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C A R L N I E L S E N

V R K E R
W O R K S

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C A R L N I E L S E N
1 8 6 5 - 1 9 3 1

V R K E R
W O R K S

Udgivet af Carl Nielsen Udgaven


Det Kongelige Bibliotek
Hovedredaktr Niels Krabbe

Serie II. Instrumentalmusik. Bind 12

Published by The Carl Nielsen Edition


The Royal Library
Editor in chief Niels Krabbe

Series II. Instrumental Music. Volume 12

b n d
BY NC ND
C
This work is licensed under a Creative Commons
Attribution-NonCommercial-NoDerivs 3.0 Unported License

Edition Wilhelm Hansen


Copenhagen 2006

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C A R L N I E L S E N

K L A V E R - O G
O R G E L V R K E R
P I A N O A N D
O R G A N W O R K S

Udgivet af
Edited by
David Fanning
Niels Bo Foltmann

Edition Wilhelm Hansen


Copenhagen 2006

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Graphic design Kontrapunkt A/S, Copenhagen
Music set in SCORE by Wiener Notensatz, Vienna
Text set in Swift
Printed by Quickly Tryk A/S, Copenhagen

CN 00042
ISBN 87-598-5395-6 / 978-87-598-5395-5
ISMN M-66134-201-4

Sponsored by Beckett-Fonden

Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K

2006 Carl Nielsen Udgaven, Det Kongelige Bibliotek, Kbenhavn


All rights reserved 2006

b n d
BY NC ND
C
This work is licensed under a Creative Commons
Attribution-NonCommercial-NoDerivs 3.0 Unported License

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I N D H O L D
C O N T E N T S

General Preface vii Generelt forord

Preface ix Fo rord

Fa c s imile s lviii Fa k s imile r

P IANO WO RK S K L AV ERV RK ER

F I V E P I A NO P I E C E S , O P U S 3 1 F E M K L AV E R S T Y K K E R , O P U S 3
I Folk T une I Folke tone
II Humoresque II Humoreske
I I I A ra b e s que I I I A ra b e s ke
I V Mig non I V Mig non
V E lf s D a nc e V A lfe da ns

S Y MP H O NIC SUITE, O P US 8 12 S Y MP H O NISK SUITE, OPUS 8


I I ntona tion. Ma e stos o I I ntona tion. Ma e stoso
II Quasi alleg retto II Quasi alleg retto
I I I A nda nte I I I A nda nte
IV Finale. Alleg ro IV Finale. Alleg ro

H U MO R E S QUE-BAG ATEL L ES, O P US 11 36 H UMO RESK E-BAG ATELLE R, OPUS 11


I H e llo! H e llo! I G odda g ! G odda g !
II The Spinning-Top II Snur retoppen
I I I A Little S low Wa lz I I I E n lille la ng s om Vals
I V The Jump ing Ja c k I V S p r lle ma nde n
V Puppet Marc h V Dukkemarsc h
VI The Mus ic a l Cloc k VI S p illev r ke t

F E S T I VA L P R E L U D E 48 F E S T- P R L U D I U M
FO R TH E NEW C ENTURY V ED A ARH UNDREDSKI FT E T

A D R E AM ABO UT SIL ENT NIG H T 50 DR MMEN O M G L AD E JUL

Carl Nielsen Udgaven CN 00042 v

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C H AC O NNE, O P US 32 52 C H AC O NNE, O P US 32

T H E ME A N D VARIATIO NS, O P US 40 69 TH EMA MED VARIATIO NER, OPUS 40

SUITE, O P US 45 96 SUITE, O P US 45
I Alleg retto un poc hettino I Alleg retto un poc hettino
I I Poc o mode ra to I I Poc o mode ra to
I I I M olto a da g io e p a te tic o I I I Molto a da g io e p a te tic o
IV Alleg retto innocente IV Alleg retto innocente
V Alleg retto vivo V Alleg retto vivo
VI Alleg ro non troppo ma vigoroso VI Alleg ro non troppo ma vigoroso

T H R E E P I A NO P I E C E S 13 2 T R E K L AV E R S T Y K K E R
I Impromptu. Alleg ro f luente I Impromptu. Alleg ro f luente
I I Molto a da g io I I Molto a da g io
III Alleg ro non troppo III Alleg ro non troppo

P I A NO M U S I C F O R YO U NG A N D O L D I , O P U S 5 3 14 9 K L AV E R M U S I K F O R S M A A O G S T O R E I , O P U S 5 3

P I A NO M U S I C F O R YO U NG A N D O L D I I , O P U S 5 3 16 0 K L AV E R M U S I K F O R S M A A O G S T O R E I I , O P U S 5 3

P I A NO P I E C E 176 K L AV E R S T Y K K E

O RG A N WO R K S O RG E LV R K E R

2 9 L I T T L E P REL UDES, O P US 51 178 29 SMA A P RL UDIER, O P US 51

TWO P REL UDES 200 TO P RL UDIER

M E L O DY 2 01 M E L O D I

C O MMO TIO , O P US 58 203 C O MMO TIO , O P US 58

Abbreviations 238 Forkortelser

Critical Commentary 239 Kritisk beretning

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G E N E R E L T F O R O R D
G E N E R A L P R E F A C E

C
arl Nielsen Udgaven er et selvstndigt projekt under
Det Kongelige Biblioteks Musikafdeling, ivrksat i 1994
p Kulturministeriets foranledning og nansieret af

T
he Carl Nielsen Edition is an independent project under Kulturministeriet og Carl Nielsen og Anne Marie Carl-Nielsens Legat,
the auspices of the Music Department of the Royal hvortil kommer sttte fra en rkke private fonde til udgivelse
Library, launched in 1994 on the initiative of the Mini- af de enkelte bind.
stry of Culture and funded by the Ministry and the foundation Udgaven er til svel praktisk som videnskabelig brug,
Carl Nielsen og Anne Marie Carl-Nielsens Legat, with further nan- tilrettelagt efter kritisk-videnskabelige udgivelsesprincipper.
cial support for the publication of the individual volumes from Den omfatter samtlige Carl Nielsens afsluttede vrker og en-
a number of other private foundations. keltsatser og sger i videst mulige omfang at afspejle vrkerne
The edition is for both practical and scholarly use, i den af komponisten senest sanktionerede version. I tilflde,
and is based on critical editorial principles. It comprises all hvor sange foreligger i ere forskellige arrangementer fra Carl
Nielsens nished works and completed individual pieces, Nielsens hnd, udgives alle versioner.
and seeks as far as possible to reect the works in the version Hvert vrk er forsynet med en indledning, der kort
last sanctioned by the composer. In cases where songs exist in beskriver vrkets tilblivelseshistorie og placerer det i den sam-
several different arrangements by Nielsen, all the versions are lede produktion, samt en kritisk beretning, hvor der redegres
published. for kildesituationen, redaktionelle ndringer og tilfjelser og
Each work is furnished with an introduction which vigtige varianter. Den kritiske beretning udgives sammen med
gives a brief account of the genesis of the work and its place in nodeteksten.
the composers oeuvre, and a Critical Commentary including Udgaven er opdelt i hovedserierne Scenemusik, In-
source description, editorial emendations and additions, strumentalmusik og Vokalmusik med tilhrende opdeling
and important alternative readings. The editorial material is i enkeltbind; inden for hver genre er vrkerne ordnet
published together with the music. kronologisk.
The edition is divided into the three main series
Stage Music, Instrumental Music and Vocal Music, each further Serie I, Scenemusik
divided into volumes; within each genre the works are ordered Operaer
chronologically. Skuespilmusik

Series I, Stage Music Serie II, Instrumentalmusik


Operas Symfonier
Incidental music Andre orkestervrker
Koncerter
Series II, Instrumental Music Kammermusik
Symphonies Klaver- og orgelvrker
Other orchestral works
Concertos
Chamber music
Piano and organ works

Carl Nielsen Udgaven CN 00042 vii

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Serie III, Vokalmusik
Kantater
Korsatser a cappella
Series III, Vocal Music Enstemmige sange og recitation med klaver,
Cantatas enstemmige sange uden akkompagnement
A cappella choral pieces Enstemmige sange i arrangement for orkester
Songs and recitations with piano, songs without ac-
companiment Serie IV, Juvenilia, Addenda et Corrigenda
Songs arranged for vocal soloists and orchestra

Series IV, Juvenilia, Addenda et Corrigenda Redaktionelle principper


Nodeteksten gengives uden typogrask markering af redaktio-
nelle tilfjelser eller ndringer. Disse er dokumenteret i den
Editorial principles kritiske beretning. Typogra, partituropstilling, instrument- og
The music is reproduced with no typographical indications genrebetegnelser er normaliseret efter nutidig praksis. Med
of editorial additions or emendations. These are documented enkelte undtagelser, som der er gjort nrmere rede for i den
in the Critical Commentary. Typography, score disposition, kritiske beretning, er de mange tilfjelser og ndringer i Carl
genre names, and instrument names have been normalized in Nielsens vrker, der er foretaget af venner og kolleger, fjernet.
accordance with present-day practice. With a few exceptions, Nodeteksten er normaliseret med hensyn til artiku-
discussed in more detail in the Critical Commentary, the many lation, dynamik, buer, foredragsbetegnelser og spilletekniske
additions and changes in Nielsens works that have been made anvisninger sledes, at der er analogi mellem entydige paral-
by friends and colleagues have been removed. lelsteder. Alle sdanne kompletteringer dokumenteres i den
Articulation, dynamics, ties and slurs, execution kritiske beretning. Oplagte skrive- og trykfejl er stiltiende
markings and playing instructions have been normalized on rettet.
the basis of analogies between clearly parallel passages. All Carl Nielsen noterede ofte horn og trompeter med
such completions are documented in the Critical Commentary. faste fortegn. Denne praksis er normaliseret til notation ude-
Obvious writing and printing errors have been tacitly corrected. lukkende med lse fortegn.
Nielsen often notated horns and trumpets with key Muta in i forbindelse med omstemning af pauker
signatures. This practice has been normalized to a notation og skift mellem to instrumenter (f.eks. klarinet i A og B) er
exclusively using accidentals. stiltiende normaliseret. Det samme glder kombinationen af
Muta in in connection with the retuning of timpa- buer og bindebuer.
ni and changes between two instruments (for example clarinet I Carl Nielsens manuskripter er de dynamiske angi-
in A and B) have been tacitly normalized. This also applies to velser undertiden placeret noget skdeslst, hvilket afspejler
the combination of ties and slurs. sig i de tidlige trykte udgaver. Dette er stiltiende justeret.
In Nielsens manuscripts the dynamic markings are Ngler gengives normalt som i hovedkilden.
sometimes rather carelessly placed, and this is also reected in
the early printed editions. This has been tacitly adjusted. Kbenhavn 1998
Clefs are normally given as in the main source. Carl Nielsen Udgaven

Copenhagen 1998 Revideret 2006


The Carl Nielsen Edition

Revised 2006

Carl Nielsen Udgaven CN 00042 viii

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F O R O R D
P R E F A C E

KLAVERVRKER

I
sine erindringer fortller Carl Nielsen at der i barndoms-
PIANO WORKS hjemmet fandtes et ubenyttet spinet, der tjente som
kkkenbord, og som vakte hans nysgerrighed, nr han

A
1
ccording to his autobiography, Nielsens rst home en sjlden gang k lov til f et glimt af dets slidte mekanik.
housed a disused spinet, which served as a kitchen Hans frste mde med et rigtigt spilbart klaver er ikke dateret,
table, and which excited his curiosity when he was men det beskrives i den del af erindringerne der beskftiger
1
allowed a rare glimpse at the broken mechanism. His rst sig med tiden omkring hans seksrsalder. Det drejede sig om
encounter with a piano in working condition is not dated, but et opretstende klaver hos moderens blinde halvbroder, Hans
it is recounted in a section of the autobiography dealing with Andersen, der var organist ved Dalum Kirke nr Odense:
his life around the age of six. This was the upright instrument
at the home of his mothers blind half-brother, Hans Andersen, Jeg husker ikke, om jeg fandt Akkorder eller Treklange, men
an organist at Dalum Church near Odense: med en Finger fra hver Haand spillede jeg lange Rkker af sde
Tertsgange, og naar mine to Fingre saaledes fulgtes ad, tnkte
2
I cannot remember whether I found chords or triads, but with jeg: To Drosler sad paa Bgekvist .
one nger of each hand I played a long succession of sweet
thirds, and as my two ngers thus kept company I thought, Carl Nielsen fortller ogs om hvordan han som teenager
remembering a snatch of an old song: Two thrushes sat on a mdte en gammel pianist ved navn Outzen og hos ham k
2
beech-tree branch. sine frste klavertimer i Odense. Det var p den tid han som
militrmusiker kunne spare penge op, s han kunne kbe et
Nielsen also records the inuence on him as a teenager of an gammelt klaver, nogle billige klaverskoler og nogle antikvari-
old pianist named Outzen, from whom he received his rst ske noder herunder Mozarts C dur sonate (sandsynligvis KV
3
piano lessons in Odense. It was at this time that he saved up 545) og frste bind af Bachs Wohltemperierte Clavier.
his bandsmans pay to buy an old piano, some cheap tutors and I rene 1884 til 1886 k Carl Nielsen klaverunder-
4
some second-hand music, including a Mozart C major Sonata visning hos Gottfred Matthison-Hansen p Musikkonservato-
3
(most likely KV 545) and Book 1 of Bachs Well-Tempered Clavier. riet i Kbenhavn; vidnesbyrdet efter det frste r ld sledes:
From 1884 to 1886 Nielsen took piano lessons with meget kjnt foredraget sangbart og omhyggeligt i alle Hense-
4
Gottfred Matthison-Hansen at the Royal Danish Academy of ender, og hans udfrelse af et af Schuberts Impromptus efter
Music in Copenhagen, where his rst-year report commented:
very prettily played, cantabile and careful in every respect,
1 Min fynske Barndom, Kbenhavn 1927, s. 22-23.
2 Ibid., s. 28.
3 Ibid., s. 165 ff.
1 Min fynske Barndom, Copenhagen 1927, pp. 22-23, My 4 Organist, pianist, komponist og pdagog (1832-1909).
Childhood, London [1953], pp. 20-21.
2 Ibid., p. 28, My Childhood, p. 24. To Drosler sad paa
Bgekvist (Two thrushes sat on a beech-tree branch) is
a well-known Danish song by Christian Winther.
3 Ibid., pp. 165 ff., My Childhood, p. 117.
4 Danish organist, pianist, composer and pedagogue
(1832-1909).

Carl Nielsen Udgaven CN 00042 ix

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5
tredje r blev beskrevet som tydeligt og klart. Ret sikkert.
Han nrede dog ingen ambitioner om at udvikle sig til den
store pianist, og repertoiret ved hans rsprver stillede for-
6
and his playing of a Schubert Impromptu in his third year was holdsvis beskedne pianistiske krav.
5
described as clear and precise. Completely secure. He never I resten af sit liv komponerede Carl Nielsen normalt
had pretensions to great skill as a pianist, and the repertoire ved klaveret; han var dog p trods af ungdomsrenes virksom-
6
for his annual tests was relatively undemanding. hed som militrmusiker i Odense frst og fremmest violinist.
Nielsen continued to compose at the piano through- Violinen var hans hovedinstrument p konservatoriet, og som
out his creative life. Yet by earliest inclination, and notwithstand- violinist k han sit udkomme gennem 16 r i Det Kongelige
ing several of his teenage years as bugler and alto trombonist in Kapel og lejlighedsvis som kammermusiker. En privatoptagelse,
a military band at Odense, he was a violinist. The violin was his som formentlig stammer fra perioden mellem december 1920
rst study at the Academy, and it was as a violinist that he earned og 1924, giver et indtryk af Carl Nielsen som pianist oven i
his living for 16 years in the Royal Theatre Orchestra and enjoyed kbet i et kort jeblik ogs som (ikke srlig overbevisende) im-
7
occasional participation in chamber music-making. A private re- provisator. Der kendes kun f eksempler p at Carl Nielsen har
cording, probably made sometime between December 1920 and optrdt offentligt som pianist med egne eller andres vrker. P
1924 gives a glimpse of Nielsen as pianist, and even briey (and Svendborg Theater den 10. juni 1902 spillede han Humoresker
7 8
not entirely convincingly) extemporising. Only few examples are for Piano samt Festprludium ved Aarhundredskiftet, og ved en
known of Nielsen performing his own or others works in concert reception afholdt til re for ham selv p den danske ambassade
as a pianist. On 10 June 1902 at the Svendborg Theatre (Svend- i Paris den 22. oktober 1926 spillede han sine Humoreske-Baga-
9
borg is on the south coast of the island of Funen) he played his teller. Ej heller er der andre vidnesbyrd om at han skulle have
8
Humoresques for Piano and the Festival Prelude for the New Century. eventuelle evner p dette felt. Tvrtimod erklrede en af hans
10
Another occasion was at a reception held in honour of Nielsen bedste venner, kammermusikpartneren Henrik Knudsen, at
himself at the Danish Embassy in Paris on 22 October 1926, when hans klaverspil var haablst, det klang nederdrgtigt i Reglen,
9
he played his Humoresque-Bagatelles. Reports of his pianistic abili- vrre end Violinspillet, bortset fra alle de musikermssige og
11
ties give no indication of hidden prowess. On the contrary, even kunstneriske storartede Intentioner.
as staunch a friend and music-making partner as Henrik Knud- P trods af dette skrev han regelmssigt klaver-
10
sen declared that Nielsens piano-playing was hopeless, gener- musik, bde i sine tidlige r som komponist og igen gennem
ally with a vile sound worse than his violin playing except for de sidste 15 r af sit liv (i den mellemliggende periode mellem
11
his marvellous musical and artistic intentions. 1897 og 1916 foreligger kun to korte lejlighedsvrker, Fest-Prlu-
All the same, in his early composing years, and
again during the last 15 years of his life, Nielsen composed
5 Niels Krabbe, Musikken, i Carl Nielsen spiller Carl
piano music at fairly regular intervals (during the gap between
Nielsen: Tre fonografvalser fortller. Booklet med CDROM
1897 and 1916 he produced only two short pices doccasion: the SBCD 05, Statsbiblioteket, rhus, 2003, s. 37.
6 Konservatoriets protokol anfrer Neuperts Etude i e mol,
Mendelssohns Lied ohne Worte i Es dur, Beethovens
sonate i c mol op. 10, Schuberts Impromptu i Es dur og
5 Niels Krabbe, The music, in Carl Nielsen spiller Carl
Gades Folkedans. Ibid., s. 46.
Nielsen: Tre fonografvalser fortller. Booklet with CDROM
7 CDROM SBCD 05, Statsbiblioteket, rhus 2003.
SBCD 05, Statsbiblioteket, rhus 2003, p. 36.
8 Af teatrets plakat fra den pgldende forestilling
6 The records mention Neupert, Etude in E minor, Men-
(DK-Kk) fremgr det at programmet udover den
delssohn, Song without Words in E at major, Beethoven,
nvnte optrden af Carl Nielsen som pianist omfat-
Sonata in C minor Op. 10, Schubert, Impromptu in E at
tede Arthur Schnitzlers lystspil Literatur, sange af Carl
major, Gade, Folk-dance. Ibid., p. 46.
Nielsen, klaverkvintet af Christian Sinding (med Carl
7 CDROM SBCD 05, Statsbiblioteket, rhus 2003.
Nielsen som anden violinist) samt Holger Drachmanns
8 The poster for this occasion (Dk-Kk) indicates that the
melodrama Snefrid med musik af Carl Nielsen. Aftenens
programme also included Arthur Schnitzlers comedy Lit-
program blev efterflgende kort omtalt i Fyens Tidende
eratur, songs by Nielsen, Christian Sindings Piano Quintet
12.6.1902. Hertil kommer at Carl Nielsen ved en koncert
with Nielsen as second violin, and Holger Drachmanns
16.11.1899 i Privat Kammermusikforening akkompagne-
melodrama Snefrid with Nielsens music. The performance
rede Vilhelm Herold i et udvalg af sine sange (iflge det
received a brief review in Fyens Tidende 12.6.1902. Earlier,
trykte koncertprogram opfrtes yderligere violinsona-
at a concert in The Private Chamber Music Society on
ten, opus 9 og strygekvartetten i g mol, opus 13).
16.11.1899 Nielsen accompanied the singer Vilhelm Herold
9 Torben Schousboe (udg.), Carl Nielsen. Dagbger og brev-
in a selection of his own songs (according to the printed
veksling med Anne Marie Carl-Nielsen, Kbenhavn 1983,
programme the concert also included the Sonata for Violin
s. 509.
and Piano and the String Quartet in G minor, Op. 13).
10 Pianist (1873-1946).
9 Torben Schousboe (ed.), Carl Nielsen. Dagbger og
11 Citeret efter Niels Krabbe, op. cit., s. 39.
brevveksling med Anne Marie Carl-Nielsen, Copenhagen
1983, p. 509.
10 Danish pianist (1873-1946).
11 Cited in Niels Krabbe, op. cit., p. 38.

Carl Nielsen Udgaven CN 00042 x

II_12_tekst 1.indd x 20/09/06 9:37:03


dium og Drmmen om Glade Jul). Fem af disse vrker Sym-
phonisk Suite, Chaconne, Thema med Variationer, Suite, og Tre Klaver-
stykker er betydelige vrker, bde set i lyset af Carl Nielsens
Festival Prelude and A Dream about Silent Night). Five of these samlede produktion og i lyset af klavermusikken som sdan i
works the Symphonic Suite, Chaconne, Theme and Variations, Suite, begyndelsen af det 20. rhundrede. Deres kunstneriske kvalitet
and Three Piano Pieces are of signicant scale and achievement, er blevet vurderet forskelligt. Kritikken af det pianistiske i vr-
th
both in terms of Nielsens oeuvre and of early 20 -century kerne gr tilbage til Walter Niemanns bog om nordisk klaver-
12 13
piano music as a whole. Their artistic success has been vari- musik. Men for andre kommentatorer viser klavervrkerne
ously assessed. Adverse criticism of their piano writing dates mere end nogen anden genre den egentlige Carl Nielsen, dels
12
back to Walter Niemanns book on Nordic piano music. Yet for som en flge af instrumentets begrnsede klanglige mulighe-
other commentators the piano works are more revealing than der som derved stter det musikalske fokus p selve noderne,
13
any other genre of the essential Nielsen, thanks partly to the dels p grund af at han ikke nrmer sig instrumentet med den
colouristic limitations of the medium, which throw greater professionelle virtuos forudfattede pianistiske tilgang.
musical weight onto the notes themselves, and partly to the Adskillige pianister bidrog til udbredelsen af Carl
fact that he did not approach the instrument with the pre- Nielsens klavermusik allerede i hans egen levetid, heriblandt
14 15 16
formed instincts of a professionally adept exponent. Louis Glass, Johanne Stockmarr, Alexander Stoffregen,
17 18
Various performers championed Nielsens piano Christian Christiansen, Herman D. Koppel og i Tyskland
14 19
music in his own lifetime, including Louis Glass, Johanne Eduard Erdmann. Iflge overleveringen foretog ere af dem
15 16 17
Stockmarr, Alexander Stoffregen, Christian Christiansen, forskellige indgreb i musikken efterhnden som vrkerne
18 19
Herman D. Koppel and, in Germany, Eduard Erdmann. There blev trykt hvilket for Stoffregens vedkommende kan doku-
20
is anecdotal evidence for their input into certain details of the menteres ved Chaconne. Som en flge heraf har to af de nyere
rst published editions, rmly documented in the case of Stof- udgaver af klavermusikken forsgt at bringe musikken mere
20
fregen and the Chaconne. As a result, two more recent editions i overensstemmelse med komponistens manuskripter ved at
of the piano music have in varying degrees favoured returning fjerne den fremmede indgriben og forsge at komme nrmere
21
to Nielsens manuscripts, with the aim of eliminating other til Carl Nielsens oprindelige intentioner. Imidlertid er der
21
peoples modications of his compositional intentions. Howev- intet i det overleverede kildemateriale der dokumenterer,
er, in no instance do the surviving sources available to the Carl
Nielsen Edition give documentary evidence of the composers
12 Walter Niemann, Die nordische Klaviermusik, Leipzig 1918,
dissatisfaction with the editions published in his lifetime, other s. 25-26.
13 Se fx Arne Skjold Rasmussens indledning til sin udgave
af Carl Nielsen samlede klavervrker, Egtved 1987.
12 Walter Niemann, Die nordische Klaviermusik, Leipzig 1918, 14 Pianist og komponist (1864-1936).
pp. 25-26. 15 Pianist og pdagog (1869-1944).
13 See, for example, Arne Skjold Rasmussens introduction 16 Pianist (1884-1966).
to his Carl Nielsen samlede klavervrker, Egtved 1987. 17 Pianist, organist og komponist (1884-1955).
14 Danish pianist and composer (1864-1936). 18 Pianist og komponist (1908-1998).
15 Danish pianist and pedagogue (1869-1944). 19 Tysk pianist og komponist (1896-1958).
16 Danish pianist (1884-1966). 20 Jf. Torben Herbl, Alexander Stoffregen om Carl
17 Danish pianist, organist and composer (1884-1955). Nielsens Chaconne for klaver, Dansk Musiktidsskrift, rg.
18 Danish pianist and composer (1908-1998). 55 (1981), s. 200-201.
19 German pianist and composer (1896-1958). 21 The Complete Solo Piano Music of Carl Nielsen. A Critical
20 Cf. Torben Herbl, Alexander Stoffregen om Carl Revised Edition by Mina F. Miller. Kbenhavn 1982; Carl
Nielsens Chaconne for klaver, Dansk Musiktidsskrift, vol. Nielsen samlede klavervrker, udg. Arne Skjold Rasmussen,
55 (1981), pp. 200-201. [Egtved] 1987. Skjold Rasmussens udgivelse er i otte
21 The Complete Solo Piano Music of Carl Nielsen. A Critical selvstndige hfter med henholdsvis op. 3, op. 8, op. 11,
Revised Edition by Mina F. Miller. Copenhagen 1982; Carl op. 32, op. 40, op. 45, op. 53 og op. 59, alle med det samme
Nielsen samlede klavervrker, ed. Arne Skjold Rasmussen, forord p en enkelt side. Mina Millers udgave bestr af et
[Egtved] 1987. Rasmussens edition is published in eight enkelt bind som yderligere indeholder Fest-Prludium og
separate volumes, containing Op. 3, Op. 8, Op. 11, Op. Drmmen om Glade Jul, med kildebeskrivelser og kritiske
32, Op. 40, Op. 45, Op. 53 and Op. 59, each with the kommentarer; disse kommentarer bygger dog til en
same single-page preface. Millers is in a single volume, vis grad p en rygtebaseret overlevering og hviler p et
including, additionally, the Festival Prelude and A Dream stilistisk grundlag; en sdan redaktionel tilgang lever
about Silent Night, with source descriptions and a criti- ikke i alle detaljer op til Carl Nielsen Udgavens principper.
cal commentary; this commentary, however, is based in
part on an oral tradition and on stylistic grounds that
are outside the principles of the Carl Nielsen Edition.

Carl Nielsen Udgaven CN 00042 xi

II_12_tekst 1.indd xi 16/09/06 15:32:39


at komponisten var utilfreds med de udgaver som forel i
hans levetid, nr man ser bort fra et mindre antal rettelser af
trykfejl. Disse tidlige tryk har derfor udgjort hovedkilderne
than a few corrections of minor typographical errors. Accord- for nrvrende kritiske udgave med undtagelse af opus 59
ingly, these early editions are taken as the principal sources som frst blev trykt posthumt, og hvor Carl Nielsens renskrift
for the current Critical Edition, with the exception of Op. 59, derfor reprsenterer komponistens seneste, dokumenterede
which was published posthumously, and for which Nielsens intentioner. I enkelte tilflde indeholder de trykte udgaver
fair copies therefore represent his last documentable inten- mindre rettelser i komponistens hnd; disse er registreret i
tions. In some instances, minor corrections are to be found den kritiske beretning i nrvrende bind. I tilflde hvor en
in the composers hand in his copies of the published scores bestemt opfrelsestradition er blevet knsat som flge af et
(see the Critical Commentary at the end of the present volume). valg blandt ere manuskripter eller frsteudgaver, er de ikke-
Where different performance traditions have become established valgte alternativer anfrt som musikeksempler i den kritiske
as a result of choice between manuscripts or rst editions, the beretning.
rejected alternatives are shown by musical examples in the list of Carl Nielsens tidlige manuskripter indeholder yderli-
emendations and by facsimiles at the end of this Preface. gere et antal satser for klaver; disse vil blive bragt i Carl Nielsen
Nielsens early manuscripts include a number of Udgavens afsluttende bind, Juvenilia, Addenda et Corrigenda.
22
complete movements for piano. These will be included in the Skomagerens Brudevals er udeladt, eftersom den menes at vre
nal volume of the Carl Nielsen Edition Juvenilia, Addenda et komponeret af Nielsens far.
22
Corrigenda. The Cobblers Wedding March (Skomagerens Brude-
vals) is excluded since it is considered to be a composition by
Nielsens father. FEM KLAVERSTYKKER, OPUS 3

I
ndholdet af sin frste trykte samling klaverstykker sam-
FIVE PIANO PIECES, OPUS 3 menstillede Carl Nielsen under sin store rejse til europ-
iske kulturcentre i 1890-1891. Han havde jensynligt

N
ielsen assembled his rst published collection of allerede tidligere komponeret nr. 2 (oprindeligt med titlen
piano pieces during his extended study tour of Novellette) og 5 (oprindeligt Elfentanz), eftersom disse er overleve-
23
European cultural centres in 1890-1891. He had ret sammen med Emilie Demant Hatts erindringer og derfor
apparently completed Nos. 2 (originally entitled Novellette) and formentlig nedskrevet under deres samvr i rene 1887-1889
5 (originally Elfentanz) earlier, since these are preserved along eller muligvis sendt til Emilie fra Kbenhavn som gave. I sin
23
with the memoirs of Emilie Demant Hatt and were therefore dagbog, pbegyndt 1. september 1890 to dage fr han drog ud
presumably notated during their times together in the sum- p den lange Europarejse, noterede han hvordan arbejdet med
mers of 1887-1889, or perhaps sent to Emilie from Copenhagen ere af de andre stykker skred fremad, og fremsatte forskel-
as gifts. He noted his progress on several of the others, together lige ideer om hvordan han kunne f stykkerne trykt. Den 12.
with ideas for their publication, in his diary, which he began september 1890 i Dresden skriver han: Har componeret et
24
to keep on 1 September 1890, two days before embarking on a Clavrstykke i a moll: i Folketone; 27. oktober, nu i Berlin:
lengthy European tour. On 12 September 1890 in Dresden, he Componerede Fanden idag [oprindelig titel p nr. 3, Arabeske];
25 26
recorded: Have composed a Piano Piece in A minor: In Folk Fini mener det er noget helt Nyt i Musiken; den flgende
24
Style; on 27 October, now in Berlin: Composed The Devil dag: Har idag faaet Ideen til at udgive mine 3-4 Clavrstykker i
25
today [original title for No. 3, Arabesque]; Fini thinks that it is
26
something completely new in music; the next day: Today
22 Gengivet i Torben Meyer og Frede Schandorf Petersen,
I had the idea for publishing my 3-4 piano pieces in the form Carl Nielsen. Kunstneren og Mennesket, Kbenhavn 1947-
1948, bd. 1, s. 32.
23 Foraarsblger. Erindringer om Carl Nielsen. Udgivet af John
22 Reproduced in Torben Meyer & Frede Schandorf Peter- Fellow, Kbenhavn 2002, s. 9, 28, 168-175.
sen, Carl Nielsen. Kunstneren og Mennesket, Copenhagen 24 Torben Schousboe, op. cit., s. 14.
1947-1948, vol. 1, p. 32. 25 Fini Henriques, komponist (1867-1940).
23 Foraarsblger. Erindringer om Carl Nielsen. Edited by John 26 Torben Schousboe, op. cit., s. 22.
Fellow, Copenhagen 2002, pp. 9, 28, 168-175.
24 Torben Schousboe, op. cit., p. 14.
25 Fini Henriques, Danish composer (1867-1940).
26 Torben Schousboe, op. cit., p. 22.

Carl Nielsen Udgaven CN 00042 xii

II_12_tekst 1.indd xii 16/09/06 15:32:39


Form af Rejsebrev til Moder; altsaa trykt i en Slags Brevformat
og Convolut udenom o.s.v.; en Art Dagbog. Nodesystemerne
maa vre med skjve Linier o.s.v. og det hele maa se naturligt
27
of travel letters to mother: printed in a kind of letter format ud; den 2. november: Skrev til Wilh: Hansen om Udgivelsen
28
with an envelope around them etc.: a kind of diary. The staves af Clavrstykkerne med Tegninger af Wivel; 9. november
should have not quite straight lines and so on, and the whole noterede han: Brev fra Wilhelm Hansen som tilbyder at ville
27
must look natural; on 2 November: Wrote to Wilhelm kjbe Forlagsretten til Clavrstykkerne, og trykke dem inden
29 30
Hansen about the publication of the piano pieces with illustra- Jul. Den endelige udgave, som forel engang i lbet af 1891,
28
tions by Wivel. On 9 November Nielsen noted A letter from indeholdt dog ingen illustrationer af Wivel eller andre.
Wilhelm Hansen, offering to buy the rights to the Piano Pieces Under sit studieophold modtog Carl Nielsen en rkke
29
and to print them by Christmas. The eventual publication, positive tilkendegivelser om stykkerne; i Leipzig mente en vis
30
which came out some time during early 1891, did not contain Herr Wildt at Arabeske sandsynligvis ville gre Nielsens navn
31 32
Wivels (or any other) illustrations. kendt i Tyskland, mens Adolf Brodsky foretrak Humoreske.
As Nielsens study tour continued, he garnered Det har ikke vret muligt at dokumentere den frste offentlige
positive opinions on the pieces. In Leipzig a certain Herr Wildt fremfrelse, ligesom der tilsyneladende heller ikke foreligger
singled out the Arabesque as likely to make Nielsen famous in nogen omtale i aviserne.
31
Germany, while Adolf Brodskys favourite was the Humor- Frste gang stykkerne er nvnt i Carl Nielsens korre-
32 33
esque. It has not been possible to trace a public premiere spondance er i et brev til Emil Sachs fra den 23. november
performance or an early reception in newspaper reviews. 1890, hvori han gentager en rkke af dagbogsoptegnelserne
The rst mention of the pieces in Nielsens surviving og ogs nvner, at en anden udgiver end Wilhelm Hansen er
33
correspondence comes in a letter to Emil Sachs of 23 Novem- interesseret i at kbe stykkerne; samtidig understreger han
ber 1890, which echoes several of his diary entries and men- at det haster sfremt Wilhelm Hansens nske om en udgave
tions an unidentied publisher, other than Wilhelm Hansen, inden jul skal imdekommes. Brevet kommer specielt ind p
interested in buying the pieces and the need to hurry in order det tredje af stykkerne:
to meet Hansens commitment to publish them by Christmas.
s
This letter elaborates on the third piece: Arabesken er ny og er componeret med Jacobsen Digt Arabe-
ske for je. Alle Musikere kalder Stykkerne meget originale og
34
The Arabesque is new and composed with Jacobsens poem mrchenhaft og en ung begavet, nsk Componist, Jernfeldt
Arabesque in mind. All musicians are calling the pieces highly sagde en Dag at Arabesken var noget hlt Nyt i Musiken. Det er
original and mrchenhaft, and a gifted young Finnish com- alle ganske smaa Stykker. Hvordan lyder de to frste Linier af
34 s 35
poser, Jernfeldt, said one day that the Arabeske is something Jacobsen Digt? Er det ikke:
completely new in music. They are all quite short pieces. How Har Du faret vild i de dybe Skove?
35
do the rst two lines of Jacobsens poem go? Isnt it: Kjender Du Pan?
36
Have you gone astray in the deep woods? De skulde nemlig staa som Motto over Arabesken.
Do you know Pan?
36
Im going to make that the motto for the Arabesque.
27 Torben Schousboe, op. cit., s. 23.
28 Niels Wivel (1855-1914), tegner. Brevet til Wilhelm
Hansen synes ikke at vre bevaret. Torben Schousboe,
27 Torben Schousboe, op. cit., p. 23. op. cit., s. 24.
28 Niels Wivel (1855-1914), Danish illustrator. The letter 29 Torben Schousboe, op. cit., s. 25.
to Wilhelm Hansen appears not to survive. Torben 30 Wilhelm Hansens hndskrevne stikkerbog (DK-Kk)
Schousboe, op. cit., p. 24. anfrer ikke nogen prcis dato for udgivelsen.
29 Torben Schousboe, op. cit., p. 25. 31 Torben Schousboe, op. cit., s. 38.
30 Wilhelm Hansens handwritten lists of plate numbers 32 Torben Schousboe, op. cit., s. 40. Adolf Brodsky (1851-
(DK-Kk) do not indicate any precise date for this edition. 1929), russisk-fdt violinist og grundlgger af den
31 Torben Schousboe, op. cit., p. 38. frste Brodsky-Kvartet.
32 Torben Schousboe, op. cit., p. 40. Adolf Brodsky (1851- 33 Grosserer (1855-1920), gudfader for Carl Nielsens ldste
1929), Russian-born violinist and founder of the rst datter, Irmelin.
Brodsky Quartet. 34 Armas Jrnefelt, nsk-fdt dirigent og komponist (1869-
33 Danish wholesaler (1855-1920), godfather to Nielsens 1958); blev svensk statsborger i 1910.
elder daughter, Irmelin. 35 J.P. Jacobsen (1847-1885), En Arabesk skrevet i 1862 og
34 Armas Jrnefelt, Finnish-born conductor and composer udgivet i 1874.
(1869-1958); took Swedish nationality in 1910. 36 Breve fra Carl Nielsen til Emil B. Sachs, Kbenhavn 1952, s.
35 Jens Peter Jacobsen, Danish poet (1847-1885), En Arabesk, 16. Carl Nielsen citerer her forkert; den rette tekst frem-
written in 1862 and published in 1874. gr af den trykte udgave (se s. 6 i nrvrende bind).
36 Breve fra Carl Nielsen til Emil B. Sachs, Copenhagen 1952, p.
16. Nielsens version is slightly inaccurate; the correct
text appears in the printed edition (see p. 6 in the
present volume).

Carl Nielsen Udgaven CN 00042 xiii

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J.P. Jacobsens titel hentyder til den frie metrik snarere end til
digtets indhold. Carl Nielsens oprindelige titel Fanden knytter
an til Pan-skikkelsen og siger mske mere om stykkets karakter
The title of Jacobsens poem refers to the free versication rather end den endelige titel.
than to the content. Nielsens rst heading for the piece, The Dagen efter at have skrevet til Sachs skrev Carl Niel-
37
Devil, picks up on the gure of Pan and perhaps reveals more of sen til sin gamle lrer Orla Rosenhoff at arabesken var det
38
the character of the music than does the denitive title. mest originale musik, han hidtil havde komponeret, hvortil
The day after his letter to Sachs, Nielsen wrote to his Rosenhoff seks dage senere svarede at han meget gerne ville
37
former teacher Orla Rosenhoff, declaring that the arabesque se et korrekturtryk af stykkerne med henblik p en kontrol af
38
was the most original thing he had composed. Writing back six klaversatsen. Carl Nielsen lste korrektur den 14. december, og
39
days later, Rosenhoff expressed the wish to see the pieces in proof, den flgende dag sendte han trykket til Rosenhoff.
in order to check on the piano writing. Nielsen read the proof Bortset fra de to stykker komponeret fr studierejsen
39
on 14 December and sent it to Rosenhoff the following day. er der ikke overleveret nogen kladde eller renskrift af Fem Klaver-
Other than the two pieces composed before his stykker, selvom der er omfattende skitser til ere af dem. P Carl
grand tour, no continuous draft score or fair copy for the Five Nielsen Museet i Odense opbevares komponistens eksemplar af
Piano Pieces appears to survive, though several of the pieces are frstetrykket med hans egne blyantsrettelser (kilde A), og dette
extensively sketched. A copy of the rst edition with Nielsens eksemplar danner hovedkilden for nrvrende udgave.
pencilled emendations is housed in the Carl Nielsen Museum in No 5, Alfedans, blev senere med titlen Elverdans gen-
Odense (A), and this is the main source for the present edition. brugt i Carl Nielsens musik til Drachmanns skuespil Hr. Oluf han
No. 5, Elfs Dance, was later used, under the title rider fra 1906, her instrumenteret af Julius Rntgen og udvidet
Elverdans, in Nielsens music to Holger Drachmanns play Sir med en 60 takters mellemdel med nyt musikalsk stof mellem
40
Oluf, he Rides (Hr. Oluf han rider) of 1906, there orchestrated by klaverudgavens t. 48 og 49. I forbindelse med den trykte udgave
Julius Rntgen and expanded by a 60-bar middle section with af re uddrag fra Hr. Oluf (Wilhelm Hansen 1906) transskriberede
40
new musical material between bb. 48 and 49. In connection Carl Nielsen den udvidede version af satsen for klaver med bibe-
with the printed edition of four extracts from Hr. Oluf (Wil- holdelse af den del af klaversatsen som gr tilbage til versionen
helm Hansen 1906) Nielsen transcribed the expanded version fra opus 3. Den udvidede version fra Hr. Oluf er selvsagt ikke
of the movement for piano, keeping part of the piano texture inddraget i nrvrende revision af opus 3, nr. 5, idet dog den
from the version in Op. 3. The expanded version from Hr. Oluf nye mellemdel mellem t. 48 og 49 vil blive bragt i Carl Nielsen
is of course not included in the present edition of Op. 3, No. Udgavens afsluttende bind, Juvenilia, Addenda et Corrigenda.
5, but the new middle section between bb. 48 and 49 will be
included in the nal volume of the edition, Juvenilia, Addenda
et Corrigenda. SYMPHONISK SUITE, OPUS 8

A
rbejdet med Symphonisk Suite fulgte umiddelbart efter
SYMPHONIC SUITE, OPUS 8 den meget store succes som Carl Nielsen havde oplevet
med frsteopfrelsen af sin frste symfoni den 14.

C
omposition of the Symphonic Suite followed on from the marts 1894. Anden sats er dateret 23. maj 1894 og frste sats
hugely successful premiere of Nielsens First Sym- 1. august 1894 p Gjorslev Bgeskov ved Store Heddinge p
phony on 14 March 1894. The second movement is Stevns hvor Carl Nielsen arbejdede i et lejet bondehus, mens
dated 23 May 1894, the rst 1 August 1894 at Gjorslev Bgeskov hustruen, billedhuggeren, foretog dyrestudier med henblik p
41
at Store Heddinge in Stevns (Zealand), where Nielsen worked in fremtidige skulpturer; hun udarbejdede ogs forsiden til den
a rented farmhouse, while his sculptress wife was making stud-
41
ies of animals (she eventually made the design for the front
37 Komponist og pdagog (1844-1905).
38 Jf. Irmelin Eggert Mller og Torben Meyer (udg.), Carl
Nielsens Breve, Kbenhavn 1954, s. 15.
37 Danish composer and pedagogue (1844-1905). 39 Torben Schousboe, op. cit., s. 31.
38 Cf. Irmelin Eggert Mller & Torben Meyer (eds.), Carl 40 Se forord til Carl Nielsen, Vrker. Udgivet af Carl Nielsen
Nielsens Breve, Copenhagen 1954, p. 15. Udgaven, Det Kongelige Bibliotek. Serie I. Bind 7.
39 Torben Schousboe, op. cit., p. 31. Udgivet af Peter Hauge, Kbenhavn 2006.
40 See preface to Carl Nielsen, Works. Published by the Carl 41 Torben Schousboe, op. cit., s. 87.
Nielsen Edition, The Royal Library. Series I. Volume 7.
Edited by Peter Hauge, Copenhagen 2006.
41 Torben Schousboe, op. cit., p. 87.

Carl Nielsen Udgaven CN 00042 xiv

II_12_tekst 1.indd xiv 28/09/06 11:29:12


trykte udgave af suiten.42 Tilbage i Kbenhavn fuldfrte han
43
nalen i slutningen af august.
I et brev til hustruen44 fra Dresden den 17. november
42
cover of the rst published edition ). Back in Copenhagen he meddelte han at det ikke var lykkedes ham at mdes med
43
was working on the nale towards the end of August. Brahms i Wien, men at han havde efterladt manuskriptet i den
44 45
On 17 November he reported to his wife from bermte mands hus; der foreligger dog ingen vidnesbyrd om
Dresden that having failed to meet Brahms in Vienna, he had hvilket indtryk vrket gjorde p Brahms p trods af Nielsens
45 46
left the manuscript of the Suite at the great mans house; but anmodninger om en udtalelse i et brev fra den 18. december.
47
there is no record of Brahmss impressions of the work, despite Som svar p en anmodning fra Klaus Berntsen om
46
Nielsens prompting in a letter of 18 December. at gre rede for detaljer i den kompositoriske proces og for ind-
A revealing letter from Nielsen to Klaus Berntsen47 of holdet af sin musik i almindelighed, gav Carl Nielsen den 24.
24 May 1905, in response to a request for details of his working maj 1905 en indgende redegrelse for arbejdet med Hymnus
methods and the content of his music in general, discusses amoris, De Fire Temperamenter, Helios, Saul og David og Symphonisk
Hymnus amoris, The Four Temperaments, Helios, Saul and David and Suite; om sidstnvnte hedder det:
the Symphonic Suite; about the last-named he says:
I et af mine Claverstykker (Intonation i Symfonisk Suite) har
In one of my piano pieces (Intonation in the Symphonic jeg ladet mig paavirke af et stort, gammelt Egetr ved Gjorslev.
Suite) I allowed myself to be affected by a big old oak tree in Jeg gik i de Dage, jeg skrev Stykket, hver Dag til Tret og
Gjorslev. During the period when I was writing the piece I went modtog et strkt Indtryk, som jeg saa prvede at gjengive i en
48
every day to the tree and received a strong impression, which Rkke kraftige Accordflger i det nvnte Stykke.
I then tried to reproduce in a succession of powerful chord
48
progressions in the aforementioned piece. Senere erindrede Carl Nielsen tiden omkring kompositionen af
Symphonisk Suite som en af sine lykkeligste, sledes som han be-
Nielsen would later remember the time of composition of the skrev det i et af sine mest intense breve til hustruen fra tiden om-
Symphonic Suite as one of his happiest, as he wrote in one of his kring deres gteskabelige krise: Jeg synes det var en lang dejlig
49
most intense letters to his wife, from the time of their marital og ren Tid og jeg vil nu dyrke alle mine Arbejder fra den Tid.
crisis: I think that was a long, marvellous and pure time, and I Den frste offentlige fremfrelse blev givet den 4.
50
now want to devote my time to the study of all my works from maj 1895 i Koncertpalets Mindre Sal af komponist og pianist
49
that time. Louis Glass ved den tolvte og sidste koncert i musikforeningen
51
The rst public performance was given on 4 May Symphonia sammen med kvartetter af Glass og Gustav Hel-
52
1895 by composer-pianist Louis Glass at the twelfth and last sted og sange af Carl Nielsen. Det trykte program indeholdt
50
concert of the organisation Symphonia, alongside quartets by en introduktion til vrket med re korte musikeksempler,
51
Glass and Gustav Helsted and songs by Nielsen, in the lesser formentlig skrevet af eller i samrd med Carl Nielsen uden at
52
hall of the Koncertpal. The concert programme included an dette dog fremgr af programmet:
introduction to the work, with four short musical examples;
this note is uncredited but was presumably written by, or in
42 Torben Schousboe, op. cit., s. 146.
consultation with, the composer: 43 Torben Schousboe, op. cit., s. 88.
44 Anne Marie Carl-Nielsen, fdt Brodersen, (1863-1945).
45 Torben Schousboe, op. cit., s. 123-124.
42 Torben Schousboe, op. cit., p. 146. 46 Cf. Irmelin Eggert Mller og Torben Meyer, op. cit., s.
43 Torben Schousboe, op. cit., p. 88. 26-27.
44 Anne Marie Carl-Nielsen, ne Brodersen, (1863-1945). 47 Hjskolemand og politiker (1844-1927).
45 Torben Schousboe, op. cit., pp. 123-124. 48 Original i Carl Nielsen Museet, Odense; kopi i DK-Kk.
46 Cf. Irmelin Eggert Mller & Torben Meyer, op. cit., pp. 49 Brev af 31.5.1916, DK-Kk, CNA II.A.a.
26-27. 50 I 1900 blev Koncertpalet overtaget af Odd-Fellow-orde-
47 Danish educationalist and politician (1844-1927). nen. Koncertpalet og Odd-Fellow Palet refererer sledes
48 Original in Carl Nielsen Museet, Odense; copy in DK-Kk. til den samme bygning.
49 Letter of 31.5.1916, DK-Kk, CNA, II.A.a. 51 Foreningen blev grundlagt i 1889 som et udstillingsvin-
50 For more information on this society, founded in 1889 due for unge danske komponister, se Torben Schousboe,
as a showcase for young Danish composers, see Torben Foreningen Symfonia sin tids DuT, Dansk Musiktids-
Schousboe, Foreningen Symfonia sin tids DuT, skrift, rg. 46 (1970), s. 156-168.
Dansk Musiktidsskrift, vol. 46 (1970), pp. 156-168. 52 Komponist og organist (1857-1924).
51 Danish composer and organist (1857-1924).
52 In 1900 the Koncertpal was taken over by the Odd-
Fellow Order, and the building changed its name from
Koncertpalet to Odd-Fellow Palet.

Carl Nielsen Udgaven CN 00042 xv

II_12_tekst 1.indd xv 20/09/06 9:37:04


I. Kompositionen indledes med en Sats i d moll, som i brede
og tunge Accordflger fastholder n Tanke, n Stemning og n
eneste Nuance ( ) fra frste til sidste Node.
I. The composition begins with a movement in D minor, which II. Anden Sats begynder i en ubestemmelig Toneart,
in its broad and heavy chord progressions maintains a single men glider snart umrkeligt over i Hovedtonearten ( f Dur),
thought, mood and nuance ( ) from rst note to last. medens Melodien fres videre, understttet af rolige Sextgange
II. The second movement begins in an undened tonal- i venstre Haand:
ity, but soon slips unnoticeably into the main key of F major, >
j
Quasi Allegretto

while the melody continues, supported by peaceful sixths in & b 43 b n



P
the left hand:
? b 43 b


b



>
j
Quasi Allegretto

& b 43 b n

P I Mellemsatsen griber Bassen en Stump af Hovedmotivet

? b 43 b


b



?
j

In the central section the bass takes up a fragment of the main


motif og paa mangfoldig Vis voxer og udvikles denne Tanke indtil
Hovedmotivet atter indtrder og Satsen slutter omtrent som
?


j den begyndte.
III. Themaet begynder stilfrdigt i D Dur og spinder
and in manifold ways this thought grows and develops until the sig videre og videre i Stigen og Falden indtil Afslutningen i
main motif re-enters and the movement concludes more or less Tonearten. Efter en kort Overgang indtrder et nyt Thema i
as it began. s moll:
# - - - - - j n #
III. The theme begins gently in D major and spins
& # c # # .. # #
. # # n # #
itself out in ascents and descents until the conclusion in this key. #

After a short transition, a new theme enters in F sharp minor ? # # c # #

# - - - - - j# n
& # c # # ... ## # n ## #
# som gjennem contrapunktiske Combinationer og strke Modu-


? ## c #



#
lationer faar en indgaaende Behandling. Omsider kommer man
tilbage til Hovedthemaet som optrder i ny Skikkelse og nye
which is thoroughly worked out in contrapuntal combinations Tonearter indtil endelig en bred Coda frer til Slutningen.
and strong modulations. At length we come back to the main IV. Finalens Motiv
theme, which enters in new guise and new tonalities until nally ## #
Allegro

& # C n n #
a broad coda leads to the conclusion.
P
IV. The nales motif
famler og sger i Lb og Syncoper, indtil pludselig Themaet
## #
Allegro


& # C n n # fra 1ste Sats med sine tunge Accorder bryder frem for strax

P igjen at blive fortrngt af Motiver fra 2den og 3die Sats, som
searches tentatively in runs and syncopations, until suddenly snart optrde enkeltvis snart sammen. Finale-Motivet faar
the theme from the rst movement with its heavy chords atter Overhaand og efter endnu en Afbrydelse slutter Satsen
53
bursts forth, only to be displaced immediately by motifs from i A Dur.
the second and third movements, appearing sometimes sepa-
rately, sometimes together. The nale motif once more gains
53 Program i DK-Kk, ogs citeret i John Fellow (udg.), Carl
the upper hand and, after yet another interruption, ends the Nielsen til sin samtid, Kbenhavn 1999, s. 31-33.
53
movement in A major.

53 Programme in DK-Kk, also reproduced in John Fellow


(ed.), Carl Nielsen til sin samtid, Copenhagen 1999, pp.
31-33.

Carl Nielsen Udgaven CN 00042 xvi

II_12_tekst 1.indd xvi 16/09/06 15:32:41


Titelbladet p den trykte udgave brer, udover en tilegnelse
54
til Victor Bendix, et motto hentet fra nr. 77 i Goethes Veneti-
anske epigrammer fra 1790: Ach, die zrtlichen Herzen! Ein
A motto from No. 77 of Goethes Venetian Epigrams (1790) Pfuscher vermag sie zu rhren. I den originale sammenhng
appears at the front of the score, with a dedication to Victor forholder digteren sig foragteligt til pstanden om, at det skulle
54
Bendix: Ach, die zrtlichen Herzen! Ein Pfuscher vermag sie vre et dlere forehavende at rre et flsomt hjerte end at
zu rhren (Ah, those tender hearts! A bungler could stir them). hengive sig til naturvidenskabelige sysler s som botanik og
In the original context the speaker is responding, disdain- ophthalmology. Hvorvidt denne sammenhng har foresvvet
fully, to the suggestion that it is more noble to stir a tender Carl Nielsen da han valgte de pgldende linjer som motto, la-
heart than to give oneself over to the natural sciences, such as der sig ikke afgre, men de str i klar forlngelse af hans mod-
botany and ophthalmology. Whether that context is relevant stand mod det, som han betragtede som bldheden i sin egen
to Nielsens purpose in citing his chosen lines is impossible tids musik, og det var sdan de blev forstet af hans samtid.
to determine. At any rate those lines are consistent with his Faktisk har Symphonisk Suite opnet en form for ikon-status som
antipathy towards what he regarded as the softness of much et antiromantisk og dermed modernistisk manifest p trods
55
music of his time, and it was in this sense that they were un- af Carl Nielsens mangel p interesse for den slags udtryk.
derstood in his lifetime. Indeed the Symphonic Suite as a whole Mottoet fra Goethe er ikke gengivet i programnoten
retained an iconic status as an anti-romantic, therefore even fra frsteopfrelsen, men er muligvis blevet meddelt mundtligt
proto-modernist, declaration, despite Nielsens lack of interest ved koncerten, eftersom i hvert fald en enkelt af anmelderne
55
in such terminology. omtaler det. Mange af anmelderne fandt vrket forceret og
The Goethe motto is not reproduced in the pro- forskruet; netop sdanne udtryk skulle fremover blive hyppigt
gramme note for the premiere, but it may have been an- brugte nr det kom til den kritiske modtagelse af Carl Nielsens
nounced verbally, since at least one of the reviews mentions it. tidlige vrker.
Many of the critics on this occasion found the work to be forced I Politiken roste B. koncertens overordnede program-
and contrived; this would become a routine observation in the lgning og de udvendes entusiasme og fremhvdede isr
critical reception of Nielsens early works. Glass prsentation af Nielsens fra Indholdets og Teknikens
In Politiken, B. praised the general concept of the Side lige vanskelige Suite. Anmelderen tilbageholdt sin vurde-
event and the dedication of the performances, singling out ring af de tre hovedvrker, men bemrkede:
Glasss advocacy of Nielsens in content and technique equally
difcult Suite. The reviewer postponed his verdict on the three Mrkeligt, men ogsaa vanskeligt at faa fat paa var Carl Nielsens
main works, but noted: Suite, et Arbejde, af hvilket der staar Gnister som af den mejs-
Remarkable, but also difcult to grasp was Carl lende Hammer, der vidner om Komponistens Kundskabsfylde
Nielsens Suite, a work from which sparks y as if from a chisel- og Sans for at udfolde den, men vistnok for meget et Viljes-
ling hammer, which testies to the composers craftsmanship arbejde. Noget savner man Stemning i de vldige Tonemasser,
56
and ability to present it, but perhaps also to too much work on hvormed Suiten tumler.
the part of his will. One misses some sense of atmosphere amid
56
the masses of notes in which the Suite abounds. M. fra Aftenbladet var stort set enig:

M. of Aftenbladet was in broad agreement: Den paaflgende Symfonisk Klaversuite af Carl Nielsen spille-
des fortrffeligt af Hr. Glass. Det frste Stykke Intonation var
The succeeding Symphonic Piano Suite by Carl Nielsen was kraftigt og klart som en fast Mandsvillie og lovede mere end
splendidly played by Mr. Glass. The rst piece, Intonation, was
powerful and clear like a rm mans will and promised more 54 Komponist, pianist og dirigent (1851-1926).
55 Jf. Hans Trsleff, Carl Nielsen og Modernismen, i
John Fellow (1999), op. cit., s. 616-619 (oprindeligt trykt i
54 Danish composer, pianist and conductor (1851-1926). Dagbladet [Oslo], 6.10.1931).
55 Cf. Hans Trsleff, Carl Nielsen og Modernismen, in 56 Politiken, 5.5.1895.
John Fellow (1999), op. cit., pp. 616-619 (original article
in Dagbladet [Oslo], 6.10.1931).
56 Politiken, 5.5.1895.

Carl Nielsen Udgaven CN 00042 xvii

II_12_tekst 1.indd xvii 16/09/06 15:32:42


den vrige Del af Suiten holdt. Publikum formaaede vel at nde
den paaflgende Allegretto interessant, men gjennemgaaende
var det for svrt at flge den meget talentfulde Komponist paa
57
than the rest of the Suite delivered. The audience seemed to hans Muses hjst vildsomme Flugt.
nd the succeeding Allegretto interesting, but throughout it
was hard to follow the very talented composer in his muses En usigneret anmeldelse i Adresse Avisen ppegede at Nielsen,
57
extremely wild ight. Glass og Gustav Helsted var de dominerende navne ved Sympho-
nias koncerter og udtrykte hb om, at den kommende sson
In an uncredited review, Adresse Avisen noted that Nielsen, Glass ville udvise strre variation: Hr. Nielsen forbausede nrmest ved
and Gustav Helsted were the dominant names in Symphonias en toccata-lignende Symphonisk Suite i re Afdelinger for Piano,
58
concerts and hoped that the following season would bring udfrt af Hr. Glass. Den var under alle Forhold ingen renslyst.
more variety: Mr Nielsen nearly dumbfounded us with a
toccata-like Symphonic Suite for piano in four movements, per- I Avisen, ligeledes i en usigneret anmeldelse, krvedes mere
58
formed by Mr. Glass. It was by no means a feast for the ears. variation i programmerne, ligesom det bemrkedes at publi-
kumstilstrmningen var begrnset. Det hvdedes ogs at alle
The review in Avisen, also uncredited, likewise craved more va- tre komponister manglede streng Struktur og indre organisk
riety of names on the programme and noted that the audience Sammenhng i Kompositionen. [] Hr. Louis Glass foredrog
was not numerous; it also claimed that the three composers all Carl Nielsens symfoniske Pianosuite med stor Energi. Den stor-
lacked strong structure and inner organic relationships in slaaede Kontrapunktik i dette Vrk, der tilsyneladende kaotisk
their work. [] Mr. Louis Glass performed Carl Nielsens Sym- taarner sine dristige Harmonier, fordrer sikkert at hres ere
59
phonic Suite with great energy. The grandiose counterpoint Gange for fuldt at forstaaes.
in this work, which piles up its harsh harmonies seemingly I Kbenhavn er Sophus Andersen enig i at koncerten
chaotically, certainly demands to be heard several times in havde fortjent et strre publikum, men hftede sig ogs ved
59
order to be fully understood. den lidet indsmigrende karakter der er over megen musik af
For Kbenhavn, Sophus Andersen agreed that the Carl Nielsen:
concert deserved a larger audience but also noted the uningra-
tiating nature of Nielsens work. Hr. Carl Nielsens symfoniske Suite for Klaver, udmrker sig
ved en hensynsls Energi, der virker imponerende mere end
Mr. Carl Nielsens Symphonic Suite for piano is distinguished fngslende. Man mrker i den Orkesterkomponisten, ti den
by an uninhibited energy, which has a more imposing than fles mere som et Klaverarrangement af et Orkesterarbejde end
60
captivating effect. One discerns in it the hand of an orchestral som Klaverstykke.
composer, in that it feels more like a piano arrangement of an
60
orchestral work than a piano piece. I Berlingske Tidende modsiger H.V. Schytte sine kolleger ved at
hvde at salen var ret godt besat med Tilhrere. Med henvis-
In Berlingske Tidende, H.V. Schytte contradicted his colleagues ning til Goethes motto fortstter han:
by claiming that the hall was well lled. Noting the Goethe
motto, he went on: Dette Componistens Opus 8, har, som man af disse tydske
Ord kunde vente, et meget alvorsfuldt Physiognomi. Ei blot
61
This composers Opus 8 has, as we might expect from those til Lyst vilde vre altfor imdekommende Ord. Naar blot
German words, a very serious physiognomy. Not only for
61
pleasure would be much too attering. If we were to cross
57 Aftenbladet, 6.5.1895.
58 Adresse-Avisen, 6.5.1895.
59 Avisen, 5.5.1895.
57 Aftenbladet, 6.5.1895. 60 Kbenhavn, 7.5.1895.
58 Adresse-Avisen, 6.5.1895. 61 Mottoet over Det Kongelige Teaters fortppe som kan
59 Avisen, 5.5.1895. ses den dag i dag, blev indfrt i 1774 af den davrende
60 Kbenhavn, 7.5.1895. teaterdirektr Jacobi. I rene 1798-1817 var det erstattet
61 Ei blot til Lyst, motto above the curtain of the Royal af det latinske motto Castigat ridendo mores (revser
Theatre since 1774 (when it was introduced by the sderne ved at more).
then director of the theatre, Jacobi) and still today; in
the years 1798-1817 it was replaced by the Latin motto
Castigat ridendo mores (criticises customs through
humour).

Carl Nielsen Udgaven CN 00042 xviii

II_12_tekst 1.indd xviii 28/09/06 11:29:13


stryges, passe Ordene til denne Symphoni for Claveer, som i Hr.
Glass havde en beundringsvrdig Fortolker. Den paa harmonisk
og contrapuntisk Kunst vsentligst baserede, hjst vanskelige
out only, those words would apply to this symphony for og indviklede, i Grunden slet ikke claveermssige Composition
piano, which in Mr. Glass had an admirable interpreter. blev spillet med en Overlegenhed, Klarhed og Energi, der maatte
This com position based essentially on harmonic and vkke Respect. Hr. Glass, der er saa optagen af anden Virksomhed,
contrapuntal art, extremely difcult and complicated, at hans Tid til selv at dyrke Claveerspillet maa vre temmelig
fundamentally non-pianistic was played with a conviction, knap, gjorde ved at foredrage dette eiendomelige Vrk udenad
clarity and energy that should command respect. In per- et Kunststykke, som vi ville see, om Nogen gjr ham efter. At
forming this original work from memory, Mr. Glass, who is Componisten ikke er nogen Pfuscher har han her ligesom saa
so occupied with other activities that his time for playing ofte tidligere godtgjort, medens hans Ringeagt for die zrtli-
62
the piano must be rather limited, achieved such a feat as chen Herzen i dette nye Opus synes at gaae noget for vidt.
we will have to wait and see if anyone can emulate. That
the composer is no bungler he has likewise often proved Den 3. februar 1898 blev suiten opfrt sammen med frsteop-
63
earlier, while his disdain for the tender hearts may have frelsen af Humoreske-Bagateller af Adolfa Johnsson i Koncert-
62 64
gone a little too far in this new opus. Palets Mindre Sal ved en velbesgt koncert som Carl Nielsen
jensynligt frst havde planlagt skulle nde sted 14 dage
On 3 February 1898 the Suite was performed, along with the forinden, og som ogs indeholdt hans g moll strygekvartet og
63 65
premiere of the Humoresque-Bagatelles, by Adolfa Johnsson in violinsonaten i A dur. I et brev to dage senere takkede han
64 66
the Koncertpals lesser hall, a well-attended concert that Johnsson for hendes udfrelse.
Nielsen had apparently only decided upon a fortnight earlier, P dette tidspunkt var kritikken endnu ikke blevet
and which also included his G minor String Quartet and A mrkbart formildet. I Nationaltidende beskrev Gustav Hetsch det
65
major Violin Sonata. In a letter two days later he thanked som han kaldte Nielsens Frygt for at blive almindelig. Flgelig
66
Johnsson for her performances. og uden at nvne vrket placerede han suiten i en overgangs-
Critical reception had not noticeably mellowed by periode hvori Komponisten har gjort sig Livet surt under
67
this stage. Gustav Hetsch in Nationaltidende mentioned what he Anfgtelser, Grublerier og Experimenter. Efter at have kaldt
considered to be Nielsens fear of being ordinary. By implica- violinsonaten et lidet taknemmeligt Arbejde for de udvende
tion, and without naming the piece, he placed the Suite in a bemrker Nanna Liebmann i Dannebrog at Den inke unge
transitional period in which the composer has made his life Pianistinde Frk. Adolfa Johnsson havde heller ikke stor Glde af
67 68
sour by attacks, broodings and experiments. After calling the den kjedsommelige Klaversuite. I Politiken s Charles Kjerulf
Violin Sonata a somewhat thankless task for the performers, koncerten med kun n komponist p programmet som et symp-
Nanna Liebmann in Dannebrog commented that The skilful tom p Carl Nielsens usikkerhed omkring sin egen position.
young pianist Miss Adolfa Johnsson had scarcely any more joy Den mildest talt uhandelige suite slog han i hartkorn med
68
with the tedious Piano Suite. In Politiken Charles Kjerulf took violinsonaten og beskrev de to vrker som i Virkeligheden kun
the single-composer evening as a symptom of Nielsens inse- undtagelsesvis Musik, som Regel Node-Eksperimenter, der ikke
69
curity about his reputation. Calling the suite to say the least frembringer andet Resultat end Tomhed og Kedsommelighed.
awkward, he lumped it in with the Violin Sonata as for the
most part not really music; on the whole merely note-experi-
62 Berlingske Tidende (Aftenblad), 6.5.1895.
69
ments, leading only to emptiness and boredom. 63 Pianist (1867-1961).
64 Torben Schousboe (1983), op. cit., s. 146, 154.
65 Torben Schousboe (1983), op. cit., s. 152.
62 Berlingske Tidende (Aftenblad), 6.5.1895. 66 DK-Kk, CNA I.A.c.
63 Danish pianist (1867-1961). 67 Nationaltidende, 4.2.1898.
64 Torben Schousboe (1983), op. cit., pp. 146, 154. 68 Dannebrog, 4.2.1898.
65 Torben Schousboe (1983), op. cit., p. 152. 69 Politiken, 4.2.1898.
66 DK-Kk, CNA I.A.c.
67 Nationaltidende, 4.2.1898.
68 Dannebrog, 4.2.1898.
69 Politiken, 4.2.1898.

Carl Nielsen Udgaven CN 00042 xix

II_12_tekst 1.indd xix 16/09/06 15:32:42


Omkring 1907 havde Symphonisk Suite imidlertid
efterhnden opnet en fast plads i dansk koncertliv, selvom
musikkritikken vedblev at vre negativ. Vrket optrdte p
By 1907, the Symphonic Suite was nevertheless well endnu en Carl Nielsen-koncert den 30. November, efter hvilken
established in Danish concert life. Critical response in the press Charles Kjerulf p dette tidspunkt en kritiker med betydelig
continued to be unfavourable, however. The work featured in indydelse udtalte sig i strke vendinger. Han kritiserede
another evening devoted to Nielsens music on 30 November, komponisten for hans nye strygekvartet i F dur (opus 44), men
and the review by Charles Kjerulf by then a critic of consider- roste hans sange (herunder Jens Vejmand) som eksempel p
able inuence was eloquent in its rejection. Kjerulf berated musik han ville nske Carl Nielsen havde skrevet noget mere af.
the composer for his new F major String Quartet (Op. 44) but Med noget skarpere pen og ikke ganske opdateret med hensyn
praised his songs (including the then brand-new Jens Vejmand) til kronologien fortsatte Kjerulf:
as an example of the music he would have liked Nielsen to
compose more of. Sharpening his pen, and perhaps not wholly Selvflgelig fortrd han det ogsaa straks, og vi k ... den sym-
informed as to the correct chronology, Kjerulf continued: foniske Suite for Klaver, der adskillige Gang[e] fr har vret
fremfrt offentligt. Den har til Motto Ach, die zrtlichen Her-
Of course he immediately repented, and we got ... the Sym- zen! Ein Phuscher vermag sie zu rhren. De stakkels Fuskere,
phonic Suite for Piano, which has been publicly performed der har vovet at rre flsomme Musik-Hjerter. Skam Jer, Mozart
many times. It has the motto Ah, those tender hearts! A og Haydn, Wagner og Tschaikowsky! Hvorfor ikke tage endnu
bungler could stir them. Those poor bunglers, who have dared et tysk Sprikwort til Hjlp til Forstaaelsen af denne kakofo-
to stir sensitive musical souls. Shame on you, Mozart, Haydn, niske Suite: Nur die Lumpen sind bescheiden. Hr. Henrik
Wagner and Tchaikovsky! Why not look for another German Knudsen spillede den med ypperste, mest fanatiske Hengivelse
70
motto to help us understand this cacophonic Suite: Only ... udenad. End ikke det rrte Tilhrerne synderligt.
fools are modest. Mr Henrik Knudsen played it with the most
outstanding, the most fanatical dedication, from memory. Lets Mindre sarkastisk, men med samme udgangspunkt, bemrkede
70
hope it did not stir the audience too much. Alfred Tofft i Berlingske Tidende at Koncertpaets Mindre Sal n-
sten var fuld. Idet han fandt den ny kvartet eksperimenterende
Less sarcastically, but from a similar point of view, Alfred Tofft og alt for optaget af ikke at vre uinteressant, gentog han den
in Berlingske Tidende noted that the lesser hall in the Koncert- almindelige vurdering af Symphonisk Suite som ikke taknem-
pal was nearly full. Finding the new Quartet experimental lig og sluttede med at tilrde Carl Nielsen at komponere fra
and anxious not to be uninteresting, he echoed the general Hjertet som i de stroske sange og korene der var blevet opfrt
view of the Symphonic Suite as ungrateful, ending with advice ved samme koncert, uden Frygt for at komme for langt bort fra
71
to Nielsen to continue to write from the heart, as in the sig selv.
strophic songs and choruses performed at the concert, with- Den indledende Intonation blev arrangeret for
71 72
out fear of getting too far away from himself. orgel af Paul Gerhardt og udgivet hos Wilhelm Hansen i en
73
The opening movement, Intonation, was arranged samling, redigeret af Gerhardt og Max Reger. Det vides ikke
72
for organ by Paul Gerhardt and published by Wilhelm Hansen om Carl Nielsen havde nogen andel i dette projekt.
73
in a collection jointly edited by Gerhardt and Max Reger. It is
not known whether Nielsen had any input into this project. Kildematerialet til Symphonisk Suite bestr af skitser, kladder
(C) og renskrift, der ogs tjente som trykforlg (B). Som det er
Source material for the Symphonic Suite consists of sketches, drafts tilfldet med de fem klaverstykker opus 3, er Carl Nielsens eget
(C) and a fair copy that served also as printing manuscript (B). As eksemplar af frstetrykket valgt som hovedkilde (A).
with the Five Pieces Op. 3, Nielsens own copy of the rst printed
edition survives and has been chosen as the main source (A).
70 Politiken, 1.12.1907. Goethe-citatet fortstter: Brave
freuen sich der Tat.
71 Berlingske Tidende Aftenblad 2.12.1907.
70 Politiken, 1.12.1907. The motto from Goethe continues 72 Tysk organist (1867-1946).
Brave freuen sich der Tat (Virtuous men take joy in 73 Album Nordischer Komponisten fr Orgel, bd. 2, s. 44-45,
action). Kopenhagen 1921.
71 Berlingske Tidende Aftenblad 2.12.1907.
72 German organist (1867-1946).
73 Album Nordischer Komponisten fr Orgel, vol. 2, pp. 44-45,
Copenhagen 1921.

Carl Nielsen Udgaven CN 00042 xx

II_12_tekst 1.indd xx 16/09/06 15:32:43


HUMORESKE-BAGATELLER, OPUS 11

D
er er ikke overleveret megen viden om tilblivelsen
HUMORESQUE-BAGATELLES, OPUS 11 af de seks stykker som udgr Carl Nielsens opus 11,
selvom den almindelige antagelse er at de blev

L
ittle is known of the genesis of the six pieces that make skrevet med henblik p familiens unge (dtrene Irmelin og
up Nielsens Op.11, though it is generally assumed that Anne Marie og snnen Hans Brge, fdt henholdsvis 1891,
they were written with his young family in mind (his 1893 og 1895).
daughters Irmelin and Anne Marie and his son Hans Brge, Den tidligste dokumenterede omtale af Humoreske-
born in 1891, 1893 and 1895, respectively). The rst docu- Bagateller er et brev til hustruen af 12. maj 1897, samme dag
mented mention of the Humoresque-Bagatelles is a letter from som slutdatoen p manuskriptet, hvor Nielsen skriver at han
the composer to his wife on 12 May 1897, the same day as the har solgt de seks smaa Klaver Stykker sammen med kantaten
74
completion date on the manuscript, where Nielsen writes that Hymnus amoris til Wilhelm Hansen for 650 kroner i alt. Som
he has sold the six little piano pieces, along with the Cantata det var tilfldet med Symphonisk Suite, udfrte hans hustru
74 75
Hymnus amoris, to Wilhelm Hansen for 650 kroner in total. As titelbladet, som viser deres tre legende brn. Den 6. januar
with the Symphonic Suite, his wife made the title page, which 1898 kan han notere i sin dagbog at Humoreske-Bagateller er
76
in the case of the Humoresque-Bagatelles depicts their children blevet udgivet til jul.
75
playing. On 6 January 1898 he noted in his diary that the Hverken Charles Kjerulf eller Nanna Liebmann havde
76
Humoresque-Bagatelles had been published at Christmas. meget at sige om stykkerne ved deres frsteopfrelse af Adolfa
Neither Charles Kjerulf nor Nanna Liebmann had Johnsson den 3. februar 1898. Frstnvnte bemrker blot at Hu-
much to say about the pieces at their rst performances, which moreske-Bagateller er egenlig ikke paa deres Plads i en Koncert-
was given by Adolfa Johnsson on 3 February 1898. The former sal. Det er Stykker i Smag med Schumanns Brne-Scener, men
77
merely noted that the Humoresque-Bagatelles are actually out of langt mere rafneret naivt gjorte, mens Nanna Liebmann an-
place in the concert hall. They are pieces on the lines of Schu- frer at pianisten i sammenligning med det utaknemmelige job
manns Kinderszenen, but in a much more rened-nave man- med udfrelsen af Symphonisk Suite tog siden Revanche med de
77 78
ner, while Nanna Liebmann commented that by comparison morsomme Humoreske-Bagateller . Gustav Hetsch fastslog at
with the thankless task of the Symphonic Suite, the pianist took Adolfa Johnsson skilte sig nydelig fra de i et Lune henkastede
78
her revenge with the amusing Humoresque-Bagatelles. Gustav Humoreske-Bagateller, der synes at vre bestemte for Brn
79
Hetsch reckoned that Adolfa Johnsson acquitted herself nicely paa 30 Aar. Som nvnt ovenfor (s. x) spillede Carl Nielsen selv
in the capriciously dashed off Humoresque-Bagatelles, which Humoreske-Bagateller offentligt et par r senere i forbindelse med
79
seemed to be intended for children of 30 years. As mentioned en teaterforestilling p Svendborg Teater.
above (p. x) Nielsen himself played his Humoresque-Bagatelles in P et tidspunkt mellem 1920 og 1924 (formentlig
public a few years later during a theatrical performance at the nrmere frstnvnte rstal) foretog Carl Nielsen en privat
Svendborg Theatre. indspilning p den tidligere omtalte voksvalse af Dukke-Marsch
At some time between December 1920 and 1924 (No. 5), mens han var p besg hos vennerne Vera og Carl Johan
(probably nearer to the earlier date), Nielsen made a private re- Michaelsen. Indspilningskvaliteten er yderst ringe, og det er
cording on wax cylinder of the Puppet March (No. 5) at the home nppe muligt at drage nogen konklusion med hensyn til kom-
of his friends Vera and Carl Johan Michaelsen. The sound qual- ponistens klaverspil eller hans foretrukne udfrelse af stykket.
ity is poor, and given the circumstances in which the recording Tempoet er lidt roligere end man normalt hrer det (udfrelsen
was made, it is scarcely possible to draw any conclusions about varer 1 minut og 24 sekunder), venstre hnds staccati er slret
the composers playing or his preferred manner of interpreta-
tion. Nielsens tempo is a little steadier than usually heard (the
74 Torben Schousboe (1983), op. cit., s. 145.
performance takes 1 minute 24 seconds), the left hand staccatos 75 Torben Schousboe (1983), op. cit., s. 146, 151.
76 Torben Schousboe (1983), op. cit., s. 152.
77 Politiken, 4.2.1898.
74 Torben Schousboe (1983), op. cit., p. 145. 78 Dannebrog, 4.2.1898.
75 Torben Schousboe (1983), op. cit., pp. 146, 151. 79 Nationaltidende, 4.2.1898.
76 Torben Schousboe (1983), op. cit., p. 152.
77 Politiken, 4.2.1898.
78 Dannebrog, 4.2.1898.
79 Nationaltidende, 4.2.1898.

Carl Nielsen Udgaven CN 00042 xxi

II_12_tekst 1.indd xxi 16/09/06 15:32:43


af pedalen, og der er et memorerings-udfald ved takterne 21-23.
Valsen bender sig p Statsbiblioteket i rhus som har forestet
en kompliceret restaurerings-indsats og udgivet resultatet p
80
are disguised by pedal, and he has a lapse of memory in bb.21- compact disc (kilde E).
23. The cylinder is housed at the State and University Library,
rhus, which initiated the complex restoration process and Der er overleveret blyantsskitser (C) og renskrift (B) sidst-
80
issued the results on compact disc (source E). nvnte som trykforlg for den frste trykte udgave. Komponi-
stens eksemplar af frstetrykket med egne ptegninger i tre af
Surviving manuscript sources consist of pencil sketches (C) and stykkerne (A) er bevaret i Carl Nielsen Museet i Odense og har
an ink fair copy (B) which also served as printing manuscript. tjent som hovedkilde for nrvrende udgave.
The composers copy of the rst printing (A), with his own an-
notations in three of the pieces, is in the Carl Nielsen Museum,
Odense, and is taken as the main source. FEST-PRLUDIUM VED AARHUNDREDSKIFTET

D
er ndes ingen dokumentation for baggrunden for
FESTIVAL PRELUDE FOR THE NEW CENTURY Carl Nielsens arbejde med Fest-Prludium. Stykket blev
81
tilegnet vennen Jens Ferdinand Willumsen og blev

T
here is no documentary source describing the back- frste gang offentliggjort p forsiden af Politiken nytrsdag 1901
82
ground to Nielsens work on the Festival Prelude. The som faksimile i komponistens egen hnd. Frsteopfrelsen
83
piece was dedicated to his friend, Jens Ferdinand Willum- ved Dagmar Borup fandt sted i Odd Fellow-Palets Mindre Sal
81 84
sen, and was rst published on the front page of Politiken on den 4. marts 1901. Stykket er siden blevet arrangeret for orgel
82 85
New Years Day 1901. Its rst public performance was given (mindst to gange) samt for andre instrumenter.
83 84
by Dagmar Borup at the Koncertpal on 4 March 1901. It Politikens Charles Kjerulf giver en kort omtale af
has been variously arranged for organ (at least twice) and other stykket i forbindelse med sin anmeldelse af hele koncerten; om
85
instruments. Dagmar Borups udfrelse af Symphonisk Suite og Fest-Prludium
Politikens Charles Kjerulf made a brief mention hedder det:
of the piece in his review of the concert, noting of Dagmar
Borups performance of the Symphonic Suite and the Festival Hun havde endog det Mod at spille to Stykker af Carl Nielsens
Prelude: nrmest berygtede Suite for Piano og Fruen tog saamn[d]
fat paa den med haandfast Tro dog uden at faa os overbevist
She even had the courage to play two pieces from Nielsens om, at dette er Musik. Saa er Festprludiet der saa Lyset i
virtually notorious Suite for Piano, and the woman really took Politikens Nytaarsnum[m]er anderledes gte i sin pompse
86
hold of it with rm faith, though without convincing us that Holdning.
it is music. Whereas the Festival Prelude which came out in
Politikens New Years Day issue is truly genuine in its stately
80 CDROM SBCD 05, Statsbiblioteket, rhus, 2003.
86
bearing. 81 Maler (1863-1958).
82 Se faksimile i John Fellow (1999), op. cit., s. 40.
83 Pianist og hrelre-pdagog (1867-1959).
80 CDROM SBCD 05, Statsbiblioteket, rhus, 2003. 84 Dan Fog og Torben Schousboe, Carl Nielsen. Kompositio-
81 Danish painter (1863-1958). ner, Kbenhavn 1965, s. 11.
82 See facsimile in John Fellow (1999), op. cit., p. 40. 85 3.11.1929 dirigerede Carl Nielsen ved et stort anlagt
83 Danish pianist and teacher of solfge (1867-1959). stvne i Forum Johannes Andersens arrangement for
84 Dan Fog & Torben Schousboe, Carl Nielsen. Kompositioner, harmoniorkester af Fest-Prludium. Arrangrens egen-
Copenhagen 1965, p. 11. hndige partitur i Livgardens Musikkorps indeholder
85 On 3.11.1929 Nielsen conducted Johannes Andersens en rkke tilfjelser i Carl Nielsens hnd.
arrangement of the Festival Prelude for wind orchestra 86 Politiken 5.3.1901
at a large-scale rally in the Forum. The arrangers
hand-written score contains a number of additions in
Nielsens hand.
86 Politiken 5.3.1901

Carl Nielsen Udgaven CN 00042 xxii

II_12_tekst 1.indd xxii 28/09/06 11:29:13


Dagens Nyheder bemrker kort, at stykket faldt godt i Traad med
87
de to forud opfrte Brudstykker af den Symfoniske Suite Op. 8.

Dagens Nyheder noted merely that the piece was well in keeping Af frstetrykket fremgr at Politikens faksimile fra 1901 (B) har
with the two previously performed extracts from the Sym- tjent som trykforlg, idet de samme inkonsekvenser i artiku-
87
phonic Suite Op. 8. lationen ndes i svel frstetryk som faksimile. Komponistens
eksemplar af den trykte udgave hos Wilhelm Hansen (A) er
From the rst printed edition it can be deduced that the manu- valgt som hovedkilde.
script version reproduced in facsimile in Politiken (B) also served
as the printers copy, since both sources have the same incon-
sistencies in articulation. The composers copy of the Wilhelm DRMMEN OM GLADE JUL
Hansen printed edition (A) has been chosen as the main source.

O
m dette stykke vides ikke andet end at kladden er
dateret 3. december 1905, og at det er komponeret til
A DREAM ABOUT SILENT NIGHT en samling med julemusik udgivet af Dansk Tone-
88
kunstnerforening.

N
othing is known about this piece, beyond the fact Kladde og renskrift (trykforlg) er bevaret, og disse
that the draft score is dated 3 December 1905 and svarer med f undtagelser til den trykte version (A) som er valgt
that it was composed for a collection of Christmas som hovedkilde.
album pieces published by the Society of Danish Composers
88
(Dansk Tonekunstnerforening). Draft and fair copy (used as
printing copy) survive, and these and the rst printed score (A, CHACONNE, OPUS 32
taken as the main source) are in almost complete agreement.

D
en 19. december 1916 skrev Carl Nielsen til sin ldste
datter Irmelin (han tilbragte julen adskilt fra sin
CHACONNE, OPUS 32 familie som flge af en gteskabelig krise):

O
n 19 December 1916 Nielsen wrote to his elder jeg har begyndt, mine frste Feriedage med at paabegynde
daughter Irmelin (he was spending Christmas away en stor Ciaconne for Klaver, som jeg er godt igang med. Du
from his family because of his marital crisis): ved nok at Passacaglia og Ciaconne-Formen er nsten ens; et
til Grund liggende Thema eller Bas som varieres paa mangfol-
and I have begun the rst days of my holiday by embarking on dige Maader. Jeg tnker den skal vokse sig strk og stor nu i
a large Chaconne for piano, which I am already well along with. Julen, forelbig morer det mig meget at slippe min Fantasi ls
You probably know that the passacaglia and chaconne forms are indenfor disse bundne Perioder (8 Takter i maadelig 3/4 Takt).
more or less the same: a fundamental theme or bass that is var- Du kender jo Bachs dejlige Ciaconne for Solo-Violin. Kunde jeg
89
ied in numerous ways. I think this piece will grow strong and big naa ham til Skuldrene med min for Klaver!!
over Christmas; just for now it greatly amuses me to give my fan-
tasy free rein within these xed periods (8 bars in a moderate 3/4 18. januar 1917 kunne han fortlle Irmelin at vrket var frdigt,
90
metre). You must know Bachs beautiful Chaconne for solo violin. og at det er et ret stort Stykke og jeg tror virkningsfuldt.
89
If I could reach up to his shoulders with mine for piano!!

87 Dagens Nyheder, 5.3.1901.


On 18 January 1917 he told Irmelin that the work was nished: 88 Se Sources, kilde A.
90 89 Dk-Kk, CNA, III.A.a.1.
a really big piece, and I think effective.
90 DK-Kk, CNA, III.A.a.1.

87 Dagens Nyheder, 5.3.1901.


88 See Sources, Source A.
89 Dk-Kk, CNA, III.A.a.1.
90 DK-Kk, CNA, III.A.a.1.

Carl Nielsen Udgaven CN 00042 xxiii

II_12_tekst 1.indd xxiii 16/09/06 15:32:44


Chaconne blev frsteopfrt af Alexander Stoffregen
den 13. april 1917 ved den anden af to koncerter med danske
sange skrevet af Carl Nielsen og hans samarbejdspartner,
91
The Chaconne was premiered by Alexander Stoffregen Thomas Laub, en begivenhed som vandt genklang i den
on 13 April 1917, in the second of Nielsens two concerts of danske presse. 19. april fortalte komponisten selv Irmelin
91 92
Danish songs with his collaborator Thomas Laub, an event at Stoffregen gjorde stor Lykke med vrket. Hvad angr
widely reviewed in the Danish press. On 19 April the composer anmelderne njedes de imidlertid med at nvne Chaconne som
himself told Irmelin that Stoffregen had had great success with en fodnote ved koncerten.
92
it. For their part, however, reviewers tended to mention the B.W.G. omtalte det som et interessant Vrk, som
Chaconne only as a footnote to the main business of the concert. dog br hres ere Gange, for at man fuldt ud kan blive
B.W.G. called it an interesting work, but one which fortrolig med dets Enkeltheder. Hr. Stoffregen foredrog Vrket
93
needs to be heard several times before one can become com- med Myndighed og en ikke ringe pianistisk Dygtighed. Axel
94
pletely familiar with its details. Mr Stoffregen performed the Kjerulf kaldte det blot en krkommen instrumental Afveks-
93
work with authority and no mean pianistic prociency. Axel ling [for koncertens vokale numre] et friskt og karakterfuldt
94 95
Kjerulf simply called it a welcome instrumental contrast Arbejde. Emilius Bangert fandt Chaconne meget tungt og
[to the vocal items in the concert] a fresh and characterful noget ufrisk, ikke mindst ved sin knudrede Klaverbehand-
95 96
work. Emilius Bangert found the Chaconne very heavy and ling, og en anonym anmelder betegnede det simpelt hen
96 97
rather stale, not least in its abstruse piano writing. An anony- som interessant, snrklet, gammeldags Musik. Den mest
mous reviewer simply labelled it interesting, intricate, old- indgende anmeldelse kom fra Gustav Hetsch:
97
fashioned music. The most extended review of the Chaconne
was from Gustav Hetsch: Den holdt Tilhrerne i Aande hele Tiden ved sine mange Over-
raskelser, navnlig i Begyndelsen, som vi nskede at kunne hre
It held the audiences attention the whole time with its many igen for at faa bedre fat paa Sammenhngen og Enkelthederne.
surprises, especially at the beginning, which we would like to Desvrre blev det imidlertid ikke Begyndelsen men den langt
have heard again in order to gain a better appreciation of the lettere overskuelige og tilegnelige Slutning der gentoges efter
connections and details. Unfortunately, however, it was not the Bifaldet. Saa meget syntes dog givet, at Carl Nielsen her paa et
beginning but the much more easily assimilable conclusion ham nyt Felt har frembragt et interessant og ejendommeligt
98
that was repeated after the applause. This much is neverthe- Arbejde.
less clear: that Nielsen has here produced an interesting and
98
original work in a new eld for him. Disse vurderinger blev gentaget i kort form to dage senere
i en anonym notits i Social-Demokraten: ejendommelig og
99
These judgments were echoed in summary form two days later interessant.
in an anonymous notice in Social-Demokraten: original and Den 11. februar 1918 spillede Christian Christiansen
99
interesting. Chaconne ved en koncert med orkestervrker af Carl Nielsen,
On 11 February 1918, Christian Christiansen played heriblandt Det Uudslukkelige og frsteopfrelsen af Pan og Syrinx.
the Chaconne during a concert of Nielsens orchestral works Charles Kjerulf hftede sig ved bifaldet til Christiansen og be-
including the premiere of Pan and Syrinx, and The Inextinguish-
able. Charles Kjerulf noted the ovation for Christiansen and de-
91 Organist og komponist (1852-1927).
scribed the piece as a genuine Carl Nielsen piano-experiment,
92 DK-Kk, CNA, III.A.a.1.
93 Vort Land, 15.4.1917.
94 Kritiker (1884-1964), sn af Charles Kjerulf (1858-1919).
91 Danish organist and composer (1852-1927). 95 Politiken, 14.4.1917.
92 DK-Kk, CNA, III.A.a.1. 96 Hovedstaden, 14.4.1917.
93 Vort Land, 15.4.1917. 97 Kbenhavn, 14.4.1917.
94 Danish critic (1884-1964), son of Charles Kjerulf (1858- 98 Nationaltidende (aftenudgave), 14.4.1917.
1919). 99 Social-Demokraten, 16.4.1917.
95 Politiken, 14.4.1917.
96 Hovedstaden, 14.4.1917.
97 Kbenhavn, 14.4.1917.
98 Nationaltidende (evening edition), 14.4.1917.
99 Social-Demokraten, 16.4.1917.

Carl Nielsen Udgaven CN 00042 xxiv

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skrev stykket som et gte Carl Nielsens Klaver-Eksperiment,
en kontrapunktisk Piano-Studie med den mindste Anvendelse
af Klaversats eller overhovedet Flyglets Rigdom af Klangfar-
a contrapuntal piano study without the slightest recourse ver. Alt kun Tegning, Streger og Sving, men den nydeligste,
100
to pianistic writing or any of the grand pianos richness of sirligste, gammeldags Ornamentik. Kjerulf var p dette
colour. Everything is just calligraphy, lines and curves, but tidspunkt blevet en strk tilhnger af Carl Nielsens musik, og
its the most attractive, neatest, old-fashioned ornamenta- denne anmeldelse indvarsler et skift i den kritiske modtagelse
100
tion. Kjerulf had recently become something of a convert to af hans klavervrker.
Nielsens music, and this review signals a shift in the tone of Det siges at Christian Christiansen havde fet lov til
critical reception of his piano works. af komponisten at ndre alt det i codaen, som han mtte nde
Christiansen is reported to have been given licence pianistisk uhensigtsmssigt; han lod dog den pgldende
101
by the composer to alter anything in the Coda to the Chaconne passage forblive som den var. Senere ptog Stoffregen sig
that he felt to be pianistically uncomfortable. However, he ansvaret for tilfjelsen af de to dybe bastoner i slutningen af
101
left the passage in question unchanged. Stoffregen later skalapassagen fr den afsluttende akkord en ndring som
claimed responsibility for the two low bass notes at the end Carl Nielsen tilsyneladende anerkendte, og som er gengivet i
of the scale passages and preceding the nal chord, which, frstetrykket, men som Stoffregen senere mente passede drligt
Nielsen apparently sanctioned and which appear in the til komponistens stil, fordi den indfrte en stilkliche der stam-
102
rst printed edition, but which Stoffregen came to believe mer fra romantikere som Csar Franck og Debussy. Det har
misrepresented the composer by introducing a mannerism ikke vret muligt at fastsl hvem der var ansvarlig for andre
102
deriving from the romantics and Franck and Debussy. It afvigelser i klaversaten mellem renskriften og frstetrykket,
103
has not proved possible to determine who was responsible for selvom det almindeligvis hvdes at have vret Stoffregen.
other extensive differences in keyboard layout between fair
copy and rst printing, though it is widely assumed to have Da der ikke foreligger vidnesbyrd om Carl Nielsens afstand-
103
been Stoffregen. tagen fra disse ndringer, er frstetrykket (A), udgivet af
Wilhelm Hansen i 1917, valgt som hovedkilde. Komponistens
In the absence of any evidence for Nielsens disapproval of eget eksemplar af frstetrykket er get tabt, sledes som det
these changes, the rst printed edition (A), published by Wil- ogs er tilfldet med alle de andre efterflgende klavervrker.
helm Hansen in 1917, is taken as the main source. The compos- De vrige kilder til Chaconne bestr af kladden (C),
ers own copy of the Chaconne as of all the subsequent piano formentlig udarbejdet uden forudgende skitser, og renskrif-
works has not been preserved in archives. ten (B) som ikke viser nogen tegn p at have vret benyttet som
Further sources for the Chaconne are a draft score trykforlg (et sdant er formentlig get tabt). I 1924 sknkede
(C), possibly made without prior sketching, and a fair copy (B), Carl Nielsen renskriften til Kungliga Musikaliska Akademien
which shows no sign of having served as printing copy (the i Stockholm efter forinden at have overladt det til den svenske
104
latter must be presumed lost). The fair copy was presented komponist Bror Beckmans afgrelse om han vil beholde
by Nielsen to the Royal Academy of Music in Stockholm in
104
1924, having left it to the Swedish composer Bror Beckman
100 Politiken, 12.2.1918.
101 Jf. Torben Meyer og Frede Schandorf Petersen, op. cit.,
bd. 2, s. 139. Denne blev til p baggrund af talrige
100 Politiken, 12.2.1918. interviews med personer som havde kendt komponi-
101 Cf. Torben Meyer & Frede Schandorf Petersen, op. cit., sten. Denne oplysning om Chaconne bygger angiveligt p
vol. 2, p. 139. Meyer & Schandorfs study was compiled en personlig Erindring hos Einar Christiansen fortalt
using extensive interview material with those who til Torben Meyer. Kilden anfrer ikke at den pianist der
had known the composer. This information about tilfjede den afsluttende dybe bastone, var Stoffregen
the Chaconne is noted as personal reminiscence of (sledes som det fremgr af Herbl, op. cit.), men taler
Christiansen to Meyer. Note that this source does not blot om en eller anden Pianist.
say that the pianist who added the nal deep bass note 102 Jf. Herbl, op.cit.
was Stoffregen (as suggested in Herbl, op. cit.), but only 103 Jf. Mina Miller, En kritisk revideret udgave af Carl
talks of some pianist or other. Nielsens klavervrker: berettigelse, rkkevidde og
102 Cf. Herbl, op. cit. ml. Dansk Musiktidsskrift, rg. 55 (1980), s. 57.
103 Cf. Mina Miller, En kritisk revideret udgave af Carl 104 (1866-1929).
Nielsens klavervrker: berettigelse, rkkevidde og
ml. Dansk Musiktidsskrift, vol. 55 (1980), p. 57.
104 (1866-1929).

Carl Nielsen Udgaven CN 00042 xxv

II_12_tekst 1.indd xxv 16/09/06 15:32:45


originalmanuskriptet, eller om han vil overdrage det til akade-
105
miet. I brev til Carl Nielsen af 1.2.1924 takker Bror Beckman
for manuskriptet og fortstter: Helt naturligt har jag verlm-
to decide whether to keep the manuscript or to pass it to the nat manuskriptet til Ciaconnen till akademiens bibliotek, dr
105 106
Academy. In a letter of 1 February 1924 Beckman thanked det kommer at betraktas som en skatt.
Nielsen for the manuscript and continued: Of course I have
given the manuscript of the Chaconne to the library of the
106
Academy, where it will be considered a treasure. THEMA MED VARIATIONER, OPUS 40

K
nap to mneder efter at have afsluttet Chaconne pbe-
THEME AND VARIATIONS, OPUS 40 gyndte Carl Nielsen endnu et klavervrk byggende p
variationsprincippet. 22. marts 1917 skrev han til Irmelin:

B
arely two months after nishing the Chaconne, Nielsen
embarked on another piano work embodying the varia- Jeg har haft meget at gre og har desuden begyndt paa en nyt
tion principle. On 22 March 1917 he wrote to Irmelin: Klavervrk et Thema med Variationer, som interesserer mig i
sjelden Grad. Themaet begynder i h moll og ender [i] g moll[;]
I have had a lot to do, and Ive also begun a new piano work, deraf flger at hvergang en ny Variation begynder friskes man
a Theme and Variations, which interests me enormously. The op ogsaa af den Nye. Variationsvrker kan, synes jeg, ofte virke
theme begins in B minor and ends in G minor. It follows that monotont i tonal Henseende, det undgaaes paa denne Maade.
every time a new variation begins we are refreshed again. Ive Men nu maa jeg lgge dette tilside i nogen Tid. Jeg har nemlig
often thought that variation works can be tonally monotonous, taget imod en Bestilling paa en Kantate igaar og skal have et saa
107
and this is a way round the problem. But now I have to put vldigt Honorar at jeg ikke kan forsvare at sige nej.
this work to one side for a while. Because yesterday I accepted
a commission for a cantata and I will get so much money for it Frsteopfrelsen ved Alexander Stoffregen fandt sted ved en
107
that I cannot in all decency say no. Carl Nielsen-aften den 29. november 1917 i Odd-Fellow Palets
Store Sal. Stoffregens udfrelse vandt almindelig anerkendelse,
The rst performance was given by Alexander Stoffregen in men modtagelsen af det nye klavervrk var stadig blandet.
the larger hall of the Koncertpal on 29 November 1917 in Mest positiv var B.W.G. som bemrkede, at variationerne
an evening of Nielsens music. Stoffregens performance was var bygget over et Tema, som gennem sin enkle Form og sit
unanimously praised, but reaction to the new piano work was mrkvrdige modulatoriske Indhold var af en ejendommelig
still equivocal. Most positive was B.W.G., who noted that the Virkning, og i det flgende placerede han vrket p linje med
Variations were built on a theme which in its simple form and uddrag fra Saul og David, den anden symfoni samt Saga-Drm
remarkable modulatory content was original in its effect. His som alle stod p programmet ved samme koncert:
following comment placed the work in the line of the Saul and
David excerpts, the Second Symphony, and Saga Dream, heard in Man har paa Fornemmelsen, at Carl Nielsen stadig gaar videre
the same programme: og videre. Han er nu engang ikke som andre. Han har Evnen til
at nde det ldige og gte, og stiller han end Fordringer til den,
One has the impression that Nielsen is progressing further der vil nyde godt af hans Fund, saa lnner det sig at paatage sig
108
and further. He is not like anyone else. He has the gift for nd- Besvret.
ing what is valuable and genuine, and if he makes demands on
those who would like to enjoy his treasures, then it is worth
105 Brev af 14.1.1924, DK-Kk, CNA, I.A.d.
108
the trouble. 106 DK-Kk, CNA, I.A.b.
107 DK-Kk, CNA, III.A.a.1. Det omtalte vrk er Kantate ved
Grosserersocietetets Hundredaarsfest den 23. April 1917.
105 Letter of 14.1.1924, DK-Kk, CNA, I.A.d. 108 Vort Land, 30.11.1917.
106 DK-Kk, CNA, I.A.b.
107 DK-Kk, CNA, III.A.a.1. The work in question is Cantata for
the Wholesalers Societys Centennial Meeting (Kantate ved
Grosserersocietetets Hundredaarsfest den 23. April 1917).
108 Vort Land, 30.11.1917.

Carl Nielsen Udgaven CN 00042 xxvi

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Charles Kjerulf, som ellers havde givet udtryk for sin nylige om-
vendelse til Carl Nielsens sag i en overstrmmende begejstret
omtale af symfonien og tonedigtet, kaldte blot variationerne
Charles Kjerulf, despite expressing his recent conversion to for en begrnset succes der dog blev spillet overordentlig
Nielsens cause in extravagant praise for the symphony and the smukt af Stoffregen:
tone poem, called the Variations merely a succs destime:
Men de var og blev gte Carl Nielsensk Eksperimental-Musik,
even though Mr Alex. Stoffregen played them extremely der til Tider kunde klinge poetisk nrmest som ved en
beautifully. But they were and are genuine Nielsenish expe- Fejltagelse men for det meste klang matematisk, uden nogen
riment-music, which at times could sound poetic almost naturlig Forbindelse med ret. Carl Nielsen og Klaveret har nu
109
inadvertently but for the most part sounded mathematical, aldrig vret rigtig gode Venner.
without any natural connection with the ear. Nielsen and the
109
piano have never been really good friends. Emilius Bangert bemrkede at

Emilius Bangert noted that: Temaet var ypperligt fremsat og dannede Kimen til 16 Varia-
tioner, fulde af aandrige Paafund, bl.a. en henrivende tostem-
The theme was superbly set out and provided the seed for 16 mig Kanon. Carl Nielsens bermte Dristighed ngtede sig intet
variations, full of brilliant invention, including a two-voice isr i de sidste Variationer, som i frste Omgang syntes noget
110
canon. Nielsens famous audacity was not to be denied espe- uden for Lands Lov og Ret,
cially in the last variations, which on rst acquaintance seemed
110
rather outlandish. og Sophus Andersen savnede i Tema med Variationer den inspi-
ration som han havde mdt i Saga-Drm:
Sophus Andersen contrasted the Theme and Variations unfavour-
ably with the inspiration of Saga Dream: Det var et underlig forvredent Arbejde, som sikkert har
interesseret Komponisten at sidde at arbejde med hjemme,
It is a remarkably tortuous piece, which certainly must have interessant som det er, men udpnsket og unaturligt i sine
111
interested the composer to work on at home interesting as Klange og lidet atterende for Klaveret.
it is, but intellectualised and unnatural in its sounds and not
111
very attering for the piano. Den 23. december 1920 modtog Carl Nielsen et brev fra vennen
112
Julius Rntgen, hvori denne takkede ham for at have sendt
On 23 December 1920 Nielsen received a letter from his friend ham noderne formentlig den trykte udgave. Dette brev er
112
Julius Rntgen, thanking him for the present of, presumably, interessant, ikke alene set fra et receptionshistorisk synspunkt
a published score. This letter is interesting not only as a docu- men ogs p grund af det svar som det foranledigede fra
ment of reception history but for the response it elicited from komponisten et af hans mest benhjertige udsagn om den
the composer one of his most candid statements concerning kreative proces. Begge dokumenter fortjener derfor at blive
the creative process. Both documents therefore deserve quota- gengivet in extenso.
tion in extenso. Rntgen wrote:
Herzlichen Dank fr Deine Weihnachtsgabe: die Variationen,
Warmest thanks for your Christmas present of the Varia- mit denen Du mir groe, ernsthhafte Freude gemacht hast. Ich
tions, which have given me great, serious pleasure. I have habe sie dieser Tage grndlich studiert und will Dir nun meinen
been studying them thoroughly over the last few days and Eindruck schreiben, ganz so wie ich ihn von dem Werk empfan-
now want to give you my impression, just as I have received
it from the work. Perhaps my judgment on the details that
109 Politiken, 30.11.1917.
110 Hovedstaden, 30.11.1917.
111 Kbenhavn, 30.11.1917.
109 Politiken, 30.11.1917. 112 Hollandsk komponist, dirigent og pianist (1855-1932).
110 Hovedstaden, 30.11.1917.
111 Kbenhavn, 30.11.1917.
112 Dutch composer, conductor and pianist (1855-1932).

Carl Nielsen Udgaven CN 00042 xxvii

II_12_tekst 1.indd xxvii 16/09/06 15:32:46


gen habe. Vielleicht ndert sich bei noch genauerem Studium
mein Urtheil ber einige Details, die mich jetzt noch befremden.
Der Gesammteindruck ist aber, da es ein hchst bedeutendes,
still bother me will change with closer study. But the over- ganz Deiner wrdiges Werk ist. Alles steht fest und mit vollkom-
all impression is that its a most important work, entirely mener Meisterschaft dar.
worthy of you. Everything about it is solid and masterly. I Ich bewundere die Strengheit mit der das Thema vari-
admire the strictness with which the theme is varied, which iert ist, fr mich die einzig richtige Anwendung der Variationen-
for me is the only correct application of variation form, just form, so wie Bach (Goldberg Variat.) Beethoven und Brahms sie
as Bach (Goldberg Variations) Beethoven and Brahms used gebraucht haben. Ein Werk wie Schumanns Symph. Etuden sind
it. A work such as Schumanns Symphonic Studies doesnt doch eigentlich keine Variationen, es ist ein freies Phantasi[e]ren
really consist of variations; its just free fantasising on the ber das Thema, ebenso wie es Reger in seinen (schnen!) Bach-
theme, just as Reger does in his (beautiful!) Bach Variations variationen und hnlichen Werken thut.
and similar works. Bei Dir verliert man das Thema keinen Augenblick,
With you we never lose the theme for a moment, um so mehr ist dann die grosse Verschiedenheit der Variatio-
and that makes the great variety of the variations all the more nen zu bewundern. Es ist viel schwerer unter dem Zwang des
admirable. Its much harder to be inventive within the de- Themas zu ernden als wenn man sich davon lossagt. Dass da-
mands of the theme than when one renounces it. The fact that bei manchmal mehr Kopf als Herzarbeit nthig ist, ist freilich
we sometimes need more brain than heart to bring this off may unvermeidlich.
be unavoidable. Das Thema selbst ist prachtvoll in seiner festen Melodie,
The theme itself is splendid in its rm melody and u. dem hchst interessanten u. doch so natrlichen harmo-
the most interesting and yet so natural harmonic-modulatory nisch-modulatorischen Gang. Durch den Weg von h moll ber f
progression. By taking the path from B minor through F minor moll nach g moll wird die Gefahr, dass alle Variationen in einer
to G minor, the danger that all the Variations stay in the same Tonart stehen u. das Ganze dadurch monoton werden knnte,
tonality and that the whole thing could therefore become sehr glcklich umgangen. Freilich etwas Dur-Sonnenschein und
monotonous, is very felicitously avoided. Admittedly one waits Lyrik erwartet man vergebens, dadurch bekommt das Ganze
in vain for some major-mode sunshine and lyricism, and so the etwas sehr Herbes, was jedenfalls in Deiner Absicht gelegen hat.
whole thing becomes somewhat harsh, which was doubtless Am Schnsten nde ich die Doppelvariation 7 und
your intention in any case. 8. Diese und die folgenden (9 und 10) sind die einzigen wo Du
I nd the double variation 7 and 8 the most beauti- modulatorisch abweichst von dem Thema (die Struktur bleibt
ful of all. These and the following variations (9 and 10) are the streng bewahrt!). Man knnte ber Var. 7 eine Reihe neuer
only ones where you modulate away from the theme (though Variationen machen u. sie als selbstndiges Thema gebrauchen.
the structure is strictly maintained!). One could make a new Vielleicht thue ich es einmal: ich nde das Stck so besonders
series of variations on Variation 7 and use it as an independent tief und schn!
theme. Maybe Ill do it sometime: I nd the piece so very deep Sehr morsomt ist Var. 13 mit der Ostinatogur in der
and beautiful! rechten Hand gegen das Thema-Bass. Es lebe die Consequenz,
Variation 13, with its ostinato gure in the right wodurch f moll, C dur, Des dur, b moll u.s.w. so natrlich mit
hand against the bass theme, is highly entertaining. Long live H moll zusammenklingen. Spter kommts allerdings noch
the logic whereby F minor, C major, D at major, B at minor zu schlimmeren Mesalliancen, z.B. in Var. 15 Takt 16 f moll,
and so on harmonise so naturally with B minor. Later on there s moll, g moll, die dem Ohr nicht gerade schmeicheln, aber
are certainly some tougher misalliances, such as in Variation logisch vollkommen zu vertheidigen sind.
15, bar 16 (F minor, F sharp minor, G minor), which dont
exactly caress the ear, but which are still completely defensible.

Carl Nielsen Udgaven CN 00042 xxviii

II_12_tekst 1.indd xxviii 20/09/06 9:37:05


Gerade wegen dieser so streng behandelten Logik
nde ich es Schade, dass Du im Var. 13 im letzten Takt das Osti-
nato opferst und mit g in der rechten schliet. Das zerstrt
Precisely because of this logic, so strictly maintained, mir den ganzen Ostinato Effekt. Warum nicht:
I nd it a pity that in Variation 13 you sacrice the ostinato in
# . # U
the last bar and end with G in the right hand. That destroys the & #
j
ostinato effect for me. Why not:
? # # b J

## . # U
&
j Die beiden letzten Variationen bringen eine groe Steigerung,

? # # b J
die ihren Hhepunkt erreicht in der Coda, wo der Componist
schlielich wie besoffen wird. Come ubbriaco wirkt ganz
The last two variations bring a massive accumulation, toll! Danach fllt aber der H dur Schlu ab ich mchte, dass
which reaches its high point in the coda, where the com- Dir da noch etwas Anderes eingefallen wre, nachdem Du
poser nally gets drunk. The Come ubbriaco is just crazy! nicht mehr Come ubbriaco bist.
After that, however, the B major conclusion tails off I wish Bis jetzt (vielleicht werde ich noch anderer Meinung)
something else had occurred to you after you were no longer nde ich den Schlu matt, auch weil das Thema verndert
Come ubbriaco. wird, ohne dass es dadurch an Bedeutung gewinnt.
So far (and maybe Ill change my mind on this) I nd So, nun habe ich mir alles vom Herzen geschrieben
the conclusion dull, also because the theme is varied there und Du siehst daraus, wie sehr mich das Stck gefeelt und
113
without gaining any new meaning. gefreut hat. Nochmals danke ich Dir dafr!
Well, now Ive got all this off my chest, and you can
see from the above how much the piece has got hold of and Carl Nielsens svar i brev af 3. januar 1921 er som nvnt en af
113
delighted me. Thanks once again for it. hans mest rlige selvvurderinger :

This letter prompted Nielsen to one of his most revealing self- Jeg takker af ganske Hjerte for dette indholdsrige og tankevk-
justications (3 January 1921): kende Brev. Det er herligt at blive forstaaet og det er godt at
blive holdt til Ilden af en jevnbyrdig Kunstner ved kritiske eller
I thank you with all my heart for your interesting, thought- belrende Bemrkninger, som man saa atter (ved at forsvare
provoking letter. Its splendid to be understood, and kept up to sig) bliver vakt til Eftertanke ved.
the mark by a fellow-artist with critical or instructive comments, Jeg gaar nu lige til Sagen angaaende Variationerne,
so that in defending oneself one is provoked to reection. men vil frst anfre nogle Ord af Leonardo da Vinci, hvor han
Ill get on to the matter of the Variations, but rst I taler om forstaaende Kritik (Tysk Oversttelse af hans Traktat
want to mention a few words of Leonardo da Vinci, where he over Maleri): Wir wissen, wie sehr der Mensch sich bei seinen
talks about intelligent criticism (from the German translation eigenen Leistungen tuscht So sei also bereitwillig anderer
of his Treatise on Painting): We know how much man can deceive Meinung anzuhren. Schau wohl zu und berlege es dir, ob der
himself about his own achievements... So be willing to listen Tadler recht hat dich zu tadeln. Findest du ja, so verbessere, n-
to the opinions of others. Look carefully and consider whether dest du nein, so gib dir das Ansehen, als habe dus nicht gehrt
the fault-nder is right to nd fault with you. If you think he oder verstanden, oder aber, ist es ein Mann, den du hochachtest, so
is, then make corrections; if not, then behave as though you bringe ihn mit Vernunftgrnden zu Einsicht, das er sich tuscht.
havent heard or understood, or, if its a man you respect, then
bring him round by reason to realise that he is in error.
113 DK-Kk, CNA, I.a.b.19.

113 DK-Kk, CNA, I.a.b.19.

Carl Nielsen Udgaven CN 00042 xxix

II_12_tekst 1.indd xxix 20/09/06 11:42:06


Allerfrst vil jeg bede Dig rette en Trykfejl, nemlig
Side 13 Takt 3, hvor Mellemstemmen i hjre Haand skal have

# b
First of all I must ask you to correct a printing error, & n n b
namely on page 13, bar 3, where the middle part in the right
hand should read: Du skriver rigtigt at Var: 7 viger ud fra Temaet i harmonisk
Henseende og at man herudfra kunde komponere nye Varia-
# b
& n n b tioner. Det er netop hvad jeg har gjort. Var: 8, 9 og 10 gaar netop
strengt udfra Harmoniseringen i Var. 7, dog saaledes at Gangen
Youre right to say that Variation 7 deviates from the theme i Var. 10 bliver meget tilslret (verschleiert) eller udvidet. Der
harmonically, and that one might go on to compose new gaar to Takter af Var: 10 paa en Takt af Var. 7, herved fremkom-
variations on it. Thats exactly what I have done. Variations 8, 9 mer jo ogsaa en Fraseringsforskydning idet den ene staar i 4/4,
and 10 are based precisely on the harmonisation in Variation den anden i 3/4 Takt. Var: 11 refererer sig atter til Temaet.
7, although such that the progression in Variation 10 is much Jeg maa ogsaa forsvare mig angaaende ostinatoet.
veiled or expanded. There are two bars in Variation 10 for every Efter min Ide og ogsaa efter mit musikalske re staar Figuren
one in Variation 7, and with that there also results a shift in #
&
the phrasing, given that the one is in 4/4, the other in 3/4. Vari-
ation 11 refers again to the Theme. som en bestandig Sgen efter en Udgang, et fortvivlet eller
I must also defend myself with respect to the ostinato. komisk Kredslb for at nde et Hul at forsvinde i. Dette Hul er
According to my conception, and my musical ear, the gure g-moll, hvori den som Ledetone tilsidst maa, br og skal smutte
# ind. Det er en psykofysisk Ndvendighed. (Den Schnbergske
&
Illigitimitet kan maaske more Brn, men ikke en tnkende,
represents a continuous search for a way out, a despairing or voksen Mand. Jeg har nylig gennemset paany hans 3 Klaver-
comic running in circles to nd a cave to disappear in. This cave stykker Op. 11 og nder dem meget barnlige i Principperne (be-
is G minor, into which the leading-note in the end must, should, standige verspandte Octaver, smaa Secundsammenstd o. s. v.)
and shall scurry in. Its a psycho-physical necessity. (Schoen- og dumme i Udfrelsen.) Hvad Slutningen af Variationerne
bergian lawlessness may be amusing for children, but not for angaar, maa jeg sige, at jeg har tnkt herover under Arbejdet.
a thinking, adult man. I recently looked again through his Det vilde have vret mig en let Sag at lave en vild og effektfuld
Three Piano Pieces Op.11 and I nd them very childlike in their Slutning; men jeg kom til det Resultat som nu foreligger,
principles (continual altered octaves, minor second clashes, etc.) fordi hele Vrkets arkitektoniske Plan er bedst tjent med en
and stupid in their realisation.) So far as the conclusion of my almindelig Slutning. Ser man med et Overblik tilbage paa hele
Variations is concerned, I must say that I gave some thought to Stykket og erindrer man sig Temaet og dets enkle (einfache)
this during my work. It would have been easy enough to make Struktur, saa maa det vre som det er; eller betragter vi Var: 15
a wild, effective conclusion; but I came to the result you see be- som et vildt Forsvar af en Mand der kmper med Ryggen mod
cause the architectonic plan of the whole work is best served by et Isfjeld og tilsidst, ligesom drukken (ubbrioso) og bedvet
an ordinary ending. Looking back for a moment over the whole (betubt) af Kampen vakler bort, saa er det rigtigt, at hele Slut-
piece and recalling the theme and its simple structure, then it ningen skal vre uinteressant, saasandt en Person (i et Drama)
must be as it is; or if we consider Variation 15 as a wild defence der har kmpet ud og gaar [sin] Vej ikke lngere br tilvende
of a man who is ghting with his back to a mountain of ice and sig Hovedinteressen og heller intet Krav har derpaa. Du ser at
who nally, as if drunk (ubbrioso) and deafened by the battle,
stumbles away, then its right that the entire conclusion should
be uninteresting, just like a character (in a play) who, having
fought to the end and gone away, no longer has to attract the

Carl Nielsen Udgaven CN 00042 xxx

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jeg saaledes fuldt bevidst har ladet Slutningen blive mattere og
mattere, men ifald denne Udgang ikke virker overbevisende,
saa har Du naturligvis Ret og jeg Uret.
main interest to himself and has no wish to do so. So you can Nu, kre Ven! Jeg takker endnu engang for Din
see that I quite consciously made the conclusion weaker and Interesse og Dit Venskab og alle de begavede [Ting], Du siger.
weaker; but in the event that this result is unconvincing in its Thi Dine Ord har i sig selv en stor Vrdi, selv om jeg ikke er
effect, then of course you are right and I am wrong. enig med Dig i alle Ting og naar Du, som Du skriver, nder mit
Now, dear friend! I thank you once again for your Arbejde vrdt at beskftige sig med, saa er det mig en stor
114
interest and your friendship and all the intelligent things you Opmuntring og en Spore til nye Ting.
write. For your words have great value in themselves, even if I
dont agree with you about everything; and if, as you write, you I brev til Professor Frants P.W. Buhl115 den 24. februar 1921
nd my work worth engaging with, then thats a great encour- udtrykte Carl Nielsen sig i lignende vendinger:
114
agement to me and a spur to new things.
De ser at disse Variationer er holdte i den strengeste stil og
In a letter sent from Villa Hjbo (Tibberup, near Humlebk) det har vret mig et ret besvrligt Arbejde, navnlig Var. 3,
115
on 24 February 1921 to Professor Frants P.W. Buhl Nielsen fordi jeg egentlig havde anset det for umuligt at gennemfre
wrote in similar vein: en Kanon over et Thema med saa vidtsvvende Modulationer.
Det er vist frste Gang der er komponeret Variationer over
You can see that these variations are kept in a very strict style, et Thema, der begynder i en og slutter i en anden (ret fjern)
and it has presented me with a truly demanding task, particu- Toneart. Jeg synes man ofte fler nogen Monotoni i de ldres
larly in Variation 3, because actually I had thought it would Arbejder af denne Art, men indrmmer naturligvis i samme
be impossible to carry through a canon on a theme with such jeblik at de har Tusinde andre Fortrin. Jeg gr Opmrksom
wide-ranging modulations. This is probably the rst time that paa, at Var. 7 samtidig med at den virkelig er en Variation
variations have been composed on a theme that begins in one (dog kun nrmest harmonisk) tillige er Thema for de fl-
key and ends in another (rather distant) one. I feel that theres gende tre Var: 8, 9, 10 idet disse paa det njeste slutter sig til
often some monotony in pieces of this kind by past compos- dens Harmonisation. Var. 15 er en Forlngelse af Themaet,
116
ers, though at the same time of course I admit that they have hvad De naturligvis strax ser.
thousands of other good points. I draw your attention to the fact
that Variation 7, at the same time as being a genuine variation Den eneste bevarede kilde til Tema med Variationer er frstetryk-
(though only harmonically) is also the theme for the next three ket (A), som selvsagt udgr hovedkilden.
variations, Nos. 8, 9 and 10, in that these follow its harmonic
plan scrupulously. Variation 15 presents an extension of the
114 Citeret efter Irmelin Eggert Mller og Torben Meyer, op.
116
Theme, which you will naturally have seen straight away. cit., s. 196-197.
115 Teolog og lolog (1850-1932).
o
116 DK-Kk NKS 4962, 4 ; sendt fra Villa Hjbo Tibberup pr
No sources survive for the Theme and Variations other than the Humlebk.
printed score (A), which naturally serves as the main source.

114 Translated from Irmelin Eggert Mller & Torben Meyer,


op. cit., pp. 196-197.
115 Danish theologian and philologist (1850-1932).
o
116 DK-Kk, NKS 4962, 4 .

Carl Nielsen Udgaven CN 00042 xxxi

II_12_tekst 1.indd xxxi 16/09/06 15:32:47


SUITE, OPUS 45

D
en eneste henvisning til arbejdet med klaversuiten i
SUITE, OPUS 45 Carl Nielsens bevarede korrespondance ndes i et
117
brev til eleven Knud Jeppesen fra den 21. August

T
he only reference in Nielsens surviving correspondence 1919:
to his composition of the Suite comes in a letter to his
117
pupil Knud Jeppesen of 21 August 1919: Jeg har ikke skrevet saa mange Noder i Sommer, men noget
har jeg dog frdigt og helt anderledes og andet end jeg havde
118
I didnt write that many notes this Summer, but I did nish tnkt mig, nemlig Klavermusik istedetfor Orkestermusik.
something, which is quite different from what I intended,
118
namely piano music instead of orchestral music. Brevet er skrevet p godset Damgaard, beliggende f kilometer
syd for Fredericia p Jyllands stkyst med udsigt til Fyn p den
This letter was written from Damgaard the estate a few modsatte side af Lilleblt og tilhrende en af hans ldste ven-
119
kilometres south of Fredericia on the eastern coast of Jutland ner, Charlotte Trap de Thygeson.
facing Funen across the Little Belt which belonged to his Vrket er komponeret dels i det nyligt erhvervede
119
long-standing friend Charlotte Trap de Thygeson. sommerhus Finis Terr p Skagen, dels p Damgaard; her
He had composed the work partly in his recently havde han byttet vrelse med sin gamle veninde fra konserva-
120
purchased summer house Finis Terr in Skagen at the north- toriet, Margrete Rosenberg der var fast bosiddende p Dam-
ern tip of Jutland, and partly at Damgaard, where he swapped gaard med henblik p at f adgang til et bedre klaver, og med
120 121
accommodation with Margrete Rosenberg, a friend since hvem han nu drftede forskellige klavermssige detaljer.
student days and permanent resident on the estate, in order En tidlig skitse til suiten brer overskriften Ild
to work at a better piano. Various details of the piano writing og Vand, og det var formentlig associationer fra ordet ild
121
were discussed with Rosenberg. der k Carl Nielsen til at tilfje undertitlen Den luciferiske ved
An early sketch for the Suite is headed Ild og Vand frsteopfrelsen, og sledes hfte sig ved Lucifer som brer af
(Fire and Water), and it was the association with re that ilden snarere end ved de sataniske associationer. Det forhold at
presumably led Nielsen to add the subtitle Luciferisk for the rst anmelderne i forbindelse med frsteopfrelsen drog sdanne
performance, thinking of Lucifer as the bringer of re, rather utilsigtede konklusioner, var jensynligt rsagen til at titlen
than of his devilish associations. The fact that reviewers of the blev trukket tilbage, sledes som det forklares i forordet til den
rst performance all jumped to the unintended conclusion trykte udgave (se Sources, s. 243-244).
122
presumably led to his withdrawal of the title, as the preface to Suiten er tilegnet Artur Schnabel hvis senere
the published score explains (see Sources, pp. 243-244). forbindelse med vrket imidlertid er ukendt hvis der da
122
The Suite carries a dedication to Artur Schnabel, overhovedet har vret nogen.
whose later association with the work if there was any is, Ligesom det var tilfldet med den fjerde stryge-
however, unknown. kvartet og senere med Preludio e Presto for Soloviolin, blev suiten
In common with the Fourth String Quartet, and later
the Preludio e Presto for Solo Violin, the Suite was published (in
117 Musikforsker og komponist (1892-1974).
1923) by C.F. Peters Musikverlag in Leipzig, following strained 118 DK-Kk, CNA, I.A.c.
119 (1856-1934).
120 Musiklrer (1864-1956).
117 Danish musicologist and composer (1892-1974). 121 Jf. Torben Meyer og Frede Schandorf Petersen, op. cit.,
118 DK-Kk, CNA, I.A.c. bd. 2, s. 159-160 anfrer ingen kilde til denne oplysning,
119 (1856-1934). og det har ikke vre muligt at underbygge den p
120 Danish music teacher (1864-1956). anden mde end gennem en note i margenen i renskrif-
121 Cf. Torben Meyer & Frede Schandorf Petersen, op. cit., ten af frste sats.
vol. 2, pp. 159-160. No source is given for this informa- 122 strigsk pianist og komponist (1882-1951). Hans for-
tion, and it has not been possible to corroborate it, bindelse til Carl Nielsen stammede fra bekendtskabet
other than by a marginal inscription in a fair copy of i 1920 med Carl Nielsens svigersn, den ungarsk-fdte
the rst movement. violinist Emil Telmnyi (1892-1988), og deres samar-
122 Austrian pianist and composer (1882-1951). His as- bejde omkring Carl Nielsens anden violinsonate.
sociation with Nielsen came about in 1920 through
acquaintance with Nielsens son-in-law, the Hungar-
ian-born violinist Emil Telmnyi (1892-1988), and their
work on Nielsens Second Violin Sonata.

Carl Nielsen Udgaven CN 00042 xxxii

II_12_tekst 1.indd xxxii 28/09/06 11:29:14


udgivet af C.F. Peters Musikverlag i Leipzig (i 1923). Der havde i
nogen tid vret et noget anstrengt forhold mellem Carl Nielsen
og hans hovedforlgger indtil da, Wilhelm Hansen, der p
relations between Nielsen and his main publisher to that point, dette tidspunkt i vrigt havde svre konomiske problemer
123 123
Wilhelm Hansen, in difcult post-war nancial conditions. bl.a. som flge af efterkrigstidens konomiske afmatning.
The rst performance was given on 14 March 1921 by Frsteopfrelsen med Johanne Stockmarr ved yglet
Johanne Stockmarr in the lesser hall of the Odd-Fellow Pal in fandt sted i Odd-Fellow Palets Mindre Sal den 14. marts 1921
a concert sponsored by the Danish Concert Society. In the most ved en koncert arrangeret af Dansk Koncertforening. I den mest
extended review Gustav Hetsch suggested that: udfrlige af anmeldelserne skrev Gustav Hetsch:

Nielsen specialises in extravagant titles for his works. This Carl Nielsen eksellrer i hjst aparte Titler paa sine Vrker.
certainly helps us to remember what they are called, even if Det bevirker i alt Fald, at man kan huske, hvad de hedder,
one otherwise hasnt got any clear impression of them. This selvom man ellers ikke faar noget varigt Indtryk af dem. Denne
Suite is in truth black art, a witches brew, full of musical Suite er i Sandhed sort Kunst, en Heksekedel, fuld af musikalsk
devilry. Since Miss Stockmarr is an acknowledged solid pian- Djvelskab. Da Frk. Johanne Stockmarr er en anerkendt solid
ist, who always knows her stuff, and since her memory is Klaverspillerinde, der altid kan sine Ting, og hendes Hukom-
phenomenal, we must assume that she was playing every- melse er fnomenal, maa man gaa ud fra som givet, at hun
thing that was prescribed, down to the very last note. But ogsaa her til mindste Node spillede, hvad foreskrevet var. Men
on the other hand she could have played totally at random, det kunde omtrent ligesaa godt have vret ravgalt spillet, det
for the most part, so wilful and so weird did it sound. Since we meste af det; saa vilkaarligt og saa besynderligt ld det. Da nu
must also assume that Nielsen knew what he was doing, we do ogsaa Carl Nielsen maa antages at vide, hvad han gr, tr man
not dare doubt that all the misshapen effects that assaulted ikke tvivle paa, at alle de dysformistiske Tone-Virkninger, der
our ears contained musical meaning, which we were merely ramte Ens ren, besad en musikalsk Mening, som man blot
incapable of assimilating all at once without closer study. Per- ikke var i Stand til paa n Gang uden nrmere Indvielse at
haps understanding will dawn another time. Perhaps not. The fatte. Maaske kommer Forstaaelsen en anden Gang. Maaske ikke.
fact that in the midst of all the harsh oddities, all this appar- At der imellem alle de ildelydende Mrkeligheder, al denne
ently nonsensical chatter, bright little episodes shone through tilsyneladende Snakken sort, lyste smaa Episoder op, som man
that one could grasp straight away and that were moreover of a kunde faa fat paa staks, og som tilmed var af en srt indta-
specially attractive, genuinely Nielsenish beauty, indicates that gende, gte Carl Nielsensk Sknhed, tyder paa, at det ikke er
it is not the composer who had anything wrong with him, even Komponisten, der har vret noget i Vejen med, selvom han maa
124
though it must be said that he has gone worryingly far with siges her at vre foruroligende langt ude i Eksperimenter.
124
his experiments.
Ogs Axel Kjerulf tog udgangspunkt i en fejltolkning af titlen
Axel Kjerulf also took his misreading of the title as his point of men drog en anden konklusion:
departure, but came to a different conclusion:
Carl Nielsens Suite betegnedes som luciferisk, sknt man
Nielsens Suite was entitled Luciferian, although one could egentlig ikke kunde opdage noget srlig djvelsk i dette Arbejde,
not detect anything particularly devilish in this work, which der var mere klavermssigt formet, end C.N. plejer at evne det,
was more pianistically formed than he customarily manages, desuden klart og harmonisk interessant; uden at forekomme syn-
moreover clear and harmonically interesting; without appear-
ing especially signicant at rst hearing, this Suite neverthe-
123 Jf. Torben Meyer og Frede Schandorf Petersen, op. cit.,
bd. 2, s. 251-254, og Axel Kjerulf, Hundrede r mellem
Noder. Wilhelm Hansen, Musik-Forlag 1857-1957 27. Oktober,
123 Cf. Torben Meyer & Frede Schandorf Petersen, op. cit., Kbenhavn 1957, s. 124-129.
vol. 2, pp. 251-254, and Axel Kjerulf, Hundrede r mellem 124 Nationaltidende, 15.3.1921.
Noder. Wilhelm Hansen, Musik-Forlag 1857-1957 27. Oktober,
Copenhagen 1957, pp. 124-129.
124 Nationaltidende, 15.3.1921.

Carl Nielsen Udgaven CN 00042 xxxiii

II_12_tekst 1.indd xxxiii 16/09/06 15:32:48


derlig betydeligt ved en frste Overhring, har denne Suite dog
umiskendelig Prg af sin Autors Aand, og Frk. Johanne Stockmarr
125
lste den pianistisk saare vanskelige Opgave med Bravour.
less has unmistakable signs of its authors spirit, and Miss
Johanne Stockmarr solved the pianistically extremely difcult M.S. beklagede sammenfaldet med en koncert i Palets Store
125
task with bravura. Sal hvor Carl Nielsens Sinfonia Espansiva blev opfrt samme
aften. Han kalde suiten i det Hele og Store en skikkelig Djvel,
M.S. bemoaned the clash with the concert in the larger hall of selv om han en Gang imellem slog nogle vldige Slag med
126
the Pal, where Nielsens Sinfonia Espansiva was being per- Halen.
formed on the same evening. He called the Suite: on the whole Hos en anonym anmelder hedder det:
an inoffensive devil, even if once in a while he struck some
126
mighty blows with his tail. Saa man bort fra det muntre Paafund at kalde denne Suite,
An anonymous reviewer was also favourably disposed: som netop manglede Svovl og Hekseri, luciferisk, kunde man
kun glde sig over dette nye Barn af den Carl Nielsenske Muse.
Disregarding the merry whim of calling this Suite luciferian, Det var mere klavermssigt gjort end andre Arbejder, hvor
when re and brimstone are precisely what it lacks, one could Carl Nielsen er traadt i intimere Forbindelse med Klaveret, og
only rejoice over this new child of Nielsens muse. It was more der var baade Lune, Finhed og den egne Carl Nielsenske Duft
pianistic than other works, where Nielsen has established a over dette Arbejde, som maa have kostet den Udfrende (Frk.
more intimate relationship with the piano, and this piece Johanne Stockmarr) mange svnlse Ntter at holde Styr paa,
127
showed wit, subtlety and the genuine Nielsenish tone. It mange kvalfulde Dage til den rene mekaniske Udhamring.
must have cost the performer, Miss Johanne Stockmarr, many
sleepless nights to get to grips with, and many tortuous days to Adskillige anmeldere hftede sig ved at vrket blev s vel mod-
127
hammer into shape. taget at komponisten mtte rejse sig fra sin stol for at modtage
128
publikums hyldest.
More than one reviewer remarked that the piece was so well 28. november 1925 blev suiten opfrt af Christian
received that Nielsen had to rise from his seat to acknowledge Christiansen ved den anden af de koncerter hvormed Carl
128
the applause. Nielsens 60-rs dag blev fejret. Kbenhavn hfter sig ved at
On 28 November 1925 the Suite was performed by Suiten blev udfrt med fremragende pianistisk Dygtighed af
Christian Christiansen in the second concert celebrating Nielsens Chr. Christiansen men er i vrigt mere optaget af opfrelsen
th 129
60 birthday. Kbenhavn noted that the Suite was performed af den nsten 30 r gamle strygekvintet i g-mol. Gunnar
with outstanding pianistic skill by Christian Christiansen, Hauchs anmeldelse i Nationaltidende er mere udfrlig i sin
but was otherwise more taken with the performance of G mi- omtale af suiten; efter at have omtalt sidste sats af Violinsona-
129
nor String Quintet, composed nearly 30 years earlier. Gunnar ten opus 35 med sit befriende Udslag af sund, idrig Kraft
Hauchs review in Nationaltidende was more detailed in its dis- fortstter anmelderen:
cussion of the Suite; having commented on the last movement
of the Violin Sonata Op. 35, with its liberating manifestation of Endnu mere nder dette et beslgtet Udslag i Slutningen af Kla-
healthy power, rich in ideas, the reviewer went on: versuiten (Op. 45), hvor de kapricise Indfald yver saa kaadt over
hele Klaviaturet, at Bassen, paa een Gang advarende og opmun-
A related effect is to be found even more in the conclusion
of the Piano Suite (Op. 45), where the capricious ideas y so
125 Politiken, 15.3.1921.
playfully over the entire keyboard that the bass line, at once 126 Ekstrabladet, 15.3.1921.
127 Kbenhavn, 16.3.1921.
128 Anon., Berlingske Tidende, 15.3.1921, Axel Kjerulf i
125 Politiken, 15.3.1921. Politiken, 15.3.1921.
126 Ekstrabladet, 15.3.1921. 129 Kbenhavn, 29.11.1925.
127 Kbenhavn, 16.3.1921.
128 Anon., Berlingske Tidende, 15.3.1921, Axel Kjerulf in
Politiken, 15.3.1921.
129 Kbenhavn, 29.11.1925.

Carl Nielsen Udgaven CN 00042 xxxiv

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trende, maa banke sit to-tonede Pas paa! Denne Suite, hvis vrige
Satser dog nppe har den samme Spontaneitet som den sidste,
blev spillet med et sandt Mesterskab af Hr. Chr. Christiansen, en
130
warning and encouraging, has to beat out its two-note Look Pragtprstation, som han sjldent har prsteret Mage til.
out!. This Suite, whose remaining movements, however, have
nothing like the same spontaneity as the nale, was played De bevarede autografe kilder til suiten omfatter en komplet
with true mastery by Mr. Christian Christiansen a magni- blyantskladde med spredte skitser (C) og en renskrift af frste,
130
cent achievement, which he has seldom equalled. anden og femte sats (B), formentlig udarbejdet til Margrete
Rosenberg. Renskrift i Nancy Dalbergs hnd er overleveret af
Extant autograph sources for the Suite are a complete pencil satserne 1-4 samt 6 men udviser ikke nogen tegn p at have
draft, with occasional sketches (C), and a fair copy of move- vret anvendt som trykforlg, hvilket sledes m formodes
ments 1, 2 and 5 (B), evidently made for Margrete Rosenberg. at vre get tabt. Som det var tilfldet med Chaconne, er det
A fair copy of movements 1-4 and 6 survives in the hand of muligt at en rkke detaljer i nodeteksten i den trykte udgave
Nancy Dalberg (D) but shows no signs of having been used as fra 1923 hos C.F. Peters Musikverlag (A) skyldes rd fra nogle af
the printers copy, which must be presumed lost. As in the case komponistens pianistvenner. Da der ikke er belg for at hvde
of the Chaconne, it may be that some of the unique readings in at Carl Nielsen tog afstand fra disse ndringer, er frstetrykket
the rst printed edition, published by C.F. Peters Musikverlag in valgt som hovedkilde for nrvrende udgave.
1923 (A), represent the advice of pianist friends of the compos-
er, but in the absence of any evidence for Nielsens disapproval,
this score is taken as the main source. TRE KLAVERSTYKKER

T
o dage efter at have slutdateret renskriften nvner Carl
THREE PIANO PIECES Nielsen i brev af 17. januar 1928 til Irmelin, som p det
tidspunkt opholdt sig i New York, at han har fuldfrt

N
ielsen mentions his completion of the rst of his Three det frste af de tre klaverstykker: Har komponeret en ny Ting
131
Piano Pieces on 17 January 1928, in a letter to Irmelin, for Soloviolin og en (lille) for Claver. Samme dag fortalte
who was then in New York: I have composed a new hustruen i et brev til Irmelin hvordan komponisten havde
131
piece for solo violin, and one (a little one) for piano. On the gennemspillet sandsynligvis netop dette stykke: S sidder han
same day his wife wrote to Irmelin, probably describing the nu og laver noget meget smukt p Claveret om Aftenen, og jeg
composer playing through the already completed piece: And sidder inde i Dagligstuen og lytter. Nr jeg sprger ham hvad
132
he is sitting now working on something very beautiful for det er eller skal vre siger han han ved det ikke.
the piano in the evening, and Im sitting inside in the living- I et nyt brev til Irmelin, skrevet den 25. januar fra
room, listening. When I ask him what it is or what its going to Lillehammer i Norge hvor Carl Nielsen var p skiferie med sin
132
become, he says he doesnt know. hustru, omtales igen nogle stykker for violin og for klaver, sidst-
On 25 January another letter to Irmelin, written nvnte nu under titlen Impromtu, og i lbet af de kommende
from Lillehammer in Norway, where Nielsen and his wife were tre uger skrev bde Frida Mller og Margrete Rosenberg til Carl
on a skiing holiday, again mentions the pieces for violin and Nielsen for at takke ham for kopier af stykket.
for piano, now identifying the latter as Impromtu, and over the Det andet stykke er i manuskriptet dateret 1. marts
next three weeks both Frida Mller and Margrete Rosenberg og Adagio og Impromptu (i nvnte rkkeflge) blev spillet af
wrote to thank Nielsen for copies of the piece. Christian Christiansen ved Foreningen Ny Musiks koncert p
The second piece is dated 1 March in the manu-
script, and the Adagio and Impromptu (in that order) were played
130 Nationaltidende, 29.11.1925.
by Christian Christiansen for the New Music Society (Forenin- 131 DK-Kk, CNA, III.A.a.1.
132 DK-Kk, CNA, III.A.a.2.

130 Nationaltidende, 29.11.1925.


131 DK-Kk, CNA, III.A.a.1.
132 DK-Kk, CNA, III.A.a.2.

Carl Nielsen Udgaven CN 00042 xxxv

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Borups Hjskole den 14. april 1928. I et brev til sin hustru be-
mrkede Nielsen at Christiansen udfrte ogsaa sine to [styk-
133
ker] fortreffeligt ved generalprven i Christiansens hjem.
gen Ny Musik) on 14 April 1928 at Borups Hjskole. In a letter I sin anmeldelse af koncerten skrev Kai Flor at stykkerne var
to his wife, Nielsen reported on the dress rehearsal at Chris- sin autor vrdig og k en gnistrende, klangligt nuanceret
134
tiansens house earlier the same day, noting that Christiansen Gengivelse.
133
played his two [pieces] excellently. Reviewing the concert, Efter en pause p otte mneder, hvor Carl Nielsen
Kai Flor noted that they were worthy of their author and frst og fremmest havde arbejdet p klarinetkoncerten, kunne
134
received a sparkling, tonally nuanced performance. han den 6. november afslutte det tredje stykke sledes som det
After an interval of eight months, largely taken up er nvnt i et brev til Eduard Erdmann:
with Nielsens work on the Clarinet Concerto, he completed the
third piece on 6 November, which is mentioned in his corre- Schon lange habe ich daran gedacht, Ihnen einige neue Klavier-
spondence to Eduard Erdmann: stcke zu widmen, bin aber von verschiedenen Arbeiten und
Pichten genommen. Jetzt sende ich Ihnen trotzdem eine be-
Ive long wanted to dedicate some new piano pieces to you, scheidene Ernte von meinem Arbeitsfelde drei kleine Klavier-
but Ive been taken up with various work and duties. Neverthe- stcke. Es hat mich amsiert die drei Schwesterchen zu kom-
less Im now sending you a modest harvest from the eld of ponieren, aber es ist ja kein Kriterium, da sie auch gut sind,
my work three new piano pieces. It was fun to compose these und da ich persnlich in der Sache impliziert bin, mu ich als
135
three little sisters, but thats no guarantee of their quality, and Schiedsrichter nett und zierlich meinen Mund halten.
since Im personally implicated in the affair, I mustnt sit in
135
judgment and instead must just keep my mouth shut. Den 7. august 1929 foreslog Johanne Stockmarr Carl Nielsen at
spille stykkerne ved en koncert den 11. december sammen med
On 7 August 1929 Johanne Stockmarr proposed to Nielsen that samlingen Klavermusik for Smaa og Store (et udvalg af stykkerne
she should play all three pieces in a recital on 11 December, eller dem alle; se nrmere i det flgende):
together with some or all of the Piano Music for Young and Old
(see below): Jeg bar mig ad som et stort F forleden Dag; jeg vilde saa
grne have talt med dig om, at jeg til min Klaveraften, som
I behaved like a complete blockhead the other day; I so wanted jo desvrre blev udsat forrige Aar, grne vilde spille de 3
to talk to you about the fact that for my piano recital which Stykker, de nye, og saa maa jeg jo altsaa have Lov at laane det
was unfortunately postponed last year I should like to play the igen, som du jo desvrre lod hente; de 2 andre har jeg. Nu er
te
three pieces, the new ones, and that I should therefore like to Klaveraftenen ganske vist frst d. 11 Dec., jeg har Salen den
ask permission to borrow the one that you unfortunately had to Aften; men jeg vilde grne vide, om det passer dig, at jeg spil-
136
pick up I have the other two. Now the piano recital will quite ler de 3 Ting.
certainly not happen until 11 December I have the hall for that
evening. But I should like to know whether its all right with you Koncerten synes imidlertid at vre blevet udskudt til 5. maj
136
if I play the three pieces. 1930 hvor Johanne Stockmarr opfrte Tre Klaverstykker i Odd-Fel-
low Palets Mindre Sal.
However, this recital seems to have been postponed until 5 May Forinden havde den frste komplette opfrelse fun-
1930, when Stockmarr performed the Three Piano Pieces in the det sted ved Christian Christiansen; det foregik den 6. marts
lesser hall of the Odd-Fellow Pal. 1930 i Antiksalen p Glyptoteket. Programmet, udskudt fra
Meanwhile the rst complete performance had been den 4. marts p grund af sangeren Poul Wiedemanns indispo-
given by Christian Christiansen on 6 March 1930 in the Antik- sition, blev gentaget den 7. marts og bestod yderligere af Csar
sal of the Glyptotek, the art gallery in central Copenhagen, en-
dowed by the Carlsberg Foundation. The programme, delayed
133 Torben Schousboe (1983), op. cit., s. 538.
from 4 March because of the indisposition of the singer, Poul 134 Berlingske Tidende, 16.4.1928.
135 Privateje.
136 DK-Kk, CNA, I.A.b, 21.
133 Torben Schousboe (1983), op. cit., p. 538.
134 Berlingske Tidende, 16.4.1928.
135 Privately owned.
136 DK-Kk, CNA, I.A.b, 21.

Carl Nielsen Udgaven CN 00042 xxxvi

II_12_tekst 1.indd xxxvi 16/09/06 15:32:49


Francks Prlude, Chorale et Fugue, sange af Carl Nielsen (heri-
137
blandt den nykomponerede Hjemstavn til tekst af Frederik
Poulsen) og andre.
Wiedemann, was repeated on 7 March. It also included Csar Gunnar Hauch fandt stykkerne meget typiske for
Francks Prelude, Chorale and Fugue, songs by Nielsen (including a deres Autor, selv om de maaske ikke hrer til dem af hans
137
new one, Hjemstavn, to words by Frederik Poulsen) and others. Arbejder, som vil vinde videst Terrn. Strkest i Karakteren
138
Gunnar Hauch found the pieces very typical of syntes den frste Allegro uente at virke. En anonym
their composer, even if they perhaps do not belong to those of anmelder noterede om de Tre Klaverstykker at Christian Chri-
his works that will win the widest renown. The rst, Allegro stiansen lod deres udmrkede klavermssige Egenskaber,
138
uente, seemed to have the strongest character. An anony- deres polyfone Klangrigdom og klare Struktur trde smukt
139
mous review noted of the Three Piano Pieces that Christiansen frem. Sandsynligvis med henvisning til den tidligere
allowed their remarkable pianistic qualities, their polyphonic opfrelse af Adagio og Impromptu oplyser denne anmelder at
139
timbral richness and clear structure to emerge beautifully. stykkerne blev prsenteret i ndret og get Form; noget
140
Presumably in view of the earlier performance of the Adagio lignende siges af Kai Flor om Johanne Stockmarrs opfrelse
and Impromptu, this review mentioned that the pieces were den 5. maj 1930 i Odd-Fellow Palets Mindre Sal ved en kon-
presented in altered and expanded form, and the same claim cert der ogs omfattede Humoreske-Bagateller og Suite opus 45;
140
was made by Kai Flor for Stockmarrs performance on 5 her annonceres klaverstykkerne i programmet som Anden
May 1930 in the Odd-Fellow Pal, lesser hall, in a recital that Opfrelse, mens Flor fejlagtigt taler om en frsteopfrelse i
included the Humoresque-Bagatelles and the Suite, the Three Piano deres nye skikkelse.
Pieces being advertised on the programme as Second Perform-
ance; Flor mistakenly noted this as a rst performance of the Carl Nielsens blyantskladde af frste og tredje stykke samt
pieces in their new form. renskriften af alle tre stykker er bevaret. Fr den endelige
trykning forel (posthumt i 1937), blev udarbejdet en rkke
Nielsens draft score of the rst and third pieces and his fair kopier, heraf to af Adagio i Carl Nielsens hnd, yderligere en af
copy of all three, are extant. Several manuscript copies were alle tre stykker samt en af nr. 3 i fremmed hnd med enkelte
made before the eventual publication (posthumously in 1937). blyantsnotater af Carl Nielsen. Eftersom frstetrykket udkom
These include two copies of the Adagio made by Nielsen, and posthumt, er renskriften (A) anvendt som hovedkilde for nr. 1
one of all three pieces and one of No. 3 by an unknown copyist og 3 i nrvrende udgave, mens B er anvendt som hovedkilde
with sporadic pencil indications in the composers hand. Since for nr. 2.
the rst publication was posthumous, the fair copies in the
case of No. 2, the apparently most correct of the fair copies
are taken as the main source. KLAVERMUSIK FOR SMA A OG STORE, OPUS 53

D
en 18. december 1929 holdt Carl Nielsen et foredrag
PIANO MUSIC FOR YOUNG AND OLD, OPUS 53 p Borups Hjskole i Kbenhavn ved et mde i Musik-
pdagogisk Forening hvor han bl.a. sagde:

O
n 18 December 1929 Nielsen gave an introductory
address at the Music-Pedagogic Society (Musikpda- Naar vi nu iaften skal drfte det Sprgsmaal om vore Kompo-
gogisk Forening) at Borups Hjskole in Copenhagen, nister kunde tnke sig at vre med til at komponere Musik
in the course of which he observed: som dels har en folkelig eller rettere letfattelig Karakter og dels
egnede sig til Undervisningsbrug for den ikke altfor teknisk
If we are to debate this evening the question of whether our
composers could imagine composing music which on the one
137 Jeg vandrer over mine Fdres Jord, dateret 30/10 29
hand has a folk-like, or better, accessible character, and on the (DK-Kk, CNS 149).
other hand would be suitable for teaching purposes for not 138 Dagens Nyheder/Nationaltidende, 7.3.1930.
139 Berlingske Tidende, 8.3.1930.
140 Berlingske Tidende, 6.5.1930.

137 Jeg vandrer over mine Fdres Jord, end date 30/10
29 (DK-Kk, CNS 149).
138 Dagens Nyheder/Nationaltidende, 7.3.1930.
139 Berlingske Tidende, 8.3.1930.
140 Berlingske Tidende, 6.5.1930.

Carl Nielsen Udgaven CN 00042 xxxvii

II_12_tekst 1.indd xxxvii 28/09/06 11:29:15


udviklede Ungdom, eller for Begyndere, saa mener jeg det er
en god Sag og en god Ide og det er hjst gldelig at det er den
unge Ledelse af Musikpdagogisk Forening som har taget
141
very advanced young players or beginners then I think its a dette Initiativ;
good thing, a good idea, and most welcome that it should be
the young leadership of the Music-Pedagogic Society that has Umiddelbart kunne det se ud som om Carl Nielsen begyndte
141
taken this initiative. kompositionen af Klavermusik for Smaa og Store straks efter dette
mde med gennemsnitligt et stykke per dag, men det er ogs
At rst glance it would seem likely that Nielsen began compos- muligt at nogle af stykkerne allerede var frdige, idet man i en
ing his Piano Music for Young and Old straight after that meet- avisomtale kunne lse at der efter foredraget var [] Demon-
ing, at the rate of roughly one piece per day. But it may also strationer af nyere dansk Undervisningsmusik af Carl Niel-
142
be that some of the pieces already existed, since a newspaper sen. Selve ideen til vrket gik efter al sandsynlighed nogle
review of the meeting noted that after his lecture there were mneder tilbage, eftersom den tidligste omtale af stykkerne
demonstrations of recent Danish educational music by Carl ndes i et brev fra Johanne Stockmarr til komponisten, dateret
142
Nielsen. And the idea at least for the composition may go 7. august 1929, hvor hun nvner sine planer om at spille begge
back some months before that, since the rst mention of the samlinger offentligt sammen med de Tre Klaverstykker: og saa
pieces is in a letter from Johanne Stockmarr to the composer havde jeg tnkt at spille det Hefte med dine Smaastykker eller
143
dated 7 August 1929, where she oats the idea of playing one maaske begge Hefterne; hvad synes du? Som nvnt ovenfor
or both books in public, along with the Three Piano Pieces: and blev denne koncert udsat til 5. maj 1930.
I also thought about playing the book of your miniatures, or Carl Nielsen anfrer at arbejdet med Klavermusik for
143
perhaps both books; what do you think? As noted above, this Smaa og Store begyndte med nr. 10 den 1. januar 1930. Efterfl-
recital was postponed until 5 May 1930. gende slutdatoer stammer fra dagbogen som dog anfrer de en-
Nielsen recorded his work on the Piano Music for kelte stykker fra nr. 10 til nr. 21 med et nummer hjere end i den
Young and Old starting from No. 10 on 1 January 1930. The fol- endelige version, fordi Carl Nielsen oprindeligt havde betegnet
lowing completion dates are noted in his diary (which gives one nr. 3a og 3b, begge i G-dur, som selvstndige numre. Efter for-
number higher than indicated for Nos. 10-21, because the com- mentlig at have nummereret hele samlingen p ny, indfrte Carl
poser originally counted Nos. 3a and 3b, both in G major, as Nielsen nr. 22 med sit korrekte nummer, ligesom det er tilfldet
separate numbers; having presumably renumbered the set, No. med nr. 23 (som tidligere havde heddet nr. 21) samt nr. 24:
22 is correctly entered, as are No. 23 (which Nielsen returned to
having originally numbered it 21) and No. 24. Nr.10 1. januar
Nr.11 2. januar
No.10 1 January Nr.12 3. januar
No.11 2 January Nr.13 4. og 6. januar
No.12 3 January Nr.14 7. januar
No.13 4 and 6 January Nr.15 9. januar
No.14 7 January Nr.16 10. januar
No.15 9 January [Den 12. januar rejste Carl Nielsen til Damgaard]
No.16 10 January Nr.17 13. januar
(On 12 January Nielsen travelled to Damgaard) Nr.18 14. januar
No.17 13 January Nr.19 15. januar
No.18 14 January Nr.20 16. januar
No.19 15 January Nr.21 17. januar
No.20 16 January Nr.22 20. januar
No.21 17 January Nr.23 18. og 21. januar
144
No.22 20 January Nr.24 22. januar
No.23 18 and 21 January
144
No.24 22 January
141 John Fellow (1999), op. cit., s. 530.
142 Snobber vi for Klassikerne?, Politiken, 22.12.1929.
143 DK-Kk, CNA, I.A.b.21.
141 John Fellow (1999), op. cit., p. 530. 144 Jf. Torben Schousboe (1983), op. cit., s. 573-575.
142 Snobber vi for Klassikerne?, Politiken, 22.12.1929.
143 DK-Kk, CNA, I.A.b., 21.
144 Cf. Torben Schousboe (1983), op. cit., pp. 573-575.

Carl Nielsen Udgaven CN 00042 xxxviii

II_12_tekst 1.indd xxxviii 28/09/06 11:29:15


Af dagbogsoptegnelserne fremgr det at Carl Nielsen ikke
145
sledes som det hvdes hos Meyer og Schandorf var i
Gteborg p denne tid, men frst tog dertil den 7. februar (med
Contrary to information in Meyer & Schandorf,145 Nielsens henblik p at dirigere ved koncerter den 12. og 16.) efter at vre
diary entries reveal that he was not at Gothenburg at this time vendt tilbage fra Damgaard til Kbenhavn for nogle f dage.
but only went there on 7 February (for conducting appearances Carl Nielsen ans nr. 18 i c mol for at vre det bedste
146
on the 12th and 16th), after returning from Damgaard for a few af de stykker han hidtil havde komponeret, og han lavede en
days to Copenhagen. srlig kopi af det (kilde C) som han sendte til Irmelin den 16.
Nielsen considered No. 18 in C minor to be the best januar 1930. Tre dage senere svarede hun tilbage:
146
of the pieces he had composed to that point, and he made a
special copy of it (source C) and sent it to Irmelin on 16 January Tak for Brev og det ne lille Stykke. Jeg ver mig men jeg
1930. She replied three days later: har jo saa faa pianistiske Evner; trods det kan jeg hre at det
er henrivende og jeg kan forestille mig dig spille det, med
Thanks for your letter and the lovely little piece. Ive been dine smaa brede men flsomme eller rettere, let og delikat
147
practising, but I have so few pianistic gifts. Nevertheless I can henglidende Fingre.
hear that its delightful, and I can imagine you playing it with
your small, broad, but sensitive, or rather lightly and delicately Udover hvad han skrev i forordet til den trykte udgave (se Criti-
147
gliding ngers. cal Commentary, s. 246-247), forklarede Carl Nielsen sine ideer i
et brev til Telmnyi fra 19. januar 1930:
Apart from the Preface to the rst published score (see Critical
Commentary pp. 246-247), Nielsen explained his concept in a og jeg komponerer hver Dag et lille Klaverstykke i en ny Tone-
letter to Telmnyi of 19 January 1930: art, da jeg skal have 24 (altsaa indtil H Dur gis moll, Ges Dur
es moll), og det interesserer mig som intet fr, fordi Opgaven
And Ive been composing each day a little piano piece in a er jo saa bunden, at det bliver meget vanskeligt. Det er altsaa
new tonality, because I want to get up to 24 (up to B major/G femtonige Stykker d.v.s., naturligvis benytter jeg f. Ex. i C dur
sharp minor and G at major/E at minor), and it interests indenfor & ww baade (des og cis) (es dis) (s-ges). Men se her:
me like nothing before, because the task is so circumscribed man kan jo ytte Haanden eller Hnderne paa mange Maader
that its very difcult. These are ve-note pieces; and naturally indenfor Tonearten f. Expl. i hjre Haand (f. Expl. i h moll)
#w
? # ww ?#w
that means that for example in C major I use within the range & ww i venstre eller (hjre) & ww (venstre)
& ww both D at and C sharp, E at and D sharp, F sharp and o.s.v. paa ere Maader uden Over- eller Understning og dog
G at. But look: you can move your hand or hands in many faa Afveksling. De gamle Klaverskoler har (saavidt jeg ved?) kun
ways within the tonality, e.g. in the right hand (e.g. #in Grundbeliggenhed i begge Hnder, altsaa G Dur
? # ww w B minor)
& ww and the leftor (right) & ww (left)
?#w
etc. in # w
& w
many ways without thumb-crossing and still get variety. The
old piano methods (so far as I know) only have the basic range w
? # w
in both hands; so for G major:
derfor anser jeg det for en Fornyelse at arbejde med dette og
# w
& w det har, som sagt, min strste Hengivelse i denne lille Form.
148

w
? # w
.
145 Torben Meyer og Frede Schandorf Petersen, op. cit.,
So I regard it as something new to work in this way, and as Ive bd. 2, s. 305.
148 146 Se brev til Anne Marie Carl-Nielsen 15.1.1930, DK-Kk,
said, it has my greatest devotion in this little form.
CNA, II.A.a.
147 Brev fra Irmelin til Carl Nielsen, DK-Kk, CNA, I.A.a.2, 3.
148 Anon., Af to Carl Nielsen-Breve Dansk Musiktidsskrift, 7.
145 Torben Meyer & Frede Schandorf Petersen, op. cit., vol. 2,
rg. (1932), s. 2-3. Originalkilden til dette brev synes at
p. 305.
vre forsvundet.
146 See letter to Anne Marie Carl-Nielsen 15.1.1930, DK-Kk,
CNA, II.A.a.
147 Letter from Irmelin to Nielsen, DK-Kk, CNA, I.A.a.2, 3.
148 Anon., Af to Carl Nielsen-Breve, Dansk Musiktidsskrift,
vol. 7 (1932), pp. 2-3. The original of this letter appears
to be lost.

Carl Nielsen Udgaven CN 00042 xxxix

II_12_tekst 1.indd xxxix 28/09/06 11:30:07


Den 12. august 1931 omtalte han i et brev til Hans Henny
149
Jahnn samlingen som Jugendmusik in einer etwas anderen
150
Bedeutung als die ganz unschuldige Art.
On 12 August 1931 he wrote to Hans Henny Jahnn149, describ- Den 13. august 1930 henvendte Finn Hffding151 sig
ing the set as music for children, but in a somewhat different til Carl Nielsen i vendinger der viser at mdet i Musikpdago-
150
meaning from the wholly innocent kind. gisk Forening havde frt til en konkurrence om ny undervis-
On 13 August 1930 Finn Hffding151 wrote to Nielsen ningsmusik:
in terms that show that the meeting of the Music-Pedagogic
Association led to a competition for new educational pieces: Samtidigt maa jeg lige berre Sprgsmaalet om de smaa
Klaverstykker; jeg var ganske maalls da min Kone fortalte
At the same time I must touch on the question of your Piano om Wilh. Hansens Stilling overfor Dem; jeg anede intet om at
Pieces. I was quite speechless when my wife explained Wilhelm Forlaget have haft det mindste med de Klaverstykker at gre,
Hansens position with regard to you; I had no idea that the tvrtimod inden Konkurrencen blev startet, havde jeg faaet at
company had the slightest thing to do with the Piano Pieces; vide at Deres Klaverstykker kom hos Borup, hvilket i hj Grad
on the contrary before the competition began, I was given to gldede mig. Wilh. Hansen tilbd at samarbejde i en Konkur-
understand that your Piano Pieces were going to be published rence, tilskyndet, som de sagde, af hin Diskussionsaften i
by Borup, which pleased me no end. Wilhelm Hansen offered Musikpdagogisk Forening, hvor De indledede. Vi paatnker i
to collaborate in a competition, prompted, so they said, by that Foreningen en Demonstration af disse nykomponerede Klaver-
discussion evening at the Music-Pedagogic Association which stykker spillet af Brn, jeg haaber da ikke, at De vil have noget
you introduced. In the Association were considering a perform- imod at vi lader Deres Stykker demonstrere sammen med de
ance of these newly composed piano pieces given by children; andre. Det er jo givet at naar MPF tager sig paa at prmiere og
I hope you wont have anything against your pieces being offentlig anerkende visse Stykker, saa er deres Prludiesamling
played alongside the others. It goes without saying that if the a fort[i]ori anerkendt og Foreningen forpligtiget til at gre sine
Music-Pedagogic Association takes it upon itself to premiere Medlemmer opmrksom paa dem. Jeg haaber paa at Samlin-
and publicly to acknowledge certain pieces, then your collec- gen vil komme i 2 eller 3 Hefter, det vil vre en stor Fordel for
tion of Preludes will automatically be acknowledged and the deres Udbredelse, og jeg tror ogsaa konomisk fordelagtigere;
Society will be obliged to inform its members. I hope that the det havde vret dejligt om MPF havde kunnet udgive Deres
152
collections will come out in two or three volumes, which will Prludier, men det er der jo desvrre ikke Raad til.
be a big advantage for their dissemination, and I also believe
economically more advantageous; it would have been wonder- Carl Nielsens elev Rudolph Simonsen153 omtalte i brev af 17. sep-
ful if the Music-Pedagogic Association had been able to publish tember samlingen i rosende vendinger: Det er en ubegribelig
152 154
your Preludes, but unfortunately there are no funds for it. Fantasirigdom indenfor de 5 Toner!

On 17 September 1930 Nielsens pupil Rudolph Simonsen153


149 Tysk orgelekspert og musikforlgger (1894-1959).
wrote to compliment him: Theres an extraordinary richness 150 Staats- und Universitts-bibliothek Hamburg Carl von Os-
154 sietzky, kopi i DK-Kk.
of Fantasy within the ve notes.
151 Komponist (1899-1997).
152 DK-Kk, CNA, I.a.b. Musikpdagogisk Forenings engage-
ment i den nvnte konkurrence fremgr ligeledes af et
149 German organ expert and music publisher (1894-1959).
udateret referat fra et bestyrelsesmde, hvori det bl.a.
150 Jugendmusik in einer etwas anderen Bedeutung als
hedder: Endelig har vi sammen med Wilh. Hansen
die ganz unschuldige Art. Staats- und Universitts-bibli-
foranstaltet Konkurrencen om den bedste Brnemusik
othek Hamburg Carl von Ossietzky, copy in DK-Kk.
(Musikhistorisk Museum, Kbenhavn; referatet kan date-
151 Danish composer (1899-1997).
res til 1930 p grund af omtalen af violinisten Anton
152 DK-Kk, CNA, I.a.b. That the Music-Pedagogic Association
Svendsens dd).
was involved in such a competition may also be seen
153 Pianist og komponist (1889-1947).
from the undated minutes of a board meeting which
154 DK-Kk, CNA, I.A.b, 21.
say: Finally, together with Wilh. Hansen, we have
arranged a competition for the best childrens music
(Musikhistorisk Museum, Copenhagen; the date of the
minutes is 1930 because of the reference to the recent
death of violinist Anton Svendsen).
153 Danish pianist and composer (1889-1947).
154 DK-Kk, CNA, I.A.b., 21.

Carl Nielsen Udgaven CN 00042 xl

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155
Den 27. oktober 1930 gav Herman D. Koppel en
Carl Nielsen-klaveraften i musikkonservatoriets koncertsal i
Kbenhavn. August Felsings anmeldelse roste arrangementet
155
On 27 October 1930 Herman D. Koppel gave an all- og bemrkede at Koppel
Nielsen piano recital in the hall of Copenhagen Conservatoire.
August Felsings review praised the whole enterprise and noted satte Kronen paa Vrket ved at nynne nt og forstaaende de
that Koppel seks Stykker af den nyligt udsendte Samling for Smaa og Store,
hvori Carl Nielsen skriver en Sats saa gennemsigtig og nem og
crowned the performance by humming subtly and perceptively lige til, at den maa gaa i alle, som blot har den ringeste Fling
six pieces from the recently published collection For Young for den absolute Musik i sin primitive Form. Hvor nt veksledes
and Old, in which Nielsen writes so transparently, simply and Moll og Dur i Nr. 2, hvor sknt formet var Nr. 13 i F-Dur, en
straightforwardly, that it must appeal to all who have just the pastoral Ynde, som brdes pudsigt af den paaflgende groteske
156
slightest feeling for absolute music in its purest form. How subtly Klodrian-March.
major and minor modes alternated in No. 2, and how beautifully
formed was No. 13 in F major, a pastoral idyll that is comically I sin anmeldelse af koncerten fremhvede Kai Flor disse Un-
156
interrupted by the following grotesque Clodhoppers-March. dervisnings-Klaverstykker, der lige saa tydeligt som hans strste
Kunstmusik viser Rkkevidden af hans Genialitet, fordi de
157
Reviewing the same concert, Kai Flor claimed that these educa- giver det maaske vanskeligste af alt det store i det smaa.
tional piano pieces, just as clearly as his greatest art music, bear Udover renskriften af nr. 18 som Carl Nielsen lavede
witness to [the composers] genius, because they show perhaps til datteren (C), foreligger ogs de frste tre stykker i renskrift
the hardest thing of all to achieve greatness in small dimen- (B). Endvidere er bevaret en fuldstndig kladde (D), men intet
157
sions. trykforlg. Frstetrykket er hovedkilde til nrvrende udgave.
Apart from the fair copy of No. 18 that Nielsen made
for his daughter (C), the rst three pieces also exist as fair
copies (B). A complete draft score survives (D), but no printers KLAVERSTYKKE
copy. The rst published edition is taken as the main source.

E
neste oplysning om denne komposition synes at
vre redaktrens indledning i Dansk Musiktidsskrift
PIANO PIECE hvor den blev offentliggjort et par mneder efter
komponistens dd:

T
he only surviving information about this piece seems
to be the editorial paragraph preceding its publication Det efterflgende klaverstykke, der er af senere dato [end
in Dansk Musiktidsskrift a few months after the compo- Klavermusik for Store og Smaa], viser, at Carl Nielsen fortsat har
sers death: arbejdet med problemet klavermusik til undervisningsbrug,
men sgt lsningen ad andre veje end i op. 53. Stykket offent-
158
The following piano piece, which is of a later date [than the liggres her for frste gang.
Piano Music for Young and Old], shows that Nielsen continued to
work with the problem of piano music for educational pur- Det vides ikke hvordan tidsskriftet er kommet i besiddelse af
poses, but was looking for solutions along other lines from Op. stykket; ej heller kendes kompositionsdato eller et eventuelt
158
53. The piece is published here for the rst time. manuskripts senere skbne.

How the journal came by the piece is not known; nor is the David Fanning
date of composition, or the whereabouts of the manuscript. (Danish translation: Niels Krabbe)

David Fanning
155 Pianist og komponist (1908-1998).
156 Dagens Nyheder/Nationaltidende, 28.10.1930.
157 Berlingske Tidende, 28.10.1930.
155 Danish pianist and composer (1908-1998). 158 Af to Carl Nielsen-Breve, Dansk Musiktidsskrift, 7. rg.
156 Dagens Nyheder/Nationaltidende, 28.10.1930. (1932), s. 2-3.
157 Berlingske Tidende, 28.10.1930.
158 Af to Carl Nielsen-Breve, Dansk Musiktidsskrift, vol. 7
(1932), pp. 2-3.

Carl Nielsen Udgaven CN 00042 xli

II_12_tekst 1.indd xli 28/09/06 11:30:08


ORGELVRKER

ORGAN WORKS CARL NIELSEN OG ORGELMUSIKKEN

I
modstning til klavervrkerne stammer Carl Nielsens
NIELSEN AND ORGAN MUSIC orgelvrker udelukkende fra den sidste del af hans liv.
Dette betyder dog ikke at det frst var p dette tidspunkt,

U
nlike the piano works, Carl Nielsens organ works at interessen for orglet meldte sig. En lejlighedsvis beskf-
come exclusively from the last part of his life. How- tigelse med orglet kan spores tilbage til hans allertidligste
ever, this does not mean that he had no interest in vrker fra slutningen af 1880erne. Sledes var det frste af de
the organ before this period. An occasional interest in the organ to fantasistykker for obo og klaver opus 2 Romance antagelig
1
can be traced back to his very earliest works from the end of the oprindelig tnkt for obo og orgel. Og det vides med sikkerhed
1880s. For example, the rst of two fantasy pieces for oboe and at denne sats gentagne gange er blevet fremfrt offentligt for
2
piano opus 2 Romance was probably originally intended for denne bestning.
1
oboe and organ. And we know with certainty that the Romance Da Carl Nielsen i efterret 1913 traf den tyske organist
2 3
was performed by these instruments several times. Karl Straube i Kbenhavn, inspirerede mdet ham tilsyneladende
In the autumn of 1913 Nielsen met the German organ- til at pbegynde et vrk for orgel. I et brev dateret den 6. oktober
3 4
ist Karl Straube in Copenhagen. The meeting appears to have til hustruen Anne Marie fortller han om sine planer. Det hed-
inspired him to start on a work for organ. In a letter dated 6th der bl.a.: Jeg har faaet Lyst til at skrive en Phantasi for Orgel og
4
October to his wife Anne Marie he talks about his plans, saying har allerede begyndt. Det er mgtigt som et Orgel kan lyde, naar
5
among other things: I have the urge to write a fantasia for organ en stor Mester tumler med det. Udsagnet bekrftes af en ganske
6
and have already begun. It is tremendous how an organ can sound kort skitse betegnet Orgelfantasi, men efter al sandsynlighed er
5
when a great master is handling it. This is conrmed by a very vrket aldrig kommet ud over skitseplanet. Andre udaterede
6
brief sketch designated Organ Fantasia, but in all probability the skitser for orgel kunne tyde p at Carl Nielsen fra tid til anden
7
work never got beyond the sketch stage. Other undated sketches har arbejdet med dette instrument, men som nvnt var det frst
for organ suggest that Nielsen worked from time to time with the i de seneste r at orglet satte sig synlige spor i hans vrkrkke.
7
instrument, but as already mentioned it was only in the last years Sknt der ikke ndes nogen direkte udsagn herom
that the organ left visible traces in his list of works. fra komponistens side, er det nrliggende at se en forbindelse
Although there is no direct statement about this from mellem Carl Nielsens orgelvrker og de reformbestrbelser der
the composer, it seems reasonable to see a connection between Carl netop i disse r fandt sted indenfor den danske kirkemusik en
8
Nielsens organ works and the reform effort that was taking place reform som Thomas Laub havde indledt mange r tidligere, og
8
at that time in Danish sacred music. Thomas Laub had begun this som i lbet af 1920erne for alvor slog igennem. Laubs reform
reform many years earlier, but it was to make its fullest impact gik ud p at afskaffe den flelsesbetonede, romancelignende
during the 1920s. Laubs reform was concerned with abandoning salmesang til fordel for en genindfrelse af de klassiske stilfor-
emotive Lied-like hymn-singing in favour of a reintroduction of the
older stylistic types the Protestant chorale and Renaissance vocal
1 DK-Kk, Tilg. 391; udgivet af John Fellow som Emilie
Demant Hatt, Foraarsblger, Erindringer om Carl Nielsen,
Kbenhavn 2002, s. 92.
1 DK-Kk, Tilg. 391; published by John Fellow as Emilie 2 Carl Nielsen, Vrker. Udgivet af Carl Nielsen Udgaven, Det
Demant Hatt, Foraarsblger, Erindringer om Carl Nielsen, Kongelige Bibliotek. Serie II. Bind 11. Udgivet af Lisbeth
Copenhagen 2002, p. 92. Ahlgren Jensen, Elly Bruunshuus Petersen og Kirsten
2 Carl Nielsen, Works. Published by the Carl Nielsen Edi- Flensborg Petersen, Copenhagen 2003, s. xxiii-xxvi.
tion, Royal Library, Copenhagen. Series II. Vol. 11. Edited 3 Organist og dirigent, kantor ved Thomaskirken i
by Lisbeth Ahlgren Jensen, Elly Bruunshuus Petersen Leipzig (1873-1950).
and Kirsten Flensborg Petersen, Copenhagen 2003, pp. 4 Billedhugger, fdt Brodersen (1863-1945).
xxiii-xxvi. 5 Torben Schousboe (udg.), Carl Nielsen. Dagbger og brev-
3 Organist and conductor, Kantor at the Thomaskirche in veksling med Anne Marie Carl-Nielsen, Kbenhavn 1983,
Leipzig (1873-1950). s. 353.
4 Sculptress, ne Brodersen (1863-1945). 6 DK-Kk, CNS 351b.
5 Torben Schousboe (ed.), Carl Nielsen. Dagbger og 7 DK-Kk, CNS 351a.
brevveksling med Anne Marie Carl-Nielsen, Copenhagen 8 Komponist og organist (1852-1927).
1983, p. 353.
6 DK-Kk, CNS 351b.
7 DK-Kk, CNS 351a.
8 Danish composer and organist (1852-1927).

Carl Nielsen Udgaven CN 00042 xlii

II_12_tekst 1.indd xlii 28/09/06 11:30:08


mer den protestantiske koral og renssancens vokalpolyfoni
og for orgelmusikkens vedkommende at lade den klangligt
og harmonisk funderede romantiske orgelmusik vige for de
9
polyphony and in the case of organ music replacing the sonority- stilidealer der kendetegnede det 17. rhundredes orgelkunst.
and harmony-based romantic stylistic ideals with those that char- Sidstnvnte aspekt kom ligeledes til udtryk i den skaldte or-
9
acterized the art of organ music in the seventeenth century. This gelbevgelse som i disse r med udgangspunkt i Tyskland stod
change was also manifested in the so-called Organ Movement, for et opgr med det romantiske, orkesterefterlignende orgel,
with its origins in Germany, which rejected the nineteenth-century idet man sgte en tilbagevenden til barokorglet. Tager man
idea of good organ-style, aspiring to sound orchestral, in favour of Carl Nielsens udprget polyfone skrivemde i betragtning, er
a return to the idioms of the Baroque period. Considering Carl det oplagt at disse strmninger har appelleret til hans komposi-
Nielsens decidedly polyphonic mode of writing, it is not surprising toriske nysgerrighed.
that these currents appealed to his compositional curiosity.

29 SMAA PRLUDIER FOR ORGEL ELLER HARMONIUM,


29 LITTLE PRELUDES FOR ORGAN OR HARMONIUM, OPUS 51
OPUS 51

D
et var dog tilsyneladende en ydre anledning der k

I
t appears to have been another external factor that Carl Nielsen til at tage fat p det frste orgelvrk,
10
prompted Nielsen to get to grips with his rst organ idet organisten Johannes Hansen havde bedt ham
10
work, namely that the organist Johannes Hansen asked om at komponere nogle prludier for orgel til brug ved
him to compose some organ preludes for use in divine service. gudstjenesten. Denne anmodning udmntede sig i de 29 Smaa
This request resulted in the 29 Little Preludes for Organ or Harmo- Prludier for Orgel eller Harmonium opus 51.
nium opus 51. Prludierne blev til over en relativ kort periode i
The preludes were written over a relatively short begyndelsen af 1929. De omtales frste gang i et brev fra Carl
period at the beginning of 1929. They are mentioned for the Nielsen til hustruen dateret den 5. februar. Han opholdt sig p
rst time in a letter from Carl Nielsen to his wife, dated 5th dette tidspunkt p godset Damgaard ved Fredericia og skriver:
February. At this time he was staying at the Damgaard estate Jeg har lavet et lille himmelsk Prludium, som ifald det
near Fredericia and wrote: I have made a little celestial antog menneskelig Skikkelse vilde ligne en smilende Engel
11
prelude which if it were to take on human form would look fra Renaissancen. Spredte dateringer i blyantskladden til
11
like a smiling angel from the Renaissance. The pencil draft prludierne nr. 14-27 godtgr at de er komponeret i tidsrum-
for Preludes 14-27 contains scattered datings, which document met 19. februar til 19. marts, og det m antages at hele samlin-
12
their composition between 19th February and 19th March, and gen har vret frdig i slutningen af marts.
it must be presumed that the whole collection was nished by
12
the end of March.
9 Povl Hamburger, Ny Orgelmusik til gudstjenestebrug,
Dansk Musiktidsskrift, 5. rg. (1930), s. 165.
10 Gift med Carl Nielsens ven Thorvald Aagaards sster
9 Povl Hamburger, Ny Orgelmusik til gudstjenestebrug, Inger.
Dansk Musiktidsskrift, vol. 5, (1930), p. 165. 11 Torben Schousboe, op. cit., s. 559.
10 Married to Nielsens friend Thorvald Aagaards sister, 12 I det trykte program til Carl Nielsen-mindekoncerten i
Inger. Roskilde Domkirke 11.2.1932 anfres det at et enkelt af
11 Torben Schousboe, op. cit., p. 559. prludierne skulle vre komponeret r 1900, mens de
12 The printed programme for the Carl Nielsen Memorial vrige var fra 1929. Det m antages, at denne oplysning
Concert in Roskilde Cathedral on 11.2.1932 states that one stammer fra Emilius Bangert (1883-1962) der arrangerede
of the preludes was composed in 1900, while the others koncerten. Torben Schousboe mener at kunne godtgre at
were from 1929. We must assume that this information det er prludium nr. 3 som stammer fra r 1900, idet klad-
comes from Emilius Bangert (1883-1962), who organized den til denne sats er skrevet p en anden type nodepapir
the concert. Torben Schousboe believes he can demon- end de vrige prludier, ligesom stilen i nr. 3 peger p
strate that Prelude 3 was from 1900, since the draft for this tiden omkring rhundredeskiftet (jf. Torben Schousboe,
piece is written on a different type of music paper from the Carl Nielsens prludier for orgel, Organistbladet, 32. rg.
other preludes, and the style of No. 3 suggests the period (1966), s. 20-27). Der synes dog ikke at vre belg for en
around the turn of the century (cf. Torben Schousboe, sdan antagelse, idet det nodepapir som er anvendt til
Carl Nielsens prludier for orgel, Organistbladet, vol. 32 kladden til prludium nr. 3 oprindeligt har tjent som
(1966), pp. 20-27). However, there seems to be no proof titelblad for en afskrift af de tre klaverstykker op. 59
for such an assumption, since the music paper used for (komponeret 1928). Se i vrigt Sources, s. 248-249.
the draft of Prelude 3 originally served as the title page
for a manuscript copy of the Three Piano Pieces Op. 59
(composed in 1928). See also the Sources pp. 248-249.

Carl Nielsen Udgaven CN 00042 xliii

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I forbindelse med kompositionen havde Mogens Wl-
13
dike lnt Carl Nielsen nglerne til Christiansborg Slotskirke
hvor han ere gange afprvede orglets muligheder. Endvidere
In connection with the composition work Mogens havde Wldike forret Carl Nielsen Johann Pachelbels orgel-
13
Wldike lent Nielsen the keys to the Christiansborg Palace vrker. Den person der mest direkte deltog i komponistens
14
Chapel, where he tested the potential of the organ several overvejelser, var dog organisten Peter Thomsen. Hos denne
times. Wldike also presented Nielsen with Johann Pachelbels lnte Carl Nielsen noder af det 17. og 18. rhundredes orgel-
organ works. However, the person who most directly shared the komponister navne som Frescobaldi, Scheidt, Scheidemann,
14
composers deliberations was the organist Peter Thomsen, from Weckmann og Bhm. Han satte sm tegn ved de passager der
whom Nielsen borrowed music written by organ composers of faldt i hans smag, og isr toccata-formerne optog ham meget.
the seventeenth and eighteenth centuries like Frescobaldi, Efter sigende skulle han have fundet Frescobaldi og Scheidt
15
Scheidt, Scheidemann, Weckmann and Bhm. He made small srligt efterflgelsesvrdige. Det skal i denne forbindelse
marks by the passages that appealed to his taste, and the nvnes at Johannes Hansen havde lnt Carl Nielsen Thorvald
16
toccata forms in particular captured his interest. He is said to Aagaards samling 25 Prludier til Gudstjenesten for Orgel uden
have considered Frescobaldi and Scheidt particularly worthy of Pedal eller Harmonium som forbillede. Da Carl Nielsens prludier
15
imitation. In this connection it should be mentioned, too, that gik hen og blev noget ganske andet, skal Johannes Hansen vre
16 17
Johannes Hansen had lent Carl Nielsen Thorvald Aagaards blevet noget skuffet over resultatet.
collection 25 Prludier til Gudstjenesten for Orgel uden Pedal eller Har- Der skulle g det meste af et r fr prludierne blev
monium (25 Preludes for Divine Service for Organ without Pedals holdt over dben ved en offentlig fremfrelse. Det skete den 23.
or Harmonium) as a model. When Nielsens Preludes turned out januar 1930 ved en koncert i Skovshoved Kirke nord for Kben-
18
to be something quite different, Johannes Hansen is said to have havn hvor Poul Schierbeck opfrte 28 af prludierne. Ved
17
been somewhat disappointed at the result. denne koncert indviedes i vrigt ogs kirkens nye Frobenius-
The greater part of a year was to pass before the orgel som koncertinstrument. Koncerten blev rosende anmeldt,
Preludes were christened in public performance. This was on idet man isr heftede sig ved prludiernes meget forskelligar-
23rd January 1930 in a concert at Skovshoved Church, north tede karaktertrk. I Nationaltidende mente anmelderen August
of Copenhagen, marking the debut of its new Frobenius organ Felsing ligefrem at samlingen havde et retrospektivt anlg.
18
as a concert instrument, when Poul Schierbeck performed Han skrev bl.a.:
28 of the Preludes. The concert was praised by reviewers, who
particularly emphasised the highly differentiated character Han [Carl Nielsen] valgte Prludiernes Form og gav i Lbet af
of the Preludes. In Nationaltidende the reviewer August Felsing de mange kortere eller lngere Satser sig selv i en retrospektiv
thought that the collection had a retrospective tendency. He Fremstilling, begyndende med bredt baarne, fugerede Temaer
wrote amongst other things:

13 Dirigent og organist (1897-1988).


He [Nielsen] chose the form of the preludes and in the 14 (1893-1976).
course of the many long and short pieces gave of himself in a 15 Torben Schousboe (1966), op. cit., s. 20, 26 og Torben
Schousboe (1983), op. cit., s. 578.
retrospective presentation beginning with broadly sustained 16 Komponist og organist (1877-1937).
17 Irmelin Eggert Mller og Torben Meyer, Carl Nielsens
Breve i Udvalg og med Kommentarer, Kbenhavn 1954,
13 Danish conductor and organist (1897-1988). s. 263-264.
14 (1893-1976). 18 Komponist og organist (1888-1949). Af en eller anden
15 Torben Schousboe (1966), op. cit., pp. 20, 26 and Torben grund ville Schierbeck ikke spille prludium nr. 26.
Schousboe (1983), op. cit., p. 578. Koncerten forlb sledes at prludierne var fordelt i tre
16 Danish composer and organist (1877-1937). grupper (10 + 9 + 9) hvorimellem en vokalkvartet best-
17 Irmelin Eggert Mller & Torben Meyer, Carl Nielsens Breve i ende af Sylvia Schierbeck, Agnete Grunert, Poul Knudsen
Udvalg og med Kommentarer, Copenhagen 1954, pp. 263-264. og Orla Petersen sang satser af Thomas Laub, Michael
18 Danish composer and organist (1888-1949). For some Praetorius, Heinrich Isaac og Melchior Vulpius. Jf. trykt
reason Schierbeck would not play Prelude 26. The koncertprogram (DK-Kk, CNA, I.E.b.).
concert divided the preludes into three groups (10 + 9
+ 9), and in between these a vocal quartet consisting of
Sylvia Schierbeck, Agnete Grunert, Poul Knudsen and
Orla Petersen sang pieces by Thomas Laub, Michael
Praetorius, Heinrich Isaac and Melchior Vulpius. Cf.
printed concert programme (DK-Kk, CNA, I.E.b.).

Carl Nielsen Udgaven CN 00042 xliv

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i Saul og Davids ophjede, linear-klare Sprog, videre over
Symfoniernes hjst forskellige Idassociationer, gennem lyrisk
stemte Motiver, der ledte Tanken hen paa den jvne Sang,
fugato themes in the linear-clear idiom of Saul and David, on som fnger Hvermands Sind, hen mod de sidste store Vrkers
through the highly varied associations of ideas in the sympho- gigantiske Indhold, som f.Eks. Klarinetkoncertens opbrusende
nies, through lyrically disposed motifs that recalled the plain Passagevrk for at ende i en cantabil, andagtsfyldt Strofe, der
song style that captures the mind of the common man, towards lftede sig hjt over Dagen og Tiden. Om man vil, en Samling
the gigantic content of the last great works, such as the swell- tonale Aforismer, gennemstrmmet af polyfon Livskraft, der
ing passage-work of the clarinet concerto, to end in a cantabile snart i instrumentalt Relief staar som et moderne Sidestykke
devotional strophe that rose high above the day and the age. til Chopins store Prludievrk for Klaver, Opus 28, snart i intel-
One might say a collection of musical aphorisms, shot through lektuel Kraft og Afveksling med deres fngslende, lsrevne
with polyphonic vitality, standing now in instrumental relief Tanker, slynget ud med en eruptiv Kraft, der har sit dybe
as a modern counterpart of Chopins great preludes for piano, Udspring i Carl Nielsens ekspansive Kompositionstrang, former
opus 28, now in intellectual power and variety with their sig som en klingende Analogi til de Sren Kierkegaardske
19
captivating, stray ideas thrown up with an eruptive power that Diapsalmata fra EntenEller.
has its deep wellspring in Nielsens expansive compositional
urge, forming a sounding analogy to Sren Kierkegaards Diap- Den frste fuldstndige opfrelse af alle de 29 prludier spillet
19
salmata from EitherOr. som en sammenhngende cyklus fandt sted den 19. marts
samme r i Sankt Johannes Kirke i Kbenhavn med Peter Thom-
20
The rst complete performance of all 29 preludes played as a sen ved orglet. I forbindelse med forberedelserne til denne
21
continuous cycle took place on 19 March the same year in the koncert deltog Carl Nielsen i to registreringsprver.
St. Johannes Church in Copenhagen with Peter Thomsen at the Tilsyneladende betragtede komponisten dog ikke sin
20
organ. In connection with the preparations for this concert prludiesamling som et ubrydeligt hele nr den blev opfrt til
21 22
Nielsen attended two registration rehearsals. koncert. Sledes foreslog han organisten P.S. Rung-Keller en
The composer does not appear to have regarded his suite bestende af flgende elleve prludier: nr. 22, 23, 10, 11, 21,
preludes as an inviolable entity, and was happy to see groups 15, 24, 18, 13, 25 og 28, idet han dog gav Rung-Keller frie hnder
23
performed; for example, he suggested a suite of eleven (22, 23, til at tage ere prludier med eller ndre rkkeflgen.
10, 11, 21, 15, 24, 18, 13, 25 and 28) to the organist, P.S. Rung-Kel- Da prludierne i oktober 1930 udkom p Skandi-
22
ler, at the same time giving Rung-Keller a free hand to include navisk og Borups Musikforlag, havde Carl Nielsen helt i pagt
23
more or change the order in which they were played. med sine forbilleder fra det 17. og 18. rhundrede udeladt
In October 1930, when the Preludes were published enhver form for anvisning mht. dynamik, artikulation og frase-
24
by Skandinavisk og Borups Musikforlag, Nielsen quite in ring. Eneste rettesnor for den spillende var metronomangivel-
keeping with his models from the seventeenth and eighteenth
centuries had omitted any indications of dynamics, articula-
19 Nationaltidende, 24.1.1930.
24
tion and phrasing. The only guidelines for the player were the 20 Programmet ved denne koncert bestod af: J.S. Bach,
Toccata, Adagio og Fuga i C dur BWV 564, Carl Nielsen,
29 Prludier og Orgel eller Harmonium op. 51, G.F. Hndel,
19 Nationaltidende, 24.1.1930. Orgelkoncert i F dur op. 4 nr. 4 med et orkester dirigeret
20 The programme for this concert consisted of J.S. Bach, af Emilius Bangert. Jf. trykt program (Dk-Kk, Smtryksaf-
Toccata, Adagio and Fugue in C major BWV 564; Nielsen, delingen).
29 Preludes for Organ or Harmonium op. 51; G.F. Hndel, 21 Torben Schousboe (1966), op. cit., s. 24.
Organ Concerto in F major op. 4 no. 4 with an orchestra 22 Organist og dirigent (1879-1965).
conducted by Emilius Bangert. Cf. printed concert 23 Jf. brev fra Carl Nielsen til P.S. Rung-Keller, 17.10.1930
programme (Dk-Kk, Smtryksafdelingen). (DK-Kk, NKS 4692. D1).
21 Torben Schousboe (1966), op. cit., p. 24. 24 I blyantskladden (kilde D) og den delvis autografe
22 Danish organist and conductor (1879-1965). renskrift (kilde C) optrder sporadiske anvisninger
23 Cf. letter from Nielsen to P.S. Rung-Keller, 17.10.1930 mht. dynamik og artikulation. Alle disse anvisninger
(DK-Kk, NKS 4692. D1). er nvnt i Editorial Emendations and Alternative Readings,
24 In the pencil draft (Source D) and the part-autograph s. 264-266.
fair copy (Source C) there are scattered indications for
dynamics and articulation. All these are mentioned
in the Editorial Emendations and Alternative Readings,
pp. 264-266.

Carl Nielsen Udgaven CN 00042 xlv

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ser til de enkelte satser, idet det i en fodnote blev bemrket at
de opgivne metronomtal var at betragte som tilnrmelsesvise
og mtte rette sig efter rum og instrument. Denne meget
metronome markings for the individual pieces, and even then summariske notationsform foranledigede Peter Thomsen til at
it was stated in a footnote that the metronome speeds given bringe en lille opsats i Dansk Kirkemusiker-Tidende vedrrende dy-
should be regarded as approximate and were to be adjusted for namik og registrering i prludierne, hvor han gjorde opmrk-
the space and the instrument. This spare notation prompted som p at bemrkningerne stttede sig til komponistens egne
25
Peter Thomsen to publish a small article in Dansk Kirkemusiker- anvisninger. Det hed heri bl.a.:
Tidende on dynamics and registration in the Preludes, point-
ing out that the remarks were based on the composers own Til Gengivelse af Prludierne vil et Mixturorgel, som raader
25
instructions. He wrote for example: over mange og milde blandede Stemmer, vre bedst egnet;
paa et moderne Instrument med den mindre gennemsigtige
For the rendering of the Preludes a Mixture organ, with many Klang og det store Antal strygende og svvende Registre vil de
gentle mixed voicings, will be best suited; on a modern in- vanskeligere komme til deres Ret. Indenfor de enkelte Stykker
strument with the less transparent sound and the large number br ingen Registerndring nde Sted helt misforstaaet vil
of sweeping and gliding stops they will have difculty coming det vre at anvende Generalcrescendo eller at tilfje et strkt
into their own. Within the individual pieces there should be no klingende Register paa Slutningsakkorden.
changing of stops it would be quite mistaken to use a general Nr. I . II  (). III . IV . V . VI . VII, VIII og IX
crescendo or to add a powerful-sounding stop on the nal chord. . X . XI . XII . XIII . XIV  (). XV . XVI  (). XVII
No. I . II  (). III . IV . V . VI . VII, VIII and . XVIII  (). XIX  (). XX . XXI . XXII . XXIII  ().
IX . X . XI . XII . XIII . XIV  (). XV . XVI  (). XXIV . XXV . XXVI  (). XXVII . XXVIII . XXIX .
XVII . XVIII  (). XIX  (). XX . XXI . XXII . XXIII  Om ovenstaaende Styrkegrader glder det samme,
(). XXIV . XXV . XXVI  (). XXVII . XXVIII . XXIX . som Komponisten bemrker om de af ham selv angivne Metro-
As with the composers remarks about his metro- nomangivelser: de maa betragtes som kun tilnrmelsesvis og
26
nome markings, these comments on dynamics are to be rette sig efter Rum og Instrument.
regarded as approximate and have to be adjusted to the room
26
and the instrument. Den trykte udgave af prludierne afstedkom ere fyldige
anmeldelser i fagtidsskrifter hvor et tilbagevendende emne var
The printed edition of the preludes gave rise to several lengthy sprgsmlet om prludiernes egnethed til brug ved guds-
reviews in specialist periodicals, where a recurring theme was tjenesten. I sin anmeldelse i Dansk Musiktidsskrift mente Povl
27
the issue of the suitability of the preludes for use in church Hamburger at det kun var nr. 14 og 29 der levede op til de
27
services. In his review in Dansk Musiktidsskrift Povl Hamburger krav man mtte stille til en moderne kirkestil. Han betragtede
thought that only Nos. 14 and 29 met the requirements of a
modern church style. He saw the collection rather as suited
25 Hermed refereres antagelig til Carl Nielsens ovenfor
omtalte deltagelse ved registreringsprverne fr
koncerten den 19.3.1930. At Carl Nielsen var indforstet
25 This presumably refers to Nielsens above-mentioned med Peter Thomsens opsats, fremgr af et brev fra Carl
participation in the registration rehearsals before the Nielsen til Peter Thomsen, dateret 26.10.1930. Heri
concert on 19.3.1930. That Nielsen had accepted Peter hedder det bl.a.: Jeg vil naturligvis meget gerne have
Thomsens arrangement can be seen from a letter from Deres Registreringsforslag paa Tryk og jeg er sikker paa
Nielsen to Peter Thomsen, dated 26.10.1930, in which at andre Musikere og Organister ogsaa vil vre glade
he says: I would of course very much like to have your derfor. (DK-Kk, NBD 2. rk., 1981/101).
registration proposals in print and I am sure that other 26 Peter Thomsen, Carl Nielsens Orgelprludier, Dansk
musicians and organists would also be pleased with Kirkemusiker-Tidende, 27. rg. (1930), s. 98. I Torben
them (DK-Kk, NBD 2. rk., 1981/101). Schousboe (1966), op. cit., s. 22-24 bringes endvidere en
26 Peter Thomsen, Carl Nielsens Orgelprludier, Dansk rkke oplysninger vedrrende de enkelte satsers tempo
Kirkemusiker-Tidende, vol. 27 (1930), p. 98. Torben Schous- og karakter, der angiveligt skulle bygge p Carl Nielsens
boe (1966), op. cit., pp. 22-24, also has information on udtalelser til Peter Thomsen, som mundtligt har bragt
the tempo and character of the individual pieces, dem videre til Schousboe.
said to be based on Carl Nielsens statements to Peter 27 Musikforsker og komponist (1901-1972).
Thomsen, who passed them on orally to Schousboe.
27 Danish musicologist and composer (1901-1972).

Carl Nielsen Udgaven CN 00042 xlvi

II_12_tekst 1.indd xlvi 16/09/06 15:32:53


snarere samlingen som egnet til studiebrug og foreslog titlen
28
Studier for Orgel i stedet for Prludier. Mere afdmpet
29
var Knud Hjort i sin anmeldelse i Vor Ungdom. Han skrev bl.a.:
for study and proposed the title Studies for Organ instead of
28 29
Preludes. Knud Hjort was more discreet in his review in Prludierne br kendes af danske organister, og de br fore-
Vor Ungdom. He wrote: lgges for menigheden. At mange til at begynde med vil nde
dem lidt aparte og mske lidt for glade, kan jo grne vre,
The preludes should be known by Danish organists, and they men p den anden side er folk efterhnden blevet noget vant
should be presented to the congregations. It may well be that til musik, der er i gammel stil, og den stive hjtidelighed er
30
many people will nd them a little odd and perhaps a little too sikkert mindre regnet, end den engang var.
cheerful at rst, but on the other hand people have gradually
become used to music that is in the old style, and rigid formal- I forlngelse af Hjorts anmeldelse bad redaktionen af Vor
30
ity is probably less appreciated than it once was. Ungdom Carl Nielsen om selv at bidrage med en replik i denne
diskussion. Det frte til et indlg hvori det bl.a. hed:
To follow up on Hjorts review the editor of Vor Ungdom asked
Nielsen to contribute a reply in this discussion. This led to an Hvad nu min Mening om Prludiernes Anvendelse angaar,
article in which Nielsen wrote: saa er det naturligvis for mig, som er Part i Sagen, vanskeligt at
staa helt objektivt overfor mine egne smaa, kre Skabninger,
As for my opinion about the use of the Preludes, it is of course men jeg skal forsge, og jeg vil saa frst nvne de Numre, som
difcult for me, given my interest in the matter, to stand quite afgjort ikke egner sig til kirkelig Brug i vor Tid, nemlig Nr. VIII,
objectively before my own small, cherished creations, but I will XI, XV, XVIII, XXII, XXVI og XXVIII. Derimod mener jeg, at I, II,
try, and so I will rst mention the numbers that are certainly III, V, VII, X, XII, XIV, XIX, XXI, XXV og XXIX kan lade sig hre i
not suitable for liturgical use in our age, that is Nos. VIII, XI, Kirken; Nr. XIV og XXIX maaske bedst som Indgangsspil, Resten
XV, XVIII, XXII, XXVI and XXVIII. On the other hand I think that til Udgang. Om de Numre i Heftet, jeg ikke har nvnt, tr jeg
I, II, III, V, VII, X, XII, XIV, XIX, XXI, XXV and XXIX can be heard i denne Sammenhng ikke have nogen Mening. Der hersker
in church; Nos. XIV and XXIX are perhaps best as processionals, i jeblikket saa stor Meningsforskel indenfor de ellers mest
the rest as recessionals. About the numbers in the volume that fremskredne og forjttende Krese, at det er helt forunderligt;
I have not mentioned I can venture no opinion in this context. og selv blandt en hel Falanks af unge og yngre Kirkemusikere,
At present there are such great differences of opinion within der mener at strbe efter samme Maal, er Meningerne vidt
what are otherwise the most advanced and promising circles, forskellige, naar det drejer sig om Orgelmusik i Kirken, og det
that it is quite strange; and even among a whole phalanx of ligger naturligvis deri, at vi ikke har Orgelmusik fra en Tid eller
young and youngish church musicians who believe they are af et Indhold, der svarer til a capella-Stilens. Med andre Ord: vi
striving for the same goal, opinions are widely different when mangler Forbilleder.
it comes to organ music in church, and of course what under- En af de bedst funderede og mest begavede blandt de
lies this is the fact that we do not have organ music from a unge Kirkemusikere, Organist Peter Thomsen, har imidlertid i et
31
time or of a content that corresponds to that of the a cappella Brev til mig fornylig fremsat flgende tre Krav angaaende de
style. In other words, we lack models. Egenskaber, kirkelig Orgelmusik br have:
One of the most knowledgeable and most gifted of
the young church musicians, the organist Peter Thomsen, has
28 Povl Hamburger, op. cit., s. 167-168.
however recently proposed the following three requirements 29 Forfatter (1869-1931).
31 30 Vor Ungdom (udgivet af Det pdagogiske Selskab), 53.
for sacred organ music in a letter to me:
rg. (1931-32), s. 44-46.
31 Brev 27.3.1931 (DK-Kk, CNA, I.A.b.). I et brev dateret
25.2.1931 havde Carl Nielsen bedt Peter Thomsen at
28 Povl Hamburger, op. cit., pp. 167-168.
udtale sig om, hvilke af prludierne der egnede sig til
29 Danish author (1869-1931).
kirkeligt brug (DK-Kk, NBD 2. rk., 1981/101).
30 Vor Ungdom (published by Det pdagogiske Selskab), vol.
53 (1931-32), pp. 44-46.
31 Letter 27.3.1931 (DK-Kk, CNA, I.A.b.). In a letter dated
25.2.1931 Nielsen had asked Peter Thomsen to say
which of the preludes were suitable for use in church
(DK-Kk, NBD, 2. rk., 1981/101).

Carl Nielsen Udgaven CN 00042 xlvii

II_12_tekst 1.indd xlvii 16/09/06 15:32:54


1) Liner Skrivemaade altsaa melodiske Stemmer,
der ikke standses af Periodebygning, da capo-Former o.l.
2) En Modulation, der ikke benyttes til at farve
1) Linear composition that is, melodic parts that Temaet, men som naar den overhovedet fremkommer kun
are not stopped by periodic phrase-building, da capo forms and optrder, fordi Stemmernes Gang ligefrem krver den.
the like. 3) En vis Rummelighed, saa at Tilhrerne i dette
2) Modulation that is not used to colour the theme Tilflde Menigheden ikke faar Indtryk af, at Musikken er en
but which when it is used at all only appears because the Enkeltmands Tale eller Betragtninger.
motion of the parts actually requires it. Jeg slutter mig ganske til disse Ord, og skulde jeg
3) A certain spaciousness, so that listeners in this endnu engang komme til Komposition af Orgelprludier,
case the congregation do not get the impression that the vil jeg umage mig med Undertrykkelse af personlig Smag og
music is the speech or reections of one man. strbe imod de krystalklare Vrdier, som ligger gemt i Toner-
32
I wholly agree with these words, and if ever again I nes Egenvillie, hvet over alle Slags Fornemmelser.
engage in the composition of organ preludes, I will take pains
to suppress personal taste and aspire to the crystal-clear values Hovedkilden til nrvrende udgave er den trykte udgave fra 1930,
that lie latent in the will of the music itself, elevated above all idet der er taget hensyn til en trykfejlsliste som Peter Thomsen ud-
32 33
kinds of personal feelings. arbejdede umiddelbart efter fremkomsten af den trykte udgave.
Endvidere har de to fragmentariske renskrifter og blyantskladden
The main source for the present edition is the printed edition of i visse tilflde kunnet tjene til at korrigere oplagte fejl.
1930, but taking into account an errata list that Peter Thomsen
drew up immediately after the appearance of the printed edi-
33
tion. In addition, the two fragmentary fair copies and the pencil MELODI
draft have, in certain instances, served to correct obvious errors.

I
blyantskladden til 29 smaa Prludier for Orgel eller Harmonium
ndes mellem nr. 13 og 14 en lille sats der er betegnet
MELODY Melodi. Det fremgr tydeligt af manuskriptet at denne sats
frst har vret nummereret som nr. 14, men siden er numme-

I
n the pencil draft of the 29 Little Preludes for Organ or Har- ret blevet visket ud, og hele satsen er sat i parentes. Bortset fra
monium, between Nos. 13 and 14, there is a small piece denne kladde ndes der ikke andre kilder til dette lille stykke
designated Melody. It is clear from the manuscript that this som antagelig aldrig har vret fremfrt offentligt. Satsen
piece was at rst numbered as No. 14, but later the number udgives hermed for frste gang.
was rubbed out and the whole piece was put in brackets. Apart
from this draft there are no other sources for this little piece,
which was probably never played in public. The piece is pub- TO PRLUDIER
lished here for the rst time.

D
e to prludier uden opusnummer er komponeret til
TWO PRELUDES Peter Thomsen i begyndelsen af 1931, muligvis efter
afslutningen af Commotio. Det er oplagt at se disse

T
he two preludes with no opus number were composed to satser som komponistens forsg p at efterleve de krav til
for Peter Thomsen at the beginning of 1931, possibly kirkelig orgelstil der kom til udtryk i den ovenfor omtalte
after the composition of Commotio had been completed. artikel i Vor Ungdom. Prludierne udkom i 1947 p Skandina-
It is reasonable to see these two pieces as the composers at- visk Musikforlag. Hovedkilden til nrvrende udgave er den
tempt to meet the requirements for a sacred organ style that renskrift som Carl Nielsen sendte til Peter Thomsen.
were expressed in the above-mentioned article in Vor Ungdom.
The preludes were published in 1947 by Skandinavisk Musik-
32 Vor Ungdom, op. cit., s. 46-47. Indlgget er tillige gengivet
forlag. The main source for the present edition is the fair copy i John Fellow (udg.), Carl Nielsen til sin samtid, Kbenhavn
that Nielsen sent to Peter Thomsen. 1999, s. 599-600.
33 Gengivet i Peter Thomsen, op. cit., s. 98.

32 Vor Ungdom, op. cit., pp. 46-47. The article is also


reproduced in John Fellow (ed.), Carl Nielsen til sin samtid,
Copenhagen 1999, pp. 599-600.
33 Reproduced in Peter Thomsen, op. cit., p. 98.

Carl Nielsen Udgaven CN 00042 xlviii

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COMMOTIO, OPUS 58

E
fter tilblivelsen af de 29 smaa Prludier for Orgel eller Har-
COMMOTIO, OPUS 58 monium pbegyndte Carl Nielsen arbejdet med det der
skulle blive hans sidste strre komposition, nemlig
34

A
fter the composition of the 29 Little Preludes for Organ or orgelvrket Commotio. Hermed realiserede han et mangerigt
35
Harmonium Nielsen began work on what was to be nske, og i modstning til de sm prludier skyldes dette vrk
34
his last major composition, the organ work Commotio. tilsyneladende ikke nogen ydre anledning. Sledes bemrkede
35
In so doing he was fullling a wish of many years standing, han den 4. marts 1931 i et brev til sin gode veninde Vera Michael-
36
and unlike the little preludes, this work seems to have had no sen at: Det er maaske fjollet at man udfrer et Vrk som der
external prompting. For example on 4 March 1931 he remarked maaske slet ikke er Brug for og som ingen har spurgt om, men vi
36 37
in a letter to his close friend Vera Michaelsen: It is perhaps er vel alle fjollede, naar det kommer til Stykket og dog !
foolish to create a work for which there may be no use and for Det str ikke helt klart prcis hvornr Carl Nielsen
which no one has asked, but I suppose we are all foolish when pbegyndte arbejdet med Commotio, blot kan det konstateres at
37
it comes down to it, and yet ! nogle sider midt i blyantskladden er nedskrevet p nodepapir der
It is not quite clear precisely when Nielsen began har indeholdt teoriopgaver til konservatoriets organisteksamen
working on Commotio; it can only be noted that some pages in juni 1930; alts kan disse sider af kladden tidligst vre nedskre-
the middle of the pencil draft are written on music paper that vet p dette tidspunkt. Arbejdet med kompositionen strakte sig
contained theory problems set for the organ examination of frem til slutningen af februar 1931 hvor han under et ophold p
the conservatoire in June 1930, indicating the earliest possible Damgaard lagde sidste hnd p vrket. I Carl Nielsens omfat-
date for these pages. The composition work lasted until the tende korrespondance med familie og venner fremgr det klart at
end of February 1931, when he put the nishing touches to the han tillagde vrket overordentlig stor betydning. Den 24. februar
38
work during a stay at Damgaard. In Nielsens extensive cor- skrev han til sin svigersn Emil Telmnyi:
respondence with family and friends it is clear that he ascribed
extraordinary importance to the work. On 24th February he Intet af mine andre Arbejder har krvet saa stor Koncentra-
38
wrote to his son-in-law Emil Telmnyi: tion som dette: Et Forsg paa at genopbygge den virkelig eneste
gldende Orgelstil, nemlig den polyfone Musik som passer
None of my other works has demanded such great concentra- specielt for dette Instrument, som i lang Tid er blevet betragtet
tion as this: an attempt to reconstitute what is truly the only som et Slags Orkester, hvad det aldeles ikke er. Mere herom ved
39
valid organ style, the polyphonic music that is especially suited Lejlighed.
to this instrument, which for a long time has been regarded
as a kind of orchestra, which it absolutely is not. More on this
34 Latin: Bevgelse.
39
when the occasion arises. 35 Jf. brev fra Carl Nielsen til Ebbe Hamerik (17.2.1931)
hvori han skriver: Jeg er her en 10-12 Dage for at lgge
sidste Haand paa et strre Orgelvrk som jeg i mange
34 Latin: movement. Aar har nsket at prve paa (DK-Kk, NBD 2. rk.).
35 Cf. letter from Nielsen to Ebbe Hamerik (17.2.1931), 36 (1893-1974), gift med Carl Nielsens velgrer Carl Johan
where he writes: I am here for 10-12 days to put the Michaelsen.
nishing touches to a major organ work that I have 37 DK-Kk, CNA, I.A.c. Det skal dog i denne forbindelse
wanted to try to write for many years (DK-Kk, NBD, 2. nvnes at Emilius Bangert angiveligt skulle have opfor-
rk.). dret Carl Nielsen til at komponere et koncertstykke til
36 (1893-1974), married to Carl Nielsens benefactor Carl ham (venligst meddelt af fru Elin Bangert). Forholdet
Johan Michaelsen. mellem Bangert og Carl Nielsen er behandlet i Niels Bo
37 DK-Kk, CNA, I.A.c. It should, however, be mentioned in Foltmann Emilius Bangert, Carl Nielsen og Commo-
this connection that Emilius Bangert is said to have tio , Musik i Roskilde fra jdeharpe til festival (Historisk
urged Nielsen to compose a concert piece for him (in- rbog fra Roskilde Amt 1996/97), s. 51-62.
formation kindly provided by Mrs Elin Bangert). As for 38 Ungarsk-dansk violinist (1892-1988).
the relation between Bangert and Nielsen, see Niels Bo 39 DK-Kk, C II, 10.
Foltmann, Emilius Bangert, Carl Nielsen og Commo-
tio , Musik i Roskilde fra jdeharpe til festival (Historisk
rbog fra Roskilde Amt 1996/97), pp. 51-62.
38 Hungarian-Danish violinist (1892-1988).
39 DK-Kk, C II, 10.

Carl Nielsen Udgaven CN 00042 xlix

II_12_tekst 1.indd xlix 28/09/06 11:30:10


40
Og den 26. februar skriver han til Knud Jeppesen:

Jeg er her for at faa den sidste Koncentration til mit store
40
On 26 February he wrote to Knud Jeppesen: Orgelvrk, og om et Par Dage er jeg frdig. Det har interesseret
mig i strkeste Grad, men det er naturligvis ikke ensbetydende
I am here to make the last concentrated effort on my big med at det er ved Maalet, jeg satte mig, og jeg er egentlig
organ work, and in a few days I shall have nished. It has inter- meget spndt paa, hvad De og maaske en eller to Kunstnere
ested me a great deal, but that is of course not to say that it has mere vil sige til det. Kun i en henseende har jeg overgaaet
arrived at the goal I set myself, and I am really very anxious to Johan Seb. Bachs Orgelvrker: i Omfanget. Jeg tror det spiller
know what you and perhaps one or two other artists will mellem 22 og 24 Minutter.
say about it. Only in one respect have I outdone Johan Seb.
Bachs organ works: in length. I think it plays between 22 and Samme dag berettede Carl Nielsen i et brev til hustruen Anne
24 minutes. Marie at han nu var sikker p sit vrk og i virkeligheden
frdig. Der manglede blot nogle timers arbejde fr han kunne
41
The same day Nielsen related in a letter to his wife that now he tage fat p renskriften.
was sure about his work and had actually nished it. He had only
41
a few hours left before he could begin to make the fair copy. Kladden er slutdateret Damgaard 27 Febr 31, og den 2. marts
kunne en lettet komponist atter skrive til sin hustru:
The draft is end-dated Damgaard 27 Febr 31, and on 2 March
the relieved composer could again write to his wife: Nu er mit store Orgelstykke helt frdigt og jeg er glad for det
Arbejde fordi det er gjort med strre Dygtighed end alle mine
Now my big organ piece is quite nished and I am happy andre Ting; det kan jeg jo nok selv bedmme, derimod ikke
about the work because it has been done with greater skill than hvordan det ellers er i Aanden. Det er et stort Vrk og varer
all my other things; I myself must be the best judge of that, vist circa 22 Minutter. Bachs strste Orgelvrk (Prludium og
although not of what it is otherwise like in spirit. It is a large Fuga i e moll) er paa 368 Takter, mit er 511, saa hvad Omfanget
42
work, and lasts I think about 22 minutes. Bachs longest organ angaar ? Bach er uopnaaelig!
work (the Prelude and Fugue in E minor) is 368 bars long, mine
42
is 511; so as far as size is concerned ? Bach is unreachable! P titelbladet af renskriften anfres vrkets titel som Commotio.
Nr. I, hvilket kunne tyde p, at Carl Nielsen forestillede sig dette
On the title page of the fair copy the title is given as Commotio. vrk som det frste af en hel rkke vrker af samme art. En
Nr. I, which might indicate that Nielsen had planned this work sdan plan blev som bekendt aldrig realiseret.
as the rst in a whole series of works of the same kind. As we Forhndsinteressen for det nye orgelvrk var stor
know, such a plan was never realized. blandt de hjemlige organister, og inden den frste offentlige
There was great interest in the new work among fremfrelse blev det spillet gentagne gange under private for-
Danish organists, and it was played privately by three different mer af tre forskellige organister. Den frste af disse koncerter
organists before its rst public performance. The rst of these fandt sted den 24. april 1931 i Christiansborg Slotskirke. Carl
private performances took place on 24 April 1931 in Christians-
borg Palace Chapel. Shortly before this Nielsen had given Peter
40 Musikforsker og komponist (1892-1974). DK-Kk, CNA,
Thomsen the manuscript to look through, and after he had I.A.c. Efterflgende brev (DK-Kk, CNA, I.A.c.) er dateret
26.1.1931 hvilket m vre en fejl, idet Carl Nielsen p
dette tidspunkt befandt sig i Kbenhavn. Han tog frst
40 Danish musicologist and composer (1892-1974). DK-Kk, til Damgaard 17.2.1931, jf. Schousboe (1983), op. cit., s.
CNA, I.A.c. The following letter (DK-Kk, CNA, I.A.c.) is 591-593.
dated 26.1.1931, which must be a mistake, as Nielsen 41 Torben Schousboe (1983), op. cit., s. 596.
was in Copenhagen at this date. He did not go to 42 Torben Schousboe (1983), op. cit., s. 599.
Damgaard until 17.2.1931, cf. Schousboe (1983), op. cit.,
pp. 591-593.
41 Torben Schousboe (1983), op. cit., p. 596.
42 Torben Schousboe (1983), op. cit., p. 599.

Carl Nielsen Udgaven CN 00042 l

II_12_tekst 1.indd l 16/09/06 15:32:55


Nielsen havde kort forinden givet Peter Thomsen manuskriptet
til gennemsyn, og efter at denne havde sat sig ndtrftigt ind i
vrket, havde de aftalt tid og sted for en gennemspilning. Ved
43
gained a rudimentary knowledge of the work they agreed on a denne lejlighed blev vrket spillet to gange.
time and place for playing it through for the composer. On this Sndag den 14. juni var det Finn Vider44 der opfrte
43
occasion the work was played through twice. Commotio (ligeledes to gange) ved en privat koncert i Sankt Nikolaj
On Sunday 14th June it was Finn Vider44 who Kirkesal hvor der ret fr var blevet opstillet et nyt Marcussen-
performed Commotio (also twice) in a private performance in orgel, bygget efter orgelbevgelsens principper. Desvrre forelig-
the St. Nikolaj Church Hall, where a new Marcussen organ, ger ingen udtalelser fra Carl Nielsens side om det nye orgel og
45
built according to the principles of the Organ Movement, had dets mulige betydning for virkeliggrelsen af hans intentioner.
been installed the previous year. Unfortunately we have no Senere p mneden sankthansaftensdag spillede
statements from Nielsen about the new organ and its possible Emilius Bangert vrket i Roskilde Domkirke hvor komponisten
45 46
signicance for the realization of his intentions. igen var til stede sammen med en kreds af familie og venner.
A week later Emilius Bangert performed the work Endelig m Peter Thomsen p et tidspunkt umid-
in Roskilde Cathedral. Again, the composer was present with a delbart fr den 16. juli have spillet vrket for Carl Nielsen, idet
46
group of family and friends. denne i et brev til Peter Thomsen (dateret den 16. juli 1931)
Finally, at some point just before 16th July, Peter skrev: Det gldede mig meget at hre den Form, De nu har
47
Thomsen must again have played the work for Nielsen, since faaet paa min Commotio
the latter wrote (in a letter to Thomsen dated 16th July 1931):
It pleased me greatly to hear the stage youve reached with my Den 27. juni skrev Bangert til Carl Nielsen og foreslog en forkor-
47
Commotio. telse af vrket:

On 27th June Bangert wrote to Nielsen, suggesting how the Der er dog et Sted i det, hvor jeg fler en Mangel, eller
work might be shortened: rettere, at der staar formeget. Det er den lille idylliske Sats i
3/4 Takt. Jeg har paa Flelsen, at den gr for strkt Indbrud i
However, there is one place in it where I feel a deciency or Fugaen og gr Vrket som Helhed noget for langt. Tag mig ikke
rather, that there is too much. It is the little idyllic piece in 3/4 ilde op, at jeg skriver det; jeg bestyrkedes i Sagen ved, at Christi-
time. I have a feeling that it forms too great a break in the fugue ansen, uden at jeg havde nvnt noget derom, siger mig, at han
and makes the work as a whole slightly too long. Do not take it [havde] ganske det samme Indtryk, altsaa, at Fugaen fra en
the wrong way that I write this; I feel my argument is strength- halv Snes Takter fr Idyllen ikke maa afslappes, men tvrtimod
ened by the fact that Christiansen, without my saying anything stige i Intensitet til den udmrkede Slutningsgennemfring.
about it, tells me that he [had] quite the same impression that Jeg tror selv, at der skulde gres et Spring fra c. Takt 9 fr
is, that the fugue, from about ten bars before the idyll, should not Idyllen til Takt 9 fr Slutningsgennemfringen eller paa dette
slacken, but rise in intensity to the excellent nal set of entries. I Sted laves en Overgang uden Afspnding i Tempo og Dynamik.
myself think that there should be a cut from about bar 9 before Undskyld min uskaansomme og ukaldede Indblanding i denne
the idyll to bar 9 before the cadence or at this point there should Sag. Tnk venligt derover, jeg vilde jo saa gerne, at Deres fr-
be a bridging passage without any abatement in tempo and ste store Orgelvrk skulde have det store, monumentale Prg
dynamics. Excuse my immodest and unsolicited interference in helt gennemfrt. Det er overhovedet det eneste virkelig store
48
this matter. Please think about it I would so much like to see Orgelvrk i ny Musik.
your rst major organ work have the great, monumental feel
quite consistently. It is the only really great organ work at all in
43 Torben Meyer og Frede Schandorf Petersen, Carl Nielsen.
48
contemporary music. Kunstneren og Mennesket, Kbenhavn 1947-1948, bd. 2, s.
330.
44 (1906-1987).
43 Torben Meyer & Frede Schandorf Petersen, Carl Nielsen. 45 Torben Schousboe (1983), op. cit., s. 611 og Svend Prip:
Kunstneren og Mennesket, Copenhagen 1947-1948, vol. 2, Omkring Nikolaj, Dansk Orgelaarbog 1985-1986, Kben-
p. 330. havn 1987, s. 52.
44 (1906-1987). 46 Torben Schousboe (1983), op. cit., s. 616-617.
45 Torben Schousboe (1983), op. cit., p. 611 and Svend 47 DK-Kk, NBD 2. rk. 1981/101.
Prip, Omkring Nikolaj, Dansk Orgelaarbog 1985-1986, 48 DK-Kk, CNA, I.A.b.
Copenhagen 1987, p. 52.
46 Torben Schousboe (1983), op. cit., pp. 616-617.
47 DK-Kk, NBD 2. rk., 1981/101.
48 DK-Kk, CNA, I.A.b.

Carl Nielsen Udgaven CN 00042 li

II_12_tekst 1.indd li 16/09/06 15:32:56


En mned senere, den 26. juli, svarede Carl Nielsen:

Jeg har tnkt meget paa Deres Forslag om det Spring i Com-
A month later, on 26 July, Nielsen replied: motio, men jeg tror Fejlen (i det arkitektoniske) ligger anderle-
des og maaske deri at den sidste fugerede Sats skal vre mere
I have thought about your suggestion for the cut in Commo- mgtig, altsaa ogsaa bredere.
tio, but I think the fault (in the architecture) lies elsewhere, Men vi tales ved og De maa ikke tro at jeg et jeblik
and perhaps in the fact that the last fugato movement should skulde fle Deres rlige Kritik som stdende. Vel er jeg en
be mightier, thats to say also broader. ldre Kavallr, men det pukker jeg ndigt paa og jeg er bare
But we will talk again, and you must not think that taknemmelig ifald vi kan naa til det bedste Resultat ved flles
49
I would feel for a moment that your honest criticism is offen- Hjlp og oprigtig Udveksling af Meninger.
sive. I may be an old cavalier, but I dont like to get on my high
horse, and I am simply grateful if we can arrive at the best re- Det er almindelig kendt at Carl Nielsen var meget ben over for
49
sult through mutual help and sincere exchanges of opinions. kollegers forslag til mindre ndringer i hans vrker. S meget
desto mere bemrkelsesvrdigt er det derfor at konstatere
It is generally known that Nielsen was very open to colleagues hvordan han i dette tilflde ikke var i tvivl om bredygtighe-
suggestions for small changes in his works. It is therefore all den af sine egne ideer.
the more notable in this case to see how he was not in doubt Forholdene omkring den egentlige uropfrelse
about the viability of his own ideas. af Commotio er lidt dunkle. Sagen er den at Carl Nielsen var
The circumstances surrounding the actual rst kommet til at love uropfrelsen til svel Emilius Bangert som
50
performance of Commotio are slightly obscure. The fact of Peter Thomsen. Problemet blev imidlertid lst ved at Bangert
the matter is that Nielsen had somehow promised the rst uropfrte vrket i Aarhus, medens Peter Thomsen opfrte
50 51
performance to both Emilius Bangert and Peter Thomsen. det 1ste Gang det i Kbenhavn. Den egentlige uropfrelse
However, the problem was solved by Bangert premiering fandt sledes sted i Aarhus Domkirke den 14. august 1931 ved
52
the work in Aarhus, while Peter Thomsen rst performed it in Aarhus Turistforenings 40. Orgelforedrag. Carl Nielsen der p
51
Copenhagen. The actual rst performance thus took place in dette tidspunkt var strkt svkket pga. en hjertelidelse, over-
Aarhus Cathedral on 14th August 1931, at the Aarhus Tourist vejede til det sidste om han havde krfter til turen, men endte
52
Associations 40th Organ Recital. Nielsen, who was by this dog med at tage til rhus hvor han overvrede koncerten.
time greatly weakened by a heart condition, deliberated to the Uropfrelsen er tilsyneladende foreget ganske ubemrket, for
last whether he had the strength to make the trip. But in the bortset fra en lille forhndsomtale i Aarhus Stiftstidende den
end he did go to Aarhus, where he attended the concert. The 12. august har det ikke vret muligt at nde omtaler, endsige
rst performance appears to have passed off quite unremarked, anmeldelser af denne koncert.
for apart from a small advance notice in Aarhus Stifttidende on I lbet af sommeren var nyheden om Carl Nielsens
12th August, it has not been possible to nd any mention, let store orgelvrk ogs net syd for grnsen, og i juli henvendte
alone reviews, of this concert. domorganisten og Landeskirchenmusikdirektor fra Schleswig,
In the course of the summer the news of Nielsens
major organ work also reached south of the Danish border,
49 Irmelin Eggert Mller og Torben Meyer, op. cit., s. 267.
and in July the cathedral organist and Landeskirchenmusik- 50 Venligst meddelt af fru Elin Bangert. Ydermere havde
Finn Vider bedt Carl Nielsen om at f lov til at frste-
opfre vrket i Kbenhavn, hvilket dog blev afslet (jf.
49 Irmelin Eggert Mller & Torben Meyer, op. cit., p. 267. Torben Schousboe (1983), op. cit., s. 611). Forvirringen
50 Information kindly provided by Mrs Elin Bangert. Finn er ikke blevet mindre af at Emilius Bangert i Roskilde
Vider had furthermore asked Carl Nielsen for permis- Tidende, 10.2.1932 selv har omtalt Lbeck-opfrelsen
sion to give the work its rst performance in Copenha- som uropfrelsen.
gen, but this was refused (cf. Torben Schousboe (1983), 51 Denne opfrelse fandt sted 9.11.1931 i Helligndskirken
op. cit., p. 611). The confusion has been aggravated ved Dansk Koncert-Forenings frste koncert.
by the fact that Emilius Bangert himself, in Roskilde 52 Torben Schousboe (1983), op. cit., s. 617.
Tidende, 10.2.1932, spoke of the Lbeck performance as
the rst performance.
51 This performance took place 9.11.1931 in the church
Helligndskirken in the rst concert of the Dansk
Koncert-Forening.
52 Torben Schousboe (1983), op. cit., p. 617.

Carl Nielsen Udgaven CN 00042 lii

II_12_tekst 1.indd lii 16/09/06 15:32:56


Erwin Zillinger,53 sig til Bangert og Carl Nielsen54 med en an-
modning om tilladelse til at opfre Commotio ved den nordisk-
tyske orgeluge som skulle nde sted i Lbeck i oktober mned.
53
direktor from Schleswig, Erwin Zillinger, approached Bangert Det blev dog i sidste ende Bangert der kom til at forest denne
54
and Carl Nielsen with a request for permission to perform opfrelse. Under forberedelserne til den pgldende koncert
Commotio at the Nordic-German Organ Week that was to take blev Carl Nielsen opfordret til at skrive programnoter til sit nye
place in Lbeck in October. However it was Bangert who even- orgelvrk, og den 30. august skrev han til Bangert:
tually gave this performance. During the preparations for the
concert Nielsen was asked to write programme notes for his Jeg ved ikke rigtigt hvorledes vi skal forsyne Programmet, men
new organ work, and on 30 August he wrote to Bangert: i Titlen maa vi vist helst forsyne Commotio med en Fodnote,
saaledes altsaa:
I do not really know how we should furnish the programme, Carl Nielsen:
but in the title I think we must furnish Commotio with a Commotio* fr Orgel Op 58
footnote, thus: [note] *Bewegung, auch geistig.
Carl Nielsen: Jeg vil ikke gerne have noget om phantasierender
Commotio* for Organ Op. 58 ind. Vrket er jo saa strengt i sin Form og Stemmefring at jeg
[footnote:] *Bewegung, auch geistig. ikke evner at gre noget fastere.
55
I do not want to add the word phantasierender . Jeg kunde tnke mig flgende ifald man vil have
After all, the work is so rigorous in its form and part-writing mere Forklaring end selve Titlen (omstaaende) som jeg egentlig
that I am incapable of doing anything more xed. I would like helst saa det indskrnket til:
the following, if more explanation is wanted than the title Das lateinische Wort Commotio gilt eigentlich alle
56
itself (overleaf), which I would really rather see it limited to: Musik, aber das Wort ist hier besonders benutzt als ein Aus-
The Latin word Commotio really applies to all music, druck fr Selbst-Objektivierung.
but the word is used more specically here as an expression of In einem grsseren Werke fr das mchtige Instru-
self-objectication. ment welches man Orgel nennt, und dessen Tne von dem
In a major work for the mighty instrument that is Naturelement, welches man Luft nennt, bedingt sind, muss
called the organ, whose sound is determined by the natural der Komponist versuchen alle persnliche, lyrische Gefhle zu
element we call air, the composer must attempt to suppress all unterdrcken. Die Ausgabe wird gross und streng und fordert
personal, lyrical feelings. The expression becomes great and eine Art Trockenheit anstatt das Gefhlsvolle und muss lieber
55
rigorous and demands a kind of dryness instead of the emo- mit dem Ohre beschaut als vom Herzen umschlungen sein.
tional, and must rather be gazed at with the ear than embraced Das Werk wird von zwei Fugen getragen wozu
by the heart. Introduktion, Zwischenstze und Koda sich klammern, wie
The work is borne up by two fugues, to which an Schlingpanzen an den Stmmen des Waldes; der Komponist
introduction, intervening movements and coda cling like meint aber dass weitere Analyse berssig ist.
climbing plants to the tree-trunks of the forest; however, the Tyskerne vil jo gerne have noget men De kan jo give
composer thinks that further analysis is superuous. dem dernede 3 Alternativer 1) den trre Titel 2) det indklam-
56
The Germans of course like to have something, but mede { Stykke 3) Deres Forslag paa Kortet (som jeg sender
57
down there you can give them three alternatives: 1) the bare med ifald De ikke har taget Kopi).
57
title; 2) the bracketed { piece; 3) your suggestion on the card
58
(which I enclose in case you have not made a copy.)
53 (1893-1974).
54 Jf. brev fra Erwin Zillinger til Carl Nielsen, 11.7.1930
(DK-Kk, CNA, I.A.b.).
53 (1893-1974). 55 Bogstavet e i Ohre er overstreget med blyant.
54 Cf. letter from Erwin Zillinger to Nielsen, 11.7.1930 56 Dvs. den tyske tekst, som Carl Nielsen har markeret
(DK-Kk, CNA, I.A.b.). med en klamme i margenen.
55 German for improvising. 57 DK-Kk, CNA, I.A.c.
56 The following three paragraphs are written by Nielsen
in German.
57 i.e. the German text, which Nielsen has marked by a
brace in the margin.
58 DK-Kk, CNA, I.A.c.

Carl Nielsen Udgaven CN 00042 liii

II_12_tekst 1.indd liii 16/09/06 15:32:56


Det havde egentlig vret planen at Carl Nielsen selv skulle tage
til Lbeck og overvre koncerten. Dette blev imidlertid ikke til
58
noget, men umiddelbart fr Bangert drog af sted til Lbeck,
The plan had been that Nielsen himself would go to Lbeck spillede han endnu engang Commotio for Carl Nielsen i Roskilde
59 59
and attend the concert. This came to nothing, but immedi- Domkirke.
ately before Bangert went off to Lbeck, he played Commotio one Midt under den nordisk-tyske orgeluge indlb med-
60
more time for Nielsen in Roskilde Cathedral. delelsen om Carl Nielsens dd. Alle deltagere var dyb berrte,
In the middle of the Nordic-German Organ Week og da Bangert fremfrte Commotio ved afslutningskoncerten
the announcement of Nielsens death came. All the partici- den 6. oktober, havde koncerten ganske skiftet karakter. Det
pants were profoundly moved, and when Bangert performed der skulle have vret en hyldest til Danmarks store nulevende
Commotio in the nal concert on 6th October, the concert had komponist, blev i stedet en bevgende afsked. Koncerten blev
60
completely changed character. What should have been a tribute anmeldt af Svend-Ove Mller i Dansk Kirkemusiker-Tidende. Heri
to Denmarks great living composer became instead a moving hedder det bl.a.:
61
valediction. The concert was reviewed by Svend-Ove Mller in
Dansk Kirkemusiker-Tidende. The review says among other things: Ved Afslutningskoncerten, som ligeledes fandt Sted i Marie-
kirken, spillede Domkantor Emilius Bangert (Roskilde) Carl
In the nal concert, which also took place in the Marien- Nielsens sidste Vrk: Commotio for Orgel. I de vemodige Flel-
kirche, the cathedral precentor Emilius Bangert (Roskilde) ser, der fylder os ved Tanken om Carl Nielsens Dd, blander sig
played Nielsens last work: Commotio for organ. Mixed with Taknemmeligheden over, at det forundtes ham at fuldfre dette
the melancholy feelings that ll us on the death of Nielsen, is Arbejde, der uden Overdrivelse tr betegnes som den nyere
gratitude that it was granted him to complete this work, which Orgellitteraturs betydeligste Frembringelse. Carl Nielsen forstod
we may designate without exaggeration as the most signicant som faa at benytte sin Tids Virkemidler paa en saadan Maade,
production in recent organ literature. Nielsen understood as at de ikke virker moderne i daarlig Forstand. Hans Udtryks-
few others did how to deploy the resources of his time such maade, hvor ejendommelig og srprget den end er, fles
that they do not appear modern in the negative sense. His ganske naturlig, ikke et jeblik faar man Indtryk af, at han
mode of expression, peculiar and distinctive as it may be, feels sgte nye Stier blot for at komme bort fra de kendte Veje; det
quite natural; not for an instant does one get the impression forskruede, der saa ofte prger moderne Musik, ndes ikke hos
that he sought out new paths simply to get away from the well- Carl Nielsen, hans kernesunde Tonesprog og Evne til at skabe le-
known roads; the affectation which so often characterizes mod- vende Musik har her frembragt et Orgelvrk af blivende Vrdi.
ern music is not to be found in Carl Nielsen; his thoroughly Emilius Bangert gav Carl Nielsens Vrk en mesterlig
wholesome musical idiom and his ability to create living music Udfrelse. Dybt indlevet i Kompositionen formaaede han at
has produced here an organ work of enduring value. skabe en plastisk Helhedsvirkning med omhyggelig Redeg-
Emilius Bangert gave Nielsens work a masterly relse for alle Enkeltheder, selv den mindste Figur k netop den
performance. Deeply immersed in the composition, he was able to musikalske Form, som den skulde have, noget der jo er typisk
create the effect of a sculpted totality with a meticulous account for Bangerts fornemme Orgelkunst. Det var en Oplevelse at
of all details; even the smallest gure was given precisely the overvre Uropfrelsen af Carl Nielsens Commotio i den minde-
musical form that it should have something that is in fact typi- rige Mariekirke, hvor vel de este af den anden danskfdte Stor-
61
cal of Bangerts eminent organ art. It was an experience to attend mester, Buxtehudes, Orgelvrker har lydt for frste Gang.
the rst performance of Nielsens Commotio in the memorable
Marienkirche, where presumably most of the other great Danish
58 Torben Meyer og Frede Schandorf Petersen, op. cit.,
62
master Buxtehudes organ works sounded for the rst time. bd. 2, s. 332.
59 Ig. artikel om mindekoncerten for Carl Nielsen
11.2.1932 i Roskilde Domkirke (Roskilde Tidende,
59 Torben Meyer & Frede Schandorf Petersen, op. cit., vol. 2, 10.2.1932).
p. 332. 60 Organist og komponist (1903-1949).
60 According to an article on the memorial concert for 61 Dansk Kirkemusiker-Tidende, 28. rg. (1931), s. 140.
Nielsen on 11.2.1932 in Roskilde Cathedral (Roskilde
Tidende, 10.2.1932).
61 Danish organist and composer (1903-1949).
62 Dansk Kirkemusiker-Tidende, vol. 28 (1931), p. 140.

Carl Nielsen Udgaven CN 00042 liv

II_12_tekst 1.indd liv 16/09/06 15:32:57


P rejsen hjem fra Lbeck skrev Bangert flgende kondolence-
brev (dateret den 7. oktober) til Anne Marie Carl-Nielsen. Heri
hed det bl.a.:
On the journey home from Lbeck Bangert wrote the following
letter of condolence (dated 7 October) to Anne Marie Carl- Ved Orgelugens Forhandlingsmde Mandag Morgen med-
Nielsen. He said among other things: delte Prsidenten, Dr. Domes, Deltagerne, hvad der var sket, og
rettede Opfordring til mig om at sige nogle Mindeord om Deres
At the pre-concert meeting for the Organ Week on Monday Mand, hvad jeg gjorde, saa godt jeg kunde, kmpende baade
morning, the President, Dr. Domes, informed those in attend- med det fremmede Sprog og min egen Bevgelse. Der var stor
ance what had happened, and urged me to say some com- Grebethed over Forsamlingen, og ikke mindre i Tirsdags ved
memorative words about your husband, which I did as well as I Vrkets Opfrelse. Jeg ved selv knapt nok, hvordan det gik,
could, struggling both with the foreign language and with my men efter kompetente Tilhreres Dom skal det vre gaaet godt.
own emotions. The whole company was greatly moved and Begejstringen over det nye Orgelvrk var overvldende; ved
not least on Tuesday at the performance of the work. I myself Sammenkomsten efter Koncerten circulerede Manuskriptet,
hardly know how it went, but in the judgement of competent alle Organisterne studerede og diskuterede det og fremsatte
listeners it went well. The enthusiasm for the new organ nstemmigt nske om, at det gennem en snarlig Offentligg-
62
work was overwhelming; at the gathering after the concert relse maa blive tilgngeligt.
the manuscript was circulated all the organists studied and
discussed it, and expressed the unanimous wish that it might I lbet af sommeren 1931 havde Carl Nielsen begyndt at under-
63
become available through publication soon. sge mulighederne for at f Commotio trykt. I den forbindelse
henvendte han sig til den tyske orgelekspert og musikforlgger
63
In the course of the summer of 1931 Carl Nielsen had begun to Hans Henny Jahnn og forhrte sig om mulighederne for at
investigate the possibility of having Commotio printed. He wrote f Commotio udgivet p et tysk forlag, hvilket han mente ville
to the German organ expert and music publisher Hans Henny give vrket en strre udbredelse, end hvis det udkom p et
64
Jahnn and asked about the possibility of having Commotio dansk forlag. Jahnn var imidlertid noget skeptisk mht. vrkets
published by a German publishing house, which he thought muligheder for at bliver trykt i Tyskland ikke mindst forlaget
would make the work more widely known than if it appeared Peters regnede han for udelukket han var dog ikke utilbjelig
64
from a Danish publisher. However, Jahnn was rather sceptical til en eventuel udgivelse p sit eget forlag Ugrino. Men inden
about the possibility of the work being printed in Germany forhandlingerne med Jahnn var frt til ende, dde Carl Nielsen,
Peters in particular he considered out of the question yet he og det blev i stedet Emil Telmnyi der kom til at forest udgivel-
was not averse to a possible publication from his own publish- sen. Allerede i 1932 forel Commotio p tryk udgivet af Samfun-
65
ing house Ugrino. But before the negotiations with Jahnn had det til udgivelse af dansk Musik (3. serie, nr. 40) i et samarbejde
been completed Nielsen died, and instead it was Emil Telmnyi med det danske forlag Skandinavisk- og Borups Musikforlag
who came to be responsible for the publication. As early as samt det tyske Fr. Kistner & C.F.W. Siegel. Som grundlag for ud-
1932 Commotio was available in print, published by Samfundet gaven havde Telmnyi anvendt to kilder, nemlig Carl Nielsens
til udgivelse af Dansk Musik (3rd series, No. 40) in collaboration blkmanuskript og blyantskladde. Blkmanuskriptet rettede
with the Danish publisher Skandinavisk- og Borups Musikforlag han til sledes at det kunne anvendes som trykforlg, og hele
and the German rm Fr. Kistner & C.F.W. Siegel. As his basis
for the edition Telmnyi had used two sources, Nielsens ink
62 DK-Kk, CNA, II.A.b.
manuscript and the pencil draft. He corrected the ink manu- 63 (1894-1959).
64 Jf. breve fra Hans Henny Jahnn til Carl Nielsen 6.8.1931,
18.8. 1931 (DK-Kk, CNA, I.A.b.) og breve fra Carl Nielsen
63 DK-Kk, CNA, II.A.b. til Hans Henny Jahnn 3.8.1931, 12.8.1931 (Hamburger
64 (1894-1959). Staats- und Universittsbibliothek, Carl von Ossietzky).
65 Cf. letters from Hans Henny Jahnn to Nielsen, 6.8.1931,
18.8.1931 (DK-Kk, CNA, I.A.b.) and letters from Nielsen
to Hans Henny Jahnn, 3.8.1931, 12.8.1931 (Hamburger
Staats- und Universittsbibliothek, Carl von Ossietzky).

Carl Nielsen Udgaven CN 00042 lv

II_12_tekst 1.indd lv 16/09/06 15:32:57


revisionsarbejdet dokumenterede han i et omfattende revisi-
ons- og variantapparat. P denne mde fremtrder Carl Niel-
sens blkmanuskript hovedkilden til nrvrende nyudgave
script so that it could be used as the printing manuscript, and med en lang rkke tilfjelser og ndringer i Telmnyis hnd.
he documented the whole of the editorial work in an extensive Af uforklarlige grunde foretog Telmnyi endvidere nogle tilf-
list of emendations and alternative readings. Thus Nielsens jelser lse fortegn med blyant i Carl Nielsens blyantskladde.
ink manuscript the main source for the present new edi- Disse forhold har i hj grad kompliceret revisionsarbejdet til
tion appears with a large number of additions and changes denne udgave. Telmnyis revisionsberetning godtgr i en vis
in Telmnyis hand. For unexplained reasons Telmnyi also udstrkning hvad han har tilfjet og ndret, men tilbage str
made some additions accidentals in pencil in Carl Nielsens en rkke detaljer hvor det har vre umuligt at afgre, hvorvidt
pencil draft. These circumstances have greatly complicated the en given tilfjelse med blyant stammer fra Carl Nielsens eller
editorial work for this edition. To some extent Telmnyis list Telmnyis hnd. Alle tvivlstilflde er dokumenteret i revisions-
of emendations documents what he added and changed, but og variantfortegnelsen (s. 267-270).
there remain a number of details where it has been impossible I Carl Nielsens levetid blev der udarbejdet i det
to determine whether a given addition in pencil comes from mindste tre afskrifter af vrket hvoraf vi i dag kun har kend-
Nielsens or Telmnyis hand. All doubtful cases are document- skab til den ene, nemlig en afskrift foretaget af Peter Thomsen
ed in the list of Editorial Emendations and Alternative Readings (kilde C). P grundlag af denne udfrdigede kopisten Otto
(pp. 267-270). Kppe en afskrift der blev sendt til Erwin Zillinger, som anta-
65
During Nielsens lifetime at least three copies of gelig har sendt den videre til Hans Henny Jahnn. Endelig skal
66
the work were made, of which only a copy by Peter Thomsen Finn Vider have haft en kopi af manuskriptet.
(source C) is known to us today. From this, the copyist Otto Til slut skal det nvnes at Carl Nielsen p et tids-
Kppe made another copy, which was sent to Erwin Zillinger, punkt overvejede at udgive vrket helt uden nuancerings- og
66 67
who probably passed it on to Hans Henny Jahnn. Besides, Finn foredragsbetegnelser. Nrvrende udgave medtager dog alle
67
Vider is said to have possessed a copy of the manuscript. betegnelser der med sikkerhed kan fastsls til at stamme fra
Finally it should be mentioned that at one point Carl Nielsens hnd.
Nielsen considered publishing the work entirely without ex-
68
pression and performance instructions. However, the present Niels Bo Foltmann
edition includes all the markings that can be established with
certainty as from Nielsens hand.

Niels Bo Foltmann
(English translation: James Manley)

65 Jf. brev fra Carl Nielsen til Peter Thomsen, 16.7.1931


(DK-Kk, NBD 2. rk., 1981/101) og brev fra Peter Thomsen
til Carl Nielsen 27.7.1931 (DK-Kk, CNA, I.A.b.) samt
brev fra Carl Nielsen til Hans Henny Jahnn, 12.8.1931
66 Cf. letter from Nielsen to Peter Thomsen, 16.7.1931 (Hamburger Staats- und Universittsbibliothek, Carl
(DK-Kk, NBD 2. rk., 1981/101), letter from Peter Thomsen von Ossietzky).
to Nielsen 27.7.1931 (DK-Kk, CNA, I.A.b.), and letter from 66 Torben Schousboe (1983), op. cit., s. 611.
Nielsen to Hans Henny Jahnn, 12.8.1931 (Hamburger 67 Jf. brev fra Carl Nielsen til Hans Henny Jahnn (Ham-
Staats- und Universittsbibliothek, Carl von Ossietzky). burger Staats- und Universittsbibliothek, Carl von
67 Torben Schousboe (1983), op. cit., s. 611. Ossietzky).
68 Cf. letter from Carl Nielsen to Hans Henny Jahnn
(Hamburger Staats- und Universittsbibliothek, Carl
von Ossietzky).

Carl Nielsen Udgaven CN 00042 lvi

II_12_tekst 1.indd lvi 28/09/06 11:30:10


II_12_tekst 1.indd lvii 28/09/06 11:30:11
Chaconne, Opus 32, bb. 127-159, draft (Source C). Shows original Chaconne, opus 32, t. 127-159, kladde (kilde C). Viser den oprin-
layout of texture in bb.138-145 (see the following facsimile). delige satsstruktur i t. 138-145 (se efterflgende faksimile).

Carl Nielsen Udgaven CN 00042 lviii

II_12_tekst 1.indd lviii 23/08/06 21:18:18


Carl Nielsen Udgaven CN 00042 lix

II_12_tekst 1.indd lix 23/08/06 21:18:25


Chaconne, Opus 32, bb. 134-157, fair copy (Source B). See the Chaconne, opus 32, t. 134-157, renskrift (kilde B). Se den tilsvar-
equivalent passage in Source C on previous pages. ende passage i kilde C p de foregende sider.

Carl Nielsen Udgaven CN 00042 lx

II_12_tekst 1.indd lx 23/08/06 21:18:31


Carl Nielsen Udgaven CN 00042 lxi

II_12_tekst 1.indd lxi 23/08/06 21:18:35


Chaconne, Opus 32, nal bars, draft (Source C). Shows original Chaconne, opus 32, afsluttende takter, kladde (kilde C). Viser
layout of concluding chords (see the following facsimile). afvigelser i opbygningen af de afsluttende akkorder (se efter-
flgende faksimile).

Carl Nielsen Udgaven CN 00042 lxii

II_12_tekst 1.indd lxii 23/08/06 21:18:39


Chaconne, Opus 32, nal bars, fair copy (Source B). Chaconne, opus 32, afsluttende takter, renskrift (kilde B).

Carl Nielsen Udgaven CN 00042 lxiii

II_12_tekst 1.indd lxiii 23/08/06 21:18:45


Suite, Opus 45, third movement bb. 6-12, draft (Source C). Suite, opus 45, tredje sats t. 6-12, kladde (kilde C).
Shows original notation of texture of bb. 15-18. Viser den originale satsstruktur i t. 15-18.

Carl Nielsen Udgaven CN 00042 lxiv

II_12_tekst 1.indd lxiv 23/08/06 21:18:50


Suite, Opus 45, third movement bb. 19-22, draft (Source C). Suite, opus 45, tredje sats, t. 19-22, kladde (kilde C). Siden viser
Shows original notation of b. 19. In the rst printing, the lower den oprindelige notation af t. 19. I frstetrykket er de nederste
dyads in the second half of the bar were transposed down a to-klange i anden halvdel af takten transponeret en septim
minor seventh. The present edition retains the change and ned. Nrvrende udgave gengiver denne ndring og anser den
considers it to be intentional. If it was not so, it must represent ikke for at vre en fejl. Sfremt der havde vret tale om fejl,
a double error on the part of the printer mistaking both the mtte nodestikkeren have beget en dobbelt fejltagelse svel
octave register and the pitch-classes and the double error oktavregister som tonehjde og denne dobbelte fejltagelse
must also have escaped Nielsens attention in the proofs. mtte i givet fald have undget Carl Nielsens opmrksomhed i
forbindelse med hans korrekturlsning.

Carl Nielsen Udgaven CN 00042 lxv

II_12_tekst 1.indd lxv 23/08/06 21:18:53


Suite, Opus 45, third movement bb. 25-33, printed score (Source Suite, opus 45, tredje sats t. 25-33, trykt udgave (kilde A).
A). Shows uncorrected conclusion in B at minor. Siden viser slutningen i b mol.

Carl Nielsen Udgaven CN 00042 lxvi

II_12_tekst 1.indd lxvi 23/08/06 21:18:59


Suite, Opus 45, third movement bb. 23-33, draft (Source C). Suite, opus 45, tredje sats t. 25-33 (kilde C). Siden viser satsens
Shows original conclusion, in B at major. oprindelige slutning i B dur.

Carl Nielsen Udgaven CN 00042 lxvii

II_12_tekst 1.indd lxvii 23/08/06 21:19:03


Suite, Opus 45, sixth movement bb. 24-42, draft (Source C). Suite, opus 45, sjette sats t. 24-42, kladde (kilde C). Siden viser en
Shows alternative layout of texture. The printed score and the anden satsstruktur end den der gengives i nrvrende udgave
current edition follow the main text of Source C. og i hovedteksten i kilde C.

Carl Nielsen Udgaven CN 00042 lxviii

II_12_tekst 1.indd lxviii 23/08/06 21:19:09


Suite, Opus 45, sixth movement bb. 224-246, draft (Source C). Suite, opus 45, sjette sats t. 224-246, kladde (kilde C).
Shows original layout of texture of bb. 226-232 Viser den originale satsstruktur i t. 226-232.

Carl Nielsen Udgaven CN 00042 lxix

II_12_tekst 1.indd lxix 23/08/06 21:19:15


Suite, Opus 45, sixth movement bb. 247-301, draft (Source C). Suite, opus 45, sjette sats t. 247-301, kladde (kilde C). Siden viser
Shows original layout of texture in bb. 272-283 and extra bar den oprindelige satsstruktur i t. 272-283 og den indskudte takt
between bb. 275 and 276. mellem t. 275 og 276.

Carl Nielsen Udgaven CN 00042 lxx

II_12_tekst 1.indd lxx 23/08/06 21:19:18


Carl Nielsen Udgaven CN 00042 lxxi

II_12_tekst 1.indd lxxi 23/08/06 21:19:22


Three Piano Pieces, Opus 59 No. 1, bb. 1-26. According to Christian Tre Klaverstykker, opus 59, nr. 1, t. 1-26. Iflge Christian Chris-
Christiansen (see description of sources, Source I) the dynamic tiansen (se kildebeskrivelsen, kilde I) afspejler de dynamiske
markings in the rst 24 bars of this posthumous publication re- anvisninger i de frste 24 takter af denne posthume udgave
ect the composers wishes. These indications are not included komponistens vilje. Disse afvigelser er ikke inddraget i revi-
in the present edition. sionen i nrvrende udgave.

Carl Nielsen Udgaven CN 00042 lxxii

II_12_tekst 1.indd lxxii 23/08/06 21:19:28


Carl Nielsen Udgaven CN 00042 lxxiii

II_12_tekst 1.indd lxxiii 23/08/06 21:19:31


Piano Music for Young and Old, Opus 53, No. 3b, printed score Klavermusik for Smaa og Store, opus 53, nr. 3b (kilde A). Siden
(Source A). Shows dubious placing of left-hand staccatos in bb. viser den lidt uklare placering af staccatomarkeringerne i
1-6 and right-hand staccatos in bb. 13-14. venstre hnd, t. 1-6 og i hjre hnd, t. 13-14.

Carl Nielsen Udgaven CN 00042 lxxiv

II_12_tekst 1.indd lxxiv 28/09/06 11:30:11


29 Little Preludes for Organ or Harmonium, No. 5 (Source D), page 5. 29 smaa Prludier for Orgel eller Harmonium, nr. 5 (kilde D), side
Shows that at this early stage Nielsen was considerably more 5. Siden illustrerer hvorledes Carl Nielsen p dette tidlige
detailed in his indications of tempo, dynamics and character stade var vsentlig mere detaljeret mht. angivelse af tempo,
than in the printed edition. dynamik og karakter, end i den endelige trykte udgave.

Carl Nielsen Udgaven CN 00042 lxxv

II_12_tekst 1.indd lxxv 23/08/06 21:19:35


Commotio (Source A), bb. 10-17. When preparing the fair copy Commotio (kilde A), t. 10-17. I forbindelse med renskrivningen
Nielsen changed a triplet in b. 13 and b. 14 to a dotted rhythm, ndrede Carl Nielsen en triolgur i t. 13 og t. 14 til en punk-
which, however, does not t into the metre of the bar. It is teret rytme, som imidlertid ikke passer ind i taktens metrum.
probably a scribal error. The pencil additions were made by Det m antages, at der er tale om en skrivefejl. Tilfjelserne
Emil Telmnyi. See the same passage in source B (facsimile, med blyant er foretaget af Emil Telmnyi. Se samme passage i
p. lxxvii). kilde B (faksimile, s. lxxvii).

Carl Nielsen Udgaven CN 00042 lxxvi

II_12_tekst 1.indd lxxvi 23/08/06 21:19:38


Commotio (Source B), bb. 11-15. Commotio (kilde B), t. 11-15.

Carl Nielsen Udgaven CN 00042 lxxvii

II_12_tekst 1.indd lxxvii 23/08/06 21:19:44


Commotio (Source A), bb. 82-112: When preparing the fair Commotio (kilde A), t. 82-112: I forbindelse med renskrivnin-
copy Nielsen changed the key signature in this passage from gen ndrede Carl Nielsen de faste fortegn i denne passage
three  to four , which calls into question whether note 4 of fra tre  til re , hvilket har givet anledning til sprgsmlet
b. 106 should be an e' or an e ' . (  ? is added by Emil Telmnyi). om hvorvidt node 4 i t. 106 skal vre et e' eller et e ' . (  ? er
Note that Nielsen apparently forgot one bar in the pedal (bb. Emil Telmnyis tilfjelse). Bemrk ligeledes at Carl Nielsen
104-107), which Emil Telmnyi has corrected in pencil. See the jensynligt har glemt en takt i pedalet (t. 104-107), hvilket Emil
same passage in source B (facsimile, p. lxxix). Telmnyi har korrigeret med blyant. Se samme passage i kilde
B (faksimile, s. lxxix).

Carl Nielsen Udgaven CN 00042 lxxviii

II_12_tekst 1.indd lxxviii 23/08/06 21:19:47


Commotio (Source B), bb. 86-108: The accidentals below staff 13 Commotio (kilde B), t. 86-108: De lse fortegn under system 13 er
are probably added by Emil Telmnyi. sandsynligvis tilfjet af Emil Telmnyi.

Carl Nielsen Udgaven CN 00042 lxxix

II_12_tekst 1.indd lxxix 23/08/06 21:19:53


II_12_tekst 1.indd lxxx 23/08/06 21:19:56
K L A V E R V R K E R
P I A N O W O R K S

II_12_tekst 1.indd lxxxi 23/08/06 21:19:56


II_12_tekst 1.indd lxxxii 23/08/06 21:19:56
FIVE PIANO PIECES FEM KL AVERST YKKER

I
FOLKETONE
FOLK TUNE
Op. 3
Andante ( = 54)

(nynnende)
(humming)

10

Carl Nielsen Udgaven CN 00042 1

01 klaver 001-040 1 26/09/06, 13:57


2

13

16

19

22

25

dim. rit.

Carl Nielsen Udgaven CN 00042 2

01 klaver 001-040 2 23/08/06, 21:40


3
II
HUMORESKE
HUMORESQUE
Allegretto giocoso ( = 144)

dim.

12

dim.

18

22

Carl Nielsen Udgaven CN 00042 3

01 klaver 001-040 3 26/09/06, 13:57


4

28

dim.

34

dim.

41

46

51

dim.

Carl Nielsen Udgaven CN 00042 4

01 klaver 001-040 4 23/08/06, 21:40


5

57

63

dim.

69 8

dim.

75

81

dim.

Carl Nielsen Udgaven CN 00042 5

01 klaver 001-040 5 26/09/06, 13:57


6
III
Har Du faret vild i dunkle Skove?
ARABESKE Kjender Du Pan? J. P. Jacobsen
ARABESQUE Have you lost your way in the dark forest?
Moderato ( = 58) Do you know Pan? J. P. Jacobsen

il basso ben marcato

13 1 1
5 4 2 5 4

5 5

Carl Nielsen Udgaven CN 00042 6

01 klaver 001-040 6 23/08/06, 21:41


7

16
2 5

5 4

20

24

28

32

di mi nu en do

Carl Nielsen Udgaven CN 00042 7

01 klaver 001-040 7 26/09/06, 13:57


8
IV
MIGNON
Moderato grazioso ( = 108)
3 3 3 3 3 3

* *
5 3 3
3 3 3
3

3 3 3 3
9

pi mosso 3 3 3
3

3 3 3
13
3

3 3 3 3
di mi nu en do rall. dim.

17 Tempo I
3 3 3 3 3 3

Carl Nielsen Udgaven CN 00042 8

01 klaver 001-040 8 28/09/06, 11:36


9

21 3 3 3
3 3

3 3
rit.

24 Presto
3 3

dim.
molto

V
ALFEDANS
ELFS DANCE
Tempo di valse
3 3

*
6 3

11
3 3

leggiero

Carl Nielsen Udgaven CN 00042 9

01 klaver 001-040 9 26/09/06, 13:57


10

16

21

26

31
3

di mi nu en do

36 3
3

Carl Nielsen Udgaven CN 00042 10

01 klaver 001-040 10 23/08/06, 21:41


11

41
3 3

46 pesante

3
rit.

51 a tempo 4 3 2

3
3 3

56

di mi

8
61

nu en do

Carl Nielsen Udgaven CN 00042 11

01 klaver 001-040 11 26/09/06, 13:57


12
S Y M P H O N I C S U I T E S Y M P H O N I S K S U I T E
Ach, die zrtlichen Herzen!
I Ein Pfuscher vermag sie zu rhren.
Ah, those tender hearts!
INTONATION A bungler could stir them.
Maestoso ( = 92) Johann Wolfgang Goethe
Op. 8

Carl Nielsen Udgaven CN 00042 12

01 klaver 001-040 12 23/08/06, 21:41


13

11

13

16

19

21

pesante

Carl Nielsen Udgaven CN 00042 13

01 klaver 001-040 13 26/09/06, 13:58


14
II
Quasi allegretto ( = 80)

poco rit.

a tempo
9

13

dim.

17

un poco pi mosso

Carl Nielsen Udgaven CN 00042 14

01 klaver 001-040 14 23/08/06, 21:42


15

20

poco a poco cre scen

23

do cre

26

scen do cre scen

29

cre scen
do

32

do

Carl Nielsen Udgaven CN 00042 15

01 klaver 001-040 15 26/09/06, 13:58


16

34

il basso marcato

36

39

41

cre scen do

43

Carl Nielsen Udgaven CN 00042 16

01 klaver 001-040 16 23/08/06, 21:42


17

46

48

50

pesante

52 Tempo I

dim. poco rit. rit.

56

Carl Nielsen Udgaven CN 00042 17

01 klaver 001-040 17 26/09/06, 13:58


18
a tempo
60

poco rit.

64

68

cre scen do

72

dim.

76

di mi nu en do

Carl Nielsen Udgaven CN 00042 18

01 klaver 001-040 18 23/08/06, 21:42


19
III
Andante ( = 66)

10

dolce

13

cre

Carl Nielsen Udgaven CN 00042 19

01 klaver 001-040 19 26/09/06, 13:58


20

16

5
scen do

18

21

24

dim. poco rit.

27 a tempo ma tranquillo segue

sempre

Carl Nielsen Udgaven CN 00042 20

01 klaver 001-040 20 23/08/06, 21:42


21

31

poco a poco cre scen do

il basso ben marcato

34

cre scen

37

do accelerando

40

rubato
cre scen do

44

pesante

Carl Nielsen Udgaven CN 00042 21

01 klaver 001-040 21 26/09/06, 13:58


22
a tempo allargando
47

50

53

3
3

55

3
poco a poco accelerando 3 3 3
3
3

3 3

57

3
3 3 3
3 3 3
3

Carl Nielsen Udgaven CN 00042 22

01 klaver 001-040 22 23/08/06, 21:43


23

59

3 3 3
3 3
accelerando 3
3 3

61

3 3 3
3 3

3 3
3

63

3
3 3 3
3 3 3 3
accelerando

Allegro
65

3 3 3
3

3 3 3
3

67

Carl Nielsen Udgaven CN 00042 23

01 klaver 001-040 23 26/09/06, 13:58


24

69

rit.
poco a poco di mi

Tempo I (Andante)
72

3
rit. 3 3
nu en do 3 3

75

77

3
3

79

Carl Nielsen Udgaven CN 00042 24

01 klaver 001-040 24 23/08/06, 21:43


25

81

il basso ben cantando

84

87

5
cre scen do

90

93

Carl Nielsen Udgaven CN 00042 25

01 klaver 001-040 25 26/09/06, 13:58


26

96

al fine

99

102

105

109

rit. pesante

Carl Nielsen Udgaven CN 00042 26

01 klaver 001-040 26 23/08/06, 21:43


27
IV
FINALE
Allegro ( = 100)

cre

scen do

dim.

10

13

Carl Nielsen Udgaven CN 00042 27

01 klaver 001-040 27 26/09/06, 13:59


28

16

19

22

dim.

25 a tempo

poco ri tar dan do

28

cre scen do

Carl Nielsen Udgaven CN 00042 28

01 klaver 001-040 28 23/08/06, 21:43


29

32

cre

35

scen do

RSUM
38

43

48

Carl Nielsen Udgaven CN 00042 29

01 klaver 001-040 29 26/09/06, 13:59


30

52

56

dim. poco ri tar dan do

61 a tempo ma un poco sostenuto

dolce

64

dim. dim.

67

Carl Nielsen Udgaven CN 00042 30

01 klaver 001-040 30 23/08/06, 21:44


31

70

73

cre scen do

76

cresc.

79

81

Carl Nielsen Udgaven CN 00042 31

01 klaver 001-040 31 26/09/06, 13:59


32

83

85

88

dim.

91 Tempo I

dim.

94

cre

Carl Nielsen Udgaven CN 00042 32

01 klaver 001-040 32 23/08/06, 21:44


33

97

dim.
scen do

100

103

107

111

dim.

Carl Nielsen Udgaven CN 00042 33

01 klaver 001-040 33 26/09/06, 13:59


34

115

118

121

125

129

Carl Nielsen Udgaven CN 00042 34

01 klaver 001-040 34 23/08/06, 21:44


35

133

136

139

142

145

Carl Nielsen Udgaven CN 00042 35

01 klaver 001-040 35 26/09/06, 13:59


H U M O R E S Q U E - H U M O R E S K E -
36 B A G A T E L L E S B A G A T E L L E R
GODDAG! GODDAG!
HELLO! HELLO! I
Allegretto 4
Op. 11
5 5
1 1
3

1
2 1 2
3 1 1
4 3

4
5

6 5 5 1
1 3

3 1 2 1
1 2 4 1
1 3 1 5 2 2
5 3 4

5 5

11

1 2
1 1
1
3

4 5 5
5

16 1 1 2
1

espressivo
2
3 1 3 4 1
5 1
5 2 4

Carl Nielsen Udgaven CN 00042 36

01 klaver 001-040 36 23/08/06, 21:44


37

5
22 1 2 3
1 4 5
3 3 3

calando
1 2 2 1 3 1 2
4
3

4 5 4 5
27 2 5
1
1 1 1
3

3 1 4 2
4 2 1
1 5
5

3
32 3 1 2
1 1 2

dolce

1
3 4 1 1
3 5 4
5

3 2 4
5
37 2
3

rit.

dim. di mi nu en do

3 1
5

Carl Nielsen Udgaven CN 00042 37

01 klaver 001-040 37 26/09/06, 13:59


38

SNURRETOPPEN!
THE SPINNING-TOP II
Presto
3 5

5 3 3 4 1 3

4 3
3 1 2 1 3 2 1

4 1 4 3

5
7 3 4 1
3
3 3

3 1
1 4 1 3 3 1
5 1 5
5 5 3

11 3
3 2 1 2 1

4 1 3 1 4 1 4 3 3 4

5 3
15 3 1 2
3 4
3

1 1 1 5
1 1 2 3 2 4 3
3 5 3 5 5

Carl Nielsen Udgaven CN 00042 38

01 klaver 001-040 38 23/08/06, 21:45


39
5
5 5
19 3 3 2 3 3 5
3 1 3 3 3 3
1 1 1

1 3 3 3 1
3 1 4 2 1 5 1 1 1 3
3

5
23 5 5
3 3 1 3 3 1 3 3 3 5 3 3
1 2 1

1 1 1 3 3 1
3 3 1
3 3

27 3 3
3 3 1 2 1 3 2 1

4 1 3 1 4 1 4 3 3
5

4 2
30 3 3 3 1

1 2 1
4 4 5 3
5

3
33 3 3
3

5
5 1
37
3 5

3 3
m.s. glissando 19

Carl Nielsen Udgaven CN 00042 39

01 klaver 001-040 39 26/09/06, 13:59


40

EN LILLE LANGSOM VALS


A LITTLE SLOW WALTZ III
Valse lento 5
3 1 1 5 1
4 3 3

2 1

4 3 1
5

7 a tempo
2 2 4
1 5 2 3 1 2 5 4 1 1

poco rit.
dim.

4 3 4

4 4
14 5 5
4 1
2 1 3 2 1
2 2
1

cre scen do

5 3 1 4 2 1

4 3 a tempo
20 3 4 3
1 2 2 1 3 3 4 2
2 2 2 1 2 3 2

espressivo poco rall.


dim.

1 1
5 3 5 3

26 3 5
1 2
2 1

crescendo e accelerando dim.

Carl Nielsen Udgaven CN 00042 40

01 klaver 001-040 40 23/08/06, 21:45


41

32 a tempo
2 1 4 3 1
1 4 3

rit.

38 a tempo
1 1 2 2 3 1 2 5 4
5

poco rall.
dim.

44 4 5 4 5 5
1 2 2 1 3 2 2
1 1

espressivo

50 1 1 1
3 2 2 4 2 4 3 1 4 2
3

rubato
string.

57 2
2

Carl Nielsen Udgaven CN 00042 41

02 klaver 041-080 41 23/08/06, 21:45


42
SPRLLEMANDEN
THE JUMPING JACK
Poco allegretto IV 5
5 4
3 2 3
2 2

2 3 2 3
2 5
5 5

5 a tempo 5 4
3 2
2 2
4 3

2 2 3
poco rall. 3 2
5 5 5

5
3 5
2 2
7 3 5
a tempo 1 4

3 2
2 3
5 poco rall. 5

10

5
2 1 4

Carl Nielsen Udgaven CN 00042 42

02 klaver 041-080 42 23/08/06, 21:45


43

13 5
1 4

5
1 4

a tempo 5 5
3 4 3 3
2 1
2 2
16

poco rit. 3
2 2 3
5 2
5 5
dim.

5 5
5 3
2 2 1
20 3 2

2 3
3
5 5 4

3 3
2 2 2 2
5 5 5 1 1
1 1
23 1 1
2 1

3 1 2
2 dim. 2 3
4 4 5 5 5

molto accel.

3 4 5
2 2
1 1
5

26

1
5

Carl Nielsen Udgaven CN 00042 43

02 klaver 041-080 43 23/08/06, 21:45


44

DUKKE - MARSCH
PUPPET MARCH V
Allegro moderato 3 5
3
4 5 4 1 2
2 1 2 3 2
1

3 1
5 3

3 5
4 5 4
2 4 2 1 2 4

3
5

5 4

4
3
7 1
2 1 2 4

2 3 1
2 2 1 4
4 3 4 5
5

3 5
10 5 4 1 2 3
3 5 3 2
1

1
2 3 1

3
5 5 4

4
3 5
13 5 4 1 3
2 1 2 4 3 2

Carl Nielsen Udgaven CN 00042 44

02 klaver 041-080 44 23/08/06, 21:45


45

16 4 3 4
5 2 3 4 5
2 1 3 2 3
2

2
1 4
5
4 5 3
5 3 4
20 3 1 2 1 2 2
1

2 1 1 1
4 2 3 1 3
2

4
5
24 4 2 5 4
3
3 1 1 2 4 3
4

27 1 3
2 2 4 2 1 2 4
3 1

5 4

5 3
30 5 4
3 1 3
3 2 2
3 1

2
5
4
33

dim.
2

5
1 1
3 3 4 3 2

Carl Nielsen Udgaven CN 00042 45

02 klaver 041-080 45 23/08/06, 21:46


46
SPILLEVRKET
THE MUSICAL CLOCK
VI
Allegretto scherzando
4 4 4 4
3 2 1 3 2 1 4 2 2 3 2 1 3
3 2 1 1

3 3

poco

2
3 2
6 2 1 4 2 2
3 2 1 1
4

3 3

5
5 4 5
3
11 3 1
1 1 1
2 2

4
5 3
5
16 1 3 2 1 4
1 1 3 2 1 3 2 1 2 1

4 4 3 4 4
21 3 2 1 3 2 1 4 2 2 3 2 1 3
3 2 1 1 1
4

3 3

poco

Carl Nielsen Udgaven CN 00042 46

02 klaver 041-080 46 23/08/06, 21:46


47

4 3 4
26 2 1 4 2 2
3 2 1 1 1 3 2 1 3
4 1

3 3

espressivo

3
3 4 2 1 4
2 3 1 2
32 2 3 2 1 3
3 4 3

4 1 2
37 3 2
1 3 3
2 1 2

espressivo

3 4 2 1 4 5
3 1 2 3
42 3 4
4 3 1 1

5 3 4 3 2 3 4 3
3 5
48 4

Carl Nielsen Udgaven CN 00042 47

02 klaver 041-080 47 23/08/06, 21:46


48 F E S T I VA L P R E L U D E F O R FEST-PRLUDIUM VED
THE NEW CENTURY AARHUNDREDSKIFTET

Tempo giusto ( = 100)

stolt, pompst
proud, pompous

pesante

13

Carl Nielsen Udgaven CN 00042 48

02 klaver 041-080 48 23/08/06, 21:46


49

17

22

cresc. pesante

27

31

rit.

a tempo
35

rit.

Carl Nielsen Udgaven CN 00042 49

02 klaver 041-080 49 23/08/06, 21:46


50
A D R E A M A B O U T D R M M E N O M
S I L E N T N I G H T G L A D E J U L

Poco adagio

dim.

una corda una corda

a tempo
6

poco rall.
dim.

tre corde

10

12

una corda

Carl Nielsen Udgaven CN 00042 50

02 klaver 041-080 50 23/08/06, 21:46


51

14

dim. dim.

16

3 3 3 3
espressivo
poco marcato

* *

Adagio
18

3 3 3 3
3 3 3
rall.

20

3 3 3
3 3
3
3
espressivo

22

3 3 3 3 3
poco rall.

Carl Nielsen Udgaven CN 00042 51

02 klaver 041-080 51 23/08/06, 21:46


52
C H A C O N N E C H A C O N N E

Tempo giusto ( = 96) Op. 32

17

quasi stringendo poco rubato

22

26 4

cresc. cresc.

1
4 1 5

Carl Nielsen Udgaven CN 00042 52

02 klaver 041-080 52 23/08/06, 21:47


53

30

poco dim.
1 1 3 2 3

1 2 3

5 4 4
3 2 4
2 2
33

grazioso

36

1 1

39

dim. poco rall.

42

3
3 3
tranquillo espressivo cresc.
3 1 1
3 3

3 3
3 3 1
3

Carl Nielsen Udgaven CN 00042 53

02 klaver 041-080 53 23/08/06, 21:47


54
5 - 5
1
5 3 4 5
3 3 4
46 4 3
3

2 2

3 3 3
3 3 molto dim. poco rall.

2 1 4 3 4 3

a tempo
50 2
2 1 1
1

3 3

53

3 3
cresc.

56 5
3 3 4 3 3

3 3 3 3 1 3
3 3
dim.

58

(2 3) 4
3 2 1

Carl Nielsen Udgaven CN 00042 54

02 klaver 041-080 54 23/08/06, 21:47


55

60

2 1 1 2 1 1 cresc.
2 1

62

64 8 2
1 3 1

con moto,
dim. molto dim. ma grazioso

67

70

cresc. molto dim.

1 5

Carl Nielsen Udgaven CN 00042 55

02 klaver 041-080 55 23/08/06, 21:47


56

74

poco moto

76

78

cresc.

80

dim.

un poco di pi 5
82 4 4 5
1

Carl Nielsen Udgaven CN 00042 56

02 klaver 041-080 56 23/08/06, 21:47


57
4 5 3
5 4
84

8
86 5 4
4 1

8
88 5 5

poco rall. e dim.

90 Meno

1 1

molto espressivo 2 1

a tempo ma tranquillo 1
95 2 3 1 2
1

rall. dim.

1 1 3

Carl Nielsen Udgaven CN 00042 57

02 klaver 041-080 57 23/08/06, 21:47


58
Tempo I
100 2 3 1 2
2 1 4 3 4

calando
2 1 2 2

1 4 5 2 1

3 2
1 3 2 4
106 3 2 1
4 2 1

scherzoso

*
5 4 3 2
4 3 2 1
108 1
3 2 1
1

8
110

poco
3

2 1 2 1
1 2 3
3

112 3 2
3 2

dim.
5 1
3

1 3 5 1 3
3 4
1

Carl Nielsen Udgaven CN 00042 58

02 klaver 041-080 58 23/08/06, 21:47


59

114

poco a poco cresc.

3 2 4 3 2 1 4 1 4 1
3 2 1 3 1 4 3 2

117

sempre cresc.

4 1 4 1
4 1 3 2

120

cresc.

1
1
4
1 1
4 3 4 1

123

126

poco string.
cresc.

Carl Nielsen Udgaven CN 00042 59

02 klaver 041-080 59 23/08/06, 21:48


60

130

un poco pi mosso

133

2 2 2

136

2 2 2 2
4 4 4
sempre

8 8
139

8
8

Carl Nielsen Udgaven CN 00042 60

02 klaver 041-080 60 23/08/06, 21:48


61
8 8
142

8 8

pesante
144

molto rall. cresc.

146 a tempo ma pesante

sempre

152
3 3 2
2

poco calando poco a poco dim.

cantando 1
1 2 2 1 1
1 2

157

dim. rall.
2 2 1
1

2
3 2 1 1
4 5 4

Carl Nielsen Udgaven CN 00042 61

02 klaver 041-080 61 23/08/06, 21:48


62
a tempo
160

dim.
rall.
1
2 2
4
2
5

CODA con sentimento


Tempo I, ma tranq.
162 8
4

marcato
1 2
2 1
2

4 5

164 8
1 4

1 2

1
12 1 2

4
5

166 8
4 2 1

poco cresc. 2
1
1

3 2 4
168 1 1 2 1
2 1

1
1 2
1 2

Carl Nielsen Udgaven CN 00042 62

02 klaver 041-080 62 23/08/06, 21:48


63
5 1
170 4 3
2 1

5 4 1
172

2
1 1 2 1

4
5

174 5 4 3 1 3

cresc. molto dim.


2 1 2

176

Carl Nielsen Udgaven CN 00042 63

02 klaver 041-080 63 23/08/06, 21:48


64

178

1 2 3
5
5 4

180

182

2
3 4 1
1 3
4 3 4 3 1 1
3

184

poco dim.
2
4 2 1
1 4 3 1 4
4 4 5

Carl Nielsen Udgaven CN 00042 64

02 klaver 041-080 64 23/08/06, 21:48


65

186

cresc.
4 4 2
3 1
5 1 3

188 8

1 3
3
4
1 4 3
2

189

cre scen do

190

1 3
3
1 4
3
1
1 5

191

molto dim. poco rall.


1
1 1 2
1 2
1

Carl Nielsen Udgaven CN 00042 65

02 klaver 041-080 65 23/08/06, 21:48


66
Tempo I
192 8

3 2 1 3 2
1
marcato e cantando
1 2 1

194 8

2 1
2

5 4

196 8

3
2

4
5

3
198 8

1 2
3 4
2 1
4

3 3 3
200

3 1

Carl Nielsen Udgaven CN 00042 66

02 klaver 041-080 66 23/08/06, 21:48


67

202

5 5

5 8
5 5

dim. 8

5
5 5

8 8
5 5

2
8 4

5
8 8
*
Carl Nielsen Udgaven CN 00042 67

02 klaver 041-080 67 23/08/06, 21:49


02 klaver 041-080 68 27/09/06, 14:50
T H E M E T H E M A
A N D V A R I A T I O N S M E D V A R I A T I O N E 69
R

Op. 40
Andante ( = 72)

cre scen

12

do dim. poco rall.

Var. 1
( = 88) 17

19

Carl Nielsen Udgaven CN 00042 69

02 klaver 041-080 69 23/08/06, 21:49


70

22

25

27

cre scen do

29 8
8

31

dim. ra len tan do

Carl Nielsen Udgaven CN 00042 70

02 klaver 041-080 70 23/08/06, 21:49


71
Var. 2
un poco di pi ( = 96)
33

35

37 8

39

41

Carl Nielsen Udgaven CN 00042 71

02 klaver 041-080 71 23/08/06, 21:49


72

43

cre scen do

45

il basso marcato

47

dim. ral len tan do

Var. 3
Adagio ( = )
49

51

3 3 3

3 3 3

Carl Nielsen Udgaven CN 00042 72

02 klaver 041-080 72 23/08/06, 21:49


73

53

55

57

3 3

3 3

59

3 3 3

3 3 3

Carl Nielsen Udgaven CN 00042 73

02 klaver 041-080 73 23/08/06, 21:49


74

61

62

63

3 3 3

3 3

accel.

3 3 3 3 3 3 3
3 cresc. 3 3 3 3

Carl Nielsen Udgaven CN 00042 74

02 klaver 041-080 74 23/08/06, 21:49


75
Var. 4
Tempo I ( = 72)
65

3 3 3
3 3 3
3 3
3 3
3 3 3 3

3 3

67

3 3 3 3 3 3
3
3
3 3
3
3

3 3 3

69

3
3 3
3 3 3
3 3 3 3
3 3

3 3 3

71

3 3
3 3 3 3

73

3
3 3 3
3 3

3
3

Carl Nielsen Udgaven CN 00042 75

02 klaver 041-080 75 23/08/06, 21:50


76

75

3 3 3
3 3 3 3
3 3 3

3
3

3 3 3 3 3 3
3
3

77

3 3 3 3
3 3 3 3 3
3

3 3
79

3 3 3 3
3 3 3
3 3
3
3

3 3

Var. 5
81 ( = 96)

staccato sempre

83

di mi nu en do poco rall.

Carl Nielsen Udgaven CN 00042 76

02 klaver 041-080 76 23/08/06, 21:50


77

85 a tempo

87

89

91

93

Carl Nielsen Udgaven CN 00042 77

02 klaver 041-080 77 23/08/06, 21:50


78

95

dim. poco rall.


accel.

3
3

Var. 6
97 Allegro ( = 138)

99

101

103

Carl Nielsen Udgaven CN 00042 78

02 klaver 041-080 78 23/08/06, 21:50


79

105

107

dim.

109

3
cresc. ed ac ce le ran do

111 Presto lunga

Var. 7
Largo ( = 58)
113

Carl Nielsen Udgaven CN 00042 79

02 klaver 041-080 79 23/08/06, 21:50


80

117

sempre

122

Var. 8
lunga un poco di pi
127
( = 63)

dim. espressivo

131

quasi rall.

a tempo
135

poco rit.

Carl Nielsen Udgaven CN 00042 80

02 klaver 041-080 80 23/08/06, 21:50


81
3
3 3
138

3 3
3 3 3 3
3
con espressione quasi rit.

141

dim. rallentando

Var. 9
145 ( . = 72)

fluente e molto legato

148

151

Carl Nielsen Udgaven CN 00042 81

03 klaver 081-120 81 23/08/06, 21:50


82

153

8
157

dim. ral len tan do

Var. 10
161 ( = 108)

166

171

Carl Nielsen Udgaven CN 00042 82

03 klaver 081-120 82 23/08/06, 21:51


83
8
176

179

182

cre scen do

185

189

dim. poco rall.

Carl Nielsen Udgaven CN 00042 83

03 klaver 081-120 83 23/08/06, 21:51


84
Var. 11
193 Capriccioso ( = 72)

195

197

199

201

Carl Nielsen Udgaven CN 00042 84

03 klaver 081-120 84 23/08/06, 21:51


85
8
202

8
204

206

cresc. cresc.

207

dim.

208

rall.

Carl Nielsen Udgaven CN 00042 85

03 klaver 081-120 85 23/08/06, 21:51


86
Var. 12
Con moto ( = 138)
209

211

213

215

Carl Nielsen Udgaven CN 00042 86

03 klaver 081-120 86 23/08/06, 21:51


87

217

219

221

poco

223

dim. calando

Carl Nielsen Udgaven CN 00042 87

03 klaver 081-120 87 23/08/06, 21:51


88
Var. 13
225 Ostinato ( = 80)

cantabile

228

230

233

poco a poco cresc.

la melodia ben cantando

Carl Nielsen Udgaven CN 00042 88

03 klaver 081-120 88 23/08/06, 21:51


89

235

cresc.

237

239

dim. rall.

Var. 14
241 ( = 69)

243

Carl Nielsen Udgaven CN 00042 89

03 klaver 081-120 89 23/08/06, 21:52


90

245

247

248

dim.

8
249

8
251

Carl Nielsen Udgaven CN 00042 90

03 klaver 081-120 90 23/08/06, 21:52


91

252

cresc.

253

poco

254

255

256

dim.
rall.

Carl Nielsen Udgaven CN 00042 91

03 klaver 081-120 91 23/08/06, 21:52


92
Var. 15
8
( = 120)
257

8
260

263 8

3 3
3

3 3 3

266 8

3 3 3
3 3 3 3 3 3

3 3
3 3 3 3
3 3

Carl Nielsen Udgaven CN 00042 92

03 klaver 081-120 92 23/08/06, 21:52


93

269 8

3 3 3 3 3 3
3 3
3

3 3 3 3 3
3 3 3
3

8
272

3 3 3

3 3
3

8
274

3
3

3
3

8
276

Carl Nielsen Udgaven CN 00042 93

03 klaver 081-120 93 23/08/06, 21:52


94

278

3
3

3
3

8
280

8
282

285

3 3
3
3
3 3
3

Carl Nielsen Udgaven CN 00042 94

03 klaver 081-120 94 23/08/06, 21:52


95

287 come ubriacco


3

3
3

3 3 3 3
289 3 3 3 3

3 3
3
3 3 3 3
3

3
292 3 3 ( = 76)
3
3 3

3 quasi rall.
3 3 3 poco a poco dim.
3 3 3
3 3
3

295

3 3 3
3 3 3

299 lunga

dim.

Carl Nielsen Udgaven CN 00042 95

03 klaver 081-120 95 23/08/06, 21:52


96
S U I T E S U I T E

I
Allegretto un pochettino Op. 45

cre scen do

12

cre scen

17 un poco meno

poco rall.
do dim.

22

molto

Carl Nielsen Udgaven CN 00042 96

03 klaver 081-120 96 23/08/06, 21:53


97

26

29

33

3
3
cresc.
3
3

3 3
3 3

36 3

3 3
3 3

3
3
3
3 3 3

38
1

3 3 3 3 3
3
3
3 3
3

3 3

Carl Nielsen Udgaven CN 00042 97

03 klaver 081-120 97 23/08/06, 21:53


98

40

con fuoco

42

44

brioso

46

poco allargando
3 3
3
3

8
48

brioso

Carl Nielsen Udgaven CN 00042 98

03 klaver 081-120 98 23/08/06, 21:53


99
8
51

54 8

8
57

8
60

agitato

Carl Nielsen Udgaven CN 00042 99

03 klaver 081-120 99 23/08/06, 21:53


100

62

dim.

65

di mi nu en do di mi

poco agitato
69 tranq.

nu en do

75

di mi nu

79

en do rall. dim.

84 Tempo I

poco espressivo

Carl Nielsen Udgaven CN 00042 100

03 klaver 081-120 100 23/08/06, 21:53


101

91

poco

95

98

102

espressivo
poco pesante poco ri tar dan do dim. molto

107 pi vivo Adagio

di mi nu en do ri tar dan do di mi nu en do

Carl Nielsen Udgaven CN 00042 101

03 klaver 081-120 101 23/08/06, 21:53


102
II
Poco moderato

13

17

Carl Nielsen Udgaven CN 00042 102

03 klaver 081-120 102 23/08/06, 21:53


103

21

8
25

poco a poco cre scen

30

do calando molto

34

39

Carl Nielsen Udgaven CN 00042 103

03 klaver 081-120 103 23/08/06, 21:54


104
8
43

8 8
47

cre scen do

una corda

8 a tempo
51

molto
molto rall.

56

dim.

60 8 a tempo

dim. ri tar dan do

Carl Nielsen Udgaven CN 00042 104

03 klaver 081-120 104 23/08/06, 21:54


105

65

8
70

calando
3 cre

8
74

scen do pi mosso

8
78

dim. poco

8
82

3 3 3

a poco ca lan do

86 8

di mi nu en do calando dim.
ri tar dan do

Carl Nielsen Udgaven CN 00042 105

03 klaver 081-120 105 23/08/06, 21:54


106 III
Molto adagio e patetico ( = 69)

4 3 3 3 3

3 3 3
3 3

6 3

3
3 3
3 3
3 3

3
3 3

3 3
3

3 3
3 3
7

3
3 3 3

3 3
3 3
3 3
8 3 3

3 molto
3 3
3 allarg.

3
3
3
3

Carl Nielsen Udgaven CN 00042 106

03 klaver 081-120 106 23/08/06, 21:54


107

8
9

rall. molto dim.

11

molto tranquillo dim.

molto lunga
13
3

un poco espressivo rall.


accel.

14 3

molto

16 3 3 3
3 3 3 3
3

Carl Nielsen Udgaven CN 00042 107

03 klaver 081-120 107 23/08/06, 21:54


108

3 3 3 18

3 3
3 3 3

3 3 3
3
cresc.

3 3

3 3

19

molto

20 3
3 3 3

3 3 3
3 3 3 3
3 3 3 3 3
3
3
3
3
3

3 3 3

Carl Nielsen Udgaven CN 00042 108

03 klaver 081-120 108 23/08/06, 21:54


109

21

3 3 3 3 3 3 3 3
3 3 3 3
3 3 3 3

3 3 3
3

3 3
3
3
3 3
3 3

3 3 3
3 3
3 3
3

22

patetico e molto allargando


13

23 8

13

8 3
24

3
3 3 3
3
3 3
3

Carl Nielsen Udgaven CN 00042 109

03 klaver 081-120 109 23/08/06, 21:54


110

25 3 3 3 3

3
3 3 3 3

26

rit. calando
sempre e pesante di mi nu en do

28

molto tranquillo

30 molto rallentando
3
3 3

3 3
dim.
3 3

31 3

tranquillo espressivo poco rit.


dim.
3

Carl Nielsen Udgaven CN 00042 110

03 klaver 081-120 110 23/08/06, 21:54


IV 111
Allegretto innocente

13

19

Carl Nielsen Udgaven CN 00042 111

03 klaver 081-120 111 23/08/06, 21:55


112

25 3

31 a tempo sonore

rit.
il basso sempre

37

43

49

poco

Carl Nielsen Udgaven CN 00042 112

03 klaver 081-120 112 23/08/06, 21:55


113

54

60

dim. rit.

65 a tempo

con amore

70

tranq.
75

poco espressivo poco a poco rit. e di mi nu en do

Carl Nielsen Udgaven CN 00042 113

03 klaver 081-120 113 23/08/06, 21:55


114
V
Allegretto vivo
3
3

dolce

cre

13

scen do
agitato

18 Tempo I

molto dim. ral len tan do

23

Carl Nielsen Udgaven CN 00042 114

03 klaver 081-120 114 23/08/06, 21:55


115

30

cre

35

scen do

40 a tempo

di mi nu en do poco rall. dolce

45

poco

Carl Nielsen Udgaven CN 00042 115

03 klaver 081-120 115 23/08/06, 21:55


116

50

di mi nu en do

55

61

dim.

66

di mi nu en do

72 a tempo

poco rall.
pochettino rall. dim.

Carl Nielsen Udgaven CN 00042 116

03 klaver 081-120 116 23/08/06, 21:55


117
VI
Allegro non troppo ma vigoroso
3

di mi nu en do

10

cre scen do molto

15

3 3 3
3

3
3 3 3
3

19

3 3 3 3 3 3 3 3 3
3

Carl Nielsen Udgaven CN 00042 117

03 klaver 081-120 117 23/08/06, 21:55


118
3 3
22

3 3
3 3 3 3 3
3
3

3 3 3
25

molto

glissando

3 3 3 3

27

molto

glissando

29

33

Carl Nielsen Udgaven CN 00042 118

03 klaver 081-120 118 23/08/06, 21:56


119

37

41

3 3 3
3
3
3 3

3 3

molto

45

3 3
3 3 3
3 3 3
3 3

3
3 3 3
48 3

3 3 molto

glissando

51

3 3 3 3
di mi
3 3 3 3

Carl Nielsen Udgaven CN 00042 119

03 klaver 081-120 119 23/08/06, 21:56


120

56

3 3

nu en do calando poco tranquillo


3

62

3 3

68

dim.

74 a tempo

3
poco rall.

80 poco meno

3 3 3

la melodia ben cantabile

Carl Nielsen Udgaven CN 00042 120

03 klaver 081-120 120 23/08/06, 21:56


121

86

3
3 3 3 3
espressivo

92

3
3 3 3 3 3
calmando dim.

3 3
97

3
tranquillo 3 3 3 3 3 cresc.

3
3

8
102 3
3

3
3
3 3 3
3 3 3
3
molto

8
106

3
3 3
3 3 3
3 3 3 3 3
3

Carl Nielsen Udgaven CN 00042 121

04 klaver 121-148 121 23/08/06, 21:56


122

110

3
3
3
3

113

116

119

poco pi mosso

3 3

8
122

3
3 3 3
sempre
3

Carl Nielsen Udgaven CN 00042 122

04 klaver 121-148 122 23/08/06, 21:56


123

125 3 3 3 3 3 3
3 3

poco a poco di mi nu en
3 3

128 3 3
3 3

do
poco rall.

133 meno

Tempo I, ma tranquillo

139

3 3 3

molto
poco rall.

145

3 3 3 3 3 3
3 3
sempre poco rall.

Carl Nielsen Udgaven CN 00042 123

04 klaver 121-148 123 23/08/06, 21:56


124

150 poco pi mosso 3


3

3 3

155 3 3 3 3
3 3 3 3

sempre

3 3
3 3

159 3
3

3 3

3 3

163

3 3 3 3 3 3 3 3

3 3 3 3

167

3 3
3 3
3 3

Carl Nielsen Udgaven CN 00042 124

04 klaver 121-148 124 23/08/06, 21:56


125

171

3 3 3 3 3 3
sempre
3

174

3 3 3 3
3

3 3

178

3 3
3 3 3 3 3 3
cre scen do

181

3 3 3
3 3 3
3 3 3 3 3 3
dim.

8
184

poco marcato

Carl Nielsen Udgaven CN 00042 125

04 klaver 121-148 125 23/08/06, 21:57


126
8

187

190

193

cre scen do

196

molto

200

3 3 3 3
3 3 3 3

3 3
3 3 3 3

Carl Nielsen Udgaven CN 00042 126

04 klaver 121-148 126 23/08/06, 21:57


3 3
127
3 3 3 8

204

m.s. m.s.

8
8

208

m.s.

211

m.s. m.s.

214

Carl Nielsen Udgaven CN 00042 127

04 klaver 121-148 127 27/09/06, 14:52


128

217

220

3 3
3

223

3
3

3 3 3
3 3 3
3
3 3

3 3

226

8
229 8

glissando

Carl Nielsen Udgaven CN 00042 128

04 klaver 121-148 128 23/08/06, 21:57


129
8
231

glissando

8
233

3
3 3

8
237 3
3
3 3
3 3 3

3
3
3 3
3
3 3

241

3
3 3 3
sempre di mi
3 3 3 3

246

nu en do calando
3

Carl Nielsen Udgaven CN 00042 129

04 klaver 121-148 129 23/08/06, 21:57


130

252
3

3
dim. rall.

258 Adagio

molto ral len tan do


dim.

266 Tempo I

3 3 3 3 3 3 3 3 3 3
3

271

3 3 3 3

cre scen do
8

275

molto

Carl Nielsen Udgaven CN 00042 130

04 klaver 121-148 130 23/08/06, 21:57


131
3 3 3 3
vivace, 3
279 brioso m.d.
m.d.

m.s. m.s.
3 3 3 3 3

m.d. m.d. m.d.


m.s.

m.s. m.s.

8
quasi
284 presto

289 8

8
295

rall.

Carl Nielsen Udgaven CN 00042 131

04 klaver 121-148 131 23/08/06, 21:57


THREE PIANO PIECES T R E K L AV E R S T Y K K E R

132

IMPROMPTU I
Allegro fluente ( = 138) 8

8
5

8
7

8 8 8
9

Carl Nielsen Udgaven CN 00042 132

04 klaver 121-148 132 23/08/06, 21:58


133
8 8
11

8 8

13

8 8

15

8
8
17

19

Carl Nielsen Udgaven CN 00042 133

04 klaver 121-148 133 23/08/06, 21:58


134

21

23 meno e molto pesante ( = 100)

molto
rall. dim.

26 secco

31

35

3 3
3 3

Carl Nielsen Udgaven CN 00042 134

04 klaver 121-148 134 23/08/06, 21:58


135

39

di mi nu

42 a tempo

en do ral len tan do

45

3 3
3

48 3 3

3 3
3 3

poco meno
51

Carl Nielsen Udgaven CN 00042 135

04 klaver 121-148 135 23/08/06, 21:58


136

lunga
54

dim. poco rall.


lunga

56 Tempo I

cre scen

8
58

do dim.

8
60

cre scen do

8 8
62

di

Carl Nielsen Udgaven CN 00042 136

04 klaver 121-148 136 23/08/06, 21:58


137

64

mi nu en do cre scen do ac ce le

Moderato e molto pesante ( = 72)


66

molto dim.
molto patetico, quasi parodico
ran do

70

poco a poco di

73

mi nu en do

tranquillo

77

molto di mi nu en do ral len tan do

Carl Nielsen Udgaven CN 00042 137

04 klaver 121-148 137 23/08/06, 21:58


138
II
Molto adagio

diminuendo

3 3

3 3 3
diminuendo

a tempo ma tranquillo

5 3 3 3 3 3
3 3

3 3 3
sempre rall.

7 3
3

cresc. 3 3

3
3 3

8 3 3

Carl Nielsen Udgaven CN 00042 138

04 klaver 121-148 138 23/08/06, 21:58


139

10

rall. cre scen

12

do

13 3

di mi nu en do espressivo

14

dim. molto rall. dim.


5

Carl Nielsen Udgaven CN 00042 139

04 klaver 121-148 139 23/08/06, 21:58


140
III
Allegro non troppo ( = 108)

cre scen do

11

15 a tempo

dim. molto rall.


3
3

*)

20

3
crescendo
3

*) betyder en Haandfuld af de dybeste Toner. (Stortromme)


indicates a handful of lowest-register notes. (Bass drum)

Carl Nielsen Udgaven CN 00042 140

04 klaver 121-148 140 23/08/06, 21:59


141

25

30 3 3
3 3

3 3

34

3 3
3 3 3 3
3 3

37

3 3
3 3 3 3 3
3
3 3
3 3

40

Carl Nielsen Udgaven CN 00042 141

04 klaver 121-148 141 23/08/06, 21:59


142

43

di mi nu
3 3

47

en do di mi nu en do poco rall.

51 a tempo ma tranquillo

55 3
3

59 3 3 3 3

Carl Nielsen Udgaven CN 00042 142

04 klaver 121-148 142 23/08/06, 21:59


143
8
63

3
3 3
3
3 cre

3
3 3

8
66

3 3
scen do
3

68 3
3 3
3

molto ral len tan do


3
di mi nu en do

70 a tempo ma molto tranquillo

73

Carl Nielsen Udgaven CN 00042 143

04 klaver 121-148 143 23/08/06, 21:59


144

77

sempre poco ral len tan do

a tempo ma molto tranquillo


81

molto tranquillo sempre

85 3 un poco
3 3

3
poco ral len tan do

90 di pi

95

cre scen

Carl Nielsen Udgaven CN 00042 144

04 klaver 121-148 144 23/08/06, 21:59


145

100 3 3

3 3
3 3
do

103

3 3 3 3 3
3 3 3 3 3 3

106

3 3 3 3 3 3 3
3 3 3

108 3 3
3 3

3 3
3 3
3 3 3 3

8
110

3 3
3 3
3 3

Carl Nielsen Udgaven CN 00042 145

04 klaver 121-148 145 23/08/06, 21:59


146
8

112 3 3 3 3

3 3
3 3 3 3

3 3
3 3 3 3
3 3

3 3 3 3

8
8
114

8
118

3 3

122 sempre

poco rall.

127

Carl Nielsen Udgaven CN 00042 146

04 klaver 121-148 146 23/08/06, 21:59


147

133

sempre

137

sempre ral

141 a tempo

len tan do cre scen do

145 Pi allegro ( = 132)

un poco meno 8
149

pesante

Carl Nielsen Udgaven CN 00042 147

04 klaver 121-148 147 23/08/06, 22:00


148
8

153

3
3 3
3 3 3 3 3

155

3
3 3 3 3
3 3
3 3
cre scen do
3 3

allargando ( = 76-80)
157

161

3 3

ral len tan do

Carl Nielsen Udgaven CN 00042 148

04 klaver 121-148 148 23/08/06, 22:00


P I A NO M U S I C F O R K L AV E R M U S I K F O R
YO U NG A N D O L D S M A A O G S T O R E
B O O K I H E F T E I

I Op. 53
Allegretto ( = ca. 76)
*)

*)

13

rit ar dan do

17 a tempo

rall.

*) Disse Noder viser Hndernes Beliggenhed paa Instrumentet


These notes indicate the position of the hands on the keyboard

Carl Nielsen Udgaven CN 00042 149

05 klaver 149-176 149 28/09/06, 11:38


150
II
Allegretto ( = ca. 144)

espressivo

14 a tempo

rall.

21

espressivo ral len tan do

IIIa
Allegro scherzoso ( = 112)

Carl Nielsen Udgaven CN 00042 150

05 klaver 149-176 150 23/08/06, 22:00


151

14

21

tranquillo poco ac ce le ran do

28

calando cresc.

34

dim. senza rall.

Carl Nielsen Udgaven CN 00042 151

05 klaver 149-176 151 23/08/06, 22:00


152
IIIb
Grazioso ( = 108)

pesante

10

pesante

13

cresc.

Carl Nielsen Udgaven CN 00042 152

05 klaver 149-176 152 23/08/06, 22:00


153

16

rall.

19

22

rall.

IV
Andantino ( = 69)

sotto voce

poco marcato

ral len tan do

Carl Nielsen Udgaven CN 00042 153

05 klaver 149-176 153 23/08/06, 22:00


154
V
*)
Allegro giocoso ( = ca. 92)

12

18

cresc.

23

espressivo

*) Giocoso = lystigt (merrily).

Carl Nielsen Udgaven CN 00042 154

05 klaver 149-176 154 23/08/06, 22:01


155

28

espressivo ral len tan do

VI
Poco lamentoso ( = 60)

espressivo molto

sempre poco calando

cantabile

13

ral len tan do

Carl Nielsen Udgaven CN 00042 155

05 klaver 149-176 155 23/08/06, 22:01


156
VII
Marziale ( = 108)

subito

10

subito

14

18

dim. senza rall.


dim.

Carl Nielsen Udgaven CN 00042 156

05 klaver 149-176 156 23/08/06, 22:01


157
VIII
Cantabile ( = 58)

sempre rallentando

IX
*)
Allegretto civettuolo ( = 84)
2 2

7
3 3

14 2
2

calando

21

subito dim. subito dim. dim. rallentando

*) civettuolo = koket (coquettishly)

Carl Nielsen Udgaven CN 00042 157

05 klaver 149-176 157 23/08/06, 22:01


158
X
Lugubre ( = 58)

molto cantabile

12

molto agitato e rubato rallentando cantabile rall.


pesante

XI
Andantino poco tiepido *) ( = 76)

3
cre scen do cre scen do

*) poco tiepido = lidt trgt (rather tepidly)

Carl Nielsen Udgaven CN 00042 158

05 klaver 149-176 158 23/08/06, 22:01


159

dim. e calando

13

dim. poco rallentando

XII
Adagio drammatico ( = 50)
3 3 3

subito

4 3 3 3 3
3

subito

7 3 3 3 3 3
3 3

diminuendo rall.

Carl Nielsen Udgaven CN 00042 159

05 klaver 149-176 159 23/08/06, 22:01


P I A NO M U S I C F O R K L AV E R M U S I K F O R
YO U NG A N D O L D S M A A O G S T O R E
160 B O O K I I H E F T E I I
XIII
Andantino carino *) ( = 80)
**)

dolce

dolce

cresc.

11

dolce espressivo espressivo

15

dim.
rall.

*) carino = hjertenskrt (affectionately)


**) Disse Noder viser Hndernes Beliggenhed paa Instrumentet
These notes indicate the position of the hands on the keyboard

Carl Nielsen Udgaven CN 00042 160

05 klaver 149-176 160 28/09/06, 11:38


161
XIV
Capriccioso ( = 116)

3 3 3 3

3 3 3 3 3 3 3 3 3

3 3 3

10

cre scen do

3 3 3 3 3 3
3 3 3

15 3

3 3 3 3 3 3 3 3 3 3 3

20

3 3 3 3 3 3 3 3 3
molto

3 3 3 3 3 3

25 3

3 3 3
ca lan do cresc.

3 3 3
dim.

Carl Nielsen Udgaven CN 00042 161

05 klaver 149-176 161 23/08/06, 22:02


162

30

dim. poco a poco rall.

3 3 3 3 3 3 3 3 3
3 3 3

XV
Adagio espressivo ( = 50)

3
3 3 3
cantabile

3 3 3 3 3
cresc. poco agitato

3
calando cantabile cresc. cantabile

3 3

12

di mi nu en do

Carl Nielsen Udgaven CN 00042 162

05 klaver 149-176 162 23/08/06, 22:02


163
XVI
Alla Contadino *) ( . = 58)

cresc.

11

15

tranquillo

19

*) Alla Contadino = bondeagtig (peasant-like)

Carl Nielsen Udgaven CN 00042 163

05 klaver 149-176 163 23/08/06, 22:02


164

23

27

calando

32

36

subito

40

cre scen do rallentando

Carl Nielsen Udgaven CN 00042 164

05 klaver 149-176 164 23/08/06, 22:02


165
XVII
Largo con fantasia ( = ca. 54-66)
3 3

poco

3
tenuto

molto espressivo 3 3 3 3 3 3 3
con calore
3 3 3 3 3 3 3
3

a tempo
5 3 3

3 3 3 3 3 3 3 3 3 3 3 3
fluente molto rall. molto
diminuendo
3 3

3 3 3

molto di mi nu en do e calando
3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3

9 calando

3 3 3 3 3 3
3 3
3

11 3 3 3 3 3 3 3 3

3 3 3 3
dim. rallentando
3 3 3 3

Carl Nielsen Udgaven CN 00042 165

05 klaver 149-176 165 23/08/06, 22:02


166
XVIII
Preludio ( = 80)

sempre e mistico

8 ca lan do

rallentando
11

XIX
Alla Bach ( = 92)

Carl Nielsen Udgaven CN 00042 166

05 klaver 149-176 166 23/08/06, 22:02


167

12

17

22

27

Carl Nielsen Udgaven CN 00042 167

05 klaver 149-176 167 23/08/06, 22:02


168
XX
Con sentimento ( = 54)
3 3 3

3 3

4 3
3

6 3 3 3 3
3

3
3 3 3 3 3 3 3

7 6

3 3 3 3 3 6
3
cresc.

3 3 3 3 3 3

10

3
di mi nu en do rall.

XXI
Marcia di goffo *) ( = 112)

segue
*) goffo = Klodrian (clodhopper)

Carl Nielsen Udgaven CN 00042 168

05 klaver 149-176 168 23/08/06, 22:02


169

11

dim. e calando

17

cresc.

segue

23

segue

28

cre scen do

Carl Nielsen Udgaven CN 00042 169

05 klaver 149-176 169 23/08/06, 22:03


170
XXII
Allegretto pastorale ( = 80)

poco a poco

10

cre scen do

13

Carl Nielsen Udgaven CN 00042 170

05 klaver 149-176 170 23/08/06, 22:03


171

16

dim.

19

22

25

cre scen do dim.

28

di mi nu en do

Carl Nielsen Udgaven CN 00042 171

05 klaver 149-176 171 23/08/06, 22:03


172
XXIII
Etude (Allegro) ( = 84)

leggiero

10 segue

cre scen do mol to


segue

13 leggiero

subito

leggiero

Carl Nielsen Udgaven CN 00042 172

05 klaver 149-176 172 23/08/06, 22:03


173

16

cresc.

19

di mi nu en do leggiero

22

25

cre scen do

28

dim. poco a poco

Carl Nielsen Udgaven CN 00042 173

05 klaver 149-176 173 23/08/06, 22:03


174
XXIV
Molto adagio ( = 54)

assai cantabile rall. e dim.

3 a tempo

cresc. poco agitato rall. e dim.

5 a tempo

cresc. ed accel.

poco a poco rallentando diminuendo

accel. e cresc. rall. e dim.

Carl Nielsen Udgaven CN 00042 174

05 klaver 149-176 174 23/08/06, 22:03


175
Allegretto commodo ( = 152)
10

marcato

14

pi espressivo

19

24

calando

29 1 2

marcato

Carl Nielsen Udgaven CN 00042 175

05 klaver 149-176 175 23/08/06, 22:03


PIANO P I E C E KL AVERS T Y K K E

legato

10

15

20

Carl Nielsen Udgaven CN 00042 176

05 klaver 149-176 176 23/08/06, 22:04


06 orgel 177-202 177 27/09/06, 13:22
29 LITTLE PRELUDES 29 SMAA PRLUDIER
FOR ORGAN OR FOR ORGEL ELLER
HARMONIUM HARMONIUM
I
( = ca. 69) *) Op. 51

5 a tempo

rall.

10

15 a tempo

poco rall.

19

*) Metronomangivelserne maa betragtes som kun tilnrmelsesvis og rette sig efter Rum og Instrument.
*) Metronome indications are tentative and must be adjusted according to the room and the instrument.

Carl Nielsen Udgaven CN 00042 178

06 orgel 177-202 178 28/09/06, 11:40


1

23

II
( = ca. 76)

5 a tempo

poco rit.

12

rall.

Carl Nielsen Udgaven CN 00042 179

06 orgel 177-202 179 27/09/06, 13:22


2
III
( = ca. 100)

16

24

IV
( = ca. 58)

Carl Nielsen Udgaven CN 00042 180

06 orgel 177-202 180 27/09/06, 13:22


3

rall.

9 a tempo

V
( = ca. 52)

Carl Nielsen Udgaven CN 00042 181

06 orgel 177-202 181 27/09/06, 13:23


4
VI
( = ca. 56)

VII
( = ca. 76)

4 a tempo

rall.

Carl Nielsen Udgaven CN 00042 182

06 orgel 177-202 182 27/09/06, 13:23


5

11

( = 104)
VIII

10

Carl Nielsen Udgaven CN 00042 183

06 orgel 177-202 183 27/09/06, 13:23


6
IX
( = 108)

12 a tempo

rall.

16

X
( = 48)

Carl Nielsen Udgaven CN 00042 184

06 orgel 177-202 184 27/09/06, 13:23


7

13

17

21

Carl Nielsen Udgaven CN 00042 185

06 orgel 177-202 185 27/09/06, 13:23


8
XI
( = ca. 152)

9 a tempo

poco rall.

13

17 a tempo

poco rall.

Carl Nielsen Udgaven CN 00042 186

06 orgel 177-202 186 27/09/06, 13:23


9

21

26

XII
( = ca. 50)

Carl Nielsen Udgaven CN 00042 187

06 orgel 177-202 187 27/09/06, 13:23


10
XIII
( = ca. 59)

12 a tempo

poco rall.

16

poco ral len tan do

Carl Nielsen Udgaven CN 00042 188

06 orgel 177-202 188 27/09/06, 13:23


11
XIV
( = ca. 58)

XV
( = ca. 72)

Carl Nielsen Udgaven CN 00042 189

06 orgel 177-202 189 27/09/06, 13:23


12
XVI
( = ca. 56)

rall.

XVII

rall.

Carl Nielsen Udgaven CN 00042 190

06 orgel 177-202 190 27/09/06, 13:23


13
XVIII
( = 60)

11

16 a tempo

poco rall.

21

Carl Nielsen Udgaven CN 00042 191

06 orgel 177-202 191 27/09/06, 13:24


14
XIX
( = ca. 56)

10

( = ca. 58)
XX

5 3

Carl Nielsen Udgaven CN 00042 192

06 orgel 177-202 192 27/09/06, 13:24


15
XXI
( = ca. 72)

XXII
( = ca. 60)

Carl Nielsen Udgaven CN 00042 193

06 orgel 177-202 193 27/09/06, 13:24


16
XXIII
( = 69)

11

16

XXIV
( = ca. 58)

Carl Nielsen Udgaven CN 00042 194

06 orgel 177-202 194 27/09/06, 13:24


17

XXV
( = 50)

12

Carl Nielsen Udgaven CN 00042 195

06 orgel 177-202 195 27/09/06, 13:24


18
XXVI
( = ca. 54)

13

17

a tempo
21

poco rall.

25

Carl Nielsen Udgaven CN 00042 196

06 orgel 177-202 196 27/09/06, 13:24


19
XXVII
( = ca. 66)

10 a tempo

poco rall.

15

20

Carl Nielsen Udgaven CN 00042 197

06 orgel 177-202 197 27/09/06, 13:24


20
XXVIII
( = ca. 48)

3 3
5 3 3 3 3
3 3

3 3

3 3
3 3
3 3

3 3 3 3 3
7 3
3 3 3 3

3 3 3

3 3 3 3 3 3 3

3 3
9 3 3 3 3

3 3
3 3
3

3 3 3 3 3 3
pedale

3 3
11 3 3
3 3

3 3 3

3 3
3 3
3 3 3
3

Carl Nielsen Udgaven CN 00042 198

06 orgel 177-202 198 27/09/06, 13:24


21

3 3
3 3 3 3
13 3 3

3 3 3 3
pedale 3 3 3 3

15 3 3 3 3
3 3

3 3 3

17 3 3 3 3 3 3
3 3 3 3 3 3
3 3 3

19

3 3

3 3 3 3
3 3
3 3
3 3

XXIX
( = ca. 50)

Carl Nielsen Udgaven CN 00042 199

06 orgel 177-202 199 27/09/06, 13:24


T W O P R E L U D E S T O P R L U D I E R

38
I

10

15

Carl Nielsen Udgaven CN 00042 200

06 orgel 177-202 200 27/09/06, 13:25


II

M E L O D Y M E L O D I
Adagio
MELODY

Carl Nielsen Udgaven CN 00042 201

06 orgel 177-202 201 27/09/06, 13:25


06 orgel 177-202 202 27/09/06, 13:25
C O M M O T I O C O M M O T I O
Op. 58
Adagio 3 3
3

3 3 3 3 3 3 3 3
3
3 3

3 3 3 3
3 3 3 3
3 3 3 3

3
3 3 3
3 3 3 3 3 3 3
3

Carl Nielsen Udgaven CN 00042 203

07 orgel 203-237 203 27/09/06, 13:36


4

3 3 3 3 3 3 3 3

3 3
3 3

3 3 3 3 3 3 3 3
3 3 3
3

3 3 3 3 3
9

3 3 3 3 3 3

3 3 3
3 3
3 3

Carl Nielsen Udgaven CN 00042 204

07 orgel 203-237 204 27/09/06, 13:36


5
3 3
3 3 3 3
3 11 3

3 3 3 3 3 3 3 3

3 3
3
3 3

3 3 3 3 3 3
3
3 3 3
3 3
12

3 3 3
3 3 3 3 3 3 3 3 3

3 3 3 3
3 3

3 3 3 3
14

3 3 3
3

3
3 3
3 3
3
3
marcato

Carl Nielsen Udgaven CN 00042 205

07 orgel 203-237 205 27/09/06, 13:36


6

15

3 3 3 3 3 3 3 3

3
3 3 3
16

3
3 3
3

3 3 3
3

17

3 3
3 3 3 3
3 3

3 3 3 3
3 3 3 3

Carl Nielsen Udgaven CN 00042 206

07 orgel 203-237 206 27/09/06, 13:36


7
3
3 3
18 3 3

3
3 3 3 3
3 3 3

3
3
3 3
3 3

19

3 3 3 3 3 3 3 3

20

Carl Nielsen Udgaven CN 00042 207

07 orgel 203-237 207 27/09/06, 13:36


8

21

23

3 3
3 3

3 3
3 3 3 3 3 3

25

3 3 3 3
3 3 3 3

3 3
3 3 3 3 3

Carl Nielsen Udgaven CN 00042 208

07 orgel 203-237 208 27/09/06, 13:36


9
3 3 3 3
3 3
26

3
3

3 3 3 3 3 3
3 3

27 3 3

3 3 3 3 3 3

28 3 3 3 3

3 3 3 3
di mi nu en

( = )
29

do sempre di mi nu

Carl Nielsen Udgaven CN 00042 209

07 orgel 203-237 209 27/09/06, 13:36


10

35 Andantino quasi allegretto

en do ral len tan do

41

47

53

poco a poco

Carl Nielsen Udgaven CN 00042 210

07 orgel 203-237 210 27/09/06, 13:36


11

59

cre scen do

65

70

dim. poco ral len

77 a tempo

tan do

Carl Nielsen Udgaven CN 00042 211

07 orgel 203-237 211 27/09/06, 13:36


12

83

3 3

3 3 3 3 3 3
88

3 3 3 3 3 3
cre scen do

93

99

dim.

Carl Nielsen Udgaven CN 00042 212

07 orgel 203-237 212 27/09/06, 13:37


13

105

dim.

111

a tempo poco tranquillo


poco rall len tan do

117

123

Carl Nielsen Udgaven CN 00042 213

07 orgel 203-237 213 27/09/06, 13:37


14

129

135

cre

segue

141

scen do

Carl Nielsen Udgaven CN 00042 214

07 orgel 203-237 214 27/09/06, 13:37


15

147

segue

153

segue m.s. m.d.

159

Carl Nielsen Udgaven CN 00042 215

07 orgel 203-237 215 27/09/06, 13:37


16

165

171

176

180

poco a poco cre scen do

Carl Nielsen Udgaven CN 00042 216

07 orgel 203-237 216 27/09/06, 13:37


17

184

188

191

Carl Nielsen Udgaven CN 00042 217

07 orgel 203-237 217 27/09/06, 13:37


18

195

200

206

cre scen do

Carl Nielsen Udgaven CN 00042 218

07 orgel 203-237 218 27/09/06, 13:37


19

210

213

216

Carl Nielsen Udgaven CN 00042 219

07 orgel 203-237 219 27/09/06, 13:37


20

219

222

226

sempre
pesante

231

dim. ral len

dim.

Carl Nielsen Udgaven CN 00042 220

07 orgel 203-237 220 27/09/06, 13:37


21
Andantino tranquillo
238

3 3

tan do dim.

244

molto tranquillo dim.

252

sempre ral len tan do

Carl Nielsen Udgaven CN 00042 221

07 orgel 203-237 221 27/09/06, 13:37


22

258 Andante sostenuto

264

270 a tempo

poco ral len tan do m.d.


m.s.

275

Carl Nielsen Udgaven CN 00042 222

07 orgel 203-237 222 27/09/06, 13:37


23

280

284

287

291

Carl Nielsen Udgaven CN 00042 223

07 orgel 203-237 223 27/09/06, 13:38


24

294

299

303

306

Carl Nielsen Udgaven CN 00042 224

07 orgel 203-237 224 27/09/06, 13:38


25

309

313 3

ral len

3
3
3
3

317

3
3
tan do
3

322

Carl Nielsen Udgaven CN 00042 225

07 orgel 203-237 225 27/09/06, 13:38


26

326

329

sempre legato

333

336

sempre legato

Carl Nielsen Udgaven CN 00042 226

07 orgel 203-237 226 27/09/06, 13:38


27

339

342

345

348

2 2

Carl Nielsen Udgaven CN 00042 227

07 orgel 203-237 227 27/09/06, 13:38


28

351

m.d.

354

356 ( = )

362

Carl Nielsen Udgaven CN 00042 228

07 orgel 203-237 228 27/09/06, 13:38


29

368

a tempo
372

poco ral len tan do

376

379

Carl Nielsen Udgaven CN 00042 229

07 orgel 203-237 229 27/09/06, 13:38


30

383

387

a tempo

391

poco pesante

394

3 3

3 3

Carl Nielsen Udgaven CN 00042 230

07 orgel 203-237 230 27/09/06, 13:38


31

398 3

3 3 3
3 3 3 3 3
3 3
3

3 3
3 3 3 3 3 3
3

3 3 3 3
402 3 3 3 3

3 3 3 3

3 3
3

3 3 3 3
3 3
3 marcato

406

410

Carl Nielsen Udgaven CN 00042 231

07 orgel 203-237 231 27/09/06, 13:38


32

413

416

420

425

Carl Nielsen Udgaven CN 00042 232

07 orgel 203-237 232 27/09/06, 13:38


33

429

3 3 3 3

434

3 3 3 dim.
3
ral len tan do

3
3

a tempo ma fluente
441

a tempo
447

poco rall.

Carl Nielsen Udgaven CN 00042 233

07 orgel 203-237 233 27/09/06, 13:38


34

453

459

465

sempre legato

469

Carl Nielsen Udgaven CN 00042 234

07 orgel 203-237 234 27/09/06, 13:39


35

473

sem pre cre

476

scen do

479

483

Carl Nielsen Udgaven CN 00042 235

07 orgel 203-237 235 27/09/06, 13:39


36

487

poco rall.

491

494

sempre legato

497

Carl Nielsen Udgaven CN 00042 236

07 orgel 203-237 236 27/09/06, 13:39


37

500

503

marcato

506

509

ral len tan do

pesante

Carl Nielsen Udgaven CN 00042 237

07 orgel 203-237 237 27/09/06, 13:39


F O R K O R T E L S E R
A B B R E V I A T I O N S

b. bar
bb. bars
CN Carl Nielsen
CNA Carl Nielsen Arkivet (the Carl Nielsen Archives)
CNS Carl Nielsens Samling (the Carl Nielsen Collection)
DK-Kk Det Kongelige Bibliotek, Kbenhavn (the Royal
Library, Copenhagen)
marc. marcato
ped. pedal staff
pf.1 upper staff
pf.2 lower staff
Pl. No. Plate Number
st.1 upper staff
st.2 middle or lower staff
stacc. staccato
t. takt
ten. tenuto

Carl Nielsen Udgaven CN 00042 238

II_12_tekst_2_kilder.indd 238 28/09/06 11:44:10


C R I T I C A L
C O M M E N T A R Y

In the Critical Commentary the following conventions Eiendom for alle Lande. / KJBENHAVN & LEIPZIG. / Wil-
are used: helm Hansen, Musik-Forlag.
Pl. No.: 10748 (1891).
1 by analogy with is used when something has been Acquired by the Carl Nielsen Museum from Anne Marie
added, emended or omitted by analogy with another Carl-Nielsens estate.
passage in the main source. The analogy may be vertical. 34x27 cm, title page, 8 pages, paginated 2-9.
When something is added by analogy with one or more Addition of accidentals etc. in pencil (CN).
instruments, it is understood that the analogy is with the
same place in the same bar(s). Or it may be horizontal. B Score, sketch, autograph (Nos. I, II, IV).
When something is added by analogy with one or more DK-Kk, CNS 10a.
bars, it is understood that the analogy is with a parallel Donated to the Royal Library by Irmelin Eggert Mller in 1958.
place in the same instrument(s). 6 pages written in ink and pencil.
Paper type:
2 as in is used when something is added, emended or 1 bifolio 35.4x27 cm C.A.KLEMM. B.No.2. (12 staves).
omitted to correspond to the same place in another source. 1 folio 35.5x26.9 cm (14 staves).
1 folio 34.8x26 cm (14 staves).
3 in accordance with is used in cases where there is no au- Sketches for Nos. I, II, IV. Also contains sketches for String
thoritative source, only a guideline for example printed Quartet in F minor, Op. 5, and two incomplete works. No.
part material. II conclusion separately sketched. No. IV headed Og hun
1
dansede, men med Fortvivlelse i Hjertet and with provi-
In the bar number column, the symbol + is used to indicate sional four-bar conclusion crossed out.
an upbeat to the bar in question.
C Score, sketch, autograph (No. III).
DK-Kk, CNS 38b.
S O U R C E S Donated to the Royal Library by Irmelin Eggert Mller in 1958.
35x26 cm, 1 page, written in pencil.
P I A N O W O R K S Paper type: 14 staves (hand ruled).
18 bars of sketch for No. III, contained in the sketches (fol.
v
F I V E P I A N O P I E C E S , O P U S 3 I1 ) for nale of String Quartet in F minor, Op. 5.

A Printed score, Nielsens copy D Score, sketch, autograph (No. V).


B Score, sketch, autograph (Nos. I, II, IV) DK-Kk, CNS 10b.
C Score, sketch, autograph (No. III) From the legacy of Irmelin Eggert Mller, donated to the
D Score, sketch, autograph (No. V) Royal Library by Eggert Mller in 1975.
v v r r v
E Printed score (No. V) 10.5x16.5 cm, 6 pages (fol. 63 , fols. 64 -65 , fol. 66 , fol. 84 ,
v
F Score, autograph and copy (Nos. II, V) fol. 85 of sketchbook, CNS 358a) written in pencil.
r
Paper type: 7 staves (folio 65 is a torn fragment of different
A Printed score, Nielsens copy. paper).
2
The Carl Nielsen Museum, Odense. Sketches for No. V headed [? ] Kleine Vals.
Title page: Til Fru Orpheline Olsen. / f. Wexschall-Schram.
/ 5 / Klaverstykker / Carl Nielsen. / Op. 3 / Forlggerens 1 And she danced, but with despair in her heart. The
motto and the title of the piece refer to the female
character, Mignon, in Goethes Wilhelm Meisters Lehrjahre.
2 Illegible word.

Carl Nielsen Udgaven CN 00042 239

II_12_tekst_2_kilder.indd 239 28/09/06 11:44:11


r
E Printed score (No. V). Fol.2 : Motto Ach, die zrtlichen Herzen! Ein Fuscher
Printed in Musikbladet. Revue for Musik og Theater, 8 (1891), vermag sie zu rhren. / (Goethe.)
vol. 15-16, pp. 2-3. Pl. No.: 11575 (1895).
No. V Alfedans. Acquired by the Carl Nielsen Museum from Anne Marie
Carl-Nielsens estate.
F Score, fair copy (No. II), autograph and autograph/copy? 34x27 cm, title page, motto page, 22 pages, paginated 4-25.
(No. V). Contains pencil and crayon corrections by CN.
DK-Kk, Tilg. 391, the collection of Emilie Demant Hatt.
No. II, autograph: B Score, autograph, fair copy, printing manuscript.
Title page: Novellette. Dk-Kk, CNS 17a.
r-v
35x26 cm, 2 bifolios, sewn, 2 pages (fol. 2 ) written in ink. Dating: End of rst movement: Gjorslev Bgeskov d 1
Paper type: 14 staves. August 94.
3
No. V, autograph (?): Donated to the Royal Library by Irmelin Eggert Mller in 1958.
Title on rst music page. Elfentanz. Carl Nielsen. 34.3x25 cm, 10 folios, 19 pages written in ink, paginated 1-19.
34x25.5 cm, 1 folio, 2 pages written in ink. Paper type: 16 staves (hand ruled).
Paper type: 16 staves. The source has been restored.
Reproduced as facsimiles in Emilie Demant Hatt, Foraars- MM added in pencil (CN), printers queries, mainly regard-
r
blger. Erindringer om Carl Nielsen. Edited by John Fellow, ing accidentals, in crayon and pencil. Fol.1 : Pencil sketch-
4
Copenhagen 2002, pp. 168-175. es: 9 bars with the text Disse djrve Hammerslag (no
apparent connection with Op. 8) and 4 bars for violin and
5
The earliest sources are the sketches (B, C, D). From these piano in A major (Op. 9?).
Nielsen presumably prepared fair copies which were sent to the Several bars pasted over: Second movement, b. 50, third
music publisher Wilhelm Hansen but are now lost. However, movement, bb. 17-20, b. 22 (pf.2), b. 94 (pf .2), fourth move-
probably before making these he wrote fair copies of Nos. II ment, bb. 37-40, 79-81.
(originally entitled Novellette) and V (originally Elfentanz),
source F, since these are preserved along with the memoirs of C Score, autograph, drafts, sketches.
Emilie Demant Hatt and were therefore presumably notated Dk-Kk, CNS 17b.
during Emilies and Carls times together in the summers of Dating: End of second movement: 23/5 94.
1887-89. The signicant divergences between these copies and Donated to the Royal Library by Irmelin Eggert Mller in 1958.
the rst printed score suggest that they were early versions. 34 pages written in pencil and ink.
The rst printed edition (A) has been chosen as the main 2 folios 34.2.x25.8 cm 12 staves.
source. Nielsens copy contains several corrections. 1 bifolio 34.6.x26 cm 18 staves (hand-ruled).
1 bifolio 34.5.x26.2 cm 16 staves (hand-ruled).
1 folio 34.6.x26 cm 18 staves (hand-ruled).
S Y M P H O N I C S U I T E , O P U S 8 1 bifolio 34.x25.8 cm 12 staves.
1 folio 20.8x26 cm 10 staves (hand-ruled).
A Printed score, Nielsens copy 1 folio 34.4.x25.8 cm 16 staves (hand-ruled).
B Score, autograph, fair copy, printing manuscript 1 folio 34.5.x25.9 cm 18 staves (hand-ruled).
C Score, autograph, draft, sketches 1 folio 34x25.7 cm 12 staves.
D Score, autograph, fair copy (rst movement) 1 bifolio 34.5.x26 cm 16 staves (hand-ruled).
1 bifolio 34.6.x26 cm 18 staves (hand-ruled).
A Printed score, Nielsens copy. 2 folios ca. 34.5.x25.7 cm 18 staves (hand-ruled).
The Carl Nielsen Museum, Odense. 1 folio 34x25.8 cm 12 staves.
r
Title page (fol.1 ): TIL VICTOR BENDIX: / SYMPHONISK The source has been restored.
SUITE / FOR PIANOFORTE AF / CARL NIELSEN / OP.VIII / WIL- Drafts and sketches for all movements. Second movement
S
HELM: HANSEN FORLAG / KIBENHAVN & LEIPZIG headed Moderato. Sketch for Finale indicates middle section

3 The handwriting of the second piece is very different 4 These bluff hammerblows
from that of the rst; it is a well-known fact, however, 5 See Carl Nielsen Works, Vol. II/11, Sonata for Violin and
that Nielsens handwriting does vary, especially in the Piano, Opus 9, source E.
1880s and 1890s.

Carl Nielsen Udgaven CN 00042 240

II_12_tekst_2_kilder.indd 240 28/09/06 11:44:11


in 3/4. Also contains pencil sketches for a waltz, 7 bars of a End-dating: Kjbenhavn den 12 Maj 97.
string quartet in C sharp minor, 8 bars of two-voice coun- Donated to the Royal Library by Irmelin Eggert Mller,
terpoint headed Allo molto, 4 bars of song and various Anne Marie Telmnyi and the music publisher Wilhelm
6
other pieces, including Slette Studier efter Bach. Hansen in 1953.
34.3x25.8 cm, 8 folios, 15 pages written in ink, paginated 1-15.
D Score, autograph, fair copy (rst movement). Paper type: 12 staves.
Dk-Kk, CNS 24c. The source has been restored.
Registered at the Royal Library 1 December 1983. First page headed Smaa Brne-Humoresker. No. III annotat-
35.5x27 cm, 1 page written in ink. ed with ngerings. Printers markings in pencil throughout.
Paper type: B & H. Nr. 4. C. (12 staves).
r
Fol.2 : Two bars fair copy of rst movement. C Score, sketch, autograph.
Included with a sketch for the Violin Sonata Op. 9. DK-Kk, CNS 12b.
Donated to the Royal Library by Irmelin Eggert Mller in 1958.
The earliest sources for the Symphonic Suite are the sketches (C), 34.5x26 cm (folios 1, 6), 26x34.4 cm (folios 2-5), 11 pages
elaborated into drafts in the same source. The fair copy was written in pencil.
also used as printing manuscript (B). The two bars of fair copy Paper type:
in D appear in the middle of a sketch for the Violin Sonata, Folios 1, 6 20 staves (hand ruled).
Op. 9. Nielsens own copy of the printed edition (A) has been Folios 2, 5 14 staves (hand ruled).
chosen as the main source; some of its pencil and crayon cor- Folios 3, 4 16 staves (hand ruled).
rections were incorporated into later printings. The source has been restored.
Also contains sketch for Hilsen, Op. 10 No. 6 and 12 bars of a
D minor piano piece.
H U M O R E S Q U E - B AG AT E L L E S , O P U S 11
D Printed score (No. III).
A Printed score, Nielsens copy In journal Hver 8. Dag, 4. Aarg. Nr. 1, 2. Oktober 1897, Copen-
B Score, autograph, fair copy, printing manuscript hagen 1897, pp. 17-18, MUSIK TILLG: En lille, langsom Vals.
C Score, sketch, autograph AF CARL NIELSENS HUMORESKE-BAGATELLER OPUS 11,
D Printed score (No. III) SOM OM KORT TID UDKOMMER PAA VILHELM HANSENS
8
E Recording (No. V) MUSIK-FORLAG.

A Printed score, Nielsens copy. E Recording (No. V).


In The Carl Nielsen Museum, Odense. Title: Carl Nielsen spiller Carl Nielsen / Tre fonografvalser
Title page: HUMORESKE-BAGATELLER / AF / CARL NIELSEN fortller / Carl Nielsen plays Carl Nielsen. SBCD05, Stats-
/ FOR PIANOFORTE / OP XI. / WILHELM HANSEN, MUSIK- biblioteket, rhus, 2003. ISBN 87-7507-269-6 (see Introduc-
FORLAG. / KJBENHAVN & LEIPZIG. tion, pp. x and xxi-xxii).
Pl. No.: 12115 (1897).
Acquired by the Carl Nielsen Museum from Anne Marie From the sketches in C Nielsen prepared the fair copy (B),
Carl-Nielsens estate. which served as printing manuscript. The composers copy of
34x27 cm, 12 pages, paginated 2-13. the rst printing (A) is taken as the main source.
Nos. I, III and V contain additional pencilled ngerings,
possibly by CN.
F E S T I VA L P R E L U D E
B Score, autograph, fair copy, printing manuscript.
DK-Kk, CNS 12a. A Printed score, Nielsens copy
Title page: Smaa Humoresker / Carl Nielsen / Op. 11 / 12115 B Facsimile, score
7
/ 12 alm. in foreign hand.
8 A little, slow waltz. From Carl Nielsens Humoreque-
Bagatelles, which are soon to be published by Vilhelm
6 Bad studies in Bach style.
Hansen Music Publishers.
7 Probably the engravers aide-mmoire, stating that 12 staves
are to be used with ordinary (alm(indeligt)) layout.

Carl Nielsen Udgaven CN 00042 241

II_12_tekst_2_kilder.indd 241 28/09/06 11:44:11


v r
A Printed score, Nielsens copy. 34.4x26.5 cm, 1 bifolio, 2 pages (fol.1 - fol.2 ) written in ink,
The Carl Nielsen Museum, Odense. paginated 1-2.
Title page: TIL I.F. WILLUMSEN. / FEST-PRLUDIUM / AF Paper type: J.E. & Co. / Protokoll Schutzmarke / No.2 /
S
/ CARL-NIELSEN / WILHELM:HANSEN FORLAG / KIBEN- 12 linig. (12 staves).
HAVN & LEIPZIG. Several printers markings in orange and blue crayon.
Pl. No.: 12902 (1901).
Acquired by the Carl Nielsen Museum from Anne Marie C Score, autograph, draft.
Carl-Nielsens estate. DK-Kk, CNS 9b.
34.4x27.3 cm, title page, 2 pages, paginated 2-3. End-dating: 3/12 05.
9
(Ved Aarhundredskiftet) included beneath main heading Acquired by the Royal Library from the estate of pianist
on rst notated page. Henrik Knudsen in 1947.
26x34.5 cm, 1 bifolio, 4 pages written in pencil.
B Facsimile, score. Paper type: 10 staves.
In Politiken 1 January 1901, p. 1. Facsimile of Nielsens fair The source has been restored.
copy (original lost); presumably printing manuscript for A. Title on rst music page: Juledrm (Christmas Dream).
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Fol.1 and fol. 2 : Sketches for Maskarade (act three, closing
No complete draft or fair copy survives of the Festival Prelude in scene).
its original form. The fair copy is only known from the facsimile
in Politiken (B). The composers copy of the rst Wilhelm Hansen The sources for this piece form an orderly progression from
printed edition (A) is taken as the main source. draft (C) to fair copy (B) to printed score, with hardly any vari-
ants. The printed score (A) is taken as the main source.

A D R E A M A B O U T S I L E N T N I G H T
C H A C O N N E , O P U S 3 2
A Printed score
B Score, autograph, fair copy, printing manuscript A Printed score
C Score, autograph, draft B Score, autograph, fair copy
C Score, autograph, draft
A Printed score. D Score, autograph, sketch
Title page: JUL / STEMNINGER og BILLEDER / for Klaver af /
DANSKE KOMPONISTER / CHR. BARNEKOW _ VICTOR BEN- A Printed score.
DIX _ LOUIS GLASS _ / GUSTAV HELSTED _ FINI HENRIQUES _ Title page: Wilhelm Hansen Edition. / CARL NIELSEN /
P. E. LANGE-MLLER / _ OTTO MALLING _ CARL NIELSEN _ AL- Chaconne / for Piano=Forte / Op. 32. / [] / KJBENHAVN &
FRED TOFFT._ / 1905 / DANSK TONEKUNSTNER=FORENINGS LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / [] / Copy-
FORLAG / C.G. RDER, G.M.B.H. LITH. ETABL. LEIPZIG. right 1917 by Wilhelm Hansen, Leipzig.
10 11
No Pl. No. (marked D.T. ) (1905). Pl. No.: 16743 (1917).
27.5x19.5 cm, title page, 23 pages, paginated 3-25. 31.5x23.4 cm, title page, 16 pages, paginated 2-17.
Pp. 22-23: Title: Drmmen. / om / Glade Jul. / (Stille Nacht.).
B Score, autograph, fair copy.
B Score, autograph, fair copy, printing manuscript. Kungliga Musikaliska Akademins Bibliotek, Stockholm
DK-Kk, CNS 9a. (copy in DK-Kk, CNS 8a).
Title page: Drmmen / om / Glade Jul (Stille Nacht) / for / Library marking on title page: [Gva frn Komponisten
12
Pianoforte / af / Carl Nielsen. 1924]. Autographsamling X: 90: 2
End-dating: 3/12 05. Title page: Carl Nielsen. / Chaconne / for / Pianoforte / Op 32.
Donated to the Royal Library by Irmelin Eggert-Mller, 35.5x27 cm, 15 pages written in ink, paginated 1-12, 14-16.
Anne Marie Telmnyi and the music publisher Wilhelm Paper type: B.& H. Nr. 18. A. / 7.14. (10-staves).
Hansen in 1953.
11 According to Wilhelm Hansens Stikkerbog (DK-Kk) the work
was engraved on 7.7.1917.
9 (At the turn of the century).
12 Gift from the composer, 1924, autograph collection X:
10 Short for Dansk Tonekunstner-Forening (Society of Danish
90: 2.
Composers).

Carl Nielsen Udgaven CN 00042 242

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Contains pencil sketch on p. 9, apparently for possible two- S U I T E , O P U S 4 5
stave layout of variation bb. 130-45.
A Printed score
C Score, autograph, draft. B Score, autograph, fair copy (rst and second movement),
Dk-Kk, CNS 8b. copy (fth movement)
Donated to the Royal Library by Irmelin Eggert Mller in 1958. C Autograph, drafts and sketches, fair copy.
1 bifolio (34.7x26 cm), 1 folio (35.6x27 cm), 1 folio (34.5x26 D Copy by Nancy Dalberg, fair copy
cm), 1 bifolio (34.4x26), 12 pages written in pencil, paginated
1-14 (fols. 5-6 in different format, with dividing line between A Printed score.
upper and lower halves of page, upper halves numbered 9, Title page: Artur Schnabel freundschaftlich gewidmet. /
10, 11, (12), lower halves numbered [no number], 12, 13, 14). Suite / fr / Klavier zu 2 Hnden / von / Carl Nielsen / Opus
Paper type: 12 staves. 45 / Auffhrungsrecht vorbehalten. / Eigentum des Ver-
Small emendations in ink, principally affecting bb. 109-13. legers. / 10365 / LEIPZIG / C. F. PETERS..
Variations are numbered throughout. Pl. No.: 10365 (1923).
31x23.8 cm, title page, preface, 32 pages, paginated 3-34.
D Score, autograph, sketch. VORBEMERKUNG
Dk-Kk, CNS 8c. Ursprnglich hatte ich mir gedacht, dem Titel dieser Suite
Registered at the Royal Library 17 November 1983. das Wort Luziferisch hinzuzufgen, aber da dieses Wort
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26x34.6 cm, 1 folio, fol. written in pencil, fol. written in ink. die Gefahr einer einseitigen Auffassung in sich schliet,
Paper type: 12-staves. will ich lieber andeuten, wie die sechs Musikstcke auf-
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Fol. : Sketch for notation of variation from bb. 130-145. Fol. : gefat werden knnen. Ich sage ausdrcklich: aufgefat
Ink autograph of song by Paul Hellmuth. After the double bar werden knnen, nicht aufgefat werden sollen, denn jeder
added in Hellmuths hand: Kre Carl Nielsen! hvad synes De talentvolle Knstler mu fr seine eigene Auffassung Frei-
13
nu er den bedre? jeg synes det, nsten. Deres hengivne PH. heit und Raum haben, und man sieht ja so oft in der aus-
benden Kunst Musik, Schauspielkunst da, wie ein
Apart from the short sketch in source D, no sketches prior to the draft Wunder, ein Nachteil sich zu einem Vorteil wenden kann,
score survive. The draft (C) contains numerous erasures and revisions, gerade eine jener sonderbaren Erscheinungen, welche der
suggesting that it may have been made without prior sketching. Kunst oft ein wunderbares Leben verleiht.
There is no indication of which, if any, of the surviving sources served Wenn ich Klavierknstler wre, wrde ich mein Opus
as printing manuscript. Important variants between the fair copy (B) ungefhr wie folgt ausfhren:
and the rst printing (A) are shown by musical examples in the Edi- Den Anfang des ersten Satzes etwas kalt und sprde im
torial Emendations and may be seen on the facsimiles pp. lviii-lxiii. Ton und in einem ruhig dahinieenden Tempo. Bei un
poco meno das Tempo wohl etwas langsamer, aber mehr
inneres Leben. Bei con fuoco und schon etwas vorher
T H E M E A N D VA R I A T I O N S , O P U S 4 0 ein mehr drohender Charakter. Der 5., 6. und 7. Takt nach
Tempo I pp sehr innig.
A Printed score. Zweiter Satz: Poco moderato mit dem zartesten
Title page: Wilhelm Hansen Edition. Nr. 2035. / Thema Klang und auserlesener Anwendung der Pedale, gleichsam
med Variationer / for Piano-Forte / af / Carl Nielsen / Op. 40. lauschend.
/ [] / KBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK- Dritter Satz mit berlegener Ruhe und Kraft und an
FORLAG / [] / manchen Stellen z.B.Takt 5 usw. und Takt 20 usw. mit
14
Pl. No.: 17336 (1920). einer gewissen brutalen Laune.
15
30.3x23 cm, title page, 26 pages, paginated 2-27. Vierter Satz mit vollkommen khlem glsernen
Vortrag, ohne Spur von Gefhl aber mit auserlesenem
There are no surviving sources prior to the printed score. Klang.
Der fnfte Satz ergibt sich von selber.
13 Dear Carl Nielsen! what do you think now, is it better?
I actually think so. Yours affectionally, PH. Paul Hell-
15 The correct German should be glsernem
muth (1879-1919), Danish composer and pupil of Nielsen.
14 According to Wilhelm Hansens Stikkerbog (DK-Kk) the work
was engraved on 14.11.1919.

Carl Nielsen Udgaven CN 00042 243

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Der sechste Satz durchweg mit einem Hintergrund tions added in Nielsens hand. At end of fth movement
17
von dmonischer Stimmung, welche den Spieler zu starken Kre Margrethe! Hilsen fra din Carl N.
r
Kontrasten und heftigen Akzenten hintreibt. Fol.1 : Draft and sketches for rst movement of Fifth Sym-
16
Kopenhagen, 24. April 1923. Carl Nielsen. phony.

B Score, autograph, fair copy (rst and second movement), C Autograph, drafts and sketches, fair copy.
copy (fth movement). Dk-Kk, CNS 16c.
Dk-Kk, CNS 16b. Donated to the Royal Library by Knud Jeppesen in 1935.
End-dating: First movement: Damgaard 20 Aug 19., Sec- 33 pages written in pencil and ink.
ond movement: Damgaard August 19.. 2 bifolios 34x27 cm No. 8. Folio 22 (22 staves).
Donated to the Royal Library by Margrete Rosenberg in 1 folio 34x27 cm (14 staves).
1935 or later. 1 folio 34.5x26 cm Heimdal 1652 (12 staves).
33.8x26.5 cm [1]: 2 folios, 2 bifolios, 34x25.5 cm [2]: 1 1 bifolio 35.5x26.8 cm B. & H. Nr.18. A. 7.14. (10 staves).
bifolio, 12 pages written in ink. First movement: paginated 1 folio 34.5x25.7 cm (12 staves).