37 37
38 Published by The Carl Nielsen Edition 38
39 The Royal Library 39
40 40
41 Series II. Instrumental Music. Volume 5 41
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Edition Wilhelm Hansen
60 Copenhagen 1998 60
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21 21 21
22 22 C A R L N I E L S E N 22
23 23 23
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25 25 S Y M F O N I N R. 5 25
26 26 26
27 27 O P U S 5 0 27
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31 31 S Y M P H O N Y N O. 5 31
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33 33 O P U S 5 0 33
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38 38 38
39 39 Udgivet af 39
40 40 Edited by 40
41 41 Michael Fjeldse 41
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Edition Wilhelm Hansen
60 60 Copenhagen 1998 60
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36 Orchestral parts are available 36
37 37
38 Graphic design Kontrapunkt A/S, Copenhagen 38
39 Music set in SCORE by New Notations, London 39
40 Text set in Swift 40
41 Printed by WH-TRYK, Ringsted 41
42 42
43 CN 00002 43
44 ISBN 87-598-915-9 44
45 ISMN M-66134-001-0 45
46 46
47 Sponsored by Vera og Carl Johan Michaelsens Legat 47
48 48
49 Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K 49
50 Translation James Manley 50
51 51
52 1998 Carl Nielsen Udgaven, Det Kongelige Bibliotek, Kbenhavn 52
53 All rights reserved 1998 53
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11 11 11
12 12 I N D H O L D 12
13 13 13
14 14 C O N T E N T S 14
15 15 15
16 16 16
17 17 17
18 18 18
19 19 General Preface vii Generelt forord 19
20 20 20
21 21 Preface xi Forord 21
22 22 22
23 23 Facsimiles xvi Faksimiler 23
24 24 24
25 25 Orchestra xx Bestning 25
26 26 26
27 27 27
28 28 S YMPHONY NO. 5, OPUS 50 S YMFONI NR. 5, OPUS 50 28
29 29 29
30 30 I Tempo giusto. Adagio 1 I Tempo giusto. Adagio 30
31 31 31
32 32 II Allegro. Presto. Andante poco tranquillo. Allegro (Tempo I) 67 II Allegro. Presto. Andante poco tranquillo. Allegro (Tempo I) 32
33 33 33
34 34 34
35 35 Abbreviations 158 Forkortelser 35
36 36 36
37 37 Critical Commentary 159 Kritisk beretning 37
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12 12 G E N E R E L T F O R O R D 12
13 13 13
14 14 G E N E R A L P R E F A C E 14
15 15 15
16 16 16

C
17 17 arl Nielsen Udgaven er et selvstndigt projekt under 17
18 18 Det Kongelige Biblioteks Musikafdeling, ivrksat i 1994 18
19 19 p Kulturministeriets foranledning og finansieret af 19

T
20 20 he Carl Nielsen Edition is an independent project under Kulturministeriet, Carl Nielsen og Anne Marie Carl-Nielsens Legat 20
21 21 the auspices of the Music Department of the Royal samt Gangstedfonden, hvortil kommer sttte fra en rkke 21
22 22 Library, launched in 1994 on the initiative of the private fonde til udgivelse af de enkelte bind. 22
23 23 Ministry of Culture and funded by the Ministry, the Udgaven er til svel praktisk som videnskabelig 23
24 24 foundations Carl Nielsen og Anne Marie Carl-Nielsens Legat and brug, tilrettelagt efter kritisk-videnskabelige udgivelses- 24
25 25 Gangstedfonden, with further financial support for the principper. Den omfatter samtlige Carl Nielsens afsluttede 25
26 26 publication of the individual volumes from a number of other vrker og enkeltsatser og sger i videst mulige omfang at 26
27 27 private foundations. afspejle vrkerne i den af komponisten senest sanktionerede 27
28 28 The edition is for both practical and scholarly use, version. I tilflde, hvor sange foreligger i flere forskellige 28
29 29 and is based on critical editorial principles. It comprises all arrangementer fra Carl Nielsens hnd, udgives alle versioner. 29
30 30 Carl Nielsens finished works and completed individual pieces, Hvert vrk er forsynet med en indledning, der kort 30
31 31 and seeks as far as possible to reflect the works in the version beskriver vrkets tilblivelseshistorie og placerer det i den 31
32 32 last sanctioned by the composer. In cases where songs exist in samlede produktion, samt en kritisk beretning, hvor der 32
33 33 several different arrangements by Carl Nielsen, all the versions redegres for kildesituationen, redaktionelle ndringer og 33
34 34 are published. tilfjelser og vigtige varianter. Den kritiske beretning bringes i 34
35 35 Each work is furnished with an introduction which samme bind som nodedelene. Dette glder dog ikke de to 35
36 36 gives a brief account of the genesis of the work and its place in operaer og de tre strre vrker for soli, kor og orkester, hvor 36
37 37 the composers oeuvre, and a Critical Commentary including det kritiske apparat bringes i separate bind. 37
38 38 source description, editorial emendations and additions, and Vrker, der indgr i bind med flere selvstndige 38
39 39 important alternative readings. The editorial material is given vrker, udgives ogs i separate hfter. Til alle orkester- og 39
40 40 in the same volume as the music. This does not apply however kammermusikvrker udgives stemmemateriale, og til 40
41 41 to the two operas and the three major works for soloists, choir operaerne og de strre korvrker udgives svel stemmer som 41
42 42 and orchestra, for which the critical apparatus comes in klaverpartitur. 42
43 43 separate volumes. Udgaven er opdelt i hovedserierne Scenemusik, 43
44 44 Works included in volumes with several indepen- Instrumentalmusik og Vokalmusik med tilhrende opdeling 44
45 45 dent works are also published in separate booklets. Part i enkeltbind; inden for hver genre er vrkerne ordnet 45
46 46 material is published for all the orchestral and chamber music kronologisk. 46
47 47 works and parts as well as piano score are published for the 47
48 48 operas and the major choral works. 48
49 49 The edition is divided into the main series Stage 49
50 50 Music, Instrumental Music and Vocal Music with the divisions 50
51 51 into volumes; within each genre the works are ordered 51
52 52 chronologically. 52
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1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 Serie I, Scenemusik 9
10 Bd. 1-5 Operaer 10
11 Bd. 6-9 Musik til andre scenevrker 11
12 Series I, Stage Music Bd. 10-11 Enkelte satser i scenevrker samt 12
13 Vols. 1-5 Operas arrangementer 13
14 Vols. 6-9 Music for other stage works 14
15 Vols. 10-11 Incidental music and arrangements Serie II, Instrumentalmusik 15
16 Bd. 1-6 Symfonier 16
17 Series II, Instrumental Music Bd. 7-8 Andre orkestervrker 17
18 Vols. 1-6 Symphonies Bd. 9 Koncerter 18
19 Vols. 7-8 Other orchestral works Bd. 10 Kammermusik 1: Kvintetter 19
20 Vol. 9 Concertos Bd. 11 Kammermusik 2: Kvartetter 20
21 Vol. 10 Chamber music 1: Quintets Bd. 12 Kammermusik 3: Vrker for 1-3 21
22 Vol. 11 Chamber music 2: Quartets instrumenter 22
23 Vol. 12 Chamber music 3: Works for 1-3 Bd. 13 Vrker for orgel 23
24 instruments Bd. 14 Vrker for klaver 24
25 Vol. 13 Works for organ 25
26 Vol. 14 Works for piano Serie III, Vokalmusik 26
27 Bd. 1 Vrker for soli, kor og orkester 27
28 Series III, Vocal Music Bd. 2-3 Kantater og lejlighedsmusik 28
29 Vol. 1 Works for soloists, choir and orchestra Bd. 4 Korsatser a cappella 29
30 Vols. 2-3 Cantatas and occasional music Bd. 5-6 Enstemmige sange og recitation med 30
31 Vol. 4 A cappella choral pieces klaver, enstemmige sange uden 31
32 Vols. 5-6 Songs and recitations with piano, akkompagnement 32
33 songs without accompaniment Bd. 7 Enstemmige sange i arrangement for 33
34 Vol. 7 Songs arranged for vocal soloists and orkester 34
35 orchestra 35
36 Carl Nielsens litterre arbejder vil blive udgivet i tilknytning 36
37 Carl Nielsens literary works will be published in connection til Udgaven. 37
38 with the Edition. 38
39 Redaktionelle principper 39
40 Editorial principles Nodeteksten gengives uden typografisk markering af redaktio- 40
41 The music is reproduced with no typographical indications of nelle tilfjelser eller ndringer. Disse vil vre dokumenteret i 41
42 editorial additions or emendations. These will be documented den kritiske beretning. Typografi, partituropstilling, instru- 42
43 in the Critical Commentary. Typography, score disposition, ment- og genrebetegnelser er normaliseret efter nutidig 43
44 genre names, and instrument names have been normalized in praksis. Med enkelte undtagelser, som der er gjort nrmere 44
45 accordance with present-day practice. With a few exceptions, rede for i den kritiske beretning, er de mange tilfjelser og 45
46 discussed in more detail in the Critical Commentary, the many ndringer i Carl Nielsens vrker, der er foretaget af venner og 46
47 additions and changes in Carl Nielsens works that have been kolleger, fjernet. 47
48 made by friends and colleagues have been removed. Nodeteksten er normaliseret med hensyn til artiku- 48
49 Articulation, dynamics, ties and slurs, execution lation, dynamik, buer, foredragsbetegnelser og spilletekniske 49
50 markings and playing instructions have been normalized on anvisninger sledes, at der er analogi mellem entydige parallel- 50
51 the basis of analogies between clearly parallel passages. All steder. Alle sdanne kompletteringer dokumenteres i den 51
52 such completions are documented in the Critical Commentary. kritiske beretning. Oplagte skrive- og trykfejl er stiltiende 52
53 Obvious writing and printing errors have been tacitly rettet. 53
54 corrected. Carl Nielsen noterede ofte horn og trompeter med 54
55 Carl Nielsen often notated horns and trumpets with faste fortegn. Denne praksis er normaliseret til notation 55
56 key signatures. This practice has been normalized to a notation udelukkende med lse fortegn. 56
57 exclusively using accidentals. 57
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9 9 Muta in i forbindelse med omstemning af pauker 9
10 10 og skift mellem to instrumenter (f.eks. klarinet i A og Bb) er 10
11 11 stiltiende normaliseret. Det samme glder kombinationen af 11
12 12 Muta in in connection with the retuning of buer og bindebuer. 12
13 13 timpani and changes between two instruments (for example I Carl Nielsens manuskripter er de dynamiske 13
14 14 clarinet in A and Bb) has been tacitly normalized. This also angivelser undertiden placeret noget skdeslst, hvilket 14
15 15 applies to the combination of ties and slurs. afspejler sig i de tidlige trykte udgaver. Dette er stiltiende 15
16 16 In Carl Nielsens manuscripts the dynamic markings justeret. 16
17 17 are sometimes rather carelessly placed, and this is also Ngler gengives normalt som i hovedkilden. 17
18 18 reflected in the early printed editions. This has been tacitly 18
19 19 adjusted. Kbenhavn 1998 19
20 20 Clefs are normally given as in the main source. Carl Nielsen Udgaven 20
21 21 21
22 22 Copenhagen 1998 22
23 23 The Carl Nielsen Edition 23
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12 12 F O R O R D 12
13 13 13
14 14 P R E F A C E 14
15 15 15
16 16 16

V
17 17 ed revisionen af Carl Nielsens femte symfoni har alle 17
18 18 vsentlige kilder vret til rdighed, sledes at tilbli- 18
19 19 velsen har kunnet flges i alle dens faser. Frste trin 19

F
20 20 or the editorial work on Carl Nielsens Fifth Symphony, findes i blyantskladden til symfonien, der i katalogen over Carl 20
21 21 all the important sources have been available, so that it Nielsens Samling p Det Kongelige Bibliotek brer betegnelsen 21
1
22 22 has been possible to follow its genesis through all its CNS 66b. Blyantskladden har dannet grundlag for Carl 22
23 23 phases. The first stage is to be found in the pencil draft for the Nielsens egenhndige renskrift med blk CNS 66a. Denne 23
24 24 symphony, which bears the catalogue number CNS 66b in the renskrift, der er slutdateret 15. januar 1922, danner basis for 24
1
25 25 Carl Nielsen Collection of the Royal Library. The pencil draft det originale stemmest, der blev udskrevet til uropfrelsen 25
26 26 formed the basis for Nielsens own fair copy in ink, CNS 66a. den 24. januar 1922, og derudover er den trykforlg for den 26
27 27 This fair copy, with the end date 15th January 1922, forms the frste trykte udgave, der udkom p Borups Musikforlag i 27
2
28 28 basis for the original set of parts that was printed for the first slutningen af 1926. 28
29 29 performance on 24th January 1922, and it is also the printing Forud for trykningen blev Carl Nielsens renskrift af 29
30 30 source for the first printed edition, published by Borups partituret get igennem, og i den forbindelse blev der af Carl 30
2
31 31 Musikforlag at the end of 1926. Nielsens svigersn, Emil Telmnyi, tilfjet en lang rkke 31
32 32 Before the printing Carl Nielsens fair copy of the dynamiske angivelser, strgangivelser og artikulationstegn. 32
33 33 score was edited and on that occasion Carl Nielsens son-in-law Disse tilfjelser har karakter af en tilretning af partituret og 33
34 34 Emil Telmnyi added many dynamic markings, bowings and ligger generelt i forlngelse af Carl Nielsens egne angivelser. 34
35 35 articulation marks. These additions take the form of a Stort set alle disse tilfjelser er medtaget i det trykte partitur. 35
36 36 correction of the score and are generally based on Carl Niel- Det lader sig godtgre, at Telmnyis tilfjelser er sanktione- 36
37 37 sens own indications. Almost all these additions were rede af Carl Nielsen, idet Carl Nielsen under korrektur- 37
38 38 included in the printed score. It can be documented that lsningens sidste fase opholdt sig sammen med Emil Telmnyi 38
3
39 39 Telmnyis additions were sanctioned by Carl Nielsen, since i Italien. 39
40 40 during the last stage of the proof-reading Nielsen was with 40
3
41 41 Emil Telmnyi in Italy. 41
1 Birgit Bjrnum og Klaus Mllerhj: Carl Nielsens Samling.
42 42 Katalog over komponistens musikhndskrifter i Det kongelige 42
43 43 Bibliotek, (Danish Humanist Texts and Studies. Volume 43
1 Birgit Bjrnum & Klaus Mllerhj, Carl Nielsens Samling. 4. Edited by Erland Kolding Nielsen) Det kongelige
44 44 Katalog over komponistens musikhndskrifter i Det kongelige Bibliotek, Kbenhavn 1992. 44
45 45 Bibliotek, (Danish Humanist Texts and Studies. Volume 2 Partituret er antagelig trykt i november 1926, idet 45
4. Edited by Erland Kolding Nielsen) The Royal Library, korrekturlsningen nppe har vret frdig fr i
46 46 Copenhagen 1992. 46
oktober, og Det kongelige Biblioteks eksemplar er
47 47 2 The score was presumably printed in November 1926, indget i samlingen den 7. dec. 1926. Udgivelsen er 47
since the proof-reading is unlikely to have been nvnt i Dansk Musikhandlerforenings Musikfortegnelse, nr.
48 48 48
finished before October, and the Royal Librarys copy 4 (4. kvartal) 1926, s. 16.
49 49 entered the collection on 7th December 1926. The 3 Brevvekslingen mellem Carl Nielsen og Emil Telmnyi 49
50 50 publication is mentioned in the booksellers list Dansk er udfrligt behandlet i Michael Fjeldse, Carl 50
Musikhandlerforenings Musikfortegnelse, No. 4 (4th quarter) Nielsens 5. symfoni. Dens tilblivelse og reception i
51 51 1926, p. 16. 51
1920rne, Dansk rbog for Musikforskning XXIV 1996, s.
52 52 3 The correspondence between Carl Nielsen and Emil 54. Brevene fra Carl Nielsen befinder sig i DK-Kk, CNS, 52
Telmnyi is discussed in detail in Michael Fjeldse, brevene fra Emil Telmnyi i DK-Kk, CNA. Carl Nielsen
53 53 53
Carl Nielsens 5. symfoni. Dens tilblivelse og reception overlod andenkorrekturen til Emil Telmnyi, som
54 54 i 1920rne, Dansk rbog for Musikforskning XXIV 1996, tilbd sin hjlp med henvisning til, at han i tvivlstil- 54
55 55 p. 54. The letters from Carl Nielsen are in DK-Kk, CNS, flde ville konsultere Carl Nielsen. P det grundlag 55
the letters from Emil Telmnyi in DK-Kk, CNA. Carl svarede Carl Nielsen Telmnyi, at han mtte gen-
56 56 Nielsen left the second proofs to Emil Telmnyi, who 56
nemg og tilfje, hvad du synes i Korrekturen (Carl
57 57 offered his help, saying that in cases of doubt he would Nielsens understregning). Dette svar er ogs citeret i 57
consult Carl Nielsen. On this understanding Carl Emil Telmnyi: Af en Musikers Billedbog, Kbenhavn 1978,
58 58 58
Nielsen replied to Telmnyi that he could review and s. 174.
59 59 add what you think in the proofs(underlining by Carl 59
60 60 Nielsen). This reply is also quoted in Emil Telmnyi, Af 60
en Musikers Billedbog, Copenhagen 1978, p. 174.
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9 Den nyudgave, som blev udarbejdet af Erik Tuxen i 9
10 samarbejde med Emil Telmnyi i 1950, har ikke haft yderligere 10
4
11 kildemateriale til rdighed og er ikke taget i betragtning som 11
12 The new edition that was edited by Erik Tuxen in kilde til nrvrende udgave, som sledes m betegnes som en 12
13 collaboration with Emil Telmnyi in 1950, had no further kritisk revideret udgave af frsteudgaven fra 1926. 13
14 source material available,4 and has not been used as a source 14
5
15 for the present edition, which must thus be regarded as a Carl Nielsens femte symfoni er komponeret i rene 1920-1922. 15
16 revised critical edition of the first edition of 1926. Arbejdet med frste sats vides at have vret i gang i oktober 16
17 1920, hvor Carl Nielsen ogs arbejdede p frdiggrelsen af 17
18 Carl Nielsens Fifth Symphony was composed in the years 1920- musikken til Helge Rodes skuespil Moderen. Han opholdt sig p 18
5
19 1922. We know that the work on the first movement was in dette tidspunkt p Damgaard ved Fredericia, hvor han havde 19
20 progress in October 1920, when Carl Nielsen was also working lejet et klaver for at kunne arbejde p en strre Ting, jeg har 20
6
21 to complete the music for Helge Rodes play Moderen (The for, og hvormed det gaar rask fremad netop nu. Denne strre 21
22 Mother). At this time he was staying at Damgaard near Frederi- ting var den femte symfoni. 22
23 cia, where he had hired a piano so he could work on a largish I forret 1921 opholdt Carl Nielsen sig en stor del af 23
6
24 thing I have to do, which is making rapid progress just now. tiden i et hus ved navn Hjbo i Tibberup nr Humlebk, som 24
25 This largish thing was the Fifth Symphony. han havde fet stillet til rdighed af gteparret Vera og Carl 25
26 In the spring of 1921 Carl Nielsen spent much of his Johan Michaelsen, hvem han tilegnede symfonien. De var 26
27 time at a house called Hjbo in Tibberup, near Humlebk, meget interesserede i Carl Nielsens musik og var ham en stor 27
28 which had been lent to him by the couple Vera and Carl Johan sttte i denne periode. Her frdiggjorde han frste sats i 28
29 Michaelsen, to whom he dedicated the symphony. They were begyndelsen af marts 1921. Den 4. marts skrev han til sin kone 29
30 very interested in Carl Nielsens music and gave him much Anne Marie Carl-Nielsen, at frstesatsen var frdig, og den 30. 30
31 support in this period. This was where he finished the first marts kunne han melde, at ogs renskriften af satsen var 31
32 movement at the beginning of March 1921. On 4th March he frdig, men han kunne ikke komme i gang med 2. sats: For 32
33 wrote to his wife Anne Marie Carl-Nielsen that the first Tiden er jeg stoppet op i min Symfoni og har en temmelig 33
34 movement was finished, and on 30th March he reported that strk Flelse af at min gamle Evne er ved at svigte mig.7 34
35 the fair copy of the movement was also finished; but he could I sommeren 1921 afbrd Carl Nielsen arbejdet med 35
36 not get started on the second movement: At present I have symfonien, fordi han havde lovet at skrive et vrk til en tekst 36
37 come to a halt in my symphony and have a rather strong af Aage Berntsen. Dette vrk, Fynsk Foraar, op. 42, var frdigt 37
7
38 feeling that my old abilities are failing me. den 30. august 1921, og den 3. september skrev han til Anne 38
39 In the summer of 1921 Carl Nielsen broke off the Marie Carl-Nielsen: Nu skal jeg til at fortstte paa min 39
40 work on the symphony because he had promised to write a 40
41 work to a text by Aage Berntsen. This work, Springtime on Funen 41
4. Denne udgave udkom bde som lommepartitur, hvor
42 forordet er underskrevet af begge og som stort partitur 42
43 med tilhrende trykte stemmer med et forord alene 43
4 This edition appeared both as a pocket score where the underskrevet af Tuxen. Begge forord er dateret august
44 preface is signed by both, and as a full-size score with 1950. Af forordene fremgr, at man ved revisionen af 44
45 printed parts and a preface signed by Tuxen alone. partituret har haft manuskripterne CNS 66a og CNS 45
Both prefaces are dated August 1950. It is evident from 66b samt frsteudgaven til rdighed.
46 the prefaces that for the editing of the score the 46
5 For en mere indgende fremstilling af symfoniens
47 manuscripts CNS 66a and CNS 66b as well as the first tilblivelse og reception henvises til Michael Fjeldse: 47
edition were available. op.cit., s. 51-68.
48 48
5 For a more detailed account of the genesis and 6 Brev til dir. Johannes Nielsen, 8. oktober 1920, Irmelin
49 reception of the symphony, see Michael Fjeldse, op. cit., Eggert Mller og Torben Meyer (udg.): Carl Nielsens Breve. 49
50 pp. 51-68. I udvalg og med kommentarer, Kbenhavn 1954, s. 193-194. 50
6 Letter to Johannes Nielsen, 8th October 1920, Irmelin Det fremgr af sammenhngen, at den strre Ting" er
51 Eggert Mller & Torben Meyer (eds.), Carl Nielsens Breve. I 51
et andet vrk end Moderen. Jf. ogs brev til Helge Rode,
52 udvalg og med kommentarer, Copenhagen 1954, pp. 193- 9. oktober 1920, Irmelin Eggert Mller og Torben Meyer, 52
194. It appears from the context that the largish op.cit., s. 195.
53 53
thing is a different work from Moderen. Cf. also the 7 Torben Schousboe (udg.): Carl Nielsen. Dagbger og
54 letter to Helge Rode, 9th October 1920, in Irmelin brevveksling med Anne Marie Carl-Nielsen, Kbenhavn 1983, 54
55 Eggert Mller & Torben Meyer, op. cit., p. 195. s. 443. Vedr. 4. marts: Torben Schousboe, op.cit., s. 441. 55
7 Torben Schousboe (ed.), Carl Nielsen. Dagbger og
56 brevveksling med Anne Marie Carl-Nielsen, Copenhagen 56
57 1983, p. 443. For 4th March see Torben Schousboe, op. 57
cit., p. 441.
58 58
59 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 xii 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
8
9 9 afbrudte Symfoni. Arbejdet fortsatte indtil det renskrevne 9
10 10 partitur til symfonien efter en vldig kraftanstrengelse l 10
9
11 11 frdigt den 15. januar 1922. 11
12 12 Op. 42, was finished on 30th August 1921, and on 3rd Septem- 12
13 13 ber he wrote to Anne Marie Carl-Nielsen: Now I am going to go Symfonien fik sin uropfrelse med komponisten som dirigent i 13
14 14 on with my interrupted symphony.8 The work continued until Musikforeningen i Kbenhavn den 24. januar 1922. Carl 14
15 15 the fair copy score of the symphony, after a huge effort, was Nielsen var klar over, at symfonien ikke var let at spille, men 15
16 16 finished on 15th January 1922.9 orkesteret forberedte sig omhyggeligt. Der blev holdt fem 16
17 17 prver i stedet for de sdvanlige tre, og der er ingen tvivl om, 17
10
18 18 The symphony was given its first performance with the compo- at symfonien var aftenens hovedvrk, som alle s hen til. 18
19 19 ser as conductor at the music society Musikforeningen in Politiken havde p dagen dels en foromtale, der refererede fra 19
20 20 Copenhagen on 24th January 1922. Carl Nielsen was aware that prverne og spede om succes, dels et interview med komponi- 20
21 21 the symphony was not easy to play, but the orchestra made sten. Her fortalte Carl Nielsen om symfonien, der ikke som de 21
22 22 careful preparations. Five rehearsals were held instead of the foregende havde en titel: 22
23 23 usual three, and there is no doubt that the symphony was the 23
24 24 major work of the evening to which everyone was looking Min frste Symfoni var ogsaa navnls. Men saa kom De fire 24
10
25 25 forward. On the day the newspaper Politiken had featured Temperamenter, Espansiva og Det Uudslukkelige, egentlig 25
26 26 both an advance notice with a report from the rehearsals, blot forskellige Navne paa det samme, det eneste, som Musiken 26
27 27 predicting success, and an interview with the composer, where til syvende og sidst kan udtrykke: de hvilende Krfter i Mod- 27
11
28 28 Nielsen spoke about the symphony, which unlike the previous stning til de aktive. Skulde jeg finde en Betegnelse paa 28
29 29 ones had no title: denne min femte og nye Symfoni, skulde den udtrykke noget 29
30 30 lignende. Jeg har ikke kunnet faa fat paa det ene Ord, der paa 30
31 31 My first symphony was nameless too. But then came The samme Tid var karakteristisk og ikke for pretentist og saa 31
32 32 Four Temperaments, Espansiva and The Inextinguishable, har jeg ladet det vre. 32
33 33 actually just different names for the same thing, the only thing Men den Id eller Tanke, der ligger til Grund for 33
34 34 that music can express when all is said and done: the resting den? 34
11
35 35 powers as opposed to the active ones. If I were to find a name Ja, hvordan skal jeg forklare det? Jeg ruller en Sten 35
36 36 for this, my new fifth symphony, it would express something op ad en Bakke, anvender de Krfter, der er i mig, paa at 36
37 37 similar. I have been unable to get hold of the one word that is bringe Stenen op paa et Hjdepunkt. Dr ligger Stenen saa 37
38 38 at the same time characteristic and not too pretentious so I stille. Krfterne er bundet i den indtil jeg giver den et Spark, 38
39 39 let it be. da samme Krfter udlses og Stenen ruller ned igen. 39
40 40 But the idea or thought that lies behind it? Men De maa blot ikke opfatte det som et Program! 40
41 41 Yes, how should I explain it? I roll a stone up a hill, Disse Forklaringer og Anvisninger paa, hvad Musiken forestil- 41
42 42 use the energy I have in me to get the stone up to a high point. ler, er kun af det onde, distraherer Tilhrerne og delgger 42
43 43 And there the stone lies still. The energy is tied up in it - until I den absolute Tilegnelse. 43
44 44 give it a kick, and the same energy is released and the stone 44
45 45 rolls down again. 45
8 Torben Schousboe, op.cit., s. 446. Dateringen af Fynsk
46 46 Foraar iflg. ms til klaverpartituret til vrket, DK-Kk, CNS 46
47 47 309b. Jf. brev fra Carl Nielsen til Chr. Christiansen, 47
8 Torben Schousboe, op. cit., p. 446. Dating of Springtime on dateret 27. august 1921, DK-Kk, NKS 4166, 4.
48 48 Funen according to the MS of the piano score of the 9 Jf. brev til Julius og Sigrid Rabe, 17. januar 1922, Irmelin 48
49 49 work, DK-Kk, CNS 309b. Cf. letter from Carl Nielsen to C. Eggert Mller og Torben Meyer, op.cit., s. 210-211. 49
Christiansen, dated 27th August 1921, DK-Kk, NKS 4166, 10 Antallet af prver fremgr af orkesterregningerne i
50 50 4. 50
Musikforeningens arkiv, DK-Kk, MA.
51 51 9 Cf. letter to Julius and Sigrid Rabe, 17th January 1922, 11 Jf. Carl Nielsens notat p indersiden af bindet til 51
Irmelin Eggert Mller & Torben Meyer, op. cit., pp. 210- blyantskladden DK-Kk, CNS 66b: Dunkle, hvilende
52 52 52
211. Krfter / Vaagne Krfter.
53 53 10 The number of rehearsals is evident from the 53
54 54 orchestras bills in the archives of Musikforeningen, DK- 54
Kk, MA.
55 55 11 Cf. Carl Nielsens note on the inside binding of the 55
56 56 pencil draft DK-Kk, CNS 66b: Dark, resting forces / 56
Awakened forces.
57 57 57
58 58 58
59 59 59
60 60 60
61 61 61
62 62 62
63 63 63
64 64 Carl Nielsen Udgaven CN 00002 xiii 64
65 65 65
66 66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 Jeg har denne Gang ndret Formen og njes med to 9
10 Dele i Stedet for de sdvanlige fire Satser. Jeg har tnkt saa 10
11 meget over dette, at man i den gamle Symfoniform som Regel 11
12 But you just mustnt see this as a programme! sagde det meste af det man havde paa Hjerte, i den frste 12
13 These explanations and instructions for what the Allegro. Saa kom den rolige Andante, der virkede som Modst- 13
14 music represents can only be bad, they distract the listeners ning, men saa atter Scherzoen, hvor man igen kommer for hjt 14
15 and spoil the absolute grasp of the work. op og delgger Stemningen i Finalen, hvor Iderne alt for tidt 15
16 This time I have changed the form and I am content er sluppet op. 16
17 with two parts instead of the usual four movements. Ive Mon ikke Beethoven har flt det i sin niende, da 17
18 thought so much about this - that in the old symphonic form han tog Menneskestemmen til Hjlp mod Slutningen! 18
19 you usually said most of what you had on your mind in the Jeg har alts gjort det denne Gang, at jeg har delt 19
20 first allegro. Then came the calm andante, which functioned as Symfonien i to store, brede Dele den frste, der begynder 20
21 a contrast, but then its the scherzo, where you get up too high langsomt og roligt, og den anden mere aktive. Man har sagt 21
22 again and spoil the mood for the finale, where the ideas have mig, at min nye Symfoni ikke ligner mine tidligere. Jeg kan 22
23 all too often run out. ikke selv hre det. Men maaske er det rigtigt. Jeg vd dog, at 23
24 I shouldnt wonder if Beethoven felt that in his den er ikke saa helt nem at capere, heller ikke helt nem at 24
25 Ninth, when he got some assistance from the human voice spille. Vi har haft mange Prver paa den. Nogle har endog 25
26 towards the end! ment, at nu kunde Arnold Schnberg godt pakke sammen med 26
12
27 So what I have done this time is divided the sine Disharmonier. Mine var vrre. Det tror jeg dog ikke. 27
28 symphony into two large, broad parts the first, which begins 28
29 slowly and calmly, and the second, more active. Ive been told Dette sidste var ikke ment som et angreb p Schnberg, hvilket 29
30 that my new symphony isnt like my earlier ones. I cant hear it fremgik af interviewets slutning, hvor Carl Nielsen karakterise- 30
31 myself. But perhaps its true. I do know that it isnt all that easy rede Schnberg som en helt igennem rlig musiker, hvis 31
32 to grasp, nor all that easy to play. Weve had many rehearsals of musik han fandt udmrket i den udstrkning, han forstod 32
33 it. Some people have even thought that now Arnold Schnberg den, og derfor antog han, at det han ikke forstod, ogs var 33
13
34 can pack his bags and take a walk with his disharmonies. Mine godt. Schnberg blev vel snarest nvnt for at forberede 34
12
35 were worse. I dont think so. publikum p, at der var steder i femte symfoni, der ld usd- 35
36 vanligt og krast, og som brd med den traditionelle opfattelse 36
37 This was not meant as an attack on Schnberg, as was evident af harmoni. 37
38 from the end of the interview, where Carl Nielsen described Frsteopfrelsen blev en stor succes, og anmeldel- 38
14
39 Schnberg as a thoroughly honest musician whose music he serne var positive. Den frste sats tog anmelderne straks til 39
40 considered excellent insofar as he understood it; and he sig, mens de stod mere vaklende over for symfoniens anden 40
41 therefore assumed that what he did not understand was also del. August Felsings anmeldelse er karakteristisk for denne 41
13
42 good. Schnberg was more likely mentioned to prepare the holdning: 42
43 public for the fact that there were places in the Fifth 43
44 Symphony that sounded unusual and harsh, and which broke 44
12 Politiken, 24.1.1922. Interview af G-bas (Axel Kjerulf).
45 with the traditional view of harmony. 13 Det vides med sikkerhed, at Carl Nielsen har hrt 45
46 The first performance was a great success, and the Schnbergs kammersymfoni i 1915. At Carl Nielsens 46
14 symfoni blev sammenlignet med Schnbergs musik
47 reviews were positive. The reviewers immediately accepted kan skyldes, at svel Schnbergs frste strygekvartet 47
48 the first movement, while they were more hesitant about the som Verklrte Nacht og Pierrot lunaire blev opfrt i 48
Kbenhavn i efterret 1921 og dermed var i frisk
49 49
erindring. Jf. Jan Maegaard: Arnold Schnberg og
50 Danmark, Dansk rbog for Musikforskning VI 1968, 50
12 Politiken, 24.1.1922. Interview by G-bas (Axel Kjerulf)
51 s. 141-158. 51
13 We know with certainty that Carl Nielsen had heard
14 Kbenhavn, Nationaltidende, Brsen, Berlingske Aftenavis,
52 Schnbergs Chamber Symphony in 1915. That Nielsens 52
Ekstrabladet, Kristeligt Dagblad, alle 25.1.22, Politiken
symphony was compared to Schnbergs music may be
53 due to the fact that Schnbergs first string quartet,
26.1.22, samt Musik VI, 2 febr. 1922. 53
54 Verklrte Nacht and Pierrot lunaire were all performed in 54
Copenhagen in the autumn of 1921 and were thus fresh
55 55
in memory. Cf. Jan Maegaard, Arnold Schnberg og
56 Danmark, Dansk rbog for Musikforskning VI 1968, pp. 56
57 141-158. 57
14 Kbenhavn, Nationaltidende, Brsen, Berlingske Aftenavis,
58 Ekstrabladet, Kristeligt Dagblad, all 25.1.22; Politiken 58
59 26.1.22; and Musik VI, 2 Febr. 1922. 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 xiv 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 Intellektuel Kunst er den sidste Del, og det er en Mester, der 9
10 10 taler. Men den Pagt med det evige i Kunsten, som lyser ud af 10
11 11 frste Del, brister her.15 11
12 12 second part of the symphony. August Felsings review is 12
13 13 characteristic of this attitude: I de flgende r fik symfonien en imponerende rkke af 13
14 14 opfrelser. I lbet de frste seks r opfrtes den ni steder i 14
15 15 Intellectual art is what the second part is, and it is a master udlandet samt ved yderligere to koncerter i Kbenhavn: Efter 15
16 16 who speaks. But the pact with the eternal in art which shines uropfrelsen blev den i 1922 spillet i Gteborg og Berlin, i 1924 16
15
17 17 forth in the first part is broken here. i Stockholm, og svel i 1923 som 1925 i Kbenhavn p komponi- 17
18 18 stens fdselsdag. I 1926 opfrtes den i Paris og Oslo, i 1927 p 18
19 19 In the years to come the symphony had a number of impressive ISCM-festivalen i Frankfurt a.M samt i Leipzig, begge gange 19
20 20 performances. Within the first six years it was performed in dirigeret af Wilhelm Furtwngler, samt i Knigsberg og endelig 20
21 21 nine places abroad and at a further two concerts in af Concertgebouw-orkestret i Amsterdam.16 21
22 22 Copenhagen: after the first performance it was played in 1922 22
23 23 in Gothenburg and Berlin; in 1924 in Stockholm, and in both Michael Fjeldse 23
24 24 1923 and 1925 in Copenhagen on the composers birthday. In 24
25 25 1926 it was performed in Paris and Oslo, in 1927 at the ISCM 25
15 August Felsing i Musik VI, 2 febr. 1922, s. 26.
26 26 World Music Days in Frankfurt am Main and in Leipzig, on 16 For detaljer henvises til Michael Fjeldse, op.cit., s. 65. 26
27 27 both occasions conducted by Wilhelm Furtwngler; in 27
28 28 Knigsberg and finally by the Concertgebouw Orchestra in 28
16
29 29 Amsterdam. 29
30 30 30
31 31 Michael Fjeldse 31
32 32 32
33 33 33
15 August Felsing in Musik VI, 2 Febr. 1922, p. 26.
34 34 16 For details see Michael Fjeldse, op. cit., p. 65. 34
35 35 35
36 36 36
37 37 37
38 38 38
39 39 39
40 40 40
41 41 41
42 42 42
43 43 43
44 44 44
45 45 45
46 46 46
47 47 47
48 48 48
49 49 49
50 50 50
51 51 51
52 52 52
53 53 53
54 54 54
55 55 55
56 56 56
57 57 57
58 58 58
59 59 59
60 60 60
61 61 61
62 62 62
63 63 63
64 64 Carl Nielsen Udgaven CN 00002 xv 64
65 65 65
66 66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 12
13 13
14 14
15 15
16 16
17 17
18 18
19 19
20 20
21 21
22 22
23 23
24 24
25 25
26 26
27 27
28 28
29 29
30 30
31 31
32 32
33 33
34 34
35 35
36 36
37 37
38 38
39 39
40 40
41 41
42 42
43 43
44 44
45 45
46 46
47 47
48 48
49 49
50 50
51 51
52 52
53 53
54 54
55 55
56 56
57 57
58 Beginning of first movement, Source C, pencil draft Begyndelsen af frste sats i blyantskladden, kilde C
58
59 (DK-Kk CNS 66b). (DK-Kk CNS 66b). 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 xvi 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 12
13 13 13
14 14 14
15 15 15
16 16 16
17 17 17
18 18 18
19 19 19
20 20 20
21 21 21
22 22 22
23 23 23
24 24 24
25 25 25
26 26 26
27 27 27
28 28 28
29 29 29
30 30 30
31 31 31
32 32 32
33 33 33
34 34 34
35 35 35
36 36 36
37 37 37
38 38 38
39 39 39
40 40 40
41 41 41
42 42 42
43 43 43
44 44 44
45 45 45
46 46 46
47 47 47
48 48 48
49 49 49
50 50 50
51 51 51
52 52 52
53 53 53
54 54 54
55 55 55
56 56 56
57 57 57
58 58 Beginning of first movement, Source B, fair copy Begyndelsen af frste sats i renskriften, kilde B
58
59 59 (DK-Kk CNS 66a). (DK-Kk CNS 66a). 59
60 60 60
61 61 61
62 62 62
63 63 63
64 64 Carl Nielsen Udgaven CN 00002 xvii 64
65 65 65
66 66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 12
13 13
14 14
15 15
16 16
17 17
18 18
19 19
20 20
21 21
22 22
23 23
24 24
25 25
26 26
27 27
28 28
29 29
30 30
31 31
32 32
33 33
34 34
35 35
36 36
37 37
38 38
39 39
40 40
41 41
42 42
43 43
44 44
45 45
46 46
47 47
48 48
49 49
50 50
51 51
52 52
53 53
54 54
55 55
56 56
57 57
58 Second movement bb. 598-606 of Source B, fair copy with Emil Anden sats t. 598-606 i renskriften, kilde B, med Emil
58
59 Telmnyis additions in red pencil (DK-Kk CNS 66a). Telmnyis tilfjelser i rd blyant (DK-Kk CNS 66a). 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 xviii 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 12
13 13 13
14 14 14
15 15 15
16 16 16
17 17 17
18 18 18
19 19 19
20 20 20
21 21 21
22 22 22
23 23 23
24 24 24
25 25 25
26 26 26
27 27 27
28 28 28
29 29 29
30 30 30
31 31 31
32 32 32
33 33 33
34 34 34
35 35 35
36 36 36
37 37 37
38 38 38
39 39 39
40 40 40
41 41 41
42 42 42
43 43 43
44 44 44
45 45 45
46 46 46
47 47 47
48 48 48
49 49 49
50 50 50
51 51 51
52 52 52
53 53 53
54 54 54
55 55 55
56 56 56
57 57 57
58 58 First movement, Source B, beginning of cadenza by the snare Begyndelsen af lilletrommens cadenza i frste sats, kilde B 58
59 59 drum (DK-Kk CNS 66a). (DK-Kk CNS 66a). 59
60 60 60
61 61 61
62 62 62
63 63 63
64 64 Carl Nielsen Udgaven CN 00002 xix 64
65 65 65
66 66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 B E S T N I N G 12
13 13
14 O R C H E S T R A 14
15 15
16 16
17 17
18 18
19 3 flauti / 1 flauto piccolo 19
20 20
21 2 oboi 21
22 22
23 2 clarinetti 23
24 24
25 2 fagotti 25
26 26
27 4 corni 27
28 28
29 3 trombe 29
30 30
31 3 tromboni 31
32 32
33 tuba 33
34 34
35 timpani 35
36 36
37 piatti 37
38 38
39 tamburino 39
40 40
41 triangolo 41
42 42
43 tamburo piccolo 43
44 44
45 celesta 45
46 46
47 archi 47
48 48
49 49
50 50
51 51
52 52
53 53
54 54
55 55
56 56
57 57
58 58
59 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 xx 64
65 65
66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 F O R K O R T E L S E R 12
13 13
14 A B B R E V I A T I O N S 14
15 15
16 16
17 17
18 b. bar 18
19 brass brass instruments 19
20 cb. contrabbasso 20
21 cel. celeste 21
22 cl. clarinetto 22
23 CN Carl Nielsen 23
24 CNA Carl Nielsen Arkivet 24
25 (The Carl Nielsen Archives) 25
26 CNS Carl Nielsens Samling 26
27 (The Carl Nielsen Collection) 27
28 cor. corno 28
29 div. divisi 29
30 DK-Kk Det Kongelige Bibliotek, Kbenhavn 30
31 (The Royal Library, Copenhagen) 31
32 fg. fagotto 32
33 fl. flauto 33
34 fl.gr. flauto grande 34
35 HA Hndskriftafdelingen (Manuscript Department) 35
36 MA Musikafdelingen (Music Department) 36
37 marc. marcato 37
38 NKS Ny Kongelig Samling (New Royal Collection) 38
39 ob. oboe 39
40 perc. percussion 40
41 picc. flauto piccolo 41
42 Pl. No. Plate Number 42
43 ptti. piatti 43
44 stacc. staccato 44
45 str. strings 45
46 tamb. picc. tamburo piccolo 46
47 tb. tuba 47
48 tbno. tamburino 48
49 ten. tenuto 49
50 timp. timpani 50
51 tr. tromba 51
52 trb.b. trombone basso 52
53 trb.t. trombone tenore 53
54 trem. tremolo 54
55 trgl. triangolo 55
56 va. viola 56
57 vc. violoncello 57
58 vl. violino 58
59 woodw. woodwind instruments 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 158 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 12
13 13 13
14 14 C R I T I C A L 14
15 15 15
16 16 C O M M E N T A R Y 16
17 17 17
18 18 18
19 19 19
20 20 In the Critical Commentary the following conventions A Printed score, first edition. 20
21 21 are used: Title page: Carl Nielsen. / SYMFONI NO 5. / Op. 50. / Parti- 21
22 22 tur. / Borups Musikforlag / Palgade 2. Kbenhavn. K. / - 22
23 23 1 by analogy with is used when something has been 1926 - / Tous droits rservs.1 23
24 24 added, emended or omitted by analogy with another Leaf after title page: Til mine Venner / VERA og CARL 24
25 25 passage in the main source. The analogy may be vertical. JOHAN MICHAELSEN.2 25
26 26 When something is added by analogy with one or more Pl. No.: MN. 2668 (1926). 26
27 27 instruments, it is understood that the analogy is with the 23x16 cm, 184 pp. 27
28 28 same place in the same bar(s). 28
29 29 Or it may be horizontal. When something is added by B Autograph score, printing source. 29
30 30 analogy with one or more bars, it is understood that the DK-Kk, CNS 66a. 30
31 31 analogy is with a parallel place in the same instrument(s). Title page: Mine Venner Vera og Carl J. Michaelsen / 31
32 32 tilegnet. / Symfoni No 5 / for / Orkester / af / Carl Nielsen. / 32
33 33 2 as in is used when something is added, emended or op 50.3 The dedication and opus number have been added 33
34 34 omitted to correspond to the same place in another in autograph in a different ink from the title. 34
35 35 source. End date: Kjbenhavn 15de Januar 1922. 35
36 36 Donated to the Royal Library by Director Carl Johan 36
37 37 3 in accordance with is used in cases where there is no Michaelsen in 1937. 37
38 38 authoritative source, only a guideline for example 34.5x27 cm, cover, title page, 127 numbered pages (1st 38
39 39 printed part material. movement: pp. 1-47; 2nd movement: pp. 1-80) written in 39
40 40 blue-grey and black ink. The first movement appears to 40
41 41 In the bar number column, the symbol + is used to indicate have been bound separately before the present Royal 41
42 42 an upbeat to the bar in question. Library binding. 42
43 43 Paper type: 43
44 44 Title page and first movement: 44
45 45 S O U R C E S Hansen / No. 8. Folio 22 (22 staves) 45
46 46 Second movement: 46
47 47 A Printed score, first edition pp. 1-12: B. & H. Nr. 14. A. / 6. 13. (24 staves) 47
48 48 B Autograph score, printing source pp. 13-32: Hansen / No. 8. Folio 22 (22 staves) 48
49 49 C Autograph score, draft pp. 33-80: Hansen / No. 9 Folio 24. (24 staves) 49
50 50 D1 Set of parts, transcript/partly autograph 50
51 51 D2 Parts, transcript/phototype
1 The first edition was at the same time delivered to
51
52 52 E Sketch members of Samfundet til Udgivelse af Dansk Musik 52
53 53 F Sketches (The Society for the Publication of Danish Music) with 53
the following addition printed at the top of the front
54 54 G Sketch cover: Samfundet til Udgivelse af Dansk Musik / 3 die 54
55 55 H Printed pocket score Rkke Nr. 18 / 1925-26 55
56 56 I Printed score and parts
2 For my friends Vera and Carl Johan Michaelsen
3 Dedicated to my friends Vera and Carl J. Michaelsen.
56
57 57 Symphony No. 5 for orchestra by Carl Nielsen. op. 50 57
58 58 58
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64 64 Carl Nielsen Udgaven CN 00002 159 64
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1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 The score was used as a conducting score by Carl Nielsen some of which are used in the Fifth Symphony. The first 12
13 and probably also by other conductors for earlier perfor- movement has the tempo designation Allo moderato, the 13
14 mances. The music has many additions and changes in movement number I and the heading (Vegetatio); pp. 5, 14
15 three different hands, a-c: 9, 19 og 23 have the same heading, which seems to have 15
16 a. Carl Nielsen: Additions and changes in pencil and in been the working title up to the Adagio. The movement 16
17 ink. The tamb.picc. solo, apart from the first four was at first written with the key signature for F major / D 17
18 bars, has been added in ink; the text note at minor up to the number 3, but this was later crossed out 18
19 tamb.picc., 1st movement (b. 400), and the change in again. The tamb.picc. solo from b.351 is only written out 19
20 tr. at the beginning of the 2nd movement have for the first four bars. The second movement has the 20
21 similarly been added in ink. heading II Del [Part II] and pp. 13, 17, 22 and 41 have the 21
22 b. Emil Telmnyi: Additions in red crayon and a few in heading Symf:. At the bottom of p. 1, E-dur Fortegn? A 22
23 ink, comprising articulation and dynamic markings, Dur ?5 is written. Below ob. and tr. A Dur Fortegn! is 23
24 bowing and comments on proof-reading. written.6 The tempo marking (Allegro, [h.] = 72 a 76) has 24
25 c. Engravers pencilled notes. been added in ink. The key signatures are only given at the 25
26 beginning of the movements and at changes of signature. 26
27 C Autograph score, draft. On pp. 10-14 Carl Nielsen has added parts and made 27
28 DK-Kk, CNS 66b. changes in blue crayon. The phrase bb.667-668 has been 28
29 Cover: Carl Nielsen / Symfoni nr / 2den Del. added in ink, and two identical bars have also been added 29
30 Title page: [Carl Nielsen: Symfoni nr. 5. Op. 50] added in in ink after b.671, where B has b.672 added instead. The 30
31 pencil by the Royal Library. movement was once seven bars shorter; the original 31
32 34.5x27 cm. Cover in stiff board, 28 sheets and 2 folios ending has been erased. 32
33 written in pencil, and 2 unwritten folios. 1st movement: 10 33
34 sheets and 2 folios (pp. 9-10, pp. 32-33), in all 44 numbered D1 Set of parts, transcript/partly autograph. 34
35 pages; 2nd movement: 18 sheets and 1 unwritten folio, in DK-Kk, C II, 10 35
36 all 71 numbered pages (1-13, 2 unnumbered pages, 16-17, Printed title label: UNVERKUFLICHES LEIHMATERIAL :: 36
37 17, 19-71), of which p. 45 and p. 49 are negligibly cut. The EIGENTUM DES VERLEGERS / CARL NIELSEN / SYMPHONIE 37
38 cover originally only contained the second movement, and NR. 5 OP. 50 / [instrument] / SKANDINAVISK OG BORUPS 38
39 is perforated and tied together with string. The first MUSIKFORLAG / AKTIESELSKAB / BREDGADE 31 KBEN- 39
40 movement was later put into the cover such that the title HAVN K.. 40
41 page and the folio after the first movement made up a The set of parts was written out for the first performance, 41
42 sheet around the movement. Back cover recto: De Dunkle, went to the publishers Borups Musikforlag in connection 42
43 hvilende Krfter / De Vaagne Krfter in autograph.4 with the publication of the symphony in 1926, and was 43
44 then used as rental material up to and including 1951; 44
45 Paper type: later they went to the Royal Library. 45
46 1st movement: From 12 to 22 staves. 34.5x26 cm, 48 parts in covers, written in ink. 46
47 2nd movement: From 12 to 24 staves. Paper type: 12 staves. 47
48 The parts have the following cover numbers: 6, 8, 19, 30, 48
49 The manuscript has a few autograph additions and 31, 32, 39, 43, 44, 45, 47, 49, 65, 70, 72, 73, 80, 88, 89, 90, 49
50 changes in blue crayon and in ink, and the articulation 92, 108, 111, 112, 119, 121, 123, 125, 127, 129, 131, 133, 135, 50
51 marking and phrasing are only sporadically indicated. 137, 139, 141, 143, 145, 147, 149, 151, 153, 155, 157, 159, 161, 51
52 Unison parts are not always written out. On empty music 163, 165. This original set is recognizable from the two 52
53 lines and in the margin, there are a number of sketches, stamps on the first page of music in each part, a og b:7 53
54 54
55 55
4 The Dark, resting forces / The awakened forces 5 E major key signature? A major?
56 6 A major key signature 56
57 7 In 1930 the publisher changed its name to Skandina- 57
visk og Borups Musikforlag A/S.
58 58
59 59
60 60
61 61
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63 63
64 Carl Nielsen Udgaven CN 00002 160 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 a. Borups Musikforlag / Palgade 2 Kbenhavn K / E Sketch. 12
13 13 Telefon 10018 DK-Kk, CNS 66c. 13
14 14 b. Skandinavisk og Borups Musikforlag / Aktieselskab / Title page (f. 1v): Carl Nielsen. 5te Symfoni (Adagio) added 14
15 15 Kbenhavn K. / Bredgade 31. in pencil in another hand. 15
16 16 The parts comprise 3 fl., 2 cl., 2 ob., 2 fg., 4 cor., 3 tr., 3 trb., Donated to the Royal Library by Irmelin Eggert Mller in 16
17 17 1 tb., timp., tamb.picc., ptti./tbno., trgl./cel., 6 vl.1 (nos. 1-4, 1958. 17
18 18 6-7), 6 vl.2 (nos. 1-5, 1 unnumbered), 5 va. (nos. 1-5), 4 vc. 26x34.5 cm, 1 folio written on both sides in pencil. 18
19 19 (nos. 1-4) and 3 cb. (nos. 1-3). On the last page of music in Paper type: 12 staves. 19
20 20 trb.b. H. Hornung-Jensen / Musikforeningen / 1ste Opf- This is a sketch for the first movement, the first 16 bars of 20
21 21 relse / Dir: Komponisten / 24 Januar 1922.8 is written. Tr.3 the Adagio, notated over 8 to 10 staves. 21
22 22 (pasted on in 2nd movement, bb.1-18) and tamb.picc. (1st 22
23 23 movement from b.190) are autograph. There are three F Sketches. 23
24 24 hands: Johannes Andersen, Fred. V. [Zenders?] and one DK-Kk, CNS 16b. 24
25 25 unknown. The parts have numerous additions in other Title: [Suite for klaver, op. 45] 25
26 26 hands, and a few parts have autograph additions in pencil. Dating: f. 3v (Allegretto un poco) dated Damgaard 20 26
v
27 27 August 19; f. 6 (II / Allegretto innocente) dated 27
28 28 D2 Parts, transcript/phototype. Damgaard August 19. 28
29 29 DK-Kk, C II, 10 Donated to the Royal Library by Margrethe Rosenberg in 29
30 30 Printed title label: UNVERKUFLICHES LEIHMATERIAL :: 1935 or later. 30
31 31 EIGENTUM DES VERLEGERS / CARL NIELSEN / SYMPHONIE 34x26.5 cm, 3 sheets, 2 loose folios, in all 7 folios written 31
32 32 NR. 5 OP. 50 / [instrument] / SKANDINAVISK OG BORUPS in ink and pencil, paginated 1-5, 1-4, 1-3. 32
33 33 MUSIKFORLAG / AKTIESELSKAB/ BREDGADE 31 KBEN- Paper type: No. 3. F. 12. (12 staves). 33
34 34 HAVN K.. The manuscript has three sketches in pencil (f. 1r) for the 34
35 35 Rental material written out in March-May 1933, parts for fifth symphony, first movement, one of which has not been 35
36 36 str. duplicated in phototype at the beginning of 19359 as used. 36
37 37 well as a few later handwritten parts. The material was 37
38 38 used up to and including 1951; later went to the Royal G Sketch. 38
39 39 Library. DK-Kk, CNS 345l. 39
40 40 34.5x26 cm, 122 parts in covers, written in ink. Title: Grammofon-Vals (Gramophone Waltz) from the 40
41 41 Paper type: 12 staves. play Moderen. 41
42 42 The material, which only has Stamp b, is part of the whole Donated to the Royal Library by Irmelin Eggert Mller in 42
43 43 set of parts, D1 and D2, which consists of a total of 168 1958. 43
44 44 numbered and 2 unnumbered parts. In some of the string 34.5x26 cm, 1 folio written in pencil. 44
45 45 parts a transcript of the 2nd movement is also inserted, Paper type: 14 staves 45
46 46 written without key signatures, presumably made at the The manuscript (f. 1v) contains a rhythmic reworking of 46
47 47 end of the 1940s. A transcript of the printed score (34.5x26 the fifth symphony, first movement, the first two bars of 47
48 48 cm, 184 pp.) also belongs to D2. the Adagio theme, notated on one stave. 48
49 49 49
50 50
8 H. Hornung-Jensen / Musikforeningen / 1st perform-
H Printed pocket score. 50
51 51 ance / Conduct.: The composer / 24 January 1922. Front page: CARL NIELSEN / SYMFONI no. 5 / PARTITUR / 51
52 52 9 According to the accessions catalogue of DK-Kk the SKANDINAVISK MUSIKFORLAG / KBENHAVN / III. 52
duplicated parts were registered on 21.3.1935.
53 53 Title page: Til mine venner / Vera og Carl Johan Michael- 53
54 54 54
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56 56 56
57 57 57
58 58 58
59 59 59
60 60 60
61 61 61
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64 64 Carl Nielsen Udgaven CN 00002 161 64
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66 66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 sen / CARL NIELSEN / SYMFONI no. V / OP. 50 / PARTITUR / 12
13 SKANDINAVISK MUSIKFORLAG / KBENHAVN.10 13
14 19x14 cm, 172 pp. 14
15 Copyright Skandinavisk Musikforlag 1950. 15
16 The score has a preface by Emil Telmnyi and Erik Tuxen, 16
17 dated Kbenhavn, august 1950. 17
18 18
19 19
20 I Printed score and parts. 20
21 Front page: CARL NIELSEN / SYMFONI no. 5 / SYMPHONY 21
22 no. V / OP. 50 / PARTITUR / FULL SCORE / SKANDINAVISK 22
23 MUSIKFORLAG / KBENHAVN / III 23
24 29.5x23cm, 172pp. and 6 pages of editorial notes. 24
25 Copyright 1950, printed 1952. 25
26 The score has a preface by Erik Tuxen, dated Kbenhavn, 26
27 august 1950. 27
28 Parts: 3 fl., 2 ob., 2 cl., 2 fg., cfg., 4 cor., 3 tr., 3 trb., 1 tb., 28
29 timp., perc., cel., str. 29
30 30
31 31
32 32
33 FILIATION AND EVALUAT I O N 33
34 OF SOURCES 34
35 35
36 E, F and G, with the sketches in C, must be regarded as drafts 36
37 directly related to C, which is a fully worked-out draft score. B 37
38 is a fair copy of C, with clarification of articulation and 38
39 phrasing. The parts for the first performances, D1, were written 39
40 on the basis of B, and after further work on the articulation 40
41 marking and phrasing, B was used as the printing source for A, 41
42 1st edition. Both Carl Nielsens and Emil Telmnyis additions 42
43 are counted as part of the source text in B, since they were 43
44 added on the instructions of Carl Nielsen before the 44
45 manuscript was used as a printing source. Since Carl Nielsen 45
46 himself took part in the proof-reading of the first edition, and 46
47 thus must be considered to have approved the final form of the 47
48 music, A is considered the main source for this edition. 48
49 D , H and I were all drawn up after the death of Carl
2
49
50 Nielsen. In I there are corrections of H. It is evident from the 50
51 preface to I that the editors of H and I had no sources available 51
52 which have not been available for the present edition. 52
53 53
54 54
10 To my friends / Vera and Carl Johan Michaelsen / CARL
55 NIELSEN / SYMPHONY no. V / OP. 50 / SCORE / SKANDI- 55
56 NAVISK MUSIKFORLAG / COPENHAGEN. 56
57 57
58 58
59 59
60 60
61 61
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63 63
64 Carl Nielsen Udgaven CN 00002 162 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 E D I T O R I A L E M E N DAT I O N S Bar Part Comment 12
162-163 ob. B: b.162 notes 3-4 and b.163: no stacc.
13 13 A N D A LT E R N A T I V E 163 fl.1 f
sempre added by analogy with cl.2
13
14 14 R E A D I N G S 164 fl.2 cl.1 f added by analogy with b.163 (cl.2) 14
15 15 165 vc. arco added 15
First movement 166 va. arco added
16 16 167 va. vc. B: begins at note 1 16
17 17 Bar Part Comment 181 fg. beginning of moved from note 17
4 va. B : begins on 3rd crotchet 3 by analogy with cor.3,4; B:
18 18 18
8-9 fg. B: begins at b.9 note 1; begins at note 2
19 19 ends at b.9 note 3 184 cor.3,4 marc. added by analogy with fg. 19
20 20 25 fl.1 1
D : sehr schwach! added, pp changed to 186 tbno. trgl. 1
B: note 1: no roll; D (trgl.): note 1: no roll
20
pppp in pencil (CN) 194-210 va. 1
D : one slur from note 1-24 in each bar
21 21
25 fl.2 1
D : sehr schwach! added, pp changed to 196 cb. arco added 21
22 22 ppppp in pencil (CN) 197 ptti. trgl. B: sempre ff 22
33-34 fl.1,2 B: ends at b.34 note 2 201 ob. ten. omitted by analogy with fl.2 cl.2
23 23 23
33-35 cor.1,2 B: ends at b.34 note 1; cor.3,4 and by analogy with bb.196, 197
24 24 begins at b.34 note 1 and ends at b.34 201 cor.1,2 fz added as in B and by analogy with fg. 24
25 25 note 2 202 ptti. trgl. ff emended to ffz as in B and by 25
34 cor.1,2 poco added as in B analogy with bb.200, 205
26 26
41-42 ptti. ppp
poco emended to 208 vl.1,2 B: note 6: ppp 26
27 27 poco by analogy with bb.69-70; B: di legno 213 tamb.picc. added as in B 27
48-49 vl.1 B: begins at b.49 note 1 217-220 ob.1 B: slur ends at b.219 note 2
28 28 28
73 va. C: tremolo g' -f ' from 3rd crotchet 219 ob.1 B: dim. at 3rd crotchet
29 29 75 vl.1 B: from b.74 note 4 to b.75 note 224 vc. B: fz 29
30 30 1 225-226 cl.1 tie added as in B; B: begins at 30
76 vl.1 B: begins at note 2 b.225 note 2
31 31
85 vc. B:ffz 225 cel. f added as in B; sempre added as a 31
32 32 94 vl.1,2 ppp emended to pppp as in B f
consequence of in b.214 32
97-98 fl.1 b.97 note 3: dim. and from b.98 226-259 vl.1,2 three-note figures bb.226-227, 234-235,
33 33 33
note 1 to b.99 2nd crotchet emended to 249-250, 253-254, 258-259 emended from
34 34 from b.97 note 1 to b.98 note 2 x with flags and two x with beams to 34
35 35 as in B three x with beams crossing the bar line 35
99 cb. con sord. added as a consequence of senza by analogy with bb.235-247
36 36
sord. in b.113 228 timp. sempre F added as in B 36
37 37 101-102 vl.1 B: b.101: no ; b.102: no 230-233 va. vc. C: from b.230 note 3 to b.233 37
; dim. at b.102 note 1 note 1
38 38 38
107 trgl. added as in B 231 va. vc. cresc. moved from note 16; B: cresc. at note
39 39 108 ptti. dim. added by analogy with trgl. 9 39
40 40 110 ptti. p added by analogy with trgl. 232 timp. dim. omitted above 40
110 tamb.picc. B:ppp 232 va. vc. B: cresc. at note 1
41 41
120 vl.1,2 ff emended to ffz as in B 234 va. B:fz 41
42 42 120 va. vc. cb. sempre within ff , at note 3 236 va. vc. ffz added by analogy with bb.233, 234 42
emended to ff sempre; B: 237 ob. beginning of moved from note
43 43
sempre ff 2 as in B
43
44 44 127-134 va. vc. cb. B: bb.127, 132: sempre f ; bb.130, 134: not 237 fg. beginning of moved from note 44
45 45 sempre ff 3 as in B 45
46 46
140 perc. cresc. at 3rd crotchet emended to cresc. at 238 va. Fz and marc. added as in B and by
46
note 1 as in B analogy with b.240
47 47 142-144 ptti. trgl. h h in each bar emended to w; B: bb.142- 238 vc. Fz added as in B; marc. added by 47
144 notated with ; in b.141 w has been analogy with b.240
48 48
changed to h h because of ff at 2nd 241 timp. vc. pp added by analogy with the other parts
48
49 49 minim 241 vl.1 stacc. added by analogy with vl.2 49
50 50 146 cl.1 sfz emended to fz as in B and by analogy 243 cel. pp added as in B 50
with b.145 (fl.1) 244 va. marc. added by analogy with b.248 (vc.)
51 51 and b.252 51
154 vl.1,2 B: begins at note 3
52 52 155 perc. dim. at 4th crotchet emended to dim. at 254 cel. stacc. added by analogy with bb.243-253 52
3rd crotchet as in B 255-256 cl. tie added as in C and by analogy with
53 53
160 fl.2 ff added by analogy with b.150 (fl.1) fl.1,2
53
54 54 160 perc. dim. at 4th crotchet emended to dim. at 262 tbno. stacc. added by analogy with bb.263-267 54
55 55 3rd crotchet by analogy with b.155 266-267 vl.2 stacc. added by analogy with vl.1 55
161 cl.2 ff added by analogy with b.149 (cl.1) 267 tbno. ppp emended to pppp as in B
56 56
162 ob. C: notes 1-2: marc. 267 vl.1,2 ppp emended to pppp as in B 56
57 57 57
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1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 Bar Part Comment Bar Part Comment 12
13
276 cor.4 B: note 2: marc. poco added in red crayon 334 cl. ppp emended to pp by analogy with
13
(Emil Telmnyi) fl.1,2
14 277-280 fg.1 cor.1,3,4 334 cor.2 F added by analogy with b.332 (cor.1) 14
15 va.1,2 vc.2 cb. B: articulation: 336-337 cor.3 tie added in accordance with D1 15
337-338 cor.3 tie added in accordance with D1
16 338-339 cor.4 tie added 16
17 339-340 vl.2 b.339 note 3, b.340 note 1: ten. added by 17
analogy with vl.1
18
341 cor.3,4 f added as in B and by analogy with
18
19 cor.1,2 19
20 except va.2 (b.278 note 2): ten. 343 woodw. superfluous sempre before a2 omitted as 20
280 fg.1 va.1 beginning of moved from note in B
21 4 as in B 344 tr.2 added as in C and by analogy 21
22 280 cor.1,3,4 beginning of moved from b.281 with b.347 22
23
note 1 as in B 344 trb.t.2 f added as in C and by analogy with
23
280 va.2 beginning of moved from b.281 b.347; added as in B, C and by
24 note 2 as in B analogy with b.347 24
25 280 vc.2 stacc. added as in B and by analogy with 346 str. B, C: begin at end of b.345 25
cor.4 cb. 348 va. vc. cb. beginning of slur moved from b.347 to
26 283 fg.2 cor.1 B: dim. below b.348 note 2 by analogy with b.345 and 26
27 284 fg.1 B: cantabile added (Emil Telmnyi?) vl.1,2 27
284 cor.3 B: cant. added (Emil Telmnyi?) 349 str. B, C: dim. markings begin at end of b.348
28
287 vl.2 notes 1-2: slur added as in B and by 351 cor.3,4 f
sempre added by analogy with cor.1,2
28
29 analogy with b.285 351 tamb.picc. The Danish text has been translated by 29
30 290 va. added as in B and by analogy the editor from the German text in A. The 30
with the other parts English text has been translated from the
31 291 cb.
B: q changed to e in red crayon (Emil editors Danish text by David Fanning. A: 31
32 Telmnyi) Du * jusquau * le tambour joue de son propre 32
300 cor.2 notes 1-2: marc. added as in B and by mouvement comme sil voulait tout prix
33 33
analogy with cor.1 troubler la musique. Le musicien qui bat le
34 300 va. note 1: ten. added by analogy with vl.2 petit tambour rgle son propre rythme daprs 34
35 301 va. notes 2-3: ten. added by analogy with vl.2 un mtronome plac devant lui, marquant le 35
306-308 fg. beginning of slur moved from b.305 as in degr de vitesse 116. Von * bis * (pag 60) spielt
36 1
C, D ; B: slur begins at page turn before der Trommelschlger im eigenen Takt als wollte 36
37 b.306 er um jeden Preis die Musik stren. Der 37
310-314 cor.1 beginning of slur moved from b.310 note Schlger des kleinen Trommels hlt seinen
38 38
2 as in B eigenen Taktrhytmus nach einen voran ihm
39 310-319 cor.3 slur from b.310 to b.317 note 3 and slur aufgestellten Metronom der das Tempo 116 39
40 from b.317 note 4 to b.319 emended to markiert. B: * Her falder Lille-Tromme ind men 40
one slur as in B, C, D1 Trommeslageren holder, som man ser, sin egen
41 313 va. dim. added as in B and by analogy with Takt efter et foran ham opstillet Metronom der 41
42 the other parts slaar q = 116 added in different ink (CN) D1: 42
314-317 cor.3 B: b.314 note 2: illegible sign, b.315 notes Tempo di marcia (q = 104[)] (CN); 104 changed
43 43
2-4: , b.316: poco espr., b.316 note to 116 in pencil (CN)
44 3 to end of b.317: added in red [351-357] tamb.picc. bar lines added up to cadenza as in B 44
45 crayon (Emil Telmnyi) 353 woodw. sempre added as in B 45
317 cor.4 dim. moved from b.318 note 1 as in B 355-356 cor.4 tie added as in C, D1
46 318 vc. B: poco rit. 355-356 tb. B: b.355 note 3 to b.356 note 1: slur added
46
47 319 cor.3 pp added as in B in red crayon 47
48
322 fg.1 emended to g g e (g' ) as in C, D1; [357] tamb.picc. note 2 after cadenza: ff emended to ffz 48
beginning of slur moved from b.323 note as in B; B: from cadenza the remainder of
49 1; B: e (g' ) erased, beginning of slur the solo is written in a different ink (CN); 49
50 moved to b.323 note 1 1
D (CN): note 2 after cadenza: ff 50
51
323 cb. P added by analogy with b.319 (vc.) [357] tamb.picc. note 4 after cadenza: q. emended to q.. by
51
324 fl.1,2 note 17: dim. omitted analogy with D1; D1: note 4 after cadenza
52 327 fg.1 marc. added by analogy with cor.1 vl.1,2 changed from q. to q.. 52
53
328 fg. added as in B and by analogy [358] tamb.picc. 1
D (CN): notes 1 and 4: fz 53
with cor. str. 360 tr.1,2 C: instrumental instructions in margin:
54 329 fg. cor. str. dim. moved from 3rd crotchet as in B tr.2,3 54
55 330-341 fg.2 slur, b.330 note 1 to b.331 note 3, and slur [361] tamb.picc. ff emended to ffz as in B; D1 (CN): 55
from before b.333 (where there is a page fffz , fermata above g
56 turn in A) to b.341 emended to one slur as 361 vc. cb. sempre emended to sempre ff by analogy 56
57 in B with vl.1,2 va. 57
D (CN): the three x: marc.
333 fl.1,2 cl. superfluous (dim.) omitted [363] tamb.picc. 1
58 58
59 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 164 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 Bar Part Comment Bar Part Comment 12
[364] tamb.picc. 1
B, D (CN): Allegro 398 cl. A: Bien loin dans le fond. Weit im Hinter-
13 13
367 tr.3 ff added by analogy with b.358 (tr.1,2) grunde.; B: (langt i Baggrunden); D1
13
14 14 [367] tamb.picc. The Danish text has been translated by (tamb.picc.): Clar.solo i Baggrunden (CN); D1 14
15 15 the editor from the German text in A. The (cl.1): Solo 15
English text has been translated from the 399 tamb.picc. A: Bien loin dans le fond. Weit im Hinter-
16 16 editors Danish text by David Fanning. A: grunde.; B: (langt i Baggrunden); D1: Tempo di 16
17 17 (remarque pour Cad. ad lib.) Le tambour se marcia, (Solo i Baggrunden) (CN) 17
laisse maintenant entrainer toute la fantaisie 400 cl.1 B: after last note:ppp
18 18
de son imagination, pourtant il lui faut faire 400 tamb.picc. pppp
B: :|| etc. ad lib. added in different
18
19 19 des pauses de temps en temps. Der ink (CN) 19
20 20 Trommelschlger fantasiert nun ganz frei mit 400 tamb.picc. The Danish text has been translated by 20
allen mglichen Figuren, doch soll er ab und zu the editor from the German text in A. The
21 21 auch Pausen halten. B: Trommeslageren English text has been translated from the 21
22 22 fantaserer nu ganske frit med alle mulige editors Danish text by David Fanning. A: 22
Opfindelser (der ligesom gaar ud paa at ville (*) Il faut rpter le diminuendo, jusqu ce que
23 23 23
forstyrre det vrige Orkester.) Af og til maa han le chef dorchestre trouve que le petit tambour
24 24 dog holde Pauser added in different ink se soit bien loin loign. La pause des 24
25 25 (CN) clarinettes et des joueurs darchet doit aussi 25
369-370 tr.2 b.369 note 1 to b.370 note 1: slur omitted tre suspendue quelque temps aprs cela. Kann
26 26 as in B and by analogy with tr.3 diminuendo wiederholt werden bis der Dirigent 26
27 27 371-372 tr.1 ten. added by analogy with cor. findet, dass der kleine Trommel sich weit 27
372 trb.t. ten. added by analogy with b.371 and by entfernt hat. Die Fermate der Clarinette und
28 28 28
analogy with cor. Streicher soll noch auch nacher eine Weile
29 29 372 str. simile added gehalten werden. B: Kan gentages i dim. indtil 29
30 30 375 trb.b. tb. note 1: marc. added as in B, D1 Dirigenten finder at nu har Trommen fjernet 30
376 cor.2 ten. added by analogy with tr.1 sig langt bort. Derefter holdes Fermaten i
31 31 376 tr.2,3 added as in B and by analogy Strygere og Clar. dog endnu en Stund added 31
32 32 with cor. tr.1 trb. tb. in different ink (CN) 32
376 tamb.picc. The Danish text has been translated by 400 vl.1,2 va. vc. lunga added by analogy with cl.1
33 33 33
the editor from the German text in A. The
34 34 English text has been translated from the 34
35 35 editors Danish text by David Fanning. A: * 35
Sur un signe du Chef dorchestre le Tambour
36 36 reprend la cadence de lOrchestre. Von hier folgt 36
37 37 der Trommelschlger wieder dem Dirigenten, 37
der ihm ein Zeichen gibt. B: * Herfra flger
38 38 38
Trommeslageren atter Dirigenten, der paa
39 39 dette Sted, efter Aftale, giver ham et srligt 39
40 40 Tegn 40
376 str. B: begins at note 5
41 41 378 fg. timp. and added by analogy 41
42 42 with trb. tb. 42
379-380 fg.2 tie added
43 43 43
380-384 cor.1 B: b.380 note 4 to b.384: one slur
44 44 380 timp. added as in B 44
B, D (CN): q without roll
380 tamb.picc. 1
45 45 45
383-384 ob.2 tie added as in C
46 46 b 46
387, 388 va. note 2: tr emended to tr
47 47 389-390 fg.2 tie added as in B 47
389 tr.1,2 dim. moved from 3rd crotchet by analogy
48 48 48
with tr.3
49 49 390-392 cor.3 end of slur moved from b.394 by analogy 49
50 50 with cor.4 50
390 tamb.picc. notes 1-2: q. emended to e q by analogy
51 51 with b.396; note 3: stacc. added as in B 51
52 52 392 trb.t. dim. moved from 3rd crotchet as in B 52
392 trb.b. end of slur moved from note 1 as in C, D1
53 53 53
393 tamb.picc. stacc. added as in B
54 54 395 tamb.picc. stacc. added by analogy with bb.390, 393, 54
55 55 396 55
396-397 fl.3 B: b.396 note 1 to b.397 note 7: one slur
56 56 56
57 57 57
58 58 58
59 59 59
60 60 60
61 61 61
62 62 62
63 63 63
64 64 Carl Nielsen Udgaven CN 00002 165 64
65 65 65
66 66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 Second movement Bar Part Comment 12
116-117 cl.2 ten. added as in B and by analogy with
13 13
Bar Part Comment cl.1
14 1 ob. fz added as in and by analogy with
C 117 fg.1 ten. added as in B and by analogy with 14
15 cor.1,2 and bb.3-18 fg.2 15
16
1 fg. cor.3,4 vc. cb. fz f emended to f fz as in B 118 fg.2 ten. added as in B and by analogy with
16
1-18 tr.1 B : the part was originally identical to tr.2 - fg.1
17 changed in a different ink (CN); D1: the 121 cor.3,4 marcato added as in B and by analogy with 17
part was originally identical to tr.2 - b.769
18 18
erased and changed in ink
19 1-18 tr.3 B: added in a different ink (CN); D :
1 122 (timp.) C : 19
20 pasted-on (CN) 20
1 va.1 f
note 1: added by analogy with the 125-141 fl.1 ob.1 B : b.125 note 1 to b.141: one slur
21 f
other parts; note 2: emended to fz as 125-141 fl.2 B : b.125 note 1 to b.141 note 4: one slur 21
1
22 in B, C and by analogy with bb.3-18 125-138 ob.2 B, D : b.125 note 1 to b.138 note 3: one 22
2 cor.3,4 note 4: marc. omitted as in B and by slur
23 1 23
analogy with bb.6, 9, 12, 15, 17 125-138 fg.1 B, D : one slur
24 2-3 va.1 tie added 125 fg.2 end of slur moved from after b.125, where 24
n
25 9-18 cor.2 bb.9-18: trill on b ' ; b.18 note 2-3: grace the slur ends at the page turn in A, to 25
# n
notes a '-b ' emended by analogy with note 2 as in C; B, D1: slur ends b.126
26 cor.1 and bb.1-8; B: page turn before b.9; 125 cor.2 marc. and ten. added by analogy with 26
n
27 C: bb.2-18: trill on b ' ; b.18 notes 2-3: grace cor.4 27
# n
notes a '-b ' 125 cor.3 end of slur moved from after b.125, where
28 # 28
19 cor.2 1st crotchet: q (g ' ) emended to g by analogy the slur ends at the page turn in A, to
#
29 with cor.1; B: 1st crotchet: q (g ' ), stacc. note 3 as in C 29
# 1 #
30 23 fl.2 B: c '''; C: a''; D : c ''' changed to e''' 125-138 cor.3 B: b.125 note 1 to b.138: one slur
30
31-33 tr.2 B: rests erased, part added in different ink 125 vc. marc. added as in B and by analogy with
31 (CN) va. cb. 31
32 34-37 tr.2 b.34 note 1 to b.37: slur emended to two 126 fl.2 ob.1 cl. vl.1,2 B: marc. and ten. 32
slurs by analogy with cor.2 126-127 cor.4 slur added by analogy with tr.2
33
37 vc. cb. f added in accordance with D1; C (vc.): 127-138 fg.2 1
B, D : one slur
33
34 ff 127 va. marc. and ten. added by analogy with 34
35 47 vl.1 note 4: stacc. omitted as in B and by vl.1,2 35
analogy with vl.2 va. and bb.49-50 127 vc. cb. B, C: notes 1-3: slur, not ten.
36 48 vl.1 note 2: stacc. omitted as in B and by 128-141 cl. B, C: slurs begin at b.126
36
37 analogy with vl.2 va. and bb.49-50 128 vc. cb. B, C: notes 1-3: slur, not ten. 37
50 vl.2 note 5: marc. added by analogy with vl.1 129 tutti B: (cantabile) added between brass and str.
38 38
va. vc. cb. (Emil Telmnyi)
39 56 tr.2 marc. added by analogy with cor.1 and 129-130 tr.2 b.130 1st crotchet: q (d' ) emended to g, end 39
40 bb.53-55 of slur moved from b.130 1st crotchet as 40
57-58 cl.2 tie added by analogy with fl.2 in C
41 60-61 cl.2 tie added as in C and by analogy with fl.2 130-133 cor.4 slur added as in C 41
62 va. B: note 1: dim.
1
42 132-138 cor.1,2 B, C, D : slurs begin at b.134 note 1 42
93 cor.1 slur added as in D1
43 43
94 fg. slur from note 1 to note 2 omitted 132-133 tr. C :
44 96 fl.1 note 1: p added as in B, D1 and by analogy 44
45 with fl.2 45
46
96 cor.1,2 B: p 46
103-110 vl.2 1
D : b.103 note 1 to b.110 note 3: slur

47 103-111 vl.2 C: b.103 note 1 to b.111 after note 3: slur 47


104-110 vl.2 B: b.104 note 1 to b.105 between notes 2
48 48
and 3: slur in different ink; bb.106-110
49 notated with repeat mark 137-141 tutti cresc. written as cre-scen-do as in B; B: cre- 49
50 107 fl.2 pp added by analogy with fl.1 scen-do begins at b.136 50
112-114 ob. added by analogy with fl.1,2 fg. 141-145 cor.2,4 vc. cb. the corresponding bars, bb.789-793, were
51 112-114 cl.1 beginning of moved from b.113 changed by CN; cf. comment on b.790 51
52 note 1 by analogy with fl.1,2 fg. 142 tr.3 fff added as in B and by analogy with 52
112-114 cl.2 added as in B and by analogy tr.1,2
53 53
with fl.1,2 fg. 144 cor.3 marc. added by analogy with bb.142-143
54 112 fg.2 molto cresc. added by analogy with fg.1 146 vl.1 notes 2-3: ten. added as in C 54
55 114 ob. molto added as in C, D1 and by analogy 147 fg. ten. added as in C and by analogy with vc. 55
with fl.1,2 cl.1 cb.
56 114 cl.2 molto added by analogy with fl.1,2 cl.1 148-150 vl.2 b.148 note 1 to b.150: slur emended to two 56
57 114 fg. B: note 3: marc. slurs as in C and by analogy with bb.796- 57
114 fg. str. molto added as in B 797
58 58
59 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 166 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 Bar Part Comment Bar Part Comment 12
13 13 151 vl.2 pp emended to ppp as in B and by 277 vc. cb. B: ffz 13
analogy with vl.1 va. vc. cb. 279-291 cor. tr.1,2 B: originally rests; parts added in
14 14 156 va. dim. added by analogy with vl.1,2 vc. cb. different ink (CN); D1: originally rests; 14
158-163 cb. 1
C, D : b.158 note 1: cb. ends, then rests parts pasted-on (CN)
15 15 # n
15
160-161 cor.2,4 C: ends at b.160 1st crotchet (q, f '' ), then 283 cl.2 note 3: d' emended to b as in C; B: note 3:
16 16 16
rests d', circle around the note in red crayon
17 17 160 vc. cb. dim. added as in B and by analogy with 285 cor. B, D :
1 ends at note 3 17
18 18 vl.1,2 va. 291 (vc. cb.) C: as b.290
18
#
162-163 cor.3 C: ends at b.162 1st crotchet (q, f '' ), then 302 B, C: double line after b.302
19 19 rests 303 C: un poco pio mosso
19
b
20 20 163-171 (cb.) B: cb. originally notated in unison with 330 fg. B: note 3: e , circle around the note in red 20
n
vc. up to and including b.171; bb.163-171 crayon; in margin: q (B ), note: ikke h?' not
21 21 21
changed to Cello in pencil (CN); b.163 b?' in red crayon (Emil Telmnyi)
22 22 b 22
below the stave: Bas Pause added in pencil 348 vc. cb. C: note 1 and 3: d

23 23 (CN); below this, C.B. tacet added in pencil; 350-393 fg.1 bb.350-353, 358-361, 366-369, 374-377, 382- 23
b.163: no q stacc. 385, 390-393: slur added by analogy with
24 24 # 24
164-165 cor.1 C: ends at b.164 1st minim (h, d '' ), then bb.350-353 (fl.1 ob.1) and bb.358-361 (fl.1
25 25 rests ob.1), the first three in accordance with 25
165 C: position number 7 at b.164 D
1
26 26 26
188 fl. ob. cl.1 dim. moved from b.189 as in C and by 355 fl.1 g'' emended to d''' as in B, C and by
27 27 analogy with b.198 analogy with b.363, 371, 379, 387, 395; B: 27
28 28 188 cl.2 dim. added by analogy with fl. ob. cl.1 g'' emended to d''' 28
215-217 cb. C: rests 361-362 cl.2 tie added as in C, D1
29 29 216-228 fl.1 cor.1 b.216 to b.228 note 2: slur emended to two 362-365 vl.2 slur added as in B, C and by analogy with 29
30 30 slurs as in B vl.1 30
216-223 fl.2 cor.2 b.216 to b.223 note 1: slur emended to two 366-393 fl.1 ob.1 bb.366-369, bb.374-377, bb.382-385 and
31 31 31
slurs as in B bb.390-393: slur added by analogy with
32 32 216-228 cl.1 b.216 to b.228 note 2: slur emended to two bb.350-353 and bb.358-361 32
b b b
33 33 slurs by analogy with fl.1 382-383 va. vc. va.: f-b -f-b -f-b emended to f-c'-f '-c'-f '-c' ; 33
b b b b b b b b b
216-223 cl.2 b.216 to b.223 note 1: slur emended to two vc.: B -d -B -d -B -d emended to c-e -c-e -c-e
34 34 slurs by analogy with fl.2 as in C and in accordance with the chord 34
35 35 216 tb. B: poco f changed to ff in red crayon in b.382 (cor.) 35
36 36
(Emil Telmnyi) 386 vl.1,2 B: ppp 36
217-234 fl.3 ob. b.217 note 3 to b.234 note 1: slur emended 386 va. vc. molto dim. omitted as in B, C, D1
37 37 to two slurs as in B 391 vl.1,2 B: pppp 37
217-234 cor.3,4 b.217 note 3 to b.234 note 1: slur emended 394 (fg.2) C: h. (C) with tie to b.395
38 38
to two slurs by analogy with fl.3 ob. 394 vl.1,2 B: ppp 38
39 39 220-222 fg. B: slur begins at b.220 note 2 395 fg.2 dim. added by analogy with cor. str. 39
40 40 225 trb.b. B: poco f changed to ff in red crayon 395 cor.1 B: 40
(Emil Telmnyi) 396 tutti C: dim accell.
41 41 b 41
225 str. notes 4-5, vl.1,2: c'' emended to c '' as in C; 397 cl.1 1. added as in B, C, D1
42 42 b 42
va.: c' emended to c ' as in C; vc. cb: c 399 fg.2 dim. added by analogy with the other
b
43 43 emended to c as in C parts 43
232 fg. marc. added by analogy with trb.b. 404 va. C: spiccato
44 44 233-234 cor.2 tie added as in B 405 vc. B: dim.
44
45 45 410 vl.1 C: spiccato 45
233 (timp.) C: pitch not given, pre- 437 vl.1 1
B, D : note 1: stacc.
46 46 n 46
sumably B as in b.122 457, 458 vl.2 C: notes 2-3: slur erased and replaced by

47 47 240-241 cor.2 tie added as in B stacc.; D1 (nos. 1, 2, 3, 4): slur erased 47


244 trb.b. tb. ten. added by analogy with fg. 476 vl.2 B: note 1: stacc.
48 48
256 vl.2 ff emended to ffz as in B and by 485 vl.1,2 va. B: dim.
48
49 49 analogy with the other str. 486 vl.2 notes 2-5: stacc. added as in B and by 49
50 50 262-265 tr.1 B: slur ends at b.265 note 1 analogy with vl.1 50
B, D : h g
486 va. 1
51 51
265-290 (timp.) C : b.265: note: * Bassi: 3
507 cl.2 ff added as in B and by analogy with cl.1
51
52 52 og Timp !!!; b.270: bottom 517 cl.1 C: solo 52
53 53 stave designated Bassi; 517 fg. B: note 1: stacc.
53
b.285: bottom stave designated Bassi og 519 cor.3,4 C: note 2: marc.
54 54 Timp.; timp. is not notated on a separate 523 vc. cb. ten. added as in B and by analogy with 54
55 55 stave bb.518-521 and b.525 55

266-270 tr.1 B: slur begins at b.265 note 2 524 cor.1,2 va. C: note 3: cor.: c '' ; va.: f '
56 56
271 picc. ff added by analogy with fl.1,2 524 vc. cb. stacc. added by analogy with b.522
56
57 57 274 ffz
vl.1,2 va. (vc. cb.) C: note 1: ; vc. cb.: as b.265 526, 527 vc. cb. note 1: stacc. emended to ten. as in B, D1 57
58 58 277 vc. B: note 4: stacc. and by analogy with bb.518-521 and b.525 58
59 59 59
60 60 60
61 61 61
62 62 62
63 63 63
64 64 Carl Nielsen Udgaven CN 00002 167 64
65 65 65
66 66 66
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
10 10
11 11
12 Bar Part Comment Bar Part Comment 12
530, 532 vc. cb. note 1: stacc. emended to ten. by analogy 678 fl.1,2 added as in B
13 13
with bb.518-521 and b.525; B: note 1: 679 vl.1 con sord. added
14 stacc. added in red crayon (Emil Telmnyi)
b b b
679 vc. ppppp moved from b.678 by analogy 14
15 533 fg. notes 2-3: c'-b emended to b -a as in C; B: with fl.1,2 15
b b b
notes 2-3: b -a changed to c'-b in red 681 vl.1 B: begins at b.682 note 1
16 crayon (Emil Telmnyi)
b b b b b b
683 vl.1 B: at b.684; noP 16
17 533 vc. cb. notes 3-6: e '-d '-c'-b emended to d '-c'-b -a 699 va. notes 5-7: slur omitted 17
as in C 701 va. notes 1-3: e x x emended to e. xjxj as in B,
18 18
535, 536 vc. cb. note 1: stacc. emended to ten. by analogy C
19 with bb.518-521 and b.525; B: note 1: 710 va. note 1: ten. added by analogy with vl.1 19
stacc. added in red crayon (Emil Telmnyi) 711 tutti B, D :
1 begins at 2nd crotchet
20 20
21
539 cor.1,2 B: f 712-714 fl.2 B: b.712 note 1 to b.714 note 1: one slur;
21
542-546 fg. stacc. added as in B and by analogy with beginning of slur suggested at b.713 note
22 bb.538-541 4 22
556 va. C: notes 1-5: stacc. 713-716 fl.3 B: b.713 note 1 to b.716 note 3: one slur
23 23
559 va. end of slur moved from b.560 as in C, D1 715 fl. superfluous dim. omitted
24 564-576 ob. B: slur ends at page turn after b.579 716 in Tempo emended to a tempo as in C 24
25 568 trb.t. stacc. added as in B, C and by analogy 723-730 cl. C: note: * Clar ingen Fortegn clar no
25
with tr.1 signature
26 582 timp. stacc. added by analogy with bb.576-581 728 fl.3 marc. added as in B, D1 and by analogy 26
27 584 trb.t.1 marc. added by analogy with tb. with fl.1,2 27
28
584 trb.t.2 fz emended to ffz by analogy with b.583 728 ob. marc. added as in D1 and by analogy with
28
and b.585 fl.1,2
29 n 29
584 trb.b. marc. added as in B and by analogy with 730 va.2 note 2: tr wavy line added by analogy
30 tb. with cl. 30
585 trb.t.2 B: fz 731 cor.1 B: note 2:ff
31 586-587 trb.t.1 slur omitted as in B, D1 and by analogy 731 tr.1 B: f 31
32 with trb.b. tb. 731 tr.2 B: ff 32
587-588 cor.1,2 end of and fff moved from
33
b.587 note 2 as in B; B: and fff 732 timp. emended to marc. marc. marc.
33
34 added in red crayon (Emil Telmnyi) by analogy with bb.736-747; B: 34
35 592-593 vl.1,2 B: slur ends at b.592 note 5 marc. marc. stacc. 35
593 picc. beginning of slur moved from note 2 as in 732-733 va.2 tie added
36 1 n 36
B, D and by analogy with b.588 and b.591 749 timp. B emended to e as in C and by analogy
37 594-598 cor.2 B: slur ends at b.602 note 3 with b.19 37
38
594 tr.3 ff added by analogy with cor. tr.2 749-751 va. C: the part follows vc. cb., notated an
38
601-606 tr.2 B, C: slur ends at b.602 octave higher
39 603 trb.t.2 f added as in B and by analogy with 758-761 ob. cl. cor. 39
40 b.601 (trb.t.1 tr.1,2) and b.602 (trb.b. tb.) vl.1,2 va. marc. added by analogy with bb.756-757, 40
603 tb. note 1: marc. omitted by analogy with some of them as in C
41 trb.b. 758 vl.1,2 C: note 4: stacc.
41
42 604-606 trb.t.2 C: f 764-773 woodw. cor. B: no ten. 42
605 timp. B: 766 vl.2 double stem emended to single stem as in
43 43
B: notated as q triplet
606 timp. C, D
1

44 618 cor.3,4 stacc. added as in B 774 cor.2 B: marc. 44


45 634 picc. ff added by analogy with b.609 (fl.1,2 774 vl.1,2 note 1: marc. omitted by analogy with 45
picc.) b.769
46 635-636 fg. va. vc. cb. C: b.635 note 2, va.: g' ; fg.1 vc. cb.: g; fg.2: 775 fg.2 B: slur begins at note 2
46
47 G; b.636 note 1, va.: c'' ; fg.1 vc. cb.: c' ; fg.2: c 775-776 cor.2 ten. added by analogy with bb.764-767, 47
635-636 cor. C: part not notated 770-773
48
639 cl.2 B: ffz 776 fl.1,2 ob. ten. added by analogy with bb.764-767,
48
49 +644-648 C: the passage is one bar shorter, i.e. the 770-772 49
50
b b
motif f '''-e ''' (fl.1) is only given four times 777 tutti B: below tr.3: f cantabile added in red 50
in accordance with the sketch on page 47 crayon (Emil Telmnyi)
51 in C 777-789 tutti B: bb.777-778, above woodw.: f senza 51
52 654 fl.2
b b
note 2: e '' emended to d '' as in C and in f f
marc. , b.778, above str.: senza marc. 52
accordance with the sketch on p.47 in C added in red crayon (Emil Telmnyi); A,
53 53
655 fg.1 dim. moved from b.656 as in B with a few exceptions, follows the
54 658 fg.1 p added as in B instructions in B, so that all marc. are 54
55 670-676 fl.2 slur from b.670 note 1 to b.672 note 2 and removed. In fl., marc. is replaced by ten. 55
slur from b.673 note 1 to b.676 emended Following on from this, the editor has
56 to one slur as in B, D1 made the following emendations: b.781 56
57 677 vc. fermata added as in B and by analogy (fl.2): ten. added; b.782 (fl.3): ten. added; 57
with fl.2 b.788 (fl.1): marc. changed to ten.; b.789
58 58
(fl.1 vl.2): marc. changed to ten.
59 59
60 60
61 61
62 62
63 63
64 Carl Nielsen Udgaven CN 00002 168 64
65 65
66 66
1 1 1
2 2 2
3 3 3
4 4 4
5 5 5
6 6 6
7 7 7
8 8 8
9 9 9
10 10 10
11 11 11
12 12 Bar Part Comment Bar Part Comment 12
b b b
781-786 fg. B: slur ends at b.789 887 fl.2 ob.2 cl.2 fg.2 C: note 6, fl.2: a '' ; ob.2: a ' ; cl.2: b '' ; fg.2:
13 13 b b 13
783 tr.2 e' emended to f ' as in C and by analogy a
14 14 with tr.3 889 tb. h. (E b) with tie to b.890 added as in C and 14
15 15 785-789 cl.1 B: b.785 note 1 to b.789 note 3: one slur; by analogy with fg.2; ff moved from 15
b.787: no ten. b.890
16 16 b b b 16
785-789 cl.2 B: b.785 note 1 to b.789: one slur 892 tb. C: h. (E ) changed to q (E ) g q (B ' )
1
17 17 786-789 ob.1 b.786 note 1 to b.789 note 3: slur emended 896-897 vc. B, C, D : tie; b.897: no trem. 17
to two slurs by analogy with cl.2 897-898 cor.3,4 added as in B and by analogy
18 18 18
786-789 cor.4 B: bb.786-787: no tie; b.787 to b.789 note 2: with the other parts
19 19 slur; b.788: no ten. 897 vl.2 vc. beginning of moved from b.898 19
20 20 786 vl.1 note 3: ten. added as in C as in B and by analogy with the other 20
787 vl.2 B: notes 1-3: slur, not ten. parts
21 21 b 21
788 vc. cb. B: notes 1-3: slur, not ten. 899-903 tb. C: E

22 22 789 cor.1 B: slur ends at note 3, no ten. 899 va. ffz emended to fff as in C, D1 and by 22
790 cor.3,4 ffz emended to fz as in B analogy with the other parts; B: fffz
23 23
790 vc. cb. C: note: * Basserne ! ! ! (bedre) Basses !!! 902 vl.2 B: fz 23
24 24 (better); bb.789-793 are different from the 24
25 25 corresponding point at bb.141-145 25
791-792 ob.2 marc. added by analogy with fl. ob.1 and
26 26 b.790 26
27 27 791 tr. B: fz 27
792 tr.1,3 B: fz
28 28
792 vc. cb. fz added as in B, C and by analogy with
28
29 29 fg. 29
30 30 793-794 vl.2 tie added by analogy with bb.145-146 30
795 cl.1 B: note 1: stacc.
31 31 796-797 ob. cor. added as in B and by analogy 31
32 32 with the other parts 32
798 timp. B: stacc.
33 33
799 tr.1 f
sempre added as in B and by analogy
33
34 34 with cor.3,4 tr.2 34
35 35 800 cb. segue added by analogy with vl.1,2 va. vc. 35
802 cor.3,4 stacc. added by analogy with b.807 (tr.3)
36 36 813 cor.1,2 tr.2 stacc. added by analogy with b.807 (tr.3) 36
37 37 817 fg.2 ff added as in B and by analogy with 37
fg.1
38 38 # 38
824 picc. f ' emended to f ' by analogy with bb.820-
39 39 822 39
40 40 828 fg.2 sempre ff added as in B and by analogy 40
with the other woodw.
41 41 831-832 fl.3 tie added as in C 41
42 42 834-835 ob.2 tie added as in B, C 42
838 str. note 1, vl.1,2: a' emended to g' ; va. vc. cb.:
43 43 43
a emended to g as in C and by analogy
44 44 with b.193 44
45 45 848 timp. C: note 1: fz 45
857 timp. segue added by analogy with bb.848-856
46 46 864-867 timp. b.864: . omitted; roll bb.865-867 46
47 47 emended to roll bb.864-866 as in C; P 47
cre-scen-do moved from bb.865-867; b.867: q
q q (B b) added by analogy with bb.868-892;
48 48 48
49 49 C: b.864: mp added in ink (CN); bb.864-865: 49
50 50 roll added in ink (CN) 50
867-880 timp. C: bb.867-875: part not notated; bb.876-
51 51 b 51
879: rests; b.880: g q q (B )
52 52 880 B: Allargando above str.; poco allarg. above 52
woodw.
53 53 53
884 vl.1 marc. added by analogy with bb.880-883
54 54 and in accordance with D1 54
55 55 884-886 vl.2 marc. added by analogy with bb.880-883 55
and in accordance with D1
56 56 b 56
886-897 timp. C: b.886 note 1: q (e ), then rest up to and

57 57 including b.897 57
58 58 58
59 59 59
60 60 60
61 61 61
62 62 62
63 63 63
64 64 Carl Nielsen Udgaven CN 00002 169 64
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66 66 66