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 stafeten 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 ansate 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 sammenfates 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 retelser.
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 retelser 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 støtet af Augustinus Fonden, hvortil der retes 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
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 1913–1914 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.
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 Course 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.
1 “Gusch”, Politiken 26.3.1915.
1 “Gusch”, Politiken 26 March 1915.
Forord
Et lille Stykke for Oboe og Klaver har to modstridende dateringer på manuskriptet: På første nodeside fremgår 1891, og på sidste nodeside står der april 1892. Muligvis er værket påbegyndt i 1891 og færdiggjort senere, men det vides ikke med sikkerhed. 1 Det virker sandsynligt, at værket kan regnes blandt hendes studieværker, som hun skrev mens hun gik på Kjøbenhavns Musikkonservatorium fra 1889 til december 1891. Andre studieværker er Noturno for cello og klaver, Romance for Klarinet og Klaver, Canzone for strygere, horn, pauker, klaver og solister (SATB) og Morgensang for kor (SSAA) og klaver. Manuskriptet til Et lille Stykke for Oboe og Klaver indeholder, ligesom flere af disse andre studieværker, en række tilføjelser i blyant, hvilket kunne indikere, at en underviser har forholdt sig til værket og givet kritik – dog kan man se fra de førnævnte værker, at hendes underviser Otto Malling (1848-1915) som regel skrev “NB” når der var noget at kommentere, men i Et lille Stykke for Oboe og Klaver er kommentarerne angivet med spørgsmålstegn.
Med andre ord er det svært at afgøre, om værket er skrevet, mens hun gik på konservatoriet eller ej. I de værkoversigter, som TGW udfærdigede i 1930’erne, angives værket som “fra Konservatorietiden”, så noget tyder altså på, at der i hvert fald har været en forbindelse til hendes studier her. 2
Sammen med Romance for Klarinet og Klaver samt Noturno for cello og klaver (som er et fragment fra et større, femsatset værk), er Et lille Stykke for Oboe og Klaver de eneste værker, TGW har skrevet for en mindre, instrumental kammermusikbesætning. Resten af hendes værker er, stort set uden undtagelser, sange, soloklaverværker (som alle er programværker snarere end sonater), operaer og skuespilsmusik. Både besætningen og den generiske titel er altså usædvanlig i TGWs samlede oeuvre.
Et lille Stykke for Oboe og Klaver er tilsyneladende aldrig blevet opført offentligt. Men hvis den virkelig har været en del af TGWs konservatorieværker – måske endda et eksamensværk fra afslutningen af hendes studier – så spiller værket muligvis en birolle i det, som musikforskeren Lisbeth Ahlgren Jensen har kaldt Rosenhoff-affæren. Om denne kan læses mere i forordet til Notturno for cello og klaver i nærværende serie. 3
Thomas
Husted Kirkegaard
1 Værket Romance for Klarinet og Klaver støtter denne teori; se Tekla Griebel Wandall, Romance for Klarinet og Klaver, redigeret af Thomas Husted Kirkegaard (København: Edition·S, 2024).
2 Se mere om værkoversigterne i Tekla Griebel Wandall, Samlede sange, bind 1, redigeret af Thomas Husted Kirkegaard (København: Edition·S, 2023), xiv.
3 Se også Lisbeth Ahlgren Jensen, “The Rosenhoff Affair,” Carl Nielsen Studies 3 (2008), 50-64; og Thomas Husted Kirkegaard, Tekla Griebel Wandall (København: Multivers, 2022), 24-26.
Preface
The manuscript for A Litle Piece for Oboe and Piano contains two conflicting dates: It is dated 1891 on the first page of the manuscript and 1892 on the last. Possibly, the work was begun in 1891 and was completed at a later date, but this remains uncertain. 1 It seems likely that the work can be counted among the study pieces that she wrote while atending the conservatory in Copenhagen from 1889 until December 1891. Other study pieces include Noturno for cello and piano, Romance for Clarinet and Piano, Canzone for strings, horns, timpani, piano, and soloists (SATB), and Morgensang for choir (SSAA) and piano. The manuscript for A Litle Piece for Oboe and Piano, like several of these other study works, contains a number of pencil additions, which could indicate that a teacher has taken a look at the work and provided criticism – however, amongst the aforementioned works, one can see that her teacher Otto Malling (1848–1915) usually wrote “NB” when there was something to comment on, while in A Litle Piece for Oboe and Piano, the comments are indicated with question marks.
In other words, it is difficult to determine whether the work was writen while she was at the conservatory or not. In the work catalogues that TGW compiled in the 1930s, the work is listed as being “from conservatory time,” so there seems at least to be some connection to her studies there. 2
In addition to Romance for Clarinet and Piano and Notturno for cello and piano (which is a fragment from a larger, five-movement work), A Litle Piece for Oboe and Piano is the only work TGW has writen for a smaller instrumental chamber-music ensemble. The rest of her works are, almost without exception, songs, solo piano pieces (all of which are programme pieces rather than sonatas), operas, and stage music. Both the instrumentation and the generic title are therefore unusual in TGW’s overall oeuvre.
A Litle Piece for Oboe and Piano has likely never been performed publicly. But if it really was part of TGW’s conservatory works – perhaps even an exam piece from the conclusion of her studies – then the work possibly plays a supporting role in what music researcher Lisbeth Ahlgren Jensen has called the “Rosenhoff Affair”. More about this can be read in the preface to Noturno for cello and piano in the current series. 3
Thomas Husted Kirkegaard
1 The work Romance for Klarinet og Klaver supports this theory; see Tekla Griebel Wandall, Romance for Klarinet og Klaver, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2024).
2 Read more about these work catalogues in Tekla Griebel Wandall, Collected Songs, vol. 1, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2023), xiv.
3 See also Lisbeth Ahlgren Jensen, “The Rosenhoff Affair,” Carl Nielsen Studies 3 (2008), 50 – 64; and Thomas Husted Kirkegaard, Tekla Griebel Wandall (Copenhagen: Multivers, 2022), 24 – 26.
Første nodeside af Et lille Stykke for Obo og Klaver (kilde A). Kommentaren “Hertil en Oboe-Stemme” refererer til kilde B, som er vedlagt.
First page of A Litle Piece for Oboe and Piano (source A). The comment “Hertil en Oboe-Stemme” (“In addition, an oboe part”) refers to source B, which is enclosed.
Critical Commentary
A Manuscript score, autograph.
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12. Fascicle 2 – 5 Folder 2 1
Title on fol. 1r: “Et lille Stykke for Oboe og Klaver” written in ink.
26.6 × 33.8 cm (oblong folio format), 1 folio, fol. 1r paginated “Side 1”, fol. 1v paginated “2”, both in pencil.
fol. 1r: “48” added in pencil in upper right corner, next to page number “Side 1”.
Next to title: “Tekla Griebel, 1891” written in ink. Bottom of page: “Hertil en Oboe-Stemme” 2 written in ink.
fol. 1v: “Tekla Griebel. April 92” written in ink after last bar.
Paper type: 12 staves
B Manuscript part, cello.
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12. Fascicle 2 – 5 Folder 2
Title on fol. 1r: “Et lille Stykke for Oboe og Klaver” written in ink.
23.8 × 34.1 cm (oblong folio format), 1 folio paginated “1”.
fol. 1r: “Tekla Griebel” written in ink next to title; “Oboe” written in ink before first bar. Paper type: 12 staves.
Commentary on the edition
The edition is based on A. B has only been used as a basis for emendations in cases where the emendation is also supported by an analogy within A
Emendations and Alternative Readings
Bar Part
Comment
3 ob. note 4: q emended to q to regularise the bar.
4 ob. B: note 2 set in parentheses.
6 – 7 ob. B: no slur.
10 – 11 ob. slur added by analogy with bb. 2 – 3.
14 – 15 ob. slur added by analogy with bb. 2 – 3, 6 – 7, and 10 – 11.
20 – 21 ob. slur b. 20, notes 1 – 4 emended to slur from b. 1, note 1 to b. 21, note 3 by analogy with bb. 18 – 19; in A, there is a page break between bb. 20 and 21.
21 pf.1 A: last quaver: chord f ′ , f ″ changed to note f ″ in ink.
22 – 23 ob. slur emended from b. 23 to 22 – 23 as in B and by analogy with bb. 18 – 19 and 20 – 21.
30 pf.1 ambiguous slurring interpreted as ending on chord 1.
30 pf.1 A: chord 1: “?” added in foreign hand, presumably pointing out ambiguous slurring.
32 pf.2 A: “?” added in foreign hand between chords 2 and 3.
40 pf.2 r between chords 3 and 4 added to regularise bar.
40 – 43 ob. B: b. 40, note 2 to b. 42, note 1: no slur.
41 ob. note 3: q emended to q tied to s to regularise bar.
1 For a full source description detailing the information found on the covers of the fascicle and the folder in which the manuscript is enclosed, see Tekla Griebel Wandall, Samlede Sange / Collected Songs, vol. 1, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2023), 87 – 89
2 “In addition, an oboe part.”
