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 2

Series III • Volume 2

1805-1900

ausgewählte werke

Herausgegeben von der Hartmann-Ausgabe
Die Königliche Bibliothek

Redaktionsleiter Niels Krabbe

Serie III • Band 2

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 2

vol 2

vol 2

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© 2012

06
979-0-706763-12-5
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

inhaltlix

Indledning

lxvii

Introduction

lxxviiEinleitunglxxxvi

Faksimiler

lxxxvi

Facsimiles

lxxxvi

Faksimiles

329 klaverværker ii
329
343
363
371
383
400
412
423
445
449
453
457
486
491
497
509
510
515
519
521
523
525
527
531
534

329 piano works ii

12 Tre Klaverstykker Op. 38
329 12 Three Piano Pieces Op. 38
13 Seks Karakterstykker Op. 50
343 13 Six Character Pieces Op. 50
14 Tre Klaverstykker
363 14 Three Piano Pieces
15 Etudes Instructives Op. 53
371 15 Etudes Instructives Op. 53
16 Fantasistykker Op. 54
383 16 Fantasy Pieces Op. 54
17 Novellette i seks Smaastykker
400 17 Novelette in Six Little Pieces
Op. 55
Op. 5518 Klaverstykker
412 18 Piano Pieces
19 Studier og Novelletter Op. 65
423 19 Studies and Novelettes Op 65
20 To Klaverstykker
445 20 Two Piano Pieces(Musikblade…1866)(Musikblade…1866)
21 Fantasistykke
449 21 Fantasy Piece(Musikblade…1871)(Musikblade…1871)
22 Fantasistykke
453 22 Fantasy Piece(‘Fremtidens’ Nytaars-Hefte 1875)(‘Fremtidens’ Nytaars-Hefte 1875)
23 Klaverstykker fra ældre og
457 23 Piano Pieces from an Earlier andnyere Tid Op. 74
a More Recent Time Op. 74
24 Thema med 14 Variationer
486 24 Theme with 14 Variations
25 Grand Vals
491 25 Grand Vals
26 Fantasi Op. 7
497 26 Phantasy Op. 7
27 Klaverstykke, 1837
509 27 Piano Piece, 1837
28 Introduktion og Andantino
510 28 Introduction and Andantino
Religioso Op. 26
Religioso Op. 26
29 Gamle Minder
515 29 Old Memories
30 Hamborger-Skotsk
519 30 Hamburg Scottish
31 Canzonetta
521 31 Canzonetta
32 Indfald
523 32 Ideas
33 Sang uden Ord. Hjemvee
525 33 Song Without Words.
34 Om Foraaret
Homesickness
35 Vinteren
527 34 In Springtime
36 Langsom Vals
531 35 The Winter

329 klavierwerke ii
329 12 Drei Klavierstücke Op. 38
343 13 Sechs Characterstücke Op. 50
363 14 Drei Klavierstücke
371 15 Etudes Instructives Op. 53
383 16 Fantasiestücke Op. 54
400 17 Novellette in sechs kleinen
Stücken Op. 55

412 18 Klavierstücke
423 19 Studien und Novelletten Op 65
445 20 Zwei Klavierstücke
449
453
457
486
491
497
509
510
515
519
521
523
525
527
531
534

(Musikblade…1866)
21 Fantasiestück(Musikblade…1871)
22 Fantasiestück(‘Fremtidens’ Nytaars-Hefte 1875)
23 Klavierstücke aus älterer undneuerer Zeit Op. 74
24 Thema mit 14 Variationen
25 Grand Vals
26 Fantasie Op. 7
27 Klavierstück, 1837
28 Introduktion und Andantino
Religioso Op. 26
29 Alte Erinnerungen
30 Hamburger Schottisch
31 Canzonetta
32 Einfälle
33 Lied ohne Worte. Heimweh
34 Im Frühling
35 Winter
36 Langsamer Walzer

j.p.e. hartmann : klaverværker

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535 37 Stambogsblad
536
540
541
542
545
547
551
554
563
564
566
567
569
570
571
572
573
575
575

(Stork, Stork Langeben)
38 ‘Den 20de Januar 1848’
39 Langsom Menuet
40 Klaverstykke, 1849
41 Albumsblad
42 Polkamæssig
43 Sct. Hansaften Vals
44 Sjællandsk Reel
45 Bellmanske Billeder. Menuetter
46 Stambogsblad
47 Aftenstemning
48 I Folkevise-Tone
49 Albumsblad
50 Efter Motiv af en svensk
Folkevise
51 Stambogsblad No 1
52 Stambogsblad No 2
53 Stykker for Johan Peter Hartmann
54 Svanerne. Humoreske
55 I en Stambog
56 Marsch

534 36 Slow Waltz
535 37 Album Leaf
536
540
541
542
545
547
551
554
563
564
566
567
569
570
571
572
573
575
575

(Stork, Stork Langeben)
38 ‘20 January 1848’
39 Slow Menuet
40 Piano Piece, 1849
41 Album Leaf
42 Like the Polka
43 Midsummer Night’s Waltz
44 Reel from Sjælland
45 Bellman Pictures. Menuets
46 Album Leaf
47 Evening Mood
48 Like a Folk Song
49 Album Leaf
50 On a Motive from a Swedish
Folk Tune
51 Album Leaf No. 1
52 Album Leaf No. 2
53 Pieces for Johan Peter Hartmann
54 The Swans. Humoresque
55 In an Album
56 March

536
540
541
542
545
547
551
554
563
564
566
567
569

appendixapp. 1 Sonata. Early Version ofOpus 80
app. 2 Sonata Fragment I
app. 3 Sonata Fragment IIapp. 4 Piano Piece. (Opus 20/II)
app. 5 Evening Mood

578

appendiks

578 app. 1 Sonate. Tidlig version af
595
602
603
606

Op. 80app. 2 Sonate-Fragment I
app. 3 Sonate-Fragment IIapp. 4 Klaverstykke. (Opus 20/II)
app. 5 Aftenstemning608 Forkortelser
609 Critical Commentary
652 Chronological concordance

578
595
602
603
606

535 37 Stammbuchblatt

608 Abbreviations
609 Critical Commentary
652 Chronological concordance

570
571
572
573
575
575

595
602
603
606

(Stork, Stork Langeben)
38 ‘Der 20. Januar 1848’
39 Langsames Menuett
40 Klavierstück 1849
41 Albumblatt
42 Polkamässig
43 Johannisabend-Walzer
44 Seeländischer Reel
45 Bellmansche Bilder. Menuette
46 Stammbuchblatt
47 Abendstimmung
48 Im Volksliedton
49 Albumblatt
50 Nach Motiv eines schwedischen
Volkslieds
51 Stammbuchblatt Nr. 1
52 Stammbuchblatt Nr. 2
53 Stücke für Johan Peter Hartmann
54 Die Schwäne. Humoreske
55 In einem Stammbuch
56 Marsch
anhangapp. 1 Sonata. Frühe Fassung vonSonate Op. 80
app. 2 Sonaten Fragment I
app. 3 Sonaten Fragment IIapp. 4 Klavierstück. (Opus 20/II)
app. 5 Abendstimmung

608 Abkürzungen
609 Critical Commentary
652 Chronological concordancelviii j.p.e. hartmann : selected works

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indledning(fortsat fra bd. 1)

nr. 12tre klaverstykker, opus 38

nr. 14tre klaverstykker

Disse tre klaverstykker optræder i kilderne både som en samling og
som enkeltstykker. En enkelt kilde antyder, at de to sidste stykker iførsteudgaven i virkeligheden er tænkt som et og samme stykke i todele (se Description of Sources). Hvorvidt der er en særlig anledning
til de programmatiske titler, Ballo Militare og Cantilena elegiaca
lader sig ikke afgøre.

Disse tre klaverstykker har næppe andet tilfælles, end at de alle
oprindeligt blev trykt i serien JULEHILSEN til Store og Smaae fra
DANSKE COMPONISTER i årene 1848-51 og derefter udkom
samlet under titlen Tre Klaverstykker (uden opusnummer).
Det første af stykkerne, Svensk Hjemvee Sommeren 1848, er
formentlig inspireret af Hartmanns ophold på det fynske gods
Tiselholt i sommeren 1848 midt under krigen med Tyskland, hvor
han havde mødt en gruppe svenske officerer. I hvert fald modtog
han efterfølgende et brev fra godsets ejer, Carl Ulrich Jørgensen,
der kunne fortælle, at han havde sendt Hartmanns komposition til
en af de svenske officerer som en slags erindring om svenskernes
ophold på Tiselholt.72
Det tredje stykke, Andantino quasi Allegretto, indledes med
et digt af H.C. Andersen (“Hun sidder derinde og spiller Klaver”),måske som en hyldest til Hartmanns hustru Emma, der i øvrigt
døde 6. marts 1851, knap fire måneder efter at stykket var blevet
trykt.73 Stykket blev i øvrigt skrevet på en slags direkte opfordringfra forlæggerne Lose & Delbanco som svar på deres ønske om at få
materiale fra Hartmann til et nyt klaverhæfte.74

nr. 13seks karakterstykker, opus 50
Af en brevveksling mellem Hartmann og musikforlægger Delbanco fremgår det, at de seks karakterstykker er komponeret før
H.C.Andersen skrev sine småvers, der indleder samlingen, idet
Hartmann i et af de nævnte breve beder forlæggerne om at ladeplads stå åben over noderne, således at Andersens vers kan indføjes,når han har fået dem skrevet.67 Sammenhængen mellem de enkelte
stykkers musikalske indhold og de tilføjede småvers er i øvrigt ikke
altid ganske indlysende. F.eks. slutter – som det ofte er påpeget –det første digt med en skildring af de vilde svaner, der drager bort
til lyden af en “Mol-Accord”, mens det pågældende stykke slutter
i ren C-dur!
Samlingen har været meget udbredt både mens Hartmann
levede og efter hans død. Wilhelm Hansens genudgivelse fra 1882
udkom i adskillige oplag, hver med sit bagsidekatalog, hvilket viser, at stykkerne i 1880’erne var yderst populære; og i 1912 blev
den genudgivet af Adolf Ruthardt, ligeledes på Wilhelm Hansens musikforlag, nu med titelblad og tilføjede digte på tre sprog(dansk, tysk og engelsk).68
Den store udbredelse skyldes bl.a. det forhold, at Hartmann
her nærmer sig det, som man receptionshistorisk – og lidt foragteligt – har kaldt “Salonmusik”, altså let spillelig og let fordøjelig
musik (men med pianistisk schwung) med et vist programmatisk
indhold.69 Hertil kommer stykkernes særlige appel til børn og dermed stykkernes pædagogiske sigte.70
Inger Sørensen gør i sin gennemgang af de seks stykker
opmærksom på, at Carl Nielsen bruger det andet stykke om sommerfuglen som et – for Nielsen fuldt acceptabelt – eksempel påanvendelsen af en programmatisk titel i sin berømte artikel, “Ord,Musik og Programmusik”.71

67 Breve fra november og december 1848, i hvilke Hartmann gentagne gange må nævne, at han stadig venter på Andersens digte(Breve, nr. 370, 371 og 374).
68 Med pladenummer 15119 (copyright 1912); nr. 2, Sommerfuglen,
udkom tillige samme år i særtryk med pladenummer 15119b.
Oversættelserne af digtene er gengivet i Description of Sources.
69 Der savnes en nøjere undersøgelse af Hartmanns forhold til det
19. århundredes “salonmusik”.
70 Lothar Brix, Op.cit. s. 124 anfører et helt katalog over sådanne“børnestykker” for klaver fra det 19. århundrede både af danske og
tyske komponister, berømtest blandt dem Schumanns Kinderszenen, opus 15 fra 1838.
71 Inger Sørensen, Op. cit., s. 263-264. Carl Nielsens artikel fra 1909
er gengivet i John Fellow, Carl Nielsen til sin Samtid, København
1999, s. 125ff.
72 Se Breve, nr. 379 samt Inger Sørensen, Op. cit., s. 261f.
73 Der er mange vidnesbyrd om, at H.C. Andersen nærede stor hengivenhed for Emma Hartmann.
74 Brev fra Hartmann af 17.9.1850: “I Gjensvar paa Deres Ærede af
10de dennes meddeler jeg, at da der iblandt de forskjellige Claveerstykker, jeg har skrevet, endnu ikke findes tilstrækkeligt Stof til et
Hefte […] , maa jeg endnu i nogen Tid forblive i Deres Gjeld forklaverværker : introduction

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nr. 15
etudes instructives, opus 53
Hartmann har tilsyneladende været i tvivl om, hvad han skulle kalde denne samling af seks stykker med udpræget etude-karakter. Den
5. december 1851 omtaler han dem som “mine 6 navnløse Børn” ogfire uger senere “Caprices instructives”.75 De endte dog med at komme til at hedde det, som de vel rettelig er, nemlig Etudes instructives.

nr. 16
fantasistykker, opus 54
De seks fantasistykker udkom hos Kistner i Leipzig i 1855 med entrykt tilegnelse til Clara Schumann. Det var første og eneste gang,
Hartmann fik udgivet et af sine klaverværker hos Kistner. Værket
blev genudgivet af Wilhelm Hansen i 1876.
Lothar Brix anser nr. 1 og 4 for at være nogle af de svageste
karakterstykker Hartmann nogensinde skrev;76 det er således skæbnens ironi, at disse stykker blev tilegnet en af tidens allerstørste internationale pianister. Hartmann havde truffet Clara Wieck i Leipzig
i 1836 og igen i Berlin i 1839, inden hun var blevet gift med Robert
Schumann, og han bevarede de følgende mange år et tæt forhold tilhende. To gange gæstede hun København som fejret pianist, i foråret
1842 og i vinteren 1856, og under det første besøg var hun endog til
middag hos familjen Hartmann sammen med bl.a. H.C. Andersen.77

nr. 17novellette i seks smaa stykker, opus 55
Som det fremgår af dateringerne i Hartmanns manuskript, er disseseks stykker skrevet over en længere periode på 2½ år, fra december 1852 til juni 1855.
I Hartmann autograf (kilde A) bærer værket titlen Børnestykker med en senere blyantstilføjelse Lykønskning til en Fødselsdag;
endvidere er der – ligeledes med blyant – tilføjet titler til tre af
numrene: Tagfat (nr. IV), Morgenbøn (nr. V) og Eventyr (nr. VI).
Tilføjelsen er tydeligvis påført i forbindelse med beslutningen om,
at H.C. Andersen efterfølgende skulle forsyne stykkerne med indledende digte, der netop beskriver en fødselsdag (se nedenfor). Det
rejser spørgsmålet om, hvorvidt den indledende tilføjelse Lykønskning til en Fødselsdag skal opfattes som en overskrift til nr. I eller

det lovede Hefte; dog haaber jeg ret snart at kunne byde Dem
saavel et saadant Hefte, som et passende enkelt Stykke til Deres
Julehilsen for iaar” (Breve , nr. 436). Sidstnævnte løfte blev indfriet med dette bidrag til Loses & Delbancos Julehilsen 1851.
75 Breve, nr. 475 og 476.
76 Lothar Brix, Op. cit., s. 138.
77 Se middagsinvitationen fra Emma Hartmann til H.C. Andersen ibrev af 7.4.1842, Breve, nr. 135.
78 Brev af 31.12 1855, se Kisten Dreyer (ed.), H.C. Andersens brevveksling med Lucie & B.S. Ingemann, København 1997, brev 199.
79 Ingen af de trykte udgaver bærer netop denne titiel!
80 Richard Hove, J.P.E. Hartmann. København 1934, s.43.

som en ny titel til hele samlingen som erstatning for den oprindelige samlingstitel, Børnestykker.
I den trykte udgave har Hartmann understreget den programmatiske drejning, som samlingen fik i kraft af de tilføjede
digte, dels ved at ændre titlen fra Børnestykker til Novellette i sex
Smaastykker, dels ved at anbringe digtene samlet på en side forud
for musikken. Til gengæld er hverken den nye samlingstitel ellerde tilføjede titler for de enkelte stykker overført fra autografen til
den trykte udgave. Disse titler repræsenterer formentlig Andersens
foreløbige ideer til, hvordan “historien” kunne fortælles, idet det
dog skal bemærkes, at der i den endelige udformning ikke er fuldstændig oversensstemmelse mellem de anførte titler og de endelige
digte (f.eks. handler digtet til nr. V om morgensang, ikke om morgenbøn, ligesom det er svært at se nogen forbindelse mellem titlen“Eventyr” og det endelige digt til nr. VI).
H.C. Andersen fortæller selv i et brev til digterkollegaen Ingemann, hvordan digtene først er kommet til, efter at musikken var
komponeret:
Hartmann har componeret 6 Musikstykker, de ere komne ud
under Navn af Noveletter, sat i Text af mig og det er gaaet saaledes til at da han spillede dem for mig fandt jeg en heel Historie deri, som da den ganske tydeliggjorte hans egen musikalske
Tanke, er blevet trykt foran; faae endelig Nogen til at spille Musiken og læs da foran hvert lille Stykke, den tilsvarende Text.78
Digtene beskriver den gamle skolelærers fødselsdag i en række
små episoder: pyntning af klasselokalet (nr. I), lærerens ankomst
til klassen (nr. II), børnenes sang til læreren, som vækker gamle
minder hos ham (nr. III), børnenes reaktion på sangen (nr. IV),
dekretering af fridag efter at morgensangen er sunget (nr. V), børnene jubler over fridagen, mens skolemesteren står ensom tilbage iskolestuen fyldt af “gamle Minder”, i musikken understreget ved defire takters løsrevne citat fra begyndelsen menuetten (nr. VI).
Ikke alle har fundet denne sammenstilling af Hartmanns
musik og Andersens digte synderlig vellykket. Richard Hovebemærker halvtørt om opus 55:
Overordentlig vellykket er “Novelette i seks Billeder”79, noget
af Hartmanns fornemste Kleinkunst, blot tror jeg, at den vinder ved, at man lader være med at læse Andersens Tekst, til
man engang har gjort sig fuldt fortrolig med Musikken, saa
kan Teksten ingen Fortræd gøre, egentlig Programmusik er
det nemlig ikke.80
De seks digte findes ikke i genoptrykket af opus 55 fra 1877 på
forlaget Carl Simon i Berlin; her bærer samlingen blot titlen Novelletten, sechs kleine Stücke für das Pianoforte; måske har udgiveren
eller komponisten også fornemmet at digtene ikke rigtig fungeredei denne sammenhæng.
En af de meget få samtidige omtaler i danske tidsskrifter af
Hartmanns klavermusik vedrører netop denne samling. Den findesi Immanuel Rée’s Tidsskrift for Musik fra 1857 i forbindelse med enlx j.p.e. hartmann : selected works

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længere artikel under overskriften Anmeldelse af udkomne Musikalier. Meddeelt af W.S. og P.I. Musikalier, bestemte for Underviisningen. Opus 55 beskrives her som en “…fordringsløs Composition,
der aander Ædelhed og Reenhed i Stiil og Tanke, men derfor ogsaa
ganske staaer i Modsætning til de mange uheldige Pianofortestykker, som alt for meget benyttes ved Undervisningen…”. Og anmeldelsen slutter: “Af de færreste vil Noveletten imidlertid kunne
nydes ved flygtigt at gjenemspilles, men den har af denne Aarsag
ogsaa saameget mere blivende Værd.”81
Genrebetegnelsen “Novelette” – den endelige titel for samlingen i den trykte udgave – med dens direkte reference til noget litterært,82 kendes fra bl.a. Schumann (opus 21) og Gade (op. 29). Ti
år senere tog Hartmann igen genren op i sine Studier og Novelletter
opus 65. Entalsformen “Novelette” kunne tyde på, at Hartmanndels mener at titelbetegnelsen refererer til “Novelle” (hvad den
ifølge Schumann jo ikke gør), dels at den betoner, at alle seks stykker udgør en samlet, cyklisk fortælling – altså en novelle, hvad devel – bortset fra et kort motivisk sammenfald mellem stykkerne III(begyndelsesmotivet) og VI (t. 75-78) – heller ikke gør.83

nr. 18klaverstykker
Heller ikke disse fire klaverstykker fra 1864 udviser nogen form
for enhed, hverken stilistisk eller genremæssigt. Det fremgår ikke
af kilderne, hvordan og på hvilket tidspunkt i tilblivelsesprocessen
teksterne er blevet indført, de to første af H.C. Andersen og de tosidste af museumsinspektør ved Rosenborg, Carl Andersen. H.C.
Andersens tekst til nr. I, “Gudfa’er fortæller”, kendes kun fra denne
forekomst i Hartmanns klaversamling, mens teksten til nr. II,“Gjallerhornet lød” er et citat fra eventyret Dynd-Kongens Datter,der var udkommet 6 år tidligere.84

nr. 19studier og novelletter, opus 65
Som noget specielt for Hartmanns klavermusik omfatter kilderne
til dette værk både en kladde (forlæg for renskriften), en renskrift(trykforlæg i fremmed hånd) samt førstetrykket.
Kladden er specielt interessant, fordi den indeholder en samling på 13 satser, med meget forskellig status:
ni satser, der blev trykt som opus 65
to satser, som komponisten ønskede udskrevet i et særligthæfte (nr. 20 i nærværende udgave)en sats, som han kasserede (App. 5 i nærværende udgave)en sats, som han kasserede og senere i manuskriptet nedskrev
i en anden version, hvorefter den efterfølgende indgik
som det ene af de to klaverstykker nr. 20 (den kasserede
version i App. 4 i nærværende udgave).
Også på et andet punkt er samlingen speciel: i modsætning til stort
samtlige øvrige tryk med klavermusik af Hartmann foreligger derikke et genoptryk hos Wilhelm Hansen i årene omkring 1880; det
er ikke muligt at finde en rimelig forklaring på dette. Ligeledesusædvanligt er det forhold, at ingen af stykkerne i de to manuskripter er dateret.

nr. 20to klaverstykker ₍musikblade ...1866₎
De to stykker indgår i Hartmann’s manuskript med 13 stykker,nævnt ovenfor under nr. 19. I dette manuskript anfører Hartmann
udtrykkeligt, at han ønsker disse to stykker i et separat hefte. Et sådant udkom aldrig, men i stedet blev de trykt i Musikblade udgivne
af Foreningen Fremtiden 1866 sammen med værker af Niels W.
Gade, C.I. Hansen, Franz Neruda, og Peter Heise. Det ene af stykkerne, Allegro agitato i h-mol, udkom endvidere som selvstændigt
tryk hos Wilhelm Hansen i 1880.
En kasseret version af det andet stykke i Es-dur er gengivet inærværende udgave som App. 4.

nr. 21
fantasistykke ₍mmusikblade ...1871₎
Stykket er trykt i Musikblade udgivne af Foreningen Fremtiden 1871
3die Hefte sammen med værker af August Winding, Julius Steenberg,
Hans Matthison-Hansen, F. Andersen samt Peter Heise, og genudgivet i separat tryk hos Wilhelm Hansen omkring 1880.
En oprindelig, noget afvigende version i Fis-dur, findes i manuskript dateret “Fredensborg 13/10 69” (kilde C)

nr. 22
fantasistykke ₍frem tidens nytaarshefte 1875₎
Autografen til dette stykke er slutdateret “J:P.E:Hartmann / Nærum
3 October 1874”.
Det blev efterfølgende trykt i Musikblade udgivne af Foreningen Fremtiden 1875 4de Hefte, med værker af F. Andersen, C.J. Hansen, Peter Heise, Gottfred Matthison-Hansen, Valdemar Schiött,og Aug. Winding. Også dette stykke blev genudgivet af Wilhelm
Hansen i 1880.

81 Tidsskrift for Musik, første Aargang nr. 1 s. 4.
82 Novelette: egentlig et kortere stykke fiktionsprosa. Schumann
understreger selv, at hans anvendelse af genrebetegnelsen “Novellette” dog ikke refererer til noget litterært, men derimod er en indirekte kærlighedserklæring til hans tilkomne Clara Wieck – gennem ordets lydlige forbindelse til Claras navnesøster, den engelske
sangerinde Clara Novello83 Det skal bemærkes, at lige præcis denne motiv-gentagelse ikke
findes i Hartmanns autograf (A), se List of Emendations.
84 Begge tekster er gengivet I H.C. Andersen, Samlede Værker, bd. 8,
Digte II, København 2005, s. 359 og 614. “Gudfa’er fortæller” ersåledes skrevet direkte med henblik på Hartmanns klaverstykker,
mens citatet fra “Dynd-Kongens Datter” er udvalgt med henblik påklaversamlingen (Andersens eventyr var udkommet i maj 1858).

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nr. 23
klaverstykker fra ældre og nyere tid,
opus 74
Samlingen af klaverstykker opus 74 har tætte forbindelser til sonaterne i g-mol og F-dur (nr. 2 og 3).
Udover tilegnelsen til sønnen Emil kendes ingen nærmereomstændigheder omkring publiceringen i 1878 af dette værk, således heller ikke noget om, hvorfor Hartmann netop her vendte
tilbage til to klaverværker, komponeret mere end 25 år tidligere og
begge utrykte.
Titlen hentyder til det forhold, at der er tale om en sammenstilling af uddrag fra de nævnte tidligere værker, kombineret med nykomponeret materiale. Således er værkets anden sats den eneste helt
igennem nykomponerede sats (dateret 18.1.1877), idet de øvrige firesatser i større eller mindre grad bygger på materiale fra de to nævnte
sonater. Hartmann har oprindeligt forestillet sig en anden titel påværket, idet autografen B på omslaget bærer titlen Nyt og Fornyet –en karakteristik, der sådan set passer bedre til værket end den endelige titel på den trykte udgave, Klaverstykker fra ældre og nyere Tid.
I autografen er første, anden og fjerde sats dateret henholdsvis 5. marts 1877, 12. januar 1877 og 20. marts 1877. Som detbemærkes, er Hartmann således begyndt arbejdet med anden sats,den eneste nykomponerede sats i suiten. Når der ikke foreligger
nogen datering for tredje sats, skyldes det, at Hartmann her direkteanvendte det oprindelige manuskript fra F-dur sonaten, mens den
manglende datering for femte sats beror på, at de sidste sider af
manuskriptet ikke er overleveret (vedrørende begge disse forhold,se Description of Sources).
Nr. I
Takt 1-44 frem til repetitionstegnet bygger i alt væsentligt på g-mol
sonatens første sats, hvorimod den resterende del af satsen er uafhængig af sonaten, hvilket klart fremgår af Hartmanns autograf af
sonaten, hvori der i første men ikke i sidste del er foretaget en delændringer, som går igen i opus 74. I satsens slutning, t. 65-71, dukker temaet fra sonaten op igen.
Nr. II
Eneste helt igennem nykomponerede sats i opus 74.
Talrige rettelser med blyant udarbejdet med henblik på den
trykte udgave fra 1878. Disse rettelser er medtaget i nærværende
udgave, mens relevante detaljer fra den oprindelige blækversion er
anført som varianter i List of Emendations.
Nr. III
Stort set identisk med anden sats af F-dur sonaten fra 1854 (nr. 3).
Nr. IV.
Bygger på tredje sats af F-dur sonaten med en række udvidelser.
Nr. V
Den eneste forbindelse til g-mol sonatens sidste sats er de første 12

takter, der harmonisk og motivisk genbruger de tilsvarende takter
fra sonaten (nr. 2), samt skiftet til As-dur i midterdelen; derimod
slutter Nr. V ikke i g-mol, således som det er tilfældet i sonaten,
men derimod i Es-dur.

nr. 24thema med 14 variationer
Dette er første og eneste gang, at Hartmann i et klaverværk benytter formen, tema med variationer; når man betænker, hvor
fremherskende netop denne formtype er hos det 19. århundredes
komponister, kan man undre sig over, at han ikke har benyttet variationsformen i andre, mere prætentiøse klaverværker.
Hartmann komponerede disse variationer over et meget
enkelt tema i C-dur i 1881 til sit otteårige barnebarn, Johan Peter.
Manuskriptet er dateret “Nærum 5/8 81” og bærer præg af, atJohan Peter har brugt manuskriptet til at øve sig i at notere skalaer og andet. Selve rækkefølgen af variationerne er blevet ændret
undervejs, dels ved at nodearkene er klippet i stykker og klistretsammen igen på en ny måde, dels ved at de oprindelige numre
er ændret med blyant til den rækkefølge, der er anført i nærværende udgave.
Manuskriptet indeholder en anden lille komposition, formentlig ligeledes skrevet i forbindelse med undervisningen af Johan Peter i klaverspil (se nr. 53).

c. enkeltværker
nr. 25
grand valse
Formentlig en af komponistens tidligste kompositioner inden forden lidt større form. Manuskriptet er dateret “3/3 26” (Hartmann
var på det tidspunkt endnu ikke fyldt 21 år), og bærer den pompøse titel Grand Vals pour le Piano-Forte; det blev dog tilsyneladende
aldrig udgivet.

nr. 26
fantasi, opus 7
Denne stort anlagte fantasi på mere end 350 takter blev trykt hos
C.C. Lose i København i 1831 både som enkelttryk og i Loses musikalske månedsblad, Odeon. Mere end 50 år senere blev værket
genudgivet af Wilhelm Hansen i en stærkt redigeret og en smule
forkortet version. De meget indgribende ændringer i genudgivelsen
peger på, at komponisten selv må have været involveret, hvorfor det
er den reviderede version, der er gengivet i nærværende udgave (seen sammenligning mellem de to versioner i Description of Sources).

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nr. 27
klaverstykke, 1837

nr. 31
canzonetta

Det lille stykke uden titel er overleveret med slutdateringen“Kjøbenhavn, d: 25 Juni 1837. Til venskabelig Erindring fra
J:P:E:Hartmann”. Det er komponeret et halvt år efter hjemkomsten
fra den første store udenlandsrejse i 1836 og stort set samtidig med
kompositionen af første symfoni. Det vides ikke, hvem modtageren
af tilegnelsen er.

Denne lille Canzonetta er overleveret som “No 5” – men udstreget– i manuskriptet til Otte Skitser, Opus 31 (nr. 10 ovenfor). Den blev
i 1842 trykt som selvstændigt stykke i J.C. Gebauers Sangfuglen,
Der Singvogel, et Blad for Kjendere og Elskere af Musik.
Begyndelsen af satsen blev senere genbrugt i nr. IV i Klaverstykker fra 1864 med titlen Juletröst og foranstillet digt af Carl
Andersen (se nr. 18, Klaverstykker); kun de første 18 takter i de toversioner er identiske, om end noteret i henholdsvis 2/4 og 4/4,
mens fortsættelsen intet har med hinanden at gøre.

nr. 28introduktion og andantino religioso,
opus 26
Det ligger ikke klart, hvad der gemmer sig bag udtrykket “religioso”
i titlen; Richard Hove anfører uden nærmere dokumentation, at
udtrykket kan henvise til det forhold at “…Stykket stammer fra en
Improvisation på Orglet”.85
Førstetrykket udkom hos Hofmeister i Leipzig, som gav det
opusnummeret “26” efter først at have afvist at lade det oprindelige“opus 26” trykke, nemlig Tre Genrestykker (nr. 9); om sin noget
selvstændige disposition (værket var allerede udgivet på dette tidspunkt) skrev Hofmeister i januar 1841 til Hartmann:
Dieser Andantino kann allerdings für ein selbständiges Werk
gelten und musste zu genauerer Bezeichnung im Handel aucheine Nummer haben. Ich gab also 26 und Sie werden leicht
den Genrestücken eine andere Nummer geben können.86

nr. 29gamle minder
Dette stykke er overleveret som “Nr. 1” i manuskriptet til Opus 37(nr. 11 i nærværende udgave, kilde A). Hartmann har over første
nodesystem tilføjet ordene “NB Udskrives ikke” samt titlen “Gamle
Minder” – i en vis forstand to tilskrifter, der modsiger hinanden.
Det indgik således ikke i de trykte udgaver af opus 37 og bringes
her som et selvstændigt værk. Det lader sig ikke afgøre, hvad titlen
konkret henviser til.

nr. 30hamborger-skotsk
Hamborger skotsk er en dansk folkedans, der stammer fra Vejleegnen i Jylland, normalt i 2/4 takt i stil med polkaen. Hartmanns
musik blev trykt i 1841 i en samling klaverdanse til brug i Studenterforeningen i København, som i øvrigt også indeholdt danse af Hartmanns hustru Emma. Titelbladet på samlingen bringer følgende
undskyldende observation: “Man kann nicht immer fort Studiren”.
Hartmanns autograf er overleveret i et læg med diverse småsatser af Hartmann og andre, der på omslaget bærer titlen “Noder /Erindringer fra min tidligere Tid”.

nr. 32indfald
Anledningen til disse “Indfald” kendes ikke; det første af dem erdateret 10.11.1844 og blev bragt som faksimile i Illustreret Tidendei 1905, altså efter Hartmanns død. Det kan undre, at man netop
valgte dette stykke blandt komponistens mange upublicerede
manuskripter.

nr. 33sang uden ord. hjemvee
Denne sats, sammen med de tre efterfølgende (nr. 34, 35 og 36)
samt en række forskellige vokalsatser indgår i et manuskript med
titlen No11 Manuskript af til trykte og ikke- u trykte mindre Compositioner f. Piano og Sang af J.P.E. Hartmann, efterfulgt af en fortegnelse over heftets indhold. Heftets udformning peger på, at der er taleom et trykforlæg til en publikation, som i så fald aldrig er udkommet. Det fremgår ikke, hvad der har været hensigten med hæftet, ej
heller hvad der knytter de forskellige klaverstykker og sange sammen, bortset fra, at de alle er komponeret i perioden oktober 1847
til maj 1848; de tre klaverstykker Hjemvee, Om Foraaret og Vinteren
er dateret inden for en uge i oktober 1847 (19.-26. oktober) og således komponeret samtidig med nogle af sangene fra sangcyklussen
Sulamith og Salomon, som også er repræsenteret i heftet.
En revideret version af dette stykke genbruges senere i nr. IV
af Studier og Noveletter, opus 65 (nr. 19).

nr. 34om foraaret
Se ovenfor under nr. 33. Begyndelsestemaet genanvendes i sidste
sats af sonatine i g-mol (nr. 2).87

85 Richard Hove, Op. cit., s. 39.
86 Brev fra Hofmeister til Hartmann af 10.1.1841, Breve, nr. 110.
87 Lothar Brix, Op. cit., s. 214, anfører fejlagtigt, at dette gælder hele
stykket.

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nr. 35
vinterennr. 39langsom menuet

Se ovenfor under nr. 33.
Også dette stykke genbrugte Hartmann senere i 1860’erne,
nemlig i en let afvigende version som nr. III i Klaverstykker med
titlen Vikingefruens Dröm og et foranstillet citat fra H.C.Andersensæventyr Dynd-Kongens Datter (se nærværende udgave, nr. 18).

Menuetten er gengivet i et manuskript i Hartmanns hånd men
uden komponistangivelse, dateret 2.8.1849. Manuskriptet indeholder i øvrigt en række andre korte dansesatser, hvoraf kun en enkelt
er afsluttet (nr. 40).

nr. 36langsom vals
Denne vals er overleveret i to manuskripter. Det ene i samlingenbeskrevet ovenfor under nr. 33, slutdateret 8.11.1847; det andetmuligvis i Emma Hartmanns hånd, dateret samme dag som det
første og sandsynligvis som en direkte afskrift af Hartmanns eget
manuskript.

nr. 37stambogsblad
Dette lille stambogsblad stammer fra den samme tid som de fire
foregående stykker; det er dateret 9.7.1847. Stykket er bygget overHartmanns et år tidligere komponerede melodi til B.S. Ingemanns
digt, “Stork, Stork Langeben”.

nr. 40klaverstykke, 1849
Se ovenfor under nr. 39.

nr. 41
albumsblad
Anledningen til dette usædvanlig omfangsrige albumsblad (85 takter), der er dateret d. 14.9.1854, kendes ikke. Manuskriptet er uden
komponistangivelse.

nr. 42polkamæssig
Som det er tilfældet med nr. 32, 37, 46 og 50 gengav IllustreretTidende dette manuskript i faksimile i 1905.91

nr. 38‘den 20de januar 1848’

nr. 43sct. hansaften valsVærket er skrevet til minde om Kong Christian VIII, hvis dødsdag
er markeret i titlen.88
I et brev fra Hartmann til forlæggerne diskuterede han, hvordan sentensen af H.C. Andersen skulle anbringes på titelbladet.89
I et andet brev tre uger senere diskuteres en trykfejl i korrekturen,
som ikke lader sig identificere, men som lader til at have haft betydning for udformningen af en detalje i kompositionen:

Satsen, i en version for orkester, indgik oprindeligt i Det Kongelige Teaters opførelse in 1859 af Holbergs Kildereisen som
en del af Bournonvilles “Intermedium” mellem 2. og 3. akt af
teaterstykket. Af grunde, som der er gjort rede for i kildebeskrivelsen, betragtes den i nærværende udgave som en selvstændig
klaversats. Som sådan er den overleveret såvel i Hartmanns
autograf som i en trykt udgave hos Hornemann & Erslev, genudgivet i 1872.

Det omspurgte fd i 20 Januar var oprindeligt en Trykfeil; menda jeg fandt, at den gav en ganske god Afvexling, lod jeg den
staae, og lempede de følgende Takter derefter med Tilsætning
af et Par Noder.90
Hofmeister XIX, april 1848, nævner en tysk udgave under titlen
Trauer-Fantasie; denne udgave kendes ikke.

nr. 44sjællandsk reel
Satsen har samme oprindelse som nr. 43 og findes ligeledes både imanuskript og i de samme tryk som nr. 43.

nr. 45bellmanske billeder. menuetter
88 I forbindelse med bisættelsen d. 26. februar 1848 komponerede
Hartmann en sørgemarch for “den kongelige Livgarde tilfods”,
som blev trykt i klaverudtog, ligeledes hos Lose og Delbanco.
89 1.2.1848, Breve, nr. 334.
90 21.2.1848, Breve, nr. 338.
91 Illustreret Tidende, Hefte 33, s. 479.

Den trykte udgave fra 1859 består af to menuetter med en foranstillet indledning, mens indledningen mangler i Hartmanns manuskript, dateret 4.2.1852. Dette kunne tyde på, at de to menuetter
oprindeligt er tænkt som selvstændige satser, der efterfølgende er
blevet ført sammen til værket Bellmannske Billeder. Det fremgår
ikke af nogen kilde, hvad titlen konkret refererer til.

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nr. 46stambogsblad

nr. 52stambogsblad nr. 2

Dette korte fugato på 7 takter er dateret “Juli 1862”. Modtager af eller anledning til stambogsbladet kendes ikke.

Hartmanns autograf er dateret 18.8.1879.

nr. 47
aftenstemning
Denne komposition foreligger i ikke færre end fire forskellige
trykte udgaver i årene mellem 1869 og 1895. Der er tale om en bearbejdelse af et kasseret stykke, gengivet i kilde B af Studier og Noveletter, opus 65 (se nr. 19 ovenfor); den kasserede version i H-dur
er gengivet i App. 5.

nr. 48i folkevise-tone
Den eneste kilde til denne sats er Hartmanns autograf uden komponistangivelse. Påskriften i fremmed hånd på bagsiden af nodearket “(Rom 24 Marts 1870)” kunne tyde på, at manuskriptet harværet sendt til Hartmanns søn Carl, der på dette tidspunkt netop
opholdt sig i Rom og var i løbende brevkontakt med faderen.92

nr. 49albumsblad
Dette stykke er Hartmanns bidrag til en antologi med værker forsoloklaver eller sang og klaver af ikke færre end 35 nordiske komponister, udgivet på Immanuel Rees Forlag i 1871. Man kan undre
sig over, at Hartmann er repræsenteret med en komposition med
en så “ukarakteristisk” titel i netop denne antologi.
En af de meget få kompositioner af Hartmann, der kun foreligger i en enkelt trykt version. Man må således formode, at stykket
er skrevet netop med henblik på denne samling.

nr. 50efter motiv af en svensk folkevise
Det vides ikke, om der er tale om en i forvejen kendt svensk visemelodi; en forespørgsel til Svenskt Visarkiv i Stockholm har ikke
givet noget svar på dette spørgsmål.
Manuskriptet er dateret 24.9.1879.

nr. 53stykker for johan peter hartmann
To små øvelsesstykker skrevet til Hartmanns barnebarn, Johan Peter, i 1881 i samme manuskript som variationerne, nr. 24 ovenfor.

nr. 54
svanerne, humoreske
Denne lejlighedskomposition er tilegnet Viggo Neergaard, godsejerpå Fuglsang på Lolland,93 som en tak for sidst efter Hartmanns forudgående sommerophold på Fuglsang (jf. manuskriptets dedikation og datering 17.6.1882). I t. 17-19 er indsat ordene “gratulerer
til de fem!...”; titlen og de indsatte ord refererer til en oplysning i
brev fra Neergaard til Hartmann 14 dage forinden, hvori det meddeles at svanen – kort efter Hartmanns afrejse fra Fuglsang – netop
havde født fem svaneunger.94

nr. 55i en stambog
Denne fire takters kadence med tilhørende overskrift er dateret6.7.1885. Det er formentlig Hartmanns seneste komposition for
klaver. Muligvis kan der være tale om et bidrag til Thyra Hammerichs stambog, idet Hartmann i et brev i maj 1885 til Thyras bror,
Angul Hammerich, omtaler et sådant bidrag og specielt efterlyser
formatet for stambogen.95

nr. 56march
Der foreligger ingen oplysninger om dette værk, hverken om anledning eller om datering. Det er overleveret uden komponistangivelse, men i Hartmanns hånd, skrevet med blåt blæk, hvilket tyder
på et forholdsvis sent værk.

nr. 51stambogsblad nr. 1
Hartmanns autograf er dateret 30.7.1878.
Hvorvidt nr. 51 og 52 har nogen forbindelse med hinanden(i kraft af nummereringen i titlerne) lader sig ikke afgøre. Som det
ses, er de dateret med godt et års mellemrum.

92 Se Breve, nr. 747-749 fra februar, marts og april 1870.
93 Gift med Hartmanns barnebarn Bodil Neergaard.
94 Breve, nr. 932, af 3.6.1882.
95 Breve, nr. 1041: “O Vee, o vee! Maalet til Nodebladet for Deres
Søsters Stambog er blevet forlagt for mig…”. Angul Hammerichvar ven med og fjern slægtning til komponisten.

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d. appendiks
app. 1
sonateDe nærmere omstændigheder omkring denne tidlige version af deto første satser af den store klaversonate i a-mol opus 80 er nærmere beskrevet oven for under nr. 5 samt i kildebeskrivelsen til nr. 5.
Den behandles endvidere særskilt i List of Emendations, s. 650.

app. 2, 3
fragmenter af sonatesats
To fragmenter i F-dur som begyndelsen til en sonatesats. De første
to takter af fragmenterne er stort set identiske, men bortset fra
dette er fragmenterne yderst forskellige både i musikalsk indholdog længde (137 takter over for 17 takter). Fragmenterne har ikke
noget at gøre med nogen af Hartmanns fire afsluttede sonater
eller sonatinen.

app. 4klaverstykke, se nr. 20,ii
Dette er den oprindelige version, som – sammen med den omskrevne version (nr. 20/II) – findes i autografen til Studier og Noveletter, opus 65 (nr. 19).

app. 5aftenstemning
H-dur version af Aftenstemning. Se ovenfor under nr. 47 (kilde E)

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introduction(continued from Vol. 1)

no. 12three piano pieces, opus 38
These three piano pieces appear in the sources, both as a collection
and as individual pieces. One particular source suggests that thelast two pieces in the first edition were actually conceived as one
and the same piece, in two parts (see the Description of Sources).
Whether there was any special occasion for the two programmatic
titles, Ballo Militare and Cantilena elegiaca, cannot be determined.

no. 13six character pieces, opus 50
An exchange of letters between Hartmann and the music publisher, Delbanco, shows that the six character pieces were composed
before Hans Christian Andersen wrote his stanzas that introduce
the collection, seeing as Hartmann, in one of the aforementioned
letters, asks the publishers to leave room above the notes so that
Andersen’s stanzas can be inserted as soon the poet has finishedwriting them.66 The connection between the individual pieces’musical content and the inserted versicle, moreover, is not always
entirely obvious. For example, the first poem closes – and this has
frequently been pointed out – with a description of the wild swansthat are flying away to the sound of a “minor chord”, while thepiece ends, unmistakably, in the key of C major!
The collection has been widely disseminated, both during
Hartmann’s lifetime and after his death. Wilhelm Hansen’s re-issue
from 1882 appeared in several impressions, each one embellishedwith a different catalogue list appearing on the respective backcovers; this serves to substantiate that the pieces were extremely
popular in the 1880s. In 1912, the collection was reissued by Adolf
Ruthardt, and similarly published by Wilhelm Hansen, now withthe title page and added poems appearing in three languages (Danish, German and English).67
The wide dissemination of this particular collection is partly
due the fact that here, Hartmann is drawing close to that which –in terms belonging to reception history – and somewhat disparagingly – has been called “salon music”, that is to say, music that iseasy to play and easy to digest (albeit with pianistic schwung), witha certain programmatic content.68 Above and beyond this, there are
the character pieces’ special appeal to children and concomitantly
the pieces’ pedagogical aims.69

In her exposition about the six pieces, Inger Sørensen calls attention to the fact that Carl Nielsen, in his renowned article, “Words,
music and program music”,70 points toward the second piece, theone about the butterfly, as a fully acceptable (as far as Nielsen is concerned) example of the application of a programmatic title.

no. 14three piano pieces
These three piano pieces have hardly anything in common otherthan that they were all originally printed in the series JULEHILSEN
til Store og Smaae fra DANSKE COMPONISTER [YULETIDEGREETINGS to Big Ones and Little Ones from DANISH COMPOSERS] during the years 1848-51 and that they were subsequently published, without opus number, as a group under the collective
title, Three Piano Pieces.
The first of the pieces, Svensk Hjemvee Sommeren 1848
[Swedish Homesickness, Summer of 1848], was presumably inspired by Hartmann’s stay at Tiselholt, a country manor located on
Funen, in the summer of 1848, in the midst of the war with Germany, where the composer had met a group of Swedish officers. In
any event, he subsequently received a letter from the estate’s owner,
Carl Ulrich Jørgensen, who was able to report that he had sent
Hartmann’s composition to one of the Swedish officers as a kind ofremembrance of the Swedes’ sojourn at Tiselholt.71

66 Letters from November and December 1848, in which Hartmannmentions repeatedly that he is still waiting for Andersen’s poems(Letters, Nos. 370, 371 and 374).
67 With plate number 15119 (copyright 1912); No. 2, Sommerfuglen,
was also published separately the same year with the plate number
15119b. The translations of the poems are reprinted in the Description of Sources.
68 There is a glaring lack in the literature on Hartmann of any detailed
discussion of his relation to the nineteenth century’s “salon music”.
69 Lothar Brix, Op. cit., refers, on p. 124, to an entire catalogue ofthese kinds of “children’s pieces” for piano from the nineteenth
century, composed by Danish and German composers – the most
famous of these being Schumann’s Kinderszenen, opus 15, from1838.
70 Inger Sørensen, Op. cit. pp. 263-264. Carl Nielsen’s article from1909 is reprinted in John Fellow, Carl Nielsen til sin Samtid,
Copenhagen 1999, p. 125ff.
71 See Letters, No. 379 and Inger Sørensen, Op. cit., p. 261f.

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The third piece, Andantino quasi Allegretto, is ushered in by apoem by Hans Christian Andersen (“Hun sidder derinde og spiller
Klaver”), which very well might have been a tribute to Hartmann’swife, Emma. As a matter of fact, Mrs. Hartmann passed away on
March 6, 1851, almost four months after the piece had gone toprint.72 The piece, moreover, was written in response to some very
direct kind of request from the publishers Lose and Delbanco byway of response to the publishers’ express wish to have material
from Hartmann for a new volume of piano music.73
English translation of the poem that introduces the third of
the pieces:

Lothar Brix considers nos. 1 and 4 to be two of the weakest
character pieces that Hartmann ever wrote.75 It is all the more an
irony of fate, then, that precisely these pieces were dedicated to oneof his own time’s most highly renowned pianists on the international circuit. Hartmann had met Clara Wieck in Leipzig in 1836
and again in Berlin in 1839 before she was wedded to Robert Schumann, and for a good many years after these encounters, he maintained a close relationship with her. On two occasions, she visited
Copenhagen as a fêted pianist: in the spring of 1842 and in winterof 1856. During the first visit, she even dined at the Hartmanns’
home, together with luminaries like Hans Christian Andersen.76

She sits in there and plays the piano.
Hear how the notes swell with happiness;
Here outside I stand, looking towards the window,
Alas, I could still see her shadow there.
Even that moves my eye and heart so well –Far more than a picture by Raphael.
(translation: Colin Roth)no. 17novellette in six little pieces, opus 55

no. 15
etudes instructives, opus 53
Hartmann has apparently been in doubt about what to call thiscollection of six pieces that were all stamped with a distinctly
etude-like character. On December 5, 1851, he refers to them as“my six nameless children” and four weeks later, he calls them “Caprices instructives”.74 They wound up, however, coming to be called
what they really and truly are, namely, Etudes instructives.

no. 16
fantasy pieces, opus 54
The six fantasy pieces were published by Kistner, in Leipzig, in
1855 with a printed dedication to Clara Schumann. This was thefirst and only time that Hartmann had one of his piano works
published by Kistner. The work was eventually re-published by
Wilhelm Hansen in 1876.

72 There are many factors testifying to the fact that H.C. Andersen
harboured a great deal of veneration for Emma Hartmann.
73 Letter from Hartmann of 17.9.1850: “By way of response to youresteemed inquiry of the 10th of this month, I can report that seeing as, among the different piano pieces I have composed, there is
not yet a sufficient body of material for comprising an album […], I remain compelled, for the time being, to stand in debt to you
as far as the promised album goes, although I hope that I will beable, quite soon, to offer you such an album as well as a suitable
and separate piece for your Yuletide greetings for the present year.”(Letters , No. 436). The latter promise was redeemed with thecomposer’s contribution to Lose’s and Delbanco’s Julehilsen 1851.
74 Letters, Nos. 475 and 476.
75 Lothar Brix, Op. cit., p. 138.
76 See the dinner invitation from Emma Hartmann to Hans Christian Andersen in a letter of 7.4.1842, Letters, No. 135.

As is made apparent by the various datings in Hartmann’s manuscript, these six pieces were written over an extended period of 2½
years, from December 1852 to June 1855.
In Hartmann’s autograph (source A), the work bears the title,
Børnestykker [Children’s Pieces], with a subsequently added pencil
inscription, Lykønskning til en Fødselsdag [Birthday Greeting]; in
addition, titles– similarly inserted in pencil – for three of the pieces
have been added: Tagfat (no. IV, Game of Tag), Morgenbøn (no. V,
Morning Prayer) and Eventyr (no. VI, Fairy Tale). These titles were
evidently effected in connection with the decision to have Hans
Christian Andersen, subsequent to the composition of the works,
provide the pieces with introductory poems that would describe
a birthday celebration (see below). This raises the question ofwhether the preliminary insertion, Lykønskning til en Fødselsdag,
is to be construed as a title for piece no. I or as a new title for thewhole collection, thereby superseding the original title of the collection, Børnestykker.
In the printed edition, Hartmann has emphasized the programmatic turn that the collection took as a consequence of theadded poems: for one thing, by changing the work’s title from
Børnestykker to Novellette i sex Smaastykker; for another, by arranging the poems together on a page preceding the music. On theother hand, neither the new title of the collection nor the added
titles for the individual pieces were transferred from the autographmanuscript to the printed version. These titles supposedly represent Andersen’s preliminary ideas as to how the “story” could betold, although it ought to be noted that, in the final design, there
is not complete accordance between the aforementioned titles andthe final poems. For example, the poem that accompanies no. V isabout morning song and not about morning prayer; it’s likewise
hard to intuit any connection between the title, “Eventyr”, and thefinal poem accompanying No. VI.
In a letter addressed to his fellow poet, B.S. Ingemann, Hans
Christian Andersen tells how the poems first came into being after
the music was composed:“Hartmann has composed 6 pieces of music that have been
published under the name of Novelleter, set into text by me.

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This has come about in such a way that after he played themfor me, I found a whole story in there, which, seeing as it perfectly elucidated his own musical thoughts, has been printed
in front of the musical works; do what you can to get somebody to play the music and read, then, before each one of thelittle pieces, the corresponding text.”77
The poems describe the aging schoolteacher’s birthday in a seriesof small episodes: decorating the classroom (No. I); the teacher’sarrival at the classroom (No. II); the children’s song for the teacher,which awakens old remembrances within him (No. III); the children’s reaction to the song (No. IV); the decreeing of a day off after
the morning song has been sung (No. V); the children expressing jubilation in response to being granted the day off, while theschoolmaster stands alone and remains in the classroom filled with“old memories”, underscored in the music by the four bars of detached quotations from the beginning of the minuet (No. VI).
Not everybody has found this juxtaposition of Hartmann’smusic and Andersen’s poems to be particularly successful. Richard
Hove remarks, semi-dryly, about opus 55:
Extraordinarily successful is “Novelette i seks Billeder”78, an
example of Hartmann’s most distinguished Kleinkunst, except that I believe that the work gains something when you
refrain from reading Andersen’s text until you have managed
to make yourself fully acquainted with the music; by thenthat the text can do no harm, because this work cannot be
said to be program music, in the strict sense of the term.79
The six poems do not appear in the reprint of opus 55 from 1877
that was issued by Carl Simon in Berlin. Here, the collection is simply entitled Novelletten, sechs kleine Stücke für das Pianoforte. Perhaps the publisher – or the composer – also sensed that the poems
weren’t really functioning in this context.
One of the very few contemporary references to Hartmann’s
piano music appearing in Danish journals touches upon this particular collection. It turns up in Immanuel Rée’s Tidsskrift for Musik[Journal of Music] from 1857, in connection with a longer article
appearing under the heading, Anmeldelse af udkomne Musikalier.
Meddeelt af W.S. og P.I. Musikalier, bestemte for Underviisningen[Review of Music that has been published. Compiled by W.S. and
P.I. Music that is intended for Instructional Purposes]. Opus 55 is
described here as an “... unpretentious Composition that breathes
nobility and purity in [its] style and idea, but consequently also
stands wholly in contrast to the many ill-starred pieces for pianoforte, which are used all too often in teaching ...”. And the review
goes on to conclude: “Only by a very few will it be possible to fully
enjoy [the] Noveletten by fleetingly playing through them, but forthis reason alone, the work all the more possesses lasting value.”80
The genre designation, “Novelette” – the ultimate title ofthe collection, in the printed version – with its direct reference tosomething literary,81 is known in works by composers like Schumann (opus 21) and Gade (opus 29). Ten years later, Hartmann

took up the genre again in his Studier og Novelletter opus 65. The
singular form, “Novelette”, could be interpreted as indicating that
Hartmann, on the one hand, intended the title-designation to refer
to “Novelle” (short story) which, according to Schumann, it does
not, and, on the other, was stressing that all six pieces form one aggregate cyclical narrative – that is to say one short story, which they
most certainly – apart from a brief motific coincidence between
pieces III (the first subject) and VI (bb. 75-78) – do not, either.82

no. 18
piano pieces
Nor do these four piano pieces from 1864 manifest any kind ofunity, neither stylistically nor in terms of genre. What the sources
fail to make evident is how and at what moment during the process of bringing forth these works the texts – the first two by Hans
Christian Andersen and the latter two by the assistant curator at
Rosenborg Castle, Carl Andersen – were introduced. Hans Christian Andersen’s text to No. I, “Gudfa’er fortæller”, is known only
from this appearance in Hartmann’s piano collection, while the text
to No. II, “Gjallerhornet lød”, is a citation from the fairytale, “TheMarsh King’s Daughter”, which had been published 6 years earlier.83

no. 19studies and novellettes, opus 65
As something exceptional in the compass of Hartmann’s pianomusic, the sources for this particular work include: a rough draft(a model for the fair copy); a fair copy (source for the print, transcribed in an unknown hand); and the first print.
The rough draft is especially interesting because it contains agroup of 13 compositions, with very different statuses:

77 Letter of 31.12.1855, see Kirsten Dreyer (ed.), H.C. Andersens
brevveksling med Lucie & B.S. Ingemann, Copenhagen 1997, letter
199.
78 None of the printed editions bear this particular title!
79 Richard Hove, J.P.E. Hartmann. Copenhagen 1934, p. 43
80 Tidsskrift for Musik, første Aargang No. 1 p. 4.
81 Novelette: in the proper sense of the term, a shorter piece of fictional prose. Schumann himself emphasizes, however, that his
own use of the genre designation “Novellette” does not refer toanything literary but is rather an indirect declaration of affection
for his bride-to-be, Clara Wieck – through the word’s sonorous
connection to Clara’s namesake, the English songstress, Clara
Novello.
82 It ought to be noted that this exact recapitulation of the motive is
not to be found in Hartmann’s autograph (A); see List of Emendations.
83 Both texts are reprinted in H.C. Andersen, Samlede Værker, vol. 8,
Digte II, Copenhagen 2005, p. 359 and p. 614. “Gudfa’er fortæller”
was thus penned exclusively for purposes of accompanying Hartmann’s piano pieces, while the quotation from “The Marsh King’s
Daughter” was intentionally chosen to accompany the piano collection. (Andersen’s fairytale was published in May 1858).

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nine pieces that were eventually printed as Opus 65
two pieces that the composer wanted to have printed in a
special album (No. 20 in the present edition)
one piece that he eventually discarded (App. 5 in the present
edition)one piece that he eventually discarded and then later rewrote
in a different version in the manuscript, after which it
subsequently became one of the two pieces for pianosolo, No. 20. In the present edition, the discarded version of the piece appears in App. 4.
On another point, also, this group of compositions is extraordinary: in striking contrast to all the other prints with piano music
composed by Hartmann, no reprint of this particular collection
was made by Wilhelm Hansen in the years around 1880; it is notpossible to come up with a reasonable explanation for this. What isequally extraordinary is that none of the pieces in the two manuscripts have been dated.

no. 20two piano pieces ₍musikblade ...1866₎
These two pieces form part of Hartmann’s manuscript with 13
pieces, mentioned above under the heading of No. 19. In thismanuscript, Hartmann expressly stated that he wanted these twopieces to be published in a separate album. Such an album wasnever to appear. Instead the two compositions were printed in
Musikblade udgivne af Foreningen Fremtiden 1866 [Music Pages
published by the Association, The Future, 1866], together withworks by Niels W. Gade, C.I. Hansen, Franz Neruda, and Peter
Heise. Furthermore, one of the two pieces, Allegro agitato in B
minor, was published in 1880 by Wilhelm Hansen as a self-contained edition.
A discarded version of the second piece in E flat major is reproduced in this edition as App. 4.

no. 21
fantasy piece ₍musikblade...1871₎
The piece was printed in Musikblade udgivne af Foreningen Fremtiden 1871 3die Hefte [Music Pages published by the Association, The
Future, 1871, 3rd Album], together with works by August Winding,Julius Steenberg, Hans Matthison-Hansen, F. Andersen and Peter
Heise, and was republished in a separate printed edition by Wilhelm Hansen around 1880.
An original, and somewhat diverging version, in the key of
F-sharp major, is found in a manuscript dated “Fredensborg 13/10
69” (Source C).

no. 22
fantasy piece ₍fremtidens nytaarshefte 1875₎
The autograph for this piece is end-dated “J:P.E:Hartmann /Nærum 3 October 1874”.
The work was subsequently printed in Musikblade udgivne af
Foreningen Fremtiden 1875 4de Hefte, [Music Pages published by the
Association, The Future, 1875, 4th Album], with works by F. Andersen, C.J. Hansen, Peter Heise, Gottfred Matthison-Hansen, Valdemar Schiött, and Aug. Winding. This piece was also republishedby Wilhelm Hansen in 1880.

no. 23klaverstykker fra ældre og nyere tid,
opus 74
The collection of piano pieces, Opus 74, has close connections tothe sonatas in G minor and F major (Nos. 2 and 3).
Apart from the dedication to his son, Emil, nothing more is
known about the circumstances surrounding the publication in1878 of this work. Nor is there anything that tells us why Hartmann chose here to turn his attention back to two piano pieces
that were composed more than a quarter of a century earlier, neither of which had previously been printed.
The title alludes to the situation that what we have here is acollocation of excerpts from earlier works, combined with newly
composed material. In point of fact, the work’s second movement
is the only thoroughly newly-composed movement of Opus 78(dated 12.1.1877), since the remaining four movements are built
up, more or less, on previously composed material from the two
unprinted sonatas in, respectively, G minor and F major, in themanner described in detail below.
Hartmann originally thought of another title for the work, as
borne out by the fact that the autograph score B bears on its cover
page the title, Nyt og Fornyet (New and Renewed) – a characterization that is actually better suited to the suite than is the final title
appearing on the printed version, Klaverstykker fra ældre og nyere
Tid (Piano Pieces from an Earlier and a More Recent Time).
In the autograph score, the first, second and fourth movements are respectively dated 5 March, 1877; 12 January, 1877 and
20 March, 1877. As can be seen, the only newly composed movement in the suite – the second movement – carries an end-dating
earlier than the other dated movements. That there is no dating
for the third movement is due to the fact that here, Hartmann has
made direct use of the original manuscript from the F major sonata, while the absence of any dating for the fifth movement is due tothe fact that the last pages of the manuscript are no longer extant(concerning both of these issues, see the Description of Sources).
No. I
Bars 1-44, all the way up to the repeat sign build, in all the music’s
essential features, on the G minor sonata’s first movement, whereaslxx j.p.e. hartmann : selected works

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the remaining part of the movement is independent of the sonata,
as is clearly evidenced in Hartmann’s autograph of the sonata,within which a number of emendations were carried out that reappear in Opus 74. At the end of the movement – bars 65-71 – thetheme from the G minor sonata turns up once again.
No. IIThe only completely newly composed movement in Opus 74.
Numerous corrections in pencil made with an eye toward theprinted version from 1878. These corrections are included in thepresent version, while relevant details from the original inked version are listed as variants in the critical apparatus.
No. III
By and large, identical to the 2nd movement of the F major sonata
from 1854.
No. IV
Builds on the 3rd movement of the F major sonata with a numberof extensions.
No. V
The only connection to the G major sonata’s last movement isfound in the first 12 bars, which harmonically and thematically reuse the corresponding bars from the sonata, as well as the shift to A
flat major in the middle section; on the other hand, No. V does not
end in G minor, as does the sonata, but rather in E flat major.

no. 24
theme with 14 variations
In 1881, Hartmann composed these variations on a very simple
theme in C major for his eight-year old grandson, Johan Peter. The
manuscript is dated “Nærum 5/8 81” [August 5, 1881] and bears
traces that indicate that Johan Peter has indeed made use of themanuscript for practicing how to notate scales and other skills. The
actual sequence of the variations has evidently been altered along
the way: for one thing, by cutting the music sheets into pieces andgluing them back together in new ways; for another, by altering
the original numbers, in pencil, so that they conform with the sequence that is specified in the present edition.
The manuscript contains another short composition, which
was presumably also composed in connection with teaching JohanPeter how to play the piano (see No. 53).

c. one-movement works
no. 25
grand valse
Presumably one of the composer’s earliest compositions within
this somewhat more expanded form. The manuscript is dated “3/326” (at the time, Hartmann had not yet turned 21 years of age),and bears the pompous title, Grand Vals pour le Piano-Forte. For all
that, it was apparently never published.

no. 26
fantasy, opus 7This grand grand fantasy, containing more than 350 bars, wasprinted by C.C. Lose in Copenhagen in 1831, both as a separate
print and in Lose’s musical monthlymusic series, Odeon. Morethan 50 years later, the work was reprinted by Wilhelm Hansen ina slightly abridged and drastically edited version. The very radical
changes in the re-issue serve to suggest that the composer himself
must have been involved in the re-issue, which is why it is the revised version that is reproduced in the present edition (see the collation of the two versions in the Description of Sources).

no. 27
piano piece, 1837
The short piece without any title has been handed down with theend-dating “Kjøbenhavn, d: 25 Juni 1837. Til venskabelig Erindring fra J:P:E:Hartmann” [Copenhagen, June 25, 1837. In friendly
remembrance from J.P.E. Hartmann]. It was composed half a year
after the composer’s return from the first of his major trips abroadin 1836, and was written at almost the same time that he was busy
composing his first symphony. What is not known is the identity of
the addressee of the dedication.

no. 28introduction and andantino
religioso, opus 26
What it is that lies hidden behind the term “religioso” in the title
is not clear. Richard Hove states, without providing further documentation, that the term might allude to the fact that “... The piecestems from an improvisation on the organ.”84
The first edition was published by Hofmeister in Leipzig,
who endowed it the opus number “26” after initially having turned
down a plan to print and publish a work that was originally slated
to be “opus 26”, namely Three Genre Pieces (No. 9); about this84 Richard Hove, Op. cit., p. 39.

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somewhat self-contained framework/arrangement (the work was
already published at the time the letter was sent) Hofmeister wrote,
in January 1841, to Hartmann:This Andantino can, of course, also stand as a self-contained
piece and it was necessary that it be supplied with a number,for purposes of establishing a more precise identification in
the trade. So I gave [it the number] 26 and you will easily beable to give the Genre Pieces a different number.85

Blad for Kjendere og Elskere af Musik [The Songbird, Der Singvogel,an album for Knowers and Lovers of Music].
The beginning of the composition was used again later onin No. IV of the Piano Pieces from 1864 with the title Juletröst[Yuletide Solace] and prefaced with a poem by Carl Andersen(see No.18): only the first 18 bars of the two versions are identical(notwithstanding the fact that they are notated, respectively, in 2/4
and 4/4), while the continuations of the music in the two pieces inquestion have nothing at all to do with each other.

no. 29old memories

no. 32
ideas

This piece has been handed down as “No. 1” in the manuscript for
Opus 37 (No. 11 in the present edition, source A). Above the firstsystem, Hartmann has inscribed the words: “Note: is not to be copied”, along with the title, “Gamle Minder”. In a certain sense, these
two annotations/additions could be said to contradict one another.
Accordingly, the piece was not included in the printed editions ofopus 37 (see No. 11) and is brought forth here, in the present edition, as a self-contained work. What the title specifically refers tocannot be determined.

The occasion for these “Ideas” is not known: the first of them isdated 10.11.1844 and was published as a facsimile in IllustreretTidende in 1905, that is to say, after Hartmann’s death. One might
be stirred to wonder why it is precisely this piece that was chosen
among the composer’s many unpublished manuscripts for inclusion in this particular publication of a selected group of his works.

no. 30hamburg scottish

This composition, along with the three following pieces (Nos.
34/33, 35 and 36) and a number of different vocal compositions,form part of a manuscript entitled No11 Manuskript af til trykte og
ikke- u trykte mindre Compositioner f. Piano og Sang af J.P.E. Hartmann, [No. 11 Manuscript of for printed and not unprinted shortercompositions for piano and voice by J.P.E. Hartmann] that is followed by a register of the folder’s/album’s contents. The folder’s/
album’s design appears to indicate that what we have here is a print
source for a publication which, as things would have it, was never tobe published. What is not entirely clear is what the objective of thefolder/album was or what it is that conjoins the various piano pieces and songs, aside from the fact that they all were composed during the period from October 1847 to May 1848. As a matter of fact,
the three piano pieces, Hjemvee, Om Foraaret and Vinteren [Homesickness, In Spring and Winter], are dated within a week of eachother (specifically, October 19-26), in the month of October 1847,
and were accordingly composed at the same time that some of thesongs from the Sulamith og Salomon song cycle were being created;these are also represented in the aforementioned folder/album.
A revised version of this piece was reused later on in No. IV
of Studies and Novelettes, Opus 65 (No. 19).

The Hamburg Scottish is a Danish folk dance that originates fromthe Vejle region in Jutland, ordinarily in 2/4 time, in the style ofa polka. Hartmann’s music was printed in 1841 in a collectionof dance music for piano for use by the Students’ Association in
Copenhagen, which also included, moreover, dances by Hartmann’s wife, Emma. The title page of the collection conveys thefollowing conciliatory observation: “You shouldn’t spend all yourtime studying.”
Hartmann’s autograph has been handed down to posterity
in a gathering with various short compositions by Hartmann andothers – a folder that bears, on its cover, the title: “Musical Memories from my earlier life.”

no. 31
canzonetta
This little Canzonetta has been handed down as “No. 5” – albeit thepiece has been crossed out – in the manuscript for Eight Sketches,
Opus 31 (see No. 10, above). The piece was printed in 1842 as aself-contained work in J.C. Gebauer’s Sangfuglen, Der Singvogel, et

85 Letter from Hofmeister to Hartmann of 10.1.1841, Letters,
No. 110.

no. 33song without words. homesickness

no. 34in springtime
See above under the heading of No. 33. The opening theme was recycled in the final movement of the Sonatina in G minor (No. 2).86

86 Lothar Brix, Op. cit., p. 214, erroneously states that this applies tothe whole piece.

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no. 35
the winterno. 39slow minuet

See above under the heading of No. 33. This piece was also reusedby Hartmann later on, in the 1860s, namely, in a slightly divergent version, as No. III in Piano Pieces with the title, Vikingefruens
Dröm [The Viking Lady’s Dream] and a prefatory quote from Hans
Christian Andersen’s fairytale, The Marsh King’s Daughter (see thepresent edition, no. 18).

The minuet was rendered in a manuscript, made in Hartmann’s
hand, albeit without any indication of the composer’s identity; themanuscript is dated 2.8.1849. The manuscript contains, moreover,a number of different short dance movements, only one of which(No. 40) has been completed.

no. 36
slow waltz
This waltz has survived in two manuscripts. The one, represented
in the collection described above under the heading of No. 33, is
end-dated 8.11.1847. The other one has quite possibly been transcribed in Emma Hartmann’s hand; it is dated with the same day
as the first and is, in all likelihood, a direct transcription of Hartmann’s own manuscript.

no. 37
album leaf
This small album leaf stems from the same time as the four preceding pieces: it is dated 9.7.1847. The piece is built over a melody that
Hartmann composed one year earlier to B.S. Ingemann’s poem,“Stork, Stork Langeben” [Stork, Stork Longlegs].

no. 40
piano piece, 1849
See above under the heading of No. 39.

no. 41
album leaf
What it was that occasioned this unusually extensive album leaf
(85 bars), which is dated d. 14.9.1854 is not known. The manuscript contains nothing that serves to indicate the identity of thecomposer.

no. 42
like a polka
As is the case with Nos. 32, 37, 46 and 50, Illustreret Tidende reproduced this manuscript in facsimile in 1905.90

no. 38‘20 januar 1848’

no. 43
midsummer night’s waltz

The work was written in memory of King Christian VIII, whose
day of passing is commemorated in the title.87
In a letter from Hartmann to the publishers, the composer
discussed how the apothegm of Hans Christian Andersen was tobe placed on the title page.88 In another letter, written three weeks
later, there is a discussion of a misprint in the proofs, which cannot be identified forthwith, but which does appear to have hadsome influence on the elaboration of a detail in the composition:

The composition, in a version for orchestra, originally formed partof The Royal Theatre’s performance, in 1859, of Ludvig Holberg’s
Kildereisen as one section of Bournonville’s “Intermedium”, which
was presented between the second and third acts of the play. For
reasons that are treated in the Description of Sources, the piece isconsidered a self-contained piano composition in the present edition. As such, it has been handed down in both Hartmann’s autograph and in a version printed by Hornemann & Erslev, which was
re-published in 1872.

The fd in 20 Januar in question was originally a misprint, butsince I found that it engendered a perfectly good variation, I
let it stand and altered the following bars with the addition ofa few notes.89
Hofmeister XIX, April 1848, mentions a German edition that appeared under the title “Trauer-Fantasie”; this edition is not known
to us.

87 In connection with the funeral service on February 26, 1848,
Hartmann composed a funeral march for “The Royal Life Guards
marching on foot”, which was printed, similarly by Lose and Delbanco, as a piano reduction.
88 1.2.1848, Letters, No. 334.
89 21.2.1848, Letters, No. 338.
90 Illustreret Tidende, Volume 33, p. 479.

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no. 44reel from sjælland
The composition has the same origins as No. 43 and is also foundboth in manuscript and in the same printed edition as No. 43.

no. 45bellmann pictures. minuets.
The printed edition from 1859 consists of two minuets with aprefatory introduction, whereas the introduction appears to be
missing in Hartmann’s manuscript, dated 4.2.1852. This could
serve to indicate that the two minuets were originally conceived as
independent movements that were subsequently brought together
for the work entitled Bellmanske Billeder. What is not made evident
by either of the sources is what the title specifically refers to.

no. 46
album leaf
This short fugato of 7 bars is dated “July 1862”. Neither the recipient of nor the occasion for the album leaf are known.

no. 47evening moodThis composition is found in no fewer than four different printed
editions dating from the years between 1869 and 1895. What
we have here is a re-working of a discarded piece, reproduced insource B of Studier og Noveletter, opus 65 (see No. 19 above); thediscarded version in B Major is reproduced in App 5.

no. 48like a folk song
The only known source for this movement is Hartmann’s autograph, bearing no indication of the composer’s identity. The
inscription, made in an unknown hand, on the back of the sheetof music “(Rome 24 March 1870)”, could serve to indicate thatthe manuscript had been sent to Hartmann’s son, Carl, who wasstaying in Rome at this very time and was keeping up regular mailcontact with his father.91

no. 49album leaf
This piece constitutes Hartmann’s contribution to an anthology
containing works, composed by no fewer than 35 Nordic compos-

ers, for solo piano and for voice and piano, an anthology that was
published at Immanuel Rees Publishing House in 1871. Theremight be cause to wonder why Hartmann is represented by a composition with such an “uncharacteristic” title in this anthology.
This is one of the very few compositions by Hartmann thatexists only in a single printed version. We might accordingly draw
the conclusion that the piece was written specifically for purposesof being part of this collection.

no. 50on a motive from a swedish folk tune
Whether or not what we have here was really composed on themodel of a previously known Swedish song is not known; an inquiry put to the Svenskt Visarkiv in Stockholm has not resulted inany answer to this question. The manuscript is dated 24.9.1879.

no. 51
album leaf no. 1
Hartmann’s autograph manuscript is dated 30.7.1878.
Whether or not nos. 51 and 52 have any connection witheach other (by sheer virtue of the numbering in the titles) cannot
be determined. What is clearly evident is that they are dated withjust over a year’s interval between them.

no. 52album leaf no. 2
Hartmann’s autograph manuscript is dated 18.8.1879.

no. 53pieces for johan peter hartmann
Two short exercises composed for Hartmann’s grandson, Johan Peter, in 1881, which make their appearance in the same manuscript
as the variations, no. 24, described above.

no. 54the swans, humoresqueThis composition is dedicated to Viggo Neergaard, the landownerat Fuglsang on Lolland,92 by way of gratitude “for our most recent
meeting”, following Hartmann’s previous summer residence atFuglsang (cf. the manuscript’s dedication and dating, 17.6.1882).
In bb. 17-19, the words, “congratulations to the five! ...”, are inserted; the title of the piece and these inserted words refer to what is
written in a letter from Neergaard to Hartmann, penned 14 days earlier, in which it is reported that the swan – shortly after Hartmann’s
departure from Fuglsang – had in fact just hatched five cygnets.93

91 See Letters, Nos. 747-749 from February, March and April 1870.
92 Married to Hartmann’s granddaughter, Bodil Neergaard.
93 3.6.1882, Letters, No. 932.

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no. 55
i an album
This four bar cadence, with the appurtenant title, is dated 6.7.1885[July 6, 1885]. It is, in all probability, Hartmann’s last composition
for piano. Quite possibly, what we have here is a contribution to
Thyra Hammerich’s album, seeing as Hartmann, in a letter written in May 1885 to Thyra’s brother, Angul Hammerich, mentions
such a contribution and specifically inquires about the format for
the album.94

no. 56march
There is no information to be found that pertains to this work,
either regarding the occasion for its composition or any dating. It
has been handed down without any indication of the composer’s
identity, but it is certainly in Hartmann’s hand, written with blue
ink, which could suggest that this is a relatively late composition.

appendixapp. 1
sonata ₍early version of opus 80₎
The more detailed circumstances surrounding this early versionof the large-scale piano sonata in A minor opus 80 are describedabove, under the heading of No. 5, and in the Description of
Sources for no. 5. It is, moreover, treated separately in the List of
Emendations, p. 650.

app. 2, 3
sonata fragments i and ii
Two fragments in F major, ostensibly beginnings for a sonata
movement. The first two bars of the fragments are virtually identical. Apart from this, though, the fragments are extremely different,
both in their musical content and in their respective lengths (137bars and 17 bars). These fragments apparently have nothing to dowith any of Hartmann’s four finished sonatas or with the sonatina.

app. 4
piano pieceThis is the original version (eventually discarded) of a composition, which – together with the re-written version (No. 20/II) – isfound in the autograph manuscript for Studier og Noveletter, opus
65 (No. 19).

app. 5evening mood
A version of Evening Mood in the key of B major. See above, under
the heading of No. 47 (source E)

94 Letters, No. 1041: “Alas, alas! The measurements for the music
paper [that are to be used] for your sister’s album have gone missing”. Angul Hammerich was a friend – and also a distant relative– of the composer.

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einleitung(Fortsetzung aus Band 1)

nr. 12drei klavierstücke op. 38
Diese drei Klavierstücke treten in den Quellen als Sammlung wie
als Einzelstücke auf. Eine Quelle deutet an, dass die beiden letzten
Stücke der Erstausgabe in Wirklichkeit als ein und dasselbe Stückin zwei Teilen gedacht war (siehe Description of Sources). Nicht entscheiden lässt sich, ob für die programmatischen Titel Ballo Militare und Cantilena elegiaca ein besonderer Anlass vorlag.

nr. 13sechs charakterstücke op. 50
Aus einem Briefwechsel zwischen Hartmann und dem Musikverleger Delbanco geht hervor, dass die sechs Charakterstücke komponiert wurden, bevor Hans Christian Andersen seine kleinen, dieSammlung einleitenden Verse schrieb, da Hartmann in einem dererwähnten Briefe den Verleger bittet, über den Noten Platz zu lassen,
sodass Andersens Verse eingesetzt werden können, wenn er sie geschrieben hat.67 Der Zusammenhang zwischen dem musikalischen
Inhalt der einzelnen Stücke und den hinzugefügten kleinen Versen
leuchtet im Übrigen nicht immer ganz ein. Beispielsweise endet,
worauf oft hingewiesen wurde, das erste Gedicht mit einer Schilderung der davon ziehenden wilden Schwäne zum Klang eines „Mollakkords“, während das entsprechende Stück in reiner C-Dur endet!
Die Sammlung war zu Hartmanns Lebzeiten und nach seinem Tod weit verbreitet. Wilhelm Hansens neue Ausgabe von 1882
erschien in mehreren Auflagen, jede mit eigenem Rückseitenkatalog, der zeigt, dass die Stücke in den 1880er Jahren äußerst beliebt
waren. Die Sammlung wurde 1912 von Adolf Ruthardt, ebenfalls
im Musikverlag Wilhelm Hansen, neu herausgegeben, jetzt mit
Titelblatt und hinzugefügten Gedichten in drei Sprachen (Dänisch,
Deutsch und Englisch).68
Die Sammlung fand u.a. deshalb so weite Verbreitung, weilsich Hartmann hier dem rezeptionshistorisch etwas verächtlichals „Salonmusik“ bezeichneten Stil annähert, also einer leicht zu
spielenden und leicht verdaulichen Musik, wenngleich mit pianistischem Schwung und mit einem gewissen programmatischen Inhalt.69 Hinzu kommt, dass die Stücke Kinder besonders ansprachen
und damit auch ein pädagogisches Ziel verfolgten.70
Inger Sørensen weist in ihrer Analyse der sechs Stücke darauf
hin, dass Carl Nielsen in seinem berühmten Aufsatz „Ord, Musikog Programmusik“ (Worte, Musik und Programmmusik) das
zweite Stück über den Schmetterling als das – für Nielsen völlig akzeptable – Beispiel eines programmatischen Titels anführt.71

nr. 14drei klavierstücke
Diese drei Klavierstücke haben kaum etwas anderes gemein, alsdass alle ursprünglich 1848-51 in der Reihe JULEHILSEN til Storeog Smaae fra DANSKE COMPONISTER (Weihnachtsgrüße an
Große und Kleine von dänischen Komponisten) gebracht wurden
und danach ohne Werknummer unter dem Titel Tre Klaverstykker(Drei Klavierstücke) erschienen.
Das erste Stück, Svensk Hjemvee Sommeren 1848 (Heimweh
nach Schweden Sommer 1848) war vermutlich von Hartmanns
Aufenthalt auf dem auf der Insel Fünen gelegenen Gut Tiselholt
inspiriert, wo er mitten im Krieg mit Preußen den Sommer 1848
verbrachte und eine Gruppe schwedischer Offiziere kennengelernt
hatte. Jedenfalls erhielt er danach einen Brief von Gutsbesitzer
Carl Ulrich Jørgensen, der berichten konnte, dass er Hartmanns
Komposition an einen der schwedischen Offiziere geschickt
habe als eine Art Erinnerung an den Aufenthalt der Schweden
auf Tiselholt.72
Das dritte Stück, Andantino quasi Allegretto, wird mit einem
Gedicht von Hans Christian Andersen eingeleitet („Hun sidder derinde og spiller Klaver“), vielleicht eine Huldigung an Hartmanns

67 Briefe vom November und Dezember 1848, in denen Hartmann
wiederholt erwähnen muss, dass er immer noch auf Andersens
Gedichte warte (Breve, Nr. 370, 371 und 374).
68 Mit Plattennummer 15119 (Copyright 1912); Nr. 2, Schmetterling,erschien außerdem im gleichen Jahr als Sonderdruck mit der Plattennummer 15119b. Die Übersetzung der Gedichte in Descriptionof Sources.
69 Hartmanns Haltung zur „Salonmusik“ des 19. Jahrhunderts ist
noch nicht näher untersucht worden.
70 Lothar Brix, Op. cit., S. 124 führt einen ganzen Katalog solcher
aus dem 19. Jahrhundert stammender „Kinderstücke“ für Klavier
auf, und zwar von dänischen wie deutschen Komponisten. Am
berühmtesten sind Schumanns Kinderszenen op. 15 von 1838.
71 Inger Sørensen, Op. cit., S. 263-264. Carl Nielsens Aufsatz von1909 steht in John Fellow, Carl Nielsen til sin Samtid, København
1999, S. 125 ff.
72 Siehe Breve, Nr. 379 sowie Inger Sørensen, Op. cit., S. 261f.

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Gattin Emma, die im Übrigen am 6. März 1851 starb, knapp vierMonate nachdem das Stück gedruckt worden war.73 Das Stück kamübrigens durch eine fast direkte Aufforderung der Verleger Loseund Delbanco zustande, die von Hartmann Material für ein neues
Klavierheft wollten.74
Das das dritte Stück einleitende Gedicht lautet in deutscher Übersetzung:Sie sitzt dort im Zimmer und träumt am Klavier,
Hör schwellen das Glück in den Tönen;Hier draußen am Fenster schau ich hin zu ihr,
Ach, säh ich den Schatten der Schönen!
Selbst er dringt durch Auge und Herz in die Seel‘,
weit mehr als ein Bild wohl von Raffael.
(Übers. Monika Wesemann)nr. 15
etudes instructives op. 53
Hartmann war sich anscheinend im Zweifel darüber, wie er diese
Sammlung von sechs Stücken mit ausgeprägtem Etüdencharakter
nennen sollte. Am 5. Dezember 1851 nennt er sie „meine 6 namenlosen Kinder“ und vier Wochen später „Caprices instructives“.75
Schließlich sollten sie aber doch heißen, was sie rechtmäßig wohlauch sind, nämlich Etudes instructives.

nr. 16
fantasiestücke op. 54
Die sechs Fantasiestücke erschienen 1855 bei Kistner in Leipzig mit
einer gedruckten Widmung für Clara Schumann. Es war das erste
und einzige Mal, dass ein Klavierwerk von Hartmann bei Kistnererschien. Das Werk wurde 1876 von Wilhelm Hansen neu aufgelegt.
Brix betrachtet Nr. 1 und 4 als zwei der schwächsten Charakterstücke, die Hartmann jemals geschrieben hat,76 weshalb es
geradezu eine Ironie des Schicksals ist, dass ausgerechnet diese73 Es gibt viele Aussagen darüber, dass Hans Christian Andersen ein
großer Bewunderer von Emma Hartmann war.
74 Brief von Hartmann vom 17.9. 1850: „Als Erwiderung auf Ihr
geehrtes Schreiben vom 10. dieses Monats teile ich mit, dass,da unter den verschiedenen Klavierstücken, die ich geschrieben
habe, noch nicht genug Stoff für ein Heft ist […], ich Ihnen das
versprochene Heft noch einige Zeit schuldig bleiben muss; dochhoffe ich, Ihnen recht bald sowohl ein solches Heft als auch ein
passendes Einzelstück für Ihren diesjährigen Weihnachtsgruß bieten zu können.“ (Breve, Nr. 436). Letzteres Versprechen wurde mit
diesem Beitrag zu Loses und Delbancos Julehilsen 1851 eingelöst.
75 Breve, Nr. 475 und 476.
76 Lothar Brix, Op. cit., S. 138.
77 Siehe die Einladung zum Abendessen von Emma Hartmann an
Hans Christian Andersen in ihrem Brief vom 7.4. 1842. Breve,Nr. 135

Stücke einer der allergrößten internationalen Pianistenpersönlichkeiten der damaligen Zeit gewidmet waren. Hartmann hatte Clara
Wieck 1836 in Leipzig und danach erneut 1839 in Berlin getroffen,
bevor sie Robert Schumann heiratete, und er hatte noch viele Jahre
hindurch eine enge Beziehung zu ihr. Zweimal war sie als gefeierte Pianistin in Kopenhagen, nämlich im Frühjahr 1842 und im
Winter 1856. Während ihres ersten Besuchs war sie u.a. mit Hans
Christian Andersen bei der Familie Hartmann sogar zum Essen
eingeladen.77

nr. 17novellette in sechs kleinen stücken
op. 55
Wie aus den Datierungen in Hartmanns Manuskript hervorgeht,
wurden diese Stücke über einen längeren Zeitraum von zweieinhalb Jahren, nämlich vom Dezember 1852 bis zum Juni 1855,
geschrieben.
In Hartmanns Autograf (Quelle A) trägt das Werk den Titel Børnestykker (Kinderstücke) mit dem späteren Bleistiftzusatz
Lykønskning til en Fødselsdag (Glückwunsch zum Geburtstag).
Außerdem wurden, ebenfalls mit Bleistift, für drei Nummern Titel
hinzugefügt: Tagfat (Fangen) (Nr. IV), Morgenbøn (Morgengebet)(Nr. V) und Eventyr (Märchen) (Nr. VI). Hinzugefügt wurden sie
eindeutig, weil Hans Christian Andersen im Nachhinein beschlossen hatte, die Stücke mit einleitenden Gedichten zu versehen, dieeben gerade einen Geburtstag schildern (s. unten). Damit erhebt
sich die Frage, ob der einleitende Zusatz Lykønskning til en Fødselsdag als Überschrift zu Nr. I zu verstehen ist oder als neuer Titel für
die gesamte Sammlung als Ersatz für deren ursprünglichen Titel
Børnestykker.
In der gedruckten Ausgabe hat Hartmann die programmatische Tendenz unterstrichen, die der Sammlung durch die hinzugefügten Gedichte erwuchs, indem er den Titel von Børnestykker in
Novellette i sex Smaastykker (Novellette in sechs kleinen Stücken)
abänderte, aber auch indem er die Gedichte insgesamt auf einer
Seite der Musik voranstellte. Dafür wurden aber weder der neue
Gesamttitel noch die den einzelnen Stücken beigegebenen Titel
vom Autografen in die gedruckte Ausgabe überführt. Diese Titel
veranschaulichen vermutlich Andersens vorläufige Vorstellungendavon, wie die „Geschichte“ zu erzählen wäre, wobei jedoch anzumerken ist, dass in der Endfassung zwischen den angeführten
Titeln und den endgültigen Gedichten keine vollständige Übereinstimmung besteht. Beispielsweise geht es in Gedicht V um das
Morgenlied, nicht um das Morgengebet, so wie auch der Zusammenhang zwischen dem Titel „Eventyr“ und dem endgültigen Gedicht zu Nr. VI schwer zu erkennen ist.
Andersen berichtet in einem Brief an den Dichterkollegen
Ingemann selbst davon, dass die Gedichte erst hinzugekommen
seien, nachdem die Musik schon komponiert war:
Hartmann hat sechs Musikstücke komponiert, sie sind unterdem Namen Novelletten erschienen, von mir vertextet wor-

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den, und das ist so zugegangen, dass ich, als er sie mir vorspielte, darin eine ganze Geschichte fand, die, da sie seinen
eigenen musikalischen Gedanken ganz verdeutlichte, voran
gedruckt worden ist; lassen Sie nur jemanden die Musik
spielen und lesen Sie zugleich vor jedem kleinen Stück den
entsprechenden Text.78
Die Gedichte schildern den Geburtstag des alten Lehrers in mehreren kleinen Episoden: das Ausschmücken des Klassenzimmers(Nr. I), die Ankunft des Lehrers in der Klasse (Nr. II), das Lied derKinder für den Lehrer, das bei ihm alte Erinnerungen wachruft(Nr. III), die Reaktion der Kinder auf das Lied (Nr. IV), die Verfügung eines schulfreien Tages, nachdem das Morgenlied gesungenworden ist (Nr. V), die Kinder jubeln über den freien Tag, während
der Schulmeister einsam im Schulzimmer zurückbleibt, erfüllt von„alten Erinnerungen“, in der Musik unterstrichen durch das zusammenhanglose Zitat der vier Takte vom Anfang des Menuetts (Nr. VI).
Nicht alle fanden diese Kombination von Hartmanns Musikund Andersens Gedichten sonderlich gelungen. Richard Hove bemerkt zu op. 55 leicht trocken:
Außerordentlich gelungen ist „Novellette in sechs Bildern“,79
das Werk gehört zu Hartmanns vornehmster Kleinkunst, nur
glaube ich, es gewinnt, wenn man Andersens Text dazu nicht
liest, bis man sich mit der Musik völlig vertraut gemacht hat,dann kann der Text keinen Schaden anrichten, eigentliche
Programmmusik ist das nämlich nicht.80
Die sechs Gedichte findet man in der 1877 im Berliner Verlag Carl
Simon erschienenen Neuauflage von op. 55 nicht, hier trägt die
Sammlung nur den Titel Novelletten, sechs kleine Stücke für das Pianoforte. Vielleicht hatte der Herausgeber oder der Komponist selbst
auch das Gefühl, dass die Gedichte der Erstausgabe in diesem Zusammenhang nicht richtig funktionierten.
Eine der sehr wenigen in dänischen Zeitschriften erschienenen
zeitgenössischen Rezensionen zu Hartmanns Klaviermusik befasst
sich genau mit dieser Sammlung. Nachzulesen ist sie in ImmanuelRées Tidsskrift for Musik 1857 im Zusammenhang mit einem längeren Aufsatz unter der Überschrift Anmeldelse af udkomne Musikalier.
Meddeelt af W.S. og P.I. Musikalier, bestemte for Underviisningen (Besprechung erschienener Musikalien. Mitgeteilt von W.S. und P.I. Fürden Unterricht bestimmte Musikalien). Op. 55 wird hier dargestellt
als eine „… anspruchslose Komposition, die in Stil und Gedanken
edle Gesinnung und Reinheit atmet, deshalb aber auch ganz im Gegensatz zu den vielen unglücklichen Pianofortestücken steht, die im
Unterricht viel zu viel benutzt werden…“. Die Rezension schließt
mit folgenden Worten: „Die wenigsten werden die Novellette jedoch
beim flüchtigen Durchspielen genießen können, aus diesem Grundhat sie aber auch umso mehr bleibenden Wert.“81Die Genrebezeichnung „Novellette“, der endgültige Titel derSammlung in der gedruckten Ausgabe, ist mit seinem direkten literarischen Bezug82 u. a. von Schumann (op. 21) und Gade (op. 29)
her bekannt. Zehn Jahre später griff Hartmann in seinen Studierog Novelletter (Studien und Novelletten) op. 65 das Genre auf. Der
Singular „Novellette“ könnte darauf hindeuten, dass Hartmann
meinte, die Titelbezeichnung beziehe sich auf „Novelle“ (was laut
Schumann ja nicht der Fall ist), dass sie aber auch betone, dass allesechs Stücke eine einheitliche, zyklische Erzählung, also eine Novelle, bilden, was sie wohl, abgesehen von einer kurzen motivischenÜbereinstimmung zwischen den Stücken III (Anfangsmotiv) und
VI (Takt 75-78) auch nicht tun.83

nr. 18klavierstücke
Auch diese vier Klavierstücke von 1864 sind in keiner Weise einheitlich, weder stilistisch noch genremäßig. Den Quellen ist nicht
zu entnehmen, wie und wann während des Entstehungsprozesses
die Texte eingefügt wurden, die beiden ersten von Hans ChristianAndersen, die beiden letzten von Carl Andersen, dem Museumsdirektor von Schloss Rosenborg. Hans Christian Andersens Text
zu Nr. I, „Gudfa’er fortæller“ (Der Herrgott erzählt) ist nur aus
dieser Klaviersammlung von Hartmann bekannt, während es
sich bei dem Text zu Nr. II, „Gjallerhornet lød“ (Das Gallierhorn
ertönte), um ein Zitat aus dem Märchen Dynd-Kongens Datter(Des Schlammkönigs Tochter) handelt, das sechs Jahre zuvor
erschienen war.84

nr. 19studien und novelletten op. 65
Als Besonderheit in Hartmanns Klaviermusik umfassen die Quellen zu diesem Werk sowohl eine Kladde (Vorlage der Reinschrift),eine Reinschrift (Druckvorlage in fremder Hand) als auch den
Erstdruck.
Die Kladde ist besonders interessant, weil sie eine Sammlungvon dreizehn Sätzen mit ganz unterschiedlichem Status enthält:

78 Brief vom 31.12. 1855, siehe Kirsten Dreyer (Hrsg.), H. C. Andersens brevveksling med Lucie & B.S. Ingemann, København 1997,
Brief 199
79 Keine der gedruckten Ausgaben trägt genau diesen Titel!
80 Richard Hove, J.P.E. Hartmann. København 1934, S. 43.
81 Tidsskrift for Musik, første Aargang Nr. 1, S. 4.
82 Novellette: Eigentlich ein kürzeres Stück Fiktionsprosa. Schumannbetont jedoch, dass er sich mit der Genrebezeichnung „Novellette“ nicht auf Literarisches beziehe, sondern dass es sich um eine
indirekte Liebeserklärung an seine zukünftige Gattin Clara Wieck
handele, nämlich durch den Lautzusammenhang des Wortes mit
Claras Namensschwester, der englischen Sängerin Clara Novello.
83 Dazu ist zu sagen, dass sich gerade diese Motivwiederholung in
Hartmanns Autograf (A) nicht findet, siehe List of Emendations.
84 Beide Texte stehen in H.C. Andersen, Samlede Værker, Bd. 8, Digte
II, København 2005, S. 359 und 614. ”Gudfa’er fortæller“ wurde
direkt für Hartmanns Klavierstücke geschrieben, während das
Zitat aus „Des Schlammkönigs Tochter“ für die Klaviersammlung ausgewählt wurde (das Andersenmärchen war im Mai 1858
erschienen).

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neun Sätze, die als op. 65 gedruckt wurden,
zwei Sätze, die der Komponist in einem gesonderten Heft
ausgeschrieben wissen wollte (Nr. 20 der vorliegenden
Ausgabe),einen Satz, den er verwarf (Anh. 5 der vorliegenden Ausgabe),einen Satz, den er verwarf und später in einer anderen Fassung als Manuskript niederschrieb, worauf er als daseine der beiden Klavierstücke Nr. 20 fungierte (die verworfene Fassung in Anh. 4 der vorliegenden Ausgabe).
Auch in einem weiteren Punkt sticht die Sammlung ab: Im Gegensatz zu nahezu allen übrigen Drucken von Hartmanns Klaviermusik liegt aus den Jahren um 1880 keine Neuauflage bei Wilhelm
Hansen vor. Dafür lässt sich keine einleuchtende Erklärung finden.
Ungewöhnlich ist auch die Tatsache, dass keines der Stücke in den
beiden Manuskripten mit einem Datum versehen ist.

nr. 20zwei klavierstücke ₍musikblade ...1866₎
Die beiden Stücke sind Teil von Hartmanns oben unter Nr. 19 erwähntem Manuskript mit dreizehn Stücken. In diesem Manuskript
gibt Hartmann ausdrücklich an, dass er diese beiden Stücke ineinem gesonderten Heft gedruckt haben möchte. Ein solches Heft
erschien nie, stattdessen wurden sie in Musikblade udgivne af Foreningen Fremtiden 1866 (Musikblätter herausgegeben vom Verein
Zukunft 1866) veröffentlicht, zusammen mit Werken von Niels W.
Gade, C.I. Hansen, Franz Neruda und Peter Heise. Das eine derStücke, Allegro agitato in h-Moll, erschien außerdem 1880 bei Wilhelm Hansen als selbständiger Druck.
Eine verworfene Fassung des zweiten Stücks in Es-Dur ist in
der vorliegenden Ausgabe als Anh. 4 wiedergegeben.

nr. 21
fantasiestück ₍musikblade ...1871₎
Das Stück wurde im 3. Heft der Musikblade udgivne af Foreningen Fremtiden 1871 gedruckt, zusammen mit Werken von AugustWinding, Julius Steenberg, Hans Matthison-Hansen, F. Andersensowie Peter Heise, und als Sonderdruck 1880 bei Wilhelm Hansen
neu aufgelegt.
Eine ursprüngliche, etwas abweichende Fassung in Fis-Dur
findet man in dem Manuskript mit der Datierung „Fredensborg
13/10 69“ (Quelle C).

nr. 22
fantasiestück ₍fremtidens nytaarshefte 1875₎
Das Autograf zu diesem Stück trägt das Enddatum „J.P.E. Hartmann / Nærum 3 October 1874“. Gedruckt wurde das Stück danach im 4. Heft der Musikblade udgivne af Foreningen Fremtiden
1875, mit Werken von F. Andersen, C.J. Hansen, Peter Heise, Gott-fred Matthison-Hansen, Valdemar Schiött und August Winding.
Auch dieses Stück wurde von Wilhelm Hansen 1880 neu aufgelegt.

nr. 23klavierstücke aus älterer undneuerer zeit op. 74
Die Sammlung von Klavierstücken op. 74 hat enge Verbindungenzu den Sonaten in g-Moll und F-Dur (Nr. 2 und 3).
Außer der Widmung für den Sohn Emil weiß man nichts
Näheres über die Umstände der Veröffentlichung des Werkes im
Jahr 1878, somit weiß man auch nicht, warum Hartmann gerade
hier zu zwei Klavierwerken zurückkehrte, die über fünfundzwanzig
Jahre zuvor komponiert worden und beide ungedruckt geblieben waren.
Der Titel spielt auf den Umstand an, dass es sich hier um die
Zusammenstellung von Auszügen aus den früher genannten Werken handelt, die mit neu komponiertem Material kombiniert wurden. Beispielsweise ist der zweite Satz des Werkes der einzige ganz
durchkomponierte (datiert 18.1.1877), da die übrigen vier Sätze
mehr oder weniger auf Material aus den beiden erwähnten Sonaten aufbauen. Hartmann hatte ursprünglich ein anderer Werktitel
vorgeschwebt, das Autograf B trägt auf dem Umschlag jedenfalls
den Titel Nyt og Fornyet (Neu und erneuert), eine Charakteristik,
die so gesehen besser zu dem Werk passt als der endgültige Titel
Klaverstykker fra ældre og nyere Tid (Klavierstücke aus älterer undneuerer Zeit) der gedruckten Ausgabe.
Im Autografen tragen der erste, der zweite und der vierte Satz
die Daten 5. März 1877, 12. Januar 1877 und 20. März 1877. Wie
festzustellen ist, hat Hartmann also die Arbeit am zweiten Satz, dem
einzigen neu komponierten Satz der Suite, begonnen. Für den dritten Satz liegt keine Datierung vor, was daran liegt, dass Hartmannhier direkt das ursprüngliche Manuskript der F-Dur-Sonate benutzt,
während die fehlende Datierung des fünften Satzes auf den Umstand zurückzuführen ist, dass die letzten Manuskriptseiten nichtüberliefert sind (zu beiden Umständen siehe Description of Sources).
Nr. I
Takt 1-44 bauen bis zum Wiederholungszeichen im Wesentlichen
auf dem ersten Satz der g-Moll-Sonate auf, während der Rest desSatzes von der Sonate unabhängig ist, was aus Hartmanns Autograf
der Sonate deutlich hervorgeht; darin wurden im ersten, nicht aberim letzten Teil mehrere Änderungen vorgenommen, die sich in op.
74 wiederfinden. Am Ende des Satzes, Takt 65-71, taucht das Thema der Sonate wieder auf.
Nr. IIDer einzige ganz und gar neu komponierte Satz von op. 74.
Zahlreiche Bleistiftkorrekturen wurden mit Blick auf die gedruckte Ausgabe von 1878 ausgearbeitet. Diese Korrekturen wurden in die vorliegende Ausgabe übernommen, während relevante
Einzelheiten der ursprünglichen Tintenfassung in List of Emendations als Varianten angeführt sind.

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Nr. IIIIm Großen und Ganzen identisch mit dem zweiten Satz der F-DurSonate von 1854.
Nr. IV
Baut mit einer Reihe von Erweiterungen auf dem dritten Satz derF-Dur-Sonate auf.
Nr. V
Die einzige Verbindung zum letzten Satz der g-Moll-Sonate sinddie ersten zwölf Takte, die harmonisch und motivisch die entsprechenden Takte der Sonate wiederverwenden, sowie der Wechsel zu
As-Dur im Mittelteil. Nr. V schließt dafür jedoch nicht in g-Moll,
wie das in der Sonate der Fall ist, sondern in Es-Dur.

nr. 24thema mit 14 variationen
Dies ist das erste und einzige Mal, dass Hartmann in einem Klavierwerk die Form Thema mit Variationen benutzt. Wenn man bedenkt, wie vorherrschend gerade dieser Formtypus bei den Komponisten des 19. Jahrhunderts war, mag es erstaunen, dass er die
Variationsform nicht auch in anderen, ehrgeizigeren Klavierwerken
eingesetzt hat.
Hartmann komponierte diese Variationen über ein sehr einfaches Thema in C-Dur 1888 für seinen achtjährigen Enkel JohanPeter. Das Manuskript trägt das Datum „Nærum 5/8 81“ und lässt
erkennen, dass Johan Peter das Manuskript dazu benutzte, die
Notation von Skalen und anderes zu üben. Die Reihenfolge der
Variationen wurde unterwegs geändert, zum einen wurden die
Notenblätter zerschnitten und neu wieder zusammengeklebt, zum
anderen wurden die ursprünglichen Nummern mit Bleistift in die
in der vorliegenden Ausgabe angeführte Reihenfolge abgeändert.
Das Manuskript enthält eine andere kleine Komposition, dievermutlich ebenfalls für den Klavierunterricht von Johan Peter geschrieben wurde (s. Nr. 53).

c. einzelwerke
nr. 25
grand valse
Es handelt sich vermutlich um eine von Hartmanns frühesten
Kompositionen für die etwas größere Form. Das Manuskript trägt
das Datum „3/3 26“ (Hartmann war zu dem Zeitpunkt noch keine
21 Jahre alt) und den pompösen Titel Grand Vals pour le PianoForte; das Werk wurde aber anscheinend nie veröffentlicht.

nr. 26
fantasie, op. 7
Das kleine Stück ohne Titel ist mit dem Enddatum „Kjøbenhavn,
d: 25 Juni 1837. Zur freundschaftlichen Erinnerung von J:P:E:
Hartmann“ versehen. Es wurde ein halbes Jahr nach seiner Heimkehr von der ersten großen Auslandsreise im Jahr 1836 komponiert, nahezu gleichzeitig mit der Komposition der ersten Sinfonie.
Wem die Widmung galt ist unbekannt.

nr. 27klavierstück, 1837
Das kleine Stück ohne Titel ist mit der Enddatierung „Kjøbenhavn,
d: 25 Juni 1837. Til venskabelig Erindring fra J:P:E:Hartmann“(Kopenhagen, d. 25. Juni 1837. Zur freundschaftlichen Erinnerung
von J.P.E. Hartmann) überliefert. Es wurde ein halbes Jahr nachHartmanns Rückkehr von der ersten großen Reise ins Ausland
1836 komponiert, fast gleichzeitig mit der ersten Symphonie. Wem
die Widmung gilt, ist unbekannt.

nr. 28introduktion und andantino religioso op. 26
Es ist unklar, was sich hinter dem Ausdruck „religioso“ des Titels
verbirgt. Hove gibt ohne näheren Beleg an, der Ausdruck könne
darauf verweisen, dass „das Stück von einer Improvisation auf derOrgel her stammt.“85Der Erstdruck erschien bei Hofmeister in Leipzig, der ihm
die Werknummer „26“ gab, nachdem er zunächst den Druck desursprünglichen „op. 26“, nämlich der Tre Genrestykker (Drei Genrestücke) (Nr. 9), abgelehnt hatte. Über seine etwas selbstherrliche
Disposition (das Werk war zu diesem Zeitpunkt bereits erschienen) schrieb Hofmeister im Januar 1841 an Hartmann:
Dieser Andantino kann allerdings für ein selbständiges Werk
gelten und musste zu genauerer Bezeichnung im Handel aucheine Nummer haben. Ich gab also 26 und Sie werden leicht
den Genrestücken eine andere Nummer geben können.86

nr. 29alte erinnerungenDieses Stück ist im Manuskript zu op. 37 (in der vorliegenden
Ausgabe Nr. 11, Source C) als „Nr. 1“ überliefert. Hartmann hatüber dem ersten Notensystem die Worte „NB Udskrives ikke“ (NB
Nicht ausschreiben) sowie den Titel „Gamle Minder“ (Alte Erinne-

85 Richard Hove, Op. cit., S. 39.
86 Brief vom 10.1. 1841 von Hofmeister an Hartmann, Breve, Nr.
110.

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rungen) hinzugefügt, in gewissem Sinn einander widersprechende
Zusätze. Das Stück war somit nicht Teil der gedruckten Ausgaben
von op. 37 und wird hier als selbständiges Werk aufgeführt. Es lässt
sich nicht entscheiden, worauf sich der Titel konkret bezieht.

nr. 30hamburger schottischHamburger Schottisch ist ein aus der Gegend von Vejle in Jütland
stammender dänischer Volkstanz, normalerweise im Stil der Polka
im 2/4-Takt. Hartmanns Musik wurde 1841 in einer Sammlung
mit Klaviertänzen für den Kopenhagener Studentenverein gedruckt, die im Übrigen auch Tänze von Hartmanns Frau Emmaenthielt. Das Titelblatt der Sammlung bringt folgende entschuldigende Feststellung: „Man kann nicht immer fort Studiren.“Hartmanns Autograf ist in einer gefalteteten Lage mit verschiedenen kleinen Sätzen von Hartmann und anderen überliefert
und trägt auf dem Umschlag den Titel „Noder/Erindringer fra min
tidligere Tid“ (Noten/Erinnerungen aus meiner früheren Zeit).

nr. 31
canzonetta

Manuskript mit dem Titel No11 Manuskript af til trykte og ikke- u
trykte mindre Compositioner f. Piano og Sang af J.P.E. Hartmann,(Manuskript zu gedruckten und nicht gedruckten kleineren Kompositionen für Piano und Gesang von J.P.E. Hartmann) ein, dem
ein Verzeichnis über den Inhalt des Heftes folgt. Die Gestaltung desHeftes spricht dafür, dass es sich hier um die Druckvorlage für eine
Veröffentlichung handelt, die dann nie erschienen ist. Der Zweck
des Heftes wird nicht deutlich, auch erfährt man nicht, was dieverschiedenen Klavierstücke und Lieder verbindet, abgesehen vonder Tatsache, dass sie alle im Zeitraum Oktober 1847 bis Mai 1848
komponiert wurden. Das Datum der drei Klavierstücke Hjemvee(Heimweh), Om Foraaret (Im Frühling) und Vinteren (Winter)stammt in allen drei Fällen aus derselben Woche im Oktober 1847
(19.-26. Oktober), d.h. sie wurden gleichzeitig mit einigen Liederndes Liedzyklus Sulamith og Salomon (Sulamith und Salomon)
komponiert, die in dem Heft ebenfalls vertreten sind.
Eine überarbeitete Fassung des Stücks wird später in Nr. IV
der Studien und Novelletten op. 65 (Nr. 19) wiederverwendet.

nr. 34
im frühling
Siehe oben unter Nr. 33. Das Anfangsthema wird im letzten Satz
der Sonatine in g-Moll (Nr. 2) wiederverwendet.87

Diese kleine Canzonetta ist im Manuskript zu Otte Skitser (Acht
Skizzen) op. 31 (oben Nr. 10) als – wenngleich ausgestrichene – „Nr.
5“ überliefert. Sie wurde 1842 als selbständiges Stück in J.C. Gebauers Sangfuglen, Der Singvogel, et Blad for Kjendere og Elskere af
Musik (ein Blatt für Kenner und Liebhaber von Musik) abgedruckt.
Der Anfang des Satzes wurde später in Nr. IV der Klavierstücke von 1864 unter dem Titel Juletröst (Weihnachtstrost) mit
einem voran gestellten Gedicht von Carl Andersen wiederverwendet (s. Nr. 18, Klavierstücke); nur die ersten 18 Takte der beiden Fassungen sind identisch, obgleich im 2/4- bzw. 4/4-Takt notiert, während die Fortsetzung beider Stücke nichts miteinander zu tun hat.

Siehe oben unter Nr. 33. Auch dieses Stück verwendet Hartmann
später in den 1860er Jahren erneut, nämlich in einer leicht abweichenden Fassung als Nr. III in Klavierstücke mit dem Titel Vikingefruens Dröm (Der Traum der Wikingerfrau) und mit einem
voran gestellten Zitat aus Hans Christian Andersens Märchen Des
Schlammkönigs Tochter (in der vorliegenden Ausgabe Nr. 18).

nr. 32
einfälle

nr. 36langsamer walzer

Der Anlass zu diesen „Indfald“ (Einfällen) ist nicht bekannt.
Der erste trägt das Datum 10.11.1844 und wurde 1905 als Faksimile in Illustreret Tidende gebracht, also erst nach Hartmanns
Tod. Erstaunlich ist, dass man unter den vielen unveröffentlichten Manuskripten des Komponisten ausgerechnet dieses Stückausgewählt hatte.

Dieser Walzer ist in zwei Manuskripten überliefert, einmal in deroben unter Nr. 33 angeführten Sammlung mit dem Enddatum
8.11.1847, zum anderen möglicherweise von Emma Hartmanns
Hand mit dem gleichen Datum wie das erste und wahrscheinlich
als direkte Abschrift von Hartmanns eigenem Manuskript.

nr. 33lied ohne worte. heimweh
Dieser Satz geht zusammen mit den drei nachfolgenden (Nr. 34,
35 und 36) sowie einer Reihe unterschiedlicher Vokalsätze in ein

nr. 35winternr. 37
stammbuchblatt
Dieses kleine Stammbuchblatt stammt aus der gleichen Zeit wie dievier vorigen Stücke; es trägt das Datum 9.7. 1847. Das Stück baut auf
Hartmanns ein Jahr zuvor komponierter Melodie zu B.S. Ingemanns
Gedicht „Stork, Stork Langeben“ (Storch, Storch Langbein) auf.

87 Lothar Brix, Op. cit., S. 214, gibt irrtümlich an, dies gelte für dasganze Stück.

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nr. 38‚der 20. januar 1848‘
Das Werk wurde zum Gedenken an König Christian VIII. geschrieben, dessen Todestag im Titel angegeben ist.88
In einem Brief an die Verleger überlegt Hartmann, wie die
Sentenz von Hans Christian Andersen auf der Titelseite platziert
werden sollte.89 In einem zweiten Brief erörtert er drei Wochen
später einen Korrekturdruckfehler, der sich nicht ermitteln lässt,der jedoch anscheinend für die Gestaltung eines Details der Komposition wichtig war:Das fragliche fd [im Manuskript] vom 20. Januar war ursprünglich ein Druckfehler; da ich aber fand, dass er eine ganz
gute Abwechslung bot, ließ ich ihn stehen und passte danachdie folgenden Takte mit dem Zusatz von zwei Noten an.90
Hofmeister XIX, April 1848, erwähnt eine deutsche Ausgabe mit
dem Titel „Trauer-Fantasie“, die jedoch nicht bekannt ist.

nr. 39langsames menuett
Das Menuett steht in einem Manuskript von Hartmanns Hand mit
dem Datum 2.8.1849, doch ohne Komponistenangabe. Es enthält
im Übrigen mehrere andere kurze Tanzsätze, von denen nur einerabgeschlossen ist. (Nr. 40).

nr. 40klavierstück, 1849
Siehe oben unter Nr. 39.

nr. 41
albumblatt
Der Anlass für dieses ungewöhnlich umfassende Albumblatt (85Takte) mit dem Datum 14.9.1854 ist nicht bekannt. Der Komponist des Manuskripts ist nicht angegeben.

nr. 42polkamässig
Wie die Nummern 32, 37, 46 und 50 brachte die Illustreret Tidende1905 das Manuskript in Faksimile.91

nr. 43johannisabend-walzer
Der Satz in Orchesterfassung gehörte ursprünglich zu der 1859
vom Königlichen Theater in Kopenhagen inszenierten Aufführungdes Holbergstückes Kildereisen (Die Quellenreise), und zwar als
Teil von Bournonvilles „Intermedium“ zwischen dem 2. und 3. Akt

des Theaterstückes. Aus den in der Quellendarstellung dargelegten
Gründen wird er in der vorliegenden Ausgabe als selbständiger
Klaviersatz betrachtet. Als solcher ist er in Hartmanns Autograf
sowie in einer bei Hornemann & Erslev 1872 neu aufgelegten
Ausgabe überliefert.

nr. 44seeländischer reel
Der Satz hat den gleichen Ursprung wie Nr. 43 und liegt ebenfalls
sowohl im Manuskript als auch im gleichen Druck wie Nr. 43 vor.

nr. 45bellmansche bilder. menuette
Die gedruckte Ausgabe von 1859 besteht aus zwei Menuetten mit
einer Einleitung, während diese Einleitung in Hartmanns Manuskript vom 4.2. 1852 fehlt, was darauf hindeuten könnte, dassdie beiden Menuette ursprünglich als selbständige Sätze gedacht
waren, die dann zu dem Werk Bellmanske Billeder (Bellmansche
Bilder) zusammengefasst wurden. Worauf sich der Titel konkretbezieht, ist keiner Quelle zu entnehmen.

nr. 46
stammbuchblatt
Dieses kurze fugato von sieben Takten trägt das Datum „Juli 1862“.
Der Empfänger oder der Anlass dieses Stammbuchblattes ist nicht
bekannt.

nr. 47abendstimmung
Diese Komposition liegt in nicht weniger als vier verschiedenen,
in den Jahren 1869-1895 erschienen Ausgaben vor. Es handelt sichum die Bearbeitung eines verworfenen Stückes, das in Quelle B
von Studien und Novelletten op. 65 (s. Nr. 19 oben) wiedergegeben
ist; die verworfene Fassung in H-Dur steht in Anh. 5.

nr. 48
im volksliedton
Die einzige Quelle zu diesem Satz ist Hartmanns Autograf ohne
Komponistenangabe. Die Aufschrift in fremder Hand „(Rom 24
Marts 1870)“ auf der Rückseite des Notenblattes könnte dafür

88 Zur Beisetzung am 26. Februar 1848 komponierte Hartmann
einen Trauermarsch für „die königliche Leibgarde zu Fuß“, der als
Klavierauszug ebenfalls bei Lose und Delbanco gedruckt wurde.
89 1.2. 1848, Breve, Nr. 334.
90 21.2. 1848, Breve, Nr. 338.
91 Illustreret Tidende, Heft 33, S. 479.

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sprechen, dass das Manuskript an Hartmanns Sohn Carl geschickt
wurde, der sich zu der Zeit in Rom aufhielt und mit dem Vater laufenden brieflichen Kontakt hatte.92

nr. 49albumblatt
Das Stück ist Hartmanns Beitrag zu einer Anthologie mit Werken für Soloklavier oder Gesang und Klavier von nicht weniger
als fünfunddreißig nordischen Komponisten, die 1871 im Verlag
Immanuel Rees erschien. Es mag erstaunen, dass Hartmann ausgerechnet in dieser Anthologie mit einer Komposition mit einem so„uncharakteristischen“ Titel vertreten ist.
Es handelt sich um eine der wenigen Kompositionen vonHartmann, die nur in einer einzigen gedruckten Fassung vorliegt.
Es steht also zu vermuten, dass das Stück genau im Hinblick auf
diese Sammlung geschrieben wurde.

nr. 50nach motiv eines schwedischen
volkslieds
Man weiß nicht, ob es sich um eine im Voraus bekannte schwedische Liedmelodie handelt. Eine Anfrage beim Svensk Visarkiv in
Stockholm erbrachte keine Antwort auf diese Frage. Das Manuskript trägt das Datum 24.9.1879.

nr. 51
stammbuchblatt nr. 1
Hartmanns Autograf zeigt das Datum 30.7.1878. Inwieweit Nr.
51 und 52 (durch die Nummerierung der Titel) miteinander in
irgendeinem Zusammenhang stehen, lässt sich nicht entscheiden.
Wie zu sehen ist, liegt das Datum der beiden Kompositionen gut
ein Jahr auseinander.

nr. 52stammbuchblatt nr. 2

nr. 53stücke für johan peter hartmann
Zwei kleine Übungsstücke für Hartmanns Enkel Johan Peter von1881, im gleichen Manuskript wie die Variationen, Nr. 24, oben.

nr. 54die schwäne, humoreske
Diese Gelegenheitskomposition ist dem Gutsbesitzer Viggo Neergaard von Gut Fuglsang auf der Insel Lolland gewidmet,93 als ein
Dankeschön für Hartmanns Sommeraufenthalt auf Fuglsang (vgl.
die Widmung und das Datum des Manuskripts vom 17.6.1882). In
Takt 17-19 wurden die Worte „gratulerer til de fem!“ (gratuliere zu
den fünfen) eingesetzt. Der Titel und die eingesetzten Worte beziehen sich auf einen vierzehn Tage zuvor von Neergaard an Hartmann gerichteten Brief, in dem mitgeteilt wird, dass der Schwan,
kurz nach Hartmanns Abreise von Fuglsang, genau fünf Schwanenküken geboren hatte.94

nr. 55in einem stammbuch
Diese vier Takte umfassende Kadenz mit der dazu gehörigen Überschrift trägt das Datum 6.7.1885. Es ist vermutlich Hartmanns
letzte Komposition für Klavier. Möglicherweise handelt es sich um
einen Beitrag zu Thyra Hammerichs Stammbuch, da Hartmann ineinem Brief an Thyras Bruder Angul Hammerich vom Mai 1885
einen solchen Beitrag erwähnt und speziell nach dem Format desStammbuchs fragt.95

nr. 56
marschZu diesem Werk liegen keine Angaben vor, weder über den Anlass noch über die Datierung. Es ist ohne Komponistenangabeüberliefert, stammt aber von Hartmanns Hand und wurde mit
blauer Tinte geschrieben, was auf ein verhältnismäßig spätes Werk
schließen lässt.

Hartmanns Autograf trägt das Datum 18.8.1879.

92 Siehe Breve, Nr. 747-749 vom Februar, März und April 1870.
93 Verheiratet mit Hartmanns Enkelin Bodil Neergaard.
94 Breve, Nr. 932 vom 3.6. 1882.
95 Breve, Nr. 1041: „O Vee, o vee! Maalet til Nodebladet for Deres
Søsters Stambog er blevet forlagt for mig…” (Oh Weh, oh Weh!
Das Maß zum Notenblatt für das Stammbuch Ihrer Schwester istverlegt worden). Angul Hammerich war ein Freund und entfernter Verwandter des Komponisten.

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d. anhanganh. 1 sonata ₍frühe fassung vonsonate opus 80₎
Die näheren Umstände der Entstehung dieser frühen Fassung
der großen Klaviersonate in a-Moll op. 80 wurden oben unter
Nr. 5 sowie in der Quellendarstellung zu Nr. 5 eingehender dargelegt. Außerdem wird sie gesondert in List of Emendations, S. 650
behandelt.

anh. 2, 3
fragmente eines sonatensatzes
Zwei Fragmente in F-Dur als Anfang eines Sonatensatzes. Die
ersten beiden Takte der Fragmente sind im Großen und Ganzen
identisch, abgesehen davon aber sind die Fragmente vom musikalischen Inhalt wie von der Länge her äußerst unterschiedlich(137 Takte gegenüber 17 Takten). Die Fragmente haben nichts mit
Hartmanns vier abgeschlossenen Sonaten oder Sonatinen zu tun.

anh. 4
klavierstück
Es handelt sich um die Urfassung, die – zusammen mit der umgeschriebenen Fassung (Nr. 20/II) – im Autografen zu Studien und
Novelletten op. 65 (Nr. 19) zu finden ist.

anh. 5abendstimmung
Die H-Dur-Fassung von Aftenstemning (Abendstimmung). Sieheoben unter Nr. 47 (Quelle E).

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facs. 4
Første side af nr. 17, Novelette, opus 55, kilde A, DK-Kk, Hartmanns Samling, CII, 65, mu 6604.2761.
Overskriften med blæk viser, at samlingen oprindeligt har
haft titlen Børnestykker. Hartmanns tilføjede titel med blyant“Lykønskning til en Fødselsdag” kan enten være ment som
en overskrift til det første stykke eller som overskrift til hele
samlingen; overskrifter tilføjet de øvrige stykker samt de tilhørende digte af H.C. Andersen peger på den sidste mulighed.

facs. 4

facs. 4First page of No. 17, Novelette, Opus 55, Source A, DK-Kk,
Hartmanns Samling, CII, 65, mu 6604.2761.
The title, Børnestykker (Children’s Pieces) in ink shows theoriginal title of the collection. Hartmann’s added title inpencil “Lykønskning til en Fødselsdag” (Congratulations
at a Birthday) may either have been intended as the title ofthe first piece or of the whole collection; titles added to theother piece and the poems by Hans Christian Andersen in theprinted edition point towards the latter possibility.

Erste Seite der Nr. 17, Novelette Opus 55, Quelle A, DK-Kk,
Hartmanns Samling, CII, 65, mu 6604.2761.
Die mit Tinte geschriebene Überschrift zeigt, dass die Sammlung ursprünglich Børnestykker (Kinderstücke) benannt war.
Der von Hartmann mit Bleistift hinzugefügte Titel „Lykønskning til en Fødselsdag“ (Glückwunsch zu einem Geburtstag)
mag entweder als Überschrift zu dem ersten Stück oder als Titel
der ganzen Sammlung gedacht sein; den übrigen Stücken hinzugefügte Überschriften sowie die zugehörigen Gedichte Hans
Christian Andersens deuten auf letztere Interpretation hin.

lxxxvi j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb lxxxvi

19/09/12 14.05

facs. 5

facs. 5facs. 5

Thema med 14 Variationer, DK-Kk, Hartmanns Samling,
Supplement (nr. 24).
Side af Hartmanns manuskript til en række letspillelige
klavervariationer, skrevet til komponistens otteårige barnebarn Johan Peter. Øverst på siden har drengen som en øvelse
skullet nedskrive tonerne i de af bedstefaderen angivne forskellige oktavlejer.

Theme with 14 Variations, DK-Kk, Hartmanns Samling,
Supplement (No. 24).
Page from Hartmann’s manuscript with a number of easy
variations, written for his eight year old grandchild, JohanPeter. On the top of the page the boy has notated the notes inthe various octaves, marked by his grandfather.

Thema mit 14 Variationen, DK-Kk, Hartmanns Samling, Supplement (Nr. 24).
Seite aus Hartmanns Manuskript einer Reihe leicht spielbarer
Variationen für Klavier, geschrieben für den achtjährigen Enkel Johan Peter. Zur Übung hat der Junge oben auf der Seite
auf Anweisung des Großvaters die Töne in unterschiedlichen
Oktaven notiert.

klaverværker : introduction

Hartmann_klaver_bind_2.indb lxxxvii

lxxxvii

19/09/12 14.05

facs. 6

facs. 6

facs. 6

Cover with Table of Contents for a handwritten collection of“… Printed and not Printed Small Compositions f. Piano andSong …”. It is not known whether this collection was meant
to have been printed. The piano pieces in the collection comprise Nos. 33, 34 and 35. DK-Kk, Hartmanns Samling.

Umschlag mit Inhaltsverzeichnis zu einer handschriftlichen
Sammlung „... gedruckter und nicht gedruckter, kleinerer Kompositionen f. Klavier und Gesang...“. Inwiefern es sich um eine
Druckvorlage handelt, ist unbekannt. Die in der Sammlungenthaltenen Klavierstücke sind Nr. 33, 34 und 35. DK-Kk,
Hartmanns samling.

facs. 7

facs. 7

facs. 7

Nr. 55. I en Stambog!, DK-Kk, MA ms 710. Overskåret nodeark opbevaret blandt en række uidentificerede og identificerede skitser i Hartmanns hånd. Komponistens senest dateredeklaverstykke.

No. 55. In an Album, DK-Kk, MA ms 710. Cut music sheet,found among a number of both identified and unidentified
sketches in Hartmann’s hand. The latest dated piano piece byHartmann.

Nr. 55. In einem Stammbuch, DK-Kk, MA ms 710. Durchschnittenes Notenblatt, unter teilweise unidentifizierten
Skizzen von Hartmanns Hand aufbewahrt. Das am spätesten
datierte Klavierstück des Komponisten.

Omslag med indholdsfortegnelse til en håndskreven samling“… trykte og ikke-trykte mindre Compositioner f. Piano og
Sang …”. Hvorvidt det er forlæg til en trykt udgave, vides
ikke. Klaverstykkerne i samlingen er nr. 33, 34 og 35. DK-Kk,
Hartmann samling.

lxxxviii j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb lxxxviii

19/09/12 14.05

tre klaverstykker
12
BALLO MILITARE
Allegro moderatoI

Op. 38

7

marc.

14

1

2

20

27

klaverværker 329

Hartmann_klaver_bind_2.indb 329

20/09/12 10.35

ten.

33

ten.

ten.
ten.

39

45

marcato assai

51

❉

❉

❉

❉

57

63

❉

dim.

330 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 330

20/09/12 10.35

70

76

cresc.

❉
82

❉
88

marc.

95

❉
102

dolce legatosmorz. e dim.

klaverværker 331

Hartmann_klaver_bind_2.indb 331

20/09/12 10.35

108

114

120

❉
126

131

136

smorz.

❉❉❉

332 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 332

20/09/12 10.35

142

148

154

dim.

160

166

172

dim.

klaverværker 333

Hartmann_klaver_bind_2.indb 333

20/09/12 10.35

178

184

marc.

190

196

202

208

ten.

ten.

334 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 334

20/09/12 10.35

ten.

ten.

214

220

marc. assai

226

❉

❉

❉

❉

232

238

❉

dim.

244

klaverværker 335

Hartmann_klaver_bind_2.indb 335

20/09/12 10.35

251

cresc.

❉
258

sempre

266

marc.

❉

❉

273

marc.

280

dim.

287

cresc.

❉

336 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 336

20/09/12 10.35

II
CANTILENA ELEGIACA
Andante

4

❉
8

❉
12

dim.

dim. e smorz.

❉
16❉
klaverværker 337

Hartmann_klaver_bind_2.indb 337

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20

con aminasmorz.

24

smorz. e dim.

28

❉
32

smorz.

36

40

smorz.

rit.

❉

338 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 338

20/09/12 10.35

III
ALLEGRO GRAZIOSO

dolce

segue
4

8

12

cresc.

16

con fuoco❉❉❉
klaverværker 339

Hartmann_klaver_bind_2.indb 339

20/09/12 10.35

20

dim.

❉

23

dim.

❉

26

dim.

❉

❉

❉

29

32

340 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 340

20/09/12 10.35

35

dim.

38

smorz.

❉❉

42

a piacere❉45

a tempo con anima

segue

49

klaverværker 341

Hartmann_klaver_bind_2.indb 341

20/09/12 10.35

53

57

dim.

❉

❉

61

❉

❉

❉

❉

❉

❉

65

69

73

❉

❉

smorz.

❉

342 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 342

20/09/12 10.35

seks karakterstykker
13I
Den ældre Søster med sin Broder staaer
Forud paa Skibet og seer Solen stige,
Dens Glans igjennem Hav og Himmel gaaer
Dens Straaler fylde det Umaalelige.
En Flok af vilde Svaner drager bort
I Luften klinger Sangens Mol-Accord.

Op. 50Allegro grazioso

il canto ben marcato

❉

3

ten.

5

7

❉
klaverværker 343

Hartmann_klaver_bind_2.indb 343

20/09/12 10.35

9

❉

❉
12

❉

15

❉

❉

❉

❉

❉

18

dim. e smorz.

❉
21

❉

dolce

❉

❉

ten.

344 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 344

20/09/12 10.35

24

smorz.

27

❉

❉

30

smorz.

❉

❉

❉

33

❉
36

❉
38

dim.

klaverværker 345

Hartmann_klaver_bind_2.indb 345

20/09/12 10.35

II
Hen over Blomsterbed, Græsplet og Gange
Gjøres der Jagt, trods den fredende Hæk
Der en Sommerfugl, Drengen vil fange,
Nu har den sat sig, – nei nu fløi den væk!
Roserne dukke med Hovederne i Hækken:“Sommerfugl, frels dig! flyv hen over Bækken!”

Allegro molto

legatoe3leggiere

6

9

1

2

346 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 346

20/09/12 10.35

11

dolce

❉

❉

1

15

2

smorz.

❉

smorz.

❉

19

dim.

22

dim.

1

2

25

klaverværker 347

Hartmann_klaver_bind_2.indb 347

20/09/12 10.35

III
Jeg rider i Solskin, i Regn og i Blæst,Udmærket løber min Gyngehest.
Hu! Skoven er sort! hu! Natten er kold! –Jeg skal slaae ihjel hver Røver og Trold!
Min Sabel er skarp og min Hest den kan gaae, –Hjem komme vi begge med Guldskoe på!

Allegro vivace

5

10

15

1

2

18

348 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 348

20/09/12 10.35

23

1

28

32 II

2

CODA

36

41

klaverværker 349

Hartmann_klaver_bind_2.indb 349

20/09/12 10.35

IV
En Engel tæt ved os begge stod,
Den syntes hendes Veninde,
I Kinden var samme Rosen-Blod,
I Øiet hvert Hjertets Minde;
Og mens den stirred mod Jorden ned,
Den skjulte os med sin Vinge.
Naar Engle forstaae vor Kjærlighed,Vil Himmerigs Klokker klinge.

Andante sostenuto❉

4❉ segue

7

poco

10

❉

❉

13

350 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 350❉❉

20/09/12 10.35

3

16

3

smorz.

❉

❉

❉

19

❉

22

❉

25

dim.

❉

28

❉
ten.

dim. e smorz.

klaverværker 351

Hartmann_klaver_bind_2.indb 351

20/09/12 10.35

31

34

36

38

❉

❉

❉

41

352 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 352

20/09/12 10.35

44

❉

47

3

3

smorz.

50

smorz.

❉
353

smorz.

3smorz.

❉

❉
8

56

5

dim. e ri

te

nu

to

❉
klaverværker 353

Hartmann_klaver_bind_2.indb 353

20/09/12 10.35

V
Ja naar var dog det? Og hvor var dog det? –Jeg tænker og tænker og husker ei ret!
– Et Slot med Grave og Taarne jeg saae,
Der Riddersmænd dansed’ med Støvler paa,
Det runged i Salen, høit Fløiterne klang,
Og Qvinde jeg saae, og jeg hørte, de sang;
Hvor var det? Naar var det? Jeg ikke veed:– Der fødtes min unge Kjærlighed!

Allegro non troppo

dolce

legato

❉

❉

❉

4

❉
7

dim.

e

smorz.

❉

❉

10

13

354 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 354

20/09/12 10.35

16

❉

19

22

❉

26

30

dim.

❉
klaverværker 355

Hartmann_klaver_bind_2.indb 355

20/09/12 10.35

34

ten.
37

40

1

2

dolce

43

48

53

❉

356 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 356

20/09/12 10.35

58

❉

❉

62

dim.

e

smorz.

❉
66

69

❉

72

❉
76

❉
klaverværker 357

Hartmann_klaver_bind_2.indb 357

20/09/12 10.35

80

84

dim.

88

❉
91

riten.

ten.
95❉

a tempo99

358 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 358

20/09/12 10.35

VI
Piger og Knøse lege “tag fat,”
Skjult har Amor i Hækken sig sat,
Amor er med naar Hjertet er ungt,Kjærligheds Guld er saa rigt og saa tungt.

Agitatosegue

leggiere e staccato

4

7

10

13

dim.

klaverværker 359

Hartmann_klaver_bind_2.indb 359

20/09/12 10.35

17

❉

❉

21

25

30

con animasmorz.

34

1

2

360 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 360

20/09/12 10.35

37

sempre legato

40

43

46

dim.

smorz.

49

con animé

klaverværker 361

Hartmann_klaver_bind_2.indb 361

20/09/12 10.35

53

smorz.

57

61

❉
65

69

stacc. assai accelerando

73

smorz.

362 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 362

20/09/12 10.35

tre klaverstykker
14

I
SVENSK HJEMVEE SOMMEREN 1848
SWEDISH HOMESICKNESS, SUMMER 1848
Allegretto poco agitato

4

dim.

8

12

16

❉
klaverværker 363

Hartmann_klaver_bind_2.indb 363

20/09/12 10.35

20

❉

23

di

smorz.

26

mi

nu

en

e

rit.

do

❉

30

a tempo33

364 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 364

20/09/12 10.35

36

ri

te

nu

to

a tempo

40

43

47

dim.

e

smorz.

50

smorz.

klaverværker 365

Hartmann_klaver_bind_2.indb 365

20/09/12 10.35

II

CAPRICCIO
Allegro assai ( = 112)

6

6

6

6

6

6

1

5

dim.
6

6

6

8 II 2

dim.
6

6

6

6

12

6

6

17

3

3

6

6

6

6

6

❉

366 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 366

20/09/12 10.35

22

6

6

6

6

6

6

26

6

6
6

6

30
6

6

poco ritenuto

dim.
6

6

35

6

6

6

40

6

6

dim.

45

6

6

dim.

❉
klaverværker 367

Hartmann_klaver_bind_2.indb 367

20/09/12 10.35

III

Andantino quasi allegretto

dolce

4

cresc.

7

dim.

❉

❉

❉

10

❉

❉

❉

❉

13

dimin.

❉❉* See translation of Andersen’s poem in the Introduction.

368 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 368

20/09/12 10.35

16

❉
19

22

dim.

dim.

cresc.

❉

25

dim.

dim.

28

8

❉
klaverværker 369

Hartmann_klaver_bind_2.indb 369

20/09/12 10.35

30

33

smorz.

❉
7

36

❉
39

smorz.
dim.
❉

❉

8

43

dim. e smorz.

❉❉

370 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 370

20/09/12 10.35

etudes instructives
15

Allegro non troppo, graziosoI

Op. 53

8

4

❉

8

7

cresc.

❉

❉

8

10

dim.

❉
8

13

❉
16

cresc.

klaverværker 371

Hartmann_klaver_bind_2.indb 371

20/09/12 10.35

19

8

8

❉

❉

❉

8

22

dim.

❉
25

28

cresc .

31

dim.

❉

❉

35

dim.

❉

372 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 372

20/09/12 10.35

II
Allegro agitato assai

e leggiere assai

❉

❉

9

risoluto

❉
18

27

dim.

❉

❉

36

dim.

klaverværker 373

Hartmann_klaver_bind_2.indb 373

20/09/12 10.35

45

❉

❉

54

❉

poco rit.

❉

❉

❉

❉

a tempo

63

❉

72

dim.

m.d.
81

m.s.
smorz.

❉

374 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 374

20/09/12 10.35

III
Allegro giocoso

ten.

1

6

2

dim.

❉

12

dim.

1

19

3

dim.

24 II

2

3

legato

dim.

30

dim.

❉

❉
klaverværker 375

Hartmann_klaver_bind_2.indb 375

20/09/12 10.35

1

36

2

❉
ten.

42

48

dim.

❉
54

dim.

60

3

dim.

a tempo66

dim. e poco ritenuto

risoluto

376 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 376

20/09/12 10.35

IV
Andante con moto

sostenuto

❉

❉

❉
6

4

❉

❉

7

❉

1

2

smorz.

❉

❉

9

❉

❉

12

cresc.

❉

❉

15

❉

❉

❉

❉
klaverværker 377

Hartmann_klaver_bind_2.indb 377

20/09/12 10.35

18smorzando
dim.

❉

21

❉

crescendo

❉

❉

❉

24

assai

❉

❉

❉

5

cresc.

❉

cresc.

❉❉

27

dim. e smorz.

30

dim.

m.d.
33

m.d.

3

smorz.
3

m.s.

❉

❉

378 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 378

20/09/12 10.35

V
Allegro vivace

6

11

cresc.

cresc.

17

dim.

23

dim.

28

klaverværker 379

Hartmann_klaver_bind_2.indb 379

20/09/12 10.35

33

1

38

41 II

2

cresc.

46

6

51

58

380 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 380

20/09/12 10.35

VI

Allegro non troppo

❉
6

❉
11

cresc.

dim.

1

16

2

dim.

❉

❉

❉

21

cresc.

cresc.

❉
con anima

826

dim. e smorz.

❉
klaverværker 381

Hartmann_klaver_bind_2.indb 381

20/09/12 10.35

32

3

3

3

dim.

38

e risoluto

sost.

❉

❉

❉

44

cresc.

dim.

49

cresc.
dim.

❉

❉
54

59

cresc.

❉

382 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 382

20/09/12 10.35

fantasistykker
16I

Op. 54

Allegro poco moderato pastorale

dolce e cantabile

poco rit.

❉
4

❉

❉

a tempo vivo

leggiero

cre

scen

do

❉
7

dim.

❉

❉

❉

11

dim.

smorz.

❉

❉

15

❉

❉

18

smorz.

❉
klaverværker 383

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20/09/12 10.35

Tempo I

21poco accelerando

cantabilerit.

❉
a tempovivo

24

poco ritenuto

❉

❉

❉

27

cre

scen

do

dim.

30

dim.

33

dim. e smorz.

dim.

❉

❉

❉

❉
m.d.

36

m.s.

❉

384 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 384

20/09/12 10.35

II

Allegretto cappricioso

staccato e leggiero

cresc.

6

cresc.

❉

❉

❉

14

risol.

❉

❉

❉

❉

20

26

31

dim.

❉
klaverværker 385

Hartmann_klaver_bind_2.indb 385

20/09/12 10.35

37

cantabiledim.

a tempo

❉

❉

❉

❉

❉

44

poco rit.

dolce

tranquillo
e legato

legato52

crepoco cresc.

59

scen

do

di

❉

mi

❉

64

nu

en

do

❉
69

386 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 386

20/09/12 10.35

75

cantabile

❉
80

❉

❉

❉

❉

a tempo87

cresc.

❉❉

dim. e ritenutosmorz.

❉

94

smorz.

100

106

dim.

dim. e rit.

❉
klaverværker 387

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20/09/12 10.35

III
CANTO MARZIALE RELIGIOSO
Allegretto moderato❉❉

cresc.

alcresc.

al

❉

8

❉

❉

❉

❉

16

❉

❉

❉

22

dim.

dim.

dim.

❉

❉
29

❉

❉

388 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 388

20/09/12 10.35

35

dim.

dim.

❉

❉

42

❉

❉

47

❉

❉

51

energico e cresc. poco a poco

❉
57

❉

❉

Tempo poco rit.

smorz.

❉

❉

❉

❉

❉

❉

❉

❉
klaverværker 389

Hartmann_klaver_bind_2.indb 389

20/09/12 10.35

IV

Allegro molto assai

3

3

3

3

segue

3

6

dim.

9

12

1

dim.

smorz.

❉
14 II

❉

2

❉

390 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 390

20/09/12 10.35

17leggiero

20

23

dim.

26

29

32

klaverværker 391

Hartmann_klaver_bind_2.indb 391

20/09/12 10.35

35

smorz.

❉
38

❉
40

dolce

43

46

49

dim.

❉

392 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 392

20/09/12 10.35

V
Tempo di menuetto moderato, con espressione

❉

7

❉

dim.

❉

❉
1

15

dim.

cresc.

marcato

❉
22

❉

ten.

II 2

con forza

dim.

❉

❉

cresc.

❉

❉

❉

29

dim.

37

dim.

❉

❉

❉

rubatosmorz.

dim.

❉❉klaverværker 393

Hartmann_klaver_bind_2.indb 393

20/09/12 10.35

45

❉

❉

❉

❉

52

espressivo

58

❉
65

dim.

❉

dim.

❉

❉

❉

❉
1

72

2

smorz.

78❉❉

dimin.

❉❉❉

394 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 394

20/09/12 10.35

86

dimin.

❉

❉

❉

93

cresc.

marcatocon forza

❉

ten.

❉

101

dim.

cresc.

❉

dim.

❉

❉

❉

❉

108

dim.

dim.

❉

❉

rubato117smorz.

❉
124❉

Hartmann_klaver_bind_2.indb 395

❉

❉

❉

klaverværker 395

20/09/12 10.35

VI
Andantino innocente quasi allegretto

❉

❉

❉

❉

❉

7

dim.

cresc.

dim.

12

smorz.

cresc.

17dim.

cresc.

dim.

❉

❉

❉

24

dim.

dim.

❉

396 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 396

20/09/12 10.35

3

31

3

dim.

legato

36

dim.
dolce

42

47

cresc.

poco rit.

54

cre

scen

do

❉
klaverværker 397

Hartmann_klaver_bind_2.indb 397

20/09/12 10.35

a tempo

e dolce66

a tempo

dim.

e

ri

tar

dan

do

71

cresc.

dim.

76

81

cresc.

dim.

tranquillamentee

398 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 398

20/09/12 10.35

86

legato91

95

rubato

99

di

mi

nu

en

do

e

smorz.

103❉❉
klaverværker 399

Hartmann_klaver_bind_2.indb 399

20/09/12 10.35

novellette i seks smaastykker
17I

Op. 55

Allegretto

risolutosmorz.

❉

5

con animapoco cresc.

9

13

dim.

17

dim.

400 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 400

20/09/12 10.35

20

23

poco cresc.

27

cresc.

❉

30

dim.

34

❉
klaverværker 401

Hartmann_klaver_bind_2.indb 401

20/09/12 10.35

II
Allegro giocoso

dim.

5

dim.

9

dim.

legato

14

19

dim.

24

dim.

smorz.

402 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 402

20/09/12 10.35

III
Menuet-Tempo

6

12

17

dim.

❉

❉

❉

23

29

klaverværker 403

Hartmann_klaver_bind_2.indb 403

20/09/12 10.35

35

❉
42

sempre

49

dim.

56

cresc.

63

smorz.

❉
70dim.

404 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 404

20/09/12 10.35

IV
Allegro vivace, assai

dim.

6

13

20

27

dim.

33

klaverværker 405

Hartmann_klaver_bind_2.indb 405

20/09/12 10.35

39

47

55

cresc.

dim.

62

69

76

dim.

406 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 406

20/09/12 10.35

83

89

95

101

legato

107

dim.

dolce

❉

❉

❉

❉

112

❉
klaverværker 407

Hartmann_klaver_bind_2.indb 407

20/09/12 10.35

V
Andantino sostenuto

dolce

5

9

cresc.

dim.

13

poco rit.

a tempo

17

dim.

❉

smorz.

❉

408 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 408

20/09/12 10.35

VI
Allegro assai

6cresc.

13

di

mi

nu

en

do

20

26

32

ten.

legatodim.

klaverværker 409

Hartmann_klaver_bind_2.indb 409

20/09/12 10.35

38

ten.

43

smor

48

zan

do

52

56

cresc.

410 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 410

20/09/12 10.35

61

66

dim.

un poco riteTempo di menuetto

70

nu

dim.

to

❉
a tempo76

smorz.

con fuoco assai

❉

❉

81

klaverværker 411

Hartmann_klaver_bind_2.indb 411

20/09/12 10.35

klaverstykker
18

I
Gudfa’er fortæller, det er deiligt at høre derpaa.__
Ind storme alle de Smaa med lystigt Sind.__ Stille!
Gudfa’er fortæller.
H.C. Andersen

GUDFA’ER FORTÆLLERGODFATHER NARRATES
Moderato

risoluto
dim. e smorz.

sost.

6

11

agitato assai e leggiero

15

18

412 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 412

20/09/12 10.35

Tempo I
21

ten.

ten.

ten.
marcato il basso

27

diminuendo34

dim. e rit.

accellerato

Tempo I

agitato assai
40

riten.

744

5

dim. e smorz.

klaverværker 413

Hartmann_klaver_bind_2.indb 413

20/09/12 10.35

II
Gjallerhornet lød og henover Regnbuerne rede Guderne,klædte i Staal, for at kæmpe den sidste Kamp;____den hele Luft lyste om dem med Nordlys = Blink,men Mørket var det seirende.
H.C. Andersen: Vikingefruens
Drøm af “Dynd_kongens Datter”.

VIKINGEFRUENS DRØMDREAM OF THE VIKING WIFE
Allegro moderato

3

3

marc.

3

7
3
3

3

3

13

3

3

3

3

3

3

19

3

smorz.

414 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 414

20/09/12 10.35

25

31

3

37

43

49

3
3

3

3

3

3

3

3

klaverværker 415

Hartmann_klaver_bind_2.indb 415

20/09/12 10.35

3
3

55

3

3

3
3

3

62

3

3
3

3
3

68

smorz.

75

3

83

3
3

3

3

3

3

smorz.

3

416 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 416

20/09/12 10.35

III

TYS!
HUSH!
Allegretto

Hvor Havets Roser dufte, og Vinvet aabent staar,saa sagtelig, saa listelig, en Ungersvend gaar:
Indslumret ved Rokken er den gamle Qvinde nys,
Mon nu den søde Rose, ham nægte vil sit Kys?
Hun truer med sin Finger ad hans knirkende Sko __“For Guds Skyld, Moer kan vaagne og se os Beggeto!”
Carl Andersen

leggiere

4

7

dim.

10

13

1

2

klaverværker 417

Hartmann_klaver_bind_2.indb 417

20/09/12 10.35

15

18

22

smorz. e dim.

25

29

33

smorz.

418 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 418

20/09/12 10.35

37

cantabile

42

47

51

55

dim.

60

smorzando

klaverværker 419

Hartmann_klaver_bind_2.indb 419

20/09/12 10.35

IV
En Stjerne bryder af Skyen frem,
Den tændtes hisset i BethlehemOg eier saa liflig en Lue.
Min Sjæl, hvi er Du saa Angestfuld?
Hvi drages Vingen saa træt mod Muld?
Lad Tvivl og Frygt Dig ei kue,
Nu Stjernen Du faaer at skue!
Carl Andersen

JULETRØSTCHRISTMAS SOLACE
Poco andantesostenuto e legato

59legato cresc.

13

3

dim.

420 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 420

20/09/12 10.35

17

più moto

21

cresc.

marcato25

smorz.

3
3

30

poco cresc.
6

6

6

6

6

6

6

6

legato32

336Tempo I (

3

3
6

3

3

3
6

6

6

riten.

= )34

klaverværker 421

Hartmann_klaver_bind_2.indb 421

20/09/12 10.35

36

dim.

38

cresc.

40

dim.

marc.
42

44

m.s.
46

smorz.

ritenuto

422 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 422

20/09/12 10.35

studier og novelletter
19
I
Moderato con espressione

Op. 656

11

16

cresc.

21

klaverværker 423

Hartmann_klaver_bind_2.indb 423

20/09/12 10.35

26

1

2

31

35

40

45

cresc.

424 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 424

20/09/12 10.35

50

dim. e rit.

55

a tempo

60

cresc

dim.

65

69

klaverværker 425

Hartmann_klaver_bind_2.indb 425

20/09/12 10.35

II
Allegro appassionato

5

9

13

8

8

18

23

cresc

426 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 426

20/09/12 10.35

28

33

38

cresc.

con fuoco

43

cresc.

48

cresc.

52

klaverværker 427

Hartmann_klaver_bind_2.indb 427

20/09/12 10.35

III
Moderato

3

5

7

428 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 428

20/09/12 10.35

1

8

2

8

9

11

13

16

18

ritard.

klaverværker 429

Hartmann_klaver_bind_2.indb 429

20/09/12 10.35

a tempo
20

22

24

26

28

430 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 430

20/09/12 10.35

31

33

35

smorz.

IV
Allegro agitato, con passione

3

klaverværker 431

Hartmann_klaver_bind_2.indb 431

20/09/12 10.35

6

sost.

9

12

smorz.

15

agitato18

cresc.

segue

432 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 432

20/09/12 10.36

21

cresc.

e

con

fuoco

cresc.

assai

8

24

e

accellerando

Tempo I27

8

smorz. e dim.

legato30

poco rit. e dim.

33

a tempo con fuoco

cre

scen

do

35

klaverværker 433

Hartmann_klaver_bind_2.indb 433

20/09/12 10.36

VModerato pastorale

59sempre legato

14

18

sost.

23

dim.

poco rit.

434 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 434

20/09/12 10.36

VI
Allegroleggiere10

cresc.

20

poco cresc.

30

40

50

smorz.

klaverværker 435

Hartmann_klaver_bind_2.indb 435

20/09/12 10.36

61

con anima

legato67

a tempo73

poco rit.

79

85

1

2

436 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 436

20/09/12 10.36

89

96

103

110

117

dim.

klaverværker 437

Hartmann_klaver_bind_2.indb 437

20/09/12 10.36

VII
Allegro vivo scherzando

marc.

dim.

7

marc.

14

dim.

leggiere

21

438 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 438

20/09/12 10.36

29

36

cresc.

43

cresc.

sost.

50

57

klaverværker 439

Hartmann_klaver_bind_2.indb 439

20/09/12 10.36

64

sost.

smor

zan

do

con

73

animatocresc.

79

86

cresc.

93dim.

440 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 440

20/09/12 10.36

VIII
Moderato4

l’istesso movimento

8

=

6

con anima
dim.

11

8

14

cresc.

18

8

klaverværker 441

Hartmann_klaver_bind_2.indb 441

20/09/12 10.36

Tempo I

22=poco rit.

3

3

25

6

6
6

3

3

3

3

3
8

28

3

6
3

6

3

dim.

e

rit.

3

3

3

IX
Allegretto grazioso

leggiere

5442 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 442

20/09/12 10.36

10

15

19

dim.

cresc.

23

dim.

marc.

26

poco cresc.

klaverværker 443

Hartmann_klaver_bind_2.indb 443

20/09/12 10.36

30

35

legato

39

44

50

55

smorzando

444 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 444

20/09/12 10.36

to klaverstykker(Musikblade ... 1866)

20

I
Allegro agitato assai, capriccioso

612cresc.

18

sin.

24

cresc.

klaverværker 445

Hartmann_klaver_bind_2.indb 445

20/09/12 10.36

30

cre

scen

do

36

con fuocoecrescendo

42

cresc.

48

cresc.

54

446 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 446

20/09/12 10.36

II
Poco andante, cantabile

marc.

dim.

segue

9

16

3

1

2

dim.

22

28

cresc.

* See discarded version of this piece in Appendix 4.

Hartmann_klaver_bind_2.indb 447

klaverværker 447

20/09/12 10.36

33

smorz.

38

dim.

43

dim.

dim.

legato e cresc.

48

dim.

53

59

dim.

dim.

smorz.

448 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 448

20/09/12 10.36

fantasistykke(Musikblade ... 1871)

21
Moderato

3

5

7

klaverværker 449

Hartmann_klaver_bind_2.indb 449

20/09/12 10.36

9

con fuoco assai

11

ten.

ten.

13

15

cresc.

17

450 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 450

20/09/12 10.36

19

3

20

3

3

22

ritenuto

23

1
a temposmorz.

risoluto
klaverværker 451

Hartmann_klaver_bind_2.indb 451

20/09/12 10.36

23 II2a temposmorz.

25

27

29

smorz.

452 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 452

20/09/12 10.36

fantasistykke(‘Fremtidens’ Nytaars-Hefte 1875)

22

Allegretto grazioso e moderato

Pianofortesmorz.

4

con anima

7

10

13

klaverværker 453

Hartmann_klaver_bind_2.indb 453

20/09/12 10.36

19smorz.

22

25

1

2

cresc.

26

29

cresc.

32

cresc.

454 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 454

20/09/12 10.36

35

cresc.

passionato

con fuoco

38

cresc.

41

5

dim.

5

5

smorz.

a tempo con anima

45

rit.

48

klaverværker 455

Hartmann_klaver_bind_2.indb 455

20/09/12 10.36

51

53

56

60

dim.

63

dim.

66

legato456 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 456

20/09/12 10.36

klaverstykker fra ældre og nyere tid
23

I
Allegro moderato, con passione

risoluto

Op. 74

dim.

4

7

10

sostenuto

cresc.

klaverværker 457

Hartmann_klaver_bind_2.indb 457

20/09/12 10.36

13

16

cresc.

19

22

dim.

25

27

1

458 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 458

20/09/12 10.36

30

dim.

33

dim.

legato
36

38

4

4

8

40
4
4

4

4

4

4

4
2

cresc.

2

4
2

2

42

6

4
klaverværker 459

Hartmann_klaver_bind_2.indb 459

20/09/12 10.36

45

cresc.

48

51

risoluto

54

cresc.

57

cresc.

59

con fuoco assai

460 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 460

20/09/12 10.36

61

dim.

63

smorz.

m.s.

65

Moderato

68

poco rit.

71

m.s.

❉

klaverværker 461

Hartmann_klaver_bind_2.indb 461

20/09/12 10.36

II
Allegro energico, non vivace

6

11

cresc.

16

cresc.

21

cresc.
3

3

3

3
3

3

3

3

462 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 462

20/09/12 10.36

26

3

cresc.

3

3
3

3

3
1

3

31

3

3

cresc.

3

3

3

3

35

40

45

klaverværker 463

Hartmann_klaver_bind_2.indb 463

20/09/12 10.36

50

55

cresc.

60

marc.

66

cresc.

72

464 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 464

20/09/12 10.36

78

84

8

90

marc.

cresc.

978

con fuoco

smorz.

104

cresc.

con passione accelerato

klaverværker 465

Hartmann_klaver_bind_2.indb 465

20/09/12 10.36

110

dim. e ritard.

Tempo un poco più moderato
116

❉

❉

122

con fuoco

127

132

con fuoco

466 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 466

20/09/12 10.36

137

143

dim.

❉

❉

149

risol.

❉
155

poco rit.

a tempo, con fuoco❉
161

klaverværker 467

Hartmann_klaver_bind_2.indb 467

20/09/12 10.36

167

172

177

3

3

cresc.

3

3

3
3

3

3

3

3

3

3

3

cresc.

3182

cresc.

188

cresc.

468 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 468

20/09/12 10.36

Più allegro
195

cresc.

8203

cresc.

con brio

Tempo I, commodo

210

rit.

217

Vivace224

dim. e poco riten.

risol.
klaverværker 469

Hartmann_klaver_bind_2.indb 469

20/09/12 10.36

III
Andantino sostenuto

4

8

12

dim.

15

smorz.

470 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 470

20/09/12 10.36

18

passionato

22

25

dim.

28

cre

scen

do

klaverværker 471

Hartmann_klaver_bind_2.indb 471

20/09/12 10.36

31

dim.

34

cresc.

37

legato840

472 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 472

20/09/12 10.36

IV
Allegretto moderato

leggiere

6

11

15

con anima
dim.

20

klaverværker 473

Hartmann_klaver_bind_2.indb 473

20/09/12 10.36

25

dim. e poco rit.

30

a tempo34

37

leggiere

41ten.

474 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 474

20/09/12 10.36

45

48

dim.

51

54

57

dim.

klaverværker 475

Hartmann_klaver_bind_2.indb 475

20/09/12 10.36

61

65

69

risoluto

73

77

cresc.

476 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 476

20/09/12 10.36

81

dim.

85

89

93

dim.

8

97

klaverværker 477

Hartmann_klaver_bind_2.indb 477

20/09/12 10.36

V
Allegro moderato e cantabile

5

3

3

Vivo

8

3

11

legato13

cresc.

478 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 478

20/09/12 10.36

15

17

cresc.

19

dim.

21

24

legatoklaverværker 479

Hartmann_klaver_bind_2.indb 479

20/09/12 10.36

27

29

ten.

ten.

ten.

ten.

smorz.

31

cresc.

33

cresc.

35

3

3

480 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 480

20/09/12 10.36

37

3smorz.

39

cresc.

41

43

45

klaverværker 481

Hartmann_klaver_bind_2.indb 481

20/09/12 10.36

47

dolce

legato49

legato51

dolce

legato53

legato55

dim.

482 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 482

20/09/12 10.36

57

dim.

59

cresc.

61

legatocon fuoco

63

65

klaverværker 483

Hartmann_klaver_bind_2.indb 483

20/09/12 10.36

67

8

70

passionato

72

75

molto cresc.

77

484 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 484

20/09/12 10.36

80

84

dim.

88

smorz.

92

Allegropoco rit.

8

cresc.

95

klaverværker 485

Hartmann_klaver_bind_2.indb 485

20/09/12 10.36

thema med 14 variationer
24
Indledning

Thema

4
2

1

5

2

8

3

15

3

3

1

2

2

1

2

2

3

1

2

3

4

5

4

4

5

1

1

1

5

1

1

4

3

3

2

2

1

2

3

2

1

2

1

2

1

2

4

1

2

Var. 2

2

25

4

3

5

21

5

2

3

Var. 1

5

2

3

1

2

3

1

2

1

1

4

5

4

2

2

3

5

3

5

1

1

1

2

2

486 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 486

20/09/12 10.36

29

Var. 3
1

3

2

1

3

5

3

2

3

3

3

3

1

3

3

3

5

4

3

3

3
5

5

3

32

5

35

2

3

1

4

3

3

2

3
3

2

3

3

3

3

3

3

3

3

5

3

3

2

3

1

3

2

1

5

2

Var. 4
3

1

1

3
4
2

39

4

3

3

3

3

5

3

5

3

4

43

3

2

2

Var. 5
1

3

1

2

5

49

3

2

Var. 6

5

2

1

5

1

4

1

2

1

5

3

1

4

2

1

4

2

1

klaverværker 487

Hartmann_klaver_bind_2.indb 487

20/09/12 10.36

55

2

5

4

5

3

1

5

4

1

1

2

3

3

1

Var. 7

60

2

5

1

3

1

3

3

4

5

2

1

5

3

1

4

2

5

4

4

3

2

1

3

5

Var. 8 4

66

5

1

3

3

2

4

1

1

4

4

3

5

3

1

71

3
1

1

77

2

1

2

3
1

4

Var. 9

4
2

1

1
5

1

5

2

2
4

1

2

3
5

1

3
1

3
2

3
1

1

2

2
4

3
5

1
5

2
4

Var. 10

1
3

83

5
3

4
2

4

3
1

1
5

1

2
1

2
4

1

3
1

5

1
5

3

2

488 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 488

20/09/12 10.36

87

3
1

Var. 11

3
1

5

4

2

4

2

1

2

3
1

94

2

1

1

3

2

2

3

3
3

102

3

3
3

2

1

3

3

1

3

2

5

3

5

2

1

3

3

1

3
1

1 3

5

2

1

3

1

3

1

3

4

5 4 3 4 1 2

3

3

3

1

Var. 12

3

1

2

3

stacc.
2

5

3

3

108

113

Var. 13

118

1

dim.
5

1

klaverværker 489

Hartmann_klaver_bind_2.indb 489

20/09/12 10.36

124

1

1

5

1

2

130

1

1

1

136 Var. 14

4

5

1

1

3

4

2

2

141 3

3
1

4

2
1

2

3
1

5

2
1

3

1

4

1

1

146

1

3

4
2

1

490 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 490

20/09/12 10.36

grand vals
25

dolce con anima

❉

❉

❉

6

cresc.

12

❉

❉

17

❉
1

2

21

❉
klaverværker 491

Hartmann_klaver_bind_2.indb 491

20/09/12 10.36

25

❉

❉

❉

30

❉

35

❉

40

dolce

45

col ped.

492 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 492

20/09/12 10.36

50

poco a poco cresc.

❉

❉

56

❉

❉

62

dolce

❉

❉

❉

68

74

klaverværker 493

Hartmann_klaver_bind_2.indb 493

20/09/12 10.36

79

sempre cresc.

dolce

❉

❉

❉

85

sempree ben marcato

decresc.

❉

91

❉

97

❉

103

494 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 494

20/09/12 10.36

8

108

❉

❉

Fine

113

❉

119

❉

TRIO

dolcissimo

❉

❉

❉

125

❉
1

131

❉

2

❉
klaverværker 495

Hartmann_klaver_bind_2.indb 495

20/09/12 10.36

135

lusingando

❉

❉

❉

140

❉

❉

❉

❉

145

❉

❉

❉

❉

D.C. al Fine

150

❉

❉

❉

496 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 496

20/09/12 10.36

fantasi26
sost.

Allegretto

6

Op. 7

sost.

sempre11

16

con espressione❉
20❉
klaverværker 497

Hartmann_klaver_bind_2.indb 497

20/09/12 10.36

24

28

dolce

❉
33

38

dim.

rit.

e

dim.

Allegro con brio

43

48

❉

❉

498 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 498

20/09/12 10.36

54

❉

❉
60

❉

❉

65

con grazia

❉

❉

71

76

grazioso

cresc.

❉❉
82

cresc.

decresc.

cresc.

klaverværker 499

Hartmann_klaver_bind_2.indb 499

20/09/12 10.36

87

poco rit.

decresc.

risoluto

92

a tempo97

cresc.

❉
102

cresc.

8

107

112

cresc.

500 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 500

20/09/12 10.36

117

scherzando

122

cresc.

127

132

risoluto

❉

❉

139

molto legato e dolce146❉
klaverværker 501

Hartmann_klaver_bind_2.indb 501

20/09/12 10.36

152

cresc.

❉

❉

❉

158

con anima

164

169

con fuoco

174

sempre cresc.

178

502 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 502

20/09/12 10.36

183

cresc.

cresc.

❉
188

❉
193

con fuoco

198

cresc.

203

208

poco a poco ritard. e dim.

klaverværker 503

Hartmann_klaver_bind_2.indb 503

20/09/12 10.36

Tempo I (Allegretto)
214

❉
219

223

❉
227

232

dolce

❉
8

236

diminuendo

504 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 504

20/09/12 10.36

240

rit.

245

e

dimin.

Allegro con brio

❉
251

❉

❉

257

❉
263

cresc.

268

alklaverværker 505

Hartmann_klaver_bind_2.indb 505

20/09/12 10.36

273

decresc.

278

cresc.

284

dim.

289

con grazia❉
296

grazioso

a tempo302

risoluto

rit.

506 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 506

20/09/12 10.36

309

❉
8

314

319

crescendo

323

molto con fuoco sin’ al Fine

327

❉
331

❉

8

leggiero❉klaverværker 507

Hartmann_klaver_bind_2.indb 507

20/09/12 10.36

8

335

339

8

344

349

8

353

358

❉

❉

508 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 508

20/09/12 10.36

klaverstykke, 183727
Andantinocresc.

❉

❉

5

dim.

❉

9

13

smorz.

klaverværker 509

Hartmann_klaver_bind_2.indb 509

20/09/12 10.36

introduktion og andantino religioso
28
Op. 26INTRODUCTION
Allegro non tanto

❉

❉

5

9

❉

❉

❉

poco accel.

ritenuto

Andantino

dolcerit. a piacere13

smorz.

18

ANDANTINO RELIGIOSO

sostenuto e dolcedim.

510 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 510

20/09/12 10.36

22

dim.

26

cresc.

❉

❉

❉

29

smorz.

poco cresc.

33

cresc.

❉

❉

36

dim.

❉

smorz.

❉

dolcissimo❉

39

smorz.

klaverværker 511

Hartmann_klaver_bind_2.indb 511

20/09/12 10.36

42

cresc.

❉

❉

45

❉
48

❉
51

dim.

tranquillo

54

cresc.

512 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 512❉

20/09/12 10.36

58

stringendo

dolce

❉
61

smorz.

❉

❉

64

68

cresc.

❉

❉

❉

71

dim.

❉

sost.

❉
klaverværker 513

Hartmann_klaver_bind_2.indb 513

20/09/12 10.36

75

❉

❉

78

dim.

❉

❉

❉

❉

81

tranquillo

84

87

dolce

90

smorz.

❉

514 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 514

20/09/12 10.36

gamle minder
29

5

10

cresc.

dim.

1

14

dim.

17 II

2

klaverværker 515

Hartmann_klaver_bind_2.indb 515

20/09/12 10.36

21

25

dim.

smorz.

sost.

29

8

33

36

516 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 516

20/09/12 10.36

39

42

46

51

8

55

8

klaverværker 517

Hartmann_klaver_bind_2.indb 517

20/09/12 10.36

58

62

65

69

74

518 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 518

20/09/12 10.36

hamborger-skotsk
30

6

dolce

1

2

12

dim.

17

dolce e leggiere

22

dim.

klaverværker 519

Hartmann_klaver_bind_2.indb 519

20/09/12 10.36

27

33

marc.

38

dim.

dolce

43

48

1

2

53

dim.

520 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 520

20/09/12 10.36

canzonetta
31
Andantesempre sostenuto
ben marcato il canto59cresc.

13

3

1

poco più animato
16

2

sempree legato
6

6

klaverværker 521

Hartmann_klaver_bind_2.indb 521

20/09/12 10.36

rubatoa tempo

19

6

6

6

6

22

6

smorz.
6

6

3
3

25

3

dim.

29

33

37

dim.

smorz.

522 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 522

20/09/12 10.36

indfald
32
I
Moderato grazioso

3

6

10

1

2

klaverværker 523

Hartmann_klaver_bind_2.indb 523

20/09/12 10.36

II
Allegro6

12524 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 524

20/09/12 10.36

sang uden ord. hjemvee
33
Allegro poco agitato

4

l’istesso movimento

7

11

Tempo I17

smorz.

klaverværker 525

Hartmann_klaver_bind_2.indb 525

20/09/12 10.36

20

23

26

risol.

dim. e rit.
3

3

3

3

3

3

31

1

2

3

dim.

34

3

3

3

3

3
3

3

3

smorz.

526 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 526

20/09/12 10.36

om foraaret
34
Prestograzioso

7

13

19

ten.

25

ten.

ten.

ten.

ten.

ten.

klaverværker 527

Hartmann_klaver_bind_2.indb 527

20/09/12 10.36

31

ten.

ten.

37

42

I

1

2

smorz.

47

legato53

528 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 528

20/09/12 10.36

59

dim.

65

smorz.

70

75

dim.

dim.

82

leggiereklaverværker 529

Hartmann_klaver_bind_2.indb 529

20/09/12 10.36

88

smorz. e dim. poco a93poco sin’ al fine

98

104

riten.

109ten.

530 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 530

20/09/12 10.36

vinteren
35
Tempo di menuetto moderato

33risoluto energico

3

9

3
3
3
3

3

14

3

3
3

20

25

❉

❉

❉
klaverværker 531

Hartmann_klaver_bind_2.indb 531

20/09/12 10.36

31

ten.

❉

❉

❉

❉

❉

37

ten.

❉

❉

❉

43

❉

❉

❉

❉

49

3

3

risol.

3

57

3
3
3
3

3

532 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 532

20/09/12 10.36

62

3

3
3

3

3

68

❉

74

sostenuto

80

di mi

nu

en

do

86
3

3

❉
klaverværker 533

Hartmann_klaver_bind_2.indb 533

20/09/12 10.36

langsom vals
36

5

9

13

534 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 534

20/09/12 10.36

stambogsblad(Stork, Stork Langeben)

37
Allegro vivace

Stork! Stork! Lan ge ben,leggiere4hvor var du saa læn

ge

❉

❉

❉

❉

8

dolce

12

dim.

dim.

16

dim.

klaverværker 535

Hartmann_klaver_bind_2.indb 535

20/09/12 10.36

‘den 20 de januar 1848’
38
Moderato, non troppo

= 92

5

9

3

3

13

sostenuto* The date refers to the day of King Christian VIII’s death.

536 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 536

20/09/12 10.36

17

22

27

dolente

dim.

31

dim.

35

cresc.

e

poco

ac

cel

le

ran

do

klaverværker 537

Hartmann_klaver_bind_2.indb 537

20/09/12 10.36

39

dim.
smorz.

44

48

3

3

52

dim.

56

62

538 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 538

20/09/12 10.36

68

dolce

74

dim.

80

smorz.

e

dim.

86

3

sempre91

a temporitenuto

96

klaverværker 539

Hartmann_klaver_bind_2.indb 539

20/09/12 10.36

langsom menuet
39

dim.

6

11

Fine
17

Allegro

segue
23

28

D.C. al Fine
540 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 540

20/09/12 10.36

klaverstykke, 1849
40

5

Fine

9

13

D.C. al Fineklaverværker 541

Hartmann_klaver_bind_2.indb 541

20/09/12 10.36

albumsblad
41
Allegretto

legiero❉❉❉simile59a tempo14

3

poco ritenuto

3

19

3

3

3

3

3

3

3

espressivo
con fuoco

33

3

542 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 542

20/09/12 10.36

a tempo
24

3

3

3

poco ritenuto

dolce e29

attaquecantabile

36
3

3

42

48

dim.

klaverværker 543

Hartmann_klaver_bind_2.indb 543

20/09/12 10.36

54

58

62
3

67

73

smorz.

79

544 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 544

20/09/12 10.36

polkamæssig
42

5

10

15

klaverværker 545

Hartmann_klaver_bind_2.indb 545

20/09/12 10.36

20

Fine

25

dolce

30

34

1

2

D.C.

546 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 546

20/09/12 10.36

sct. hansaften vals
43
INDLEDNINGINTRODUCTION

risoluto

dim.

❉
9

VALS
WALTZ

❉

❉

❉

❉

15

21

27

❉
klaverværker 547

Hartmann_klaver_bind_2.indb 547

20/09/12 10.36

33

39

46

53

cresc.

❉

❉

❉

59

548 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 548

20/09/12 10.36

65

70

75

80

85

dim.

❉

❉
klaverværker 549

Hartmann_klaver_bind_2.indb 549

20/09/12 10.36

90

❉

❉

❉

94

❉

98

dim.

❉

❉

103

❉

❉

107

❉

❉

550 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 550

20/09/12 10.36

sjællandsk reel
44
Allegro agitato

Pianoforte

7

❉

❉

15

20

1

2

dim.

❉

❉

23

klaverværker 551

Hartmann_klaver_bind_2.indb 551

20/09/12 10.36

29

cresc.

1

35

2

❉
39

❉

❉

❉

❉

45

❉
51

❉

❉

57

❉

❉

552 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 552

20/09/12 10.36

63

cresc.

dim.

❉70

cresc.

77

cresc.

84

cresc.

❉

❉

91

❉

❉

❉

❉

98

klaverværker 553

Hartmann_klaver_bind_2.indb 553

20/09/12 10.36

bellmanske billeder
Menuetter

45
Allegro non troppo ( = 100)

marcato❉a tempo845

ritenuto assai❉
a tempo88

ritenuto assai

❉

❉

11

❉

❉

❉

❉

13

❉

❉

554 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 554

20/09/12 10.36

15

m.d.
cresc.

dim.

❉

17

3

più lento

19

3

3

3

3

❉

21

3

3

3

❉

3

3

3

3

ritard.

❉

❉

❉
8

24

m.s.

m.d.

klaverværker 555

Hartmann_klaver_bind_2.indb 555

20/09/12 10.36

4

MENUETTO I
Moderato ( = 88)

26

3

3

3

3

❉

❉
31

3

3

3

3

❉
37

3

3

dim.

3

❉
44

3

3

3

50

sostenuto

ten.

ten.

❉

57

cresc.

❉

dim.

sostenuto❉

556 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 556

20/09/12 10.36

63

dim.

❉

❉

70

3

3

3

3

77

3

3

3

3

❉

3

3

82

smorz.

89

riten.

smorz.

❉❉
klaverværker 557

Hartmann_klaver_bind_2.indb 557

20/09/12 10.36

95

Più moto ( = 144)

m.s.

m.s.

m.d.

ritenuto❉
a tempo102

con anima❉

107

smorz.

MENUETTO II
Allegro moderato ( = 116)
112

risoluto❉

e rit.

❉

con anima

❉

❉

118

❉

558 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 558

20/09/12 10.36

124

marc.

❉

❉

❉

130

dim. e❉❉❉❉smorzando❉

136

poco ritenuto

142

a tempo

3

❉

148

dim.

❉
klaverværker 559

Hartmann_klaver_bind_2.indb 559

20/09/12 10.36

154

❉

❉
3

159

3
3

❉

❉

❉

164

dolce

❉

❉

❉

170

❉

❉

176

cre

scen

do

❉
182

❉

❉

dim.

poco cresc.

560 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 560

20/09/12 10.36

188

smorz.

❉❉

194 a tempo

3

❉
❉
200

❉

❉

❉

207

dim.

❉

❉

❉

e

smorzando❉

213

poco riten.

klaverværker 561

Hartmann_klaver_bind_2.indb 561

20/09/12 10.36

219

a tempocon anima

3

❉

225

❉

cresc.

❉❉
a tempo231

dim. e rit.

cre

❉

❉

237

scen

do

e

accelerando

❉

poco

a

poco

❉

❉

243

cre

scen

do

❉

8

❉

❉

❉

250

❉

❉

❉

8

❉

562 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 562

20/09/12 10.36

stambogsblad46
Andante sostenuto

4

klaverværker 563

Hartmann_klaver_bind_2.indb 563

20/09/12 10.36

aftenstemning
47
Poco Andante

3

3

3

4

3

3

3

dim.
3

3

3

7

3

3

3

3

3

3

3

3

3

3

3
3

3

3

3

3

3

10

3
3

3

3

cre

564 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 564

20/09/12 10.36

13

3

3

3

dim. e

scen

do

❉
3

16

3

3

3

3

3

3

smorz.
3

3

3
3

3

3

3

3
3

3

19
3

3

3

3

3

3
3

3

22

3

3

3

3

3

3

3

3

3

3

3

3

3
3
3

3

3

3
3

3
3

❉

25

3

3

3

❉
* See a discarded version of this piece in B major in Appendix 5.

Hartmann_klaver_bind_2.indb 565

klaverværker 565

20/09/12 10.36

i folkevise-tone
48
Moderato

dim.

4

7

dim.

smorz.

10dim.

566 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 566

20/09/12 10.36

albumsblad
49
Poco andante

7

13

cresc.

18

23

cresc.

klaverværker 567

Hartmann_klaver_bind_2.indb 567

20/09/12 10.36

29

35

3

3

3

3

41

cresc. assai
3

3

3

3

3

3

3

45

6

3
3

3

3

6

6

smorz.

3

3

6

3

m.d.
50

3

56

3

3

3

dim.

m.s.

3

3

3

3

568 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 568

20/09/12 10.36

efter motiv af en svensk folkevise
50

4

1

2

6

10

14

klaverværker 569

Hartmann_klaver_bind_2.indb 569

20/09/12 10.36

stambogsblad n o 1
51Andante sostenuto
passionuna chorda
sempre legato

5

10

3

❉

15

570 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 570

20/09/12 10.36

stambogsblad n o 252Allegretto

❉
6

11

❉

❉

16

cresc.

❉

❉

❉

21

smorz.

❉
klaverværker 571

Hartmann_klaver_bind_2.indb 571

20/09/12 10.36

stykker for johan peter hartmann
53
I
1

5

6

3

1

5

2

1

5

Ende 1

3

2

5

5

2

1

1

3

3

11

3

1

5

5

3

1

1

2

5

3

1

1

2

2

3

4

Forfra

1

II
1

5

4

1

2

1

2

2

572 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 572

20/09/12 10.36

svanerne
Humoreske

54

Allegretto moderato (Vals-Tempo)

1
4

I

8

2

8

6

8

klaverværker 573

Hartmann_klaver_bind_2.indb 573

20/09/12 10.36

a tempo, poco più moto10

poco rit.

grazioso

12

14

dim.
16

gratu

le

rer

til

de

8

19

fem! . . .

574 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 574

20/09/12 10.36

i en stambog
55

marsch
56

4

3

3

6

klaverværker 575

Hartmann_klaver_bind_2.indb 575

20/09/12 10.36

9

6

6

Fine

TRIO
11

segue

segue

14

17

1

2

rit.

D.C. al Fine

576 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 576

20/09/12 10.36

appendiks appendix anhang

Hartmann_klaver_bind_2.indb 577

20/09/12 10.36

sonate. tidlig version af opus 80
I

App. 1Andantino con moto

6

11

16

20

578 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 578

20/09/12 10.36

26

segue allo mode

Allegro moderato
32

ten.

36

40

44

2
2

klaverværker 579

Hartmann_klaver_bind_2.indb 579

20/09/12 10.36

48

52

56

1

2

3

4

3

60

65

580 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 580

20/09/12 10.36

70

Poco più moderato

74

78

Tempo I82

smorz.

86

1

1

klaverværker 581

Hartmann_klaver_bind_2.indb 581

20/09/12 10.36

90

94

8

98

102

107

8

582 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 582

20/09/12 10.36

112

116

8

121

8

126

131

klaverværker 583

Hartmann_klaver_bind_2.indb 583

20/09/12 10.36

136

141

5
2

146

151

156

Poco più moderato

584 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 584

20/09/12 10.36

162

marc.

accelerato e cresc. assai

167

Tempo I
172

178

183

klaverværker 585

Hartmann_klaver_bind_2.indb 585

20/09/12 10.37

188

193

198

203

208

586 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 586

20/09/12 10.37

più moderato
214

219

dextra

❉

❉

❉

224

229

234

8
klaverværker 587

Hartmann_klaver_bind_2.indb 587

20/09/12 10.37

239

243

4

247

252

=

256

588 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 588

20/09/12 10.37

259

262

265

268

271

klaverværker 589

Hartmann_klaver_bind_2.indb 589

20/09/12 10.37

274

277

Più allegro

280

marc.

286

590 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 590

20/09/12 10.37

II
Andante con moto

7

12

17

22

klaverværker 591

Hartmann_klaver_bind_2.indb 591

20/09/12 10.37

28

33

38

42

cresc.

45

cresc.

dim.

592 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 592

20/09/12 10.37

48

cresc.

52

56

60

5

64

klaverværker 593

Hartmann_klaver_bind_2.indb 593

20/09/12 10.37

69

73

77

81

84

594 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 594

20/09/12 10.37

sonate-fragment iApp. 2
Allegro molto

❉

6

dolce

10

14

❉

❉

18

❉
klaverværker 595

Hartmann_klaver_bind_2.indb 595

20/09/12 10.37

22

25

28

dim.

32

36

dim.

dolce

40

❉

❉

596 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 596

20/09/12 10.37

44

dim.

dim.

❉

❉

48

dolce, con anima

52

cresc. poco a poco

56

passionato

dim.

❉

❉

60

dim.

❉

❉

64

klaverværker 597

Hartmann_klaver_bind_2.indb 597

20/09/12 10.37

67

❉
71

cresc.

76

con fuoco

dolce

❉

80

1

2

84

dolce

598 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 598

20/09/12 10.37

88

dim.

93

❉

❉

❉

98

103

❉

107

klaverværker 599

Hartmann_klaver_bind_2.indb 599

20/09/12 10.37

111

con amina

115

cresc.

❉

118

cresc.

121

124

600 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 600

20/09/12 10.37

127

130

133

cresc.

136❉

klaverværker 601

Hartmann_klaver_bind_2.indb 601

20/09/12 10.37

sonate-fragment ii
App. 3510

15

602 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 602

20/09/12 10.37

klaverstykke(Opus 20 / II)

App. 4Moderato, non troppo

7

dim.

13

ten.

ten.

ten.

17

22

klaverværker 603

Hartmann_klaver_bind_2.indb 603

20/09/12 10.37

26

30

dim.

34

smorz.

39

dim.

43

604 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 604

20/09/12 10.37

47

legatocresc.

dim.

51

56

61

dim.

klaverværker 605

Hartmann_klaver_bind_2.indb 605

20/09/12 10.37

aftenstemning
App. 5
Poco Andantesostenuto

4

7

11

smorzandosmorzando

15

dim.

Discarded version of No. 47

606 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 606

20/09/12 10.37

Hartmann_klaver_bind_2.indb 607

20/09/12 10.37

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
tenuto608 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 608

20/09/12 10.37

critical commentary[ no. 12 ] tre klaverstykker, opus 38
A Print, first edition
B Print
C Print (Nos. II and III)D Autograph, fair copy (No. II)
A Print, first edition.
Title page: “BALLO MILITARE / CANTILENA ELEGIACA /ALLEGRO GRAZIOSO / für / Piano=forte / componirt von /I.P.E. HARTMANN. / Ehremitglied des Norddeutschen Musikvereins in Hamburg / Ritter vom Dannebrog / Op. 38 / […] /Schuberth & Co Hamburg Leipzig & New York / Kopenhagen,Lose & Olsen / […]”
11 pages.
Pl. No. 757 (1845).43
B Print.
Title page: “TRE KLAVERSTYKKER / AF / J.P.E. HARTMANN/ Op. 38. / Nr. 1. Ballo militare / Nr. 2. Cantilena elegiaca. / Nr. 3
Allegro grazioso. / Ny revideret Udgave. […] KJØBENHAVN. /WILHELM HANSENS MUSIK-FORLAG.”
Three volumes with the same title page, 9 pages, 3 pages, 5 pages.
On the title page of No. 1, the copy in DK-Kk has the following
addition in pencil: “Forsynet med Fingersætning af Aug.W.”44
Pl. Nos. 8742, 8743 and 8744 (1884).45
C Print (Nos. II and III).46
No title page. Title on p. 1: “CANTILENA ELEGIACA.”At the bottom of p. 1: “Omnibus f. Pfte. 2r. Jahrg. No. 24. Verlags-Eigenthum v. Schuberth et Co.”
(1845).47
Contents:
Nos. II and III, presented as two parts under the same heading,as Cantilena Elegiaca.
4 pages. Apparently printed from the same plates as A, omitting
the plate number and with new pagination.

Written in ink. The manuscript is heavily damaged.
Because of the fact that bb. 17-18 of all the printed editions are
missing in D, it is not likely that D was the printing copy forany of these editions.
It is not quite clear whether Nos. II and III are to be understoodas two separate pieces or two movements of the same piece. The
typography of the printed editions A and C indicates that thetitle Cantilena elegiaca may refer to both pieces, even though
they are numbered “2” and “3”. Especially C is ambiguous on
this issue.
D was probably used as the printing copy of No. II, Cantilena
elegiaca, in A (no manuscript sources are known for Nos. I and III
of A). No differences between the print from 1845 (A) and 1884
(B) apart from the fact that A is almost without indication of articulation which is amply marked in B.
Accordingly, B is chosen as the main source, even if it is notknown whether Hartmann was involved in this edition from 1884;
the indication of fingering in B was probably added by AugustWinding and is not included in the present edition.

[ no. 13 ] seks karakterstykker, opus 50
A Print, first edition
B Print
C Print
A Print, first edition.
Title page: “6 / CHARACTEERSTYKKER / componerede /som Studier for Pianoforte / AF / J.P.E.HARTMANN. / Medindledende Smaavers / af / H.C.Andersen / 1ste Hefte Op. 50.
[2det Hefte.] / Kjöbenhavn. / forlagt af C.C. Lose & Delbanco.”48
2 volumes, 7 pages and 13 pages.

43 Dating according to DF, p. 16. Hofmester XIX. March 1845.
44 “Fingering added by Aug[ust] W[inding].”

D Autograph, fair copy (No. II).
DK-Kk, Hartmanns Samling, Kapsel H-K.
Title above the first stave: “No 2 Cantilena elegiaca”. No indication of name of the composer.
One bifolio, 10 staves, 24.5x34.5 cm; pp. 3-4 blank.

45 Dating according to DF, p. 16.
46 Copy in DK-Kk. The edition is not mentioned in DF.
47 In Hofmeister XIX, March 1845.
48 “6 Character Pieces, Composed as Studies for the Piano by J.P.E.
Hartmann. With introductory small poems by H.C. Andersen”.

klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 609

609

20/09/12 10.37

Pl. No. 2262 (February 1849).49
Each of the pieces is introduced by a stanza by H.C. Andersen.50
New impression with the same plate number by C.C.Loses
Bog- og Musikhandel.
B Print.
Title page: “6 Karakterstykker / komponerede som / Studierfor Pianoforte / AF / J.P.E.HARTMANN / med indledende
Smaavers / af / H.C.Andersen / Op. 50. Hefte 1 [2] / […] /KJÖBENHAVN. / Wilhelm Hansens Musik-Forlag.”2 volumes, 7 pages and 13 pages.
Pl. Nos. 5532, 5530 (1882).51
Each piece is introduced by a poem by H.C. Andersen.
C Print.
Title on cover: “J.P.E.Hartmann / Klaverstykker / med /Mottoer / af / H.C.Andersen”.
Title page: “J.P.E.Hartmann / Klaverstykker / med Mottoer /af / H.C.Andersen. / […] / Kjøbenhavn & Leipzig. / Wilhelm
Hansen, Musik-forlag.”
40 pages.
Pl. No. 11905 (1896).52
Contents:
All of Hartmann’s published piano compositions having introductory poems by H.C. Andersen (Nos. 13, 17, 14 and 18 of
the present edition), including a vignette by V. Jastrau on thetitle page:
Seks Karakterstykker Opus 50 (pp. 16-33)
Novelette Opus 55 (pp. 3-15)
Andantino quasi Andante (“Hun sidder og spiller Klaver” p. 34-35)
Fire Klaverstykker, Nos. 1-2 (pp. 36-40).
Hartmann’s autograph is lost which may be due to the fact that henever got it back from his copyist, F. Westmann; according to a letter from Hartmann to music dealer Delbanco of 28.11.1848, Westmann had received the autograph in order to make a printing copy
for the edition to be published by Lose & Delbanco.53

49 Dating according to Birger Frank Nielsen, H.C.Andersen Bibliografi, Copenhagen 1942, Nos. 543-548. Hofmeister XIX, Marchand April 1849.
50 According to Birger Frank Nielsen, op. cit., this is the first editionof these poems by Andersen.
51 Dating according to DF, p. 19.

The Wilhelm Hansen edition was published in a number ofimpressions, each one with a different catalogue of works on theback cover, showing that this work by Hartmann was extremely
popular in the1880s; it was republished by Wilhelm Hansen in1912 (edited by Adolf Ruthardt), this time with the title page
and the added poems in three languages (Danish, German
and English).54
According to Hofmeister XIX , June 1869, the collection was
also published by Kistner in Leipzig with the title “Kleine Characterstücke mit einleitenden Strophen von Andersen”55; this edition
is not known today.
The first edition (A) has been chosen as the main source.
Wilhelm Hansen’s edition from almost 40 years later (B) reused
the plates of the first edition – with a new plate number and a newtitle page.
Translation of the texts from Wilhelm Hansen’s posthumous
edition from 1912:
1.
Die ältre Schwester mit dem Bruder steht
Vorn auf dem Schiff und sieht die Sonne steigen,Hin über Meer und Himmel glänzend geht
Der Strahlen Gold mit feierlichem Schweigen.
Ein Heer von wilden Schwänen ziehet fort,
Und sanft erklingt des Sanges Moll-Accord.
The elder sister and her brother stand,onboard the ship, and see the sunrise gilding
the sea and sky – a wondrous fairy-land,
where Sun – the King – his radiant sceptre is wielding.
The wild swans spread their wings, to th’southward bound,and in the air sad harmonies resound.
2.
Wild jagt der Knabe durch Gras und durch Hecken,
Hin über Blumen bald hier und bald dort,
Schmetterling weiss sich gar schlecht zu verstecken,
Nun bleibt er sitzen – nein, nun flog er fort!
Röslein es flüstert, noch warm von dem Küsschen;“Schmetterling, rett dich! über das Flüsschen”!
Over the meadows so merrily racing,jumping the hedges that stand in his way,th’boy is a gay winged butterfly chasing,now he is near it, – now’t flies away!
Dew-spangled dog-roses tremble and shiver:“Butterfly, hie thee! fly over the river”!

52 Dating according to DF, p. 158 and Wilhelm Hansen’s Engraver’s
Diary.
53 Letters No. 370
54 With the plate number 15119 (copyright 1912); in additon, No.
2, Sommerfuglen, was published separately the same year with theplate number 15119b.
55 “Little Character Pieces with Introductory Stanzas by Andersen”.

3.
In Sonnenschein reit’ich, in Regen und Wind,
Mein Schaukelpferdchen es läuft geschwind.
Der Wald ist so schaurig, die Nacht so kalt!
Die Riesen und Drachen erschlag’ ich gar bald!

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Mein Säbel ist scharf, und mein Pferd läuft gut,
Heim kehren wir beide goldbeschuht.
I ride in sunshine, in rain and in blast
my rocking-horse is running so fast.
The wood is dark, and the night is chill,
but all the giants I quickly kill!
My sword is sharp, and my horse is fleet, –and home we return with gold-shod feet!
4.
Dicht neben uns beiden ein Engel stand,
Gleich ihr mit Reiz umfangen,Das helle Auge dem ihren verwandt!
Dieselben rosigen Wangen!
Und sinnend tät er zur Erde sehn
Und deckt uns mit seinen Schwingen.
Wenn Engel unsre Liebe verstehn,
Des Himmels Glöcklein klingen.
Beside us stood an angel fair,her sister in beauty and grace,with soulful eyes; the golden hair
was framing a rosy face.
And downwards gazing it waved its handand screened us with wide-spread wing.
When angels our love do understand,the heavenly bells will ring.
5.
Ja, wo es geschah? un wie lange es her?
Ich sinne und sinne und weiss es nicht mehr!
Ein Schloss ich sah mit Türmen und Toren,
Stolz tanzten die Ritter mit klirrenden Sporen,
Der Saal erdröhnte, die Flöte klang,
Und Frauen sah ich, und hörte Gesang;
Wo war es? Wann war es? Wie komm’ ich d’rauf?
Dort ging meine junge Liebe auf!
I know not where, and I know not when.
I cannot call it to mind again!
I saw a castle with tower and wall,and bold knights danced in the lofty hall.
I saw fair ladies, I heard them sing,With lovely music the hall did ring.
I know not when, and I know not where.
I know my young love was born there!
6.
Mädchen und Knaben die jagen sich, husch,
Da setzt sich Amor versteckt in den Busch,
Wo jung die Herzen und schön der Mai,
Da ist auch Amor sogleich dabei.

Lads and lassies play on the lea,
Cupid is hiding behind the tree!
Love is sweet in the youthful day!
Cupid’s arrow will have its way!

[ no. 14 ] tre klaverstykker
A Print, first edition
B Print
C Print
D Print (No. III)E Print (No. III)A Print, first edition.
Title page: “JULEHILSEN / til / Store og Smaae / fra/ DANSKECOMPONISTER / med Bidrag af / […] / KJÖBENHAVN /Forlagt af C.C.Lose & Delbanco. [1.-3 Aargang 1848-1851]”.
First volume (“med Bidrag af Gade, Gebauer, Hartmann, Lumbye, Lövenskjold, Ravnkilde Rée, Rongsted, Rung, Willmers.”),No. 1 (pp. 10-13): Svensk Hjemvee.
The following stanza by H.C. Andersen prefaces the volume:
Du veed det gamle Eventyr om“Det syngende Træ”, kjendt af Mange;
Hvert Blad havde Toner og deiligt kom
De frem i Accorder og Sange.
– Her har Du Træet, men i det Smaa,
Melodier fra Bladene gaae!
Second volume (“med Bidrag af Fröhlich, Gade, C.J.Hansen,
Hartmann, Ravnkilde, Rée, Rung, Siboni og T-ts.”),56 No. 2 (pp.
16-28): Capriccio.
Third volume (“Med indledende Smaavers af H.C. Andersen
og Bidrag af N.W. Gade, J.P.E. Hartmann, Ed. Helsted, E.
Horneman, H.S. Paulli og A. Rée.”), No. 3 (pp. 8-11): Andantino
quasi Allegretto.
The stanzas by H.C.Andersen (both the introductory stanza inthe first volume from 1848 and the various stanzas in the third
volume from 1851) are here published for the first time.57
B Print.
Title page: “TRE KLAVERSTYKKER. / Svensk Hjemvee Sommeren
1848. / Capriccio. / Andantino. / AF / J.P.E.HARTMANN. / Særtrykaf ‘Julehilsen’. / […] / KJØBENHAVN. / C.C.LOSE’S FORLAG.”
The three pieces were published collectively in one volume, as
well as in three separate volumes (but with the same title page
and the same pagination as the collected edition).
11 pages.

56 The second volume is listed in Hofmeister XIX, April 1850.
57 Jf. Birger Frank Nielsen, op. cit., p. 155; the poems are published in
H.C. Andersen, Samlede Skrifter XII, p. 316-318.

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C Print.
Title page: “TRE / KLAVEERSTYKKER. / for / PIANO / componerede af / J.P.E.HARTMANN. / 1. Svensk Hjemvee, Sommeren 1848. / 2. Kapriccio. 3. Andantino. (Hun sidder derinde
og spiller Klaveer.) / Fingersætning af Aug. Winding. / […] /KJØBENHAVN & LEIPZIG, / Wilhelm Hansen, Musik-Forlag.”Pl. No. 9329 (1886).58
9 pages.
Later impressions with slightly changed title pages.
Apart from a few changes in articulation, C is identical with
A and B – apart from the added fingering by August Winding
in C.
D Print (No. III).
Title page: “HARTMANN-ALBUM. / UDVALGTE KOMPOSITIONER / AF / J.P.E.HARTMANN. / […] / KJØBENHAVN &LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG.”
Pl. No. 11.660 (1895).59
39 pages.
As No. 14 (pp. 36-37): “Hun sidder derinde og spiller Klaveer.
Klaveerstykke med Motto af H.C.Andersen”.
E Print (No. III).
See 6 Karakterstykker, Opus 50 (No. 13 above), C.
The motto of the andantino by H.C. Andersen in English translation by Colin Roth:She sits in there and plays the piano.
Hear how the notes swell with happiness;
Here outside I stand, looking towards the window,
Ah, could I still see her shadow there.
That would move my eye and heart so well –Far more than a picture by Raphael.
The musical text of A and B is identical. C has been chosen as
the main source for the present edition.

[ no. 15 ] etudes instructives, opus 53
A Print, first edition
B Print

58 Dating according to DF, p. 18.
59 Dating according to DF, p. 157 and Wilhelm Hansen’s Engraver’s
Diary.
60 Dating according to DF, p. 19; Hofmeister XIX, July 1856. Letterof 31.12.1851, however, indicates that it might have been published shortly before New Year 1851 (Letters No. 376).
61 Dating according to DF, p. 20; Hofmeister XIX, November 1854.
62 Dating according to DF, p. 20.

A Print, first edition.
Title page: “ETUDES INSTRUCTIVES / composées / pour lePiano / par / J.P.E.HARTMANN. / Op. 53 / […] / Copenhague /chez C.C.Lose & Delbanco, / […]”
13 pages.
Pl. No. 2355 (January 1852).60
New impression by C.C.Loses Bog- og Musikhandel(F. Borchorst) with the same plate number and identicalmusical text.
B Print.
Title page: “SEX / Etudes instructives / for / PIANO / componerede af / J.P.E.HARTMANN. / Op.53 / […] / KJØBENHAVN& LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG. […]”
13 pages.
Pl. No. 2355 (1852?).
Reprint of A (using the same plates) with few changes in articulation and in some of the impressions with fingering by AugustWinding (the latter piece of information is given in a footnote at
the bottom of p. 2); the fingering in B is different from that of A.
Wilhelm Hansen also published a number of impressions withthe same musical text during the 1880s.
A has been chosen as the main source.
According to Hofmeister XIX (May-June 1877 and Mai 1882) thecollection was published by Simon in Berlin; this edition is notknown today. Hofmeister may have mixed up this collection with
the German edition of Noveletten, (see below, No. 17, C).

[ no. 16 ] fantasistykker, opus 54
A Print, first edition
B Print
C Print (Nos. I-III)
A Print, first edition.
Title page: “FANTASIESTÜCKE / für das / PIANOFORTE /componirt / und / Frau Dr. Clara Schumann / gewidmet / von /J.P.E.HARTMANN. / Op. 54 […] / LEIPZIG, FR. KISTNER.”
Pl. No. 2063 (1855).61
19 pages.
Containing all six pieces in one volume.
B Print.
Title page: “Fantasistykker / for / PIANOFORTE / componerede og / Fru Dr Clara Schumann / tilegnede af /J.P.E.HARTMANN. / H. 1. Op. 54. [H. 2.] / KJØBENHAVN.
/ Wilhelm Hansens. Forlag & Eiendom / (forhen Kistneri Leipzig.)”.
Pl. No: 5032 (Vol. 1), 3032 (Vol. 2) (1876).62
Two volumes with three pieces in each. Consecutive pagination
through the two volumes, pp. 3-9 and 10-19.

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Footnote at the bottom of b. 3: “Fingersætning af Aug.
Winding.”63
Several impressions made from the same plates and with thesame musical text.
C Print (Nos. I-III).
Title page: as in B.
Pl.No: 3032.
Only the three pieces from Vol. 1, paginated 3-9.
In spite of the different plate number, the edition seems to havebeen printed from the same plates as B (there are, however,very slight differences between B and C).
A has been chosen as the main source.

[ no. 17 ] novellette i seks smaastykker,

opus 55

A Autograph, fair copy
B Print, first edition
C Print
D Print
A Autograph, fair copy.
DK-Kk, Hartmanns Samling. Kapsel Voksende samling (CII,65), mu 6604.2761.
Title on the first music page: “Børnestykker.” [added in pencil]:“Lykønskning til en Fødselsdag”.64
Librarian’s addition in pencil: “[J.P.E.Hartmann: Novelette i sex
Smaastykker satte i Text af H.C. Andersen. Op. 55]”.
End datings after each piece:
Allegretto: “15/12 52.”
Allegretto moderato: “23/12/52”
Mazurka: “27/8 53
Allegro molto vivace; “Tagfat” [added in pencil]: “24/6 53”
Andantino; “Morgenbøn” [added in pencil]: “30/5 55”
Allegro; “Eventyr” [added in pencil]:65 “6/6 55”
2 bifolios and 1 folio, stitched together and later bound in stiff
library binding. Paginated in pencil:
pp. 1-3;
unpaginated page with various pencil sketches added between
pp. 3 and 4 in the middle of No. IV;
pp. 4-8; the page number “7” is written on the middle of thepage, because the six upper staves do not belong to No. VI, being a sketch for bb.10-17 of No. II (No. VI, beginning on p. 6 isthus continued on the middle of p. 7 and ends on p. 8, which isin a different format.)fols. 1-4: 16 staves, 35x26 cm
fol. 5: 18 staves, 30.5x24 cm
No. III comes after No. IV.
No H.C. Andersen stanzas added to the manuscript.
Brownish mottled library binding with a label stuck on:“J.P.E.Hartmann / Børnestykker / (Novelette … Op.55) Klaver”.

The manuscript has been restored by the Preservation Department of the library.
A few corrections and deletions in ink. Fingering added in pencil in No. I.
A was probably not used as the printing copy for B.
B Print, first edition.
Title page: “Novellette / i / sex Smaastykker for Pianoforte / AF
/ J.P.E.HARTMANN / sat i Text af / H.C. ANDERSEN / Op. 55.
/ […] / Kjöbenhavn, / forlagt af C.C. Lose & Delbanco. / Bogog Musikhandlere.”
Pl. No. 2427 (December 1855).66
15 pages.
The six stanzas by H.C. Andersen are printed on p. 3.67
Later impressions from the same plates: C.C.Lose, c. 1865;
C.C.Loses Bog- og Musikhandel (F.Borchorst), c. 1875; Wilhelm Hansen, Musik-Forlag. Kjøbenhavn & Leipzig (various
impressions, after 1880); all of them including H.C. Andersen’s
stanzas on a separate page before the music.
C Print.
Title page: “NOVELLETTEN / sechs kleine Stücke / für das /Pianoforte / componirt von / J.P.E.HARTMANN. / OP. 55. /[…] / Carl Simon, Musikverlag, Berlin.”
Pl. No. C.S.443 (1877).68
13 pages.
Without H.C. Andersen’s stanzas.
No. I, Allegretto, also as a separate edition.
D Print.
See Seks Karakterstykker, Opus 50 (No. 13), C
Even though the German edition C was printed from plates, which
are different from those of B, C is identical with B both when it
comes to spacing, fingering and articulation.
The first print B from 1855 has been chosen as the main source.
It has been collated with A and C.

63 Fingering by August Winding.
64 “Children’s Pieces. Congratulations at a Birthday.” The pencil
addition may either be interpreted as a common headline to thewhole collection or as the title of the first piece, in the latter caseas a parallel to “Tagfat”, “Morgenbøn” and “Eventyr”.
65 Titles of Nos. IV-VI: “Game of Tag”, “Morning Prayer”, “Fairy Tale”.
66 Dating according to Birger Frank Nielsen, op. cit. p. 246.
67 According to Birger Frank Nielsen, op. cit. , p. 246, this is the firstedition of these poems.
68 Dating according til DF, p. 21: “ca. 1874”. Hofmeister XIX, September 1877, July 1878, November 1889

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[ no. 18 ] klaverstykker
A Print, first edition
B Print
C Print (Nos. I and II)
A Print, first edition.
Title page: “Claveerstykker / componerede / af /I.P.E.HARTMANN./ 1. Gudfa’er fortæller. / 2. Vikingefruens
Dröm. / 3. Tys! / 4. Juletröst.69/ […] / KJÖBENHAVN / hos /Horneman & Erslev. / (Emil Erslev.) / […]”
Pl. No. 631 (1864).70
13 pages.
Short texts by H.C.Andersen (Nos. I og II) and Carl Andersen71(Nos. III and IV) as introduction to each of the four pieces.
No. II is a revised version of Vinteren from 1847, which is only
known from a manuscript (see the present edition, No. 35).
The first 18 bars of No. IV are identical with Canzonetta from1842 (see the present edition No. 31).
Impression from the same plates by “Horneman & Erslev” (title
page with few deviations). Impression from the same plates by“Wilhelm Hansens Musik-Forlag” with a new title page.
B Print.
Title page: “HARTMANN-ALBUM. / UDVALGTE KOMPOSITIONER / AF / J.P.E.HARTMANN / […] / KJØBENHAVN &LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG.”
Pl. No. 11.660, (1895).72
39 pages.
As No. 13: “Gudfa’er fortæller” (pp. 34-35).
A number of impressions with deviating title page and identical plate number.
The music was printed from the same plates as A, the introductory mottoes, however, being presented in a different layout.
C Print (Nos. I and II).
Title page: “J.P.E.Hartmann / Klaverstykker / med Mottoer /af / H.C.Andersen. / […] / Kjøbenhavn & Leipzig. / Wilhelm
Hansen, Musik-forlag.”Pl. No. 11905 (1896).73

69 “Godfather Narrates”; “The Dream of the Viking Lady” (the text
is a quotation from H.C. Andersen’s fairy tale Dynd-Kongens Datter from 1858); “Hush!”; “Christmas Consolation”.
70 Dating according to DF, p. 22.
71 1828-1883, curator at Rosenborg Castle in Copenhagen.
72 Dating according to DF, p. 157.
73 Dating according to DF, p. 158.
74 Dating according to DF, p. 24.
75 “Later rewritten”.
76 “NB. To be copied in a separate volume as No. 2 together with the
E flat major piece p. 17”.
77 “Not to be copied”.

40 pages.
On pp. 36-40 the two first of the four pieces.
The music was printed from the same plates as A, the introductory mottoes, however, being presented in a different lay out.
A has been chosen as the main source.

[ no. 19 ] studier og novelletter, opus 65
A Print, first edition
B Autograph, draft
C Fair copy, printing copy
A Print, first edition.
Title page: “STUDIER / OG / NOVELLETTER / FOR / PIANO / componerede af / J.P.E. HARTMANN / OP. 65. / …. /KJØBENHAVN. / hos / Emil Erslev (Horneman & Erslev).
Pl. No. 645 (1866).74
17 pages.
Several impressions from the same plates by Wilhelm Hansens
Musikforlag.
B Autograph, draft.
DK-Kk, Hartmanns Samling, Kapsel S- (the same gathering asC)
7 bifolios and one folio. 14 staves, 26x35 cm. Written in ink.
Paginated pp. 1-24: unpaginated page with pencil sketches
between pp. 23 and 24 and three unpaginated pages after p. 24
with pencil and ink sketches.
Obviously the source for the printing copy C, even though
there are deviations in musical details and in the order of thepieces (see below).
Contents:
s.1-3:
Allegro non troppo: “No 2” added in pencil (=Opus
65,II).
s. 3-5: Moderato, non troppo, the whole movement being
crossed out in pencil; pencil addition (IPEH) after
the tempo indication: “Senere omskrevet”75; original(but discarded) version of Poco Andante on pp. 17-18(App. 4 of the present edition).
s. 6-7: Allegro agitato assai, capriccioso; pencil addition(IPEH) after the tempo indication: “NB udskrives for
sig i et aparte Hefte som No 2 med stykket i Es dur
pag. 17”76 (see below, No. 20, To klaverstykker).
s. 8-9: Poco [added in pencil and crossed out in pencil]
Moderato non troppo, pastorale: “No 5” [“non troppo,
pastorale” and “No 5”added in pencil] (=Opus 65,V).
s. 9-10 Allegro poco moderato: “No 3” added in pencil(=Opus 65,III).
s. 11
Poco Andante. Pencil addition (IPEH): “Udskrivesikke”.77 (=B major version of Aftenstemning, See
No. 47, E and App. 5), the printed version, however,being a much revised version).

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s. 12-14 Allegretto, “No 6” added in pencil (=Opus 65,VI).
s. 14-16 Allegro moderato, “No 1” added in pencil (=Opus 65,I).
s. 17-18 Poco Andante, cantabile (“Moderato tranquillamente”
crossed out in ink). Addition in ink at the bottom of p.
17: “udskrives for sig i et særskilt Hefte som No 1 med
stykket i h mol pag. 6”78 (see below, No. 20, B and C).
s. 19-21 Allegro vivo scherzando [“vivo” added in ink], “No 7”
added in pencil (=Opus 65,VII), latter half of p. 20
crossed out in pencil.
s. 22-23 Allegretto grazioso, “No 9” added in pencil (Opus
65,IX).
unpag. non identifiable pencil sketches.
s. 24-25 Allegretto (crossed out), “Moderato N 8” added inpencil (=Opus 65,VIII).
s. 25-26 Allegro agitato “No4” added in pencil (=Opus 65,IV).
unpag. 3 pages with unidentifiable sketches in ink and pencil.
Thus, the source contains 13 movements, of which nine areincluded in Opus 65 (in a different order), one was publishedas Aftenstemning, one is a discarded early version, whereas theremaining two were apparently not published in Hartmann’s
lifetime.
The volume mentioned by Hartmann with the two movementsin B minor and E flat major were apparently never published; instead, they became part of a volume with piano pieces publishedby Foreningen Fremtiden (see No. 20 of the present edition).
C Fair copy, printing copy.
DK-Kk, Hartmanns Samling, Kapsel S- (the same gatheringas B).
Title on the cover: “Studier og Noveletter / (eller saadant noget)79 / for Pianoforte / Op.” (pencil in IPEH’s hand). On theupper, right corner in foreign hand: “A-VI-a […] Op. 65”.
7 bifolios, stitched together at the back, paginated 1-21.
25.5x36 cm, 12 staves.
Instructions for the engraver added in pencil. The paginationof the printed edition added in pencil after each piece. Printing
copy, based on B.
The name of the composer on p. 1 above the first stave has been
added in different ink and writing utensil in Hartmann’s hand.
Few corrections in pencil and ink.
Containing all nine movements from the first print.
B contains the earliest fair copy of all the nine movements from
Opus 65 (the order of the movements deviating from that of thefirst edition) plus another three movements (see above). In connection with the future printed edition, Hartmann selected nine
movements, which were then copied in a foreign hand – in a different order from that of C. The copy was used as printing copy forthe printed edition (A). There are only few differences in articulation and dynamics between the two manuscripts B and C, andfurthermore the first edition follows the printing copy with only
slight deviations.

As it may be seen, the two movements from B, which were notincluded in the printed edition (and therefore are not included in
the printing copy C), are only known in one version.
The polyphonic piano notation and the meticulous articulationof the printed edition is also be found in the two manuscripts.

[ no. 20 ] to klaverstykker( musikblade ... 1866 )A Autograph
B Print, first edition
C Print (No. I)
A Autograph.
DK-Kk, Hartmanns Samling, Kapsel S- .
Contained in B of Opus 65 (see description of the source
above, No. 19).
Note that the source contains two versions of one of the pieces(in E flat major), one of which has been crossed out in pencil
by Hartmann with the following addition in pencil: “Senere
omskrevet”,80 (the crossed-out version is published in App. 4 ofthe present edition).
B Print, first edition.
Title page: “Musikblade / udgivne af / Foreningen / Fremtiden /1866” / Indhold: […]”.
19 pages.
Among the seven compositions of the volume two piano
pieces by Hartmann can be found: as No. 3 Allegro for Pianoforte (pp. 8-9), and as No. 5 Andante cantabile for Pianoforte(pp. 14-15).
The other compositions in the volume are: Niels W. Gade
(Folkedands for Pianoforte), C.I. Hansen (Vuggesang af Knud
Vallöe f. 1 St. m. Pf.), F. Neruda (‘To og To’ af P.Hansen f. 1 St.
m. Pf.), P. Heise (‘Örkenens Sön’ af H.C.Andersen f. 1 St. m. Pf.),
and Niels W. Gade (Romanze for Pianoforte).
Without Pl. No. and publisher’s name.
The same year (1866) 2den forøgede Udgave81 was publishedwith the same contents as the first edition, but increased bythree further works, by Valdemar Schiött, August Winding and
G. Matthison-Hansen, respectively.
C Print (No. I).
Title page: “Kompositioner for Pianoforte […] J.P.E. Hartmann: Allegro agitato, H-moll […] Kjøbenhavn. Wilhelm
Hansen Musik-Forlag”.

78 “to be copied in a separate volume as No. 1 together with the B
minor piece p. 6”.
79 “(or something like that)”.
80 “Later rewritten”.
81 “Second enlarged edition”.

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Pl. No. 4254 (1880).82
3 pages, 27x35 cm.
Publisher’s catalogue of music for the piano on the title page.
Containing only the first of the two pieces.
C is an impresssion from about 1880 of B from 1866, madefrom the same plates but with added plate number andchanged pagination.
A has been chosen as the main source.

[ no. 21 ] fantasistykke( musikblade ... 1871 )A Print, first edition
B Print
C Autograph, sketch
A Print, first edition.
Title page: ”Musikblade / udgivne af / foreningen / Fremtiden /1871 / 3die Hefte / Indhold: […]”.
25 pages, (1871).83
On pp. 10-12: “Fantasistykke”.
Without Pl. No.
Other works in the volume: Aug. Winding, Albumsblad andImpromptu; Julius Steenberg, Alverden er syg; G. MatthisonHansen, Fest-Polonæse; F. Andersen, Søndag; P. Heise, I Dandsesalen.
B Print.
Title page: “FANTASISTYKKE / (G-DUR) / FOR / PIANOFORTE / AF / J.P.E.HARTMANN / […] / KJØBENHAVN. /WILHELM HANSENS MUSIK-FORLAG.”
3 pages, paginated 10-12.
Pl. No. 4046 (c. 1880).84
Reprint of A.
C Autograph, sketch.
DK-Kk, MA ms 454, mu 8307.1184.

82 Dating according to DF, p. 23. Wilhelm Hansen’s impressumon the front page indicates the period 1882-1887 (see Dan Fog,
Musikhandel og Nodetryk i Danmark efter 1750, vol. 2, pp. 211212).
83 Dating according to DF, p. 24.
84 Dating according to DF, p. 25.
85 Former head of the Music Department of The Royal Library,organized the earliest cataloguing of the library’s Hartmann collection.
86 “In its final version printed in Piano Pieces I/69”; “I/69” refers to
Wilhelm Hansen’s edition of Hartmann’s collected piano musicfrom 1885, mentioned as the first record of the present Description of Sources.

Contents:
pp. 1-2 (10 upper staves): original version in F sharp major(without title and name of composer) with the end dating“Fredensborg 13/10 69”.
pp. 2 (staves 11-14) and 3: various insertions to be added into
the original version, and which are included in the final printed
edition (in G major).
p. 4: blank.
One gathering, 4 pages, 35x25.5 cm, written in pencil.
Slip of paper enclosed (by Sven Lund)85: “I sin endelige Udformning trykt i Klaverstykker I,69.”86
Because of the different key and a number of other deviations
compared with the printed edition, C has not been taken into
consideration in the present edition.

[ no. 22 ] fantasistykke( fremtidens nytaars-hefte 1875 )A Autograph, fair copy
B Print
C Print
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel F-G.
Title page: “Fantasistykke / til ‘Fremtidens’ Nytaars- / Hefte1875”.
Title above the first stave: “Fantasistykke”.
End dating: “J:P.E:Hartmann / Nærum 3 October 1874”.
2 bifolios, pp. 1-2 blank. 14 staves, 26x34.5 cm. Blank stave between each of the systems with music.
Written in ink; few cancellations and corrections.
B Print.
Title page: “Musikblade / udgivne af / Foreningen / Fremtiden /1875 4de Hefte. / Indhold: […]”.
Title above the first stave of p. 10: “Fantasistykke.
J.P.E.Hartmann”.
Including compositions by F. Andersen, C.J. Hansen,
P. Heise, G. Matthison-Hansen, Valdemar Schiött, andAug. Winding.
Without Pl. No.
39 pages, Hartmann’s piece on pp. 10-13.
C Print.
Title page: “Fantasistykke / komponeret / for / Pianoforte / af /J.P.E.Hartmann. / KJÖBENHAVN / Wilhelm Hansens Forlag og
Eiendom.”
Pl. No. 3720 (1880).87
5 pages.
Slight differences in articulation between B and C.

87 Dating according to DF, p. 26.

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[ no. 23 ] klaverstykker fra ældre og

nyere tid 88

A Print
B Autograph, sketch, fragment
C Sketches
D Autograph, fair copy of No. III
A Print.
DK-Kk.
Title page: “Til Emil Hartmann. / Klaverstykker / fraældre og nyere Tid / af / J.P.E.HARTMANN / op. 74. […]/ KIØBENHAVN / C.C. Loses Bog- og Musikhandel /(F. Borchorst.)”.
Pl.No. 2683 (1878).
25 pages. 27x34 cm.
B Autograph, sketch, fragment.
DK-Kk, Hartmanns Samling.
Title page: “Nyt og Fornyet / Fantasistykker / for / Pianoforte /af J.P.E. Hartmann.”Dating: after No. I, “5/3 77.”; after No. II, “12/1 77.”; after
No. IV, “20/3 77”.
35x26 cm, 1 folio (title page unpaginated, blank), 12 folios,
paginated 1-19 and 23-35 and one unpaginated folio with corrections for pp. 13, 14, 24 and 25 (thus pp. 20-22 and a numberof pages after p. 35 are missing). The missing pp. 20-22 are to
be found in the manuscript from 1854 for the F major Sonata(see No. 3); they have been removed from the sonata by Hartmann in order to be reused as the third movement of Opus 74(see also the F major Sonata, D).
The missing pages of the finale after p. 35 are not known.
pp. 1-5: 14 staves
pp. 6-13: 12 staves
pp. 14-27: 14 staves
pp. 28-35: 12 staves
Folio with corrections (12 staves): “Indlæg til pag. 13” (Addition to p. 13) concerning the first movement, bb. 107-117;“Indlæg til pag. 24 og 25” (Addition to pp. 24 and 25) concerning the fourth movement, bb. 30, 36-38, 48, 62-72.
Ink with numerous corrections and deletions in blue crayon
and pencil. Almost all corrections, deletions and additions arereflected in the printed edition from 1878.
Contents:
Nos. I, II, IV and V (bb. 1-70).
First movement
Lengthy passages are based on the G minor Sonata of 1851, either verbatim or paraphrased. Only bb. 45-64 are completely
without connection to the model. Some time after the date of
the fair copy (“5/3 1877”) it has been revised in pencil, probably
in connection with the published version, which appeared theyear after.

Thus the source presents two versions of the movement: theoriginal version (ink without the pencil corrections) and the revised version for the print (ink and pencil corrections).
Second movement
Numerous ink and pencil corrections aimed at the printed edition. But also numerous differences in articulation and – to a lesser
degree – dynamics compared with the printed edition. The factthat bb. 115-117 of the printed version are missing altogether in B
might indicate that B was not used as printing copy for the editionof 1878, and that the printing copy is no longer extant.
The source reflects two different versions of the movement: theoriginal version written in ink and a later version with numerorus
corrections in pencil and ink; the latter version is very close to theprinted version of 1878 and has thus been consulted in various instances in connection with the present edition. In List of Emendations the original version is shown in all instances where there are
pencil or ink corrections aiming at the printed edition of 1878.
This movement is the only movement of Opus 74 which does
not have any relation to earlier works. It is not possible to decide
whether it was composed explicitly with an eye to the printed edition, or whether it belongs to an earlier date – as is the case withthe other movements. It must, however, be pointed out that the
handwriting of the pencil corrections is very different from thehandwriting of the original ink version.
Third movement
F major Sonata, second movement.
Fourth movement
Written on the same bifolio as the end of the second movementwith its end dating 12/1 1877. The fourth movement is end-dated
20/3 1877. This indicates that the fourth movement has been rewritten in spite of the fact that it was already available in a numberof sources for the F major Sonata 20 years before. Furthermore, theink fair copy has been revised in connection with the publicationof Opus 74. One wonders why Hartmann did not use any of theearlier sources of the movement belonging to the F major Sonata
for his revisions, but rather preferred to write it down once more.
The printed edition is used as the main source for the present edition with a few corrections based on B (in cases where pencil corrections in B have not been followed in the printed first edition).
Fifth movement
The first 12 bars are taken from the last movement of the G minor
Sonata. Apart from this passage, the rest of the movement seems tobe newly composed in connection with Opus 74; like the G minor
Sonata, the middle part of the movement is in A flat major. This
movement also contains ink and pencil corrections, which are re-88 “Piano Pieces From an Earlier and a More Recent Time”.

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flected in the printed edition, but not to the same extent as in theother movements. B is incomplete, in that bb. 71-97 are missing.
C Autograph, sketches.
DK-Kk, MA ms 466, mu 8308.2685.
35x26 cm. 12 and 14 staves.
6 pages (2 bifolios and 2 folios) with various sketches, including a few sketches for Opus 74, second movement, bb. 41-106,
beginning on top of one of the bifolios.
D Autograph, fair copy of No. III (transferred from Piano Sonata
in F major).
DK-Kk, Hartmanns Samling, Kapsel S.
One gathering, originally paginated: 13, 14, 15, unpaginated;pagination 13-14 crossed out and new pagination added: unpaginated, 20, 21, 22.
The original page numbers refer to the fact that the gathering
originally belonged to the Sonata in F major, D (see source
description for the Sonata); the corrected page numbers referto the fact that the gathering has been transferred as pp. 20-22
of B of Opus 74. On the first page (originally p. 13 which iscrossed out) added in pencil “Skrives ikke” (not to be copied),because this page belongs to the piano sonata.
The second page (p. 20, originally p.14, which is crossed out): thethree top staves crossed out because they belong to the sonata
with pencil addition on top (“skrives ikke”); on the fourth stave
the Andante sostenuto, con largezza, corrected in pencil to Andantino, begins; the movement originally belonged to the sonata,but is now reused as No. III in Opus 74; “No 3” added before
tempo indication. After the end of the movement at the bottomof p. 22 added in pencil in connection with the reuse in Opus 74:“Efter No 3s Slutning tilbage til No. 4 pag. 19, Allegretto moderato” (after the end of No. 3, go back to No. 4 on p. 19, Allegretto
Moderato) – a reference to B above (see facs. 1 p. xlviii).
Filiation
The source material reflects the fact that much of the music isbased on previous works and that Hartmann worked on B at various – partly unknown – situations. Apparently, the main source forthe printed edition A consisted of a combination of B, D, and a nolonger existing source for the second movement (see above). A is
the main source for the present edtion, modified as listed above inthe description of the four sources.

[ no. 24 ] thema med 14 variationer
A Autograph, fair copy.
DK-Kk, Hartmann Supplement. Kompositioner og Udkast.

89 “Theme with 14 Variations, Written for Johan Peter Hartmann.”

Title at the bottom of the page: “Thema med 14 Variationer,
skrevne for Johan Peter Hartmann / Nærum 5/8 81 / JPEH.”89
26x34.5 cm.
2 bifolios, stitched together, fol.1 med 16 staves, fol. 2 med 12
staves.
p. 1: blankp. 2: two-part piano piece without title, crossed out, apparently intended for a pedagogical context like Thema med 14
Variationer (the piece is published in the present edition as
No. 53)
p. 3: final bars of Var. 8, 7, 2 and 9
p. 4: Var. 3, 4, 5
p. 5: Thema, Var. 1, Indledning (Introduction)
p. 6: Var.10, 6, 8
p. 7: Var. 11, 12
p. 8: Var. 13, 14
Apparently the two bifolios have been cut apart and glued together again in a new way, thereby changing the order of thevariations. Furthermore, some of the original numbers of thevariations have been crossed out and new numbers added inpencil. The present edition follows the new numbering.
The work was written for the composer’s eight year old
grandchild Johan Peter.90 On a couple of empty staves the latterhas practiced the notation of scales in pencil.

iii. single works[ no. 25 ] grand vals
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel F-G.
Title above the first stave: “Grand Vals pour le Piano-Forte”(title perhaps in a foreign hand).
No indication of composer.
End dating: “3/3 26”.
One bifolio and one folio stitched together, unpaginated(6 pages with music), oblong format, 10 staves, 24x33.5 cm.
Addition in pencil above b. 3: “Xerox” and at bb. 9-10: “B”(presumably copy of an old lending ticket in the reading
room of the library, transferred on to the manuscript via
carbon paper!)One of Hartmann’s earliest piano compositions.

[ no. 26 ] fantasi, opus 7
A Print, first edition
B Print
C Print

90 Johan Peter Hartmann (1873-1942), doctor, son of Frederik
August Hartmann (“Frits”).

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A Print, first edition.
Title page: “FANTAISIE / pour le / Piano-Forte / composée /PAR / I.P.E.HARTMANN. / Oeuv.7. / […] / Copenhague chez
C.C.Lose”.
15 pages, 25.5x33 cm (August 1831).91
B Print.
Title page: “ODEON / Et Musikalsk Maaneds Skrift / FOR /Piano=Forte. / 4. Aargang 1. Bind / Kiøbenhavn, hos C.C.Lose”.
Title on p. 55: “FANTASIE. I.P.E.Hartmann”.
Same music plates as A.
C Print.
Title page: “FANTASIE / pour / PIANO / par /J.P.E.HARTMANN. / Op.7. / […] / COPENHAGUE &LEIPZIG. / WILHELM HANSEN, EDITEUR.”
Pl. No. 7839 (April 1888).92
13 pages.
Footnote added on p. 2: “Fingersætning ved Aug. Winding.”93
A and B are identical. A and C are different, both when it comesto musical substance (see Concordance below) and articulation, C
being a later revision of A, 57 bars shorter ; C has been chosen as
the main source.
Concordance:
Source A (print 1831)
1-35
36-50
–
51-88
–
89-93
94-173
174-181182-213214-221222-230
231-235–236-266267-270–271-274
275-281–282-334
335-338339-369
370-383384-421

Source C (print 1888)
1-35
–
36-42
43-80
81
–
82-161–
162-193–194-202–203-204205-235–236-237
238-241–242
243-295–296-326–327-364

One folio, 10.5x17 cm, hand ruled staves: four staves on therecto side, two staves on the verso side.
End dating: “Kjøbenhavn, d: 25 Juni 1837. Til venskabelig Erindring fra J:P:E:Hartmann”.94 The receiver is not known.

[ no. 28 ] introduktion og andantino

religioso, opus 26

A Autograph, fair copy
B Print, first edition
C Print
D Print
E Print
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel H-K.
Title above the first stave: “Andantino religioso [later additionin another pen:] (NB Introductionen staaer på sidste Side)”.95
No indication of composer’s name.
One folio, paginated 1-4, 14 staves, 25x31.5 cm.
As it is evident from Hartmann’s addition to the title, Andantino
religioso was written before Introduction. The introduction isadded on the last page (p. 4), right after the andantino.
The added introduction corresponds to bb. 1-17 of the present
edition.
The introduction is written in a pen different from that of theandantino (the same pen as is used for the corrections in the
andantino).
Addition in the margin of the first music page (IPEH): “Nbdette Stykke afskrives i 6/8 med Udeladelse af hver anden Taktstreg”.96 In accordance with this instruction, the metre has beencorrected from 3/8 to 6/8 and the relevant barlines on the top
stave have been crossed out.
Addition after the last bar of p. 4. “Segue Andantino relig: pag 1”.
On pp. 3 and 4 there are a number of corrections and cancellations.
A was probably used as the printing copy for B.
B Print.
Title page: “INTRODUCTION / et / ANDANTINO / religioso /pour le Piano / composé / par /J.P.E.HARTMANN / Oeuv. 26 /[…] Leipzig chez Frédéric Hofmeister”.
Pl. No. 2513 (1840).97
27x34.5 cm 5 pages.

91 Dating according to DF, p. 10.
92 Dating according tio DF, p. 10.

[ no. 27 ] ( klaverstykke, 1837 )93 “Fingering by August Winding”.

A Autograph, fair copy.
DK-Kk, CII, 65, mu 6305.2008.
No name of composer, no title apart from “Andantino”.

95 “The introduction is written on the last page”.

94 “Copenhagen 25 June 1837. In faithful memory of J.P.E. Hartmann”.

96 “This piece to be copied in 6/8 by leaving out every second barline”.
97 Dating according to DF, p. 12. Hofmeister XIX August 1840.

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C Print.
Title page: “LE CONSERVATOIRE / de musique / pour le /PIANO. / [catalogue, No 1-8] / 6. HARTMANN I.P.E. Introduction et Andantino religioso Op 26 / […] / COPENHAGUE, /chez Wilhelm Hansen”.
Title on top of the first music page: “INTRODUCTION / et /ANDANTINO RELIGIOSO. / J.P.E.Hartmann. Op. 26.”
Hartmann’s work as No. 6 of this collection.
Without Pl. No. (1876).98
27x34.5 cm, 5 pages.
D Print.
Title page: “LE CONSERVATOIRE / de musique / pour le /PIANO. / [catalogue without numbering] / HARTMANN J.P.E.
Introduction et Andantino religioso Op. 26 / […] / COPENHAGUE / Wilhelm Hansen”.
Title on top of the first music page: “INTRODUCTION ET
ANDANTINO RELIGIOSO. / J.P.E.Hartmann, Op. 26.”
Pl. No. 4384 (1882).99
27x34.5 cm, 5 pages.
E Print.
Title page: “MODERNE / OG / KLASSISK / Pianofortemusik[catalogue, No 25-28] / No 29 Hartmann I.P.E. Introduction etAndantino religioso / Op 26 […] KJÖBENHAVN. / Paa Wilhelm Hansens Forlag”.
Title on top of the first music page: “INTRODUCTION / et /ANDANTINO RELIGIOSO. / J.P.E.Hartmann. Op. 26.”
Without Pl. No. (1882).100
27x34.5 cm, 5 pages.
B, C and E are identical, and they are all different from D. B ischosen as the main source.

[ no. 29 ] gamle minder
A Autograph, fair copy.
Discarded movement in A of Opus 37 (see No. 11).

[ no. 30 ] hamborger-skotsk
A Autograph, fair copy
B Print, first edition

98 Dating according to DF, p. 12.
99 Dating according to DF, p. 12. According to DF, source C is a
reprint (“titeloplag”) of B.
100 Dating according to DF, p. 12.
101 “Music/remembrances from an earlier time / 1843”.

A Autograph, fair copy.
DK-Kk, Hartmann Supplement. Kompositioner og Udkast.
16 bars, without title; name of composer: “Hartmann”.
1 folio, 4 staves, 12.5x27 cm.
Included in a sheet with other compositions by Hartmann,
Ad. Henselt and others, with the title: “Noder / Erindringer fra
en tidligere Tid / 1843 ”101.
Comprising the first 16 bars of B – without indication of articulation and dynamics.
B Print.
Title page: “Dandse / componerede / for Ballet i / STUDENTERFORENINGEN / den 5 Februar 1841. / MANN KANNNICHT IMMER FORT STUDIREN / Kjöbenhavn, forlagt af
C.C.Lose & Olsen.”
7 pages.
Without Pl. No. (1841).
On pp. 4-5: Hamborger-Skotsk.
Other works in the collection: E.H. [=Emma Hartmann]102,
Wiener-Vals; E.H., Galopade; E. Smidt, Langsom Vals; J.F.
Fröhlich, Galopade; F.J. Hansen, Galopade; H. Callisen, Vals.
By all appearances B is a revised and enlarged version of A. B
has been chosen as the main source for the present edition.

[ no. 31 ] canzonetta
A Autograph
B Print, first edition
A Autograph.
“No 5” (crossed out) in A of Acht Skizzen, Opus 31 (see No. 10
above).
B Print, first edition.
Title page: “SANGFUGLEN, / DER SINGVOGEL / et Blad for /Kjendere og Elskere af Musik. / (ein Blatt für Kenner und Liebhaber der Musik) / redigeret af flere Musikkyndige / udgivet af /J.C.Gebauer. / 2. Hefte. / Kjöbenhavn, / […] / 1842.”
On pp. 14-15, with the title: Canzonetta. Andante.
Small differences in articulation and dynamics between A and
B. In A, the original bb. 22-24 have been substituted by two
new bars (bb. 23-24 of the present edition); the three original
bars in A are part of the later printed edition B (see List of
Emendations).
As Hartmann’s corrections in A do not seem to have had influence on the version in B, the autograph A has been chosen as
the main source, whereas variants in B have been listed in Listof Emendations.
Pencil instructions in A for the engraver, however, indicate that
A was used as the printing copy for B.

102 In the following years Emma Hartmann wrote a number of songs(“romancer”), which were published under the pseudonym “Frederik Palmer”.

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[ no. 32 ] indfald[ no. 34 ] om foraaret

A Fair copy, autograph
B Facsimile (No. I)

A Autograph, fair copy.
Title above the first stave: “Om Foraaret”, (Presto).
End dating: “25/10 47”.
No. 2 of the collection in A of No. 33 above
The opening theme is related to the rondo theme of the last
movement of Sonatina in G major (No. 4).

A Fair copy, autograph.
DK-Kk, MA ms 478, mu 8309.0585.
Title on top of the music page: “Indfald”.103
Autograph, fair copy.
The two “Indfald” are:Moderato grazioso (12 bars), end dated “J.P.E.H. d. 10
Novbr: 44”.
Allegro (16 bars).
Cut music sheet with 7 staves. 38.5x12 cm.
It appears from the first piece that this originally should havebeen the only “Indfald”, and that the second “Indfald” wasadded afterwards. In the last bars of Allegro the left hand systemis blank (the missing bars have been added by the editor).
Back side blank.
B Facsimile (No. I).
Facsimile in Illustreret Tidende (1905), Vol. 33, p. 479 (showing
only the first of the two “Indfald”).

[ no. 33 ] sang uden ord. hjemvee
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kapsel: Til AnskariusfestenUndine.
Title above the first stave: “Sang uden Ord. Hjemvee”, Allegro
poco agitato.
End dating: “19/10 47”.
No. 1 in the collection described below:
Title page in different format: “No 11 / Manuskript af til trykteog ikke- u trykte mindre / Compositioner f. Piano og Sang af
J.P.E. Hartmann.104 / 1. Hjemvee (uden Ord) / 2 Om Foraaret(do) / 3 Vinteren (do) / 4 Salomons Sang i Vinhaven / 5 Salomons Sang blandt Nomaderne / 6 Sulamiths Sang bag Gitteret/ 7 Holger Danskes Vugge / [brace for Nos. 5-7] af Ingemann /8 Barnet synger til sin Dukke / 9 Hilsen til Frænderne (af Ingemanns Holger Danske) /10 Mødet af Hertz”.
On p. 7 (between Nos. 6 and 7): Langsom Vals (not mentioned
in the list of contents of the volume, quoted above; see No. 36).
Gathering with 12 pages and a loose title page in different format; pp. 5-8 (the middle bifolio of the gathering) is missing;the missing pages, however, are available as photocopies madein the late 1990s, indicating that at that time the missing pages
must have been extant.
24.5x31.5 cm, 20 staves.
Datings of the pieces in the gathering other than the three piano
pieces Nos. 1-3: “28 Octbr. 47”, “16. Mai 1848”, “22 Mai 1848”.
Presumably the gathering is a printing copy for a planned edition which was never published.

[ no. 35 ] vinteren
A Autograph, fair copy.
Title above the first stave: “Vinteren” (Tempo di Menuetto
moderato).
End dating: “26/10 47”.
No. 3 of the collection in A of No. 33 above.

[ no. 36 ] langsom vals
A Autograph, fair copy
B Manuscript copy
A Autograph, fair copy.
Title: “Langsom Vals”.
End dating: “d. 8. Novbr. 1847.”
16 bars.
Written on the six upper staves of p. 7 in the manuscript of No.
33 described above. As mentioned above, Langsom Vals is notlisted in Hartmann’s table of contents of this manuscript.
B Manuscript copy.
DK-Kk, Hartmanns Samling, Skitser.
Title. “Langsom Vals”.
End dating: “d. 8 Novbr 1847.”
35x30 cm, 20 staves.
Written music on the six upper staves only.
B is apparently a direct copy of A, even though there are a few
differences due to slips of the pen; B may have been copied by
Emma Hartmann, who at this very time was in close collaboration with her husband, partly in connection with her own
songs, partly in connection with Hartmann’s cycle of songs,
Sulamith og Salomon.

[ no. 37 ] stambogsblad( stork, stork langeben )A Autograph, fair copy.
DK-Kk, MA ms 481, mu 8309.0588.

103 “Ideas”.
104 “No 11 / Manuscript of printed and unprinted minor/ Compositions for Piano and Voice by J.P.E. Hartmann”.

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Title above the first stave: “Stambogsblad”, Allegro vivace.
End dating: “9/7 47”. Written in ink.
In bb. 3-4 added between the staves: “Stork! Stork! Langeben,
hvor var Du saa længe”105 (Hartmann had composed this song
to a text by Ingemann the previous year; autograph of the songis dated “29/6 46”).
1 bifolio, with music written on the first 8 staves of p. 1.
16 staves, 26x35 cm.
Facsimile of A in Illustreret Tidende (1905), Vol. 33, p. 482.
Posthumously printed in: “HARTMANNS MELODIER. /FOLKELIGT UDVALG AF J.P.E.HARTMANNS SANGE[….] VED OTTO MALLING og AXEL SØRENSEN / […] /WILHELM HANSEN, MUSIK-FORLAG.”
Pl. No. 12787 (1900)
On p.110: Stambogsblad. J.P.E. Hartmann (9 Juli 1847.) withthe following footnote: “Denne Fantasi uden Ord over en af
Hartmanns mest folkeyndede Sange “Stork, Stork, Langeben,”
har aldrig været trykt. Den fandtes af Familien efter hans Død
og meddeles her som en sidste Hilsen fra Romancernes barnligmilde Komponist”.106[ no. 38 ] ‘den 20de januar 1848’
A Print.
Title page: “‘DEN 20de JANUAR 1848’ / AF / J.P.E.HARTMANN/ De Alle følte, hvad i ham de eied’, / Bad for hans Liv, bad
ret i Angst og Sorg. / H.C.Andersen. / KJÖBENHAVN. / PAA
C.C.LOSE & DELBANCOs FORLAG.”107
7 pages.
Pl. No. 2240 (1848).
The date mentioned in the title is the day of Christian VIII’s
death; thus, all the pages carry a black edge.
DF (p. 17) lists a “title impression” edited by Wilhelm Hansenc.1879 with the plate number 7806; this edition is not available
in The Royal Library. Hofmeister XIX, April 1848, quotes thework under the following title: “Der 20. Januar 1848. TrauerFantasie f. Pfte. Copenhagen, Lose u. Delbanco 10 Ngr.”; neither is a copy of this edition known today.

105 “Stork, Stork with the long legs” (first line of a childrens’ poem
by B.S. Ingemann).
106 “This fantasy without words of one of Hartmann’s most beloved
songs, “Stork, Stork Langeben”, was never published. It was foundby the bereaved after his death, and is here made known as a final
greeting from the childishly mild composer of the songs.”
107 “‘20th JANUARY 1848’ / BY / J:P:E:HARTMANN / They all felt,
what they owned in him, / Prayed for his Life, Prayed both inFear and in Sorrow. / H.C.Andersen”.

[ no. 39 ] langsom menuet
A Autograph, fair copy and sketches.
DK-Kk, MA ms 482, mu 8309.0589.
Title above the top stave: “Langsom Menuet”; no name of composer.
End dating: “2/8 49”.
One folio, written in ink on both pages, 34x25.5 cm,
20 staves.
Front page, staves 1-13 : “Langsom Menuet”, with end dating.
Front page, staves 14-17: movement in C minor, 2/4, 16 bars
(No. 40 of the present edition).
Back page, staves 1-12: unfinished dance movement in B flat
major dur, 3/4.
Back page, staves 14-15: 4 cadence bars in B flat major with thedesignation “Coda”.
Back page, staves 16-17: unfinished “Gallop”, 8 bars in
D major.
Back page, staves 19-20: 8 bars, of which the first four belong to“Langsom Menuet” (according to addition on the front page:“nederst forrige side”.108[ no. 40 ] ( klaverstykke, 1849 )A Autograph, fair copy.
DK-Kk, MA ms 482, mu 8309.0589.
See No. 39 above.

[ no. 41 ] albumsblad
A Autograph, fair copy.
DK-Kk, MA ms 465 mu 8308.2684.
Title above the first stave: “Albumsblad.”1 folio, 16 staves, 25.5x34.5 cm. The back page is blank.
End dating: “14 Mai 1854”.
Slip of paper enclosed (by Sven Lund): “Er det Hartmann?”109
crossed out.

[ no. 42 ] polkamæssig
A Autograph, fair copy and sketches.
DK-Kk, MA ms 474, mu 8309.0581.
Title on top of the first page with music: “Polkamæssig”.
End dating: “5/1 57 J.P.E.H”.
1 bifolio (4 pages, unpaginated), 20 staves, 29.5x34.5 cm.
1r: Polkamæssig.
1v: blank.
1r: piano fragment on the four upper staves; the rest is blank.
1v: pencil sketches for an unknown work.
Facsimile in Illustreret Tidende (1905), Vol. 33, p. 479.

108 “at the bottom of the previous page”.
109 “Is this Hartmann?”

622 j.p.e. hartmann : selected works

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[ no. 43 ] sct. hansaften vals
A Autograph, fair copy
B Print, first edition
C Print
A Autograph, fair copy.
DK-Kk, CII, 65 Diverse.
Title on p. 3: “Sct. Hansaften-Vals / til Intermediet i “Kildereisen” / af / J.P.E. Hartmann”.
1 bifolio, last page blank; 14 staves, 27x34 cm.
On top of the first page with music added in pencil: (IPEH):“Til indledning kan bruges Takterne efter Slutningen.”110 In theleft corner of the first page added in foreign hand: “pag. 10-11
Vals” (referring to the pagination of the printed edition, B).
Printing copy for B (the few pencil additions in A can be foundin B).
B Print, first edition
Title page: “MUSIKALSK MUSEUM. / DANDSE, CLAVEERSTYKKER, SANGE / udgivne af / HORNEMAN & ERSLEV/ […] Femtende Aargang / […] No. 2. Hartmann, J.P.E. Sct.
Hansaften, Vals af “Kildereisen” / […] KJØBENHAVN. / PåHorneman & Erslevs Forlag”.
Title on the first page with music: “SCT. HANSAFTEN VALS /til Intermediet i “Kildereisen” / af / J.P.E. Hartmann.”
September 1860.
2 pages, paginated 10-11.
C Print.
Title page: “Undervisnings-Musikalier / ordnede i fremadskridende Rækkefølge i 14 Klasser … Horneman & Erslev”.111
As “Klasse 10”: “St. Hansaften Vals & Sjællandsk Reel”.
Title on the first page with music: “Sct. Hansaften Vals til Intermediet i ‘Kildereisen’ af J.P.E. Hartmann.” Pl. No. 847 (1872).
2 pages, paginated 10-11.
Title impression of B.
Piano version of the version for orchestra, Wexelsang ved Kilden,
which is part of Bournonville’s intermedium between the second
and third acts of Holberg’s play Kilderejsen, performed at The
Royal Theatre in 1859.112
The following parts of the orchestral version of the theatricalperformance (cf. Hartmann’s autograph score of Kilderejsen, DKKk, C II, 114) are left out of the piano version: a four part choral
movement (to which the present waltz originally was used as an
instrumental accompaniment), the original introduction (whichin the piano version is substituted by eight bars on p. 3 of A), anda couple of shorter passages. A piano score of the full orchestral
movement (including the choral movement mentioned above) is
published in Axel Grandjean, Traditionel Musik til Ludvig Holberg
Komedier, Kbh. 1888, s. 44 ff.).113
The changes mentioned above, and the meticulously worked

out piano texture in A (and the change of the title of the piece inconnection with the publication by Horneman and Erslev) legitimise, that the movement is considered an individual work for
piano and not just a piano reduction of the music of Kilderejsen.114
Differences between the piano version (A, B and C) and thetheatre versionen (autograph score of Kildereisen and piano scorein Grandjean’s edition mentioned above) comprises:
15 bar introduction in 6/8 substituted by an 8 bar introduction in¾ (bb. 1-8 of the present edition)
4 part homophonic choral movement with the text “Sanct Hans dubringer os Sommertid”, sung in the theratrical performance with
the Waltz of a as accompaniment, left out of the piano version;
between bb. 40 and 41 of the piano version 7 bars are left out
between bb. 48 and 49 of the piano version 5 bars are left out.

[ no. 44 ] sjællandsk reel
A Autograph, fair copy
B Print
A Autograph, fair copy.
DK-Kk, MA ms 4477, mu 9705.2800.
Title above the first system: “Reel af Kildereisen.” In a different hand: “Sjællandsk Reel / til Intermediet i ‘Kildereisen’ / af /J.P.E. Hartmann.”
1 folio, written on both sides.
20 staves. 32.5x29 cm.
Ink with a few corrections in ink.
B Print.
On pp. 26-27 of B and C of Sct. Hansaften Vals (No. 43) above.

[ no. 45 ]bellmanske billeder. menuetter
A Print, first edition
B Print
C Print
D Autograph, fair copy (the two minuets without the introduction)

110 “The bars after the ending may be used as an introduction”.
111 “Educational music / organized in a progressive order in 14 classes… Horneman & Erslev”.
112 See Knud Arne Jürgensen, The Bournonville Tradition, Vol. II, London 1997. p. 237 (the song and the sources above are not explicitly
mentioned here).
113 Added below the title: “(Motiverne til Valsen af August Vilhelm
Hartmann)” (“Motifs for the waltz by August Vilhelm Hartmann”); A.W.Hartmann was J.P.E. Hartmann’s father.
114 The printed version of Hartmann’s music for Kildereisen, published in Jubeludgaven af Holbergs Comoedier…Tomus III. Tillæg
II: Traditionel Musik til Ludvig Holbergs Komedier. Samlet af Axel
Grandjean, København 1888, pp. 37-59, is not included in thesource hierarchy of Skt Hansaften Vals..

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20/09/12 10.37

A Print, first edition.
Title page: “Bellmanske Billeder / MENUETTER / for /Pianoforte / af / J.P.E.HARTMANN / […] / Kjöbenhavn. / PåHorneman & Erslevs Forlag / […]”
Pl. No. 475 (dec. 1859).115
9 pages.
B Print.
Title impression with same Pl. No. as A: “KJÖBENHAVN. /Wilhelm Hansens Musik-Forlag” (1885).
C Print.
Title impression with same Pl. No. as A: “KJÖBENHAVN &LEIPZIG. / Wilhelm Hansen, Musik-Forlag”.
On the title page added under the Danish main title: “(Bellmansche Bilder.)”.
D Autograph, fair copy (the two minuets without the introduction).
DK-Kk, MA ms 471, mu 8308.2690.
Title on top of the first page with music: “Menuetto No 1”(“1”corrected in pencil to“2”), equivalent of bb. 26-94 of thepresent edition.
Title on top of the second page with music: “Menuetto No 2”(“2” corrected in pencil to “3”), equivalent of bb. 112-256.
End dating: “4. Febr.1852”. No name of composer.
1 bifolio (4 pages, unpaginated), 20 staves, 29.5x34.5 cm.
1r: Menuet 2.
2r-2v: Menuet 3.
The last staves of 2v contain ink and pencil sketches of an unknown work.
The following details indicate that the minuets were originallycomposed independent of Bellmanske Billeder:
The dating of D (1852) seen in connection with the year of thefirst printed edition A, 1859;
the fact that the two minutes of D are two independent compositions with their own titles and their own double bars.
A has been chosen as the main source.

[ no. 46 ] stambogsblad
A Autograph, fair copy.
DK-Kk, MA ms 479, mu 8309.0586.
Title on top of the music page: “Stambogsblad”.
End dating: “J.P.E.Hartmann Kjøbenhavn / Juli 1862”.
Andante sostenuto, 7 bars. Written in ink.

115 Dating according to DF, p. 21.
116 Dating according to DF, p. 24.
117 Dating according to DF, p. 157 and Wilhelm Hansen’s Engraver’s
Diary.

1 leaf, 6 staves, 13x20 cm. Only written on one side.
Title and tempo designation written in blue ink, music and end
dating written in black ink.
The leaf has been folded three times to fit into a small envelope.
Facsimile in IllustreretTidende (1905), Vol. 33, p. 482.

[ no. 47 ] aftenstemning
A Print, first edtion
B Print
C Print
D Print
E Autograph, discarded version
A Print, first edition.
Title page: “Musikblade / udgivne af / Foreningen / Fremtiden /1869 / 2det Hefte. / Indhold: […].”
Pl. No. 5 (1869).
As No. 3 (pp. 14-15): “Aftenstemning for Pianoforte.”
Other works in the volume by F. Neruda, Aug. Winding,
G. Matthison-Hansen, P. Heise, C.I. Hansen
and F. Andersen.
B Print.
Title page: “AFTENSTEMNING / Klaverstykke / af / J.P.E.Hartmann. / KJÖBENHAVN, / Wilhelm Hansens Forlag og Eiendom”.
2 pages.
Pl. No. 5 (November 1880).116
C Print.
Title page: “KOMPOSITIONER / FOR / PIANOFORTE / AF
J.P.E.HARTMANN. [a catalogue of most of Hartmann’s pianomusic, the latest being dated 1881] / KJØBENHAVN. WILHELM HANSENS MUSIK-FORLAG.”
Title on top of the first music page: “Aftenstemning”.
2 pages.
Pl. No. 7248 (c. 1881).
D Print.
Title page: “HARTMANN-ALBUM. / UDVALGTE KOMPOSITIONER / AF / J.P.E.HARTMANN. / […] / KJØBENHAVN &LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG.”
Pl. No. 11.660 (1895).117
39 pages.
As No. 15 (pp. 38-39): “Aftenstemning. Klaveerstykke”.
E Autograph, discarded version.
Strongly different version, in B major.
See B, p. 11 of No. 19, Studier and Novelletter opus 65, above.
Published as App. 5 of the present edition.
Only bb. 1-10 of E has been reproduced in the printed versions
A-D, which may be seen from the concordance below:

624 j.p.e. hartmann : selected works

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20/09/12 10.37

E
1-4
5-10

A-D
1-4
9-13

The music of all the prints is identical and seems to be made from thesame plates, in spite of the fact that the plate numbers are different.

[ no. 48 ] i folkevise-tone
A Autograph, fair copy.
DK-Kk, Hartmanns Samling, Kompositioner og Udkast, mu
1944-45.64.
Title above the music: “I Folkevise=Tone”. No name of thecomposer.
One leaf, 8 staves, 13x20 cm.
The back page is blank, apart from the following dating:“(Rom 24 Marts 1870)”, presumably in Carl Hartmann’s hand.
(J.P.E.Hartmann’s son, Carl Hartmann, dwelt in Rome in 1869
and 1870).
Written in ink.

[ no. 49 ] albumsblad
A Print.
Title page: “FRA NORDISKE KOMPONISTER / SAMLING AF
NYE PIANOFORTE- OG / SANGKOMPOSITIONER / MED
ET INDLEDNINGSDIGT / AF / CARL ANDERSEN. / BIDRAGENE SAMLEDE AF AUGUST WESTRUP. / […] / KJØBENHAVN 1871. / IMMANUEL RÉE’S FORLAG. / […]”
83 pages, 1871.
On pp. 48-50: Albumsblad.
The collection with music by a number of Nordic composers is
introduced by eight stanzas by Carl Andersen. On the cover is adrawing by August Jerndorff showing a young man playing theharp including various antique landscapes.

[ no. 50 ]efter motiv af en svensk folkevise
A Autograph, fair copy.
DK-Kk, MA ms 480, Mu 8309.0587.
Title: “Efter Motiv af en Svensk Folkevise”.
End dating: “J.P.E.H: 24/9 74”.
1 cropped folio of music, 12 staves, 26x18.5 cm. Back page
blank. Written in ink.
Facsimile in Illustreret Tidende (1905), Vol. 33, p. 482.

[ no. 51 ] stambogsblad no. 1
A Autograph, fair copy and sketches.
DK-Kk, MA ms 475, mu 8309.0582.
Title on top of the page: “Stambogsblad No 1”, Andante sostenuto. No name of composer.

Below the tempo indication is added: “/ Passion / ”.
End dating: “30/7 78”.
1 folio, 14 staves, 26x35 cm.
Front page: Stambogsblad, Andante sostenuto on the 10 upper
staves; sketch for a fugue section based on the fugue theme withthe title “Fughetto”, and pencil sketches for an unknown workon the remaining staves of the page.
Back page: pencil sketches for an unknown work.

[ no. 52 ] stambogsblad no. 2
A Autograph, fair copy and sketches.
DK-Kk, MA ms 476, mu 8309.0583.
Title: “Stambogsblad No 2”.
End dating before the addition mentioned below: “18/8 79”(crossed out). End dating after the addition mentioned below:“30/8 79”.
Sheet of music cut in half (14 staves, 26x23 cm) glued to aquarter of a sheet of music (5 staves, 21.5x11cm).
Front page of the halved sheet of music: Stambogsblad No. 2,
Allegretto.
The added quarter of a page: new ending added to the original
erased ending.
Back of the halved sheet: various sketches in pencil, the whole
page later being crossed out.

[ no. 53 ] ( stykker for johan peter
hartmann )A Autograph, fair copy.
DK-Kk, Hartmann Supplement. Kompositioner og Udkast.
On p. 2 of No. 24, Thema med 14 Variationer (see the description of this manuscript above).
Presumably written for Hartmann’s grandchild, Johan Peter.

[ no. 54 ] svanerne. humoreske
A Autograph, fair copy.
DK-Kk, MA ms 477, mu 8309.0584.
Title on top of the music page: “Svanerne, Humoreske.”, Allegretto moderato (Vals-Tempo).
Text added to the music of bb. 17-19: “gratulerer til defem!...”118 (see Introduction).
End dating and dedication at the bottom of the page. “Til Vigo
Neergaard, med Hilsen og Tak for Brevet fra hans hengivne
J.P.E.Hartmann. Nærum 17-6-82.”119
1 folio (back page blank). 14 staves. 34.5x26 cm.

118 “Congratulations with the five”.
119 “For Viggo Neergaard (owner of Fuglsang Estate, and married toHartmann’s grandchild Bodil Neergaard), greetings and thanksfrom his devoted J.P.E. Hartmann. Nærum, 17-6-82”.

klaverværker : critical commentary

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20/09/12 10.37

[ no. 55 ] i en stambog
A DK-Kk, MA ms 710.
Title: “I en Stambog!”
No name of composer.
End dating “6/7 85” (Hartmann’s latest dated piano piece).
1 folio among a number of unidentified sketches. 19.5x26.5 cm.
4 bar D minor cadence.
On the back page, sketches for the cantata Tonernes Verden,
Festkantate written for the celebration of the centenary of theMusic Society on 5 March 1886. The text of the sketch is “saalydig under Lovens Tvang / som Jupiter og Jordens Gang, / og
dog saa fri som Vinden” (Chr. Richardt).

[ no. 56 ] marsch
A Fair copy autograph.
DK-Kk, Hartmanns Samling, Kompositioner og udkast, mu
1939-40.448.
Title: “Marsch”.
1 bifolio, first and last pages blank.
26.5x34.5 cm, 12 staves.
No name of composer.
Written in blue ink, which indicates a rather late work.

137 bars of an Allegro Moderato. Ends without cadence or
double bar in the middle of p. 4 of the bifolio.
Sheet in upright format:
19 bars with a repeat sign and double bar after b.19; only music on the upper half of the front page of the sheet; back page
blank. Same thematic material as in the bifolio.

[ app. 4 ] klaverstykke
See Nos. 19 and 20 above.

[ app. 5 ] aftenstemning
See No. 19 above, B.

lost works and torsos
A review of the collected source material has, for one thing, served
to disclose a number of unfinished piano works and has, for another, brought to light a very few completed works that nonetheless appear to have gotten lost.
The unfinished works include:120

iv. appendix

₍fugue₎, fragment, 28 bars 121
#3
& 4



? #3
4

[ app. 1 ] sonate ( early version of sonata
opus 80 )See No. 1 above, Sonata in A minor.

∑
œ

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∑
œ

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f majorA Autograph, fair copy, fragment.
DK-Kk, MA ms 470, mu 8308.2689.
1 bifolio in oblong format (27x38 cm, 12 staves) and one sheet
in upright format (31.5x24.5 cm, 14 staves).
Bifolio:
Title on the first page. “Sonate for P: F:” with Hartmann’s autograph signature.

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121 Autograph, fair copy, fragment, DK-Kk, MA ms 0484 mu
8309.0591. A bifolio in oblong format, 14 systems, 24x34 cm.,written on the first 6 systems of p. 1. Without title and without
identification of the composer. See <http://img.kb.dk/ma/hartmann/hart_org_fuga-xl.pdf>

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120 Of course, App.1-3 ought to be included among the unfinishedpieces.

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626 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 626

20/09/12 10.37

iintroduction to variations in g major122œ

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œœ œœ œœ # œœ œœ n œœœ œœœ œœœ œœœœœ œœ œœœ œ œRegistered in The Royal Library’s database under the catalogue signature, C II, 7, mu 6406.2360, as an autograph manuscript by Hartmann, “For Klaver, F-dur” [Work for piano in F-major]. The work,
however, does not appear to be on its expected shelf in the library.

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fp

cresc,

œœœœœœœœœœ œœœœœœœœœœœœ œ œ œœœœœœœ? # œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœ œœ œœ œœ œœœ œœœ œœœ œœœœœœœœœ œœœ œœœœœœ œœœ œœœœœœ œœœ œœœ œœœ œœ œœ œœ
œJ
3
3
3
3
3
3
3
3
3
3
3
3
œ 3 3 33

The lost works include:

Both in Dan Fog’s Hartmann catalogue and in the secondary literature about Hartmann,124 an unknown work with this title turns up.
It is quite possible that the work was inspired by C.E.F. Weyse’s piano works entitled Allegro di bravura.125 However, no specific workby Hartmann with this title is known to be in either The Royal
Library’s collections or in any other collection. Nor is such a work
listed in Hartmann’s own index of his oeuvre, even though the opus
number might otherwise suggest that the piece was originally slated
for publication. It must therefore be considered a lost work.

marie-polka no. 2 123b b3
˙& b b 4 œ œ ≈ œœ œœœ œœ
? bb b 3 Œ
œ œ
b4
œ
œ



m

˙
˙
˙
œ ≈ œœ œ œ ≈ œœ œ ˙
œ
œ

œœ œœ
œ œ

œ
œ

œ ˙
œ œ ≈ œœ œ ˙œ ≈ œœ œ œ˙≈ œœ œ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œœ œœ
œ œ
œ œ
œ œ
œ œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ

D

i
R
n
K

a

122 Autograph, fair copy. DK-Kk. MA ms 472, mu 8308.2691. Without
any identification of the composer, 1 folio, 16 systems, 26x35 cm.
The one page is blank. Systems 1-4: “Theme”; System 5: “After thetheme”; Systems 6-7: “After Var. 9”. What we have before us, then, is
one page that refers to an unknown work, which contains a numberof variations on the theme stated at the beginning of the piece.

B
o
m
l
d
s
o
v

123 Autograph, fair copy. DK-Kk. MA ms 494b. Fair copy in ink without any identification of the composer, although it has clearly
been made in Hartmann’s hand. 36 bars (the piece breaks off at
the bottom of the page, as if there has been another page, following this one, with the ending) in A flat major, notated on the one
side of a folio, on the other page of which is inscribed “Reisen til
Viinhøsten af H. Hertz” [Trip to the Wine-Harvest of H. Hertz]
for soli and 4-voiced male choir.
124 Dan Fog, Op. cit., p. xiv; Angul Hammerich, J.P.E. Hartmann. Biografiske Essays, Copenhagen 1916 (p. 97); Richard Hove, Op. cit.,p. 150; William Behrend, I.P.E. Hartmann, Copenhagen 1918
(p. 89); and Lothar Brix, Op. cit., p. 37.
125 The title is also known from Franz Liszt’s oeuvre.

klaverværker : critical commentary

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627

20/09/12 10.37

editorial emendations andalternative readings
no. 12tre klaverstykker, opus 38
No. 1
Bar

Part

2-3
9
27, 28, 32
35, 36
38

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

39, 40
42

pf.1
pf.1

43-44
45-46
47-48
49, 50
69

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

76, 77, 79.
82, 8378
80
84
99
110, 111

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

112

pf.1

118, 119

pf.2

120-121

pf.1

146, 147

pf.2

159, 160,
163, 164

pf.1

163, 164

pf.2

177-178
181
202
213

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

217

pf.1

218

pf.2

218-219220-221222-223
224, 225
249

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

264-265

pf.2

283-284

pf.1,2

Comment
A: Allegro marcato. MM  = 208
lower part: slur added by analogy with pf.1
third crotchet: stacc. added by analogy with b.8
A: chord 2: marc.
chord 1: ten. added by analogy with bb.210, 211
second crotchet lower part: stacc. added by analogy with pf.2
chord 1: ten. added by analogy with bb.214, 215
second and third crotchet lower part: stacc.
added by analogy with pf.2
lower part: slur added by analogy with pf.2
lower part: slur added by analogy with pf.2
lower part: slur added by analogy with pf.2
lower part: stacc added by analogy with pf.2
note 1: stacc. added by analogy with pf.1 andb.176
lower part note 1: stacc. added by analogy with pf.2
chord 1: stacc. added by analogy with pf.2
chord 1: stacc. added by analogy with pf.2
chord 1: stacc. added by analogy with b.80
marc. added by analogy with pf.2
lower part note 2: stacc. added by analogy withupper part
upper part note 1: stacc. added by analogy with
notes 2-3
lower part note 2: stacc. added by analogy withupper partlower part: stacc. and slur added by analogy
with upper part and pf.2
last chord: stacc. added by analogy with bb.118,
119
chord 1: marc. added by analogy with bb.27, 28,
31, 32
chord 2: D , d  emended to D , d  by analogy
with bb.31, 32 (copyist’s error?); chord 2: stacc.
added by analogy with bb.159, 160
lower part: slur added by analogy with pf.1
note 2: marc. added by analogy with b.6
chord 4: stacc. added by analogy with b.203
lower part second crotchet: stacc. added by analogy with pf.2
lower part second and third crotchet: stacc.
added by analogy with pf.2
beginning of slur emended from note 1 to note
2 by analogy with pf.1 and b.43
lower part: slur added by analogy with pf.2
lower part: slur added by analogy with pf.2
lower part: slur added by analogy with pf.2
lower part: stacc added by analogy with pf.2
note 1: stacc. omitted by analogy with pf.1 andbb.6, 74
tie from second crotchet of b.264 to first crotchet of b.265 added by analogy with bb.263-264
A, B: notated as one bar of double length

Bar

Part

Comment

No. 2
Bar

Part

+1
13

pf.2

Comment
A:  = 56; D: Andantino
A: legato
third and fourth quavers: as in A, B, C; D: thirdand fourth quavers: d , d 
A: chord 1: G , g ; D: lower part, note 1:  f ; D:
D: chord 5: cresc.
missing in D
D: dim.
A, C, D: upper part chord 5: b 
beginning of slur moved from note 5 to note 6
by analogy with pf.1
A, D: chords 1-4: arpeggio missing
A: upper part, notes 7-8: a  -b 
A, C: erroneously notated with four key signatures instead of five
D: last chord: b , d  , a  (d  instead of d probably being a slip of the pen on Hartmann’s
part)chords 2-3, 5-6: redundant slurs omitted because of the slur of bb.35-36
D: lower part: marc.
chords 2-3: redundant slur omitted because of
the slur of bb.35-36
chord 3: as in A, B, C; D: chord 3: a, c (not a , c)with a  before the a (probably a slip of the pen
on Hartmann’s part)

14
16
17-18
19
26
27

pf.1
pf.1,2

30
31
32-43

pf.2
pf.1
pf.1,2

33

pf.2

35

pf.1

35, 36
36

pf.1
pf.1

39

pf.2

No. 3
Bar

Part

16
18

pf.1,2
pf.1

27, 28

pf.1

30
32
52
65

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

pf.1,2
pf.1
pf.2



Comment
A: Allegro commodo grazioso. M.M.  = 152 (should probably be read  ); A, C: erroneously
notated with three key signatures instead of four
A: double bar
upper part note 2: stacc. added by analogy withbb.17, 19seventh quaver: stacc. omitted because of slur
and tie
A: note 5: 
A: note 5: 
A: notes 2-3: f -a lower part note 2: marc. added by analogy withb.61

no. 13seks karakterstykker, opus 50
No. 1
Bar
13
15
16

Part
pf.2
pf.2
pf.2

Comment
slur and stacc. added by analogy with bb.9, 11
slur added by analogy with bb.12, 14
chord 1: stacc. added by analogy with bb.17

No. 2
Bar
3, 4
5

Part
pf.2
pf.2

7

pf.2

18ii
20
22

pf.1
pf.1

Comment
first quaver: stacc. added by analogy with bb.6-9
first and fourth quaver: stacc. added by analogy
with bb.6-9
fifth and sixth quaver: stacc. added by analogy
with b.8
smorz. added by analogy with b.18i
note 5: stacc. added by analogy with note 1
note 5: stacc. added by analogy with note 1

628 j.p.e. hartmann : selected works

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Bar

Part

Comment

No. 3
Bar15, 16i, 16ii
25
31
32i, 32ii

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

Comment
stacc. added by analogy with bb.9, 11-13
note 2: stacc. added by analogy with note 1
chord 2: stacc. added by analogy with chord 1
stacc. added by analogy with bb.16i, 16ii

No.4
Bar
5, 6, 9-15
14
18
25

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

32-37
41-43
49

pf.1
pf.2
pf.1

Comment
lower part: slurs added by analogy with bb.1-4
last note: stacc. added by analogy with b.13
last note: stacc. added by analogy with bb.17, 19
note 8: stacc. omitted by analogy with note 4
and b.26
lower part: slurs added by analogy with bb.1-4
slur and stacc. added by analogy with b.40
inner part note 3 (a ): stacc. added by analogy
with last note

No. 5
Bar
2
5
18
19
24-26
28

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

Comment
notes 2-4: slur added by analogy with bb.5, 6
slur added by analogy with bb.6-8
note 3: g  emended to g  by analogy with b.75
note 2: g  emended to g  by analogy with b.76
slurs added by analogy with bb.1-3
slur from note 7 of b.27 to note 3 of b.28
emended to slur from notes 1-3 of b.28 by analogy with b.5
slur added by analogy with bb. 29, 31
end of slur emended from last note of b.30 tofirst note of b.31
notes 1-6: stacc. added by analogy with notes 7-12
first grace note: d  emended to d 

28, 30
30-31

pf.2
pf.1

34
35
42, 44-45,
47-49, 52,
54-55

pf.2
pf.2

50-51
86, 87
101, 102

pf.1
pf.2
pf.2

missing stacc. added by analogy with bb.43, 46,
50-51, 53
tie added by analogy with bb.42-43
slur added by analogy with b.85
slur added by analogy with bb.99, 100PartComment

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

missing stacc. added
missing stacc. added
stacc. added by analogy with b.8
stacc. added by analogy with b.18
missing stacc. added by analogy with bb.21, 22
note 2: stacc. added by analogy with note 1
note 1: marc. added by analogy with b.31
note 1: marc, added by analogy with b.35;
chords 3, 4: stacc. added by analogy with chords
1, 2
stacc. added by analogy with b.36i
first and second quaver: stacc. added by analogy
with b.33
fourth quaver: stacc. added by analogy with b.33
stacc. added by analogy with bb.34, 35
notes 6-7: stacc. added by analogy with notes 1-5
stacc. added by analogy with b.57
note 2: stacc. added by analogy with b.58
sixth quaver: b, d emended to b, d by analogy
with b.48

No. 6
Bar
1, 11, 13,
14, 16
7-11, 13-14
16
21
23, 24
30
32
33

pf.2

34
35

pf.1
pf.1

35
36i, 36ii
36ii
49
50
56

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

Bar

Part

Comment

58

pf.1

64

pf.2

sixth quaver: a , b enharmonically emended toa , c by analogy with b.50
last chord: stacc. added by analogy with b.65

no. 14tre klaverstykker
No. 1
Bar
11

Part
pf.1

Comment
upper part notes 1, 3: marc. added by analogy
with b.3 and as in A, B

No. 2
Bar
1-47

Part
pf.1,2

11
15
22
23
27
29-31

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

Comment
tuplets added where necessary; A: all tuplets
missing
note 2: marc. added by analogy with pf.1
note 2: marc. added by analogy with pf.1
stacc. added by analogy with pf.1
chord 2: stacc. added by analogy with pf.1
note 2: marc. added by analogy with pf.1
slur added by analogy with pf.1

No. 3
Bar
5

Part
pf.2

5-6
10-13
15

pf.1
pf.2
pf.2

16-18
20

pf.2
pf.2

42

pf.1

Comment
lower part notes 2-4: slur added by analogy withb.6
lower part: slur added by analogy with upper partslurs added by analogy with b. 9
upper part note 3: stacc. omitted by analogy
with b.17; upper part notes 4-6: slur added byanalogy with notes 1-3
slurs added by analogy with b.9-13
lower part: marc. added by analogy with pf.1
(lower part)
eleventh and twelfth semiquaver: stacc. and slur
added by analogy with pf.2 and as in A, B

no. 15
etudes instructives, opus 53
No. 1
Bar
20

Part
pf.2

22

pf.2

29-30

pf.1

Comment
A: chord 1: ossia notation: either f, a or F, c, awith arpeggio and printed with smaller noteheads; in the present edition the latter option
has been chosen as in B
A: chord 1: ossia notation: either g, b  or G, d, b with arpeggio and printed with smaller noteheads; in the present edition the latter option
has been chosen as in B
notated as in B; A:

& bc

œ œœ

œœœ œœœœœ œnœbœ œ œ nœ œ œ
nœ

31
35

pf.2
pf.2

slur added by analogy with bb.27-30
note 3: stacc. added by analogy with b.33

No. 2
Bar
6
22
54

Part
pf.1
pf.1
pf.1

Comment
note 1: marc. added by analogy with b.2
marc. added by analogy with b.18
note 1: marc. added by analogy with b.50

klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 629

629

20/09/12 10.37

Bar

Part

Comment

56

pf.2

60
60
62
62
72-80

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

note 1: stacc. added by analogy with b.8 and as
in B
chord 1: marc. added by analogy with b.58
stacc. added by analogy with b.58
chord 1: marc. added by analogy with b.58
stacc. added by analogy with b.58
first crotchet: redundant  in lower part omitted

No.3
Bar
4

Part
pf.1

4
5-6
10

pf.2
pf.2
pf.1

10

pf.2

11

pf.1,2

15

pf.1

40ii

pf.2

42
51

pf.1
pf.2

53
54

pf.1

55

pf.1

61
71
71

pf.2
pf.1
pf.2

No. 4
Bar
9
10
15, 16, 17
17

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

18

pf.1

26
27

pf.1
pf.2

34

pf.1,2

No.5
Bar
3

Part
pf.2

5
5-6

pf.2
pf.1

7

pf.2

9-10

pf.1

35
37, 41i
42i

pf.2
pf.2
pf.1

Comment
chord 3: ten. emended from pf.2 to pf.1 by analogy with b.44 and as in B
note 3: marc. added by analogy with b.44
slur added by analogy with b.45-46
third and fourth quaver: stacc. added by analogy
with b.50 and as in B
notes 5-6: stacc. added by analogy with b.50 andas in B
third and fourth quaver: stacc. added by analogy
with b.10 and as in B
first and third quaver: stacc. added by analogy
with pf.2, b.55 and as in B
note 1: stacc. added by analogy with the two following chords and as in B
note 1: stacc. added by analogy with b.2 and as in B
notes 3-4: stacc. added by analogy with pf.1 andas in B
chord 1: emended to  by analogy with b.13
emended toby analogy
with b.14 and because of the dynamic level ofbb.52-54
fourth quaver: slur added by analogy with second quaver and b.15; B: third quaver: stacc.
marc. added by analogy with b.21
chord 1: stacc. added by analogy with pf.2
chord 1: marc. added by analogy with pf.1

Comment
chord 2: arpeggio added by analogy with chord 1
B: chord 1: arpeggio
lower part: slurs added by analogy with bb.11, 12
upper part: crotchets emended to quavers by
analogy with bb.11, 12, 15, 16
upper part note 2: marc. added by analogy withnote 1chord 1: arpeggio added by analogy with b.25
fourth quaver: b  emended to b  by analogy with
pf.1
tuplets added to fit the metre

Comment
second semiquaver: stacc. added by analogy
with b.35; fourth quaver: stacc. added by analogy with b.7 and as in B
stacc. added by analogy with b.9 and as in B
two slurs emended to one slur by analogy with
b.3-4
second semiquaver: stacc. added by analogy
with b.39
beginning of slur emended from note 1 of b.10
to note 1 of b.9 by analogy with bb.41i-42ii
fourth quaver: stacc. added by analogy with b.3
stacc. added by analogy with bb.5, 9
note 5: stacc. added by analogy with b.10

Bar

Part

Comment

No. 6
Bar
2
3
4
8
9-10
16-17
17
19
20
23

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

24
32-33

pf.2
pf.1

60

pf.1

Comment
B: fourth crotchet: stacc
B: stacc.
B: chords 1-3: stacc.
fifth quaver: stacc. added by analogy with pf.2
slur added by analogy with pf.1
slur added by analogy with bb.14-15
chord 1: stacc. added by analogy with b.15
B: second to fourth crotchet: stacc.
B: first and second crotchet: stacc.
fourth crotchet lower part: marc. added byanalogy with b.24; B: second to fourth crotchet:stacc.
B: first and second crotchet: stacc.
slur from note 6 of b.32 to note 1 of b.33 omitted by analogy with bb.30-31
notes 4-5: slur added by analogy with b.53 andas in B

no. 16
fantasistykker, opus 54
No. 1
Bar
7

Part
pf.2

10
11
12
13

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

33

pf.1

No. 2
Bar
1-4
3
9

Part
pf.2
pf.2
pf.1

10

pf.1,2

12

pf.1

24

pf.2

25-28
26

pf.2
pf.2

27

pf.2

55
80, 81, 82
86

pf.1
pf.1
pf.2

89

pf.1

No. 3
Bar
14, 15

Part
pf.2

18

pf.1

Comment
seventh quaver: G emended to F by analogy
with b.31 (pf.2, fourth crotchet) and as in B; A
and C: Gslur added by analogy with pf.1
B, C : first to second quaver: slur omitted
B, C: chords 1-2: slur omittedend of slur emended from the thirteenth to thefifteenth semiquaver by analogy with bb. 14, 15
last note: redundant M.S. omitted

Comment
upper part: as in A, C; B: ten.
fourth quaver: stacc. added by analogy with bb.1, 2
fourth quaver: stacc. added by analogy with b.11
and as in B, C
fourth quaver: one marc. interpreted as being
valid for both pf.1 and pf.2
note 1: stacc. added by analogy with b.10 and as
in B, C
fourth quaver: stacc. added by analogy withb.+1 and as in B, C
upper part : as in A and C; B: ten.
lower part notes 2, 4: stacc. added by analogy
with b.2 and as in A, C
fourth quaver: stacc. added by analogy with b.3
and as in A, C
slur added by analogy with b.51
B, C: note 1: marc. omitted
fourth quaver: stacc. omitted by analogy withbb.87, 88, 89 and as in B, C
chord 1: marc. added by analogy with b.88

Comment
stacc. and slur added by analogy with pf.1 andbb.6, 7lower part: stacc. and slur added by analogy
with upper part

630 j.p.e. hartmann : selected works

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Bar

Part

18

pf.2

25
28
29

pf.2
pf.2
pf.2

34

pf.1

41
45

pf.2
pf.1

45, 46

pf.1,2

47

pf.2

51
52, 53

pf.2
pf.1

No. 4
Bar
+1

Part

19
20

pf.1
pf.1

25
27

pf.1
pf.1

28
43
46
48

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

No. 5
Bar
2
2-3
3
16
18
20
20

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

21
49
49
51-52
53-54
68

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

78, 7979-80
92
94
95, 96
103
121

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

125
125
127-128

pf.1
pf.2
pf.1

127-128129
129-130

pf.2
pf.2
pf.1,2

Comment

Bar

Part

Comment

No. 6
Bar
19-21
36
56, 57
57

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

84

pf.1

92

pf.1

+93-100

pf.1

95

pf.2

Comment
stacc. added by analogy with pf.1 and as in B
note 2: stacc. added by analogy with b.35
nugatory slurs moved to the lower part
upper part notes 2-3: slur added by analogy
with b.56
second quaver lower part: e  added by analogy
with bb.85-90
A: third quaver: segue; the full implication ofsegue is not clear: it might relate either to stacc.
or to the slur or to both in bb. 90-92
stacc. and slur added by analogy with bb.+91-92
and because of segue in b.92
third quaver: slur omitted by analogy withbb.84-94 and 96-99 and as in Bchords 1, 2: as in A and C; B: upper note e
missing
chord 4: marc. added by analogy with pf.1
chord 2: marc. added by analogy with pf.1
chord 2: stacc. omitted by analogy with pf.1 and as
in B, C; chord 3: marc. added by analogy with pf.1
lower part: stacc. and slur added by analogy
with upper partchord 4: marc. added by analogy with pf.1
upper part note 3: stacc. added by analogy withb.44 and pf.2
lower part third quaver: stacc. added by analogy
with upper partchord 3: stacc. added by analogy with chords
1-2 and as in C
stacc. added by analogy with b.47
lower part: stacc. and slur added by analogy
with upper part

Comment
added because ofandin b.1
note 1: stacc. added by analogy with notes 3, 5, 7
notes 1, 3: stacc. added by analogy with b.19 andas in Bnote 1: stacc. added by analogy with b.23 and as in B
note 3: stacc. added by analogy with note 1 andbb.25, 26
notes 1, 3: stacc. added by analogy with b.27
chords 2-3: slur added by analogy with b.41
notes 5, 7: stacc. added by analogy with notes 1, 3
notes 2-3: slur added by analogy with b.47



Comment
third crotchet: marc. added by analogy with pf.1
tie added by analogy with bb.78-79
third crotchet: marc. added by analogy with pf.1
chord 3: stacc. added by analogy with pf.1
third crotchet: stacc. added by analogy with b.16
chord 1: stacc. added by analogy with pf.1
third crotchet: stacc. added by analogy with firstcrotchet
third crotchet: stacc. added by analogy with pf.1
lower part: slur added by analogy with upper partslur added by analogy with pf.1
slur added by analogy with pf.1
slur added by analogy with bb.51-52
sixth quaver: marc. emended from note 1 ofb.69 because of tie and as in B
third crotchet: marc. added by analogy with pf.1
slur added by analogy with bb.3-4
chord 3: stacc. added by analogy with b.18
third crotchet: stacc. added by analogy with b.18
stacc. added by analogy with pf.1
chord 6: stacc. omitted by analogy with b.27
lower part notes 1-2: slur added by analogy withb.45
lower part: slur added by analogy with upper partslur added by analogy with pf.1
slur from note 1of b.127 to note 1 of b.128
emended to two slurs by analogy with bb.51-52
slur added by analogy with bb.51-52
chord 1: marc. added by analogy with pf.1
slur added by analogy with bb.53-54

no. 17novellette i seks smaastykker, opus 55
No. 1
Bar
+1-4
4
5
6
11-12

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

12
12-13

pf.2
pf.1

16
17
19

pf.1,2
pf.2
pf.1

28
30-36

pf.1
pf.1,2

Comment
missing in A
chord 3: stacc. added by analogy with b.20
A: legato
A: fourth to sixth quaver:  a – fslur from note 3 of pf.2 (b.11) to note 7 of pf.1
(note12) added by analogy with bb.9-11
slur added by analogy with bb.9-11 and as in A
lower part: last note of b.12 to first note of b.13:
tie omitted by analogy with pf.2; last chordof b.12 and chords 1-4 of b.13: stacc. and slur
added by analogy with pf.2
note 7: stacc. added by analogy with b.15
A: note 1: stacc.
note 7: stacc. added by analogy with pf.2 (b.20)
and as in A
note 5: stacc. added by analogy with bb.4, 20
not in A; A:

6 œ. œ. œ. œ
& b8 œ œ œ œœœ œœœœ
œ? b 68



No. 2
Bar

Part

6-8
10
17-26
19

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

24
24
25
28-29

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

No. 3
Bar

Part

7
15-16

pf.2
pf.2

j
œ œ jœ jœ œ œ œ ‰ ‰
J
dim.

p

œ
œ œ
J Œ ‰ œœ ‰ œœ œJ ‰ ‰Comment
A: Allegro moderato
stacc. added by analogy with bb.1-5
stacc. added by analogy with b.12
A: stacc. on all semiquavers except bb.25-26
third quaver: stacc. added by analogy with pf.1
and b.7
A: repeat missing
chord 2: stacc. added by analogy with chord 1
A: legato
A: dim. e smorz.

Comment
A: Mazurka
chord 2: stacc. added by analogy with pf.1
slur from last chord of b.15 to first chord of b.16
omitted by analogy with pf.1 and b.33-34

klaverværker : critical commentary

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20/09/12 10.37

Bar

Part

Comment

Bar

Part

Comment

17-23

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

11
19, 20, 21
26
38
47
47-53
48-50

pf.1
pf.1

19
19
19
21
27-34

B: lower note of chord 1: notated with small
note head
A: dim.
A: note 2: d (not d )chord 2: stacc. added by analogy with b.20
A:   b – b – c – gA:

A: note 2: stacc.
A: note 1: marc.
A:A:
A: cresc.
stacc. added by analogy with bb.39-46 and as in A
added by analogy withbb.40-42 and as in A
A: double bar after bb.54
A:
A: third quaver:
A: third quaver:
A: note 1: marc.
A:
A: note 1: marc.
the two bars are missing in AA:3
œ œ  nœ œJ ‰
œ #œ  œ œ ‰ œ œ œ&4 œ œ œœ œJœpœ # œ œ
œ n#œœ
j ‰?
? 43 œ Œœ œ ‰ œ Œ & œ œ
œ
œ
#œ
J
œ nœœ
œ œ
5
œ œ œ œœ œjœ œ #œ  #œ œ œœ Œ& œœ œ



poco rit.

? œœ Œ & œ œ
œ Œ

37
38-39

pf.2
pf.1,2

A: chord 1-2: g, b, d , eA:##& # 43 œœ? ### 43 œœ


41
42
42
45-46

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

49-50

pf.2

51, 5253
53
64, 66
68-76

pf.1
pf.1,2
pf.2
pf.1
pf.1,2˙œ œ œ #œ
˙ 

?

œœ

œ

œœ
œœ œ
œ nœœ

œœ
œ
œ

œœ
œ
œ
œ

œœ

Œ

œ œ

54-55
62
63
70
71, 72, 73
78
97
99-100102-103

A: chord 1-2: g, b, d , e
A: chord 1: ; A: double bar
chord 1: stacc. added by analogy with pf.1
slur and stacc. added by analogy with pf.1 andbb.38-39slur and stacc. added by analogy with pf.1 andbb.38-39
marc. added by analogy with pf.2
note 1: marc. added by analogy with bb.51,52
note 4: marc. added by analogy with pf.1
A: note 4:
A: original version crossed out in ink:

pf.2






pf.1
pf.1
pf.1
pf.1,2
pf.1,2#3& 8 bœ #œ ? # 38 ∑



107
114
114

Œ





œ
œ  œ nœ œ œ œ#œ
&
#œ

73

pf.2

115

pf.1,2



A: risol:.

No. 5
Bar

Part

2
6

pf.2
pf.1

8-9

pf.2

10
11
12
13-17

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

Comment
A: Andantino; Morgenbøn (Morning Prayer)
added in pencil; notated in A Major    emended to     by analogy with b. 6
upper part note 1: marc. added by analogy withupper part note 2lower part: slur added by analogy with pf.1
(lower part)
A: second and sixth quaver: marc.
A: sixth quaver: marc.
A: second quaver: marc.
A:

œ.

˙
˙

œ
œ Œ

Œ

œœœœ œœ

œœ œœ
œ œ œ

œœ
œ Œ Œ

œ œ œ ˙smorz.

Œ# 6 œj ≈j& 8 ‰ ‰ œ œ œ œœ œœJdim. e smorz.
œ? # 68 œ œ ≈ ‰ œœ 

œ œ
jœ j
œ nœ œ bœ œ œ œ œb& b bbc œœœ œœœ œœœ nœ˙˙˙ œ œœœœ bœœœœ œœ œœœ? bb bc
œ
Œ
Œ
Œ
∑
b



pp

œœœ œœœ œœœ ˙˙˙ Œ

A: alternative ending added at the bottom of thepage:U
3 œ œ #œ œ œnœ œ œ œ œ œ#œ œ. ˙
& 4 Œ #œ

68



œœœœ

U œ # œœ œœ œœ œ œ œ œ. ˙
? 3 Œ Œ # œœ œœ œœ œœ #œœ œœ n#œœœ #œœ ˙˙4b& b bb œœœœ Œ œ œ œ œ ˙ Ó Œ œœœ Œ Œnœ œ #œœ œœ ˙˙œœœœ œœ œœ œ œœ œœ dim. e rit:œœ Œnœœ œ œ œ Œ
ŒŒ
Œ
œ œ
œ




?

p

œ œœ

pf.1

lower part: stacc. added by analogy with upper part

19

No. 4
Bar

Part

Comment
A: Allegro molto vivace, A: Tagfat (game of tag)added in pencil
A:
A: dolce
note 3: stacc. added by analogy with bb.85, 89

No. 6
Bar

pf.1



œ œ

œ n œ œ bœ œ b >˙

mf

b ˙˙
˙

? bb b œœ Œ
b

73-74

+1
5
7, 11



A:
A: dim. e smorz.
A:68œ nœ#œ œ  œ nœœ œ#œ
3 œ œ  œ œ  œ œj #œ  œ&4#œ œ#œ œ œ ‰˙˙œœ˙œ œ œ˙
œ #nœœ
œ # œœ
#œ
? 43
˙
˙ 
œ
œ
œ
œ.
œ.

nœ œ ≈ ‰œJ œœ‰ ≈ œœ

œœ

œœœ
œ
œ

œ œ

Œ Ó

pf.2

chord 2: stacc. added by analogy with b.20 and
beginning of slur emended from chord 1 of b.20
to chord 2 of b.19 (both emendations are also
based on the melodic line of pf.1)

Part

Comment
A: tempo indication missing; Eventyr (Fairy
Tale) added in pencil

632 j.p.e. hartmann : selected works

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Bar

Part

Comment

Bar

Part

Comment

8
10-12
12-13
15

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

31
49
59

pf.2
pf.2
pf.2

20
20
21
22, 24
22-36
30

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

62
79
80

pf.2
pf.1
pf.1

slur and stacc. added by analogy with pf.1
chord 1: marc. added by analogy with pf.1
upper part: marc. added by analogy with pf.1
(lower part)stacc. added by analogy with pf.1 and b.63
stacc. added by analogy with b.81
chords 1,2: stacc. added by analogy with pf.2

No. 3
Bar
18

Part
pf.1,2

31-32
32

pf.2
pf.1

44

pf.2

44-45

pf.2

43
45-49

pf.1
pf.1

47
48
57

pf.2
pf.2
pf.1

A: cresc.
lower part: stacc. added by analogy with pf.1
stacc. added by analogy with bb.10-11, 14-19
note 1: stacc. added by analogy with bb.13-14
and pf.1
chord 1: stacc. added by analogy with pf.2
A: fourth quaver:
A: first quaver: G, g
lower part: stacc. added by analogy with pf.2
A: blank
lower part: stacc. added by analogy with upper
part and pf.2
stacc. added by analogy with bb.29-30
lower part: stacc. added by analogy with upper
part and pf.2
A: chords 1-2: e , g , b
A: lower note of chords notated with stems
downwards and small note-heads
last note: stacc. added by analogy with b.45
stacc. added by analogy with b.46
note 1: stacc. added by analogy with notes 4-5
and pf.2 and as in A

No. 4
Bar
20
37

Part
pf.2
pf.1

42-43

pf.1

chord 1: stacc. added by analogy with pf.2; third
quaver: stacc. added by analogy with b.57 and as in A
A: dolce
slur added by analogy with pf.1
slur added by analogy with pf.1
A:

43

pf.1



59, 61, 62,
63, 64

pf.1

69
69-70
71-72
73-78

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

U
œœ Œ

No. 1
Bar

Part

smorz.

œœ U
Œ

4
7

pf.2
pf.1,2? # 42 œ
œ

79-80
83-86

pf.2
pf.1,2

83

pf.1

84
84

pf.1
pf.2

œ

œœ

œ

˙˙

#
& 42 œ œ. œ
.
fz
.
œ
œ
? # 42 œ ‰ Œ
J



˙˙
˙
˙
˙

lower part: stacc. added by analogy with upper
part and b.84 (pf.2)
chord 1: stacc. added by analogy with chord 2
note 3: stacc. added by analogy with pf.1

no. 18klaverstykker
No. 1
Bar
7
10
20

No. 2
Bar
1
3
9

Part
pf.2
pf.1
pf.1

Part
pf.2
pf,2
pf,2

Comment
upper part: slur added by analogy with b.11
slur added by analogy with b.6
last note: open slur on first note of b.21 emended to beginning of slur on last note of b.20 (A:page turn after b.20)

Comment
chord 1: marc. added by analogy with pf.1
chord 3: marc. added by analogy with pf.1
marc. added by analogy with pf.1

Comment
B, C: Allegro moderato; No 1 added in pencil
B: third to fourth quaver: slur
B, C:

b2
œ
&b 4 œ œ œ œ(thus, the repetition in bb.75-78 of the opening
motif of No. III is not to be found in A, but onlyin the printed editions)
A: e, f , a, cA:.
œ # œœœ œ œ. .
œ. œ. œ.

Comment
fourth crotchet: marc. added by analogy with pf.1
upper part note14: g  emended to g (engraver’s error)
slur from last note of b.42 to first note of b.43
omitted because of slur and stacc. of b.43
chord 1: stacc. added by analogy with pf.2

no. 19studier og novelletter, opus 65#2& 4 # #œ œœœœœ # œœ # œœ #œ # œœ n œœ n œœ œ

riten - - - -Comment
lower parts seventh and eighth semiquaver:stacc. added by analogy with upper parts
upper part note 2: marc added by analogy withb.43
slur added by analogy with bb.42-43, 43-44

? bb 42 œ

œœ

œœ

œ

œ œ

œœ

œ

12
17
19
22
27
29
33-34
34i
36

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

36-37

pf.1

37

pf.2

40

pf.1

40

pf.2

C: corrected in ink to the text of A
B: notes 1-2: b  - c ; C: notes 1-2: b  - c corrected in ink to a – dB, C:(but noin b.11)B, C:
B: , notB, C: notes 1-2: slurC:crossed out in ink
B, C: chord 1: F, c, a corrected in ink to F, a
B, C: slur from note 2 of b.33 to note 1 of b.34
B, C: note 1: stacc
chord 3: stacc. added by analogy with chord 2
and as in C
B: slur added in pencil from note 2 of b.36 tonote 1 of b.37
chords 2-4: stacc. added by analogy with chord
1 and as in B
note 2: marc. added by analogy with b.38 and as
in B, CB:

pf.2

corrected in ink to the text of A
B, C: cresc.
missing added (also missing in B, C)

8

43
44

pf.1



pf.2



œ
œ
nœ
? bb 42 œ œ œ #œ œ œ œ œ nœ œ œ œœklaverværker : critical commentary

Hartmann_klaver_bind_2.indb 633

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Bar

Part

Comment

Bar

Part

Comment

45
46

pf.1
pf.2

24-25
30
33

pf.2
pf.2
pf.1

46
48-49

pf.1,2

50
52

pf.2
pf.2

B: one slur corrected in pencil to two slurs
C: f – d corrected in pencil to e – c (copyist’s
error)
B, C:
B: the two bars added at the bottom of the page,
indicated by vi-de between the present bb.47 and 50
B: illegible correction in ink
B:

38

pf.1

œœœ œœœœ
?bœœ
b œ

43
47

pf.1,2
pf.1,2

C: one slur corrected to two slurs
C: corrected from note 1 to note 2
end of slur added on note 2 after open slur ofb.32 (change of system) as in B, C; notes 3-8:
slur added by analogy with b.32 (second crotchet) and as in B, C
B: note 1: stacc; C: notes 2-7: slur crossed out inink
B, C: third quaver:
B:

57
60
65
65
71
73-74



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

? 42 œ œ.
b œ. œ

b 2 bœœœ œœœ œœœ ‰ Œ&b 4 ‰ œJsmorz..
œœ œ? b 42 œj ‰ œ . œœ ‰ Œ
b
œ J
œ



corrected in ink to the text of A
No. 2
Bar

1
5
5
6
7-8
8
10-12

Part

Comment
B: No 2 added in pencil
B, C: Allegro non troppo
C: fourth quaver: (not   )B, C: note 1:
instead ofB, C: note 1: ped.
B: note 8: d corrected to d
B: tie added in pencil
B: added in pencil
B:

pf.2
pf.1
pf.1.2
pf.1
pf.1







pf.1,2

56
57

pf.2
pf.1,2

No. 3
Bar

Part

2

pf.1

3
4

pf.2
pf.1

8

pf.1,2

12
13
14
17

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

1.

œœ ≈ œ œœ ≈rœ≈œ≈
& b œœ #œ œR œœ #nœœ œ œœ #nœœ œ œœ #œœ ≈ œœ #nœœ œ ≈ 
œ
œ
J
J
R J
RJ
dim.
œ œ œ œœ?b∑Œ
‰ ≈R œ
œ 


pf.2

14
14
15

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

16-17

pf.1,2crossed out and the version from C and thepresent edition added at the bottom of the page
B: chord 1: c , f , a , c ; C: engraver’s question
mark in blue crayon in the margin, presumablyreferring to chord 1
C: chord 1: ; B:crossed out in pencil
B: third quaver: stacc
C: chord 1: crossed out in ink; B: on firstquaver instead of last quaver of b.14B:
pf.1,2

20

pf.1

24-25

pf.1

∑

∑

f

∑

œœœ

œœ

œœ

∑

between the present bb.16 and 17 crossed out in ink
C: chord 1: crossed out in ink; B: on firstquaver instead of last quaver of b.18
B: third quaver: stacc; fourth quaver: addedin pencil
B: one slur





19
21
22
23

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

23
27
28

pf.2
pf.1,2
pf.1

33
33-36

pf.2
pf.1,2

##
&#c



œ
œ
#œ
œ
œ œ #œ œ œ œ œ?
& b œœ œœœ œœœ œj & œ
?b

19







13



2& b 4 œœ # œœœ œcorrected in ink to the text of A
B, C: chord 1: stacc.
C: cresc. added in pencil
B, C: note 1: end of slur of the previous bar
B: chord 2: E  – B  – e  corrected in ink to E  – B 
B: illegible correction in ink
B:

pf.2



crossed out and the version of C and the present
edition added; C: third quaver: added in pencilB:crossed out in ink
B: stacc.

Comment
B: No 3 added in pencil
B, C: Allegro poco moderato
second to fourth crotchet: marc. emended to
marc.
redundant sin. omitted
B: last semiquaver: c - e corrected to c -  inink
B: first to second crotchet:; C: first to
second crotchet:crossed out in ink
B: last chord: stacc.
B: chord 1: Ped.
C: chord 1:    instead of   
B:nww? ### ww

##
&# ˙
˙



corrected to

œ

œœ

nœ

Œ Ó

last note: b  emended to b  by analogy with pf.2
upper part notes 3-4: marc. emended to marc .
B, C: chord 1: Ped.
B: last semiquaver: c - e corrected to c -  inink
C: last note: stacc.
B, C: second crotchet:chord 1: marc. emended from last note of b.27
to first chord of b.28 by analogy with b.30 andas in B
B: stacc.
B:œœ œ œ
œœ#œœœ
œ
œ
œ
œ

œ
œ.
? ###c œœ ‰ Ó
J







nœ œ œ œ œ œœ œœœnœœ œœ œ œœ œppœj œœœ ≈RJ ‰ Ó

dim.

Œ

˙œ
˙

œJ

j‰
œœ

œœœœœœœ

œœœœœsmorz.

œ? ### ‰ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ œ ‰ Óœœœ JRcrossed out and the version of C and the present
edition added at the bottom of the page

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Bar

Part

Comment

35
36

pf.1
pf.2

B, C: upper part: notes 2-3: slur
B, C: slur

No. 4
Bar

Part

8
9
13

pf.2
pf.1
pf.1

13
18, 19

pf.1,2
pf.1

19, 20,21, 22

pf.2

20, 22
23

pf.1
pf.1

25
26

pf.2

27
29
29

pf.1
pf.2

30, 31, 32

pf.2

31
33

pf.1,2
pf.2

34
No. 5
Bar

1-7

1-8
4
7

Part

pf.2

pf.1,2
pf.2
pf.2

Comment
No 4 added in pencil
B, C: slur begins on note 2
C: chords 3,4: stacc.
chord 4: stacc. omitted by analogy with chord 3
and as in B; C: chord 3: stacc.
B:; C:
crossed out
note 1: double stem emended to single stem byanalogy with b.20; notes 4-5: slur added by analogy with bb.20, 21, 22 and as in B
chord on seventh quaver: marc. added by analogy with b.19
note 1: marc. added by analogy with bb.19, 21
note 1: stacc. added by analogy with b.24 and asin B
B: accelerato added in pencil
chords 1-4: stacc. added by analogy with b.25
and as in B, C
B, C: note 1: stacc.
B: tempo 1mo added in pencil
B: notes 8-10: D -A-d ; C: notes 8-10: D -A-dcorrected to A-d-A
B: notes 4-6 and 10-12: D -A-d; C: notes 4-6
and 10-12: D -A-d corrected to A-d-A
C:crossed out in ink
C: notes 4-6: D -A-d corrected to A-d-A; B:
notes 4-6: D -A-d
B: a tempo added in pencil

Comment
B: Moderato pastorale corrected in pencil tomoderato non troppo pastorale; No 5 added inpencil; C: moderato non troppo pastorale
B: upper part (the crotchets of the present edition):   corrected to  ; B: lower part: all slurs
begin on the second note of the group of fourquaversped. added because of ped. segue in b.2
C:
B:

?#

11

pf.1

14
17
18
22

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

22
26

pf.1,2pf.2

œœœœ œ œ œœ

corrected to the version of C and the present
editionupper part: notes 1-2 and 4-5: slurs added byanalogy with b.5 and as in C; B: first and fifth
quaver do not belong to the upper part andconsequently have no slur to the following note
B:
B, C: first and fifth quaver: stacc.
B, C: first quaver: stacc.
second half of the bar: redundantomitted because of
between the
stavescrossed outC:
B: lower part:   G- G; C: lower part :   G (onecrotchet of the bar thus missing)

Bar

Part

Comment

No. 6
Bar

Part

+1
+1
2-3, 5-7

pf.1
pf.1,2
pf.1,28

pf.1,2

11-15
13
18-19
28
30
31-35

pf.1,2

Comment
B, C: Allegretto
stacc. added by analogy with b.48
B: a, c , e , a corrected in ink to astacc. added by analogy with b.1 and because of
stacc. in b.3
third quaver: stacc. added by analogy withbb.9-15
stacc. added because of stacc. in b.11
B:
; C:
corrected to
B: two slurs corrected to one slur
lower part: stacc. added by analogy with pf.2
B, C: chord 1: marc.
B:

 

pf.1
pf.1
pf.1
pf.1,2#œ œ œ œ& 38 #œ # œ œ œ œœJ œœ##œœœ #œœœ œ œœœnœ œœœ #œœœ œ
œ œ œ
œ J
J
J
f
p
.
.
.
œ
œ
.
œ
#
œ
œ
? 38 œ œ œœ œ œœ œ #œ œ œœ œ œ
œ
œ J
œJ
J
J


32
32, 3333
38, 3940
40
46, 48
47

55-56

pf.1
pf.1,2

corrected to the version of C and the present
editionslur added by analogy with b.28
stacc. added by analogy with bb.28, 29
C: chord 2: upper note: d  (copyist’s error)
chord 2: stacc. added by analogy with bb.42, 43
chord 2: stacc. added by analogy with b.36
C:
corrected in pencil to
B: third quaver: e  , b corrected to b
B:

pf.1,2

corrected to the version of C and the present
editionB: the following three bars crossed out in ink

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



. .
œœ
œ
œ
b
œ
?#

. . . œ. œ.
œœ. ‰ œ. #œ. nœ #œ œ œ œ
3& 8 #œ
œJ #œ nœ #œ œ
J



? 38

57

pf.2

58
60
64

pf.2

68-69
72
75
77, 7881, 83

pf.1

86
88i

pf.1
pf.1

89
90, 91

pf.1,2
pf.2

90, 92
92

pf.1
pf.1

pf.2
pf.2



œ.

œ. & jœœ bœœ. œœ. œœ. n œœ. œœ. œœ.
.

lower part: note 1: stacc. added by analogy withupper partstacc. added by analogy with pf.1
B:
legato emended from above the right hand stave
to between the two staves as in B and C
slur added by analogy with bb.64-65
B:; C:
crossed out in ink
C: added in pencil
note 1: stacc. added by analogy with bb.73, 74
between the staves interpreted as
marc. at first chord of pf.2 as in B and C;
B: fourth semiquaver: d, g corrected to g, thelower note d being crossed out
B: last chord: c , e , g , c
C: fifth to sixth semiquaver: e -g corrected tod -e
see b.47 above
upper part: notes 3-4: stacc. added by analogy
with bb.46, 48 and as in B, C:
B: third quaver: e  , b corrected to b
last note: stacc. added by analogy with b.48

klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 635

635

20/09/12 10.37

Bar

Part

Comment

Bar

Part

Comment

96

pf.1

53-54

pf.1,2

B: between bb.53 and 54 the following passage iscrossed out:

99, 100
107

pf.2

110-111

pf.1,2third quaver: stacc added by analogy with bb.97102 and as in B, C
stacc. added by analogy with bb.55, 56
B: notated as one 6/8 bar, but with a broken linein the middle
B:



? œ
œ

116-118

pf.1,218& b œ nœ œœœ

corrected to the version of C and in the present
edition
B:

& #œœ
œ



f

j
j j
#œœ œ #œœ #œœ œ #œœ
œ
œ
œ
œ œ
œ

? œ œœ

p

f

p

Part

+1
4
7
7-8
8
12

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

12
13

pf.1,2



œœ
œœ
J‰Œ

25

& b n œœ œœ œœœ œœœ. . . .
.
.
? b œœ. œœ œ. œœ



58
62
63
69, 7080
83
84
91, 92
93

pf.1
pf.1
pf.2

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

33
34, 36

pf.2
pf.2

36
43, 4448

pf.1,2
pf.2
pf.1,2[b. 48]jj œœ& b 42 œr Œ œœœ œœœ ‰ œœœ œœœ œœ œœ œœœ œœ œœ œœ œœ
œœ
mf p
mf p
œ œ œœ œœ œ œ œœ œœ œ œ œ œœ œœ œ œ? b 42 œœœœj œ œ œ.
œœ. œ& b œœœ. œœ œœ œœ œœœ. œ. œ.
.
œ œœ? œJ ‰ . œ œœ ‰ ‰ œj
?œ
. .
œ
&œ œ
b
. œ. œœ.
J



œœ.
j
œœ ‰ ‰ œJ.
.
œœœ ‰ ‰ bœœœJJœ œ œ nœ œ œ bœ nœœJJjœœ œ œ œœ. bœ. œ. œ. n œœ. œœ. œœ. œœœ. œœfrom here thepresent b.48
.œ #œœ. œœ. œ. œ. œ. œ. continues
œœ
œ
.
œ
œ
œ
œ
œ
J

No. 8
Bar

Part

1
4

pf.2
pf.1

7
8

pf.1

9
13, 14
15

pf.2
pf.2

15, 16, 17
16

pf.2
pf.2

21
23
26
26

pf.2

No. 9
Bar
+1
1

œ bœ

n œ. œœ œœn œœœ ‰œœJ ‰ œœJ ‰ ŒJpœbnœœœ ‰ Œ‰
‰ & œj œ œŒœ n œœ œ œœ œ n œœ  b œœœœj j ?
œœœ ‰ œœ ‰
œ œ

jœ
œœ œ
œ

œ. œ œ
œ œ. . œ. œ. œ. bœœ. œœ œœ
. .
.
. .
œ
œ ‰ ‰ jœœ œ œ. œ œœ œœ œ ? . œ. œ #œ œ œœ& nœ. . œ.
J
œ
.
. . œ
œœ
j ‰ ‰ œj œœ ‰ ‰ œj œœ œ. œœ œœ œJ ‰ œœœ ‰ œœœ ‰ Œ
J ‰ Œ
œœ
œœ œJ
œœ œJ œJJ.
b.54 etc.
œ. .
. .
. œ. œœ œœjjœœ. œ œ œ. œœ. œ œ œ. œœ. œ. œJ ‰ J ‰ œ ‰ œ ‰ & œœ ‰ Œ
œ
œ J
œœ
J œ

pf.2
pf.2



14
30
31
32

nœ œ œnœ bœ œœ nœ bœœ œ bœœ œ œœ œ  œJ œ œ œ œ œ œ œ œœ œ œjœ. . .
œœ  #œœ #œœ. œœ œœœ nœœœœœ œ>œ  p.
.
œ œJ œ. . œ. œ.
#œ31Comment
B: Allegro scherzando corrected to Allegro vivo
scherzando
stacc. added by analogy with bb.1-2 and as in B
stacc. added by analogy with b.1 and as in B
B: slur ends on third quaver; forth quaver: stacc.
C: music paper with bb.7-8 glued on to the pagestacc. added by analogy with b.+1 and as in B
chord 2: b  emended to b  by analogy with pf.1
and as in B, C
stacc. added by analogy with b.4 and as in B); C: dim. corrected in
B: dim. (nopencil toC:added in pencil
stacc. added by analogy with pf.2 and as in B
chord 2: stacc. added by analogy with pf.2
B: chord 2: b , c , e , g corrected to b  (the three
top notes are crossed out)
B: chord 2: stacc
B: chord 2: b , c , e , g corrected to b  (the three
top notes are crossed out)
fourth quaver: stacc. added by analogy with b.34
marc. added by analogy with pf.1
B: after the first chord of b.48 the following passage is crossed out until the movement continues with the three chords of b.48 after the  asin C and the present edition:œœœœœ nœ œ

sosten. - - e - - - -smorzando - - - - - - - - - - - - - - con anima

cresc. - - - - - - - - - - - - - - -ffp

œ œ œœœ œ œ œnœ œ œ

œœ? b bœœJ ‰ Œ& b œœ #œœœœ
>
mf
œ
œ
?b

corrected to the version of C and in the present
edition

No. 7
Bar



pp

? b bœ  ‰ ‰ bœœ œœ œœ  Œ ‰bœ
Ó
bœ
bœ

J bbœœ  J bbœœ  J bbbœœœ  ‰b œœ 

j& œ œ #œ #œœœ  œ œ œ # œœ#œ[b.53]
2.
jj 1. jjjjj& b b œœ  bœ bœ œœœ œœœ œœœ  bœ  bœœ bœœ  bœœ bœœ  bœœ bœœ  œ bœ ‰ œb œœ  b œ b œ . . . b œ  œ b œ  œ b œ  œ b œ  œ b œ pœœ nœœ œœ œ
œ. b œ. œ œ. .
.
œ. #œ. œ. œœthe cut is indicated by the following addition in
pencil below b.53: til pag 21.(go to p.21.)
fourth quaver: stacc. added by analogy with pf.1
fourth quaver: stacc. added by analogy with pf.1
B, C:
stacc. added by analogy with pf.2 and as in C
B, C: last quaver: (missing)
note 2: marc. added by analogy with pf.1
note 1: marc. added by analogy with pf.1
stacc. added by analogy with pf.2 and as in B
note 1: stacc. added by analogy with pf.2 and as
in B



 

Comment
B: Allegretto corrected to Moderato
C: note 1: marc.
lower part: last quaver: added because of thetwo-part writingC:
chord 1: stacc. added by analogy with chords
2-3 and as in B, C; B: tuplet numeral 3; C: tuplet
numeral 3 corrected to tuplet numeral 6
B: lo stesso movimento
B: first to third quaver:corrected in ink to  first and fourth quaver: stacc. added by analogy
with b.17 and as in B
C: no upper part with crotchets
first note: stacc. added by analogy with bb.15, 17
and as in B
B: stacc.
a tempo emended to Tempo primo
B, C: notes 3-6: slur
B, C: notes 7-13: slur



pf.1
pf.2

Part
pf.1
pf.1

Comment
stacc. added by analogy with pf.2 and as in B
sixth quaver: stacc. added by analogy with pf.2
and as in B

636 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 636

20/09/12 10.37

Bar

Part

Comment

1, 2

pf.2

2

pf.2

3
4

pf.2
pf.1,2

5

pf.2

5, 6
7
8

pf.1
pf.1
pf.1

8
11

pf.2
pf.1

14

pf.1

15

pf.2

19

pf.1

20

pf.2

20-21

pf.1

chord 1: stacc. added by analogy with pf.1 andas in Blast chord: stacc. added by analogy with pf.1 andas in B
stacc. added by analogy with pf.1 and as in B
chord 1: stacc. added by analogy with b.3 and as
in B
notes 2-3: stacc. added by analogy with pf.1 andas in B
stacc. added by analogy with bb.1,2 and as in B
C: marc. crossed out in ink
lower part: stacc. added by analogy with b.7 andas in B
third quaver: stacc. added by analogy with pf.1
chord 1: stacc. omitted by analogy with pf.2 andas in B, C
upper part: note 3: end of slur emended fromnote 2 by analogy with pf.2; note 4: stacc. addedby analogy with note 5 and as in B
upper part: note 5: stacc. added by analogy with
pf.1
chord 5: marc. omitted by analogy with bb.18,
20, 21; B: marc.
end of slur emended from fourth to third quaver by analogy with bb.19, 21, 22
tie added to the two middle parts of the last
chord of b.20 and the first chord of b.21 by
analogy with bb.18-19 and 19-20
tie from last note of b.21 to first note of b.22
added by analogy with bb.18-19 and bb.20-21
B: first to third quaver:upper part: stacc. added by analogy with pf.1
and b.25 (pf.2)
chord 3: stacc. omitted by analogy with pf.1 andas in B, C; B: chord 5: stacc.
B: stacc.
B: chord 1: stacc.
note 5: stacc. added by analogy with note 2 andas in Bslur added by analogy with pf.1 and b.32-33
first to third quaver: wrong rhythm corrected byanalogy with the second half of b.35 and b.36;
fourth quaver: stacc. omitted by analogy withb.36 and as in B, C
last chord: stacc. added by analogy with pf.2 andas in B
chord 1: stacc. added by analogy with pf.2 andas in B
stacc. added by analogy with pf.1 and as in B
chord 1: stacc. added by analogy with pf.1;
chord 4: stacc. added by analogy with pf.1 andb.43
chord 1: stacc. added by analogy with pf.1 andas in B
stacc. added by analogy with bb.45-46
stacc. emended to stacc.
C: C, G, c corrected in ink to C, G, enotes 2-3: slur omitted and stacc. added by analogy with pf.1 and as in B; C: the slur in question
added in pencil
last note of b.58 and first note of b.59: slur
omitted and stacc. added by analogy with pf.1
and as in B; C: the slur in question added inpencil

21-22

pf.2

22
26

pf.2

28

pf.2

29
30
31

pf.2
pf.2
pf.2

33-34
35

pf.2
pf.1

39

pf.1

40

pf.1

41
42

pf.2
pf.2

43

pf.2

47
52-57
57
58

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

58-59

pf.2

Bar

Part

Comment

no. 20to klaverstykker ₍musikblade...1866₎
No. 1
Bar

+1
4
8
8

Part

Comment
A: assai passionate crossed out in ink and agitato
assai capriccioso added in ink.
A: added in pencil
A:
added in pencil
A: added in pencil
last chord lower note: a emended to a  (Hartmann’s and engraver’s slip of the pen)slurs added by analogy with bb.12-16
A: added in pencil
hair pin as pencil correction in A (here the hairpin in ink in the first half of the bar is crossed
out and the present hairpin added in pencil); A:
added in pencil
end of slur emended from last note of b.20 tofirst note of b.21 by analogy with bb.5-6
A: sin. added in pencil
note 2: a emended to a by analogy with bb.2527, 30-31
B, C: third crotchet:as ink correction in A; A before the correction:





pf.1

8-12
12
19

pf.1

21

pf.2

22
29

pf.2
pf.1

32
32-35

pf.1,2
pf.2





ﬀ

? ## 43
40
40-41

pf.1
pf.1

52
58-59

pf.2
pf.1,2

œœ #œœ œjœJ ‰ J ‰ #œ ‰ œœ ‰ ˙ #œJ ‰ ##œœ ‰ œœ ‰ œœ ‰
J
J
J
J
˙
˙
˙
marc. added by analogy with bb.38, 42
slur added by analogy with bb.36-37; fingering
af A omitted; B, C: fingering missing
chord 1: stacc. added by analogy with b.54
as ink correction in A; A before the correction:#& # 43Œ Œœœ Œ Œ
œ.
œ.
? ## 3 Œ œ œ Œ Œ
4œ
œ


No. 2
Bar

Part

33-34
41
49-50

pf.2
pf.2
pf.2

50

pf.2

58

pf.2

œ

Comment
A: Moderato tranquillamente crossed out; B:
Quasi Andante, cantabileslur added by analogy with bb.31-32
fingering of A omitted: B: no fingeringslur added by analogy with bb.47-48 and as
in B
notes 4-5: slur added by analogy with bb.47-48
and as in B
chord 1: upper note g added by analogy withbb.57, 60, 61 and as in B
A:crossed out in ink

62

no. 21
fantasistykke ₍musikblade...1871₎
Bar
4
23ii

Part
pf.2

Comment
tenth quaver: stacc. added by analogy withpf.1
a tempo added by analogy with b.23i

klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 637

637

20/09/12 10.37

Part

Comment

Bar

Part

Comment

7

pf.1

8

pf.1

9
10
13, 17

pf.2
pf.2
pf.1

19

pf.2

25

pf.2

& 44 œœœ œœœ#œœœ œœ#œœœ œ œœ

30
33
35

pf.1
pf.1
pf.1

? 44

36

pf.1

39
39-40
40

pf.2
pf.1
pf.1

41
41-42

pf.1
pf.1,2

B: seventh quaver: two lower notes of the chord
added in pencil; tenth quaver: a Ω corrected to g Ω
in pencil
B: chords 1,2: two lower notes added in pencil;
tenth quaver: f Ω corrected to g Ω in pencil
B: last chord: lower note added in pencil
B: first chord: D corrected to f , a, c Ω in pencil
B: slur from chords 1 to 2 (d Ω, d ΩΩ to g Ω, g ΩΩ)crossed out in pencil
B: twelfth quaver: b, d  Ω (as in b.20) crossed out
in pencil
tenth quaver, top note: f Ω emended to f  Ω becauseof the harmonic context and as in B
B: tenth to twelfth quaver: corrected
B: chord 3: bottom note c Ω added in pencil
B: chords 1,2: bottom notes g Ω, b  Ω added inpencil
B: chords 1,2: bottom notes g Ω, b  Ω added inpencil
B: seventh quaver: d Ω corrected in pencil to D, d
B: fingering added in pencil
third and fourth crotchets: tuplets added byanalogy with notes 1-8
tuplets added by analogy with b.40
B: after b.41 two bars are crossed out in ink andreplaced by the present b.42; the two crossed out
bars:

no. 22
fantasistykke ₍fremtidens nytaars-hefte 1875₎
Bar
1, 2

Part
pf.1

1, 2
9

pf.2
pf.1

9

pf.2

10

pf.1,2

Comment
lower part: stacc. added by analogy with upper
part and as in A
stacc. added by analogy with pf.1 and as in A
lower part: tie added by analogy with b.8 and as
in Achords 1-3: stacc. and slur added by analogy
with b. 8 and as in A
A:


15

pf.2

18
19
21
23
25i
26

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

27

pf.1

29

pf.1

30

pf.2

33

pf.2

37
41
43
44
45
45

pf.2
pf.1

49

pf.2

50
51
53
63, 66

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

pf.2
pf.2
pf.1,2œœ œ #œ œœ bœœ Óœ œ œœ œ œ œœ# œ œ # œ n œ œn œ #œ œnœ#œnœ#œœ Óœœcrossed out in pencil and the present version
added on an empty system above.
note 1: stacc. added and end of slur emended
from last not of b.14 by analogy with pf.1 and as
in A
A: chord 3:
A:(instead of smorz.)
A: third crotchet:
A: third crotchet:; B: third crotchet:
A: cresc. begins on third crotchetnote 1: nugatory end of open slur omitted(change of systems)
upper part last note: d emended to d by analogy with pf.2 and b.29 (misprint in A , B, andC); lower part sixth to eighth quaver: stacc. andslur added by analogy with upper part and pf.2
lower part last note: stacc. added by analogy withupper part and pf.2; A: upper part note 2: end ofslur corrected in pencil from last note of b. 28
chord 4: stacc. added by analogy with pf.1;
chord 7: d emended to d (misprint)
note 8: end of slur emended from note 9 to note
8 by analogy with bb.34-36
fourth crotchet: missing  added
A: lower part. stacc.
A: tempo Imo crossed out in ink
stacc. added by analogy with pf.1 and b.2
chord 1: arpeggio added by analogy with b.3
redundant  on semiquaver rest omitted because of  on the previous semiquaver chord
A: second and third crotchet: inner part
 a –  b
A: upper part, notes 1-5: slurA, B: upper part note 2: g
A: second quaver:chord 1: stacc. added by analogy with b.65 andas in A








Part
pf.1
pf.1



œœœ 
? bb 12
8 œ

42
45
45

pf.2
pf.1
pf.1,2

Comment
B: six slurs instead of one slur
B: slur added in pencilœ œ œ >œœ œœ œœ œ œ œœ œ œœ œ œ œ œ œ œœœ ‰ #œœœ ‰œ . œ. œ>œ.
œŒ ‰ œ ‰ œœ ‰ œ ‰ œ œ œ œ ‰ œ ‰
œ.
œ. œ.
>œ
œ
B: chord 1: corrected in pencil to d, g, b  , d Ω
B: chord 2: c Ω, f Ω, c ΩΩ corrected in pencil to c Ω, c ΩΩ
B: after b.45 one bar is crossed out in pencil
and replaced by the present bb.46; the crossed
out bar:

b 
&b œ



cresc.

52

pf.1

55-56

pf.2

57

pf.2

58

pf.2

pf.2
pf.2

‰

œ
œœ 

œ

Œ

‰

B: chord 1: e  Ω, g Ω, d ΩΩ, g ΩΩ corrected in ink to e  Ω,g Ω, e  ΩΩ, g ΩΩslur from note 1 of b.55 to note 1 of b.56 omitted because of the other slurs of b.55 and as
in B
second quaver: upper note d added as pencil
addition in B; B: second quaver: upper noted added with the following note in pencil:
lille Node paa d (d with a small note head); B:
eighth quaver: D corrected in pencil to d withthe following note added: stor Node d (d with alarge note head)B:? bb 1286061

œ œ œj#œœ œ œj #œ œ?b œœb œœ 
Œ

no. 23klaverstykker fra ældre og nyere tid, opus 74
No. 1
Bar
1
5-7

b 12
&b 8

>œ
œœ



Barœœœ #œœ œ œ œœ n œœ œ œ œ œ #œœ œ œœ œ œ œœœ

the last three quavers crossed out in pencil andcorrected to - D - d
B: sixth and twelfth quavers: stacc.
B: chord 5:   corrected in pencil to  (

638 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 638

20/09/12 10.37

Bar

Part

61-65

b
&b



œœ œ
œ œ œ œœ #œ œœœ

?b
b œ
œ

Comment

Bar

Part

Comment

B: bb.62 and 64 added in ink; original version in
B of the present bb.61-65:

28

pf.1

28
32
32-33
33

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

34-35

pf.1,2

added by analogy with pf.2 and as
chord 2:in B
note 1: stacc. added by analogy with pf.1
B: chord 1: lower note f Ω corrected in pencil to a Ωstacc. emended to stacc.
B: last chord: b Ω, e ΩΩ, g ΩΩ corrected in pencil tob Ω, f ΩΩ
B: ink version before pencil correction:œœ œ#œ œ œœœ#œœœœ œœ œœ œ# œ œ œ œ œœ˙œ œ œ ˙
œ œœ

64
64

pf.2

70
73

pf.1
pf.1,2œœœœœ œœœ œœœ

œ #œ œ œ
Œ Œ
Œ

œœ
Œ ‰ ‰ œ œ œ œnœ œœœœœ ‰ œJ ‰ ‰ Œ ‰ Œ œJœ

B: e dim. added in pencil
top note: e  emended to e  by analogy with b.62
and because of the harmonic context; A, B: e 
B: last chord:
B: corrected in pencil from:œœœ œœœœœ ‰b & b œœœ 


No. 2
Bar

Part

+1
2
3
4
7
7
8
9

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

10-16

pf.2

pf.2
pf.2





Comment
B: energico added in pencil
B: chord 1: 
B: chord 4: 

B: chord 1: f, f Ωchord 4: marc. added by analogy with bb.5-6
B: chord 2: dim.
chord 1: marc added by analogy with bb.5-6
third crotchet:
B: note 1: G corrected to g in pencil; added inpencil
B: ink version before correction in pencil:



{

œœ
œœ
J ‰ ‰

? bb œ  & œœ ‰ œ  œj ‰ ‰œ œ œ œ
œ œ

36
37-38
38-39

pf.2
pf.2
pf.2

15, 16
16
18
21
21
22-23

pf.1

40
41

pf.2
pf.2

43
46-48

pf.1
pf.1,2

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








?# œ œ œ œ œ œ œ œ œ œ œ
˙
œ
œ œ˙

23

pf.1

23
25
25,26

pf.1

27

pf.1

27

pf.2

pf.2



f

#œ œ #œ# œ. œ. # œœœ#œ œ œ
# œ. œ. œnœnœ

B: first quaver: F, f corrected in pencil tostacc. emended to stacc.
B: ink version before pencil correction:œ œœ œ œ
œ œœ

œ
œ

˙
˙

chord 1: stacc. added by analogy with pf.1
slur from chord 2 to chord 3 omitted by analogy
with b.40 and as in B
chord 1: stacc. added by analogy with pf.2
B:

# œ
#˙
œœ
# ˙˙
?#
œ œ
œ
œ


48-49

pf.1

50
52-53

pf.1

53-54

pf.1

53-54

pf.2

53, 54,
55
55

pf.1
pf.1

œ
œ

corrected in pencil to the present version by
insertion of one and a half bars between the first
and the second crotchet of the original version,quoted above
slur from last chord of b.48 to first chord of b.49
added by analogy with pf.2 and as in B
B: third crotchet: crossed out in pencil
B: upper part: ties from last chord of b.52 to
first chord of b.53 crossed out in pencil
B: upper part: ties from last chord of b.53 to
first chord of b.54 crossed out in pencil
lower part: stacc. and slur added by analogy
with upper part



56-59
crossed out and the version of the present edition added in ink
last chord: stacc. added by analogy with chord 2
and as in B
B: lower part:  a Ω –  a Ω
B: second crotchet:lower part: stacc. added by analogy with upper
partlast chord: stacc. added by analogy with chord 2
and as in B; lower part: stacc. added by analogy
with upper partlower part notes 2-3: tuplet added by analogy
with upper part

?#

&



chord 4: ten. emended to marc. as in B
B:
B: upper part chords 1-3: stacc.
B: fourth quaver:slur from last note of b.14 to first note of b.15
omitted because redundant and as in B
B: upper part chords 1-3: stacc.
B: chord 4:
B: chord 3:
B:
B: upper part triplet: a, g corrected in pencil to e, gB:# œ œ #œœ& œœ. œœ. œœ. œœœ #œœœ œ #œœœ nœœœ ##œœœ œœ œ œ. . . . . . œ. # œœ. œ.

?#? # œ œœœœ œœ œ œ œ œ œ œœœœœ #œ œ #œ œ
œ œ œœ ™œ œ œ
œ œ
œ œ œ
œ œœ ™œ œ œ
œ#œ œ
J
J
œ
œ
10
11
11, 12
13
14-15



57
60

pf.2
pf.1

63

pf.1,265, 66,
67
66

pf.1
pf.1

68
68

pf.1,2
pf.2

B: upper part notes 1-3: stacc., not slur
lower part: notes 1-3: slur and stacc. added byanalogy with upper part
B: stacc. (and no slurs apart from b.56 (pf.2
chords 1-3) and b.57 (pf.2 chords 1-3))
chords 1-3: redundant slur omitted
lower part chord 1: stacc. added by analogy withchords 2,3
redundant slurs from second to third crotchets
omitted
B: lower part last quaver: stacc.
chord 1: stacc. added by analogy with bb.65, 67
and as in B
B: chord 1: stacc.
B: chord 2: b, b Ω corrected in pencil to B, b;
chord 3: B, b corrected in pencil to b, b Ωklaverværker : critical commentary

Hartmann_klaver_bind_2.indb 639

639

20/09/12 10.37

Bar

Part

Comment

Bar

69-71

pf.2

B: ink version before pencil correction:

Version Bj ? œ.
jœ.
œ. j ?
#?
?
& ‰ & œ ‰ œ‰ & œ œ œ. ‰ œ & œ œ. œœ œ. ‰ œ & œœœ ‰
J œ
J œ œ
œ. J œ. œ
70, 71

pf.2

72

pf.2

76

fourth quaver: stacc. added by analogy with second quaver and as in B
chord 1: stacc. added by analogy with b.74 andas in B
chords 1,4: stacc. added by analogy with pf.2;
chords 2-3: stacc. added by analogy with b.75
and as in B
stacc. emended to stacc.
B: chord 1: b, c Ω, e Ω, b Ω corrected in pencil to e Ω,b Ω, c ΩΩ, e ΩΩ
B: chord 1: b, f Ω, b Ω corrected in pencil to f Ω, b Ω, f ΩΩ
B: chord 1: one octave lower with 8va added inpencilchord 1: stacc. added by analogy with b.81 andas in B
B: chord 1: G, b, g
B:
B: risoluto; chord 2: marc.
B: chord 2: marc.
B: chord 2: g , b corrected in pencil to g , b, d Ω, f Ω
B: chords 3-5:

pf.1

78-82
81

pf.1
pf.1

82
83

pf.1
pf.1

83

pf.1,2

83
84
87
89
97
100

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

#
& 43 #œœ œœ œœ
corrected in pencil to

&
101
104
107-108
108-114# #œ œ œœ œ œ

B: chord 2: 8vo
B: dim. added in pencil
acceler. emended to accelerato as in B
B: this passage on a separate sheet (Indlæg tilpag, 13) (insert for p. 13) to be added instead of
two alternative versions of the original passage,
which are both crossed out in pencil.
The two crossed out passages in B:

pf.2

Part

.
.
#
Œ
& Œœ ‰bbœœ̇˙ œœ Œ œ̇ œb˙J mf cresc. con passione



?#

&



œ

œ Œ Œ

# #œ



#
& ˙œœ  ˙˙œœ œ̇œ œ
œ
œ



˙˙
˙

œœ
œœ
.

œ.
œœ

p

œ œ œ
œœ ‰ œ ‰ Œ
J
J

bœ
œœ

smorz
œ ˙
œ œ œœ œ œ œ U
?#
œ
œ
∑
Œ
Œ
œ˙ 
˙
œ ˙
J ‰ œJ ‰
.
.
œ
œœ œ
œ
b
œ
? # œ œ bœ Œœœ œ œ∑œ ŒŒ& bb Œ



?# Œ

pp

dim.

∑

112-114115-117

pf.1

pf.1
pf.1
pf.1

134
135
140

pf.2
pf.2
pf.1

142
142
143-147

pf.1,2
pf.2
pf.1,2Œœ œnœœœ ‰ bbb œJ ‰ ŒbbJb& b b ˙œ œ œœœ
˙

œœœ

.
.
œœ œ œœ œ œ œœœ
œ

166

pf.1

167

pf.1

∑

œ œœ
œœ ‰ œJ ‰ Œ
J

?b ˙
bb ˙

.
œœ œ œ
œ œ

pp

p

b œœ
œ œœ
œœ ‰ œJ ‰ Œ ŒœJ

not in B
B:

œœœ.
œ

œœœ.
œ

œœœ. œœ.
œ œfœ.
œ œ œ œœœœ.œ œ.œ œœ.
risol.

œ? bb œœœ ‰ œ œœ œ Œbœœ ‰ J ‰ œ œ œœ
œ .
J
>œ >

155
156

œœ ‰œ
J

pp

b œ œ
& b b œ. œ.œ œœœ
.
p

pf.2

bb. 116 ff.

B: chord 1: e  Ω, a  Ω, c ΩΩ
B: third crotchet: stacc.
lower part chord 1: stacc. added by analogy withupper partchord 1: stacc. added by analogy with pf.1
B: chord 1: grace note added in pencil
B: chords 2-4: additional f Ω in all three chords
crossed out in ink
chord 1: stacc. added by analogy with b.134
B: chord 4: top note d  Ω crossed out in ink
B: second half of b.143, the whole of b.144 andfirst half of b.145 added at the bottom of thepage; the passage before the addition:

pf.1,2
pf.1,2bb.118 ff∑

œŒ Œ bœ n‰œ bbb œœ œ Œ
b œJ

.
.
. œœ
œ
#3
b
œ
œ
& 4 œ˙ œnœ bœœ œ b b œœœ œ Œ Œ œœ œ œ
. pp
bœ
œ
?# 3 Œ Œnœ b œœ Œœ œœ œ Œ œœ
4Óbbœœ ‰ b b J ‰ Œ œœ ‰ J ‰ Œ
J
J





∑

Œ

B: stacc., not ten.
not in the actual score of B; instead, B on theseparate sheet with additions mentioned above(see bb.108-114) has:

118
118, 119122

146-147150-153.
œ œœœ œ œ œ œ
.
p
œœ.
œ Œ
Œ

a tempo, unpoco piu moderato

∑



153

.
œœ œ˙ œ bœ œp f
œœ. b ˙˙
œ ˙˙

rit.

?#

U? œ œ œ œ œ œœŒ œf risol.

œ Œ Œ
œ

.
bœ œ
œœœ œ˙ œ
f
b ˙˙˙
œ ˙
œ.

œ nœ nœ œ œ œ nœ bœ œ bbb œ
œ œ œ
œ
œ

Version A

> >
. . .
. . .
œœ œ  œj œ
#3
˙
œ
Œ
n
Œ
œ
œ
œœ œ œœ œœ œœœ œœ  œœ œœ œ˙
& 4 # ˙˙˙ # ˙˙ n œœœ œœ˙œb ˙ b ˙ œ n œœ
dim.
œ œ œ
? # 43 ˙ œ œ œ Œœœœœœœ œœœœœœ œœœœœœ œœœœœœ˙Commentœœ.
œœ.
œœ. œœœœœ œpœ œœ œ œœ œŒ œœ ‰ J ‰ ŒJchord 3: stacc. added by analogy with pf.1 andbb.154-155
B: double bar
B: tempo 1mo corrected in pencil to a Tempo con
fuoco
emended to marc. as in B and because ambiguous in A
third crotchet: stacc. added by analogy with b.8

640 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 640

20/09/12 10.37

Bar

Part

Comment

169
170, 171170-171

pf.1
pf.1
pf.2

chord 4: marc. added by analogy with b.10
B: upper part chords 1-3: stacc.
B: ink version before pencil correction:

?#
177

pf.2

179

pf.1

179
180-181182-183

pf.2
pf,1
pf.1,2

pf.2

188

pf.2

190
196

pf.2
pf.2

œ œ
œ œœ
œ˙ œ œ
œ˙#œ œ ‰ J

fifth quaver: stacc. added by analogy with
pf.1
B: lower part second and fourth notes: d ΩΩ addedin pencil
missing tuplets added
stacc. added by analogy bb.32-33, 182-83
B: ink version before pencil correction


185

Bar

. .
.
# nœœœ œœœ #œœ. œœ. œ. œœ #œœ œ #œ œ
œ
œ
œ
œ
œ
œ. nœœ # œœ œœ #œœœ œ#œ
&. . . . .
?#f

B:  c-A-d corrected in pencil to c-B-A-c- d(including lower octaves)chord 2: stacc. omitted because of slur and byanalogy with pf.1
B: chord 1: E, e corrected in pencil to G, d
B: ink version before pencil correction

?# œ
œ

#œ

#œ

œ

œ

œ

œ

œ #œ
œ #œ

chord 2: e ΩΩ, g ΩΩ, a ΩΩ, e ΩΩΩ emended to e ΩΩ, g ΩΩ, a ΩΩ,e ΩΩΩ because of the harmonic context and as in B

201

pf.1

204-207

pf.1,2(clearly a typographic error in A)
B: two alternative versions, both crossed out:. . .
#œ. œ.
# œœœ œœœœ #b #œœœœ
œ
œ
œ
œ
œ
2& œ
œœ #œ
. nœ œœ œœ œ œ œ œ bœ
?# œ
œ.

œœ.
œœ

.
.
# œ. #œ œ. œ #œœœ. œ œœœ œ b#œœœ # œ& œœœ #œ œœ.
n œ n œ œ œ œ œ œ œ œ bœ
?# œ
œ.

œ
œœœ. œ œ n# œœœ œ n œœ

Version A

#Version B

208-211214223
224-225227
229-231nœnœ#œ œ œ
# œ. œ. œœœ#œ œ œ
# œ. œ. œ

pf.1
pf.2
pf.2

pf.1
pf.1.2# œœ n œœœn œ œ œœ œ œœ œ œœ

œ #œ
#œ

No. 3
Bar
4
9
13
21
21
21
26



Part
pf.1
pf.2
pf.2

Comment

pf.2
pf.2

28
29

pf.1
pf.2

31
31
32

pf.2

No. 4
Bar

Part

5

pf.1

9-16

pf.1,2{last chord: stacc. added by analogy with pf.1
slur added by analogy with pf.1
D: con passion
slur added by analogy with pf.1
6/4 added
D: upper part: two slurs from notes 1-3 andnotes 6-8
lower part: stacc. added by analogy with pf.2
lower part: slur moved from upper part by analogy with pf. 1
D: smorz., not dim.
chord 7: stacc. added by analogy with chords 1, 5
D: sost.

Comment
B: all pedalling marks crossed out in pencil
B: beginning of slur corrected in ink from note 1
to note 2
as A and pencil corrections in B; B before pencil
corrections:

œ. œ.
2
œ
& b 4 œ œ≈ œ œ œ œ ≈ œ # œœ œœ # œœ œœ n œœ œœ œ. œ. œœ ™™ œœ. œœ. #œœ. œ≈ œ œ œ ™ œ œ œj ‰œ. œ. œ ™ œ œ # œœœ œ.
œ. œ œ. œ. œ œ. œ. œ. œ
. . .
p
p
.
dim.
.
.
™
j
œ
œ
b
j j
œ œ œœ™™
œj.
œ? b 2 œ ‰#œœ ‰ #œ ‰ œ œ. œ œ nœ œ ŒJ ≈œ œœ ‰Œœ œ4œœ. . .
. . œ œ. œ. œ. œœ
J
J

13
16
16
19, 20
21
22
22-23

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

24

pf.1

26

pf.1,228-29# ˙œ œ& ˙œ œ Œ
œœœ.
?#
œ
˙
˙

Comment

œ #œ#œœ

stacc. emended to stacc.
B: Tempo I added in pencil
lower part:  emended to  
B: tie from second chord of b.224 to b.225
crossed out in pencil and marc. in b.224 addedin pencil
marc. added by analogy with bb.228, 229
B: added in pencil; original ending of B:

œœ.
œœ

Part

30

pf.1,2

pf.1,2

chord 2: as pencil correction in B; A: g Ω, c ΩΩnote 1: as pencil correction in B
B:  added in pencil
note 1: marc. added by analogy with b.17
note 2: stacc. added by analogy with b.22
marc. added by analogy with b.21
B: tie from last note of b.22 to note 1 of b.23
and slur from last note of b.22 to note 2 of b.23
crossed out in pencil
lower part notes 2, 5: stacc. and slur added byanalogy with b.34; last note: marc. added byanalogy with b.26 and as in B
B: corrected in ink from:





32-33

pf.1

‰

& b œj

mp

? œ
bJ



œœ  #œœœ œœœ nœœœ. œœœ  œœœ œœœ  œœœ. .
œ œ. œ. œ.
œ œ œ
œ

B: on a separate sheet with corrections; original
version in B:

12/1 77œ.
œœ Œ Œb>œ
J

as A and pencil correction in B; B before pencil
correction:

Œ Œ

fz

& b œ  # œœ œœœ œ œ? œ œ œ
b

Uj
 . .
& b œœœ  ≈ œ œ? U ≈Œ
b jœslur from last note of b.32 to note 1 of b.33

klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 641

641

20/09/12 10.37

Bar

Part

33
35

pf.1
pf.1

36-38

pf.1,2



&b œ
?b

41
42-43

Comment

œœœœ

œ

œœœ

œœœ

œ.

added by analogy with bb.33-35 and as in B
note 1: stacc. added by analogy with b.34
first to second semiquavers: as in A and pencil
correction in B; B: no lower part in original version (lower part added in pencil); B: second partof the bar: two slurs
as in A and B (on a separate sheet with corrections); original version in B:. .
. œ. œ  œœ œ œ œjnœœ œ œJ ‰? œ œ œœ œœ œ œœ
J
œ
p
œ
œœœ
œœœ
j
.œ œœ œœ œœ  œœ œœ œœ. œœ. .
.

nœ œ #œ œ bœ

œ.

pf.2
pf.1,251, 52
52
53

pf.1
pf.1
pf.1

59

pf.1

60

pf.1

62
62-72

pf.2
pf.1,2œ? b œœœ# œ ≈ œœœœ

œ ≈notes 3-4, 7-8: slurs omitted because of stacc.
and as in B
corrected in pencil to
B:notes 5-8: as in A and pencil correction in B; B
before the correction: k   k  
B: upper part: notes 1, 3: stacc.
B: last chord: lower note a Ω crossed out in ink
B: first chord: lower note b  Ω crossed out in ink;
second chord: lower note a Ω crossed out in ink
chord 1: stacc. added by analogy with bb.57-58
and as in B; lower part notes 2-4: stacc. addedby analogy with upper partlower part notes 1-2: stacc. added by analogy
with upper partnote 2: stacc. added by analogy with b.61
as in A and B (on a separate sheet with corrections); original version crossed out in B:& b œœœ. .
œ œ œ ≈ j œ œ> œ. œ#œp? œ ≈ œ œ œ̇
b œ œ
˙

13



.
.
& b œ #œ ≈ œ œ. ≈ œ œ ≈ œ œ. ≈



pf.1





pf.1

49
50



? b œ. œœœ œ nœ œ
œ. ≈ ≈ œ œœ œ œ œœ œ œ œ œ œ. œ. œ œr ≈ œr ≈. . œ. œ. . œ. œ œ# œ œ œ œœ œ œ. œ. n œ. œ.
.
.
.
œ
. . œ. œ. # œ œ. œ. . œ.
.

63, 6471, 72
74
75-76

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



pf.1
pf.1,2#œœ ≈ j œ œ
> œ. œ œ. # œœ.
j. .
nœ‰ œ œœ# œœJ

 . . .
& b œœ œœ œœ #nœœœœ œ ≈ œœ œœ. .

œ œ. œ. œœ.
nœ
?
b

œœ 
J

p

. .
≈ œ œ

œœ  # œœ œœ n œœœœ  œ. œ. .
.
œœ  œœ. œœ. nœœœœ  œœ œ #œ
. œ. n œ.

œœ.

œ œ. œ. œœ.

œœComment

œ. n œ. . n œ. . œ. œ. œ. .
. œ. œ.
œ #œ œ œr ≈ r ≈ œrœ#œnœœ nœœ
b. . . #œ& œœ  # œœ œœ œœ œ n œ œ. œ. œ. #œ. œ. .
.
.
. .
.
p
.
.
.
œœ œœ œœ
#œ
. .
. . .
? b œœ. œ œ œœ. œœ. œ œœ œ œœ ≈ ‰ R ≈ R ≈ R ≈ ≈ œr œr ≈ r ≈ œœr ≈ ‰ ? œœœ ≈ ‰& œ œ #œœ œRRœœn œ. . .
19. .
r œœœ œœœ œœœ
œ. œ.
œœ
œœ œ
& b œr ≈ ≈ œr ≈ r ≈ n œrœ œj ≈ œ œ œ œ œœœ œœœ œœœœœ œœœ œœ. œœœ.
n œ.œ œ.œ # œ # œœ
œœ.
œ
.
mf

j
œœ ‰ Œ? ˙b b˙

B: last chord: lower note g Ω crossed out in pencil
corrected in pencil to
B:note 2: stacc. added by analogy with b.49 and as in B
as in A and B (on a separate sheet with corrections); original version crossed out in B:

pf.1

48

œ  œ œ. . œ? b œ  œ œ œœ #œ ‰ Œ
J

Part

16



B: third semiquaver:as in A and pencil correction in B; original version crossed out in B:



45
47
47
48

Bar

79
80

pf.1
pf.1

81

pf.1

82

pf.1

92

pf.1

99

pf.1,2

No. 5
Bar
6
6
7
8
8
9

Part
pf.1
pf.2



&

œœ 
b œ

note 2: stacc. added by analogy with note bb.91, 93
B: lower part note 1: marc.
chords 2-3: tie omitted as in B
as in A and pencil correction in B; original version crossed out in B:.
.

.
œœ œœ.
œ œ

.
#œœ
œ

œ œ œ nœ?b œ œ œ œ œ œ œ
≈

#œœ
œ

œœ
œ

b œœœ

œ

œ

œ

?œ

œœ œ
œ

p

œ ≈

œ œ œ
œ. œ. œ.

B: chord 4: top note a ΩΩ crossed out in ink
B: chord 1: a ΩΩ,d ΩΩΩ,a ΩΩΩ crossed out and corrected
to a Ω, d ΩΩ, a ΩΩ
B: first semiquaver: d ΩΩ, f ΩΩ, d ΩΩΩ, the two lower
notes being crossed out in pencil
B: first semiquaver: f ΩΩ, a ΩΩ, f ΩΩΩ, the two lower
notes being crossed out in pencil
end of slur emended from fourth to third quaver
by analogy with the rhythm of pf.2 and as in B
B: redundant bar line in the middle of the bar

10

pf.2

Comment
notes 1-2: redundant slur omitted
B: chord 6: lower note e  crossed out in pencil
B:B:
B:  upbeat for the first chord of b.9 added in pencil; top note g Ω of chord 3 crossed out
B:in pencil
B: corrected in pencil from:

11
14

pf.1
pf.2

B: note 9: e  ΩΩ
B: corrected in pencil from:

œœ Œ

15
17-18

pf.2
pf.1,2

B: chord 1: top note: f Ω added in pencil
B: corrected in ink from:r ≈ r ≈
œ. # œœ.

{

pf.1
pf.2

œœœ œ. œ.
p.
.
œ. œ œœ. œ

œœ. œœ.
? b jœœ nœœ ‰ Ó
bb œ
œ

œ œ™
n œ™
? bb J ##nœœœ ™™™ #nnœœœ #nœœœ ™™™
b
J

r
nœ
r ≈ #œr ≈ œœœ œ œ œ œ œ œœ œ œ œ œœbœ ? ≈#œr ≈#œ ≈# œ ≈ nœ ≈
r
#
œ
c
≈
#
œ
#
œ
#
œ
œ
œ
œ
œ
œ
œ
œ
&
œ œ œ œ œ œ œ œ#œ #œR R R & #œ # œ # œ œ
fp
#œ
f
#œ #œ
r
r
r
? c ###œœœ ‰‰ ? r ≈ r ≈ #œr ≈ #œr ≈ œ ≈#œ ≈#œœ ≈ œ ≈
&
œ
#
œ
#œ
#œ R œ
œ #œ
# œœ ™
#œ œJ
œ #œ #œ

642 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 642

20/09/12 10.37

Bar

Part

Comment

Bar

Part

18

pf.1

last chord: open slur omitted because of new
slur beginning on chord 1 of b.19 (A: page turn)B:corrected to
B: corrected in pencil to
B: the inner part f Ω erroneously begins on chord 1
last semiquaver: as A and pencil correction in
B; B: last semiquaver:  ( f ) crossed out and 
added in pencil
B: first chord:
B: fourth quaver: e Ω (as part of the chord of thelower part) crossed out in pencil
third and fourth crotchets: as A and pencil correction in B; B before the correction:

67

pf.1,2

71-97
83

pf.1




19
23
28
31

pf.1
pf.2

32
33

pf.1,2
pf.1

34

pf.2



œ
œ˙ œ œ
36-38



as in A and as pencil correction in B; B: after b.36
five bars are crossed out in pencil and replacedby bb.36-38 of A; the crossed out bars in B:œœœœ œœ
bb œ œ œ œœ œ œ nœœ
b
&
œ
3

3

? b œœœ œœœ
bb

j
œ œ
œœ

œœœœ œ˙œœœœœ b˙œ bbbb œ œ œœœœœœœœœœœ
œ
R

j œœ
œ
œ
œ
œ
n
œ
b
œ
œ
œ
œ
œ
œ œ ≈ œœ‰ b b ‰ œ ‰ Óœœœœœ . œ œ œ œ œ J b b œœ J
.

fp

œœ






pf.1,2œœœ ≈b b œ œœœœœ
& b b œ œ nœ œ œ œ bœ nœ œ œ œ nœ œ ˙ bœ? bb b
b

38
42-47

44



∑
pf.1

œ
j œ
œ. œ

‰

œœ œ nœ œ

œ
j œ ‰
œ. œ

B: chord 5: g Ω crossed out in pencil
as in A and as pencil correction in B; B: after b.41
two bars are crossed out in pencil, followed byb.47 of A; an alternative version of bb.42-46 (theone printed in the present edition) is added at
the bottom of pp.33-34 of B; the two crossed outbars in B, which are followed by the present b.47:b œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ œ& b b œ ≈ œR ≈b œR ≈ œR ≈œR ≈ œR ≈œR ≈ œR b œR œ œ nœ œ œ œ œ bœ nœ œ œ œ nœJ[b.47]
f p
.
b œœ.
j
? bb œœ nœ œ bœ œ œ œ œ?
œŒœœ. ‰ Œb J & # œ. œ. œ. œ. œ. œ. œ.
J ‰
pf.2

45
46
54
55
59

pf.1
pf.2

60

pf.1

62
66

pf.2
pf.1,266œj œ
œ. œ ‰

œœ œ œ œ œœ

third to fourth crotchets: top note: redundanttie omitted as in B
B: legato
B: fourth crotchet: poco rit.
B: third crotchet: crossed out in pencil
B: chord 3: marc.
B: beginning of slur corrected in pencil fromnote 1 to note 2 and stacc. added to note 1 inpencil; fifth quaver: fingering 1,2 added in pencil
last note: end of slur made open because of slurof b.61 (change of system in the source)
B: chord 1: marc.
as in A and as pencil correction in B; B: corrected from˙ ˙ #˙b& b b n˙˙#˙?bb b n˙b˙b˙chord 2: C , c enharmonically emended to B , bCommentchange of key to three s emended from b.67 tob.82 because of the constant use of d  in the passage bb.67-76
missing in B
third crotchet: middle part: f Ω enharmonicallyemended to g  Ω by analogy with previous quavers

no. 24thema med 14 variationer
Bar
56

Part
pf.1

136
136

pf.1,2
pf.2

Comment
A: fourth to sixth quaver: g - f - d corrected tog – –time signature corrected from 2/4 to C added because of the change of metre
missing 

no. 25
grand vals
Bar
3
4
13-14

Part
pf.2
pf.2
pf.1

17

pf.1

18

pf.1

21

pf.1

22

pf.1

25
26
27
33
35

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

36-37
38

pf.1
pf.2

43

pf.1

43-44
47

pf.2
pf.1

48
49
63
64
65, 66
78
84
86
97

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

98
104
119-122

pf.2
pf.1
pf.1

Comment
chords 2, 3: stacc. added by analogy with b.1
stacc. added by analogy with b.2
redundant slur from last note of b.13 to lastnote of b.14 omitted
note 1: marc. added by analogy with b.18
(note 1); note 6: g emended to g  by analogy
with note 1; note 9: a  emended to a by analogy
with note 5
note 6: g emended to g  by analogy with note 1;
note 9: a  emended to a by analogy with note 5
note 1: marc. added by analogy with b.22
(note 1); note 6: g emended to g  by analogy
with note 1; note 9: a  emended to a by analogy with note 5
note 6: g emended to g  by analogy with note 1;
note 9: a  emended to a by analogy with note 5
note 3: c emended to c  by analogy with chord 1
note 5: g emended to g  by analogy with note 2
note 3: d emended to d  by analogy with note 1
last note: b  emended to b  by analogy with pf.1
chord 1: end of slur added after open slur at theend of b.34 (change of system in A)
slur added by analogy with bb.35-36
note 5 and the following chord: f emended to f
because of the harmonic context
chords 2-4: stacc. and slur added by analogy
with b.41
slur added by analogy with bb.41-42
chord 5: f emended to f  by analogy with chord
1 and pf.2
note 1: marc. added by analogy with pf.1
chord 1: marc. added by analogy with pf.1
chords 2-3: stacc. added by analogy with b.1
stacc. added by analogy with b.2
as bb.63, 64
missing bass clef added
chords 1-2: slur added by analogy with pf.1
chords 1-2: slur added by analogy with b.84
chord 1: marc. added by analogy with bb.93, 95;
chords 2-4: stacc. added by analogy of bb.92-95
chords 2-4: stacc. added by analogy of bb.92-95
stacc. added by analogy with b.103
lower part: stacc. and slur added by analogy
with upper partklaverværker : critical commentary

Hartmann_klaver_bind_2.indb 643

643

20/09/12 10.37

Bar

Part

Comment

Bar

123-126
145

pf.1,2
pf.2

161-162150

pf.2

stacc. and slur added by analogy with bb.119-122
chords 2-3: stacc. and slur added by analogy
with bb.139-141
chords 2-3: stacc. and slur added by analogy
with bb.147-148

Comment
A: accelerando
note 1: marc. added by analogy with b.11
A: notes 1-4:    
not in A; instead A (bb.36-50) has the following passage (see concordance in Description of
Sources):œœœ œœ œ œ >œ œ œ
#œ
œ
œ
œ
w
? bc œ#œ œ œ œ œ œ œ œ œ œ œ œ w
w
b





œ œœ œ œ . .
œ#œ œ. œ. œ. .
œ œ. œ 
≈ ≈ ≈

p

œ

pp

œœœ

œœ ˙

œ



?bœ Œ
b

œ

œ

b
&b



pp

? bb

54
56-57
58

œw

œ œ œ
œœœ
pf.1
pf.1

60
81

w
w
w
j
œ œ œ œ

œœœ 

j
œ œ

Œ

œœ

fz

œœ ˙

œ œ#œ œ

œ
w

œ
œœœ

œ

Œ
œœœ

œ

œ œ œ

œœ

ritard.

œw

œœœ

113

pf.1
pf.1

œœ œœ
œœ œœ

œœ
œœ

œœ
œœ

œœ
œœ

?
bœœ œ œ œ œ
œœ
œ

œœ
œœ

œœ
œœ

œœ
œœ

œœ
œœ

œ bœ œ œ œœœœchord 1: stacc. added by analogy with chords 2-4
A: legato
chords 1-2: stacc. added by analogy with chords
3-4 and as in A
A: legato
not in A; instead A (bb.89-93) has the following
passage (see Description of Sources):œœ œœ œœ œœ œœ œœœœ œœ œœ œœ œœ œœŒŒ Œ œœ œœ œœ œœ œœ œœœœ œœ œœ œœ œœ œœœ
bb.162 ff.
bœœ œ œ œ œ œœ œbœ œ œœœœœœ

between bb. 193 and 194 of the present edition
A (bb.214-221) has the following passage (seeDescription of Sources):œ œ#œ œb #œ& b c #œœœp

œ#œ nœ œ

Œ &#œœ œœ #œœœœ œœ œœœ#œ nœ œ#œ nœ ˙

œœœ
œ

œœœ
œ

œœœ
œ

œœ
Œ #nœœœ œœœn œœœ œ#œ œ œ# œ n œ

œ
#nœœœ
?

œœ
œœ

œœ
œœ

œ œ#œ nœb #œ œ œ œnœ œ#œ nœŒ n œœ œœ n œœ œœ œœœ œ#œnœ
& b œœ
œ# œ n œ ˙# œœ œœ # œœ œœ œœ? bb œ Œ Œ #œœœ œœœ #œœœ œœœ œœœ œœœ nœœ œ#œ œ œ#œnœ œ œ#œn œœœ œ œ œ œ œ
œ

œœ
œœ

œ#œ nœ œ195, 197

pf.2

197
203-204

pf.1

œœ
œœ

bb.194 ff.

#œnœ œ

A: upper part chord 1:  (thus chord 2 is missing)note 7: marc. added by analogy with bb.195, 196
not in A; instead A (bb.231-235) has the following passage (see Description of Sources):œb?œ œ œ œ Œ œ&b c œ
&œ
œ Œ
œ œœ
j Œ
? bbc œ  œj œ Œœœ  œ œ  œ œœ # œ#œœœœ œ œ œ œ œ
nœœ #œœœœ Œ œ Œ œœ œ œ œ œ œ œ œ œppœ n œ bb.205 ff.
Ó ‰œ
Œ #œ Œ œ Œ Ó
œ #œ
œ
œ

bb.43 ff

œ œ#œ œ

100
103
107-108

Œ

5

>
>œ
> œ œ. œ. œ œ œ œ œ œ œ œ œ
œœ
œœ
œ
œ
œ œœ. œœ. œ ‰ œœ œ ‰ œœ œœ #˙˙
b œ
œ J
&b c
J
œœ œœ œblegere
œœœ
b
œ
œ
?
œ
?
n
œ
‰
b
œ
œ
œ
c
‰
Œ
˙
&
œ œ
J œJ & œ œ ˙
˙˙˙
œ œ
4
œ œ
œœœœ . œœœ ˙
n
œ
b
œ ‰
œ
≈
&b J ‰
Jb œœ
dolce
b.82 ffnœ˙˙? bb œœ ‰ Œ
œ
œ ‰ Œ
Œ
J
J



Œ & œœœ œœœ œœœœœ œ? bbc #œœœ Œœœœœ? bb œ œ œ œ œ#œ œ
œœœ œœœœ
œœw œ œ œ œ œ nœwbœw œ œ œ œ œ
w

9

œ œ Œ

legere193-194œœœœœ œ œ œ œ œ œw œ œ œ œ œwœ œœœ œ œ œ œ œ œ œ œ
J
J

∑

6

b
&b

œ œ œbœœœœœb œœ œ b œ œ œ œ œ œ œbœ œ œ œ œ
&b œ
œ

œ
œ œ œ#œfz

dim.

? bb ∑œ
œ #œ œ #œ œœœ œœ œ œ #œb&b ≈A: between bb. 161 and 162 of the present edition A has the following passage (see Descriptionof Sources):

5

pf.1
pf.1

b
&b c œ

p? bc œ Œ
b œ

Part

>œ

Commentœbœ œ œ œb œ
& b c œœœno. 26
fantasi, opus 7
Bar
9
9
29
36-42

Part

A: con fuoco (not )A: legere
ambiguous marc. interpreted as being valid forthe lower part only
chords 2-3: stacc. added by analogy with chords
4-5

205
213
217
225
226
230
230
236-237

A: molto sostenuto
A: ritardando e diminuendo
A: Tempo 1mo;note 1: marc. added by analogy with b.219
note 1: marc. added by analogy with b.220
note 3: marc. added by analogy with b.228
chord 1: marc. added by analogy with b.228
not in A; instead A (bb.267-270) has the following passage (see Description of Sources):

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

b œ
&b c

œ



œœœ œ


œ
œ œ œ œ œœœ œ#œ œ #œ œœ œ >œ œœœ
œ #œ œ

œ w
œœ
? bbc œ#œ œ œ œ œ œ œ œ œ œ œ œ w
w

242

not in A; instead A (bb.275-281) has the following passage (see Description of Sources):

b
&b c



bb.238 ff.

w
w
w

œ

œœœ

Œ

œœ ˙


œ

œœœ

œ œ œ œ
J

œ œ
J

œœ

œ
pp
œ
œ
œ
œ
? bbc œ œ œ œ œ#œ œ
œœœ œœœœœwœ œ œ œ œ œ nœwbœw œ œ œ œ œw5œœ œ œœœ ˙œbœœ œ œ
œœ
Œ
b
&



? bb

pp

œ
w

ritard.

œœœœ œ#œ œ

œw

œœœ

œ

œœœ

œ
w

œœœ

bb.243 ff.

œ œ#œ œ644 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 644

20/09/12 10.37

Bar

Part

Comment

Bar

Part

Comment254

pf.1

chord 1: stacc. added by analogy with chords
2-4
A: between bb. 295 and 296 of the present edition A (bb.335-338) has the following passage(see Description of Sources):

14

pf.2

15

pf.2

16-17
18

pf.1

notes 1-4: slur added by analogy with pf.1; notes
5-9: slur and stacc. added by analogy with pf.1
upper part note 5: b  emended to b  by analogy
with pf.1 (misprint)
A: slur
A: 3/8 corrected to 6/8 and every second barline of the first system crossed out according
to the instruction added in the margin. “NB
dette Stykke afskrives i 6/8 med udeladelse af
hveranden Taktstreg” (This piece to be written
in 6/8 and every second barline to be left out)
A: fifth quaver.
D: third slur ends on the last note of the bar
A: sixth quaver: dim.
A: lower part: tie from  f to  f
A: on the first chord of the bar
B, D: first semiquaver: C
A: third to fourth quaver: tie from d to  dchords 1-2: slur added by analogy with b.43
chords 1-2: slur added by analogy with b.44
A: sempre legato
A: chord 1: d , f (lower note a missing)
A: appassionato
chord 1: stacc. added by analogy with b.58
A: between bb. 65 and 66 the following (3/8) bar
is crossed our in ink:

295-296



>œ 
>
# œœ  œ œ œ œ œ œ œœ œ œœ œœ #œœ œœ œ œ œ œœ œ œ œ œ nœ œ œ œ j œ œœœcœœ ‰ œœ ˙
œ
œ‰
œ œ
&
œ.
J‰
J
bb. 296 ff.
œœœ œ œœ œœ ˙˙
. .
nœ
˙
nœœ
˙˙
œœ œœ œœ œ œ? #c ˙œœ ŒJ ‰#bœœœœ
œ Œ



296

marc. between the systems interpreted as being valid for both pf.1 and pf.2; A: leggier, notgrazioso
between bb. 326 and 327 of the present edition
A (bb. 370-383) has the following passage (seeDescription of Sources):

326-327#œ
#c #œbœœœ œœb#œœ#œœ b#œœ nœœ œœ œœ œ œ bœ œ œ œ #œ œ
? bœ œ œ œ nœ&œœ&œœ œ œ # œ œ # œ n œ œ œ œœ œœ b œœ œœ œœ œœ # œœ œœ
p
œ
œ
nœ
œ
nœ œ
? #c
œ
œ
œ
œ
œ
∑
œ



j bbœœœ œœœ œœœ#& ##œœœ nnœœœ œœœ œœœ bœœ œœ bœœ ‰ œ œ œJ ‰ œœ œœ bb˙˙ bœ œ bœ
fpb
œ?#œ œ bœ bœœ ‰ Œ Œ œœ bn˙˙ Jb œœ œœ œœj ‰bbœœ œœ œœ ‰ œ œœ œ œ bœJ œœ
fpjœ bœ ‰ Œ Œ nœœ
b
œ
œ

21
26
28
31
32
34
42
47
48
49
52
57
57
65-66



pf.1
pf.2



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

b œ bœ œ œ œ& b œœ? bb bœœ 
nœJ



#
& bb˙˙Œ œ œ œ œ Œ œ œ œ œœœ œ œ bœœ n œ  œ œ bœœ œœ œ œœœ œ bœ œ
staccatosost. e nœ
? # b˙ œ œ˙bœ nœ b˙nœœ œ bb˙˙b ˙œ œ˙bœ nœ b˙
œ œ
#
œ bœ
bœ
& Œ œ œ œ œ ? ‰ nœ&#œ œ œbœ œ œ œ
f molto fuoco
bb.327 ff.
?# ˙
œ bœ #w
˙œ bœ # w



68
70

pf.1
pf.1

A: first to third quaver: slur
A: second half of the bar:jb n œ nœœœ œ œ œ œ œ
b
&



pf.2

A:

w
? # c bw
w

nw
w
w

w
w
w

w
w
w
w

w
w
w
w

no. 27₍klaverstykke, 1837₎
no. 28introduktion og andantino reliogioso
Bar
3

Part
pf.1

8

pf.1,2

9
10
12

14

pf.2
pf.2
pf.1

pf.1

Comment
chord 1: arpeggio added by analogy with pf.2
and as in A
all the printed editions indicate that this is thelast bar of the Introduction; in Hartmann’s autograph (A) however, it is clearly indicated that
the Introduction comprises bb.1-17 as in thepresent edition (see Description of Sources)
B, D: upper part third chord: d , f (misprint)
A: chord 1: arpeggioA:b œœ  œœ œ œ& b œ  œ œœ œœ œœœ  œ nœ bœ

marc. added by analogy with pf.2

? bb bœœ nœ œ œ œ œ

72
72

pf.2

74-77

pf.1,2two  signs in the margin of A, added by a proof
reader and referring to the accidental of a andthe first top note g , confirm the g (and notg  as in all the printed sources, thus making astriking harmonic shift from b. 70 to b.71)
A:note 6: g  enharmonically emended to f because of the harmonic context
A: added at the bottom of the page as a substitution for bb.74-77 (notated as 8 bars in A), which
are crossed out in ink:j œ j œ œ œ œ.
j œœ œœ nœœb œ œ œœœ& b œ œœbœ œœbœœ œœœ œœ œ nœœ œ œ ‰ œ nœb œ bœœ œ œœœ œœ œ #œœ œJ  œ? bb œ œ90-91

327-331œœ
pf.1,2œœ œœ œ œ œ
œ œ

‰ œ
œ

œ
œ

œœ œœ œ œ nœbœ œ ≈ ‰‰A: between bb.90 and 91 the two following (3/8)
bars are crossed out in ink:b
& b œœ

œœ? bb œœ œ œJœœ œœ œœœ∑klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 645

645

20/09/12 10.37

Part

Comment

no. 29gamle minder
Bar
23

Part

Comment
as correction added on a separate page in A; A:
three bars marked in brackets and the figure “1”
added, referring to the added bar; the three bars
originally in A:as correction added on a separate page in A; A:
three bars marked in brackets and the figure“2” added, referring to the added bars; the threebars originally in A:jbj j ≈#œ œ œ œ& b b œ n œœ œœ nœ n#œœœ œœ  bœœ œœ œ œœ ‰ ‰ #œ nœ œ nœ
œ #œœn œœ
n œ b œ n œ  œ J b œ n œ œ œJp#œ œ œ œ  œj nœœ œj j ‰ œœ nœ œœ 
?b
œ
#
œ
œ œ#œ
bb œ
œ
J
œ
J
œ
œ
œ #œ
œ


36

pf.1

41

pf.1

58

pf.2

61

pf.2

chords 2, 6: a  emended to a  by analogy withbb.35, 37
last note: e  emended to e  because of the harmonic context
arpeggio and stacc. added by analogy withbb.56, 57
last quaver: b  emended to b  because of the harmonic context

no. 30hamborger-skotsk
Bar
1-56

Part
pf.1,210

pf.1,2

Comment
missing stacc. added throughout the piece byanalogy with bb.2-3, 17-18, 21, 40-42
a and c enharmonically emended to b  and d by analogy with b.14

no. 31
canzonetta
Bar

Part

11

pf.1

14-15

pf.1

15

pf.1

+23-24

pf.1,2Part

Commentjœ œ œ œœœ  œœ œœœ  œœ œœ  œœUœ œ  œ#œœ œœ œœœœ ‰J
œ œ#œ œœ  œ œ  œ smorzando
6
6
6
6
œ œœ
U
? #### 2 œj œ œ œ œ œ œ œ œ œ œ œ œ œj‰4
œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœœ œ œ œ œ œ œ##2 j& # # 4 œœœ œœœ
J

b
nœ œ
& b b 68 œ bœ œj œ œ bœ œ œ œ nœœ  œbnœœœ œ  nœnœ œ œ œnœ œnœœ  œ œJJ œ œn œ œ œ nœ bœj œj? b 6 œœ  œ œœœ œœ ‰ bœœ œ œœ
œ ‰ Œ
‰
œ
b b8
J J J
œ

26-31

Bar

Comment
A: No 5 crossed out, originally referring to A of
Opus 31, see Description of Sources (No. 10)
B: last semiquaver: lower note e omitted (probably because of the two-part writing of pf.1 of
the whole bar)
upper part: tie from last note of b.14 to firstnote of b.15 omitted because of
upper part note 7: a emended to a  because of
the harmonic context
as correction (in Hartmann’s hand and in different ink) in A (indicated by vide § and an addition at the bottom of the page); A before thecorrection and B have the following three bars
instead:



œ
œœ



Bar

3

25
27

3

3

3

B: tempo primo
A: later addition between the staves in Hartmann’s hand in different ink: som første gang
(as the first time), which might indicate that hewants bb.27-29 to be identical with bb.1-3

no. 32indfald
No. 2
Bar
+1

Part
pf.1

15-16

pf.2

Comment
stacc. added by analogy with b.2 (pf.2) and b.8(pf.1 note 3)
editor’s addition, because missing in the manuscript

no. 33sang uden ord. hjemvee
Bar
18
21
30
33ii

Part
pf.2
pf.1
pf.2

Comment
Tempo emended to Tempo I
note 7: g emended to g  by analogy with pf.1
second quaver: missing added
open slur added by analogy with bb.32-33i

no. 34om foraaret
Bar
Part
2
pf.2
23, 24
pf.1
27-34
28
pf.1,2
29-30
pf.1
40
pf.1
43
pf.1
48-49
pf.1
51
pf.1
54-55
pf.1
77-78, 81-82 pf.1
84
pf.2
87-88
pf.2
88
pf.2
90, 91
113

pf.1
pf.2

Comment
tie added by analogy with pf.1 (bb.3, 4)
note 1: ten added by analogy with bb.19, 20
A: notated as repetition of bb.19-26
marc. added by analogy with b.24
slur added by analogy with bb.21-22
stacc. added by analogy with b.36
marc. added by analogy with pf.2
slur added by analogy with bb.46-48
marc. added by analogy with pf.2
slur added by analogy with bb.46-47
marc. added by analogy with pf.2
marc. added by analogy with pf.1
marc. added by analogy with pf.1
G , g emended to B, b by analogy with pf.1
(unison as in bb.83-84)
last chord: stacc. added by analogy with bb.2, 3
stacc. added by analogy with pf.1

no. 35vinteren
Bar
3
5
8
13

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

Comment
note 3: marc. added by analogy with pf.1
marc. added by analogy with pf.1
slur added by analogy with pf.1
notes 1-2: slur added by analogy with b.11, 14

646 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 646

20/09/12 10.37

Bar

Part

Comment

15

pf.1

16
17
22, 23
25

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

28, 293031
3233, 3541
42
43, 44

pf.2
pf.1,2
pf.2
pf.1,2
pf.2
pf.2
pf.1,2
pf.1,245, 46
47
48

pf.2
pf.2
pf.1,2

51
51, 53
57
65
67
73

pf.2
pf.1,2
pf.2
pf.2
pf.2
pf.1,2notes 1-2: marc. and slur added by analogy withb.14
slur and marc. added by analogy with pf.1
marc. added by analogy with pf.1
chord 2: marc. added by analogy with b.21
stacc. and slur added by analogy with pf.1 andb.26
stacc. and slur added by analogy with pf.1
stacc. and slur added by analogy with b.29
stacc. and slur added by analogy with pf.1
stacc. and slur added by analogy with b.31
slur added by analogy with bb.37, 39
stacc. and slur added by analogy with pf.1
stacc. and slur added by analogy with b.41
chords 1-2: stacc. and slur added by analogy
with bb.47
stacc. and marc added by analogy with pf.1
stacc. and slur added by analogy with pf.1
chords 1-2: stacc. and slur added by analogy
with bb.47
marc. added by analogy with pf.1
marc. added by analogy with bb.3, 5
marc. added by analogy with pf.1
marc. added by analogy with pf.1
marc. added by analogy with pf.1
stacc. and marc. added by analogy withbb.45, 46

no. 36langsom vals
Bar
3-7
4
8
8

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

11

pf.2

Comment
chord 1: stacc. added by analogy with bb.1-2
B: chord 2: illegible
B: third crotchet: g , b  , d , gchord 3: stacc added by analogy with b.12;
B: chord 2: g, e  , gchord 3: b , a 

no. 37stambogsblad ₍stork, stork langeben₎
no. 38‘den 20de januar 1848’
Bar
1
2

Part
pf.2
pf.1

3
24-26
42
58

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

59-61
71, 72

pf.2
pf.2

75-76

pf.1

Comment
chord 2: stacc. added by analogy with pf.1
second crotchet: end of slur emended from firstcrotchet by analogy with pf.1
chord 2: stacc. added by analogy with pf.1
stacc. omitted by analogy with bb.27, 32-38
marc. added by analogy with bb.41, 43
second to third crotchet: tie added by analogy
with bb.56, 57
slur added by analogy with pf.1
upper part notes 2-4: slur added by analogy
with b.70
tie added by analogy with bb.73-74, 74-75

Bar

Part

Comment

no. 39langsom menuet
Bar
5, 6
15
17

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

18-31

pf.1,2

21
29, 32

pf.1
pf.1

Comment
arpeggio added by analogy with b.4
note 2: stacc. added by analogy with pf.1
slur and stacc. added by analogy with bb.23, 27,29
stacc. added in accordance with indications inthe sketches of the manuscript.
note 6: stacc. added by analogy with note 3
stacc. and slur added by analogy with b.21, 23, 27

no. 40₍klaverstykke, 1849₎
no. 41
albumsblad
Bar
4
7
11

Part
pf.1
pf.2
pf.2

13
26

pf.1,249, 50
53-54
64

pf.2
pf.2

69-70

pf.1,274, 75
pf.2
78, 80, 82, 84 pf.2

Comment
note 1, 3: marc. added by analogy with b.2
note 2: marc. added by analogy with b.5
A: upper part third crotchet: a - c corrected to a;upper part fourth crotchet: g – d corrected to g
upper part: slur added by analogy with b.11
barline emended to double bar because ofchange of metreslurs added by analogy with bb.47, 48
slur added by analogy with bb.52-53
barline emended to double bar because ofchange of metre
A: between bb.69 and 70 one bar, which is identical with the present b.69, is crossed out in ink
slurs added by analogy with bb.65-68
A: third crotchet: G with the figure 8 added below

no. 42polkamässig
Bar
+1

Part
pf.1

2

pf.1

4
6
11
16

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

17, 18,19, 20202226
2728, 29,30, 32
34
34
36i
36ii

Comment
lower part chord 1: stacc. added by analogy withupper partlower part chord 2: f  , g enharmonicallyemended to e , g by analogy with bb.1, 3, 4
note 4: stacc. added by analogy with pf.1
last semiquaver: stacc. added by analogy with pf.1
chords 1-2: slur added by analogy with b.9
lower part last chord: stacc. added by analogy
with upper part

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

last chord: stacc. added by analogy with bb.1-3, 16
note 3: stacc. added by analogy with bb.17-19
last chord: stacc. added by analogy with b.6
slur added by analogy with bb.25, 27
chord 2: stacc. added by analogy with bb.25, 26

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

slur added by analogy with bb.25, 27, 31
slur added by analogy with b.33
upper part: slur added by analogy with b.33
slur added by analogy with b.36ii
slur added by analogy with pf.2 and b.36i

klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 647

647

20/09/12 10.37

Part

Comment

no. 43sct. hansaften vals
Bar
1-8

65
75, 7677, 78
87
100
107

Part

Comment
A: added after b.112 of the Walz, introduced by
the title: “Sct. Hansaften-Vals til Intermediet iHolbergs “Kildereisen” af J.P.E.Hartmann”; on
top of the first page with the Walz is added inpencil (JPEH): “Til Indledning kan bruges Takterne efter Slutningen” (the bars at the end may
be used as an introduction)
A: added in pencil
A: marc. added in pencil
upper part: slur added by analogy withbb.73-76
A: ped. added in pencil
A: fourth quaver: f corrected in ink tonote 1: stacc. added by analogy with pf.2



pf.1
pf.2

pf.2
pf.1

no. 44sjællandsk reelBar25, 26,29, 30
28
47-53
78

Part

80
84
93
94
96
101

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

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

Comment
note 1: marc. added by analogy with pf.1
notes 4, 5: stacc. added by analogy with pf.1
staccato emended to stacc.
chord 2: marc. added by analogy with chord 1
and as in B
stacc. added by analogy with pf.1
stacc. added by analogy with b.86
chord 1: stacc. added by analogy with pf.1
notes 1, 4: stacc. added by analogy with pf.1
stacc. added by analogy with pf.1
chord 1: stacc. added by analogy with pf.1

Bar

Part

Comment

48
51, 5352
57
59, 60
61
62-69

pf.2
pf.2
pf.2

slur added by analogy with pf.1
lower part: missing crotchet rests added
slur added by analogy with b.50
D: repeat sign indicating repetition of bb.50-57
D: second and third crotchet:  
D: chord 2: a, c
D:

pf.2
pf.2

b3
œ œ œ  œœœ
& b b 4 ˙ œ œœ œœ œœ  œ œœ ˙˙ œ œ œ œ œœbœ œœ œ œœ
œ? bb 43 œœ œ œœ jnœ œœ œ b œ œ œœ j œ
œ
œ
b

œ



68
69-70
70
71
73-74
78-84
84
85
89-94

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

œ#œ œ
b
& b 43 #œ ˙˙˙˙  œ œ#œ œ œœ? bb 43

pf.2

118, 119
120
123

Bar

125-135

24
25
25-26
26
29-30
33
38
40
+42-49

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

3
œ ˙
b
œ
œ œ
& b 43 œ œ œœœœ œœ #œ  œ œ œœ œ̇ œ œœ œ œœ#œœ œœ ˙˙ œœ n˙œ œ #œœœ bœœœ  œœœ œœœ #œœ ˙ Œœ ˙3œœ œœ  œœ œ œ œ œ œœœœ œ ˙œ œ œœ œœ œ
œ
œ

œ
œ
? bb 43 Œ œ
#œ
#œ œ
œ
œ œ œ œ œ œ Œœ33
œ œ œ œ œ œ& 43



˙
˙

pf.1
pf.2

œ
œ œ  œ œœœ œ œœ
œ

œ œ œ
œ œ œ

U
œœ œ
#œ œ œ œ #œ #˙ ∑œ œ œ œ  œ >˙œ˙˙˙˙ 
œœœ Œ Œ

pp

∑

∑

ff

? œ
œ &œ̇  #œ œ œ #œ œœ
œ œ
pf.1

133

pf.1

142
144

pf.1

149
149

pf.2

150

pf.2

˙˙˙ >œ  œ #œ œ  œ ˙  œ œœ  œ #œ œ œ œ #œ œ̇ # œ œ#œcresc.
œœ œœœœ œœœœ>˙ œ œ œ

>˙

marc.

130

ŒŒ

œ œ œ ˙ œœ œ œ œ œ? 3  œ
4 œ œ œ œ œ #œœ  œ œ œ #œœ  œ œ  œ œ œ  œ œ
˙
˙
˙
>
> .
>
>
.
7
œ
. œ
. œ.
˙
#œ  œ œ #œœ  œ#œœ œ œ #œœ  œ#œœ œ œ #œœ  œn>œœ
œ
#
œ

≈
≈
œ
œ
œ
œ
œ
& œ



œ

lower part note 1: stacc. added by analogy withupper partlower part note 1: stacc. added by analogy withupper part
D: the two bars are missing, the menuet in D
thus starting with the upbeat preceeding b.115
D: note 1: marc.
D:
D: first crotchet: G; third crotchet: middle partin parallel octaves with pf.1
D: between bb.124 and 125: repetition of
bb.115-124
D:

113-114124-125

Comment
The title, the fact that the work consist of an
introduction and two numbered menuets, andthe notation of the transition from introduction
to Menuetto I (bb. 25-26) and from Menuetto
I to Menuetto II (bb.112-113), indicate that thework is to be understood as one, continuous
piece. For this reason a consecutive bar numbering has been chosen.
missing quaver rests added
nonsensical marc. omitted
D: tie from last b  of b.25 to first b  of b.26
D: second and third crotchet:  
D: tie from last b  of b.29 to first b  of b.30
D: repeat sign indicating repeat of bb.26-33
D: chord 2: g , b  , gslur added by analogy with pf.1
D:

˙
˙

100

œ
œ

smorz.

∑
pf.2

no. 45bellmannske billeder. menuetterPartœ œ œ œ œ#œ

pp

96

j
œ˙  œ œœ œ œ œ œ œ œ œ œ ˙ œ œœ œœ œ œœ œœ œœ ˙œ œ œ ˙

D: repeat sign indicating repetition of
bb.57-68
D: tie from last b  of b.69 to first b  of b.70
D: second and third crotchet:  
added by analogy with bb.27, 75
D: tie from last b  of b.73 to first b  of b.74
D: as bb.42-49 above
slur added by analogy with pf.1
D: Coda
D:



Bar

œœ
œ

œ

? œ

œ.
R

œœ œœ œœdim. e smorz p

&#œ
œ
œ

œœ
œ

? œ

œ

&#œ
œ

œ

œœ
œ

˙˙
˙

Œ

final semiquaver: marc. added by analogy withbb.126, 127
final semiquaver: stacc. added by analogy withbb.131, 132
D: con anima
D: third crotchet:  c –  c instead of thetripletchord 3: stacc. added by analogy with pf.1
D: repeat sign indicating repetition of
bb.125-149
chord 1: stacc. added by analogy with b.125

648 j.p.e. hartmann : selected works

Hartmann_klaver_bind_2.indb 648

20/09/12 10.37

Bar

Part

Comment

151-153D:3œ œ œ̇ œ œ œœ œ& 4 œ˙ œ œ
œf
p
f
p f.
œ œœ œ
? 43 œœ œœ Œ
œ
œ.


154
154
156
158

pf.1
pf.2
pf.2

160

pf.2

164
168
169
172
173
174

pf.2
pf.2

175
176

pf.2
pf.2

178
179, 181
192

pf.2
pf.1
pf.1

202-212206
207, 208
208, 209

pf.2
pf.2
pf.1

225

pf.2

pf.2
pf.1
pf.2

226-256



Bar

œœ.
œ œœ Œœœfzœœ.
œ œœ Œ
œD:e marcato
chord 1: stacc. added by analogy with pf.2
chord 1: stacc. added by analogy with pf.1
chords 2-3: stacc. and slur added by analogy
with pf.1 and b.166
chords 1-2: stacc. added and beginning of sluremended from chord 2 to chord 1 by analogy
with pf.1; D: chords 2 and 3: f, a , b , dchord 1: stacc. added by analogy with b.154
D: as b.160
D: double bar after the last chord
chord 1: stacc. added by analogy with b.170
note 2: stacc. added by analogy with b.171
chord 1: stacc. added by analogy with pf.1 andb.170; D: first crotchet: final semiquaver: stacc. added by analogy with pf.1
beginning of slur emended from note 2 to note
1 by analogy with pf.1
slur and stacc. added by analogy with pf.1
note 2: stacc. omitted by analogy with b.167
grace notes emended to mordent by analogy
with b.190
D: as bb.125-135
stacc. added by analogy with b.129
note 1: stacc. added by analogy with bb.130, 131
final semiquaver: stacc. added by analogy withbb.131, 132
D: third crotchet: middle part in parallel octaves
with pf.1
not in D; instead D has the following final bars
with the end dating 4 Febr.1852.:& 43 œ œ. œ
.
f
œœ
œ œ
? 43
œ. œ
.

œ œ œ œ  œ œ̇ œ œ œœ œ œœ œ
œ œ . œ.
œ œ œ œ  œ ˙ pf
p ff
œ œœ Œœ œœ œœœœ œœ œœ œ Œœ.
œ . œ.
œ œ
.
œœ.
œœ.
œœ
œœ ?œ.
œœœ œ œœœœœœ œ
Œœ. Œ Œ& œœ.
œ.
˙ œ œ  œ̇ œ
œ.
œ.
dim.
fz
fz
p
f
fz
p
f
.
œœ œœ œœ œ œœ. œ œ œœœ Œ? œœ œœ Œ
œ
œ
œ
œ
œ. œ
œ. œ Œ Œ
œ. œ. œ.
.
.
fœ œ œ œ  œ
œ
œ.

œ Œ
œ.



255, 256

pf.2

marc. added by analogy with pf.1

no. 47
aftenstemning
Bar
5

Part
pf.2

6

pf.2

10

pf.2

Comment
chords 3-4: stacc. and slur added by analogy
with pf.1
chords 3-4, 6-7: stacc. and slur added by analogy
with pf.1
last note: b  emended to b  by analogy with b.11

Comment

no. 48i folkevise-tone
Bar
6

Part
pf.1

Comment
arpeggio added by analogy with b.8

no. 49albumsblad
Bar
4, 5
12
13
23

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

23

pf.2

26

pf.2

33-34

pf.1,2

42
50
51
52
60

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

Comment
lower part: ten. added by analogy with pf.2
lower part: ten. added by analogy with pf.1
note 1: ten. added by analogy with b.5
upper part note 1: ten. added by analogy withbb.5, 13lower part note 1: ten. added by analogy withnote 2notes 1-2: redundant slur omitted because ofslur from note 1 to note 3
redundant slur from last note of pf.1 lower partto first chord of pf.2 omitted
notes 5, 10: stacc. added by analogy with bb.41, 43-45
ten. added by analogy with pf.1
chord 2: ten. added by analogy with pf.2
ten. added by analogy with b.50
lower part: ten. added by analogy with upper part

no. 50efter motiv af en svensk folkevise
no. 51stambogsblad no. 1
Bar
3-5

Part
pf.1

6-8
8-10

pf.2
pf.2

11

pf.1

11

pf.2

Comment
lower part: slur added by analogy with bb.1-3(fugato theme)
slur added by analogy with bb.1-3 (fugato theme)
lower part: slur added by analogy with bb.1-3(fugato theme)
upper part note 2: as correction in A; A: upper
part note 2: g  corrected in different ink to g upper part note 2: as correction in A; A: upper
part note 2: g  corrected in different ink to g 

no. 52stambogsblad no. 2
Bar
9
15
18
23-26

no. 46stambogsblad

Part

Part
pf.1

Comment
A: Str. Modbevægelse (strings contrary motion)
slur added by analogy with b.3
A: omv. D.C. (inversion da capo)A:œ# 6 œ œ œ œ œœ J& 8 œœ J? # 68 œœœ ‰ Œ ‰ œ 
& œ
œ
œ



œœ
œ‰ ‰
J
j
œ‰ ‰
œœ

crossed out in ink and replaced by the present
bb. 23-26, written on a special piece of music
paper glued on to the original manuscript.

klaverværker : critical commentary

Hartmann_klaver_bind_2.indb 649

649

20/09/12 10.37

Bar

Part

Comment

no. 53₍stykker for johan peter hartmann₎

Bar

Part

Comment

160

pf.1

160

pf.2

164
165
210

pf.2
pf.1
pf.2

219-220219

pf.1,2
pf.2

220

pf.1

247

pf.1

258

pf.1,2273

pf.2

B: above the first chord added in pencil : d(meaning that d  should be corrected to d  inthe final version) the correction is reflected in
the printed edition of the final version of thesonata from 1885; B: above chord 4 added inpencil: a (meaning that a  should be corrected
to a  in the final version); the correction is reflected in the printed edition of the final versionof the sonata from 1885
B: above second note of upper part added inpencil: a (meaning that a  should be corrected
to a  in the final version); the correction is reflected in the printed edition of the final versionof the sonata from 1885
B: upper part notes 1,2: c,d corrected in ink to dchord 3: g Ω emended to g  Ω by analogy with pf.2
chord 1: D,d emended to C,c by analogy withb.209 (chord 1)
superfluous rests omitted
sixth semiquaver: c Ω emended to c Ω by analogy
with pf.1
fifth semiquaver: c Ω emended to c Ω by analogy
with bb. 219 and pf.2
third quaver: g Ω, d ΩΩ emended to f Ω, c ΩΩ by analogy
with b.246
as pencil addition in B; B: the original ink version of this bar is empty; the missing notes areadded in pencil
notes 2, 5: d  emended to d  because of the harmonic structure and the explicit indication in Bof d  in b.274

no. 54
svanerne. humoreske
Bar
3

Part
pf.1

4ii
5, 6, 9, 10

pf.1
pf.2

Comment
lower part note 2: stacc. added by analogy withupper partnote 1: open slur added by analogy with b.4i
seventh semiquaver: stacc. added by analogy
with pf.1

no. 55i en stambog
no. 56
marschBar
8Part
pf.1,2

8
9
11

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

Comment
third and fourth quaver: stacc. added by analogy
with b.3
last chord: stacc. added by analogy with b.3
fifth quaver: stacc. added by analogy with b.4
staccato emended to stacc. and segue

app. 1
sonate ₍tidlig version af opus 80₎
First Movement
Bar
Part
15
pf.2
29

pf.1

45
45
58

pf.1
pf.2
pf.1

66

pf.2

76

pf.1

98

pf.2

107
117
117

pf.1,2
pf.1

139

pf.2

147-149
159

pf.1

Comment
chord 3: f emended to f by analogy with b.17
and as pencil addition in B
chord 2: e  Ω emended to e  Ω because of b.28 (pf.2)
and as pencil correction in B
note 8: b  Ω emended to b  Ω by analogy with b.44
chord 2: b  emended to b  by analogy with b.44
chord 1: lower part, f Ω, b  Ω emended to f Ω, c ΩΩ byanalogy with b.59 and as pencil correction in B
beginning of slur added; B: open slur (without
beginning) ending on first note of b.67 (pageturn)
third quaver: g Ω emended to g  Ω because of theharmonic structure (Hartmann’s slip of thepen?)chord 1: g  Ω emended (enharmonically) to f Ω byanalogy with pf.1
as ink correction in B
as ink correction in B
chord 1: e  ΩΩ emended to e  ΩΩ because of theharmonic structure and in spite of the fact that
Hartmann explicitly indicates e  in chord 2 andnot in chord 1
second and fourth quavers: a emended to a  byanalogy with pf.1
as ink correction in B
B: above the last chord added in pencil: NB cis(meaning that e  should be corrected to c in
the final version), the correction is reflected in
the printed edition of the final version of thesonata from 1885

Second Movement
Bar
Part
9
pf.2
16

pf.1

31
36
37
38

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

51

pf.1

56

pf.1

56

pf.2

58

pf.1

59

pf.1

64
70
73

pf.1
pf.2
pf.2

74

pf.1,2

79

pf.1

80

pf.2

81

pf.1,2

Comment
upper part: e  Ω- d emended to c Ω- b  as pencil andink corrections in B
lower part chords 2, 3: slur added by analogy
with bb.15,17
lower part: slur added by analogy with b.29
chords 2, 3: stacc. added by analogy with pf.1
upper part: slur added by analogy with bb.1, 7
upper part notes 1,2: slur added by analogy with
pf.2
lower part: marc. added by analogy with upper
part
lower part notes 4-5: slurs and stacc. added byanalogy with upper part
upper part notes 4-5: stacc. and slur added byanalogy with pf.1
lower part: slur added by analogy with upper
part
lower part: second quaver: slur added by analogy with upper part
fourth quaver: stacc. added by analogy with b.65
chord 1: stacc. added by analogy with pf.1
fourth quaver: stacc. and slur added by analogy
with b.72
chord 1: stacc. added by analogy with the rest of
the bar and b.75
lower part: stacc. and slur added by analogy
with pf.2
upper part: slur and stacc. added by analogy
with pf.1
stacc. and slur added by analogy with b.79

650 j.p.e. hartmann : selected works

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Bar

Part

Comment

app. 2 and 3
sonata fragments in f major
Bar
34

Part
pf.1

36

pf.1

53-57
68
76

pf.2
pf.2
pf.2

103
104
107

pf.1
pf.1
pf.1

113,114

pf.1

119

pf.2

Comment
note 7: b  Ω emended to b Ω by analogy with pf.2
and because of the harmonic context
note 7: b  Ω emended to b  Ω by analogy with pf.2
and because of the harmonic context
slurs added by analogy with bb.51-52
marc. added by analogy with pf.1
chords 2-6: b  emended to b  by analogy with
pf.1
lower part: marc. added by analogy with pf.2
lower part: marc. added by analogy with pf.2
lower part: note 6: e ΩΩ emended to e  ΩΩ because of
the harmonic context
chord 1: marc added by analogy with bb.112,
115, 116; slurs added by analogy with bb.111112
slur added by analogy with b.115

Bar

Part

Comment

app. 4klaverstykke
app. 5aftenstemning
Bar
1
2
6

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

7

pf.1

10

pf.2

Comment
chords 2-4: slur added by analogy with pf.2
chords 2-4: slur added by analogy with b.1
upper part notes 1-4: two slurs emended to one
slur by analogy with pf.1
A: chord 4 upper part:  d corrected in pencil
to triplet d - b – c
A: chord 1 inner part:  b corrected in pencil to b–aklaverværker : critical commentary

Hartmann_klaver_bind_2.indb 651

651

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chronological concordance of hartmann ’ s piano works in the present edition

HW
Title
number1

25
6
26
7
27
8
9
28
31
10
30
1
29
11
32
12
36
37
33
34
35
38
13
14
39
40
2
15
17

Grand Vals
Rondeaux Brillants
FantasiCapricer
Klaverstykke
Deux Pièces
Charactéristiques
Tre Genrestykker
Introduktion og Allegro
Religioso
Canzonetta
Otte Skitser
Hamborger-Skotsk
Sonate i d mol
Gamle Minder
Seks Tonestykker i
Sangform
Indfald
Tre Klaverstykker
Langsom Vals
Stambogsblad
Hjemvee
Om Foraaret
VinterenDen 20de Januar 1848
Seks Karakterstykker
Tre Klaverstykker
Langsom Menuet[Klaverstykke, 1849]
Sonate i g mol
Etudes instructives
Novellette i seks
Smaastykker

Year2 Dan Fog3
numberOpusnumber

6
7
18

1826
1829
1831
1835/1837
1837

25

45
17
18
19

1839
1841

20

1840
1840
31 1840-41/1842
1841
34
1841/1842
1842

21
23
25
22
24

37

1842/1843
1844
1845
1847
1847/1900
1847
1847
1847
1848
1848/1849
1848-1851
1849
1849
1851
1851/185226

55 1852-55/1855

34

26

38

50

53

HW
Title
number1

3
41
16
42
43
44
46
4
18
19
20
47
21
48
49
50

27
48

22
5
23

28
31
30

51
52
24
53

32

54
55
56

Opus
numberYear2 Dan Fog3
numberBellmanske Billeder.
Menuetter
1852/1859
35
Sonate i F dur
1853-54/1944
49
Albumsblad
1854
Fantasistykker
54
1855
33
Polkamæssig
1857
Sct. Hansaften Vals
1859/1860Sjællandsk Reel
1859/1860
Stambogsblad
1862
Sonatine i G dur
1863
36
Klaverstykker
1864
37
Studier og Novelletter
65
1866
39
To Klaverstykker
1866
38
Aftenstemning
1869
40
Fantasistykke
1869/1871
41
I Folkevise-Tone
1870
Albumsblad
1871
42
Efter Motiv af en svensk
Folkevise
1874
Fantasistykke
1874/1875
44
Sonate i a mol
80 1876-83/1885
47
Klaverstykker fra ældre
og nyere Tid
74
1877/1878
45
Stambogsblad No. 1
1878
Stambogsblad No. 2
1879
Thema med 14 variationer
1881[Stykker for Johann Peter
Hartmann]
1881
Svanerne
1882
I en Stambog
1885
Marsch?4

1 Hartmann Works, number used by the present edition.
2 Years separated by a slash indicate year of compostion and yearof first edition respectively.
3 Dan Fog, Hartmann-Katalog. Fortegnelse over J.P.E. Hartmanns
trykte kompositioner, Copenhagen 1991.
4 The only work of the present edition which it is not possible todate.

652 j.p.e. hartmann : selected works

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