Nanna Liebmann
Stig, Du Maane Rise, oh Moon for sang og klaver / voice and piano (1904)
Partitur / Score
Danish Classical Music
Danish Classical Music
Edition·S music¬sound¬art
Nanna Liebmann
Stig, Du Maane Rise, oh Moon for sang og klaver / voice and piano (1904)
Partitur / Score
Redigeret af / Edited by Maria Claustad Copenhagen 2025
Nanna Liebmann: Stig, Du Maane
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 078
ISBN 978-87-85346-17-9
ISMN 979-0-706839-37-0
Indhold / Contents
Danish Classical Music iv Biografi / Biography vi Forord / Preface vii Faksimiler / Facsimiles viii
Stig, Du Maane 10 Rise, oh Moon
Critical Commentary 12
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
Stig, Du Maane er komponeret i 1904, formodentlig i forbindelse med Nanna Liebmanns komposition af sangbindet Fem sange (1904). Stig, Du Maane har, ligesom størstedelen af Fem sange, tekst af Thor Lange og stammer fra digtsamlingen Fjerne Melodier. På grund af sammenfaldet mellem tekst og årstal forekommer det derfor sandsynligt, at Liebmann har komponeret
Stig, Du Maane i tilknytning til Fem sange, og at Stig, Du Maane muligvis er blevet sorteret fra i udvælgelsesprocessen til sangbindet.
Liebmann arbejdede som klaver- og sanglærer det meste af sit voksne liv og afholdt flere sangaftener og koncerter med sine elever, hvor mange af hendes kompositioner blev opført. Det er derfor ikke utænkeligt, at Stig, Du Maane er blevet sunget i undervisningen og måske opført til en sangaften, men det vides ikke med sikkerhed.
Der findes i alt tre kilder til Stig, Du Maane Kilde A og B er begge håndskrevne partiturer i blæk, mens kilde C er en ukomplet blyantskladde, der kun indeholder melodien. Kilde A og B præsenterer to forskellige versioner af sangen; kilde B er formentlig at anskue som et udkast til sangen, som komponisten sidenhen forlod til fordel for versionen i kilde A. Særligt klaverakkompagnementet samt dynamikken blev ændret. Desuden er kilde B noteret i tonearten As-dur (hvilket medfører mange løse fortegn), mens kilde A er noteret i tonearten As-mol. Kilde A er udvalgt som hovedkilde, da den fremstår væsentlig mere færdiggjort og komplet. Kilde B indeholder derimod adskillige blyantsrettelser, ikke mindst fire afsluttende takter, som er blevet streget helt ud og erstattet af en skitse til en ny afslutning på to takter.
Maria Claustad
Preface
Rise, oh Moon was composed in 1904, presumably in connection with Nanna Liebmann’s composition of the volume Five Songs (1904). Rise, oh Moon, like most of the Five Songs, uses a text by Thor Lange which comes from the collection of poetry Fjerne Melodier (Distant Melodies). Because of the coincidence between text and year of publication, it seems plausible that Liebmann composed Rise, oh Moon together with Five Songs, and that it was winnowed out when songs were chosen for the volume.
Liebmann worked as a piano and voice teacher most of her adult life and organised multiple musical soirees and concerts with her students, where many of her compositions were performed. Because of this, it is not unthinkable that Rise, oh Moon was used during lessons and performed at a soiree, but it is not known for certain.
There are three extant sources for Rise, oh Moon Souces A and B are both manuscript scores written in ink, while source C is an incomplete pencil sketch of only the melody. Sources A and B contain two different versions of the song; source B is probably to be viewed as a draft of the song which the composer later abandoned in favour of the version in source A. Especially the piano accompaniment and the dynamics were changed. Furthermore, source B is notated in the key of A-flat major (which induces a lot of accidentals), while source A is notated in the key of A-flat minor. Source A has been chosen as the main source, as it appears substantially more finished and complete. Source B, on the other hand, contains several corrections in pencil, not least of which are the four final measures which have been struck and replaced by a sketch of a new two measure ending.
Maria Claustad (translated by J.B. Houby)
Faksimile Facsimile
Første nodeside af kilde A.
First page of source A.
Faksimile Facsimile
Første nodeside af kilde B, den forudgående version for Stig, Du Maane
First page of source B, a preliminary version of Rise, oh Moon
Thor L ange
Stig, Du Maane
Nanna Liebmann
Critical Commentary
Description of Sources
A Manuscript score, autograph
B Manuscript score, autograph
C Draft in pencil, incomplete
A Manuscript score, autograph
DKKk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.
[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann. Written in ink with additions in pencil.
Title page: “Stig, Du Maane, / Lillerussisk, ved Thor Lange. / Komponeret af / Nanna Liebmann. / 1904”
35.7x27.1 cm. 1 unpaginated bifolio, 4 pages.
fol.1r: “Ak, min Lykke, Lykke, som mig længst forlod” crossed out in ink.
fol.1r: “II” top left, written in pencil.
B Manuscript score, autograph
DKKk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.
[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.
Written in ink with additions in pencil.
Title page: “‘Stig Du Maane!’ / Lillerussisk Folkevise / ved / Thor Lange, / komponeret / af / Nanna Liebmann.”
35.7x27.1 cm. 1 unpaginated bifolio, 4 pages.
fol.2r: “Af Thor Langes / ‘Fjerne Melodier’” after last bar, written in ink.
fol.2r: “Oktober 1904” lower right, written in ink.
C Draft in pencil, incomplete
DKKk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.
[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann. Grey folder, titled: “Nanna Liebmann sange 1903-1904”.
Written in pencil.
33.9x25.5 cm. 1 unpaginated bifolio with 4 pages.
Title on fol.1r: “Sol derovre gaar til Hvile - / Thor Lange”, written in pencil.
fol.2v: “Midt i Februar 1904” lower right corner, written in pencil. fol.3r: “Brev til Marie og Fru P.E. Lange-Müller” lower right corner, written in pencil.
Commentary on the Edition
The lyrics to Stig, Du Maane are taken from the poem “Ak, min Lykke, Lykke som mig længst forlod” by Thor Lange, published in the poetry collection Fjerne Melodier in 1902. 1
Source B appears to be a preliminary version of the song which the composer then rewrote, resulting in the version in source A. Because source B is judged to be a preliminary version in this edition, differences between sources A and B have not been counted as true variants and are not listed below. Source A has been chosen as the main source because it appears finished and free from the numerous pencil corrections that are found in source B
Source C, an incomplete pencil draft, contains only part of the melody and is written on the front page of a sketch for “Sol derovre gaar til Hvile”.
1 Thor Lange, “Ak, min Lykke, Lykke som mig længst Forlod,” i Fjerne Melodier (København: Det Nordiske Forlag, 1902), 42.
Editorial Emendations and Alternative Rreadings
Bar Part Comment
4 voice between words 3–4: comma added as in B
5 pf.
5 pf.2
A: arpeggio added in pencil
A: grace note added in pencil
6 voice “Skin” emended to “skin” as in B
6 pf.2 grace notes: e emended to s by analogy with pf.1 and b. 20
7 pf.1
8 pf.2
14–15 pf.
A: chords 2–3: ties added in pencil
A: grace note added in pencil
beginning of dec at fourth crotchet (?) emended to third crotchet by analogy with voice