-
PAGE 1 PAGE
2PAGE 3PAGE 4PAGE
5PAGE 6PAGE 7PAGE 8
PAGE 9 PAGE 10
-
Line 1
- mm. 17-18, S: breath marks after each of these measures
MS II: mp instead of mf
-
Line 2
- m. 4, S: tenuto on high D flat
- m. 5, MS II: no accent marks
-
Line 3
- m. 1, S: tenuto on high G flat
MS II: no forte marking
- m. 2, S: tenutos on high E flat and on D (beat 2)
- m. 3, S: tenuto on first low B flat
MS II: no molto indicated
- m. 5, MS II: no breath mark at beginning of measure
-
Line 4
- m. 1, MS II: breath mark at end of measure
- m. 3, S: staccato on first note, breath mark before second note, accent on
second note
- m. 4, S: accents on all three A flats
- mm. 3-4, MS III: slur from first low F to last low G; slurs as in published
version are pencilled in
-
Line 5
- mm. 1-4, S: horizontal brackets over first eight notes, and subsequent
groups of eight, indicating phrase groupings
- m.4, MS I III: slur from beginning of this measure to end of next measure
MS II: no slurs indicated
MS III: slurs as in published version are pencilled in
-
Line 6
- m. 3, MS I II: no slur
- mm. 4-5, MS I: slur from low E to end of line
MS II III: slur as in published version
-
Line 7
- mm. 1-4, MS I: no slurs
- m. 5, MS I II: no sharp over trill symbol
MS III: sharp sign pencilled in
-
Line 8
- m. 2, S: first A sharp to be fingered xoo/oxo
MS III: ff pencilled in; no dynamic indication in other two MS
- m. 6, S: use long fingering for high F sharp for maximum volume and
stridency
-
Line 9
- m. 1, MS I II: slur breaks at end of measure; the first note in measure 2 is
tongued
MS III: slur as in published version
- m. 2, MS II: fz is replaced by >
MS III: fz as in published version
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5 PAGE 6 PAGE 7 PAGE 8 PAGE 9 PAGE 10
-
Line 1
- Above this line in MS I, written in pencil, is this quote: "vildtforvirret i det
noje leje og lilletrommen driver det frem; derefter [ ]" - translated: "wildly
confused in the intimate exchange and the snare drum drives it forward; and then
[Nielsen here wrote in the rhythmic motive which is in the accompaniment at
rehearsal number 4]"
- m. 1, S: "ugly!", first four notes to be played fast, next two (C
sharp and G) are marked "brake" and are tenuto. fff is marked sempre
MS II: ff instead of fff
MS III: fff
- m. 2, S: tenutos on the 2nd, 3rd, 8th, 12th, and 16th notes; breath mark
after the last note (F natural); "ugly!"
- m. 3, S: accents added to fz on high G and high E; slur is broken at end of
line
MS I II: accents on high G, high E and high D
-
Line 2
- m. 1, S: first note is articulated
MS II: accents on B (the 5th thirty-second note) and F (the 11th thirty-second
note)
- m. 2, S: staccato on last note (B)
MS I II: accent on high F
- m. 3, S: staccato on second note (F sharp), last four notes are slurred
separately
MS I II: accent on first note (D sharp)
MS II: last four notes are slurred separately
-
Line 3
- m. 1, S: first note is articulated
- mm. 1-5, MS I: no fz markings
MS II: accents in place of fz markings
- m. 4, S: fff marking inserted, indicating that the level has remained sempre
fff since top of page, thereafter dim. to m. 6
MS II: no dim.
- m. 6, S: forte indication at beginning of measure
- mm. 7-8, S: breath marks before each of the B flats, accents on each of the
B flats, staccato on the last F
MS II: above m. 7-molto dim.
- Lines 4 and 5 are labeled by Scharff: "manic depressive"
-
Line 4, S: like an object seen from three sides (referring
to the three phrases, which are variations of each other) also- "improvisational".
The first phrase peaks at the first note in m. 4, the second phrase at the first note in
m. 6, the third phrase at the first note in m. 8
- m. 3, S: the D flats are played with the side keys (trill fingering), to
avoid the change of tone quality when using the third register
- m. 8, S: the phrase which begins with C flat and continues through the F on
the next line is labeled "an afterthought" referring to its relationship to the
three preceding phrases
- mm. 3-next line, MS II: the long phrase line is pencilled in
- m. 8, MS II: breath mark after quarter note F
-
Line 5
- m. 1, S: breath mark after the F; accent on C flat; cresc. deleted; mf under
the C flat; cresc. indicated from mf to f in the next measure (the crescendo has been
moved to the phrase which begins on the C flat)
MS I: crescendo mark under the two sixteenth notes, the cresc. at the
beginning of the measure is not there
- m. 2, S: staccatos on the two top line F flats, accents on C flat (third
note) and C flat (seventh note)
- m. 3, MS II: calando is not indicated
MS III: calando is pencilled in
- m. 5, S: emphasize the first note "like a downbeat"; accent on first
note; to be played "lyrically and lovingly"
MS I: ppp is indicated
-
Line 6
- m. 1, S: "calm before the storm"
- m. 4, S: "satanically"
- m. 5, S: accents on G sharp and C; staccato on A
MS I II: accent on G sharp
- m. 6, S: staccatos on G and D flat; accent on B
MS II: slur from C of previous measure to D flat at end of measure 6
MS III: slur as in published version
- m. 7, S: "violinistically" - meaning break after the low notes as a
violin would when crossing the strings in such a wide leap; "a struggle; should
sound hopeless"
-
Line 7
- m. 1, S: break after E; ff indicated under the thirty-second notes;
"fast" written above the thirty-second notes
MS II: molto indicated before dim.
- m. 2, S: p changed to mp; above the thirty-second notes: "innocently"
MS I: under the C natural: quasi rall. p is pp
- m. 3, S: under E flat: p (as an echo of previous phrase)
- m. 4, S: under thirty-second notes: mp
- m. 5, S: under E flat: p
-
Line 8
- m. 1, S: accent on last note
MS I: the long slur is not there
- m. 3, S: non cresc.
MS I: slur from fifth note (G) to end of measure 4
- m. 5, S: C flat is fingered as in the B flat to B trill, then move the thumb
to play to the B flat
MS I: no accent
MS II: accent is pencilled in
-
Line 9
- m. 2, MS I: no accent
MS II: accent is pencilled in
- m. 4, S: "satanically"
-
Line 10
- m. 1, S: "struggle"; tenuto over the high F
- m. 2, S: under tied C flat: "vök!" meaning "away!" or
"off!"; breath mark after first note; tenuto on second note
- m. 3, S: from here to the end of the page, Scharff likens the intent to a
"seascape" of complete calm, with an occasional fish jumping and causing a mild
disturbance. The thirty-second notes and grace notes are the fish; while the long notes
are the calm sea.
- m. 5, S: breath mark after D
MS I: no accent
MS II III: accent pencilled in
- m. 6, S: accent on F (it's a fish, in the seascape analogy)
-
Line 11
- m. 1, S: accent on grace note and on first thirty-second note
MS II: accent on grace note
MS I II: the long slur is not there
- m. 2, MS I: no accent
MS II III: accent pencilled in
- m. 3, S: accent on B
- m. 4, S: accent on G sharp
- m. 5, S: breath mark after B
- m. 7, S: breath mark at end of measure
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5 PAGE 6 PAGE 7 PAGE 8 PAGE 9 PAGE 10
-
Line 1
- m. 1, S: accent on first grace note and on the fifth note (A); "not too
weak yet;" "rhythmic!"
MS I II: accent on first grace note; the long slur is not present, instead,
the slur breaks between the F sharp and the A, and again between the first two notes
in m. 2
- m. 2, S: accent on first A
MS II: slur from first A to breath mark in m. 3
- m. 3, S: "completely flat" meaning no rising and falling phrases
until the fermata; accent on B flat
MS II: slur from B flat to first note of m. 4
- m. 4, S: accent on C
MS II: slur from C to fermata in next line
- m. 5, S: over last four notes: legato
MS II: morendo is not present, rail. is in its place
-
Line 2
-
S: phrase group bracketed from low E to low F sharp (8 notes), breath mark
after that F sharp, phrase group from low A to bottom line E natural (8 notes); over
C sharp minor scale: "Rip"; over thirty-second rest: "short"; over B
minor scale: "Rip"
MS I: accent on the C sharp at beginning of the C sharp minor scale
-
Line 3
-
S: "there is no interest in 'pretty'"; over first rest: "short";
f changed to ff; accent on first note (this is the climax of the phrase); over second
rest: "long"; over second group of notes: "afterthought-tension" (the
first group of notes is played rapidly, the second more slowly; the phrases in the
last half of the line are bracketed in groups of six notes each, with pauses marked
after the low D sharp, after the third space C sharp, and after the first space F
sharp (third note from end of line); accel. poco a poco from the beginning of the
phrase to the eighth note in line 4, with the pauses becoming subsequently shorter;
at beginning of this phrase "hanging in the air"
MS I: no dynamic indications in this line
MS I II: second half of line - slurred in groups of three, into the notes
marked staccato; in MS II, however, Oxenvad pencilled in the articulations as they
appear in the published version; Oxenvad also wrote p under the second phrase and
"cresc" near the end of the line
MS III: articulations as in published version; p under second phrase pencilled
in
-
Line 4
-
S: the arpeggio should start slowly and accelerate to the top note "like a
ping pong ball bouncing", and should be treated similarly on its descent; tenuto
indicated on the first two notes of the ascending arpeggio (C sharp and E) and again
on the first two notes of the descending arpeggio (G sharp and E); ten. on high C
sharp is circled for emphasis
MS I: three note slurs continue the 11th note of the measure, which is slurred
through the 14th note; not accents appear in this line; no breath mark after the B;
ten. on high C sharp does not appear; molto and ffz do not appear; slur breaks
between low G sharp and A at end of line
MS II: cresc. pencilled in at beginning of line; all accents appear as
printed; high C sharp is a sixteenth note; ten. pencilled in; fz on high C sharp
MS III: high C sharp is a sixteenth note; ten. pencilled in
-
Line 5
-
S: tenuto indicated on first two notes of ascending arpeggio (D and F), and on
first two notes of descending arpeggio (A and F); the F before the breath mark is
staccato;the breath mark between the F and F sharp is a very brief pause, the
following six notes are fast and "frantic", a "contrast" to the heavy
and deliberate eighth and sixteenth notes which precede; the next group of six
sixty-fourth notes begin "frantically" but ritard into the quasi rall.; the
sixty-fourth notes from quasi rall. to pp in the next line are marked "slow"
and "should sound hopelessly impossible to play" and "inelegant"
MS I: not accents, breath marks, or dynamic indications appear except the dim.
at end of line; the slur is broken before the eighth-note B flat; C sharp at end of
line is C natural
MS II: ten. pencilled in; quasi rall. pencilled in; sharp sign on C sharp at
end of line pencilled in
MS III: ten. pencilled in, sharp sign on C sharp (end of line) pencilled in
-
Line 6
-
S: pp circled; fermata over the breath mark following quarter-note D; over the
ff sixty-fourth notes: "cello spil" (cello playing), and "slow
beginning" meaning slow, broad-bowed notes as a cellist would play, accelerating
some but not much;breath mark before the eighth-note B, this breath mark to be short;
fermata over the breath mark following quarter-note F; breath mark at end of line
deleted
MS I: the third note is F sharp; in the two groups of sixty-fourth notes
marked ff the stems on the first two notes are down, the next two up, the next two
down, etc.
MS II: the third note is F sharp; the stems on the sixty-fourth notes are as
they appear in the printed version
MS III: the third note has been changed in pencil to F natural
-
Line 7
-
S: over the first four notes: "agressively"; this line should be played
rapidly and forcefully
MS I: on the first four notes in the second group of notes, the slur is absent
and staccato is indicated; likewise on the next group; on the last group of eighth
notes, the staccatos are absent and a slur is indicated through the fifth note of the
next line
MS II: under the tenth note (B natural), a question mark is pencilled in; the
articulation through the rest of the line agrees with the printed version
MS III: the second and third groups of notes are marked two slurred, six
staccato
-
Line 8
-
S: dim. and rail. are deleted; rail. is indicated after the breath mark; after
the breath mark, the notes should not be counted, but should gradually die out [it is
OK and desirable to play more notes than are written!; the soloist should "play
one more note than is possible"; Tempo...72 is deleted; pp is changed to mp; pp
under the last two notes in the line (as an echo of the preceding motif); crescendo
indicated on last note of line; in this passage there should be no tempo, the
thirty-second notes should be flung "like rice", with a flourish
MS I: at Tempo...72, molto tranq.: is indicated
MS II: after pp a diminuendo to ppp is indicated
MS III: ppp is indicated instead of pp
-
Line 9
-
S: diminuendo under first two notes; mp under first group of thirty-second
notes; under the next sixteenth notes (as an echo again); crescendo from B flat to B
natural, diminuendo from B natural to G; under the next series of sixteenth notes:
"searching, as in a labyrinth"; breath mark after C sharp at end of line
MS I: slur on last two notes in line is absent
MS II III: slur on last two notes is indicated as in printed version
-
Line 10
-
MS I: no slurs indicated; lunga indicated under ppp
-
MS II: all slurs as in printed version; ppp is absent
-
MS III: all slurs as in printed version
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5
PAGE 6 PAGE 7 PAGE 8
PAGE 9 PAGE 10
-
Line 1
- m. 2, S:"flung like rice, non-metric"
MS I: ppp
MS II: pp
- m. 5, S: all of these entrances through m. 1 in the next line should be
treated as downbeats
-
Line 2
- m. 4, S:"square"; breath mark end of measure
MS I: no tenuto
MS II: mp
MS III: p
- m. 5, S: breath mark end of measure
MS I: no tenuto
- m. 6, S: ''sempre p''
- m. 7, S: tongue first note
MS I: tenuto on quarter note
-
Line 3
- m. 2, S: ''sempre p''; tenuto on C
- m. 3, S: accent F sharp
MS I: no accents indicated
-
Line 4
- m. 1, S: Poco a poco accelerando should be at m. 2
MS I: Poco a ... is at m. 2
MS III: Poco a ... as in printed version
- m. 3, MS II: accel. pencilled in above B flat
-
Line 5
- m. 2, MS II: quarter note=144
- m. 4, S: under G flat: "bite in"; accent and tenuto on G flat;
quarter note=144
MS I: quarter note=144
MS II: in ink: quarter note=144; pencilled in: quarter note=126 (I imagine to
accommodate Oxenvad's more limited technic; this is in Oxenvad's hand!)
-
Line 6
- m. 1, MS I: eighth rest in place of the fifth and sixth notes
MS II: in ink: the fifth and sixth notes are as in the printed version;
pencilled in: eighth rest
MS III: eighth rest in ink; the two notes added in pencil
- m. 2, MS II: slur from low C to high C of next measure
- m. 3, MS II: tongue quarter note
- m. 4, MS I: no breath mark; beneath measure: molto marcato
-
Line 7
- m. 1, S: accent on G flat
- m. 4, MS II: tongue D flat; poco a poco accelerando pencilled in
-
Line 8
- m. 1, S: big breath after trill; under the two thirty-second notes:
"fast!"; above this measure: "like Rimsky-Korsakov"
- m. 2, S: under this measure an arrow is drawn indicating a forward press
into the next measure
- m. 3, S: "as powerful as possible, as short as possible, as fast as
possible, like hammer blows"; delete "quarter note=72"; delete the breath mark
MS I: Tempo I is absent
MS II: Tempo I pencilled in (the slowing here again was for Oxenvad)
-
Line 9
- m. 2, MS I: first note is C natural
MS II: C sharp pencilled in
- m. 3, S: breath mark and "time" indicated at the rest
MS I: low G sharp in place of rest
MS II: in ink: rest; in pencil: G sharp
MS III: G sharp was originally there, but was later deleted and a rest written
in (Scharff agreed that a breath was needed here)
-
Line 10
- no comments or comparisons
-
Line 11
- m. 1, S: staccato on high A flat
- m. 14, S: rail. indicated just before the Poco Adagio
- m. 15, S: quarter note=58
- rehearsal number 12, S: "labyrinth, a search"
MS I II: express. is absent
MS III: express. is indicated
-
Line 12
-
S: at beginning of line: "light and shadow" - the pure intervals
(fourths, fifths, triads) are lights of hope in the metaphorical labyrinth. These
points of light Scharff indicated with arrows
- m. 1, S: arrow on G
- m. 2, S: breath mark affirmed
MS II: no breath mark
- m. 3, S: arrows on F and B flat; breath mark deleted
MS II: no breath mark
- m. 4, S: arrow on D flat; D flat to be played with side trill keys for the
smoothness achieved by staying in the same register; the D flat is called a "false
hope" because of the disappointing turn of the phrase in the following measures
- m. 6, S: under first note: "disappointed"
- m. 7, S: attention is drawn to this inverted quote of the opening motive of
the Concerto; this quote dictates that the first note be tongued and the insertion of a
slight lift (but no breath) after the first C sharp, and a breath after the half note
MS II: no breath mark
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5
PAGE 6 PAGE 7 PAGE 8
PAGE 9 PAGE 10
-
Line 1
- m. 1, S: breath mark after second note
- m. 2, S: tenutos on the first and eighth notes of the measure
- m. 3, S: crescendo from last note of measure to third note of next measure
MS II: no breath mark
- m. 4, S: arrow on high C sharp; above that note: "false hope";
diminuendo from that note to the E; attention is drawn to the augmented fourth (the
interval of darkness and disappointment) from the G sharp at the end of the measure to
the D natural in the next
-
Line 2
- m. 1, S: below first note: "disappointment"
MS I: F sharp has no sharp sign
MS II: sharp sign pencilled in on F
MS II: no sign of any kind indicated on F [your call]
- m. 2, MS II: no breath mark
- m. 3, S: crescendo from beginning of measure to B flat; arrow on that note
MS II: the breath mark after the F is pencilled in
-
Line 3
- m. 1, S: the rhythm should not be strictly observed (5-5-4), but should be a
simple fourteen note rallentando
MS I: the slur breaks at end of measure
- m. 2, S: lift (but no breath) after eighth-note D; p is indicated
MS I: tongue first note; no breath mark after dotted quarter-note D
MS II: breath mark after eighth-note D; slur from dotted quarter note to
eighth-note D in next measure
- m. 3, S: breath mark deleted
MS I: tongue first note
MS II: breath mark deleted
- m. 4, S: tenuto on last note (G)
- m. 5, S: breath mark affirmed
MS I: no breath mark
MS II: breath mark pencilled in after A flat; tie between the F flats (end of
measure to next measure)
MS III: appassionato indicated
-
Line 4
- m. 1, S: "struggle with the intervals"; weight on each note, no
rushing; under last two notes of measure: "no dim."
- m. 2, MS I: break slur at end of measure
MS II: no breath mark
- m. 3, MS I: tongue first note; slur over entire measure; no breath mark
MS II: slur from third note to second note of next measure; no breath mark
-
Line 5
- m. 1, S: under first set of thirty-second notes: ''dim.''
MS II: slur breaks after second note
- m. 2, S: quarter note=84; "begin slow-accel."
-
Line 6
- In this section (lines 6 - 12) Scharff emphasizes the contrast between the
seething, rhythmically active accompaniment and the soaring, legato solo. The clarinet
plays entirely legato except for certain places where it breaks ("air pockets")
to hear what is going on underneath, or occasionally participates in the accompaniment
figure (lines 9 - 11)
- m. 1, MS I: accent mark on B
- m. 2, MS II: slur from B flat to breath mark in m. 4
- m. 4, S: affirms breath mark ("air pocket")
MS I: no slur for rest of line
MS II: slur from E natural to breath mark in m. 6
- m. 6, S: affirms breath mark ("air pocket")
- m. 8, S: insert breath mark in place of first note (G flat)
-
Line 7
- m. 1, S: affirms breath mark; above this measure: ''svaev'' meaning
"float, hang, hover"
MS I: no slurs as in printed version in this line
- m. 2, S: affirms breath mark
MS I: no accent mark
MS II: slur breaks at breath mark; slur from E to quarter note in m. 7
MS III: slur agrees with MS II
- m. 4, S: insert breath mark after first note; affirms existing breath mark
- m. 5, MS I: slur from E flat to quarter note in next measure
- m. 6, S: numeral 3 under sixteenth notes, indicating a triplet
MS II: no breath mark
-
Line 8
- m. 3, MS I: no fz
MS II: no fz; accent mark instead
MS III: fz as in printed version
- m. 4, S: suggests use of long fingering for F here and in subsequent
measures as a timbre more homogeneous with the other notes
-
Line 9
- m. 1, S: breath mark after first note ("air pocket" again)
MS I: no fz; accent mark instead
MS II: accent mark as in printed version
- m. 2, S: under the rapid notes: "like a drum-mercilessly!"
-
Line 10
- no comments or comparisons
-
Line 11
- no comments or comparisons
-
Line 12
- m. 1, MS I: no breath mark
- m. 2, S: breath mark after first note ("air pocket")
- m. 3, S: breath mark after first note; under this and m. 4: "gradually
smoother"
MS II: breath mark after first note; under this measure: ''poco a poco''
- m. 4, MS I: dim.
- m. 5, MS I: no rall. or poco a poco dim.
- m. 6, S: attention is drawn to the augmented fourth at the end of the
measure with the note: "the dark side"
MS I: poco rall.
MS II: natural sign pencilled in on C
- m. 7, S: quarter note=58
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5PAGE 6 PAGE 7 PAGE 8
PAGE 9 PAGE 10
- About this section (lines 1-4), Scharff says "It is searching for something which
won't be found." Note how any positive direction is lost in the dissonant intervals at
the end of line 4, and the Scherzo (line 5) finally just starts without any real
preparation.
-
Line 1
- m. 3, S: crescendo and diminuendo on the G
MS I: no slurs on this line
- m. 5, S: tenuto on G flat
- m. 6, S: "enjoy the intervals" (it's a major triad!)
- m. 7, MS III: breath mark before the quarter note
-
Line 2
- m. 1, S: under E flat: "lovingly"
MS I: diminuendo from B flat to F natural
MS II: crescendo from first note to C natural, thereafter diminuendo to F
natural
MS III: same as MS II
- m. 2, MS I: at beginning of measure: p; then crescendo to second note of
next measure;no breath mark; slur from F natural of previous measure to the last
sixteenth note (E flat) of this measure; slur from high E flat to first D of next
measure
MS II III: crescendo as in MS I
- m. 3, MS I II: f on second note
-
Line 3
- m. 1, S: lengthen the notes, as if "seeking"; attention is drawn to
the diminished fifth (B flat to F flat)
MS I: slur from A flat to C flat, otherwise no slurs in entire line
- m. 2, S: emphasize "each note"; rall. is emphasized
MS I: no rall.
MS II: slur from high E flat to B double flat pencilled in; rit. pencilled in
under the beginning of the dimuendo
MS III: rall. pencilled in
- m. 3, S: insert ''a'' before ''tempo''; existing articulation is deleted;
slur from D of previous measure (after fermata) to F natural, from C to C flat, from A
flat to G, from G flat to E flat, from D to D flat, and from B flat to A in the next
measure (this articulation is consistent with that in the next line); admonishment for
strict adherence to the notated rhythm
MS I: no poco . . . rall.; rall. under last four notes
MS II: the long slur breaks between the second and third notes (C and C flat);
rall. above fifth and sixth notes
MS III: slurs as in printed version
- m. 4, MS I: dim.
-
Line 4
- m. 1, S: long pause after first note; tongue A flat; slur A flat to G;
tongue F sharp; slur G to A of next measure; beneath the F sharp: "slow"
MS I: no slurs in the first four measures of this line
- m. 2, S: slur C to D; below this measure: "search the intervals"
MS I: no a piacere
- m. 3, S: tenuto on the high D; above the major seventh (D to E flat in next
measure): "surprise"
- m. 4, S: "brake" for the diminished fifth (G to D flat); "brake" for
the augmented third at end of measure (C sharp to F)
MS I: no dim.
- m. 5, S: the unstable intervals compound-a great slowing down for the two
diminished fifths (E to B flat, G flat to C) and the final augmented fourth (A flat to
D)
MS I: slur from F to first note of next measure
-
Line 5
- m. 1, S: "hand the note [D] to the first horn"; under eleven measure
rest: "dance"
-
Line 6
- m. 1, S: sempre p; be sure the staccatos are very short
MS I, II, III: slur begins on third note; no staccato on that note
- m. 2, S: arrow over C to middle of next measure, pointing right, indicating
forward motion through the rest
-
Line 7
- m. 1, S: subito f
- m. 7, MS II: cresc.
-
Line 8
- m. 3, MS I: f instead of ff
- m. 4, S: on last four notes: "violently!"
MS I II: cresc. on last four notes
-
Line 9
- m. 14, MS I II: slur breaks before E
- m. 15, MS I: asterisk above measure refers to following note: "can trill
either to F sharp or F"; there is no sharp sign above the tr
MS II: no sharp indicated on tr
MS III: sharp sign pencilled in above tr
-
Line 10
- m. 1, MS I: slur breaks before A flat
- m. 3, S: attention is drawn to the unstable augmented fourth (B flat to E)
MS II: no dim.
MS III: natural sign on E pencilled in
- m. 4, MS I: a flat sign added below the unmarked B
MS II: flat pencilled in on B; dim.
MS III: flat pencilled in on B
- m. 5, S: "don't ritard too soon; the orchestra has more to play after the
F sharp"
MS I II: no tranq.
- m. 6, S: rall.
-
Line 11
- m. 1, S: tenuto on first two notes; this measure is an "important
motive" which figures prominently in the rest of the piece; should be treated as a
"song"
MS I: no mp express.
MS II: no cca. in metronome marking; p instead of mp [I think cca means
"circa"]
MS III: >mp espress. pencilled in
- m. 4, MS I: no breath mark
- m. 5, MS II: sharp sign on C sharp pencilled in
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5 PAGE 6 PAGE 7 PAGE 8
PAGE 9 PAGE 10
-
Line 1
- m. 1, MS I II: no dim. or poco rall.
- m. 2, S: side key fingering for D flat is suggested
MS I II: dim. above third note; poco rall. below second note
- m. 3, S: tenuto on first two notes (the motive from rehearsal number 23)
-
Line 2
- m. 1, S: these notes must "push through" as a phrase into the next
measure
MS I: all notes slurred
MS II III: articulation as in printed version pencilled in
- m. 3: S: same as m. 1
-
Line 3
-
MS I: no slur in this line
MS II: slur as in published version
-
S:m. 5: "struggle"
MS I II: no accents indicated
MS III: accents are indicated
-
Line 4
-
MS I: no slur in this line
- m. 1, S: tenuto on F sharp; rubato indicated
- m. 2, S: breath mark on first note (tied F sharp)
- m. 3, S: tenuto on high D and E flat with direction to "caress" these notes;
below the measure, fluente is circled and "flow" is added
-
Line 5
- m. 1, S: on last six notes: poco rall. to accommodate the thirty second note
pickup in the viola just before measure 2; tenuto on high F
- m. 2, MS I II: no "a tempo"
MS III: "a tempo" is indicated, which makes requisite the poco rall. in the
previous measure
- m. 3, S: mf
- m. 5, S: breath mark is moved to replace the tied A [breathe on count 1];
tenuto on B flat and E flat (the motive from reh. no. 23 again, the Perfect 5th must be
emphasized)
MS I II: no breath mark
-
Line 6
- m. 1, S: tenuto on first two notes; insert bar line before E
MS III: fluente
- m. 2, MS I: no accents or marc.
MS II: no accents, marc. is there
-
Line 7
- m. 7, MS II: slur breaks before C
MS III: as in published version
- m. 8, MS I II: no diminuendo
MS III: diminuendo pencilled in
- m. 9, S: "struggle with the intervals"
MS II: slur breaks before C; no breath mark
MS III: as in published version
-
Line 8
- m. 1, S: must sound "impossible to play"
MS I II: no "cresc . . . f"
MS III: "cresc . . . f" pencilled in
- m. 4, S: "searching, seeking" MS I: no slur
MS II: no ff
- m. 5, MS I: cresc. on last four notes
-
Line 9
- no comments or comparisons
-
Line 10
- mm. 1-4, S: tenuto on first note of each of the four measures, and
instruction to "bite in"
-
Line 11
- mm. 1-2, S: tenuto on first note of each measure
- mm. 3-4, S: regular fingering for all of the high Ds suggested, the passage
must sound "difficult"
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5 PAGE 6 PAGE 7 PAGE 8
PAGE 9 PAGE 10
-
Line 1
- m. 3, S: "searching, seeking"
MS I: the slur starts on the G natural
-
Line 2
- m. 1, S: eighth note=126
MS II: fz instead of ffz
MS III: ffz at rehearsal number 30, S: "square notes"
MS I: slur from E flat to E flat in next line, first measure
MS II and MS III: no slur
-
Line 3
- m. 1, MS I: no accent
- m. 5-6, 9-10, MS I: no slurs
-
Line 4
-
Line 5
-
MS I: no slurs
- m. 4, S: "non dim"; count this measure in four, to prepare for next measure
MS III: rall. [concurs w/ Scharff's directions]
- m. 5, S: sixteenth note=176
MS I: tempo tranq instead of Un poco meno, second note marked double sharp
instead of sharp
MS II: second note marked double sharp instead of sharp; sharp sign pencilled
in later [double sharp doesn't make sense]
-
Line 6
- m. 1, MS I: slur first six notes in two groups of three notes each; no other
slurs later MS as in published version
- m. 3, S: tenuto on G, F sharp, and F [the chromatically descending line]
- m. 4, S: tenuto on E [continuation of above]
-
Line 7
- m. 1, S: tenuto on high C sharp
- m. 2, S: poco rall. on last six notes
- m. 3, S: at the scale: "only virtuoso spot in entire work"; breath
mark after low F sharp
MS I: above third note: "ad lib"; no slur
MS II III: above third note: "cadenza"
-
Line 8
-
S: under repeated high E's: "satanically slow"; breath mark with
fermata between third and second notes from end of line
MS I: no "ad lib con forza"; at end of line: "agitato"
MS II: con forza shifted three notes to the right; accent on third note from
end of line
MS III: [this is important] breath mark with fermata ON the breath mark before
second note from end of line
-
Line 9
-
S: arrow pointed right from F through the rest to E, indicating forward
phrasing and sustained tension into the low E; the low E's are a continuation in
velocity and intensity of the notes before the fermata; the next two lines are
comprised of alternating phrases which carry on a dialogue-Scharff has written a
question mark under the first group of twelve thirty-second notes (an upward
direction melodically), and an exclamation point under the next group (downward
melodically), question mark next, exclamation point next, etc. etc.; this dialogue
begins slowly and accelerates as the note groups become shorter, however, the two
thirty-second notes at the beginning of each group should be played as short, hard,
and fast as possible each time, with the slurred notes gradually speeding up until,
at the beginning of the bottom line, they become equal in duration
-
Line 10
-
S: at beginning of line: "whole thing moving now"; arrow pointing right
under entire line; breath mark at end of line
MS II: breath mark between low A and top line F in second note group
-
Line 11
-
S: "equal now", referring to speed of tongued notes and slurred notes
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5 PAGE 6 PAGE 7 PAGE 8 PAGE 9 PAGE 10
-
Line 1
-
S: slur added from C to A flat (just right of middle of line); diminuendo
should not start until just before the breath mark (at the syllable "e"); breath mark
affirmed, take time here-; at the end of the line, when playing the repeated pattern
of four notes (A-F-G-B flat), it is not necessary to play exactly four groups as is
written-there should be as many as the performer deems necessary to achieve peace
after the volatile cadenza, keep repeating the pattern
MS I: slur added from C to A flat (middle of line); dim. under eleventh note;
no diminuendo above line
MS II: slur added from C to A flat (middle of line); no rall., yes, slur it!
-
Line 2
- m. 1, S: fermata on breath mark
MS I: no dim.; add "molto rall". under fifth note; no breath mark; slur breaks
at end of measure
MS II: breath mark pencilled in; slur breaks at end of measure
MS III: breath mark pencilled in; slur as in published version
- m. 2, MS I II: first two notes are slurred together
- m. 3, S: bracket from the first thirty-second note to the second note in the
next measure, indicating an eight-note phrase grouping, bridging across the bar line.
These eight-note phrase groups continue through the second high E in the Line 3 measure
2
MS II: accent instead of tenuto on A
-
Line 3
- m. 1, S: third and fourth notes from the end of the measure are A naturals,
a "printer's error" according to Scharff
MS II: the two A flats above the staff are spelled as G sharps, the two F
flats are spelled as E naturals.
- m. 2, S: tenuto on first two notes and on the B natural and bottom space F
sharp; cresc. continues from fz to first note in next measure
-
Line 4
- m. 4, S: "strong but not violent, a 'Brahmsian forte'"
MS I: f instead of ff MS II MS III: ff
- m. 5, MS I: no slur
- m. 6, S: tenuto on high F flat
MS I: slur breaks at end of line
-
Line 5
- m. 1, MS I: first notes tongued
- m. 2, MS II: no breath mark
- m. 4, S: the last sixteenth notes must be "passed on" to the two
sixteenth notes that the first violins have at the end of the measure
MS I: no dim. or poco rall.
MS II MS III: dim. poco rall. are there
-
Line 6
- m. 1, MS I: no p
- m. 2, S: crescendo is affirmed; a horizontal line is entered above the two
Cs, indicating forward momentum in the phrase, in spite of the 16th rest
MS I: no crescendo
MS II: crescendo is there
MS III: crescendo begins on first count
- m. 3, S: breath mark after C
- m. 5, S: tempo indication: quarter note=152; crescendo should be poco
-
Line 7
- m.1, S: "pale - a contrast to what is coming"
- m. 5, S: breath mark after G
- m. 6, S: diminuendo from third note to next measure
- m. 7, S: "like a peasant dance - let it go!"
-
Line 8
- m. 1, S: "knife - raw - each note cuts"
- m. 2, MS II: no natural sign above tr
MS III: natural sign pencilled in
-
Line 9
- m. 3, S: suggests fingering high E flat: thumb, register key, and throat A
key
- m. 6, MS I II: fz at beginning of trill
-
Line 10
- m. 4: MS III: diminuendo after "f"
- m. 6: same markins as on trill in Line 8
-
Line 11
- m. 1, MS I: the sixth note in the measure is high C sharp instead of F sharp
MS II: same as in the published version
MS III: was originally like MS I, but was changed to agree with the published
version
-
PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5 PAGE 6 PAGE 7 PAGE 8 PAGE 9 PAGE 10
-
Line 1
- m. 1, MS I: no p or poco a poco calando
MS II: p is there, dim. instead of poco a poco calando
MS III: p and poco a poco calando pencilled in
- m. 6-7, MS II: diminuendo is pencilled in
- m. 8, S: quarter note=88; large breath mark on quarter rest
MS I: poco instead of molto; no "p espr."; no slur
MS II: poco instead of molto; mf instead of p
MS III: poco is crossed out and replaced by molto,"p espr." is there
- m. 9, MS I: slur starts on A and continues to E in measure two of line two
- m. 11, MS II: pencilled in: slur breaks after G sharp [the tie is negated]
MS III: the tie is there
-
Line 2
-
MS I: no crescendi or diminuendi in this line
MS II III: crescendi and diminuendi are pencilled in
- m. 1, MS II: tongue the grace note
- m. 9, S: emphasize the diminished fifth
-
Line 3
- m. 4, MS I MS II: mf; no "poco a poco accel."
MS III: poco a poco accel. pencilled in
- m. 6, S: accel. emphasized
MS II: diminuendo on first two notes; crescendo on next two
- m. 8, MS II: "accel."
- m. 9, MS I: under diminuendo: "molto"
- m. 10, MS I II: no Tempo I or allegro vivace
-
Line 4
- m. 1, MS I: no ff
- m. 5, S: "raging"
MS II: the last note in the measure has been changed to D, and "d" has
been written in underneath
MS III: last note is F sharp, but is circled. Who knows what they were
thinking?
-
Line 5
- m. 3, MS I: no slur; no molto espressivo
MS II: ff is added; no molto espressivo
MS III: molto espressivo only
- m. 9, S: staccato on last note [D flat]
- m. 10, MS I: "senza rall." is added; no "calando"
-
Line 6
-
MS II: "Un" Poco Adagio
- m. 1, MS II: slur breaks after last note
- m. 2, S: tenuto on last note
MS I: no breath mark; slur breaks after last note
MS II: tongue first note, slur into next measure, as in published version,
crescendo on last four notes
- m. 3, S: attention is drawn to the beautiful modulation on this note;
"shine"; Scharff advocates use of the side key D flat for matching timbre
- m. 4, S: affirms breath mark
- m. 6, S: breath again at end of measure
- m. 7, S: side key D flat
- m. 7-8, MS I: no crescendo/diminuendo
-
Line 7
- m. 1, S: p affirmed; breath mark deleted
MS I: no p; no breath mark; no poco a poco etc.
MS II: slur breaks at breath mark; no poco a poco etc.
MS III: "poco a poco in - - -" is there
- m. 2, S: "non cresc."
- m. 6, MS II: mp instead of p
-
Line 8
- m. 3, S: breath mark deleted
- m. 4, S: breath mark after E; tenuto on G flat
MS I: accent instead of fz on G flat
- m. 5, S: tenuto on C; breath mark after C
- m. 6, MS II: no breath mark
-
Line 9
- m. 1, MS II: no breath mark; an asterisk is inserted here which refers to
the following exchange between Nielsen and Oxenvad, which is at the side of the page in
their respective handwriting:
Nielsen:"Dear O! How can you make it with the breathing here? God!"
Oxenvad: "It will be alright. I'll figure something out."
Nielsen: "Thanks! I thought you could!"
MS III: the breath mark is pencilled in
- m. 2, S: "in tempo"
-
Line 10
- m. 5, S: breath mark after A flat
MS I: no accent mark
MS II: luftpause symbol ("railroad tracks") pencilled in after A flat; fz on B
double flat
-
Line 11
- m. 1, S: breath mark after A flat
MS II: no rall.; luftpause ("railroad tracks") after A flat
- m. 3, S: breath mark after first A flat
MS II: no poco meno; luftpause after first A flat
MS III: poco meno is there
- m. 4, S: "not too weak"
- m. 5, MS II: luftpause after first A flat, dim. under F
-
Line 12
-
MS I, II, III: no breath marks in entire line
- m. 2; MS II: no "calando" - etc.; dim. under A flat
- m. 6; MS II: slur continues through here
- m. 11, MS II: crescendo (pencilled in)
- m. 12, MS II: diminuendo (pencilled in); at very end: pppp
MS III: at very end: pppp
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