Edition·S is supported by The Danish Arts Foundation.
DCM 047
ISBN 978-87-970723-2-5 ISMN 979-0-706839-14-1
Desuden foreligger / Also available: Orkesterstemmer til leje / Orchestral parts for hire Course des athlètes du Nord pour trombone avec piano
Indhold / Contents
Danish Classical Music iv Biografi / Biography v Forord / Preface vi Faksimiler / Facsimiles vii
Course des athlètes du Nord 11
Abbreviations 54
Critical Commentary 55
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.
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.
Thomas Husted Kirkegaard, ph.d.
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.
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.
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 flytede i 1892 til København. Der var hun tætere 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 dete 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 forfateren Sophus Michaëlis, og som blev antaget til opførelse på Det Kongelige Teater. Grundet 1. verdenskrig og den materialemangel, krigen medførte, måte 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 fortsate, 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.
Maria Claustad
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.
Maria Claustad
1 “Gusch”, Politiken 26.3.1915.
Forord
I sin bog om komponisterne Hilda Sehested og Nancy Dalberg skriver Lisbeth Ahlgren Jensen, at Sehested omkring 1904 fik interesse for messingblæsere. 1 Det første værk var Suite for Cornet i B og Klaver (1904), som blev udgivet på Wilhelm Hansens Musikforlag i 1906 med en tilegnelse til solotrompetist i Det Kongelige Kapel, Thorvald Hansen (1847-1915). Hendes første kærlighed gjaldt trompeten og korneten, men i 1921 blev hun ved mødet med solobasunist i Det Kongelige Kapel, Anton Hansen (1877-1947), opmærksom på basunens muligheder. Det blev til tre værker, Morceau Pathétique for basun og klaver, som blev publiceret i 1923 med tilegnelse til Anton Hansen, Pièce de concert, samt nærværende Course des athlètes du Nord med undertitlen Morceau symphonique pour trombone et orchestra ou piano Værket blev således af komponisten udarbejdet i to ligestillede versioner, dels med orkester og dels med klaver. Sehesteds autografmanuskripter er uden datering. Sehested opgiver selv kompositionsåret 1925, og det blev gentaget i en værkliste publiceret i 1932. 2 I denne kaldes værket blot Morceau symphonique, og samme hovedtitel står på en afskrift udført af Anton Hansen i 1925. Men med autografmanuskripternes titel, Course des athlètes du Nord, oprindeligt: Course de Vikings (!), er det dog overvejende sandsynligt, at 1925 er en fejlhuskning, og at Sehested skrev værket i 1924 med henblik på kunstkonkurrencen ved de olympiske lege i Paris i sommeren 1924. En international kunstkonkurrence med discipliner som billedkunst, musik og arkitektur var i en årrække knytet til de olympiske lege. Den 15. marts 1924 skriver broderen Holger Sehested til Hilda: “Nu vil jeg ønske Dig, at Du maa faa Held til at blive færdig med Dit Arbejde til den Konkurrence. Jeg er vis paa, at det er godt, det Du laver.” 3 I april-maj 1924 bringer flere aviser oplysninger fra den danske olympiske komité om, at en række danske kunstnere deltager i de kommende leges kunstkonkurrence. Hilda Sehesteds navn er blandt de nævnte, men hvilket værk, hun deltager med, fremgår ikke.
Lisbeth Ahlgren Jensen oplyser, at der i 1924 slet ikke blev uddelt en pris inden for kunstkonkurrencens musikkategori. 4
At Sehested ikke havde heldet med sig her, kunne være grunden til, at Anton Hansen i sin afskrift udført året efter har benytet den neutrale titel Morceau symphonique.
Klaverversionen er værkets først komponerede og udgør en selvstændig opførelsesversion. Denne version kan tjene som klaverpartitur ved indstudering i forbindelse med en orkesteropførelse. Dog er solostemmen i orkesterpartituret langt mere udbygget med artikulationsmæssige detaljer (buer, staccato- og marcatoangivelser) end tilfældet er i klaverversionen. For at give solisten mulighed for at få overblik over de fortolkningsmuligheder, komponisten samlet set præsenter i de to versioner, er klaverversionen i noteapparatet forsynet med en oversigt over alle varianter, som forekommer i nærværende partitur, samt vedlagt en solostemme med parallel notation af de to versioner.
Bendt Viinholt Nielsen / Ole Ugilt Jensen
Preface
In her book about the composers Hilda Sehested and Nancy Dalberg, Lisbeth Ahlgren Jensen writes that around 1904 Sehested became interested in brass instruments. 1 The first work was Suite for Cornet in Bb and Piano (1904), which was published by Wilhelm Hansens Musikforlag in 1906 with a dedication to Thorvald Hansen (1847 – 1915), the solo trumpeter in the Royal Chapel. Her first love was the trumpet and the cornet, but in 1921 she met the solo trombonist in the Royal Chapel, Anton Hansen (1877 – 1947), through whom she became aware of the trombone’s possibilities. This resulted in three works, Morceau Pathétique for trombone and piano, which was published in 1923 with a dedication to Anton Hansen, Pièce de concert, and the present Course des athlètes du Nord with the subtitle Morceau symphonique pour trombone et orchestra ou piano. The work was prepared by the composer in two equal versions, one with orchestra and one with piano.
Sehested’s autograph manuscripts are undated. Sehested herself dates the year of composition to 1925, and this was repeated in a list of works published in 1932. 2 In this the work is simply called Morceau symphonique, and the same main title appears on a copy made by Anton Hansen in 1925. But with the title of the autograph manuscripts, Course des athlètes du Nord, originally: Course de Vikings (!), however, it is overwhelmingly likely that 1925 is a misremembering and that Sehested wrote the work in 1924 for the art competition at the Olympic Games in Paris in the summer of 1924. An international art competition with disciplines such as visual arts, music and architecture were for a number of years linked to the Olympic Games. On 15 March 1924, the brother Holger Sehested writes to Hilda: “Now I would like to wish you luck in finishing your work for that competition. I am sure that what you are doing is good.” 3
In April–May 1924, several newspapers published information from the Danish Olympic Commitee that a number of Danish artists were participating in the art competition of the upcoming Games. Hilda Sehested’s name is among those mentioned, but it is not clear which work she participated with.
Lisbeth Ahlgren Jensen states that in 1924 no prize was awarded in the music category of the art competition. 4 The fact that Sehested did not have luck with her in this case could be the reason why Anton Hansen used the neutral title Morceau symphonique in his transcription made the following year.
The piano version was composed first and constitutes an independent performance version. This version can serve as a piano reduction when rehearsing for an orchestral performance. However, the solo part in the orchestral score is far more developed in terms of details of articulation (slurs, staccato and marcato indications) than is the case with the piano version. In order to provide the soloist with an overview of the interpretative possibilities that the composer presents in the two versions, the piano version includes an overview of all the variants that appear in the present score and a solo part with parallel notation of the two versions.
Bendt Viinholt Nielsen / Ole Ugilt Jensen
1 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4 (København: Multivers, 2019), 45-46.
2 Jürgen Balzer, Bibliographie des compositeurs Danoise (København: Dansk Komponist-Forening, 1932).
4 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, bind 4. (København: Multivers, 2019), 90-91.
1 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, vol. 4 (Copenhagen: Multivers, 2019), 45 – 46.
2 Jürgen Balzer, Bibliographie des compositeurs Danoise (Copenhagen: Dansk Komponist-Forening, 1932).
3 Letter dated Broholm 15.Mar.1924. The National Archives. Private archive 6344 Hilda Sehested. A.I.1.
4 Lisbeth Ahlgren Jensen, Hilda Sehested og Nancy Dalberg, Danske komponister, vol. 4. (Copenhagen: Multivers, 2019), 90 – 91.
Faksimiler
Facsimiles
Faksimile 1.
Partitur i autograf, s. 1, t. 1-4 (kilde A).
Værkets tidligere titel Course des Vikings er overklæbet med en lap papir med den nye titel, Course des athlètes du Nord. Værket blev ikke opført i Hilda Sehesteds tid og partiturrenskriften fremstår uden retelser og tilføjelser.
Facsimile 1.
Score in autograph, p. 1, bars 1 – 4 (source A).
The work’s previous title, Course des Vikings, is overlaid with a piece of paper with the new title, Course des athlétes du Nord. The work was not performed in Hilda Sehested’s time and the transcription of the score appears without corrections and additions.
Faksimile 2
Partitur i autograf, s. 2, t. 5-12 (kilde A).
Et typisk træk ved Sehesteds partiturer er den uklare (og ofte mangelfulde) angivelse af frasering. Hun praktiserer fx at angive buer både “for lange” og “for korte” i forhold til frasernes intenderede begyndelses- og endepunkter. Ofte placerer hun en bue af form som en slags “paraply” over de noder, hun forstille sig hører sammen i en frase.
Facsimile 2.
Score in autograph, p. 2, bars 5 – 12 (source A).
A typical feature of Sehested’s scores is the unclear (and often lacking) indication of phrasing. Her practice, for example, indicates slurs that are both “too long” and “too short” in relation to the intended beginning and end points of the phrases. Often she places a slur shaped like a kind of “umbrella” over the notes she imagines belong together in a phrase.
Orkesterbesætning / Orchestral forces
2 Flauti
2 Oboi
2 Clarinetti in Sib
2 Fagotti
4 Corni in Fa
2 Trombe in Fa
Timpani
Violini I
Violini II
Viole
Violoncelli
Contrabbassi
Varighed / Duration: 9 min.
Course des athlètes du Nord
Morceau symphonique pour trombone avec orchestre
Hilda Sehested: Course des athlètes du Nord - 11
Hilda Sehested (1858-1936)
2 Flauti
2 Clarinetti in B b 2 Fagotti Corni in Fa
Oboi
2 Trombe in Fa
Hilda Sehested: Course des athlètes du Nord - 12
Hilda Sehested: Course des athlètes du Nord - 13
Hilda Sehested: Course des athlètes du Nord - 14
Hilda Sehested: Course des athlètes du Nord - 15
Hilda Sehested: Course des athlètes du Nord - 16
Hilda Sehested: Course des athlètes du Nord - 17
Hilda Sehested: Course des athlètes du Nord - 18
Hilda Sehested: Course des athlètes du Nord - 19
Hilda Sehested: Course des athlètes du Nord - 20
Hilda Sehested: Course des athlètes du Nord - 21
Hilda Sehested: Course des athlètes du Nord - 22
Hilda Sehested: Course des athlètes du Nord - 23
Hilda Sehested: Course des athlètes du Nord - 24
Hilda Sehested: Course des athlètes du Nord - 25
Hilda Sehested: Course des athlètes du Nord - 26
Hilda Sehested: Course des athlètes du Nord - 27
Hilda Sehested: Course des athlètes du Nord - 28
Hilda Sehested: Course des athlètes du Nord - 29
Hilda Sehested: Course des athlètes du Nord - 30
Hilda Sehested: Course des athlètes du Nord - 31
Hilda Sehested: Course des athlètes du Nord - 32
Hilda Sehested: Course des athlètes du Nord - 33
Hilda Sehested: Course des athlètes du Nord - 34
Hilda Sehested: Course des athlètes du Nord - 35
Hilda Sehested: Course des athlètes du Nord - 36
Hilda Sehested: Course des athlètes du Nord - 37
Hilda Sehested: Course des athlètes du Nord - 38
Hilda Sehested: Course des athlètes du Nord - 39
Hilda Sehested: Course des athlètes du Nord - 40
Hilda Sehested: Course des athlètes du Nord - 41
Hilda Sehested: Course des athlètes du Nord - 42
Hilda Sehested: Course des athlètes du Nord - 43
Hilda Sehested: Course des athlètes du Nord - 44
Hilda Sehested: Course des athlètes du Nord - 45
Hilda Sehested: Course des athlètes du Nord - 46
Hilda Sehested: Course des athlètes du Nord - 48
Hilda Sehested: Course des athlètes du Nord - 49
Hilda Sehested: Course des athlètes du Nord - 50
Hilda Sehested: Course des athlètes du Nord - 51
Hilda Sehested: Course des athlètes du Nord - 52
Abbreviations
b. bar
bb. bars
cb. contrabbasso
cl. clarineto cor. corno
cresc. crescendo dim. diminuendo div. divisi
fg. fagoto
fl. flauto
fol. leaf
marc. marcato mark ob. oboe
p. page
pp. pages
stacc. staccato ten. tenuto mark timp. timpani
tr. tromba
trb. trombone
vl. violino
vcl. violoncello vla. viola
Critical Commentary
Description of sources
A Autograph score
B Autograph trombone and piano version
C Transcript of piano version by Anton Hansen including solo part
A Autograph score
DK – Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling 04. (mu 1949 – 50. 1035).
Title page: “Hilda Sehested / Course des athlètes du Nord. / Morceau symphonique / pour / Trombone avec Orchestre / ou / Piano”
Heading p. 1: “Course des athlètes du Nord / Morceau symphonique pour trombone et orchestre” Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949–50.1035).
34.5 × 27 cm. Title page, blank page, 51 numbered pages. 2 blank pages at end. Fair copy in ink.
The main title on both title page and p. 1 is writen on a glued – on scrap of paper covering the original title: “Cource des Vikings”.
Paper type: [Wilhelm Hansen Musik – Forlag] Nr. 6. F 18. (18 staves).
B Autograph trombone and piano version
DK – Kk, Royal Danish Library (Musiksamlingen), C II, 12. Hilda Sehesteds samling 04. (mu 1949 – 50. 1035).
No title page. Heading on the first page of music (p. 1): “Course des athlètes du Nord / Morceau symphonique / pour trombone avec orchestre ou piano”
Undated.
Donated to the Royal Danish Library by J. Sehested, Broholm (DK–Kk 1949–50.1035).
34.5 × 27 cm. 15 numbered pages. 2 blank pages at end. Fair copy in ink.
The main title p. 1 is writen on a glued – on scrap of paper covering the original title: “Course des Vikings”.
Paper type: [Wilhelm Hansen Musik – Forlag] Nr. 3. F 12. (12 staves).
C Transcript of piano version by Anton Hansen including solo part
DK – Kk, Royal Danish Library (Musiksamlingen), MAms 7671. [Basunnoder fra Anton Hansen og Thorkild Graae Jørgensen]
Title page: “Hilda Sehested / Morceau symphonique / pour / Trombone / […] / avec accompagment d’orchestre ou de piano / Anton Hansen. / 1925.”
35 × 26 cm. 13 leaves comprising title page, blank page, page numbered 1 with AH’s stamp, pp. 2 – 17 (score), 2 blank unnumbered pages, 4 partly numbered pages comprising the solo part. Signed at the end: “Anton Hansen. / 1925.”
Paper type: 12 staves (without manufacturer’s name).
Commentary on the edition
The version for trombone and piano (B) is the original version of the work, while the score (A) was prepared afterwards. Apart from the last bar, which is writen on a pasted – on strip of paper, there are no corrections or additions in the score (A). However, in terms of phrasing, articulation and dynamics the source is characterized by inconsistencies and incompleteness.
The editors have complemented the score and taken a stand on the often quite unclear phrasing (starting and ending points of the slurs). As regards the lack of dynamics in the passages bb. 50 – 52, 78 – 80, 107 – 108, 111, and 172 – 175, the editors have aimed to follow the composer’s intention by transferring complementary details found in the piano version (B) to the score.
Anton Hansen’s transcript of the piano version (C) contains no information that is significant for the edition.
In the edition, the notation is normalized to the extent that key signatures in horn and trumpet parts have been eliminated. Likewise have rit. and a tempo indications, which are often placed between the staves, been moved to the standard placing above the system.
Where two instruments are writen in the same stave with stems up and down, HS often writes only one slur above the top part. In these instances, the slur is interpreted as applying to both instruments, unless something else in the context speaks against it. In the same way, stacc. and marc. are tacitly supplied in the lower part where these are only indicated in the top part (a normal HS practice).
Dynamic indications which are only found in horn part 1 – 2 are tacitly added in horn part 3 – 4. Finally, some superfluous (repeated) accidentals are omitted without documentation.
Editorial emendations
Bar Part Comment
2 vl.2 vla. p added by analogy with vl.1
10 vcl. cb. m added by analogy with b. 141 vcl. note 5: stacc. added by analogy with vla. cb. arco added by analogy with vcl. notes 2 – 3: stacc. added by analogy with vla.
15 fg. p added by analogy with fl., ob., cl. b. 13
20 tr.2 slur added by analogy with fl. 1 and vla. and phrasing in b. 21 p added by analogy with tr.1 b. 21 vla. slurs added by analogy with b. 151
22 – 25 vcl. slurs unclear; notated by analogy with vl.1
24 trb. solo slur added by analogy with b. 155
25 trb. solo slur added by analogy with b. 26
26 cor. p added by analogy with the rest of the orchestra (bb. 22, 24)
29 trb. solo m added by analogy with b. 8
32 fg. note 1: stacc. added by analogy with cb. and b. 21
33 ob. cl. note 3: stacc. added by analogy with fl. cor.3 note 1: marc. added by analogy with cor. 1
34 trb. solo notes 4 – 5: stacc. added by analogy with b. 35
35 – 36 cor.3 tie added by analogy with cor.1
36 trb. solo notes 1 – 2, 5 – 6: stacc. added by analogy with bb. 35, 37 vla. note 3: guiding n before g added vcl. cb. arco added
37 cor. 3 note 2: m added by analogy with cor. 1 b. 38
38, 39 cb. arco added
39 cor. 3 – 4 missing rest at the end of bar added
41 fg. slur added by analogy with bb. 38, 39 vl.1 vla. cb. slurs added by analogy with b. 39
42, 43 ob. note 2: ten. added by analogy with bb. 39 – 41
43 vl.1 note 2: ten. added by analogy with ob.
44 tr.1 note 4; stacc. added by analogy with fg. and vl.1 vla. notes 2, 4; stacc. added by analogy with vl.1 vcl. slur added by analogy with b. 40
45 fg. 1 tr.1 vla. note 1: stacc. added by analogy with vl.1 trb. solo m moved from b. 46 note 1 to b. 45 note 1 (beginning of phrase)
47 fl. m added by analogy with woodwinds b. 46
49 vl.2 2 slurs added by analogy with bb. 46 – 48
50 – 52 tutti dynamics are missing in A; cresc. added as in B
52 fg. 1 m added by analogy with the dynamic level of the rest of the orchestra
53 cor. 1 – 2 f added by analogy with cor. 3 – 4 cor. 2, 3 tr.2 notes 1 – 2: stacc. added by analogy with tr.1 – 2 trb. solo note 2: stacc. added by analogy with bb. 54, 55 vl.2 slur added by analogy with vl.1 cb. f added by analogy with other strings
55 fg.2 b before c1 added by analogy with bb. 54 and 56 tr.1, 2 stacc. added by analogy with bb. 53 – 54
56 cl. 1 f added by analogy with dynamic level in the rest of the orchestra
57 vl.2 vla. two last notes: stacc. added by analogy with vl.1 vla. cresc. added by analogy with vl.1, 2
59 fl.1 ob.2 tr.1 vl.2 two last notes: stacc. added by analogy with b. 58 fl.2 r added by analogy with ob. 1
ob.1 tr.1 note 1: marc. added by analogy with fl. 1, vl.1, 2
60 ob.2 fg. 2 tr.1 cb. two last notes: stacc. added by analogy with b. 59 and vl.1, 2 cor.1 all notes: stacc. added by analogy with b. 58, 59 cb. notes 1 – 2: stacc. added by analogy with vl.1, 2
61 vcl. p moved from b. 62 note 1 to beginning of phrase b. 61 (by analogy with vla.)
68 – 69 vl.1 slur b. 68 note 4 to b. 69 note 3 added by analogy with fl. and other strings
69 ob. notes 4 – 5: slur added by analogy with fl.
70 trb. solo m added by analogy with the dynamic level in the orchestra (m is found in B)
71, 72 ob. m and p added by analogy with vl.2 and vla.
71 fg.2 slur notes 1 – 3 added by analogy with bb. 68 – 70 and cb.
72 vla. vcl. p added by analogy with vl.1, 2 and cb.
73 cb. notes 1 – 3: ending of slur from b. 72 added
74 cl. p added by analogy with the rest of the orchestra
76 vl.1 notes 1 – 3: slur added by analogy with bb. 77 – 79
77 – 79 vl.2
slurs added by analogy with ob. 1
78 – 80 tutti dynamics are missing in A; cresc. and f added as in B (trb. solo has cresc. in b. 79 and f in b. 80)
81 vl.1 slur added by analogy with vl.2
83 – 84 fg. dim. and p added by analogy with the rest of the orchestra
98 fl. 1 notes 1 – 2: slur added by analogy with fl. 2 fl. vl.1 p added by analogy with the dynamic level in the orchestra vcl. note 1: stacc. added by analogy with vl.1
99 vcl. p added by analogy with ob.
100 – 101 cl. cresc. and dim. added by analogy with fl. and ob.
101 cb. note 1: w replaced by h by analogy with b. 103
102 vla. note 1: stacc. added by analogy with vl.1
104 vla. notes 2 – 3: slur added by analogy with vcl.
106 vla. sf added by analogy with other strings
107 vl.2 notes 2 – 4: slur added by analogy with bb. 108 ff
107 – 108 tutti dynamics are missing in A; dim. and p added as in B (trb. solo has m in b. 108)
108 cl. vl.2 cb. cresc. added by analogy with vl.1 and vla.
109 – 110 fg. dynamics are missing; cresc. and f added by analogy with vcl.
110 cl. f added by analogy with dynamics in strings
111 tutti dynamics are missing in A in relation to the trb. solo p in b. 111; B has subito p; the editors have added p vl.1 vla. beginning of tie added (ending is in b. 112) vla. note 3: n added by analogy with vl.1
112 cl. dynamics are missing; p added (cf. note to b. 111)
113 trb. solo note 2: missing n added by analogy with the strings
119 fg.1 m added by analogy with dynamic level in the rest of the orchestra
120 ob. m added by analogy with dynamic level in the rest of the orchestra vl.2 note 2: n added by analogy with vl.1
121 fl. note 1: stacc. added by analogy with ob.
122 fg.2 vcl. m added by analogy with the rest of the orchestra
123 fg.1 note 3: n added by analogy with strings
124 vcl. note 2: n added by analogy with fg. 2
125 vla. vcl. arco added by analogy with vl.1, 2
128 – 129 vcl. cresc. and f added by analogy with fg. 2
130 fl. note 5: stacc. added by analogy with notes 2 – 4 and vl.1 cl. p added by analogy with fl. and ob. vla. note 1: marc. added by analogy with b. 129 and fg. 1
131 ob.1 notes 1 – 2: slur added by analogy with fl. ob.2 end of slur from b. 130 added cl. 2 missing slur bb. 130 – 131 added by analogy with ob. 2
135 cor. 1, 3 f added by analogy with dynamic level in the rest of the orchestra
137 cor. rest 1 (missing) added by analogy with winds and strings
137 – 138 fl. ob. stacc. added as in B; A only has the dots on fl. 1 – 2 b. 137 note 1 and b. 138 note 1
138 cl. f added by analogy with dynamic level in the rest of the orchestra
141 vcl. note 5: stacc. added by analogy with vla. cb. notes 1 – 2: slur added by analogy with other strings
cb. notes 3 – 4: stacc. added by analogy with vla.
142 cb. note 1: stacc. added by analogy with vcl.
144 vl.1 dim. added by analogy with vl.2 and vla.
144 – 145 vl.2 slur added by analogy with vl.1
145 vcl. notes 1 – 4: slur added by analogy with other strings cb. arco added
146 fg. p added by analogy with dynamic level in the rest of the orchestra fg. vl.1 vla. vcl. stacc. added by analogy with vl.2 and cb. vla. notes 2 – 3: stacc. added by analogy with vl.2
cb. dim. added by analogy with vcl.
147 fl. ob. cl. fg. slurs added by analogy with b. 16
148 vcl. cb. p added by analogy with vla.
149 – a tempo added as in B
vl.1, 2 p added by analogy with dynamic level in other strings
152 fg. 1 dynamic indication is missing; the editors sugest f
153 cb. arco added
155 vl.2 note 1: end of slur added by analogy with vl.1
159 vl.1 missing end of slur added
161 vl.2 vcl. m added by analogy with vl.1 and vla.
162 cl. notes 1 – 3: slur added by analogy with b. 161 cl. notes 2 – 3: emended from key C to key Bb (notational error)
cb. m added by analogy with dynamic level of the other strings
163 cl. slur added by analogy with surrounding bars cor.1 last note: stacc. added by analogy with bb. 161, 162, etc.
164 fl.2 note 2: missing n added
cor.3 m added by analogy with dynamic level in the rest of the orchestra
164, 166, 168 cb. note 5: stacc. added by analogy with b. 162
165, 167 ob. note 1: stacc. added by analogy with bb. 161 – 164
166 cor.3 notes 1, 2: ab1 and ab emended to a1 and a by analogy with the tonality of the bar
166, 168 cor.1 last note: stacc. added by analogy with bb. 164, 165
167 fl. 2 note 2: n added by analogy with ob.2
168 vl.2 missing rest at the end of the bar added
169 vl.2 slur notes 2 – 3 emended to slur notes 1 – 3 by analogy with cl.2
170 fl. 2 note 1: n added analogy with cor. and cb.
172 – 175 tutti dynamics are missing in A; cresc. added as in B
174 vl.2 missing rest at the end of the bar added
175 vcl. cresc. added by analogy with cb.
176 cor. 1, 3 f added by analogy with the rest of the orchestra vl.1, 2 slur notes 1 – 6 emended to slur notes 1 – 7 by analogy with b. 177, 178 vcl. f added by analogy with fg. cb. missing rest at the end of the bar added
177 vl.1 vla. slurs added and completed by analogy with vl.1
177, 178 fg. 2 note 1: stacc. added by analogy with vcl. and notes 2 – 3
178 vcl. note 3: stacc. added by analogy with b. 177
179 cl. f added by analogy with the rest of the winds cor.1, 3 notes 3, 4: stacc. added by analogy with tr. trb. solo notes 1 – 2: slur added by analogy with b. 175 trb. solo notes 3 – 8: stacc. added by analogy with b. 175
180 – 181 tr slur added by analogy with fl. 1, ob. 1
182 ob.2 note 1: marc. added by analogy with fl. 1, tr.1
182 – 183 fl.1 ob.2 tr.1 slur added by analogy with bb. 180 – 181
186 cor. p added by analogy with dynamic level in the orchestra
188 fl. ob. cl. f added by analogy with the rest of the orchestra ob. slurs emended and completed by analogy with fl. (cf. b. 65)
190 vcl. notes 1 – 4: transposed up one octave (notational error)
192 ob.2 notes 1 – 2: slur added by analogy with fl. 1
193 vla. slur notes 1 – 3 added by analogy with other strings
194 fg. cor.3 two last notes: stacc. added by analogy with cor. 1 vl.2 notes 5: missing n added by analogy with vl.1 cb. note 1: stacc. added by analogy with vcl. and b. 193
195 vla. notes 1, 3: n added by analogy with vcl. vcl. notes 2 – 4: stacc. added by analogy with note 1 and fg.
198 vla. cresc. added by analogy with vl.1, 2
204 vl.2 slur added by analogy with vl.1
206 vla. dim. added by analogy with vcl. and cb. vcl. last note: bb (notational error) emended to c1 by analogy with vcl.
207 cl. p added by analogy with fl. 2 and vla.
211 – 212 fg.2 slur added by analogy with vcl.
212 cl. missing rest 2 added
213 – 214 vla. slur added by analogy with fg. 1
214 cl. notes 2 – 4: slur added by analogy with vl.2
215 ob.1 note 2: n added by analogy with vl.1 ob.2 note 1: n added by analogy with vl.2
vl.2 note 5 – 6: slur added by analogy with vl.1
216 fl. p added by analogy with ob. and fg. b. 215 cor. 1, 3 end point of slur emended from note 4 to b. 217 note 1 by analogy with fg. 1 (page turn in A between bb. 216 and 217) cb. cresc. added by analogy with the other strings
217 trb. solo vl.2 vcl. superfluous, repeated cresc. omitted
220 cb. cresc. added by analogy with vcl.
221 vl.1, 2 vla. note 1: end point of slur added (page turn in A between bb. 220 and 221)
222 – 223 vl.1, 2 vla. c and f added by analogy with vcl. and cb.
223 timp. dynamic indication missing; editors suggest f by analogy with brass
224 ob. notes 2 – 3: slur probably missing; added by analogy with phrasing in fl. cb. f added by analogy with vcl. and fg. 1 b. 223
note 4: stacc. added by analogy with b. 225 ob.1 note 2: n added by analogy with fl.2 cl.2 bar filled out as a repetition of b. 225 (in A the bar is empty)
227 fl.2 notes 3 – 5: stacc. added by analogy with b. 225, 226 227, 228 cl.2 notes 1 – 3; marc. added by analogy with other woodwinds
228 fl. ob. cl. fg. f added by analogy with cor., vl.1, vla. and vcl.
231 fg. slur added by analogy with vl.1
232 fl.1, ob.2 cl. slur added by analogy with vl.1 ob.1 notes 1 – 3: stacc. added by analogy with fl.2
