Carl Nielsen - Keyboard Works

C A R L
N I E L S E N
V R K E R
W O R K S
Carl Nielsen Udgaven CN 00042
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C A R L
N I E L S E N
1 8 6 5 - 1 9 3 1
V R K E R
W O R K S
Udgivet af Carl Nielsen Udgaven
Det Kongelige Bibliotek
Hovedredaktr Niels Krabbe
Serie II. Instrumentalmusik. Bind 12
Published by The Carl Nielsen Edition

The Royal Library
Editor in chief Niels Krabbe
Series II. Instrumental Music. Volume 12
b n d
BY
NC
ND
This work is licensed under a Creative Commons

Attribution-NonCommercial-NoDerivs 3.0 Unported License
Edition Wilhelm Hansen

Copenhagen 2006
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C A R L
N I E L S E N
K L A V E R -
O G
O R G E L V R K E R
P I A N O
O R G A N
A N D
W O R K S
Udgivet af
Edited by
David Fanning
Niels Bo Foltmann
Edition Wilhelm Hansen

Copenhagen 2006
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Graphic design Kontrapunkt A/S, Copenhagen

Music set in SCORE by Wiener Notensatz, Vienna
Text set in Swift
Printed by Quickly Tryk A/S, Copenhagen
CN 00042
ISBN 87-598-5395-6 / 978-87-598-5395-5
ISMN M-66134-201-4
Sponsored by Beckett-Fonden
Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K
2006 Carl Nielsen Udgaven, Det Kongelige Bibliotek, Kbenhavn
All rights reserved 2006
b n d
BY
NC
ND
This work is licensed under a Creative Commons

Attribution-NonCommercial-NoDerivs 3.0 Unported License
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I N D H O L D
C O N T E N T S
General Preface vii Generelt forord

Preface
ix
Fo rord
Fa c s imile s lviii Fa k s imile r
P IANO WO RK S
F I V E P I A NO P I E C E S , O P U S 3
K L AV ERV RK ER
F E M K L AV E R S T Y K K E R , O P U S 3
I Folk T une
I Folke tone
II Humoresque
II Humoreske
I I I A ra b e s que
I I I A ra b e s ke
I V Mig non
I V Mig non
V E lf s D a nc e
V A lfe da ns
S Y MP H O NIC SUITE, O P US 8
12
I I ntona tion. Ma e stos o
I I ntona tion. Ma e stoso
II Quasi alleg retto
II Quasi alleg retto
I I I A nda nte
I I I A nda nte
IV Finale. Alleg ro
H U MO R E S QUE-BAG ATEL L ES, O P US 11
IV Finale. Alleg ro
36
I H e llo! H e llo!
H UMO RESK E-BAG ATELLE R, OPUS 11

I G odda g ! G odda g !
II The Spinning-Top
II Snur retoppen
I I I A Little S low Wa lz
I I I E n lille la ng s om Vals
I V The Jump ing Ja c k
I V S p r lle ma nde n
V Puppet Marc h
V Dukkemarsc h
VI The Mus ic a l Cloc k
VI S p illev r ke t
F E S T I VA L P R E L U D E
48
FO R TH E NEW C ENTURY
A D R E AM ABO UT SIL ENT NIG H T
II_12_tekst 1.indd v
S Y MP H O NISK SUITE, OPUS 8
F E S T- P R L U D I U M
V ED A ARH UNDREDSKI FT E T
50
DR MMEN O M G L AD E JUL
16/09/06 15:32:37
C H AC O NNE, O P US 32
52
C H AC O NNE, O P US 32
T H E ME A N D VARIATIO NS, O P US 40
69
TH EMA MED VARIATIO NER, OPUS 40
SUITE, O P US 45
96
I Alleg retto un poc hettino
SUITE, O P US 45
I Alleg retto un poc hettino
I I Poc o mode ra to
I I Poc o mode ra to
I I I M olto a da g io e p a te tic o
I I I Molto a da g io e p a te tic o
IV Alleg retto innocente
IV Alleg retto innocente
V Alleg retto vivo
V Alleg retto vivo
VI Alleg ro non troppo ma vigoroso
VI Alleg ro non troppo ma vigoroso
T H R E E P I A NO P I E C E S 13 2 T R E K L AV E R S T Y K K E R
I Impromptu. Alleg ro f luente
I Impromptu. Alleg ro f luente
I I Molto a da g io
I I Molto a da g io
III Alleg ro non troppo
III Alleg ro non troppo
P I A NO M U S I C F O R YO U NG A N D O L D I , O P U S 5 3 14 9
K L AV E R M U S I K F O R S M A A O G S T O R E I , O P U S 5 3
P I A NO M U S I C F O R YO U NG A N D O L D I I , O P U S 5 3 16 0
K L AV E R M U S I K F O R S M A A O G S T O R E I I , O P U S 5 3
P I A NO P I E C E 176
O RG A N WO R K S
K L AV E R S T Y K K E
O RG E LV R K E R
2 9 L I T T L E P REL UDES, O P US 51 178 29 SMA A P RL UDIER, O P US 51

TWO P REL UDES 200 TO P RL UDIER
M E L O DY 2 01 M E L O D I
C O MMO TIO , O P US 58 203 C O MMO TIO , O P US 58
Abbreviations 238 Forkortelser

Critical Commentary 239 Kritisk beretning
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G E N E R E L T
G E N E R A L
F O R O R D
P R E F A C E
arl Nielsen Udgaven er et selvstndigt projekt under

Det Kongelige Biblioteks Musikafdeling, ivrksat i 1994
p Kulturministeriets foranledning og nansieret af
he Carl Nielsen Edition is an independent project under
Kulturministeriet og Carl Nielsen og Anne Marie Carl-Nielsens Legat,
the auspices of the Music Department of the Royal
hvortil kommer sttte fra en rkke private fonde til udgivelse
Library, launched in 1994 on the initiative of the Mini-
af de enkelte bind.
stry of Culture and funded by the Ministry and the foundation
Udgaven er til svel praktisk som videnskabelig brug,
Carl Nielsen og Anne Marie Carl-Nielsens Legat, with further nan-
tilrettelagt efter kritisk-videnskabelige udgivelsesprincipper.
cial support for the publication of the individual volumes from
Den omfatter samtlige Carl Nielsens afsluttede vrker og en-
a number of other private foundations.
keltsatser og sger i videst mulige omfang at afspejle vrkerne
The edition is for both practical and scholarly use,
i den af komponisten senest sanktionerede version. I tilflde,
and is based on critical editorial principles. It comprises all
hvor sange foreligger i ere forskellige arrangementer fra Carl
Nielsens nished works and completed individual pieces,
Nielsens hnd, udgives alle versioner.
and seeks as far as possible to reect the works in the version
Hvert vrk er forsynet med en indledning, der kort
last sanctioned by the composer. In cases where songs exist in
beskriver vrkets tilblivelseshistorie og placerer det i den sam-
several different arrangements by Nielsen, all the versions are
lede produktion, samt en kritisk beretning, hvor der redegres
published.
for kildesituationen, redaktionelle ndringer og tilfjelser og

Each work is furnished with an introduction which
gives a brief account of the genesis of the work and its place in
vigtige varianter. Den kritiske beretning udgives sammen med

nodeteksten.
the composers oeuvre, and a Critical Commentary including
Udgaven er opdelt i hovedserierne Scenemusik, In-
source description, editorial emendations and additions,
strumentalmusik og Vokalmusik med tilhrende opdeling
and important alternative readings. The editorial material is
i enkeltbind; inden for hver genre er vrkerne ordnet
published together with the music.
kronologisk.
The edition is divided into the three main series

Stage Music, Instrumental Music and Vocal Music, each further
Serie I, Scenemusik
divided into volumes; within each genre the works are ordered
Operaer
chronologically.
Skuespilmusik
Series I, Stage Music
Serie II, Instrumentalmusik
Operas
Symfonier
Incidental music
Andre orkestervrker
Koncerter
Series II, Instrumental Music
Kammermusik
Symphonies
Klaver- og orgelvrker
Other orchestral works

Concertos
Chamber music
Piano and organ works
II_12_tekst 1.indd vii
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Serie III, Vokalmusik

Kantater
Korsatser a cappella
Series III, Vocal Music
Enstemmige sange og recitation med klaver,
Cantatas
enstemmige sange uden akkompagnement
A cappella choral pieces
Enstemmige sange i arrangement for orkester
Songs and recitations with piano, songs without accompaniment
Serie IV, Juvenilia, Addenda et Corrigenda
Songs arranged for vocal soloists and orchestra

Series IV, Juvenilia, Addenda et Corrigenda
Redaktionelle principper
Nodeteksten gengives uden typogrask markering af redaktionelle tilfjelser eller ndringer. Disse er dokumenteret i den
Editorial principles
kritiske beretning. Typogra, partituropstilling, instrument- og
The music is reproduced with no typographical indications
genrebetegnelser er normaliseret efter nutidig praksis. Med
of editorial additions or emendations. These are documented
enkelte undtagelser, som der er gjort nrmere rede for i den
in the Critical Commentary. Typography, score disposition,
kritiske beretning, er de mange tilfjelser og ndringer i Carl
genre names, and instrument names have been normalized in
Nielsens vrker, der er foretaget af venner og kolleger, fjernet.
accordance with present-day practice. With a few exceptions,
Nodeteksten er normaliseret med hensyn til artiku-
discussed in more detail in the Critical Commentary, the many
lation, dynamik, buer, foredragsbetegnelser og spilletekniske
additions and changes in Nielsens works that have been made
anvisninger sledes, at der er analogi mellem entydige paral-
by friends and colleagues have been removed.
lelsteder. Alle sdanne kompletteringer dokumenteres i den
Articulation, dynamics, ties and slurs, execution

markings and playing instructions have been normalized on
kritiske beretning. Oplagte skrive- og trykfejl er stiltiende

rettet.
the basis of analogies between clearly parallel passages. All
Carl Nielsen noterede ofte horn og trompeter med
such completions are documented in the Critical Commentary.
faste fortegn. Denne praksis er normaliseret til notation ude-
Obvious writing and printing errors have been tacitly corrected.
lukkende med lse fortegn.
Nielsen often notated horns and trumpets with key
Muta in i forbindelse med omstemning af pauker
signatures. This practice has been normalized to a notation
og skift mellem to instrumenter (f.eks. klarinet i A og B) er
exclusively using accidentals.
stiltiende normaliseret. Det samme glder kombinationen af
Muta in in connection with the retuning of timpa-
buer og bindebuer.
I Carl Nielsens manuskripter er de dynamiske angi-
ni and changes between two instruments (for example clarinet

in A and B) have been tacitly normalized. This also applies to
velser undertiden placeret noget skdeslst, hvilket afspejler
the combination of ties and slurs.
sig i de tidlige trykte udgaver. Dette er stiltiende justeret.
In Nielsens manuscripts the dynamic markings are
Ngler gengives normalt som i hovedkilden.
sometimes rather carelessly placed, and this is also reected in

the early printed editions. This has been tacitly adjusted.
Kbenhavn 1998
Clefs are normally given as in the main source.
Carl Nielsen Udgaven
Copenhagen 1998
Revideret 2006
The Carl Nielsen Edition

Revised 2006
II_12_tekst 1.indd viii
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F O R O R D
P R E F A C E
KLAVERVRKER
sine erindringer fortller Carl Nielsen at der i barndoms-
PIANO WORKS
hjemmet fandtes et ubenyttet spinet, der tjente som

kkkenbord, og som vakte hans nysgerrighed, nr han
ccording to his autobiography, Nielsens rst home
en sjlden gang k lov til f et glimt af dets slidte mekanik.
housed a disused spinet, which served as a kitchen
Hans frste mde med et rigtigt spilbart klaver er ikke dateret,
table, and which excited his curiosity when he was
men det beskrives i den del af erindringerne der beskftiger
allowed a rare glimpse at the broken mechanism. His rst
sig med tiden omkring hans seksrsalder. Det drejede sig om
encounter with a piano in working condition is not dated, but
et opretstende klaver hos moderens blinde halvbroder, Hans
it is recounted in a section of the autobiography dealing with
Andersen, der var organist ved Dalum Kirke nr Odense:
his life around the age of six. This was the upright instrument
at the home of his mothers blind half-brother, Hans Andersen,
Jeg husker ikke, om jeg fandt Akkorder eller Treklange, men
an organist at Dalum Church near Odense:
med en Finger fra hver Haand spillede jeg lange Rkker af sde
Tertsgange, og naar mine to Fingre saaledes fulgtes ad, tnkte
I cannot remember whether I found chords or triads, but with
jeg: To Drosler sad paa Bgekvist .
one nger of each hand I played a long succession of sweet

thirds, and as my two ngers thus kept company I thought,
Carl Nielsen fortller ogs om hvordan han som teenager
remembering a snatch of an old song: Two thrushes sat on a
mdte en gammel pianist ved navn Outzen og hos ham k
sine frste klavertimer i Odense. Det var p den tid han som
beech-tree branch.
militrmusiker kunne spare penge op, s han kunne kbe et

Nielsen also records the inuence on him as a teenager of an
gammelt klaver, nogle billige klaverskoler og nogle antikvari-
old pianist named Outzen, from whom he received his rst
ske noder herunder Mozarts C dur sonate (sandsynligvis KV
piano lessons in Odense. It was at this time that he saved up
545) og frste bind af Bachs Wohltemperierte Clavier.
I rene 1884 til 1886 k Carl Nielsen klaverunder-
his bandsmans pay to buy an old piano, some cheap tutors and
4
visning hos Gottfred Matthison-Hansen p Musikkonservato-
some second-hand music, including a Mozart C major Sonata

(most likely KV 545) and Book 1 of Bachs Well-Tempered Clavier.
riet i Kbenhavn; vidnesbyrdet efter det frste r ld sledes:
From 1884 to 1886 Nielsen took piano lessons with
meget kjnt foredraget sangbart og omhyggeligt i alle Hense-
Gottfred Matthison-Hansen at the Royal Danish Academy of
ender, og hans udfrelse af et af Schuberts Impromptus efter
Music in Copenhagen, where his rst-year report commented:

very prettily played, cantabile and careful in every respect,
1
2
3
4
Min fynske Barndom, Copenhagen 1927, pp. 22-23, My

Childhood, London [1953], pp. 20-21.
Ibid., p. 28, My Childhood, p. 24. To Drosler sad paa
Bgekvist (Two thrushes sat on a beech-tree branch) is
a well-known Danish song by Christian Winther.
Ibid., pp. 165 ff., My Childhood, p. 117.
Danish organist, pianist, composer and pedagogue
(1832-1909).
II_12_tekst 1.indd ix
1
2
3
4
Min fynske Barndom, Kbenhavn 1927, s. 22-23.

Ibid., s. 28.
Ibid., s. 165 ff.
Organist, pianist, komponist og pdagog (1832-1909).
ix
16/09/06 15:32:38
tredje r blev beskrevet som tydeligt og klart. Ret sikkert.
Han nrede dog ingen ambitioner om at udvikle sig til den

store pianist, og repertoiret ved hans rsprver stillede forand his playing of a Schubert Impromptu in his third year was
holdsvis beskedne pianistiske krav.
described as clear and precise. Completely secure. He never
I resten af sit liv komponerede Carl Nielsen normalt
had pretensions to great skill as a pianist, and the repertoire

for his annual tests was relatively undemanding.
ved klaveret; han var dog p trods af ungdomsrenes virksom-
hed som militrmusiker i Odense frst og fremmest violinist.
Nielsen continued to compose at the piano through-
Violinen var hans hovedinstrument p konservatoriet, og som
out his creative life. Yet by earliest inclination, and notwithstand-
violinist k han sit udkomme gennem 16 r i Det Kongelige
ing several of his teenage years as bugler and alto trombonist in
Kapel og lejlighedsvis som kammermusiker. En privatoptagelse,
a military band at Odense, he was a violinist. The violin was his
som formentlig stammer fra perioden mellem december 1920
rst study at the Academy, and it was as a violinist that he earned
og 1924, giver et indtryk af Carl Nielsen som pianist oven i
his living for 16 years in the Royal Theatre Orchestra and enjoyed
kbet i et kort jeblik ogs som (ikke srlig overbevisende) im-
occasional participation in chamber music-making. A private re-
7
provisator. Der kendes kun f eksempler p at Carl Nielsen har
cording, probably made sometime between December 1920 and
optrdt offentligt som pianist med egne eller andres vrker. P
1924 gives a glimpse of Nielsen as pianist, and even briey (and
Svendborg Theater den 10. juni 1902 spillede han Humoresker
7
not entirely convincingly) extemporising. Only few examples are
8
for Piano samt Festprludium ved Aarhundredskiftet, og ved en
known of Nielsen performing his own or others works in concert
reception afholdt til re for ham selv p den danske ambassade
as a pianist. On 10 June 1902 at the Svendborg Theatre (Svend-
i Paris den 22. oktober 1926 spillede han sine Humoreske-Baga9

teller. Ej heller er der andre vidnesbyrd om at han skulle have
borg is on the south coast of the island of Funen) he played his

8
Humoresques for Piano and the Festival Prelude for the New Century.
eventuelle evner p dette felt. Tvrtimod erklrede en af hans
Another occasion was at a reception held in honour of Nielsen
10
bedste venner, kammermusikpartneren Henrik Knudsen, at
himself at the Danish Embassy in Paris on 22 October 1926, when
hans klaverspil var haablst, det klang nederdrgtigt i Reglen,
he played his Humoresque-Bagatelles. Reports of his pianistic abili-
vrre end Violinspillet, bortset fra alle de musikermssige og
ties give no indication of hidden prowess. On the contrary, even
kunstneriske storartede Intentioner.
11
as staunch a friend and music-making partner as Henrik Knud-
P trods af dette skrev han regelmssigt klaver-
10
sen declared that Nielsens piano-playing was hopeless, gener-
musik, bde i sine tidlige r som komponist og igen gennem
ally with a vile sound worse than his violin playing except for
de sidste 15 r af sit liv (i den mellemliggende periode mellem
11
his marvellous musical and artistic intentions.
1897 og 1916 foreligger kun to korte lejlighedsvrker, Fest-Prlu-
All the same, in his early composing years, and

again during the last 15 years of his life, Nielsen composed
5
piano music at fairly regular intervals (during the gap between

1897 and 1916 he produced only two short pices doccasion: the
7
8
10
11
Niels Krabbe, The music, in Carl Nielsen spiller Carl

Nielsen: Tre fonografvalser fortller. Booklet with CDROM
SBCD 05, Statsbiblioteket, rhus 2003, p. 36.
The records mention Neupert, Etude in E minor, Mendelssohn, Song without Words in E at major, Beethoven,
Sonata in C minor Op. 10, Schubert, Impromptu in E at
major, Gade, Folk-dance. Ibid., p. 46.
CDROM SBCD 05, Statsbiblioteket, rhus 2003.
The poster for this occasion (Dk-Kk) indicates that the
programme also included Arthur Schnitzlers comedy Literatur, songs by Nielsen, Christian Sindings Piano Quintet
with Nielsen as second violin, and Holger Drachmanns
melodrama Snefrid with Nielsens music. The performance
received a brief review in Fyens Tidende 12.6.1902. Earlier,
at a concert in The Private Chamber Music Society on
16.11.1899 Nielsen accompanied the singer Vilhelm Herold
in a selection of his own songs (according to the printed
programme the concert also included the Sonata for Violin
and Piano and the String Quartet in G minor, Op. 13).
Torben Schousboe (ed.), Carl Nielsen. Dagbger og
brevveksling med Anne Marie Carl-Nielsen, Copenhagen
1983, p. 509.
Danish pianist (1873-1946).
Cited in Niels Krabbe, op. cit., p. 38.
II_12_tekst 1.indd x
7
8
10
11
Niels Krabbe, Musikken, i Carl Nielsen spiller Carl

Nielsen: Tre fonografvalser fortller. Booklet med CDROM
SBCD 05, Statsbiblioteket, rhus, 2003, s. 37.
Konservatoriets protokol anfrer Neuperts Etude i e mol,
Mendelssohns Lied ohne Worte i Es dur, Beethovens
sonate i c mol op. 10, Schuberts Impromptu i Es dur og
Gades Folkedans. Ibid., s. 46.
CDROM SBCD 05, Statsbiblioteket, rhus 2003.
Af teatrets plakat fra den pgldende forestilling
(DK-Kk) fremgr det at programmet udover den
nvnte optrden af Carl Nielsen som pianist omfattede Arthur Schnitzlers lystspil Literatur, sange af Carl
Nielsen, klaverkvintet af Christian Sinding (med Carl
Nielsen som anden violinist) samt Holger Drachmanns
melodrama Snefrid med musik af Carl Nielsen. Aftenens
program blev efterflgende kort omtalt i Fyens Tidende
12.6.1902. Hertil kommer at Carl Nielsen ved en koncert
16.11.1899 i Privat Kammermusikforening akkompagnerede Vilhelm Herold i et udvalg af sine sange (iflge det
trykte koncertprogram opfrtes yderligere violinsonaten, opus 9 og strygekvartetten i g mol, opus 13).
Torben Schousboe (udg.), Carl Nielsen. Dagbger og brevveksling med Anne Marie Carl-Nielsen, Kbenhavn 1983,
s. 509.
Pianist (1873-1946).
Citeret efter Niels Krabbe, op. cit., s. 39.
20/09/06 9:37:03
dium og Drmmen om Glade Jul). Fem af disse vrker Symphonisk Suite, Chaconne, Thema med Variationer, Suite, og Tre Klaverstykker er betydelige vrker, bde set i lyset af Carl Nielsens
Festival Prelude and A Dream about Silent Night). Five of these
samlede produktion og i lyset af klavermusikken som sdan i
works the Symphonic Suite, Chaconne, Theme and Variations, Suite,
begyndelsen af det 20. rhundrede. Deres kunstneriske kvalitet
and Three Piano Pieces are of signicant scale and achievement,
er blevet vurderet forskelligt. Kritikken af det pianistiske i vr-
th
both in terms of Nielsens oeuvre and of early 20 -century
kerne gr tilbage til Walter Niemanns bog om nordisk klaver-
piano music as a whole. Their artistic success has been vari-
12
13
musik. Men for andre kommentatorer viser klavervrkerne
ously assessed. Adverse criticism of their piano writing dates
mere end nogen anden genre den egentlige Carl Nielsen, dels
12
back to Walter Niemanns book on Nordic piano music. Yet for
som en flge af instrumentets begrnsede klanglige mulighe-
other commentators the piano works are more revealing than
der som derved stter det musikalske fokus p selve noderne,
13
any other genre of the essential Nielsen, thanks partly to the
dels p grund af at han ikke nrmer sig instrumentet med den
colouristic limitations of the medium, which throw greater
professionelle virtuos forudfattede pianistiske tilgang.

Adskillige pianister bidrog til udbredelsen af Carl
musical weight onto the notes themselves, and partly to the

fact that he did not approach the instrument with the pre-
Nielsens klavermusik allerede i hans egen levetid, heriblandt
formed instincts of a professionally adept exponent.
14
15
16
Louis Glass, Johanne Stockmarr, Alexander Stoffregen,
17
18
Christian Christiansen, Herman D. Koppel og i Tyskland
Various performers championed Nielsens piano
19
Eduard Erdmann. Iflge overleveringen foretog ere af dem
14
music in his own lifetime, including Louis Glass, Johanne
15
16
17
forskellige indgreb i musikken efterhnden som vrkerne
Stockmarr, Alexander Stoffregen, Christian Christiansen,

18
19
Herman D. Koppel and, in Germany, Eduard Erdmann. There
blev trykt hvilket for Stoffregens vedkommende kan doku-
is anecdotal evidence for their input into certain details of the
20
menteres ved Chaconne. Som en flge heraf har to af de nyere
rst published editions, rmly documented in the case of Stof-
udgaver af klavermusikken forsgt at bringe musikken mere
20
fregen and the Chaconne. As a result, two more recent editions
i overensstemmelse med komponistens manuskripter ved at
of the piano music have in varying degrees favoured returning
fjerne den fremmede indgriben og forsge at komme nrmere
to Nielsens manuscripts, with the aim of eliminating other
21
til Carl Nielsens oprindelige intentioner. Imidlertid er der
21
peoples modications of his compositional intentions. Howev-
intet i det overleverede kildemateriale der dokumenterer,
er, in no instance do the surviving sources available to the Carl

Nielsen Edition give documentary evidence of the composers
12 Walter Niemann, Die nordische Klaviermusik, Leipzig 1918,

s. 25-26.
13 Se fx Arne Skjold Rasmussens indledning til sin udgave
af Carl Nielsen samlede klavervrker, Egtved 1987.
14 Pianist og komponist (1864-1936).
15 Pianist og pdagog (1869-1944).
16 Pianist (1884-1966).
17 Pianist, organist og komponist (1884-1955).
19 Tysk pianist og komponist (1896-1958).
20 Jf. Torben Herbl, Alexander Stoffregen om Carl
Nielsens Chaconne for klaver, Dansk Musiktidsskrift, rg.
55 (1981), s. 200-201.
21 The Complete Solo Piano Music of Carl Nielsen. A Critical
Revised Edition by Mina F. Miller. Kbenhavn 1982; Carl
Nielsen samlede klavervrker, udg. Arne Skjold Rasmussen,
[Egtved] 1987. Skjold Rasmussens udgivelse er i otte
selvstndige hfter med henholdsvis op. 3, op. 8, op. 11,
op. 32, op. 40, op. 45, op. 53 og op. 59, alle med det samme
forord p en enkelt side. Mina Millers udgave bestr af et
enkelt bind som yderligere indeholder Fest-Prludium og
Drmmen om Glade Jul, med kildebeskrivelser og kritiske
kommentarer; disse kommentarer bygger dog til en
vis grad p en rygtebaseret overlevering og hviler p et
stilistisk grundlag; en sdan redaktionel tilgang lever
ikke i alle detaljer op til Carl Nielsen Udgavens principper.
dissatisfaction with the editions published in his lifetime, other
12 Walter Niemann, Die nordische Klaviermusik, Leipzig 1918,

pp. 25-26.
13 See, for example, Arne Skjold Rasmussens introduction
to his Carl Nielsen samlede klavervrker, Egtved 1987.
14 Danish pianist and composer (1864-1936).
15 Danish pianist and pedagogue (1869-1944).
16 Danish pianist (1884-1966).
17 Danish pianist, organist and composer (1884-1955).
19 German pianist and composer (1896-1958).
20 Cf. Torben Herbl, Alexander Stoffregen om Carl
Nielsens Chaconne for klaver, Dansk Musiktidsskrift, vol.
55 (1981), pp. 200-201.
21 The Complete Solo Piano Music of Carl Nielsen. A Critical
Revised Edition by Mina F. Miller. Copenhagen 1982; Carl
Nielsen samlede klavervrker, ed. Arne Skjold Rasmussen,
[Egtved] 1987. Rasmussens edition is published in eight
separate volumes, containing Op. 3, Op. 8, Op. 11, Op.
32, Op. 40, Op. 45, Op. 53 and Op. 59, each with the
same single-page preface. Millers is in a single volume,
including, additionally, the Festival Prelude and A Dream
about Silent Night, with source descriptions and a critical commentary; this commentary, however, is based in
part on an oral tradition and on stylistic grounds that
are outside the principles of the Carl Nielsen Edition.
II_12_tekst 1.indd xi
xi
16/09/06 15:32:39
at komponisten var utilfreds med de udgaver som forel i

hans levetid, nr man ser bort fra et mindre antal rettelser af
trykfejl. Disse tidlige tryk har derfor udgjort hovedkilderne
than a few corrections of minor typographical errors. Accord-
for nrvrende kritiske udgave med undtagelse af opus 59
ingly, these early editions are taken as the principal sources
som frst blev trykt posthumt, og hvor Carl Nielsens renskrift
for the current Critical Edition, with the exception of Op. 59,
derfor reprsenterer komponistens seneste, dokumenterede
which was published posthumously, and for which Nielsens
intentioner. I enkelte tilflde indeholder de trykte udgaver
fair copies therefore represent his last documentable inten-
mindre rettelser i komponistens hnd; disse er registreret i
tions. In some instances, minor corrections are to be found
den kritiske beretning i nrvrende bind. I tilflde hvor en
in the composers hand in his copies of the published scores
bestemt opfrelsestradition er blevet knsat som flge af et
(see the Critical Commentary at the end of the present volume).
valg blandt ere manuskripter eller frsteudgaver, er de ikke-
Where different performance traditions have become established
valgte alternativer anfrt som musikeksempler i den kritiske
as a result of choice between manuscripts or rst editions, the
beretning.
Carl Nielsens tidlige manuskripter indeholder yderli-
rejected alternatives are shown by musical examples in the list of

emendations and by facsimiles at the end of this Preface.
Nielsens early manuscripts include a number of
gere et antal satser for klaver; disse vil blive bragt i Carl Nielsen
Udgavens afsluttende bind, Juvenilia, Addenda et Corrigenda.
complete movements for piano. These will be included in the
22
Skomagerens Brudevals er udeladt, eftersom den menes at vre
nal volume of the Carl Nielsen Edition Juvenilia, Addenda et
komponeret af Nielsens far.
22
Corrigenda. The Cobblers Wedding March (Skomagerens Brude-
vals) is excluded since it is considered to be a composition by

Nielsens father.
FEM KLAVERSTYKKER, OPUS 3
FIVE PIANO PIECES, OPUS 3
ielsen assembled his rst published collection of
ndholdet af sin frste trykte samling klaverstykker sammenstillede Carl Nielsen under sin store rejse til europiske kulturcentre i 1890-1891. Han havde jensynligt
allerede tidligere komponeret nr. 2 (oprindeligt med titlen
piano pieces during his extended study tour of
Novellette) og 5 (oprindeligt Elfentanz), eftersom disse er overleve-
European cultural centres in 1890-1891. He had
23
ret sammen med Emilie Demant Hatts erindringer og derfor
apparently completed Nos. 2 (originally entitled Novellette) and
formentlig nedskrevet under deres samvr i rene 1887-1889
5 (originally Elfentanz) earlier, since these are preserved along
eller muligvis sendt til Emilie fra Kbenhavn som gave. I sin
23
with the memoirs of Emilie Demant Hatt and were therefore
dagbog, pbegyndt 1. september 1890 to dage fr han drog ud
presumably notated during their times together in the sum-
p den lange Europarejse, noterede han hvordan arbejdet med
mers of 1887-1889, or perhaps sent to Emilie from Copenhagen
ere af de andre stykker skred fremad, og fremsatte forskel-
as gifts. He noted his progress on several of the others, together
lige ideer om hvordan han kunne f stykkerne trykt. Den 12.
with ideas for their publication, in his diary, which he began
september 1890 i Dresden skriver han: Har componeret et
to keep on 1 September 1890, two days before embarking on a
24
Clavrstykke i a moll: i Folketone; 27. oktober, nu i Berlin:
lengthy European tour. On 12 September 1890 in Dresden, he
Componerede Fanden idag [oprindelig titel p nr. 3, Arabeske];
recorded: Have composed a Piano Piece in A minor: In Folk
25
26
Fini mener det er noget helt Nyt i Musiken; den flgende
24
Style; on 27 October, now in Berlin: Composed The Devil
dag: Har idag faaet Ideen til at udgive mine 3-4 Clavrstykker i
25
today [original title for No. 3, Arabesque]; Fini thinks that it is

26
something completely new in music; the next day: Today
22 Gengivet i Torben Meyer og Frede Schandorf Petersen,

Carl Nielsen. Kunstneren og Mennesket, Kbenhavn 19471948, bd. 1, s. 32.
23 Foraarsblger. Erindringer om Carl Nielsen. Udgivet af John
Fellow, Kbenhavn 2002, s. 9, 28, 168-175.
24 Torben Schousboe, op. cit., s. 14.
25 Fini Henriques, komponist (1867-1940).
I had the idea for publishing my 3-4 piano pieces in the form
22 Reproduced in Torben Meyer & Frede Schandorf Petersen, Carl Nielsen. Kunstneren og Mennesket, Copenhagen
1947-1948, vol. 1, p. 32.
23 Foraarsblger. Erindringer om Carl Nielsen. Edited by John
Fellow, Copenhagen 2002, pp. 9, 28, 168-175.
24 Torben Schousboe, op. cit., p. 14.
25 Fini Henriques, Danish composer (1867-1940).
II_12_tekst 1.indd xii
xii
16/09/06 15:32:39
Form af Rejsebrev til Moder; altsaa trykt i en Slags Brevformat

og Convolut udenom o.s.v.; en Art Dagbog. Nodesystemerne
maa vre med skjve Linier o.s.v. og det hele maa se naturligt
of travel letters to mother: printed in a kind of letter format
27
ud; den 2. november: Skrev til Wilh: Hansen om Udgivelsen
with an envelope around them etc.: a kind of diary. The staves
28
af Clavrstykkerne med Tegninger af Wivel; 9. november
should have not quite straight lines and so on, and the whole
noterede han: Brev fra Wilhelm Hansen som tilbyder at ville
27
must look natural; on 2 November: Wrote to Wilhelm
kjbe Forlagsretten til Clavrstykkerne, og trykke dem inden
Hansen about the publication of the piano pieces with illustra-
29
30
Jul. Den endelige udgave, som forel engang i lbet af 1891,
28
tions by Wivel. On 9 November Nielsen noted A letter from
indeholdt dog ingen illustrationer af Wivel eller andre.

Under sit studieophold modtog Carl Nielsen en rkke
Wilhelm Hansen, offering to buy the rights to the Piano Pieces

29
and to print them by Christmas. The eventual publication,
positive tilkendegivelser om stykkerne; i Leipzig mente en vis
30
which came out some time during early 1891, did not contain
Herr Wildt at Arabeske sandsynligvis ville gre Nielsens navn
Wivels (or any other) illustrations.
31
32
kendt i Tyskland, mens Adolf Brodsky foretrak Humoreske.
As Nielsens study tour continued, he garnered
Det har ikke vret muligt at dokumentere den frste offentlige
positive opinions on the pieces. In Leipzig a certain Herr Wildt
fremfrelse, ligesom der tilsyneladende heller ikke foreligger
singled out the Arabesque as likely to make Nielsen famous in
nogen omtale i aviserne.
31
Germany, while Adolf Brodskys favourite was the Humor-
Frste gang stykkerne er nvnt i Carl Nielsens korre-
esque. It has not been possible to trace a public premiere
33
spondance er i et brev til Emil Sachs fra den 23. november
performance or an early reception in newspaper reviews.
1890, hvori han gentager en rkke af dagbogsoptegnelserne
32
The rst mention of the pieces in Nielsens surviving
og ogs nvner, at en anden udgiver end Wilhelm Hansen er
33
correspondence comes in a letter to Emil Sachs of 23 Novem-
interesseret i at kbe stykkerne; samtidig understreger han
ber 1890, which echoes several of his diary entries and men-
at det haster sfremt Wilhelm Hansens nske om en udgave
tions an unidentied publisher, other than Wilhelm Hansen,
inden jul skal imdekommes. Brevet kommer specielt ind p
interested in buying the pieces and the need to hurry in order
det tredje af stykkerne:
to meet Hansens commitment to publish them by Christmas.

s
Arabesken er ny og er componeret med Jacobsen Digt Arabe-
This letter elaborates on the third piece:
ske for je. Alle Musikere kalder Stykkerne meget originale og

34
The Arabesque is new and composed with Jacobsens poem
mrchenhaft og en ung begavet, nsk Componist, Jernfeldt
Arabesque in mind. All musicians are calling the pieces highly
sagde en Dag at Arabesken var noget hlt Nyt i Musiken. Det er
original and mrchenhaft, and a gifted young Finnish com-
alle ganske smaa Stykker. Hvordan lyder de to frste Linier af
34
poser, Jernfeldt, said one day that the Arabeske is something
s
35
Jacobsen Digt? Er det ikke:
completely new in music. They are all quite short pieces. How
Har Du faret vild i de dybe Skove?
35
do the rst two lines of Jacobsens poem go? Isnt it:
Kjender Du Pan?
Have you gone astray in the deep woods?
De skulde nemlig staa som Motto over Arabesken.
36
Do you know Pan?

36
Im going to make that the motto for the Arabesque.

28 Niels Wivel (1855-1914), tegner. Brevet til Wilhelm
Hansen synes ikke at vre bevaret. Torben Schousboe,
op. cit., s. 24.
30 Wilhelm Hansens hndskrevne stikkerbog (DK-Kk)
anfrer ikke nogen prcis dato for udgivelsen.
32 Torben Schousboe, op. cit., s. 40. Adolf Brodsky (18511929), russisk-fdt violinist og grundlgger af den
frste Brodsky-Kvartet.
33 Grosserer (1855-1920), gudfader for Carl Nielsens ldste
datter, Irmelin.
34 Armas Jrnefelt, nsk-fdt dirigent og komponist (18691958); blev svensk statsborger i 1910.
35 J.P. Jacobsen (1847-1885), En Arabesk skrevet i 1862 og
udgivet i 1874.
36 Breve fra Carl Nielsen til Emil B. Sachs, Kbenhavn 1952, s.
16. Carl Nielsen citerer her forkert; den rette tekst fremgr af den trykte udgave (se s. 6 i nrvrende bind).

28 Niels Wivel (1855-1914), Danish illustrator. The letter
to Wilhelm Hansen appears not to survive. Torben
Schousboe, op. cit., p. 24.
30 Wilhelm Hansens handwritten lists of plate numbers
(DK-Kk) do not indicate any precise date for this edition.
32 Torben Schousboe, op. cit., p. 40. Adolf Brodsky (18511929), Russian-born violinist and founder of the rst
Brodsky Quartet.
33 Danish wholesaler (1855-1920), godfather to Nielsens
elder daughter, Irmelin.
34 Armas Jrnefelt, Finnish-born conductor and composer
(1869-1958); took Swedish nationality in 1910.
35 Jens Peter Jacobsen, Danish poet (1847-1885), En Arabesk,
written in 1862 and published in 1874.
36 Breve fra Carl Nielsen til Emil B. Sachs, Copenhagen 1952, p.
16. Nielsens version is slightly inaccurate; the correct
text appears in the printed edition (see p. 6 in the
present volume).
II_12_tekst 1.indd xiii
xiii
28/09/06 11:29:12
J.P. Jacobsens titel hentyder til den frie metrik snarere end til
digtets indhold. Carl Nielsens oprindelige titel Fanden knytter
an til Pan-skikkelsen og siger mske mere om stykkets karakter
The title of Jacobsens poem refers to the free versication rather
end den endelige titel.

Dagen efter at have skrevet til Sachs skrev Carl Niel-
than to the content. Nielsens rst heading for the piece, The
37
at arabesken var det
Devil, picks up on the gure of Pan and perhaps reveals more of
sen til sin gamle lrer Orla Rosenhoff
the character of the music than does the denitive title.
38
mest originale musik, han hidtil havde komponeret, hvortil
The day after his letter to Sachs, Nielsen wrote to his

37
former teacher Orla Rosenhoff, declaring that the arabesque
38
Rosenhoff seks dage senere svarede at han meget gerne ville

se et korrekturtryk af stykkerne med henblik p en kontrol af
was the most original thing he had composed. Writing back six
klaversatsen. Carl Nielsen lste korrektur den 14. december, og
days later, Rosenhoff expressed the wish to see the pieces in proof,
den flgende dag sendte han trykket til Rosenhoff.
39
Bortset fra de to stykker komponeret fr studierejsen
in order to check on the piano writing. Nielsen read the proof

39
on 14 December and sent it to Rosenhoff the following day.

Other than the two pieces composed before his
er der ikke overleveret nogen kladde eller renskrift af Fem Klaverstykker, selvom der er omfattende skitser til ere af dem. P Carl
grand tour, no continuous draft score or fair copy for the Five
Nielsen Museet i Odense opbevares komponistens eksemplar af
Piano Pieces appears to survive, though several of the pieces are
frstetrykket med hans egne blyantsrettelser (kilde A), og dette
extensively sketched. A copy of the rst edition with Nielsens
eksemplar danner hovedkilden for nrvrende udgave.

No 5, Alfedans, blev senere med titlen Elverdans gen-
pencilled emendations is housed in the Carl Nielsen Museum in

Odense (A), and this is the main source for the present edition.
No. 5, Elfs Dance, was later used, under the title
brugt i Carl Nielsens musik til Drachmanns skuespil Hr. Oluf han
rider fra 1906, her instrumenteret af Julius Rntgen og udvidet
Elverdans, in Nielsens music to Holger Drachmanns play Sir
med en 60 takters mellemdel med nyt musikalsk stof mellem
Oluf, he Rides (Hr. Oluf han rider) of 1906, there orchestrated by
40
klaverudgavens t. 48 og 49. I forbindelse med den trykte udgave
Julius Rntgen and expanded by a 60-bar middle section with
af re uddrag fra Hr. Oluf (Wilhelm Hansen 1906) transskriberede
40
new musical material between bb. 48 and 49. In connection
Carl Nielsen den udvidede version af satsen for klaver med bibe-
with the printed edition of four extracts from Hr. Oluf (Wil-
holdelse af den del af klaversatsen som gr tilbage til versionen
helm Hansen 1906) Nielsen transcribed the expanded version
fra opus 3. Den udvidede version fra Hr. Oluf er selvsagt ikke
of the movement for piano, keeping part of the piano texture
inddraget i nrvrende revision af opus 3, nr. 5, idet dog den
from the version in Op. 3. The expanded version from Hr. Oluf
nye mellemdel mellem t. 48 og 49 vil blive bragt i Carl Nielsen
is of course not included in the present edition of Op. 3, No.
Udgavens afsluttende bind, Juvenilia, Addenda et Corrigenda.
5, but the new middle section between bb. 48 and 49 will be

included in the nal volume of the edition, Juvenilia, Addenda
et Corrigenda.
SYMPHONISK SUITE, OPUS 8
SYMPHONIC SUITE, OPUS 8
omposition of the Symphonic Suite followed on from the
rbejdet med Symphonisk Suite fulgte umiddelbart efter

den meget store succes som Carl Nielsen havde oplevet
med frsteopfrelsen af sin frste symfoni den 14.
marts 1894. Anden sats er dateret 23. maj 1894 og frste sats
hugely successful premiere of Nielsens First Sym-
1. august 1894 p Gjorslev Bgeskov ved Store Heddinge p
phony on 14 March 1894. The second movement is
Stevns hvor Carl Nielsen arbejdede i et lejet bondehus, mens
dated 23 May 1894, the rst 1 August 1894 at Gjorslev Bgeskov
hustruen, billedhuggeren, foretog dyrestudier med henblik p
at Store Heddinge in Stevns (Zealand), where Nielsen worked in
41
fremtidige skulpturer; hun udarbejdede ogs forsiden til den
a rented farmhouse, while his sculptress wife was making stud41

ies of animals (she eventually made the design for the front
37 Komponist og pdagog (1844-1905).

38 Jf. Irmelin Eggert Mller og Torben Meyer (udg.), Carl
Nielsens Breve, Kbenhavn 1954, s. 15.
40 Se forord til Carl Nielsen, Vrker. Udgivet af Carl Nielsen
Udgaven, Det Kongelige Bibliotek. Serie I. Bind 7.
Udgivet af Peter Hauge, Kbenhavn 2006.
37 Danish composer and pedagogue (1844-1905).

38 Cf. Irmelin Eggert Mller & Torben Meyer (eds.), Carl
Nielsens Breve, Copenhagen 1954, p. 15.
40 See preface to Carl Nielsen, Works. Published by the Carl
Nielsen Edition, The Royal Library. Series I. Volume 7.
Edited by Peter Hauge, Copenhagen 2006.
II_12_tekst 1.indd xiv
xiv
28/09/06 11:29:12
trykte udgave af suiten.42 Tilbage i Kbenhavn fuldfrte han

nalen i slutningen af august.
43
I et brev til hustruen44 fra Dresden den 17. november

42
cover of the rst published edition ). Back in Copenhagen he
was working on the nale towards the end of August.
43
meddelte han at det ikke var lykkedes ham at mdes med

Brahms i Wien, men at han havde efterladt manuskriptet i den
45
bermte mands hus; der foreligger dog ingen vidnesbyrd om
44
On 17 November he reported to his wife from

Dresden that having failed to meet Brahms in Vienna, he had
45
left the manuscript of the Suite at the great mans house; but
hvilket indtryk vrket gjorde p Brahms p trods af Nielsens

46
anmodninger om en udtalelse i et brev fra den 18. december.

47
Som svar p en anmodning fra Klaus Berntsen om
there is no record of Brahmss impressions of the work, despite

Nielsens prompting in a letter of 18 December.
46
A revealing letter from Nielsen to Klaus Berntsen47 of
at gre rede for detaljer i den kompositoriske proces og for indholdet af sin musik i almindelighed, gav Carl Nielsen den 24.
24 May 1905, in response to a request for details of his working
maj 1905 en indgende redegrelse for arbejdet med Hymnus
methods and the content of his music in general, discusses
amoris, De Fire Temperamenter, Helios, Saul og David og Symphonisk
Hymnus amoris, The Four Temperaments, Helios, Saul and David and
Suite; om sidstnvnte hedder det:
the Symphonic Suite; about the last-named he says:

I et af mine Claverstykker (Intonation i Symfonisk Suite) har
In one of my piano pieces (Intonation in the Symphonic
jeg ladet mig paavirke af et stort, gammelt Egetr ved Gjorslev.
Suite) I allowed myself to be affected by a big old oak tree in
Jeg gik i de Dage, jeg skrev Stykket, hver Dag til Tret og
Gjorslev. During the period when I was writing the piece I went
modtog et strkt Indtryk, som jeg saa prvede at gjengive i en
every day to the tree and received a strong impression, which
Rkke kraftige Accordflger i det nvnte Stykke.
48
I then tried to reproduce in a succession of powerful chord

48
progressions in the aforementioned piece.
Senere erindrede Carl Nielsen tiden omkring kompositionen af

Symphonisk Suite som en af sine lykkeligste, sledes som han be-
Nielsen would later remember the time of composition of the
skrev det i et af sine mest intense breve til hustruen fra tiden om-
Symphonic Suite as one of his happiest, as he wrote in one of his
kring deres gteskabelige krise: Jeg synes det var en lang dejlig
most intense letters to his wife, from the time of their marital
og ren Tid og jeg vil nu dyrke alle mine Arbejder fra den Tid.
49
Den frste offentlige fremfrelse blev givet den 4.
crisis: I think that was a long, marvellous and pure time, and I
now want to devote my time to the study of all my works from
50
maj 1895 i Koncertpalets Mindre Sal af komponist og pianist
49
Louis Glass ved den tolvte og sidste koncert i musikforeningen
The rst public performance was given on 4 May
51
Symphonia sammen med kvartetter af Glass og Gustav Hel-
that time.
1895 by composer-pianist Louis Glass at the twelfth and last
52
sted og sange af Carl Nielsen. Det trykte program indeholdt
50
concert of the organisation Symphonia, alongside quartets by
en introduktion til vrket med re korte musikeksempler,
51
Glass and Gustav Helsted and songs by Nielsen, in the lesser
formentlig skrevet af eller i samrd med Carl Nielsen uden at
52
hall of the Koncertpal. The concert programme included an
dette dog fremgr af programmet:
introduction to the work, with four short musical examples;

this note is uncredited but was presumably written by, or in
42
43
44
45
46
consultation with, the composer:
42
43
44
45
46
47
48
49
50
51
52
Torben Schousboe, op. cit., p. 146.

Torben Schousboe, op. cit., p. 88.
Anne Marie Carl-Nielsen, ne Brodersen, (1863-1945).
Torben Schousboe, op. cit., pp. 123-124.
Cf. Irmelin Eggert Mller & Torben Meyer, op. cit., pp.
26-27.
Danish educationalist and politician (1844-1927).
Original in Carl Nielsen Museet, Odense; copy in DK-Kk.
Letter of 31.5.1916, DK-Kk, CNA, II.A.a.
For more information on this society, founded in 1889
as a showcase for young Danish composers, see Torben
Schousboe, Foreningen Symfonia sin tids DuT,
Dansk Musiktidsskrift, vol. 46 (1970), pp. 156-168.
Danish composer and organist (1857-1924).
In 1900 the Koncertpal was taken over by the OddFellow Order, and the building changed its name from
Koncertpalet to Odd-Fellow Palet.
II_12_tekst 1.indd xv
47
48
49
50
51
52
Torben Schousboe, op. cit., s. 146.

Torben Schousboe, op. cit., s. 88.
Anne Marie Carl-Nielsen, fdt Brodersen, (1863-1945).
Torben Schousboe, op. cit., s. 123-124.
Cf. Irmelin Eggert Mller og Torben Meyer, op. cit., s.
26-27.
Hjskolemand og politiker (1844-1927).
Original i Carl Nielsen Museet, Odense; kopi i DK-Kk.
Brev af 31.5.1916, DK-Kk, CNA II.A.a.
I 1900 blev Koncertpalet overtaget af Odd-Fellow-ordenen. Koncertpalet og Odd-Fellow Palet refererer sledes
til den samme bygning.
Foreningen blev grundlagt i 1889 som et udstillingsvindue for unge danske komponister, se Torben Schousboe,
Foreningen Symfonia sin tids DuT, Dansk Musiktidsskrift, rg. 46 (1970), s. 156-168.
Komponist og organist (1857-1924).
xv
20/09/06 9:37:04
I. Kompositionen indledes med en Sats i d moll, som i brede

og tunge Accordflger fastholder n Tanke, n Stemning og n
eneste Nuance (
) fra frste til sidste Node.
II. Anden Sats begynder i en ubestemmelig Toneart,
I. The composition begins with a movement in D minor, which

in its broad and heavy chord progressions maintains a single
men glider snart umrkeligt over i Hovedtonearten ( f Dur),
thought, mood and nuance (
medens Melodien fres videre, understttet af rolige Sextgange
) from rst note to last.
II. The second movement begins in an undened tonal-
i venstre Haand:
ity, but soon slips unnoticeably into the main key of F major,
Quasi Allegretto
& b 43 b
P
? b 43
b
while the melody continues, supported by peaceful sixths in

the left hand:
>
j

n
Quasi Allegretto
& b 43 b
P
? b 43
b
>
j

n
I Mellemsatsen griber Bassen en Stump af Hovedmotivet

?
In the central section the bass takes up a fragment of the main

og paa mangfoldig Vis voxer og udvikles denne Tanke indtil
motif
?
Hovedmotivet atter indtrder og Satsen slutter omtrent som

den begyndte.
III. Themaet begynder stilfrdigt i D Dur og spinder
and in manifold ways this thought grows and develops until the
sig videre og videre i Stigen og Falden indtil Afslutningen i
main motif re-enters and the movement concludes more or less
Tonearten. Efter en kort Overgang indtrder et nyt Thema i
as it began.
s moll:
- - - - #
& # c #
? # # c #
III. The theme begins gently in D major and spins

itself out in ascents and descents until the conclusion in this key.
After a short transition, a new theme enters in F sharp minor
j# n
- - - - #
& # c # # ... ## # n ## #

#
#
? ## c #
j
.. # #
. # #
n #
n # #
#
som gjennem contrapunktiske Combinationer og strke Modulationer faar en indgaaende Behandling. Omsider kommer man
tilbage til Hovedthemaet som optrder i ny Skikkelse og nye
which is thoroughly worked out in contrapuntal combinations
Tonearter indtil endelig en bred Coda frer til Slutningen.

IV. Finalens Motiv
and strong modulations. At length we come back to the main

theme, which enters in new guise and new tonalities until nally
a broad coda leads to the conclusion.
IV. The nales motif
##
& # C n
P
Allegro
n #
##
& # C n
P
Allegro
n #
famler og sger i Lb og Syncoper, indtil pludselig Themaet

fra 1ste Sats med sine tunge Accorder bryder frem for strax
igjen at blive fortrngt af Motiver fra 2den og 3die Sats, som
searches tentatively in runs and syncopations, until suddenly
snart optrde enkeltvis snart sammen. Finale-Motivet faar
the theme from the rst movement with its heavy chords
atter Overhaand og efter endnu en Afbrydelse slutter Satsen
bursts forth, only to be displaced immediately by motifs from
i A Dur.
53
the second and third movements, appearing sometimes separately, sometimes together. The nale motif once more gains
53 Program i DK-Kk, ogs citeret i John Fellow (udg.), Carl

Nielsen til sin samtid, Kbenhavn 1999, s. 31-33.
the upper hand and, after yet another interruption, ends the
movement in A major.
53
53 Programme in DK-Kk, also reproduced in John Fellow

(ed.), Carl Nielsen til sin samtid, Copenhagen 1999, pp.
31-33.
II_12_tekst 1.indd xvi
xvi
16/09/06 15:32:41
Titelbladet p den trykte udgave brer, udover en tilegnelse

54
til Victor Bendix, et motto hentet fra nr. 77 i Goethes Veneti-
anske epigrammer fra 1790: Ach, die zrtlichen Herzen! Ein

A motto from No. 77 of Goethes Venetian Epigrams (1790)
Pfuscher vermag sie zu rhren. I den originale sammenhng
appears at the front of the score, with a dedication to Victor
forholder digteren sig foragteligt til pstanden om, at det skulle
54
Bendix: Ach, die zrtlichen Herzen! Ein Pfuscher vermag sie
vre et dlere forehavende at rre et flsomt hjerte end at
zu rhren (Ah, those tender hearts! A bungler could stir them).
hengive sig til naturvidenskabelige sysler s som botanik og
In the original context the speaker is responding, disdain-
ophthalmology. Hvorvidt denne sammenhng har foresvvet
fully, to the suggestion that it is more noble to stir a tender
Carl Nielsen da han valgte de pgldende linjer som motto, la-
heart than to give oneself over to the natural sciences, such as
der sig ikke afgre, men de str i klar forlngelse af hans mod-
botany and ophthalmology. Whether that context is relevant
stand mod det, som han betragtede som bldheden i sin egen
to Nielsens purpose in citing his chosen lines is impossible
tids musik, og det var sdan de blev forstet af hans samtid.
to determine. At any rate those lines are consistent with his
Faktisk har Symphonisk Suite opnet en form for ikon-status som
antipathy towards what he regarded as the softness of much
et antiromantisk og dermed modernistisk manifest p trods
music of his time, and it was in this sense that they were un-
af Carl Nielsens mangel p interesse for den slags udtryk.
55
Mottoet fra Goethe er ikke gengivet i programnoten
derstood in his lifetime. Indeed the Symphonic Suite as a whole

retained an iconic status as an anti-romantic, therefore even
fra frsteopfrelsen, men er muligvis blevet meddelt mundtligt
proto-modernist, declaration, despite Nielsens lack of interest
ved koncerten, eftersom i hvert fald en enkelt af anmelderne
55
omtaler det. Mange af anmelderne fandt vrket forceret og
in such terminology.
The Goethe motto is not reproduced in the pro-
forskruet; netop sdanne udtryk skulle fremover blive hyppigt
gramme note for the premiere, but it may have been an-
brugte nr det kom til den kritiske modtagelse af Carl Nielsens
nounced verbally, since at least one of the reviews mentions it.
tidlige vrker.
I Politiken roste B. koncertens overordnede program-
Many of the critics on this occasion found the work to be forced

and contrived; this would become a routine observation in the
lgning og de udvendes entusiasme og fremhvdede isr
critical reception of Nielsens early works.
Glass prsentation af Nielsens fra Indholdets og Teknikens
In Politiken, B. praised the general concept of the

event and the dedication of the performances, singling out
Side lige vanskelige Suite. Anmelderen tilbageholdt sin vurdering af de tre hovedvrker, men bemrkede:
Glasss advocacy of Nielsens in content and technique equally

difcult Suite. The reviewer postponed his verdict on the three
Mrkeligt, men ogsaa vanskeligt at faa fat paa var Carl Nielsens
main works, but noted:
Suite, et Arbejde, af hvilket der staar Gnister som af den mejs-
Remarkable, but also difcult to grasp was Carl
lende Hammer, der vidner om Komponistens Kundskabsfylde
Nielsens Suite, a work from which sparks y as if from a chisel-
og Sans for at udfolde den, men vistnok for meget et Viljes-
ling hammer, which testies to the composers craftsmanship
arbejde. Noget savner man Stemning i de vldige Tonemasser,
and ability to present it, but perhaps also to too much work on
hvormed Suiten tumler.
56
the part of his will. One misses some sense of atmosphere amid
56
the masses of notes in which the Suite abounds.
M. fra Aftenbladet var stort set enig:
M. of Aftenbladet was in broad agreement:
Den paaflgende Symfonisk Klaversuite af Carl Nielsen spilledes fortrffeligt af Hr. Glass. Det frste Stykke Intonation var
The succeeding Symphonic Piano Suite by Carl Nielsen was
kraftigt og klart som en fast Mandsvillie og lovede mere end
splendidly played by Mr. Glass. The rst piece, Intonation, was

powerful and clear like a rm mans will and promised more
54 Komponist, pianist og dirigent (1851-1926).

55 Jf. Hans Trsleff, Carl Nielsen og Modernismen, i
John Fellow (1999), op. cit., s. 616-619 (oprindeligt trykt i
Dagbladet [Oslo], 6.10.1931).
56 Politiken, 5.5.1895.
54 Danish composer, pianist and conductor (1851-1926).

55 Cf. Hans Trsleff, Carl Nielsen og Modernismen, in
John Fellow (1999), op. cit., pp. 616-619 (original article
in Dagbladet [Oslo], 6.10.1931).
56 Politiken, 5.5.1895.
II_12_tekst 1.indd xvii
xvii
16/09/06 15:32:42
den vrige Del af Suiten holdt. Publikum formaaede vel at nde

den paaflgende Allegretto interessant, men gjennemgaaende
var det for svrt at flge den meget talentfulde Komponist paa
hans Muses hjst vildsomme Flugt.
than the rest of the Suite delivered. The audience seemed to
57
nd the succeeding Allegretto interesting, but throughout it

En usigneret anmeldelse i Adresse Avisen ppegede at Nielsen,
was hard to follow the very talented composer in his muses

57
Glass og Gustav Helsted var de dominerende navne ved Sympho-
extremely wild ight.
nias koncerter og udtrykte hb om, at den kommende sson

In an uncredited review, Adresse Avisen noted that Nielsen, Glass
ville udvise strre variation: Hr. Nielsen forbausede nrmest ved
and Gustav Helsted were the dominant names in Symphonias
en toccata-lignende Symphonisk Suite i re Afdelinger for Piano,
concerts and hoped that the following season would bring
udfrt af Hr. Glass. Den var under alle Forhold ingen renslyst.
58
more variety: Mr Nielsen nearly dumbfounded us with a

toccata-like Symphonic Suite for piano in four movements, performed by Mr. Glass. It was by no means a feast for the ears.
58
I Avisen, ligeledes i en usigneret anmeldelse, krvedes mere

variation i programmerne, ligesom det bemrkedes at publikumstilstrmningen var begrnset. Det hvdedes ogs at alle
The review in Avisen, also uncredited, likewise craved more va-
tre komponister manglede streng Struktur og indre organisk
riety of names on the programme and noted that the audience
Sammenhng i Kompositionen. [] Hr. Louis Glass foredrog
was not numerous; it also claimed that the three composers all
Carl Nielsens symfoniske Pianosuite med stor Energi. Den stor-
lacked strong structure and inner organic relationships in
slaaede Kontrapunktik i dette Vrk, der tilsyneladende kaotisk
their work. [] Mr. Louis Glass performed Carl Nielsens Sym-
taarner sine dristige Harmonier, fordrer sikkert at hres ere
phonic Suite with great energy. The grandiose counterpoint
Gange for fuldt at forstaaes.
I Kbenhavn er Sophus Andersen enig i at koncerten
in this work, which piles up its harsh harmonies seemingly

chaotically, certainly demands to be heard several times in
order to be fully understood.
59
59
havde fortjent et strre publikum, men hftede sig ogs ved

den lidet indsmigrende karakter der er over megen musik af
For Kbenhavn, Sophus Andersen agreed that the
Carl Nielsen:
concert deserved a larger audience but also noted the uningraHr. Carl Nielsens symfoniske Suite for Klaver, udmrker sig
tiating nature of Nielsens work.
ved en hensynsls Energi, der virker imponerende mere end

Mr. Carl Nielsens Symphonic Suite for piano is distinguished
fngslende. Man mrker i den Orkesterkomponisten, ti den
by an uninhibited energy, which has a more imposing than
fles mere som et Klaverarrangement af et Orkesterarbejde end
captivating effect. One discerns in it the hand of an orchestral
som Klaverstykke.
60
composer, in that it feels more like a piano arrangement of an

60
orchestral work than a piano piece.
I Berlingske Tidende modsiger H.V. Schytte sine kolleger ved at

hvde at salen var ret godt besat med Tilhrere. Med henvis-
In Berlingske Tidende, H.V. Schytte contradicted his colleagues
ning til Goethes motto fortstter han:
by claiming that the hall was well lled. Noting the Goethe
Dette Componistens Opus 8, har, som man af disse tydske
motto, he went on:
Ord kunde vente, et meget alvorsfuldt Physiognomi. Ei blot

This composers Opus 8 has, as we might expect from those
61
til Lyst vilde vre altfor imdekommende Ord. Naar blot
German words, a very serious physiognomy. Not only for

61
pleasure would be much too attering. If we were to cross
57
58
59
60
61
Aftenbladet, 6.5.1895.
Adresse-Avisen, 6.5.1895.
Avisen, 5.5.1895.
Kbenhavn, 7.5.1895.
Ei blot til Lyst, motto above the curtain of the Royal
Theatre since 1774 (when it was introduced by the
then director of the theatre, Jacobi) and still today; in
the years 1798-1817 it was replaced by the Latin motto
Castigat ridendo mores (criticises customs through
humour).
II_12_tekst 1.indd xviii
57
58
59
60
61
Aftenbladet, 6.5.1895.
Adresse-Avisen, 6.5.1895.
Avisen, 5.5.1895.
Kbenhavn, 7.5.1895.
Mottoet over Det Kongelige Teaters fortppe som kan
ses den dag i dag, blev indfrt i 1774 af den davrende
teaterdirektr Jacobi. I rene 1798-1817 var det erstattet
af det latinske motto Castigat ridendo mores (revser
sderne ved at more).
xviii
28/09/06 11:29:13
stryges, passe Ordene til denne Symphoni for Claveer, som i Hr.
Glass havde en beundringsvrdig Fortolker. Den paa harmonisk
og contrapuntisk Kunst vsentligst baserede, hjst vanskelige
out only, those words would apply to this symphony for
og indviklede, i Grunden slet ikke claveermssige Composition
piano, which in Mr. Glass had an admirable interpreter.
blev spillet med en Overlegenhed, Klarhed og Energi, der maatte
This com position based essentially on harmonic and
vkke Respect. Hr. Glass, der er saa optagen af anden Virksomhed,
contrapuntal art, extremely difcult and complicated,
at hans Tid til selv at dyrke Claveerspillet maa vre temmelig
fundamentally non-pianistic was played with a conviction,
knap, gjorde ved at foredrage dette eiendomelige Vrk udenad
clarity and energy that should command respect. In per-
et Kunststykke, som vi ville see, om Nogen gjr ham efter. At
forming this original work from memory, Mr. Glass, who is
Componisten ikke er nogen Pfuscher har han her ligesom saa
so occupied with other activities that his time for playing
ofte tidligere godtgjort, medens hans Ringeagt for die zrtli-
the piano must be rather limited, achieved such a feat as
chen Herzen i dette nye Opus synes at gaae noget for vidt.
62
we will have to wait and see if anyone can emulate. That

the composer is no bungler he has likewise often proved
Den 3. februar 1898 blev suiten opfrt sammen med frsteop-
earlier, while his disdain for the tender hearts may have
63
frelsen af Humoreske-Bagateller af Adolfa Johnsson i Koncert-
gone a little too far in this new opus.
64
Palets Mindre Sal ved en velbesgt koncert som Carl Nielsen
62
jensynligt frst havde planlagt skulle nde sted 14 dage

On 3 February 1898 the Suite was performed, along with the
forinden, og som ogs indeholdt hans g moll strygekvartet og
63
premiere of the Humoresque-Bagatelles, by Adolfa Johnsson in
65
violinsonaten i A dur. I et brev to dage senere takkede han
64
the Koncertpals lesser hall, a well-attended concert that
Johnsson for hendes udfrelse.
66
P dette tidspunkt var kritikken endnu ikke blevet
Nielsen had apparently only decided upon a fortnight earlier,

and which also included his G minor String Quartet and A
mrkbart formildet. I Nationaltidende beskrev Gustav Hetsch det
65
major Violin Sonata. In a letter two days later he thanked
som han kaldte Nielsens Frygt for at blive almindelig. Flgelig
Johnsson for her performances.
66
og uden at nvne vrket placerede han suiten i en overgangs-
Critical reception had not noticeably mellowed by
periode hvori Komponisten har gjort sig Livet surt under
this stage. Gustav Hetsch in Nationaltidende mentioned what he
67
Anfgtelser, Grublerier og Experimenter. Efter at have kaldt
considered to be Nielsens fear of being ordinary. By implica-
violinsonaten et lidet taknemmeligt Arbejde for de udvende
tion, and without naming the piece, he placed the Suite in a
bemrker Nanna Liebmann i Dannebrog at Den inke unge
transitional period in which the composer has made his life
Pianistinde Frk. Adolfa Johnsson havde heller ikke stor Glde af
sour by attacks, broodings and experiments. After calling the
68
den kjedsommelige Klaversuite. I Politiken s Charles Kjerulf
Violin Sonata a somewhat thankless task for the performers,
koncerten med kun n komponist p programmet som et symp-
Nanna Liebmann in Dannebrog commented that The skilful
tom p Carl Nielsens usikkerhed omkring sin egen position.
young pianist Miss Adolfa Johnsson had scarcely any more joy
Den mildest talt uhandelige suite slog han i hartkorn med
67
68
with the tedious Piano Suite. In Politiken Charles Kjerulf took
violinsonaten og beskrev de to vrker som i Virkeligheden kun
the single-composer evening as a symptom of Nielsens inse-
undtagelsesvis Musik, som Regel Node-Eksperimenter, der ikke
curity about his reputation. Calling the suite to say the least
frembringer andet Resultat end Tomhed og Kedsommelighed.
69
awkward, he lumped it in with the Violin Sonata as for the

most part not really music; on the whole merely note-experi-
62
63
64
65
66
67
68
69
69
ments, leading only to emptiness and boredom.
62
63
64
65
66
67
68
69
Berlingske Tidende (Aftenblad), 6.5.1895.

Danish pianist (1867-1961).
Torben Schousboe (1983), op. cit., pp. 146, 154.
Torben Schousboe (1983), op. cit., p. 152.
DK-Kk, CNA I.A.c.
Nationaltidende, 4.2.1898.
Dannebrog, 4.2.1898.
Politiken, 4.2.1898.
II_12_tekst 1.indd xix
Berlingske Tidende (Aftenblad), 6.5.1895.

Pianist (1867-1961).
Torben Schousboe (1983), op. cit., s. 146, 154.
Torben Schousboe (1983), op. cit., s. 152.
DK-Kk, CNA I.A.c.
xix
16/09/06 15:32:42
Omkring 1907 havde Symphonisk Suite imidlertid

efterhnden opnet en fast plads i dansk koncertliv, selvom
musikkritikken vedblev at vre negativ. Vrket optrdte p
By 1907, the Symphonic Suite was nevertheless well
endnu en Carl Nielsen-koncert den 30. November, efter hvilken
established in Danish concert life. Critical response in the press
Charles Kjerulf p dette tidspunkt en kritiker med betydelig
continued to be unfavourable, however. The work featured in
indydelse udtalte sig i strke vendinger. Han kritiserede
another evening devoted to Nielsens music on 30 November,
komponisten for hans nye strygekvartet i F dur (opus 44), men
and the review by Charles Kjerulf by then a critic of consider-
roste hans sange (herunder Jens Vejmand) som eksempel p
able inuence was eloquent in its rejection. Kjerulf berated
musik han ville nske Carl Nielsen havde skrevet noget mere af.
the composer for his new F major String Quartet (Op. 44) but
Med noget skarpere pen og ikke ganske opdateret med hensyn
praised his songs (including the then brand-new Jens Vejmand)
til kronologien fortsatte Kjerulf:
as an example of the music he would have liked Nielsen to

compose more of. Sharpening his pen, and perhaps not wholly
Selvflgelig fortrd han det ogsaa straks, og vi k ... den sym-
informed as to the correct chronology, Kjerulf continued:
foniske Suite for Klaver, der adskillige Gang[e] fr har vret

fremfrt offentligt. Den har til Motto Ach, die zrtlichen Her-
Of course he immediately repented, and we got ... the Sym-
zen! Ein Phuscher vermag sie zu rhren. De stakkels Fuskere,
phonic Suite for Piano, which has been publicly performed
der har vovet at rre flsomme Musik-Hjerter. Skam Jer, Mozart
many times. It has the motto Ah, those tender hearts! A
og Haydn, Wagner og Tschaikowsky! Hvorfor ikke tage endnu
bungler could stir them. Those poor bunglers, who have dared
et tysk Sprikwort til Hjlp til Forstaaelsen af denne kakofo-
to stir sensitive musical souls. Shame on you, Mozart, Haydn,
niske Suite: Nur die Lumpen sind bescheiden. Hr. Henrik
Wagner and Tchaikovsky! Why not look for another German
Knudsen spillede den med ypperste, mest fanatiske Hengivelse
motto to help us understand this cacophonic Suite: Only
... udenad. End ikke det rrte Tilhrerne synderligt.
70
fools are modest. Mr Henrik Knudsen played it with the most

outstanding, the most fanatical dedication, from memory. Lets
hope it did not stir the audience too much.
70
Mindre sarkastisk, men med samme udgangspunkt, bemrkede

Alfred Tofft i Berlingske Tidende at Koncertpaets Mindre Sal nsten var fuld. Idet han fandt den ny kvartet eksperimenterende
Less sarcastically, but from a similar point of view, Alfred Tofft
og alt for optaget af ikke at vre uinteressant, gentog han den
in Berlingske Tidende noted that the lesser hall in the Koncert-
almindelige vurdering af Symphonisk Suite som ikke taknem-
pal was nearly full. Finding the new Quartet experimental
lig og sluttede med at tilrde Carl Nielsen at komponere fra
and anxious not to be uninteresting, he echoed the general
Hjertet som i de stroske sange og korene der var blevet opfrt
view of the Symphonic Suite as ungrateful, ending with advice
ved samme koncert, uden Frygt for at komme for langt bort fra
to Nielsen to continue to write from the heart, as in the
sig selv.
71
Den indledende Intonation blev arrangeret for
strophic songs and choruses performed at the concert, with71
out fear of getting too far away from himself.
The opening movement, Intonation, was arranged

72
for organ by Paul Gerhardt and published by Wilhelm Hansen
72
orgel af Paul Gerhardt og udgivet hos Wilhelm Hansen i en
73
samling, redigeret af Gerhardt og Max Reger. Det vides ikke
om Carl Nielsen havde nogen andel i dette projekt.
73
in a collection jointly edited by Gerhardt and Max Reger. It is
not known whether Nielsen had any input into this project.
Kildematerialet til Symphonisk Suite bestr af skitser, kladder

(C) og renskrift, der ogs tjente som trykforlg (B). Som det er
Source material for the Symphonic Suite consists of sketches, drafts
tilfldet med de fem klaverstykker opus 3, er Carl Nielsens eget
(C) and a fair copy that served also as printing manuscript (B). As
eksemplar af frstetrykket valgt som hovedkilde (A).
with the Five Pieces Op. 3, Nielsens own copy of the rst printed
edition survives and has been chosen as the main source (A).
70 Politiken, 1.12.1907. Goethe-citatet fortstter: Brave

freuen sich der Tat.
71 Berlingske Tidende Aftenblad 2.12.1907.
72 Tysk organist (1867-1946).
73 Album Nordischer Komponisten fr Orgel, bd. 2, s. 44-45,
Kopenhagen 1921.
70 Politiken, 1.12.1907. The motto from Goethe continues

Brave freuen sich der Tat (Virtuous men take joy in
action).
71 Berlingske Tidende Aftenblad 2.12.1907.
72 German organist (1867-1946).
73 Album Nordischer Komponisten fr Orgel, vol. 2, pp. 44-45,
Copenhagen 1921.
II_12_tekst 1.indd xx
xx
16/09/06 15:32:43
HUMORESKE-BAGATELLER, OPUS 11
HUMORESQUE-BAGATELLES, OPUS 11
ittle is known of the genesis of the six pieces that make
er er ikke overleveret megen viden om tilblivelsen

af de seks stykker som udgr Carl Nielsens opus 11,
selvom den almindelige antagelse er at de blev
skrevet med henblik p familiens unge (dtrene Irmelin og
up Nielsens Op.11, though it is generally assumed that
Anne Marie og snnen Hans Brge, fdt henholdsvis 1891,
they were written with his young family in mind (his
1893 og 1895).
Den tidligste dokumenterede omtale af Humoreske-
daughters Irmelin and Anne Marie and his son Hans Brge,
born in 1891, 1893 and 1895, respectively). The rst docu-
Bagateller er et brev til hustruen af 12. maj 1897, samme dag
mented mention of the Humoresque-Bagatelles is a letter from
som slutdatoen p manuskriptet, hvor Nielsen skriver at han
the composer to his wife on 12 May 1897, the same day as the
har solgt de seks smaa Klaver Stykker sammen med kantaten
completion date on the manuscript, where Nielsen writes that
74
Hymnus amoris til Wilhelm Hansen for 650 kroner i alt. Som
he has sold the six little piano pieces, along with the Cantata
det var tilfldet med Symphonisk Suite, udfrte hans hustru
74
Hymnus amoris, to Wilhelm Hansen for 650 kroner in total. As
75
titelbladet, som viser deres tre legende brn. Den 6. januar
with the Symphonic Suite, his wife made the title page, which
1898 kan han notere i sin dagbog at Humoreske-Bagateller er
in the case of the Humoresque-Bagatelles depicts their children
blevet udgivet til jul.
76
75
playing. On 6 January 1898 he noted in his diary that the
Humoresque-Bagatelles had been published at Christmas.
76
Neither Charles Kjerulf nor Nanna Liebmann had
Hverken Charles Kjerulf eller Nanna Liebmann havde

meget at sige om stykkerne ved deres frsteopfrelse af Adolfa
Johnsson den 3. februar 1898. Frstnvnte bemrker blot at Hu-
much to say about the pieces at their rst performances, which
moreske-Bagateller er egenlig ikke paa deres Plads i en Koncert-
was given by Adolfa Johnsson on 3 February 1898. The former
sal. Det er Stykker i Smag med Schumanns Brne-Scener, men
merely noted that the Humoresque-Bagatelles are actually out of
77
langt mere rafneret naivt gjorte, mens Nanna Liebmann an-
place in the concert hall. They are pieces on the lines of Schu-
frer at pianisten i sammenligning med det utaknemmelige job
manns Kinderszenen, but in a much more rened-nave man-
med udfrelsen af Symphonisk Suite tog siden Revanche med de
ner, while Nanna Liebmann commented that by comparison
78
morsomme Humoreske-Bagateller . Gustav Hetsch fastslog at
with the thankless task of the Symphonic Suite, the pianist took
Adolfa Johnsson skilte sig nydelig fra de i et Lune henkastede
77
78
her revenge with the amusing Humoresque-Bagatelles. Gustav
Humoreske-Bagateller, der synes at vre bestemte for Brn
Hetsch reckoned that Adolfa Johnsson acquitted herself nicely
79
paa 30 Aar. Som nvnt ovenfor (s. x) spillede Carl Nielsen selv
in the capriciously dashed off Humoresque-Bagatelles, which
Humoreske-Bagateller offentligt et par r senere i forbindelse med
79
seemed to be intended for children of 30 years. As mentioned
en teaterforestilling p Svendborg Teater.

P et tidspunkt mellem 1920 og 1924 (formentlig
above (p. x) Nielsen himself played his Humoresque-Bagatelles in

public a few years later during a theatrical performance at the
nrmere frstnvnte rstal) foretog Carl Nielsen en privat
Svendborg Theatre.
indspilning p den tidligere omtalte voksvalse af Dukke-Marsch
At some time between December 1920 and 1924
(No. 5), mens han var p besg hos vennerne Vera og Carl Johan
(probably nearer to the earlier date), Nielsen made a private re-
Michaelsen. Indspilningskvaliteten er yderst ringe, og det er
cording on wax cylinder of the Puppet March (No. 5) at the home
nppe muligt at drage nogen konklusion med hensyn til kom-
of his friends Vera and Carl Johan Michaelsen. The sound qual-
ponistens klaverspil eller hans foretrukne udfrelse af stykket.
ity is poor, and given the circumstances in which the recording
Tempoet er lidt roligere end man normalt hrer det (udfrelsen
was made, it is scarcely possible to draw any conclusions about
varer 1 minut og 24 sekunder), venstre hnds staccati er slret
the composers playing or his preferred manner of interpretation. Nielsens tempo is a little steadier than usually heard (the
74
75
76
77
78
79
performance takes 1 minute 24 seconds), the left hand staccatos
74
75
76
77
78
79

Torben Schousboe (1983), op. cit., pp. 146, 151.
II_12_tekst 1.indd xxi

Torben Schousboe (1983), op. cit., s. 146, 151.
xxi
16/09/06 15:32:43
af pedalen, og der er et memorerings-udfald ved takterne 21-23.

Valsen bender sig p Statsbiblioteket i rhus som har forestet
en kompliceret restaurerings-indsats og udgivet resultatet p
are disguised by pedal, and he has a lapse of memory in bb.21-
compact disc (kilde E).
80
23. The cylinder is housed at the State and University Library,

rhus, which initiated the complex restoration process and
80
Der er overleveret blyantsskitser (C) og renskrift (B) sidstnvnte som trykforlg for den frste trykte udgave. Komponi-
issued the results on compact disc (source E).
stens eksemplar af frstetrykket med egne ptegninger i tre af

Surviving manuscript sources consist of pencil sketches (C) and
stykkerne (A) er bevaret i Carl Nielsen Museet i Odense og har
an ink fair copy (B) which also served as printing manuscript.
tjent som hovedkilde for nrvrende udgave.
The composers copy of the rst printing (A), with his own annotations in three of the pieces, is in the Carl Nielsen Museum,
Odense, and is taken as the main source.
FEST-PRLUDIUM VED AARHUNDREDSKIFTET
FESTIVAL PRELUDE FOR THE NEW CENTURY
er ndes ingen dokumentation for baggrunden for

Carl Nielsens arbejde med Fest-Prludium. Stykket blev
81
tilegnet vennen Jens Ferdinand Willumsen og blev
here is no documentary source describing the back-
frste gang offentliggjort p forsiden af Politiken nytrsdag 1901
ground to Nielsens work on the Festival Prelude. The
82
som faksimile i komponistens egen hnd. Frsteopfrelsen
piece was dedicated to his friend, Jens Ferdinand Willum-
83
ved Dagmar Borup fandt sted i Odd Fellow-Palets Mindre Sal
sen, and was rst published on the front page of Politiken on
84
den 4. marts 1901. Stykket er siden blevet arrangeret for orgel
82
New Years Day 1901. Its rst public performance was given
(mindst to gange) samt for andre instrumenter.
81
83
84
Politikens Charles Kjerulf giver en kort omtale af
by Dagmar Borup at the Koncertpal on 4 March 1901. It

has been variously arranged for organ (at least twice) and other
85
85
stykket i forbindelse med sin anmeldelse af hele koncerten; om

Dagmar Borups udfrelse af Symphonisk Suite og Fest-Prludium
instruments.
Politikens Charles Kjerulf made a brief mention
hedder det:
of the piece in his review of the concert, noting of Dagmar

Borups performance of the Symphonic Suite and the Festival
Hun havde endog det Mod at spille to Stykker af Carl Nielsens
Prelude:
nrmest berygtede Suite for Piano og Fruen tog saamn[d]

fat paa den med haandfast Tro dog uden at faa os overbevist
She even had the courage to play two pieces from Nielsens
om, at dette er Musik. Saa er Festprludiet der saa Lyset i
virtually notorious Suite for Piano, and the woman really took
Politikens Nytaarsnum[m]er anderledes gte i sin pompse
hold of it with rm faith, though without convincing us that
Holdning.
86
it is music. Whereas the Festival Prelude which came out in

Politikens New Years Day issue is truly genuine in its stately
80
81
82
83
84
CDROM SBCD 05, Statsbiblioteket, rhus, 2003.

Maler (1863-1958).
Se faksimile i John Fellow (1999), op. cit., s. 40.
Pianist og hrelre-pdagog (1867-1959).
Dan Fog og Torben Schousboe, Carl Nielsen. Kompositioner, Kbenhavn 1965, s. 11.
85 3.11.1929 dirigerede Carl Nielsen ved et stort anlagt
stvne i Forum Johannes Andersens arrangement for
harmoniorkester af Fest-Prludium. Arrangrens egenhndige partitur i Livgardens Musikkorps indeholder
en rkke tilfjelser i Carl Nielsens hnd.
86 Politiken 5.3.1901
86
bearing.
80
81
82
83
84
CDROM SBCD 05, Statsbiblioteket, rhus, 2003.

Danish painter (1863-1958).
See facsimile in John Fellow (1999), op. cit., p. 40.
Danish pianist and teacher of solfge (1867-1959).
Dan Fog & Torben Schousboe, Carl Nielsen. Kompositioner,
Copenhagen 1965, p. 11.
85 On 3.11.1929 Nielsen conducted Johannes Andersens
arrangement of the Festival Prelude for wind orchestra
at a large-scale rally in the Forum. The arrangers
hand-written score contains a number of additions in
Nielsens hand.
86 Politiken 5.3.1901
II_12_tekst 1.indd xxii
xxii
28/09/06 11:29:13
Dagens Nyheder bemrker kort, at stykket faldt godt i Traad med

87
de to forud opfrte Brudstykker af den Symfoniske Suite Op. 8.

Dagens Nyheder noted merely that the piece was well in keeping
Af frstetrykket fremgr at Politikens faksimile fra 1901 (B) har
with the two previously performed extracts from the Sym-
tjent som trykforlg, idet de samme inkonsekvenser i artiku-
87
lationen ndes i svel frstetryk som faksimile. Komponistens
phonic Suite Op. 8.
eksemplar af den trykte udgave hos Wilhelm Hansen (A) er

From the rst printed edition it can be deduced that the manu-
valgt som hovedkilde.
script version reproduced in facsimile in Politiken (B) also served

as the printers copy, since both sources have the same inconsistencies in articulation. The composers copy of the Wilhelm
DRMMEN OM GLADE JUL
Hansen printed edition (A) has been chosen as the main source.
A DREAM ABOUT SILENT NIGHT
m dette stykke vides ikke andet end at kladden er

dateret 3. december 1905, og at det er komponeret til
en samling med julemusik udgivet af Dansk Tone88
kunstnerforening.
Kladde og renskrift (trykforlg) er bevaret, og disse
othing is known about this piece, beyond the fact

that the draft score is dated 3 December 1905 and
svarer med f undtagelser til den trykte version (A) som er valgt
that it was composed for a collection of Christmas
som hovedkilde.
album pieces published by the Society of Danish Composers

88
(Dansk Tonekunstnerforening). Draft and fair copy (used as
printing copy) survive, and these and the rst printed score (A,
CHACONNE, OPUS 32
taken as the main source) are in almost complete agreement.
CHACONNE, OPUS 32
en 19. december 1916 skrev Carl Nielsen til sin ldste

datter Irmelin (han tilbragte julen adskilt fra sin
familie som flge af en gteskabelig krise):
n 19 December 1916 Nielsen wrote to his elder
jeg har begyndt, mine frste Feriedage med at paabegynde
daughter Irmelin (he was spending Christmas away
en stor Ciaconne for Klaver, som jeg er godt igang med. Du
from his family because of his marital crisis):
ved nok at Passacaglia og Ciaconne-Formen er nsten ens; et

til Grund liggende Thema eller Bas som varieres paa mangfol-
and I have begun the rst days of my holiday by embarking on
dige Maader. Jeg tnker den skal vokse sig strk og stor nu i
a large Chaconne for piano, which I am already well along with.
Julen, forelbig morer det mig meget at slippe min Fantasi ls
You probably know that the passacaglia and chaconne forms are
indenfor disse bundne Perioder (8 Takter i maadelig 3/4 Takt).
more or less the same: a fundamental theme or bass that is var-
Du kender jo Bachs dejlige Ciaconne for Solo-Violin. Kunde jeg
ied in numerous ways. I think this piece will grow strong and big
naa ham til Skuldrene med min for Klaver!!
89
over Christmas; just for now it greatly amuses me to give my fantasy free rein within these xed periods (8 bars in a moderate 3/4
18. januar 1917 kunne han fortlle Irmelin at vrket var frdigt,
metre). You must know Bachs beautiful Chaconne for solo violin.
og at det er et ret stort Stykke og jeg tror virkningsfuldt.
90
89
If I could reach up to his shoulders with mine for piano!!
87
88
89
90
On 18 January 1917 he told Irmelin that the work was nished:

90
a really big piece, and I think effective.
87
88
89
90
Dagens Nyheder, 5.3.1901.

See Sources, Source A.
Dk-Kk, CNA, III.A.a.1.
DK-Kk, CNA, III.A.a.1.
II_12_tekst 1.indd xxiii
Dagens Nyheder, 5.3.1901.

Se Sources, kilde A.
Dk-Kk, CNA, III.A.a.1.
xxiii
16/09/06 15:32:44
Chaconne blev frsteopfrt af Alexander Stoffregen

den 13. april 1917 ved den anden af to koncerter med danske
sange skrevet af Carl Nielsen og hans samarbejdspartner,
The Chaconne was premiered by Alexander Stoffregen
on 13 April 1917, in the second of Nielsens two concerts of
91
Thomas Laub, en begivenhed som vandt genklang i den
danske presse. 19. april fortalte komponisten selv Irmelin
Danish songs with his collaborator Thomas Laub, an event
92
at Stoffregen gjorde stor Lykke med vrket. Hvad angr
widely reviewed in the Danish press. On 19 April the composer
anmelderne njedes de imidlertid med at nvne Chaconne som
himself told Irmelin that Stoffregen had had great success with
en fodnote ved koncerten.
91
92
it. For their part, however, reviewers tended to mention the
Chaconne only as a footnote to the main business of the concert.

B.W.G. called it an interesting work, but one which
B.W.G. omtalte det som et interessant Vrk, som

dog br hres ere Gange, for at man fuldt ud kan blive
fortrolig med dets Enkeltheder. Hr. Stoffregen foredrog Vrket
needs to be heard several times before one can become com-
93
med Myndighed og en ikke ringe pianistisk Dygtighed. Axel
pletely familiar with its details. Mr Stoffregen performed the
Kjerulf
93
work with authority and no mean pianistic prociency. Axel

Kjerulf
94
simply called it a welcome instrumental contrast
94
kaldte det blot en krkommen instrumental Afveks-
ling [for koncertens vokale numre] et friskt og karakterfuldt

95
Arbejde. Emilius Bangert fandt Chaconne meget tungt og
[to the vocal items in the concert] a fresh and characterful
noget ufrisk, ikke mindst ved sin knudrede Klaverbehand-
95
work. Emilius Bangert found the Chaconne very heavy and
96
ling, og en anonym anmelder betegnede det simpelt hen
96
rather stale, not least in its abstruse piano writing. An anony-
97
som interessant, snrklet, gammeldags Musik. Den mest
mous reviewer simply labelled it interesting, intricate, old-
indgende anmeldelse kom fra Gustav Hetsch:
97
fashioned music. The most extended review of the Chaconne

Den holdt Tilhrerne i Aande hele Tiden ved sine mange Over-
was from Gustav Hetsch:
raskelser, navnlig i Begyndelsen, som vi nskede at kunne hre

It held the audiences attention the whole time with its many
igen for at faa bedre fat paa Sammenhngen og Enkelthederne.
surprises, especially at the beginning, which we would like to
Desvrre blev det imidlertid ikke Begyndelsen men den langt
have heard again in order to gain a better appreciation of the
lettere overskuelige og tilegnelige Slutning der gentoges efter
connections and details. Unfortunately, however, it was not the
Bifaldet. Saa meget syntes dog givet, at Carl Nielsen her paa et
beginning but the much more easily assimilable conclusion
ham nyt Felt har frembragt et interessant og ejendommeligt
that was repeated after the applause. This much is neverthe-
Arbejde.
98
less clear: that Nielsen has here produced an interesting and

original work in a new eld for him.
98
Disse vurderinger blev gentaget i kort form to dage senere

i en anonym notits i Social-Demokraten: ejendommelig og
These judgments were echoed in summary form two days later
99
interessant.
Den 11. februar 1918 spillede Christian Christiansen
in an anonymous notice in Social-Demokraten: original and

99
Chaconne ved en koncert med orkestervrker af Carl Nielsen,
interesting.
On 11 February 1918, Christian Christiansen played

the Chaconne during a concert of Nielsens orchestral works
heriblandt Det Uudslukkelige og frsteopfrelsen af Pan og Syrinx.

Charles Kjerulf hftede sig ved bifaldet til Christiansen og be-
including the premiere of Pan and Syrinx, and The Inextinguishable. Charles Kjerulf noted the ovation for Christiansen and de91
92
93
94
95
96
97
98
99
scribed the piece as a genuine Carl Nielsen piano-experiment,
91
92
93
94
95
96
97
98
99
Danish organist and composer (1852-1927).

Vort Land, 15.4.1917.
Danish critic (1884-1964), son of Charles Kjerulf (18581919).
Hovedstaden, 14.4.1917.
Kbenhavn, 14.4.1917.
Nationaltidende (evening edition), 14.4.1917.
Social-Demokraten, 16.4.1917.
II_12_tekst 1.indd xxiv
Organist og komponist (1852-1927).

Vort Land, 15.4.1917.
Kritiker (1884-1964), sn af Charles Kjerulf (1858-1919).
Nationaltidende (aftenudgave), 14.4.1917.
Social-Demokraten, 16.4.1917.
xxiv
16/09/06 15:32:44
skrev stykket som et gte Carl Nielsens Klaver-Eksperiment,

en kontrapunktisk Piano-Studie med den mindste Anvendelse
af Klaversats eller overhovedet Flyglets Rigdom af Klangfara contrapuntal piano study without the slightest recourse
ver. Alt kun Tegning, Streger og Sving, men den nydeligste,
to pianistic writing or any of the grand pianos richness of
sirligste, gammeldags Ornamentik.
colour. Everything is just calligraphy, lines and curves, but
tidspunkt blevet en strk tilhnger af Carl Nielsens musik, og
its the most attractive, neatest, old-fashioned ornamenta-
denne anmeldelse indvarsler et skift i den kritiske modtagelse
tion.
100
Kjerulf had recently become something of a convert to
100
Kjerulf var p dette
af hans klavervrker.
Det siges at Christian Christiansen havde fet lov til
Nielsens music, and this review signals a shift in the tone of
af komponisten at ndre alt det i codaen, som han mtte nde
critical reception of his piano works.

Christiansen is reported to have been given licence
pianistisk uhensigtsmssigt; han lod dog den pgldende

101
Senere ptog Stoffregen sig
by the composer to alter anything in the Coda to the Chaconne
passage forblive som den var.
that he felt to be pianistically uncomfortable. However, he
ansvaret for tilfjelsen af de to dybe bastoner i slutningen af
101
Stoffregen later
skalapassagen fr den afsluttende akkord en ndring som
claimed responsibility for the two low bass notes at the end
Carl Nielsen tilsyneladende anerkendte, og som er gengivet i
of the scale passages and preceding the nal chord, which,
frstetrykket, men som Stoffregen senere mente passede drligt
Nielsen apparently sanctioned and which appear in the
til komponistens stil, fordi den indfrte en stilkliche der stam-
rst printed edition, but which Stoffregen came to believe
mer fra romantikere som Csar Franck og Debussy.
misrepresented the composer by introducing a mannerism
ikke vret muligt at fastsl hvem der var ansvarlig for andre
left the passage in question unchanged.
deriving from the romantics and Franck and Debussy.
102
It
has not proved possible to determine who was responsible for
102
Det har
afvigelser i klaversaten mellem renskriften og frstetrykket,

103
selvom det almindeligvis hvdes at have vret Stoffregen.
other extensive differences in keyboard layout between fair

copy and rst printing, though it is widely assumed to have
been Stoffregen.
103
Da der ikke foreligger vidnesbyrd om Carl Nielsens afstandtagen fra disse ndringer, er frstetrykket (A), udgivet af
Wilhelm Hansen i 1917, valgt som hovedkilde. Komponistens
In the absence of any evidence for Nielsens disapproval of
eget eksemplar af frstetrykket er get tabt, sledes som det
these changes, the rst printed edition (A), published by Wil-
ogs er tilfldet med alle de andre efterflgende klavervrker.

De vrige kilder til Chaconne bestr af kladden (C),
helm Hansen in 1917, is taken as the main source. The composers own copy of the Chaconne as of all the subsequent piano
formentlig udarbejdet uden forudgende skitser, og renskrif-
works has not been preserved in archives.
ten (B) som ikke viser nogen tegn p at have vret benyttet som
Further sources for the Chaconne are a draft score
trykforlg (et sdant er formentlig get tabt). I 1924 sknkede
(C), possibly made without prior sketching, and a fair copy (B),
Carl Nielsen renskriften til Kungliga Musikaliska Akademien
which shows no sign of having served as printing copy (the
i Stockholm efter forinden at have overladt det til den svenske
latter must be presumed lost). The fair copy was presented
komponist Bror Beckmans
104
afgrelse om han vil beholde
by Nielsen to the Royal Academy of Music in Stockholm in

1924, having left it to the Swedish composer Bror Beckman
104
100 Politiken, 12.2.1918.

101 Jf. Torben Meyer og Frede Schandorf Petersen, op. cit.,
bd. 2, s. 139. Denne blev til p baggrund af talrige
interviews med personer som havde kendt komponisten. Denne oplysning om Chaconne bygger angiveligt p
en personlig Erindring hos Einar Christiansen fortalt
til Torben Meyer. Kilden anfrer ikke at den pianist der
tilfjede den afsluttende dybe bastone, var Stoffregen
(sledes som det fremgr af Herbl, op. cit.), men taler
blot om en eller anden Pianist.
102 Jf. Herbl, op.cit.
103 Jf. Mina Miller, En kritisk revideret udgave af Carl
Nielsens klavervrker: berettigelse, rkkevidde og
ml. Dansk Musiktidsskrift, rg. 55 (1980), s. 57.
104 (1866-1929).
100 Politiken, 12.2.1918.

101 Cf. Torben Meyer & Frede Schandorf Petersen, op. cit.,
vol. 2, p. 139. Meyer & Schandorfs study was compiled
using extensive interview material with those who
had known the composer. This information about
the Chaconne is noted as personal reminiscence of
Christiansen to Meyer. Note that this source does not
say that the pianist who added the nal deep bass note
was Stoffregen (as suggested in Herbl, op. cit.), but only
talks of some pianist or other.
102 Cf. Herbl, op. cit.
103 Cf. Mina Miller, En kritisk revideret udgave af Carl
Nielsens klavervrker: berettigelse, rkkevidde og
ml. Dansk Musiktidsskrift, vol. 55 (1980), p. 57.
104 (1866-1929).
II_12_tekst 1.indd xxv
xxv
16/09/06 15:32:45
originalmanuskriptet, eller om han vil overdrage det til akade105
miet.
I brev til Carl Nielsen af 1.2.1924 takker Bror Beckman
for manuskriptet og fortstter: Helt naturligt har jag verlmto decide whether to keep the manuscript or to pass it to the
105
Academy.
In a letter of 1 February 1924 Beckman thanked
nat manuskriptet til Ciaconnen till akademiens bibliotek, dr

det kommer at betraktas som en skatt.
106
Nielsen for the manuscript and continued: Of course I have

given the manuscript of the Chaconne to the library of the
106
Academy, where it will be considered a treasure.
THEMA MED VARIATIONER, OPUS 40
THEME AND VARIATIONS, OPUS 40
arely two months after nishing the Chaconne, Nielsen
nap to mneder efter at have afsluttet Chaconne pbegyndte Carl Nielsen endnu et klavervrk byggende p
variationsprincippet. 22. marts 1917 skrev han til Irmelin:
embarked on another piano work embodying the varia-
Jeg har haft meget at gre og har desuden begyndt paa en nyt
tion principle. On 22 March 1917 he wrote to Irmelin:
Klavervrk et Thema med Variationer, som interesserer mig i

sjelden Grad. Themaet begynder i h moll og ender [i] g moll[;]
I have had a lot to do, and Ive also begun a new piano work,
deraf flger at hvergang en ny Variation begynder friskes man
a Theme and Variations, which interests me enormously. The
op ogsaa af den Nye. Variationsvrker kan, synes jeg, ofte virke
theme begins in B minor and ends in G minor. It follows that
monotont i tonal Henseende, det undgaaes paa denne Maade.
every time a new variation begins we are refreshed again. Ive
Men nu maa jeg lgge dette tilside i nogen Tid. Jeg har nemlig
often thought that variation works can be tonally monotonous,
taget imod en Bestilling paa en Kantate igaar og skal have et saa
and this is a way round the problem. But now I have to put
vldigt Honorar at jeg ikke kan forsvare at sige nej.
107
this work to one side for a while. Because yesterday I accepted

a commission for a cantata and I will get so much money for it
107
that I cannot in all decency say no.
Frsteopfrelsen ved Alexander Stoffregen fandt sted ved en

Carl Nielsen-aften den 29. november 1917 i Odd-Fellow Palets
Store Sal. Stoffregens udfrelse vandt almindelig anerkendelse,
The rst performance was given by Alexander Stoffregen in
men modtagelsen af det nye klavervrk var stadig blandet.
the larger hall of the Koncertpal on 29 November 1917 in
Mest positiv var B.W.G. som bemrkede, at variationerne
an evening of Nielsens music. Stoffregens performance was
var bygget over et Tema, som gennem sin enkle Form og sit
unanimously praised, but reaction to the new piano work was
mrkvrdige modulatoriske Indhold var af en ejendommelig
still equivocal. Most positive was B.W.G., who noted that the
Virkning, og i det flgende placerede han vrket p linje med
Variations were built on a theme which in its simple form and
uddrag fra Saul og David, den anden symfoni samt Saga-Drm
remarkable modulatory content was original in its effect. His
som alle stod p programmet ved samme koncert:
following comment placed the work in the line of the Saul and
David excerpts, the Second Symphony, and Saga Dream, heard in
Man har paa Fornemmelsen, at Carl Nielsen stadig gaar videre
the same programme:
og videre. Han er nu engang ikke som andre. Han har Evnen til
at nde det ldige og gte, og stiller han end Fordringer til den,
One has the impression that Nielsen is progressing further
der vil nyde godt af hans Fund, saa lnner det sig at paatage sig
and further. He is not like anyone else. He has the gift for nd-
Besvret.
108
ing what is valuable and genuine, and if he makes demands on

those who would like to enjoy his treasures, then it is worth
105 Brev af 14.1.1924, DK-Kk, CNA, I.A.d.

106 DK-Kk, CNA, I.A.b.
107 DK-Kk, CNA, III.A.a.1. Det omtalte vrk er Kantate ved
Grosserersocietetets Hundredaarsfest den 23. April 1917.
108 Vort Land, 30.11.1917.
108
the trouble.
105 Letter of 14.1.1924, DK-Kk, CNA, I.A.d.

107 DK-Kk, CNA, III.A.a.1. The work in question is Cantata for
the Wholesalers Societys Centennial Meeting (Kantate ved
Grosserersocietetets Hundredaarsfest den 23. April 1917).
108 Vort Land, 30.11.1917.
II_12_tekst 1.indd xxvi
xxvi
16/09/06 15:32:45
Charles Kjerulf, som ellers havde givet udtryk for sin nylige omvendelse til Carl Nielsens sag i en overstrmmende begejstret
omtale af symfonien og tonedigtet, kaldte blot variationerne
Charles Kjerulf, despite expressing his recent conversion to
for en begrnset succes der dog blev spillet overordentlig
Nielsens cause in extravagant praise for the symphony and the
smukt af Stoffregen:
tone poem, called the Variations merely a succs destime:

Men de var og blev gte Carl Nielsensk Eksperimental-Musik,
even though Mr Alex. Stoffregen played them extremely
der til Tider kunde klinge poetisk nrmest som ved en
beautifully. But they were and are genuine Nielsenish expe-
Fejltagelse men for det meste klang matematisk, uden nogen
riment-music, which at times could sound poetic almost
naturlig Forbindelse med ret. Carl Nielsen og Klaveret har nu
inadvertently but for the most part sounded mathematical,
aldrig vret rigtig gode Venner.
109
without any natural connection with the ear. Nielsen and the
piano have never been really good friends.
109
Emilius Bangert bemrkede at

Temaet var ypperligt fremsat og dannede Kimen til 16 Varia-
Emilius Bangert noted that:
tioner, fulde af aandrige Paafund, bl.a. en henrivende tostemThe theme was superbly set out and provided the seed for 16
mig Kanon. Carl Nielsens bermte Dristighed ngtede sig intet
variations, full of brilliant invention, including a two-voice
isr i de sidste Variationer, som i frste Omgang syntes noget
canon. Nielsens famous audacity was not to be denied espe-
uden for Lands Lov og Ret,
110
cially in the last variations, which on rst acquaintance seemed

rather outlandish.
110
og Sophus Andersen savnede i Tema med Variationer den inspiration som han havde mdt i Saga-Drm:
Sophus Andersen contrasted the Theme and Variations unfavourably with the inspiration of Saga Dream:
Det var et underlig forvredent Arbejde, som sikkert har

interesseret Komponisten at sidde at arbejde med hjemme,
It is a remarkably tortuous piece, which certainly must have
interessant som det er, men udpnsket og unaturligt i sine
interested the composer to work on at home interesting as
Klange og lidet atterende for Klaveret.
111
it is, but intellectualised and unnatural in its sounds and not

111
Den 23. december 1920 modtog Carl Nielsen et brev fra vennen
very attering for the piano.
112
Julius Rntgen,
On 23 December 1920 Nielsen received a letter from his friend
112
Julius Rntgen,
thanking him for the present of, presumably,
hvori denne takkede ham for at have sendt
ham noderne formentlig den trykte udgave. Dette brev er

interessant, ikke alene set fra et receptionshistorisk synspunkt
a published score. This letter is interesting not only as a docu-
men ogs p grund af det svar som det foranledigede fra
ment of reception history but for the response it elicited from
komponisten et af hans mest benhjertige udsagn om den
the composer one of his most candid statements concerning
kreative proces. Begge dokumenter fortjener derfor at blive
the creative process. Both documents therefore deserve quota-
gengivet in extenso.
tion in extenso. Rntgen wrote:

Herzlichen Dank fr Deine Weihnachtsgabe: die Variationen,
Warmest thanks for your Christmas present of the Varia-
mit denen Du mir groe, ernsthhafte Freude gemacht hast. Ich
tions, which have given me great, serious pleasure. I have
habe sie dieser Tage grndlich studiert und will Dir nun meinen
been studying them thoroughly over the last few days and
Eindruck schreiben, ganz so wie ich ihn von dem Werk empfan-
now want to give you my impression, just as I have received

it from the work. Perhaps my judgment on the details that
109
110
111
112
Kbenhavn, 30.11.1917.
Dutch composer, conductor and pianist (1855-1932).
II_12_tekst 1.indd xxvii
109
110
111
112
Kbenhavn, 30.11.1917.
Hollandsk komponist, dirigent og pianist (1855-1932).
xxvii
16/09/06 15:32:46
gen habe. Vielleicht ndert sich bei noch genauerem Studium

mein Urtheil ber einige Details, die mich jetzt noch befremden.
Der Gesammteindruck ist aber, da es ein hchst bedeutendes,
still bother me will change with closer study. But the over-
ganz Deiner wrdiges Werk ist. Alles steht fest und mit vollkom-
all impression is that its a most important work, entirely
mener Meisterschaft dar.

Ich bewundere die Strengheit mit der das Thema vari-
worthy of you. Everything about it is solid and masterly. I

admire the strictness with which the theme is varied, which
iert ist, fr mich die einzig richtige Anwendung der Variationen-
for me is the only correct application of variation form, just
form, so wie Bach (Goldberg Variat.) Beethoven und Brahms sie
as Bach (Goldberg Variations) Beethoven and Brahms used
gebraucht haben. Ein Werk wie Schumanns Symph. Etuden sind
it. A work such as Schumanns Symphonic Studies doesnt
doch eigentlich keine Variationen, es ist ein freies Phantasi[e]ren
really consist of variations; its just free fantasising on the
ber das Thema, ebenso wie es Reger in seinen (schnen!) Bach-
theme, just as Reger does in his (beautiful!) Bach Variations
variationen und hnlichen Werken thut.

Bei Dir verliert man das Thema keinen Augenblick,
and similar works.

With you we never lose the theme for a moment,
um so mehr ist dann die grosse Verschiedenheit der Variatio-
and that makes the great variety of the variations all the more
nen zu bewundern. Es ist viel schwerer unter dem Zwang des
admirable. Its much harder to be inventive within the de-
Themas zu ernden als wenn man sich davon lossagt. Dass da-
mands of the theme than when one renounces it. The fact that
bei manchmal mehr Kopf als Herzarbeit nthig ist, ist freilich
we sometimes need more brain than heart to bring this off may
unvermeidlich.
Das Thema selbst ist prachtvoll in seiner festen Melodie,
be unavoidable.
The theme itself is splendid in its rm melody and
u. dem hchst interessanten u. doch so natrlichen harmo-
the most interesting and yet so natural harmonic-modulatory
nisch-modulatorischen Gang. Durch den Weg von h moll ber f
progression. By taking the path from B minor through F minor
moll nach g moll wird die Gefahr, dass alle Variationen in einer
to G minor, the danger that all the Variations stay in the same
Tonart stehen u. das Ganze dadurch monoton werden knnte,
tonality and that the whole thing could therefore become
sehr glcklich umgangen. Freilich etwas Dur-Sonnenschein und
monotonous, is very felicitously avoided. Admittedly one waits
Lyrik erwartet man vergebens, dadurch bekommt das Ganze
in vain for some major-mode sunshine and lyricism, and so the
etwas sehr Herbes, was jedenfalls in Deiner Absicht gelegen hat.

Am Schnsten nde ich die Doppelvariation 7 und
whole thing becomes somewhat harsh, which was doubtless
8. Diese und die folgenden (9 und 10) sind die einzigen wo Du
your intention in any case.

I nd the double variation 7 and 8 the most beauti-
modulatorisch abweichst von dem Thema (die Struktur bleibt
ful of all. These and the following variations (9 and 10) are the
streng bewahrt!). Man knnte ber Var. 7 eine Reihe neuer
only ones where you modulate away from the theme (though
Variationen machen u. sie als selbstndiges Thema gebrauchen.
the structure is strictly maintained!). One could make a new
Vielleicht thue ich es einmal: ich nde das Stck so besonders
series of variations on Variation 7 and use it as an independent
tief und schn!

Sehr morsomt ist Var. 13 mit der Ostinatogur in der
theme. Maybe Ill do it sometime: I nd the piece so very deep
rechten Hand gegen das Thema-Bass. Es lebe die Consequenz,
and beautiful!
Variation 13, with its ostinato gure in the right
wodurch f moll, C dur, Des dur, b moll u.s.w. so natrlich mit
hand against the bass theme, is highly entertaining. Long live
H moll zusammenklingen. Spter kommts allerdings noch
the logic whereby F minor, C major, D at major, B at minor
zu schlimmeren Mesalliancen, z.B. in Var. 15 Takt 16 f moll,
and so on harmonise so naturally with B minor. Later on there
s moll, g moll, die dem Ohr nicht gerade schmeicheln, aber
are certainly some tougher misalliances, such as in Variation
logisch vollkommen zu vertheidigen sind.
15, bar 16 (F minor, F sharp minor, G minor), which dont

exactly caress the ear, but which are still completely defensible.
II_12_tekst 1.indd xxviii
xxviii
20/09/06 9:37:05
Gerade wegen dieser so streng behandelten Logik

nde ich es Schade, dass Du im Var. 13 im letzten Takt das Ostinato opferst und mit g in der rechten schliet. Das zerstrt
Precisely because of this logic, so strictly maintained,
I nd it a pity that in Variation 13 you sacrice the ostinato in
the last bar and end with G in the right hand. That destroys the
ostinato effect for me. Why not:
&
## .
? # #
# .
& #
? # #
# U
j
b J
mir den ganzen Ostinato Effekt. Warum nicht:

# U
j
b J
Die beiden letzten Variationen bringen eine groe Steigerung,
die ihren Hhepunkt erreicht in der Coda, wo der Componist

schlielich wie besoffen wird. Come ubbriaco wirkt ganz
The last two variations bring a massive accumulation,
toll! Danach fllt aber der H dur Schlu ab ich mchte, dass
which reaches its high point in the coda, where the com-
Dir da noch etwas Anderes eingefallen wre, nachdem Du
poser nally gets drunk. The Come ubbriaco is just crazy!
nicht mehr Come ubbriaco bist.

Bis jetzt (vielleicht werde ich noch anderer Meinung)
After that, however, the B major conclusion tails off I wish

something else had occurred to you after you were no longer
nde ich den Schlu matt, auch weil das Thema verndert
Come ubbriaco.
wird, ohne dass es dadurch an Bedeutung gewinnt.

So, nun habe ich mir alles vom Herzen geschrieben
So far (and maybe Ill change my mind on this) I nd

the conclusion dull, also because the theme is varied there
und Du siehst daraus, wie sehr mich das Stck gefeelt und
without gaining any new meaning.
gefreut hat. Nochmals danke ich Dir dafr!
113
Well, now Ive got all this off my chest, and you can
see from the above how much the piece has got hold of and
delighted me. Thanks once again for it.
113
Carl Nielsens svar i brev af 3. januar 1921 er som nvnt en af

hans mest rlige selvvurderinger :
This letter prompted Nielsen to one of his most revealing self-
Jeg takker af ganske Hjerte for dette indholdsrige og tankevk-
justications (3 January 1921):
kende Brev. Det er herligt at blive forstaaet og det er godt at

blive holdt til Ilden af en jevnbyrdig Kunstner ved kritiske eller
I thank you with all my heart for your interesting, thought-
belrende Bemrkninger, som man saa atter (ved at forsvare
provoking letter. Its splendid to be understood, and kept up to
sig) bliver vakt til Eftertanke ved.

Jeg gaar nu lige til Sagen angaaende Variationerne,
the mark by a fellow-artist with critical or instructive comments,

so that in defending oneself one is provoked to reection.
Ill get on to the matter of the Variations, but rst I
men vil frst anfre nogle Ord af Leonardo da Vinci, hvor han
taler om forstaaende Kritik (Tysk Oversttelse af hans Traktat
want to mention a few words of Leonardo da Vinci, where he
over Maleri): Wir wissen, wie sehr der Mensch sich bei seinen
talks about intelligent criticism (from the German translation
eigenen Leistungen tuscht So sei also bereitwillig anderer
of his Treatise on Painting): We know how much man can deceive
Meinung anzuhren. Schau wohl zu und berlege es dir, ob der
himself about his own achievements... So be willing to listen
Tadler recht hat dich zu tadeln. Findest du ja, so verbessere, n-
to the opinions of others. Look carefully and consider whether
dest du nein, so gib dir das Ansehen, als habe dus nicht gehrt
the fault-nder is right to nd fault with you. If you think he
oder verstanden, oder aber, ist es ein Mann, den du hochachtest, so
is, then make corrections; if not, then behave as though you
bringe ihn mit Vernunftgrnden zu Einsicht, das er sich tuscht.
havent heard or understood, or, if its a man you respect, then

bring him round by reason to realise that he is in error.
113 DK-Kk, CNA, I.a.b.19.
113 DK-Kk, CNA, I.a.b.19.
II_12_tekst 1.indd xxix
xxix
20/09/06 11:42:06
Allerfrst vil jeg bede Dig rette en Trykfejl, nemlig

Side 13 Takt 3, hvor Mellemstemmen i hjre Haand skal have
First of all I must ask you to correct a printing error,
# b
& n n b
namely on page 13, bar 3, where the middle part in the right
Du skriver rigtigt at Var: 7 viger ud fra Temaet i harmonisk
hand should read:
Henseende og at man herudfra kunde komponere nye Varia-
# b
& n n b
tioner. Det er netop hvad jeg har gjort. Var: 8, 9 og 10 gaar netop
strengt udfra Harmoniseringen i Var. 7, dog saaledes at Gangen
Youre right to say that Variation 7 deviates from the theme
i Var. 10 bliver meget tilslret (verschleiert) eller udvidet. Der
harmonically, and that one might go on to compose new
gaar to Takter af Var: 10 paa en Takt af Var. 7, herved fremkom-
variations on it. Thats exactly what I have done. Variations 8, 9
mer jo ogsaa en Fraseringsforskydning idet den ene staar i 4/4,
and 10 are based precisely on the harmonisation in Variation
den anden i 3/4 Takt. Var: 11 refererer sig atter til Temaet.
Jeg maa ogsaa forsvare mig angaaende ostinatoet.
7, although such that the progression in Variation 10 is much

veiled or expanded. There are two bars in Variation 10 for every
one in Variation 7, and with that there also results a shift in
Efter min Ide og ogsaa efter mit musikalske re staar Figuren

#
&
the phrasing, given that the one is in 4/4, the other in 3/4. Varisom en bestandig Sgen efter en Udgang, et fortvivlet eller
ation 11 refers again to the Theme.

I must also defend myself with respect to the ostinato.
According to my conception, and my musical ear, the gure
#
&
komisk Kredslb for at nde et Hul at forsvinde i. Dette Hul er

g-moll, hvori den som Ledetone tilsidst maa, br og skal smutte
ind. Det er en psykofysisk Ndvendighed. (Den Schnbergske
Illigitimitet kan maaske more Brn, men ikke en tnkende,
represents a continuous search for a way out, a despairing or
voksen Mand. Jeg har nylig gennemset paany hans 3 Klaver-
comic running in circles to nd a cave to disappear in. This cave
stykker Op. 11 og nder dem meget barnlige i Principperne (be-
is G minor, into which the leading-note in the end must, should,
standige verspandte Octaver, smaa Secundsammenstd o. s. v.)
and shall scurry in. Its a psycho-physical necessity. (Schoen-
og dumme i Udfrelsen.) Hvad Slutningen af Variationerne
bergian lawlessness may be amusing for children, but not for
angaar, maa jeg sige, at jeg har tnkt herover under Arbejdet.
a thinking, adult man. I recently looked again through his
Det vilde have vret mig en let Sag at lave en vild og effektfuld
Three Piano Pieces Op.11 and I nd them very childlike in their
Slutning; men jeg kom til det Resultat som nu foreligger,
principles (continual altered octaves, minor second clashes, etc.)
fordi hele Vrkets arkitektoniske Plan er bedst tjent med en
and stupid in their realisation.) So far as the conclusion of my
almindelig Slutning. Ser man med et Overblik tilbage paa hele
Variations is concerned, I must say that I gave some thought to
Stykket og erindrer man sig Temaet og dets enkle (einfache)
this during my work. It would have been easy enough to make
Struktur, saa maa det vre som det er; eller betragter vi Var: 15
a wild, effective conclusion; but I came to the result you see be-
som et vildt Forsvar af en Mand der kmper med Ryggen mod
cause the architectonic plan of the whole work is best served by
et Isfjeld og tilsidst, ligesom drukken (ubbrioso) og bedvet
an ordinary ending. Looking back for a moment over the whole
(betubt) af Kampen vakler bort, saa er det rigtigt, at hele Slut-
piece and recalling the theme and its simple structure, then it
ningen skal vre uinteressant, saasandt en Person (i et Drama)
must be as it is; or if we consider Variation 15 as a wild defence
der har kmpet ud og gaar [sin] Vej ikke lngere br tilvende
of a man who is ghting with his back to a mountain of ice and
sig Hovedinteressen og heller intet Krav har derpaa. Du ser at
who nally, as if drunk (ubbrioso) and deafened by the battle,

stumbles away, then its right that the entire conclusion should
be uninteresting, just like a character (in a play) who, having
fought to the end and gone away, no longer has to attract the
II_12_tekst 1.indd xxx
xxx
16/09/06 15:32:47
jeg saaledes fuldt bevidst har ladet Slutningen blive mattere og

mattere, men ifald denne Udgang ikke virker overbevisende,
saa har Du naturligvis Ret og jeg Uret.
Nu, kre Ven! Jeg takker endnu engang for Din
main interest to himself and has no wish to do so. So you can

see that I quite consciously made the conclusion weaker and
Interesse og Dit Venskab og alle de begavede [Ting], Du siger.
weaker; but in the event that this result is unconvincing in its
Thi Dine Ord har i sig selv en stor Vrdi, selv om jeg ikke er
effect, then of course you are right and I am wrong.
enig med Dig i alle Ting og naar Du, som Du skriver, nder mit
Now, dear friend! I thank you once again for your

interest and your friendship and all the intelligent things you
Arbejde vrdt at beskftige sig med, saa er det mig en stor

114
Opmuntring og en Spore til nye Ting.
write. For your words have great value in themselves, even if I

dont agree with you about everything; and if, as you write, you
I brev til Professor Frants P.W. Buhl115 den 24. februar 1921
nd my work worth engaging with, then thats a great encour-
udtrykte Carl Nielsen sig i lignende vendinger:
114
agement to me and a spur to new things.
De ser at disse Variationer er holdte i den strengeste stil og

In a letter sent from Villa Hjbo (Tibberup, near Humlebk)
115
on 24 February 1921 to Professor Frants P.W. Buhl
Nielsen
det har vret mig et ret besvrligt Arbejde, navnlig Var. 3,

fordi jeg egentlig havde anset det for umuligt at gennemfre
en Kanon over et Thema med saa vidtsvvende Modulationer.
wrote in similar vein:
Det er vist frste Gang der er komponeret Variationer over

You can see that these variations are kept in a very strict style,
et Thema, der begynder i en og slutter i en anden (ret fjern)
and it has presented me with a truly demanding task, particu-
Toneart. Jeg synes man ofte fler nogen Monotoni i de ldres
larly in Variation 3, because actually I had thought it would
Arbejder af denne Art, men indrmmer naturligvis i samme
be impossible to carry through a canon on a theme with such
jeblik at de har Tusinde andre Fortrin. Jeg gr Opmrksom
wide-ranging modulations. This is probably the rst time that
paa, at Var. 7 samtidig med at den virkelig er en Variation
variations have been composed on a theme that begins in one
(dog kun nrmest harmonisk) tillige er Thema for de fl-
key and ends in another (rather distant) one. I feel that theres
gende tre Var: 8, 9, 10 idet disse paa det njeste slutter sig til
often some monotony in pieces of this kind by past compos-
dens Harmonisation. Var. 15 er en Forlngelse af Themaet,
ers, though at the same time of course I admit that they have
hvad De naturligvis strax ser.
116
thousands of other good points. I draw your attention to the fact

that Variation 7, at the same time as being a genuine variation
Den eneste bevarede kilde til Tema med Variationer er frstetryk-
(though only harmonically) is also the theme for the next three
ket (A), som selvsagt udgr hovedkilden.
variations, Nos. 8, 9 and 10, in that these follow its harmonic

plan scrupulously. Variation 15 presents an extension of the
Theme, which you will naturally have seen straight away.
114 Citeret efter Irmelin Eggert Mller og Torben Meyer, op.

cit., s. 196-197.
115 Teolog og lolog (1850-1932).
o
116 DK-Kk NKS 4962, 4 ; sendt fra Villa Hjbo Tibberup pr
Humlebk.
116
No sources survive for the Theme and Variations other than the
printed score (A), which naturally serves as the main source.
114 Translated from Irmelin Eggert Mller & Torben Meyer,

op. cit., pp. 196-197.
115 Danish theologian and philologist (1850-1932).
o
116 DK-Kk, NKS 4962, 4 .
II_12_tekst 1.indd xxxi
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16/09/06 15:32:47
SUITE, OPUS 45
SUITE, OPUS 45
he only reference in Nielsens surviving correspondence
en eneste henvisning til arbejdet med klaversuiten i

Carl Nielsens bevarede korrespondance ndes i et
117
brev til eleven Knud Jeppesen
fra den 21. August
1919:
to his composition of the Suite comes in a letter to his

117
pupil Knud Jeppesen
Jeg har ikke skrevet saa mange Noder i Sommer, men noget
of 21 August 1919:
har jeg dog frdigt og helt anderledes og andet end jeg havde
I didnt write that many notes this Summer, but I did nish
tnkt mig, nemlig Klavermusik istedetfor Orkestermusik.
118
something, which is quite different from what I intended,

namely piano music instead of orchestral music.
118
Brevet er skrevet p godset Damgaard, beliggende f kilometer

syd for Fredericia p Jyllands stkyst med udsigt til Fyn p den
This letter was written from Damgaard the estate a few
modsatte side af Lilleblt og tilhrende en af hans ldste ven-
kilometres south of Fredericia on the eastern coast of Jutland
ner, Charlotte Trap de Thygeson.
119
Vrket er komponeret dels i det nyligt erhvervede
facing Funen across the Little Belt which belonged to his

119
sommerhus Finis Terr p Skagen, dels p Damgaard; her
long-standing friend Charlotte Trap de Thygeson.
He had composed the work partly in his recently
havde han byttet vrelse med sin gamle veninde fra konserva120
der var fast bosiddende p Dam-
purchased summer house Finis Terr in Skagen at the north-
toriet, Margrete Rosenberg
ern tip of Jutland, and partly at Damgaard, where he swapped
gaard med henblik p at f adgang til et bedre klaver, og med
120
accommodation with Margrete Rosenberg,
hvem han nu drftede forskellige klavermssige detaljer.
a friend since
En tidlig skitse til suiten brer overskriften Ild
student days and permanent resident on the estate, in order

to work at a better piano. Various details of the piano writing
121
121
og Vand, og det var formentlig associationer fra ordet ild

der k Carl Nielsen til at tilfje undertitlen Den luciferiske ved
were discussed with Rosenberg.
An early sketch for the Suite is headed Ild og Vand
frsteopfrelsen, og sledes hfte sig ved Lucifer som brer af
(Fire and Water), and it was the association with re that
ilden snarere end ved de sataniske associationer. Det forhold at
presumably led Nielsen to add the subtitle Luciferisk for the rst
anmelderne i forbindelse med frsteopfrelsen drog sdanne
performance, thinking of Lucifer as the bringer of re, rather
utilsigtede konklusioner, var jensynligt rsagen til at titlen
than of his devilish associations. The fact that reviewers of the
blev trukket tilbage, sledes som det forklares i forordet til den
rst performance all jumped to the unintended conclusion
trykte udgave (se Sources, s. 243-244).

122
Suiten er tilegnet Artur Schnabel
presumably led to his withdrawal of the title, as the preface to
hvis senere
forbindelse med vrket imidlertid er ukendt hvis der da
the published score explains (see Sources, pp. 243-244).

122
The Suite carries a dedication to Artur Schnabel,
overhovedet har vret nogen.

Ligesom det var tilfldet med den fjerde stryge-
whose later association with the work if there was any is,
kvartet og senere med Preludio e Presto for Soloviolin, blev suiten
however, unknown.
In common with the Fourth String Quartet, and later
the Preludio e Presto for Solo Violin, the Suite was published (in
117
118
119
120
121
Musikforsker og komponist (1892-1974).

DK-Kk, CNA, I.A.c.
(1856-1934).
Musiklrer (1864-1956).
Jf. Torben Meyer og Frede Schandorf Petersen, op. cit.,
bd. 2, s. 159-160 anfrer ingen kilde til denne oplysning,
og det har ikke vre muligt at underbygge den p
anden mde end gennem en note i margenen i renskriften af frste sats.
122 strigsk pianist og komponist (1882-1951). Hans forbindelse til Carl Nielsen stammede fra bekendtskabet
i 1920 med Carl Nielsens svigersn, den ungarsk-fdte
violinist Emil Telmnyi (1892-1988), og deres samarbejde omkring Carl Nielsens anden violinsonate.
1923) by C.F. Peters Musikverlag in Leipzig, following strained
117
118
119
120
121
Danish musicologist and composer (1892-1974).

DK-Kk, CNA, I.A.c.
(1856-1934).
Danish music teacher (1864-1956).
Cf. Torben Meyer & Frede Schandorf Petersen, op. cit.,
vol. 2, pp. 159-160. No source is given for this information, and it has not been possible to corroborate it,
other than by a marginal inscription in a fair copy of
the rst movement.
122 Austrian pianist and composer (1882-1951). His association with Nielsen came about in 1920 through
acquaintance with Nielsens son-in-law, the Hungarian-born violinist Emil Telmnyi (1892-1988), and their
work on Nielsens Second Violin Sonata.
II_12_tekst 1.indd xxxii
xxxii
28/09/06 11:29:14
udgivet af C.F. Peters Musikverlag i Leipzig (i 1923). Der havde i

nogen tid vret et noget anstrengt forhold mellem Carl Nielsen
og hans hovedforlgger indtil da, Wilhelm Hansen, der p
relations between Nielsen and his main publisher to that point,
Wilhelm Hansen, in difcult post-war nancial conditions.
123
dette tidspunkt i vrigt havde svre konomiske problemer

bl.a. som flge af efterkrigstidens konomiske afmatning.
123
Frsteopfrelsen med Johanne Stockmarr ved yglet
The rst performance was given on 14 March 1921 by

Johanne Stockmarr in the lesser hall of the Odd-Fellow Pal in
fandt sted i Odd-Fellow Palets Mindre Sal den 14. marts 1921
a concert sponsored by the Danish Concert Society. In the most
ved en koncert arrangeret af Dansk Koncertforening. I den mest
extended review Gustav Hetsch suggested that:
udfrlige af anmeldelserne skrev Gustav Hetsch:
Nielsen specialises in extravagant titles for his works. This
Carl Nielsen eksellrer i hjst aparte Titler paa sine Vrker.
certainly helps us to remember what they are called, even if
Det bevirker i alt Fald, at man kan huske, hvad de hedder,
one otherwise hasnt got any clear impression of them. This
selvom man ellers ikke faar noget varigt Indtryk af dem. Denne
Suite is in truth black art, a witches brew, full of musical
Suite er i Sandhed sort Kunst, en Heksekedel, fuld af musikalsk
devilry. Since Miss Stockmarr is an acknowledged solid pian-
Djvelskab. Da Frk. Johanne Stockmarr er en anerkendt solid
ist, who always knows her stuff, and since her memory is
Klaverspillerinde, der altid kan sine Ting, og hendes Hukom-
phenomenal, we must assume that she was playing every-
melse er fnomenal, maa man gaa ud fra som givet, at hun
thing that was prescribed, down to the very last note. But
ogsaa her til mindste Node spillede, hvad foreskrevet var. Men
on the other hand she could have played totally at random,
det kunde omtrent ligesaa godt have vret ravgalt spillet, det
for the most part, so wilful and so weird did it sound. Since we
meste af det; saa vilkaarligt og saa besynderligt ld det. Da nu
must also assume that Nielsen knew what he was doing, we do
ogsaa Carl Nielsen maa antages at vide, hvad han gr, tr man
not dare doubt that all the misshapen effects that assaulted
ikke tvivle paa, at alle de dysformistiske Tone-Virkninger, der
our ears contained musical meaning, which we were merely
ramte Ens ren, besad en musikalsk Mening, som man blot
incapable of assimilating all at once without closer study. Per-
ikke var i Stand til paa n Gang uden nrmere Indvielse at
haps understanding will dawn another time. Perhaps not. The
fatte. Maaske kommer Forstaaelsen en anden Gang. Maaske ikke.
fact that in the midst of all the harsh oddities, all this appar-
At der imellem alle de ildelydende Mrkeligheder, al denne
ently nonsensical chatter, bright little episodes shone through
tilsyneladende Snakken sort, lyste smaa Episoder op, som man
that one could grasp straight away and that were moreover of a
kunde faa fat paa staks, og som tilmed var af en srt indta-
specially attractive, genuinely Nielsenish beauty, indicates that
gende, gte Carl Nielsensk Sknhed, tyder paa, at det ikke er
it is not the composer who had anything wrong with him, even
Komponisten, der har vret noget i Vejen med, selvom han maa
though it must be said that he has gone worryingly far with
siges her at vre foruroligende langt ude i Eksperimenter.
his experiments.
124
124
Ogs Axel Kjerulf tog udgangspunkt i en fejltolkning af titlen

Axel Kjerulf also took his misreading of the title as his point of
men drog en anden konklusion:
departure, but came to a different conclusion:

Carl Nielsens Suite betegnedes som luciferisk, sknt man
Nielsens Suite was entitled Luciferian, although one could
egentlig ikke kunde opdage noget srlig djvelsk i dette Arbejde,
not detect anything particularly devilish in this work, which
der var mere klavermssigt formet, end C.N. plejer at evne det,
was more pianistically formed than he customarily manages,
desuden klart og harmonisk interessant; uden at forekomme syn-
moreover clear and harmonically interesting; without appearing especially signicant at rst hearing, this Suite neverthe-
123 Jf. Torben Meyer og Frede Schandorf Petersen, op. cit.,

bd. 2, s. 251-254, og Axel Kjerulf, Hundrede r mellem
Noder. Wilhelm Hansen, Musik-Forlag 1857-1957 27. Oktober,
Kbenhavn 1957, s. 124-129.
124 Nationaltidende, 15.3.1921.
123 Cf. Torben Meyer & Frede Schandorf Petersen, op. cit.,
vol. 2, pp. 251-254, and Axel Kjerulf, Hundrede r mellem
Noder. Wilhelm Hansen, Musik-Forlag 1857-1957 27. Oktober,
Copenhagen 1957, pp. 124-129.
II_12_tekst 1.indd xxxiii
xxxiii
16/09/06 15:32:48
derlig betydeligt ved en frste Overhring, har denne Suite dog

umiskendelig Prg af sin Autors Aand, og Frk. Johanne Stockmarr
125
lste den pianistisk saare vanskelige Opgave med Bravour.

less has unmistakable signs of its authors spirit, and Miss
Johanne Stockmarr solved the pianistically extremely difcult
task with bravura.
125
M.S. beklagede sammenfaldet med en koncert i Palets Store

Sal hvor Carl Nielsens Sinfonia Espansiva blev opfrt samme
aften. Han kalde suiten i det Hele og Store en skikkelig Djvel,
M.S. bemoaned the clash with the concert in the larger hall of
selv om han en Gang imellem slog nogle vldige Slag med
the Pal, where Nielsens Sinfonia Espansiva was being per-
Halen.
126
Hos en anonym anmelder hedder det:
formed on the same evening. He called the Suite: on the whole

an inoffensive devil, even if once in a while he struck some
126
Saa man bort fra det muntre Paafund at kalde denne Suite,
mighty blows with his tail.
An anonymous reviewer was also favourably disposed:
som netop manglede Svovl og Hekseri, luciferisk, kunde man

kun glde sig over dette nye Barn af den Carl Nielsenske Muse.
Disregarding the merry whim of calling this Suite luciferian,
Det var mere klavermssigt gjort end andre Arbejder, hvor
when re and brimstone are precisely what it lacks, one could
Carl Nielsen er traadt i intimere Forbindelse med Klaveret, og
only rejoice over this new child of Nielsens muse. It was more
der var baade Lune, Finhed og den egne Carl Nielsenske Duft
pianistic than other works, where Nielsen has established a
over dette Arbejde, som maa have kostet den Udfrende (Frk.
more intimate relationship with the piano, and this piece
Johanne Stockmarr) mange svnlse Ntter at holde Styr paa,
showed wit, subtlety and the genuine Nielsenish tone. It
mange kvalfulde Dage til den rene mekaniske Udhamring.
127
must have cost the performer, Miss Johanne Stockmarr, many

sleepless nights to get to grips with, and many tortuous days to
127
Adskillige anmeldere hftede sig ved at vrket blev s vel modtaget at komponisten mtte rejse sig fra sin stol for at modtage
hammer into shape.
128
publikums hyldest.
28. november 1925 blev suiten opfrt af Christian
More than one reviewer remarked that the piece was so well
received that Nielsen had to rise from his seat to acknowledge
128
Christiansen ved den anden af de koncerter hvormed Carl

Nielsens 60-rs dag blev fejret. Kbenhavn hfter sig ved at
the applause.
On 28 November 1925 the Suite was performed by

Christian Christiansen in the second concert celebrating Nielsens
th
Suiten blev udfrt med fremragende pianistisk Dygtighed af

Chr. Christiansen men er i vrigt mere optaget af opfrelsen
129
Gunnar
60 birthday. Kbenhavn noted that the Suite was performed
af den nsten 30 r gamle strygekvintet i g-mol.
with outstanding pianistic skill by Christian Christiansen,
Hauchs anmeldelse i Nationaltidende er mere udfrlig i sin
but was otherwise more taken with the performance of G mi-
omtale af suiten; efter at have omtalt sidste sats af Violinsona-
nor String Quintet, composed nearly 30 years earlier.
129
Gunnar
Hauchs review in Nationaltidende was more detailed in its dis-
ten opus 35 med sit befriende Udslag af sund, idrig Kraft

fortstter anmelderen:
cussion of the Suite; having commented on the last movement

of the Violin Sonata Op. 35, with its liberating manifestation of
Endnu mere nder dette et beslgtet Udslag i Slutningen af Kla-
healthy power, rich in ideas, the reviewer went on:
versuiten (Op. 45), hvor de kapricise Indfald yver saa kaadt over
hele Klaviaturet, at Bassen, paa een Gang advarende og opmun-
A related effect is to be found even more in the conclusion

of the Piano Suite (Op. 45), where the capricious ideas y so
125
126
127
128
Ekstrabladet, 15.3.1921.
Anon., Berlingske Tidende, 15.3.1921, Axel Kjerulf i
129 Kbenhavn, 29.11.1925.
playfully over the entire keyboard that the bass line, at once
125
126
127
128
Ekstrabladet, 15.3.1921.
Anon., Berlingske Tidende, 15.3.1921, Axel Kjerulf in
129 Kbenhavn, 29.11.1925.
II_12_tekst 1.indd xxxiv
xxxiv
28/09/06 11:29:14
trende, maa banke sit to-tonede Pas paa! Denne Suite, hvis vrige
Satser dog nppe har den samme Spontaneitet som den sidste,
blev spillet med et sandt Mesterskab af Hr. Chr. Christiansen, en
warning and encouraging, has to beat out its two-note Look
130
Pragtprstation, som han sjldent har prsteret Mage til.
out!. This Suite, whose remaining movements, however, have

nothing like the same spontaneity as the nale, was played
De bevarede autografe kilder til suiten omfatter en komplet
with true mastery by Mr. Christian Christiansen a magni-
blyantskladde med spredte skitser (C) og en renskrift af frste,
cent achievement, which he has seldom equalled.
130
anden og femte sats (B), formentlig udarbejdet til Margrete

Rosenberg. Renskrift i Nancy Dalbergs hnd er overleveret af
Extant autograph sources for the Suite are a complete pencil
satserne 1-4 samt 6 men udviser ikke nogen tegn p at have
draft, with occasional sketches (C), and a fair copy of move-
vret anvendt som trykforlg, hvilket sledes m formodes
ments 1, 2 and 5 (B), evidently made for Margrete Rosenberg.
at vre get tabt. Som det var tilfldet med Chaconne, er det
A fair copy of movements 1-4 and 6 survives in the hand of
muligt at en rkke detaljer i nodeteksten i den trykte udgave
Nancy Dalberg (D) but shows no signs of having been used as
fra 1923 hos C.F. Peters Musikverlag (A) skyldes rd fra nogle af
the printers copy, which must be presumed lost. As in the case
komponistens pianistvenner. Da der ikke er belg for at hvde
of the Chaconne, it may be that some of the unique readings in
at Carl Nielsen tog afstand fra disse ndringer, er frstetrykket
the rst printed edition, published by C.F. Peters Musikverlag in
valgt som hovedkilde for nrvrende udgave.
1923 (A), represent the advice of pianist friends of the composer, but in the absence of any evidence for Nielsens disapproval,
this score is taken as the main source.
TRE KLAVERSTYKKER
THREE PIANO PIECES
ielsen mentions his completion of the rst of his Three
o dage efter at have slutdateret renskriften nvner Carl

Nielsen i brev af 17. januar 1928 til Irmelin, som p det
tidspunkt opholdt sig i New York, at han har fuldfrt
det frste af de tre klaverstykker: Har komponeret en ny Ting

131
Samme dag fortalte
Piano Pieces on 17 January 1928, in a letter to Irmelin,
for Soloviolin og en (lille) for Claver.
who was then in New York: I have composed a new
hustruen i et brev til Irmelin hvordan komponisten havde
piece for solo violin, and one (a little one) for piano.
131
On the
gennemspillet sandsynligvis netop dette stykke: S sidder han
same day his wife wrote to Irmelin, probably describing the
nu og laver noget meget smukt p Claveret om Aftenen, og jeg
composer playing through the already completed piece: And
sidder inde i Dagligstuen og lytter. Nr jeg sprger ham hvad
he is sitting now working on something very beautiful for
det er eller skal vre siger han han ved det ikke.
I et nyt brev til Irmelin, skrevet den 25. januar fra
the piano in the evening, and Im sitting inside in the livingroom, listening. When I ask him what it is or what its going to
132
132
Lillehammer i Norge hvor Carl Nielsen var p skiferie med sin

hustru, omtales igen nogle stykker for violin og for klaver, sidst-
become, he says he doesnt know.
On 25 January another letter to Irmelin, written
nvnte nu under titlen Impromtu, og i lbet af de kommende
from Lillehammer in Norway, where Nielsen and his wife were
tre uger skrev bde Frida Mller og Margrete Rosenberg til Carl
on a skiing holiday, again mentions the pieces for violin and
Nielsen for at takke ham for kopier af stykket.

Det andet stykke er i manuskriptet dateret 1. marts
for piano, now identifying the latter as Impromtu, and over the
next three weeks both Frida Mller and Margrete Rosenberg
og Adagio og Impromptu (i nvnte rkkeflge) blev spillet af
wrote to thank Nielsen for copies of the piece.
Christian Christiansen ved Foreningen Ny Musiks koncert p
The second piece is dated 1 March in the manuscript, and the Adagio and Impromptu (in that order) were played

131 DK-Kk, CNA, III.A.a.1.
by Christian Christiansen for the New Music Society (Forenin-

II_12_tekst 1.indd xxxv
xxxv
28/09/06 11:29:14
Borups Hjskole den 14. april 1928. I et brev til sin hustru bemrkede Nielsen at Christiansen udfrte ogsaa sine to [stykker] fortreffeligt ved generalprven i Christiansens hjem.
133
gen Ny Musik) on 14 April 1928 at Borups Hjskole. In a letter
I sin anmeldelse af koncerten skrev Kai Flor at stykkerne var
to his wife, Nielsen reported on the dress rehearsal at Chris-
sin autor vrdig og k en gnistrende, klangligt nuanceret
tiansens house earlier the same day, noting that Christiansen
Gengivelse.
133
played his two [pieces] excellently.
Efter en pause p otte mneder, hvor Carl Nielsen
Reviewing the concert,
Kai Flor noted that they were worthy of their author and
received a sparkling, tonally nuanced performance.
134
134
frst og fremmest havde arbejdet p klarinetkoncerten, kunne

han den 6. november afslutte det tredje stykke sledes som det
After an interval of eight months, largely taken up
er nvnt i et brev til Eduard Erdmann:
with Nielsens work on the Clarinet Concerto, he completed the

third piece on 6 November, which is mentioned in his corre-
Schon lange habe ich daran gedacht, Ihnen einige neue Klavier-
spondence to Eduard Erdmann:
stcke zu widmen, bin aber von verschiedenen Arbeiten und

Pichten genommen. Jetzt sende ich Ihnen trotzdem eine be-
Ive long wanted to dedicate some new piano pieces to you,
scheidene Ernte von meinem Arbeitsfelde drei kleine Klavier-
but Ive been taken up with various work and duties. Neverthe-
stcke. Es hat mich amsiert die drei Schwesterchen zu kom-
less Im now sending you a modest harvest from the eld of
ponieren, aber es ist ja kein Kriterium, da sie auch gut sind,
my work three new piano pieces. It was fun to compose these
und da ich persnlich in der Sache impliziert bin, mu ich als
three little sisters, but thats no guarantee of their quality, and
Schiedsrichter nett und zierlich meinen Mund halten.
135
since Im personally implicated in the affair, I mustnt sit in

judgment and instead must just keep my mouth shut.
135
Den 7. august 1929 foreslog Johanne Stockmarr Carl Nielsen at

spille stykkerne ved en koncert den 11. december sammen med
On 7 August 1929 Johanne Stockmarr proposed to Nielsen that
samlingen Klavermusik for Smaa og Store (et udvalg af stykkerne
she should play all three pieces in a recital on 11 December,
eller dem alle; se nrmere i det flgende):
together with some or all of the Piano Music for Young and Old
Jeg bar mig ad som et stort F forleden Dag; jeg vilde saa
(see below):
grne have talt med dig om, at jeg til min Klaveraften, som
I behaved like a complete blockhead the other day; I so wanted
jo desvrre blev udsat forrige Aar, grne vilde spille de 3
to talk to you about the fact that for my piano recital which
Stykker, de nye, og saa maa jeg jo altsaa have Lov at laane det
was unfortunately postponed last year I should like to play the
igen, som du jo desvrre lod hente; de 2 andre har jeg. Nu er
three pieces, the new ones, and that I should therefore like to
te
Klaveraftenen ganske vist frst d. 11 Dec., jeg har Salen den
ask permission to borrow the one that you unfortunately had to
Aften; men jeg vilde grne vide, om det passer dig, at jeg spil-
pick up I have the other two. Now the piano recital will quite
ler de 3 Ting.
136
certainly not happen until 11 December I have the hall for that
evening. But I should like to know whether its all right with you
136
Koncerten synes imidlertid at vre blevet udskudt til 5. maj

1930 hvor Johanne Stockmarr opfrte Tre Klaverstykker i Odd-Fel-
if I play the three pieces.
low Palets Mindre Sal.

Forinden havde den frste komplette opfrelse fun-
However, this recital seems to have been postponed until 5 May

1930, when Stockmarr performed the Three Piano Pieces in the
det sted ved Christian Christiansen; det foregik den 6. marts
lesser hall of the Odd-Fellow Pal.
1930 i Antiksalen p Glyptoteket. Programmet, udskudt fra
Meanwhile the rst complete performance had been

given by Christian Christiansen on 6 March 1930 in the Antik-
den 4. marts p grund af sangeren Poul Wiedemanns indisposition, blev gentaget den 7. marts og bestod yderligere af Csar
sal of the Glyptotek, the art gallery in central Copenhagen, endowed by the Carlsberg Foundation. The programme, delayed
133
134
135
136
from 4 March because of the indisposition of the singer, Poul
133
134
135
136

Berlingske Tidende, 16.4.1928.
Privately owned.
DK-Kk, CNA, I.A.b, 21.
II_12_tekst 1.indd xxxvi

Privateje.
DK-Kk, CNA, I.A.b, 21.
xxxvi
16/09/06 15:32:49
Francks Prlude, Chorale et Fugue, sange af Carl Nielsen (heriblandt den nykomponerede Hjemstavn
137
til tekst af Frederik
Poulsen) og andre.
Gunnar Hauch fandt stykkerne meget typiske for
Wiedemann, was repeated on 7 March. It also included Csar

Francks Prelude, Chorale and Fugue, songs by Nielsen (including a
137
new one, Hjemstavn,
to words by Frederik Poulsen) and others.
deres Autor, selv om de maaske ikke hrer til dem af hans

Arbejder, som vil vinde videst Terrn. Strkest i Karakteren
syntes den frste Allegro uente at virke.
Gunnar Hauch found the pieces very typical of
138
En anonym
their composer, even if they perhaps do not belong to those of
anmelder noterede om de Tre Klaverstykker at Christian Chri-
his works that will win the widest renown. The rst, Allegro
stiansen lod deres udmrkede klavermssige Egenskaber,
uente, seemed to have the strongest character.
138
An anony-
deres polyfone Klangrigdom og klare Struktur trde smukt

139
Sandsynligvis med henvisning til den tidligere
mous review noted of the Three Piano Pieces that Christiansen
frem.
allowed their remarkable pianistic qualities, their polyphonic
opfrelse af Adagio og Impromptu oplyser denne anmelder at
139
timbral richness and clear structure to emerge beautifully.
stykkerne blev prsenteret i ndret og get Form; noget
Presumably in view of the earlier performance of the Adagio
lignende siges af Kai Flor
and Impromptu, this review mentioned that the pieces were
den 5. maj 1930 i Odd-Fellow Palets Mindre Sal ved en kon-
presented in altered and expanded form, and the same claim
cert der ogs omfattede Humoreske-Bagateller og Suite opus 45;
140
was made by Kai Flor
for Stockmarrs performance on 5
140
om Johanne Stockmarrs opfrelse
her annonceres klaverstykkerne i programmet som Anden
May 1930 in the Odd-Fellow Pal, lesser hall, in a recital that
Opfrelse, mens Flor fejlagtigt taler om en frsteopfrelse i
included the Humoresque-Bagatelles and the Suite, the Three Piano
deres nye skikkelse.
Pieces being advertised on the programme as Second Performance; Flor mistakenly noted this as a rst performance of the
Carl Nielsens blyantskladde af frste og tredje stykke samt
pieces in their new form.
renskriften af alle tre stykker er bevaret. Fr den endelige

trykning forel (posthumt i 1937), blev udarbejdet en rkke
Nielsens draft score of the rst and third pieces and his fair
kopier, heraf to af Adagio i Carl Nielsens hnd, yderligere en af
copy of all three, are extant. Several manuscript copies were
alle tre stykker samt en af nr. 3 i fremmed hnd med enkelte
made before the eventual publication (posthumously in 1937).
blyantsnotater af Carl Nielsen. Eftersom frstetrykket udkom
These include two copies of the Adagio made by Nielsen, and
posthumt, er renskriften (A) anvendt som hovedkilde for nr. 1
one of all three pieces and one of No. 3 by an unknown copyist
og 3 i nrvrende udgave, mens B er anvendt som hovedkilde
with sporadic pencil indications in the composers hand. Since
for nr. 2.
the rst publication was posthumous, the fair copies in the

case of No. 2, the apparently most correct of the fair copies
are taken as the main source.
KLAVERMUSIK FOR SMA A OG STORE, OPUS 53
PIANO MUSIC FOR YOUNG AND OLD, OPUS 53
n 18 December 1929 Nielsen gave an introductory
en 18. december 1929 holdt Carl Nielsen et foredrag

p Borups Hjskole i Kbenhavn ved et mde i Musikpdagogisk Forening hvor han bl.a. sagde:
address at the Music-Pedagogic Society (Musikpda-
Naar vi nu iaften skal drfte det Sprgsmaal om vore Kompo-
gogisk Forening) at Borups Hjskole in Copenhagen,
nister kunde tnke sig at vre med til at komponere Musik

som dels har en folkelig eller rettere letfattelig Karakter og dels
in the course of which he observed:
egnede sig til Undervisningsbrug for den ikke altfor teknisk

If we are to debate this evening the question of whether our
composers could imagine composing music which on the one
137 Jeg vandrer over mine Fdres Jord, dateret 30/10 29

(DK-Kk, CNS 149).
138 Dagens Nyheder/Nationaltidende, 7.3.1930.
139 Berlingske Tidende, 8.3.1930.
hand has a folk-like, or better, accessible character, and on the

other hand would be suitable for teaching purposes for not
137 Jeg vandrer over mine Fdres Jord, end date 30/10
29 (DK-Kk, CNS 149).
138 Dagens Nyheder/Nationaltidende, 7.3.1930.
II_12_tekst 1.indd xxxvii
xxxvii
28/09/06 11:29:15
udviklede Ungdom, eller for Begyndere, saa mener jeg det er

en god Sag og en god Ide og det er hjst gldelig at det er den
unge Ledelse af Musikpdagogisk Forening som har taget
very advanced young players or beginners then I think its a
dette Initiativ;
141
good thing, a good idea, and most welcome that it should be

the young leadership of the Music-Pedagogic Society that has
taken this initiative.
141
Umiddelbart kunne det se ud som om Carl Nielsen begyndte

kompositionen af Klavermusik for Smaa og Store straks efter dette
mde med gennemsnitligt et stykke per dag, men det er ogs
At rst glance it would seem likely that Nielsen began compos-
muligt at nogle af stykkerne allerede var frdige, idet man i en
ing his Piano Music for Young and Old straight after that meet-
avisomtale kunne lse at der efter foredraget var [] Demon-
ing, at the rate of roughly one piece per day. But it may also
strationer af nyere dansk Undervisningsmusik af Carl Niel-
be that some of the pieces already existed, since a newspaper
sen.
review of the meeting noted that after his lecture there were
mneder tilbage, eftersom den tidligste omtale af stykkerne
demonstrations of recent Danish educational music by Carl
ndes i et brev fra Johanne Stockmarr til komponisten, dateret
142
Nielsen.
And the idea at least for the composition may go
142
Selve ideen til vrket gik efter al sandsynlighed nogle
7. august 1929, hvor hun nvner sine planer om at spille begge
back some months before that, since the rst mention of the
samlinger offentligt sammen med de Tre Klaverstykker: og saa
pieces is in a letter from Johanne Stockmarr to the composer
havde jeg tnkt at spille det Hefte med dine Smaastykker eller
dated 7 August 1929, where she oats the idea of playing one
maaske begge Hefterne; hvad synes du?
or both books in public, along with the Three Piano Pieces: and
blev denne koncert udsat til 5. maj 1930.
143
As noted above, this
recital was postponed until 5 May 1930.

Nielsen recorded his work on the Piano Music for
Som nvnt ovenfor
Carl Nielsen anfrer at arbejdet med Klavermusik for
I also thought about playing the book of your miniatures, or

perhaps both books; what do you think?
143
Smaa og Store begyndte med nr. 10 den 1. januar 1930. Efterflgende slutdatoer stammer fra dagbogen som dog anfrer de enkelte stykker fra nr. 10 til nr. 21 med et nummer hjere end i den
Young and Old starting from No. 10 on 1 January 1930. The fol-
endelige version, fordi Carl Nielsen oprindeligt havde betegnet
lowing completion dates are noted in his diary (which gives one
nr. 3a og 3b, begge i G-dur, som selvstndige numre. Efter for-
number higher than indicated for Nos. 10-21, because the com-
mentlig at have nummereret hele samlingen p ny, indfrte Carl
poser originally counted Nos. 3a and 3b, both in G major, as
Nielsen nr. 22 med sit korrekte nummer, ligesom det er tilfldet
separate numbers; having presumably renumbered the set, No.
med nr. 23 (som tidligere havde heddet nr. 21) samt nr. 24:
22 is correctly entered, as are No. 23 (which Nielsen returned to

having originally numbered it 21) and No. 24.
1. januar
Nr.11
2. januar
No.10
1 January
Nr.12
3. januar
No.11
2 January
Nr.13
4. og 6. januar
No.12
3 January
Nr.14
7. januar
No.13
4 and 6 January
Nr.15
9. januar
No.14
7 January
Nr.16
10. januar
No.15
9 January
[Den 12. januar rejste Carl Nielsen til Damgaard]
No.16
10 January
Nr.17
13. januar
(On 12 January Nielsen travelled to Damgaard)
Nr.18
14. januar
No.17
13 January
Nr.19
15. januar
No.18
14 January
Nr.20
16. januar
No.19
15 January
Nr.21
17. januar
No.20
16 January
Nr.22
20. januar
No.21
17 January
Nr.23
18. og 21. januar
No.22
20 January
Nr.24
22. januar
No.23
18 and 21 January
No.24
22 January
141
142
143
144
144
144
141
142
143
144
John Fellow (1999), op. cit., p. 530.

Snobber vi for Klassikerne?, Politiken, 22.12.1929.
DK-Kk, CNA, I.A.b., 21.
Cf. Torben Schousboe (1983), op. cit., pp. 573-575.
II_12_tekst 1.indd xxxviii
Nr.10
John Fellow (1999), op. cit., s. 530.

Snobber vi for Klassikerne?, Politiken, 22.12.1929.
DK-Kk, CNA, I.A.b.21.
Jf. Torben Schousboe (1983), op. cit., s. 573-575.
xxxviii
28/09/06 11:29:15
Af dagbogsoptegnelserne fremgr det at Carl Nielsen ikke

145
sledes som det hvdes hos Meyer og Schandorf
var i
Gteborg p denne tid, men frst tog dertil den 7. februar (med
Contrary to information in Meyer & Schandorf,145 Nielsens
henblik p at dirigere ved koncerter den 12. og 16.) efter at vre
diary entries reveal that he was not at Gothenburg at this time
vendt tilbage fra Damgaard til Kbenhavn for nogle f dage.

Carl Nielsen ans nr. 18 i c mol for at vre det bedste
but only went there on 7 February (for conducting appearances
146
og han lavede en
on the 12th and 16th), after returning from Damgaard for a few
af de stykker han hidtil havde komponeret,
days to Copenhagen.
srlig kopi af det (kilde C) som han sendte til Irmelin den 16.
Nielsen considered No. 18 in C minor to be the best

146
of the pieces he had composed to that point,
januar 1930. Tre dage senere svarede hun tilbage:
and he made a
special copy of it (source C) and sent it to Irmelin on 16 January
Tak for Brev og det ne lille Stykke. Jeg ver mig men jeg
1930. She replied three days later:
har jo saa faa pianistiske Evner; trods det kan jeg hre at det
er henrivende og jeg kan forestille mig dig spille det, med
Thanks for your letter and the lovely little piece. Ive been
dine smaa brede men flsomme eller rettere, let og delikat
practising, but I have so few pianistic gifts. Nevertheless I can
henglidende Fingre.
147
hear that its delightful, and I can imagine you playing it with
your small, broad, but sensitive, or rather lightly and delicately
gliding ngers.
147
Udover hvad han skrev i forordet til den trykte udgave (se Critical Commentary, s. 246-247), forklarede Carl Nielsen sine ideer i
et brev til Telmnyi fra 19. januar 1930:
Apart from the Preface to the rst published score (see Critical
Commentary pp. 246-247), Nielsen explained his concept in a
og jeg komponerer hver Dag et lille Klaverstykke i en ny Tone-
letter to Telmnyi of 19 January 1930:
art, da jeg skal have 24 (altsaa indtil H Dur gis moll, Ges Dur
es moll), og det interesserer mig som intet fr, fordi Opgaven
And Ive been composing each day a little piano piece in a
er jo saa bunden, at det bliver meget vanskeligt. Det er altsaa
new tonality, because I want to get up to 24 (up to B major/G
femtonige Stykker d.v.s., naturligvis benytter jeg f. Ex. i C dur
sharp minor and G at major/E at minor), and it interests

me like nothing before, because the task is so circumscribed
indenfor & ww baade (des og cis) (es dis) (s-ges). Men se her:
man kan jo ytte Haanden eller Hnderne paa mange Maader
that its very difcult. These are ve-note pieces; and naturally
indenfor Tonearten f. Expl. i hjre Haand (f. Expl. i h moll)

#w
? # ww
?#w
that means that for example in C major I use within the range
& ww
& ww
o.s.v. paa ere Maader uden Over- eller Understning og dog
both D at and C sharp, E at and D sharp, F sharp and
i venstre
eller (hjre) & ww
(venstre)
G at. But look: you can move your hand or hands in many
faa Afveksling. De gamle Klaverskoler har (saavidt jeg ved?) kun
ways within the tonality, e.g. in the right hand (e.g. #in
w B minor)
Grundbeliggenhed i begge Hnder, altsaa G Dur
& ww
? # ww
?#w
or (right) & ww (left)
etc. in
many ways without thumb-crossing and still get variety. The
and the left
old piano methods (so far as I know) only have the basic range
&
# w
w
w
? # w
in both hands; so for G major:

&
derfor anser jeg det for en Fornyelse at arbejde med dette og
# w
w
w
? # w
det har, som sagt, min strste Hengivelse i denne lille Form.
.
145 Torben Meyer og Frede Schandorf Petersen, op. cit.,

bd. 2, s. 305.
146 Se brev til Anne Marie Carl-Nielsen 15.1.1930, DK-Kk,
CNA, II.A.a.
147 Brev fra Irmelin til Carl Nielsen, DK-Kk, CNA, I.A.a.2, 3.
148 Anon., Af to Carl Nielsen-Breve Dansk Musiktidsskrift, 7.
rg. (1932), s. 2-3. Originalkilden til dette brev synes at
vre forsvundet.
So I regard it as something new to work in this way, and as Ive

said, it has my greatest devotion in this little form.
148
145 Torben Meyer & Frede Schandorf Petersen, op. cit., vol. 2,
p. 305.
146 See letter to Anne Marie Carl-Nielsen 15.1.1930, DK-Kk,
CNA, II.A.a.
147 Letter from Irmelin to Nielsen, DK-Kk, CNA, I.A.a.2, 3.
148 Anon., Af to Carl Nielsen-Breve, Dansk Musiktidsskrift,
vol. 7 (1932), pp. 2-3. The original of this letter appears
to be lost.
II_12_tekst 1.indd xxxix
148
xxxix
28/09/06 11:30:07
Den 12. august 1931 omtalte han i et brev til Hans Henny
149
Jahnn
samlingen som Jugendmusik in einer etwas anderen
Bedeutung als die ganz unschuldige Art.
150
Den 13. august 1930 henvendte Finn Hffding151 sig
On 12 August 1931 he wrote to Hans Henny Jahnn149, describ-
til Carl Nielsen i vendinger der viser at mdet i Musikpdago-
ing the set as music for children, but in a somewhat different

150
gisk Forening havde frt til en konkurrence om ny undervis-
meaning from the wholly innocent kind.
On 13 August 1930 Finn Hffding151 wrote to Nielsen
ningsmusik:
in terms that show that the meeting of the Music-Pedagogic

Samtidigt maa jeg lige berre Sprgsmaalet om de smaa
Association led to a competition for new educational pieces:
Klaverstykker; jeg var ganske maalls da min Kone fortalte

At the same time I must touch on the question of your Piano
om Wilh. Hansens Stilling overfor Dem; jeg anede intet om at
Pieces. I was quite speechless when my wife explained Wilhelm
Forlaget have haft det mindste med de Klaverstykker at gre,
Hansens position with regard to you; I had no idea that the
tvrtimod inden Konkurrencen blev startet, havde jeg faaet at
company had the slightest thing to do with the Piano Pieces;
vide at Deres Klaverstykker kom hos Borup, hvilket i hj Grad
on the contrary before the competition began, I was given to
gldede mig. Wilh. Hansen tilbd at samarbejde i en Konkur-
understand that your Piano Pieces were going to be published
rence, tilskyndet, som de sagde, af hin Diskussionsaften i
by Borup, which pleased me no end. Wilhelm Hansen offered
Musikpdagogisk Forening, hvor De indledede. Vi paatnker i
to collaborate in a competition, prompted, so they said, by that
Foreningen en Demonstration af disse nykomponerede Klaver-
discussion evening at the Music-Pedagogic Association which
stykker spillet af Brn, jeg haaber da ikke, at De vil have noget
you introduced. In the Association were considering a perform-
imod at vi lader Deres Stykker demonstrere sammen med de
ance of these newly composed piano pieces given by children;
andre. Det er jo givet at naar MPF tager sig paa at prmiere og
I hope you wont have anything against your pieces being
offentlig anerkende visse Stykker, saa er deres Prludiesamling
played alongside the others. It goes without saying that if the
a fort[i]ori anerkendt og Foreningen forpligtiget til at gre sine
Music-Pedagogic Association takes it upon itself to premiere
Medlemmer opmrksom paa dem. Jeg haaber paa at Samlin-
and publicly to acknowledge certain pieces, then your collec-
gen vil komme i 2 eller 3 Hefter, det vil vre en stor Fordel for
tion of Preludes will automatically be acknowledged and the
deres Udbredelse, og jeg tror ogsaa konomisk fordelagtigere;
Society will be obliged to inform its members. I hope that the
det havde vret dejligt om MPF havde kunnet udgive Deres
collections will come out in two or three volumes, which will
Prludier, men det er der jo desvrre ikke Raad til.
152
be a big advantage for their dissemination, and I also believe

economically more advantageous; it would have been wonder-
Carl Nielsens elev Rudolph Simonsen153 omtalte i brev af 17. sep-
ful if the Music-Pedagogic Association had been able to publish
tember samlingen i rosende vendinger: Det er en ubegribelig
152
Fantasirigdom indenfor de 5 Toner!
your Preludes, but unfortunately there are no funds for it.
On 17 September 1930 Nielsens pupil Rudolph Simonsen153
149 Tysk orgelekspert og musikforlgger (1894-1959).

150 Staats- und Universitts-bibliothek Hamburg Carl von Ossietzky, kopi i DK-Kk.
151 Komponist (1899-1997).
152 DK-Kk, CNA, I.a.b. Musikpdagogisk Forenings engagement i den nvnte konkurrence fremgr ligeledes af et
udateret referat fra et bestyrelsesmde, hvori det bl.a.
hedder: Endelig har vi sammen med Wilh. Hansen
foranstaltet Konkurrencen om den bedste Brnemusik
(Musikhistorisk Museum, Kbenhavn; referatet kan dateres til 1930 p grund af omtalen af violinisten Anton
Svendsens dd).
154 DK-Kk, CNA, I.A.b, 21.
wrote to compliment him: Theres an extraordinary richness

of Fantasy within the ve notes.
154
149 German organ expert and music publisher (1894-1959).

150 Jugendmusik in einer etwas anderen Bedeutung als
die ganz unschuldige Art. Staats- und Universitts-bibliothek Hamburg Carl von Ossietzky, copy in DK-Kk.
151 Danish composer (1899-1997).
152 DK-Kk, CNA, I.a.b. That the Music-Pedagogic Association
was involved in such a competition may also be seen
from the undated minutes of a board meeting which
say: Finally, together with Wilh. Hansen, we have
arranged a competition for the best childrens music
(Musikhistorisk Museum, Copenhagen; the date of the
minutes is 1930 because of the reference to the recent
death of violinist Anton Svendsen).
154 DK-Kk, CNA, I.A.b., 21.
II_12_tekst 1.indd xl
154
xl
16/09/06 15:32:51
155
Den 27. oktober 1930 gav Herman D. Koppel
en
Carl Nielsen-klaveraften i musikkonservatoriets koncertsal i

Kbenhavn. August Felsings anmeldelse roste arrangementet
155
On 27 October 1930 Herman D. Koppel
gave an all-
og bemrkede at Koppel
Nielsen piano recital in the hall of Copenhagen Conservatoire.

August Felsings review praised the whole enterprise and noted
satte Kronen paa Vrket ved at nynne nt og forstaaende de
that Koppel
seks Stykker af den nyligt udsendte Samling for Smaa og Store,

hvori Carl Nielsen skriver en Sats saa gennemsigtig og nem og
crowned the performance by humming subtly and perceptively
lige til, at den maa gaa i alle, som blot har den ringeste Fling
six pieces from the recently published collection For Young
for den absolute Musik i sin primitive Form. Hvor nt veksledes
and Old, in which Nielsen writes so transparently, simply and
Moll og Dur i Nr. 2, hvor sknt formet var Nr. 13 i F-Dur, en
straightforwardly, that it must appeal to all who have just the
pastoral Ynde, som brdes pudsigt af den paaflgende groteske
slightest feeling for absolute music in its purest form. How subtly
Klodrian-March.
156
major and minor modes alternated in No. 2, and how beautifully

formed was No. 13 in F major, a pastoral idyll that is comically
156
interrupted by the following grotesque Clodhoppers-March.
I sin anmeldelse af koncerten fremhvede Kai Flor disse Undervisnings-Klaverstykker, der lige saa tydeligt som hans strste
Kunstmusik viser Rkkevidden af hans Genialitet, fordi de
Reviewing the same concert, Kai Flor claimed that these educa-
157
giver det maaske vanskeligste af alt det store i det smaa.
Udover renskriften af nr. 18 som Carl Nielsen lavede
tional piano pieces, just as clearly as his greatest art music, bear
witness to [the composers] genius, because they show perhaps
til datteren (C), foreligger ogs de frste tre stykker i renskrift
the hardest thing of all to achieve greatness in small dimen-
(B). Endvidere er bevaret en fuldstndig kladde (D), men intet
157
trykforlg. Frstetrykket er hovedkilde til nrvrende udgave.
sions.
Apart from the fair copy of No. 18 that Nielsen made

for his daughter (C), the rst three pieces also exist as fair
copies (B). A complete draft score survives (D), but no printers
KLAVERSTYKKE
copy. The rst published edition is taken as the main source.
PIANO PIECE
neste oplysning om denne komposition synes at

vre redaktrens indledning i Dansk Musiktidsskrift
hvor den blev offentliggjort et par mneder efter
komponistens dd:
he only surviving information about this piece seems

to be the editorial paragraph preceding its publication
Det efterflgende klaverstykke, der er af senere dato [end
in Dansk Musiktidsskrift a few months after the compo-
Klavermusik for Store og Smaa], viser, at Carl Nielsen fortsat har

arbejdet med problemet klavermusik til undervisningsbrug,
sers death:
men sgt lsningen ad andre veje end i op. 53. Stykket offentThe following piano piece, which is of a later date [than the
liggres her for frste gang.
158
Piano Music for Young and Old], shows that Nielsen continued to
work with the problem of piano music for educational pur-
Det vides ikke hvordan tidsskriftet er kommet i besiddelse af
poses, but was looking for solutions along other lines from Op.
stykket; ej heller kendes kompositionsdato eller et eventuelt
158
53. The piece is published here for the rst time.
manuskripts senere skbne.
How the journal came by the piece is not known; nor is the
David Fanning
date of composition, or the whereabouts of the manuscript.
(Danish translation: Niels Krabbe)
David Fanning
155
156
157
158
Danish pianist and composer (1908-1998).

Dagens Nyheder/Nationaltidende, 28.10.1930.
Af to Carl Nielsen-Breve, Dansk Musiktidsskrift, vol. 7
(1932), pp. 2-3.
II_12_tekst 1.indd xli
155
156
157
158
Pianist og komponist (1908-1998).

Dagens Nyheder/Nationaltidende, 28.10.1930.
Af to Carl Nielsen-Breve, Dansk Musiktidsskrift, 7. rg.
(1932), s. 2-3.
xli
28/09/06 11:30:08
ORGELVRKER
ORGAN WORKS
CARL NIELSEN OG ORGELMUSIKKEN
NIELSEN AND ORGAN MUSIC
modstning til klavervrkerne stammer Carl Nielsens

orgelvrker udelukkende fra den sidste del af hans liv.
Dette betyder dog ikke at det frst var p dette tidspunkt,
nlike the piano works, Carl Nielsens organ works
at interessen for orglet meldte sig. En lejlighedsvis beskf-
come exclusively from the last part of his life. How-
tigelse med orglet kan spores tilbage til hans allertidligste
ever, this does not mean that he had no interest in
vrker fra slutningen af 1880erne. Sledes var det frste af de
the organ before this period. An occasional interest in the organ
to fantasistykker for obo og klaver opus 2 Romance antagelig
can be traced back to his very earliest works from the end of the
1
oprindelig tnkt for obo og orgel. Og det vides med sikkerhed
1880s. For example, the rst of two fantasy pieces for oboe and
at denne sats gentagne gange er blevet fremfrt offentligt for
piano opus 2 Romance was probably originally intended for
denne bestning.
1
oboe and organ. And we know with certainty that the Romance
2
was performed by these instruments several times.
In the autumn of 1913 Nielsen met the German organ-
Da Carl Nielsen i efterret 1913 traf den tyske organist

3
Karl Straube i Kbenhavn, inspirerede mdet ham tilsyneladende
til at pbegynde et vrk for orgel. I et brev dateret den 6. oktober
3
ist Karl Straube in Copenhagen. The meeting appears to have
4
til hustruen Anne Marie fortller han om sine planer. Det hed-
inspired him to start on a work for organ. In a letter dated 6th
der bl.a.: Jeg har faaet Lyst til at skrive en Phantasi for Orgel og
4
October to his wife Anne Marie he talks about his plans, saying
har allerede begyndt. Det er mgtigt som et Orgel kan lyde, naar
among other things: I have the urge to write a fantasia for organ
5
en stor Mester tumler med det. Udsagnet bekrftes af en ganske
and have already begun. It is tremendous how an organ can sound
6
kort skitse betegnet Orgelfantasi, men efter al sandsynlighed er
5
when a great master is handling it. This is conrmed by a very
vrket aldrig kommet ud over skitseplanet. Andre udaterede
6
brief sketch designated Organ Fantasia, but in all probability the
skitser for orgel kunne tyde p at Carl Nielsen fra tid til anden
work never got beyond the sketch stage. Other undated sketches
7
har arbejdet med dette instrument, men som nvnt var det frst
for organ suggest that Nielsen worked from time to time with the
i de seneste r at orglet satte sig synlige spor i hans vrkrkke.
Sknt der ikke ndes nogen direkte udsagn herom
instrument, but as already mentioned it was only in the last years

that the organ left visible traces in his list of works.
Although there is no direct statement about this from
fra komponistens side, er det nrliggende at se en forbindelse

mellem Carl Nielsens orgelvrker og de reformbestrbelser der
the composer, it seems reasonable to see a connection between Carl
netop i disse r fandt sted indenfor den danske kirkemusik en
Nielsens organ works and the reform effort that was taking place
8
reform som Thomas Laub havde indledt mange r tidligere, og
at that time in Danish sacred music. Thomas Laub had begun this
som i lbet af 1920erne for alvor slog igennem. Laubs reform
reform many years earlier, but it was to make its fullest impact
gik ud p at afskaffe den flelsesbetonede, romancelignende
during the 1920s. Laubs reform was concerned with abandoning
salmesang til fordel for en genindfrelse af de klassiske stilfor-
emotive Lied-like hymn-singing in favour of a reintroduction of the

older stylistic types the Protestant chorale and Renaissance vocal
1
3
4
5
6
7
8
DK-Kk, Tilg. 391; published by John Fellow as Emilie

Demant Hatt, Foraarsblger, Erindringer om Carl Nielsen,
Carl Nielsen, Works. Published by the Carl Nielsen Edition, Royal Library, Copenhagen. Series II. Vol. 11. Edited
by Lisbeth Ahlgren Jensen, Elly Bruunshuus Petersen
and Kirsten Flensborg Petersen, Copenhagen 2003, pp.
xxiii-xxvi.
Organist and conductor, Kantor at the Thomaskirche in
Leipzig (1873-1950).
Sculptress, ne Brodersen (1863-1945).
Torben Schousboe (ed.), Carl Nielsen. Dagbger og
1983, p. 353.
DK-Kk, CNS 351b.
DK-Kk, CNS 351a.
Danish composer and organist (1852-1927).
II_12_tekst 1.indd xlii
3
4
5
6
7
8
DK-Kk, Tilg. 391; udgivet af John Fellow som Emilie

Demant Hatt, Foraarsblger, Erindringer om Carl Nielsen,
Kbenhavn 2002, s. 92.
Carl Nielsen, Vrker. Udgivet af Carl Nielsen Udgaven, Det
Kongelige Bibliotek. Serie II. Bind 11. Udgivet af Lisbeth
Ahlgren Jensen, Elly Bruunshuus Petersen og Kirsten
Flensborg Petersen, Copenhagen 2003, s. xxiii-xxvi.
Organist og dirigent, kantor ved Thomaskirken i
Leipzig (1873-1950).
Billedhugger, fdt Brodersen (1863-1945).
Torben Schousboe (udg.), Carl Nielsen. Dagbger og brevveksling med Anne Marie Carl-Nielsen, Kbenhavn 1983,
s. 353.
DK-Kk, CNS 351b.
DK-Kk, CNS 351a.
Komponist og organist (1852-1927).
xlii
28/09/06 11:30:08
mer den protestantiske koral og renssancens vokalpolyfoni

og for orgelmusikkens vedkommende at lade den klangligt
og harmonisk funderede romantiske orgelmusik vige for de
9
polyphony and in the case of organ music replacing the sonority-
stilidealer der kendetegnede det 17. rhundredes orgelkunst.
and harmony-based romantic stylistic ideals with those that char-
Sidstnvnte aspekt kom ligeledes til udtryk i den skaldte or-
acterized the art of organ music in the seventeenth century. This
gelbevgelse som i disse r med udgangspunkt i Tyskland stod
change was also manifested in the so-called Organ Movement,
for et opgr med det romantiske, orkesterefterlignende orgel,
with its origins in Germany, which rejected the nineteenth-century
idet man sgte en tilbagevenden til barokorglet. Tager man
idea of good organ-style, aspiring to sound orchestral, in favour of
Carl Nielsens udprget polyfone skrivemde i betragtning, er
a return to the idioms of the Baroque period. Considering Carl
det oplagt at disse strmninger har appelleret til hans komposi-
Nielsens decidedly polyphonic mode of writing, it is not surprising
toriske nysgerrighed.
that these currents appealed to his compositional curiosity.

29 SMAA PRLUDIER FOR ORGEL ELLER HARMONIUM,
29 LITTLE PRELUDES FOR ORGAN OR HARMONIUM,
OPUS 51
OPUS 51
t appears to have been another external factor that

prompted Nielsen to get to grips with his rst organ
10
work, namely that the organist Johannes Hansen asked
et var dog tilsyneladende en ydre anledning der k

Carl Nielsen til at tage fat p det frste orgelvrk,
10
idet organisten Johannes Hansen havde bedt ham
om at komponere nogle prludier for orgel til brug ved
him to compose some organ preludes for use in divine service.
gudstjenesten. Denne anmodning udmntede sig i de 29 Smaa
This request resulted in the 29 Little Preludes for Organ or Harmo-
Prludier for Orgel eller Harmonium opus 51.

Prludierne blev til over en relativ kort periode i
nium opus 51.

The preludes were written over a relatively short
begyndelsen af 1929. De omtales frste gang i et brev fra Carl
period at the beginning of 1929. They are mentioned for the
Nielsen til hustruen dateret den 5. februar. Han opholdt sig p
rst time in a letter from Carl Nielsen to his wife, dated 5th
dette tidspunkt p godset Damgaard ved Fredericia og skriver:
February. At this time he was staying at the Damgaard estate
Jeg har lavet et lille himmelsk Prludium, som ifald det
near Fredericia and wrote: I have made a little celestial
antog menneskelig Skikkelse vilde ligne en smilende Engel
prelude which if it were to take on human form would look
11
fra Renaissancen. Spredte dateringer i blyantskladden til
11
like a smiling angel from the Renaissance. The pencil draft
prludierne nr. 14-27 godtgr at de er komponeret i tidsrum-
for Preludes 14-27 contains scattered datings, which document
met 19. februar til 19. marts, og det m antages at hele samlin-
their composition between 19th February and 19th March, and
gen har vret frdig i slutningen af marts.
12
it must be presumed that the whole collection was nished by

12
the end of March.
Povl Hamburger, Ny Orgelmusik til gudstjenestebrug,

Dansk Musiktidsskrift, 5. rg. (1930), s. 165.
10 Gift med Carl Nielsens ven Thorvald Aagaards sster
Inger.
12 I det trykte program til Carl Nielsen-mindekoncerten i
Roskilde Domkirke 11.2.1932 anfres det at et enkelt af
prludierne skulle vre komponeret r 1900, mens de
vrige var fra 1929. Det m antages, at denne oplysning
stammer fra Emilius Bangert (1883-1962) der arrangerede
koncerten. Torben Schousboe mener at kunne godtgre at
det er prludium nr. 3 som stammer fra r 1900, idet kladden til denne sats er skrevet p en anden type nodepapir
end de vrige prludier, ligesom stilen i nr. 3 peger p
tiden omkring rhundredeskiftet (jf. Torben Schousboe,
Carl Nielsens prludier for orgel, Organistbladet, 32. rg.
(1966), s. 20-27). Der synes dog ikke at vre belg for en
sdan antagelse, idet det nodepapir som er anvendt til
kladden til prludium nr. 3 oprindeligt har tjent som
titelblad for en afskrift af de tre klaverstykker op. 59
(komponeret 1928). Se i vrigt Sources, s. 248-249.
Povl Hamburger, Ny Orgelmusik til gudstjenestebrug,

Dansk Musiktidsskrift, vol. 5, (1930), p. 165.
10 Married to Nielsens friend Thorvald Aagaards sister,
Inger.
12 The printed programme for the Carl Nielsen Memorial
Concert in Roskilde Cathedral on 11.2.1932 states that one
of the preludes was composed in 1900, while the others
were from 1929. We must assume that this information
comes from Emilius Bangert (1883-1962), who organized
the concert. Torben Schousboe believes he can demonstrate that Prelude 3 was from 1900, since the draft for this
piece is written on a different type of music paper from the
other preludes, and the style of No. 3 suggests the period
around the turn of the century (cf. Torben Schousboe,
Carl Nielsens prludier for orgel, Organistbladet, vol. 32
(1966), pp. 20-27). However, there seems to be no proof
for such an assumption, since the music paper used for
the draft of Prelude 3 originally served as the title page
for a manuscript copy of the Three Piano Pieces Op. 59
(composed in 1928). See also the Sources pp. 248-249.
II_12_tekst 1.indd xliii
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28/09/06 11:30:09
I forbindelse med kompositionen havde Mogens Wl13
dike lnt Carl Nielsen nglerne til Christiansborg Slotskirke

hvor han ere gange afprvede orglets muligheder. Endvidere
In connection with the composition work Mogens
havde Wldike forret Carl Nielsen Johann Pachelbels orgel-
13
Wldike lent Nielsen the keys to the Christiansborg Palace
vrker. Den person der mest direkte deltog i komponistens
Chapel, where he tested the potential of the organ several
14
overvejelser, var dog organisten Peter Thomsen. Hos denne
times. Wldike also presented Nielsen with Johann Pachelbels
lnte Carl Nielsen noder af det 17. og 18. rhundredes orgel-
organ works. However, the person who most directly shared the
komponister navne som Frescobaldi, Scheidt, Scheidemann,
14
composers deliberations was the organist Peter Thomsen, from
Weckmann og Bhm. Han satte sm tegn ved de passager der
whom Nielsen borrowed music written by organ composers of
faldt i hans smag, og isr toccata-formerne optog ham meget.
the seventeenth and eighteenth centuries like Frescobaldi,
Efter sigende skulle han have fundet Frescobaldi og Scheidt
Scheidt, Scheidemann, Weckmann and Bhm. He made small
15
srligt efterflgelsesvrdige. Det skal i denne forbindelse
marks by the passages that appealed to his taste, and the
nvnes at Johannes Hansen havde lnt Carl Nielsen Thorvald
toccata forms in particular captured his interest. He is said to
16
Aagaards samling 25 Prludier til Gudstjenesten for Orgel uden
have considered Frescobaldi and Scheidt particularly worthy of
Pedal eller Harmonium som forbillede. Da Carl Nielsens prludier
15
imitation. In this connection it should be mentioned, too, that

16
Johannes Hansen had lent Carl Nielsen Thorvald Aagaards
gik hen og blev noget ganske andet, skal Johannes Hansen vre
17
blevet noget skuffet over resultatet.
collection 25 Prludier til Gudstjenesten for Orgel uden Pedal eller Har-
Der skulle g det meste af et r fr prludierne blev
monium (25 Preludes for Divine Service for Organ without Pedals
holdt over dben ved en offentlig fremfrelse. Det skete den 23.
or Harmonium) as a model. When Nielsens Preludes turned out
januar 1930 ved en koncert i Skovshoved Kirke nord for Kben-
to be something quite different, Johannes Hansen is said to have
18
havn hvor Poul Schierbeck opfrte 28 af prludierne. Ved
17
been somewhat disappointed at the result.
The greater part of a year was to pass before the
denne koncert indviedes i vrigt ogs kirkens nye Frobeniusorgel som koncertinstrument. Koncerten blev rosende anmeldt,
Preludes were christened in public performance. This was on
idet man isr heftede sig ved prludiernes meget forskelligar-
23rd January 1930 in a concert at Skovshoved Church, north
tede karaktertrk. I Nationaltidende mente anmelderen August
of Copenhagen, marking the debut of its new Frobenius organ
Felsing ligefrem at samlingen havde et retrospektivt anlg.
18
as a concert instrument, when Poul Schierbeck performed
Han skrev bl.a.:
28 of the Preludes. The concert was praised by reviewers, who

particularly emphasised the highly differentiated character
Han [Carl Nielsen] valgte Prludiernes Form og gav i Lbet af
of the Preludes. In Nationaltidende the reviewer August Felsing
de mange kortere eller lngere Satser sig selv i en retrospektiv
thought that the collection had a retrospective tendency. He
Fremstilling, begyndende med bredt baarne, fugerede Temaer
wrote amongst other things:

13 Dirigent og organist (1897-1988).
14 (1893-1976).
15 Torben Schousboe (1966), op. cit., s. 20, 26 og Torben
Schousboe (1983), op. cit., s. 578.
16 Komponist og organist (1877-1937).
17 Irmelin Eggert Mller og Torben Meyer, Carl Nielsens
Breve i Udvalg og med Kommentarer, Kbenhavn 1954,
s. 263-264.
18 Komponist og organist (1888-1949). Af en eller anden
grund ville Schierbeck ikke spille prludium nr. 26.
Koncerten forlb sledes at prludierne var fordelt i tre
grupper (10 + 9 + 9) hvorimellem en vokalkvartet bestende af Sylvia Schierbeck, Agnete Grunert, Poul Knudsen
og Orla Petersen sang satser af Thomas Laub, Michael
Praetorius, Heinrich Isaac og Melchior Vulpius. Jf. trykt
koncertprogram (DK-Kk, CNA, I.E.b.).
He [Nielsen] chose the form of the preludes and in the

course of the many long and short pieces gave of himself in a
retrospective presentation beginning with broadly sustained
13 Danish conductor and organist (1897-1988).

14 (1893-1976).
15 Torben Schousboe (1966), op. cit., pp. 20, 26 and Torben
Schousboe (1983), op. cit., p. 578.
16 Danish composer and organist (1877-1937).
17 Irmelin Eggert Mller & Torben Meyer, Carl Nielsens Breve i
Udvalg og med Kommentarer, Copenhagen 1954, pp. 263-264.
18 Danish composer and organist (1888-1949). For some
reason Schierbeck would not play Prelude 26. The
concert divided the preludes into three groups (10 + 9
+ 9), and in between these a vocal quartet consisting of
Sylvia Schierbeck, Agnete Grunert, Poul Knudsen and
Orla Petersen sang pieces by Thomas Laub, Michael
Praetorius, Heinrich Isaac and Melchior Vulpius. Cf.
printed concert programme (DK-Kk, CNA, I.E.b.).
II_12_tekst 1.indd xliv
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16/09/06 15:32:53
i Saul og Davids ophjede, linear-klare Sprog, videre over

Symfoniernes hjst forskellige Idassociationer, gennem lyrisk
stemte Motiver, der ledte Tanken hen paa den jvne Sang,
fugato themes in the linear-clear idiom of Saul and David, on
som fnger Hvermands Sind, hen mod de sidste store Vrkers
through the highly varied associations of ideas in the sympho-
gigantiske Indhold, som f.Eks. Klarinetkoncertens opbrusende
nies, through lyrically disposed motifs that recalled the plain
Passagevrk for at ende i en cantabil, andagtsfyldt Strofe, der
song style that captures the mind of the common man, towards
lftede sig hjt over Dagen og Tiden. Om man vil, en Samling
the gigantic content of the last great works, such as the swell-
tonale Aforismer, gennemstrmmet af polyfon Livskraft, der
ing passage-work of the clarinet concerto, to end in a cantabile
snart i instrumentalt Relief staar som et moderne Sidestykke
devotional strophe that rose high above the day and the age.
til Chopins store Prludievrk for Klaver, Opus 28, snart i intel-
One might say a collection of musical aphorisms, shot through
lektuel Kraft og Afveksling med deres fngslende, lsrevne
with polyphonic vitality, standing now in instrumental relief
Tanker, slynget ud med en eruptiv Kraft, der har sit dybe
as a modern counterpart of Chopins great preludes for piano,
Udspring i Carl Nielsens ekspansive Kompositionstrang, former
opus 28, now in intellectual power and variety with their
sig som en klingende Analogi til de Sren Kierkegaardske
captivating, stray ideas thrown up with an eruptive power that
Diapsalmata fra EntenEller.
19
has its deep wellspring in Nielsens expansive compositional

urge, forming a sounding analogy to Sren Kierkegaards Diapsalmata from EitherOr.
19
Den frste fuldstndige opfrelse af alle de 29 prludier spillet

som en sammenhngende cyklus fandt sted den 19. marts
samme r i Sankt Johannes Kirke i Kbenhavn med Peter Thom-
The rst complete performance of all 29 preludes played as a
20
sen ved orglet. I forbindelse med forberedelserne til denne
continuous cycle took place on 19 March the same year in the
koncert deltog Carl Nielsen i to registreringsprver.
21
Tilsyneladende betragtede komponisten dog ikke sin
St. Johannes Church in Copenhagen with Peter Thomsen at the

20
organ. In connection with the preparations for this concert
prludiesamling som et ubrydeligt hele nr den blev opfrt til

22
koncert. Sledes foreslog han organisten P.S. Rung-Keller en
21
Nielsen attended two registration rehearsals.
The composer does not appear to have regarded his
suite bestende af flgende elleve prludier: nr. 22, 23, 10, 11, 21,
preludes as an inviolable entity, and was happy to see groups
15, 24, 18, 13, 25 og 28, idet han dog gav Rung-Keller frie hnder
performed; for example, he suggested a suite of eleven (22, 23,
til at tage ere prludier med eller ndre rkkeflgen.
23
Da prludierne i oktober 1930 udkom p Skandi-
10, 11, 21, 15, 24, 18, 13, 25 and 28) to the organist, P.S. Rung-Kel22
ler, at the same time giving Rung-Keller a free hand to include
23
more or change the order in which they were played.
In October 1930, when the Preludes were published

by Skandinavisk og Borups Musikforlag, Nielsen quite in
navisk og Borups Musikforlag, havde Carl Nielsen helt i pagt

med sine forbilleder fra det 17. og 18. rhundrede udeladt
enhver form for anvisning mht. dynamik, artikulation og frase24
ring. Eneste rettesnor for den spillende var metronomangivel-
keeping with his models from the seventeenth and eighteenth

centuries had omitted any indications of dynamics, articula-
20 Programmet ved denne koncert bestod af: J.S. Bach,
Toccata, Adagio og Fuga i C dur BWV 564, Carl Nielsen,
29 Prludier og Orgel eller Harmonium op. 51, G.F. Hndel,
Orgelkoncert i F dur op. 4 nr. 4 med et orkester dirigeret
af Emilius Bangert. Jf. trykt program (Dk-Kk, Smtryksafdelingen).
21 Torben Schousboe (1966), op. cit., s. 24.
22 Organist og dirigent (1879-1965).
23 Jf. brev fra Carl Nielsen til P.S. Rung-Keller, 17.10.1930
(DK-Kk, NKS 4692. D1).
24 I blyantskladden (kilde D) og den delvis autografe
renskrift (kilde C) optrder sporadiske anvisninger
mht. dynamik og artikulation. Alle disse anvisninger
er nvnt i Editorial Emendations and Alternative Readings,
s. 264-266.
24
tion and phrasing. The only guidelines for the player were the
20 The programme for this concert consisted of J.S. Bach,
Toccata, Adagio and Fugue in C major BWV 564; Nielsen,
29 Preludes for Organ or Harmonium op. 51; G.F. Hndel,
Organ Concerto in F major op. 4 no. 4 with an orchestra
conducted by Emilius Bangert. Cf. printed concert
programme (Dk-Kk, Smtryksafdelingen).
21 Torben Schousboe (1966), op. cit., p. 24.
22 Danish organist and conductor (1879-1965).
23 Cf. letter from Nielsen to P.S. Rung-Keller, 17.10.1930
(DK-Kk, NKS 4692. D1).
24 In the pencil draft (Source D) and the part-autograph
fair copy (Source C) there are scattered indications for
dynamics and articulation. All these are mentioned
in the Editorial Emendations and Alternative Readings,
pp. 264-266.
II_12_tekst 1.indd xlv
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28/09/06 11:30:09
ser til de enkelte satser, idet det i en fodnote blev bemrket at

de opgivne metronomtal var at betragte som tilnrmelsesvise
og mtte rette sig efter rum og instrument. Denne meget
metronome markings for the individual pieces, and even then
summariske notationsform foranledigede Peter Thomsen til at
it was stated in a footnote that the metronome speeds given
bringe en lille opsats i Dansk Kirkemusiker-Tidende vedrrende dy-
should be regarded as approximate and were to be adjusted for
namik og registrering i prludierne, hvor han gjorde opmrk-
the space and the instrument. This spare notation prompted
som p at bemrkningerne stttede sig til komponistens egne
Peter Thomsen to publish a small article in Dansk Kirkemusiker-
25
anvisninger. Det hed heri bl.a.:
Tidende on dynamics and registration in the Preludes, pointing out that the remarks were based on the composers own
Til Gengivelse af Prludierne vil et Mixturorgel, som raader
25
instructions. He wrote for example:
over mange og milde blandede Stemmer, vre bedst egnet;

paa et moderne Instrument med den mindre gennemsigtige
For the rendering of the Preludes a Mixture organ, with many
Klang og det store Antal strygende og svvende Registre vil de
gentle mixed voicings, will be best suited; on a modern in-
vanskeligere komme til deres Ret. Indenfor de enkelte Stykker
strument with the less transparent sound and the large number
br ingen Registerndring nde Sted helt misforstaaet vil
of sweeping and gliding stops they will have difculty coming
det vre at anvende Generalcrescendo eller at tilfje et strkt
into their own. Within the individual pieces there should be no
klingende Register paa Slutningsakkorden.
IX . X . XI . XII . XIII . XIV (). XV . XVI ().
Nr. I . II (). III . IV . V . VI . VII, VIII og IX

. X . XI . XII . XIII . XIV (). XV . XVI (). XVII
. XVIII (). XIX (). XX . XXI . XXII . XXIII ().
XXIV . XXV . XXVI (). XXVII . XXVIII . XXIX .
(). XXIV . XXV . XXVI (). XXVII . XXVIII . XXIX .
som Komponisten bemrker om de af ham selv angivne Metro-
changing of stops it would be quite mistaken to use a general

crescendo or to add a powerful-sounding stop on the nal chord.
No. I . II (). III . IV . V . VI . VII, VIII and
XVII . XVIII (). XIX (). XX . XXI . XXII . XXIII
Om ovenstaaende Styrkegrader glder det samme,

nomangivelser: de maa betragtes som kun tilnrmelsesvis og
As with the composers remarks about his metro-
26
rette sig efter Rum og Instrument.
nome markings, these comments on dynamics are to be

regarded as approximate and have to be adjusted to the room
26
Den trykte udgave af prludierne afstedkom ere fyldige
and the instrument.
anmeldelser i fagtidsskrifter hvor et tilbagevendende emne var

The printed edition of the preludes gave rise to several lengthy
sprgsmlet om prludiernes egnethed til brug ved guds-
reviews in specialist periodicals, where a recurring theme was
tjenesten. I sin anmeldelse i Dansk Musiktidsskrift mente Povl
the issue of the suitability of the preludes for use in church
27
Hamburger at det kun var nr. 14 og 29 der levede op til de
services. In his review in Dansk Musiktidsskrift Povl Hamburger
27
krav man mtte stille til en moderne kirkestil. Han betragtede
thought that only Nos. 14 and 29 met the requirements of a

modern church style. He saw the collection rather as suited
25 Hermed refereres antagelig til Carl Nielsens ovenfor

omtalte deltagelse ved registreringsprverne fr
koncerten den 19.3.1930. At Carl Nielsen var indforstet
med Peter Thomsens opsats, fremgr af et brev fra Carl
Nielsen til Peter Thomsen, dateret 26.10.1930. Heri
hedder det bl.a.: Jeg vil naturligvis meget gerne have
Deres Registreringsforslag paa Tryk og jeg er sikker paa
at andre Musikere og Organister ogsaa vil vre glade
derfor. (DK-Kk, NBD 2. rk., 1981/101).
26 Peter Thomsen, Carl Nielsens Orgelprludier, Dansk
Kirkemusiker-Tidende, 27. rg. (1930), s. 98. I Torben
Schousboe (1966), op. cit., s. 22-24 bringes endvidere en
rkke oplysninger vedrrende de enkelte satsers tempo
og karakter, der angiveligt skulle bygge p Carl Nielsens
udtalelser til Peter Thomsen, som mundtligt har bragt
dem videre til Schousboe.
27 Musikforsker og komponist (1901-1972).
25 This presumably refers to Nielsens above-mentioned

participation in the registration rehearsals before the
concert on 19.3.1930. That Nielsen had accepted Peter
Thomsens arrangement can be seen from a letter from
Nielsen to Peter Thomsen, dated 26.10.1930, in which
he says: I would of course very much like to have your
registration proposals in print and I am sure that other
musicians and organists would also be pleased with
them (DK-Kk, NBD 2. rk., 1981/101).
26 Peter Thomsen, Carl Nielsens Orgelprludier, Dansk
Kirkemusiker-Tidende, vol. 27 (1930), p. 98. Torben Schousboe (1966), op. cit., pp. 22-24, also has information on
the tempo and character of the individual pieces,
said to be based on Carl Nielsens statements to Peter
Thomsen, who passed them on orally to Schousboe.
27 Danish musicologist and composer (1901-1972).
II_12_tekst 1.indd xlvi
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snarere samlingen som egnet til studiebrug og foreslog titlen

28
Studier for Orgel i stedet for Prludier. Mere afdmpet
29
var Knud Hjort i sin anmeldelse i Vor Ungdom. Han skrev bl.a.:
for study and proposed the title Studies for Organ instead of
28
29
Preludes. Knud Hjort was more discreet in his review in
Prludierne br kendes af danske organister, og de br fore-
Vor Ungdom. He wrote:
lgges for menigheden. At mange til at begynde med vil nde

dem lidt aparte og mske lidt for glade, kan jo grne vre,
The preludes should be known by Danish organists, and they
men p den anden side er folk efterhnden blevet noget vant
should be presented to the congregations. It may well be that
til musik, der er i gammel stil, og den stive hjtidelighed er
many people will nd them a little odd and perhaps a little too
sikkert mindre regnet, end den engang var.
30
cheerful at rst, but on the other hand people have gradually

become used to music that is in the old style, and rigid formality is probably less appreciated than it once was.
30
I forlngelse af Hjorts anmeldelse bad redaktionen af Vor

Ungdom Carl Nielsen om selv at bidrage med en replik i denne
diskussion. Det frte til et indlg hvori det bl.a. hed:
To follow up on Hjorts review the editor of Vor Ungdom asked

Nielsen to contribute a reply in this discussion. This led to an
Hvad nu min Mening om Prludiernes Anvendelse angaar,
article in which Nielsen wrote:
saa er det naturligvis for mig, som er Part i Sagen, vanskeligt at

staa helt objektivt overfor mine egne smaa, kre Skabninger,
As for my opinion about the use of the Preludes, it is of course
men jeg skal forsge, og jeg vil saa frst nvne de Numre, som
difcult for me, given my interest in the matter, to stand quite
afgjort ikke egner sig til kirkelig Brug i vor Tid, nemlig Nr. VIII,
objectively before my own small, cherished creations, but I will
XI, XV, XVIII, XXII, XXVI og XXVIII. Derimod mener jeg, at I, II,
try, and so I will rst mention the numbers that are certainly
III, V, VII, X, XII, XIV, XIX, XXI, XXV og XXIX kan lade sig hre i
not suitable for liturgical use in our age, that is Nos. VIII, XI,
Kirken; Nr. XIV og XXIX maaske bedst som Indgangsspil, Resten
XV, XVIII, XXII, XXVI and XXVIII. On the other hand I think that
til Udgang. Om de Numre i Heftet, jeg ikke har nvnt, tr jeg
I, II, III, V, VII, X, XII, XIV, XIX, XXI, XXV and XXIX can be heard
i denne Sammenhng ikke have nogen Mening. Der hersker
in church; Nos. XIV and XXIX are perhaps best as processionals,
i jeblikket saa stor Meningsforskel indenfor de ellers mest
the rest as recessionals. About the numbers in the volume that
fremskredne og forjttende Krese, at det er helt forunderligt;
I have not mentioned I can venture no opinion in this context.
og selv blandt en hel Falanks af unge og yngre Kirkemusikere,
At present there are such great differences of opinion within
der mener at strbe efter samme Maal, er Meningerne vidt
what are otherwise the most advanced and promising circles,
forskellige, naar det drejer sig om Orgelmusik i Kirken, og det
that it is quite strange; and even among a whole phalanx of
ligger naturligvis deri, at vi ikke har Orgelmusik fra en Tid eller
young and youngish church musicians who believe they are
af et Indhold, der svarer til a capella-Stilens. Med andre Ord: vi
striving for the same goal, opinions are widely different when
mangler Forbilleder.
En af de bedst funderede og mest begavede blandt de
it comes to organ music in church, and of course what underlies this is the fact that we do not have organ music from a
unge Kirkemusikere, Organist Peter Thomsen, har imidlertid i et
time or of a content that corresponds to that of the a cappella
31
Brev til mig fornylig fremsat flgende tre Krav angaaende de
style. In other words, we lack models.
Egenskaber, kirkelig Orgelmusik br have:
One of the most knowledgeable and most gifted of

the young church musicians, the organist Peter Thomsen, has
28 Povl Hamburger, op. cit., s. 167-168.

29 Forfatter (1869-1931).
30 Vor Ungdom (udgivet af Det pdagogiske Selskab), 53.
rg. (1931-32), s. 44-46.
31 Brev 27.3.1931 (DK-Kk, CNA, I.A.b.). I et brev dateret
25.2.1931 havde Carl Nielsen bedt Peter Thomsen at
udtale sig om, hvilke af prludierne der egnede sig til
kirkeligt brug (DK-Kk, NBD 2. rk., 1981/101).
however recently proposed the following three requirements

31
for sacred organ music in a letter to me:
28 Povl Hamburger, op. cit., pp. 167-168.

29 Danish author (1869-1931).
30 Vor Ungdom (published by Det pdagogiske Selskab), vol.
53 (1931-32), pp. 44-46.
31 Letter 27.3.1931 (DK-Kk, CNA, I.A.b.). In a letter dated
25.2.1931 Nielsen had asked Peter Thomsen to say
which of the preludes were suitable for use in church
(DK-Kk, NBD, 2. rk., 1981/101).
II_12_tekst 1.indd xlvii
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16/09/06 15:32:54
1) Liner Skrivemaade altsaa melodiske Stemmer,

der ikke standses af Periodebygning, da capo-Former o.l.
2) En Modulation, der ikke benyttes til at farve
1) Linear composition that is, melodic parts that
are not stopped by periodic phrase-building, da capo forms and
Temaet, men som naar den overhovedet fremkommer kun

optrder, fordi Stemmernes Gang ligefrem krver den.
3) En vis Rummelighed, saa at Tilhrerne i dette
the like.
2) Modulation that is not used to colour the theme
but which when it is used at all only appears because the
Tilflde Menigheden ikke faar Indtryk af, at Musikken er en

Enkeltmands Tale eller Betragtninger.
Jeg slutter mig ganske til disse Ord, og skulde jeg
motion of the parts actually requires it.

3) A certain spaciousness, so that listeners in this
endnu engang komme til Komposition af Orgelprludier,
case the congregation do not get the impression that the
vil jeg umage mig med Undertrykkelse af personlig Smag og
music is the speech or reections of one man.
strbe imod de krystalklare Vrdier, som ligger gemt i Toner-
I wholly agree with these words, and if ever again I
nes Egenvillie, hvet over alle Slags Fornemmelser.
32
engage in the composition of organ preludes, I will take pains

to suppress personal taste and aspire to the crystal-clear values
Hovedkilden til nrvrende udgave er den trykte udgave fra 1930,
that lie latent in the will of the music itself, elevated above all
idet der er taget hensyn til en trykfejlsliste som Peter Thomsen ud-
kinds of personal feelings.
33
32
arbejdede umiddelbart efter fremkomsten af den trykte udgave.
Endvidere har de to fragmentariske renskrifter og blyantskladden

The main source for the present edition is the printed edition of
i visse tilflde kunnet tjene til at korrigere oplagte fejl.
1930, but taking into account an errata list that Peter Thomsen
drew up immediately after the appearance of the printed edi33
tion. In addition, the two fragmentary fair copies and the pencil
MELODI
draft have, in certain instances, served to correct obvious errors.
blyantskladden til 29 smaa Prludier for Orgel eller Harmonium

ndes mellem nr. 13 og 14 en lille sats der er betegnet
Melodi. Det fremgr tydeligt af manuskriptet at denne sats
MELODY
frst har vret nummereret som nr. 14, men siden er numme-
n the pencil draft of the 29 Little Preludes for Organ or Har-
ret blevet visket ud, og hele satsen er sat i parentes. Bortset fra
monium, between Nos. 13 and 14, there is a small piece
denne kladde ndes der ikke andre kilder til dette lille stykke
designated Melody. It is clear from the manuscript that this
som antagelig aldrig har vret fremfrt offentligt. Satsen
piece was at rst numbered as No. 14, but later the number
udgives hermed for frste gang.
was rubbed out and the whole piece was put in brackets. Apart
from this draft there are no other sources for this little piece,
which was probably never played in public. The piece is pub-
TO PRLUDIER
lished here for the rst time.

TWO PRELUDES
he two preludes with no opus number were composed
e to prludier uden opusnummer er komponeret til

Peter Thomsen i begyndelsen af 1931, muligvis efter
afslutningen af Commotio. Det er oplagt at se disse
to satser som komponistens forsg p at efterleve de krav til
for Peter Thomsen at the beginning of 1931, possibly
kirkelig orgelstil der kom til udtryk i den ovenfor omtalte
after the composition of Commotio had been completed.
artikel i Vor Ungdom. Prludierne udkom i 1947 p Skandina-
It is reasonable to see these two pieces as the composers at-
visk Musikforlag. Hovedkilden til nrvrende udgave er den
tempt to meet the requirements for a sacred organ style that
renskrift som Carl Nielsen sendte til Peter Thomsen.
were expressed in the above-mentioned article in Vor Ungdom.

The preludes were published in 1947 by Skandinavisk Musik-
32 Vor Ungdom, op. cit., s. 46-47. Indlgget er tillige gengivet

i John Fellow (udg.), Carl Nielsen til sin samtid, Kbenhavn
1999, s. 599-600.
33 Gengivet i Peter Thomsen, op. cit., s. 98.
forlag. The main source for the present edition is the fair copy
that Nielsen sent to Peter Thomsen.
32 Vor Ungdom, op. cit., pp. 46-47. The article is also

reproduced in John Fellow (ed.), Carl Nielsen til sin samtid,
33 Reproduced in Peter Thomsen, op. cit., p. 98.
II_12_tekst 1.indd xlviii
xlviii
16/09/06 15:32:54
COMMOTIO, OPUS 58
COMMOTIO, OPUS 58
fter tilblivelsen af de 29 smaa Prludier for Orgel eller Harmonium pbegyndte Carl Nielsen arbejdet med det der
skulle blive hans sidste strre komposition, nemlig
fter the composition of the 29 Little Preludes for Organ or
34
orgelvrket Commotio. Hermed realiserede han et mangerigt
Harmonium Nielsen began work on what was to be
35
nske, og i modstning til de sm prludier skyldes dette vrk
34
his last major composition, the organ work Commotio.

35
tilsyneladende ikke nogen ydre anledning. Sledes bemrkede
In so doing he was fullling a wish of many years standing,
han den 4. marts 1931 i et brev til sin gode veninde Vera Michael-
and unlike the little preludes, this work seems to have had no
36
sen at: Det er maaske fjollet at man udfrer et Vrk som der
external prompting. For example on 4 March 1931 he remarked
maaske slet ikke er Brug for og som ingen har spurgt om, men vi
36
in a letter to his close friend Vera Michaelsen: It is perhaps
37
er vel alle fjollede, naar det kommer til Stykket og dog !

Det str ikke helt klart prcis hvornr Carl Nielsen
foolish to create a work for which there may be no use and for
which no one has asked, but I suppose we are all foolish when
37
pbegyndte arbejdet med Commotio, blot kan det konstateres at

nogle sider midt i blyantskladden er nedskrevet p nodepapir der
it comes down to it, and yet !
It is not quite clear precisely when Nielsen began
har indeholdt teoriopgaver til konservatoriets organisteksamen
working on Commotio; it can only be noted that some pages in
juni 1930; alts kan disse sider af kladden tidligst vre nedskre-
the middle of the pencil draft are written on music paper that
vet p dette tidspunkt. Arbejdet med kompositionen strakte sig
contained theory problems set for the organ examination of
frem til slutningen af februar 1931 hvor han under et ophold p
the conservatoire in June 1930, indicating the earliest possible
Damgaard lagde sidste hnd p vrket. I Carl Nielsens omfat-
date for these pages. The composition work lasted until the
tende korrespondance med familie og venner fremgr det klart at
end of February 1931, when he put the nishing touches to the
han tillagde vrket overordentlig stor betydning. Den 24. februar
work during a stay at Damgaard. In Nielsens extensive cor-
skrev han til sin svigersn Emil Telmnyi:
38
respondence with family and friends it is clear that he ascribed

extraordinary importance to the work. On 24th February he
38
wrote to his son-in-law Emil Telmnyi:
Intet af mine andre Arbejder har krvet saa stor Koncentration som dette: Et Forsg paa at genopbygge den virkelig eneste
gldende Orgelstil, nemlig den polyfone Musik som passer
None of my other works has demanded such great concentra-
specielt for dette Instrument, som i lang Tid er blevet betragtet
tion as this: an attempt to reconstitute what is truly the only
som et Slags Orkester, hvad det aldeles ikke er. Mere herom ved
valid organ style, the polyphonic music that is especially suited
Lejlighed.
39
to this instrument, which for a long time has been regarded

as a kind of orchestra, which it absolutely is not. More on this
34 Latin: Bevgelse.
35 Jf. brev fra Carl Nielsen til Ebbe Hamerik (17.2.1931)
hvori han skriver: Jeg er her en 10-12 Dage for at lgge
sidste Haand paa et strre Orgelvrk som jeg i mange
Aar har nsket at prve paa (DK-Kk, NBD 2. rk.).
36 (1893-1974), gift med Carl Nielsens velgrer Carl Johan
Michaelsen.
37 DK-Kk, CNA, I.A.c. Det skal dog i denne forbindelse
nvnes at Emilius Bangert angiveligt skulle have opfordret Carl Nielsen til at komponere et koncertstykke til
ham (venligst meddelt af fru Elin Bangert). Forholdet
mellem Bangert og Carl Nielsen er behandlet i Niels Bo
Foltmann Emilius Bangert, Carl Nielsen og Commotio , Musik i Roskilde fra jdeharpe til festival (Historisk
rbog fra Roskilde Amt 1996/97), s. 51-62.
38 Ungarsk-dansk violinist (1892-1988).
39 DK-Kk, C II, 10.
39
when the occasion arises.
34 Latin: movement.
35 Cf. letter from Nielsen to Ebbe Hamerik (17.2.1931),
where he writes: I am here for 10-12 days to put the
nishing touches to a major organ work that I have
wanted to try to write for many years (DK-Kk, NBD, 2.
rk.).
36 (1893-1974), married to Carl Nielsens benefactor Carl
Johan Michaelsen.
37 DK-Kk, CNA, I.A.c. It should, however, be mentioned in
this connection that Emilius Bangert is said to have
urged Nielsen to compose a concert piece for him (information kindly provided by Mrs Elin Bangert). As for
the relation between Bangert and Nielsen, see Niels Bo
Foltmann, Emilius Bangert, Carl Nielsen og Commotio , Musik i Roskilde fra jdeharpe til festival (Historisk
rbog fra Roskilde Amt 1996/97), pp. 51-62.
38 Hungarian-Danish violinist (1892-1988).
39 DK-Kk, C II, 10.
II_12_tekst 1.indd xlix
xlix
28/09/06 11:30:10
Og den 26. februar skriver han til Knud Jeppesen:
40
Jeg er her for at faa den sidste Koncentration til mit store
40
Orgelvrk, og om et Par Dage er jeg frdig. Det har interesseret
On 26 February he wrote to Knud Jeppesen:
mig i strkeste Grad, men det er naturligvis ikke ensbetydende

I am here to make the last concentrated effort on my big
med at det er ved Maalet, jeg satte mig, og jeg er egentlig
organ work, and in a few days I shall have nished. It has inter-
meget spndt paa, hvad De og maaske en eller to Kunstnere
ested me a great deal, but that is of course not to say that it has
mere vil sige til det. Kun i en henseende har jeg overgaaet
arrived at the goal I set myself, and I am really very anxious to
Johan Seb. Bachs Orgelvrker: i Omfanget. Jeg tror det spiller
know what you and perhaps one or two other artists will
mellem 22 og 24 Minutter.
say about it. Only in one respect have I outdone Johan Seb.
Bachs organ works: in length. I think it plays between 22 and
Samme dag berettede Carl Nielsen i et brev til hustruen Anne
24 minutes.
Marie at han nu var sikker p sit vrk og i virkeligheden

frdig. Der manglede blot nogle timers arbejde fr han kunne
41
tage fat p renskriften.
The same day Nielsen related in a letter to his wife that now he
was sure about his work and had actually nished it. He had only
41
Kladden er slutdateret Damgaard 27 Febr 31, og den 2. marts
a few hours left before he could begin to make the fair copy.
kunne en lettet komponist atter skrive til sin hustru:

The draft is end-dated Damgaard 27 Febr 31, and on 2 March
Nu er mit store Orgelstykke helt frdigt og jeg er glad for det
the relieved composer could again write to his wife:
Arbejde fordi det er gjort med strre Dygtighed end alle mine
Now my big organ piece is quite nished and I am happy
andre Ting; det kan jeg jo nok selv bedmme, derimod ikke
about the work because it has been done with greater skill than
hvordan det ellers er i Aanden. Det er et stort Vrk og varer
all my other things; I myself must be the best judge of that,
vist circa 22 Minutter. Bachs strste Orgelvrk (Prludium og
although not of what it is otherwise like in spirit. It is a large
Fuga i e moll) er paa 368 Takter, mit er 511, saa hvad Omfanget
work, and lasts I think about 22 minutes. Bachs longest organ
angaar ? Bach er uopnaaelig!
42
work (the Prelude and Fugue in E minor) is 368 bars long, mine
42
P titelbladet af renskriften anfres vrkets titel som Commotio.
is 511; so as far as size is concerned ? Bach is unreachable!
Nr. I, hvilket kunne tyde p, at Carl Nielsen forestillede sig dette

On the title page of the fair copy the title is given as Commotio.
vrk som det frste af en hel rkke vrker af samme art. En
Nr. I, which might indicate that Nielsen had planned this work
sdan plan blev som bekendt aldrig realiseret.

Forhndsinteressen for det nye orgelvrk var stor
as the rst in a whole series of works of the same kind. As we
blandt de hjemlige organister, og inden den frste offentlige
know, such a plan was never realized.
fremfrelse blev det spillet gentagne gange under private for-
There was great interest in the new work among

Danish organists, and it was played privately by three different
mer af tre forskellige organister. Den frste af disse koncerter
organists before its rst public performance. The rst of these
fandt sted den 24. april 1931 i Christiansborg Slotskirke. Carl
private performances took place on 24 April 1931 in Christiansborg Palace Chapel. Shortly before this Nielsen had given Peter
40 Musikforsker og komponist (1892-1974). DK-Kk, CNA,

I.A.c. Efterflgende brev (DK-Kk, CNA, I.A.c.) er dateret
26.1.1931 hvilket m vre en fejl, idet Carl Nielsen p
dette tidspunkt befandt sig i Kbenhavn. Han tog frst
til Damgaard 17.2.1931, jf. Schousboe (1983), op. cit., s.
591-593.
Thomsen the manuscript to look through, and after he had
40 Danish musicologist and composer (1892-1974). DK-Kk,

CNA, I.A.c. The following letter (DK-Kk, CNA, I.A.c.) is
dated 26.1.1931, which must be a mistake, as Nielsen
was in Copenhagen at this date. He did not go to
Damgaard until 17.2.1931, cf. Schousboe (1983), op. cit.,
pp. 591-593.
II_12_tekst 1.indd l
16/09/06 15:32:55
Nielsen havde kort forinden givet Peter Thomsen manuskriptet

til gennemsyn, og efter at denne havde sat sig ndtrftigt ind i
vrket, havde de aftalt tid og sted for en gennemspilning. Ved
denne lejlighed blev vrket spillet to gange.
gained a rudimentary knowledge of the work they agreed on a
43
Sndag den 14. juni var det Finn Vider44 der opfrte
time and place for playing it through for the composer. On this
43
Commotio (ligeledes to gange) ved en privat koncert i Sankt Nikolaj
occasion the work was played through twice.
On Sunday 14th June it was Finn Vider44 who
Kirkesal hvor der ret fr var blevet opstillet et nyt Marcussen-
performed Commotio (also twice) in a private performance in
orgel, bygget efter orgelbevgelsens principper. Desvrre forelig-
the St. Nikolaj Church Hall, where a new Marcussen organ,
ger ingen udtalelser fra Carl Nielsens side om det nye orgel og
built according to the principles of the Organ Movement, had
dets mulige betydning for virkeliggrelsen af hans intentioner.
45
Senere p mneden sankthansaftensdag spillede
been installed the previous year. Unfortunately we have no
Emilius Bangert vrket i Roskilde Domkirke hvor komponisten
statements from Nielsen about the new organ and its possible
46
45
igen var til stede sammen med en kreds af familie og venner.
signicance for the realization of his intentions.
Endelig m Peter Thomsen p et tidspunkt umid-
A week later Emilius Bangert performed the work
delbart fr den 16. juli have spillet vrket for Carl Nielsen, idet
in Roskilde Cathedral. Again, the composer was present with a

group of family and friends.
46
denne i et brev til Peter Thomsen (dateret den 16. juli 1931)
skrev: Det gldede mig meget at hre den Form, De nu har
Finally, at some point just before 16th July, Peter
faaet paa min Commotio
Thomsen must again have played the work for Nielsen, since
47
the latter wrote (in a letter to Thomsen dated 16th July 1931):
Den 27. juni skrev Bangert til Carl Nielsen og foreslog en forkor-
It pleased me greatly to hear the stage youve reached with my

47
Commotio.
telse af vrket:
On 27th June Bangert wrote to Nielsen, suggesting how the
Der er dog et Sted i det, hvor jeg fler en Mangel, eller
work might be shortened:
rettere, at der staar formeget. Det er den lille idylliske Sats i

3/4 Takt. Jeg har paa Flelsen, at den gr for strkt Indbrud i
However, there is one place in it where I feel a deciency or
Fugaen og gr Vrket som Helhed noget for langt. Tag mig ikke
rather, that there is too much. It is the little idyllic piece in 3/4
ilde op, at jeg skriver det; jeg bestyrkedes i Sagen ved, at Christi-
time. I have a feeling that it forms too great a break in the fugue
ansen, uden at jeg havde nvnt noget derom, siger mig, at han
and makes the work as a whole slightly too long. Do not take it
[havde] ganske det samme Indtryk, altsaa, at Fugaen fra en
the wrong way that I write this; I feel my argument is strength-
halv Snes Takter fr Idyllen ikke maa afslappes, men tvrtimod
ened by the fact that Christiansen, without my saying anything
stige i Intensitet til den udmrkede Slutningsgennemfring.
about it, tells me that he [had] quite the same impression that
Jeg tror selv, at der skulde gres et Spring fra c. Takt 9 fr
is, that the fugue, from about ten bars before the idyll, should not
Idyllen til Takt 9 fr Slutningsgennemfringen eller paa dette
slacken, but rise in intensity to the excellent nal set of entries. I
Sted laves en Overgang uden Afspnding i Tempo og Dynamik.
myself think that there should be a cut from about bar 9 before
Undskyld min uskaansomme og ukaldede Indblanding i denne
the idyll to bar 9 before the cadence or at this point there should
Sag. Tnk venligt derover, jeg vilde jo saa gerne, at Deres fr-
be a bridging passage without any abatement in tempo and
ste store Orgelvrk skulde have det store, monumentale Prg
dynamics. Excuse my immodest and unsolicited interference in
helt gennemfrt. Det er overhovedet det eneste virkelig store
this matter. Please think about it I would so much like to see
Orgelvrk i ny Musik.
48
your rst major organ work have the great, monumental feel
quite consistently. It is the only really great organ work at all in
43 Torben Meyer og Frede Schandorf Petersen, Carl Nielsen.

Kunstneren og Mennesket, Kbenhavn 1947-1948, bd. 2, s.
330.
44 (1906-1987).
45 Torben Schousboe (1983), op. cit., s. 611 og Svend Prip:
Omkring Nikolaj, Dansk Orgelaarbog 1985-1986, Kbenhavn 1987, s. 52.
46 Torben Schousboe (1983), op. cit., s. 616-617.
47 DK-Kk, NBD 2. rk. 1981/101.
48
contemporary music.
43 Torben Meyer & Frede Schandorf Petersen, Carl Nielsen.

Kunstneren og Mennesket, Copenhagen 1947-1948, vol. 2,
p. 330.
44 (1906-1987).
45 Torben Schousboe (1983), op. cit., p. 611 and Svend
Prip, Omkring Nikolaj, Dansk Orgelaarbog 1985-1986,
46 Torben Schousboe (1983), op. cit., pp. 616-617.
47 DK-Kk, NBD 2. rk., 1981/101.
II_12_tekst 1.indd li
li
16/09/06 15:32:56
En mned senere, den 26. juli, svarede Carl Nielsen:

Jeg har tnkt meget paa Deres Forslag om det Spring i Commotio, men jeg tror Fejlen (i det arkitektoniske) ligger anderle-
A month later, on 26 July, Nielsen replied:
des og maaske deri at den sidste fugerede Sats skal vre mere
mgtig, altsaa ogsaa bredere.
I have thought about your suggestion for the cut in Commo-
Men vi tales ved og De maa ikke tro at jeg et jeblik
tio, but I think the fault (in the architecture) lies elsewhere,
and perhaps in the fact that the last fugato movement should
skulde fle Deres rlige Kritik som stdende. Vel er jeg en
be mightier, thats to say also broader.
ldre Kavallr, men det pukker jeg ndigt paa og jeg er bare
But we will talk again, and you must not think that
taknemmelig ifald vi kan naa til det bedste Resultat ved flles
Hjlp og oprigtig Udveksling af Meninger.
I would feel for a moment that your honest criticism is offen-
49
sive. I may be an old cavalier, but I dont like to get on my high

Det er almindelig kendt at Carl Nielsen var meget ben over for
horse, and I am simply grateful if we can arrive at the best re49
sult through mutual help and sincere exchanges of opinions.
kollegers forslag til mindre ndringer i hans vrker. S meget

desto mere bemrkelsesvrdigt er det derfor at konstatere
It is generally known that Nielsen was very open to colleagues
hvordan han i dette tilflde ikke var i tvivl om bredygtighe-
suggestions for small changes in his works. It is therefore all
den af sine egne ideer.

Forholdene omkring den egentlige uropfrelse
the more notable in this case to see how he was not in doubt
af Commotio er lidt dunkle. Sagen er den at Carl Nielsen var
about the viability of his own ideas.

The circumstances surrounding the actual rst
the matter is that Nielsen had somehow promised the rst
performance to both Emilius Bangert and Peter Thomsen.
kommet til at love uropfrelsen til svel Emilius Bangert som

50
Peter Thomsen. Problemet blev imidlertid lst ved at Bangert
performance of Commotio are slightly obscure. The fact of

50
uropfrte vrket i Aarhus, medens Peter Thomsen opfrte

51
det 1ste Gang det i Kbenhavn. Den egentlige uropfrelse
However, the problem was solved by Bangert premiering
fandt sledes sted i Aarhus Domkirke den 14. august 1931 ved
the work in Aarhus, while Peter Thomsen rst performed it in
52
Aarhus Turistforenings 40. Orgelforedrag. Carl Nielsen der p
51
Copenhagen. The actual rst performance thus took place in
dette tidspunkt var strkt svkket pga. en hjertelidelse, over-
Aarhus Cathedral on 14th August 1931, at the Aarhus Tourist
vejede til det sidste om han havde krfter til turen, men endte
52
Associations 40th Organ Recital. Nielsen, who was by this
dog med at tage til rhus hvor han overvrede koncerten.
time greatly weakened by a heart condition, deliberated to the
Uropfrelsen er tilsyneladende foreget ganske ubemrket, for
last whether he had the strength to make the trip. But in the
bortset fra en lille forhndsomtale i Aarhus Stiftstidende den
end he did go to Aarhus, where he attended the concert. The
12. august har det ikke vret muligt at nde omtaler, endsige
rst performance appears to have passed off quite unremarked,
anmeldelser af denne koncert.

I lbet af sommeren var nyheden om Carl Nielsens
for apart from a small advance notice in Aarhus Stifttidende on

12th August, it has not been possible to nd any mention, let
store orgelvrk ogs net syd for grnsen, og i juli henvendte
alone reviews, of this concert.
domorganisten og Landeskirchenmusikdirektor fra Schleswig,
In the course of the summer the news of Nielsens

major organ work also reached south of the Danish border,
49 Irmelin Eggert Mller og Torben Meyer, op. cit., s. 267.

50 Venligst meddelt af fru Elin Bangert. Ydermere havde
Finn Vider bedt Carl Nielsen om at f lov til at frsteopfre vrket i Kbenhavn, hvilket dog blev afslet (jf.
Torben Schousboe (1983), op. cit., s. 611). Forvirringen
er ikke blevet mindre af at Emilius Bangert i Roskilde
Tidende, 10.2.1932 selv har omtalt Lbeck-opfrelsen
som uropfrelsen.
51 Denne opfrelse fandt sted 9.11.1931 i Helligndskirken
ved Dansk Koncert-Forenings frste koncert.
and in July the cathedral organist and Landeskirchenmusik-
49 Irmelin Eggert Mller & Torben Meyer, op. cit., p. 267.

50 Information kindly provided by Mrs Elin Bangert. Finn
Vider had furthermore asked Carl Nielsen for permission to give the work its rst performance in Copenhagen, but this was refused (cf. Torben Schousboe (1983),
op. cit., p. 611). The confusion has been aggravated
by the fact that Emilius Bangert himself, in Roskilde
Tidende, 10.2.1932, spoke of the Lbeck performance as
the rst performance.
51 This performance took place 9.11.1931 in the church
Helligndskirken in the rst concert of the Dansk
Koncert-Forening.
II_12_tekst 1.indd lii
lii
16/09/06 15:32:56
Erwin Zillinger,53 sig til Bangert og Carl Nielsen54 med en anmodning om tilladelse til at opfre Commotio ved den nordisktyske orgeluge som skulle nde sted i Lbeck i oktober mned.
53
direktor from Schleswig, Erwin Zillinger, approached Bangert
Det blev dog i sidste ende Bangert der kom til at forest denne
54
and Carl Nielsen with a request for permission to perform
opfrelse. Under forberedelserne til den pgldende koncert
Commotio at the Nordic-German Organ Week that was to take
blev Carl Nielsen opfordret til at skrive programnoter til sit nye
place in Lbeck in October. However it was Bangert who even-
orgelvrk, og den 30. august skrev han til Bangert:
tually gave this performance. During the preparations for the

concert Nielsen was asked to write programme notes for his
Jeg ved ikke rigtigt hvorledes vi skal forsyne Programmet, men
new organ work, and on 30 August he wrote to Bangert:
i Titlen maa vi vist helst forsyne Commotio med en Fodnote,

saaledes altsaa:
I do not really know how we should furnish the programme,
Carl Nielsen:
but in the title I think we must furnish Commotio with a
Commotio* fr Orgel Op 58
footnote, thus:
[note] *Bewegung, auch geistig.

Jeg vil ikke gerne have noget om phantasierender
Carl Nielsen:
ind. Vrket er jo saa strengt i sin Form og Stemmefring at jeg
Commotio* for Organ Op. 58
ikke evner at gre noget fastere.
[footnote:] *Bewegung, auch geistig.

55
Jeg kunde tnke mig flgende ifald man vil have
I do not want to add the word phantasierender .

After all, the work is so rigorous in its form and part-writing
mere Forklaring end selve Titlen (omstaaende) som jeg egentlig
that I am incapable of doing anything more xed. I would like
helst saa det indskrnket til:

Das lateinische Wort Commotio gilt eigentlich alle
the following, if more explanation is wanted than the title

itself (overleaf), which I would really rather see it limited to:
56
The Latin word Commotio really applies to all music,
Musik, aber das Wort ist hier besonders benutzt als ein Ausdruck fr Selbst-Objektivierung.
In einem grsseren Werke fr das mchtige Instru-
but the word is used more specically here as an expression of
ment welches man Orgel nennt, und dessen Tne von dem
self-objectication.
In a major work for the mighty instrument that is
Naturelement, welches man Luft nennt, bedingt sind, muss
called the organ, whose sound is determined by the natural
der Komponist versuchen alle persnliche, lyrische Gefhle zu
element we call air, the composer must attempt to suppress all
unterdrcken. Die Ausgabe wird gross und streng und fordert
personal, lyrical feelings. The expression becomes great and
eine Art Trockenheit anstatt das Gefhlsvolle und muss lieber
rigorous and demands a kind of dryness instead of the emo-
55
mit dem Ohre beschaut als vom Herzen umschlungen sein.
Das Werk wird von zwei Fugen getragen wozu
tional, and must rather be gazed at with the ear than embraced
Introduktion, Zwischenstze und Koda sich klammern, wie
by the heart.
The work is borne up by two fugues, to which an
introduction, intervening movements and coda cling like
Schlingpanzen an den Stmmen des Waldes; der Komponist

meint aber dass weitere Analyse berssig ist.
Tyskerne vil jo gerne have noget men De kan jo give
climbing plants to the tree-trunks of the forest; however, the

composer thinks that further analysis is superuous.
The Germans of course like to have something, but
down there you can give them three alternatives: 1) the bare
dem dernede 3 Alternativer 1) den trre Titel 2) det indklam56

mede { Stykke 3) Deres Forslag paa Kortet (som jeg sender
med ifald De ikke har taget Kopi).
57
57
title; 2) the bracketed { piece; 3) your suggestion on the card

(which I enclose in case you have not made a copy.)
58
53 (1893-1974).
54 Jf. brev fra Erwin Zillinger til Carl Nielsen, 11.7.1930
(DK-Kk, CNA, I.A.b.).
55 Bogstavet e i Ohre er overstreget med blyant.
56 Dvs. den tyske tekst, som Carl Nielsen har markeret
med en klamme i margenen.
57 DK-Kk, CNA, I.A.c.
53 (1893-1974).
54 Cf. letter from Erwin Zillinger to Nielsen, 11.7.1930
(DK-Kk, CNA, I.A.b.).
55 German for improvising.
56 The following three paragraphs are written by Nielsen
in German.
57 i.e. the German text, which Nielsen has marked by a
brace in the margin.
58 DK-Kk, CNA, I.A.c.
II_12_tekst 1.indd liii
liii
16/09/06 15:32:56
Det havde egentlig vret planen at Carl Nielsen selv skulle tage
til Lbeck og overvre koncerten. Dette blev imidlertid ikke til
58
noget, men umiddelbart fr Bangert drog af sted til Lbeck,
The plan had been that Nielsen himself would go to Lbeck
spillede han endnu engang Commotio for Carl Nielsen i Roskilde
59
and attend the concert. This came to nothing, but immedi-
Domkirke.
Midt under den nordisk-tyske orgeluge indlb med-
ately before Bangert went off to Lbeck, he played Commotio one

60
59
delelsen om Carl Nielsens dd. Alle deltagere var dyb berrte,
more time for Nielsen in Roskilde Cathedral.
In the middle of the Nordic-German Organ Week
og da Bangert fremfrte Commotio ved afslutningskoncerten
the announcement of Nielsens death came. All the partici-
den 6. oktober, havde koncerten ganske skiftet karakter. Det
pants were profoundly moved, and when Bangert performed
der skulle have vret en hyldest til Danmarks store nulevende
Commotio in the nal concert on 6th October, the concert had
komponist, blev i stedet en bevgende afsked. Koncerten blev
completely changed character. What should have been a tribute
60
anmeldt af Svend-Ove Mller i Dansk Kirkemusiker-Tidende. Heri
to Denmarks great living composer became instead a moving
hedder det bl.a.:
61
valediction. The concert was reviewed by Svend-Ove Mller in

Dansk Kirkemusiker-Tidende. The review says among other things:
Ved Afslutningskoncerten, som ligeledes fandt Sted i Mariekirken, spillede Domkantor Emilius Bangert (Roskilde) Carl
In the nal concert, which also took place in the Marien-
Nielsens sidste Vrk: Commotio for Orgel. I de vemodige Flel-
kirche, the cathedral precentor Emilius Bangert (Roskilde)
ser, der fylder os ved Tanken om Carl Nielsens Dd, blander sig
played Nielsens last work: Commotio for organ. Mixed with
Taknemmeligheden over, at det forundtes ham at fuldfre dette
the melancholy feelings that ll us on the death of Nielsen, is
Arbejde, der uden Overdrivelse tr betegnes som den nyere
gratitude that it was granted him to complete this work, which
Orgellitteraturs betydeligste Frembringelse. Carl Nielsen forstod
we may designate without exaggeration as the most signicant
som faa at benytte sin Tids Virkemidler paa en saadan Maade,
production in recent organ literature. Nielsen understood as
at de ikke virker moderne i daarlig Forstand. Hans Udtryks-
few others did how to deploy the resources of his time such
maade, hvor ejendommelig og srprget den end er, fles
that they do not appear modern in the negative sense. His
ganske naturlig, ikke et jeblik faar man Indtryk af, at han
mode of expression, peculiar and distinctive as it may be, feels
sgte nye Stier blot for at komme bort fra de kendte Veje; det
quite natural; not for an instant does one get the impression
forskruede, der saa ofte prger moderne Musik, ndes ikke hos
that he sought out new paths simply to get away from the well-
Carl Nielsen, hans kernesunde Tonesprog og Evne til at skabe le-
known roads; the affectation which so often characterizes mod-
vende Musik har her frembragt et Orgelvrk af blivende Vrdi.

Emilius Bangert gav Carl Nielsens Vrk en mesterlig
ern music is not to be found in Carl Nielsen; his thoroughly

wholesome musical idiom and his ability to create living music
Udfrelse. Dybt indlevet i Kompositionen formaaede han at
has produced here an organ work of enduring value.
skabe en plastisk Helhedsvirkning med omhyggelig Redegrelse for alle Enkeltheder, selv den mindste Figur k netop den
Emilius Bangert gave Nielsens work a masterly

performance. Deeply immersed in the composition, he was able to
musikalske Form, som den skulde have, noget der jo er typisk
create the effect of a sculpted totality with a meticulous account
for Bangerts fornemme Orgelkunst. Det var en Oplevelse at
of all details; even the smallest gure was given precisely the
overvre Uropfrelsen af Carl Nielsens Commotio i den minde-
musical form that it should have something that is in fact typi-
rige Mariekirke, hvor vel de este af den anden danskfdte Stor-
cal of Bangerts eminent organ art. It was an experience to attend
mester, Buxtehudes, Orgelvrker har lydt for frste Gang.
61
the rst performance of Nielsens Commotio in the memorable

Marienkirche, where presumably most of the other great Danish
58 Torben Meyer og Frede Schandorf Petersen, op. cit.,

bd. 2, s. 332.
59 Ig. artikel om mindekoncerten for Carl Nielsen
11.2.1932 i Roskilde Domkirke (Roskilde Tidende,
10.2.1932).
60 Organist og komponist (1903-1949).
61 Dansk Kirkemusiker-Tidende, 28. rg. (1931), s. 140.
62
master Buxtehudes organ works sounded for the rst time.
59 Torben Meyer & Frede Schandorf Petersen, op. cit., vol. 2,

p. 332.
60 According to an article on the memorial concert for
Nielsen on 11.2.1932 in Roskilde Cathedral (Roskilde
Tidende, 10.2.1932).
61 Danish organist and composer (1903-1949).
62 Dansk Kirkemusiker-Tidende, vol. 28 (1931), p. 140.
II_12_tekst 1.indd liv
liv
16/09/06 15:32:57
P rejsen hjem fra Lbeck skrev Bangert flgende kondolencebrev (dateret den 7. oktober) til Anne Marie Carl-Nielsen. Heri
hed det bl.a.:
On the journey home from Lbeck Bangert wrote the following
letter of condolence (dated 7 October) to Anne Marie Carl-
Ved Orgelugens Forhandlingsmde Mandag Morgen med-
Nielsen. He said among other things:
delte Prsidenten, Dr. Domes, Deltagerne, hvad der var sket, og

rettede Opfordring til mig om at sige nogle Mindeord om Deres
At the pre-concert meeting for the Organ Week on Monday
Mand, hvad jeg gjorde, saa godt jeg kunde, kmpende baade
morning, the President, Dr. Domes, informed those in attend-
med det fremmede Sprog og min egen Bevgelse. Der var stor
ance what had happened, and urged me to say some com-
Grebethed over Forsamlingen, og ikke mindre i Tirsdags ved
memorative words about your husband, which I did as well as I
Vrkets Opfrelse. Jeg ved selv knapt nok, hvordan det gik,
could, struggling both with the foreign language and with my
men efter kompetente Tilhreres Dom skal det vre gaaet godt.
own emotions. The whole company was greatly moved and
Begejstringen over det nye Orgelvrk var overvldende; ved
not least on Tuesday at the performance of the work. I myself
Sammenkomsten efter Koncerten circulerede Manuskriptet,
hardly know how it went, but in the judgement of competent
alle Organisterne studerede og diskuterede det og fremsatte
listeners it went well. The enthusiasm for the new organ
nstemmigt nske om, at det gennem en snarlig Offentligg-
work was overwhelming; at the gathering after the concert
relse maa blive tilgngeligt.
62
the manuscript was circulated all the organists studied and

I lbet af sommeren 1931 havde Carl Nielsen begyndt at under-
discussed it, and expressed the unanimous wish that it might

63
sge mulighederne for at f Commotio trykt. I den forbindelse
become available through publication soon.
henvendte han sig til den tyske orgelekspert og musikforlgger

In the course of the summer of 1931 Carl Nielsen had begun to
63
Hans Henny Jahnn og forhrte sig om mulighederne for at
investigate the possibility of having Commotio printed. He wrote
f Commotio udgivet p et tysk forlag, hvilket han mente ville
to the German organ expert and music publisher Hans Henny
give vrket en strre udbredelse, end hvis det udkom p et
64
Jahnn and asked about the possibility of having Commotio
dansk forlag. Jahnn var imidlertid noget skeptisk mht. vrkets
published by a German publishing house, which he thought
muligheder for at bliver trykt i Tyskland ikke mindst forlaget
would make the work more widely known than if it appeared
Peters regnede han for udelukket han var dog ikke utilbjelig
from a Danish publisher. However, Jahnn was rather sceptical
64
til en eventuel udgivelse p sit eget forlag Ugrino. Men inden
about the possibility of the work being printed in Germany
forhandlingerne med Jahnn var frt til ende, dde Carl Nielsen,
Peters in particular he considered out of the question yet he
og det blev i stedet Emil Telmnyi der kom til at forest udgivel-
was not averse to a possible publication from his own publish-
sen. Allerede i 1932 forel Commotio p tryk udgivet af Samfun-
65
ing house Ugrino. But before the negotiations with Jahnn had
det til udgivelse af dansk Musik (3. serie, nr. 40) i et samarbejde
been completed Nielsen died, and instead it was Emil Telmnyi
med det danske forlag Skandinavisk- og Borups Musikforlag
who came to be responsible for the publication. As early as
samt det tyske Fr. Kistner & C.F.W. Siegel. Som grundlag for ud-
1932 Commotio was available in print, published by Samfundet
gaven havde Telmnyi anvendt to kilder, nemlig Carl Nielsens
til udgivelse af Dansk Musik (3rd series, No. 40) in collaboration
blkmanuskript og blyantskladde. Blkmanuskriptet rettede
with the Danish publisher Skandinavisk- og Borups Musikforlag
han til sledes at det kunne anvendes som trykforlg, og hele
and the German rm Fr. Kistner & C.F.W. Siegel. As his basis
for the edition Telmnyi had used two sources, Nielsens ink
62 DK-Kk, CNA, II.A.b.

63 (1894-1959).
64 Jf. breve fra Hans Henny Jahnn til Carl Nielsen 6.8.1931,
18.8. 1931 (DK-Kk, CNA, I.A.b.) og breve fra Carl Nielsen
til Hans Henny Jahnn 3.8.1931, 12.8.1931 (Hamburger
Staats- und Universittsbibliothek, Carl von Ossietzky).
manuscript and the pencil draft. He corrected the ink manu-
63 DK-Kk, CNA, II.A.b.

64 (1894-1959).
65 Cf. letters from Hans Henny Jahnn to Nielsen, 6.8.1931,
18.8.1931 (DK-Kk, CNA, I.A.b.) and letters from Nielsen
to Hans Henny Jahnn, 3.8.1931, 12.8.1931 (Hamburger
II_12_tekst 1.indd lv
lv
16/09/06 15:32:57
revisionsarbejdet dokumenterede han i et omfattende revisions- og variantapparat. P denne mde fremtrder Carl Nielsens blkmanuskript hovedkilden til nrvrende nyudgave
script so that it could be used as the printing manuscript, and
med en lang rkke tilfjelser og ndringer i Telmnyis hnd.
he documented the whole of the editorial work in an extensive
Af uforklarlige grunde foretog Telmnyi endvidere nogle tilf-
list of emendations and alternative readings. Thus Nielsens
jelser lse fortegn med blyant i Carl Nielsens blyantskladde.
ink manuscript the main source for the present new edi-
Disse forhold har i hj grad kompliceret revisionsarbejdet til
tion appears with a large number of additions and changes
denne udgave. Telmnyis revisionsberetning godtgr i en vis
in Telmnyis hand. For unexplained reasons Telmnyi also
udstrkning hvad han har tilfjet og ndret, men tilbage str
made some additions accidentals in pencil in Carl Nielsens
en rkke detaljer hvor det har vre umuligt at afgre, hvorvidt
pencil draft. These circumstances have greatly complicated the
en given tilfjelse med blyant stammer fra Carl Nielsens eller
editorial work for this edition. To some extent Telmnyis list
Telmnyis hnd. Alle tvivlstilflde er dokumenteret i revisions-
of emendations documents what he added and changed, but
og variantfortegnelsen (s. 267-270).

I Carl Nielsens levetid blev der udarbejdet i det
there remain a number of details where it has been impossible

to determine whether a given addition in pencil comes from
mindste tre afskrifter af vrket hvoraf vi i dag kun har kend-
Nielsens or Telmnyis hand. All doubtful cases are document-
skab til den ene, nemlig en afskrift foretaget af Peter Thomsen
ed in the list of Editorial Emendations and Alternative Readings
(kilde C). P grundlag af denne udfrdigede kopisten Otto
(pp. 267-270).
Kppe en afskrift der blev sendt til Erwin Zillinger, som anta-
During Nielsens lifetime at least three copies of

the work were made, of which only a copy by Peter Thomsen
65
gelig har sendt den videre til Hans Henny Jahnn. Endelig skal
Finn Vider have haft en kopi af manuskriptet.
66
Til slut skal det nvnes at Carl Nielsen p et tids-
(source C) is known to us today. From this, the copyist Otto

Kppe made another copy, which was sent to Erwin Zillinger,
punkt overvejede at udgive vrket helt uden nuancerings- og
66
who probably passed it on to Hans Henny Jahnn. Besides, Finn
67
foredragsbetegnelser. Nrvrende udgave medtager dog alle
67
Vider is said to have possessed a copy of the manuscript.
Finally it should be mentioned that at one point
betegnelser der med sikkerhed kan fastsls til at stamme fra

Carl Nielsens hnd.
Nielsen considered publishing the work entirely without ex68

pression and performance instructions. However, the present
Niels Bo Foltmann
edition includes all the markings that can be established with

certainty as from Nielsens hand.
Niels Bo Foltmann
(English translation: James Manley)
65 Jf. brev fra Carl Nielsen til Peter Thomsen, 16.7.1931

(DK-Kk, NBD 2. rk., 1981/101) og brev fra Peter Thomsen
til Carl Nielsen 27.7.1931 (DK-Kk, CNA, I.A.b.) samt
brev fra Carl Nielsen til Hans Henny Jahnn, 12.8.1931
(Hamburger Staats- und Universittsbibliothek, Carl
von Ossietzky).
67 Jf. brev fra Carl Nielsen til Hans Henny Jahnn (Hamburger Staats- und Universittsbibliothek, Carl von
Ossietzky).
66 Cf. letter from Nielsen to Peter Thomsen, 16.7.1931

(DK-Kk, NBD 2. rk., 1981/101), letter from Peter Thomsen
to Nielsen 27.7.1931 (DK-Kk, CNA, I.A.b.), and letter from
Nielsen to Hans Henny Jahnn, 12.8.1931 (Hamburger
68 Cf. letter from Carl Nielsen to Hans Henny Jahnn
(Hamburger Staats- und Universittsbibliothek, Carl
von Ossietzky).
II_12_tekst 1.indd lvi
lvi
28/09/06 11:30:10
II_12_tekst 1.indd lvii
28/09/06 11:30:11
Chaconne, Opus 32, bb. 127-159, draft (Source C). Shows original
layout of texture in bb.138-145 (see the following facsimile).
II_12_tekst 1.indd lviii
Chaconne, opus 32, t. 127-159, kladde (kilde C). Viser den oprindelige satsstruktur i t. 138-145 (se efterflgende faksimile).
lviii
23/08/06 21:18:18
II_12_tekst 1.indd lix
lix
23/08/06 21:18:25
Chaconne, Opus 32, bb. 134-157, fair copy (Source B). See the
equivalent passage in Source C on previous pages.
II_12_tekst 1.indd lx
Chaconne, opus 32, t. 134-157, renskrift (kilde B). Se den tilsvarende passage i kilde C p de foregende sider.
lx
23/08/06 21:18:31
II_12_tekst 1.indd lxi
lxi
23/08/06 21:18:35
Chaconne, Opus 32, nal bars, draft (Source C). Shows original
layout of concluding chords (see the following facsimile).
II_12_tekst 1.indd lxii
Chaconne, opus 32, afsluttende takter, kladde (kilde C). Viser

afvigelser i opbygningen af de afsluttende akkorder (se efterflgende faksimile).
lxii
23/08/06 21:18:39
Chaconne, Opus 32, nal bars, fair copy (Source B).
II_12_tekst 1.indd lxiii
Chaconne, opus 32, afsluttende takter, renskrift (kilde B).
lxiii
23/08/06 21:18:45
Suite, Opus 45, third movement bb. 6-12, draft (Source C).
Shows original notation of texture of bb. 15-18.
II_12_tekst 1.indd lxiv
Suite, opus 45, tredje sats t. 6-12, kladde (kilde C).

Viser den originale satsstruktur i t. 15-18.
lxiv
23/08/06 21:18:50
Shows original notation of b. 19. In the rst printing, the lower
dyads in the second half of the bar were transposed down a
minor seventh. The present edition retains the change and
considers it to be intentional. If it was not so, it must represent
a double error on the part of the printer mistaking both the
octave register and the pitch-classes and the double error
must also have escaped Nielsens attention in the proofs.
II_12_tekst 1.indd lxv
Suite, opus 45, tredje sats, t. 19-22, kladde (kilde C). Siden viser
den oprindelige notation af t. 19. I frstetrykket er de nederste
to-klange i anden halvdel af takten transponeret en septim
ned. Nrvrende udgave gengiver denne ndring og anser den
ikke for at vre en fejl. Sfremt der havde vret tale om fejl,
mtte nodestikkeren have beget en dobbelt fejltagelse svel
oktavregister som tonehjde og denne dobbelte fejltagelse
mtte i givet fald have undget Carl Nielsens opmrksomhed i
forbindelse med hans korrekturlsning.
lxv
23/08/06 21:18:53
Suite, Opus 45, third movement bb. 25-33, printed score (Source
A). Shows uncorrected conclusion in B at minor.
II_12_tekst 1.indd lxvi
Suite, opus 45, tredje sats t. 25-33, trykt udgave (kilde A).
Siden viser slutningen i b mol.
lxvi
23/08/06 21:18:59
Shows original conclusion, in B at major.
II_12_tekst 1.indd lxvii
Suite, opus 45, tredje sats t. 25-33 (kilde C). Siden viser satsens
oprindelige slutning i B dur.
lxvii
23/08/06 21:19:03
Suite, Opus 45, sixth movement bb. 24-42, draft (Source C).
Shows alternative layout of texture. The printed score and the
current edition follow the main text of Source C.
II_12_tekst 1.indd lxviii
Suite, opus 45, sjette sats t. 24-42, kladde (kilde C). Siden viser en
anden satsstruktur end den der gengives i nrvrende udgave
og i hovedteksten i kilde C.
lxviii
23/08/06 21:19:09
Shows original layout of texture of bb. 226-232
II_12_tekst 1.indd lxix
Suite, opus 45, sjette sats t. 224-246, kladde (kilde C).

Viser den originale satsstruktur i t. 226-232.
lxix
23/08/06 21:19:15
Shows original layout of texture in bb. 272-283 and extra bar
between bb. 275 and 276.
II_12_tekst 1.indd lxx
Suite, opus 45, sjette sats t. 247-301, kladde (kilde C). Siden viser
den oprindelige satsstruktur i t. 272-283 og den indskudte takt
mellem t. 275 og 276.
lxx
23/08/06 21:19:18
II_12_tekst 1.indd lxxi
lxxi
23/08/06 21:19:22
Three Piano Pieces, Opus 59 No. 1, bb. 1-26. According to Christian

Christiansen (see description of sources, Source I) the dynamic
markings in the rst 24 bars of this posthumous publication reect the composers wishes. These indications are not included
in the present edition.
II_12_tekst 1.indd lxxii
Tre Klaverstykker, opus 59, nr. 1, t. 1-26. Iflge Christian Christiansen (se kildebeskrivelsen, kilde I) afspejler de dynamiske
anvisninger i de frste 24 takter af denne posthume udgave
komponistens vilje. Disse afvigelser er ikke inddraget i revisionen i nrvrende udgave.
lxxii
23/08/06 21:19:28
II_12_tekst 1.indd lxxiii
lxxiii
23/08/06 21:19:31
Piano Music for Young and Old, Opus 53, No. 3b, printed score
(Source A). Shows dubious placing of left-hand staccatos in bb.
1-6 and right-hand staccatos in bb. 13-14.
II_12_tekst 1.indd lxxiv
Klavermusik for Smaa og Store, opus 53, nr. 3b (kilde A). Siden
viser den lidt uklare placering af staccatomarkeringerne i
venstre hnd, t. 1-6 og i hjre hnd, t. 13-14.
lxxiv
28/09/06 11:30:11
29 Little Preludes for Organ or Harmonium, No. 5 (Source D), page 5.

Shows that at this early stage Nielsen was considerably more
detailed in his indications of tempo, dynamics and character
than in the printed edition.
II_12_tekst 1.indd lxxv
29 smaa Prludier for Orgel eller Harmonium, nr. 5 (kilde D), side
5. Siden illustrerer hvorledes Carl Nielsen p dette tidlige
stade var vsentlig mere detaljeret mht. angivelse af tempo,
dynamik og karakter, end i den endelige trykte udgave.
lxxv
23/08/06 21:19:35
Commotio (Source A), bb. 10-17. When preparing the fair copy
Nielsen changed a triplet in b. 13 and b. 14 to a dotted rhythm,
which, however, does not t into the metre of the bar. It is
probably a scribal error. The pencil additions were made by
Emil Telmnyi. See the same passage in source B (facsimile,
p. lxxvii).
II_12_tekst 1.indd lxxvi
Commotio (kilde A), t. 10-17. I forbindelse med renskrivningen

ndrede Carl Nielsen en triolgur i t. 13 og t. 14 til en punkteret rytme, som imidlertid ikke passer ind i taktens metrum.
Det m antages, at der er tale om en skrivefejl. Tilfjelserne
med blyant er foretaget af Emil Telmnyi. Se samme passage i
kilde B (faksimile, s. lxxvii).
lxxvi
23/08/06 21:19:38
Commotio (Source B), bb. 11-15.
II_12_tekst 1.indd lxxvii
Commotio (kilde B), t. 11-15.
lxxvii
23/08/06 21:19:44
Commotio (Source A), bb. 82-112: When preparing the fair

copy Nielsen changed the key signature in this passage from
three to four , which calls into question whether note 4 of
b. 106 should be an e' or an e ' . ( ? is added by Emil Telmnyi).
Note that Nielsen apparently forgot one bar in the pedal (bb.
104-107), which Emil Telmnyi has corrected in pencil. See the
same passage in source B (facsimile, p. lxxix).
II_12_tekst 1.indd lxxviii
Commotio (kilde A), t. 82-112: I forbindelse med renskrivningen ndrede Carl Nielsen de faste fortegn i denne passage
fra tre til re , hvilket har givet anledning til sprgsmlet
om hvorvidt node 4 i t. 106 skal vre et e' eller et e ' . ( ? er
Emil Telmnyis tilfjelse). Bemrk ligeledes at Carl Nielsen
jensynligt har glemt en takt i pedalet (t. 104-107), hvilket Emil
Telmnyi har korrigeret med blyant. Se samme passage i kilde
B (faksimile, s. lxxix).
lxxviii
23/08/06 21:19:47
Commotio (Source B), bb. 86-108: The accidentals below staff 13

are probably added by Emil Telmnyi.
II_12_tekst 1.indd lxxix
Commotio (kilde B), t. 86-108: De lse fortegn under system 13 er

sandsynligvis tilfjet af Emil Telmnyi.
lxxix
23/08/06 21:19:53
II_12_tekst 1.indd lxxx
23/08/06 21:19:56
K L A V E R V R K E R
P I A N O
II_12_tekst 1.indd lxxxi
W O R K S
23/08/06 21:19:56
II_12_tekst 1.indd lxxxii
23/08/06 21:19:56
FIVE PIANO PIECES
FEM KL AVERST YKKER
I
FOLKETONE
FOLK TUNE
Andante ( = 54)
Op. 3
(nynnende)
(humming)
10
01 klaver 001-040
26/09/06, 13:57
2
13
16
19
22
25
dim.
01 klaver 001-040
23/08/06, 21:40
rit.
II
HUMORESKE
HUMORESQUE
Allegretto giocoso ( = 144)
dim.
12
dim.
18
22
01 klaver 001-040
26/09/06, 13:57
4
28
dim.
34
dim.
41
46
51
dim.
01 klaver 001-040
23/08/06, 21:40
5
57
63
dim.
69
dim.
75
81
dim.
01 klaver 001-040
26/09/06, 13:57
III
Har Du faret vild i dunkle Skove?
Kjender Du Pan? J. P. Jacobsen
ARABESKE
ARABESQUE
Moderato ( = 58)
Have you lost your way in the dark forest?

Do you know Pan?
J. P. Jacobsen
il basso ben marcato
13
01 klaver 001-040
23/08/06, 21:41
7
16
5 4
20
24
28
32
di
01 klaver 001-040
mi
nu
en
26/09/06, 13:57
do
IV
MIGNON
Moderato grazioso ( = 108)
3
*
5
3
3
pi mosso
3
3
13
17
Tempo I
di
mi
nu
en
01 klaver 001-040
rall.
do
28/09/06, 11:36
dim.
9
21
24
rit.
Presto
dim.
molto
V
ALFEDANS
ELFS DANCE
Tempo di valse
3
*
6
11
3
leggiero
01 klaver 001-040
26/09/06, 13:57
10
16
21
26
31
3
di
mi
nu
en
do
36
01 klaver 001-040
10
10
23/08/06, 21:41
11
41
3
46
pesante
rit.
51
a tempo
56
di
61
nu
en
do
01 klaver 001-040
11
11
26/09/06, 13:57
mi
12
S Y M P H O N I C
S U I T E S Y M P H O N I S K
Ach, die zrtlichen Herzen!

Ein Pfuscher vermag sie zu rhren.
Ah, those tender hearts!
A bungler could stir them.
Johann Wolfgang Goethe
I
INTONATION
Maestoso ( = 92)
Op. 8
01 klaver 001-040
12
S U I T E
12
23/08/06, 21:41
13
11
13
16
19
21
pesante
01 klaver 001-040
13
13
26/09/06, 13:58
14
II
Quasi allegretto ( = 80)
poco rit.
5
a tempo
9
13
dim.
17
un poco pi mosso
01 klaver 001-040
14
14
23/08/06, 21:42
15
20
poco
poco
cre
scen
23
do
cre
26
scen
do
cre
scen
29
cre
do
32
do
01 klaver 001-040
15
15
26/09/06, 13:58
scen
16
34
il basso marcato
36
39
41
cre
scen
do
43
01 klaver 001-040
16
16
23/08/06, 21:42
17
46
48
50
pesante
Tempo I
52
dim.
poco rit.
rit.
56
01 klaver 001-040
17
17
26/09/06, 13:58
18
a tempo
60
poco rit.
64
68
cre
scen
do
72
dim.
76
di
mi
01 klaver 001-040
18
nu
en
18
23/08/06, 21:42
do
19
III
Andante ( = 66)
10
dolce
13
cre
01 klaver 001-040
19
19
26/09/06, 13:58
20
16
scen
do
18
21
24
dim.
27
a tempo ma tranquillo
segue
sempre
01 klaver 001-040
20
20
23/08/06, 21:42
poco rit.
21
31
poco
poco
cre
scen
do
il basso ben marcato
34
cre
scen
37
do
accelerando
40
cre
scen
do
rubato
44
pesante
01 klaver 001-040
21
21
26/09/06, 13:58
22
47
a tempo allargando
50
53
55
poco
poco
accelerando
3
3
57
01 klaver 001-040
22
22
23/08/06, 21:43
23
59
accelerando
61
63
accelerando
Allegro
65
67
01 klaver 001-040
23
23
26/09/06, 13:58
24
69
rit.
poco
poco
di
Tempo I (Andante)
72
rit.
en
nu
do
75
77
79
01 klaver 001-040
24
24
23/08/06, 21:43
mi
25
81
il basso ben cantando
84
87
cre
scen
do
90
93
01 klaver 001-040
25
25
26/09/06, 13:58
26
96
al fine
99
102
105
109
rit.
01 klaver 001-040
26
26
23/08/06, 21:43
pesante
27
IV
FINALE
Allegro ( = 100)
cre
scen
do
dim.
10
13
01 klaver 001-040
27
27
26/09/06, 13:59
28
16
19
22
dim.
25
a tempo
poco ri
tar
dan
do
28
cre
scen
01 klaver 001-040
28
do
28
23/08/06, 21:43
29
32
cre
35
scen
do
RSUM
38
43
48
01 klaver 001-040
29
29
26/09/06, 13:59
30
52
56
dim.
61
poco ri
tar
a tempo ma un poco sostenuto
dolce
64
dim.
dim.
67
01 klaver 001-040
30
30
23/08/06, 21:44
dan
do
31
70
73
cre
scen
do
76
cresc.
79
81
01 klaver 001-040
31
31
26/09/06, 13:59
32
83
85
88
dim.
Tempo I
91
dim.
94
cre
01 klaver 001-040
32
32
23/08/06, 21:44
33
97
dim.
scen
do
100
103
107
111
dim.
01 klaver 001-040
33
33
26/09/06, 13:59
34
115
118
121
125
129
01 klaver 001-040
34
34
23/08/06, 21:44
35
133
136
139
142
145
01 klaver 001-040
35
35
26/09/06, 13:59
H U M O R E S Q U E B A G A T E L L E S
36
H U M O R E S K E B A G A T E L L E R
GODDAG! GODDAG!
HELLO! HELLO!
Allegretto
1
2
1
3
2
4
1
3
Op. 11
4
5
1
1
1 2
3
5
2
4
1
2
1
3
2
4
11
1 2
1
1
3
16
espressivo
3
5
3
5
2
4
1
2
01 klaver 001-040
36
36
23/08/06, 21:44
37
22
calando
2
27
4
1
32
dolce
2
3
3
5
1
4
37
5
2
rit.
dim.
di
mi
nu
01 klaver 001-040
37
en
1
5
37
26/09/06, 13:59
do
38
SNURRETOPPEN!
THE SPINNING-TOP
II
Presto
5
4
3
5
3 4
3
5
1
3
11
3
2 1
1
3
1
3
38
2 1
5
1 2
01 klaver 001-040
15
1
2
38
23/08/06, 21:45
1
3
39
5
19
23
3 5 3
3
2 1
27
1
3
5
30
1
4
1
3
3
3
5
5
37
3
m.s.
glissando
19
01 klaver 001-040
5
3
33
39
39
26/09/06, 13:59
40
EN LILLE LANGSOM VALS
A LITTLE SLOW WALTZ
III
Valse lento
3
a tempo
7
1
14
4
1
cre
scen
a tempo
3
crescendo
poco rall.
40
dim.
do
espressivo
01 klaver 001-040
5
2
26
poco rit.
dim.
20
accelerando
dim.
40
23/08/06, 21:45
41
a tempo
32
1
rit.
a tempo
38
1
poco rall.
dim.
44
5
3
espressivo
50
1
3
rubato
string.
57
02 klaver 041-080
41
41
23/08/06, 21:45
42
SPRLLEMANDEN
THE JUMPING JACK
Poco allegretto
3
IV
5
2
a tempo
4
2
3
2
3
5
5
3
2
2
5
5
2
poco rall.
2
5
4
2
5
2
a tempo
3
5
poco rall.
10
5
1
02 klaver 041-080
42
42
23/08/06, 21:45
43
5
13
a tempo
4
2
3
2
16
poco rit.
5
2
dim.
2
5
20
3
1
3
1
2
2
3
5
23
dim.
2
1
3
2
1
2
1
3
2
1
2
5
molto accel.
4
2
1
3
2
1
5
5
26
1
5
02 klaver 041-080
43
43
23/08/06, 21:45
44
DUKKE - MARSCH
PUPPET MARCH
Allegro moderato
2
3
5
1
3
5
3
2
3
5
5
1
2
2
4
10
3
5
2
4
1
5
3
5
2
4
1
3
3
5
13
2
02 klaver 041-080
44
5
3
44
23/08/06, 21:45
45
4
16
2
4
1
5
4
5
20
1
2
2
4
1
3
1
3
1
2
24
27
30
2
5
4
33
dim.
2
1
3
1
3
02 klaver 041-080
45
45
23/08/06, 21:46
46
SPILLEVRKET
THE MUSICAL CLOCK
VI
Allegretto scherzando
4
2 1
poco
3
1
11
4
1
4
3
21
16
46
46
23/08/06, 21:46
poco
02 klaver 041-080
47
26
2 1
4
3
espressivo
32
4
3
4
37
espressivo
42
3
4
4
1
48
02 klaver 041-080
47
47
23/08/06, 21:46
48
F E S T I VA L P R E L U D E F O R
THE NEW CENTURY
FEST-PRLUDIUM VED
AARHUNDREDSKIFTET
Tempo giusto ( = 100)
stolt, pompst
proud, pompous
pesante
13
02 klaver 041-080
48
48
23/08/06, 21:46
49
17
22
cresc.
pesante
27
31
rit.
35
a tempo
rit.
02 klaver 041-080
49
49
23/08/06, 21:46
50
A D R E A M A B O U T
S I L E N T N I G H T
D R M M E N O M
G L A D E J U L
Poco adagio
dim.
una corda
una corda
a tempo
poco
dim.
rall.
tre corde
10
*
12
una corda
02 klaver 041-080
50
50
23/08/06, 21:46
51
14
dim.
dim.
16
3
espressivo
poco marcato
*
Adagio
18
3
rall.
20
espressivo
22
3
poco rall.
02 klaver 041-080
51
51
23/08/06, 21:46
52
C H A C O N N E
C H A C O N N E
Op. 32
Tempo giusto ( = 96)
17
poco rubato
quasi stringendo
22
26
cresc.
02 klaver 041-080
52
cresc.
52
23/08/06, 21:47
53
30
dim.
poco
1
5
3
4
2
4
2
4
2
33
grazioso
36
39
dim.
poco rall.
42
tranquillo espressivo
cresc.
3
02 klaver 041-080
53
3
3
53
23/08/06, 21:47
54
5 - 5
3 4
46
3 3
3
2
molto dim. poco rall.
4 3
4 3
a tempo
50
2
2
53
cresc.
56
dim.
58
(2
3
3)
2
4
1
02 klaver 041-080
54
54
23/08/06, 21:47
55
60
cresc.
62
64
dim.
con moto,
ma grazioso
molto dim.
67
70
cresc.
molto dim.
1
02 klaver 041-080
55
55
23/08/06, 21:47
56
74
poco moto
76
78
cresc.
80
dim.
un poco di pi
82
5
1
02 klaver 041-080
56
56
23/08/06, 21:47
57
84
5
1
86
88
8
5
poco rall. e dim.
90
Meno
1
molto espressivo 2
95
2
1
rall.
dim.
02 klaver 041-080
57
57
23/08/06, 21:47
58
Tempo I
100
2 1
106
4 5 2
calando
1
1 2
2 3
4
3
scherzoso
*
5
3
108
110
poco
3
112
58
dim.
02 klaver 041-080
58
23/08/06, 21:47
59
114
poco a poco cresc.
1 3
4 3
4 3
117
sempre cresc.
4
4
1
3
120
cresc.
1
1
4
4
1
4
123
126
poco string.
cresc.
02 klaver 041-080
59
59
23/08/06, 21:48
60
130
un poco pi mosso
133
136
2
4
2
4
2
4
sempre
139
02 klaver 041-080
60
60
23/08/06, 21:48
61
8
142
pesante
144
molto rall.
cresc.
146 a tempo ma pesante
sempre
152
poco calando
poco
a
cantando
poco dim.
1
1
2
157
dim.
2
rall.
2 1
1
2
3
02 klaver 041-080
61
2
4
61
23/08/06, 21:48
1
5
1
4
62
160
a tempo
dim.
rall.
1
2
4
2
5
CODA con sentimento

Tempo I, ma tranq.
8
162
marcato
2
1
2
164
8
1
1
12
166
poco cresc.
168
3
1
2 1
1
1
1
02 klaver 041-080
62
62
23/08/06, 21:48
63
5
4 3
2 1
170
172
2
1
4
5
174
cresc.
molto dim.
2
176
02 klaver 041-080
63
63
23/08/06, 21:48
64
178
1
5 4
180
182
2
1
4 1
4 3 1
184
dim.
poco
4
4
2
1
2
4
02 klaver 041-080
64
64
23/08/06, 21:48
3 1 4
65
186
cresc.
4
188
3
1
189
cre
scen
do
1
190
3
1
1
191
poco rall.
molto dim.
1
1
2
1
2
1
02 klaver 041-080
65
65
23/08/06, 21:48
66
Tempo I
192
3 2
1 3 2
marcato e cantando
1
194
1
2
196
4
5
198
1 2
3
4
4
2 1
200
02 klaver 041-080
66
66
23/08/06, 21:48
67
202
dim.
2
4
5
8
*
02 klaver 041-080
67
67
23/08/06, 21:49
02 klaver 041-080
68
27/09/06, 14:50
T H E M E
A N D V A R I A T I O N S
M E D
T H E M A
V A R I A T I O N E 69
R
Op. 40
Andante ( = 72)
cre
12
do
dim.
Var. 1
( = 88)
17
19
02 klaver 041-080
69
69
23/08/06, 21:49
poco rall.
scen
70
22
25
27
cre
29
scen
do
31
dim.
ra
02 klaver 041-080
70
len
tan
70
23/08/06, 21:49
do
71
Var. 2
un poco di pi ( = 96)
33
35
37
39
41
02 klaver 041-080
71
71
23/08/06, 21:49
72
43
cre
scen
do
45
il basso marcato
47
dim.
ral
len
tan
do
3
Var. 3
Adagio ( =
49
51
3
3
02 klaver 041-080
72
3
3
72
23/08/06, 21:49
73
53
55
57
59
02 klaver 041-080
73
73
23/08/06, 21:49
74
61
62
63
accel.
cresc.
02 klaver 041-080
74
74
23/08/06, 21:49
75
Var. 4
65
Tempo I ( = 72)
3
3
67
3
3
3
69
3
3
3
3
71
73
3
3
3
3
02 klaver 041-080
75
75
23/08/06, 21:50
76
75
3
3
77
79
3
3
Var. 5
81
( = 96)
staccato sempre
83
di
mi
nu
02 klaver 041-080
76
en
do
poco
76
23/08/06, 21:50
rall.
77
85
a tempo
87
89
91
93
02 klaver 041-080
77
77
23/08/06, 21:50
78
95
dim. poco rall.
Var. 6
97
Allegro ( = 138)
99
101
103
02 klaver 041-080
78
78
23/08/06, 21:50
accel.
79
105
107
dim.
109
cresc.
111
ed
ac
ce
le
ran
do
Presto
lunga
Var. 7
Largo ( = 58)
113
02 klaver 041-080
79
79
23/08/06, 21:50
80
117
sempre
122
lunga
127
un poco di pi
Var. 8
( = 63)
dim.
espressivo
131
quasi rall.
a tempo
135
poco rit.
02 klaver 041-080
80
80
23/08/06, 21:50
81
3
138
con espressione
quasi rit.
141
3
dim.
rallentando
Var. 9
145
( . = 72)
fluente e molto legato
148
151
03 klaver 081-120
81
81
23/08/06, 21:50
82
153
157
dim. ral
Var. 10
161
( = 108)
166
171
03 klaver 081-120
82
82
23/08/06, 21:51
len
tan
do
83
8
176
179
182
cre
scen
do
185
189
dim.
poco rall.
03 klaver 081-120
83
83
23/08/06, 21:51
84
Var. 11
193
Capriccioso ( = 72)
195
197
199
201
03 klaver 081-120
84
84
23/08/06, 21:51
85
8
202
204
206
cresc.
cresc.
207
dim.
208
rall.
03 klaver 081-120
85
85
23/08/06, 21:51
86
Var. 12
Con moto (
= 138)
209
211
213
215
03 klaver 081-120
86
86
23/08/06, 21:51
87
217
219
221
poco
223
dim.
03 klaver 081-120
87
calando
87
23/08/06, 21:51
88
Var. 13
225
Ostinato ( = 80)
cantabile
228
230
233
poco
la melodia ben cantando
03 klaver 081-120
88
88
23/08/06, 21:51
poco cresc.
89
235
cresc.
237
239
dim.
rall.
Var. 14
241
( = 69)
243
03 klaver 081-120
89
89
23/08/06, 21:52
90
245
247
248
dim.
249
251
03 klaver 081-120
90
90
23/08/06, 21:52
91
252
cresc.
253
poco
254
255
256
dim.
rall.
03 klaver 081-120
91
91
23/08/06, 21:52
92
Var. 15
8
( = 120)
257
260
263
266
3
3
3
03 klaver 081-120
92
92
23/08/06, 21:52
93
8
269
272
274
3
276
03 klaver 081-120
93
93
23/08/06, 21:52
94
278
3
3
280
282
285
3
3
3
03 klaver 081-120
94
94
23/08/06, 21:52
95
287
come ubriacco
3
289
292
3
3
3
3
( = 76)
3
3
quasi rall.
poco a poco dim.
3
3
295
3
3
3
3
lunga
299
dim.
03 klaver 081-120
95
95
23/08/06, 21:52
96
S U I T E
S U I T E
Op. 45
Allegretto un pochettino
cre
scen
do
12
cre
scen
17
un poco meno
dim.
do
poco rall.
22
molto
03 klaver 081-120
96
96
23/08/06, 21:53
97
26
29
33
cresc.
3
3
3
36
3
3
38
1
3
3
03 klaver 081-120
97
97
23/08/06, 21:53
98
40
con fuoco
42
44
brioso
46
poco allargando
3
48
brioso
03 klaver 081-120
98
98
23/08/06, 21:53
99
8
51
54
57
60
agitato
03 klaver 081-120
99
99
23/08/06, 21:53
100
62
dim.
65
di
mi
nu
en
do
di
poco agitato
69
tranq.
nu
en
do
75
di
mi
nu
79
en
84
do
rall.
Tempo I
poco espressivo
03 klaver 081-120
100
100
23/08/06, 21:53
dim.
mi
101
91
poco
95
98
102
poco pesante
107
dan do dim.
Adagio
pi vivo
di
mi
nu
en
03 klaver 081-120
poco ri tar
101
do
ri tar dan
do di
101
23/08/06, 21:53
mi
nu
en do
espressivo
molto
102
II
Poco moderato
13
17
03 klaver 081-120
102
102
23/08/06, 21:53
103
21
25
poco
poco
30
do
calando molto
34
39
03 klaver 081-120
103
103
23/08/06, 21:54
cre
scen
104
8
43
47
cre
scen
do
una corda
8
a tempo
51
molto
molto rall.
56
dim.
60
a tempo
dim.
03 klaver 081-120
104
ri
tar
dan
do
104
23/08/06, 21:54
105
65
70
calando
cre
74
scen
do
pi mosso
78
82
poco
ca
lan
do
di
mi
nu
en
ri
03 klaver 081-120
poco
86
dim.
105
do calando
tar
105
23/08/06, 21:54
dim.
dan
do
106
III
Molto adagio e patetico (
= 69)
3
3
3
3
3
3
3
3
3
3
3
3
03 klaver 081-120
106
molto
allarg.
106
23/08/06, 21:54
107
8
rall.
molto dim.
11
molto tranquillo
dim.
molto lunga
13
3
un poco espressivo
rall.
accel.
14
molto
16
3
03 klaver 081-120
107
107
23/08/06, 21:54
108
3
18
3
3
cresc.
3
19
molto
20
3
3
3
3
3
3
3
3
3
108
3
3
03 klaver 081-120
108
23/08/06, 21:54
109
21
3
3
3
3
3
3
3
3
3
3
22
patetico e molto allargando

13
23
13
24
3
3
03 klaver 081-120
109
109
23/08/06, 21:54
110
25
26
sempre
di
e pesante
rit.
nu
mi
calando
en
do
28
molto tranquillo
30
molto rallentando
dim.
3
31
tranquillo
espressivo
poco rit.
dim.
03 klaver 081-120
110
110
23/08/06, 21:54
Allegretto innocente
111
IV
13
19
03 klaver 081-120
111
111
23/08/06, 21:55
112
3
25
31
a tempo
rit.
sonore
il basso sempre
37
43
49
poco
03 klaver 081-120
112
112
23/08/06, 21:55
113
54
60
dim.
65
rit.
a tempo
con amore
70
tranq.
75
poco
espressivo
03 klaver 081-120
113
poco a poco rit. e di
113
23/08/06, 21:55
mi
nu
en
do
114
V
Allegretto vivo
3
dolce
cre
13
scen
do
agitato
Tempo I
18
molto dim.
ral
23
03 klaver 081-120
114
114
23/08/06, 21:55
len
tan
do
115
30
cre
35
scen
do
40
a tempo
di
mi
nu
en do poco rall.
dolce
45
poco
03 klaver 081-120
115
115
23/08/06, 21:55
116
50
di
mi
nu
en do
55
61
dim.
66
di
72
nu
a tempo
pochettino rall.
116
poco rall.
dim.
03 klaver 081-120
mi
116
23/08/06, 21:55
en
do
117
VI
Allegro non troppo ma vigoroso
3
di
mi
nu
en
do
10
cre
scen
molto
do
15
3
3
3
3
3
3
19
03 klaver 081-120
117
117
23/08/06, 21:55
118
3
22
3
3
25
molto
glissando
27
molto
glissando
29
33
03 klaver 081-120
118
118
23/08/06, 21:56
119
37
41
3
3
3
3
3
3
molto
45
48
molto
glissando
51
03 klaver 081-120
119
di
3
119
23/08/06, 21:56
mi
3
120
56
nu
en
do
calando
poco tranquillo
62
68
dim.
74
a tempo
poco rall.
poco meno
80
la melodia ben cantabile
03 klaver 081-120
120
120
23/08/06, 21:56
121
86
3
3
espressivo
92
calmando
dim.
97
tranquillo
cresc.
102
3
3
3
3
3
molto
106
3
3
3
04 klaver 121-148
121
121
23/08/06, 21:56
3
3
122
110
3
3
3
3
113
116
119
poco pi mosso
3
122
3
3
sempre
3
04 klaver 121-148
122
122
23/08/06, 21:56
123
125
poco a poco
di
mi
128
nu
en
do
poco rall.
meno
133
Tempo I, ma tranquillo
139
3
molto
poco rall.
145
3
3
sempre
04 klaver 121-148
123
poco rall.
123
23/08/06, 21:56
124
150
poco pi mosso
155
sempre
3
3
159
163
167
04 klaver 121-148
124
124
23/08/06, 21:56
125
171
sempre
3
174
3
178
3
3
cre
scen
do
181
3
3
3
3
3
3
dim.
184
poco marcato
04 klaver 121-148
125
125
23/08/06, 21:57
126
187
190
193
cre
scen
do
196
molto
200
04 klaver 121-148
126
126
23/08/06, 21:57
127
3
204
m.s.
m.s.
208
m.s.
211
m.s.
m.s.
214
04 klaver 121-148
127
127
27/09/06, 14:52
128
217
220
223
3
3
3
3
3
3
3
3
226
8
8
229
3
glissando
04 klaver 121-148
128
128
23/08/06, 21:57
129
8
231
glissando
233
237
3
3
3
3
3
3
241
sempre
3
246
nu
en do
calando
3
04 klaver 121-148
129
di
129
23/08/06, 21:57
mi
3
130
252
3
dim.
rall.
Adagio
258
molto ral
266
len
tan
dim.
do
Tempo I
3
271
3
cre
scen
do
275
molto
04 klaver 121-148
130
130
23/08/06, 21:57
131
279
vivace,
brioso
m.d.
m.d.
m.s.
m.s.
3
m.d.
m.s.
m.d.
m.d.
m.s.
m.s.
quasi
presto
284
289
295
rall.
8
04 klaver 121-148
131
131
23/08/06, 21:57
THREE PIANO PIECES
T R E K L AV E R S T Y K K E R
132
IMPROMPTU
Allegro fluente ( = 138)
I
8
04 klaver 121-148
132
132
23/08/06, 21:58
133
8
11
13
15
8
8
17
19
04 klaver 121-148
133
133
23/08/06, 21:58
134
21
meno e molto pesante (
23
molto
rall.
26
= 100)
dim.
secco
31
35
04 klaver 121-148
134
134
23/08/06, 21:58
135
39
di
mi
nu
42
a tempo
en
do
ral
len
tan
do
45
48
poco meno
51
04 klaver 121-148
135
135
23/08/06, 21:58
136
lunga
54
dim.
poco rall.
lunga
56
Tempo I
cre
scen
58
dim.
do
60
cre
scen
do
62
di
04 klaver 121-148
136
136
23/08/06, 21:58
137
64
mi
nu
en
cre
do
scen
do
Moderato e molto pesante ( = 72)
66
molto dim.
ran
molto patetico, quasi parodico
do
70
poco a poco di
73
mi
nu
en
do
tranquillo
77
molto di
mi
nu
en
do
ral
04 klaver 121-148
ac ce le
137
len
tan
137
23/08/06, 21:58
do
138
II
Molto adagio
diminuendo
diminuendo
5
sempre
rall.
cresc.
04 klaver 121-148
138
138
23/08/06, 21:58
139
9
10
rall.
cre
scen
12
do
13
di
mi
nu
en
do
espressivo
14
dim.
molto rall.
dim.
04 klaver 121-148
139
139
23/08/06, 21:58
140
III
Allegro non troppo ( = 108)
cre
scen
do
11
a tempo
15
dim.
molto rall.
*)
20
crescendo
3
*) betyder en Haandfuld af de dybeste Toner. (Stortromme)

indicates a handful of lowest-register notes. (Bass drum)
04 klaver 121-148
140
140
23/08/06, 21:59
141
25
30
3
34
3
3
3
3
37
3
3
3
40
04 klaver 121-148
141
141
23/08/06, 21:59
3
3
142
43
di
mi
nu
3
47
en
51
do
di
mi
nu
en
do
poco rall.
55
59
3
3
3
04 klaver 121-148
142
142
23/08/06, 21:59
143
8
63
3
cre
3
3
66
scen
do
3
68
molto ral
di
len
tan
mi
70 a tempo ma molto tranquillo
73
04 klaver 121-148
143
143
23/08/06, 21:59
nu
en
do
do
144
77
sempre
poco ral
len
tan
do
a tempo ma molto tranquillo

81
molto tranquillo
85
sempre
un poco
3
3
poco
90
ral
len
tan
do
di pi
95
cre
04 klaver 121-148
144
144
23/08/06, 21:59
scen
145
3
100
do
103
106
108
3
3
3
110
3
04 klaver 121-148
145
3
3
145
23/08/06, 21:59
146
8
112
3
3
3
3
114
118
122
sempre
poco rall.
127
04 klaver 121-148
146
146
23/08/06, 21:59
147
133
sempre
137
sempre
141
a tempo
len
145
ral
tan
do
cre
scen
do
Pi allegro ( = 132)
un poco meno
149
pesante
04 klaver 121-148
147
147
23/08/06, 22:00
148
8
153
3
3
3
155
3
3
3
3
cre
scen
do
3
allargando (
= 76-80)
157
161
ral
04 klaver 121-148
148
len
148
23/08/06, 22:00
tan
do
P I A NO M U S I C F O R
YO U NG A N D O L D
B O O K I
K L AV E R M U S I K F O R
S M A A O G S T O R E
H E F T E I
Op. 53
Allegretto ( = ca. 76)

*)
*)
13
rit
17
a tempo
rall.
*) Disse Noder viser Hndernes Beliggenhed paa Instrumentet

These notes indicate the position of the hands on the keyboard
05 klaver 149-176
149
149
28/09/06, 11:38
ar
dan
do
150
II
Allegretto (
= ca. 144)
espressivo
a tempo
14
rall.
21
espressivo
ral
IIIa
Allegro scherzoso ( = 112)
05 klaver 149-176
150
150
23/08/06, 22:00
len
tan
do
151
7
14
21
tranquillo
poco ac
ce
28
calando
cresc.
34
dim. senza rall.
05 klaver 149-176
151
151
23/08/06, 22:00
le
ran
do
152
IIIb
Grazioso ( = 108)
pesante
10
pesante
13
cresc.
05 klaver 149-176
152
152
23/08/06, 22:00
153
16
rall.
19
22
rall.
IV
Andantino ( = 69)
sotto voce
poco marcato
4
ral
05 klaver 149-176
153
153
23/08/06, 22:00
len
tan
do
154
V
Allegro giocoso
*)
= ca. 92)
12
18
cresc.
23
espressivo
*) Giocoso = lystigt (merrily).
05 klaver 149-176
154
154
23/08/06, 22:01
155
28
espressivo
ral
len tan
do
VI
Poco lamentoso ( = 60)
espressivo
molto
sempre
poco calando
cantabile
13
ral
05 klaver 149-176
155
155
23/08/06, 22:01
len
tan
do
156
VII
Marziale ( = 108)
subito
10
subito
14
18
senza rall.
dim.
05 klaver 149-176
156
dim.
156
23/08/06, 22:01
157
VIII
Cantabile ( = 58)
sempre
rallentando
IX
*)
Allegretto civettuolo ( = 84)

2
14
2
2
calando
21
subito
dim.
subito
dim. rallentando
dim.
*) civettuolo = koket (coquettishly)
05 klaver 149-176
157
157
23/08/06, 22:01
158
X
Lugubre ( = 58)
molto cantabile
12
molto agitato e rubato
rallentando
cantabile
pesante
rall.
XI
Andantino poco tiepido *) ( = 76)
cre
scen
do
cre
scen
*) poco tiepido = lidt trgt (rather tepidly)
05 klaver 149-176
158
158
23/08/06, 22:01
do
159
9
dim. e calando
13
dim.
poco
rallentando
XII
Adagio drammatico ( = 50)
3
subito
subito
diminuendo rall.
05 klaver 149-176
159
159
23/08/06, 22:01
160
P I A NO M U S I C F O R
YO U NG A N D O L D
B O O K I I
XIII
K L AV E R M U S I K F O R
S M A A O G S T O R E
H E F T E I I
Andantino carino *) ( = 80)

**)
dolce
dolce
cresc.
11
dolce
espressivo
espressivo
15
dim.
rall.
*) carino = hjertenskrt (affectionately)

**) Disse Noder viser Hndernes Beliggenhed paa Instrumentet
These notes indicate the position of the hands on the keyboard
05 klaver 149-176
160
160
28/09/06, 11:38
161
XIV
Capriccioso ( = 116)
10
cre
scen
do
15
20
3
molto
25
ca
lan
dim.
do
cresc.
05 klaver 149-176
161
161
23/08/06, 22:02
162
30
dim.
poco
poco
rall.
XV
Adagio espressivo ( = 50)
cantabile
cresc.
poco agitato
calando
cantabile
cresc.
12
di
mi
05 klaver 149-176
162
nu
en
do
162
23/08/06, 22:02
cantabile
163
XVI
Alla Contadino *) ( . = 58)
cresc.
11
15
tranquillo
19
*) Alla Contadino = bondeagtig (peasant-like)
05 klaver 149-176
163
163
23/08/06, 22:02
164
23
27
calando
32
36
subito
40
cre
scen
do
rallentando
05 klaver 149-176
164
164
23/08/06, 22:02
165
XVII
Largo con fantasia (
= ca. 54-66)
poco
3
tenuto
molto espressivo
3
3
3
con calore
a tempo
5
molto rall.
diminuendo
fluente
3
molto
molto di
3
mi
nu
en
3
do e calando
3
calando
3
3
11
3
3
rallentando
3
165
dim.
05 klaver 149-176
165
23/08/06, 22:02
166
XVIII
Preludio (
= 80)
sempre
e mistico
ca
lan
do
rallentando
11
XIX
Alla Bach (
= 92)
05 klaver 149-176
166
166
23/08/06, 22:02
167
7
12
17
22
27
05 klaver 149-176
167
167
23/08/06, 22:02
168
XX
Con sentimento ( = 54)

3
cresc.
10
di
mi
nu
en
XXI
Marcia di goffo *) ( = 112)
*) goffo = Klodrian (clodhopper)
segue
05 klaver 149-176
168
168
23/08/06, 22:02
do
rall.
169
6
11
dim. e calando
17
cresc.
segue
23
segue
28
cre
05 klaver 149-176
169
169
23/08/06, 22:03
scen
do
170
XXII
Allegretto pastorale (
= 80)
poco
10
cre
scen
do
13
05 klaver 149-176
170
170
23/08/06, 22:03
poco
171
16
dim.
19
22
25
cre
scen
do
dim.
28
di
05 klaver 149-176
171
171
23/08/06, 22:03
mi
nu
en
do
172
XXIII
Etude (Allegro) (
= 84)
leggiero
10
segue
cre
segue
13
scen
do
leggiero
subito
leggiero
05 klaver 149-176
172
172
23/08/06, 22:03
mol
to
173
16
cresc.
19
di
mi
nu
en
do
leggiero
22
25
cre
scen
do
28
dim.
poco
05 klaver 149-176
173
poco
173
23/08/06, 22:03
174
XXIV
Molto adagio (
= 54)
assai cantabile
a tempo
cresc.
rall. e dim.
rall. e dim.
poco agitato
a tempo
cresc. ed accel.
poco a poco rallentando
diminuendo
accel. e cresc.
05 klaver 149-176
174
rall. e dim.
174
23/08/06, 22:03
175
Allegretto commodo (
= 152)
10
marcato
14
pi espressivo
19
24
calando
29
marcato
05 klaver 149-176
175
175
23/08/06, 22:03
PIANO P I E C E
KL AVERS T Y K K E
legato
10
15
20
05 klaver 149-176
176
176
23/08/06, 22:04
06 orgel 177-202
177
27/09/06, 13:22
29 LITTLE PRELUDES
FOR ORGAN OR
HARMONIUM
29 SMAA PRLUDIER
FOR ORGEL ELLER
HARMONIUM
I
Op. 51
( = ca. 69) *)
a tempo
rall.
10
a tempo
15
poco rall.
19
*) Metronomangivelserne maa betragtes som kun tilnrmelsesvis og rette sig efter Rum og Instrument.
*) Metronome indications are tentative and must be adjusted according to the room and the instrument.
06 orgel 177-202
178
178
28/09/06, 11:40
23
II
( = ca. 76)
a tempo
poco rit.
12
rall.
06 orgel 177-202
179
179
27/09/06, 13:22
III
( = ca. 100)
16
24
IV
( = ca. 58)
06 orgel 177-202
180
180
27/09/06, 13:22
rall.
a tempo
V
( = ca. 52)
06 orgel 177-202
181
181
27/09/06, 13:23
VI
( = ca. 56)
3
3
VII
( = ca. 76)
a tempo
rall.
06 orgel 177-202
182
182
27/09/06, 13:23
11
( = 104)
VIII
10
06 orgel 177-202
183
183
27/09/06, 13:23
IX
= 108)
12
a tempo
rall.
16
( = 48)
06 orgel 177-202
184
184
27/09/06, 13:23
13
17
21
06 orgel 177-202
185
185
27/09/06, 13:23
XI
= ca. 152)
a tempo
poco rall.
13
a tempo
17
poco rall.
06 orgel 177-202
186
186
27/09/06, 13:23
21
26
XII
( = ca. 50)
06 orgel 177-202
187
187
27/09/06, 13:23
10
XIII
( = ca. 59)
a tempo
12
poco rall.
16
poco
06 orgel 177-202
188
ral
len
188
27/09/06, 13:23
tan
do
11
XIV
( = ca. 58)
XV
( = ca. 72)
06 orgel 177-202
189
189
27/09/06, 13:23
12
XVI
( = ca. 56)
rall.
XVII
rall.
06 orgel 177-202
190
190
27/09/06, 13:23
13
XVIII
(
= 60)
11
16
a tempo
poco rall.
21
06 orgel 177-202
191
191
27/09/06, 13:24
14
XIX
( = ca. 56)
10
XX
( = ca. 58)
06 orgel 177-202
192
192
27/09/06, 13:24
15
XXI
( = ca. 72)
XXII
( = ca. 60)
06 orgel 177-202
193
193
27/09/06, 13:24
16
XXIII
( = 69)
11
16
XXIV
( = ca. 58)
06 orgel 177-202
194
194
27/09/06, 13:24
17
XXV
( = 50)
12
06 orgel 177-202
195
195
27/09/06, 13:24
18
XXVI
( = ca. 54)
13
17
a tempo
21
poco rall.
25
06 orgel 177-202
196
196
27/09/06, 13:24
19
XXVII
( = ca. 66)
a tempo
10
poco rall.
15
20
06 orgel 177-202
197
197
27/09/06, 13:24
20
XXVIII
( = ca. 48)
3
3
3
3
3
3
pedale
3
3
06 orgel 177-202
3
3
11
198
3
3
198
27/09/06, 13:24
21
3
13
pedale
3
3
15
3
3
17
19
3
3
( = ca. 50)
XXIX
06 orgel 177-202
199
199
27/09/06, 13:24
T W O
P R E L U D E S
T O
38
10
15
06 orgel 177-202
200
200
27/09/06, 13:25
P R L U D I E R
II
M E L O D Y
Adagio
M E L O D I
MELODY
06 orgel 177-202
201
201
27/09/06, 13:25
06 orgel 177-202
202
27/09/06, 13:25
C O M M O T I O
C O M M O T I O
Op. 58
Adagio
3
3
3
3
3
07 orgel 203-237
203
203
27/09/06, 13:36
4
6
3
3
3
3
3
3
204
07 orgel 203-237
204
27/09/06, 13:36
5
3
11
12
3
3
14
3
3
marcato
07 orgel 203-237
205
205
27/09/06, 13:36
6
15
3
3
16
3
3
3
3
17
07 orgel 203-237
206
206
27/09/06, 13:36
7
3
18
19
20
07 orgel 203-237
207
207
27/09/06, 13:36
8
21
23
25
208
07 orgel 203-237
208
27/09/06, 13:36
9
3
3
3
26
3
3
3
3
27
di
nu
en
di
209
mi
209
27/09/06, 13:36
mi
do sempre
07 orgel 203-237
( =
28
29
nu
10
Andantino quasi allegretto
35
en
do
ral
len
tan
do
41
47
53
poco
07 orgel 203-237
210
210
27/09/06, 13:36
poco
11
59
cre
scen
do
65
70
dim.
77
a tempo
tan
do
07 orgel 203-237
poco ral
211
211
27/09/06, 13:36
len
12
83
88
cre
scen
do
93
99
dim.
07 orgel 203-237
212
212
27/09/06, 13:37
13
105
dim.
111
poco rall
len
tan
do
a tempo poco tranquillo
117
123
07 orgel 203-237
213
213
27/09/06, 13:37
14
129
135
cre
segue
141
scen
do
07 orgel 203-237
214
214
27/09/06, 13:37
15
147
segue
153
segue
m.s.
m.d.
159
07 orgel 203-237
215
215
27/09/06, 13:37
16
165
171
176
180
poco a poco cre
07 orgel 203-237
216
scen
216
27/09/06, 13:37
do
17
184
188
191
07 orgel 203-237
217
217
27/09/06, 13:37
18
195
200
206
cre
07 orgel 203-237
218
218
27/09/06, 13:37
scen
do
19
210
213
216
07 orgel 203-237
219
219
27/09/06, 13:37
20
219
222
226
sempre
pesante
231
dim.
dim.
07 orgel 203-237
220
220
27/09/06, 13:37
ral
len
21
Andantino tranquillo
238
tan
do
dim.
244
molto tranquillo
dim.
252
sempre
ral
07 orgel 203-237
221
221
27/09/06, 13:37
len
tan
do
22
258
Andante sostenuto
264
270
a tempo
poco ral
len
tan
do
m.s.
m.d.
275
07 orgel 203-237
222
222
27/09/06, 13:37
23
280
284
287
291
07 orgel 203-237
223
223
27/09/06, 13:38
24
294
299
303
306
07 orgel 203-237
224
224
27/09/06, 13:38
25
309
313
ral
len
3
3
317
tan
do
322
07 orgel 203-237
225
225
27/09/06, 13:38
26
326
329
sempre legato
333
336
sempre legato
07 orgel 203-237
226
226
27/09/06, 13:38
27
339
342
345
348
07 orgel 203-237
227
227
27/09/06, 13:38
28
351
m.d.
354
356 (
= )
362
07 orgel 203-237
228
228
27/09/06, 13:38
29
368
a tempo
372
poco ral
len
tan
do
376
379
07 orgel 203-237
229
229
27/09/06, 13:38
30
383
387
a tempo
391
poco pesante
394
3
3
07 orgel 203-237
230
230
27/09/06, 13:38
3
3
31
398
402
410
231
406
07 orgel 203-237
231
27/09/06, 13:38
marcato
32
413
416
3
3
420
425
07 orgel 203-237
232
232
27/09/06, 13:38
33
429
434
dim.
ral
len
3
3
a tempo ma fluente
441
a tempo
447
poco rall.
07 orgel 203-237
233
233
27/09/06, 13:38
tan
do
34
453
459
465
sempre legato
469
07 orgel 203-237
234
234
27/09/06, 13:39
35
473
sem
pre
cre
476
scen
do
479
483
07 orgel 203-237
235
235
27/09/06, 13:39
36
487
poco rall.
491
494
sempre legato
497
07 orgel 203-237
236
236
27/09/06, 13:39
37
500
503
marcato
506
509
ral
pesante
07 orgel 203-237
237
237
27/09/06, 13:39
len
tan
do
F O R K O R T E L S E R
A B B R E V I A T I O N S
b.
bar
bb.
bars
CN
Carl Nielsen
CNA
Carl Nielsen Arkivet (the Carl Nielsen Archives)
CNS
Carl Nielsens Samling (the Carl Nielsen Collection)
DK-Kk
Det Kongelige Bibliotek, Kbenhavn (the Royal

Library, Copenhagen)
marc.
II_12_tekst_2_kilder.indd 238
marcato
ped.
pedal staff
pf.1
upper staff
pf.2
lower staff
Pl. No.
Plate Number
st.1
upper staff
st.2
middle or lower staff
stacc.
staccato
t.
takt
ten.
tenuto
238
28/09/06 11:44:10
C R I T I C A L
C O M M E N T A R Y
In the Critical Commentary the following conventions
Eiendom for alle Lande. / KJBENHAVN & LEIPZIG. / Wil-
are used:
helm Hansen, Musik-Forlag.

Pl. No.: 10748 (1891).
by analogy with is used when something has been
Acquired by the Carl Nielsen Museum from Anne Marie
added, emended or omitted by analogy with another
Carl-Nielsens estate.
passage in the main source. The analogy may be vertical.
34x27 cm, title page, 8 pages, paginated 2-9.
When something is added by analogy with one or more
Addition of accidentals etc. in pencil (CN).
instruments, it is understood that the analogy is with the

same place in the same bar(s). Or it may be horizontal.
Score, sketch, autograph (Nos. I, II, IV).
When something is added by analogy with one or more
DK-Kk, CNS 10a.
bars, it is understood that the analogy is with a parallel
Donated to the Royal Library by Irmelin Eggert Mller in 1958.
place in the same instrument(s).
6 pages written in ink and pencil.

Paper type:
as in is used when something is added, emended or
1 bifolio
35.4x27 cm
omitted to correspond to the same place in another source.
1 folio
35.5x26.9 cm
(14 staves).
1 folio
34.8x26 cm
(14 staves).
C.A.KLEMM. B.No.2. (12 staves).
in accordance with is used in cases where there is no au-
Sketches for Nos. I, II, IV. Also contains sketches for String
thoritative source, only a guideline for example printed
Quartet in F minor, Op. 5, and two incomplete works. No.
part material.
II conclusion separately sketched. No. IV headed Og hun

1
dansede, men med Fortvivlelse i Hjertet and with provisional four-bar conclusion crossed out.
In the bar number column, the symbol + is used to indicate

an upbeat to the bar in question.
C
Score, sketch, autograph (No. III).

DK-Kk, CNS 38b.
S O U R C E S

35x26 cm, 1 page, written in pencil.
P I A N O
W O R K S
Paper type: 14 staves
(hand ruled).
18 bars of sketch for No. III, contained in the sketches (fol.

F I V E
P I A N O
P I E C E S ,
O P U S
I1 ) for nale of String Quartet in F minor, Op. 5.
Printed score, Nielsens copy
Score, sketch, autograph (Nos. I, II, IV)
DK-Kk, CNS 10b.
Score, sketch, autograph (No. III)
From the legacy of Irmelin Eggert Mller, donated to the
Score, sketch, autograph (No. V)
Royal Library by Eggert Mller in 1975.
Printed score (No. V)
v
v
r
r
v
10.5x16.5 cm, 6 pages (fol. 63 , fols. 64 -65 , fol. 66 , fol. 84 ,
Score, autograph and copy (Nos. II, V)
v
fol. 85 of sketchbook, CNS 358a) written in pencil.
Score, sketch, autograph (No. V).
r
Paper type: 7 staves (folio 65 is a torn fragment of different
Printed score, Nielsens copy.
paper).
The Carl Nielsen Museum, Odense.
Sketches for No. V headed [? ] Kleine Vals.
Title page: Til Fru Orpheline Olsen. / f. Wexschall-Schram.

/ 5 / Klaverstykker / Carl Nielsen. / Op. 3 / Forlggerens
1 And she danced, but with despair in her heart. The

motto and the title of the piece refer to the female
character, Mignon, in Goethes Wilhelm Meisters Lehrjahre.
2 Illegible word.
239
28/09/06 11:44:11
Printed score (No. V).
r
Fol.2 : Motto Ach, die zrtlichen Herzen! Ein Fuscher
Printed in Musikbladet. Revue for Musik og Theater, 8 (1891),
vermag sie zu rhren. / (Goethe.)
vol. 15-16, pp. 2-3.
Pl. No.: 11575 (1895).
No. V Alfedans.

Score, fair copy (No. II), autograph and autograph/copy?
34x27 cm, title page, motto page, 22 pages, paginated 4-25.
(No. V).
Contains pencil and crayon corrections by CN.
DK-Kk, Tilg. 391, the collection of Emilie Demant Hatt.

No. II, autograph:
Score, autograph, fair copy, printing manuscript.
Title page: Novellette.
Dk-Kk, CNS 17a.
r-v
35x26 cm, 2 bifolios, sewn, 2 pages (fol. 2 ) written in ink.
Dating: End of rst movement: Gjorslev Bgeskov d 1
Paper type: 14 staves.
August 94.
No. V, autograph (?):
Title on rst music page. Elfentanz. Carl Nielsen.
34.3x25 cm, 10 folios, 19 pages written in ink, paginated 1-19.
34x25.5 cm, 1 folio, 2 pages written in ink.
Paper type: 16 staves
The source has been restored.
Reproduced as facsimiles in Emilie Demant Hatt, Foraars-
MM added in pencil (CN), printers queries, mainly regard-
blger. Erindringer om Carl Nielsen. Edited by John Fellow,
ing accidentals, in crayon and pencil. Fol.1 : Pencil sketch-
es: 9 bars with the text Disse djrve Hammerslag (no
(hand ruled).
apparent connection with Op. 8) and 4 bars for violin and

5
The earliest sources are the sketches (B, C, D). From these
piano in A major (Op. 9?).
Nielsen presumably prepared fair copies which were sent to the
Several bars pasted over: Second movement, b. 50, third
music publisher Wilhelm Hansen but are now lost. However,
movement, bb. 17-20, b. 22 (pf.2), b. 94 (pf .2), fourth move-
probably before making these he wrote fair copies of Nos. II
ment, bb. 37-40, 79-81.
(originally entitled Novellette) and V (originally Elfentanz),

source F, since these are preserved along with the memoirs of
Score, autograph, drafts, sketches.
Emilie Demant Hatt and were therefore presumably notated
Dk-Kk, CNS 17b.
during Emilies and Carls times together in the summers of
Dating: End of second movement: 23/5 94.
1887-89. The signicant divergences between these copies and
the rst printed score suggest that they were early versions.
34 pages written in pencil and ink.
The rst printed edition (A) has been chosen as the main
source. Nielsens copy contains several corrections.
S Y M P H O N I C
S U I T E ,
O P U S
2 folios
34.2.x25.8 cm
12 staves.
1 bifolio
34.6.x26 cm
18 staves
(hand-ruled).
1 bifolio
34.5.x26.2 cm
16 staves
(hand-ruled).
1 folio
34.6.x26 cm
18 staves
(hand-ruled).
1 bifolio
34.x25.8 cm
12 staves.
1 folio
20.8x26 cm
10 staves
(hand-ruled).
1 folio
34.4.x25.8 cm
16 staves
(hand-ruled).
Score, autograph, fair copy, printing manuscript
1 folio
34.5.x25.9 cm
18 staves
(hand-ruled).
Score, autograph, draft, sketches
1 folio
34x25.7 cm
12 staves.
Score, autograph, fair copy (rst movement)
1 bifolio
34.5.x26 cm
16 staves
(hand-ruled).
1 bifolio
34.6.x26 cm
18 staves
(hand-ruled).
(hand-ruled).
2 folios
ca. 34.5.x25.7 cm 18 staves
1 folio
34x25.8 cm
12 staves.
Title page (fol.1 ): TIL VICTOR BENDIX: / SYMPHONISK
SUITE / FOR PIANOFORTE AF / CARL NIELSEN / OP.VIII / WIL-
Drafts and sketches for all movements. Second movement
HELM: HANSEN FORLAG / KIBENHAVN & LEIPZIG
headed Moderato. Sketch for Finale indicates middle section
3 The handwriting of the second piece is very different

from that of the rst; it is a well-known fact, however,
that Nielsens handwriting does vary, especially in the
1880s and 1890s.
4 These bluff hammerblows

5 See Carl Nielsen Works, Vol. II/11, Sonata for Violin and
Piano, Opus 9, source E.
240
28/09/06 11:44:11
in 3/4. Also contains pencil sketches for a waltz, 7 bars of a
End-dating: Kjbenhavn den 12 Maj 97.
string quartet in C sharp minor, 8 bars of two-voice coun-
Donated to the Royal Library by Irmelin Eggert Mller,
terpoint headed Allo molto, 4 bars of song and various
Anne Marie Telmnyi and the music publisher Wilhelm
other pieces, including Slette Studier efter Bach.
Hansen in 1953.
34.3x25.8 cm, 8 folios, 15 pages written in ink, paginated 1-15.
Score, autograph, fair copy (rst movement).
Dk-Kk, CNS 24c.
Registered at the Royal Library 1 December 1983.
First page headed Smaa Brne-Humoresker. No. III annotat-
35.5x27 cm, 1 page written in ink.
ed with ngerings. Printers markings in pencil throughout.
Paper type: B & H. Nr. 4. C.
(12 staves).
Fol.2 : Two bars fair copy of rst movement.
Included with a sketch for the Violin Sonata Op. 9.
Score, sketch, autograph.

DK-Kk, CNS 12b.
The earliest sources for the Symphonic Suite are the sketches (C),
34.5x26 cm (folios 1, 6), 26x34.4 cm (folios 2-5), 11 pages
elaborated into drafts in the same source. The fair copy was
written in pencil.
also used as printing manuscript (B). The two bars of fair copy
Paper type:
in D appear in the middle of a sketch for the Violin Sonata,
Folios 1, 6
20 staves
(hand ruled).
Op. 9. Nielsens own copy of the printed edition (A) has been
Folios 2, 5
14 staves
(hand ruled).
chosen as the main source; some of its pencil and crayon cor-
Folios 3, 4
16 staves
(hand ruled).
rections were incorporated into later printings.

Also contains sketch for Hilsen, Op. 10 No. 6 and 12 bars of a
D minor piano piece.
H U M O R E S Q U E - B AG AT E L L E S ,
O P U S
11
D
Printed score (No. III).
In journal Hver 8. Dag, 4. Aarg. Nr. 1, 2. Oktober 1897, Copen-
hagen 1897, pp. 17-18, MUSIK TILLG: En lille, langsom Vals.
Score, sketch, autograph
AF CARL NIELSENS HUMORESKE-BAGATELLER OPUS 11,
Printed score (No. III)
SOM OM KORT TID UDKOMMER PAA VILHELM HANSENS
Recording (No. V)
MUSIK-FORLAG.
Recording (No. V).
In The Carl Nielsen Museum, Odense.
Title: Carl Nielsen spiller Carl Nielsen / Tre fonografvalser
Title page: HUMORESKE-BAGATELLER / AF / CARL NIELSEN
fortller / Carl Nielsen plays Carl Nielsen. SBCD05, Stats-
/ FOR PIANOFORTE / OP XI. / WILHELM HANSEN, MUSIK-
biblioteket, rhus, 2003. ISBN 87-7507-269-6 (see Introduc-
FORLAG. / KJBENHAVN & LEIPZIG.
tion, pp. x and xxi-xxii).
Pl. No.: 12115 (1897).

From the sketches in C Nielsen prepared the fair copy (B),
which served as printing manuscript. The composers copy of
34x27 cm, 12 pages, paginated 2-13.
the rst printing (A) is taken as the main source.
Nos. I, III and V contain additional pencilled ngerings,

possibly by CN.
F E S T I VA L
B
P R E L U D E

DK-Kk, CNS 12a.
Title page: Smaa Humoresker / Carl Nielsen / Op. 11 / 12115
Facsimile, score
/ 12 alm. in foreign hand.

8 A little, slow waltz. From Carl Nielsens HumorequeBagatelles, which are soon to be published by Vilhelm
Hansen Music Publishers.
6 Bad studies in Bach style.

7 Probably the engravers aide-mmoire, stating that 12 staves
are to be used with ordinary (alm(indeligt)) layout.
241
28/09/06 11:44:11
v
r
34.4x26.5 cm, 1 bifolio, 2 pages (fol.1 - fol.2 ) written in ink,
paginated 1-2.
Title page: TIL I.F. WILLUMSEN. / FEST-PRLUDIUM / AF
Paper type: J.E. & Co. / Protokoll Schutzmarke / No.2 /
/ CARL-NIELSEN / WILHELM:HANSEN FORLAG / KIBEN-
12 linig.
HAVN & LEIPZIG.
Several printers markings in orange and blue crayon.
(12 staves).
Pl. No.: 12902 (1901).

Score, autograph, draft.

DK-Kk, CNS 9b.
34.4x27.3 cm, title page, 2 pages, paginated 2-3.
End-dating: 3/12 05.
(Ved Aarhundredskiftet) included beneath main heading
Acquired by the Royal Library from the estate of pianist
on rst notated page.
Henrik Knudsen in 1947.

26x34.5 cm, 1 bifolio, 4 pages written in pencil.
Facsimile, score.
In Politiken 1 January 1901, p. 1. Facsimile of Nielsens fair
copy (original lost); presumably printing manuscript for A.
Title on rst music page: Juledrm (Christmas Dream).

r
v
Fol.1 and fol. 2 : Sketches for Maskarade (act three, closing
scene).
No complete draft or fair copy survives of the Festival Prelude in

its original form. The fair copy is only known from the facsimile
in Politiken (B). The composers copy of the rst Wilhelm Hansen
The sources for this piece form an orderly progression from
printed edition (A) is taken as the main source.
draft (C) to fair copy (B) to printed score, with hardly any variants. The printed score (A) is taken as the main source.
D R E A M
A B O U T
S I L E N T
N I G H T
Printed score
Printed score
Score, autograph, draft
Score, autograph, fair copy
Printed score.
Score, autograph, sketch
Printed score.
C H A C O N N E ,
O P U S
3 2
Title page: JUL / STEMNINGER og BILLEDER / for Klaver af /

DANSKE KOMPONISTER / CHR. BARNEKOW _ VICTOR BENDIX _ LOUIS GLASS _ / GUSTAV HELSTED _ FINI HENRIQUES _
Title page: Wilhelm Hansen Edition. / CARL NIELSEN /
P. E. LANGE-MLLER / _ OTTO MALLING _ CARL NIELSEN _ AL-
Chaconne / for Piano=Forte / Op. 32. / [] / KJBENHAVN &
FRED TOFFT._ / 1905 / DANSK TONEKUNSTNER=FORENINGS
LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / [] / Copy-
FORLAG / C.G. RDER, G.M.B.H. LITH. ETABL. LEIPZIG.
right 1917 by Wilhelm Hansen, Leipzig.
10
11
No Pl. No. (marked D.T. ) (1905).
Pl. No.: 16743 (1917).
Pp. 22-23: Title: Drmmen. / om / Glade Jul. / (Stille Nacht.).

B
B
Score, autograph, fair copy.
Kungliga Musikaliska Akademins Bibliotek, Stockholm
DK-Kk, CNS 9a.
(copy in DK-Kk, CNS 8a).
Title page: Drmmen / om / Glade Jul (Stille Nacht) / for /
Library marking on title page: [Gva frn Komponisten
Pianoforte / af / Carl Nielsen.
1924]. Autographsamling X: 90: 2
End-dating: 3/12 05.
Title page: Carl Nielsen. / Chaconne / for / Pianoforte / Op 32.
Donated to the Royal Library by Irmelin Eggert-Mller,
35.5x27 cm, 15 pages written in ink, paginated 1-12, 14-16.
Anne Marie Telmnyi and the music publisher Wilhelm
Paper type: B.& H. Nr. 18. A. / 7.14.
12
(10-staves).
Hansen in 1953.
11 According to Wilhelm Hansens Stikkerbog (DK-Kk) the work
was engraved on 7.7.1917.
12 Gift from the composer, 1924, autograph collection X:
90: 2.
9 (At the turn of the century).

10 Short for Dansk Tonekunstner-Forening (Society of Danish
Composers).
242
28/09/06 11:44:12
Contains pencil sketch on p. 9, apparently for possible two-
S U I T E ,
O P U S
4 5
stave layout of variation bb. 130-45.

A
C
Dk-Kk, CNS 8b.
Printed score
Score, autograph, fair copy (rst and second movement),
copy (fth movement)
Autograph, drafts and sketches, fair copy.
1 bifolio (34.7x26 cm), 1 folio (35.6x27 cm), 1 folio (34.5x26
Copy by Nancy Dalberg, fair copy
Printed score.
cm), 1 bifolio (34.4x26), 12 pages written in pencil, paginated

1-14 (fols. 5-6 in different format, with dividing line between
upper and lower halves of page, upper halves numbered 9,
Title page: Artur Schnabel freundschaftlich gewidmet. /
10, 11, (12), lower halves numbered [no number], 12, 13, 14).
Suite / fr / Klavier zu 2 Hnden / von / Carl Nielsen / Opus
45 / Auffhrungsrecht vorbehalten. / Eigentum des Ver-
Small emendations in ink, principally affecting bb. 109-13.
legers. / 10365 / LEIPZIG / C. F. PETERS..
Variations are numbered throughout.
Pl. No.: 10365 (1923).

31x23.8 cm, title page, preface, 32 pages, paginated 3-34.
Score, autograph, sketch.
VORBEMERKUNG
Dk-Kk, CNS 8c.
Ursprnglich hatte ich mir gedacht, dem Titel dieser Suite
Registered at the Royal Library 17 November 1983.
das Wort Luziferisch hinzuzufgen, aber da dieses Wort
r
v
26x34.6 cm, 1 folio, fol. written in pencil, fol. written in ink.
die Gefahr einer einseitigen Auffassung in sich schliet,
Paper type: 12-staves.
will ich lieber andeuten, wie die sechs Musikstcke auf-
Fol. : Sketch for notation of variation from bb. 130-145. Fol. :
gefat werden knnen. Ich sage ausdrcklich: aufgefat
Ink autograph of song by Paul Hellmuth. After the double bar
werden knnen, nicht aufgefat werden sollen, denn jeder
added in Hellmuths hand: Kre Carl Nielsen! hvad synes De
talentvolle Knstler mu fr seine eigene Auffassung Frei-
13
nu er den bedre? jeg synes det, nsten. Deres hengivne PH.
heit und Raum haben, und man sieht ja so oft in der ausbenden Kunst Musik, Schauspielkunst da, wie ein
Apart from the short sketch in source D, no sketches prior to the draft
Wunder, ein Nachteil sich zu einem Vorteil wenden kann,
score survive. The draft (C) contains numerous erasures and revisions,
gerade eine jener sonderbaren Erscheinungen, welche der
suggesting that it may have been made without prior sketching.
Kunst oft ein wunderbares Leben verleiht.
There is no indication of which, if any, of the surviving sources served
Wenn ich Klavierknstler wre, wrde ich mein Opus
as printing manuscript. Important variants between the fair copy (B)
ungefhr wie folgt ausfhren:
and the rst printing (A) are shown by musical examples in the Edi-
Den Anfang des ersten Satzes etwas kalt und sprde im
torial Emendations and may be seen on the facsimiles pp. lviii-lxiii.
Ton und in einem ruhig dahinieenden Tempo. Bei un

poco meno das Tempo wohl etwas langsamer, aber mehr
inneres Leben. Bei con fuoco und schon etwas vorher
T H E M E
A N D
VA R I A T I O N S ,
O P U S
4 0
ein mehr drohender Charakter. Der 5., 6. und 7. Takt nach

Tempo I pp sehr innig.
Printed score.
Zweiter Satz: Poco moderato mit dem zartesten
Title page: Wilhelm Hansen Edition. Nr. 2035. / Thema
Klang und auserlesener Anwendung der Pedale, gleichsam
med Variationer / for Piano-Forte / af / Carl Nielsen / Op. 40.
lauschend.
/ [] / KBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-
Dritter Satz mit berlegener Ruhe und Kraft und an
FORLAG / [] /
manchen Stellen z.B.Takt 5 usw. und Takt 20 usw. mit

14
Pl. No.: 17336 (1920).
einer gewissen brutalen Laune.
30.3x23 cm, title page, 26 pages, paginated 2-27.
Vierter Satz mit vollkommen khlem glsernen
15
Vortrag, ohne Spur von Gefhl aber mit auserlesenem

There are no surviving sources prior to the printed score.
Klang.
Der fnfte Satz ergibt sich von selber.
13 Dear Carl Nielsen! what do you think now, is it better?

I actually think so. Yours affectionally, PH. Paul Hellmuth (1879-1919), Danish composer and pupil of Nielsen.
14 According to Wilhelm Hansens Stikkerbog (DK-Kk) the work
was engraved on 14.11.1919.
15 The correct German should be glsernem
243
28/09/06 11:44:12
Der sechste Satz durchweg mit einem Hintergrund
tions added in Nielsens hand. At end of fth movement

17
von dmonischer Stimmung, welche den Spieler zu starken
Kre Margrethe! Hilsen fra din Carl N.

r
Fol.1 : Draft and sketches for rst movement of Fifth Sym-
Kontrasten und heftigen Akzenten hintreibt.

Kopenhagen, 24. April 1923. Carl Nielsen.
B
16
Score, autograph, fair copy (rst and second movement),
phony.
C
Autograph, drafts and sketches, fair copy.
copy (fth movement).
Dk-Kk, CNS 16c.
Dk-Kk, CNS 16b.
Donated to the Royal Library by Knud Jeppesen in 1935.
End-dating: First movement: Damgaard 20 Aug 19., Sec-
33 pages written in pencil and ink.
ond movement: Damgaard August 19..
2 bifolios
34x27 cm
Donated to the Royal Library by Margrete Rosenberg in
1 folio
34x27 cm
1935 or later.
1 folio
34.5x26 cm
Heimdal 1652
33.8x26.5 cm [1]: 2 folios, 2 bifolios, 34x25.5 cm [2]: 1
1 bifolio
35.5x26.8 cm
B. & H. Nr.18. A. 7.14. (10 staves).
bifolio, 12 pages written in ink. First movement: paginated
1 folio
34.5x25.7 cm
2-5 (page 1 unpaginated), second movement: paginated 1-4,
1 bifolio
34x27 cm
Nr. 3. F. 12.
fth movement: paginated 2-3 (page 1: unpaginated).
1 folio
35.4x26.8 cm
B. & H. Nr. 4. C. 7.14. (12 staves).
Paper type:
1 folio
34.2x27 cm
No. 8 Folio 22
(12 staves).
1 bifolio
35.4x26.8 cm
B. & H. Nr.18 A. 7.14. (10 staves).
(12 staves).
1 folio
35.5x26.7 cm
B. & H. Nr. 1. A. 6.13. (12 staves).
1 folio
34.5x25.6 cm
(12 staves).
Fair copy of rst, second and fth movement; some altera-
tions to dynamics in pencil, rst movement, bb. 75-80.
Draft of whole work, lacking rst page of fourth movement.
Fifth movement (copy) with tempo- and dynamic indica-
Occasional ink corrections to pencil score. Fifth movement
[1]
[2]
No. 3. F. 12.
No. 8. Folio 22
(22 staves).
(14 staves).
(12 staves).
(12 staves).
(12 staves).
(22 staves).
begun in ink, ca. bb. 1-19. Also contains fair copy of sixth
16 PREFACE
Originally I considered giving this Suite the title
Luciferian. But since this word invites a dangerously
one-sided interpretation, I should rather suggest how
the six pieces may be understood. I insist: may be, not
should be, understood, because every talented artist
must have freedom and space for his own interpretation, and often in the performing arts music, acting
we see how a disadvantage can miraculously turn into
an advantage. This is one of those special phenomena
that often give art a wonderful life.
If I was a pianist, I would perform my opus something
like this:
The beginning of the rst movement rather cold and
brittle in tone and in a peacefully owing tempo. At un
poco meno the tempo indeed somewhat slower, but with
more inner life. At con fuoco and already a little before
that, a more menacing character. The fth, sixth and
very inwardy.
seventh bars after Tempo I
The second movement: Poco moderato with the tenderest
tone and subtlest pedalling, as though listening.
The third movement with contemplative tranquillity
and in many passages e.g. bars 5ff. and 20 ff. with a
certain brutal temper.
The fourth movement in a totally cool, glassy style,
with no trace of feeling [i.e. with no affectation] but
with subtle tone.
The fth movement speaks for itself.
The sixth movement throughout with a demonic mood
in the background, which drives the player to strong
contrasts and decisive accents.
Copenhagen, 24 April 1923. Carl Nielsen.
movement, bb. 24-42 (headed Suite VI fra Takt 23 til 41 see

facsimile p. lxviii), with different textural layout from all other extant sources, and sketch for Derfor kan vort je gldes
(text by Christian Richardt) from Tyve folkelige Melodier.
D
Copy by Nancy Dalberg, fair copy.

Dk-Kk, CNS 16a.
Title page: Ild og Vand. / Suite / for Pianoforte / af / Carl
Nielsen.
18
Aquired by the Royal Library from the estate of Henrik

Knudsen in 1947.
34.2x25.8 cm, 38 pages written in ink, paginated 1-38.
Bound in library binding.

Lacks fth movement (sixth movement of the printed
edition here carries the heading V. Paste-overs in fourth
movement, bb. 55-56, sixth movement (= V), bb. 272-282.
Some queried notes in pencil.
The numerous erasings and fragmentary sketches in C suggest
that this was Nielsens composing score, from which he made
fair copies such as B. No autograph fair copies of third, fourth
17 Dear Margrethe! Greetings from your Carl N.
18 Fire and Water. Suite for Piano by Carl Nielsen.
244
28/09/06 11:44:13
and sixth movement are extant, with the exception of the vari-
1 fragment 8.5x26 cm
ant bars in sixth movement found with the draft score (C). Nu-
No. III
merous signicant differences between both B and C and Nancy
7 folios
35x26 cm
(3 staves).
(10 staves).
Dalbergs fair copy (D) suggest that she must have prepared her
copy from a source that has not survived. Similarly the extensive
Various corrections added in pencil. Note on separate slip
unique readings in the rst printing (A) suggest the existence
of paper to Christian Christiansen concerning two changes
of a further intermediate source, no longer extant. Important
to No. II (bb. 2, 14). No. III tempo and metronome marking
variants between the rst printing and other sources are shown
added in pencil, also metronome markings at bb. 145, 157.
by musical examples in the Editorial Emendations and are repro-
No. I, bb. 1-2, No. III bb. 21-24 pasted over.
duced as facsimiles, pp. lxiv-lxxi. Of these, the variant reading at

b. 19 is prima facie more plausible than the version in A, printed
Score, autograph, fair copy (No. II).
here. However, if the latter was incorrect, it would represent a
Dk-Kk, CNS 19d.
va
double error on the part of the engraver (omitting an 8 sign
Title page: Adagio for Pianoforte / af / Carl Nielsen.
and misnotating by a second) not noticed by Nielsen at proof
stage. For this reason, the reading in the main source is equally
33x26 cm, 1 bifolio, 2 pages written in ink ink.
likely to represent a change of mind on the part of the compos-
Paper type: Nr. 3 F. 12. (12 staves).
er, and the plausibility of the variant is considered insufcient
Fair copy of No. II.
to warrant departure from the principles of the present edition.
Includes corrections noted in A.

C
T H R E E
P I A N O
P I E C E S
Score, autograph, fair copy (No. II).

Dk-Kk, CNS 19e.
Score, autograph, fair copy
34.5x27 cm, 1 folio, 1 page written in ink.
Score, autograph, fair copy (No. II)
Paper type: No. 6. F. 18. (18 staves).
Score, autograph, fair copy (No. II)
Score, autograph, draft, sketch (Nos. I, III)
Fair copy of No. II.
Score, autograph, sketch (No. III)
Includes corrections noted in A.
Score, copy
Score, copy (No. I)
Score, autograph, draft, sketch (Nos. I, III).
Score, copy (No. III)
Dk-Kk, CNS 19c.
Printed score
Score, autograph, fair copy.
7 folios, 14 pages written in pencil. No. I: paginated 1-4

(including an extra piece of music paper glued on to p. 4).
Dk-Kk, CNS 19a.
No. III: paginated 1-6 (page 7 unpaginated).
Title page: Impromptu / for / Pianoforte / af / Carl Nielsen.
No. I
19
Inscribed at top of page: Efter min Dd til Irmelin in
1 folio
ca.34.5x26.7 cm
(18 staves).
pencil (foreign hand).
1 folio
34.5x26 cm
(18 staves).
End-dating: No. I: 15 Januar 28., No. II: Kjbenhavn (1-3-
1 folio
24.5x7.5 cm
(2 staves).
1928), No. III: Damgaard 6 November 28.
No. III
From estate of Christian Christiansen, donated to the Royal
2 folios
34x25.2 cm
(12 staves).
Library by Anna Christiansen in 1955.
2 folios
34.3x27 cm
(12 staves).
18 pages written in ink, paginated 1-4 (No. I), 8-9 (No. II), 1-9
Draft of Nos. I, III. No. I headed Prludium, No. III headed
(No. III).
Klaverstykke. Includes four bars of fair copy of Clarinet
No. I
Concerto.
2 folios
34x26.7 cm Nr. 3. F. 12
(12 staves).
1 folio
34x26.7 cm
(12 staves).
Score, autograph, sketch (No. III).
No. II
Dk-Kk, CNS 19f.
1 bifolio 34x26.5 cm FRODA MNSTERBESKYTTET (12 staves).
Registered at the Royal Library 9 September 1988.
19 After my death, to Irmelin.
245
28/09/06 11:44:13
ca. 13.5x27 cm, 1 folio, 2 pages written in pencil.
gen af det klanglige Udtryk i dette Afsnit af Klaverstykket
fragment, 5 2 staves.
Paper type:
og derfor ikke har noteret nogen Nuancering.
r
v
Fol. : Three-bar sketch for No. III (bb. 124-126). Fol. : Five
Betegnelserne maa derfor kun betragtes som et Forslag.
21
bars of single-line music in 2/8.

From the draft score (D), Nielsen prepared the fair copy (A) and
F
Score, copy.
later the copies of No. II (B, C) which include the corrections noted
Dk-Kk, CNS 19b.
separately in A. It is not possible to determine the chronology of
Title page: Carl Nielsen. / Tre Klaverstykker. / [in a different
B and C, and each contains a number of evident mis-copyings as
hand in pencil:] [Op. 59] / (Drei Klavierstcke) / Impromptu.
well as corrections. As B is more carefully notated, it is taken as
/ [in a different hand in pencil:] Borups Musikverlag. Kopen-
the main source for the second piece, together with the rst and
hagen.
third pieces in A. Since I was published posthumously it is not
35x26.2 cm, 5 bifolios in one loose gathering, 15 pages
taken into account in the preparation of the current edition. How-
written in ink, paginated 2-17 (page 7 blank).
ever, in view of Christian Christiansens claim that the dynamic
markings in bb. 1-24 of the rst piece reect the composers gener-
Fair copy with a few pencil additions in Nielsens hand. The
al intention (see comment reproduced above) the two pages with
title of the rst piece is erroneously given on the title page.
these markings are included as facsimiles om pp. lxii and lxiii.
Score, copy (No. I).

Title page: Carl Nielsen: Impromptu.
P I A N O
Private ownership.
O L D ,
M U S I C
O P U S
F O R
Y O U N G
A N D
5 3
34.5x26 cm, 1 bifolio, 4 pages written in ink.

Printed score
Fair copy in unknown hand (system four, however, CN);
Score, autograph, fair copy (Nos. I-III)
in the margin at the end of system four: denne Linie har
Score, autograph, fair copy (No. XVIII)
Score, autograph, draft (No. I)
Score, autograph, sketch (No. XXII)
Printed score.
20
Mester selv skrevet.

H
Score, copy (No. III).

Dk-Kk, CNS 19g.
End-dating: Damgaard 6 Novbr 1928.
Title page (Nos. I-XII): Carl Nielsen / Klavermusik for Smaa
34.5x26 cm, 2 bifolios in one loose gathering, 8 pages writ-
og Store / 24 femtonige Smaastykker i alle Tonarter / Op 53. /
ten in ink, paginated 2-7 (page 1, 8 unpaginated).
Hefte I / Ejendom for alle Lande / SKANDINAVISK OG BORUPS
MUSIKFORLAG / BREDGADE 31 Aktieselskab KBENHAVN.
Title on top of rst music page: III / Carl Nielsen. Fair
Pl. No.: S.B.M. 755 (1930).
copy of the third piece with a few pencil additions in
30.6x23.8 cm, title page, preface, 11 pages, paginated 5-15.
Nielsens hand,
Title page (Nos. XIII-XXIV): Carl Nielsen / Klavermusik for
I
Printed score.
Smaa og Store / 24 femtonige Smaastykker i alle Tonarter /
Title page: CARL NIELSEN / TRE KLAVERSTYKKER / OPUS
Op 53. / Hefte II / Ejendom for alle Lande / SKANDINAVISK
59 POSTH. / KOMPONERET 1928 / EDITION DANIA KBEN-
OG BORUPS MUSIKFORLAG / BREDGADE 31 Aktieselskab
HAVN DANMARK.
KBENHAVN.
Pl. No.: E.D.26 (1937).
Pl. No.: S.B.M. 756 (1930).
32.6x24 cm, title page, index, 16 pages, paginated 4-19.
30.6.x23.8 cm, title page, 14 pages, paginated 2-15.
Footnote to rst page of score: Nuanceringsbetegnelserne,

fra Begyndelsen og indtil det nye Tempo, er tilfjet af Chris-
21 The indications of dynamic from the beginning until

the new tempo [b.25] have been added by Christian
Christiansen according to the wishes of Carl Nielsen,
who wanted the performer to be free to shape the
sonorous expression in this section and who therefore
did not notate any dynamic nuances.
The indications should therefore only be regarded as
suggestions.
tian Christiansen efter Tilskyndelse af Carl Nielsen, som

nskede at den Spillende skulde have Frihed i Udformnin20 this line written by the master himself.
246
28/09/06 11:44:14
(in vol.1 only)
Score, autograph, fair copy (No. XVIII).
FORORD. Ved et Mde i Musikpdagogisk Forening i
Dk-Kk, CNS 13c.
December ifjor blev det drftet, hvorvidt vore Komponister
kunde tnke sig at komponere lette og for Undervisningen
ca. 17.2x27.2 cm, 1 folio, 1 page page written in ink.
brugbare Smaastykker for Klaver. Nrvrende Samling af
korte og lette Stykker i alle Tonarter er et Forsg paa en Udvi-
Contains No. XVIII only. Some hairpins and nal in
delse at Begrebet: Femtonige Klaverstykker. Jeg har ganske
pencil.
vist ikke overskredet det femtonige Omraade (Kvintbeliggenheden) i disse Smaastykker, men derimod indenfor de
beskedne Rammer ved modulatoriske og polyfone Elementer
Dk-Kk, CNS 13a .
bestrbt mig for at imdekomme en almindelig Trang i
End-dating: Damgaard 22-I-30.
Tiden til at komme lidt mere forberedt og maaske ogsaa lidt
hurtigere forstaaende hen til den store Musikliteratur.
22 pages written in pencil, paginated 1-22.
22
1 bifolio
26x34.5 cm
3 folios
34.2x27.2 cm
VORWORT. Es wurde in einer Sitzung des Musikpdago-
2 folios
34.2x27.2 cm
gischen Vereins im Dezember vorigen Jahres erwgt,
1 folio
34.2x27.2 cm
inwiefern unsere Tonsetzer sich denken knnten, leichte
2 folios
34.2x27.2 cm
und fr den Unterricht geeignete kleine Klavierstcke zu
1 folio
ca. 22.5x27 cm
schreiben. Die vorliegende Sammlung von kurzen und
Some ink markings, e.g. No. VII, b. 11 dynamics.
leichten Stcken in allen Tonarten ist ein Versuch zur
No. I entitled Smil og Taarer.
Kbenhavn i Juli 1930 CARL NIELSEN
(16 staves).
Nr. 3. F. 12.
(12 staves).
(12 staves).
Nr. 1 F.S.
(12 staves).
(12 staves).
(8 staves).
23
Erweiterung des Begriffes Fnftnige Klavierstcke. Ich

habe zwar das fnftnige Gebiet (die Quintlage) in diesen
Score, autograph, draft (No. I).
kleinen Stcken nicht berschritten, habe mich jedoch in-
Dk-Kk, CNS 13d.
nerhalb des bescheidenen Rahmens durch modulatorische
und polyphone Elemente bestrebt, dem gegenwrtig allge-
34.8x26.2 cm, 1 page written in pencil.
mein herschenden Bedrfniss entgegenzukommen: etwas
besser vorbereitet und vielleicht auch mit mehr Verstnd-
Draft for No. I (entitled Smil og Taarer) contained in
nis in der grossen Musikliteratur zu gelangen.
soprano 1 part for Hymne til Kunsten (CNS 316).
Kopenhagen im Juli 1930 CARL NIELSEN

F
B
Score, autograph, sketch (No. XXII).
Score, autograph, fair copy (Nos. I-III).
Dk-Kk, CNS 413.
Dk-Kk, CNS 13b.
Registered 1932.
34.5x27.2 cm, 1 page written in pencil.
34.5x27.3 cm, 2 pages, written in ink.
Sketches (8 bars) on p. 14 (staves 11-12, 17-18) for the con-
Contains Nos. I, II, III[a] only.
cluding bars of No. XXII, added between the systems of fair

copy of Leif Bratt: String Quartet No. 2 (dedicated to Carl
22 PREFACE: At a meeting of the Music-Pedagogic Society last December there was a discussion as to how our
composers might consider composing easy little piano
pieces suitable for teaching purposes. The present collection of short, easy pieces in all the keys is an attempt
to broaden the term Five-note Piano Pieces. Although
I have not exceeded the ve-note range (the perfect
fth) in these little pieces, on the other hand within
the modest framework I have endeavoured by means
of modulation and polyphony to meet a general urge
nowadays to gain access to the great literature of music
a little more readily and perhaps with a little more
rapid understanding.
Copenhagen, July 1930 CARL NIELSEN
Nielsen) along with ideas for Commotio.

The draft score (D) contains all 25 pieces, but no complete fair
copy evidently survives and no printing manuscript. Phrase
markings in the fair copy of Nos. I-III (B) differ signicantly
from those in the printed score, and presumably the same
would apply to the lost fair copy of the remaining pieces (all
but No. XVIII, of which Nielsen made a copy, Source C). Only the
most signicant variant readings in the draft score are noted in
the list of Editorial Emendations and Alternative Readings.
23 Smiles and Tears.
247
28/09/06 11:44:14
P I A N O
P I E C E
I N
Score, partly autograph, fair copy.

Gteborgs universitetsbibliotek.
Printed score.
Title: Outside the binding: Smaa Prludier / for / Orgel
Dansk Musiktidsskrift vii/1 (January 1932), p. 4.
/ eller / Harmonium / af / Carl Nielsen. (unknown hand).
1 page.
Top of rst music page: Smaa Prludier / for Orgel eller

Harmonium (CN).
No sources for the Piano Piece in C survive, other than its
On the inside of the binding the following note added
printed version.
in ink in CNs hand: Kre Lisa! Hermed de lovede smaa

Prludier. Som du ser har jeg nsten ingenting anfrt med
Hensyn til Udfrelsen (f, p o.s.v.) men f Expl II skal spilles
O R G A N
W O R K S
strkt og festligt, XII og XXVIII strkt og patetisk og XXIII

markant; Resten maa enhver selv se at nde ud af Hilsen
2 9
L I T T L E
P R E L U D E S
O R
H A R M O N I U M ,
F O R
O P U S
O R G A N
Din Carl N. 22-10-29.
24
Dating: 22.10.1929 (cf. Carl Nielsens remarks to Lisa Mann-
5 1
heimer on the inside of the binding).

A
Printed score
The score was presented to the Mannheimer family by the
Score, autograph, printing manuscript, fragment
composer.
Score, partly autograph, fair copy
24.7x16.9 cm, bound in stiff black boards. 40 pages written
Draft
in ink, paginated 4-40 (pp. 1-3 unpaginated). The last eight
Printed score, P.S. Rung-Kellers dedication copy
pages are blank. A factory-made music book consisting of
Proofs, Peter Thomsen
12 bifolios, i.e. 48 pages of music paper. On the inside of the
Draft for Nos. XXII and XXIII, fragment
o
binding (back) N 1161 (stamp) and 1.50 (added in pencil).
Draft for No. XXVII, fragment
Printed score.
udes III-XXIX (manuscript copy with a few autograph addi-
Title page: Carl Nielsen / 29 smaa Prludier / for Orgel
tions in pencil, all commented on in the Editorial Emenda-
eller Harmonium / Op 51 / Ejendom for alle Lande / Skan-
tions and Alternative Readings, pp. 264-266).
Contents: pp. 1-3: Preludes I-II (autograph), pp. 4-40: Prel-
dinavisk og Borups Musikforlag / Bredgade 31 Aktieselskab

D
Kbenhavn.
Draft.
Pl. No.: S.B.M. 752 (1930).
DK-Kk, CNS 3a.
Datings: 19/2 29 (No. XIV), 20/2 29 (No. XV), 21/2 29 (No.

XVI), 1-3-29 (No. XIX), 4-3-29 (No. XX), 5-3-29 (No. XXI),
6-3-29 (No. XXII), 6-3-29 (No. XXIII), 7-3-29 (No. XXIV),
Fair copy, autograph, printing manuscript, fragment.
11-3-29 (No. XXV), 18-3-29 (No. XXVI), 19-3-29 (No. XXVII).
DK-Kk, CNS 3b.
Title page: II / Smaa Prludier / for / Orgel eller Harmo-
ca. 34x26 cm, 14 folios and 3 bifolios in a loose gathering.
nium. / af / Carl Nielsen.
39 pages written in pencil, a few additions in ink and in
red and blue crayon. Paginated 1-4, 4a-4c, 5-36 (p. 35 un-
16.5x25.5 cm, bound in black boards, on the front cover a
paginated) partly in an unknown hand.
title label with the words Smaa Prludier / for / Orgel el-
ler Harmonium / af / Carl Nielsen / II.
14 pages written in ink, followed by 9 blank pages pagi-
Title on 1st music page: Smaa Prludier for Orgel eller /
nated 1-10, pp. 11-13 unpaginated, p. 14 paginated in an
Harmonium.
unknown hand.
24 Dear Lisa! Here are the small preludes I promised. As you

can see I have indicated hardly anything as regards the
performance (f, p etc.) but II for example is to be played
vigorously and festively, XII and XXVIII strongly and emotionally and XXIII incisively; the rest people must nd out
for themselves. Greetings, Your Carl N. 22-10-29.
Contains the printing manuscript for preludes XXIII-XXIX.

Additions by the music engraver in pencil, and in red and
black crayon.
248
28/09/06 11:44:14
Contains a rough draft for all 29 preludes, as well as sketches
Draft for No. XXVII.
for Fra Rold til Rebild (p. 4c), The silent woman (pp. 7, 33-34, 36),
DK-Kk, CNS 312b.
Melodi (pp. 15-16), Blomsterstv fra Blomsterbger (p. 33), Nu er for
stakket Tid (p. 35), and manuscript copies from Toms Luis de
35x27.5 cm., 2 pages written in pencil, additions in red
Victoria (p. 4b), G.P. da Palestrina (p. 4b), Giovanni Croce (p. 5).
crayon.
Page 4b is written on a scrapped manuscript title page with
r
Contains an early draft for No. XXVII (fol. 2 staves 7-10
the words Tre Klaverstykker / (Drei Klavierstcke) / af / Carl
fol.2 , staves 3-4, 7-10) and a ca. 3-bar sketch designated
Prludium, 9/8, F sharp minor (not included in op. 51).
Nielsen. written in ink.
Contained in sketch for Island, CNS 312b.

E
Printed edition, P.S. Rung-Kellers copy.

DK-Kk, CNS 3e.
The earliest sources for the work are the two rough drafts (G, H),
Dedication on the title page: Kre Hr Rung-Keller! / Mod-
both of which are precursors to the complete draft (D). This was
tag de bedste Hilsener til / Hjtiderne og en Tak for Deres /
in turn the source for the fragmentarily preserved ink manu-
Interesse i det gamle Aar fra / Deres hengivne / Carl Nielsen
script (B), which also functioned as the printing manuscript for
/ 23-12-1930.
25
the printed edition of 1930. The partly autograph score (C) was
Donated to the Royal Library by P.S. Rung-Keller in 1965.
probably drawn up on the basis of B. The main source for the
Same version as A.
present edition is the printed edition (A), with allowances for a
The source has been trimmed.
list of errata that Peter Thomsen drew up immediately after the
Also contains a manuscript copy of Fest-Prludium ved
appearance of the printed edition (F). Moreover, the two frag-
Aarhundredskiftet [Festival Prelude for the New Century],
mentary fair copies and the pencil draft have in certain cases
designated (XXX) Festprlud. (1900), arranged for organ
served to correct obvious errors.
(by Rung-Keller?). Pasted in on a single folio (25x27 cm, 14

staves) between p. 22 and p. 23.
Additions in pencil, and in red and blue crayon.
M E L O D Y
Proofs, Peter Thomsen.
DK-Kk, CNS 3d.
Draft.
DK-Kk, CNS 3a.
r
35x26 cm, 1 folio, fol. written in ink.
Format: ca. 34x26 cm. 2 pages written in pencil.
Contains proofs for Nos. VII, VIII, X, XXVII and XXVIII written in by Peter Thomsen.
26
The piece was at rst numbered as No. 14, but later the
number was rubbed out and the whole piece put in brackets.
Draft for Nos. XXII and XXIII, fragment.
Contained in CNS 3a 29 smaa Prludier for Orgel eller
DK-Kk, CNS 003c.
Harmonium Source D, pp. 15-16 (see above).
No provenance.
r
35x27.2 cm, 1 folio, fol. written in pencil.
T W O
P R E L U D E S

Contains a rough draft for No. XXII and No. XXIII, bb. 1-3
Fair copy, autograph, printing manuscript
(presumably the source of Source D). In addition, cadential
Draft
gures by G.P. da Palestrina, Jacob Handl, Clemens non
Manuscript copy, Peter Thomsen
Papa and Alessandro Scarlatti written in pencil by Carl

v
Nielsen (fol. ).
Fair copy, autograph, printing manuscript.

DK-Kk, CNS 4a.
Dedication: Kre Hr Peter Thomsen: Hermed de to smaa
25 Dear Mr. Rung-Keller! / Accept my best regards for / the

holidays and thank you for your / interest during the
old year from / Your devoted / Carl Nielsen / 23-12-1930.
26 A list with the proofs is also to be found in Peter Thomsen, Carl Nielsens Orgelprludier, Dansk KirkemusikerTidende, vol. 27 (1930), p. 98.
27
Orgelprludier, som De saa. Hilsen / fra Deres C.N.
27 Dear Mr. Peter Thomsen: Enclosed the two small Organ

Preludes which you saw. Greetings, / Yours, C.N.
249
28/09/06 11:44:15
C O M M O T I O ,
O P U S
5 8
33.6x26.8 cm, 1 folio, fol. written in ink.

Paper type:
No. 8 Folio 22
(22 staves).
Fair copy, autograph, printing manuscript
Note after No. II: Maaske burde II vre noteret med lange
Draft
Nodevrdier / og
Manuscript copy, Peter Thomsen
les meget / roligt.
Sketches
The music engravers remarks in blue and red crayon and
Sketch
two pasted-in labels at the bottom of the page with the
Sketches
wording Copyright 1947 by / SKANDINAVISK MUSIKFOR-
Sketches
LAG, Copenhagen with the date 1947 changed to 1946
Sketch
in blue crayon and Fodnote paa frste Nodeside: / Disse
Suggested proof correction, Peter Thomsen
Fair copy, autograph, printing manuscript.
da stykket naturligvis meget skal spil28
to efterladte Prludier er komponeret i / Fortsttelse af

29
Op. 51 29 smaa Prludier.
DK-Kk, CNS 1a.

B
Draft.
Title page: Commotio. Nr I / componeret for / Orgel / af /
DK-Kk, CNS 4b.
Carl Nielsen (unknown hand?).
Dated 27/10 30 (No. I), 26/10 30 (No. II).
End-dating: Damgaard 27 Febr. 31 added in pencil (Emil
Telmnyi).
v
34x27 cm, 1 bifolio, fol.1 written in pencil.
Donated to the Royal Library by Anne Marie Carl-Nielsen in
Paper type:
B. & H. Nr. 14 (24z.)
(24 staves).
1935.
Also contains a sketch for Commotio (CNS 1e).
26.2x34.8 cm, 14 loose folios, 24 pages written in ink, pagi-
Manuscript copy, Peter Thomsen.
Paper type:
DK-Kk, Music and Theatre Dept. ms 6427 mu 0208.3100.
Acquired by the Royal Library from Lene Fog in 2002.
Editorial additions and emendations in pencil (Emil Tel-
nated 1-24. 3 blank pages at the end.

C
12 staves.
26.2x34.7 cm, 1 folio, fol. written in ink.
mnyi) and the music engravers notes in pencil as well as
Paper type:
red and blue crayon.
12 staves.
Title at top of page: To smaa Prludier af Carl Nielsen,

komp. [Fbr.Marts] 1931; afskrevet af P. Th.. Addition in
Draft.
pencil at beginning of No. II: Nikolaj: / Oktav 4. / sesquial-
DK-Kk, CNS 1b.
tera.. Addition in pencil at bottom of page: Maaske burde
End-dating: Damgaard 27 febr: 31.
II vre noteret i og lange Noder, da Tempoet / naturligvis
ca. 35x26 cm, 3 folios and 7 bifolios, 31 pages written in
30
er meget roligt. (Komponistens Bemrkning).
pencil, paginated 1-9, 9-30 (wrongly paginated), between

pages 15 and 16, 18 and 19, 21 and 22: 3 pages written in
The source material for these two preludes is limited to a pen-
ink (not part of the work, see below).
cil draft (B), which was the source for the fair copy (A), which in
Paper type:
turn served as the source for Peter Thomsens manuscript copy
pages 1-9:
(C). The main source for the present edition is the fair copy (A),
pages 10-13:
(16 staves).
which is also identical to the printed edition of 1947.
pages 14-16:
(12 staves).
28 Perhaps II should be notated in long note values / and

since the piece of course very must be played very /
calmly.
29 Footnote on rst music page: / These two posthumous
preludes were composed as a / continuation of Op. 51
29 Small Preludes.
30 Perhaps II should be notated in [alla breve mark] and
long notes, since the tempo is / of course very calm.
(Composers remark).
(10 staves).
pages 17-19:
(10 staves).
pages 20-22:
(12 staves).
pages 23-26:
(Wilhelm Hansen Nr. 3. F. 12)
pages 27-30:
(12 staves).
(16 staves).

Title on rst music page: Commotio added in ink. Between pages 15 and 16: 1 page written in ink designated
250
28/09/06 11:44:15
31
1ste Dag. Opgaver til Organistexamen Juni 1930. This
Staves 19-22: bb. 113-120 followed by 5 bars of Fortspin-
page is crossed out in pencil. Between page 18 and 19: 1

den
page written in ink designated 2
nung that do not appear in the nal version.
Dag. Kontrapunktisk
Page 12:
32
34
Opgave. . This page also has pencil sketches for bb. 288-
Staves 17-20: unidentied motif designated Slutning.

Page 14:
293 and 1 bar that does not appear in the work. Between
ste
page 21 and 22: 1 page written in ink designated 1 Dag.
Staves 11-12, 17-18: sketch for Klavermusik for Smaa og
33
Opgaver til Organistexamen Juni 1930. This page further
Store Op. 53, No. 22.

r
On a blank music page after p. 26:
has pencil sketches for the passage bb. 319-355, but does not
Staves 2-21: bb. 204-239.
appear in the same form in the nal version of the work.
Staff 22: pedal sketch?

C
v
On a blank music page after p. 26:
Manuscript copy, Peter Thomsen.

DK-Kk, CNS 1g (add.).
Staves 1-20: bb. 180-203.
Title page: Commotio Nr. 1 for Orgel / af / Carl Nielsen. /
Staves 21-22: unidentied sketch, 4/4 time and theme

bb. 356-357, but notated a fth below.
(Afskrevet af Peter Thomsen).

End-dating: Damgaard 27-2-31. [simply a repeat of the
Inside binding, back: Sketches notated on irregularly hand-
end-dating in Source B].
drawn music staves (described here from the top down):
Acquired by the Royal Library from Lene Fog in 2002.
Precursor of bb. 356-358 designated C.F., but notated
26x34.8 cm, 1 folio and 6 bifolios in one gathering. 22
a fth below.
pages written in ink.
5 bars, G major, 3/8 time, possibly a precursor of bb.
Paper type:
69-94 or bb. 113-ca. 175.
12 staves.
In b. 441 Carl Nielsen has added an Andante in pencil.
Bb. 239-248 but notated in G major; after this passage
Also additions in Peter Thomsens hand in pencil, red and
the following instructions: her en langsom alvorlig
blue crayon, rst and foremost about organ stops.
Sats derefter flgende udarbejdes til stor Bredde og

Afslutning paa Vrket.
35
Sketches.
Unidentied motif, 6/8 time.
DK-Kk, CNS 1c.
Bb. 319-321, but rhythmically varied.
Cover title: Indeholder / skitser til / Commotio f. orgel
Bb. 356-365, but notated a fth below.
(unknown hand).
Bb. 322-329, but not the same rhythm (triplets notated
as dotted).
34.5x27.2 cm, full leather binding. 7 pages written in pencil.

Paper type: [house logo] 22 System
(22 staves).
Sketch.
Carl Nielsen has noted these sketches in the autograph
DK-Kk, CNS 1e.
score for Leif Bratts String Quartet No. 2, Op. 11 (CNS 413),
which is dedicated to Carl Nielsen. Sketches for Commotio,
34x27 cm, 1 bifolio, 1 page written in pencil.
Klavermusik for Smaa og Store and possibly other works on
Paper type:
B. & H. (24z.)
(24 staves).
Fol.2 :
the following pages:
Staves 1-2, 4-5: unidentied two-part imitative texture,
Inside binding, front:

Two musical notes designated Gedakt 8 probably
8 bars, 4/4, major.
refer to the work with Commotio.
Staves 7-19: sketches for bb. 505-512.
Title page :
Contained in draft for To Prludier, CNS 4b.
Staves 2-3, left: 11/2 bars, unidentied sketch, 4/4 time.

Staff 3, right: bb. 153-154.
Sketches.
Staves 15-17: 4 bars, 12/8 time, possibly a precursor to
DK-Kk, CNS 5.
bb. 372-380.

34.8x26.2 cm, 1 folio, 2 pages written in pencil, paginated
24-25 in ink.
st
31 1 day. Papers for organist exam June 1930

nd
32 2 day. Counterpoint paper
st
33 1 day. Papers for organist exam June 1930
34 Ending
35 here a slow, serious movement then following is elaborated to great breadth and the conclusion of the work
251
28/09/06 11:44:16
Paper type:
10 staves.
Fol. :
Suggested proof correction, Peter Thomsen.

DK-Kk, CNS 1f.
r
Staves 3-4: 4-bar precursor of bb. 469-472.
9x34.8 cm, 1 folio written in ink (fol. ) and pencil (fol. ).
Staves 3-7: bb. 441-450, but notated in 6/8 time and
Paper type: 4 staves (paper fragment).
halved note values compared with the nal version.
Suggested corrections to bb. 176-177 written by Peter
Staves 6-10: bb. 451-460.
Thomsen.
Staves 9-10: 3-bar precursor of bb. 469-472.
(May belong to the time after Nielsens death).
Fol. :
Staves 1-4: bb. 373-381.
The earliest evidence of Nielsens work with Commotio is to
Staves 5-6, left-hand page: unidentied sketch desig-
be found in the fragmentary sketches and draft (D, E, F, G,
nated Allegretto, 2 bars, 6/8 time, E minor.
H). These were the point of departure for the complete pencil
Staves 6-7, right-hand page: monophonic draft of motif
draft (B), which was in turn the source for the fair copy (A).
included in bb. 371-406.
Peter Thomsens manuscript copy (C) was drawn up from A.
Staves 8-9: motif from bb. 393-395.
On the basis of this the copyist Otto Kppe made a manuscript
Staves 9-10, middle: precursor of bb. 469-472. Staves
copy that was sent to Erwin Zillinger, who presumably sent it
9-10, right-hand page: bb. 481-484, but in a different
on to Hans Henny Jahnn. Finally, Finn Vider is said to have
octave from the nal version.
had a copy of the manuscript. Neither of these two sources
Contained in sketch for Allegro. Et lille Klaverstykke, CNS 5.
36
37
is known today. Peter Thomsens suggested proof corrections

(I) presumably arose after the death of the composer, probably
Sketches.
in connection with the printing. In 1932 Commotio was avail-
DK-Kk, CNS 1d.
able in print, edited by Emil Telmnyi for Samfundet til udgivelse
35x26 cm, 1 bifolio, 2 pages written in pencil.
af dansk Musik (3rd series, no. 40) in a collaboration with the
Paper type:
Danish publisher Skandinavisk- og Borups Musikforlag and the
10 staves.
Fol.1 :
German Fr. Kistner & C.F.W. Siegel. As the basis for the edition
Staves 2-3: draft of bb. 39-41.
Telmnyi used two sources, Carl Nielsens ink manuscript (A)
Staves 6-8: presumably a precursor of bb. 14-18.
and pencil draft (B). He prepared the ink manuscript for use
Staves 9-10: 8 bars in 3/8 time, possibly a precursor of
as a printing manuscript, and he documented the whole of
bb. 39ff.
the editorial work in an extensive list of editorial emenda-
Fol.2 :
tions and variants. Thus Carl Nielsens ink manuscript the
Staves 1-6, 9-10: unidentied sketch, 14 bars fugato, A
main source for the present new edition appears with a large
major, 4/4 time.
number of additions and changes in Telmnyis hand. For unexplained reasons Telmnyi also made some additions acci-
Sketch.
dentals in pencil in Carl Nielsens pencil draft. These factors
DK-Kk, CNS 414.
have greatly complicated the editorial work for this edition.
34x27 cm, 1 page written in pencil.
Telmnyis editorial commentary documents to a great extent
Paper type:
what he added and changed, but there remain a number of
K.U.V. Beethoven Papier Nr.11. (4 Systeme)
(12 staves).
details where it has been impossible to tell whether a given
Fol.1 :
addition in pencil is from Carl Nielsens or Telmnyis hand. In
Sketch possibly related to bb. 206-207.
the present edition we have disregarded Telmnyis revisions,
Contained in manuscript for Woher-Wohin by Moses Perga-
although they are documented in the Editorial Emendations and
ment to a text by Gustavo Adolfo Becqur for song and
Alternative Readings.
piano. Autograph dedicated to Carl Nielsen and dated

Vrmd, Saltar i juni 1927 (CNS 414).
36 Cf. letter from Carl Nielsen to Peter Thomsen, 16.7.1931

(DK-Kk, NBD 2. rk., 1981/101) and letter from Peter
Thomsen to Carl Nielsen 27.7.1931 (DK-Kk, CNA, I.A.b.) as
well as a letter from Carl Nielsen to Hans Henny Jahnn,
12.8.1931 (Hamburger Straats- und Universittsbibliothek, Carl von Ossietzky).
37 Torben Schousboe (ed.), Carl Nielsen. Dagbger og
1983, p. 611.
252
28/09/06 11:44:16
E D I T O R I A L E M E N D A T I O N S
A N D A L T E R N A T I V E
R E A D I N G S
P I A N O
W O R K S
pf.1: upper staff

pf.2: lower staff
F I V E
P I A N O
P I E C E S ,
O P U S
Bar
55
57
58
Part
pf.1
60
62
pf.1
pf.2
63
68
68
72
74
pf.2
pf.1
78-79
79
pf.2
pf.2
Comment
F: rit.
F: Tempo Imo
stacc. added by analogy with bb.2, 10, 26,
66
note 1: ten. added by analogy with b.4
slur added by analogy with b.6; F: chord 3:
d, a
note 2: marc. added by analogy with b.7
F:
note 1: ten. added by analogy with b.4
F:
note 2: marc. added by analogy with bb.7273, 75-78
slur added by analogy with bb.72-78
lower part note 2: marc. added by analogy
with bb.72-73, 75-78
F: prolonged by one bar:

pf.2
No. I FOLKETONE FOLK TUNE

Bar
2
Part
pf.1
3
6
pf.2
pf.1
9, 10
pf.1
14
pf.1
14
pf.2
17, 18
pf.1
22
22
pf.2
Comment
upper part notes 2-3: ten. added by analogy
with b.1 and as in B
B: chords 4-5: ten.
with bb.1, 5
upper part notes 2-3: ten. added as in B
(b.9)
with b.13
upper part note 4: ten. added by analogy
with b.13
upper part notes 2-3: ten. added as in B
(bb.13, 14)
omitted because of in b.21
with b.21
emended from b.24 (beginning
to end of bar) by analogy with bb.3-4
with bb.13, 21, 26
notes 2-3: ten. added by analogy with b.25
84-86
Bar
motto
Part
pf.2
pf.2
pf.2
No. II HUMORESKE HUMORESQUE
pf.2
Bar
pf.2
11
pf.2
25
pf.2
26
pf.1
+1
2
4
6
14
15
17, 18, 19
30
30-37
34
35
Part
pf.1
pf.2
pf.2
pf.2
pf.2
pf.1
pf.1
35-36
37
pf.2
38
pf.2
39
39
41
41-48
48
48
49-56
pf.1
pf.1
pf.1
pf.2
pf.1
Comment
F: Allegretto scherzando
F:
stacc. added by analogy with bb.1, 10, 66
F: note 1:
F: chord 3: d, a
F: chord 3: d, f, a
F: second crotchet:
F: note 1: with upper octave (E, e)
slur added by analogy with b.6
F: missing
stacc. added by analogy with bb.2, 10, 26,
66
notes 1-2: stacc. added by analogy with
bb.3, 11, 67
added by analogy with bb.3-4
A: chords 1-2: slur added in pencil, probably in error (see b.38)
slur added by analogy with b.14 and as
pencil addition in A (CN?)
dim. added by analogy with b.15
notes 3-4: stacc. added by analogy with b.15
F: poco animato; dolce
lower part: F: grace notes missing
F: chord 1:
F: upper part note 3: ; lower part:
II_12_tekst_2_revisioner.indd 253
12
12
pf.1
12
pf.2
14
15-16
17
18
20
21
22
pf.2
pf.1
pf.1
pf.2
pf.2
26
pf.2
29
30
pf.2
pf.2
31
pf.2
upper part: F: note 1: grace notes missing
&
No. III AR ABESKE AR ABESQUE
1
1
23-24
b

&
Comment
the two rst lines of Jens Peter Jacobsens
poem En Arabesk, published in Dansk
Folkekalender for 1883, Copenhagen 1882
basso emended to il basso
upper part: stacc. and slurs added by analogy with bb.2-4, 8, 21, 23-29, 31-32
upper part: stacc. and slurs added by analogy with bb.1-4, 8, 21, 23-29, 31-32
upper part chord 1: stacc added by analogy with b.26
upper part stacc. and slurs added by analogy with bb. 2-4, 8, 21, 23-29, 31-32
upper part: stacc. and slurs added by analogy with bb.2-4, 8, 21, 23-29, 31-32; lower
part: ten. added by analogy with b.1
lower part: marc. added by analogy with
b.3
rst quaver:
added by analogy
with b.4
fourth quaver:
added by analogy with
b.4
upper part: stacc. and slurs added by analogy with bb.2-4, 21, 23-29, 31-32
chord 1: stacc. added by analogy with b.16
added by analogy with bb.13, 15
note 1: stacc. added by analogy with b.16
stacc. added by analogy with b.19
lower part: ten. added by analogy with b.1
upper part: stacc. added by analogy with
bb.2-4, 8, 21, 23-29, 31-32
fourth quaver (upper note): f ' emended to
d' by analogy with b.6
lower part: marc. added by analogy with b.1
upper part: stacc. and slur added by analogy with bb.2-4, 12, 21, 23-29, 31-32; lower
part note 2: ten. added by analogy with b.2
lower part: ten. marc. added by analogy
with b.3
253
28/09/06 11:43:04
Bar
32
Part
33
pf.2
33-35
pf.2
36
pf.2
Comment
rst quaver:
added by analogy
with b.4;
upper part: stacc. and slur added by analogy with bb.2-4, 12, 21, 23-29, 31-32
bb.2-4, 8, 21-22, 23-29, 31-32
upper part:
moved from middle of stave;
lower part: added (C: )
S Y M P H O N I C
S U I T E ,
Part
11
pf.2
Comment
Moderato grazioco emended to Moderato
grazioso as pencil correction in A; B: Moderato
lower part note 2: marc. added by analogy
with b.8
added by analogy with b.1 and as in B
17
Bar
Motto
Part
1
4
pf.2
pf.1
pf.1
pf.1
11
pf.1
11
pf.2
No . V A L F E DA N S E L F S DA NC E
Bar
3-18
Part
Comment
F: section to be repeated, indicated by the
following two bars between bb.17 and 18:
# I
& . #
J J
.
.
.
? # j J
.
mo
pf.1
13
16
19-34
23-27
pf.1
28
32-34
63
64-65
pf.1
pf.1
pf.1
pf.1
pf.1
pf.2
..
>
# #
n n
dim.
>
>
#
#
fz
fz
pf.1
16
pf.2
20
pf.1
21
pf.1
22
pf.1
24
pf.2
.
#
Comment
third line of Johann Wolfgang Goethes
Venezianische Epigramme No. 77:
Mit Botanik gibst du dich ab? Mit Optik?
Was tust du?
Ist es nicht schnrer Gewinn, rhren ein
zrtliches Herz?
Ach! die zrtlichen Herzen! ein Pfuscher
vermag sie zu rhren,
Sei es mein einziges Glck dich zu berhren, Natur!
Quoted from Goethe Smtliche Werke, Band
1, Gedichte 1756-1799, Frankfurt am Main
1987, p. 459
B: Grave; C: Adagio
chord 8, lowest note: added by analogy
with pf.1; ten. added by analogy with b.21
upper part chord 9, lower note: added by
analogy with higher note
middle part seventh quaver: added by
analogy with pf.2 (sixth quaver)
fourth quaver: marc. added by analogy
with b.10
fourth quaver: e ' emended to e ' by analogy with pf.2
eighth quaver note 4: d emended to d by
analogy with pf.1 (note 2)
fourth quaver: ten. added by analogy with
b.11
chord 1: ten. omitted by analogy with pf.2
and b.13 (pf.1, chord 5)
chord 8: A' , A emended to A' , A by analogy with pf.1
seventh quaver: g '' emended to g '' by
analogy with pf.2
middle part third to fth quavers: slur
added by analogy with bb.4, 20-21; sixth
to eighth quavers: marc. added by analogy
with b.4
chord 10, lower part: c' emended to c ' by
analogy with upper part and as pencil
correction in A (CN)
C'' emended to D'' by analogy with middle
part and pf.1
Second Movement
Bar
1
3-18
F: as b.9
F: chord 1: lower octave missing
F: chord 3: lower octave missing
F: notated with E major key signature
note 1: stacc. added by analogy with bb.53-55
note 5: g''' emended to f''' by analogy with
bb.51-52, 54, as in CNs pencil correction
and as in F
D: third crotchet: additional
; F:
tie added by analogy with bb.63-64 and as
in F

15
12
second crotchet: stacc. omitted by analogy

with b.20
F:
##
& # # n
n n
? # # # #
n
#
41
47
48
51-66
52
53
pf.1
F: note 1: grace notes c'' , d'' (no grace

notes in the following bar)
F:
F: notated with E major key signature
F:
##
& # # #
? # # # # #
3
. ..
#
First Movement INTONATION
No. IV MIGNON
Bar
O P U S
Part
pf.1
9
11
pf.1
13
pf.2
Comment
C: Moderato
slur b.3 sixth quaver to b.4 fth quaver,
slur b.8 sixth quaver to b.12 fth quaver,
and slur b.13 rst quaver to b.16 sixth
quaver emended to one slur by analogy
with bb.57-75
a tempo added by analogy with b.63
lower part: marc. added by analogy with
b.65
third crotchet: emended to by
analogy with bb.1, 14, 67 and as pencil
correction in A (CN); chord 7, upper part:
cautionary omitted by analogy with b.67
254
28/09/06 11:43:05
Bar
15-16
Part
pf.2
18
pf.1
21
pf.1
24
pf.1
25
pf.1
27
pf.2
28
pf.1
29
pf.2
30
pf.1
32
pf.1
33
36
pf.1
pf.1
37
pf.1
43
pf.2
46
pf.1
57
pf.1
58
pf.1
59-61
62
62
pf.1
pf.1
Comment
upper part: ties across bar-line added by
analogy with pf.1 and as pencil correction
in A (CN)
note 1: end of slur emended from b.16
(last note) by analogy with bb.72-75
rst and sixth quavers: stacc. added by
analogy with b.19 (pf.2)
twelfth semiquaver: stacc. added by analogy with bb.32, 34, 46
rst and fourth quavers: stacc added by
analogy with b.19 (pf.2)
sixth quaver: stacc. added by analogy with
b.19
rst crotchet: emended to
by analogy with bb.21, 25, 27, 29-30 and
as pencil correction in A (CN); rst and
fourth quavers: stacc. added by analogy
with b.19
third crotchet: stacc. added by analogy
with b.28
rst and fourth quavers: stacc. added by
analogy with b.19; third crotchet: stacc.
added by analogy with b.28
b.34
tenth to twelfth semiquavers: stacc. added
by analogy with b.38
sixth to eighth semiquavers: stacc. added
by analogy with b.38 and as in B
note 1, upper part: a emended to a by
analogy with lower part and as pencil correction in A (CN)
lower part: sixteenth semiquaver: stacc.
added by analogy with bb.32, 34
end of slur emended from second semiquaver by analogy with b.3
sixth quaver: marc. added by analogy with
b.4
cre scen - do from b.59 third crotchet
omitted by analogy with bb.5-7
dim. omitted by analogy with b.8
lower part: quaver 6: beginning of slur
emended from b.63 by analogy with b.8
Bar
20
Part
pf.2
22
pf.2
24
pf.1
26
27
27
46
pf.2
pf.1
47
pf.2
49
pf.2
50
pf.2
52
52
pf.1
pf.2
54
57-58
58
59
pf.1
pf.1
pf.2
pf.1
60
pf.1
61
pf.1
65
72-74
pf.1
80
pf.2
81
pf.1
84
85
pf.1
pf.2
85-86
pf.2
89-90, 90-91 pf.1

Third Movement
Bar
5-8
Part
pf.2
pf.1
pf.2
9-10
pf.2
12
pf.2
15
pf.2
Comment
slur from b.5 last note to b.8 rst note
emended to two slurs by analogy with
bb.77-80
lower part chord 1: f '' emended to f '' by
analogy with b.80 and as pencil correction in A (CN)
upper part slurred over second crotchet
only, emended by analogy with b.80;
lower part: slur extended from note 1 by
analogy with b.80; fourth crotchet: vertical wavy line added by analogy with b.80
upper part: slur added by analogy with
bb.10-11
lower part: slur open at end of bar, omitted by analogy with b.14
chord 2: f emended to f by analogy with
chord 1 and as pencil correction in A (CN)
94-95
pf.2
96
97-98
pf.1
pf.1
98
pf.1
99
pf.1
101
pf.1
105-106
pf.2
108
110-111
Comment
lower part: slur added by analogy with
bb.18, 92
upper part: beginning of slur emended
from b.23 note 1 by analogy with b.104
second and third crotchets: slurs added by
analogy with b.106
poco rit. added as in pencilled correction
in A (CN)
a tempo ma tranquillo added as in pencilled
upper part: added
second crotchet to fth quaver: ties added
by analogy with bb.45-46 and as in C
second grace-note: C emended to C by
analogy with rst grace-note
upper part fourth crotchet: e emended to
e by analogy with lower part
lower part notes 3-4: tie added by analogy
with upper and middle part
B, C: chord 7: g' , d '' , e '' , g''
chords 5-6: ten. added by analogy with
b.53
B, C: chord 8: a' , e '' , f '' , a''
ten. added by analogy with bb.55-56
ten. added by analogy with b.56
chord 6: a' , c '' , a'' emended to a' , c '' , a'' by
analogy with bb.60-62
chord 11: c ' , e '' , c ''' emended to c ' , e '' , c '''
by analogy with remainder of b.60
chord 3: c ' , e '' , c ''' emended to c ' , e '' , c '''
by analogy with remainder of b.61
note 1: stacc. added by analogy with
bb.66-69
lower part: slur from b.72 fourth crotchet
to end of b.74 (open slur) omitted
notes 1-2: slur from B to B omitted by
analogy with b.8
upper part: third crotchet c '' emended to
c '' by analogy with lower octave
fourth crotchet a'' emended to a ''
inner part: slur added by analogy with
b.83
slur broken over bar-line emended to one
slur by analogy with bb.83-84
slurs broken over bar-line emended to one
slur by analogy with bb.17-19
from b.95 note 1 by analogy with bb.104105
sixth quaver: b ' emended to b '
lower part: slur broken over bar-line
emended to one slur and end of slur
emended from b.98 seventh quaver to
b.98 fth quaver by analogy with bb.100101
upper part: end of slur extended from
chord 1 by analogy with b.101
lower part, third crotchet: e ' emended to
e ' by analogy with upper part
middle part fourth crotchet: g'' added by
analogy with b.98
second lowest part: slur added by analogy
with bb.23-24
marc. added by analogy with b.107
255
28/09/06 11:43:06
Four th Movement
Bar
Part
pf.1
10
pf.1
14
pf.1
17
30
pf.1
pf.2
32
pf.1
38
40-45
pf.2
48-49
pf.1
51
pf.1
70-71
pf.1
76
79
82
pf.2
pf.2
pf.1
96-99
pf.1
119-123
128
128, 129
133
134
pf.1
pf.2
pf.1
pf.2
134, 135,
136
138
140
140-141
142-147
pf.1
pf.1
No. II SNURRETOPPEN THE SPINNING-TOP

Comment
C: Allegretto
upper part: slur breaks between notes 4
and 5, emended to one slur by analogy
with b.99
upper part note 6: a' emended to g' by
analogy with note 2 and as in pencilled
correction in A (CN), B
from note 3 to note 2 by analogy with
bb.11, 15
B, C: middle part note 1: f '
note 3: a emended to a as pencil correction in A (CN)
stacc. added by analogy with b.35 and as in
B
A: Resum, B: Resum
lower octave added from b.40 note 2 to b.45
note 1 by analogy with bb.38-40 (note 1),
45-63; A: 8va basso
tie from e'' to e'' added by analogy with
other parts and as in B
a'' added as in blue crayon correction in A
(CN)
upper part: slur from b.70 chord 2 to b.71
chord 1 emended to tie from b.70 chord 3
by analogy with bb.69-70 and as in B
upper part: chord 4 G , g emended to G , g
upper part:
added
lower part: notes 5, 6: stacc. omitted by
analogy with notes 9, 10
lower part: beginning of slur emended
from b.98 note 2 to b.96 note 2 by analogy
with bb.4-6
B: one
and two dim. markings,
implying subito
in b.123
third crotchet: g ' , g '' emended to g ' , g ''
by analogy with pf.2 and as in pencilled
marc. added by analogy with bb.131
note 6: f emended to e by analogy with
pf.1 and as pencilled correction in A (CN)
marc. added by analogy with bb.131-132,

133
B: no
upper part: notes 2-4: slur added by analogy with b.142
slurs added by analogy with bb.139-141
Bar
Part
18
pf.2
Comment
C: notated in 3/8, with pf.2 downbeats generally double-stemmed to indicate separate
lower part (as in bb.17-18 of A, B)
C: fourth to sixth quavers:
& . b
32
pf.1
note 4: f'' emended to f '' by analogy with

b.31 note 10 and b.34 note 4
N o . I I I E N L I L L E L A N G S O M VA L S A L I T T L E S L OW WA LT Z
Bar
8
18
22
48
Part
pf.2
pf.1
pf.1
pf.1
Comment
B: notes 1-3: ngerings 1,2,1
B: note 2: ngering 5
B: notes 2-6: ngerings 4,3,1,2,3
B: note 3: ngering 2
No . I V S P R L L E M A N D E N T H E J U M P I NG J AC K
Bar
Part
1, 3, 5, 7
Comment
C: Allegretto grinagtico (grinagtig in Danish means funny)
B: third quaver: no dynamic; fourth quaver: (in b.1 crossed out on third quaver);
C: on third quaver
a tempo added by analogy with bb.5, 17
B: third quaver: no dynamic; fourth quaver:
C: second quaver:

9
17, 19
27
No. V DUKKE-MARSCH PUPPET MARCH

Bar
2
Part
pf.2
pf.1
7
14
pf.1
14-16
20
pf.1
pf.2
27
28
31
32
pf.1
pf.1
pf.1
pf.1
Comment
chord 1: ngering 2 emended to 3 by analogy with b.10
fourth crotchet: stacc. added by analogy
with b.12
note 1: stacc added by analogy with b.15
note 5: ngering 4 emended to 5 by analogy with bb. 2, 6, 10, 26, 30
marc. added by analogy with bb.6-8
upper part notes 2-4: slur added by analogy with pf.1
F E S T I VA L P R E L U D E
F O R T H E N E W C E N T U R Y
H U M O R E S Q U E - B A G A T E L L E S ,
O P U S
11
No . I G O D DAG ! G O D DAG ! H E L L O ! H E L L O !
Bar
3
9
29
30-31
31
31
Part
pf.1
pf.1
pf.2
pf.1
pf.2
Comment
stacc. added by analogy with pf.1
Bar
3
Part
pf.1
3
4
pf.2
pf.2
5
5
8
pf.2
pf.1
Comment
chord 1: marc. added by analogy with pf.2
and b.11 and as in B
chord 3: marc. added by analogy with b.11
chords 1, 3: marc. added by analogy with
pf.1; B: chord 2: marc.
third crotchet: marc. added by analogy
with b.4
256
28/09/06 11:43:06
Bar
8
9
10
12
12
Part
pf.2
pf.1
pf.1
pf.1
pf.2
14
15
15
pf.1
pf.1
pf.2
16
pf.1
16
19
20
27
pf.2
pf.2
pf.2
pf.1
27
28
pf.2
pf.2
29
29
30
Comment
chord 2:
added by analogy with b.4;
marc. added by analogy with b.13 (pf.2)
(pf.1)
b.13 (pf.2)
marc. added by analogy with pf.1
and as in B
pf.1; chord 2: marc. added by analogy
with b.4 and as in B
B:
>
j
pf.2
pf.1
# # n . # #
& # # n . # #
? ####
31
32
33-34
# #
& # #
? ####
pf.2
35
pf.2
36
pf.1
36
37
pf.2
pf.1
37
38
pf.2
pf.2
n - #
n # n #
- n n
n - n -
chord 1: marc. added by analogy with

bb.36, 38
chord 1 lower part: C ' emended to E' by
analogy with upper part
chord 1: e' omitted by analogy with bb.3738
bb.36, 38
Part
Bar
1
11-12
17
25
29, 30, 31
36
39
42
42, 43
44
48
48
Part
pf.2
pf.1
pf.1
pf.1
pf.1
pf.2
pf.1
pf.2
pf.2
86
88
89-90
pf.2
90
90
96
98
98-99
pf.1
pf.2
pf.2
pf.2
pf.1
104
105-106
108
110
pf.1
pf.2
pf.2
pf.1
122
125
pf.2
126
A
D R E A M
A B O U T
S I L E N T
N I G H T
126
Bar
Part
4-5
5
9
11
Comment
C: Andante sostenuto, Andantino con sentimento both crossed out
C: ; Gla-de jul! (rst two words in Danish
of the well-known Christmas carol Silent
Night, Holy Night) added between staves
slur open at end of b.4, continued to b.5
note 1 as in B
C:
B, C:
C: espress:, rubato;
poco[?] adagio
crossed out
pf.2

pf.1
pf.2
3 2
Comment
C:
(no dynamics thereafter until b.41)
B:
begins at b.12, second
crotchet
B: no dynamic or performance indication
B: no dynamic
B: no dynamic
B: slur broken between notes 1 and 2
twelfth semiquaver: c' , d' emended to d'
and ngering indication omitted by analogy with fourth and eighth semiquavers
and bar 40, fourth, eighth and twelfth
semiquavers, and as in B (printer probably
confused ledger line with a note)
C:
B: chord 1: marc.
B: last two chords: additional c''
C: rst crotchet:
upper part: note 8: d '' emended to d '' by
analogy with pf.2
third quaver: slur omitted
B: chords 1, 2: ten.
C: (
crossed out)
notes 1-5: slur omitted as in B
B: no tempo indication
C
B: no
B:
slur to beginning of b.90 extended from
b.89 (open slur) as in B
B, C:
C: note 1:
B: note 2: marc.
added
(pf.2)
B: upper part note 2: marc
tie added as in B
B, C: note 4: G
note 3: b '' emended to b '' by analogy with
note 1 and pf.2 note 2 and as in B, C
B: lower part chord 1: F' , D
chord 1:
added by analogy with bb.123124 and as in B, C
chord 1:
added by analogy with bb.123124 and as in C
chord 1: g'' , b '' , d ''' , g''' emended to g'' , b ''
, e ''' , g''' by analogy with bb.124-125 and as
in B, C
chord 1:
added by analogy with bb.123124
lower part chords 1-2: marc. added by analogy with pf.1
chord 1:
added by analogy with bb.123124
B: lower part chord 1: d'' , f '' , a'' , d'''
B: upper part chord 1: F , A, d, f
B: chord 1: f ' , a' , d'' , f ''
chord 3: ten. added by analogy with pf.1

128
128
128
129
129
O P U S
127
127
Comment
C: un poco adagio
C:
C H A C O N N E ,
62
65
66
68, 72
74
75
B: chord 2:
B: chord 1: G, g
B:
pf.2
pf.2
35
n
n
Bar
19
25
pf.1
pf.2
pf.1
pf.2
257
28/09/06 11:43:07
Bar
134
136
136
138-145
Part
Comment
B, C: third crotchet:
B: chords 5, 6: f'' , d ''' , f'''
C: second quaver: g '' , b ''
B, C:
pf.1
pf.2
#
& .
..
b .. .. ..
..
>
>
>
# n
& . b . # . n
.. ..
&
b b .. .. ..
>
? b
b
>
(8)
& . n
(8)
&
n.
b ..
. n
n n
b b ..
141-143
142
146
146
146
147
153
153
b .. n n ..
n n
pf.3
pf.2
pf.1
pf.2
pf.1
pf.1
b
b
pesante
.
n
158
159
163
164-165
pf.1
pf.2
174
175
pf.1
pf.2
176
180
pf.2
181
pf.2
183
pf.1
..
pf.2
198
pf.2
201
pf.1
202
pf.2
b b ...
b b
. #
#
b b .. n . .
b
#.
n.
b
192
202
T H E M E
A N D
Bar
7
8
Part
pf.1
pf.1
14
pf.1
19
pf.1
21
pf.1
22
pf.1
26
pf.1
29
pf.1
35
pf.1
37
pf.1
42
pf.1
45
pf.1
47
pf.1
65
pf.1
67
pf.1
cresc.
see also facsimiles on pp. lviii-lxi

B: ten.
note 1: emended to by analogy with
pf.3
B, C: ma pesante not marked
marc. added by analogy with pf.2 and as in B
sixth quaver: marc. added by analogy with
b.147 (pf.1) and as in B; B: grace notes tied
to D' , D
(pf.2) and as in B
B: molto dim.
upper part sixth quaver: tie from b.154
quaver 1 open, completed as in B, C; lower
part sixth quaver: g' emended to f' as in B,
C
B, C: b.154 chord 1: , thereafter no dynamic
B, C: no rall.
B, C: no
note 24: B, C: d'''
lower part: slur, open at beginning and
end, omitted by analogy with bb.194-195
note 17: b' emended to d'' as in B, C
upper part note 2: a' emended to f ' by
analogy with notes 5-6 and as in B, C
B: crotchet 2: con sentimento
note 10: g emended to g by analogy with
note 2
note 13: G emended to G by analogy with
note 2
from fourth to sixth quaver
extended by analogy with b.181
chord 2: d'' , a'' , c''' , d''' , f ''' emended to f '' ,
a'' , c''' , d''' , f ''' as in C; B: d'' , f '' , c''' , d''' , f '''
b
.b
. . .
b b .. .. ..
b b
- .
.
. n
n n
b b
. b
n n n ... ... ... ... ...
molto rall.
154-155
189
. #
# #
>
>
Part
pf.1
192
>
b b .. .. ..
..
sempre
&
Bar
190
77
78
pf.1
79
pf.2
80
pf.1
84
pf.2
109
132
140
pf.1
Comment
chord 2: f '' emended to f '' by analogy
with pf.2
marcato e cantando moved from rst
crotchet
note 1: slur extended from b.191 last note
as in B
fth quaver: B: no marc; upper part: B: slur
begins at note 8
lower part, third crotchet: d'' added as in
B, C
B, C: see facsimile p. lxii, lxiii and comments in Preface to this volume
C: fourth group of quintuplets: g'' , a'' , b'' ,
c ''' , d'''
VA R I A T I O N S ,
O P U S
4 0
Comment
ten. added by analogy with b.3
upper part note1: ten. added by analogy
with b.4
chord 3: ten. added by analogy with
chords 1, 2, 4
rst crotchet: a''' emended to f ''' and ten.
lower part fourth crotchet: slur added by
analogy with b.29
chord 4: ten. emended to stacc. by analogy
with bb.19-23
lower crotchets 1-3: slur added by analogy
with b.24
chord 1: ten. added by analogy with
bb.30-31
lower part seventh quaver: ten. added by
analogy with b.33
semiquaver 12: b' emended to c'' by analogy with bb.34, 36, 38
beginning of slur emended from chord
2 by analogy with b.39; chords 2-3: stacc.
chord 1: stacc emended to ten. by analogy
with chords 4, 7, 10 and bb.41-44
lower part note 8: a' emended to a ' by
analogy with b.15 (chord 2)
sixth triplet semiquaver: marc. added by
analogy with fourth and fth triplet semiquavers
sixteenth and eighteenth triplet semiquavers: marc. added by analogy with b.68
fth quaver: stacc. added by analogy with
bb.67, 68
chord 1: marc. deleted by analogy with
third crotchet
seventh quaver: marc. added by analogy
with b.80
third crotchet: marc. added by analogy
with pf.2
note 8: cautionary added (cf. bb.52, 100;
but see also bb.4, 20, 36, 68)
A: cresc. et ac-ce-le-ran-do
brackets around tempo marking omitted
lower part second and third triplet
quavers: tie added to e'' by analogy with
b.138; sixth triplet quaver: b ' emended to
b by analogy with triplet quavers 9,12 and
258
28/09/06 11:43:08
Bar
Part
145
174-176
pf.2
175-176
pf.1
193
pf.2
201
pf.1
247
pf.2
248
pf.2
251
pf.2
252
pf.1
253
253-254
pf 2
pf.1
257
pf.1
Comment
in accordance with letter from Nielsen to
Rntgen (see Introduction p. xxx); brackets
around tempo marking omitted
= 72 emended to = 72
two slurs (one broken at end of b.174 and
new slur at beginning of b.176) emended
to one slur by analogy with bb.166-168
one slur emended to two slurs by analogy
with bb.167-168
third crotchet:
added by
analogy with bb.194, 197-198
note 14: open slur emended to end on last
note (A: turn of page)
fourth crotchet: ten. stacc. added by analogy with second and third crotchets
sixteenth semiquaver: stacc. added by
analogy with fourth, eighth and twelfth
semiquavers
beginning of slur emended from second
quaver by analogy with b.249
note 25: f '' emended to f '' by analogy
with note 22; note 28: g '' emended to g ''
by analogy with bb.250, 253 eighth quaver
brackets around poco omitted
lower part: 8. omitted because of 8. in
upper part
chord 1: e ''' emended to e '' by analogy
with chords 5 and 7 and bb.258-60, 281-284
added by analogy with bb.273-276, 279280
A: ubbriaco (CNs mis-spelling)
brackets around tempo marking omitted
z
277-278
288
293
Bar
40
Part
pf.1
42
44
46,47
46
48
50
50
50-60
pf.1
Comment
B: third quaver:
and no performance
instruction
B: third quaver: no lower part
B: third quaver: marc., no dynamic
B: third quaver: no upper part
B: third quaver: poco meno
B: third quaver: no
B: third quaver: marc., no
brackets around
omitted
B: bass motif at lower octave only (D , B ' , B '
as at b.48 second and third quavers)
B: fourth semiquaver: poco a poco diminuendo
B: rst quaver: (
crossed out)
B: rst quaver:
B, C
B: notes 2-6: d, d, c , B, A; 8va and the following remark to Margrete Rosenberg
added beneath the stave in CNs hand: Kre
Margrete! Jeg tror dog vi skal stte 8va fra dis.
Saa faar man bedre crescendo (Dear Margrete!
I think after all that we should mark 8va
from d. That will make for a better crescendo)
B: note 10: f
B: third quaver: rall.
B: chord 2: marc.
B: un poco di pi
B, C:
pf.1

pf.1,2
pf.1,2
pf.2
pf.2
63
75
80
82
pf.2
91
pf.2
98
106
107
108
108-113
pf.2

pf.2
# # un poco di piu
& # a # # ..
.
dim.
S U I T E ,
O P U S
? ### .
.
4 5
First Movement
Bar
Part
4
12
13
21
pf.2
24
28
pf.1
pf.1
pf.1
112
Comment
B, C: Allegretto un poco
B: phrase broken after note 4
B, C: third quaver:
B: chord 3: marc.
B: un pochettino meno;
added by
analogy with b.23 and as in B, C
B: note 1:
; note 8: a''
fourth semiquaver: chord emended by
analogy with b.30 and as in B; A:
z
Kr
n
# n # n
fz
28
29
29
pf.2
pf.2
30
31
31
32
pf.1
pf.2
pf.1
B: note 3:
note 3: stacc. added by analogy with bb.21, 23
beginning of
emended from
third semiquaver by analogy with bb.21,
23 and as in B
added as in B
B, C: an octave lower; B: note 1:
B, C: second quaver:
B: chord 1:
36
pf.1
B: notes 1-5:
38
39
40,42
pf.2
B: note 7: marc.
B: rst quaver:
B: upper part third quaver:
z
pf.2
pf.1
adagio
j
#
..
.
j
rall: dim.
B: second quaver:
r
#
j

..
.
.
..
Second Movement
Bar
Part
8
13
17-18
pf.2
pf.2
19
24
pf.1
41-43
41-45
pf.1
43
44
pf.1
47
52
52
pf.1
pf.1
53
56
pf.1
57
pf.1
Comment
B: Allegretto innoncente; C: Allegretto un poco
added as in B
B:
stacc. and slur added by analogy with pf.1
and as in B
B: no dynamic
upper part, note 2: beginning of slur
emended from b.25 by analogy with b.22
B: no dynamics
bb.33-40 and as in B
B: fourth quaver: sempre
upper part: end of slur emended from b.45
note 2 as in B
upper part, note 1: B: a'
B: fourth quaver:
end of slur emended from end of b.50
(open slur) by analogy with bb.45-49
B:
upper part: end of slur emended from b.57
note 1 by analogy with b.58 and as in B;
lower part: slur added as in B
and as in B; chords 1-4: slur added by analogy with b.59 and as in B
259
28/09/06 11:43:08
Bar
64
71
75-84
75
91-92
Part
pf.1
Comment
B: notes 1,2:
; note 3:
B, C: no expression mark
B: upper part no articulation
B, C: no tempo marking
B: upper part ties crossed out
pf.1
pf.1
Bar
32
b
& b
Third Movement
Bar
5
Part
pf.2
pf.1
pf.2
9
9
9-10
pf.1
pf.2
Comment
eighth quaver: ten. added by analogy with
b.4
eighth quaver (note 1): b ' emended to b '
by analogy with pf.2
fourth quaver (note 1): ten. added by analogy with pf.1
C, D: upper part second quaver: a''
C, D: upper part second quaver: a'
C, D:
b
& b
? bb
b
b
# n b
..
n
b ..
. # # n . .
.
. . n n
n ..
..
n.
#
b
& .. # # n .. # n .. # # n .. n n .. nn .. # #
? bb
-j
..
. rK
#
molto
15-18
18
pf.1
19
#.
molto
20
pf.1
20
pf.2
21
pf.1
21
pf.1
21
pf.2
22
pf.2
24
pf.1
26
pf.1
cf. also facsimile p. lxv

fth quaver (note 1): f '' emended to f '' by
analogy with note 2
lower part sixth quaver (chord 2): c
emended to c by analogy with upper
part; lower part seventh quaver (chord 2):
B emended to B by analogy with upper
part
note 13: f '' emended to f '' by analogy
with note 10; note 16: g '' emended to g ''
by analogy with note 10
upper part fth quaver (note 1): emended to
seventh quaver (note 8): f ' emended to f '
by analogy with note 5
eighth quaver (note 2): marc. added by
analogy with pf.1
chord 4: c''' added by analogy with quavers
1-3 and as in C, D
C: chords 2, 3: a' , c '' , a''
? b b Kr
..
b
... b
..
www
j
ww
( )
See also facsimiles pp. lxvi, lxvii

Four th Movement
Bar
9, 10
45
59
69
Part
pf.2
pf.2
Comment
brackets around the accidentals omitted
A: lower part: slur begins on note 3
C: rst crotchet:
C: poco meno mosso
Fif th Movement
Bar
Part
9
13
16
16-22
pf.2
29
pf.2
41
49
57, 58
69
pf.2
pf.2
pf.2
71-72
pf.2
b
b b
b
& b # n b b
Comment
sixth quaver: d ' emended to d ' in accordance with C, where the movement
concludes:
. b b
b
C: See facsimile p. lxiv

tenth quaver (note 3): b '' emended to b '' by
analogy with b.6 (eighth quaver pf.2)
C, D:

b b
& b
Part
pf.1
Comment
B: Allegro moderato
B:
B, C: upper part note 3: a'
B: second quaver: poco accell:
B: vivo
C: originally compressed into three bars,
crossed out, with comment forlnges (to
be extended); bb.16-22 notated in full at
bottom of page
lower part second and third quavers: ties
added by analogy with bb.30, 31 and as in B
B: marked in pencil (CN?) to be repeated
brackets around
omitted
note 1: brackets around accidental omitted
beginning of slur emended from beginning of b.71 (open slur) by analogy with
bb.67-69
slur added by analogy with bb.65-66, 66-67
Sixth Movement
Bar
Part
6
24-42
pf.2
26
27
47
51
74
74
Comment
C, D: Allegro non troppo
C: notes 1-4: stacc.
C: additional page shows alternative texture see facsimile p. lxviii
C: third semiquaver:
C: fth semiquaver: cresc.
second
moved from third quaver to
fourth quaver by analogy with b.46 and
as suggested in C (probably miscopied because of poor alignment of pf.1 and pf.2)
C: no
C: additional B
lower part: slur continued from b.73
(open slur)
continued from b.79 (open at
end of bar)
lower part: notes 2-4: slur added by analogy with bb.66, 80
fourth quaver: stacc. omitted by analogy
with bb.51-64, 67, 80, 83-86, 89, 91 (note
1), 93-95, 98, 100
pf.1
pf.2
80
85
pf.1
87
pf.1
260
28/09/06 11:43:09
Bar
88
Part
pf.1
91
pf.1
98, 100
pf.2
100
pf.1
113
117-118
131-134
pf.2
pf.2
pf.2
135
146
pf.1
150, 152
151
159
pf.2
199
205
pf.1
pf.1
206
209
211
pf.1
pf.1
pf.1
216
pf.2
223
225
226-232
242
258
266
272-275
pf.1
pf.1
276
pf.2
280
pf.1
281, 283
283
pf.1
pf.1
287-288
300
pf.1
T H R E E
Comment
lower part: notes 2-4: slur added by analogy with bb.66, 80
fourth quaver: stacc. omitted by analogy
with bb.51-64, 67, 80, 83-86, 89, 91 (note
1), 93-95, 98, 100
notes 2-4: triplet semiquavers emended to
triplet demisemiquavers as in C
chord 7: stacc. added by analogy with
bb.98, 99
marc. added by analogy with bb.111, 115
C: b.117 chord 2 b. 118 chord 1: no f
stacc. added by analogy with bb.129-130,
135-136
C: Poco andante (crossed out)
end of slur emended from b.145 last note
by analogy with bb.147-151
C:
C: fourth quaver: a tempo
note 3: d ' emended to d ' by analogy with
bb.161, 163, 164
sixth semiquaver: C: d' , a'
C: upper part note 10: a ' ; lower part note
3: a ''
C: upper part notes 3,6,8: a ''
fth quaver: marc. added by analogy with
b.210
note 1: stacc. omitted by analogy with
b.218
C: upper part chord 2: no b ''
C: upper part chord 2: no b '
C: see facsimile p. lxix
C: rst quaver:
C: Poco adagio
C: (
crossed out)
C: see facsimile pp. lxx-lxxi; note the extra
bar between bb.275 and 276 of the present
edition
chord 2: e'' , e''' emended to e' , e'' by analogy
with chord 3 and as in C
lower part note 10: a' emended to f' by
analogy with upper part
rests added
C: chord 1: a'' , a''' ; lower part: rests added
to clarify Nielsens part writing
C: see facsimile p. lxxi
C: po[co] ral[l]

P I A N O
P I E C E S
No. I IMPROMPTU
Bar
1-24
Part
1
12
pf.1
12
pf.2
16
19
pf.1
pf.2
30
pf.1
Comment
I: See facsimile pp. lxxii-lxxiii and Sources
above
D: no dynamic
notes 5-6: slur added by analogy with
bb.1-11, 13-24
note 7: d' , emended to d ' by analogy with
b.14 note 7
D: notes 7, 8: g ''' , g ''
notes 3-4, slur added by analogy with
bb.1-18, 20-24
note 5:
and as in D
Bar
36
43
44
46
Part
pf.2
47
pf.2
51
51-52
pf.1
pf.2
pf.1
Comment
stacc. added by analogy with bb.34-35
second crotchet: dim. omitted
D: note 2:
second quaver: marc. added by analogy
with bb.44, 45
chords 1-3: marc. added by analogy with
bb.48 (pf.1)
D:
A, D:
b
&
54
55
55
56
pf.2
pf.1
pf.2
67
b b b
b
# #
printed as pencil correction in A (CN) and

in accordance with F
D: notes 5,10: ten.
second crotchet: dim. omitted
lunga added by analogy with pf.2
notes 7-8: slur added by analogy with
bb.57-64, 66
D: extra bar (repetition of b.66 before b.67)
No. II
Bar
Part
+1
1
pf.2
pf.1
pf.2
3
5
pf.1
? b b n
b
pf.1
7
7-8
pf.2
pf.1
8
10
10
10
pf.2
10
pf.2
A: upper part notes 1, 2: stacc.

C: second quaver: rubato added in pencil
(CN)
A: a tempo; A: note 5: sempre
; C, D: note
8: rall.
A: notes 1-3: ten.; note 5: marc.; C: notes
1-2: ten.
A: chord 1: marc.
C: notates b.7 and rst two crotchet beats
of b.8 as one six-four bar
A: tenth quaver: no
upper part notes 9, 10: a ' , c ' emended to
a' , c ' as in A, C; upper part eighth quaver:
a' emended to a ' by analogy with octave
above and as in C; A: upper part tenth
quaver: f'' , g ''
A: fth and sixth triplet quavers: ten.
A, C: third crotchet: no rall.
A: upper part notes 1, 2: stacc
second crotchet: vertical wavy line omitted
by analogy with b.3 and as in A, C
A:
pf.1
pf.1
?
11
12
12
12
14
8
8
Comment
C: Adagio
A: chord 1: ten, chord 2: marc.
A: chord 2: ten.; chord 3: e ' , e '' ; chords 2-4:
marc.
A: chord 1: marc.; A: chords 2, 3
pf.1
pf.1
pf.2
pf.2
ggg
ggg
j
ggg
A, C: fth to eighth quavers: ten.

A, C: rst quaver:
A: chords 1-3, 5: marc.
C: note 31: b
A: eighth quaver
? b b
15
A: (molto adagio); A: chords 1,2: ten., no

vertical wavy line
261
28/09/06 11:43:10
Bar
16
Part
pf.1
16
pf.2
Comment
upper part: notes 1-2: A: no articulation;
C: ten.
A: chord 1: no articulation
Bar
7
11
16
Part
19
pf.1
pf.2
Comment
D:
F:
added in pencil by CN
third quaver: marc. added by analogy
with b.15
D:

? b b
41
62
pf.1
pf.2
pf.1
pf.1
69
81
erasures in A suggest that Nielsen changed

his mind at fair copy stage
D: chord 1: f, c ' emended in A
D: notes 2,4: stacc.
note 9: e ' emended to e ' by analogy with
pf.2; note 11: b emended to b by analogy
with b.35 note 3 and as in D
marc. added by analogy with bb.39-40, 42
note 10: e'''' emended to e '''' as in A (on
separate page, notation of bb.58-64 abandoned because of ink blot) and D
F: molto dim added in pencil by CN
as addition in red crayon in A (CN);
brackets around
omitted
D: chord 2:
D: fourth quaver:
D: fourth quaver: Tempo 1 crossed out
D: notes 1,3:
dynamic added as in D; F: cresc. added in
pencil by CN
note 1: stacc. added by analogy with bb.90100
third crotchet chord 1: a' emended to a '
by analogy with upper part and b.107
note 18: a' emended to a ' by analogy with
b.108
note 5: a'' emended to a '' by analogy with
b.110, notes 2, 5, 8
end of slur emended from last note of
b.112 (open slur) by analogy with pf.2
D: pesante
bb.114-115
b.116
b.116
D: un poco accelerando
marc. added from b.118 (chord 4) by analogy with b.118 (chords 1-3)
bb.118-119
marc. added by analogy with bb.118-119
D:
D: with pause
notes 3,4:
D: eighth semiquaver: accellerando
D: Allegro;
chords 1-2: emended to tied to
chord 1 and b.151
81
81
89
96
98-100
pf.1
pf.2
101
pf.2
106
pf.1
109
pf.1
111
pf.1
113
pf.1
114
116
pf.1, pf.2
117
pf.1
117
pf.2
118
118-121
pf.1
120
pf.2
121-123
124
126
126
142
145
149
152
pf.2
pf.2
pf.1, pf.2
pf.2
pf.2
pf.3
pf.2
z
z

F O R
Y O U N G
A N D
O L D ,
BOOK I
No. I
No. III
26
33
34
P I A N O M U S I C
O P U S 5 3
Bar
Part
1, 17
1-12
13, 15
13-16
16
17
17, 19
20
pf.1
pf.2
pf.1
pf.2
pf.1
pf.2
Comment
footnote: A: Disse Noder viser Hndernes Beliggenhed paa Instrumentet / Diese Tne zeigen
die Stellung der Hnde auf der Klaviatur
B:
B: one slur
B: one slur
B: one slur
B: note 1: rall.; second crotchet: dim.
B: rst crotchet:
B: note 5:
B: second quaver: calando
No. II
pf.1
pf.2
8
9
= ca.144 emended to = ca.144 (printers

error); B: Andantino quasi Allegretto
B: slurs bb.1-2 (note 1), 2 (note 2)-4, 5-6
(note 1), 6 (note 2)-8, 9-16, 17-18 (note 1),
18 (note 2)-20, 21-22 (note 1), 22 (note 2)27
B: slurs bb.1-8, 8 (seconda volta)-27
D: rall. II (i.e. second time only); B: seconda
volta bar added, marked rall.
B, D: a tempo
No. IIIa
pf.1
pf.2
35
38
pf.1
B: Allegro non troppo; no dynamics or tempo

nuances throughout
B: slurs bb.1-2 (note 1), 2 (note 3)-4 (no tie),
5-6 (note 1), 6 (note 3)-8, 17-18 (note 1), 18
(note 3)-21 (note 1), 22 (note 2)-23 (note 1),
23 (note 2)-24 (note 1), 24 (note 2)-25 (note
1), 25 (note 2)-26 (note 1), 26 (note 2)-28, 2930 (note 1), 30 (note 3)-32 (note 1), 32 (notes
2-3), 32 (note 4)-34 (note 1), 34 (note 3)-35
(note 1), thereafter as printed
B: slurs bb.7 (open slur)-8, 9-16, 17-26, 2939
B:
B: second crotchet: rall.
No. IIIb
D: Andante
1, 2, 3, 5, 6,
17, 18, 19,
21, 23
pf.2
pf.2
13, 14
pf.1
stacc. on second chord of slurred gures

moved from upper to lower note by analogy with bb.13,14 (see facsimile, p. lxxiv);
D: no articulation specied
note 5: c ' emended to c ' by analogy with
b.20
stacc. on second chord of slurred gures
moved from upper to lower note; D: no
articulation specied
262
28/09/06 11:43:10
Bar
Part
Comment
Bar
No. IV
4-5
Part
BOOK II
pf.2
D: lower part: tie from b.4 note 2 to b.5
No. XIII
No. V
11
pf.1
19
20
pf.2
footnote: A: Giocoso=lystigt / lustig

note 3: marc. added by analogy with bb.9,
10
D: fourth semiquaver: calando
D: a tempo
footnote: A: carino=hjertenskrt / allerliebst;

footnote: A: Disse Noder viser Hndernes Beliggenhed paa Instrumentet / Diese Tne zeigen die
Stellung der Hnde auf der Klaviatur
D:
D: rst crotchet:
; fourth
crotchet:
D: no
D: rst crotchet: rit.; no
D: a tempo
D: no tempo indication
1
3, 4
9
10
11
18
No. VI
D: Andantino
No. VII
No. VIII
13, 26
28-29
pf.1
34
7
8
D: molto espressivo
D: molto rall.
4-5
pf.1
footnote: A: civettuolo=koket / kokett

notes 4-5: ngering indication transferred
from notes 3 and 4 as in D (where glissando
indicates that the nger should slide from
one note to the next, as b.14 notes 2-3);
D: no marking in b.6
D: calando
D: a tempo
slur extended from end of b.3 (open slur)

by analogy with bb.1-2
D: third crotchet: poco rit.
D: a tempo
13
15
15
15-16
16
8
9
No. XVI
13
pf.2
28
29
42
No. X
D: pi vivo
D: adagio
D: rst crotchet:
D:
from b.15 fourth quaver to
b.16 second crotchet
third crotchet:
D:
stacc. added by analogy with bb.15-16 and
as in D (b.28)
D: poco rit.
No. XV
No. IX
24
25
No. XIV
D: headed (skridtmaaleren) (the pedometer)
13
Comment
footnote: A: A la Contadino=bondeagtig /
buerrisch
note 1: stacc. added by analogy with notes
2-3
D: rit.
D: a tempo
D: rall.
No. XVII
5-6
6
6
pf.1
pf.2
D: Adagio
slur added
D: rst crotchet: poco [rall.?]
lower part note 6: e' emended to e '
No. XI
No. XVIII
10
11
15
16
D: Andantino
footnote: A: poco tiepido=lidt trgt / etwas
trge
D: third crotchet: rall.
D: a tempo
D: no tempo marking
D: second crotchet: rall.
No. XII
5
6
D: Adagio
D: dotted gures consistently notated as
; gures with triplets consistently
notated as .
D: rst crotchet: no dynamic; second
crotchet:
D:
1
1-12
3
4
4
5
6
6
7
8
8
C: many additional indications of phrasing

and dynamic, reproduced in later printings; C: Andante
C:
C: slurs on each crotchet beat up to b.12
second crotchet
C:
C:
D: note 5: e '
C, D: notes 15, 16: a' , g'
C: rst and second crotchets:
;
fourth crotchet:
C: note 15: a '
C: third crotchet:
C: second crotchet:
C: note 7: rall.
263
28/09/06 11:43:11
Bar
9
9
10
11
12
Part
Comment
C: a tempo; rst crotchet:
C: note 8:
C:
C:
C:
; fourth crotchet:
P I A N O
Bar
22
23
No. XIX
O R G A N
pf.1
Comment
stacc. added by analogy with bb.6, 10, 14
W O R K S
st.1: upper staff

st.2: middle or lower staff
ped: pedal staff
D: Adagio
D:
espressivo
D: fourth crotchet:
D: third and fourth crotchets:
D: note 1:
D: note 1:
D: rst and second crotchets:
third and fourth crotchets:
D: note 1:
D: no dynamics
2 9 L I T T L E P R E L U D E S F O R
H A R M O N I U M , O P U S 5 1

9
11-12
Part
= 92 emended to = 92 (printers error)

No. XX
1
1, 9
4
5
7
8
P I E C E
No. I
Bar
1
1
13-14
18
19
Part
st.1
st.1
st.1
O R G A N
O R
Comment
C:
D:
C: lower part: no tie across the bar line
upper part: note 2: added as in D
C: lower part: note 4: ; D: lower part, last
quaver: two (a' , g' )
No. XXI
No. II
11
12
pf.1
pf.1
15
17
31
33
footnote: A: goffo=Klodrian / tlpisch

lower part: note 2: cautionary accidental
added
upper part: note 2: g ' emended to g ' by
analogy with b.11 and as in D
D: poco rall.
D: a tempo
D: dim.
D:
1
1-2
3
6
st.2
st.2
D: notes 1-8: slur, note 8: stacc.

D: b.1 note 9 to b.2 note 5: slur, b.2 note 5:
stacc.
D: notes 1-8: slur, note 8: stacc.
middle part: line between notes 1 and 2
added as in C
D: sixth to seventh quaver: slurs
st.2
C: upper part: no tie
st.1
No. III
No. XXII
1, 5, 20
3, 6, 29
11
13
27
pf.1
pf.2
pf.1
pf.2
pf.1
D: note 10:
D: note 10:
lower part: D: note 10:
D: note 1:
upper part notes 1-2: tie omitted by analogy with bb.11, 14; D: tie from b.26 third
dotted crotchet to b.27 note 1 crossed out
13-14
No. IV
2
)
D: notated as two bars ( 4
8
No. V
D:
Fuldt Vrk (smertefuldt nrvrende)
organo pleno (painfully present)

D: second crotchet: poco rit. and dim.
D: beginning of bar:
D: second minim: rall. and dim.
D: beginning of bar:
and a tempo
No. XXIII
11
12
13
27
28
32
segue emended from b.10

D: fourth quaver:
D:
D:
D: no dynamic
D:

pf.1
7
7
pf.2
pf.2
+10
D: Adagio
D: molto espressivo
upper part note 9: a' emended to a ' by
analogy with note 4 and as in D; D: upper
part notes 2, 4, 7, 9: a ' ; lower part notes
2-3: tie added as in D
note 2: c emended to c as in D
note 10: B emended to B by analogy with
pf.1
D: Allegretto
No. VI
+1-1
1-2
No. XXIV
1
7
4
5
9
10
4
8
st.2
D: b.+1 to b.1 third crotchet: slur

D: b.1 fourth crotchet to b.2 third
crotchet: slur
lower part: note 1: emended to as in C,
D and by analogy with st.1
D: note 1: rall.
264
28/09/06 11:43:12
Bar
Part
Comment
No. VII
3
st.2
? b
Bar
6-7
Part
emended to
? b
12
st.2
as in C, D, E, F
D: upper and lower part: second minim:
No. VIII
1
11-12
7
7
9
10-11
st.1
st.2
st.1
11-12
13
18
st.2
D: Andantino
lower part: tie added as in C, D, F
st.2
st.2
st.2
st.2
st.1
st.2
st.1
st.1
D: Andante
D: upper part: note 3:
D: (F) in parentheses below the lower part
D: both parts: notes 1-3: slur
D: both parts: b.9 note 4 to b.10 note 1: slur
D: both parts: notes 1-2: slur, notes 3-4: slur
lower part: note 7: added by analogy
with upper part note 4
D: both parts: notes 1-2: slur
D: second crotchet: adagio
No. X
5
14
15
20
23
23-24
st.1
C, D: lower part: note 4: e '

C, D: upper part: notes 1-2: .
lower part. note 4: added as in D, E, F
C: lower part: notes 2-3: no tie
D: rall.
C: middle part: no tie across the bar line
st.1
st.1
st.2
st.1
D: several slurs in this source

C: (Allegretto) added in pencil (CN); D: Allegretto grazioso
note 5: ( ) emended to
C: note 5: no middle part
C: note 1: g'
st.1
st.2
st.2
st.2
1
2
2-4
D: Poco Adagio
C: last crotchet: marc. added in pencil (CN)
D:
st.2
3
3-4
3
3
st.2
& b
? b
J
j

J
j

J
b . j j
J
j

b J
J
j
C: b.2 last crotchet to b.3 rst quaver:

slurs in both parts added in pencil (CN)
D: chords 2-3: slur
D: b.3 last chord to b.4 rst chord: slurs
C: second crotchet: marc. added in pencil
(CN)
C: chords 2-3: slurs added in pencil (CN)
? b
J
j
C: chords 2-3: slurs added in pencil (CN)

C: notes 2-3: slur added in pencil (CN)
D: sixth to seventh crotchet: slur
10
st.1
11
st.1
13
st.1
D: both parts: notes 1, 3: , upper part:

notes 2-3: slur
D: both parts: note 2: , upper part: notes
2-3: slur
upper part: note 4: added by analogy
with st.2
No. XIV
2-3
st.2
D: upper part: b.2 to b.3 note 1: tie
No. XV
4
11-12
middle part: notes 2-3: line added as in D

C: b.11 second minim: rall.; D: b.11 second
minim to b.12: rall. - - -
+1-2
1
2
2-4
4
4-6
5-7
6
6-8
6-7
7
7
7-8
8
8
8
st.1
st.1
st.1
st.1
st.2
st.1
st.1
st.2
st.2
st.2
st.2
st.1
st.2
D: b.+1 to b.2 note 1: slur

D: note 1: d / d'
D: second and third crotchet: ten.
D: upper part: b.2 note 4 to b.4 note 1: slur
D: both parts: notes 2-3: ten.
D: lower part: b.5 note 1 to b.7 note 1: slur
D: upper part: notes 2-3: ten.
C, D: lower part: note 4:
D: lower part: note 2-3: slur

D: lower part: b.7 note 4 to b.8 note 3: slur
D: Adagio
D: upper part: notes 1-3: ten.
D: upper part: notes 1-2: slur
No. XVII
No. XII
2-3
No. XVI
No. XI
15
17
18
27
& b
No. XIII
No. IX
1
1
3
9
9-10
10
11
Comment
C, D:
4
7
7
8
11
st.2
st.1
C, D: second minim: calando

st.2 upper part to st.1 lower part note 1:
line added as in D
C, D: upper part: note 1:
C: upper part, notes 2-3: no tie
D: rst crotchet: poco lento
No. XVIII
1
11
st.1
17-18
21
24-25
st.1
st.1
C: Allegretto added in pencil (CN)

middle part: note 4: f' emended to f ' as
in D
D: poco rall. begins on b.17 fth quaver
D: lower part: note 3: (d' e' )
D: no ties
265
28/09/06 11:43:12
Bar
Part
Comment
st.1
C, D: note 12: b '
st.1
st.2
D: lower part: note 6: c '

chord 3: emended to
Bar
2
Part
st.2
2-3
3
st.1
st.1
8-9
12
st.2
st.1
13
st.2
20
st.1
23
24
st.1
st.2
No. XIX
5
No. XX
1
2
No. XXI
9
11
st.1
D: upper part: notes 1-2:

D: rall.
No. XXII
4
C: rst crotchet:
&
bbb

J
? bb
b J
No. XXVIII
6
st.1
8
8
st.1
st.1
st.1
10
11
st.2
st.1
D, G: rst crotchet
b
& bb
n
R
j
? b b
b J
5
6
7
10
st.2
st.2
st.2
st.2
D: note 6: d'
D: notes 2-6: slur
D: both parts: rst to last note: slur
D: second to fourth crotchet:
? bb
b
Comment
B: upper part: slur notes 1-2, 3-4, 5-6 but
later crossed out in pencil; C: upper part:
slur notes 1-2, 3-4, 5-6
B: lower part: b.2 note 2 to b.3 note 2: slur
B: lower part: slur notes 3-4, 5-6 but later
crossed out in pencil
D: lower part: tie
slur notes 1-2, 3-4, 5-6
lower part: note 1: C emended to C as in
D, F; B: upper part: slur notes 1-2, 3-4, 5-6
but later crossed out in pencil; C: upper
part: slur notes 1-2, 3-4
slur notes 1-2, 3-4, 5-6
note 2: ( f ' ) added as in B, C, D, F
lower part: () emended to

with upper part notes 2, 9 and st.2
note 8
lower part: note 6 added as in B, C, D
with lower part note 5 and as in B, where
a has been erased thus implying that CN
must have meant c '
fourth crotchet: lower part: added as
in D
emended to pedale
&
No. XXIII
8
9-10
st.1
9
11-12
st.2
st.1
emended to
middle part: line from b.9 note 8 to b.10

note 1 added as in D
D: upper part: note 8: b
D: tie across the bar line
No. XXIV
7-8
10
11
st.2
st.2
st.1
st.1
st.2
D: last quaver: e '

D: upper part: no tie across the bar line
No. XXVI
23
st.1
&
C: lower part, note 1: ; D: no lower part,

no a tempo
n J
J
3
12
st.1
12
13
st.2
st.1
13
13
st.2
st.2
14
15
st.2
st.1
17
17
20
st.2
st.2
st.1

D: second minim: no upper part
D: lower part: second minim:
No. XXV
3
5-6
n b
lower part: note 2: b ' emended to b ' as in

B, C, D, E, F
C, D: upper part: note 1:
with lower part fth quaver and as in B,
where a has been erased thus implying
that CN must have meant b '
emended to pedale
B: (e) has been erased; C, D: (e) as upper
part
B: notes 7-8: a-g
lower part: note 5: emended to as in B,
C, D
D: lower part: note 1:
D: middle part:
No. XXIX
No. XXVII
1
st.1

slur notes 1-2, 3-4, 5-6
4-5
12
st.1
B, C: lower part: b.4 note 3 to b.5 note 1: slur

added as in B, C, D
266
28/09/06 11:43:13
T W O
P R E L U D E S
Bar
13
Part
st.2
14
st.1
14
st.2
15-16
st.1
16
st.2
18
st.1
20
st.1
20-21
st.2
20
st.2
21
21
st.2
No. I
Bar
1
Part
st.1
18
st.1
Comment
B: fourth crotchet: apparently two parts:
e' , g'
B: & b b .
No. II
11-12
13
st.1
st.2
A: the movement is furnished with an

annotation with the wording: Maaske
burde II [dvs. Prludium nr. II] vre noteret i lange Nodevrdier og da Stykket
naturligvis skal spilles meget roligt (CN)
Perhaps II [i.e. Prelude No. II] should be
notated in long note-values and since
the piece, of course, is to be played very
calmly (CN)
tie across the bar line added as in B
lower part: () emended to
M E L O D Y
Bar
1
Part
C O M M O T I O ,
Comment
A: Andante sost. changed to Adagio
O P U S
5 8
22
In the introduction to his editorial commentary Emil Telmnyi mentions a number of subdivisions by him of the phrasing slurs in Source
A (see for example the facsimile p. xvii). These have in all cases been
omitted in the present edition.
Bar
1
6
Part
st.1
st.1
Comment
B: chord 1:
&
7
st.2
st.1
st.1
11
st.1
11
st.2
12-13
st.1
note 22: added by analogy with notes 11,

13 (as Emil Telmnyis addition in pencil
in A, B)
lower part: notes 7, 9: added by analogy
with st.2 notes 1, 8, 15, 17 and in accordance with C (as Emil Telmnyis addition
in pencil in A, B)
with st.2 note 19
with st.2 notes 8, 10, 11
notes 14-17: . emended to by
analogy with b. 13 st.2 notes 6-9 and b. 14
st.1 upper part notes 6-9
lower part: one slur emended to two slurs
by analogy with the upper part
A: damaged, only partially legible.
Above top staff Emil Telmnyi has added
the missing section in pencil according
to B
3
13
23
24
st.2
24
st.2
26
st.2
28-29
28
st.1
29
36
st.1
39
39
39
39
39-51
45
st.1
st.2
st.2
st.1
52-53
53-112
58
st.2
66
st.1
Comment
notes 6-9: . emended to as in
B and by analogy with rhythm in st.1 (as
Emil Telmnyis addition in pencil in A and
Peter Thomsens addition in pencil in C)
upper part: notes 6-9: . emended
to as in B and by analogy with
rhythm in st.2 (as Emil Telmnyis addition in pencil in A and Peter Thomsens
addition in pencil in C)
marcato added as in B (as Emil Telmnyis
addition in pencil in A); B: marcato added
in ink (CN)
A: lower part: end of slur changed from
b.16 note 16 to b.16 note 17 in pencil
A: lower part: beginning of slur changed
from note 2 to note 1 in pencil
fourth quaver: added by analogy with
st.2 note 20 (as Emil Telmnyis addition
in pencil in A, B)
upper part: note 9: f'' emended to f '' by
analogy with lower part notes 1, 10, 11, 13
and st.2 notes 6, 9, 12, 30
end of slur emended from b.20 last note
to b.21 note 1 by analogy with st.1
note 28: added as in B (as Emil Telmnyis addition in pencil in A)
note 1: stacc. added by analogy with st.1
A: last chord: ( ) added in pencil above st.1
(Emil Telmnyi?); B: last chord: ( ) added
in pencil between st.1 and st.2 (Emil Telmnyi?)
A: chord 4: ( ) added in pencil between st.1
and st.2 (Emil Telmnyi?)
A: second minim: damaged, only partially
legible
chord 1: e' emended to d ' as in B and in
accordance with C (as Emil Telmnyis
correction in pencil in A)
upper part note 10: added by analogy
with st.1
note 21: added as in B (as Emil Telmnyis addition in pencil in A)
single bar line emended to double bar line
A, C: note 30: f' changed to f ' in pencil;
B: note 30: f'
B: Allegretto
note 2: f' emended to f ' as in B and in
accordance with C
B: a tempo
C: quasi allegretto crossed out in pencil,
according to Emil Telmnyis list of emendations and variant readings the cancellation is
Carl Nielsens
B: III Rr: 4, 8
B: II Quintaton 8, 4
B: notated in unison, only upper part
note 3: added as in B and in accordance
with C (as Emil Telmnyis addition in
pencil in A)
single bar line emended to double bar
line because of change of key signature
B: key signature: three sharps
. emended to . as in B (as Emil
Telmnyis correction in pencil in A)
B: lower part: note 2: ( ) added in pencil
(Emil Telmnyi)
3
267
28/09/06 11:43:14
Bar
66
Part
ped.
68-69
70-71
st.1
75
76
st.1
st.1
78-81
89
st.2
st.1
94-95
94
104-107
st.1
ped.
Comment
note 4: d emended to d as in B (as Emil
upper part: tie added as in B (as Emil
Telmnyis addition in pencil in A)
note 2: added as in B
note 6: c'' emended to c '' as in B and in
accordance with correction in C (as Emil
B: notated in unison, only upper part
note 6: c '' emended to e'' as in B and in
accordance with correction in C (as Emil
B: lower part: note 1: only e''
? bb b .
b
n.
n.
emended to
? bb b .
b
106
107
st.1 st.2
st.2
124
126
133
st.1
st.2
st.1
133
134
149
st.2
st.2
st.1
149
st.2
152
st.1
154-155
st.1
161-168
st.1
166
st.2
170
st.1
171-173
172
st.1
st.2
174
st.1
177-190
st.2
178
179-200
st.2
st.1
n.
n.
as in B and in accordance with correction

in C (as Emil Telmnyis correction in pencil in A) (see facsimiles pp. lxxviii-lxxix)
A: note 4: ? added in pencil (Emil
Telmnyi); B: note 4: e' and ( ) added in
pencil (Emil Telmnyi); C: note 4: e '
d emended to d as in B and in accordance with C (as Emil Telmnyis correction in pencil in A)
B: note 5: f '
B: no upper part
a' emended to a' by analogy with b.132
st.2 note 3 and b.134 st.2 note 1; A: note 2:
? added in pencil (Emil Telmnyi)
B: upper part: note 2: f '
B: lower part: note 2: F
B: upper part: note 2: ( ) added in pencil
(Emil Telmnyi)
(Emil Telmnyi)
(Emil Telmnyi)
A: tie added in pencil across the bar line
(Emil Telmnyi); B: tie
A: b.161 to b.168 note 1: slurs changed
from one slur in pencil
(Emil Telmnyi)
lower part: note 3: added as in B and in
addition in pencil in A)
A: slur added in pencil
upper part: note 4: emended to as in B
(as Emil Telmnyis correction in pencil in
A)
upper part: note 3: added as in B and in
addition in pencil in A)
A: b.177 to b.190 note 1: changed from
one slur in pencil
B: note 3: f
A: upper part: b.179 to b.200 note 1: slurs
changed from one slur in pencil
Bar
179
180-239
Part
st.1
186-190
st.2
189-190
190-200
st.2
190-199
191-200
st.2
194
st.1
199-200
205
207-209
st.1
ped.
214-215
st.1
214-219
st.2
216-217
st.1
218-219
st.1
220-223
224
st.1 st.2
st.1 st.2
224, 225
225-226
ped.
st.1 st.2
226
232
238-239
st.1
st.1
ped.
251-252
st.2
258
258-270
st.1
258
st.2
258
270
st.2
ped.
278
st.1
278
st.1
278
st.1
279
st.1
280
st.1
283
285
st.1
st.2
Comment
B: lower part:
B: only notated in st.1 (st.2 and ped.:
blank)
A: lower part: b.186 to b.190 note 1: slur
added in pencil
A: lower part: b.190 note 2 to b.200: slurs
B: no change of key signature
A: upper part: b.191 note 2 to b.200: slurs
B: note 10: added in pencil (Emil
Telmnyi)
B: note 8: f ''
A: upper part: b.206 to t.209 note 1: open
slur crossed out in pencil
A: upper part: b.214 to b.215 note 12: slur
added in pencil (Emil Telmnyi)
A: b.214 to b.219 chord 1: slur added in
pencil (Emil Telmnyi)
A: upper part: b.216 note 1 to b.219 note
12: slur added in pencil (Emil Telmnyi)
A: b.218 to b.219 chord 1: slur added in
A: stacc. added in pencil
A: notes 1-7: slur added in pencil (Emil
Telmnyi)
emended to
A: b.225 note 1 to b.226: slur added in
B:
B:
A: b.238 note 1 to b.239: slur added in
A: lower part: F changed to F in pencil
(CN); B: lower part: F
B: only Andante
A: lower part: end of slur changed from
b.271 note 1 to b.270 note 2 in pencil
upper part: note 1: emended to as in
B; A: upper part: note 1: changed to in
pencil
upper part: note 2: added as in B
A: notes 1-3: slur added in pencil (Emil
Telmnyi)
upper part note 3: added by analogy
with lower part note 1
lower part: note 3: f ' emended to f ' by
analogy with st.2 note 2 and in accordance with correction in C (as Emil
(Emil Telmnyi); lower part: note 3: ( )
added in pencil (Emil Telmnyi)
(Emil Telmnyi)
(Emil Telmnyi)
B: note 7: added in pencil (Emil Telmnyi)
upper part: note 2: f ' emended to f ' by
analogy with st.1 note 2 and in accordance with correction in C (as Emil
Telmnyis addition in pencil in A, B)
268
28/09/06 11:43:15
Bar
286
Part
st.1
295
st.1
296-303
st.2
298
st.1
298
st.2
300
st.1
301-302
st.2
304-307
st.1
304-307
st.2
304
st.2
305
st.1
305
st.1
308-318
st.1
308-318
st.2
309
st.1
309-310
311
st.2
st.1
312
313
st.2
st.2
315-316
st.1
324-355
st.1
331, 332
ped.
336
st.1
336
st.1
340-347
340
st.1
st.1
340
st.2
342
ped.
345-352
348, 349
ped.
ped.
Comment
B: note 4: ( ) added in pencil (Emil
Telmnyi)
pencil in A)
A: upper part: end of slur changed from
open slur at end of b.305 to b.303 note 3
in pencil
(Emil Telmnyi)
(Emil Telmnyi)
(Emil Telmnyi)
A: upper part: tie added in pencil; B: upper part: tie
B: lower part: notated as semiquavers
together with the upper part
upper part: slurs and ten. added by analogy with the lower part
with st.1 upper part note 11
upper part: note 2: f '' emended to e'' as
in B and in accordance with C (as Emil
upper part: note 9: added as in B (as
Emil Telmnyis correction in pencil in A)
together with upper part
A: tie across bar line added in pencil
B: upper part: notated as semiquavers
together with lower part
B: blank
B: upper part: notes 1-2 notated as (f' );
lower part: note 4: ( ) added in pencil
(Emil Telmnyi)
A: upper part: tie across bar line added in
pencil
A: upper part: slurs changed from one
slur in pencil
A: note 4: ? added in pencil (Emil
Telmnyi); note 6: ? added in pencil (Emil
Telmnyi)
with st.2 note 9 (as Emil Telmnyis
correction in pencil in A, B); B: upper
part: note 7: ( ) added in pencil (Emil
Telmnyi)
A: lower part: slur added in pencil
A: lower part: notes 5-6: tie added in pencil; B: lower part: notes 5-6: tie
(Emil Telmnyi)
A: note 8: ? added in pencil (Emil Telmnyi); B: note 8: e but later changed to
d; C: note 8: d but beneath the note, the
letter e is added in pencil
A: slurs changed from one slur in pencil
A: note 4: marc. added in pencil; B: note
4: marc.
Bar
349
Part
ped.
352
st.1
353
st.1
355
st.2
362-363
st.1
364-365
st.1
369
372-376
st.1
st.2
373-376
st.1
377-380
st.1
380
st.1
383-384
st.2
385-392
st.1
387
st.1
388
st.2
391
ped.
392
393
ped.
396
st.1
396
ped.
396-397
ped.
401
403
st.1
st.1
407-416
st.1
407-416
st.2
410
st.2
412-413
st.1
414
st.1
415-416
st.1
Comment
A: notes 2-3: tie added in pencil; B: notes
2-3: tie
upper part: note 1: f'' emended to f '' as in
B (as Emil Telmnyis correction in pencil
in A); upper part: note 3: f'' emended to d''
as in B (as Emil Telmnyis correction in
pencil in A)
with upper part note 4
lower part: notes 1-3 added as in B and
in accordance with C (as Emil Telmnyis
A: lower part: tie across bar line added in
pencil; B: lower part: tie across bar line
A: lower part: tie across bar line added in
pencil; B: lower part: tie across bar line
B: upper and lower part: note 1:
A: open slur bb.374-376 changed to slur
bb.372-376 in pencil
B: upper part: notated as semiquavers together with the lower part, in the margin
CN has given an example on how the nal
form of the notation should be like
together with the upper part
lower part: stacc. added by analogy with
bb.377-379
the upper part
A: lower part: open slur bb. 386-392
changed to slur bb.385-392 in pencil
with lower part note 2 and st.2 note 10
note 3: e emended to f as in B and in accordance with C
B: only pesante
a tempo added as in B and in accordance
pencil in A)
B: upper part: notated as semiquavers
together with the lower part
A:
added in pencil, according to Emil
Telmnyis list of emendations and alternative readings there is no
in A, but apparently CN himself added
in pencil in A
A: b.396 and b.397 note 1: ten. added in
pencil; B: b.396 and b.397 note 1: ten.
B: lower part: notes 6-7: notated as b '
upper part: note 5: added as in B and
in accordance with C (as Emil Telmnyis
B: b.407 to b.416 second crotchet: all quavers notated as semiquavers
A: lower part: b.412 note 1 to b.416 note 2:
open slur added in pencil (page turn)
with st.1 fourth crotchet (as Emil Telmnyis correction in pencil in A, B)
lower part: slurs added by analogy with
b.411
upper part: slur added by analogy with
b.411
lower part: slurs added by analogy with
b.411
269
28/09/06 11:43:16
Bar
419
Part
st.2
423
st.2
437
438-440
441
441
st.1
450
st.2
451
ped.
460
st.1
467
st.1
470
st.2
470
st.2
472
st.2
473-477
475
st.2
477
481
st.1
st.1
487
+489-499
st.1
Comment
j
B: .
B: dim. in this bar instead of b.438

B: poco rall.
C: Andante added in pencil (CN)
note 5: added by analogy with f ' in bb.
440, 442-444 (as Emil Telmnyis addition
in pencil in A, B)
A, C: notes 1-2: changed to . in pencil; B: notes 1-2: , but at the bottom of
the page the following variant is added in
pencil (CN): .
added as in B (as Emil Telmnyis addition in pencil in A)
A, C: upper part: notes 2-3: changed from
(e' ) in pencil; B: upper part: notes 2-3:
(e' ) but . (e' , f' ) added above the staff in
pencil (CN)
lower part: note 10: f' emended to f ' as
in B and in accordance with C (as Emil
upper part: note 1: emended to by
analogy with the lower part; B, C: notated
as one voice
lower part: note 3: added as in B (as Emil
note 3: added as in B (as Emil Telmnyis
crescendo sempre emended to sempre crescendo
with note 1 (as Emil Telmnyis correction
in pencil in A)
B: upper part: note 1: notated as f ''
with C (as Emil Telmnyis correction in
pencil in A)
second crotchet: poco rall. added as in B
upper part: open slur emended to slur
(change of system)
Bar
489
498
Part
499
st.1
499
st.2
501-502
st.1
501
st.2
502
st.1
502
st.2
506
510
510
st.2
st.2
st.2
st.1
Comment
B: Slutningsapothose nal apotheosis
(Emil Telmnyi)
A: lower part: notes 3-4, 5-6: ties added in
pencil; B: lower part: notes 3-4, 5-6: ties
A: upper and lower part: notes 2-3: ties
added in pencil; B: upper and lower part:
notes 2-3: ties
A: tie across the bar line added in pencil;
B: no tie across bar line
(Emil Telmnyi)
(Emil Telmnyi)
(Emil Telmnyi)
B: lower part: note 5: missing
lower part: tie added as in B
lower part:
b.
? b b. www ...
emended to
b.
? b b. ...
510
ped.
511
512
ped.
b ..
.
as in B (as Emil Telmnyis correction in

pencil in A)
pesante added as in B (as Emil Telmnyis
B: molto rall. - - - A:
U
w.
w.
added in pencil (Emil Telmnyi), according to Emil Telmnyis list of emendations
and alternative readings, CN towards
Peter Thomsen seems to have accepted
this alternative notation, since the low
fth does not sound well on all organs
270
28/09/06 11:43:16

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C A R L

Carl Nielsen Udgaven CN 00042

Published by The Carl Nielsen Edition

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Edition Wilhelm Hansen

Carl Nielsen Udgaven CN 00042

Edition Wilhelm Hansen

Carl Nielsen Udgaven CN 00042

II_12_tekst 1.indd iii

Graphic design Kontrapunkt A/S, Copenhagen

This work is licensed under a Creative Commons

Carl Nielsen Udgaven CN 00042

General Preface vii Generelt forord

Fa c s imile s lviii Fa k s imile r

I I ntona tion. Ma e stos o

I I ntona tion. Ma e stoso

II Quasi alleg retto

II Quasi alleg retto

H U MO R E S QUE-BAG ATEL L ES, O P US 11

H UMO RESK E-BAG ATELLE R, OPUS 11

I V The Jump ing Ja c k

VI The Mus ic a l Cloc k

Carl Nielsen Udgaven CN 00042

S Y MP H O NISK SUITE, OPUS 8

TH EMA MED VARIATIO NER, OPUS 40

I Alleg retto un poc hettino

IV Alleg retto innocente

IV Alleg retto innocente

V Alleg retto vivo

V Alleg retto vivo

VI Alleg ro non troppo ma vigoroso

VI Alleg ro non troppo ma vigoroso

I Impromptu. Alleg ro f luente

III Alleg ro non troppo

III Alleg ro non troppo

2 9 L I T T L E P REL UDES, O P US 51 178 29 SMA A P RL UDIER, O P US 51

Abbreviations 238 Forkortelser

Carl Nielsen Udgaven CN 00042

arl Nielsen Udgaven er et selvstndigt projekt under

he Carl Nielsen Edition is an independent project under

Kulturministeriet og Carl Nielsen og Anne Marie Carl-Nielsens Legat,

the auspices of the Music Department of the Royal

hvortil kommer sttte fra en rkke private fonde til udgivelse

Library, launched in 1994 on the initiative of the Mini-

stry of Culture and funded by the Ministry and the foundation

Udgaven er til svel praktisk som videnskabelig brug,

Carl Nielsen og Anne Marie Carl-Nielsens Legat, with further nan-

tilrettelagt efter kritisk-videnskabelige udgivelsesprincipper.

cial support for the publication of the individual volumes from

Den omfatter samtlige Carl Nielsens afsluttede vrker og en-

a number of other private foundations.

keltsatser og sger i videst mulige omfang at afspejle vrkerne

The edition is for both practical and scholarly use,

i den af komponisten senest sanktionerede version. I tilflde,

and is based on critical editorial principles. It comprises all

hvor sange foreligger i ere forskellige arrangementer fra Carl

Nielsens nished works and completed individual pieces,

Nielsens hnd, udgives alle versioner.

and seeks as far as possible to reect the works in the version

Hvert vrk er forsynet med en indledning, der kort

last sanctioned by the composer. In cases where songs exist in

beskriver vrkets tilblivelseshistorie og placerer det i den sam-

several different arrangements by Nielsen, all the versions are

lede produktion, samt en kritisk beretning, hvor der redegres