NANCY DALBERG Samlede sange for orkester

Danish Classical Music Edition·S music¬sound¬art

NANCY DALBERG

Samlede sange for orkester / Collected Songs for Orchestra

Partitur / Score

Kritisk udgave ved / Critical edition by Frederik Døj Erforth Larsen

Copenhagen 2024

Nancy Dalberg: Samlede sange for orkester / Collected Songs for Orchestra

Kritisk udgave ved / Critical edition by Frederik Døj Erforth Larsen

DCM Editor-in-chief: Thomas Husted Kirkegaard © 2024 Edition·S

Editorial assistant: Frederik Døj Erforth Larsen

Music engraving: Frederik Døj Erforth Larsen

Cover design: Tobias Røder

Layout: Rudiger Meyer

Udarbejdet og udgivet med støtte fra Augustinus Fonden / Prepared and published with support from The Augustinus Foundation

Edition·S | music¬sound¬art Worsaaesvej 19, 5th floor DK–1972 Frederiksberg Denmark https://edition-s.dk/

Edition·S’s virksomhed støttes af Statens Kunstfond / Edition·S is supported by The Danish Arts Foundation.

DCM 060

ISBN 978-87-85346-12-4

ISMN 979-0-706839-34-9

Indhold / Contents

Danish Classical Music iv Biografi / Biography v Forord / Preface vii

Faksimiler / Facsimiles ix

Samlede sange for orkester / Collected Songs For Orchestra 17

Abbreviations 50

Critical Commentary 51

Danish Classical Music

Udgivelsesserien Danish Classical Music (DCM) har til formål at tilgængeliggøre dansk musikalsk kulturarv i pålidelige og gennemarbejdede praktisk-videnskabelige nodeeditioner for musikere og forskere i ind- og udland. Således er ambitionen at overtage stafetten fra Dansk Center for Musikudgivelse, som opererede som et forskningscenter under Det Kgl. Bibliotek, 2009-2019. Centeret udgav praktisk-videnskabelige editioner af høj filologisk kvalitet, og siden lukningen af centeret er denne opgave ikke blevet varetaget – men behovet er ikke blevet mindre.

Mens Dansk Center for Musikudgivelse fungerede som et center med ansatte medarbejdere er forholdene for det nye DCM anderledes: Her er tale om selvstændige og individuelt finansierede projekter under DCM-paraplyen. Derfor er der ikke blevet udarbejdet et nyt sæt redaktionelle retningslinjer – i stedet videreføres de retningslinjer, som blev formuleret af Dansk Center for Musikudgivelse. De eneste ændringer fra retningslinjerne er layoutmæssige, og så er der i DCM-udgivelserne tilføjet en kort biografisk introduktion til komponisten.

De redaktionelle retningslinjer sikrer udgivelsernes høje og konsistente editionsfilologiske niveau og grundindstillingen til udgivelsesarbejdet kan sammenfattes i nogle få, centrale punkter.

Om “praktisk-videnskabelige editioner”

Med begrebet “praktisk-videnskabelige editioner” sigtes der til, at udgivelserne skal være praktisk anvendelige for musikere, uden at musikerne nødvendigvis skal forholde sig til redaktørens arbejde og filologiske overvejelser. Derfor er selve nodesiden “ren” og uden fodnoter eller lignende. Samtidig er udgivelserne videnskabelige, idet interesserede læsere kan finde den nødvendige information om det editionsfilologiske arbejde i tekstdele placeret før og efter nodedelen: Før nodedelen bringes en introduktion til værket, dets tilblivelses- og receptionshistorie samt generelle kommentarer til det filologiske arbejde (eksempelvis nogle særlige udfordringer eller valg); efter nodedelen følger en grundig kildebeskrivelse og en oversigt over redaktionelle ændringer, deres begrundelse i kilderne samt information om varianter.

Om redaktørens rolle

Som James Grier skriver i bogen The Critical Editing of Music fra 1996, så er al editionsfilologisk arbejde også et fortolkningsarbejde, ideelt set baseret på grundige, kritiske og historisk forankrede studier af kildematerialet. Idéen om at den videnskabelige edition videregiver den “eneste rigtige” version af værket er en fiktion: Ofte vil redaktører komme frem til varierende udlægninger af et værk, og ofte kan der argumenteres lige godt for den ene læsning som den anden. Det er derfor vigtigt at bevæggrunden for de enkelte valg er tydeliggjort i oversigten over redaktionelle rettelser.

I serien undgås såkaldte “eklektiske” editioner, en sammenblanding af forskellige kilder, der kan resultere i en version af værket, der aldrig har eksisteret fra komponistens hånd. Der bestemmes derfor altid en hovedkilde, som editionen er baseret på, mens varianter kan bruges som hjemmel ved rettelser af klare fejl.

Thomas Husted Kirkegaard, ph.d.

Danish Classical Music

The publication series Danish Classical Music (DCM) aims to make Danish musical heritage accessible for musicians and researchers in Denmark and abroad by providing reliable and meticulous practical-scholarly music editions. The ambition is thus to take over the baton from the Danish Centre for Music Publication which operated as a research centre under the Royal Library from 2009 to 2019. The centre published practical-scholarly editions of high philological quality, and since the closure of the centre, this task has not been undertaken – but the need has not diminished.

While the Danish Centre for Music Publication functioned as a centre with dedicated employees, the conditions for the new DCM are different: it comprises of independent projects funded individually under the DCM framework. Therefore, a new set of editorial guidelines has not been developed – instead, the guidelines formulated by the Danish Centre for Music Publication are being sustained. The only changes to the guidelines relate to layout, and in DCM publications a brief biographical introduction of the composer is added.

The editorial guidelines ensure a high and consistent level of philological quality in the publications, and the fundamental editorial approach can be summarized in a few key points.

On “Practical-Scholarly Editions”

The term “practical-scholarly editions” refers to the aim of making the publications practically useful for musicians without requiring them to engage directly with the editor’s work and philological considerations. The sheet music is therefore “clean”, without footnotes or similar additions. At the same time, the publications are scholarly in nature, as interested readers can find the necessary information about the philological work in sections placed before and after the sheet music: Prior to the sheet music, there is an introduction to the work, its genesis and reception history, as well as general comments on the philological work (such as specific challenges or choices). After the sheet music, a thorough description of sources and an overview of editorial changes, their justification based on the sources, and information about variants are presented.

On the Role of the Editor

As James Grier writes in his book The Critical Editing of Music from 1996, all philological work is also an act of interpretation, ideally based on thorough, critical, and historically grounded studies of the source material. The notion that the scholarly edition presents the “only correct” version of a work is a fiction: Editors often arrive at varying interpretations of a piece, and equally compelling arguments can often be made for different readings. Therefore, it is important to clarify the rationale behind each choice in the overview of editorial revisions.

The series avoids so-called “eclectic” editions, which involve a mixture of different sources and may result in a version of the work that never existed in the composer’s hand. Therefore, a primary source is always determined as the basis for the edition, while variants can be used as evidence for correcting clear errors.

Thomas Husted Kirkegaard, Ph.D

Biografi

Nancy Dalberg (1881-1949) blev født Nancy Hansen i 1881 på godset Bødstrup i nærheden af Slagelse. Hendes far, Christian D.A. Hansen (1843-1916), var en særdeles succesfuld forretningsmand, der udviklede produkter til mejeribranchen, og Dalberg voksede derfor op i en familie, hvor der ikke manglede økonomiske ressourcer. I 1882 flytede familien ind på det nyerhvervede gods Mullerup på Sydfyn, hvor Dalberg voksede op. I 1901, da hun var 17 år gammel, blev hun gift med ingeniørofficeren og portrætmaleren Erik Dalberg (18751945). Hun modtog klaverundervisning af én af tidens mest anerkendte klaverlærere, Ove Christiansen (1856-1909), og i 1909-11 studerede hun komposition hos den norske komponist

Johan Svendsen (1840-1911). Hun var formentlig også elev af komponisten Fini Henriques (1867-1940) før hun i 1913 blev elev af tidens helt store musiknavn, Carl Nielsen (1865-1931). Igennem tiden udviklede Dalberg og Nielsen et tættere professionelt forhold, og Nielsen dirigerede eller medvirkede som violinist i opførelsen af adskillige af hendes værker. Han bad hende også hjælpe med at instrumentere sine værker Alladin og Fynsk Foraar Dalberg fik opført en række sange i 1911, og hendes første strygekvartet blev opført i hendes hjem – med Carl Nielsen på violin – i 1914, men hendes egentlige offentlige debut som komponist kom i 1915, hvor hun holdt en såkaldt kompositionskoncert i Odd Fellow Palæet, kun med hendes værker på programmet. Hun holdt endnu en kompositionskoncert i 1918 og en tredje i 1922. Ved disse koncerter blev blandt andet hendes strygekvartetter, sange og flere orkesterværker – ikke mindst symfonien – opført. Generelt blev Dalbergs musik modtaget godt, men anmelderne undlod sjældent at kommentere på hendes køn, ofte fordi de var overraskede over, at en kvinde kunne komponere så godt.

I vinterhalvåret 1922-23 havde hun et ophold i Algeriet, fordi hun var plaget af helbredsproblemer, blandt andet gigtsmerter. Her blev hun inspireret af nomadefolkets musik og nedskrev melodier, der siden blev til værket Arabisk Musik fra Sahara Efter hjemkomsten begyndte hun at komponere en opera over Selma Lägerlöfs (1858-1940) Gösta Berlings Saga, men da Lägerlöf allerede havde givet italienske Riccardo Zandonai (1883-1944) tilladelse til at komponere en opera over denne historie, måtte Dalberg opgive det – dog efterlod hun sig sangen Marianna Sinclairs Sang fra dette arbejde.

I 1929 afholdt Dalberg sin fjerde og i 1937 sin sidste kompositionskoncert. Stilmæssigt bevægede Dalberg sig fra det senromantiske og ind i det moderne. I hendes musik findes både svungne, romantiske melodier og korte, repetitive motiver. Sidstnævnte træk blev af samtidens anmeldere ofte kritiseret men kan også høres som en moderne kvalitet i Dalbergs musik.

Thomas Husted Kirkegaard

Biography

Nancy Dalberg (1881 – 1949) was born Nancy Hansen in 1881 at the estate of Bødstrup near Slagelse. Her father, Christian D.A. Hansen (1843 – 1916), was a highly successful businessman who developed products for the dairy industry, meaning that Dalberg grew up in a family with no lack of financial resources. In 1882, the family moved to the newly acquired estate of Mullerup in South Funen, where Dalberg grew up.

In 1901, at the age of 17, she married the engineering officer and portrait painter Erik Dalberg (1875 – 1945). She received piano lessons from one of the most renowned piano teachers of the time, Ove Christiansen (1856 – 1909), and from 1909 to 1911 studied composition with the Norwegian composer Johan Svendsen (1840 – 1911). She was presumably also a student of the composer Fini Henriques (1867–1940) before, in 1913, becoming a student of the most prominent Danish musician of the time, Carl Nielsen (1865 – 1931). Over time, Dalberg and Nielsen developed a closer professional relationship, and Nielsen conducted or participated as a violinist in the performance of several of her works. He also asked her to help orchestrate his works Aladdin and Springtime on Funen

Dalberg had several of her songs performed in 1911, and her first string quartet was performed at her home – with Carl Nielsen on violin – in 1914, but her true public debut as a composer came in 1915 when she held a so-called composition concert at the Odd Fellow Palace in Copenhagen, with only her works on the programme. She held another composition concert in 1918 and a third in 1922. At these concerts, her string quartets, songs, and several orchestral works – most notably the symphony – were performed. Generally, Dalberg’s music was well received, but critics rarely failed to comment on her gender, often surprised that a woman was able to compose so well.

During the winter of 1922 – 23, she took up residence in Algeria due to health problems, amongst them arthritis. Here, she was inspired by the music of nomadic people and wrote down melodies, which later became the work Arabic Music from the Sahara. Upon her return, she began composing an opera based on Selma Lagerlöf’s (1858 – 1940) Gösta Berling’s Saga, but since Lagerlöf had already granted the Italian composer Riccardo Zandonai (1883 – 1944) permission to compose an opera on this story, Dalberg had to give it up – however the song Marianna Sinclair’s Song remains from this work.

In 1929, Dalberg held her fourth composition concert, and in 1937, her last. Stylistically, Dalberg moved from the late romantic and into the modern. In her music, one finds both sweeping, romantic melodies and short, repetitive motifs. The latter feature was often criticized by contemporary critics but can also be heard as a modern quality in Dalberg’s music.

Thomas Husted Kirkegaard

Forord

Denne udgave er en samling af Dalbergs komplette sange med orkester. Udgaven bør ikke betragtes som et tresatset værk, men som tre separate satser, komponeret uafhængigt af hinanden. Svanerne og Marianne Sinclairs Sang blev udgivet i samme udgivelse på forlaget Edition Dania og blev opført sammen i Dalbergs egen tid. Udgiverne mener ikke, at dette betyder, at der er tale om et tosatset værk, men snarere en bekvemmelighed grundet de to stykkers længde.

“Tannhäusersang” Nr. 5

Vi ved ikke meget om tilblivelsen af denne sang. Den er sandsynligvis ikke blevet opført i sin orkestrale form i Dalbergs egen tid. Så vidt vides er den hverken nævnt i aviser eller i kendte breve til eller fra Nancy Dalberg. Desuden er stykket fuldstændig udateret i alle tre kilder. Dalberg har konsekvent stavet titlen “Tannhaüsersang” No 5, men navnet er blevet rettet redaktionelt til det mere korrekte “Tannhäusersang” Nr. 5

Teksten er taget fra 1877-romanen Tannhäuser af den danske forfatter Holger Drachmann. 1 Sangen blev oprindeligt kaldt Drachmanns Sang, men Dalberg ændrede titlen til “Tannhäusersang” Nr. 5 i versionen for orkester. Nummer 5 refererer til det kapitel i bogen, hvorfra teksten stammer. Stykket i sin orkestrale version er dedikeret til den dansk-tyske sopran Birgit Engell (1882-1973).

Selvom værket er udateret, findes nogle ledetråde i dets stil og notation. Partituret (kilde A) benytter to forskellige notationstraditioner: I første del af kilden angives melismer i sangstemmen ved hjælp af bjælker (den såkaldte sangernotation), i anden halvdel med buer. 2 Om end det ikke gøres konsekvent, kan værket alligevel deles op i to på denne måde. Derudover ses også to forskellige måder at benytte buer ved overbundne noder: I første del afsluttes fraseringsbuen på den første af de to (eller flere) overbundne noder. I den anden del afsluttes den på den sidste af de to (eller flere) overbundne noder. Dette indikerer, at orkestreringen af stykket blev udført over en længere periode.

Sopranstemmen (kilde B) er udelukkende udført i den nyere stil for vokalnotation. Det tyder derfor på, at kilde B blev udarbejdet efter partituret og ikke samtidigt. Kilde B indeholder desuden få rettelser og tilføjelser. En anden interessant detalje ved kilde B er, at det blandt alle Dalbergs værker udgør det eneste sæt orkesterstemmer udført af hende selv. Dette kan betyde to ting: 1) Dalberg lavede dette stykke helt uden en bestilling og kun for sin egen fornøjelse, eller 2) stykket blev komponeret i den senere del af hendes liv, efter hun havde lært at præparere stemmer selv. Vi ved, at hun hjalp Carl Nielsen og Emil Telmányi med udarbejdelsen af stemmerne til Nielsens klarinetkoncert, og hun har muligvis lært håndværket ved denne lejlighed. 3

Svanerne og Marianne Sinclairs Sang “Svanerne” er et digt af den danske forfatter Hans Hartvig Seedorf Pedersen (1892-1986). Det skal ikke forveksles med det langt mere kendte digt af samme forfatter med titlen “Svanerne fra Norden”. Hvor “Svanerne” stammer fra, er uklart, men det er sat til musik af flere danske komponister, såsom Ebbe Hameriks version for mandskor. 4

1 Holger Drachmann, Tannhäuser (København: Gyldendalske Boghandels Forlag, F. Hegel & Søn, 1877).

2 Førstnævnte kaldes på engelsk ofte vocal beaming eller traditional beaming, jf. Elaine Gould, Behind Bars (London: Faber Music, 2011), 435.

3 Se stemmematerialet til Koncert for Klarinet og Orkester: DK-Kk, Det Kgl. Bibliotek, CNS 70f

4 DK-Kk, Det Kgl. Bibliotek, Musiksamlingen, C II, 6b Ebbe Hameriks samling 57.

Preface

This edition is a collection of Dalberg’s complete songs for orchestra. The edition should not be regarded as a three-movement work, but rather as three separate movements composed independently. Svanerne (The Swans) and Marianne Sinclairs Sang (Marianne Sinclair’s) were published together by Edition Dania and were consequently performed together during Dalberg’s lifetime. However, the editor does not interpret this as a two-movement work but sees it as a matter of convenience, owing to the length of the two works.

“Tannhäuser Song” No. 5

We know little about the creation of this song. It was likely not performed in its orchestral form during Dalberg’s lifetime. To the best of our knowledge, it has not been mentioned in newspapers nor in any known correspondence to or from Nancy Dalberg. Furthermore, the piece is completely undated in all three sources. Dalberg spells the title “Tannhaüsersang” No 5 t, but this has been editorially changed to the more correct “Tannhäusersang” Nr. 5

The text is taken from the 1877 novel Tannhäuser by the Danish author Holger Drachmann. 1 The song was originally titled Drachmanns Sang (Drachmann’s Song), but Dalberg changed the title to “Tannhäusersang” No. 5 in the orchestral version. The number 5 refers to the chapter in the book from which the text is derived. The orchestral version of the piece is dedicated to the Danish-German soprano Birgit Engell (1882 – 1973).

Though undated, there are some clues in the piece’s style and notation that provide insights into its dating. The score (source A) employs two different notational styles: in the first part of the source, melismas in the vocal line are indicated with beams, while in the second part, slurs are used. 2 Although this is not done consistently, it suggests that the piece may have been orchestrated over an extended period.

The soprano part (source B) is entirely in the newer style of vocal notation, indicating that source B was created after the score and not simultaneously. Source B contains only a few corrections and additions. Another notable detail is that it is the only set of orchestral parts prepared by Dalberg herself. This could mean either that Dalberg composed the piece without any commission for her own pleasure or that it was composed later in her life, after she had learned how to prepare parts herself. We know that she assisted Carl Nielsen and Emil Telmányi in preparing the parts for Carl Nielsen’s Concerto for Clarinet and Orchestra, and she might have learned the craft on this occasion. 3

The Swans and Marianne Sinclair’s Song

Svanerne (The Swans) is a poem by Danish author Hans Hartvig Seedorf Pedersen (1892 – 1986). It should not be confused with the far better-known poem by the same author, Svanerne fra Norden (The Swans from the North). The origin of Svanerne is unclear, but the poem has been set to music by several Danish composers, such as Ebbe Hamerik in his version for male chorus. 4

The version for voice and piano from 1925 is one of the most well-known songs by Nancy Dalberg, and there are numerous accounts of it being performed and played in the radio in Dal-

1 Holger Drachmann, Tannhäuser (Copenhagen: Gyldendalske Boghandels Forlag (F. Hegel & Søn), 1877).

2 The former is often called vocal beaming, or traditional beaming, cf. Elaine Gould, Behind Bars (London: Faber Music, 2011), 435.

3 See parts to Concerto for Clarinet and Orchestra: DK-Kk, Royal Danish Library, CNS 70f.

4 DK-Kk, The Royal Danish Library, Music department, C II, 6b Ebbe Hameriks samling 57.

Versionen for stemme og klaver fra 1925 er en af de mest kendte sange af Nancy Dalberg, og der er adskillige beretninger om, at den blev opført og spillet i radioen i Dalbergs egen tid. Stykket havde sin første opførelse for stemme og klaver i 1927 sammen med flere andre sange af Dalberg med de to sangere Henry Skjær (1899-1991) og Else Ammentorp (1900-1979). Berlingske Tidende skrev en overvejende positiv anmeldelse af koncerten:

Henry Skjær sang først en Afdeling Solosange af Nancy Dalberg med en til Tider næsten for overvældende Udfoldelse af sin store malmfulde Røst i den lille Hornung & Møller-Sal, men altid med Forstaaelse af det lyriske Indhold i de velvalgte Tekster.

Til Slut forenedes Frk. Ammentorps og Hr. Skjærs Stemmer i en Række nye Duetter af Fru Dalberg, i hvilke Sopran og Baryton stod fortræffeligt sammen, særlig i den polyfont smukt byggede “Endnu i Nat,” hvor Mandsstemmen fulgte Kvindestemmens lyse Glans som Skyggen Maaneskinnet.

I øvrigt var det blandt Fru Dalbergs Carl Nielsen-paavirkede Sange de enkleste: Folkevisen og Foraarsvisen, der syntes mest naturligt følte i deres Form. Dog maa ogsaa den stemningsfulde Sang om Svanerne fremhæves. Publikum fordelte Bifaldet ligeligt mellem Sangerinde, Sanger og Komponist. 5

Marianne Sinclairs Sang bruger en tekst fra romanen Gösta Berlings Saga (1891) af den svenske forfatter Selma Lagerlöf (18581940). Oprindeligt ville Dalberg komponere en opera baseret på bogen, men Lagerlöf afslog, fordi hun allerede havde givet rettighederne til den italienske komponist Riccardo Zandonai (1883-1944). I et brev anbefalede Carl Nielsen, som var Dalbergs kompositionslærer og nære ven, at hun skulle holde sig til at komponere absolut musik:

Det var jo ‘tråkigt’ nok at Selma allerede havde forlovet sig paa Trods af sine ældre Dage; men oprigtigt talt saa sørger jeg ikke paa Dine Vegne, hvad Du maaske kunde mærke paa mig ved vor sidste Samtale hos Dig. Jeg tror nemlig at det endnu en Tid er bedre for Dig at arbejde med absolut Musik. Husk paa at hver Kunstart har sine egne uforanderlige Krav som den ubønhørligt stiller inden den tillader sine Udøvere at benytte den som ’anvendt’ Kunst. Og Operamusik er jo paa en Maade kun anvendt Musik; det er samme Forhold som om man vilde sætte en fint tilreden Hest for en Vogn. 6

I 1925 søgte hun Lagerlöfs tilladelse til at sætte Marianne Sinclairs Sang til musik for stemme og klaver, og Lagerlöf indvilligede. Det var dog først ti år senere, i 1935, at stykket blev udgivet og nodesat af Skandinavisk og Borups Musikforlag sammen med Svanerne, Glæde, Sensommer og Det suser mig for Øret i samlingen med titlen Svanerne og fire andre Sange 7 Dalberg dedikerede Marianne Sinclairs Sang til sin nære ven Merete Lange-Müller (1896-1965). Dalberg mødte Lange-Müller på en ferie i Algeriet fra 1922-1923, hvor de og Nancy Dalbergs mand, Erik Dalberg, dannede et nært venskab.

Det er svært at fastslå præcis, hvornår hun besluttede at orkestrere Svanerne og Marianne Sinclairs Sang, men de blev i 1937 udgivet sammen på forlaget Edition Dania og havde premiere den 23. december 1937 med Radiosymfoniorkesteret under ledelse

5 “B”, Berlingske Tidende, 26.01.1929

6 DK-Kk, Det Kgl. Bibliotek, CNA, I.A.c, brev fra Carl Nielsen til Nancy Dalberg, 24.04.1922. Citeret fra: Lisbeth Ahlgren Jensen, “Carl Nielsen and Nancy Dalberg: Nancy Dalberg as Carl Nielsen’s Pupil, Assistant and Patron,” Carl Nielsen Studies 2 (2005): 36-59, 41-42.

7 Nancy Dalberg, Svanerne og fire andre Sange (København: Skandinavisk og Borups Musikforlag, 1935).

berg’s own time. The piece had its first performance for voice and piano in 1927, together with several other songs by Dalberg, performed by singers Henry Skjær (1899 – 1991) and Else Ammentorp (1900 – 1979). Berlingske Tidende wrote a largely positive review of the concert:

Henry Skjær first sang a selection of solo songs by Nancy Dalberg, with at times an almost overwhelming display of his large, sonorous voice in the small Hornung & Møller [Concert] Hall, but always with an understanding of the lyrical content in the well-chosen texts.

Finally, Miss Ammentorp’s and Mr. Skjær’s voices joined in a series of new duets by Mrs. Dalberg, in which soprano and baritone blended excellently, particularly in the polyphonically beautifully constructed “Endnu i Nat” [“Still Tonight”] where the male voice followed the bright brilliance of the female voice like the shadow follows the moonlight.

Moreover, it was among Mrs. Dalberg’s Carl Nielsen-influenced songs the simplest ones: “Folkevisen” [“The Folk Song”] and “Foraarsvisen” [“The Spring Song”] that seemed to be most naturally felt in their form. However, the evocative song about the swans must also be highlighted. The audience distributed their applause equally between the [male] singer, the [female] singer, and the composer. 5

Marianne Sinclair’s Song uses a text from the 1891 novel Gösta Berlings Saga by Swedish author Selma Lagerlöf (1858 – 1940). Originally, Dalberg intended to compose an opera based on the novel, but Lagerlöf declined, as she had already granted the rights to Italian composer Riccardo Zandonai (1883 – 1944). In a letter, Carl Nielsen, who was Dalberg’s composition teacher and close friend, recommended that she focus on composing absolute music:

It was really too tedious that Selma [Lagerlöf] had already promised herself despite her advanced age; but to be frank I am not anxious about you, as you may have noticed at our last meeting at your house.

Because I think that for the time being, it is still better for you to be working with absolute music. Remember that every art-form makes its own immutable demands, which it relentlessly imposes before allowing its practitioner to use it as ‘applied’ art. And operatic music is indeed, in a way, only applied music; it’s the same relationship as if one wanted to harness a fine dressage horse to a carriage. 6

In 1925, Dalberg sought Lagerlöf ’s permission to set Marianne Sinclair’s Song to music for voice and piano, and Lagerlöf agreed. However, the piece was not published until ten years later, in 1935, by Skandinavisk og Borups Musikforlag, together with Svanerne (The Swans), Glæde (Joy), Sensommer (Late Summer), and Det suser mig for Øret (It Blows by My Ear) in a collection titled Svanerne og fire andre Sange (The Swans and Four Other Songs). 7 Dalberg dedicated Marianne Sinclair’s Song to her close friend Merete Lange-Müller (1896 – 1965). Dalberg met Lange-Müller on a holiday in Algeria from 1922 – 1923, where she and Nancy Dalberg’s husband, Erik Dalberg, formed a close friendship.

It is difficult to pinpoint exactly when Dalberg decided to orchestrate The Swans and Marianne Sinclair’s Song, but both

5 “B”, Berlingske Tidende, 26 Jan. 1929 (author’s translation).

6 DK-Kk, The Royal Danish Library, CNA, I.A.c, leter from Carl Nielsen to Nancy Dalberg, April 24, 1922. Cited in: Lisbeth Ahlgren Jensen, “Carl Nielsen and Nancy Dalberg: Nancy Dalberg as Carl Nielsen’s Pupil, Assistant and Patron,” Carl Nielsen Studies 2 (2005): 36 – 59, at 41 – 42 (translation by David Fanning).

7 Nancy Dalberg, Svanerne og fire andre Sange (Copenhagen: Skandinavisk og Borups Musikforlag, 1935).

af Launy Grøndahl (1886-1960) og mezzosopranen Ingeborg Steffensen (1888-1964). De to orkestersange havde premiere sammen med en balletsuite over Poul Schierbecks (1888-1949) ballet Natten (også første opførelse) og Rued Langgaards (18931952) 6. symfoni. 8

Frederik Døj Erforth Larsen København 2024

were published by Edition Dania in 1937 and premiered on 23 December 1937 with the Danish Radio Symphony Orchestra, conducted by Launy Grøndahl (1886 – 1960), and mezzo-soprano Ingeborg Steffensen (1888 – 1964). The two orchestral songs premiered alongside the ballet suite Natten (The Night) by Poul Schierbeck (1888 – 1949) (also the first performance) and Rued Langgaard’s (1893 – 1952) 6th symphony. 8

Frederik Døj Erforth Larsen Copenhagen 2024

Faksimiles Facsimiles

“Tannhäusersang” Nr. 5

Faksimile 1

Første partiturside af kilde A i Nancy Dalbergs hånd.

“Tannhäusersang” No. 5

Facsimile 1

First page of the score, source A, in Nancy Dalberg’s hand.

Faksimile 2

Første partiturside af kilde C i Nancy Dalbergs hånd. Denne version fremgår under navnet “Drachmans Sang: Nr. 5 af ‘Tannhäusersange’”.

Facsimile 2

First score page of source C in Nancy Dalberg’s hand. This version goes under the name “Drachmans Sang: Nr. 5 af ‘Tannhäusersange’”.

Page 1 of source A in another hand, published by Edition

Faksimile 2

Første side af kilde E. Trykt udgave for sang og klaver, Nancy Dalbergs kopi med blyantstilføjelser med orkestrering i Nancy Dalbergs hånd.

Facsimile 2

First page of source E. Printed score for voice and piano, Nancy Dalberg’s copy with marks of orchestration added in pencil in Nancy Dalberg’s hand.

Marianne Sinclairs Sang Faksimile 1

Side 1 af kilde A i fremmedhånd, udgivet på Edition Danica. I takt 1 er dolce og espressivo tilføjet med blyant i henholdsvis Violin I og Bratsch i Nancy Dalbergs hånd.

Marianne Sinclair’s Song Facsimile 1

Page 1 of source A in another hand, published by Edition Danica. In bar 1, dolce and espressivo are added in pencil in Violin I and Viola, respectively, in Nancy Dalberg’s hand.

Faksimile 2

Første side af kilde E. Trykt udgave for sang og klaver, Nancy Dalbergs kopi med blyantstilføjelser med orkestrering i Nancy Dalbergs hånd.

Facsimile 2

First page of source E. Printed score for voice and piano, Nancy Dalberg’s copy with marks of orchestration added in pencil in Nancy Dalberg’s hand.

Orkesterbesætning / Instrumentation

“Tannhäusersang” Nr. 5 / “Tannhäuser Song” No. 5

Flauto 1.2

Oboe 1.2

Clarinetto (Si bemolle) 1.2

Fagotto 1.2

Corno (Fa) 1.2

Tromba (Fa) 1.2

Trombone 1.2

Tuba

Timpani

Triangolo

Solo Soprano

Archi

Svanerne / The Swans

Flauto piccolo

Flauto Grande (Do)

Oboe 1.2

Clarinetto (Si bemolle) 1.2

Clarinetto basso (Si bemolle)

Fagotto 1.2

Controfagotto

Corno (Fa) 1.2.3.4

Timpani

Solo Mezzosoprano

Archi

Marianne Sinclairs Sang / Marianne Sinclair’s Song

Flauto 1.2

Oboe 1.2

Clarinetto (Si bemolle) 1.2

Fagotto 1.2

Corno (Fa) 1.2

Solo Mezzosoprano

Solo Violino

Archi

COLLECTED SONGS FOR ORCHESTRA

b y

Nanc y Dalberg

Birg

“ Tannhäusersang ” Nr. 5 / “ Tannhäuser Song ” no. 5, op. 16

Lyrics: Holger Drachmann

Svanerne / The Swans

Lyrics: Hans Har t vig Seedor f Pedersen

Marianne Sinclairs Sang / Marianne Sinclair ’s Song

Lyrics: Selma Lagerlöf

Abbreviations

Abbreviation Meaning - Upbeat

b. bar

bb. bars

brass Brass instruments

cb. Contrabbasso cl. Clarinetto cl.b. Clarinetto basso

c.fag. Controfagotto cor. Corno

cresc. Crescendo div. divisi dim. diminuendo

DK-Kk Det Kongelige Bibliotek København (The Royal Danish Library, Copenhagen) fag. Fagotto

fl. Flauto

fl.g. Flauto Grande m-sop. Mezzo-Soprano

ND Nancy Dalberg ob. Oboe

picc. Flauto Piccolo sop. Soprano sord. sordino stacc. staccato strings String instruments tba. Tuba timp. Timpani tr. Tromba trb. Trombone triang Triangolo unis. unison

vl. Violino vla. Viola vlc. Violoncello woodw. Woodwind instruments

Critical Commentary

In the Critical Commentary the following conventions are used:

1. “by analogy with” is used when something has been “added”, “emended” or “omitted” by analogy with another passage in the main source. The analogy may be vertical. When something is added “by analogy with” one or more instruments, it is understood that the analogy is with the same place in the same bar(s). The analogy may also be horizontal. When something is added “by analogy with” one or more bars, it is understood that the analogy is with a parallel place in the same instrument(s).

2. “as in” is used when something is “added”, “emended”, or “omitted” to correspond to the same place in another source.

3. “in accordance with” is used in cases where there is no authoritative source, only guideline – for example part material.

Editorial Strategy

In accordance with the purpose of the Danish Classical Music series, and as described in the series preface in the current edition, the works are presented here in their full length and without indication of editorial additions and corrections. These are only found in the critical apparatus. Pencil corrections and notes written by the composer are included tacitly. Corrections and notes in crayon where such are found is often by the conductor and are not included. In cases where corrections and notes by others than the composer are included, this is documented in the critical review.

The musical texts are standardised so that they follow modern practices regarding instrument names, notation practices, layout, performance indications, tempi, practices regarding fixed and loose accidentals (in horns), and more. This is done tacitly. “muta in” in connection with retuning of timpani and switching between A and B-flat clarinets is tacitly standardised.

Title

Dalberg spells the title “Tannhaüsersang” No 5. This has been edited to the more correct “Tannhäusersang” Nr. 5

Vocal Notation

The vocal notation is standardised so that it follows modern practices regarding beaming, slurs, and various rhythms between verses.

Articulations and Signs

Dalberg often only writes articulations for one instrument, even if several appear in the same system. The same applies to accidentals, where Dalberg often does not insert an accidental for one voice if the accidental has been set for another voice earlier in the measure. Furthermore, Dalberg does not set accidentals if the same note appears again in a different octave. This practice is tacitly modernised.

Rehearsal Marks

Rehearsal marks in the present edition follow Dalberg’s own as they appear in the main sources.

Slurs

The way Dalberg writes slurs differs in some cases from modern notational practice. This typically applies to places where slurs and ties are placed next to each other. Here, tacit adjustments are made so that the slur begins or ends at the same place as the tie. Dalberg also often forgets to continue a tie over a page break. This is also tacitly corrected. Where slurs contain substantial information that would be lost when translated into modern notation, original slurs are however retained despite the overall editorial strategy.

Tempi, Dynamics, and Expressions

Sometimes it seems that Dalberg does not distinguish clearly between expression and tempi. All tempi that are notated as expressions are tacitly set above the upper system and above the string section according to applicable notation principles. Character, dynamic and tempo designations are also tacitly written out completely. (e.g., dol., marc., and rit. are tacitly normalised to dolce, marcato, and ritardando.)

Divisi and Pizzicato

For divisi and pizzicato, Dalberg does not always use unison and arco. These are tacitly inserted editorially.

“Tannhäusersang”

Description of Sources

A Autograph score, performance material

B Autograph parts

C Autograph version for piano and voice

A Autograph score, performance material

The Royal Danish Library (DK-Kk MA ms 6231 mu 0108.2000). Autograph score in ink in the composer’s hand.

The score: 25 pages bound in yarn.

Paper type: unknown, 18 systems per page (260mm × 344 mm).

Title page: “Birgit Engell tilegnet / ‘Tannhaüsersang’ Nr. 5 / af / Holger Dachmann / for / Sopran med Orkester / af / Nancy Dalberg / op. 16.” 1 Page 1v: Tempo: “Let glidende” / Composer: “Nancy Dalberg”

B Autograph parts

The Royal Danish Library (DK-Kk MA ms 6231 mu 0108.2000). 2 Autograph parts in ink in the composer’s hand.

Paper type: unknown, 12 systems per page (260mm × 350mm).

The parts: 75 pages: Flauto 1, 2, Oboe 1, 2, Clarinetto 1, 2, Fagotto 1, 2, Corno 1, 2, Tromba 1, 2, Trombone 1 ,2, Tuba, Soprano, Triangolo, Archi: Vl. 1a ( × 2), Vl. 1b ( × 2), Vl. 2a ( × 1), Vl. 2b ( × 1), Vl. 2c ( × 1), Vla.a ( × 1), Vla.b ( × 1), Vlc. ( × 2), Cb. ( × 2).

First page of instrumental parts: [Part name, layout number]. Tempo: “Let glidende”.

Title: “‘Tannhaüsersang’ Nr. 5/af/Holger Drachmann.” Composer: Nancy Dalberg

Title page of soprano part: “Sopran/Birgit Engell tilegnet / ‘Tannhaüsersang’ Nr. 5/ af / Holger Drachmann / for / Sopran med Orkester / af / Nancy Dalberg / op. 16.” 3

C Autograph version for piano and voice

The Royal Danish Library (DK-Kk MA ms. 6230 mu. 0108.2000). Autograph version for soprano and piano in ink, with emendations in pencil in the composer’s hand. Paper type: unknown, 12 systems per page (260mm × 348mm).

9 numbered pages bound with yarn.

Title page: “Drachmanns Sang / No 5 af ‘Tannhaüsersange’ / for / Sopran og Piano/ af / Nancy Dalberg / op. 16.” 4

Filiation and Evaluation of Sources

B is a copy of A and there are few variations between them. These variations are mostly added slurs and dynamics. All variants added as in B are documented in the editorial emendations and alternative readings.

A is an orchestration of C C has another title (Drachmann’s Song), but it has the same opus number (op. 16) as A and B. In both A and B, the title is covered with a piece of paper with the name “Tannhaüsersang Nr. 5.” The original title might be under the paper.

A furthermore has another start than C. The voice leading in the middle voices in A and C are very different. C has not been used in the editing process of this edition of “Tannhäuser Song” No. 5, as it is a precursor, arrangement, or excerpt of the score. Therefore, it must philologically be considered as an independent work

1 “Dedicated to soprano Birgit Engell / ‘Tannhaüser Song’ no. 5/by Holger Drachmann/for/Soprano with Orchestra/by/Nancy Dalberg/op.16.”

2 Same as source A

3 “Soprano/Dedicated to Birgit Engell / ‘Tannhaüser Song’ no. 5 / by Holger Drachmann/for/Soprano with Orchestra / by / Nancy Dalberg/op.16.”

4 “Drachmann’s Song/No. 5 from ‘Tannhaüser Song’ / for Soprano and Piano /by / Nancy Dalberg / op. 16.”

Editorial Emendations and Alternative Readings

“a” and “b” in the string instrument abbreviations refer to the desk (i.e. vl. 1a means 1st violins, desk 1).

Bar Part

9 – 10, vl.2b

Comment

Artificial harmonic: b added by analogy with vl. 1a

11 – 12 fag. c d added as in B

13 vla.b note 1: pp added by analogy with vl. 2c.

21 – 22 vlc. b. 21, note 1 to b. 22, note 1: slur omitted as in B

27 – 28 cb. tie added as in B; A: tie only ended (page break).

32 – 34 cor. tenuto added by analogy with cl.

35 vla. note 10: staccato added as in B, by analogy with note 5, and vlc.

36 vla. note 1: p added by analogy with vl. 1, 2, vlc., cb.

42 cb. cresc. emended from b. 43 to b. 42 by analogy with the rest of the orchestra.

43 vlc. note 3: tremolo emended from two-stroke tremolo to one-stroke tremolo by analogy with notes 1, 2, 4, 5.

44 fag. note 1: accent added by analogy with fl., ob., cl., and as in B; notes 2–6: slur added by analogy with fl., ob., cl., and as in B

44 fag. 2 note 1 added as in B.

46 cl., fag., cor. d added as in B

47 tr. “espressivo” added by analogy with cor.

50 fl. 1 B: c

50 cl. 1 f emended to f by analogy with fl.

51 fl., cl. note 1: f emended to fz as in B

52 fag. 2 note 1: poco f added by analogy with cl. 1; note 3: accent added by analogy with cl. 1.

52 cb. note 3: accent added by analogy with cl. 1.

53 fag. 2, cb. note 1: accent added by analogy with cl. 1.

54 fag. notes 1 – 2 and 3 – 4: c added by analogy with cor.

58 cor. 2 “espressivo” added by analogy with b. 59 (cor. 1, cl. 1)

59 tr. 2 “senza sord.” added as in B

61 cl. cresc. emended to c by analogy with fl.

61 cor. notes 3 – 4: slur added by analogy with ob., cl. 1, and b. 62.

61 tr. 1 “senza sord.” added as in B

74 cor. 2 note 1: p added as in B

75 – 76 cor. 1 p c added as in B.

75, 76 cor. 2 c emended from b. 75 to b. 76 by analogy with cor. 1 and as in B

77, 78, 79 cl., fag., cor. notes 1 – 2: slur added as in B

80 vla. “leggiero” added by analogy with vl. 1, 2.

80 – 81 vla. c d added by analogy with vl. 1, 2.

81, 82 fl. 1, ob. 1 note 1: accent added as in B

82 cl. 1 note 1: accent added by analogy with fl. 1, ob. 2.

88 – 89 cl. b. 88, note 2: slur not ended (page break).

91 cor. 1 c added by analogy with tr.

91 vl. 2 note 6: accent added by analogy with vl. 1, vla.

91 vlc. note 3: tremolo emended from two-stroke tremolo to one-stroke tremolo by analogy with notes 1, 2, 4, 5.

93 cor. 2 note 1: tie only ended (page break).

93 vla. notes 3 – 5: d added by analogy with vl. 1.

95 vl. 1 note 2: tenuto added by analogy with vl. 2 and bb. 94, 96, 97.

101, 102 cl. 2 notes 1 – 2: slur added by analogy with bb. 98, 99

102 vl. 2 note 1: n added by analogy with fl., ob., fag., sop.

103 vla., vlc., cb. note 1: “molto cresc.” added by analogy with vl. 1, 2.

105 cor. note 1: accent added by analogy with bb. 103, 104, 106, 107

106 tr. note 1: accent added by analogy with cor.

110 – 111 ob., cl., fag. note 1: accent added by analogy with fl., cor., and as in B

Svanerne / The Swans

Description of Sources

A Autograph score for mezzo-soprano and orchestra, 1st published edition for orchestra. Edition Dania, København – Danmark

B Autograph parts, 1st published edition for orchestra. Edition Dania, København –Danmark.

C Autograph score for orchestra in ink in the composer’s hand.

D Autograph score for orchestra in pencil in the composer’s hand.

E Printed score for voice and piano, first edition, Nancy Dalberg’s copy.

Skandinavisk og Borups Musikforlag – København

F a-d Autograph scores for mezzo-soprano and piano in the composer’s hand with one additional score in an unknown hand.

G Sketch for orchestra done partly in ink and pencil in the composer’s hand.

A Autograph score

The Royal Danish Library (DK-Kk C II, 138 2°). 5

Edition Dania, København – Danmark

Autograph score in an unknown hand with additional marks in the composer’s hand and marks in an unknown hand in blue and orange crayon. Most likely Launy Grøndahl who premiered the piece.

Paper type: Edition Dania (260mm × 347mm), 20 systems per page.

Page 1r: Title: “Svanerne” (The Swans). Composer: “Nancy Dalberg”

B Autograph parts

The Royal Danish Library (DK-Kk Mf. A. 1569). 6

Edition Dania, København – Danmark

Autograph instrumental parts in an unknown hand and 1 mezzo-soprano part in the composer’s hand. Instrumentation page in the composer’s hand.

Paper type, parts: Edition Dania (258mm × 358mm), 12 systems per page.

The parts: 39 pages: Flauto Piccolo, Flauto Grande, Oboe 1, 2, Clarinetto 1, 2, Clarinetto basso, Fagotto 1, 2, Controfagotto, Corno 1, 2, 3, 4, Timpani, Mezzo-Soprano, 7 Archi: Vl. 1a ( × 3), Vl. 1b ( × 3), Vl. 2a ( × 3), Vl. 2b ( × 2), Vla.a ( × 2), Vla.b ( × 2), Vlc.a ( × 2) Vlc.b ( × 1), Cb. ( × 2)

Title page of instrumental parts: [part name, layout number] / Svanerne / Nancy Dalberg. Tempo: “Bredt glidende”.

Paper type, mezzo-soprano: unknown, 3 numbered pages on 1 folio.

Title page of mezzo-soprano part: Svanerne / (Hans Hartvig Seedorff) / Sang for MezzoSoprano med Orkester / af / Nancy Dalberg

Page 1v of mezzo-soprano part: Tempo: “Bredt glidende”. Composer: “Nancy Dalberg”.

C Autograph score

The Royal Danish Library (DK-Kk MA. ms. 6229 mu 0108.2000). Autograph score in ink in the composer’s hand.

Paper type: unknown, 4 pages on 1 folio (520mm × 344mm), 18 systems per page. Page 1r: Tempo: “Bredt glidende”. Title: Svanerne (The Swans). Composer: “Nancy Dalberg”

D Autograph score

The Royal Danish Library (DK-Kk MA. ms. 6229 mu 0108.2000). 8 Autograph score in pencil in the composer’s hand.

Paper type: 4 pages on 1 folio (520mm × 344mm), 18 systems per page.

Page 1r: Tempo: “Bredt glidende”. Title: “Svanerne” (The Swans). Composer: “Nancy Dalberg”.

E Printed score

Printed score for voice and piano. Nancy Dalberg’s copy. Skandinavisk og Borups Musikforlag – København, 1935

Plate number: S. B. M. 912

5 Same source as Marianne Sinclairs Sang, source A Registered only as Marianne Sinclairs Sang at the Royal Danish Library.

6 Same source as Marianne Sinclairs Sang, source B. Registered only as Svanerne at the Royal Danish Library.

7 “Canto” in A, “Sang” (voice) in E

8 Same as source C

Title page: “Svanerne / og fire andre Sange / af / Nancy Dalberg”. 9

Page 2v: “1. Svanerne / (Hans Hartvig Seedorff Pedersen) / Nancy Dalberg.” Tempo: “Bredt glidende”. “Kun 3 Vers” (Only three verses) added with pencil by Nancy Dalberg in the top right corner.

F a Autograph scores

The Royal Danish Library (DK-Kk MA ms 6216 mu 0108.2000). Autograph score for mezzo-soprano and piano, in the composer’s hand with various proofreadings in red and blue crayon by an unknown hand and added copyright in pencil.

Skandinavisk og Borups Musikforlag – København, 1935

Plate number: S. B. M. 912

Paper type: unknown, 4 pages on 1 folio (520mm × 350mm), 12 systems per page.

Page 1r: “Er der noget, der hindrer eventuel Udgivelse af denne Sang? N. D. [in pencil] / 1. [in pencil] / Svanerne. / Digt af / Hans Hartvig Seedoff Petersen [sic]/ Musik af / Nancy Dalberg / September 1927”. 10

Page 1v: Tempo: Bredt og vægtigt glidende. Title: 1. Svanerne. Composer: Nancy Dalberg. Copyright (in pencil): Copyright by / SKANDINAVISK OG BORUPS

MUSIKFORLAG Akls., Copenhagen S. B. M 912.

F b Autograph scores

The Royal Danish Library (DK-Kk MA ms 6216 mu 0108.2000). Autograph score for mezzo-soprano and piano, in the composer’s hand with additional orchestration notes in pencil.

Paper type: unknown, 4 pages on 1 folio (520mm × 350mm), 12 systems per page.

Page 1r: “Svanerne / med partiture [sic] i ges” 11 (in pencil)

Page 1v: Tempo: “Bredt og vægtigt”. Title: “Svanerne”. Composer: “Nancy Dalberg”.

F c Autograph scores

The Royal Danish Library (DK-Kk MA ms 6216 mu 0108.2000). Autograph score for mezzo-soprano and piano, in the composer’s hand.

Paper type: unknown, 4 pages on 1 folio (520mm × 350mm), 12 systems per page.

Page 1r: “Svanerne / Digt af / Hans Hartvig Seedorff Pedersen / Musik af / Nancy Dalberg”. 12

Page 1v: Tempo: “Bredt og vægtigt”. Title: “Svanerne”. Composer: “Nancy Dalberg”.

F d Autograph scores

The Royal Danish Library (DK-Kk MA ms 6216 mu 0108.2000). Autograph version for mezzo-soprano and piano in an unknown hand with additional marks in pencil in the composer’s hand.

Paper type: Nr. 1 F. S., (520mm × 350mm) 12 systems per page: 4 pages on 1 folio.

Page 1r: “Svanerne / Digt af / Hans Hartvig Seedorff Petersen [sic] / Musik af / Nancy Dalberg”. 13

(on the top of the page: “i ges” (“in G-flat” added with pencil in the composer’s hand). Page 1v: Tempo: “Bredt og vægtigt”. Title: “Svanerne”. Composer: “Nancy Dalberg”.

G Sketch

The Royal Danish Library (DK-Kk MA ms 6233 mu 0108.2000). 14 Unfinished autograph sketch for orchestra. Partly in ink and pencil.

Paper type: unknown, 16 systems per page. 4 unnumbered pages on 1 folio and 5 numbered pages on 2 folios. Each folio: (520mm × 344mm).

Page 1r: Title: “Svanerne”. Composer: “Nancy Dalberg”.

Filiation and Evaluation of Sources

First version is one of the scores in sources F a-c, most likely source F c though it cannot be concluded with certainty. Source F a was used as a printing material for source E E is the first printed edition for song and piano and contains emendations and orchestration notes in Nancy Dalberg’s handwriting. Source E is found in the collection of left behind

9 “The Swans / and four other songs / by / Nancy Dalberg”.

10 “Is there anything preventing the possible publishing of this song? N.D. / 1. / The Swans / Poem by / Hans Hartvig Seedoff Petersen [sic]/ Music by / Nancy Dalberg /September 1927”.

11 “The Swans / with score in G-flat”.

12 “The Swans / Poem by / Hans Hartvig Seedorff Pedersen / Music by / Nancy Dalberg”.

13 “The Swans / Poem by / Hans Hartvig Seedorff Petersen [sic] / Music by / Nancy Dalberg”.

14 Collection of different left papers and sketches by Nancy Dalberg registered as “[Forskelligt materiale]”

documents in the Royal Danish Library, Copenhagen, which concludes that it is Dalberg’s copy.

In source E, verse 2 is crossed out, and “Kun 3 Vers” (“Only three verses”) is added in the top right corner of page 2v by Dalberg. E furthermore contains information regarding various rhythms between the verses. Source E is used in this edition of The Swans as the primary source for the mezzo soprano regarding lyrics, dynamics and alternative text underlay for alternative rhythms and syllabic slurs between verses.

First version for orchestra is G, which is an unfinished sketch done in both ink and pencil. First completed draft for the orchestration is source D, which is a score written with pencil. Most likely, E was used as a short score and G for sketching to produce source D. C is a fair copy of D and is identical with D in terms of number of bars per page. Sources C, D, F a-c , and G are all in the composer’s hand. A is the first published edition for orchestra and contains some minor revisions in the composer’s hand. These revisions are also present in B, the orchestral parts to A

In the 20th century, even published scores from publishers could be handwritten. This is the case for sources A and B. Both are in an unknown hand made by an engraver. Furthermore, both sources contain minor revisions in the composer’s hand in both pencil and ink. The title page, instrumentation page, and the mezzo-soprano part are also in the composer’s hand. This concludes that sources A and B are the final and last versions in the composer’s own time.

Editorial Emendations and Alternative Readings

“a” and “b” in the string instrument abbreviations refer to the desk (i.e. vl. 1a means 1st violins, desk 1).

Bar Part

1 – 20 m-sop.

Comment

lyrics added by analogy with E and as in B. Verse 2 omitted by analogy with E (see source description).

3 vl. 1a, vl. 2b start of d emended from note 2 to note 1 in accordance with C, and by analogy with vl. 1b.

5 fag. 1 D, C: note 1: c

5 fag. 2 D, C: note 1: G

6 vl. 2b

B: notes 4 – 6: c

7 – 8 ob. 2 D, C: one octave above.

8 cor. 1 D, C: p (A, B: pp)

9 cl.b. D, C: p (A, B: pp)

9 vlc.a D, C: chord 1: G,- D - G.

10 vla.a, b D, C: chord 2, top note: g′

11 m-sop. note 4 – 6: c added in accordance with E

12 fl.g. D, C: c

12 m-sop. note 2: “dim.” added in accordance with E

13 ob. 1 D, C: different voice leading:

13 fag. 2

notes 5, 6: tenuto added by analogy with cl.b., c.fag.

13 vla.a, b C: chord 1, bottom note: eb′

13 cb. notes 5, 6: tenuto added by analogy with vlc. and in accordance with D, C

14 picc. D, C: note 1: e b″ .

14 ob. 1 d added as in D, C and by analogy with fl., strings.

14 m-sop. note 1: “molto espressivo” added in accordance with E

14 vl. 1a

B: notes 4 – 6: tenuto added with pencil [ND?].

14 vla.b B: chord 1, bottom note: c ′

15 ob. 1 D, C: note 1: e b″

15 cor. 1 D, C: m

15 – 16 m-sop. b. 15, note 6 to b. 16, note 1: d added in accordance with E.

15 vl. 1b B: note 5 p

16 ob. 1 D, C: note 1: g′

16 – 17 vl. 1a, b C: b. 16, note 4 to b. 17, note 1: slur.

17 m-sop. notes 3 – 5: c added in accordance with E

17 vl. 2a, b C: note 4: q

17 vlc.a D, C: different voice leading:

18 vl. 1a

B: note 4: b and “as” (A-flat) added with pencil [ND].

18 m-sop. c cresc. added in accordance with E

18 – 19 vl. 1b D, C: different voice leading:

19 – 20 cl. 2

D, C: b. 19, note 1 to b. 20, note 1: slur.

20 m-sop. d added in accordance with E

20 vla. D, C: note 6: #

21 – 22 ob.2 D, C: different voice leading:

22 ob. 1 d added by analogy with vla.

23 vl. 1b D, C: note 1: d″

Marianne Sinclairs Sang / Marianne Sinclair’s Song

Description of Sources

A Autograph score, 1st published edition, Edition Dania

B Autograph parts, 1st published edition, Edition Dania

C Printed score for voice and piano, 1st published edition for piano and voice, Skandinavisk og Borups Musikforlag – København. Nancy Dalberg’s copy

D Autograph score for mezzo-soprano and piano in the composer’s hand. Merete Lange-Müller’s copy

A Autograph score

The Royal Danish Library (DK-Kk C II, 138 2°). 15

Edition Dania, København – Danmark

Autograph score in an unknown hand with additional marks in the composer’s hand. Paper type: Edition Dania (260mm × 347mm), 20 systems per page. Page 1r: Title: “Marianne Sinclairs Sang”. Composer: “Nancy Dalberg”

B Autograph parts

The Royal Danish Library (DK-Kk Mf. A. 1569). 16

Edition Dania, København – Danmark

Autograph instrumental parts in an unknown hand and 1 mezzo-soprano part in the composer’s hand. Instrumentation page and title page in the composer’s hand.

Paper type: Edition Dania (260mm × 334mm), 12 systems per page. 33 pages.

The parts: Flauto 1, 2, Oboe 1, 2, Clarinetto 1, 2, Fagotto 1, 2, Corno 1, 2, 3, 4, MezzoSoprano, Violino Solo, Archi (5/5/4/3/2).

Instrumentation page (in the composer’s hand): “Nancy Dalberg / Marianne Sinclair’s [sic] Sang / med Orchester / Tekst: Selma Lagerlöf ”. 17

Title page: “Marianne Sinclair’s [sic] Sang / (Fra Gösta Berling’s Saga af Selma Lagerlöf) / for / Mezzo-Sopran med Orkester / af / Nancy Dalberg”. 18

C Printed score

Printed score for voice and piano. Nancy Dalberg’s copy.

Skandinavisk og Borups Musikforlag – København, 1935

Plate number: S. B. M. 913

Title page: “Svanerne / og fire andre Sange / af / Nancy Dalberg”. 19 Page 4v: “2. Marianne Sinclairs Sang / (Selma Lagerløf [sic]) / Nancy Dalberg”. 20 Tempo: Andante sostenuto. “Strygeorkester mest” (mostly string orchestra) added with pencil by Nancy Dalberg in the top left corner.

Note: This version only contains verse 1 in the print. It also contains a handwritten note with verse 2 in in Dalberg’s hand put in between the pages.

D Autograph score

The Royal Danish Library (DK-Kk mu. 9503.1300). Autograph score for mezzo-soprano and piano in the composer’s hand. Merete Lange-Müller’s copy.

Paper type: unknown, 12 systems per page (260mm × 350mm)

Title page: “Til / Merete Lange-Müller / som en særlig hilsen / fra / Nancy Dalberg / 18-2 / 1924 / Marianne Sinclairs Sang / (Gösta Berlings Saga) / af / Selma Lagerlof [sic] / Musik / af / Nancy Dalberg”. 21

Filiation and Evaluation of Sources

The earliest surviving version is D, which is a copy of an earlier lost version. Source D is a version created for Merete Lange-Müller, as per the title page. Whether this version differs substantially from the original version is unknown.

C 22 is the first printed edition for song and piano and contains emendations and or-

15 Same source as Svanerne, source A. Registered only as Marianne Sinclairs Sang at the Royal Danish Library.

16 Same source as Svanerne, source B. Registered only as Svanerne at the Royal Danish Library.

17 “Nancy Dalberg / Song of Marianne Sinclair / with Orchestra / Lyrics: Selma Lagerlöf”.

18 “Song of Marianne Sinclair / (From The Saga of Gösta Berling by Selma Lagerlöf) / for / Mezzo-Soprano with Orchestra / by / Nancy Dalberg”.

19 “The Swans / and four other songs / by / Nancy Dalberg”.

20 “Song of Marianne Sinclair / (Selma Lagerløf [sic]) / Nancy Dalberg”.

21 “To / Merete Lange-Müller / with a special regards / from / Nancy Dalberg / 18th February / 1924 / Song of Marianne Sinclair / (Gösta Berling’s Saga) / by / Selma Lagerlof / Music / by / Nancy Dalberg.”

22 This source is the same as source E in Svanerne (The Swans).

chestration notes in Nancy Dalberg’s handwriting. Source D is found in the collection of left behind documents in the Royal Danish Library, Copenhagen, which concludes that it is Dalberg’s copy. Source C is used in this edition of Marianne Sinclairs Sang (Song of Marianne Sinclair) as the primary source for the mezzo soprano regarding lyrics, dynamics and alternative text underlay for alternative rhythms and syllabic slurs between verses. The orchestral version of this piece most likely had the same compositional process as Svanerne (The Swans), but the sources are lost. Like Svanerne, source C was used as a short score before the complete orchestration.

Source A and B are in an unknown hand but both sources contain minor revisions in the composer’s hand in both pencil and ink. Furthermore, the title page, instrumentation page, and the mezzo-soprano part are in the composer’s hand. It cannot be concluded with the same amount of certainty as was the case with Svanerne (The Swans) that sources A and B are the final versions, but the editor assume that Marianne Sinclairs Sang (Song of Marianne Sinclair) had the same editorial process in the published version as Svanerne (The Swans).

Editorial Emendations and Alternative Readings

Bar Part

Comment

1 – 23 m-sop. lyrics added as in B; C: only verse 1.

1 vl. 1 A: “dolce” added with pencil [ND].

1 vla. A: “espressivo” added with pencil [ND].

6 vla. note 4 emended from e#′ to f#′ as in B

9 m-sop. note 4: ppp added by analogy with vl. 1 and as in B

9 m-sop., vl. 1 note 5: p added by analogy with vla., vlc.

11 cl. 2 A: note 1 emended from a, to b, with pencil [ND?].

11 cl.2, cb. note 1: b added by analogy with fl., m-sop., stings.

11 m-sop. note 2: m added as in B

15 cl. 2 note 1: m added by analogy with ob. 1, cl. 1, fag. 1

17 m-sop. note 2, 3: tenuto added in accordance with E

19 m-sop. d added as in B

19 vla. A: p emended to m with pencil [ND].

22 vlc. end of d emended from note 2 to note 1 by analogy with vla.