Sketch material
[Classification: notated music, manuscript, autograph, short score, sketch, fragment]
According to Threlfall, a single page of 'notes for Scene 8 of Fennimore and Gerda' (RT.1986, 181). This manuscript also contains various sketches annotated 'Niels Lyne', which Threlfall identifies as sketches for an incomplete work entitled 'On the Moors' or 'Impressions of Nature'. It is not clear why Threlfall makes no connection with Fennimore and Gerda, given that the first of these sketches bears comparison with the material for Fennimore and Gerda in MS Mus. 1745/1/39, which features the theme of the entr'acte introducing the tenth scene and is entitled '"Nils Lyne" On the Moors Sunday Morning Impressions of Nature' (see RL, 147).
GB-Lbl (British Library, London) MS Mus. 1745/2/9.
Rough sketches
[Classification: notated music, manuscript, autograph, short score, sketch]
A selection of sketches for the opera, primarily sketch material for the 'Gerda' episode, including material for the death of Gerda that was never used. A detailed description may be found in RL, 147-9. As in MS Mus. 1745/2/9, Delius's spelling of 'Nils/Niels' and 'Lyne/Lyhne' is erratic.
Draft full score and sketches
[Classification: notated music, manuscript, autograph, score, draft]
This manuscript contains (i) fragmentary sketches for 'Niels Lyhne', (ii) various sketches in draft short score and (iii) a pencil draft full score, with German words.
GB-Lbl (British Library, London) MS Mus. 1745/2/13/4.
Autograph full score
[Classification: notated music, manuscript, autograph, score]
217 pages.
The score contains the German text only. It is ink over pencil, with minor alterations and corrections in violet ink in an unknown hand, and other additions in red crayon.
GB-Lbl (Universal Edition Archive, on loan to British Library, London) Loan 54/2.
Vocal score
[Classification: notated music, manuscript, copy, vocal score]
This manuscript is described by Threlfall but not deposited in the British Library (RT, 49). It is in the hand of an unidentified copyist, and appears to have been made before any performances, as it does not incorporate later changes made such as the addition of three bars at the opening of the opera.
Libretto in German
Universal Edition, Leipzig; Wien 1919.
Otto Lindemann's vocal score
[Classification: notated music, print, vocal score]
Arranger: Otto Lindemann
Universal Edition, Wien 1919.
Universal published two versions of the vocal score, in German only, and with an English translation by Philip Heseltine, with some alterations and errors incurred in the latter during the process of accommodating English declamation. The title page featured a drawing by Jelka Delius of the scene at the end of the second picture, which is reproduced in the collected edition.
Full score
[Classification: notated music, print, score]
Dedicatee: Thomas Beecham
Universal Edition, Wien; New York 1926.
With German and English words.
Thomas Beecham's copy
This copy carries an inscription in Jelka Delius's hand: 'For Thomas Beecham with warmest greetings from his friend Frederick Delius, Grez sur Loing, 2.4.1926'. It also contains Beecham's editorial markings in scenes 10-11, and those of Eric Fenby in the remainder of the score.
Delius Trust, London.
Study score
[Classification: notated music, print, score]
1976.
A reprint in reduced format of the 1926 full score published by Universal.
Collected edition
[Classification: notated music, print, score]
Editors: Thomas Beecham, Robert Threlfall
Boosey & Hawkes, London 1989.
The collected edition is based on the autograph full score and the 1926 score, with both the German text and Heseltine's translation. It incorporates Beecham's editorial additions to his copy of the full score (scenes 10-11 only), and revisions by Eric Fenby to the dynamics in the rest of the score (DCE.RT, 53).
Sources