Danish Classical Music Edition·S music¬sound¬art
Hilda Sehested
Fantasistykker for violoncel og klaver
Fantasy Pieces for Violoncello and Piano (1908)
Partitur / Score
Kritisk udgave ved / Critical edition by Asmus Mehul Mejdal Larsen
Copenhagen 2024
Hilda Sehested: Fantasistykker / Fantasy pieces
Kritisk udgave ved / Critical edition by Asmus Mehul Mejdal Larsen
DCM Editor-in-chief: Thomas Husted Kirkegaard © 2024 Edition·S
Music engraving: Asmus Mehul Mejdal Larsen
Cover design: Tobias Røder
Layout: Rudiger Meyer
Udarbejdet og udgivet med støtte fra Augustinus Fonden
Prepared and published with support from The Augustinus Foundation
Edition·S | music¬sound¬art
Worsaaesvej 19, 5th floor DK-1972 Frederiksberg
Denmark edition-s.dk
Edition·S’s virksomhed støtes af Statens Kunstfond / Edition·S is supported by The Danish Arts Foundation.
DCM DCM040
ISBN 978-87-93750-84-5
ISMN 979-0-706839-07-3
Indhold / Contents
Danish Classical Music iv Biografi / Biography vi Forord / Preface vii Faksimiler / Facsimiles viii
Fantasistykker for violoncel og klaver / Fantasy Pieces for Violoncello and Piano
1. Caprice 9
2. Alla romanesca 16
3. Humorske 22
Critical Commentary 28
Danish Classical Music
Udgivelsesserien Danish Classical Music (DCM) har til formål at tilgængeliggøre dansk musikalsk kulturarv i pålidelige og gennemarbejdede praktisk-videnskabelige nodeeditioner for musikere og forskere i ind- og udland. Således er ambitionen at overtage stafeten fra Dansk Center for Musikudgivelse, som opererede som et forskningscenter under Det Kgl. Bibliotek, 2009-2019. Centeret udgav praktisk-videnskabelige editioner af høj filologisk kvalitet, og siden lukningen af centeret er denne opgave ikke blevet varetaget – men behovet er ikke blevet mindre.
Mens Dansk Center for Musikudgivelse fungerede som et center med ansate medarbejdere er forholdene for det nye DCM anderledes: Her er tale om selvstændige og individuelt finansierede projekter under DCM-paraplyen. Derfor er der ikke blevet udarbejdet et nyt sæt redaktionelle retningslinjer – i stedet videreføres de retningslinjer, som blev formuleret af Dansk Center for Musikudgivelse. De eneste ændringer fra retningslinjerne er layoutmæssige, og så er der i DCM-udgivelserne tilføjet en kort biografisk introduktion til komponisten.
De redaktionelle retningslinjer sikrer udgivelsernes høje og konsistente editionsfilologiske niveau og grundindstillingen til udgivelsesarbejdet kan sammenfattes i nogle få, centrale punkter.
Om “praktisk-videnskabelige editioner”
Med begrebet “praktisk-videnskabelige editioner” sigtes der til, at udgivelserne skal være praktisk anvendelige for musikere, uden at musikerne nødvendigvis skal forholde sig til redaktørens arbejde og filologiske overvejelser. Derfor er selve nodesiden “ren” og uden fodnoter eller lignende. Samtidig er udgivelserne videnskabelige, idet interesserede læsere kan finde den nødvendige information om det editionsfilologiske arbejde i tekstdele placeret før og efter nodedelen: Før nodedelen bringes en introduktion til værket, dets tilblivelses- og receptionshistorie samt generelle kommentarer til det filologiske arbejde (eksempelvis nogle særlige udfordringer eller valg); efter nodedelen følger en grundig kildebeskrivelse og en oversigt over redaktionelle ændringer, deres begrundelse i kilderne samt information om varianter.
Om redaktørens rolle
Som James Grier skriver i bogen The Critical Editing of Music fra 1996, så er al editionsfilologisk arbejde også et fortolkningsarbejde, ideelt set baseret på grundige, kritiske og historisk forankrede studier af kildematerialet. Idéen om at den videnskabelige edition videregiver den “eneste rigtige” version af værket er en fiktion: Ofte vil redaktører komme frem til varierende udlægninger af et værk, og ofte kan der argumenteres lige godt for den ene læsning som den anden. Det er derfor vigtigt at bevæggrunden for de enkelte valg er tydeliggjort i over-
Danish Classical Music
The publication series Danish Classical Music (DCM) aims to make Danish musical heritage accessible for musicians and researchers in Denmark and abroad by providing reliable and meticulous practical-scholarly music editions. The ambition is thus to take over the baton from the Danish Centre for Music Publication which operated as a research centre under the Royal Library from 2009 to 2019. The centre published practical-scholarly editions of high philological quality, and since the closure of the centre, this task has not been undertaken – but the need has not diminished.
While the Danish Centre for Music Publication functioned as a centre with dedicated employees, the conditions for the new DCM are different: it comprises of independent projects funded individually under the DCM framework. Therefore, a new set of editorial guidelines has not been developed – instead, the guidelines formulated by the Danish Centre for Music Publication are being sustained. The only changes to the guidelines relate to layout, and in DCM publications a brief biographical introduction of the composer is added.
The editorial guidelines ensure a high and consistent level of philological quality in the publications, and the fundamental editorial approach can be summarized in a few key points.
On “practical-scholarly editions”
The term “practical-scholarly editions” refers to the aim of making the publications practically useful for musicians without requiring them to engage directly with the editor’s work and philological considerations. The sheet music is therefore “clean”, without footnotes or similar additions. At the same time, the publications are scholarly in nature, as interested readers can find the necessary information about the philological work in sections placed before and after the sheet music: Prior to the sheet music, there is an introduction to the work, its genesis and reception history, as well as general comments on the philological work (such as specific challenges or choices). After the sheet music, a thorough description of sources and an overview of editorial changes, their justification based on the sources, and information about variants are presented.
On the role of the editor
As James Grier writes in his book The Critical Editing of Music from 1996, all philological work is also an act of interpretation, ideally based on thorough, critical, and historically grounded studies of the source material. The notion that the scholarly edition presents the “only correct” version of a work is a fiction: Editors often arrive at varying interpretations of a piece, and equally compelling arguments can often be made for different readings. Therefore, it is important to clarify the rationale behind each choice in the overview of editorial revisions.
sigten over redaktionelle retelser.
I serien undgås såkaldte “eklektiske” editioner, en sammenblanding af forskellige kilder, der kan resultere i en version af værket, der aldrig har eksisteret fra komponistens hånd. Der bestemmes derfor altid en hovedkilde, som editionen er baseret på, mens varianter kan bruges som hjemmel ved retelser af klare fejl.
Om denne udgivelse
Nærværende udgivelse er en del af et indledende projekt på DCM, som fokuserer særligt på danske kvindelige komponister – en gruppe af komponister, hvor behovet for kritisk-videnskabelige og praktisk anvendelige editioner er særlig mærkbart al den stund at meget af deres musik ikke blev udgivet i deres egen levetid og kun sjældent er blevet opført. Det er håbet, at udgivelsen kan være med til at udbrede et overset men vigtigt repertoire i dansk musikkulturarv – både blandt musikere, forskere og andre interesserede.
Udgivelsen er venligt støtet af Augustinus Fonden, hvortil der retes en stor tak.
Thomas Husted Kirkegaard, ph.d.
The series avoids so-called “eclectic” editions, which involve a mixture of different sources and may result in a version of the work that never existed in the composer’s hand. Therefore, a primary source is always determined as the basis for the edition, while variants can be used as evidence for correcting clear errors.
On this publication
The present publication is part of an introductory project within DCM that specifically focuses on Danish women composers – a group of composers for whom the need for scholarly-critical and practically useful editions is particularly pronounced, given that much of their music was not published during their lifetime and has rarely been performed. The hope is that this publication can help disseminate an overlooked yet important repertoire in Danish musical heritage among musicians, researchers, and other interested parties.
The publication is generously supported by the Augustinus Foundation, to whom heartfelt thanks are directed.
Thomas Husted Kirkegaard, Ph.D
Biografi
Hilda Sehested blev den 27. april 1858 født ind i en adelig familie på herregården Broholm på Fyn og døde 15. april 1936 i København.
Som del af den almene dannelse, som kvinder fra Sehesteds socialklasse var pålagt, blev hun som barn undervist i klaver og musikteori. Sehested gik ikke på konservatoriet, men hun begyndte at modtage privatundervisning i klaver hos komponisten C.F.E. Horneman som 15-årig i 1873. Fra 1886 studerede hun komposition privat hos Orla Rosenhoff.
Sehested udtrykte en trang til at frigøre sig fra sin hjemegn og sine selskabelige pligter på Broholm og flytede i 1892 til København. Der var hun tætere på musiklivet i hovedstaden og ligesindede, aspirerende musikere og komponister.
Sehested blev forlovet med arkæologen Henry Petersen, som dog døde kort før deres planlagte bryllup i 1896. Efter dete stoppede hun både med undervisningen hos Rosenhoff og med at komponere. I de efterfølgende år forsøgte hun at finde en ny vej i livet og uddannede sig som organist. Hun fik sit afgangsbevis i 1899, men vides ikke at have haft embede som organist efterfølgende.
Først i 1900 vendte hun tilbage til sin gamle musikalske omgangskreds og begyndte igen at komponere og udgive musik. I 1903 udgav hun værkerne Klaversonate i As-dur og Intermezzi for violin, cello og klaver, og året efter begyndte hun at komponere for blæseinstrumenter. I 1905 skrev hun Suite für Cornet in B und Klavier, der i 1915 blev bearbejdet til Suite for Kornet og Orkester. Klaversonatens kompositionsstil blev af hendes læremester Orla Rosenhoff beskrevet som “hyper-romantisk,” og han mente, at den bar præg af hendes kærlighed til Wagner og Schumann.
I 1913–1914 skrev hun sin første og eneste opera Agnete og Havmanden, der havde tekst af forfateren Sophus Michaëlis, og som blev antaget til opførelse på Det Kongelige Teater. Grundet 1. verdenskrig og den materialemangel, krigen medførte, måte opsætningen aflyses.
I 1910’erne havde hun opnået anerkendelse som komponist, og hendes værker blev opført af flere solister og ensembler. Orkesterstykkerne Lygtemænd og Mosekonen Brygger blev begge opført ved en kompositionskoncert i 1915, hvor Politikens anmelder skrev, at Sehested viste sig som en “virkelig dygtig Dame.” 1
Sehesteds forkærlighed for at komponere musik for blæseinstrumenter fortsate, og hun skrev i midten af 1920’erne de to større værker for basun Morceau pathétique pour trombone avec accompagnement de piano i 1924 og Course des athlètes du Nord. Morceau symphonique pour trombone avec orchestra ou piano i 1925.
I de sidste ti år frem til sin død i 1936 indstillede Hilda Sehested komponistkarrieren.
Biography
Hilda Sehested was born on 27 April 1858 into a noble family at the Broholm manor on Funen and died on 15 April 1936 in Copenhagen.
As part of the general education that was required of women of Sehested’s social class, she was taught piano and music theory as a child. Sehested did not attend the conservatory, but began receiving private piano lessons from the composer C.F.E. Horneman as a 15-year-old in 1873. From 1886 she studied composition privately with Orla Rosenhoff.
Sehested expressed a desire to free herself from her home environment and her social duties at Broholm and in 1892 moved to Copenhagen. There she was closer to the musical life of the capital and like-minded, aspiring musicians and composers.
Sehested became engaged to the archaeologist Henry Petersen, who, however, died shortly before their planned wedding in 1896. Following this, she stopped both her lessons with Rosenhoff and composing. In the following years, she tried to find a new path in life and trained as an organist. She obtained her graduation certificate in 1899, but is not known to have held office as an organist afterwards.
It was not until 1900 that she returned to her old musical circle and began to compose and publish music again. In 1903 she published the works Piano Sonata in A Major and Intermezzi for Violin, Cello and Piano, and the following year began composing for wind instruments. In 1905 she wrote Suite for Cornet in Bb und Piano, which in 1915 was adapted into the Suite for Cornet and Orchestra. The compositional style of the piano sonata was described by her teacher Orla Rosenhoff as “hyper-romantic,” believing that it was influenced by her love of Wagner and Schumann.
In 1913 – 1914 she wrote her first and only opera Agnete og Havmanden, to a text by the author Sophus Michaëlis, and which was accepted for performance at the Royal Theatre. Due to the 1st World War and the shortage of materials caused by the war, the staging had to be cancelled.
By the 1910s, she had achieved recognition as a composer, and her works were performed by several soloists and ensembles. The orchestral pieces Lygtemænd and Mosekonen Brygger were both performed at a composition concert in 1915, where Politiken’s reviewer wrote that Sehested proved to be a “really talented lady.” 1
Sehested’s penchant for composing music for wind instruments continued, and in the mid-1920s she wrote the two major works for trombone Morceau pathétique pour trombone avec accompaniment de piano in 1924 and wwCourse des athlètes du Nord. Morceau symphonique pour trombone avec orchestra ou piano in 1925.
In the last ten years before her death in 1936, Hilda Sehested suspended her career as a composer.
1 “Gusch”, Politiken 26.3.1915.
1 “Gusch”, Politiken 26 March 1915.
Forord
Om tilblivelsen af Fantasistykker for Violoncel og Klaver vides ikke meget. Værket er opført ved en privat matinékoncert i 1907. Koncerten var arrangeret af Hilda Sehested selv og blev afholdt i Koncertpalæets Riddersal i Odd Fellow Palæet. Til denne koncert var der ikke inviteret anmeldere, men Lisbeth Ahlgren Jensen bemærker, at Angul Hammerich må have været til stede, da han har bagt en notits i Nationaltidende:
Komponistinden, Frøken Hilda Sehested havde i Søndags arrangeret en Matiné i Koncertpalæets Riddersal, hvor en Række af hendes egne Kompositioner om til Udførelse: Først Intermezzi for Violin, Violoncel og Klaver, dernæst Suite for Trompet og Klaver (tidligere udført i Kammermusikforeningen), til sidst de nylig komponerede Fantasistykker for Violoncel og Klaver. En Mængde af vor Musikverdens kendte Navne havde givet Møde. Kapelmusikus Høeberg, Frøken Sehested selv og Kapelmusikus Thorvald Hansen deltog i Udførelsen.
Næste Søndag gives anden, og sidste, Matiné, ligeledes med Kompositioner af Frøken Sehested: Sonate for Klaver, Fantasistykker for Violin og Klaver samt Sange med Klaver.
Fantasistykker for Violoncel og Klaver er ét blandt flere kammerværker, som Sehested komponerede i 1900-tallets første årti, mere præcist ca. 1903-1910; en række af de andre er nævnt i ovenstående notits og dertil kan føjes Suite for Kornet og Strygere (og Klaver), Guldspurvens Sang (for sang, klaver, klarinet og cello) og Intermezzo pastorale for Klarinet og Klaver
Fantasistykker for Violoncel og Klaver blev udgivet på Wilhelm Hansens musikforlag i 1908 og er tilegnet cellisten Ernst Høeberg (1871-1926). Der kendes ikke til senere opførsler af værket.
Asmus Mehul Mejdal Larsen
Preface
Not much is known about the creation of Fantasy Pieces for Cello and Piano. The work was performed at a private matinee concert in 1907. The concert was arranged by Hilda Sehested herself and was held in the Concert Palace’s Knight’s Hall in the Odd Fellow Palace. No reviewers were invited to this concert, but Lisbeth Ahlgren Jensen notes that Angul Hammerich must have been present, as he wrote a note in the Nationaltidende:
The composer, Miss Hilda Sehested, had arranged a matinee in the Concert Palace's Knight’s Hall on Sunday, where a series of her own compositions were performed: First Intermezzi for Violin, Cello and Piano, then Suite for Trumpet and Piano (previously performed at the Chamber Music Society), and finally the recently composed Fantasy Pieces for Cello and Piano. A number of well-known names in our music world had atended. The orchestral musician Høeberg, Miss Sehested herself and the orchestral musician Thorvald Hansen participated in the performance.
Next Sunday the second, and final, matinee will be given, also with compositions by Miss Sehested: Sonata for Piano, Fantasy Pieces for Violin and Piano and Songs with Piano.
Fantasy Pieces for Cello and Piano is one of several chamber works that Sehested composed in the first decade of the 20th century, more precisely around 1903 – 1910; a number of the others are mentioned in the note above and to these can be added Suite for Cornet and Strings (and Piano), Guldspurvens Sang (The Song of the Goldfinch) (for voice, piano, clarinet and cello) and Intermezzo Pastorale for Clarinet and Piano.
The Fantasy Pieces for Cello and Piano were published by Wilhelm Hansen’s music publisher in 1908 and are dedicated to the cellist Ernst Høeberg (1871 – 1926). There are no known later performances of the work.
Asmus Mehul Mejdal Larsen
Faksimile Facsimile
Første side i første udgave (kilde A). Udgivet i 1909, det er den eneste kendte kilde til dete arbejde
First page of the first edition (source A). Published in 1909, it is the only known source of this work
Fant asist yk ker
Hilda Sehested
Description of Sources
A Printed score, first edition
Front page: “Ernst Høeberg wtilegnede. / FANTASISTYKKER / FOR / VIOLONCEL OG KLAVER / AF / HILDA SEHESTED / Nr. 1. Caprice / - 2. Alla romanesca / - 3. Humoreske / FORLÆGGERENS EJENDOM FOR ALLE LANDE / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG”.
Pagination: Caprice: Title page, pp. 2 – 7, unnumbered page + pp. 1 – 2 (cello part = A1); Alla romanesca: Title page, pp. 2 – 7, unnumbered page + pp. 1 – 2 (cello part = A1); Humoreske: Title page, pp. 2 – 7, unnumbered page, + pp. 1 – 2 (cello part = A1)
34 × 27 cm.
The score was printed in 1908 by Wilhelm Hansen, Musik-Forlag and was recieved by The Royal Danish Library the following year. It contains the full score (A) and parts for the violoncello (A1).
34 × 27 cm.
Evaluation A is the only known source for the work, and thus, it has necessarily been the main source for this edition. The parts (A1) have been consulted at points where the full score (A) is believed to be corrupted.
Critical Commentary
I. Caprice
Bar Part Comment
4 vlc. notes 2 – 7: c added by analogy with b. 70 (recapitulation); in b. 5 the c appears as if it was prolonged from the previous system (i.e. b. 4).
4 pf.2 upper part: note 6: emended from lower part by analogy with voice leading.
10 vlc. A: stemless d writen on second crotchet; interpreted as printing error and omited by analogy with b. 76.
15 pf. note 1: p moved from rest 1.
22 pf.2 lower part, note 1: q emended to q by analogy with b. 88 and to regularise bar.
23 pf.2 upper part, note 1: q emended to q by analogy with b. 89 and to regularise bar; note 4: emended from lower part by analogy with voice leading.
27 vlc. note 1: rit. at note 3 emended to note 1 by analogy with pf.
35 pf.2 lower part, notes 2 – 3: stacc. added by analogy with upper part, bb. 32 pf.1 lower part, note 3: b emended from upper part in accordance with voice leading.
vlc. slur without beginning, ending on b. 39, note 1 (A: page turn after b. 38) emended to slur from b. 38, note 4 to b. 39, note 1 by analogy with bb. 39 – 44.
40 vlc. note 1: h corrected to h by analogy with bb. 39 – 43 to regularise bar.
54 – 55 pf.2 middle part, notes 1 – 2: staccato added by analogy with pf.2, lower part, bb. 52 – 53.
63 pf.1 lower part, note 1: emended from upper part by analogy with voice leading. pf.2 lower part, notes 5 – 7: slur added by analogy with b. 59.
66 last crotchet: tempo added by analogy with upbeat to b.1.
vlc. semibreve rest with fermata emended to minim rest, crotchet rest with fermata, crotchet rest editorially.
pf.2 last chord: fermata added by analogy with pf.1 and vlc.
pf.2 upper part, note 5: f # in lower part emended to upper part by analogy with voice leading.
70 pf.2 upper part, note 6: g in lower part emended to upper part by analogy with voice leading.
81 pf. p on rest 1 emended to p on note 1.
89 pf.2 upper part, note 4: b in lower part emended to upper part by analogy with voice leading.
93 vlc. rit. at note 3 emended to rit. at note 1 by analogy with pf.
93 – 94 vlc. c in b. 93, notes 3 – 4 and c in b. 94 emended into one.
95 pf.2
106 pf.
lower part: slur b. 94, notes 4 – 5 without end point (A: page turn after b. 94) extended to b. 95, note 1.
note 1: p omited editorially (restatement of p in b. 105).
107 vlc. rit. at note 2 emended to rit. at note 1 by analogy with pf.
Movement 2: Alla romanesca
Bar Part
6
pf.2
Comment
upper part, note 3 (fourth quaver): B in pf.2, lower part emended to upper part by analogy with voice leading.
7 vlc. “Vivo” emended from note 1 by analogy with pf.
11 – 12 pf.1
18 pf.1
pf.2
lower part: slur from b. 11, note 1 to b. 12, note 3 added by analogy with upper part.
lower part, note 1: c1 in upper part emended to lower part by analogy with voice leading.
upper part, note 1: a in lower part emended to upper part by analogy with voice leading.
27 pf.1 chord 1: arpeggio added by analogy with pf.2.
31 pf.1 slur b. 31, note 1 to b. 33, note 1 emended to b. 30, note 4 to b. 33, note 1; A: open slur in b. 31.
pf.1
lower part, notes (chords) 2 – 3: emended from upper part by analogy with voice leading.
36 pf.2 slur added by analogy with pf.1.
51 pf.1 note 12 (last note): tenuto added by analogy with bb. 52 – 56.
57 pf.1 lower part, notes 7 – 8: emended from pf.2 by analogy with voice leading.
67 pf.2 upper part, note 1: b in lower part emended to upper part by analogy with voice leading.
78 pf.1 notes 1 – 6 emended from pf.2.
79 – 80 vlc. end point of open c (A: system break after b. 79) set to b. 80, note 1 as in A1.
85 vlc. note 3: q corrected to q as in A1 to regularise bar.
pf.2s upper part, note 3 (fourth quaver): B in pf.2, lower part emended to upper part by analogy with voice leading (see also comment in b. 6).
Movement 3: Humorske
Bar Part
8
pf.1
Comment
lower part, note 4: g emended from upper part by analogy with voice leading.
9 pf.1 lower part, note 2: e emended from upper part by analogy with voice leading.
11 pf.1 note 3: staccato added by analogy with b. 12 pf.2 upper part, notes 5 – 8 emended from lower part by analogy with voice leading.
16 pf.1 lower part, note 3 emended from upper part by analogy with voice leading.
31 pf.2 lower part, note 1 emended from upper part by analogy with voice leading.
33 – 34 pf.2 lower part: slur added by analogy with pf.2, upper part and pf.1.
34 pf.2 lower part: emended from upper part by analogy with voice leading.
34 vlc. p moved from b. 35, note 1 to b. 34, note 1 in accordance with phrase beginning.
39–40 vlc. slur b. 39 notes 2–4 emended to slur b. 39, note 2 to b. 40, note 1 by analogy with slur in pf. 1; A: system break after b. 39, open slur from last system in b. 40.
39 pf.2 lower part, note 1 (tied from b. 38) emended from upper voice by analogy with voice leading.
42 pf.2 note 1: upper part emended from lower part by analogy with voice leading.
47 pf.2 upper part, note 1: g emended from lower voice by analogy with voice leading.
57 pf.2 upper part, note 1, B emended lower part by analogy with voice leading.
58 pf.1 rest 1 added to regularise bar (missing in A).
70 pf.1 lower part, note 4: g emended from upper part by analogy with voice leading.
73 pf.2 upper part: notes 5 – 8 emended from lower voice by analogy with voice leading.
78 pf.1 lower part: notes 2 – 3 emended from upper voice by analogy with voice leading.
80, 81 pf.2 upper part: note 1 emended from lower voice by analogy with voice leading.
94 pf.2 upper part: note 2 emended from lower voice by analogy with voice leading.
99 vlc. note 1: staccato added by analogy with note 4.
102 pf. “a tempo” moved from b. 103, note 1 by analogy with vlc.
103 pf. f moved from fourth quaver to third quaver editorially.
104–105 pf.2 slur b. 104, notes 2–3 emended to slur b. 104, note 2 to b. 105, note 1 (A: open slur because of system break after b. 104)