Leif Kayser: Suite Caratteristica & Suite No. 2

Leif Kayser Suite Caratteristica Suite No. 2 (1958) for organ

SCORE

(1956)

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Denne udgivelsesrække er gjort økonomisk mulig af Augustinusfonden, Gramex, og af Kodas kulturelle midler som her skal takkes varmt for deres støtte.

This series of publications has been made financially possible thanks to Augustinusfonden, Gramex, and Koda’s Cultural Funds all of whom we hereby warmly thank for their support.

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Leif Kayser Suite Caratteristica Suite No. 2 (Dur. 11′15″)

(Dur. 20′)

for organ

INDHOLDSFORTEGNELSE Noter 4 Suite Caratteristica 7 Suite No. 2 18

CONTENTS Notes 4 Suite Caratteristica Suite No. 2 18

Leif Kayser (1919–2001) var en af Danmarks mest produktive komponister af især orgel- og kirkemusik. Han udgav og forhandlede selv de fleste af sine værker i sirligt kalligraferede udgaver, som han lod trykke hos Atelier Elektra. Efter hans død har det været vanskeligt at erhverve hans noder; mange har desuden været udsolgt. Endelig har enkelte værker fra Kaysers sene år kun foreligget som fotokopier. En kreds af organister tog derfor i 2016 initiativ til en genudgivelse af Kaysers orgelmusik. Vi er meget taknemmelige for den store imødekommenhed vi har oplevet, fra Leif Kaysers arvinger, Edition·S, Det Kongelige Bibliotek, og mange andre som har kunnet bidrage.

I videst muligt omfang er Kaysers egne udgivelser og trykforlæg benyttet til facsimileudgaver.

Originalformaterne er blevet tilpasset det lidt større B4-format, hvorved læseligheden er blevet forøget.

Hvor Kayser har anvendt C-nøgle, er værkerne blevet skrevet om i udgaver med almindelige nøgler. Notationen i renskrifterne følger LKs forlæg tættest muligt, således også de særlige korte bindebuer. Enkelte steder kan hjælpefortegn uden for systemerne dog være sat foran den pågældende node i stedet. Pedalet har overvejende fået sit eget system, hvor Kayser af pladshensyn ofte har noteret det i venstrehåndssystemet.

Originaludgaverne kan ses på Edition·S’ hjemmeside. I facsimileudgaverne er biblioteksstempler og katalognumre retoucheret bort efter aftale med Det Kongelige Bibliotek.

Af redaktionelle grunde er de originale sidetal fjernet.

Jørgen Ellegård Frederiksen Redaktør

Leif Kayser (1919–2001) was one of Denmark’s most productive composers, especially of organ and church music. He personally published and sold most of his works in elegantly calligraphed editions which he had printed at Atelier Elektra. It has been difficult to procure his music after his death; much of it is also sold out. Furthermore, individual works from Kayser’s later years have only existed as photocopies. In 2016, a group of organists therefore took the initiative for a new edition of Kayser’s organ music. We are extremely grateful for the great cooperativeness shown us by Leif Kayser’s heirs, Edition·S, The Royal Danish Library – and many others who have been able to contribute.

To the greatest extent possible, Kayser’s own publications and printing sources have been used to make facsimile editions. The original formats have been adapted to the slightly larger B4 format, which enhances the readability of the music.

Where Kayser has used the C-clef, the works have been rewritten using common clefs in the new editions. Notation in the fair copies follows LK’s originals as closely as possible; this also applies to the special short ties. At certain points, however, courtesy accidentals outside the staves have been inserted instead before the affected note. In general, the pedal has been given its own stave, while Kayser, for reasons of space, has often notated it in the left-hand stave.

The original editions can be accessed on the Edition·S website. In the facsimile editions, the library copies and catalogue numbers have been removed, as agreed with The Royal Library.

For editorial reasons, the original page numbers have also been removed.

Jørgen Ellegård Frederiksen Editor

7

Suite Caratteristica (betegnelsen skal understrege at der ikke er tale om en dansesuite) er den første store orgelsuite, og har den kantede stil med sine hårde dissonanser som fremtrædende element.

Suite Caratteristica (the term is meant to underline that this is not a dance suite) is the first large organ suite, and it has the angular style with its hard dissonances as a predominant element.

Uropførelse: 5. juli 1956 / Marmorkirken, Kbh. / Leif Kayser

First performance: 5 July 1956 / The Marble Church, Copenhagen / Leif Kayser

Værket er aftrykt efter Kaysers trykte udgave (Atelier Elektra) / Privat eksemplar (JEF) Originalformat: 35,5 × 27 cm.

The work is an impression of the printed Kayser edition (Atelier Elektra) / Private copy (JEF) Original format: 35.5 × 27 cm.

Korrektioner Kayser har i sit håndeksemplar, såvel som i Svend Hvidtfelt Nielsens eksemplar, indført en række rettelser, som er blevet indarbejdet digitalt i nærværende udgave.

1. sats Preludio: • t. 1: bue mellem de to første toner tilføjet. Samme ved tilsvarende figurer i satsen, dog her med staccatoprik på 16delen.

• t. 9, 11 og 18: fraseringsbuer tilføjet.

• t. 17, 19 og 20: tenutostreger tilføjet.

• Næstsidste takt: cæsur tilføjet.

Corrections Kayser made a number of corrections in his own copy, as well as in Svend Hvidtfelt Nielsen's copy, which have been digitally incorporated in this edition.

1st movement Preludio: • Bar 1: slur added between the first two tones added. Similarly with corresponding figures in the movement, here however with a staccato dot on the 16th note.

• Bars 9, 11, and 18: phrasing slurs added.

• Bars 17, 19, and 20: tenuto marks added.

• Penultimate bar: caesura added.

2. sats Ghirlanda: • Samtlige cæsurer i satsen er tilføjede.

• Sidste takt: diminuendokile tilføjet.

2nd movement Ghirlanda: • All caesuras in the movement are added.

• Last beat: diminuendo hairpin added.

3. sats Interludio ribelle: • t. 24 og 25: fraseringsbuer tilføjet.

3rd movement Interludio ribelle: • Bars 24 and 25: phrasing slurs added.

4. sats Cantilena: • Næstsidste takt: Crescendo-diminuendokiler indsat.

4th movement Cantilena: • Penultimate bar: crescendo-diminuendo hairpins inserted.

6. sats Finale • t. 32: basstemmen er ændret fra f-g-e≤ til g-a-f • t. 33: basstemmen er ændret fra e-f-d≤ til f-g-e≤ • t. 43: v.h. nederste stemme er fra ‘3 og’ ændret fra g≤ til d≤ • t. 44: v.h. nederste stemme er på 1. slag ændret fra g-f≤ til a-a≤ • Næstsidste takt: 3. slag ændret fra f (halvnode) til punkteringsfigur f-b≤

6th movement Final • Bar 32: The bass voice has been changed from f-g-e≤ to g-a-f • Bar 33: The bass voice has been changed from e-f-d≤ to f-g-e≤ • Bar 43: l.h. bottom voice, changed from gb to d≤ from ‘3 and’ • Bar 44: l.h. bottom voice, 1st beat changed from g-f≤ to a-a≤ • Secondary pace: 3rd stroke changed from f (half note) to dotted figure f-b≤

Suite no. 2 Værket er skrevet til Christian Vestergaard-Pedersens ét-manuals orgel, men gør sig også godt på et større orgel med brug af pedal. Preludio, der giver mindelser om Frescobaldi, er præget af 50’erstilen; men i 3. sats, Quarte, trylles der med komponistens foretrukne interval i en ostinatosats, hvor det både klangligt og melodisk udnyttes med stor fantasi. Således slutter satsen også med en akkord i en kvartstabel. Den lyriske 4. sats bringer mindelser om præludiet. Toccatasatsen farer veloplagt af sted med forlængede og forkortede rytmer, frække lynhurtige tonegentagelser, tertsløb og lange toneguirlander, for siden at introducere et graciøst dansetema, der helt skifter karakter, når det omgives af akkordblokke (s. 10).

Tonerankerne lader satsen glide umærkeligt over i det smukke Recitativo, der leger med nogle sjove hentydninger til Sjostakovitj, som også spøger i Finalen. Denne modstiller en bitonalt præget sats med en elegantere og dansant, melodiøs kontrastdel. Slutningen kan få selv et lille orgel til at give en stor lyd fra sig.

Knud-Erik Kengen

Kompositionsår: august–september 1958 1. opførelse: 22. 10. 1958 / Sct. Hans Kirke, Odense / Christian Vestergaard-Pedersen Værket er aftrykt efter Kaysers trykte udgave (Atelier Elektra) / Privat eksemplar (JEF), hvor Kayser har indført en række rettelser.

Originalformat: 24 × 31 cm.

Suite no. 2 This work was written for the single manual organ of Christian Vestergaard-Pedersen, but it is also effective on a larger organ with the use of pedals. Preludio, which is reminiscent of Frescobaldi, is characterised by its 1950s style; but in the third movement, Quarte, magic is performed with the composer’s favourite interval in an ostinato movement where it is exploited with great inventiveness in terms of sound and melody. For example, the movement also concludes with a quartal harmony. The lyrical fourth movement is reminiscent of the prelude. The toccata movement sets off zestfully with prolonged and shortened rhythms, cheeky lightning repetitions of notes, runs of thirds and long garlands of notes, after which it introduces a gracious dance subject that completely changes character when surrounded by blocks of chords (page 10).

The garlands of notes allow the movement to glide imperceptibly into the beautiful Recitativo, which plays with some amusing references to Shostakovich that also haunt the Finale. This contrasts with a movement characterised by bitonality with a more elegant and lilting, melodious section. The conclusion can get even a small organ to make an impressive sound.

Knud-Erik Kengen

Year of composition: August–September 1958 First performance: 22 October 1958 / Sct. Hans Kirke, Odense / Christian Vestergaard-Pedersen The work is an impression of Kayser’s printed edition (Atelier Elektra) / Private copy (JEF), in which Kayser has inserted a number of corrections.

Original format: 24 × 31 cm.

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