Edition·S is supported by The Danish Arts Foundation.
DCM DCM045
ISBN 978-87-93750-76-0
ISMN 979-0-706839-12-7
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 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
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.
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.
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.
Noturno
Forord
Noturno for cello og klaver er komponeret i 1891 og er ét blandt ganske få kammermusikværker af Tekla Griebel Wandall (TGW). At der er så få kammerværker fra hendes hånd, skyldes ikke, at en masse noder er gået tabt: Fra de fire værkoversigter, som hun selv udfærdigede mod slutningen af sit liv, fremgår det, at hendes oeuvre næsten udelukkende består af sange, soloklaverværker (som alle er karakterstykker snarere end sonater), operaer og skuespilsmusik. 1 De mange genrer indenfor kammer- og orkestermusikken har hun stort set ikke beskæftiget sig med. Hendes kræfter blev som regel lagt i at skabe dramatisk musik eller programmusik, gerne med et vokalt element. I den forstand er Noturno lidt af en undtagelse i det samlede billede af komponisten. Noturno er da også efter alt at dømme et studieværk –et værk skrevet mens hun studerede på Kjøbenhavns Musikkonservatorium 1889-1891, hvor hun formentlig blev undervist i at skrive for forskellige instrumentsammensætninger. Andre overleverede værker fra hendes studietid er kammerværkerne Romance for Klarinet og Klaver og Et lille Stykke for Oboe og Klaver samt det lidt større værk Canzone for strygere, horn, pauker, klaver og solister (SATB) og værket Morgensang for kor (SSAA) og klaver. 2
Del af et femsatset værk
Som det er overleveret her, fremstår Noturno som et kort kammerværk i familie med hendes Romance for Klarinet og Klaver samt Et lille Stykke for Oboe og Klaver
Men faktisk var Noturno ferdesatsen i et større femsatset værk – en sonate for cello og klaver. Desværre er kun ferdesatsen overleveret i sin fulde form til i dag, mens kun cellostemmen er overleveret fra de øvrige satser. Af dette stemmemateriale kan man danne sig et indtryk af værkets originale form:
I. Sonate (Allegro non tanto) i g-mol, 2⁄4.
II. Romance (Andante) i Bb-dur, 3⁄4
III. Scherzo og trio (Allegro non troppo) i D-dur, 2⁄4.
IV. Notturno (Andante) i g-mol, c
V. Rondo (Allegro maëstoso) i g-mol, 3⁄4. 3
I nærværende udgave er der foretaget det valg at præsentere Noturno som var det et selvstændigt værk – mens det altså understreges, at det er et fragment. Derudover præsenteres et appendix med cellostemmen til de fire øvrige satser, hvor klaverstemmen er gået tabt.
Noturno
Preface
Noturno for cello and piano was composed in 1891 and is one of the very few chamber music works by Tekla Griebel Wandall (TGW). The fact that there are so few chamber works is not due to manuscripts being lost: It is evident from the four work catalogues that she herself compiled towards the end of her life, that her oeuvre consists almost exclusively of songs, solo piano works (all of which are character pieces rather than sonatas), operas, and stage music. 1 She barely engaged with the many genres within chamber and orchestral music. Her efforts were usually devoted to creating dramatic music or programme music, often with a vocal element. In this sense, Noturno is somewhat of an exception within the overall picture of the composer. Noturno is also, by all accounts, a student piece – a work written while she studied at the conservatory in Copenhagen from 1889 – 1891, where she was presumably taught to write for various instrumental combinations. Other preserved works from her study period include the chamber pieces Romance for Clarinet and Piano and A Litle Piece for Oboe and Piano, as well as the slightly larger work Canzone for strings, horns, timpani, piano, and soloists (SATB), and the work Morgensang for choir (SSAA) and piano 2
Part of a five-movement work
As it is preserved here, Noturno appears as a short chamber work, akin to her Romance for Clarinet and Piano and A Litle Piece for Oboe and Piano Noturno was however actually the fourth movement in a larger five-movement work – a sonata for cello and piano. Unfortunately, only the fourth movement has been preserved in its complete form to this day, while only the cello part has been preserved from the other movements. On the basis of this material, one can get an impression of the original form of the work:
I. Sonate (Allegro non tanto) in g minor, 2⁄4
II. Romance (Andante) in Bb major, 3⁄4.
III. Scherzo og trio (Allegro non troppo) in D major 2⁄4
IV. Notturno (Andante) in g minor, c.
V. Rondo (Allegro maëstoso) in g minor, 3⁄4 3
In the present edition, the choice has been made to present Noturno as if it were an independent work –while emphasizing that it is a fragment. In addition, an appendix is presented with the cello part for the four other movements for which the piano part has been lost.
1 Se mere om værkoversigterne i Tekla Griebel Wandall, Samlede sange, bind 1, redigeret af Thomas Husted Kirkegaard (København: Edition·S, 2023), xiv.
2 Alle værker findes i DK-Kk, Det Kgl. Bibliotek, Musiksamlingen, Tekla Griebel Wandall: Efterladte kompositioner, C II, 12
3 Taktart er fejlagtigt angivet som 2⁄4, men satsen er konsekvent noteret i 3⁄4; se kritisk kommentar.
1 See more on these work overviews in Tekla Griebel Wandall, Collected Songs, vol. 1, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2023), xiv.
2 All works are to be found in DK-Kk, The Royal Danish Library, Music Collection, Tekla Griebel Wandall: Efterladte kompositioner, C II, 12.
3 Time signature is wrongly stated as 2⁄4, but the movement is consistently notated in 3⁄4; see critical commentary.
Rosenhoff-affæren
Værkerne fra TGWs studietid er interessante både i egen ret og fordi de, som nævnt, udgør en undtagelse i hendes overordnede oeuvre. Men de er også interessante af andre, musikhistoriske grunde: De giver formentlig et lille indblik i den kontrovers, som musikforskeren Lisbeth Ahlgren Jensen har døbt Rosenhoff-affæren. 4 Rosenhoff-affæren henviser til den skandaleombruste – og i medierne meget omdiskuterede – afskedigelse af Orla Rosenhoff (1844-1905) fra Kjøbenhavns Musikkonservatorium. Afskedigelsen bundede i uenigheder om, hvem der skulle overtage Niels W. Gades (1817-1890) timer efter hans død. I slutningen af Niels W. Gades liv, hvor hans kræfter var svækkede, havde Rosenhoff overtaget en del af hans musikhistorietimer, og disse havde efterhånden udviklet sig til kompositionstimer. TGW skriver om disse i sine erindringer og giver indtryk af, at Rosenhoff var særdeles støtende og vigtig for hendes musikalske uddannelse. Efter Niels W. Gades død blev det Otto Malling (1848-1915), der overtog disse timer – og hermed følte Rosenhoff, at Malling skummede fløden af hans hårde arbejde med kompositionstalenterne. 5 Rosenhoff stillede som ultimatum, at han ville føre sine elever igennem til eksamen, ellers ville han forlade konservatoriet – hvad der tilsyneladende blev opfatet som en opsigelse. I sin redegørelse af forløbet til konservatoriets bestyrelse nævner Rosenhoff, at de omtalte kompositionstalenter var Christiane Rützow-Olsen (1870-1962) og Tekla Griebel. 6
Med andre ord: Med Notturno samt de øvrige studieværker fra TGW gives et delvist indblik i, hvad det var for nogle talenter, Rosenhoff og Malling skændtes om, og hvad det præcis var for en fløde, der måske blev skummet.
Om kilden
Flere af værkerne fra TGWs studietid er behæftet med en række “NB”-tilføjelser i blyant med fremmed hånd. Fra TGWs egen blyantilføjelse “(Malling)” ved disse notater kan det udledes, at det er kommentarer fra Oto Malling. Disse notater er dog fraværende i Noturno samt i cellostemmematerialet fra det femsatsede værk. Kilden fremstår yderst ren og pæn uden tilføjelser og kun med enkelte spor af udvisket blyant under den færdige blækrenskrift.
Noturno (og det femsatsede værk, det var en del af) blev aldrig udgivet, og nogen egentlig receptionshistorie – udover dens mulige birolle i ovennævnte kontrovers – kan man ikke tale om. Det er værd at bemærke at både Noturno og cellostemmen fra hele det femsatsede værk er overleveret i deres originale renskrifter.
The Rosenhoff Affair
The works from TGW’s study period are interesting both in their own right and because they, as mentioned, represent an exception in her overall oeuvre. But they are also interesting for other, music-historical, reasons: They likely provide a glimpse into the controversy that music researcher Lisbeth Ahlgren Jensen has dubbed the Rosenhoff Affair. 4 The Rosenhoff Affair refers to the scandalous dismissal of Orla Rosenhoff (1844 – 1905) from the conservatory in Copenhagen. The dismissal, highly debated in the media, was due to disagreements about who should take over Niels W. Gade’s (1817 – 1890) classes after his death. Toward the end of Niels W. Gade’s life, when his strength was waning, Rosenhoff had taken over some of his music history classes, which gradually evolved into composition classes. TGW writes about these in her memoirs, giving the impression that Rosenhoff was especially supportive and important for her musical education. After Niels W. Gade’s death, it was Otto Malling (1848 – 1915) who took over these classes – and thus Rosenhoff felt that Malling was skimming the cream of his hard work with the composition talents. 5 Rosenhoff issued an ultimatum that he would see his students through to their exams or would otherwise leave the conservatory – which was apparently interpreted as a resignation. In his report to the conservatory’s board, Rosenhoff mentioned that the composition talents in question were Christiane Rützow-Olsen (1870–1962) and Tekla Griebel 6
In other words, with Notturno and the other study works from TGW, we get a partial glimpse into the talents Rosenhoff and Malling were arguing over – and the “cream” that was possibly being skimmed.
About the source
Several of TGW’s works from her study period are accompanied by a number of “NB” annotations in pencil in a different handwriting. From TGW’s own pencil annotation “(Malling)” next to these notes, it can be inferred that they are comments from Oto Malling. However, these annotations are absent in Noturno as well as in the cello part material from the five-movement work. The source appears extremely clean and neat without additions and only with faint traces of erased pencil under the finished ink manuscript.
Noturno was never published, and as such, it has no recorded reception history – other than its possible role in the aforementioned controversy. It is worth noting that both Noturno and the cello part from the entire five-movement work have been preserved in their original manuscript form.
4 Lisbeth Ahlgren Jensen, “The Rosenhoff Affair,” Carl Nielsen Studies 3 (2008), 50-64.
5 Formuleringen med at skumme fløden er vel at mærke ikke Rosenhoffs egen, men derimod en journalists. Se “Presto”, København, 26.2.1892
6 Ahlgren Jensen, “The Rosenhoff Affair,” 55. Se også Thomas Husted Kirkegaard, Tekla Griebel Wandall (København: Multivers), 24-26
4 Lisbeth Ahlgren Jensen, “The Rosenhoff Affair,” Carl Nielsen Studies 3 (2008), 50 – 64.
5 The expression “skimming the cream” was not Rosenhoff’s own, but that of a journalist. See “Presto”, København, 26 Feb. 1892.
6 Ahlgren Jensen, “The Rosenhoff Affair,” 55. See also Thomas Husted Kirkegaard, Tekla Griebel Wandall (Copenhagen: Multivers), 24 – 26.
Dette gælder nemlig langt fra alle TGWs værker: Mange er overleveret i afskrifter og renskrifter, som hun først udfærdigede i de sidste 10 år af sit liv i 1930’erne, da hun stoppede med at komponere og i stedet brugte sine kræfter på at samle sine papirer til eftertiden. TGWs håndskrift (både noder og bogstaver) i 1890erne adskiller sig tydeligt fra den senere håndskrift.
This is not the case for all of TGW’s works: many are preserved in fair copies that she only prepared during the last 10 years of her life in the 1930s, when she had stopped composing and instead focused on organizing her papers for posterity. TGW’s handwriting (both musical and textual) in the 1890s is noticeably different from her later handwriting.
Critical commentary
A Manuscript score
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12.
fol. 2v: “Cellostemme til Scherzo og Notturno i den gamle Afskrift” 9 writen in ink (presumably a reference to source A). “V / Rondo” writen in ink.
Paper type: 10 staves.
Commentary on the edition
Noturno is based entirely on A. The appendix provides the cello parts of the four other movements of the work. The only source documenting the intended order of the movements is C
Source B contains cello parts for the movements Romance, Scherzo and Noturno. Source C contains cello parts for the movements Sonate, Romance and Rondo. Thus, Noturno appears both in A and B while Romance appears both in B and C
Where a movement appears in A, A has been prioritized; and where a movement appears in B, B has been prioritized. Movement for movement, the edition is based on the following sources:
I. Sonate is based on C
II. Romance is based on B; variants with C (which lacks most slurs and several dynamical markings) have not been recorded.
III. Scherzo is based on C
IV. Noturno is based on A; variants with B have been recorded.
V. Rondo is based on C
7 For a full source description detailing the information found on the covers of the fascicle and the folder in which the manuscript is enclosed – including, for example the full title of the original five-movement work “Sonate i G-moll” (Sonata in G minor) – see Tekla Griebel Wandall, Collected Songs, vol. 1, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2023), 87 – 89.
8 “Cello part attached”.
9 “Cello part for Scherzo and Notturno in the old transcription”.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
[IV.] Noturno
Bar Part
0
0 vlc.
Comment
B: “Andante” erased and changed to “Moderato” in pencil.
B: dolce
3 pf.1 staccatos added by analogy with bb. 1 – 2 and 9 – 11.
4 – 7 pf.1 slurs and staccatos added by analogy with bb. 1 – 2 and 9 – 11
8 pf.1 upper voice: slur and staccatos added by analogy with bb. 1 – 2 and 9 – 11.
12 pf.1 slur and staccatos added by analogy with bb. 1 – 2 and 9 – 11.
13 pf.1 chord 4: courtesy accidental added (eb″).
13 vlc.
18 vlc.
21 vlc.
B: note 1: accent and dolce; no cresc. dim.
B: note 2: cresc. dim. instead of accent.
B: note 2: (p) (ambiguous).
23 pf.1 upper voice: last note: eb″ emended to e n″ by analogy with pf.1, lower voice and vlc.
26 pf.2 last note: eb′ emended to e n″ by analogy with note (chord) 3 and pf.1.
29 vlc. B: note 1: cresc.; note 3: string.
30 pf.1 upper voice: note 1: q emended to h (incomplete bar).
30 vlc. B: notes 1 – 3: slur; note 1: cresc. dim.
APPENDICES: EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
I. Sonate
Bar Part Comment
28 vlc. notes 3 – 4: q q emended to e e to regularise bar.
83 vlc. C: voltis.
85 vlc. note 3: courtesy accidental added.
II. Romance
3 vlc.
note 1: q emended to q as in C, by analogy with b. 72, and to regularise bar.
7 vlc. note 1: q emended to q as in C, by analogy with b. 76, and to regularise bar.
35 vlc. notes 3 – 4: slur added by analogy with b. 3.
86 vlc. m added by analogy with b. 25.
88 vlc. slur added by analogy with b. 27.
89 vlc. notes 1 – 2: slur added by analogy with b. 28.
96 vlc. notes 3 – 4: slur added by analogy with b. 3.
III. Scherzo
28 vlc. rest emended from r to r to regularise bar.
29 vlc. rest emended from r to r to regularise bar.
57 vlc. appogiaturas and b over trill added by analogy with bb. 8 and 26.
[IV. Noturno]
See above.
V. Rondo
1 vlc.
time signature emended from 2⁄4 to 3⁄4; the movement is consequently and unequivocally notated in 3⁄4, and the initial time signature is interpreted as an error.
5 vlc. slur added from b. 5, note 2 to b. 6, note 1 by analogy with b. 4, note 2 to b.5, note 1; analogous motives have been tacitly slurred in numerous places throughout the movement.
17 – 18 vlc. slur b. 17, notes 1 – 2 extended to b. 18, note 1 by analogy with bb. 13 – 14.
