j. p. e. h a rt m a n n

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j.p.e. hartmann
udvalgte værker

selected works

Udgivet af Hartmann Udgaven

Published by The Hartmann Edition

Det Kongelige Bibliotek

The Royal Library

Hovedredaktør Niels Krabbe

Editor-in-chief Niels Krabbe

Serie III • Bind 1

Series III • Volume 1

1805-1900

ausgewählte werke

Herausgegeben von der Hartmann-Ausgabe
Die Königliche Bibliothek

Redaktionsleiter Niels Krabbe

Serie III • Band 1

Dansk Center for Musikudgivelse

københavn 2012

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j. p. e. h a rt m a n n
klaverværker

piano works

klavierwerke

vol 1

vol 1

vol 1

Udgivet af Niels Krabbe

Edited by Niels Krabbe

Herausgegeben von Niels Krabbe

Dansk Center for Musikudgivelse

københavn 2012

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b n d
BY

NC

ND

C

This work is licensed under a Creative Commons
Attribution-NonCommercial-NoDerivs 3.0 Unported License

Editorial Board

Niels Krabbe, Chairman
John Bergsagel
Finn Egeland Hansen
Siegfried Oechsle
Claus Røllum-Larsen
Inger Sørensen

Graphic design
Music set in
Text set in
Printed bySigne Bjerregaard, Boje & Mobeck as, Copenhagen
SCORE by New Notations, London
MinionQuickly Tryk, Copenhagen

JPEH
ISMN
Funded byDistribution
English translation
German translation© 201205
979-0-706763-13-2
Carlsbergfondet
The Royal Library, P.B. 2147, DK-1016 Copenhagen
Dan Marmorstein (Introduction)
Monika Wesemann (Einleitung)Hartmann Udgaven, Danish Centre for Music Publication, Det Kongelige Bibliotek, Copenhagen
All rights reserved 2012.

j.p.e. hartmann : selected works

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indholdcontents

inhaltvi

Generelt forord

vii

General Prefaceviii

Zur Editionix

Indledning

xxi

Introduction

xxxv

Einleitung

xlviii

Faksimiler

xlviii

Facsimiles

xlviii

Faksimiles

1 klaverværker i
1
38
51
87
96
130
159
196

1 Sonate i D mol Op. 34
2 Sonate i G mol
3 Sonate i F dur
4 Sonatine i G dur
5 Sonate i A mol Op. 80
6 Rondeaux Brillants Op. 6
7 Capricer Op. 18
8 Deux Pièces Charactéristiques
Op. 25
216 9 Tre Genrestykker
240 10 Otte Skitser Op. 31
268 11 Seks Tonestykker i Sangform
op. 37288 Forkortelser
289 Critical Commentary

1 piano works i
1
38
51
87
96
130
159
196
216
240
268

1 Sonata in D minor Op. 34
2 Sonata in G minor
3 Sonata in F major
4 Sonatina in G major
5 Sonata in A minor Op. 80
6 Rondeaux Brillants Op. 6
7 Caprices Op. 18
8 Deux Pièces Charactéristiques
Op. 259 Three Genre Pieces
10 Eight Sketches Op. 31
11 Six Pieces in Song Form
Op. 37288 Abbreviations
289 Critical Commentary

1 klavierwerke i
1
38
51
87
96
130
159
196
216
240
268

1 Sonate in D-moll Op. 34
2 Sonate in G-moll
3 Sonate in F-dur
4 Sonatine in G-dur
5 Sonate in A-moll Op. 80
6 Rondeaux Brillants Op. 6
7 Caprices Op. 18
8 Deux Pièces Charactéristiques
Op. 259 Drei Genrestücke
10 Acht Skizzen Op. 31
11 Sechs Tonstücke im Liedform
Op. 37288 Abkürzungen
289 Critical Commentaryj.p.e. hartmann : klaverværker

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generelt forord
Hartmann Udgaven blev etableret i 2001 på Det Kongelige Biblioteks initiativ med henblik på at udgive et udvalg af J.P.E. Hartmanns værker, bestemt af hensynet til såvel det praktiske musikliv
som musikforskningen.
Udgavens overordnede styring ligger i hænderne på et redaktionsråd, hvis sammensætning fremgår af kolofonen.
De enkelte bind vil falde inden for en af nedenstående rækker:
I : Orkestermusik
II : Kammermusik
III : Værker for tasteinstrument
IV : Musik for scenen
V : Korværker, herunder kirkelige og verdslige kantater
VI : Sange og salmer
VII : SupplementVærkerne udgives på musikfilologisk basis på baggrund af etstudium af det overleverede kildemateriale med en redegørelse forderes tilblivelse, placering i Hartmanns produktion og reception i
komponistens levetid. Udgaven fremstår uden typografisk markering af redaktionelle tilføjelser og ændringer, idet disse – sammen
med en beskrivelse af kilderne – er dokumenteret i den afsluttende
Critical Commentary.
Instrumentbetegnelser og partituropstilling er stiltiende normaliseret efter moderne praksis; transponerende instrumenter er
bibeholdt som i hovedkilden; horn og trompeter er noteret uden
faste fortegn.
Udgaven følger ikke en på forhånd fastlagt udgivelsesplan, idet nyebind vil foreligge efterhånden som ressourcerne gør det muligt.
København 2002
Niels Krabbe, hovedredaktørvi j.p.e. hartmann : selected works

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general preface
The Hartmann Edition was launched in 2001 on the initiative of The
Royal Library, Copenhagen, with a view to publishing a selectionof the works of Johan Peter Emilius Hartmann. The selection wasdetermined by considerations of practical musical performance aswell as musicological research.
The overall administration of the edition is the responsibilityof an editorial board, the composition of which is shown in thecolophon.
The individual volumes will fall within one of the following series:
I : Orchestral music
II : Chamber music
III : Works for keyboard instruments
IV : Works for the theatre
V : Choral works (including both sacred and secular cantatas)
VI : Songs and hymns
VII : Supplement

The works are being published on a philological basis against thebackground of a study of the preserved source material. For eachwork an account is given of its genesis, its placing in Hartmann’s
oeuvre and its reception in the composer’s lifetime. The edition appears without typographical indications of editorial additions andemendations, since these are documented – along with a description of the sources – in the concluding Critical Commentary.
The instrument names and score disposition have been tacitly
normalized in accordance with modern practice; transposing instruments have been kept as in the main source; horns and trumpets are notated without key signatures.
The edition does not follow a predetermined publication plan; newvolumes will be made available as resources permit.
Copenhagen 2002
Niels Krabbe, General Editor

klaverværker : introduction

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vii

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zur edition
Die Hartmann-Ausgabe wurde im Jahr 2001 durch eine Initiative
der Königlichen Bibliothek Kopenhagen gegründet. Die Auswahl
der zu edierenden Werke gehorcht sowohl musikalisch-praktischen
als auch wissenschaftlichen Gesichtspunkten.
Die Leitung der Ausgabe liegt in den Händen eines Redaktionskomitees, dessen Zusammensetzung aus dem Impressum
hervorgeht.
Die einzelnen Bände werden jeweils einer der folgenden Serienangehören:I : Orchestermusik
II : Kammermusik
III : Werke für Tasteninstrumente
IV : Bühnenmusik
V : Chorwerke, darunter kirchliche und weltliche Kantaten
VI : Lieder und Gesänge
VII : Supplement

Die Werke werden auf der Basis einer musikphilologischen Auswertung des überlieferten Quellenmaterials unter Einbeziehung
der Entstehungsgeschichte, des Kontextes im Gesamtwerk und
der Rezeption zu Lebzeiten des Komponisten herausgegeben. Die
Ausgabe erfolgt ohne die typographische Kennzeichnung redaktioneller Änderungen und Ergänzungen, da diese zusammen mit
einer Quellenbeschreibung im abschließenden Revisionsbericht
dokumentiert werden.
Die Bezeichnung der Instrumente und die Anordnung derPartitur wird stillschweigend der modernen Praxis angeglichen.
Transponierende Instrumente werden gemäß der Hauptquelle beibehalten; Hörner und Trompeten sind ohne feste Vorzeichen notiert.
Die Ausgabe folgt keinem von Beginn an festgelegten Editionsplan.
Das Erscheinen der Bände richtet sich vielmehr nach den jeweils
vorhandenen Ressourcen.
Kopenhagen, 2002.
Niels Krabbe, Redaktionsleiterviii j.p.e. hartmann : selected works

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indledning
I et længere brev fra 1841 til musikforlæggeren Julius Schuberth i
forbindelse med trykningen af sin d-mol sonate skriver Hartmannbeskedent om sine evner som klaverkomponist: “Ich bin kein
Clavierspieler von Profession; und meine Hauptsache als Componist war immer mehr das Orchester und der Gesang, als das Piano
Forte”.1 Trods dette forbehold havde han dog fået trykt ikke færre
end seks klaverkompositioner udover de småstykker, der er overleveret i manuskript, forud for d-mol sonaten (som ovenstående citat vedrører);2 og de følgende knap 60 år skulle følge yderligere ca.
25 trykte klaver værker (både ensatsede og cykliske) samt et antal
utrykte. Alt i alt har Hartmann således efterladt sig en omfangsrig
produktion af klavermusik.
I ovennævnte brev til Julius Schuberth forholder Hartmann
sig mere indgående til en påstand om, at hans klaversonate ikke
skulle være “claviermässig genug” – altså tilstrækkelig pianistisk:
Jedoch, das letztgenannte Instrument ist seit langer Zeitvon vielen Componisten nur als algemeines Ideen-Ebrion
benutzt worden; und hätte ich nicht das Eksempel solcher
vor Augen, würde ich mich nicht in die Reihe der Claviercomponisten stellen können. Es ist also natürlich, dasdiejenige, die mich von dem Standpunkt der eigentlichen
Clavierspieler beurtheilen, zum oben erwähnten Resultat
kommen müssen; und, ich gestehe es, ein Vorwurf ist es
allerdings; doch bin ich damit zufrieden, dass es nur diesen Punkt, nicht aber die Composition an und für sichgetroffen hat.
Nærværende udgave omfatter samtlige Hartmanns fuldendte
klaverværker fra de stort anlagte klaversonater i F-dur og a-mol,over de mange samlinger af karakterstykker til de korte enkeltsatser på mindre end en snes takter. Værkerne dækker de fleste af det
19. århundredes gængse genrer inden for klavermusikken og fordeler sig tidsmæssigt over mere end 60 år fra midten af 1820’erne
til midten af 1880’erne. Klavermusikken er således den genre, derer rigeligst repræsenteret i Hartmanns samlede produktion – ihvert fald når det gælder instrumentalmusikken. Blandt de i alt
86 opusnumre, som findes i Hartmanns samlede trykte produktion, omfatter de 20 numre klavermusik, hvortil kommer et stortantal større eller mindre klaverværker trykt uden opusnummer
eller overleveret i manuskript – i alt 56 samlinger og enkeltværker i nærværende udgave. Som det fremgår af den kronologiske

konkordans ligger tyngdepunktet i Hartmanns virksomhed
som klaverkomponist i 1840’erne og – i noget mindre omfang –1850’erne (se s. 652 i bd. 2).
Samtlige kendte klaverværker af Hartmann – hvad enten deforeligger som tryk eller som manuskript – opbevares i Det Kongelige Bibliotek i København. En del – men langt fra dem alle – foreligger i Hartmanns egen nedskrift (nogle autografer er gået tabt efter at have været sendt som trykforlæg til de forskellige tyske forlag,
der har undladt at returnere manuskripterne til Hartmann efter
trykningen). Bibliotekets samling af Hartmann manuskripter skyldes for langt den overvejende del familjens samlede overdragelse
til biblioteket af Hartmanns efterladte musikalier i 1902, to år efter
hans død med tilhørende omhyggelige registranter over noderne.
Det trykte materiale findes i to forskellige samlinger i biblioteket: dels indgår det i “Nationalsamlingen”, der omfatter samtlige
danske nodetryk erhvervet i forbindelse med bibliotekets løbende
indsamling af trykt dansk nodemateriale,3 dels findes samtlige trykte udgaver af hvert enkelt værk, ordnet kronologisk værk for værk, iden såkaldte Dan Fog Samling, som blev indlemmet i Det Kongelige
Bibliotek i 1993, og som følger nummereringen i Dan Fogs trykteværkregistrant.4 Ikke mindst sidstnævnte samling giver et enestående overblik over udbredelse af Hartmanns musik på tryk.
En betydelig del af de trykte udgaver med klavermusik udkom såvel på tyske som på danske musikforlag og adskillige af dem endda
i flere udgaver af samme værk med flere årtiers mellemrum. Forde tidlige værkers vedkommende er det et gennemgående mønster, at værket først udkom på et dansk eller tysk forlag i forbin-

1 Inger Sørensen, J.P.E. Hartmann og hans kreds. En komponistfamilies breve 1780-1900, vols. 1-3, Copenhagen 1999, nr. 125 (i det
følgende, Breve).
2 Det drejer sig om opusnumrene 6, 7, 18, 25, 26 og 31. Det skal idenne forbindelse dog understreges, at bemærkningerne er foranlediget af priskomiteens bemærkning om, at Hartmanns sonate
ikke var “claviermässig genug” (se under omtalen i det følgende af
nr. 1).
3 Loven om pligtaflevering af musikalier blev indført i 1902, altså
to år efter Hartmanns død og kom således kun til at omfatte posthumt udgivne Hartmann værker.
4 Dan Fog, Hartmann-Katalog. Fortegnelse over J.P.E. Hartmanns
trykte kompositioner. København 1991. Som det fremgår af titlen,
indeholder Dan Fogs fortegnelse ikke de mange utrykte værker.

klaverværker : introduction

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delse med dets tilblivelse og derefter blev genudgivet på Wilhelm
Hansens musikforlag flere årtier senere. I årene mellem 1837 og
1845 udkom samtlige Hartmanns nye klaverværker på tyske forlag,og først efter 1848 begyndte værkerne at komme på danske forlag.5 Hvorvidt dette skyldes, at Hartmann i disse år var et særligt
fremtrædende navn i Tyskland, eller om det afspejler, at der endnu
ikke i Danmark var et marked for hans klavermusik, lader sig ikke
entydigt afgøre. Også omtalen af Hartmanns klavermusik i tyske
tidsskrifter indskrænker sig helt naturligt stort set til disse år.6 En
anden årsag kan være – uden at den dog nærmere kan verificeres– at det anspændte forhold mellem Danmark og Slesvig-Holsten
efter 1848 kan have spillet ind.
Efter i slutningen af 1870’erne at have opkøbt hovedparten
af de danske forlag påbegyndte Wilhelm Hansen i 1880’erne ennæsten systematisk genudgivelse af Hartmanns klaverværker,
undertiden stukket efter de oprindelige trykplader, men oftest
stukket på ny.7 Hartmanns position i 1880’erne må således haveværet af en sådan art, at der stadig var marked for disse tidligere
udgivne værker.
Med få undtagelser spiller klavermusikken ikke den store rolle i
receptionen af Hartmanns musik, og specielt den ældre litteratur
går forholdsvis let henover denne del af produktionen. Mens Angul
Hammerich ikke gør meget ud af værkerne for klaver,8 spiller de enanderledes fremtrædende rolle i Richard Hoves beskæftigelse med
komponisten; dels skrev han i Dansk Musiktidsskrift to grundige
artikler om F-dur sonaten (nr. 3), dels indeholder hans monografi
om Hartmann et særligt kapitel om klavermusikken.9 Den grundigste behandling af emnet – og den eneste monografi om Hartmanns

5 Efter dette år er det kun Fantasistykkerne opus 54, der første gangudkom på et tysk forlag.
6 Udover Schumanns forskellige anmeldelser i Neue Zeitschrift fürMusik og anmeldelsen i Iris (se nedenfor) var der ifølge Lothar
Brix, Die Klaviermusik von Johann Peter Hartmann. Ein Beitragzur musikalischen Romantik in Skandinavien, Göttingen 1971,
s. 6 også anmeldelser i Julius Schuberths tidsskrift Hamburgische
Musikzeitung; dette tidsskrift har ikke været konsulteret i forbindelse med nærværende udgave.
7 Se Dan Fog, Musikhandel og Nodetryk i Danmark efter 1750, bd.
II, s. 210. Fra o. 1880 var Wilhelm Hansen stort set enerådende
som musikforlægger på det danske marked.

klavermusik – er Lothar Brix’ meget fortjenstfulde, om end noget
uoverskuelige bog fra 1971.10 Bogen bygger på indgående studier af
kildematerialet i Det Kongelige Bibliotek og gennemgår hele produktionen systematisk med udblik til såvel dansk som tysk musikhistorie
ud fra en stilanalytisk tilgang. Forfatteren må dog indledningsvist
om samtidens vurdering af Hartmanns klavermusik konstatere:
Doch bereits zu Lebzeiten Hartmanns wurde die Bedeutungseiner Klaviermusik kaum erkannt, zumal die klavieristische
Genrekunst N.W. Gades weitgehend den musikalischen Zeitgeschmack Dänemarks im 19. Jahrhundert bestimmte”.11
En sådan beskrivelse af samtidens reception modsvares nøje af mangelen på kildemateriale, der kunne belyse udbredelsen af musikken i
det offentlige og private musikliv i Danmark i Hartmanns levetid.
I forbindelse med omtalen af Studier og Novelletter (nr. 19)
går Lothar Brix endnu mere i rette med Hartmann og peger samtidig på et karakteristisk træk ved mange af hans samlinger af klaverstykker, nemlig det ujævne kunstneriske niveau:
Das Nebeneinander von klischeehaften, dem seichten Modegeschmack verhafteten Routinearbeiten und gehaltvollen
Kompositionen bildet in Hartmanns meisten Sammlungeneine merkwürdige Synthese, die von einer offenbar geschmacklichen Unsicherheit zeugt.12
Det skal dog tilføjes denne lidt hårde dom, at Lothar Brix ikke erblind for den stigende kvalitet, man møder i Hartmanns klavermusik, efterhånden som han bliver ældre, begyndende med samlingen
opus 74 (nr. 23) og naturligvis med kulmination i klaversonaten
opus 80 (nr. 5)
Den nyeste større fremstilling om Hartmanns liv og værk,Inger Sørensens monografi om Hartmann familien fra 1999, behandler klavermusikken i en række forskellige sammenhænge:prissonaten opus 34 i kapitel 5 om skuespilmusikken, overblik
over de vigtigste værker i kapitel 8, “De senere klaverværker”, samten særskilt gennemgang af de tre sonater i d-mol, F-dur og a-mol(nr. 1, 3 og 5) i bogens appendiks, der indeholder korte musikalske
analyser af et antal udvalgte værker. Inger Sørensen sammenfattersin vurdering af Hartmanns betydning som klaverkomponist i lidt
andre vendinger end Lothar Brix:

8 Angul Hammerich, J.P.E. Hartmann, København 1916.
9 Richard Hove, Dansk Musiktidsskrift (1927-28), s. 149 og Dansk
Musiktidsskrift (1944), s. 140; Richard Hove, J.P.E.Hartmann,
København 1934, s. 38 ff.
10 Lothar Brix, Die Klaviermusik von Johann Peter Emilius Hartmann. Ein Beitrag zur musikalischen Romantik in Skandinavien.
Dissertation….Georg-August-Universität zu Göttingen, Göttingen
1971.
11 Lothar Brix, Op. cit., s. 6.
12 Lothar Brix, Op. cit. s. 163-164.
13 Inger Sørensen, Hartmann. Et dansk komponistdynasti. København 1999. s. 279. Der er her tale om en vurdering, som nærværende udgave af klavermusikken giver mulighed for nærmere atkvalificere.

Med sine klaverværker placerede Hartmann sig som den
dominerende danske romantiske komponist inden for denne
genre. Ingen anden skrev så mange og så forskelligartede
klaverværker af en så høj kvalitet. Til trods for hans åbne ørefor strømningerne især i den tyske romantik, var Hartmanns
klaverkompositioner langt mere personlige end Gades mere
direkte Mendelssohninspirerede stil, der var væsentligt blegere. Hartmann udviklede sig langt mere, og da han lagde
klaverkompositionen på hylden i midten af 1880’erne stod
den unge Carl Nielsen parat som den, der skulle løfte arven.13

x j.p.e. hartmann : selected works

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redaktionelle bemærkninger
PedalsætningBåde Hartmanns manuskripter og en stor del af de trykte udgaver
er forsynet med pedal-anvisinger. Sådanne anvisninger er indarbejdet i nærværende udgave efter samme princip som andre spilletekniske anvisninger. Der er dog ikke foretaget egentlige analogikompletteringer af pedal-anvisningerne.
Kildernes angivelse af pedalsætning omfatter tre former forangivelse, der alle er bibeholdt uændret og uden nogen yderligere
komplettering:ped. med efterfølgende *ped. uden efterfølgende *con ped.
Sidstnævnte angivelse synes at tilkendegive, at en efterfølgende passage skal spilles med brug af pedalen, uden at præcisere en mere
konkret angivelse af en sådan brug.
Fingersætning
Mange af Wilhelm Hansens udgaver indeholder fingersætning –ofte angiveligt tilføjet af pianisten August Winding (uden at det
kan godtgøres, i hvilket omfang dette er sket med komponistens
vidende); enkelte af Hartmanns manuskripter har ligeledes fingersætning, men her meget sporadisk. På grund af disse forhold
har udgiveren valgt at se bort fra disse angivelser af fingersætning med undtagelse af et enkelt værk, hvor de så at sige er endel af værket, nemlig nr. 24, Thema med 14 Variationer for JohanPeter Hartmann.
Flerstemmig notation
Hartmann gør i klavermusikken udstrakt brug af flerstemmig
notation, uden at der dog er tale om en streng polyfon sats men
snarere, hvad man kunne kalde “fristemmig sats”. I nogle tilfælde
er notationen gennemført for en hel passage, i andre for en hel takt
og i atter andre kun for en del af takten. Det betyder, at en notation
der på ét sted i frasen er gennemført flerstemmig (med indføjelse
af de nødvendige pauser) i andre dele af frasen ophører og tilsyneladende fremstår med “manglende” pauser. Nærværende udgave
normaliserer og kompletterer kun i meget få tilfælde sådanne passager men følger Hartmanns notation.
Datering
Dateringerne af Hartmanns værker i kildebeskrivelsen (og dermed
den kronologiske rækkefølge af værkerne i de tre hovedkategorier,hvori de optræder i nærværende udgave) bygger på tre kilder:
A. Hartmanns egenhændige datering i stort set samtlige overleverede manuskripter, undertiden oven i købet i forbindelse
med hvert enkelt værk i en samling.

B. Dan Fogs datering af de trykte udgaver i hans Hartmannkatalog, der bygger på annoncer, forlagskataloger samt formentlig tillige på Hofmeister (se nedenfor, pkt. c).14
C. Leipziger forlæggerens Friedrich Hofmeisters månedlige kataloger over udgiven musik i Tyskland (både på eget og andres
forlag) og en række andre lande i perioden 1829-1900.15 En
registrering af et værk i et månedshæfte hos Hofmeister fandt
yderst sjældent sted senere end tre måneder efter at trykket
forelå, hvilket i sig selv giver en forholdsvis præcis datering af
en bestemt udgave. Henvisninger til Hofmeisters kataloger er i
fodnoterne i nærværende udgave anført som Hofmeister XIX.
Med en enkelt undtagelse (nr. 56) er det muligt med ovennævnte
hjælpemidler at datere samtlige Hartmanns klaverværker, hvorfor
det også er muligt at opstille en samlet kronologisk fortegnelse
over produktionen (se den kronologiske konkordans i bd. 2).
Nummerering i udgaven
Af praktiske grunde er samtlige værker i nærværende udgave forsynet
med et løbenummer. Nummereringen følger ikke Dan Fogs nummerering;16 det har heller ikke været muligt – igen af praktiske grunde– at koordinere disse numre med den kommende tematiske værkfortegnelse for Hartmanns produktion, der er under udarbejdelse.

værkerne
Klavermusikken falder i tre hovedkategorier: sonater (sonatine),samlinger af karakterstykker med mere eller mindre klart cykliskpræg og under en række forskellige overskrifter, samt enkeltværker
med eller uden programmatiske titler. Nærværende udgave følger
denne opdeling, idet det dog skal bemærkes, at det ikke altid er muligt at trække en helt klar grænse mellem den anden og den tredje
kategori, og idet det skal understreges, at mange af samlingerne
snarere skyldes forlæggernes ønske om at præsentere et hefte af etvist omfang end Hartmanns ambition om en cyklisk struktur:17

14 Det siger sig selv, at en datering af en trykt udgave, hvortil der ikke
er bevaret nogen dateret autograf, ikke siger noget om tidspunktet
for værkets tilblivelse, kun for den trykte offentliggørelse.
15 Det af Hofmeister påbegyndte projekt fortsatte helt frem til 1942,
hvorefter registranten fra 1945 blev opslugt af den tyske nationalbibliografi. Hofmeisters kataloger fra perioden 1829-1900 (justden periode, der er relevant for Hartmanns klavermusik) er i løbet
af de seneste ca. 20 år blevet digitaliseret og gjort søgbare via detsåkaldte Hofmeister XIX projekt, initieret og gennemført under
den internationale musikbiblioteks-organisation JAML’s auspicier(http://www.hofmeister.rhul.ac.uk/2008/index.html). Katalogernes opbygning og betydning er grundigt beskrevet i Rudolf Elvers
og Cecil Hopkinson, “A Survey of the Music Catalogues of Whistling and Hofmeister” i Fontes (1972), bd. XIX, s. 1-7.
16 Som de optræder i Dan Fog, Op. cit., eftersom Fogs katalog ikke
omfatter de utrykte værker.
17 Inden for den enkelte kategori er tilstræbt en kronologisk rækkefølge for værkerne.

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A. Sonater (sonatine)
B. Samlinger (karakterstykker)
C. Enkeltværker
D. Appendiks

Nr. 1-5
Nr. 6-24
Nr. 25-56
Nr. App.1-App.5

Karakterstykkerne omfatter en lang række “genrer”,18 som alle kendes fra andre – specielt tyske – komponister i det 19. århundrede.
Det er ikke altid umiddelbart indlysende, hvorfor Hartmann netop
har valgt denne eller hin betegnelse til en bestemt samling, og imange tilfælde overlapper betegnelserne hinanden. I det hele taget
er genrebetegnelserne for de mange klaverstykker fra det 19. århundrede stærkt flydende, omend det dog er muligt at knytte visse
stilistiske træk til visse af betegnelserne.
Hos Hartmann forekommer på titelbladene følgende betegnelser for sådanne samlinger af karakterstykker: Rondeaux, Caprices, Skitser, Pieces Characteristiques, Genrestykker, Tonestykker i
Sangform, Fantasistykker, Novelette, Etudes, Studier, Fantasi. Hertil
kommer en række dansesatser, enkeltværker med programmatiske
titler, samt stambogsblade – alt i alt en meget broget buket af klaverstykker, som klart afspejler klavermusikkens dominerende rolle
som husmusik i det 19. århundrede, og hvis titler og mottoer falderhelt i tråd med den almindelige praksis hos tidens komponisterbåde i Danmark og Tyskland.19
Lothar Brix opdeler samlingerne med karakterstykker i tre
faser med hver sit stilistiske præg:1835-1845: nr. 7, 8, 9, 10, 11 og 12
1846-1863: nr. 13, 15, 16 og 17
1864-1877: nr. 19 og 23Værker med programmatisk indhold omfatter to hovedgrupper: på den ene side de samlinger eller enkeltstykker, til hvilke
der er knyttet litterære tekster, på den anden side enkeltstykker
med programmatiske titler. Til førstnævnte gruppe hører: Seks

18 “Genre” er her sat i citationstegn for at tilkendegive, at der i nogletilfælde ikke er tale om selvstændige, profilerede genrer med hverderes stilistiske præg, men undertiden blot om mere eller mindre
arbitrære titler.
19 Som det fremgår af den efterfølgende indføring i de mange forskellige værker, er grænsen mellem egentlig programmusik og
blot stemningsskabende titler flydende. Denne side af Hartmanns
klavermusik er mere indgående beskrevet i Niels Krabbe, “Udbredelsen af Hartmanns klavermusik”, Fund og Forskning 51 (2012),
København 2012.
20 Lothar Brix, Op. cit., s. 116.
21 Sonate a 4 mains No 1 Op. 4; manuskriptet består af fire satser:
Allegro, Scerzo [sic.], Allegro No 2 (med tilskrift i anden blækfarve “duer slet ikke”), Adagio No 3 samt Rondeau, Allegro assai.
Den trykte udgave fra 1888 er et af Hartmanns senest trykte klaverværker. Manuskriptet til den oprindelige version af sonaten
viser spor af betydelig bearbejdelse fra Hartmanns side forud fortrykningen af satsen. Sonaten indgår ikke i nærværende udgave
af sonaterne.
22 Robert Schumann, “Sonaten für das Clavier” i Neue Zeitschrift fürMusik, (10), nr. 34 og 35, 26. og 30. april 1839.

Karakterstykker (nr. 13), Andantino fra Tre Klaverstykker (nr. 14),Novelette (nr. 17), samt Klaverstykker (nr. 18), alle med tekster af
H.C. Andersen med undtagelse af de to sidste stykker i nr. 18, derindledes med vers af Carl Andersen.
Til sidstnævnte gruppe, værker med programmatiske titler,
hører: Ballo Militare (nr. 12), Svensk Hjemvee, Sommeren 1848
(nr. 14), Andantino religioso (nr. 28), Gamle Minder (nr. 29),
Hamborger-skotsk (nr. 30), Hjemvee (nr. 33), Om Foraaret (nr. 34),
Vinteren (nr. 35), Den 20de Januar 1848 (nr. 38), Bellmanske Billeder (nr. 45), Aftenstemning (nr. 47), I Folkevise-Tone (nr. 48) samt
Svanerne (nr. 54). Både når det gælder de indledende tekster og deforskellige titler, er det hos Hartmann ofte vanskeligt at se nogen
egentlig forbindelse mellem teksterne/titlerne og den musikalske
sats; Lothar Brix går endda så vidt som at hævde i forbindelse med
H.C. Andersens digte, der indleder de seks klaverstykker nr. 13, at
de er “…eher verwirrend als ‘verdeutlichend’ ”.20

a. sonater ₍sonatine₎
Hartmann har efterladt sig fire klaversonater (samt en ufuldendt
førstesats til en femte, se App. 2-3), en sonatine samt en sonate for
firehændigt klaver, således om det fremgår af nedenstående liste:
Firehændig klaversonate, opus 4; ms. dateret 1826,21 sidste
sats trykt som Petite Rondeau Opus 4 (1826) i 1888 (detoprindelige manuskripts opusnummerering kunne tyde
på, at en udgivelse af hele sonaten på et tidspunkt harværet planlagt).
Sonate i d-mol opus 34 (“Pris-Sonate”), trykt 1842
Sonate i g-mol, ms. dateret 1851
Sonate i F-dur, ms. dateret 1854, trykt posthumt 1944
Sonatine i G-dur, ms. dateret 1863
Sonate i a-mol opus 80
ms. dateret 1876 (oprindelig version af 1. og 2. sats)
ms. dateret 1883 (revideret version, trykt 1885)
Sammenholdt med den almindeligt vigende interesse hos komponister i anden halvdel af 1800-tallet for at skrive klaversonater er
denne produktion ganske påfaldende. Faktisk er Hartmann vel en
af de eneste danske komponister mellem Kuhlau og Niels Viggo
Bentzon – måske den eneste –, der har skrevet mere end en enkelt
eller to klaversonater.
I et par artikler i Neue Zeitschrift fur Musik fra april 1839
fremfører Schumann nogle korte, principielle betragtninger omkring klaversonaten som genre i forbindelse med en anmeldelse af
en række sonater af forskellige, i dag ukendte komponister (medundtagelse af Weber og Mendelssohn, der også er repræsenteret i
artiklen).22 Schumann slår her indledningsvist fast, at klaversonaten på denne tid absolut hører til undtagelserne, og når den forekommer, da fortrinsvis er skrevet af mindre kendte komponister.
Han går endda så vidt som lidt nedsættende at hævde, at sådanne

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sonater nærmest har karakter af “Formstudien” og fortsætter:“aus innerem starken Drang werden sie schwerlich geboren”. Han
konstaterer uden nogen form for beklagelse, at genren har udlevet
sin rolle. Denne dom bekræftes i tidsskriftet rent statistisk af det
forhold, at sonater udgør en meget lille del af de talrige værker, derer anmeldt i de af Schumann redigerede årgange.
Hans fyldige anmeldelse tre år senere af de tre prissonater,
hvoraf Hartmanns opus 34 er den ene, er således et særsyn, derformentlig er affødt af de særlige omstændigheder omkring netop
disse tre sonaters tilblivelse.

nr. 1
sonate i d-mol, opus 34, “prissonate”
Efter det meget tidlige forsøg med den firehændige sonate fra
1826 – hvorfra sidste sats som nævnt blev trykt så sent som i 1888
som opus 4 – var det udskrivningen af en priskonkurrence fra
Nord Deutscher Musik Verein, der gav Hartmann mod til for alvor
at forsøge sig i klaversonategenren. Konkurrencen affødte sonaten
i d-mol, komponeret på kort tid i november-december 1841, somefterfølgende modtog konkurrencens andenpris. Værket blev indsendt – selvsagt anonymt – under et motto fra Horats’ Ars Poetica:“Neque chorda sonum reddit, quem vult manus et mens, nec semper feriet, quodcunque, minabitur arcus” (“Strengen gengiver ikke
altid den lyd, som hånden og tanken har ønsket, ej heller rammer
buen altid hvad den end sigter efter”).23
Tilblivelsen af prissonaten og det pres, som Hartmann var
underlagt for at få den færdig til tiden, fremgår af brevvekslingen
mellem musikforlæggeren Julius Schuberth og Hartmann omkring
juletid 1841 i forbindelse med den efterfølgende publicering af
sonaten på det tyske forlag i 1842. Julius Schuberth – formand forden af ham selv grundlagte Nord Deutscher Musik Verein i Hamborg – havde i efteråret 1841 foranlediget, at Hartmann blev gjort
til æresmedlem af foreningen.24 Ved samme lejlighed – eller noget
senere – havde Schuberth henledt Hartmanns opmærksomhed
på, at den priskonkurrence, som foreningen havde udskrevet, ogsåstod åben for komponister uden for Tyskland. Oplysningen kom såsent i forhold til indsendelsesfristen, at Hartmann måtte udarbejde
sit bidrag i yderste hast – angiveligt i løbet af fire uger sideløbende
med sine øvrige gøremål. Tiden var så knap, at han end ikke nåede
at få hele førstesatsen komponeret færdig i så god tid, at den kunne
leveres i sin helhed til kopisten, der skulle klargøre eksemplaret til
priskomiteen; fra og med t. 174 forelå satsen på dette tidspunktsåledes kun i skitseform. Resultatet blev, at Hartmann selv i hastmåtte tilføje den manglende slutning på kopien og fremsende dethele til Hamborg. Dette er forklaringen på, at han efterfølgende, iforbindelse med de videre forhandlinger med Schuberth om trykning af værket, måtte meddele, at hans eget eksemplar af sonaten(antagelig kilde C) stadig manglede denne slutning, hvorfor han
bad om at få sit eksemplar retur fra Tyskland.25 Imidlertid er det
kun den ufuldstændige autograf, der er bevaret, hvilket forklarer
den manglende slutning af første sats i kilde C. Hvorfor dette eksemplar også mangler hele anden sats, fremgår ikke af kilden.26

Hartmanns sonate vandt som nævnt konkurrencens delteandenpris, og i et længere brev fra 14. december 1841 kunne Julius
Schuberth for Hartmann redegøre for de nærmere omstændigheder i forbindelse med prisuddelingen, herunder hvem der havde
vundet førsteprisen og den delte andenpris, samt hvilke af bedømmelseskomiteens medlemmer, der havde været Hartmann særlig
gunstigt stemt.27 I samme brev bad han i øvrigt Hartmann om atforsyne sonaten med metronomangivelser med henblik på den
trykte udgave på Schuberths forlag, der var planlagt til det følgendeforår.28 Også et firehændigt arrangement var planlagt til udgivelse
hos Schuberth. I brevet skriver Schuberth herom: “Damit ich aberdas Wichtigste Alles Wichtigen nicht vergessen ist: das 4 händige
Arrangement Ihrer Preis Sonate. Diese wird sich 4 händig noch
pompöser machen”, og Hartmann bad øjensynligt sin tidligere elev
Otto Dütsch om at udarbejde en sådan firehændig version.29 Den
kendes i dag som manuskript i Dütsch’s hånd, men blev tilsyneladende aldrig trykt som planlagt, selvom forlæggeren på ny vendte
tilbage til sagen i et nyt brev et par måneder senere.30
Sonaten blev genudgivet hos Wilhelm Hansen næsten fyrreår senere, i 1880 (kilde B).
Prissonaten er et af de meget få værker, hvortil der foreligger
en egentlig anmeldelse – endda som nævnt af Robert Schumann

23 Horats, Ars Poetica, l. 348 og 350, idet Hartmann har udeladt den
meningsbærende foregående l. 347, et indledende “nam” i linje 348
samt linje 349 mellem de to citerede linjer; den udeladte linje hos
Horats lyder: “poscentique gravem persaepe remittit acutum;” (fornår man kalder en tone for dyb, gengiver man den meget ofte høj);hele afsnittet hos Horats (l.347-350) kan i oversættelse parafraseressåledes: “Der er dog fejltagelser, som man kan tilgive; thi det er ikke
altid, at en streng lige gengiver den tone som var meningen, og oftefår man en høj tone, hvor man havde ment en dyb; og buen rammer ikke altid præcist det, man havde tænkt” (parafrasen baseretpå Horace, The Art of Poetry. A verse translation with an introduction by Burton Raffel, New York 1974, p. 57).
24 Breve, nr. 121.
25 Anmodningen blev efterkommet, hvilket fremgår af brev fra Schuberth af 28.12.1841, hvori det meddeles, at manuskriptet er på vej
til Danmark i en pakke til musikforlaget Lose & Olsen (Breve, nr.
126); det pågældende eksemplar er formentlig gået tabt.
26 Disse forhold er indgående beskrevet af Hartmann i hans brev til
Schuberth fra december 1841 (Breve, nr. 125); om problemet med
at få en kopi færdig inden udløbet af konkurrencefristen hedder
det i brevet: “…Und – was noch schlimmer ist – den letzten Theildes ersten Allegro hatte ich nicht einmal aufgeschrieben, sondern
nur entworfen; es blieb mir also, um Zeit zu gewinnen, nichts
anders übrig, als diesen mit eigener Hand in das einzusendende
Exemplar hinzuschreiben. [...] denn vom letzten Theil des ersten
Allegro habe ich nicht einmal eine Abschrift.”
27 Breve, nr.122.
28 Metronomangivelserne kom med i den tyske originaludgave, men
blev udeladt af det danske genoptryk fra 1880; de er derfor ikke
medtaget i nærværende udgave.
29 Breve, nr. 126. Dütsch (1823-1863) havde været elev af Hartmann
på Sibonis Musikkonservatorium i København; forlod Danmarki 1840 og rejste – efter tre års ophold i Dessau i Tyskland – til Skt.
Petersborg i 1844.
30 Manuskriptet i DK-Kk, Hartmanns samling. Kompositioner og
Udkast.

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i hans toneangivende Neue Zeitschrift für Musik, hvor der i juni
1842 er en samlet anmeldelse af de tre prisbelønnede sonater fra
konkurrencen. Mens Schumann har knap så meget til overs for deto værker, der modtog første og anden prisen (de nu helt ukendte
Karl Vollweiler og J.E. Leonhard), er han mere begejstret for Hartmanns sonate; her taler en egentlig kunstner, understreger han.
Schumann ser i sonaten som helhed det, han kalder en vis “Novellencharacter”, hvor kun finalen med sin mere orkesteragtige satsfalder uden for denne karakteristik.31 Han sammenfatter sit indtryk
af de tre prissonater i nedenstående karakteristik, der samtidig er et
mildt angreb på bedømmelseskomiteens vurdering:
Wenn wir in der ersten (von Vollweiler) einen Clavierspieler
erkannten, der sich mit Talent auch der Composition zugewendet, in der andern (von Leonhard) einen Musiker,
der sich den Weg zur Vollendung durch Verstandesspiele inetwas zu erschweren scheint, so spricht aus der von J.P.E.
Hartmann der Künstler zu uns, der uns versöhnt durch
die harmonische Ausbildung seiner Kräfte, der, Herr derForm, kein Sclav seiner Gefühle, uns überall zu rühren undfesseln versteht.
Dies ist unsere Meinung, und weicht sie einigermassen
von der der Preisrichter ab, so sei damit in keinem Falle ihr
guter Wille in Zweifel gezogen, das Verdienst nach Würden
zu belohnen. Aber es ist schwieriger, aus fünfzig Menschen
die besten herauszufinden, als aus dreien. Und dann – auch
wir können irren, unsere Absicht aber war die beste.32
Opmuntrende ord for den endnu unge komponist, endda med en
antydning af, at han – og ikke Vollweiler – burde have fået førsteprisen.

nr. 2
sonate i g-mol
Knap 10 år senere kastede Hartmann sig på ny over klaversonaten
med to værker, som begge forblev utrykt i hans levetid. Det første
af disse, sonaten i g-mol, er slutdateret den 31. marts 1851. Hartmanns autograf bærer opusnummeret “53”, hvilket tyder på, at
han har haft til hensigt at publicere sonaten. Værket er i fire satser,
hvoraf de to midtersatser efterfølgende er forsynet med program-

31 Udtrykket “Novellencharacter” leder tanken hen på Schumannsæstetiske ideal omkring musikkens evne til at udtrykke “det poetiske” og hans foragt for det konventionelle formtyranni.
32 Neue Zeitschrift für Musik, (16), nr. 45, 3. juni 1842.
33 Breve, nr. 456. Brevet er en tak til Ingemann for et digt, som
denne havde sendt til Hartmann som trøst efter hustruens død.
34 Først i 1943 forelå en trykt udgave af sonaten på Wilhelm Hansens Musikforlag, angiveligt udgivet af Niels Viggo Bentzon, men
i realiteten revideret af Werner Wolf Glaser. Denne udgave forholder sig ukritisk til den komplicerede overlevering af sonaten(se Description of Sources).

matiske overskrifter, tilføjet med blyant: Sang uden Ord og Gamle
Minder. Trods sit lille format har værket dog en vis cyklisk karakter, idet slutsatsen afrundes af stof fra første sats; også en række
håndskrevne blyantsrettelser i de tre første satser tyder på, atHartmann har taget arbejdet med værket seriøst. Hertil kommer,
at han godt 25 år senere på ny fandt sonaten frem og genbrugte
udsnit fra de to ydersatser i Klaverstykker fra ældre og nyere Tid,
opus 74 (se nr. 23).
Bortset fra den nævnte gentagelse af en passage i førstesatsen som afslutning på finalen udviser g-mol sonaten ikke
nogen form for helhedspræg eller dynamisk fremdrift gennem
hele værket: en kort første sats, Allegro non troppo i g-mol på 50
takter uden nogen form for gennemføringsarbejde eller reprise;
anden sats, “Sang uden Ord”, Allegretto grazioso i G-dur på 36
takter (ABA-form m. koda); tredje sats, “Gamle Minder”, Tempo
di Menuetto moderato i As-dur (36 takter, ABAC-form); samt
afsluttende finale, Allegro grazioso, der begynder i Es-dur og via
As-dur og Es-dur vender tilbage til sonatens hovedtoneart g-mol,hvor Hartmann til slut, Allegro assai, genoptager førstesatsens
mest markante tema.
Værket er formentlig påbegyndt tidligt i 1851 og fuldført
efter de store omvæltninger i familien med hustruens død den 6.
marts efter fødslen af en dødfødt datter midt i februar og tabet af
den yngste datter Marie, der døde seks år gammel på hustruens
begravelsesdag. Af et brev fra Hartmann til digteren B.S. Ingemannfra 23. marts fornemmer man, at arbejdet med sonaten – hvis det
da er den, der sigtes til i brevet – næsten kan have haft en form forterapeutisk funktion:
Jeg begynder nu ogsaa igjen at sætte mig ind i mine tidligere
Forhold og Arbeider, har componeret Noget, og i disse Dageefterarbeidet en Deel, som tilforn var forberedt;33
Hartmann opgav af en eller anden grund at udgive sonaten og
genbrugte derfor opustallet “53” til sine Etudes Instructives, derudkom under dette opusnummer året efter. Helt har han dog ikke
kunnet glemme sonaten, for som nævnt genbrugte han uddrag af
første og sidste sats mere end 25 år senere i Klaverstykker fra ældre
og nyere Tid.

nr. 3
sonate i f-durHeller ikke den store F-dur sonate fra 1854 blev udgivet i Hartmanns levetid.34 Det meget komplicerede kildemateriale vidnerom en intens beskæftigelse med værket fra Hartmanns side. Ogsåuddrag fra dette værk indgik senere i opus 74. Det drejer sig om
sonatens tredje og fjerde sats, førstnævnte næsten nodetro, mens
sidstnævnte er udvidet væsentligt i opus 74. Detaljer i kildematerialet viser, hvordan Hartmann ved genoptagelsen af værket i
forbindelse med publiceringen af opus 74 i 1878 foretog en række
justeringer i det genbrugte materiale og indarbejdede det i den nye
sammenhæng (se nr. 23).

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Genopdagelsen af sonaten efter Hartmanns død skyldtes
musikskribenten Richard Hove, som i 1928 blev opmærksom påsonaten blandt Hartmanns efterladte manuskripter i Det Kongelige Bibliotek, og hvem det efter mange anstrengelser lykkedes atfå værket udgivet i 1943. Allerede i 1928 betegnede Hove værket
som “En Sonate, som paa den skønneste Maade, udfylder Springet
mellem den ungdommelige Prissonate fra 1842 og det gigantiske
Mesterværk i A-moll fra 1885. En ukendt Perle af dansk romantisk
Musik”,35 og knap 20 år senere skrev han en længere anmeldelse af
sonaten, hvor han dels kritiserede, at den trykte udgave fremstod
som resultatet af Niels Viggo Bentzons arbejde og ikke gav den rette ophavsmand, Werner Wolf Glaser, den anerkendelse, der rettelig
tilkom ham, dels beskrev sonatens musikalske indhold forholdsvis
indgående. Hove karakteriserede førstesatsen som “…noget af det
mest fuldbaarne, Hartmann har skrevet”, og han så en parallel mellem de to midtersatser og H.C. Andersens eventyr. Hove sluttede
sin lange omtale af sonaten med følgende opfordring:Den [dvs. sonaten] er et sædekorn, der sent er drevet af
mulde, men det kan endnu naa at bære moden kærne. Det
sker blandt andet ved at kunstnere føler sig forpligtede til at
optage sonaten paa deres program og bringe dens gode danske tale ud omkring.36
Lothar Brix er mere kortfattet, men ikke mindre begejstret:
Die F-Dur Sonate ist zweifellos eine der geglücktesten
Klavierkompositionen Hartmanns. Sie ist ein zutiefst klavieristisch empfundenes Werk [...] 37

nr. 4
sonatine i g-dur
Udover slutdateringen “16/7 63” på Hartmanns autograf vides ikke
yderligere om værkets tilblivelsesomstændigheder (måske er dettænkt i en pædagogisk sammenhæng i forlængelse af Kuhlaus sonatiner). Med autografen (kilde C) som trykforlæg blev værket trykt(uden opusnummer) samme år hos Horneman & Erslev (kilde A),og mere end 20 år senere genoptrykte Wilhelm Hansens Musikforlag sonatinen efter de samme trykplader (dog med nyt pladenummer) og med en ny forside, der fremstår som en katalog over dehidtil udgivne klaverværker af Hartmann (kilde B); fortegnelsen kan
bidrage til dateringen af dette genoptryk, idet listen bl.a. indeholder
klaversonaten opus 80, som Wilhelm Hansen udgav i 1885. I samme
fortegnelse bærer sonatinen opusnummeret “48”, hvilket – som det
fremgår af kildebeskrivelsen – hverken stammer fra autografen eller
fra originaltrykket hos Horneman & Erslev. Opusnummeret kunnevære en fejltolkning af originaltrykkets prisangivelse “48 Sk.”!38
Begyndelsen af rondotemaet i sonatinens sidste sats haren stærk lighed med begyndelsen af hans 15 år tidligere komponerede ensatsede klaverstykke Om Foraaret (nr. 34), slutdateret“25/10 47”:

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nr. 5
sonate i a-mol, opus 80
Den 14. maj 1885 – på komponistens 80-års fødselsdag – udkom et
af Hartmanns betydeligste værker, den store klaversonate i a-mol.
På titelbladet og i en af Hartmanns autografer betegnes sonaten
som “N0 2”, uagtet der på dette tidspunkt som nævnt forelå fire
sonater og en sonatine; officielt anerkendte Hartmann således kun
prissonaten i d-mol fra 1842 og dette alderdomsværk fra 1885
som sin “kanoniserede” klaversonate-produktion; eller måske er
det blot udtryk for, at a-mol sonaten var nummer to i rækken af
trykte klaversonater.
Værket havde været længe undervejs, hvilket bl.a. afspejler
sig i den komplicerede kildemæssige overlevering. Allerede i oktober 1876 – ni år før den endelige udgave – kunne Hartmann
slutdatere de to første satser i henholdsvis g-mol og Es-dur (kilde
B, slutdateret efter 2. sats “11/10 76”). Denne version adskiller sig
så afgørende fra den endelige version, der blev trykt i 1885, at de toversioner nærmest har karakter af to forskellige værker: det gælder
toneart, omfang og dermed dele af det musikalske indhold. Forudfor renskriften fra 1876 havde Hartmann udarbejdet et antal løse
blyantsskitser til de to pågældende satser (kilde C).
Der foreligger således to fuldt udarbejdede versioner:–

Urversionen fra 1876 med slutdateringen af første sats
“11/10 76”, bestående af første sats, anden sats og begyndelsen af en tredje sats (som dog muligvis ikke er

35 Dansk Musiktidsskrift (1927-28), s. 149.
36 Dansk Musiktidsskrift (1944), s. 140.
37 Lothar Brix, Op. cit., 219
38 En komplicerende detalje er, at autografen til Hartmanns 2. symfoni bærer opustallet “48” fra komponistens egen hånd, hvilket harfået eftertiden til – formentlig fejlagtigt – at kalde sonatinen for“opus 48 a”; den bør rettelig fremstå uden opusnummer.

klaverværker : introduction

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xv

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–tænkt i forbindelse med denne sonate). I denne version
er ikke mindst anden sats væsentlig længere end i denendelige version. De to første satser er i henholdsvis gmol and Es-dur.
Den endelige version fra 1883, trykt i maj 1885, byggende på urversionen, men med væsentlige ændringer.

Begge versioner udgives i Hartmann Udgaven, idet dog urversionen bringes som App. 1.
De to renskrifter fra henholdsvis 1876 (kilde B) og 1883
(kilde A) antyder følgende tilblivelsesproces:39
Første sats
Satsen blev gennemskrevet med sort blæk i 1870’erne i g-mol.
Et antal rettelser er undervejs indført, ligeledes med sort blæk. I
1880’erne tager Hartmann på ny satsen frem med henblik på en ny
gennemskrivning. Han begynder med at indføre en lang række blyantsrettelser i den oprindelige version, dels vedrørende artikulationen, dels i form af egentlige ændringer i selve nodesatsen (indført
på de blanke nodelinjer mellem de blæk-beskrevne systemer). Da
han i denne proces er kommet til side 3, finder han, at satsen bør
transponeres, idet han øverst side 3 med blyant anfører “trsbn til amol”. Efterhånden viser det sig, at der vil være så mange ændringer,at det ikke længere giver mening at indføre dem i originalversionen, hvorefter resten af satsen blot overstreges med et blyantskryds
tværs over de resterende sider.

1883, er der stadig adskillige forskelle mellem disse rettelser i B og
den endelige version, som den fremtræder i A.
Anden sats findes således i tre versioner:–––urversionen i Es-dur fra 1876,
den første, stærkt forkortede version, som fremgår af
rettelserne i B fra 1883 (stadig i Es-dur)
den endelige version, som den kendes fra A, nu transponeret til F-dur, ligeledes fra 1883.

Fraseringen i den rettede version i B ligger meget tæt op ad A, hvilket tyder på, at B (i den gennemrettede version) har dannet forlæg
for A, men desuden, at der samtidig med transponeringen og renskriften i A er foretaget yderligere ændringer. Hertil kommer, at
der forud for nedskriften i 1876 (B) er udarbejdet en række kortereskitser iblandet skitser til formentlig andre værker (overleveret i C),
samt at der på de sidste sider af B (med renskriften af den tidlige
version) er en række skitser til passager i 1883-versionen. Endelig
skal det nævnes, at der i B mellem afslutningen af blækrenskriften
af 1876-versionen og før de tilføjede blyantskitser til 1883-versionen med blyant er indført begyndelsen til en Scherzino:

5

Anden satsOgså første version af denne sats blev gennemskrevet med sortblæk i 1870’erne, således at der er to tomme systemer mellem hver
af de udfyldte akkolader. I denne version omfatter satsen syv blade
skrevet med sort blæk, hvoraf de to første er pagineret side 1-2.
Som det var tilfældet med første sats, genoptager Hartmann arbejdet med denne sats i 1880’erne, og det ender her med en væsentlig
forkortelse og en række ændringer i de dele, der genbruges. Side 1anvendes stort set uændret, men fra og med side 2 er de oprindeligt tomme nodelinjer anvendt til rettelser. Disse indskrevne rettelser samt et tilføjet nodeblad “p. 3-4” er nu skrevet med blåt blæk(samme blæk, som er anvendt i kilde A fra 1883). I denne version
slutter satsen nederst side 4 og er således væsentligt kortere end
den oprindelige version fra 1876. Alt det efterfølgende fra den første version er overstreget med blyant. Den anden gennemskrivninger formentlig forlægget for den endelige version fra 1883; selvom
der er tale om en revision med henblik på den endelige udgave fra

39 Nyudgivelsen af a-mol sonaten fra 1996 (Edition Samfundet,
udgivet af Inge Sønderskov Madsen) forholder sig ikke til disse
komplicerede kildeforhold, som hverken afspejler sig i tilstrækkelig grad i den udgivne nodetekst eller i revisionsapparatet.
40 Hvorvidt denne Scherzino – for så vidt som den overhovedet har
noget at gøre med sonaten – er skrevet i forbindelse med de tosatser fra 1876 eller først tilføjet ved genoptagelsen af arbejdet
i 1883, lader sig ikke afgøre. Det forhold, at den er skrevet med
blyant, peger mest på sidstnævnte mulighed.

9

Placeringen i B tyder på, at Hartmann her har påbegyndt en tredjesats, som han efterfølgende helt har kasseret.40
De tre versioner af anden sats kan sammenfattes således:
Version 1: Kilde B, fuldstændig nedskrift af satsen med sortblæk (s. 22-27), 1876.
Version 2: Kilde B, fornyet gennemskrivning, med uændret
benyttelse af side “1”, med udnyttelse af de ledige systemer på side “2” nu med blåt blæk (samme blæk som ikilde A), samt ny indlagt side “3-4”, som udelukkende
vedrører denne version, 1883.
Version 3: Kilde A, ny transponeret renskrift af satsen på baggrund af version 2, 1883.
I forbindelse med revisionen i 1883 har Hartmann øjensynligt haftvisse programmatiske ideer for de fire satser, enten i form af egentlige satstitler eller blot som “program” for sit eget arbejde. Øverst
på første side i et af læggene med skitser i B er med blyant tilføjet:xvi j.p.e. hartmann : selected works

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“1. Mismod og Lidenskab. 2. Trøst. 3. Fred 2. Grublen. 3 Adspredelse. Gjennembruddets Stemninger”, hvilket peger på følgende
programmatiske indhold i de fire satser:–
Andantino con moto – Allegro moderato: Mismod og Lidenskab
Poco andante: Grublen
Allegretto pastorale: Adspredelse
Allegro marcato, ma non troppo: Gjennembruddets Stemninger
Disse titler er ikke overleveret i nogen anden samtidig kilde.
Richard Hove antyder, bl.a. med henvisning til titlernes hos Hartmann usædvanligt “følelsesbetonede” karakter, at disse kunnevære et vidnesbyrd om, at Hartmann oprindeligt slet ikke havde
en sonate i tankerne men snarere en cyklus af klaverstykker;
alene det stærke præg af sonateform i ydersatserne modsiger dog
denne hypotese.41
Samtidig reception
Der findes tilsyneladende ingen kilder til belysning af a-mol sonatens reception i tiden efter dens tilblivelse frem til Hartmanns død
i 1900: hverken sted og dato for en eventuel offentlig opførelse eller
omtaler af værket i dagspressen kendes. Heller ikke nogen opførelse i en af de forskellige halvprivate kammermusikforeninger er
kendt. Den eneste meget korte henvisning til sonaten står at læse iet brev fra grev Lerche til Hartmann, hvori brevskriveren nævner,at han i foråret 1884 har hørt August Winding fremføre den.42
Revisionsstrategi
På ovenstående baggrund vil klaversonaten opus 80 blive udgivet ito versioner i Hartmann udgaven: urversionen af de to første satser
fra 1876 samt den endelige version af hele sonaten fra 1883 (henholdsvis App. 1 og nr. 5).
Urversionen bygger på B, således som den formodes athave fremtrådt ved afslutningen af anden sats i 1876, dvs. med
udeladelse af de forskellige senere blyantskorrektioner, udstregninger og rettelsesblade, som der er gjort rede for i det foregående.
For den endelige versions vedkommende havde det været
nærliggende at vælge førstetrykket fra 1885 frem for autografen
dateret 1883 som hovedkilde. Udgaven fra maj 1885 var en fødselsdagsgave ved komponistens 80-års dag; det var dog ikke en overraskelse, hvilket fremgår af det nævnte brev fra grev C.A. Lerche
fra februar 1885,43 hvori tilegnelsen af sonaten til brevskriveren
diskuteres.44 Ligeledes hedder det i brev til Wilhelm Hansen fra
den 21. februar 1885 “….. Med Correcturerne skal jeg skynde mig
saameget som muligt.”
Der er imidlertid tre grunde til, at autografen er foretrukket
som hovedkilde frem for førstetrykket.
–

Førstetrykket udkom på en 80-årig komponists fødselsdag
i 1885, og ganske vist var han vidende om publiceringenpå forhånd (jf. brevene), men der er ikke noget der tyder
på, at han for alvor havde nogen finger med i spillet i forbindelse med førstetrykket (den omtalte korrekturlæsning–er i givet fald foretaget yderst lemfældigt), hvorimod det
fyldige kildemateriale afslører en intens beskæftigelse medværket i 1883 omkring udarbejdelse af renskriften.
Førstetrykket indeholder et væld af unøjagtigheder og
inkonsekvenser i forhold til den meget præcise og stringente autograf, som er helt anderledes gennemarbejdet.
Hertil kommer supplerende, at 1883-autografen jodanner slutpunktet på et længere forløb med rettelser idiverse tidligere manuskripter tilbage fra den første version i 1870’erne.

Autografen er kollationeret med førstetrykket. Varianter i trykket
er anført i List of Emendations. Revisionen er foretaget på hovedkildens egne præmisser og inddragelse af parallel-steder i deøvrige kilder.
Autografen indeholder ikke fingersætning – disse forekommer spredt i den trykte udgave – angiveligt tilføjet af August Winding, som havde sonaten på sit koncertrepertoire. Med henvisningtil ovenstående er fingersætning ikke anført i nærværende udgave.

b. samlinger ₍karakterstykker₎
nr. 6
rondeaux brilliants, opus 6
Hverken til opus 6, opus 7 eller opus 25 (nr. 6, 26 og 8) er Hartmanns autograf bevaret. At dømme efter et brev fra Hartmann tilforlæggerne Lose og Delbanco fra oktober 1848 skyldes det formentlig, at forlæggeren, på trods af en opfordring fra Hartmann,
ikke havde returneret de pågældende manuskripter til komponisten efter at have udgivet værkerne.45
De to rondoer er Hartmanns tidligst trykte klaverværk.46
Allerede i marts 1829 blev den første rondo offentliggjort i det

41 Richard Hove, I.P.E. Hartmann, København 1934, s. 44.
42 Brev af 1.2.1885, Breve, nr. 1013. Hertil kan føjes en tak fra Hans
von Bülow for Hartmanns fremsendelse af et eksemplar (jf. brev af
19.9.1888, Breve, nr. 1168).
43 Breve, nr. 1013.
44 Lerche nåede ikke at se sit navn på den trykte udgave før sin død,men hans enke ønskede at bibeholde tilegnelsen på førstetrykket (jf.
brev fra Cornelie Lerche til Hartmann af 30.4.1885, Breve, nr. 1022).
45 Breve, nr. 364 (25.10.1848), hvori det bl.a. hedder: “Ved at ordne
mine Musikalier savner jeg af mine egne Compositioner følgende:[hvorefter følger en liste med værker, herunder de tre nævnte
klaverværker]”. Nogle af værkerne på listen var trykt i Tyskland,og her kom Lose ind i billedet som mellemmand mellem de tyskeforlæggere og Hartmann.
46 Skal man tro Wilhelm Hansens genoptryk fra 1888, var rondoerne
komponeret allerede i 1827, idet dette årstal er tilføjet opusnummeret i trykket (kilde D).

klaverværker : introduction

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musikalske periodikum Odeon, og få måneder senere fulgte den
anden rondo. Yderligere et par måneder efter udkom rondoerne
samlet som opus 6 på C.C. Loses forlag i København.
Værket af den kun 25-årige komponist blev sågar anmeldt,
hvilket fremover kun skulle times et begrænset antal af Hartmanns
klaverværker. Anmelderen i Kjøbenhavns Flyvende Post (1830) nr.
11 påpeger en vis indflydelse fra Kuhlau og roser temadannelsen
i det første af stykkerne, specielt d-mol afsnittet (bas-figuren i
midterdelen, t.132 ff.). Der er dog også kristiske anmærkninger ianmeldelsen:Ønskeligt var det, om Componisten havde været mere sparsom med dristige Modulationer, der vel hører til Tidens, men
ikke til den gode smag.
Som eksempel på en sådan “dristig” modulation fremhæver anmelderen t. 336-342; problemet er blot, at der her tydeligvis er taleom en graverende trykfejl med forkerte nøgler, hvilket anmelderen
ikke har været opmærksom på, og hvilket derfor har gjort passagen ekstra dristig i harmonisk henseende (fejlen blev rettet i Wilhelm Hansens genoptryk af rondoerne mere end 55 år senere).47
Ydermere påpeger anmelderen en trykfejl (Rondo I, t. 91), hvor
han mener, at den første akkord bør have g i stedet for gis (altså
en e-mol akkord i stedet en E-dur akkord). Også dette er forkert.
Omend både e-mol og E-dur på dette sted giver musikalsk mening,noterer begge kilder gis i den første akkord med opløsningstegn forg på taktens 3. tone, hvorfor der ikke er hjemmel for at hævde, atder er tale om en trykfejl. Så alt i alt må man sige, at den tidligste
anmeldelse af et klaverværk af Hartmann er noget mangelfuld!

nr. 7
capricer, opus 18
De seks Capricer blev formentlig komponeret i 1835.48 Samlingen vidner om Hartmanns tætte forbindelser til tysk musikliv i
1830’erne, som blev skabt ikke mindst efter hans første dannelsesrejse sydpå i foråret 1836, og man kan ligefrem forestille sig, at
Hartmann medbragte manuskriptet på sin rejse til Tyskland. Dels
blev værket trykt i Leipzig hos forlaget Friedrich Hofmeister, delsblev de to hæfter dediceret til henholdsvis Heinrich Marschner og
Felix Mendelssohn-Bartholdy, begge meget “store” navne i tidens

47 Passagen – incl. nøglefejlen – er gengivet i Inger Sørensen, Op.
cit., s. 90.
48 Årstallet “1835” er tilføjet Hartmanns autograf med blyant i ensenere, fremmed hånd.
49 Heinrich Marschner takkede på det hjerteligste for denne tilegnelse i brev til Hartmann af 11.5.1838, Breve, nr. 156.
50 Se Breve, nr. 216. Vistnok den eneste omtale i samtlige breve til
eller fra Hartmann af en fremførelse af hans klavermusik.
51 Neue Zeitschrift für Musik (6), nr. 47, 13.6.1837.
52 Neue Zeitschrift für Musik (7), nr. 48, 15.12.1837.
53 Iris (8), nr. 40, 29.9.1837.

musikliv;49 ydermere blev de anmeldt af Robert Schumann i Neue
Zeitschrift für Musik, det første hæfte i juni 1837 og det andet hæfte
i december samme år.
Når man betænker, hvor sjældent kilder fra Hartmanns levetid nævner konkrete fremførelser af hans klavermusik, er det værdat henvise til en, om end yderst sporadisk, omtale af en opførelse i
Vordingborg i 1844 af A-dur capriccioen fra første hæfte, formentlig i en privat sammenhæng.50
Som det fremgår af kildebeskrivelsen, er kildeforholdende
forholdsvis komplicerede. Dels er nummereringen forskellig i deforskellige kilder, dels, og navnlig, er der betydelige forskelle mellem på den ene side autografen og førstetrykket (kilde A og D,
1835 og 1837) og på den anden side de to “genudgivelser” hosWilhelm Hansen (kilde B og C, 1878 og 1886). Det lader sig ikke
afgøre, i hvilket omfang Hartmann var involveret i de mange ændringer i genudgivelserne fra 1878 og 1886.
Capricerne blev omtalt mindst tre gange i tyske tidsskrifter iløbet af efteråret 1837. Første gang, som nævnt ovenfor, af Robert
Schumann, der efter en indledende karakteristik af stykkerne iførste hefte som “…wohl gearbeitet, verständig, ernst, ja finster”
fortsætter i mere kritiske vendinger:
Es scheint aber, als wolle er [Hartmann] des Guten zu viel, als
hafte er zu lange am Einzelnen; seine Musik spricht noch nicht
frei, gleich als ob ein Dämpfer darüber läge. Wo man hinfühlt,Formen und Gedanken, aber – mit einem Wort kein Gesang. In
der dritten Caprice, die melodischer werden will, zeigt sich das
am stärksten: sie hat wohl Melodie, schweift aber unlustig undunsicher auf und nieder; wo man rechts zu kommen glaubt,
geht sie links; wo man in die Tiefe, strebt sie in die Höhe”.51
Schumann slutter dog anmeldelsen med følgende meget opmuntrende ord, nærmest henvendt direkte til komponisten:
Wär’ es, dass wir mit unserm Rathe zu spät kämen, und dasser mit freier leichter Brust das Ziel verfolge, dessen glückliche
Erreichung wir jeder wahren Bestrebung von so ganzem Herzen gönnen.
Knap et halvt år senere fulgte Schumanns anmeldelse af det andet hefte; heller ikke her er han udelt tilfreds, selvom han til fulde
anerkender komponisten talent. Det er interessant, at Schumannanfægter berettigelsen i denne sammenhæng af selve genrebetegnelsen “Capricen” : “Auch möchte ich die Stücke nicht ‘Capricen’
nennen: sie sind dazu in der Form zu dicht, manchmal liederartig
abgeschlossen”.52
Forud for denne anmeldelse af Schumann var det første
hefte blevet anmeldt af Ludvig Rellstab i hans tidsskrift Iris im
Gebiete der Tonkunst. Rellstab karakteriserer Hartmann som enmeget talentfuld komponist med en stil, “..welche sich halb Weber,halb Beethoven zum Vorbilde gewählt hätte, ohne jedoch von irgend einem von beiden zu entlehnen”.53 Også Rellstab har kritiskebemærkninger: de to første capricer koncentrerer sig i for høj gradxviii j.p.e. hartmann : selected works

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om en enkelt figur, som i længden virker trættende på tilhøreren,og nr. 2 i Des-dur finder han ganske enkelt for vanskelig at læse og
for svær at spille. Nr. 4 i b-mol betegnes derimod som “ein leidenschaftliches, characteristisches, brilliantes Klavierstück, welches dem
Componisten die ganze Anerkennung der Musiker gewinnen wird”.

nr. 8
deux pièces charactéristiques, opus 25
De to karakterstykker udkom hos Hofmeister i 1839 og mange år
senere hos Wilhelm Hansen i 1885 i to separate hæfter med følgende tilføjelse på titelbladet: “Nouvelle Èdition par Aug. Winding”. Der
er kun få forskelle i dynamik og artikulation mellem de to udgaver.
Også dette opus viede Robert Schumann en omtale i sit tidsskrift,
og denne gang anderledes positivt, end det havde været tilfældet
med Capricerne opus 18.54 Schumann indleder med at konstatere,at stykkerne viser, hvordan komponisten har gjort store fremskridt,især i det harmoniske, og han finder, at stykkerne animerer tilyderligere fordybelse. Han ser en vis indflydelse fra Carl Maria vonWeber og Mendelssohn, kun ønsker han en friere tilgang til det rent
melodiske. Når det drejer sig om målgruppen, understreger Schumann, at stykkerne henvender sig til musikerne snarere end til amatørerne: “Dilettanten werden ihm wenig Geschmack abgewinnen;
für diese schreibt er zu complicirt und beziehungsvoll, Italiener und
Italienisirte würden ihn gar für einen Barbaren erklären.” Sidstnævnte synspunkt er næppe forkert, men dog overraskende, nårman betænker den store udbredelse (i form af de mange udgaver),som Hartmanns trykte klavermusik havde i hele hans levetid.

nr. 9
tre genrestykker
Kildematerialet tyder på, at der her er tale om fire selvstændige
kompositioner, som Hartmann har samlet til ét værk med henblik
på trykning hos Hofmeister i Leipzig: Allegro (kilde A; stykke I,
t. 1-49), Scherzo (kilde C; stykke I, t. 50-196), Allegretto giocoso– Moderato grazioso (kilde A; stykke II;) samt Allegro moderato(kilde A; stykke III,). Disse fire stykker er derefter overført til kilde B
af en professionel kopist, samlet til tre selvstændige stykker, der efterfølgende er sendt som trykforlæg til Hofmeister med opusnummeret “26”. Forlæggeren fandt imidlertid, at der ikke rigtig var plads
i hans program hverken til disse stykker eller til Hartmanns opus
31, hvorfor han returnerede begge manuskripter uden at lade dem
trykke. Som yderligere grund til at afvise disse værker angav han:Ein weiterer Grund ist, dass diese Arbeiten mit Ausnahme derersten Nummern, die mir sehr gefallen, etwas gar zu troken
gehalten sind, wofür deren kunstgerechte Ausarbeitung nicht
entschädigt.55
De tre genrestykker forblev således utrykt og opusnummeret “26”i stedet brugt i forbindelse med Introduktion og Andantino religioso(nr. 28), ligeledes udgivet af Hofmeister.

nr. 10otte skitser, opus 31
De otte skitser er komponeret i henholdsvis 1840 (nr. 1, 2, 6, 7og 8) og 1841 (nr. 3, 4 og 5). Af autografen fremgår det, at Hartmann oprindelig havde tænkt sig, at samlingen skulle bestå af 6
numre, nemlig de 5 numre fra 1840 samt en udeladt “nr. 5”, dersenere blev trykt i en selvstændig udgave.56 Disse seks stykker er ikilde A sammensyet i ryggen til et samlet læg med slutdateringen
21. september 1840. Herefter er på selvstændige nodeark tilføjetde tre resterende numre, der senere indgik i opus 31. En række
breve mellem forlæggeren Julius Schuberth og Hartmann viser, at
sidstnævnte oprindelig havde tænkt sig en samling med syv skitser, men at Schuberth fandt dette tal uhensigtsmæssigt og derfor
udbad sig en ottende, således at de kunne udkomme med 4 skitser
i hvert hefte.57 I øvrigt havde Hartmann oprindelig sendt skitserne
til Hofmeister i Leipzig, som imidlertid havde fundet dem uinteressante og returnerede manuskriptet til Hartmann.58
I et af brevene reflekterer Hartmann selv over samlingens
titel, og fremkommer her med nogle bemærkninger, som delsvedrører dette værk, men som indirekte også har relation til Tonestykker i Sangform opus 37 fra året efter. Den direkte anledningtil brevet var, at Schuberth havde efterlyst en samling Capricen af
Hartmann, til hvilken Hartmann svarede:Capricen kann ich sie nicht nennen, weil der Bau der einzelnen Stücke eben den Nahmen, Skizzen hier characteristischmacht, aber sie sind übrigens ganz und gar von demselben
Genre, wie Sie selbst sehen werden, und nicht zu gross, nicht
zu schwer und haben Kennern und Laien, denen sie hierbekannt sind, sehr gut gefallen; ich hoffe darum auch, dassSie damit zufrieden sein werden. […] Mit den “Lieder ohne
Worte” muss ich sehr vorsichtig sein, weil ein so ausgezeichnetes u mit Recht so beliebtes Vorbild, wie das von Mendelssohn schon vor Augen liegt; ich werde indessen mache, was inmeinen Kräften steht.59
Førsteudgaven hos Julius Schuberth (med Olsen & Lose som
medudgiver) udkom i 1842, tilegnet komponistens hustru,
Emma Hartmann, der selv i 1840’erne fik publiceret en række
værker, dels nogle danse for klaver, dels et større antal sange

54 Neue Zeitschrift für Musik (11), nr. 34, 23.10.1839.
55 Brev fra Friedrich Hofmeister til Hartmann af 10.1.1841, Breve,nr. 110.
56 Canzonetta, nr. 31.
57 Se Breve, nr. 128, 131, 133 og 141.
58 Se Breve, nr. 110, citeret ovenfor i forbindelse med Tre Genrestykker, nr. 9.
59 Brev fra Hartmann til Julius Schuberth af 13.1.1842, Breve, nr. 128.
Hartmann vendte kort efter tilbage til sådanne “Lieder ohne Worte”,
blot kaldte han dem på dansk og med den lidt mindre ‘mendelssohnske’ betegnelse Tonestykker i Sangform (se nedenfor nr. 11).

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og romancer udgivet under pseudonymet “Frederik Palmer”.60
I 1877 blev værket genudgivet hos Wilhelm Hansen i en “Nyaf Componisten revideret Udgave”, hvor førsteudgavens udgivelsesår “1842” undtagelsesvist er anført efter opusnummeret(kilde C). Endelig fulgte i 1886 endnu en udgave (kilde D) med
samme pladenumre som C men alligevel med enkelte små ændringer i artikulationen.
Der er tale om otte stykker af meget forskellig længde (fra 18
takter i nr. II til 245 takter i nr. V) og af meget forskellig karakter.
Fem af de otte skitser bærer ydermere karakteriserende titler: Canzonetta. Andante religioso (nr. II), Mazurka (nr. III), Scherzo (nr. IVog V) samt Introduction og Mouvement de Valse (nr. VII)
Det første af hæfterne blev anmeldt af Schumann – kort ogpræcist og med omtale af hvert enkelt af de fire stykker; den bringes her i sin helhed:
Der Titel ist wohl gewählt. Man erhält in dem Hefte vierkürzere characteristische Stücke, von denen namentlich das
erste gelungen scheint; es kommt uns wie eine gemütliche
Familienscene vor. Im zweiten Stücke, canzonetta religiosa,vermissen wir musikalischen Fluss; die canonischen Stellen
darin dünken uns etwas steif. Das dritte Stück, eine Mazurka, stammt wohl aus einer früheren Zeit; sie ist bei weitem
zahmer als etwa eine von Chopin, und hat vom 2ten Theil anvielmehr einen Walzercharakter. In der letzten Skizze scheint
dem Componisten ein bestimmtes Bild vorgeschwebt zu
haben; manches berührt uns fast ironisch. Darüber könnte
natürlich nur der Tonsetzer Auskunft geben.61
Lothar Brix går videre end Schumann, når det gælder henvisningen
til Chopin i forbindelse med den tredje skitse, Mazurka. Han serligefrem en satsteknisk forbindelse til et bestemt værk af Chopin,
nemlig hans Mazurka i h-mol opus 41 nr.2, og henviser i den forbindelse til det korte møde, der fandt sted mellem Hartmann og
Chopin, hvor sidstnævnte skulle have rost Hartmanns klaverspil.62
Skulle man pege på et præg af Chopin i denne sats, måtte det værede første to takter i højre hånd med den karakteristiske enstem-

mige indledning til hovedmotivet; men der er et stykke vej herfra
og til Chopins fuldendte klaversats.

nr. 11seks tonestykker i sangform, opus 37
Hartmanns autograf med Seks Tonestykker i Sangform er slutdateret 22. oktober 1842. I autografen optræder stykkerne i en andenrækkefølge end i den trykte udgave, og den senere nummerering er
i autografen tilføjet med blyant: 1, 2, 5, 3, 6, 4. Hertil kommer yderligere et stykke (kilde A, s. 5-7), som ikke kom med i den trykte
udgave; stykket bærer titlen Gamle Minder forsynet med påskriften
i Hartmanns hånd: “NB udskrives ikke”.63
Samlingen udkom i 1843 hos Julius Schuberth i Leipzig(faktisk på forlæggerens direkte opfordring)64 og Lose & Olsen i
København og blev i 1882 genudgivet hos Wilhelm Hansen i “Ny af
Componisten revideret Udgave”. Udgaven fra 1882 adskiller sig fordet tredje og det sjette stykkes vedkommende på afgørende punkter fra autografen og førstetrykket (se Description of Sources).
Titlen – i den tyske udgave Tonstücke in Liederform – lederumiddelbart tanken hen på Mendelssohns Lieder ohne Worte, bådenår det gælder stilen og genrebetegnelsen. Selvom der ikke er vidnesbyrd om noget tæt personligt forhold mellem Hartmann og
Mendelssohn, har Hartmann utvivlsomt kendt til de mange Lieder
ohne Worte, som Mendelssohn fik udgivet i årene mellem 1832 og
1845.65 Forlæggeren Julius Schuberth har tilsyneladende været gladfor samlingen, for han efterlyste flere stykker af samme art, somkunne fylde endnu et hefte:
Ihr Heft Lieder ohne Worte d.h. Tonstücke etc. habe ich erhalten & finde ich Ihr Honorar ganz in der Ordnung. Dassich diese Tonstücke in Liederform fortzusetzen wünsche bitte
ich nicht ungütig aufzunehmen. Die nächst folgenden Hefte
davon wollte ich mir nur reservirt wissen.66
Selvom Schuberth på titelbladet udtrykkeligt nummereredeværket som “Op. 37 1stes Heft”, kom der dog aldrig et opfølgende
andet hefte.

60 Et par af dansene blev trykt i samme samling som nr. 30 i nærværende udgave, mens sangene udkom i årene 1848-1850.
61 Neue Zeitschrift für Musik (19), nr. 23, 18.9.1843.
62 Lothar Brix, Op. cit. s. 77; Angul Hammerich, J.P.E.Hartmann,
København 1916, s. 46; Inger Sørensen, Op. cit., s. 151. Hamerichkan ligefrem ordret citere Chopins ord til Hartmann ved et af
disse møder i Paris: “Mais c’est charmant ce que vous jouez-là”.
63 Gamle Minder gengives i nærværende udgave som nr. 29.
64 Breve, nr. 155 af 17.1.1843 fra Julius Schuberth til Hartmann:“Wenn ich bitten darf lassen Sie mich mit den Liedern ohne
Worte nich warten – ich möchte gern gleich beide Hefte haben”.
65 I alt udkom i disse år seks samlinger med Lieder ohne Worte af
Mendelssohn.
66 Brev fra Julius Schuberth til Hartmann af 22.2.1843, Breve, nr.
157. Også i et brev en måned forinden (Breve, nr. 155) forudsætter Schuberth, at der kommer to hæfter med Lieder ohne Worte.

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introduction
In a lengthy letter, dating from 1841, addressed to music publisher
Julius Schuberth in connection with the printing of his D minor
sonata, Johan Peter Emilius Hartmann writes modestly about his
skills as a pianist-composer: “I am not a pianist by profession; andmy central concern as composer has always been the orchestra andthe vocal music rather than the piano.”1 Notwithstanding thesereservations, he had already managed, prior to composing the Dminor sonata to which the quoted excerpt pertains, to have no lessthan six compositions for piano printed,2 as well as a number ofshorter pieces that have been handed down in the form of manuscripts; and in the ensuing 60 years, approximately 25 more printed works for piano would follow, as well as a number of unprinted
pieces. All in all, then, I.P.E. Hartmann has left a rather substantial
output of piano music to posterity.
In the letter to Julius Schuberth cited above, Hartmann addresses his attention in a more detailed way to a contention that his
piano sonata might not be “claviermässig genug” – that is to say,sufficiently pianistic:
However, for quite some time, the latter-named instrument has been used by many composers only as a generalidea-e[m]bryo; and if I didn’t have their example before my[inner] eye, I would not have been able to take my place inthe queue of piano composers. It is therefore natural thatthey who judge me from the standpoint of the genuine pianist will necessarily have to arrive at the aforementioned result;and, I must confess, it is most certainly a reproach; nonetheless, I am satisfied that it only at this point, and not over thecomposition in and of itself, that the question arises.
The present edition includes all of Hartmann’s completed piano
works, spanning from the grandly conceived piano sonatas in F
major and A minor through the assortment of collections of pianomusic to shorter individual pieces of less than twenty bars. The
works encompass the greater portion of the nineteenth century’s
customary genres of piano music. In terms of when they were created, they are distributed over a span of more than 60 years; fromthe middle of the 1820s to the middle of the 1880s. The pianomusic is accordingly the genre that is most abundantly represented
in Hartmann’s aggregate output – in any event, when it comes to
instrumental music. Among the 86 opus numbers, all in all, thatturn up in Hartmann’s complete output of printed music, 20 ofthese are comprised of music for piano. We also have to consider
that there are a great many grandly laid out or shorter piano works
that were printed without opus numbers or that have been handed
down in manuscripts – all in all, there are 56 such collections andindividual pieces in the present edition. As is made evident in the
Chronological Concordance (p. 652 in Vol. 2), the centre of gravity
in Hartmann’s activity as a piano composer lies in the 1840s and –to a somewhat lesser degree – in the 1850s.
All of the known piano works by Hartmann – whether they
exist as printed material or as manuscripts – are stored in The Royal Library in Copenhagen. Some portion of these pieces – albeit far
from all of them – exist in Hartmann’s own hand (some of the autographs have been lost after having been sent as printing sources
to the various German publishers, who sometimes failed to returnthe manuscripts to Hartmann after the printing was completed).
The Royal Library’s collection of Hartmann manuscripts can becredited primarily to the Hartmann family’s decision to entrust
the sum total of the composer’s bequeathed musical compositions
to the library in 1902, just two years after Hartmann’s death, alongwith the appurtenant scrupulous indexes of themanuscripts.
The printed material can be found in two different collections in the library: one part of this material has been included in
the National Collection, which includes all printed Danish musicthat has been acquired in connection with the library’s continuous
gathering of printed Danish musical material,3 while additionally,
there are complete sets of the various printed editions for every
single work – ordered chronologically, work by work – in the socalled Dan Fog Collection, which was incorporated into the Royal
Library in 1993 and which follows the numbering in Dan Fog’s

1 Inger Sørensen, J.P.E. Hartmann og hans kreds. En komponistfamilies breve 1780-1900, vols. 1-3, Copenhagen 1999 No. 125(below Letters)
2 Opus numbers 6, 7, 18, 25, 26 and 31. In this connection, it ought
to be emphasized that the remarks were occasioned by the prizecommittee’s remark that Hartmann’s sonata was not “claviermässig
genug” (sufficiently pianistic).
3 The law governing legal deposit of musical works was adopted in
1902, that is to say, two years after Hartmann’s death and accordingly came to apply only to the posthumously published Hartmann works.
4 Dan Fog, Hartmann-Katalog. Fortegnelse over J.P.E. Hartmanns trykte
kompositioner. Copenhagen 1991. As is made evident by its title, Dan
Fog’s register does not include the many unpublished works.

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printed work-index.4 It is especially the latter collection that provides an unparalleled overview of the dissemination of Hartmann’smusic in print.
A significant portion of the printed editions of piano music waspublished both by German and Danish music publishing houses
and, as far as many of these works are concerned, even in several different versions of the same work, typically with intervals of several
decades between the different appearances. When it comes to theearlier works, there is a recurring pattern that the work was first put
out by either a Danish or a German publisher, in connection with its
creation, and was subsequently reprinted by Wilhelm Hansen a few
decades later. In the years between 1837 and 1845, all of Hartmann’s
new piano works were put out by German publishers. It wasn’t until
1848 that the works started to be entrusted to Danish publishers.5
Whether this can be explained by the fact that Hartmann, during those years, was a particularly prominent name in Germany orwhether it reflects that there was not yet a “market” for his pianomusic in Denmark cannot be unequivocally determined. As a matterof fact, the references to Hartmann’s piano music in German periodicals are also, quite naturally, confined by and large to these years.6
Another reason could be – although this hypothesis does not lend itself to further verification – that the strained relations between Denmark and Schleswig-Holstein after 1848 could have played a role.
After having bought up most the Danish publishing houses
at the closing of the 1870s, Wilhelm Hansen launched, in the
1880s, an almost systematic re-issuing of Hartmann’s piano works:
sometimes they were engraved from the original printing plates
but in most cases, they were engraved all over again.7 Hartmann’s
position in the 1880s must accordingly have been of such staturethat there was still a market for these previously published works.

5 After this year, it was only the Fantasy Pieces, opus 54, that madeits first appearance as a publication by a German publisher.
6 In addition to Schumann’s various reviews in Neue Zeitschrift fürMusik and the review in Iris (see below) there were, according toLothar Brix (see Die Klaviermusik von Johann Peter Hartmann.
Ein Beitrag zur musikalischen Romantik in Skandinavien, Göttingen 1971, p. 6) also reviews in Julius Schuberth’s journal,
Hamburgische Musikzeitung; this journal has not been consulted
in connection with the preparation of the present edition.
7 See Dan Fog, Musikhandel og Nodetryk i Danmark efter 1750,
vol. II, p. 210. From around 1880, Wilhelm Hansen more or lessreigned supreme among the music publishing enterprises andpretty much controlled the Danish market.
8 Angul Hammerich, J.P.E. Hartmann, Copenhagen 1916.
9 Richard Hove, Dansk Musiktidsskrift 1927-28, p. 149 and Dansk
Musiktidsskrift 1944, p. 140; Richard Hove, J.P.E. Hartmann,
Copenhagen 1934, p. 38 ff.
10 Lothar Brix, Die Klaviermusik von Johann Peter Emilius Hartmann. Ein Beitrag zur musikalischen Romantik in Skandinavien.
Dissertation….Georg-August-Universität zu Göttingen, Gottingen
1971.
11 Lothar Brix, Op. cit., p. 6.
12 Lothar Brix, Op. cit., pp. 163-164.

With few exceptions, the piano music does not play a prominentrole in the reception of Hartmann’s music on the whole and especially the older literature passes relatively lightly over this aspect of
the composer’s output. While Angul Hammerich does not makemuch of the works for piano,8 they certainly play a different andmore prominent role in the context of Richard Hove’s absorption
in the composer and his oeuvre: for one thing, Hove has penned
two detailed articles on the F major sonata (No. 3) for Dansk
Musiktidsskrift and for another, his monograph on Hartmann
contains a special chapter on the piano music.9 The most thoroughtreatment of the topic – and the sole monograph devoted entirely
to Hartmann’s piano music – is Lothar Brix’s patently meritorious, albeit somewhat intractable, book from 1971.10 The book isbased on detailed studies of source material in The Royal Libraryand scrutinizes the entire output, systematically, with a prospect
on both Danish and German music history that is based on a styleanalytical approach. However, when it comes to his own day’s assessment of Hartmann’s piano music, the author is compelled topoint out, by way of introduction:
Already in Hartmann’s lifetime, though, the significance ofhis piano music was hardly acknowledged, especially because
it was Niels W. Gade’s pianistic genre art that determined, toa very great extent, the musical tastes in Denmark during the
19th century.11
Such a description of the contemporary reception corresponds quite
precisely with the glaring lack of any source material that could shedlight on the dissemination, during Hartmann’s lifetime, of the musicin the public and the private music spheres in Denmark.
In connection with the mention of Studier og Novelletter(No. 19), Lothar Brix is even more severe in his assessment ofHartmann and simultaneously points out a characteristic feature
about many of his collections of piano pieces, namely the unevenlevel of artistic craftsmanship:
The juxtaposition of cliché-like routine works of the superficial fashion taste and compositions of quality serves to establish, in most of Hartmann’s collections, a remarkable synthesisthat testifies to an apparent uncertainty with respect to taste. 12
What must be mentioned, though, as supplemental to this rather
harsh judgment is that Lothar Brix is not blind to the rising quality we encounter in Hartmann’s piano music that appears to be insynch with the composer’s maturation, starting with the collection,
Opus 74 (No. 23) and culminating, of course, in the piano sonata,
Opus 80 (No. 5).
The most recently published of the various comprehensive
accounts of Hartmann’s life and work, namely Inger Sørensen’smonograph on the Hartmann family, published in 1999, treats ofthe piano music in a variety of different contexts: the Prize Sonata,
Opus 34, is discussed in the book’s Fifth Chapter about incidental
music for the theatre; an overview of the most important works

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appearing in Chapter 8, which is entitled “The later piano works”;
and a separate exposition on the three sonatas in D minor, F majorand A minor (Nos. 1, 3 and 5) turns up in the book’s appendix,
which also contains succinct musical analyses of a number of selected works. Inger Sørensen summarizes her assessment of Hartmann’s importance as a piano composer in slightly different terms
than does Lothar Brix:
With his piano works, Hartmann positioned himself as the
predominant Danish romantic composer within this genre.
Nobody else composed so many and such different kinds of
piano works of such high quality. Notwithstanding his keen
ear for currents, especially those of the German Romantic
movement, Hartmann’s piano compositions were far more
personal than [Niels V.] Gade’s more directly Mendelssohninspired style, which was considerably more pallid. Hartmann’s work progressed to a much greater extent and when
he gave up writing piano music in the middle of the1880s,
the young Carl Nielsen was ready to take up the mantle as theone who was destined to keep the flame alive.”13

editorial remarks
Pedalling
Both Hartmann’s manuscripts and a large number of the printed
versions are supplied with pedal markings. These particular instructions have been incorporated into the present edition following the same principle as is applied to other technical playing
instructions. However, no analogy-complements of the pedalling
instructions have been carried out here.
The autograph sources’ specification of pedalling is given inthree different ways, all of which have been retained in the present
edition without any further supplementation:ped. succeeded by a *ped. without any subsequent *con ped.
The latter specification appears to convey that a subsequent passage ought to be played with the use of the damper pedal without
clarifying a more concrete stipulation of such use.
Fingering
Many of Wilhelm Hansen’s editions contain fingerings – in manycases, these were allegedly supplied by the pianist, August Winding,and there is no way to substantiate the extent to which this transpired with the composer’s knowledge and consent; some of Hartmann’s manuscripts also contain fingerings, but here only very
sporadically. On account of these factors, the editor has chosen toleave these indications of fingerings out of the Edition, with the exception of their appearance in one single work, where they can besaid to be an integral part of the piece, namely, No. 24, Theme and
14 Variations for Johan Peter Hartmann.
Polyphonic notation
In his piano music, Hartmann makes extensive use of polyphonicnotation although it is not the case that we always have rigorous
polyphonic composition here, but rather a matter of what could becalled “free-part writing”. In some cases, the notation is sustained
throughout an entire passage; in others throughout an entire bar
and then again, in others, only for some portion of the bar. What
this entails is that a notation which, at one place in the phrase,is consistently polyphonic (with the inclusion of the necessary
pauses) is discontinued in other parts of the phrase and seemingly
appears to have “missing” pauses. In only a very few instances does
the present edition normalize and complete such passages, but follows Hartmann’s notation.
Dating
The datings of Hartmann’s works in the Description of Sources (andhence the chronological order of the works in three main categories inwhich they appear in the present edition) are based on three sources:
A. Hartmann’s autograph dating in virtually all the surviving
manuscripts, sometimes even in connection with each individual piece in a collection.
B. Dan Fog’s dating of the printed editions in his Hartmann
catalogue, based on advertisements, publishers’ catalogues,
and probably also on Hofmeister (see below, point C).14
C. Leipzig-based publisher Friedrich Hofmeister’s monthly
catalogues of published music in Germany (both by his own
and by other publishing houses) and in several other countries during the period 1829-1900.15 A registration of a workin one of Hofmeister’s monthly booklets was rarely entered

13 Inger Sørensen, Hartmann. Et dansk komponistdynasti. Copenhagen 1999. p. 279. What we have here is an assessment about
which the present edition of Hartmann’s piano music provides anopportunity for further precise qualification.
14 It goes without saying that a dating of a printed edition for which
no dated autograph manuscript has been preserved cannot tell
us anything about when the work first came into being, but only
indicates the date of the work’s publication in print.
15 This particular project, which was launched by Hofmeister himself,
continued up until 1942, after which the task of keeping the index
from 1945 was taken up by the German national bibliography. Hofmeister’s catalogues from the period 1829-1900 (that is to say, corresponding to the period that would be relevant to Hartmann’s pianomusic) has, in the course of the past two decades, become digitalised
and rendered “search-able” via the so-called Hofmeister XIX project,which was initiated and implemented under the auspices of JAML,
the international music library’s umbrella organisation, (http://
www.hofmeister.rhul.ac.uk/2008/index.html). The catalogues’
construction and significance is exhaustively described in Rudolf
Elvers and Cecil Hopkinson, “A Survey of the Music Catalogues ofWhistling and Hofmeister” in Fontes (1972), vol. XIX, pp. 1-7.

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more than three months after the printed version was available; this in itself gives rise to a relatively precise dating ofany particular edition. References to Hofmeister’s various
catalogues in the footnotes of the present edition appear in
the following format: Hofmeister XIX.
With one sole exception (No. 56) it has been possible, making
use of the aforementioned tools, to date all of Hartmann’s piano
works, which is why it has also been possible to set up a comprehensive chronological register of the composer’s output (see thechronological concordance in Vol. 2).
Numbering in the series
For practical reasons, each of the works in the present edition has
been supplied with a serial number. The numbering here does
not follow Dan Fog’s numbering;16 nor has it been possible – andagain, for practical reasons – to coordinate these numbers with theupcoming thematic index of Hartmann’s works that is presently
under development.

the works
Hartmann’s piano music falls into three main categories: sonatas(and a sonatina); collections of character pieces with more or lessclearly cyclic character and appearing under a number of different
headings; and a number of one-movement pieces, with or without
programmatic titles. As ought to be noted, the present edition follows this classification in such a way that it is not always possible todraw a clear line of demarcation between the second and the thirdof the aforementioned categories. What ought to be emphasizedin this connection is that many of the collections owe more to thevarious publishing houses’ wish to present an album of a certain
size than they do to any ambitions that Hartmann might have had
about a cyclic structure:17

16 That is to say, the numbering does not conform to the mannerin which the works make their sequential appearance in Dan
Fog, Op. cit., considering especially that Fog’s catalogue does notinclude the non-printed works.
17

Within each of these separate categories, the works are presented
in a tentative chronological sequence.

18

The word “genre” has here been set inside quotation marks inorder to signify that, in some cases, we are simply not dealing
with self-contained, profiled genres, with their own respective
stylistic characteristics, but that, every now and then, we are facedwith what are, evidently, more or less arbitrary titles.

19

As is made evident by the following introduction to the manydifferent compositions, the boundary between genuine program
music and merely evocative titles is a fluid one. This aspect ofHartmann’s piano music is described in a more thorough manner in Niels Krabbe, “Udbredelsen af J.P.E. Hartmanns klavermusik”, Fund og Forskning (2012) 51, Copenhagen 2012.

20

Lothar Brix, Op. cit., p. 116.

A. Sonatas (and a sonatina)
B. Collections (character pieces)
C. Self-contained works
D. Appendix

Nos. 1-5
Nos. 6-24
Nos. 25-56
Nos. App. 1-App. 5

The character pieces encompass a wide range of “genres”,18 all ofwhich are familiar from what we know about works by other – especially German – composers working in the 19th century. Why
Hartmann has chosen this or that name for a specific collection is
not always immediately obvious. In many instances, the designations overlap. On the whole, the genre designations for the many
piano pieces from the 19th century are highly fluid, although it is indeed possible to link certain stylistic features to certain designations.
In Hartmann’s oeuvre, the following designations for suchgroupings of character pieces appear on various title pages: Rondeaux, Caprices, Skitser, Pieces Characteristiques, Genrestykker,
Tonestykker i Sangform, Fantasistykker, Novelette, Etudes, Studierand Fantasi. In addition, there are a number of dance pieces, onemovement pieces with programmatic titles and album leafs – all inall, an extraordinarily variegated bouquet of piano pieces, whichclearly reflects the piano music’s predominant role as so-called
house music in the 19th century, the titles and mottoes of which are
fully in keeping with the ordinary practice among the day’s composers working in Denmark and Germany.19
Lothar Brix divides the collections with the character pieces
into three phases, each with its own respective stylistic quality:
1835-1845: Nos. 7, 8, 9, 10, 11 and 12
1846-1863: Nos. 13, 15, 16 and 17
1864-1877: Nos. 19 and 23
Works with programmatic content comprise two main groups: onthe one side, the collections or individual pieces to which literarytexts are linked and on the other, the pieces with programmatic
titles. To the former group belong Seks Karakterstykker (No. 13),
Andantino from Tre Klaverstykker (No. 14), Novelette (No. 17) andKlaverstykker (No. 18), all with texts by Hans Christian Andersen,with the exception of the last two pieces in No. 18, which are ushered in with stanzas by Carl Andersen.
To the latter group, works with programmatic titles, belong
Ballo Militare (No. 12), Svensk Hjemvee, Sommeren 1848 (No. 14),
Andantino religioso (No. 28), Gamle Minder (No. 29), Hamborgerskotsk (No. 30), Om Foraaret (No. 33), Hjemvee (No. 34), Vinteren(No. 35), Den 20de Januar 1848 (No. 38), Bellmanske Billeder (No.
45), Aftenstemning (No. 47), I Folkevise-Tone (No. 48) and Svanerne (No. 54). Both when it comes to the prefatory texts and thevarious titles, it is often difficult, in the case of Hartmann’s work,
to spot any genuine connection between the texts/the titles andthe musical composition: Lothar Brix even goes so far as to assert, in connection with Hans Christian Andersen’s poems, which
open the Six Character Pieces for Piano, No. 13 “... more confusing than instructive.20

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a. sonatas ₍and a sonatina₎
Hartmann wrote four piano sonatas (as well as an unfinished firstmovement for a fifth), one sonatina and one sonata for piano duet,
as is rendered apparent on the following list:
Piano sonata for 4 hands, MS 1826,21 the last movement being published as Petite Rondeau Opus 4 in 1888 (theopus number of the original manuscript indicates thatthe publication of the whole sonata had been planned
at a certain stage).
Sonata in D minor, opus 34, “Prize Sonata”, printed in 1842
Sonata in G minor, MS dated 1851
Sonata in F Major, MS dated 1854, printed posthumously in1944
Sonatina in G major, MS dated 1863
Sonata in A minor, opus 80
MS dated 1876 (original version of the 1st and 2nd
movements)
MS dated 1883 (revised version, printed in 1885)
Taking into consideration the waning interest in composing piano
sonatas that can be generally spotted among composers working
in the second half of the nineteenth century, the sheer volume ofHartmann’s sonata output is nothing short of remarkable. Hartmann may be one of the only Danish composers between Kuhlau
and N.V. Bentzon – perhaps the only – who wrote more than one
or two piano sonatas.
In a couple of articles appearing in April 1839 in Neue
Zeitschrift fur Musik, Schumann puts forward some succinct andfundamental reflections on the piano sonata, as a genre, in connection with a review of a number of sonatas created by various, currently unknown (with the exception of Weber and Mendelssohn,
who are also represented in the article) composers.22 By way of
introduction, Schumann drives home the point that, at this juncture in time, the piano sonata, as a genre, is absolutely somethingquite exceptional, and that when it appears, then it is principally
written by lesser known composers. Schumann even goes so far as
to assert, somewhat disparagingly, that such sonatas possess what
is almost the character of “the form study” and elaborates: “theywere hardly spawned from any strong inner urge”. He ascertains,
without giving vent to any kind of sympathetic remorse, that thegenre has outlived its role. On the basis of pure statistical logic,
this judgment is corroborated in the periodical by the very factthat piano sonatas comprise a very small portion of the numerous
works that were reviewed in the volumes which appeared while
Schumann was editing the journal.
His copious review, appearing three years later, of the threeprize sonatas, one of which is Hartmann’s opus 34, is thus quite
exceptional, something that was supposedly brought about by
the special circumstances surrounding precisely these threesonatas’ genesis.

no. 1
sonata in d minor, opus 34, “prize sonata”
In the wake of the very early experiments with the sonata for piano
duet, dating from 1826 – the last movement of which was printed,
as late as 1888 as Opus 4 – it was the announcement of a prize
competition by the Nord Deutscher Musik Verein that bolstered
Hartmann’s courage to seriously turn his attention toward trying
his hand with the piano sonata genre. The competition gave riseto the Sonata in D minor, which was composed in a short periodof time, during November-December 1841, and was subsequently
awarded the competition’s second prize. The work was submitted – anonymously, of course – under a motto that was borrowed
from Horace’s Ars Poetica: “Neque chorda sonum reddit, quem vultmanus et mens, nec semper feriet, quodcunque, minabitur arcus”(Neither does the string always form the sound which the hand
and the conception of the performer intends, nor will the bow always hit whatever mark it threatens.)23
The genesis of the Prize Sonata – and the pressure underwhich Hartmann was placed in order to get the piece ready intime – is made evident by the correspondence between the music
publisher, Julius Schuberth, and the composer around Christmastime in 1841, in connection with the subsequent publication of thesonata by the German publishing house in 1842. In 1841, Julius
Schuberth – the chairman of an organization that he had founded
himself, the Nord Deutscher Musik Verein in Hamburg – hadbrought forth the suggestion that Hartmann be made an honorary
member of the association.24 On the same occasion – or perhaps at
a somewhat later point in time – Schuberth had drawn Hartmann’s
attention to the fact that the prize competition issued by the association was also open to composers outside of Germany. This
information was imparted to Hartmann so late with respect tothe deadline for submissions, that he was forced to draft and work

21 “Sonata a 4 mains No. 1 Op. 4.” The manuscript consists of fourmovements: Allegro, Scerzo [sic], Allegro No. 2 (with an annotation in a different coloured ink, “duer slet ikke” (doesn’t work atall)), Adagio No. 3 and Rondeau, Allegro assai. The printed editionis one of Hartmann’s last printed piano works. The manuscript of
the original version of the sonata evinces a considerable degree of
re-working in Hartmann’s hand prior to the printing of the movement. The sonata is not included in the present edition.
22 Robert Schumann, “Sonaten für das Clavier” in Neue Zeitschrift
für Musik, Nos. 34 and 35, April 26 and April 30, 1839.
23 Horace, Ars Poetica, lines 348 and 350; Hartmann has omitted thepreceding meaning-bearing passage, line 347, an antecedent “nam”
in line 348 and all of line 349, positioned between the quotedlines. The omitted line in Horace’s work says: “poscentique gravem
persaepè remittit acutum;” (when one calls a tone deep, one often
renders it high); the entire section in Horace (l.347-350 can beparaphrased thusly: “Yet there are faults, which we should be readyto pardon: for neither does the string always form the sound which
the hand and the conception of the performer intends, but very often returns a high note when he demands a deep; nor will the bow
always hit whatever mark it threatens.” (The paraphrase is based on
Horace, The Art of Poetry. A verse translation with an introduction by
Burton Raffel, New York 1974, p. 57).
24 Letters, No. 121.

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out the details of his contribution in the utmost haste – allegedly
in the course of four weeks, concurrently with the rest of his duties. It was such a hectic period and the pressure was so great that
Hartmann did not even manage to fully finish the composition of
the first movement in time for the manuscript to be delivered in its
entirety to the copyist, who was supposed to make the copy readyfor the prize committee; from and including bar 174, the movement existed, at this point in time, only in sketch form. The upshot
here was that Hartmann, in all haste, eventually had to add, in his
own hand, the missing conclusion onto the copy and then dispatch
the entire resulting manuscript down to Hamburg. This serves
as the explanation for why Hartmann, later on, in connection
with further negotiations with Schuberth concerning the printing of the work, was compelled to notify the publisher that a copyof the sonata (presumably, source C) in his own possession was
still missing this ending, which is why he asked to have the othercopy returned from Germany.25 However, it is only the incomplete
autograph manuscript that has been preserved, which explains
the missing ending of the first movement in source C. Why thiscopy is also missing the entire second movement is not evident
from the source.26
As has been mentioned, Hartmann’s sonata garnered thecompetition’s shared second prize. In a lengthy letter from 14
December 1841, Schuberth was able to offer Hartmann a detailed
account of the circumstances connected to the awarding of the
prizes, including specific mention of who had won the first prize
and the other (shared with Hartmann) second prize, as well as
which of the judging committee’s members had been favourably

25 The request was complied with, as evidenced in a letter from
Schuberth of 28.12.1841, wherein it is mentioned that the manuscript is on its way to Denmark, in a package addressed to themusic publishing house, Lose & Olsen (Letters, No. 126); thisparticular copy has presumably been lost.
26 These conditions are described in detail by Hartmann in his
letter to Schuberth from December 1841 (Letters, No. 125); concerning the problem of having to make a copy in time to meetthe competition’s stipulated deadline, we read in the letter: “And– what is even worse – I had not even finished the last part of thefirst Allegro, but only sketched it; thus, if I were to gain time, myonly possibility was to add the missing part to the manuscript
which I sent to you. […] Because when it comes to this last partof the first Allegro I don’t even have a copy”.
27 Letters, No. 122.
28 The metronome markings were included in the German original
edition but were omitted in the Danish re-print from 1880.
29 Danish composer (1823-1863); had been a student of Hartmannat Siboni’s music conservatory in Copenhagen; he left Denmarkin 1840 and, after spending three years in Dessau, Germany,
moved to St. Petersburg, in 1844.
30 Manuscript I DK-Kk, Hartmanns Samling. Kompositioner og
Udkast.
31 The term “Novellencharacter” calls to mind Schumann’s aesthetic
ideals concerning music’s capacity to express “the poetic” and his
disdain for the conventional tyranny of form.
32 Neue Zeitschrift für Musik, (16), No. 45, June 3, 1842.

disposed toward Hartmann’s efforts.27 In the very same letter,though, Schuberth asked Hartmann to embellish the sonata withmetronome markings, with an eye toward the printed edition thatwas being prepared by Schuberth’s publishing house and was slated
for publication the following spring.28 Schuberth also seemed
to have planned a version for piano duet. In his letter Schuberth
wrote: “I must not forget the most important thing: the four-handarrangement of your Prize Sonata. In a four hand version the sonata will appear even more pompous”; accordingly, Hartmann asked
his former pupil Otto Dütsch to make such a version29, which is
known today from a manuscript in Dütsch’s hand, but which wasapparently never printed as planned, even if the publisher returnedto the matter in a new letter a couple of months later.30
The Prize Sonata was re-issued by Wilhelm Hansen almost
forty years later, in 1880 (source B).
The Prize Sonata is one of the very few works for which there
is a genuine review – and to boot, as has been mentioned, one
penned by Robert Schumann in his trend-setting Neue Zeitschrift
für Musik, where, in the June 1842 edition, there is a comprehensive review of all three of the prize-winning sonatas that had beenentered into the competition. While Schumann, evidently, is notparticularly fond of the two works that garnered the first and second prizes (composed, respectively, by two men who have fallen
into complete obscurity, Karl Vollweiler and J.E. Leonhard), he isdecidedly more enthusiastic about Hartmann’s sonata: here, as
Schumann stresses, a genuine artist is having his say. Schumann
spots what he calls a certain “Novellencharacter” in the sonata, as awhole, where only the finale, with its more orchestra-like textures,fails to exhibit the salient features of this characteristic texture.31
Schumann summarizes his impression of the three prize sonataswith the following characteristics; his commentary here simultaneously functions as a mild assault on the jury’s assessment:
Whereas we recognized, in the first (by Vollweiler), a pianist,
who with his talent has managed to throw himself into thecomposition and, in the second (by Leonhard), a musician
who, with intellectual games puts obstacles in his own way towards perfection, in the work by J.P.E. Hartmann, the artist is
speaking to us, an artist that mollifies us by virtue of the harmonious application of his forces, and who – being the masterover the form and not slave of his feelings – understands inevery case how to stir and captivate us.
This is our opinion, and if it does deviate to some extent from that of the judges, their just willingness in rewarding the efforts according to their merits should in no way becalled herewith into question. But it is more difficult to pickthe best out of fifty people than out of three. And then again– well, we can also make mistakes, but we only had the best
intentions.32
Encouraging words for the still young composer and actually embodying an intimation that he – and not Vollweiler – ought to havebeen awarded the first prize.

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no. 2
sonata in g minor
Almost 10 years later, Hartmann again threw himself into working with the piano sonata genre, producing two works, both ofwhich remained unprinted during his lifetime. The first of these,
the Sonata in G minor, is end-dated 31 March 1851. Hartmann’s
autograph bears the opus number “53”, which would suggest that
he had every intention of publishing the sonata. The work is set infour movements, of which the two middle movements were subsequently provided with programmatic captions, added in pencil:
Sang uden Ord (Song without Words) and Gamle Minder (Memories of Yore). Despite its modest format, however, the work does
possess a certain cyclical character, insofar as the closing movement is rounded off by material borrowed from the first movement. There are also a number of handwritten pencil correctionsin the first three movements that serve to indicate that Hartmann
has taken the effort he put into creating the work very seriously.
On top of this, more than 25 years later, he dug up this same sonata and reused segments from its two outer movements in Klaverstykker fra ældre og nyere Tid (Piano Pieces from an Earlier and aMore Recent Time), opus 74 (see No. 23).
Aside from the aforementioned repetition of a passage inthe first movement as the conclusion of the finale, the G minor
sonata does not manifest any kind of comprehensive internal coherence or dynamic drive through the overall course of the work:a brief first movement, Allegro non troppo, in G minor, of 50 bars
without any development section or recapitulation; the second
movement, “Sang uden Ord” (Song without Words), Allegretto
grazioso in G major, of 36 bars (ABA form with coda); the third
movement, “Gamle Minder” (Memories of Yore), Tempo di Menuetto Moderato in A flat major (36 bars, ABAC form ); a concluding finale, Allegro grazioso, which starts out in E flat major andeventually returns, via A flat major and E flat major, to the sonata’s
central key, G minor, where Hartmann, in the concluding passage,
Allegro assai, takes up the first movement’s most conspicuously
striking theme.
The work was presumably begun sometime early in 1851
and was not completed until after the cataclysmic upheavals in thefamily, with his wife’s death on March 6, following immediately
after the birth of a stillborn daughter in the middle of February
and the loss of the youngest daughter, Marie, who died at the ageof six on the day of his wife’s funeral. A letter from Hartmann
to the poet B.S. Ingemann dated March 23 might indicate thatworking with the sonata – if it is indeed this piece that is beingreferred to in the letter – might almost have fulfilled some kind oftherapeutic function:
Now I am also beginning to place myself back into my past
activities and start working, I have composed something, andduring these days, I have been putting finishing touches on
various pieces that I had formerly prepared (…)33

For some reason or other, Hartmann gave up on the idea of publishing the sonata and consequently re-utilized the work’s designated opus number, “53”, for his Etudes Instructives, which was
published with this opus number the following year. However, heevidently wasn’t able to forget all about the sonata, seeing that,
more than 25 years later, he – as has been mentioned – reused excerpts from both the first and last movements in Klaverstykker fraældre og nyere Tid dating from 1878.

no. 3
sonata in f major
Nor was the monumental F major sonata from 1854 published in
Hartmann’s lifetime.34 The extremely complicated source material
offers testimony to an intense absorption in the work on Hartmann’s part. As we have already seen to be the case with passages
in the G minor sonata, excerpts from the F major sonata also came,later on, to form part of Opus 74. Specifically, the sonata’s thirdand fourth movements were used in the later work: in the former
instance, the music in Opus 74 appears to be almost identical, notefor note, with the prototype, while in the latter instance, the musicin Opus 74 has been expanded considerably from what is found in
the prototype. Details in the source material reveal how Hartmann,
upon resuming his involvement with the music, in connection
with the publication of Opus 74 in 1878, effected a number of adjustments in the reused material and incorporated these into thenew musical context (see No. 23).
The rediscovery of the sonata after Hartmann’s death can becredited to the music columnist Richard Hove, who, in 1928, “discovered” the sonata among Hartmann’s manuscripts in The Royal
Library and who, after many attempts, was finally successful in getting the work published in 1943. Already in 1928, Hove characterized the piece as “A sonata that, in the most exquisite manner, fills
in the gap between the youthful Prize Sonata, from 1842, and thegigantic masterwork in A minor from 1885. An unknown pearl ofDanish Romantic music”35 and about 20 years later, Hove penned
an extensive review of the sonata where, first of all, he protested
that the printed version made its appearance with a designationthat its publication was the result of Niels Viggo Bentzon’s efforts
and did not offer its true instigator, Werner Wolf Glaser, the recognition to which he was rightfully entitled and, second, he offeredan account of the sonata’s musical content in a relatively detailed

33 Letters, No. 456. In the letter Hartmann thanked Ingemann for apoem, which the latter had sent to Hartmann as consolation after
the death of his wife.
34 It was not until 1943 that a printed version of the sonata wasissued by Wilhelm Hansens Musikforlag, allegedly edited by Niels
Viggo Bentzon, but edited, in point of fact, by Werner Wolf Glaser.
This edition evades the task of addressing itself critically to therather complicated transmission of the sonata (see the Descriptionof Sources).
35 Dansk Musiktidsskrift (1927-28), p. 149.

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way. Hove characterized the first movement as “…some of themost fully developed [work] that Hartmann has composed”, andhe spotted a parallel between the sonata’s middle movements andHans Christian Andersen’s fairytales. Hove concluded his extensive
discussion about the sonata with the following appeal:

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genuine Danish speech around and about.36
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The F major Sonata is no doubt one of Hartmann’s most successful piano compositions. It is a highly pianistic work [...]37

no. 4
sonatina in g major
Apart from the end-date, “16/7 63” on Hartmann’s autograph scorein The Royal Library, nothing more is known about the circumstances surrounding the work’s genesis (it may have been meant as
an educational work, like Kuhlau’s sonatinas). Using the autographscore (source C) as the “Stichvorlage” the work was printed (without opus number) that same year by Horneman & Erslev (source
A). More than 20 years later, Wilhelm Hansens Musikforlag reprinted the sonatina, using the very same printing plates (albeit
with a new plate number) and with a new cover page, which appears as a catalogue of previously published piano works by Hartmann (source B); the catalogue can contribute to the dating of thisreprint since the list does include, among other works, the Piano
Sonata, opus 80, which Wilhelm Hansen published in 1885. In thesame register, the sonatina bears the opus number, “48,” which – asit appears from the Description of Sources – does not stem fromeither the autograph score or from the original print by Horneman& Erslev. The opus number could very well be a misinterpretationof the price printed on the original edition: “48 Sk.”!38
The beginning of the rondo theme in the sonatina’s last
movement bears a striking resemblance to the beginning of a single-movement piano piece that Hartmann composed 15 years earlier, Om Foraaret (In Spring Time, No. 34), end-dated “25/10 47”:##
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no. 5
piano sonata in a minor, opus 80
On the composer’s 80th birthday 14 May 1885 one of Hartmann’s
most important works was published, the grandiose Piano Sonata in A minor. On the title page and in one of Hartmann’s
autograph scores, the sonata is designated as “N0 2,” even though,as mentioned above, there were actually four sonatas and one
sonatina at this point in time; apparently, Hartmann acknowledged only the Prize Sonata in D minor, from 1842, and this workfrom his mature years, from 1885, as his “canonized” productionof piano sonatas. Perhaps it is just an indication of the fact that
the A minor Sonata was the second of Hartmann’s sonatas to beprinted by then.
The work had been in progress for quite some time, a factthat is reflected clearly in the rather complicated source situation.
Already by October 1876 – nine years before the final version –Hartmann could end-date the first two movements, composed respectively in the keys of G minor and E flat major (source B, enddated after the 2nd movement, “11/10 76”). This version differentiates itself so significantly from the final version, which was printed
in 1885, that the two versions virtually assume the character ofbeing two different works: this applies to the keys of the movements, the length of the works and thus to aspects of the musicalcontent. Prior to the fair copy from 1876, Hartmann had worked
out a number of loose pencil sketches for the two movements inquestion (source C).
As it may be seen the sonata exists in two different version:–

36 Dansk Musiktidsskrift (1944), p. 140.
37 Lothar Brix, Op. cit., p. 219.
38 Matters are further complicated by the fact that the autographscore of Hartmann’s Second Symphony also carries the opus
number “48”, inscribed in the composer’s own hand. This fact has
inspired posterity – probably erroneously – to label the sonatina“Opus 48a”. The correct solution would be to abstain from pairing the sonatina with any opus number at all.

The original version from 1876, with end dating“11/10 76”, consisting of first movement , second
movement and the beginning of a third movement(which was possibly conceived in connection withthis sonata). In this version, the second movement
is considerably longer than in the final version; thetwo first movements are in G minor and E flat major,
respectively.

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–The final version from 1883, published in May 1885,
based on the original version but with substantialchanges.

Both versions are included in the Hartmann Edition in the volumes with the composer’s piano music, the former as App. 1.
The two fair copies from, respectively, 1876 (source B)
and 1883 (source A) are indicative of the following formational
process.39
First movement
The movement was notated in black ink sometime during the1870s, in the key of G minor. A number of corrections were introduced into the piece along the way, similarly in black ink. In
the 1880s, Hartmann took up working with the movement anew,
with an eye toward making a new and thorough revision. He starts
out by introducing into the original version an extensive series ofpencil corrections, partly concerning the articulation, partly in theform of actual changes of the notes (inserted into the blank staves
between the music already written in ink). When he, through thisprocess, has arrived on page 3, he appears to have hit upon theidea that the movement should be transposed, seeing as, on the
top of page 3, in pencil, he writes: “trsbn til a mol” (transpose to A
minor). As he continues to work, it turns out that there will be somany changes that it no longer makes sense to insert them into theoriginal version, which is why the rest of the movement is simply
crossed out in the form of a pencilled cross-mark scrawled acrossthe remaining pages.
Second movement
Also here, the initial version was written in black ink, sometime
during the 1870s, in such a fashion that there are two empty staves
between each of the filled-in accolades. The movement ends withthe dating “11/10 76”. In this version it includes seven pages written in black ink, of which the first two are paginated “1-2”.
As was the case with the first movement, Hartmann resumed
working on the movement in the 1880s, the result being a substantial abridgement and a number of changes in the passages thathave been reused. The material on page 1 is used again, virtuallyunchanged, but from page 2 and onward, the originally empty
staves are used for corrections. These inserted emendations, aswell as an added sheet of music paper marked “p. 3-4”, were theninscribed in blue ink (the same ink as was used in source A from
1883). In this version, the movement comes to its end at the bottom of p. 4 and is thus considerably shorter than the original version from 1876. All the material found appearing after this pointin the first version has been crossed out in pencil. The second
thorough revision presumably served as the prototype for the final
version from 1883. Even though what we have here is therefore arevision made for purposes of creating the final edition of 1883,
there are still significant differences between these corrections in B
and the final version as it appears in A.

The second movement thus exists in three versions:–––the original version in E flat major from 1876;
the first, drastically abridged version, as is made evident
by the corrections in B from 1883 (still in E flat major);
the final version as it is known from A, now transposed
to F major, also from 1883.

The articulation in the corrected version in B lies in close accordance with A, which would suggest that B (in the revised version)
has served as the model for A, and moreover, that further changes
were still being carried out in connection with the transposition and fair copying in A. In addition, prior to writing out themanuscript in 1876 (B), a number of shorter preliminary sketches
were being worked out that were mixed together with sketches
for, ostensibly, other works (see C) and furthermore, on the last
pages of B (with the fair copy of the early version) there is a seriesof sketches for passages in the 1883 version. Finally, it must be
mentioned that in B, between the conclusion of the fair copy in inkof the 1876 version and before the added pencil sketches for the1883 version, the beginning of a Scherzino has been interpolated
in pencil. The placement in B would indicate that Hartmann had
begun here to work on a third movement, which he subsequently
discarded entirely:40

5

9

The three versions of the 2nd movement can be summarized asfollows:
Version 1: Source B, complete manuscript of the movementin black ink (pp. 22-27), 1873.

39 The publication of the A minor sonata from 1996 (Edition Samfundet, published by Inge Sønderskov Madsen) does not pay due
consideration to these complicated source relations and they are notadequately reflected in the published score or the critical report.
40 Whether this Scherzino – to whatever extent it has anything to
do with the sonata – was composed in connection with the two
movements from 1876 or was first added upon the resumption of
the work in 1883 cannot be determined. However, the fact that it
is written in pencil points most cogently to the latter possibility.

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Version 2: Source B, updated revision, including an unchanged use of page “1”, with the utilization of theavailable staves on page “2”, now written in blue ink (thesame ink as in source A), as well as a newly inserted page“3-4”, which pertains exclusively to this version, 1883.
Version 3: Source A, new fair copy of the movement, transposed, but based on version 2, 1883.
In connection with the revision of the work in 1883, Hartmann has
apparently been nurturing certain programmatic ideas for the fourmovements, either as actual titles for the movements or simply asa “program” guiding his own work. At the top of the first page in
one of the sheets containing preliminary sketches in source B, wefind these captions, added in pencil: “1. Mismod og Lidenskab.
(Dismay and Passion) 2. Trøst. (Solace) 3. Fred. (Peace) 2. Grublen.
(Rumination) 3. Adspredelse. Gjennembruddets Stemninger. (Distraction. The Breakthrough’s Frame of Mind)”. These notations indicate the following programmatic content in the four movements:
Andantino con moto – Allegro moderato: Mismod og Lidenskab (Dismay and Passion)
Poco andante: Grublen (Rumination)
Allegretto pastorale: Adspredelse (Distraction)
Allegro marcato, ma non troppo: Gjennembruddets Stemninger (The Breakthrough’s Frame of Mind)
These titles have not been handed down to us in any other contemporary source. Richard Hove has suggested (particularly with reference to the programmatic titles’ unusually “emotionally charged”
character, which was something extraordinary for Hartmann) thatthe titles could stand as evidence that Hartmann did not originallyhave a sonata in mind at all but rather a cycle of piano pieces. The
strongly profiled quality of sonata form in the outer movements
alone is inconsistent with this hypothesis.
Contemporary reception
Nothing is known about the reception of the sonata from thetime of composition to Hartmann’s death in 1900: neither date
nor place for any public performance is known. Nor are there any
sources telling whether the work was performed in any of Copenhagen’s semi-private chamber music societies. Consequently noreviews in the newspapers can be found. The only short reference
to the work can be read in a letter from Count Lerche to Hartmann

41 Letter of 1.2.1885, Letters, No. 1013. To this could be added aletter from Hans von Bülow thanking Hartmann for having sent
Bülow a copy of the sonata. (cf. letter of 19.9.1888 (Letters, No.
1168).
42 Letters, No.1013.
43 Lerche did not manage to see his own name on the printed version before his death. However, his widow wanted to retain the
dedication on the first edition (cf. letter from Cornelie Lerche toHartmann of 30.4.1885, Letters, No. 1022).

where Lerche mentions that in the spring of 1884 he heard AugustWinding perform the sonata.41
Editorial strategy
Taking the aforementioned factors into consideration, the piano
sonata, Opus 80, is published in two versions in The Hartmann
Edition: the original version of the first two movements from 1876
and the final version of the entire sonata from 1883.
The original version is based on source B, in such a way as it is supposed to have appeared upon the finalization of the second movement in 1876, that is to say, with the intentional omission of thedifferent pencil corrections, deletions and cancelled-out pages thatwere presumably introduced at a later point in time; these alterations have been reviewed in the foregoing commentary.
As for the final version, the first printed edition from 1885 would ordinarily have been chosen as the principal source in favour of the autograph score, which is dated 1883. The version from May 1885 wasa birthday edition, published in commemoration of the composer’s
80th birthday. It was not a surprise, though; Count C.A. Lerche’s letter from February 1885,42 in which the dedication of the sonata to
the writer of the letter is discussed, can corroborate this.43 Similarly,
we can read in a letter to Wilhelm Hansen from 21 February 1885:“….. with the proofs, I will hurry as much as I possibly can.”However, there are three reasons for favouring the autographscore as the principal source rather than the first edition:–––

The first edition was published on the 80-year old composer’s birthday in 1885 and although he was altogether
aware of the publication beforehand (cf. the letters),
there is no evidence indicating that he really had anything to do with arranging this edition (anyway, theaforementioned round of proofreading was carried out
in an extremely superficial manner), while on the other
hand, the copious source material discloses an intense
preoccupation with the work in 1883 in connection
with the preparation of the fair copy.
The first edition contains a profusion of inaccuracies
and inconsistencies as compared with the very precise
and rigorous autograph score, which has been thoroughly and carefully prepared, in a completely different way.
In addition, we can offer the supplementary observation that the 1883 autograph score presumably establishes the terminal point in a lengthy progressionof corrections and emendations appearing in various
earlier manuscripts that extends all the way back to thefirst version in the 1870s.

The autograph score has been collated with the printed edition.
Variants in the printed edition have been enumerated in the Listof Emendations. The revision has been carried out on the principal
source’s own terms, taking account of details in the other sources.

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The autograph score contains no fingerings – these turnup, albeit sporadically, in the printed edition, presumably addedby August Winding, who included the sonata on his concert program. Accordingly, the fingerings have not been included in thepresent edition.

b. collections ₍character pieces₎
no. 6
rondeaux brilliants, opus 6
In the cases of opus 6, opus 7 and opus 25 (nos. 6, 26 and 8, respectively), there is no autograph manuscript by Hartmann to befound. Judging by a letter from Hartmann to the publishers, Loseand Delbanco, dating from October 1848, this appears to be the result of the fact that the publisher, despite being asked by Hartmann
to do so, failed to return the manuscripts to the composer after
having published the works.44
The two rondos, taken together, comprise Hartmann’s earliest printed piano piece.45 Already in March 1829, the first of therondos was published in the musical periodical, Odeon, while
the second rondo appeared a few months later. After a few moremonths had elapsed, the rondos were published together as Opus 6
by C.C. Lose’s publishing house in Copenhagen.
This piece, by the then 25-year-old composer, was actually
bestowed with a review. From here on in, this would only befall alimited number of Hartmann’s piano works. The reviewer, writingfor Kjøbenhavns Flyvende Post [Copenhagen’s Flying Post] (1830),
No.11, calls attention to a certain influence from Kuhlau and praises the thematic development in the first of the two pieces, mostespecially the D-minor section (and specifically, the bass figure in
the middle section, bb. 132 et seq.). There are, however, some critical remarks made in the review:“[It would have been more] desirable if the composer had
been more economical with bold modulations, which undoubtedly belong to today’s – but not necessarily to good– taste.”As an example of such a “bold” modulation, the reviewer calls attention to bb. 336-342; the problem, however, is simply that what
we have here is a grave printer’s error, with the key signature having been misprinted; this is something the reviewer has not taken
notice of and which has therefore rendered the passage extra audacious in a harmonic respect (the error was caught and correctedin Wilhelm Hansen’s reprint of the rondos that appeared morethan 55 years later).46 Furthermore, the reviewer calls attention toa supposed misprint (Rondo I, b. 91), where he holds that the firstchord ought to contain a G instead of a G (with the consequencethat the chord in question should be E minor instead of E major).

This is also wrong on his part. Even though both E minor and E
major would make sense, musically, at this juncture, both sources
notate G on the first note, with the natural sign appearing in frontof the G, on the bar’s third tone. For this reason, there is no basis
for claiming that what we have here is a misprint. So, all in all, we
can say that the earliest review of a piano work by Hartmann issomewhat faulty!

no. 7
caprices, opus 18
The six Caprices were presumably composed in 1835.47 The collection bears witness to Hartmann’s close connections to Germanmusical life in the 1830s, which were forged especially after his
first Grand Tour southward in the spring of 1836. It is not hard
to imagine that Hartmann might have brought the manuscript
along with him on his trip to Germany: for one thing, the work
was printed in Leipzig by Friedrich Hofmeister Musikverlag; foranother, the two albums are dedicated, respectively, to Heinrich
Marschner and Felix Mendelssohn-Bartholdy,48 both of whomwere very “big” names in the day’s music life; moreover, both of
the albums were reviewed by Robert Schumann in Neue Zeitschrift
für Musik, the first in June 1837 and the second in December ofthe same year.
When we consider how seldom it is that sources from Hartmann’s lifetime refer to actual performances of his piano music, it
is worth referring to one, albeit very sporadic, mention of a performance in Vordingborg, in 1844, of the A-major capriccio fromthe first album, presumably as part of a private occasion.49
As is made apparent in the Description of Sources, thesource situation is relatively complicated. For one thing, when we
collate the various sources, there are respective disparities in thenumbering sequence. For another, and more particularly, there

44 Letters, No. 364 (25.10.1848), within which we can read: “Whilebusy putting my musical works in order, I discover that I am missing the following compositions [what follows here is a list withworks, including the three piano pieces in question].” Some of theworks on the list had been printed in Germany. On this account,
Lose enters into the scene as the intermediary between the German publishers and Hartmann.
45 If we can put our faith in what appears in Wilhelm Hansen’s reissue of 1888, the rondos were composed as far back as 1827, seeing as this date is added to the opus number in the printed edition(source D).
46 The passage – including the erroneously printed key signature – isreproduced in Inger Sørensen, Op. cit., p. 90.
47 The year “1835” has been added to Hartmann’s autograph manuscript by some later, unknown hand, in pencil.
48 Marschner expressed his thanks in his letter to Hartmann of
11.5.1838, Letters, No. 156.
49 See Letters, No. 216. This is probably the sole mention in all of theletters to or from Hartmann that are extant of a performance ofhis piano music.

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are significant differences between, on the one side, the autographmanuscript and the first print (sources A and D, 1835 and 1837)
and on the other side, the two “reissues” by Wilhelm Hansen(sources B and C, 1878 and 1886). What cannot be determined, in
this connection, is the extent to which Hartmann was involved in
the many emendations and corrections that appear in the reissuesof 1878 and 1886.
The Caprices were mentioned at least three times in German
journals in the course of the autumn of 1837: in the first instance,
as has been mentioned above, by Robert Schumann, who, after an
initial characterization of the pieces in the first album as being “…
well done, intelligent, serious, even sinister” goes on to elaborate,
in somewhat more critical terms:

poser with a style, “… as its model has chosen partly Weber, partly
Beethoven, even though he has not actually borrowed anythingfrom either of them.52 Rellstab also has some critical things to say:the first two caprices concentrate too much around a single figure,which becomes tedious to the listener in the long run. Moreover,Rellstab quite simply finds No. 2 in D flat major to be too difficult
to read and too hard to play. No. 4 in B flat minor, on the other
hand, is designated as being “a passionate, characteristic, brilliant
piano piece that will not fail to earn for the composer the musicians’ full appreciation”.

It seems, however, as though he [Hartmann] wants too muchof what is good, as though he sticks for too long on the details; his music still does not speak freely – as if there was adamper lying over it. There are forms and ideas, wherever
one looks, but – in a word, there’s no singing. In the third
caprice, which yearns to be more melodic, this comes tolight most distinctly: it has, quite rightly, a certain melody
but vacillates reluctantly and insecurely up and down; when
you think you’re going to move to the right, it moves off tothe left; when you are aiming downwards, it ascends to thehigher register.50

The two character pieces were published by Hofmeister in 1839
and again, many years later, by Wilhelm Hansen in 1885, in two
separate albums with the following note appearing on the title
page: “Nouvelle Èdition par Aug. Winding”. There are only a few
differences in dynamics and articulation. Robert Schumann also
devoted a comment to this opus in his journal. This time around,
the response was positive in a different way than had been thecase with the Caprices, opus 18.53 Schumann leads off by statingthat the two pieces reveal how much progress the composer has
made, especially when it comes to the harmonic aspects, and hefinds that the pieces stimulate further immersion. Schumann calls
attention to a certain influence from Carl Maria von Weber and
Mendelssohn, adding the reservation that he would like to see afreer approach to the purely melodic aspects. As far as the target
audience is concerned, Schumann emphasizes that the pieces maketheir appeal to musicians more than they do to amateurs: “Dilettantes will not think much of him; for them, what he writes is toocomplicated and full of references; the Italians and the Italianizedwould even go so far as to label him a barbarian”.
The latter viewpoint can hardly said to be wrong, even if it issurprising when we take into account the wide dissemination (inthe form of the many different versions) that Hartmann’s printed
music for piano enjoyed during the entire course of his life.

Schumann, however, concludes his review with the following – andhighly encouraging – words, which seem to be addressed almost
directly to the composer:
We only hope that we, with our counsel, have not arrived too
late, and that that he would pursue the goal with a freer andlighter heart, the happy attainment of which we so wholeheartedly grant every true effort.
Just about half a year later, Schumann’s review of the second album
appeared: in this instance, too, his satisfaction is qualified, eventhough it appears that he fully appreciates Hartmann’s talent. Interestingly enough, Schumann contests the legitimacy of the very
genre designation, “Caprice”: “Nor would I call these pieces “Caprices”: they are all too condensed in their form to be labelled inthis way; sometimes they are rounded in a Lieder-like fashion.51
Prior to this review by Schumann, the first album had beenreviewed by Ludvig Rellstab in his journal, Iris im Gebiete derTonkunst. Rellstab characterizes Hartmann as a very talented com-

50 Neue Zeitschrift für Musik (6), No. 47, June 13, 1837.
51 Neue Zeitschrift für Musik (7), No. 48, December 15, 1837.
52 Iris (8), No. 40, September 29, 1837.
53 Neue Zeitschrift für Musik (11), No. 34, October 23, 1839.

no. 8
deux pièces charactéristiques, opus 25

no. 9
three genre pieces
The source material indicates that what we have here are four
self-contained and mutually independent compositions, which
Hartmann has gathered into one single work with an eye towardhaving the music printed at Hofmeister in Leipzig: Allegro (source
A; piece I, bb. 1-49); Scherzo (source C; piece I, bb. 50-196), Allegretto giocoso – Moderato grazioso (source A; piece II;) andAllegro moderato (source A; piece III). These four pieces were
subsequently transferred to source B by a professional copyist andamalgamated into three separate pieces that were subsequently
sent as printing sources to Hofmeister with the opus number “26”.
The publisher found, however, that there was not really any roomin his program for these pieces or for Hartmann’s Opus 31. Con-xxxii j.p.e. hartmann : selected works

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sequently, he returned both manuscripts without agreeing to havethem printed. As a further motivation for rejecting these works,
Hofmeister stated:

lar role model, when we put what Mendelssohn has so beautifully accomplished before our gaze; I will, however, makewhatever is in my power to make.58

Another reason is that these works, with the exception of thefirst piece, of which I am very fond, have been kept a little too
dryly. Something that their perfect elaboration cannot offset
entirely. 54

The first edition, which was published by Julius Schuberth (withOlsen and Lose as co-publishers), appeared in 1842, bearing a dedication to the composer’s wife, Emma Hartmann, who actually had
a number of her own works published in the 1840s, some of thesebeing dance pieces scored for piano solo and a number of songs
and romances published under the pseudonym, “Frederik Palmer”.59 In 1877, Eight Sketches was republished by Wilhelm Hansen
in a “New edition, edited by the composer”, where the first edition’s
year of publication, “1842” is, quite exceptionally, cited immediately after the opus number (Source C). Finally, in 1886, yet anotheredition (Source D) appeared with the same plate numbers as C but
nonetheless with a few small alterations in the articulations.
The eight pieces are of very different length (ranging from 18bars in No. II to 245 bars in No. V) and very different characters.
Five of the eight sketches, moreover, bear characterizing titles: Canzonetta. Andante religioso (No. II), Mazurka (No. III), Scherzo (Nos.
IV and V) and Introduction and Mouvement de Valse (No. VII).
The first of the albums was reviewed by Schumann – succinctly and very precisely and including the mention of each oneof the four pieces; the review appears below, in its entirety:

The three genre pieces thus remained unpublished. The opus
number, “26”, was used instead in connection with Introduction
and Andantino religioso (No. 28), which, was also published by
Hofmeister.

no. 10eight sketches, opus 31
The eight sketches were composed, respectively, in 1840 (nos. 1, 2,
6, 7 and 8) and 1841 (Nos. 3, 4 and 5). The autograph manuscript
reveals that Hartmann had originally envisioned that the collection
would consist of 6 pieces, namely the 5 pieces from 1840 together
with an eventually omitted “No. 5”, which was published later,
independently.55 In source A, these six pieces have been sewn together in the spine into one collected total gathering with the end
dating of September 21, 1840. Subsequently, onto a separate folioof music paper, the three remaining pieces that eventually came tocomplete the Opus 31 were added. A series of letters between the
publisher, Julius Schuberth and Hartmann bears out that what thelatter originally had in mind was a collection with seven sketches
but that Schuberth found this number to be inexpedient and accordingly asked for an eighth, so that they could be published with
4 sketches in each one of the albums.56 As a matter of fact, Hartmann had originally sent the sketches to Hofmeister in Leipzig butthat publisher found them to be uninteresting and returned themanuscript to Hartmann.57
In one of the letters, Hartmann offers his own reflections on
the collection’s title. What comes to light here are a few remarksthat touch upon this work but also bear some indirect relation to
Six Pieces in Song Form, Opus 37, which was composed in the following year. The direct occasion for this letter was that Schuberth
had been looking for a collection of caprices, by Hartmann, towhich Hartmann replied:

The title has been chosen well. One finds, in the album, four
shorter characteristic pieces, of which the first seems to beparticularly successful; it appears to us as a cosy family scene.
In the second piece, canzonetta religiosa, we miss musicalflow: the canonical parts here seem to us to be somewhat
stiff. The third piece, a Mazurka, presumably stems froman earlier period; it’s a lot tamer than, for example, one by
Chopin, and has, in the second part, rather the character of awaltz. In the last of the sketches, it appears that composer has
had a certain image in mind, something that touches us almost ironically. What this could be about, naturally only thecomposer could enlighten us further on.60

54 Letter from Friedrich Hofmeister to Hartmann of 10.1.1841,
Letters, No. 110.
55 Canzonetta, No. 31.

Caprices I can not call them because, by virtue of their construction, the individual pieces are more in possession of thecharacter of sketches even if they belong, for all that, whollyto the same genre, as you will see for yourself; and they are
not too grandiose, nor are they too small in scale and will
presumably please both aficionados and amateurs who havefamiliarised themselves with them [i.e. the pieces]. For thisreason, it is my also hope that you will be satisfied with them.
[...] With the “Liedern ohne Worte”, I have to be very cautious, because there is such an admirable and so justly popu-

56 See Letters, Nos. 128, 131, 133 and 141.
57 See Letters, No. 110, previously quoted (above) in connection withThree Genre Pieces, No. 9.
58 Letter from Hartmann to Julius Schuberth of 13.1.1842, Letters,
No. 128. Shortly after this letter was penned, Hartmann resumed
working with such “Lieder ohne Worte”, although he gave theseworks a Danish and decidedly less “Mendelssohnian” title, Music
Pieces in Song Form (see below, No. 11).
59 A couple of the dance pieces were printed in the same collectionthat is mentioned in connection with No. 30 of the present edition, while the songs were published in the years, 1848-1850.
60 Neue Zeitschrift für Musik (19), No. 23, 18.9.1843.

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As far as the reference to Chopin made in connection with thethird sketch, “Mazurka”, is concerned, Lothar Brix moves one stepbeyond Schumann. He clearly sees a connection to one particularpiece by Chopin, namely the Mazurka in B major/minor, opus 41,
no.2, and refers, in this connection, to the brief meeting between
Hartmann and Chopin that took place, about which it has beenreported that the latter supposedly praised Hartmann’s piano playing.61 Should we attempt to point out an influence from Chopin inthis piece of music, it would have to focus on the first two bars in
the right hand’s part, with the characteristic unison introduction
to the main subject, although there is quite a distance from here to
Chopin’s highly polished piano piece.

that Hartmann was familiar with the many Lieder ohne Worte that
Mendelssohn had published in the years between 1832 and the1845.64 The publisher Julius Schuberth seems to have been pleased
with the collection, seeing as he sought to obtain more pieces of thesame kind, which would presumably fill yet another album:

no. 11six music pieces in song form, opus 37

Notwithstanding the fact that Schuberth, on the title page, explicitly numbered the work “Op. 37 1stes Heft” [Opus 37, 1st Volume],
there was never to be a “second volume” sequel to this one.

I have received your Lieder ohne Worte album, that is to say,your Tone Pieces, etc., and I find your fee to be entirely acceptable. When I express to you my wish to continue [workingwith] these Tone Pieces in Lied Form, I ask you not to think ofme unkindly. I just wanted you to understand that I am hereby making reservations for the next album of such works.65

Hartmann’s autograph with Seks Tonestykker i Sangform is enddated 22 October 1842. In the autograph, the pieces appear in adifferent sequence than in the printed edition and the numberingof the edition has been entered in pencil sometime later on into the
autograph: 1, 2, 5, 3, 6, 4. In addition, there is another piece (sourceA, pp. 5-7), which did not come to be included in the printed edition; this piece is entitled Old memories and is embellished with an
inscription in Hartmann’s hand: “Note: is not to be copied.”62
The collection was published in 1843, both by Julius Schuberth in Leipzig (in response, as matter of fact, to a direct suggestion put forth by the publisher)63 and by Lose & Olsen in Copenhagen. It was republished in 1882 by Wilhelm Hansen in a “Newedition, edited by the composer”. As far as certain features in thethird and the sixth pieces in the sequence are concerned, the edition published in 1882 differs from both the autograph manuscript
and the first edition (see the Description of Sources).
The title – which in the German edition is Tonstücke in Liederform – immediately gives rise to associations with Mendelssohn’s
Lieder ohne Worte, both when it comes to style and to genre designation. Although there is no evidence of any close personal connection between Hartmann and Mendelssohn, there can be no doubt

61 Lothar Brix, Op. cit. p. 77; Angul Hammerich, J.P.E. Hartmann,
Copenhagen 1916, p. 46; Inger Sørensen, Op. cit., p. 151. Hammerich claims to be able to quote what Chopin actually said
– literally – to Hartmann at one of these meetings in Paris: “Maisc’est charmant ce que vous jouez-là”.
62 Old Memories is reprinted in the present edition as No. 29.
63 Letters, No. 155 of 17.1.1843 from Julius Schuberth to Hartmann:“May I please entreat of you not to leave me waiting for yourLieder ohne Worte – I would really like to have both albums verysoon”.
64 All in all, six collections with Lieder ohne Worte by Mendelssohn
were published during this period.
65 Letter from Julius Schuberth to Hartmann of 22.2.1843, Letters,
No. 157. In another letter sent a month before this one (Letters,
No. 155) Schuberth presupposes that two albums with Lieder
ohne Worte will eventually be published.

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einleitung
In einem längeren Brief, den Hartmann 1841 anlässlich des Drucks
seiner d-Moll-Sonate an den Musikverleger Julius Schuberthrichtete, schrieb er bescheiden über seine Fähigkeiten als Klavierkomponist: „Ich bin kein Clavierspieler von Profession; und mein
Hauptsache als Componist war immer mehr das Orchester undder Gesang, als das Piano Forte.“1 Trotz dieser Vorbehalte hatte er
jedoch vor der d-Moll-Sonate (auf die sich das obige Zitat bezieht)
neben den im Manuskript überlieferten kleinen Stücken nicht weniger als sechs Klavierkompositionen drucken lassen,2 und in den
folgenden knapp sechzig Jahren sollten weitere etwa fünfundzwanzig gedruckte Klavierwerke (einsätzige wie zyklische) sowie eine
Anzahl ungedruckter Werke folgen. Insgesamt hinterließ Hartmann somit ein umfangreiches Klaviermusikwerk.
In dem oben genannten Brief an Julius Schuberth geht Hartmann genauer auf die Behauptung ein, seine Klaviersonate sei
nicht „claviermässig genug“, also nicht ausreichend pianistisch:
Jedoch, das letztgenannte Instrument ist seit langer Zeit vonvielen Componisten nur als algemeines Ideen-Ebrion benutzt
worden; und hätte ich nicht das Eksempel solcher vor Augen,würde ich mich nicht in die Reihe der Claviercomponistenstellen können. Es ist also natürlich, das diejenige, die michvon dem Standpunkt der eigentlichen Clavierspieler beurtheilen, zum oben erwähnten Resultat kommen müssen;und, ich gestehe es, ein Vorwurf ist es allerdings; doch bin
ich damit zufrieden, dass es nur diesen Punkt, nicht aber die
Composition an und für sich getroffen hat.
Die vorliegende Ausgabe umfasst alle vollendeten Klavierwerke vonHartmann, angefangen bei den groß angelegten Klaviersonaten in
F-Dur und a-Moll über die vielen Sammlungen von Charakterstücken bis hin zu den kurzen Einzelsätzen von weniger als zwanzig
Takten. Die Werke decken die meisten der im 19. Jahrhundert
gängigen Klaviermusikgenres ab und erstrecken sich zeitlich vonMitte der 1820er bis Mitte der 1880er Jahre über mehr als sechzig
Jahre. Somit ist die Klaviermusik in Hartmanns Gesamtwerk das
am reichhaltigsten vertretene Genre, jedenfalls wenn es um die Instrumentalmusik geht. Von den 86 Werken mit Opuszahl in Hartmanns gedrucktem Gesamtwerk umfassen zwanzig Nummern Klaviermusik. Hinzu kommt eine große Zahl größerer oder kleinerer,
ohne Opuszahl gedruckter oder nur als Manuskript überlieferter
Klavierwerke. Insgesamt handelt es sich in der vorliegenden Aus-

gabe um 56 Sammlungen und Einzelwerke. Wie aus der chronologischen Konkordanz S. 652 in Band 2 hervorgeht, liegt der Schwerpunkt von Hartmanns klavierkompositorischer Tätigkeit in den
1840er und – in etwas geringerem Umfang – in den 1850er Jahren.
Alle von Hartmann bekannten Klavierwerke, egal ob gedruckt oder als Manuskript, befinden sich in der Königlichen
Bibliothek von Kopenhagen. Ein Teil, bei Weitem jedoch nicht
alle, liegt in Hartmanns eigener Niederschrift vor (einige Autografen gingen verloren, nachdem sie den verschiedenen Verlagen als
Druckvorlage zugeschickt worden waren, da die Verlage sie nachdem Druck nicht an Hartmann zurückgeschickt haben). Die Bibliothekssammlung der Hartmannschen Manuskripte verdankt sichüberwiegend der Tatsache, dass die Familie 1902, zwei Jahre nachdem Tod des Komponisten, Hartmanns Nachlassmusikalien mit
dem dazu gehörigen sorgfältigen Verzeichnis der Noten in Bauschund Bogen an die Bibliothek übertragen hat.
Das gedruckte Material findet sich in der Bibliothek in zwei
Sammlungen. Zum einen ist es Teil der „Nationalsammlung“, die alledänischen Notendrucke enthält, die im Rahmen der von der Bibliothek durchgeführten laufenden Einsammlung gedruckten dänischen
Notenmaterials erworben wurden,3 zum anderen findet man sämtliche gedruckte Ausgaben eines jeden Werkes Werk für Werk chronologisch geordnet in der sogenannten Dan Fog Samling, die 1993 indie Königliche Bibliothek aufgenommen wurde und der Nummerierung in Dan Fogs gedrucktem Werkverzeichnis folgt.4 Nicht zuletzt
letztere Sammlung vermittelt einen einzigartigen Überblick über die
Verbreitung der gedruckten Hartmannschen Musik.
Ein bedeutender Teil der gedruckten Klaviermusikausgaben erschien sowohl in deutschen wie in dänischen Musikverlagen, zahl-

1 Inger Sørensen, J.P.E. Hartmann og hans kreds. En komponistfamilies breve 1780-1900, vols. 1-3, København 1999, Nr. 125 (imFolgenden als Breve).
2 Es handelt sich um die Werknummern 6, 7, 18, 25, 26 und 31.
Anzumerken ist hier jedoch, dass die Bemerkungen durch die
Erklärung der Jury veranlasst wurden, Hartmanns Sonate sei nicht„claviermäßig genug“.
3 Das Gesetz über die Pflichtablieferung von Musikalien wurde 1902
eingeführt, also zwei Jahre nach Hartmanns Tod, weshalb davon
nur postum erschienene Hartmannwerke betroffen sind.
4 Dan Fog, Hartmann-Katalog. Fortegnelse over J.P.E. Hartmanns
trykte kompositioner. København 1991. Wie der Titel erkennen
lässt, fehlen in dem Verzeichnis die vielen ungedruckten Werke.

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reiche sogar im Abstand mehrerer Jahrzehnte in mehreren Ausgaben
desselben Werkes. Bei den frühen Werken zeichnet sich durchgängig
ab, dass das Werk nach seiner Entstehung zunächst in einem dänischen oder in einem deutschen Verlag erschien und danach mehrere
Jahrzehnte später in Wilhelm Hansens Musikverlag neu aufgelegt
wurde. In den Jahren 1837 bis 1845 erschienen alle neuen Klavierwerke von Hartmann in deutschen Verlagen, erst nach 1848 kamen
sie allmählich in dänischen Verlagen.5 Es lässt sich nicht eindeutig
entscheiden, ob das daran lag, dass Hartmann in diesen Jahren in
Deutschland einen besonderen Namen hatte, oder ob es in Dänemark einfach noch keinen Markt für seine Klaviermusik gab. Auch
die Besprechungen von Hartmanns Klaviermusik in deutschen Zeitschriften beschränken sich ganz natürlich im Großen und Ganzen
auf diese Jahre.6 Möglicherweise spielte aber auch das nach 1848
gespannte Verhältnis zwischen Dänemark und Schleswig-Holsteindabei eine Rolle, was sich allerdings nicht näher nachweisen lässt.
Nachdem Wilhelm Hansens Verlag Ende der 1870er Jahre
den größten Teil der dänischen Verlage aufgekauft hatte, machte
man sich in den 1880er Jahren an eine fast systematische Neuherausgabe der Hartmannschen Klavierwerke, die zuweilen nach den
ursprünglichen Druckplatten gestochen, meist aber neu gestochen
wurden.7 Hartmann muss also in den 1880ern eine solche Position
gehabt haben, dass für diese früher erschienenen Werke immer
noch ein Markt bestand.
Von wenigen Ausnahmen abgesehen spielt die Klaviermusik in derRezeption von Hartmanns Musik nicht die große Rolle, wobei vor
allem die ältere Literatur über diesen Teil seines Werkes leicht hinweg geht. Während Angul Hammerich von den Werken für Klavier
nicht viel Wesens macht,8 haben sie bei Richard Hove einen ganz
anderen Stellenwert. In seiner Beschäftigung mit dem Komponisten schreibt er zum einen in Dansk Musiktidsskrift zwei gründliche

5 Nach diesem Jahr sind nur noch die Fantasiestücke op. 54 zuerst
in einem deutschen Verlag erschienen.
6 Neben den verschiedenen Rezensionen von Schumann in Neue
Zeitschrift für Musik und der Besprechung in Iris (s. unten) gab
es laut Lothar Brix, Die Klaviermusik von Johann Peter Hartmann. Ein Beitrag zur musikalischen Romantik in Skandinavien,
Göttingen 1971, S.6, auch Besprechungen in Julius Schubarths
Zeitschrift Hamburgische Musikzeitung, die für die vorliegende
Ausgabe jedoch nicht herangezogen wurden.
7 Siehe Dan Fog, Musikhandel og Nodetryk i Danmark efter 1750,
Bd. II, S. 210. Ab etwa 1880 war Wilhelm Hansen auf dem dänischen Markt im Großen und Ganzen der alles bestimmende
Musikverleger.
8 Angul Hammerich, J.P.E. Hartmann, København 1916.
9 Richard Hove, Dansk Musiktidsskrift (1927-28), S. 149 und Dansk
Musiktidsskrift 1944, S. 140; Richard Hove, J.P.E.Hartmann, København 1934, S. 38 ff.
10 Lothar Brix, Die Klaviermusik von Johann Peter Emilius Hartmann. Ein Beitrag zur musikalischen Romantik in Skandinavien.
Dissertation….Georg-August-Universität zu Göttingen, Göttingen
1971.
11 Lothar Brix, Op. cit., S. 6.
12 Lothar Brix, Op. cit., S. 163-164.

Aufsätze über die F-Dur-Sonate (Nr. 3), zum anderen enthält seine
Hartmannmonografie ein besonderes Kapitel über die Klaviermusik.9 Am gründlichsten setzt sich Lothar Brix mit dem Thema auseinander. Von ihm stammt die einzige Monografie über Hartmanns
Klaviermusik; das sehr verdienstvolle, wenngleich etwas unübersichtliche Buch erschien 1971.10 Es stützt sich auf eingehende Studien des Quellenmaterials der Königlichen Bibliothek und behandelt
systematisch das gesamte Werk. Aus stilanalytischer Sicht liefert
der Verfasser einen Ausblick auf die dänische wie auf die deutsche
Musikgeschichte. Zu Beginn muss er über die zeitgenössische Bewertung von Hartmanns Klaviermusik allerdings feststellen:
Doch bereits zu Lebzeiten Hartmanns wurde die Bedeutungseiner Klaviermusik kaum erkannt, zumal die klavieristische
Genrekunst N.W. Gades weitgehend den musikalischen Zeitgeschmack Dänemarks im 19. Jahrhundert bestimmte.11
Einer solchen Darstellung der zeitgenössischen Rezeption entspricht genau auch das fehlende Quellenmaterial, das ein Licht auf
die Verbreitung der Musik im öffentlichen und privaten Musikleben in Dänemark zu Hartmanns Lebzeiten werfen könnte.
Bei seiner Beschäftigung mit Studier og Novelletter (Nr. 19)
geht Brix noch stärker mit Hartmann ins Gericht und verweist
zugleich auf ein charakteristisches Merkmal von vielen seiner
Sammlungen mit Klavierstücken, nämlich auf das schwankende
künstlerische Niveau.
Das Nebeneinander von klischeehaften, dem seichten Modegeschmack verhafteten Routinearbeiten und gehaltvollen
Kompositionen bildet in Hartmanns meisten Sammlungeneine merkwürdige Synthese, die von einer offenbar geschmacklichen Unsicherheit zeugt.12
Zu diesem etwas harten Urteil sei jedoch angemerkt, dass Brix diewachsende Qualität keineswegs entgeht, die man mit zunehmendem Alter des Komponisten in seiner Klaviermusik antrifft, angefangen bei Opus 74 (Nr. 23) und natürlich mit dem Höhepunkt inder Klaviersonate op. 80 (Nr. 5).
Die jüngste größere Darstellung von Hartmanns Leben und
Werk, Inger Sørensens von 1999 stammende Monografie über die
Familie Hartmann, beschäftigt sich in unterschiedlichen Zusammenhängen mit der Klaviermusik. Die Preissonate op. 34 wird indem der Schauspielmusik gewidmeten Kapitel 5 behandelt, einenÜberblick über die wichtigsten Werke liefert Kapitel 8, „Die späteren Klavierwerke“, und mit den drei Sonaten in d-Moll, F-Dur und
a-Moll (Nr. 1, 3 und 5) beschäftigt sich die Autorin im Anhang desBuches, der kurze musikalische Analysen einer Anzahl ausgewählter Werke enthält. Sørensen fasst ihre Bewertung von Hartmanns
Bedeutung als Klavierkomponist etwas anders zusammen als Brix:
Mit seinen Klavierwerken platzierte sich Hartmann als der
dominierende dänische romantische Komponist dieser Gattung. Kein anderer schrieb so viele und so unterschiedliche

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Klavierwerke von so hoher Qualität. Seine Tür war zwar offen für Strömungen vor allem der deutschen Romantik, dochHartmanns Klavierkompositionen waren dennoch weitaus
persönlicher als Gades direkter von Mendelssohn inspirierter
Stil, der wesentlich blasser war. Hartmann entwickelte sichweit mehr, und als er Mitte der 1880er Jahre die Klavierkomposition aufgab, stand der junge Carl Nielsen bereit, um das
Erbe anzutreten.13

redaktionelle anmerkungenPedalsatz
Hartmanns Manuskripte und ein Großteil der gedruckten Ausgaben sind mit Pedalvorgaben versehen, die in der vorliegenden Ausgabe nach dem gleichen Prinzip wie andere spieltechnische Anweisungen eingearbeitet wurden. Es wurden jedoch keine eigentlichen
Analogie-Vervollständigungen der Pedalanweisungen eingeführt.
Die Quellen führen drei Pedalsatzformen an, die alle unverändert und ohne weitere Vervollständigung beibehalten wurden:
Ped. mit nachfolgendem *Ped. ohne nachfolgenden *con ped.
Die letzte Angabe scheint auszudrücken, dass die Passage mit Pedal
zu spielen ist, ohne dass ein solcher Gebrauch konkreter angegeben wird.
Fingersatz
Viele der bei Wilhelm Hansen erschienen Ausgaben enthalten
einen Fingersatz, oft vermutlich hinzugefügt von dem Pianisten
August Winding (ohne dass sich nachweisen lässt, inwieweit das
mit Wissen des Komponisten geschehen ist). Vereinzelt haben auchHartmanns Manuskripte einen Fingersatz, hier jedoch sehr sporadisch. Aufgrund dessen hat der Herausgeber sich entschlossen, vondiesen Fingersatzangaben abzusehen, mit Ausnahme eines einzigen
Werkes, in dem die Angaben sozusagen Teil des Werkes sind, nämlich Nr. 24, Thema med 14 Variationer for Johan Peter Hartmann(Thema mit 14 Variationen für Johan Peter Hartmann).
Mehrstimmige Notation
Hartmann bedient sich in seiner Klaviermusik umfassend dermehrstimmigen Notation, ohne dass es sich dabei jedoch um einenstrengen polyphonen Satz handelt. Man hat es eher mit etwas zu
tun, was man als „freistimmigen Satz“ bezeichnen könnte. In einigen Fällen ist die Notation für eine ganze Passage durchgeführt,in anderen für einen ganzen Takt und in wieder anderen nur füreinen Teil des Taktes, was bedeutet, dass eine Notation, die an einer
Stelle der Phrase (mit Einfügung der notwendigen Pausen) mehrstimmig durchgeführt ist, in anderen Teilen der Phrase aufhört
und anscheinend mit „fehlenden“ Pausen erscheint. In der vorlie-

genden Ausgabe wurden solche Passagen nur in sehr seltenen Fällen normalisiert und vervollständigt, sie folgt Hartmanns Notation.
Datierung
Die Datierung von Hartmanns Werken in der Quellendarstellung(und damit die chronologische Reihenfolge der Werke in den drei
Hauptkategorien, in denen sie in der vorliegenden Ausgabe auftreten) stützt sich auf drei Quellen:
Hartmanns eigenhändige Datierung in nahezu allen überlieferten Manuskripten, zuweilen sogar bei jedem einzelnen
Werk einer Sammlung.
Dan Fogs Datierung der gedruckten Ausgaben in seinem
Hartmann-Katalog, die sich auf Anzeigen, Verlagskataloge
sowie vermutlich auf Hofmeister (s. unten, Pkt. C) stützt.14
Die Monatskataloge über in Deutschland und in einer Reihe
anderer Länder im Zeitraum 1829-1900 (sowohl im eigenen
Verlag wie in anderen Verlagen) erschienene Musik des Leipziger Verlegers Friedrich Hofmeister.15 Ein Werk wurde in einem Monatsheft bei Hofmeister nur sehr selten später als drei
Monate nach Vorliegen des Drucks registriert, was die verhältnismäßig genaue Datierung einer bestimmten Ausgabe
ergibt. Hinweise auf Hofmeisters Katalog erscheinen in dervorliegenden Ausgabe in den Fußnoten als Hofmeister XIX.
Mit einer Ausnahme (Nr. 56) lassen sich alle Klavierwerke vonHartmann mit den angeführten Hilfsmitteln datieren, weshalb sichauch ein chronologisches Gesamtverzeichnis des Werkes erstellen
lässt (siehe die chronologische Konkordanz, in Band 2).
Nummerierung der Ausgabe
Aus praktischen Gründen wurden alle in der vorliegenden Ausgabe
verzeichneten Werke mit einer laufenden Nummer versehen. Diese

13 Inger Sørensen, Hartmann. Et dansk komponistdynasti. København
1999, S. 279. Es handelt sich hier um eine Bewertung, die sich mit
der vorliegenden Ausgabe der Klaviermusik näher qualifizieren
lässt.
14 Selbstverständlich sagt die Datierung einer gedruckten Ausgabe,
zu der kein datiertes Autograf erhalten ist, nichts über den Entstehungszeitpunkt des Werkes aus, sondern belegt nur die Veröffentlichung des Drucks.
15 Das von Hofmeister begonnene Projekt wurde bis 1942 weitergeführt, worauf das Register ab 1945 von der deutschen Nationalbibliographie übernommen wurde. Hofmeisters Kataloge des Zeitraums
1829-1900 (also gerade der für Hartmanns Klaviermusik relevantenZeit) wurden im Laufe der letzten etwa zwanzig Jahre digitalisiert
und lassen sich über das sogenannte Hofmeister XIX-Projektsuchen, das unter der Schirmherrschaft der internationalen Musikbibliotheksorganisation JAML angeregt und durchgeführt wurde(http://www.hofmeister. rhul. ac.uk/2008/index.html). Aufbau undBedeutung der Kataloge sind gründlich dargestellt in Rudolf Elvers
und Cecil Hopkinson, „A Survey of the Music Catalogues of Whistling and Hofmeister“, in Fontes (1972), Bd. XIX, S. 1-7.

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xxxvii20/09/12 10.14

Nummerierung hält sich nicht an die Nummerierung von Dan
Fog.16 Es war– wiederum aus praktischen Gründen – auch nicht
möglich, diese Nummern mit dem in Ausarbeitung befindlichen
Werkverzeichnis zu koordinieren.

die werke
Die Klaviermusik gliedert sich in drei Hauptkategorien: Sonaten(Sonatine), Sammlungen von Charakterstücken mit mehr oderweniger deutlich zyklischem Gepräge und unter einer Reihe unterschiedlicher Überschriften, sowie Einzelwerke mit oder ohne
programmatische Titel. Die vorliegende Ausgabe hält sich an dieseEinteilung, wozu allerdings zu sagen ist, dass sich zwischen derzweiten und dritten Kategorie nicht immer eine eindeutig klare
Grenze ziehen lässt, und auch betont werden muss, dass viele derSammlungen eher auf einen Verlegerwunsch nach einem Heft vongewissem Umfang zurückgehen als auf Hartmanns Ehrgeiz, eine
zyklische Struktur entstehen zu lassen:17
A. Sonaten (Sonatine)
B. Sammlungen (Charakterstücke)C. Einzelwerke
D. Anhang

Nr. 1-5
Nr. 6-24
Nr. 25-56
Nr. Anh.1-Anh.5

Die Charakterstücke umfassen eine lange Reihe „Genres“,18 die
man alle von anderen, insbesondere deutschen, Komponisten des
19. Jahrhunderts her kennt. Nicht immer leuchtet es unmittelbar
ein, weshalb Hartmann für eine bestimmte Sammlung gerade dieseoder jene Bezeichnung gewählt hat, in vielen Fällen überschneiden
sich die Bezeichnungen auch. Überhaupt verfließen die Genrebezeichnungen für die vielen Klavierstücke des 19. Jahrhunderts sehr

16 Wie sie in Dan Fog, Op. cit., erscheinen, da Fogs Katalog die nicht
gedruckten Werke nicht einschließt.
17 Innerhalb der jeweiligen Kategorie wurde eine chronologische
Reihenfolge der Werke angestrebt.
18 „Genre“ steht hier in Anführungszeichen, was markieren soll,dass es sich in einigen Fällen nicht um selbständige, profilierte
Genres mit stilistischer Eigenart, sondern zuweilen nur um mehroder weniger willkürlich gewählte Titel handelt.
19 Wie aus der nachfolgenden Einführung in die vielen unterschiedlichen Werke hervorgeht, lässt sich die Grenze zwischen eigentlicher Programmmusik und bloßen Stimmungstiteln nicht immer
eindeutig festlegen. Diese Seite von Hartmanns Klaviermusik wird
eingehender dargelegt in Niels Krabbe, „Udbredelsen af Hartmanns
klavermusik“, Fund og Forskning 51 (2012), København 2012.
20 Lothar Brix, Op. cit., S. 116.
21 Sonate à 4 mains No 1 op. 4. Das Manuskript besteht aus vier Sätzen: Allegro, Scerzo [sic], Allegro No 2 (mit dem in anderer Tinte
geschriebenen Zusatz „duer slet ikke“ (taugt überhaupt nicht)),
Adagio No 3 sowie Rondeau, Allegro assai. Die gedruckte Ausgabe von 1888 ist eines seiner zuletzt gedruckten Klavierwerke.
Das Manuskript der ursprünglichen Sonatenfassung zeigt Spuren
einer bedeutenden Bearbeitung durch Hartmann, bevor der Satzin Druck ging. Die Sonate ist nicht Teil der Sonaten in der vorliegenden Ausgabe.

stark, auch wenn man bestimmte Bezeichnungen mit gewissen stilistischen Zügen verbinden kann.
Bei Hartmann treten auf den Titelblättern für solche Sammlungen von Charakterstücken folgende Bezeichnungen auf: Rondeaux, Caprices, Skizzen, Pieces Characteristiques, Genrestücke,Tonstücke in Liedform, Fantasiestücke, Novellette, Etudes, Studien,
Fantasie. Hinzu kommen mehrere Tanzsätze, Einzelwerke mit
programmatischem Titel sowie Stammbuchblätter, alles in allem
ein bunter Strauß von Klavierstücken, die deutlich widerspiegeln,
welche herausragende Rolle die Klaviermusik als Hausmusik im
19. Jahrhundert spielte, und deren Titel und Motto völlig mit derüblichen Praxis der zeitgenössischen Komponisten in Dänemark
und Deutschland übereinstimmten.19
Brix gliedert die Sammlungen der Charakterstücke in drei
Phasen mit jeweils eigenem stilistischem Gepräge:
1835-1845: Nr. 7, 8, 9, 10, 11 und 12
1846-1863: Nr. 13, 15, 16 und 17
1864-1877: Nr. 19 und 23.
Die Werke mit programmatischem Inhalt gliedern sich in zwei
Hauptgruppen, nämlich einerseits die Sammlungen oder Einzelstücke, an die sich literarische Texte knüpfen, andererseits aber
Einzelstücke mit programmatischem Titel. Zur ersteren Gruppe
gehören: Sechs Charakterstücke (Nr. 13), Andantino aus Drei Klavierstücke (Nr. 14), Novellette (Nr. 17) sowie Klavierstücke (Nr. 18),
alle mit Texten von Hans Christian Andersen, ausgenommen die
beiden letzten Stücke von Nr. 18, die mit Versen von Carl Andersen
eingeleitet werden.
Zur letzteren Gruppe, den Werken mit programmatischem
Titel, zählen: Ballo Militare (Nr. 12), Schwedisches Heimweh, Sommer
1848 (Nr. 14), Andantino religioso (Nr. 28), Alte Erinnerungen (Nr.
29), Hamburger Schottisch (Nr. 30), Heimweh (Nr. 33), Im Frühling(Nr. 34), Winter (Nr. 35), Der 20. Januar 1848 (Nr. 38), Bellmansche
Bilder (Nr. 45), Abendstimmung (Nr. 47), Im Volksliedton (Nr. 48) sowie Die Schwäne (Nr. 54). Sowohl bei den einleitenden Texten wie bei
den verschiedenen Titeln lässt sich bei Hartmann oft nur schwer ein
eigentlicher Zusammenhang zwischen den Texten/Titeln und dem
musikalischen Satz ergründen. Brix geht sogar so weit zu behaupten,
dass die die sechs Klavierstücke Nr. 13 einleitenden Hans-ChristianAndersen-Gedichte „eher verwirrend als ‚verdeutlichend‘“ wirken.20

a. sonaten ₍sonatine₎
Hartmann hat vier Klaviersonaten (sowie einen unvollendeten
ersten Satz zu einer fünften, siehe Anh. 2-3), eine Sonatine undeine Sonate für vierhändiges Klavier hinterlassen, was die folgende
Aufstellung verdeutlicht:
Vierhändige Klaviersonate, op. 4, Ms. datiert 1826,21 der letzte
Satz 1888 gedruckt als Petite Rondeau Opus 4 (1826).

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Die Werknummerierung des ursprünglichen Manuskripts könnte darauf hindeuten, dass irgendwann die
Herausgabe der gesamten Sonate geplant war.
Sonate in d-Moll op. 34 („Preis-Sonate“), gedruckt 1842,
Sonate in g-Moll, Ms. datiert 1851,
Sonate in F-Dur, Ms. datiert 1854, gedruckt postum 1944,
Sonatine in G-Dur, Ms. datiert 1863,
Sonate in a-Moll op. 80,
Ms. datiert 1876 (ursprüngliche Fassung des 1. und 2.
Satzes),Ms. datiert 1883 (überarbeitete Fassung, gedruckt 1885).
In Anbetracht der Tatsache, dass sich das Interesse der Komponisten an Klaviersonaten in der zweiten Hälfte des 19. Jahrhundertsallgemein abschwächt, ist diese Produktion recht beachtlich. Praktisch ist Hartmann wohl einer der wenigen dänischen Komponisten
zwischen Kuhlau und Niels Viggo Bentzon, ja vielleicht sogar dereinzige, der mehr als eine oder zwei Klaviersonaten geschrieben hat.
In zwei Aufsätzen in Neue Zeitschrift für Musik vom April
1839 stellt Schumann im Zusammenhang mit der Rezension einer
Reihe von Sonaten verschiedener, heute unbekannter Komponisten(eine Ausnahme bilden die im Aufsatz auch vertretenen Weberund Mendelssohn) einige kurze, grundsätzliche Betrachtungen zur
Klaviersonate als Genre an.22 Zu Beginn hält Schumann fest, dassdie Klaviersonate zu dieser Zeit absolut zu den Ausnahmen zählt
und, wenn sie denn vorkommt, vorzugsweise von weniger bekannten Komponisten geschrieben wurde. Er versteigt sich sogar zu deretwas herablassenden Behauptung, solche Sonaten hätten fast den
Charakter von „Formstudien“, und fährt fort: „aus innerem starken
Drang werden sie schwerlich geboren“. Ohne Bedauern stellt er
fest, das Genre habe seine Rolle ausgespielt. Dieses Urteil wird inder Zeitschrift statistisch dadurch untermauert, dass Sonaten nur
einen sehr geringen Teil der zahlreichen Werke ausmachen, die inden von Schumann redigierten Jahrgängen rezensiert werden.
Seine drei Jahre später gebrachte, ausführliche Kritik der drei
Preissonaten, von denen Hartmanns op. 34 die eine darstellt, ist
somit eine Seltenheit, vermutlich bewirkt durch die besonderen
Umstände der Entstehung gerade dieser drei Sonaten.

no. 1
sonate in d-moll, opus 34, „preissonate“
Nach dem sehr frühen Versuch mit der vierhändigen Sonate im
Jahr 1826, deren letzter Satz wie erwähnt erst 1888 als op. 4 gedruckt wurde, schöpfte Hartmann erst wirklich Mut, sich am Klaviersonatengenre zu versuchen, als der Nord Deutsche Musik Vereineinen Preiswettbewerb ausschrieb. Dieser Wettbewerb ließ ihn die
Sonate in d-Moll komponieren, die er innerhalb kurzer Zeit im
November-Dezember 1841 niederschrieb und für die er den zweiten Preis des Wettbewerbs erhielt. Das Werk wurde, selbstverständlich anonym, mit einem Motto aus Horaz‘ Ars Poetica eingereicht:„Neque chorda sonum reddit, quem vult manus et mens, nec
semper feriet, quodcunque, minabitur arcus“ (Die Saite gibt nicht

immer den Laut wider, den Hand und Gedanke gewünscht haben,auch trifft der Bogen nicht immer, wonach er zielt).23Über die Entstehung der Preissonate und den Zeitdruck, unter dem Hartmann stand, erfährt man etwas aus dem Briefwechsel
zwischen dem Musikverleger Julius Schuberth und Hartmann
um die Weihnachtszeit 1841, in dem es um die für 1842 geplante,
nachfolgende Veröffentlichung der Sonate in dem deutschen Verlag
ging. Julius Schuberth, der Vorsitzende des von ihm selbst gegründeten Nord Deutschen Musik Vereins Hamburg, hatte im Herbst
1841 veranlasst, dass Hartmann zum Ehrenmitglied des Vereins
ernannt wurde.24 Bei dieser Gelegenheit – oder etwas später – hatte
Schuberth Hartmann auch darauf aufmerksam gemacht, dass sichan dem vom Verein ausgeschriebenen Preiswettbewerb auch Komponisten außerhalb Deutschlands beteiligen könnten. Die Auskunft
kam im Verhältnis zur Einsendefrist so spät, dass Hartmann seinen
Beitrag völlig überstürzt ausarbeiten musste, angeblich schaffte er
das neben seinen sonstigen Tätigkeiten im Laufe von nur vier Wochen. Die Zeit war so knapp, dass er es nicht einmal hinbekam, denganzen ersten Satz so rechtzeitig fertig zu komponieren, dass er ihn
in Gänze an den Kopisten weitergeben konnte, der das Exemplar für
die Jury fertig machen sollte. Ab Takt 174 lag der Satz zu dem Zeitpunkt also nur als Skizze vor. Deshalb musste Hartmann in aller Eileden fehlenden Schluss selbst in die Kopie einfügen und das Ganzenach Hamburg schicken. Das erklärt, weshalb er danach in den weiteren Druckverhandlungen mit Schuberth mitteilen musste, dass inseinem eigenen Exemplar der Sonate (vermutlich Quelle C) dieser
Schluss noch fehle, sodass er darum bat, man möge ihm das Preisexemplar aus Deutschland zurückschicken.25 Erhalten ist jedoch nur
das unvollständige Autograf, was den fehlenden Schluss des ersten
Satzes in Quelle C erklärt. Warum in diesem Exemplar auch der gesamte zweite Satz fehlt, geht aus der Quelle nicht hervor.26

22 Robert Schumann, „Sonaten für das Clavier“, in Neue Zeitschrift
für Musik, Nr. 34 und 35, 26. und 30. April 1839.
23 Horaz, Ars Poetica, Zeile 348 und 350, wobei Hartmann die sinntragende vorhergehende Z. 347, ein einleitendes „nam“ in Zeile
348 sowie die Zeile 349 zwischen den beiden zitierten Zeilen ausgelassen hat. Die ausgelassene Zeile lautet bei Horaz: „poscentiquegravem persaepe remittit acutum“ (denn wenn man einen Ton tief
nennt, gibt man ihn oft hoch wieder); der gesamte Abschnitt bei
Horaz (Z. 347-350) lässt sich übersetzt so paraphrasieren: „Es gibt
jedoch Irrtümer, die verzeihbar sind; denn nicht immer gibt eine
Saite den beabsichtigten Ton wider, und oftmals erhält man einenhohen Ton, wo man einen tiefen gemeint hat; und der Bogen trifft
nicht immer genau, was man sich gedacht hatte.“ (Paraphrase
nach Horace, The Art of Poetry. A verse translation with an introduction by Burton Raffel, New York, 1974, S. 57).
24 Breve, Nr. 121.
25 Der Bitte wurde nachgekommen, was aus einem Brief vonSchuberth vom 28.12. 1841 hervorgeht, in dem er mitteilt, dasManuskript befinde sich in einem Paket an den Musikverlag Lose
& Olsen auf dem Weg nach Dänemark (Breve, Nr. 126). Das betreffende Exemplar ist vermutlich verloren gegangen.
26 Diese Umstände schildert Hartmann eingehend in seinem Brief an
Schuberth vom Dezember 1841 (Breve, Nr. 125). Zu dem Problem,vor Ablauf der Einsendefrist eine Kopie fertig zu bekommen, heißt
es in dem Brief: „…Und – was noch schlimmer ist – den letzten

klaverværker : introduction

Hartmann_klaver_bind_1.indb xxxix

xxxix

20/09/12 10.14

Hartmanns Sonate gewann wie erwähnt den zweiten Preisdes Wettbewerbs, und in einem Brief vom 14. Dezember 1841
konnte Schuberth Hartmann die näheren Umstände der Preisverleihung erläutern, ihm unter anderem berichten, wer den ersten
Preis und den geteilten zweiten Preis gewonnen hatte und welche
Jurymitglieder Hartmann besonders günstig gesonnen gewesen
waren.27 Im selben Brief bat er Hartmann übrigens, die Sonate
für die für das folgende Frühjahr geplante gedruckte Ausgabe in
Schuberths Verlag mit Metronomangaben zu versehen.28 Auch einvierhändiges Arrangement sollte bei Schuberth erscheinen. Schuberth schreibt dazu: „Damit aber das Wichtigste Alles Wichtigen
nicht vergessen ist: das 4 händige Arrangement Ihrer Pris Sonate.
Dies wird sich 4 händig noch pompöser machen“, weshalb Hartmann augenscheinlich seinen früheren Schüler Otto Dütsch bat,eine solche vierhändige Fassung auszuarbeiten.29 Diese ist heute als
Manuskript von Dütschs Hand bekannt, wurde aber anscheinend
nie wie geplant gedruckt, obwohl der Verleger in einem neuen
Brief ein paar Monate später noch einmal auf die Angelegenheit zurückkommt.30
Die Preissonate wurde fast vierzig Jahre später 1880 von Wilhelm Hansen herausgegeben (Quelle B).
Die Preissonate ist eines der wenigen Werke, zu denen eine
eigentliche Rezension vorliegt, sogar, wie erwähnt, von Robert
Schumann in dessen tonangebender Neue Zeitschrift für Musik,
wo im Juni 1842 eine Gesamtrezension der drei beim Wettbewerb
preisgekrönten Sonaten zu finden ist. Schumann hatte nicht sonderlich viel übrig für die beiden Werke, die den ersten und zweiten
Preis erhalten hatten (die heute völlig unbekannten Karl Vollweiler und J.E. Leonhard), zeigt sich für Hartmanns Sonate dagegenbegeisterter. Hier spreche ein eigentlicher Künstler, unterstreicht
er. Schumann erblickt in der Sonate insgesamt das, was er einen
gewissen „Novellencharacter“ nennt, wobei nur das Finale mit seinem stärker orchesterhaften Satz nicht unter diese Charakteristik

Theil des ersten Allegro hatte ich nicht einmal aufgeschrieben,
sondern nur entworfen; es blieb mir also, um Zeit zu gewinnen,
nichts anders übrig, als diesen mit eigener Hand in das einzusendende Exemplar hinzuschreiben.…[...] denn vom letzten Theildes ersten Allegro habe ich nicht einmal eine Abschrift.“
27 Breve, Nr. 122.
28 Die Metronomangaben wurden in die deutsche Originalausgabe
aufgenommen, wurden jedoch im dänischen Neudruck von 1880
ausgelassen. Sie wurden deshalb auch nicht in die vorliegende
Ausgabe übernommen.
29 Breve, Nr. 126. Dänischer Komponist (1823-1863), war an Sibonis Musikkonservatorium in Kopenhagen Schüler von Hartmann
gewesen, verließ Dänemark 1840 und ging nach drei Jahren in
Dessau 1844 nach St. Petersburg.
30 Manuskript in DK-Kk, Hartmanns Sammlung. Kompositioner og
Udkast.
31 Der Ausdruck „Novellencharacter“ erinnert an Schumannsästhetisches Ideal von der Fähigkeit der Musik, „das Poetische“
auszudrücken, und an seine Verachtung für die konventionelle
Formentyrannei.
32 Neue Zeitschrift für Musik, (16), Nr. 45, 3. Juni 1842.

falle.31 Schumann fasst seinen Eindruck von den drei Preissonaten
folgendermaßen zusammen und liefert damit zugleich einen leichten Angriff auf die Bewertung der Jury:
Wenn wir in der ersten (von Vollweiler) einen Clavierspieler erkannten, der sich mit Talent auch der Composition
zugewendet, in der andern (von Leonhard) einen Musiker,
der sich den Weg zur Vollendung durch Verstandesspiele inetwas zu erschweren scheint, so spricht aus der von J.P.E.
Hartmann der Künstler zu uns, der uns versöhnt durch
die harmonische Ausbildung seiner Kräfte, der, Herr derForm, kein Sclav seiner Gefühle, uns überall zu rühren undfesseln versteht.
Dies ist unsere Meinung, und weicht sie einigermassen
von der der Preisrichter ab, so sei damit in keinem Falle ihr
guter Wille in Zweifel gezogen, das Verdienst nach Würden
zu belohnen. Aber es ist schwieriger, aus fünfzig Menschen
die besten herauszufinden, als aus dreien. Und dann – auch
wir können irren, unsere Absicht aber war die beste.32
Ermunternde Worte für den noch jungen Komponisten, sogar
andeutend, dass er – und nicht Vollweiler – den ersten Preis hätte
bekommen sollen.

nr. 2
sonate in g-moll
Knapp zehn Jahre später macht sich Hartmann wieder an die
Klaviersonate mit zwei Werken, die beide zu seinen Lebzeiten
ungedruckt blieben. Die erste dieser beiden, die Sonate in g-Moll,
trägt das Enddatum 31. März 1851. Hartmanns Autograf zeigt
die Werknummer „53“, was dafür spricht, dass er beabsichtigte,
die Sonate zu veröffentlichen. Das Werk hat vier Sätze, von denen
die beiden mittleren nachfolgend mit Bleistift hinzugefügte programmatische Überschriften erhielten: Sang uden Ord (Lied ohne
Worte) und Gamle Minder (Alte Erinnerungen). Trotz des Kleinformats hat das Werk dennoch einen gewissen Zykluscharakter,da der Schlusssatz durch Stoff aus dem ersten Satz abgerundet
wird. Auch mehrere handschriftliche Bleistiftkorrekturen in den
ersten drei Sätzen deuten darauf hin, dass Hartmann die Arbeit
an dem Werk ernst nahm. Hinzu kommt, dass er die Sonate gut
fünfundzwanzig Jahre später wieder hervorholte und Ausschnitte aus den beiden äußeren Sätzen in Klaverstykker fra ældre og
nyere Tid (Klavierstücke aus älterer und neuerer Zeit) op. 74(s. Nr. 23) wiederverwendete.
Abgesehen von der erwähnten Wiederholung einer Passage
aus dem ersten Satz als Abschluss des Finales zeigt die g-MollSonate das gesamte Werk hindurch keinerlei Gesamtcharakter
oder dynamischen Schwung: ein kurzer erster Satz, Allegro nontroppo in g-Moll von fünfzig Takten ohne jede Form von Durchführungsarbeit oder Reprise, der zweite Satz, „Sang uden Ord“,Allegretto grazioso in G-Dur von 36 Takten (ABA-Form m. Koda),
der dritte Satz, „Gamle Minder“, Tempo di Menuetto moderato inxl j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb xl

20/09/12 10.14

As-Dur (36 Takte, ABAC-Form), das abschließende Finale, Allegro
grazioso, das in Es-Dur beginnt und über As-Dur und Es-Dur zur
Haupttonart g-Moll der Sonate zurückkehrt, wobei Hartmann
zuletzt, Allegro assai, das markanteste Thema des ersten Satzes
wieder aufgreift.
Das Werk wurde vermutlich Anfang 1851 begonnen underst nach den großen familiären Umbrüchen vollendet, d.h. nachdem Tod der Gattin am 6. März, die Mitte Februar eine Totgeburt(ein Mädchen) gehabt hatte, und nach dem Verlust der jüngsten
Tochter Marie, die im Alter von sechs Jahren am Begräbnistag der
Mutter starb. Aus einem Brief von Hartmann an den Dichter B.S.
Ingemann vom 23. März gewinnt man den Eindruck, dass die
Arbeit an der Sonate, wenn der Brief sich denn auf diese bezieht,
nahezu therapeutische Funktion gehabt haben kann:Ich beginne mich jetzt auch wieder mit meinen früheren
Verhältnissen und Arbeiten vertraut zu machen, habe etwas
komponiert und in diesen Tagen ein Teil nachgearbeitet, dasschon vorbereitet war.33
Aus irgendeinem Grund gab Hartmann die Veröffentlichung der
Sonate auf, weshalb er die Werknummer „53“ für seine Etudes
Instructives verwendete, die unter dieser Nummer im Jahr darauf
erschienen. Ganz konnte er die Sonate allerdings doch nicht vergessen, denn er verwendete wie gesagt Auszüge aus dem ersten unddem letzten Satz über fünfundzwanzig Jahre später in seinen Klaverstykker fra ældre og nyere Tid.

nr. 3
sonate in f-dur
Auch die große Sonate in F-Dur von 1854 wurde nicht zu Hartmanns Lebzeiten herausgegeben.34 Das äußerst komplizierte
Quellenmaterial zeugt davon, dass sich Hartmann intensiv mit
dem Werk beschäftigte. Auch Auszüge aus diesem Werk gehen indas spätere op. 74 ein. Es handelt sich um den dritten und denvierten Satz der Sonate, ersterer fast notengetreu, letzterer dagegenin op. 74 wesentlich erweitert. Einzelheiten des Quellenmaterials
verdeutlichen, dass Hartmann, als er das Werk im Hinblick auf die
Veröffentlichung von opus 74 im Jahr 1878 wieder aufnahm, daswiederverwendete Material mehrfach justierte und es in den neuen
Zusammenhang einarbeitete (siehe Nr. 23).
Die Wiederentdeckung der Sonate nach Hartmanns Tod
verdanken wir dem Musikschriftsteller Richard Hove, der 1928 die
Sonate unter Hartmanns Nachlassmanuskripten in der Königlichen Bibliothek von Kopenhagen fand und dem es nach vielen Bemühungen gelang, das Werk 1943 veröffentlichen zu lassen. Bereits
1928 bezeichnete Hove das Werk als „Eine Sonate, die aufs Schönste den Sprung von der jugendlichen Preissonate aus dem Jahr 1842
zu dem gigantischen Meisterwerk in a-Moll von 1885 ausfüllt.
Eine unbekannte Perle dänischer romantischer Musik…“35, undknapp zwanzig Jahre später schrieb er eine längere Rezension der
Sonate, in der er zum einen kritisiert, dass die gedruckte Ausga-

be das Resultat der Arbeit von Niels Viggo Bentzon sei und dem
rechtmäßigen Urheber Werner Wolf Glaser nicht die Anerkennung
zolle, die ihm rechtmäßig zustehe, zum anderen erläuterte er den
musikalischen Inhalt der Sonate verhältnismäßig eingehend. Hove
charakterisierte den ersten Satz als „etwas vom Vollendetsten, dasHartmann geschrieben hat“, und sah eine Parallele zwischen den
beiden mittleren Sätzen und den Märchen von Hans ChristianAndersen. Seine lange Besprechung der Sonate beschließt Hove mit
der folgenden Aufforderung:Sie [d.h. die Sonate] ist ein Saatkorn, das spät gekeimt hat,das aber immer noch reife Kerne tragen kann. Das geschieht
u.a. wenn Künstler sich verpflichtet fühlen, die Sonate in ihr
Programm aufzunehmen und deren gute dänische Sprachehinaus zu tragen.36
Brix fasst sich kürzer, äußert sich jedoch nicht weniger begeistert.
Die F-Dur-Sonate ist zweifellos eine der geglücktesten Klavierkompositionen Hartmanns. Sie ist ein zutiefst klavieristisch empfundenes Werk […].37

nr. 4
sonatine in g-dur
Abgesehen von der Enddatierung „16/7 63“ auf Hartmanns Autograf ist über die Umstände der Entstehung des Werkes nichts
weiter bekannt (vielleicht war es in Weiterführung von Kuhlaus
Sonatinen für pädagogische Zwecke gedacht). Mit dem Autografen(Quelle C) als Druckvorlage erschien das Werk (ohne Werknummer) im gleichen Jahr bei Horneman & Erslev (Quelle A), undmehr als zwanzig Jahre später wurde die Sonatine im Musikverlag
Wilhelm Hansen nach den gleichen Druckplatten (doch mit neuer
Plattennummer) neu aufgelegt und erhielt eine neue Vorderseite,
die als Katalog der bis dahin herausgegebenen Klavierwerke vonHartmann (Quelle B) aufgemacht ist. Das Verzeichnis kann zur
Datierung dieses Nachdrucks beitragen, da es u. a. die Klaviersonate op. 80 enthält, die Wilhelm Hansen 1885 herausgab. Im selben
Verzeichnis trägt die Sonatine die Werknummer „48“, was – wie
aus der Quellendarstellung hervorgeht – weder vom Autografen
noch vom Originaldruck bei Horneman & Erslev stammt. Die

33 Breve, Nr. 456. Der Brief ist ein Dankeschön an Ingemann für ein
Gedicht, das dieser nach dem Tod von Hartmanns Gattin an den
Komponisten geschickt hatte.
34 Erst 1943 lag beim Musikverlag Wilhelm Hansen eine gedruckte
Ausgabe der Sonate vor, angeblich herausgegeben von Niels Viggo
Bentzon, in Wirklichkeit jedoch revidiert von Werner Wolf Glaser.
Diese Ausgabe verhält sich unkritisch zu der komplizierten Überlieferung der Sonate (siehe dazu Description of Sources).
35 Dansk Musiktidsskrift (1927-28), S. 149.
36 Dansk Musiktidsskrift (1944), S. 140.
37 Lothar Brix, Op. cit., S. 219.

klaverværker : introduction

Hartmann_klaver_bind_1.indb xli

xli

20/09/12 10.14

Werknummer könnte eine Fehldeutung der Preisangabe „48 Sk.“
des Originaldrucks sein!38
Der Anfang des Rondothemas im letzten Satz der Sonatine
zeigt starke Ähnlichkeit mit dem Anfang seines fünfzehn Jahre zuvor komponierten einsätzigen Klavierstücks Im Frühling (Nr. 34)
mit dem Enddatum „25/10 47“.
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die Urfassung von 1876 mit Enddatierung des ersten
Satzes „11/10 76“. Sie besteht aus dem ersten und dem
zweiten Satz und dem Anfang eines dritten Satzes (derjedoch möglicherweise nicht für diese Sonate gedachtwar). In dieser Fassung ist nicht zuletzt der zweite Satzwesentlich länger als in der Endfassung. Die beiden ersten Sätze stehen in g-Moll bzw. in Es-Dur.
die im Mai 1885 gedruckte Endfassung von 1883, die
auf der Urfassung aufbaut, jedoch wesentliche Änderungen enthält.

13{

Beide Fassungen erscheinen in der Hartmannausgabe, wobei die
Urfassung jedoch als Anhang 1 gebracht wird.
Die beiden Reinschriften von 1876 (Quelle B) und 1883
(Quelle A) sprechen für folgende Entstehungsgeschichte:39

nr. 5
sonate in a-moll op. 80

Erster Satz
Der Satz wurde in den 1870er Jahren in g-Moll mit schwarzer
Tinte geschrieben. Im Verlauf der Arbeit wurden mehrere Korrekturen eingeführt, ebenfalls mit schwarzer Tinte. In den 1880er
Jahren nimmt sich Hartmann den Satz wieder vor, um ihn neu zu
schreiben. Er fügt zunächst in die Urfassung eine lange Reihe vonBleistiftkorrekturen ein, zum einen die Artikulation betreffend,
zum anderen als eigentliche Änderungen zum Notensatz (eingefügt auf den leeren Notenzeilen zwischen den mit Tinte geschriebenen Systemen). Als er in diesem Prozess zur Seite 3 gekommen
ist, findet er, der Satz müsse transponiert werden, denn oben auf
Seite 3 gibt er mit Bleistift an: „trsbn til a-mol“. Allmählich stelltsich heraus, dass die Änderungen so zahlreich werden, dass es nicht
mehr sinnvoll ist, sie in die Urfassung einzufügen, weshalb die
restlichen Seiten des Satzes einfach mit einem Bleistiftkreuz durchgestrichen werden.

Am 14. Mai 1885, am 80. Geburtstag des Komponisten, erschieneines von Hartmanns bedeutendsten Werken, nämlich die große
Klaviersonate in a-Moll. Auf dem Titelblatt und in einem vonHartmanns Autografen wird die Sonate als „N0 2“ bezeichnet, ungeachtet der Tatsache, dass zu diesem Zeitpunkt wie erwähnt vier
Sonaten und eine Sonatine vorlagen. Offiziell erkannte Hartmann
demnach nur die Preissonate in d-Moll von 1842 und dieses Alterswerk von 1885 als sein „kanonisiertes“ Klaviersonatenwerk an.
Vielleicht bringt die Nummerierung aber auch nur zum Ausdruck,dass die a-Moll-Sonate die zweite in der Reihe der gedruckten Klaviersonaten war.
Das Werk war lange unterwegs gewesen, was sich u. a. inder komplizierten Quellenlage widerspiegelt. Bereits im Oktober
1876, neun Jahre vor der endgültigen Veröffentlichung, konnte
Hartmann die beiden ersten Sätze in g-Moll bzw. Es-Dur mit dem
Enddatum versehen (Quelle B, Enddatum nach dem zweiten Satz
„11/10 76“). Diese Fassung unterscheidet sich so wesentlich vonder Endfassung, die 1885 gedruckt wurde, dass die beiden Fassungen im Hinblick auf Tonart, Umfang und damit auch Teile des mu-

38 Verkompliziert wird das Ganze dadurch, dass das Autograf zu
Hartmanns 2. Sinfonie von der Hand des Komponisten die
Werkzahl „48“ trägt, was die Nachwelt – vermutlich irrtümlich– dazu verleitet hat, die Sonatine als „opus 48a“ zu bezeichnen,
während sie rechtmäßig keine Werknummer haben dürfte.
39 Die Neuausgabe der a-Moll-Sonate von 1996 (Edition Samfundet, Hrsg. Inge Sønderskov Madsen) nimmt zu dieser komplizierten Quellenlage nicht Stellung, die sich weder in dem herausgegebenen Notentext noch im Revisionsapparat widerspiegelt.

Zweiter Satz
Auch die erste Fassung dieses Satzes wurde in den 1870er Jahren
mit schwarzer Tinte niedergeschrieben, sodass zwischen jeder derausgefüllten Akkoladen zwei leere Systeme stehen. Er umfasst indieser Form sieben mit schwarzer Tinte beschriebene Blätter, vondenen die beiden ersten die Seitenzahlen 1-2 tragen. Wie schonbeim ersten Satz nimmt Hartmann die Arbeit an diesem Satz inden 1880er Jahren wieder auf, was hier zu einer wesentlichen Kürzung und zu mehreren Änderungen in den wiederverwendeten
Teilen führt. Seite 1 wird im Großen und Ganzen unverändertübernommen, doch ab Seite 2 werden die ursprünglich leeren
Notenzeilen für Änderungen benutzt. Diese eingefügten Korrekturen sowie ein hinzugefügtes Notenblatt „p. 3-4“ sind jetzt mit blauer Tinte geschrieben (der gleichen Tinte, die in Quelle A von 1883

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benutzt wurde). In dieser Fassung endet der Satz auf Seite 4 unten
und ist damit wesentlich kürzer als die Urfassung von 1876. Alles
weitere aus der ersten Fassung ist mit Bleistift durchgestrichen. Die
zweite Niederschrift bildet vermutlich die Vorlage für die Endfassung von 1883. Obwohl es sich dabei um eine Überarbeitung für
die Endfassung von 1883 handelt, bestehen zwischen diesen Korrekturen in B und der in A enthaltenen Endfassung jedoch immer
noch mehrere Unterschiede.
Der zweite Satz liegt somit in drei Fassungen vor:–––der Urfassung in Es-Dur von 1876,
der ersten, stark gekürzten Fassung, wie sie aus den von1883 stammenden Korrekturen in B ersichtlich ist (immer noch in Es-Dur),der ebenfalls von 1883 stammenden Endfassung in A,
jetzt zu F-Dur transponiert.

Die Phrasierung in der korrigierten Fassung von B liegt eng bei A,
was dafür spricht, dass B (in der durchkorrigierten Fassung) die
Vorlage für A bildete, zugleich mit der Transponierung und derReinschrift in A jedoch auch weitere Änderungen vorgenommen
wurden. Hinzu kommt, dass vor der Niederschrift im Jahr 1876
(Quelle B) eine Reihe kürzerer Skizzen ausgearbeitet wurden, in
die Skizzen zu vermutlich anderen Werken eingingen (überliefertin C), sowie dass die letzten Seiten von B (mit der Reinschrift derfrühen Fassung) eine Reihe von Skizzen zu Passagen der Fassung
von 1883 enthalten. Schließlich ist anzumerken, dass in B zwischen
dem Ende der Tintenreinschrift der Fassung von 1876 und vor
den eingefügten Bleistiftskizzen zur Fassung von 1883 mit Bleistiftnoch der Anfang zu einem Scherzino eingeführt ist. Die Platzierungin B deutet darauf hin, dass Hartmann hier einen dritten Satz begonnen hat, den er danach völlig verwarf.40

59

Die drei Fassungen des zweiten Satzes lassen sich folgendermaßen
zusammenfassen:
Fassung 1: Quelle B, vollständige Niederschrift des Satzes mit
schwarzer Tinte (S.22-27), 1876;
Fassung 2: Quelle B, erneute Niederschrift mit unveränderter
Seite „1“, mit Ausnutzung der freien Systeme auf Seite„2“, jetzt in blauer Tinte (gleiche Tinte wie in Quelle A)
sowie einer eingelegten Seite „3-4“, die sich ausschließlich auf diese Fassung von 1883 bezieht;
Fassung 3: Quelle A, neu transponierte Reinschrift des Satzes
auf der Grundlage von Fassung 2, 1883.
Bei der Überarbeitung von 1883 hatte Hartmann offensichtlich gewisse programmatische Vorstellungen für die vier Sätze, entweder
als eigentliche Satztitel oder nur als „Programm“ für seine eigene
Arbeit. Oben auf der ersten Seite wurde in Quelle B mit gefaltet
eingeschobenen Skizzen in einem Fall mit Bleistift hinzugefügt:„1. (Mismod og Lidenskab (Missmut und Leidenschaft). 2. Trøst(Trost). 3. Fred (Frieden). 2. Grublen (Grübelei). 3. Adspredelse,
Gjennembruddets Stemninger (Zerstreuung. Durchbruchsstimmungen)“, was in den vier Sätzen auf folgenden programmatischen
Inhalt hindeutet:
Andantino con moto – Allegro moderato: Missmut und Leidenschaft
Poco andante: Grübelei
Allegretto pastorale: Zerstreuung
Allegro marcato, ma non troppo: Durchbruchsstimmungen.
Diese Titel sind in keiner anderen zeitgenössischen Quelle überliefert. Richard Hove deutet, u. a. unter Hinweis auf den bei Hartmann ungewöhnlich „gefühlsbetonten“ Charakter der Titel an, dassdiese davon zeugen könnten, dass Hartmann ursprünglich überhaupt nicht an eine Sonate dachte, sondern eher an einen Zyklus
von Klavierstücken, wobei allerdings schon der starke Sonatenformcharakter der äußeren Sätze dieser Hypothese widerspricht.41
Zeitgenössische Rezeption
Anscheinend gibt es keine Quellen, die erhellen könnten, wie die
a-Moll-Sonate nach ihrer Entstehung und bis zu Hartmanns Tod
im Jahr 1900 aufgenommen wurde. Bekannt sind weder Ort noch
Datum einer eventuellen öffentlichen Aufführung oder der Besprechung des Werkes in der Tagespresse. Auch von einer Aufführungin einem der verschiedenen halbprivaten Kammermusikvereine
weiß man nichts. Den einzigen sehr kurzen Hinweis auf die Sonate
kann man in einem an Hartmann gerichteten Brief von Graf Lerche nachlesen, wo dieser erwähnt, er habe im Frühjahr 1884 eineAufführung der Sonate mit August Winding gehört.42

40 Es lässt sich nicht entscheiden, ob dieses Scherzino, wenn es dennüberhaupt etwas mit der Sonate zu tun hat, zusammen mit den
beiden Sätzen von 1876 geschrieben oder erst anlässlich der Wiederaufnahme der Arbeit an dem Werk im Jahr 1883 hinzugefügt
wurde. Die Tatsache, dass es mit Bleistift geschrieben wurde, deutet eher auf letztere Möglichkeit hin.
41 Richard Hove, I.P.E. Hartmann, København 1934, S. 44.
42 Brief vom 1.2. 1885, Breve, Nr. 1013. Dem kann man ein Dankeschön von Hans von Bülow hinzufügen, Hartmann hatte ihm ein
Exemplar zugeschickt (vgl. Brief vom 19.9. 1888, Breve, Nr. 1168).

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Überarbeitungsstrategie
Vor diesem Hintergrund wird die Klaviersonate op. 80 in der Hartmannausgabe in zwei Fassungen herausgegeben, nämlich in derUrfassung der beiden ersten Sätze von 1876 sowie in der Endfassung der ganzen Sonate von 1883 (Anhang 1 bzw. Nr. 5).
Die Urfassung stützt sich auf Quelle B in der Form, wie sie
vermutlich bei der Beendigung des zweiten Satzes 1876 ausgesehenhat, d.h. mit Auslassung der verschiedenen späteren Bleistiftkorrekturen, Unterstreichungen und Korrekturblätter, die bereits erläutert wurden.
Für die Endfassung hätte es nahe gelegen, als Hauptquellestatt des 1883 datierten Autografen den Erstdruck von 1885 zu benutzen. Die Ausgabe vom Mai 1885 war ein Geburtstagsgeschenk
zum 80. Geburtstag des Komponisten. Allerdings war es keineÜberraschung, was aus dem erwähnten Brief Graf C.A. Lerches
vom Februar 1885 hervorgeht,43 in dem die Widmung für den
Briefschreiber erörtert wird.44 So heißt es auch in einem Brief an
Wilhelm Hansen vom 21. Februar 1885: „…Mit den Korrekturen
werde ich mich möglichst sehr beeilen.“Drei Gründe sprechen jedoch dafür, statt des Erstdrucks das
Autograf als Hauptquelle heranzuziehen.
–––

Der Erstdruck erschien zum Geburtstag des 80jährigen
Komponisten 1885. Er wusste zwar im Voraus von der
Veröffentlichung (vgl. die Briefe), es spricht jedoch
nichts dafür, dass er wirklich etwas mit dem Erstdruckzu tun hatte (die erwähnte Korrektur war jedenfallsäußerst oberflächlich), während das umfassende Quellenmaterial zeigt, dass sich der Komponist 1883 bei
der Ausarbeitung der Reinschrift intensiv mit dem
Werk befasste.
Der Erstdruck enthält gegenüber dem ganz anders
durchgearbeiteten, sehr präzisen und stringenten Autografen eine Fülle von Ungenauigkeiten und Inkonsequenzen.
Ergänzend kommt hinzu, dass das Autograf von 1883 jaden Schlusspunkt eines längeren Verlaufs mit Korrekturen in verschiedenen früheren Manuskripten bildet, angefangen bei der ersten Fassung aus den 1870er Jahren.

Das Autograf wurde mit dem Erstdruck kollationiert. Variantensind in List of Emendations angeführt. Die Überarbeitung wurde
von den Prämissen der Hauptquelle ausgehend vorgenommen unter Einbeziehung paralleler Stellen der übrigen Quellen.
Das Autograf enthält keinen Fingersatz, der in der gedruckten Ausgabe vereinzelt vorkommt, angeblich hinzugefügt vonAugust Winding, der die Sonate in seinem Konzertrepertoire hatte.
Unter Hinweis auf das oben Angeführte ist der Fingersatz in dervorliegenden Ausgabe nicht angeführt.

b. sammlungen₍charakter stücke₎
nr. 6
rondeaux brilliants op. 6
Weder zu op. 6 noch zu op. 7 oder op. 25 (Nr. 6, 26 und 8) ist
Hartmanns Autograf erhalten, was nach einem Brief zu urteilen, den Hartmann im Oktober 1848 an die Verleger Lose und
Delbanco schrieb, vermutlich daran lag, dass der Verlag die betreffenden Manuskripte trotz Hartmanns Aufforderung nicht
an den Komponisten zurückgeschickt hatte, nachdem die Werke
erschienen waren.45
Die beiden Rondos sind Hartmanns frühestes gedrucktes
Klavierwerk.46 Bereits im März 1829 wurde das erste Rondo in dem
musikalischen Periodikum Odeon veröffentlicht, wenige Monate
später folgte dann das zweite Rondo. Nach ein paar weiteren Monaten erschienen die Rondos in Kopenhagen gesammelt als op. 6 in
C.C. Loses Verlag.
Das Werk des erst Fünfundzwanzigjährigen wurde sogar
rezensiert, eine Ehre, die danach nur noch einer begrenzten Zahl
von Hartmanns Klavierwerken zuteilwerden sollte. Der Kritiker inKjøbenhavns Flyvende Post (1830) No. 11 verweist auf einen gewissen Einfluss von Kuhlau und lobt die Themenbildung im ersten
der Stücke, insbesondere den d-Mollabschnitt (die Bassfigur im
mittleren Teil, Takt 132 ff). Die Rezension enthält jedoch auch kritische Bemerkungen:

43 Breve, Nr. 1013.
44 Lerche starb, bevor er seinen Namen auf der gedruckten Ausgabe
sehen konnte, doch seine Witwe wollte die Widmung des Erstdrucks beibehalten (vgl. Brief von Cornelie Lerche an Hartmann
vom 30.4. 1885, Breve, Nr. 1022.)
45 Breve, Nr. 364 (25.10. 1848). Es heißt dort u.a.: „Ved at ordne
mine Musicalier savner jeg af mine Compositioner følgende:“(Beim Ordnen meiner Musikalien fehlen mir die folgenden
meiner Kompositionen.) Darauf folgt eine Liste mit Werken,
darunter auch den drei genannten Klavierwerken. Einige derWerke waren in Deutschland gedruckt worden, weshalb Lose eine
Rolle als Mittelsmann zwischen den deutschen Verlegern undHartmann spielt.
46 Wenn man dem 1888 bei Wilhelm Hansen erschienenen Neudruck Glauben schenken darf, waren die Rondos bereits 1827
komponiert worden, da im Druck diese Werknummer hinzugefügt wurde (Quelle D).

„Man hätte sich gewünscht, dass der Komponist mit kühnen
Modulationen, die wohl zum Zeitgeschmack, nicht aber
zum guten Geschmack gehören, etwas sparsamer umgegangen wäre.“Als Beispiel einer solchen „kühnen“ Modulation führt der Kritiker
Takt 336-342 an. Das Problem ist nur, dass es sich hier eindeutig
um einen schwerwiegenden Druckfehler mit verkehrten Schlüsseln handelt, was dem Kritiker nicht aufgefallen ist und was die
Passage harmonisch noch dreister gemacht hat (der Fehler wurdein Wilhelm Hansens Nachdruck der Rondos über fünfundfünf-

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zig Jahre später korrigiert).47 Außerdem verweist der Kritiker auf
einen Druckfehler (Rondo I, T. 91), wo seiner Meinung nach dererste Akkord G statt Gis (also einen e-Mollakkord statt eines EDurakkords) haben sollte. Auch das ist falsch. An dieser Stelle ist
zwar sowohl e-Moll als auch E-Dur musikalisch sinnvoll, beide
Quellen geben jedoch auf dem dritten Ton des Taktes Gis mit Auflösungszeichen für G an, weshalb man nicht behaupten kann, es
handele sich um einen Druckfehler. Alles in allem ist also zu sagen,dass die frühesten Rezensionen eines Klavierwerks von Hartmann
etwas mangelhaft sind!

nr. 7 caprices op. 18
Die sechs Caprices wurden vermutlich 1835 komponiert.48 Die
Sammlung zeugt von Hartmanns engen Beziehungen zum deutschen Musikleben in den 1830er Jahren, die nicht zuletzt nach seiner ersten, nach Süden führenden Bildungsreise im Frühjahr 1836
geknüpft wurden. Man kann sich durchaus vorstellen, dass Hartmann das Manuskript mit nach Deutschland nahm. Zum einen
wurde das Werk im Leipziger Verlag Friedrich Hofmeister gedruckt,
zum anderen waren die beiden Hefte Heinrich Marschner bzw. Felix Mendelssohn-Bartholdy gewidmet, beides sehr „große“ Namender zeitgenössischen Musik,49 und außerdem wurden sie von Robert
Schumann in der Neuen Zeitschrift für Musik rezensiert, das erste
Heft im Juni 1837, das zweite im Dezember des gleichen Jahres.
Bedenkt man, wie selten Quellen aus Hartmanns Lebzeiten
konkrete Aufführungen seiner Klaviermusik erwähnen, lohnt sichder Hinweis auf die wenngleich äußerst sporadische Erwähnung
einer Aufführung des A-Dur-Capriccios aus dem ersten Heft in
Vordingborg im Jahr 1844. Vermutlich handelte es sich um eineAufführung im privaten Rahmen.50
Wie die Quellendarstellung verdeutlicht, ist die Quellenlage
verhältnismäßig kompliziert. Zum einen unterscheidet sich die
Nummerierung der verschiedenen Quellen, zum anderen, unddas vor allem, bestehen erhebliche Unterschiede zwischen dem
Autografen und dem Erstdruck (Quelle A und D, 1835 und 1837)
einerseits und den beiden „Neuausgaben“ bei Wilhelm Hansen(Quelle B und C, 1878 und 1886) andererseits. Es lässt sich nicht
entscheiden, inwieweit Hartmann an den vielen Änderungen der
Neuauflagen von 1878 und 1886 beteiligt war.
Die Caprices werden im Herbst 1837 mindestens dreimal indeutschen Zeitschriften besprochen. Das erste Mal wie erwähnt
von Robert Schumann, der nach einer anfänglichen Charakteristik
der Stücke des ersten Heftes als „…wohl gearbeitet, verständig,
ernst, ja finster“, kritischer fortfährt:Es scheint aber, als wolle er [Hartmann] des Guten zu viel,
als hafte er zu lange am Einzelnen; seine Musik spricht nochnicht frei, gleich als ob ein Dämpfer darüber läge. Wo man
hinfühlt, Formen und Gedanken, aber – mit einem Wort kein
Gesang. In der dritten Caprice, die melodischer werden will,
zeigt sich das am stärksten: sie hat wohl Melodie, schweiftaber unlustig und unsicher auf und nieder; wo man rechts zu

kommen glaubt, geht sie links; wo man in die Tiefe, strebt sie
in die Höhe.51
Schumann beschließt seine Kritik jedoch, sich fast direkt an den
Komponisten wendend, mit folgenden ermunternden Worten:
Wär’ es, dass wir mit unserm Rathe nicht zu spät kämen,und dass er mit freier leichter Brust das Ziel verfolge, dessen
glückliche Erreichung wir jeder wahren Bestrebung von soganzem Herzen gönnen.
Ein knappes halbes Jahr später folgt Schumanns Rezension deszweiten Heftes, auch hier zeigt er sich nicht ungeteilt zufrieden,
obwohl er der Begabung des Komponisten volle Anerkennung
zollt. Interessant ist, dass Schumann in diesem Zusammenhang die
Berechtigung der Genrebezeichnung „Capricen“ bezweifelt: „Auch
möchte ich die Stücke nicht ‚Capricen‘ nennen: sie sind dazu in derForm zu dicht, manchmal liederartig abgeschlossen.“52Vor dieser Kritik von Schumann hatte Ludvig Rellstab das
erste Heft in seiner Zeitschrift Iris im Gebiete der Tonkunst rezensiert. Rellstab charakterisiert Hartmann als einen sehr begabten
Komponisten, dessen Stil „sich halb Weber, halb Beethoven zum
Vorbilde gewählt hätte, ohne jedoch von irgend einem von beiden
zu entlehnen.“53 Auch Rellstab hat kritische Einwände: Die beiden
ersten Caprices konzentrieren sich zu sehr auf eine einzelne Figur,
was auf die Dauer auf den Zuhörer ermüdend wirkt, und Nr. 2 in
Des-Dur findet er ganz einfach zu schwer zu lesen und zu spielen.
Nr. 4 in b-Moll bezeichnet er dagegen als „ein leidenschaftliches,characteristisches, brilliantes Klavierstück, welches dem Componisten die ganze Anerkennung der Musiker gewinnen wird.“

nr. 8
deux pièces charactéristiques op. 25
Die beiden Charakterstücke erschienen 1839 bei Hofmeister undviele Jahre später, nämlich 1885, bei Wilhelm Hansen in zwei getrennten Heften mit folgendem Titelblattzusatz: „Nouvelle Édition
par Aug. Winding“. Zwischen den beiden Ausgaben bestehen nur
wenige Unterschiede in Dynamik und Artikulation. Auch diesem

47 Die Passage, einschließlich Schlüsselfehler, ist bei Inger Sørensen,
Op. cit., S. 90 wiedergegeben.
48 Die Jahreszahl „1835“ wurde Hartmanns Autograf später von
fremder Hand mit Bleistift hinzugefügt.
49 Heinrich Marschner bedankte sich in einem Brief an Hartmann
vom 11.5. 1838 herzlichst für diese Widmung. Breve, Nr. 156.
50 Siehe Breve, Nr. 216. In sämtlichen Briefen oder von Hartmannüberhaupt wohl die einzige Erwähnung einer Aufführung seiner
Klaviermusik.
51 Neue Zeitschrift für Musik (6), No. 47, 13.6. 1837.
52 Neue Zeitschrift für Musik (7), No. 48, 15.12. 1837.
53 Iris (8), No. 40, 29.9. 1837.

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Werk widmete Schumann in seiner Zeitschrift eine Besprechung,die diesmal ganz anders positiv ausfiel, als es bei den Caprices op.
18 der Fall gewesen war.54 Schumann stellt einleitend fest, dass die
Stücke die großen Fortschritte des Komponisten bezeugten, vor
allem im Harmonischen, und meint, die Stücke regten dazu an,sich weiter in sie zu vertiefen. Er sieht gewisse Beeinflussung durch
Carl Maria von Weber und Mendelssohn, nur wünscht er sicheine freiere Handhabung des rein Melodischen. Im Hinblick auf
die Zielgruppe betont Schumann, dass sich die Stücke eher an die
Musiker als an die Laien wenden: „Dilettanten werden ihm wenig
Schmack abgewinnen; für diese schreibt er zu complicirt und beziehungsvoll, Italiener und Italienisirte würden ihn gar für einen
Barbaren erklären.“ Letzteres dürfte kaum falsch sein, überrascht
aber doch, wenn man bedenkt, wie weit verbreitet die vielen Ausgaben von Hartmanns gedruckter Klaviermusik während seines
gesamten Lebens waren.

nr. 9drei genrestücke
Das Quellenmaterial spricht dafür, dass es sich hier um vier selbständige Kompositionen handelt, die Hartmann für den Druckbei Hofmeister in Leipzig zu einem Werk zusammenfasste: Allegro (Quelle A, Stück I, Takt 1-49) Scherzo (Quelle C, Stück I, Takt50-196), Allegretto giocoso – Moderato grazioso (Quelle A, StückII) sowie Allegro moderato (Quelle A, Stück III). Diese vier Stücke wurden danach von einem Berufskopisten übertragen, zu drei
selbständigen Stücken zusammengefasst und darauf mit der Werknummer „26“ als Druckvorlage an Hofmeister geschickt. Der Verleger meinte jedoch, dass in seinem Programm für diese Stücke nicht
richtig Raum sei, was auch für Hartmanns op. 31 galt, weshalb er
beide Manuskripte zurückschickte, ohne sie drucken zu lassen. Als
weiteren Grund für die Ablehnung dieser Werke gab er an:
Ein weiterer Grund ist, dass diese Arbeiten mit Ausnahme derersten Nummern, die mir sehr gefallen, etwas gar zu trocken
erhalten sind, wofür deren kunstgerechte Ausarbeitung nicht
entschädigt.55

54 Neue Zeitschrift für Musik (11), No. 34, 23.10. 1839.
55 Brief von Friedrich Hofmeister an Hartmann vom 10.1. 1841,
Breve, Nr. 110.
56 Canzonetta, Nr. 31.
57 Siehe Breve, Nr. 128, 131, 133 und 141.

Die drei Genrestücke blieben somit ungedruckt, und die Werknummer „26“ wurde stattdessen für das ebenfalls von Hofmeister herausgegebene Introduktion og Andantino religioso (Nr. 28)
benutzt.

nr. 10acht skizzen op. 31
Die acht Skizzen wurden 1840 (Nr. 1, 2, 6, 7 und 8) bzw. 1841 (Nr.
3, 4 und 5) komponiert. Aus dem Autografen geht hervor, dass
Hartmann ursprünglich eine aus sechs Nummern bestehende
Sammlung vorgeschwebt hatte, nämlich aus den fünf Nummern
von 1840 sowie einer ausgelassenen „Nr. 5“, die später in einerselbständigen Ausgabe gedruckt wurde.56 Diese sechs Stücke sindin der Quelle A am Rücken zusammengenäht und tragen das
Enddatum 21. September 1840. Danach wurden auf selbständigenNotenblättern die drei übrigen Nummern hinzugefügt, die späterin das opus 31 eingingen. Mehrere Briefe zwischen dem Verleger
Julius Schubarth und Hartmann machen deutlich, dass sich letzterer ursprünglich eine Sammlung mit sieben Skizzen gedacht
hatte, dass Schuberth diese Anzahl jedoch unzweckmäßig fandund sich deshalb eine achte ausbat, sodass sie in zwei Heften mit
jeweils vier Skizzen erscheinen konnten.57 Übrigens hatte Hartmann die Skizzen zunächst an Hofmann nach Leipzig geschickt,
der sie jedoch uninteressant fand und das Manuskript an Hartmann zurückschickte.58
In einem der Briefe stellt Hartmann selbst Überlegungenzum Titel der Sammlung an und bezieht sich mit einigen Bemerkungen zum einen auf dieses Werk, zum anderen aber auchindirekt auf die aus dem folgenden Jahr stammenden Tonestykker
i Sangform (Tonstücke in Liedform) op. 37. Direkter Anlass desBriefes war Schuberths Nachfrage nach einer Sammlung Capricen,
worauf Hartmann antwortete:
Capricen kann ich sie nicht nennen, weill der Bau der einzelnen Stücke eben den Nahmen, Skizzen hier characteristischmacht, aber sie sind übrigens ganz und gar von demselben
Genre, wie Sie selbst sehen werden, und nicht zu gross, nicht
zu schwer und haben Kennern und Laien, denen sie hierbekannt sind, sehr gut gefallen; ich hoffe darum auch, dassSie damit zufrieden sein werden. […] Mit den „Liedern ohne
Worte“ muss ich sehr vorsichtig sein, weil ein so ausgezeichnetes u mit Recht so beliebtes Vorbild, wie das von Mendelssohn schon vor Augen liegt; ich werde indessen mache, was inmeinen Kräften steht.59

58 Siehe Breve, Nr. 110, oben im Zusammenhang mit Drei Genrestücke, Nr. 9 zitiert.
59 Brief von Hartmann an Julius Schuberth vom 13.1. 1842. Breve,Nr. 128. Hartmann kehrte kurz darauf zu solchen „Liedern ohne
Worte“ zurück, nur nannte er sie auf Dänisch und mit der etwas
weniger „Mendelssohnschen“ Bezeichnung Tonestykker i Sangform (Tonstücke in Liedform) (siehe unten Nr. 11).
60 Ein paar Tänze wurden in der gleichen Sammlung gedruckt wie
die Nr. 30 der vorliegenden Ausgabe, während die Lieder in den
Jahren 1848-1850 erschienen.

Die Erstausgabe bei Julius Schubarth (Olsen und Lose waren Mitherausgeber) erschien 1842 und war Emma Hartmann, der Gattin
des Komponisten, gewidmet, die in den 1840ern selbst eine Reihe
von Werken veröffentlichen ließ, teils einige Tänze für Klavier, teils
eine größere Anzahl Lieder und Romanzen, die unter dem Pseudonym „Frederik Palmer“ erschienen.60 Im Jahr 1877 wurde das
Werk bei Wilhelm Hansen neu aufgelegt, und zwar in einer „Ny af

xlvi j.p.e. hartmann : selected works

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Componisten revideret Udgave“ (Neue vom Komponisten überarbeitete Ausgabe), bei der nach der Werknummer ausnahmsweisedas Erscheinungsjahr „1842“ der Erstausgabe angeführt ist (Quelle
C). Schließlich folgte 1886 noch eine Ausgabe (Quelle D) mit den
gleichen Plattennummern wie C, aber doch mit vereinzelten kleinen Änderungen der Artikulation.
Es handelt sich um acht Stücke von ganz unterschiedlicher
Länge (sie reicht von 18 Takten in Nr. II bis zu 245 Takten in Nr. V)
und von ganz unterschiedlichem Charakter. Fünf der acht Skizzen
tragen zudem kennzeichnende Titel: Canzonetta, Andante religioso(Nr. II), Mazurka (Nr. III), Scherzo (Nr. IV und V) sowie Introduction og Mouvement de Valse (Nr. VII).
Das erste Heft wurde von Schumann rezensiert, kurz undpräzise bespricht er jedes der vier Stücke. Hier folgt der ganze Text:
Der Titel ist wohl gewählt. Man erhält in dem Hefte vierkürzere characteristische Stücke, von denen namentlich das
erste gelungen scheint; es kommt uns wie eine gemütliche
Familienscene vor. Im zweiten Stücke, canzonetta religiosa,vermissen wir musikalischen Fluss; die canonischen Stellen
darin dünken uns etwas steif. Das dritte Stück, eine Mazurka, stammt wohl aus einer früheren Zeit; sie ist bei weitem
zahmer als etwa eine von Chopin, und hat vom 2ten Theil anvielmehr einen Walzercharakter. In der letzten Skizze scheint
dem Componisten ein bestimmtes Bild vorgeschwebt zu
haben; manches berührt uns fast ironisch. Darüber könnte
natürlich nur der Tonsetzer Auskunft geben.61

Die Sammlung erschien 1843 in Leipzig bei Julius Schuberth(praktisch auf direkte Aufforderung des Verlegers hin)64 und bei
Lose & Olsen in Kopenhagen und wurde 1882 bei Wilhelm Hansen
in „Ny af Componisten revideret Udgave“ (Neue vom Komponisten überarbeitete Ausgabe) neu aufgelegt. Die Ausgabe von 1882
unterscheidet sich im dritten und sechsten Stück in entscheidenden Punkten vom Autografen und vom Erstdruck (siehe Description of Sources).
Der Titel, in der deutschen Ausgabe Tonstücke in Liederform,
lässt unmittelbar an Mendelssohns Lieder ohne Worte denken, undzwar sowohl vom Stil als auch von der Genrebezeichnung her. Eine
enge persönliche Beziehung zwischen Hartmann und Mendelssohn ist zwar nicht belegt, doch Hartmann kannte zweifellos dievielen Lieder ohne Worte, die Mendelssohn in den Jahren 1832 bis1845 veröffentlichen ließ.65 Dem Verleger Julius Schuberth gefiel
die Sammlung offensichtlich, denn er fragte nach mehr Stücken
der gleichen Art, um noch ein Heft herausgeben zu können:
Ihr Heft Lieder ohne Worte d.h. Tonstücke etc. habe ich erhalten & finde ich Ihr Honorar ganz in der Ordnung. Dassich diese Tonstücke in Liederform fortzusetzen wünsche bitte
ich nicht ungütig aufzunehmen. Die nächst folgenden Hefte
davon wollte ich mir nur reservirt wissen.66
Schuberth nummerierte das Werk auf dem Titelblatt ausdrücklichals „Op. 37 1stes Heft“, ein zweites erschien jedoch nie.

Brix geht in seinem Hinweis auf Chopin im Zusammenhang mit
der dritten Skizze, der Mazurka, noch weiter als Schumann. Er
erblickt darin geradezu eine Linie zu einem bestimmten Werk von
Chopin, nämlich dessen Mazurka in h-Moll op. 41 Nr. 2, und verweist in diesem Zusammenhang auf die kurze Begegnung zwischen
Hartmann und Chopin, bei der letzterer Hartmanns Klavierspiel
gelobt haben sollte.62 Sollte man in diesem Satz auf Chopin-Anklänge verweisen, müssten das die ersten beiden Takte der rechten
Hand sein mit der charakteristischen einstimmigen Einleitungzum Hauptmotiv, doch von diesen Takten bis zu Chopins vollendetem Klaviersatz ist noch ein weiter Weg.
61 Neue Zeitschrift für Musik (19), No. 23, 18.9. 1843.

nr. 11sechs tonstücke in liedform op. 37
Hartmanns Autograf mit Seks Tonestykker i Sangform (Sechs Tonstücke in Liedform) trägt das Enddatum 22. Oktober 1842. Die
Stücke treten darin in einer anderen Reihenfolge auf als in dergedruckten Ausgabe, wobei die spätere Nummerierung 1, 2, 5, 3,
6, 4 im Autografen mit Bleistift hinzugefügt wurde. Hinzu kommt
noch ein weiteres Stück (Quelle A, S. 5-7), das nicht in die gedruckte Ausgabe aufgenommen wurde. Es trägt den Titel Gamle
Minder (Alte Erinnerungen) und ist in Hartmanns Handschrift
mit der Aufschrift „NB udskrives ikke“ (NB nicht ausschreiben) versehen.63

62 Lothar Brix, Op. cit., S. 77; Angul Hammerich, J.P.E. Hartmann,
København 1916, S. 46; Inger Sørensen, Op. cit., S. 151. Hammerich kann Chopins bei einer dieser Begegnungen in Paris an
Hartmann gerichtete Worte geradezu wörtlich zitieren: „Mais c’est
charmant ce que vous jouez-là.“
63 Alte Erinnerungen steht in der vorliegenden Ausgabe als Nr. 29.
64 Breve, Nr. 155 vom 17.1. 1843 von Julius Schuberth an Hartmann:„Wenn ich bitten darf lassen Sie mich mit den Liedern ohne Worte
nich [sic!] warten – ich möchte gern gleich beide Hefte haben.“
65 Insgesamt erschienen in diesen Jahren sechs Sammlungen derLieder ohne Worte von Mendelssohn.
66 Brief von Julius Schuberth an Hartmann vom 22.2. 1843. Breve, Nr.
157. Auch in einem Brief vom Monat zuvor (Breve, Nr. 155) setzt
Schuberth voraus, dass zwei Hefte Lieder ohne Worte kommen.

klaverværker : introduction

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20/09/12 10.14

facs. 1

facs. 1

facs. 1Tre sider med Andante Sostenuto, der oprindeligt har været endel af kilde D (side “14-16”) til F dur sonaten (nr. 3 i nærværende udgave).
Senere genbrugte Hartmann satsen som “N:3” i Klaverstykker
fra ældre og nyere Tid , opus 74 (nr. 23 i nærværende udgave),efter med blyant at have rettet pagineringen til s. “20-22” ogflyttet siderne over som en del af kilde B til opus 74 (se Description of Sources, nr. 3 og 23). Hartmanns blyantstilføjelsenederst på s. “22” lyder: “NB Efter No 3s Slutning tilbage til
No 4 pag 19, Allegretto moderato”, hvilket refererer til genbruget af disse tre sider i nr. 23. Også blyantsrettelserne vedrører
benyttelsen af satsen i nr. 23.

Three pages with Andante Sostenuto of the F Major Sonata(No. 3 of the present edition), originally belonging to Source Dof the sonata (original pagination “14-16” later crossed out).
Later, as Hartmann reused the movement as “N:3” of Piano
Pieces from an Earlier and a More Recent Time, Opus 74 (No. 23of the present edition), the three pages were corrected in pencil, re-paginated as pp. “20-22” and moved to be part of Source
B of opus 74 (see Description of Sources, Nos. 3 and 23). At thebottom of p.22 Hartmann has added in pencil: “After the endof No. 3, go back to No. 4 p. 19 Allegretto moderato”, referring to
his reuse of these three pages in No. 23. The other pencil corrections also relate to the version of the movement in No. 23.

Drei Seiten mit dem Andante Sostenuto aus der Sonate in
F-Dur (Nr. 3 in der vorliegenden Ausgabe), ursprünglich Teilder Quelle D (Seiten „14-16“).
Später verwendete Hartmann diesen Satz als „N:3“ in den
Klavierstücken aus älterer und neuerer Zeit, Opus 74 (Nr. 23 dervorliegenden Ausgabe), nachdem die Seitenzahlen mit Bleistiftin „20-22“ geändert und die Seiten Bestandteil der Quelle B zu
Opus 74 geworden waren (vgl. Description of Sources, Nr. 3 und
23). Hartmanns Hinzufügung mit Bleistift S. „22” unten lautet:„Nach Ende der Nr.3 zurück zu Nr.4 S. 19, Allegretto moderato“,
womit die Wiederverwendung dieser drei Seiten in Nr. 23
gemeint ist. Auch die Bleistiftkorrekturen beziehen sich auf die
Verwendung des Satzes in Nr. 23.

xlviii j.p.e. hartmann : selected works

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klaverværker : introduction

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l j.p.e. hartmann : selected works

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facs. 2

facs. 2

facs. 2

Oprindelig version af Sonate, opus 80 (App. 1 i nærværende
udgave), DK-Kk, Hartmanns Samling Kapsel S-Studier.
Første side af den oprindelige version i g mol fra 1876 af
sonaten, der senere i 1883 blev udvidet, revideret og transponeret til a mol (nr. 5 i nærværende udgave). Den oprindelige
version fra 1876 er indført med blæk, mens blyantstilføjelserne stammer fra revisionen af sonaten i 1883.

The first page of the original version in G minor from 1876 of
the Sonata Opus 80 (App.1 of the present edition), which in1883 was enlarged, revised and transposed to A minor (No. 5
in the present edition). The original version from 1876 is notated in ink whereas the pencil additions were added in 1883
in connection with the revision of the work.

Ursprüngliche Fassung der Sonate Opus 80 (App. 1 dervorliegenden Ausgabe), DK-Kk, Hartmanns Samling Kapsel
S-Studier.
Erste Seite der ursprünglichen Fassung der Sonate in g-Moll
von 1876, die 1883 erweitert, revidiert und nach a-Moll
transponiert wurde (Nr. 5 der vorliegenden Ausgabe). Die
Erstfassung von 1876 wurde mit Tinte geschrieben, während
die Ergänzungen mit Bleistift der Revision der Sonate im Jahr
1883 entstammen.

klaverværker : introduction

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li

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facs. 3

facs. 3

facs. 3

Kladde til t. 12-30 af første sats af den reviderede version
af sonate i a mol, nr. 5. DK-Kk, Hartmanns Samling Kapsel
S-Studier.
Tilskriften over øverste nodesystem angiver karakteriserende
overskrifter til de enkelte satser, som Hartmann øjensynligt
overvejede, men efterfølgende opgav: “1 Mismod og Lidenskab. 2. Trøst. 3. Fred. 2. Grublen. 3. Adspredelse. Gjennembruddets Stemninger.”

Draft of bb. 12-30 of the first movement of the revised version of Sonata in A minor, No. 5. DK-Kk, Hartmanns Samling
Kapsel S-Studier.
Above the upper stave Hartmann has added titles for the fourmovements, which he apparently considered using in theprinted edition of the Sonata, but which at the end he did notuse: “1. Dismay and Passion. 2. Solace. 3. Peace. 2. Rumination. 3. Distraction. The Breakthrough’s State of Mind”.

Entwurf zu den Takten 12-30 des ersten Satzes der revidierten
Fassung der Sonate in A-Moll, Nr. 5. DK-Kk, Hartmanns
Samling Kapsel S-Studier.
Die Angaben über dem ersten Notensystem bieten charakterisierende Titel zu den einzelnen Sätzen an, die Hartmann
offensichtlich erwog, letztendlich jedoch nicht verwendete: „1.
Missmut und Leidenschaft. 2. Trost. 3. Frieden. 2. Grübelei. 3.
Zerstreuung. Durchbruchstimmungen.“lii j.p.e. hartmann : selected works

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sonate i d mol
1

Op. 34I
Allegro passionato

sost.

3

6

dim.

❉

❉

9

13

cresc.

copyright by hartmann udgaven, the royal library, copenhagen

Hartmann_klaver_bind_1.indb 1

con fuoco assai

klaverværker 1

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17

20

23

26

29

2 j.p.e. hartmann : selected works

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32

legato

dim.

❉

❉

35

dim.

risol.

❉

❉

❉

38

❉

❉

42

cresc.

❉
❉
46

m.s.

dim. e rit.

m.d.

❉klaverværker 3

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Poco più moderato
50

legato

dolce

54

❉
59

legato

❉

3

64

68

3

Tempo I

dolciss.

cresc.

❉
71

❉

dim.

e

❉

a temporiten.

sempre crescendo ed
accelerando assai❉❉

4 j.p.e. hartmann : selected works

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74

❉

❉

77

il

❉

80

dim.

❉

❉
83

dim.

dim.

❉

❉

Meno allegro

86

sost.

❉
a temporitenuto

89

dim.
3

❉

❉

❉

3

❉
klaverværker 5

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94

3

3

3

3

3

3

3

3

❉
99

Tempo I33

smorz.

103❉

con fuoco

❉

❉

❉

107

❉

cresc.
risol.

❉
111

❉

❉

❉

❉

115

cresc.

❉❉

6 j.p.e. hartmann : selected works

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118

❉
121

124

cresc.

127

marcato il basso
130

cre

scen

do

assai

133

klaverværker 7

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137

marcato

❉
141

❉
145

❉

❉

❉

148

smorz.

❉

❉

❉

152

❉

❉

158

dim.

❉

❉

8 j.p.e. hartmann : selected works

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162

a temposmorz.
dolce

❉

❉

166

169

dim.

172

❉

❉

176

klaverværker 9

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180

cresc.

con fuoco assai

183

❉

❉

186

❉

❉
189

192

❉
195

❉

❉

10 j.p.e. hartmann : selected works

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198

❉
202

dim.
smorz.

❉

Meno allegro
206

legato

dolce

3

210

dim.

215

legato

3

❉

❉
3

3

219

klaverværker 11

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224

Tempo I

dolciss.

❉

❉

❉

228

cresc. ed accelerando assai

❉
231

❉
234

con fuoco

dim.

237

dim.

240

dim.

12 j.p.e. hartmann : selected works

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243

246

dim. e ritard.

249

Meno allegro

dim.

Tempo I

254

ten.

258

a tempo4

rubato261

dim.
riten.

❉

Hartmann_klaver_bind_1.indb 13

klaverværker 13

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II

ROMANCEAndantino quasi allegretto

dim.

6

dim.

a tempo12

dim.

riten. a piacerelegato

❉

17

dim.

dim.

❉
23

29

❉

14 j.p.e. hartmann : selected works

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35

dim.

❉
41

smorz.

rubatocon anima❉❉a tempo

dim.

❉

46

❉

❉

❉

50

54

cresc.

59

❉

dim.

dim.

❉
klaverværker 15

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63

69

dim.

a tempo

73

rit.

❉

a piacere

78

❉

83

cresc. ed accelerando

88dim. e rit.

a temposmorz.

cresc. ed accelerando

16 j.p.e. hartmann : selected works

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a tempo

93

dim. e rit.

smorz.

98smorz.

con animaa tempo❉❉103

ritenuto

rubato

❉

❉
108

❉

a temporit.

a tempoperdendosi

113

dim.

estinto118

ritard. e dimin.

klaverværker 17

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SCHERZO
Allegro molto assaiIIIrisol.

5913

risol.

18

18 j.p.e. hartmann : selected works

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23

28

sempre33

38

42

cresc. poco a pococon brio

47

dim.

❉
klaverværker 19

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52

marc.

57

cresc.

62

marc. acceler.

❉
66

marc.

70

smorz.

76❉

20 j.p.e. hartmann : selected works

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81

87

❉

Un poco meno allegro
3

3

92

3

espressivo
3

3

3

3

3

3

3

3

3

3

dim.

3

3

3

3

98

smorz.
3

3

❉

103

smorz.
3❉❉
klaverværker 21

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108

sempre3

e legato

3

3

3

3
3

3

3

3

3

3

3

marcato ma

❉

3

3
3

114

3

3

3

3

3
3

❉

3

3

3

3

3

3

3

3

3

3
3

120

3

3
3

❉

125

3

3

3

3

3

3

3

sempre smorz. e ritenuto❉

Tempo I131

22 j.p.e. hartmann : selected works

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136

risol.

cresc. assai

❉

141

145

149

risol.

154

klaverværker 23

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158

162

167

sempre172

176

cresc.

181

poco a pococon brio

24 j.p.e. hartmann : selected works

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186

dim.

❉

191

marc.

196

cresc.

201

marc. acceler.

marc.

❉

206

klaverværker 25

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IV
FINALE
Allegro7

a tempopoco ritard.

13

20

marcatocresc.

8

26

31

cre

scen

con briodo❉

26 j.p.e. hartmann : selected works

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37

e stringendo

dim.

43

dim.

49

marc.
assai

55

61

8

8

sempre dim.

68smorzandoritard.

klaverværker 27

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75

a tempo ma più commodo

dolciss.

81

a tempo con anima
87

ritardando

ten.
92

3

98

3

3

a temporubato28 j.p.e. hartmann : selected works

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ten.

3

3

3

3

104

m.s.
3

3

rubato3

Tempo I

3

dolce

110

3

3

114

poco

118

a

poco

cresc.

122❉❉
klaverværker 29

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126

dim.

❉

130

134

cresc.

❉
139

marcatoenergico

144

149

dim.

sempre cresc.

30 j.p.e. hartmann : selected works

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154

8

con fuoco assai

❉

❉

160

❉

❉

166

smorz.

172

sempre178

184

klaverværker 31

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189

cresc.

194

199

❉
204

❉
❉
209

cre

8

214

scen

do

❉

marcato assai❉

32 j.p.e. hartmann : selected works

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219

cresc.

❉
225

dim.

❉
231

con fuoco assai

stringendo236

marcato241247

smorz.

riten.

klaverværker 33

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a tempo più commodo
253

dolce

3

259

m.s.

3

❉

a tempo265

con animaritardando

ten.
271

dim.

ten.

277

34 j.p.e. hartmann : selected works

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Tempo I

283

smorz.
con anima

289

cre

scen

do

294

assai

energico

il basso ben

299

marcato305

klaverværker 35

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8

311

cre

scen

do

316

cre

scen

321

do

più moto❉
327

stringendo332

8

marcato assaismorz.

un poco riten.

338

smorz.

36 j.p.e. hartmann : selected works

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a tempo
343

marcato e con fuoco

349

❉
8

355

❉
8

361

più acceler.

❉
367

374

dim.

❉

risol.

❉
klaverværker 37

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sonate i g mol
I

2Allegro non troppo

cresc.

5

8

dim.

❉

❉

❉

❉

11

14

38 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 38

20/09/12 10.15

m.s.

17

m.s.

❉

❉

❉

8

20

dim.

❉
23

ten.

dolce

26

ten.

29

dim.

32

dim.

klaverværker 39

Hartmann_klaver_bind_1.indb 39

20/09/12 10.15

35

4

4

dim.

38

4

4

41

❉

44

cresc.

poco

a

poco

47

dim. e smorz.

40 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 40

20/09/12 10.15

II
SANG UDEN ORD
SONG WITHOUT WORDS
Allegretto grazioso

dim.

4

dim.

8

dim.

12

16

smorz.

cresc.

klaverværker 41

Hartmann_klaver_bind_1.indb 41

20/09/12 10.15

20

24 I

1

2

28 I

smorz.

26 II

ten.

smorz. e dolce

❉

❉

31

smorz.

❉❉

42 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 42

20/09/12 10.15

6GAMLE MINDERMEMORIES OF YORE
Tempo di menuetto moderato

III

legato8❉❉

legato

❉

14

❉

dim.

legato

❉
1

20

2

❉
25

30

dim. e smorz.

klaverværker 43

Hartmann_klaver_bind_1.indb 43

20/09/12 10.15

IV
Allegro grazioso

legato

❉

❉

5

3

3

smorz.

❉
9con anima

dim.

❉

❉
12

15

dim.

44 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 44

20/09/12 10.15

18

3

3

3

3

❉

3

3

3

3

❉

21

3

3

3

3

3

❉

3

3

3

❉

24

3

3

❉

27

legato e

dim.

❉

30

❉

❉
klaverværker 45

Hartmann_klaver_bind_1.indb 45

20/09/12 10.15

33

❉
36

dim.

❉

cresc.

❉

8

39

dim.

8

41

dolce legato

❉
8

44

❉
46

poco cresc.

smorz.

❉

46 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 46

20/09/12 10.15

49
3

3

3

3

❉

❉

3

3

3

3

❉

3

3

❉

52

3

3
3

3

3

3

3

3

3

3

3

3

3

3

3

3

55
3

3

3

3

cresc.

❉

❉

57
3

3
3

3

3

3

3

3

3

cresc.

❉

60

3

3

3

❉

3

3

dim.

smorz.

❉

dim.

❉

❉
klaverværker 47

Hartmann_klaver_bind_1.indb 47

20/09/12 10.15

63

dim.

❉

❉

e

ri

❉

a tempo, animato

66

tenuto❉a tempo69

dimin.

eritenuto

❉

❉

72

3

3

3

3

3

3

cresc. e accelerando

ten.

75

3

3

3

ten.

3

3

3

dim.

e

smor

❉

zan

do

❉

48 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 48

20/09/12 10.15

78

Tempo I

ten.

dolce

81

ten.

84

87

poco

a

poco

90

cre

scen

do

e

ac

ce

le

ran

do

93

klaverværker 49

Hartmann_klaver_bind_1.indb 49

20/09/12 10.15

96

Allegro assai

99

cre

scen

do

102

as

sai,

e

più

presto

105

108

❉
112

❉

❉

❉

50 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 50

20/09/12 10.15

sonate i f dur
3

I

Allegro non troppo

pastorale

con animasmorz.

❉

❉

❉
segue

6

ten.

ten.

❉

❉

11

❉

❉

16

dim.

cantabile

❉

❉

❉

❉

❉

❉

22

cresc.

❉

Hartmann_klaver_bind_1.indb 51

❉

❉

❉

klaverværker 51

20/09/12 10.15

26

❉

29

32

❉

35

❉

❉

❉

38

dim.

52 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 52

20/09/12 10.15

41

dim.

❉

❉

❉

❉

❉

44

cresc.

❉

❉

❉

❉

❉

❉

47

50

❉

❉

53

dim.

klaverværker 53

Hartmann_klaver_bind_1.indb 53

20/09/12 10.15

856

con fuoco

cresc.

❉

59

❉

8

dim. e rit.

a tempo
62

❉

❉

❉

❉

67

cresc.

❉

❉

❉

72

❉

❉

❉

54 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 54

20/09/12 10.15

ben marcato il canto78

sempre legato

cresc.

83

risol.

al

87

❉

❉

91

più

❉

94

❉

❉
klaverværker 55

Hartmann_klaver_bind_1.indb 55

20/09/12 10.15

97

2
4

100

103

dim.

❉

107

con anima

111❉

56 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 56

20/09/12 10.15

115

118

ten.

ten.

ten.

ten.

❉

❉

❉

❉

121

❉

❉

8

124

❉

❉

❉

127

affettuoso❉
klaverværker 57

Hartmann_klaver_bind_1.indb 57

20/09/12 10.15

8

130

134

137

❉

❉

140

143

affettuoso

58 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 58

20/09/12 10.15

147

❉
150

con affetto

153

cresc.

157

❉

❉

❉

160

dim.

❉
klaverværker 59

Hartmann_klaver_bind_1.indb 59

20/09/12 10.15

163

❉

166

dim.

❉

❉

❉

169

sempree sost.

172

9a tempo3ri

60 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 60

3

te

nu to

3

e

smor

❉

zan

do

❉

20/09/12 10.15

175

179

❉

❉

183

cresc.

❉

187

cresc.

❉

❉

❉

190

poco agitato❉
klaverværker 61

Hartmann_klaver_bind_1.indb 61

20/09/12 10.15

193

❉
196

dim.

199

dim.

8

202

❉

cre

scen

❉

❉

8

205

do

con affetto

❉
208

❉

8

smorzando

62 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 62

20/09/12 10.15

211

❉

❉

❉

215

❉

❉

219

❉

❉

❉

❉

224

marcato il canto229

cresc.

klaverværker 63

Hartmann_klaver_bind_1.indb 63

20/09/12 10.15

233

❉
236

❉
239

❉
❉
243

con brio

dim.

246

dim.

a tempo249

dim.
ritenuto

con anima❉

64 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 64

20/09/12 10.15

253

257

dolce

❉

❉

❉

❉

❉

263

dim.

dim.
smorz.

❉

❉

❉

❉

269

smorz.

❉

❉

274

8

❉

❉

❉
klaverværker 65

Hartmann_klaver_bind_1.indb 65

20/09/12 10.15

II
Andante sostenuto, con largezza

❉

❉

❉

4

❉

❉

❉

❉

❉

8

cre

❉

❉

❉

do

dim.

❉

❉

12

scen

❉

❉

15

smorz.

❉

66 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 66

20/09/12 10.15

18

con passione

❉

❉

22

rubato

❉

❉

25

dim.

❉

❉

28

cre

scen

do

klaverværker 67

Hartmann_klaver_bind_1.indb 67

20/09/12 10.15

31

rubato e dim.

❉34

cresc.

dimin.

❉

❉

❉

❉

37

legato840❉

68 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 68

20/09/12 10.15

III
INTERMEZZO
Allegretto moderato (märchenartig) *5

cresc.

a tempo11

con anima

cresc.
ritenuto17

leggiero e delicato

klaverværker 69

Hartmann_klaver_bind_1.indb 69

20/09/12 10.15

21

dim.

dim.

25

dimin.

29

❉

❉

33

dim.

❉

❉

38

dim.

70 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 70

20/09/12 10.15

41

dim.

❉

dim.

❉

❉

44

cresc.

❉

47

❉

50

❉

❉

53

dim.

klaverværker 71

Hartmann_klaver_bind_1.indb 71

20/09/12 10.15

56

60

dim.

e

64

smorz.

70

cresc.

a tempo77

cresc.

ritenuto

con anima❉

72 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 72

20/09/12 10.15

85

88

91

cresc. assai e accelerando

94

al

8

dim.

rit.

a tempo98❉

Hartmann_klaver_bind_1.indb 73

e❉klaverværker 73

20/09/12 10.15

103

dim.

8

Più moto

107

segue

❉

113

con anima
leggiero116

smorzando

119

8

segue

74 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 74

20/09/12 10.15

IV
FINALE
Allegro commodo

dolce

5

❉

❉

❉

9

12

15

klaverværker 75

Hartmann_klaver_bind_1.indb 75

20/09/12 10.15

18

8

21

cresc.

8

8

24

dim.

8

26

dim.

29

dim.

dim.

cantabile

76 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 76

20/09/12 10.15

32

❉

❉

❉
3

36

cresc.
cresc.

3

dim.

40

al

❉

❉

43

con fuoco❉
46

klaverværker 77

Hartmann_klaver_bind_1.indb 77

20/09/12 10.15

8

49

ten.

❉

❉

❉

52

cresc.

55

con passione
assai

58

dim. e smorz.

62

66

78 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 78

20/09/12 10.15

69

❉

❉

❉

❉

❉

❉

❉

74

sempresmorz.

❉

80

❉

85

con anima

❉

❉

88

❉
klaverværker 79

Hartmann_klaver_bind_1.indb 79

20/09/12 10.15

91

❉

❉

94

97

100

102

dim.

80 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 80

20/09/12 10.15

105

108

111

114

sost.

cre

scen

do

117

dim.

smorz.

❉e❉klaverværker 81

Hartmann_klaver_bind_1.indb 81

20/09/12 10.15

120

sost.

cresc. assai

ritenuto

123

a tempo

dolce

126

129

marc.

131

82 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 82

20/09/12 10.15

133

136

139

141

dim.

143

dim.

klaverværker 83

Hartmann_klaver_bind_1.indb 83

20/09/12 10.15

8

145

148

espressivo

smorz.

152

cresc.

il

dim.

❉

156

cresc.

❉

❉

160

163

84 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 84

20/09/12 10.15

166

smorz.

❉

8170

cresc.

173

al

❉

❉

❉

❉

176

178

cresc.

klaverværker 85

Hartmann_klaver_bind_1.indb 85

20/09/12 10.15

8

181

ten.

❉
185

cresc.

❉
188

cresc.

❉

❉

192

❉
195

198

86 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 86

20/09/12 10.15

sonatine i g dur
4

I

Allegro non troppo

dim.

6

dim.

❉

❉

12

dim.

❉

❉

❉

19

con anima

25

klaverværker 87

1B_Hartmann_Klaverbind_noder.indd 87

02/10/12 14.34

a tempo
31

un poco rit.

dim.

❉
37

dim.

43

❉

❉

❉

49

dim.

❉

❉
54

m.s.

❉
60

smorz.

❉

88 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 88

20/09/12 10.15

II
ROMANCEAndantinosmorz.

❉

❉

segue

5

9

3

3

❉

❉

❉

❉

13

smorz.

❉

❉

dim.

❉

17

smorz.

❉
klaverværker 89

1B_Hartmann_Klaverbind_noder.indd 89

02/10/12 14.34

III

RONDO-SCHERZO
Allegro assai

riten.

a tempo

❉
4

❉
8

❉
11

❉

❉

❉

❉

14

❉
17

poco rit.

❉

90 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 90

20/09/12 10.15

a tempo
20

❉

❉

❉

23

❉

27

dim.

❉

❉

31

❉

34

klaverværker 91

Hartmann_klaver_bind_1.indb 91

20/09/12 10.15

38

❉

❉

❉

❉

41

smorz.

45

50

risoluto

55

smorz.

sost.

60

con anima

92 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 92

20/09/12 10.15

65

dim.

e

smorz.

69❉

73

risoluto

77

cresc.

❉

❉

ten.
80

❉

❉
klaverværker 93

Hartmann_klaver_bind_1.indb 93

20/09/12 10.15

83

❉
ten.
86

cresc.

❉
89

con fuoco assai
sost.

❉
93

dim.

❉

❉

❉

❉

97

dim.

101

8

risoluto❉❉

94 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 94

20/09/12 10.15

klaverværker 95

Hartmann_klaver_bind_1.indb 95

20/09/12 10.15

sonate i a mol
I5

Op. 80Andantino con moto

con

6

11

a tempo

un poco acceler. e cresc.

15

❉

con

19

cresc.

con

96 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 96

copyright by hartmann udgaven, the royal library, copenhagen

20/09/12 10.15

23

dolente❉❉28

cresc.

31

cresc.

❉

con

34

37

❉

❉

❉
klaverværker 97

Hartmann_klaver_bind_1.indb 97

20/09/12 10.15

Allegro moderato, con passione
42

risol.

ten.
46

50

54

cresc.

58

62

con fuoco

98 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 98

20/09/12 10.15

66

71

75

79

cresc.

83

dim.

con fuoco

klaverværker 99

Hartmann_klaver_bind_1.indb 99

20/09/12 10.15

3

87

3

3

Tempo più moderato
91

3

3

3

3

espressivo
poco ritenuto

con
95

99

3
3
3

❉

Tempo I con fuoco
103

molto riten.

100 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 100

risol.

❉

20/09/12 10.15

107cresc.

111

115

119

ten.

ten.

124

con
ten.

ten.

risol.
ten.

risol.
ten.

129

klaverværker 101

Hartmann_klaver_bind_1.indb 101

20/09/12 10.15

134

Tempo più moderato

poco
poco

poco

139

Tempo I con fuoco
144

risol.

dim. e rit.

❉

148

8

152

cresc. assai

102 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 102

20/09/12 10.15

8

156

risol.

161

165

169

cresc.

173

klaverværker 103

Hartmann_klaver_bind_1.indb 103

20/09/12 10.15

177

più

181

dim. e smorz.

8

185

ri

ten.

con

Tempo più moderato

3

190

dolce

3

3

3

3

194

3

3

104 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 104

20/09/12 10.15

198

marcatocresc.

ed accelerato

con
3

3

202

❉
206

smorz.

212

217

klaverværker 105

Hartmann_klaver_bind_1.indb 105

20/09/12 10.15

222

226

cresc.

230

234

238

106 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 106

20/09/12 10.15

242

dim.

246

espressivo

smorz.

con

251

255

con passionato

cresc.
260

cresc.

klaverværker 107

Hartmann_klaver_bind_1.indb 107

20/09/12 10.15

265

espressivo

270

cresc.

274

3

278

3

3
3
3

282

3

cresc.

3

3

3

3

3

3

3

cresc.

3

3

3

108 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 108

20/09/12 10.15

3

3

285

3

3

3

3

con fuoco e
3

3

3

3

3

3

288

3

3

3

3

3

cresc.

dim.
3

3

3

3

3

3
3

marc.

292

il basso

297

302

con

❉

klaverværker 109

Hartmann_klaver_bind_1.indb 109

20/09/12 10.15

II
Poco andante

dim.

7

❉
12

cresc.

16

cresc.

❉
19❉❉

110 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 110

20/09/12 10.15

24

3

3

3

3

con

28

30

❉
33

❉

❉

❉

37

molto cresc.

con❉klaverværker 111

Hartmann_klaver_bind_1.indb 111

20/09/12 10.15

41

❉
45

dolente

❉

❉

❉
49

3

3

3

con

3

3

3

3

e riten.

dim.

❉
a tempo53

cresc.

57❉

112 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 112

20/09/12 10.15

62

66

❉
❉

❉

70

cresc.

con
74

❉

❉

❉

76

poco cresc.

❉

conklaverværker 113

Hartmann_klaver_bind_1.indb 113

20/09/12 10.15

8

81

❉

❉
8

m.s.

85

m.d.

smorz.
smorz.

❉

❉

❉

❉

❉

III
Allegretto pastorale

❉
5

con

10

114 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 114❉

20/09/12 10.15

15

con
19

❉
23

26

❉
29

❉

❉

❉
klaverværker 115

Hartmann_klaver_bind_1.indb 115

20/09/12 10.15

❉

con

❉

36

il Basso legato

❉
39

42

45

❉

116 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 116

❉

❉

❉

20/09/12 10.15

48

❉

con

3

3

3

3

3

3

3

3

3

3

3

51

con
3

54
3
3

3

3

3

3

3

3

56

3

3

3

3

3

3

3

3

3

3

cresc. e con fuoco

58

3

dim.

❉

❉

❉

❉

❉
klaverværker 117

Hartmann_klaver_bind_1.indb 117

20/09/12 10.15

61

tranquillamentee smorz.

❉

❉

❉
3

3

64

❉

con

3

3

67

3

legato❉70

73

cresc.

118 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 118

20/09/12 10.15

75

77

❉
80

dim.

dim.

❉
8

83

con
86

8

klaverværker 119

Hartmann_klaver_bind_1.indb 119

20/09/12 10.15

26

IV
Allegro marcato, ma non troppo

8

risol.

risol.

13

18

23

28

120 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 120

20/09/12 10.15

34

39

risol.

❉❉

43

risol.

❉
48

con

❉
con
8

53

risol.

58

smorz. assai❉
klaverværker 121

Hartmann_klaver_bind_1.indb 121

20/09/12 10.15

64

dolce

❉

con

71

dolce

76

81

smorz.

con

86

dolce

con
91

con

122 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 122

20/09/12 10.15

97

103

cresc.

risol.

❉
109

❉

❉

con

114

cresc.

con fuoco

120

❉
126

cresc. assai

klaverværker 123

Hartmann_klaver_bind_1.indb 123

20/09/12 10.15

133

risol.
risol.

❉
139

144

risol.

149

154

124 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 124

20/09/12 10.15

159

164

poco
risol.

❉

❉

169

❉

❉

❉

174

179

smorz.
con anima❉❉
klaverværker 125

Hartmann_klaver_bind_1.indb 125

20/09/12 10.15

185

con

191

195

ten.

200

espressivo

con
206

126 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 126

20/09/12 10.15

8

211

8

216

221

227

cresc.

233

con fuoco

klaverværker 127

Hartmann_klaver_bind_1.indb 127

20/09/12 10.15

239

3

cresc.

3

3

3

3

3

3

3

3

8

242

8

245

❉

248

cresc.

❉

❉

❉

250

❉

128 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 128

20/09/12 10.15

klaverværker 129

Hartmann_klaver_bind_1.indb 129

20/09/12 10.15

rondeaux brillants
6
I
Allegro grazioso

Op. 6

dolce

4

9

14

19

130 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 130

20/09/12 10.15

24

scherzando❉

29

cresc.

33

❉

37

❉
43

❉

Hartmann_klaver_bind_1.indb 131❉

klaverværker 131

20/09/12 10.15

49

dolce

❉

❉
8

54

cresc.

59

64

❉
69

❉

❉

132 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 132

20/09/12 10.15

74

cresc.

80

dolce

85

90

95

❉

❉

❉
klaverværker 133

Hartmann_klaver_bind_1.indb 133

20/09/12 10.15

101

dim.

8

108

poco ritard.

❉

115

a tempo

dolce

121

127

134 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 134

20/09/12 10.15

132

risoluto

140

decresc.

147

dolce

8

153

cresc.

1588

sempre❉klaverværker 135

Hartmann_klaver_bind_1.indb 135

20/09/12 10.15

163

8

167

172

8

8

176

182

136 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 136

20/09/12 10.15

188

cresc.

193

197

202

208

diminuendo e ritardando

klaverværker 137

Hartmann_klaver_bind_1.indb 137

20/09/12 10.15

214

a tempo

dolce

219

224

229

235

scherzando

138 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 138❉

20/09/12 10.15

240cresc.

246

❉

8

251

❉
❉
257

❉

263

❉

❉
klaverværker 139

Hartmann_klaver_bind_1.indb 139

20/09/12 10.15

8

267

dolce

cresc.

8

272

8

277

❉

282

❉

❉

287

140 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 140

20/09/12 10.15

8

292

cresc.

decresc.

8

297

dolce

8

302

cresc.

307

313

8

319

ritard. e dimin.

klaverværker 141

Hartmann_klaver_bind_1.indb 141

20/09/12 10.15

a tempo

325

8

dolce

8

330

❉

❉

335

sempre cresc.

340

345

349

❉

142 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 142

20/09/12 10.15

II
Allegro vivo

5

10

cresc.

15

dolce

❉

21

klaverværker 143

Hartmann_klaver_bind_1.indb 143

20/09/12 10.15

26

❉

30

cresc.

decresc.

34

cresc.

39

dim.

cresc.

44dim.

144 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 144

20/09/12 10.15

49

54

58

a tempo con fuoco

ritardando

con

❉

62

❉

66

klaverværker 145

Hartmann_klaver_bind_1.indb 145

20/09/12 10.15

70

❉

❉

74

❉

78

❉

82

molto legato

86

146 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 146

20/09/12 10.15

90

❉

❉

94

smorzando

dolcissimo

❉

col

99

con affettuoso

diminuendo❉104

decresc.

108

legeremento

klaverværker 147

Hartmann_klaver_bind_1.indb 147

20/09/12 10.15

112

115

120

123

cresc.

127

148 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 148

20/09/12 10.15

132

cresc.

137

142

decresc.

147

poco più ritard.

con espressione

a tempo❉153❉
klaverværker 149

Hartmann_klaver_bind_1.indb 149

20/09/12 10.15

159

con molto affetto

❉

165

❉

171

❉

❉

177

❉

❉

182

150 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 150

20/09/12 10.15

186

sempree con fuoco

190

194

198

201

legato e sostenuto

206

con anima❉
klaverværker 151

Hartmann_klaver_bind_1.indb 151

20/09/12 10.15

211

217

cresc. e poco accelerando223

decresc.

dolce

sempre decresc. e rit.

❉229

a tempo

❉
234

239

cresc.

❉

152 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 152

20/09/12 10.15

243

decresc.

cresc.

248

dim.

254

cresc.

dim.

260

266

rit.

❉
klaverværker 153

Hartmann_klaver_bind_1.indb 153

20/09/12 10.15

273

a tempo con fuoco

❉

278

❉

283

❉

288

❉

293

sostenuto

154 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 154

20/09/12 10.15

298

energico303

con anima❉308

a temporitardando
dolcissimo

❉
313

dim.

❉
318

con affetto

323

legere❉klaverværker 155

Hartmann_klaver_bind_1.indb 155

20/09/12 10.15

328

cresc.

331

dim.

336

cresc.

339

343

8

156 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 156

20/09/12 10.15

348

cresc.

353

ritardando
358

dim.

espressivo

a tempo364

370

ritardando

a tempo❉klaverværker 157

Hartmann_klaver_bind_1.indb 157

20/09/12 10.15

376

con molto fuoco

380

8

384

legere❉❉388

cresc.

ritard. e dim.

a tempo392❉

158 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 158

20/09/12 10.15

capricer
7I

Op. 18Allegro affettuoso

❉

❉

4

❉

❉

8

dim.

❉
12

dim.

16

con fuoco

smorz.

klaverværker 159

Hartmann_klaver_bind_1.indb 159

20/09/12 10.15

19

❉

22

❉

❉

26

❉

❉

29

dim.

33

dim.

dim.

160 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 160

20/09/12 10.15

37

con anima

❉

❉

❉

40

❉

❉

43

marcatocon affetto

46

dim.

49

❉
52

❉
klaverværker 161

Hartmann_klaver_bind_1.indb 161

20/09/12 10.15

8

56

8

59

morendo

dim.

8

63

67

morendo71❉

162 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 162

20/09/12 10.15

II
Allegretto grazioso moderato

❉

3

❉

❉

1

6

8 II

2

❉
klaverværker 163

Hartmann_klaver_bind_1.indb 163

20/09/12 10.15

10smorz.

❉

13

dim.

con affetto

dim.

❉

❉

16

dim.

dolce

8

19

22

smorz.

❉

164 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 164

20/09/12 10.15

25

dolce

❉

❉

28

❉
31

❉

34

smorz.

❉

37

morendoklaverværker 165

Hartmann_klaver_bind_1.indb 165

20/09/12 10.15

40

❉

43

46

morendoa tempo49

ritenuto❉❉

166 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 166

20/09/12 10.16

III
Allegro moderato assai

❉

5

dim.

❉
10

dim.

❉

❉

15

cresc.

20

dim.

klaverværker 167

Hartmann_klaver_bind_1.indb 167

20/09/12 10.16

25

29

34

❉

❉

39

risoluto44

smorz.

decresc.

❉
49

❉
8

168 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 168

20/09/12 10.16

53

poco cresc.

58

dim.

63

poco cresc.

dim.

68

cresc.

73

77

dim.

dim. e smorzando

klaverværker 169

Hartmann_klaver_bind_1.indb 169

20/09/12 10.16

81

❉

❉

85

marcato

90

dim.

95

cresc.

dim.

100

smorz.

105

ritenuto
risoluto❉

170 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 170

20/09/12 10.16

IV
Allegro molto, con passione

6

dim.

11

15

19

klaverværker 171

Hartmann_klaver_bind_1.indb 171

20/09/12 10.16

1

23

❉
27 I

❉
24 II

❉

2

❉
28

poco cresc.

33

❉
38

con affettodim.

riten.

172 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 172

20/09/12 10.16

a tempo
43

con anima

8

46

sempre cresc.

8

49

❉

52

8

❉

❉

❉

❉

❉

55

klaverværker 173

Hartmann_klaver_bind_1.indb 173

20/09/12 10.16

58

dim.

rit.

con affetto❉❉
a tempo

62

❉

66

❉

❉

70

dim.

❉

74

dim.

174 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 174

20/09/12 10.16

79

83

87

91

95

klaverværker 175

Hartmann_klaver_bind_1.indb 175

20/09/12 10.16

100

dim.

105

smorz.

110

smorz.

115

❉

8

119

dim.

❉
123

❉

8

❉

❉

176 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 176

20/09/12 10.16

V
Allegro passionato, non troppo

espressivo

❉

5

dim.

❉

❉

❉

10

❉
16

❉

❉

22

morendodim.

❉❉klaverværker 177

Hartmann_klaver_bind_1.indb 177

20/09/12 10.16

28

dim.

34

cre

scen

do

❉
40

dim.

❉

❉

46

dim.

con fuoco

a tempo52

risoluto

accelerando

affettuoso

58

smorzando

178 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 178

20/09/12 10.16

64

dolce

legato69

smorz.

❉
74

❉
80

86

smorz.

❉

91

sostenuto

klaverværker 179

Hartmann_klaver_bind_1.indb 179

20/09/12 10.16

96

con anima❉
102

smorz.

❉❉

108

espressivo

❉

❉

❉

114

dim.

❉
120

con fuoco❉
126

180 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 180

20/09/12 10.16

132

con anima❉137

ritenuto

cresc.

❉

❉

❉

❉

142

dim.

estintosempre

❉

❉

❉

148

❉
a tempo153

ritardando

poco

a

poco

con fuoco❉

Hartmann_klaver_bind_1.indb 181❉
klaverværker 181

20/09/12 10.16

VI
Allegro animato, con grazia

dolce

legato

❉

❉

3

dim.

6

❉
9

❉
12

❉

❉

1

15

❉

❉

2

dolce

❉

❉

❉

❉

182 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 182

20/09/12 10.16

17

❉

❉

❉

20

cresc.

❉
23

passionato

❉

❉

26

❉
29

smorz.

32❉❉
klaverværker 183

Hartmann_klaver_bind_1.indb 183

20/09/12 10.16

35

38

41

❉

❉

44

dim.

❉
47

49

❉

❉

❉

184 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 184

20/09/12 10.16

51

54

❉
57

60

❉

63

smorz.

66

cre

scen

do

❉

❉

❉
klaverværker 185

Hartmann_klaver_bind_1.indb 185

20/09/12 10.16

CANZONE
Allegretto, quasi andantinoVIIdolce con semplicita

legatissimo

7

15

dim.

❉
23

32

smorzando

186 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 186

20/09/12 10.16

41

dim.

❉

49

dim.

❉

❉

57

morendo

❉

❉

❉

❉

❉

65

morendo

❉

❉

❉

❉

❉

73

con anima

klaverværker 187

Hartmann_klaver_bind_1.indb 187

20/09/12 10.16

81

ritardando

a tempo

89

❉

97

dim.

❉

105

dim.

❉
113

ritenuto❉❉

a tempo❉188 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 188

20/09/12 10.16

121

127

smorz.

❉

133

smorz.

139

poco animato146

ritardando❉
klaverværker 189

Hartmann_klaver_bind_1.indb 189

20/09/12 10.16

VIII
Allegro con fuoco, assai

sempre legato

4

8

dim.

❉

❉

12

❉
8

cresc.

158

18

190 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 190

20/09/12 10.16

21

❉

❉

❉

24

cre

scen

do

27

cresc.

31

34

❉
37

klaverværker 191

Hartmann_klaver_bind_1.indb 191

20/09/12 10.16

8

40

3

con fuoco

43

46

51

55

cresc.

192 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 192

20/09/12 10.16

59

❉
8

62

❉

❉

8

65

❉

68

legato72

klaverværker 193

Hartmann_klaver_bind_1.indb 193

20/09/12 10.16

76

dim.

80

83

86

cresc.

con fuoco

89

92

3

194 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 194

20/09/12 10.16

95

con anima❉

98

accelerando102

ritardando

a tempo con fuoco

8

105

108

❉
klaverværker 195

Hartmann_klaver_bind_1.indb 195

20/09/12 10.16

deux pièces caractéristiques
8I

Op. 25

Allegro passionato ( = 138)

❉

❉
3

❉

❉

❉

6

smorz.

❉

risol.

❉

9

❉

❉

11

8

13

❉

196 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 196

20/09/12 10.16

15

8affetuoso

❉

18

❉

❉

21

smorz.

risol.

24❉
poco riten.
27❉
klaverværker 197

Hartmann_klaver_bind_1.indb 197

20/09/12 10.16

a tempo
29

leggiero❉832

cresc.

❉

34❉

poco ritenuto

a tempo36

38❉

198 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 198

20/09/12 10.16

3

41

3

3

rit.

risoluto

risoluto❉3

44

cresc.

❉❉

46

con fuoco

❉

48

❉

50

❉

8

klaverværker 199

Hartmann_klaver_bind_1.indb 199

20/09/12 10.16

8

52

54

smorz.

56❉
59

Meno allegro ( = 80)

cantabile

❉

❉

❉

❉

62

❉

❉

65

a piacere❉

200 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 200

20/09/12 10.16

68

a temporubatolegato e dolcissimo

❉
71

dim.

❉

❉

❉

74

❉
❉

77

rubato

3

❉

3

80

3

❉

3

3

3

❉

83

❉

❉
klaverværker 201

Hartmann_klaver_bind_1.indb 201

20/09/12 10.16

86

dolce

❉
89

❉

❉

❉

92

❉

❉

95

inquieto

❉

❉

❉

❉

98

100

❉

202 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 202

20/09/12 10.16

102

105

❉
107

❉
109

111

114

8

poco ritenuto❉
klaverværker 203

Hartmann_klaver_bind_1.indb 203

20/09/12 10.16

116

a tempo118

120

cresc.

122

cresc.

molto ritenuto

124

dolcissimo e legato

poco accel.

127

smorzando❉❉❉

204 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 204

20/09/12 10.16

130

Tempo I con fuoco

cresc.

❉

❉

❉

133

dim.

❉

cresc.

stretto

❉

136

138

dim.

❉

❉

141

smorz.

legato❉144❉

a tempo❉klaverværker 205

Hartmann_klaver_bind_1.indb 205

20/09/12 10.16

II
Allegro non troppo tranquillamente (

= 52)

m.s.
poco ritenuto❉
a tempo con anima
a tempo5m.s.
ritenuto❉

Tempo più moto10

ritenuto❉
15

accelerando

❉

❉

❉

❉

20

dim. e ritard.

smorz.

❉

206 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 206

20/09/12 10.16

Allegro commodo grazioso ( = 138)
25

dolce

29

❉

❉

34

dim.

dim.

❉

❉

❉

❉

39

❉

❉

44

klaverværker 207

Hartmann_klaver_bind_1.indb 207

20/09/12 10.16

49

3

53

3

❉

57

dim.

❉

❉

❉

❉

❉

61

65

affettuoso

208 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 208

20/09/12 10.16

69

marcatoil basso

sempre cresc.

73

decresc.

77

❉

82

cresc. assai

❉
87

❉

❉
klaverværker 209

Hartmann_klaver_bind_1.indb 209

20/09/12 10.16

92

3

97

3

cre

dim.

102

scen

do

❉

❉

❉

Tempo I107

smorz.

sempree sostenuto

112

smorz.

210 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 210

20/09/12 10.16

117

Animato ( = 160)

passionato

122

con fuoco

127

132

137

❉
klaverværker
211

Hartmann_klaver_bind_1.indb 211

20/09/12 10.16

142

❉

❉

147

❉

❉
152

157

dim.

con passione

ten.

162

dim. e smorz.

212 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 212❉

20/09/12 10.16

168

ritenuto ad libitum

172

accelerando

ten.

❉

❉

(172)

dimin.

ritardando

Allegro commodo grazioso ( = 138)
173

3

178

3

dim.

❉

❉

klaverværker 213

Hartmann_klaver_bind_1.indb 213

20/09/12 10.16

183

con fuocodim.

❉

ritenuto❉ten.

a tempo con anima
188

con fuoco

193

dim.

198

dolce tranquillamente

❉

❉

202

cresc.

❉

214 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 214

20/09/12 10.16

205

smorz.

208

dolce

210

con forza

213

di

❉

mi

nu

en

do

❉

216

❉
klaverværker 215

Hartmann_klaver_bind_1.indb 215

20/09/12 10.16

tre genrestykker
9I

INTRODUCTION
Allegro

3

3
3

3

3

3

3

5

3

3

3

3

3

3

3

3

9

3

3

3

3

3

3

3

3
3

3

3

12

3

3

3

3

3

3

3

15

dim.

216 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 216

20/09/12 10.16

18

3

3

3

3

smorz.

22

26

smorzando

poco più lento
29

religioso

33

smorz.

klaverværker 217

Hartmann_klaver_bind_1.indb 217

20/09/12 10.16

38

Tempo I
3

3

3

3

3

3

3

3

3

3

3

accellerando

41

45

smorz.

ritenuto❉
50

Allegro assai, con molto fuoco

marziale

57

5

❉

❉

218 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 218

20/09/12 10.16

63

69

❉

❉

75

dim.

❉
❉

82

dim.

❉
❉

89 I

1

❉

2

con fuoco assai

klaverværker 219

Hartmann_klaver_bind_1.indb 219

20/09/12 10.16

93

99

105

stretto

110

dim.

❉

❉

116

legato121

220 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 220

20/09/12 10.16

126trionfale, marcato

❉

❉

❉

❉

132

accelerando

❉

❉

❉

❉

138

dim.

ritardando e dim.

❉❉a tempo con fuoco

144

❉

❉

150

156

❉

diminuendo

rit.

klaverværker 221

Hartmann_klaver_bind_1.indb 221

20/09/12 10.16

161

5

❉

❉

167

173

sempre diminuendo

179

184

poco ri

te

nu

to

a tempo con fuoco

190

dim.

col 8va ad libitum

222 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 222

20/09/12 10.16

II
Allegretto giocoso

ritenuto❉smorz.

5

con anima

9

legato sempre

13

17

smorz.

ritenuto❉
klaverværker 223

Hartmann_klaver_bind_1.indb 223

20/09/12 10.16

Moderato grazioso

21

dolce tranquillamente
3

3

3

3

segue

24

27

30

dim.

❉

33

❉

❉

224 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 224

20/09/12 10.16

36

❉

39

3

segue

3

leggiere lusingando

3

3

❉

❉

42

smorz.

ten.

3

45

Più moto

rit.

❉

48

klaverværker 225

Hartmann_klaver_bind_1.indb 225

20/09/12 10.16

53

smorz.

58

diminuendo

62

dim.

66

dim.

70

dim.

226 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 226

20/09/12 10.16

74

affettuoso

❉

❉

78

dim.

82

smorzando

dim.

❉

86 I

1

2

90

cresc.

klaverværker 227

Hartmann_klaver_bind_1.indb 227

20/09/12 10.16

95

Moderato grazioso

3

3

3

3

3

3

3

segue

3

❉

❉

98

cresc.

dim.

101

3

104

smorzando

3

❉
107

3

leggiere

3

3

3

segue

228 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 228

20/09/12 10.16

110smorz.

cresc.

113

dolcissimo

sempre legato

❉

116

❉

❉

119

3

smorz.

❉

Tempo I122

dim.

ritenuto❉❉
klaverværker 229

Hartmann_klaver_bind_1.indb 229

20/09/12 10.16

126

smorz.

131

con grazia

Moderato

134

3

3

3

3

segue

137

140

morendo❉

230 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 230

20/09/12 10.16

III
Allegro moderatosmorz.

5risoluto

9

Allegro assai passionato

13

17

klaverværker 231

Hartmann_klaver_bind_1.indb 231

20/09/12 10.16

21

25

29

inquietocresc.

33

marc.

dim.

leggiere

cre

36

39

scen

232 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 232

20/09/12 10.16

42

do

❉
45

❉
8

48

con molto fuoco

51

54

cresc.

❉❉

57

stringendo

klaverværker 233

Hartmann_klaver_bind_1.indb 233

20/09/12 10.16

59

❉

❉

❉

62

dolce

❉

65

69

73

dim.

❉

234 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 234

20/09/12 10.16

77cresc.

❉

❉

dim.

❉

❉

81

85

risoluto89

dim.

risoluto

93

dim.

klaverværker 235

Hartmann_klaver_bind_1.indb 235

20/09/12 10.16

96

inquieto

100

marcato

104

dim.

107

leggiere110

cresc.

❉

236 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 236

20/09/12 10.16

113

❉

8

116

con molto fuoco

119

8

122

cresc.

❉

125

❉

❉
klaverværker 237

Hartmann_klaver_bind_1.indb 237

20/09/12 10.16

con fuoco assai

128

marcato131

con fuoco
marc.

sost.

135

sost.

smorzando

a tempo
139

dolce

143

a tempo con fuoco

rit.

rit.

147

238 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 238

20/09/12 10.16

151

cresc. e accelerando

a tempo

155

dim.

❉
159

dim.

❉

❉

❉

❉

163

legato

167

smor

zan

do

170

❉
klaverværker 239

Hartmann_klaver_bind_1.indb 239

20/09/12 10.16

otte skitser
10I

Op. 31

Allegro non troppo, grazioso

dolce

❉

❉

❉

❉

❉

❉

❉

5

sempre legato

❉

❉

❉

9

dimin.

❉❉❉

ritenuto❉❉❉

a tempo13❉

240 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 240

❉

❉

❉

❉

❉

❉

20/09/12 10.16

17

legato

❉

❉

❉

❉

❉

21

❉

❉

25

❉

❉

❉

❉

❉

29

dolce

❉

❉

❉

❉

❉

❉

❉

33

legato❉❉❉klaverværker 241

Hartmann_klaver_bind_1.indb 241

20/09/12 10.16

a tempo
37

dimin.

❉❉❉

ritenuto

❉

❉

❉

42

cresc.

❉

❉

❉

❉

❉

❉

46

dimin.

❉

cresc.

❉

❉

❉
50

dim.

❉

❉
❉

54

dimin.

❉❉❉❉

242 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 242

20/09/12 10.16

II
CANZONETTA
Andante religioso

dolce e legato

❉

❉

4

smorz.

❉

9

❉

❉

m.d.

m.d.

❉

❉

❉

❉

❉

❉

❉

❉

❉

❉

❉

❉

12

❉

❉

❉

15

smorz.

❉

Hartmann_klaver_bind_1.indb 243

❉

❉

❉

❉

klaverværker 243

20/09/12 10.16

III
MAZURKA

❉

❉

❉

❉

6

❉

❉

❉

❉

13

❉

❉

19

❉

❉

❉

❉

❉

25

❉

❉

❉

❉

❉

244 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 244

20/09/12 10.16

30

❉

❉

❉

❉
1

35

❉
40

II

❉

❉

❉

❉

❉

❉

2

❉

❉

46

❉

❉

1

❉

❉

2

dimin.

❉

❉

❉

50

❉

❉

❉

❉

❉

56

dimin.

rit.

❉❉
klaverværker 245

Hartmann_klaver_bind_1.indb 245

20/09/12 10.16

IV
SCHERZO
Allegro molto

❉

❉

6

❉

❉

❉

ten.

ten.
11

dim.

❉

con fuoco

❉

❉

❉

16

❉

❉

❉

❉

21

❉

❉

❉

❉

246 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 246

20/09/12 10.16

26

❉

❉

❉

31

❉
36

❉

❉

con brio

❉
41

con

cresc.

❉
46

a tempodimin.
smorz.

❉

❉

53

❉

❉

❉
klaverværker 247

Hartmann_klaver_bind_1.indb 247

20/09/12 10.16

61

attacca subito

❉

❉

65

❉

❉

❉

ten.

ten.
69

dim.

❉

73

❉

❉

❉

78

❉

❉

82

cresc.

❉❉

248 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 248

20/09/12 10.16

a tempo
86

poco riten. e dim.

❉91

a tempocresc.

❉
più moto

91

8

assai

❉
97

❉

❉

❉

❉

Tempo I

8

❉

❉

❉

103

❉

❉

❉

107

dim.

❉

❉

❉
klaverværker 249

Hartmann_klaver_bind_1.indb 249

20/09/12 10.16

V
SCHERZO
Allegro molto assai

❉

7

dim.

cresc.

❉

❉

❉

dolce

❉

legato

15

dolce

dim.

❉

❉

❉

❉

legato❉23❉

250 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 250

20/09/12 10.16

31

cresc.

dim.

❉

❉

❉

❉

39

dim.

❉

❉

❉
8

8

47

con fuoco

dim.

❉

❉

❉

55

dim.

❉

❉

62

❉

❉
klaverværker 251

Hartmann_klaver_bind_1.indb 251

20/09/12 10.16

69

cresc.

❉

❉

❉

❉

77

dolce

riten.

legato❉❉❉Un poco meno allegro
85

smorz.

dolce
legato

❉

❉

❉

❉

❉

92

❉

❉

❉

❉

99

❉

❉

❉

❉

252 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 252

20/09/12 10.16

106

dim.

❉

❉

Tempo I

113

❉

❉

❉

119

cresc.

❉

❉

❉

127

❉

dim.

dolce

❉

legato

dim.

❉

❉

133

dolce

legato❉klaverværker 253

Hartmann_klaver_bind_1.indb 253

20/09/12 10.16

139

❉

❉

❉

145

cresc.

❉

❉

❉

152

dim.

❉

❉

❉

159

8

dim.

❉
8

8

166

con fuoco

dim.

❉

dim.

❉

❉

❉

254 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 254

20/09/12 10.16

175

❉

❉

183

❉

❉

❉

190

dolce

❉

❉

197

❉
205

dim.
cresc.

❉❉❉❉
klaverværker 255

Hartmann_klaver_bind_1.indb 255

20/09/12 10.16

213

cresc.

❉

❉

❉

❉

❉

Più stretto
8

220

❉

228

ten.

❉

❉

❉

❉

235

ten.

❉

❉

❉

❉

❉

❉

❉

❉

243

❉

❉

❉

❉

256 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 256

20/09/12 10.16

VI
Allegro assai

❉
5

❉

❉

❉

10

cresc.

❉

❉

❉

❉

15

con fuoco

smorz.

❉
19❉
klaverværker 257

Hartmann_klaver_bind_1.indb 257

20/09/12 10.16

23

❉
27

dim.

32

❉
37

smorz.

❉

subito

❉

con

43

❉

❉

48

scherzando

❉

❉

❉

258 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 258

20/09/12 10.16

53

cresc.

❉❉❉

con fuoco

57

❉

❉

61

❉

❉

smorz.

❉

❉
❉

66

❉

❉

❉

71

❉

❉

❉

❉

❉

76

risol.
smorz.

❉❉
klaverværker 259

Hartmann_klaver_bind_1.indb 259

20/09/12 10.16

VII
INTRODUCTION
Allegro non troppodim.
e risoluto❉❉
a tempo5

poco rit.

❉

❉

11

❉

❉

16

m.d.

❉

❉

MOUVEMENT DE VALSE
Allegretto

ritard.
21

❉

❉

❉

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a tempo
26

❉

❉

❉

❉

31

❉

❉

36

❉

❉

41

❉
48

❉

❉

❉
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54

❉

❉

60

❉

❉

❉
rit.

poco accelerando

66

❉

❉

❉

❉

a tempo
1

72

❉
78 I

❉

❉

❉

2

poco rit.

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Tempo accelerato poco a poco
80

❉

❉

❉

❉

❉

86

cresc. assai❉❉❉
a tempo

92

m.d.
dolce

dim. e ritard.

❉

m.d.

❉

❉

99

m.d.
m.s.

❉

❉

❉

❉

106

m.d.
m.s.

dim.

❉

❉

smorz.

❉

❉

113

dim.

❉

❉

❉

ritenuto❉
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VIII
Allegro passionato assai

cresc.
dim.

❉

❉

❉

6

❉

cresc.

10

❉

❉

❉

❉

❉

❉

dim.

❉

❉

❉

❉

❉

❉

❉

❉

❉

❉

leggiere❉❉ritenuto

14

❉

❉

❉

a tempo❉8

18

grazioso

dim.

❉

❉

22

1

dim.

2

dim.

❉

risoluto

❉

❉

❉

❉

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26

risoluto

❉

❉

❉

❉

❉

❉

31

❉

con brio

❉

❉

❉

❉

36

dim. e ritard.

❉

40

a tempocon fuoco assai
vivo

cresc.

il

❉

❉

❉

❉

44

cresc.

❉

❉

❉

❉

❉

❉

❉

❉

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48

cresc.

❉

dim.

❉

❉

❉

❉

❉

❉

ritenuto52

leggiere

❉

56

❉

❉

❉

❉

a tempo❉❉8

grazioso

❉

❉

dim.

❉

❉

60

dim.

❉

❉

❉

64

risoluto

ritenuto

❉

❉

❉

❉

❉

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69

a tempo73

legato dolente

dim.

❉

❉

❉

77

dim.

❉

81

ritenuto

85

a temposmorz.
dim.

❉❉

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seks tonestykker i sangform
11

I
Allegro agitato grazioso

Op. 37

segue

ten.

3

❉

❉

segue

6

9

11

dim.

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dim.

❉

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con anima

14

con
1
17

2

I

19

dim.

dim.

22

❉

❉

25

dolce

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a tempo

rubato28

cresc.

31

di

mi

nu

en

do

❉
34

dim.

❉

dim.

❉

❉

❉

segue

37

ten.
39

❉

❉

segue

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42

44

dim.

dim.

❉

❉

47

dim.

dim.

❉

❉

50

decresc.

sost.

53

55

smorz.

riten.

❉❉
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II
Moderato con passione
33

cresc.

❉
poco rit.
5

3

3

dim.

❉
a tempo

❉

❉

❉

10

15

smorz.

1

20

smorz.

dim.

smorz.

❉

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23 II 2

con anima

con
27

31

❉

❉

35

dim.

❉

❉

39

smorz.

❉

Hartmann_klaver_bind_1.indb 273❉

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a tempo3

433

riten.

❉❉

48

smorz.

52

con anima

m.s.
56

❉
61

rit.

dim.

❉

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III
Allegro assai

dim.

risol.

risoluto

5

poco

dim.

10

cresc.

dim.

15

19

risoluto

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23

27

dim.

31

1

2

con fuoco
assai

36

ten.
39

❉

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43

❉

❉

❉

47

dolce grazioso

cresc.

❉
51

dim.

55

dim.

❉

❉

59

❉

❉
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63

cresc.

❉
67

dim.

71

dim.

smorz.

risol.

❉
75

risol.

79

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con fuoco assai
83

❉

❉

❉

87

accelerando

❉

❉

❉

❉

Tempo I

91

sost.

❉

❉

95

❉
99

smorzandom.s.

❉klaverværker 279

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IV
Allegro moderato vigoroso

5

10

15

dim.

dim.

dim.

21

marcato il basso

dim.

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27

risoluto

a tempo

32

dim.

38

dim.

43 I

1

2

dim.

46

Chor

con fuoco

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V
Allegretto quasi andantino

sempre legato

il canto ben marcato
5

11

16

cresc.

21

27

smorz.

dolce

con

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32

37

❉
42

dim.

47

smorz.

a tempo

52

rit.

dim.

❉
57

smorz.

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VI

VEKSELSANG
ANTIPHONE
Allegro agitato

inquieto4smorz.

legato il basso
7

con
10

13

cresc.

dim.

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16

dim.
ten.

19

22

legato25

sost.

smorz. assai

28

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31

cresc.

risol.

dim.

❉

34

cresc.

dim.

❉

37

❉

40

con fuoco

43

❉

dim.

8

46

con fuoco❉

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Hartmann_klaver_bind_1.indb 287

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forkortelser abbreviations abkürzungen

b.
bb.
DK-Kk
marc.
m.d.
m.s.
No.
Pl.No.
pf.1
pf.2
stacc.
t.
ten.

bar
bars
Det Kongelige Bibliotek, København(The Royal Library, Copenhagen / Die kgl. Bibliothek, Kopenhagen)marcatomano destra
mano sinistra
numberplate number
upper staff
lower staff
staccatotakt
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critical commentarysources 1
With very few exceptions all the printed piano music by Hartmann
was published in four volumes by Wilhelm Hansen in 1885 (thisyear the songs were also published in a collected edition). This
source is not included in the description of sources for each individual work, but only registered here once and for all:Title page: “J.P.E.HARTMANN / Klaverstykker / 1ste [2det, 3die, 4de]
Bind / […] /KJÖBENHAVN / WILHELM HANSENS MUSIKFORLAG.”
81, 78, 86, 79 pages (1885).
The order of the works in the edition is neither systematic nor
chronological.
The only works already published by that time which are notincluded in the edition are.:Hamborger-Skotsk (No. 30)
Canzonetta (No. 31)
Den 20de Januar 1848 (No. 38)
Albumsblad i F dur (No. 49)
The edition has not been taken into consideration in connection
with the editorial work of the present edition.

i. sonatas and sonatina[ no. 1 ] sonate i d mol, opus 34
A Printed score
B Printed score
C Autograph, fair copy, fragment
D Arrangement for piano duet by Otto Dütsch
A Printed score.
DK-Kk.
Title page: “PIANOFORTE-SONATE / gekrönt mit dem zweiten
Preise / vom Preis-Institut des / Nord-Deutschen Musikvereins[…] SONATE / componirt / von / J.P.E.Hartmann. […] Op. 34[…] / Schuberth & Comp. – Hamburg und Leipzig […]”.

Motto on the title page: “Neque chorda sonum reddit, quem
vult manus et mens, / nec semper feriet, quodcunque minabitur, arcus.”2
Pl. No. 473 (1842).3
31 pages.
Bound in blue cardboard with a title label: “I.P.E. Hartmann:
Preis-Sonate für / Pianoforte. / Op. 34.” Later bound in brown,
patterned library binding.
Stamp added at the bottom of the title page: “J:COHEN
Muskikhandler.”
Owner’s signature in ink on the title page: “Otto Dütsch.”Hofmeister XIX (Mai 1842) refers to a collection of all the threesonatas who won the three prizes in the competition (by Vollmeiler, Leonhard, and Hartmann; see Introduction). A copy ofthis edition is not known today.
B Printed score.
Title page: “Pris-Sonate / for / Pianoforte / af / J.P.E.Hartmann.
/ Op. 34. / Motto: “Neque chorda sonum reddit, quem vultmanus et mens, / nec semper feriet quodcunque minabitur arcus.”/ Ny Udgave forsynet med Fingersætning / af / Aug. Winding. /KJÖBENHAVN / Wilhelm Hansens Forlag og Eiendom.”
Pl. No. 3735 (1880).
31 pages.
C Autograph, fair copy, fragment.
DK-Kk, Hartmanns Samling, CII, 65.
Title on the binding: “I.P.E. HARTMANN SONATE FORKLAVER OP. 34.”
fol. 1r, upper left corner: “No 17” in unknown hand (thenumber does not correspond with the number which the sonata was given in connection with the prize committee’s assessment (“43” according to Hartmann’s letter of 28.12.1841).4

1 A number of Hartmann’s autograph manuscripts have been digitized by The Royal Library in Copenhagen and are available on thelibrary’s website (www.kb.dk). They can be found via the library’s
electronic catalogue, REX. The number of digitized manuscripts
in the library is continually being increased.
2 Horats, Ars Poetica, l. 348 and 350 ; see Introduction for translationand further comments.
3 On p. 2 of B the year of the first edition is given as “1843”.
4 Letters No. 125.

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Latin motto in Hartmann’s hand:“Neque chorda sonum reddit, quem vult manus et mens nec
semper feriet quodcunque minabitur arcus”.
Library binding, brown with light stripes.
37.5x26.5 cm, 10 folios, 12 staves (cover: 10 staves).
fols. 1-6 unpaginated; fols. 7-10 (fourth movement) paginated
1-7, unpaginated.
fol. 1v: blank.
fol. 2r-fol. 4v: first movement up to and including b. 173.
fol. 5r- fol. 6r: third movement.
fol. 6v: eight-bar addition for the third movement, bb. 54-61(see List of Emendations).
fol. 7r - fol. 10v: fourth movement.
The first movement is incomplete (ends in b. 173); the second
movement is missing.
A few corrections and deletions in Hartmann’s hand.
An old catalogue record in DK-Kk tells that the incomplete manuscript was found in connection with a clear-out of the parts of
The Royal Archive (“Fundet ved Oprydning i Stemmer fra Hofmusik-Arkivet”).5 Thus, the manuscript is not identical with themanuscript which Hartmann thoroughly described in his letter of
28.12.1841 to Julius Schuberth;6 this manuscript is apparently lost.
D Arrangement for piano duet by Otto Dütsch.
DK-Kk, Hartmanns Samling, Supplement, Kompositioner og
Udkast.
Title page: “J:P:E:Hartmann / Piano Sonate / Ister Satz / Allegro
appassionata / für das Pianoforte zu vier Hände arrangiert /[added in pencil:] von Otto Dütsch / Op 34”.
Title on the first music page: “Sonate in d von J:P:E:Hartmann /für Pianoforte / zu vier Hände arrangiert von Otto Dütsch”.
In the top right corner of the title page: “A – VI – d / Piano
4/m”.
27.5x38.5 cm, 18 staves.
fols. 1-7 (first movement), unpaginated;
fols. 8-9 (second movement) paginated 1-3;
fols. 10-12 (third movement) paginated 1-6;
fols. 13-17 (fourth movement) paginated 1-8.
Originally the four movements were kept in four individual
gatherings which have later been sewn together, creating asingle gathering.
A few deletions and corrections in ink and pencil.
The source for Otto Dütsch’s arrangement for piano duet is notknown. The arrangement may have been made in consequenceof a suggestion from the German publisher Julius Schuberth topublish a version for piano duet.

5 Hand written music catalogue slip in The Music and Theatre
Department.
6 Letters No. 125.

Filiation
C is Hartmann’s original fair copy used as the source for the copy,
which was sent to the jury of the prize committee, but which
is now lost. It was also the source of the printing copy whichis also lost.
The printed edition from 1880 (B) is based on the first editionof 1842 (A); in a number of instances the articulation has beenenhanced, and the metronome markings have been left out. As
indicated on the title page, composer and pianist August Winding has added fingering in B; the fingering is not included in thepresent edition.
B has been chosen as the main source for the present edition; it
has been collated with the first edition (A) and the autograph fragment (C); important variants are listed in the critical report.

[ no. 2 ] sonate i g mol
A Autograph, fair copy
B Autograph, draft
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Supplement, Kompositioner og
Udkast.
Title on the first blank music page: “Sonate / for / Pianoforte”.
End dating (p. 11): “J.P.E. Hartmann D. 31 Marts 1851. / Op.
53.” (“Op.53” crossed out in pencil).
Title above second movement added in pencil: “Sang uden
Ord” (Song without Words).
Title above third movement added in pencil: “Gamle Minder”(Old Memories).
27x36.5 cm. 3 bifolios, stitched together (stitching damaged).
Title page and 11 numbered pages, 14 staves. Ink with numerous pencil corrections.
Various fragments added after the final staff on p. 11.
B Autograph, draft.
DK-Kk, Hartmanns Samling, Kompositioner, Udkast m.v.,
1939-40.448.
Allegro non Troppo (no further title).
End dating: “Marts 1851”.
One bifolio, first page blank.
12 staves, written in ink. 26x35 cm.
Containing draft for the first movement, the musical texture
being somewhat simpler than in A.
Pf.2 of bb. 15, 29, 33, 41-43 missing; bb. 30-32 missing. Thus,
the movement was apparently not quite finished, when Hartmann began writing down the complete sonata in A.
Apparently the work was never printed; the opus number “53” ofthe end dating was used for a different work (Etudes Instructives)
from about the same time, where it fits into the chronological order of other works with opus numbers.

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There is much to suggest that the many pencil corrections were
not carried out in connection with the reusing of some of the material for Op. 74 (see Introduction, No. 23) but that they are rather
part of the “work” itself – introduced into the score, perhaps withan eye toward the aforementioned intended publication of thework, a plan that never came to fruition. Some of the pencil emendations in the first movement have been carried further into Op.
74, No. 1, while some of the other emendations appearing here are
related to passages that were not reused at all in Op. 74. Moreover,there are also pencil emendations in the two movements that were
not reused in Op. 74, that is to say, the sonata’s second and third
movements. And finally, the beginning of the sonata’s last movement contains pencil emendations that cannot be spotted again
in the corresponding passages in Op. 74, No. 5. All this evidence
suggests that the emendations are related directly to the G minor
Sonata as a “work” in itself and not to the reusing of the material in Op. 74.
For this reason, these pencil corrections have been incorporated into the present edition, while the original ink versions of
the relevant passages have been included as variants. In addition, anumber of minor revisions are made on the source’s own premises;
these are documented in the critical report.
Hartmann’s pedaling (in the first and fourth movements only)
has been reproduced without any additions in passages where thepedaling is missing.

[ no. 3 ] sonate i f dur
A Autograph, fair copy
B Autograph, sketch and fair copy
C Autograph, fair copy
D Autograph, fair copy
E Autograph, fragment
F Sketches
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, S-Studier.
Title on the first music page: “Sonate”.
End dating: “9 Octbr. 1854”.
6 gatherings and 1 folio with added pagination in pencil (1-25).
25.5x34.5 cm. 12 staves.
Contents:
Allegro grazisoso (pp. 1-10);
Allegretto (Intermezzo) (pp. 11-14) with a number of deleted
passages, which are to be substituted by passages in B;
Allegro comodo (pp. 15-25). As for the missing Andante sostenuto, A refers to B, p. 14, in the following words: “Derefter Andante sostenuto B dur 6/4, til sidste Takt, ved * derefter V.S.”7Deletions and remarks on p. 11ff. combined with the verso
page of B below comprise the Allegretto.
All pencil corrections in the first movement are meticulouslytransferred to D except the addition in the margin of p. 2.

B Autograph, sketch and fair copy.
DK-Kk, Hartmanns Samling, S-Studier.
1 folio, written in ink on both pages (added pencil sketches atthe bottom of one of the pages); 29x34.5 cm, 20 staves.
Recto:“Andante sostenuto”. End dating “15/9 53”.
Addition at the bottom of the page: “See Papiret Litr. A”8 (referring to the verso page with the intermezzo described below).
However, an asterix added before the last bar refers to A above(p.14), which alters the order of the movements.
Verso:
Indications in text and music as to how the Intermezzo should
be read (without tempo and title), without any bridge passage
to the Finale. According to this, the order of the two middle
movements is: Andante sostenuto – Intermezzo. However, theadded asterix before the last bar combined with the remarks in
A mentioned above, indicate a different order, namely: Intermezzo – Andante sostenuto.
A combination of A and B apparently thus comprises the earliest version of the sonata with the following order of the movements: Allegro grazioso, Allegretto Intermezzo, Andante sostenuto,
Allegro conmodo, including the bridge passage between the twolast movements.
As it may be seen from the datings in A and B, the Andante wasfinished more than one year earlier than the first movement – perhaps as an originally independent composition.
C Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel S-Studier.
Title on the first music page: “Intermezzo Allegretto moderato(märchenartig)”9 including a bridge passage to the Finale.
Two gatherings with 6 written pages and 2 blank pages. 12
staves, 26.5x34 cm.
Ink with pencil corrections and unidentified sketches in pencil.
Addition in pencil above the first staff: “gjælder”.10
Contents:
Intermezzo, bridge passage and the first 12 bars of Finale.
Thus C presents an alternative version of Intermezzo in comparison with A and B, both when it comes to the music of the Intermezzo itself and to the order of the two middle movements.
At the bottom of the last page, the finale is interrupted afterb. 12; with very few exceptions these 12 bars are identical with A.

7 “After this, Andante sostenuto B flat major 6/4 until the last bar
at *, and then page turn.”
8 “See the page, Litra A.”
9 “Like a fairy tale.”
10 “Valid”.

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D Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel S.
Title on the first music page: “Sonate”.
4 bifolios (the second being torn apart in two pages), paginated
2-12, 13 (crossed out), 14-15 (corrected in pencil to 20-21), 23.
25.5x34 cm.
Contents:
First movement and Andante sostenuto, con largezza. Later
Hartmann moved the latter movement to B of Nyt and Fornyet
Opus 74 (see No. 23); this may be seen from, among otherthings, the fact that “N: 3” is added before the first bar of the
movement, that “Andante” has been emended to “Andantino”,
and that “con largezza” is crossed out in pencil. Furthermore, thepagination of these pages have been emended from “14”ff. to“20”ff., which exactly fits into the pagination of B of Opus 74.
Pencil addition on top of pp. 13 and 14 (=20) “Skrives ikke”11,
referring to the crossed out staves on the pages in question(equivalent with the last 36 bars of the first movement). This
remark however, does not belong to the sonata, but it was added when Hartmann later moved the gathering in question to
the manuscript of Opus 74 (Andantino); the remark indicates,that here in the new context the last 2½ pages of the gathering(=Andantino) are to be used – not the first 1½ pages, which
belonged to the first movement of the sonata.
At the bottom of p. 22 a remark is added, which also relates
to the removal of this part of the manuscript to Opus 74: “NB
Efter No 3s Slutning tilbage til No 4 pag. 19, Allegretto moderato”12 (the figures “3” and “4” refer – as mentioned earlier – tothe use of the movement in Opus 74 and has nothing to dowith the F major Sonata).
E Autograph, fragment.
DK-Kk, Hartmann Samling, S-Studier.
No title, no indication of composer nor any other identificationof the work.
34.5x25.5 cm; 12 staves; 1 bifolio with all four pages written
in ink.
Contents:
Part of the first movement, partly identical and partly different
from D. As it may be seen from the collation of D and E below,
E begins right in the middle of the movement. Only three ofthe pages have something to do with the sonata. The last page
contains unidentified sketches (see the collation below in connection with Filiation).
F Sketches.
DK-Kk, Hartmanns Samling, Kapsel L-R.
Title on cover: “I.P.E.Hartmann”.

Title on the inner part of the cover (librarian’s addition):“Musikalsk Skiizzebog” (Sketchbook with Music).
94 unpaginated pages in brownish stiff binding.
18x27 cm. 12 staves.
Sketches in pencil and ink, including sketches for the slow
movement of the F major Sonata.

Filiation
First movement : A, D and E
Andante sostenuto: B and D
Intermezzo: A, B and C
Finale: A [C]First movement
The two fair copies, A and D (with numerous corrections), strongly differ from each other. A contains passages that are not in D andthe other way round. Furthermore, passages which are musicallyand formally equivalent differ in a number of details (see collationof the two sources below). As the pencil additions and corrections
in A (only on the first pages of A) have been transferred to D (andas A, but not D, is dated) one can assume, that D represents thelatest version, in consequence of which D has been chosen as themain source for the present edition.
It is not possible to establish the relation between the fragment
E and the two fair copies A and D (see description of E above).
As A and D thus represent two different versions of the movement, variants in A are only included in List of Emendations in the
few instances where it is relevant because of an actual correspondence between the passage in question in the two sources. Likewise,
E has been collated with D in passages, where there is a musicalcorrespondence between the two sources.
Collation of the first movement of A and D
The letters x, y and z in the third column indicate three types ofconcordance:
x: Identity, with differences in articulation only
y: Formal identity bar by bar, but substantial differences in themusical substancez: Missing in the other source
Source A
1-55
56-61
62-73
74-89
90-109110-113114-137

11 “Not to be copied.”
12 “NB After the end of No 3 go back to No 4 pag. 19, Allegretto
moderato.”138-174

Source D
1-55
56-61
62-73
74-90
91-100101-103104-158
159-164
165-194

Type of concordance
x
z
z
y
x
z
z
x
z
z
y
x

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175-182
183-255

195-210211-225
226-233
234.240240-280

z
z
y
x
y
x

Collation of the first movement of E and D
Source E
Source D
Type of concordance
1-2
z
3-21
103-130y22-56
129-165x (with very few variants)
57-64
166-174y
65-85
175-195
x
Andante sostenuto
B represents the original version, dated 1853. D differs in a numberof ways, especially in relation to chord extensions and added articulation in pencil. All these pencil corrections are related to thereuse in 1874.
The relation between B and D (before the pencil corrections) is
not clear; one could ask why Hartmann writes down the movement
once more in D, at a time when it already seems to be available in B.
For these reasons, D, excluding the pencil corrections, has beenchosen as the main source for the present edition, whereas D, including the pencil corrections, belongs to the source material for
Opus 74. This decision also influences the choice of order of thetwo middle movements.
Variants in B are listed in List of Emendations; as for the orderof the middle movements according to B, see source description above.
Intermezzo
A represents the original version of the movement and here theintermezzo follows right after the first movement. Above the firststaff of the movement is added in pencil “Intermezzo (märchenartig)” followed by a remark in ink: “(see Papiret, hvorpaa Andanten
staaer Bogst. A)”;13 the remark refers to B, on the back of which
directives are given for an alternative version of the Allegretto (seebelow).
On the first page of the movement in A, the first three staves
are crossed out in consequence of the reference to the alternative
bars in B, mentioned above. After this, some deleted passages follow, which are substituted by other passages in B. At the end, thelast bars of the movement are crossed out with a reference “H” in
B, after which the movement finishes with the words: “Derefter
Andante sostenuto B dur 6/4, til sidste Takt, ved *. Derefter V.S.”,
the meaning of this remark being: “please now play the second
movement as in B until the asterix after the last bar but one, andthen continue on the following page of A, where the last bar of
the movement is written, then the bridge passage to the last movement, and finally the last movement” (thus confirming the alternative order of the two middle movements).

In conclusion:
First version: A without the deletions and references to othersources.
Second version: the back of B, consisting in a number of fragments
and references to passages in A, which are still valid; a combinationof these two elements creates the movement as Hartmann originally wanted it in the sonata. This version (i.e. taking its starting pointin B) forms the model for C (by far most of the pencil additions in
A and B have been transferred to C).
Third version: the fair copy in C (the only movement in C), witha different bridge passage to the finale than the one mentioned
above leading to the first bars of the finale. As this version by andlarge follows the instructions in B, it must be the last version of the
movement, but still not exactly as it is reused in Opus 74 (if so, thereuse could have explained why the movement was written once
more in C).
In spite of the uncertainty surrounding C, it has been chosen
as the main source for the present edition of the sonata – without
the pencil corrections. The reason why the pencil corrections are
not included in the present edition of the sonata is that they wereclearly added after Hartmann’s work with the movement as part ofthe sonata, although on the other hand, they cannot altogether besaid to belong to the revised version to be used in Opus 74. A andB have been used as correctives when relevant.
As it can be seen from what is said above, the decision as towhich bridge passage to the finale should be used is closely related
to the decision about the order of the middle movements. The order of these movements seems to have been swopped between thewriting of the first and the second version of Intermezzo.
FinaleA is the only source for the Finale, apart from the first 12 bars withthe preceding bridge passage between Intermezzo and Finale in C.
As mentioned above, the two bridge passages to the Finale aredifferent in A and C, due to the different order of the two middle
movements. For these reasons, the bridge passage in the present
edition is taken from C, in spite of the fact that the main source forthe finale is A.

[ no. 4 ] sonatine i g dur
A Printed score
B Printed score
C Autograph, printing copy
A Printed score.
Title page: “ALLEGRO. ROMANCE. / RONDO-SCHERZO.
/ SONATINE / FOR / PIANOFORTE / componeret af /13 See the paper with the Andante Letter A.

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J.P.E.HARTMANN. / Pr. 48 Sk. / […] / KJØBENHAVN / hos /HORNEMAN & ERSLEV / (Emil Erslev).”
Pl. No. 540; 7 pages.
Date: December 1863.

1859.16 This cannot be seen in the copy of Zigeunersang in The
Royal Library (CII 144); the few sketches in this manuscript
seem to relate to a different work.
A has been chosen as the main source

B Printed score.
Title page: “KOMPOSITIONER / FOR / PIANOFORTE / AF
J.P.E.HARTMANN [List of Hartmann’s works for piano] / […]/ KJØBENHAVN. WILHELM HANSENS MUSIK-FORLAG.”As “Op. 48” of the list: “Sonatine. Allegro – Romance – RondoScherzo”.
Title above the first stave: “SONATINE” (without opus
number).
Pl. No. 4716.
Date: after 1885, based on the fact that the A minor Sonata(published in 1885) is included in the catalogue of Hartmann’s
piano music on the front cover of the Wilhelm Hansen edition.
According to Dan Fog, the wording of Wilhelm Hansen’s impressum on this edition was used in the years between 1882
and 1887.14
The opus number “48” of the list of works on the front cover is
not known from any other source. It might be a mistaken useof the indication of the price (“48 sk.”) given in the first editionof the work by Horneman & Erslev (A).
The opus number “48a” is found nowhere else than in Dan
Fog’s catalogue,15 probably as a construction because theSecond Symphony has the authorized opus number “48”.
C Autograph, printing copy.
DK-Kk, CII, 65, mu 6604.2862.
Title on the first blank music page: “Sonatine / for Pianoforte”.
Later library addition: “[J.P.E.Hartmann] [op. 48a]”.
Title above the first stave with music: “Sonatine” (without
name of composer).
End dating: “16/7 63”.
12 pages, 14 staves, 26x34.5 cm; title page and pp. 11-12 blank.
Later library binding with added label: “Hartmann, J.P.E. Sonatine for Pianof. Op. 48” (preprinted on the label: “Fr.IX Det
Kongelige Bibliotek Musikafdelingen”).
Ink with instructions for the engraver added in pencil. A few
corrections in ink.
Sheet with corrections stuck on to the bottom of p. 6 and the
top of p. 9.
Richard Hove claims that sketches for the Sonatina are to befound in the manuscript of Hartmann’s Zigeunersang from

14 Dan Fog, Musikhandel og nodetryk i Danmark efter 1750, Copenhagen 1984, Vol. I, p. 211ff.
15 DF, p. 22.
16 Richard Hove, J.P.E. Hartmann, Copenhagen 1934, p. 40.
17 “To be transposed to A minor”.

[ no. 5 ] sonate i a mol, opus 80
A Autograph, fair copy, 1883 version
B Autograph, fair copy and sketches, 1876 version with additions
and corrections from 1883
C Autograph, sketches
D1 Printed score
D2 Printed score
A Autograph, fair copy, 1883 version.
DK-Kk, MA ms 467, mu 8308.2686.
Dating (p. 22, after last bar of the third movement): “4/7 83”;
(after the last movement): “Nærum Septt. 1883”.
26x35 cm.
9 folios, 14 staves (separate sheets with a different stave lay out)
paginated 1-33 and a single unpaginated folio with various inserts; the original fol. 4 has erroneously been separated into two
sheets. Between pp. 30 and 31 and between pp. 32 and 33 an
unpaginated, crossed-out page. After p. 34 one blank page. Inkwith numerous corrections and deletions.
B Autograph, fair copy and sketches, 1876 version with additions
and corrections from 1883.
DK-Kk, Hartmanns Samling, S-Studier.
Title on the covering (in pencil): “Sonate / No 2 / for P.F.”
End dating of the first movement: “11/10 76”.
The fair copy inserted in a bifolio with the title in pencil on theblank page and music in Hartmann’s hand on the other pages.
16 folios (lower right corner of the first folio torn off). Ink withnumerous pencil corrections. All the pencil corrections in thetwo movements were made in connection with the transposed
revision in 1883.
Pencil addition on top of p. 3: “trspn til a mol”.17
First and second movements in G minor and E flat major,
respectively. Scherzino, 10 bars written in pencil of a possible
third movement (see Introduction).
Including 10 folios with various sketches – some of them referring to the A minor Sonata (see survey below).
Contents of the sketches (all of the sketches that are related tothe present sonata were made in the 1880s in connection withthe late version of the sonata):
Small folio:(4 hand-ruled staves – two on each side): Canon á 4
Folio A:(34.5x25.5 cm) staves 1-4: third movement, bb. 33ff.; staves 5ff.:

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beginning of the third movement.
Folio B:
(14 staves, 34.5x25.5 cm): end of the slow introduction of thefirst movement and beginning of the third movement.
Folio C:
(13 staves, part of the page is missing, 30.5x25.5 cm): third
movement, bb. 38ff.
Gathering D:(14 staves, 34.5x25.5 cm): sketch for the fourth movement inink with numerous pencil corrections (from the beginning but
without an ending); same music paper as the fair copy of theearly version “side 3-4”.
Folio E:
(12 staves 34.5x25.5 cm): headline: Apocal 4 11, notation in
pencil on one staff with underlain text, including quotationfrom Revelation 4, 11.
Gathering F:(14 staves, 34.5x25.5 cm): addition on top of the first page ofthe gathering: “1. Mismod og Lidenskab. (Dismay and Passion)
2. Trøst. (Solace) 3. Fred. (Peace) 2. Grublen. (Rumination) 3.
Adspredelse. Gjennembruddets Stemninger. (Distraction. The
Breakthrough’s Frame of Mind)”.
p. 1: with few exceptions, a pencil fair copy of bb. 12-30
of the first movement (the few variants are given in List of
Emendations).
Pages 2-4: unknown sketches.
Sheet G (half of a folio, cut length-wise):(12 staves, 35x11 cm): fragments of the second movement:
recto: bb. 47-53.
verso: sketches for bb. 30-35, followed by unidentified sketches.
C Autograph, sketches.
DK-Kk, MA ms 468, mu 8308.2687.
6 bifolios, of which one has erroneously been separated into 2
folios; pagination (pp. 1-22) added later (it is unclear whether
the pagination reflects the correct order of the folios).
12 staves, 26x35 cm.
Sketches for a number of different works including the A minor Sonata. Scattered figures from “11” to “16” on the firstnine pages. On pp. 9-10 is added “Vi-de No. 6”. On top of p. 7:“Rhapsodisk”.
Numerous deletions, corrections and additions.
Early sketches for the sonata (key and details of different
themes show that the sketches belong to the early version of
the sonata):
p. 1-4: second movement (E flat major)
p. 6: first movement (G minor)
p. 13: first movement, beginning of the Allegro
p. 14: first movement, “Mellemsætn.” (intermediary passage)
equivalent of the second theme in B flat major
p. 16: beginning of second movement
p. 17: passage from the first movement

D1 Printed score (first edition).
Title page: “Kammerherre / Lehnsgreve Lerche Lerchenborg/ tilegnet / SONATE / (No 2) / for/ PIANOFORTE / af /J.P.E.Hartmann./ Op. 80 / Forsynet med Fingersætning af
Aug. Winding […] / KJÖBENHAVN. / Wilhelm Hansens
Musik-Forlag.”
Copy in DK-Kk, D 24: dedication in Hartmann’s hand in ink
on the fly leaf: “Deres Majestæt Dronning Louise18 / i undersaatlig Ærbødighed / Mai 1885. J:P:E:Hartmann”; title on thebinding: “J.P.E. Hartmann / Op. 80. / SONATE / No. 2”.
29 pages, print in gold on the title page; bound in red cardboard with print in gold.
Pl. No. 9050 (1885).
Copy in DK-Kk, Dan Fogs Samling 1, 47: Unbound, otherwise
as above.
Title on the dust cover: “KAMMERHERRE, LEHNSGREVELERCHE LERCHENBORG TILEGNET / SONATE / Nr. 2 / for/PIANOFORTE / af / J.P.E.HARTMANN. / Op. 80. / Forsynet
med Fingersætning af AUG. WINDING / […] / KJØBENHAVN. / Wilhelm Hansens Musik-Forlag.”
29 pages, print in gold on the title page; dust cover.
D2 Printed score.
DK-Kk, Dan Fogs samling 1, 47.
Title page as D1, with the difference that the word “Pianoforte”
is printed in red, and the sentence “Forsynet med Fingersætning af Aug. Winding” is missing.
DF claims that D2 is the original edition whereas D1 is a “title edition”.19 If so, the two editions must have been published within
the same month, since Hartmann’s dedication in D1 is dated“Mai 1885”.
Louise Lerche, the grand grand child of the Count (the dedicatee), has made sure that the copy at Lerchenborg, which without
any doubt is the very copy which was sent with dedication to theCount in 1885, is identical with D1 – that is “forsynet med Fingersætning…” (fingering added).20
The information above indicates that D1 (with the information on the title page about Winding’s fingering”), is the original
edition, whereas D2 (where the title page is without this text) is

18 Wife of King Christian IX, (1817-1898).
19 DF, p. 27; Dan Fog, Musikhandel og nodetryk i Danmark, Copenhagen1984, Vol. II p. 101 defines “title edition” (“Titeloplag”)
in this way: “ …det såkaldte titeloplag, hvori nodesiderne eruændrede optryk, kun titelsiden er undergået en ændring” (theso called title edition, in which the music pages are an unalteredreprint, only the title page has been changed).
20 Information given on the telephone to the present editor on
12.2.2010. Indeed, the original copy cannot at present be foundat Lerchenborg, but Louise Lerche owns a photocopy of the print,
which she claims is definitely copied from the original copy thatwas sent to Lerchenborg in 1885.

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the “title edition” contrary to DF’s statement (in fact both editions
have fingering in the music text itself!)[In 1996 the music publisher Samfundet til Udgivelse af dansk
Musik made a modern edition of the sonata, edited by Inge
Sønderskov Madsen.21 The edition is not based on any formulated
philological strategy but exclusively on a number of music aesthetic and other views, neither are the complicated circumstances inconnection with the history of the sonata and the source situation
discussed. Certain details are based on the autograph (A), some on
the printed edition from 1885, whereas other revisions are madewithout any arguments. Thus, the edition appears to be rather
non-homogeneous with a number of mistakes and inconsistencies. Revisions on the edition’s own premises do not seem to havebeen made either.]Filiation

B Print (No. 1).
Title page: “ODEON / Et Musikalsk Maaneds Skrift / FOR /Piano=Forte. / 3. Aargang 2. Bind / Kiøbenhavn, hos C.C.Lose”.
Title on p. 18: “RONDEAU BRILLANT. J.P.E.HARTMANN.”
Same music plates as A above.
Date: March 1829.23
Contents:
Opus 6 No. 1 (pp. 18-29).
C Print (No. 2).
Title page. “ODEON / Et Musikalsk Maaneds Skrift / FOR /Piano=Forte. / 4. Aargang 1. Bind / Kiøbenhavn, hos C.C.Lose”.
Title on p. 26: “RONDEAU BRILLANT. J.P.E.HARTMANN.”
Contents: Opus 6 No. 2 (pp. 26-35).
Date: July 1830.24
Same music plates as A above.

See the introduction to the present volume.

ii. collections (character pieces)[ no. 6 ] rondeaux brilliants, opus 6
A Print, first edition
B Print (No. 1)
C Print (No. 2)
D Print (No. 1)
A Print, first edition.
Title page: “DEUX / RONDEAUX BRILLANTS / et nondifficiles / POUR LE / Pianoforte / COMPOSÉS PAR /I.P.E.HARTMANN. / Oeuvre 6. […] / No 1 [No 2] Copenhaguechez C.C. Lose”.
13 pages (Vol. 1), 11 pages (Vol. 2), oblong format.
Date: 1830.22
Contents:
Opus 6, Nos.1 and 2. Originally published in Odeon 3,2 and 4,1(see B and C below).

21 Samfundet til udgivelse af dansk musik, 3. serie, nr. 3.
22 Dating according to DF, p. 9 and Hofmeister XIX , NovemberDecember 1830 (Hofmeister XIX refers to the on line versionof Hofmeister’s Monatsberichte for music mainly published inGermany during the period 1829-1900, see Introduction, pp. xi /xxiii / xxxvii. http://www.hofmeister.rhul.ac.uk/2008/index.html).
23 Dating according to DF, p. 9. In the reprint of 1888 (D) the date“(1827)” is added after the opus number.

D Print (No. 1).
Title page: “Rondeau brilliant / et non difficil / pour / PIANO/ par / J.P.E.HARTMANN. / Op.6 / […] / COPENHAGUE &LEIPZIG. / WILHELM HANSEN, EDITEUR.”
Pl. No. 896 (1888).25
11 pages.
Contents:
Opus 6, No. 1. Including fingering.
A is the only source containing both pieces of Opus 6, whereas B
and D only include No. 1, and C only No. 2.
Originally the two pieces were printed separately in Odeon. Et
Musikalsk Maaneds Skrift, in March 1829 (B) and July 1830 (C), respectively; the first edition with both peices followed a few months
later, made from the same plates.
No. 1 was republished by Wilhelm Hansen almost 60 years later(D) with a more detailed articulation and a different ending. (bb.
335ff.; see List of Emendations, where the original ending is added).
Hartmann’s autograph seems to be lost. In a letter of
25.10.1864 to C.C.Lose & Delbanco the composer lists a number ofworks, which he asks the publisher to send back to him, including
the manuscript of Opus 6.26
In the present edition, D has been chosen as the main source
for No. 1, whereas A is the main source for No. 2.

[ no. 7 ] capricer, opus 18
A Print, first edition
B Print
C Print
D Autograph, printing copy
E Sketch

24 Dating according to DF, p. 9.
25 Dating according to DF, p. 9. Hofmeister XIX, May 1888.
26 Letters No. 364.

A Print, first edition.
Title page: “Quatre / CAPRICES / COMPOSÉES / Pour lePiano / et dediées à Monsieur / F. Mendelssohn-Bartholdy / Par

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/ J.P.E.HARTMANN. / Oeuvre 18. Cah. 1 [Cah 2 …DÉDIÉES à
Monsieur Henri Marschner] / […] / Leipzig chez Fr. Hofmeister.”Pl. No. of Cah. 1: 2161 (1836).27
Pl. No. of Cah. 2: 2225 (1837).28
13 pages (Vol. 1), 15 pages (Vol. 2).
Each of the two volumes comprising four caprices, numbered“1-4” and “1-4”, respectively (see concordance below).
B Print.
Title page: “MODERNE / OG / KLASSISK / Pianofortemusik /[….] No 65. Hartmann J.P.E. Capricer. Op. 18. Hefte 1-2 / KJÖBENHAVN. / Paa Wilhelm Hansens Forlag”.
Title page including list of other works in the series:
No62. Liszt F. Valse de L’opéra Faust de Gounod
No63. Rubinstein A. Barcarole Op. 30. No 1
Schumann R. Romance. Op. 28. No 2
Liszt F. Schumanns Liebeslied. (Widmung.)
No64. Bargiel W. Marcia fantastica, af “Suiten Op. 31.”
Rubinstein Ant. Soirées a St. Petersbourg Op. 44
No 1 Romance
No 2 Scherzo
Pl. Nos. 3555, 3556 (1878).29
9 pages (Vol. 1), 13 pages (Vol. 2).
Each of the two volumes containing three caprices, sequentiallynumbered “1-6” (see concordance below).
C Print.
Title page: “SEX / CAPRICER / for / PIANO / componeredeaf / J.P.E.HARTMANN. / Uddrag af Op.18. Hefte 1. 2. / Ny af
Componisten revideret Udgave. / KJÖBENHAVN. / Wilhelm
Hansens Forlag og Eiendom.”
Pl. No. 3555, 3556 (1886).30
9 pages (Vol. 1) and 13 pages (Vol. 2).
Contents identical with B (see concordance below).
Articulation and dynamics identical with B.
D Autograph.
DK-Kk, CII 7, Kapsel H-K.
Title page: blank, with “[7 kapricer af op. 18 No. 1-3, 5-8] 1835”
added in pencil in connection with the cataloguing process of
the library in the 1980s.
Two gatherings:
3 bifolios, paginated “1-11” with three caprices
4 bifolios and 1folio, paginated “1-18” with four caprices , “No.
1- No. 4”24x35.5 cm. 10 staves. Written in ink.
Contents of the autograph and the order of the caprices correspond with the first edition from 1837 apart from the fact that theprint’s Cah.1 No. 4 (No. II,6 of the Wilhelm Hansen editions) is
missing in the manuscript, and the manuscript does not include
the print’s numbering of the first three caprices. This might indicate that this is not the printing copy for the first edition, which

is furthermore confirmed by the fact that there are no engraver’s
markings in the autograph. The articulation of the autograph corresponds with that of the Hofmeister edition, whereas it differs inmany respects from that of the two Wilhelm Hansen editions. In
the latter editions published many decades later than the first edition, many details in articulation are added.
Ink addition to “No 2” of the second gathering: “udskrives i C
Takt” (to be copied with time signature C); in the manuscript it
is notated with the time signature “2/4”, and every second barline
is crossed out in pencil (the two very first crossed out barlines arecrossed out in ink).
E Sketch.
DK-Kk, MA ms 483, mu 8309.0590.
One sheet; pencil sketches on one side; back side blank.
35x26 cm, 14 staves.
9 staves with music written in pencil; the first 6 staves are
sketches for No. 5, bb. 89-97 of the Wilhelm Hansen edition, B(the passage in question is missing in the original Hofmeister
edition).
There are considerable differences between A and D on one handand B and C on the other hand, both when it comes to the contents of the collections and musical details of the individual pieces;in some cases, the differences are so numerous that it is almost acase of two different versions of the same piece (see comments tothe concordance below).
The first edition of 1836/1837 (A) is chosen as the main source forthe present edition, both because it is clearly based on the autograph D, and because it contains the largest number of movements(see concordance above), even in spite of the fact that the articulation is not as detailed as in the two later editions. The main source
has been collated with the other sources when relevant.
The collected edition of Hartmann’s piano music from 1886
mentioned above leaves out Nos. VI and VIII of the present edition, as is the case with B and C.

27 According to Hofmeister XIX, November 1836. DF’s dating “1837”
thus being erroneous.
28 Dating according to DF, p. 11; Hofmeister XIX, July 1837.
29 Dating according to DF, p. 11.
30 Dating according to DF, p. 11.

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Concordances:
Hofmeister (1836/37)
Source A

WH (1878 and 1886),
Sources B and C

MS CII 7,
Source D

I,1 Allegro affettuoso

I,1 Allegro affettuoso

Allegro affettuoso

Differences in articulation andmusical texture; alternative passage in B/C to bb. 41-50 of A/D

I,2 Allegretto grazioso
moderato

I,3 Poco Andantegrazioso

Allegretto grazioso, moderato

Differences in articulation andmusical texture; alternative passages in B/C to bb. 14-23 and 2835 of A/D (see below)

I,3 Allegro moderato assai

I,2 Poco allegretto

Allegro, moderato assai

Slight differences in articulationand musical texture; alternativenine bar passage in B/C as a substitution for bb. 29-84 of A/D

I,4 Allegro molto, con passion

II,6 Allegro molto, conpassion

II,1 Allegro passionato,
non troppo

II,4 Allegro moderato,
con passion

II,2 Allegro animato, congraziaMS 483,
Source E

Relation between A/D and B/C(see further details below and
List of Emendations)Differences in articulation, otherwise identical with B/C
No. 1 Allegro commodo

Differences in articulation andmusical texture

No. 2

II,3 Canzone Allegretto
quasi Andantino

II,5 Allegretto quasi
Andantino

II,4 Allegro con fuoco, assai

No. 3. Canzone Allegretto, Sketch for one of thequasi Andantinopassages where B andC differ from A.

Differences in articulation andmusical texture; alternative passages in B/C (see No. 7 below)

No. 4. Allegro molto

No. 2: Relation between A/D and B/C:
Source A/D

Source B/C

bb. 1-8 (including repeat)bb. 1-8 (without repeat; differences in articulation)bb. 9-35

bb. 9-35 (differences in texture and articulation of pf.2)

bb. 36-39

bb. 36-39 (differences in articulation)bb. 40-47

Missingbb. 48-51

bb. 40-43 (differences in articulation)

No. 7: Relation between A/D and B/C:
Source A/D

Source B/C

1-63

1-63

64-89

–
64-81

90-97

82-89

98-130

–

-

90-97

131-154

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[ no. 8 ] deux pièces charactéristiques,

opus 25

A Print, first edition
B Print
A Print, first edition.
Title page: “Deux / Pièces caractéristiques / POUR LE / PIANOFORTE / composées / par / J.P.E.HARTMANN / […] / Oeuv. 25/ Leipzig chez Fred. Hofmeister.”Pl. No. 2408 (on title page: 2406) (1839).31
15 pages.
B Print.
Title page: “Deux Pièces caractéristiques / pour / Piano / par /J.P.E.HARTMANN. / Oeuvre 25. / […] / Nouvelle Édition par
Aug. Winding. […] / COPENHAGUE. / Wilhelm Hansen. /Éditeur.”Pl.Nos. 8950, 8951 (1885).32
Two volumes with identical title pages.
11 pages (Vol. 1), 9 pages (Vol. 2).
Fingering added.
Different tempo designation in the second piece.
As it is not clear to which extent Hartmann was involved in Winding’s edition (B), A has been chosen as the main source for thepresent edition.

[ no. 9 ] tre genrestykker
A Autograph, draft
B Fair copy
C Autograph (second part of No. I)
A Autograph, draft.
DK-Kk, MA ms 469, mu 8308.2688.
“No. 1 Allegro marziale”.
One folio, 12 staves 27.5x37.5 cm; only containing the first 49
bars, i.e. the introduction to the following Scherzo (see C).
“No. 2 Allegretto giocoso Allegro giocoso”; corrections and deletions in ink. One gathering, oblong format, 16 staves, 27,5x36cm; last page blank apart from the upper stave.
“No. 3 Allegro moderato”.
One gathering, oblong format, 16 staves, 27,5x39 cm.
Written in ink.
The three pieces are written with different ink and on different
types of music paper; the numbers“1”, “2”and “3” seem to belater additions. This indicates that originally the three pieces
were composed as individual pieces, which were subsequently
joined, aiming at a collection of all three pieces to be publishedwith the opus number “26” (see B below).

B Fair copy.
DK-Kk, Hartmanns Samling, Kapsel F-G.
Title page: “3 Genrestücke / für das Piano-Forte / componiert /von / I.P.E. Hartmann / op: 26.”
Oblong format. 5 bifolios and 1 folio stitched together as one
gathering. Original pagination: blank, pp. 1-21, blank.
10 staves, 34.5x24 cm.
A Few deletions and corrections.
Printing copy, made by a professional copyist on the basis of A
and C, for a planned edition by Hofmeister in Leipzig, which
never materialized.33 The opus number “26” was later used forIntroduction et Andante religioso (see No. 28).
C Autograph (second part of No. I).
Autograph, fair copy.
DK-Kk, MA ms 473, mu 8308.2692.
Title above the top stave: “Scherzo. Allegro assai, con molto fuoco”.
1 bifolio, unpaginated, 25x32 cm, 14 staves. Handmade paper.
Written in ink with a few corrections in ink.
Contents:
bb. 50-196 of No. 1, i.e. the Scherzo.
Paper type and title indicates that this scherzo was originallyplanned as an independent composition, to which an introduction was later added, making the piece ready for the planned
edition of “3 Genrestücke Opus 26”.
C was used as a supplement to A, both being the joint copy text
for the fair copy B.
Thus B is the manuscript which Hartmann – in vain – tried
to make Hofmeister publish; it has been chosen as the main
source of the present edition.

[ no. 10 ] otte skitser, opus 31
A Autograph, fair copy
B Print, first edition
C Print
D Print
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel S.-Studier.
Title on the first music page: “6 Skizzen für das Piano-Forte
J.P.E.H. op: 31.”
End dating on the first gathering: “Fine / d: 21 Septbr: 40./
J.P.E.Hartmann Op: 31.”
5 folios with “Nos. 1-6” stitched together; 16 staves, 27x38 cm
1 folio, 12 staves, 25x38 cm with “No. 3”
1 folio, 14 staves, 25x38 cm with “No. 4”

31 Dating according to DF p. 11, Hofmeister XIX, September 1839.
32 Dating according to DF, p. 1133 Letters No. 110.

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1 bifolio, 12 staves, 25x38 cm with “No. 4”
Contents:
No. 1. Allegro non troppo grazioso (=Opus 31, No. I)
No. 2. Canzonetta, Andantino (= Opus 31, No. II)
No. 3. Allegro assai (=Opus 31, No. VI)
No. 4. Introduction, Allegro assai – Allegretto, Mouvem. de Valz(=Opus 31 No. VII, the movement in A, however, being 24 bars
shorter than in B and C)
No. 5 [“No 5” erased]. Canzonetta. Andante (not included in
Opus 31; two years later printed in Sangfuglen 1842, see Canzonetta (No. 31 below)
No. 6. Allegro passionato, assai (=Opus 31 No. VIII)
No. 3. Mazurka (=Opus 31, No. III)No. 4. Allegro molto assai, giocoso (= Opus 31, No. IV)
No. 4. Scherzo. Allegro molto, assai (= Opus 31, No. V)
As it may be seen there is no complete convergence between
this manuscript and the printed edition of “Otte Skizzer”. Nor
is the numbering of the pieces in the manuscript completely
stringent, two different pieces being labeled “No. 3” and threedifferent pieces being labeled “No. 4”.
It must furthermore be stressed that not even the stitchedgathering with the collective title“6 Skizzen” corresponds to theprinted edition.
B Print, first edition.
Title page: “ACHT SKIZZEN / für / Pianoforte / componirt
und / EMMA HARTMANN / geborene Zinn / gewidmet /von / J.P.E.HARTMANN / […] Heft 1 Op. 31 [Heft 2] / […]/ Schuberth & Comp: Hamburg und Leipzig / St Petersbourg àl’Odèon Kopenhagen Lose & Olsen.”Pl. Nos. 527, 528 (1842).34
Two volumes with four pieces in each.
11 pages, 15 pages.
C Print.
Title page. “Til Emma Hartmann / født Zinn / Otte Skizzer / for/ PIANOFORTE / af / J.P.E.HARTMANN. / Op. 31 / 1ste Hefte [2det Hefte] / Ny af Componisten revideret Udgave. / KJÖBENHAVN / Wilhelm Hansens Forlag og Eiendom.”
On top of the first music page: “J.P.E.Hartmann. Op 31 (1842)”.

34 Dating according to DF, p. 14 and Hofmeister XIX, November
1842 (Vol. 1) and July 1843 (Vol. 2); Vol. I is listed once more in
Hofmeister XIX, October 1874.
35 Dating according to DF, p. 14: maj 1877. Copy of Vol. 1 in The
Royal Library (Dan Fogs Samling) carries owner’s signature:
Camilla Freitag December 1877.
36 Dating according to DF, p. 14.
37 “New edition, revised by the composer”.
38 “Don’t copy”.
39 “Old Memories”.
40 “To be notated with doubled note values and in C”.

Pl. Nos. 3367 og 3398 (1877).35
11 pages, 15 pages.
D Print.
Title page: “OTTE / SKIZZER / for / PIANO / componeredeaf / J.P.E.HARTMANN. / Op. 31 Hefte 1 [2]. / Fingersætning
af Aug. Winding. / […] KJÖBENHAVN / Wilhelm Hansens
Musik-Forlag.”Pl. Nos. 3367 and 3398 (1886).36
11 pages, 15 pages.
In spite of the fact that they carry the same plate numbers there
are slight differences between C and D.
Six of the sketches (Nos. I, II, VI, VII, VIII and the omitted “No. 5”)
were composed in 1840, whereas the rest (Nos. III, IV and V) were
probably composed in 1841.
The reissue by Wilhelm Hansen from 1877 carries the addition“Ny af Componisten revideret Udgave”;37 therefore this edition(C) has been chosen as the main source. Deviations from the autograph and the first edition are listed in List of Emendations.

[ no. 11 ] seks tonestykker i sangform,

opus 37

A Autograph, fair copy
B Print, first edition
C Print
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel Kompositioner og Udkast.
Without title. Above the top stave of p. 1: “J.P.E.Hartmann /Op:37.”
Dating on p. 17 (after the original ending of No. IV):
“22/10 42.”
4 bifolios and one folio, paginated 1-18 (p. 3 unpaginated),
stitched together. 27x38 cm (the right margin of some of thepages has been trimmed). Fair copy with a few corrections,written in ink.
pp. 1-3: No. I “Allegro agitato, grazioso M.M.   = 116” (=Opus
37 No. I)
p. 4: blank, apart from 7 bars at the bottom of the page –marked as “1” and “2” – to be used as corrections on the following p. 5 (equally marked as “1” and “2”)pp. 5-7 (top): No. 1 with the addition above the first stave: “NB
udskrives ikke.”38 and the title “Gamle Minder”39 (not includedin Opus 37; published as an independent composition in thepresent edition, No. 29)
pp. 7-8: “No. 2 Moderato con passione =100” with the addition above the first system: “Skrives i dobbelt saa lange Noder,
og i C”40 (it is here notated as 2/4) (=Opus 37 No. II)
p. 9: No. 5 Allegretto, crossed out (diverging version of the first
31 bars of Opus 37 No. V)
pp. 10-11 (staves1-6): “No. 5 Allegretto  = 96” (=Opus 37 No. V)

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p. 11 (staves 7-14: “No. 3 Allegro molto assai   = 120 (=Opus
37 No. III)
pp. 15-16: “No 6. Allegro assai, agitato   =66” (=Opus 37
No. VI)
pp. 17-18 (top): “No. 4 Allegro moderato, vigoroso.  =60”(=Opus 37 No. IV)
No. 4 originally ended at the bottom of p. 17 before the addedend dating; later, the last 10 bars on the page and the addition“dal § al §” have been crossed out (this also goes for the added§-indication between bb. 8 and 9 and between bb. 14 and 15)
and “V.S.” has been added, after which a new ending of 16 bars
have been added on the top of p. 18.
Some cancellations and a few corrections. The numbering of theindividual pieces was added after the manuscript had been finished; this explains the non-numerical order: Nos. 1, 2, 5, 3, 6, 4.
B Print, first edition.
Title page: “SECHS TONSTÜCKE / in / Liederform / für /PIANO-FORTE / componirt / von / J.P.E.HARTMANN. / […] /Op.37 1stes Heft / […] / Schuberth & Comp: Hamburg & Leipzig.
/ St.Petersburg á l’Odeon. Kopenhagen, Lose & Olsen”.
Pl. No. 593 (1843).41
17 pages.
The words “1stes Heft” of the title indicate that a second volume
was planned, which seems never to have been published (seeIntroduction).

Thus, the revised version is 34 bars shorter than the autograph andthe first print, due to the fact that bb. 77-116 of A and B have been
substituted by the shorter and different passage, bb. 75-82 of C.
In No. 6 there are also differences between the two versions:
Opus 37, No. VI
Sources A, B

Source C

1-20

1-20

21-22

–

23-32

21-30

33-40

–

–

31-36

41-49

37-45

50

–

–

46-48

For these reasons C has been chosen as the main source, whereas
the missing passages of C are listed as variants in the criticalcommentary.

C Print.
Title page: “SEX / Tonestykker i Sangform / (Sechs Tonstückein Liederform.) / for / PIANO / componerede af / J.P.E.HARTMANN. / Op.37. / Ny af Componisten revideret Udgave. /KJÖBENHAVN. / Wilhelm Hansens Forlag og Eiendom.”
Pl. No. 8411 (1882).42
17 pages.
A was used as printing copy for B, the order of the individual
movements, however, having been changed in connection with theprinted version. Dynamics and articulation have been changed inC, which on the title page states that the edition has been revisedby the composer. In No. 3 there are also differences in the actualmusical texture between A and B on one hand and C on the other
hand, which may be seen from the concordance below:
Opus 37, No. III
Sources A, B

Source C

1-33

1-33

34-36

–

–

34

41 Dating according to DF, p. 15. Hofmeister XIX, August 1843.

37-76

35-74

42 Dating according to DF, p. 15.

77-116

–

–

75-82

117-138

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editorial emendations andalternative readings
no. 1
sonata in d minor, opus 34
First Movement
Bar
Part
3

pf.2

5

pf.2

8
15, 16
17
21
35

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

46

pf.2

50
56

pf.1

63

pf.2

Comment
A: M.M.   = 96
lower part note 1: stacc. added by analogy with
pf.1
lower part chord 2: stacc. added by analogy withpf.1
C: fourth quaver: A, enote 1: marc. added by analogy with bb.13, 14
marc. added by analogy with pf.1
marc. added by analogy with pf.1
upper part notes 2, 4 : as in A and B; C: g Ω(Hartmann’s slip of the pen?)m.d. added by analogy with b.47 (m.s.) and as
in C
A: M.M.  = 76
upper part note 1: e  ΩΩ emended to e  ΩΩ by analogy
with pf.2 and b.55
C:

68
74
88
88

pf.2

93
98

pf.2
pf.2

pf.1

100
101
104

pf.1

104

pf.2

105
105

A: M.M.   = 96
note 1: marc added by analogy with b.75
A: M.M.  = 76
note 3: a emended to a  by analogy with pf.1
(engraving error)A:
upper part notes 1-4: slur added by analogy
with b.94
A:   = 96C:mo risol:
chord 4: stacc. added by analogy with chord 8
and as in A
stacc. added by analogy with bb.103, 105; chord2:
added by analogy with chord 1
A:
as in C (wrong indication of stem direction in A
and B); B:

ﬀ

pf.1

{
106
112

nœ
œ œ
œ

∏∏∏∏∏∏? b 44 ˙
˙

pf.2
pf.1,2

113, 114
117

pf.2
pf.1,2

117

pf.2

127

pf.2

‰ Œ™
bœ œ
& b œ ™™ bnœœœœ ‰ bœœœ ‰ Œœ
‰
œ
œ
nœ
p
? b Œ ‰ nœœ ‰ bœœ ‰ Œ ™
b œœœ
œœœ
.
.

slur added by analogy with b.108 and as in C
A, C:
.

{

.
œ ™ œœ œ œ œ™ œœ œ œ12& b 8 Œ ‰nœœ ‰ Œ ‰ #œœ ‰? b 128 Œ ‰ œ ‰ Œ ‰ œœ ‰œ

C: note 1: marc.; note 6: stacc.
upper parts chord 1: stacc. omitted by analogy
with lower parts and as in A and C
chord 2: marc. added by analogy with pf.1 andas in C; added as in A
chord 1: stacc. added by analogy with pf.1

Bar

Part

132-133
136

pf.1

137
138
139
140

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

141
143
145, 146,
147, 148,
149
152
152

pf.1
pf.1

pf.1
pf.1
pf.2

152-153
152-153
154
168
170
171
179, 180,
181
182
188
194

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

202

pf.2

203

pf.1

206
213
214
218
219
224
227
228
248
249
251
251
251
255
256
257

pf.2
pf.2
pf.2

pf.1

pf.2

pf.1
pf.1

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

Second Movement
Bar
Part
6

pf.1

7-8

pf.1

10-11

pf.1

11-12

pf.1

17

pf.2

Comment
C: risol: marcato
marc. emended from c Ω of pf.2 as in C (copyist’s
wrong reading of C)
lower part: stacc. added by analogy with pf.2
C: chord 1: marc.
lower part: stacc. added by analogy with pf.2
marc. emended from d Ω of pf.2 as in C (copyist’s
wrong reading of C)
lower part: stacc. added by analogy with pf.2
lower part: stacc. added by analogy with pf.2

A, C: upper part first chord: , not 
chord 2: marc. added by analogy with pf.2
C: lower part: sixth to eighth quaver:   tied to
the first crotchet of b.153
stacc. added by analogy with pf.1
slur added by analogy with pf.1
C: arpeggio in pf.1, not pf.2
stacc. added by analogy with pf.1
chord 2: stacc. added by analogy with pf.1
chord 2: stacc. added by analogy with pf.1
note 1: marc. added by analogy with b.178
marc. added by analogy with pf.1
chord 2: stacc. added by analogy with pf.1
A: beginning of bar: rubato; middle of bar: atempo
tenth quaver: stacc. omitted by analogy withb.204 and as in A
tenth quaver: stacc. omitted by analogy withb.204 and as in A
A:  = 76
A: chords 3-5: riten. a piacere
A: a tempo
A: second minim: dim.
last chord: neither A nor B unambiguously indicates to which note the marc. belongs
A:   = 96
A: notes 9-12: a piacere.
A: a tempo
lower part:     emended to         because of
the lack of the necessary rests
A:  = 76
A: estinto
stacc. added by analogy with pf.2 chord 1
chord 2: stacc. added by analogy with chord 1
stacc. added by analogy with b.251
A:   = 96
lower part: stacc. added by analogy with bb.258260

Comment
A: Romance missing;  = 144
lower part: end of slur emended from chord 1 tochord 2 by analogy with upper partlower part: slur added by analogy with upper
part and bb.5-6
redundant slur from last chord of b.10 to firstchord of b.11 omitted
redundant slur from last chord of b.11 to firstchord of b.12 omitted
chord 1: arppegio added by analogy with bb.20,
21; chord 2: marc. omitted by analogy with b.76
and as in A

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Bar

Part

Comment

Bar

Part

Comment

20
28

pf.2
pf.1

53

pf.1

33

pf.1.2

35

pf.1

35
36

pf.2
pf.1

38-40
45
68-69

pf.2
pf.2
pf.1

69-70

pf.1

70-71

pf.1

72
76
78

pf.1,2
pf.2
pf.2

lower part eighth quaver: added by analogy
with pf.2
C: b.62 follows right after b.53, but a note above
b.53 (vide sidste Side * til ) (See last page * to
) refers to a separate page, containing bb.54-61
of the present edition, with the following note:
Disse Tacter indskydes mellem 13de og 14de Tact
paa 2den Side (these bars to be added between the
13th and 14th bars on the second page)slur from last chord of b.59 to first chord of b.60
added by analogy with the other slurs of the twobars
marc. added by analogy with pf.1
A:  = 72
C: lower part: tie
C: a tempo
A, C: e molto riten.
A:  = 92
marc. added by analogy with pf.1
marc. added by analogy with bb.135, 137
the two last notes: stacc. added by analogy withb.+1
C: repetition of the Scherzo indicated by D.C.
dal Segno al fine; same emendations and alternative readings as for bb.1-71

79, 80

pf.1,2

82
82

pf.1,2
pf.2

84

pf.2

90-91
97-100
101
104
105

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

106
115
116-118

pf.1
pf.2

118
118-120

pf.2
pf.2

chord 1: arpeggio added by analogy with pf.1
upper part: marc. emended from lower part byanalogy with b.20
middle part: stacc. added by analogy with upper
part
lower part: stacc. added by analogy with upperpart
stacc. and slur added by analogy with pf.1
chords 1-2: tie from g Ω to g Ω added by analogy
with the two other ties
slur and stacc. added by analogy with pf.1
stacc. added by analogy with bb.42-44
middle part: redundant slur from last chord ofb.68 to first chord of b.69 omitted because oflong slur in bb.68-72 and as in A
middle part: redundant slur from last chord of
b.69 to first chord of b.70 omitted because oflong slur in bb.68-72 and as in A
middle part: redundant slur from last chord ofb.70 to first chord of b.71 omitted because oflong slur in bb.68-72 and as in A
A: chord 1: arpeggio in pf.2 only
arppegio added by analogy with b.17
chord 1: arpeggio added by analogy with pf.1
and b.19
chord 1: arpeggio added by analogy with bb.20,
21
A: smorz.
note 1: marc. added by analogy with bb.90, 92
and as in A
note 1: marc. added by analogy with bb.90, 92
and as in A
A: sempre cresc. e accelerando.
slur and stacc. added by analogy with pf.1
note 1: stacc. added by analogy with b.42
slur added by analogy with b.45
upper part note 3: marc. added by analogy withbb.46, 47
A: molto riten.
A: lower part: chords 2-3: stacc. and slur
two slurs emended to one slur because of open
slur in the beginning of b.118 (change of systems)
A: note 3: F (misprint)
two slurs emended to one slur by analogy withbb.116-118

Third Movement
Bar
Part
1-71

pf.1,2

3

pf.1,2

3

pf.1,2

3, 4
7
12
23
29
38
48
52

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

Comment
A:  = 92
missing stacc. added in accordance with sempre
stacc. (b.3), stacc. (b.11), sempre stacc. (b.29),
stacc. (b.37), and sempre il basso (b.57)
note 3: as in B; A, C: note 3:  ; this applies
every time this figure appears in the scherzo
lower parts eighth quaver: added by analogy
with b.7
A, C: lower part chords 1-2: marc., not stacc.
A, C: lower part chords 1-2: marc., not stacc.
C: cresc.
chord 4: marc. added by analogy with pf.1
A: dim.
A: note 3: g  (misprint?)
note 1: marc. added by analogy with pf.1
lower parts eighth quaver: added by analogy
with b.3

54-61



59-60

pf.1

71
92
96-97
99
123
125
135-137
136
138

pf.2
pf.2

pf.2
pf.1,2
pf.2

139-209

Fourth Movement
Bar
Part
20
21

pf.2
pf.1

29
30
31
44-46

pf.1
pf.1
pf.1

50
51

pf.1
pf.2

57

pf.2

67
75
79-81

pf.2
pf.2

81
82
87
96
109

pf.1
pf.1

110
111
111
130

pf.2

pf.1

149
149
150

pf.1
pf.1

150

pf.2
pf.1



Comment
A:  = 100
stacc. added by analogy with b.10
chords 1-4: stacc. omitted by analogy withbb.24, 26 and as in C
C: notes 1,5: marc. crossed out in ink
C: notes 5: marc. crossed out in ink
C: notes 1,5: marc. crossed out in ink
C: second half of b.44, the whole of b.45, and thefirst half of b.46 crossed out in pencil, but withthe following note added: NB. det udslettedegjælder og skrives med (the crossed out passage isvalid and must be included)
upper part note 1: d ΩΩ emended to d  ΩΩ
chord 4: marc. added because of tie to b.52 andas in A, C
chord 1: stacc. added by analogy with b.61, andas in A, C
stacc. added by analogy with bb.63, 65, 69
A:  = 80
stacc. added by analogy with bb.64-69 and as inA, C
A: grace note 1: b Ω; A, C: fourth crotchet:A, C: note 1: ten. and marc.
A, C:
note 1: marc. added by analogy with b.106
lower part first tuplet: missing  and tuplet
numeral added; A, C: lower part: first note d ΩΩmissingtuplet numerals added
A:  = 100;
A, C: con dolcezza
marc. added by analogy with bb.131, 135, 138,
142
C: tardate
C: chord 1: marc., no slur
marc. added by analogy with bb.146-147 and as
in A, C
A, C: Tempo

klaverværker : critical commentary

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20/09/12 10.16

Bar
152-153
160, 161
162
171

Part
pf.2
pf.2

173

pf.1

185
189
190
209

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

212

pf.1

220

pf.2

225
244-245245
247, 248,
250

pf.1
pf.2
pf.1

253
259
261

pf.2

263

pf.1

266
267
268
274

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

277
282
288
305

pf.2
pf.1
pf.1

315

pf.1

336
337
340
341
345
348
353
359-360

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

360-363
361

pf.2
pf.1

364
377

pf.2

Comment

Bar

Part

Comment

A, C: rubato, a Tempo
marc. added by analogy with pf.1
A, C:
notes 1-4: stacc. added by analogy with bb.2, 4
and as in C
notes 1-4: stacc added by analogy with b.171(pf.2)
stacc. added by analogy with bb.2, 4
notes 1-4: stacc. added by analogy with bb.2, 4
notes 2-5: stacc. added by analogy with bb.2, 4
chords 4-5: a  ΩΩ emended to a  ΩΩ because of theharmonic context; A, C: chords 4-5: a  ΩΩ (slip of
the pen?)middle part:  d ΩΩ emended to  d ΩΩ by analogy
with outer parts and as in A, C
note 3: stacc. added by analogy with bb.214, 222
and as in C
slur added by analogy with bb.225-226 (pf.2)
A, C: dimin. e ritardando
stacc. added by analogy with bb.246, 249

9-12

pf.1,2

as pencil correction in A; A before pencil correction:note 2: stacc. added by analogy with pf.2 andbb. 249-252
A:  = 80; A, C: dolcissimo
A, C: smorzando
lower part: stacc. added by analogy with bb.262,
263 and pf.1
lower part fourth crotchet: rest added by analogy with bb.261-262
notes 1-4: stacc. added by analogy with bb.2, 4
notes 1-4: stacc. added by analogy with bb.2, 4
notes 1-4: stacc. added by analogy with bb.2, 4
note 1: ten. added by analogy with pf.1 and as in
A, C
A, C: sempre legato
lower part: redundant rest omitted
notes 1-4: stacc. added by analogy with bb.2, 4
chord 1: top note e ΩΩ emended to e  ΩΩ by analogy
with lower note
note 1: marc. added by analogy with pf.2 andb.28
notes 1-4: stacc. added by analogy with bb.2, 4
notes 1-4: stacc. added by analogy with bb.2, 4
notes 1-4: stacc. added by analogy with bb.2, 4
notes 1-4: stacc. added by analogy with bb.2, 4
C: chords 4-5: stacc.
chord 1: stacc. added by analogy with b.352
marc. added by analogy with b.349
tie from  b  to  b  omitted by analogy with pf.1
(stacc. on chord 1)
stacc. added by analogy with pf.1 and b.364
chord 3: marc. added by analogy with pf.2 andas in A
marc. added by analogy with pf.1
C: smorz.

>
œ >œ ™
b 12
œ œ œ œ ™ œ œ œ#œ ™ œ œ œ& b 8 Œ ‰ nœ œ
œ
œ
œ
œdim.
œ
œ
œ
œ
? b 12b 8 œ Œ ‰ œ Œ™ œ Œ ‰ œ Œ™

{{b œ ™ œœœœœœnœœ
œ œ#œ œœ™œ#œœœ™œœœœ™œ&bœœ? bb œ œ Œ ‰ Ó™

16

pf.1,2

10

pf.1

Œ™

Œ™

as pencil correction in A; A before pencil correction:

{

17

pf.1

24
27

pf.1
pf.1

28

pf.1

29

pf.1

29
30

pf.2
pf.1

30
32

pf.2
pf.1

32
33
33
34
35
36
36
37
38
38
39

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

40

pf.1,2

A: chord 1: almost illegible f Ω added in pencil;
final note: marc. added by analogy with b.19
note 1: ten. added by analogy with b.26
A: chord 1: lower parts f Ω, b  Ω added in pencil;
chord 2: lower parts e  Ω, g Ω added in pencil
A: chord 1: lower part b  Ω, d ΩΩ added in pencil;
chord 2: lower part e  Ω, g Ω added in pencil
A: chord 1: lower parts b  Ω, d ΩΩ added in pencil;
chord 2: lower part f Ω added in pencil; chord 3:
lower parts f Ω, a  Ω added in pencil.
A: upper part of the two chords added in pencil
chord 2: lower part: e  Ω emended to e  Ω by analogy with pf.2; A: lower part of chord added inpencil
A: upper part of chord added in pencil
A: lower part of chords 2 and 3 added in pencil;
chord 1: g ΩΩ emended to b Ω, d ΩΩ, g ΩΩ by analogy
with b.29
A: upper part of chords added in pencil
A: lower part of chord added in pencil
A: notes 1-3: c-f-a corrected to c-a-c Ω
A: lower part of chord added in pencil
A: lower part of chord added in pencil
A: lower parts of chord added in pencil
A: lower part of chord added in pencil
A: upper part of chords added in pencil
A: see b.36 above
chord 1: D added by analogy with b.36
upper note g of the three chords added by analogy with b.37
as pencil correction in A; A before pencil correction:b œJ ‰ ‰œ œ ‰ ‰ #œ œ8
& b 12
œœ J
œ
œp
n
œ
œ
? bb 12Œ ‰ œ #œ Œ ‰8 œ

49Comment
slurs adjusted as corrections in A and by analogy
with b.4
note 5: marc. added by analogy with note 1 and
b.9

Œ™

b
j
j ‰ œj
8 #œ ™
& b 12œ œ œ nœ ™
œœœ‰ Œ ‰ nœ ‰Œ ‰œœ? bb 128 œœ Œ ‰ ‰ œ Œ ‰no. 2
sonata in g minor
First Movement
Bar
Part
3
pf.1,2

œœ ™™
œ™

œ

pf.2

Second Movement
Bar
Part

{

note 1: marc. added by analogy with pf.1

Comment
Sang uden Ord (Song without Words) added inpencil304 j.p.e. hartmann : selected works

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Bar

Part

Comment

Bar

Part

Comment

1-2

pf.2

8-10

pf.2

as pencil correction in A; A before pencil correction:

5-6

pf.2

6
23
24ii
24ii
24ii

pf.2
pf.2

291

pf. 1

29i
29ii
29ii-31

pf.2
pf.1
pf.1,2

two slurs emended to one slur by analogy with
pf.1
two slurs emended to one slur by analogy withb.1-2
chords 2-3: slur added by analogy with b.2
chords 2-4: slur added by analogy with pf.1
A: smorz crossed out in pencil
slur added by analogy with pf.2
chord 5: chord added in accordance with pencil
addition in A
end of slur emended from last note of b.281(open slur, change of staff)
slur added by analogy with pf.1
A: fingering added in pencil
as pencil correction in A; A before pencil correction:

pf.1
pf.2

{
31

œ
# œ
œ
œ
& 98 nœ™ œ œ #œœ™nœ œ œ œ #œ œ œ œ œ #œ œ œ nœ™ œ œ #œœ™nœ œ œ œ #œsmorz.œ
œœ? # 9 #œœ œ œœ œ œœ œ nœ œ œ œ œœ œ #œœ œ œœ œ œœ œ
8JJJ nœ J
J
J
J
J
J
pf.2

Third Movement
Bar
Part
6

pf.1

6
11

pf.2
pf.1

12
17
17-18

pf.1
pf.2
pf.1,221

pf.1,2

as b.29ii

Comment
Gamle Minder (Old Memories) added in pencil
lower part: slurs added by analogy with upper
part and b.5
upper part: slurs added by analogy with pf.1
chords 2, 3: arpeggio added by analogy withchord 1 and bb. 9, 12
chord 2: arpeggio added by analogy with b.10
slur added by analogy with b.1
as pencil correction in A; A before pencil correction:b& b bb 43 œ˙ ™ œ œ

œ œ̇
œ
œ

? bb b 3 œ œœ œœb4œœœ œ˙ œ{mf

as pencil corrections in A; A before pencil correction:™
b œ™
& b bb ˙ ™ œ œ œ œ ™ œ

{

mf

22
22

pf.1
pf.2

32

pf.1,2

34
34

pf.1,2
pf.1

34

pf.2

Fourth Movement
Bar
Part
3

∏∏∏∏∏

? bb œ
bb œ

œ
œ

10
11
12

pf.2
pf.1
pf.1

14
14
21-22
26
28

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

37
39
49
49
50-51
53-54
54, 56-59
58

pf.1
pf.1

58
61
63
67
68
68
69
70
70

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

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

pf.2
pf.2

88, 89,90, 91

pf.2

94

pf.2

96

pf.1

105
106
109
110-111

pf.1
pf.1
pf.2

112

pf.1,2

œœœœ.
n
j‰ Ó
œ.

stacc. added by analogy with b.9
A: note 3: e  ΩΩ corrected in pencil to e  ΩΩ
note 3: e  ΩΩ emended to e  ΩΩ by analogy with bb.11,
13, 14slur added by analogy with pf.2
note 9: stacc. added by analogy with pf.1
slur added by analogy with bb.19-20
slur addd by analogy with b.8
A: note 2: b  Ω corrected in ink to b  Ω ; end of sluremended from open slur at the end of the bar(change of systems) to last note of the bar
A: position of marc. ambiguous
A: position of marc. ambiguous
missing added
last note: fingering 4 omitted
tuplet numerals added
tuplet numerals added
tuplet numerals added
emended from second to first crotchet byanalogy with b.57
and added by analogy with b.57
note 1: marc. added by analogy with note 2
notes 1, 2: marc. added by analogy with b.61
chord 6: stacc. added by analogy with bb.68-70
chord 1: stacc. added by analogy with b.69
double bar line emended to single bar line
chord 2: stacc. added by analogy with pf.1
chord 1: stacc. added by analogy with b.69
missing
added; single bar line emended to
double bar line because of change of keys

seventh quaver: stacc. added by analogy withbb.86,87
upper part second chord: A:   emended to  (JPEH’s mistake)upper part: slur added by analogy with bb.97103
marc. added by analogy with b.104
fingering (added in pencil) omitted
missing added
slur added by analogy with pf.1 and because oftrill
slur added by analogy with bb.96-105

œœlower part: slurs added by analogy with b.6
upper part notes 1-2: as pencil correction in A;
A: upper part first crotchet:  g ; upper part: slurs
added by analogy with b.6
chord 1: as pencil correction in A; A: chord 1: A  Ω,A , c Ω, a  Ω
A: pauses added in pencil
A: chord 1: lower notes a  , d  Ω: crotchets corrected in pencil to minims
A: chord 1:   corrected in pencil to 

Comment
missing
added

œœœ.
j
? bb c œ˙bœ œœ œ ‰ œ œ œ ™™ œj ‰ œ Ó
b
œ Œ
œ

no. 3
sonata in f majorFirst Movement
Bar
Part
3
3

pf.2

4-5
8
8
10
12
12-14

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

Comment
A: Allegro grazioso, non troppo
A: smorz. added in pencil
chord 2: arpeggio added by analogy with chord
1 and as in A
A: con anima added in pencil
upper part: slur added by analogy with b.6
arpeggio added by analogy with b.6 and as in A
A:
A:
marc. added by analogy with pf.1

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Bar

Part

Comment

Bar

Part

Comment

14
34

pf.1
pf.1,2

chords 2-3: ties added by analogy with b.13
as in D and as pencil correction in A; A before
the pencil correction:

9798
99-101
101

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

102-103103

pf.2

fourth quaver: stacc. added by analogy with b.98
chord 2: added by analogy with chord 1
added by analogy with bb.97, 98
chord 1: stacc. added by analogy with pf.2 andbb.97-99
marc. added by analogy with pf.1
D: after b.103 on p.6 one bar is crossed out andthe following text is added: “see pag.8 nederst”(see p.8 at the bottom), referring to the bottomof p.8, where bb.104-114 is added; after the added bars on page 8 the following text is added:“til pag. 6 ved $” (back to p.6 at $). Thus, in the
manuscript b.115 of the present edition follows
after the deleted bar on p.6:

œ6
& b 8 œœœœ? b 68 œœ œ
J
35-36
36

pf.2
pf.1,2

37
39
41
42

pf.1
pf.1
pf.1

43
48

{

œœ

≈‰

Œ



pf.1
pf.1

& b œ‰œœœ?b#œœ ≈ ‰
J
.j
œ
b
œ
b
œ
& b nœ‰  ≈ œ nœ œ œ
bœœœ
nœ
R

D: added in ink at the bottom of the page (afterb.69); the original bb.56-60 crossed out and thefollowing remark added: se nederst ved § (see atthe bootom at §); the crossed out bars:

˙™

œ

nœ bœ
J

j ˙™
œ

j
œnœ bœ œ œ œœnœ œ œœ™œ œœppsmorz.

58

pf.2

59
65
73

pf.1
pf.2
pf.2

76
83

pf.1

92

pf.2

95
96-103

pf.1,2{


104-108118
118-119

note 1: marc. added by analogy with b.42
A: corrected to:
115n œ  œ nœ n œœnœ6? ≈ r ≈œ ≈bœ ≈#œ ≈ œ ≈ R
œ
œ
‰
‰
b
n
œ
j
& 8œ
R
R
R R
œ œ
J > J >fz
pp
j nœ œ. œj? 6œœ œ ‰ ‰nœ
b 8 œ nœ œJ œ.
œ œœ œ b œ #œ œ103œœœ bœ #œœ œ œ œ œ œ b œœ œ œ œ œ œ nœ œ œ œ œ bœ œ
œ
™
? nœ
? œ
œ œœœ ™™ œ œ œ nœ˙˙ ™™œ œ œ œ œ œ œ œ œ œ œ œnœœ ‰ Œ ™
b
‰
J

{

œ

tie added by analogy with bb.33-34 and as in A
as in D and as pencil correction in A; A before
the pencil correction: see above, b.34
note 1: marc. added by analogy with b.38
note 1: marc. added by analogy with b.38
note 1: marc. added by analogy with b.42
A: second half of the bar: alternative version
added in pencil:

56-61

&b

≈ œr œ œ œ œ œas pencil correction in Dnote 1: stacc. added by analogy with bb.116, 117
D: between bb.118 and 119 four bars crossed out
in ink:

pf.2

ten.
ten.
œœ 
r bbten.
nœ 
r bœ  r  ? ≈ bœ nœ œ œ ≈≈ œœ&& b ≈ œ ≈ J ≈bœR ≈b œJ ≈bœ ≈ Jœ  ≈ œ ≈ œœœœJœ bœ  nœb œœ . œœ. bb œœ bœ. bn œœj? b œJœœœbœ.
Jœ bœ nœ
J
œ
J
œ
n
œ
b
œ
œ œ

122
130
132
133
133-134

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

note 1: stacc. added by analogy with pf.2
E: fourth quaver: g Ω, c ΩΩ, e ΩΩ
E: fourth quaver: c ΩΩ, f ΩΩ, a ΩΩ
E: second quaver: g Ω, c ΩΩ, e ΩΩE:j? ‰ œœ bœ œ
b
bœ œ

∑

upper part note 2: accidental added because of f of pf.1
note 2: a  ΩΩ enharmonically emended to b  ΩΩslur added by analogy with bb.62-64
chord 2: as in D, although hardly legible; A: a,c Ω, d Ω f  ΩA:upper part: end of slur emended from note 2 tonote 3 by analogy with b.81
chord 4: stacc. added by analogy with chords
1-3
chord 1: stacc. added by analogy with b.96
A:

136
141-142& b 68bœ? b 68 bœbœ147
147-148
151

pf.2
pf.2

œ ™ bœ œjœ™ bœ œD: last quaver: changed in pencil to 
D: below the staff is added “NB” in pencil followed by a horizontal line, covering bb.141-142;
this may refer to the fact that at the very end of
A (after the last movement and the dating) twobars are sketched in pencil which might havebeen meant as an alternative to bb.141-142 in
D; as Hartmann has not crossed out the twobars in D but only marked them with an “NB”,
the version from D is kept in the present edition; A: pencil sketch on the last page of thesource:

pf.1
pf.2



œ œ œ œ œœ.
.
b œ.
œ ≈ œ ≈ œ ≈ œ ≈ œ ≈#œ œ ‰ ‰b#œœœ ‰ ‰ #œœœ. ‰ ‰ œœ ‰ ‰ #nb œœœ ‰ ‰ b#œjœ‰ ‰6b≈& 8 R R R R R #œ œœ#œn # œœ
J
J
J
J
R J
.
fz
fz
fz
fz
fz
.œ . œ. . .
.
.
.
bœ
.
œ œ #œ. œœ œœ œ œ œ n œœ œ nœœ. ‰ œ bœœ ‰ œ? b 68 œJ‰œ J‰œ J‰œ J‰œJ œ J œ
>
j
j
>œ ™
œ.
œ nœ œ # œ ™
j r >& b œœœ ‰ ‰ nœœœ‰ ‰ œœœœ ≈ ?#œR ≈ œR ≈#œR ≈ R ≈ R ≈ R ≈ J ≈ & œr ≈#œ ™ ≈ œ ≈nœJ ™ ≈ œR ≈ J
>
n œ.
J
.
fz
fz
fz
>
.
j > œ. #>œ
œ. n>œ œ ™
? œJ ‰ œ. ‰ œ ‰
#
œ
œ
n
œ
b
J
J
œ œ
J
œ. #œ. œ. . .
# œ.
œ





œ bœ bœ œ
œ œ
b
bœ œ
œ

bœ

œ
bœ œ bœ

bœ œ

œ bœ

œ œœ
œ bœ
bœ

E: con passion
slurs added by analogy with bb.137-142
emended from:œœ # œ
? n œœ ‰ # œœœ
b

œœ
œœ
J

by analogy with bb.152-153 and as in E

306 j.p.e. hartmann : selected works

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20/09/12 10.16

Bar

Part

Comment

Bar

Part

Comment158

pf.2

chord 1: arpeggio omitted by analogy with theother chords of the bar
E:

197
198
201
202

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

211

pf.1

212

pf.1

212

pf.2

213

pf.2

239

pf.1

241

pf.1

243

pf.1

lower part: slur added by analogy with pf.1
lower part: slur added by analogy with b.197
lower part: slur added by analogy with pf.1
lower part: marc. omitted by analogy withbb.203-206
slur from first to fourth quaver omitted becauseof slur from first to sixth quaver
slur from first to fourth quaver omitted becauseof slur from first to sixth quaver
note 4: d Ω emended to e Ω because of the harmonic
context
slur from note 1 to note 2 omitted because ofslur from note 1 to note 5
lower part note 1: marc. added by analogy with
pf.2
lower part note 1: marc. added by analogy with
pf.2
second to sixth quaver: dots omitted because ofrests and by analogy with bb.244-246
D: crossed out in pencil, introduced by thewords Skrives ikke (Not to be written), referringto the re-use of the movement in Klaverstykker
fra ældre og nyere Tid, Opus 74 (see Descriptionof Sources, source D)
A: dolce
A:

œ
bœ bœ

bœ œ œ œ œ œ œ œœbœ& b bœœ™

b œœ ™™
jœ œ œœ ‰ bœJ bœ ™
J{

bœ b œœ œ œ bœ œœœœœ ™ œbœ bœœ ™ bœ œ œœ ™bœ œ œ œ

bb œœ
bœ

b œœ b œbœ bœœ ™™
Jœj ∫bœœ ™
bœ ™

j
b∫œœ

? bœ œbœ œ œ œ œ œb œ œbœ œ bœ œ œbœ œ œb œ œ œ œ bœ œ œbœ œ ∫œb œ œbœ œ
b
œ
‰ bœ
‰ Œ
‰ œ
‰ bœ

162-163
172

pf.2

175
176
178
182
183
184
184
189

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

190
190-191
191
191

pf.1
pf.1
pf.1

D: two bars crossed out in ink between bb.162
and 163
lower part note 1: cautionary accidental added
because of B  Ω in upper part
A: chord 1: arpeggio
slur added by analogy with b.6
slur added by analogy with bb.8, 176
A, E: chord 3: marc.
A, E: chords 2, 4: marc.
chords 1, 3: stacc. added by analogy with b.183
chord 3: stacc. added by analogy with pf.2
last chord, bottom note: d  Ω emended (enharmonically) to c  Ω by analogy with bb.187, 188
A: upper part notes 1, 3: marc.
upper part: slur added by analogy with bb.192-193
A: note 1: marc.
D: corrected in ink from:& b 68

{

œ™

œœ

œœ

œ
? 68 œœ ™œ ≈ ‰
b J

œ
œœ

Œ

#œ.
J
b œ.
œœ
J

the version of the present edition added in ink
at the bottom of the pageE:

192-193œ™
œ& b ‰ ≈ œ œ œ‰ ™ ≈ bœ œ œ ‰œ ™ ≈ œ œ œ œ™
‰ ≈œœœ
œ dim.
?
œ œ ≈ ‰ œœ™œ ≈ ‰ œœ™œ œ ≈ ‰ œœ™œ œ ≈ ‰b œœ ™

193{

244-279253
257-268jœ™ bœ jœœ ™™ œœ œœj œ œj œjj ™
œj œœ ™™ bœœ™ œœ #œœœ ™ œœ œœ. œ. œ.
œ™
œ
™
œ
œ
œ
Œ
œ œœ œb
œ™
œœ™
&
œœ™™ œ œœ™˙ ™ œœ ™
œœ™™
œ
p
p
™
œ ™™ œ œ œœ ™™ œ
œ ™ œœ
j? b œœ ™™ œœ ™™
œœ ™ œœ ™ J œ ™ œ ‰œ™ Œ™
œœ™™ œ œ ˙ ™
œ
œ™ œ™
™
œ
™
˙
œ

{

j
j
j œ jœ
& b œœœ™ œœ œœœ œœœ œœ ™™ Œ œ œœ™ œœ œœJ
cresc. . . . .
œœ œœ
j
œ
?b œ™
œ #œ œ ™ Œ ‰ œ Jœœ™
œ #œ œ ™

{

262
265

pf.2
pf.2

269

pf.2

271
272
273, 274275
276
277-278
279

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

Second Movement
Bar
Part

D: corrected in ink from:

&b œ

{

?b œ œ œ
J

œ œ
œœ

œ

≈œœ
J

œœ
œœ
œ

≈

the corrected version added in ink at the bottomof the page

1

pf.1

j
j
œœœœ œœœ #œœœ œœ œœj œ ™™
bœœœ bœJ œj n œœ ™
J
œœœ dim.
œ
œ #œœ œj
‰
œ™
J
œ œœ
œ™

j j
œœœ nœ œœ
œ™
œj
œ™
œ

∏∏∏∏∏∏∏

dim.

bœ

pp

j
bbœœJ

œœbœbœœ
œ

∏∏∏∏∏

b

j
bœœ bœœ
J∏∏∏∏∏∏∏{bœœœj bœœ

bœj bœb œœJ b œœ™™

∏∏∏∏∏∏∏b œœœbnœœ ™™
& b b œ™
?

slurs added by analogy with bb.137-142
A:

∏∏∏∏∏

pf.2

∏∏∏∏∏

159-162
159-164∏∏∏∏∏∏∏{∏∏∏∏∏∏∏œ œ bœ œ& b œ bœœ ‰Œp dolce
>
?b
‰ Œ
‰
œ
œ

∏∏∏∏∏∏∏

158

arpeggio added by analogy with b.261
upper part chords 1-2: slur added by analogy
with b.263
chords 1-3: slur added by analogy with pf.1 andas in A; upper part chords 2-3: tie omitted byanalogy with pf.1 and as in A
chords 1-3: slur added by analogy with pf.1 and b.269
A: chord 1: arpeggio
A: arpeggio
A: upper parts note 2:  c Ω instead of d  ‘
A: upper part: note 2: marc.
slur added by analogy with pf.2
A: chord as quaver

Comment
See facsimile of the whole movement as it is written in D, reflecting the original version belonging to the present F major sonata (ink version
without corrections in pencil) and the revised
version which was used in Opus 74 (ink version
including pencil corrections and additions). Thus
the pencil corrections are not listed as variants
below, as they can be seen in the facsimile and in
the edition of Opus 74.
con largezza as in D (recte: larghézza);
B: Andante sosten.
B: slur begins on note 3

klaverværker : critical commentary

Hartmann_klaver_bind_1.indb 307

307

20/09/12 10.16

Bar

Part

Comment

Bar

Part

Comment

4

pf.1

fourth crotchet: stacc. added by analogy with
fifth and sixth crotchets and as in B
B: on first quaver
stacc. and slurs added by analogy with bb.1-5
B:
B: chord one: stacc.
slur added by analogy with pf.1
B: upper part note 2: marc.; B: lower part chord
4: e Ω, g  Ω corrected in pencil to f Ω, a  Ω
B: upper part note 1: marc.
slur added by analogy with pf.1
B: one 6/4 barnotes 3-4: slur added by analogy with b.20; note
4: stacc. added by analogy with b.20 and as in B
stacc. added by analogy with b.17 and as in B
B: one 6/4 barbas clef emended to treble clef (Hartmann’s error in D)
6/4 added
slur added by analogy with b.22
note 1: stacc. added by analogy with bb.23, 24;last note: stacc. added by analogy with b.24
note 12: e  ΩΩ emended to e  ΩΩ by analogy with b.21
slur added by analogy with b.24; last note: stacc.
added by analogy with b.24
B: first quaver: D, dlower part notes 4 and 8: erroneously notated asquavers
stacc. added by analogy with pf.2
stacc. added by analogy with b.28
B:

3
4
5
5

pf.2

stacc. and slur added by analogy with pf.1
pencil addition in C:
C: note 1:  corrected in pencil tofourth quaver: d Ω emended to d Ω, e Ω by analogy
with b.72
C: note 1: upper third e Ω added in pencil
stacc. added by analogy with b.77
C: cresc. crossed out in pencil
C:
corrected to in pencil
C: riten. corrected to dim. in pencil
C: a tempo crossed out in pencil
C: second crotchet:  corrected in pencil to tied to note 1 of the following bar
A: upper part note 2: marc.
chord 2: upper note c ΩΩ added by analogy withb.20 and as in A
C: fourth quaver: lower third (c ΩΩ ) and fifth (a Ω )added to e ΩΩ in pencil
lower part chord 2: f Ω, a  Ω emended to f Ω, g Ω inaccordance with pencil correction in C and as
in A; last note: stacc. added by analogy with pf.2
and as in A
lower part chord 1: f Ω, g Ω emended f Ω, a  Ω by analogy with b.30 and as in A
chord 3: stacc. added by analogy with pf.1
lower part chord 2: f Ω, a  Ω emended to f Ω, g Ω inaccordance with pencil correction in C and as in
A; last note: stacc. added by analogy with pf.2
lower part chord 1: f Ω, g Ω emended f Ω, a  Ω by analogy with b.34 and as in A
note 1: stacc. added by analogy with notes 2-4(upper part)stacc. added by analogy with pf.1
stacc. added by analogy with b.37
as original ink version in C; C according to pencil corrections:

56, 8, 9
8
11
13
14

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

14
15-16
16-17
18

pf.2
pf.2

19
19-20
20

pf.2

pf.1

21
21
22

pf.2
pf.2

23
23

pf.1
pf.2

24
25

pf.2
pf.1

28
29, 3029-31

pf.1
pf.1,2

31
32

pf.2
pf.2

35

35
35

pf.1
pf.2

35
41-43

chord 7: stacc. added by analogy with chords 1,5chords 1, 2, lower part: tie added by analogy
with upper partcrossed out and substituted by a new version of
the bar at the bottom of the page; apparently thiscorrection is part of the revision in connection
with Hartmann’s reuse of the movement in Opus
74; therefore the bar is here reproduced in its
original form; as for the new version, see facsimileof the movement in D (see facs. 1, p. xlviii)
notes 1-2 and notes 6-7: redundant slurs omitted
chord 1: d emended to D, d by analogy withchord 2 and b.36
B: con passion
B: different endning with only one bar:



.j
sin.œ
.j
b
œœ
& b œœœ ‰ Œ Œ œœ ‰Œ Œ˙œJ? bb œj ‰ Œ Œ Ó
œœ
.

6
12
13
14
15
16
19

pf.2

20, 21
21

pf.1
pf.1

24

pf.1

30

pf.1

31

pf.1

32
34

pf.2
pf.1

35

pf.1

37

pf.1

37
39
42

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

43

pf.2

47

pf.2

51
51-52
55
54-59
56-58

15/9 53.

Third Movement Intermezzo
Bar
Part
Comment2
pf.1,2
stacc. added by analogy with b.77
3
pf.1,2
chords 2-4: written in pencil in C below the system: a D c, indicating a different harmonizationof the three chords

pf.2
pf.1,2


pf.1
pf.2





{

b6 œ
œ œ œ
œ œ œ œ ˙™
& b 4 ‰ œœ ‰œ œ nœ‰ bœœœ œ‰ œœ ‰ œœœ ‰ œœ ‰ œœ ‰œ œ #œ‰ œœ ‰ œœ ‰ bnœœœ ‰ nœœœœ œ œ ˙™ œ œ œJJ. J pJ. .J .J .J .J .J .J .J .. .J.
œ. . œ. . . . . œ. #n œœ œ.
œ. .
œ? bb 46 b‰nœœœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ nœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ ‰ bnœœœœ ‰ n œœœ œ œ
œœ
J
J
J
J
J J J J œ J
J J œ
œ
J

pf.2
pf.2

œ
b œ≈
≈ œ bœ ≈ œ œ ≈
&b
œ
œœ
œ
? bb œœJ
‰Œthe same alternative could be applied to pf.1 ofb.40 as well.
C: chord on second crotchet added in pencil: c Ω,e  Ω, g Ω
A: chord 1 lower part:  e  , g, b  , lasting thewhole bar
A: chord 1 lower part:  B  , d, f, lasting the wholebar
C: bars crossed out in pencil
C: last chord: cis e written in pencil above the chordstacc. added by analogy with pf.1
C: alternative version of these bars added inpencil at the bottom of the page:nœ œœ.
b œœ.
œ.
& b R ≈# œJ R ≈#œœJ nœR

œ #œr≈‹#œœj #œœ ≈ #œJ nœ #œ ‰ Œ.

b& b œ#nœœ ≈ ‰ œ œœ ≈ ‰ nœ #œœ≈ ‰ œ œœ ≈ ?#œj œj ‰ Œ

60

pf.2

62-63

pf.2

64

pf.1,2

chord 1: end of slur emended from b.59 lastnote (open slur), and stacc. added by analogy
with pf.1
lower part notes 1, 3: stacc. added by analogy
with pf.1
chord 1: stacc. added by analogy with bb.62-63

308 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 308

20/09/12 10.16

Bar

Part

Comment

Bar

Part

Comment

64-65

pf.1
pf.1

69-70
71
77-78
79
79-81

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

9-10
10-11
15
20
21
22
25

pf.1

67

lower part: stacc. and slur added by analogy
with upper part
upper part notes 2-3: stacc. and slur added byanalogy with b.+1
stacc. added by analogy with bb.2-3
stacc. and slur added by analogy with b.4
stacc. added by analogy with bb.69-70
stacc. and slur added by analogy with b.12
C: correction added in pencil indicating the following
version:
79

30

pf.1

30

pf.2

33-34

pf.1

slurs added by analogy with bb.2-4
C: cresc.
slur added by analogy with b.12
chord 1: stacc. added by analogy with pf.2
chord 1: stacc. added by analogy with pf.1
chord 1: stacc. added by analogy with bb.20, 21
lower part note 2: A emended to A by analogy
with note 1 and upper partlower part note 3: marc. added by analogy withlower part note 1
sixth quaver: marc. added by analogy withsecond quaver
end of slur emended from note 4 of b.33 to note
1 of b.34 by analogy with bb.31-32
A: between bb.38 and 39 four bars are crossed
out of which the first two are identical withbb.39-40; the remaining two bars, which arecrossed out:

pf.1,2

90

pf.2

91
94

pf.2
pf.1

n œ b œ œ œcresc.

? bb œœ Œ

œ‰
J

38-39

stacc. added by analogy with bb.73
missing in A
C: apparently crossed out in pencil, the meaning not being quite clear (it does actually makemusical sense to leave out the bars in question
A: chord 1 lower part:  B , d, b, f, lasting thewhole bar
A: chord 2: top note: b  instead of b note 4: e ΩΩΩ emended to e  ΩΩΩ because of the tonal
context (copying error?)
A: alternative transition from the Andante sostenuto to the finale (see Description of Sources):

111-119.
Ub j& b 46 œœœ ‰ Œ Œ Œ Œ Œ b 46 Œ˙œ œ œ b˙



˙˙ œ
˙

˙ #œ . nœj bœ œ
œ œ #œœ ŒœJpp .
b œœ œœ.
˙n˙ Œ Ó Œ ÓŒ Œ œ œ#˙*°.
.
b œ bœjœ nœ
œ ˙ #œ nœbœj œ  œ œbnœœ Œœ bnœ˙ œ bœ b˙ bœ& b #œ̇˙ œœœ bœœœ œœœ œœœbbnœœœ Œ b˙  bœ œb œ b˙˙JJdim.
a tempo
mf
pp
n˙ 
jœ
œ. œ. b ˙
bn ˙˙˙ 
œ
œ
œ
˙
b
œ
˙
b
b
? ˙˙ Œ Ó Œ Ó Œ Œ bnœœ œœ bb˙˙ œ ˙
œ
œ
˙
˙
œ  J
Œ b˙
n ˙ 
b #˙
*
°
b œ.
œ.
œ œ œ Œ bbœœœ ˙˙˙œ œ œ Œ bœœœœbœœ& b ˙ bœ œ œ œ ˙˙˙
œ
œ
œ
œ
œ
œ
˙˙
nœ
pp
lento œb œ œ 11b œ œ 11? b Ó Œ Ó bœ ˙˙ œœœœœœŒ Œ ˙˙˙Œ Œ˙bœ ˙ f˙.
bœ œ œ œ œnœ œ œ œbœ œ œœ œ œ œ œ œbœ˙˙˙bœ œ œ Œ bbœœœ œ˙˙ œ œ b œ œ
œ
b
œ
& ˙˙
œ ˙
œœ







b œ œ 11œœœ

accelerato





f



? ˙˙
b ˙
˙
&



>
b bœ ˙

113

˙

Œ Œ

∑

#œ

∑

œ bœ
c #œ nœ nœ œ œj
J
dolce

œœ
c œ˙

œ

œ˙œ œ

œ

°
pf.2

Fourth Movement
Bar
Part

pf.2

stacc. and slur added by analogy with pf.1 andbb.114, 115

Comment
Finale added as in C
added as pencil addition in B and as in C
upper part note 4: c Ω added as pencil addition in
B and as in C? b 44

39
40
41

pf.1
pf.1,2
pf.2

42

pf.1

43

pf.2

46
47

pf.1
pf.1

48
51
61

pf.1
pf.1
pf.2

69-71

pf.1,272, 73
90
94

pf.1
pf.1
pf.1

96

pf.1

100
101
110
112
112
117

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

123-126133
135-136
140
141
141
147
148

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

riten

Allegro comodo

smorz

?b

6
8















riten.

œ œœ

poco acceleratoŒœ̇ œ œœ b ˙? b 6 œj ‰ Œ Œ U
Œ œ œ b 46 œ b˙˙ Œb4œœpp e sost.



4 œ #œ
& b4

quasi Recit.

Œ œ̇ œ œ˙ #œ œ




81
84-85
89-94



b
œ
& b œœœ œ œ œ  œœ œœ #œœ #œœ œœ ≈



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

f

nœ
n œ.

n œ # œ œœ # œ n œ #œ œ
#œ #œ nœ#œ œ œ#œ œ #œ œ œ nnœœœ œœœ
dim.
œ
n œœœ
œ œ œ
j
j ? #œ œ œ‰ & œ #œœn œ bœœ n œœ œœ J nœ œnote 4: a  enharmonically emended to b a  enharmonically emended to b upper part note 1: stacc. added by analogy with
pf.1
chords 5-8: stacc. added by analogy with pf.2
and b.43
notes 5-7: stacc. added by analogy with notes 1-4
and pf.1
last chord: stacc. added by analogy with pf.2
chords 1-2: stacc. added by analogy with bb.4446; last chord: stacc. added by analogy with b.46
chord 8: stacc. added by analogy with chord 4
note 4: stacc. added by analogy with notes 2-3
upper part:   emended to   to fit lower part ofpf.1
the notation in A of the arpeggios on only the
first chord of each group of three chords might
indicate that the arpeggios are valid for all chordsin the groupA:
added in pencil
slur added by analogy with bb.86, 88
chord 5: stacc. added by analogy with chords
6-8
last chord: stacc. added by analogy with theother chords of the bar
chord 1: stacc. added by analogy with chord 4
chord 1: stacc. added by analogy with chord 4
chord 1: stacc. added by analogy with b.111
note 1: stacc. added by analogy with b.110
chord 1: stacc. added by analogy with b.110
lower part:   emended to  to fit the meter ofthe bar; note 2:  emended to  to fit the meterof the bar
as corrections in A
slurs added by analogy with b.15
slurs added by analogy with bb.17-18
chord 1: stacc. added by analogy with b.138
chord 1: stacc. added by analogy with pf.1
redundant rests omitted
note 1: stacc. added by analogy with bb.145, 146
chord 1: stacc. added by analogy with b.147

klaverværker : critical commentary

Hartmann_klaver_bind_1.indb 309

309

20/09/12 10.16

Bar

Part

Comment

Bar

149
154
155-156

pf.1
pf.1
pf.1,2

chords 3-4: slur added by analogy with b.151
chords 3-4: slur added by analogy with b.151
A: between bb.155 and 156 four bars are crossed out:

14

#œ œ
n œ œ # œ œ # œ œ # œ œ n œ œ #œ œ œœnœ#œ œ nœ œ #œ œ œœ #nœ
& b œnœ œ#œ#œ œ œnœ #œ#œ œ œ#œœ œ œ œœ œ

b.155



œœ
b œ #œœ Ó
œ.

160
161
166

pf.2
pf.2
pf.1

166
167
175

pf.2
pf.2
pf.2

178

pf.2

?

p

# œœ
#œœ Ó
œ
œ.

cresc. - - - - - - - - - - - -f

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

p

n œœ
‰ & œœ nbœœ nbœœ œj œ ‰? œ
œœ

œ œ

œœ

œ œ

œœ

œ œ

chord 1: stacc. added by analogy with pf.1
chord 1: stacc. added by analogy with b.182
chord 2: marc. added by analogy with pf.2
chord 3: stacc. added by analogy with chords 4-7
chord 3: stacc. added by analogy with chords 4-7
A: below chord 2 added in pencil in foreign (?)
hand: domin? (dominant?)

no. 4
sonatina in g majorFirst Movement
Bar
Part
2
5
6
12

pf.1
pf.1
pf.1

16

pf.1

20
21
22

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

35
44
48
50
53
55

pf.1
pf.2

56
57

pf.1
pf.2

pf.1
pf.2
pf.1

Second Movement Romance
Bar
Part
9,10
pf.1
10
pf.1

œœ
œ

b.156ff
stacc. added by analogy with pf.1
stacc. added by analogy with pf.1
upper part notes 3-5: stacc. added by analogy
with b.165
notes 4-5: stacc. added by analogy with b.167
notes 1-2: slur added by analogy with b.166
chord 1: marc. and stacc. added by analogy withb.174
lower part chord 1: emended by analogy withchords 2-4 and b.179; A:œœ œ œ œœ
œ
181
183
183
184
188
200

œ
œ.

dim:

œœ
œœ

Comment
C: Allegro poco moderato non troppo
C: upper part notes 1-3: slur
C: crossed out
C: upper part notes 1-3: slurend of slur emended from last note of b.11 tosecond note of b.12 by analogy with pf.2 and b.47
chord 1: b  , e Ω, b  Ω enharmonically emended toa  , e Ω, a  Ωlast chord: stacc. added by analogy with b.22
stacc. added by analogy with pf.2
last chord: stacc. added by analogy with third
quaver
C: chords 2-3: slurchord 1: missing upper part added
C: last chord:e  Ω, a, e  ΩΩ enharmonically emended to d  Ω, a, d  ΩΩC:stacc. and slurs added by analogy with bb.52-54;
C: chords notated with one stem only and no
indication of m.s
C: lower part b Ω-g Ω-d Ω crossed out in pencil
slur added by analogy with pf.1 and as in C

Commentadded
C: chord 2: lower part (a) missing

19
20

Part

pf.1

Comment
added because ofin the beginning of thebaradded by analogy with b.20
upper part note 1:  emended to  to fit the metre

Third Movement Rondo-Scherzo
Bar
Part
Comment+1
pf.2
C: stacc.
2
bar line emended to double bar because of beginning of rondo theme and as in C3
pf.1
chord 3: stacc. added by analogy with pf.2 andas in C5
pf.1
chord 3: stacc. added by analogy with pf.2 andas in C6
pf.1
last chord: stacc. added by analogy with b.76 andas in C7
pf.1
lower part: end of slur emended from note 5 tonote 6 by analogy with upper part and as in C7
pf.1
upper part note 1: marc. added by analogy withb.15 and as in C
7,9
pf.2
notes 1-2: slur omitted because of slur from pf.1
to pf.2
8
pf.1
last chord: stacc. added by analogy with b.78 andas in C9
pf.1
upper part note 1: marc. added by analogy withb.17 and as in C; lower part: end of slur emended from note 5 to note 6 by analogy with upper
part and as in C
10
pf.1
C: notes 6-7: slur
11
pf.1
chord 3: stacc. added by analogy with b.3 andas in C; chord 6: stacc. added by analogy withchord 3 and as in C
13
pf.1
chord 3: stacc. added by analogy with b.3 andas in C; chord 6: stacc. added by analogy withchord 3 and as in C
15
pf.1
upper part note 1: marc. added by analogy with
pf.2 and as in C
17
pf.1
upper part note 1: marc. added by analogy with
pf. 2 and as in C
18
pf.2
chord 3: stacc. added by analogy with b.17
19
added because of dynamic level ofbb.19, 20 and as in C
19-20
pf.1
slur from last note of b.19 to second chord ofb.20 added by analogy with pf.2 and as in C
20
A, C: tempo
21-22
pf.1
slur from last chord of b.21 to second chord ofb.22 added by analogy with pf.2 and as in C
22
pf.2
stacc. added by analogy with b.20
23
pf.2
notes 8-9: slur added by analogy with pf.1; C:notes 5-9: slur25
pf.1
C: on last note of the bar, not on first note
26-27
pf.1
beginning of slur emended from first note ofb.27 to last note of b.26 by analogy with bb.3031 and as in C
27
C: fingering
32
C:
34
pf.1
chord 3: stacc. added by analogy with b.3 and as
in C
34,36
pf.1
last chord: stacc. added by analogy with bb.37,
38, 4036
pf.1
chord 3: stacc. added by analogy with b.5 and as
in C
37
pf.1
chord 7: stacc. added by analogy with b.38
38
pf.1
stacc. added by analogy with bb.34,36 and as inC

310 j.p.e. hartmann : selected works

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Bar

Part

Comment

Bar

40
42
43-44
44
45
52
52

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

stacc. added by analogy with bb.34,36 and as in C
C: two slurs
C: upper part: slur
C: notes 2-6: slur
C: lower part note 1: c Ω crossed out in ink
ris: emended to risoluto
upper part notes 1-3: stacc. and slur added byanalogy with bb.48-51
C: chord 3:
chord 3: stacc. added by analogy with b.3 and as
in C; C: chord 6: stacc.
chord 3: stacc. added by analogy with b.14 andas in C; C: chord 6: stacc.
ris: emended to risoluto
last chord: stacc. added by analogy with b.78 andas in C
notes 1-2: slur added by analogy with notes 3-4
and b.79 and as in C
last chord: stacc. added by analogy with b.16 andas in C
C: fingering
A, B: note 11: c  ΩΩΩ (engraver’s incorrect readingof c ΩΩΩ in C)
chords 3, 6: stacc. added by analogy with b.38
and as in C
chords 3, 6: stacc. added by analogy with b.40
and as in C
note 4: stacc. omitted by analogy with b.100 andas in CC:
stacc. added by analogy with pf.1
ris: emended to risoluto

32-41

75

pf.1

76
76

pf.1

77

pf.2

78

pf.1

85-89
87

pf.1
pf.1

94

pf.1

96

pf.1

101

pf.1

102
102
103

pf.2

no. 5
sonata in a minor, opus 80
First Movement
Bar
Part
14
14-15
pf.1
15
19
pf.1

19
19-20

pf.2

20
24-25

pf.2
pf.2

26
27

27
28

pf.1
pf.1,2

Comment
A: third quaver: rit. corrected to a tempo
B: upper part: c  ΩΩ missing
A: a tempo crossed out
first and second quaver: slur added by analogy
with fourth and fifth quaver and as pencil addition in A
D: chord 2: f, b  , f Ω
A: third quaver (b.19) to first quaver (b.20): slur
added in pencil
A: chord 1: arpeggio added in pencil
tr. emended from third quaver to fourth quaver
because of the meter of the bar and lack of a tie
from third to fourth quaver in A; tie added fromlast note of b.24 to first note of b.25 (page turnin A); B: no tie
A: chord 2: sost. crossed out in pencil
two bars after b.27 omitted for musical reasonsand because of addition (vi-de) in A; A: between
bb.27 and 28 of the present edition: Vi = de apparently indicating that Hartmann wanted toomit the two bar passage , which is a repetitionof bb.26-27; the two bars are included in D; thebars in question are also included in B, without
pf.1, however, being fully written out
A: chord 2: a, c Ω, f  Ω, a Ω corrected to a, d  Ω, f  , a Ω
sixth semiquaver: ten. added by analogy with
b.29

œ U
#œœ  Œ ‰& 68 #œœ ‰ œœ ‰œœsmorz.
j#œ
? 68 œ œ œ œ #œœ  Œ U‰#œ œ 
œ >


39-41
42

pf.1

47-48

pf.1

49-50

pf.1

50-51

pf.1,2

57

pf.1

58

pf.1

59-60
66

pf.2
pf.2

67
69
72
78

pf.2

79
80
81
97
98-99

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

102
104
108
111
114

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

pf.2
pf.2

115
116
116-117
118

pf.2
pf.2

119

pf.1

129-130

pf.1



pf.1

as on a separate sheet in A with the title: Indlæg
A Pag. 2 (insert A, p.2) containing bb.32-41 as a
substitution and extension for the original two
final bars of the introduction, which are crossed
out in A:

A: two slurs corrected in pencil to one slur
A: Allegro poco moderato corrected to Allegro
moderato, con passion; D: Moderato con passione
beginning of slur emended from first quaver ofb.48 to last quaver of b.47 by analogy with pf.2
two slurs emended to one slur by analogy withbb.47-48
end of slur emended from final note of b.50 tofirst note of b.51 by analogy with bb.48-49
seventh semiquaver: lower note: b  Ω emended tob  Ω by analogy with b.223
A: chord 1: e Ω, a Ω, c ΩΩ, e ΩΩ corrected in pencil to a Ω,c ΩΩ, e ΩΩ (lower e Ω crossed out in pencil)
D: two slurs
A: third chord: D, d, f corrected to D, d (topnote crossed out in ink)
D: second quaver e, a, c Ω (top note e Ω missing)D:
A: note 6: e Ω corrected to e in pencil
A: end of slur corrected in pencil from note 6
to note 5; beginning of slur corrected in pencil
from note 7 to note 6
chord 1: stacc. added by analogy with b.78
A: cr - - A: second quaver: arpeggio added in pencil
engraver’s error in D in relation to the slurs
A: slur from last chord of b.98 to second chordof b.99 corrected in ink to slur from first to second chord of b.99
D: first chord:
A: first chord: lower note in brackets
notes 3-4: stacc. added by analogy with b.106
note 5: marc. added by analogy with note 1
D: chords 1-2: slur (no stacc.); D: last chord: f ΩΩ,g ΩΩ, d ΩΩΩ, f ΩΩΩ
D: first chord: e  ΩΩ, g ΩΩ, c ΩΩΩ, e  ΩΩΩ
D: second quaver:
D: all quavers: stacc.
arpeggio added by analogy with b.117 and as in
D
D:
-



œœ
œœ
œ
2
œ
& 4 ‰ œœ ‰ œœ
# Jœ
.J
.

D:

.
œ. œ
œ œœœ œœ œœœ.
œ
& œ



f

œ.
? œJ œœ œ.
œ

œœ.
œ

œœ
œœ.
œ
œœ #œ œ #œ œ œ
J
œœ
>ff
j œœœ
œ
œ
J
œœ



63
73

Comment

pf.1

Part

klaverværker : critical commentary

Hartmann_klaver_bind_1.indb 311

311

20/09/12 10.16

Bar

Part

Comment

Bar

Part

Comment

133
134-135

pf.2
pf.1

267-268

pf.2

D:

136-137

pf.1

139-140

pf.1

141-142

pf.1

151

pf.2

chord 1: stacc. added by analogy with pf.1
lower part: b.134 last chord to b.135 first chord:stacc. and slur added by analogy with upper
part and pf.2
lower part: b.136 last chord to b.137 first chord:stacc. and slur added by analogy with upper
part and pf.2
lower part: b.139 last chord to b.140: stacc. andslur added by analogy with upper partlower part: b.141 last chord to b.142: stacc. andslur added by analogy with upper partsecond quaver, top note: b  emended to e  Ω byanalogy with bb.149, 150 and as in D

151, 152,
153

pf.1

155-156

pf.1

155-156

pf.2

158
159
164
165
166

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

167
173
174
175

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

177

pf.2

179

pf.2

last chord: stacc. added by analogy with bb.148150
lower part: slur emended from open slur (pageturn)
lower part: slur emended from open slur (pageturn)
A: second chord: B  added in pencil
A: notes 2-4, 7: stacc. crossed out
A: seventh quaver: B added in pencil
A: notes 2-4, 7: stacc. crossed out in ink
chord 5: stacc. added by analogy with chords
2-4
chord 1: stacc. added by analogy with pf.1
A: notes 2-4, 7: stacc. crossed out
A: note 1: stacc. crossed out
lower part chords 2-3: stacc. added by analogy
with upper partlower part: ten. added by analogy with upper
part
D:

.
? 4 œR8 œ œ œ œ œ œ #œ
œ œ œ œ. œ. œ. # œ.
middle part note 4:  for e Ω added because of the
4

183

pf.1

195
202

pf.2

203
210-211
215
219

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

223

pf.1

223

pf.2

224

pf.1

235

pf.1

243,
245, 247
249
263
264
264
266

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

3

5

end of tie on note 1 (e  Ω )added by analogy with b.197
D: first and fifth semiquaver: lower notes inbrackets
A: chords 2, 4: f ΩΩ corrected to g ΩΩ in pencil
A: lower part: tie crossed out in pencil
added by analogy with b.214
chord 1:
open slur at the end of bar emended to finish
on note 8 because of slurs in b.220 and 221 (A:change of system from b.219 to b.220)
seventh semiquaver: a  Ω emended to a  Ω by analogy with third semiquaver and b.222
eighth semiquaver: a  emended to a  by analogy
with fourth semiquaver and b.222
chord 3:
added by analogy with b.225(chord 3)
chord 2: stacc. added by analogy with chords 1
and 3

z

z

stacc. added by analogy with b.242
A: arpeggio crossed out in pencil
chord 1: stacc. added by analogy with pf.1
D: fourth quaver: c ΩΩ, d ΩΩ, f ΩΩ, c ΩΩΩ
D: fourth quaver: c Ω, d Ω, f Ω
A: chord 1: top note c ΩΩ crossed out in pencil;
chord 4: upper octave added by analogy withchord 2 and as in D

œœ. œ
œ
œ
? œœ œœ œœ™ œœ œ # œJJJp espressivo

273-274pf.2

D:œ œ œ œ œ œ œ œ#œ œ? œœ™ œ œ œ œ œœ œ™ #œ œœ œ œ
R
J
J R

1
3

cresc.

277-278pf.2

D:? œ œ nœœ279, 280

pf.1

281

pf.1

281, 282
286

pf.2
pf.2

288

pf.2

289, 290

pf.2

289-290291
296
298-299

pf.1

300, 301
301

pf.2

304
306

pf.2
pf.2

œœ œœ œœ œ œ #œ œ œœœœœ œœ œ
2

2

chord 3-4: stacc. added by analogy with bb.275277
A: chords 2-3, 5: a Ω crossed out; chord 6: a Ωomitted by analogy with chords 2-3, 5
D: notes 2-3 and 5-6: stacc.
chord 1: as pencil correction in A; A: chord 1:
originally notated two octaves higher; correct
octave indicated by addition in pencil and ink:
NB 8vo under and herfra skr. Basnøgle (NB lower octave, from here please notate in bas clef),and a bas clef with the three first chords of thebar in the correct position added in pencil;
D: two octaves above; D: last chord: top notemissing
stacc. on second triplet added by analogy withstacc. on first triplet
A: chords 3, 6: originally notated one octave
above, 8 basso (and 8b.) added in ink
triplets added by analogy with pf.2 and as in D
A:  added in pencil
A: mo crossed out in pencil
A: notated by repeat signs of the two previous
bars
chords 1-2: stacc. added by analogy with pf.1
A: notated by repeat signs around the previous
barchord 2: stacc. added by analogy with b.305
chord 1: stacc. added by analogy with pf.1

Second Movement
Bar
Part
2
pf.2
8
pf.2

23
25

pf.2
pf.2

28

pf.1

29

pf.2

32
35
36
41

pf.2
pf.1
pf.1,2

Comment
A: chord 2: top note a crossed out
lower part: slur added by analogy with pf.1;
lower part: first and second crotchet: ten. addedby analogy with pf. 1
chord 3: stacc. added by analogy with pf.1
chord 3: e Ω emended to c, e Ω by analogy with pf.1
and as in Dlower part: stacc. added by analogy with upper
part
lower part notes 4-5: tie omitted by analogy
with notes 6-7 and as in D; chords 4-5: stacc.
added by analogy with chords 2-3 and 6-7
chords 3, 6: stacc. added by analogy with pf.1
chord 1: stacc. added by analogy with b.33
added by analogy with b.34 and as in D
chords 4-5: stacc. and slur added by analogy
with bb.1, 7, 34, 36



312 j.p.e. hartmann : selected works

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20/09/12 10.16

Bar

Part

Comment

Bar

Part

Comment

43

pf.1,213-14
15

pf.2 (1)
pf.1

44
46

pf.2
pf.1

18

pf.2

46

pf2

20

pf.1

50

pf.2

53
56
63

pf.1
pf.1
pf.2

69

pf.2

72
73
73
74

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

74-75

pf.1

chords 4-5: stacc. and slur added by analogy
with bb.1, 7, 34, 36
ten. added by analogy with pf.1
last chord: g  Ω emended to g  Ω by analogy withchord 3last chord: g  emended to g  by analogy withchord 3
final note: g  Ω emended to a  Ω (enharmonically)by analogy with b.51
D: third quaver: d Ω, f Ω, b  Ω
D: chord 2: f Ω missing
chords 5-6:
added by analogy withb.62
chord 2: e, f , a  enharmonically emended toe, g, b 
B: chord 1: stacc.
stacc. added by analogy with b.28
stacc. and slur added by analogy with b.72
chords 4-5: stacc.added by analogy with chords
2-3, 6-7
added page to B:

see bb.1-2 above
upper part note 4: stacc. added by analogy withnote 2
A: fifth quaver: added in pencil below the notein brackets: (lille Node) (small notehead)
chord 3: stacc. omitted by analogy with bb.6, 8,
10, 12
note 5: added by analogy with b.23 and as in D
A: sixth quaver: crossed out in ink; addedby analogy with b.32
chord 3: ten. added by analogy with chord 1 andpf.2
A: on a separate sheet, marked Indlæg B til 3die
Stykke, d dur pag 19 (insert B for the 3rd piece, Dmajor page 19)
triplet marks added
chord 3: D Ω, C, G emended to F Ω, C, G because of
pedal F in the rest of b.55 and b.56 and as in D
sixth quaver: d  ΩΩ, d  ΩΩΩ emended to d ΩΩ, d ΩΩΩ becauseof the harmonic progression of the bar
A: fifth quaver lower note: F  Ω (writing error forthe correct AΩ); last chord: stacc. added by analogy with pf.1;
chord 4:  emended to  because of the following  (writing error)
fourth quaver lower note: a  Ω emended to a  Ω asin D (writing error in A)

œ. œ.
œ. œ.
. œœ
. . . .
.œ œœ. œœ. œœ. œœ. œœ. œœ. œœ. #œœ. œœ. œœ œœ bbœœœ œœœ #n œœ. œœ. œœ œ œ nœœ. œœ œœ nœœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
nœ œ œ
®n œ œ œ œ œ œ œ œ®œ& œœœœœœœœ œœœœRÔRÔ78
81, 8486-91

D: chord 1: d Ω, f Ω, a Ω
B: second quaver: stacc.
added page to B:

pf.2
pf.1,2
pf.1

Third Movement
Bar
Part





œ œ œb j ‰ n œ ‰ #œ œ ‰ œ œ ‰
b
œœ
& b œ
œ
œœ.
œœœ
œ
œœ
dim.
j
j
œ
œ
? bb œ ‰ œ ‰ œ ‰ œ ‰
J
J
œœ
œœ 
b œœ
.

j j j
œœ œœ ‰ œœ ‰œœ. œœ. œœ.
j j jœœ œœ ‰ œœ ‰. . .

jœœ ‰ Œœœjœœ ‰ Œ
œ

˙˙
˙˙
˙˙
˙

∏∏∏∏∏

∏∏∏∏∏∏∏{fœ œ #œ œ œ œ #œ ™
? ## 6 œ œJ
œœ ™™
8

1-2

pf.2 (1)

2-3
9
12-13

pf.2
pf.2

p

œ ‰
œ

39-48

53-57
55

pf.2

57

pf.1

68

pf.2

70

pf.2

77

pf.1

Fourth Movement
Bar
Part
5
pf.2

10

pf.1

12
15

pf.2
pf.2

16
20
21

pf.2
pf.2
pf.1

jœœ
œ
œœ ™ œ ‰œ ™™ œœ ‰

21

pf.2

23, 24

pf.1

f43, 4449, 50
60
61
62
64
65-71

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

69
78
87-106
91

pf.2
pf.1

91, 92
99

pf.2
pf.1

106

pf.2

sin.

œ #œ ™
œ ‰ œœ ™™

œ ‰œœ

end of slur emended from second quaver of pf.2
to third quaver of pf.1 by analogy with pf.1, upper partslur added by analogy with pf.1 and as in D
slur added by analogy with bb.7, 11
A: two bars between bb.12 and 13 crossed out in
ink:

#
j
œ œ œ œ œ œ& # œ œJ#œœ  #œf
œ œ œ œ œ œ œ œ œj
œ
? ##
J
œ œ œ



pf.1

pf.2

pp

p

37

7

Comment
A: four bars with a different beginning crossed
out:

#
j
œ
œ
j
& # 68 œ œJ œ #œ œ œ œœœ ™™™ #œœœ œœœ ##œœœ œœœ
.
.



25
31

pf.1



Comment
second crotchet: marc. added by analogy with
pf.1
second crotchet: marc. added by analogy with
pf.1
fourth semiquaver: stacc. added by analogy withb.9
chord 1: stacc. added by analogy with b.11
last chord: stacc. added and end of slur emended from first note of b.16 by analogy with b.17
D: third quaver: g  , b, e Ωchord 2:
added by analogy with b.19
chord 4: g  Ω, d ΩΩ, g  ΩΩ emended to g  Ω, d ΩΩ, g  ΩΩ because of b.22 chord 1 and as in D
upper part chord 2: stacc. added by analogy
with pf.1
fourth semiquaver: stacc. added by analogy withbb.9, 10
D: a  Ω missing in all the chords
D: g Ω missing in all the chords
chords 1, 4: stacc. added by analogy with pf.1
D: chord 1: arpeggio; second quaver:marc. added by analogy with b.61
A:andadded in pencil
A, D: every second barline is broken, (i.e. barlines between bb.65/66, 67/68, 69/70 and 71/72),
temporarily changing the meter from 2/4 toquasi 4/4
D: chord 1: E (topnote e missing)
D: note 6: d  ΩΩbar lines as bb.65-72
upper part note 1: ten. added by analogy withnote 2 and b.92
note 1: stacc added by analogy with bb.87, 88
upper part note 1: ten. added by analogy withnote 2 and b.100
D: last chord: e, g, c  Ωzklaverværker : critical commentary

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20/09/12 10.16

Bar

Part

Comment

109
110
111
112
113
116
120
137, 138,
139

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

D: first quaver: D (upper octave missing)
D: first quaver: F (upper octave missing)
D: first semiquaver: G (upper octave missing)
D: first semiquaver: G  (upper octave missing)
D: first semiquaver: F (upper octave missing)
D: first quaver: E (upper octave missing)
A: note 8: c Ω corrected in pencil to e Ω

pf. 2

141
146

pf.2
pf.1

chord 1: stacc. added by analogy with b.136 andas in D
D: second quaver: D, g chord 3: stacc. added by analogy with b.147;
chord 4: as b.21 (see above)
added by analogy with b.146
A: first quaver: lower octave AΩ crossed out in ink
fourth semiquaver: stacc. added by analogy withbb.134, 135
D: fourth semiquaver: c Ω (lower third missing)
D: chord 1: f ΩΩ missing in the chord; fourth
semiquaver: f Ω missing in the chord
D: second chord: marc.
chord 2: stacc. added by analogy with pf.1; A:
chords 2-4: notated one octave higher with theaddition in the margin: NB skrives i f Nøgle en
Octav dybere (to be notated in the bas clef one
octave below); D: chord 2: d  , f, b  ; chord 3: E  ;chord 4: e  , g  , b 
D: third quaver: c  (lower octave missing)
B: chords 2 and 4: c ΩΩ, e  ΩΩ, a  ΩΩ, c ΩΩΩ corrected inpencil to c ΩΩ, f ΩΩ, a  ΩΩ, c ΩΩΩ
D: chord 1: F, f
D: no c ΩΩ in any of the chords
chord 1: stacc. added by analogy with pf.1
A, D: notated with accidentals and without key
signatures

z

147
148
148, 149

pf.2
pf.1

150
152

pf.2
pf.1

160, 161
164

pf.1
pf.2

165
169

pf.2
pf.1

170
172-173179
184-210

pf.2
pf.1
pf.2

185, 186,
187, 188
185-198
195

pf.2
pf.2:

D: chord 1: E (upper octave e missing)barlines as in A, D (see bb.65-71)
D:

?
197
203-210
206
210
217
221
223

231
233
242

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

pf.2
pf.2
pf.1,2

pf.2
pf.1,2pf.2#œ#œœ œ #œ#œœ œ≈Ó

D: chord 1: G  (upper octave g  missing)barlines as in A, D (see bb.65-71)
chord 1: stacc. added by analogy with bb.203-205
D: dol.
note 7: stacc. added by analogy with b.215
chord 1: stacc. added by analogy with b.222
D: chord 2: A (upper note c  missing); A: chord
4: d as second note of the chord crossed out inpencil
D: fourth quaver: G, B  , e  (top note g missing)
D: fourth quaver: B  , d , g (top note b  missing)
D:
œ

{

245
248
253

Bar

œ œ œœœœ œ œ œœœ& œJ ≈ œ ≈ œR ≈ œR ≈ œR ≈ œRRrfz
œœ # œ mf œ œ? œ #œ ≈ œ ≈ œ ≈ œr ≈ œr ≈ œr ≈ ‰J R R R &œ œ œ

D: chord 1: top note e Ω missing
added by analogy with b.247
upper part: added because of value of the first
chord

z

Part

Comment

no. 6
rondeaux brillants, opus 6
No. 1
Bar

Part

16

pf.2

Comment
the fingering of D is omitted from the present
edition; A: no fingeringA:? ### 42 œœ ‰ œ
#œ
22
32
33
37
45
65

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

96, 98104105-106

pf.1

121
165

pf.2
pf.1

203

pf.2

222

pf.1

230
239, 243
246
259
263
263-264265
265-266
268
269
276
279
305
314
318

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

330
330
331
332
335-353335# # #œ
& # 42



A: cresc.
A: second chord: A , A, a , c  , e
A: risoluto
A: note 1: 
A: chord 1: A:œ? ### 42 nœœ #œ 

A: second quaver: arpeggio
A: legato
lower part: tie added by analogy with bb.109110
A: a, c  , e , anote 3: b  emended to b  because of the harmonic context of bb.162-175
beginning of slurs emended from last note ofb.202 by analogy with pf.1
end of slur emended from note 1 to note 2 byanalogy with bb.8, 123
see b.16 above
A: third quaver: g , b, dsee b.32 above
A: note 1: slur added by analogy with b.49
slur added by analogy with b.49-50
slur added by analogy with b.51
slur added by analogy with b.51-52
note 1: g  emended to g  (engraver’s error)
note 1: c  emended to c  (engraver’s error)
note 1: f  emended to f  by analogy with b.268
A: same rhythm as in b.65 (see above)note 1: stacc. added by analogy with pf.2
A: legato
chord 1: a, c  , f  emended to a, c  , f  by analogy with b.314
A: crescendonotes 5-6: stacc. added by analogy with b.332
A: chords 1-2:  c with grace note e
A: note 6: b
A: missing; instead the following somewhat
longer ending of the movement is included:

pf.2

pf.1

pf.1
pf.1
pf.1

œ

œj

œœ

##
& # 42 œ œ œ œ œ œ œ #œ

340

##
&# Ó



? ### Ó

œœ œœ
œ œ
œ œ

#œnœ œ

œ#œ nœ
œ

œ#œ

?

nœ œ

œ#œ œ œ œ &#œ œœ
œ#œ œ œœœ

Œ

Œ œ
œ

. œ. œ.
.
œj œnœ œ œ œ œœœ œ ‰ œ#œ œj œ#œ œ œ œ œœ
œ
#
œ
Œ ‰
p
œ œœ œ œ
œ
œœ œ
œœ œ
œ
œ
œ
Ó

.
œ. œœ œœ ‰ #œ

Œ

Ó

?

œ

p

œœ œ œ
œ

314 j.p.e. hartmann : selected works

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Bar

Part

Comment. . œ.
### œj œ#œ œ œ œ œœ œœ œ œ#œ œj œ#œ œ œ œ œœ.
‰
&
œ
œ
œ
œ cresc.
œœœ œ
œœ? ### œœ
œ
œ
œ

346



nœ œnœ œBar.
œœ. œœ œ œ œ n œ œ œ œ œ œ
≈ #œ
œœ œ
œ

œ

œœ
J ‰

Œ

nœ œ œnœ&œ œ œ nœœ nœ œ nœ# # #œ nœœœ&#
semprecrescendo## œœ nœ œ œ#œ œ
œ bœ œnœ œ œ nœ.
Œœ
& # œ œ œ#œ œ œ œ.
nœ n œ Œ
œ.
.
œœœ
œ
356
œ œ œ œœ œœ œœ n nœœ # œ œ œ### œœœœ œ œ nœ # œ
œœ ?œ œ œ œ œ œ
&
œœœ
œ
œœ
œ
ff
œ
œ
œ
#
œ
#
# œ
? ‰ œ œ #œœ ‰ Œ
‰ œ#œ œnœ œ œ œ&# J ‰ ŒJœœ œ œnœ œ
361
>
œœœœ
œœ
j
? ### œ œ œ œœœœœœœj ‰ #œœœœœœ& œ ‰ nœ
œœœœ
œœœ
œ
œ
œœ
œ
œ
œœ
con fuocoœ œœœœœ œ œ œnœ œ œ œ # œ n œ œ œ œ
œœœœ
œ
œ
? ###
œ
œ
œ
œ
œ
n
œ
œœœ
œœœœ
351






No. 2
Bar

Part

31

33

pf.2

57

pf.1

64

pf.2

75
79
104, 105

pf.1
pf.2
pf.2

106

pf.2

163
165

pf.2
pf.1,2

171
173
175

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

233-234

pf.1

265

pf.1

269
287
292

pf.1
pf.2
pf.1,2

294
320

pf.2
pf.2

321
360-361383

pf.1,2
pf.2
pf.2

Comment
RONDO before the first bar omitted
cresc. emended to decresc. by analogy with b.243
and because of the dynamic indications inbb.31-33
fourth quaver: marc. added by analogy withb.245
end of slur emended from note 4 to note 1 byanalogy with b.53; note 4: marc. added by analogy with b.53
chords 1, 2: marc. added by analogy withb.276
chord 4: marc. added by analogy with pf.2
chord 4: marc. added by analogy with pf.1
upper part notes 1-2: slur added by analogy
with pf.1
upper part notes 1-2: slur added by analogy
with pf.1
chord 4: marc. added by analogy with pf.1
marc. between the staves interpreted as marc. inboth pf.1 and pf.2
chord 4: marc. added by analogy with b.163
chord 2: marc. added by analogy with b.165
chords 3-4: stacc. added by analogy with chords
1-2 and bb.174, 176-177
upper part: slur from last note of b.233 to
first note of.234 omitted by analogy withbb. 21-22
end of slur emended from note 2 to note 4 byanalogy with b.269
note 4: marc. added by analogy with b.265
chord 4: marc. added by analogy with pf.1
last chord: marc. added by analogy withb.79
note 3: stacc. added by analogy with b.296
upper part note 1: marc. added by analogy with
pf.1
chord 1: marc. added by analogy with b.320
slurs added by analogy with bb.144-145
marc. added by analogy with b.385

Part

Comment

no. 7
capricer, opus 18
No. 1
Bar
1
2
4

Part
pf.2
pf.2
pf.1

5

pf.1

5

pf.2

5, 6
6

pf.1

6

pf.2

9
10

pf.2
pf.1

11, 12,15, 16

pf.1

12
13
15
15
16
18

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

Comment
stacc. added by analogy with pf.1 and as in B
stacc. added by analogy with pf.1 and as in B
notes 5-10: slur added by analogy with b.24 andas in D
mordent emended from note 6 to note 7 byanalogy with b.1
chord 1: marc. added by analogy with pf.1 andas in D; chords 2-5: stacc. added by analogy
with pf.1 and as in B
B: fourth quaver:note 1: marc. added by analogy with b.5; note
10: stacc. omitted because of tie
chord 1: marc. added by analogy with b.5;
chords 2-5: stacc. added by analogy with b.5
marc. added by analogy with pf.1 and as in B
note 6: stacc. added by analogy with b.14 and as
in Dnote 6: stacc. added by analogy with b.14; notes
1-5: slur added by analogy with b.10
note 7: marc. added by analogy with bb.10, 11
marc. added by analogy with pf.1 and as in B
added by analogy with b.11
note 7: marc. added by analogy with b.11
D: note 7: marc.
note 1: marc. added by analogy with b.17 and as
in D; notes 1-6: slur and stacc. added by analogy
with b.17
B: ; D:slurs added by analogy with b.19 and as in B
added by analogy with b.+1 and as in B
chords 2-5: stacc. added by analogy with b.5
marc. and stacc. added by analogy with b.21
note 5: marc. added by analogy with bb. 4
note 1: marc. added by analogy with b.21
chord 1: marc. added by analogy with b.21
note 10: stacc. omitted because of tie
marc. and stacc. added by analogy with b.6
notes 5, 10: marc. added by analogy with b.7
first and second minim: marc. added by analogy
with b.9 and as in B



19
20
21
21
22
24
25
25
26
26
27
29

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

30, 31, 32,
34, 36

pf.1

31-36

pf.1,2

pf.1

notes 1-6: slur and stacc. added by analogy withbb.10-12
as in A and D; B: the five bars are substituted by
one bar:>˙˙b&b b c>˙
˙? bb c ‰ bœ œ nœ ‰ bœ œ œ
b b˙˙
n˙

33

pf.2

35

pf.2

37

pf.2

38
39

pf.2
pf.1

first and second minim: marc. added by analogy
with b.29
first and second minim: marc. added by analogy
with b.29
note 7-8: marc. and slur added by analogy withb.38 and as in D
B: third crotchet: upper part   b  added to the  anote 6: stacc. omitted by analogy with bb.40-44

klaverværker : critical commentary

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Part

Comment

Bar

Part

Comment

40

pf.2

4

pf.1

41, 42
41-50

pf.1
pf.1,2

B: third and fourth crotchet:    (the chord
having an additional e as its lowest note)
note 7: marc. added by analogy with bb.39-40
as in A and D; B:

46, 7, 8i
8i

pf.2
pf.1
pf.1,2

8-9

pf.1,2notes 7-8: as in D and by analogy with bb.1-3
and 5-7; B: notes 7-8:  B, D: note 5: stacc.
marc. added by analogy with bb.1-5
D: the whole bar added as an afterthought
above the staff, and “No 2” added to the present
b.8ii, thus indicating that originally Hartmann
did not want a repeat sign and two voltas; thisoriginal idea is reflected in B (see below, bb.8-9)
B:

b
&b b



‰

f

œ
n œ # œ œ œ œ œ#œœ b œ b œ nœ
œ#œœnœ  œ œnœnœ œdim.

ff con affettob œœ.
Œ bœ. œœ Œbœ.
? bb œ. nœœœœ
bœœœ œ œ

>œ 
œœ 

œ œ >
œ n œ œ nœ œœœœœ œ bœ œ n œ b œ œœœbœ œ ‰ œnœ œJ ‰JJnœ œ n œ? bb n≈˙ œ  nœ œœ œjb œœœ
b J
œœœ

‰

œœ

nœ
œ
œ
œ
nœ ‰ ≈œœ ≈œbœ ≈œnœ
J

œ œœ
œ.
œ. œœœ Œ œœnœ
&
œbœ
œ
#œ
œnœ œ

nœ

j
nœ ‰



dim.

b
&b b #œ
>

j ‰?
œ

42
47
48
48
50
50

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

51, 52pf.2

54
55
55, 56

pf.1
pf.1
pf.2

56

pf.1

59

pf.1

61

pf.2

62
63, 64, 66,
65
66
67
67, 68

pf.1

p

œ

pf.2
pf.1

Part

+1
pf.1
pf.1

1-7

pf.2

œœ œœ 

Comment
B: Poco Andante grazioso; D: Alllegro grazioso
moderatoB:
B: notes 4, 8:
marc. as in A, D; B: marc. on notes 4 and 10 instead of notes 5 and 11
B: notated as two parts:

.
.
.r
.r
œœ œ
bœ œ œ
b
œ
œ
œ
b
œ
œ
≈ œ œ ® >R ≈ œ œ® R œ ≈ œ bœ œ® >R≈& b bbb c ≈nœ œ œ œbœ ∫œ® >R
œ >
œ
p

3

pf.2

p

p

B: note 1: stacc.

pf.1
pf.1
pf.2

stacc. added by analogy with b.10 and as in D
B: as b.9 (see above, bb.8-9)
B:.
. 15 . . . . . œ. œ. œ. œ. œ.
j
œœ
œœ
œœœœœ
? b b c œœœ R ≈ œnœ® œR œnœ≈ œœœ R ≈ œnœ® œR œ œnœ≈ œœœ œœœ œœœ œœœ œœœ ≈ œbœœœœœœœœœœœœœœœ≈
bbb œ
œ
nœ
nœ
œ
œ
œ
œ
œ

marc. added by analogy with b.61
note 7: marc. added by analogy with bb.67, 68
D:
notes 1-5: slur added by analogy with b.62; note
6: stacc. added by analogy with b.62
D: con fouco

pf.1

1
1-5

œ ‰
J

œ œ œ œ œ œ.
# œ œ p. . . œ.
œœ. œœ. œœ. œœ. ‰J

D: crescendo
last note: stacc. added by analogy with b.48
marc. added by analogy with b.47
note 1: marc added by analogy with b.47
slurs added by analogy with b.19
note 1: marc. added by analogy with b.20 and as
in B
chord 1: marc. added by analogy with bb.1-2
and as in Dnote 5: marc. added by analogy with b.53
note 1: marc. added by analogy with b.52
marc. and stacc. added by analogy pf.1 andbb.1-2last note: stacc. omitted because of tie and as
in Dnote 7: marc. omitted (presumably a wrong interpretation by the engraver of a hairpin in D)
marc. added by analogy with pf.1, b.35 and as
in B
note 7: marc. added by analogy with b.66

69
No. 2
Bar

fz



9, 11, 12
11
13-24

5

œ
b
nœ
& b b ≈nœ œ ≈ œ œ ≈ œ #œ ≈ œ œ bœ
œ
œœ
nœ

.
5
j
œ œ ≈? Œbbbœœ∫œ nnnnn #œœ ≈ r #œœœ#œ ≈ ‰ ≈ r œœ œ ≈®
bœœ& b œœ R&∫ œ œ#œ œ JœJ>œfœœ œb œ
œœ? bb b œ œ œœ œ Œ
nnnnn #œ#œ ≈ ‰ œ œ œ#œ ≈ ‰ œ œbb3

œ œ r bœœ  œœ. œœ. œœ. œœ  œœ. œœ. œœ. b œnœœ.
œ. œJ œ.
. œœœ œœœ œœœœ? b b œ œœ nœœœœ œœœ œœ ≈ œœJ  œœ œœ œœ œr ≈ œœ  œœ œœ œœ œ œœœ
r
r
bbb
R
J
œ
J
œ
œ.
œ. R
œ
œ
>œ. >œ.
19
œ. œ.
œ.
œ.
n>œ.
œ
bœb œ ≈ j nœœ bnœœ ‰? b b r œ œ œ R ≈ ‰ r œ œ œ R ≈ ‰ nœj œœœ ‰ nœnœœ ‰ œœ Œ
n
œ
n
œ
œ
œ
b b b œœ
œœœ
J J
œœ
œ nœ
œ
œ.
nœ J
.
. .
22
b œ j nœœœ bnœœœ
œ
j U
j
b
œ
? bb
n
œ
n
œ
≈
‰ nœœ ‰ œ. ‰ nœj ‰ j ‰ œ ‰ Œ Óœb b b nœ œ
J
.
œ
œ.
œ.
œ
16

14
15
16
24
28

pf.1

>œ bœ bœ œœJ ‰œ bœ œ œ œ œb œ& b b œ nœ œnœ œ

Bar

notes 1-3: slur added by analogy with b.13;
note 4: stacc. added by analogy with b.13
B:
B: chord on ninth semiquaver: c , f , b 
D: Tempo Imo
notes 5-7: redundant slur omitted because ofslur from notes 5-6
notes 5, 11: marc. added by analogy with bb.2527
note 10: stacc. added by analogy with bb.25-28
note 10: stacc. added by analogy with bb.30, 32
slurs added by analogy with bb.36-37, 43-46 andas in Dstacc. added by analogy with b.36



pf.1
pf.1

29, 30, 31

pf.1

29
31
33-35

pf.1
pf.1
pf.1

34
34, 35,
37-50
37
39

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

40

pf.1

41-42

pf.1

42
47-48

pf.2
pf.1

48
48, 49

pf.2
pf.2

49

pf.2

etc.

stacc. added by analogy with bb.33, 36
B: fourth crotchet: accelerando
fourth crotchet: marc. added by analogy withb.47 and as in D
fourth crotchet: slur added by analogy with second crotchet and as in D
slurs added by analogy with bb.36-37, 43-46 andas in Dnotes 1, 6: stacc. added by analogy with b.34
slurs added by analogy with bb.36-37, 43-46 andas in Dnotes 6-8: slur added by analogy bb.45-47
notes 4-5, 9-10: stacc. added by analogy withbb.45-47
notes 1-3, 6-8: slurs added by analogy withbb.45-47

316 j.p.e. hartmann : selected works

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Bar

Part

Comment50

pf.2

notes 1-3: slur added by analogy with bb.45-47;
B (b.42):r œ  œ œj
œœ ‰
œ œœ



? bb
bbb

No. 3
Bar

Part

2-3

pf.1

3
5
11
13

pf.1
pf.1
pf.1
pf.1

17
23

pf.1
pf.2



bb
& b b b ‰ ≈ r ∫œ˙ 
œ

-œ 
œ
 r œœ ≈ œ œ Œ≈‰œœ. J œ
œœ

œœ
œ

Ó

œœ
œœ ‰ œ ÓJ œœComment
B: Poco Allegretto
lower part: tie added by analogy with upper partand as in D
B: second to fourth quaver: stacc. and slur
B: chord one: ten., not marc.
B: second to fourth quaver: stacc. and slur
upper part note 4: f  emended to f  by analogy
with bb.5, 37; B: chord one: ten., not marc.
B: notes 1, 4: ten., not marc.
B:? ### 42 #œœœ
œ œ
23
26

pf.2
pf.1

27
28

pf.1
pf.1

29-84

pf.1,2œ œœ œ

D: chords 2-5: stacc.
lower part note 1: marc. added by analogy withb.30 and as in D; B: upper part fourth quaver:
B: upper part first quaver:lower part note 1: marc. added by analogy withb.30 and as in D
B: missing; substituted by the following passage:

Bar

Part

Comment

No. 4
Bar
+1-3
6

Part
pf.2
pf.2

7
8
9-23
10
18
29i

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

24ii

pf.2

25ii-26ii
26ii-27ii
28ii

pf.1
pf.1
pf.2

Comment
stacc. added by analogy with pf.1 and as in B
chords 2-3: stacc. added by analogy with chord
1 and as in B
stacc. added by analogy with pf.1
stacc. added by analogy with bb.1-7, 78
stacc. added by analogy with bb.79-100
note 1: marc. added by analogy with b.14
note 5: marc. added by analogy with bb.17, 21, 22
note 7: d  emended to d  by analogy with note
3 and pf.2; note 8: c  emended to c  by analogy
with note 4 and pf.2
fourth to sixth quaver: stacc. and slur added byanalogy with b. 27ii (pf.2) and as in B
slur omitted because of slur in bb.25-27
tie added by analogy with bb.30-31
fourth to sixth quaver: stacc. and slur added byanalogy with b.24ii and as in B
slurs omitted because of slur in bb.29-31 and byanalogy with bb.25-27;
lower part note 1:  emended to   to fit the metre
instead of
B: second crotchet:
B: slurs and stacc.
stacc. added by analogy with bb.32-33 and inaccordance with segue in b.37 of B
chord 2: marc. added by analogy with bb.33, 34
B:B:
B: second crotchet:chord 3: marc. added by analogy with bb.37, 38
and as in B
stacc. and slur added by analogy with bb.27ii,
28ii, 31, 32 and as in B; upper part note 2: d emended to f  because of the harmonic context and as in B
B: beginning of slur on note 1
stacc. and slur added by analogy with bb.27, 28,
31, 32 and as in B
note 5: marc. added by analogy with bb.44-46
notes 6-7: c -b emended to d -c by analogy
with bb.46, 50 and as in B
notes 3-5: stacc. and slur added by analogy withbb.27, 28, 31, 32 and as in B
note 5: b  emended to g  by analogy withbb.45, 46, 48 and as in C; note 5: marc. added byanalogy with b.44
chords 3-5: stacc. and slur added by analogy
with bb.27, 28, 31, 32 and as in B
chord 2: marc. added by analogy with bb.33, 34
B: second crotchet:chords 3-5: stacc. and slur added by analogy
with bb.27, 28, 31, 32 and as in B
B: second crotchet:
B: second crotchet:chord 3: marc. added by analogy with b.39
slur from last chord of b.58 to first chord of b.59
omitted because of slur in b. 59
staccato emended to stacc.
B: second crotchet:marc. added by analogy with b.70
stacc. added by analogy with pf.1
chords 1, 2: stacc. added by analogy with bb.7177

29-30, 30-31 pf.1
32
32
33, 34
33-35
34-41

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

35
35
36
37, 38, 39
39

pf.1,2
pf.1

43

pf.1

44, 45
47

pf.1
pf.1

48
48

pf.1
pf.1

49

pf.1

œ
œ

50

pf.1

œœ œ
R

51

pf.1

52-54
52, 53, 54
55

pf.1
pf.1,2
pf.1

55
56, 5758
58-59

pf.1,2
pf.1
pf.1

63
65
69
75
78

pf.1,2
pf.1
pf.1
pf.2
pf.1,2. . .
n œ œ œ # œ œœ œ œœ œœ # œœ œ  œ œ œœ### 2 œ ‰œ œœ œ œœ œœ œ
#
œ
œ
œ
‰
œ #œ œ œ œ #œ #œœ  œ œ œ#œ œ& 4 nœ
≈‰
J J
. . .
.
œ
œ
#
œ
œ
œ#œ
r œ#œ Jœr
? ### 2 ‰ ≈ œ œ œœœ≈ œ. œ Œ‰ œ #œ œ J ‰
4
œ
œ
œ
œ

pf.1

28





.a tempo.
œ n œœ œœœ n œ #œœœ

##˙˙
#˙



# ##œ
& # #œ

33

œ.œ œ œœ. œœ.
œ
œ œ

rit.

mf

.
œœ œ œœœ œœ œœdim.

œ œ #œ
œ #œ
nœ? ### œr œ œ #œ & œ œ œ œ œ œ œnœ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œœœœlegato37## œ& # nœœœ. .
œœ nœœ

p? ### œ œœœœœ45, 46

pf.1

46

pf.1

54

pf.1

61, 62

pf.1

79
81
85
108
109

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

œœœupper part note 1: marc. added by analogy withlower partlower and upper parts: slurs added by analogy
with b.45
lower part chord 1: marc. added by analogy withb.53 and as in Dlower part chord 1: marc. added by analogy withb.53 and as in D
D: chord 1: stacc.
chord 3: marc. added by analogy with b.33
lower part: marc. added by analogy with b.37
D:note 1: stacc. added by analogy with pf.1 and as in D













klaverværker : critical commentary

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317

20/09/12 10.16

Bar

Part

Comment

Bar

Part

Comment

82-100pf.2

56, 58, 60,
61, 62

pf.1

85
87, 8889

pf.1
pf.1,2
pf.2

65
71

pf.1

91, 9295

pf.1,2
pf.1

stacc. added by analogy with bb.79-81 and inaccordance with segue in b.82 of B
note 7: marc. added by analogy with b.15
B: second crotchet:fifth quaver: A  emended to c because of theharmonic context and as in C
B: second crotchet:notes 1-5: slur added by analogy with b.97;
note 5: marc. added by analogy with b. 97 andas in B
notes 6-8: stacc. added by analogy with b.96
B:
notes 1-5: slur added by analogy with b.97;
note 5: marc. added by analogy with b.97
B: second crotchet:
B: second crotchet:stacc. added by analogy with pf.2
B: chord 2: ten.
missing stacc. on  chords added
stacc. added by analogy with bb.107-108 and inaccordance with segue stacc. in b.109 of B
B: chord 2: ten.

74

pf.1

74-95

pf.1,2lower part note 1: marc. added by analogy withbb.57, 59
ligato emended to legato; B, D: legato
lower part note 1: marc. added by analogy withb.87
lower part:  d  -  e  emended to  e  by analogy with bb.72-73, 75-80 and as in D
not in B; B (bb.74-83):

104
107
107
108, 109108-114109-114

pf.1
pf.1

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

112, 113
116, 118,
120, 121
117
118

pf.1

121

pf.1

123-124

pf.2

pf.1
pf.1
pf.1

No. 5
Bar

Part

13
14-15
21

pf.1
pf.1
pf.1

23-24

pf.1,225, 29
28

pf.1
pf.1

29
31
31
35
37-39

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

3940, 42
42

pf.1
pf.1
pf.2

46

pf.1

52

pf.2

52
54

pf.1,2
pf.2

55

pf.1



B: chord 2: ten.
B: f , d , fchord 1: stacc. added by analogy with bb.116,
120
chord 1: stacc. added by analogy with bb.116,
120
B:
.

.
? bb b 43 œœœœbb

œœ. œœœ
œœ œ

œœ
œ œ œ
J ‰ nœœ œœœComment
B: Allegro moderato, con passion; D: Allegro
Commodoslur added by analogy with bb.1-10
slur added by analogy with bb.9-10
D: chord 1 lower part: top note g of the chord
missing
D: between bb.23 and 24 three bars crossed out
in ink (the three crossed out bars are a repetition of bb.24-26 of the present edition)
B: upper part notes 1-3: stacc. and slur
lower part notes 1-6: slur omitted by analogy
with b.32; D: lower part notes 4-6: slur
lower part: as in A, D; B: lower part:  
B: lower part: stacc. and slur
D: ped.
D: repeat omittedend of slur emended from last note of b.37 to
first note of b.39 by analogy with bb.36-37.
D: lower part: marc. missing
D: third to fourth quaver: slur and stacc.
notes 4, 7: G and g emended to G  and g  (engraver’s mistake)third semiquaver: g , a emended to a , b byanalogy with b.44 and as in D
chord 1: stacc. added by analogy with pf.1 andas in D
B: chord 1:; chord 2:
chord 1: stacc. added by analogy with pf.1 andas in B, D
chord 2: stacc. added by analogy with chord 1##& # ## 42 œœœ œœœ œœ œ
œ
œ
˙

œ
#œœ

œœ

p

f

? #### 42 œ œ œ œ#œ œ œ œ̇# œ

œ# ## œ
œ
& # # œ#œ œ œ œœ œ œœnœ œœœ œ œœ 
œ
œ



œj ‰

? #### œœ 
#

p

nœœ

nœ œ

f

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

108-109,112-117,120-123118
122
124
124, 126
126
128-131132

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

141
142-143
144
145, 149

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

147, 151

pf.1

149
149-150

pf.1
pf.2

œœ
p

œ

≈ nœ œ œnœœœ œ œ ## œœœœ œ œ r œœœœ œ œ œ œ œ ≈Œ

p

œ

œœ

œ œ

nœ œ œ œ œ œ œ#œ˙œ œ œœ 
œ
œ

œ œ#œ
œ œœ #œœ## œ œ œ œ œ œ œ r œ œœ ≈ Œnœ

D: lower part:  g 
B (b.84): legato; D: ped.
B (b.84): lower part: notes 3-4: stacc.
B (b.86): lower part: notes 2-4: stacc. and slurnote 2: d emended to f  by analogy with b.109
and as in D

slurs added by analogy with bb.1-15
B (b.106):, not
D: note 5: stacc.
B (b.112): note 1: stacc.
B (b.112, 114): note 4: stacc.
D: note 1: stacc.
B (bb.116-119): upper part: ten.
upper part note 1: marc. omitted by analogy
with bb.133-136 and as in D; B (b.120): upper part note 1: marc.; upper part note 2: f emended to f  by analogy with pf.2 and as inB, Dslur added by analogy with b.140 and as in D
slurs added by analogy with bb.140-141
B (132): second crotchet: ,B (133, 137): upper part notes 1-3: stacc. andslur
B (135, 139): lower part notes 1-3: stacc. andslur
B (b.137): upper part:B (137-138):

? ## 42 œœpf.1,2

pf.2

œ
œœ

œœ

≈ œ œ œ#œ

œœ

œ

≈

B (bb.145-146):.
œj## 2 œ œ œ œ
œ œJ
œ
œ
œ
≈
‰ œœ ‰& 4œœ.
ff
con fuoco.
œœ? ## 42 ‰ œœ ‰ œ œ œ j ‰ œœœ ‰
œ. J
J





No. 6
2

œœœ

œ œ œ̇#bb.83 ff(= present edition bb.96 ff)

89
96
96
98
108

157-158œ nnœœ˙nœ 

98
98
99



slurs added by analogy with b.54

318 j.p.e. hartmann : selected works

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20/09/12 10.16

Bar

Part

Comment

Bar

10

pf.2

? bc œ œ œ Œ Ó

130-131? b œ˙œ  œ œœ Ó
J

44
63

pf.1

by analogy with b.12
slurs added by analogy with b.19
note 4: marc added by analogy with b.20 and as in D
D: seventh semiquaver: top note c missing
tenth semiquaver: b  emended to b  because of
the harmonic context and as in D
D: , notD: fifth semiquaver: top note c missing



pf.1

6-7
8-11
27
39-40

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

41

pf.2

49-52

pf.2

chord 2: a , a emended to a , c  , a by analogy
with bb.91, 99 and as in B
tie added by analogy with bb.95-96
slur added by analogy with bb.+1-3
B: arpeggio
B:

œ
œ
œ
? ### 42 j œ œ œ j œ œ œ j œ œœ œ œ œ œ
J
œJ
œJ
œ
œ

note spacing normalized according to D
B: third quaver: g , a, c 
B: third quaver: f , a, d
B: third quaver: e, f , a 
B: first quaver: B , F note 3: marc. added by analogy with pf.1
not in B; instead B (bb.64-81) has the following
passage:jj nœ ## œ˙˙ œ œœ  ‰œ nœœœ& # 42 J #œœ

? ### 42 ‰œj œ  œ œ  œj œœ  œj n#œœ  œj œœ ‰ œœ  J #œœ  œ œ œœ œ œ

œœœœœœ
œ. n œJ ‰ œ œ œ œ‹œ œ œ œ œ œ œœ œ œJ œœJ œœœ
œ
œ
œ
œ
œ.

œ‰
œ‰
œ. J œœ œ. J
.
œ.

j
##œ
œ ‰œ œœœ
& # ˙ œ#œ œ œ ‰ œJ ˙ œ#œ œ œ ‰ J ‹#œœœ 
>

73



f

f

p

œ#œ œ
œ œ#œ œ? ### œœ
œœ‰ œ
œœ‰
œ
œ

œ.

œ œ 
J œœ 

œœ‰
œ

œ.

œ œ 
J ‹œœ œ œ 
J œœ 



? ###

89-92
97-100
109
110
110
114-115
124-126
129

∑

∑

∑

=source A, b.90ff

∑

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

œ
J
p

.
.
œ œ ‰ #œ œ ‰ œ œ œ ‰
#œœ
œ
œ

81

##œœœœ
&#

œj
œJ

p

con animafœ œ #œ œ n œ n œ nœ œ œ œ 
œ n˙
œ
J
‰ Ó

œ
j?
œœ #œ 
J

pf.2

dim.

p

>
‰ œj œ
˙

#œ nœ
‰ ˙

B (bb.99-106):

œj
œ.
# œ.
n œ.
œ
œ.
œ
? ### 42 œ œJ ‰ œ œœ ‰ œ œ œJœ ‰ œ nœ œœœ ‰ œ˙œ œœœ œ˙‹œ#œœ œ˙œ œœ œj œ œ œœ ‰
J œj
œ
j
j
Œ
œ J
œ
œ
œ
œ.
œ.
œ.
œ.
pf.1
pf.1,2slurs added by analogy with bb.128-129
B (bb. 114-118):

˙
. œ.
œ
˙˙
### 2 œœ œ œ œ œ œ œ œœœ œœJ‰J‰& 4 œJ
smorz . e dim.
œ œp
œ
˙
œ
#
? ˙
? ## 42œ œ‰Œ & œœ
œJ
˙
œœ

œ
œœ
J‰Œ
œ
œ‰Œ
œJ

No. 8

lower part: f , a emended to f  by analogy withb.49 and as in D; B: f , aB:

64132-139jjj œœœ œ œ œœ œœ œ œ œ œ œ œn#œœ #œœœ œ œ œœœ œœ œ œœ œ œœ ‰ œJœJ

? ### 42 #œœœ ‰ j ‰ #œœœœ ‰ ŒœJJœ

45-46, 53-54 pf.1,2
57
pf.2
58
pf.2
59
pf.2
60
pf.2
60, 68
pf.2
64-84
pf.1.2p##& # 42 nœœ œœ œ
œ #œ 

136-138
149-154

No. 7
2, 10

B (bb.90-97): the following passage, not in A, D,
between bb.130 and 131 of A:

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

Comment##
œœ j& # 42 œŒ #œ œ œ œ œ œœJ

emended to

17
18
24
25

Part

∑

slur added by analogy with bb.+1-3
slur added by analogy with bb.8-11
marc. added by analogy with b.105
D: con fuoco
marc. added by analogy with b.106
added by analogy with bb.25-26
stacc. added by analogy with bb.123, 131-134
marc. added by analogy with bb.134, 136, 137

+1-2
2

pf.2
pf.1,2

3

pf.1

3

pf.1,24-6
7pf.2
pf.1,2

8

pf.2

10-16
22, 23

pf.2
pf.1

38, 39
39
42

pf.2
pf.1
pf.2

43

pf.2

50

pf.2

51-57
58
59
60
60
61

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

62
62
64

pf.2

pf.1,2

pf.2

D: Allegro molto
slur added by analogy with pf.1
fourth crotchet: ambiguous position of marc. in
A and D is interpreted as if valid for both pf.1
and pf.2
lower part note 1:  emended to  by analogy
with upper part and pf.2
second crotchet: ambiguous position of marc.
in A and D is interpreted as if valid for both pf.1
and pf.2
slur added by analogy with pf.1
first crotchet: ambiguous position of marc. in A
and D is interpreted as if valid for both pf.1 andpf.2
second crotchet: marc. added by analogy with
pf.1 and bb.2, 3; second to third crotchet: slur
added by analogy with bb.2-3
stacc. added by analogy with b.9
lower part note 13: marc. added by analogy withb.21
stacc. added by analogy with b.37
D: notes 7, 11: mordent
chord 4: marc. added by analogy with chord 2
and as in D
chords 2, 4: marc. added by analogy with b.42
and as in D
seventh to eighth quaver: stacc. added by analogy with b.49
stacc. added by analogy with b.50
marcato emended to marc. by analogy with pf.1
chord 1: marc. added by analogy with pf.1
marcato emended to marc. by analogy with pf.1
D:chord 1: marc. added by analogy with b.59;
third to fourth quaver: stacc. added by analogy with fifth to sixth quaver; last chord: marc.
added by analogy with b.62
chord 1: marc. added by analogy with pf.1
added by analogy with b.61
third to eighth quaver: stacc. added by analogy
with first to second quaver and b.63

ﬀ

ﬀ

klaverværker : critical commentary

Hartmann_klaver_bind_1.indb 319

319

20/09/12 10.16

Bar

Part

68
pf.1
69-70
pf.2
70, 71
pf.1,272-74
pf.1,275, 76
pf.1
78
pf.2
82-85
pf.2
83, 85, 86, 87
87
pf.1
88
pf.1

89

pf.1

90-92
92

pf.2
pf.1

96
96

pf.1
pf.2

97

pf.2

100
103
107
108

pf.2
pf.2
pf.2

Comment

Bar

Part

Comment

upper part note 2: marc. added by analogy with b.67
slur added by analogy with pf.1
marc. normalized, see bb.2, 3
slurs added by analogy with bb.4-6
chord 1: marc. added by analogy with pf.2
stacc. added by analogy with bb.79, 80
stacc. added by analogy with b.81
slurs added by analogy with b.84
stacc. added by analogy with bb.84-86
fifth to sixth quaver: marc. and stacc. added byanalogy with b.89 (fifth to sixth quaver) and as
in B
notes 1-2: marc. and stacc. added by analogy
with fifth to sixth quaver
stacc. added by analogy with b.89
notes 2-4: stacc. added by analogy with note 1
and b.90
chord 1: marc. added by analogy with b.97
fifth to eighth quaver: stacc. added by analogy
with first to fourth quaver
third to eighth quaver: stacc. added by analogy
with first to second quaver and bb.95-96
chords 1-2: marc. added by analogy with pf.1
added by analogy with b.105 and as in D
slur added by analogy with b.106 and as in D
slur added by analogy with b.106; chord 1: emended to  as in D (engraver’s error)

41, 42, 44

pf.1

48

pf.1

49

pf.1

52

pf.2

53-54
59-60

pf.1
pf.2

68

pf.2

90

Pf.1

96

pf.1

96
97

pf.2
pf.1

100

pf.2

102

pf.2

notes 3-6: slur added by analogy with b.43 andas in B; note 6: stacc. added by analogy with b.
43 and as in B
note 7: stacc. added by analogy with b.47 and as
in B
notes 1-2: stacc. added by analogy with b.48 andas in Bupper part notes 14-15: d - f emended to f - a by analogy with b.50
tie added by analogy with bb.54-55 and as in B
slur added by analogy with bb.61-62 and 62-63
and as in B
upper part note 6: b  emended to b  because of
the harmonic context
chord 2: g , g emended to g  , g  because of
the harmonic context and as in B
notes 1-4: slur and stacc. added by analogy withbb.1-4 and as in B
chord 1:
added by analogy with b.97
end of slur emended from note 4 to note 3 byanalogy with b.96
two last notes of the bar: stacc. added by analogy with pf.1 (notes 8-12)
notes 1-2: slur added by analogy with bb.103,
104, 105

102, 103,
104

pf.1

note 3: stacc. added by analogy with b.105 andas in B

102, 103,
104, 105

pf.2

104
114

pf.1
pf.2

117
124

pf.1
pf.1

125

pf.1,2

125
136
136
138
138

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

139
140

pf.2
pf.1

fifth and sixth quavers: stacc. added by analogy
with bb.9, 10, 11, 12
note 8: stacc. added by analogy with bb.102, 103
fifth to eighth quaver: stacc. added by analogy
with third to fourth quaver and as in B
fifth quaver: stacc. added by analogy with b.116
stacc. emended from first semiquaver to second
semiquaver by analogy with b.123; tenth semiquaver: stacc. added by analogy with second andsixth semiquaver
fifth quaver: stacc. added by analogy with sixth
quaverchord 6: stacc. added by analogy with pf.1
note 13: marc. added by analogy with notes 5, 9
notes 5, 9, 13: marc. added by analogy with pf.1
chord 4: stacc. added by analogy with chords 1-3
stacc. added by analogy with pf.1; first crotchet:emended to  to fit the metre
chord 1: stacc. added by analogy with pf.1
note 4: stacc. addd by analogy with bb.45, 46

No. 2
Bar

Part

no. 8
deux pièces charactéristiques, opus 25
No. 1
Bar
2

Part
pf.2

9, 10, 11, 12 pf.2
23

pf.2

25

pf.2

26

pf.2

27
28
29
29, 30

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

30
31

pf.1
pf.2

32

pf.2

36

pf.1

37

pf. 1

38

pf.1

39

pf.1,2

40

pf.2

40

pf.1,2

Comment
seventh quaver: stacc. added by analogy withsixth quaver
fifth and sixth quaver: stacc. added by analogy
with b.2 and as in B
fifth quaver: stacc. added by analogy with b.24
(first quaver)note 6: stacc. added by analogy with note 5 andas in B
notes 5, 6: stacc. added by analogy with b.25 andas in B
B: third to eighth quaver: stacc.
B: chord 1: stacc.
note 10: stacc. added by analogy with b.25
note 6: stacc. added by analogy with note 5 andas in B
chord 3: stacc. added by analogy with b.29
fourth, seventh and eighth quaver: stacc. addedby analogy with third quaver and as in B
third and fourth quaver: stacc. added by analogy
with b.31 and as in B
second and sixth semiquaver: stacc. added byanalogy with tenth and fourteenth semiquaver
and as in B
second and sixth semiquaver: stacc. added byanalogy with b.36 and as in B
seventh and eighth quaver: stacc. added by analogy with pf.2 and as in B
seventh and eighth quaver: stacc. added by analogy with b.38 and as in B
chord 2: stacc. added by analogy with pf.1 andas in Beighth quaver: stacc. added by analogy with b.42(eighth quaver)1
5
5

pf.1,2pf.2

11
12
19, 20
32
48-50

pf.2
pf.1
pf.1



Comment
Moderato tranquillamente
stacc. added by analogy with b.5
Tempo emended to a tempo
upper part notes 3-4: stacc. added by analogy
with pf.1
B: smorz. (not ritenuto)
B: a tempo
slur and stacc. added by analogy with pf.1
slur added by analogy with b.36
beginning of slur emended from note 1 to note
2 of b.48 because of slur from bb.47-48 and as
in B; end of slur emended from note 1 of b.51
to last note of b.50 because of slur in b.51 andas in B

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Bar

Part

Comment

Bar

51

pf.1

29-30, 31-32 pf.1
41
pf.2

57, 61, 62

pf.2

82

pf.1

82, 83

pf.1

87, 89pf.2

111
118, 119
127, 128
137, 138
142
145

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

147

pf.1

148

pf.1

lower part note 1: marc. added by analogy withb.52 and as in B
chord 1: stacc. added by analogy with b.58 andas in Blower part notes 1-3: slur omitted by analogy
with b.83 and pf.2
lower part note 1: marc. added by analogy with
pf.2
A, B: ambiguous marc. is interpreted as referring to pf.2
B: Moderato tranquillamente ( =52)
lower part: stacc. added by analogy with pf.2
note 1: marc. added by analogy with 125, 126
note 1: marc. added by analogy with bb.133, 134
upper part: stacc. added by analogy with b.143
notes 3-4: slur omitted by analogy with b.144
and pf.2
upper part: slurs added by analogy with b.141
and as in B; notes 5-6: slur added by analogy
with b.142
upper part notes 3-4: stacc. added by analogy
with b.142 and as in B; notes 5-6: slur added byanalogy with b.142
chords 3-6: slur and stacc. added by analogy
with b. 143 ans as in B
slur added by analogy with b.144 and as in B
chord 2: arpeggio added by analogy with b.168
and as in B
chord 1: grace note added by analogy with b.169
and as in B
upper part note 11: ten emended to marc. byanalogy with notes 17, 23; notes 11-12: slur
added by analogy with notes 17-18, 23-24; notes
25, 27: marc. emended from lower part to upper
part by analogy with notes 11, 14
chord 1: marc. added by analogy with bb.185,
186
fourth to sixth quaver: slur added by analogy
with b.180
chord 1: stacc. added by analogy with b.186 andas in B
fifth and sixth crotchet: slur and stacc. added byanalogy with bb. 213, 214 and as in B
second to fourth crotchet: stacc. and slur addedby analogy with pf.2 and b.216

149

pf.1

150
170

pf.1
pf.2

171

pf.1

172

pf.1

181, 182

pf.1

184

pf.1

185

pf.2

212

pf.1

215

pf.1

no. 9
tre genrestykker
No. 1
Bar

Part

3, 4, 7, 8
10
12
13
15

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

16

pf.2

16

pf.1,228

pf.2

Comment
A: No1. Allegro marziale (No 1 added in differentink); B: No1. Allo Introduction, Allegro (the twolast words added in different ink)
A: chord 4: stacc.
notes 3, 6: stacc. added by analogy with b.39
notes 3, 6: stacc. added by analogy b.10 (pf.2)
A: note 1:
notes 2, 3: stacc. and slur added by analogy withb.16 and as in A; note 6: stacc. added by analogy
with pf.1 and as in A
notes 2, 3: stacc. added by analogy with pf.1 andb.15
last note: stacc. added by analogy with b.15 andas in A
last crotchet: stacc. added by analogy with pf.1



Part

43-44
44, 45
47

pf.1
pf.1
pf.1,247

pf.2

99, 101113
130-132

pf.2
pf.1

150, 152
170
184, 185
195

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

No. 2
Bar

Part

5, 7
7
16

pf.2
pf.2
pf.1

49
53
53-54
55
55-56
56
72-74
91, 92, 93
129
129
140

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

No. 3
Bar
7, 8
31-32
38
39-40
45

pf.2

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

57
59, 60
61
80
83

pf.2
pf.1

85
86-87
89
90
92
93

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

94-95
98-101
107
110-111
121

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

pf.2

Comment
slur added by analogy with bb.33-34 and as in A
notes 3, 6: stacc. added by analogy with b.39
(pf.1)
slur added by analogy with bb.41-42 and 42-43
A: stacc.
chord 1: stacc. omitted and beginning of sluremended from chord 1 to chord 2 because of tie
and as in A
chords 2-4: stacc. and slur added by analogy
with pf.1
marc. added by analogy with pf.1
notes 1-2: slur added by analogy with b.111
B, C: position of marcati ambiguous: could
either relate to pf.1 lower part, or to pf.2 as indicated in the present edition
marc. added by analogy with b.148
note 3: c emended to d by analogy with b.66
chord 4: stacc. added by analogy with bb.180, 181
marc. added by analogy with pf.2

Comment
A: Allegro giocoso corrected in ink to Allegretto
giocoso
A: chord 1: marc.
arpeggio added by analogy with b.5 and as in A
upper part notes 1-2: slur added by analogy
with b.14 and as in A
marc. added by analogy with bb.55, 56
second chord: marc. added by analogy with b.55
lower part: slur added by analogy with bb.55-56
marc. added by analogy with pf.1
slur added by analogy with bb.56-57
chord 2: marc. added by analogy with pf.1
slur added by analogy with bb.64-66
marc. added by analogy with pf.1
A: con anima
chord 1: marc. added by analogy with pf.1
A: sempre morendo - - - -Comment
B: b.7 chord 3-4 and b.8: col 8voad libitumslur added by analogy with bb.29-30
stacc. added by analogy with b.52
tie added by analogy with bb.53-54, 108-109
chord 1: F , B  , E , G emended to G , B  , E , G
by analogy with chord 2
marc. added by analogy with pf.1 and bb.126, 128
fourth crotchet: stacc. added by analogy with pf.2
A: smorz.
B: smorz. corrected to dim. in ink
upper part: slur added by analogy with lower
part and pf.1
lower part: slur added by analogy with pf.2
upper part: slur added by analogy bb.90-91
chord 1: marc. added by analogy with b.88 (pf.1)
marc. added by analogy with b.94 and as in A
marc. added by analogy with b.88
chord 1: marc. added by analogy with b.89 andas in Aslur added by analogy with bb.90-91 and as in A
slurs added by analogy with bb. 29-32
stacc. added by analogy with b.52 and as in A
slur added by analogy with bb.41-42
stacc. added by analogy with b.52 and as in A

klaverværker : critical commentary

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Bar

Part

Comment

122-123
126
128
128

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

130

pf.1

137
141
142

pf.2
pf.1,2
pf.1

143

pf.1

149
150

pf.1
pf.1

151
151-155

pf.2
pf.1,2

tie added by analogy with bb.53-54
marc. added by analogy with pf.1
marc. added by analogy with pf.1
omitted because of marc. and by analogy
with b.126
chord 2 top note: e  emended to e  by analogy
with b.132 and as in A
slur added by analogy with b.136
slurs added by analogy with b.142
lower part note 1: marc. added by analogy withb.141
lower part note 1: marc. added by analogy withb.141
chord 1: marc. added by analogy with b.148
lower part: marc. emended from upper part tolower part by analogy with b.146
chords 1-2: slur added by analogy with pf.1
stacc. added by analogy with bb.147-149 andstacc. in b. 151 (third crotchet)lower part: slurs added by analogy with upper part

158-166
pf.1
159-166, 168,
167
pf.1
169
pf.1
170, 171pf.2
170-171pf.2

s

slur added by analogy with pf.2
slur added by analogy with pf.2
slurs added by analogy with bb.166, 168
A: upper part first crotchet:  G (instead of  asin B)

no. 10otte skitser, opus 31
No. 1
Bar

Part

18

pf.1

18-20

Comment
A, B:  =88.
note 1: marc. added by analogy with b.26 and as
in A
A:

>
Œ
bc œ œŒ œ œ œœ bœ œœœ nœ bœœ œœ œœ œ nnœœœ nœ bœœ œ œ œ œ bœ b nœ œ nœœ& œœœ bnœœ œ >mfœ
? bbc œœ œ Œ Œ˙œ œ œœ œ œ
œ 
œ
˙
œ
œ
œ
œ
œ


28
29

pf.2

29-32
44-45
48
57

pf.1

No. 2
Bar

Part

5-6
7-8
6-18
9
9, 10

pf.2
pf.1

10
11
12

pf.2

A: chord 1: F, f
A: dal  al  e poi (indicating repetition ofbb.1-16, which is fully written out in B and C
A, B: to be repeatedas in A and B; B: after the double bar: repetitionof bb.5-16
last chord: d  emended to d  (misprint)
B: ritard.

Comment
A: No.2. Canzonetta Andantino.  =138; B: No 2
Canzonetta Religiosa. Andantino  =138
B: misleading repeat signs between bb.5 and 6
B: barline between bb.7 and 8 missing
A: to be repeatednote 1: marc. added by analogy with pf.1
upper part note 7: marc. added by analogy with
pf.2 and as in A, B
A: tenth to twelfth semiquaver: riten.
A: chord 2: arpeggio
A: seventh to ninth semiquaver: smorz.

Bar

Part

Comment

No. 3
Bar

Part

6

pf.2

7
17
18,19

pf.2
pf.1
pf.2

18-20

pf.1

20
22-23

pf.1

22-23

pf.2

Comment
B:  =152
upper part notes 1-2: slur and stacc. added byanalogy with pf.1 and b.14
B: upper part note 1: c (not c  )A, B: third quaver: g (no chord)second crotchet: marc. omitted by analogy with
pf.1 and as in A, B
chord 1: marc. added by analogy with bb.26-28
and as in A, B
A, B: first crotchet: dim.
chord 1: marc. added by analogy with bb.30-31
and as in A, B
second crotchet: marc. omitted by analogy with
pf.1 and as in A, B
A: originally a repetition of bb.17-23, but later
corrected in ink to the version of B and C
A, B: notes 4-6: stacc.
A, B: dolce
A, B: dim.
A, B: chord 1: f (no chord)A, B:   c  (no chord)A, B: smorz.
A, B: dim.
lower part: slur added by analogy with upper
part (b.40i) and as in A
end of slur emended from note 2 to note 3 byanalogy with pf.2
first and second crotchet: end of slur and tie
added by analogy with b.40i
A, B: chord 2: b  , dupper part notes 2-3: tie omitted because ofslurs from notes 1-2 and 3-4
second crotchet: marc. added by analogy with pf.1
A, B: third crotchet:A, B: third crotchet: tardato24-31
26-28, 30-31 pf.2
32
pf.1
35
37
pf.1
38
pf.1
38
39
39-40i
pf.2
40i

pf.1

40ii

pf.2

46
47ii

pf.1
pf.2

50-54
56
60

pf.2
pf.1,2

No. 4
Bar

Part

11

pf.2

11, 15, 19, 21,
23, 27, 29
pf.1
14
pf.2
17, 18
pf.1
18
16-36

pf.2
pf.1

22

pf.1

25

pf.1

26

pf.1

Comment
A: Allegretto molto assai, gicoso (no title); B: Allegro molto assai, gracioso ( =138) (no title)
A, B:>? 42 œ˙˙>nœ

A: upper part: crotchets, not quavers
A: chord 2: upper part notes 1, 2, 3: marc. added by analogy
with b.16
chord 3: marc. added by analogy with bb.16-17
upper part: in this passage the one-bar phrase
beginning with quavers is sometimes followed
by a quaver, sometimes by a crotchet; as neither
A, B, nor C are consistent in this respect all
relevant instances have been emended to    ;in accordance with this, emendations have been
made in bb.16, 17, 24, 25, 26 and 28
the rhythm of first to fourth semiquaver has
been emended by analogy with b.20
upper part notes 1-3: marc. added by analogy
with b.24
upper part: stacc. and marc. added by analogy
with b.24

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Bar

Part

33, 34, 35, 36 pf.2
35
50
54
54
56
56-57
66
70

pf.1

pf.2

pf.2
pf.1

70
73
74
85

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

86
86
90
94-95
96
102
102

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

103
106
111
No. 5
Bar

Part

13

pf.1

16
18-20

pf.1
pf.1

23
35
36
37-38
37-38
39, 41, 43
41, 43, 45
43
46
50, 54
54

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

63

pf.2

63-64
78, 79, 80

pf.2
pf.1

84

pf.1

85
92

pf.1

pf.2
pf.2

105-106117
134-136

pf.1

139

pf.1

Comment

Bar

Part

Comment

chord 3: marc. added by analogy with pf.1 andas in Aupper part note 2: stacc. added by analogy withb.34 and as in B
A, B: rit.
stacc. added by analogy with pf.1
A, B: poco riten.
A, B: a tempo
slur added by analogy with pf.1 (b.57)
A, B:
, not
A: upper part notes 1-2:   with marc., not  with ten.
see b.11
stacc. added by analogy with b.14; A: chord 2: 
A: first quaver: chord 1: stacc. added by analogy with chord 2,
b.84 and as in B
stacc. added by analogy with pf.1
A, B: rit.
stacc. added by analogy with pf.1
A: no upper partA, B: second crotchet: 

139
151
152
153-154
155, 157,
159
180
200

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

note 1: stacc. added by analogy with b.23
note 1: marc. added by analogy with pf.1
note 1: marc. added by analogy with pf.1
slur added by analogy with pf.1

pf.1
pf.1

200
203-204

pf.2
pf.2

204

pf.2

206

pf.1,2

213

pf.2

215
217-220

pf.1,2lower part: slur added by analogy with pf.2
chord 2: stacc. added by analogy with b.64
A: Coda (in consequence of the da capo indication of b.117)
note 4: stacc. added by analogy with pf.1
lower part: tie and slur added by analogy with
pf.1 and as in A
upper part notes 1-2: stacc. added by analogy
with pf.1 and as in A, B
lower part note 2: stacc. added by analogy withb.204
upper part note 1: marc. added by analogy with
pf.1
chord 1: marc. added by analogy with b.213
A, B:





A:  missing
chord 1: stacc. omitted by analogy with pf.1 andas in A, B
A, B: dimin.
A, B: smorz.
A, B: dim. e rit.

Comment
B:  = 96
chords 3-4: slur and stacc. added by analogy
with bb.17, 129
note 1: marc. added by analogy with bb.12, 15
lower part note 2: stacc. added by analogy withupper partchord 3: stacc. added by analogy with pf.2
note 1: marc. added by analogy with pf.1
note 1: marc. added by analogy with pf.1
slur added by analogy with bb.153-154
slur added by analogy with 153-154
lower part: slur added by analogy with pf.2
A: note 1: stacc.
note 1: stacc. omitted by analogy with bb.39, 41
A, B: smorzando
A, B: chord 1: top note  e missing
chord 1: marc. added by analogy with b.50 andas in B
chord 1: stacc. omitted by analogy with pf.1 andas in A, B
marc. added by analogy with pf.1
lower part note 2: stacc. added by analogy withupper partchord 3: b  - g  enharmonically emended to a -f  because of the harmonic context
A: Trio; A, B: dolcissimo
end of slur emended from first minim of b.93 to
fourth quaver of b.92 because of slur of bb.9396 and as in A
A: cresc.; B:
A: DC dal  al  (bb.117-199 of the present
edition)lower part note 2: stacc. added by analogy withupper partchord 3: stacc. added by analogy with pf.2

? ### 42220

pf.2

221-226pf.1

œœœ œ œ œ œ œ #œ œ #œ œ
œ˙
œ˙
œ˙
œ˙

beginning of slur emended from note 3 to note
2 by analogy with b.217-219
A: upper part including lower octave:


œ
.
œ
### 2 œœ œœœ œ # œ œ nœœœnœ œœ œ
#
œ
œ
œ
œ
& 4
nœœ
227

pf.2

228

pf.2

228-229

pf.1,2

second crotchet: stacc. added by analogy with
pf.1
chord 1: stacc. and marc. added by analogy with
pf.1
A, B:

# #2
& # 4 Œ œœœœ? ### 42 œ
œ œ
œ


229
231
232

pf.2
pf.2
pf.1

236
236-237

pf.1,2239
243, 244

pf.2
pf.1

245
249

pf.2
pf.1

No. 6
Bar

Part

6
9
13

.
. œ. œ œ. œ.
œ
‰
œœ
J
œœ
mf
œ ‰ & œ. j œ. œ. œ. œ.
œincluding an extra bar
chord 1: stacc. added by analogy with pf.1
note 1: marc. added by analogy with pf.1
lower part: stacc. added by analogy with upper
part and pf.2
stacc. added by analogy with b.232
A, B: between bb.236 and 237of C: repetition of
the preceding eight-bar phrase bb. 229-236
A, B: second crotchet: note 1: marc. added by analogy with b.242 andas in B
chord 1: stacc. added by analogy with pf.1
stacc. added by analogy with pf.1 and as in A

Comment
A, B:   = 96
A, B: after the fifth quaver: repeat sign indicating repetition of bb.1-6; A, B: sixth quaver:
A: scherz:
last chord: e, b , c emended to e, b , c by analogy
with b.14 and in accordance with the version of
A quoted below



pf.2

klaverværker : critical commentary

Hartmann_klaver_bind_1.indb 323

etc.

f

323

20/09/12 10.17

Bar

Part

Comment

Bar

13-15

pf.2

A, B:

25
28
32
34

15
21
28

pf.2
pf.2
pf.1

34

pf.2

35-36

pf.1

55-56
56
56

pf.2
pf.1
pf.2

59-60

pf.2

62
63
64

pf.1

66

pf.2

67

pf.1

71
71, 72, 73
73
78
79
No. 7
Bar

1-3

œœ >œœ n œ œ b œ >œ œ œj œ
? b 68 . n œ œ œb. œœ œœ œ. œœ œœ .bœœ œœ œ̇˙nœb œ
bœ
two slurs emended to one slurnote 1: stacc. added by analogy with b.17-18
chord 5: d , f emended to c , e  by analogy
with pf.2 and as in A; B: d , f
A, B:? bb 68 œ ‰ #œ œjlower part: slur added by analogy with pf.1 andas in BA, B: as bb.13-14 (see above)note 9: stacc. added by analogy with b.14
fourth to fifth quaver: slur added by analogy
with bb.14, 55
A, B:
.

.
.
œ
? b 68 œ. #œœ ‰ œ. œœœ ‰ œ #œœœ ‰ œ. œœœ ‰
b
œ
œ
œ. .

pf.1

note 1: stacc. added by analogy with b.61
A: leggier
third quaver: stacc. added by analogy with pf.2
and as in A
note 4: stacc. added by analogy with note 2 andas in A, B
upper part notes 1-2: redundant slur omitted byanalogy with b.69
A, B: dim.
note 3: stacc. added by analogy with bb.3-6
A, B: smorz.
A, B: retard.
fourth quaver: stacc. added by analogy with b.80

pf.1

pf.1

Part

pf.1,2

1-3
3
5
9
13
15
15

pf.2
pf.2

pf.2

16

pf.2

18

pf.2

20

pf.1

pf.1
pf.1

Comment
A: No 4 (“7” added in pencil above “4”), Introduction, Allegro Assai   =96.
B: Allegro assai   =96.
A, B, C: Title of the whole piece: “INTRODUCTION” ; as this title clearly relates to the first 23
bars only, it has been emended from the main
title to the subtitle in the present edition onlevel with “MOUVEMENT DE VALSE” in b. 24A:>>œ œ œ œ œœ œ œ œœ œ œ  J œœ œ œ.
œ
Œ
‰œ 
‰
f risolœ? # 68 ‰ nœœ œœ ‰ œœ œœ ‰ #œœ œœ ‰ nœœ œœ Œ #œ œœ ‰
œ
J
#œ
>
#6 >
& 8 œ œ œ
œ
œ
œ
‰
‰



marc. added by analogy with pf.1
A, B: note 1: g
A, B: ritard:A, B: note 1: marc.
A, B: note 1: marc.
B: ritard.
chord 1: E, g emended to E, e because of harmonic context and as in A
H.H. (meaning “Højre Haand”, right hand)
emended to m.d.; A, B:
chord 1: stacc. added by analogy with bb.20, 22,
23 and as in A, B
missing added

Part

Comment
A, B: note 1: a piacere
note 1: marc. added by analogy with bb.26, 27
A, B: smorz.
third quaver: as in B and C; A: a (Hartmann’sslip of the pen?)note 1: marc. added by analogy with bb. 26, 27
note 1: marc. added by analogy with bb.34,35
third quaver: as in B and C; A: g (Hartmann’sslip of the pen?)
A: chord 1: g , d
B: cresc.
A, B:
not in bb.51-52 but in bb.
52-53
A, B:
not in bb.55-56 but in bb.
56-57
B: a piacere
note 1: marc. added by analogy with bb.72, 73
and as in A
missing in A; instead A has the following passage, which is missing in B and C:

pf.1
pf.1,234, 35
36
36

pf.1
pf.2

46
48
51-53

pf.2

55-57
71
74

pf.1

76-79

pf.1,2

œj
œ ˙ œ
œj
œj
˙˙
œ ˙˙
œ ˙˙
˙ bœ
# 3 2. œnœ œ b œ n ˙˙œJ‰J‰& 4 œœ œ
J‰
np
? #3
∑
#œ œ ‰ ‰ œ œ œ ‰#œ œ ‰ ‰ œ œ œbœ Œ œœ bœ
&
4
œœ
œœ
œ
œ
œ
œ
œ

79



85

&



œ
bœ n œ #˙˙˙˙p& Œ œ #œ
˙

91

&



Œ bœ
˙ œ

Œ

˙
˙

œbœ

œ

˙˙

&



# >˙

?# œ

œ œ >˙œœœœ>œ  œ >˙
œœ œ
#
œ Œ
œ

œ
bœ n œ #˙˙˙˙œ  œ >˙# œ& œ̇ œ Œ



78i
79
79
80, 81, 85

pf.2
pf.1

84, 8590

pf.1,2
pf.1

96
106
106
113, 115

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

116
117

pf.1
pf.1

pf.1

#œ

‰

Œ

œ
œœ

œ œ

‰ œ

# œœ

œœ
œœ
œ

p

œ œ >œ
œ œ
œ œ

‰ œ

œ
œ

‰

œ̇ œ œ œ œ̇ œ œ œ œœ n 

œœ. œœ. œœ.

œ n œ œ œ n œ n œ̇ œ b œ

˙
#œ
˙

œ œ >˙
œ œ

103

œ œ
Œ
?# ˙ œŒ œ #œ˙b œ œ n œ n œœ
˙
œ Œ

? Œ

œœ
œ bœ ˙

#œ œ
‰ œ

œj
œ
J ‰

j‰
#œ œ ‰ ‰ œ œ œ ‰œ#œ œ ‰
œœn œœ œ œ œœœœriten.

& ‰ œ œ œ œ bœ Œ œœ bœ
œ

97

œj
œ ‰ ˙˙
J

œj ˙
œ ˙
J ‰

nœ ˙
œ œ n˙œ Œ bœœ œœœ ‰ ˙
J

œ #œ
œ œ

œj œ œœ œ œ œ œ

œ
‰ Œ

∑

A, B: lower part:  d missing
 added by analogy with b.25 and as in A and B
B: smorz.
note 1: marc. added by analogy with b.84 and as
in A
slur added by analogy with bb.80, 81
marc. omitted by analogy with bb.82, 86 and as
in Achord 2: stacc. added by analogy with bb.97, 98
m.s. added by analogy with b.104
chord 2: stacc. added by analogy with bb.104, 105
marc. added by analogy with bb.112, 114 and as
in A
A: chord 1: marc.
A: chord 2: d , f  , d

324 j.p.e. hartmann : selected works

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20/09/12 10.17

Bar

Part

No. 8
Bar

Part

2
4

pf.2
pf.1

6
8

pf.1
pf.2

10
10

pf.1
pf.2

Comment

Comment
A, B:   =100
B: chord 1: marc.
chord 1: b , d  , e  emended to b , d  , e  by analogy with b.2 (apparently the engraver has swopped
the two accidentals for d and e by mistake)slur added by analogy with bb.5, 10A:? b b 68 nœ œ œjœ œbb œ

upper part note 3: marc. added by analogy with b.6
upper part note 4:  emended to  by analogy
with note 1and b.6; A:? b b nœ nœ ‰œ œ
bb œ
bœ
J
11

pf.1

14

pf.1



15
16
25i

pf.1

25ii
26
31
34

pf.2
pf.2

34-37
42

pf.2
pf.2

44-62

49

pf.1

55
63
64
65
67

pf.2
pf.2
pf.1

67
69
70
71
73
75
79
82
82-83
85

note 7: marc. added by analogy with bb.5, 7, 9
and as in A,B; A: note 5: fnote 5: stacc. added by analogy with b.13 and as
in A, B
A, B:
(instead of)
ritenuto added because of a tempo in b.17 and as
in A, B
fifth and sixth quaver: stacc. and slur added byanalogy with b.12
A: con fuoco (instead of risoluto)
B: con fuoco assai
note 1: marc. added by analogy with b.33
upper part note 1: marc. added by analogy withb.36
stacc. added by analogy with pf.1 and as in A, B
note 4:
emended tobecause of marc.
and as in A, B
emendations as bb.5-22 above; A: notated as dal
Segno § al § , the two segno indications being
marked in b.5 and b.24
upper part note 1: marc. added by analogy withb.10; upper part note 3: marc. added by analogy
with b.45
ritenuto added by analogy with b.16
A, B: dim. e. smorz.
A: chords 2-3: stacc.; A:mo con fuoco
chord 2: stacc. added by analogy with pf.1 and b.67
chords 3, 6: stacc. added by analogy with pf.2
and b.65
A, B: molto ritenuto
A, B: chord 1: arpeggio; A: chord 1:
A, B: dim.
A, B: third quaver notated with turn-sign
redundant emended toas in A
A, B: smorz.
A, B:smorz.
A, B:
slur added by analogy with bb.80-82
A, B:

pf.2
pf.1

pf.2

ﬀ

ﬀ

s



no. 11seks tonestykker i sangform, opus 37
No. 1
Bar

Part

1

pf.1,2

Comment
A, B: M.M.  =116
A, B: sempre legato

Bar

Part

1

pf.2

1-3

pf.1,2

Comment
upper part notes 5-6: b  - c  emended to c – b by analogy with b.36 and as in A; A: third, sixth,
ninth and twelfth semiquaver: stacc.
B: third, sixth, ninth and twelfth semiquaver
notated as one chord in pf.1:œœ œ  œ œ bœœ œ œ œ nœ œ œ œ b 12j œ nœ jœœ& b b 8 œ  œœœœ#nœœœnœ n œœœ
n œœœœœ œ bœ nœ œœ n œœ b œœœœnœœ n œœ‰ œ ‰ œ ‰ œ ‰œnœ ‰ œ ‰ #œ ‰ nœ ‰
‰œ ‰
‰ nœ
? bb 12#œ ‰ œ
nœ œ
œ
œ
œ#œ
b 8 œ  œ œ  nœ 
nœ 
nœ 



the same notation is used in bb.5-8, 11-16, 3442, 44-45, 48

1-2, 2-4, 5-6,
6-8, 11, 12-14,
14-15, 15-17,
26-27, 28-29,
30-32, 36-37,
37-39, 40-41,
41-43, 46, 50,
51-52, 54-55 pf.2
4
5
pf.1,2
6
pf.1,2
7
10

pf.1

13
13
14
19
20

pf.1,2
pf.2

22
22, 2425
26
28
29

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

33
35
36
37

pf.2

37, 41

pf.2

pf.1,2
pf.1,2

pf.1

39
40
43
pf.2
44, 45, 48, 49 pf.2
49
53
53
pf.2
55

pf.2

No. 2
Bar

Part

slur added by analogy with pf.1
A, B: riten.
A, B: a Tempo
A, B: sixth quaver: lower note f ‘of the chord
missing
A: smorz.
upper part notes 7-8: b  (tied to the previous b  )- b  emended to d  - b  because of the rhythmic structure of bb.9-10 and as in A; B also hasb  – b  , so it is apparently a copying error in B,
which has been transferred to C
A, B: dim. e smorz.
A: notes 1, 4: stacc.
A, B: agitato
A, B: dim. starting on the first chord of the bar
sixth quaver: stacc. omitted by analogy with b.18
and as in A, B
A, B: sempre legato
A, B: lower part: first quaver: instead of chordA, B: smorz.
A: chord 1: lower note g missing
A, B: ninth quaver: e  (instead of chord)A, B: rubato at upper part note 4, not at upper
part note 2
A, B: last note: A, B: dim. e smorz.
A, B: agitato
A, B: third quaver: a  (lower part of the chord)emended to a  by analogy with b.41 and as in A, B
upper part note 3: c emended to a  because of
the musical context and as in A; B: cA, B: riten.
A: a Tempo
A, B: last note: ten. added by analogy with pf.1
A, B: latter half of the bar: rubato
A: sost:eleventh quaver: g  – a  emended to g  – a  because of the musical context
A, B: third quaver: g, b Comment
A, B:  = 100 ; A: notated in 2/4 rhythm with
notes of double value; addition in ink: NB:
skrives i dobbelt saa lange Noder og i C (to benotated in twice as long notes, and in C)

klaverværker : critical commentary

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325

20/09/12 10.17

Bar

Part

Comment

Bar

Part

Comment1

pf.1

A: upper part:

61
61, 6261, 62

pf.1,2
pf.1
pf.2

A, B: a Tempo
lower part: stacc. added by analogy with b.60
A, B: lower part: top note c of the chord missing

No. 3
Bar

Part

1

pf.1,2

2
2
3
4
5

pf.2

Comment
A, B: Allegro molto, assai.  =120.
chord 1: stacc. added by analogy with +1 and as
in A
note 1: marc. added by analogy with pf.1
A, B: dim.
A, B: smorz e riten:
A, B: fifth quaver:  ; A, B: last chord: a Tempo
chord 1: stacc. added by analogy with b.1 and as
in A
note 1: marc. added by analogy with pf.1
A: upper part, note 3: stacc.
A: ritard.
A, B: a Tempo
A: chord 3: stacc.
A, B: first crotchet: smorz.
A: chord 3: stacc.
A: ; B: agitato;A, B: smorzando
not in A, B; A, B have the following 3 bars instead:2 œœ& b 4 ‰ bœ œ œœ œ bœœ
J
1
2
3
5
8
8
10
23ii
23ii, 24,
25, 2624
29
29, 30, 31

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

32-33

pf.1

37

pf.1

39

pf.1

39
40

pf.2
pf.1

41

pf.1

45
47

pf.1
pf.1

B: as above, but in half values
A, B: agitato
A, B: riten.
A, B: a Tempo
A: accelerato
tuplets added
A, B: ritenuto assaiA, B: sempre sost:
B: first and fourth quaver: stacc.

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

A: first and fourth quaver: stacc.
third quaver: stacc. added by analogy with b.23ii
A, B: sost:
lower part: stacc. and slur added by analogy
with bb.29, 30 (upper part) and bb.33-36
slur from last note of b.32 to first note of b.33
and slur form first note of b.33 to upper partnote 2 of b.33 emended to one slur
upper part notes 1-2: slur added by analogy
with b.39 and as in A; lower part chords 4-6:
stacc. and slur added by analogy with upper partlower part chords 4-6: stacc. and slur added byanalogy with upper partchords 6-8: stacc. added by analogy with chords 2-4
upper part note 5: end of slur emended fromfirst note of b.41 by analogy with b.38
upper part notes 1-5: one slur emended to twoslurs by analogy with bb.38, 40
A, B: legato
A: upper part:2 œœ& b 4 ≈ œ œ bœœ œœ œ bœœ
48
49

pf.1
pf.1

51

pf.1

55

pf.2

56
56-59
58
59-60

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

B: as above, but in half values
A: chord 1: lower note c missing
upper part notes 1-2: slur omitted because of
the long slur in bb. 48-49
chords 1-2: slur omitted because of the long slurin bb.50-52
upper part notes 6-8: end of slur emended fromnote 7 to note 8 by analogy of pf.1
A, B: con anima
lower part: stacc. added by analogy with upper partA, B: rubato
B: instead of bb.59-60 of C:

#œ
œ œ œ
& bc œ‰ bœœ œ b œœ œ nœœ œ œ œœJ ‰ œ ‰ œœ ‰ œœ ‰ bœœJ ‰ œœJ ‰ œœœJ œœœ œœ ‰ bœœJ ‰ œœJ ‰ œœœJ œœœJ ‰
J J J



? bc œ #œœ œ

con anima

œ œ

œ

nœ.

nœ œ

œ ‰ ‰ œœ œ œJ ‰ Œ
J
œ. J
œ.
œ.

rubatonœ œ œ œ& b œ‰ œœ ‰ œœ ‰ œœ ‰ œœœ ‰œ bœœ œ‰ b œœ œ‰ nœœJ œ œœ ‰ œœJ J J J
J J J
œ
œ
#
œ
n
œ
œ œ #œ œ?b œœ œ nœ
œ
œ
nœ


61

pf.1

source C, b.61 ff.

A: as above in B, but with notes of double value
lower part notes 1-4: slur added by analogy withupper part

pf.1,2
pf.1,2

6
8, 10
13
15
16
18
20
23
29
34

pf.2
pf.1

pf.1,2
pf.1,2

pf.1,2b œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œnœ œ œ& b b 68 J
J
J



p

b6œ
& b b 8 nœJ ‰ ‰ bœœ 

37

pf.1

38i
39, 4039, 4340, 4441, 45

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

47-54
51
51-52
55-62

pf.1,2
pf.2
pf.2
pf.1,2jbœœ ‰ ‰ bœœ jœœ ‰ ‰ œœ [b.35 ff.]

A, B: chord 1: e  , g (with explicit indication ofe  in the following chord)sixth quaver: slur added by analogy with b.22
A: chord 1: marc.
A, B: chords 2-4: g, b , d , f
A, B: chords 2-4: f , a , c , e chord 2:  emended from g to f as in A, B (engraver’s error)A, B: to be repeatedstacc. added by analogy with pf.1 and bb.47
slur added by analogy with pf.1 and bb.47-48
A, B:

œ
œ
j
b 6 œ œœ œœ œœœ bœœœ œ nœj œj ‰ nœ œnœ œ œœ œœ œœ nbbœœœ œ œœœ nnœœœj œœœj ‰ œ œ œ œ& b bb 8 ‰ J J
œ
œ
œ
#
‰ ‰
‰ J J
‰ ‰
J
J
dim. jjœ œ œœ œ œ n œ b œ j œjœœnœ œ
? b b 68J œ œ œ ‰ ‰
J œ
œ ‰ ‰
bb
J
J
œ
œ
.



. .
bœ
œ bœ bœ œb œ bœbbœœ œœ œœbœœ œœ œœ bœ bnœœœ  nœ œ n#nœœ  œ œ bœœœ  nœ œ œ œ œ& b bb ‰ Jœ‰ Œ‰ ‰ ‰ J‰ ‰p bœdim. e smorz.
œ œ œ
œ œ
œ
œ
œ
J ‰ ‰
J ‰ ‰ œ
? bb
œ
œ
‰ Œ
bb
œ
œ

5



63
67

pf.2
pf.2

72
72
73

pf.1,2
pf.1
pf.2

A: first quaver: A, a slur and stacc. added by analogy with pf.1 andb.63
A, B: chord 1: chord 3: stacc. added by analogy with pf.2
chord 2: the accidental () emended from d tof because of the harmonic context (bb.72-73)
and as in A, B

326 j.p.e. hartmann : selected works

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20/09/12 10.17

Bar

Part

Comment

75-82

pf.1,2

not in A, B; instead of bb.75-82, A and B havethe following passage (A and B bb. 77-116):

77
œ. œ.
.
b b 6 œœ nœœ œœ ‰ ‰ n œœœ œœœ ‰b‰ œ nœ. œ. #œ œjnœjb& b8 J Jœœœ. n œ œ b bn ˙˙ 
œœœ
˙

n
˙

>
œ
. .
f
ff
p
pp sost.
jn œœ. œœ.
œ. . .
n œj œ
? b b 6 œœ œ ‰ ‰ #œœ œœ ‰ œ. œ b œ˙  œ nœ œ œ˙  œ œ œ œœ ‰ nœ œ #œ œ nœj œ œ œ
nœ. . b b œ  œ œ œ œ  œ œ œ
bb8
J
J
n
œ
83
œ. . .
b‰ œ œ nœ œ œj œ œ&b b ˙J . . œ. n ˙˙ œœœn˙ n ˙˙ 
n ˙˙ 
n ˙˙ 
dim.
pp sost. assai
morendo.œ . .
œ nœ œ œjœ? b œ˙  œ nœ œ œ˙  œ œ œ œœ ‰J œ œ œ œ˙  œ nœ œ œ˙  œ nœ œ œ˙  œ 
b b œ  œn œ nœ œ  œ œ œœ  œn œ œ œ  œn œ œ œ  œ 
œ
90
j j
. . .
b
j ‰ nœœ œœ œœ œœ œœ œœ ‰ œœ œ œœ œ nœ œ bœ œ œj ‰ œj œ œ nœœ. œœ œœ œœ&b b ˙
œ
J
J
œ
œ
œ
œ
J
œ
œ
œ
J
J
J
J
œ
œ
œ
n˙ 
J J n œœ. œ. œ.
œsmorz.
ff risol pja Tempoœn œ b œ œ œ  nœjjœ œœ ‰ jj œj ‰ ? œ ˙
? bb #œ˙  œ  œœj ‰ & œj œ jnœ œ œœ œœ œœ œ J
b #œ  œ 
J J œ œ œ & œœ. œœ. œœ. œœ.
œœœ
œ. . .
>
>
96
>
œ
j
j œœ jœb œœ œ œ& b b œJ œJ ‰ œœJ œ #œœ nœœ nœ œœ œ nœ œœ ‰ bœ œnœ œ œ bœ œ bœ œ œ bœœ œ œ nœœ  œ œ.
Jœ n œ b œj œ‰ œ œbœ œ œ œ œ œ œ œ œœ œ nœ œjbb
j j ‰ ? œ ˙
˙
œ
œ
b
œ
œ‰ ‰
& œœ œœ œœ
J
J
>
>
101
>

œ
bb œ œ œ œj
j j œ œ œœ bœ œ œœ  œ bœ bœœœ œ œ œ nœœ  œ œ œœ bœ nœœ  œ œ& œ œ œ bœ bœ œ bœ œ œ ‰ ‰œœJsmorzandoœbœbœ œ œ œ œbœ œ œ œ œ
j
‰
œ
j
œ
œ
œ
œ
œ
œ
œ
œ
? b œœ œ œœ nœœ œ ‰ ‰ ˙ 
œ
œ
œ
œ
œJ
bb
J œ






Bar

Part

Comment

No. 4
Bar

Part

Comment
A, B:  = 60
B: stacc.
note 1: marc. added by analogy with pf.2
chord 1: marc. added by analogy with b.14
A: upper part note 1: marc.
A: § above the barline crossed out (see b.36 below)
chord 1: marc. added by analogy with pf.2
marc. added by analogy with pf.2
A: after b.14: § crossed out (se b.36 below)
A, B: chord 2: B  – f – b A, B: lower part chord 1: marc.
A, B: lower part chord 1: marc.
A:chord 2: stacc. added by analogy with pf.1
A:A, B: ritard:
A: chord 2. marc.
A: after the bar line: dal § al § crossed out, theoriginal idea being that the passage from bb.914 was to be repeated here. After this the following 10 bars with the original ending of the piece
are crossed out:

1
5
6
6
8-9
13
14
14
16
17
19
21
24
32
34
35
36



b j
& b b œœ ‰ ‰ œœ b& b ˙˙n ˙˙>? bb ˙˙

con fuoco assai= Source C, b.83 ff

79
83
84

pf.1
pf.2
pf.1

84
86
87, 88

pf.2
pf.1
pf.1

87-88

pf.1,2

chord 4: stacc. added by analogy with pf.2
A, B: chords 2-4: g, b , d , flower part notes 1-3: slur added by analogy withb.83
A, B: chords 2-4: f , a , c , e 
A, B: chord 3: marc.
lower part notes 1-3: slur added by analogy withbb.83, 84
A, B:

b 6 œœ & b b 8 œ  #œœœ? bb 68 n œœb œœ90, 9190, 91, 92
93
97
103, 104

pf.1

pf.2
pf.1

pf.1

j
œ œœ #œœ #œœ  nœ nœ nœœ nœœœœ
œ #œ # œ nœ Jœœœ œœœ Jœœœœnœ œ œœœœ œ ‰œ #œ œ œ ‰œA, B: chord 2: e , e 
A: chord 1: marc.
A, B: poco riten.
A, B: più riten.
A: arpeggioœœœœ œ œ œœ œœ œœ œœ œ bœœœ
b >œ
p
œœœ
œ
œ
œ
œ œ bœ œ œœ nœœ œ œ œ œ œœ œœ œœJ ‰ Œ
œ

œ
œ

Œ

Chor

œœj œ œœj œ nœj œ bœ œ œj œ #œœœ nœ bœ œœœ œ œ œœ œfdimff
œ œ nœ œjjœ  œœœ‰ ‰œœ œœ. œœ œœ œœ œœj ? œ œ œœ œœ œœ œ 
J
. . .
œ œ
bœœœ œœœ
J

pf.2? b 42 œbœœ œ œ #œ œ œ œ œ nœ œ œbœ œ œ nœ œ œ œœbœœbœ ‰ ‰ nœœ œ jJ& b b œœ nœœ  œ œœ ‰ ‰ œ
œJ
J
J
J
p
smorzandoœnœ œ œ œ œ œ œ œ œ œbœnœ? bb œœ  œ œœ  œ œ œœJ ‰ ‰ & œœ nœœ ‰ ‰bœœ  bœœj ‰ ‰bœœ bJJ. œ. œ. œ. œœb œ œ& b b J œ nœ œ œ œ nœœJ œ œ œ

pf.2
pf.1
pf.1



106

112

pf.1
pf.1

b2
& b 4 œ œ œ œœ œœ œœ œ
œ
œ




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

39

pf.1

41
42

pf.1
pf.1,2

42
46
47
47
48
48

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

No. 5
Bar

Part

1

pf.1

2
11
16
20
21

pf.2

œœœ
œ

œœ b œœ œ œ
œ œ #œœœ œœœ bœœœœ nœœœœ œœ >œœœ
œ
n>œ œ

ff

œ œœ œœ œ œ ## œ œœœ œœ œ œ œœ œ œ
œ œ œ

œœ Œ
œ
œ
œ Œ

followed by the end dating 22/10 42. On the following page the new ending is added (bb.37-51
of the present edition)
upper part: end of slur emended from firstchord of b.40 to last chord of b.39 by analogy
with pf.2 and because of the slur from chord 1
to chord 2 in b.40
chord 1: marc added by analogy with pf.2
upper part chord 1: marc. added by analogy
with b.14
A, B: upper part chord 1: marc.
A: chords 1-4: stacc.
chord 2: ten. added by analogy with pf. 1
A, B: chord 2: marc.
ten. added by analogy with pf.1
A, B: marc.

Comment
A, B: Allegretto.  = 96
lower part chord 1: marc. omitted by analogy
with b.58 and as in A, B
marc. omitted by analogy with b.59
A: dim.
A:
A, B: accelerandoA, B: dim. rit.

klaverværker : critical commentary

Hartmann_klaver_bind_1.indb 327

327

20/09/12 10.17

Part

22
28
30
40
46
47
57

pf.2

58

pf.1

No. 6
Bar

Part

5
5-12
9
12
13
13
14
14
15
20-21

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

Comment

Bar

Part

Comment

A, B:
A: upper part note 7: e
B: chord 2: e , g 
A, B: upper part note 3: ten.
A, B: fifth semiquaver: d (top note a missing)A, B: smorz. assai
upper part: end of slur emended from note 3 tonote 4 by analogy with pf.1
upper part: beginning of slur emended from lastnote of b.57 to first note of b.58 because of theslur in b.57

31-36

pf.1,2

not in A, B (see Description of sources); instead A
and B have the following bars (A and B bb.33-40)

Comment
A: title missing; B: title: Wechselgesang;A, B: Allegro assai agitato.   = 66
A, B: agitato
A, B: lower part: all notes as  , not   as in C
A, B: lower part note 2: missing
A, B: smorz.
A, B: animato
A, B: upper part notes 5-7:   A, B: lower part notes 4-6:    ; upper partnotes 5-7:   A, B: latter half of the bar: rubato
A, B: a Tempo
A, B: the following two bars added between
bb.20 and 21 of the present edition

pf.2
pf.2

pf.1
pf.1

pf.1,2# ## 12& # 8 œœ ‰ Œ œ#œ œ œ œ œ? #### 12
8 j

21
23-24
24
26

pf.2
pf.2
pf.1

27
27-31

œ

Œ

Œ

∑

j

œ œœ œ œ dim.
˙
J J œ #œ œ œ œ œA, B: chord 1: g  ( ), d  ( )A, B: upper part: all notes as  , not  notes 1-4: slur added by analogy with pf.1
upper part note 1: marc. added by analogy withb.25 and as in B (b.28)
A: agitato
A, B: lower part: all notes as  , not  

# ##
8 œ
& # 12
œ

Œ
œ



Ó œ
œœœ

œ œ
J œ

j
œ œ œnœ œ œ 
œ
Ó

œ
Œ

Œ Œ Œœ œ œ œ œ œ nœJJ

œ œ œ œœœ œ nœ
? #### 12
8 œ œ œ œ œ œ œ #œ œ œ œ # œ œ œ œ œ#œ œ œ œ œ nœ œ œnœœ œ#œœ œ œ œ œj˙# ## œ  œ œj œnœ œ œ  œ œ œ˙œ œ#œ  œ œ œ œ  œ œ  œ œ œ˙& # œ Œ  nÓœ œ œ #œ ˙œsmorz.
œ
animato
œ
œ
#
œ
œ
œœœœ
œ œ
œ
œ
œ
œ
? #### œ œnœ œ œ œ œ #œ œœœœ œ
œ ‰ #œœ  œ ‰œ‰œ œ# œœ  œ ‰ #œœ 

Bar# ## œ & # œ

? ####

37

œ
œ

nœ 
n œ

nœ 
n œ

nœ 
#œ 
œ œ #œ œ#œ nœ œ œ œ‹œ œ nœ#œ œ œ#œ œ nœ nœ œ œ œ œcrescendo

œ

#œ 
# œ

œ
œ

pf.1,2eaccelerando

#œ 
œ

A, B:

# ## 12&# 8 œ
œ



f

‰

œœ œ

œ
? #### 12
8 œ œ œ œœ

38

pf.1

39
40
41
46

pf.1,2

46-48

pf.1,2

œ

œ
>
œœ œ

œœœ
œ

œœ
#œœ 

A, B: first chord:   g  (no two part notation on
first to sixth quaver)A, B: rit.
A, B: a Tempo
A, B: smorz.
lower part, last note: stacc. added by analogy
with upper part
missing in A, B; instead A and B has the following to end bars:# ##‰& # œ   ‰ Óœœ  œœ œ? #### ˙ 
j‰ ‰
˙
œ œ


47

pf.1,2lower part third, sixth, ninth, twelfth quaver:stacc. added by analogy with upper part

328 j.p.e. hartmann : selected works

Hartmann_klaver_bind_1.indb 328

20/09/12 10.17