Edition·S is supported by The Danish Arts Foundation.
DCM DCM044
ISBN 978-87-93750-75-3
ISMN 979-0-706839-11-0
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 over-
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.
sigten 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 Stadttheater; 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 Stadttheater; 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.
Romance for Klarinet og Klaver
Forord
Ligesom værkerne Et lille Stykke for Oboe og Klaver samt Notturno for cello og klaver (oprindeligt ferdesatsen i en ikke fuldt overleveret femsatset cellosonate), er Romance for Klarinet og Klaver et af Tekla Griebel Wandalls (TGW) studieværker – det vil sige et værk, hun komponerede, mens hun gik på Kjøbenhavns Musikkonservatorium, formentlig som en del af undervisningen. Dete bekræftes både af de værkoversigter, hun selv udfærdigede i slutningen af sit liv, samt af hovedkilden selv, hvor der nogle steder (se de kritiske kommentarer) er tilføjet et “NB” med blyant af hendes underviser på konservatoriet, Otto Malling (1848-1915). Dog kan det undre, at værket er dateret til april 1892, altså nogle måneder efter TGW dimiterede fra Kjøbenhavns Musikkonservatorium i december 1891. Hvis ikke værket er komponeret under studietiden, vil det så sige, at TGW fortsate med at have privatundervisning hos Otto Malling? Eftersom de nævnte værkoversigter fortæller, at værket er fra konservatorietiden, må det antages, at det forholder sig således. Dateringen kan skyldes, at de mange retelser i værket (nogle foranlediget af Mallings kommentarer) først er foretaget i april 1892; med andre ord, at TGW først har anset værket som færdigkomponeret på dete tidspunkt. Et af de andre studieværker støter denne teori, nemlig Et lille Stykke for Oboe og Klaver, som på første nodeside er dateret 1891, og på sidste nodeside har samme datering som Romance for Klarinet og Klaver: april 1892 1
Romance for Klarinet og Klaver udgør sammen med de nævnte værker for henholdsvis obo og cello de eneste instrumentale kammermusikværker for to musikere fra TGWs hånd. Udover disse dueter findes også et par værker for lidt større besætning, også komponeret i studietiden. Disse er Canzone for strygere, horn, pauker, klaver og solister (SATB) og værket Morgensang for kor (SSAA) og klaver. 2 Kammerværkerne er alle undtagelser i TGWs oeuvre, som stort set koncentrerede sig om sange, soloklaverværker (alle karakterstykker), operaer og skuespilsmusik.
Oto Mallings noter
TGW har foretaget en række retelser i værket, hvoraf én af dem (takt 26-27) ser ud til at være direkte foranlediget af en NB-note fra Otto Malling. Disse retelser er alle fulgt i nærværende edition, og den oprindelige notation fremgår af de kritiske kommentarer. Én af Oto Mallings kommentarer, et NB i takt 47, har ikke givet anledning til nogle ændringer fra TGWs hånd. NB’et står direkte under taktens første akkord i klaverets venstre hånd, hvorefter en linje er trukket horisontalt takten ud. Det er ikke helt åbenlyst, hvad Malling
1 Se forordet i Tekla Griebel Wandall, Et lille Stykke for Klarinet og Klaver, redigeret af Thomas Husted Kirkegaard (København: Edition·S, 2024).
2 Alle værker findes i DK-Kk, Det Kgl. Bibliotek, Musiksamlingen, Tekla Griebel Wandall: Efterladte kompositioner, C II, 12.
Romance for Clarinet and Piano
Preface
Just like the works A Small Piece for Oboe and Piano and Notturno for cello and piano (originally the fourth movement of a not fully preserved five-movement cello sonata), Romance for Clarinet and Piano is one of Tekla Griebel Wandall’s (TGW) student works – that is, a piece she composed while atending the conservatory in Copenhagen, likely as part of her coursework. This is confirmed by the catalogues she prepared at the end of her life and by the main source itself, where, in some places (see the critical comments), there is an “NB” (nota bene) added in pencil by her conservatory teacher, Otto Malling (1848 – 1915). However, it is curious that the piece is dated April 1892, several months after TGW graduated from the conservatory in December 1891. If the work was not composed during her studies, does this mean that TGW continued by taking private lessons with Otto Malling? Since the mentioned catalogues state that the work is from her conservatory days, it must be assumed that this indeed is true. The dating might be explained by the theory that many corrections in the work (some prompted by Malling’s comments) were made in April 1892; in other words, that TGW only considered the work fully completed at this date. Another student work supports this theory, namely A Small Piece for Oboe and Piano, which is dated 1891 on the first page and has the same dating as Romance for Clarinet and Piano on the last page: April 1892. 1
Romance for Clarinet and Piano, along with the aforementioned works for oboe and cello, constitute the only instrumental chamber music pieces for two musicians from TGW’s hand. Besides these duets, there are also a few works for slightly larger ensembles, also composed during her years as a student. These include Canzone for strings, horn, timpani, piano, and soloists (SATB), and the piece Morgensang for choir (SSAA) and piano. 2 The chamber works are all exceptions in TGW’s oeuvre, which largely focused on songs, solo piano works (all character pieces), operas, and theatre music.
Oto Malling’s notes
TGW made several corrections to the work, one of which (bars 26–27) appears to be directly prompted by an “NB” note from Oto Malling. These corrections are all followed in the present edition, and the original notation is included in the critical comments. One of Otto Malling’s comments, an “NB” in bar 47, did not result in any changes from TGW. The “NB” is placed directly under the first chord of the bar in the left hand of the piano, with a horizontal line stretching under the rest of the bar. It is not entirely clear what Malling wanted
1 See the preface in Tekla Griebel Wandall, Et lille Stykke for Klarinet og Klaver, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2024).
2 All works are archived in DK-Kk, Royal Danish Library, Music Collection, Tekla Griebel Wandall: Efterladte kompositioner, C II, 12.
her har ment, TGW skulle ændre. Takten er en del af en standardvending, der løber takt 46-48, som musikforskeren Robert Gjerdingen har navngivet “Quiescenza” i sin såkaldte skemateori. 3 En Quiescenza er et forløb med stemmeføringen 1–b7–6–#7–1 (disse tal betegner skalatrin), harmoniseret med I–I7–IV–V–I. Der er derfor intet åbenlyst at udsæte på takt 47, men muligvis har Malling ment, at orgelpunktet på b ikke var passende som afslutende kadence – hvortil man kunne indvende, at Quiescenza’en som regel optræder i postkadentielle codaforløb, oftest med tonikaorgelpunkt, præcis som det er tilfældet her. Under alle omstændigheder har komponisten da heller ikke fundet noget at rete på dette sted.
Receptions- og overleveringshistorie
Romance for Klarinet og Klaver blev aldrig udgivet, og den er tilsyneladende aldrig blevet opført offentligt. Dog kan den have spillet en birolle i den såkaldte Rosenhoff-affære, som er nærmere beskrevet i forordet til Noturno i nærværende serie. 4
Nederst på første nodeside står skrevet med blæk: “Til Fru Alice Shaw, Okt. 1932”. Dete er ikke dateringen for værket (der, som nævnt, er angivet til april 1892), men øjensynligt dateringen for, hvornår TGW overleverede værket i Alice Shaws varetægt. Alice Shaw var gift med højesteretssagfører Guy Shaw og det velhavende par fungerede som kulturelle fyrtårne i Fredensborg, hvor TGW boede fra 1910. De arrangerede musikalske soiréer og friluftsteater, som blev frekventeret af fremtrædende personer i kulturlivet, blandt andet Carl Nielsen. Alice Shaw blev TGWs mæcen og finansierede udgivelsen af to hæfter klavermusik og to hæfter sange i 1928-29. Herefter udviklede TGW og Alice Shaw et venskab, og Shaw blev TGWs klaverelev. Det nære venskab betød at TGW fik en aftale i stand om at Alice Shaw skulle indlevere alle TGWs papirer til Det Kgl. Bibliotek efter TGWs død. 5 Bladrer man alle TGWs overleverede kompositioner igennem kan man se, at hun brugte det meste af 1930’erne på at lave genparter og renskrifter af værker og skænke dem til Alice Shaw, så de var i trygge hænder. I oktober 1932 fik hun så altså Romance for Klarinet og Klaver, og formentlig også Et lille Stykke for Klarinet og Klaver samt Notturno for cello og klaver, som ligger i samme læg og i øvrigt er skrevet på samme type nodepapir.
TGW to change here. The bar is part of a standard progression running from bars 46 – 48, which musicologist Robert Gjerdingen has named “Quiescenza” in his schema theory. 3 A Quiescenza is a patern with the voice leading 1–b7–6–#7–1 (these numbers denote scale degrees), harmonised with I–I7–IV–V–I. There is, therefore, nothing obviously wrong with bar 47, but Malling may have thought the pedal point on bb was not suitable as a closing cadence – however, the Quiescenza typically appears in post-cadential coda passages, and usually with a tonic pedal point, just as it does here. In any case, the composer did not find anything to correct at this spot.
Reception and transmission history
Romance for Clarinet and Piano was never published and has apparently never been publicly performed. However, it may have played a minor role in the so-called Rosenhoff affair, which is described in more detail in the preface to Noturno in the present series. 4
At the botom of the first page of the score, writen in ink, is: “To Mrs. Alice Shaw, Oct. 1932.” This is not the dating of the work (which, as mentioned, is April 1892) but apparently the date when TGW entrusted the piece to Alice Shaw. Alice Shaw was married to Supreme Court lawyer Guy Shaw, and the wealthy couple served as cultural beacons in Fredensborg, where TGW lived from 1910. They organised musical soirées and open-air theatre, atended by prominent cultural figures, including Carl Nielsen. Alice Shaw became TGW’s patron and financed the publication of two volumes of piano music and two volumes of songs in 1928 – 29. Thereafter, TGW and Alice Shaw developed a friendship, and Shaw became TGW’s piano student. The close friendship led to an agreement that Alice Shaw would deliver all of TGW’s papers to the Royal Library after TGW’s death. 5 Looking through all of TGW’s surviving compositions, it is evident that she spent most of the 1930s making duplicates and fair copies of works and giving them to Alice Shaw for safekeeping. In October 1932, she received Romance for Clarinet and Piano, and probably also A Small Piece for Clarinet and Piano as well as Notturno for cello and piano, which are placed in the same fascicle and writen on the same type of manuscript paper.
3 Robert Gjerdingen, Music in the Galant Style (New York: Oxford University Press, 2007), 181-195.
4 Tekla Griebel Wandall, Noturno, redigeret af Thomas Husted Kirkegaard (København: Edition·S, 2024). Se desuden Lisbeth Ahlgren Jensen, “The Rosenhoff Affair,” Carl Nielsen Studies 3 (2008), 50-64; Thomas Husted Kirkegaard, Tekla Griebel Wandall (Frederiksberg: Multivers, 2022), 24-26.
5 Flere detaljer om dete venskab – som må regnes som hovedårsagen til, at der er overleveret så meget musik fra TGW til i dag – fremgår af forordet i Tekla Griebel Wandall, Samlede sange, bind 1, redigeret af Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2023); se også Kirkegaard, Tekla Griebel Wandall, 103-109.
3 Robert Gjerdingen, Music in the Galant Style (New York: Oxford University Press, 2007), 181 – 195
4 Tekla Griebel Wandall, Notturno, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2024). See also Lisbeth Ahlgren Jensen, “The Rosenhoff Affair,” Carl Nielsen Studies 3 (2008), 50 – 64; Thomas Husted Kirkegaard, Tekla Griebel Wandall (Frederiksberg: Multivers, 2022), 24 – 26.
5 More details on this friendship – which must be regarded as the main reason that so much music from TGW has survived to this day – are recorded in the preface of Tekla Griebel Wandall, Samlede sange / Collected Songs, vol. 1, edited by Thomas Husted Kirkegaard (Copenhagen: Edition·S, 2023); see also Kirkegaard, Tekla Griebel Wandall, 103 – 109.
Critical commentary
A Manuscript score, autograph.
DK-Kk, Royal Danish Library, Music Collection, Tekla Griebel Wandall: Efterlade kompositioner, kapsel 2. C II, 12.
Fascicle 2 – 5 Folder 2 6
Title on fol. 1r: “Romance for Klarinet og Klaver” written in ink.
26 × 34.6 cm (oblong folio format), 2 folios writen in ink with additions in blue crayon, paginated 1 – 4 in pencil. fol. 1r: “Tekla Griebel” written in ink next to title. At botom of page: “Klarinetstemme vedlagt” 7 and “Til Fru Alice Shaw, Okt. 1932” 8 writen in ink. Paper type: 12 staves.
B Manuscript part, autograph.
DK-Kk, Royal Danish Library, Music Collection, Tekla Griebel Wandall:
Efterlade kompositioner, kapsel 2. C II, 12.
Fascicle 2 – 5 Folder 2
Title on fol. 1r: “Romance for Klarinet og Klaver” writen in ink.
21.5 × 34.6 cm (oblong folio format), 1 folio writen in ink, unpaginated. fol. 1r: Before first bar: “Clar. / in B” writen in ink.
Paper type: 10 staves.
Commentary on the edition
The edition is based on A. Several slurs in arpeggiated accompaniment figures have been added tacitly (mentioned only the first time in the list editorial emendations).
Bar Part
Comment
1 B: poco animato instead of Andante con moto
3 pf.2 slur added by analogy with bb. 1 – 2, and 18; similar slurring in accompaniment figures (arpeggios with appoggiaturas) added tacitly in both right and left hands numerous places throughout the piece.
7 pf.2 last note: f n emended to f # to avoid diminished second e #, f n and in correspondence with pf.2, note 1.
8 pf.1 notes 1 – 5 and notes 6 – 10: slur added by analogy with pf.2, bb. 1 – 2; see comment for b. 3.
10 – 13 pf.1, pf.2 all slurs added by editor, in correspondence with bb. 14 and 19; similar slurring in arpeggiated accompaniment figures added tacitly in both right and left hands numerous places throughout the piece.
16 cl. note 3 (g #″): h emended to h tied to e to regularise bar.
19 – 21 pf.2 all notes: h emended to h to regularise bar.
25 cl. note 3 (a ″): h emended to h tied to e to regularise bar.
26 pf.1 A: crotchets 4 – 6: original notation:
“NB” added in foreign hand (Otto Malling). TGW’s correction, written on the clarinet stave above, is included in this edition.
6 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 Thomas Husted Kirkegaard, Tekla Griebel Wandall: Samlede sange / Collected Songs, vol. 1 (Copenhagen: Edition-S, 2023), pp. 87 – 89.
7 “Clarinet part attached”.
8 “For Mrs. Alice Shaw, Oct. 1932”.
27 pf.1
A: chord 1: original notation:
As with the comment above, this edition is based on TGW’s correction.
28 cl. note 1: h emended to h tied to e to regularise bar.
30 cl. note 1: h emended to h tied to e to regularise bar.
32 cl. note 1: h emended to h to regularise bar.
33 pf.1
35 – 44
A: note 2: chord c ″′ , f ″′ changed to note f ″′ in ink; note 3: chord a ″ , c ″′ changed to note c ″′ in ink; note 4: chord f ″ , a ″ changed to note a ″ in ink; note 5: chord c ″ , f ″ changed to note f ″ in ink.
A: original notation:
bb. 35 – 39 (on fol. 2r) set in parenthesis and each bar annulled with a large cross with blue crayon; bb. 40 – 44 (on fol. 2v) set in parenthesis, and each two-bar span annulled with a large cross with blue crayon; “se nedenfor” 9 added in blue crayon. As in the cases described above, this edition follows TGW’s cor rected version of the bars.
42 cl. note 1: h emended to h to regularise bar.
45 pf.1 upper part: note 2 (g ′): h emended to h to regularise bar.
