En særlig tak til fløjtenist Toke Lund Christiansen og musikforsker Lisbeth Ahlgren Jensen for hjælpen og rådene med redigeringen af denne udgave af Hilda Sehesteds Fire fantasistykker for fløjte og klaver
Special thanks to flautist Toke Lund Christiansen and musicologist Lisbeth Ahlgren Jensen for the help and advice with the editing of this edition of Hilda Sehested’s Fire fantasistykker for fløjte og klaver.
Udarbejdet og udgivet med støtte fra Augustinus Fonden
Prepared and published with support from The Augustinus Foundation
Edition·S’s virksomhed støttes af Statens Kunstfond / Edition·S is supported by The Danish Arts Foundation.
DCM DCM037
ISBN 978-87-93750-81-4
ISMN 979-0-706839-04-2
Indhold / Contents
Danish Classical Music iv Biografi / Biography vi Forord / Preface vii
Faksimiler / Facsimiles x
Fire fantasistykker for fløjte og klaver / Four Fantasies for Flute and Piano
1. Præludium 12
2. Drømme 13
3. Scherzino 17
4. Epilog 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.
1 “Gusch”, Politiken 26.3.1915.
In the last ten years before her death in 1936, Hilda 1 “Gusch”, Politiken
Forord
Hilda Sehesteds Fire Fantasistykker for Fløjte og Klaver blev komponeret i 1927 og var blandt de sidste værker, Sehested komponerede i sit liv. 1 Værket blev uropført i Hornung & Møllers Koncertsal i København med fløjtenisten Paul Hagemann (1882-1967) og Sehested selv ved klaveret. Hagemann var medlem af den berømte kvintet “Københavns Blæserkvintet,” der er kendt for dedikationen af Carl Nielsens Kvintet for Blæsere, op. 43. Ud over at være fløjtenist var Hagemann også en velhavende filantrop, og han havde en stor interesse for ny musik. I løbet af sit liv bestilte Hagemann en betydelig mængde musik fra forskellige komponister, herunder både Arnold Schönberg og Alban Berg. Om Sehesteds Fantasistykker for Fløjte og Klaver blev bestilt af Hagemann er dog ukendt. Anmeldelserne af suiten var meget dårlige sammenlignet med tidligere anmeldelser af Sehesteds fantasistykker. Berlingske Tidende skrev:
En Suite for Klaver og Fløjte af Frk. Hilda Sehested (som selv – sammen med Hr. Hagemann – holdt sit Arbejde over Daaben) røbede vel kompositorisk Sans og Evne, men virkede i sit noget villet-moderne Antræk mere konstrueret end inspireret. 2
Avisen København var en smule mere positiv og kaldte suiten “et veludført stykke musik”, men var, ligesom Berlingske Tidende, ikke imponeret over musikkens stil og skrev, at suiten var:
(…) et arbejde, der vidner om Lysten til at vinde med i Øjeblikkets saakaldte Udvikling, uden dog helt at faa Bestræbelserne forenede med noget fra eget Indre strømmende Personlighed. Et vel opsat Stykke Musik, men ingen dyb Hjertesag. Saa var Indtrykket. 3
Begge anmeldelser kommenterede værkets modernitet, men anså det dog for at være påtaget. Anmelderne har ret i, at musikken er anderledes end andre værker af Sehested. Et af Sehesteds kendetegn, særligt i hendes fantasistykker, er hendes udprægede fokus på det horisontale forløb i musikken, ofte udtrykt gennem senromantisk funktionsharmonik. 4 Denne suite bevæger sig dog langt ud over den dur/mol-tonale musik og funktionsharmonikkens tonalitet. Alle fire satser er baseret på heltoneskalaer og synes at hvile på en mere lineær logik, hvor harmonier opstår som konsekvenser af stemmeføring. Som sådan fremstår værket markant mere moderne, endda modernistisk, end hendes andre værker. Et andet modernistisk
4 For et neo-Riemannsk perspektiv på harmonikken i Sehesteds sange, se Thomas Husted Kirkegaard, “‘Uden indre Logik’: Organicisme, Neo-Riemannian Theory og Hilda Sehesteds sange,” Tidsskriftet SANG 4 (2023): 1-45.
Preface
Hilda Sehested’s Fire Fantasistykker for Fløjte og Klaver (Four Fantasies for Flute and Piano) was composed in 1927 and was some of the last music Sehested composed in her life. 1 The piece was first performed in Hornung & Møller’s Concert Hall in Copenhagen with the flautist Paul Hagemann (1882 – 1967) and Sehested at the piano. Hagemann was a member of the renowned quintet “Københavns Blæserkvintet” (Copenhagen Wind Quintet), known for the dedication of Carl Nielsen’s Kvintet for Blæsere, op. 43 (Wind Quintet, op. 43).
Hagemann was, besides being a flautist, also a wealthy philanthropist, and he had a huge interest in new music. In his life, Hagemann commissioned a large portion of music from composers. Among these composers were both Arnold Schönberg and Alban Berg. Whether Sehested’s Fantasies for Flute and Piano was commissioned by Hagemann is unknown. The reviews of the suite were very bad compared to former reviews of Sehested’s fantasies. The newspaper Berlingske Tidende wrote:
A Suite for Piano and Flute by Ms. Hilda Sehested (who herself – together with Mr. Hagemann –christened her work) revealed compositional sense and ability, but in its somewhat deliberately modern guise, it appeared more constructed than inspired. 2
The newspaper København was a bit more positive, and called the suite “a well-executed piece of music”, but was, like Berlingske Tidende, not impressed with the style of the music, and wrote that the suite was:
(...) a work that testifies to the desire to engage in the so-called development of the moment, without fully uniting the efforts with something flowing from one’s own inner personality. A well-executed piece of music, but not a mater of the heart. That was the impression. 3
Both reviews commented on the piece’s modernity, although they considered it to be contrived. The reviewers are right that the music is quite different from other pieces by Sehested. One of the characteristics of Sehested is her focus on the horizontal dimension, especially on late-romantic, often functional harmonic progressions. 4 This suite, however, moves beyond functional harmony and tonality. All four movements rely on whole-tone scales and seems to rely on a more linear logic, allowing
3 “–B”, København 24 Oct. 1927 (editor’s translation).
4 For a neo-Riemannian perspective on harmony in Sehested’s songs, see Thomas Husted Kirkegaard, “‘Uden indre Logik’: Organicisme, Neo-Riemannian Theory og Hilda Sehesteds sange,” Tidsskriftet SANG 4 (2023): 1 – 45.
træk ved denne suite er et tilbagevendende fokus på kontrasten mellem dur- og molvarianter af de samme akkorder. F.eks. i 2. sats, takt 8, er der en arpeggio i klaverstemmen i Fis-dur, som sluter på en fis-mol akkord. Sammenlignet med andre fantasier af Sehested er klaverakkompagnementet desuden mere enkelt og mindre virtuost og mangler de brede akkorder og den komplekse kontrapunktik, der kan findes i Sehesteds andre fantasistykker. I denne suite er der ofte kun tre eller fire stemmer til stede, eller blot den melodiske linje i oktaver.
På et tidspunkt foretog Sehested en omfatende revision af suiten. Anden sats blev udskiftet, og i de øvrige satser blev stemmeføringen i klaverakkompagnementet og fraseringen ændret fuldstændigt. Det præcise tidspunkt for disse ændringer er usikkert, men de blev sandsynligvis foretaget efter den første opførelse, hvilket kan ses af, at der findes brugsspor i stemmematerialet til den første version. Om dete er den version, Hagemann brugte, kan ikke afgøres. Hun kan have revideret stykket, da hun forsøgte at få det udgivet.
Sehested forsøgte først at få værket udgivet hos den franske forlægger Alphonse Leduc i Paris. De udviste en vis interesse for værket og gik med til at udgive det, hvis hun var villig til at dække produktionsomkostningerne på 4.800 franc eller 960 schweizerfranc. Af ukendte årsager tog Sehested ikke imod tilbuddet; i stedet henvendte hun sig til den tyske forlægger Wilhelm Zimmermann i Leipzig, som gav hende afslag. 5
Fire Fantasistykker for Klaver og Fløjte blev indspillet i 2018 af fløjtenisten András Adorján og pianisten Tove Lønskov på CD’en Capriccio Danois udgivet af Premiers Horizons Records.
Frederik Døj Erforth Larsen København 2024
harmonies emerge as consequences of voice leading. As such, the piece appears decidedly more modern, even modernist, than other of her works. Another modernistic characteristic of this suite is a recurring focus on juxtaposing major and minor versions of the same chords. E.g. in the second movement, bar 8, there is an arpeggio in the piano part in F-sharp major which ends on a F-sharp minor chord. Furthermore, compared to other fantasies by Sehested, the piano accompaniment is more simplistic and less virtuosic, lacking the broad chords and complicated counterpoint which can be found in Sehested’s other fantasies. In this suite, there is often only three or four voices present, or simply the melodic line in octaves. At some point, Sehested made an extensive revision of the suite. The second movement was completely omited, and in the other movements, voice leading in the piano accompaniment and phrasing was changed completely. The exact timing of these changes is uncertain, but they were most likely made after the first performance, judging from the fact that there are voice materials to the first version with traces of use. Whether this is the version Hagemann used or not cannot be determined. She might have revised the piece when she tried to get it published. Sehested first tried to get the piece published by the French publisher Alphone Leduc in Paris. They showed some interest in the piece and agreed to publish it if she was willing to cover the production costs of 4.800 francs or 960 Swiss francs. For unknown reasons, Sehested did not take the proposal; instead, she approached the German publisher Wilhelm Zimmermann in Leipzig, who turned her down. 5 Fire Fantasistykker for Klaver og Fløjte was recorded in 2018 by flautist András Adorján and pianist Tove Lønskov on the CD Capriccio Danois on Premiers Horizons Records.
Frederik Døj Erforth Larsen Copenhagen 2024
5 Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, 92.
5 Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, 92.
Faksimiler Facsimiles
Kilde A1: Side 1 af første sats i manuskriptpartituret til den reviderede udgave i komponistens hånd. I A1 er tempoet angivet som “Andantino”, men i B1 som “Andantino con moto”. I t. 1 i fløjte-stemmen har A1 p c d, mens B1 har p espressivo. I t. 6 - 7 er stemmeføringen ændret i klaverstemmen i det øverste system, og i takt 8 er “rit.” tilføjet i A1.
(Det Kongelige bibliotek, Musiksamlingen C II, 12 Hilda Sehesteds Samling 05).
Source A1: Page 1 of the first movement of the manuscript score to the revised edition in the composer’s hand. In A1 the tempo is “Andantino”, but in B1 it’s “Andantino con moto”. In b. 1 in the flute part, A1 has p c d but B1 has p espressivo . In bb. 6 – 7, the voice leading is changed in the piano part in the upper manual, and in b. 8 “rit.” has been added in A1.
(The Royal Danish Library, Musiksamlingen C II, 12 Hilda Sehesteds Samling 05).
Kilde B1: Side 1 af første sats i manuskriptpartituret til den første version i komponistens hånd.
Source B1: Page 1 of the first movement of the manuscript score to the first version in the composer’s hand.
(The Royal Danish Library, Musiksamlingen CII 12 Hilda Sehesteds Samling 23)
Fire fant asist yk ker for øjte og k laver
1. Præludium
Hilda Sehested
2. Drømme
Abbreviations
Abbreviation Meaning
b. bar
bb. bars
cresc. Crescendo
dim. Diminuendo
DK-Kk Det Kongelige Bibliotek København (The Royal Danish Library, Copenhagen) fl. Flauto
HS Hilda Sehested
pf. Piano
pf.1 upper manual
pf.2 lower manual stacc. staccato
Critical Commentary
In the Critical Commentary the following conventions are used:
1. “by analogy with” is used when something has been “added”, “emended” or “omitted” by analogy with another passage in the main source. The analogy may be vertical. When something is added “by analogy with” one or more instruments, it is understood that the analogy is with the same place in the same bar(s). The analogy may also be horizontal. When something is added “by analogy with” one or more bars, it is understood that the analogy is with a parallel place in the same instrument(s).
2. “as in” is used when something is “added”, “emended”, or “omited” to correspond to the same place in another source.
3. “in accordance with” is used in cases where there is no authoritative source, only guideline – for example part material.
Editorial Strategy
In accordance with the purpose of the Danish Classical Music series, and as described in the series preface in the current edition, the works are presented here in their full length and without indication of editorial additions and corrections. These are only found in the critical apparatus. Pencil corrections and notes writen by the composer are included tacitly. Corrections and notes in crayon where such are found is often by the conductor and are not included. In cases where corrections and notes by others than the composer are included, this is documented in the critical review.
The musical texts are standardised so that they follow modern practices regarding instrument names, notation practices, layout, performance indications, and tempi.
As mentioned in the preface, Sehested at some point made an extensive revision of the piece. This revision is so extensive, that the two versions might be categorised as two different, individual pieces. The music text presented in this edition of “Fire Fantasistykker for Fløjte og Klaver” follows the revised edition (source A1).
This, however, does not mean that there are not scribal and copying errors when the new version was produced, as the first version was used as a starting point for the new revised version. All such errors are documented in the critical apparatus. Differences in voice leading in the piano part between sources A and B are not listed in the critical reviews as these is not scribal errors but revisions and therefor perceived as negative variants.
Sources
A1 Autograph score, revised version
A2 Autograph part, revised version
B 1 Autograph score, 1st version
B 2 Autograph part, 1st version
B 3 Autograph score of 2nd movement of the 1st version
B 4 Autograph part of the 1st and 2nd movement of the 1st version.
C Unfinished sketch to the 2nd movement of the revised version
Source A
The Royal Danish Library (DK-Kk Musiksamlingen C II, 12 Hilda Sehesteds Samling 05). Autograph score and part in ink in the composer’s hand.
Source A1: Autograph score in the composer’s hand
Paper type: partly unknown in various types and sizes (2nd movement uses 1 folio of “Nr. 3. F. 12” (520mm x 350mm)), bound with glued cloth and yarn.
The score: 20 pages: 1 title page, 1 blank page, 14 numbered pages, 4 unnumbered pages (1 – 2, 7 – 18) (2nd movement unnumbered).
Title page of score: “Hilda Sehested: / Fire Fantasistykker for Fløjte og Klaver / Præludium. / Drømme. / Scherzino. / Epilog.”
Source A2: Autograph flute part in the composer’s hand
Paper type: unknown in various types and sizes bound with glued cloth and yarn.
The part: 8 pages: 1 title page, 6 numbered pages (1 – 6) and one blank page. Title page of part: “Fire Fantasistykker / for Fløjte og Klaver: / Fløjte.”
The Royal Danish Library (DK-Kk Musiksamlingen CII 12 Hilda Sehesteds Samling 23).
Source B 1: autograph score in the composer’s hand
Paper type: “Nr. 3. F. 12”, 6 folios bound with yarn (520mm x 350mm). 24 numbered pages (1 – 24) and one title page.
Title page: “Hilda Sehested / Fløjte og Klaver. / Præludium. / Romance. Pastorale. / Scerzino / Epilog.” 7
Page 1: Tempo: Andantino con moto. Title: Præludium. Composer: H. S.
Page 4, 2nd movement: Tempo: Semplice. Composer: H. S.
Page 9, 3rd movement: Tempo: Allegreto vivace. Title: Scherzino. Composer: H. S.
Page 17, 4th movement: Tempo: Andantino. Title Epilogue. 8 Composer: H. S.
Source B 2: autograph flute part in the composer’s hand
Paper type: unknown in various types and sizes. 2 loose pages (1st and 2nd movement) and 2 folios (3rd and 4th movement). All pages unnumbered.
6 “-ue” erased with knife
7 “Romance” stroked out with pencil, and “Pastorale” added with pencil by the composer.
8 “-ue” erased with knife.
Page 1r: Tempo: Andante. Title: Præludium. Composer: H. S.
Page 2r: Tempo: Semplice. Title: Romance.
Page 3r: Tempo: Allegreto vivace. Title: Scherzino. Composer: H. S.
Page 4v: Tempo: Andantino h=48. Title: Epilogue 9
Source B 3: autograph score of the 2nd movement (1st version)
Paper type: unknown in various types and sizes. 4 numbered (3 – 6) loose pages. Page 1 (3 in source): Tempo: Semplice. Title: Romance.
Source B4 : autograph flute part of 1st and 2nd movement (1st version)
Paper type: unknown, 12 systems per page. 1 loose page.
Recto(?): Title: Prélude [sic]. Note: End of 2nd movement added at the bottom of the verso(?) page.
Verso(?): Tempo: Semplice. Title: Romance. “Fløjte” 10 added in the right corner with ink.
Source C
The Royal Danish Library (DK-Kk Musiksamlingen CII 12 Hilda Sehesteds Samling 23). 11
Sketch in the composer’s hand of the 2nd movement of the revised version partly in ink and pencil.
Paper type: unkown, 18 systems per page. 4 unnumbered pages on 1 folio. Page 1r: Tempo: Semplice. Title: Pastorale
Filiation and Evaluation of Sources
As mentioned in the paragraph “Editorial strategy” above, a significantly different version of the suite exists; we will refer to this version as the “first version.” The version published here will be referred to as the “revised version”. While this distinction allows us to differentiate between two iterations of the work, they are not entirely separable, as the first version naturally played a significant role in the evolution of the revised version.
The earliest source to the suite is B 3 which is an autograph score of the 2nd movement of the first version of the suite. Most likely, the 1st movement was a part of this source as well but is lost to time. This inference is based on the fact that B 3 was used to produce B 4 which is a flute part to the 1st and 2nd movements of the first version of the suite. In the right top corner of the 2nd movement, “Fløjte” (flute) is added with ink, indicating that the 2nd movement was originally intended as the 1st movement as it is common to place the part name like this on the first page of a part. Whether the 3rd and 4th movements were also included in this source is unknown.
The first complete source containing all four movements of the first version of the suite is B 1 . B 3 was likely used at some point in the creation of B 1, as the two share similarities in phrasing and the number of bars per system. B 1 was used to produce the flute part B 2, but B4 must also have been consulted to layout the 1st and 2nd movements of the part.
At some point, Sehested decided to discard the 2nd movement and compose a new one. The sketch to the new 2nd movement is C, originally named “Pastorale”. C and B 1 were used to produce A1, the main source to the revised version. Whether another sketch (besides C) was used to produce A1 is unknown, but it appears very likely considering the extent of the revisions. A1 was used to produce A2, the parts to A1 B 2 was most likely not used in the part preparation process, since they do not share any similarities.
9 “-ue” erased with knife.
10 “Flute”
Editorial Emendations and Alternative Readings
Where the score and the flute part in sources A and B do not differ in readings, only the letter and not the number is used. E.g. A: m and not A1, A2: m
1. Præludium
Bar Part
1
1 fl.
15 fl.
2. Drømme (Dreams)
Bar Part
1–3 pf.2
16 pf.1
47 pf.1
63 pf.1
3. Scherzino
Bar Part
6 fl.
9 pf.
10 pf. 1
11 pf.2
12 pf.1
13 fl.
14 fl.
14 pf.2
Comment
B 1: Andantino con moto
B: espressivo
note 3: q emended to q to regularise bar.
Comment
C: title: “Pastorale”.
lower part: b. 1, chord 1 to b. 3, chord 1: slur added by analogy with pf.1.
lower part: notes 1 – 2 and 3 – 4: slurs added by analogy with pf.2 and b. 44.
lower part: notes 1 – 2: slur added by analogy with b. 48.
upper part: chords 1 – 2: slur added by analogy with b. 64.
Comment
B: note 1: accent.
B: m
B: chord 1: accent.
A: slur not ended (line break).
B: note 5: tenuto
notes 1 – 2: slur added by analogy with b. 12 and as in B
B: note 1: tenuto
B: note 2: #
16 pf.2 notes 2 – 4: stacc. added by analogy with pf.1, and as in B
18 pf.1 lower part: n added by analogy with pf.2; A: n added with pencil [HS?].
20 pf.2
21 pf.1
21 – 22 pf.2
note 1 emended from h to h by analogy with b. 22.
B: notes 1, 2: stacc.
b. 21, note 1 to b. 22, note 2: slur added by analogy with bb. 19 – 20.
24 pf.2 upper part: notes 1 – 2: slur added by analogy with pf.1, and as in B.
30 – 31 fl. note 1: cresc. added by analogy with bb. 17 – 19.
47 fl.
57 pf.1
57 – 58 pf.1
63 – 64 pf.1
70 – 71 pf. 2
A: mc f added with pencil [HS].
B: chord 1: p
b. 57, upper part 1, note 2 to b. 58, chord 1, middle-note: tie added as in B.
B: b. 63, chord 1 to b. 64, chord 1: slur.
b. 70, note 5 to b. 71 note 1: tie added as in B; A: tie only finished (page break).
74 – 75 pf.1 b. 74, chord 2, top note to b. 75, chord 1, top note: tie added as in B; A: tie only finished (line break).
76 fl.
77 pf.1, 2
B: note 6: tenuto.
B: pf.1, chord 1: f n″ – g n ″; pf.2, chord 1: f n ′ – g n′
85 – 86 pf. 2 slur extended from b. 85, upper part, note 1 to b. 86, chord 1 as in B; A: slur unfinished (line break).
92 pf.2
93, 94 – 95 fl.
95 – 96 pf.1
B: note 3: e ′
B: b. 93, notes 2, 6, and bb. 94, 95 note 2: #.
b. 95, chord 1 to b. 96, chord 1: slur added as in B
100 – 101 fl. note 1: c added by analogy with bb. 17 – 19.
113 – 114 pf.2
115 pf.1
b. 113, note 5 to b. 114, note 3: slur added as in B and by analogy with pf.1.
B: note 1: p
120 fl. note 1: accent added by analogy with b. 119, and as in B
125 pf.2
127 pf.2
128 fl.
132 – 134 pf.2
B: note 1: q
B: note 1: e
B: note 1: accent.
b. 132, note 1 to b. 134, note 1: slur added as in B.
Bar Part
Comment
A1: Title: “Epilogue”
1 (h=48) added as in A2; B: Andante
9 pf.2
10 pf.2
12 pf.2
B: note 1: F,
B: upper part, note 1: B,
chord 1 – chord 3: slur added as in B
13 pf.1, 2 pf.2: notes 2 – 5: slur added as in B; B: pf.1, chord 1: m erased with knife.
20 fl.
20 pf.2
A1: notes 2 – 3 and 5 – 6: slurs added with pencil [HS?]; A: notes 2 – 6: d added with pencil [HS?].
B: note 3: q
24 fl. note 6: # added by analogy with b. 82.
24 pf.2 upper part, notes 1 – 2: slur added as in B; chord 4, top note: # added by analogy with b. 82.
28 pf. p emended from b. 29, note 1 to b. 28, last note as in B
40 fl.
47 pf.2
48 pf.2
49 pf.2
51 – 53 pf.2
55 pf.
57 Fl
B: note 1: e ″
B: notes 1 – 6: stacc.
B: chord 1, top note: bn
B: notes 1 – 6: stacc.
B: notes 1 – 3: stacc.
B: m
B: note 7: d ″
84 fl. note 1: stacc. added as in B
108 pf.2 chord 4, top note: # added by analogy with fl.
