Quintet from the Nonet, Op. 38 Louise Farrenc’s Nonet, Op. 38, for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and string bass, was composed in 1849; she subsequently arranged the Nonet as the Quintet, Op. 38, for violin 1, violin 2, viola, cello, and string bass. This lengthy, four-movement work is composed in a conservative romantic style with prominent melodies and clear-cut forms, reminiscent of the chamber music of Franz Schubert (1797-1828). Neither the Nonet nor the Quintet was published dur- ing Farrenc’s lifetime; this is the first edition of the Quintet. The manuscripts for both works are housed in the Bibliothèque Nationale in Paris, France. About the Composer Paris-born Louise Farrenc, née Jeanne-Louise Dumont (1804-1875) showed an obvious musical gift at an early age, and received excellent training in both piano and composition. She married Aristide Farrenc, a flautist and music publisher, in 1821 and enjoyed a long and distinguished career as a pianist, composer, and pedagogue. She composed over fifty works, including: Solo Piano Variations brillantes, Op. 2 Grandes variations, Op. 4 Air russe varié, Op. 17 Trente études, Op. 26 Douze études brillantes, Op. 41 Mélodie, Op. 43 Scherzo, Op. 47 Nocturne, Op. 49 Chamber Variations concertantes sur un air suisse, Op. 20. Violin, piano. Piano Quintet #1, Op. 30. Piano, violin, viola, cello, bass. Piano Quintet #2, Op. 31. Piano, violin, viola, cello, bass. Piano Trio #1, Op. 33. Piano, violin, cello. Piano Trio #2, Op. 34. Piano, violin, cello. Sonata #1, Op. 37. Violin, piano. Nonet, Op. 38. Flute, oboe, clarinet, bassoon, horn, violin, viola, cello, bass. Quintet, Op. 38; arr. of Nonet. Violin 1, violin 2, viola, cello, bass. Sonata #2, Op. 39. Violin, piano. Sextet, Op. 40. Flute, oboe, clarinet, bassoon, horn, piano. Piano Trio #3, Op. 44. Piano, clarinet or violin, cello. Piano Trio #4, Op. 45. Piano, flute or violin, cello. Sonata, Op. 46. Cello, piano. Orchestra Ouverture #1, Op. 23 Ouverture #2, Op. 24 Symphony #1, Op. 32 Symphony #2, Op. 35 Symphony #3, Op. 36 ii About this Edition The primary source for this edition is the Quintet manuscript; but perhaps because the Nonet was composed first, that manuscript has more complete and consistent tempo, dynamic, and articulation markings, which are incorporated into this edition and are described in the critical notes. Farrenc’s slurs, which indicate phrasings rather than bowings, are retained. All up-bow and down-bow markings are editorial; they serve the dual function of coordinating bowing and correcting phras- ing inconsistencies. All other editorial additions are bracketed except cautionary accidentals. Farrenc’s cautionary accidentals are not in parentheses in the Ms. All cautionary accidentals in this edition are in parentheses: those that are editorial are indicated by footnotes in the score and parts and also are listed individually below. Ms. = Quintet manuscript; N. = Nonet manuscript. Critical Notes Movement 1 Measure Instrument Problem Solution 1 all metronome marking only in N. follow N. 4&5 vn. 2 Ms.: slur through first note of m. 5; N.: follow N. slur 2 notes in m. 4 10&11 vn. 2 cresc. and dim. present only in N. follow N. 18&19 vn. 1 Ms.: slur last 3 notes of m. 18; N.: slur follow N. through first note of m. 19 24 all metronome marking only in N. follow N. 24 all repeat sign not present in Ms. or N. add repeat sign 32 cb. p only in N. follow N. 38 va., vc., cb. decresc. symbol only in N. follow N. 40&41 vn. 2, va., vc., cb. cresc. symbol only in N. follow N. 50 cb. sf only in N. follow N. 58-60 vn. 2 slur only in N. follow N. 60 vn. 1 p only in N. follow N. 62 vn. 2 p only in N. follow N. 80 vn. I f only in N. follow N. 90 vn. 2 p only in N. follow N. 101 vc. beat 2: natural-sign on A not present A-natural 103 va., vc. p only in N. follow N. 105 vn. 2 cresc. in ms.; mf in N. follow N. 107 va. slur and decresc. only in N. follow N. 107 cb. decresc. only in N. follow N. 109 vn. 1, vn. 2 p only in N. follow N. 110 vn. 2, vc. pp only in N. follow N. 114 vn. 1 beat 2: sharp-sign not present D-sharp 123 vn. 2 mf only in N. follow N. 124 va. mf only in N. follow N. 125, 126, 129 vn. I staccato only in N. follow N. iii Movement 1, contd. 132 va. beat 3: cautionary accidental not pres- add ent in Ms. 135 vn. 2 beat 2: cautionary accidental not pres- add ent in Ms. 140 vn. 2 staccato only in N. follow N. 141 vn. 2 slur only in N. follow N. 145-147 vn. 2 cresc. and slur only in N. follow N. 160 vn. 1, vn. 2 f only in N. follow N. 165-168 vn. 1 Ms.: 1 slur throughout; N.: 165-166 follow N. slurred 167-168 slurred 168b vn. 1, vn. 2 sf only in N. follow N. 173 vn. 2, va. natural-sign on A not present in vn. A-natural 2, va.; present in vn. 1. N.: vn., oboe, a-natural 187 vc. beat 1: cautionary accidental not pres- add ent in Ms. 213 vn. 2 cresc. only in N. follow N. 228 vc. cautionary accidental not present in Ms. add 231 vn. 2, cb. p only in N. follow N. 247 vn. 2 notatedd pitches: gb, a, cb, eb, gb; mar- f#, a, b, d#, f# gin- note “en # “; vn. 2 fingering much more logical when pitch is notated in sharps 247 va. cresc. only in N. follow N. 249 vn. 2, va. cautionary accidentals not present in add Ms. 250 vn. 2 decresc. only in N. follow N. 269 va., vc. p only in N. follow N. 287-288 vn. 1 decresc. only in N. follow N. 300 vn. 1 p only in N. follow N. 302-303 cb. p and slur only in N. follow N. 310 vn. 1, va., vc. p only in N. follow N. 324-327 vn. 2 cresc. only in N. follow N. 339 vc. beat 1: flat-sign not present on D D-flat 367 vn. 2 f only in N. follow N. 394 vn. 1 staccato only in N. follow N. 399 vn. 2, va., vc. mf only in N. follow N. Movement 2 1 all metronome marking only in N. follow N. 4 vn. 1 notes 1-3: slur present only in N. follow N. 27 vn. 1 p only in N. follow N. 34 va. f only in N. follow N. iv Movement 2, contd. 45 vc. mf only in N. follow N. 52 vc. decresc. only in N. follow N. 56 va., vc. p only in N. follow N. 63 cb. p only in N. follow N. 65 all metronome marking only in N. follow N. 67 vn. 1 notes 3-5: staccato only in N.notes 6-7: follow N. slur only in N 80a vn. 1 p only in N. follow N. 87 all metronome marking only in N. follow N. 89 va. p only in N. follow N. 92 vc. notes 2-3: slur only in N follow N. 100 cb. mf only in N. follow N. 106 vn. 2, va. cresc. only in N. follow N. 107 vn. 2, va. p only in N. follow N. Movement 3 1 all metronome marking only in N. follow N. 41 vn.2 natural-sign not present on B B-natural 44 vc. natural-sign not present on B B-natural 65&67 vn. 1 staccato only in N. follow N. 66&68 va. staccato only in N. follow N. 68 vn. 2 staccato only in N. follow N. 111 all metronome marking only in N. follow N. 111-113 vn. 2 Ms.: slur 709-110; N.: slur 109-111 follow N.: slur as per vn. I 123 Vc. Ms.: e; N.: c follow ms. 151 vn. cresc. only in N. follow N. 185 vn. 2 redundant p omit 186 vn. 2 slur only in N. follow N. 214-216 vc. slur only in N. follow N. 217-218 vn. 2 slur only in N. follow N. 262 vn. 1 staccato only in N. follow N. 263&265 va. staccato only in N. follow N. v Movement 3, contd. 263 vn. 1 staccato only in N. follow N. 265 vn. 2 staccato only in N. follow N. 275 vc. cautionary accidental only in N. follow N. Movement 4 1&6 all metronome marking only in N. follow N. 40 vc. staccato only in N. follow N. 69 all p only in N. follow N. 114 vn. 2 flat-sign not present on D Db 126 vn. 2 redundant p remove 127 vc., cb cresc. only in N. follow N. 140 va cautionary accidental not present in Ms. Add 167 vn. 1 p only in N. follow N. 243&244 vn. 1 natural-sign on A present on beat 1, not A-natural beat 4 256 vn. 1 beats 1-2: slur only present in N. throughout follow N. Dr. Susan Pickett Catharine Chism Professor of Music Whitman College Walla Walla, WA April 2001 vi.