CARL NIELSEN V®RKER WORKS 1 Suite tekst I 1 12/09/01, 15:13 1 Suite tekst I 2 12/09/01, 15:13 CARL NIELSEN SUITE FOR STRYGEORKESTER OPUS 1 SUITE FOR STRING ORCHESTRA OPUS 1 Udgivet af Edited by Peter Hauge Edition Wilhelm Hansen Copenhagen 2001 Carl Nielsen Udgaven CN 00009 iii 1 Suite tekst I 3 12/09/01, 15:13 The present work is part of THE CARL NIELSEN EDITION, Series II. Instrumental Music. Volume 7 Orchestral parts are available Graphic design Kontrapunkt A/S, Copenhagen Music set in SCORE by Wiener Notensatz, Vienna Text set in Swift Printed by Quickly Tryk A/S, R¿dovre CN 00009 ISBN 87-598-1010-6 ISMN M-66134-008-9 Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K Translation James Manley © 2001 Carl Nielsen Udgaven, Det Kongelige Bibliotek, K¿benhavn All rights reserved 2001 Carl Nielsen Udgaven CN 00009 iv 1 Suite tekst I 4 12/09/01, 15:13 INDHOLD CONTENTS Preface vii Forord Facsimiles xii Faksimiler SUITE FOR STRING ORCHESTRA, OPUS 1 SUITE FOR STRYGEORKESTER, OPUS 1 I Prelude 1 I Præludium II Intermezzo 4 II Intermezzo III Finale 15 III Finale Abbreviations 30 Forkortelser Critical Commentary 31 Kritisk beretning Carl Nielsen Udgaven CN 00009 v 1 Suite tekst I 5 12/09/01, 15:13 Carl Nielsen Udgaven CN 00009 vi 1 Suite tekst I 6 12/09/01, 15:13 FORORD PREFACE SUITE FOR STRYGEORKESTER, OPUS 1 fter endt uddannelse på Kjøbenhavns Musikkonservato- SUITE FOR STRING ORCHESTRA, OPUS 1 rium i 1886 begyndte Carl Nielsen at ernære sig som E assistent i forskellige orkestre — blandt andet i Tivoli fter finishing his studies at the Copenhagen Conserva- orkestret — og som lærer i violin og kammermusik. Han valgte tory (Kj¿benhavns Musikkonservatorium) in 1886, Carl dog samtidig at fortsætte med kompositionsstudier hos Orla A Nielsen began making a living as an assistant violinist Rosenhoff,1 som han havde haft som lærer på konservatoriet i in various orchestras — for example the Tivoli Orchestra — and harmonilære, kontrapunkt og fuga. Et af de værker, som Carl as a teacher of the violin and chamber music. However, at the Nielsen komponerede, mens han studerede komposition hos same time he chose to continue his composition studies with Rosenhoff, var sit f¿rste opus-nummererede: Suite for Strygeorke- Orla Rosenhoff,1 who had been his teacher at the conservatory ster.2 Den 8. september 1888 f¿rsteopf¿rtes værket i Tivoli ved in harmony, counterpoint and fugue. One of the works that den Anden nordiske Koncert i anledning af Den store nordiske Carl Nielsen wrote while studying composition was his first Industriudstilling. Tivoli-orkestrets dirigent, som var kendt for opus-numbered work: Suite for String Orchestra.2 On 8th Septem- at hjælpe unge talenter på vej, var den navnkundige Balduin ber 1888 the work had its first performance at the Tivoli Dahl.3 De to kendte allerede hinanden, idet Carl Nielsens Concert Hall in the Second Nordic Concert on the occasion of the Andante tranquillo e Scherzo for strygeorkester var blevet opf¿rt Great Nordic Industrial Exhibition. The conductor of the Tivoli året før under ledelse af Balduin Dahl.4 orchestra, who was well known for helping young talents on Suiten blev en stor succes hos publikum, og midter- their way, was the renowned Balduin Dahl.3 The two were satsen måtte gives som ekstranummer. Carl Nielsen, der already acquainted, since Carl Nielsen’s Andante tranquillo e spillede med i det udvidede orkester, måtte kaldes frem flere Scherzo for string orchestra had been performed the previous gange: year under Dahl’s baton.4 The Suite was a great success with the audience and 1 Komponist og musikteoretiker (1844-1905). the middle movement had to be played again as an encore. Carl 2 Selvom værket udkom som Kleine Suite für Nielsen, who played in the expanded orchestra, was called back Saiteninstrumente, anvendte Carl Nielsen tilsyneladende aldrig selv denne titel; i stedet foretrak han Suite for by the audience several times: Strygeorkester, Suite for Strygere eller Strygesuite. Se fx samtidige anmeldelser af værket i aviserne og interview i Politiken med Carl Nielsen den 13.1.1926 samt 1 Composer and music theorist (1844-1905). koncertprogrammer, hvor Carl Nielsen selv dirigerede 2 Although the work was published as Kleine Suite für værket. Også i hans breve og dagb¿ger betegnes værket Saiteninstrumente, Carl Nielsen never seems to have used som Strygesuite eller Suite, jf. Torben Schousboe (udg.), this title; instead he preferred Suite for Strygeorkester, Carl Nielsen. Dagb¿ger og brevveksling med Anne Marie Carl- Suite for Strygere or Strygesuite. See for example Nielsen, K¿benhavn 1983, s. 26, 27, 519; Irmelin Eggert contemporary reviews of the work in the newspapers M¿ller og Torben Meyer (udg.), Carl Nielsen Breve. I udvalg and an interview in Politiken with Nielsen on 13.1.1926 med kommentarer, K¿benhavn 1954, s. 49, 240. as well as concert programmes where Carl Nielsen 3 Dansk dirigent (1834-91). himself conducted the work. In Nielsen’s letters and 4 Se anmeldelse i Nationaltidende, 18.9.1887 samt Tivolis diaries, too, the work is called Strygesuite or Suite; cf. koncertprogram fra 17.9.1887. Torben Schousboe (ed.), Carl Nielsen. Dagb¿ger og brevveksling med Anne Marie Carl-Nielsen, Copenhagen 1983, pp. 26, 27, 519; Irmelin Eggert M¿ller & Torben Meyer (eds.), Carl Nielsen Breve. I udvalg med kommentarer, Copenhagen 1954, pp. 49, 240. 3 Danish conductor (1834-1891). 4 See review in Nationaltidende, 18.9.1887, and the Tivoli concert programme for 17.9.1887. Carl Nielsen Udgaven CN 00009 vii 1 Suite tekst I 7 12/09/01, 15:13 “Glædeligt var det at h¿re Hr. Carl Nielsens Suite for Strygeor- kester. Den unge Mand har aabenbart meget paa sit musikalske Hjerte, han ¿nsker sagt, og det, han fortalte os i L¿rdags, var “It was a pleasure to hear Mr. Carl Nielsen’s Suite for String fremsat i en smuk, koncis Form, beskedent og tiltalende, med Orchestra. The young man obviously has a great deal on his udmærket Stemmef¿ring og kj¿n Klangfylde, der r¿ber sikkert musical mind that he wants to say, and what he told us on og kyndigt Blik til Strygemateriale. Der er al Grund til at Saturday was presented in a beautiful, concise form, modestly lyk¿nske den unge Mand til denne, saavidt vi vide, Debut for and attractively, with excellent part-writing and an appealing Offentligheden. Suiten var en afgjort Sukces; den mellemste fullness of sound that reveals an excellent eye for the string Sats maatte spilles da Capo, og efter den sidste blev Komponi- material. There is every reason to congratulate the young man sten, der ¿iensynligt vakte megen Sympathi ved sin store on this — as far as we know — his public debut. The Suite was a Ungdom, kaldt tre Gange frem. Bifaldet var vel fortjent, og vi decided success; the middle movement had to be played da ville haabe, at det maa anspore Hr. Nielsen til nye Anstrengel- Capo, and after the last performance the composer, who clearly ser for at gj¿re sit umiskendelige Talent frugtbringende. aroused much sympathy with his great youth, was called out Udf¿relsen af Suiten var fortræffelig, og Hr. Dahl fortjener en three times. The applause was well deserved, and we may hope varm Paaskj¿nnelse, fordi han giver de Unge Ly under sine that it will stimulate Mr. Nielsen to new efforts to make his musikalske Vinger; der er desværre saa faa Steder herhjemme, unmistakable talent bear fruit. hvortil de kunne tye hen.”5 The performance of the Suite was excellent, and Mr. Dahl deserves warm appreciation, because he offers the young Der var dog også kritikere, der forholdt sig afventende over for shelter under his musical wings; there are unfortunately so few den kun 23-årige komponist: places in this country they can turn to.”5 “I den danske Afdeling var Nyhederne repræsenteret ved d’Hrr. The reaction of the critics towards the 23-year-old composer Carl Nielsen (Suite for Strygeorkester), som ingen kender, og Hr. was, however, somewhat guarded: Cornelius Rübner (Symfonisk Digtning), som er ganske uden- landsk. Et mærkeligt sammensat Program.”6 “In the Danish section the new was represented by Messrs. Carl Nielsen (Suite for String Orchestra), whom no one knows, and Satsbetegnelserne er desværre ikke angivet i programmet Mr. Cornelius Rübner (Symphonic Poem), who is quite foreign. fra f¿rsteopf¿relsen og bliver heller ikke nævnt i avisernes An oddly composed programme.”6 anmeldelser. Men da Carl Nielsen blev interviewet til Pressens Magasin i 1918, fortalte han, at satserne havde undertitlerne The names of the movements are unfortunately not given in “Danaiderne”, “Kariternes Dans” og “Bacchus-Toget”. Balduin the programme from the first performance, nor were they Dahl mente dog, at titlerne var affekterede og bad Carl Nielsen mentioned in the newspaper reviews. But when Carl Nielsen om at fjerne dem, hvilket han imidlertid ikke gjorde.7 was interviewed by Pressens Magasin in 1918, he said that the Allerede omkring en måned senere blev Suite for Stryge - movements had the subtitles “The Danaids”, “The Dance of the orkester opf¿rt igen — denne gang i Odense, hvor Carl Nielsen Charites” and “The Bacchus Procession”. Balduin Dahl thought, samtidig fik sin offentlige debut som dirigent. Ved samme however, that the titles were affected and asked Carl Nielsen to koncert spillede han Souvenir d’Haydn af Hubert Lénoard8 og fik remove them, which he, nevertheless, did not do.7 en rosende omtale som violinist: As early as a month later the Suite for String Orchestra was performed again — this time in Odense, where Carl Nielsen “[Carl Nielsens] Suite for Strygeorkester, der dirigeredes af at the same time made his public debut as a conductor.