Leif Kayser: Posthumous Pieces for Accordion (1974 – 91)

Leif Kayser Efterladte stykker for accordeon Posthumous Pieces for Accordion (1974 – 91)

“...to correct previous sins of omission”

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Leif Kayser Efterladte stykker for accordeon (1974 – 91) Posthumous Pieces for Accordion

PREFACE

FORORD

It has been said of Leif Kayser that he is one of the best things that has happened to the Danish accordion community. In any case, he remains – more than 20 years after his death – one of the Danish composers with the most extensive production of music for the instrument, especially if you include his works for accordion orchestra (including some arrangements of César Franck’s organ music): 13 pieces for accordion solo (+ a 4-movement sonata, which will hopefully be published at a later date) have not been published until now.

Det er blevet sagt om Leif Kayser at han er en af de bedste ting, der er sket for det danske accordeonmiljø.

I hvert fald er han stadig - mere end 20 år efter sin død - en af de danske komponister der har den mest omfattende produktion af musik for instrumentet, især hvis man medregner hans ting for accordeonorkester (bl. a. nogle arrangementer af César Francks orgelmusik). 13 stykker for accordeon-solo (+ en 4-satset sonate, som forhåbentlig kommer til senere) er ikke blevet udgivet før nu.

The 13 pieces in this collection can be divided into two periods. In the first, 1974 – 1975, the pieces were created in connection with the preparation of the volume Arabesques (commissioned by DAU, the Danish Accordion Teachers Union, published by Kayser himself).

Here, only 10 pieces found their way to publication out of more than 30 large and small works. After c. 13 years Kayser was finally persuaded to select pieces from this musical treasure chest for another volume, this time entitled Confetti (15 pieces, ed. 1992 by Edition SAMFUNDET, now Edition·S). However Kayser would not settle for that. He was again inspired to write for the instrument, and these new pieces thus originate from “the second period”, 1988 – 1991. One can clearly see that something has happened to Kayser’s handwriting in the meantime. The 1974 – 1975 pieces are in Kayser’s legendarily neat handwriting. In the 1988 – 1991 pieces, an incipient tremor has left its mark.

De 13 stykker i denne samling kan inddeles i to perioder. I den første, 1974-1975, er stykkerne blevet til i forbindelse med udarbejdelsen af hæftet Arabesques (bestilt af DAU, Dansk Accordeonlærer Union, udgivet af Kayser selv).

Her fandt kun 10 stykker vej til udgivelse ud af mere end 30 store og små værker. Efter ca. 13 år lykkedes det endelig at få Kayser overtalt til at udvælge stykker fra denne musikalske skat til endnu et hæfte, som denne gang fik titlen Confetti (15 stykker, udg. 1992 af Edition SAMFUNDET, nu Edition·S). Men Kayser kunne ikke nøjes med det. Han blev inspireret til, på ny at skrive for instrumentet, og disse nye stykker stammer således fra “den anden periode”, 1988-1991. Man ser tydeligt at der er sket noget med Kaysers håndskrift i mellemtiden.

1974-1975-stykkerne er med Kaysers legendarisk sirlige håndskrift. I 1988-1991-stykkerne har en begyndende rystesyge sat sit præg.

After the first two collections – Arabesques and Confetti – there were still quite a few pieces simply lying around gathering dust in the drawers of a small group of

Efter de to første samlinger – Arabesques og Confetti var der altså stadig en del stykker, der bare lå og samlede støv i en lille gruppe accordeonisters skuffer. Hvorfor disse stykker ikke kom med i det ene eller det andet

accordionists. Why these pieces did not make it into one or the other volume has probably to do with the dilemma that choosing something usually also implies rejecting something else – and is not a necessarily a reflection on quality. In any case, the undersigned clearly remembers a class at the conservatory with the main subject teacher Mogens Ellegård, who’d come directly from a meeting with Leif Kayser. Mogens Ellegård was responsible for the preparation of Leif Kayser’s Arabesques and Confetti booklets. It had been the last meeting with the composer before the Confetti edition went to press, and Kayser had removed the best piece! (No. 8 in this collection, a piece he himself called “Cheeky Freddy’s March”). “It didn’t really fit into the collection”, was his reasoning. A clearly frustrated Mogens Ellegård had to state that now the piece would probably never be published – at least not during Kayser’s lifetime. Another piece that did not find its way to publication, but which has not gathered dust, is Impromptu (No. 7 in the present collection). It was played at Leif Kayser’s 75th birthday concert in the ballroom at the music conservatory on 31.10. 1994 by the Norwegian accordionist Halvor Lillesund. A few years earlier, a Belgian accordionist who had studied in Copenhagen, had used it in his program at an international accordion competition. Subsequently, Edition Samfundet was contacted by accordionists from abroad who wanted to get their hands on the sheet music, but no one at the publisher knew anything about an ‘Impromptu for Accordion’ by Leif Kayser. A casual remark in an email correspondence can, however, obviously set things off, with the result that the Impromptu can now be given better wings – albeit with a 30-year delay.

The editors have not had access to the original manuscripts, but only copies of these to work on. The pieces from the 70s contained additions by Mogens Ellegård in the form of registrations, bellow signs, fingerings etc. Since it was not certain whether Kayser himself had approved the registrations, let alone heard them, they have been omitted and the sheet music therefore appears as an ‘urtext’. The only exception is No. 9 and No. 9b, where it was deemed that Kayser himself added the register symbols. These registrations are noted according to the “Loco keyboard” principle. Likewise, entries which are assumed to have been written by Kayser himself have been retained, such as SB and BB in No. 9, which refer to the use of the standard bass and melodic bass manual respectively. Incidentally, No. 9 was a bit of a puzzle, since it exists in two different versions, and it was not clear which page belonged to which version, but the editors have tried, to the best of their ability, to put the pieces together in the most probable way.

A few editorial additions and suggestions are indicated in square brackets, with the exception of No. 10, bar 11, 3rd

hæfte, er vel dilemmaet om at valg som regel indebærer fravalg - og ikke et spørgsmål om kvalitet. Under alle omstændigheder husker undertegnede tydeligt den time på konservatoriet med hovedfagslæreren Mogens Ellegård, der kom direkte fra et møde med Leif Kayser.

Mogens Ellegård stod for klargøringen af Leif Kaysers Arabesques- og Confettihæfter. Det havde været det sidste møde med komponisten inden Confettiudgivelsen skulle i trykken, og Kayser havde pillet det bedste stykke ud! (Nr. 8 i nærværende samling, et stykke han selv kaldte “Freddy Fræks march”). “Det passede ikke rigtig ind i samlingen”, havde begrundelsen lydt. En tydeligt frustreret Mogens Ellegård måtte konstatere at nu blev stykket sikkert aldrig udgivet – i hvert fald ikke i Kaysers levetid. Et andet stykke som ikke fandt vej til udgivelse, men som ikke har samlet støv, er Impromptu (Nr. 7 i nærværende samling). Det blev spillet til Leif Kaysers 75-års fødselsdagskoncert i festsalen på musikkonservatoriet d. 31/10-1994 af den norske accordeonist Halvor Lillesund. Et par år tidligere havde en belgisk accordeonist, der havde studeret i København, brugt det i sit program ved en international accordeonkonkurrence. Efterfølgende blev Edition Samfundet kontaktet af accordeonister fra udlandet, som ville have fingre i noderne, men ingen på forlaget kendte noget til et Impromptu for accordeon af Leif Kayser. En henkastet bemærkning i en mailkorrespondence kan dog, åbenbart, sætte skred i tingene, og gøre at Impromptu’et nu kan få bedre vinger – med 30 års forsinkelse.

Redaktørerne har ikke haft originalmanuskripterne, men kun kopier af disse at gå ud fra. Stykkerne fra 70’erne indeholdt tilføjelser i form af registreringer, bælgtegn, fingersætninger osv. foretaget af Mogens Ellegård. Da man ikke var sikker på, om Kayser selv har godkendt registreringerne, endsige hørt dem, er de udeladt og nodebilledet fremstår derfor som urtekst. Eneste undtagelse er nr. 9 og nr. 9b hvor det skønnedes at være Kayser selv, der har sat skrevet registersymbolerne.

Disse registreringer er noteret efter ”Loco tastatur” princippet. Ligeledes er angivelser, som må formodes at være skrevet af Kayser selv, bibeholdt, såsom SB og BB i nr. 9, der refererer til brugen af standardbas- henholdsvis melodibasmanualet. I øvrigt var nr. 9 lidt af et puslespil, da det findes i 2 forskellige versioner, og det ikke fremstod klart hvilken side der hørte til hvilken version, men redaktørerne har efter bedste evne forsøgt at sammensætte stykkerne på den mest sandsynlige måde.

Nogle få redaktionelle tilføjelser og forslag er angivet med kantede parenteser, med undtagelse af nr. 10, takt 11, 3. og 4. akkord, hvor de kantede parenteser er sat af Kayser selv.

Organist Niels Danielsen har stået for det omfattende arbejde med nodesatsen af Kaysers håndskrevne forlæg,

and 4th chords, where the square brackets were added by Kayser himself.

da de kopier der var til rådighed, ikke kunne bruges til udgivelse.

Organist Niels Danielsen has been responsible for the extensive work with engraving the sheet music following Kayser’s handwritten edition, as the copies that were available could otherwise not have been used for publication.

En stor tak rettes til accordeonist og organist Peter Thomsen for nidkært at læse korrektur og komme med uvurderlige forslag til udgivelsen.

A big thank you goes to accordionist and organist Peter Thomsen for zealously proofreading and making invaluable suggestions for the publication.

Let me end with Mogens Ellegård’s words from the foreword to “The Classical Accordion Edition” published

by Edition Samfundet (Edition·S) 30 years ago: “Some of the musical treasures written over the years were never printed, but the Society for the Publication of Danish Music [later called Edition SAMFUNDET and now Edition·S] – a non-commercial enterprise supported by the Danish Music Council – fortunately sees it as an important moral obligation to correct previous sins of omission” Allan Harboe Karlsson 2023

Lad mig slutte med Mogens Ellegårds ord fra forordet til “The Classical Accordeon Edition” udgivet af Edition Samfundet (Edition·S) for 30 år siden: “Nogle af de musikalske skatte skrevet gennem årene blev aldrig trykt, men Samfundet til udgivelse af dansk musik [senere kaldet Edition SAMFUNDET og nu Edition·S] – en ikke-kommerciel virksomhed støttet af Dansk Musikråd – ser det heldigvis som en vigtig moralsk forpligtelse at rette tidligere udeladelsessynder” Allan Harboe Karlsson 2023

INDEX

INDEKS

1. Largo 5 2. Largo 8 3. Andante 10 4. Allegro moderato 12 5. Andantino 16 6. Andantino 18 7. Allegretto, “Impromptu” 20 8. Allegro moderato, “Cheeky Freddy’s March” 9. Agitation 27 10. [Without tempo indication] 30 11. Moderato 32 12. Lento 34 13. Moderato cantabile 38

1. Largo 5 2. Largo 8 3. Andante 10 4. Allegro moderato 12 5. Andantino 16 6. Andantino 18 7. Allegretto, „Impromptu“ 20 8. Allegro moderato, „Freddy Fræks march“ 9. Agitato 27 10. [Uden tempo] 30 11. Moderato 32 12. Lento 34 13. Moderato cantabile 38

Appendix: 9b. Agitato, first version

40

24

Appendix: 9b. Agitato, første version

40

24

1





 



       

5



Efterladte stykker for accordeon                                  

                               

Largo  = 56

            



       

                    



                                                               

Leif Kayser

 

  

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  

                     

                                                         dim.                                           

9

                           

13

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18

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       

22

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                    grazioso                     Quasi vivo  = 120

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                                            

Kayser: Efterladte stykker for accordeon · 5



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                                        

25

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  

29

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33

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    

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  

        

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       

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       

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         

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                                                                                         

40

   

  

    

  

 

44

  48

                   

               

     

 



   



                              

                    

               

        

Kayser: Efterladte stykker for accordeon · 6

    

  

       

  

 





 

52

 

                          

  

   

      

                   

  

               





 















 



                                 

62

                      

66

              

[69]

 

  

 



  

 

 

  

             

 









 

                     





  

                         



             

     dim.





   

Kayser: Efterladte stykker for accordeon · 7

                   

        dim.      

    

    

                                            

Tempo I

                                                            

                                 

73





    



    

  

55

58





   

    

       



415

28·229·4·75

   

 



2

        

     

     

6

           

    



13



 

   

Largo  = 56



     



          

    

    

 

  







        

     

         

                                          

   

           

       

   

31



36



    



sempre dim.

 



    







    

     dim.





     



                 







   

  



    

    



    

    

    

   

      

        cresc.  

    

       

  

dim.



       dim.       

Leif Kayser





                

   

    

         

                        cresc.           

19

24



      

    

   





   

Kayser: Efterladte stykker for accordeon · 8



 









                

   





 

  











  



44

            

50



    

 

      

  

      

  

   

      



                        

    

56





 

         



62

        

            

67

 

74

  

 

 

[77]

 

 

 

   

 





 



  

 

        





    

  

             



   

      







     



  



dim.

    

 



      

    



    

 

    





    

        

 

       



        

      

  

    

 

   

       

      

     

    



               cresc.             

    

   

Kayser: Efterladte stykker for accordeon · 9

cresc.

      

  

     



 

   



    

    

     



 

 











    

[80]

 

 

 



  

83

 

 

 

   

   

 

      

 

      



   

 

 

 

    

3

  

 

   

89

    

3 

[3]



  

     

          dim.

      dolce grazioso    Andante

   

  

      



  





 



      

     

  

    

  



 



    













 

 

 

    

Kayser: Efterladte stykker for accordeon · 10



 

  

    

   

        

  

 



 

 

   

     

   



 

      

   

 

  

    

      



 

 

 

      

   

     

   



 



                     3                   

85

 

 

   



 

Leif Kayser

        



  





  





   

 

6





 

9

 



 

  





   

   

          



 

  

12

          







      





  

     











    



   

    

   

 

3

 



  

         

  

      

      



  

      

 3        

3

 

 

   

   

  

  



   

     



         

                                                               

 

15

  

18





 



21





   

[23]

 

 

 

  

  





   

dim.

     

     

  







  



riten.

   



    





 

       



  







     





   

Kayser: Efterladte stykker for accordeon · 11



  



 

       

  





 



    

2'

12·12·74

4





 

 



                                                     

       

4

 

     

6

 



8

 

 

Leif Kayser

Allegro moderato

                                 

                             

   

                             







       

 

                  



12

   

  

[13]

    

             



 



  



    



 



      

 



    

      

 

    

  





   

        

    

 

10

                    





  





             

         



        

Kayser: Efterladte stykker for accordeon · 12



        

 



    

 

 



 

  



                                                    

  



15

                                            

[16]



[17]

    

 

  

    

cresc.







        





  

   



    

  

  



        





               

           



                                    

[18]

  

[19]





    

     



   

     

  

             

[21]

    

[22]



   

       



  

 



 

     

          

  

        

 

                                         

    

  

                          



Kayser: Efterladte stykker for accordeon · 13

          

 

=

FINE

  







                                                                       grazioso                                        

25

              

     



31

 

  

        

     

                 

41

 

        

45



     

      

      



       

     

     

 

                 

          

   

  

 

   



    

                            

                                                                            

       

50

 

          



36







          

      

      

         rall.







          

                             

                           Da                1·91

Kayser: Efterladte stykker for accordeon · 14

Tp. I

Første side af nr. 4 i Kaysers håndskrift

Kayser: Efterladte stykker for accordeon · 15

5







  



         legato   

   

   

  

 

9

 

16

  

  



   









            

23







                 

29

    

  dim.

   

         



Andantino



 



   

 

 



   

     



 





      





   

      

       

    

    



  

cresc.

     

   



   







  

 



   

   



Leif Kayser

  

  



 



    

 

                              loco

  



  

              



                                                                                      

32

   

                                        dim.                               



35

Kayser: Efterladte stykker for accordeon · 16





   

                                      3                                                    

    

38

       

               

41

 

46

  

52



 

dim.

 

58



 









 

  







 

  





 







         

  

 



 

 

 

    

   

         

    

   



       



dim.



  

 

    

   

   





                 







  

Kayser: Efterladte stykker for accordeon · 17

  

 

        



 





                          3 3  dim.                  

63

    









    

   

 

  



  







16·XI·90



6



 

 



                 simile                       Andantino

 



7

  



13

   



 

 

 



  

   

  

 

 



 



 



 

 

  

 

  

 

  

     

 

 

   

 

 

 

Leif Kayser

  

 



 

 



                       cant.             legato

                                                      

[17]

                                                          

21



25

       

   



29

 

 



 



   



 



 



   

  

 

  



 



   



  

 



 



 





  

    



    

 

Kayser: Efterladte stykker for accordeon · 18

 



   

 

 

 



   







 

 



    





 













 





33

   

37

      







   

 







 

 

 

  

 



 

     

49

   

  



 

45







  



 

  



                                 



                             

 

41

         









  

   

 

  















  

     





  

                                            legato

       





 

        

 

  





  





















 

 

 

 

   

 

  

[simile]

    

         

  

   



   

             

                                               

53

 

                

[56]

   







  



       











  

Kayser: Efterladte stykker for accordeon · 19

 











  



 

 

330 21·10·74

7

   







4



Leif Kayser                                                                       Allegretto

          

 

cresc.





                                                       

    

                                                                     

8

     

11

  

cresc.

 

14

   

           





     



 

                               

    

                                 

17





  





cresc.





      

           



  



                        

     



 



   

                       dim.                               

20

Kayser: Efterladte stykker for accordeon · 20

   



 

                           cresc.                                       

23



26

            

 

    

 



          

          

                                  

29

                  

     

                                         

 

32

           

35

                

           

                                           

39

     

43

   

                     



      

             

       

         





                                           

                

 

        

                                                                    

                               

                

     



Kayser: Efterladte stykker for accordeon · 21



 

 

 

                                                                                              51                                                                                                 47

                                                                  

54

        

57

   

    

  



         

                          cresc.   



 





      

      

  



                                                                                                           

60

                                                                                 66                                                                                63

Kayser: Efterladte stykker for accordeon · 22

 











            

69

   

72





       

      

         

    

      



            





       



 

    

                                           

79





     

  



  

   

 

                         cresc.                  

                                 

75

     

 

                     

       

       

                                                      



                                87                                                                                                             91                                                                      I·91    

83

         

 

  

Kayser: Efterladte stykker for accordeon · 23

          



 

 







8

                                                                                   Allegro moderato  = 120

                          

       

5

     

Leif Kayser

 



                   

                       

                                                                       

9





13

      

  

                

16





 

19









       

    









                                   

                   

                  dim.        

                               

                          

23

                     cresc.        





                

                             

Kayser: Efterladte stykker for accordeon · 24





 







  

27





[29]

   

    

   



    

    



  





                 cresc.           

      



                    

                                          

32

  



   

    



          





 

   

       

cresc.

     

             



   



             

[38]



41











    cresc.



 

 

 







 

  



                 

    

  cresc.





                  cresc.              

                                                                       

43



                  

                                



36

 

Kayser: Efterladte stykker for accordeon · 25

                  FINE 3 31·12·74

30

 











        

[46]

                              sempre staccato                   

              

[49]

 

[52]

     



                           

  



   

       

            

                                                                       

                   

56

               

        



 

  



          



      

                       





                                                                                      

59



       

63

     



                            

           

67

       





   

  

            

                      

                      

          

        

Kayser: Efterladte stykker for accordeon · 26



         

 pag.[24]



9



 







 Agitato  = 66              

   

5

 



9

  

     







          

12

 







                          

  





  



 



   

     



      



loco



    

 



   

    

 



       

  

 

 





 



   











                

           

   



Leif Kayser





      



      

              

   

      

                                                  

[15]



[17]



         

     

  

 

 

 

 

    



 





                 

Kayser: Efterladte stykker for accordeon · 27



 



 







 





               pesante     

                                                                                   

20

                                                    



25

 

29

     

 

32

 

     



34



 



  

    

  



 

 

                                     



      





  

   



  

   

 











             dim.                     

41

        

   

calmo  più                         dim. dim.                           

37



                                           



 



CODA

Kayser: Efterladte stykker for accordeon · 28

  

 



   

  

( = 60)



 

           

 

Ia volta: IIa volta: CODA









5'

29/30·8·7425·2·75



   





fluente                                                      

46

  



      cant.                                 

 

50















legato

 















                               

54



58

     

62



 



 







































        









                             

  







                 

 



 

 

 



 





               

                                                                     

66

 



 

 





  



                                       

70

 



Kayser: Efterladte stykker for accordeon · 29















74





poco rall.











          

 

77



poco cresc.





                

80



   

 

   







cresc.

 



 



     

 





        

      



cant.

  



                          

  ?                  

 



     

            







 

          



                  



         





                 

 

5



     

accel.

83

10

 

    

a tempo

Tempo I

    

          











        

                 cresc.

                   

        

                  

Leif Kayser

   

                     

Kayser: Efterladte stykker for accordeon · 30

   

              

    

     

  

  















 



    

      

9

  

  



          dim.

13



 



                                            

        

                                                                            

     

    

                                                     dim.                                 

17

                   

21



                            

24

   

          

cresc.

         cresc.                  

                     

28

      

        

 

 



 

 dim.            



    

Kayser: Efterladte stykker for accordeon · 31



       

     

            dim.         

         

    



dim.

 

       

                             

  









23·3 88

11





 





         

   

           

                               

Moderato   = 52

 dolce cant.

      leggero



  



  





Leif Kayser

                                                                                            

4





 

                

8

          energico         

12

          





       

    

                 



16

 

3

   

19

         

   

            



    



  



       



          3         



     



  

     

             



6





 

  



Kayser: Efterladte stykker for accordeon · 32

 

  

dim.





    





                    con anima



   

  





         

      

 

     

 







 



 

22

 



26

  



 







   

  

       

 

 





 

                   

32

              

36





  

       

29

                                

 

   



 

   



  

          

 

    

             dolce cant.                         



 



  

        



 

 

       



                   

     

   

       

    

     

  





           

       

   



 

     

  



        

         



  

  

       

  

   



 

                                                 rall.      [43]                        quasi                2                          15-16·2·75  40



15

Kayser: Efterladte stykker for accordeon · 33



  

 

12



 

Lento



 legato     

  



   

12

    

18



 





      

24

     

 



   

30

      

36

 

    







  

  

       

6

           

    

 



 

 

  



  

 



 

  



 

 



        







       

        

        



  

   

dim.



       





   







      

   

  







    

     

 

cresc.

 

         

   

         

 

    cresc.



 

 



 

     

 

  



Leif Kayser



 

        

    



       

   

Kayser: Efterladte stykker for accordeon · 34

 











 

   

    



   



 

  

    













   

             



47

       



52



   

   



          





dim.

    

   

 

42

         

   

            

   

   

 

    

       

 

   



64

  

68

 

3



3

 

 

3

 

        cresc.    

     

 

 







   



   

 

 

   

 

   



    

 

 

 



  





           



 

   3

  



      3

 



    

 

 

                      

Kayser: Efterladte stykker for accordeon · 35



   

3

3

 

   

   



3

    

72

   

     

 

3



 

               

    

   

58

    

  





       

  



     

  









        

76

  

80

  

 

 

  

     

84



    

      

3

    



 

94



       

98

        

    



           

102

 

  

    

       













   



    





dim.







     



   

 



  





 

   

   





   

   



 cresc.     

Kayser: Efterladte stykker for accordeon · 36



  





 

              



  

  

    

         

    

   

 

  

       

 

    

 

       

 

  



   

         



  

              

 

89



  











         

      cresc.

       







  

           



 







  



 

106



110

   

    

 





   

       cresc.       

114

       

118

  



122

  



127





dim.







 

 

   

  



 

 

 



 

 





    

           

   



  



      





  







  

dim.









   







 





 



 

Kayser: Efterladte stykker for accordeon · 37





          







    

   

      



    



     

        

      

      

 

   

       dim.





     

  

  

   





    

 



11·4·88

13

 

  



5







    

9

   

  

   



  





 





 

 

    

 

  

    

13

 



17



   cresc.

       

21







  

    



 

 





 



   

    

  





 





            





 



  

   



    3





 



  

  

Kayser: Efterladte stykker for accordeon · 38



   

  dim.



  

  

 









 

  

   







 

        

   



 

Leif Kayser

    



dim.





 

     



  



  





  



  



 





    









 



        3 

 





Moderato cantabile





 

 

   

  





 

 



     



 

  

29

 

 

25



  

 

 

33

 

 





poco rall.

 



41

 

 







 

 

             

45















  

cresc.





  

 





3



a tempo

 

  

  





   

 



 

 

 







 

    

37

dim.

   



 



 

 

   





  



 

 

dim.















  

dim.

 





   









rall.





Kayser: Efterladte stykker for accordeon · 39

    

 



    

     

 





     











  

 

 



       

   



 











  

  



  









 



   

230 2·9·74



Appendix Første version af nr. 9, ufuldstændigt overleveret. First version of No. 9, incomplete.

9b















          

    

7

   

    

12

 

                  largamente             





 

  

   

meno  = 56

Agitato  = 66







          

Leif Kayser



 

meno   agitato                                               

 

       



agitato

    

 



            

16                                                              cresc.                



meno

                                                                                       

19

                  

24

     

 

          

        

Kayser: Efterladte stykker for accordeon · 40

  

 

    

agitato                         













  



29





32





         







  

 

 



  

 

 

           





meno

agitato

   

 

36

 

 

  

 meno         

dim.

           



          

57



  



 



    

      





 

  

 

dim.

 



           

       

     

     

              cant.        



    

     

  

  



 

42

50

   

 

meno







   agitato           









  



FINE

 

 

   

 



  



 

dim.

5'

  

  





               

               

Kayser: Efterladte stykker for accordeon · 41

   

 ( poco rall.)        

Det foreliggende nodemateriale slutter ved takt 62; udgiverne foreslår sammenkobling med nedenstående takter fra den senere version.











63





poco rall.





             

66



poco cresc.



   







 

        accel.

   



cresc.



     

                     a tempo

   

     

69

72

 



                





The preserved manuscript ends at bar 62; the editors propose ending the piece with the last bars of the later version, as below.

   

 





        



       

       



cant.



 

  

   

  



             



                    

          

    



               Tempo I

Kayser: Efterladte stykker for accordeon · 42





