Nanna Liebmann Samlede korværker by Edition·S

Nanna Liebmann

Samlede korværker

Collected Choral Works (1909)

Danish Classical Music

Edition·S music¬sound¬art

Nanna Liebmann

Samlede korværker Collected Choral Works (1909)

Redigeret af / Edited by Maria Claustad

Copenhagen 2025

Nanna Liebmann: Samlede korværker

Kritisk udgave ved / Critical edition by Maria Claustad

DCM Editor-in-chief: Thomas Husted Kirkegaard

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 079

ISBN 978-87-85346-15-5 ISMN 979-0-706839-38-7

Indhold / Contents

Danish Classical Music iv

Biografi / Biography vi

Forord / Preface vii

Faksimiler / Facsimiles viiit

1. En Grundtvigsk Morgensang 11

2. Dejligt er Synet 12

3. Julesang 13

4. Hymne 14

5. Lyksalig det Folk 15

6. Hvor har Jordens Glæde 16

7. Gaa nu hen og grav min Grav 17

Critical Commentary 18

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

Samlede korværker er en samling af Nanna Liebmanns syv koraludsættelser, hvoraf de daterede stammer fra 1909.

“En Grundtvigsk Morgensang”, “Dejligt er Synet”, “Julesang”, “Hymne” og “Lyksalig det Folk” er alle med tekst af N.F.S. Grundtvig (1783-1872), mens teksten til “Gaa nu hen og grav min Grav” er af Ernst Moritz Arndt (1769-1860). Teksten til “Hvor har Jordens Glæde” har Liebmann angivet som skrevet af en digter ved navn Frimann. Der findes flere digtere med dette navn, og præcis hvilken af dem Liebmann henviser til, er uklart.

Før 1909 havde Liebmann primært komponeret satser for sang og klaver. Tiden fra 1909 og indtil hun stoppede med at komponere i 1914 markerer derfor en ny periode i hendes komponistvirke. Udover korsatser som denne komponerede hun flere klaverværker, bl.a. det større klaverværk Thème passionné et variations fra 1910. På dette tidspunkt i Nanna Liebmanns liv levede hun af at undervise i sang og klaver, og hun studerede i denne periode teori og komposition privat hos Aage Nording (1881-1943). 1 I en artikel i Dansk Musik Tidsskrift fra 1944 skriver Johanne Brandt-Nielsen, at Nording “i sin Ungdom studerede Musik, bl.a. hos Carl Nielsen, og blev en dygtig og ret benyttet Pianist”. 2

Der er ikke fundet artikler, koncertprogrammer eller andet, der tyder på, at korsatserne er blevet opført. Men hendes pludselige produktion af korsatser i 1909 kunne tyde på, at hun måske har haft en korudgivelse i tankerne.

“Hymne” er komponeret for firestemmigt mandskor, mens resten af satserne er for sopran, alt, tenor og bas.

Maria Claustad

Preface

Collected Choral Works is a collection of Nanna Liebmann’s seven choral arrangements, of which the dated ones come from 1909.

“En Grundtvigsk Morgensang”, “Dejligt er Synet”, “Julesang”, “Hymne” og “Lyksalig det Folk” all have texts by N.F.S. Grundtvig (1783–1872), while the text for “Gaa nu hen og grav min Grav” is by Ernst Moritz Arndt (1769–1860). Liebmann credits the text for “Hvor har Jordens Glæde” to a poet by the name of Frimann. There are several poets with this name, and it is unclear exactly which of them Liebmann refers to.

Before 1909, Liebmann had primarily composed music for voice and piano. The years from 1909 to the year she stopped composing, 1914, therefore mark a new period of her compositional endeavours. Aside from choral works like this one, she composed multiple piano works, among which is the larger work Thème passionné et variations from 1910. At this time in Nanna Liebmann’s life, she made her living by teaching singing and piano while simultaneously studying theory and composition privately with Aage Nording (1881–1943). 1 In an article in Dansk Musik Tidsskrift from 1944, Johanne Brandt-Nielsen writes that Nording “in his youth studied music with, among others, Carl Nielsen, and went on to be a skilled and widely used pianist”. 2

There have been found no articles, programme notes or other things which indicate that the choral works have been performed. But her sudden production of choral works in 1909 could suggest that she may have had a publication of choral music planned.

“Hymne” is composed for four male voices, while the rest of the pieces are written for soprano, alto, tenor and bass.

Maria Claustad (translated by J.B. Houby)

1 Elisabeth Dahlerup, Kvinder og komposition i Danmark 18701920 – med særligt henblik på biografier af Nanna Liebmann og Tekla Griebel Wandall (Kandidatspeciale, Københavns Universitet, 2006), 63.

2 Johanne Brandt-Nielsen, “Fra Musiklivet,” Dansk Musik Tidsskrift 19/1 (1944), 21-22. https://seismograf.org/dmt/19/01/ fra-musiklivet

1 Elisabeth Dahlerup, Kvinder og komposition i Danmark 18701920 – med særligt henblik på biografier af Nanna Liebmann og Tekla Griebel Wandall (MA thesis, The University of Copenhagen, 2006), 63.

2 Johanne Brandt-Nielsen, “Fra Musiklivet,” Dansk Musik Tidsskrift 19/1 (1944), 21-22. https://seismograf.org/dmt/19/01/fra-musiklivet

Faksimiler Facsimiles

Første nodeside af “En Grundtvigsk Morgensang”, kilde A

First page of “En Grundtvigsk Morgensang”, source A

“Gaa nu hen og grav min Grav”, kilde A

“Gaa nu hen og grav min Grav”, source A

Samlede kor værker

1. En Gr undt vigsk Morgensang

Nanna Liebmann

Lyk in ret ke gen at os maal bru den te ge gyld Li Kraft ne vets og Sol Traad, Sprog, vil der Li med for vet Ly lad til set os Guds brin i Æ ge, le, re; naar gjø da vi re vor

Nanna Liebmann: Samlede kor værker - 1

2. Dejlig t

er Sy net

Tek st : N.F.S. Gr undt vig

Nanna Liebmann: Samlede kor værker - 2

3. Julesang

Tek st : N.F.S. Gr undt vig

Nanna Liebmann: Samlede kor værker - 3

4. Hy mne

Tek st : N.F.S. Gr undt vig

Nanna Liebmann: Samlede kor værker - 4

5. Lyksalig det Folk

Tek st : N.F.S. Gr undt vig

Nanna Liebmann: Samlede kor værker - 5

6. Hvor har Jordens Glæde

Tek st : Frimann

Nanna Liebmann: Samlede kor værker - 6

7. G aa nu hen og g rav min Grav

Tek st : E.M. Arndt

Læg ge mig til Hvi le ned, Fa re bort her fra i Fred

Nanna Liebmann: Samlede kor værker - 7

Critical Commentary

1.

En Grundtvigsk Morgensang

Description of Sources

A Autograph score

B Manuscript score

A Autograph score

DKKk, Royal Danish Library (Musiksamlingen), MA ms 1023 mu 8902.1094. En Grundtvigsk Morgensang komponeret af Hanna [sic] Liebmann i August 09.

Title page: “En Grundtvigsk Morgensang / komponeret af Nanna Liebmann / i August 09. / Til Ove, dengang han drog afsted / d. 31 Marts 1910, / fra Komponistinden”. Ink on sheet paper.

26.1x38.1 cm. 1 unpaginated bifolio with damaged edges.

fol.2r: “Grundtvig” after last bar, written in ink.

B Manuscript score

MMCCS, Musikmuseet (National Museum of Denmark), MMB. Skitsebog med diverse kompositioner, dels en række salmer, dels klaverkompositioner: Forsidedatering: April 09. Bindet indeholder værker fra perioden 1909-12. Hardcover sheet paper sketchbook with 57 unpaginated pages.

26.1x34.8 cm. Page 18. Written in ink.

“(Grundtvig)” after last bar, written in ink.

“d. 20 - 22 Aug 09” after last bar, written in ink.

Commentary on the Edition

The lyrics to En Grundtvigsk Morgensang are from the poem Morgenhanen atter gol, written by N.F.S. Grundtvig in 1833 as a commissioned work for Mariboes Skole in Copenhagen. 1 Liebmann uses all three verses but leaves out exclamation marks at the end of all verses as well as some commas during the verses. In A, all dynamics are only stated in soprano/alto stave. During the editorial work, they have been added to tenor/bass stave as well.

On the front page of A, the work is dated August 1909 and shows the dedication “Til Ove, dengang han drog afsted d. 31. marts 1910”. It has not been possible to identify who Ove was and what relation he had to Liebmann. In B, the song is dated 20–22 August 1909.

Editorial Emendations and Alternative Readings

Bar Part Comment

32 first verse: full stop added by analogy with second and third verse

2. Dejligt er Synet

Description of Source

A Manuscript score, autograph. MMCCS, Musikmuseet (National Museum of Denmark), MMB. Skitsebog med diverse kompositioner, dels en række salmer, dels klaverkompositioner: Forsidedatering: April 09. Bindet indeholder værker fra perioden 1909-12.

Hardcover sheet paper sketchbook with 57 unpaginated pages. 26.1x34.8 cm. Page 3, written in ink.

1 Lars Thorkild Bjørn, “Morgenhanen atter gol”, hojskolesangbogen.dk, https://hojskolesangbogen.dk/om-sangbogen/historier-om-sangene/m-n/ morgenhanen-atter-gol (accessed 28 Nov. 2024).

“(Grundtvig)” after last bar, written in ink.

“Maj 09” after last bar, written in ink.

“Tøb. / nr. 395” top left corner, written in ink.

Commentary on the Edition

The lyrics to “Dejligt er Synet” are, according to Nanna Liebmann, by N.F.S. Grundtvig. It has not been possible to find the original poem.

Editorial Emendations and Alternative Readings

Bar Part

5–6

12, 14

3. Julesang

S.A.

T.B.

Comment

lower part: slur (beginning on b. 5, note 1) emended to end at b. 6, note 2 by analogy with bb. 20–21

upper part: slur (beginning on b. 5, note 1) emended to end at b. 6, note 2 by analogy with bb. 20–21

T.B. h h h emended to w. by analogy with S.A.

S.A. lower part, notes 1–2: slur added to clarify that “her” is to be sung over both notes

T.B. upper part, notes 1–2: slur added to clarify that “her” is to be sung over both notes

Description of Source

A Autograph score

Hardcover sheet paper sketchbook with 57 unpaginated pages.

26.1x34.8 cm. Page 15, written in ink.

“Nr. 146” top left, written with pencil.

“(Grundtvig)” after last bar, written in ink.

“d. 22-24de Juli. 09.” after last bar, written in ink.

Commentary on the Edition

The lyrics to “Julesang” are by N.F.S. Grundtvig’s poem “Velkommen igjen Guds Engle smaa”. It has not been possible to determine which edition of Grundtvig's text Liebmann based her composition on. This edition follows Liebmann's spelling.

Editorial Emendations and Alternative Readings Bar Part Comment

15 T.B lower part: slur added by analogy with tenor

4. Hymne

Description of Source

A Manuscript score, autograph.

Hardcover sheet paper sketchbook with 57 unpaginated pages.

26.1x34.8 cm. Page 11, written in ink.

“(Grundtvig)” after last bar, written in ink.

“19-21 Juni 09.” After last bar, written in ink.

Commentary on the Edition

The lyrics to “Hymne” are from the poem “Dannebrog” (also referred to as “Hil dig vor Fane”) by N.F.S. Grundtvig. 2 The hymn with melody by J.P.E. Hartmann was included in a collection of war hymns, that was destributed to Danish soldiers during the Second Schleswig War in 1864. 3 That might be the reason why Liebmann chose to compose the work for male choir and marked the tempo as alla marcia

Liebmann only included the first two verses and changed the lyrics in the last 4 bars from “Danskerne følge dig frit!” and “Korsherrens signede Hær!” to “Danskerne følge dig, følge dig frit!” and “Korsherrens signede, signede Hær”.

Editorial Emendations and Alternative Readings

Bar Part

Comment

4 “hvid!” emended to “hvidt!” by analogy with original poem 4

5. Lyksalig det Folk

Description of Source

A Manuscript score, autograph.

Hardcover sheet paper sketchbook with 57 unpaginated pages. 26.1x34.8 cm. Page 19, written in ink.

Commentary on the Edition

The lyrics to “Lyksalig det Folk” are by N.F.S. Grundtvig.

Editorial Emendations and Alternative Readings

Bar Part

T.B.

Comment

lower part, notes 1–2: slur added by analogy with tenor

T.B. upper part, note 1: b added in pencil (NL)

T.B. lower part, note 1: w emended to h h by analogy with sopran, alt, tenor and to clarify when “ger” is sung

6. Hvor har Jordens Glæde

Description of Source

A Manuscript score, autograph.

Hardcover sheet paper sketchbook with 57 unpaginated pages. 26.1x34.8 cm. Written in ink.

“(Frimann)” after last bar, written in ink. “16–18 de Juni 09.” after last bar, written in ink.

2 N.F.S. Grundtvig, “133. Dannebrog” i Psalmer og aandelige Sange (København: Thieles bogtrykkeri, 1870), 397-398. https://www.kb.dk/e-mat/ dod/110408055573_color.pdf (accessed 22. Aug. 2025).

3 Kurt E. Larsen, “Salmer lovede danske soldater sejr i 1864”, kristeligtdagblad.dk, https://www.kristeligt-dagblad.dk/kirke-tro/salmer-lovede-danske-soldater-sejr-i-1864 (accessed 21 Aug. 2025).

4 N.F.S. Grundtvig, “133. Dannebrog” i Psalmer og aandelige Sange (København: Thieles bogtrykkeri, 1870), 397-398. https://www.kb.dk/e-mat/ dod/110408055573_color.pdf (accessed 22. Aug. 2025).

Commentary on the Edition

The lyrics to “Hvor har Jordens Glæde” was listed by Liebmann as written by a poet named Frimann. There are several poets with this name, and exactly which one Liebmann is referring to is unclear.

Editorial Emendations and Alternative Readings

Bar Part Comment

1 time signature 2/2 added editorially 33–34

S.A upper part, b. 33–34: slur added by analogy with lyrical phrase

7. Gaa nu hen og grav min Grav

Description of Source

A Manuscript score, autograph.

DKKk, Royal Danish Library (Musiksamlingen), C II, 151 tv.-2° 1959-60.59.

Title page: “C II, 151 / Nanna Liebmann: gå nu hen og grav min grav”. 1 sheet paper wrapped in in white cardboard bifolio.

34.6x26.2 cm. Ink on sheet paper with lyrics written in pencil.

fol.1: “Originaltonart: Cis-moll.” Top left, written in ink.

fol.1: “C II, 151” top right, written in pencil. fol.1: “1959-60.59.” lower left corner, written in pencil.

Commentary on the Edition

The lyrics to “Gaa nu hen og grav min Grav” are by Ernst Moritz Arndt (1769–1860).

At the Royal Danish Library, another edition of “Gaa nu hen og grav min Grav” attributed to Nanna Liebmann, exists. It is a transcription in foreign hand, and compared with A, it is significantly different. It has been evaluated not to be a valid source for Nanna Liebmann’s edition. The key, voicing and harmonies are different, and the lyrics are written in typescript, which indicates that it is a newer edition than the original.

In A Liebmann writes that the original key was in C-sharp minor. This implies that there might have been a previous edition before A that has not been preserved.

Editorial Emendations and Alternative Readings

No emendations.