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 stafetten 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.
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
Thomas Husted Kirkegaard,
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-s1914 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
Hilda Sehesteds trio for klarinet, cello og klaver, Fynske billeder, består af tre satser der hver er et musikalsk billede af Fyn. De to første satser, “I Ellekrattet” og “I Kløvermarken”, beskriver den fynske natur, hvor den sidste sats “Folkelivsbilleder” er et billede på det fynske folk. 3. sats bygger på folkedansen og folkemelodien Syvspring Denne folkemelodi og -dans stammer fra Danmark, men er faktisk også ganske udbredt i USA, hvilket med al sandsynlighed stammer fra danske immigranter. Det første nedskrevne eksempel på syvspringsmelodien findes i Søren Christiansens (18451933) samling, der består af to bøger med indsamlede folkemelodier udgivet i 1862 og 1865. 1
Syvspring kendetegnes ved en AB-form samt en opadgående trinvis bevægelse efterfulgt af en nedadgående sekvens. Et eksempel på en syvspringsmelodi kan ses i nedenstående node.
Preface
Hilda Sehested’s trio for clarinet, cello, and piano, Fynske billeder (Pictures of Funen), consists of three movements each presenting a musical depiction of the island of Funen. The first two movements, “I Ellekrattet” (In the Alder Grove) and “I Kløvermarken” (In the Clover Field), portray the natural landscapes of Funen, while the final movement, “Folkelivsbilleder” (Scenes of Folk Life), represents the people of the region. This third movement is based on the folk dance and melody known as Syvspring. Although originating in Denmark, this folk melody, along with its associated dance, is also widely recognised in the United States, likely due to Danish immigration. The earliest documented example of the Syvspring melody appears in Søren Christiansen’s (1845–1933) collection, consisting of two volumes of folk melodies published in 1862 and 1865. 1
Characterised by an AB-form structure, Syvspring features an ascending stepwise motion followed by a descending sequence. An example of a Syvspring melody is provided in the musical example below.
Folkemelodien “Syvspring” 2
Den første opførelse af værket, vi kender til, er en opførelse i Dansk Koncertforening 12. feb. 1923, hvor værket blev opført sammen med Knudåge Riisagers Strygekvartet nr. 3 og nogle ukendte sange med klaverledsagelse af Hugo Seligmann. 3 Omkring disse stykker skrev Nationaltidende:
3 elskværdige og vel tournerede Smaastyker – der for Indholdets Skyld godt kunne have været endnu kortere. De klædte de tre Instrumenter, der var kyndigt udnyttede af Komponisten og blev flatterende behandlet af de tre Eksekutører. Mindst sagde Klaverpartiet. 4
1 Køge Spillemandsforening, “Søren Christiansen, Strøby 1865”. https://www.koegespillemand.dk/sc1865.php, tilgået 27.6.2025. Begge bøger befinder sig i Køge Spillemandsforenings Arkiv, hvor de er digitaliserede.
2 Herluf Vad Thomsen (red.), “358 danske folkedansemelodier” (Kolding: Danske Folkedanseres Spillemandskreds, 1985), 233.
3 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4 (København: Multivers, 2019), 84-85.
4 “–st–ts–”, Nationaltidende 13.2.1923.
The earliest known performance occurred on 12 Feb. 1923 at Dansk Koncertforening, alongside Knudåge Riisager’s String Quartet No. 3 and some unknown songs accompanied on piano by Hugo Seligmann. 3 Concerning these works, the newspaper Nationaltidende commented:
Three amiable and well-crafted small pieces –though, considering their content, they could have been even shorter. They suited the three instruments, which were expertly employed by the composer and flatteringly performed by the three musicians. The piano part was the least engaging. 4
1 Køge Spillemandsforening, “Søren Christiansen, Strøby 1865”. https://www.koegespillemand.dk/sc1865.php, accessed 27 Jun. 2025. Both volumes are to be found in the archive of Køge Spillemandsforening. Both volumes are digitised.
2 Herluf Vad Thomsen (ed.), “358 danske folkedansemelodier” (Kolding: Danske Folkedanseres Spillemandskreds, 1985), 233.
3 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, vol. 4 (Copenhagen: Multivers, 2019), 84 – 85.
4 “–st–ts–”, Nationaltidende, 13 Feb. 1923.
Folk melody “Syvspring” 2
Avisen København var mere skeptisk:
I Aftes var det, som om hun havde sat sig for at være saa jævn og ligetil som vel muligt. Det klædte ikke
Hilda Sehested. Hellere det aparte, naar man skal høre denne Komponistinde – dér har hun sin Force. Og man har sine Tvivl, om det nu ikke skulde være lettere at være “interessant” end at skrive en ganske ligefrem Sats hen ad den musikalske Landevej frem for at stable Pelion oven paa Ossa 5
I 1924 skulle Fynske billeder opføres igen, denne gang i Kammermusikforeningen. Op til koncerten reviderede Hilda Sehested værket. Revisionerne var ganske omfattende, navnlig i 1. sats hvor klarinetstemmen har fået nogle tilføjelser, samt i 2. sats, hvor fire takter er fjernet i klaverstemmen. Endvidere blev de to første satser omdøbt fra “Skovstemning” og “Idyl” til “I Ellekrattet” og “I Kløvermarken”.
Der er kun overleveret to kilder, begge udaterede: et partitur i Hilda Sehesteds hånd og et stemmesæt i fremmed hånd. Det overleverede stemmesæt er produceret ud fra et andet partitur end det overleverede –øjensynligt fra en ældre version af værket. Nærværende udgave af Sehesteds Fynske billeder gør brug af partituret som hovedkilde. Sehested har dog i partituret ikke været konsekvent i sin måde at sætte buer på; især ser det ud til, at hun ikke har sat buer på steder, hvor hun mente, de var åbenlyse, f.eks. i gentagende motiver. I sådanne tilfælde er stemmesættet konsulteret og buerne og artikulation indsat redaktionelt.
Frederik Døj Erforth Larsen København 2025
The newspaper København was more critical:
Last night, it seemed as though she had resolved to be as simple and straightforward as possible. This approach did not suit Hilda Sehested. Rather, it is the unconventional that becomes this composer – here lies her strength. Indeed, one wonders whether it might not be easier to be “interesting” than composing a straightforward piece of music rather than stacking Pelion upon Ossa 5
In 1924, Fynske billeder was scheduled for another performance, this time by Kammermusikforeningen. Sehested undertook substantial revisions ahead of this concert, particularly in the first movement, which saw additions to the clarinet part, and in the second movement, where four bars were removed from the piano part. Additionally, the first two movements were renamed from “Skovstemning” (Forest Mood) and “Idyl” (Idyll) to “I Ellekrattet” and “I Kløvermarken”. Only two sources survive, both of them undated: a score in Hilda Sehested’s own hand and a set of instrumental parts copied by another hand. This set of parts appears to have been prepared from a different score than the surviving autograph – presumably an earlier version of the work. The present edition of Sehested’s Fynske billeder uses the autograph score as its primary source. However, Sehested’s notation of slurs in the autograph is inconsistent; it appears she frequently omitted slurs where she considered them to be self-evident, particularly in repeated motifs. In such cases, the instrumental parts have been consulted, and slurs and articulations have been added editorial editorially.
Frederik Døj Erforth Larsen Copenhagen 2025
5 “S.A” [Sophus Andersen], København 13.2.1923.
5 “S.A” [Sophus Andersen], København, 13. Feb. 1923.
2. I Klø vermarken
(med Ben yttelse af en gammel Folkedans “Sy vspring ”)
Hilda Sehested: F y nske Billeder - 26
Abbreviations
Abbreviation Meaning arp. Arpeggio b. bar bb. bars cl. Clarinetto cresc. Crescendo dim. Diminuendo
DK-Kk Det Kongelige Bibliotek København (The Royal Danish Library, Copenhagen) HS Hilda Sehested pf. Piano pf.1 upper manual pf.2 lower manual pizz. pizzicato stacc. Staccato vlc. Violoncello
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 “omitted” 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 written 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.
“Muta in” in connection with changes between A and Bb clarinet has been tacitly normalised.
Hilda Sehested often does not use “arco” after a passage in “pizz.”. This has been tacitly added editorially.
In passages in the violincello part with many ledger lines, a has been tacitly added editorially.
In passages in the piano part with many ledger lines, t, b, or 8 has been tacitly added editorially.
Hilda Sehested often does not use “a tempo” after e.g. “rit.”. “a tempo” has been added editorially and documented in the editorial emendations and alternative readings.
In passages where the piano changes clefs, Hilda Sehested often does not change back to the previous clef. These has been added editorially and documented in the editorial emendations and alternative readings.
The main source A is a revised fair copy, but Sehested has occasionally been less thorough with the notation of the clarinet and violoncello, as the fair copy of the score was primarily intended for the pianist. Unfortunately, the performance parts for the main source have been lost, if such ever existed. In places where articulation is missing, source B (a set of parts for an earlier edition) has been consulted, and the articulation has been added in accordance with B.
Source A
The Royal Danish Library (MA ms. CII. 12 mu 1949 – 50.1035). Autograph score in ink with additional marks in pencil in the composer’s hand.
Paper type: partly unknown in various types and sizes bound with yarn (3rd movements uses paper types marked as “4” and “5”).
The score: 34 partly numbered pages (1 – 9, 1 – 7, 2 – 11).
Title page: “Suite / for / Klarinet, Violoncel og Klaver / Fynske Billeder / 1) Skovstemning (hellere: I Ellekrættet) 4. Min / 2) Idyl (hellere: I Kløvermarken) 5 Min. / 3) Folkelivsbillede 4 ½ Min.” 6
1st movement: Tempo: Andantino.
Title: “Skovstemning.” Composer: Hilda Sehested 2nd movement: Tempo: Andantino con moto.
Title: “Idyl I Kløvermarken.” Composer: Hilda Sehested 3rd movement: Tempo: Moderato.
Title: “Folkelivsbillede.” Subtitle: “(med Benyttelse af en gammel Folkedans ,,Syvspring’’).” Composer: Hilda Sehested.
Source B
The Royal Danish Library (MA ms. CII. 12 mu 1949-50.1035.) Autograph parts in ink in the composer’s hand with additional marks in blue and red crayon and pencil in unknown hands (presumably the musicians who used the parts). The parts: 25 partly unnumbered pages.
Source B1: Clarinet part
The clarinet part: 12 unnumbered pages in various sizes and types.
Page 1v: Left corner: “Klarinet in A.” Tempo: Andantino. Title: “I Tangeskov [sic] I Ellekrattet.”
Page 3v: Left corner: “Kl. /B.” Title: “Idyl”
Page 5r: Left of 1st system: “Klarinet /B.” Tempo: Allegretto. Title: “Folkelivsbillede.” Right corner: “Klarinet”
Source B2: Violoncello part
The violoncello part: 14 partly numbered pages (1 – 3, 1 – 2, 1 – 5).
Paper type: Folio named “1” (520mm × 350mm), 10 systems per page.
1st movement: Tempo: Andantino. Title: “Skovstemning I Ellekrattet.” 2nd movement, title page: Left corner: “Violoncel. / I Kløvermarken [added with blue crayon] / Idyl” 3rd movement: Left corner: “v.cello.” Tempo: Allegretto. Title: “Folkelivsbillede”
Filiation and Evaluation of Sources
The two sources, A and B, represent the work at different stages of its compositional history. Source B, consisting of performance parts, derives from an earlier version of the work and was not transcribed from the main source A Source B is distinguished from source A by evident signs of practical use, including annotations in blue and red crayon as well as ordinary pencil. Additionally, rehearsal marks have been added in source B. In the 1st movement, the clarinet part in source B exhibits divergences in voice leading compared to source A. Furthermore, none of the dynamic markings in the clarinet and cello parts align with those in source A. In the 2nd movement, source B contains four additional bars between bars 64 – 65. Whether this constitutes an error in the performance material or reflects an intentional variant is difficult to determine, as both the clarinet and cello parts have multibar rests. However, the presence of the additional bars in both the clarinet and cello parts suggests that this is unlikely to be a mere error.
Source A appears to be a fair copy prepared after a revision. It bears no signs of practical use, aside from pencilled fingerings added in Sehested’s own hand. Given the size of the numbers, it is plausible that Sehested found it more practical to insert the fingerings with pencil rather than a pen.
6 “Suite / for / Clarinet, Cello and Piano / Pictures of Funen / 1) Woodland Mood (or better: In the Alder Grove) 4 Min. / 2) Idyll (or better: In the Clover Field) 5 Min. / 3) Scene of Folk Life 4 ½ Min.”
Large portions of the clarinet and cello parts in source A lack articulation and slurs. Since the score was primarily intended for the pianist’s use, it is likely that Sehested did not focus as extensively on the clarinet and cello parts. As source A is the only complete source, it has been chosen as the main source for the present edition of this work. Source A also appears to be the most recently revised source in Sehested’s hand. However, it has occasionally been necessary to consult source B in cases where articulation, particularly slurs, is missing from the clarinet and cello parts. Such insertions have been made with great caution, as many slurs in source A are revised, and it cannot be definitively determined whether the editorially added slurs align with Sehested’s intentions. All slurs inserted from source B are documented in the list of editorial emendations and alternative readings.
Editorial Emendations and Alternative Readings
1. I Ellekrattet (In the Alder Grove)
Bar Part
8 pf.
Comment
chords 1, 2: arp. added by analogy with b. 55
12 cl. note 1: m added by analogy with b. 11
18 pf.
A: “dim.” added with pencil [HS]
19 pf. chord 1: p added with pencil [HS]
19 – 20 pf. 1 b. 19, note 1 to b. 20, chord 1: slur added by analogy with bb. 58 – 59
19 pf. 2 b. 19, chord 1 (top note) to b. 20, note 1: tie added by analogy with bb. 58 – 59
19, 20, 21 cl. notes 1 – 5: stacc. and slur added by analogy with bb. 14, 15, 16
20, 21 cl. p c p added by analogy with b. 19
21 cl. note 6: accent added by analogy with b. 19 and pf
22 pf.1
23 vlc.
23 pf.1
A: note 1: n added with pencil [HS]
A: note 6: n added with pencil [HS]
note 4: n added by analogy with note 3; A: note 3: n added with pencil [HS]
23 pf.2 upper part: note 6: n added by analogy with vlc.
27 cl. note 8: # added by analogy with note 1
28 pf.2 notes 1 – 6: stacc. added by analogy with b. 26
39 – 40 cl. c md added by analogy with b. 44, and in accordance with B
34–35 cl. end of last slur at b. 34, note 9 emended to b. 35, note 1 by analogy with bb. 31 – 34
41 pf.
A: note 1: p added with pencil [HS]
43 cl. notes 1 – 2: slur added by analogy with b. 42
49 “Tempo I” added by analogy with b. 1
49 – 50 cl. note 1: p espressivo added by analogy with vlc. and b. 3; r . added to regularise bar; slur extended from b. 49, note 4 to b. 50, note 1 by analogy with b. 3
50 cl. slur added from b. 50, note 2 to b. 51, note 1 by analogy with bb. 4–5
52 pf.1 A: note 4: # added with pencil [HS?]
53 cl. notes 12 – 18: slur added by analogy with b. 6; notes 14 – 18: stacc. added by analogy with b. 6
53 – 54 pf.2 b. 53, chord 1 to b. 54, chord 1: slur added by analogy with bb. 6 – 7
57 pf.1 tie added to b. 58, chord 1 by analogy with b. 10
59 cl. note 1: m added by analogy with b. 58
59 – 60 pf.2
b. 59, chord 2, bottom note to b. 60, note 1, upper voice: tie added by analogy with bb. 58 – 59
61 – 62 vlc. c d added by analogy with bb. 14 – 15
62 pf.2
chords 1 – 3: slur added by analogy with b. 15: lower part, three last notes: slur added by analogy with b. 15
64 pf. chord 3, bottom note: # added by analogy with vlc.; A: chord 1 emended from b′ – d″ – b″ to c n″ – f n″– b″ with pencil [HS]
65 vlc.
A: note 3: n added with pencil [HS]
67 cl. p c p added by analogy with b. 66
68 cl. note 6: accent added by analogy with bb. 66, 67 and in accordance with B
2. I Kløvermarken (In the Clover Field)
Bar Part
1 pf.2
2 pf.
7 pf.2
11 pf.2
15 cl.
16 pf.2
Comment
chord 1, top note: b added by analogy with pf.1; chords 1 – 2: slur added by analogy with pf.1
chords 1 – 2: slur added by analogy with b. 1
chord 3 to 9th quaver: slur added by analogy with chord 1 to 3rd quaver
note 3: n added by analogy with pf. 1, vlc.
slur b. 14, notes 2 – 4 emended to slur extending from b. 14, note 2 to b. 15, note 1 by analogy with bb. 13 – 14
chord 2: q emended to q. to regularise bar
17 pf.2 upper part, note 4: q. emended to q to regularise bar
18 cl. notes 1 – 8: slur added by analogy with b. 3
18 vlc.
19 pf.
note 1: m added by analogy with cl.
A: second slur added with pencil [HS]
19 – 26 cl. slurs added in accordance with B
25 – 26 vlc.
27 cl.
28 – 29 cl.
A: slur from b. 25, note 8 to b. 26, note 4 only ended from b. 26 (line break)
A: b. 27, note 1 to b. 28, note 3: slur added with pencil
A: slur from b. 28, note 4 to b. 29, note 4: slur started in pencil (b. 28), but ended in ink (from b. 29) (page break)
38, 39 vlc. slurs added by analogy with bb. 34 – 35
42 pf.2
A: chord 1, bottom note: n added with pencil [HS]
46 cl. notes 1 – 4 and notes 5 – 8: slurs added by analogy with b. 47
46 vlc. note 1: p added by analogy with cl.
47 vlc. notes 3 – 6: slur added by analogy with b. 46, note 7 – b. 47, note 3
48–49 cl. b. 48, note 5 to b. 49, note 1: slur added by analogy with bb. 40 – 41
52 vlc.
A: note 1 emended from g to d with ink [HS]
61 cl. notes 2 – 4: c added in accordance with B
62 – 63 cl. b. 62, note 1 to b. 63, note 1: slur added in accordance with B
63 pf.
64 pf.1
65 pf.1
66 pf.2
A: slur pf.1, upper part, notes 1 – 6 to pf.2, upper part, notes 7 – 12 emended to slurs in groups of three notes in pencil [HS]; similarly in slur pf.2, upper part, notes 1 – 6 to pf.2, lower part, notes 7 – 12
A: b added with pencil [HS]
A: t added with pencil [HS]
A: “m” in m added with pencil [HS]
68 vlc. notes 1 – 4: slur added in accordance with B; A: ‘m’ in m added with pencil [HS]
71 pf.1 note 1: t added
3. Folkelivsbillede (Scene of Folk Life)
Bar Part
Comment
2 – 5 cl harpins added by analogy with vlc.
9 cl.
A: slur from b. 9, note 5 not ended (line break)
13 pf.1 A: chords 1 – 3: bottom notes crossed out with pencil
35 cl. c added in accordance with B
42 cl.
c added in accordance with B
43 – 46 cl. slurs added in accordance with B
48 pf.
notes 1 – 3: slur added by analogy with bb. 43 – 47
53 pf.1 note 5: n added by analogy with vlc., pf.2
58 cl note 3: c added by analogy with vlc.
67 cl.
notes 1 – 4: stacc. added in accordance with B
68–69 cl. b. 68, note 3 to b. 69, note 5: slur added in accordance with B
69 cl. notes 1 – 4: stacc. added in accordance with B
90 pf.
99 – 100 vlc.
A: slur only ended (system break)
notes 5 – 6 (b. 99) and note 1 (b. 100): stacc. added by analogy with bb. 95 – 96
105 – 106 cl. end of slur at note 4 emended to note 2 in accordance with B
106 vlc.
notes 2 – 7: slur added in accordance with B
106 – 108 cl. b. 106, note 3 to b. 108, note 1: slur added in accordance with B
106 – 107 pf.
119 pf.
A: slur not ended (line break)
A: slur only ended (line break)
123, 124 vlc.
125
cl.
130 cl.
132 cl.
notes 5 – 6 (b. 123) and note 1 (b. 124): stacc. added by analogy with bb. 95 – 96 and bb. 127 – 128
notes 1 – 4: stacc. added by analogy with b. 121
b. 130, note 2 to b. 132, note 1: slur added in accordance with B
A: slur only ended (line break)
136 pf. note 1: n added by analogy with chord 1, pf. 2
137 cl.
A: slur from b. 136, note 1 to b. 137, note 1 only started (line break)
140 vlc. note 1: f added by analogy with cl, pf.
144 pf.2
169 – 171 cl.
A: note 1: pp added with pencil [HS]
b. 169, note 1 to b. 171, note 1: slur added in accordance with B
171 cl. start of slur at note 1 emended to note 2 in accordance with B
173 – 175 cl. b. 173, note 1 to b. 175, note 1: slur added in accordance with B
175 pf.
175 pf.2
178 pf.
A: dim. d pp added with pencil [HS]
A: note 1: slur only ended (page break)
A: “cresc.” added with pencil [HS]
189 pf. f added by analogy with cl.; A: f added with pencil
190 – 191 pf. “rall......” added with pencil [HS]
190 pf.2 lower part, chords 1 – 3 to b. 191, chord 1: “8basso” added with pencil [HS]
191 vlc.
A: chord emended from c͵͵
to f͵͵
c
a
with pencil [HS]
