Udarbejdet og udgivet med støte 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 edition-s.dk
Edition·S is supported by The Danish Arts Foundation.
DCM DCM043
ISBN 978-87-93750-87-6
ISMN 979-0-706839-10-3
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.
Thomas Husted Kirkegaard, ph.d.
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
Biografi
Tekla Griebel blev født d. 26. februar 1866 i Randers og døde d. 28. juni 1940 i Buddinge. Som ung pige blev hun undervist i musik af sin far – tyske Theodor Griebel, der var kommet til Danmark i 1847, da han blev ansat som 2. violinist i H.C. Lumbyes berømte orkester i Tivoli – men hun var mest interesseret i tegne- og malekunsten. Under sin uddannelse på Tegneskolen for Kvinder 1881 – 1888 begyndte hun dog at vende sig mod musikken, og i 1889-1891 gik hun på Københavns Musikkonservatorium, hvor hun studerede under Niels W. Gade, Orla Rosenhoff, Oto Malling m.fl. I 1890’erne opnåede hun en vis offentlig succes og anerkendelse: I 1893 – 94 udkom fem hæfter med sange på forlaget Den Kgl. Hofmusikhandel; i 1895 debuterede hun som balletkomponist, da hendes musik til balleten I Rosentiden blev opført ved Kvindernes Udstilling, og hun debuterede også som operakomponist da hendes opera Skøn Karen blev opført på Breslau Stadtheater; og i 1899 blev samme opera opført på Det Kgl. Teater. I 1899 skrev hun også den første af en række kantater til arrangementer forbundet med den danske kvindesagsbevægelse.
I 1902 blev hun gift med teologen Frederik Wandall og i 1904 fik de sønnen Svend. Ægteskabet med Wandall var, ifølge Tekla Griebel selv, et fornuftsægteskab som skulle sikre hende den økonomiske sikkerhed, der var nødvendig for at kunne få tid til at komponere. Frederik Wandall opgav dog sit præstekald og forsøgte (med begrænset succes) at slå igennem som digter under pseudonymet Erik Dall. Det blev derfor Tekla Griebel, der måte tjene penge til hjemmet, først og fremmest ved at undervise elever i sang, klaver, musikteori og musikhistorie. Efter ægteskabet og fødslen dalede Griebels produktivitet derfor mærkbart, og da familien i 1907 flytede ud af København – først til Refsnæs og siden til Fredensborg, hvor hun boede 1910 – 1935 – gled Griebel langsomt ud af det offentlige danske musikliv, og det lykkedes hende aldrig at genopnå den position, hun havde i 1890’erne. Griebel fortsate dog med at komponere hele livet, og hun sørgede for at hendes manuskripter blev overleveret til Det Kgl. Bibliotek efter hendes død.
Stilmæssigt er Griebels musik overvejende romantisk, men hun afsøger også det neo-klassicistiske, det atonale og det impressionistiske. Fælles for hendes produktion er, at den ofte er ekspressivt fortællende, dramatisk kontrastsøgende og umiskendeligt tonemalerisk. Størstedelen af hendes produktion er vokalmusik og hendes instrumentale musik er med få undtagelser karakterstykker eller programmusik. Hun var optaget af teosofi, og baserede sin musikfilosofi på denne åndsretning.
Biography
Tekla Griebel was born on 26 February 1866 in Randers and died 28 June 1940 in Buddinge. As a young girl she was taught music by her father – the German Theodor Griebel, who had come to Denmark in 1847 when he was employed as second violinist in H.C. Lumbye’s famous Tivoli orchestra – though she was more interested in drawing and painting. However, during her education at the Drawing School for Women 1881 – 1888, she began turning towards music, and in 1889 – 1891, she studied at the Conservatory in Copenhagen under Niels W. Gade, Orla Rosenhoff, Oto Malling and more. In the 1890s, she gained some public succes and acknowledgment: In 1893 – 94, five collections of songs were published at Den Kgl. Hofmusikhandel; in 1895 she debuted as a ballet composer when her music for the ballet I Rosentiden was performed at the Women’s Exhibition, and she also debuted as opera composer when her opera Skøn Karen was performed at Breslau Stadtheater; and in 1899, the same opera was performed at The Royal Danish Theatre. In 1899, she also wrote the first of a series of cantatas for events connected with the Danish Women’s Rights Movement.
In 1902 she married the theologian Frederik Wandall and in 1904 they had a son named Svend. According to Tekla Griebel herself, the marriage with Wandall was one of convenience, intended to provide the financial security that was necessary for her to have time to compose. However, Frederik Wandall abandoned his calling as a priest and atempted (with limited success) to establish himself as a poet under the pseudonym Erik Dall. Therefore, it was Tekla Griebel who had to earn money for the household, primarily by giving private lessons in singing, piano, music theory and music history. After their marriage and the birth of their child, Griebel’s productivity thus declined noticeably. When the family moved out of Copenhagen in 1907 – first to Refsnæs and later to Fredensborg, where she lived from 1910 – 1935 – Griebel slowly disappeared from the public Danish music scene, and never managed to regain the position she had in the 1890s. However, Griebel continued to compose music throughout her life, and made sure that her manuscripts were passed on to the Royal Library after her death.
Stylistically, Griebel’s music is predominantly Romantic, but she also explores neoclassical, atonal, and impressionistic elements. Characteristic of her production is that it is often expressively narrative, full of dramatic contrasts and characterized by unmistakable tone-paintings. The majority of her production is vocal music, and her instrumental music consists, with a few exceptions, of character pieces or program music. She was interested in Theosophy and based her philosophy of music on this spiritual movement.
Et lille Stykke for Oboe og Klaver
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
A Small Piece for Oboe and Piano
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
1 Værket Romance for Klarinet og Klaver støter 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.
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.
Critical commentary
A Manuscript score, autograph.
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12.
➤ Fascicle 2 – 5 ➤ Folder 2 4
Title on fol. 1r: “Et lille Stykke for Oboe og Klaver” writen 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” writen in ink. Botom of page: “Hertil en Oboe-Stemme” 5 writen in ink.
fol. 1v: “Tekla Griebel. April 92” writen 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” writen in ink.
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
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
Comment
3 ob. note 4: q emended to q to regularise the bar.
4 ob.
6 – 7 ob.
B: note 2 set in parentheses.
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.
4 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
