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 ansatte 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 oversigten over redaktionelle rettelser.
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.
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 rettelser 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 støttet af Augustinus Fonden, hvortil der rettes en stor tak.
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
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 flyttede i 1892 til København. Der var hun tættere 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 dette 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 forfatteren Sophus Michaëlis, og som blev antaget til opførelse på Det Kongelige Teater. Grundet 1. verdenskrig og den materialemangel, krigen medførte, måtte 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 fortsatte, 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.
Maria Claustad
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.
Maria Claustad
1 “Gusch”, Politiken 26.3.1915.
Forord
Denne samlings ote klaverstykker er enkeltstående kompositioner, som ikke tidligere har været præsenteret samlet. De tre første stykker blev udgivet enkeltvis i 1920-21 i tidsskriftet Nordens Musik, som hver måned bragte et udvalgt af klaverstykker og sange af nordiske komponister. To af stykkerne kendes kun i denne trykte udgave. De fem sidste stykker har ikke tidligere været udgivet. Alle fem foreligger som renskrevne manuskripter fra Sehesteds hånd og to af dem tillige i professionelt udførte afskrifter med komponistens tilføjelser. De to afskrifter samt ét af originalmanuskripterne har været i pianisten Alexander Stoffregens besiddelse og findes i dag på Musikmuseet (Nationalmuseet). De øvrige kilder opbevares på Det Kgl. Bibliotek, hvor de indgik i 1950 som en del af en donation fra Hilda Sehesteds familie.
Kun et af manuskripterne er dateret, nemlig det lille stykke Bekendelse, slutdateret “Nov. 1916”. Sommerminder (Mosekonen brygger) findes i en orkesterversion med titlen Mosekonen brygger, som skal være komponeret 1913 og blev uropført i 1915. Klaverversionen er muligvis en senere bearbejdelse, i hvert fald angiver Sehested kompositionsåret 1920 for dette stykke, samme år som udgivelsesåret i Nordens Musik. De to andre stykker fra Nodens Musik, Præludium og Dans, angives også at være komponeret i 1920. Disse dateringer er imidlertid ikke pålidelige. 1
Pianisten Alexander Stoffregen (1884-1966) var en nær bekendt af Hilda Sehested, og den 13. april 1916 opførte han Jagende Skyer og Den Sommer og den Eng ved Sehesteds “Kammermusik-Koncert” i Odd Fellow Palæet i København. Under overskriften “Fantasistykker” spillede Stoffregen yderligere to af Sehesteds trykte stykker, Fugleliv og Det sidste Møde. Modtagelsen var meget positiv. Den mest indgående anmeldelse var Alfred Toffts i Berlingske Tidende:
I fire Fantasier for Klaver, virtuosmæssigt fremførte af Hr. Alexander Stoffregen, fik man “Jagende Skyer” malende gengivet, “Den Sommer og den Eng” i smilende Solbelysning, man hørte det morsomt smaakvidrende “Fugleliv”, der maatte gentages, og var Vidne til “Det sidste Møde”, der dog nærmest formede sig som et pinligt Opgør. […] Det føles næsten som om noget af den Bitterhed, der her kommer til heftigt Udbrud, er bleven tilbage og danner Understrømmen i de fleste af Frk. Sehesteds Kompositioner. 2
Preface
The eight piano pieces in this collection are individual compositions that have not previously been presented together. The first three pieces were published individually in 1920 – 21 in the magazine Nordens Musik, which published a selection of piano pieces and songs by Nordic composers each month. Two of the pieces are known only in this printed edition. The last five pieces have not previously been published. All five are available as fair-copy manuscripts in Sehested’s hand and two of them also exist as professionally made copies with the composer’s additions. The two copies and one of the original manuscripts have been in the possession of the pianist Alexander Stoffregen and are today housed at the Musikmuseet (National Museum of Denmark). The other sources are kept at the Royal Danish Library, where they were taken in as part of a donation from Hilda Sehested’s family in 1950.
Only one of the manuscripts is dated, namely the small piece Bekendelse, end-dated “Nov. 1916”. Sommerminder (Mosekonen brygger) is found in an orchestral version titled Mosekonen brygger, which was possibly composed in 1913 and was premiered in 1915. The piano version may be a later arrangement, in any case Sehested gives the year of composition as 1920 for this piece, the same year as the year of publication in Nordens Musik. The other two pieces from Nordens Musik, Præludium and Dans, are also stated to have been composed in 1920. However, these dates are not reliable. 1
The pianist Alexander Stoffregen (1884 – 1966) was a close acquaintance of Hilda Sehested, and on 13 April 1916 he performed Jagende Skyer and Den Sommer og den Eng at Sehested’s “Chamber Music Concert” at the Odd Fellow Palace in Copenhagen. Under the heading “Fantasy Pieces”, Stoffregen played two more of Sehested’s published pieces, Fugleliv (Bird Life) and Det sidste Møde The reception was very positive. The most detailed review was Alfred Tofft’s in Berlingske Tidende:
In four Fantasies for Piano, virtuosically performed by Mr. Alexander Stoffregen, one got to hear “Jagende Skyer” rendered picturesquely, “Den Sommer og den Eng” in smiling sunlight, one heard the amusingly delicious chirping of “Fugleliv”, which had to be repeated, and witnessed “Det sidste Møde”, which however almost took the form of an embarrassing showdown. […] It almost feels as if some of the bitterness that comes to a violent outburst here has remained and forms the undercurrent in most of Ms. Sehested’s compositions. 2
1 Kladde til en fortegnelse over udvalgte værker findes i Rigsarkivet, Privatarkiv 6344 Hilda Sehested. Breve, sager vedr. koncerter m.v. B. C.8 (Diverse). Der er uden tvivl tale om et forarbejde til bidrag til Jürgen Balzer, Bibliographie des Compositeurs Danois (København: Dansk Komponist-Forening, 1932). Kladden synes baseret på hukommelsen, og der kan konstateres flere tvivlsomme kompositionsår, hvoraf nogle gentages i Balzers bog.
2 “A.T.”, Berlingske Tidende 14.4.1916.
1 Draft for a list of selected works can be found in the National Archives, Private Archive 6344 Hilda Sehested. Leters, cases regarding concerts etc. B. C.8 (Miscellaneous). This is undoubtedly a preliminary work for a contribution to Jürgen Balzer, Bibliographie des Compositeurs Danois (Copenhagen: Dansk Komponist-Forening, 1932). The draft seems to be based on memory, and several questionable years of composition can be noted, some of which are repeated in Balzer’s book.
2 “A.T.”, Berlingske Tidende 14 Apr. 1916
Præsentationen her af Jagende Skyer og Den Sommer og den Eng er de eneste offentlige opførelser, der kendes af denne udgaves otte stykker.
At komponisten har forestillet sig en samling, hvori nogle af disse stykker skulle indgå, fremgår af, at Jagende Skyer på manuskriptet er betegnet “I”, Den Sommer og den Eng er betegnet “III”, mens Skovens Vuggesang er betegnet “V”. Stykket Ellepige er uden nummerangivelse. Det optræder fejlagtigt i forskellige, nyere værkfortegnelser under titlen Elegi, som er en fejllæsning af manuskriptets titel.
Ud over de otte klaverstykker komponerede Sehested seks Fantasistykker, der udkom på Wilhelm Hansens Musikforlag i 1891, og yderligere Tre Klaverstykker med titlerne Det sidste Møde, Fugleliv og Bladenes Dans. De blev udgivet hos Wilhelm Hansen i 1906. En samling på fem Valse nævnes 1892 i et brev, men anses for at være forsvundet. 3 I en værkliste fra 1932 anfører Sehested et klaverstykke komponeret 1925 med titlen Flyvende Sommer; dette værk kendes ikke med mindre det er identisk med Jagende Skyer – i så fald er kompositionsåret skudt helt ved siden af. 4 Sluttelig skal nævnes Sehesteds største klaverkomposition, en klaversonate i As-dur, komponeret i 1903 som noget af det første efter en kompositionspause på seks år. 5 Sonaten blev opført privat af komponisten 31. januar 1904 og samme år udgivet på Wilhelm Hansens Musikforlag.
Hilda Sehesteds klaverstykker synes ofte inspireret af ganske konkrete naturoplevelser, uden tvivl knyttet til hendes ungdom og i hvert fald til hjemegnen omkring Broholm slot på Fyn. Stoffregens kopi af Den Sommer og den Eng bærer en tidligere titel, Dagen vaagner, og autografmanuskriptet til samme stykke har titlen Morgen i Sol. Stykkets endelige titel, “Den Sommer og den Eng”, er titlen på en digtsamling fra 1910 af Jeppe Aakjær (1866-1930). Flere af stykkerne afspejler sindsstemninger af mere intim og privat karakter som fx Bekendelse Til samme kategori hører stykket Jagende Skyer, som oprindeligt var betegnet “Denne ene Hulken”.
Bendt Viinholt Nielsen
3 Orla Rosenhoff i brev til HS dateret 27.9.1892. Rigsarkivet. Privatarkiv 6344 Hilda Sehested. A.I.2.
4 Titlen findes i den i note 1 anførte værkfortegnelse.
5 I Musse Magnussens værkfortegnelse publiceret 1986 anføres, at sonaten nævnes i brev af 2.5.1896 fra Orla Rosenhoff til HS. Den sonate, brevet omtaler, er imidlertid et nu forsvundet værk for violin og klaver, som netop var blevet opført af violinisten Anton Svendsen og komponisten. Klaversonaten omtales i brev fra Orla Rosenhoff 10.11.1903 (hvor den er færdigkomponeret). I et brev dateret 23.3.1904, umiddelbart før udgivelsen på Wilhelm Hansens Musikforlag, skriver Rosenhoff, at planen til sonaten blev lagt i maj 1903. Breve fra Rosenhoff findes i Rigsarkivet, jfr. note 3. Musse Magnussens værkfortegnelse findes i Meddelelser fra Musikhistorisk Museum og Carl Claudius’ Samling III, redigeret af Ole Kongsted (København: Musikhistorisk Museum og Carl Claudius’ Samling, 1986), 32-41.
The presentation here of Jagende Skyer and Den Sommer og den Eng are the only public performances known of the eight pieces in this edition.
That the composer had imagined a collection in which some of these pieces would be included is evident from the fact that Jagende Skyer is designated “I” in the manuscript, Den Sommer og den Eng is designated “III”, while Skovens Vuggesang is designated “V”. The piece Ellepige is not numbered. It appears erroneously in various, more recent, work lists under the title Elegi which is a misreading of the title of the manuscript.
In addition to the eight piano pieces, Sehested composed six Fantasy Pieces, which were published by Wilhelm Hansens Musikforlag in 1891, and a further Three Piano Pieces with the titles Det sidste Møde (The Last Meeting), Fugleliv and Bladenes Dans (Dance of the Leaves). They were published by Wilhelm Hansen in 1906. A collection of five Waltzes is mentioned in a letter in 1892, but is considered to have been lost. 3 In a list of works from 1932, Sehested lists a piano piece composed in 1925 with the title Flyvende Sommer (Flying Summer); this work is not known unless it is identical with Jagende Skyer – in which case the year of composition is completely off. 4 Finally, mention should be made of Sehested’s largest piano composition, a piano sonata in A-flat major, composed in 1903 as one of the first after a six-year composition break. 5 The sonata was performed privately by the composer on 31 January 1904 and published in the same year by Wilhelm Hansen.
Hilda Sehested’s piano pieces often seem inspired by quite concrete experiences in nature, undoubtedly linked to her youth and at least to her home area around Broholm Castle on Funen. Stoffregen’s copy of Den Sommer og den Eng bears an earlier title, Dagen vaagner (The Day Awakes), and the autograph manuscript of the same piece has the title Morgen i Sol (Morning in Sun) The piece’s final title, “Den Sommer og den Eng”, is the title of a poetry collection from 1910 by Jeppe Aakjær (1866 – 1930). Several of the pieces reflect moods of a more intimate and private nature, such as e.g. Bekendelse. The piece Jagende Skyer, which was originally titled “Denne ene Hulken” (This One Sob), belongs to the same category.
Bendt Viinholt Nielsen
3 Orla Rosenhoff in leter to HS dated 27 Sep. 1892. National Archives. Private archive 6344 Hilda Sehested. A.I.2.
4 The title can be found in the bibliography listed in note 1.
5 In Musse Magnussen’s catalogue raisonné published in 1986, it is stated that the sonata is mentioned in a letter of 2 May 1896 from Orla Rosenhoff to HS. The sonata referred to in the leter is, however, a now lost work for violin and piano, which had just been performed by the violinist Anton Svendsen and the composer. The piano sonata is mentioned in a leter from Orla Rosenhoff on 10 Nov. 1903 (where it is fully composed). In a leter dated 23 Mar. 1904, immediately before the publication by Wilhelm Hansens Musikforlag, Rosenhoff writes that the plan for the sonata was laid in May 1903. Leters from Rosenhoff are in the National Archives, cf. note 3. Musse Magnussen’s catalogue raisonné can be found in Meddelelser fra Musikhistorisk Museum og Carl Claudius’ Samling III, edited by Ole Kongsted (Copenhagen: Musikhistorisk Museum og Carl Claudius’ Samling, 1986), 32 – 41.
Description of Sources
1. Sommerminder (Mosekonen brygger)
A First edition (1920)
Heading: “SOMMERMINDER (MOSEKONEN BRYGGER)”
Published in: Nordens Musik, vol. 2/9 (Dec. 1920), edited by Carl Cohn Haste. Copenhagen: Pianofabrikant Søren Jensen, 250 – 251.
2. Præludium
A First edition (1921)
Heading: “Præludium.”
Published in: Nordens Musik, vol. 2/12 (March 1921), edited by Carl Cohn Haste. Copenhagen: Pianofabrikant Søren Jensen, 283 – 285.
B Autograph fair copy
MMCCS, Musikmuseet (National Museum of Denmark). Acc. no.: 1985: A: 3.
Heading on top of the first page: “Præludium”. Undated.
34.5 × 26 cm. 2 leaves with 3 unnumbered pages of writing (last page blank). Fair copy in ink.
Paper type: 12 staves (without manufacturer’s name).
Stamped: “Alex. Stoffregen.”
3. Dans
A First edition (1921)
Heading: “DANS”
Published in: Nordens Musik, vol. 3/4 (July 1921), edited by Carl Cohn Haste (Copenhagen: Pianofabrikant Søren Jensen), 332 – 333.
4. Jagende Skyer
A Transcript
MMCCS, Musikmuseet (National Museum of Denmark). Acc. no.: 1985: A: 3.
Heading on top of the first page: “Jagende Skyer.” The title is on a glued-on piece of paper which covers an earlier title: “(Denne ene Hulken)”. Undated.
34.5 × 24.5 cm. 2 leaves with 4 unnumbered pages of writing. Unsigned transcript in ink.
Heading and “Hilda Sehested” on top of the first page is in autograph. A few details seems added by the composer. There are also a few musician’s annotations in pencil.
Paper type: 12 staves (without manufacturer’s name).
Stamped: “Alex. Stoffregen.” (Alexander Stofregen performed the piece in 1916). Designated “I” in the left top corner of the first page.
The transcript has a shorter version of the piece than source B. Many variants and a different ending prove that the copyist used another source than B for the transcription.
B Autograph fair copy (another version; incomplete)
DK-Kk, Royal Danish Library (Music Collection), C II, 12. Hilda Sehesteds samling, 01.
Heading on top of the first page: “Jagende Skyer”
Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK-Kk 1949 - 50.1035).
34.5 × 26 cm. 2 leaves with 4 unnumbered pages of writing.
Fair copy in ink with a few pencilled alterations and additions.
Paper type: 12 staves (without manufacturer’s name).
The manuscript is incomplete. After b. 69 only the beginning of b. 70
is extant, added in the margin. The continuation (of unknown length but at least comprising the final part of b. 70) must have been on a third leaf now missing. After b. 69 and the fragment of b. 70, B has an ending, 10 bars long and completely different from the one in source A
5. Den Sommer og den Eng
A Autograph fair copy
DK-Kk, Royal Danish Library (Music Collection), C II, 12. Hilda Sehesteds samling, 01.
Heading (crossed over) on top of the first page: “Morgen i Sol”; writen on a glued-on scrap of paper covering an earlier title (“Solen kommer…?”) Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949 – 50.1035).
34.5×26 cm. 2 leaves with 3 unnumbered pages of writing (last page blank).
Fair copy in ink with a few pencilled alterations and additions. Paper type: 12 staves (without manufacturer’s name).
B Transcript
MMCCS, Musikmuseet (National Museum of Denmark). Acc. no.: 1985: A: 3. Heading on top of the first page: “Den Sommer og den Eng / Dagen Vaagner” (crossed over). These titles are on a glued-on scrap of paper which covers an earlier, illegible title.
Undated.
33.5×24.5 cm (trimmed). 2 leaves with 3 unnumbered pages of writing (last page blank).
Unsigned transcript in ink. Heading and “Hilda Sehested” on top of the first page are in autograph. There are also a few musician’s annotations in pencil.
Paper type: 12 staves (without manufacturer’s name).
Stamped: “Alex. Stoffregen.” (Alexander Stoffregen performed the piece in 1916). Designated “III” in the left top corner of the first page. The copyist may or may not have used the autograph A as the source for the transcription. Compared with A, there are missing details in B (slurs, stacc. dots, etc.) but also a few details that are not found in A. On the other hand, the composer’s latest corrections are found in A. Minor compositional variants are found in bb. 2, 3, 4, 7, 8, 20, 23, 24, 32 and 33.
6. Bekendelse
A Autograph fair copy
MMCCS, Musikmuseet (National Museum of Denmark). Acc. no.: 1985: A: 3.
Heading on top of the first page: “Bekendelse.”
Dated at the end: “Nov. 1916”
34.5×26 cm. 2 leaves with 4 unnumbered pages of writing. Fair copy in ink.
Paper type: 12 staves (without manufacturer’s name).
Stamped: “Alex. Stoffregen.”
7. Skovens Vuggesang (Des Waldes Wiegenlied)
A Autograph fair copy
DK-Kk, Royal Danish Library (Music Collection), C II, 12. Hilda Sehesteds samling, 19.
Heading on top of the first page of music: “Skovens Vuggesang. / (Des Waldes Wiegenlied)”
Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK-Kk 194950.1035).
34.5 × 26 cm. 2 leaves with 2 unnumbered pages of writing (first and last
pages are blank).
Fair copy in ink with a few autograph alterations and additions in pencil. Designated “V” in the left top corner of the first page.
Paper type: “Heimdal” 1652 (12 staves).
8. Ellepige
A Autograph fair copy
DK-Kk, Royal Danish Library (Music Collection), C II, 12. Hilda Sehesteds samling, 01.
Heading on top of the first page: “Ellepige.”
Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK-Kk 1949 – 50.1035).
34.5 × 26 cm. 1 leaf with 2 unnumbered pages of writing.
Fair copy in ink with several autograph alterations in pencil (bb. 8, 13 – 15, 18, 24; one bar between 18 and 19 crossed over).
Paper type: 14 staves (without manufacturer’s name).
Commentary on the Edition
The edition follows the main sources designated A Jagende Skyer (4) is preserved in two versions of which the transcript A (with contributions in the composer’s handwriting) is considered the final one. The autograph (B) is incomplete and contains many details that differ from the version in source A published here.
Regarding Den sommer og den Eng (5), the autograph fair copy (A) provides the most complete and latest representation of the piece compared with the transcript source B. The edition incorporates the composer’s pencil and ink corrections in A B is considered of no significance to the edition. The title of the piece in A is crossed out, and the piece is thus published under the title found in B, corresponding to the title used at the performance in 1916.
In Skovens Vuggesang (7), pencil corrections in bb. 3 and 4 are respected, while a fairly unclear extension of the final chord (b. 16) is ignored. Thus, the edition presents the version of b. 16 written in ink. In the final chord, however, the composer’s pencilled revision of the distribution of notes is respected.
As regards Ellepige (8), the edition incorporates all alterations in pencil. An identical correction of bb. 13 and 24 is interpreted as a variation compared to the parallel bb. 10 and 21, which still have the original version.
Editorial Emendations and Alternative Readings
1. Sommerminder (Mosekonen brygger) / Summer Memories (Mist Over the Meadow)
Bar Part Comment
15 pf.2 notes (harmonies) 1 – 4: slur added by analogy with pf.1
2. Præludium / Prelude
Bar Part Comment
17, 18, 19, 20, 21
pf.2 lower chord 1: marc. added by analogy with pf.2, top chord 1 17, 18, 19 pf.2 lower chord 2: stacc. added by analogy with pf.2, top chord 2
20 pf.2 lower part, note 2: ten. added by analogy with pf.2, top note 2
41 pf.2
3. Dans / Dance
No emendations.
harmony 1: stacc. added by analogy with pf.1, chord 1
4. Jagende Skyer / Chasing Clouds
Bar Part
3, 7
pf.1
Comment
notes 9 – 11: slur added by analogy with b. 41 (and b. 45)
6 pf.1 penultimate note: emended from s (lower part) to e (top part) by analogy with bb. 10, 44 and 48
9, 47 – d added by analogy with b. 5
55 pf.2 notes 1 – 8: slur added by analogy with b. 17
5. Den Sommer og den Eng / That Summer and That Meadow
Bar Part
4 – 6
pf.1
Comment
top part: one slur from b. 4 last note to b. 6 note 3 emended to two slurs by analogy with bb. 20–22 in which the phrasing was altered to two slurs
9, 25 pf.2 top part, note 7: b added by analogy with pf.1, lower part, note 4
32 pf.1 lower part, last 4 notes: slur added by analogy with phrasing in the beginning of the bar and in surrounding bars
6. Bekendelse / Confession
Bar Part
Comment
26 pf.1 last note: # before c 1 added (cf. previous note: b #) pf.2 note 6: n before e added by analogy with e in pf.1
33 pf.2 notes 1–4, 5–6: slurs added by analogy with b. 32
34 pf.1 penultimate harmony: n added before d1 and d2 (C-major)
36 pf.2 lower part, notes 5–8: slur added by analogy with slur notes 1 – 4
40 pf.1 lower part, note 4: missing b before e2 added (cf. harmony pf.1/pf.2)
42 pf.1 top part, note 5 (chord): b before f added in A in pencil; adopted as the bar ends in minor, leading to c# minor in b. 43
49 pf.2 arpeggio added by analogy with the previous bars
54 pf.2 lower part, chord 1: stacc. added by analogy with pf.1
7. Skovens Vuggesang (Des Waldes Wiegenlied) / The Wood’s Lulaby No emendations.
8. Ellepige / Elf Girl
Bar Part
Comment
12 – repeated c considered to be an error; emended to d by analogy with b. 23 (and bb. 14 –15)
21–23 pf.2 slurs added by analogy with bb. 10 – 13
26 pf.2 slur added by analogy with b. 15
24 – 25 pf.2 slur from b. 24 note 6 to b. 25 note 4 (lower part) added by analogy with bb. 13 – 14
25 pf.2 top part, notes 2 – 4: slur added by analogy with b. 14
26 pf.2 top part: slur added by analogy with b. 15
