A: Score, autograph (copy from transparent originals)
[Source classification: music, manuscript, autograph, score, fair copy]
No titlepage. Undated. This is the first known version. All movements are included.
B: Score, autograph (copy from transparent originals)
[Source classification: music, manuscript, autograph, score, fair copy]
First title page: GEIRR TVEITT / (op. 151 no 46-60) / SUITE No 4 / BRUDLAUPS-SUITEN / No
46-60 AV ”HUNDRAD FOLKETONAR FRÅ HARDANGER” / ORKESTERPARTITUR
Second title page: Next page: TIL ODD GRÜNER-HEGGE
Undated. This score is a similar copy as SOURCE A, but some emendations are done
directly in the transparen originals. There are also many emendations in blue and red
pen and in pencil. Pages 73-74 are missing (in movement 57: “Skottrarar”). The source
has two scores of 48: Eit gamalt sel fortel: B1, B2. They are placed right after each
others, and are very similar. Note on the cover: ”Fjeldstad-partitur”.
C: Score, autograph (and copy from transparent originals)
[Source classification: music, manuscript, autograph, score, fair copy]
Title page: BRUDLAUPSTONAR / (SUITE NR 4 / av Hundrad folketonar frå Hardanger) /
GEIRR TVEITT: / Musique de Noces / (pieces d’orchestre tirées de la 4me Suite de Cent
Melodies populaires d’Hardanger) / op 151 nos 45-60
This score is a similar copy as SOURCE A. But only the following movements are
included: 46,47,50,51,52,53,57,58,60 (These are the same as the ones recorded in
Source G: Phillips LP 838 050 AY). Some movements have totally new scores:
Movement 50, the first page of movement 58, and movement 60 from b. 60 to the end.
These new pages are autographs written in ink. Some emendations have also been
done directly to the transparent originals. But the most extensive emendations are
done in blue and red ink and in pencil. Most emendations done in B are also done
here, but some of the emendations are developed further, showing that they came later
than the ones in source B. Note on the cover: Exemplar til Grüner Hegge
OM: Parts, autograph
[Source classification: music, manuscript, autograph, parts]
Title page: SUITE no 4. BRUDLAUPS-SUITEN / Geirr Tveitt op 151 no 46-60
The stringparts are copies made from transparent originals (OMt).
Fl. I-III, Ob., C. ingl., Cl. I-II, Clb., Fg. I-II, Cfg., Cor. I-IV, Tbe. I-III, Tbn. I-III, Tuba,
Perc./Piano (1-2), Arpa, Vln. I (1-8), Vln. II (1-9), Vle. (1-6), Vc. (1-5), Cb. (1-4)
There are two piano/percussionparts defined here as OM (No. 1) and OM (No. 2).
Many emendations in ink and pencil.
OMt: Parts, autograph (transparents)
[Source classification: music, manuscript, autograph, parts]
Title page: Suite no 4 (Hundrad Folketonar frå Hardanger, no 46-60) / ”BRUDLAUPSSUITE”
/ GEIRR TVEITT op 151, no 46-60
Title: Vln. I: Geirr Tveitt: Suite no. 4 op. 151 no. 46-60 / Brudlaups-suiten.” / VIOLINI I.
Single parts for Vln. I, Vln. II, Vle., Vc., Cb., Perc., Celesta/Piano
The transparent originals are very clear and in good condiction. Emendations are done
thorowly, being almoast invisible.
OM-obo2: Part, copy
[Source classification: music, manuscript, copy, parts]
handwritten copy, probably not in the composers autograph.
Movements 46, 47, 57, 58, 60 only.