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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
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Edited by
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Niels Bo Foltmann
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Preface ix Fo rord
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
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
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
M E L O DY 2 01 M E L O D I
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
Revised 2006
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).
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.
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.
& b 43 b n
P I Mellemsatsen griber Bassen en Stump af Hovedmotivet
? b 43 b
b
?
j
& # 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.
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.
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.
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
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!!
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.
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).
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.
# 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
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
Niels Bo Foltmann
(English translation: James Manley)
I
FOLKETONE
FOLK TUNE
Op. 3
Andante ( = 54)
(nynnende)
(humming)
10
13
16
19
22
25
dim. rit.
dim.
12
dim.
18
22
28
dim.
34
dim.
41
46
51
dim.
57
63
dim.
69 8
dim.
75
81
dim.
13 1 1
5 4 2 5 4
5 5
16
2 5
5 4
20
24
28
32
di mi nu en do
* *
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
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
16
21
26
31
3
di mi nu en do
36 3
3
41
3 3
46 pesante
3
rit.
51 a tempo 4 3 2
3
3 3
56
di mi
8
61
nu en do
11
13
16
19
21
pesante
poco rit.
a tempo
9
13
dim.
17
un poco pi mosso
20
23
do cre
26
29
cre scen
do
32
do
34
il basso marcato
36
39
41
cre scen do
43
46
48
50
pesante
52 Tempo I
56
poco rit.
64
68
cre scen do
72
dim.
76
di mi nu en do
10
dolce
13
cre
16
5
scen do
18
21
24
sempre
31
34
cre scen
37
do accelerando
40
rubato
cre scen do
44
pesante
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
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
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
81
84
87
5
cre scen do
90
93
96
al fine
99
102
105
109
rit. pesante
cre
scen do
dim.
10
13
16
19
22
dim.
25 a tempo
28
cre scen do
32
cre
35
scen do
RSUM
38
43
48
52
56
dolce
64
dim. dim.
67
70
73
cre scen do
76
cresc.
79
81
83
85
88
dim.
91 Tempo I
dim.
94
cre
97
dim.
scen do
100
103
107
111
dim.
115
118
121
125
129
133
136
139
142
145
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
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
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
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
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
1 1
5 3 5 3
26 3 5
1 2
2 1
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
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
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
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
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
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
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
stolt, pompst
proud, pompous
pesante
13
17
22
cresc. pesante
27
31
rit.
a tempo
35
rit.
Poco adagio
dim.
a tempo
6
poco rall.
dim.
tre corde
10
12
una corda
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.
17
22
26 4
cresc. cresc.
1
4 1 5
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
42
3
3 3
tranquillo espressivo cresc.
3 1 1
3 3
3 3
3 3 1
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
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
1 5
74
poco moto
76
78
cresc.
80
dim.
un poco di pi 5
82 4 4 5
1
8
86 5 4
4 1
8
88 5 5
90 Meno
1 1
molto espressivo 2 1
a tempo ma tranquillo 1
95 2 3 1 2
1
rall. dim.
1 1 3
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
114
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.
130
un poco pi mosso
133
2 2 2
136
2 2 2 2
4 4 4
sempre
8 8
139
8
8
8 8
pesante
144
sempre
152
3 3 2
2
cantando 1
1 2 2 1 1
1 2
157
dim. rall.
2 2 1
1
2
3 2 1 1
4 5 4
dim.
rall.
1
2 2
4
2
5
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
5 4 1
172
2
1 1 2 1
4
5
174 5 4 3 1 3
176
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
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
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
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
Op. 40
Andante ( = 72)
cre scen
12
Var. 1
( = 88) 17
19
22
25
27
cre scen do
29 8
8
31
35
37 8
39
41
43
cre scen do
45
il basso marcato
47
Var. 3
Adagio ( = )
49
51
3 3 3
3 3 3
53
55
57
3 3
3 3
59
3 3 3
3 3 3
61
62
63
3 3 3
3 3
accel.
3 3 3 3 3 3 3
3 cresc. 3 3 3 3
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
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.
85 a tempo
87
89
91
93
95
3
3
Var. 6
97 Allegro ( = 138)
99
101
103
105
107
dim.
109
3
cresc. ed ac ce le ran do
Var. 7
Largo ( = 58)
113
117
sempre
122
Var. 8
lunga un poco di pi
127
( = 63)
dim. espressivo
131
quasi rall.
a tempo
135
poco rit.
3 3
3 3 3 3
3
con espressione quasi rit.
141
dim. rallentando
Var. 9
145 ( . = 72)
148
151
153
8
157
Var. 10
161 ( = 108)
166
171
179
182
cre scen do
185
189
195
197
199
201
8
204
206
cresc. cresc.
207
dim.
208
rall.
211
213
215
217
219
221
poco
223
dim. calando
cantabile
228
230
233
235
cresc.
237
239
dim. rall.
Var. 14
241 ( = 69)
243
245
247
248
dim.
8
249
8
251
252
cresc.
253
poco
254
255
256
dim.
rall.
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
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
278
3
3
3
3
8
280
8
282
285
3 3
3
3
3 3
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.
I
Allegretto un pochettino Op. 45
cre scen do
12
cre scen
17 un poco meno
poco rall.
do dim.
22
molto
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
40
con fuoco
42
44
brioso
46
poco allargando
3 3
3
3
8
48
brioso
54 8
8
57
8
60
agitato
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
91
poco
95
98
102
espressivo
poco pesante poco ri tar dan do dim. molto
di mi nu en do ri tar dan do di mi nu en do
13
17
21
8
25
30
do calando molto
34
39
8 8
47
cre scen do
una corda
8 a tempo
51
molto
molto rall.
56
dim.
60 8 a tempo
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
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
8
9
11
molto lunga
13
3
14 3
molto
16 3 3 3
3 3 3 3
3
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
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
23 8
13
8 3
24
3
3 3 3
3
3 3
3
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
13
19
25 3
31 a tempo sonore
rit.
il basso sempre
37
43
49
poco
54
60
dim. rit.
65 a tempo
con amore
70
tranq.
75
dolce
cre
13
scen do
agitato
18 Tempo I
23
30
cre
35
scen do
40 a tempo
45
poco
50
di mi nu en do
55
61
dim.
66
di mi nu en do
72 a tempo
poco rall.
pochettino rall. dim.
di mi nu en do
10
15
3 3 3
3
3
3 3 3
3
19
3 3 3 3 3 3 3 3 3
3
3 3
3 3 3 3 3
3
3
3 3 3
25
molto
glissando
3 3 3 3
27
molto
glissando
29
33
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
56
3 3
62
3 3
68
dim.
74 a tempo
3
poco rall.
80 poco meno
3 3 3
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
110
3
3
3
3
113
116
119
poco pi mosso
3 3
8
122
3
3 3 3
sempre
3
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.
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
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
187
190
193
cre scen do
196
molto
200
3 3 3 3
3 3 3 3
3 3
3 3 3 3
204
m.s. m.s.
8
8
208
m.s.
211
m.s. m.s.
214
217
220
3 3
3
223
3
3
3 3 3
3 3 3
3
3 3
3 3
226
8
229 8
glissando
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
252
3
3
dim. rall.
258 Adagio
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
m.s. m.s.
3 3 3 3 3
m.s. m.s.
8
quasi
284 presto
289 8
8
295
rall.
132
IMPROMPTU I
Allegro fluente ( = 138) 8
8
5
8
7
8 8 8
9
8 8
13
8 8
15
8
8
17
19
21
molto
rall. dim.
26 secco
31
35
3 3
3 3
39
di mi nu
42 a tempo
45
3 3
3
48 3 3
3 3
3 3
poco meno
51
lunga
54
56 Tempo I
cre scen
8
58
do dim.
8
60
cre scen do
8 8
62
di
64
mi nu en do cre scen do ac ce le
molto dim.
molto patetico, quasi parodico
ran do
70
poco a poco di
73
mi nu en do
tranquillo
77
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
10
12
do
13 3
di mi nu en do espressivo
14
cre scen do
11
15 a tempo
*)
20
3
crescendo
3
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
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
3
3 3
3
3 cre
3
3 3
8
66
3 3
scen do
3
68 3
3 3
3
73
77
85 3 un poco
3 3
3
poco ral len tan do
90 di pi
95
cre scen
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
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
133
sempre
137
sempre ral
141 a tempo
un poco meno 8
149
pesante
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
I Op. 53
Allegretto ( = ca. 76)
*)
*)
13
rit ar dan do
17 a tempo
rall.
espressivo
14 a tempo
rall.
21
IIIa
Allegro scherzoso ( = 112)
14
21
28
calando cresc.
34
pesante
10
pesante
13
cresc.
16
rall.
19
22
rall.
IV
Andantino ( = 69)
sotto voce
poco marcato
12
18
cresc.
23
espressivo
28
VI
Poco lamentoso ( = 60)
espressivo molto
cantabile
13
subito
10
subito
14
18
sempre rallentando
IX
*)
Allegretto civettuolo ( = 84)
2 2
7
3 3
14 2
2
calando
21
molto cantabile
12
XI
Andantino poco tiepido *) ( = 76)
3
cre scen do cre scen do
dim. e calando
13
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.
dolce
dolce
cresc.
11
15
dim.
rall.
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.
30
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
cresc.
11
15
tranquillo
19
23
27
calando
32
36
subito
40
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
sempre e mistico
8 ca lan do
rallentando
11
XIX
Alla Bach ( = 92)
12
17
22
27
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)
11
dim. e calando
17
cresc.
segue
23
segue
28
cre scen do
poco a poco
10
cre scen do
13
16
dim.
19
22
25
28
di mi nu en do
leggiero
10 segue
13 leggiero
subito
leggiero
16
cresc.
19
di mi nu en do leggiero
22
25
cre scen do
28
3 a tempo
5 a tempo
cresc. ed accel.
marcato
14
pi espressivo
19
24
calando
29 1 2
marcato
legato
10
15
20
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.
23
II
( = ca. 76)
5 a tempo
poco rit.
12
rall.
16
24
IV
( = ca. 58)
rall.
9 a tempo
V
( = ca. 52)
VII
( = ca. 76)
4 a tempo
rall.
11
( = 104)
VIII
10
12 a tempo
rall.
16
X
( = 48)
13
17
21
9 a tempo
poco rall.
13
17 a tempo
poco rall.
21
26
XII
( = ca. 50)
12 a tempo
poco rall.
16
XV
( = ca. 72)
rall.
XVII
rall.
11
16 a tempo
poco rall.
21
10
( = ca. 58)
XX
5 3
XXII
( = ca. 60)
11
16
XXIV
( = ca. 58)
XXV
( = 50)
12
13
17
a tempo
21
poco rall.
25
10 a tempo
poco rall.
15
20
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
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)
38
I
10
15
M E L O D Y M E L O D I
Adagio
MELODY
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 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
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
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
3
3 3 3 3
3 3 3
3
3
3 3
3 3
19
3 3 3 3 3 3 3 3
20
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
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
41
47
53
poco a poco
59
cre scen do
65
70
77 a tempo
tan do
83
3 3
3 3 3 3 3 3
88
3 3 3 3 3 3
cre scen do
93
99
dim.
105
dim.
111
117
123
129
135
cre
segue
141
scen do
147
segue
153
159
165
171
176
180
184
188
191
195
200
206
cre scen do
210
213
216
219
222
226
sempre
pesante
231
dim.
3 3
tan do dim.
244
252
264
270 a tempo
275
280
284
287
291
294
299
303
306
309
313 3
ral len
3
3
3
3
317
3
3
tan do
3
322
326
329
sempre legato
333
336
sempre legato
339
342
345
348
2 2
351
m.d.
354
356 ( = )
362
368
a tempo
372
376
379
383
387
a tempo
391
poco pesante
394
3 3
3 3
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
413
416
420
425
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.
453
459
465
sempre legato
469
473
476
scen do
479
483
487
poco rall.
491
494
sempre legato
497
500
503
marcato
506
509
pesante
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
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.
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.
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).
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).
2-5 (page 1 unpaginated), second movement: paginated 1-4, 1 bifolio 34x27 cm Nr. 3. F. 12. (12 staves).
fth movement: paginated 2-3 (page 1: unpaginated). 1 folio 35.4x26.8 cm B. & H. Nr. 4. C. 7.14. (12 staves).
Paper type: 1 folio 34.2x27 cm No. 8 Folio 22 (22 staves).
[1] No. 3. F. 12. (12 staves). 1 bifolio 35.4x26.8 cm B. & H. Nr.18 A. 7.14. (10 staves).
[2] (12 staves). 1 folio 35.5x26.7 cm B. & H. Nr. 1. A. 6.13. (12 staves).
The source has been restored. 1 folio 34.5x25.6 cm (12 staves).
Fair copy of rst, second and fth movement; some altera- The source has been restored.
tions to dynamics in pencil, rst movement, bb. 75-80. Draft of whole work, lacking rst page of fourth movement.
Fifth movement (copy) with tempo- and dynamic indica- Occasional ink corrections to pencil score. Fifth movement
begun in ink, ca. bb. 1-19. Also contains fair copy of sixth
16 PREFACE movement, bb. 24-42 (headed Suite VI fra Takt 23 til 41 see
Originally I considered giving this Suite the title facsimile p. lxviii), with different textural layout from all oth-
Luciferian. But since this word invites a dangerously
one-sided interpretation, I should rather suggest how er extant sources, and sketch for Derfor kan vort je gldes
the six pieces may be understood. I insist: may be, not (text by Christian Richardt) from Tyve folkelige Melodier.
should be, understood, because every talented artist
must have freedom and space for his own interpreta-
tion, and often in the performing arts music, acting D Copy by Nancy Dalberg, fair copy.
we see how a disadvantage can miraculously turn into Dk-Kk, CNS 16a.
an advantage. This is one of those special phenomena
that often give art a wonderful life. Title page: Ild og Vand. / Suite / for Pianoforte / af / Carl
18
If I was a pianist, I would perform my opus something Nielsen.
like this:
Aquired by the Royal Library from the estate of Henrik
The beginning of the rst movement rather cold and
brittle in tone and in a peacefully owing tempo. At un Knudsen in 1947.
poco meno the tempo indeed somewhat slower, but with 34.2x25.8 cm, 38 pages written in ink, paginated 1-38.
more inner life. At con fuoco and already a little before
that, a more menacing character. The fth, sixth and Bound in library binding.
seventh bars after Tempo I very inwardy. Paper type: 10 staves.
The second movement: Poco moderato with the tenderest
Lacks fth movement (sixth movement of the printed
tone and subtlest pedalling, as though listening.
The third movement with contemplative tranquillity edition here carries the heading V. Paste-overs in fourth
and in many passages e.g. bars 5ff. and 20 ff. with a movement, bb. 55-56, sixth movement (= V), bb. 272-282.
certain brutal temper.
The fourth movement in a totally cool, glassy style, Some queried notes in pencil.
with no trace of feeling [i.e. with no affectation] but
with subtle tone.
The numerous erasings and fragmentary sketches in C suggest
The fth movement speaks for itself.
The sixth movement throughout with a demonic mood that this was Nielsens composing score, from which he made
in the background, which drives the player to strong fair copies such as B. No autograph fair copies of third, fourth
contrasts and decisive accents.
Copenhagen, 24 April 1923. Carl Nielsen.
17 Dear Margrethe! Greetings from your Carl N.
18 Fire and Water. Suite for Piano by Carl Nielsen.
# with b.10
J J fourth quaver: e ' emended to e ' by anal-
. . 11 pf.1
.
? # j J
ogy with pf.2
..
. eighth quaver note 4: d emended to d by
11 pf.2
analogy with pf.1 (note 2)
9 pf.1 F: note 1: grace notes c'' , d'' (no grace 12 fourth quaver: ten. added by analogy with
notes in the following bar) b.11
13 pf.1 note 1: marc. added by analogy with b.5 15 pf.1 chord 1: ten. omitted by analogy with pf.2
16 F: and b.13 (pf.1, chord 5)
19-34 F: notated with E major key signature 16 pf.2 chord 8: A' , A emended to A' , A by anal-
23-27 F: ogy with pf.1
> > seventh quaver: g '' emended to g '' by
## - n - # #
20 pf.1
& # # #
n n
analogy with pf.2
21 pf.1 middle part third to fth quavers: slur
F dim.
? # # # # - > added by analogy with bb.4, 20-21; sixth
# # - - to eighth quavers: marc. added by analogy
n #
with b.4
22 pf.1 chord 10, lower part: c' emended to c ' by
28 pf.1 second crotchet: stacc. omitted by analogy analogy with upper part and as pencil
with b.20 correction in A (CN)
32-34 F: 24 pf.2 C'' emended to D'' by analogy with middle
## - # part and pf.1
& # # n n n # .
3
# #
fz F Second Movement
? # # # # - #
n
# Bar Part Comment
fz 1 C: Moderato
3-18 pf.1 slur b.3 sixth quaver to b.4 fth quaver,
41 pf.1 F: as b.9 slur b.8 sixth quaver to b.12 fth quaver,
47 pf.1 F: chord 1: lower octave missing and slur b.13 rst quaver to b.16 sixth
48 pf.1 F: chord 3: lower octave missing quaver emended to one slur by analogy
51-66 F: notated with E major key signature with bb.57-75
52 pf.1 note 1: stacc. added by analogy with bb.53-55 9 a tempo added by analogy with b.63
53 pf.1 note 5: g''' emended to f''' by analogy with 11 pf.1 lower part: marc. added by analogy with
bb.51-52, 54, as in CNs pencil correction b.65
and as in F 13 pf.2 third crotchet:
emended to
by
63 D: third crotchet: additional ; F: analogy with bb.1, 14, 67 and as pencil
64-65 pf.2 tie added by analogy with bb.63-64 and as correction in A (CN); chord 7, upper part:
in F cautionary omitted by analogy with b.67
T H E M E A N D VA R I A T I O N S , O P U S 4 0
& b b .. .. .. n. n n n ... ... ... ... ... . . .
b b .. .. .. b b ...
b ..
> - . b - b -
Bar Part Comment
> . b 7 pf.1 ten. added by analogy with b.3
? b b
b 8 pf.1 upper part note1: ten. added by analogy
with b.4
(8) . n
pesante
14 pf.1 chord 3: ten. added by analogy with
. # . n . . #
& . n n n # # n n n # chords 1, 2, 4
19 pf.1 rst crotchet: a''' emended to f ''' and ten.
(8) added by analogy with b.3
& b b .. b .. n n .. b b .. n . .
b #.
21 pf.1 lower part fourth crotchet: slur added by
n.
n -
analogy with b.29
-
molto rall. cresc.
? ### . j j r
# .
..
S U I T E , O P U S 4 5
.
j
u
Third Movement
? b b Kr j U U
.. .. . ww
Bar Part Comment
( )
5 pf.2 eighth quaver: ten. added by analogy with
b.4 See also facsimiles pp. lxvi, lxvii
6 pf.1 eighth quaver (note 1): b ' emended to b '
by analogy with pf.2 Four th Movement
6 pf.2 fourth quaver (note 1): ten. added by ana-
logy with pf.1 Bar Part Comment
9 pf.1 C, D: upper part second quaver: a'' 9, 10 pf.2 brackets around the accidentals omitted
9 pf.2 C, D: upper part second quaver: a' 45 pf.2 A: lower part: slur begins on note 3
9-10 C, D: 59 C: rst crotchet:
- - - - - - - 69 C: poco meno mosso
n
b b # n b . # # n . . Fif th Movement
b .. . . . n n
& b n ..
n Bar Part Comment
b .. .. B: Allegro moderato
? bb
n.
B:
9 pf.2 B, C: upper part note 3: a'
13 B: second quaver: poco accell:
- - - - - - -j
b . rK 16 B: vivo
& .. # # n .. # n .. # # n .. n n .. nn .. # #
b #
#
.. 16-22 C: originally compressed into three bars,
crossed out, with comment forlnges (to
molto
be extended); bb.16-22 notated in full at
? bb #
#. bottom of page
# 29 pf.2 lower part second and third quavers: ties
added by analogy with bb.30, 31 and as in B
15-18 C: See facsimile p. lxiv 41 B: marked in pencil (CN?) to be repeated
18 pf.1 tenth quaver (note 3): b '' emended to b '' by 49 pf.2 brackets around
omitted
analogy with b.6 (eighth quaver pf.2) 57, 58 pf.2 note 1: brackets around accidental omitted
19 C, D: 69 pf.2 beginning of slur emended from begin-
ning of b.71 (open slur) by analogy with
b b bb.67-69
& b 71-72 pf.2 slur added by analogy with bb.65-66, 66-67
b
b b b Sixth Movement
& b # n b b
3
117 pf.1 chord 1: marc. added by analogy with 38 B: second crotchet: rall.
b.116
117 pf.2 chords 1-3: marc. added by analogy with No. IIIb
b.116
118 D: un poco accelerando D: Andante
118-121 pf.1 marc. added from b.118 (chord 4) by anal- 1, 2, 3, 5, 6,
ogy with b.118 (chords 1-3) 17, 18, 19,
120 pf.2 chords 2-3: marc. added by analogy with 21, 23 pf.2 stacc. on second chord of slurred gures
bb.118-119 moved from upper to lower note by anal-
121-123 pf.2 marc. added by analogy with bb.118-119 ogy with bb.13,14 (see facsimile, p. lxxiv);
124 pf.2 D: z D: no articulation specied
126 pf.1, pf.2 D: with pause 4 pf.2 note 5: c ' emended to c ' by analogy with
126 pf.2 notes 3,4: b.20
142 D: eighth semiquaver: accellerando 13, 14 pf.1 stacc. on second chord of slurred gures
145
D: Allegro; moved from upper to lower note; D: no
149 pf.3 chords 1-2: emended to
tied to articulation specied
152 pf.2 chords 2-3: marc. added by analogy with
chord 1 and b.151
No. IV BOOK II
4-5 pf.2 D: lower part: tie from b.4 note 2 to b.5 No. XIII
D: Adagio 2 9 L I T T L E P R E L U D E S F O R O R G A N O R
1 D: espressivo H A R M O N I U M , O P U S 5 1
1, 9 pf.1 D: fourth crotchet:
4 D: third and fourth crotchets: No. I
5 D: note 1: Bar Part Comment
7 D: note 1: 1 C:
8 D: rst and second crotchets: ; 1 D:
third and fourth crotchets: 13-14 st.1 C: lower part: no tie across the bar line
9 D: note 1: 18 st.1 upper part: note 2: added as in D
11-12 D: no dynamics 19 st.1 C: lower part: note 4: ; D: lower part, last
quaver: two (a' , g' )
No. XXI
No. II
footnote: A: goffo=Klodrian / tlpisch
11 pf.1 lower part: note 2: cautionary accidental 1 D: notes 1-8: slur, note 8: stacc.
added 1-2 st.1 D: b.1 note 9 to b.2 note 5: slur, b.2 note 5:
12 pf.1 upper part: note 2: g ' emended to g ' by stacc.
analogy with b.11 and as in D 3 st.2 D: notes 1-8: slur, note 8: stacc.
15 D: poco rall. 6 middle part: line between notes 1 and 2
17 D: a tempo added as in C
31 D: dim. 7 st.2 D: sixth to seventh quaver: slurs
33 D:
No. III
No. XXII
13-14 st.2 C: upper part: no tie
1, 5, 20 pf.1 D: note 10:
3, 6, 29 pf.2 D: note 10: No. IV
11 pf.1 lower part: D: note 10:
2
13 pf.2 D: note 1: 8 D: notated as two bars ( 4 )
27 pf.1 upper part notes 1-2: tie omitted by anal-
ogy with bb.11, 14; D: tie from b.26 third No. V
dotted crotchet to b.27 note 1 crossed out
1
D: Fuldt Vrk (smertefuldt nrvrende)
No. XXIII
organo pleno (painfully present)
4 D: second crotchet: poco rit. and dim.
11 segue emended from b.10 5 D: beginning of bar:
12 D: fourth quaver: 9 D: second minim: rall. and dim.
13 D: 10 D: beginning of bar: and a tempo
27 D:
28 D: no dynamic No. VI
32 D:
+1-1 D: b.+1 to b.1 third crotchet: slur
No. XXIV 1-2 D: b.1 fourth crotchet to b.2 third
crotchet: slur
D: Adagio 4 st.2 lower part: note 1: emended to as in C,
1 D: molto espressivo D and by analogy with st.1
7 pf.1 upper part note 9: a' emended to a ' by 8 D: note 1: rall.
analogy with note 4 and as in D; D: upper
part notes 2, 4, 7, 9: a ' ; lower part notes
2-3: tie added as in D
7 pf.2 note 2: c emended to c as in D
7 pf.2 note 10: B emended to B by analogy with
pf.1
+10 D: Allegretto
5 st.1 C, D: lower part: note 4: e ' +1-2 st.1 D: b.+1 to b.2 note 1: slur
14 st.2 C, D: upper part: notes 1-2: . 1 D: note 1: d / d'
15 st.2 lower part. note 4: added as in D, E, F 2 D: second and third crotchet: ten.
20 st.2 C: lower part: notes 2-3: no tie 2-4 st.1 D: upper part: b.2 note 4 to b.4 note 1: slur
23 D: rall. 4 st.1 D: both parts: notes 2-3: ten.
23-24 st.1 C: middle part: no tie across the bar line 4-6 st.1 D: upper part: b.4 note 4 to b.6 note 1: slur
5-7 st.2 D: lower part: b.5 note 1 to b.7 note 1: slur
No. XI 6 st.1 D: upper part: notes 2-3: ten.
6-8 st.1 D: upper part: b.6 note 4 to b.8 note 1: slur
D: several slurs in this source 6-7 st.2 D: upper part: b.6 note 1 to b.7 note 1: slur
1 C: (Allegretto) added in pencil (CN); D: Al- 7 st.2 C, D: lower part: note 4:
n b
&
No. XXIII
emended to
D: upper part: note 1:
3 3
8 st.1
b
9-10 middle part: line from b.9 note 8 to b.10 & n J
J
note 1 added as in D
D: upper part: note 8: b
3
9 st.2
11-12 st.1 D: tie across the bar line 12 st.1 lower part: note 2: b ' emended to b ' as in
B, C, D, E, F
No. XXIV 12 st.2 C, D: upper part: note 1:
13 st.1 upper part: note 18: added by analogy
7-8 st.2 C: lower part: no tie across the bar line with lower part fth quaver and as in B,
10 st.2 D: second minim: no upper part where a has been erased thus implying
11 st.1 D: lower part: second minim:
that CN must have meant b '
13 st.2 emended to pedale
No. XXV 13 st.2 B: (e) has been erased; C, D: (e) as upper
part
3 st.1 D: last quaver: e ' 14 st.2 B: notes 7-8: a-g
5-6 st.2 D: upper part: no tie across the bar line 15 st.1 lower part: note 5: emended to as in B,
C, D
No. XXVI 17 st.2 D: lower part: note 1:
17 st.2 D: upper part: note 4:
23 st.1 C: lower part, note 1: ; D: no lower part, 20 st.1 D: middle part:
no a tempo
No. XXIX
No. XXVII
4-5 st.1 B, C: lower part: b.4 note 3 to b.5 note 1: slur
1 st.1 B: upper part: slur notes 1-2, 3-4, 5-6 but 12 added as in B, C, D
later crossed out in pencil; C: upper part:
slur notes 1-2, 3-4, 5-6