PA U L V O N K L E N A USONATE FOR KLAVER
F-MOL

SONATA FOR PIANOF MINOR

PA U L V O N K L E N A USONATE FOR KLAVER
F-MOL
SONATA FOR PIANOF MINOR

københavn 2010

UDGIVET AF
EDITED BY

LISBETH AHLGREN JENSEN

Cover design Willerup &Music Based on a scanned dyeline print, 1944
DCM 001
ISMN 979-0-9001824-0-1
Distribution Dansk Center for Musikudgivelse (DCM), København© 2010 Danish Centre for Music Publication,
The Royal Library, Copenhagen

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This work is licensed under a Creative Commons
Attribution-NonCommercial-NoDerivs 3.0 Unported LicensePA U L V O N K L E N A UPaul von Klenau (1883-1946) var født i København men tilbragte
størstedelen af sit voksne liv i Tyskland og Østrig. Han studerede
først musikteori og violinspil i København og rejste herpå i 1902
til Berlin for at studere komposition hos Max Bruch og violin hos
Carl Halír. Fra 1904 fortsatte han kompositionsstudierne i München hos Ludwig Thuille, og fra 1908 tog han undervisning hos
Max von Schillings i Stuttgart. I årene 1907-14 bestred han forskellige poster som kapelmester og repetitør ved teatre i Tyskland, hvor han endelig i 1913 ansattes som første kapelmesterved operaen i Freiburg. Fra 1919 arrangerede Klenau tillige koncerter i København, og han var i 1920 medstifter og indtil 1926
leder af Dansk Filharmonisk Selskab. Her opførtes moderneorkestermusik af alle retninger; i 1923 kunne han endog præsentere Arnold Schönberg, der dirigerede en koncert med egneværker. Sideløbende med engagementer som dirigent i Wien fra
1922 virkede Klenau indtil 1930 som kordirigent ved Konzerthausgesellschaft. Han udnævntes i 1929 til professor og havde
som dirigent og komponist Frankfurt og Wien som sine faste
holdepunkter, indtil han i vinteren 1939-40 vendte tilbage til
Danmark, hvor han døde i 1946. Klenaus musikalske produktion
omfatter musik i næsten alle genrer: operaer, symfonier, instrumentalkoncerter, kammermusik, klavermusik og sange. Hertil
kommer, at han skrev en række musiklitterære artikler, ligesom
han holdt foredrag.

Klenaus samling i Det Kongelige Bibliotek
Det Kongelige Bibliotek købte i 2005 en meget stor samling af
Klenau-manuskripter.
Samlingen havde gennem mere end 30 år ligget ukendt og
ubenyttet, dels i et sommerhus i Tyrol, dels i en herskabslejlighed
i Wien og indeholder en række værker af Paul von Klenau, somikke kendes fra andre kilder. Enkelte af værkerne blev opført ved
en Klenau portrætkoncert i Dronningesalen i maj 2008. Langt
størstedelen af det store materiale er endnu ikke gennemarbejdet.

Klenaus klavermusik
Klenaus klavermusik omfatter en række afsluttede værker, derfordeler sig over hele hans produktive periode. Tidligst komponerede han de to klaversonater i Es- dur og E-dur, der ligesom deto sene arbejder, Sonate i f-mol og Sonatine i E-dur, forblev utrykt.
De øvrige klaverværker tæller samlingerne Barndoms-Minder og
Geschichten von der Vierjährigen, der blandt andet rummer en
fantasi over den danske børnesang ”Tingelingelater, Tinsoldater”, Klein Ida-Walzer, der er komponeret på grundlag af motiver
fra Klenaus balletmusik til H.C. Andersens eventyr ”Den lille Idas
Blomster”, samlingerne Drei Stimmungen og Vier Klavierstücke
samt to hefter med hver seks Præludier og Fugaer i 12 forskellige
tonearter.

Sonate i f-mol
Det forhold, at sonaten i f-mol og sonatinen i E-dur er overlevereti lystryk med copyright-angivelsen 1944, kunne tyde på, at Klenau
planlagde en udgivelse af dem, men af ukendte årsager blev deikke publiceret. Begge sonater bygger på det i samtidens danske
musikliv forkætrede tolvtoneprincip, som komponisten anså forat være en væsentlig udvidelse og berigelse af de musikalske udtryksmidler. Tolvtonemusikken betød efter hans mening ikke etbrud med den harmonilære, der byggede på dur-mol-tonaliteten,og det var et vigtigt anliggende for ham at vise, at man kunne
komponere lytteværdig tolvtonemusik, hvad han blandt andetrealiserede i tre store operaer, opført på tyske scener i 1930’erne.
Sonaten i f-mol, der ligesom sonatinen i E-dur er et eksempel påhans såkaldte ”toneartsbestemte” tolvtonemusik, er i ﬁre satser.
Begge indgår i den samling af Klenaus trykte noder, manuskripter og personalia, Det Kongelige Bibliotek købte i 2005, og udgives i Dansk Center for Musikudgivelse.

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PA U L V O N K L E N A UPaul von Klenau (1883-1946) was born in Copenhagen but
spent most of his life in Germany and Austria. Klenau originally studied music theory and violin in Copenhagen, andin 1902 he travelled to Berlin to study composition with Max
Bruch and violin with Carl Halír. From 1904 he took composition lessons in Stuttgart with Max von Schillings. During theperiod between 1907 and 1914 he was engaged as conductor
and rehearser at various German theatres, and in 1913 he was
employed as chief conductor at the Freiburg Opera. In addition Klenau organised concerts in Copenhagen from 1919,
and in 1920 he became co-founder – and until 1926 leader –of The Danish Philharmonic Society. Here modern orchestralmusic of all kinds was performed; in 1923 he even managed
to introduce Arnold Schönberg, who conducted a concert withhis own works. Parallel with engagements as a conductor in
Vienna from 1922, Klenau also worked as choral conductor at
the Konzerthausgesellschaft. In 1929 he was made a professor, and as a conductor and composer he held Frankfurt andVienna as his fixed points, until in the winter of 1939-40 hereturned home to Denmark, where he died in 1946. Klenau’smusical production covers almost all genres: operas, symphonies, instrumental concerts, chamber music, piano music andsongs. To this should be added that he wrote a great number ofarticles on musical subjects, some of which were also given as
talks in various places and connections.

Klenau’s collection at The Royal Library
In 2005 The Royal Library bought a large collection of manuscripts by Klenau. During the previous more than thirty years
the manuscripts had been kept in a summer house in Tyrol anda ﬂat in Vienna. The collection contains a number of works by
the Danish composer Paul von Klenau that are not known fromother sources. A few of these works were given their ﬁrst Danish
performance at a concert in the library in May 2008. The material has so far only received scant attention.

Paul von Klenau’s Piano Music
Klenau’s piano music consists of a number of completed works,
covering his whole period as an active composer. Klenau wrote
four piano sonatas and sonatines: two of them date from his
early period (Sonatas in E ﬂat major and E major), and two works
from his more mature years (Sonata in F minor and Sonatine in
E major). His other piano works are: Barndoms-Minder (Childhood Memories); Geschichten von der Vierjährigen (Stories of a
Four-Year Old), which among other pieces contains a phantasy on
the Danish children’s song “Tingelingelater, Tinsoldater”; Klein
Ida-Walzer (Little Ida’s Waltz) based on themes from Klenau’smusic to the ballet on Hans Christian Andersen’s fairy tale “TheFlowers of Little Ida”; Drei Stimmungen (Three Sentiments), Vier
Klavierstücke (Four piano pieces); two volumes containing preludes and fugues in twelve different keys.

Sonata in F minor
The fact that the Sonata in F minor and the Sonatina in E major
are handed down as dyeline prints, copyrighted in 1944, indicates that Klenau originally planned to have them published,but for unknown reasons this never happened. Both sonatas
are based on the dodecaphonic technique, which in those days
was highly controversial in Danish musical circles, but which
the composer considered an important increase in and enrichment of the musical means of expression. According to Klenau,
12-note serial composition did not indicate a break away fromthe theory of harmony based on major/minor tonality, and it was
important for him to show that it was possible to compose 12note serial music worth listening to. This he also showed in three
grand operas, performed on German stages in the 1930s.
The Sonata in F minor, which like the Sonatina in E major isan example of his so-called “12-note serial composition in a ﬁxedkey”, is in four movements. Both works are included in the collection of music, manuscripts and personal material, which werebought by The Royal Library in 2005. The two works are publishedby Danish Centre for Music Publication.
Lisbeth Ahlgren Jensen

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wards- and downwards stems. This also goes for the transposed
and incomplete series in bb. 5-7. In the following, unison bars,
however, he adds a slur for each of the parts. The same inconsistency is observed concerning accidentals; the principle seems tobe that an accidental is valid only in the very octave and in the very
part in which it is added; on the other hand, a cautionary accidental is often added in a different part or in a different octave fromthe one in which the altered note occurred. However, it seems to
be a principle – not necessarily used in every case – that accidentals are not to be repeated for notes tied to a previous note following a bar line. Finally, it should be emphasized that Klenau’s
piano notation is not bound to strict part writing and that someparts are thus defective; hence, sometimes the same phrase may
be notated with a different use of stem direction.
In the present edition, errors have been emended (e.g. pitches), and articulation and dynamics have been added partly withreference to B and partly by analogy with parallel instances in A.
No revision has been made in those instances in which the editor
has not been able to fully interpret an addition in B; however, theaddition is registered as a variant. The editor has tacitly omitted
superﬂuous accidentals and added a number of cautionary onesin accordance with an understanding of Klenau’s practice; accidentals, which imply a change of pitch, are in all cases followed by
a comment. No attempt has been made to adjust the composer’spart writing, and only incomplete bars (not incomplete parts) are
emended as to the missing note values. Information about thewriting utensils in the sources may reveal the different “layers” ofthe sources when it comes to changes and revisions.
Bar numbers are added by the editor. The present editionis based on a scanned version of A, revised by means of image
editing software.

CRITICAL COMMENTARYDESCRIPTION OF SOURCES
A Score, dyeline print
B Score, autograph
A Score, dyeline print.
DK-Kk, Paul v. Klenaus Samling No. 136.
Title on ﬁrst music page: “SONATE, F MOL / Paul von Klenau
1943” [printed in gold].
30x22.5 cm, dyeline print, 22 numbered pages, not stabled.
Few additions in pencil; p. 1 cut in two between second andthird systems.
“Copyright 1944 / by Professor Paul von Klenau / A/S Dansk
Lyskopi”.
B Score, autograph.
DK-Kk, Paul v. Klenaus Samling No. 136.
Title on ﬁrst music page: “Sonate, f moll / für / Klavier. / Paulv. Klenau”.
34.4x26.7 cm, ﬁve bifolios, numbered 1-19, one unnumbered
page; written in ink, additions in pencil and blue crayon, notstabled. Includes a separate slip (c.13.1x26.8 cm, written inpencil) with corrections to p. 19, ﬁfth system, bb. 3, 5.
Paper: “Beethoven Papier Nr. 35 (20 Linien) 1942” (20 staves).
Fourth movement written before third movement. “Frederiksen: se Side 19” (Frederiksen, please look at p. 19) added inpencil above top stave of p. 16. A number of bars cancelled,
and an alternative version of the ﬁnal bars written on p. 19,
and the ﬁrst bars of the third movement written on pp. 16-17.

FILIATION AND LIST OF EDITORIAL EMENDATIONS AND
ALTERNATIVE READINGSThe dyeline print (A), which was copyrighted in 1944, has been
elected as copy text for the present edition. It was proofread andrevised by the composer, but apparently not published during
his lifetime (1883-1946). In connection with the proofreading,
Klenau made a number of revisions (mainly in blue crayon) in
the autograph fair copy (B), on which the dyeline copy was based,e.g. changes in articulation, change of chord positions, and additions of accidentals. Most of the revisions were included in A
and are therefore part of the present edition; some of them, however – written either in pencil or in blue crayon – are not includedin A, either because they were forgotten or because Klenau may
have regretted them. Finally, some revisions are made directly in
A without the composer afterwards having them added to B. In
these cases the present edition follows A.
Klenau’s use of articulation and accidentals needs a special
comment. Thus, for the four introductory bars of the sonata,
which present the 12-note series in unison, Klenau adds only
one slur, though the phrase is written for two parts with both up-

I
Bar
10

Part
pf.1

11
12
13
16
17

pf.2
pf.2
pf.2
pf.2
pf.2

17

pf.1

26

29

pf.2

33
50
58

pf.1
pf.1, 2
pf.1

65
66
66

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pf.1

Comment
ﬁrst crotchet (bottom note): stacc. added by analogy
with upper note
B: last chord: marc. added in pencil
B: chords 1-2: marc. added in pencil
B: chord 1: marc. added in pencil
chord 4: marc. added by analogy with pf.1 and b.57
chord 1: marc. added by analogy with pf.2 and b.58
(note 1)chord 2, lower part of chord: marc. added by analogy
with upper part of chord
Espressivo (leidenschaftlich, nicht weichlich) added asin B; B: above system: “Espressivo (leidenschaftlich,nicht weichlich) / Espressivo (LEIDENSCHAFTLICH,
NICHT WEICHLICH)”
fourth crotchet (upper part): 4-rest added; (B: bar incomplete)
chord 1: b  emended to b  by analogy with pf.2 (note 3)
f added because of crescendo bb.47-49 and as in B
chord 2, lower part of chord: marc. added by analogy
with upper part of chord
above system: tempo emended to a tempo by analogy
with b.156
above system: (a tre battute) emended to (a tre battùte)according to correction in A
pp added by analogy with b.65 (pf.2, note 3) and as in B

25

71
78, 8078
80
81
82, 8482
83, 85
87

pf.1
pf.1
pf.2
pf.2
pf.1
pf.1
pf.2
pf.1
pf.1,2

88
88, 90,
92
90

pf.2

note 2: stacc. added as in B
B: chords 1-3, 4-6: slurs crossed out in blue crayon
B: chords 1-3, 4-6: slurs
B: chords 1-3, 4-6: slurs erased
B: notes 1-9: slur crossed out in blue crayon
B: chords 1-3, 4-6: slurs crossed out in blue crayon
B: slurs crossed out in black ink
B: notes 1-9: slurnote 11:  added ( g ﬁtting the structure of the 12-noteseries correctly)
B: chords 1-3, 4-6: slurs

pf.1
pf.2

B: chords 1-3, 4-6: slurs crossed out in blue crayon
B: chords 1-6:

92
93
94

pf.2
pf.1
pf.1,2

98

pf.1

99

pf.1,2

99
pf.1
102-105 pf.1
102
pf.2
106, 107 pf.1,2
108, 110 pf.1,2
110
pf.1,2
110
pf.2
112,114 pf.1,2
114
pf.2
117

pf.2

131
pf.2
139
pf.1
144-145
144
pf.1
144
pf.2
145

pf.1

146

pf.1

147, 148 pf.1,2
174
pf.1
178-179 pf.2
185II
Bar
11
19
20

26

Part
pf.1
pf.1
pf.2


     





chords 1-3, 4-6: slurs crossed out in black ink
B: chords 1-3, 4-6: slurs crossed out in blue crayonB:crossed out
B: chords 1-3, 4-6: slurs crossed out in blue crayon andblack ink
B: chords 3, 4, 6 (lower notes) and chords 5, 7 (upper
notes): crossed out in red crayon; fourth crotchet: ten.
added in blue crayonnote 1: marc. and notes 1-6: slurs added by analogy
with b.159 and as in B
B: note 1: marc. added in blue crayon
B: chords 1-3: ten. changed to marc. in blue crayon
sub---- added by analogy with bb.103-105 and as
in B
B: chords 1-4: ten. changed to marc. in blue crayon
B: chords 1-3, 4-6: slurs crossed out in blue crayon
chords 1, 3-4, 6: stacc. added by analogy with b.108
and as in B
B: chords 1-6: f, c
B: chords 1-3, 4-6: slurs crossed out in blue crayon
notes 1, 3-4, 6: stacc. added by analogy with b. 108 andas in B
B: notes 8-10: marc. added in black ink and emphasized in blue crayonnote 7: b emended to b by analogy with pf.1
 
B: third crotchet: g, b , e , a
mit grösster Energi emended to mit grösster Energie
B: chords 1-2: ten. changed to marc. in blue crayon
B: chord 1: ten. and marc. changed to marc. in blue
crayon; chord 2: ten. changed to marc. in blue crayon
chords 2-4: marc. added by analogy with b.148 (pf.2)
and as in B; B: chords 2-4: ten. changed to marc. inblue crayon
B: chord 3: ten. and marc. changed to marc. in blue
crayon
B: ten. and marc. changed to marc. in blue crayon
B: chord 4: a , d , f b.178 note 1 to b. 179 note 1: slur added by analogy
with pf. 1
end-dating below the system: “16/ Juli/ 43”Comment
A: fourth crotchet, note 3: e  emended to e  in pencil
B: p corrected to pp in pencil
B: added in pencil in margin: “Prikker over til e’et”(dots to be drawn to the e)

30
31
36
47

pf.1,2
pf.1,2
pf.2
pf.1

B: third crotchet: p crossed out in pencil
B: third crotchet: f
B (upper part): note 2: ten.

third crotchet note 2: b  emended to b  by analogy
with note 2 chord 1

III
Bar

Part

5
40II
58
60

pf.2
pf.2
pf.2
pf.2

Comment
B: above system: “Allegretto ( = 72 84) / Variationüber eine Klassische Form.” added in black ink
stacc. added by analogy with bb.4,6 and as in B
added; A, B: bar empty
B: stacc.

B: c, a

IV
Bar

Part

1
1

pf.2
pf.1,2

5
7

pf.1
pf.1

8

pf.1

8

pf.2

12

pf.1

20
23
24, 25,
43
44
72
78
82

pf.1
pf.2
pf.2
pf.2
pf.1
pf.2
pf.1

84
90

pf.1,2
pf.2

107

pf.1

118
120

pf.2
pf.1

124-125 pf.1,2
125

pf.1

136
pf.1
136, 138 pf.1,2
148

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Comment
B: addition in pencil at top of page: “Fredriksen 3die
Del se Side 16” (Frederiksen, see Part 3 on p. 16); above
system: number of movement indicated as “IIII”;“Presto” before “( = 88)” crossed out, “Allegro molto”
added in pencil; time signature, , added in pencil

A: chord 1: A changed to A in pencil
B:





             

B: chords 2-3: slurchord 1, lower part of chord: stacc. added by analogy
with upper part of chord
chord 3 (top note): b  emended to b  by analogy withbottom note
chord 3: B emended to B by analogy with pf.1 (bottom
note)
note 1 (lower part):  emended to  by analogy withb.14 and as in Bnote 6: a  emended to a  by analogy with pf.2
B: note 5: 
B: third crotchet:  (bar incomplete) added; A, B: bar incomplete
B: fourth crotchet: 4 2 (ﬁngering) added in pencil

A: note 3: E changed to E in pencil
note 3 (upper part): g emended to f  by analogy withthe melodic movement in bb.80-81, 83 and as in B
B: ff corrected to fff or f in blue crayon (illegible)
chord 1: e  emended from f  by analogy with pf.1 as in
B; A: below the system: pencil marc added
note 5: d  emended to c  by analogy with the triads inbb.108-109 and as in B
chord 4: stacc. added by analogy with pf.1 and as in B
ﬁrst crotchet, lower part of chord 1: stacc. added byanalogy with upper part of chord and as in B
B: b.124 note 2 to b.125 note 2:crossed out
in blue crayonnote 1 (lower part):  emended to  by analogy with
pf.2 and as in B
B: notes 1-4: slur crossed out in blue crayon
B: third crotchet: slur and ten. above note 1 crossed
out in blue crayon
B: chord 1: notated an octave lower with with the addition ofsub; chord 2: notated an octave lower withthe addition of ; B (separate slip): written as in A





148

pf.2

157

pf.1

172
191
194

pf.1

194
215

pf.1,2

; chord 2: written an octave lower with the additionof  sub; B (separate slip): written as in A

B: chord 1: written an octave lower with the addition ofnotes 3-5: ten. added as in B; B: notes 3-5: ten. emphasized in blue crayon
B (upper part): notes 1-2: ten. and marc.
vorwärtz emended to vorwärts
B: above system: “Prestissimo.” changed to “Presto” inpencil
B: third crotchet: slur crossed out in blue crayon
B: ff

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