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88226103_04_outer_wrap.indd226103_04_outer_wrap.indd 1 222/09/092/09/09 14:41:2114:41:21 n .P THE KEY MASTERPIE 88226103_04_booklet.indd226103_04_booklet.indd 1J 222/09/092/09/09 14:54:4214:54:42 CD 1

Hakon Jarl op. 40 (1844) 1 Allegro non troppo - Poco più moderato - Allegro molto ...... 9:20 Danish National Symphony Orchestra; Th omas Dausgaard, conductor (from 8.226061, Vølvens spådom and Overtures)

2 Andantino and Eight Variations in C major (1839) ...... 8:42 Tre Musici (from DCCD 9310, Danish Golden Age Piano Trios)

Piano Sonata in D minor, op. 34 (1843) ...... 28:39 3 Allegro passionato ...... 9:46 4 Romance: Andantino quasi allegretto ...... 5:01 5 Scherzo: Allegro molto assai ...... 5:49 6 Finale: Allegro ...... 8:03 Nina Gade, piano (from DCCD 9112, Piano Sonatas)

7 Fantasia for Organ in F minor, op. 20 (1837) ...... 8:11 Hans Fagius, organ (from 8.226026, Works for Organ)

Suite for Violin and Piano in A minor, op. 66 (1864) ...... 18:38 8 Moderato - Allegro moderato ...... 5:05 9 Moderato non troppo ...... 2:54 10 Scherzo: Allegro vivace assai - Un poco meno vivace - Tempo I ...... 3:50 11 Moderato ...... 3:10 12 Allegro con moto ...... 3:39 Elisabeth Zeuthen Schneider, violin; Bohumila Jedlickova, piano (from 8.224021-22, Works for Violin and Piano)

Total: 73:29

88226103_04_booklet.indd226103_04_booklet.indd 2 222/09/092/09/09 14:54:4314:54:43 CD 2

Liden Kirsten (1849) Act II (beginning) ...... 14:35 1 Introduction and Recitative: “Ja, jeg er hjemme” (Sverkel) ...... 3:26 2 Romance: “Langt, langt fra hjemmets kyst” (Sverkel) ...... 2:58 3 Recitative: ”Ser du, jeg er her alt og festligt smykket” (Sverkel, Kirsten) ...... 4:12 4 Duet: ”Hør ungersvend, sig ikke nej” (Sverkel, Kirsten) ...... 4:00 Inger Dam-Jensen, soprano; Poul Elming, tenor Danish National Symphony Orchestra; Michael Schønwandt, conductor (from 8.224106-07, Liden Kirsten)

Symphony no. 1 in G minor, op. 17 (1835, rev. c. 1850) ...... 31:24 5 Introduction: Moderato - Allegro assai, con passione ...... 10:05 6 Andante ...... 5:35 7 Menuetto ...... 5:50 8 Finale: Allegro molto assai ...... 9:54 (from 8.224042, Th e Symphonies)

Vølvens spådom, op. 71 (1870-72) ...... 16:41 9 I Moderato ...... 4:47 10 II Allegro moderato ...... 2:55 11 III Allegro ...... 1:41 12 IV Marsch: L’istesso tempo ...... 2:19 13 V Slutningschor: Moderato ...... 4:59 Lunds Studentsångförening; Danish National Symphony Orchestra; Th omas Dausgaard, conductor (from 8.226061, Vølvens spådom and Overtures)

Total: 62:40

Dacapo is supported by the Danish Arts Council Committee for Music

88226103_04_booklet.indd226103_04_booklet.indd 3 222/09/092/09/09 14:54:4414:54:44 J.P.E. HARTMANN it in the following terms in celebration of Hartmann’s eightieth anniversary in 1885:

When Danish composer Johan Peter Emil- Th e best and deepest thoughts, indeed ius Hartmann was born in 1805, Napoleon thoughts that have nourished a suc- had just been crowned as Emperor and cession of more or less distinguished Haydn was being hailed for his new orato- younger minds – who but Hartmann was rios, Th e Creation and Th e Seasons. the fi rst to express them and make them When Hartmann died in 1900, a tele- echo in us? He is the poet, the vision- phone had been installed in his apartment ary who looks ahead into the future. We and electric lamps illuminated Copen- are the Nordic youth, and we have our hagen, the city of his birth. In Vienna, dreams – but generations ago already, Mahler and Schönberg now ruled supreme those dreams were Hartmann’s too. within the world of music. And towards the Hartmann fi rst made an impression on east, young Stravinsky and Bartók were on Danish audiences in the 1830s, when the the rise. old masters Weyse and Kuhlau were bowing Growing old is an art in itself, but lead- out. Hartmann then became the principal ing a full life requires a master. And in this exponent of a Danish national tone, which respect Hartmann was quite special. He is prominently exemplifi ed in his overtures dominated most of the nineteenth century to historically themed plays and not least his and naturally became a beacon within Nor- opera Little Kirsten (1848), which at the time dic music. He worked as a composer for of its creation was seen as embodying the eight decades and held a position as organist essence of ‘Danishness’. Th e libretto drew until he was 76 years of age (!). He took on on Danish folksongs and had been created all kinds of teaching, administrative and or- by his good friend Hans Christian Andersen. ganisational tasks within the Danish music Hartmann’s score also refl ected the realm scene, and over the 43 years of his career of folksong. And in the 1860s, Hartmann, also pursued a career as a civil servant. As a along with choreographer August Bournon- composer he became the leading proponent ville, created a series of ballets based on of Nordic “National Romanticism”. His Nor- Norse mythology, which in 1872 was fol- wegian admirer, Edvard Grieg, expressed lowed by Vølvens spådom (‘Th e Prophesy

88226103_04_booklet.indd226103_04_booklet.indd 4 222/09/092/09/09 14:54:4514:54:45 of the Seeress’) – scored for male choir and took in Europe, rendering old prejudices re- orchestra, it was received in the spirit of a dundant. Strange as it may seem, Hartmann’s divine message. Th e setting of the Norse two symphonies have been performed only verse made a profound impact and aff orded rarely, even in the half-century during which Hartmann status as national hero. Hartmann the composer chaired the Copenhagen Music was approaching the ‘age of dust’, which Association. Maybe this has to do with the fact they used to call the age around 70, and he that Hartmann’s infl uential son-in-law, Niels was considered an oracle of wisdom. Poet W. Gade, wrote eight symphonies that not Christian Richardt expressed in verse the only held their own but were actually seen to perception of Hartmann as a seer who en- embody an exemplary new symphonic style. joyed privileged access to ancient sources: One, however, that was diff erent from that of Hartmann, who had written his Symphony Hartmann listens – tones resound, No. 1 in 1835. First performed in Copenha- Hartmann commands – sources surge, gen in 1836, it was revised around 1850, and he has discovered the words of wizardry. Hartmann notably wrote an entirely new He makes powerful sounds resonate music for the opening Moderato. Hartmann’s from rock. Second Symphony dates from 1848 and Sweet songs, garlands of fl owers, likewise met with scant success – indeed one he weaves for us from Denmark’s land. could say that Hartmann as a symphonist suf- Th e National Romantic perception of Hart- fered the same fate as his Swedish peer, Franz mann endured after his death. Unfortunately, Berwald, whose symphonies only achieved so did the notion that Hartmann was a ‘lo- recognition after his death. cal’ phenomenon whose music never would become international in scope. During such Hartmann wrote four remarkable piano times, during which the sentiments of Na- sonatas. Th e earliest, Piano Sonata No. 1 in tional Romanticism prevailed, it was even D minor from 1843, marked his fi rst inter- understood that only Danes could compre- national breakthrough when it was awarded hend Hartmann’s music. Now contemporary a prize at a German composer’s competition music researchers have documented the over which Hartmann’s idol, Louis Spohr, extent of Hartmann’s very large international presided as member of the jury. Robert network and the travels he regularly under- Schumann praised it in his periodical Neue

88226103_04_booklet.indd226103_04_booklet.indd 5 222/09/092/09/09 14:54:4514:54:45 Hartmann at the organ of Vor Frue Kirke, the present day Cathedral of Copenhagen, drawn in 1897 by Hans Nikolaj Hansen. 6

88226103_04_booklet.indd226103_04_booklet.indd 6 222/09/092/09/09 14:54:4514:54:45 Zeitschrift für Musik (New Journal for Mu- works for violin and piano trace his gradual sic) in which he appropriately called Hart- development from his Violin Sonata No. 1 of mann “an artist who appeases us through the the Viennese school to his more exploratory harmony of his powers; an artist who masters works of the 1880s. Somewhere in between form and is not a slave to his feelings; an art- you fi nd his lyrical Suite (1864), where so- ist who never fails to move and fascinate us.” nata form is abandoned in favour of lyrical Th e year after, Leipzig’s Gewandhaus romantic sentiments. Orchestra performed Hartmann’s new overture for the play Hakon Jarl (1844), which J.P.E. Hartmann represented the third gene- is a clear example of his Nordic style. In the ration in a Danish musical dynasty founded overture, a ‘pagan’ battle motif in the minor by his grandfather, Johann Hartmann, who is set against a happier ‘Christian’ hymn- had left Schleswig-Holstein behind and like theme, and this symbolises the religious settled in Copenhagen. And as a family strife between the two Viking kings, Hakon man, Hartmann founded his own musical Jarl and Olaf Trygvason. Contrapuntal, orig- dynasty. Many Danish composers, such as inal and impressive, Hartmann’s Hakon Jarl Niels Viggo Bentzon, Jørgen Bentzon, Emil reveals his absolute command of the genre. Hartmann, Niels W. Gade, Rued Lang- gaard, Asger Hamerik, Ebbe Hamerik and Hartmann is univocally hailed as having August Winding, can trace their roots either been a very great improviser at the organ. through their bloodline or marriage to a Perhaps it was this unique talent that ren- single ancestor, the iconic J.P.E. Hartmann. dered superfl uous the actual writing down of more than a handful of organ composi- And beyond family ties, Hartmann’s late tions. Th e Fantasy in F minor (1837) is con- oeuvre inspired – and thus found new form sidered a classic in the Danish organ reper- – in the works of the greatest Danish com- toire. His chamber pieces only represent a poser of the twentieth century, Carl Nielsen. small part of his oeuvre and several of these Th at this connection has never been widely were never fi nished, such as the Piano Trio recognised is another lamentable result of in C minor (1849) of which only the very the misinterpretation of J.P.E. Hartmann as charming and vivacious variation movement a composer who wrote only for Danes. was ever completed. However, Hartmann’s Jens Cornelius, 2009 7

88226103_04_booklet.indd226103_04_booklet.indd 7 222/09/092/09/09 14:54:5314:54:53 Poster from the performance of Little Kirsten in Weimar in 1856. 8

88226103_04_booklet.indd226103_04_booklet.indd 8 222/09/092/09/09 14:54:5414:54:54 LIDEN KIRSTEN LITTLE KIRSTEN

ANDEN AKT ACT TWO

Indledning Introduction Riddersalen på fru Malfreds borg. Den er pragtfuldt Th e banqueting hall at Lady Malfred’s castle, splendidly oplyst. lit up.

Nr. 7 No. 7 Recitativ Recitative

SVERKEL SVERKEL 1 Ja, jeg er hjemme, i mit kære Danmark, Oh, I am home now, my beloved Denmark, hos dem jeg elsker, og som elske mig; With those I love, and who love me too; alt er så nyt, og dog så dejligt gammelt, All is so new, yet sweet as I once knew it, alt, som jeg gemte det her i mit bryst, etc. All that I treasured here, deep in my heart. kun liden Kirsten er en skøn forvandling. Yet little Kirsten – changed beyond all wonder!

Romance Romance

2 Langt, langt fra hjemmets kyst, Far foreign shores along på ensomme gang, I wandered apart; blev solbelyst mit bryst Sunshine of a childhood song ved en barndomssang. Always warmed my heart.

Straks erindringens knop As a rosebud can hold som rose brød frem, A rose full-blown, hvert blad rullede op Mem’ry’s petals unfold med mit barndomshjem, etc. At my childhood home, etc.

Der var frisk på min ø, Fresh the island air hvor skovene lå Where forests lie om den rolige sø Round the peace-breathing mere med svanerne på, etc. Where swans glide by, etc.

Langt, langt fra hjemmets kyst, Far foreign shores along på ensomme gang, I wandered apart; blev solbelyst mit bryst Sunshine of a childhood song ved en barndomssang, etc. Always warmed my heart, etc.

(Liden Kirsten kommer.) (Kirsten enters.)

Recitativ Recitative

88226103_04_booklet.indd226103_04_booklet.indd 9 222/09/092/09/09 14:54:5514:54:55 Hartmann quotes & accolades

Symphonies 1-2 Danish Golden Age Piano Trios

CD 8.224042 DCCD 9310 Exemplary performances, outstanding recorded Tre Musici display remarkable ensemble playing sound, beautifully spaced and with an evocative (American Record Guide) bloom ´´´´´ (BBC Music Magazine)

Th is welcome introduction to Danish Romanti- Works for Violin and Piano cism shows Hartmann’s music to be attractive and CD 8.224021-22 well worth exploring – excellent performances ´´´ (Th e Times) Recommended to any who love oﬀ -the-beaten- track Romantic works A wonderfully refreshing disc of music. Very well (American Record Guide) handled (Musicweb International) Recommended (Fanfare)

La plupart des œuvres parues en CD de Hart- mann l’ont été par le label dacapo qui accomplit ici un patient travail de réhabilitation, suivi, espérons-le, par d’autres productions (Répertoire)

88226103_04_booklet.indd226103_04_booklet.indd 1100 222/09/092/09/09 14:54:5514:54:55 Piano Sonatas Liden Kirst en

DCCD 9112 CD 8.224106-07 Un disque qui sort de l’ordinaire et qui le mérite DANISH GRAMMY AWARD 2000 (Répertoire) Th is recording should win many converts and alert us to vital strand in Danish musical history Overtures (´´´´´ Pick of Th e Month, BBC Music Magazine)

CD 8.224097 Th is well-engineered release should prove tempt- A distinctly Danish style clearly emerges in Hart- ing to opera fans who already have completed mann’s work, especially evident in Hakon Jarl their collections of Verdi, Puccini and Wagner and the late (1881) overture to Yrsa (Courier-Post, New Jersey) (Classics Today) Die Aufnahme des dänischen Rundfunks und One of those discs that should provide hours and Michael Schønwandt realisiert das Werk auf hours of honest enjoyment hohem orchestralem und vokalem Niveau (Fanfare Magazine) (Opern Welt)

88226103_04_booklet.indd226103_04_booklet.indd 1111 222/09/092/09/09 14:54:5514:54:55 SVERKEL SVERKEL 3 Ser du, jeg er her alt og festlig smykket, Look, I am here, and all adorned for feasting! du danser jo den første dans med mig? And surely the ﬁ rst dance you’ll dance with me? Den første og den anden og den tredje! Th e ﬁ rst dance, and the second, and the third one! Jeg er en sjælden gæst jo, den hjemkomne, For here you see a rare guest home returning, din broder og din allerbedste ven! Your brother and your ever-loving friend!

KIRSTEN KIRSTEN Min broder og min allerbedste ven! My brother and my ever-loving friend!

SVERKEL SVERKEL I bjælken ser jeg endnu sidde Th ere at the window still I see it hanging, den gamle jernring, hvor jeg tit og ofte Th e ring of iron where I many a time fastbandt den ene ende af mit skjærf Passed round and tied the one end of my sash og holdt så i den anden. And held the other end. Husker du, husker du? Do you remember? Så satte du dig op, det var din gynge! You sat up in it, and it was your swing! Så gynged’ du på bølgen, over havet, And then you swung across the waves of the sea, til Miklegård og til Jerusalem. To Miklagård and to Jerusalem.

KIRSTEN KIRSTEN I haven planted’ vi et rosentræ, A rosebush in the garden too we planted. det gror endnu; ser du de høje grene It grows there still. See where its branches high nå op til vinduet? Reach to the window!

SVERKEL SVERKEL Det står fuldt af roser. It stands full of roses.

KIRSTEN KIRSTEN Og med de smukkeste, vi har i haven. Th e fairest that we have in all the garden.

SVERKEL SVERKEL Og husker du den vise, jeg dig lærte? Do you remember, too, the song I taught you?

KIRSTEN KIRSTEN Om ‘Gangerpilten’; tit jeg husker den. “Th e Serving-Lad”; oh, often I remember.

SVERKEL SVERKEL Jeg sang den ude, og da var det for mig, I sang it in far lands; it was for me som sad jeg hos dig i mit kære Danmark, As if I sat with you in my dear Denmark; men ene sang jeg der den hele vise, But there I sang the ballad all alone, ej smukt med vekselsangen, som vi sang den, Not as we sang it then, exchanging verses, når jeg var ‘gangerpilten’, du prinsessen; When you were the princess, I the serving-lad. o, syng den for mig, da er jeg ret hjemme, Oh, sing it for me, then I’ll be home truly –

88226103_04_booklet.indd226103_04_booklet.indd 1122 222/09/092/09/09 14:54:5614:54:56 en drøm er rejsen og de mange år; A dream the journey and the long, long years! jeg sidder atter hos min liden Kirsten, I’ll sit again beside my little Kirsten, ved tavlebordet, hvor vi spille sammen. Th ere at the gaming-table where we played, Du begynder først … You begin the song …

KIRSTEN KIRSTEN … og ‘gangerpilten’ svarer da prinsessen. … and then the serving-lad sings to the princess.

(De sætter sig ved tavlebordet.) (Th ey sit down at the gaming-table.)

Nr. 8 Vekselsang No. 8 Duet

KIRSTEN KIRSTEN 4 Hør ungersvend, sig ikke nej, Young man, I pray, don’t say me nay, leg tavlebord med mig! But throw the dice with me!

SVERKEL SVERKEL Jeg ejer ej det røde guld, Of yellow gold I have no store, at sætte op mod dig. To wager wantonly.

KIRSTEN KIRSTEN Sæt du kun op din gode hat, Th en wager me your servant’s cap, og fast om den er grå, Th ough it be worn and grey, se jeg min perlesnor har sat, I’ll put my string of pearls at hap, tag den, kan du den få. And win it well you may.

BEGGE BOTH Den første gang guldterning When ﬁ rst they throw the golden dice, på tavlebordet randt, Across the board it spins: den ungersvend han tabte, Th e serving-lad he loses, men jomfruen hun vandt. Th e maiden fair she wins.

KIRSTEN KIRSTEN Han tabte, hun vandt … He loses, she wins …

SVERKEL SVERKEL … han tabte … … he loses …

BEGGE BOTH … hun vandt. … she wins.

KIRSTEN KIRSTEN Hør ungersvend, sig ikke nej, Young man, I pray, don’t say me nay, leg tavlebord med mig! But throw the dice with me!

88226103_04_booklet.indd226103_04_booklet.indd 1133 222/09/092/09/09 14:54:5614:54:56 SVERKEL SVERKEL Det røde guld jeg ejer ej, Of yellow gold I have no store, at sætte op mod dig. To wager wantonly.

KIRSTEN KIRSTEN Sæt du din kjortel da på spil, Th en wager me your servant’s gown, ja fast om den er grå, Th ough it be worn and grey, min krone af guld jeg sætte vil, I’ll wager you my golden crown, tag den, kan du den få. And win it well you may.

BEGGE BOTH Den anden gang guldterning When next they throw the golden dice på tavlebordet randt, Across the board it spins, den ungersvend han tabte, Th e serving-lad he loses, men jomfruen hun vandt. Th e maiden fair she wins.

KIRSTEN KIRSTEN Han tabte, hun vandt … He loses, she wins …

SVERKEL SVERKEL … han tabte … … he loses …

BEGGE BOTH … hun vandt. … she wins.

KIRSTEN KIRSTEN Hør ungersvend, sig ikke nej, Young man, I pray, don’t say me nay, leg tavlebord med mig! But throw the dice with me!

SVERKEL SVERKEL Jeg ejer ej det røde guld Of yellow gold I have no store at sætte op mod dig. To wager wantonly.

KIRSTEN KIRSTEN Din lykke har du ret i spil, Th en fortune at a hazard take; nu vel, sæt dine sko. Come, wager me your shoes! Mod dem mig selv jeg sætte vil, My honour, troth and self I’ll stake; min ære og min tro. Th ey’re yours if I should lose.

BEGGE BOTH Den tredje gang guldterning When ﬁ rst they throw the golden dice på tavlebordet randt, Across the board it spins, den jomfru tabte spillet, Th e maiden fair she loses all,

88226103_04_booklet.indd226103_04_booklet.indd 1144 222/09/092/09/09 14:54:5614:54:56 men ungersvenden vandt. Th e serving-lad he wins. Hun tabte, han vandt. She loses, he wins.

SVERKEL SVERKEL Hun tabte, han vandt … She loses, he wins …

KIRSTEN KIRSTEN … hun tabte … … she loses …

BEGGE BOTH … han vandt. … he wins.

KIRSTEN KIRSTEN Til fruerbur den jomfru går: Th is maiden’s to her bower away: ”Var jeg slig skæbne værd!” “Is this to be my lord?”

SVERKEL SVERKEL Den ungersvend i gården står, In castle yard the youth so gay stolt støttet til sit sværd. Leans on his good broad sword.

KIRSTEN KIRSTEN Gud, lad mig dø, var hendes bøn. Lord, let me die, is all her prayer.

SVERKEL SVERKEL ”De tårer blive spildt; “Th ose tears are shed in vain; du får den bedste kongesøn, You threw the dice with a king’s son fair, og ingen gangerpilt!” And no mere serving swain!”

KIRSTEN KIRSTEN Er du den bedste kongesøn, Oh if you be a king’s son fair, jeg dig da hører til … Th en you have won me true …

BEGGE BOTH … mig selv, mit hele hjerte … my self, my heart and all my care jeg glad dig give vil. I gladly give to you.

SVERKEL SVERKEL Hun tabte, han vandt … She loses, he wins …

KIRSTEN KIRSTEN … hun tabte … … she loses …

BEGGE BOTH … han vandt. … he wins.

88226103_04_booklet.indd226103_04_booklet.indd 1155 222/09/092/09/09 14:54:5614:54:56 VØLVENS SPÅDOM THE PROPHECY OF THE SIBYL Digt fra Den ældre Edda, bearbejdet af Fr. Winkel Holm Poem from the Poetic Edda, adapted by Fr. Winkel Horn.

Nr. 1 No. 1 9 Odins øje, véd jeg, dølges dybt I know where Othin’s eye is hidden, på bunden af den klare kilde. Deep in the wide-famed well of Mimir; Hvor, når morgensolen lyser over lande, Mead from the pledge of Othin each mom Mimer tømmer mjøden af det pant, Does Mimir drink: som Odin, valens fader, gav ham. would you know yet more? Véd I også det?

Hejmdals horn sig dølger, I know of the horn of Heimdall, hidden véd jeg, under asken, der mod himlen knejser; Under the high-reaching holy tree; men en elv sig styrter ned med brusen, On it there pours from Valfather’s pledge ser jeg, fra valfaders pant. A mighty stream: would you know yet more?

Nr. 2 No. 2 10 Først af drab i verden mindes jeg, Th e war I remember, the ﬁ rst in the world, da Guldvejg de på Odder løfted, When the gods with spears had smitten Gollveig, da de hende brændte i den højes sal; And in the hall of Hor had burned her, trende gange brændte de den tre gang’ bårne, Th ree times burned, and three times born, tit og ikke sjældent, dog hun lever end. Oft and again, yet ever she lives.

Da gik alle magter til de høje stole, Th en sought the gods their assembly-seats, og de hellige guder plejede da råd: Th e holy ones, and council held, om de høje aser skulle skaden lides, Whether the gods should tribute give, eller alle guder skulle tage bod. Or to all alike should worship belong.

Odin slynged spydet, skød det ud i verden, On the host his spear did Othin hurl, det blev verdens første ramme folkestrid. Th en in the world did war ﬁ rst come; Nu var muren brusten, Th e wall that girdled the gods was broken, som om Asgård hegned, And the ﬁ eld by the warlike Wanes was trodden. over kampens marker vanerne fór frem.

Nr. 3 No. 3 11 Da gik alle magter til de høje stole, Th en sought the gods their assembly-seats, og de hellige guder plejede da råd: Th e holy ones, and council held, hvo der havde luften så med løgn forpestet, To ﬁ nd who with venom the air had ﬁ lled, eller givet Freja hen til jættens æt. Or had given Oth’s bride to the giants’ brood.

Th or slog til alene, gnistrende af harm, In swelling rage then rose up Th or, – sjælden spag han sidder, når han hører sligt; Seldom he sits when he such things hears, – svorne eder brødes, givne ord og løfter, And the oaths were broken, the words and bonds, alle faste pagter, alt, alt, hvad aftalt var. Th e mighty pledges between them made.

88226103_04_booklet.indd226103_04_booklet.indd 1166 222/09/092/09/09 14:54:5614:54:56 Nr. 4 No. 4 12 Valens møer så jeg, videnfra de stævned, On all sides saw I Valkyries assemble, rustede til ridtet Ready to ride frem til guders land. to the ranks of the gods; Skuld bar skjold, og Skøgul nævnedes den anden, Skuld bore the shield, and Skogul rode next, Gunn og Hild og Gøndul Guth, Hild, Gondul, and Geirskogul. Gejerskøgul fulgte; Of Herjan’s maidens the list have ye heard, alle Herjans møer, rustede til ridtet, fra strid til strid. Valkyries ready to ride o’er the earth.

Nr. 5 No. 5 13 Så den stærke kommer, han, som alting styrer, Th ere comes on high, all power to hold, vældig ned fra oven til den store dom; A mighty lord, all lands he rules. han den stærke kommer ned fra oven til den store dom; Rule he orders, and rights he ﬁ xes, alle ting han dømmer, hver en strid han ender, Laws he ordains that ever shall live. siger, hvad der helligt være skal på jord. English translation: Henry Adam Bellows

Th e friend of his youth Franz Liszt’s greeting to Hartmann on his 80th birthday.

88226103_04_booklet.indd226103_04_booklet.indd 1177 222/09/092/09/09 14:54:5714:54:57 J.P.E. HARTMANN

88226103_04_booklet.indd226103_04_booklet.indd 1188 222/09/092/09/09 14:54:5714:54:57 d Recordings: CD1: Danish Radio Concert Hall in May 1998 1 , Lousiana in September 1991, Hega Church Göte- borg on 13-14 March 2005 7 , Frederiksdal on 6-7 February 1995 8 - 12 CD2: Danish Radio Concert Hall on 1-2 September 1998 1 - 4 , 24-26 April 1996 5 - 8 and 31 August-1 September 2006 9 - 13 Recording producers: CD1: Michael Petersen 1 , Eyvind Rafn 2 , Henrik Sleiborg 3 - 7 , Jesper Jørgensen 8 - 12 CD2: Claus Due 1 - 8 , Chris Hazell 9 - 13 Sound engineers: CD1: Jørn Jacobsen 1 , Eyvind Rafn 2 - 6 , Clemens Johansen 7 , Jesper Jørgensen 8 - 12 CD2: Lars Christensen 1 - 4 , Jørn Jacobsen 5 - 8 , Jan Oldrup 9 - 13

1991-2006 Dacapo Records, Copenhagen © 2009 Dacapo Records, Copenhagen Liner notes: Jens Cornelius English translation: Kim Wyon-Sergeant English translation of the song texts: James Manley Proof reader: Svend Ravnkilde Photographs: Denise Burt Design: elevator-design.dk Illustrations pp. 6, 8, 17 and 18: From Inger Sørensen: Hartmann. Et dansk komponistdynasti, Gyldendal 1999 Artists’ biographies: Please go to Dacapo’s website www.dacapo-records.dk 8.226103-04

Dacapo Records, Denmark’s national record label, was founded in 1986 with the purpose of releasing the best of Danish music past and present. The majority of our recordings are world premieres, and we are dedicated to producing music of the highest international standards.

88226103_04_booklet.indd226103_04_booklet.indd 1199 222/09/092/09/09 14:54:5814:54:58 MASTERPIECES .E

88226103_04_booklet.indd226103_04_booklet.indd 2200 H222/09/092/09/0a9 14:55:0014:55:00 perspectives 2 cds J 2 4 0 s 2 2 . d P 8:39 or c . 2 E n . Hartman apo Re d c on c 009 Da t, 2 d . 1850) . 31: 006 © c (1864) . 18:38 -2 n (1839) . (1839) 8:4 1991