Nanna Liebmann
Minnelieder for sang og klaver / voice and piano (1903)
Partitur / Score
Danish Classical Music
Danish Classical Music
Edition·S music¬sound¬art
Nanna Liebmann
Minnelieder for sang og klaver / voice and piano (1903)
Partitur / Score
Redigeret af / Edited by Maria Claustad
Copenhagen 2025
Nanna Liebmann: Minnelieder
Kritisk udgave ved / Critical edition by Maria Claustad
DCM Editor-in-chief: Thomas Husted Kirkegaard © 2025 Edition·S
Cover design: Tobias Røder
Music engraving: Maria Claustad
Layout: Hans Mathiasen
Proofreading, score: Marianne Terp
Udarbejdet og udgivet med støtte fra Augustinus Fonden
Prepared and published with support from The Augustinus Foundation
Edition·S | music¬sound¬art Worsaaesvej 19, 5th floor DK–1972 Frederiksberg Denmark https://edition–s.dk/
Edition·S’s virksomhed støttes af Statens Kunstfond / Edition·S is supported by The Danish Arts Foundation.
DCM 077
ISBN 978-87-85346-14-8
ISMN 979-0-706839-36-3
Indhold / Contents
Danish Classical Music iv
Biografi / Biography vi Forord / Preface vii
Faksimile / Facsimile ix
Minnelieder 10
1. Liebestod 10
2. Der Falke 12
3. Der Minne Gegenseitigkeit 14
4. Ein gutes Ende 16
5. Dienst und Lohn 18
6. Im Herbst 20
7. Tanzlied 22
Critical Commentary 24
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 DCMparaplyen. 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
Nanna Liebmann (født Lehmann) (1849-1935) blev født i København som del af en velstillet og kulturel borgerlig familie. Hendes far var øjenlæge og amatørviolinist og hendes onkel var den kendte liberale politiker Orla Lehmann. Både i Liebmanns barndom og ungdom arrangerede faren adskillige kvartetaftener i hjemmet, hvor han også selv deltog. I en artikel i Dannebrog blev familiens hjem på Rosenvænget endda kaldt ”toneangivende i Kjøbenhavns musikalske Kredse”. 1
Liebmann begyndte som 18-årig på Niels. W. Gades nye musikkonservatorie og fik stor ros under sin studietid. I 1872 forlovede hun sig med sin studiekammerat Axel Liebmann, der var en lovende komponist. De to skrev små kærlighedssange til hinanden og to af de sange, Nanna komponerede til Axel, Der Rottenfänger og Der Goldschmiedgesell, blev udgivet som del af hendes allerførste udgivelse Syv Sange til tydske Texter fra 1885. Parret giftede sig i 1874 og fik en søn året efter, men Axel Liebmann døde i 1876 af en underlivssygdom, kun halvandet år efter deres bryllup. Herfra måtte Nanna Liebmann forsørge sig selv og sin søn. Hun fik arbejde som sanglærer på Nathalie Zahles Skole og overtog Axels tidligere post som musikkritiker i avisen Fædrelandet. Hun lagde mere eller mindre kompositionerne på hylden i de næste 25 år, og det var først efter år 1900, at hun begyndte at komponere og udgive musik igen. Hun udgav i perioden 1903-1904 sanghæfterne Minnelieder og Fem sange, der generelt modtog fine anmeldelser, og i 1911 udgav hun klaverværket Thème passioné et variations på Wilhelm Hansens Forlag.
Nanna Liebmann var i 1895 med til at arrangere Kvindernes Udstilling og fungerede som formand for musikudvalget. Hun var yderst kompetent til det, da hun gennem sin families kulturelle bekendtskaber samt sin egen opbyggede omgangskreds kendte mange i musikmiljøet og kunne rekruttere derfra. Men selvom Kvindernes Udstilling havde til formål at vise de nordiske kvinders kunnen, var Nanna Liebmann ikke kvindesagsforkæmper – tværtimod forholdt hun sig kritisk til hele kvindefrigørelsen.
Efter en sygdomsperiode i 1914 stoppede Liebmann så vidt vides med at komponere og levede de sidste år frem til hendes død af at undervise og at have logerende.
Maria Claustad
Biography
Nanna Liebmann (née Lehmann) (1849–1935) was born in Copenhagen into a wealthy and highly cultured bourgeois family. Her father was an ophthalmologist and amateur violinist, and her uncle was the well-known liberal politician Orla Lehmann. During Liebmann’s childhood and youth, her father hosted numerous string quartet evenings at their home, often participating himself. In a newspaper article in Dannebrog, the family’s home on Rosenvænget was even described as “a leading influence in Copenhagen’s musical circles”. 1
At the age of 18 Liebmann was enrolled in the Niels W. Gade’s new music conservatory, and she received high praise during her time there. In 1872, she became engaged to her fellow student Axel Liebmann, a promising composer. The two wrote small love songs for each other, and two of the songs Nanna composed for Axel, Der Rattenfänger and Der Goldschmiedgesell, were included in her very first publication, Syv Sange til tydske Texter from 1885.
The couple married in 1874 and had a son the following year, but Axel Liebmann passed away in 1876 from an abdominal illness, only a year and a half after their wedding. From that point on, Nanna Liebmann had to provide for herself and her son. She found work as a singing teacher at Nathalie Zahle’s School and took over Axel’s former role as a music critic at the newspaper Fædrelandet. She more or less set aside composing for the next 25 years, and it was only after 1900 that she resumed composing and publishing music.
Between 1903 and 1904, she published the song collections Minnelieder and Fem sange, both of which generally received positive reviews. In 1911, she released the piano work Thème passionné et variations through the publisher Wilhelm Hansen.
In 1895, Nanna Liebmann played a key role in organizing the Women’s Exhibition in Copenhagen, where she served as chair of the music committee. She was highly competent in this regard, as her family’s cultural connections, along with her own cultivated network, gave her strong ties within the musical community, enabling her to recruit talent from these circles. However, although the Women’s Exhibition sought to highlight the talents of Nordic women, Nanna Liebmann was not an advocate for women’s rights; on the contrary, she was deeply critical of the entire women’s liberation movement.
Following a period of illness in 1914, Liebmann is believed to have stopped composing and spent her remaining years supporting herself by teaching and taking in lodgers.
Maria Claustad (translated by Emil Vijgen)
Forord
Minnelieder blev udgivet i 1903 hos Nordisk Musikforlag. Første halvdel af 1910’erne var produktive år for Nanna Liebmann. Ud over Minnelieder komponerede og udgav hun i 1904 sangbindet Fem Sange. Sangteksterne til Minnelieder er alle tysksprogede digte hentet fra middelalderens minnesange.
Inden udgivelsen af Minnelieder havde Liebmann tilsyneladende holdt en længere pause fra komposition. Der findes ingen kendte værker mellem udgivelsen af Syv Sange til tydske Texter i 1885 og udgivelsen af Minnelieder, hvilket tyder på, at 1903 markerer hendes tilbagevenden til kompositionsarbejdet. Det er dog uvist, præcis hvornår sangene til Minnelieder er komponeret, da der kun i to tilfælde er bevaret håndskrevne nodekilder. Blyantskladden til “Dienst und Lohn” er dateret d. 5. og 6. marts 1903, mens kladden til “Im Herbst” er dateret d. 24. februar 1903.
Hovedkilden (A) er blevet valgt mellem flere trykte udgivelser, da Nanna Liebmann på forsiden har skrevet “Til Sis fra Nanna. Jul 1903” med blæk. Det er med stor sandsynlighed søsteren Signe Lehmann, som eksemplaret er blevet givet til.
I hovedkilden er der i sangene “Der Falke” og “Tanzlied” flere steder indsat fortegn med blyant. Da Liebmann har skrevet på forsiden af sangbindet, og vi derfor ved, at hun har haft netop dét sangbind i hånden, formodes det, at det er hende selv, der har rettet i noderne. Derfor følger denne udgave disse blyantsrettelser.
I en notits i Dagens Nyheder, blev det annonceret at flere af Nanna Liebmanns kompositioner, herunder Minnelieder, ville blive opført til en sangaften i Odd Fellow Palæets mindre sal, mandag d. 11. april 1904 af to af hendes elever. 1 Hvilke sange, der præcis var på programmet, beskrives ikke nærmere, men i en anmeldelse af koncerten i Adresse Avisen dagen efter skrev anmelderen, at sangen “Liebestod” “forekom os særdeles stilfuld”. 2
Ud over at komponere levede Nanna Liebmann i starten af 1900-tallet primært af at undervise. Ifølge folketællingen fra 1901 står sangundervisning som hendes beskæftigelse. 3 Hun overtog desuden formandsposten for Kvindernes Bygnings bestyrelse i 1903, i hvilken hun havde været aktiv siden oprettelsen i 1896. 4
Maria Claustad
Preface
Minnelieder was published in 1903 by Nordisk Musikforlag. The first half of the 1910’s were productive years for Nanna Liebmann. Aside from Minnelieder, she published her volume of Five Songs in 1904. The texts used for the Minnelieder are all German-language poems from medieval Minnesänge
Prior to the publication of Minnelieder, Liebmann seems to have taken a compositional hiatus. There are no known works between the publication of Syv Sange til tydske Texter from 1885 and the publication of Minnelieder, which suggests that 1903 marks her return to composing. It is unclear exactly when the songs of the Minnelieder were composed, as the number of extant manuscripts is limited to two; the pencil sketch for “Dienst und Lohn” is dated 5 and 6 March 1903, while the sketch for “Im Herbst” is dated 24 February 1903.
The main source (A) has been chosen among multiple printed editions, as Nanna Liebmann wrote “For Sis from Nanna. Christmas 1903” on the cover in ink. It is probably her sister Signe Lehmann who was the recipient of the copy.
In the main source of the songs “Der Falke” and “Tanzlied”, some accidentals are added in pencil. Since Liebmann wrote on the cover of the volume, providing evidence that she has held that exact copy in her hands, it is assumed that she is responsible for the changes in the music. Accordingly, this edition follows those pencil markings.
In a short notice in Dagens Nyheder, it was announced that several of Nanna Liebmann’s compositions, including Minnelieder, would be performed at a musical evening event at the Odd Fellows Mansion on 11 April 1904 by two of her students. 1 It is not specified which songs were on the programme, but in a review of the concert in Adresse Avisen the following day, the reviewer wrote that the song “Liebestod” “appeared to us to be rather stylish”. 2
Aside from composing, in the early years of the 1900’s Nanna Liebmann made a living primarily from teaching. In the 1901 census, voice teacher is stated as her occupation. 3 Moreover, she took over as chair of the board of The Women’s Building in 1903, an association in which she had taken an active part since its foundation in 1896. 4
Maria
Claustad (translated by J.B. Houby)
1 Dagens Nyheder 8.4.1904.
2 “H.T.”, Adresse Avisen 12.4.1904.
3 Danmarks Statistik Folketælling 1901, København.” Rigsarkivet: Arkivalieronline, tilgået 12. juni 2025, https://arkivalieronline. rigsarkivet.dk/da/billedviser?bsid=23048#23048,2681042
4 “Kvindernes Bygning.” Dagens Nyheder. 2. oktober 1903.
1 Dagens Nyheder 8 April 1904.
2 “H.T.”, Adresse Avisen 12 April 1904.
3 Danmarks Statistik Folketælling 1901, København. Rigsarkivet: Arkivalieronline, accessed 12 June 2025, https://arkivalieronline. rigsarkivet.dk/da/billedviser?bsid=23048#23048,2681042
4 “Kvindernes Bygning.” Dagens Nyheder. 2 Oct. 1903.
Faksimile Facsimile
Sidste nodeside af “Der Falke” (kilde A). I takt 29–31 ses fortegn skrevet med blyant, formentlig tilføjet af Liebmann selv.
Last page of “Der Falke” (source A). In bb. 29–31 accidentals have been added in pencil, presumably by Liebmann herself.
Minnelieder
1. Liebestod
Tekst: Heinrich von Mor ungen
Nanna Liebmann
Hat Ist sie hier wer je ge mand se drin hen nen, die der man da sonst noch sieht sein ste Sin hen nen in ganz dem be Fen hal ster ten drin? hab’, 1 2
Sie, folg’ die er Hol ihr, de, die Heh e re, ben, treibt vom mir Stirn je reif de um schwe ge re ben, Sor ging ge von aus hier dem her Sinn ab, Sie
leuch dass tet sie wie kom der me Son mir ne zum Strahl Trost, an eh’ dem ich lich noch ten ver Mor schei gen de, So denn lang Lie sie be ver samt bor Lei gen de da die
quäl wol ten len mich mich Sor bei gen, de jetzt brin doch gen sol noch len sie in’s fliehn Grab 3 Mö gen auf dem Stei ne,
Ei
flie gen “O Fal ke, wie
2. Der Falke
Tekst: Dietmar von A ist
suchst dir in dem Wal de ei nen Baum, der dir ge fal le
Nanna Liebmann: Minnelieder - 4
3. Der Minne G egenseitigkeit
Tekst: Walther von der Vogelweide
Ob Wär ’s ich der dei Vor nem sicht Her we zen gen un dass lieb, du weiss sel ich ten nicht; mir ich schaust lie in’s be Ge dich sicht?
Eins Mir nur zu macht Nutz mir und Schmer Se zen: gen? Du Nun, siehst dann ne tadl’ ben ich o frei der lich ü dich ber drum mich nicht.
Woll’st
Nein, doch dann das mög’s ver ge mei sche
ten. ten
län mei ger nen mehr. Fuss Hilf Darf ’s mir nicht drum, mehr die sein, Last dann ist sei gar das zu der schwer. Gruss
Nanna Liebmann: Minnelieder - 6
3.Her rin, ach be sin ne Dich, ob ich dir lieb nur et was
dass sie zieh’ durch zwei Her zen, a ber wei ter nie
4. Ein g utes Ende
Tekst: Heinrich von Mor ungen
chen so noch wie wird’s ein durch fer lieb Glas ner lich der
nicht En Son ge de ne schehn: gar, Schein Denn mun Ja, ich ter mit freu’ und Recht mich in darf al fro ich’s le hem wohl Mor Mu spre gen te chen: konnt säh’ Ein ich man De die dann mant Viel mich an lie im Tu be mer gend sehn dar rein so in ist der
reich
Schar mei an der ne Freu Sor lie den gen be ganz lo Her und rin gar sen, ganz, Nun so ein flieh lang süs nur das ser hin, frei Mai, du lich ein lan nicht won ges ge ne Trau schehn, vol ern, ler, wie muss ein wol der ich ken wohl noch lo bin in ser
Nanna Liebmann: Minnelieder - 8
5. Dienst und L ohn
Tekst: Anony m
“Mir hat ein Rit ter” sprach ein Weib, “ge die net nach dem Wil len mein, dem
muss ihm noch ge loh net sein, ge loh net sein. Mir
Nanna Liebmann: Minnelieder - 10
scheint der Win ter und der Schnee schö nen Blu men gleich und Klee,
Nanna Liebmann: Minnelieder - 11
6. Im Herbst
Tekst: Konrad von Wür zburg
Jetzt will ha sich ben die Herz Lin wun de den vom ge Win bund de en ent zu fär sor ben, gen,
7. Tanzlied
Tekst: Hiltbold von Schwangau
wie dass viel mein Fraun Trau ich ern auch noch ge ver sehn, geh’ so Die ist ich den oft noch beim sie Tan vor ze al führ len te
die gar ho schön he an
fal bühr len te, mein ihr, herz der lie Schön ber sten Glü hier ckes im schrein. Land. El El le le und und El El se se
leggieremente
Critical Commentary
1. Liebestod
Description of Source
A Printed score, first edition with dedication MMCCS, Musikmuseet (National Museum of Denmark), MMB. Minnelieder / Nanna Liebmann.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
33.5x26.9 cm. 7 bifolios with 13 paginated pages, pp. 2–3.
fol.1r: “Til Sis / fra Nanna. / Jul 1903.” Top right corner, written in ink.
Commentary on the Edition
The lyrics to “Liebestod” are by the German Minnesinger Heinrich von Morungen (d. 1222).
Editorial Emendations and Alternative Readings
Bar Part Comment
1 pf.1
lower part, note 1: h emended to h. to regularise bar
8 pf. dec at notes 2–3 emended to notes 1–2 by analogy with voice
16 pf.1 lower part, note 1: h emended to h. to regularise bar
16 pf.2 chords 1–3 in one part emended to two parts by analogy with b. 1
23 voice end of cresc at note 2 emended to note 3 by analogy with pf.
25 pf.2 notes 1–2: double-stemmed notes emended to single-stemmed notes by analogy with b. 10
2. Der Falke
Description of Sources
A Printed score, first edition with dedication
B Printed score
A Printed score, first edition with dedication
MMCCS, Musikmuseet (National Museum of Denmark), MMB. Minnelieder / Nanna Liebmann.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
33.5x26.9 cm. 7 bifolios with 13 paginated pages, pp. 4–5.
fol.1r: “Til Sis / fra Nanna. / Jul 1903.” Top right corner, written in ink.
B Printed score
DKKk, Royal Danish Library (Musiksamlingen). MAlæs-A256. Minnelieder: gammeltyske Kjærlighedssange.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
Pl. nr.: NMF 4234.
33.5x26.9 cm. 7 bifolios with 13 paginated pages, pp. 4–5.
Commentary on the Edition
The lyrics to “Der Falke” are by the Austrian Minnesinger Dietmar von Aist (ca. 1115–1171).
In bb. 29–31 accidentals have been added in pencil, presumably by Liebmann herself.
Editorial Emendations and Alternative Readings Bar Part Comment
2 voice notes 1–2: beamed together by analogy with lyrics
12 voice slur (beginning and ending on b. 12, note 4) erased
20 pf.2 pedal stop sign added after fermata
23 pf.2 note 1: e emended to e. by analogy with pf.1 and to regularise bar
29 voice
A: note 2: n changed to b in pencil; A: b added in pencil on top of bar
30 voice A: note 2: b added in pencil; A: b added in pencil on top of bar
31 pf.1
A: note 1: b added in pencil
3. Der Minne Gegenseitigkeit
Description of Source
A Printed score, first edition with dedication MMCCS, Musikmuseet (National Museum of Denmark), MMB. Minnelieder / Nanna Liebmann.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
33.5x26.9 cm. 7 bifolios with 13 paginated pages, pp. 6–7.
fol.1r: “Til Sis / fra Nanna. / Jul 1903.” Top right corner, written in ink.
Commentary on the Edition
The lyrics to “Der Minne Gegenseitigkeit” are by the Austrian Minnesinger Walther von der Vogelweide (ca. 1170–ca. 1230).
Editorial Emendations and Alternative Readings
Bar Part Comment
5 pf.1
upper part, note 2: s emended to e by analogy with voice, pf.2 and to regularise bar
16 voice ambiguous slurring interpreted as spanning only b. 16, notes 1–4 by analogy with b. 3
16 pf.1
17–18 voice
ambiguous slurring interpreted as spanning only b. 16, notes 1–5 by analogy with b. 3
ambiguous slurring interpreted as beginning on b. 17, note 1 by analogy with b. 4
21 pf.1 chord 5, lower note: courtesy accidental added
4. Ein gutes Ende
Description of Source
A Printed score, first edition with dedication MMCCS, Musikmuseet (National Museum of Denmark), MMB. Minnelieder / Nanna Liebmann.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
33.5x26.9 cm. 7 bifolios with 13 paginated pages, p. 8.
fol.1r: “Til Sis / fra Nanna. / Jul 1903.” Top right corner, written in ink.
Commentary on the Edition
The lyrics to “Ein gutes Ende” is by the German Minnesinger Heinrich von Morungen (d. 1222).
Editorial Emendations and Alternative Readings
Bar Part
16 pf.1
16 pf.2
5. Dienst und Lohn
Description of Sources
Comment
chord 2: arpeggio added by analogy with b. 15
chord 3: triplet added by analogy with pf.1, voice and to regularise bar
A Printed score, first edition with dedication
B Draft in pencil
A Printed score, first edition with dedication MMCCS, Musikmuseet (National Museum of Denmark), MMB. Minnelieder / Nanna Liebmann.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
33.5x26.9 cm. 7 bifolios with 13 paginated pages, p. 9. fol.1r: “Til Sis / fra Nanna. / Jul 1903.” Top right corner, written in ink.
B Draft in pencil
DKKk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13. [Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.
In grey folder titled: “Nanna Liebmann sange 1903-1904”.
34.7 x 25.1 cm. 2 pages on 2 bifolios with 4 pages.
Watermark: BIBLIOTHECA REGIA HAFNIENSIS. fol. 2r: “d. 5te og 6te Marts 1903” after last bar, written in pencil.
Commentary on the Edition
The lyrics to “Dienst und Lohn” are by an unknown poet but are most likely by a Minnesinger like the other songs from Minnelieder.
Editorial Emendations and Alternative Readings
Bar Part Comment
3 pf.2
one part (c#′, b, a) emended to two unison parts (c#′, b, a) as in B
10 pf.1 lower part, note 1: courtesy accidental omitted
10 pf.2 lower part, note 1: q emended to q. as in B and to regularise bar
10–11 pf. pp at b. 10, first minim moved to b. 11, first chord by analogy with b. 5
13 pf. beginning of cresc at note 2 emended to begin on note 1 by analogy with voice
18 voice note 2: ambiguous dec interpreted as spanning from notes 2–3
18 pf.1
19 pf.1
20 pf.1
20 pf.2
B: chord 3: f #′ , g #′
B: chord 2: Q (A: h); chord 3: a′, c#′ ; chord 4: f #′, f #′′
B: chord 1: a′, a′′; chord 2: g #′, g #′′
B: chord 1: arpeggio; notes 1–3, lower note: G#; note 1, upper note: c#; note 2, upper note: b#
21 all a tempo added as in B
21 voice “thäts” emended to “thät’s” as in B
6. Im Herbst
Description of Sources
A Printed score, first edition with dedication
B Draft in pencil
A Printed score, first edition with dedication MMCCS, Musikmuseet (National Museum of Denmark), MMB. Minnelieder / Nanna Liebmann.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
33.5x26.9 cm. 7 bifolios with 13 paginated pages, pp. 10–11.
fol.1r: “Til Sis / fra Nanna. / Jul 1903.” Top right corner, written in ink.
B Draft in pencil
DKKk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.
[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.
In grey folder titled: “Nanna Liebmann sange 1903-1904”.
27,2x25,9 cm. 2 pages on 1 sheet.
Watermark: BIBLIOTHECA REGIA HAFNIENSIS.
fol. 1: “Meister Konrad von Würzburg” lower right corner, written in pencil.
fol.1: “d 24/2 03” lower right corner, written in pencil.
fol.1: “Triller ad libitum” lower left corner, written in pencil.
Commentary on the Edition
The lyrics to “Im Herbst” are by the German Minnesinger Konrad von Würzburg (ca. 1220-1287).
In B, all three verses are on the same page and no slurs or piano pedal signs appear.
The back of B shows a sketch for an unknown song titled “O Falke”.
Editorial Emendations and Alternative Readings
Bar Part Comment
6 pf.1
18 pf.2
b emended to b# by analogy with b. 4, note 2 and b. 5
note 3: courtesy accidental added
28 pf.1 q. emended to e. to regularise bar
29 pf. p added by analogy with b. 8
36 pf.1
39 pf.2
note 2: accidental added by analogy with b. 15
note 3: courtesy accidental added
48 pf.1 s. emended to e. to regularise bar
52 pf.1
53 pf.1
chord 1, lower note–chord 3, middle note: e′ emended to e#′ as in B
chord 1, middle note: e′ emended to e#′ as in B
7.
Tanzlied
Description of Source
A Printed score, first edition with dedication MMCCS, Musikmuseet (National Museum of Denmark), MMB. Minnelieder / Nanna Liebmann.
København: Nordisk Musikforlag (1903).
Title page: “Minnelieder / Gammeltyske / Kjærlighedssange / komponerede / af / Nanna Liebmann.”
33.5x26.9 cm. 7 bifolios with 13 paginated pages, pp. 12–13.
fol.1r: “Til Sis / fra Nanna. / Jul 1903.” Top right corner, written in ink.
Commentary on the Edition
The lyrics to “Tanzlied” are by the German Minnesinger Hiltbold von Schwangau (1221–1254). In bb. 26 and 30 accidentals have been added in pencil, presumably by Liebmann herself.
Editorial Emendations and Alternative Readings
Bar Part
4 pf.1
Comment
note 2: ambiguous notation (> or dec ) interpreted as >
7 pf.2 notes 1–3: slur added by analogy with b. 3
8 pf.1 chord 1: h emended to h. to regularise bar
8 pf.2 notes 1–3: slur added by analogy with b. 4
17 pf.1
19 pf.1
20 pf.1
26 pf.2
30 pf.1
31 pf.2
34 pf.2
note 1–chord 1, upper note: slur added by analogy with pf.2 and b. 9
chord 1: arpeggio added by analogy with b. 11
chord 1: arpeggio added by analogy with b. 12
A: note 2, upper note: b added in pencil
A: note 1, upper note: b added in pencil
note 3, upper note: d emended to db by analogy with pf.1
note 1, lower note: h emended to h. to regularise bar
48 end repeat sign added editorially (missing in A; A suggests that bb. 41–48 function as a refrain and that the piano plays only prelude and postlude, but no interlude)