CARL NIELSEN and NANCY DALBERG Nancy Dalberg As Carl Nielsen’S Pupil, Assistant and Patron
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C a R L N I E L S E N S T U D I
CARL NIELSEN STUDIES V O L U M E V I • 2 0 2 0 CARL NIELSEN STUDIES V O L U M E V I • 2 0 2 0 Edited by Michelle Assay, David Fanning (editor-in-chief), Daniel Grimley, Niels Krabbe (consultant), and Christopher Tarrant Copenhagen 2020 The Royal Library Honorary board John Bergsagel, prof.emer., Copenhagen Jean Christensen, prof., University of Louisville, Kentucky Ludwig Finscher, prof.emer., Wolfenbüttel Jim Samson, prof., Royal Holloway, London Arnold Whittall, prof.emer., King’s College, London Editorial board Michelle Assay David Fanning (editor-in-chief) Daniel Grimley Niels Krabbe (consultant) Christopher Tarrant Translation or linguistic amendment of texts by Eskildsen, Røllum-Larsen, and Caron has been carried out by David Fanning, Marie-Louise Zervides, and Michelle Assay. Graphic design Kontrapunkt A/S, Copenhagen Layout and formatting Hans Mathiasen Text set in Swift ISSN 1603-3663 Sponsored by The Carl Nielsen and Anne Marie Carl-Nielsen Foundation © 2020 The authors and Carl Nielsen Studies, The Royal Library All rights reserved 2020 Permission for the use of quotations from the Carl Nielsen Edition has been kindly given by The Royal Library. R eports After the publication of the last volume The 150th anniversary of Nielsen’s of The Carl Nielsen Edition (CNU) prop- birth was celebrated intensively, both er in 2009, two further projects were in Denmark and in many places abroad, launched, one of which is finished, while with concerts, performance of the two the other is still at the planning stage. At operas at the Royal Theatre, Nielsen as the request of the jury of the chamber featured composer at the BBC London music competition in 2015 (see below), Proms, festivals, books and CD publica- a volume with an annotated facsimile tions, etc. -
A CN 34 Orkester Tekst 01 1 03/12/04, 15:27 C ARL NIELSEN
C ARL NIELSEN V ÆRKER W ORKS Carl Nielsen Udgaven CN 00034 i A CN 34 orkester tekst 01 1 03/12/04, 15:27 C ARL NIELSEN 1 865-1931 V ÆRKER W ORKS Udgivet af Carl Nielsen Udgaven Det Kongelige Bibliotek Hovedredaktør Niels Krabbe Serie II. Instrumentalmusik. Bind 8 Published by The Carl Nielsen Edition The Royal Library Editor in chief Niels Krabbe Series II. Instrumental Music. Volume 8 Edition Wilhelm Hansen Copenhagen 2004 Carl Nielsen Udgaven CN 00034 ii A CN 34 orkester tekst 01 2 03/12/04, 15:27 C ARL NIELSEN ORKESTERVÆRKER 2 ORCHESTRAL WORKS 2 Udgivet af Edited by Niels Bo Foltmann Peter Hauge Edition Wilhelm Hansen Copenhagen 2004 Carl Nielsen Udgaven CN 00034 iii A CN 34 orkester tekst 01 3 03/12/04, 15:27 Orchestral parts are available Graphic design Kontrapunkt A/S, Copenhagen Music set in SCORE by New Notations, London Text set in Swift Printed by Quickly Tryk A/S, Copenhagen CN 00034 ISBN 87-598-1127-7 ISMN M-66134-113-0 Sponsored by Vera og Carl Johan Michaelsens Legat Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K Translation James Manley © 2004 Carl Nielsen Udgaven, Det Kongelige Bibliotek, København All rights reserved 2004 Carl Nielsen Udgaven CN 00034 iv A CN 34 orkester tekst 01 4 03/12/04, 15:27 INDHOLD C ONTENTS General Preface vii Generelt forord Preface xi Forord Facsimiles xxxiii Faksimiler SAGA DREAM, OPUS 39 1 SAGA-DRØM, OPUS 39 AT THE BIER OF A YOUNG ARTIST 23 VED EN UNG KUNSTNERS BAARE FOR STRING ORCHESTRA FOR STRYGEORKESTER ANDANTE LAMENTOSO ANDANTE LAMENTOSO NEARER MY GOD TO -
6220635 Cover Book.Pdf
CarL NieLseN 29 Little Preludes for Organ, CNW 96 (1929) – Nos. 6-14. 11:40 VI . 0:48 The Organ Works VII . 0:50 VIII ��������������������������������������������������������������������������������������������������������������������������������������������������������������������� 0:44 IX . 1:36 BiNe BryNdOrf organ X. 2:06 TOrsTeN NieLseN baritone XI . 1:42 XII . 1:18 XIII ��������������������������������������������������������������������������������������������������������������������������������������������������������������������� 1:28 XIV ��������������������������������������������������������������������������������������������������������������������������������������������������������������������� 1:08 fest-præludium ved aarhundredskiftet (festival Prelude for the New Century), Forunderligt at sige (How wonderful to ponder), CNW 165 (1914) . 3:32 CNW 84 (1901). 2:00 for baritone and organ arranged for organ by Finn Viderø Frisk op! Endnu engang (Refresh yourself in song), CNW 168 (1913-15) . 2:05 29 Little Preludes for Organ, CNW 96 (1929) – Nos. 1-5. 6:08 for baritone and organ I . 1:46 29 Little Preludes for Organ, CNW 96 (1929) – Nos. 15-24 ������������������������������������������������������������� 9:01 II . 0:53 XV ����������������������������������������������������������������������������������������������������������������������������������������������������������������������� 0:42 III ����������������������������������������������������������������������������������������������������������������������������������������������������������������������� -
C a R L N I E L S E N S T U D I
CARL NIELSEN STUDIES V O L U M E I V • 2009 CARL NIELSEN STUDIES V O L U M E I V • 2009 Edited by David Fanning, Michael Fjeldsøe, Daniel Grimley, and Niels Krabbe (editor-in-chief) Copenhagen 2009 The Royal Library CARL NIELSEN AND THE DANISH TRADITION OF STORY-TELLING By Colin Roth Presenting an interdisciplinary paper is not unlike putting up a tent – it’s important to establish secure moorings for the poles fi rst, but diffi cult to get them to stand in balance with each other, even more diffi cult to throw the tarpaulin over the lot without knocking some over or getting them stuck in the wrong place.1 Only when the tent cover is in place, properly supported by its poles, does the structure become recognisable as a tent at all, making sense as a coherent idea – so there’s a protracted and sometimes challengingly tangential pathway towards the success you hope you’ll eventually achieve when all your ropes are pegged and your fl aps zipped. I hope you’ll bear with me while I try to put this tent up.2 The new edition of Carl Nielsen’s works has been a source of great interest to us all as its volumes have been published, one after the other. But one of them was a horrible shock when it arrived. It contained really dreadful stuff, quite awful. That was the score of Aladdin. Of course, I’m not saying that the editing of Aladdin was shocking! On the contrary, David Fanning’s presentation of the material is excellent – indeed, the shock was so great precisely because his presentation was so thorough. -
Carl Nielsen the Masterworks Volume 1 – Orchestral Music
carl NielseN The masTerworks Volume 1 – orchestral music DaNish NatioNal symphoNy orchestra Michael Schønwandt / thoMaS dauSgaard CD 1 carl NielseN Symphony no. 3, op. 27 “Sinfonia espansiva” (1910-11) 37:11 1 I Allegro espansivo �������������������������������������������������������������������������������������������������������������������������������������������������������11:41 The masTerworks 2 II Andante pastorale** 9:33 Volume 1 – orchestral music 3 III Allegretto un poco ���������������������������������������������������������������������������������������������������������������������������������������������������6:21 4 IV Finale: Allegro �������������������������������������������������������������������������������������������������������������������������������������������������������������9:28 ** Inger Dam-Jensen, soprano; Poul Elming , tenor DaNish NatioNal symphoNy orchestra Michael Schønwandt / thoMaS dauSgaard * Symphony no. 2, op. 16 “The Four Temperaments” (1901-02) �����������������������������33:44 5 I Allegro collerico ���������������������������������������������������������������������������������������������������������������������������������������������������������10:07 6 II Allegro comodo e flemmatico 4:39 7 III Andante malincolico �������������������������������������������������������������������������������������������������������������������������������������������11:20 -
Flute: Late Style in Carl Nielsen’S Works for Flute
THE “ARCADIAN” FLUTE: LATE STYLE IN CARL NIELSEN’S WORKS FOR FLUTE A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2004 by Beth E. Chandler B.M., Baylor University, 1993 M.M., New England Conservatory, 1996 Committee Chair: bruce d. mcclung, Ph.D. ABSTRACT Revered as Denmark’s most celebrated musical figure and regarded as one of the finest, albeit under recognized composers, Carl Nielsen (1865–1931) holds a place as one of the most individual and creative artists of his time. Straddling the nineteenth and twentieth centuries and with consideration to the dramatically changing musical climate of that time, Nielsen’s vast output is stylistically complex. His music spans an array of styles, with elements of Romanticism in his early works, to an outright rejection of these same principles and an adoption of extensive progressivism in later works, all the while maintaining features of neoclassicism. There are six known works by Carl Nielsen that include flute in a solo or chamber role. These works date from his late, mature compositional period and include a short piece for solo flute from the incidental music to Aladdin, Op. 34 (1918–19); three pieces from the incidental music to Moderen (The mother), Op. 41 (1920): “Taagen letter” (The fog is lifting) for flute and piano or harp, “Børnene spiller” (The children are playing) for solo flute, and “Tro og håb spiller” (Faith and hope are playing) for flute and viola; the Wind Quintet, Op. -
C a R L N I E L S E N S T U D I
CARL NIELSEN STUDIES V O L U M E V I • 2 0 2 0 CARL NIELSEN STUDIES V O L U M E V I • 2 0 2 0 Edited by Michelle Assay, David Fanning (editor-in-chief), Daniel Grimley, Niels Krabbe (consultant), and Christopher Tarrant Copenhagen 2020 The Royal Library Honorary board John Bergsagel, prof.emer., Copenhagen Jean Christensen, prof., University of Louisville, Kentucky Ludwig Finscher, prof.emer., Wolfenbüttel Jim Samson, prof., Royal Holloway, London Arnold Whittall, prof.emer., King’s College, London Editorial board Michelle Assay David Fanning (editor-in-chief) Daniel Grimley Niels Krabbe (consultant) Christopher Tarrant Translation or linguistic amendment of texts by Eskildsen, Røllum-Larsen, and Caron has been carried out by David Fanning, Marie-Louise Zervides, and Michelle Assay. Graphic design Kontrapunkt A/S, Copenhagen Layout and formatting Hans Mathiasen Text set in Swift ISSN 1603-3663 Sponsored by The Carl Nielsen and Anne Marie Carl-Nielsen Foundation © 2020 The authors and Carl Nielsen Studies, The Royal Library All rights reserved 2020 Permission for the use of quotations from the Carl Nielsen Edition has been kindly given by The Royal Library. N I E L S E N , SAUL AND DAVID A N D THE SYMBOLIST MOVEMENT Cultural-Historical Perspectives By Marie-Louise Zervides In his 1991 biography, Carl Nielsen – Danskeren (Carl Nielsen – The Dane), the Danish theo- logian and literary critic Jørgen I. Jensen argued the importance of symbolism in Carl Nielsen’s artistic development. He stated: ‘Carl Nielsen’s art originates in short from a symbolist culture; it is musical symbolism.’1 Nielsen never publicly associated himself with the term, however. -
The Reception of Carl Nielsen As a Danish National Composer
The Reception of Carl Nielsen as a Danish National Composer Sarah Gutsche-Miller Faculty of Music McGill University, Montreal August 2003 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Master of Arts (Musicology) Sarah Gutsche-Miller, 2003 11 Abstract Carl Nielsen, labelled as Denmark's national composer, has long been relegated to a secondary status in English-language musicology as a composer of great national significance but negligible importance outside of Scandinavia. This thesis explores the links between Danish nationalism and Nielsen's music, as well as the effects of Nielsen's status as a national composer on the reception of his symphonic music outside of Denmark. The first section of this paper is a study of Nielsen's music in the context of Danish cultural nationalism at the turn of the twentieth century, focusing on the folk influences or "Danish" aspects of his symphonic music. It also examines the extent to which the national or Nordic qualities of his music are constructions and later attributions. The following section looks at the development of Nielsen's status as a national composer in Denmark, as well as how this label has engendered the stereotyping of his music as regional in English-language musicology. Nielsen has been neglected by the Anglo-Germanic canon which privileges central European compositional styles and methods while viewing nationally inflected music negatively. Although Nielsen's Danish background cannot be ignored, his symphonic music needs to be studied in a wider European context for his universal message to be appreciated. -
Nielsen's Arcadia: the Case of the Flute Concerto
NIELSEN’S ARCADIA: THE CASE OF THE FLUTE CONCERTO The fl ute cannot deny its own nature, its home is in Arcadia and it prefers pastoral moods. Hence, the composer has to obey its gentle nature, unless he wants to be branded a barbarian.1 By Ryan Ross Nielsen’s own remarks concerning his Flute Concerto (composed for and premiered by Holger Gilbert-Jespersen in 1926) have often appeared alongside descriptions of the work. The music’s often sudden moments of lyricism seem to relate well to his invo- cation of the terms ‘pastoral’ and ‘Arcadia’. However, while the concerto has recently been subjected to some fascinating examinations,2 its ‘Arcadian’ nature as explicitly professed by Nielsen has barely been explored.3 In this essay I shall suggest that there are distinct patterns pertaining to the Flute Concerto involving the idea of ‘Arcadia’ as it contrasts an idyllic past with a troubled present. In my analysis, I will argue that his positioning of simple themes with relation to their surroundings in the concerto’s two movements suggests a process-driven search for an Arcadian ideal. As such, and 1 Fløjten kan ikke fornægte sin Natur, den hører hjemme i Arkadien og foretrækker de pastorale Stemninger; Komponisten er derefter nødt til at rette sig efter det blide Væ- sen, ifald han ikke vil risikere at stemples som en Barbar. This and other remarks Nielsen made about his Flute Concerto may be found in Carl Nielsen Works II/9: Concertos, Copenhagen 2002, xxxiii-xxxiv. 2 Two such studies were published in Carl Nielsen Studies 2 (2005) – Tom Pan- kurst, ‘“We Never Know Where We’ll End Up”: Nielsen’s alternative end- ings to the Flute Concerto’, 132-151; and Kirsten Flensborg Petersen, ‘Carl Nielsen’s Flute Concerto: Form and revision of the ending’, 196-225. -
'O, Du Gyldne Maskarade!'
‘O, du gyldne Maskarade!’ ‘Oh, golden masquerade!’ The construction of Danish national identity in Carl Nielsen’s Maskarade (1906) Aksel Dalmo Tollåli Master’s thesis, Department of Musicology Faculty of Humanities UNIVERSITY OF OSLO Spring 2019 I II ‘O, du gyldne Maskarade!’ ‘Oh, golden masquerade!’ Constructions of Danish national identity in Carl Nielsen’s opera Maskarade (1906) Aksel Dalmo Tollåli Master’s thesis, Department of Musicology Faculty of Humanities University of Oslo Spring 2019 III © Aksel Dalmo Tollåli, 2019 ‘O, du gyldne Maskarade!’ (‘Oh, golden masquerade!’) Constructions of Danish national identity in Carl Nielsen’s opera Maskarade (1906) Aksel Dalmo Tollåli http://www.duo.uio.no/ IV Abstract This thesis explores the portrayal of Danish national identity in Carl Nielsen and Vilhelm Andersen’s opera Maskarade (1906). The opera is markedly different in its portrayal of Danish identity – Danishness – than the Danish operas of the 19th century, which were generally characterised by nationalist tropes of rural mediaeval glory or folk mythology, with scores heavily reliant on the folk-like strophic song. Maskarade presents a much greater musical stylistic variety, and is also a comedy, set in the Danish capital Copenhagen, among the bourgeoisie in the early 18th century. The thesis also examins potential reasons for the Maskarade’s rapid success within Denmark and status as a national opera. It seeks to investigate how Maskarade relates to previous Danish music drama, and to place it in a wider Danish operatic history, as well as look at its critical reception between the premiere and its 25th anniversary revival in 1931. While the thesis offers no conclusive answer to the question of Maskarade’s success in its first 25 years, it does posit that a main reason was the increasing fame of Carl Nielsen in that same period. -
"Ei, Dem Alten Herrn Zoll' Ich Achtung Gern'"
Axel Teich Geertinger Werkbegriffe in Gesamtausgabe und Werkverzeichnis, oder: Wann ist ein Werk keins? Definitorische Probleme dargestellt am Beispiel Carl Nielsens Das thematisch-bibliographische Werkverzeichnis stellt ein zentrales Nachschlage- werk bei der Beschäftigung mit vor allem älterer Kompositionsmusik dar. „Thematisch“ darf sich das Verzeichnis nennen, wenn es die Identifikation der verzeichneten Werke mittels des Incipits, d. h. der Wiedergabe der Anfangstakte des jeweiligen Werkes ermöglicht. „Bibliographisch“ ist das Verzeichnis, falls es ferner die Quellen bibliogra- phisch erfasst, d. h. die überlieferten Handschriften und Drucke identifiziert. Die Bezeichnung „Werkverzeichnis“ bezieht sich zwar nicht definitionsgemäß, wohl aber traditionell fast ausschließlich auf das Verzeichnis der Werke eines einzelnen Komponisten. Verzeichnisse anderer Korpora wie etwa örtlich definierte Sammlungen dagegen werden üblicherweise nicht als Werkverzeichnisse bezeichnet sondern als Kataloge. Es verbindet sich somit mit dem Werkverzeichnis auch die Vorstellung des künstlerischen Gesamtwerkes einer Einzelperson, wenn auch der Begriff selbst eigentlich nur das Verzeichnis von Einzelwerken allgemein bezeichnet. Die Gattung des Werkverzeichnisses hat mittlerweile eine jahrhundertlange Tradition hinter sich und hat sich als stehender Begriff in der Musikwissenschaft und Musik- literatur eingebürgert. Gerade wegen dieser Selbstverständlichkeit wird vielleicht erstaunlich selten – falls überhaupt jemals – in einem Werkverzeichnis erläutert, welche Werkdefinition dem Verzeichnis eigentlich zugrunde gelegt wurde. Dies ist umso erstaunlicher, wenn man den historischen Wandel der Werkauffassung über die Jahrhunderte, etwa seit dem Barock oder gar noch früherer Zeiten, bedenkt. Zwar erläutern Werkverzeichnisse oftmals die nähere Abgrenzung des zu verzeichnen- den Œuvres; sie beschränken sich dabei meist auf die Feststellung, dass bestimmtes Material verzeichnet ist – z. B. alle vollendeten Kompositionen – oder dass umge- kehrt dieses oder jenes Material ausgegrenzt wurde, z. -
Nielsen, Shakespeare and the Flute Concerto
The University of Manchester Research Nielsen, Shakespeare and the Flute Concerto DOI: 10.7146/cns.v6i0.122251 Document Version Final published version Link to publication record in Manchester Research Explorer Citation for published version (APA): Fanning, D., & Assay, M. (2020). Nielsen, Shakespeare and the Flute Concerto: From Character to Archetype. Carl Nielsen Studies, 6, 68-93. https://doi.org/10.7146/cns.v6i0.122251 Published in: Carl Nielsen Studies Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:07. Oct. 2021 CARL NIELSEN STUDIES V O L U M E V I • 2 0 2 0 CARL NIELSEN STUDIES V O L U M E V I • 2 0 2 0 Edited by Michelle Assay, David Fanning (editor-in-chief), Daniel Grimley, Niels Krabbe (consultant), and Christopher