ANTON BRUCKNER
Symphony No 8
Intermediate Adagio [1888]
Edition: Dermot Gault / Takanobu Kawasaki
Editorial Commentary: Dermot Gault
CONTENTS
Introduction iii
History iv
Sources v
Mus.Hs. 40.999 as a source for the Intermediate Adagio vii
The MS viii
Instrumentation ix
The Transcription ix
The commentary x
Performance History xi
Bibliography xi
Acknowledgements xii
Commentary xiii
Symphony No 8 – Adagio of 1888
Appendix A – Subsidiary sources
Appendix B – Reconstruction of the original copy
Bruckner Symphony No 8 – Intermediate Adagio (1888 Adagio /
Adagio 2)
The
following score makes available for the first time a little-known version of
the Adagio of Bruckner’s Eighth Symphony, intermediate between the two
published versions of 1887 and 1890, and known variously as the Intermediate
Adagio or the Adagio of 1888, but referred to here for convenience as Adagio 2.
This version is preserved in a manuscript (in the hand of a copyist, with some corrections
by Bruckner himself) held in the Musiksammlung of the Österreichisches
Nationalbibliothek (Mus.Hs. 34.614/1 – here referred to as the MS).
Adagio 2 is
317 bars long, as opposed to the 329 bars of the 1887 version (Adagio 1) and
the 291 bars of the final version of 1890 (Adagio 3). Its content can be
roughly summarised as follows:
Bars
1 – 128 are common to all three versions
129 – 134 correspond to 1890 bars 129 – 134
135 – 146 correspond to 1887 bars 139 – 150
147 – 170 correspond to 1887 bars 151 – 174 / 1890
bars 141 – 164
171 – 190 correspond to 1890 bars 165 – 184
191 – 214 correspond to 1887 bars 201 – 224 / 1890
bars 185 – 208
215 – 220 correspond to 1887 bars 225 – 230
221 – 230 correspond to 1887 bars 235 – 244 / 1890
bars 209 – 218
231 – 238 are unique to this version
239 – 244 correspond to 1890 bars 227 – 232
245 – 252 are unique to this version
253 – 261 correspond to 1890 bars 235 – 243
262 – 268 correspond to 1887 bars 274 – 280 / 1890
bars 244 – 250
269 – 280 correspond to 1887 bars 281 – 292
281 – 317 correspond to 1887 bars 293 – 329 / 1890
bars 255 – 291
It will be
seen that the certain features of the final version were already present in Adagio
2. For instance, the sudden outburst of the second subject at letter M is
already in C major, and the main climax of the movement is in E flat. Adagio 2
also resembles Adagio 3 in the passage following the tutti passage in the
middle of the movement (letter H), although the succeeding music (where the
chordal passage for strings and harps returns on the wind and harps) is
retained from Adagio 1.
The three
versions differ most in the final section, where again some features of Adagio
2 look forward to Adagio 3 (the tranquil E major passage at letter T, for
instance), although the reprise of the passage for strings and harps following
the main climax is closer to the 1887 original.
Much of the material is common to all three versions, for instance in the opening and closing stages of the movement. But Adagio 2 contains passages which resemble nothing in the other versions, and elsewhere in the movement there are fascinating differences in detail which give this version its unique character.
History
We know from the dates in the manuscript
that the original version of the Adagio was completed on
The question naturally arises as to the
source for the copyist’s manuscript. While Bruckner
did on occasion make an entirely fresh score of a revised version, at this
stage in his career he was more likely carry out the revision using a copy
score as a basis. In the earlier parts of the movement, where the material was
similar or identical, the copy score would have been emended by his usual means
– scratching out, over-writing, and pasting manuscript patches over the
original. In the later parts of the movement, where the material differed
substantially, the original bifolios would have been discarded and new ones
substituted. Three copies of Adagio 1 are known: one forms part of a
copy of the whole symphony in the hand of Karl Aigner (Mus.Hs. 6001), and an
extra copy of the 1887 Adagio accompanies the MS (Mus.Hs. 34.614/2). The third
surviving copy (Copy 1) was used as the basis for the autograph of the 1890
Adagio (Mus.Hs. 40.999), a composite score consisting of a mixture of original
and replacement bifolios. There are however indications to support the
suggestion made by Takanobu Kawasaki that this manuscript served as the basis
for Adagio 2 before being transformed again into Adagio 3. This may be the only instance in Bruckner’s work of one
source serving as the basis for two successive versions.
Sources
The surviving
sources for Adagio 2 are therefore as follows:
(1) Mus.Hs. 34.614 (formerly S.m. 34614) in the
Austrian National Library. This number has been assigned to two copy scores of
the Adagio of the Eighth Symphony. The wrapper of the first of these (Mus.Hs.
34.614/1) reads:
Adagio zur 8. Sinf. v. Anton Bruckner
Abschrift vor aus dem
Besitz Franz Schalk
Frau Lili Schalk gehörend
oder ihren Rechtsnachfolgern
Below the
same hand has written, in pencil:
Spätere Fassung?
The
question mark indicates uncertainty as to the identity of the version, which is
in fact Adagio 2. The wrapper for the second score (Mus.Hs. 34.614/2) bears the
following:
Adagio (3. Satz) d. 8. Sinf. v. A Bruckner
In Abschrift aus dem Besitz
Franz Schalk
Lili Schalk gehörend oder
ihren Rechtsnachfolgern
Below this
is written (in pencil or crayon):
frühere Fassung
As stated
above, this score is a copy of Adagio 1, in the hand of a different copyist.
(2) Mus.Hs.
40.999. The autograph manuscript of the revised 1890 version of the Adagio. This
is another copy score, emended by Bruckner as shown in Appendix D. Bifolios
1-7, 10, 12-15, and 20-21 are in the hand of the copyist (the last two bifolios
form the original bifolios 19 and 20).
Bifolios 8, 9, 11 and 16-19 are in Bruckner’s hand (in addition, the
second half of the copyist’s original bifolio 11 follows Bruckner’s replacement
bifolio 11).
Evidence
to confirm Takanobu Kawasaki’s suggestion that this copy served as the
autograph of Adagio 2 can be seen in pages 3 and 4 of bifolio 14, containing 1887 bars 225-230, where the
original 1887 text has been reworked by Bruckner to bring it into accordance
with Adagio 2 (although, as shown below, there are some variations between the
text given here and 34.614/1) before being deleted. Details unique to Adagio 2 are
still discernable in other places, for instance in bar 42, where a quarter-note
rest is still discernable in the alto and tenor trombone line, following the
quarter note-quarter note rest-half note rest of the 1890 version. The quarter
note rest at this point is unique to Adagio 2 (another quarter note rest,
almost entirely erased, can be glimpsed in the bass trombone part).
(3) Relevant
material is also to be found in Sig. A 178 in the library of the Gesellschaft
der Musikfreunde in Wien, a collection of sketches and fragments, mostly from
the Eighth Symphony, which includes the following:
(i) Bifolio 8 of Adagio 1, in the hand of a copyist. It is clear from the handwriting and the paper used that this is one of the discarded bifolios from Mus.Hs. 40.999. Bruckner’s initial thought was, however, to retain this bifolio, with a few alterations, and the text has been altered, by Bruckner, to bring it partly in accordance with the text of Adagio 2 as contained in Mus.Hs.34.614/1. The alterations have been effected by writing over the copyist’s text, by crossing out original staves and writing new parts in vacant staves (as with the trumpet parts), and by pasting manuscript patches over the original (as with the horn parts). On the first page the violin and upper wind parts retain the arpeggio profile of the 1887 version, but the note names of the Intermediate version are written above the noteheads. The horn and trumpet parts have been altered to conform to Adagio 2, and on the last two pages bars 132, 134, 135 and 136 have been crossed out. Bruckner evidently decided that he wanted to carry out more far-reaching alterations, for which a new bifolio would be needed.(ii) A single folio, containing 1887 bars 179-184 and 185-190 of Adagio 1, in the hand of the same copyist. Each page has been cancelled with diagonal crosses in a manner familiar from Bruckner’s manuscripts. On the second page, rough drafts for a revised version of the violin line in Bruckner’s hand have been written in a vacant stave.(iii) Bifolio 16 of Adagio 1 in the hand of the copyist, containing 1887 bars 143-245, 246-248, 249-251, and 252-254. Again, all four pages have been cancelled by diagonal crosses. ‘Um (?) Neuen’ is written in the top left hand corner of the first page. A few other annotations and rough drafts have been sketched in vacant staves. ‘Vi - ’ is written at the start of bar 248, followed by a reference to bifolio 17.(iv) A draft, in Bruckner’s hand, of bifolio 16 of the Adagio, comprising 12 bars, of which the first six correspond to bars 229-231 and 231-234 of Adagio 2, a passage unique to this version. Apart from a few wind parts on the first page, only strings are present, and there is as yet no hint of the elaborate orchestral texture Bruckner would eventually build up in this passage.(v) Bifolio 17 of Adagio 1, containing 1887 bars 255-258, 259-264, 265-269, and 270-272, in the hand of the copyist. Again, all four pages have been crossed out.(vi) A rough sketch corresponding approximately to bars 249-250 of Adagio 2, string parts only, in Bruckner’s hand.
The figure shows the probable relationship of the surviving manuscripts.
Mus.Hs. 40.999 as a source for Adagio 2
Although at
one time 40.999 formed the autograph manuscript of Adagio 2, it must, due to
its later transformation into Adagio 3, be treated with caution as a source. One
can respect material in the hand of the copyist, as it represents 1887 material
which Bruckner was content to preserve; if 1887 matter was allowed to remain in
the 1890 version, one can assume that it is also valid for the 1888 version. On
the other hand, alterations in Bruckner’s hand could belong to the revision
process which produced the 1890 version. In the revised transcription
following, supplementary performance directions (dynamics, slurs, ties) which
are missing from the MS but are present in Mus.Hs. 40.999 are included so long
as they are in the copyist’s hand, but with a few exceptions (see below, bar
50) excludes emendations by Bruckner himself. One cannot rely on the 40.999
version of the passage at letter M, for instance, as the manuscript here has
clearly been altered. Other exceptions occur when the material is unique to the
Intermediate Adagio (as in the quiet episode between letter P and Q in the
final section of the movement).
Mus.Hs.
34.614/1 (MS) therefore remains the main source for this transcription, and
unless stated otherwise it is the source to which the Commentary below refers.
The transcription follows the MS unless it is plainly wrong, or unless the
other sources can provide missing details (such as slurs, ties, accidentals,
dynamics or performance directions).
The
MS
The MS
consists (apart from the wrapper) of 22 bifolios of 24-stave manuscript paper,
with ‘J.E. No. 8’ printed in the bottom left-hand corner of each right-hand
page. Each bifolio has subsequently been numbered in the top right-hand corner
of the first page, and each right-hand page has also been numbered in the top
right-hand corner. The last two pages of the MS, pages 3 and 4 of bifolio 22,
have been left blank.
The manuscript is in the hand of an unidentified copyist, with handwritten corrections by the copyist and by another hand in darker ink and with a broader trace. The style of these annotations is consistent with other Bruckner autographs from this period such as Mus.Hs. 19.480.
The provenance outlined above, that the manuscript was based on a copy of Adagio 1 emended by Bruckner, would explain why certain minor errors and omissions in the MS are also to be found in other copy scores; many of them have been conscientiously copied from the copyist’s source. In some cases (the trombone 1 e# in bar 17, for instance), errors can be traced back to Bruckner’s original manuscript of Adagio 1 (Mus.Hs. 19.480/3). This may also explain why the list of instruments on the first page of the score includes a piccolo, although the text does not, as this instrument is used in the 1887 version at the main climax of the movement (letter U). In the Intermediate version the climax is in another key, and so one can suppose that in ‘Copy 1A’ Bruckner would have replaced the original bifolio with an entirely new one containing the revised climax, in which the piccolo is not used.
The MS is not signed, and there are no visible dates, or any of the other comments that can be found in Bruckner’s original autographs such as voice-leading annotations and metrical numbers.
There are
no rehearsal letters before J (bar 139), although they are present in Mus.Hs.
40.999. Key signatures are seldom used after the first page, one reason for the
many redundant, as opposed to precautionary, accidentals in the manuscript.
Exceptions are found at the a tempo
at bar 95 and the similar a tempo at
bar 191, the start of the final section, where both clefs and key signatures reappear.
Key signatures also appear in the harp parts at bars 25, 43, 143 and 145.
Clefs are
not used after the first page, except at bar 191 and sometimes in the trombone,
Wagner tuba and cello parts. However, changes of clef in these instruments are
not always indicated where necessary (e.g., cellos at bars 91; bass tubas at
bars 255 and 297).
Time
signatures appear at the start, at the change to triple time at bar 81 and the
reversion to common time at bar 95, and at the a tempo at bar 191. Dual time signatures are required in the final
section (from letter N onwards), but changes of time signature from common time
to 12/8 and vice-versa are not always given where the music requires them.
Instrumentation
On the
first page of the score the instruments are listed at the side of the stave as
follows:
Piccolo /
Flauti I II III
Oboi I II
III
Clarinetti
I II III
Fagotti I
II III
Corni in F
/ 1. 2.
Corni in B
/ basso [3. 4.]
Tuben /
Tenor in B / 1. 2.
Tuben /
Bassi in F / 1. 2.
C. B. T.
[Contrabass tuba]
Tromba I in
F
[Trombe] II
III in C
Timpani /
tief F [?]
Tromboni /
Alt. Tenor
[Trombone]
basso
Drei /
Harfen / womöglich
Triangel
&
Becken
Violino I
Violino II
Viola
Cello
Basso
Note:
Contrabass
tuba – a treble clef is written at the side of the stave (a bass clef appears
at bar 191) and there is no key signature, contrary to Bruckner’s normal
practice.
Timpani –
in fact, the timpani play F, Bb and Cb
The
Transcription
This transcription aims to give a faithful
picture of the MS, with some provisos:
2.
A
large number of redundant accidentals, most of them necessitated only by the
practice of omitting clefs and key signatures at the side of the stave, have
been omitted. Some precautionary accidentals have been retained in the
interests of clarity, especially in the brass parts. Precautionary double
accidentals have not been included.
3.
Editorial
dynamics and articulation marks are in brackets. Editorial changes to notes are
however referred to in the commentary, as are inserted or altered accidentals.
4.
Editorial
slurs are printed with a broken line and editorial ties are printed with a
dotted line. However, where slurs or ties begin on one page but are not
continued on the next (or vice-versa), an unbroken line has been used, and the
matter noted in the commentary.
5.
The
instrumental layout conforms to modern usage in the arrangement of the brass
and percussion parts.
6.
Bruckner’s
(and the copyist’s) notation of the percussion instruments has been respected.
Bruckner assigns pitches to the cymbals and triangle, both here and in the
Seventh Symphony, as can be seen from Mus.Hs. 40.999 and Mus.Hs. 19.479, the autograph
score of the Seventh Symphony (as Takanobu Kawasaki points out, Nowak’s edition
of the Seventh is not quite faithful to the composer’s practice in this respect).[*]
7.
Tremolandos.
Bruckner indicates tremolandos by three strokes through the stems of crotchets
/ quarter notes and minims / half notes, and by three strokes under semibreves
/ whole notes. Tremolando quavers / 8th notes are indicated by two
strokes through the stem, tremolando semiquavers / 16th notes by a
single stroke through the stem. Bruckner adheres to this system even when, as
in this movement, the notation indicates 32nd notes which can be
heard separately. In a few places (violin 1 at bar 125, timpani at bars 129,
211 and 257) he adds ‘trem.’ as well, sometimes with an extending line. In this
MS these lines are not extended for very long. Nevertheless, it appears that,
in this movement at least, notes with strokes through the stems are to be
played as unmeasured tremolandos. This is made clear in Mus.Hs. 40.999, where
the tremolando continuing line is extended to cover the violin 1 part
throughout bars 125-128. (Nowak’s edition of the 1890 score is slightly
misleading as he ends the extending line at the end of page 81, a bar early.
His edition of the 1887 version is however true to 19.480/3. I suggest that Bruckner added a precautionary ‘trem’ here and at bar
171 as the violin part in these places is melodic. Thanks are due to Takanobu
Kawasaki for raising this issue.)
8.
String
divisi are not indicated consistently in the MS. Editorial divisi have been added for the sake of
completeness, although there are no passages in this movement which seem to
call for non divisi (Bruckner’s slightly incorrect use of
divisi for the viola part has been
retained).
The commentary
The
following Commentary lists erasures and corrections in the manuscript, and
explains where the transcription departs from the MS due to wrong notes,
missing clefs or accidentals, missing or inconsistent slurs and ties, etc.
Besides the
principal manuscript sources (the MS, 40.999 and A 178) listed above, it has
also been found useful to refer at certain points to the manuscript sources for
other versions of this movement:
Mus.Hs. 19.480/3 The autograph of the original 1887 version (Adagio
1), which now makes up the third volume of Mus.Hs. 19.480, the remaining
volumes of which consist of the autograph scores of movements 1, 2 and 4 of the
1890 version (Adagio 3). This is particularly useful as it served the source
for Copy 1 / 40.999.
Mus.Hs. 34.614/2 The copy score of Adagio 1 acquired at the
same time as the MS.
Mus.Hs. 6001 A bound copy score of the complete 1887 version
in the hand of Karl Aigner.
It has also
been useful to refer to the following printed editions:
1887 The
published edition of the 1887 version, edited by Leopold Nowak
1890 Nowak’s
edition of the 1890 version
1892 The
first published edition, edited by Joseph Schalk and Max von Oberleithner
Haas Haas’s
version of the score
Performance History
At the time
the author came across the score, in the late 1980s, it had not been published
or performed. It owes its first performance to Takanobu Kawasaki, who came
across this manuscript in the Musiksammlung, and subsequently made
transcription which served the basis for a recording by the Japan Electronic
Orchestra under Takeo Noguchi (Seelenklang SK 2001/02). The interest aroused by
this performance and recording led to the first orchestral performance, given
by the Tokyo New City Orchestra under Akira Naito in the Tokyo Metropolitan
Arts Space on
A Note on the revised edition
The
transcription and commentary were made available on John Berky’s Bruckner
Symphony Versions Discography website in 2003. For the present edition the
commentary has been expanded and various errors have been corrected. The
revised version of the transcription differs in that Mus.Hs. 40.999 has been
accepted as a source for certain performance indications, as described above.
Again, various typographical errors have been corrected.
Bibliography
Literature
relating to the Intermediate Adagio is not extensive. It was discussed by the
author in an unpublished thesis (Queen’s University Belfast 1994) and was referred
to, in passing, in an article by the author in The Musical Times (April 1996) and by Benjamin Marcus Korstvedt in
the Cambridge Music Guide to Bruckner
Symphony No 8 (page 115). The first full discussion of the Intermediate
Adagio to appear in print is Takanobu Kawasaki’s article in the magazine
‘Ongaku Gendai’ (Music Today).
Gault,
Dermot: ‘Anton Bruckner’s Concept of the Symphony, as exemplified by his
revisions of his Symphonies 3, 4 and 8’ (unpublished doctoral thesis, Queen’s
University Belfast, 1994)
Gault,
Dermot, ‘For Later Times’ (The Musical
Times, April 1996)
- Ongaku Gendai, July 2000.
- liner
notes for Japan Electronic Orchestra recording, July 2000
- Nihon Keizai Shimbun,
- programme
notes for
- liner
notes for Delta Classics Recording, September 2004
- Ongaku Gendai, November 2004
Korstvedt, Benjamin
Marcus, Bruckner Symphony No 8 in Cambridge Music Guides, Cambridge 2000, page
115.
Gault, Dermot, ‘An
unknown Bruckner version’ (The Bruckner
Journal, forthcoming)
Adagio 2 is also discussed comprehensively in Mr Kawasaki’s website: http://www.cwo.zaq.ne.jp/kawasaki/MusicPot/8sy.adagiohtml
Acknowledgements
Thanks are
due firstly to Dr Günther Brosche of the Österreichisches Nationalbibliothek
for providing microfilms of this and other Bruckner manuscripts and
facilitating access to the original manuscripts themselves, and also to Dr
Thomas Leibnitz and Dr Inge Birkin-Feichtinger of the Österreichisches
Nationalbibliothek, and to Queen’s University Belfast School of Music, Queen’s
University Library and Dr Anthony Carver for their help.
Above all,
I would like to thank Takanobu Kawasaki for identifying errors and omissions in
both my first draft transcription and in the original [the latter are
identified in the notes by (TK)] and for a most friendly and stimulating
exchange of discoveries and ideas which has continued to the present day.
This
transcription has been made using the Sibelius™ system. Special thanks are due
to Juan Cahis for converting the Sibelius™ document into PDF format, and to
John Berky for making the score and commentary available on the Bruckner
Symphony Versions Discography website.
Commentary
Bifolio 1 – bars 1-4 / 5-8 / 9-12 / 13-16
Adagio 3. Satz VIII Symphonie is written at the head of the first
page.
Bar
1 violas
– divisi in 19.480/3 and 6001, no
indication in MS, 40.999 or 34.614/2.
3 double
bass – ohne Anschwellung in 19.480/3
and 6001, no indication in MS or 40.999.
6 violin
1 – the 4th note has a tenuto line in 1890, 1892 and Haas, but not
in 1887 or the manuscript sources.
violin
1 – 4th note – 40.999 supplies the missing p.
7 tenor tuba 2 – a sharp sign has apparently been erased before the single note, which should be g natural (sounding f natural), as per 40.999, 1887, 1890 and 1892. In 19.480/3 a natural sign has been placed before the note, but a sharp sign at the start of the bar has been allowed to stand. In 6001 a natural sign appears to have been written over a sharp sign.
violin 2, viola, cello – 40.999 supplies the missing p.
cello – cresc. in 19.480/3,
missing in MS, 40.999 and 6001.
double bass – no cresc. in MS,
40.999, 19.480/3, 34.614/2, or 6001. Editorial (cresc.) in 1890 and Haas.
8 cello
– dim. missing from MS, 34.614/2 and
6001 (but present in 19.480/3 and 1887. The dim.
in 40.999 is a later addition.)
9 violin
2, viola, cello, double bass – no cresc. in
MS or 6001. All string parts have a cresc.
in 1887 and 1890, but only violin 1 and 2 have a cresc. in 19.480/3, 40.999, 34.614/2 and 1892.
10 violin 2 – slur, tie and tenuto lines
omitted in second half of the bar.
11 tubas
– this chord is tied across the bar line to bar 12 in MS, 40.999, and 1892, but
not in 19.480/3, 34.614/2, 1887 or 1890.
violin 2 – hairpin mark (as per violin 1) omitted in MS, present in
19.480/3, 40.999 and 34.614/2.
viola – copyist’s erasure before second note (possibly a wrong
accidental – there is also an erasure in 40.999).
viola, cello – no dynamic marking in MS (pp in 19.480/3 and 1887, p
in 40.999 [a later emendation by Bruckner] and 1890).
12 double
bass – cresc. missing in MS and
40.999, present in 19.480/3, 34.614/2, 6001, 1887 and 1890.
13 viola,
cello – no cresc. sempre in MS,
present in 19.480/3 and 34.614/2; 6001 has cresc.
sempre in the cello part only. 40.999 has been overwritten in this bar.
double
bass – MS and 40.999 have cresc.
(only) in double bass; 19.480/3 and 34.614/2 also have semp.
19.480/3, 34.614/2, 1887 and 1890 have a [subito?] p and cresc. in all string
and tuba parts in this bar. 1892 has a simple cresc. in all parts.
13-14 tenor
and bass tubas – no tie in MS, 19.480/3, 40.999, 34.614/2, 6001, 1887 or 1890.
The editorial tie has been inserted by analogy with bars 11-12 and 199-202
(compare the latter with 1887 bars 209-212).
15 no rehearsal mark in MS, A in 19.480/3, 40.999, 34.614/2 and
6001.
contrabass tuba – 40.999 supplies the marc. semp. omitted in MS (present also in 19.480/3, 34.614/2 and
6001).
16 oboes – 40.999 supplies the a2 missing from MS.
Bifolio 2 – bars 17-24 / 25-26 / 27-28 / 29-32
17 horns 1 & 2 – tie sign carried from
previous page in MS (these notes are not tied, as the horns are not playing
sustained notes, unlike the other brass).
bass tubas – ties from previous page (bifolio 1 page 4) missing in MS,
present in 19.480/3, 40.999, 34.614/2 and 6001.
trombone 1 – erroneous sharp sign
before the e in MS, 19.480/3, 34.614/2 and 6001: removed in 40.999, 1887 and
1890 (the natural sign in 40.999 appears to be an emendation).
cello & double bass – written c (natural), should be c# (as in
19.480/3, 40.999, and 6001, and as per double basses, bassoons, bass trombone
and contrabass tuba)
18 cello
– no slur in MS, 40.999 or 34.614/2. Slurred in 19.480/3, 6001, 1887 and 1890
(see bar 36).
19 double bass – no dynamic marking (p in all other string parts, and in 19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890).
22 viola – 40.999 supplies the crescendo and decrescendo marks missing from MS.
23 clarinet 2 – second note emended by
copyist (from crotchet / quarter note?)
trombone 1 – the precautionary natural before the final note seems to be
an insertion, possibly by Bruckner (natural sign also in 40.999).
violin 2, viola, cello, double bass – p missing (p in 40.999 is
a later addition). See bar 41.
25 harp
– 40.999 supplies the ff missing from
the start of the bar in MS (ff also
in 19.480/3, 34.614/2, 6001, and in the equivalent passage in MS, bar 43) –
also the dim. halfway through the bar.
26 strings – in MS, the dim. is placed under the second chord; in 40.999 it occurs halfway
through the first chord, and 19.480/3 confirms that this is deliberate.
violin 2 – middle note of second chord has been changed (by Bruckner?)
from g to f, turning it into a simple b flat minor chord (as per 19.480/3,
34.614/2, 6001 and 1887, although differently spaced).
viola – the original top note (g natural) of second chord deleted (by
Bruckner?) The deleted g natural was
reinstated in Adagio 3 (see 40.999 and 1890).
27 harp
– 40.999 supplies the missing dynamic marking (p also in 19.480/3, 34.614/2, 6001 and 1887 – see also bar 45).
28 viola – erasure before second note
(accidental removed).
29 no
rehearsal mark in MS, B in 19.480/3,
40.999, 34.614/2 and 6001.
violin 1 – 40.999 supplies the dynamic marking in MS (pp also in 19.480/3, 34.614/2, 6001,
1887 and 1890).
viola, cello – no divisi in
MS; in 19.480/3 and 40.999 divisi is written
between the viola and cello staves, but is taken here to refer to the cellos as
the violas are already divisi from
the previous passage.
30 violin
1 – the extent of the slur is not entirely clear in MS, but elsewhere, and in
all sources, only the first two notes are slurred.
Bifolio 3 – bars 33-36 / 37-42 / 43-44 / 45-46
35 contrabass
tuba – chevron accent in 19.480/3, 34.614/2, 6001, 1887 and 1890 (as per other
brass parts), missing from MS. The accent in 40.999 seems to be a later
addition.
36 violin 1 & 2 – dim. missing from MS (dim.
in all parts in 19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890). 19.480/3
confirms positioning of dim.
markings.
double basses – first note corrected to eb (accidental inserted by Bruckner in
larger print and heavier ink).
39 violin
1 – 40.999 supplies the slur missing from the second half of bar in MS and 6001
(slur present also in 19.480/3, 1887 and 1890, and in MS bar 21).
40 viola
– divisi missing from MS, 19.480/3, 40.999,
34.614/2 and 6001.
42 contrabass
tuba – dynamics missing in MS (f in
19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890).
43 horns 1 & 2 / 3 & 4 – slurs not
carried over from bifolio 3 page 2.
violin 2, viola – 40.999 supplies
the divisi missing from MS, 19.480/3,
34.614/2 and 6001.
44 strings
– (p) by analogy with bar 26. There
is no dynamic marking in the sources. 1887 has (p), 1890 allows Haas’s p
to stand.
strings
– dim. is placed halfway through the
first chord, following 19.480/3 and 40.999 (see also bar 26).
Bifolio 4 – bars 47-50 / 51-54 / 55-58 / 59-62
47 no rehearsal mark in MS, C in 19.480/3, 40.999, and 6001.
violin 1 – accidental changed (by Bruckner) to a natural sign.
50 horn
2 – 40.999 supplies the slur missing in MS. This is Bruckner’s addition to
40.999 (the horn 2 part is not found in Adagio 1), but would have been made as
part of the process of transforming Adagio 1 into Adagio 2.
51 viola – last two notes should be semiquavers, each with a single stroke through the stem, as per 6001, 40.999, 1887, 1890 and MS bar 61.
55 cello
– tenuto line missing from all manuscript sources. Editorial tenuto line in
1887, 1890 and Haas, as per bar 65.
57 no
rehearsal mark in MS, D in 19.480/3,
40.999, 34.614/2 and 6001.
horn 2 – part wrongly written in the horn 3 & 4 line. On page 4 of
bifolio 4 the part continues with horns 1 & 2. A tie to the previous note
is shown in bar 59 of the MS. It is clear by analogy with bars 47-50 and
147-150 that horns 1 and 2 play the whole passage.
The same error occurs in 40.999, where once again the horn parts jump
from horns 3 & 4 to horns 1 & 2 between pages 3 and 4 of bifolio 4, but
is corrected in 1890 and Haas.
58 oboe
1 – slur missing, although its ending is found in bar 59 on the next page (page
4 of bifolio 4).
59 clarinets
– slur not carried over from previous page.
60 flutes
– second note unclear; could be g#. 34/614.2 and 6001 have f# (TK suggests a#);
the c# in 40.999 is an emendation.
horn
2 – no slur in sources, slurred in Haas, editorial slur in 1890 (see also bar
150).
61 viola
– MS has mf – should be f as per cellos (TK), as per 19.480/3
and 6001 (no dynamic marking in 40.999 or 34.614/2).
Bifolio 5 –
bars 63-66 / 67-70 / 71-74 / 75-78
64 clarinet
1 – first two notes (b – a [concert a – g]) should be a – g# (concert g – f#),
as per flute 1, 19.480/3, 40.999, 34.614/2, 6001 and 1887.
65 violin
2 – no dynamic marking (p in
19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890).
66 clarinet 1 – sixth note, written d#
(concert c#), should probably be d natural (concert c), as per 19.480/3, 40.999,
34.614/2, 6001, 1887 and 1890 (where this bar is deliberately different from
the bar preceding).
violin 2 – repeat sign in heavy ink (a correction?)
67 clarinet
1 – slur does not continue over the page to last note in MS or in 19.480/3,
34.614/2 and 6001, but does continue in 19.480/3 and 1887 (it is clear from
19.480/3 bar 66 that the slur is intended to continue over the page, but it is
missing from bar 67).
tenor tuba 1 – p apparently applies
to both tenor tubas in MS, but 19.480/3, 40.999 make it clear that tenor tuba 1
is mf (see bar 167).
bass
tubas – no dynamic marking (something has been written but erased) – p in 19.480/3, 40.999, 34.614/2 and 6001.
violin 2 – divisi missing in
MS and 40.999 (divisi in 19.480/3,
6001, 1887 and 1890).
68 tenor & bass tubas – MS is ambiguous
here. A cresc. is written above the
tenor tuba stave, and cresc. seems to
have been written below the bass tuba stave, but has been scribbled out. An
unclear cresc. is written above the
contrabass tuba stave. In 40.999 cresc.
is written under the bass tuba stave. 19.480/3 confirms that the cresc. applies to all parts.
69 violin
1 – lower part – the A natural, written as a minim, should be a semibreve (as
per 19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890).
71 clarinets
– presumably only clarinet 1 (as per oboe part, and 19.480/3, 40.999, 34.614/2,
6001, 1887 and 1890).
cello – bass clef added by Bruckner (the cellos last played in treble
clef, bar 65).
73 viola
– 19.480/3 has mf, but there is no
dynamic marking in MS; the mf in
40.999 is an addition by Bruckner (compare with the copyist’s mf in the cello part).
75 oboe 1 & clarinet 1 – 40.999 supplies
the slurs missing from MS (also found in 19.480/3, 34.614/2, 1887, 1890 and in
MS bar 76).
violin 1 – divisi should be
half a bar earlier (i.e., in the second half of bar 74 – editorial divisi in 1890).
77 oboes – 40.999 supplies the slurs
missing from MS.
horns 1-4 – the last two notes are slurred in MS, but there are no slurs
in 40.999 or in other 1887 sources such as 19.480/3. As there are no slurs in
the equivalent passage (bar 172) it has been decided to omit them on the
grounds that this is most likely an error on the part of the copyist.
78 oboes, clarinets – slur missing from MS.
Bifolio 6 – bars 79-84 / 85-90 / 91-96 / 97-100
81 no rehearsal mark in MS, E in 19.480/3, 40.999, 34.614/2 and
6001.
double bar line only in MS and 1890 – 19.480/3, 40.999, 34.614/2, 6001
and 1887 have an ordinary bar line.
horn 3 – the quavers in bars 81-82 are barred differently (two groups of
two) in the other sources.
83 flutes
– pp in MS, p in all other sources, including 40.999 and 19.480/3; copyist’s
error.
flutes – minor erasure by copyist (near note-head).
oboe 2 – not clear where the slur starts in MS – 2nd or 3rd
note? 1887 takes the slur from the 4th (written) note, 40.999 takes the slur
from the 2nd note (the second db), while 19.480/3, 34.614/2, 6001
and 1890 have no slurs in the oboe 2 part.
84 oboe
1 – in the sources the first notes of bars 84 and 86 are written as dotted
crotchets with a triplet sign.
85-6 oboe
2 – tie missing between first note and second note; slur taken from the start
of the bar in MS, 40.999 and 1890 and from the 4th note in 1887;
19.480/3 and 34.614/2 have no oboe 2 slur in these bars; in 6001 the last two
notes only are slurred.
clarinets 1 & 2 – slurs missing in MS, 19.480/3, 40.999, 34.614/2,
6001 and 1887; bracketed slurs in 1890.
87 oboes,
clarinets – no dynamic marking in MS; 40.999 supplies mf (also in 19.480/3, 34.614/2, 1887 and 1890).
clarinet 2 – 4th note written b natural in MS and all the
manuscript sources, corrected to bb in all the published versions (1892, Haas,
1887 and 1890)
88 clarinets
– last dyad is written f / A natural (concert eb / g natural) – should be g natural
/ b natural (concert f / A natural), as per 19.480/3, 40.999, 34.614/2, 6001,
1887 and 1890.
88-9 oboe 2 – no slur in MS or 34.614/2, slur
supplied by 40.999 (also slurred in 19.480/3, 6001, 1887 and 1890).
89 flutes
1 & 2 – first note written double-dotted minim in MS, 19.480/3, 40.999,
34.614/2, 6001 and 1887, but should be minim tied to quaver, as in 1890.
oboe
2 – first note is a crotchet b natural in MS, 19.480/3, 40.999 and 34.614/2,
which clashes with the clarinets. 6001 and 1887 have an ordinary quaver.
The editorial triplet quaver in 1890, 1892 and Haas is however necessary
for correct performance.
clarinets
1 & 2 – triplet number missing.
91 violin 2, viola, cello – first note has a tenuto line in MS, violin 1 has an accent.
As
the indications in the MS are inconsistent, markings have been made uniform in
bars 91-94 as per 19.480/3, 40.999, 6001, 1887 and 1890, in which the first
note of each bar has a down-bow and an accent in all parts.
cello – bass clef change missing from MS (appears to be an emendation in
6001).
93 strings
– no dynamic marking in MS; f supplied
by 40.999 (f also in 19.480/3, 6001
and 1887).
94 strings
– violin 1, viola and cello have a tenuto line in the MS, while violin 2 has an
accent. The transcription has been regularised in accordance with 19.480/3, 40.999,
6001, 1887 and 1890, where all parts have a tenuto line as well as a down-bow
and an accent on the first beat. (In 34.614/2, violin 1 and 2 and viola have a
tenuto line, an accent and a down-bow on the first note; the cellos only have a
tenuto line).
viola,
cello – no down-bow marking.
95 no
rehearsal mark in MS, F in 19.480/3,
40.999, 34.614/2 and 6001.
violin
1 – G Saite extending line editorial.
viola,
cello – divisi missing from MS, 19.480/3,
40.999 and 6001.
double
bass – 40.999 supplies the ohne
Anschwellung missing from MS (also found in 19.480/3).
97 violin
2 – 40.999 supplies the tenuto lines and slurs missing from second half of bar
in MS.
99 violin
1 – 1887, 6001 and 1890 have an accent on the first note, MS has a decrescendo,
probably following 40.999, where the marking is ambiguous (TK). Reference to
19.480/3 shows that an accent is correct, although the accent sign is perhaps
larger than usual, which may have misled the copyist of 40.999. 34.614/2 also
has an ambiguous marking midway between an accent and a descrescendo.
violin 2 – triplet marks missing.
Bifolio 7 – bars 101-104 / 105-108 / 109-112 / 112-116
103 violins
– dynamic marks are written between the staves, and it is not clear which parts
they refer to, but as the violas and cellos do not have any dynamic change in
6001, 40.999, 1887 and 1890, they are taken to refer to the violin parts only.
105 horn
3 – no dynamic marking in MS or 19.480/3. The p in 40.999 is a later addition.
violas – no cresc. semp. (as
per other parts) in MS, 19.480/3, 40.999, 34.614/2 or 6001 (in the last of these
there is no room). Editorial cresc.
sempre in 1887 and 1890.
106 violin
2 – 40.999 supplies the slur missing (as per violin 1) from MS and 19.480/3.
109 no
rehearsal mark in MS, G in 19.480/3,
40.999 and 34.614/2
bassoon 2 – natural sign missing (as per brass and strings).
violin
1, violin 2, viola, cello (upper), double bass – no dynamic markings in MS.
40.999 supplies p in violin 1, violin
2 and cello upper part, but the p in
the viola part is a later addition by Bruckner (p is found in all parts in 19.480/3, 6001, 1887 and 1890).
violin 2 – tenuto lines missing on the first note, throughout bar 110,
and on the first note of bar 111 in MS and 40.999. The first notes of bars 113
& 115 do however have tenuto lines, although bar 114 does not. In the
equivalent passage in the exposition (bars 8 and 10), the two final notes of
this phrase have tenuto lines. There are no tenuto lines in 19.480/3, 6001 or
1887, but all the detached notes have lines in 1890.
109 cello
(lower part) – 40.999 supplies the dynamic markings missing from MS, here and
in bar 110 (as per double bass, 19.480/3, 6001, 1887 and 1890).
110 bassoon
2, contrabass tuba, cello (lower), double bass – the slurring of the main theme
is not consistent in bars 109-116 in the MS, where in any case slurs are
sometimes omitted or not always indicated clearly.
·
19.480/3
– cellos and basses slur notes 1 & 2 throughout, bassoon and contrabass
tuba slur notes 1-3, apart from bar 116, where the contrabass tuba has no slur.
·
1887
– cellos and basses slur notes 1 & 2 throughout, bassoon and contrabass
tuba slur notes 1-3 throughout. This is also the phrasing given in 6001, apart
from bar 116, where there are no slurs in the bassoon and contrabass tuba
parts.
·
34.614/2
– cellos and basses slur the first two notes only in bars 110, 112, and 114,
while in bar 116 the slur is ambiguous. Bassoon 3 slurs notes 1-3 in bars 110,
112 and 116, while the slur in bar 114 is ambiguous. The contrabass tuba slurs
notes 1-3 in bars 110, 112, and 114, but has no slur in bar 116.
·
MS
– cellos slur notes 1 & 2 in bars 110 and 116, and notes 1-3 in bars 112
and 114; double basses slur notes 1-3 in bars 110, 112, and 114, and slur notes
1 & 2 in bar 116; bassoon slurs notes 1-3 throughout; contrabass tuba slurs
notes 1-3 in bars 110 and 112, and has no slurs in 114 and 116.
·
1892
– notes 1 & 2 only are slurred in all parts.
·
1890
and Haas – All three notes are slurred in both strings and wind.
So far as can be seen, slurring in 40.999 is consistent with 1887.
Pasting over in the horn parts in pages 3 and 4 of bifolio 7 of 40.999, and in
the trumpet parts in page 4, has however covered over slurs in the bassoon and
contrabass tuba parts (respectively), but it is still clear that notes 1-3 are
slurred in the contrabass tuba parts in bars 110 and 112, while notes 1 & 2
only are slurred in the strings throughout this passage (1890 bars 109-116).
Although the MS is the most inconsistent of all the sources, it is clear
from the sources, taken globally, that Bruckner intends that the bassoon and
contrabass tuba should slur notes 1-3 throughout this passage, and that the
cellos and double basses should only slur notes 1 & 2. Evidently Bruckner
sought, by adopting different phrasing for strings and wind, to combine
fullness of sound with clear articulation (see also bars 6-8 in all versions).
This is consistent with the dual slurring of the theme elsewhere (see for
instance 1890 bars 186, 188, 194 and 196 in Nowak’s edition), and is the system
adopted here. The evidence suggests that the same slurring holds good for the
1887 and 1890 versions, and that therefore, of the published scores, only
Nowak’s edition of the 1887 score represents Bruckner’s intentions correctly.
horn
3 – no dynamic marking in MS, 40.999 or 34.614/2 (p in 19.480/3 and 1887).
111 horns
1 & 2 – the last note should be f#. Horn 1 should be tied, and horn 2
should be slurred to the first note of bar 112 (see bars 113-114).
violin
2 – tenuto line missing in MS and 40.999 (see note to bar 109).
cello
(lower part) – one again, 40.999 supplies the opening hairpin missing from MS (the
closing hairpin in bar 112 is present in MS).
113 flutes,
oboes – 40.999 supplies the p missing
from MS (p also in 19.480/3, 34.614/2,
6001, 1887 and 1890), along with the cresc.
in the clarinet part.
bassoon
2 – no marking in MS, but the top of a p
is just visible in 40.999.
contrabass tuba – no dynamic marking (p in 40.999 is partly written on top of a glued-on patch and
therefore cannot be original).
horn
3 – slur not carried over from previous page in MS or 34.614/2.
viola
– no divisi indication in sources.
114 clarinet
– 40.999 supplies the dim. missing
from MS.
Bifolio 8 – bars 117-122 / 123-126 / 127-131 / 132-136
117 no
rehearsal mark in MS, H in 19.480/3,
40.999, 34.614/2 and 6001.
horn 2 – first note unclear (should be written e natural, sounding A
natural).
strings – no dynamic markings (mf in other parts, and in 19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890).
119 bassoon
3 – first note should be c# (as per bassoons 1 & 2, cellos, basses, bass
trombone and contrabass tuba).
122 bassoon 3 – first note should be d# (as per
other instruments as above).
125 tenor
tubas – (loco) added as per 1887.
cellos, double basses – no ties between second and third notes
(throughout next four bars) in MS, 40.999 or 1890. The direction gestrichen confirms that this is
intentional.
126 horns
1 & 2 – second note corrected from f# to f natural (concert bb, as per horns 3 & 4), probably
by Bruckner (much darker ink).
127 bass
tuba 1 – written fb, but should be f natural (concert bb) (an emendation?) The bass tubas
have db / bb in 34.614/2, 40.999, 6001, 1887 and
1890.
violin 1 – the ‘trem’ should be extended to the end of bar 128, as per
40.999 and 1887 (see above). 34.614/2 has ‘trem’ with a short extending line.
violin 2 – ‘trem’ missing from MS; present, and extended for all four
bars in 6001; added in pencil to 19.480/3; 34.614/2 has ‘trem’ with a short
extending line.
129 all parts – poco a poco accel. in all parts in MS and other sources – transferred to system text (as per 6001, 1887 and 1890).
tenor tubas – editorial (loco) added as per 1887.
violin 1 – no tenuto line on first note of this phrase in bars 129-132
(or in 40.999 or 1890). Violin 2 does have tenuto lines in equivalent places in
MS, but not in 40.999 or 1890 (apart from bar 129)
133 violin 1 – accidental before the second note
corrected to ebb (by Bruckner? darker ink and slightly broader trace) – erasure before
final note.
135 ritard. in all parts – transferred to
system text.
violin 1 – second note corrected to ebb (by copyist? The handwriting is
different from the emendation in bar 133).
viola – unclear, but should be ab / gb / ebb / cb (as per 40.999) .
136 oboes,
clarinets – should be tied to the following notes. The continuation is found on
the next page (the sources are inconsistent. 19.480/3 ties the wind in bars
135-136, but the tie is not carried over the page; its continuation is found on
the next page, but while the clarinets are tied, there are no slurs or ties in
the oboe parts. There is no tie in oboe 2 in bars 136-7 in 6001.)
violin 1 – last note corrected to ebb (by copyist. Extra flat inserted.)
violin 2 – slur not carried over the page to first note of bar 137. The
continuation is found on the first page of bifolio 9 (in 19.480/3, 6001 and
1887 the slur is extended to the second note)
Bifolio 9 – bars 137-142 / 143-144 / 145-146 / 147-150
137 viola
– the notes are unclear, but should be ab / gb / db / cb – changing to ab / ab / db / cb (remaining in four parts).
138 viola
– should read ab / f natural / db / cb.
139 rehearsal
mark J is in MS, as are all
following rehearsal marks.
all parts – a tempo
transferred to system text.
bass tuba 2 – first note unclear (should be db, sounding gb) – second note erased and c
(concert f) substituted.
143 flutes,
oboes – cresc. semp. (as per
clarinets and harp) in 19.480/3, but missing from MS and 34.614/2 (TK). 6001
has cresc. semp. in the oboes and
clarinets only.
148 violin
solo – slur not carried over to the next bar in 19.480/3, 40.999 [Bruckner’s
replacement bifolio], 34.614/2, 1887 and 1890 (possibly a copyist’s error).
149 cello
– slur missing from second half of bar (as per viola part).
150 horn
1 has a tie, but no note to tie to.
horn
2 – no slur in MS or 40.999, slurred in Haas and 1890.
Bifolio 10 – bars 151-154 / 155-159 / 160-164 / 165-170
151 violin
solo – down-bow in the second part of bar in MS, 19.480/3, 40.999, 34.614/2,
6001 and 1887, and again in bar 152, but the context does not suggest two
successive down-bows. 1890 and Haas retain the down-bow but remove the slur.
TK’s suggested notation respects Bruckner’s markings but leaves their
realisation to the player(s).
violin
2 – copyist’s ? in the second half
of the bar (possibly querying if the second violins should have the same rhythm
as the violas and cellos).
cello – 40.999 supplies both the slur and the dynamic marking missing
from MS (pp also in viola and in
19.480/3, 34.614/2, 6001 and 1887).
153 viola,
cello – second note should have a down-bow, as per all other occurrences of
this theme (bars 53, 63, and 163).
cello – first note tenuto line missing from MS, present in 40.999, 34.614/2
and 6001.
cello – accidental in front of the third note has been corrected to f#.
154 violin
2 – first note, upper part, should be a dotted minim.
155 flutes
1 & 2 – no dynamic marking in MS, (p
in clarinets, and in the flute parts in 40.999, 34.614/2, 6001, 1887 and 1890).
viola,
cello – tenuto line missing in MS and 19.480/3, present in 34.614/2 and 40.999
(although the line in the viola part is covered by a patch in the violin parts).
157 horns
3 & 4 – first note amended (from g? – unclear) to bb (concert eb).
trumpet
1 – accent missing (as per trumpet 3 and 1890). The part in 40.999 seems to
have been emended later.
solo
violin – no dynamic markings in MS. The f
in 40.999 is a later addition of Bruckner’s.
158 cello
– 40.999 supplies the slur missing from MS (first two notes).
159 violin
solo – first note up-bow in MS, 40.999, 19.480/3 and 6001. In this case, Haas
and Nowak’s down-bow must be correct.
161 violin
2 – copyist ? over the last two
notes – again, querying whether these notes should not be semiquavers / 16th
notes (quavers / 8th notes are correct).
162 violin
1 – cresc. missing from MS, 40.999, 19.480/3,
34.614/2 and 6001.
viola – cresc. missing from
MS, 340.999, 4.614/2 and 6001 (insufficient space).
163 viola
– tenuto line on first note in 19.480/3 and 6001, missing from MS, 40.999 and
34.614/2.
165 clarinets 1 & 2 – no dynamic marking in MS; the mf in 40.999 could be a later addition (the style is different from the mf in the other parts). mf in 19.480/3, 34.614/2 and 6001, and in the oboe parts.
horns 1 & 2 – 40.999 makes it clear that only horn 1 plays (as in 19.480/3, 6001, 1887 and 1890).
NB – violin solo – the first three notes in MS are quaver–semiquaver–semiquaver. In 40.999, 34.614/2, 6001, 1887 and 1890 the first note is a dotted quaver and the two following notes demisemiquavers, which must be intended here.
167 tenor tuba 1 – explicitly p in both tenor tubas in MS, but tenor tuba 1 is mf in all other sources (see bar 67).
contrabass tuba – no dynamic marking in MS, 40.999 or 34.614/2 (p in 6001, 1887 and 1890).
violins – divisi written between violin 1 & 2 systems, and should apply to both (in 6001 divisi is written under the violin 2 line).
168 horns
1 & 2 – erasure in first (silent) part of bar (a2 corrected to a1 – all
other sources have a2).
169 tenor tuba 1 – although not ideally clear, 40.999
seems to have the f missing in MS (but
found also in 19.480/3 and 1887).
Bifolio 11 – bars 171-176 / 177-182 / 183-190 / 191-192
171 clarinets
– the instrument indications at the side of the stave (cl. 1 – 2 / = 3) does
not correspond to the music, where clarinet 1 is on the upper stave, clarinets
2 and 3 on the lower.
bassoons – 40.999 supplies the ff missing
in the MS ( ff in other wind and 1890).
Although in Bruckner’s hand, this bifolio originated as part of Adagio 2 (see
above).
violins – ‘trem’ should logically apply to both parts (TK).
173 trumpet 1 – last note corrected by Bruckner
from b natural to bb (concert eb) – natural erased and flat sign written underneath the stave.
viola – 1st note – double
dot missing.
175 clarinets
– MS clearly allots the lower clarinet part to clarinet 3, but in 40.999
Bruckner allots it equally clearly to clarinet 2. It may be that the copyist
was following 40.999 in writing the parts on different lines, and was misled by
the layout at the side of the stave described above (note to bar 171).
178 cello
– slur seems to carry over to the next bar (probably wrong. In 40.999 the cello
does not carry over, but the part has been emended).
190 MS
differs from all other sources (crotchet d flat – crotchet c – quaver d flat –
e flat – crotchet rest); we believe that the copyist misread the original.
191 timpani
– treble clef at the side of stave.
violin solo – this part is indicated at the side of the stave, but is
not required for the remainder of the movement.
viola – no dynamic mark in MS and 40.999 (p in 34.614/2, 6001, 1887 and 1890, and other parts).
–
in MS, zart hervortretend seems to be
written above the viola part instead of the violin 2 part (as in 40.999,
34.614/2, 6001, 1887 and 1890).
– 12/8 time signature in 19.480/3, but not in MS (it does not appear
until bar 203, when the other upper strings share the sextuplet figuration) or
34.614/2, which indeed adds a C. In
6001, 12/8 seems to be written over C (unclear). In 40.999 Bruckner inserts Alto 12/8.
– 12th note should be eb (as per 19.480/3, 40.999, 34.614/2,
1887 and 1890), not db.
second violins, violas, and double basses – no arco after the previous pizz.
in MS, 19.480/3, 40.999 or 34.614/2 (editorial arco in 1890 and Haas).
cello – no divisi in MS,
19.480/3, 40.999, 34.614/2 or 6001.
192 viola – 3rd group of sextuplets
amended (possibly by Bruckner) so that the second and third notes read f
natural.
viola – flat sign inserted before last note of 4th group of
sextuplets (by the copyist?)
Bifolio 12 – bars 193-194 / 195-196 / 197-198 / 199-200
193 horns 3 & 4 – instrument name at the
side of the stave corrected by Bruckner from F to B [bb]. Repeated throughout bifolio 12
(bars 195, 197 and 199).
194 violas
– the bbb before the 6th
note appears to be a correction by the copyist from bb.
195 oboes
– tie / slur not carried over from previous page.
tenor tuba 2 – dotted minim in MS and 40.999 – should be minim tied to a
quaver, as per other parts and 19.480/3, 34.614/2, 1887 and 1890.
196 violin
2 – 40.999 supplies the tenuto lines missing from MS.
viola – 6th note unclear, should be b natural (as per 40.999,
34.614/2, 6001, 1887 and 1890).
197 horns
3 & 4 – 40.999 supplies the slurs missing from MS.
198 violin
1 – 5th note (a#) – accidental seems to have been emended by the
copyist (sharp inserted between natural sign and notehead).
viola – 6th note unclear, should be d natural (as per
19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890).
viola – overall slurs missing from the first two sextuplet groups.
199 horns
3 & 4 – should be tied to next note, as per bars 201-202 (TK) (and as per
19.480/3, 40.999, 6001, 1887 and 1890).
violin 1 – last note f in
19.480/3, 34.614/2, 6001 and 1887, no dynamic marking in MS.
violin 2 – no dynamic marking in MS or 34.614/2, but 19.480/3, 6001, 1887
and 1890 have f, as do oboes,
clarinets, horns in MS. (The f in
40.999 is a later addition of Bruckner’s.)
viola – 12th note unclear, should be d natural, as per
19.480/3, 40.999, 34.614/2, 6001, 1887 and 1890.
cellos – slurs / bowing marks missing from MS (TK) – supplied by 40.999.
200 viola
– overall slur missing from 3rd sextuplet group (the slur in 40.999
is a later addition).
Bifolio 13 – bars 201-202 / 203-204 / 205-206 / 207-208
201 horn 4 – first note corrected by Bruckner
to bb (concert ab).
contrabass tuba – slur missing (not
carried over from previous page) (TK).
202 clarinet
2, horns 1 & 2 – slur missing (as per clarinet 1 and bar 200).
violin 1 – second note is bb in MS. 19.480/3, 6001 and 1887 have bbb, while 40.999, 34.614/2 and 1890
have bb. The melodic
profile resembles the 1887 rather than the 1890 version, but the MS reading
could be a variant.
viola – 4th and 5th notes written dbb, which could be an error for d
natural (as per 19.480/3, 40.999, 1887 and 1890).
203 strings
– should all have a pp on the fourth
group of sextuplets, as per brass parts, 19.480/3, 6001 and 1887 (see the
equivalent passage in bar 207).
violin
2 – divisi in 19.480/3, missing in MS.
viola – notes 16 and 17 should be f# (as per upper parts), not f natural.
viola – note 19 should be A natural
(as per upper parts), not ab.
cello, double bass – missing divisi in MS and manuscript sources; 1890 has editorial (div.).
204 violin
1 – 10th note corrected by Bruckner to d natural (as per violin 2
and viola).
205 horns
1 & 2 – accents missing (as per horns 3 & 4) (TK).
horns
1-4 – last two notes single dotted in MS, but double dotted in all other
sources.
trumpets, trombones and contrabass tuba – the slur is not carried over
from the previous page in MS, 40.999 or 34.614/2, but is carried over in
19.480/3, 6001 and 1887 and in the MS at the equivalent passage at bars 208-9.
trumpet
1, contrabass tuba – no cresc. (as
per 40.999, 1887 and other brass).
206 horns
– last note changed (by copyist) to b natural (an extra natural sign is written
above the horns 3 & 4 line in confirmation). However, other sources have b
flat (sounding e flat), which agrees with the strings (TK). Editorial (cresc.) added in both parts in
agreement with other sources and (Haas and 1890 assume the crescendo in the
previous bar to continue through this bar; however in the Intermediate Adagio
horns 3 and 4 are silent in bar 205).
207 cello, double bass – divisi missing.
208 trombone 1 – second note changed from f
natural to f# (by copyist?)
Bifolio 14 – bars 209-211 / 212-214 / 215-217 / 218-220
209 trumpet
1 – slur not carried over from previous page in MS, unlike trombones and
contrabass tuba (and as per 19.480/3, 40.999 and 1887).
210 horns
1 & 2 – third note – accent corrected from ordinary accent to chevron
accent (by copyist?) – as per 19.480/3 and 6001.
211 timpani
– no dynamic marking in MS (TK) – missing indication supplied by 40.999.
214 trumpet
2 – first note corrected to cb (possibly by Bruckner – N.B. the cb in 19.480/3 also seems to be a
correction).
215 As
stated above, reference to 40.999 shows that Bruckner initially revised the
first six bars of this passage (pages 3 and 4 of bifolio 14), to make it
consistent with the MS. It seems that he originally intended to reduce this
passage (1887 bars 225-234) to six bars in length (as in the Intermediate
version), corresponding to 1887 bars 225-230, omitting the four bars on pages 1
and 2 of bifolio 15 (1887 bars 231-234). The alterations change the effect of
the passage, so that instead of separating the two massive tutti at letters P
and Q, it instead links them through the crescendo in (Intermediate) bar 220.
Bruckner’s voice-leading annotations at the right-hand side of the stave of
page 4 of bifolio 14 confirm that the final bar of the passage was intended to
lead directly into the tutti at letter Q:
Oboe: as [ab] – es [eb]
Clarinet:
fes [fb] – es [eb]
Horns
1: b [bb] – c
Horns
2: b [bb] – as [ab]
Violin
1: fes [fb] – es [eb]
Violin
2: des [db] – es [eb]
Viola:
des [db ] – es [eb]
Cello:
b [bb] – es [eb]
Double
Bass: b [bb] – es [eb]
40.999
also shows substantial erasures in the flute, horn 1 & 2, and violin 1
lines. Eventually Bruckner decided to omit the passage entirely, crossing out
both pages and the four following bars (three of which are on page 1 of bifolio
15, while the fourth is on page 2). The result is that in the 1890 version the
tuttis at letters P and Q follow each other without a break.
It
should be noted that while bars 209-218 of the Haas score are for the most part
consistent with 1887 bars 223-234, two small variations between Haas’s score
and Nowak’s edition of the 1887 version can be traced to 40.999: the slurring
of the oboe 1 part in bar 218, and the grouping of the first four oboe notes in
bar 219.
215 violin
1 – In the MS, Bruckner has inserted accidentals before the first two notes (in
a much larger hand and in darker ink), making it hard to see how the MS
originally read. The second note may have been written as g natural. The
amended text agrees with the 1887 original.
Bruckner altered the text in 40.999 to give a different version of the
first group of sextuplets: bb′ – cb″ – cb″ – bb′ – bb′ – a natural′.
The revised version is in keeping with the more even, less melodically
distinct style of the sextuplet figuration adopted in the 1890 score, but is
not consistent with the pattern of the figuration in the rest of the passage –
for instance, in the second half of the same bar. The earlier version has been
retained in the transcription. It may be that Bruckner would have gone on to
revise the remainder of the violin 1 part had he decided to retain this
passage, but as it stands the text in 40.999 is not musically logical.
It seems that Bruckner had no sooner begun to revise the violin 1
figuration than he thought better of it, and decided to remove the passage
entirely.
Violin 2, viola – MS has pp here, p in bar 217 and mf in bar 219 (following 19.480/3. This edition follows the emended dynamics of 40.999, which accentuate the crescendo to bar 221.
216 violin 2, viola – 40.999 supplies the
missing tenuto lines.
217 tenor tubas – written eb / cb, should be f / db (concert eb / cb) as per 40.999. Ties to following
bar are missing in MS and 40.999, but are given in the transcription as in
40.999 the continuation of the tie is found on the next page (bar 218).[†]
218 clarinet
2 – illegible mark before end of bar (erasure?)
tenor and bass tubas – as noted, 40.999 supplies the ties from previous
bar in MS.
219 tenor tubas – loco from this point to the end of the movement (as per 19.480/3) –
omitted in MS and 40.999.
violin 1 – last note of second group of sextuplets changed in MS –
should be ab (as per bar
220 and 40.999).
violin 1 – fourth note from the end unclear in MS – should be bb (as per bar 220 and 40.999).
220 oboe 1 – final note (ab) in 40.999, not in MS (see note
above on voice-leading annotations)
tenor & bass tubas – cresc.
missing in both MS and 40.999 (TK), but added (in parentheses) in Haas.
clarinet 2 – third note (g) has no accidental in MS, gb (concert fb) in 40.999.
violin 2 – first note is a dotted crotchet in MS, a crotchet following a
quaver rest in 40.999 (as per violas). The dynamics and articulation in 40.999
give a stronger crescendo and therefore a more convincing link to the tutti at
letter Q.
Bifolio 15 – bars 221-222 / 223-224 / 225-226 / 227-228
221 wind
– dynamic markings missing in all wind parts in MS (should be ff, as per 34.614/2 and 6001. The ff in 40.999 has been added by Bruckner).
viola, cello, double bass – dynamic marks missing (ff in 40.999 – copyist’s original dynamics – and in 34.614/2 and
6001).
222 clarinet 2 – slur missing from quintuplet,
as per 40.999 and all other wind parts.
223 horns 3 & 4 – [in] F written at the side
of the stave (on the next page the transposition is correctly given as B [Bb]).
viola
– no dynamic marking (p).
224 violin
1 – slurs inaccurately placed (the first slur should cover the first five
notes, the second slur should start with the quintuplets, as per 1887).
226 violin
1 – erroneous extra slur on the last two notes.
228 horn
4 – no dynamic marking (should be pp)
(TK).
viola – overall slurs missing from 3rd and 4th
sextuplet groups.
Bifolio 16 –
bars 229-231 / 232-234 / 235-236 / 237-238
229 horn 4 – second note written c natural –
should be cb (concert a
natural, as per violin 2). 34.614/2 has a b with an erasure in front.
230 horn
3 – written f should be f# (concert e natural) as per 34.614/2 and 1887.
violin 2 – sextuplets have no overall slurs (they resume in bar 232).
violin 2 – 10th note should be c# (not c natural), as per
violin 1.
231 violin 1 – last note unclear (altered) –
should be d#.
234 flutes 1 & 2 – slur missing (as per
flute 3 and other wind).
235 flutes – the initial f [forte] was added by Bruckner (see above for the differences
between Bruckner’s writing and his copyists’).
oboe 3 – 7th note and
last note unclear – should be eb (as per violas).
oboe 3 – rests and note values not clear – seventh note should be a
demisemiquaver, following a dotted semiquaver rest.
viola – the slurring in this passage is inconsistent and unclear. In bar
235 the four demisemiquavers are slurred, but an extra line seems to extend the
slur to the following quaver g natural. The remaining slurs are ambiguous. In
bars 237-238 however it is clear that the viola slurs only the four
demisemiquavers.
The wind (oboe 3 and clarinet 3) slur all five notes throughout, another
example of differential articulation.
236 oboe
3 – 7th note unclear, should be eb (as in previous bar).
violin 2 – last note unclear.
237 oboe 1 & 2 – third group of
semiquavers should be slurred (as per other groups).
238 viola – erroneous extra slur mark between
2nd and 3rd notes.
Bifolio 17 – bars 239-240 / 245-246 / 241-242 / 243-244
[sic]
241 horn 3 – last note, written b natural,
should be a# (concert g#).
245 this
bar and the next are in the wrong place in the MS (on the second page of
bifolio 17 – as it stands, they appear to come between bars 240 and 241).
violin
2 – second sextuplet group seems to be written over an erasure.
clarinet
2 & 3 – second note written g flat, should be g natural (concert f).
246 violin
1(b) – 6th and 7th notes should be slurred.
Bifolio 18 –
bars 247-248 / 249-250 / 251-253 / 254-255
247 strings
– precautionary time signatures entered in all parts.
248 horn
3 – first note written as a semibreve, but should be a minim.
249 bassoon 2 & 3 – first note: double dot
missing.
bassoon 3 – written c natural, should be c#.
cello – the third note from the end is missing a natural sign (to apply
also to the final note).
253 horn 1 – tie or slur in MS, not continued
on fourth page and probably erroneous.
horn 2 & 3 – ending of slur
unclear; probably not intended to extend to bar 254 on the following page.
horn
4 – slur missing.
violin 1 – first group of sextuplets (only) has an overall slur in MS.
viola, cello, double bass –
redundant common time signature indication.
255 flute 1 – semp. (after cresc.)
should logically be extended to the other wind and brass.
bass tubas – the part should have a treble clef for the next seven bars
(bass tuba 1 has written e natural, sounding A natural, as per horn 2 and
violas, bass tuba 2 has written c natural – c#, sounding f natural – f#, as per
cellos).
Bifolio 19 – bars 256-257 / 258-259 / 260-261 / 262-268
256 horns
3 & 4 – first note (written g) should be g# (concert f#).
viola – top note (written b#) should be b natural, as per horn 1.
257 bassoons
– tie and accent missing (the end of the tie is visible on the next page).
trumpet 2 – accidental has been emended.
bassoons
– no accent (as per other wind parts).
timpani
– roll notated in minims throughout this passage. ‘Trem’ and extending line
added for bar 257 only (intended to apply to whole passage).
cymbals
and triangle – no dynamic marking (fff
in 1887).
NB
– these instruments are assigned pitches – g″ for the triangle, bb′ for the cymbals – see note
above (TK).
Triangle
– tremolo lines editorial (MS unclear).
harp
– last three notes should have an 8va
(TK).
cello,
double bass – missing divisi (TK).
261 trumpet
1 – accent missing on first note (all the other wind and brass instruments have
the chevron accent, as does 40.999).
timpani
– MS has a tie to the second written note, which is not in accordance with
19.480/3, 40.999, 34.614/2, or with Bruckner’s usual practice. The note cb is itself unusual – 40.999 has eb (TK) – but not necessarily wrong.
cymbals
and triangle once again assigned pitches in the MS (both on eb).
triangle
tremolando mark editorial.
262 viola
– missing divisi.
265 violin
1 – slur missing from second half of bar.
266 viola
– missing divisi.
267 trombone 1 – second note written ab, should be A natural (as per violas
and 19.480/3).
268 trombone 2 – second note written c natural,
should be cb (as per violas
– 19.480/3 seems to have been emended to cb).
Bifolio 20 – bars 269-270 / 271-274 / 275-278 / 279-282
269 harp – no dynamic marking (mf in 19.480/3, 34.614/2 and 1887) (TK).
violin 2, viola – divisi missing in MS, given in 19.480/3,
34.614/2 and 6001.
270 viola
– bottom note of chord should be e natural throughout (as per violin 1 & 2).
cello – missing divisi in latter part of bar.
271 harp – no dynamic marking (f in 19.480/3, 6001 and 1887) (TK).
272 horn 1 – no dynamic marking (p in 19.480/3, 6001 and 1887).
273 violin
1 – slur missing from second half of bar (as per 1887).
275 horn 4 – second note should be f# (concert e
natural) as per violin 2, cellos and basses.
violin
1 – slur on second half of bar missing in MS, 19.480/3 and 6001.
277 violin
2, viola – divisi in 19.480/3,
missing in MS and 6001.
278 cello – missing divisi in MS, 19.480/3 and 6001.
281 clarinet
1 – no dynamic marking in MS – 19.480/3, 6001 and flute part have mf.
Bifolio 21 – bars 283-287 / 288-292 / 293-298 / 299-304
284 cello
– notation indicates divisi in latter
part of bar (two stems).
285 horns
3 & 4 – MS does not make clear how many horns play – only horn 3 plays in
19.480/3, 40.999, 34.614/2 and 6001.
cello
– divisi missing in MS, 19.480/3 and
6001, present in 40.999.
290 horn 1 – slurred in 19.480/3 and 6001, slurs
missing in both MS and 40.999 (which may however be a pasted-on passage – see
also bars 292, 294 and 296). [NB – 34.614/2 has no slurs between bars 293-296.]
297 tenor
and bass tubas – 40.999 supplies the ties missing in MS, 19.480/3 and 34.614/2.
bass tubas – no clef indication in MS, 40.999 or 6001, given in 19.480/3
and 34.614/2.
violin 1, violin 2, viola, cello – p
missing from MS (as per double bass part, 19.480/2, 34.614/2 and 6001) (TK). In 40.999 the p in the violin 1 part seems to be
original (as may be the p in the
cello part); the p in the violin 2
and viola parts seems to be a later addition.
300 horn
1 – final note should be bb (concert eb).
Bifolio 22 – bars 305-312 / 313-317 (last two sides
blank)
309 violin
2, viola, cello – no dynamic marking (double basses have pp; violin 2, viola and cello have pp in 40.999, 34.614/2, and 6001; all parts have pp in 19.480/3).
317 tubas
have a pause on the final note in MS, tubas and violin 1 have a pause on final
note in 34.614/2. No pause for either violin 1 or tubas in 19.480/3, 40.999,
6001, 1887 or 1890.
Dermot Gault
September 2005
APPENDIX A
As stated
above, manuscript material relating to the Intermediate Adagio is held in the
collection of the Gesellschaft der Musikfreunde in
1. Bifolio 8 of the Adagio, in the hand of the copyist who wrote 40.999, containing 1887 bars 117-122, 123-128, 129-134, and 135-140. The text has been altered by Bruckner to bring it partly in line with the Intermediate Adagio. On the first page, for instance, the violin and wind parts are still as they are in the 1887 version, but the horn and trumpet parts have been altered. On the last two pages, 1887 bars 132, 134, 135 and 136 have been crossed out.2. A single folio, with 1887 bars 179-184 and 185-190 of the Adagio, in the hand of the same copyist. All four pages have been cancelled with diagonal lines in a manner typical of Bruckner. On the second page, a few rough drafts for a revised version of the violin line in Bruckner’s hand have been written in a vacant stave.3. Bifolio 16 of the Adagio in the hand of the copyist, containing 1887 bars 143-245, 246-248, 249-251, and 252-254. Again, all four pages have been cancelled by diagonal crosses in Bruckner’s familiar manner. ‘Um (?) Neuen’ is written in the top left hand corner of the first page. A few other annotations and rough drafts have been scribbled in vacant staves. ‘Vi - ’ is written at the start of 1887 bar 248.4. A draft of a revised version of bifolio 16 of the Adagio, in Bruckner’s hand. There are 12 bars, of which the first six correspond to bars 229-231 and 231-234 of the Intermediate Adagio. After this point the music develops differently. 5. Bifolio 17 of the Adagio, containing 1887 bars 255-258, 259-264, 265-269, and 272. Again, all four pages have been crossed out by Bruckner.6. A rough draft of a page corresponding approximately to bars 249-250 of the Intermediate Adagio, string parts only, in Bruckner’s hand.
APPENDIX B
Adagio
– Copy 1
As explained above, this copy of Mus.Hs. 19.480/3 served as the basis for both the Intermediate Adagio and the final version of 1890. Some of the bifolios are now preserved in A 178 in the Gesellschaft der Musikfreunde, while others were discarded and for the time being, at least, are lost. Most of the bifolios however now form part of Mus.Hs. 40.999, and were re-used for both later versions. Bar numbers relating to all three versions are given, where applicable, for the pages re-used in Mus.Hs. 40.999, except for bf 1-9, where the bar numbers for all three versions are identical. From bf 10 onwards, 1887 bar numbers are given in normal type, Intermediate Adagio numbers are in italics, and 1890 numbers are in bold. The layout of the lost bifolios can be deduced from Mus.Hs. 19.480/3, as it appears that the copyist followed Bruckner’s original. Bifolios 11 and 19 have been cut in two; in both cases only the second folio was retained in Mus.Hs. 40.999.
|
Bf |
Page 1 |
Page 2 |
Page 3 |
Page 4 |
source |
|
1 |
1-4 |
5-8 |
9-12 |
13-16 |
40.999 |
|
2 |
17-24 |
25-26 |
27-28 |
29-32 |
40.999 |
|
3 |
33-36 |
37-42 |
43-44 |
45-46 |
40.999 |
|
4 |
47-50 |
51-54 |
55-58 |
59-62 |
40.999 |
|
5 |
63-66 |
67-70 |
71-74 |
75-78 |
40.999 |
|
6 |
79-84 |
85-90 |
91-96 |
97-100 |
40.999 |
|
7 |
101-104 |
105-108 |
109-112 |
113-116 |
40.999 |
|
8 |
117-122 |
123-128 |
129-134 |
135-140 |
A 178 / 1 |
|
9 |
141-146 |
147-148 |
149-150 |
151-154 |
(missing) |
|
10 |
155-160 151-154 145-150 |
161-166 155-159 151-156 |
167-172 160-164 157-162 |
173-178 165-170 163-164 |
40.999 |
|
11a |
179-184 |
185-190 |
|
|
A 178 / 2 |
|
11b |
|
|
191-200 - - |
201-202 191-192 185-186 |
40.999 |
|
12 |
203-204 193-194 187-188 |
205-206 195-196 189-190 |
207-208 197-198 191-192 |
209-210 199-200 193-194 |
40.999 |
|
13 |
211-212 201-202 195-196 |
213-214 203-204 197-198 |
215-216 205-206 199-200 |
217-218 207-208 201-202 |
40.999 |
|
14 |
219-221 209-211 203-205 |
222-224 212-214 206-208 |
225-227 215-217 - |
228-230 218-220 - |
40.999 |
|
15 |
231-233 - - |
234-236 - 221-222 - 209-210 |
237-239 223-225 211-213 |
240-242 226-228 214-216 |
40.999 |
|
16 |
243-245 |
246-248 |
249-251 |
252-254 |
A 178 / 3 |
|
17 |
255-258 |
259-264 |
265-269 |
270-272 |
A 178 / 4 |
|
18 |
273-276 |
277-281 |
282-283 |
284-288 |
(missing) |
|
19a |
289-290 |
291-292 |
|
|
(missing) |
|
19b |
|
|
293-298 281-286 255-260 |
299-304 287-292 261-266 |
40.999 [NB – bf 20 in 40.999] |
|
20 |
305-310 293-298 267-272 |
311-316 299-304 273-278 |
317-324 305-312 279-286 |
325-329 313-317 287-291 |
40.999 [NB – bf 21 in 40.999] |