Nanna Liebmann Fem sange

Nanna Liebmann

Fem sange

Five Songs for sang og klaver / voice and piano (1904)

Partitur / Score

Danish Classical Music

Danish Classical Music

Edition·S music¬sound¬art

Nanna Liebmann

Fem sange Five Songs for sang og klaver / voice and piano (1904)

Partitur / Score

Redigeret af / Edited by Maria Claustad

Copenhagen 2025

Nanna Liebmann: Fem sange

Kritisk udgave ved / Critical edition by Maria Claustad

DCM Editor-in-chief: Thomas Husted Kirkegaard © 2025 Edition·S

Cover design: Tobias Røder

Music engraving: Maria Claustad

Layout: Hans Mathiasen

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 075

ISBN 978-87-85346-09-4

ISMN 979-0-706839-31-8

Indhold / Contents

Danish Classical Music iv

Biografi / Biography vi

Forord / Preface vii

Faksimile / Facsimile ix

Fem sange

Five Songs

1. Foraarsfrost 10

2. Du min Kjærlighed og største Lykke 12

3. Langt langt fra mit Land engang 16

4. Sol derovre gaar til Hvile 18

5. Det er Lærkernes Tid 21

Critical Commentary 26

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 DCMparaplyen. 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.

Danish Classical Music

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

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

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

On “Practical-scholarly Editions”

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

On the Role of the Editor

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

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

Om denne udgivelse

Nærværende udgivelse er en del af et indledende projekt på DCM, som fokuserer særligt på danske kvindelige komponister – en gruppe af komponister, hvor behovet for kritisk-videnskabelige og praktisk anvendelige editioner er særlig mærkbart al den stund at meget af deres musik ikke blev udgivet i deres egen levetid og kun sjældent er blevet opført. Det er håbet, at udgivelsen kan være med til at udbrede et overset men vigtigt repertoire i dansk musikkulturarv – både blandt musikere, forskere og andre interesserede.

Udgivelsen er venligt støttet af Augustinus Fonden, hvortil der rettes en stor tak.

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

On this Publication

The present publication is part of an introductory project within DCM that specifically focuses on Danish women composers – a group of composers for whom the need for scholarly-critical and practically useful editions is particularly pronounced, given that much of their music was not published during their lifetime and has rarely been performed. The hope is that this publication can help disseminate an overlooked yet important repertoire in Danish musical heritage among musicians, researchers, and other interested parties.

The publication is generously supported by the Augustinus Foundation, to whom heartfelt thanks are directed.

Thomas Husted Kirkegaard, Ph.D

Biografi

Nanna Liebmann (født Lehmann) (1849-1935) blev født i København som del af en velstillet og kulturel borgerlig familie. Hendes far var øjenlæge og amatørviolinist og hendes onkel var den kendte liberale politiker Orla Lehmann. Både i Liebmanns barndom og ungdom arrangerede faren adskillige kvartetaftener i hjemmet, hvor han også selv deltog. I en artikel i Dannebrog blev familiens hjem på Rosenvænget endda kaldt ”toneangivende i Kjøbenhavns musikalske Kredse”. 1

Liebmann begyndte som 18-årig på Niels. W. Gades nye musikkonservatorie og fik stor ros under sin studietid. I 1872 forlovede hun sig med sin studiekammerat Axel Liebmann, der var en lovende komponist. De to skrev små kærlighedssange til hinanden og to af de sange, Nanna komponerede til Axel, Der Rottenfänger og Der Goldschmiedgesell, blev udgivet som del af hendes allerførste udgivelse Syv Sange til tydske Texter fra 1885. Parret giftede sig i 1874 og fik en søn året efter, men Axel Liebmann døde i 1876 af en underlivssygdom, kun halvandet år efter deres bryllup. Herfra måtte Nanna Liebmann forsørge sig selv og sin søn. Hun fik arbejde som sanglærer på Nathalie Zahles Skole og overtog Axels tidligere post som musikkritiker i avisen Fædrelandet. Hun lagde mere eller mindre kompositionerne på hylden i de næste 25 år, og det var først efter år 1900, at hun begyndte at komponere og udgive musik igen. Hun udgav i perioden 1903-1904 sanghæfterne Minnelieder og Fem sange, der generelt modtog fine anmeldelser, og i 1911 udgav hun klaverværket Thème passioné et variations på Wilhelm Hansens Forlag.

Nanna Liebmann var i 1895 med til at arrangere Kvindernes Udstilling og fungerede som formand for musikudvalget. Hun var yderst kompetent til det, da hun gennem sin families kulturelle bekendtskaber samt sin egen opbyggede omgangskreds kendte mange i musikmiljøet og kunne rekruttere derfra. Men selvom Kvindernes Udstilling havde til formål at vise de nordiske kvinders kunnen, var Nanna Liebmann ikke kvindesagsforkæmper – tværtimod forholdt hun sig kritisk til hele kvindefrigørelsen.

Efter en sygdomsperiode i 1914 stoppede Liebmann så vidt vides med at komponere og levede de sidste år frem til hendes død af at undervise og at have logerende.

Maria Claustad

Biography

Nanna Liebmann (née Lehmann) (1849–1935) was born in Copenhagen into a wealthy and highly cultured bourgeois family. Her father was an ophthalmologist and amateur violinist, and her uncle was the well-known liberal politician Orla Lehmann. During Liebmann’s childhood and youth, her father hosted numerous string quartet evenings at their home, often participating himself. In a newspaper article in Dannebrog, the family’s home on Rosenvænget was even described as “a leading influence in Copenhagen’s musical circles” 1

At the age of 18 Liebmann was enrolled in the Niels W. Gade’s new music conservatory, and she received high praise during her time there. In 1872, she became engaged to her fellow student Axel Liebmann, a promising composer. The two wrote small love songs for each other, and two of the songs Nanna composed for Axel, Der Rattenfänger and Der Goldschmiedgesell, were included in her very first publication, Syv Sange til tydske Texter from 1885.

The couple married in 1874 and had a son the following year, but Axel Liebmann passed away in 1876 from an abdominal illness, only a year and a half after their wedding. From that point on, Nanna Liebmann had to provide for herself and her son. She found work as a singing teacher at Nathalie Zahle’s School and took over Axel’s former role as a music critic at the newspaper Fædrelandet. She more or less set aside composing for the next 25 years, and it was only after 1900 that she resumed composing and publishing music.

Between 1903 and 1904, she published the song collections Minnelieder and Fem sange, both of which generally received positive reviews. In 1911, she released the piano work Thème passionné et variations through the publisher Wilhelm Hansen.

In 1895, Nanna Liebmann played a key role in organizing the Women’s Exhibition in Copenhagen, where she served as chair of the music committee. She was highly competent in this regard, as her family’s cultural connections, along with her own cultivated network, gave her strong ties within the musical community, enabling her to recruit talent from these circles. However, although the Women’s Exhibition sought to highlight the talents of Nordic women, Nanna Liebmann was not an advocate for women’s rights; on the contrary, she was deeply critical of the entire women’s liberation movement.

Following a period of illness in 1914, Liebmann is believed to have stopped composing and spent her remaining years supporting herself by teaching and taking in lodgers.

Maria Claustad (translated by Emil Vijgen)

Forord

Fem sange blev komponeret i 1903-1904 og udgivet i et samlet bind af Nordisk Musikforlag i 1904. Teksterne til fire af sangene fandt Nanna Liebmann i Thor Langes digtsamling Fjerne Melodier fra 1902, mens teksten til “Det er Lærkernes Tid” er skrevet af Ludvig Holstein (1864-1943). Sangbindet er Nanna Liebmanns eneste udgivelse med danske tekster. Året inden udgivelsen af Fem sange, i 1903, udgav Liebmann sangbindet Minnelieder med tyske sangtekster.

Forud for disse to udgivelser havde Liebmann efter alt at dømme holdt en længere kompositionspause. Mellem udgivelsen af Syv Sange til tydske Texter i 1885 og udgivelsen af Minnelieder og Fem sange, findes der ingen overleverede kompositioner, og perioden 1903-1904 fremstår derfor som årene, hvor Liebmann vendte tilbage til at komponere. Selvom det er en relativt kort periode, betegner Elisabeth Dahlerup disse år som den fase, hvor Liebmanns kompositioner nåede “længst ud til publikum”. 1

Liebmann afholdt i denne periode flere offentlige sangaftener for sine elever, hvor det fremgik af annoncer i diverse aviser, ofte uden nærmere specifikation, at Liebmanns egne kompositioner var på repertoiret.

I Dagens Nyheder den 11. april 1904 fremgik det, at Liebmann sammen med to af sine elever, Vilhelm Michelsen og Agnes Meyland-Jessen, ville afholde en sangaften i Odd Fellow Palæet, hvor programmet blandt andet bestod af “gammeltyske Minnelieder og Thor Langeske Texter, komponeret af Nanna Liebmann”. 2 Dagen efter sangaftenen bragte samme avis en anmeldelse. Her fremgik det, at halvdelen af programmet bestod af Liebmanns kompositioner og at det var en velbesøgt koncert. Derudover skrev anmelderen H.T. kun om én af sangene fra Fem sange:

Der var en ikke ringe Stemning over Sangen “Sol derovre gaar til hvile”, medens andre af Fruens arbejder gjorde et underligt forvredent Indtryk. 3

Det vides derfor ikke med sikkerhed, om andre sange fra Fem sange blev opført, men da halvdelen af programmet bestod af kompositioner af Liebmann, og hun netop havde udgivet Fem sange, virker det sandsynligt. Men uanset hvilke af Liebmanns værker, der blev sunget til arrangementet, var anmelderen ikke begejstret.

I perioden 1901 til 1904 sad Liebmann i bestyrelsen for Dansk Musikpædagogisk Forening. 4 Muligvis derfor var det vigtigt for hende, at Fem sange kunne bruges som undervisningsmateriale. Hendes blik for det

1 Elisabeth Dahlerup, Kvinder og komposition i Danmark 1870­1920 – med særligt henblik på biografier af Nanna Liebmann og Tekla Griebel Wandall (Kandidatspeciale, Københavns Universitet, 2006), 61.

2 Dagens Nyheder 8.4.1904.

3 “H.T.”, Adresse Avisen 12.4.1904.

4 Sigurd Berg, Træk af Dansk Musikpædagogisk Historie (København, 1948), 44-49.

Preface

Five Songs was composed in 1903 – 1904 and published in a single volume by Nordisk Musikforlag in 1904. Nanna Liebmann found the lyrics to four of the songs in Thor Lange’s collection of poetry called Fjerne Melodier (Distant Melodies) from 1902, while the text used for “Det er Lærkernes Tid” is written by Ludvig Holstein (1864 – 1943). This volume of songs is Nanna Liebmann’s only publication using Danish lyrics. The year before the publication of Five Songs, in 1903, Nanna Liebmann published the volume Minnelieder using German lyrics.

Prior to these publications, Liebmann had by all appearances taken a compositional hiatus. Between the publication of Syv sange til tydske texter (Seven Songs with German Lyrics) in 1885 and the publication of Minnelieder and Five Songs, we have no extant compositions, and the time around 1903 – 1904 therefore appears to be when Liebmann once again took to composing. Despite it being a rather limited period, Elisabeth Dahlerup describes these years as the time when Liebmann’s compositions best reached its audience. 1

During this time, Liebmann hosted several public musical evenings with her students, where adverts in different newspapers made clear, often without further specification, that Liebmann’s own compositions would be used.

Dagens Nyheder wrote on April 11 1904 that Liebmann along with two of her students, Vilhelm Michelsen and Agnes Meyland-Jessen, would be hosting a musical evening in the Odd Fellows Mansion in Copenhagen for which the programme among other things would consist of “old Germanic Minnelieder and Thor Langian texts composed by Nanna Liebmann”. 2 The day after the event, the same paper published a review. It stated that half of the programme consisted of Liebmann’s compositions and that the concert had been well-attended. Aside from this, the reviewer H.T. wrote about only one of the songs from Five Songs:

The atmosphere of the song “Sol derovre gaar til hvile” was not half bad, while others of the lady’s works left a strangely distorted impression. 3

We cannot know for certain whether others of the Five Songs were performed, but since half the programme consisted of Liebmann’s compositions, and since she had just published Five Songs, it seems likely. However, regardless of which of Liebmann’s works were featured that evening, the reviewer was not excited.

During the time from 1901 to 1904, Liebmann was on the board of The Danish Music Teachers Association. 4

1 Elisabeth Dahlerup, Kvinder og komposition i Danmark 1870­1920 – med særligt henblik på biografier af Nanna Liebmann og Tekla Griebel Wandall (MA thesis, The University of Copenhagen, 2006), 61.

2 Dagens Nyheder 8 April 1904.

3 “H.T.”, Dagens Nyheder 12 April 1904.

4 Sigurd Berg, Træk af Dansk Musikpædagogisk Historie (Copenhagen, 1948), 44 – 49.

musikpædagogiske ses blandt andet i angivelserne af fingersætning i klaverstemmen.

I starten af 1900-tallet var Liebmann tilsyneladende meget optaget af sang. Med et rejselegat fra Ministeriet for Kirke og Undervisningsvæsenet rejste hun i efteråret 1901 til Paris for at modtage sangundervisning hos en Mrs. Devillier, der ifølge Dahlerup var en meget populær sanglærer. 5

Hovedkilden (A) til de fire første sange i bindet er en signeret udgave af det trykte partitur. På forsiden har Liebmann med blæk tilegnet eksemplaret til sine børn. Udover sit eneste barn, Poul Liebmann, er eksemplaret sandsynligvis også tilegnet svigerdatteren Dagmar Jungersen, der var uddannet violinist fra konservatoriet. 6 For alle værkerne er den renskrift, der har fungeret som nodestikkerens kopi (B), blevet bevaret, og i mange tilfælde er også den allerførste blyantskladde og dens renskrift blevet gemt.

Claustad

Maybe this was why it was important to her that Five Songs could be used for teaching. One of the places where her eye for music pedagogy can be seen is in the specified fingerings in the piano part.

In the early 1900s Liebmann was apparently very occupied with singing. With a travelling scholarship from The Ministry of Church and Education she travelled to Paris in 1901 to receive singing lessons from one Mrs. Devillier, who, according to Dahlerup, was a very popular singing teacher. 5

The main source (A) for the first four songs of the volume is a signed edition of the printed score. On the cover, written in ink, Liebmann has dedicated the copy to her children. Aside from her only child, Poul Liebmann, the copy is probably dedicated to her daughterin-law, Dagmar Jungersen, who was a violinist trained at the conservatoire. 6 For all the works, the fair copy functioning as the music engraver’s copy (B) has been preserved, and, in many cases, the very first pencil sketch and its fair copy have been kept as well.

Maria Claustad (translated by J.B. Houby)

5 Dahlerup, Kvinder og komposition, 58-59.

6 Ibid., 66-67.

5 Dahlerup, Kvinder og komposition, 58 – 59.

6 Ibid., 66 – 67.

Faksimile Facsimile

Sidste nodeside af sangen “Du min Kjærlighed og største Lykke” (kilde B). I klaveret, takt 65-72, ses de tvetydige kiler, som er omtalt i den kritiske beretning.

Last page of “Du min Kjærlighed og største Lykke” (source B). In the piano part, bb. 65 – 72, the ambiguous hairpins discussed in the critical commentary are seen.

Fem sange

1. Foraarsfrost

Tek st : Thor Lange

Nanna Liebmann

2. Du min Kjærlighed og største Lyk ke

Tek st : Thor Lange

3. L ang t lang t fra mit L and engang

Tek st : Thor Lange

Nanna Liebmann: Fem Sange - 16

varm for nam jeg om kring

4. Sol dero v re gaar til Hvile

Tek st : Thor Lange

Nanna Liebmann: Fem Sange - 18

5. Det er L ærkernes Tid

Tek st : Ludvig Holstein

Nanna Liebmann: Fem Sange - 21

Critical Commentary

1. Foraarsfrost

Description of Sources

A Printed score, first edition with dedication

B Manuscript score, printer’s copy, autograph

C Manuscript score, autograph

D Draft in pencil

A Printed score, first edition with dedication

DK­Kk, Royal Danish Library (Musiksamlingen). MAlæs-A255.

In: Fem Sange (Copenhagen: Nordisk Musikforlag, 1904), p. 2.

Title page: “Til hr. Vilhelm Michelsen / Fem Sange / til Texter af / Thor Lange og Ludvig Holstein / komponerede af / Nanna Liebmann.”

Pl. nr.: NMF 4291.

34.1 × 29 cm. Orange folder, 6 paginated bifolios with 12 pages, page 13 missing.

fol.1r: “Til mine elskede Børn! / Jul 1904” top right corner, written in ink.

B Manuscript score, printer’s copy, autograph.

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.

Written in ink with additions in pencil and blue crayon.

Watermark: BIBLIOTHECA REGIA HAFNIENSIS.

35.5 × 27 cm. 1 unpaginated loose sheet.

“I” top left corner, written with pencil.

“(Af Thor Lange ‘Fjerne Melodier’)” after last bar, written in ink.

“2” lower right corner, written in blue crayon.

At the end of each system (bb. 3, 6, 9, and 13): “1”, “2”, “3”, “4” written in pencil, presumably by printer.

C Manuscript score, autograph.

Dk­Kk, Royal Danish Library (Musiksamlingen). C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.

Title page: “ ‘Gammel Melodi’ / og / ‘Foraarsfrost’ / af Thor Lange ‘Fjerne Melodier,’ / komponerede / af / Nanna Liebmann.”

Written in ink with additions in pencil. Watermark: BIBLIOTHECA REGIA HAFNIENSIS.

35.5 × 27 cm. 1 unpaginated bifolio.

fol.3v: “Af Thor Langes ‘Fjerne Melodier’ ” after last bar, written in ink.

fol.3v “Oktober 1903” lower right corner, written in ink.

D Draft in pencil

Dk­Kk, Royal Danish Library (Musiksamlingen). C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.

Title page: “Den skjønne Jolanthe / efter en gammel fransk Romance / af / Thor Lange. / Foraarsfrost.”

Written in pencil and blue crayon.

33.8 × 15.4 cm. 1 unpaginated bifolio, 4 pages.

fol.4v: “d. 12-14/1903” after last bar, written in pencil.

fol.4v: Watermark: BIBLIOTHECA REGIA HAFNIENSIS.

Commentary on the Edition

The present edition is based on A, the composer’s copy of the first edition, which includes a dedication to her children. The first edition itself is based on B, an autograph ink manuscript that also served as a printer’s copy, evidenced by the pencil annotations in foreign hand indicating the song’s layout in four systems. B, in turn, is based on C, an ink manuscript featuring several additions and corrections by the composer’s own pencil handwriting; for instance, the tempo Andantino doloroso was revised to Allegretto doloroso, a change preserved in both B and A. Finally, C is based on the pencil draft D. While A is the main source for this edition, B has been consulted to correct apparent errors in A, likely resulting from oversights or spatial constraints.

The lyrics are from the poem “Foraarsfrost” by Thor Lange, published in the collection of poems Fjerne Melodier in 1902. 1 Liebmann leaves out exclamation marks at the end of all verses as well as some commas during the verses. In A some of the spellings have been modernised, for example: troer has been changed to tror. This edition follows the spelling in A

Editorial Emendations and Alternative Readings

Bar Part

1 piano

5 pf.2

Comment

B, C: p

B: lower part: notes 2–3: tie added in pencil; C, D: notes 2–3 not tied

8 beginning of cresc moved from third quaver to first quaver as in B (A: cresc begins later because of clash with rit.)

11 pf. sostenuto moved from b. 10 to b. 11 as in B

2. Du min Kjærlighed og største Lykke

Description of Sources

A Printed score, first edition with dedication

B Manuscript score, printer’s copy, autograph

C Draft in pencil, incomplete

A Printed score, first edition with dedication

DK­Kk, Royal Danish Library (Musiksamlingen). MAlæs-A255.

In: Fem Sange, Copenhagen: Nordisk Musikforlag (1904), p. 3-5.

Title page: “Til hr. Vilhelm Michelsen / Fem Sange / til Texter af / Thor Lange og Ludvig Holstein / komponerede af / Nanna Liebmann.”

Pl. nr.: NMF 4291.

34.1 × 29 cm. 6 paginated bifolios with 12 pages, page 13 missing. fol.1r: “Til mine elskede Børn! / Jul 1904” top right corner, written in ink.

B Manuscript score, printer’s copy, autograph

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.

In grey folder titled: ”Nanna Liebmann sange 1903-1903”.

Title page: “ ‘Du min Kjærlighed og største Lykke’ / Af Thor Lange ‘Fjerne Melodier’ / komponeret / af / Nanna Liebmann.”

Written in ink with additions in pencil and blue crayon. Watermark, p. 4: BIBLIOTHECA REGIA HAFNIENSIS.

35.5 × 27 cm. 2 bifolios with 4 pages.

fol.1r: “II” top left corner, written in blue crayon.

fol.2v: “II” top left corner, written in blue crayon.

fol.4v: “Af Thor Langes ‘Fjerne Melodier’ ” written after last bar in ink.

1 “Thor Lange: Fjerne Melodier (1902)”, kb.dk, accessed 21 May 2025, https://www.kb.dk/e-mat/dod/115308000202_bw.pdf

fol.4v: “December 1903” bottom of page, written in ink.

fol.4v: “3/5” bottom of page, written in blue crayon.

At each system (page 1: bb. 7, 14, 22, and 30, page 2: bb. 38, 45, 53 and 61, page 3: 69, 76, 84 and 92): “1”, “2”, “3”, “4” written in pencil, presumably by printer.

C Draft in pencil, incomplete.

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann. In grey folder titled: “Nanna Liebmann sange 1903-1904”.

Title: “Useet”.

Written in pencil, 2 pages on 1 loose sheet paper, missing 1 page.

Watermark: BIBLIOTHECA REGIA HAFNIENSIS.

33.9 × 25 cm.

Commentary on the Edition

The present edition is based on A, the composer’s copy of the first edition, which includes a dedication to her children. The first edition itself is based on B, an autograph ink manuscript that also served as a printer’s copy, evidenced by the pencil annotations in foreign hand indicating the song’s layout in four systems. B is based on the pencil draft C

The lyrics to “Du min Kjærlighed og største Lykke” are from the poem Useet by Thor Lange, published in the collection of poems Fjerne Melodier in 1902. 2 Liebmann leaves out some commas during the verses and the the spelling has been modernised, for example: staaer has been changed to staar. This edition follows the spelling in A.

The notation of accents (>) and diminuendo (dec) can be difficult to distinguish, especially in music written in the 19th and early 20th centuries. Assessing when the hairpins “might be purely accentual (…), where it denotes merely diminuendo (…), or where it signifies a combination of both these things” 3 can be challenging. In “Du min Kjærlighed og største Lykke”, bb. 65–72, hairpins in the piano are difficult to interpret as either accents or diminuendo. Since the hairpins appear on repeated notes, this edition interprets them as accents (>).

Editorial Emendations and Alternative Readings

Bar Part

14 voice

Comment

B: note 1: no mord

22 voice note 1: > added as in B

27 pf.1

38–39 pf.2

note 1: downward-stemmed f  #′ added as in B

b. 38 note 4 to b. 39 note 1: tie added (A: missing beginning of tie before system break)

61 voice note 1: cresc as in B (A: short cresc, reminiscent of a reversed accent, colliding with simultaneous dec); beginning of dec moved from note 1 to note 2 as in B

61 pf.2 note 2: d as in B (A: ink stain on top of note)

65–72 pf. ambiguous notation (> or dec) interpreted as >

86 pf.1

B: note 2: a added in blue crayon, moved from pf.2; “besser hier!” written in blue crayon (NL)

87 voice B: notes 1–3: dec

91 pf.2 notes 1–2: tie added as in B

2 “Thor Lange: Fjerne Melodier (1902)”, kb.dk, accessed 21 May 2025, https://www.kb.dk/e-mat/dod/115308000202_bw.pdf

3 Clive Brown, Classical and Romantic Performing Practice (Oxford: Oxford University Press, 1999), 107.

3. Langt, langt fra mit Land engang

Description of Sources

A Printed score, first edition with dedication

B Manuscript score, printer’s copy, autograph.

C Manuscript score, autograph.

D Draft in pencil

A Printed score, first edition with dedication

DK­Kk, Royal Danish Library (Musiksamlingen). MAlæs-A255. In: Fem Sange, Copenhagen: Nordisk Musikforlag (1904), p. 6-7.

Titel page: “Til hr. Vilhelm Michelsen / Fem Sange / til Texter af / Thor Lange og Ludvig Holstein / komponerede af / Nanna Liebmann.”

Pl. nr.: NMF 4291.

34.1 × 29 cm. 6 paginated bifolios with 12 pages, page 13 missing.

fol.1r: “Til mine elskede Børn! / Jul 1904” top right corner, written in ink.

B Manuscript score, printer’s copy, autograph

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann. Grey folder, titled: “Nanna Liebmann sange 1903-1904”.

Written in ink with additions in red ink, pencil and blue crayon.

Titel page: “ ‘Langt, langt fra mit Land engang’ / af / Thor Langes ‘Fjerne Melodier’ / komponeret / af / Nanna Liebmann”.

35.5 × 27 cm. 1 unpaginated bifolio with 4 pages.

fol.2v: Subtitle crossed over in ink.

fol.2v: “III” top left corner, written in blue crayon.

fol.2v: “6” in a circle, bottom of page, written in pencil.

fol.3r: “6/7” lower right corner, written in blue crayon.

fol.3r: “Thor Lange. (Af ‘Fjerne Melodier’)” after last bar, written in ink.

fol.3r: “November 1903” lower right corner, written in ink.

At each system (page 1: bb. 7, 14, 21, and 28, page 2: bb. 37, 44, 51, and 58): “1”, “2”, “3”, “4” written in pencil, presumably by printer.

C Manuscript score, autograph

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann. Grey folder, titled: “Nanna Liebmann sange 1903-1904”.

Written in ink with additions in pencil.

Title page: “ ‘Gammel Melodi’ / og / ‘Foraarsfrost’ / af / Thor Langes ‘Fjerne Melodier’ / komponerede / af / Nanna Liebmann”.

35.5 × 27 cm. 1 unpaginated bifolio with 4 pages.

D Draft in pencil

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann. Grey folder, titled: “Nanna Liebmann sange 1903-1904”.

Written in pencil.

34 × 25.4 cm. 1 unpaginated bifolio with 4 pages.

fol.4l: “november 1903” after last bar, written in pencil.

Commentary on the Edition

The present edition is based on A, the composer’s copy of the first edition, which includes a dedication to her children. The first edition itself is based on

B, an autograph ink manuscript that also served as a printer’s copy, evidenced by the pencil annotations in foreign hand indicating the song’s layout in four systems. B is based on C, an autograph manuscript in ink with additions in pencil.

From D to C Liebmann changed the ending. D is two bars shorter in the end. The interlude in D bb. 13–20 is also two bars shorter.

C is a transcription of D. The last two bars in C are written in pencil, suggesting that it is a later addition.

The lyrics to “Langt, langt fra mit Land engang” are from the poem “Gammel Melodi” by Thor Lange, published in the collection of poems Fjerne Melodier in 1902. 4 Liebmann leaves out some commas during the verses and some of the spellings have been modernised. This edition follows the spelling in A (in one case in B).

Editorial Emendations and Alternative Readings

Bar Part

4–5

voice

Comment

b. 4, note 2 to b. 5, note 2: “igjennem” written in one word as in B (A: “i gjennem”)

5 pf.1 notes 1–2: e e emended to e. s as in C and by analogy with voice

20–21 pf.2

b. 20 notes 1–3, b. 21 notes 1–3: slurs added as in B

25 pf.2 note 1: D emended to Db as in C

29–31 voice

b. 29, note 1 to b. 31, note 1: cresc as in B

33 pf.1 chord 3, lower note: courtesy accidental added

47 pf.2 lower part, note 1: courtesy accidental added

52 pf.2 lower part: q emended to q. as in B and to regularise bar

3–54 pf.2

 Ped* as in B

56 pf.1 chord 1, top note: f  ′ emended to f  #′ as in B and by analogy with f  #

4. Sol derovre gaar til Hvile

Description of Sources

A Printed score, first edition with dedication

B Manuscript score, printer’s copy, autograph

C Draft in pencil

A Printed score, first edition with dedication

DK­Kk, Royal Danish Library (Musiksamlingen). MAlæs-A255.

In: Fem Sange, Copenhagen: Nordisk Musikforlag (1904), pp. 8–9.

Title page: “Til hr. Vilhelm Michelsen / Fem Sange / til Texter af / Thor Lange og Ludvig Holstein / komponerede af / Nanna Liebmann.”

Pl. nr.: NMF 4291.

34.1 × 29 cm. 6 paginated bifolios with 12 pages, page 13 missing.

fol.1r: “Til mine elskede Børn! / Jul 1904” top right corner, written in ink.

B Manuscript score, printer’s copy, autograph

DK­Kk, Royal Danish Library (Musiksamlingen). MA ms 1024 mu 8902.1095. “Sol derovre gaar til Hvile” af Thor Langes “Fjerne Melodier” komponeret af Nanna Liebmann.

Title page: “ ‘Sol derovre gaar til Hvile’ / af / Thor Langes / ‘Fjerne Melodier,’ / komponeret / af / Nanna Liebmann”.

Written in ink with additions in pencil and blue crayon.

Pl. nr.: NMF 4291.

35.5 × 27 cm. 1 unpaginated bifolio with 4 pages.

fol.1r: “IV”, “19169”, “MA ms 1024” top left corner, written in pencil.

4 “Thor Lange: Fjerne Melodier (1902)”, kb.dk, accessed 21 May 2025, https://www.kb.dk/e-mat/dod/115308000202_bw.pdf

fol.1r: “mu 8902.1095 – (mu 7706.0800)” lower left corner, written in pencil.

fol.2r: “8/9” lower right corner, written in blue crayon. At each system (page 1: bb. 4, 8, 13, and 18, page 2: bb. 22, 26, 31 and 36): “1”, “2”, “3”, “4” written in pencil, presumably by printer.

C Draft in pencil

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann. Grey folder, titled: “Nanna Liebmann sange 1903-1904”. Written in pencil.

33.9 × 25.5 cm. 1 unpaginated bifolio with 4 pages.

Title on fol.1r: “Sol derovre gaar til Hvile - / Thor Lange”, written in pencil. fol.2v: “Midt i Februar 1904” lower right corner, written in pencil.

fol.3r: “Brev til Marie og Fru P.E. Lange-Müller” lower right corner, written in pencil.

Commentary on the Edition

The present edition is based on A, the composer’s copy of the first edition, which includes a dedication to her children. A is based on B, an autograph ink manuscript that also served as a printer’s copy, evidenced by the pencil annotations in foreign hand indicating the song’s layout in four systems. B is based on the pencil draft C A pencil draft of the melody Stig du Maane appears on the first page of C.

The lyrics are from the poem “Sol derovre gaar til Hvile” by Thor Lange, published in the collection of poems Fjerne Melodier in 1902. 5 Liebmann leaves out some commas during the verses and the spelling has been modernised. This edition flows the spelling in A.

Editorial Emendations and Alternative Readings

Bar Part

Comment

4 voice note 1: gaaer emended to gaar by analogy with title and modernised spelling throughout the song

10 voice note 3: Q emended to h as in B and to regularise bar

14 pf. dec added as in B

32 pf.2

B: chord 1, lower note to chord 2, middle note: no tie 35–36 voice barline added as in B

5. Det er Lærkernes Tid

Description of Sources

A Printed score

B Manuscript score, printer’s copy, autograph

C Draft in pencil, incomplete

A Printed score

DK­Kk, Royal Danish Library (Musiksamlingen). D204.

In: Fem Sange til Texter af Thor Lange og Ludvig Holstein, Copenhagen: Nordisk Musikforlag (1904), pp. 10–13.

Title page: “Til hr. Vilhelm Michelsen / Fem Sange / til Texter af / Thor Lange og Ludvig Holstein / komponerede af / Nanna Liebmann.”

Watermark, p. 1: “DET STORE KGL. BIBLIOTHEK 10.4.1905”

34.1 × 29 cm. 6 paginated bifolios with 13 pages.

fol.1r: “D 204” top left corner, written in pencil.

5 “Thor Lange: Fjerne Melodier (1902)”, kb.dk, accessed 21 May 2025, https://www.kb.dk/e-mat/dod/115308000202_bw.pdf

B Manuscript score, printer’s copy, autograph

DK­Kk, Royal Danish Library (Musiksamlingen). MA ms 1025 mu 8902.1096. “Det er Lærkernes Tid” komponeret af Nanna Liebmann.

Title page: “Ludvig Holstein: / ‘Det er Lærkernes Tid’ / komponeret / af / Nanna Liebmann.”

Written in ink with additions in pencil and blue crayon.

35.5 × 26.8 cm. 3 bound unpaginated bifolios with 6 pages. Front page loose.

fol.1r: “V” top left corner, written in pencil.

fol.1r: “MA ms 1025” top left corner, written in pencil.

fol.1r: “mu 8902.1096 – (mu.7706.0800)” lower left corner, written in pencil.

fol.5r: “Marts 1904” after last bar, written in ink.

fol.5r: “10/13” lower right corner, written in blue crayon.

At each system (note page 1: bb. 8, 15, 23, and 31, page 2: bb. 40, 47, 54 and 62, page 3: 71, 78, 85 and 93, page 4: bb. 99, 104, 120): “1”, “2”, “3”, “4” written in pencil, presumably by printer.

C Draft in pencil, incomplete

DK­Kk, Royal Danish Library (Musiksamlingen), C II, 10 Axel Liebmanns samling 13.

[Efterladte Kompositioner og Udkast III], [Diverse skitser] / Nanna Liebmann.

In grey folder titled: “Nanna Liebmann sange 1903-1904”.

Title page: “Det er Lærkernes Tid”

Written in pencil with additions in ink.

33.9 × 25.5 cm.

Commentary on the Edition

The present edition is based on A, the composer’s copy of the first edition, which includes a dedication to her children. The first edition itself is based on B, an autograph ink manuscript that also served as a printer’s copy, evidenced by the pencil annotations in foreign hand indicating the song’s layout in four systems. B is based on the incomplete pencil draft C.

The lyrics are from the poem “Det er Lærkernes Tid”, published in Ludvig Holstein’s collection of poems Digte in 1903. 6

Editorial Emendations and Alternative Readings

Bar Part Comment

6–8

pf.2

b. 6, note 2 to b. 8, note 1: slur added as in B and by analogy with b. 37, note 2 to b. 39, note 1

25–26 voice barline added as in B

31 pf.2 notes 2–3: s emended to 32nd to regularise bar

32–38 pf.1 trill lines added by analogy with bb. 1–7, bb. 63–69 and bb. 105–108

62 pf.2 notes 2–3: s emended to 32nd to regularise bar

71 pf. come sopra added by analogy with bb. 39–40

92 pf.1 note 1: d#′′ emended to d′′ by analogy with d′ in pf.2 (missing accidental added)