21. Naar Solen dog skal slukkes, hvorfor tændes den? 94
22 De Hjemløse 96
23. Anfangs wollt’ ich fast verzagen 97
24 Aphorisme 98
25. Paa Stenbroen! (I) 99
26 Paa Stenbroen! (II) 102
27 Fuglens Sang en Vinternat 105
28. Folkelig Fædrelandssang 106
Critical Commentary 109
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.
Griebel Wandall
Samlede
sange, bind 2:
Forord
Dete er andet og sidste bind af Tekla Griebel Wandalls (TGW) samlede sange. Hvor bind 1 samlede alle de tidligere udgivede sange, er nærværende bind en samling af de 28 sange, som ikke tidligere er blevet udgivet, og som kun er overleveret i manuskriptform. Rækkefølgen af de her udgivede sange er ikke kronologisk efter kompositionsdato – en kronologisk oversigt kan ses i slutningen af dete forord – men afspejler den rækkefølge, som TGW har samlet dem i.1 Det lader nemlig til, at hun ordnede manuskripterne med henblik på at klargøre dem til udgivelse i et sangbind. Således er manuskripterne til de første 14 sange samlet i ét læg, som ligger i en sort mappe med komponistens navn påtrykt i guldskrift. I mappen er der på titelsidens versoside skrevet følgende med en blyant, som i dag desværre er næsten helt udvisket og ulæselig:
“I Sommeren 1919 samlede jeg disse Arbejder / her i Mappen i det Haab [udvisket] Tid / til at ordne dem til en [udvisket] Udgivelse. / Et ‘Sang-Album’; et ‘KlaverAlbum’ eller / hvad [udvisket] blive / ud af al dete, der er estimeret for godt til / at blive brændt, når jeg er afgaaet ved Døden. / Forinden jeg kan tage mig af dete, maa / jeg [udvisket] til Operaen / ‘Kong Hroars Skjalde.’ Skulde jeg ikke naa / det, er det [udvisket]. Dete arbejde / havde ellers fortjent at blive opbevaret i / et Arkiv [udvisket] el. et lign. Sted. Desværre / faar jeg det næppe instrumenteret og ind- / leveret til Det Kgl. Theater / Saa er der min første Opera ‘Don Juan de Maraña’ / fra 1886. Den vilde jeg gjerne tilretelægge for Soli, / Kor og Klaver. / Thekla Wandall. / [udvisket]”
Selvom meget af teksten er ulæselig, kan man tyde, at hun har haft til hensigt at samle sine arbejder i et “SangAlbum” og et “Klaver-Album”. Dog er det mere tvetydigt, om den endelige “ordning” af manuskripterne var foretaget på dete tidspunkt. Med undtagelse af de fire sange og seks klaverstykker som udkom på Wilhelm Hansens Musikforlag i 1928 – og som er samlet i andre bind i nærværende serie – fik TGW ikke gjort yderligere ved sine ønsker om at udgive værkerne, for som det også fremgår af citatet havde hun hænderne fulde med sin opera Kong Hroars Skjalde, som det faktisk lykkedes hende at færdiggøre, og som hun indleverede til Det Kgl. Teater i 1925 (uden at det dog blev til en opførelse). De næste 13 sange, sang 15-27, ligger i tilsyneladende mere tilfældig rækkefølge i et læg udenfor den ovennævnte mappe, men i samme arkiv. Den sidste sang, sang 28, er overleveret til Det Kgl. Bibliotek fra boet efter sangens tekstforfater Anders W. Holm og opbevares selvstændigt 2 Til enkelte af sangene findes flere kilder i andre arkiver, som det fremgår af
1 DK-Kk, Det Kgl. Bibliotek, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12.
2 DK-Kk, Det Kgl. Bibliotek, MA ms 6495 mu 0301.2800.
Tekla Griebel Wandall Collected Songs, Vol. 2:
Preface
This is the second and final volume of Tekla Griebel Wandall’s (TGW) collected songs. While Volume 1 collected all the previously published songs, the present volume is a collection of the 28 songs that have not previously been published and have only survived in manuscript form. The order of the songs published here is not chronological according to their dates of composition – a chronological overview can be seen at the end of this preface – but reflects the order in which TGW collected them.1 This is because there are indications that TGW organised the manuscripts with the intention of publishing them in a song album. The manuscripts for the first 14 songs are collected in one bundle, which is included in a black folder with the composer’s name in gold letering. On the verso of the folder’s title page, the following is writen in pencil, which unfortunately today is almost completely erased and illegible:
“In the summer of 1919 I collected the works in this folder in the hope [no longer legible] time to arrange them for a [no longer legible] publication. A ‘song album’; a ‘piano album’ or what [no longer legible] become of all this which is estimated as being too good to be burned once I have passed away. Before I can atend to this, I must [no longer legible] for the opera ‘Kong Hroars Skjalde.’ In case I fail to achieve this, it is [no longer legible]. This work deserves otherwise to be preserved in an archive [no longer legible] or a similar place. Unfortunately, I will hardly manage to finish the instrumentation and submit it to the Royal Theatre[.] Then there is my first opera ‘Don Juan de Maraña’ from 1886. I would like to arrange it for soloists, choir and piano. Thekla Wandall. [no longer legible]”
Even though much of the text is illegible, one can decipher that she intended to collect her works in a ‘song album’ and a ‘piano album’. However, it is ambiguous as to whether the final ‘organisation’ of the manuscripts had been made at this point. With the exception of the four songs and six piano pieces published by Wilhelm Hansens Musikforlag in 1928 – which are collected in other volumes in this series – TGW did not pursue her desire to publish the works any further, since, as the quote also shows, she had her hands full with her opera Kong Hroars Skjalde, which she actually did manage to complete and submit to the Royal Danish Theatre in 1925 (although it was never performed).
The following 13 songs, songs 15 – 27, are apparently in a more random order in a bundle outside the aforementioned folder, but in the same archive. The last song, song 28, was handed over to the Royal Danish Library from the estate of the song’s lyricist Anders W. Holm and is stored separately.2 For some of the songs, there
1 DK-Kk, Royal Danish Library, Tekla Griebel Wandall: Efterladte kompositioner, capsule 2. C II, 12.
2 DK-Kk , Royal Danish Library, MA ms 6495 mu 0301.2800.
Tekla
kildeberetningen sidst i bindet. De efterladte kompositioner er fascinerende fysiske vidnesbyrd om den ihærdighed med hvilken TGW forsøgte at sikre overleveringen af sine værker til eftertiden. Mapperne blev foræret til Alice Shaw, hendes mæcen, klaverelev og ven, og Shaw sørgede efter TGWs død for at mapperne kom til Det Kgl. Bibliotek. Om forholdet til Alice Shaw kan man læse mere i forordet til bind 1 af de samlede sange.
Tekla Griebel Wandalls ikke-udgivede sange
Sangene samlet i dete bind spænder vidt i form og udtryk: fra den bredt anlagte og gennemkomponerede “Et Syn” fra 1888 – som hun tilsyneladende sang til sin optagelsesprøve på Kjøbenhavns
Musikkonservatorium3 – til den korte “Fuglens Sang en Vinternat” som TGW skrev over et digt fra magasinet Dyrevennen i 1932; fra romantiske sange i den tyske lied-tradition, som for eksempel “Saphire sind die Augen dein” fra omkring år 1900, til den komiske og lystige “Gækken og Narren” fra 1925; fra eksperimenter med dissonant harmonik i “De Hjemløse” fra 1917 til eksperimenter med næsten demonstrativ enkelhed i “Bornholmeruret” fra 1923; og fra sange indsendt til kompositionskonkurrencer til uddrag fra hendes operaer Don Juan de Maraña og Kong Hroars Skjalde. Inkluderet i dete bind er også det pædagogiske værk “Tekst-Etuder”, som – snarere end et selvberoende kunstværk – er en række øvelser til studiet af såkaldt “tonedannelse” efter den Bruno Müller-Brunowske metode, som TGW, ligesom eksempelvis tenorerne Algot Lange og Ludvig Christian Tørsleff, var stærkt optaget af.4
Samlet set giver sangene, ligesom i bind 1, indtryk af en komponist, for hvem sanggenren var central. Genren tilbød den simpleste måde at opnå den forening af musik, sprog og fortælling, der går som en rød tråd igennem TGWs næsten altid lyriske og tonemaleriske værker. Nærværende bind bekræfter således nogle af de tendenser, som også kan spores i bind 1. En forkærlighed for Thor Langes poesi er eksempelvis slående i de tidlige sange som “Et Syn”, “Mindet”, “Chariterne” og “Der skulde to Søstre til Kilden gaa” mens “Der kom en liden Sangfugl” med klaverets imitation af fuglekvidder er eksemplarisk for TGWs tonemalerier. Et værk som “Sidste Sang” bekræfter også TGWs tilbøjelighed til at være malende og afsøgende i sin harmonik men mere traditionel og enkel i sin rytmik. Dete bind viser dog også andre sider af TGW, som altså ikke kom frem i offentligheden i
3 I sin værkoversigt fra 1937 skriver hun om sangen (som dog her betitles “En Drøm”): “stor gennemkomponeret Sang, skrevet som en Slags ‘Fribillet’ til Konservatoriet, hvad den ogsaa blev.” Musikmusset, MMCCS arkiv 168.
4 Johan Bartholdy, Hvorledes bliver jeg Sanger? Spredte Betragtninger over de Müller-Brunow-Tørsle ff ’ske Principer for Tonedannelse (København: Wilhelm Hansens Musik-Forlag , 1897); Algot Lange, Om Sang (København: Det nordiske Forlag, 1898). Se også Thomas Husted Kirkegaard, Tekla Griebel Wandall (København: Multivers, 2022), 67.
exist further sources in other archives, as can be seen in the critical commentary at the end of the volume. The surviving compositions are fascinating physical testimonies to the persistence with which TGW tried to ensure the preservation of her works for posterity. The folders were given to Alice Shaw, her patron, piano student, and friend, and after TGW’s death Shaw ensured that the folders were donated to the Royal Danish Library. More information about the relationship with Alice Shaw can be found in the introduction to Volume 1 of the collected songs.
Tekla Griebel Wandall’s unpublished compositions
The songs collected in this volume demonstrate a wide range of forms and expressions, from the broadly conceived and through-composed “Et Syn” from 1888 – which she apparently sang for her audition at Copenhagen’s Music Conservatory3 – to the short “Fuglens Sang en Vinternat” which TGW wrote based on a poem from the magazine Dyrevennen in 1932. They range from romantic songs in the German Lied tradition, such as “Saphire sind die Augen dein” from around 1900, to the comical and merry “Gækken og Narren” from 1925; from experiments with dissonant harmonies in “De Hjemløse” from 1917, to experiments with almost demonstrative simplicity in “Bornholmeruret” from 1923; and from songs submited to composition competitions to excerpts from her operas Don Juan de Maraña and Kong Hroars Skjalde. This volume also includes the pedagogical work “Tekst-Etuder,” which, rather than being a self-contained work of art, is a series of exercises for the study of so-called “tone formation” (in German: Tonbildung) according to the Bruno Müller-Brunow method, which TGW, like the tenors Algot Lange and Ludvig Christian Tørsleff, was strongly interested in.4
Overall, as in Volume 1, the songs give the impression of a composer for whom the song genre was central. The genre offered the simplest way to achieve the fusion of music, language, and narrative, which runs as a common thread through TGW’s almost always lyrical and pictorial works. This volume thus confirms some of the tendencies that can also be traced in Volume 1. A penchant for Thor Lange’s poetry is striking in the early songs such as “Et Syn,” “Mindet,” “Chariterne,” and “Der skulde to Søstre til Kilden gaa” while “Der kom en liden Sangfugl” with the piano’s imitation of birdsong is exemplary of TGW’s tone paintings. A work such as “Sidste Sang” also confirms TGW’s tendency towards the pictorial and exploratory in her harmonies but
3 In her overview of works from 1937, she writes about the song (here entitled “En Drøm”, however): “large, through-composed song, written as a sort of ‘free ticket’ to the conservatory, which indeed it became.” The Danish Music Museum, MMCCS archive 168.
4 Johan Bartholdy, Hvorledes bliver jeg Sanger? Spredte Betragtninger over de Müller-Brunow-Tørsle ff ’ske Principer for Tonedannelse (Copenhagen: Wilhelm Hansens Musik-Forlag , 1897); Algot Lange, Om Sang (Copenhagen: Det nordiske Forlag, 1898). See also Thomas Husted Kirkegaard, Tekla Griebel Wandall (Copenhagen: Multivers, 2022), 67.
hendes levetid. Eksempelvis viser den allerede nævnte “Gækken og Narren” samt “Stensprængervise” næsten teatralske sider af hendes sange, mens værker som “Folkelig Fædrelandssang”, “Hør, hvor det kalder!”, “Hyldest til Helsingør” og “Slagsang for de frivillige Rekylkorps” fremviser en nationalromantisk side af komponisten. Sidstnævnte sang til tekst af Vilhelm Rørdam er særlig bemærkelsesværdig al den stund at den taler imod den pacifisme, som TGW ellers støtede – det ses af hendes kantate Fred! fra 1899 samt i flere notater i hendes notesbog Theklas Bog 5 Som historiker Bjarne Søndergaard Bendtsen har skrevet om Rørdams slagsang:
“Mest kendt fra den nationalistiske, rustningsvenlige højrefløj er digteren Valdemar Rørdam (1872-1946) i hvis værker, der findes flere gode eksempler på, at krigen nærmest var ventet med længsel, og at den kunne opfatedes [sic] som en velsignelse for kulturen – eller i hvert fald at det at stå udenfor, var en forbandelse. Rørdam, som på ingen måde var en ubetydelig skikkelse i samtidens konservative landskab, talte allerede inden krigen for dansk oprustning ved talrige lejligheder og skrev endog noget så kuriøst som en ‘Slagsang for De frivillige Rekylkorps’ (1911), hvori de cyklende fædrelandsforsvarere hyldes for deres kry og lystbetonede dødsdrift, f.eks. i slagsangens ferde strofe.” 6
I TGWs pressede økonomi har de pacifistiske idealer tilsyneladende måtet vige i baggrunden for muligheden for at vinde en kompositionskonkurrence – som dog blev vundet af Vilhelm Rosenberg (usign., Den til Forsendelse med de Kongelige Brevposter privilegerede Berlingske Politiske og Avertissementstidende, Aften, 27.11.1911).
Samtidig reception
Med en enkelt undtagelse er det ikke lykkedes at finde beretninger eller anmeldelser af opførelser af de i dete bind samlede sange. Meget tyder på, at mange af sangene er forblevet i skrivebordsskuffen og måske kun er blevet brugt i TGWs sang- og klaverundervisning – hvis de da er blevet opført overhovedet. Uddraget fra TGWs opera Don Juan de Maraña (sang 13) må have været en del af den koncertversion af operaen som blev opført 10. juni 1931 i Hotel Store Kro i Fredensborg. Arrangementet var blevet stablet på benene med hjælp fra Alice og Guy Shaw og samlede ind til “Landsforeningen Hjælp for ubemidlede Enker”. Det ser dog ikke ud til at en anmeldelse af aftenen fandt vej til landets dagblade.
Den ene sang fra nærværende bind, som fik korte, men rosende, omtaler i TGWs samtid, var “Jeg vilde gerne”. Den 19. februar 1903 blev sangen opført i Odd Fel-
5 DK-Kk , Det Kgl. Bibliotek, Tekla Griebel Wandall: Efterladte arkivalier. C II, 12.
6 Bjarne Søndergaard Pedersen, “Krig som kulturel velsignelse eller forbandelse? – Første verdenskrig i en nationalkonservativ dansk optik”, Slagmark: Tidsskrift for idéhistorie 70 (2014), 85-108 (93)
more traditional and simple in her rhythms. However, this volume also shows other sides of TGW that were not made visible to the public during her lifetime. For example, the aforementioned “Gækken og Narren” and “Stensprængervise” show almost theatrical sides to her songs, while works like “Folkelig Fædrelandssang,” “Hør, hvor det kalder!,” “Hyldest til Helsingør,” and “Slagsang for de frivillige Rekylkorps” display national-romantic sides of the composer. The later song, with lyrics by Vilhelm Rørdam, is particularly noteworthy in that it speaks against the pacifism that TGW otherwise supported – as seen in her cantata Fred! from 1899 and in several notes in her notebook Theklas Bog 5 As the historian Bjarne Søndergaard Bendtsen has written about Rørdam’s batle song:
“Most well-known from the nationalist, pro-armament right-wing is the poet Valdemar Rørdam (1872 – 1946), in whose works several good examples can be found in which war was almost eagerly awaited and that it could be perceived as a blessing from a cultural point of view – or at least that being left out of it was regarded as a curse. Rørdam, who was by no means an insignificant figure in the conservative landscape of his time, advocated for Danish armament before the war on numerous occasions and even wrote something as curious as a ‘Battle Song for the Volunteer Recoil Corps’ (1911), in which the cycling defenders of the fatherland are praised for their bold and pleasure-seeking death drive, as in the fourth stanza of the batle song.” 6
In TGW’s financially strained situation, the pacifist ideals apparently had to take a backseat to the possibility of winning a composition competition – which, however, was won by Vilhelm Rosenberg (unsigned, Den til Forsendelse med de Kongelige Brevposter privilegerede Berlingske Politiske og Avertissementstidende, Aften, 27 Nov. 1911).
Contemporary reception
With a single exception, it has not been possible to find reports or reviews of performances of the songs collected in this volume. Much suggests that many of the songs have remained in TGW’s desk drawers and may only have been used in TGW’s singing and piano lessons – if they have been performed at all. The excerpt from TGW’s opera Don Juan de Maraña (song 13) must have been part of the concert version of the opera that was performed on June 10, 1931, at Hotel Store Kro in Fredensborg. This event had been organized with the help of Alice and Guy Shaw and it raised funds for “The National Association for Assistance to Indigent Widows”. However, it does not appear that a review of the evening made its way into the country’s newspapers. The one song from this volume that received brief
5 DK-Kk, Royal Danish Library, Tekla Griebel Wandall: Efterladte arkivalier. C II, 12.
6 Bjarne Søndergaard Pedersen, “Krig som kulturel velsignelse eller forbandelse? – Første verdenskrig i en nationalkonservativ dansk optik”, Slagmark: Tidsskrift for idéhistorie 70 (2014), 85 – 108 (93).
low Palæet til et arrangement i Axelline Lunds kvindeforening Cirklen. Blandt de mange musikalske indslag fremhævede Politiken især TGWs sang: “Der var stærkt Bifald efter alle Numre, og kun Programmets Righoldighed forbyder os at gennemgaa det i dets Enkeltheder. Aftenens glandsfuldeste Præstation var utvivlsomt Frk. Ellen Becks Foredrag af Tekla Griebel-Wandals [sic] Komposition; Jeg vilde gerne – 1ste Gang (Tekst af F. Wandall), og Golla Hammerichs Drømme, med Tekst af Komponistinden” (usign., Politiken 20.2.1903). Også Dagbladet fremhævede TGWs bidrag til aftenen: “Det vilde være uoverkommeligt her at omtale hver enkelt Præstation; men vi finder dog Anledning til at notere som Nyheder en køn Sang af Operaen ‘Skøn Karen’s og ‘I Rosentiden’s Komponist, Fru Tecla Griebel-Wandall og sammes veltrufne Musik til et Brudstykke af Professorinde Axelline Lunds Dronning Margrethe” (“st.-ts.”, Dagbladet 20.2.1903). Sidstnævnte værk var musik til Lunds skuespil Kvindernes Foretræde hos Dronning Margrethe – musik, som desværre er gået tabt 7
Der er en række andre uudgivede sange, om hvilke man med sikkerhed kan sige, at de i hvert fald ikke kun har ligget i TGWs skrivebordsskuffe, selvom de nok heller ikke er nået et bredere publikum: nemlig hendes sange indsendt til kompositionskonkurrencer, som i hvert fald juryen har set. Hun vandt ingen af konkurrencerne: “Slagsang for de frivillige Rekylkorps”, vundet af Vilhelm Rosenberg, er allerede nævnt. Konkurrencen om digtet “Paa Stenbroen!”, udskrevet af Folkets Avis i 1899, blev vundet af August Enna. Af én af TGWs kompositionsfortegnelser (benævnt 3 i nedenstående kronologiske oversigt over værkerne) fremgår det også, at “Fuglens Sang en Vinternat” blev indsendt til magasinet Dyrevennen.
Kilder og kronologi
Nogle hovedtræk i kildesituationen – deres fysiske samling og proviniens – er allerede beskrevet indledningsvist. En vigtig tilføjelse er, som det også blev nævnt i bind 1, at flere af de overleverede manuskripter er angivet som værende afskrifter af en ikke-overleveret kilde.
De fleste afskrifter er foretaget i løbet af 1930’erne. Den nærmere datering og kildemæssige vurdering af hver enkelt sang fremgår af revisionsberetningen i slutningen af bindet.
Som i bind 1 bringes her en oversigt over den omtrentlige kronologiske placering af de enkelte sange, og det angives, hvilke kilder, der ligger til grund for dateringen. Disse kilder kan være en enkelt sangs hovedkilde eller varianter – i det følgende benævnt A (sangens hovedkilde), B (variant, stemmemateriale eller lignende) osv. – eller det kan være de fire af TGW forfatede kompositionsfortegnelser. Fortegnelserne benævnes i det følgende 1, 2, 3, og 4:
but praising reviews in TGW’s own time was “Jeg vilde gerne”. On 19 February 1903, the song was performed at an event in Odd Fellow Palæet organized by Axelline Lund’s women’s association Cirklen. Among the many musical acts, Politiken especially highlighted TGW’s song: “There was strong applause after all the numbers, and only the richness of the program prevents us from going through it in detail. The most glamorous performance of the evening was undoubtedly Miss Ellen Beck’s recitation of Tekla Griebel-Wandal’s [sic] composition; Jeg vilde gerne – first time (text by F. Wandall), and Golla Hammerich’s Drømme with text by the composer herself” (unsigned, Politiken, 20 Feb. 1903). Dagbladet also highlighted TGW’s contribution to the evening: “It would be impossible to mention each performance here, but we do find occasion to note as news a prety song by the composer of the operas ‘Skøn Karen’ and ‘I Rosentiden’ Mrs. Tecla Griebel-Wandall and her wellmade music for a fragment of Professor Axelline Lund’s ‘Dronning Margrethe’ ” (“st.-ts.”, Dagbladet, 20 Feb. 1903). The later work was TGW’s music for Lund’s play Kvindernes Foretræde hos Dronning Margrethe – music which has unfortunately been lost.7
There are a number of other unpublished songs about which one can say with certainty that they have not only been lying in TGW’s desk drawer, although they probably have not reached a wider audience either: namely, the songs she submited to composition competitions, seen by the jury, at the very least. She did not win any of the competitions: “Slagsang for de frivillige Rekylkorps”, won by Vilhelm Rosenberg, has already been mentioned. The competition for the poem “Paa Stenbroen!”, announced by Folkets Avis in 1899, was won by August Enna. One of TGW’s composition lists (referred to as 3 in the chronological overview of works below) also shows that “Fuglens Sang en Vinternat” was sent to the magazine Dyrevennen
Sources and chronology
Some main points concerning the sources – their physical collection and provenance – have already been described in the introduction. An important addition, as mentioned in Volume 1, is that several of the surviving manuscripts are transcripts from a non-surviving source. Most of these were transcribed during the 1930s. The precise dating and source evaluation of each individual song is provided in the critical commentary at the end of the volume.
As in Volume 1, the following provides an approximate chronology of the songs, along with the sources used for dating each song. These sources may be an individual song’s main source or its variants – referred to as A (main source), B (variant, parts or similar), etc. – or they may be the four composition catalogues authored by TGW. These catalogues are referred to here as 1, 2, 3 and 4:
7 Kirkegaard,
7 Kirkegaard, Tekla Griebel Wandall, 65 – 66
Tekla Griebel Wandall, 65-66.
1: Fortegnelse over kompositioner, dat. Nytaar 1933. DK-Kk, Samlinger til dansk personalhistorie, NKS 2842,2°.
2: Kladde, dat. 7. maj 1933. DK-Kk, Tekla Griebel Wandall, efterladte kompositioner, kapsel 2, C II, 12. 3: Fortegnelse over kompositioner, dat. september 1937. Musikmuseet, MMCCS arkiv 168. 4: Udateret fortegnelse. Musikmuseet, MMCCS arkiv 168.
I nedenstående oversigt er en kronologi forsøgt fastslået, og ud fra hvert kompositionsår angives med hævet skrift hvilken/hvilke kilder, der har ligget til grund for dateringen.
Oversigten læses som følger: Tager man udgangspunkt i den første sang “Panter” angives kompositionsåret som 1888B, 1, 2, 3, 4. Dette betyder, at sangens kompositionsår ikke er angivet på hovedkilden A, mens den er angivet som 1888 på kilde B. Begge kilder identificeres nærmere ved at konsultere kildebeskrivelsen sidst i nærværende bind. Det angives også at alle fire kompositionsfortegnelser bekræfter kompositionsåret. I det næste eksempel, “Kukkeren” angiver hovedkilden A igen ikke kompositionsåret, mens kilde B angiver det som 1884 (endda “Efteraaret ’84”, som det kan læses af sangens kildebeskrivelse). Til gengæld er alle fire kompositionsfortegnelser enige om, at kompositionsåret er 1882. I alle tilfælde hvor en autograf kilde er dateret vægtes denne højst, og kompositionsfortegnelsernes datering er derfor sat i parentes. Sangen “Et Syn” dateres til 1888 i kilde A samt i fortegnelserne 2 og 3, mens den ikke er dateret eller ikke nævnt i fortegnelserne 1 og 4. For de to sange, som blev udgivet i samlingen To Sange i 1893, er selve kompositionsåret kun angivet omtrentligt i fortegnelserne 2 og 3, osv.
Med til denne kronologiske oversigt hører dog den indvending, at de af TGW angivede kompositionsår ikke altid afspejler værkernes egentlige færdiggørelse. Eksempelvis kan man observere signifikante forskelle på manuskriptet til “Kukkeren”, som skulle være skrevet omkring 1884, og den version, som blev udgivet i 1899 – og hvornår disse ændringer er blevet foretaget, kan man kun gisne om.
1: List of compositions, dated “Nytaar 1933” (New Year’s 1933). DK-Kk, Samlinger til dansk personalhistorie, NKS 2842,2°.
2: Sketch, dated 7 May 1933. DK-Kk, Tekla Griebel Wandall, efterladte kompositioner, kapsel 2, C II, 12.
3: List of compositions, dated September 1937. The Music Museum, MMCCS archive 168.
4: Undated list. The Music Museum, MMCCS archive 168.
In the following overview, an atempt has been made to establish a chronology, and for each composition year, the sources that have been used for the dating are indicated in superscript.
The overview is to be read as follows: Starting with the first song, “Panter”, the composition year is indicated as 1888B, 1, 2, 3, 4. This means that the composition year of the song is not specified in the main source A, while it is specified as 1888 in source B. Both sources are further identified by consulting the source description at the end of this volume. The superscript also indicates that all four composition lists confirm the composition year. In the next example, “Kukkeren”, the main source A again does not indicate the composition year, while source B indicates it as 1884 (even “Autumn ’84” as indicated in the source description of the song). However, all four composition lists agree that the composition year is 1882. In all cases where an autograph source is dated, it is given the highest priority, and the dating of the composition lists is therefore put in parentheses. The song “Et Syn” is dated 1888 in source A as well as in composition lists 2 and 3, while it is not dated or mentioned in composition lists 1 and 4. For the two songs that were published in the collection To Sange in 1893, the actual composition year is only indicated approximately in composition lists 2 and 3, etc.
However, this chronological overview comes with the caveat that TGW’s stated composition years do not always reflect the actual completion of the works. For example, significant differences can be observed between the manuscript of “Kukkeren”, which was supposed to have been written around 1884, and the version that was published in 1899 – and exactly when these revisions were made is not clear.
Sang Song Kompositionsår
Panter
Composition year Udgivet i bind
Published in vol.
1882B, 1, 2, 3, 4 I
Kukkeren 1884B (18821, 2, 3, 4) I
Scene og Arie af “Don Juan”
1886A, 1, 2, 3, 4 II
Et Syn 1888A, 2, 3 II
To Sange (pub. 1893)
ca. 1889 – 18912, 3 I
Bercés par la nuit (pub. 1893) ca. 1889 – 18912, 3 I
Aphorisme 1890A, 4 II
Mindet 1892A (c. 1889 – 18922, 3) II
Chariterne 1892A (c. 1889 – 18922, 3) II
Der skulde to søstre til Kilden gaa c. 1889 – 18922, 3 II Fem Sange (pub. 1893) c. 1892 – 18932, 3 I
Drei Lieder für eine tiefere Stimme (pub. 1893) c. 1892 – 18932, 3 I Lad Vaaren komme 1892 – 1931A, 2, 3, 4 (begun 1892, completed 1931) II
Hranes Sang i Skoven 1892A, 1, 4 (c. 1892 – 18932, 3) II
Fem Sange af Oscar Madsens “Den flyvende Hollænder” (pub. 1894)
Det banker paa Skønjomfrus Dør
Der kom en liden Sangfugl (“Den Vanvittige”)
Tekst-Etuder
O glem det ej! (pub. 1928)
18931 (c. 1892 – 18932, 3) I
1895A, c. 1892 – 18932, 3 II
ca. 18952, 3 II
1896A (c. 18952 ) II
c. 1895 – 18982, 3 I
Paradis (pub. 1899) c. 1892 – 18982, ca. 18993 I
Paa Stenbroen (I) 1899A II
Paa Stenbroen (II) 1899A II
Saphire sind die Augen dein
Silde ved Nat hin kolde (pub. 1928)
Anfangs wollt’ ich fast verzagen
1900 –??1, 2, 4 (1901 –??3) (begun c. 1900, II
19011, 2, 4 I
1901A, 3 (19004) II
Jeg vilde gerne c. 19021, 2, 3 II
Sidste Sang
Slagsang for de frivillige Rekylkorps
1907A, 1, 2, 3 II
c. 1911 (unsigned, Den til Forsendelse med de Kongelige Brevposter privilegerede Berlingske Politiske og Avertissementstidende, Aften, 27.11.1911) (c. 1918 – 19202) II
Naar Solen dog skal slukkes, hvorfor tændes den? 1915 – 1932A, 4 (begun 1915, completed 1932) II
Flyveren (pub. 1928) c. 19162, 3 I
Folkelig Fædrelandssang c. 19163 (c. 1918 – 19202) II
De Hjemløse
1917A, 2, 3 (19181, 4) II
Hyldest til Helsingør c. 19182 II Hør, hvor det kalder! 1918A II
Bornholmeruret
1923A, 2, 3 II
Steinbrytervise ca. 19232, 3 II Gækken og Narren
1925A, B, (c. 19233) II
Naten 1925A (c. 19302) II
Nocturne (Le Rossignol) (pub. 1928) unknown year of composition I
Fuglens Sang en Vinternat
1932A, 1, 2, 3 II
Faksimiler
Facsimiles
Billede 1: “Et Syn” manuskript Første side af sangen “Et Syn” (kilde A), komponeret i 1888 og formentlig opført ved TGW’s optagelsesprøve ved Kjøbenhavns Musikkonservatorium: I sin værkoversigt fra 1937 (se slutningen af forordet) kalder hun sangen for en “stor gennemkomponeret Sang, skrevet som en Slags ‘Fribillet’ til Konservatoriet, hvad den ogsaa blev.” Musikmuseet, MMCCS archive 168.
Illustration 1: “Et Syn” manuscript
First page of the song “Et Syn” (source A), composed in 1888 and seemingly performed at TGW’s entrance exam for the Conservatory in Copenhagen: In her overview of works from 1937 (see the end of the preface), she calls the song a “large, through-composed song, writen as a sort of ‘free ticket’ to the conservatory, which indeed it became.” The Danish Music Museum, MMCCS archive 168.
Billede 2: “Anfangs wollt’ ich fast verzagen” og “Aphorisme” manuskripter Manuskripterne til de to korte sange, “Anfangs wollt’ ich fast verzagen” (kilde A) og “Aphorisme” (kilde A) samlet på én nodeside. Bemærk at “Aphorisme” er skrevet på et andet nodeark og er limet fast. På bagsiden findes endvidere kompositionen “De Hjemløse” (kilde A). Blandt TGW’s efterladte kompositioner findes flere eksempler på denne papirbesparende praksis, som formentlig var et resultat af hendes økonomiske situation, der livet igennem forblev vanskelig.
Illustration 2: “Anfangs wollt’ ich fast verzagen” and “Aphorisme” manuscripts
The manuscripts for the two short songs, “Anfangs wollt’ ich fast verzagen” (source A) and “Aphorisme” (source A) collected on one page. Note that “Aphorisme” is writen on a different sheet and is glued on. On the backside of the sheet, the composition “De Hjemløse” (source A) is also found. Among TGW’s surviving compositions, there are several examples of this paper-saving practice, which was probably a result of her economic situation, which remained difficult throughout her life.
Billede 3: “Naar Solen dog skal slukkes, hvorfor tændes den?” manuskript
Første nodeside af kompositionen “Naar Solen dog skal slukkes, hvorfor tændes den?” (kilde A). Dete er den eneste overleverede kilde til sangen, som TGW påbegyndte i 1915 og først færdiggjorde i 1932 (se kildeberetningen).
Illustration 3: “Naar Solen dog skal slukkes, hvorfor tændes den?” manuscript
The first page of the composition “Naar Solen dog skal slukkes, hvorfor tændes den?” (source A). This is the only surviving source of the song, which TGW began composing in 1915 and completed in 1932 (see the critical commentary).
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s o rt s va ke n f a l l ø nne r re d e s d e r ne r.--D a S l i g K un E t F o r g æ l Tru ra s k, l yn D a n d e r s e l F o l k, f o r ma rk-d e t bø d o g hve r e r a l t F æ d R i f l e R i f hva d re l e r ve n l e r-vi ne ne d e ne s--
Tro d s l a d t !
Lys t R a a b, d a I n Vi vi ja , g e n ka n ha r f o rg æ l a n s e l v nyd t D a n d e r d re l y ve d ma rk-d e t ka n ne vo rt e rva a s va me d , F æ d H a nd g e n re ra t re l i n-o g f o r t e l a nd s g e ns-kl a r o s ra t ! B rys t ! D a a bt i l Vi Nu K a mp t i l e t ma a t a r e r u -
m a r c a t o
™ ™ ™ l y s i m S kyt kæ k d ø ne n pe l t t e r ke d e--d e he n ne M æ nd s l i g t-S va r. s l a a s . f a t . Trø s t H a a b! 2 . Na a r 3 . D e r 4 . Vi 5 Vi n ve d
m a r c a t o
2 H ø r, hvo r d e t k a l d e r ! Mø d r e , d e r s ø r g e n d e s a d
u n d e r Ta g , l ø e r m o d S o l e n vo r t æ l d g a m l e F l a g ,
r a a b e n d e n e d i d e bl o d d ø bt e G r a ve : “ Nu e r vi f r e l s t e
o g L e d d e t i L a ve ! ”
3 H ø r, hvo r d e t k a l d e r ! D e , d e r e r f a l d e t f o r
D a n m a r k e n g a n g , s t i g e r a f G r a ve n m e d ju bl e n d e
S a n g , d r a g e r i m a a n e s k i n s lys e n d e Næ tt e r f r e m o ve r
I s t e d s o g S a n ke l m a r k s S l e tt e r
4 H ø r, hvo r d e t k a l d e r ! S a n g e n , d e r va r s o m e n
t i l lu k ke t B o g , r u n g e r n u k æ kt p a a d e t f r i g jo r t e
S pr o g , k a l d e r f r a No r d o g f r a S yd o g t i l s a m m e n
t æ n d e r i Hje r t e r n e K æ r l i g h e d s a m m e n !
5 . H ø r, hvo r d e t k a l d e r ! B ø r n e n e ju bl e r ve d
Mø d r e n e s F r yd S ko ve n e s va r e r m e d t o n e n d e Lyd .
O g o ve r A xe n hvi s Na vn a l l e ke n d e r, hvo r d e r ø j
L æ n g s e l , d e r m ø d e s n u H æ n d e r !
6 . H ø r, hvo r d e t k a l d e r ! D a g e n e s Tr æ n g s l e r o g
Næ tt e r n e s H a a b s pr æ n g e r n u L æ n ke n m e d væ l d i g e
R a a b. R u n d t o m t i l K i r ke r n e K l o k ke r n e k i m e
s yn g e n d e u d : “ S e m o d Mo r g e n e n s S t i m e ! ”
7 . H ø r, hvo r d e t k a l d e r ! S pr o g e t , d e r va r s o m e n
vi n g e s t æ kt F u g l , yd e r n u ju bl e n d e f r e m f r a s i t
S kju l , s yn g e r m o d D a n m a r k s u r g a m l e H a ve : “ Nu e r
vi f r e l s t e o g L e d d e t i L a ve ! ”
H ø r, hvo r d e t k a l d e r ! ” - 8 7
D e t
a g t , t
.
s
2 . F r a R i g e r n e ve s tp a a , f r a G o t e r n e s Kys t e r, i
F r e d o g i K r i g d r o g F l a a d e r f o r bi h i l s t a f
D a n n e br o g s s m æ l d e n d e bl o d r ø d e F l i g .
K a n o n e r n e g l i mt e d , o g B r a g e n e br ø lt e i g e n o g
i g e n , m o d F je n d e o g Ve n !
3 . Hvo r r e js t e e n B o r g a f s a a yn d e f u l d t Ad e l s i t
Ta a r n i m o d S k y? Hvo r s k a bt e ve l S ø e n o g S o l e n i
D a n m a r k s a a mu n t e r e n B y? Na a r S k i pp e r e n
k a s t e d s i t G u l d o ve r D i s ke n , s a a ø d d e t m e d
Vi n f r a Mo s e l o g R h i n
4 Me n s Mø l l e r n e m a l e d d e r o pp e p a a B a k ke n ,
s t o d S a lt lu e n i n d : D e t s u s t e s a a s a g t e o g s a l i g t i
To r ve t s br e d bl a d e d e L i n d H e r bl o m s t r e d e n
K ø bs t a d , h e r n æ r e d s i g s o r g l ø s t e t b o r g e r l i g t L a v
a f H a n d e l o g H a v
5 F o r bi e r f o r bi Me n b e s t a n d i g s t a a r B ye n m e d
S a lt lu e n i n d B e s t a n d i g s t a a r B o r g e n , d e n g r a a
o g d e n g r ø n n e S a a h a a r d e r d e n s K i n d , s a a r a n kt
e r d e n s H o ve d – s a a hva s t va r d e t B i k , s o m d e n
b o r e t i vo r t , hve r G a n g , vi d r o g b o r t
6 Me n a l d r i g k n o g e n s a a s t o r t e t Ve l ko m m e n ,
s o m n a a r vi ko m hje m , o g s k i mt e d e K r o n b o r g
D e r i n d e l a a Kys t e n D e r d u k ke d d e n f r e m
Aa r hu n d r e d e s D a n m a r k , m e d T i n d e ve d T i n d e
Vi Me n n e s ke r d ø r D u s t a a r, H e l s i n g ø r !
d e s t t i l H e l s i n g ø r - 9 3
Mo d e r a to, q u a s i m a r c i a
p m a r c a t o se m pr e
Q u a s i m a r c i a p o c o r i t . a te m p o
mf p mp
™ ™ ™ ™ 3 . D e r 4 F i 1 Po 2 i e r l o 5 . O me S t e n Un g s o Mo rt e n - m e d br o pi f e n , g e-d e t e n g e n s d e r n e n-lyd ke n H o p a k ly d e r p e n ke r d e r--n e p a a o g i d e r - Ø Ta k S pr i n bl i n tu nr e t e n , g e n d e , g e ,--n a a r k a n p a a s n a r t b e d e t -
h ø Ryt u t æ n k g r yr r e , m e n d e s o m-n a a r hve r t p a a m e , a dG r æ s Me n E l G a t a kt s e t n e s ko v d e n , f a s--d e t s ke o g p a a t eg r o r Va a r s i n d , Tr i n : F o rt op a a ve tVa n gs n a r t . S p e D e t Me n hve r ku e ri n S t e m A r l a nd e n i n g b e j D e r t e r,-i s o m d e r e r d e rB y s t r i S t o d ja h æd e s d e r g e r-e n s o m e n s f o r r e n ,-5 p c r e sc . ™ ™ ™ ™ ™ ™
L a r m a l M a g
S l e n g a m t e n . t r e n , l e-o g l e o gR øu n Vi n r ehve m g e , d e- a f k l i n Aa ,i n s t e d , g e r d e r g e n a f s o md e r e r t i l m a n br y s t e d d r ah a m g e d e r i g e r-e n f o r s i g e n f r a d y s ke l o m , F o r h ove db e l i hvo r s t a ku l d s-r e g e h a n d e n-S a n g Tr i n g a a r i n d F a r t f r a p a a p a a p a a p a a S t e n S t e n S t e n S t e n S t e n br o br o br o br o br o -
l a G
i
Q u a s i m a r c i a mf po c o r i t . p
™ ™ ™ 3 D e r 4 F i 7 . D e r 1 Po 2 i 6 . D e t e r l o 5 O m e re S t e n Un g
s o Mo r m ø r k F o dt e n - m e d br o pi f e n g e n n e s t r i n ,--d e t e n g e n s d e r e n o g d e r-lyd ke n H o p a k ly S kø ly d e r ke r p e n d e r d e r--n e p a a o g i d e r g e n s a a-
u t æ n k F l i pi nr e m e n d e s o m s e n t e--n a a r hve r t a d p a a m e , m e d s o mG r æ s Me n E l G a t a kt s va j g i k s e t n e s ko v d e n , f a s e n d e--d e t s ke o g p a a t e d e t i l-4 mp
Ø
bl i n Ta k S pr i n tu n t r i p t r æ t t e n , g e n , g e , p e r t e ,--r e d e , -n a a r k a n p a a
s n a r t b e a d f o r d e t h ø Ryt g r yr
g r o r s i n d , Va a r.
F o r t op a a ve tVa n g s n a r t . S p e D e t Me n hve r
Tr i n : S va n s .
B o d .
F r a ku e ri n S t e m l a n A r B r ø n dd e n i n g D e r t e r, b e j s t r æ--i s o m e r d e r d e r d e s A k ,B y
s t r i S t o d ja h æ s ku m hvo rd e s d e g e r e r-e n s o m r e n s f o r r e n , l e d e-L a r m
S l e n a l M a g g a m K i p s o r g t e n . l e p e r l ø-o g l e o g s e ,R ø t r e n , Vi n u n l e tr e hve m d e g e , t e ,-a f -
c r e sc
k l i n i n l i s Aa ,
s t e d , g e r g e n a f s o m
t e r d e r d e r-d e r e r br y
s t e d Ty t i l m a n d r a t r æd e r ve n h a m g e i g e r d e s--e n f o r
s i g e n f r a m e d u d : f r e j d y s ke l o m , h o F o rd i g b e l i hvo r ve d s t a D e r--r e g e h a n ku l d s d e n e r-F o d S a n g Tr i n g a a r F a r t i n d S ja n s p a a p a a p a a p a a p a a p a a p a a S t e n S t e n S t e n S t e n S t e n S t e n S t e n br o br o br o br o br o br o br o---e n e n ! e n e n e n e n ! e n !---
mf ( p i n v e r se 6 ) d i m mf ( No fe r m a t a a ft e r v e r se 7 )
r i te n u to r a l l. mp mf
8 Po e - t e n - g a a r i d e n myl r e n - d e - G a d e - o g
k nyt t e r - s i n H a a n d i s ø r g m o - d
g rø B y kø b S ko v
I k k e f o r hu r t i g t No t to o f a s t mf mp
1 Vi e j vri m f a d i g e r l e r re r t e r-i i pa a o g
d e - f ul d ve d s l a a o gme d ve d M ul d , B y, K l ø g t ; S ø ; o g i o g i g a v L a rm Va a D a n mi l d a f d e ma rke r M a ne s ka nG rø s ki G rø S a gd e n ne r d e ne t-pa a s l a a r ve d o g
™ ™ ™ ™ ™ ™
D a n D a n H a d rø m ma rk ma rk ve t me r-e n me d o g i
H e l K ul G a r S a n s e n rø g ne g e n-o g mo d ne s e jH ul d . S ky, R ø g t , d ø ; D e r o g o g t hi p 4 p bl o m L a nd s S mø r Tro l d s t re r by re t t ø j-e n e n i o gUng l i g D ri t Ni s d o m g e r l e r
Critical Commentary
Songs, Vol. 2
Tekla Griebel Wandall’s surviving compositions: A note on the source material.
The vast majority of the manuscript sources for TGW’s surviving compositions are contained in one archive:
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12.
This archive holds numerous compositions collected and enclosed in a series of fascicles; many of these fascicles, in turn, are enclosed in two black, casebound folders. On the cover of the fascicles and on the verso of the title page on the folders, TGW has written information which is often important when describing a work’s history of origin. Therefore, the critical commentary in this edition begins with a physical description of the folders and fascicles of the archive. In the source description of each individual composition, the exact physical placement of it inside the fascicles and folders is communicated through the symbol ➤ (as used in the Carl Nielsen edition). This makes it possible to relate the individual songs with information on fascicles and folders.
In the following description of the folders and fascicles of the archive, loose folios (usually short compositions) are not described – instead, these are described in the source description for the individual composition.
Folder 1
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12. 37 × 28.5 cm casebound.
Contains 3 fascicles, further described below (Fascicle 1 – 1, Fascicle 1 – 2, Fascicle 1 – 3).
Title on the binding: “Thekla Griebel” printed in golden color.
“Thekla Wandalls / trykte Kompositioner / Et Udvalg.”1 written in ink on a glued-on piece of paper.
On verso of title page: “De trykte Sager samt Anbefalinger og / Anmeldelser lagt over i en anden Mappe. / Sept. 22”2 written in blue crayon.
“I Sommeren 1919 samlede jeg disse Arbejder / her i Mappen i det Haab […] Tid / til at ordne dem til en […] Udgivelse. / Et ‘Sang-Album’; et ‘Klaver-Album’ eller / hvad […] blive / ud af al dete, der er estimeret for godt til / at blive brændt, når jeg er afgaaet ved Døden. / Forinden jeg kan tage mig af dete, maa / jeg […] til Operaen / ‘Kong Hroars Skjalde.’ Skulde jeg ikke naa / det, er det […]. Dette arbejde / havde ellers
1 “Thekla Griebel Wandall’s printed compositions. An excerpt.”
2 “The printed music, including recommendations and reviews, put in another folder. Sept. 22.”
fortjent at blive opbevaret i / et Arkiv […] el. et lign. Sted. Desværre / faar jeg det næppe instrumenteret og ind- / leveret til Det Kgl. Theater / Saa er der min første Opera ‘Don Juan de Maraña’ / fra 1886. Den vilde jeg gjerne tilrettelægge for Soli, / Kor og Klaver. / Thekla Wandall. / […]”3 written in pencil, large portions marked with “[…]” no longer legible.
Folder 2
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12. 37 × 28.5 cm casebound. Contains 5 fascicles further described below (Fascicle 2 – 1, Fascicle 2 – 2, Fascicle 2 – 3, Fascicle 2 – 4 and Fascicle 2 – 5)
Title on the binding: “Thekla Griebel” printed in golden color. Upper left corner: “No. 2” glued on. Botom, centred: “Udvalg / af / Kompositioner / 1932”4 glued on.
On verso of title page: 28.1 × 20.7 cm folio pasted on, reading: “Sort Mappe No 2/ foræret Fru Alice Shaw i Oktober, 1932, / indeholder: / 1. Første Kompositioner (til 16 Aars Alderen). / 2. Klaverstykker:/ Foraarsdrøm, Løvspring, Efteraar, Novemberregn, / Sorg, ‘Forsoren’, Heltonestykke (Studie), Impromptue, / Forsorg, Trøst, Hilsen, Albumsblad (I og II). / Helmor-Vals, Oldemoder-Vals. / 3. Pædagogiske Arbejder: / Et Stykke Manuskript af Klaverskolen ‘Musikalsk / Børnehave’, 4 KarakterEtuder, ‘12 Klaverstykker / til de første Stadier’, ‘Smaablomster’, ‘Kære Hjem’. / 4. Af Naturens Melodibog: / Gaderaab, Humoreske, og Fuglesang, Scherzo. / 5a Instrumentalarbejder: / Clarinet- og Oboesoloer, Notturno af Sonate i G for / Klaver og Cello. Smaastykker for kinesiske Klokker.”5 written in ink, underlining in red ink, numbering in red ink, “a” in “5a” added with blue crayon; “5b. Smaa Koncertstykker, se forneden No 4, 5 og 6, partitur.”6 added in pencil, numbering in red ink, “b” in
3 “In the summer of 1919 I collected the works in this folder in the hope […] time to arrange them for a […] publication. A ‘song album’; a ‘piano album’ or what […] become of all this which is estimated as being too good to be burned once I have passed away. Before I can atend to this, I must […] for the opera ‘Kong Hroars Skjalde.’ In case I fail to achieve it, it is […]. This work otherwise deserves to be preserved in an archive […] or similar. Unfortunately, I probably will not manage to finish the instrumentation and submit it to the Royal Theatre[.] Then there is my first opera ‘Don Juan de Maraña’ from 1886. I would like to arrange this for solos, choir and piano. Thekla Wandall. […]”.
4 “Selection of compositions 1932”.
5 “Black folder No 2 given to Mrs. Alice Shaw in October 1932, containing: 1. First compositions (until the age of 16). 2. Piano pieces: Foraarsdrøm, Løvspring, Efteraar, Novemberregn, Sorg, ‘Forsoren’, Heltonestykke (Studie), Impromptue, Forsorg, Trøst, Hilsen, Albumsblad (I og II). Helmor-Vals, Oldemoder-Vals. 3. Pedagogical works: A piece of the manuscript for the piano tutor ‘Musikalsk Børnehave’, 4 character etudes, ‘12 Klaverstykker til de første Stadier’, ‘Smaablomster’, ’Kære Hjem’. 4. Af Naturens Melodibog : Gaderaab, Humoreske, og Fuglesang, Scherzo. 5a Instrumental works: Clarinet and oboe solos, Noturno from Sonata in G for Piano and Violoncello. Small pieces for chinese bells.”
6 “5b. Small concert pieces, se below No 4, 5 and 6, score.”
“5b” added in blue crayon; “6. Sang. / 2 Aforismer (‘Anfangs wollt’ ich–’ og ‘Erinnerung’), / Fuglens Sang, tilegnet ‘Dyrevennen’. / 6 Tekstetuder til Müller-Brunows Methode. / I) De Hjemløse, II) “Paa Stenbroen”, III) Slagsang, IV) Haand- / slag til Sønderjyderne, alle Konkurrence og Lejligheds- / sange. / I et brunt Omslag: / 1. 4 Kantater, 2. Canzone og 3. Morgensang. / 4. “Trøst”, 5. Albumsblad (II) og 6. Vild af Glæde i Partitur. / 7. En Bog med Sonate m. m. fra Konservatorietiden. / 8. Udkast (Blyantskladde) til et ‘Lenore’-Partitur”7 written in ink, numbering and underlining in red ink, points 4 – 6 crossed out in pencil; botom right-hand corner: “Tekla Gr. Wandall.”
Partly covered by the above-described paper: 21.3 × 20 cm folio pasted on, reading: “Tekla Griebels trykte Kompositioner / 1. ‘Panter’ og ‘Kukkeren’, to Sange fra 16Aars Alderen. / 2. ‘Sommernatsdrømme’, Vals fra 18 / 3. Fem Hefter Sange udkomne c. 1893. / 4. To Hefter Balletmusik, 1885 1895. / Klaverudtog af Operaen ‘Skøn Karen’. / 6. ‘Musikalsk Børnehave’, Klaverskole 1898. / 7. Musiktheori for Sangere. / 9. Kantaten ‘Fred!’ 1898 eller 99. / 10. BørnehaveMarsch til Langsteds Skole, c. 1899. / 11. ‘FolkeviseAlbum’ for Begyndere c. 1905. / 12. ‘Slesvig, dine Kirkeklokker’ af Kantate 1920. / 13. Tre Sange / 14. Nocturne / 15. Klaverstykker I / 16. Klaverstykker II”8 written in ink (point 8 missing); added with bracket to points 13 – 16: “1928.” written in ink; “(Hefterne ligger i omvendt Orden i Mappen) / Ovenstaaende er ugyldigt. Se Mappens 3dje Side. / T. Gr. Wandall, Okt. 1932”9 written in ink.
On recto of the folder’s backside: “Øvrige Arbejder er / tre Operaer, en Ballet samt / Musik til flere Teaterstykker og / en Mængde mindre Ting. Af de / pædagogiske arbejder kan nævnes / en Klaverskole: ‘Musikalsk Børnehave’, / ‘Musikteori i korte Træk’ o.s.v. – / Sange, Klaverudtog, m. m. / udkom i 90erne, Klaverkomposi- / tioner og Sange i 1928. / Hvad Fru Shaw i [added above: 1931–]1932 mod/ tager til Erindring og eventuel An- / vendelse ved Lejlighed er lagt i / to sorte Mapper samt [added: et]
7 “6. Sang. 2 aphorisms (‘Anfangs wollt’ ich–’ and ‘Erinnerung’), Fuglens Sang, dedicated to ‘Dyrevennen’. 6 text etudes for MüllerBrunow’s method. I) De Hjemløse, II) “Paa Stenbroen”, III) Slagsang, IV) Haand- / slag til Sønderjyderne, all competition songs and incidental songs. In a brown cover : 1. 4 cantatas , 2. Canzone og 3. Morgensang. / 4. “ Trøst”, 5. Albumsblad (II) and 6. Vild af Glæde in score. 7. A book with a sonata and more from the conservatory time/ 8. Draft (pencil sketch) for a ‘Lenore’ score.”
8 “ Tekla Griebel’s printed compositions. 1. ‘Panter’ and ‘Kukkeren’, to songs from the age of 16. 2. ‘Sommernatsdrømme’, waltz from [the age of] 18. 3. Five collections of songs, published c. 1893. 4. Two collections of ballet music, 1885 1895. Piano reduction of the opera ‘Skøn Karen’. 6. ‘Musikalsk Børnehave’, piano tutor 1898. 7. Music theory for singers. 9. The cantata ‘Fred!’ 1898 or 99. 10. Kindergarten March for Langsted’s school, c. 1899. 11. ‘Folkevise-Album’ for beginners c. 1905. 12. ‘Slesvig, dine Kirkeklokker’ from cantata [of] 1920. / 13. Tre Sange. 14. Nocturne. 15. Klaverstykker I. 16. Klaverstykker II.”
9 “ The booklets are in reverse order in the folder / The above is not valid. See the third page of the folder. T. Gr. Wandall, Oct. 1932.”
Kardus-Omslag. / 25-10-32. Tekla Griebel Wandall”10 written in ink.
Fascicle 1 – 1
➤ Folder 1
35 × 29.3 cm, containing 49 folios in 13 gatherings. Fol. 1r of fascicle cover: “Til Fru Alice Shaw – / indlagte Afskrifter, som er et Udvalg / af Tekla Gr. Wandalls Sangkompositioner. / 1. Et Syn / 2. Mindet. / 3. Chariterne / 4. Der skulde to Søstre til Kilden gaa – / 5. Jeg vilde gerne – / 6. Sidste Sang. / 8. Saphire sind die Augen dein – / 9. Det banker paa Skønjomfrus Dør – / 10. Steinbrytervise – / 11. Bornholmeruret. / 12. Gækken og Narren, alle med / Syngestemmer. / Desuden en Arie af ‘Don Juan de Maraña’ / ligeledes med Syngestemme. / (Selve Afskriften er af Petersen, kaldet / Diamanten, / fordi han skrev saa tydeligt.)”11 written in ink.
At top left-hand corner: “Til Udlaan / ved Lejlighed”12 writtesn in ink.
At bottom left-hand corner: “Ligeledes vedlægges / nogle gamle og nye trykte Hefter”13 written in ink.
Fascicle 1 – 2
➤ Folder 1
36.2 × 29.3 cm, containing 15 folios in 2 gatherings.
Fol. 1r of fascicle cover: “For blandet Kor, event. Kvartet. / ‘Naar den mørke Hyldebusk–’ / (med 4 Synge-stemmer)” / og / “‘Gamle Danse for / unge Stemmer.’ (2 Gange 4 Synge- / stemmer, i alt 8)”14 written in ink, “(1 Sopran II ekstra)” added in pencil; “Partitur / samt nogle udskrevne Stemmer. / Til Fru Alice Shaw / (ligesom Solosangene til / eventuelt Udlaan)”15 written in ink.
Fascicle 1 – 3
➤ Folder 1
35.6 × 27.3 cm, containing 6 folios in 2 gatherings. Fol. 1r of fascicle cover: “Midlertidigt: / Heri to
10 “Additional works are three operas, a ballet and music for several theatre plays and a number of smaller things. Of the pedagogical works one may mention a piano tutor: ‘Musikalsk Børnehave’, ‘Musikteori i korte Træk” etc. – songs, piano reductions and more were published in the 90s, piano compositions and songs in 1928. All that Mrs. Shaw [added above: 1931–]1932 receives to reminisce and possibly use for occasions has been put in two black folders and a cardboard cover. 15 October 1932. Tekla Griebel Wandall.”
11 “For Mrs. Alice Shaw – enclosed transcriptions which are a selection of Tekla Gr. Wandalls song compositions. 1. Et Syn. 2. Mindet. 3. Chariterne. 4. Der skulde to Søstre til Kilden gaa – 5. Jeg vilde gerne – 6. Sidste Sang. 8. Saphire sind die Augen dein – 9. Det banker paa Skønjomfrus Dør – 10. Steinbrytervise – 11. Bornholmeruret. 12. Gækken og Narren, all with voice parts. In addition an aria from ‘Don Juan de Maraña’ also with voice part. (The transcription itself is [made] by Petersen, known as the diamond because he wrote so clearly).”
12 “[Available] For loan on occasion”.
13 “In addition, some old and new printed collections are also enclosed”.
14 “For mixed choir, optionally quartet. “Naar den mørke Hyldebusk–” (with 4 song parts) and “Gamle Danse for unge Stemmer” (2 times 4 song parts, 8 in total)”.
15 “ Score and some written-out parts. For Mrs. Alice Shaw (as with the solo songs, avalailable for loan)”.
Eksemplarer af ‘Silde ved Nat–’, / en Syngestemme til samme og / en Syngestemme til ‘O, glem det ej –’. / Disse Sange findes i et trykt Hefte, / som jeg senere skaffer”16 written in ink, “er trykte” added in pencil.
Fascicle 2 – 1
➤ Folder 2
28.2 × 21 cm, containing 24 folios in 6 gatherings. Fol. 1r of fascicle cover: “2.” written in red crayon; “Klaverkompositioner / Udvalg fra 4- til 65 aars Alderen. / Til Fru Alice Shaw. / Okt. 1932”17 written in ink.
Fascicle 2 – 2
➤ Folder 2
34 × 21.3 cm, containing 12 folios in 5 gatherings. Fol. 1r of fascicle cover: “No 5b.” written in blue crayon; “3 / smaa Koncertstykker / 1) Trøst / 2)
Albumsblad / 3) Vild af Glæde / Partiturkladde”18 written in red crayon, underlining in blue crayon.
Fascicle 2 – 3
➤ Folder 2
28.2 × 20.1 cm, containing 7 folios
Fol. 1r of fascicle cover: “3.” written in red crayon; “Lille Udvalg / af / pædagogiske Arbejder. / Til Fru Alice Shaw, / Okt. 1932”19 written in ink.
Fascicle 2 – 4
➤ Folder 2
28.2 × 19.7 cm, containing 22 folios in 3 gatherings.
Fol. 1r of fascicle cover: “6.” written in red crayon; “Kor og Solosang. / Udvalg til / Fru Alice Shaw, Okt. 1932, / fra T. Gr. Wandall”20 written in ink.
Fascicle 2 – 5
➤ Folder 2
35.1 × 21.3 cm, containing 8 folios.
Fol. 1r of fascicle cover: “5a.” written in red (“5”) and blue (“a.” and underlining) crayon; “Heri: / 1) Noturno af Sonate i G-moll, / Klaver- og Cellostemme. / 2) Et lille stykke for Oboe og Klaver, / begge Stemmer. / 3) Romance for Klarinet og Klaver, / begge Stemmer. / Smaastykker for kinesiske Klokker, / se ‘Helmorvals’, Side 4”21 written in blue crayon, underlining in blue and red crayon.
16 “Temporary: Herein two copies of ‘Silde ved Nat–’, a song part to the same song and a song part to ‘O, glem det ej–’. These songs can be found in a printed collection which I will obtain later.”
17 “Piano compositions / Selection from the age of 4 to 65. / For Mrs. Alice Shaw / October 1932.”
18 “3 small concert pieces / 1) Trøst / 2) Albumsblad / 3) Vild af Glæde / Orchestral scketch .”
19 “Small selection of pedagogical works. For Mrs. Alice Shaw, October 1932.”
20 “Choir and solo songs. Selection for Mrs. Alice Shaw, October 1932.”
21 “Herein: 1) Not urno of Sonata in G minor, piano and cello parts. 2) A small piece for oboe and piano, both parts . 3) Romance for clarinet and piano, both parts . Small pieces for Chinese bells, see ‘Helmorvals’, page 4.”
Fascicle 3
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12.
38.5 × 28.9 cm, containing 17 folios in 5 gatherings. Loose folio inside: 20.7 × 13.5 cm: “Maa aldrig spredes. / givet mig af / Komponistinde / Fru Thekla Griebel Wandall”22 written in ink by Ingeborg Buhl.
Fascicle 4
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12.
36.6 × 27.8 cm, containing book with text for acts 1 and 2 of the play “Herregaarden” by Vilhelmine de Stampe, written in ink, paginated 1 – 90; typewritten manuscript for act 3 with corrections in red ink, paginated 39 – 48; typewritten mauscript for act 1 with corrections in red ink and pencil, paginated 2 – 9 (fol. 1r – 2v unpaginated); typewritten manuscript for act 2 with corrections in red ink and pencil, paginated 21 – 40; typewritten manuscript for act 4 with corrections in red ink and pencil, paginated 49 – 64; fascicle with 16 handwritten folios and 9 typewritten folios; 23 folios with music manuscript, writen in ink, paginated 1 – 45.
Fol. 1r of fascicle cover: “‘Herregaarden’ / Scenebilleder / i fire Afdelinger / af V. de St., Musiken af T. Gr. W. / Klaverudtog. / Maa indbindes inden Indsen- / delsen. / (Ikke Bog-, men NodeIndbinding!)”23 written in blue crayon.
Fascicle 5
DK-Kk, Tekla Griebel Wandall: Efterladte kompositioner, kapsel 2. C II, 12.
36.7 × 27.7 cm, containing 60 folios written in ink with additions in blue crayon, paginated 1-116 (fol. 1r, 1v, and 41v unpaginated, fol. 39r paginated “81a”, fol. 39v paginated “81b”).
Fol. 1r of fascicle cover: “‘Herregaarden’ / Scenebilleder i fire Afdelinger / af V. de St., Musiken af T. Gr. W. / Orkester-Partitur”24 written in blue crayon; “NB” added in red crayon; “Maa indbindes inden / Indsendelsen. / (Ikke Bog-, men NodeIndbinding!)”25 written in blue crayon.
22 “Must never be spread. Given to me by composer Thekla Griebel Wandall.”
23 “‘Herregaarden’, scenic pictures in four acts by V. de St., music by T. Gr. W. Piano reduction . Must be bound before submission (not bookbinding, but sheet music binding!)”
24 “‘Herregaarden’, scenic pictures in four acts by V. de St., music by T. Gr. W. Orchestral score”
25 “Must be bound before submission (not bookbinding, but sheet music binding!)”
Critical commentary
Et syn
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Et Syn. / Efter det Armeniske ved Thor Lange” written in ink. 34.3 × 27 cm, 5 folios written in ink, paginated 2 – 10 (fol. 1r unpaginated).
Paper type: WH Nr. 3. F. 12. End dating: 1888. fol. 5v: “Syngestemme vedlagt”.26
Commentary on the edition
The song text is from Thor Lange, Gjennem farvet Glas: Smaating paa Vers (Copenhagen: Gyldendalske Boghandels Forlag, 1894), 65 – 66. Its full title in this publication is “Et Syn (Efter Fyrst Schach Aziz)”, indicating that it is Thor Lange’s translation and recomposition of an unknown poem by one Prince Schach Aziz.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
9 pf.1
upper part, note 1: q emended to q by analogy with voice and in accordance with time signature.
22 pf.2 upper part, notes 1 – 4: 3 emended to s by analogy with pf.1.
37 pf.1 chord 2, note 3: c ″ emended to c #″ by analogy with pf.2.
65 pf.2 r added by analogy with b. 61 and in accordance with time signature.
71 voice, pf. A: “Langsommere / Meno” erased.
77 – 78 pf.1
c #″ emended to c ″ by analogy with b. 76, chord 3, as well as voice and pf.2, b. 78.
78 pf.1 f #″ emended to f ″ by analogy with b. 77.
90 voice note 1: q emended to q in accordance with time signature.
98 pf.1 note 3: a′ amended to a #′ by analogy with b. 56.
106 pf.1 lower part, note 2: c #″ emended to c ″ by analogy with b. 105 and voice.
106 voice r emended to r in accordance with time signature.
109 – 112 pf.
A: beginning of dim. not written, as it begins with “mi-nu-en-do” in b. 110 and is replaced with d from the end of b. 111 to the end of b. 112; here emended to dim. beginning in m. 109 in accordance with “mi-nu-en-do”, suggesting that the dim. begins before b. 110.
111 voice note 2: q emended to e in accordance with time signature.
126 voice note 1: h emended to h in accordance with time signature.
126 pf.1 A: abbreviated with quaver tremolo and written out in ossia staff.
128 pf.2 chord 1: h emended to w in accordance with time signature.
Mindet
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Mindet” written in ink.
34.3 × 27 cm, 3 folios written in ink, paginated 1 – 6 (fol. 1r unpaginated).
Paper type: WH Nr. 3. F. 12. End dating: 1892.
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Mindet. / Digt af Thor Lange.”27
34.3 × 26.1, 1 folio written in ink, unpaginated.
Paper type: WH Nr. 3. F. 12. fol. 1r: “NB. Forspil 6 Takter”28 added in ink, left of title; “3⁄4” added en pencil left of b. 1.
Commentary on the edition
The song text is from Thor Lange, Fra fremmede Lande (Copenhagen: Gyldendalske Boghandel, 1876), pp. 13 – 14. It is Thor Lange’s translation and recomposition of Johan Gaudenz von Salis-Seewis’ “An die Erinnerung”, see Joseph Kürchner (ed.), Deutsche Nationalliteratur, vol. 41.2 (Stuttgart, n.d.), 272 – 273.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
19 pf. “stringendo” added by analogy with voice.
20 – 21 pf.2 slurs added by analogy with bb. 16 – 19 and 22.
44 pf.2 slurs over notes 1 – 4, 4 – 5 emended to one slur over notes 1 – 5 by analogy with b. 43.
49 pf.1
lower part: slur over notes 1 – 3 emended to notes 1 – 4 by analogy with pf.2, and pf.1 in bb. 48 and 50.
66 voice h, e, e (g ′ , f ′ , f ′) emended to h, q (g′ , f ′) as in B and in accordance with lyrics.
Chariterne
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Chariterne / af Samlingen ‘Fra fremmede Lande’ ved Thor Lange.”29
34.3 × 27 cm, 2 folios written in ink, paginated 2 – 3 (fol. 1r unpaginated).
Paper type: Nr. 3. F. 12.
fol. 1r: “Musik af / Tekla Griebel. / 1892”30 written in ink.
fol. 2v: “ (Uddrag af Digtet.)”31 added in ink over bb. 50 – 52.
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Chariterne, / Digt af Thor Lange” written in ink.
27 “Mindet. / Poem by Thor Lange.”
28 “NB. Prelude 6 bars.”
29 “Chariterne from the collection ‘Fra fremmede Lande’ by Thor Lange.”
30 “Music by Tekla Griebel. 1892.”
31 “(Excerpt of poem.)”
34.3 × 27 cm, 1 folio written in ink, paginated 2 (fol. 1r unpaginated).
Paper type: Nr. 3. F. 12.
fol. 1v: “(Uddrag af Digtet.)”32 added in ink under final bar.
Commentary on the edition
The text is from Thor Lange, Fra fremmede Lande (Copenhagen: Gyldendalske Boghandel, 1876), 10 – 12. It is Thor Lange’s translation and recomposition of Friedrich Leopold Graf zu Stolberg’s “An die Grazien”, see Joseph Kürchner (ed.), Deutsche Nationalliteratur, vol. 50.2 (Stuttgart, n.d.), 86 – 87.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
14 pf.2
chord 1: q emended to e in accordance with time signature.
19 voice p added by analogy with pf.
24 pf.1
chord 1: c #′ emended to c′ in accordance with voice and pf.2.
27 voice m added as in B and by analogy with pf.
40 – 41 voice c d added as in B
Der skulde to Søstre til Kilden gaa
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title page: “Der skulde to Søstre til Kilden gaa – / Oversætelse af Thor Lange / Sat i Musik af / Tekla Griebel” written in ink.33
Title on first music page (fol. 1v): “Der skulde to Søstre til Kilden gaa – / ved Thor Lange” written in ink.
34.3 × 27 cm, 2 folios written in ink, unpaginated.
Paper type: WH Nr. 3. F. 12.
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Der skulde to Søstre til Kilden gaa –” written in ink.
26 × 30.8 cm (oblong folio format), 1 folio written in ink, unpaginated.
Paper type: 10 staves.
fol. 1r, top left-hand side: “Sang”34 written in ink. fol. 1r, top right-hand side: “Tekla Griebel” written in ink.
Commentary on the edition
The song text is Thor Lange’s poem “Romance”, published in Thor Lange, Fra fremmede Lande (Copenhagen: Gyldendalske Boghandel, 1876), pp. 35 – 36. Thor Lange identifies the poem as a translation and recomposition of an unidentified old French poem.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
11 – 13 voice “med forskelligt Udtryk efter Versets Indhold”35 added as in B
32 “(Excerpt of poem.)”
33 “Der skulde to Søstre til Kilden gaa – / Translation by Thor Lange / Set to music by / Tekla Griebel”.
34 “Voice”.
35 “With di fferent expressions according to the contents of the verse.”
Der kom en liden Sangfugl (Den Vanvitige)
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title page (fol. 1r): “II. / (Den Vanvitige.) / “Der kom en liden Sangfugl–” / Digt af E. Wandall. Musik af T. Griebel Wandall” written in ink.
Title on first music page (fol. 1v): “2. Den Vanvittige.”
25.7 × 34.3 cm (oblong folio format), 2 folios written in ink, additions in blue crayon, unpaginated.
Paper type: 12 staves.
fol. 1r, top left-hand corner: “Piano” added in blue crayon.
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “(Den Vanvittige)”, parentheses added in pencil; “Der kom en liden Sangfugl” added in pencil.
25.7 × 34.3 cm (oblong folio format), 1 folio written in ink, additions in pencil and blue and red crayon, unpaginated.
Paper type: 12 staves.
fol. 1r, top left-hand corner: “Sang” added in blue crayon, underlining in red crayon.
Commentary on the edition
The edition is based on A A suggests, together with B, that the initial title was “Den Vanvitige” but that it was later changed to “Der kom en liden Sangfugl” with “Den Vanvittige” as a secondary title in parentheses. The author of the song text, Emilie Wandall, was TGW’s sister-in-law (sister of TGW’s husband, Frederik Wandall).
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
Comment
2 – 3 pf.2 slurs added by analogy with pf.1.
8 voice note 1: e emended to q as in B and by analogy with bb. 21 and 33, and in accordance with time signature.
8 pf.1 notes 2 – 5 (b″ ): staccato by analogy with b. 6.
37 voice
38 voice
Jeg vilde gerne
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
A: d added in blue crayon.
A: p added in blue crayon.
Title on fol. 1r: “Jeg vilde gerne – / Digt af Frederik Wandall (Erik Dall).”
34 × 27 cm, 4 folios written in ink with additions in pencil, paginated 2 – 4 (fol. 1r and 2v unpaginated).
Papirtype: WH Nr. 3 F. 12 (12 staves).
fol. 1r, top left-hand corner: “Sunget af Frk. Ellen Beck”36 written in ink.
36 “Sung by Ms. Ellen Beck.”
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Jeg vilde gerne – / Digt af F. Wandall, Musik af Tekla Griebel”
34 × 25.3 cm, 1 folio written in ink with additions in pencil, unpaginated. Papirtype: 12 staves fol. 1r, top left-hand corner: “Sang” written in ink.
Commentary on the edition
The song text is by Frederik Wandall, TGW’s husband, who published under the pseudonym Erik Dall. The poem “Jeg vilde gerne” was published in Erik Dall, Gennem Tjørn og Nat (Copenhagen: A. Christiansens Forlag, 1908), 101 – 102. This publication collected poems written by Frederik Wandall in the period from 1870 to 1908, and according to TGW’s own lists of her compositions, she composed the song around 1902 (see the chronological overview of works in the preface of this edition).
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
5 – 6 voice c added as in B
5 pf.1
5 pf.2
A: chords 5 – 6: accent added in pencil.
A: chord 5, note 2: f # added in pencil.
8 pf.2 note 2: q emended to q in order to regularise the bar.
24 pf.1 lower part, note 3: q emended to e in order to regularise the bar.
27 pf.1 upper part: beaming of last four quavers broken by analogy with slurs and b. 28. (quavers 1 – 4).
28 pf.1 upper part: beaming of last four quavers broken by analogy with slurs and first half of b. 28.
33 pf.1 chord 5: accent on entire chord as well as specifically on b′ emended to accent only on b′ to avoid contradiction and by analogy with bb. 10 – 11 and first half of b. 33.
37 pf.1 upper part: beaming of last four quavers broken by analogy with slurs.
38 pf.2 A: c under chords 1 – 2 erased in ink.
Sidste Sang
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Sidste Sang – / Digt af Uffe Birkedal / Musik af Tekla Griebel”. End dating: 1907.
34.3 × 27 cm, 2 folios written in ink, paginated 2–3 (fol. 1r unpaginated).
Paper type: WH No 5. Folio 16. fol. 2v: “Komponeret paa Opfordring, / 1907”37
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Sidste Sang – / Digt af Uffe Birkedal / Musik af Tekla Griebel”.
34.3 × 27 cm, 1 folio written in ink, paginated 2 (fol. 1r unpaginated).
fol. 1r, top left-hand corner: “Synge- / stemme.”38
Paper type: WH Nr. 3, F. 12 (12 staves).
37 “Composed on request, / 1907.”
38 “Voice part.”
Commentary on the edition
The edition is based on A A and B both atribute the song text to Uffe Birkedal, but it has not been possible to ascertain where and whether the poem was published.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
5 pf.2
upper part: slur added by analogy with pf.1 and b. 4.
19 voice B: m erased, replaced with cresc.; cresc. added as in B and by analogy with pf.
20 pf.2
note 3: db emended to d by analogy with pf.1 and pf.2, note 1.
21 voice cresc. added as in B.
27 voice cresc. added as in B
27 pf.2
35 pf.2
note 5: staccato added by analogy with pf.1 and bb. 26, 28.
upper part: slur added by analogy with pf.1 and b. 34.
44 pf.2 A: written in ink below lower part, note 2: “(‘F’)”.
Saphire sind die Augen dein
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title page (fol. 1r); “Saphire sind die Augen dein – / Digt af Heine. / Musik af T. Griebel W” written in ink.
Title on first music page (fol. 1v): “‘Saphire sind dei Augen dein –’ / Tekla Griebel Wandall.”
34.3 × 27 cm, 2 folios written in ink, paginated 2 – 3 (fol. 1r and fol. 1v unpaginated).
Paper type: WH nr. 3 F. 12 (12 staves).
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
34.3 × 27 cm, 1 folio written in ink, paginated 1 – 2.
Paper type: 12 staves.
Commentary on the edition
The song text is poem LV of “Die Heimkehr” in Heinrich Heine, Buch der Lieder (Hamburg: Hoffmann und Campe, 1827), 229.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
Comment
3 voice espress. added as in B.
7 voice note 7: q emended to e by analogy with bb. 5 and 6 and pf.
7 pf.2 chord 2, note 3 (e′) emended to eb′ by analogy with pf.2, b.7 note 5.
8 pf.2
8 pf.1
11 pf.1
17
17 pf.1
20 pf.2
21 pf.1
21 pf.1
chord 3, notes 1 – 2 (A, e) emended to Ab, eb by analogy with pf.1 and voice.
chord 9, note 1 (a) emended to ab by analogy with chords 6, 8, pf.2 and voice.
chord 1, note 2 (db′): h emended to q in order to regularise bar.
B: “(Listesso)”
chord 3, note 1 (c#″) emended to cn″ by analogy with the parallel thirds in chords 1 – 2 and to avoid the diminished second c#″ , eb″ .
chord 2, note 1 (e) emended to eb by analogy with pf. 1.
chord 3, note 2 (db′) emended to d n′ by analogy with pf.2.
chord 5, note 2 (gb) emended to g by analogy with pf.2.
Det banker paa Skønjomfrus Dør
A Manuscript score, autograph.
B Manuscript part (voice), autograph.
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Det banker paa Skønjomfrus Dør – / Af Oscar Madsens ‘Den flyvende Hollænder.’”
End dating: c. 1895.
34.3 × 26.3 cm, 3 folios written in ink, paginated 2 – 5 (fol. 1r and fol. 3v unpaginated).
fol. 1v: “(2. Strofe er her udeladt)”39 written in ink over b. 27. fol. 3v: “Komponeret c. 1895”40 written in ink.
Paper type: WH No. 5. Folio 16 (16 staves).
B Manuscript part (voice), autograph.
➤ A ➤ Fascicle 1 – 1 ➤ Folder 1
Title written in ink on fol. 1r: “Det banker paa Skønjomfrus Dør – / Arions Sang af Oscar Madsens ‘Den flyvende Hollænder.’”
34.3 × 24.6 cm, 1 folio written in ink, paginated 1 – 2. Paper type: WH No. 5 Folio 16. fol. 1r: “2. Strofe er udeladt”41 written in ink over b. 27.
Commentary on the edition
The song text is from Oscar Madsen, Den flyvende Hollænder: Dramatisk Digtning i fem Handlinger (Copenhagen: Gyldendalske Boghandels Forlag, 1893). TGW also used this text for the song “Arions Sang” published in the collection Fem Sange af Oscar Madsens “Den flyvende Hollænder” (see Volume 1 of TGW’s collected songs). The two songs are very different and are effectively two independent compositions.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
2 pf.1
Comment
lower part, notes 1 – 2: slur added by analogy with upper part; upper part, last 5 notes: slur added by analogy with lower part.
4 pf.1 5th quaver: r erased by analogy with bb. 5 – 6 and in order to regularise bar.
10 pf.1 appoggiatura to note 1 (bb′) emended to b′ by analogy with voice, bb. 9 – 10.
12 pf.1 chord 1, note 2 (bb′) emended to b′ by analogy with pf. 2 and b. 36.
16 pf.1 chords 1, 3, 5 and 7: f ′ emended to f #′ by analogy with bb. 13 – 15 and b. 40; chords 2, 4, 6 and 8: eb′ emended to e′ by analogy with bb. 13 – 15 and b. 40. This emendation also relies on the observation that TGW usually uses courtesy accidentals to underline that surprising sonorities are intentional; without courtesy accidentals, it seems most likely that f ′ and eb′ – resulting in a surprising change of mode and a tritone sonority (a, eb′) on the last quaver –are not intended. See also comments to bb. 56 and 57 which indicate that TGW repeatedly forgets accidentals in front of f ′ and eb′ in similar bars in which f#′ and e′ seems intended by analogy with voice.
26 pf.2 chord 1: h emended to h in order to regularise bar.
34 pf.1
appoggiatura to note 1 added by analogy with b. 10 and pf.2.
48 pf. A: dim. on second crotchet erased.
54 pf.1 appoggiatura to note 1 added by analogy with b. 10 and pf.2.
55 pf.1
39 “2nd verse is left out.”
40 “Composed c. 1895.”
41 “2nd verse is left out.”
A: treble clef at end of bar erased.
56 pf.1
57 pf.1
chords 5 and 6: bb′ emended to b′ by analogy with pf.2; chord 6: f ′ emended to f #′ by analogy with voice.
chords 5 and 7: f ′ emended to f #′ by analogy with chords 1 and 3; chords 6 and 8: eb″ emended to e″ by analogy with chords 2 and 4
57 pf.2 chords 2, 4 and 6: f emended to f # by analogy with pf.1, chords 1 and 3.
58 – 60 pf.1, pf.2 f ″ , f ′ , f and F emended to f #″ , f #′ , f # and F #, respectively, by analogy with bb. 13 – 15, 40 and the first half of b. 57; eb′ and eb emended to e′ and e, respectively, by analogy with bb. 13 – 15, 50 and the first half of b. 57. See comment to b. 16 for more on this issue in the song.
Stensprængervise (Steinbrytervise)
A Manuscript score, autograph, copy.
B Manuscript score, autograph.
C Manuscript part (voice), autograph.
A Manuscript score, autograph, copy.
A Manuscript score, autograph, copy.
➤ Fascicle 3
34.3 × 27 cm, 2 folios written in ink with additions in pencil, black and blue crayon, unpaginated.
Title page 1 (fol. 1r): “Tekla Griebel Wandall: Sange. / Stensprængervise. / Digt af Wergeland. / Natten. / Digt af Mangor. / Hyldest til Helsingør. / Digt af Kai Hoffmann” written in ink.
Title page 2 (fol. 2r): “1. / Stensprængervise (Steinbrytervise). / Digt af Henrik Wergeland, / Musik af Tekla Griebel Wandall. / (Sang for Baryton)” written in ink.
Paper type: WH Nr. 7. F. 20 (20 staves).
fol. 1v: “No. 1.” written in blue crayon; “Allegro moderato” written in black crayon; “I” written in black crayon; “Sang” and “Piano” written in blue crayon. fol. 2v: “Afskr. 12-4-39.”42
B Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title page (fol. 1r): “Steinbrytervise / (Stensprængervise) / Digt af Henrik Wergeland. / Musik af Tekla Griebel Wandall” written in ink.
Title on first music page (fol. 1v ): “Steinbrytervise / Digt af Henrik Wergeland. / Tekla Griebel Wandall” written in ink.
34.3 × 27 cm, 2 folios written in ink, paginated 1 – 3 (fol. 1r unpaginated).
Paper type: WH No. 5 Folio 16 (16 staves).
C Manuscript part (voice), autograph.
➤ B ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Steinbrytervise, Digt af H. Wergeland.”
34.3 × 27 cm, 1 folio written in ink, paginated 2 (fol. 1r unpaginated).
Paper type: WH Nr. 3 F. 12 (12 staves).
fol. 1r, top left-hand corner: “Sang.”
Commentary on the edition
The edition is based on A A suggests that in 1939, TGW planned to publish Stensprængervise, Naten and Hyldest til Helsingør in a collection of songs. A is thus possibly a copy prepared for the music engraver. The source states that it is a transcription. If it is a transcription from B, several emendations have been made; if it is indeed a direct transcription, there must be a missing source . In any case, the emendations in A compared to B are numerous and substantial enough that A is here used as the primary source. The voice part in C is of
42 “Transcription 12 Apr. 1939.”
no significance for this edition. The song text is Henrik Wergeland’s poem “Steinbrytervise”, published in Henrik Wergeland, Folkeviser (Christiania: C.L. Roshauw, 1850), 115.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
1
1 pf.
1 pf.2
3 pf.1
4 – 5 pf.1
Comment
B: Allegro molto (instead of Allegro moderato).
B: duro
B: ten.; no accent.
B: b″ , g″ , eb″ without lower octaves.
B: no staccato
6 – 7 pf.1 staccato added as in B and by analogy with bb. 3 – 5.
10 pf.
12 pf.1
17 – 18 pf.
22 pf.1
24 pf
24 – 31 voice
32
36 pf.2
38 pf.
40 – 41 pf.1, pf.2
B: no ten
B: third crotchet: g′ instead of c′ , g′
c added as in B
B: note 1: appoggiatura (a’’).
B: poco meno pesante
B: tenuto mark on the first tone of each bar.
B: a tempo
B: chord 2: arpeggio.
B: c instead of cresc
B: correction on new paper glued on.
40 voice f added as in B and in accordance with pf.
40 pf.
40 pf.2
43 pf.
44 pf.
44 pf.1
48 pf.
50 pf.
50 – 52 pf.1
53 pf.1
56 pf.1
63 pf.1
67 pf.
68 pf.
70 voice
71 pf.
73 – 74 pf.
73 pf.
78 – 79 pf.
81 pf.2
82 pf.2
83 pf.
Bornholmeruret
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
B: m instead of f
ped. added as in B.
B: a tempo
B: grandioso.
B: chord 2: g′ , b′ , d″ , g″
B: staccato and marcato on all chords.
B: m
B: all chords an octave higher.
B: upper part, notes 1 – 3: c
B: slur from chord 1 to chord 2.
B: upper part, chord 1: accent.
B: c
B: d
B: last note: e instead of s
B: chord in both hands two octaves lower.
B: c
B: p instead of p
B: c, instead of only c in b. 79.
notes 2 – 5: slur added as in B and by analogy with pf.1.
notes 2 – 5: slur added by analogy with pf.1.
B: c
Title on fol. 1r: “Bornholmeruret / Digt af Helge Meyer” written in ink.
34.3 × 27 cm, 1 folio written in ink, paginated 2 (fol. 1r unpaginated).
Paper type: WH Nr. 3 F. 12 (12 staves).
fol.1r: “G-Moll og -Dur”43, “Tekla Gr. Wandall / 11-2-23”, “Et Brev ang. Tilladelse til at benyte det skønne lille Digt / forblev ubesvaret”44, “Maa udføres i streng Takt
43 “G major and minor”
44 “A leter regarding permission to use the wonderful lit le poem remained unanswered.”
meget taktfast, men saa roligt, at Tilhøreren / ikke faar Indtryk af ‘Appel’ ”45 written in ink.
fol. 1v: “Jeg har intet imod, at den / sidste Akkord (Slutningsakkorden) / bliver udeladt; den er en cadeau / til ældre Tids Smag. / Komponisten”46 written in ink.
On lower systems of fol. 1v (in b. 6, voice: b′ emended to bb′ by analogy with pf.):
Commentary on the edition
A credits Helge Meyer as the author of the text. It has not been possible to determine where and whether the poem has been published.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS No emendations.
Gækken og Narren
A Manuscript score, autograph.
B Manuscript score, autograph, copy.
C Manuscript part (voice), autograph.
A Manuscript score, autograph.
DK-Kk, Thekla Griebel Wandall: Gækken og Narren. / Digt af Anders W. Holm / Tekla Griebel Wandall, MA ms 6496
Title on fol. 1r: “Gækken og Narren. / Digt af Anders W. Holm” written in ink.
Dating: 20 – 21 Feb. 1925.
34.5 × 25.9 cm, 2 folios written in ink, unpaginated.
Paper type: 12 staves
B Manuscript score, autograph, copy.
➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Gækken og Narren / Digt af Anders V. Holm” written in ink.
Dating: 1925.
34.3 × 27 cm, 2 folios written in ink, paginated 2 – 4 (fol. 1r unpaginated).
Paper type: WH No. 5 Folio 16.
C Manuscript part (voice), autograph.
➤ B ➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Gækken og Narren / Digt af Anders W. Holm” written in ink.
34.3 × 26.9 cm, 1 folio written in ink, paginated 2 (fol. 1r unpaginated)
45 “Must be performed in a strict pulse very rhythmically steadily, but calmly enough that the listener will not get the impression of an ‘appeal.’”
46 “I don’t mind if the last chord (the ending chord) is omited; it is a cadeau to the taste of old times. – The Composer.”
fol. 1r, top left-hand corner: “Sang.”
Paper type: WH nr. 3. F. 12.
Commentary on the edition
The edition is based on A. A was sent from TGW to the text author Anders W. Holm. B is possibly a transcription from A; numerous details (staccatos, marcatos, dynamical markings) are missing in B; these have not been explicated in the list of emendations and alternative readings. The song text is Anders W. Holm’s poem “Gækken og Narren” published in Anders W. Holm, Sange og Digte (Copenhagen: Gyldendalske Boghandel, 1913), 36 – 37.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
1
1 pf.1
2 pf.1
2 pf.1
4
4 voice
4 pf.
8 pf.1
12
12 pf.1
12 voice
14 voice
14 pf.1, pf.2
15 voice
15 voice
16 pf.1, pf.2
17 pf.1, pf.2
18 pf.1, pf.2
19 voice, pf.
19 voice
20 voice
21 pf.
23 pf.2
23
24
24 pf.2
25
26
27 pf.1, pf.2
28 pf.2, pf.2
31
31 pf.1
Comment
B, C: Vivo instead of Allegreto scherzando
note 1: ornament added as in B and C and by analogy with bb. 13
B: notes 1 – 2: slur.
B: notes 1 – 2: slur; chord 1: staccato.
atacca added as in B
C: note 1: m.
B: last quaver: m instead of m
B: chord 2: m instead of f
B, C: animando instead of animato.
B: note 1: staccato.
B, C: note 2: m.
B: note 4: tenuto; C: note 4: p, dolce
B: notes 1 – 2: slur.
C: poco rit
C: a tempo
B: last quaver: staccato.
B: quavers 2 – 4: staccato.
B: quaver 3: staccato.
B: poco cresc.
C: poco rit.
B, C: note 2: a tempo
B: a tempo
chord 1: accent added as in B and by analogy with pf.1; B: chords 1–2: d
35 voice p (2nd time m) added as in C and by analogy with pf.
35 pf.1
36 pf.2
38 pf.2
39 voice
39 pf.1
40 voice
40 pf.1
41 voice
42 voice
43 pf.1
note 2: staccato by analogy with bb. 37 and 39.
B: note 1: r instead of q
B: note 1: r instead of q.
B, C: note 2: e″ instead of d″
B: chord 2: c″ , e″ instead of bb″ , d″
B, C: note 1: e″ instead of d″; note 2: d″ instead of g #′
B: chord 1: c″ , e″ instead of bb″ , d″; chord 2: e′ , g #′ instead of c′ , e′
B, C: note 1: c″ instead of a′; note 2: g #′ instead of d″ .
B, C: note 1: a′ instead of c″
B: chord 1: only c″ .
44 pf.1
46 voice
47 voice
47 pf.2
47 – 49 pf.
48 voice
48 pf.2
49 pf.1
49 pf.2
50 pf.2
51
B: chord 1: only c″
C: note 2: cresc.
C: allargando.
B: note 1: B instead of Db; chords 1 – 2: f, ab, d′ instead of f, ab, b, d′
B: ritardando.
C: note 2: f
B: m
B: c from chord 1 to chord 2.
B: note 1: c instead of C; chords 1 – 2: only f, a, c′
B: note 1: C instead of r; chord 1: only a, c′ , f ′; chord 2: only c′ , f ′ , a′ .
B, C: Tempo di tango, ma col canto, instead of Tempo di tango, poco più sostenuto
51 voice p added as in C and by analogy with pf.
Arie af “Don Juan de Maraña”
A Manuscript score, foreign hand.
B Manuscript part (voice), autograph.
A Manuscript score, foreign hand.
➤ B ➤ Fascicle 1 – 1 ➤ Folder 1
Title on p. 1: “Scene og Arie af Op: ‘Don Juan de Maraña′ / (Manuscript)” written in ink.
End dating: 1886.
34.7 × 26 cm, 5 folios paginated 1 – 5.
Paper type: 12 staves.
p. 1: “(Musik af Tekla Griebel)” written in ink.
B Manuscript part (voice), autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title on fol. 1r: “Arie af Op. “Don Juan de Maraña” written in ink.
34.3 × 26.7 cm, 2 folios written in ink, paginated 2 – 4 (fol. 1r unpaginated).
Paper type: WH Nr. 3 F. 12 (12 staves)
Commentary on the edition
The edition is based on A, though the title is taken from B. The manuscript A is the only surviving music from Tekla Griebel Wandall’s first opera, Don Juan de Maraña. It is written in a foreign hand. On the cover of the fascicle in which A and B are enclosed (Fascicle 1 – 1), TGW writes that it is the hand of “Petersen, kaldet / Diamanten, / fordi han skrev saa tydeligt”47. TGW’s inclusion of Petersen’s copy in the fascicle may be seen as a sign that it is an authorised version. In contrast to A, B is in TGW’s own hand.
47 “Petersen, known as the diamond, because he wrote so clearly”.
Bar Part Comment
3 pf.2
4 pf.2
5 pf.2
6 pf.2
slur added by analogy with bb. 5 – 6 and b. 113.
slur added by analogy with bb. 5 – 6 and b. 114.
note 1: staccato added by analogy with bb. 3 – 4.
note 1: staccato added by analogy with bb. 3 – 4.
46 voice fermata added by analogy with pf.
50
67 pf.2
68 pf.1
73 pf.2
75 pf.1, pf.2
80 – 82
A: calando added in pencil.
A: fingering added in pencil.
A: fingering added in pencil.
A: fingering added in pencil.
A: fingering added in pencil.
A: “(Denne Række kan springes over)”48 added in pencil, cf. the “vide” note.
90 – 99 coda signs replaced with “vide” by analogy with bb. 80 – 82; A: “(10 Takter kan springes over)”49 added in pencil, cf. the “vide” note.
91 pf.1
99
137 voice
139 voice
141
146 – 147
chord 2: c′ emended to c#′ in accordance with chord 1.
A: fermata added in pencil; “silence” added in pencil.
A: note 2: q emended to h; superfluous r on third crotchet not erased.
A: note 2: q emended to h; r on third crotchet erased.
A: “vivo” added in pencil.
A: “Kan slute her”50 added in pencil; alternative ending added in pencil:
Lad Vaaren komme
A Manuscript score, autograph.
➤ Fascicle 1 – 1 ➤ Folder 1
Title page (fol. 1r): “Lad Vaaren komme” written in ink.
fol. 1r: “Til Fru Alice Shaw / fra / Tekla Wandall. / Julen, 1931”51, “Lad Vaaren komme – / Digt af J.P. Jacobsen / Musik af Tekla Griebel” written in ink.
Commentary on the edition
The song text by J.P. Jacobsen appears in Edvard Brandes and Vilhelm Møller (eds.), Digte og Udkast af J.P. Jacobsen (Copenhagen: Gyldendalske Boghandels Forlag, 1886), 185.
48 “(This Line may be cut out)”.
49 “(10 bars may be cut out)”.
50 “May end here.”
51 “For Mrs. Alice Shaw from Tekla Wandall. Christmas 1931.”
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
Comment
8 voice note 4: q emended to e by analogy with bb. 5 – 7 and to regularise bar.
9 pf.1
9 pf.2
10 pf.1
upper part: r added to regularise bar.
lower part: r added to regularise bar.
note 1: courtesy accidental added by analogy with voice.
11 pf.1 lower part, fourth crotchet: r added to regularise bar.
16 voice note 5: d″ emended to db″ by analogy with pf.1.
28 voice note 1: courtesy accidental added.
Tekst-Etuder
A Manuscript score, autograph.
➤ Fascicle 2 – 3 ➤ Folder 2
Title on fol. 1r: “Tekst-Etuder / til Brug ved Studiet af Tonedannelse”52 written in ink, framed by red crayon.
End dating: 1896.
34.6 × 25.8 cm, 1 folio written in ink with additions in red crayon and 9.3 × 26.1 cm glued on fol. 1v, paginated 2 – 3 (fol. 1r unpaginated).
Paper type: 12 systems, self-ruled.
Commentary on the edition
This pedagogical work is intended for singing students studying the method of “tone creation” invented by Bruno Müller-Brunow. See Thomas Husted Kirkegaard, Tekla Griebel Wandall (Copenhagen: Multivers, 2022), 67.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
[No. 1]
Bar Part Comment
2 pf.1
[No. 2]
No emendations.
[No. 3]
Bar Part
8 – 10
[No. 4]
Bar Part
lower part, note 1: emended from pf.2, upper part, to pf.1 lower part in accordance with voice leading; notation in A is due to lack of space between staves.
Comment
lyrics added by analogy with No. 2, b. 8.
Comment
1 start repeat added
11 pf.2 chord 1: h emeded to h to regularise bar.
14 – 17 voice
[No. 5]
No emendations.
[No. 6]
No emendations.
A: missing song lyrics; “Sind” added by editor to rhyme with “ind”.
Slagsang for de frivillige Rekylkorps
A Manuscript score, autograph.
A Manuscript score, autograph.
➤ Fascicle 2 – 4 ➤ Folder 2
Title page (fol. 1r): “Slagsang for de frivillige Rekylkorps”.
34.3 × 25.3 cm, 2 folios written in ink with additions in blue crayon, unpaginated. fol. 1r: “Fru Shaw” written in pencil, “(No. 1)”, written in blue crayon, “Slagsang / for / de frivillige Rekylkorps / af / Valdemar Rørdam. / Musik / af / Tekla Griebel-Wandall. / (Adr. Kejserens Vej, Fredensborg.)”
Commentary on the edition
It has not been possible to determine the origin of the text by Valdemar Rørdam.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
No emendations.
Hør, hvor det kalder!
A Manuscript score, autograph.
➤ Fascicle 2 – 4 ➤ Folder 2
Title page (fol. 1r): “1918” written in pencil, “Hør, hvor det kalder!”, “Ord af / Christopher Beck.”, “Musik af / Tekla Griebel Wandall” written in ink. Title on first music page (fol. 1v): “Hør, hvor det kalder!”
35.2 × 26 cm, 2 folios written in ink with additions in pencil, unpaginated. fol. 2r: Text to verses 3 – 7 appear after the final bar. “Tekstmanuskript vedlagt”53 written and erased with pencil.
Commentary on the edition
It has not been possible to determine the origin of the text by Christopher Beck.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
4 “allarg.” added in pencil.
4 pf.2 g added in pencil.
8 pf.2 slurs added by analogy with b. 7.
Hranes Sang i Skoven
A Manuscript score, autograph.
➤ Fascicle 3
Title on fol. 1r: “Hranes Sang i Skoven / Af Operaen ‘Kong Hroars Skjalde’” written in ink.
End dating: 1892 (transcription 1938).
34.5 × 25.8 cm, 2 folios written in ink with additions in pencil, red crayon and black crayon, paginated 2 – 4 (fol. 1r unpaginated).
Paper type: WH Nr. 5. F. 16 (16 systems).
fol. 1r: “Givet til I.[ngeborg] Buhl”54, “Hranes Sang i Skoven. / Af Operaen ’Kong Hroars Skjalde.’”55
fol. 2v: “Komponeret 1892; / denne Afskrift med nogle Smaaforandringer er fra 1938./ T. Gr. W.”56 Footnote before final chord: “I Operaen skuffende Cadence; her begynder / Skuldes Motiv”57 added in pencil.
Loose folio on top of papers: “Maa aldrig spredes. / givet mig af / Komponistinde / Fru Thekla Griebel Wandall”58 written in ink by Ingeborg Buhl.
Commentary on the edition
The edition is based on A which is treated as an independent composition based on an aria in the opera Kong Hroars Skjalde, cf. the “few emendations” mentioned on fol. 2v. The full opera, which has not been consulted for the present edition, resides at The Royal Danish Theatre, archive A 1010.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
14 – 16 voice
Comment
A: “din Dejlighed” set in parentheses and text changed from “jeg fik din Dejlighed at skue” to “jeg fik dig, lyse Blomst, at skue”.
41 – 45 pf.1 slurs added by analogy with bb. 37 – 40.
61 pf.2 lower part: note 1: q emended to q to regularise bar.
Naten
A Sketch, autograph.
➤ Fascicle 3
Title page: “Tekla Griebel Wandall: Sange. / Stensprængervise. / Digt af Wergeland. / Natten. / Digt af Mangor. / Hyldest til Helsingør. / Digt af Kai Hoffmann” written in ink.
Dating: 1926.
33.8 × 26.2 cm, 1 folio written in ink.
Paper type: 16 systems.
fol. 1r: “Kladde.”59, “2. Naten / Digtet af Madam Mangor i Aug. 1843”60, “Tekla Gr. Wandall / 30 Septbr. 1925” written in ink.
54 “Given to I.[ngeborg] Buhl.”
55 “Hranes Sang i Skoven. From the opera ‘Kong Hroars Skjalde.’”
56 “Composed 1892; this transcription with a few emendations is from 1938. T. Gr. W.”
57 “In the opera [appears] a deceptive cadence; here begins Skulde’s motif.”
58 “Must never be dispersed. Given to me by composer Mrs. Thekla Griebel Wandall.”
59 “Draft.”
60 “2. Naten. Poem by Madam Mangor in August 1843.”
Commentary on the edition
In A, Naten is presented as the second song in a collection of three songs (Stensprængervise, Naten and Hyldest til Helsingør), seemingly collected and prepared for publication in 1939. Naten, however, only survives in the form of this ink sketch. It is treated here as an independent song, and fol. 1r thus refers to the first page of this song, not Stensprængervise. It has not been possible to determine the origin of the poem attributed to the Danish cookbook writer Madam Mangor, the alias of Anne Marie Mangor (1781 – 1865).
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
Comment
9 voice A: note 1: e erased and emended to q, “1⁄4” written in pencil.
9 pf. p written in pencil.
Hyldest til Helsingør
A Manuscript score, autograph.
B Manuscript score reduction (piano with lyrics), autograph, copy.
A Manuscript score, autograph.
DK-Kk, Ingrid Gjøsteens samling 57.
Title on fol. 1r: “Hyldest til Helsingør” written in ink.
34.7 × 26 cm, 1 folio written in ink, unpaginated.
Paper type: 16 systems.
B Manuscript score reduction (piano with lyrics), autograph, copy. ➤ Fascicle 3
Title page: “Tekla Griebel Wandall: Sange. / Stensprængervise. / Digt af Wergeland. / Naten. / Digt af Mangor. / Hyldest til Helsingør. / Digt af Kai Hoffmann” written in ink.
33.8 × 26.2 cm, 1 folio written in ink with additions in pencil, and 34.9 × 27.5 cm, 1 folio with glued-on extensions of paper written in ink. fol. 1r: “No. 3 / Hyldest til Helsingør, / Digt af Kai Hoffmann.”, “Tekla Griebel W” written in ink. In right margin: “Afskr. 12-4-39”61 written in ink.
fol. 1v: “(Berl. Tid., komp. 6/6 26)” written in ink.62 “Hvor mesterligt og genialt dete Digt er, vil maaske kun den tilfulde forstaa, som har kendt og elsket Helsingør. / T.Gr.W.”63 written in ink.
Paper type: 16 systems.
Contents: Music on fol 1r, text to verses 3 – 6 on fol. 1v. Text seemingly from the newspaper Berlingske Tidende, 6 June 1926.
Commentary on the edition.
The edition is based on A B is a reduction with lyrics above piano and no separate song voice. B suggests that Tekla Griebel Wandall collected the songs Stensprængervise, Naten and Hyldest til Helsingør in 1939 with the intention of publishing them as a song collection. Here, it is treated as an independent song, B’s fol. 1r being the first page of this work. The song text by Kai Hoffmann was published in the newspaper Berlingske Tidende June 6, 1926.
61 “ Transcription, 12 Apr. 1939”.
62 “Berlingske Tidende, composed 6 June 1926”.
63 “How masterful and ingenious this poem is, perhaps only those who have known and loved Elsinore will fully understand.”
Bar Part
Comment
1 voice note 5: e′ emended to g #′ as in B and in correspondence with pf.
2 voice
2 pf.1
2 pf.2
6 voice
6 pf.1
B: last note: a′ instead of a#′ .
B: chord 3, note 1: c#′ instead of a; chord 7, note 2: a′ instead of a#′
B: lower part: h q instead of h
B: notes 2 – 3: e e instead of e s
B: notes 2 – 3: e e instead of e s
7 pf.1 lower part: h tied to w (e′) emended to h
10 pf.1
courtesy accidental (c#′) added.
11 pf.1 courtesy accidental (c#′) added.
11 voice
11 pf.1
11 pf.2
text
B: ambiguous notation indicates e′ , d#′ , e′ , e′ in the rhythm q e s h
B: chord 1: f #, c#′ , e′
B: chord 1: A, A
B: second verse: “drøned” written in ink underneath “brølte”.
Naar Solen dog skal slukkes, hvorfor tændes den?
A Manuscript score, autograph.
➤ Fascicle 3
Title page (fol. 1r): “Tilhører Fri A.[lice] Shaw, / Fredensborg”64, “Naar Solen dog skal slukkes, hvorfor tændes den?”, “Aforisme III”, “komponeret over et Digt af en mig ubekendt For- / fater (Thor Lange?). / Løst Udkast fra 1915, hvor / Digterens Navn ikke var / angivet. / Udarbejdelse 1932. / Thekla Griebel Wandall”65 written in ink.
Title on first music page (fol. 1v): “Naar Solen dog skal slukkes, hvorfor tændes den?” written in ink.
34.5 × 25.9 cm, 2 folios written in ink, unpaginated. Paper type: 12 staves.
Commentary on the edition
The song text is from Thor Lange, Strengespil (Copenhagen and Kristiania: Gyldendalske Boghandel and Nordisk Forlag, 1907), 67.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
Comment
2 pf.1 missing treble clef added by analogy with voice and b. 8.
5 pf.2 r emended to h to regularise bar.
13 pf.2 chord 3 (B, f#, b): q emended to q to regularise bar.
14 voice last r added to regularise bar.
19 pf.1 last chord: f ′ , f #″ emended to f #′ , f #″ by analogy with voice.
De Hjemløse
A Manuscript score, autograph.
B Sketch, autograph.
A Score (voice and piano), ink fair copy.
➤ Fascicle 3
64 “Belongs to Mrs. A[lice] Shaw, Fredensborg”.
65 “composed to a poem by an author unbeknownst to me (Thor Lange?). Sketch from 1915 in which the poet was not indicated finished 1932. Thekla Griebel Wandall.”
Title page (fol. 1v): “ ‘De Hjemløse,’ / Ord af ? / (Politiken, 18-12-17,) / Musik af T.
Gr. Wandall. / Side 4: ‘Anfangs wollt’ ich fast versagen’ / Heine. / Aphorisme. Burns” written in ink.
Title on first music page (fol. 1v): “De Hjemløse / (af ? ‘Politiken’, 18-12-17)” written in ink.
34.5 × 25.8 cm, 2 folios paginated 1 – 3 (fol. 1r unpaginated; fol. 2v contains the compositions “Anfangs wollt’ ich fast verzagen” and “Aphorisme”).
Paper type: 12 staves.
B Score (voice and piano), ink sketch.
➤ Fascicle 3
Title on fol. 1r: “De Hjemløse” written in ink.
32.1 × 26.9 cm, 1 folio written in ink with additions in pencil; top right-hand corner of fol. 1r/1v cut away.
Paper type: 14 staves.
fol. 1v: “(Se Renskriften)”66 written in pencil, “Tekla Griebel Wandall, / 18-12-17” written in ink.
Commentary on the edition
The song text appears in the newspaper Politiken, December 18, 1917, p. 5. The poem appears beneath an illustration atributed to painter Aksel Jørgensen, but it is unclear whether the poem, too, is by Aksel Jørgensen.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
5 pf.1
6 pf.1
B: chords 1 – 2: b tied to b; chords 3 – 4: c′ tied to c′; chords 5 – 6: d′ tied to d′;
chords 7 – 8: c′ tied to c′ .
chords 2 – 3: c #′ emended to c′ by analogy with b. 5; B: chords 1 – 2: b tied to b; chords 3 – 4: c′ tied to c′
6 voice m added as in B and by analogy with pf., b. 7.
7 voice, pf.
10 pf.
11 pf.
12 pf.1
B: quaver 2: cresc.; quaver 7: dim
B: pesante; crotchets 3 – 4: c
B: crotchets 3 – 4: d
B: chord 1: tenuto.
12 pf.2 chord 1: h emended to h as in B and to regularise bar.
13 pf.2
14 pf.2
B: crotchet 3: m, d
B: chord 1 (D, d) notated as tied h, below which is written “(1⁄1) ten.”
Anfangs wollt’ ich fast verzagen
A Score (voice and piano), ink sketch.
➤ De Hjemløse ➤ Fascicle 3
34.5 × 25.6 cm, 1 folio written in ink (= fol. 2v of “De Hjemløse”, source A). Paper type: 12 staves.
Commentary on the edition
The song text is from poem VIII of the section “Lieder” in the chapter “Junge Leiden” of Heinrich Heine, Buch der Lieder (Hamburg: Hoffmann und Campe, 1827), 47.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
2 pf.1
lower part: note 1: h (ab) emended to h to regularise bar.
2 pf.2 chord 1: h emended to h to regularise bar.
Aphorisme
A Score (voice and piano), ink fair copy.
➤ De Hjemløse ➤ Fascicle 3
16.4 × 25.8 cm (oblong folio format) pasted on 34.5 × 25.8 cm, 1 folio written in ink (= fol. 2v of “De Hjemløse”, source A).
Paper type: 12 staves.
Commentary on the edition
It has not been possible to determine the origin of the song text.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
4 pf.1
Paa Stenbroen! (I)
A Manuscript score, autograph.
➤ Fascicle 3
lower part, chord 5: q emended to e to regularise bar.
Title page: “22” written in blue crayon; “Paa Stenbroen! / I og II” written in ink. Pasted on left side of title page: Clipping from Folkets Avis, dated 8-3 99 (March 8, 1899) in TGW’s hand, reading: “Resultatet af vor 100 Kr.s KomponistKonkurrence. Idet vi takker de Herrer Komponister Carl Nielsen og Fini Henriques, der velvillig paatog sig at gennemgaa den indsendte KonkurrenceMusik (ca. 40 Stykker) til Hr. Emanuel Goldsteins præmierede Vise ‘Paa Steenbroen’, meddeler vi i Dag, at Dommerne har præmieret en Komposition af Hr. August Enna. Det er overflødigt at omtale Hr. Enna nærmere. Han er, som enhver ved, snart bekendt paa alle Europas Operascener. Det vil muligvis trøste de slagne Konkurrenter, at de er bleven besejrede netop af Hr. Enna. Som et mærkeligt Træk kan vi anføre, at baade Hr. Goldstein og Hr. Enna er fra Nakskov, og de har saaledes paa en smuk Maade henledet Opmærksomheden paa deres Fødeby. Hr. Ennas Musik bliver offentliggjort i ‘Folkets Avis’ i Morgen.”67 Pasted on right side of title page, dated 9-3-99 (March 9, 1899) in TGW’s hand: August Enna’s composition “Paa Stenbroen!” from Folkets Avis End dating: 1899.
Paper type: 12 staves. fol. 2v: “Dosseringen 28N. / 17-2-99.”
67 “The result of our 100 kroner composer competition. While thanking the two gentlemen, composers Carl Nielsen and Fini Henriques, whom benevolently took on the task of reviewing the submited competition music (about 40 pieces) for Mr. Emanuel Goldstein’s price-awarded poem ‘Paa Stenbroen’, we announce today that the judges has awarded a composition by Mr. August Enna. It is superfluous to further introduce Mr. Enna. He is, as anyone knows, known on almost all of Europe’s opera stages. It will possibly comfort the defeated competitors that they have been defeated by no other than Mr. Enna. As a strange coincidence we can add that both Mr. Goldstein and Mr. Enna are from Nakskov, and thus they have directed atention to their city of birth in a beautiful way. Mr. Enna’s music will be published in ‘Folkets Avis’ tomorrow.”
Commentary on the edition
The composition is TGW’s submission to a competition in Folkets Avis, won by August Enna. The text by Emanuel Goldstein was published in Folkets Avis, March 2, 1899, p. 2.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
6 pf.2
Comment
lower part: h (c) emended to w by analogy with b. 3 and to regularise bar.
7 voice last note: e′ emended to eb′ in accordance with pf.2.
14 pf.1 lower part, fourth crotchet: r added to regularise bar.
14 pf.2 lower part: h ( f ) emended to w by analogy with b. 3 and to regularise bar.
20 pf.2 chords 3 – 4: staccato added by analogy with chords 1 – 2 and pf.1.
Paa Stenbroen! (II)
A Manuscript score, autograph.
➤ Fascicle 3
Title page (fol. 1r): “Paa Stenbroen! / No 2 / Mindre Form / (ikke indsendt)”68, “Side 4: Fuglens Sang en Vinternat. / (Til “Dyrevennen”.)”, “Marts, 1899” written in ink; “Afskrift 1932”69 written in pencil, “Tekla Griebel, / Doss. 28.N” written in ink.
34.5 × 26 cm, 2 folios written in ink, paginated 1 – 2 (fol. 1r and 2v unpaginated).
Commentary on the edition
The music is an alternative version of the composition TGW submited to Folkets Avis in a composition; see Paa Stenbroen (I).
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part
3 pf.1
Comment
chord 3: eb′ emended to e′ in accordance with voice.
3 pf.2 note 1: staccato added by analogy with pf.1
4 pf.2 chords 1 – 2: staccato added by analogy with pf.1
7 voice A: notes 4 – 6: alternative syllables with downward stems (e e e e on notes bb′ , bb′ , a′ , bb’); not included in this edition because no verses follow this rhtyhm.
13 pf.1 lower part, note 3: emended from chord in upper part (ab, f ′) to note in lower part (ab) by analogy with slurring.
17 – 18 voice “Barikade” emended to “Barrikade” in accordance with spelling in Emanuel Goldstein′s original (Folkets Avis, March 2 1899, p. 2).
68 “Paa Steenbroen! Nr. 2 Smaller form (not submited)”.
69 “March 1899 transcription 1932”.
Fuglens Sang en Vinternat
A Manuscript, autograph.
➤ Paa Stenbroen (II) ➤ Fascicle 3
Title on fol. 1r: “Fuglens Sang en Vinternat” written in ink. End dating: 1932.
19 × 25 cm (oblong folio format) pasted on 34.5 × 26 cm, 1 folio written in ink (= fol. 2v of Paa Stenbroen! (II)), unpaginated. fol. 1r: “Komponeret 4-4-32 til ‘Dyrevennen’.”70
Commentary on the edition
A appears on the same page as the last bars of Paa Steenbroen! (II). The song was composed for a poem in Dyrevennen, a magazine for members of Dyrenes Beskyttelse [Animal Protection], founded in 1875. It has not been possible to find this issue of Dyrevennen and determine the author of the song text.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
No emendations.
Folkelig Fædrelandssang
A Score (voice and piano), ink fair copy.
B Score (mixed choir, SATB), ink fair copy.
C Score (male choir, TTBB), ink fair copy.
A Score (voice and piano), ink fair copy.
DK-Kk, Royal Danish Library, Thekla Griebel Wandall: Folkelig/ Fædrelandssang/af/Anders W. Holm/sat i Musik af/Tekla Griebel-Wandall/…3. For en Mellemstemme med Pianoledsagelse, Musiksamlingen, MA ms 6495 mu 0301.2800.
Title page (fol. 1r): “Til det fredselskende og ukrigeriske / Danmark!” , “Folkelig / Fædrelandssang / af / Anders W. Holm / sat i Musik af / Tekla GriebelWandall”, “1. For blandet Kor. / 2. For Mandskor / 3. For Mellemstemme med Pianoledsagelse” written in ink.
Title written across fol. 1v–2r: “Folkelig Fædrelandsang. / af / Anders W. Holm” written in ink.
34.8 × 25.9 cm, 2 folios written in ink with additions in pencil, unpaginated.
B Score (mixed choir, SATB), ink fair copy.
DK-Kk, Royal Danish Library, Folkelig/Fædrelandssang/af/Anders W. Holm/sat i Musik af/Tekla Griebel-Wandall/1. For blandet Kor, Musiksamlingen, MA ms 6493 mu 0301.2800
Title page (fol. 1r): “Til det fredselskende og ukrigeriske Danmark! / Folkelig / Fædrelandssang / af / Anders W. Holm / sat i Musik af / Tekla GriebelWandall / 1. For blandet Kor / 2. For Mandskor / 3. For en Mellemstemme med Pianoledsagelse” written in ink.
34.5 × 26 cm, 2 folios written in ink with additions in pencil, unpaginated.
C Score (male choir, TTBB), ink fair copy.
DK-Kk, Royal Danish Library, Folkelig/Fædrelandssang/af/Anders W. Holm/sat i Musik af/Tekla Griebel-Wandall/...2. For Mandskor..., Musiksamlingen, MA ms 6494 mu 0301.2800.
Title page (fol. 1r): “Til det fredselskende og ukrigeriske Danmark! / Folkelig / Fædrelandssang / af / Anders W. Holm / sat i Musik af / Tekla GriebelWandall / 1. For blandet Kor / 2. For Mandskor / 3. For en Mellemstemme med Pianoledsagelse” written in ink.
34.5 × 26 cm, 1 folio written in ink with additions in pencil, unpaginated.
Commentary on the edition
The edition is based on A. Sources B and C are considered independent versions and have not been consulted for this edition. The song text is Anders W. Holm’s poem “Folkelig Fædrelandssang” published in Anders W. Holm, Sange og Digte (Copenhagen: Gyldendalske Boghandel, 1913), 5 – 6.
EDITORIAL EMENDATIONS AND ALTERNATIVE READINGS
Bar Part Comment
1 pf.1, pf.2 notes 1 – 3: e s s emended to e appogiatura s to regularise bar.
10 pf.1 penultimate chord: d′ emended to d #′ in accordance with d#″ on fifth and seventh quavers.
10 pf.1 A: ultimate chord: a#′ corrected to a n′ in pencil.
13 pf.2 r added at the end of bar by analogy with bb. 11 – 12 and to regularise bar.
