C ARL NIELSEN

1 865-1931

V ÆRKER W ORKS

Udgivet af Carl Nielsen Udgaven Det Kongelige Bibliotek

Serie II. Instrumentalmusik. Bind 11

Published by The Carl Nielsen Edition The Royal Library

Series II. Instrumental Music. Volume 11

Edition Wilhelm Hansen Copenhagen 2003

Carl Nielsen Udgaven CN 00024 ii

A CN 24 Kammer 2 forord 2 25/07/03, 17:12 C ARL NIELSEN

KAMMERMUSIK 2

C HAMBER MUSIC 2

Udgivet af Edited by Lisbeth Ahlgren Jensen Elly Bruunshuus Petersen Kirsten Flensborg Petersen

Edition Wilhelm Hansen Copenhagen 2003

Carl Nielsen Udgaven CN 00024 iii

A CN 24 Kammer 2 forord 3 25/07/03, 17:12 Graphic design Kontrapunkt A/S, Copenhagen Music set in SCORE by New Notations, London Text set in Swift Printed by Quickly Tryk A/S, Copenhagen

CN 00024 ISBN 87-598-1091-2 ISMN M-66134-103-1

Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K Translation James Manley

© 2003 Carl Nielsen Udgaven, Det Kongelige Bibliotek, København All rights reserved 2003

Carl Nielsen Udgaven CN 00024 iv

A CN 24 Kammer 2 forord 4 25/07/03, 17:12 SERENATA IN VANO SERENATA IN VANO

Allegro non troppo ma brioso 95 Allegro non troppo ma brioso

QUINTET FOR FLUTE, OBOE, CLARINET, KVINTET FOR FLØJTE, OBO, KLARINET, FRENCH HORN, AND BASSOON, OPUS 43 HORN OG FAGOT, OPUS 43

I Allegro ben moderato 107 I Allegro ben moderato

II Menuet 121 II Menuet

III Prelude. Adagio 129 III Præludium. Adagio Theme and Variations. Un poco andantino Tema med variationer. Un poco andantino

THREE PIECES FOR LANGELEIK 151 TRE STYKKER FOR LANGELEG

ALLEGRETTO FOR TWO RECORDERS 153 ALLEGRETTO FOR TO BLOKFLØJTER

Abbreviations 154 Forkortelser

Critical Commentary 155 Kritisk beretning

Carl Nielsen Udgaven CN 00024 vi

A CN 24 Kammer 2 forord 6 25/07/03, 17:12 GENERELT FORORD GENERAL PREFACE

arl Nielsen Udgaven er et selvstændigt projekt under Det Kongelige Biblioteks Musikafdeling, iværksat i 1994 C på Kulturministeriets foranledning og finansieret af he Carl Nielsen Edition is an independent project under Kulturministeriet og Carl Nielsen og Anne Marie Carl-Nielsens Legat, the auspices of the Music Department of the Royal hvortil kommer støtte fra en række private fonde til udgivelse T Library, launched in 1994 on the initiative of the af de enkelte bind. Ministry of Culture and funded by the Ministry and the Udgaven er til såvel praktisk som videnskabelig brug, foundation Carl Nielsen og Anne Marie Carl-Nielsens Legat, with tilrettelagt efter kritisk-videnskabelige udgivelsesprincipper. further financial support for the publication of the individual Den omfatter samtlige Carl Nielsens afsluttede værker og volumes from a number of other private foundations. enkeltsatser og søger i videst mulige omfang at afspejle vær- The edition is for both practical and scholarly use, kerne i den af komponisten senest sanktionerede version. I and is based on critical editorial principles. It comprises all tilfælde, hvor sange foreligger i flere forskellige arrangementer Carl Nielsen’s finished works and completed individual pieces, fra Carl Nielsens hånd, udgives alle versioner. and seeks as far as possible to reflect the works in the version Hvert værk er forsynet med en indledning, der kort last sanctioned by the composer. In cases where songs exist in beskriver værkets tilblivelseshistorie og placerer det i den several different arrangements by Carl Nielsen, all the versions samlede produktion, samt en kritisk beretning, hvor der are published. redegøres for kildesituationen, redaktionelle ændringer og Each work is furnished with an introduction which tilføjelser og vigtige varianter. Den kritiske beretning udgives gives a brief account of the genesis of the work and its place in sammen med nodeteksten. the composer’s oeuvre, and a Critical Commentary including Værker, der indgår i bind med flere selvstændige source description, editorial emendations and additions, and værker, udgives også i separate hæfter. Til alle orkester- og important alternative readings. The editorial material is kammermusikværker udgives stemmemateriale, og til published together with the music. operaerne og de større korværker udgives såvel stemmer som Works included in volumes with several independent klaverpartitur. works are also published in separate booklets. Part material is Udgaven er opdelt i hovedserierne Scenemusik, published for all the orchestral and chamber music works, and Instrumentalmusik og Vokalmusik med tilhørende opdeling parts as well as piano score are published for the operas and i enkeltbind; inden for hver genre er værkerne ordnet the major choral works. kronologisk. The edition is divided into the three main series Stage Music, Instrumental Music and Vocal Music, each further divided into volumes; within each genre the works are ordered chronologically.

Carl Nielsen Udgaven CN 00024 vii

A CN 24 Kammer 2 forord 7 25/07/03, 17:12 Serie I, Scenemusik Operaer Musik til andre sceneværker Series I, Stage Music Enkelte satser i sceneværker samt arrangementer Operas Music for other stage works Serie II, Instrumentalmusik Incidental music and arrangements Symfonier Andre orkesterværker Series II, Instrumental Music Koncerter Symphonies Kammermusik Other orchestral works Værker for orgel Concertos Værker for klaver Chamber music Works for organ Serie III, Vokalmusik Works for piano Kantater Korsatser a cappella Series III, Vocal Music Enstemmige sange og recitation med klaver, Cantatas enstemmige sange uden akkompagnement A cappella choral pieces Enstemmige sange i arrangement for orkester Songs and recitations with piano, songs without accompaniment Serie IV, Juvenilia, Addenda et Corrigenda Songs arranged for vocal soloists and orchestra Carl Nielsens litterære arbejder foreligger udgivet i tilknytning Series IV, Juvenilia, Addenda et Corrigenda til Udgaven.1

Carl Nielsen’s literary works are available in connection with Redaktionelle principper the Edition.1 Nodeteksten gengives uden typografisk markering af redaktio- nelle tilføjelser eller ændringer. Disse vil være dokumenteret i Editorial principles den kritiske beretning. Typografi, partituropstilling, instru- The music is reproduced with no typographical indications of ment- og genrebetegnelser er normaliseret efter nutidig editorial additions or emendations. These will be documented praksis. Med enkelte undtagelser, som der er gjort nærmere in the Critical Commentary. Typography, score disposition, rede for i den kritiske beretning, er de mange tilføjelser og genre names, and instrument names have been normalized in ændringer i Carl Nielsens værker, der er foretaget af venner og accordance with present-day practice. With a few exceptions, kolleger, fjernet. discussed in more detail in the Critical Commentary, the many Nodeteksten er normaliseret med hensyn til artiku- additions and changes in Carl Nielsen’s works that have been lation, dynamik, buer, foredragsbetegnelser og spilletekniske made by friends and colleagues have been removed. anvisninger således, at der er analogi mellem entydige parallel- Articulation, dynamics, ties and slurs, execution steder. Alle sådanne kompletteringer dokumenteres i den markings and playing instructions have been normalized on kritiske beretning. Oplagte skrive- og trykfejl er stiltiende the basis of analogies between clearly parallel passages. All rettet. such completions are documented in the Critical Commentary. Obvious writing and printing errors have been tacitly 1 John Fellow (udg.), Carl Nielsen til sin samtid, København corrected. 1999. Heri er ikke medtaget Carl Nielsens barndoms- erindringer, Min fynske Barndom.

1 John Fellow (ed.), Carl Nielsen til sin samtid, Copenhagen 1999. Nielsen’s childhood memoirs (Min fynske Barndom) are not included.

Carl Nielsen Udgaven CN 00024 viii

A CN 24 Kammer 2 forord 8 25/07/03, 17:12 Carl Nielsen noterede ofte horn og trompeter med faste fortegn. Denne praksis er normaliseret til notation udelukkende med løse fortegn. Carl Nielsen often notated horns and trumpets with “Muta in” i forbindelse med omstemning af pauker key signatures. This practice has been normalized to a notation og skift mellem to instrumenter (f.eks. klarinet i A og B ) er ! exclusively using accidentals. stiltiende normaliseret. Det samme gælder kombinationen af “Muta in” in connection with the retuning of buer og bindebuer. timpani and changes between two instruments (for example I Carl Nielsens manuskripter er de dynamiske clarinet in A and B ) have been tacitly normalized. This also angivelser undertiden placeret noget skødesløst, hvilket ! applies to the combination of ties and slurs. afspejler sig i de tidlige trykte udgaver. Dette er stiltiende In Carl Nielsen’s manuscripts the dynamic markings justeret. are sometimes rather carelessly placed, and this is also Nøgler gengives normalt som i hovedkilden. reflected in the early printed editions. This has been tacitly adjusted. København 1998 Clefs are normally given as in the main source. Carl Nielsen Udgaven

Copenhagen 1998 Revideret 2003 The Carl Nielsen Edition

Revised in 2003

Carl Nielsen Udgaven CN 00024 ix

A CN 24 Kammer 2 forord 9 29/07/03, 11:32 A CN 24 Kammer 2 forord 10 25/07/03, 17:12 FORORD PREFACE

ærværende bind indeholder Carl Nielsens kammer- musik med klaver omfattende de to violinsonater Nopus 9 og opus 35, Fantasistykker for Obo og Klaver opus he present volume contains Carl Nielsen’s chamber 2 samt Canto Serioso for horn og klaver; endvidere Serenata in music with piano comprising the two violin sonatas vano for klarinet, fagot, horn, violoncello og kontrabas og T opus 9 and opus 35, Fantasy Pieces for Oboe and Piano Kvintetten for fløjte, obo, klarinet, horn og fagot, opus 43. opus 2 and Canto serioso for French horn and piano; as well as Hertil kommer de tre stykker for langeleg og Allegretto for to Serenata in vano for clarinet, bassoon, French horn, cello and Blokfløjter. De tidlige kammermusikværker med klaver1 bringes double-bass and the Quintet for flute, oboe, clarinet, French i Carl Nielsen Udgavens afsluttende bind, Juvenilia, Addenda et horn and bassoon, opus 43. To these we can add the three Corrigenda, ligesom det er tilfældet med de øvrige værker pieces for langeleik and Allegretto for Two Recorders. The early skrevet forud for Carl Nielsens officielle komponistdebut med chamber music works with piano1 will be in the final volume Suite for Strygere i 1888. of the Carl Nielsen Edition, Juvenilia, Addenda et Corrigenda, as will the other works written before Carl Nielsen’s official debut as a Det redaktionelle arbejde har været fordelt mellem udgiverne composer with Suite for Strings in 1888. således: Lisbeth Ahlgren Jensen: Fantasistykker for obo og klaver, Tre stykker The editorial work has been shared among the editors as for Langeleg samt Allegretto for to Blokfløjter. follows: Elly Bruunshuus Petersen: Serenata in vano, Kvintet for fløjte, obo, Lisbeth Ahlgren Jensen: Fantasy Pieces for Oboe and Piano, Three klarinet, horn og fagot samt Canto serioso. Pieces for Langeleik and Allegretto for Two Recorders. Kirsten Flensborg Petersen: Sonate Nr. 1 for Violin og Klaver, opus 9 Elly Bruunshuus Petersen: Serenata in vano, Quintet for Flute, Oboe, og Sonate Nr. 2 for Violin og Klaver, opus 35. Clarinet, French Horn, and Bassoon and Canto serioso. Kirsten Flensborg Petersen: Sonata No. 1 for Violin and Piano, opus 9 and Sonata No. 2 for Violin and Piano, opus 35. SONATE NR. 1 FOR VIOLIN OG KLAVER, OPUS 9

SONATA NO. 1 FOR VIOLIN Tidspunktet for kompositionens tilblivelse kan bestemmes AND PIANO, OPUS 9 temmelig nøjagtigt på baggrund af slutdateringerne på renskriften: “5/4 95” (første sats), “22de Juni / 95” (anden sats), The date of the composition can be determined fairly accu- “23/8 95” (tredje sats). På dette tidspunkt havde Carl Nielsen rately on the basis of the end-datings on the fair copy: “5/4 95” (first movement), “22de Juni / 95” (second movement), “23/8 95” 1 Det drejer sig om Sonate for Violin og Klaver i G-dur, (third movement). By this time Carl Nielsen had established Trio for violin, cello og klaver samt Fantasistykker for Klarinet og Klaver. Den trykte udgave fra 1944 af Canto Serioso i et arrangement for violoncello og klaver 1 These are the Sonata for Violin and Piano in G major, bringes ikke i Carl Nielsen Udgaven på grund af de Trio for Violin, Violoncello and Piano and Fantasy Pieces usikre kildeforhold (jf. nedenfor, s. xxviii). for Clarinet and Piano. The printed version from 1944 of Canto serioso in an arrangement for cello and piano has not been included in the Carl Nielsen Edition because of the uncertainty of the source situation (cf. below p. xxviii).

Carl Nielsen Udgaven CN 00024 xi

A CN 24 Kammer 2 forord 11 25/07/03, 17:12 KVINTET FOR FLØJTE, OBO, KLARINET, HORN OG FAGOT, OPUS 43 QUINTET FOR FLUTE, OBOE, CLARINET, FRENCH HORN, AND Carl Nielsen havde næppe sat dobbeltstregerne i sidste takt af 125 BASSOON, OPUS 43 sin femte symfoni, før han kastede sig over en ny komposi- tion: en kvintet for fløjte, obo, klarinet, horn og fagot. Fra 1. Carl Nielsen had hardly put the double lines at the end of the februar 1922 og tre måneder frem påtog han sig at være last bar of his Fifth Symphony125 before he plunged into a new gæstedirigent i Göteborg Orkesterförening sideløbende med sit composition: a quintet for flute, oboe, clarinet, French horn arbejde i Musikforeningen, og en gæsteoptræden i Bremen blev 126 and bassoon. For three months from 1st February 1922 he der også tid til; i maj genoptog han arbejdet med udgivelsen 127 undertook to be guest conductor at the Gothenburg Orchestral af Folkehøjskolens Melodibog. I slutningen af maj resulterede Society alongside his work in the Music Society, and there was disse opgaver i overanstrengelse, som medførte et anfald af also time for a guest performance in Bremen;126 in May he angina pectoris. Sommeren måtte Carl Nielsen tilbringe på resumed the work on the publication of the songbook Folkehøj- Damgaard for i fred og ro at komme til hægterne, og som skolens Melodibog.127 At the end of May these tasks resulted in tidsfordriv lærte han sig at strikke. Helt uvirksom i musikalsk over-exertion which led to an attack of angina pectoris. Carl henseende var han dog ikke, idet han i samarbejde med Emil 128 Nielsen had to spend the summer at Damgaard to recover in an Telmányi foretog en gennemgribende revision af Maskarade, 129 atmosphere of calm and quiet, and to pass the time he learned og i august komponerede han en kantate, Hyldest til Holberg. to knit. However, he was not wholly inactive in musical terms, Allerede inden sin afrejse til Göteborg var han begyndt 130 since in collaboration with Emil Telmányi he carried out a på kvintetten. I Göteborg boede han hos ægteparret Herman 131 thorough revision of Masquerade,128 and in August he composed og Lisa Mannheimer, og her blev resten af kvintetten til. I 132 a cantata, Homage to Holberg.129 slutningen af marts måned blev første sats færdig, og i løbet Even before his departure for Gothenburg he had af den næste lille måned blev anden og tredje sats afsluttet. started on the quintet.130 In Gothenburg he lived with husband Selv om arbejdet gav ham problemer, kom det hurtigt fra and wife Herman and Lisa Mannheimer,131 and this was where hånden, hvilket ses af følgende brev til hustruen Anne Marie: the remainder of the quintet was written. At the end of March the first movement was finished,132 and within a month the 125 Carl Nielsens blækrenskrift er slutdateret 15.1.1922, og second and third movements were completed. Although the symfonien blev uropført 24.1.1922 i Musikforeningen i work caused him problems, it was quickly dispatched, as can be København. 126Koncert i Bremen 14.3.1922. seen from the following letter to his wife Anne Marie: 127 Udgivet på Wilhelm Hansens Musikforlag 1922 (Wilhelm Hansen Edition no. 1985). 128 Operaen i Antwerpen havde rettet henvendelse til Carl 125 Carl Nielsen’s ink fair copy is end-dated 15.1.1922, and Nielsen med henblik på en opførelse; den blev imidlertid the symphony was played for the first time on 24.1.1922 aldrig til noget. Jf. Peter Hauge, ‘Pigen med den skæve at Musikforeningen in Copenhagen. ryg’, Fund og Forskning, 1999, bd. 38, s. 301-306. 126 Concert in Bremen, 14.3.1922. 129 Opførtes 26.9. og 3.10.1922 på Det Kongelige Teater i 127 Published by Wilhelm Hansens Musikforlag in 1922 anledning af 200-årsdagen for opførelsen af den første (Wilhelm Hansen Edition no. 1985). af Ludvig Holbergs komedier. 128 The Opera in Antwerp had approached Carl Nielsen 130 Jf. brev af 2.3.1922 til Anne Marie Carl-Nielsen; jf. with a view to a performance; however, it never Torben Schousboe, op. cit., s. 449. materialized. Cf. Peter Hauge, “Pigen med den skæve 131 Herman Mannheimer (1867-1942), svensk bankdirektør, ryg”, Fund og Forskning, 1999, Vol. 38, pp. 301-306. kasserer i Göteborgs Orkesterförening 1905-1935 og 129Performed 26.9 and 3.10.1922 at the Royal Theatre, to formand for bestyrelsen 1922-1935. mark the bicentenary of the performance of the first of 132 Første sats i kladden (kilde EEE ) slutdateret 25.3.1922. Ludvig Holberg’s comedies. 130 Cf. letter of 2.3.1922 to Anne Marie Carl-Nielsen; cf. Torben Schousboe, op.cit., p. 449. 131 Herman Mannheimer (1867-1942), Swedish bank director, treasurer of the Gothenburg Orchestral Society 1905-1935 and chairman of the board of trustees 1922-1935. 132 The first movement in the draft (Source EEE ) is end-dated 25.3.1922.

Carl Nielsen Udgaven CN 00024 xxxv

A CN 24 Kammer 2 forord 35 25/07/03, 17:12 “Jeg har arbejdet meget stærkt paa min nye Kvintet og om et Par Dage er den minsandten helt færdig, da det morer mig meget. Det er underligt at Mennesker roser En for det, man “I’ve been working very hard at my new quintet and indeed in a ikke kan lade være at gøre og som ovenikøbet er en Fornøjelse 133 few days it will be all finished, since it amuses me greatly. It’s for en selv.” strange that people praise you for what you can’t help doing, 134 and what is into the bargain a pleasure for you”.133 Samme tone anslås i et brev til Vera Michaelsen:

And from a letter to Vera Michaelsen:134 “Jeg har været meget optaget af en i Omfang stor ny og vanske- lig Komposition som jeg har færdig. Det ydre Apparat er meget “I have been very preoccupied with a large, new, difficult beskedent (Kvintet for 5 Blæsere) men det tekniske er netop composition that I have finished. The externals are very modest derfor saa meget vanskeligere og dette har inciteret mig paa en 135 (quintet for five winds) but the technicalities are for that very egen [måde?].” reason all the more difficult and this has spurred me on in a special [way?].”135 Tredje sats består af tema med variationer. Til tema valgte Carl Nielsen sin egen melodi til salmen “Min Jesus, lad mit Hjerte The third movement consists of a theme with variations. For the faa”. Den stammer fra perioden 1912-1916, hvor Carl Nielsen theme Carl Nielsen chose his own melody for the hymn “My satte musik til adskillige salmer, der efterfølgende blev udgivet Jesus, let my heart receive” (Min Jesus, lad mit Hjerte faa). It 1919 i samlingen Salmer og Aandelige Sange. 136 comes from the period 1912-1916, when Carl Nielsen set several Kvintetten blev færdig den 24. april, og en uge hymn texts to music; they were published in 1919 in the collec- senere den 30. april blev den opført ved en privat koncert hos 137 tion Hymns and Spiritual Songs (Salmer og Aandelige Sange). Mannheimers. Ifølge Torben Meyer blev Carl Nielsen inspire- The quintet was finished on 24th April,136 and a ret til at komponere blæserkvintetten ved at høre Københavns week later on 30th April it was performed at a private concert Blæserkvintet (fløjtenisten Paul Hagemann, oboisten Svend at the Mannheimers’.137 According to Torben Meyer, Carl Chr. Felumb, klarinettisten Aage Oxenvad, hornisten Hans Nielsen was inspired to compose the wind quintet by hearing Sørensen og fagottisten Knud Lassen) spille et stykke af W.A. 138 the Copenhagen Wind Quintet (the flautist Paul Hagemann, Mozart hjemme hos Christian Christiansen. Carl Nielsen the oboist Svend C. Felumb, the clarinettist Aage Oxenvad, the skrev sin blæserkvintet til disse musikere, og Torben Meyer hornist Hans Sørensen and the bassoonist Knud Lassen) playing bringer i den forbindelse Carl Nielsens bemærkning til horni- a piece by W.A. Mozart at the home of Christian Christiansen.138 Carl Nielsen wrote his wind quintet for these musicians, and in 133Brev af 16.4.1922; jf. Torben Scousboe, op. cit., s. 451. that connection Torben Meyer quotes Carl Nielsen’s remark to 134Vera Michaelsen (1893-1974) og hendes mand Carl Johan the hornist Hans Sørensen about the horn variation in the Michaelsen (1855-1963) var nære venner af Carl Nielsen. 135Brev af 20.4.1922 (DK-Kk, CNA, I.A.c.). 136 Jf. brev af 24.4.1922 til Anne Marie (DK-Kk, CNA, II.A.a.1). 137 Jf. tilføjelse på første nodeside i kladden (kilde EEE ): 133 Letter of 16.4.1922; cf. Torben Schousboe, op. cit., p. 451. “Uroppfördes d 30/4 1922 Söndag på min födelsedag.” 134Vera Michaelsen (1893-1974) and her husband Carl Johan Carl Nielsen forærede siden familien Mannheimer Michaelsen (1855-1963) were close friends of Carl Nielsen. kladden til kvintetten. Da man i forbindelse med en 135 Letter of 20.4.1922 (DK-Kk, CNA, I.A.c.). pladeindspilning i 1954 lånte den af Lisa Mannheimer, 136 Cf. letter of 24.4.1922 to Anne Marie (DK-Kk, CNA, II.A.a.1). viste den sig at være inkomplet, og de resterende sider 137 Cf. addition on the first music page in the draft (Source blev stillet til rådighed af Irmelin Eggert Møller. I 1965 EEE ): “First performed on Sunday 30/4/1922 on my blev den komplette kladde overdraget til Det Kongelige birthday.” Carl Nielsen later presented the Mannheimer Bibliotek. Dette fremgår af brev af 30.12.1965 fra family with the rough draft of the quintet. When it was Valdemar Wolsing til daværende leder af bibliotekets borrowed in connection with a recording in 1954, it musikafdeling, Sven Lunn (DK-Kk, CNS, CII 10). turned out to be incomplete, and the remaining pages 138 Pianist (1884-1955). Der er sandsynligvis tale om W.A. were made available by Irmelin Eggert Møller. In 1965 Mozart, Quintet for klaver, obo, klarinet, fagot og horn, the complete draft was transferred to the Royal Library. K. 452. Torben Meyer omtaler fejlagtigt værket som en This is evident from a letter of 30.12.1965 from koncert. Valdemar Wolsing to Sven Lunn, then the head of the Library's Music Department (DK-Kk, CNS, CII 10). 138Danish pianist (1884-1955). The piece was probably W.A. Mozart, Quintet for piano, oboe, clarinet, bassoon and French horn, K. 452. Torben Meyer erroneously describes the work as a concerto.

Carl Nielsen Udgaven CN 00024 xxxvi

A CN 24 Kammer 2 forord 36 25/07/03, 17:13 sten Hans Sørensen vedrørende hornvariationen i tredje sats: “Jeg har tænkt mig dig saadan staaende paa en Høj og blæse, saa man kan høre det i hver en Afkrog og fryde sig derover.”139 I third movement: “I imagined you sort of standing on a hill overensstemmelse hermed har Carl Nielsen under horn- blowing so people can hear it in every nook and cranny and be stemmen i kladden tilføjet: “Uden stor naiv Hengivelse i 140 delighted by it”.139 Accordingly Carl Nielsen added below the Naturstemning nytter det ikke.” horn part in the draft: “Without great naive abandonment to Endvidere fortæller Torben Meyer, at Carl Nielsen the mood of nature it will not work”.140 ved en koncert blev så begejstret for engelskhornet ved at høre Torben Meyer further relates that at a concert Carl Svend Chr. Felumb øve sig bag scenen på en solo fra Berlioz, 141 Nielsen became so enthusiastic about the cor anglais when he Symphonie fantastique, at han samme nat, efter koncerten, heard Svend C. Felumb behind the scenes practicing a solo ringede til Felumb for at spørge, om man kunne skifte instru- 142 from Berlioz’ Symphonie fantastique,141 that the very same night, ment i løbet af en sats. Efter et bekræftende svar skulle han after the concert, he phoned Felumb to ask whether one could straks have komponeret præludiet i tredje sats. change instruments in the middle of a movement.142 After I et udateret brev sendte Carl Nielsen en programnote being told one could, he is said to have immediately composed til Emil Holm med en nøgtern beskrivelse af værkets indhold: the prelude to the third movement. In an undated letter Carl Nielsen sent a programme “Kvintetten for Blæsere er et af Komponistens sidste Arbejder, note to Emil Holm with a straightforward description of the hvori han har forsøgt at give de forskellige Instrumenters content of the work: Karakter. Snart snakker de i Munden paa hverandre, snart helt alene. Værket bestaar af 3 Satser: a) Allegro, b) Menuet og c) “The quintet for winds is one of the composer’s last works, in Præludium – Tema med Variationer. Temaet til disse Variatio- which he has attempted to render the characters of the various ner er Melodien til en af C. N.s aandelige Sange, som her er lagt instruments. At one moment they are all talking at once, at til Grund for en Række, snart muntre og barokke, snart another they are quite alone. The work consists of three elegiske og alvorlige Variationer, der tilsidst ender med Temaet 143 movements: a) Allegro, b) Minuet and c) Prelude – Theme with i al sin Enkelhed og ganske stilfærdigt i Udtrykket.” Variations. The theme for these variations is the melody for one of C.N.’s spiritual songs, which has here been made the basis of Carl Nielsens ven og kollega på musikkonservatoriet Rudolph 144 a set of variations, now merry and quirky, now elegiac and Simonsen fik lejlighed til at læse partituret igennem før serious, ending with the theme in all its simplicity and very første offentlige opførelse, og i et brev af 1. september 1922 til quietly expressed.”143 komponisten hylder han dette værk uden forbehold; han skriver bl.a.: Carl Nielsen’s friend and colleague at the Royal Academy of Music, Rudolph Simonsen, had the opportunity to read the “Efter min Hjemkomst var jeg forleden oppe hos Dem for at score before the first public performance,144 and in a letter of høre hvordan De har det; heldigvis fik jeg gode Efterretninger, 1st September 1922 to the composer he pays unreserved tribute alt gaar jo saa langt bedre. Samtidigt kunde jeg ikke modstaa at to the work, writing among other things: undersøge, om den før Ferien omtalte Lædermappe med

“After coming home I went up to see you the other day to find 139Torben Meyer og Frede Schandorf Petersen, op. cit., bd. 2 out how you were; fortunately I got good news, everything is s. 214-219. going so much better. At the same time I could not resist 140 Kladde (kilde EEE ) s. 16. 141 Carl Nielsen dirigerede Berlioz, Symphonie fantastique i investigating to see whether the leather case with the quintet Musikforeningen 28.3.1922 (DK-Kk, Musikforeningens Arkiv). 142 Jf. Torben Meyer og Frede Schandorf Petersen, op. cit., 139Torben Meyer & Frede Schandorf Petersen, op.cit., vol. 2, bd. 2, s. 214-215. pp. 214-219. 143 John Fellow, op. cit., s. 634. Se også ovenfor note 62. 140Draft (Source EEE ) p. 16. 144Klaverpædagog og komponist (1889-1947). 141 Carl Nielsen conducted Berlioz, Symphonie fantastique at Musikforeningen on 28.3.1922 (DK-Kk, Musikforeningens Arkiv). 142 Cf. Torben Meyer & Frede Schandorf Petersen, op. cit., vol. 2, pp. 214-215. 143 John Fellow, op.cit., p. 634. See also note 62 above. 144 Danish piano teacher and composer (1889-1947).

Carl Nielsen Udgaven CN 00024 xxxvii

A CN 24 Kammer 2 forord 37 25/07/03, 17:13 Kvintetten endnu var der: jo, det var den. Jeg maa da straks takke Dem for den Nydelse, dette herlige Værk har beredt mig, og hjerteligt ønske Dem til Lykke med denne nye Sejr.! Det er mentioned before the holiday was still there: and yes, it was. I fra først til sidst Carl Nielsen, men bringer dog noget, man ikke must immediately thank you for the pleasure this wonderful venter. Den Side af Deres Personlighed kommer sjældnere frem. work has given me, and cordially congratulate you on this new Utroligt er det Mesterskab, hvormed De tumler med victory! It is from first to last Carl Nielsen, yet adds something de allerkæreste Themaer; den gamle Serenadestemning fra one does not expect. That side of your personality is more Haydn-Mozarts Tid klinger atter i ny Originalitet. Det er rigtig rarely shown. Musik! Hvor fint er det første Stykke! Og hvor bedaarende The mastery with which you juggle the best-loved kontrasterer Menuet og Trio! Hvor faa Midler, og hvor stor themes is incredible; the old serenade mood from the Haydn- Virkning! Helt storslaaet, som en fjern Tordensky en skøn Mozart time rings out again with new originality. It is true Foraarsdag, virker Præludiet med det engelske Horn; derved music! How fine the first piece is! And how delightfully the skilles de 2 A Dur-Satser ad. Variationerne er maaske Top- minuet and trio contrast! How few resources and how great an punktet. Hvor jeg holder af dem! ogsaa af de enstemmige. Den effect! Quite magnificent, like a faraway thundercloud on a for Fagot alene er ypperligt ‘enstemmigt Kontrapunkt!’ Og den beautiful spring day, is the effect of the prelude with the cor morsomme for Klarinet og Fagot. Og Kanonen, hvor Horn og 145 anglais; this keeps the two A major movements distinct. The Fagot ligger stille [på] e a. Men hvorfor gaa i Detailler? Temaet variations are perhaps the acme of it all. How fond I am of virker tilsidst i 4/4 med stor Bredde og Magt. Uden at have them! Also of the monophonic ones. The one for bassoon alone Forstand paa Blæsere er jeg sikker paa, at den desuden maa is superb ‘monophonic counterpoint’! And the amusing one for klinge fortræffeligt; en fattig Literatur er blevet pludselig clarinet and bassoon. And the canon, where French horn and beriget; alle 5 Instrumenter er der kælet for. At ‘ny Musik’ faar bassoon lie still [on] e a.145 But why go into detail? The effect of den til 1ste Opførelse er en Fest for Foreningen, og de 5 Blæsere 146 the theme at the end in 4/4 is of great breadth and power. vil kunne spille Stykket, saa næppe andre gør dem det efter.” Without having any understanding of winds, I am sure that it must also sound excellent; a poor literature has suddenly been Den 9. oktober 1922 fik blæserkvintetten sin første offentlige enriched; all five instruments have been coddled. That ‘Ny opførelse i Odd Fellow Palæets mindre sal ved den første 147 Musik’ gets it for the first performance is a feast for the society, koncert i foreningen Ny Musik, og den opførtes af de tidligere and the five winds will be able to play the piece so it is unlikely nævnte musikere. Anmeldelserne i bladene tilslutter sig that others will be able to follow them.”146 Rudolph Simonsens beundrende holdning til værket; således skriver Berlingske Tidende: On 9th October 1922 the wind quintet was given its first public performance in the smaller hall of the Odd Fellow Palæ at the “Italiensk Musik har haft sin store Betydning for Carl Nielsen – first concert of the society New Music (Ny Musik),147 and it was men han er med baade klassiske og moderne Træk helt sig selv. performed by the above-mentioned musicians. The reviews in [...] Kvintetten var Carl Nielsen fra først til sidst – fuld af the papers agree with Rudolph Simonsen’s admiring attitude mandig Alvor, rytmisk Ynde, frodigt Lune. [...] Vægtigst var det to the work; for example Berlingske Tidende wrote: afsluttende Tema med Variationer. Temaet viste sig at være Carl

“Italian music has had great importance for Carl Nielsen – but 145Tredje sats, Var. 8. with both classical and modern features he is entirely himself 146 DK-Kk, CNA, I.A.b. Brevet er et svar på Carl Nielsens brev [....] the quintet was Carl Nielsen from first to last – full of af 29.6.1922 til Rudolph Simonsen, gengivet i Irmelin Eggert Møller og Torben Meyer, op. cit., s. 217. manly seriousness, rhythmic grace, fertile humour [....] The 147 På programmet stod yderligere Francis Poulenc, Sonate weightiest part was the concluding theme with variations. The for 2 Clarinetter, Maurice Ravel, Introduktion og Allegro for Harpe med Akkompagnement af Fløjte, Clarinet og Strygekvartet samt G.Fr. Malipiero, Rispetti e Strambotti, Strygekvartet i en Sats (DK-Kk, Småtrykssamlingen, 145 Third movement, Var. 8. Musikforeninger). 146 DK-Kk, CNA, I.A.b. The letter is a reply to Carl Nielsen’s letter of 29.6.1922 to Rudolph Simonsen, printed in Irmelin Eggert Møller and Torben Meyer, op.cit., p. 217. 147 The programme also featured Francis Poulenc, Sonata for two clarinets; Maurice Ravel, “Introduction and Allegro” for harp with accompaniment of flute, clarinet and string quartet; and G.F. Malipiero, Rispetti e Strambotti, string quartet in one movement (DK-Kk, Småstrykssam- lingen, Musikforeninger).

Carl Nielsen Udgaven CN 00024 xxxviii

A CN 24 Kammer 2 forord 38 25/07/03, 17:13 Nielsens skønne Melodi til Salmen: ‘Min Jesus, lad mit Hjerte faa’ (fra ‘Halvthundrede Salmer’) – kun een eneste Nodelinie, men et Sinds Længsel og Hengivenhed er udløst i disse faa theme turned out to be Carl Nielsen’s beautiful melody for the Takter. Overordentlig karakteristisk var Blæserkvintettens fem hymn ‘My Jesus, let my heart receive’ (from ‘Halvthundrede Instrumenter udnyttet. Ganske vist førtes man hurtigt bort fra Salmer’) – only one line of music, but the longing and devotion Temaets Koralstemning. Men næsten hver Variation var en of a mind are released in these few bars. The five instruments Perle. [...] Blæserkvintetten’s Medlemmer gav det nye Arbejde en of the wind quintet were exploited in an extraordinarily fortræffelig Udførelse og lønnedes med det varmeste Bifald, der 148 characteristic way. True, one was quickly carried away from the tilsidst rettedes til den tilstedeværende Komponist.” chorale mood of the theme; but almost every variation was a pearl [....] The members of the Wind Quintet gave the new work Det Nielsenske fremhæves også af Gustav Hetsch i National- an excellent performance and were rewarded with the warmest tidende, selvom anmelderen til slut viser, at hans forventninger applause, which was in the end directed to the composer, who ikke helt var blevet opfyldt: was present.”148 “Han udnytter disse Instrumenters kunstneriske Ydeevne dristigt The Nielsenesque aspect was also emphasized by Gustav Hetsch og ubarmhjertigt. Baade m.H.t. Temaernes Karakter og deres in Nationaltidende, although the reviewer showed at the end grundige, logiske Udarbejdelse, staar han paa Traditionens that his expectations had not quite been fulfilled: Grund, men samtidig boltrer han sig i Enkelthederne ganske efter sit eget Hovede. [...] En Skuffelse var det, at Værket, der “He exploits the artistic capacity of these instruments boldly selvfølgelig var fuldt af sindrigt og klogt tematisk Arbejde ikke and mercilessly. With respect to both the character of the themes kulminerede i en Fuga; det vilde have forøget Indtrykket af dets 149 and their thorough, logical development, he stands on the Vægtighed.” ground of the tradition; but at the same time he wallows in the details quite as the spirit takes him [....] it was a disappointment Carl Nielsens blæserkvintet blev et meget ofte spillet værk that the piece, which was of course full of ingenious, clever allerede i komponistens levetid; i udlandet blev det blandt technical work, did not culminate in a fugue; that would have andet spillet ved Den Internationale Musikuge i Berlin 29. marts 150 increased the impression of its importance.”149 1923. “Min Jesus, lad mit hjerte få” var første salme ved hans begravelse 9. oktober 1931, og temaet med betegnelsen Andan- Carl Nielsen’s wind quintet was already a very frequently- tino festivo i slutningen af tredje sats blev spillet af Det Konge- 151 played work in the composer’s lifetime; abroad it was played at lige Kapels Blæserkvintet, mens kisten sænkedes i graven. among other events the International Music Week in Berlin on 29th March 1923.150 “My Jesus, let my heart receive” was the Det overleverede kildemateriale består af de autografe kilder first hymn sung at his funeral on 9th October 1931, and the blækrenskrift, blyantskladde og stemmer (visse af stemmerne theme with the designation Andantino festivo at the end of the dog i afskrift). I 1923 udkom partitur og stemmer på Wilhelm third movement was played by the Wind Quintet of the Royal Hansens Musikforlag med renskriften og de nævnte stemmer Orchestra as the coffin was lowered into the grave.151 som trykforlæg.

The surviving source material consists of the autograph sources 148 Berlingske Tidende, 10.10.1922. – ink fair copy, pencil draft and parts (both autograph and 149 Nationaltidende, 10.10.1922. copies). In 1923 the score and parts were published by Wilhelm 150 Jf. programmerne var det – med undtagelse af Paul Hageman, som afløstes af Holger Gilbert Jespersen – de Hansens Musikforlag with the fair copy and the parts as the samme musikere, som opførte kvintetten i hele Carl printing manuscript. Nielsens levetid. (DK-Kk, Småtrykssamlingen). 151Torben Schousboe, op.cit., s. 628.

148 Berlingske Tidende, 10.10.1922. 149 Nationaltidende, 10.10.1922. 150According to the programmes it was the same musicians – with the exception of Paul Hagemann, who was replaced by Holger Gilbert Jespersen – who performed the quintet throughout Carl Nielsen’s life (DK-Kk, Småtrykssamlingen). 151Torben Schousboe, op. cit., p. 628.

Carl Nielsen Udgaven CN 00024 xxxix

A CN 24 Kammer 2 forord 39 25/07/03, 17:13 Det fremgår af korrespondancen mellem Carl Nielsen og Wilhelm Hansen, at komponisten læste korrektur på både stemmer og partitur, idet forlaget sendte korrekturen til It is evident from the correspondence between Carl ham i Berlin, hvor han opholdt sig i forbindelse med den 152 Nielsen and Wilhelm Hansen that the composer read proofs of tidligere omtalte Internationale Musikuge. Dedikationen til both the parts and the score, since the publisher sent the proofs musikerne, som ikke findes i de autografe kilder, bad Carl to him in Berlin, where he was staying in connection with the Nielsen i et brev Wilhelm Hansen om at tilføje på titelbladet 153 above-mentioned International Music Week.152 The dedication “eller hvor det kan anbringes”. to the musicians, which is not found in the autograph sources, Det største problem ved revisionen af dette værk har was something Carl Nielsen asked Wilhelm Hansen in a letter været håndteringen af to ligeværdige kilder, som indeholder en to add to the title page “or wherever it can be placed”.153 række modsigelser – mest af dynamisk art: det trykte partitur The greatest problem in editing this work has been og de trykte stemmer, begge godkendt af Carl Nielsen på samme the handling of the two equally good sources, which exhibit a tidspunkt. Stemmernes status problematiseres yderligere af, at number of contradictions – mostly in the dynamics: the forlægget til klarinet-, horn- og fagotstemmen i anden sats er printed score and the printed parts, both approved by Carl skrevet af Carl Nielsen selv. Det trykte partitur er dog valgt til Nielsen at the same time. The importance of the parts is hovedkilde, idet det repræsenterer den af Carl Nielsen senest further rendered problematical by the fact that the originals of godkendte komplette version. Stemmerne er inddraget i the parts for clarinet, French horn and bassoon in the second revisionen, hvor de har kunnet komplettere åbenlyse fejl og movement were written out by Carl Nielsen himself. However, mangler i partituret, mens kladden har været konsulteret i the printed score has been selected as the main source, since it tvivlstilfælde. Samtlige varianter i trykte og håndskrevne represents the last complete version approved by Carl Nielsen. stemmer er medtaget i revisions- og variantfortegnelsen. The parts have been used in editing where they have been able to compensate for obvious errors and deficiencies in the score, Elly Bruunshuus Petersen while the draft has been consulted in cases of doubt. All variants in printed and manuscript parts have been included in the list of editorial emendations and alternative readings. TRE STYKKER FOR LANGELEG

Elly Bruunshuus Petersen Carl Nielsens tre kompositioner for langeleg blev til i 1918 på opfordring af musikhistorikeren Hortense Panum.154 Det var Hortense Panums ønske at skabe interesse for det gamle THREE PIECES FOR LANGELEIK citerinstrument, langelegen, som hun på grundlag af omfat- tende studier hævdede havde været udbredt i hele det nordiske 155 Carl Nielsen’s three compositions for langeleik were written in område i tidligere tider. En genoplivning af langelegspillet 1918 at the request of the music historian Hortense Panum.154 It ville efter hendes mening især blandt almuen kunne udgøre en was Hortense Panum’s wish to foster an interest in the old modvægt til den udenlandske populærmusiks udslettelse af zither instrument the langeleik, which she claimed on the basis of extensive studies to have been widely used throughout 152Brev af 31.3.1923 fra Wilhelm Hansen til Carl Nielsen 155 the Nordic area in former times. In her view, a revival of (DK-Kk, Wilhelm Hansen Arkiv, 62, N-G, 1923). langeleik playing, especially among the rural communities, 153Brev af 4.2.1923 (DK-Kk, Wilhelm Hansen Arkiv, korrespon- dance 1912-1935, K-R). I den første trykte udgave (kilde AAA ) would counterbalance the eradication by foreign popular blev dedikationen trykt på bagsiden af titelbladet. 154(1856-1933). 155 Synspunktet er blandt andet udfoldet i Hortense Panum, 152 Letter of 31.3.1923 from Wilhelm Hansen to Carl Nielsen Middelalderlige Musikinstrumenter, der endnu er i Brug hos (DK-Kk, Wilhelm Hansen Arkiv, 62, N-G, 1923). Nordens Almue, og deres Musik, København, 1917 og Hortense 153 Letter of 4.2.1923 (DK-Kk, Wilhelm Hansen Arkiv, Panum, “Om det norske Almueinstrument ‘Langeleiken’”, correspondence 1912-1935, K-R). In the first printed Musikbladet 1917, Nr. 8 og 9, s. 81-84, 93-95. edition (Source AAA ) the dedication was printed on the back of the title page. 154(1856-1933). 155 The view is expressed for example in Hortense Panum, Middelalderlige Musikinstrumenter, der endnu er i Brug hos Nordens Almue, og deres Musik, Copenhagen, 1917, and Hortense Panum, “Om det norske Almueinstrument ‘Langeleiken’”, Musikbladet 1917, nos. 8 and 9, pp. 81-84, 93-95.

Carl Nielsen Udgaven CN 00024 xl

A CN 24 Kammer 2 forord 40 25/07/03, 17:13 Quintet for Flute, Oboe, Clarinet, French Horn, and Bassoon, opus 43, Kvintet for fløjte, obo, klarinet, horn og fagot, opus 43, tredje sats third movement bb. 248-265. Fair copy (Source BBB ). Oboe part t. 248-265. Renskrift (kilde BBB ). Obostemmen overstreget, og crossed out and cor anglais part added in ink (CN); oboe part stemme for corno inglese tilføjet med blæk (CN); obostemme added below the system in pencil (CN?). tilføjet under akkoladen med blyant (CN?).

Carl Nielsen Udgaven CN 00024 xlix

A CN 24 Kammer 2 forord 49 25/07/03, 17:16 Quintet for Flute, Oboe, Clarinet, French Horn, and Bassoon, opus 43, Kvintet for fløjte, obo, klarinet, horn og fagot, opus 43, anden sats, second movement, French horn part (Source DDD ). Autograph. In hornstemme (kilde DDD ). Autograf. I næstsidste systems første takt the first bar of the last staff but one, the crescendo at the ses en crescendokile før overgangen til satsens coda (t. 115), som transition to the coda (b. 115) is marked, which seems to be why synes at være grunden til, at Carl Nielsen i denne stemme har Nielsen in this horn part – instead of the da capo dal segno in gentaget menuetten mellem trio og coda – i modsætning til the score fair copy and the first printed edition – has repeated da capo dal segno-angivelsen efter trioen i partiturrenskriften og the minuet between trio and coda. førstetrykket.

Carl Nielsen Udgaven CN 00024 l

A CN 24 Kammer 2 forord 50 25/07/03, 17:17 FORKORTELSER ABBREVIATIONS

b. bar bb. bars cb. contrabbasso cl. clarinetto CN Carl Nielsen CNA Carl Nielsen Arkivet (the Carl Nielsen Archives) CNS Carl Nielsens Samling (the Carl Nielsen Collection) CNU Carl Nielsen Udgaven (the Carl Nielsen Edition) cor. corno cor.ingl. corno inglese DK-Kk Det Kongelige Bibliotek, København (the Royal Library, Copenhagen) DK-Km Musikhistorisk Museum og Carl Claudius’ Samling, København fg. fagotto fl. flute marc. marcato NKS Ny Kongelig Samling (New Royal Collection) ob. oboe pf. pianoforte picc. flauto piccolo pizz. pizzicato Pl. No. Plate Number spicc. spiccato stacc. staccato ten. tenuto trem. tremolo vc. violoncello vl. violino

Carl Nielsen Udgaven CN 00024 154

I CN 24 sources 153-166 154 25/07/03, 17:22 CRITICAL COMMENTARY

In the Critical Commentary the following conventions AAA Printed score, Carl Nielsen’s copy. are used: DK-Kk, CNS 24d. Title page: “TIL-HENRI-MARTEAU / SONATE / A-dur / VIOLIN- 111 “by analogy with” is used when something has been PIANOFORTE / CARL:NIELSEN / OPIX / WILHELM-HANSENs- “added”, “emended” or “omitted” by analogy with another FORLG / KIØBENHAVN:LEIPZIG”. passage in the main source. The analogy may be vertical. Pl. No.: 11759 (1895-1896). When something is added “by analogy with” one or more Donated to the Royal Library by Eggert Møller in 1975. instruments, it is understood that the analogy is with the 34x27 cm, 35 numbered pages, bound with endpapers in same place in the same bar(s). Or it may be horizontal. yellow-patterned half-binding. The source has been restored. When something is added “by analogy with” one or more Bound together with Fantasy Pieces for Oboe and Piano, Op. 2. bars, it is understood that the analogy is with a parallel Additions of accidentals and note corrections in pencil (CN). place in the same instrument(s). Violin part, AaAaAa. 222 “as in” is used when something is “added”, “emended” or 34x27 cm, 8 numbered pages, bound with endpapers in “omitted” to correspond to the same place in another yellow-patterned half-binding. The source has been restored. source. Bound with Fantasy Pieces for Oboe and Piano, Op. 2. Correc- tions and additions of fingering, positions, bowing in 333 “in accordance with” is used in cases where there is no pencil, mauve crayon (CN? and unknown hand). authoritative source, only a guideline – for example printed part material. BBB Score, autograph, fair copy, printing manuscript. DK-Kk, CNS 24a. In the bar number column, the symbol “+” is used to indicate Datings: 1st movement end-dated “5/4 95”; 2nd movement an upbeat to the bar in question. “22de Juni / 95”; 3rd movement “23/8 95”. Acquired by the Royal Library from the estate of Henrik Knudsen in 1947. SOURCES 34.5x26 cm, 22 folios, written in ink, pagination in pencil: unnumbered page, 2-31, unnumbered page, 32-39, unnum- SONATA FOR VIOLIN AND PIANO, bered page, 40-42. OPUS 9 Paper type: 18 folios (pp. 2-31): hand-ruled (10 staves) AAA Printed score, Carl Nielsen’s copy 6 folios (pp. 32-42): hand-ruled (12 staves) BBB Score, fair copy, autograph, printing manuscript Title on p. 2: “Sonate for Pianoforte og Violin / Carl Nielsen CCC Score, draft, autograph / Op 9.” “(A-dur.)” added in pencil. DDD Score, sketch, autograph The source has been restored. Additions of notes, tempo EEE Sketch markings, bowing, dynamics, wedges, accidentals, playing FFF Printed score, dedication copy for Julius Lehmann instructions in pencil (CN). Additions by engraver in pencil, GGG Printed score, Carl Nielsen’s copy red and blue crayon.

Carl Nielsen Udgaven CN 00024 155

I CN 24 sources 153-166 155 25/07/03, 17:22 Paper type: 18 staves. QUINTET FOR FLUTE, OBOE, The actual music is a copy of Source AAA . Title on first music CLARINET, FRENCH HORN, AND page: “Forgjæves Serenade.”14 in Carl Nielsen’s hand; BASSOON, OPUS 43 rehearsal letters added in blue crayon in red frame. AAA Printed score, study score The sources for Serenata in vano consist of the draft (CCC ), after BBB Score, fair copy, autograph, printing manuscript which the parts (BBB ) were copied out. The fair copy (AAA ), written CCC Printed parts out on the basis of the draft, was probably only drawn up in DDD Parts, part-autograph, printing manuscript connection with the first performance of the work in Copenha- EEE Score, autograph, draft gen in 1915, as can be assumed from the dating in brackets on FFF Fragment of part, autograph, fair copy the title page. The fair copy (AAA ) has more information on dyna- mics and articulation than both the draft (CCC ) and the parts (BBB ), AAA Printed score, study score. and it is evident from the engraver’s notes that it was the Title page: printing manuscript for the first edition in 1942. At one point “WILHELM HANSEN EDITION / No 2285/ Carl Nielsen / OPUS Carl Nielsen made changes and additions in the score in pencil; 43 / KVINTET FOR FLØJTE, OBO, / KLARINET, HORN OG after this the viola part (DDD ) was written out after the fair copy FAGOT / PARTITUR / Eigentum des Verlegers für alle Länder (AAA ) for the concert on 20th November 1915. The copy of the score – Propriété pour tous pays / Aufführungsrecht vorbehalten which Carl Nielsen sent to Julius Rabe (EEE ) was made on the – Droits de représentation réservés / KØBENHAVN & LEIPZIG basis of the fair copy as changed by Carl Nielsen, but before the / WILHELM HANSEN / MUSIK-FORLAG / KRISTIANIA & correction made at the request of Aage Oxenvad in 1930. BERGEN / NORSK MUSIK-FORLAG / GÖTEBORG – STOCKHOLM- Since the fair copy (AAA ) represents the latest source MALMÖ / A. B. NORDISKA MUSIKFÖRLAGET / Copyright approved by Carl Nielsen, it has been chosen as the main 1923 by Wilhelm Hansen, Copenhagen”. source. A special problem is the title Serenata in vano, which is Title page, verso: not found in the main source, but in the draft (CCC ) and in four of “BLÆSERKVINTETTEN / DHRR / SVEND FELUMB, PAUL the parts (BBB ). However, most of the programmes use the title, HAGEMANN, / KNUD LASSEN, AAGE OXENVAD / OG HANS and Carl Nielsen himself used it again in the letter and the SØRENSEN / VENSKABELIGST / TILEGNET”.15 accompanying score (EEE ) sent to Julius Rabe as late as 1928; it Pl. No.: 18204 (1923). was therefore decided in this case to follow the parts (BBB ) and 19x13.7 cm, 43 pages. the draft (CCC ). Articulation has been the biggest problem, and it Bottom of first music page: “Oscar Brandstetter, Leipzig.” has mainly been solved on the basis of analogies drawn from the main source itself; in cases of doubt the parts (BBB ) and the BBB Score, fair copy, autograph, printing manuscript. draft (CCC ) have been consulted. All significant variants in parts DK-Kk, CNS 43a. (BBB ) and draft (CCC ) have been included in the list of emendations Title page: and alternative readings. “Kvintet / for / Fløjte, Obo, Klarinet, Horn og Fagot. / af / Carl Nielsen. / Komponeret i April 1922.” Additions in

14 “Serenade in vain”. unknown hand: “Opus 43.” added in pencil, adhesive label stuck on: “Sektion ‘DENMARK’. / Foreningen ‘NY MUSIK’./ Copenhagen V. / 54 Frederiksberg Alle.”, “2’ Sal”16 added in red crayon in top left-hand corner; “B, S.M.2” added in blue crayon, “Editionsnummer für Umschlag. 2284. Stimmen 2284a.” corrected to “2285” and “2285a” in ink and added in pencil, “Verlagsnummer 18204.” added in ink in bottom right-hand corner, “Manuskript / til Stemmerne / følger /

15 “The wind quintet, dedicated in all friendship to Messrs. Svend Felumb, Paul Hagemann, Knud Lassen, Aage Oxenvad and Hans Sørensen”. 16 “2nd floor”.

Carl Nielsen Udgaven CN 00024 163

I CN 24 sources 153-166 163 25/07/03, 17:22 Stemmer: almindeligt Format / Partitur: Lomme Format”17 Mannheimer, Axel Mannheimer and Anna Lisa Vögg Lunn, added in pencil and crossed out in ink. “Wilhelm Hansen, Gothenburg, in 1965. Kopenhagen 19/II 23 Ei[gentum]”.18 First movement: Dating: “Komponeret i April 1922”. 34.5x27 cm, 2 bifolios paginated 2-8, first page unnum- Donated to the Royal Library by Irmelin Eggert Møller, bered, written in pencil. Anne Marie Telmányi and Wilhelm Hansen Musikforlag in 34.7x26 cm, 1 bifolio and 1 folio paginated 9-14 written in 1953. pencil. 34x27 cm, 18 folios consisting of title page and 32 num- Second movement: bered and 3 unnumbered pages written in ink. 26x34.5 cm, 1 folio paginated 1-2 written in pencil, blue Paper type: FABRIKSMÄRKE P.H. No 8. (18 staves). crayon and ink. The pages had been taken out of the binding and trimmed 35x25.5 cm, 1 folio paginated 3-4 written in pencil. on restoration. 11x27 cm, 1 folio paginated 5-6 written in pencil. Title on first music page added in ink in unknown hand: Third movement: “Kvintet / Fløjte, Obo, Klarinet, Horn og Fagot”. On the 35.5x27 cm, 1 bifolio paginated 1-4 written in pencil. right above the first staff, added in ink in unknown hand: 37.5x27.5 cm, 1 folio paginated 5-6 written in pencil. “Carl Nielsen”. Bottom of page, added in pencil in un- 34.5x27.5 cm, 2 bifolios paginated 7-14 written in pencil. known hand: “Copyright 1923 by WH. Copenhagen”. 17.5x26.5 cm, 1 folio, recto paginated 15 written in pencil, Publisher’s number: “18204” added in ink. verso unpaginated. The score has additions and corrections in ink and pencil in 35x26 cm, 1 folio, recto paginated 16 written in pencil, Carl Nielsen’s hand as well as notes by the music engraver. verso blank music page. Paper type: CCC Printed parts. First movement: Wilhelm Hansen, musikforlag, Pl. No.: 18204a, (1923). pp. 1-8: No. 8. Folio 22 22 staves. 34x27 cm, 5 parts. pp. 9-14: 10 staves. Second movement: DDD Parts, copy and autograph, printing manuscript. pp. 1-2: 12 staves. DK-Kk, CNS 43c. pp. 3-4: 16 staves. Acquired by the Royal Library from Wilhelm Hansen pp. 5-6: torn-off folio with 8 staves. Musikforlag Archives in 1997. Third movement: 34.5x27 cm, 5 parts in gatherings of two bifolios written pp. 1-4: B.&H. Nr. 11 A. 18 staves. in ink. pp. 5-6: watermarked with crown. 20 staves Paper type: pp. 7-14: JÖS [?] 16 staves. No. 2. F. 10 10 staves. p. 15: 6 staves. cl. pp. 5-6: 14 staves. p. 16: 14 staves. cor. p. 5: 12 staves. First movement: fg. pp. 5-6: 12 staves. Title on first music page: “Kvintet for Blæsere”. Cl. pp. 5-6, cor. p. 5 and fg. pp. 5-6 have the second movement Bottom of first page, added in blue ballpoint: “Uroppfördes in autograph with two identical paginations. The whole set d 30/4 1922 Söndag på min födelsedag”.19 The movement of parts has a few autograph additions in pencil as well as has a few autograph additions in ink and blue crayon. engraver’s notes. Second movement: Title on first music page: “Kvintet./ Menuet”. The move- EEE Score, autograph, draft. ment has autograph additions in blue crayon and in ink. DK-Kk, CNS 43b. Third movement: Dating: First movement end-dated “25de Marts 22”. Title on first music page: “III Kvintet for Bl / Præludium.” Donated to the Royal Library by Bertil Mannheimer, Ted Title p. 15: “Andante festivo.” Title p. 16: “Horn-Variation”.

17 “Manuscript for parts follows. Parts: Ordinary Format Score: Pocket format”. 19 “First performance 30/4/1922 Sunday on my birthday”. 18 Last part of addition illegible.

Carl Nielsen Udgaven CN 00024 164

I CN 24 sources 153-166 164 25/07/03, 17:22 The movement consists of: pp. 1-10: Prelude, theme and THREE PIECES FOR LANGELEIK variations no. 1-8 numbered I-VIII; pp. 11-15: variations nos. 10-11 numbered IX og XI and Andantino festivo; p. 16: As regards the method of playing the langeleik, it can be noted variation no. 9 numbered X; added at bottom of page: briefly that one uses the three middle fingers of the left hand “Skal ind efter IX. / uden stor naiv Hengivelse i Naturstem- to stop and play a melody string on a fretted fingerboard, while ning nytter det ikke”.20 a plectrum in the right hand is used to play and strike a number The movement has additions and corrections in ink. of drone strings with a forward or backward motion. Below the staff one sees certain numbers (3, 2, 1), FFF Fragment of part, autograph, fair copy. which indicate fingering, or 0, which means “open string”. DK-Kk, CNS 270. Stepwise sliding motion up and down the frets is indicated by a Donated to the Royal Library by Irmelin Eggert Møller in 1958. slur and the abbreviation “gl.”. The direction of striking the 3 folios paginated 1-5, folio 3 verso unpaginated, written in drone strings is indicated by ™ (backward stroke), ˜ (forward pencil og ink. stroke) or “Sl.”, which means several strokes during one folio 1: 35x26 cm. plectrum beat, as well as “pizz.”, which is explained as follows: folio 2: 35.5x27 cm. “Pizzicato is always executed in descending note folio 3: 21.5x 26 cm, 1 folio cut off. sequences with a finger plucking and releasing the string to Paper type: 12 hand-ruled staves. allow the next note below to sound. In the fingering this is Title page 2: “Corno / Menuetto” shown by placing the number of the finger that is to pluck the Inside Vocalise – Etude page 2: fair copy of horn part, 2nd string above the number of the fixed finger” (Book 1, p. 13). movement bb. 1-16 (16-bar pause). AAA Printed edition. The autograph sources consist of the draft (EEE ), the fair copy (BBB ) “Naar Solen skinner./ Originalt komponeret for Langeleg. / and a fragment of the horn part (FFF ). The last of these exhibits Spilles med Holder. / Carl Nielsen.”21 copying errors and the music paper was later used for another “Det tunge Budskab”. Originalt komponeret for Langeleg. / purpose. In addition there are manuscript parts (DDD ); the parts Spilles uden Holder./ Carl Nielsen.”22 were written out on the basis of BBB – all five parts in the first and “Som Fisken i Vandet. / Spilles med Holder. / Carl Nielsen.”23 third movements and flute and oboe in the second movement in Printed in: “LANGELEGEN / SOM DANSK FOLKEINSTRUMENT an unknown hand, while the clarinet, horn and bassoon parts in / AF / HORTENSE PANUM / ARRANGEMENTET / FORLÆGGE- the second movement were written out by Carl Nielsen. Since RENS EJENDOM / LEHMANN & STAGE, (P. HAASE). HÆFTE II.” Carl Nielsen numbered the pages twice, it is likely that the Pl. No. L. & S. 2. autograph sections of the parts come from a lost set of parts 27.7x19.4 cm, paginated 8-21 and 2-23, prefaces in Books 1 from the first performance in April 1922, while the remainder is and 2. a copy of later date. BBB and DDD functioned as the printing source The preface of the edition provides information on the for the first printed edition of the score (AAA ) and parts (CCC ) respec- stringing, tuning and playing of the langeleik. tively, published in 1923 by Wilhelm Hansen Musikforlag. Carl Carl Nielsens compositions are printed in Book 2 pp. 2-3. Nielsen received proofs of both score and parts, which must

therefore be regarded as equally good sources; the printed 21 “When the Sun Shines./ Original composition for score (AAA ) was however chosen as the main source, since it langeleik. / To be played with movable bridge. / Carl represents the latest complete version approved by the com- Nielsen.” 22 “The Sad News. Originally composed for langeleik. / To poser. The printed parts (CCC ), which differ at many points from be played without movable bridge./ Carl Nielsen.” the score (AAA ) – especially in terms of dynamics – were used in 23 “Like the Fish in the Water. / To be played with movable bridge. / Carl Nielsen.” the editing wherever they could compensate for obvious errors and deficiencies in the score. The draft (EEE ) was consulted in cases of doubt. All variants in printed and manuscript parts (CCC , DDD ) and important variants in the draft (EEE ) have been included in the list of editorial emendations and alternative readings.

20 “To go in after IX. Without great naive abandonment to the mood of nature it will not work”.

Carl Nielsen Udgaven CN 00024 165

I CN 24 sources 153-166 165 25/07/03, 17:22 Bar Part Comment Bar Part Comment 177 I vc. BBB : 7 cor. CCC , DDD : notes 1, 5: marc.; EEE : notes 1, 5: 177 I vc. cb. CCC : , note 5: probably marc. 177 I, 177 II vc. cb. marc.# and stacc. added as in BBB (vc. b.177 II) 7-9 fg. DDD : b.7 note 1 to b.9 note 1, b.9 notes 1-3: 177 II vc. BBB : notes$ 1-3: marc.,% notes 4-6: stacc. slurs; CCC , EEE : b.7 note 1 to b.8 note 9, b.9 177II vc. cb. BBB , CCC : notes 1-3: slurs 179 cor. BBB : dim 8fl. CCC , DDD , EEE : notes 2-6: slur 180-181 cor. BBB : b.180# note 1 to b.181 note 3: 8-9 cl. BBB : b.8 note 3: end of tie open before added in pencil (CN?) change of system 181 fg. BBB : note 3: 9fl. EEE : notes 1-8: slur & 182 Un poco di più emended to un poco di più; CCC : 9 cl. EEE : notes 10, 13: f )'', f )' poco più 9-10 cl. CCC : b.9 note 6 to b.10 note 5: slur 182 cl. CCC : 10 fl. BBB : note 6: [?] erased 182 cl. fg. notes 1, 3: marc. added by analogy with 10 fl. CCC : notes 1-8: slur; DDD : note 1: end of slur b.160# open; EEE : notes 1-6: slur 182 fg. note 3: marc. added by analogy with cl. 10 ob. EEE : notes 5, 6, 9: d)''' 182 cor. BBB : 10 cl. EEE : note 8: f )'' 182-183 cor. note 3: stacc. added by analogy with 11 calando (expression marking, fl., ob., cl.,) bb.161,ff 164, 185 emended to calando (tempo marking) as in 182 vc. BBB : chord 1: pizz crossed out in pencil, arco CCC (cor.), DDD (cor.) added in pencil (?) 11 f l. cl. beginning of emended from 182 vc. cb. CCC : pizz. crossed out in pencil last bar line as in EEE ; EEE : note 3: dim 182 cb. BBB : note 2: pizz (presumably) crossed out in 11-12 f l. CCC , DDD : b.11 note 1 to b.12 note 3: slur pencil, smudged 11 cl. EEE : note 3: dim 183 cl. fg. stacc. added by analogy with b.161 11 ob. beginning of emended from 183 cor. BBB : notes 1-2: slur last bar line as in EEE (fl., cl.) 12 a tempo added as in CCC (cor.), DDD (cor.) 184 cl. BBB , CCC : 12 fl. BBB : notes 1-2: changed to , added 184 fg. BBB : notes 1-9: slur added in pencil (CN?) in margin in& pencil* + & & & & 185-188 cl. BBB : beginning of slur note 6 instead of note 5 12 fl. EEE : notes 1-3: , note 3: calando 185 cl. fg. notes 1, 3: marc. added by analogy with 12 cl. EEE : notes 1, 4: f )'' b.160; BBB , CCC : notes 1-2: slur 13 cor. CCC , DDD : beginning of b.13 note 4 185-186 fg. CCC : b.185 note 7 to b.186: end of slur open instead of b.14 note 3 before change of system 13-15 cor. CCC , DDD : end of slur b.15 note 1 instead of 185-188 fg. BBB : beginning of slur b.185 note 6 instead b.14 note 8 of note 5; b.185 note 6: end of slur open 14 fg. CCC , DDD : before change of system 16-17 cor. BBB : b.16 note 7: end of tie open before 186 fg. BBB : notes 2-16: slur change% of system 187-188 fg. BBB : b.187 note 1 to b.188: slur 17 fg. BBB : notes 1, 3: d)' instead of d,' (copying error) 187 vc. BBB : chord 2: arco, chord 2: marc. 18-21 fg. CCC , DDD : b.18 note 1 to b.21 note 1: 187 cb. BBB : note 2: arco 19 fl. ob. cl. cor. EEE : note 3: dim 188 vc. CCC : notes 3-4: slur, notes 7-8: stacc. 21 fl. CCC , DDD : note 1: ; EEE : note 2: 188 cb. CCC : notes 3-4: stacc. 21 ob. added as in CCC , DDD , EEE & 189 vc. CCC : notes 3-4, 7-8: stacc. 21 cl. note 4: stacc.! omitted by analogy with fl. 189 cb. CCC : pesante and% in accordance with CCC , DDD , EEE ; BBB : note 4: 190 vc. BBB : chord: B(, f stacc. 21 fg. added as in BBB ; CCC , DDD : note 2: 21 fg. EEE : rests 1-2: added in blue crayon (CN) QUINTET FOR FLUTE, OBOE, 22 ob. %EEE : note 2: marc.- /. %% CLARINET, FRENCH HORN, 22 cl. BBB : added in pencil (CN) AND BASSOON 23 fl. CCC : 23 ob. BBB : notes" 1, 3: not marc.; EEE : note 5: First Movement 23 cl. addedff as in EEE and by analogy with b.21 Bar Part Comment (ob.) % 1 EEE : Allegro moderato changed to Allegro ben 23-24 cl. D%DD : b.23 note 1 to b.24 note 2: slur, b.24: moderato not stacc. 1 ob. CCC , DDD : allegro ben marcato 24 fl. CCC , DDD : note 7: f )''', note 11: f )''; EEE : note 11: f )'' 1 fg. CCC , DDD : note 2: stacc., not ten.; EEE : notes 1-2: 24-26 fl. CCC , DDD : b.24 note 2 to b.26: one slur stacc. 24 ob. EEE : note 1: marc. and 2 fg. DDD : notes 1-8: added in pencil (CN?) 24 cl. EEE : note 1: marc. 3 fg. DDD : notes 1-8: added in pencil (CN?) 25 ob. cl. BBB : note 8: marc. added$ in pencil 4fl. CCC , DDD , EEE : 26 fg. CCC , DDD : 4 cl. CCC , DDD : note 1: a'' 27-28 fl. CCC , DDD : end of slur b.27 note 9 instead of 7-8 fl. CCC , DDD : end! of slur b.7 note 6 instead of b.8 b.28 note" 1 note 1 27 cl. CCC , DDD : notes 1-9: slur 7 cl. CCC : 28-29 fl. CCC , DDD : beginning of slur b.28 note 3 instead 7-9 cl. CCC : b.7" note 5 to b.9 note 5: slur of b.28 note 2

Carl Nielsen Udgaven CN 00024 192

K CN 24 revisioner 187-200 192 25/07/03, 17:24 Bar Part Comment Bar Part Comment 28-29 cl. CCC , DDD , EEE : b.28 note 1 to b.29 note 1: slur 61I fl. CCC , DDD : calando, no I 29-30 fl. CCC , DDD : beginning of slur b.29 note 11 61 cl. note 3: a' emended to a(' instead of note 10 61I cor. BBB : note 1: 30 cor. added as in BBB ; CCC , DDD : note 1: 61I cor. fg. CCC , DDD : note 1: calando 30 fg. BBB , CCC , DDD : note 1: stacc. 52II EEE : rehearsal% letter B emphasized in ink 31 E%EE : rehearsal letter A emphasized" in blue 52II fl. CCC , DDD : notes 1-2: crayon 52II-54II ob. fg. BBB : beginning of slur b.52II note 1 corrected 31 fg. G) emended to G, (engraver’s error) to b.50 note 3 in mauve crayon 32 fg. CCC : notes 1-3: semiquavers 52II cl. BBB : note 6: beginning of slur open 33 fl. CCC , DDD : notes 3-7: slur 53II cor. CCC , DDD : note 1: 33-34 ob. CCC , DDD : beginning of slur b.33 note 5 instead 53II fg. CCC , DDD : notes 3-7: slur of note 3 54II cl. cor. fg. EEE : #added in ink 34 fl. CCC , DDD : notes 1-7: slur 54II fg. CCC , DDD : notes 1-9: slur, note 9: not stacc. 34 ob. CCC : note 6: (engraver’s error) 55II fl. notes 1-6: stacc. added as in CCC , DDD and by II CC DD 34 cl. note 4: f )' emendedff to f ,' by analogy with analogy with b.54 (ob.); CCC , DDD : notes 8, 11: fl.; EEE : note 5: e,' g '' II ) 34-35 cl. CCC , DDD : b.34 note 3 to b.35 note 1: slur; EEE : 56 fl. CCC , DDD : note 2: g)'' b.34 note 2: end of slur open before change 56II ob. BBB : b.56II note 5: beginning of slur open of system after page turn 34 fg. CCC : notes 1-3: semiquavers; EEE : rest 2: 56II cl. notes 8, 11: stacc. added as in CCC , DDD , EEE ; 1 changed to in ink, notes 1-3: semiquavers added as in CCC , DDD 1* II ! changed to demisemiquavers in ink (CN) 56 cl. EEE : f )'' 35 fl. CCC , DDD : notes 1-2: slur 57II cl. CCC , DDD : notes 1-4: slur, note 1: not stacc.; EEE : 35-36 cl. CCC , DDD : b.35 note 2 to b.36 note 2: slur note 1: f )'', note 2: end of slur open before 37 fg. CCC : calando; DDD : cal. change of system 38 calando (quasi rall.) omitted in fg. and added 58II fl. CCC , DDD : note 1: marc. as in CCC (fl., cl., fg.), DDD (fl., cl., fg.); last 60II fg. EEE : note 1: added in ink quaver: a tempo added as in CCC (fl., cor., fg.), 62 cl. cor. fg. EEE : note 1: , DDD (fl., cor., fg.) 62 cor. fg. CCC , DDD : note& 1: 38 fg. CCC , DDD : notes 2-6: 63 ob. EEE : note 3: marc.& 40 cor. CCC , DDD : note 1: %% 64-67 cor. CCC , DDD : notes 2, 4: marc. 41 cor. DDD : note 2: a)' changed to a,' in pencil (CN?) 64 fg. BBB : note 1: instead of (copying error); CCC , 43-44 cl. BBB : b.43 note 7:! end of slur open before DDD : note 1 to+ rest 1: 0 change of system 66-68 fg. CCC , DDD : b.66 note 7 to+ b.68 * note 1: one slur 46 cor. note 3: a)' emended to a,' as in CCC , DDD , EEE 67 cor. EEE : note 4: senza sord instead of b.68 48-49 cl. BBB : b.48 note 7: end of slur open before 68 fl. CCC , DDD : change of system 68-69 cl. CCC : b.68+ note 1 to b.69 note 1: slur 48 fg. CCC , DDD : col obo 69 fl. CCC , DDD : note 1: 50 cor. CCC , DDD : note 4: dim 70-71 cl. CCC , DDD : b.70 note 1 to b.71 note 1: slur 50-51 fg. DDD : b.50 note 4 to b.51: end of slur open 71 fl. EEE : note 10: stacc.! before change of system; CCC : b.50 note 4 to 72 fl. EEE : ( ) b.51 note 8: slur 72 ob. BBB : note 1: added in pencil (CN); CCC : , 51 fl. EEE : note 5: cresc. instead of notes%% 1-6: slur; EEE : poco 51 ob. EEE : notes 5-8: cresc. 72 cl. BBB : notes 3-4:% slur added in pencil (CN?);% CCC , 51-52II cl. BBB : b.51 note 7 to b.52II: end of slur open DDD : note 3: marc. # 51 fg. beginning of emended from 72 fg. BBB : note 1: added in pencil (CN); CCC : note 2 by analogy with ob. espressivo; DDD : poco crossed out in pencil, 52I-57I cl. end of slur emended from b.58I note 1 to espress.% added in pencil (CN) " b57I note 5 as in CCC , DDD 72-73 fg. CCC , DDD : b.72 note 2 to# b.73 note 6: slur 52I-57I cl. cor. EEE : b.52I note 7 to b.57I note 5: slur 73 ob. note" 5: added; EEE : note 5: marc. 52I-53I cor. BBB : b.52I note 3 to b.53I: end of slur open 73-74 ob. CCC , DDD : b.73, note 5 to b.74 note 6: slur before page turn 73 cl. CCC , DDD : sempre 52I-57I cor. end of slur emended from b.58I note 2 to 74 fg. CCC , DDD : notes 1-4: slur b.57I note 5 as in EEE 74-75 fg. CCC , DDD : b.74 note%% 5 to b.75 note 8: slur 52I-53I fg. CCC , DDD : b.52I note 1 to b.53I note 1: slur 76 fg. CCC , DDD : notes 1-4: slur 53I fg. CCC , DDD : note 2: marc. 76-77 fg. DDD : b.76 note 5 to b.77: end of slur open 53I-57I fg. CCC : b.53 note 2 to b.54 note 1: slur; CCC , DDD : before change of system b.53I note 2 to b.57I note 1: one slur 77 fl. CCC , DDD , EEE : note 5: stacc. 55I-56I fl. ob. cl. cor. fg. EEE : dim. b.56I instead of b.55I 77-78 cor. note 1: stacc. added by analogy with 57I cor. calando added by analogy with fl., cl. bb.75-76 58I fg. beginning of slur emended from note 2 to 78-79 fg. CCC , DDD : b.78 note 5 to b.79 note 5: slur note 3 (engraver’s error) 79 fl. CCC , DDD : note 5: stacc. 59I-60I fl. CCC : end of b.60I note 5 80 fg. BBB : b.80 note 5: end of slur open before 59I ob. EEE : note 1: instead of change of system; CCC , DDD : notes 1-4: slur 59I fg. CCC , DDD : cresc. instead of 80-81 fg. CCC , DDD : b.80 note 5 to b.81 note 1: slur 60I ob. EEE : note 6: marc.% %% 81 cor. CCC , DDD : note 1: dim, note 4: , note 5: & %

Carl Nielsen Udgaven CN 00024 193

K CN 24 revisioner 187-200 193 25/07/03, 17:24 Bar Part Comment Bar Part Comment 81 fg. DDD : note 3: end of slur open before change 107-108 cor. added as in CCC , DDD , EEE of system 107-108 fg. added as in CCC , DDD 82 cl. EEE : 108 cl. BBB : b.108 note 10: end of tie open before 82 cor. BBB , DDD : note 2: ( tr added in pencil (CN); change of system CCC , $DDD : 108-111 cor. CCC , DDD : b.108 note 4 to b.111 note 8: slur 82 cor. EEE : crossed out in pencil, stop added in 108-109 fg. CCC , DDD : b.108 note 4 to b.109 note 5: slur pencil$ (CN) 109 fl. BBB : note 3: crossed out in pencil (CN?); EEE : 83 fl. EEE : note2 4: changed to notes 1-8: , 83 fl. ob. cl. EEE : note 1: 109 cl. EEE : notes 1-10: 83 cor. BBB , DDD : note! 1: tr added in pencil% (CN) 109 cor. CCC : note 6: 83 cor. CCC , DDD : , rest$ 3: senza sord; EEE : crossed 109 fg. EEE : note 6: added in blue crayon (CN?) out in pencil, stop added in pencil (CN) 110 cor. DDD : note 1: ff 83 fg. DDD : molto$ rall 2 110-112 fg. DDD : b.110 note# 2 to b.112: end of slur open 84 cl. CCC , DDD : note 1: , notes 1-4: slur; EEE : note 1: before changeff of system , note 3: "added in blue crayon 110-113 fg. CCC : b.110 note 1 to b.113 note 1: slur 84 fg. note 3: e emended, to e) as in CCC , DDD , EEE 111 f l. CCC , DDD : note 5: dim, notes 7-8: ; EEE : 84 fg. "CCC : notes 1-2: slur; DDD : , notes 1-4: slur note 6: dim 85 cl. CCC : notes 1-4: slur; DDD : notes 2-3: slur 111-112 cor. DDD : b.111 note 8 to b.112 note 5: slur 85 fg. CCC : notes 1-2: slur; DDD : "notes 1-4: slur 112 f l. CCC , DDD : note 5: 86 cl. CCC , DDD : notes 1-3: slur 112 ob. BBB : erased and poco added (CN) 86-88 cl. CCC , DDD : b.86 note 4 to b.88 note 1: slur 112 cl. CCC , DDD : notes 2-4:%% ; EEE : note 1: dim 86 fg. CCC , DDD : notes 1-3: slur 112 cor. CCC : notes% 1-7: slur; DDD : breathing# marking 86-88 fg. CCC , DDD : b.86 note 4 to b.88 note 1: slur crossed out in pencil 87 cl. BBB : note 5: b,' changed to b(' in pencil 112-115 cor. CCC , DDD : b.112 note 7 to b.115: slur 87 cor. senza sord. added as in CCC , DDD (b.83 rest 3) 113 ob. CCC , DDD : notes 1-4: , notes 5-8: 88 fg. CCC , DDD : notes 2-5: slur 89-90 cl. BBB : b.89 to b.90 note 1: beginning of slur 113 fg. CCC , DDD : notes 2-5: slur open after page turn 113-116 fg. CCC , DDD : b.113 note 5 to b.116 note 1: slur 90 cl. DDD , EEE : note 8: b,' 114 cor. CCC , DDD : note 5: ; EEE : note 5: dim 91 fg. DDD : b.91 note 1: end of slur open before 114 fg. BBB : note 7: dim. change of system 115 EEE : calando, no poco rall. 92 ob. DDD : 115 cor. EEE : note 1: 92 cl. stacc. omitted as in BBB , CCC , DDD , EEE 115 fg. CCC , DDD : note 5: calando 93 fl. cl. added% as in CCC 116 ob. notes 8-9, 11-12: stacc. added as in CCC , DDD ; EEE : 93 ob. CCC , DDD : notes 2-4, 6-8: slurs notes: 9, 12: stacc. 94 ob. #CCC , DDD : notes 1-2: slur 117 f l. BBB : note 8: not stacc. 94 fg. notes 1-3: 3 in triplet added; added as 117 f l. added as in CCC and by analogy with in CCC b.116 (ob.); CCC : 94-95 fg. EEE : b.94 note 6 to b.95 note 8: # 117-120 ob. "BBB : b.117 note 2 to b.120: end of slur open before change" of system 96 fl. CCC , DDD : note 1: 118fl. note 4: stacc. added as in BBB , EEE and by 97-98 cl. %%b.97 note 6 to b.98 note 1: slur emended analogy with b.117 (ob.) from open slur" as in BBB ; AAA : b.97 note 6: end 118-120 f l. CCC , DDD : b.118 note 5 to b.120 note 1: one slur of slur open before change of system 118 ob. EEE : note 8: dim. 98-99 cor. CCC , DDD : beginning of b.99 note 1 119 cor. added as in CCC , DDD ; notes 8, 11: stacc. instead of b.98 note 2, end of added as in CCC , DDD and by analogy with b.99 note 2 instead of note 4 b.120" 98 fg. CCC : col Horn; DDD : col corno 120 cor. note 7: stacc. added as in BBB , CCC , DDD , EEE and by 99 cor. CCC , DDD : notes 3-4: ; EEE : note 2: end analogy with b.117 (ob.) of , note 3: dim. 121-123 fl. CCC , DDD : b.121 note 2 to b.123: 100 cl. BBB : b.100 note 7: end of slur open before 122 cl. CCC , DDD : notes 7-10: slur page turn 122 fg. CCC , DDD : rall, caesura marked between note 1 100 cor. CCC , DDD : notes 1-6: slur and note 2 101 fg. added as in BBB 123 ob. EEE : 104 cl. BBB : b.104 note 7: end of slur open before 123 cl. CCC , DDD : notes 1-2: slur change of system 123-124 fg. BBB : %%%b.123 note 2 to b.124: end of slur open 104 cor. beginning of slur emended from note 2 to before page turn note 1 as in BBB 124-127 cor. CCC , DDD : b.124 note 1 to b.126 note 1: one 104-105 cor. added as in CCC , DDD , EEE ; EEE : b.104 slur note 6: dim. 126-128 fl. BBB : b.126 note 1 to b.128: end of slur open 104-105 fg. added as in CCC , DDD , EEE ; CCC , DDD : b.105 before change of system notes 1-2: ; EEE : b.104 note 6: dim. 126-127 cl. CCC , DDD : no tie, b.127 note 1: tr 105 fg. note 2: stacc. added by analogy with cor. 127 fl. BBB : note 8: a'' changed to b'' in pencil and bb.99, 106 (cor., fg.) 127-128 cl. CCC : b.127 note 1 to b.128 note 3: slur 106 cor. fg. BBB : note 2: not stacc. 127-128 fg. BBB : b.127 note 2 to b.128: end of slur open 106-107 fg. CCC , DDD : end of b.107 note 3 before change of system

Carl Nielsen Udgaven CN 00024 194

K CN 24 revisioner 187-200 194 25/07/03, 17:24 Bar Part Comment Bar Part Comment 128 ob. EEE : 12 cl. CCC , DDD : notes 4-9: slur 13 fg. ten. emended to stacc. as in CCC ; DDD : notes 1- changed to 6: ten. 14 cor. CCC , DDD : 14 fg. CCC , EEE : end of slur b.14 note 5 instead of b.15 in blue crayon note 1% 128 cor. BBB : b.128 note 5: end of slur open before 15 cl. CCC : notes 9-12: change of system 15-16I cl. DDD : b.15 note 12 to b.16I note 2: 129 fl. CCC , DDD , EEE : note 5: stacc. 15 fg. notes 2-6: ten. emended to stacc. as in CCC ; 129 cor. marc. added by analogy with bb.126, 127 CCC , DDD : note 1: stacc. % 131 ob. stacc. added by analogy with b.130 (cl.) 16I cl. added as in CCC , DDD 132 ob. emended to as in BBB , CCC ; DDD : ; BBB : 16II fl. EEE : II % note% 1: end of slur" open before change! of 16 cl. added% as in CCC , DDD system 18 fl. D%DD : note 2: stacc. 132 cl. note 1: stacc. added by analogy with 21 fl. BBB : note 2: g) changed to g, in pencil b.130; added as in CCC , DDD 27 fl. CCC , DDD : 133-135 fl. EEE : b.133 note 5 to b.135 note 1: slur 28 ob. EEE : note 4: e('', note 5: f )'' 133 ob. BBB : b.133" note 1 to b.135 note 1: slur 28 cor. CCC : ff, note 2: marc.; DDD : 133-135 ob. CCC , DDD : b.133 note 1 to b.135 note 1: 29 fl. CCC : dim note 1 instead of note 3 134-135 fl. CCC , DDD : b.134 note 5 to b.135 note 1: 30 fl. ob. EEE : note" 3: dim added in ink% 135 fl. EEE : poco rall crossed out 31 note 3: rit added as in CCC , DDD (fl., ob. (b.32)) 135fl. ob. cl. EEE : note 1: 31 fl. DDD : note 3: rit added in pencil (CN) 135-136 fl. CCC , DDD : b.135& note 2 to b.136 note 1: 32 third crotchet: a tempo added in conse- 135 ob. CCC : note 2: dim. quence of rit. in b.31 135 cl. CCC , DDD : poco rall b.135 instead of b.134; DDD : 32 ob. added as in CCC , DDD ; DDD : note 1: rit. added note 1: in pencil (CN) 135-136 cl. BBB , DDD : end& of slur b.136 note 2 instead of 32 cor. C%%CC : ; DDD : ; EEE : note 2: marc. note 1 33 cl. EEE : note 3: marc. and ten. added in blue 135 cor. CCC , DDD : crayon%% % 135-136 cor. BBB : end of slur b.136 note 2 instead of note 1 33 fg. ten. emended to stacc. as in CCC and by 135 fg. added%% as in CCC , DDD and by analogy with analogy with bb.13, 15; CCC : notes 1-6: the dynamic level in the other parts stacc. 135 fg. dim.% added by analogy with fl., ob., cl.; CCC , 34 cor. DDD : DDD : note 1: poco rall 34-40 cor. bass clef emended to treble clef 135-136 fg. CCC , DDD : b.135 note 3 to b.136 note 1: 34-35 fg. b.34% note 1 to b.35 note 3: stacc. added by analogy with b.33 136 last bar line:%% added as in BBB , DDD 37 fg. notes 1-2: ten. emended to stacc. as in CCC ; 136 ob. fg, EEE : 3 notes 3-6: stacc. added as in CCC ; DDD : notes 1-6: 136 cl. added by analogy with cor.; CCC , DDD : note ten. 2: col% Horn 39 fg. notes 1-6: stacc. added as in CCC ; DDD : notes 1-6: 136 cor. %%DDD : notes 1-2: , note 2: col cl.; CCC : ten. col Klar. 41 cl. added as in BBB , CCC , DDD 136 fg. CCC , DDD : 41 fg. ten. emended to stacc. as in CCC 42-44 cl. !CCC , DDD : b.42 note 1 to b.44 note 2: one slur Second Movement %% 43 fg. ten. emended to stacc. as in CCC ; DDD : notes 2-6: Bar Part Comment ten. +1 cl. cor. DDD : Menuetto M: =100 a104. crossed out in 44 BBB : added in pencil pencil & 44 cor. CCC , 4DDD : note 3: +1 fg. DDD : Menuetto crossed out, = 104 changed to 44 fg. CCC , DDD : note 4: = 96 & 45 TRIO added as% in CCC (fl., cl., cor.), DDD (fl., cl., 1 E&EE : first bar line: double bar line and cor.), EEE % repeat sign added in blue crayon 46 ob. CCC , DDD : beginning of slur note 2 instead of 1-2 cl. DDD : note 4: stacc. added in pencil note 1 1 fg. BBB : notes 1-6: ten. crossed out in pencil; CCC , 46 cl. DDD : changed to in pencil (CN); CCC : DDD : ; DDD : notes 1-6: stacc. added in pencil 47 ob. CCC : beginning of slur note 2 instead of note 1 2 cl. notes 3-4: slur added as in BBB , CCC , DDD 47 cl. CCC , DDD %: notes 1-3: marc.%% and ten. %% 2 fg. stacc.% added by analogy with b.1 48 fl. CCC , DDD : 3 fg. BBB : notes 1-4: ten. 49 fl. CCC , DDD : notes 2-3: marc. and stacc. 5 fg. BBB : notes 1-6: ten. crossed out in pencil 49 cl. CCC , DDD : "notes 1-5: slur 7 fg. stacc. added as in CCC ; BBB , DDD : notes 1-6: ten. 50 fl. CCC : note 1: marc.; DDD : note 1: marc. and 9 cor. CCC , DDD : stacc. 9 fg. note 5: stacc. added as in CCC ; BBB : notes 1-2: 50-52I cl. CCC , DDD : b.50 note 1 to b.52 note 5: slur ten.; DDD %%: notes 1-5: ten. 52I ob. note 2: stacc. removed and slur added as 10-11 cl. CCC , DDD : b.10 note 4 to b.11 note 3: slur in CCC , DDD and by analogy with b.44 11-12 cl. CCC , DDD : b.11 note 4 to b.12 note 3: slur 52I cl. end of slur emended from note 4 by II 11 fg. BBB : note 2: d, changed to d) in pencil analogy with b.52

Carl Nielsen Udgaven CN 00024 195

K CN 24 revisioner 187-200 195 25/07/03, 17:24 Bar Part Comment Bar Part Comment 52II fl. note 2: stacc. added as in CCC , DDD and by 83 cl. CCC , DDD : notes 4-9: slur analogy with b.54; BBB : b.52II note 2 to b.53: 84 fg. stacc. added by analogy with b.13 slur crossed out in pencil 85 cl. CCC , DDD : notes 1-12: slur 52II fg. added by analogy with b.52I 85 cor. CCC , DDD : 56 cl. added as in CCC , DDD 86-87 cl. end of emended from b.86 note 57-60 fl. C%CC , DDD : b.57 note 2 to b.60 note 3: marc. and 12 as %in CCC , DDD ; added by analogy with st%acc. b.16II 58 cl. CCC , DDD : 86-87 cl. CCC , DDD : b.86 note% 1 to b.87 note 2: slur 59 cl. CCC , DDD : notes 2-3: marc. and stacc. 86 fg. stacc. added as in CCC and by analogy with 60-62 fl. ob. cl. marc.% and ten. added by analogy with b.15 bb.57-59 87 cl. DDD : notes 1-2: 60 cl. DDD : notes 1-2: marc. and stacc. 99-100 cor. CCC , DDD : 60-62 cl. CCC : notes 1-3: marc. and stacc. 103 cor. CCC : ; DDD : changed to (CN) 61-62 fl. DDD : cres-cen-do 104 fg. ten. emended" to stacc.% as in CCC and by 61-63 fl. BBB : b.61 note 1 to b.63 note 2: cresc-cen-do analogy%%% with%% b.33; CCC , DDD : %%% 61-62 ob. DDD : cres-cen-do 105 cor. CCC , DDD : 61-63 ob. BBB : b.61 note 1 to b.63 note 1: cresc- cen-do 112 cl. added as in CCC , DDD and% by analogy with 61-62 cl. BBB : b.61 note 1 to b.62 note 3: cresc-en; DDD : b.41 % notes 1-3: stacc. and marc. 112 fg. ten.! emended to stacc. as in CCC and by 61-62 fg. BBB : b.61 note 1 to b.62 note 7: cresc-en-do analogy with b.41II 64-65 cor. CCC , DDD : b.64 note 1 to b.65 note 3: slur 113-114 fl. end of emended from b.113 66 cl. CCC , DDD : dim. instead of note 12 as in CCC (cl., cor., fg.), DDD (cl., cor., 66-67 cor. CCC , DDD : b.66 note 1 to b.67 note 1: slur fg.) 66 fg. CCC , DDD : note 2: stacc.; EEE : notes 1-2: stacc. 113-114 cl. end of emended from b.113 66-67 fg. CCC , DDD : beginning of slur b.66 note 2 instead note 12 as in CCC , DDD ; CCC , DDD : b.113 note 1 to of note 1 b.114 note 12: one slur 67-68 fl. CCC : b.67 note 2 to b.68 note 1: slur; DDD : b.67 113-114 fg. added as in CCC (b.114), DDD (b.114) note 2 to b.68 note 1: slur; DDD : b.67 note 2 and by analogy with fl., cl. to b.68 note 1: beginning of slur changed 114 cl. slur added as in CCC , DDD from b.67 note 3 to note 2 in pencil 114 cl. CCC : notes 1-12: ; DDD : notes 3-12: 67 cl. CCC , DDD : notes 1-3: 67 cor. CCC , DDD : 114 cor. added as in CCC , DDD 68-69 fl. CCC : b.68 note 2 to b.69 note 1: slur 114 fg. DDD : stacc. added by analogy with b.43 68-70 fl. DDD : b.68% note 3 to b.70 note 4: end of slur 120 fl. CCC , DDD : note 3: marc.; EEE : note 3: marc. changed from b.70 note 4 to b.69 note 1 crossed out and stacc. added in pencil, b.68 note 3 to b.70 note 4: 120 cl. note 2: ten. emended to marc. as in EEE beginning of slur changed from b.69 120 cl. CCC , DDD : notes 2-3: marc.; EEE : note 3: stacc. note 1 to note 2 in pencil 120 cor. CCC , DDD : note 7: dim 68 fl. ob. cl. fg. EEE : note 1: added in ink 121 rall. added as in CCC (cl., cor., fg.), DDD (cl., 69-70 fl. CCC : b.69 note 2 to b.70 note 4: slur cor., fg.), EEE 69 cl. EEE : note 2: dim! added in ink 121 fl. EEE : note 1: dim. 70 fl. EEE : rall instead of poco rall. 121 fl. CCC , DDD : notes 1-3: marc.; EEE : notes 1-3: stacc. 70 cor. EEE : poco 121 cl. CCC , DDD : poco rall:; DDD : notes 1-2: [?] erased 70 fg. EEE : dim 121 cor. DDD : dim 71 MENUET# added; AAA , BBB : Menuet da capo al e 121 fg. CCC : notes 2-3: stacc.; CCC , DDD : rall:; DDD : dim poi coda 4 122 last bar line: added as in BBB , DDD (ob., cl., 71 fl. EEE : note 2 instead of note 1 cor., fg.) 3 71 cl. CCC , DDD : note 2 instead of note 1 122 fg. DDD : note 1: (A) crossed out in pencil 71 fg. CCC , %%DDD : note 2 instead of note 1 72 first bar%% line: double bar line emended to Third Movement normal%% bar line Bar Part Comment 72-113 bb.72-113, identical to bb.1-42, added as in 1 EEE : Poco adagio changed to Adagio CCC (cl., cor., fg.), DDD (cl., cor., fg.) 2 cor. emended from note 3 to note 4 as in EEE 72 cl. DDD : note 4: stacc. added in pencil 2 fg. EEE : note 4: 73 cl. notes 3-4: slur added as in CCC , DDD , and by 3 fg. %%CCC : omitted analogy with b.2 4fl. EEE : note( 1: marc.%%% 73-74 fg. stacc. added by analogy with b.1; CCC : notes 6 EEE : poco accell. 1-6: stacc. 6fl. marc. added as in CCC , DDD (notes 1, 3, 5) and 78 fg. stacc. added by analogy with b.7 by analogy with b.5 notes 11, 13 80 cor. CCC , DDD : 7fl. notes 1, 3, 5: marc. added by analogy with 80 fg. note 5: stacc. added as in CCC and by b.5 notes 11, 13 analogy%% with b.9 8fl. CCC , DDD : notes 8-11: slur 81-82 cl. CCC , DDD : b.81 note 4 to b.82 note 3: slur 8 cor. added as in BBB , EEE 82-83 cl. CCC , DDD : b.82 note 4 to b.83 note 3: slur 9fl. CCC , DDD : notes 2-13: slur, notes 14-17: slur; DDD : 82 fg. CCC , DDD : note 5: no stacc. note%% 17: end of tie open before change of 83 fg. CCC , DDD : note 5: no stacc. system

Carl Nielsen Udgaven CN 00024 196

K CN 24 revisioner 187-200 196 25/07/03, 17:24 Bar Part Comment Bar Part Comment 9 cl. fg. EEE : added and crossed out in ink 34 cor.ingl. added as in CCC , DDD and by analogy with cl. 10 fl. BBB : !note 6: rall 34 cl. % added in consequence of CN’s change 11 fg. BBB : note 6: marc. added in pencil of% to b.+27 (BBB ) 12 fg. BBB : note 4: marc. added in pencil 34 cor. added% " by analogy with the other 14 cor.ingl. note 10: c('' emended to c,'' instruments; CCC , DDD : 17 cl. EEE : note 2: 37 fg. marc.% added as in CCC , DDD ; DDD : note 1: marc. 17 cor. fg. EEE : note 4: added in pencil %%% 18 cl. EEE : note 6: %% added in ink 38-40 fl. CCC , DDD : b.38 note 1 to b.40 note 3: slur 18 cor. EEE : added(% in ink 40-42 fl. CCC , DDD : b.40 note 4 to b.42 note 1: slur 19 fg. EEE : note 3: 42 cor.ingl. muta in ob. added as in CCC , DDD 20 EEE : ffpoco agitato 44 fg. CCC , DDD , EEE : notes 2-3: slur 20 cor.ingl. EEE : % 44-45 fg. CCC , DDD , EEE : b.44 note 4 to b.45 note 3: slur EE EE EE 20 cl. note# 22: c(' emended to c,' as in EEE ; EEE : note 45 fg. EEE : notes 2-3: slur 15: c('' 45-46 cor. EEE : b.45 note 4 to b.46 note 3: slur 20 cl. BBB : added in pencil 45 fg. EEE : notes 4, 5: marc. 21 cor.ingl. BBB : b.21 note 3: end of slur open before 47-48 fg. CCC , DDD , E: b.47 note 4 to b.48 note 1: slur pageff turn; CCC , DDD : beginning of poco a poco 48-49 fg. CCC , DDD : b.48 note 2 to b.49 note 1: slur tranquillo b.21 note 3 instead of b.22 49-50 cor. DDD : b.49 note 2 to b.50 note 1: 21 cl. CCC , DDD : note 13: dim. 50 cor. CCC , DDD : 22 cor.ingl. BBB : note 3: dim crossed out; CCC , DDD : b.22 51 fg. CCC , DDD : % note 6 instead of b.23 note 4 52-53 fg. CCC , DDD : b.52%% note 2 to b.53 note 1: slur 22-26 cor.ingl. DDD : original phrase erased and bb.22-24%%% 53 fg. CCC , DDD : note%% 2: ten. notated as in AAA , BBB , bb.25-26 as in CCC , see 53-54 fg. CCC , DDD : b.53 note 3 to b.54 note 1: slur bb.25-26 below 54-55 cor. CCC , DDD : b.54 note 3 to b.55 note 1: slur 23 cor.ingl. end of emended from b.22 last 54-55 fg. CCC : b.54 note 2 to b.55 note 1: slur; DDD : b.54 bar line as in BBB ; EEE : note 3: note 2 to b.55 note 2: slur 23 cl. CCC , DDD : note 4: g( 55-56 cor. CCC , DDD : b.55 note 2 to b.56 note 1: slur 24 cor.ingl. BBB : obo crossed out in pencil%% 55-56 fg. DDD : b.55 note 2 to b.56 note 1: slur 24 cl. EEE : note 5: g( 56-57 cor. CCC , DDD : b.56 note 2 to b.57 note 1: slur 25-26 cor.ingl. CCC : 56 fg. CCC , DDD : notes 2-5: ten. no slur 57-58 cor. CCC , DDD : b.57 note 2 to b.58: slur 58 fg. EEE : notes 2-4: slur added in read crayon 25 cl. added as in BBB , CCC , DDD +59 EEE : Poco vivo 25 cor. emended from note 2 as in BBB 60 fl. notes 9-10, 11-12: slurs added as in CCC , EEE 25-26 cor. %%CCC , DDD : b.25 note 2 to b.26 note 1: phrase 61-62 cor. DDD : b.61 note 2 to b.62 note 1: slur %%omitted, see bb.22-26 and bb.25-26 above 62 fl. note 13: stacc. added as in CCC 26 cor. EEE : 62 fl. CCC , DDD : end of note 8; CCC : note 13: +27 Tema con variazioni. emended to TEMA MED stacc. VARIATIONER%%%%% ‘THEME AND VARIATIONS’ as 62 cl. CCC , DDD : notes 9-12: instead of in EEE ; EEE : med variationer crossed out in notes 1-10 pencil, poco andantino added in ink (CN) 62 fg. end of slur emended from b.63 note 1 as +27 fl. CCC , DDD : portamento in BBB , CCC , EEE ; BBB : note 1: end of slur open +27-28 fl. CCC , DDD : b.+27 to b.28 note 3: slur before page turn, notes 1-6: slur added in +27 cor.ingl. BBB : in left" margin: Obo: crossed out in pencil; CCC , DDD : notes 1-6: sextuplets pencil, before b.+27: Engl.Horn added in 63 fl. CCC , DDD : pencil (CN) 63 cl. note 1: omitted and added as in EEE +27-28 cor.ingl. BBB : b.+27 to b.28: slur erased and added 63 cor. added" as in EEE ; CCC , DDD : again in pencil 63 fg. notes 1-2:% slur added as in BBB , CCC , DDD ; BBB : +27-31 cor.ingl. BBB : b.+27 to b.31 note 2: phrase in ob. notes% erased and added%% in the staff below erased and added in cor.ingl. in ink (CN?) the system (CN); EEE : note 1: marc. +27 cl. BBB : changed to in pencil (CN); CCC , DDD : 66 ob. CCC , DDD : portamento 67 ob. CCC : note 1: +27-30 cl. CCC , %DDD : b.+27 to b.30" note 1: slur % 67 fl. ob. cl. cor. fg. BBB : second! crotchet: added in pencil 28-30 fl. CCC , DDD : b.28 note 4 to b.30 note 1: slur (CN); EEE : ff added in ink 28 cor.ingl. CCC , DDD : 67 cl. CCC , DDD : note 17: % 28 fg. DDD : note+ 3: stacc. 67 cor. CCC , DDD : notes 2-7: 29-30 fl. CCC , DDD : b.29 note 1 to b.30 note 1: slur 68 fl. CCC , DDD : note 17: %% 29-31 cor.ingl. BBB : part of slur erased and added again in 68 fl. ob. cl. fg. note 17: stacc. added by analogy%% with b.67 pencil 68 fl. ob. cl. BBB : note 17: added%% in pencil (CN) 30 fl. EEE : note 1: a'' instead of c)''' 68 ob. CCC : note 1: 30-32 fl. CCC , DDD : b.30 note 2 to b.32 note 3: slur 68 cl. CCC , DDD : note 17:% 30-34 cor.ingl. cl. CCC , DDD : b.30 note 2 to b.34 note 1: slur 68 cor. added byff analogy with b.67 and fl., ob., 31-42 cor.ingl. BBB : b.31 note 3 to b.42 note 1: phrase for cl.; CCC , DDD : note%% 6 instead of note 4 ob. crossed out in ink and added in 68 fg. % added as in CCC , DDD and by analogy with cor.ingl. in ink (CN?) b.67 %% 32-34 fl. CCC , DDD : b.32 note 4 to b.34 note 1: slur 69 fl. ob. cl. cor. fg. E%EE : added in ink (CN) "

Carl Nielsen Udgaven CN 00024 197

K CN 24 revisioner 187-200 197 25/07/03, 17:24 Bar Part Comment Bar Part Comment 69 cor. notes 1-2: stacc. omitted and slur added 112 fg. DDD : note 1 instead of note 3; EEE : notes 1, 3: as in CCC , DDD and by analogy with notes 5-6, marc.,ff note 3: 9-10 114-115 cl. CCC , DDD : b.114 noteff 8z to b.115 note 3: 70 fl. BBB : note 15: added in pencil (CN?); DDD : b)'' 74 fl. CCC : note 7: ; DDD : rests 1-2: instead of 116 fg. DDD : notes 3-4: B '- C , 5 1 1 1 1 ) ) 74 ob. BBB , EEE : note 02: stacc. 117 cl. CCC : note 15: %%c' 74 fg. CCC : note 1: marc. 118 cl. EEE : note 2: f 6 +75 ob. EEE : added in ink (CN) 118 fg. DDD : last rest omitted 5 75 fg. CCC , DDD , EEE : 119 fg. note 4: marc. added as in CCC , DDD , EEE ; CCC , DDD : 79 fg. DDD : note 3: g) changed to f ) in pencil note 1: 82 ob. DDD : note 2:" 121 cl. CCC , DDD : notes$ 1-6: 82 cl. EEE : note 5% instead of b.83 note 1 3 33 82 cor. CCC , %DDD : note 2: ; DDD , EEE : note 2 instead of 121 cl. note 15: g' emended to f' as in BBB , CCC , EEE ; DDD : b.83 note 1 note 9: d)'' 82 fg. CCC , DDD , EEE : note%% 2 instead% of b.83 note 1 122 last bar line: added as in EEE 84 ob. CCC : notes 2-3: slur +123 EEE : andante con3 moto changed to andantino 84-86 ob. CCC : b.84 note% 4 to b.86 note 1: slur con moto in ink (CN) 86 fl. CCC , DDD : b.87 note 3: end of +123-123 fl. CCC , DDD : b.+123 to b.123 note 3: no slur 87-90 cl. CCC , DDD : b.87 note 1 to b.90 note 2: one slur +123 cl. EEE : stacc. 88 cor. CCC , DDD : note 1: +123-123 fg. CCC , DDD : b.+123 to b.123 note 2: slur 88-90 cor CCC , DDD : b.88 note 2 to b.90 note 3: 123 fl. CCC , DDD , EEE : notes 1-2: ten. and stacc.; EEE : notes 89 fl. EEE : note 1: %, marc. 1-2: slur 89 cl. CCC , DDD : rall b.89 instead of b.90 123 cl. EEE : notes 1-2: ten. and stacc., slur 90 fl. ob. cl. cor. fg. EEE : poco rall!z 123 fg. DDD : note 2: stacc. 90 fl. EEE : note 5: 124 fl. CCC , DDD , EEE : note 4: stacc. 90 ob. cl. EEE : note 2: % 124 cl. CCC : notes 1-2: ten. +91 EEE : Poco vivo% changed to piu vivo in ink (CN) 124 fg. note 5: ten. added by analogy with fl., cl. 92 cl. note 11: a,'' emended to a('' as in EEE 124-125 fg. CCC , DDD : b.124 note 5 to b.125 note 2: ten. and 94 fg. stacc. added by analogy with the other stacc. parts 125 fl. CCC , DDD , EEE : notes 1-2: ten. and stacc., notes 1-2: 95 cl. CCC , DDD : note 1: stacc. slur; EEE : note 3: stacc. 96-97 fl. EEE : b.96 note 5: end of slur open before 125 ob. BBB : note 1: added in pencil (CN) page turn, b.96 note 5 to b.97 note 1: slur 125 cl. BBB : added in pencil (CN); EEE : notes 1-2: ten. 1 changed from open slur in ink and stacc.,%% notes 1-2: slur added in ink 97 ob. note 12: a' emended to a(' as in EEE ; 125 cl. cor. EEE : notes 1-2: ten. and slur added in ink EEE : note 11: g)' 125 cor CCC , DDD : stacc., no slur 97 cor. BBB : note 7: added in pencil 127 fl. DDD : notes 1-2: ten. added in pencil 98 ob. note 1: b(' (emended to g,' as in EEE 128 fl. BBB : note 2: added in pencil, note 4: 99 cl. CCC , DDD : note 1: stacc. added in pencil( , 99 fg. note 5: stacc. added as in BBB 134 fl. ob. added as in CCC , DDD and by analogy with 100 fl. CCC , DDD : note 1: stacc. the dynamic level in cl., cor., fg. 101 fl. CCC , DDD : note 1: ten. 136-137 cor. % added as in EEE (b.137) and by 102 cl. CCC , DDD : notes 3-10: stacc. analogy with the other parts; EEE : b.137: 102 cor. CCC , DDD : notes 2-5: stacc. instead of marc. note 1: dim. 103 fl. CCC , DDD : note 1: no marc. 136-137 fg. beginning of emended from 103 ob. EEE : note 1: c)'' changed to e'' in pencil b.137 note 1 by analogy with fl. 105fl. ob. cl. EEE : note 1: instead of 137fl. ob. cl. cor. EEE : note 1: dim. 5 105 fg. CCC : note 2: 0 ; EEE : note 2: +marc. 137 cor. CCC , DDD : notes 1-3: dim. 106 fl. CCC , DDD : restff 2 instead of rest 3 137 fg. DDD : dim. 106 cl. CCC , DDD : note3 3: no marc.; EEE : note 2: +139 fg. added as in CCC , DDD , EEE ; EEE : added in 106 cor. CCC , DDD , EEE : note 2: ink (CN) 106 cor. fg. EEE : note 1: instead of ff +139-140 fg. E!EE : b.+139 note 1 to b.140 note! 5: slur 5 +107 EEE : tempo giusto0 addedff in +ink (CN) added in ink +107 cor. EEE : 140-142 fg. EEE : b.140 note 6 to b.142 note 5: slur added +107-107 cor. EEE : phrase in cl. notated on the staff for in ink cor.% crossed out in pencil 142 fg. CCC , DDD : note 6: 107 fg. CCC , DDD : note l: ; CCC , DDD , EEE : notes 1, 3, 5, 7, 9: 142-144 fg. EEE : b.142 note 6 to b.144 note 2: slur added marc. in ink # 108 cl. EEE : note 1: % 144 fg. added as in CCC , DDD , EEE ; EEE : note 3: added 108 fg. CCC , DDD , EEE : noteff# 3: ; EEE : note 1: marc., %in ink (CN) % 109 cl. note 3: e('' emended to d('' as in EEE 144-146 fg. EEE : b.144 note 3 to b.146 note 1: slur added 110 cl. EEE : note 9: ff in ink 110-111 cl. CCC , DDD : b.110 note 4 to b.111 note 2: 150 fg. added as in CCC , DDD , EEE %%% 150 fg. EEE : notes 2-7: added in ink CC EE BB EE 111 fg. CCC : ; EEE : notes%% 1, 3, 5, 7, 9: marc. 151 fg. BBB : note 6: B( changed to c in pencil; EEE : 112 cl. EEE : note! 1: notes 1-9: added in ink ff#

Carl Nielsen Udgaven CN 00024 198

K CN 24 revisioner 187-200 198 25/07/03, 17:24 Bar Part Comment Bar Part Comment 152 fg. BBB : note 6: b( changed to c' in pencil; EEE : 184-185 cor. b.184 note 6 to b.185 note 1: slur added as notes 1-9: added in ink in BBB , CCC , DDD , EEE 153 fg. added as in CCC , DDD , EEE ; EEE : note 1: added 184-186 cor. b.184 note 6 to b.186: slur omitted as in BBB , in ink (CN) CCC , DDD , EEE 153-154 fg. D#DD : b.153 note 3 to b.154 note 1: # ; 186fl. ob. cl. fg. emended to by analogy with b.138 EEE : added in ink 186 cor. EEE/.: dim.; emended /. - to by analogy with 154 fg. CCC , DDD : note 7: ; CCC , DDD , EEE : poco rall. b.138 7 8 * +155-158 ob. CCC , DDD : b.+158 to& b.158 note 2: slur +187 Allegretto added as in CCC (fl., cl., cor.), DDD (fl., 155 cl. BBB : note 4: added in pencil; CCC , DDD : ; EEE : cl., cor.), EEE ; EEE : allegretto added in ink note 4: b(, ,notes 1-4: slur +187 fl. EEE : added in ink 155-159 cl. CCC , DDD : b.155 note 1 to b.159 note 1: "slur +187-218 cor. EEE : 2 157 cl. BBB : note 5: added in pencil; EEE : note 5: b +187 cor. fg. EEE : 4" changed to time in ink ( 2 6 158 fl. CCC , DDD : , +187 fg. CCC , 4DDD : poco Allegretto8 158 ob. CCC , DDD : b.158 note 3 instead of b.159 187-192 fg. CCC , DDD : one slur 158-162 ob. CCC , DDD : b.158%% note 3 to b.162 note 2: slur 192-194 ob. CCC , DDD : b.192 to b.194: slur 159 cl. BBB : note%% 5: added in pencil; CCC , DDD , EEE : note 192-202 ob. b.192 note 1 to b.202 note 2: slur emended 1: ; EEE : note, 5: b( from open slur; AAA , BBB : b.192 note 1 to 159-166 cl. CCC , DDD : b.159 note 2 to b.166 note 5: slur b.199: end of slur open before page turn 162 fl. CCC , %%DDD : notes 1-3: ; DDD : 192 cl. CCC , DDD : added in pencil 192-202 cl. CCC , DDD : b.192 note 1 to b.202 note 4: one slur 162 fl. ob. EEE : last note: %%% %%% 193-199 cor. BBB : b.193" note 3 to b.199: end of slur open 162 cl. CCC , DDD : notes 1-3: before change of system 163-165 fl. CCC , DDD : b.163 note 2 to b.165 note 4: ten. 195-198 ob. CCC , DDD : b.195 note 1 to b.198 note 1: slur 163 ob. cl. cor. fg. EEE : note 1: ! 197-202 fg. CCC , DDD : one slur 164-165 cl. EEE : tie added in ink 198-199 fl. CCC , DDD : b.198 note 4 to b.199 note 1: slur 165-166 fl. beginning! of emended from 198fl. ob. cl. cor. fg. EEE : added in ink b.166 note 1 by analogy with ob. 199 fl. CCC , DDD : note 1: poco ; CCC : note 1: e''' 165-166 cl. beginning of emended from 199-200 fl. CCC , DDD : b.199 note 2 to b.200 note 1: slur b.166 note 2 as in CCC , DDD and by analogy 199-202 ob. CCC , DDD : b.199 note 1# to b.202 note 2: slur with ob. 199 cor. EEE : notes 1, 2: 166fl. ob. cl. cor. fg. EEE : added in ink 200-201 fl. CCC , DDD : b.200 note& 2 to b.201 note 1: slur 167 cl. BBB : note 4: added in pencil; EEE : note 4: b( 200-202 cor. BBB : b.200 note 1 to b.202 note 2: slur 168 cl. dim. emended, from note 2 as in BBB , EEE 200 fg. superfluous 2 in duplet omitted 168 cor. fg. dim. emended from b.169 as in BBB , EEE 201 fl. BBB : note 2: a' changed to c)'' in pencil 168 fg. DDD : dim. b.168 instead of b.169 201-202 fl. CCC , DDD : b.201 note 2 to b.202 note 4: slur 169-170 ob. DDD : b.169 note 5 to b.170 note 2: , 201-202 fl. ob. cl. cor. fg. EEE : added in ink note 3: 201 cl. DDD : note 2: d' corrected to e' in pencil 169 cl. CCC , DDD : notes 1-5: 201-202 fg. added as in EEE 170 ob. CCC , EEE : notes%% 1-3: 202 fl. cl. EEE : note 4: changed to in ink 1 1 170 cl. cor. fg. EEE : note 1: 202 cor. fg. EEE : note 2: & changed to + in ink 1 1 +171 cor. EEE : Var. X instead of Var. IX, %%Allegro moderato 203 cl. emended& to as +in CCC , DDD and by crossed out and Andantanin%% quasi allegretto analogy with b.205 (CCC , DDD , EEE ); EEE : , added in pencil crossed! out in pencil!z +171 cor. EEE : 203 fg. added as in DDD , EEE " ! 171 cor. CCC , DDD : note 6: b ' instead of g' 203 fg. BBB : time added in pencil (?); CCC , DDD , EEE : no , 6 172 cor. EEE : note! 6: !change8z of time signature 173 cor. CCC , DDD : note 1 , notes 1-3: 204 fl. EEE : added in ink (CN) 173-174 cor. CCC , DDD : b.174% note 4 to b.175 note 1: 204 fg. EEE : note 2: added in ink (CN) %% 205 cl. fg. % added as in CCC , DDD , EEE 174 cor. added as in EEE and by analogy 206 fg. EEE : note 2: % added in ink (CN) with b.173 %%%notes 1, 3; EEE : note 2: 208 fl. !EEE : notez 4: 176 cor. EEE : note 6: 208 cl. EEE : &% 176-177 cor. CCC , DDD : b.176 note 6 to b.177 note 1:# 208-210 cl. DDD : b.208 note 1 to b.210: end of slur open 177 cor. CCC , DDD : b.177% notes 2-3: , note 4: before# change of system 208-215 cl. CCC : b.208 note 1 to b.215: one slur 178 cor. added as in CCC , DDD , EEE ; EEE : note 1: 210 fl. EEE : added in ink (CN) %%%, note 2: 210 cl. EEE : notes 1-6: added in ink 178 cor. CCC , DDD : note 1: 210 cor. DDD : %rest 2: (a') instead of 178-180 cor. C%%%CC , DDD : b.178 note# 1 to b.180 note 7: one slur 211-218 cl. DDD : b.211 note+ 2 to b.218:% one- slur 181-182 cor. EEE : b.181 notes 2-4, 5-7 and b.181 note 8 to 211-218 cor. CCC , DDD : b.211 note 1 to b.218 note 2: one b.182 note 1: slurs slur 182 cor. CCC : note 2: ; CCC , DDD : note 1: ; DDD : 211 cor. fg. EEE : added in ink note 2: ; EEE : note 1: , note 2: 211-218 fg. CCC , DDD : b.211 note 1 to b.218 note 1: one slur tranqu insteadff# of allarg. 212-213 cl. BBB : %b.212 note 4 to b.213: end of slur open 184 cor. EEE : note #2: beginning of ", before change of system note 6: 213 fl. BBB : note 6: e'' changed to g)'' in pencil %

Carl Nielsen Udgaven CN 00024 199

K CN 24 revisioner 187-200 199 25/07/03, 17:24 Bar Part Comment Bar Part Comment 213-214 fg. b.213 to b.214 note 1: tie added; BBB : end of 247 ob. BBB : Eng Horn crossed out in pencil tie open before change of system 247 cor. CCC , DDD : last bar line: 214 fl. CCC , DDD : note 4: 247 cor. fg. EEE : note 1: dim 3 214-218 cl. BBB : b.214 note 1 to b.218 note 4: slur +248-251 fl. CCC , DDD : b.+248 to b.251 note 1: slur 215 cl. EEE : added ffin ink +248-265 ob. BBB : phrase crossed%% out and added in cor. 215 cl. DDD : ingl. in ink (CN), on staff below system: 215 cl. CCC : ffb.215 to b.218 note 4: slur obo, A major key signature and phrase in 215 cor. EEE : # added in ink ob. added in pencil (CN?) 216-217 cor. fg. dim emended from b.217 note 1 to b.216 +248 cl. BBB : changed to in pencil (CN); EEE : as #in EEE and by analogy with fl., ob., cl. +248-255 fg. DDD : end of slur b.254 note 4 instead of 216-217 fl. ob. cl. cor. fg. EEE : b.216: dim., b.217: dim crossed out b.255%% note 1 % %% 217fl. ob. cl. cor. fg. EEE : poco rall 248-255 fl. ob. cl. fg. EEE : b.248 note 1 to b.255 note 1: 217 cl. CCC , DDD : dim. 249-250 fl. fg. CCC , DDD : instead of poco a poco cresc. 217 fg. CCC , DDD : poco rall. 250 fg. EEE : notes 3, 4: 218 fl. EEE : rall 251-255 fl. CCC , DDD : b.251 note& 2 to b.255 note 1: slur 218 cl. CCC , DDD : note 4: 253 cor. fg. EEE : notes 1-4: 218 cor. CCC , DDD : poco rall., note 2: 254 fg. EEE : notes 1, 2: & & & * + +219 EEE : Var. X changed%% to Var. XI in pencil 255-265 fl. ob. cl. cor. fg. EEE : b.255: o.s.v, &‘etc.’, bb.255-265: bars empty +219 cl. DDD , EEE : %% 255 cl. CCC , DDD : 219 ob. EEE : note 1: 258 fg. marc. added as in CCC , DDD ; DDD : note 1: marc. 219 ob. fg. added# at as in BBB , EEE ; BBB : ‘+ ’at tr added in added% in pencil pencil,( ‘+ ’# below final staff added in pencil 259-265 ob. cl. BBB : end of slur b.265 instead of b.264 note 4 219 cor. DDD , EEE : note( 21: 259-262 cor. DDD : b.259 note 2 to b.262: end of slur open 219 fg. DDD : ; CCC : added in pencil (?) before change of system 220 fl. EEE : notes 1-3: slur,! notes 1-3: stacc. added in 260-262 cor. CCC , DDD : ink# # 263 fg. CCC , DDD : notes 1-2: marc. 220 cl. EEE : note 4: added in ink 264 fg. CCC , DDD : notes 1-3: marc. 221 fl. CCC : notes 1,, 5: marc. instead of ten; DDD : 265 cor. DDD : (ma non troppo) note 1: marc. instead of ten. 224 fl. CCC , DDD : notes 1-3: marc. ff 225 cor. CCC , DDD : note 1: poco THREE PIECES FOR LANGELEIK 226 ob. CCC , DDD : notes 4-5: 228 ob. EEE : added in ink+ +(CN)# 1. - Bar Comment 228 fg. CCC , DDD : third crotchet: 3 AAA : * Spilles med Holder. Springerslag. ‘To be played with 232 cl. CCC , DDD : note 7: a)'' movable bridge. Springer stroke.’ 233 fl. CCC , DDD : notes 1-4: marc. and stacc. 233-234 fl. EEE : b.233 note 1 to b.234 note 5: slur added 2. in ink Bar Comment 234 cor. CCC , DDD : notes 1-5: slur; EEE : notes 1-5: slur AAA : ** Spilles uden Holder. Moll-Stemning. ‘To be played without added in ink movable bridge. Minor tuning’ 235 più mosso added as in CCC , DDD , EEE 238-241 cl. EEE : b.238 note 1 to b.241: slur added in ink 3. 238-240 cor. CCC , DDD : b.238 note 2 to b.240 note 2: slur Bar Comment 238-244 cor. EEE : b.238 note 1 to b.244: slur added in ink AAA : * Spilles med Holder. ‘To be played with movable bridge’ 239 cl. EEE : note 2: b,' changed to b(' in ink 10 end of emended from fifth to third by analogy 240-241 fg. CCC , DDD : notes 1-2: ten. with b.6 0 242-243 cl. EEE : b.242 note 1 to b.243 note 1: slur added 19 first : slur added by analogy with b. 3 in ink 0 242-243 cl. fg. CCC , DDD : 243 fl. CCC , DDD : notes 1-8: instead of cresc. ALLEGRETTO FOR TWO RECORDERS 243 fl. ob. cl. cor. fg. EEE : cresc. added in ink (CN) 243-244 fl. ob. CCC , DDD , EEE : b.243 note 8 to b.244 note 1, b.244 Bar Part Comment notes 2-3: slurs AAA : Allegretto for to Blokfløjter i Kvintafstand. 243 fg. CCC : note 2: ten.; DDD : note 2: marc. ‘Allegretto for Two Recorders a fifth 244 fl. EEE : note 1: added in ink (CN) apart’; BBB : To Blokfløjter ‘Two recorders’; CCC : 244 fl. ob. cl. CCC , DDD , EEE : note 1: instead of , note 3: Blokfløjter ‘Recorders’ 5 1 instead of ff + + * + 1( =100) added as in BBB 244 cl. EEE : notes 2-3:& slur 1-2 1 b.1& note 1 to b.2 note 1: slur added as in BBB 244 cor. fg. CCC , DDD , EEE : instead of 14 1 note 3: stacc. added as in BBB 245 cl. CCC , DDD : tranquillo; EEE : notes 1-3:8 slur added in ink 14 2 note 2: marc. added as in BBB 246 fl. EEE : note 1: rall: added in ink (CN) 14 2 CCC : notes 1-2: slur crossed out in ink 246-247 cor. fg. CCC , DDD : b.246 note 1 to b.247 note 1: 15 2 note 2: marc. added as in BBB 15 2 CCC : notes 1-2: slur crossed out in ink 246 fg. BBB : rall note 1 instead of third crotchet% 247 fl. BBB : rest 3: %% added in pencil 3

Carl Nielsen Udgaven CN 00024 200

K CN 24 revisioner 187-200 200 25/07/03, 17:25